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Speaker 1: Pushkin.

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Speaker 2: We're excited to share an episode from another podcast today

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Speaker 2: that I think you'll enjoy, The five hundred with Adam

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Speaker 2: Myers on the five hundred. Adam counts down Rolling Stones

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Speaker 2: list of the five hundred greatest albums of all time,

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Speaker 2: joined by musicians, comedians, and actors for each episode. This

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Speaker 2: episode spotlights the second and final studio album by rock

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Speaker 2: supergroup Crosby, Stills and Nash, and their first as Crosby, Stills,

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Speaker 2: Nash and Young. The album's tracks range from tender folk

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Speaker 2: melodies to driving hard rock. Today, we'll hear an episode

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Speaker 2: with guests Jeff Daniels, the acclaimed actor best known for

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Speaker 2: films like Dumb and Dumber, The Squid in the Whale

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Speaker 2: in terms of endearment. Jeff, who is also an accomplished

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Speaker 2: singer songwriter, makes his debut on the five hundred to

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Speaker 2: share how this iconic album influenced his own approach to music.

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Speaker 2: Here's Adam Myers with Jeff Daniels on the five hundred.

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Speaker 3: The five hundred from the five hundred, j and.

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Speaker 4: Been walking us down through that twenty twelve edition, so

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Speaker 4: it ain't nothing to you. Hundreds, water goo and in

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Speaker 4: need of a friend, that king of this four Angelo

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Speaker 4: talking the five hundred until he ends, talking the five

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Speaker 4: hundred until.

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Speaker 3: He ends with my man j is.

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Speaker 4: On the five hundred, talking the five hundred until.

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Speaker 3: The end is coming. It is coming to.

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Speaker 1: So that is the opening track by Crosby Stills Nashing

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Speaker 1: Young from their nineteen seventy record Deja Vu. It's also

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Speaker 1: number one forty seven out of five hundred on the

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Speaker 1: five hundred with Josh Adam Myers. What's up, Police Army.

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Speaker 1: I am Josh. I'm a comic, and I'm going through

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Speaker 1: Rolling Stone Magazines list of the five hundred greatest albums.

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Speaker 1: We are chipping away right now. I am probably in Amsterdam,

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Speaker 1: I'm not sure. Or I'm dead in Amsterdam, or maybe

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Speaker 1: I didn't make it there. Maybe I got mugged in

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Speaker 1: Paris or Brussels or wherever the fuck. I am making

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Speaker 1: my way through Europe. I'm doing this, of course, ahead

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Speaker 1: of time, so I don't have to bring any equipment.

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Speaker 1: Hopefully I see you guys out there. If you live

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Speaker 1: in another country in Europe, send me a message and

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Speaker 1: I will come have lunch with you. I'm documenting the

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Speaker 1: whole thing. We're gonna post it. On my YouTube YouTube

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Speaker 1: dot com backslide josh Adamyers seventy nine subscribe, subscribe, subscribe

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Speaker 1: and my social media josh Adam Myers on all. Subscribe

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Speaker 1: to the channels YouTube the five hundred podcast watch all

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Speaker 1: the episodes ian. If you really want to help us,

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Speaker 1: subscribe to the Patreon Patreon dot com backslash of five

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Speaker 1: hundred podcast. Join the Fleece Army for five dollars a month.

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Speaker 1: You support the show and we love you. For twenty

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Speaker 1: five you support the show, We love you, and we

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Speaker 1: send you merch merchie. Be a part of the Fleecy.

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Speaker 1: We love you, guys. Thank you for tuning in. Thank

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Speaker 1: you for all the help. DJ Morty Coyle, Emily JT,

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Speaker 1: Peter Adam. This is one of my favorite things to do,

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Speaker 1: especially when you have a guest like today. When I

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Speaker 1: get back the end of this month, August twenty ninth

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Speaker 1: and the thirtieth, I will be at the Plano Mic

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Speaker 1: Drop Comedy Club right outside of Dallas, Texas. Then I

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Speaker 1: will be in Pittsburgh, Jacksonville, Saudi Arabia with Bill Burd

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Speaker 1: doing a comedy festival. New Orleans, Vancouver, La Joya, Arizona, Wisconsin,

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Speaker 1: I've got a bunch of gigs. I'm gonna be busy.

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Speaker 1: I'll be in Canada a lot next year. We've already

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Speaker 1: got Calgary booked, We've already got Winnipeg booked, Edmonton booked.

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Speaker 1: Come one, Come on Josh Adammeiers dot com for tickets.

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Speaker 1: It's gonna be a great year, guys. I'm excited to

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Speaker 1: get back home. I'm assuming I'm loving this trip. But

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Speaker 1: who knows, who knows? Maybe I'm dead, all right, Crosby Stills,

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Speaker 1: csny Sison, sissony sisne deja vu. Well, this is our

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Speaker 1: second record. We did the first one, We're doing the

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Speaker 1: second one. I'm not gonna talk anymore. Let's get to

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Speaker 1: our guest, a legend, a true actor, and an incredible musician.

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Speaker 1: This is where the Emily Kagan meager comes into full effect.

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Speaker 1: We got a code read booking the one, the only

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Speaker 1: Jeff Daniels. I mean, come on, guys, the newsroom, one

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Speaker 1: of the greatest speeches in television history. Arachnophobia, dumb and dumber,

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Speaker 1: dumb and number two. I could keep going. This dude

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Speaker 1: is so cool taking the time out to talk about

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Speaker 1: this record. I love doing this podcast. When I get

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Speaker 1: to sit down and talk to these dudes. What a gift.

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Speaker 1: All right? Oh, go to his website and check out

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Speaker 1: his music. By the way, He's got some incredible stuff

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Speaker 1: and some upcoming tour dates in Michigan this month. Rate Review.

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Speaker 1: Most importantly, subscribe to the five hundred. Listen free on

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Speaker 1: all platforms or anywhere you get your pods. Follow me

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Speaker 1: at josh Adam Myers on all social media. Follow the

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Speaker 1: podcast at the five hundred Podcasts. Email the podcast at

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Speaker 1: five hundred Podcasts at gmail dot com, Follow the Facebook

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Speaker 1: group run by Creeazy Evan, and for all things five

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Speaker 1: zero zero go to the website the five hundred podcast

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Speaker 1: dot com. All right, y'all, here we go out of

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Speaker 1: five hundred with Deja Vu by crowdsbit Steals, Nash, and Ya.

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Speaker 1: I don't even know how to start because because Jeff,

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Speaker 1: I'm such a huge fan of yours man that this

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Speaker 1: is always This is why I do the podcast is

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Speaker 1: being able to sit down with people that I love,

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Speaker 1: so uh, thank you for coming on to talk about Crosby, Stills,

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Speaker 1: Nash and Young and also to let you know, we

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Speaker 1: had like five other big names that wanted to do

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Speaker 1: this record and I told them all, pardon my language,

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Speaker 1: to fuck off, like this is Jeff's record. He got it,

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Speaker 1: divs Okay, I couldn't. I couldn't be happier, man, So

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Speaker 1: what a.

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Speaker 5: Pleasure to deliver. It was a long pressure.

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Speaker 1: No pressure, don't worry. I'll cover a lot of the info.

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Speaker 1: We just want to know your opinion, your love. We're

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Speaker 1: going to talk about this. We're going to talk about

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Speaker 1: some Crosby, Tails and Nash. But I guess you know,

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Speaker 1: just to dive right into this, you know when and why?

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Speaker 1: Au Let's say start there, why are you here for Cross?

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Speaker 1: Out of all the records we probably offered you, why

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Speaker 1: are you here for Crosby, Stills, Nash and Young Deja vu?

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Speaker 5: H it uh? It was at a time in my life.

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Speaker 5: I'm gonna say it was seventy one it was released.

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Speaker 5: I was I was early in high school, and so

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Speaker 5: my tastes and music were being formed. I had come

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Speaker 5: out of the late sixties and I was, I mean,

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Speaker 5: I can go back to here comes my Baby from

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Speaker 5: the Turtles, Dave Clark five. You know I was. I

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Speaker 5: wasn't very you know, my musical taste wasn't very interesting.

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Speaker 5: Seeger came out with Rambling Gambling Man on that first album.

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Speaker 5: Then Arlo Guthrie did Alice's Restaurant. Yeah, my attention just

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Speaker 5: because of the acoustic work and the storytelling. And then

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Speaker 5: Woodstock happened, and I remember being in the seventh grade

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Speaker 5: and asking my dad if I could, you know, go

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Speaker 5: to Woodstock with some high school friends who had a car.

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Speaker 5: And that didn't get very far, but that was what

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Speaker 5: was that about? And so I'm young and I'm looking

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Speaker 5: at that. And this was before Elton John which eleven

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Speaker 5: seventeen seventy really kind of catapulted me into okay, what

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Speaker 5: was that? Yeah, but it was Crosby, Stills, Nash and Young.

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Speaker 5: It was the acoustic work, and of course the harmonies

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Speaker 5: and their stance. They were doing kind of what Dylan did,

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Speaker 5: except with four part harmonies, what Phil Oakes did, Tom Paxton.

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Speaker 5: They were taking some of that you know, political thing

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Speaker 5: and kind of you know, maybe not so much with

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Speaker 5: Deja Vu, but certainly with Four Way Street. They were

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Speaker 5: a band that was going to say some things. And yeah,

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Speaker 5: back to a young kid in high school, that got

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Speaker 5: my attention.

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Speaker 1: So you were already like innocence interested in what was

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Speaker 1: going on in the world at a really young age.

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Speaker 1: Was that your parents or because I mean I always

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Speaker 1: remember my dad like reading the Washington Post and he

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Speaker 1: would listen, he'd watch the nightly news. And we're from

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Speaker 1: the DC area, by the way, but it was, you know,

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Speaker 1: I vaguely remember Bush versus Ducoccus, literally only because there

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Speaker 1: was a paper meme of a drawing of a vagina

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Speaker 1: chasing a penis, and it was like Bush versus Ducaclus,

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Speaker 1: another fucked up matter? Was it something stupid like that?

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Speaker 1: And that was my to politics. So really, you were

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Speaker 1: when you were like when you were younger, you were

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Speaker 1: already interested in what was going on in the world.

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Speaker 1: But I assume it's probably because a lot of you know, I.

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Speaker 5: Was, and you know, I a small town in the Midwest,

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Speaker 5: and I was I was. I grew up in a

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Speaker 5: Republican household, a small business owner, farmer. My mom was

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Speaker 5: a farmer, you know, worked on a farm, and we

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Speaker 5: didn't talk about politics. I didn't even know it was

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Speaker 5: a Republican household till I went to New York City

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Speaker 5: and realized, oh, this is different from where I'm coming.

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Speaker 5: I think Krosby still is a Nash kind of we're going, hey,

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Speaker 5: come over here, yes, And and I wasn't. I didn't

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Speaker 5: really go to the acoustic guitar myself until about seventy six,

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Speaker 5: seventy seven. But Stills and Neil Young got my attention

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Speaker 5: and and maybe fifteen or maybe twenty years later, twenty five,

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Speaker 5: I a friend of mine got tickets to see them

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Speaker 5: in Chicago at the United Center, and I had I

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Speaker 5: never I didn't get Neil Young. You know, I loved Stills.

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Speaker 5: I loved Stills, and I didn't know why. And then

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Speaker 5: later on it was the musicianship and his you know,

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Speaker 5: that whole Crossroads live thing he does. You know, someday

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Speaker 5: I'm going to try to learn how to play that

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Speaker 5: the way he does, and Treetop Flyer and all that.

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Speaker 5: I was really taken with Stills, and but I didn't

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Speaker 5: get Neil. And then when I saw him in Chicago

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Speaker 5: and they played Almost Cut My Hair, which is on

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Speaker 5: the Day Jubu album, and they turned it into like

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Speaker 5: an eighteen minute thing, epic thing, and Neil, you know,

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Speaker 5: with his black les Paul just that single note stuff

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Speaker 5: that he was doing well Stills was, you know, but yeah,

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Speaker 5: well it just pierced through the United Center and I going, Okay,

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Speaker 5: I get Neil Young. Now, I get Neil Young. They

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Speaker 5: were so different, you know, and they had egos and

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Speaker 5: they hated each other to make album.

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Speaker 1: Oh you're telling me after I've learned everything. I mean,

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Speaker 1: we'll get all into that. But it's it's kind of fun,

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Speaker 1: you know. Oh yeah. But here's here's something funny. Jared,

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Speaker 1: you you might know some of this, but but Jeff,

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Speaker 1: this is actually interesting. I have a connection to three

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Speaker 1: out of four of the guys in this band. I've

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Speaker 1: jammed with Steven Stills at my friend Told my friend

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Speaker 1: told Wilkenfeld's house. She has a recording studio. The bass

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Speaker 1: player play with Jeff Beck. Excuse me. I also played

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Speaker 1: with Jackson Brown that night. Who else? Oh, Neil Young.

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Speaker 1: It's not a connection, but from doing this podcast, we

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Speaker 1: did one of his records and probably my favorite song

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Speaker 1: that I found from Young, and I was much like

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Speaker 1: you like I only really knew like Harvest Moon and

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Speaker 1: a like Ohio and a few others.

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Speaker 3: Uh.

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Speaker 1: But when I heard Lookout Joe about Vietnam vets coming

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Speaker 1: back to from Vietnam and seeing how the seventies has

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Speaker 1: changed with hookers, and Drugs and Prostitutes and became probably

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Speaker 1: my favorite song that I found from doing this podcast.

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Speaker 1: I still listened to it multiple times a week. I

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Speaker 1: love it and nothing with Graham Nash. But I was

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Speaker 1: one of the people that Melissa Ethridge was gonna get

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Speaker 1: sperm from. It was between me and David Crosby. Yeah,

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Speaker 1: I mean I was young, but she wanted a kid,

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Speaker 1: and I said, all right, you know, I got good gene.

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Speaker 5: Okay, But but.

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Speaker 1: There's a thing about them is that, you know, we

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Speaker 1: were lucky enough. This never happens on the podcast, by

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Speaker 1: the way, where we do usually the first record first,

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Speaker 1: you know, because a lot of the artists their first

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Speaker 1: album is their best record, and so sometimes, like when

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Speaker 1: I did Dylan, we did it backwards. We started with

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Speaker 1: Time out of Mind and we've worked our way down.

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Speaker 1: I think we did like Love and Theft and a

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Speaker 1: few others. It wasn't until John Wesley Harding that I

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Speaker 1: think I really got what people love about Dylan. And

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Speaker 1: now I'm really becoming a fan because, as you know,

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Speaker 1: as a Dylan fan, you need to start at the

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Speaker 1: beginning and move your way towards the back because those

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Speaker 1: seven eight minute songs about God and Death and the

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Speaker 1: Devil that he did in the nineties and the two thousands.

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Speaker 1: They're not the same. You gotta know the early shit.

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Speaker 1: But what I love about this band, you know, is

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Speaker 1: you have this first record of theirs and they get together.

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Speaker 1: They're all in their respective bands. You know, I might

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Speaker 1: fuck this up because I've got some of it written

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Speaker 1: down and if you correct me, but I know we've

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Speaker 1: done the Birds, so so David Crosby's in the Birds.

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Speaker 1: You have Stephen Stills is in the Hollies. Or am

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Speaker 1: I mixing it up with Graham Nash? No, Graham Nash

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Speaker 1: is a Buffo Springfield. Yeah, Stills is the Hollies. Nash

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Speaker 1: is Buffalo Springfield. Otherways Okay, well.

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Speaker 5: I was close young, We're Buffalo.

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Speaker 1: Yeah, yes. But this is the thing is that they

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Speaker 1: get together. Let me pull up my little one sheet.

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Speaker 1: They get together and they make this record. They make

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Speaker 1: the record after they play Woodstock. So their first gig

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Speaker 1: ever is Woodstock. Yeah, I mean can a's your question?

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Speaker 1: What was what was the first performance you ever did?

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Speaker 1: And were you scared shitless doing.

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Speaker 5: It me personally with a guitar?

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Speaker 1: Yeah? Oh yeah, not just good doing as an actor

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Speaker 1: or anything like any your first performance. Was it a

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Speaker 1: natural thing? I mean, obviously it probably wasn't the size

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Speaker 1: of woodstock, but.

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Speaker 5: No. Strangely, which is why I pursued it. I knew

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Speaker 5: exactly what to do, you know, I being on stage

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Speaker 5: and having six hundred people and I'm playing Fagan and Oliver.

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Speaker 5: I knew exactly what to do, and I know how

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Speaker 5: the joke. I knew how to sing the song. I

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Speaker 5: knew how to do the staging. I knew how to

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Speaker 5: hold an audience. It was all just natural ability that

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Speaker 5: I had no idea why I knew it or anything.

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Speaker 5: When I picked up the guitar and started, you know, gigging,

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Speaker 5: which happened thirty years later. That was the terror to

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Speaker 5: walk out and sit in a chair with just the acoustic,

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Speaker 5: singing my own stuff, thinking that it's going to be

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Speaker 5: just as easy as walking on a stage. As an actor,

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Speaker 5: you know, you've got this character filter which protects you

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Speaker 5: in a way. You just kind of do it. And

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Speaker 5: you know, I never stage fright nerves, no, but walking

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Speaker 5: out there and sitting down, the flop sweat just like

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Speaker 5: dripping off me. I there was a nakedness to it

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Speaker 5: that I wasn't prepared for and it took about thirty

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Speaker 5: club dates to learn how to rise above it. And

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Speaker 5: it was the same thing as like doing a talk show,

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Speaker 5: you know, I mean I did I've been doing those forever.

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Speaker 5: I did Carson twice, you know, oh God, and a

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Speaker 5: lot of Lemo and Colbert and you name it. I

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Speaker 5: did him Conan, and you know, it's how do I

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Speaker 5: how do I do this in seven minutes? You're out

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Speaker 5: there and everybody's You've gotta be funny, you gotta be

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Speaker 5: what what? What? What am I? And there were early

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Speaker 5: things with me with Letterman where I'm just a zero

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Speaker 5: and and I finally figured out the character I have

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Speaker 5: to play when I walk out there is me in

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Speaker 5: a good mood.

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Speaker 1: Yeah yeah, yeah, yeah.

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Speaker 5: That's your character, Jeff in a good mood. And I

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Speaker 5: usually wear a fedora just because I love him. And

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Speaker 5: once I put that on, it's like Joe Bonamasa, who's

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Speaker 5: an incredible player.

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Speaker 1: Guess with the podcast we've he's been on, been on

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Speaker 1: a couple of times.

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Speaker 5: Yeah, we love that, love him. He's Joe bonamassa backstage

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Speaker 5: and then here comes the glasses, here comes the suit,

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Speaker 5: and he says I become this other guy and it's

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Speaker 5: a little bit like acting. So the same thing with

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Speaker 5: the acoustic guitar in the chair. Now, any kind of

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Speaker 5: trepidation about it, Remember you're in a good mood. Oh yeah,

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Speaker 5: I'm in a good mood. Boom out I go, and

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Speaker 5: then I'm on top of it.

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Speaker 1: But also, and also, but also because I'm friends with,

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Speaker 1: you know, very close with Bill Burr, and you know

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Speaker 1: what he's explained going on those talk shows, especially someone

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Speaker 1: like Conan. It's just like he's got you. Those guys

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Speaker 1: got you, and their goal is that you can just

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Speaker 1: they'll set you up and you set them up, and

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Speaker 1: it's like it really is like a beautiful dance. And

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Speaker 1: for someone who you know from acting and working with actors,

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Speaker 1: and then also on top of that, you know, having

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Speaker 1: the musical abilities and timing from acting and music, I

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Speaker 1: mean you must I know you said you probably didn't

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Speaker 1: feel like it, but dude, you know, you and Letterman together,

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Speaker 1: you and Carson together, I mean it's a beautiful dance.

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Speaker 1: And I mean none of us could tell that you

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Speaker 1: were fucking nervous at all.

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Speaker 5: No, it's the ability to tell stories, you know, on

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Speaker 5: the fly. Yeah, you know. I mean, you don't have

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Speaker 5: to suddenly bec Robin Williams are Marty Short and just

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Speaker 5: kill like those guys do. Can you tell a good

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Speaker 5: story that has you know, rhythm to it and you

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Speaker 5: learn how to do that? And you know that comes

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Speaker 5: with time and figuring out how to do it. But

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Speaker 5: it's the same thing with the gigs. You know, is

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Speaker 5: sitting down in that chair, is the story leading up

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Speaker 5: to it, and then here comes the song. It's almost

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Speaker 5: like a mini musical, except I'm doing the book and

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Speaker 5: the and the music, and so you know, I've learned

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Speaker 5: how to do it. I enjoy the challenge of that.

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Speaker 5: But it was guys like Still's and Arlow and Neil

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Speaker 5: Young and Steve Goodman later on Lyle Lovett, Christine Lavin,

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Speaker 5: John Hyatt, Keb Mole, Stephan Grossman, the guys who picked

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Speaker 5: up an acoustic guitar and could do it. Jason Isbel

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Speaker 5: has the great album Foxes in the Snow. You know,

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Speaker 5: just Jason with an acoustic in a studio in New

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Speaker 5: York City. I I love that. I just that Crossy Stills,

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Speaker 5: Nashing Young and Deja Vu was the trigger to send me,

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Speaker 5: you know on my mate on my way toward an

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Speaker 5: acoustic guitar, which I bought my first one in seventy

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Speaker 5: six and have been playing one ever since.

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Speaker 1: You still have that first one you bought, Yeah, I

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Speaker 1: love that. Joe's try to Joe's try to buy it

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Speaker 1: off you.

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Speaker 5: I'm sure.

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Speaker 1: He's listen, man, you we'll get rid.

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Speaker 5: Of that thing.

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Speaker 1: I'll pay top dollar.

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Speaker 5: I don't love it, I am. I'm a Martin snob now,

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Speaker 5: but it was a Guild D forty. That's the next

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Speaker 5: too skinny, the body's too big. I played it for

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Speaker 5: about three years. Then I saw a friend of mine

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Speaker 5: playing Martin om and I'm just going, oh yeah.

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Speaker 1: Dig so much when I was talking about this record

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Speaker 1: and doing the first one where you have the three guys,

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Speaker 1: you know, and then you were lucky enough that later.

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Speaker 1: I mean, it's been almost over a year, I think,

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Speaker 1: at least since we did that first record, and to

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Speaker 1: really dig back into this and then find out the

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Speaker 1: interesting story behind this, you know, for all the listeners

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Speaker 1: and Jeff, I don't know how familiar you are with

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Speaker 1: the backstory of this. But before we get into some

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Speaker 1: of the tracks, you know, like I mentioned, they play

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Speaker 1: their first gig at Woodstock. Then they come out with

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Speaker 1: the first record. Neil, by the way, at this time

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Speaker 1: is laying in the back. He actually played with them

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Speaker 1: at Woodstock, but he is his own person. He's uncompromising.

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Speaker 1: The first record comes out, it's this enormous hit. It's

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Speaker 1: not it doesn't like drag. It doesn't take time to

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Speaker 1: blow up. It blows up, and people are calling them

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Speaker 1: a supergroup amongst with all the different singles, it almost

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Speaker 1: defies explanation that they're going to be adding Neil Young

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Speaker 1: to this band. It's already a perfect trio. It's like,

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Speaker 1: how could it get much better? And by the time

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Speaker 1: they get to this record, this album, basically when we

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Speaker 1: were talking about for a moment and I mentioned it

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Speaker 1: to you, Jared, why you'll find this intersuing as a

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Speaker 1: Beatles fan. This is the white album. This is a

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Speaker 1: fractured record. This is not a collaborative effort. There are

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Speaker 1: them playing together and working on certain things for certain moments,

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Speaker 1: but this is basically a member of the band. Excuse

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Speaker 1: me saying I'm going to go to the studio. I'm

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Speaker 1: going to do a song and if you want to

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Speaker 1: come in, cool, but if not, I could give a

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Speaker 1: shit I'm working on this alone. Some of these sessions,

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Speaker 1: I think I saw somewhere that eight hundred hours. Yes,

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Speaker 1: Steven Still's estimates the album took around eight hundred hours

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Speaker 1: of studio time to record. Sometimes they'd be doing eighty

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Speaker 1: takes of some of the songs before I've got any further.

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Speaker 1: What's the most amount of takes you ever did in

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Speaker 1: a scene and what was it for who.

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Speaker 5: We were close to? I want to say seventy eight.

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Speaker 5: On the Purple Rows of Cairo, the Woody Allen movie

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Speaker 5: nineteen eighty seven, there was a wonner a one shot

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Speaker 5: of a four page scene, and I'm sitting in a

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Speaker 5: in a Ferris Ferris Merry go round, Yeah, which they

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Speaker 5: had found somewhere in Brooklyn, and it was a real one.

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Speaker 5: We were inside, and so it was all kind of

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Speaker 5: built for us. Great terrific. So I'm sitting here with

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Speaker 5: Mia Farrow and it's a love scene and the camera

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Speaker 5: slowly pushes in, no cuts, no close ups, nothing, And

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Speaker 5: at the end of the four page scene there's a kiss.

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Speaker 5: That's it. Well, we're shooting. The problem is we're located

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Speaker 5: about two miles from the JFK airport, so the flight

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Speaker 5: pattern of the planes either taking off landing was just

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Speaker 5: under four minutes, which was about the time it would

401
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Speaker 5: take to do four pages a minute a page. So

402
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Speaker 5: we would get to and you're doing the scene and

403
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Speaker 5: the stammers coming in and we're on the last where

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Speaker 5: now we're at three pages, top of fourth page. Here

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Speaker 5: we come and you can hear the plane. You can

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Speaker 5: hear the plane landing, and and you kind of speed

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Speaker 5: it up to try to get to the kiss and

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Speaker 5: then cut and they look at the sound guy. He goes, no,

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Speaker 5: I heard the plane. I heard so what He just

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Speaker 5: kept going and it was seventy eight takes and I

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Speaker 5: don't think we ever got one that I know we

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Speaker 5: didn't because then we go, well, let's go into editing.

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Speaker 5: We'll see what we got. Because he didn't want to

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Speaker 5: do close ups. Yes, he couldn't cut around a plane.

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Speaker 5: So about four weeks later they built a Merry go

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Speaker 5: round up in Harlem in a studio and we shot

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Speaker 5: it like five takes. Oh there, wow.

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Speaker 1: Was he wasn't like was he? I mean, he feels

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Speaker 1: like a very particular person, you know, about what he wants,

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Speaker 1: like in something like Purple Aza, Cairo or radio days.

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Speaker 1: Was were they long shoots? Because I always feel like

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Speaker 1: he was. He was very good with the budget that

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Speaker 1: he got, because he's not getting a lot of money

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Speaker 1: for his movies, or at least you know, you must

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Speaker 1: say at the beginning. I mean, he is one of

426
00:24:29,676 --> 00:24:32,476
Speaker 1: the best directors of all time. But still is it?

427
00:24:32,516 --> 00:24:35,756
Speaker 1: Are his shoots long? Or what was the longest full shoot?

428
00:24:35,796 --> 00:24:38,396
Speaker 1: Not seen? But just if they're doing eight hundred hours

429
00:24:38,436 --> 00:24:40,876
Speaker 1: to do a record, what was the longest shoot you

430
00:24:40,916 --> 00:24:41,476
Speaker 1: were ever on?

431
00:24:41,916 --> 00:24:44,356
Speaker 5: Well? Would he? No? I mean, back back then, wood

432
00:24:44,356 --> 00:24:49,196
Speaker 5: he we were usually finishing by five thirty, especially if

433
00:24:49,196 --> 00:24:50,476
Speaker 5: the Knicks were playing at home.

434
00:24:50,836 --> 00:24:54,796
Speaker 1: Sure, claireinet somewhere for the day.

435
00:24:54,876 --> 00:24:57,276
Speaker 5: We'll come back, we'll go into the close ups tomorrow morning.

436
00:24:57,316 --> 00:24:59,596
Speaker 5: Thanks everybody, and he's gone, you know, I mean, it

437
00:24:59,716 --> 00:25:02,796
Speaker 5: was no, they were. They were very professional. You come

438
00:25:02,836 --> 00:25:07,236
Speaker 5: in ready, He wants to see what you want to

439
00:25:07,236 --> 00:25:10,396
Speaker 5: bring to All the great directors did Woody, Robert Altman,

440
00:25:10,516 --> 00:25:13,956
Speaker 5: Mike Nichols, Jonathan Demi, Oh my god, on and on

441
00:25:13,996 --> 00:25:17,716
Speaker 5: and on. They they don't come in and tell you

442
00:25:17,756 --> 00:25:21,116
Speaker 5: what to do. They you know, Altman told me ninety

443
00:25:21,116 --> 00:25:25,036
Speaker 5: percent of what I do is casting. Oh okay, go

444
00:25:25,276 --> 00:25:28,196
Speaker 5: show me what it is? That right? Okay, good, let's

445
00:25:28,236 --> 00:25:30,836
Speaker 5: move the camera. You know, sometimes you get nothing, and

446
00:25:30,876 --> 00:25:33,276
Speaker 5: that's you know, come in and show them what you

447
00:25:33,276 --> 00:25:35,196
Speaker 5: think it is. That's why they hired you. And Wood

448
00:25:35,196 --> 00:25:36,956
Speaker 5: he was like that, you know, he said with the

449
00:25:36,996 --> 00:25:40,916
Speaker 5: script too. He first day he goes, okay, well, you know,

450
00:25:40,996 --> 00:25:43,036
Speaker 5: this isn't the Bible. So if you want to, you know,

451
00:25:43,156 --> 00:25:44,956
Speaker 5: change your word here or there, just go ahead. You know,

452
00:25:44,956 --> 00:25:46,196
Speaker 5: if I need you to say it the way I

453
00:25:46,196 --> 00:25:48,596
Speaker 5: wrote it, I'll tell you, and you could you could

454
00:25:48,636 --> 00:25:51,356
Speaker 5: loosen it up a little bit. And he was fine.

455
00:25:51,396 --> 00:25:54,156
Speaker 5: He wanted it as natural as possible. And and you

456
00:25:54,196 --> 00:25:56,876
Speaker 5: know that just makes you want to make what he

457
00:25:56,956 --> 00:25:58,396
Speaker 5: wrote work all the time.

458
00:25:58,476 --> 00:26:01,436
Speaker 1: Yeah, yeah, yeah, yeah. So what was the longest shoot?

459
00:26:01,516 --> 00:26:04,756
Speaker 1: Not seeing but just longest project the way they talk

460
00:26:04,836 --> 00:26:09,276
Speaker 1: about Eyes Wide Shut being almost like almost two years.

461
00:26:09,316 --> 00:26:12,316
Speaker 1: And that's Kubrick, who, of course is very particular. And

462
00:26:12,596 --> 00:26:14,276
Speaker 1: you know, of course I must have been interesting working

463
00:26:14,316 --> 00:26:17,316
Speaker 1: with with a married couple with Tom Cruise and Nicole.

464
00:26:17,396 --> 00:26:18,956
Speaker 1: But I mean, you've been in so many different projects.

465
00:26:18,956 --> 00:26:21,436
Speaker 1: What was the longest from from the day you showed

466
00:26:21,476 --> 00:26:22,436
Speaker 1: up to the day left?

467
00:26:23,436 --> 00:26:25,996
Speaker 5: You know, I know, I don't. I mean the television

468
00:26:26,036 --> 00:26:29,236
Speaker 5: series like news Room. Sure, yeah, yeah, obviously seven months,

469
00:26:29,236 --> 00:26:35,236
Speaker 5: but you're shooting nine ten episodes. Yeah, movies. No, I

470
00:26:35,276 --> 00:26:37,836
Speaker 5: was never on one of those were five months over

471
00:26:37,916 --> 00:26:39,156
Speaker 5: and we're stuck in Romania.

472
00:26:39,476 --> 00:26:41,916
Speaker 1: I was on that.

473
00:26:43,076 --> 00:26:45,516
Speaker 5: I you know, I did. I did a twenty eight

474
00:26:45,556 --> 00:26:46,356
Speaker 5: hour day once.

475
00:26:47,156 --> 00:26:51,996
Speaker 1: What was that on that the me in the late

476
00:26:51,996 --> 00:26:54,356
Speaker 1: eighties called The Crossing George Washington.

477
00:26:55,116 --> 00:26:56,956
Speaker 5: And it's one of those for your lot, you got

478
00:26:56,956 --> 00:26:59,756
Speaker 5: the location, you got to get it. Yeah, you know,

479
00:27:00,116 --> 00:27:03,996
Speaker 5: we tried to get it and and for whatever reason,

480
00:27:04,076 --> 00:27:06,876
Speaker 5: now it was a day shoot that turned into a

481
00:27:06,956 --> 00:27:09,676
Speaker 5: night shoot that turns into dawn and now they're putting

482
00:27:09,716 --> 00:27:12,436
Speaker 5: blacks over the windows because it's eight thirty in the

483
00:27:12,476 --> 00:27:15,316
Speaker 5: morning and it's got to be night, you know. And

484
00:27:15,716 --> 00:27:21,476
Speaker 5: you you don't know your name? You don't my John Adams?

485
00:27:21,516 --> 00:27:26,596
Speaker 1: Who am I? No, you're John Quincy Adams. Oh, George Washington.

486
00:27:26,676 --> 00:27:29,956
Speaker 1: I had no idea who I was. Wouldn't teeth, no

487
00:27:29,996 --> 00:27:34,156
Speaker 1: wooden teeth. They Oh that's a bummer.

488
00:27:36,356 --> 00:27:37,356
Speaker 5: I'm in the makeup chair.

489
00:27:37,716 --> 00:27:39,436
Speaker 1: Dig it. All right, let's keep going on with this.

490
00:27:39,476 --> 00:27:39,796
Speaker 5: All right.

491
00:27:39,836 --> 00:27:42,596
Speaker 1: So, like I was saying before, this is the white album.

492
00:27:42,916 --> 00:27:45,796
Speaker 1: They're doing all these takes. They hear Neil Young do

493
00:27:45,916 --> 00:27:48,916
Speaker 1: the song Helpless, and the band flips out and they

494
00:27:48,956 --> 00:27:51,516
Speaker 1: know how special this guy is. They say, I.

495
00:27:51,316 --> 00:27:56,596
Speaker 5: Think, I think if I read this somewhere, he said, great,

496
00:27:56,636 --> 00:27:58,796
Speaker 5: we've got the basic tracks. I'm going to take the

497
00:27:58,836 --> 00:28:00,756
Speaker 5: tapes and go home and mix it myself.

498
00:28:01,076 --> 00:28:04,956
Speaker 1: Yes, yes, it's it's basically they they I'm skipping ahead

499
00:28:04,956 --> 00:28:06,276
Speaker 1: to what I have, the notes that I have for this,

500
00:28:06,916 --> 00:28:09,556
Speaker 1: but it's basically when he played it for them, they're

501
00:28:09,556 --> 00:28:11,476
Speaker 1: so blown away. I mean that's when they're just like,

502
00:28:11,556 --> 00:28:14,956
Speaker 1: we're not worthy, Like they understand that this guy has

503
00:28:15,036 --> 00:28:18,796
Speaker 1: a gift, and they say, no, we're not touching this,

504
00:28:18,916 --> 00:28:21,196
Speaker 1: like this is this is a perfect thing. And it's

505
00:28:21,236 --> 00:28:25,676
Speaker 1: also like, you know, the song is so in a

506
00:28:25,716 --> 00:28:28,876
Speaker 1: sense autobiographical to him because of what he had been

507
00:28:28,956 --> 00:28:31,676
Speaker 1: through in the fifties where he's diagnosed with polio and

508
00:28:31,716 --> 00:28:34,036
Speaker 1: he's basically never been the same. It's one of the

509
00:28:34,036 --> 00:28:37,796
Speaker 1: only songs on the record that everybody plays on. So

510
00:28:37,876 --> 00:28:40,156
Speaker 1: it's it's very interesting too, which we'll come back to

511
00:28:40,316 --> 00:28:41,956
Speaker 1: because I had a good question for that one. But

512
00:28:42,196 --> 00:28:43,796
Speaker 1: give you a look. We're giving everybody a little taste,

513
00:28:43,996 --> 00:28:46,156
Speaker 1: we're going back. We're doing a Christopher Nolan right now.

514
00:28:47,476 --> 00:28:51,036
Speaker 1: So the record company h is all on board of

515
00:28:51,076 --> 00:28:54,916
Speaker 1: having Neil Young. He says I'll join, but since he's uncompromising,

516
00:28:55,196 --> 00:28:57,436
Speaker 1: he's like, I'm in la, I'll do a song. But

517
00:28:57,476 --> 00:29:00,276
Speaker 1: also he will walk away if he isn't feeling the

518
00:29:00,356 --> 00:29:02,916
Speaker 1: vibe that they're giving. So this record is each member

519
00:29:03,516 --> 00:29:06,236
Speaker 1: doing their own songs. And if you see the first

520
00:29:06,356 --> 00:29:09,956
Speaker 1: four tracks are all individual, right, the same person wrote it,

521
00:29:10,036 --> 00:29:13,116
Speaker 1: that's sang on it. Maybe they do some harmonies, but

522
00:29:13,196 --> 00:29:15,716
Speaker 1: if not needed it doesn't work, they don't use it.

523
00:29:15,796 --> 00:29:19,956
Speaker 1: This is not a group project. The songs except for Woodstock,

524
00:29:20,476 --> 00:29:22,716
Speaker 1: Almost Cut My Hair and Helpless were recorded as individual

525
00:29:22,796 --> 00:29:25,276
Speaker 1: session but each member, with each contributing whatever was needed

526
00:29:25,276 --> 00:29:28,516
Speaker 1: and agreed upon. Young appears on only half the tracks,

527
00:29:28,556 --> 00:29:31,276
Speaker 1: with Nash stating he generally recorded his tracks alone in

528
00:29:31,316 --> 00:29:33,276
Speaker 1: Los Angeles and then brought them back to the recording

529
00:29:33,316 --> 00:29:36,676
Speaker 1: studio to put our voices on and took it away

530
00:29:36,836 --> 00:29:37,476
Speaker 1: to mix it.

531
00:29:38,796 --> 00:29:41,516
Speaker 5: Do you think that, because you know, because I've heard

532
00:29:41,956 --> 00:29:44,476
Speaker 5: we came together as a group and then we added Neil,

533
00:29:45,156 --> 00:29:46,916
Speaker 5: but we were always going to go off and do

534
00:29:47,036 --> 00:29:50,036
Speaker 5: our own things. This was never going to do. Yeah,

535
00:29:50,396 --> 00:29:52,596
Speaker 5: can we stay together? This was gonna be we're doing

536
00:29:52,636 --> 00:29:54,996
Speaker 5: this and then we're all gonna go off and solo.

537
00:29:55,116 --> 00:29:58,076
Speaker 5: Maybe we'll come back, you know. But so if Still's

538
00:29:58,156 --> 00:30:01,876
Speaker 5: writes the song on Deja Vu is Still's the boss

539
00:30:02,076 --> 00:30:03,836
Speaker 5: in the uh.

540
00:30:03,796 --> 00:30:05,876
Speaker 1: From the from the understanding that I got from my

541
00:30:05,956 --> 00:30:09,356
Speaker 1: writer DJ Morty Coyle shout out to him. It's it's

542
00:30:09,396 --> 00:30:11,836
Speaker 1: basically this is this is the White album. This is

543
00:30:12,516 --> 00:30:15,436
Speaker 1: John Lennon, this is this is Ringo. Everybody bringing a

544
00:30:15,476 --> 00:30:17,356
Speaker 1: track saying I'm recording and I'm doing this and you

545
00:30:17,356 --> 00:30:18,796
Speaker 1: can add what you can. But there's a little bit

546
00:30:18,796 --> 00:30:21,836
Speaker 1: more collaborative on the White album because the band still

547
00:30:21,836 --> 00:30:23,916
Speaker 1: plays on it. Dude, If you look at the album

548
00:30:23,956 --> 00:30:27,316
Speaker 1: cover for this in big letters, Crosby, Stills, Nash and

549
00:30:27,396 --> 00:30:31,156
Speaker 1: Young and then the bassist who they're all labeled like.

550
00:30:31,276 --> 00:30:35,196
Speaker 1: The bassist Jerry Reeves is written on their very small

551
00:30:35,276 --> 00:30:38,156
Speaker 1: and Dallas Taylor's on there very small. But this is

552
00:30:38,716 --> 00:30:42,636
Speaker 1: this is a singular it's basically everybody bringing their vibe

553
00:30:42,676 --> 00:30:45,036
Speaker 1: and them coming together and them cutting this into a

554
00:30:45,076 --> 00:30:48,716
Speaker 1: record together. It's really interesting. Whereas compared to the first record,

555
00:30:48,756 --> 00:30:50,836
Speaker 1: it was more of a group thing, you know what

556
00:30:50,876 --> 00:30:53,236
Speaker 1: I mean. I mean, everybody probably bought more ideas to

557
00:30:53,316 --> 00:30:56,356
Speaker 1: my understanding. But but this is this is really cool.

558
00:30:56,396 --> 00:30:58,156
Speaker 1: And then this is really why I'm so happy to

559
00:30:58,276 --> 00:31:01,036
Speaker 1: have you on for this because you know, with the

560
00:31:01,076 --> 00:31:05,116
Speaker 1: way that Crosby, Stills, Nashing, Young, especially after this, has

561
00:31:05,236 --> 00:31:08,476
Speaker 1: done so much on the spectrum or a cross inspectionum

562
00:31:08,796 --> 00:31:12,396
Speaker 1: with their individual careers, I see the connection to your

563
00:31:12,476 --> 00:31:15,596
Speaker 1: career because similarly, like you know, the way they see

564
00:31:15,636 --> 00:31:18,836
Speaker 1: they're like, wow, like David Crosby did this, and Wow,

565
00:31:18,916 --> 00:31:22,236
Speaker 1: Stephen Stills did this. You have a very very similar

566
00:31:22,276 --> 00:31:25,116
Speaker 1: career with all the different things. You know, not only

567
00:31:25,156 --> 00:31:27,596
Speaker 1: now with the with the music, but the acting and

568
00:31:27,636 --> 00:31:30,636
Speaker 1: working with James L. Brooks, working with Sorkin, working with

569
00:31:30,676 --> 00:31:34,916
Speaker 1: the Farley Brothers, like You've worked on so many projects

570
00:31:35,236 --> 00:31:40,076
Speaker 1: with so many incredible people and playing these iconic characters.

571
00:31:40,516 --> 00:31:42,676
Speaker 1: But just like Crosby, Stills, Nash and Young who are

572
00:31:42,716 --> 00:31:47,396
Speaker 1: blending four powerful voices, does that remind you of any

573
00:31:47,716 --> 00:31:50,956
Speaker 1: ensemble that you've worked on where every personality in a

574
00:31:50,996 --> 00:31:54,036
Speaker 1: sense had to fight for space but just to still

575
00:31:54,036 --> 00:31:54,636
Speaker 1: make it sing.

576
00:31:57,796 --> 00:32:04,396
Speaker 5: You go in whether to play or a movie, TV,

577
00:32:05,196 --> 00:32:10,156
Speaker 5: you go in wanting it to be a great collaboration

578
00:32:10,476 --> 00:32:15,916
Speaker 5: where it's a blend and maybe different from music. You know,

579
00:32:15,956 --> 00:32:18,836
Speaker 5: who gets the solo here. I don't like what you

580
00:32:18,876 --> 00:32:22,836
Speaker 5: did there. I mean that doesn't happen on a set.

581
00:32:22,956 --> 00:32:26,476
Speaker 5: You don't do a scene and then you know, say

582
00:32:26,516 --> 00:32:29,156
Speaker 5: to Meryl Street, Meryl, you want another one. You know,

583
00:32:32,036 --> 00:32:37,236
Speaker 5: it's more of a of a chemistry thing. You're seeking that,

584
00:32:37,356 --> 00:32:40,556
Speaker 5: at least I am. You're seeking that going in. Whether

585
00:32:40,596 --> 00:32:43,116
Speaker 5: it's with Jim Carrey on Dumb and Dumber, you're just

586
00:32:43,236 --> 00:32:47,276
Speaker 5: trying to bounce. You're planning to play tennis verbal tennis

587
00:32:48,036 --> 00:32:50,596
Speaker 5: with whether it's Jim on that movie or Meryl and

588
00:32:50,676 --> 00:32:54,476
Speaker 5: Heartburn or anybody else. In anything, it's all about plugging

589
00:32:54,516 --> 00:33:00,276
Speaker 5: in and trading licks on the same song, which is

590
00:33:00,356 --> 00:33:04,316
Speaker 5: the scene you're doing. And you can't do it by

591
00:33:04,396 --> 00:33:07,076
Speaker 5: yourself because there are two people in the scene and

592
00:33:07,076 --> 00:33:09,996
Speaker 5: one person wants one thing and you something else, and

593
00:33:10,036 --> 00:33:13,836
Speaker 5: that's that's why you have that scene drama. So it's

594
00:33:13,836 --> 00:33:19,836
Speaker 5: a it's a little different. I haven't run into a

595
00:33:19,836 --> 00:33:23,716
Speaker 5: lot of people who are you know, could you just

596
00:33:25,316 --> 00:33:28,676
Speaker 5: stand a little closer to my close up? You know? Yeah,

597
00:33:28,996 --> 00:33:32,836
Speaker 5: I haven't I haven't run into that too much. I

598
00:33:33,276 --> 00:33:36,316
Speaker 5: worked with people who didn't tolerate that, who were far

599
00:33:36,396 --> 00:33:39,276
Speaker 5: bigger than I was, And I learned early on that

600
00:33:39,356 --> 00:33:43,236
Speaker 5: it was more about making the people that are with

601
00:33:43,356 --> 00:33:45,516
Speaker 5: you as good as possible, and what.

602
00:33:45,556 --> 00:33:48,756
Speaker 1: Act to go off of that, what actor that you've

603
00:33:48,756 --> 00:33:50,676
Speaker 1: worked with? You probably early on? Do you think you

604
00:33:50,756 --> 00:33:52,636
Speaker 1: learned the most from Meryl?

605
00:33:53,676 --> 00:33:56,876
Speaker 5: Yeah, a couple of things with Meryl heartburn and then

606
00:33:57,436 --> 00:34:02,036
Speaker 5: what was the other one? Oh, it was over of

607
00:34:02,116 --> 00:34:05,356
Speaker 5: the hours, and she just plugs in. She's so moment

608
00:34:05,436 --> 00:34:09,996
Speaker 5: to moment, she's so prepared, she's so professional, but she's

609
00:34:10,076 --> 00:34:14,356
Speaker 5: listening to you, and she's whatever you're giving or she's using.

610
00:34:15,796 --> 00:34:18,476
Speaker 5: And so that whole thing of you know, acting in

611
00:34:18,516 --> 00:34:23,276
Speaker 5: front of a mirror, uh huh uh huh. And and man,

612
00:34:23,276 --> 00:34:26,716
Speaker 5: when you plug into Meryl Streep, I could imagine suddenly

613
00:34:26,756 --> 00:34:29,836
Speaker 5: it's like it's it's it's the chemistry that everybody, that

614
00:34:29,956 --> 00:34:32,476
Speaker 5: magical thing chemistry, and I you know, and I think

615
00:34:32,516 --> 00:34:35,316
Speaker 5: Still's and again going back to the Chicago concert, I saw,

616
00:34:36,036 --> 00:34:38,676
Speaker 5: you know, Still's and Young we're playing off of each other.

617
00:34:39,076 --> 00:34:40,996
Speaker 1: Yes, yes, we're going to talk about that.

618
00:34:41,636 --> 00:34:44,516
Speaker 5: Ego and all of that but man, they learned how

619
00:34:44,556 --> 00:34:48,276
Speaker 5: to do that with ye and that's a lot of

620
00:34:48,316 --> 00:34:50,396
Speaker 5: what what a what a good scene with a couple

621
00:34:50,476 --> 00:34:54,156
Speaker 5: of actors who are listening, uh do, And so in

622
00:34:54,196 --> 00:34:55,476
Speaker 5: that sense it was similar.

623
00:34:55,996 --> 00:34:57,516
Speaker 1: Well, and I want to I want to go right

624
00:34:57,556 --> 00:34:59,796
Speaker 1: into what you just said, because that takes us into

625
00:34:59,796 --> 00:35:01,876
Speaker 1: the first track, which is carry On, which is a

626
00:35:01,916 --> 00:35:05,636
Speaker 1: Stephen Still song. I love that you said that about

627
00:35:05,636 --> 00:35:08,076
Speaker 1: playing off one another because one of the reasons Steven

628
00:35:08,076 --> 00:35:11,036
Speaker 1: Stills it's such an credible guitar player. And then to

629
00:35:11,116 --> 00:35:14,836
Speaker 1: have someone like Neil Young who also is it's kind

630
00:35:14,836 --> 00:35:18,476
Speaker 1: of like as a comedian, you know, when you hang

631
00:35:18,516 --> 00:35:20,956
Speaker 1: out with a group of comics that are funnier than you,

632
00:35:21,036 --> 00:35:23,876
Speaker 1: because it makes you better, Like you want if you're

633
00:35:23,916 --> 00:35:26,356
Speaker 1: the funniest guy in your group, you know the guy

634
00:35:26,396 --> 00:35:29,676
Speaker 1: started with you know, Gerrod Carmichael Angelo Bowers, who unfortunately

635
00:35:29,676 --> 00:35:31,156
Speaker 1: is not with us anymore, but two of the most

636
00:35:31,156 --> 00:35:33,676
Speaker 1: brilliant comics I've ever met, which took my game up.

637
00:35:33,676 --> 00:35:37,076
Speaker 1: And even now spending time with Burr and Big Jay Oakerson,

638
00:35:37,116 --> 00:35:38,916
Speaker 1: I mean, and being here in New York, it's just

639
00:35:38,996 --> 00:35:41,756
Speaker 1: it ups your game and I could see why someone

640
00:35:41,796 --> 00:35:45,396
Speaker 1: is talented as Steven Stills would want to have someone

641
00:35:45,436 --> 00:35:47,596
Speaker 1: like Neil Young in the band because it's going to

642
00:35:47,716 --> 00:35:50,476
Speaker 1: make him a better player, and I feel maybe not

643
00:35:50,516 --> 00:35:52,796
Speaker 1: so much. You know, this is where carry On isn't

644
00:35:52,876 --> 00:35:56,756
Speaker 1: the you know, the guitar song on the record, but

645
00:35:57,036 --> 00:35:59,516
Speaker 1: it's it's it is the first track, and it does

646
00:35:59,596 --> 00:36:01,796
Speaker 1: have one of Steven Still's you know, because at the

647
00:36:01,796 --> 00:36:05,676
Speaker 1: time everybody was doing this open tuning, like alt tuning

648
00:36:05,756 --> 00:36:10,036
Speaker 1: of their songs, and Steven Stills ends up putting this together.

649
00:36:10,196 --> 00:36:13,476
Speaker 1: Neil Young, though, isn't on it. You have Steven Still's leave.

650
00:36:13,636 --> 00:36:19,836
Speaker 1: He does basically everything lead vocals, harmony, acoustic electric organ, bass, guitar, percussion.

651
00:36:20,476 --> 00:36:22,636
Speaker 1: David Crosby brought in to do the harmony, so is

652
00:36:22,636 --> 00:36:27,116
Speaker 1: Graham Nash. I think this is the perfect song on

653
00:36:27,556 --> 00:36:30,876
Speaker 1: the record to open the album with. I don't think

654
00:36:31,036 --> 00:36:34,916
Speaker 1: any other song would draw you in the way that

655
00:36:34,996 --> 00:36:39,036
Speaker 1: Carrie On does. Your thoughts on it, I agree, I

656
00:36:39,076 --> 00:36:42,996
Speaker 1: agree it grabs you immediately. It's this is like I

657
00:36:42,996 --> 00:36:44,796
Speaker 1: put this onto the gym and I was like, I mean,

658
00:36:44,836 --> 00:36:46,916
Speaker 1: it's still kind of pumped me up. It's just it's

659
00:36:46,996 --> 00:36:49,436
Speaker 1: there's this is the real moment. Because of course like

660
00:36:49,836 --> 00:36:52,556
Speaker 1: Sweet Judy Blue Eyes. If I fuck it up, Sweet

661
00:36:52,596 --> 00:36:54,756
Speaker 1: Judy Blue Eyes. That's the main that was the big

662
00:36:54,836 --> 00:36:56,836
Speaker 1: one off the first record, Yeah, which is one of

663
00:36:56,876 --> 00:36:59,636
Speaker 1: the greatest songs ever written. This is arguably probably my

664
00:36:59,716 --> 00:37:02,676
Speaker 1: favorite Crosby Stills Nashing Young song. I feel like it's

665
00:37:02,716 --> 00:37:06,476
Speaker 1: it's just everything about it I love, you know, and

666
00:37:06,476 --> 00:37:08,836
Speaker 1: then also finding out about kind of what's going on,

667
00:37:08,836 --> 00:37:11,276
Speaker 1: which we're going to talk about later as well, which

668
00:37:11,356 --> 00:37:13,676
Speaker 1: is like, you know, Graham and Joni are dating, but

669
00:37:13,716 --> 00:37:17,476
Speaker 1: they're breaking up, David loses his girlfriend, Neil Young is

670
00:37:17,516 --> 00:37:19,796
Speaker 1: just tough to work with. I mean, these are these

671
00:37:19,796 --> 00:37:23,276
Speaker 1: are real issues. So this song, I feel carries a

672
00:37:23,796 --> 00:37:29,516
Speaker 1: much deeper feeling and meaning behind it. And we've talked about,

673
00:37:29,556 --> 00:37:31,676
Speaker 1: like I said, the career you know, and carry on

674
00:37:32,436 --> 00:37:35,356
Speaker 1: is a way, you know. We're halfway through the recording

675
00:37:35,396 --> 00:37:37,716
Speaker 1: they realized they needed this song, and in a way,

676
00:37:37,716 --> 00:37:40,796
Speaker 1: it's almost like advice to the band. We were talking

677
00:37:40,796 --> 00:37:42,476
Speaker 1: about your career at the beginning, and we said, you've

678
00:37:42,516 --> 00:37:44,316
Speaker 1: done so much. Was there a point in your career

679
00:37:44,316 --> 00:37:46,116
Speaker 1: where you've done so much? But you hit a point

680
00:37:46,116 --> 00:37:48,476
Speaker 1: and you said, what else do I have to accomplish? Well,

681
00:37:48,516 --> 00:37:49,756
Speaker 1: I guess I just have to carry on.

682
00:37:53,116 --> 00:37:59,916
Speaker 5: Oh I'm there now. And the carry on part is

683
00:37:59,996 --> 00:38:07,156
Speaker 5: the really really really carry no, you know, I think

684
00:38:07,196 --> 00:38:12,036
Speaker 5: that back to the song I think if you if

685
00:38:12,076 --> 00:38:16,996
Speaker 5: you liked their first album, Yeah, we need something that

686
00:38:17,196 --> 00:38:20,236
Speaker 5: reminds you of that first album and carry On is

687
00:38:20,276 --> 00:38:20,836
Speaker 5: that song.

688
00:38:21,236 --> 00:38:22,876
Speaker 1: Sure, it's that.

689
00:38:23,716 --> 00:38:26,116
Speaker 5: You know, we're not going to go completely different until

690
00:38:26,156 --> 00:38:29,716
Speaker 5: later when we bring Neil in, but here's something that

691
00:38:30,156 --> 00:38:32,676
Speaker 5: you know is harkens back to that first album that

692
00:38:32,756 --> 00:38:36,116
Speaker 5: you loved so much, and then we'll go on from there.

693
00:38:36,516 --> 00:38:39,476
Speaker 5: That's what carry On feels like a good kind of

694
00:38:39,756 --> 00:38:42,476
Speaker 5: you know, for those who like the first album, this

695
00:38:42,596 --> 00:38:44,476
Speaker 5: is you're gonna like this first song.

696
00:38:44,636 --> 00:38:48,836
Speaker 1: That's what it feels like. It really does, it really does. Wow,

697
00:38:48,996 --> 00:38:51,036
Speaker 1: you feel like Sarah, you done, You're not going to

698
00:38:51,076 --> 00:38:53,236
Speaker 1: act anymore? Or like are you just is it?

699
00:38:53,996 --> 00:39:00,516
Speaker 5: No? You know, it's it's a kind of you know,

700
00:39:00,596 --> 00:39:08,316
Speaker 5: call me if you need me, yeah, versus chasing fifty

701
00:39:08,396 --> 00:39:13,956
Speaker 5: years of person suing. Yeah, you know, I've definitely you know,

702
00:39:14,116 --> 00:39:17,556
Speaker 5: once I did to Kill a Mockingbird on Broadway, which

703
00:39:17,636 --> 00:39:21,156
Speaker 5: I did for a year, I came out of that

704
00:39:21,636 --> 00:39:26,076
Speaker 5: and I could be done. Yeah, I felt like I

705
00:39:26,196 --> 00:39:29,876
Speaker 5: had accomplished whatever it was I was going to accomplish.

706
00:39:30,556 --> 00:39:36,556
Speaker 5: Looking back, yeah, I did it. Now other things have

707
00:39:36,676 --> 00:39:40,276
Speaker 5: come along, I've done them, but now it's it's more

708
00:39:40,316 --> 00:39:45,436
Speaker 5: about challenging yourself as an artist. And you know, I'm

709
00:39:45,476 --> 00:39:47,556
Speaker 5: being focused on some other things. I have a theater

710
00:39:47,636 --> 00:39:52,476
Speaker 5: in Michigan. The music I'm really enjoying, you know. I

711
00:39:52,516 --> 00:39:55,396
Speaker 5: can play clubs or you know, five hundred seaters all

712
00:39:55,436 --> 00:39:58,916
Speaker 5: over the country and sell out, you know, so you know,

713
00:39:59,036 --> 00:40:04,116
Speaker 5: that's that's as interesting to me now, if not more

714
00:40:04,196 --> 00:40:08,036
Speaker 5: so than eight times a week on Broadway or you know,

715
00:40:08,196 --> 00:40:12,996
Speaker 5: another night Shoe in Louisiana. You know, So we'll see.

716
00:40:12,996 --> 00:40:14,236
Speaker 5: I mean, it's not to say there are a couple

717
00:40:14,236 --> 00:40:15,916
Speaker 5: of things that are out there that are you know,

718
00:40:16,036 --> 00:40:19,716
Speaker 5: possibility of happening that I want to do, yeah, because

719
00:40:19,756 --> 00:40:22,516
Speaker 5: I haven't done them yet. I haven't played that kind

720
00:40:22,556 --> 00:40:25,236
Speaker 5: of character yet. And if it comes through, which I

721
00:40:25,316 --> 00:40:30,316
Speaker 5: hope it does, great, but well, just going yeah, call

722
00:40:30,396 --> 00:40:31,836
Speaker 5: me if everybody wants me.

723
00:40:32,276 --> 00:40:34,356
Speaker 1: You know, is there who's the director that if they

724
00:40:34,396 --> 00:40:35,676
Speaker 1: called you? I don't know if you want to answer this,

725
00:40:35,716 --> 00:40:37,596
Speaker 1: but who's the director that if they called you? You

726
00:40:37,596 --> 00:40:39,636
Speaker 1: you would in a second, be like, yeah, I'm there.

727
00:40:40,356 --> 00:40:44,596
Speaker 5: Scott Frank really Scot, who do did? He direct? Wrote

728
00:40:44,596 --> 00:40:48,596
Speaker 5: and directed Godless and which we did on Netflix, a

729
00:40:48,636 --> 00:40:53,076
Speaker 5: big Western and I want an Emmy for that thanks

730
00:40:53,076 --> 00:40:57,836
Speaker 5: to Scott. He just didn't Department Q on Netflix. He

731
00:40:57,916 --> 00:41:01,796
Speaker 5: did Queen's Gambit. He's really a good writer director and

732
00:41:01,996 --> 00:41:05,636
Speaker 5: uh yeah, if he were to, you know, I'd go

733
00:41:05,716 --> 00:41:07,996
Speaker 5: with him. You know, if he emailed me go I

734
00:41:08,036 --> 00:41:09,596
Speaker 5: got something for you, I'll go. What time do you

735
00:41:09,636 --> 00:41:10,036
Speaker 5: want me there?

736
00:41:10,076 --> 00:41:13,196
Speaker 1: Tomorrow? Yeah? Yeah, yeah, yeah, I'm sorry. I'm playing a

737
00:41:13,236 --> 00:41:15,996
Speaker 1: gig though in Tulsa. It's a four hundred seater.

738
00:41:16,076 --> 00:41:19,396
Speaker 5: If you cancel, you say we're canceling it.

739
00:41:19,956 --> 00:41:22,596
Speaker 1: Dig it all right, let's move on to teach your children.

740
00:41:23,076 --> 00:41:27,116
Speaker 1: Probably you know, one of the I'd say why, probably

741
00:41:27,076 --> 00:41:30,076
Speaker 1: the biggest long lasting song. I feel like that might

742
00:41:30,116 --> 00:41:32,396
Speaker 1: have come off of this very interesting story behind it.

743
00:41:32,996 --> 00:41:34,956
Speaker 1: So this is a Graham Nash song. He wrote this

744
00:41:35,036 --> 00:41:37,076
Speaker 1: while he was still in the Hollies in sixty eight,

745
00:41:37,116 --> 00:41:40,236
Speaker 1: but he wrote it very much at first like a

746
00:41:40,396 --> 00:41:45,076
Speaker 1: Henry the Eighth by Herman's Hermit, so not the country version.

747
00:41:45,076 --> 00:41:47,276
Speaker 1: It was still the one that told him to change

748
00:41:47,316 --> 00:41:49,156
Speaker 1: it to make it have more of a country song.

749
00:41:49,916 --> 00:41:52,996
Speaker 1: Graham saw his I saw this photo of a toy

750
00:41:53,076 --> 00:41:55,636
Speaker 1: hand grenade in Central Park by a famous photographer that

751
00:41:55,676 --> 00:41:57,756
Speaker 1: I forgot the writer name down, don't know if you know.

752
00:41:58,476 --> 00:42:01,076
Speaker 1: And there's a moment where he thinks you can either

753
00:42:01,116 --> 00:42:05,316
Speaker 1: teach your child to be good or bad. And also

754
00:42:05,396 --> 00:42:07,916
Speaker 1: a little side note, Jerry Garcia from The Grateful Dead

755
00:42:07,956 --> 00:42:12,276
Speaker 1: plays slide guitar on this little factoid. Are you a

756
00:42:12,276 --> 00:42:12,716
Speaker 1: Dead fan?

757
00:42:14,356 --> 00:42:18,796
Speaker 5: No? No, And it's not a judgment at all. I

758
00:42:18,876 --> 00:42:25,516
Speaker 5: just never hooked into him and no, no, no, John

759
00:42:25,676 --> 00:42:30,516
Speaker 5: to uh Bruce Springsteen in the late seventies and never

760
00:42:30,556 --> 00:42:31,076
Speaker 5: looked back.

761
00:42:31,396 --> 00:42:33,796
Speaker 1: Yeah, dude, there's are two guys that there are two

762
00:42:33,836 --> 00:42:35,796
Speaker 1: guys that are awesome to follow. But I was. I

763
00:42:35,916 --> 00:42:38,636
Speaker 1: fought The Grateful Dead for years and then from doing

764
00:42:38,636 --> 00:42:42,676
Speaker 1: the podcast, man having we had you know, Senator Al Franken.

765
00:42:42,956 --> 00:42:44,596
Speaker 1: Remember he's a guy. He's the reason I'm still doing

766
00:42:44,596 --> 00:42:46,316
Speaker 1: the podcast. I was gonna quit and he goes, you

767
00:42:46,436 --> 00:42:50,276
Speaker 1: can't quit. You're halfway through, man, this is groovy, And

768
00:42:50,276 --> 00:42:52,836
Speaker 1: then his excitement it rubbed off and they all told

769
00:42:52,876 --> 00:42:55,716
Speaker 1: me listen to the live shit. The albums are good.

770
00:42:55,796 --> 00:42:57,716
Speaker 1: Listen to live shit, I started doing that and now

771
00:42:57,756 --> 00:43:00,396
Speaker 1: I love him. But here but let me get to

772
00:43:00,436 --> 00:43:02,516
Speaker 1: the question. Well, actually, before I get to the question,

773
00:43:02,756 --> 00:43:05,596
Speaker 1: you tell me your thoughts on teach your children, because

774
00:43:06,316 --> 00:43:09,636
Speaker 1: the message everything it's it really is, you know, being

775
00:43:09,676 --> 00:43:11,596
Speaker 1: somebody that's a father. I mean, does this song hit

776
00:43:11,676 --> 00:43:14,676
Speaker 1: home in a different way or is it just always

777
00:43:14,716 --> 00:43:17,316
Speaker 1: been something that you loved and felt connected to?

778
00:43:20,196 --> 00:43:24,316
Speaker 5: It was okay, you know, I mean, I wasn't Mash again,

779
00:43:24,476 --> 00:43:28,276
Speaker 5: Nash wasn't the guy that pulled me in House is

780
00:43:28,316 --> 00:43:32,916
Speaker 5: a nice song, you know, that's nice, teacher children nice,

781
00:43:32,916 --> 00:43:38,036
Speaker 5: that's you know, sure, yeah, but what still's doing? Yeah? Yeah,

782
00:43:39,036 --> 00:43:43,116
Speaker 5: I remember Nash saying somewhere that when they brought Neil in,

783
00:43:43,356 --> 00:43:46,556
Speaker 5: he gave us an edge, you know, and he probably

784
00:43:46,556 --> 00:43:49,916
Speaker 5: gave Graham an edge because you know, the songs Graham

785
00:43:50,036 --> 00:43:55,276
Speaker 5: was writing, except for Military Madness, which was pretty on point.

786
00:43:55,796 --> 00:44:00,116
Speaker 5: I don't know who wrote Ohio, but you know, Neil

787
00:44:00,156 --> 00:44:04,636
Speaker 5: gave them an edge and really an edge sometimes. But yeah,

788
00:44:04,676 --> 00:44:07,156
Speaker 5: there's some of the softer stuff is very nice. You know,

789
00:44:07,196 --> 00:44:10,756
Speaker 5: the harmony is terrific. That's wonderful. But you know, I'm

790
00:44:10,796 --> 00:44:14,156
Speaker 5: I'm kind of where are still songs totally.

791
00:44:14,916 --> 00:44:16,836
Speaker 1: This isn't my favorite, but like I said, it's definitely

792
00:44:16,876 --> 00:44:18,836
Speaker 1: the one that I knew immediately when this came on.

793
00:44:18,956 --> 00:44:20,756
Speaker 1: But but to take it to the meat and potatoes

794
00:44:20,796 --> 00:44:24,076
Speaker 1: of the song though, uh, more than ever now we're

795
00:44:24,116 --> 00:44:26,436
Speaker 1: we're seeing a world where parents have the option to

796
00:44:26,476 --> 00:44:28,276
Speaker 1: teach their children that grew up in the with a

797
00:44:28,436 --> 00:44:30,636
Speaker 1: with hippie parents and they teach their children to be

798
00:44:30,716 --> 00:44:33,996
Speaker 1: empathetic or you have these these these new I don't

799
00:44:34,036 --> 00:44:36,236
Speaker 1: call the new parents, but that are that are tough

800
00:44:36,356 --> 00:44:38,756
Speaker 1: and they're teaching their their kids, you know, not to

801
00:44:38,796 --> 00:44:41,196
Speaker 1: care about uh their neighbor.

802
00:44:41,796 --> 00:44:41,956
Speaker 5: Uh.

803
00:44:42,116 --> 00:44:44,756
Speaker 1: Children are the seeds of the parents that plant them. Basically,

804
00:44:44,796 --> 00:44:47,396
Speaker 1: to use a lyric from one of the songs that's

805
00:44:47,396 --> 00:44:49,436
Speaker 1: going to be coming out later, do you think we

806
00:44:49,756 --> 00:44:52,996
Speaker 1: ever can get back to the garden where we can

807
00:44:53,036 --> 00:44:55,036
Speaker 1: you know, get back to people that are open to

808
00:44:55,116 --> 00:44:55,476
Speaker 1: the other.

809
00:44:59,436 --> 00:45:02,676
Speaker 5: I hope. So, yeah, I hope. So, I mean I

810
00:45:02,716 --> 00:45:12,356
Speaker 5: think that's you know, the hope. Basically, I don't know

811
00:45:12,636 --> 00:45:16,436
Speaker 5: how or when. Right now, it doesn't look possible. Everybody's divided.

812
00:45:20,156 --> 00:45:23,756
Speaker 5: You know, the people in power are basically doing what

813
00:45:23,756 --> 00:45:28,636
Speaker 5: they want, and you know who's going to stop them.

814
00:45:28,676 --> 00:45:34,676
Speaker 5: So I hope. So I've always felt that, you know,

815
00:45:34,716 --> 00:45:41,596
Speaker 5: I go back to Reagan and uh tip O'Neil, Obama

816
00:45:41,716 --> 00:45:45,076
Speaker 5: and John Bayner. You know, they got in a room

817
00:45:46,396 --> 00:45:48,876
Speaker 5: and they came together on a deal or they figured

818
00:45:48,916 --> 00:45:51,756
Speaker 5: something out. And you don't get everything you want. You

819
00:45:51,796 --> 00:45:54,196
Speaker 5: get you get as much of what you want as possible,

820
00:45:55,396 --> 00:46:00,516
Speaker 5: and you're serving something bigger than yourself. And until we

821
00:46:00,596 --> 00:46:08,596
Speaker 5: can get back to that, I don't see it. Yeah, yeah,

822
00:46:09,556 --> 00:46:11,076
Speaker 5: I think. I think it's going to come down to

823
00:46:11,116 --> 00:46:14,596
Speaker 5: the people in the country who either like what's going

824
00:46:14,636 --> 00:46:17,196
Speaker 5: on you know, a year, two years from now, three

825
00:46:17,316 --> 00:46:21,996
Speaker 5: four years from now, or they don't you know, if

826
00:46:21,996 --> 00:46:24,756
Speaker 5: we still have elections. I hope we do. I hope.

827
00:46:24,876 --> 00:46:28,796
Speaker 1: Yeah, Yeah, definitely. It definitely feels like once, you know,

828
00:46:28,876 --> 00:46:32,476
Speaker 1: two thousand, well really twenty fourteen fifteen, when when when

829
00:46:32,836 --> 00:46:36,116
Speaker 1: that you know, that entity came into our political stratosphere,

830
00:46:36,396 --> 00:46:39,396
Speaker 1: it felt like the you know, the puppets out of

831
00:46:39,436 --> 00:46:42,436
Speaker 1: the box, and it's like it's just it's just how

832
00:46:42,476 --> 00:46:44,316
Speaker 1: do you get that thing back in there once you've

833
00:46:44,316 --> 00:46:46,956
Speaker 1: cranked it up and it's popped out. It's like, you know,

834
00:46:47,196 --> 00:46:49,236
Speaker 1: I feel like people are only going to be leading

835
00:46:49,316 --> 00:46:53,636
Speaker 1: that way because on that side, and it's I do

836
00:46:53,716 --> 00:46:57,876
Speaker 1: think listen, I do think they're there, that you still

837
00:46:57,956 --> 00:47:02,756
Speaker 1: have good people in this world. But I completely agree

838
00:47:02,756 --> 00:47:04,196
Speaker 1: with you. So what do you so then how can

839
00:47:04,236 --> 00:47:04,956
Speaker 1: you as a father?

840
00:47:05,796 --> 00:47:12,756
Speaker 5: And I think I think, oh, I just I just

841
00:47:12,836 --> 00:47:16,036
Speaker 5: think people will will get back there. We'll get back

842
00:47:16,036 --> 00:47:19,156
Speaker 5: to that at some point. It's it's not this is

843
00:47:19,236 --> 00:47:22,836
Speaker 5: not new. What's going on now? Maybe it seems like

844
00:47:23,476 --> 00:47:25,196
Speaker 5: you know, and and in a lot of ways, it

845
00:47:25,276 --> 00:47:30,556
Speaker 5: is more aggressive towards something that that eliminates people or

846
00:47:30,556 --> 00:47:34,556
Speaker 5: discards people, you know, you know, and kind of tramples

847
00:47:34,596 --> 00:47:39,316
Speaker 5: on what we thought what democracy was. But it's you know,

848
00:47:39,436 --> 00:47:43,716
Speaker 5: there have been politicians forever that have gotten into office

849
00:47:43,796 --> 00:47:48,036
Speaker 5: and done things and somebody had to wear the guardrails

850
00:47:48,076 --> 00:47:50,716
Speaker 5: and wear the checks and balances and all that stuff.

851
00:47:51,196 --> 00:47:56,116
Speaker 5: So we'll see, we'll see. I mean, it's it's it's

852
00:47:56,156 --> 00:47:59,156
Speaker 5: up to the people. If the people want this, then

853
00:47:59,196 --> 00:48:02,196
Speaker 5: it will stay. If if in a few years they don't,

854
00:48:02,356 --> 00:48:07,036
Speaker 5: then uh, maybe they'll go to the election elections and

855
00:48:07,116 --> 00:48:10,036
Speaker 5: vote for something else. We'll see, But it's not up

856
00:48:10,076 --> 00:48:11,636
Speaker 5: to an actor to side I know that.

857
00:48:12,116 --> 00:48:14,276
Speaker 1: Yeah, what well, what when when you were becoming a

858
00:48:14,316 --> 00:48:16,716
Speaker 1: new father. What was something that your father or mother

859
00:48:16,796 --> 00:48:18,716
Speaker 1: taught you that you passed along to your children.

860
00:48:20,756 --> 00:48:28,916
Speaker 5: Well, invest in yourself, which I've done, for better or worse.

861
00:48:32,516 --> 00:48:35,676
Speaker 5: You know, as an actor, you choose projects that that

862
00:48:35,756 --> 00:48:38,956
Speaker 5: you want to do. Yeah, I've kind of done that,

863
00:48:39,636 --> 00:48:43,596
Speaker 5: picking up the guitar, writing plays, doing a theater company. Yeah,

864
00:48:43,676 --> 00:48:47,076
Speaker 5: that's me investing in me and whatever talent I have,

865
00:48:47,676 --> 00:48:53,276
Speaker 5: just trying to see how far he can take it. Yeah. That,

866
00:48:53,676 --> 00:49:04,956
Speaker 5: but yeah, my my parents were man, treat everybody the same. Yeah,

867
00:49:05,356 --> 00:49:13,236
Speaker 5: he really was. My dad was was if I ever

868
00:49:13,316 --> 00:49:17,356
Speaker 5: see you treating one of the kids in town who

869
00:49:17,356 --> 00:49:21,996
Speaker 5: doesn't have a lot of money poorly, He didn't have

870
00:49:22,036 --> 00:49:22,956
Speaker 5: to finish the sentence.

871
00:49:23,276 --> 00:49:25,436
Speaker 1: Good man, what a good man? Oh Man.

872
00:49:26,116 --> 00:49:28,996
Speaker 5: He was a company and in a small town was

873
00:49:29,036 --> 00:49:31,556
Speaker 5: one of the successful business owners. He was the mayor

874
00:49:31,596 --> 00:49:34,076
Speaker 5: for a while, he ran the school. You know. He

875
00:49:34,556 --> 00:49:38,636
Speaker 5: was like Atticus Finch in this little town. Yeah. But man,

876
00:49:39,676 --> 00:49:45,316
Speaker 5: he would some guy who is barely making it with family,

877
00:49:45,436 --> 00:49:49,556
Speaker 5: and he'd come into a lumberyard and Dad knew and

878
00:49:49,636 --> 00:49:51,716
Speaker 5: the guy was having trouble paying the bills, and he

879
00:49:51,716 --> 00:49:53,236
Speaker 5: would say, come on up to my office, and he

880
00:49:53,276 --> 00:49:56,236
Speaker 5: would sit with him for half an hour and he

881
00:49:56,276 --> 00:49:57,916
Speaker 5: would tell the guy at the end of it, you know,

882
00:49:57,956 --> 00:49:59,676
Speaker 5: don't worry about it, you know, will you pay me

883
00:49:59,716 --> 00:50:03,476
Speaker 5: when you can, all right? And it was just private.

884
00:50:04,076 --> 00:50:06,476
Speaker 5: He didn't do it for show. It was just private.

885
00:50:07,076 --> 00:50:10,756
Speaker 5: He took care of people who were had less than

886
00:50:10,796 --> 00:50:15,356
Speaker 5: he did, and that was just he would tell us that,

887
00:50:15,436 --> 00:50:20,676
Speaker 5: but then he would show us that by example. And

888
00:50:20,756 --> 00:50:25,636
Speaker 5: you know, I've tried to do that. Wow. I love

889
00:50:25,676 --> 00:50:30,316
Speaker 5: that You're on a set with an actor and it's

890
00:50:30,356 --> 00:50:35,036
Speaker 5: their first show. Yeah yeah, yeah, you know, and you

891
00:50:35,236 --> 00:50:38,356
Speaker 5: and you I've done you know, decades of what I've done.

892
00:50:38,516 --> 00:50:41,716
Speaker 5: And you can tell that he's nervous. And so you

893
00:50:41,756 --> 00:50:44,596
Speaker 5: sit with him and you talk to him about the scene,

894
00:50:44,676 --> 00:50:46,436
Speaker 5: or you talk to him about well, yeah, what you're doing, yeah,

895
00:50:46,436 --> 00:50:49,356
Speaker 5: where you're staying yeah, oh yeah, yeah, you just you

896
00:50:49,516 --> 00:50:52,836
Speaker 5: kind of you know, yeah, you want him to be good.

897
00:50:53,636 --> 00:50:55,876
Speaker 5: This isn't about you know, just say your line so

898
00:50:56,076 --> 00:50:59,596
Speaker 5: we can put the camera on me. It's the opposite

899
00:50:59,636 --> 00:51:01,836
Speaker 5: of that, and that that comes from my dad.

900
00:51:02,196 --> 00:51:03,716
Speaker 1: And that's why you work, and that's why you've had

901
00:51:03,756 --> 00:51:05,596
Speaker 1: a fifty year career because you do that and your

902
00:51:05,676 --> 00:51:08,596
Speaker 1: dad taught you. That's incredible. That really is incredible, man.

903
00:51:09,196 --> 00:51:11,236
Speaker 5: Yeah, unless you're an asshole then I'll kill you.

904
00:51:11,356 --> 00:51:16,396
Speaker 1: Yeah, there's the laugh.

905
00:51:18,116 --> 00:51:21,236
Speaker 5: Seen stars do that to people who were being divas.

906
00:51:21,476 --> 00:51:24,676
Speaker 5: Oh my god. So I have that in my back pocket,

907
00:51:24,716 --> 00:51:26,796
Speaker 5: but I rarely have to use it. Yeah.

908
00:51:27,076 --> 00:51:29,356
Speaker 1: I love that though. I love that, and that comedy

909
00:51:29,436 --> 00:51:31,076
Speaker 1: is what's gonna lead into the next question. So I'm

910
00:51:31,156 --> 00:51:33,116
Speaker 1: very excited about this next one. This is for me

911
00:51:33,236 --> 00:51:35,316
Speaker 1: and people in my generation. But first let's talk about

912
00:51:35,356 --> 00:51:38,756
Speaker 1: the song almost Cut your Hair, Cut my hair. I'm sorry.

913
00:51:38,756 --> 00:51:41,636
Speaker 1: This is a David Crosby song, first song on the

914
00:51:41,636 --> 00:51:44,476
Speaker 1: record that Neil and bass player Greg Reeves are on.

915
00:51:45,196 --> 00:51:48,636
Speaker 1: This is David's thing, man, it's kind of goofy uh.

916
00:51:49,116 --> 00:51:52,356
Speaker 1: This is he's gonna let his freak flag fly. Hippies

917
00:51:52,356 --> 00:51:54,916
Speaker 1: find themselves at a point where they're like, do I

918
00:51:54,956 --> 00:51:58,476
Speaker 1: cut my hair today and just enjoin the machine? You know,

919
00:51:58,556 --> 00:52:00,716
Speaker 1: as you know about David Crosby, he was a rich

920
00:52:00,796 --> 00:52:03,876
Speaker 1: kid in Hollywood and he took that line about the

921
00:52:03,876 --> 00:52:06,636
Speaker 1: freak flag from Jimmy Hendrix before I asked you the

922
00:52:06,716 --> 00:52:11,036
Speaker 1: question thoughts on almost cut My Hair? The song David,

923
00:52:11,276 --> 00:52:15,716
Speaker 1: I know you're a Stills guy. Yeah, gotta love.

924
00:52:15,596 --> 00:52:19,596
Speaker 5: The Warriors were coming out of Woodstock, you know, and

925
00:52:19,756 --> 00:52:22,716
Speaker 5: maybe that album had been released for all of us

926
00:52:22,716 --> 00:52:26,436
Speaker 5: who didn't get to go, and you could tell there

927
00:52:26,556 --> 00:52:29,196
Speaker 5: was whether it was the end of the sixties, which

928
00:52:29,236 --> 00:52:33,676
Speaker 5: it was the end of something, or whether it was

929
00:52:33,716 --> 00:52:39,116
Speaker 5: this kind of we're different, this generation is different. It

930
00:52:39,236 --> 00:52:42,436
Speaker 5: led to the Who, it led to Zeppelin, it led

931
00:52:42,476 --> 00:52:48,836
Speaker 5: to Crosby, Stills, Nashly Young, others of importance, you know,

932
00:52:48,876 --> 00:52:55,916
Speaker 5: the Eagles, Jackson Brown. I'm guessing now, but it was

933
00:52:55,996 --> 00:52:58,196
Speaker 5: a turning point. And for them to come out with

934
00:52:58,516 --> 00:53:03,116
Speaker 5: almost cut my hair, it hearkens back to you know

935
00:53:03,236 --> 00:53:06,996
Speaker 5: when when you grew your hair and you you you know,

936
00:53:07,036 --> 00:53:09,516
Speaker 5: they made fun of you. You know Bob Seeker in

937
00:53:09,556 --> 00:53:13,836
Speaker 5: that song, you know, Main turn the page. You know,

938
00:53:14,156 --> 00:53:16,036
Speaker 5: he has a lyric about you know, they make fun

939
00:53:16,036 --> 00:53:18,476
Speaker 5: of his hairs. Is that girl or is that a boy?

940
00:53:19,836 --> 00:53:24,596
Speaker 5: And here's Crosby and Still's Nash and Young going keep

941
00:53:24,636 --> 00:53:27,236
Speaker 5: the hair long. You know. It may be a couple

942
00:53:27,316 --> 00:53:30,036
Speaker 5: of years after Woodstock and we're going into the seventies,

943
00:53:30,076 --> 00:53:33,116
Speaker 5: but you know, don't lose the ideals, don't lose the

944
00:53:33,116 --> 00:53:36,796
Speaker 5: principles that we were fighting for when we weren't stoned

945
00:53:36,796 --> 00:53:37,876
Speaker 5: out of our minds.

946
00:53:37,716 --> 00:53:40,516
Speaker 1: You know, yeah, yeah, So you know, I kind.

947
00:53:40,316 --> 00:53:43,716
Speaker 5: Of look at it as you know, it wasn't a fad,

948
00:53:43,876 --> 00:53:47,676
Speaker 5: It wasn't something that we just went through and now

949
00:53:47,716 --> 00:53:50,276
Speaker 5: we're over it. We're all going to go corporate. It's

950
00:53:50,836 --> 00:53:53,556
Speaker 5: hang on to that. That's the message I get. It's

951
00:53:53,596 --> 00:53:56,636
Speaker 5: so on the nose, and I think read somewhere they

952
00:53:56,676 --> 00:53:59,636
Speaker 5: almost didn't put it on the album, but then you've

953
00:53:59,676 --> 00:54:02,236
Speaker 5: got Stills in Young going back and forth on it

954
00:54:02,276 --> 00:54:06,716
Speaker 5: even on the album and certainly live. That makes the

955
00:54:06,796 --> 00:54:08,236
Speaker 5: song just elevates the song.

956
00:54:09,316 --> 00:54:12,116
Speaker 1: I want to I want to focus on, uh, let

957
00:54:12,116 --> 00:54:13,836
Speaker 1: your feet. I came and say, it's so hard to

958
00:54:14,116 --> 00:54:16,956
Speaker 1: let your freak flag fly. That is hard for me

959
00:54:16,996 --> 00:54:20,196
Speaker 1: to get out right now. So you've done You've done

960
00:54:20,436 --> 00:54:25,196
Speaker 1: so much, uh with with with with drama, theater and

961
00:54:25,196 --> 00:54:28,916
Speaker 1: and just being such an accomplished actor. But you were

962
00:54:29,116 --> 00:54:32,636
Speaker 1: cast in one of the most successful comedies of all

963
00:54:32,716 --> 00:54:34,796
Speaker 1: time and arguably one of my favorites by two of

964
00:54:34,836 --> 00:54:39,556
Speaker 1: my favorite directors. What is that like walking in there

965
00:54:39,876 --> 00:54:42,436
Speaker 1: having to and I don't want to call it prove yourself,

966
00:54:42,516 --> 00:54:45,196
Speaker 1: but working with someone like Jim Carrey, who at that

967
00:54:45,396 --> 00:54:48,436
Speaker 1: time was the biggest comedic actor, and not saying you

968
00:54:48,476 --> 00:54:55,156
Speaker 1: hadn't been in comedies, but playing Harry, you know, versus Lloyd.

969
00:54:56,116 --> 00:54:58,796
Speaker 1: It's just like, are people trying to talk you out

970
00:54:58,836 --> 00:55:02,116
Speaker 1: of this? Or are you fighting for this part? Like

971
00:55:02,156 --> 00:55:04,476
Speaker 1: how do you let your freak flag fly? In a

972
00:55:04,596 --> 00:55:08,556
Speaker 1: Farley Brothers movie with Jim Carrey, it was.

973
00:55:08,676 --> 00:55:14,516
Speaker 5: It was a fly flying moment, that's for sure. Because, Yeah,

974
00:55:15,276 --> 00:55:18,356
Speaker 5: the career was slowing down. I wasn't doing things that

975
00:55:18,396 --> 00:55:21,316
Speaker 5: were interesting to me. I was a supporting actor in

976
00:55:21,396 --> 00:55:24,916
Speaker 5: dramas and it was okay. But I knew I could

977
00:55:24,956 --> 00:55:27,556
Speaker 5: do comedy. I had done musicals, and I knew how

978
00:55:27,556 --> 00:55:29,476
Speaker 5: to time. I could be in front of six hundred people,

979
00:55:29,756 --> 00:55:32,116
Speaker 5: and I knew how to land the joke. I knew

980
00:55:32,116 --> 00:55:33,596
Speaker 5: how to set it up. I knew, I mean, you

981
00:55:33,636 --> 00:55:36,996
Speaker 5: either have that ability or you don't. And I never

982
00:55:37,036 --> 00:55:40,916
Speaker 5: did stand up, but I did do comedies in theater,

983
00:55:41,076 --> 00:55:43,716
Speaker 5: and so I knew I had that and I hadn't

984
00:55:43,796 --> 00:55:47,636
Speaker 5: yet done it on film, and so I went out

985
00:55:47,676 --> 00:55:50,796
Speaker 5: to LA because I had done a couple of independent

986
00:55:50,876 --> 00:55:54,116
Speaker 5: movies in the early nineties late eighties that nobody saw,

987
00:55:54,716 --> 00:55:56,276
Speaker 5: and I told my agent, I got to be in

988
00:55:56,356 --> 00:55:59,436
Speaker 5: something that people actually see. So I went out an

989
00:55:59,436 --> 00:56:03,156
Speaker 5: audition for five movies and I got called back on

990
00:56:03,236 --> 00:56:07,876
Speaker 5: three of them. Two one of them was Dumb and Dumber, okay,

991
00:56:07,876 --> 00:56:12,596
Speaker 5: and that was the one. I wanted it, and I

992
00:56:12,636 --> 00:56:16,316
Speaker 5: went and met with the Fairly brothers and then they

993
00:56:16,356 --> 00:56:18,716
Speaker 5: wanted me, and then I had to come in again

994
00:56:18,956 --> 00:56:24,636
Speaker 5: and read with Jim and the Faarilies, and you know,

995
00:56:24,796 --> 00:56:30,356
Speaker 5: I found out later they had been through fifty actors,

996
00:56:30,996 --> 00:56:37,116
Speaker 5: really names names, friend, Jim calling friends of his going

997
00:56:37,276 --> 00:56:41,196
Speaker 5: come on man, okay, but you know ten million, No,

998
00:56:42,036 --> 00:56:44,836
Speaker 5: they it's a smaller you know, they wanted too much

999
00:56:44,876 --> 00:56:47,676
Speaker 5: money because and it was also Jim. At the time,

1000
00:56:48,516 --> 00:56:52,916
Speaker 5: all he was was ace Ventura. Yes it's true he

1001
00:56:52,996 --> 00:56:58,476
Speaker 5: had shot Masks, but it wasn't out yet. This is April,

1002
00:56:58,556 --> 00:57:00,836
Speaker 5: and we're going to start shooting Dumb and Dumber the

1003
00:57:00,916 --> 00:57:04,236
Speaker 5: end of April. And in the middle of shooting, he

1004
00:57:04,436 --> 00:57:09,356
Speaker 5: flew to can on a weekend and Mask premiered and

1005
00:57:09,396 --> 00:57:13,996
Speaker 5: it became huge instant and then later when they released

1006
00:57:14,036 --> 00:57:17,636
Speaker 5: it in the fall or winter, that's when Jim became

1007
00:57:17,876 --> 00:57:22,196
Speaker 5: you know, capital letters. But at the time, you know,

1008
00:57:22,276 --> 00:57:25,876
Speaker 5: he was he really wanted an actor. He was pursuing,

1009
00:57:26,076 --> 00:57:30,196
Speaker 5: you know, name actors for it, and they just kept

1010
00:57:31,396 --> 00:57:33,356
Speaker 5: turning it down. I mean, because you read it and

1011
00:57:33,356 --> 00:57:36,396
Speaker 5: you're going, okay, well, twelve year old boys are going

1012
00:57:36,436 --> 00:57:40,076
Speaker 5: to think this is their Citizen Kane. But you know,

1013
00:57:41,236 --> 00:57:43,996
Speaker 5: the movie going public, and do you really want to

1014
00:57:44,036 --> 00:57:47,116
Speaker 5: get in a scene with Ace Ventura because Jim is

1015
00:57:47,716 --> 00:57:50,756
Speaker 5: you know, I mean when Jess turns it up, you know,

1016
00:57:50,956 --> 00:57:54,796
Speaker 5: as Chris Guests used to say, you started eleven so

1017
00:57:56,196 --> 00:57:59,876
Speaker 5: but but I wanted that. I wanted to work with

1018
00:57:59,916 --> 00:58:05,836
Speaker 5: someone what I considered to be a comedic genius. And

1019
00:58:05,516 --> 00:58:12,276
Speaker 5: I and I learned quickly to let him lead. You

1020
00:58:12,396 --> 00:58:15,636
Speaker 5: want Jim to lead anyway. And and Jim, on the

1021
00:58:15,676 --> 00:58:18,116
Speaker 5: on the other hand, was going, I need someone who's

1022
00:58:18,156 --> 00:58:21,356
Speaker 5: gonna make me listen. I don't want to do my

1023
00:58:21,476 --> 00:58:24,476
Speaker 5: solo thing where I just you know, take over a

1024
00:58:24,596 --> 00:58:28,436
Speaker 5: human tornado and everyone's yeah, I really want to, you know,

1025
00:58:28,516 --> 00:58:30,716
Speaker 5: make it. It's a buddy buddy movie. I've got to

1026
00:58:30,716 --> 00:58:32,996
Speaker 5: have an actor who makes me listen, or at least

1027
00:58:33,036 --> 00:58:36,516
Speaker 5: I can listen to. And so that became kind of

1028
00:58:36,556 --> 00:58:41,716
Speaker 5: the little formula where and Also, if you let Jim lead,

1029
00:58:41,956 --> 00:58:44,996
Speaker 5: you follow, You're like a puppy on a leash and

1030
00:58:45,036 --> 00:58:48,996
Speaker 5: you can see me where Jim. There's like a half

1031
00:58:49,076 --> 00:58:58,316
Speaker 5: second delay, Harry, what you know? All you okay? You know,

1032
00:58:58,356 --> 00:59:01,716
Speaker 5: and then you go. And so that that allowed us

1033
00:59:01,716 --> 00:59:03,436
Speaker 5: to kind of you know, and then we would get

1034
00:59:03,436 --> 00:59:05,436
Speaker 5: into trouble and I turn on or yell at him

1035
00:59:05,476 --> 00:59:08,556
Speaker 5: or something. But it was, you know, a comedian and

1036
00:59:08,596 --> 00:59:12,556
Speaker 5: you know this, they'll try to top you. Sure, yes,

1037
00:59:12,676 --> 00:59:15,756
Speaker 5: And so it's that thing of here's the joke to come,

1038
00:59:15,916 --> 00:59:17,556
Speaker 5: Why I'm gonna come, Why I'm gonna come, you know,

1039
00:59:17,596 --> 00:59:19,796
Speaker 5: And the next thing, you know, it's what are we doing?

1040
00:59:20,116 --> 00:59:22,236
Speaker 5: What are we doing? And on the on the first

1041
00:59:22,276 --> 00:59:25,156
Speaker 5: dumb and dumber that it was, maybe there was one

1042
00:59:25,196 --> 00:59:27,916
Speaker 5: ad lib. You know, what's the most annoying sound in

1043
00:59:27,956 --> 00:59:30,436
Speaker 5: the world, And that was an ad lib. But other

1044
00:59:30,516 --> 00:59:35,196
Speaker 5: than that, everything was written. It was it was per

1045
00:59:35,236 --> 00:59:37,596
Speaker 5: the script, the gym and the failies had been over

1046
00:59:37,636 --> 00:59:40,276
Speaker 5: it and this is how it's gonna go, and you

1047
00:59:40,396 --> 00:59:44,996
Speaker 5: just executed it. And and he couldn't have been nicer,

1048
00:59:45,756 --> 00:59:50,836
Speaker 5: more collaborative. If I had a punchline, he set me up.

1049
00:59:52,036 --> 00:59:54,196
Speaker 5: If I had one, I set him up. I mean,

1050
00:59:54,356 --> 00:59:57,436
Speaker 5: we were it had to be a team, and that

1051
00:59:57,516 --> 00:59:59,476
Speaker 5: came from Jim wanting it to be a team.

1052
01:00:00,876 --> 01:00:03,116
Speaker 1: Wow, and we'll talk about I think they were just

1053
01:00:03,156 --> 01:00:08,036
Speaker 1: the kings of the nineties, the Fairlies were with I mean, Kingpin,

1054
01:00:09,316 --> 01:00:14,076
Speaker 1: Dumb and Dummer, something about Mary. I mean, just some

1055
01:00:14,116 --> 01:00:18,436
Speaker 1: of the funniest movies of like my late teens, early twenties.

1056
01:00:19,076 --> 01:00:21,636
Speaker 1: And to be able to work like Jim, I mean

1057
01:00:22,116 --> 01:00:24,636
Speaker 1: you saw it immediately as a comic, the clips I've

1058
01:00:24,636 --> 01:00:26,556
Speaker 1: seen in him at the comedy Store and just how

1059
01:00:26,596 --> 01:00:29,316
Speaker 1: talented he was and going into living color. Were you

1060
01:00:29,396 --> 01:00:31,476
Speaker 1: intimidated at all or were you just like, all right,

1061
01:00:31,476 --> 01:00:34,116
Speaker 1: this is groovy, Like this is exciting. This is what

1062
01:00:34,196 --> 01:00:35,836
Speaker 1: I need to get out of my rut. I mean,

1063
01:00:35,836 --> 01:00:38,476
Speaker 1: because like you said, you had done some independence. You know,

1064
01:00:39,196 --> 01:00:41,076
Speaker 1: did it come back? Do you do you do Speed

1065
01:00:41,116 --> 01:00:42,996
Speaker 1: before and then you know?

1066
01:00:43,196 --> 01:00:47,236
Speaker 5: Or was it like I did Speed before that? And

1067
01:00:47,276 --> 01:00:49,956
Speaker 5: we were shooting and Speed came We were shooting April

1068
01:00:49,996 --> 01:00:52,596
Speaker 5: to the end of June, I think, and Speed came

1069
01:00:52,636 --> 01:00:56,556
Speaker 5: out in June and Jim had masked at the can

1070
01:00:56,596 --> 01:00:59,196
Speaker 5: Film Festival and then that was so we both had

1071
01:00:59,276 --> 01:01:02,036
Speaker 5: something come out. But you know, I was in speed,

1072
01:01:03,836 --> 01:01:13,716
Speaker 5: you know, not intimidated. No, I just wanted to execute

1073
01:01:15,076 --> 01:01:18,236
Speaker 5: what I was supposed to do. And especially in Jim's

1074
01:01:18,316 --> 01:01:21,676
Speaker 5: Jim scenes where we're doing it together, you know, it's

1075
01:01:21,796 --> 01:01:26,156
Speaker 5: it's not a competition, Yes, I guess, collaboration and and

1076
01:01:26,276 --> 01:01:30,636
Speaker 5: if you're going to compete with Jim Carrey, you'r comedic movie. Yeah.

1077
01:01:31,476 --> 01:01:34,596
Speaker 5: So it was a collaboration and Jim was wide open

1078
01:01:34,716 --> 01:01:37,916
Speaker 5: to that. I also knew. And this was my agents,

1079
01:01:38,196 --> 01:01:42,756
Speaker 5: you know you talked about There was an intervention before

1080
01:01:42,836 --> 01:01:45,636
Speaker 5: I was to fly from Michigan to LA to start,

1081
01:01:45,796 --> 01:01:48,356
Speaker 5: you know, doing wardrobe for Domb and Dumber, there was

1082
01:01:48,396 --> 01:01:50,916
Speaker 5: an intervention. I had three of my agents, two in

1083
01:01:51,076 --> 01:01:53,236
Speaker 5: LA and one in New York on the phone at

1084
01:01:53,356 --> 01:01:56,796
Speaker 5: midnight before getting on the plane the next day, saying

1085
01:01:56,916 --> 01:01:59,636
Speaker 5: we're going to stop this from happening. This is not

1086
01:01:59,796 --> 01:02:01,676
Speaker 5: You're not going to do this movie. This is a

1087
01:02:01,756 --> 01:02:03,676
Speaker 5: bad career move. You're going to regret it for the

1088
01:02:03,756 --> 01:02:07,596
Speaker 5: rest of your life. To be honest, Jeff, Jim's going

1089
01:02:07,636 --> 01:02:08,916
Speaker 5: to blow you off the screen.

1090
01:02:09,996 --> 01:02:12,356
Speaker 1: And Wow, no confidence in you would be able to

1091
01:02:12,436 --> 01:02:14,716
Speaker 1: stay hang out everything you had done.

1092
01:02:15,116 --> 01:02:18,076
Speaker 5: The comedic genius that was Jim, you know, and I

1093
01:02:18,196 --> 01:02:21,996
Speaker 5: had shown nothing. I mean, maybe something wild, maybe purple

1094
01:02:22,116 --> 01:02:24,076
Speaker 5: Rosa Cairo, but that was different.

1095
01:02:24,716 --> 01:02:27,436
Speaker 1: There's comedy in Arachnophobia. It wasn't just a horror movie

1096
01:02:27,596 --> 01:02:30,116
Speaker 1: playing a funny character. I mean, but it's way different,

1097
01:02:30,196 --> 01:02:31,196
Speaker 1: not as slapsticky.

1098
01:02:31,316 --> 01:02:35,036
Speaker 6: And you know, but Liam Neeson, Liam Neeson would way

1099
01:02:35,116 --> 01:02:37,996
Speaker 6: before Naked Gun and Police Story, was doing dramas, I mean,

1100
01:02:38,556 --> 01:02:41,116
Speaker 6: be able to you know, you never know, it's yeah,

1101
01:02:41,436 --> 01:02:44,076
Speaker 6: but doing that now, I'll say, I met the other guy.

1102
01:02:44,156 --> 01:02:49,356
Speaker 1: What fuck, Leslie Nielsen. I'm sorry, Yeah, I met Liam too. Yeah,

1103
01:02:49,396 --> 01:02:50,876
Speaker 1: I was right about what but I.

1104
01:02:50,956 --> 01:02:53,476
Speaker 5: Hadn't done it, and so and they were trying. I

1105
01:02:53,596 --> 01:02:56,036
Speaker 5: was on a path to be a serious, important actor

1106
01:02:56,076 --> 01:02:58,596
Speaker 5: who one day would get a Supporting Actor nomination. And

1107
01:02:58,796 --> 01:03:02,236
Speaker 5: I just was going, look, I want to I can

1108
01:03:02,276 --> 01:03:05,356
Speaker 5: do comedy. I want to work with Jim uh And

1109
01:03:05,476 --> 01:03:08,756
Speaker 5: I knew then, I mean, not only would I eventually

1110
01:03:08,876 --> 01:03:13,036
Speaker 5: find a way to collaborate with him that worked, but

1111
01:03:13,196 --> 01:03:15,836
Speaker 5: I knew that I had the snowball in the head,

1112
01:03:16,716 --> 01:03:19,076
Speaker 5: I had the tongue on the pole, and I had

1113
01:03:19,116 --> 01:03:22,676
Speaker 5: the toilet. I had those three scenes. Jim wasn't in

1114
01:03:22,796 --> 01:03:26,076
Speaker 5: those scenes unless they cut them out of the movie,

1115
01:03:26,076 --> 01:03:30,516
Speaker 5: which was possible. I was going to score, so I

1116
01:03:30,636 --> 01:03:34,676
Speaker 5: knew I had that. And so after I got through

1117
01:03:34,716 --> 01:03:38,116
Speaker 5: the first week of shooting and everybody decided that yeah,

1118
01:03:38,356 --> 01:03:41,636
Speaker 5: he's going to be okay, then we were fine everything.

1119
01:03:42,396 --> 01:03:42,956
Speaker 5: Yeah good.

1120
01:03:43,236 --> 01:03:43,716
Speaker 1: I love that.

1121
01:03:43,996 --> 01:03:44,436
Speaker 5: I love that.

1122
01:03:45,196 --> 01:03:46,836
Speaker 1: This is I don't want to be too off topic too,

1123
01:03:46,916 --> 01:03:48,436
Speaker 1: but it's like, what do you enjoy more doing the

1124
01:03:48,476 --> 01:03:50,156
Speaker 1: comedy or playing the bad guy in Looper?

1125
01:03:52,676 --> 01:03:53,236
Speaker 5: Looper was?

1126
01:03:53,436 --> 01:03:56,236
Speaker 1: I love that movie? Man, I think you're great at that.

1127
01:03:56,436 --> 01:04:00,956
Speaker 5: So it a great director, Joe Gordon Levitt. And I didn't.

1128
01:04:00,996 --> 01:04:06,436
Speaker 5: I didn't understand that movie. When you want me, what

1129
01:04:06,516 --> 01:04:10,916
Speaker 5: do you want me to say? That was big? No,

1130
01:04:11,196 --> 01:04:16,156
Speaker 5: I I the comedy is more fun. It's more the

1131
01:04:16,276 --> 01:04:20,396
Speaker 5: target that you have to hit is more sure. Not

1132
01:04:20,596 --> 01:04:24,836
Speaker 5: everybody can do comedy. And you know, Leslie Nielsen and

1133
01:04:24,876 --> 01:04:28,116
Speaker 5: The Naked Guns is a perfect example of that dead pan.

1134
01:04:28,596 --> 01:04:31,036
Speaker 5: You look at him and you think that he doesn't

1135
01:04:31,116 --> 01:04:33,596
Speaker 5: know where the joke is, but he knows exactly where

1136
01:04:33,636 --> 01:04:39,156
Speaker 5: the joke is. And you know Peter Sellers, guys like that,

1137
01:04:39,436 --> 01:04:43,796
Speaker 5: John Klees who went big and Faulty Towers, guys like that,

1138
01:04:44,876 --> 01:04:51,716
Speaker 5: stuck out to me, and so that's always been of

1139
01:04:51,876 --> 01:04:56,076
Speaker 5: interest to me. And then you do you know, like again,

1140
01:04:56,236 --> 01:05:00,676
Speaker 5: like a drama like God Godless, where you're playing you're

1141
01:05:00,676 --> 01:05:03,676
Speaker 5: playing somebody who I think I kill about thirty five

1142
01:05:03,756 --> 01:05:07,516
Speaker 5: people throughout the whole series. Well, you know, because it's

1143
01:05:07,556 --> 01:05:11,036
Speaker 5: the right thing to do. Yeah, But it's as you

1144
01:05:11,356 --> 01:05:13,716
Speaker 5: start doing that you get into the mind of those guys.

1145
01:05:14,356 --> 01:05:17,636
Speaker 5: That's fun. There's fun in that, but there's also fun

1146
01:05:17,676 --> 01:05:19,356
Speaker 5: and time and a good joke. Sure.

1147
01:05:19,876 --> 01:05:22,076
Speaker 1: I mean it's funny because I love being funny on stage,

1148
01:05:22,476 --> 01:05:24,956
Speaker 1: but as an actor, I love playing serious like darker

1149
01:05:25,036 --> 01:05:27,716
Speaker 1: characters and the stillness and just even like staring at

1150
01:05:27,756 --> 01:05:30,116
Speaker 1: somebody and not moving is carry so much weight where

1151
01:05:30,116 --> 01:05:33,876
Speaker 1: I'm such an energetic person on stage, So I can

1152
01:05:33,916 --> 01:05:36,516
Speaker 1: see why playing the darker characters or playing somebody that

1153
01:05:36,596 --> 01:05:39,316
Speaker 1: has to kill somebody you know, can be can be fun.

1154
01:05:39,436 --> 01:05:42,876
Speaker 1: But someone especially being able to work in that, you know,

1155
01:05:42,996 --> 01:05:46,076
Speaker 1: in the comedic world, you know, and be able to

1156
01:05:46,156 --> 01:05:49,996
Speaker 1: really dip into your child, you know, those things that

1157
01:05:50,076 --> 01:05:51,596
Speaker 1: you had as a kid. I mean, it's got to

1158
01:05:51,636 --> 01:05:53,556
Speaker 1: be it's got to just be magical and to be

1159
01:05:53,596 --> 01:05:54,756
Speaker 1: able to do with one of the best that ever

1160
01:05:54,796 --> 01:05:56,556
Speaker 1: did it. I mean and and like you said, I mean.

1161
01:05:57,636 --> 01:05:59,516
Speaker 5: We didn't know it at the time. I mean we Again,

1162
01:05:59,876 --> 01:06:02,236
Speaker 5: it's the fact that it's still funny to people who've

1163
01:06:02,396 --> 01:06:04,556
Speaker 5: seen it or are seeing it for the first time,

1164
01:06:04,676 --> 01:06:09,436
Speaker 5: you know, decades later. Is it's like Pink Panther with Peterson. Yeah,

1165
01:06:10,196 --> 01:06:12,596
Speaker 5: you don't know it at the time, but then there

1166
01:06:12,676 --> 01:06:16,276
Speaker 5: you are still making people laugh. That's pretty great. It was,

1167
01:06:16,516 --> 01:06:19,516
Speaker 5: you know. The fun of it for me was and

1168
01:06:19,916 --> 01:06:23,556
Speaker 5: actors find little key thoughts that that, well, you can

1169
01:06:23,636 --> 01:06:26,996
Speaker 5: hang onto and you can say to yourself right before

1170
01:06:27,036 --> 01:06:29,836
Speaker 5: you do, you know, whatever you're doing on Thursday, you

1171
01:06:30,276 --> 01:06:34,156
Speaker 5: can grab onto it. And my key thought was, Harry

1172
01:06:34,276 --> 01:06:39,076
Speaker 5: has an IQ of eight, a single digit IQ. You

1173
01:06:39,196 --> 01:06:45,036
Speaker 5: plan it that way, did not seven, not nine? And

1174
01:06:45,116 --> 01:06:50,116
Speaker 5: I would see the number eight, and any intelligence that

1175
01:06:50,196 --> 01:06:54,556
Speaker 5: I may have had just vanished, and then it was

1176
01:06:54,756 --> 01:06:58,996
Speaker 5: rolling and I was there. I held on to that

1177
01:06:59,116 --> 01:06:59,836
Speaker 5: for the whole shoot.

1178
01:07:00,516 --> 01:07:03,396
Speaker 1: You did such a phenomenal job, man, and it holds up.

1179
01:07:03,516 --> 01:07:08,476
Speaker 1: It's it's just a you changed the teel blue and

1180
01:07:08,636 --> 01:07:12,796
Speaker 1: bright or shitty tuxes for the entirety of history. And

1181
01:07:12,836 --> 01:07:16,036
Speaker 1: I've seen so many people bite off of that friends

1182
01:07:16,076 --> 01:07:18,876
Speaker 1: of mine for Halloween. So it's a great job, dude.

1183
01:07:19,036 --> 01:07:21,636
Speaker 1: Listen if we're going to talk about it in the

1184
01:07:21,716 --> 01:07:24,236
Speaker 1: next one another, there's something very iconic gears. We're talking

1185
01:07:24,276 --> 01:07:28,396
Speaker 1: about Helpless. We already mentioned the song before I asked

1186
01:07:28,436 --> 01:07:30,836
Speaker 1: the question, like, you know, we said, this is Neil

1187
01:07:30,876 --> 01:07:34,956
Speaker 1: Young songs, what he brought to the table. Everybody's blown away.

1188
01:07:36,236 --> 01:07:38,916
Speaker 1: This is one that everybody played on. Did you give

1189
01:07:38,956 --> 01:07:41,076
Speaker 1: your thoughts on it already or did you just we

1190
01:07:41,236 --> 01:07:43,436
Speaker 1: just mention it? You know, how are your thoughts on Helpless?

1191
01:07:44,036 --> 01:07:45,756
Speaker 1: You know, I know you're a Neil Young guy, You're

1192
01:07:45,756 --> 01:07:46,796
Speaker 1: Steven Still's Neil Young.

1193
01:07:47,356 --> 01:07:50,436
Speaker 5: You know. Again, it was Neil had the edge and

1194
01:07:50,956 --> 01:07:53,196
Speaker 5: I don't know the lyrics offhand, but it was this

1195
01:07:53,556 --> 01:07:58,916
Speaker 5: kind of certainly melancholy. But it wasn't the sunshine that

1196
01:07:59,156 --> 01:08:01,916
Speaker 5: was our house and teach your children, not at all.

1197
01:08:02,356 --> 01:08:06,036
Speaker 5: It wasn't the positive message that Graham was doing. Suddenly

1198
01:08:06,116 --> 01:08:11,396
Speaker 5: here comes this song called Helpless, and it again it

1199
01:08:11,516 --> 01:08:16,236
Speaker 5: was they were all doing their own things, which I

1200
01:08:16,276 --> 01:08:20,436
Speaker 5: guess made it made it interesting. It wasn't carry on

1201
01:08:20,716 --> 01:08:23,876
Speaker 5: for twelve songs, or our House for twelve songs, or

1202
01:08:23,916 --> 01:08:27,076
Speaker 5: even Helpless for twelve songs, it was there was a

1203
01:08:27,236 --> 01:08:32,356
Speaker 5: variety in there, which when you know, however they slotted

1204
01:08:32,436 --> 01:08:35,956
Speaker 5: it on the album, you know it jumped out.

1205
01:08:36,396 --> 01:08:37,996
Speaker 1: I love that you said that because I always like

1206
01:08:38,036 --> 01:08:39,836
Speaker 1: to talk about the sequencing, and the sequencing on this

1207
01:08:39,916 --> 01:08:43,516
Speaker 1: record is phenomenal. Like every song it's it's a new adventure.

1208
01:08:43,636 --> 01:08:46,196
Speaker 1: But the way they laid them out in order, it

1209
01:08:46,316 --> 01:08:49,356
Speaker 1: just feels right. And to bring it to the question,

1210
01:08:49,716 --> 01:08:51,516
Speaker 1: like I was saying, but the word helpless is that

1211
01:08:51,676 --> 01:08:53,876
Speaker 1: so many people in this world are feeling helpless. And

1212
01:08:54,116 --> 01:08:58,876
Speaker 1: when you started off with that opening monologue as will

1213
01:08:58,956 --> 01:09:01,556
Speaker 1: in the newsroom and deliver that speech and the pilot

1214
01:09:02,036 --> 01:09:04,356
Speaker 1: about how America is not the greatest country in the world,

1215
01:09:04,436 --> 01:09:08,916
Speaker 1: and how you basically in three minutes deliver the fact

1216
01:09:08,956 --> 01:09:12,036
Speaker 1: that you know that this is something that people now

1217
01:09:12,916 --> 01:09:15,476
Speaker 1: go to. Did you know at the moment when you

1218
01:09:15,556 --> 01:09:19,076
Speaker 1: did that speech, aside from Harry sitting on the toilet obviously,

1219
01:09:19,436 --> 01:09:21,796
Speaker 1: that that speech would be one of the most powerful

1220
01:09:21,916 --> 01:09:23,356
Speaker 1: moments of your career.

1221
01:09:25,916 --> 01:09:33,556
Speaker 5: No, I knew it was important. Aaron Sorkin, had you

1222
01:09:33,596 --> 01:09:36,356
Speaker 5: know originally it was that speech was not in the

1223
01:09:36,436 --> 01:09:40,716
Speaker 5: pilot that scene Will Wow in the first episode. The

1224
01:09:40,836 --> 01:09:44,876
Speaker 5: episode started with us back at the newsroom talking about

1225
01:09:44,996 --> 01:09:51,276
Speaker 5: what happened at Northwestern, and about ten days before we

1226
01:09:51,356 --> 01:09:54,716
Speaker 5: started shooting, you know, Aaron came up and he goes,

1227
01:09:54,756 --> 01:09:57,836
Speaker 5: you know, we need to see what happened. So I'm

1228
01:09:58,076 --> 01:10:01,516
Speaker 5: writing a speech. You'll have it in a couple of days, okay.

1229
01:10:02,636 --> 01:10:04,756
Speaker 5: And two days later he handed it to me and

1230
01:10:06,236 --> 01:10:09,276
Speaker 5: he said, do you think you can do this? And

1231
01:10:09,636 --> 01:10:12,076
Speaker 5: I said, Aaron, I've been waiting thirty five years for

1232
01:10:12,156 --> 01:10:12,876
Speaker 5: a speech like this.

1233
01:10:13,036 --> 01:10:13,156
Speaker 3: Oh.

1234
01:10:13,196 --> 01:10:15,676
Speaker 5: I love that, and not just for what it said,

1235
01:10:16,116 --> 01:10:18,836
Speaker 5: you know, because I thought what it said was honest

1236
01:10:18,916 --> 01:10:21,796
Speaker 5: and important and maybe not everybody likes it, but there

1237
01:10:21,876 --> 01:10:27,316
Speaker 5: it is, but also for my career. Yeah, you know

1238
01:10:27,476 --> 01:10:29,996
Speaker 5: I needed to hit a home run with that speech.

1239
01:10:30,156 --> 01:10:35,916
Speaker 5: It was placed what ten minutes into the first episode. Yeah,

1240
01:10:36,316 --> 01:10:43,036
Speaker 5: so HBO and everybody involved knows that if this show

1241
01:10:43,156 --> 01:10:46,396
Speaker 5: even airs, and the day we shot it, we didn't

1242
01:10:46,436 --> 01:10:48,916
Speaker 5: know if we were going to have a series. It

1243
01:10:49,116 --> 01:10:52,596
Speaker 5: depended on me hitting a home run with that speech.

1244
01:10:52,716 --> 01:10:56,556
Speaker 5: It was day three of an eighteen day shoot. We

1245
01:10:56,716 --> 01:11:00,516
Speaker 5: love Jeff, we think he's great, but man, does he

1246
01:11:00,596 --> 01:11:02,796
Speaker 5: have to hit a home run with his speech? Because

1247
01:11:02,876 --> 01:11:07,116
Speaker 5: that speech if we air will be when America sets

1248
01:11:07,196 --> 01:11:11,636
Speaker 5: down their remote. Yeah, they're watching, They're watching newsroom and

1249
01:11:12,036 --> 01:11:14,636
Speaker 5: I'll give you ten minutes. I'm out, Boom they go

1250
01:11:14,716 --> 01:11:18,356
Speaker 5: to something else. So that was that was important as

1251
01:11:18,396 --> 01:11:23,116
Speaker 5: to where it was placed and the day of we

1252
01:11:23,236 --> 01:11:25,956
Speaker 5: shot it in a place called College of the Canyons,

1253
01:11:25,996 --> 01:11:27,876
Speaker 5: which is an hour and a half out of LA

1254
01:11:28,596 --> 01:11:31,996
Speaker 5: because they had purple seats, which Northwestern had purple seats,

1255
01:11:32,476 --> 01:11:36,196
Speaker 5: and an auditorium Number two, three and four from HBO

1256
01:11:36,356 --> 01:11:42,996
Speaker 5: showed up that day. Sam Waterston, Olivia Mon Tom Sadowski,

1257
01:11:43,036 --> 01:11:48,036
Speaker 5: who were in the cast, drove out to watch it. Sam,

1258
01:11:48,276 --> 01:11:51,236
Speaker 5: who's a friend, later said, I just wanted to see

1259
01:11:51,236 --> 01:11:55,876
Speaker 5: if I had a job or not. That's what was

1260
01:11:55,956 --> 01:11:58,996
Speaker 5: at stake. Yeah, that was what was at stake. And

1261
01:11:59,076 --> 01:12:02,036
Speaker 5: I and I, you know, and I told Aaron, I

1262
01:12:02,156 --> 01:12:04,556
Speaker 5: and I and I knew and I had been around

1263
01:12:04,636 --> 01:12:07,276
Speaker 5: long enough and I knew that. You know, you've got

1264
01:12:07,356 --> 01:12:09,436
Speaker 5: to hit a home run. You can't hit a sing alert.

1265
01:12:09,636 --> 01:12:12,756
Speaker 5: You got to hit it over the fence first take.

1266
01:12:13,476 --> 01:12:15,796
Speaker 5: So I did the work, you know, like any any

1267
01:12:15,836 --> 01:12:19,236
Speaker 5: actor would do. You memorize, you wrap it, you work it,

1268
01:12:19,356 --> 01:12:21,356
Speaker 5: you work it, you make the choices, you get it

1269
01:12:21,436 --> 01:12:23,396
Speaker 5: so you can ride it like you're riding a horse.

1270
01:12:24,236 --> 01:12:28,156
Speaker 5: And they they shot this way first, and then when

1271
01:12:28,196 --> 01:12:30,436
Speaker 5: they turned around they said, are you ready. I said yeah,

1272
01:12:31,516 --> 01:12:34,596
Speaker 5: and uh, rolled camera and I hit a home run

1273
01:12:34,716 --> 01:12:35,396
Speaker 5: on the first tap.

1274
01:12:36,436 --> 01:12:36,716
Speaker 1: Wow.

1275
01:12:37,236 --> 01:12:40,796
Speaker 5: I looked over at the video village and they were

1276
01:12:40,876 --> 01:12:45,996
Speaker 5: crying wow, and not the performance, yeah, but what it said.

1277
01:12:46,916 --> 01:12:49,636
Speaker 5: And they knew at that moment they had a series,

1278
01:12:49,916 --> 01:12:53,996
Speaker 5: they had a show, and they had a macaboy and

1279
01:12:54,516 --> 01:12:56,916
Speaker 5: you know. And then we did a second take and

1280
01:12:57,276 --> 01:13:00,476
Speaker 5: and Greg Matola, director came up and said, okay, on

1281
01:13:00,556 --> 01:13:05,316
Speaker 5: this one, the second half of the speech, instead of

1282
01:13:05,516 --> 01:13:10,436
Speaker 5: you know, maintaining the anger all the way through, wish

1283
01:13:10,516 --> 01:13:14,356
Speaker 5: it could be again the greatest country in the world,

1284
01:13:14,836 --> 01:13:17,916
Speaker 5: melancholy and so you can see the change. So and

1285
01:13:17,956 --> 01:13:19,436
Speaker 5: then we did a whole bunch of other shots. But

1286
01:13:19,596 --> 01:13:22,956
Speaker 5: that became the way we did it was to ban

1287
01:13:23,196 --> 01:13:25,876
Speaker 5: here's the big rant, chew out the little sorority girl,

1288
01:13:26,396 --> 01:13:28,556
Speaker 5: and then wish it could be and here's what we

1289
01:13:28,636 --> 01:13:31,476
Speaker 5: could be when we didn't belittle education. When we did,

1290
01:13:33,636 --> 01:13:37,356
Speaker 5: you know, and get emotional about it. And that's at

1291
01:13:37,396 --> 01:13:38,876
Speaker 5: the end of that day, and we knew we were

1292
01:13:38,916 --> 01:13:39,716
Speaker 5: going to have a series.

1293
01:13:40,556 --> 01:13:42,756
Speaker 1: I you know, we we we had Rob low On,

1294
01:13:43,156 --> 01:13:46,276
Speaker 1: we brought up Sorkin, and it's like, he's arguably one

1295
01:13:46,316 --> 01:13:48,836
Speaker 1: of my favorite writers, whether it's television or movies. And

1296
01:13:49,156 --> 01:13:52,796
Speaker 1: I saw it from immediately when my parents rented Malice

1297
01:13:53,036 --> 01:13:55,476
Speaker 1: years ago, which I think is this underrated movie that

1298
01:13:55,596 --> 01:13:58,076
Speaker 1: he did, you know in the nineties or maybe even

1299
01:13:58,156 --> 01:14:01,716
Speaker 1: the Ladies, but early nineties at that it's like, I mean, what,

1300
01:14:01,996 --> 01:14:03,876
Speaker 1: what's that experience like working with somebody because you were

1301
01:14:03,916 --> 01:14:05,796
Speaker 1: so many diferent directors, was working with somebody who's so

1302
01:14:05,996 --> 01:14:10,596
Speaker 1: dialogue specific and his words are like like you said earlier,

1303
01:14:10,756 --> 01:14:13,116
Speaker 1: it's it's a it's a you know, it's a dance.

1304
01:14:13,356 --> 01:14:16,876
Speaker 1: You know, you're but his words are so you know,

1305
01:14:17,196 --> 01:14:21,796
Speaker 1: there's nuances to every sentence, like you know, like how

1306
01:14:21,876 --> 01:14:24,236
Speaker 1: much fun were you were you having working on that show?

1307
01:14:24,316 --> 01:14:25,116
Speaker 1: Working with Sorkin.

1308
01:14:25,916 --> 01:14:29,036
Speaker 5: It's the advantage to to working on anything where there's

1309
01:14:29,116 --> 01:14:33,596
Speaker 5: just one writer. Yeah, it's his voice, it's just written.

1310
01:14:35,636 --> 01:14:39,516
Speaker 5: You know. Noah baumback on Squid in the Whale, love.

1311
01:14:39,396 --> 01:14:41,796
Speaker 1: That movie very under dude. You were in two You

1312
01:14:41,916 --> 01:14:44,076
Speaker 1: were in two of my favorite movies that year with

1313
01:14:44,156 --> 01:14:47,156
Speaker 1: Good Night, Good Luck and Squid in the Whale Love

1314
01:14:47,276 --> 01:14:47,756
Speaker 1: that movie.

1315
01:14:49,636 --> 01:14:52,436
Speaker 5: That was Noah writing about his dad, and there weren't

1316
01:14:52,676 --> 01:14:55,996
Speaker 5: four other writers on it. Woody, you know in Purple

1317
01:14:56,076 --> 01:15:01,036
Speaker 5: Rosa Cairo, it' should it's it's having that singular voice,

1318
01:15:01,676 --> 01:15:03,836
Speaker 5: and you have that in the theater, you know, whether

1319
01:15:03,916 --> 01:15:07,556
Speaker 5: it's Broadway or whatever it is. There is one playwright.

1320
01:15:07,796 --> 01:15:11,116
Speaker 5: There isn't a committee of play rights. There aren't three

1321
01:15:11,236 --> 01:15:14,036
Speaker 5: play playwrights that have been on the script, and we're

1322
01:15:14,076 --> 01:15:16,356
Speaker 5: going to give it to another one, which is what

1323
01:15:16,476 --> 01:15:19,396
Speaker 5: Hollywood does. You know, you get to you know, the

1324
01:15:19,556 --> 01:15:22,756
Speaker 5: set and ten screen you know, five screenwriters, and we're

1325
01:15:22,796 --> 01:15:27,676
Speaker 5: on our twelve draft and so yeah, you can note

1326
01:15:27,756 --> 01:15:29,836
Speaker 5: things to death. Well that wasn't the case with Aaron

1327
01:15:30,156 --> 01:15:32,436
Speaker 5: his you know, and once you pick up his rhythm,

1328
01:15:33,756 --> 01:15:37,076
Speaker 5: it's pretty clear. It's it's not hard to You just

1329
01:15:37,116 --> 01:15:39,676
Speaker 5: got to learn it and then be able to roll it.

1330
01:15:39,956 --> 01:15:42,356
Speaker 5: And it really was the best when you can roll it.

1331
01:15:42,516 --> 01:15:44,876
Speaker 5: And and all the people on West Wing, I mean,

1332
01:15:44,956 --> 01:15:48,516
Speaker 5: I studied that show and I told Erin, I watched

1333
01:15:48,596 --> 01:15:50,476
Speaker 5: that show not just for the acting, but I watched

1334
01:15:50,516 --> 01:15:56,036
Speaker 5: the writing and the way they could just you know,

1335
01:15:56,236 --> 01:16:00,276
Speaker 5: it was it was just like going down on rapids

1336
01:16:00,316 --> 01:16:04,636
Speaker 5: of a river. Yeah, Aaron's the river and and it's

1337
01:16:04,716 --> 01:16:08,396
Speaker 5: it's you just got to find that that rhythm, and

1338
01:16:08,476 --> 01:16:13,556
Speaker 5: it's there. And I never had a problem with you know, Aaron,

1339
01:16:13,596 --> 01:16:15,436
Speaker 5: can we talk about this. I don't know what I'm

1340
01:16:15,476 --> 01:16:18,076
Speaker 5: doing here. I don't know my choices. I know it

1341
01:16:18,236 --> 01:16:22,356
Speaker 5: was always very clear what Accaboy wanted, what he didn't want,

1342
01:16:22,436 --> 01:16:24,676
Speaker 5: what he was fighting against, what he was saying. It

1343
01:16:24,756 --> 01:16:27,396
Speaker 5: was always you just had to learn it. And you know,

1344
01:16:27,516 --> 01:16:29,956
Speaker 5: coming from the theater where you didn't change your word,

1345
01:16:30,836 --> 01:16:33,316
Speaker 5: you know, unless you went to the playwright and asked permission.

1346
01:16:34,396 --> 01:16:36,236
Speaker 5: You know, it wasn't until you go to Hollywood where

1347
01:16:36,236 --> 01:16:38,956
Speaker 5: you see the star walking on the set with pages going, yeah,

1348
01:16:38,996 --> 01:16:41,076
Speaker 5: I rewrote the end of the movie. Take a look

1349
01:16:41,116 --> 01:16:45,356
Speaker 5: at it. Okay, you know that wasn't that. Will we

1350
01:16:45,436 --> 01:16:48,396
Speaker 5: don't change your word? Okay? Great, I don't have to

1351
01:16:48,436 --> 01:16:52,436
Speaker 5: worry about rewriting anything in my head. Good, terrific? Great?

1352
01:16:52,516 --> 01:16:53,556
Speaker 1: Oh I love that.

1353
01:16:53,956 --> 01:16:54,156
Speaker 5: Yeah.

1354
01:16:54,836 --> 01:16:57,996
Speaker 1: Note to all the people making anything in the Alien franchise,

1355
01:16:58,196 --> 01:17:04,676
Speaker 1: go back to one writer. Please please let James Cameron

1356
01:17:04,756 --> 01:17:08,036
Speaker 1: do it again. No more Alien three or Prometheus is sorry.

1357
01:17:08,116 --> 01:17:10,876
Speaker 1: I'm just that's my note to the Alien franchise. I

1358
01:17:10,956 --> 01:17:13,796
Speaker 1: love that franchise so much, but dude, well, yeah, Sorkin, Dude,

1359
01:17:13,836 --> 01:17:15,556
Speaker 1: I mean, how many people go back to that speech

1360
01:17:15,636 --> 01:17:18,516
Speaker 1: with Martin Sheen talking to that that Christian girl going

1361
01:17:18,596 --> 01:17:20,836
Speaker 1: through the Bible verses? I mean that that speech is

1362
01:17:20,876 --> 01:17:24,036
Speaker 1: up there with that people. I mean it really and

1363
01:17:24,196 --> 01:17:26,836
Speaker 1: especially the direction that America's gone, you know, and and

1364
01:17:26,876 --> 01:17:28,996
Speaker 1: there's still, like we talked about earlier, the hope of it.

1365
01:17:29,116 --> 01:17:34,876
Speaker 1: I mean, your character is speaking truth and and he

1366
01:17:35,396 --> 01:17:38,316
Speaker 1: Aaron just knows and everything that he's done, whether it's

1367
01:17:38,876 --> 01:17:42,516
Speaker 1: you know, sports writers or Saturday Night Live writers or

1368
01:17:42,636 --> 01:17:46,636
Speaker 1: talk show, you know, whatever it is fucking social network.

1369
01:17:46,796 --> 01:17:51,596
Speaker 1: I mean, there's it's just brilliant line after brilliant line,

1370
01:17:51,996 --> 01:17:54,796
Speaker 1: and and it's it's just to be able to see,

1371
01:17:55,116 --> 01:17:57,836
Speaker 1: you know, you do that speech, and just as we

1372
01:17:57,876 --> 01:17:59,796
Speaker 1: talk to you now about it, it's that makes it

1373
01:17:59,876 --> 01:18:02,036
Speaker 1: even better, like just to know that it was like shit,

1374
01:18:02,076 --> 01:18:05,436
Speaker 1: you guys weren't even picked up at that point, did.

1375
01:18:05,436 --> 01:18:06,276
Speaker 5: You chunk it at all?

1376
01:18:06,396 --> 01:18:08,596
Speaker 1: You didn't, You didn't like, were there moments when you

1377
01:18:08,636 --> 01:18:10,076
Speaker 1: were doing it that you were like at the beginning

1378
01:18:10,076 --> 01:18:11,716
Speaker 1: when you were running it like, oh fuck, all right,

1379
01:18:11,716 --> 01:18:13,236
Speaker 1: what am I gonna say here? Or did you see

1380
01:18:13,276 --> 01:18:15,356
Speaker 1: it immediately? You saw it immediately? Right?

1381
01:18:15,796 --> 01:18:18,436
Speaker 5: Well, I you know, I did the work so that

1382
01:18:18,556 --> 01:18:22,876
Speaker 5: I was prepared and then you know I hit it.

1383
01:18:23,756 --> 01:18:24,636
Speaker 1: But you definitely hit it.

1384
01:18:24,916 --> 01:18:27,636
Speaker 5: Any actor, you know, you open on Broadway, any actor

1385
01:18:27,716 --> 01:18:29,996
Speaker 5: that opens and you hit it. You just have to

1386
01:18:30,076 --> 01:18:33,796
Speaker 5: do the work to do that. And so I did.

1387
01:18:34,036 --> 01:18:39,476
Speaker 5: That's all I was, just I did it was you know,

1388
01:18:39,596 --> 01:18:42,116
Speaker 5: one of Aaron's heroes I think as a writer was

1389
01:18:42,156 --> 01:18:46,476
Speaker 5: Patty Chayefsky. You know, he's another guy that you know,

1390
01:18:46,636 --> 01:18:50,836
Speaker 5: you see William Holden and fade dunaway in a scene

1391
01:18:51,076 --> 01:18:56,996
Speaker 5: from Network and it's it's it's holding and done away.

1392
01:18:57,196 --> 01:18:59,996
Speaker 5: But there are three people in that scene, and the

1393
01:19:00,116 --> 01:19:03,996
Speaker 5: other one is Patty Chaievsky, And that's what Sorkin does

1394
01:19:05,116 --> 01:19:09,876
Speaker 5: and Scott Frank does. I was like, no one did

1395
01:19:09,916 --> 01:19:12,396
Speaker 5: it was quid in the whale. That's when when it's

1396
01:19:12,516 --> 01:19:15,596
Speaker 5: okay that it's written, you know, the actor's job is

1397
01:19:15,676 --> 01:19:19,236
Speaker 5: to make it sound like it isn't. Yeah, and that's

1398
01:19:19,556 --> 01:19:21,596
Speaker 5: that's you know, that's where we come in.

1399
01:19:22,036 --> 01:19:23,956
Speaker 1: So I love that. Oh, I love that, all right,

1400
01:19:24,276 --> 01:19:26,836
Speaker 1: speaking of somebody that wrote words that they had nothing

1401
01:19:26,876 --> 01:19:28,956
Speaker 1: to do with. The next song, Woodstock, was written by

1402
01:19:29,036 --> 01:19:30,876
Speaker 1: Joni Mitchell, and it's.

1403
01:19:30,756 --> 01:19:33,796
Speaker 5: Also she didn't go. She didn't go to Woodstock.

1404
01:19:34,476 --> 01:19:38,476
Speaker 1: She did not go, she graham Nash. Her boyfriend told

1405
01:19:38,516 --> 01:19:40,996
Speaker 1: her about it, So this is her writing a song

1406
01:19:41,116 --> 01:19:44,676
Speaker 1: about what he said. She was too busy doing Ladies

1407
01:19:44,716 --> 01:19:48,156
Speaker 1: in the Canyon, but she wrote the song. As graham

1408
01:19:48,276 --> 01:19:51,996
Speaker 1: Nash described it, it's a beautiful song. I mean, it's

1409
01:19:52,036 --> 01:19:53,876
Speaker 1: too bad that you couldn't go to Woodstock. You know,

1410
01:19:54,596 --> 01:19:55,716
Speaker 1: your dad fucking had.

1411
01:19:55,876 --> 01:19:57,556
Speaker 5: I had a friend of mine, an actor friend of

1412
01:19:57,556 --> 01:20:00,996
Speaker 5: mine from New York, who did go. It was a nightmare.

1413
01:20:01,676 --> 01:20:06,316
Speaker 5: I hate it, the blud it took. We couldn't get out,

1414
01:20:06,396 --> 01:20:08,716
Speaker 5: we couldn't get in. We go Oh my god. I mean,

1415
01:20:08,756 --> 01:20:11,236
Speaker 5: he just it just it just destroyed it for me.

1416
01:20:12,076 --> 01:20:14,756
Speaker 1: I wanted to go to Woodstock ninety nine so bad,

1417
01:20:14,996 --> 01:20:18,236
Speaker 1: and I'm so glad in retrospect that I didn't, because

1418
01:20:18,276 --> 01:20:20,756
Speaker 1: I love the documentaries of the mess of it. I mean,

1419
01:20:20,996 --> 01:20:25,716
Speaker 1: it's it's just, you know, it doesn't look enjoyable at all.

1420
01:20:25,836 --> 01:20:28,156
Speaker 1: And at least with the original Woodstock there was a

1421
01:20:28,356 --> 01:20:31,356
Speaker 1: vibe and you know, there boobs out and you know

1422
01:20:31,436 --> 01:20:33,876
Speaker 1: people dancing in the mud. I mean, you get all

1423
01:20:33,956 --> 01:20:35,956
Speaker 1: you get Jimmy and you got Sly in the family

1424
01:20:36,076 --> 01:20:39,316
Speaker 1: Stone and and and former guests of the podcast to

1425
01:20:39,396 --> 01:20:43,596
Speaker 1: headline it blood, sweat and tears, just which is crazy

1426
01:20:43,796 --> 01:20:45,756
Speaker 1: just to know that. So I wanted to ask you

1427
01:20:46,396 --> 01:20:50,116
Speaker 1: what was the greatest event that had the biggest impact

1428
01:20:50,196 --> 01:20:52,476
Speaker 1: on you was, whether at a concert, a play, or

1429
01:20:52,556 --> 01:20:55,076
Speaker 1: a movie or an album. But like this, I just

1430
01:20:55,156 --> 01:20:57,956
Speaker 1: like to stick to more live. Something you saw live.

1431
01:20:59,356 --> 01:21:05,556
Speaker 5: Ooh, ooh ooh. I was playing guitar. I was an

1432
01:21:05,596 --> 01:21:08,916
Speaker 5: off Broadway actor in the late seventies and I was

1433
01:21:09,116 --> 01:21:14,916
Speaker 5: playing guitar and I could fingerpick a little, and I

1434
01:21:14,996 --> 01:21:17,516
Speaker 5: wanted to get better. And I went to the bottom

1435
01:21:17,636 --> 01:21:22,356
Speaker 5: line and I saw Doc Watson and Merle Watson and

1436
01:21:22,516 --> 01:21:25,596
Speaker 5: T Michael Coleman the bass player, just the three of them,

1437
01:21:25,876 --> 01:21:29,396
Speaker 5: and that blew me away. That that made me want

1438
01:21:29,476 --> 01:21:34,676
Speaker 5: to learn what Doc was doing or deep River Blues

1439
01:21:34,796 --> 01:21:36,716
Speaker 5: or something, you know, which I can play now, But

1440
01:21:38,596 --> 01:21:40,996
Speaker 5: that was like that was that was a mountain to

1441
01:21:41,796 --> 01:21:45,236
Speaker 5: try to climb, to try to what he was doing

1442
01:21:45,316 --> 01:21:51,636
Speaker 5: and what they were doing together, and just with acoustic guitars.

1443
01:21:52,916 --> 01:21:55,716
Speaker 5: That and to be in a smaller room, like the

1444
01:21:55,756 --> 01:21:58,436
Speaker 5: bottom line was maybe it was I'm guessing three hundred

1445
01:21:58,436 --> 01:22:03,596
Speaker 5: seats and to see somebody that I had his album,

1446
01:22:03,756 --> 01:22:06,676
Speaker 5: somebody had turned me on to him, and there he was,

1447
01:22:06,836 --> 01:22:09,756
Speaker 5: and I'm gonna go see him live and oh and

1448
01:22:09,996 --> 01:22:14,876
Speaker 5: he's blind, by the way. You know that that changed me.

1449
01:22:15,076 --> 01:22:18,716
Speaker 5: That that sent me to the Tamblature books of Doc

1450
01:22:18,876 --> 01:22:23,916
Speaker 5: and Stefan Grossman and people like that. That was that

1451
01:22:24,076 --> 01:22:24,636
Speaker 5: was a trigger.

1452
01:22:26,036 --> 01:22:27,076
Speaker 1: How long ago was that? You said?

1453
01:22:27,076 --> 01:22:27,436
Speaker 5: I forgot?

1454
01:22:27,476 --> 01:22:28,836
Speaker 1: You said how old were you when.

1455
01:22:28,756 --> 01:22:31,996
Speaker 5: He said the late seventies, my seventies.

1456
01:22:32,116 --> 01:22:37,596
Speaker 1: Yeah, something about live music that you know I don't.

1457
01:22:37,716 --> 01:22:41,116
Speaker 1: I are my writer, Morty. Well, I'll take it to this.

1458
01:22:41,596 --> 01:22:43,996
Speaker 1: We had the biggest music critic on the internet, Anthony

1459
01:22:44,036 --> 01:22:46,436
Speaker 1: fantana On who has this show on the YouTube. It's

1460
01:22:46,476 --> 01:22:48,596
Speaker 1: got like three million subscribers, called the Needle Drop. He's

1461
01:22:48,636 --> 01:22:51,276
Speaker 1: like the dude on the internet the reviews records a

1462
01:22:51,316 --> 01:22:53,716
Speaker 1: lot of younger stuff, older stuff too. He's a really

1463
01:22:53,756 --> 01:22:56,516
Speaker 1: good dude. And we had done Prince nineteen ninety nine

1464
01:22:56,556 --> 01:22:58,516
Speaker 1: and I asked him who's about to make their Purple

1465
01:22:58,636 --> 01:23:01,956
Speaker 1: Rain and he said, Tyler the creator And he's a

1466
01:23:02,036 --> 01:23:04,076
Speaker 1: young guy, you know, hip hop dude, but all this

1467
01:23:04,236 --> 01:23:06,676
Speaker 1: kids love him. And our writer Morty took his daughter

1468
01:23:06,836 --> 01:23:09,636
Speaker 1: and he was playing Madison Square Garden and nothing to do,

1469
01:23:09,796 --> 01:23:11,676
Speaker 1: no shows, and so I went on a whim. Don't

1470
01:23:11,716 --> 01:23:13,836
Speaker 1: know any of his songs, and there was a moment

1471
01:23:13,876 --> 01:23:17,356
Speaker 1: where he is singing, rapping, and then and then that

1472
01:23:17,516 --> 01:23:19,076
Speaker 1: the to the one side of the audience and the

1473
01:23:19,156 --> 01:23:20,836
Speaker 1: lights come on and you see the other side, you

1474
01:23:20,876 --> 01:23:23,756
Speaker 1: see the arena that side, and it's all these kids

1475
01:23:23,956 --> 01:23:27,076
Speaker 1: just singing his lyrics. I don't know any of the songs,

1476
01:23:27,196 --> 01:23:29,316
Speaker 1: and it was just it moved me so much because

1477
01:23:29,356 --> 01:23:32,036
Speaker 1: it was like, man, that's their dude, and I remember

1478
01:23:32,156 --> 01:23:35,036
Speaker 1: being that kid. And and it's like it's why I

1479
01:23:35,156 --> 01:23:38,196
Speaker 1: go to concerts NonStop. There's nothing. It's the same way

1480
01:23:38,276 --> 01:23:40,516
Speaker 1: we go to the movies. There's something about sitting in

1481
01:23:40,636 --> 01:23:44,836
Speaker 1: that dark room with strangers, feeling that you know that

1482
01:23:45,076 --> 01:23:47,716
Speaker 1: that moment. But but with live music, it's it's different

1483
01:23:47,756 --> 01:23:50,516
Speaker 1: than any other art form, you know, like whereas a.

1484
01:23:50,556 --> 01:23:53,716
Speaker 5: Movie, I agree with you, I think theater can be

1485
01:23:53,876 --> 01:23:54,476
Speaker 5: that way too.

1486
01:23:54,756 --> 01:23:55,436
Speaker 1: Yeah, I agree.

1487
01:23:55,796 --> 01:23:58,356
Speaker 5: I think live music has it over theater and and

1488
01:23:58,516 --> 01:24:03,396
Speaker 5: that AI can't do. Now what Tyler did. No, Tyler's

1489
01:24:03,396 --> 01:24:07,276
Speaker 5: got to walk on that stage and have done the

1490
01:24:07,356 --> 01:24:11,076
Speaker 5: work to be that good tonight just for you in

1491
01:24:11,196 --> 01:24:16,836
Speaker 5: this room. And and AI can't do that movies, you know.

1492
01:24:17,156 --> 01:24:19,476
Speaker 5: I think the day's coming when we can see Tom

1493
01:24:19,556 --> 01:24:23,516
Speaker 5: Hanks at thirty years old. Sure, and everybody around him

1494
01:24:23,596 --> 01:24:26,996
Speaker 5: is AI and so is Tom. And and as long

1495
01:24:27,076 --> 01:24:29,076
Speaker 5: as the audience is okay with that and it makes

1496
01:24:29,116 --> 01:24:33,276
Speaker 5: a hundred million, we're good. You know, even you know

1497
01:24:33,356 --> 01:24:35,836
Speaker 5: you brought up live music thing is different. I think

1498
01:24:35,916 --> 01:24:39,076
Speaker 5: live music is you know, Springsteen's got to get out

1499
01:24:39,076 --> 01:24:41,996
Speaker 5: there and do it. Yeah, you still just had to

1500
01:24:42,236 --> 01:24:44,636
Speaker 5: walk on the stage for four A Way Street and

1501
01:24:44,796 --> 01:24:45,756
Speaker 5: hit it, you know.

1502
01:24:46,276 --> 01:24:48,076
Speaker 1: But we can watch Squid in the Whale and feel

1503
01:24:48,116 --> 01:24:50,836
Speaker 1: the awkward moments that that are in that movie. I

1504
01:24:50,916 --> 01:24:53,876
Speaker 1: remember squirming at certain parts by how uncomfortable it was,

1505
01:24:53,956 --> 01:24:57,316
Speaker 1: whether it was with Jesse's character, your character, I mean,

1506
01:24:57,356 --> 01:25:01,156
Speaker 1: because it's it's life and and that's a beautiful thing.

1507
01:25:01,316 --> 01:25:03,796
Speaker 1: That's that's something that that you keep. No, dude, it's

1508
01:25:04,636 --> 01:25:06,316
Speaker 1: every movie I go to see at the AMC. When

1509
01:25:06,396 --> 01:25:09,516
Speaker 1: Nicole Kidman comes out and does that speech. She made

1510
01:25:09,556 --> 01:25:12,756
Speaker 1: twenty five million dollars for literally just wearing a nice

1511
01:25:12,796 --> 01:25:15,996
Speaker 1: dress and saying movies rule, we cry, we laugh, there's

1512
01:25:16,076 --> 01:25:19,396
Speaker 1: everybody cheers for that, you know, and it's it's a beautiful,

1513
01:25:19,396 --> 01:25:20,556
Speaker 1: beautiful thing. But I'll say it.

1514
01:25:20,676 --> 01:25:22,876
Speaker 5: I hope it hangs song.

1515
01:25:23,476 --> 01:25:27,636
Speaker 1: Yeah, just no, and you're you know, you're I dig it,

1516
01:25:27,716 --> 01:25:30,596
Speaker 1: I dig it for sure, all right, Deja Vu, We've

1517
01:25:30,596 --> 01:25:32,516
Speaker 1: got a couple more. Let's see, I got a little

1518
01:25:32,676 --> 01:25:35,316
Speaker 1: Morty just sent me these. Deja Vu is a poigned

1519
01:25:35,436 --> 01:25:39,396
Speaker 1: song with a beautifully baroque intro section has David Crosby

1520
01:25:39,436 --> 01:25:43,876
Speaker 1: writing about reincarnation in the Buddhist belief that energy never

1521
01:25:43,996 --> 01:25:47,916
Speaker 1: goes away, it just keeps recycling. While carry On was

1522
01:25:47,996 --> 01:25:50,436
Speaker 1: done in like eight hours from start to finish, this

1523
01:25:50,596 --> 01:25:54,996
Speaker 1: track was an arduous and laborious process to get done.

1524
01:25:55,876 --> 01:25:57,716
Speaker 1: Thoughts on dejav Vus the title track.

1525
01:26:02,316 --> 01:26:04,236
Speaker 5: And not a lot of thoughts about it. I mean,

1526
01:26:04,316 --> 01:26:07,356
Speaker 5: it's just it sounds like that was the one where

1527
01:26:08,436 --> 01:26:11,316
Speaker 5: Crossby got a lot of help. You know, that might

1528
01:26:11,396 --> 01:26:15,316
Speaker 5: have been one of those were you know, they were

1529
01:26:15,396 --> 01:26:18,956
Speaker 5: jumping in versus just letting him do what he does

1530
01:26:19,156 --> 01:26:27,156
Speaker 5: or you know, yeah, not a lot of thoughts about it.

1531
01:26:27,476 --> 01:26:28,956
Speaker 1: That's funny that you say that because when we were

1532
01:26:29,076 --> 01:26:30,716
Speaker 1: going through this, this is one that we were going

1533
01:26:30,796 --> 01:26:33,476
Speaker 1: to skip over because it just doesn't it's not bad.

1534
01:26:33,996 --> 01:26:35,836
Speaker 1: Obviously it's a title track of the song. But I

1535
01:26:35,956 --> 01:26:39,196
Speaker 1: like the question that he came up with. This might

1536
01:26:39,316 --> 01:26:41,716
Speaker 1: seem like a peculiar question, but you know, going back

1537
01:26:41,756 --> 01:26:43,796
Speaker 1: to any of the characters, if you've done a sequel

1538
01:26:43,836 --> 01:26:47,156
Speaker 1: with Harry, which you got to do the sequel with

1539
01:26:47,916 --> 01:26:50,556
Speaker 1: with dumb and number two, who would you want to

1540
01:26:50,636 --> 01:26:53,796
Speaker 1: pick up on and see where they're at now or

1541
01:26:53,996 --> 01:26:55,676
Speaker 1: just visit that character again?

1542
01:26:56,116 --> 01:26:56,316
Speaker 4: Oh?

1543
01:26:57,156 --> 01:27:01,236
Speaker 5: Man, oh I have now I'm trying to remember what I've.

1544
01:27:01,636 --> 01:27:04,116
Speaker 1: Denton Webb and Welcome Home Roxy Carmichael.

1545
01:27:04,716 --> 01:27:10,756
Speaker 5: No, I don't think so, you know, it would it would, Uh,

1546
01:27:12,036 --> 01:27:16,636
Speaker 5: it wouldn't, you know, Joshua Lawrence Chamberlain and Gettysburg after

1547
01:27:16,756 --> 01:27:22,156
Speaker 5: the war. Uh, you know we shot Gettysburg and then

1548
01:27:22,196 --> 01:27:26,316
Speaker 5: Gods in Generals, which was actually before the Gettysburg shot

1549
01:27:26,396 --> 01:27:31,116
Speaker 5: it out of order. Yeah, maybe to you know, see

1550
01:27:31,156 --> 01:27:35,436
Speaker 5: the third act of Joshua Lawrence Chamberlain's life, maybe.

1551
01:27:36,396 --> 01:27:38,396
Speaker 1: You'd want to go back to that time period again

1552
01:27:38,476 --> 01:27:41,996
Speaker 1: and have to like, you know, dirt it up and

1553
01:27:42,116 --> 01:27:44,636
Speaker 1: just those clothes did not look comfortable. I mean, I know,

1554
01:27:44,876 --> 01:27:48,676
Speaker 1: like consuming, they definitely fluff it up, but I mean

1555
01:27:48,756 --> 01:27:51,316
Speaker 1: those are like you're dressing like a Hasidic Jew. It's

1556
01:27:51,356 --> 01:27:53,356
Speaker 1: probably hot out there, you're wearing sick.

1557
01:27:54,396 --> 01:27:57,676
Speaker 5: It was Pennsylvania and ninety degrees ninety percent humidity, and

1558
01:27:57,756 --> 01:28:04,916
Speaker 5: we were not wool. Yeah yeah, and we all had,

1559
01:28:05,036 --> 01:28:07,916
Speaker 5: you know, fake beards and mustaches that kept peeling off.

1560
01:28:11,956 --> 01:28:13,996
Speaker 1: You're like a break head. Here can I work and

1561
01:28:13,996 --> 01:28:17,156
Speaker 1: put down my musket? Can I take off this eighty

1562
01:28:17,276 --> 01:28:18,316
Speaker 1: pounds of jacket?

1563
01:28:19,396 --> 01:28:21,676
Speaker 5: There was you know, we we had like the Battle

1564
01:28:21,716 --> 01:28:24,716
Speaker 5: of a little Round Top was you know, we kind

1565
01:28:24,756 --> 01:28:27,876
Speaker 5: of reenacted that, and the Confederates kept coming up the

1566
01:28:27,996 --> 01:28:30,236
Speaker 5: hill and up the hill. And you've got a lot

1567
01:28:30,316 --> 01:28:33,836
Speaker 5: of these reenactors, these guys that have drove across the

1568
01:28:33,916 --> 01:28:39,476
Speaker 5: country to be in this movie, and they're living intense

1569
01:28:40,516 --> 01:28:45,556
Speaker 5: and they're they're pretending it's the eighteen sixties for four

1570
01:28:45,636 --> 01:28:48,996
Speaker 5: straight weeks. You know, you're in your trailer. You come

1571
01:28:49,076 --> 01:28:53,276
Speaker 5: out here they are and they got their muskets and

1572
01:28:54,396 --> 01:28:57,916
Speaker 5: they just want to be transported back. You know, they're

1573
01:28:58,076 --> 01:29:01,116
Speaker 5: so into it. They made the movie better because you

1574
01:29:01,196 --> 01:29:04,076
Speaker 5: could run the camera across their faces and they were

1575
01:29:04,156 --> 01:29:10,116
Speaker 5: into it, you know, and after a take or two

1576
01:29:10,196 --> 01:29:14,436
Speaker 5: of the Confederates coming up, the assistant director had to

1577
01:29:14,476 --> 01:29:17,876
Speaker 5: get on the megaphone and say, all right, guys, some

1578
01:29:18,116 --> 01:29:21,956
Speaker 5: of you seem to be putting some kind of something

1579
01:29:22,116 --> 01:29:26,036
Speaker 5: in your muskets their paper wads. There's something. We've got

1580
01:29:26,156 --> 01:29:30,396
Speaker 5: to stop doing that because they actually, the Confederate actors

1581
01:29:30,516 --> 01:29:36,236
Speaker 5: are feeling feeling the pelt being pelted. Remember this is

1582
01:29:36,476 --> 01:29:39,996
Speaker 5: just a movie, you know. They get the guys to stop,

1583
01:29:40,236 --> 01:29:42,756
Speaker 5: you know, kind of tap tap tip. But you know,

1584
01:29:43,236 --> 01:29:44,876
Speaker 5: oh for good, I got that.

1585
01:29:47,796 --> 01:29:50,236
Speaker 1: That's hilarious into it.

1586
01:29:50,316 --> 01:29:51,156
Speaker 5: They were that into it.

1587
01:29:51,316 --> 01:29:53,516
Speaker 1: But that's that's so groovy though, man. I mean the

1588
01:29:53,636 --> 01:29:56,996
Speaker 1: people that be better, Yeah, I mean you want everybody

1589
01:29:57,076 --> 01:29:59,196
Speaker 1: to be on board and be excited, and like you

1590
01:29:59,276 --> 01:30:01,236
Speaker 1: get real people that are that's this is their this

1591
01:30:01,356 --> 01:30:03,436
Speaker 1: is their gig. They love doing the reenactments.

1592
01:30:03,916 --> 01:30:04,076
Speaker 5: You know.

1593
01:30:04,156 --> 01:30:05,716
Speaker 1: It's better than just getting a bunch of guys from

1594
01:30:05,796 --> 01:30:08,156
Speaker 1: Central Casting and just throwing ship on them.

1595
01:30:08,436 --> 01:30:08,996
Speaker 5: You know what I mean.

1596
01:30:09,356 --> 01:30:11,916
Speaker 1: Dude, Big ups to to the director who is the

1597
01:30:12,036 --> 01:30:15,156
Speaker 1: Ron Maxwell Man, he's in the producers. That's it's great.

1598
01:30:15,196 --> 01:30:18,156
Speaker 1: I remember seeing that all right, our house is a

1599
01:30:18,316 --> 01:30:21,316
Speaker 1: very very very fine house on Gay Down Gay. This

1600
01:30:21,396 --> 01:30:25,516
Speaker 1: song is written not just amongst breakups, but also tragedy,

1601
01:30:25,636 --> 01:30:29,796
Speaker 1: Like I mentioned, yeah, really heavy. Uh Graham Nash Joni

1602
01:30:29,876 --> 01:30:32,916
Speaker 1: had just broke up, so he writes a song about

1603
01:30:32,956 --> 01:30:38,836
Speaker 1: domestic bliss and David real tragic man mourning the loss

1604
01:30:38,876 --> 01:30:40,356
Speaker 1: of Christine. I want to make sure I get this right.

1605
01:30:40,436 --> 01:30:43,396
Speaker 1: Christine Hinton who gets into a car accident. I think

1606
01:30:43,436 --> 01:30:45,756
Speaker 1: she's on the way to the vet and the cat

1607
01:30:45,836 --> 01:30:48,276
Speaker 1: jumps on her lap and it causes her to drive

1608
01:30:48,316 --> 01:30:51,036
Speaker 1: off the road or crash into something, but she passes away.

1609
01:30:51,756 --> 01:30:51,916
Speaker 5: Uh.

1610
01:30:52,396 --> 01:30:54,556
Speaker 1: There is domestic bliss on the surface, but there is

1611
01:30:54,676 --> 01:30:56,116
Speaker 1: this absolute tragedy.

1612
01:30:58,076 --> 01:30:58,236
Speaker 4: You know.

1613
01:30:59,356 --> 01:31:03,596
Speaker 1: I don't know if I like this song on this

1614
01:31:03,916 --> 01:31:08,196
Speaker 1: record because it's it's I don't want to call it cheesy,

1615
01:31:08,396 --> 01:31:10,716
Speaker 1: because it's not a cheesy song. It's a beautiful song.

1616
01:31:11,196 --> 01:31:13,556
Speaker 1: And over the years I think i've you know, when

1617
01:31:13,556 --> 01:31:15,076
Speaker 1: I was younger, I might have made fun of it.

1618
01:31:15,556 --> 01:31:18,316
Speaker 1: As I've gotten older, you know, it's I think it's

1619
01:31:18,436 --> 01:31:21,756
Speaker 1: it's changed my opinion. But fitting it on the record,

1620
01:31:21,796 --> 01:31:24,436
Speaker 1: I just don't know if it fits with the vibe

1621
01:31:24,516 --> 01:31:27,636
Speaker 1: of this I feel like this and you know, it's

1622
01:31:27,676 --> 01:31:31,756
Speaker 1: more of a teacher children. But thoughts. I don't want

1623
01:31:31,756 --> 01:31:32,836
Speaker 1: to sit here and say it's bad. It's not a

1624
01:31:32,876 --> 01:31:35,356
Speaker 1: bad song. I mean it's a good song, but your thoughts, Jeff.

1625
01:31:35,956 --> 01:31:38,396
Speaker 5: My wife Kathleen does a sing along to raise some

1626
01:31:38,516 --> 01:31:41,396
Speaker 5: money for diabetes every summer and that's one of the

1627
01:31:41,476 --> 01:31:43,676
Speaker 5: songs they sing along. It's an easy song to sing

1628
01:31:43,756 --> 01:31:48,596
Speaker 5: along with. It's again, it's positive. It's it's at least,

1629
01:31:48,636 --> 01:31:50,796
Speaker 5: you know, to those who are just singing it, not

1630
01:31:50,956 --> 01:31:54,436
Speaker 5: really worried about what was going on when they wrote it. Yeah,

1631
01:31:54,996 --> 01:31:57,716
Speaker 5: you know, it's pretty and Graham did a great job

1632
01:31:57,796 --> 01:32:04,516
Speaker 5: of writing songs like that, and it it juxtaposed as

1633
01:32:04,556 --> 01:32:08,196
Speaker 5: well with Helpless and you know later on with you know,

1634
01:32:08,276 --> 01:32:10,676
Speaker 5: when Neil was you know, coming out with Southern Man

1635
01:32:10,836 --> 01:32:13,636
Speaker 5: and Ohio and all of that. I mean, it's to

1636
01:32:13,756 --> 01:32:17,996
Speaker 5: go from one side to the other, is you know,

1637
01:32:18,036 --> 01:32:20,076
Speaker 5: I give them credit for that. That's a lot from

1638
01:32:20,116 --> 01:32:23,596
Speaker 5: a songwriting standpoint, that's a that's a good range, it is.

1639
01:32:24,676 --> 01:32:27,516
Speaker 1: And speaking of range and starting at a certain spot,

1640
01:32:27,556 --> 01:32:30,756
Speaker 1: your second movie is Terms of Endearment. And in the

1641
01:32:30,836 --> 01:32:33,516
Speaker 1: movie you're not you're not playing the best character. You're

1642
01:32:33,556 --> 01:32:38,916
Speaker 1: playing Deb's husband who cheats on her and then ultimately

1643
01:32:39,076 --> 01:32:41,476
Speaker 1: she passes. But what was that like for your second movie?

1644
01:32:41,476 --> 01:32:44,116
Speaker 1: Because you're up there with Jack and Shirley and Debbie.

1645
01:32:45,396 --> 01:32:47,636
Speaker 1: I'm acting like I know here, Deborah, I'm sorry, you're

1646
01:32:47,676 --> 01:32:50,356
Speaker 1: playing this shitty guy. How hard was that for you

1647
01:32:50,876 --> 01:32:54,196
Speaker 1: as your second film to play with three powerhouses, especially

1648
01:32:54,596 --> 01:32:56,476
Speaker 1: Shirley McLean and Jack. I mean.

1649
01:32:58,316 --> 01:33:02,396
Speaker 5: It was it was going to it was like having

1650
01:33:02,476 --> 01:33:06,236
Speaker 5: a seat in a master's class. I've been acting, not

1651
01:33:06,396 --> 01:33:10,756
Speaker 5: just Shirley and Deborah, but Jack. I was twenty eight

1652
01:33:10,836 --> 01:33:13,796
Speaker 5: years old, and I just kept my mouth shut and

1653
01:33:13,956 --> 01:33:15,636
Speaker 5: I just I would go to the set when I

1654
01:33:15,756 --> 01:33:18,996
Speaker 5: wasn't supposed to be working, just so I could watch Jack,

1655
01:33:20,116 --> 01:33:23,956
Speaker 5: watch Shirley, watch Deborah. You know, they they I learned

1656
01:33:23,956 --> 01:33:28,116
Speaker 5: a lot on that movie. I was off Broadway next

1657
01:33:28,156 --> 01:33:32,196
Speaker 5: thing I know, I'm with those three people. So that was,

1658
01:33:34,516 --> 01:33:37,156
Speaker 5: you know, just hold up your end. And it was

1659
01:33:37,236 --> 01:33:42,436
Speaker 5: the character was so unlikable that nobody, no star, young

1660
01:33:42,596 --> 01:33:45,036
Speaker 5: star with a name at that time, wanted to do it.

1661
01:33:45,756 --> 01:33:47,516
Speaker 5: You know, I mean, you cheat on Deborah Winger and

1662
01:33:47,556 --> 01:33:50,876
Speaker 5: then she dies, you know, come on past. You know.

1663
01:33:54,756 --> 01:33:57,076
Speaker 5: I was thrilled to get it. I was thrilled to

1664
01:33:57,116 --> 01:33:59,356
Speaker 5: get it. I learned a lot. I learned a lot.

1665
01:33:59,836 --> 01:34:03,036
Speaker 1: Did they make you comfortable the way that you make

1666
01:34:03,356 --> 01:34:04,956
Speaker 1: younger actors comfortable being?

1667
01:34:05,156 --> 01:34:05,636
Speaker 5: You know, the way?

1668
01:34:05,836 --> 01:34:08,396
Speaker 1: Did you learn maybe that from them? I know you

1669
01:34:08,476 --> 01:34:11,276
Speaker 1: said your father also implied that in you. But you know,

1670
01:34:11,436 --> 01:34:12,556
Speaker 1: were they giving as well?

1671
01:34:13,636 --> 01:34:15,676
Speaker 5: Did she was? She was great with me. She knew

1672
01:34:15,716 --> 01:34:18,356
Speaker 5: I was, you know, a babe in the woods, and

1673
01:34:19,276 --> 01:34:23,276
Speaker 5: and she had just come off of the successive officer

1674
01:34:23,316 --> 01:34:26,556
Speaker 5: and a gentleman. Yes, she was. She was the Julia

1675
01:34:26,716 --> 01:34:31,476
Speaker 5: Roberts of her time at that moment, and she didn't

1676
01:34:31,516 --> 01:34:34,196
Speaker 5: have to be nice to me about anything, and she

1677
01:34:34,436 --> 01:34:38,676
Speaker 5: was she really you know, I felt fine, you know

1678
01:34:38,796 --> 01:34:41,476
Speaker 5: on the set with her. You know, Sureley was was

1679
01:34:41,876 --> 01:34:45,276
Speaker 5: was was terrific, but she and Deborah were kind of

1680
01:34:45,316 --> 01:34:47,036
Speaker 5: at each other, and so I stayed out of that.

1681
01:34:47,276 --> 01:34:49,876
Speaker 5: And then Jack showed up. But I really didn't have

1682
01:34:49,956 --> 01:34:53,716
Speaker 5: any scenes with Jack, and I didn't, you know, annoy

1683
01:34:53,876 --> 01:34:57,796
Speaker 5: him by sitting next to him on the set. You know,

1684
01:34:58,636 --> 01:35:03,556
Speaker 5: if I just I watched, I watched, I'm Jim Brooks

1685
01:35:04,716 --> 01:35:07,956
Speaker 5: brought me. I did. I still don't see dailies to

1686
01:35:08,076 --> 01:35:11,196
Speaker 5: this day, but Jim Brooks asked me if I wanted

1687
01:35:11,236 --> 01:35:13,116
Speaker 5: to see some dailies though of a scene that I

1688
01:35:13,276 --> 01:35:16,916
Speaker 5: wasn't in. I said yes, So he showed me the

1689
01:35:17,036 --> 01:35:21,156
Speaker 5: scene between Jack and Shirley in the kitchen. It was

1690
01:35:21,196 --> 01:35:24,796
Speaker 5: a two shot of the two of them and Jim

1691
01:35:25,156 --> 01:35:28,196
Speaker 5: or Jack goes into the I'm one hundred I'm one

1692
01:35:28,276 --> 01:35:31,276
Speaker 5: of one hundred and six fucking astronauts. You know. It's

1693
01:35:31,356 --> 01:35:35,596
Speaker 5: that speech. And he did about five takes. And this

1694
01:35:35,796 --> 01:35:38,396
Speaker 5: is back when, and maybe it still is, but back

1695
01:35:38,436 --> 01:35:41,356
Speaker 5: when films you could kind of rehearse on film, kind

1696
01:35:41,396 --> 01:35:44,596
Speaker 5: of learn the lines as you go, get used to it,

1697
01:35:45,716 --> 01:35:48,876
Speaker 5: find some choices, work off each other. And then about

1698
01:35:48,956 --> 01:35:55,356
Speaker 5: take six he took off really good. Great. Here comes

1699
01:35:55,436 --> 01:36:00,076
Speaker 5: take seven again, same, just different. Here's eight where he's

1700
01:36:00,116 --> 01:36:04,436
Speaker 5: even angrier. Here's nine where he undercuts it, he goes underneath.

1701
01:36:05,236 --> 01:36:08,756
Speaker 5: Then here's ten where he does something completely different from

1702
01:36:08,756 --> 01:36:13,636
Speaker 5: the other. And between six through ten, Jim Brooks turned

1703
01:36:13,636 --> 01:36:15,556
Speaker 5: around when that was the end of the takes. Jim

1704
01:36:15,636 --> 01:36:17,596
Speaker 5: turned to me and said, which one do I use?

1705
01:36:19,196 --> 01:36:23,956
Speaker 5: You know, and you watched Jack give the editor options

1706
01:36:25,516 --> 01:36:29,076
Speaker 5: and give him options too, that he was chasing impulses

1707
01:36:29,636 --> 01:36:33,196
Speaker 5: and Merrill does this, You know, that's where I learned

1708
01:36:33,236 --> 01:36:36,676
Speaker 5: that it wasn't about with theater where you rehearse for

1709
01:36:36,916 --> 01:36:38,796
Speaker 5: seven weeks and then you kind of lock it, and

1710
01:36:38,876 --> 01:36:41,276
Speaker 5: that's what you do from the first show on. It

1711
01:36:41,436 --> 01:36:44,196
Speaker 5: moves around, but you're supposed to kind of lock it.

1712
01:36:45,996 --> 01:36:48,436
Speaker 5: This is the opposite of that. You're chasing whatever you're

1713
01:36:48,476 --> 01:36:50,796
Speaker 5: feeling at this moment, and if it doesn't work, it's

1714
01:36:50,916 --> 01:36:54,756
Speaker 5: just takes number seven and you delete it. But to

1715
01:36:54,956 --> 01:37:00,076
Speaker 5: watch him kind of just trust his instincts and give

1716
01:37:00,276 --> 01:37:03,476
Speaker 5: Brooks options and then let him figure it out in

1717
01:37:03,516 --> 01:37:07,276
Speaker 5: the editing room is it was a different experience than

1718
01:37:07,396 --> 01:37:12,596
Speaker 5: doing the same thing for straight takes, uh, which which

1719
01:37:12,676 --> 01:37:16,916
Speaker 5: is a way to control your performance where the director

1720
01:37:16,956 --> 01:37:19,236
Speaker 5: only has that Well, he only did it the one way,

1721
01:37:19,316 --> 01:37:21,276
Speaker 5: so I guess we got to go with that. But

1722
01:37:21,476 --> 01:37:25,716
Speaker 5: Jack was was trusted Jim Brooks enough to give it

1723
01:37:25,796 --> 01:37:29,756
Speaker 5: to him different ways, and then so that Jim could

1724
01:37:30,076 --> 01:37:32,156
Speaker 5: could work with it, not only what Jim had written,

1725
01:37:32,276 --> 01:37:35,636
Speaker 5: but Jack's you know what Jack took from it and

1726
01:37:35,836 --> 01:37:38,076
Speaker 5: was able to roll with it. You know, that's where

1727
01:37:38,116 --> 01:37:40,276
Speaker 5: them that's where film is kind of a lot of fun.

1728
01:37:40,356 --> 01:37:43,236
Speaker 5: If that's where the magic happens, and you know, you

1729
01:37:43,396 --> 01:37:47,836
Speaker 5: only have to make it happen for the first time once. Yeah,

1730
01:37:48,316 --> 01:37:50,316
Speaker 5: you know, I think you've got to make it look

1731
01:37:50,396 --> 01:37:52,556
Speaker 5: like it's happening for the first time and it's shown

1732
01:37:52,596 --> 01:37:53,756
Speaker 5: over hundred and twelve.

1733
01:37:55,876 --> 01:37:58,196
Speaker 1: Well, I went to see my my buddies were in

1734
01:37:58,796 --> 01:38:03,836
Speaker 1: uh like Bob, Odenkirk and Burr and uh, oh my god,

1735
01:38:03,836 --> 01:38:05,516
Speaker 1: I can't think of his naything guy from Spinal Tap.

1736
01:38:06,436 --> 01:38:12,556
Speaker 1: Uh we're in uh uh not more, Michael McKean, We're

1737
01:38:12,596 --> 01:38:15,116
Speaker 1: in Glenburry, Glenn Ross and I went about five different

1738
01:38:15,156 --> 01:38:18,036
Speaker 1: times and it was cool seeing it was some shows

1739
01:38:18,076 --> 01:38:20,236
Speaker 1: it was funnier, some shows it was darker, and some

1740
01:38:20,396 --> 01:38:23,036
Speaker 1: shows it was uh, you know it was it was

1741
01:38:23,116 --> 01:38:25,356
Speaker 1: a little bit of both. But to see the choices

1742
01:38:25,396 --> 01:38:28,316
Speaker 1: that the actors made, you know, in that moment, because

1743
01:38:28,316 --> 01:38:30,996
Speaker 1: sometimes Bob was even funny, it was was mister Showbob

1744
01:38:31,076 --> 01:38:33,876
Speaker 1: and David and sometimes you know Burr. You know, Burr

1745
01:38:33,956 --> 01:38:35,916
Speaker 1: was always angry the whole time, which was great. But

1746
01:38:36,196 --> 01:38:39,956
Speaker 1: it really it really was this this really cool dance.

1747
01:38:40,036 --> 01:38:42,596
Speaker 1: And going off of what you said about about Jack,

1748
01:38:42,636 --> 01:38:45,156
Speaker 1: I mean, there's that great Matt Damon story about the

1749
01:38:45,236 --> 01:38:47,676
Speaker 1: departed talking to him where he's like, you know, and

1750
01:38:47,756 --> 01:38:49,876
Speaker 1: he's like, you know, I wouldn't have lasted so long

1751
01:38:49,956 --> 01:38:52,316
Speaker 1: if I wasn't a good writer. And it's like, you know,

1752
01:38:52,396 --> 01:38:53,996
Speaker 1: there was a scene where he shoots the girl and

1753
01:38:54,036 --> 01:38:55,676
Speaker 1: he's like, when if you cut right there, you know,

1754
01:38:55,756 --> 01:38:58,236
Speaker 1: but if you keep going and then I improve this

1755
01:38:58,476 --> 01:38:59,996
Speaker 1: and then but if you cut right you could cut

1756
01:39:00,076 --> 01:39:01,796
Speaker 1: right there, but if you keep going and let the

1757
01:39:01,876 --> 01:39:04,716
Speaker 1: camera roll and this lets him play around, and I think,

1758
01:39:05,116 --> 01:39:07,436
Speaker 1: you know, you know, I know that might have been

1759
01:39:07,436 --> 01:39:10,076
Speaker 1: the first time that he was working with James L. Brooks,

1760
01:39:10,076 --> 01:39:12,356
Speaker 1: but something like as good as it gets, where Jim

1761
01:39:13,036 --> 01:39:15,756
Speaker 1: uh and Jack are just I think at their best.

1762
01:39:16,076 --> 01:39:18,916
Speaker 1: I mean, it's just such a powerful performance and the

1763
01:39:19,036 --> 01:39:22,756
Speaker 1: writing and the story. You know, I wonder just like

1764
01:39:23,396 --> 01:39:28,716
Speaker 1: just how much you know they're they're just enjoying what

1765
01:39:29,276 --> 01:39:31,276
Speaker 1: you know, he's being given to say. And then how

1766
01:39:31,396 --> 01:39:34,796
Speaker 1: much Jack, who seems like he just really is is

1767
01:39:34,956 --> 01:39:37,196
Speaker 1: so good at at what he does, and especially from

1768
01:39:37,356 --> 01:39:39,756
Speaker 1: from working with so many great directors over the years

1769
01:39:39,836 --> 01:39:43,396
Speaker 1: that trust him, and you know, it's it's it's great

1770
01:39:43,476 --> 01:39:45,196
Speaker 1: you get you've worked with so many great people that

1771
01:39:45,356 --> 01:39:47,916
Speaker 1: you know, you've been able to really see like just

1772
01:39:48,356 --> 01:39:51,676
Speaker 1: the progression between you know, you know what bad acting is,

1773
01:39:51,716 --> 01:39:53,156
Speaker 1: you know what good acting is, and you know what

1774
01:39:53,276 --> 01:39:55,636
Speaker 1: being the character is. And I think someone like Jack

1775
01:39:55,756 --> 01:40:00,116
Speaker 1: or Christopher Walking and Meryl Streep those people in yourself.

1776
01:40:00,196 --> 01:40:02,036
Speaker 1: It's like you guys live in your characters and you

1777
01:40:02,196 --> 01:40:04,676
Speaker 1: and you you understand it. You know what your character wants,

1778
01:40:04,716 --> 01:40:06,396
Speaker 1: and once you know that, then you can have fun,

1779
01:40:07,036 --> 01:40:08,676
Speaker 1: you know, And that's that's the beauty of it.

1780
01:40:09,196 --> 01:40:12,316
Speaker 5: The other thing that I learned, especially on that movie

1781
01:40:12,396 --> 01:40:17,116
Speaker 5: and from someone as revered as Jack, is that it's

1782
01:40:17,916 --> 01:40:25,876
Speaker 5: because there's no rehearsal for film, it's guesswork. So this

1783
01:40:26,156 --> 01:40:29,316
Speaker 5: is your best guess as to what you think the

1784
01:40:29,436 --> 01:40:33,236
Speaker 5: scene is from this character's point of view. And maybe

1785
01:40:33,276 --> 01:40:36,356
Speaker 5: you know or maybe you don't know. And so you know,

1786
01:40:36,596 --> 01:40:39,796
Speaker 5: Jack from the get go is kind of going, what

1787
01:40:39,916 --> 01:40:41,916
Speaker 5: do you think if I do this or I do that?

1788
01:40:42,316 --> 01:40:48,156
Speaker 5: And Brooks, who's smart, brilliant, Yeah, try it because you

1789
01:40:48,436 --> 01:40:52,316
Speaker 5: never know. You get into editing and you're gonna wish

1790
01:40:52,396 --> 01:40:55,996
Speaker 5: you had that one where he wasn't as angry. You're

1791
01:40:56,036 --> 01:40:57,956
Speaker 5: gonna wish you had that one where he said, can

1792
01:40:57,996 --> 01:41:00,756
Speaker 5: I try it? Where I just I remember Jim, or

1793
01:41:00,996 --> 01:41:06,236
Speaker 5: Jim said to Jack, he goes, yeah, great job. I

1794
01:41:06,356 --> 01:41:08,356
Speaker 5: have an idea. It's kind of you know, out on

1795
01:41:08,436 --> 01:41:12,796
Speaker 5: a limb, and I Jack said, I love going out

1796
01:41:12,836 --> 01:41:17,076
Speaker 5: on limbs. I get in trouble out there, and I

1797
01:41:17,796 --> 01:41:22,516
Speaker 5: just risk it, risk it. And that's different than the theater.

1798
01:41:22,876 --> 01:41:26,636
Speaker 5: The theater is that's inside the rehearsal room, and then

1799
01:41:27,356 --> 01:41:29,956
Speaker 5: you know they, no, don't do that. Come over here,

1800
01:41:30,156 --> 01:41:32,276
Speaker 5: and maybe you find a way to you know, do

1801
01:41:32,396 --> 01:41:35,116
Speaker 5: the similar thing. But it's you know, it's weeks ago,

1802
01:41:35,316 --> 01:41:38,596
Speaker 5: this is on the day right now, roll it, boom,

1803
01:41:38,796 --> 01:41:42,556
Speaker 5: hit it. Give it to them. Now they have it.

1804
01:41:42,956 --> 01:41:45,116
Speaker 5: And now months later when they're in an editing room,

1805
01:41:45,316 --> 01:41:50,956
Speaker 5: they've got options because I learned that. It's because it's guesswork.

1806
01:41:52,316 --> 01:41:56,516
Speaker 5: You don't know for sure whether this is the only

1807
01:41:56,676 --> 01:41:59,716
Speaker 5: way to do the speech or the scene. You know,

1808
01:41:59,916 --> 01:42:02,996
Speaker 5: you you know, if you're moving on TV and it's one, two,

1809
01:42:03,116 --> 01:42:05,316
Speaker 5: three takes, got to move the cameras, then you got

1810
01:42:05,396 --> 01:42:07,516
Speaker 5: to make some choices and stick to them, and that's it.

1811
01:42:08,276 --> 01:42:15,476
Speaker 5: But if you give yourself some options, because that's that's

1812
01:42:15,516 --> 01:42:19,236
Speaker 5: where you write. The final draft of the movie is

1813
01:42:19,316 --> 01:42:21,916
Speaker 5: in the editing, Yeah, I did two Indy's where I

1814
01:42:21,996 --> 01:42:24,476
Speaker 5: wrote and directed and acted at him. And that's that's

1815
01:42:24,516 --> 01:42:28,316
Speaker 5: where I learned that where I'm going, Okay, the scene

1816
01:42:28,356 --> 01:42:31,556
Speaker 5: doesn't work, is there, like, God, is there a take

1817
01:42:31,636 --> 01:42:32,676
Speaker 5: where I didn't do? What?

1818
01:42:32,796 --> 01:42:32,956
Speaker 2: You know?

1819
01:42:33,516 --> 01:42:36,156
Speaker 5: And that's where you write the final draft And yeah,

1820
01:42:36,636 --> 01:42:39,156
Speaker 5: Brooks knew that and Jack knew that, And so let

1821
01:42:39,236 --> 01:42:41,996
Speaker 5: me give you a couple other options and in the

1822
01:42:42,076 --> 01:42:42,836
Speaker 5: event that you need.

1823
01:42:42,796 --> 01:42:46,396
Speaker 1: Them, Yeah, I love that. Not to get too off

1824
01:42:46,476 --> 01:42:48,356
Speaker 1: top of I mentioned Christopher Walking, there's that when he

1825
01:42:48,436 --> 01:42:52,516
Speaker 1: did Catch Me if you Can, and he has Spielberg

1826
01:42:52,596 --> 01:42:55,116
Speaker 1: being interviewed and he's just doing this thing talking to Leo,

1827
01:42:55,276 --> 01:42:58,276
Speaker 1: and he does this scene three different ways. He does

1828
01:42:58,316 --> 01:43:01,276
Speaker 1: it straight, he does it a little bit like more intense,

1829
01:43:01,316 --> 01:43:04,116
Speaker 1: and then the last one he starts crying, getting choked up,

1830
01:43:04,196 --> 01:43:06,996
Speaker 1: and it's like Spielberg's just blown away. He's I never

1831
01:43:07,036 --> 01:43:07,636
Speaker 1: even would have.

1832
01:43:07,676 --> 01:43:08,156
Speaker 5: Thought of that.

1833
01:43:09,116 --> 01:43:11,796
Speaker 1: He's giving this speech about like you know, it was

1834
01:43:11,796 --> 01:43:13,836
Speaker 1: either being the military or something. But it was just

1835
01:43:13,916 --> 01:43:16,436
Speaker 1: like I love that choice, and it's like, that's so

1836
01:43:16,796 --> 01:43:19,276
Speaker 1: fun just to be able to give the director and

1837
01:43:19,876 --> 01:43:21,716
Speaker 1: while them where they don't even think that, well, I

1838
01:43:21,716 --> 01:43:23,956
Speaker 1: didn't even think of trying it that way.

1839
01:43:24,956 --> 01:43:28,956
Speaker 5: It's, you know, the talent like Walkin does to do that,

1840
01:43:29,156 --> 01:43:32,356
Speaker 5: to give it to them three different ways instead of

1841
01:43:32,596 --> 01:43:35,396
Speaker 5: arguing about the only way my character would.

1842
01:43:35,196 --> 01:43:36,436
Speaker 1: Do this is X.

1843
01:43:37,036 --> 01:43:39,716
Speaker 5: Yeah, give it to him three different ways. He's Steven Spielberg.

1844
01:43:40,156 --> 01:43:43,516
Speaker 5: He's probably gonna make you look good, you know. Yeah. Yeah.

1845
01:43:44,596 --> 01:43:47,196
Speaker 5: The one that works for the story, which is a

1846
01:43:47,276 --> 01:43:51,236
Speaker 5: whole other thing. Yeah, is the choice you're making serving

1847
01:43:51,356 --> 01:43:56,716
Speaker 5: the story, probably to bring it back a little bit

1848
01:43:56,836 --> 01:44:01,436
Speaker 5: like the solo that you're doing in almost cut your hair,

1849
01:44:01,716 --> 01:44:05,236
Speaker 5: cut my hair? Does it serve the song? Or is

1850
01:44:05,276 --> 01:44:07,276
Speaker 5: it you just show it off? Yeah?

1851
01:44:07,636 --> 01:44:09,636
Speaker 1: Totally something that was that.

1852
01:44:09,756 --> 01:44:13,196
Speaker 5: Doesn't really fit it somehow and you don't quite know why,

1853
01:44:13,276 --> 01:44:17,636
Speaker 5: but it just doesn't. And again, when I saw Krogie Stilts,

1854
01:44:17,716 --> 01:44:20,356
Speaker 5: Nash and Young in Chicago, and when I saw Neil

1855
01:44:20,476 --> 01:44:25,196
Speaker 5: do those single note things way up high, for whatever reason,

1856
01:44:25,476 --> 01:44:29,276
Speaker 5: it was exactly what it needed to be and I

1857
01:44:29,436 --> 01:44:30,316
Speaker 5: completely got it.

1858
01:44:30,836 --> 01:44:35,116
Speaker 1: Yeah, talking about not touching something, we're gonna mention it.

1859
01:44:35,196 --> 01:44:36,556
Speaker 1: But for timing, I want to move on, because I

1860
01:44:36,556 --> 01:44:37,836
Speaker 1: want to get to Country Girl, because I like that

1861
01:44:37,956 --> 01:44:41,516
Speaker 1: question more. But for it's four and twenty. That was

1862
01:44:41,636 --> 01:44:45,036
Speaker 1: the song that Stills did by himself. When he brought

1863
01:44:45,076 --> 01:44:47,876
Speaker 1: it to the band, they said, it's perfect, do not

1864
01:44:48,116 --> 01:44:51,476
Speaker 1: touch it. Everything is great. I want to if you

1865
01:44:51,556 --> 01:44:53,756
Speaker 1: have any thoughts on that, you can or on four

1866
01:44:53,796 --> 01:44:55,516
Speaker 1: and twenty you can, you can mentioned. But I want

1867
01:44:55,556 --> 01:44:56,796
Speaker 1: to ask you the question for a country, what do

1868
01:44:56,876 --> 01:44:57,716
Speaker 1: you on?

1869
01:44:57,796 --> 01:44:58,716
Speaker 5: That is there?

1870
01:45:00,396 --> 01:45:01,916
Speaker 1: I think so let me let me take a look

1871
01:45:01,916 --> 01:45:05,356
Speaker 1: at the statistics. I'm pretty sure that I'm pretty crosby

1872
01:45:05,396 --> 01:45:10,476
Speaker 1: and nasting harmony parts again, he into, They planned to

1873
01:45:10,596 --> 01:45:13,196
Speaker 1: at least, and then they were refused. Actually that is

1874
01:45:13,236 --> 01:45:13,676
Speaker 1: what it says.

1875
01:45:13,756 --> 01:45:17,556
Speaker 5: Yeah, yeah, it's again. It's completely different from anything else.

1876
01:45:18,916 --> 01:45:21,276
Speaker 1: It's a still song. It's a still song. It's as

1877
01:45:21,356 --> 01:45:22,556
Speaker 1: still as long as it can be.

1878
01:45:22,716 --> 01:45:25,236
Speaker 5: Yeah. A good song is a song that can be

1879
01:45:25,316 --> 01:45:27,796
Speaker 5: sung on an acoustic with just an acoustic guitar, and

1880
01:45:27,916 --> 01:45:31,276
Speaker 5: if it holds up, it's it's maybe even a great song. Yeah,

1881
01:45:31,516 --> 01:45:36,436
Speaker 5: that's whole trope. But it's different from country Girl and

1882
01:45:36,916 --> 01:45:38,916
Speaker 5: all the other stuff and carry on and all the

1883
01:45:38,996 --> 01:45:41,116
Speaker 5: other stuff they're doing, which is at times of those

1884
01:45:41,196 --> 01:45:44,876
Speaker 5: harmonies and the operettic kind of feel and the to

1885
01:45:45,036 --> 01:45:47,236
Speaker 5: some of those other songs here comes four and twenty,

1886
01:45:48,276 --> 01:45:51,716
Speaker 5: which is just so naked that it jumps out. It's

1887
01:45:51,756 --> 01:45:55,116
Speaker 5: the same way Helpless jumps out, Yeah, just for different reasons.

1888
01:45:55,596 --> 01:45:58,516
Speaker 1: With country Girl, though, this one's the Neil Young song.

1889
01:45:58,596 --> 01:46:00,316
Speaker 1: And this is made up of two different songs that

1890
01:46:00,396 --> 01:46:03,836
Speaker 1: he had earlier written for Buffalo Springfield, called Whiskey Boot Hill,

1891
01:46:04,436 --> 01:46:07,116
Speaker 1: which he had done as an instrumental string quartete arrangement

1892
01:46:07,196 --> 01:46:10,036
Speaker 1: on his debut record, and Downtown Down, which would be

1893
01:46:10,156 --> 01:46:12,516
Speaker 1: wouldn't be released till years later on a box set.

1894
01:46:12,916 --> 01:46:15,156
Speaker 1: He added those to a third section that he was

1895
01:46:15,316 --> 01:46:20,196
Speaker 1: calling country Girl in quotations, I think you're pretty overall,

1896
01:46:20,196 --> 01:46:23,196
Speaker 1: it's very densely orchestrated and mournful waltz. Yeah, I was saying,

1897
01:46:23,196 --> 01:46:24,956
Speaker 1: it's like they already had a sweet with Sweet Judy

1898
01:46:24,996 --> 01:46:26,716
Speaker 1: blue Eyes, so this is kind of like them bringing

1899
01:46:26,756 --> 01:46:28,596
Speaker 1: it back to that. It brings us into a bar

1900
01:46:28,676 --> 01:46:31,076
Speaker 1: where stars are drinking, where people are flirting with the waitress.

1901
01:46:31,236 --> 01:46:33,676
Speaker 1: The third section simply yearns for a country girl to

1902
01:46:33,796 --> 01:46:37,636
Speaker 1: allow him to be her countryman and presumably take her own,

1903
01:46:38,116 --> 01:46:40,956
Speaker 1: take her away from the city. I really liked this one.

1904
01:46:41,036 --> 01:46:43,796
Speaker 1: I I you know, I'm not saying I disliked the

1905
01:46:43,836 --> 01:46:48,836
Speaker 1: final song on the record, But I really if they

1906
01:46:48,836 --> 01:46:50,836
Speaker 1: would have ended the record with country Girl, I wouldn't

1907
01:46:50,836 --> 01:46:52,956
Speaker 1: have been upset. And I'm not taking anything away from

1908
01:46:52,956 --> 01:46:54,596
Speaker 1: Everybody I Love You. It's a good song, but it's

1909
01:46:54,716 --> 01:46:56,156
Speaker 1: just we were this was one that we were thinking

1910
01:46:56,196 --> 01:46:57,996
Speaker 1: of skipping your thoughts on country Girl.

1911
01:46:58,356 --> 01:47:00,956
Speaker 5: Yeah, Everybody I Love You sounds like, let's let's give

1912
01:47:00,996 --> 01:47:04,996
Speaker 5: it a happy ending. Yeah, very But where country Girl is?

1913
01:47:05,116 --> 01:47:06,876
Speaker 5: You know? It sounds like Neil wanted to get out

1914
01:47:06,916 --> 01:47:11,996
Speaker 5: of la Yeah. Yeah, uh no, I mean that's one

1915
01:47:12,036 --> 01:47:14,156
Speaker 5: of my favorites on the whole album. It really is

1916
01:47:14,716 --> 01:47:19,196
Speaker 5: arrangement and the where are they going now with that

1917
01:47:19,356 --> 01:47:21,836
Speaker 5: whole song country Girl?

1918
01:47:22,556 --> 01:47:25,396
Speaker 1: My question was going to be but you answered it

1919
01:47:25,516 --> 01:47:27,036
Speaker 1: basically about if you ever wanted to do like a

1920
01:47:27,076 --> 01:47:29,236
Speaker 1: Harrison Ford and just go to Montana. But I feel

1921
01:47:29,276 --> 01:47:31,156
Speaker 1: like we already kind of mentioned that, so I wanted

1922
01:47:31,196 --> 01:47:34,476
Speaker 1: to ask you this about it was there the notes

1923
01:47:34,556 --> 01:47:38,876
Speaker 1: right there. You know you're a musician, and speaking of

1924
01:47:38,956 --> 01:47:42,196
Speaker 1: this song being three different pieces, like, like, how much

1925
01:47:42,436 --> 01:47:45,676
Speaker 1: of being a musician do you bring into acting Like.

1926
01:47:47,636 --> 01:47:52,396
Speaker 5: Like it's I think it's easier to memorize because of

1927
01:47:55,156 --> 01:47:59,476
Speaker 5: music and the rhythm. There's a rhythm to playing music,

1928
01:47:59,716 --> 01:48:05,636
Speaker 5: and the same thing with memorizing or even doing you know,

1929
01:48:05,836 --> 01:48:10,396
Speaker 5: a dialogue. There you find them to the sentence that

1930
01:48:10,516 --> 01:48:16,956
Speaker 5: he wrote or she wrote. And if you don't have

1931
01:48:17,116 --> 01:48:23,596
Speaker 5: a sense of rhythm, a musical sense, I I it

1932
01:48:23,676 --> 01:48:24,436
Speaker 5: can get harder.

1933
01:48:25,156 --> 01:48:25,396
Speaker 1: Sure.

1934
01:48:26,116 --> 01:48:28,716
Speaker 5: I think I've worked with some people who didn't and

1935
01:48:30,196 --> 01:48:33,956
Speaker 5: they were just slower to get the lines down and so.

1936
01:48:34,156 --> 01:48:36,156
Speaker 5: And not to say that you have to have a

1937
01:48:36,276 --> 01:48:38,556
Speaker 5: musical background in order to be a good actor. You don't,

1938
01:48:39,116 --> 01:48:42,996
Speaker 5: but it's helped me. And I think it has to

1939
01:48:43,116 --> 01:48:45,796
Speaker 5: do with finding the rhythm of the dialogue, which is

1940
01:48:45,876 --> 01:48:48,436
Speaker 5: similar to finding the rhythm of you know, the song,

1941
01:48:48,556 --> 01:48:50,716
Speaker 5: the chords, the lyrics, the melody.

1942
01:48:52,396 --> 01:48:55,676
Speaker 1: I'm assuming certain certain like writers, like we talked about

1943
01:48:55,716 --> 01:48:58,676
Speaker 1: Sorkin finding that melody probably was like oh yeah, like

1944
01:48:58,876 --> 01:49:02,276
Speaker 1: I know this groove immediately, like he's written the groove

1945
01:49:02,396 --> 01:49:05,316
Speaker 1: for you. But then other people you probably have to go, okay,

1946
01:49:05,556 --> 01:49:08,236
Speaker 1: like you know this is this is a little different.

1947
01:49:08,276 --> 01:49:10,236
Speaker 1: Maybe maybe I'm it's gonna have to wait until I

1948
01:49:10,276 --> 01:49:12,836
Speaker 1: get in there with them and figure it out with

1949
01:49:12,916 --> 01:49:14,796
Speaker 1: the other actor, right, Yeah.

1950
01:49:15,156 --> 01:49:22,556
Speaker 5: Sometimes yeah, it's usually again when it's a single singular

1951
01:49:22,716 --> 01:49:28,316
Speaker 5: voice that you can hear it. It's like hearing a melody. Yeah.

1952
01:49:28,956 --> 01:49:33,036
Speaker 5: Richard Schiff, who was on West Wing, he came to

1953
01:49:33,076 --> 01:49:35,676
Speaker 5: see Mockingbird and I told him that all those West

1954
01:49:35,716 --> 01:49:39,836
Speaker 5: Wing guys were great. I went to school on those

1955
01:49:39,916 --> 01:49:43,356
Speaker 5: guys before I did Newsroom. And I said to him,

1956
01:49:43,436 --> 01:49:47,436
Speaker 5: I said, and doing sort and it's like music. He goes, no, No,

1957
01:49:47,676 --> 01:49:52,796
Speaker 5: it's melody. There's a melody to the dialogue that he writes.

1958
01:49:53,076 --> 01:49:56,036
Speaker 5: And he was right. It was more specific.

1959
01:49:58,316 --> 01:50:01,236
Speaker 1: Gop Man, this is awesome.

1960
01:50:01,316 --> 01:50:01,596
Speaker 5: All right.

1961
01:50:01,676 --> 01:50:04,156
Speaker 1: Final song, Let's get you out of here, dude. Last song,

1962
01:50:04,316 --> 01:50:06,476
Speaker 1: Thank you for all the time, dude. This has been

1963
01:50:07,036 --> 01:50:09,836
Speaker 1: such a gift to me, to Jeremiah, all the listeners,

1964
01:50:09,876 --> 01:50:14,276
Speaker 1: and please please come back. Final song on the record, everybody,

1965
01:50:14,356 --> 01:50:17,316
Speaker 1: I Love You Breezy. It's a soulful rocker. It's the

1966
01:50:17,476 --> 01:50:21,356
Speaker 1: only writing collaboration on the record, which is by Stills

1967
01:50:21,516 --> 01:50:25,676
Speaker 1: and Young. We already kind of mentioned it, and I

1968
01:50:25,756 --> 01:50:28,156
Speaker 1: feel like, you know, for everything we've talked about like this,

1969
01:50:28,436 --> 01:50:30,076
Speaker 1: this is a good way to kind of leave it where,

1970
01:50:30,476 --> 01:50:33,396
Speaker 1: you know, the opening message of carrying on This really

1971
01:50:33,596 --> 01:50:37,836
Speaker 1: leaves a record that has a real sense of struggle

1972
01:50:38,036 --> 01:50:41,916
Speaker 1: and poignancy, both in the subtext in the actual material,

1973
01:50:42,556 --> 01:50:46,276
Speaker 1: on a note of compassion and good spirits not to

1974
01:50:46,356 --> 01:50:50,476
Speaker 1: be morbid, but with so many losses recently, especially you know,

1975
01:50:50,916 --> 01:50:54,636
Speaker 1: some of the great musicians like sly Stone and Brian Wilson,

1976
01:50:54,716 --> 01:50:59,556
Speaker 1: and then of course Ozzy, which you know, just to

1977
01:50:59,756 --> 01:51:01,476
Speaker 1: be able to go out the way that he did

1978
01:51:01,556 --> 01:51:03,316
Speaker 1: and tell the world how much he loves him and

1979
01:51:03,436 --> 01:51:06,636
Speaker 1: raise all this money right before he dies. What message

1980
01:51:06,676 --> 01:51:08,396
Speaker 1: of love and compassion would you like to leave with

1981
01:51:08,516 --> 01:51:12,436
Speaker 1: this world? And I'll be so happy.

1982
01:51:14,876 --> 01:51:17,076
Speaker 5: There's a lot of darkness and a lot of fear,

1983
01:51:17,596 --> 01:51:22,076
Speaker 5: and a lot of craziness going on that no one

1984
01:51:22,196 --> 01:51:27,436
Speaker 5: seems to understand or how to deal with. And and

1985
01:51:27,596 --> 01:51:31,756
Speaker 5: I you know, as as an older actor, who's you know,

1986
01:51:31,956 --> 01:51:34,716
Speaker 5: a celebrity who you know nobody wants to hear from

1987
01:51:34,796 --> 01:51:38,436
Speaker 5: us anymore, okay, but you try to find something good

1988
01:51:39,316 --> 01:51:42,396
Speaker 5: to do every day for yourself or for someone else.

1989
01:51:42,636 --> 01:51:47,676
Speaker 5: It's it's Pollyanna, but it's you know, until we get

1990
01:51:48,796 --> 01:51:53,396
Speaker 5: you know, I hope straightened out about being able to

1991
01:51:53,476 --> 01:51:56,956
Speaker 5: deal with each other again instead of hating each other

1992
01:51:57,076 --> 01:52:02,316
Speaker 5: so much. You know, find something good to do for

1993
01:52:02,396 --> 01:52:05,836
Speaker 5: yourself or for somebody else. That's that's a start that

1994
01:52:06,076 --> 01:52:09,676
Speaker 5: you can do. Can you change the world, probably not,

1995
01:52:10,036 --> 01:52:14,436
Speaker 5: but can you do that every day? Yeah? Yeah, And

1996
01:52:14,596 --> 01:52:18,036
Speaker 5: so that's kind of all I'm doing at this.

1997
01:52:18,116 --> 01:52:20,036
Speaker 1: Point, and you're doing a great job of it, man,

1998
01:52:20,196 --> 01:52:21,836
Speaker 1: And I you know, I love that you brought up

1999
01:52:21,836 --> 01:52:23,796
Speaker 1: your dad and what he taught you. And when you

2000
01:52:23,916 --> 01:52:26,196
Speaker 1: have someone like that in your life that you can

2001
01:52:26,556 --> 01:52:29,036
Speaker 1: that shows you how to be empathetic and love your

2002
01:52:29,076 --> 01:52:32,156
Speaker 1: brother and help people. I mean, even on the smallest

2003
01:52:32,196 --> 01:52:34,076
Speaker 1: scale of you helping actors, I mean, that makes me

2004
01:52:34,196 --> 01:52:36,356
Speaker 1: just so happy to know that there are actors that

2005
01:52:36,436 --> 01:52:39,236
Speaker 1: I look at that are extremely successful, that you know,

2006
01:52:39,596 --> 01:52:41,276
Speaker 1: like that you put up on I don't want to say,

2007
01:52:41,316 --> 01:52:43,036
Speaker 1: you know, on a pedestal, but you're like, ah, Man,

2008
01:52:43,156 --> 01:52:45,236
Speaker 1: they might be dicks or assholes, and a lot of

2009
01:52:45,276 --> 01:52:47,516
Speaker 1: them that I've met have been very very sweet human beings.

2010
01:52:47,596 --> 01:52:49,116
Speaker 1: Some of them have been assholes, but it could just

2011
01:52:49,156 --> 01:52:51,316
Speaker 1: be that moment of you never know what they're dealing

2012
01:52:51,356 --> 01:52:55,276
Speaker 1: with in their day, but you know, to be able

2013
01:52:55,356 --> 01:52:57,316
Speaker 1: to talk to you and you know, hear your story

2014
01:52:57,396 --> 01:52:59,476
Speaker 1: and especially what you said about your father. Man, it's

2015
01:52:59,516 --> 01:53:03,076
Speaker 1: like you really had someone very beautiful to be able

2016
01:53:03,156 --> 01:53:05,516
Speaker 1: to like to teach you about things. And I think

2017
01:53:05,556 --> 01:53:07,836
Speaker 1: that is why, you know, even just you sitting down

2018
01:53:07,876 --> 01:53:09,596
Speaker 1: and speaking for an hour and forty mins, it's with us.

2019
01:53:09,716 --> 01:53:11,756
Speaker 1: It's like you didn't have to do this. So this

2020
01:53:11,876 --> 01:53:14,716
Speaker 1: has been incredible and I really appreciate for a time

2021
01:53:14,996 --> 01:53:17,916
Speaker 1: and and the message and the honesty, dude, and you know,

2022
01:53:18,116 --> 01:53:19,876
Speaker 1: and please do Gettysburn too.

2023
01:53:20,196 --> 01:53:23,036
Speaker 5: Please please do it. Man.

2024
01:53:23,236 --> 01:53:23,796
Speaker 1: I want to know.

2025
01:53:25,716 --> 01:53:28,116
Speaker 5: In and Out or Dumb and Dumber three where you know,

2026
01:53:28,796 --> 01:53:30,916
Speaker 5: as Jim said, they'll call it gum and gummer.

2027
01:53:31,356 --> 01:53:35,396
Speaker 1: You know, even giving us a second one was like really,

2028
01:53:35,796 --> 01:53:37,556
Speaker 1: I mean, dude, it was it was a Swan song.

2029
01:53:37,636 --> 01:53:41,156
Speaker 1: It was beautiful and it really was. And it's like, dude,

2030
01:53:41,196 --> 01:53:43,876
Speaker 1: it's like spinal tap doing another spinal tap. It's like

2031
01:53:43,996 --> 01:53:47,436
Speaker 1: we the people that love it, need it and and

2032
01:53:47,716 --> 01:53:50,796
Speaker 1: it's special. And and the things that you've done, whether

2033
01:53:50,836 --> 01:53:53,716
Speaker 1: it's the speech in the newsroom or or I remember

2034
01:53:53,716 --> 01:53:57,316
Speaker 1: seeing an Arachnophobia opening night, all dude, it's just like

2035
01:53:57,436 --> 01:53:59,236
Speaker 1: I said good night to luck Squid in the Whale

2036
01:53:59,356 --> 01:54:01,196
Speaker 1: that there was two of my favorite movies that summer,

2037
01:54:01,236 --> 01:54:03,876
Speaker 1: and it's just everything you keep doing. I'll keep watching

2038
01:54:03,916 --> 01:54:06,476
Speaker 1: it and please come back on. Man, this was this

2039
01:54:06,676 --> 01:54:09,436
Speaker 1: was so much fun. I can't think enough.

2040
01:54:10,036 --> 01:54:11,356
Speaker 5: I enjoyed it. Guys. Thank you.

2041
01:54:11,556 --> 01:54:15,276
Speaker 1: So we ask everybody these questions. Uh, we'll make them quick,

2042
01:54:15,316 --> 01:54:16,556
Speaker 1: but I got a new one I'm gonna throw in.

2043
01:54:17,476 --> 01:54:19,676
Speaker 1: First question, is favorite song on the record?

2044
01:54:19,956 --> 01:54:20,596
Speaker 5: Country girl?

2045
01:54:21,116 --> 01:54:23,796
Speaker 1: Nice? H What do you skip over? Is there anything

2046
01:54:23,836 --> 01:54:26,356
Speaker 1: you dislike on this album?

2047
01:54:26,716 --> 01:54:26,956
Speaker 5: Yeah?

2048
01:54:27,556 --> 01:54:30,876
Speaker 1: Our House nice? Yeah, dude, because it's the hit. I

2049
01:54:30,916 --> 01:54:33,236
Speaker 1: always say, sometimes you hear the hit too much. All right,

2050
01:54:33,516 --> 01:54:35,756
Speaker 1: I'm not going to filter this one. Can you fuck

2051
01:54:35,836 --> 01:54:36,516
Speaker 1: to this record?

2052
01:54:39,556 --> 01:54:39,796
Speaker 5: Sure?

2053
01:54:42,516 --> 01:54:42,716
Speaker 1: Yeah?

2054
01:54:42,796 --> 01:54:46,596
Speaker 5: Sure, the rhythms change.

2055
01:54:47,116 --> 01:54:49,796
Speaker 1: Yeah, it's all over the place, you know. I mean,

2056
01:54:50,476 --> 01:54:52,676
Speaker 1: teach your children while you're fucking is not gonna be.

2057
01:54:54,636 --> 01:54:56,636
Speaker 1: She's like, no, listen, it's a first date. But you know,

2058
01:54:56,876 --> 01:54:58,716
Speaker 1: just just ignore this. So we'll skip this track. We'll

2059
01:54:58,716 --> 01:55:01,316
Speaker 1: skip this track, all right. This is the This is

2060
01:55:01,356 --> 01:55:03,316
Speaker 1: the one I'm gonna throw in. Out of the four

2061
01:55:03,436 --> 01:55:06,756
Speaker 1: members of Crosbie, Stills, Nash, and Young ranked them and

2062
01:55:06,876 --> 01:55:09,836
Speaker 1: how much you love them. Starting at the lead, you

2063
01:55:09,836 --> 01:55:11,596
Speaker 1: and go top to bottom. You tell us which way

2064
01:55:11,596 --> 01:55:11,956
Speaker 1: you're going.

2065
01:55:13,076 --> 01:55:19,956
Speaker 5: Still's Neil Crosby, Nash and you know I love them all,

2066
01:55:20,076 --> 01:55:21,196
Speaker 5: but that's the order.

2067
01:55:21,596 --> 01:55:23,356
Speaker 1: That's the order, all right. What would be your elevator

2068
01:55:23,396 --> 01:55:25,596
Speaker 1: pitch to get someone to listen to this record that's

2069
01:55:25,636 --> 01:55:27,716
Speaker 1: never listened to it? How do you sum this record up?

2070
01:55:31,156 --> 01:55:34,476
Speaker 5: Remember the Beach Boys, remember the Beatles and all those harmonies,

2071
01:55:35,196 --> 01:55:37,596
Speaker 5: listen to this perfect?

2072
01:55:37,916 --> 01:55:40,396
Speaker 1: Yeah? I can't, I can't, I can't. You know, I

2073
01:55:40,436 --> 01:55:42,196
Speaker 1: think you said it perfect because I was going to

2074
01:55:42,236 --> 01:55:43,916
Speaker 1: mention that earlier when you were talking about some of

2075
01:55:43,956 --> 01:55:46,236
Speaker 1: the artists that you like, Like my dad loved the

2076
01:55:46,316 --> 01:55:50,676
Speaker 1: Four Freshmen, he loved those vocal groups. And you know,

2077
01:55:50,836 --> 01:55:52,916
Speaker 1: as I've gotten older, like falling in love with the

2078
01:55:52,996 --> 01:55:55,596
Speaker 1: Beach Boys, falling in love with the harmonies of the Beatles,

2079
01:55:56,036 --> 01:56:00,116
Speaker 1: even doing I was I just did Steely Dan Asia

2080
01:56:00,276 --> 01:56:03,756
Speaker 1: last night, and hearing Michael McDonald was stacked harmonies. There's

2081
01:56:03,796 --> 01:56:08,156
Speaker 1: something about harmonies, and there's something very beautiful about Crosby

2082
01:56:08,196 --> 01:56:11,756
Speaker 1: Stills Nashing Young of anybody, maybe next to the Beach

2083
01:56:11,836 --> 01:56:16,276
Speaker 1: Boys have done it better, and I am. You know,

2084
01:56:16,476 --> 01:56:17,716
Speaker 1: I don't know if we have any I don't think

2085
01:56:17,756 --> 01:56:20,156
Speaker 1: we have any other records on after this, but you know,

2086
01:56:20,276 --> 01:56:22,516
Speaker 1: to be able to go in order and and know

2087
01:56:22,676 --> 01:56:24,516
Speaker 1: what they put through this record. I think it's like

2088
01:56:24,676 --> 01:56:27,796
Speaker 1: it's four guys, you know, taking a break from being

2089
01:56:27,876 --> 01:56:31,596
Speaker 1: solo and making a sense of an individual solo record

2090
01:56:32,036 --> 01:56:33,596
Speaker 1: and then carrying on and.

2091
01:56:35,356 --> 01:56:38,236
Speaker 5: An extension of when you know the story of them

2092
01:56:38,316 --> 01:56:41,516
Speaker 5: being at Mama Cassa's house and Laurel Daniel, Yeah, and

2093
01:56:42,036 --> 01:56:45,316
Speaker 5: the three of them cross the visuals and Nash we're

2094
01:56:45,316 --> 01:56:49,396
Speaker 5: singing something and then Nash says, played again, played again,

2095
01:56:50,036 --> 01:56:52,556
Speaker 5: and then it happened. Everybody in the room heard it,

2096
01:56:53,436 --> 01:56:57,196
Speaker 5: and so deja vu is like and this is like,

2097
01:56:57,636 --> 01:57:01,476
Speaker 5: you know, a professional recording of that night in Laurel Canyon.

2098
01:57:02,556 --> 01:57:06,356
Speaker 1: That's so rad. Jeff, thank you so much for coming on, buddy,

2099
01:57:06,356 --> 01:57:08,676
Speaker 1: please come back. I know we've got some more Bruce,

2100
01:57:10,236 --> 01:57:12,876
Speaker 1: you know, which is one of our most fought after artists,

2101
01:57:12,996 --> 01:57:14,796
Speaker 1: but I would love to have you back for anything.

2102
01:57:14,836 --> 01:57:18,316
Speaker 1: We still got another one hundred and forty seven episodes left,

2103
01:57:18,916 --> 01:57:21,956
Speaker 1: so your call, man, And this was just a gift

2104
01:57:21,996 --> 01:57:22,396
Speaker 1: to all of us.

2105
01:57:22,436 --> 01:57:24,956
Speaker 5: So thank you, brother, all right, thank you appreciate it. Guys.

2106
01:57:25,556 --> 01:57:27,476
Speaker 1: What I tell you, What I tell you A gift

2107
01:57:27,636 --> 01:57:30,876
Speaker 1: from Emily the one and Only. Jeff Daniels. Follow him

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Speaker 1: on Instagram. At Jeff Daniels Official and on Facebook at

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01:57:33,916 --> 01:57:36,916
Speaker 1: Jeff Daniels Music, and go to Jeff Daniels dot com

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01:57:37,516 --> 01:57:40,676
Speaker 1: for all things Jeff. Go to his website. Make sure

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01:57:40,716 --> 01:57:42,796
Speaker 1: you check out his music. Upcoming toward eights, he's gonna

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Speaker 1: be in Michigan. Go see his shows. He's incredible. Now

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Speaker 1: we just listened to nineteen seventies de Jaboo by Crossy, Stills,

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01:57:48,436 --> 01:57:50,596
Speaker 1: Nash and Young for new music Pick this week brought

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01:57:50,596 --> 01:57:52,316
Speaker 1: to you in part by Districal Kid Down I go

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01:57:52,796 --> 01:57:55,356
Speaker 1: by the man himself, Jeff Daniels. You can find links

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01:57:55,396 --> 01:57:57,316
Speaker 1: to the music on our website, the five hundred podcast

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01:57:57,396 --> 01:57:58,956
Speaker 1: dot com. And if you were in a band who

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Speaker 1: were directly of those bone of these albums or artists

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01:58:00,636 --> 01:58:02,716
Speaker 1: and you want your music featured on the five hundred website,

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01:58:02,756 --> 01:58:05,156
Speaker 1: send your song to five hundred Podcasts at gmail dot com.

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01:58:05,516 --> 01:58:07,396
Speaker 1: Make sure you put the album and artists that influenced

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Speaker 1: you in the subject. Next week, it's number one forty six,

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Speaker 1: Whichjefferson here playing surlalistic. I can't even say that surrealistic.

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01:58:15,316 --> 01:58:20,396
Speaker 1: Pillar Pilla. It's my pilla from sixty seven. Great record.

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Speaker 1: It's got white Rabbit, It's got someone to love. It's

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Speaker 1: got everything you need. It's a fun record, and it's

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Speaker 1: a good app Do your homework. We'll see you though.

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Speaker 1: Sometimes I do, sometimes I don't. Some towns on right, some.

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Speaker 5: Towns roll Zonetown. I'm going soomtimes I'm going.

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Speaker 3: For down.

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01:58:57,836 --> 01:59:21,356
Speaker 5: I go. Sometimes I'm good, Sometimes I'm bad. Sometimes I'm

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01:59:21,476 --> 01:59:28,996
Speaker 5: hanging over to things I never heard. Sometimes are lafe.

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Speaker 5: Sometimes I cry. Sometimes I'm true.

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Speaker 3: Sometimes I'm alive.

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Speaker 1: Before I know.

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01:59:44,556 --> 01:59:47,876
Speaker 3: Down I go.

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Speaker 4: Sometimes away, sometimes I lose.

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Speaker 5: Sometimes I hear the mass of singing me the blues.

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Speaker 1: Before I know.

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Speaker 3: Go, I go. The five hundreds, keep it I please

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Speaker 3: see for the three stations on the five hundry, the

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Speaker 3: stile undry. You do things to f