WEBVTT - The 500 Presents: Jeff Daniels 0:00:15.476 --> 0:00:15.956 Pushkin. 0:00:18.716 --> 0:00:21.556 We're excited to share an episode from another podcast today 0:00:21.596 --> 0:00:24.476 that I think you'll enjoy, The five hundred with Adam 0:00:24.556 --> 0:00:27.716 Myers on the five hundred. Adam counts down Rolling Stones 0:00:27.756 --> 0:00:29.996 list of the five hundred greatest albums of all time, 0:00:30.156 --> 0:00:34.116 joined by musicians, comedians, and actors for each episode. This 0:00:34.196 --> 0:00:37.476 episode spotlights the second and final studio album by rock 0:00:37.596 --> 0:00:41.436 supergroup Crosby, Stills and Nash, and their first as Crosby, Stills, 0:00:41.516 --> 0:00:44.636 Nash and Young. The album's tracks range from tender folk 0:00:44.676 --> 0:00:47.796 melodies to driving hard rock. Today, we'll hear an episode 0:00:47.796 --> 0:00:50.516 with guests Jeff Daniels, the acclaimed actor best known for 0:00:50.556 --> 0:00:52.796 films like Dumb and Dumber, The Squid in the Whale 0:00:52.836 --> 0:00:55.716 in terms of endearment. Jeff, who is also an accomplished 0:00:55.716 --> 0:00:58.076 singer songwriter, makes his debut on the five hundred to 0:00:58.116 --> 0:01:01.476 share how this iconic album influenced his own approach to music. 0:01:01.836 --> 0:01:04.476 Here's Adam Myers with Jeff Daniels on the five hundred. 0:01:11.956 --> 0:01:22.196 The five hundred from the five hundred, j and. 0:01:22.316 --> 0:01:26.716 Been walking us down through that twenty twelve edition, so 0:01:26.956 --> 0:01:30.956 it ain't nothing to you. Hundreds, water goo and in 0:01:31.116 --> 0:01:34.156 need of a friend, that king of this four Angelo 0:01:34.356 --> 0:01:39.356 talking the five hundred until he ends, talking the five 0:01:39.436 --> 0:01:40.716 hundred until. 0:01:40.356 --> 0:01:45.116 He ends with my man j is. 0:01:47.636 --> 0:01:52.756 On the five hundred, talking the five hundred until. 0:01:52.396 --> 0:02:06.316 The end is coming. It is coming to. 0:02:07.276 --> 0:02:14.356 So that is the opening track by Crosby Stills Nashing 0:02:14.356 --> 0:02:16.996 Young from their nineteen seventy record Deja Vu. It's also 0:02:17.116 --> 0:02:19.356 number one forty seven out of five hundred on the 0:02:19.396 --> 0:02:22.876 five hundred with Josh Adam Myers. What's up, Police Army. 0:02:23.036 --> 0:02:24.836 I am Josh. I'm a comic, and I'm going through 0:02:24.916 --> 0:02:27.596 Rolling Stone Magazines list of the five hundred greatest albums. 0:02:27.996 --> 0:02:36.356 We are chipping away right now. I am probably in Amsterdam, 0:02:36.556 --> 0:02:41.316 I'm not sure. Or I'm dead in Amsterdam, or maybe 0:02:41.356 --> 0:02:43.156 I didn't make it there. Maybe I got mugged in 0:02:43.236 --> 0:02:46.236 Paris or Brussels or wherever the fuck. I am making 0:02:46.276 --> 0:02:48.836 my way through Europe. I'm doing this, of course, ahead 0:02:48.876 --> 0:02:50.316 of time, so I don't have to bring any equipment. 0:02:50.916 --> 0:02:52.436 Hopefully I see you guys out there. If you live 0:02:52.436 --> 0:02:54.596 in another country in Europe, send me a message and 0:02:54.596 --> 0:02:57.276 I will come have lunch with you. I'm documenting the 0:02:57.316 --> 0:02:59.236 whole thing. We're gonna post it. On my YouTube YouTube 0:02:59.276 --> 0:03:03.156 dot com backslide josh Adamyers seventy nine subscribe, subscribe, subscribe 0:03:03.236 --> 0:03:08.476 and my social media josh Adam Myers on all. Subscribe 0:03:08.476 --> 0:03:12.796 to the channels YouTube the five hundred podcast watch all 0:03:12.836 --> 0:03:15.756 the episodes ian. If you really want to help us, 0:03:15.756 --> 0:03:18.196 subscribe to the Patreon Patreon dot com backslash of five 0:03:18.236 --> 0:03:21.676 hundred podcast. Join the Fleece Army for five dollars a month. 0:03:21.676 --> 0:03:23.396 You support the show and we love you. For twenty 0:03:23.396 --> 0:03:25.036 five you support the show, We love you, and we 0:03:25.116 --> 0:03:28.676 send you merch merchie. Be a part of the Fleecy. 0:03:29.396 --> 0:03:31.756 We love you, guys. Thank you for tuning in. Thank 0:03:31.796 --> 0:03:35.716 you for all the help. DJ Morty Coyle, Emily JT, 0:03:35.996 --> 0:03:39.516 Peter Adam. This is one of my favorite things to do, 0:03:39.636 --> 0:03:41.556 especially when you have a guest like today. When I 0:03:41.556 --> 0:03:43.316 get back the end of this month, August twenty ninth 0:03:43.316 --> 0:03:45.196 and the thirtieth, I will be at the Plano Mic 0:03:45.276 --> 0:03:48.436 Drop Comedy Club right outside of Dallas, Texas. Then I 0:03:48.476 --> 0:03:52.636 will be in Pittsburgh, Jacksonville, Saudi Arabia with Bill Burd 0:03:52.716 --> 0:04:00.796 doing a comedy festival. New Orleans, Vancouver, La Joya, Arizona, Wisconsin, 0:04:00.876 --> 0:04:03.156 I've got a bunch of gigs. I'm gonna be busy. 0:04:03.596 --> 0:04:06.436 I'll be in Canada a lot next year. We've already 0:04:06.436 --> 0:04:12.596 got Calgary booked, We've already got Winnipeg booked, Edmonton booked. 0:04:13.036 --> 0:04:15.516 Come one, Come on Josh Adammeiers dot com for tickets. 0:04:16.236 --> 0:04:18.636 It's gonna be a great year, guys. I'm excited to 0:04:18.636 --> 0:04:21.396 get back home. I'm assuming I'm loving this trip. But 0:04:21.436 --> 0:04:25.556 who knows, who knows? Maybe I'm dead, all right, Crosby Stills, 0:04:25.596 --> 0:04:30.876 csny Sison, sissony sisne deja vu. Well, this is our 0:04:30.916 --> 0:04:33.116 second record. We did the first one, We're doing the 0:04:33.116 --> 0:04:35.596 second one. I'm not gonna talk anymore. Let's get to 0:04:35.636 --> 0:04:41.396 our guest, a legend, a true actor, and an incredible musician. 0:04:41.476 --> 0:04:44.636 This is where the Emily Kagan meager comes into full effect. 0:04:44.636 --> 0:04:47.436 We got a code read booking the one, the only 0:04:47.916 --> 0:04:52.236 Jeff Daniels. I mean, come on, guys, the newsroom, one 0:04:52.236 --> 0:04:57.116 of the greatest speeches in television history. Arachnophobia, dumb and dumber, 0:04:57.236 --> 0:05:00.756 dumb and number two. I could keep going. This dude 0:05:01.116 --> 0:05:04.516 is so cool taking the time out to talk about 0:05:04.516 --> 0:05:06.916 this record. I love doing this podcast. When I get 0:05:06.916 --> 0:05:09.636 to sit down and talk to these dudes. What a gift. 0:05:10.036 --> 0:05:12.196 All right? Oh, go to his website and check out 0:05:12.196 --> 0:05:14.036 his music. By the way, He's got some incredible stuff 0:05:14.036 --> 0:05:17.916 and some upcoming tour dates in Michigan this month. Rate Review. 0:05:17.996 --> 0:05:19.996 Most importantly, subscribe to the five hundred. Listen free on 0:05:19.996 --> 0:05:21.916 all platforms or anywhere you get your pods. Follow me 0:05:21.956 --> 0:05:23.956 at josh Adam Myers on all social media. Follow the 0:05:23.956 --> 0:05:27.116 podcast at the five hundred Podcasts. Email the podcast at 0:05:27.156 --> 0:05:29.556 five hundred Podcasts at gmail dot com, Follow the Facebook 0:05:29.556 --> 0:05:32.476 group run by Creeazy Evan, and for all things five 0:05:32.556 --> 0:05:34.716 zero zero go to the website the five hundred podcast 0:05:34.716 --> 0:05:39.396 dot com. All right, y'all, here we go out of 0:05:39.396 --> 0:05:43.876 five hundred with Deja Vu by crowdsbit Steals, Nash, and Ya. 0:05:44.516 --> 0:05:46.836 I don't even know how to start because because Jeff, 0:05:46.876 --> 0:05:48.596 I'm such a huge fan of yours man that this 0:05:48.716 --> 0:05:51.116 is always This is why I do the podcast is 0:05:51.156 --> 0:05:52.676 being able to sit down with people that I love, 0:05:52.756 --> 0:05:56.356 so uh, thank you for coming on to talk about Crosby, Stills, 0:05:56.436 --> 0:05:58.956 Nash and Young and also to let you know, we 0:05:59.036 --> 0:06:02.036 had like five other big names that wanted to do 0:06:02.156 --> 0:06:04.516 this record and I told them all, pardon my language, 0:06:04.556 --> 0:06:08.876 to fuck off, like this is Jeff's record. He got it, 0:06:09.356 --> 0:06:12.796 divs Okay, I couldn't. I couldn't be happier, man, So 0:06:13.036 --> 0:06:13.356 what a. 0:06:13.316 --> 0:06:16.756 Pleasure to deliver. It was a long pressure. 0:06:17.756 --> 0:06:20.956 No pressure, don't worry. I'll cover a lot of the info. 0:06:21.236 --> 0:06:23.596 We just want to know your opinion, your love. We're 0:06:23.636 --> 0:06:25.716 going to talk about this. We're going to talk about 0:06:25.996 --> 0:06:29.596 some Crosby, Tails and Nash. But I guess you know, 0:06:29.796 --> 0:06:34.236 just to dive right into this, you know when and why? 0:06:34.476 --> 0:06:37.356 Au Let's say start there, why are you here for Cross? 0:06:37.396 --> 0:06:39.556 Out of all the records we probably offered you, why 0:06:39.596 --> 0:06:43.156 are you here for Crosby, Stills, Nash and Young Deja vu? 0:06:43.156 --> 0:06:47.116 H it uh? It was at a time in my life. 0:06:47.716 --> 0:06:50.996 I'm gonna say it was seventy one it was released. 0:06:52.556 --> 0:06:55.956 I was I was early in high school, and so 0:06:56.836 --> 0:07:01.156 my tastes and music were being formed. I had come 0:07:01.236 --> 0:07:05.236 out of the late sixties and I was, I mean, 0:07:05.316 --> 0:07:07.916 I can go back to here comes my Baby from 0:07:07.956 --> 0:07:13.316 the Turtles, Dave Clark five. You know I was. I 0:07:13.436 --> 0:07:17.436 wasn't very you know, my musical taste wasn't very interesting. 0:07:18.076 --> 0:07:22.236 Seeger came out with Rambling Gambling Man on that first album. 0:07:22.636 --> 0:07:28.676 Then Arlo Guthrie did Alice's Restaurant. Yeah, my attention just 0:07:28.676 --> 0:07:32.436 because of the acoustic work and the storytelling. And then 0:07:32.476 --> 0:07:35.836 Woodstock happened, and I remember being in the seventh grade 0:07:35.876 --> 0:07:39.556 and asking my dad if I could, you know, go 0:07:39.596 --> 0:07:42.036 to Woodstock with some high school friends who had a car. 0:07:42.076 --> 0:07:46.796 And that didn't get very far, but that was what 0:07:46.996 --> 0:07:49.436 was that about? And so I'm young and I'm looking 0:07:49.476 --> 0:07:53.716 at that. And this was before Elton John which eleven 0:07:53.796 --> 0:07:57.676 seventeen seventy really kind of catapulted me into okay, what 0:07:57.876 --> 0:08:01.796 was that? Yeah, but it was Crosby, Stills, Nash and Young. 0:08:02.596 --> 0:08:05.436 It was the acoustic work, and of course the harmonies 0:08:09.396 --> 0:08:14.156 and their stance. They were doing kind of what Dylan did, 0:08:14.276 --> 0:08:17.916 except with four part harmonies, what Phil Oakes did, Tom Paxton. 0:08:18.236 --> 0:08:22.076 They were taking some of that you know, political thing 0:08:22.316 --> 0:08:25.316 and kind of you know, maybe not so much with 0:08:25.356 --> 0:08:29.396 Deja Vu, but certainly with Four Way Street. They were 0:08:29.396 --> 0:08:32.516 a band that was going to say some things. And yeah, 0:08:32.516 --> 0:08:35.356 back to a young kid in high school, that got 0:08:35.396 --> 0:08:35.996 my attention. 0:08:36.596 --> 0:08:39.996 So you were already like innocence interested in what was 0:08:40.036 --> 0:08:42.196 going on in the world at a really young age. 0:08:42.356 --> 0:08:44.876 Was that your parents or because I mean I always 0:08:44.916 --> 0:08:47.436 remember my dad like reading the Washington Post and he 0:08:47.476 --> 0:08:50.356 would listen, he'd watch the nightly news. And we're from 0:08:50.396 --> 0:08:52.796 the DC area, by the way, but it was, you know, 0:08:53.156 --> 0:08:58.276 I vaguely remember Bush versus Ducoccus, literally only because there 0:08:58.356 --> 0:09:01.556 was a paper meme of a drawing of a vagina 0:09:01.716 --> 0:09:04.796 chasing a penis, and it was like Bush versus Ducaclus, 0:09:04.836 --> 0:09:07.716 another fucked up matter? Was it something stupid like that? 0:09:07.836 --> 0:09:11.796 And that was my to politics. So really, you were 0:09:11.836 --> 0:09:13.476 when you were like when you were younger, you were 0:09:13.476 --> 0:09:15.236 already interested in what was going on in the world. 0:09:15.276 --> 0:09:18.196 But I assume it's probably because a lot of you know, I. 0:09:18.236 --> 0:09:20.836 Was, and you know, I a small town in the Midwest, 0:09:21.556 --> 0:09:23.276 and I was I was. I grew up in a 0:09:23.316 --> 0:09:27.796 Republican household, a small business owner, farmer. My mom was 0:09:27.836 --> 0:09:30.956 a farmer, you know, worked on a farm, and we 0:09:30.996 --> 0:09:33.036 didn't talk about politics. I didn't even know it was 0:09:33.076 --> 0:09:35.476 a Republican household till I went to New York City 0:09:35.516 --> 0:09:40.196 and realized, oh, this is different from where I'm coming. 0:09:41.476 --> 0:09:45.236 I think Krosby still is a Nash kind of we're going, hey, 0:09:45.676 --> 0:09:52.556 come over here, yes, And and I wasn't. I didn't 0:09:52.676 --> 0:09:57.916 really go to the acoustic guitar myself until about seventy six, 0:09:57.996 --> 0:10:04.716 seventy seven. But Stills and Neil Young got my attention 0:10:05.356 --> 0:10:10.876 and and maybe fifteen or maybe twenty years later, twenty five, 0:10:11.116 --> 0:10:13.436 I a friend of mine got tickets to see them 0:10:13.436 --> 0:10:16.756 in Chicago at the United Center, and I had I 0:10:16.836 --> 0:10:20.756 never I didn't get Neil Young. You know, I loved Stills. 0:10:21.076 --> 0:10:24.036 I loved Stills, and I didn't know why. And then 0:10:24.116 --> 0:10:26.596 later on it was the musicianship and his you know, 0:10:26.676 --> 0:10:30.396 that whole Crossroads live thing he does. You know, someday 0:10:30.436 --> 0:10:32.156 I'm going to try to learn how to play that 0:10:32.836 --> 0:10:35.516 the way he does, and Treetop Flyer and all that. 0:10:35.596 --> 0:10:38.516 I was really taken with Stills, and but I didn't 0:10:38.556 --> 0:10:40.756 get Neil. And then when I saw him in Chicago 0:10:40.916 --> 0:10:43.716 and they played Almost Cut My Hair, which is on 0:10:43.796 --> 0:10:46.116 the Day Jubu album, and they turned it into like 0:10:46.156 --> 0:10:51.596 an eighteen minute thing, epic thing, and Neil, you know, 0:10:51.636 --> 0:10:55.716 with his black les Paul just that single note stuff 0:10:56.356 --> 0:11:01.276 that he was doing well Stills was, you know, but yeah, 0:11:02.116 --> 0:11:06.996 well it just pierced through the United Center and I going, Okay, 0:11:07.236 --> 0:11:09.676 I get Neil Young. Now, I get Neil Young. They 0:11:09.716 --> 0:11:12.396 were so different, you know, and they had egos and 0:11:12.436 --> 0:11:15.996 they hated each other to make album. 0:11:16.196 --> 0:11:18.516 Oh you're telling me after I've learned everything. I mean, 0:11:18.516 --> 0:11:21.596 we'll get all into that. But it's it's kind of fun, 0:11:22.716 --> 0:11:25.716 you know. Oh yeah. But here's here's something funny. Jared, 0:11:25.796 --> 0:11:27.836 you you might know some of this, but but Jeff, 0:11:27.836 --> 0:11:30.276 this is actually interesting. I have a connection to three 0:11:30.356 --> 0:11:32.956 out of four of the guys in this band. I've 0:11:33.076 --> 0:11:35.916 jammed with Steven Stills at my friend Told my friend 0:11:35.916 --> 0:11:38.756 told Wilkenfeld's house. She has a recording studio. The bass 0:11:38.756 --> 0:11:41.996 player play with Jeff Beck. Excuse me. I also played 0:11:42.036 --> 0:11:48.316 with Jackson Brown that night. Who else? Oh, Neil Young. 0:11:48.396 --> 0:11:51.436 It's not a connection, but from doing this podcast, we 0:11:51.556 --> 0:11:55.316 did one of his records and probably my favorite song 0:11:55.356 --> 0:11:57.956 that I found from Young, and I was much like 0:11:58.036 --> 0:12:00.516 you like I only really knew like Harvest Moon and 0:12:00.556 --> 0:12:02.196 a like Ohio and a few others. 0:12:02.916 --> 0:12:03.036 Uh. 0:12:03.396 --> 0:12:07.676 But when I heard Lookout Joe about Vietnam vets coming 0:12:07.756 --> 0:12:10.556 back to from Vietnam and seeing how the seventies has 0:12:10.676 --> 0:12:15.076 changed with hookers, and Drugs and Prostitutes and became probably 0:12:15.156 --> 0:12:18.396 my favorite song that I found from doing this podcast. 0:12:18.436 --> 0:12:20.556 I still listened to it multiple times a week. I 0:12:20.596 --> 0:12:23.756 love it and nothing with Graham Nash. But I was 0:12:23.796 --> 0:12:27.156 one of the people that Melissa Ethridge was gonna get 0:12:27.676 --> 0:12:31.956 sperm from. It was between me and David Crosby. Yeah, 0:12:32.236 --> 0:12:34.116 I mean I was young, but she wanted a kid, 0:12:34.156 --> 0:12:35.996 and I said, all right, you know, I got good gene. 0:12:39.076 --> 0:12:40.876 Okay, But but. 0:12:40.836 --> 0:12:43.596 There's a thing about them is that, you know, we 0:12:43.596 --> 0:12:46.836 were lucky enough. This never happens on the podcast, by 0:12:46.876 --> 0:12:51.196 the way, where we do usually the first record first, 0:12:51.596 --> 0:12:53.116 you know, because a lot of the artists their first 0:12:53.156 --> 0:12:56.396 album is their best record, and so sometimes, like when 0:12:56.396 --> 0:12:59.076 I did Dylan, we did it backwards. We started with 0:12:59.156 --> 0:13:01.916 Time out of Mind and we've worked our way down. 0:13:01.956 --> 0:13:04.836 I think we did like Love and Theft and a 0:13:04.956 --> 0:13:09.396 few others. It wasn't until John Wesley Harding that I 0:13:09.396 --> 0:13:13.876 think I really got what people love about Dylan. And 0:13:13.956 --> 0:13:16.036 now I'm really becoming a fan because, as you know, 0:13:16.116 --> 0:13:18.156 as a Dylan fan, you need to start at the 0:13:18.196 --> 0:13:21.036 beginning and move your way towards the back because those 0:13:21.236 --> 0:13:23.516 seven eight minute songs about God and Death and the 0:13:23.596 --> 0:13:26.356 Devil that he did in the nineties and the two thousands. 0:13:26.396 --> 0:13:29.236 They're not the same. You gotta know the early shit. 0:13:30.036 --> 0:13:34.276 But what I love about this band, you know, is 0:13:34.596 --> 0:13:39.076 you have this first record of theirs and they get together. 0:13:39.116 --> 0:13:42.636 They're all in their respective bands. You know, I might 0:13:42.676 --> 0:13:44.356 fuck this up because I've got some of it written 0:13:44.396 --> 0:13:46.396 down and if you correct me, but I know we've 0:13:46.396 --> 0:13:51.636 done the Birds, so so David Crosby's in the Birds. 0:13:51.836 --> 0:13:55.836 You have Stephen Stills is in the Hollies. Or am 0:13:55.876 --> 0:13:57.836 I mixing it up with Graham Nash? No, Graham Nash 0:13:57.916 --> 0:14:02.236 is a Buffo Springfield. Yeah, Stills is the Hollies. Nash 0:14:02.316 --> 0:14:05.556 is Buffalo Springfield. Otherways Okay, well. 0:14:05.396 --> 0:14:07.196 I was close young, We're Buffalo. 0:14:07.316 --> 0:14:10.116 Yeah, yes. But this is the thing is that they 0:14:10.196 --> 0:14:12.876 get together. Let me pull up my little one sheet. 0:14:13.156 --> 0:14:16.916 They get together and they make this record. They make 0:14:16.956 --> 0:14:21.716 the record after they play Woodstock. So their first gig 0:14:22.076 --> 0:14:28.356 ever is Woodstock. Yeah, I mean can a's your question? 0:14:28.396 --> 0:14:32.116 What was what was the first performance you ever did? 0:14:32.156 --> 0:14:34.396 And were you scared shitless doing. 0:14:34.196 --> 0:14:36.716 It me personally with a guitar? 0:14:37.076 --> 0:14:39.196 Yeah? Oh yeah, not just good doing as an actor 0:14:39.116 --> 0:14:41.676 or anything like any your first performance. Was it a 0:14:41.796 --> 0:14:43.996 natural thing? I mean, obviously it probably wasn't the size 0:14:44.036 --> 0:14:44.916 of woodstock, but. 0:14:46.996 --> 0:14:52.756 No. Strangely, which is why I pursued it. I knew 0:14:52.756 --> 0:14:56.596 exactly what to do, you know, I being on stage 0:14:56.676 --> 0:15:00.396 and having six hundred people and I'm playing Fagan and Oliver. 0:15:00.836 --> 0:15:03.756 I knew exactly what to do, and I know how 0:15:04.236 --> 0:15:05.876 the joke. I knew how to sing the song. I 0:15:05.916 --> 0:15:07.836 knew how to do the staging. I knew how to 0:15:07.876 --> 0:15:12.556 hold an audience. It was all just natural ability that 0:15:12.596 --> 0:15:15.156 I had no idea why I knew it or anything. 0:15:15.876 --> 0:15:19.276 When I picked up the guitar and started, you know, gigging, 0:15:19.676 --> 0:15:25.236 which happened thirty years later. That was the terror to 0:15:25.276 --> 0:15:29.476 walk out and sit in a chair with just the acoustic, 0:15:30.316 --> 0:15:33.676 singing my own stuff, thinking that it's going to be 0:15:33.836 --> 0:15:36.476 just as easy as walking on a stage. As an actor, 0:15:36.716 --> 0:15:40.196 you know, you've got this character filter which protects you 0:15:40.236 --> 0:15:42.636 in a way. You just kind of do it. And 0:15:42.916 --> 0:15:47.356 you know, I never stage fright nerves, no, but walking 0:15:47.396 --> 0:15:51.436 out there and sitting down, the flop sweat just like 0:15:52.036 --> 0:15:56.756 dripping off me. I there was a nakedness to it 0:15:57.756 --> 0:16:00.956 that I wasn't prepared for and it took about thirty 0:16:01.436 --> 0:16:06.796 club dates to learn how to rise above it. And 0:16:07.996 --> 0:16:10.196 it was the same thing as like doing a talk show, 0:16:10.596 --> 0:16:12.836 you know, I mean I did I've been doing those forever. 0:16:12.916 --> 0:16:16.116 I did Carson twice, you know, oh God, and a 0:16:16.116 --> 0:16:19.236 lot of Lemo and Colbert and you name it. I 0:16:19.316 --> 0:16:22.756 did him Conan, and you know, it's how do I 0:16:22.916 --> 0:16:25.076 how do I do this in seven minutes? You're out 0:16:25.076 --> 0:16:27.236 there and everybody's You've gotta be funny, you gotta be 0:16:27.636 --> 0:16:29.516 what what? What? What am I? And there were early 0:16:29.756 --> 0:16:32.276 things with me with Letterman where I'm just a zero 0:16:33.156 --> 0:16:36.676 and and I finally figured out the character I have 0:16:36.756 --> 0:16:39.916 to play when I walk out there is me in 0:16:39.956 --> 0:16:40.556 a good mood. 0:16:41.276 --> 0:16:43.396 Yeah yeah, yeah, yeah. 0:16:43.356 --> 0:16:45.436 That's your character, Jeff in a good mood. And I 0:16:45.516 --> 0:16:48.556 usually wear a fedora just because I love him. And 0:16:48.716 --> 0:16:52.396 once I put that on, it's like Joe Bonamasa, who's 0:16:52.396 --> 0:16:53.676 an incredible player. 0:16:54.036 --> 0:16:56.556 Guess with the podcast we've he's been on, been on 0:16:56.596 --> 0:16:57.236 a couple of times. 0:16:57.276 --> 0:17:01.876 Yeah, we love that, love him. He's Joe bonamassa backstage 0:17:01.916 --> 0:17:04.196 and then here comes the glasses, here comes the suit, 0:17:04.476 --> 0:17:07.916 and he says I become this other guy and it's 0:17:07.956 --> 0:17:10.036 a little bit like acting. So the same thing with 0:17:10.076 --> 0:17:13.596 the acoustic guitar in the chair. Now, any kind of 0:17:13.676 --> 0:17:16.796 trepidation about it, Remember you're in a good mood. Oh yeah, 0:17:16.836 --> 0:17:19.556 I'm in a good mood. Boom out I go, and 0:17:19.596 --> 0:17:20.676 then I'm on top of it. 0:17:21.076 --> 0:17:24.116 But also, and also, but also because I'm friends with, 0:17:24.316 --> 0:17:26.556 you know, very close with Bill Burr, and you know 0:17:26.756 --> 0:17:29.956 what he's explained going on those talk shows, especially someone 0:17:29.996 --> 0:17:32.916 like Conan. It's just like he's got you. Those guys 0:17:32.956 --> 0:17:35.076 got you, and their goal is that you can just 0:17:35.156 --> 0:17:37.756 they'll set you up and you set them up, and 0:17:37.796 --> 0:17:40.956 it's like it really is like a beautiful dance. And 0:17:40.996 --> 0:17:44.276 for someone who you know from acting and working with actors, 0:17:44.276 --> 0:17:46.396 and then also on top of that, you know, having 0:17:46.396 --> 0:17:50.316 the musical abilities and timing from acting and music, I 0:17:50.356 --> 0:17:53.076 mean you must I know you said you probably didn't 0:17:53.076 --> 0:17:56.236 feel like it, but dude, you know, you and Letterman together, 0:17:56.396 --> 0:18:00.156 you and Carson together, I mean it's a beautiful dance. 0:18:00.156 --> 0:18:01.676 And I mean none of us could tell that you 0:18:01.716 --> 0:18:02.876 were fucking nervous at all. 0:18:02.996 --> 0:18:05.796 No, it's the ability to tell stories, you know, on 0:18:05.836 --> 0:18:08.276 the fly. Yeah, you know. I mean, you don't have 0:18:08.396 --> 0:18:12.436 to suddenly bec Robin Williams are Marty Short and just 0:18:12.636 --> 0:18:15.396 kill like those guys do. Can you tell a good 0:18:15.436 --> 0:18:18.596 story that has you know, rhythm to it and you 0:18:18.676 --> 0:18:22.356 learn how to do that? And you know that comes 0:18:22.356 --> 0:18:24.116 with time and figuring out how to do it. But 0:18:24.156 --> 0:18:28.716 it's the same thing with the gigs. You know, is 0:18:28.756 --> 0:18:31.996 sitting down in that chair, is the story leading up 0:18:32.036 --> 0:18:34.596 to it, and then here comes the song. It's almost 0:18:34.716 --> 0:18:37.156 like a mini musical, except I'm doing the book and 0:18:37.196 --> 0:18:40.436 the and the music, and so you know, I've learned 0:18:40.476 --> 0:18:42.276 how to do it. I enjoy the challenge of that. 0:18:43.316 --> 0:18:47.556 But it was guys like Still's and Arlow and Neil 0:18:47.636 --> 0:18:53.036 Young and Steve Goodman later on Lyle Lovett, Christine Lavin, 0:18:53.396 --> 0:18:58.716 John Hyatt, Keb Mole, Stephan Grossman, the guys who picked 0:18:58.796 --> 0:19:02.476 up an acoustic guitar and could do it. Jason Isbel 0:19:02.516 --> 0:19:05.316 has the great album Foxes in the Snow. You know, 0:19:05.516 --> 0:19:08.196 just Jason with an acoustic in a studio in New 0:19:08.276 --> 0:19:13.196 York City. I I love that. I just that Crossy Stills, 0:19:13.276 --> 0:19:18.156 Nashing Young and Deja Vu was the trigger to send me, 0:19:18.636 --> 0:19:20.716 you know on my mate on my way toward an 0:19:20.716 --> 0:19:24.516 acoustic guitar, which I bought my first one in seventy 0:19:24.516 --> 0:19:26.316 six and have been playing one ever since. 0:19:27.076 --> 0:19:30.396 You still have that first one you bought, Yeah, I 0:19:30.516 --> 0:19:33.836 love that. Joe's try to Joe's try to buy it 0:19:33.876 --> 0:19:34.156 off you. 0:19:34.796 --> 0:19:35.596 I'm sure. 0:19:36.956 --> 0:19:38.596 He's listen, man, you we'll get rid. 0:19:38.476 --> 0:19:38.836 Of that thing. 0:19:38.876 --> 0:19:39.796 I'll pay top dollar. 0:19:40.476 --> 0:19:43.196 I don't love it, I am. I'm a Martin snob now, 0:19:43.236 --> 0:19:46.196 but it was a Guild D forty. That's the next 0:19:46.196 --> 0:19:49.276 too skinny, the body's too big. I played it for 0:19:49.276 --> 0:19:51.116 about three years. Then I saw a friend of mine 0:19:51.116 --> 0:19:57.036 playing Martin om and I'm just going, oh yeah. 0:19:56.476 --> 0:19:59.116 Dig so much when I was talking about this record 0:19:59.156 --> 0:20:01.796 and doing the first one where you have the three guys, 0:20:02.676 --> 0:20:06.036 you know, and then you were lucky enough that later. 0:20:06.156 --> 0:20:08.036 I mean, it's been almost over a year, I think, 0:20:08.076 --> 0:20:10.436 at least since we did that first record, and to 0:20:10.476 --> 0:20:12.436 really dig back into this and then find out the 0:20:12.476 --> 0:20:17.636 interesting story behind this, you know, for all the listeners 0:20:17.676 --> 0:20:19.476 and Jeff, I don't know how familiar you are with 0:20:19.596 --> 0:20:21.636 the backstory of this. But before we get into some 0:20:21.676 --> 0:20:25.196 of the tracks, you know, like I mentioned, they play 0:20:25.236 --> 0:20:29.076 their first gig at Woodstock. Then they come out with 0:20:29.116 --> 0:20:33.076 the first record. Neil, by the way, at this time 0:20:33.436 --> 0:20:35.996 is laying in the back. He actually played with them 0:20:35.996 --> 0:20:40.116 at Woodstock, but he is his own person. He's uncompromising. 0:20:40.556 --> 0:20:43.596 The first record comes out, it's this enormous hit. It's 0:20:43.716 --> 0:20:47.316 not it doesn't like drag. It doesn't take time to 0:20:47.356 --> 0:20:51.076 blow up. It blows up, and people are calling them 0:20:51.116 --> 0:20:56.356 a supergroup amongst with all the different singles, it almost 0:20:56.396 --> 0:21:02.516 defies explanation that they're going to be adding Neil Young 0:21:03.116 --> 0:21:07.236 to this band. It's already a perfect trio. It's like, 0:21:07.276 --> 0:21:08.956 how could it get much better? And by the time 0:21:08.956 --> 0:21:13.516 they get to this record, this album, basically when we 0:21:13.516 --> 0:21:15.236 were talking about for a moment and I mentioned it 0:21:15.276 --> 0:21:16.796 to you, Jared, why you'll find this intersuing as a 0:21:16.796 --> 0:21:20.716 Beatles fan. This is the white album. This is a 0:21:20.876 --> 0:21:24.716 fractured record. This is not a collaborative effort. There are 0:21:24.836 --> 0:21:30.316 them playing together and working on certain things for certain moments, 0:21:30.356 --> 0:21:33.956 but this is basically a member of the band. Excuse 0:21:33.996 --> 0:21:36.116 me saying I'm going to go to the studio. I'm 0:21:36.116 --> 0:21:38.156 going to do a song and if you want to 0:21:38.196 --> 0:21:40.796 come in, cool, but if not, I could give a 0:21:40.796 --> 0:21:44.556 shit I'm working on this alone. Some of these sessions, 0:21:44.596 --> 0:21:48.476 I think I saw somewhere that eight hundred hours. Yes, 0:21:49.436 --> 0:21:52.556 Steven Still's estimates the album took around eight hundred hours 0:21:52.556 --> 0:21:56.876 of studio time to record. Sometimes they'd be doing eighty 0:21:57.076 --> 0:21:59.556 takes of some of the songs before I've got any further. 0:22:00.036 --> 0:22:02.116 What's the most amount of takes you ever did in 0:22:02.156 --> 0:22:04.436 a scene and what was it for who. 0:22:07.036 --> 0:22:09.916 We were close to? I want to say seventy eight. 0:22:13.476 --> 0:22:16.116 On the Purple Rows of Cairo, the Woody Allen movie 0:22:16.196 --> 0:22:19.876 nineteen eighty seven, there was a wonner a one shot 0:22:20.036 --> 0:22:24.396 of a four page scene, and I'm sitting in a 0:22:24.516 --> 0:22:29.476 in a Ferris Ferris Merry go round, Yeah, which they 0:22:29.596 --> 0:22:35.476 had found somewhere in Brooklyn, and it was a real one. 0:22:35.516 --> 0:22:38.596 We were inside, and so it was all kind of 0:22:38.596 --> 0:22:41.476 built for us. Great terrific. So I'm sitting here with 0:22:41.596 --> 0:22:44.396 Mia Farrow and it's a love scene and the camera 0:22:44.556 --> 0:22:49.876 slowly pushes in, no cuts, no close ups, nothing, And 0:22:49.956 --> 0:22:52.436 at the end of the four page scene there's a kiss. 0:22:53.716 --> 0:22:59.436 That's it. Well, we're shooting. The problem is we're located 0:22:59.476 --> 0:23:05.676 about two miles from the JFK airport, so the flight 0:23:05.756 --> 0:23:11.156 pattern of the planes either taking off landing was just 0:23:11.476 --> 0:23:15.516 under four minutes, which was about the time it would 0:23:15.556 --> 0:23:18.036 take to do four pages a minute a page. So 0:23:18.236 --> 0:23:21.436 we would get to and you're doing the scene and 0:23:21.436 --> 0:23:24.916 the stammers coming in and we're on the last where 0:23:24.996 --> 0:23:27.556 now we're at three pages, top of fourth page. Here 0:23:27.596 --> 0:23:30.196 we come and you can hear the plane. You can 0:23:30.196 --> 0:23:34.436 hear the plane landing, and and you kind of speed 0:23:34.476 --> 0:23:36.076 it up to try to get to the kiss and 0:23:36.116 --> 0:23:40.116 then cut and they look at the sound guy. He goes, no, 0:23:40.156 --> 0:23:45.836 I heard the plane. I heard so what He just 0:23:45.956 --> 0:23:50.116 kept going and it was seventy eight takes and I 0:23:50.156 --> 0:23:53.796 don't think we ever got one that I know we 0:23:53.876 --> 0:23:56.316 didn't because then we go, well, let's go into editing. 0:23:56.356 --> 0:23:58.876 We'll see what we got. Because he didn't want to 0:23:58.876 --> 0:24:02.076 do close ups. Yes, he couldn't cut around a plane. 0:24:02.556 --> 0:24:06.356 So about four weeks later they built a Merry go 0:24:06.556 --> 0:24:08.876 round up in Harlem in a studio and we shot 0:24:08.916 --> 0:24:11.516 it like five takes. Oh there, wow. 0:24:11.956 --> 0:24:13.836 Was he wasn't like was he? I mean, he feels 0:24:13.876 --> 0:24:17.156 like a very particular person, you know, about what he wants, 0:24:17.156 --> 0:24:19.756 like in something like Purple Aza, Cairo or radio days. 0:24:19.876 --> 0:24:21.676 Was were they long shoots? Because I always feel like 0:24:21.676 --> 0:24:23.636 he was. He was very good with the budget that 0:24:23.676 --> 0:24:25.236 he got, because he's not getting a lot of money 0:24:25.276 --> 0:24:28.076 for his movies, or at least you know, you must 0:24:28.076 --> 0:24:29.636 say at the beginning. I mean, he is one of 0:24:29.676 --> 0:24:32.476 the best directors of all time. But still is it? 0:24:32.516 --> 0:24:35.756 Are his shoots long? Or what was the longest full shoot? 0:24:35.796 --> 0:24:38.396 Not seen? But just if they're doing eight hundred hours 0:24:38.436 --> 0:24:40.876 to do a record, what was the longest shoot you 0:24:40.916 --> 0:24:41.476 were ever on? 0:24:41.916 --> 0:24:44.356 Well? Would he? No? I mean, back back then, wood 0:24:44.356 --> 0:24:49.196 he we were usually finishing by five thirty, especially if 0:24:49.196 --> 0:24:50.476 the Knicks were playing at home. 0:24:50.836 --> 0:24:54.796 Sure, claireinet somewhere for the day. 0:24:54.876 --> 0:24:57.276 We'll come back, we'll go into the close ups tomorrow morning. 0:24:57.316 --> 0:24:59.596 Thanks everybody, and he's gone, you know, I mean, it 0:24:59.716 --> 0:25:02.796 was no, they were. They were very professional. You come 0:25:02.836 --> 0:25:07.236 in ready, He wants to see what you want to 0:25:07.236 --> 0:25:10.396 bring to All the great directors did Woody, Robert Altman, 0:25:10.516 --> 0:25:13.956 Mike Nichols, Jonathan Demi, Oh my god, on and on 0:25:13.996 --> 0:25:17.716 and on. They they don't come in and tell you 0:25:17.756 --> 0:25:21.116 what to do. They you know, Altman told me ninety 0:25:21.116 --> 0:25:25.036 percent of what I do is casting. Oh okay, go 0:25:25.276 --> 0:25:28.196 show me what it is? That right? Okay, good, let's 0:25:28.236 --> 0:25:30.836 move the camera. You know, sometimes you get nothing, and 0:25:30.876 --> 0:25:33.276 that's you know, come in and show them what you 0:25:33.276 --> 0:25:35.196 think it is. That's why they hired you. And Wood 0:25:35.196 --> 0:25:36.956 he was like that, you know, he said with the 0:25:36.996 --> 0:25:40.916 script too. He first day he goes, okay, well, you know, 0:25:40.996 --> 0:25:43.036 this isn't the Bible. So if you want to, you know, 0:25:43.156 --> 0:25:44.956 change your word here or there, just go ahead. You know, 0:25:44.956 --> 0:25:46.196 if I need you to say it the way I 0:25:46.196 --> 0:25:48.596 wrote it, I'll tell you, and you could you could 0:25:48.636 --> 0:25:51.356 loosen it up a little bit. And he was fine. 0:25:51.396 --> 0:25:54.156 He wanted it as natural as possible. And and you 0:25:54.196 --> 0:25:56.876 know that just makes you want to make what he 0:25:56.956 --> 0:25:58.396 wrote work all the time. 0:25:58.476 --> 0:26:01.436 Yeah, yeah, yeah, yeah. So what was the longest shoot? 0:26:01.516 --> 0:26:04.756 Not seeing but just longest project the way they talk 0:26:04.836 --> 0:26:09.276 about Eyes Wide Shut being almost like almost two years. 0:26:09.316 --> 0:26:12.316 And that's Kubrick, who, of course is very particular. And 0:26:12.596 --> 0:26:14.276 you know, of course I must have been interesting working 0:26:14.316 --> 0:26:17.316 with with a married couple with Tom Cruise and Nicole. 0:26:17.396 --> 0:26:18.956 But I mean, you've been in so many different projects. 0:26:18.956 --> 0:26:21.436 What was the longest from from the day you showed 0:26:21.476 --> 0:26:22.436 up to the day left? 0:26:23.436 --> 0:26:25.996 You know, I know, I don't. I mean the television 0:26:26.036 --> 0:26:29.236 series like news Room. Sure, yeah, yeah, obviously seven months, 0:26:29.236 --> 0:26:35.236 but you're shooting nine ten episodes. Yeah, movies. No, I 0:26:35.276 --> 0:26:37.836 was never on one of those were five months over 0:26:37.916 --> 0:26:39.156 and we're stuck in Romania. 0:26:39.476 --> 0:26:41.916 I was on that. 0:26:43.076 --> 0:26:45.516 I you know, I did. I did a twenty eight 0:26:45.556 --> 0:26:46.356 hour day once. 0:26:47.156 --> 0:26:51.996 What was that on that the me in the late 0:26:51.996 --> 0:26:54.356 eighties called The Crossing George Washington. 0:26:55.116 --> 0:26:56.956 And it's one of those for your lot, you got 0:26:56.956 --> 0:26:59.756 the location, you got to get it. Yeah, you know, 0:27:00.116 --> 0:27:03.996 we tried to get it and and for whatever reason, 0:27:04.076 --> 0:27:06.876 now it was a day shoot that turned into a 0:27:06.956 --> 0:27:09.676 night shoot that turns into dawn and now they're putting 0:27:09.716 --> 0:27:12.436 blacks over the windows because it's eight thirty in the 0:27:12.476 --> 0:27:15.316 morning and it's got to be night, you know. And 0:27:15.716 --> 0:27:21.476 you you don't know your name? You don't my John Adams? 0:27:21.516 --> 0:27:26.596 Who am I? No, you're John Quincy Adams. Oh, George Washington. 0:27:26.676 --> 0:27:29.956 I had no idea who I was. Wouldn't teeth, no 0:27:29.996 --> 0:27:34.156 wooden teeth. They Oh that's a bummer. 0:27:36.356 --> 0:27:37.356 I'm in the makeup chair. 0:27:37.716 --> 0:27:39.436 Dig it. All right, let's keep going on with this. 0:27:39.476 --> 0:27:39.796 All right. 0:27:39.836 --> 0:27:42.596 So, like I was saying before, this is the white album. 0:27:42.916 --> 0:27:45.796 They're doing all these takes. They hear Neil Young do 0:27:45.916 --> 0:27:48.916 the song Helpless, and the band flips out and they 0:27:48.956 --> 0:27:51.516 know how special this guy is. They say, I. 0:27:51.316 --> 0:27:56.596 Think, I think if I read this somewhere, he said, great, 0:27:56.636 --> 0:27:58.796 we've got the basic tracks. I'm going to take the 0:27:58.836 --> 0:28:00.756 tapes and go home and mix it myself. 0:28:01.076 --> 0:28:04.956 Yes, yes, it's it's basically they they I'm skipping ahead 0:28:04.956 --> 0:28:06.276 to what I have, the notes that I have for this, 0:28:06.916 --> 0:28:09.556 but it's basically when he played it for them, they're 0:28:09.556 --> 0:28:11.476 so blown away. I mean that's when they're just like, 0:28:11.556 --> 0:28:14.956 we're not worthy, Like they understand that this guy has 0:28:15.036 --> 0:28:18.796 a gift, and they say, no, we're not touching this, 0:28:18.916 --> 0:28:21.196 like this is this is a perfect thing. And it's 0:28:21.236 --> 0:28:25.676 also like, you know, the song is so in a 0:28:25.716 --> 0:28:28.876 sense autobiographical to him because of what he had been 0:28:28.956 --> 0:28:31.676 through in the fifties where he's diagnosed with polio and 0:28:31.716 --> 0:28:34.036 he's basically never been the same. It's one of the 0:28:34.036 --> 0:28:37.796 only songs on the record that everybody plays on. So 0:28:37.876 --> 0:28:40.156 it's it's very interesting too, which we'll come back to 0:28:40.316 --> 0:28:41.956 because I had a good question for that one. But 0:28:42.196 --> 0:28:43.796 give you a look. We're giving everybody a little taste, 0:28:43.996 --> 0:28:46.156 we're going back. We're doing a Christopher Nolan right now. 0:28:47.476 --> 0:28:51.036 So the record company h is all on board of 0:28:51.076 --> 0:28:54.916 having Neil Young. He says I'll join, but since he's uncompromising, 0:28:55.196 --> 0:28:57.436 he's like, I'm in la, I'll do a song. But 0:28:57.476 --> 0:29:00.276 also he will walk away if he isn't feeling the 0:29:00.356 --> 0:29:02.916 vibe that they're giving. So this record is each member 0:29:03.516 --> 0:29:06.236 doing their own songs. And if you see the first 0:29:06.356 --> 0:29:09.956 four tracks are all individual, right, the same person wrote it, 0:29:10.036 --> 0:29:13.116 that's sang on it. Maybe they do some harmonies, but 0:29:13.196 --> 0:29:15.716 if not needed it doesn't work, they don't use it. 0:29:15.796 --> 0:29:19.956 This is not a group project. The songs except for Woodstock, 0:29:20.476 --> 0:29:22.716 Almost Cut My Hair and Helpless were recorded as individual 0:29:22.796 --> 0:29:25.276 session but each member, with each contributing whatever was needed 0:29:25.276 --> 0:29:28.516 and agreed upon. Young appears on only half the tracks, 0:29:28.556 --> 0:29:31.276 with Nash stating he generally recorded his tracks alone in 0:29:31.316 --> 0:29:33.276 Los Angeles and then brought them back to the recording 0:29:33.316 --> 0:29:36.676 studio to put our voices on and took it away 0:29:36.836 --> 0:29:37.476 to mix it. 0:29:38.796 --> 0:29:41.516 Do you think that, because you know, because I've heard 0:29:41.956 --> 0:29:44.476 we came together as a group and then we added Neil, 0:29:45.156 --> 0:29:46.916 but we were always going to go off and do 0:29:47.036 --> 0:29:50.036 our own things. This was never going to do. Yeah, 0:29:50.396 --> 0:29:52.596 can we stay together? This was gonna be we're doing 0:29:52.636 --> 0:29:54.996 this and then we're all gonna go off and solo. 0:29:55.116 --> 0:29:58.076 Maybe we'll come back, you know. But so if Still's 0:29:58.156 --> 0:30:01.876 writes the song on Deja Vu is Still's the boss 0:30:02.076 --> 0:30:03.836 in the uh. 0:30:03.796 --> 0:30:05.876 From the from the understanding that I got from my 0:30:05.956 --> 0:30:09.356 writer DJ Morty Coyle shout out to him. It's it's 0:30:09.396 --> 0:30:11.836 basically this is this is the White album. This is 0:30:12.516 --> 0:30:15.436 John Lennon, this is this is Ringo. Everybody bringing a 0:30:15.476 --> 0:30:17.356 track saying I'm recording and I'm doing this and you 0:30:17.356 --> 0:30:18.796 can add what you can. But there's a little bit 0:30:18.796 --> 0:30:21.836 more collaborative on the White album because the band still 0:30:21.836 --> 0:30:23.916 plays on it. Dude, If you look at the album 0:30:23.956 --> 0:30:27.316 cover for this in big letters, Crosby, Stills, Nash and 0:30:27.396 --> 0:30:31.156 Young and then the bassist who they're all labeled like. 0:30:31.276 --> 0:30:35.196 The bassist Jerry Reeves is written on their very small 0:30:35.276 --> 0:30:38.156 and Dallas Taylor's on there very small. But this is 0:30:38.716 --> 0:30:42.636 this is a singular it's basically everybody bringing their vibe 0:30:42.676 --> 0:30:45.036 and them coming together and them cutting this into a 0:30:45.076 --> 0:30:48.716 record together. It's really interesting. Whereas compared to the first record, 0:30:48.756 --> 0:30:50.836 it was more of a group thing, you know what 0:30:50.876 --> 0:30:53.236 I mean. I mean, everybody probably bought more ideas to 0:30:53.316 --> 0:30:56.356 my understanding. But but this is this is really cool. 0:30:56.396 --> 0:30:58.156 And then this is really why I'm so happy to 0:30:58.276 --> 0:31:01.036 have you on for this because you know, with the 0:31:01.076 --> 0:31:05.116 way that Crosby, Stills, Nashing, Young, especially after this, has 0:31:05.236 --> 0:31:08.476 done so much on the spectrum or a cross inspectionum 0:31:08.796 --> 0:31:12.396 with their individual careers, I see the connection to your 0:31:12.476 --> 0:31:15.596 career because similarly, like you know, the way they see 0:31:15.636 --> 0:31:18.836 they're like, wow, like David Crosby did this, and Wow, 0:31:18.916 --> 0:31:22.236 Stephen Stills did this. You have a very very similar 0:31:22.276 --> 0:31:25.116 career with all the different things. You know, not only 0:31:25.156 --> 0:31:27.596 now with the with the music, but the acting and 0:31:27.636 --> 0:31:30.636 working with James L. Brooks, working with Sorkin, working with 0:31:30.676 --> 0:31:34.916 the Farley Brothers, like You've worked on so many projects 0:31:35.236 --> 0:31:40.076 with so many incredible people and playing these iconic characters. 0:31:40.516 --> 0:31:42.676 But just like Crosby, Stills, Nash and Young who are 0:31:42.716 --> 0:31:47.396 blending four powerful voices, does that remind you of any 0:31:47.716 --> 0:31:50.956 ensemble that you've worked on where every personality in a 0:31:50.996 --> 0:31:54.036 sense had to fight for space but just to still 0:31:54.036 --> 0:31:54.636 make it sing. 0:31:57.796 --> 0:32:04.396 You go in whether to play or a movie, TV, 0:32:05.196 --> 0:32:10.156 you go in wanting it to be a great collaboration 0:32:10.476 --> 0:32:15.916 where it's a blend and maybe different from music. You know, 0:32:15.956 --> 0:32:18.836 who gets the solo here. I don't like what you 0:32:18.876 --> 0:32:22.836 did there. I mean that doesn't happen on a set. 0:32:22.956 --> 0:32:26.476 You don't do a scene and then you know, say 0:32:26.516 --> 0:32:29.156 to Meryl Street, Meryl, you want another one. You know, 0:32:32.036 --> 0:32:37.236 it's more of a of a chemistry thing. You're seeking that, 0:32:37.356 --> 0:32:40.556 at least I am. You're seeking that going in. Whether 0:32:40.596 --> 0:32:43.116 it's with Jim Carrey on Dumb and Dumber, you're just 0:32:43.236 --> 0:32:47.276 trying to bounce. You're planning to play tennis verbal tennis 0:32:48.036 --> 0:32:50.596 with whether it's Jim on that movie or Meryl and 0:32:50.676 --> 0:32:54.476 Heartburn or anybody else. In anything, it's all about plugging 0:32:54.516 --> 0:33:00.276 in and trading licks on the same song, which is 0:33:00.356 --> 0:33:04.316 the scene you're doing. And you can't do it by 0:33:04.396 --> 0:33:07.076 yourself because there are two people in the scene and 0:33:07.076 --> 0:33:09.996 one person wants one thing and you something else, and 0:33:10.036 --> 0:33:13.836 that's that's why you have that scene drama. So it's 0:33:13.836 --> 0:33:19.836 a it's a little different. I haven't run into a 0:33:19.836 --> 0:33:23.716 lot of people who are you know, could you just 0:33:25.316 --> 0:33:28.676 stand a little closer to my close up? You know? Yeah, 0:33:28.996 --> 0:33:32.836 I haven't I haven't run into that too much. I 0:33:33.276 --> 0:33:36.316 worked with people who didn't tolerate that, who were far 0:33:36.396 --> 0:33:39.276 bigger than I was, And I learned early on that 0:33:39.356 --> 0:33:43.236 it was more about making the people that are with 0:33:43.356 --> 0:33:45.516 you as good as possible, and what. 0:33:45.556 --> 0:33:48.756 Act to go off of that, what actor that you've 0:33:48.756 --> 0:33:50.676 worked with? You probably early on? Do you think you 0:33:50.756 --> 0:33:52.636 learned the most from Meryl? 0:33:53.676 --> 0:33:56.876 Yeah, a couple of things with Meryl heartburn and then 0:33:57.436 --> 0:34:02.036 what was the other one? Oh, it was over of 0:34:02.116 --> 0:34:05.356 the hours, and she just plugs in. She's so moment 0:34:05.436 --> 0:34:09.996 to moment, she's so prepared, she's so professional, but she's 0:34:10.076 --> 0:34:14.356 listening to you, and she's whatever you're giving or she's using. 0:34:15.796 --> 0:34:18.476 And so that whole thing of you know, acting in 0:34:18.516 --> 0:34:23.276 front of a mirror, uh huh uh huh. And and man, 0:34:23.276 --> 0:34:26.716 when you plug into Meryl Streep, I could imagine suddenly 0:34:26.756 --> 0:34:29.836 it's like it's it's it's the chemistry that everybody, that 0:34:29.956 --> 0:34:32.476 magical thing chemistry, and I you know, and I think 0:34:32.516 --> 0:34:35.316 Still's and again going back to the Chicago concert, I saw, 0:34:36.036 --> 0:34:38.676 you know, Still's and Young we're playing off of each other. 0:34:39.076 --> 0:34:40.996 Yes, yes, we're going to talk about that. 0:34:41.636 --> 0:34:44.516 Ego and all of that but man, they learned how 0:34:44.556 --> 0:34:48.276 to do that with ye and that's a lot of 0:34:48.316 --> 0:34:50.396 what what a what a good scene with a couple 0:34:50.476 --> 0:34:54.156 of actors who are listening, uh do, And so in 0:34:54.196 --> 0:34:55.476 that sense it was similar. 0:34:55.996 --> 0:34:57.516 Well, and I want to I want to go right 0:34:57.556 --> 0:34:59.796 into what you just said, because that takes us into 0:34:59.796 --> 0:35:01.876 the first track, which is carry On, which is a 0:35:01.916 --> 0:35:05.636 Stephen Still song. I love that you said that about 0:35:05.636 --> 0:35:08.076 playing off one another because one of the reasons Steven 0:35:08.076 --> 0:35:11.036 Stills it's such an credible guitar player. And then to 0:35:11.116 --> 0:35:14.836 have someone like Neil Young who also is it's kind 0:35:14.836 --> 0:35:18.476 of like as a comedian, you know, when you hang 0:35:18.516 --> 0:35:20.956 out with a group of comics that are funnier than you, 0:35:21.036 --> 0:35:23.876 because it makes you better, Like you want if you're 0:35:23.916 --> 0:35:26.356 the funniest guy in your group, you know the guy 0:35:26.396 --> 0:35:29.676 started with you know, Gerrod Carmichael Angelo Bowers, who unfortunately 0:35:29.676 --> 0:35:31.156 is not with us anymore, but two of the most 0:35:31.156 --> 0:35:33.676 brilliant comics I've ever met, which took my game up. 0:35:33.676 --> 0:35:37.076 And even now spending time with Burr and Big Jay Oakerson, 0:35:37.116 --> 0:35:38.916 I mean, and being here in New York, it's just 0:35:38.996 --> 0:35:41.756 it ups your game and I could see why someone 0:35:41.796 --> 0:35:45.396 is talented as Steven Stills would want to have someone 0:35:45.436 --> 0:35:47.596 like Neil Young in the band because it's going to 0:35:47.716 --> 0:35:50.476 make him a better player, and I feel maybe not 0:35:50.516 --> 0:35:52.796 so much. You know, this is where carry On isn't 0:35:52.876 --> 0:35:56.756 the you know, the guitar song on the record, but 0:35:57.036 --> 0:35:59.516 it's it's it is the first track, and it does 0:35:59.596 --> 0:36:01.796 have one of Steven Still's you know, because at the 0:36:01.796 --> 0:36:05.676 time everybody was doing this open tuning, like alt tuning 0:36:05.756 --> 0:36:10.036 of their songs, and Steven Stills ends up putting this together. 0:36:10.196 --> 0:36:13.476 Neil Young, though, isn't on it. You have Steven Still's leave. 0:36:13.636 --> 0:36:19.836 He does basically everything lead vocals, harmony, acoustic electric organ, bass, guitar, percussion. 0:36:20.476 --> 0:36:22.636 David Crosby brought in to do the harmony, so is 0:36:22.636 --> 0:36:27.116 Graham Nash. I think this is the perfect song on 0:36:27.556 --> 0:36:30.876 the record to open the album with. I don't think 0:36:31.036 --> 0:36:34.916 any other song would draw you in the way that 0:36:34.996 --> 0:36:39.036 Carrie On does. Your thoughts on it, I agree, I 0:36:39.076 --> 0:36:42.996 agree it grabs you immediately. It's this is like I 0:36:42.996 --> 0:36:44.796 put this onto the gym and I was like, I mean, 0:36:44.836 --> 0:36:46.916 it's still kind of pumped me up. It's just it's 0:36:46.996 --> 0:36:49.436 there's this is the real moment. Because of course like 0:36:49.836 --> 0:36:52.556 Sweet Judy Blue Eyes. If I fuck it up, Sweet 0:36:52.596 --> 0:36:54.756 Judy Blue Eyes. That's the main that was the big 0:36:54.836 --> 0:36:56.836 one off the first record, Yeah, which is one of 0:36:56.876 --> 0:36:59.636 the greatest songs ever written. This is arguably probably my 0:36:59.716 --> 0:37:02.676 favorite Crosby Stills Nashing Young song. I feel like it's 0:37:02.716 --> 0:37:06.476 it's just everything about it I love, you know, and 0:37:06.476 --> 0:37:08.836 then also finding out about kind of what's going on, 0:37:08.836 --> 0:37:11.276 which we're going to talk about later as well, which 0:37:11.356 --> 0:37:13.676 is like, you know, Graham and Joni are dating, but 0:37:13.716 --> 0:37:17.476 they're breaking up, David loses his girlfriend, Neil Young is 0:37:17.516 --> 0:37:19.796 just tough to work with. I mean, these are these 0:37:19.796 --> 0:37:23.276 are real issues. So this song, I feel carries a 0:37:23.796 --> 0:37:29.516 much deeper feeling and meaning behind it. And we've talked about, 0:37:29.556 --> 0:37:31.676 like I said, the career you know, and carry on 0:37:32.436 --> 0:37:35.356 is a way, you know. We're halfway through the recording 0:37:35.396 --> 0:37:37.716 they realized they needed this song, and in a way, 0:37:37.716 --> 0:37:40.796 it's almost like advice to the band. We were talking 0:37:40.796 --> 0:37:42.476 about your career at the beginning, and we said, you've 0:37:42.516 --> 0:37:44.316 done so much. Was there a point in your career 0:37:44.316 --> 0:37:46.116 where you've done so much? But you hit a point 0:37:46.116 --> 0:37:48.476 and you said, what else do I have to accomplish? Well, 0:37:48.516 --> 0:37:49.756 I guess I just have to carry on. 0:37:53.116 --> 0:37:59.916 Oh I'm there now. And the carry on part is 0:37:59.996 --> 0:38:07.156 the really really really carry no, you know, I think 0:38:07.196 --> 0:38:12.036 that back to the song I think if you if 0:38:12.076 --> 0:38:16.996 you liked their first album, Yeah, we need something that 0:38:17.196 --> 0:38:20.236 reminds you of that first album and carry On is 0:38:20.276 --> 0:38:20.836 that song. 0:38:21.236 --> 0:38:22.876 Sure, it's that. 0:38:23.716 --> 0:38:26.116 You know, we're not going to go completely different until 0:38:26.156 --> 0:38:29.716 later when we bring Neil in, but here's something that 0:38:30.156 --> 0:38:32.676 you know is harkens back to that first album that 0:38:32.756 --> 0:38:36.116 you loved so much, and then we'll go on from there. 0:38:36.516 --> 0:38:39.476 That's what carry On feels like a good kind of 0:38:39.756 --> 0:38:42.476 you know, for those who like the first album, this 0:38:42.596 --> 0:38:44.476 is you're gonna like this first song. 0:38:44.636 --> 0:38:48.836 That's what it feels like. It really does, it really does. Wow, 0:38:48.996 --> 0:38:51.036 you feel like Sarah, you done, You're not going to 0:38:51.076 --> 0:38:53.236 act anymore? Or like are you just is it? 0:38:53.996 --> 0:39:00.516 No? You know, it's it's a kind of you know, 0:39:00.596 --> 0:39:08.316 call me if you need me, yeah, versus chasing fifty 0:39:08.396 --> 0:39:13.956 years of person suing. Yeah, you know, I've definitely you know, 0:39:14.116 --> 0:39:17.556 once I did to Kill a Mockingbird on Broadway, which 0:39:17.636 --> 0:39:21.156 I did for a year, I came out of that 0:39:21.636 --> 0:39:26.076 and I could be done. Yeah, I felt like I 0:39:26.196 --> 0:39:29.876 had accomplished whatever it was I was going to accomplish. 0:39:30.556 --> 0:39:36.556 Looking back, yeah, I did it. Now other things have 0:39:36.676 --> 0:39:40.276 come along, I've done them, but now it's it's more 0:39:40.316 --> 0:39:45.436 about challenging yourself as an artist. And you know, I'm 0:39:45.476 --> 0:39:47.556 being focused on some other things. I have a theater 0:39:47.636 --> 0:39:52.476 in Michigan. The music I'm really enjoying, you know. I 0:39:52.516 --> 0:39:55.396 can play clubs or you know, five hundred seaters all 0:39:55.436 --> 0:39:58.916 over the country and sell out, you know, so you know, 0:39:59.036 --> 0:40:04.116 that's that's as interesting to me now, if not more 0:40:04.196 --> 0:40:08.036 so than eight times a week on Broadway or you know, 0:40:08.196 --> 0:40:12.996 another night Shoe in Louisiana. You know, So we'll see. 0:40:12.996 --> 0:40:14.236 I mean, it's not to say there are a couple 0:40:14.236 --> 0:40:15.916 of things that are out there that are you know, 0:40:16.036 --> 0:40:19.716 possibility of happening that I want to do, yeah, because 0:40:19.756 --> 0:40:22.516 I haven't done them yet. I haven't played that kind 0:40:22.556 --> 0:40:25.236 of character yet. And if it comes through, which I 0:40:25.316 --> 0:40:30.316 hope it does, great, but well, just going yeah, call 0:40:30.396 --> 0:40:31.836 me if everybody wants me. 0:40:32.276 --> 0:40:34.356 You know, is there who's the director that if they 0:40:34.396 --> 0:40:35.676 called you? I don't know if you want to answer this, 0:40:35.716 --> 0:40:37.596 but who's the director that if they called you? You 0:40:37.596 --> 0:40:39.636 you would in a second, be like, yeah, I'm there. 0:40:40.356 --> 0:40:44.596 Scott Frank really Scot, who do did? He direct? Wrote 0:40:44.596 --> 0:40:48.596 and directed Godless and which we did on Netflix, a 0:40:48.636 --> 0:40:53.076 big Western and I want an Emmy for that thanks 0:40:53.076 --> 0:40:57.836 to Scott. He just didn't Department Q on Netflix. He 0:40:57.916 --> 0:41:01.796 did Queen's Gambit. He's really a good writer director and 0:41:01.996 --> 0:41:05.636 uh yeah, if he were to, you know, I'd go 0:41:05.716 --> 0:41:07.996 with him. You know, if he emailed me go I 0:41:08.036 --> 0:41:09.596 got something for you, I'll go. What time do you 0:41:09.636 --> 0:41:10.036 want me there? 0:41:10.076 --> 0:41:13.196 Tomorrow? Yeah? Yeah, yeah, yeah, I'm sorry. I'm playing a 0:41:13.236 --> 0:41:15.996 gig though in Tulsa. It's a four hundred seater. 0:41:16.076 --> 0:41:19.396 If you cancel, you say we're canceling it. 0:41:19.956 --> 0:41:22.596 Dig it all right, let's move on to teach your children. 0:41:23.076 --> 0:41:27.116 Probably you know, one of the I'd say why, probably 0:41:27.076 --> 0:41:30.076 the biggest long lasting song. I feel like that might 0:41:30.116 --> 0:41:32.396 have come off of this very interesting story behind it. 0:41:32.996 --> 0:41:34.956 So this is a Graham Nash song. He wrote this 0:41:35.036 --> 0:41:37.076 while he was still in the Hollies in sixty eight, 0:41:37.116 --> 0:41:40.236 but he wrote it very much at first like a 0:41:40.396 --> 0:41:45.076 Henry the Eighth by Herman's Hermit, so not the country version. 0:41:45.076 --> 0:41:47.276 It was still the one that told him to change 0:41:47.316 --> 0:41:49.156 it to make it have more of a country song. 0:41:49.916 --> 0:41:52.996 Graham saw his I saw this photo of a toy 0:41:53.076 --> 0:41:55.636 hand grenade in Central Park by a famous photographer that 0:41:55.676 --> 0:41:57.756 I forgot the writer name down, don't know if you know. 0:41:58.476 --> 0:42:01.076 And there's a moment where he thinks you can either 0:42:01.116 --> 0:42:05.316 teach your child to be good or bad. And also 0:42:05.396 --> 0:42:07.916 a little side note, Jerry Garcia from The Grateful Dead 0:42:07.956 --> 0:42:12.276 plays slide guitar on this little factoid. Are you a 0:42:12.276 --> 0:42:12.716 Dead fan? 0:42:14.356 --> 0:42:18.796 No? No, And it's not a judgment at all. I 0:42:18.876 --> 0:42:25.516 just never hooked into him and no, no, no, John 0:42:25.676 --> 0:42:30.516 to uh Bruce Springsteen in the late seventies and never 0:42:30.556 --> 0:42:31.076 looked back. 0:42:31.396 --> 0:42:33.796 Yeah, dude, there's are two guys that there are two 0:42:33.836 --> 0:42:35.796 guys that are awesome to follow. But I was. I 0:42:35.916 --> 0:42:38.636 fought The Grateful Dead for years and then from doing 0:42:38.636 --> 0:42:42.676 the podcast, man having we had you know, Senator Al Franken. 0:42:42.956 --> 0:42:44.596 Remember he's a guy. He's the reason I'm still doing 0:42:44.596 --> 0:42:46.316 the podcast. I was gonna quit and he goes, you 0:42:46.436 --> 0:42:50.276 can't quit. You're halfway through, man, this is groovy, And 0:42:50.276 --> 0:42:52.836 then his excitement it rubbed off and they all told 0:42:52.876 --> 0:42:55.716 me listen to the live shit. The albums are good. 0:42:55.796 --> 0:42:57.716 Listen to live shit, I started doing that and now 0:42:57.756 --> 0:43:00.396 I love him. But here but let me get to 0:43:00.436 --> 0:43:02.516 the question. Well, actually, before I get to the question, 0:43:02.756 --> 0:43:05.596 you tell me your thoughts on teach your children, because 0:43:06.316 --> 0:43:09.636 the message everything it's it really is, you know, being 0:43:09.676 --> 0:43:11.596 somebody that's a father. I mean, does this song hit 0:43:11.676 --> 0:43:14.676 home in a different way or is it just always 0:43:14.716 --> 0:43:17.316 been something that you loved and felt connected to? 0:43:20.196 --> 0:43:24.316 It was okay, you know, I mean, I wasn't Mash again, 0:43:24.476 --> 0:43:28.276 Nash wasn't the guy that pulled me in House is 0:43:28.316 --> 0:43:32.916 a nice song, you know, that's nice, teacher children nice, 0:43:32.916 --> 0:43:38.036 that's you know, sure, yeah, but what still's doing? Yeah? Yeah, 0:43:39.036 --> 0:43:43.116 I remember Nash saying somewhere that when they brought Neil in, 0:43:43.356 --> 0:43:46.556 he gave us an edge, you know, and he probably 0:43:46.556 --> 0:43:49.916 gave Graham an edge because you know, the songs Graham 0:43:50.036 --> 0:43:55.276 was writing, except for Military Madness, which was pretty on point. 0:43:55.796 --> 0:44:00.116 I don't know who wrote Ohio, but you know, Neil 0:44:00.156 --> 0:44:04.636 gave them an edge and really an edge sometimes. But yeah, 0:44:04.676 --> 0:44:07.156 there's some of the softer stuff is very nice. You know, 0:44:07.196 --> 0:44:10.756 the harmony is terrific. That's wonderful. But you know, I'm 0:44:10.796 --> 0:44:14.156 I'm kind of where are still songs totally. 0:44:14.916 --> 0:44:16.836 This isn't my favorite, but like I said, it's definitely 0:44:16.876 --> 0:44:18.836 the one that I knew immediately when this came on. 0:44:18.956 --> 0:44:20.756 But but to take it to the meat and potatoes 0:44:20.796 --> 0:44:24.076 of the song though, uh, more than ever now we're 0:44:24.116 --> 0:44:26.436 we're seeing a world where parents have the option to 0:44:26.476 --> 0:44:28.276 teach their children that grew up in the with a 0:44:28.436 --> 0:44:30.636 with hippie parents and they teach their children to be 0:44:30.716 --> 0:44:33.996 empathetic or you have these these these new I don't 0:44:34.036 --> 0:44:36.236 call the new parents, but that are that are tough 0:44:36.356 --> 0:44:38.756 and they're teaching their their kids, you know, not to 0:44:38.796 --> 0:44:41.196 care about uh their neighbor. 0:44:41.796 --> 0:44:41.956 Uh. 0:44:42.116 --> 0:44:44.756 Children are the seeds of the parents that plant them. Basically, 0:44:44.796 --> 0:44:47.396 to use a lyric from one of the songs that's 0:44:47.396 --> 0:44:49.436 going to be coming out later, do you think we 0:44:49.756 --> 0:44:52.996 ever can get back to the garden where we can 0:44:53.036 --> 0:44:55.036 you know, get back to people that are open to 0:44:55.116 --> 0:44:55.476 the other. 0:44:59.436 --> 0:45:02.676 I hope. So, yeah, I hope. So, I mean I 0:45:02.716 --> 0:45:12.356 think that's you know, the hope. Basically, I don't know 0:45:12.636 --> 0:45:16.436 how or when. Right now, it doesn't look possible. Everybody's divided. 0:45:20.156 --> 0:45:23.756 You know, the people in power are basically doing what 0:45:23.756 --> 0:45:28.636 they want, and you know who's going to stop them. 0:45:28.676 --> 0:45:34.676 So I hope. So I've always felt that, you know, 0:45:34.716 --> 0:45:41.596 I go back to Reagan and uh tip O'Neil, Obama 0:45:41.716 --> 0:45:45.076 and John Bayner. You know, they got in a room 0:45:46.396 --> 0:45:48.876 and they came together on a deal or they figured 0:45:48.916 --> 0:45:51.756 something out. And you don't get everything you want. You 0:45:51.796 --> 0:45:54.196 get you get as much of what you want as possible, 0:45:55.396 --> 0:46:00.516 and you're serving something bigger than yourself. And until we 0:46:00.596 --> 0:46:08.596 can get back to that, I don't see it. Yeah, yeah, 0:46:09.556 --> 0:46:11.076 I think. I think it's going to come down to 0:46:11.116 --> 0:46:14.596 the people in the country who either like what's going 0:46:14.636 --> 0:46:17.196 on you know, a year, two years from now, three 0:46:17.316 --> 0:46:21.996 four years from now, or they don't you know, if 0:46:21.996 --> 0:46:24.756 we still have elections. I hope we do. I hope. 0:46:24.876 --> 0:46:28.796 Yeah, Yeah, definitely. It definitely feels like once, you know, 0:46:28.876 --> 0:46:32.476 two thousand, well really twenty fourteen fifteen, when when when 0:46:32.836 --> 0:46:36.116 that you know, that entity came into our political stratosphere, 0:46:36.396 --> 0:46:39.396 it felt like the you know, the puppets out of 0:46:39.436 --> 0:46:42.436 the box, and it's like it's just it's just how 0:46:42.476 --> 0:46:44.316 do you get that thing back in there once you've 0:46:44.316 --> 0:46:46.956 cranked it up and it's popped out. It's like, you know, 0:46:47.196 --> 0:46:49.236 I feel like people are only going to be leading 0:46:49.316 --> 0:46:53.636 that way because on that side, and it's I do 0:46:53.716 --> 0:46:57.876 think listen, I do think they're there, that you still 0:46:57.956 --> 0:47:02.756 have good people in this world. But I completely agree 0:47:02.756 --> 0:47:04.196 with you. So what do you so then how can 0:47:04.236 --> 0:47:04.956 you as a father? 0:47:05.796 --> 0:47:12.756 And I think I think, oh, I just I just 0:47:12.836 --> 0:47:16.036 think people will will get back there. We'll get back 0:47:16.036 --> 0:47:19.156 to that at some point. It's it's not this is 0:47:19.236 --> 0:47:22.836 not new. What's going on now? Maybe it seems like 0:47:23.476 --> 0:47:25.196 you know, and and in a lot of ways, it 0:47:25.276 --> 0:47:30.556 is more aggressive towards something that that eliminates people or 0:47:30.556 --> 0:47:34.556 discards people, you know, you know, and kind of tramples 0:47:34.596 --> 0:47:39.316 on what we thought what democracy was. But it's you know, 0:47:39.436 --> 0:47:43.716 there have been politicians forever that have gotten into office 0:47:43.796 --> 0:47:48.036 and done things and somebody had to wear the guardrails 0:47:48.076 --> 0:47:50.716 and wear the checks and balances and all that stuff. 0:47:51.196 --> 0:47:56.116 So we'll see, we'll see. I mean, it's it's it's 0:47:56.156 --> 0:47:59.156 up to the people. If the people want this, then 0:47:59.196 --> 0:48:02.196 it will stay. If if in a few years they don't, 0:48:02.356 --> 0:48:07.036 then uh, maybe they'll go to the election elections and 0:48:07.116 --> 0:48:10.036 vote for something else. We'll see, But it's not up 0:48:10.076 --> 0:48:11.636 to an actor to side I know that. 0:48:12.116 --> 0:48:14.276 Yeah, what well, what when when you were becoming a 0:48:14.316 --> 0:48:16.716 new father. What was something that your father or mother 0:48:16.796 --> 0:48:18.716 taught you that you passed along to your children. 0:48:20.756 --> 0:48:28.916 Well, invest in yourself, which I've done, for better or worse. 0:48:32.516 --> 0:48:35.676 You know, as an actor, you choose projects that that 0:48:35.756 --> 0:48:38.956 you want to do. Yeah, I've kind of done that, 0:48:39.636 --> 0:48:43.596 picking up the guitar, writing plays, doing a theater company. Yeah, 0:48:43.676 --> 0:48:47.076 that's me investing in me and whatever talent I have, 0:48:47.676 --> 0:48:53.276 just trying to see how far he can take it. Yeah. That, 0:48:53.676 --> 0:49:04.956 but yeah, my my parents were man, treat everybody the same. Yeah, 0:49:05.356 --> 0:49:13.236 he really was. My dad was was if I ever 0:49:13.316 --> 0:49:17.356 see you treating one of the kids in town who 0:49:17.356 --> 0:49:21.996 doesn't have a lot of money poorly, He didn't have 0:49:22.036 --> 0:49:22.956 to finish the sentence. 0:49:23.276 --> 0:49:25.436 Good man, what a good man? Oh Man. 0:49:26.116 --> 0:49:28.996 He was a company and in a small town was 0:49:29.036 --> 0:49:31.556 one of the successful business owners. He was the mayor 0:49:31.596 --> 0:49:34.076 for a while, he ran the school. You know. He 0:49:34.556 --> 0:49:38.636 was like Atticus Finch in this little town. Yeah. But man, 0:49:39.676 --> 0:49:45.316 he would some guy who is barely making it with family, 0:49:45.436 --> 0:49:49.556 and he'd come into a lumberyard and Dad knew and 0:49:49.636 --> 0:49:51.716 the guy was having trouble paying the bills, and he 0:49:51.716 --> 0:49:53.236 would say, come on up to my office, and he 0:49:53.276 --> 0:49:56.236 would sit with him for half an hour and he 0:49:56.276 --> 0:49:57.916 would tell the guy at the end of it, you know, 0:49:57.956 --> 0:49:59.676 don't worry about it, you know, will you pay me 0:49:59.716 --> 0:50:03.476 when you can, all right? And it was just private. 0:50:04.076 --> 0:50:06.476 He didn't do it for show. It was just private. 0:50:07.076 --> 0:50:10.756 He took care of people who were had less than 0:50:10.796 --> 0:50:15.356 he did, and that was just he would tell us that, 0:50:15.436 --> 0:50:20.676 but then he would show us that by example. And 0:50:20.756 --> 0:50:25.636 you know, I've tried to do that. Wow. I love 0:50:25.676 --> 0:50:30.316 that You're on a set with an actor and it's 0:50:30.356 --> 0:50:35.036 their first show. Yeah yeah, yeah, you know, and you 0:50:35.236 --> 0:50:38.356 and you I've done you know, decades of what I've done. 0:50:38.516 --> 0:50:41.716 And you can tell that he's nervous. And so you 0:50:41.756 --> 0:50:44.596 sit with him and you talk to him about the scene, 0:50:44.676 --> 0:50:46.436 or you talk to him about well, yeah, what you're doing, yeah, 0:50:46.436 --> 0:50:49.356 where you're staying yeah, oh yeah, yeah, you just you 0:50:49.516 --> 0:50:52.836 kind of you know, yeah, you want him to be good. 0:50:53.636 --> 0:50:55.876 This isn't about you know, just say your line so 0:50:56.076 --> 0:50:59.596 we can put the camera on me. It's the opposite 0:50:59.636 --> 0:51:01.836 of that, and that that comes from my dad. 0:51:02.196 --> 0:51:03.716 And that's why you work, and that's why you've had 0:51:03.756 --> 0:51:05.596 a fifty year career because you do that and your 0:51:05.676 --> 0:51:08.596 dad taught you. That's incredible. That really is incredible, man. 0:51:09.196 --> 0:51:11.236 Yeah, unless you're an asshole then I'll kill you. 0:51:11.356 --> 0:51:16.396 Yeah, there's the laugh. 0:51:18.116 --> 0:51:21.236 Seen stars do that to people who were being divas. 0:51:21.476 --> 0:51:24.676 Oh my god. So I have that in my back pocket, 0:51:24.716 --> 0:51:26.796 but I rarely have to use it. Yeah. 0:51:27.076 --> 0:51:29.356 I love that though. I love that, and that comedy 0:51:29.436 --> 0:51:31.076 is what's gonna lead into the next question. So I'm 0:51:31.156 --> 0:51:33.116 very excited about this next one. This is for me 0:51:33.236 --> 0:51:35.316 and people in my generation. But first let's talk about 0:51:35.356 --> 0:51:38.756 the song almost Cut your Hair, Cut my hair. I'm sorry. 0:51:38.756 --> 0:51:41.636 This is a David Crosby song, first song on the 0:51:41.636 --> 0:51:44.476 record that Neil and bass player Greg Reeves are on. 0:51:45.196 --> 0:51:48.636 This is David's thing, man, it's kind of goofy uh. 0:51:49.116 --> 0:51:52.356 This is he's gonna let his freak flag fly. Hippies 0:51:52.356 --> 0:51:54.916 find themselves at a point where they're like, do I 0:51:54.956 --> 0:51:58.476 cut my hair today and just enjoin the machine? You know, 0:51:58.556 --> 0:52:00.716 as you know about David Crosby, he was a rich 0:52:00.796 --> 0:52:03.876 kid in Hollywood and he took that line about the 0:52:03.876 --> 0:52:06.636 freak flag from Jimmy Hendrix before I asked you the 0:52:06.716 --> 0:52:11.036 question thoughts on almost cut My Hair? The song David, 0:52:11.276 --> 0:52:15.716 I know you're a Stills guy. Yeah, gotta love. 0:52:15.596 --> 0:52:19.596 The Warriors were coming out of Woodstock, you know, and 0:52:19.756 --> 0:52:22.716 maybe that album had been released for all of us 0:52:22.716 --> 0:52:26.436 who didn't get to go, and you could tell there 0:52:26.556 --> 0:52:29.196 was whether it was the end of the sixties, which 0:52:29.236 --> 0:52:33.676 it was the end of something, or whether it was 0:52:33.716 --> 0:52:39.116 this kind of we're different, this generation is different. It 0:52:39.236 --> 0:52:42.436 led to the Who, it led to Zeppelin, it led 0:52:42.476 --> 0:52:48.836 to Crosby, Stills, Nashly Young, others of importance, you know, 0:52:48.876 --> 0:52:55.916 the Eagles, Jackson Brown. I'm guessing now, but it was 0:52:55.996 --> 0:52:58.196 a turning point. And for them to come out with 0:52:58.516 --> 0:53:03.116 almost cut my hair, it hearkens back to you know 0:53:03.236 --> 0:53:06.996 when when you grew your hair and you you you know, 0:53:07.036 --> 0:53:09.516 they made fun of you. You know Bob Seeker in 0:53:09.556 --> 0:53:13.836 that song, you know, Main turn the page. You know, 0:53:14.156 --> 0:53:16.036 he has a lyric about you know, they make fun 0:53:16.036 --> 0:53:18.476 of his hairs. Is that girl or is that a boy? 0:53:19.836 --> 0:53:24.596 And here's Crosby and Still's Nash and Young going keep 0:53:24.636 --> 0:53:27.236 the hair long. You know. It may be a couple 0:53:27.316 --> 0:53:30.036 of years after Woodstock and we're going into the seventies, 0:53:30.076 --> 0:53:33.116 but you know, don't lose the ideals, don't lose the 0:53:33.116 --> 0:53:36.796 principles that we were fighting for when we weren't stoned 0:53:36.796 --> 0:53:37.876 out of our minds. 0:53:37.716 --> 0:53:40.516 You know, yeah, yeah, So you know, I kind. 0:53:40.316 --> 0:53:43.716 Of look at it as you know, it wasn't a fad, 0:53:43.876 --> 0:53:47.676 It wasn't something that we just went through and now 0:53:47.716 --> 0:53:50.276 we're over it. We're all going to go corporate. It's 0:53:50.836 --> 0:53:53.556 hang on to that. That's the message I get. It's 0:53:53.596 --> 0:53:56.636 so on the nose, and I think read somewhere they 0:53:56.676 --> 0:53:59.636 almost didn't put it on the album, but then you've 0:53:59.676 --> 0:54:02.236 got Stills in Young going back and forth on it 0:54:02.276 --> 0:54:06.716 even on the album and certainly live. That makes the 0:54:06.796 --> 0:54:08.236 song just elevates the song. 0:54:09.316 --> 0:54:12.116 I want to I want to focus on, uh, let 0:54:12.116 --> 0:54:13.836 your feet. I came and say, it's so hard to 0:54:14.116 --> 0:54:16.956 let your freak flag fly. That is hard for me 0:54:16.996 --> 0:54:20.196 to get out right now. So you've done You've done 0:54:20.436 --> 0:54:25.196 so much, uh with with with with drama, theater and 0:54:25.196 --> 0:54:28.916 and just being such an accomplished actor. But you were 0:54:29.116 --> 0:54:32.636 cast in one of the most successful comedies of all 0:54:32.716 --> 0:54:34.796 time and arguably one of my favorites by two of 0:54:34.836 --> 0:54:39.556 my favorite directors. What is that like walking in there 0:54:39.876 --> 0:54:42.436 having to and I don't want to call it prove yourself, 0:54:42.516 --> 0:54:45.196 but working with someone like Jim Carrey, who at that 0:54:45.396 --> 0:54:48.436 time was the biggest comedic actor, and not saying you 0:54:48.476 --> 0:54:55.156 hadn't been in comedies, but playing Harry, you know, versus Lloyd. 0:54:56.116 --> 0:54:58.796 It's just like, are people trying to talk you out 0:54:58.836 --> 0:55:02.116 of this? Or are you fighting for this part? Like 0:55:02.156 --> 0:55:04.476 how do you let your freak flag fly? In a 0:55:04.596 --> 0:55:08.556 Farley Brothers movie with Jim Carrey, it was. 0:55:08.676 --> 0:55:14.516 It was a fly flying moment, that's for sure. Because, Yeah, 0:55:15.276 --> 0:55:18.356 the career was slowing down. I wasn't doing things that 0:55:18.396 --> 0:55:21.316 were interesting to me. I was a supporting actor in 0:55:21.396 --> 0:55:24.916 dramas and it was okay. But I knew I could 0:55:24.956 --> 0:55:27.556 do comedy. I had done musicals, and I knew how 0:55:27.556 --> 0:55:29.476 to time. I could be in front of six hundred people, 0:55:29.756 --> 0:55:32.116 and I knew how to land the joke. I knew 0:55:32.116 --> 0:55:33.596 how to set it up. I knew, I mean, you 0:55:33.636 --> 0:55:36.996 either have that ability or you don't. And I never 0:55:37.036 --> 0:55:40.916 did stand up, but I did do comedies in theater, 0:55:41.076 --> 0:55:43.716 and so I knew I had that and I hadn't 0:55:43.796 --> 0:55:47.636 yet done it on film, and so I went out 0:55:47.676 --> 0:55:50.796 to LA because I had done a couple of independent 0:55:50.876 --> 0:55:54.116 movies in the early nineties late eighties that nobody saw, 0:55:54.716 --> 0:55:56.276 and I told my agent, I got to be in 0:55:56.356 --> 0:55:59.436 something that people actually see. So I went out an 0:55:59.436 --> 0:56:03.156 audition for five movies and I got called back on 0:56:03.236 --> 0:56:07.876 three of them. Two one of them was Dumb and Dumber, okay, 0:56:07.876 --> 0:56:12.596 and that was the one. I wanted it, and I 0:56:12.636 --> 0:56:16.316 went and met with the Fairly brothers and then they 0:56:16.356 --> 0:56:18.716 wanted me, and then I had to come in again 0:56:18.956 --> 0:56:24.636 and read with Jim and the Faarilies, and you know, 0:56:24.796 --> 0:56:30.356 I found out later they had been through fifty actors, 0:56:30.996 --> 0:56:37.116 really names names, friend, Jim calling friends of his going 0:56:37.276 --> 0:56:41.196 come on man, okay, but you know ten million, No, 0:56:42.036 --> 0:56:44.836 they it's a smaller you know, they wanted too much 0:56:44.876 --> 0:56:47.676 money because and it was also Jim. At the time, 0:56:48.516 --> 0:56:52.916 all he was was ace Ventura. Yes it's true he 0:56:52.996 --> 0:56:58.476 had shot Masks, but it wasn't out yet. This is April, 0:56:58.556 --> 0:57:00.836 and we're going to start shooting Dumb and Dumber the 0:57:00.916 --> 0:57:04.236 end of April. And in the middle of shooting, he 0:57:04.436 --> 0:57:09.356 flew to can on a weekend and Mask premiered and 0:57:09.396 --> 0:57:13.996 it became huge instant and then later when they released 0:57:14.036 --> 0:57:17.636 it in the fall or winter, that's when Jim became 0:57:17.876 --> 0:57:22.196 you know, capital letters. But at the time, you know, 0:57:22.276 --> 0:57:25.876 he was he really wanted an actor. He was pursuing, 0:57:26.076 --> 0:57:30.196 you know, name actors for it, and they just kept 0:57:31.396 --> 0:57:33.356 turning it down. I mean, because you read it and 0:57:33.356 --> 0:57:36.396 you're going, okay, well, twelve year old boys are going 0:57:36.436 --> 0:57:40.076 to think this is their Citizen Kane. But you know, 0:57:41.236 --> 0:57:43.996 the movie going public, and do you really want to 0:57:44.036 --> 0:57:47.116 get in a scene with Ace Ventura because Jim is 0:57:47.716 --> 0:57:50.756 you know, I mean when Jess turns it up, you know, 0:57:50.956 --> 0:57:54.796 as Chris Guests used to say, you started eleven so 0:57:56.196 --> 0:57:59.876 but but I wanted that. I wanted to work with 0:57:59.916 --> 0:58:05.836 someone what I considered to be a comedic genius. And 0:58:05.516 --> 0:58:12.276 I and I learned quickly to let him lead. You 0:58:12.396 --> 0:58:15.636 want Jim to lead anyway. And and Jim, on the 0:58:15.676 --> 0:58:18.116 on the other hand, was going, I need someone who's 0:58:18.156 --> 0:58:21.356 gonna make me listen. I don't want to do my 0:58:21.476 --> 0:58:24.476 solo thing where I just you know, take over a 0:58:24.596 --> 0:58:28.436 human tornado and everyone's yeah, I really want to, you know, 0:58:28.516 --> 0:58:30.716 make it. It's a buddy buddy movie. I've got to 0:58:30.716 --> 0:58:32.996 have an actor who makes me listen, or at least 0:58:33.036 --> 0:58:36.516 I can listen to. And so that became kind of 0:58:36.556 --> 0:58:41.716 the little formula where and Also, if you let Jim lead, 0:58:41.956 --> 0:58:44.996 you follow, You're like a puppy on a leash and 0:58:45.036 --> 0:58:48.996 you can see me where Jim. There's like a half 0:58:49.076 --> 0:58:58.316 second delay, Harry, what you know? All you okay? You know, 0:58:58.356 --> 0:59:01.716 and then you go. And so that that allowed us 0:59:01.716 --> 0:59:03.436 to kind of you know, and then we would get 0:59:03.436 --> 0:59:05.436 into trouble and I turn on or yell at him 0:59:05.476 --> 0:59:08.556 or something. But it was, you know, a comedian and 0:59:08.596 --> 0:59:12.556 you know this, they'll try to top you. Sure, yes, 0:59:12.676 --> 0:59:15.756 And so it's that thing of here's the joke to come, 0:59:15.916 --> 0:59:17.556 Why I'm gonna come, Why I'm gonna come, you know, 0:59:17.596 --> 0:59:19.796 And the next thing, you know, it's what are we doing? 0:59:20.116 --> 0:59:22.236 What are we doing? And on the on the first 0:59:22.276 --> 0:59:25.156 dumb and dumber that it was, maybe there was one 0:59:25.196 --> 0:59:27.916 ad lib. You know, what's the most annoying sound in 0:59:27.956 --> 0:59:30.436 the world, And that was an ad lib. But other 0:59:30.516 --> 0:59:35.196 than that, everything was written. It was it was per 0:59:35.236 --> 0:59:37.596 the script, the gym and the failies had been over 0:59:37.636 --> 0:59:40.276 it and this is how it's gonna go, and you 0:59:40.396 --> 0:59:44.996 just executed it. And and he couldn't have been nicer, 0:59:45.756 --> 0:59:50.836 more collaborative. If I had a punchline, he set me up. 0:59:52.036 --> 0:59:54.196 If I had one, I set him up. I mean, 0:59:54.356 --> 0:59:57.436 we were it had to be a team, and that 0:59:57.516 --> 0:59:59.476 came from Jim wanting it to be a team. 1:00:00.876 --> 1:00:03.116 Wow, and we'll talk about I think they were just 1:00:03.156 --> 1:00:08.036 the kings of the nineties, the Fairlies were with I mean, Kingpin, 1:00:09.316 --> 1:00:14.076 Dumb and Dummer, something about Mary. I mean, just some 1:00:14.116 --> 1:00:18.436 of the funniest movies of like my late teens, early twenties. 1:00:19.076 --> 1:00:21.636 And to be able to work like Jim, I mean 1:00:22.116 --> 1:00:24.636 you saw it immediately as a comic, the clips I've 1:00:24.636 --> 1:00:26.556 seen in him at the comedy Store and just how 1:00:26.596 --> 1:00:29.316 talented he was and going into living color. Were you 1:00:29.396 --> 1:00:31.476 intimidated at all or were you just like, all right, 1:00:31.476 --> 1:00:34.116 this is groovy, Like this is exciting. This is what 1:00:34.196 --> 1:00:35.836 I need to get out of my rut. I mean, 1:00:35.836 --> 1:00:38.476 because like you said, you had done some independence. You know, 1:00:39.196 --> 1:00:41.076 did it come back? Do you do you do Speed 1:00:41.116 --> 1:00:42.996 before and then you know? 1:00:43.196 --> 1:00:47.236 Or was it like I did Speed before that? And 1:00:47.276 --> 1:00:49.956 we were shooting and Speed came We were shooting April 1:00:49.996 --> 1:00:52.596 to the end of June, I think, and Speed came 1:00:52.636 --> 1:00:56.556 out in June and Jim had masked at the can 1:00:56.596 --> 1:00:59.196 Film Festival and then that was so we both had 1:00:59.276 --> 1:01:02.036 something come out. But you know, I was in speed, 1:01:03.836 --> 1:01:13.716 you know, not intimidated. No, I just wanted to execute 1:01:15.076 --> 1:01:18.236 what I was supposed to do. And especially in Jim's 1:01:18.316 --> 1:01:21.676 Jim scenes where we're doing it together, you know, it's 1:01:21.796 --> 1:01:26.156 it's not a competition, Yes, I guess, collaboration and and 1:01:26.276 --> 1:01:30.636 if you're going to compete with Jim Carrey, you'r comedic movie. Yeah. 1:01:31.476 --> 1:01:34.596 So it was a collaboration and Jim was wide open 1:01:34.716 --> 1:01:37.916 to that. I also knew. And this was my agents, 1:01:38.196 --> 1:01:42.756 you know you talked about There was an intervention before 1:01:42.836 --> 1:01:45.636 I was to fly from Michigan to LA to start, 1:01:45.796 --> 1:01:48.356 you know, doing wardrobe for Domb and Dumber, there was 1:01:48.396 --> 1:01:50.916 an intervention. I had three of my agents, two in 1:01:51.076 --> 1:01:53.236 LA and one in New York on the phone at 1:01:53.356 --> 1:01:56.796 midnight before getting on the plane the next day, saying 1:01:56.916 --> 1:01:59.636 we're going to stop this from happening. This is not 1:01:59.796 --> 1:02:01.676 You're not going to do this movie. This is a 1:02:01.756 --> 1:02:03.676 bad career move. You're going to regret it for the 1:02:03.756 --> 1:02:07.596 rest of your life. To be honest, Jeff, Jim's going 1:02:07.636 --> 1:02:08.916 to blow you off the screen. 1:02:09.996 --> 1:02:12.356 And Wow, no confidence in you would be able to 1:02:12.436 --> 1:02:14.716 stay hang out everything you had done. 1:02:15.116 --> 1:02:18.076 The comedic genius that was Jim, you know, and I 1:02:18.196 --> 1:02:21.996 had shown nothing. I mean, maybe something wild, maybe purple 1:02:22.116 --> 1:02:24.076 Rosa Cairo, but that was different. 1:02:24.716 --> 1:02:27.436 There's comedy in Arachnophobia. It wasn't just a horror movie 1:02:27.596 --> 1:02:30.116 playing a funny character. I mean, but it's way different, 1:02:30.196 --> 1:02:31.196 not as slapsticky. 1:02:31.316 --> 1:02:35.036 And you know, but Liam Neeson, Liam Neeson would way 1:02:35.116 --> 1:02:37.996 before Naked Gun and Police Story, was doing dramas, I mean, 1:02:38.556 --> 1:02:41.116 be able to you know, you never know, it's yeah, 1:02:41.436 --> 1:02:44.076 but doing that now, I'll say, I met the other guy. 1:02:44.156 --> 1:02:49.356 What fuck, Leslie Nielsen. I'm sorry, Yeah, I met Liam too. Yeah, 1:02:49.396 --> 1:02:50.876 I was right about what but I. 1:02:50.956 --> 1:02:53.476 Hadn't done it, and so and they were trying. I 1:02:53.596 --> 1:02:56.036 was on a path to be a serious, important actor 1:02:56.076 --> 1:02:58.596 who one day would get a Supporting Actor nomination. And 1:02:58.796 --> 1:03:02.236 I just was going, look, I want to I can 1:03:02.276 --> 1:03:05.356 do comedy. I want to work with Jim uh And 1:03:05.476 --> 1:03:08.756 I knew then, I mean, not only would I eventually 1:03:08.876 --> 1:03:13.036 find a way to collaborate with him that worked, but 1:03:13.196 --> 1:03:15.836 I knew that I had the snowball in the head, 1:03:16.716 --> 1:03:19.076 I had the tongue on the pole, and I had 1:03:19.116 --> 1:03:22.676 the toilet. I had those three scenes. Jim wasn't in 1:03:22.796 --> 1:03:26.076 those scenes unless they cut them out of the movie, 1:03:26.076 --> 1:03:30.516 which was possible. I was going to score, so I 1:03:30.636 --> 1:03:34.676 knew I had that. And so after I got through 1:03:34.716 --> 1:03:38.116 the first week of shooting and everybody decided that yeah, 1:03:38.356 --> 1:03:41.636 he's going to be okay, then we were fine everything. 1:03:42.396 --> 1:03:42.956 Yeah good. 1:03:43.236 --> 1:03:43.716 I love that. 1:03:43.996 --> 1:03:44.436 I love that. 1:03:45.196 --> 1:03:46.836 This is I don't want to be too off topic too, 1:03:46.916 --> 1:03:48.436 but it's like, what do you enjoy more doing the 1:03:48.476 --> 1:03:50.156 comedy or playing the bad guy in Looper? 1:03:52.676 --> 1:03:53.236 Looper was? 1:03:53.436 --> 1:03:56.236 I love that movie? Man, I think you're great at that. 1:03:56.436 --> 1:04:00.956 So it a great director, Joe Gordon Levitt. And I didn't. 1:04:00.996 --> 1:04:06.436 I didn't understand that movie. When you want me, what 1:04:06.516 --> 1:04:10.916 do you want me to say? That was big? No, 1:04:11.196 --> 1:04:16.156 I I the comedy is more fun. It's more the 1:04:16.276 --> 1:04:20.396 target that you have to hit is more sure. Not 1:04:20.596 --> 1:04:24.836 everybody can do comedy. And you know, Leslie Nielsen and 1:04:24.876 --> 1:04:28.116 The Naked Guns is a perfect example of that dead pan. 1:04:28.596 --> 1:04:31.036 You look at him and you think that he doesn't 1:04:31.116 --> 1:04:33.596 know where the joke is, but he knows exactly where 1:04:33.636 --> 1:04:39.156 the joke is. And you know Peter Sellers, guys like that, 1:04:39.436 --> 1:04:43.796 John Klees who went big and Faulty Towers, guys like that, 1:04:44.876 --> 1:04:51.716 stuck out to me, and so that's always been of 1:04:51.876 --> 1:04:56.076 interest to me. And then you do you know, like again, 1:04:56.236 --> 1:05:00.676 like a drama like God Godless, where you're playing you're 1:05:00.676 --> 1:05:03.676 playing somebody who I think I kill about thirty five 1:05:03.756 --> 1:05:07.516 people throughout the whole series. Well, you know, because it's 1:05:07.556 --> 1:05:11.036 the right thing to do. Yeah, But it's as you 1:05:11.356 --> 1:05:13.716 start doing that you get into the mind of those guys. 1:05:14.356 --> 1:05:17.636 That's fun. There's fun in that, but there's also fun 1:05:17.676 --> 1:05:19.356 and time and a good joke. Sure. 1:05:19.876 --> 1:05:22.076 I mean it's funny because I love being funny on stage, 1:05:22.476 --> 1:05:24.956 but as an actor, I love playing serious like darker 1:05:25.036 --> 1:05:27.716 characters and the stillness and just even like staring at 1:05:27.756 --> 1:05:30.116 somebody and not moving is carry so much weight where 1:05:30.116 --> 1:05:33.876 I'm such an energetic person on stage, So I can 1:05:33.916 --> 1:05:36.516 see why playing the darker characters or playing somebody that 1:05:36.596 --> 1:05:39.316 has to kill somebody you know, can be can be fun. 1:05:39.436 --> 1:05:42.876 But someone especially being able to work in that, you know, 1:05:42.996 --> 1:05:46.076 in the comedic world, you know, and be able to 1:05:46.156 --> 1:05:49.996 really dip into your child, you know, those things that 1:05:50.076 --> 1:05:51.596 you had as a kid. I mean, it's got to 1:05:51.636 --> 1:05:53.556 be it's got to just be magical and to be 1:05:53.596 --> 1:05:54.756 able to do with one of the best that ever 1:05:54.796 --> 1:05:56.556 did it. I mean and and like you said, I mean. 1:05:57.636 --> 1:05:59.516 We didn't know it at the time. I mean we Again, 1:05:59.876 --> 1:06:02.236 it's the fact that it's still funny to people who've 1:06:02.396 --> 1:06:04.556 seen it or are seeing it for the first time, 1:06:04.676 --> 1:06:09.436 you know, decades later. Is it's like Pink Panther with Peterson. Yeah, 1:06:10.196 --> 1:06:12.596 you don't know it at the time, but then there 1:06:12.676 --> 1:06:16.276 you are still making people laugh. That's pretty great. It was, 1:06:16.516 --> 1:06:19.516 you know. The fun of it for me was and 1:06:19.916 --> 1:06:23.556 actors find little key thoughts that that, well, you can 1:06:23.636 --> 1:06:26.996 hang onto and you can say to yourself right before 1:06:27.036 --> 1:06:29.836 you do, you know, whatever you're doing on Thursday, you 1:06:30.276 --> 1:06:34.156 can grab onto it. And my key thought was, Harry 1:06:34.276 --> 1:06:39.076 has an IQ of eight, a single digit IQ. You 1:06:39.196 --> 1:06:45.036 plan it that way, did not seven, not nine? And 1:06:45.116 --> 1:06:50.116 I would see the number eight, and any intelligence that 1:06:50.196 --> 1:06:54.556 I may have had just vanished, and then it was 1:06:54.756 --> 1:06:58.996 rolling and I was there. I held on to that 1:06:59.116 --> 1:06:59.836 for the whole shoot. 1:07:00.516 --> 1:07:03.396 You did such a phenomenal job, man, and it holds up. 1:07:03.516 --> 1:07:08.476 It's it's just a you changed the teel blue and 1:07:08.636 --> 1:07:12.796 bright or shitty tuxes for the entirety of history. And 1:07:12.836 --> 1:07:16.036 I've seen so many people bite off of that friends 1:07:16.076 --> 1:07:18.876 of mine for Halloween. So it's a great job, dude. 1:07:19.036 --> 1:07:21.636 Listen if we're going to talk about it in the 1:07:21.716 --> 1:07:24.236 next one another, there's something very iconic gears. We're talking 1:07:24.276 --> 1:07:28.396 about Helpless. We already mentioned the song before I asked 1:07:28.436 --> 1:07:30.836 the question, like, you know, we said, this is Neil 1:07:30.876 --> 1:07:34.956 Young songs, what he brought to the table. Everybody's blown away. 1:07:36.236 --> 1:07:38.916 This is one that everybody played on. Did you give 1:07:38.956 --> 1:07:41.076 your thoughts on it already or did you just we 1:07:41.236 --> 1:07:43.436 just mention it? You know, how are your thoughts on Helpless? 1:07:44.036 --> 1:07:45.756 You know, I know you're a Neil Young guy, You're 1:07:45.756 --> 1:07:46.796 Steven Still's Neil Young. 1:07:47.356 --> 1:07:50.436 You know. Again, it was Neil had the edge and 1:07:50.956 --> 1:07:53.196 I don't know the lyrics offhand, but it was this 1:07:53.556 --> 1:07:58.916 kind of certainly melancholy. But it wasn't the sunshine that 1:07:59.156 --> 1:08:01.916 was our house and teach your children, not at all. 1:08:02.356 --> 1:08:06.036 It wasn't the positive message that Graham was doing. Suddenly 1:08:06.116 --> 1:08:11.396 here comes this song called Helpless, and it again it 1:08:11.516 --> 1:08:16.236 was they were all doing their own things, which I 1:08:16.276 --> 1:08:20.436 guess made it made it interesting. It wasn't carry on 1:08:20.716 --> 1:08:23.876 for twelve songs, or our House for twelve songs, or 1:08:23.916 --> 1:08:27.076 even Helpless for twelve songs, it was there was a 1:08:27.236 --> 1:08:32.356 variety in there, which when you know, however they slotted 1:08:32.436 --> 1:08:35.956 it on the album, you know it jumped out. 1:08:36.396 --> 1:08:37.996 I love that you said that because I always like 1:08:38.036 --> 1:08:39.836 to talk about the sequencing, and the sequencing on this 1:08:39.916 --> 1:08:43.516 record is phenomenal. Like every song it's it's a new adventure. 1:08:43.636 --> 1:08:46.196 But the way they laid them out in order, it 1:08:46.316 --> 1:08:49.356 just feels right. And to bring it to the question, 1:08:49.716 --> 1:08:51.516 like I was saying, but the word helpless is that 1:08:51.676 --> 1:08:53.876 so many people in this world are feeling helpless. And 1:08:54.116 --> 1:08:58.876 when you started off with that opening monologue as will 1:08:58.956 --> 1:09:01.556 in the newsroom and deliver that speech and the pilot 1:09:02.036 --> 1:09:04.356 about how America is not the greatest country in the world, 1:09:04.436 --> 1:09:08.916 and how you basically in three minutes deliver the fact 1:09:08.956 --> 1:09:12.036 that you know that this is something that people now 1:09:12.916 --> 1:09:15.476 go to. Did you know at the moment when you 1:09:15.556 --> 1:09:19.076 did that speech, aside from Harry sitting on the toilet obviously, 1:09:19.436 --> 1:09:21.796 that that speech would be one of the most powerful 1:09:21.916 --> 1:09:23.356 moments of your career. 1:09:25.916 --> 1:09:33.556 No, I knew it was important. Aaron Sorkin, had you 1:09:33.596 --> 1:09:36.356 know originally it was that speech was not in the 1:09:36.436 --> 1:09:40.716 pilot that scene Will Wow in the first episode. The 1:09:40.836 --> 1:09:44.876 episode started with us back at the newsroom talking about 1:09:44.996 --> 1:09:51.276 what happened at Northwestern, and about ten days before we 1:09:51.356 --> 1:09:54.716 started shooting, you know, Aaron came up and he goes, 1:09:54.756 --> 1:09:57.836 you know, we need to see what happened. So I'm 1:09:58.076 --> 1:10:01.516 writing a speech. You'll have it in a couple of days, okay. 1:10:02.636 --> 1:10:04.756 And two days later he handed it to me and 1:10:06.236 --> 1:10:09.276 he said, do you think you can do this? And 1:10:09.636 --> 1:10:12.076 I said, Aaron, I've been waiting thirty five years for 1:10:12.156 --> 1:10:12.876 a speech like this. 1:10:13.036 --> 1:10:13.156 Oh. 1:10:13.196 --> 1:10:15.676 I love that, and not just for what it said, 1:10:16.116 --> 1:10:18.836 you know, because I thought what it said was honest 1:10:18.916 --> 1:10:21.796 and important and maybe not everybody likes it, but there 1:10:21.876 --> 1:10:27.316 it is, but also for my career. Yeah, you know 1:10:27.476 --> 1:10:29.996 I needed to hit a home run with that speech. 1:10:30.156 --> 1:10:35.916 It was placed what ten minutes into the first episode. Yeah, 1:10:36.316 --> 1:10:43.036 so HBO and everybody involved knows that if this show 1:10:43.156 --> 1:10:46.396 even airs, and the day we shot it, we didn't 1:10:46.436 --> 1:10:48.916 know if we were going to have a series. It 1:10:49.116 --> 1:10:52.596 depended on me hitting a home run with that speech. 1:10:52.716 --> 1:10:56.556 It was day three of an eighteen day shoot. We 1:10:56.716 --> 1:11:00.516 love Jeff, we think he's great, but man, does he 1:11:00.596 --> 1:11:02.796 have to hit a home run with his speech? Because 1:11:02.876 --> 1:11:07.116 that speech if we air will be when America sets 1:11:07.196 --> 1:11:11.636 down their remote. Yeah, they're watching, They're watching newsroom and 1:11:12.036 --> 1:11:14.636 I'll give you ten minutes. I'm out, Boom they go 1:11:14.716 --> 1:11:18.356 to something else. So that was that was important as 1:11:18.396 --> 1:11:23.116 to where it was placed and the day of we 1:11:23.236 --> 1:11:25.956 shot it in a place called College of the Canyons, 1:11:25.996 --> 1:11:27.876 which is an hour and a half out of LA 1:11:28.596 --> 1:11:31.996 because they had purple seats, which Northwestern had purple seats, 1:11:32.476 --> 1:11:36.196 and an auditorium Number two, three and four from HBO 1:11:36.356 --> 1:11:42.996 showed up that day. Sam Waterston, Olivia Mon Tom Sadowski, 1:11:43.036 --> 1:11:48.036 who were in the cast, drove out to watch it. Sam, 1:11:48.276 --> 1:11:51.236 who's a friend, later said, I just wanted to see 1:11:51.236 --> 1:11:55.876 if I had a job or not. That's what was 1:11:55.956 --> 1:11:58.996 at stake. Yeah, that was what was at stake. And 1:11:59.076 --> 1:12:02.036 I and I, you know, and I told Aaron, I 1:12:02.156 --> 1:12:04.556 and I and I knew and I had been around 1:12:04.636 --> 1:12:07.276 long enough and I knew that. You know, you've got 1:12:07.356 --> 1:12:09.436 to hit a home run. You can't hit a sing alert. 1:12:09.636 --> 1:12:12.756 You got to hit it over the fence first take. 1:12:13.476 --> 1:12:15.796 So I did the work, you know, like any any 1:12:15.836 --> 1:12:19.236 actor would do. You memorize, you wrap it, you work it, 1:12:19.356 --> 1:12:21.356 you work it, you make the choices, you get it 1:12:21.436 --> 1:12:23.396 so you can ride it like you're riding a horse. 1:12:24.236 --> 1:12:28.156 And they they shot this way first, and then when 1:12:28.196 --> 1:12:30.436 they turned around they said, are you ready. I said yeah, 1:12:31.516 --> 1:12:34.596 and uh, rolled camera and I hit a home run 1:12:34.716 --> 1:12:35.396 on the first tap. 1:12:36.436 --> 1:12:36.716 Wow. 1:12:37.236 --> 1:12:40.796 I looked over at the video village and they were 1:12:40.876 --> 1:12:45.996 crying wow, and not the performance, yeah, but what it said. 1:12:46.916 --> 1:12:49.636 And they knew at that moment they had a series, 1:12:49.916 --> 1:12:53.996 they had a show, and they had a macaboy and 1:12:54.516 --> 1:12:56.916 you know. And then we did a second take and 1:12:57.276 --> 1:13:00.476 and Greg Matola, director came up and said, okay, on 1:13:00.556 --> 1:13:05.316 this one, the second half of the speech, instead of 1:13:05.516 --> 1:13:10.436 you know, maintaining the anger all the way through, wish 1:13:10.516 --> 1:13:14.356 it could be again the greatest country in the world, 1:13:14.836 --> 1:13:17.916 melancholy and so you can see the change. So and 1:13:17.956 --> 1:13:19.436 then we did a whole bunch of other shots. But 1:13:19.596 --> 1:13:22.956 that became the way we did it was to ban 1:13:23.196 --> 1:13:25.876 here's the big rant, chew out the little sorority girl, 1:13:26.396 --> 1:13:28.556 and then wish it could be and here's what we 1:13:28.636 --> 1:13:31.476 could be when we didn't belittle education. When we did, 1:13:33.636 --> 1:13:37.356 you know, and get emotional about it. And that's at 1:13:37.396 --> 1:13:38.876 the end of that day, and we knew we were 1:13:38.916 --> 1:13:39.716 going to have a series. 1:13:40.556 --> 1:13:42.756 I you know, we we we had Rob low On, 1:13:43.156 --> 1:13:46.276 we brought up Sorkin, and it's like, he's arguably one 1:13:46.316 --> 1:13:48.836 of my favorite writers, whether it's television or movies. And 1:13:49.156 --> 1:13:52.796 I saw it from immediately when my parents rented Malice 1:13:53.036 --> 1:13:55.476 years ago, which I think is this underrated movie that 1:13:55.596 --> 1:13:58.076 he did, you know in the nineties or maybe even 1:13:58.156 --> 1:14:01.716 the Ladies, but early nineties at that it's like, I mean, what, 1:14:01.996 --> 1:14:03.876 what's that experience like working with somebody because you were 1:14:03.916 --> 1:14:05.796 so many diferent directors, was working with somebody who's so 1:14:05.996 --> 1:14:10.596 dialogue specific and his words are like like you said earlier, 1:14:10.756 --> 1:14:13.116 it's it's a it's a you know, it's a dance. 1:14:13.356 --> 1:14:16.876 You know, you're but his words are so you know, 1:14:17.196 --> 1:14:21.796 there's nuances to every sentence, like you know, like how 1:14:21.876 --> 1:14:24.236 much fun were you were you having working on that show? 1:14:24.316 --> 1:14:25.116 Working with Sorkin. 1:14:25.916 --> 1:14:29.036 It's the advantage to to working on anything where there's 1:14:29.116 --> 1:14:33.596 just one writer. Yeah, it's his voice, it's just written. 1:14:35.636 --> 1:14:39.516 You know. Noah baumback on Squid in the Whale, love. 1:14:39.396 --> 1:14:41.796 That movie very under dude. You were in two You 1:14:41.916 --> 1:14:44.076 were in two of my favorite movies that year with 1:14:44.156 --> 1:14:47.156 Good Night, Good Luck and Squid in the Whale Love 1:14:47.276 --> 1:14:47.756 that movie. 1:14:49.636 --> 1:14:52.436 That was Noah writing about his dad, and there weren't 1:14:52.676 --> 1:14:55.996 four other writers on it. Woody, you know in Purple 1:14:56.076 --> 1:15:01.036 Rosa Cairo, it' should it's it's having that singular voice, 1:15:01.676 --> 1:15:03.836 and you have that in the theater, you know, whether 1:15:03.916 --> 1:15:07.556 it's Broadway or whatever it is. There is one playwright. 1:15:07.796 --> 1:15:11.116 There isn't a committee of play rights. There aren't three 1:15:11.236 --> 1:15:14.036 play playwrights that have been on the script, and we're 1:15:14.076 --> 1:15:16.356 going to give it to another one, which is what 1:15:16.476 --> 1:15:19.396 Hollywood does. You know, you get to you know, the 1:15:19.556 --> 1:15:22.756 set and ten screen you know, five screenwriters, and we're 1:15:22.796 --> 1:15:27.676 on our twelve draft and so yeah, you can note 1:15:27.756 --> 1:15:29.836 things to death. Well that wasn't the case with Aaron 1:15:30.156 --> 1:15:32.436 his you know, and once you pick up his rhythm, 1:15:33.756 --> 1:15:37.076 it's pretty clear. It's it's not hard to You just 1:15:37.116 --> 1:15:39.676 got to learn it and then be able to roll it. 1:15:39.956 --> 1:15:42.356 And it really was the best when you can roll it. 1:15:42.516 --> 1:15:44.876 And and all the people on West Wing, I mean, 1:15:44.956 --> 1:15:48.516 I studied that show and I told Erin, I watched 1:15:48.596 --> 1:15:50.476 that show not just for the acting, but I watched 1:15:50.516 --> 1:15:56.036 the writing and the way they could just you know, 1:15:56.236 --> 1:16:00.276 it was it was just like going down on rapids 1:16:00.316 --> 1:16:04.636 of a river. Yeah, Aaron's the river and and it's 1:16:04.716 --> 1:16:08.396 it's you just got to find that that rhythm, and 1:16:08.476 --> 1:16:13.556 it's there. And I never had a problem with you know, Aaron, 1:16:13.596 --> 1:16:15.436 can we talk about this. I don't know what I'm 1:16:15.476 --> 1:16:18.076 doing here. I don't know my choices. I know it 1:16:18.236 --> 1:16:22.356 was always very clear what Accaboy wanted, what he didn't want, 1:16:22.436 --> 1:16:24.676 what he was fighting against, what he was saying. It 1:16:24.756 --> 1:16:27.396 was always you just had to learn it. And you know, 1:16:27.516 --> 1:16:29.956 coming from the theater where you didn't change your word, 1:16:30.836 --> 1:16:33.316 you know, unless you went to the playwright and asked permission. 1:16:34.396 --> 1:16:36.236 You know, it wasn't until you go to Hollywood where 1:16:36.236 --> 1:16:38.956 you see the star walking on the set with pages going, yeah, 1:16:38.996 --> 1:16:41.076 I rewrote the end of the movie. Take a look 1:16:41.116 --> 1:16:45.356 at it. Okay, you know that wasn't that. Will we 1:16:45.436 --> 1:16:48.396 don't change your word? Okay? Great, I don't have to 1:16:48.436 --> 1:16:52.436 worry about rewriting anything in my head. Good, terrific? Great? 1:16:52.516 --> 1:16:53.556 Oh I love that. 1:16:53.956 --> 1:16:54.156 Yeah. 1:16:54.836 --> 1:16:57.996 Note to all the people making anything in the Alien franchise, 1:16:58.196 --> 1:17:04.676 go back to one writer. Please please let James Cameron 1:17:04.756 --> 1:17:08.036 do it again. No more Alien three or Prometheus is sorry. 1:17:08.116 --> 1:17:10.876 I'm just that's my note to the Alien franchise. I 1:17:10.956 --> 1:17:13.796 love that franchise so much, but dude, well, yeah, Sorkin, Dude, 1:17:13.836 --> 1:17:15.556 I mean, how many people go back to that speech 1:17:15.636 --> 1:17:18.516 with Martin Sheen talking to that that Christian girl going 1:17:18.596 --> 1:17:20.836 through the Bible verses? I mean that that speech is 1:17:20.876 --> 1:17:24.036 up there with that people. I mean it really and 1:17:24.196 --> 1:17:26.836 especially the direction that America's gone, you know, and and 1:17:26.876 --> 1:17:28.996 there's still, like we talked about earlier, the hope of it. 1:17:29.116 --> 1:17:34.876 I mean, your character is speaking truth and and he 1:17:35.396 --> 1:17:38.316 Aaron just knows and everything that he's done, whether it's 1:17:38.876 --> 1:17:42.516 you know, sports writers or Saturday Night Live writers or 1:17:42.636 --> 1:17:46.636 talk show, you know, whatever it is fucking social network. 1:17:46.796 --> 1:17:51.596 I mean, there's it's just brilliant line after brilliant line, 1:17:51.996 --> 1:17:54.796 and and it's it's just to be able to see, 1:17:55.116 --> 1:17:57.836 you know, you do that speech, and just as we 1:17:57.876 --> 1:17:59.796 talk to you now about it, it's that makes it 1:17:59.876 --> 1:18:02.036 even better, like just to know that it was like shit, 1:18:02.076 --> 1:18:05.436 you guys weren't even picked up at that point, did. 1:18:05.436 --> 1:18:06.276 You chunk it at all? 1:18:06.396 --> 1:18:08.596 You didn't, You didn't like, were there moments when you 1:18:08.636 --> 1:18:10.076 were doing it that you were like at the beginning 1:18:10.076 --> 1:18:11.716 when you were running it like, oh fuck, all right, 1:18:11.716 --> 1:18:13.236 what am I gonna say here? Or did you see 1:18:13.276 --> 1:18:15.356 it immediately? You saw it immediately? Right? 1:18:15.796 --> 1:18:18.436 Well, I you know, I did the work so that 1:18:18.556 --> 1:18:22.876 I was prepared and then you know I hit it. 1:18:23.756 --> 1:18:24.636 But you definitely hit it. 1:18:24.916 --> 1:18:27.636 Any actor, you know, you open on Broadway, any actor 1:18:27.716 --> 1:18:29.996 that opens and you hit it. You just have to 1:18:30.076 --> 1:18:33.796 do the work to do that. And so I did. 1:18:34.036 --> 1:18:39.476 That's all I was, just I did it was you know, 1:18:39.596 --> 1:18:42.116 one of Aaron's heroes I think as a writer was 1:18:42.156 --> 1:18:46.476 Patty Chayefsky. You know, he's another guy that you know, 1:18:46.636 --> 1:18:50.836 you see William Holden and fade dunaway in a scene 1:18:51.076 --> 1:18:56.996 from Network and it's it's it's holding and done away. 1:18:57.196 --> 1:18:59.996 But there are three people in that scene, and the 1:19:00.116 --> 1:19:03.996 other one is Patty Chaievsky, And that's what Sorkin does 1:19:05.116 --> 1:19:09.876 and Scott Frank does. I was like, no one did 1:19:09.916 --> 1:19:12.396 it was quid in the whale. That's when when it's 1:19:12.516 --> 1:19:15.596 okay that it's written, you know, the actor's job is 1:19:15.676 --> 1:19:19.236 to make it sound like it isn't. Yeah, and that's 1:19:19.556 --> 1:19:21.596 that's you know, that's where we come in. 1:19:22.036 --> 1:19:23.956 So I love that. Oh, I love that, all right, 1:19:24.276 --> 1:19:26.836 speaking of somebody that wrote words that they had nothing 1:19:26.876 --> 1:19:28.956 to do with. The next song, Woodstock, was written by 1:19:29.036 --> 1:19:30.876 Joni Mitchell, and it's. 1:19:30.756 --> 1:19:33.796 Also she didn't go. She didn't go to Woodstock. 1:19:34.476 --> 1:19:38.476 She did not go, she graham Nash. Her boyfriend told 1:19:38.516 --> 1:19:40.996 her about it, So this is her writing a song 1:19:41.116 --> 1:19:44.676 about what he said. She was too busy doing Ladies 1:19:44.716 --> 1:19:48.156 in the Canyon, but she wrote the song. As graham 1:19:48.276 --> 1:19:51.996 Nash described it, it's a beautiful song. I mean, it's 1:19:52.036 --> 1:19:53.876 too bad that you couldn't go to Woodstock. You know, 1:19:54.596 --> 1:19:55.716 your dad fucking had. 1:19:55.876 --> 1:19:57.556 I had a friend of mine, an actor friend of 1:19:57.556 --> 1:20:00.996 mine from New York, who did go. It was a nightmare. 1:20:01.676 --> 1:20:06.316 I hate it, the blud it took. We couldn't get out, 1:20:06.396 --> 1:20:08.716 we couldn't get in. We go Oh my god. I mean, 1:20:08.756 --> 1:20:11.236 he just it just it just destroyed it for me. 1:20:12.076 --> 1:20:14.756 I wanted to go to Woodstock ninety nine so bad, 1:20:14.996 --> 1:20:18.236 and I'm so glad in retrospect that I didn't, because 1:20:18.276 --> 1:20:20.756 I love the documentaries of the mess of it. I mean, 1:20:20.996 --> 1:20:25.716 it's it's just, you know, it doesn't look enjoyable at all. 1:20:25.836 --> 1:20:28.156 And at least with the original Woodstock there was a 1:20:28.356 --> 1:20:31.356 vibe and you know, there boobs out and you know 1:20:31.436 --> 1:20:33.876 people dancing in the mud. I mean, you get all 1:20:33.956 --> 1:20:35.956 you get Jimmy and you got Sly in the family 1:20:36.076 --> 1:20:39.316 Stone and and and former guests of the podcast to 1:20:39.396 --> 1:20:43.596 headline it blood, sweat and tears, just which is crazy 1:20:43.796 --> 1:20:45.756 just to know that. So I wanted to ask you 1:20:46.396 --> 1:20:50.116 what was the greatest event that had the biggest impact 1:20:50.196 --> 1:20:52.476 on you was, whether at a concert, a play, or 1:20:52.556 --> 1:20:55.076 a movie or an album. But like this, I just 1:20:55.156 --> 1:20:57.956 like to stick to more live. Something you saw live. 1:20:59.356 --> 1:21:05.556 Ooh, ooh ooh. I was playing guitar. I was an 1:21:05.596 --> 1:21:08.916 off Broadway actor in the late seventies and I was 1:21:09.116 --> 1:21:14.916 playing guitar and I could fingerpick a little, and I 1:21:14.996 --> 1:21:17.516 wanted to get better. And I went to the bottom 1:21:17.636 --> 1:21:22.356 line and I saw Doc Watson and Merle Watson and 1:21:22.516 --> 1:21:25.596 T Michael Coleman the bass player, just the three of them, 1:21:25.876 --> 1:21:29.396 and that blew me away. That that made me want 1:21:29.476 --> 1:21:34.676 to learn what Doc was doing or deep River Blues 1:21:34.796 --> 1:21:36.716 or something, you know, which I can play now, But 1:21:38.596 --> 1:21:40.996 that was like that was that was a mountain to 1:21:41.796 --> 1:21:45.236 try to climb, to try to what he was doing 1:21:45.316 --> 1:21:51.636 and what they were doing together, and just with acoustic guitars. 1:21:52.916 --> 1:21:55.716 That and to be in a smaller room, like the 1:21:55.756 --> 1:21:58.436 bottom line was maybe it was I'm guessing three hundred 1:21:58.436 --> 1:22:03.596 seats and to see somebody that I had his album, 1:22:03.756 --> 1:22:06.676 somebody had turned me on to him, and there he was, 1:22:06.836 --> 1:22:09.756 and I'm gonna go see him live and oh and 1:22:09.996 --> 1:22:14.876 he's blind, by the way. You know that that changed me. 1:22:15.076 --> 1:22:18.716 That that sent me to the Tamblature books of Doc 1:22:18.876 --> 1:22:23.916 and Stefan Grossman and people like that. That was that 1:22:24.076 --> 1:22:24.636 was a trigger. 1:22:26.036 --> 1:22:27.076 How long ago was that? You said? 1:22:27.076 --> 1:22:27.436 I forgot? 1:22:27.476 --> 1:22:28.836 You said how old were you when. 1:22:28.756 --> 1:22:31.996 He said the late seventies, my seventies. 1:22:32.116 --> 1:22:37.596 Yeah, something about live music that you know I don't. 1:22:37.716 --> 1:22:41.116 I are my writer, Morty. Well, I'll take it to this. 1:22:41.596 --> 1:22:43.996 We had the biggest music critic on the internet, Anthony 1:22:44.036 --> 1:22:46.436 fantana On who has this show on the YouTube. It's 1:22:46.476 --> 1:22:48.596 got like three million subscribers, called the Needle Drop. He's 1:22:48.636 --> 1:22:51.276 like the dude on the internet the reviews records a 1:22:51.316 --> 1:22:53.716 lot of younger stuff, older stuff too. He's a really 1:22:53.756 --> 1:22:56.516 good dude. And we had done Prince nineteen ninety nine 1:22:56.556 --> 1:22:58.516 and I asked him who's about to make their Purple 1:22:58.636 --> 1:23:01.956 Rain and he said, Tyler the creator And he's a 1:23:02.036 --> 1:23:04.076 young guy, you know, hip hop dude, but all this 1:23:04.236 --> 1:23:06.676 kids love him. And our writer Morty took his daughter 1:23:06.836 --> 1:23:09.636 and he was playing Madison Square Garden and nothing to do, 1:23:09.796 --> 1:23:11.676 no shows, and so I went on a whim. Don't 1:23:11.716 --> 1:23:13.836 know any of his songs, and there was a moment 1:23:13.876 --> 1:23:17.356 where he is singing, rapping, and then and then that 1:23:17.516 --> 1:23:19.076 the to the one side of the audience and the 1:23:19.156 --> 1:23:20.836 lights come on and you see the other side, you 1:23:20.876 --> 1:23:23.756 see the arena that side, and it's all these kids 1:23:23.956 --> 1:23:27.076 just singing his lyrics. I don't know any of the songs, 1:23:27.196 --> 1:23:29.316 and it was just it moved me so much because 1:23:29.356 --> 1:23:32.036 it was like, man, that's their dude, and I remember 1:23:32.156 --> 1:23:35.036 being that kid. And and it's like it's why I 1:23:35.156 --> 1:23:38.196 go to concerts NonStop. There's nothing. It's the same way 1:23:38.276 --> 1:23:40.516 we go to the movies. There's something about sitting in 1:23:40.636 --> 1:23:44.836 that dark room with strangers, feeling that you know that 1:23:45.076 --> 1:23:47.716 that moment. But but with live music, it's it's different 1:23:47.756 --> 1:23:50.516 than any other art form, you know, like whereas a. 1:23:50.556 --> 1:23:53.716 Movie, I agree with you, I think theater can be 1:23:53.876 --> 1:23:54.476 that way too. 1:23:54.756 --> 1:23:55.436 Yeah, I agree. 1:23:55.796 --> 1:23:58.356 I think live music has it over theater and and 1:23:58.516 --> 1:24:03.396 that AI can't do. Now what Tyler did. No, Tyler's 1:24:03.396 --> 1:24:07.276 got to walk on that stage and have done the 1:24:07.356 --> 1:24:11.076 work to be that good tonight just for you in 1:24:11.196 --> 1:24:16.836 this room. And and AI can't do that movies, you know. 1:24:17.156 --> 1:24:19.476 I think the day's coming when we can see Tom 1:24:19.556 --> 1:24:23.516 Hanks at thirty years old. Sure, and everybody around him 1:24:23.596 --> 1:24:26.996 is AI and so is Tom. And and as long 1:24:27.076 --> 1:24:29.076 as the audience is okay with that and it makes 1:24:29.116 --> 1:24:33.276 a hundred million, we're good. You know, even you know 1:24:33.356 --> 1:24:35.836 you brought up live music thing is different. I think 1:24:35.916 --> 1:24:39.076 live music is you know, Springsteen's got to get out 1:24:39.076 --> 1:24:41.996 there and do it. Yeah, you still just had to 1:24:42.236 --> 1:24:44.636 walk on the stage for four A Way Street and 1:24:44.796 --> 1:24:45.756 hit it, you know. 1:24:46.276 --> 1:24:48.076 But we can watch Squid in the Whale and feel 1:24:48.116 --> 1:24:50.836 the awkward moments that that are in that movie. I 1:24:50.916 --> 1:24:53.876 remember squirming at certain parts by how uncomfortable it was, 1:24:53.956 --> 1:24:57.316 whether it was with Jesse's character, your character, I mean, 1:24:57.356 --> 1:25:01.156 because it's it's life and and that's a beautiful thing. 1:25:01.316 --> 1:25:03.796 That's that's something that that you keep. No, dude, it's 1:25:04.636 --> 1:25:06.316 every movie I go to see at the AMC. When 1:25:06.396 --> 1:25:09.516 Nicole Kidman comes out and does that speech. She made 1:25:09.556 --> 1:25:12.756 twenty five million dollars for literally just wearing a nice 1:25:12.796 --> 1:25:15.996 dress and saying movies rule, we cry, we laugh, there's 1:25:16.076 --> 1:25:19.396 everybody cheers for that, you know, and it's it's a beautiful, 1:25:19.396 --> 1:25:20.556 beautiful thing. But I'll say it. 1:25:20.676 --> 1:25:22.876 I hope it hangs song. 1:25:23.476 --> 1:25:27.636 Yeah, just no, and you're you know, you're I dig it, 1:25:27.716 --> 1:25:30.596 I dig it for sure, all right, Deja Vu, We've 1:25:30.596 --> 1:25:32.516 got a couple more. Let's see, I got a little 1:25:32.676 --> 1:25:35.316 Morty just sent me these. Deja Vu is a poigned 1:25:35.436 --> 1:25:39.396 song with a beautifully baroque intro section has David Crosby 1:25:39.436 --> 1:25:43.876 writing about reincarnation in the Buddhist belief that energy never 1:25:43.996 --> 1:25:47.916 goes away, it just keeps recycling. While carry On was 1:25:47.996 --> 1:25:50.436 done in like eight hours from start to finish, this 1:25:50.596 --> 1:25:54.996 track was an arduous and laborious process to get done. 1:25:55.876 --> 1:25:57.716 Thoughts on dejav Vus the title track. 1:26:02.316 --> 1:26:04.236 And not a lot of thoughts about it. I mean, 1:26:04.316 --> 1:26:07.356 it's just it sounds like that was the one where 1:26:08.436 --> 1:26:11.316 Crossby got a lot of help. You know, that might 1:26:11.396 --> 1:26:15.316 have been one of those were you know, they were 1:26:15.396 --> 1:26:18.956 jumping in versus just letting him do what he does 1:26:19.156 --> 1:26:27.156 or you know, yeah, not a lot of thoughts about it. 1:26:27.476 --> 1:26:28.956 That's funny that you say that because when we were 1:26:29.076 --> 1:26:30.716 going through this, this is one that we were going 1:26:30.796 --> 1:26:33.476 to skip over because it just doesn't it's not bad. 1:26:33.996 --> 1:26:35.836 Obviously it's a title track of the song. But I 1:26:35.956 --> 1:26:39.196 like the question that he came up with. This might 1:26:39.316 --> 1:26:41.716 seem like a peculiar question, but you know, going back 1:26:41.756 --> 1:26:43.796 to any of the characters, if you've done a sequel 1:26:43.836 --> 1:26:47.156 with Harry, which you got to do the sequel with 1:26:47.916 --> 1:26:50.556 with dumb and number two, who would you want to 1:26:50.636 --> 1:26:53.796 pick up on and see where they're at now or 1:26:53.996 --> 1:26:55.676 just visit that character again? 1:26:56.116 --> 1:26:56.316 Oh? 1:26:57.156 --> 1:27:01.236 Man, oh I have now I'm trying to remember what I've. 1:27:01.636 --> 1:27:04.116 Denton Webb and Welcome Home Roxy Carmichael. 1:27:04.716 --> 1:27:10.756 No, I don't think so, you know, it would it would, Uh, 1:27:12.036 --> 1:27:16.636 it wouldn't, you know, Joshua Lawrence Chamberlain and Gettysburg after 1:27:16.756 --> 1:27:22.156 the war. Uh, you know we shot Gettysburg and then 1:27:22.196 --> 1:27:26.316 Gods in Generals, which was actually before the Gettysburg shot 1:27:26.396 --> 1:27:31.116 it out of order. Yeah, maybe to you know, see 1:27:31.156 --> 1:27:35.436 the third act of Joshua Lawrence Chamberlain's life, maybe. 1:27:36.396 --> 1:27:38.396 You'd want to go back to that time period again 1:27:38.476 --> 1:27:41.996 and have to like, you know, dirt it up and 1:27:42.116 --> 1:27:44.636 just those clothes did not look comfortable. I mean, I know, 1:27:44.876 --> 1:27:48.676 like consuming, they definitely fluff it up, but I mean 1:27:48.756 --> 1:27:51.316 those are like you're dressing like a Hasidic Jew. It's 1:27:51.356 --> 1:27:53.356 probably hot out there, you're wearing sick. 1:27:54.396 --> 1:27:57.676 It was Pennsylvania and ninety degrees ninety percent humidity, and 1:27:57.756 --> 1:28:04.916 we were not wool. Yeah yeah, and we all had, 1:28:05.036 --> 1:28:07.916 you know, fake beards and mustaches that kept peeling off. 1:28:11.956 --> 1:28:13.996 You're like a break head. Here can I work and 1:28:13.996 --> 1:28:17.156 put down my musket? Can I take off this eighty 1:28:17.276 --> 1:28:18.316 pounds of jacket? 1:28:19.396 --> 1:28:21.676 There was you know, we we had like the Battle 1:28:21.716 --> 1:28:24.716 of a little Round Top was you know, we kind 1:28:24.756 --> 1:28:27.876 of reenacted that, and the Confederates kept coming up the 1:28:27.996 --> 1:28:30.236 hill and up the hill. And you've got a lot 1:28:30.316 --> 1:28:33.836 of these reenactors, these guys that have drove across the 1:28:33.916 --> 1:28:39.476 country to be in this movie, and they're living intense 1:28:40.516 --> 1:28:45.556 and they're they're pretending it's the eighteen sixties for four 1:28:45.636 --> 1:28:48.996 straight weeks. You know, you're in your trailer. You come 1:28:49.076 --> 1:28:53.276 out here they are and they got their muskets and 1:28:54.396 --> 1:28:57.916 they just want to be transported back. You know, they're 1:28:58.076 --> 1:29:01.116 so into it. They made the movie better because you 1:29:01.196 --> 1:29:04.076 could run the camera across their faces and they were 1:29:04.156 --> 1:29:10.116 into it, you know, and after a take or two 1:29:10.196 --> 1:29:14.436 of the Confederates coming up, the assistant director had to 1:29:14.476 --> 1:29:17.876 get on the megaphone and say, all right, guys, some 1:29:18.116 --> 1:29:21.956 of you seem to be putting some kind of something 1:29:22.116 --> 1:29:26.036 in your muskets their paper wads. There's something. We've got 1:29:26.156 --> 1:29:30.396 to stop doing that because they actually, the Confederate actors 1:29:30.516 --> 1:29:36.236 are feeling feeling the pelt being pelted. Remember this is 1:29:36.476 --> 1:29:39.996 just a movie, you know. They get the guys to stop, 1:29:40.236 --> 1:29:42.756 you know, kind of tap tap tip. But you know, 1:29:43.236 --> 1:29:44.876 oh for good, I got that. 1:29:47.796 --> 1:29:50.236 That's hilarious into it. 1:29:50.316 --> 1:29:51.156 They were that into it. 1:29:51.316 --> 1:29:53.516 But that's that's so groovy though, man. I mean the 1:29:53.636 --> 1:29:56.996 people that be better, Yeah, I mean you want everybody 1:29:57.076 --> 1:29:59.196 to be on board and be excited, and like you 1:29:59.276 --> 1:30:01.236 get real people that are that's this is their this 1:30:01.356 --> 1:30:03.436 is their gig. They love doing the reenactments. 1:30:03.916 --> 1:30:04.076 You know. 1:30:04.156 --> 1:30:05.716 It's better than just getting a bunch of guys from 1:30:05.796 --> 1:30:08.156 Central Casting and just throwing ship on them. 1:30:08.436 --> 1:30:08.996 You know what I mean. 1:30:09.356 --> 1:30:11.916 Dude, Big ups to to the director who is the 1:30:12.036 --> 1:30:15.156 Ron Maxwell Man, he's in the producers. That's it's great. 1:30:15.196 --> 1:30:18.156 I remember seeing that all right, our house is a 1:30:18.316 --> 1:30:21.316 very very very fine house on Gay Down Gay. This 1:30:21.396 --> 1:30:25.516 song is written not just amongst breakups, but also tragedy, 1:30:25.636 --> 1:30:29.796 Like I mentioned, yeah, really heavy. Uh Graham Nash Joni 1:30:29.876 --> 1:30:32.916 had just broke up, so he writes a song about 1:30:32.956 --> 1:30:38.836 domestic bliss and David real tragic man mourning the loss 1:30:38.876 --> 1:30:40.356 of Christine. I want to make sure I get this right. 1:30:40.436 --> 1:30:43.396 Christine Hinton who gets into a car accident. I think 1:30:43.436 --> 1:30:45.756 she's on the way to the vet and the cat 1:30:45.836 --> 1:30:48.276 jumps on her lap and it causes her to drive 1:30:48.316 --> 1:30:51.036 off the road or crash into something, but she passes away. 1:30:51.756 --> 1:30:51.916 Uh. 1:30:52.396 --> 1:30:54.556 There is domestic bliss on the surface, but there is 1:30:54.676 --> 1:30:56.116 this absolute tragedy. 1:30:58.076 --> 1:30:58.236 You know. 1:30:59.356 --> 1:31:03.596 I don't know if I like this song on this 1:31:03.916 --> 1:31:08.196 record because it's it's I don't want to call it cheesy, 1:31:08.396 --> 1:31:10.716 because it's not a cheesy song. It's a beautiful song. 1:31:11.196 --> 1:31:13.556 And over the years I think i've you know, when 1:31:13.556 --> 1:31:15.076 I was younger, I might have made fun of it. 1:31:15.556 --> 1:31:18.316 As I've gotten older, you know, it's I think it's 1:31:18.436 --> 1:31:21.756 it's changed my opinion. But fitting it on the record, 1:31:21.796 --> 1:31:24.436 I just don't know if it fits with the vibe 1:31:24.516 --> 1:31:27.636 of this I feel like this and you know, it's 1:31:27.676 --> 1:31:31.756 more of a teacher children. But thoughts. I don't want 1:31:31.756 --> 1:31:32.836 to sit here and say it's bad. It's not a 1:31:32.876 --> 1:31:35.356 bad song. I mean it's a good song, but your thoughts, Jeff. 1:31:35.956 --> 1:31:38.396 My wife Kathleen does a sing along to raise some 1:31:38.516 --> 1:31:41.396 money for diabetes every summer and that's one of the 1:31:41.476 --> 1:31:43.676 songs they sing along. It's an easy song to sing 1:31:43.756 --> 1:31:48.596 along with. It's again, it's positive. It's it's at least, 1:31:48.636 --> 1:31:50.796 you know, to those who are just singing it, not 1:31:50.956 --> 1:31:54.436 really worried about what was going on when they wrote it. Yeah, 1:31:54.996 --> 1:31:57.716 you know, it's pretty and Graham did a great job 1:31:57.796 --> 1:32:04.516 of writing songs like that, and it it juxtaposed as 1:32:04.556 --> 1:32:08.196 well with Helpless and you know later on with you know, 1:32:08.276 --> 1:32:10.676 when Neil was you know, coming out with Southern Man 1:32:10.836 --> 1:32:13.636 and Ohio and all of that. I mean, it's to 1:32:13.756 --> 1:32:17.996 go from one side to the other, is you know, 1:32:18.036 --> 1:32:20.076 I give them credit for that. That's a lot from 1:32:20.116 --> 1:32:23.596 a songwriting standpoint, that's a that's a good range, it is. 1:32:24.676 --> 1:32:27.516 And speaking of range and starting at a certain spot, 1:32:27.556 --> 1:32:30.756 your second movie is Terms of Endearment. And in the 1:32:30.836 --> 1:32:33.516 movie you're not you're not playing the best character. You're 1:32:33.556 --> 1:32:38.916 playing Deb's husband who cheats on her and then ultimately 1:32:39.076 --> 1:32:41.476 she passes. But what was that like for your second movie? 1:32:41.476 --> 1:32:44.116 Because you're up there with Jack and Shirley and Debbie. 1:32:45.396 --> 1:32:47.636 I'm acting like I know here, Deborah, I'm sorry, you're 1:32:47.676 --> 1:32:50.356 playing this shitty guy. How hard was that for you 1:32:50.876 --> 1:32:54.196 as your second film to play with three powerhouses, especially 1:32:54.596 --> 1:32:56.476 Shirley McLean and Jack. I mean. 1:32:58.316 --> 1:33:02.396 It was it was going to it was like having 1:33:02.476 --> 1:33:06.236 a seat in a master's class. I've been acting, not 1:33:06.396 --> 1:33:10.756 just Shirley and Deborah, but Jack. I was twenty eight 1:33:10.836 --> 1:33:13.796 years old, and I just kept my mouth shut and 1:33:13.956 --> 1:33:15.636 I just I would go to the set when I 1:33:15.756 --> 1:33:18.996 wasn't supposed to be working, just so I could watch Jack, 1:33:20.116 --> 1:33:23.956 watch Shirley, watch Deborah. You know, they they I learned 1:33:23.956 --> 1:33:28.116 a lot on that movie. I was off Broadway next 1:33:28.156 --> 1:33:32.196 thing I know, I'm with those three people. So that was, 1:33:34.516 --> 1:33:37.156 you know, just hold up your end. And it was 1:33:37.236 --> 1:33:42.436 the character was so unlikable that nobody, no star, young 1:33:42.596 --> 1:33:45.036 star with a name at that time, wanted to do it. 1:33:45.756 --> 1:33:47.516 You know, I mean, you cheat on Deborah Winger and 1:33:47.556 --> 1:33:50.876 then she dies, you know, come on past. You know. 1:33:54.756 --> 1:33:57.076 I was thrilled to get it. I was thrilled to 1:33:57.116 --> 1:33:59.356 get it. I learned a lot. I learned a lot. 1:33:59.836 --> 1:34:03.036 Did they make you comfortable the way that you make 1:34:03.356 --> 1:34:04.956 younger actors comfortable being? 1:34:05.156 --> 1:34:05.636 You know, the way? 1:34:05.836 --> 1:34:08.396 Did you learn maybe that from them? I know you 1:34:08.476 --> 1:34:11.276 said your father also implied that in you. But you know, 1:34:11.436 --> 1:34:12.556 were they giving as well? 1:34:13.636 --> 1:34:15.676 Did she was? She was great with me. She knew 1:34:15.716 --> 1:34:18.356 I was, you know, a babe in the woods, and 1:34:19.276 --> 1:34:23.276 and she had just come off of the successive officer 1:34:23.316 --> 1:34:26.556 and a gentleman. Yes, she was. She was the Julia 1:34:26.716 --> 1:34:31.476 Roberts of her time at that moment, and she didn't 1:34:31.516 --> 1:34:34.196 have to be nice to me about anything, and she 1:34:34.436 --> 1:34:38.676 was she really you know, I felt fine, you know 1:34:38.796 --> 1:34:41.476 on the set with her. You know, Sureley was was 1:34:41.876 --> 1:34:45.276 was was terrific, but she and Deborah were kind of 1:34:45.316 --> 1:34:47.036 at each other, and so I stayed out of that. 1:34:47.276 --> 1:34:49.876 And then Jack showed up. But I really didn't have 1:34:49.956 --> 1:34:53.716 any scenes with Jack, and I didn't, you know, annoy 1:34:53.876 --> 1:34:57.796 him by sitting next to him on the set. You know, 1:34:58.636 --> 1:35:03.556 if I just I watched, I watched, I'm Jim Brooks 1:35:04.716 --> 1:35:07.956 brought me. I did. I still don't see dailies to 1:35:08.076 --> 1:35:11.196 this day, but Jim Brooks asked me if I wanted 1:35:11.236 --> 1:35:13.116 to see some dailies though of a scene that I 1:35:13.276 --> 1:35:16.916 wasn't in. I said yes, So he showed me the 1:35:17.036 --> 1:35:21.156 scene between Jack and Shirley in the kitchen. It was 1:35:21.196 --> 1:35:24.796 a two shot of the two of them and Jim 1:35:25.156 --> 1:35:28.196 or Jack goes into the I'm one hundred I'm one 1:35:28.276 --> 1:35:31.276 of one hundred and six fucking astronauts. You know. It's 1:35:31.356 --> 1:35:35.596 that speech. And he did about five takes. And this 1:35:35.796 --> 1:35:38.396 is back when, and maybe it still is, but back 1:35:38.436 --> 1:35:41.356 when films you could kind of rehearse on film, kind 1:35:41.396 --> 1:35:44.596 of learn the lines as you go, get used to it, 1:35:45.716 --> 1:35:48.876 find some choices, work off each other. And then about 1:35:48.956 --> 1:35:55.356 take six he took off really good. Great. Here comes 1:35:55.436 --> 1:36:00.076 take seven again, same, just different. Here's eight where he's 1:36:00.116 --> 1:36:04.436 even angrier. Here's nine where he undercuts it, he goes underneath. 1:36:05.236 --> 1:36:08.756 Then here's ten where he does something completely different from 1:36:08.756 --> 1:36:13.636 the other. And between six through ten, Jim Brooks turned 1:36:13.636 --> 1:36:15.556 around when that was the end of the takes. Jim 1:36:15.636 --> 1:36:17.596 turned to me and said, which one do I use? 1:36:19.196 --> 1:36:23.956 You know, and you watched Jack give the editor options 1:36:25.516 --> 1:36:29.076 and give him options too, that he was chasing impulses 1:36:29.636 --> 1:36:33.196 and Merrill does this, You know, that's where I learned 1:36:33.236 --> 1:36:36.676 that it wasn't about with theater where you rehearse for 1:36:36.916 --> 1:36:38.796 seven weeks and then you kind of lock it, and 1:36:38.876 --> 1:36:41.276 that's what you do from the first show on. It 1:36:41.436 --> 1:36:44.196 moves around, but you're supposed to kind of lock it. 1:36:45.996 --> 1:36:48.436 This is the opposite of that. You're chasing whatever you're 1:36:48.476 --> 1:36:50.796 feeling at this moment, and if it doesn't work, it's 1:36:50.916 --> 1:36:54.756 just takes number seven and you delete it. But to 1:36:54.956 --> 1:37:00.076 watch him kind of just trust his instincts and give 1:37:00.276 --> 1:37:03.476 Brooks options and then let him figure it out in 1:37:03.516 --> 1:37:07.276 the editing room is it was a different experience than 1:37:07.396 --> 1:37:12.596 doing the same thing for straight takes, uh, which which 1:37:12.676 --> 1:37:16.916 is a way to control your performance where the director 1:37:16.956 --> 1:37:19.236 only has that Well, he only did it the one way, 1:37:19.316 --> 1:37:21.276 so I guess we got to go with that. But 1:37:21.476 --> 1:37:25.716 Jack was was trusted Jim Brooks enough to give it 1:37:25.796 --> 1:37:29.756 to him different ways, and then so that Jim could 1:37:30.076 --> 1:37:32.156 could work with it, not only what Jim had written, 1:37:32.276 --> 1:37:35.636 but Jack's you know what Jack took from it and 1:37:35.836 --> 1:37:38.076 was able to roll with it. You know, that's where 1:37:38.116 --> 1:37:40.276 them that's where film is kind of a lot of fun. 1:37:40.356 --> 1:37:43.236 If that's where the magic happens, and you know, you 1:37:43.396 --> 1:37:47.836 only have to make it happen for the first time once. Yeah, 1:37:48.316 --> 1:37:50.316 you know, I think you've got to make it look 1:37:50.396 --> 1:37:52.556 like it's happening for the first time and it's shown 1:37:52.596 --> 1:37:53.756 over hundred and twelve. 1:37:55.876 --> 1:37:58.196 Well, I went to see my my buddies were in 1:37:58.796 --> 1:38:03.836 uh like Bob, Odenkirk and Burr and uh, oh my god, 1:38:03.836 --> 1:38:05.516 I can't think of his naything guy from Spinal Tap. 1:38:06.436 --> 1:38:12.556 Uh we're in uh uh not more, Michael McKean, We're 1:38:12.596 --> 1:38:15.116 in Glenburry, Glenn Ross and I went about five different 1:38:15.156 --> 1:38:18.036 times and it was cool seeing it was some shows 1:38:18.076 --> 1:38:20.236 it was funnier, some shows it was darker, and some 1:38:20.396 --> 1:38:23.036 shows it was uh, you know it was it was 1:38:23.116 --> 1:38:25.356 a little bit of both. But to see the choices 1:38:25.396 --> 1:38:28.316 that the actors made, you know, in that moment, because 1:38:28.316 --> 1:38:30.996 sometimes Bob was even funny, it was was mister Showbob 1:38:31.076 --> 1:38:33.876 and David and sometimes you know Burr. You know, Burr 1:38:33.956 --> 1:38:35.916 was always angry the whole time, which was great. But 1:38:36.196 --> 1:38:39.956 it really it really was this this really cool dance. 1:38:40.036 --> 1:38:42.596 And going off of what you said about about Jack, 1:38:42.636 --> 1:38:45.156 I mean, there's that great Matt Damon story about the 1:38:45.236 --> 1:38:47.676 departed talking to him where he's like, you know, and 1:38:47.756 --> 1:38:49.876 he's like, you know, I wouldn't have lasted so long 1:38:49.956 --> 1:38:52.316 if I wasn't a good writer. And it's like, you know, 1:38:52.396 --> 1:38:53.996 there was a scene where he shoots the girl and 1:38:54.036 --> 1:38:55.676 he's like, when if you cut right there, you know, 1:38:55.756 --> 1:38:58.236 but if you keep going and then I improve this 1:38:58.476 --> 1:38:59.996 and then but if you cut right you could cut 1:39:00.076 --> 1:39:01.796 right there, but if you keep going and let the 1:39:01.876 --> 1:39:04.716 camera roll and this lets him play around, and I think, 1:39:05.116 --> 1:39:07.436 you know, you know, I know that might have been 1:39:07.436 --> 1:39:10.076 the first time that he was working with James L. Brooks, 1:39:10.076 --> 1:39:12.356 but something like as good as it gets, where Jim 1:39:13.036 --> 1:39:15.756 uh and Jack are just I think at their best. 1:39:16.076 --> 1:39:18.916 I mean, it's just such a powerful performance and the 1:39:19.036 --> 1:39:22.756 writing and the story. You know, I wonder just like 1:39:23.396 --> 1:39:28.716 just how much you know they're they're just enjoying what 1:39:29.276 --> 1:39:31.276 you know, he's being given to say. And then how 1:39:31.396 --> 1:39:34.796 much Jack, who seems like he just really is is 1:39:34.956 --> 1:39:37.196 so good at at what he does, and especially from 1:39:37.356 --> 1:39:39.756 from working with so many great directors over the years 1:39:39.836 --> 1:39:43.396 that trust him, and you know, it's it's it's great 1:39:43.476 --> 1:39:45.196 you get you've worked with so many great people that 1:39:45.356 --> 1:39:47.916 you know, you've been able to really see like just 1:39:48.356 --> 1:39:51.676 the progression between you know, you know what bad acting is, 1:39:51.716 --> 1:39:53.156 you know what good acting is, and you know what 1:39:53.276 --> 1:39:55.636 being the character is. And I think someone like Jack 1:39:55.756 --> 1:40:00.116 or Christopher Walking and Meryl Streep those people in yourself. 1:40:00.196 --> 1:40:02.036 It's like you guys live in your characters and you 1:40:02.196 --> 1:40:04.676 and you you understand it. You know what your character wants, 1:40:04.716 --> 1:40:06.396 and once you know that, then you can have fun, 1:40:07.036 --> 1:40:08.676 you know, And that's that's the beauty of it. 1:40:09.196 --> 1:40:12.316 The other thing that I learned, especially on that movie 1:40:12.396 --> 1:40:17.116 and from someone as revered as Jack, is that it's 1:40:17.916 --> 1:40:25.876 because there's no rehearsal for film, it's guesswork. So this 1:40:26.156 --> 1:40:29.316 is your best guess as to what you think the 1:40:29.436 --> 1:40:33.236 scene is from this character's point of view. And maybe 1:40:33.276 --> 1:40:36.356 you know or maybe you don't know. And so you know, 1:40:36.596 --> 1:40:39.796 Jack from the get go is kind of going, what 1:40:39.916 --> 1:40:41.916 do you think if I do this or I do that? 1:40:42.316 --> 1:40:48.156 And Brooks, who's smart, brilliant, Yeah, try it because you 1:40:48.436 --> 1:40:52.316 never know. You get into editing and you're gonna wish 1:40:52.396 --> 1:40:55.996 you had that one where he wasn't as angry. You're 1:40:56.036 --> 1:40:57.956 gonna wish you had that one where he said, can 1:40:57.996 --> 1:41:00.756 I try it? Where I just I remember Jim, or 1:41:00.996 --> 1:41:06.236 Jim said to Jack, he goes, yeah, great job. I 1:41:06.356 --> 1:41:08.356 have an idea. It's kind of you know, out on 1:41:08.436 --> 1:41:12.796 a limb, and I Jack said, I love going out 1:41:12.836 --> 1:41:17.076 on limbs. I get in trouble out there, and I 1:41:17.796 --> 1:41:22.516 just risk it, risk it. And that's different than the theater. 1:41:22.876 --> 1:41:26.636 The theater is that's inside the rehearsal room, and then 1:41:27.356 --> 1:41:29.956 you know they, no, don't do that. Come over here, 1:41:30.156 --> 1:41:32.276 and maybe you find a way to you know, do 1:41:32.396 --> 1:41:35.116 the similar thing. But it's you know, it's weeks ago, 1:41:35.316 --> 1:41:38.596 this is on the day right now, roll it, boom, 1:41:38.796 --> 1:41:42.556 hit it. Give it to them. Now they have it. 1:41:42.956 --> 1:41:45.116 And now months later when they're in an editing room, 1:41:45.316 --> 1:41:50.956 they've got options because I learned that. It's because it's guesswork. 1:41:52.316 --> 1:41:56.516 You don't know for sure whether this is the only 1:41:56.676 --> 1:41:59.716 way to do the speech or the scene. You know, 1:41:59.916 --> 1:42:02.996 you you know, if you're moving on TV and it's one, two, 1:42:03.116 --> 1:42:05.316 three takes, got to move the cameras, then you got 1:42:05.396 --> 1:42:07.516 to make some choices and stick to them, and that's it. 1:42:08.276 --> 1:42:15.476 But if you give yourself some options, because that's that's 1:42:15.516 --> 1:42:19.236 where you write. The final draft of the movie is 1:42:19.316 --> 1:42:21.916 in the editing, Yeah, I did two Indy's where I 1:42:21.996 --> 1:42:24.476 wrote and directed and acted at him. And that's that's 1:42:24.516 --> 1:42:28.316 where I learned that where I'm going, Okay, the scene 1:42:28.356 --> 1:42:31.556 doesn't work, is there, like, God, is there a take 1:42:31.636 --> 1:42:32.676 where I didn't do? What? 1:42:32.796 --> 1:42:32.956 You know? 1:42:33.516 --> 1:42:36.156 And that's where you write the final draft And yeah, 1:42:36.636 --> 1:42:39.156 Brooks knew that and Jack knew that, And so let 1:42:39.236 --> 1:42:41.996 me give you a couple other options and in the 1:42:42.076 --> 1:42:42.836 event that you need. 1:42:42.796 --> 1:42:46.396 Them, Yeah, I love that. Not to get too off 1:42:46.476 --> 1:42:48.356 top of I mentioned Christopher Walking, there's that when he 1:42:48.436 --> 1:42:52.516 did Catch Me if you Can, and he has Spielberg 1:42:52.596 --> 1:42:55.116 being interviewed and he's just doing this thing talking to Leo, 1:42:55.276 --> 1:42:58.276 and he does this scene three different ways. He does 1:42:58.316 --> 1:43:01.276 it straight, he does it a little bit like more intense, 1:43:01.316 --> 1:43:04.116 and then the last one he starts crying, getting choked up, 1:43:04.196 --> 1:43:06.996 and it's like Spielberg's just blown away. He's I never 1:43:07.036 --> 1:43:07.636 even would have. 1:43:07.676 --> 1:43:08.156 Thought of that. 1:43:09.116 --> 1:43:11.796 He's giving this speech about like you know, it was 1:43:11.796 --> 1:43:13.836 either being the military or something. But it was just 1:43:13.916 --> 1:43:16.436 like I love that choice, and it's like, that's so 1:43:16.796 --> 1:43:19.276 fun just to be able to give the director and 1:43:19.876 --> 1:43:21.716 while them where they don't even think that, well, I 1:43:21.716 --> 1:43:23.956 didn't even think of trying it that way. 1:43:24.956 --> 1:43:28.956 It's, you know, the talent like Walkin does to do that, 1:43:29.156 --> 1:43:32.356 to give it to them three different ways instead of 1:43:32.596 --> 1:43:35.396 arguing about the only way my character would. 1:43:35.196 --> 1:43:36.436 Do this is X. 1:43:37.036 --> 1:43:39.716 Yeah, give it to him three different ways. He's Steven Spielberg. 1:43:40.156 --> 1:43:43.516 He's probably gonna make you look good, you know. Yeah. Yeah. 1:43:44.596 --> 1:43:47.196 The one that works for the story, which is a 1:43:47.276 --> 1:43:51.236 whole other thing. Yeah, is the choice you're making serving 1:43:51.356 --> 1:43:56.716 the story, probably to bring it back a little bit 1:43:56.836 --> 1:44:01.436 like the solo that you're doing in almost cut your hair, 1:44:01.716 --> 1:44:05.236 cut my hair? Does it serve the song? Or is 1:44:05.276 --> 1:44:07.276 it you just show it off? Yeah? 1:44:07.636 --> 1:44:09.636 Totally something that was that. 1:44:09.756 --> 1:44:13.196 Doesn't really fit it somehow and you don't quite know why, 1:44:13.276 --> 1:44:17.636 but it just doesn't. And again, when I saw Krogie Stilts, 1:44:17.716 --> 1:44:20.356 Nash and Young in Chicago, and when I saw Neil 1:44:20.476 --> 1:44:25.196 do those single note things way up high, for whatever reason, 1:44:25.476 --> 1:44:29.276 it was exactly what it needed to be and I 1:44:29.436 --> 1:44:30.316 completely got it. 1:44:30.836 --> 1:44:35.116 Yeah, talking about not touching something, we're gonna mention it. 1:44:35.196 --> 1:44:36.556 But for timing, I want to move on, because I 1:44:36.556 --> 1:44:37.836 want to get to Country Girl, because I like that 1:44:37.956 --> 1:44:41.516 question more. But for it's four and twenty. That was 1:44:41.636 --> 1:44:45.036 the song that Stills did by himself. When he brought 1:44:45.076 --> 1:44:47.876 it to the band, they said, it's perfect, do not 1:44:48.116 --> 1:44:51.476 touch it. Everything is great. I want to if you 1:44:51.556 --> 1:44:53.756 have any thoughts on that, you can or on four 1:44:53.796 --> 1:44:55.516 and twenty you can, you can mentioned. But I want 1:44:55.556 --> 1:44:56.796 to ask you the question for a country, what do 1:44:56.876 --> 1:44:57.716 you on? 1:44:57.796 --> 1:44:58.716 That is there? 1:45:00.396 --> 1:45:01.916 I think so let me let me take a look 1:45:01.916 --> 1:45:05.356 at the statistics. I'm pretty sure that I'm pretty crosby 1:45:05.396 --> 1:45:10.476 and nasting harmony parts again, he into, They planned to 1:45:10.596 --> 1:45:13.196 at least, and then they were refused. Actually that is 1:45:13.236 --> 1:45:13.676 what it says. 1:45:13.756 --> 1:45:17.556 Yeah, yeah, it's again. It's completely different from anything else. 1:45:18.916 --> 1:45:21.276 It's a still song. It's a still song. It's as 1:45:21.356 --> 1:45:22.556 still as long as it can be. 1:45:22.716 --> 1:45:25.236 Yeah. A good song is a song that can be 1:45:25.316 --> 1:45:27.796 sung on an acoustic with just an acoustic guitar, and 1:45:27.916 --> 1:45:31.276 if it holds up, it's it's maybe even a great song. Yeah, 1:45:31.516 --> 1:45:36.436 that's whole trope. But it's different from country Girl and 1:45:36.916 --> 1:45:38.916 all the other stuff and carry on and all the 1:45:38.996 --> 1:45:41.116 other stuff they're doing, which is at times of those 1:45:41.196 --> 1:45:44.876 harmonies and the operettic kind of feel and the to 1:45:45.036 --> 1:45:47.236 some of those other songs here comes four and twenty, 1:45:48.276 --> 1:45:51.716 which is just so naked that it jumps out. It's 1:45:51.756 --> 1:45:55.116 the same way Helpless jumps out, Yeah, just for different reasons. 1:45:55.596 --> 1:45:58.516 With country Girl, though, this one's the Neil Young song. 1:45:58.596 --> 1:46:00.316 And this is made up of two different songs that 1:46:00.396 --> 1:46:03.836 he had earlier written for Buffalo Springfield, called Whiskey Boot Hill, 1:46:04.436 --> 1:46:07.116 which he had done as an instrumental string quartete arrangement 1:46:07.196 --> 1:46:10.036 on his debut record, and Downtown Down, which would be 1:46:10.156 --> 1:46:12.516 wouldn't be released till years later on a box set. 1:46:12.916 --> 1:46:15.156 He added those to a third section that he was 1:46:15.316 --> 1:46:20.196 calling country Girl in quotations, I think you're pretty overall, 1:46:20.196 --> 1:46:23.196 it's very densely orchestrated and mournful waltz. Yeah, I was saying, 1:46:23.196 --> 1:46:24.956 it's like they already had a sweet with Sweet Judy 1:46:24.996 --> 1:46:26.716 blue Eyes, so this is kind of like them bringing 1:46:26.756 --> 1:46:28.596 it back to that. It brings us into a bar 1:46:28.676 --> 1:46:31.076 where stars are drinking, where people are flirting with the waitress. 1:46:31.236 --> 1:46:33.676 The third section simply yearns for a country girl to 1:46:33.796 --> 1:46:37.636 allow him to be her countryman and presumably take her own, 1:46:38.116 --> 1:46:40.956 take her away from the city. I really liked this one. 1:46:41.036 --> 1:46:43.796 I I you know, I'm not saying I disliked the 1:46:43.836 --> 1:46:48.836 final song on the record, But I really if they 1:46:48.836 --> 1:46:50.836 would have ended the record with country Girl, I wouldn't 1:46:50.836 --> 1:46:52.956 have been upset. And I'm not taking anything away from 1:46:52.956 --> 1:46:54.596 Everybody I Love You. It's a good song, but it's 1:46:54.716 --> 1:46:56.156 just we were this was one that we were thinking 1:46:56.196 --> 1:46:57.996 of skipping your thoughts on country Girl. 1:46:58.356 --> 1:47:00.956 Yeah, Everybody I Love You sounds like, let's let's give 1:47:00.996 --> 1:47:04.996 it a happy ending. Yeah, very But where country Girl is? 1:47:05.116 --> 1:47:06.876 You know? It sounds like Neil wanted to get out 1:47:06.916 --> 1:47:11.996 of la Yeah. Yeah, uh no, I mean that's one 1:47:12.036 --> 1:47:14.156 of my favorites on the whole album. It really is 1:47:14.716 --> 1:47:19.196 arrangement and the where are they going now with that 1:47:19.356 --> 1:47:21.836 whole song country Girl? 1:47:22.556 --> 1:47:25.396 My question was going to be but you answered it 1:47:25.516 --> 1:47:27.036 basically about if you ever wanted to do like a 1:47:27.076 --> 1:47:29.236 Harrison Ford and just go to Montana. But I feel 1:47:29.276 --> 1:47:31.156 like we already kind of mentioned that, so I wanted 1:47:31.196 --> 1:47:34.476 to ask you this about it was there the notes 1:47:34.556 --> 1:47:38.876 right there. You know you're a musician, and speaking of 1:47:38.956 --> 1:47:42.196 this song being three different pieces, like, like, how much 1:47:42.436 --> 1:47:45.676 of being a musician do you bring into acting Like. 1:47:47.636 --> 1:47:52.396 Like it's I think it's easier to memorize because of 1:47:55.156 --> 1:47:59.476 music and the rhythm. There's a rhythm to playing music, 1:47:59.716 --> 1:48:05.636 and the same thing with memorizing or even doing you know, 1:48:05.836 --> 1:48:10.396 a dialogue. There you find them to the sentence that 1:48:10.516 --> 1:48:16.956 he wrote or she wrote. And if you don't have 1:48:17.116 --> 1:48:23.596 a sense of rhythm, a musical sense, I I it 1:48:23.676 --> 1:48:24.436 can get harder. 1:48:25.156 --> 1:48:25.396 Sure. 1:48:26.116 --> 1:48:28.716 I think I've worked with some people who didn't and 1:48:30.196 --> 1:48:33.956 they were just slower to get the lines down and so. 1:48:34.156 --> 1:48:36.156 And not to say that you have to have a 1:48:36.276 --> 1:48:38.556 musical background in order to be a good actor. You don't, 1:48:39.116 --> 1:48:42.996 but it's helped me. And I think it has to 1:48:43.116 --> 1:48:45.796 do with finding the rhythm of the dialogue, which is 1:48:45.876 --> 1:48:48.436 similar to finding the rhythm of you know, the song, 1:48:48.556 --> 1:48:50.716 the chords, the lyrics, the melody. 1:48:52.396 --> 1:48:55.676 I'm assuming certain certain like writers, like we talked about 1:48:55.716 --> 1:48:58.676 Sorkin finding that melody probably was like oh yeah, like 1:48:58.876 --> 1:49:02.276 I know this groove immediately, like he's written the groove 1:49:02.396 --> 1:49:05.316 for you. But then other people you probably have to go, okay, 1:49:05.556 --> 1:49:08.236 like you know this is this is a little different. 1:49:08.276 --> 1:49:10.236 Maybe maybe I'm it's gonna have to wait until I 1:49:10.276 --> 1:49:12.836 get in there with them and figure it out with 1:49:12.916 --> 1:49:14.796 the other actor, right, Yeah. 1:49:15.156 --> 1:49:22.556 Sometimes yeah, it's usually again when it's a single singular 1:49:22.716 --> 1:49:28.316 voice that you can hear it. It's like hearing a melody. Yeah. 1:49:28.956 --> 1:49:33.036 Richard Schiff, who was on West Wing, he came to 1:49:33.076 --> 1:49:35.676 see Mockingbird and I told him that all those West 1:49:35.716 --> 1:49:39.836 Wing guys were great. I went to school on those 1:49:39.916 --> 1:49:43.356 guys before I did Newsroom. And I said to him, 1:49:43.436 --> 1:49:47.436 I said, and doing sort and it's like music. He goes, no, No, 1:49:47.676 --> 1:49:52.796 it's melody. There's a melody to the dialogue that he writes. 1:49:53.076 --> 1:49:56.036 And he was right. It was more specific. 1:49:58.316 --> 1:50:01.236 Gop Man, this is awesome. 1:50:01.316 --> 1:50:01.596 All right. 1:50:01.676 --> 1:50:04.156 Final song, Let's get you out of here, dude. Last song, 1:50:04.316 --> 1:50:06.476 Thank you for all the time, dude. This has been 1:50:07.036 --> 1:50:09.836 such a gift to me, to Jeremiah, all the listeners, 1:50:09.876 --> 1:50:14.276 and please please come back. Final song on the record, everybody, 1:50:14.356 --> 1:50:17.316 I Love You Breezy. It's a soulful rocker. It's the 1:50:17.476 --> 1:50:21.356 only writing collaboration on the record, which is by Stills 1:50:21.516 --> 1:50:25.676 and Young. We already kind of mentioned it, and I 1:50:25.756 --> 1:50:28.156 feel like, you know, for everything we've talked about like this, 1:50:28.436 --> 1:50:30.076 this is a good way to kind of leave it where, 1:50:30.476 --> 1:50:33.396 you know, the opening message of carrying on This really 1:50:33.596 --> 1:50:37.836 leaves a record that has a real sense of struggle 1:50:38.036 --> 1:50:41.916 and poignancy, both in the subtext in the actual material, 1:50:42.556 --> 1:50:46.276 on a note of compassion and good spirits not to 1:50:46.356 --> 1:50:50.476 be morbid, but with so many losses recently, especially you know, 1:50:50.916 --> 1:50:54.636 some of the great musicians like sly Stone and Brian Wilson, 1:50:54.716 --> 1:50:59.556 and then of course Ozzy, which you know, just to 1:50:59.756 --> 1:51:01.476 be able to go out the way that he did 1:51:01.556 --> 1:51:03.316 and tell the world how much he loves him and 1:51:03.436 --> 1:51:06.636 raise all this money right before he dies. What message 1:51:06.676 --> 1:51:08.396 of love and compassion would you like to leave with 1:51:08.516 --> 1:51:12.436 this world? And I'll be so happy. 1:51:14.876 --> 1:51:17.076 There's a lot of darkness and a lot of fear, 1:51:17.596 --> 1:51:22.076 and a lot of craziness going on that no one 1:51:22.196 --> 1:51:27.436 seems to understand or how to deal with. And and 1:51:27.596 --> 1:51:31.756 I you know, as as an older actor, who's you know, 1:51:31.956 --> 1:51:34.716 a celebrity who you know nobody wants to hear from 1:51:34.796 --> 1:51:38.436 us anymore, okay, but you try to find something good 1:51:39.316 --> 1:51:42.396 to do every day for yourself or for someone else. 1:51:42.636 --> 1:51:47.676 It's it's Pollyanna, but it's you know, until we get 1:51:48.796 --> 1:51:53.396 you know, I hope straightened out about being able to 1:51:53.476 --> 1:51:56.956 deal with each other again instead of hating each other 1:51:57.076 --> 1:52:02.316 so much. You know, find something good to do for 1:52:02.396 --> 1:52:05.836 yourself or for somebody else. That's that's a start that 1:52:06.076 --> 1:52:09.676 you can do. Can you change the world, probably not, 1:52:10.036 --> 1:52:14.436 but can you do that every day? Yeah? Yeah, And 1:52:14.596 --> 1:52:18.036 so that's kind of all I'm doing at this. 1:52:18.116 --> 1:52:20.036 Point, and you're doing a great job of it, man, 1:52:20.196 --> 1:52:21.836 And I you know, I love that you brought up 1:52:21.836 --> 1:52:23.796 your dad and what he taught you. And when you 1:52:23.916 --> 1:52:26.196 have someone like that in your life that you can 1:52:26.556 --> 1:52:29.036 that shows you how to be empathetic and love your 1:52:29.076 --> 1:52:32.156 brother and help people. I mean, even on the smallest 1:52:32.196 --> 1:52:34.076 scale of you helping actors, I mean, that makes me 1:52:34.196 --> 1:52:36.356 just so happy to know that there are actors that 1:52:36.436 --> 1:52:39.236 I look at that are extremely successful, that you know, 1:52:39.596 --> 1:52:41.276 like that you put up on I don't want to say, 1:52:41.316 --> 1:52:43.036 you know, on a pedestal, but you're like, ah, Man, 1:52:43.156 --> 1:52:45.236 they might be dicks or assholes, and a lot of 1:52:45.276 --> 1:52:47.516 them that I've met have been very very sweet human beings. 1:52:47.596 --> 1:52:49.116 Some of them have been assholes, but it could just 1:52:49.156 --> 1:52:51.316 be that moment of you never know what they're dealing 1:52:51.356 --> 1:52:55.276 with in their day, but you know, to be able 1:52:55.356 --> 1:52:57.316 to talk to you and you know, hear your story 1:52:57.396 --> 1:52:59.476 and especially what you said about your father. Man, it's 1:52:59.516 --> 1:53:03.076 like you really had someone very beautiful to be able 1:53:03.156 --> 1:53:05.516 to like to teach you about things. And I think 1:53:05.556 --> 1:53:07.836 that is why, you know, even just you sitting down 1:53:07.876 --> 1:53:09.596 and speaking for an hour and forty mins, it's with us. 1:53:09.716 --> 1:53:11.756 It's like you didn't have to do this. So this 1:53:11.876 --> 1:53:14.716 has been incredible and I really appreciate for a time 1:53:14.996 --> 1:53:17.916 and and the message and the honesty, dude, and you know, 1:53:18.116 --> 1:53:19.876 and please do Gettysburn too. 1:53:20.196 --> 1:53:23.036 Please please do it. Man. 1:53:23.236 --> 1:53:23.796 I want to know. 1:53:25.716 --> 1:53:28.116 In and Out or Dumb and Dumber three where you know, 1:53:28.796 --> 1:53:30.916 as Jim said, they'll call it gum and gummer. 1:53:31.356 --> 1:53:35.396 You know, even giving us a second one was like really, 1:53:35.796 --> 1:53:37.556 I mean, dude, it was it was a Swan song. 1:53:37.636 --> 1:53:41.156 It was beautiful and it really was. And it's like, dude, 1:53:41.196 --> 1:53:43.876 it's like spinal tap doing another spinal tap. It's like 1:53:43.996 --> 1:53:47.436 we the people that love it, need it and and 1:53:47.716 --> 1:53:50.796 it's special. And and the things that you've done, whether 1:53:50.836 --> 1:53:53.716 it's the speech in the newsroom or or I remember 1:53:53.716 --> 1:53:57.316 seeing an Arachnophobia opening night, all dude, it's just like 1:53:57.436 --> 1:53:59.236 I said good night to luck Squid in the Whale 1:53:59.356 --> 1:54:01.196 that there was two of my favorite movies that summer, 1:54:01.236 --> 1:54:03.876 and it's just everything you keep doing. I'll keep watching 1:54:03.916 --> 1:54:06.476 it and please come back on. Man, this was this 1:54:06.676 --> 1:54:09.436 was so much fun. I can't think enough. 1:54:10.036 --> 1:54:11.356 I enjoyed it. Guys. Thank you. 1:54:11.556 --> 1:54:15.276 So we ask everybody these questions. Uh, we'll make them quick, 1:54:15.316 --> 1:54:16.556 but I got a new one I'm gonna throw in. 1:54:17.476 --> 1:54:19.676 First question, is favorite song on the record? 1:54:19.956 --> 1:54:20.596 Country girl? 1:54:21.116 --> 1:54:23.796 Nice? H What do you skip over? Is there anything 1:54:23.836 --> 1:54:26.356 you dislike on this album? 1:54:26.716 --> 1:54:26.956 Yeah? 1:54:27.556 --> 1:54:30.876 Our House nice? Yeah, dude, because it's the hit. I 1:54:30.916 --> 1:54:33.236 always say, sometimes you hear the hit too much. All right, 1:54:33.516 --> 1:54:35.756 I'm not going to filter this one. Can you fuck 1:54:35.836 --> 1:54:36.516 to this record? 1:54:39.556 --> 1:54:39.796 Sure? 1:54:42.516 --> 1:54:42.716 Yeah? 1:54:42.796 --> 1:54:46.596 Sure, the rhythms change. 1:54:47.116 --> 1:54:49.796 Yeah, it's all over the place, you know. I mean, 1:54:50.476 --> 1:54:52.676 teach your children while you're fucking is not gonna be. 1:54:54.636 --> 1:54:56.636 She's like, no, listen, it's a first date. But you know, 1:54:56.876 --> 1:54:58.716 just just ignore this. So we'll skip this track. We'll 1:54:58.716 --> 1:55:01.316 skip this track, all right. This is the This is 1:55:01.356 --> 1:55:03.316 the one I'm gonna throw in. Out of the four 1:55:03.436 --> 1:55:06.756 members of Crosbie, Stills, Nash, and Young ranked them and 1:55:06.876 --> 1:55:09.836 how much you love them. Starting at the lead, you 1:55:09.836 --> 1:55:11.596 and go top to bottom. You tell us which way 1:55:11.596 --> 1:55:11.956 you're going. 1:55:13.076 --> 1:55:19.956 Still's Neil Crosby, Nash and you know I love them all, 1:55:20.076 --> 1:55:21.196 but that's the order. 1:55:21.596 --> 1:55:23.356 That's the order, all right. What would be your elevator 1:55:23.396 --> 1:55:25.596 pitch to get someone to listen to this record that's 1:55:25.636 --> 1:55:27.716 never listened to it? How do you sum this record up? 1:55:31.156 --> 1:55:34.476 Remember the Beach Boys, remember the Beatles and all those harmonies, 1:55:35.196 --> 1:55:37.596 listen to this perfect? 1:55:37.916 --> 1:55:40.396 Yeah? I can't, I can't, I can't. You know, I 1:55:40.436 --> 1:55:42.196 think you said it perfect because I was going to 1:55:42.236 --> 1:55:43.916 mention that earlier when you were talking about some of 1:55:43.956 --> 1:55:46.236 the artists that you like, Like my dad loved the 1:55:46.316 --> 1:55:50.676 Four Freshmen, he loved those vocal groups. And you know, 1:55:50.836 --> 1:55:52.916 as I've gotten older, like falling in love with the 1:55:52.996 --> 1:55:55.596 Beach Boys, falling in love with the harmonies of the Beatles, 1:55:56.036 --> 1:56:00.116 even doing I was I just did Steely Dan Asia 1:56:00.276 --> 1:56:03.756 last night, and hearing Michael McDonald was stacked harmonies. There's 1:56:03.796 --> 1:56:08.156 something about harmonies, and there's something very beautiful about Crosby 1:56:08.196 --> 1:56:11.756 Stills Nashing Young of anybody, maybe next to the Beach 1:56:11.836 --> 1:56:16.276 Boys have done it better, and I am. You know, 1:56:16.476 --> 1:56:17.716 I don't know if we have any I don't think 1:56:17.756 --> 1:56:20.156 we have any other records on after this, but you know, 1:56:20.276 --> 1:56:22.516 to be able to go in order and and know 1:56:22.676 --> 1:56:24.516 what they put through this record. I think it's like 1:56:24.676 --> 1:56:27.796 it's four guys, you know, taking a break from being 1:56:27.876 --> 1:56:31.596 solo and making a sense of an individual solo record 1:56:32.036 --> 1:56:33.596 and then carrying on and. 1:56:35.356 --> 1:56:38.236 An extension of when you know the story of them 1:56:38.316 --> 1:56:41.516 being at Mama Cassa's house and Laurel Daniel, Yeah, and 1:56:42.036 --> 1:56:45.316 the three of them cross the visuals and Nash we're 1:56:45.316 --> 1:56:49.396 singing something and then Nash says, played again, played again, 1:56:50.036 --> 1:56:52.556 and then it happened. Everybody in the room heard it, 1:56:53.436 --> 1:56:57.196 and so deja vu is like and this is like, 1:56:57.636 --> 1:57:01.476 you know, a professional recording of that night in Laurel Canyon. 1:57:02.556 --> 1:57:06.356 That's so rad. Jeff, thank you so much for coming on, buddy, 1:57:06.356 --> 1:57:08.676 please come back. I know we've got some more Bruce, 1:57:10.236 --> 1:57:12.876 you know, which is one of our most fought after artists, 1:57:12.996 --> 1:57:14.796 but I would love to have you back for anything. 1:57:14.836 --> 1:57:18.316 We still got another one hundred and forty seven episodes left, 1:57:18.916 --> 1:57:21.956 so your call, man, And this was just a gift 1:57:21.996 --> 1:57:22.396 to all of us. 1:57:22.436 --> 1:57:24.956 So thank you, brother, all right, thank you appreciate it. Guys. 1:57:25.556 --> 1:57:27.476 What I tell you, What I tell you A gift 1:57:27.636 --> 1:57:30.876 from Emily the one and Only. Jeff Daniels. Follow him 1:57:30.876 --> 1:57:33.876 on Instagram. At Jeff Daniels Official and on Facebook at 1:57:33.916 --> 1:57:36.916 Jeff Daniels Music, and go to Jeff Daniels dot com 1:57:37.516 --> 1:57:40.676 for all things Jeff. Go to his website. Make sure 1:57:40.716 --> 1:57:42.796 you check out his music. Upcoming toward eights, he's gonna 1:57:42.796 --> 1:57:45.356 be in Michigan. Go see his shows. He's incredible. Now 1:57:45.676 --> 1:57:48.356 we just listened to nineteen seventies de Jaboo by Crossy, Stills, 1:57:48.436 --> 1:57:50.596 Nash and Young for new music Pick this week brought 1:57:50.596 --> 1:57:52.316 to you in part by Districal Kid Down I go 1:57:52.796 --> 1:57:55.356 by the man himself, Jeff Daniels. You can find links 1:57:55.396 --> 1:57:57.316 to the music on our website, the five hundred podcast 1:57:57.396 --> 1:57:58.956 dot com. And if you were in a band who 1:57:58.956 --> 1:58:00.636 were directly of those bone of these albums or artists 1:58:00.636 --> 1:58:02.716 and you want your music featured on the five hundred website, 1:58:02.756 --> 1:58:05.156 send your song to five hundred Podcasts at gmail dot com. 1:58:05.516 --> 1:58:07.396 Make sure you put the album and artists that influenced 1:58:07.436 --> 1:58:11.316 you in the subject. Next week, it's number one forty six, 1:58:11.356 --> 1:58:15.116 Whichjefferson here playing surlalistic. I can't even say that surrealistic. 1:58:15.316 --> 1:58:20.396 Pillar Pilla. It's my pilla from sixty seven. Great record. 1:58:20.796 --> 1:58:23.356 It's got white Rabbit, It's got someone to love. It's 1:58:23.396 --> 1:58:26.596 got everything you need. It's a fun record, and it's 1:58:26.636 --> 1:58:28.916 a good app Do your homework. We'll see you though. 1:58:29.196 --> 1:58:40.596 Sometimes I do, sometimes I don't. Some towns on right, some. 1:58:41.076 --> 1:58:49.836 Towns roll Zonetown. I'm going soomtimes I'm going. 1:58:51.796 --> 1:58:55.436 For down. 1:58:57.836 --> 1:59:21.356 I go. Sometimes I'm good, Sometimes I'm bad. Sometimes I'm 1:59:21.476 --> 1:59:28.996 hanging over to things I never heard. Sometimes are lafe. 1:59:30.956 --> 1:59:35.996 Sometimes I cry. Sometimes I'm true. 1:59:37.436 --> 1:59:39.396 Sometimes I'm alive. 1:59:41.676 --> 1:59:42.756 Before I know. 1:59:44.556 --> 1:59:47.876 Down I go. 2:00:02.316 --> 2:00:07.556 Sometimes away, sometimes I lose. 2:00:09.316 --> 2:00:14.756 Sometimes I hear the mass of singing me the blues. 2:00:16.236 --> 2:00:17.356 Before I know. 2:00:19.276 --> 2:00:55.836 Go, I go. The five hundreds, keep it I please 2:00:55.996 --> 2:01:06.556 see for the three stations on the five hundry, the 2:01:06.916 --> 2:01:11.716 stile undry. You do things to f