1 00:00:05,600 --> 00:00:08,000 Speaker 1: Hey, everybody, it's Bruce, and thank you so much for 2 00:00:08,000 --> 00:00:10,000 Speaker 1: pulling up a chair today on Table for two. 3 00:00:10,360 --> 00:00:13,000 Speaker 2: Yeah, we can start. You can record from my entrance. 4 00:00:13,800 --> 00:00:14,760 Speaker 3: We do, OK. 5 00:00:16,040 --> 00:00:19,720 Speaker 1: We were like, it's just gotta say I've been really 6 00:00:19,800 --> 00:00:23,000 Speaker 1: good today. I went to the gym, I had my 7 00:00:23,040 --> 00:00:26,840 Speaker 1: green juice, I did my cold plunge, I did a 8 00:00:26,840 --> 00:00:31,560 Speaker 1: long intermittent fast all because we're having lunch today with 9 00:00:31,640 --> 00:00:34,680 Speaker 1: mister Matt Bomer, who is one of the most beautiful 10 00:00:34,720 --> 00:00:37,840 Speaker 1: men in Hollywood, both inside and out. 11 00:00:38,120 --> 00:00:40,800 Speaker 2: This is the dreamiest man one I could out for. 12 00:00:41,080 --> 00:00:43,919 Speaker 1: He's having an incredible moment in his career. He's been 13 00:00:43,960 --> 00:00:47,040 Speaker 1: nominated for a Golden Globe, He's been nominated for. 14 00:00:47,000 --> 00:00:48,479 Speaker 3: A Screen Actors Guild Award. 15 00:00:48,840 --> 00:00:52,440 Speaker 1: He's currently you can find him on Fellow Travelers, on 16 00:00:52,760 --> 00:00:58,000 Speaker 1: Paramount Plus and in the movie Maestro with Bradley Cooper. 17 00:00:58,080 --> 00:00:59,720 Speaker 2: I think I'm going to do the kale salad and 18 00:00:59,720 --> 00:01:02,560 Speaker 2: I'm to add some add some chicken to it. Thank 19 00:01:02,600 --> 00:01:03,080 Speaker 2: you so much. 20 00:01:03,120 --> 00:01:03,640 Speaker 3: I like that. 21 00:01:06,760 --> 00:01:13,560 Speaker 1: So sit back, grab a salad, be healthy, and enjoy. 22 00:01:14,240 --> 00:01:17,920 Speaker 3: I'm Bruce Bosi and this is my podcast Table for two. 23 00:01:25,520 --> 00:01:28,280 Speaker 1: So everybody, if you've pulled up a chair, today, I'm 24 00:01:28,319 --> 00:01:31,080 Speaker 1: sitting with, as I said earlier when you weren't in 25 00:01:31,080 --> 00:01:34,360 Speaker 1: the room, one of the not one, the most handsome 26 00:01:34,400 --> 00:01:37,880 Speaker 1: man in Hollywood, one of the most talented men in Hollywood, 27 00:01:38,080 --> 00:01:41,119 Speaker 1: a very dear friend of mine, mister Matt Bomer. 28 00:01:41,160 --> 00:01:43,440 Speaker 2: Hey, welcome to the table for two. I mean, thank 29 00:01:43,480 --> 00:01:45,920 Speaker 2: you for that introduction. I'm going to slip you, slip 30 00:01:45,959 --> 00:01:47,640 Speaker 2: you a couple of twenties under the table. Hold that 31 00:01:47,840 --> 00:01:49,120 Speaker 2: thank you and you. 32 00:01:49,280 --> 00:01:52,920 Speaker 1: Just said too, and congratulations today the Screen Actor. 33 00:01:52,720 --> 00:01:57,400 Speaker 2: Guild Award nomination. Oh my gosh. This, yeah, this one 34 00:01:57,400 --> 00:02:01,040 Speaker 2: means a lot to me. It really does. Peers. I 35 00:02:01,600 --> 00:02:03,560 Speaker 2: you know this about me, and anyone who knows me 36 00:02:03,680 --> 00:02:07,040 Speaker 2: knows this. I love actors, Yes, I really do. I 37 00:02:07,080 --> 00:02:10,120 Speaker 2: love them all. I even sit it on social media. 38 00:02:10,160 --> 00:02:12,200 Speaker 2: But I love the salty ones too, you know. I 39 00:02:12,240 --> 00:02:16,280 Speaker 2: love the complicated ones too, And it's nice to feel 40 00:02:16,280 --> 00:02:18,880 Speaker 2: that from your community, right. Yeah, it's a dream. I 41 00:02:18,880 --> 00:02:22,239 Speaker 2: didn't feel like an actor until I was part of 42 00:02:22,280 --> 00:02:24,880 Speaker 2: a union and I was able to get insurance and 43 00:02:24,919 --> 00:02:27,639 Speaker 2: finally fix my tooth that have been aching for a year, 44 00:02:28,000 --> 00:02:31,120 Speaker 2: you know, and that's sent to work done and all 45 00:02:31,160 --> 00:02:33,320 Speaker 2: those things, you know. I mean, I felt like an actor, 46 00:02:33,320 --> 00:02:35,239 Speaker 2: but I didn't. I think there was legitimacy to it. 47 00:02:35,280 --> 00:02:36,959 Speaker 2: When I thought, oh, I can really make a living 48 00:02:37,120 --> 00:02:40,799 Speaker 2: doing this and sustain to take care of myself and yeah, 49 00:02:41,160 --> 00:02:42,000 Speaker 2: do all that stuff. 50 00:02:42,040 --> 00:02:44,160 Speaker 1: And you say, you know, I've read and I know you. 51 00:02:44,160 --> 00:02:48,120 Speaker 1: You know, when you hit New York, your family said, okay, kid, like. 52 00:02:48,919 --> 00:02:50,200 Speaker 3: You're on your own. Do it. 53 00:02:50,480 --> 00:02:50,760 Speaker 2: Yeah. 54 00:02:50,840 --> 00:02:53,360 Speaker 1: It wasn't like no, they weren't paying that in tribes 55 00:02:53,400 --> 00:02:54,560 Speaker 1: brand just to get it. 56 00:02:54,600 --> 00:02:56,160 Speaker 3: Was like, you're on your own. 57 00:02:56,320 --> 00:02:57,040 Speaker 2: I was on my own. 58 00:02:57,120 --> 00:02:58,160 Speaker 3: It's really important. 59 00:02:58,520 --> 00:03:00,400 Speaker 2: I mean, I have to give it. It's a testament 60 00:03:00,480 --> 00:03:02,079 Speaker 2: to my parents. I was fortunate enough that I got 61 00:03:02,160 --> 00:03:04,800 Speaker 2: a little bit of financial assistance to go to college 62 00:03:04,960 --> 00:03:07,120 Speaker 2: and then my parents foot the rest of the bill, 63 00:03:08,000 --> 00:03:12,400 Speaker 2: and that I'm eternally indebted to them for that because 64 00:03:12,480 --> 00:03:15,520 Speaker 2: I was fortunate to get out of college without student debt. Right, 65 00:03:15,639 --> 00:03:17,920 Speaker 2: it's a big deal. It's a big deal. It's a 66 00:03:17,960 --> 00:03:20,799 Speaker 2: big deal. But yeah, once I got to New York. 67 00:03:23,240 --> 00:03:25,959 Speaker 1: Here, you're like, all of a sudden, the non student debt, 68 00:03:26,000 --> 00:03:28,880 Speaker 1: you're just in debt because it just sucks cash right 69 00:03:28,919 --> 00:03:29,240 Speaker 1: out of you. 70 00:03:29,400 --> 00:03:32,840 Speaker 2: I were two jobs to split a one bedroom apartment 71 00:03:32,919 --> 00:03:35,080 Speaker 2: to live in the city you did, and and not 72 00:03:35,600 --> 00:03:39,640 Speaker 2: and now a very desirable place, a place that's prohibitably expensive, 73 00:03:39,680 --> 00:03:40,680 Speaker 2: but at the time was not. 74 00:03:41,120 --> 00:03:41,800 Speaker 3: Is that interesting? 75 00:03:41,840 --> 00:03:45,760 Speaker 1: It's like impossible now but it took two jobs plus yeah, 76 00:03:45,880 --> 00:03:48,920 Speaker 1: you obviously having to go out on auditions. Yeah, but 77 00:03:49,000 --> 00:03:51,640 Speaker 1: before I just also want to say to everybody who's listening, 78 00:03:51,680 --> 00:03:55,119 Speaker 1: and to you specifically, congratulations on the Globe nomination. 79 00:03:55,640 --> 00:03:57,559 Speaker 3: Travelers was amazing. 80 00:03:57,680 --> 00:03:58,120 Speaker 2: Thank you. 81 00:03:58,840 --> 00:04:01,760 Speaker 1: It's like I told you I twice second time, even 82 00:04:01,840 --> 00:04:04,680 Speaker 1: with just more powerful than the first. That hit me 83 00:04:04,920 --> 00:04:08,000 Speaker 1: hard because you know, not only being able to see 84 00:04:08,040 --> 00:04:10,760 Speaker 1: the representation of two men who fell in love and 85 00:04:10,800 --> 00:04:14,080 Speaker 1: seeing the sexualization of it, which is not often been 86 00:04:14,120 --> 00:04:16,880 Speaker 1: depicted as and to see the relationship. 87 00:04:17,400 --> 00:04:19,560 Speaker 3: If you go back to the New York piece, and 88 00:04:19,680 --> 00:04:20,880 Speaker 3: you were walking into. 89 00:04:20,680 --> 00:04:24,160 Speaker 1: A room and you know, and you had, for lack 90 00:04:24,200 --> 00:04:26,040 Speaker 1: of a better world, a secret, like you know, you 91 00:04:26,080 --> 00:04:27,800 Speaker 1: just knew something about yourself that you just had to 92 00:04:27,839 --> 00:04:29,320 Speaker 1: sort of put aside. 93 00:04:28,920 --> 00:04:31,520 Speaker 3: Going into a room to an audition at a. 94 00:04:31,440 --> 00:04:35,440 Speaker 1: Time when that would have that gotten the way, you know, 95 00:04:36,200 --> 00:04:38,480 Speaker 1: how did that feel versus how does it? How does 96 00:04:38,520 --> 00:04:43,280 Speaker 1: it feel now when you as you've become kind of 97 00:04:43,760 --> 00:04:46,560 Speaker 1: I hate to even say the word like the the 98 00:04:46,600 --> 00:04:49,080 Speaker 1: embodiment of what it's like to be a leading man, 99 00:04:49,120 --> 00:04:51,240 Speaker 1: to be able to just be you. 100 00:04:52,320 --> 00:04:55,120 Speaker 2: That's very nice for you to say. I don't know that. 101 00:04:55,200 --> 00:04:57,560 Speaker 2: I felt at the beginning of my career that I 102 00:04:57,640 --> 00:05:00,560 Speaker 2: was even keeping a secret because there's no PubL narrative 103 00:05:00,560 --> 00:05:02,320 Speaker 2: about you. You're first starting out. 104 00:05:03,279 --> 00:05:05,440 Speaker 3: What would you like coffee launch? 105 00:05:05,880 --> 00:05:09,120 Speaker 2: I love a coffee for now. Yeah, I think I'll 106 00:05:09,120 --> 00:05:12,120 Speaker 2: do some oat milk. Thank you so much. Cool haircut 107 00:05:12,160 --> 00:05:12,479 Speaker 2: about it. 108 00:05:12,600 --> 00:05:16,280 Speaker 3: I mean, we're talking about a mullet verse. It's just longer. 109 00:05:16,480 --> 00:05:17,480 Speaker 3: This is much more refined. 110 00:05:19,000 --> 00:05:21,400 Speaker 2: Thank you. I don't know Kerry Mulligan, who I adore. 111 00:05:21,600 --> 00:05:23,640 Speaker 2: She did a haircut for this guy on the Jimmy 112 00:05:23,680 --> 00:05:25,080 Speaker 2: Kimmel Show. I don't know if you saw it or not, 113 00:05:25,360 --> 00:05:27,560 Speaker 2: but it looked very similar to what you have going on, 114 00:05:27,640 --> 00:05:29,520 Speaker 2: and I actually loved it. I thought she's kind of 115 00:05:29,560 --> 00:05:30,200 Speaker 2: brilliant work. 116 00:05:30,240 --> 00:05:32,960 Speaker 3: I have to say, you're the king of mullets. 117 00:05:34,000 --> 00:05:36,920 Speaker 2: Tell your name again at nice time. 118 00:05:37,240 --> 00:05:41,480 Speaker 3: Rick Eric's mullet gets a lot of attention during this show. 119 00:05:42,760 --> 00:05:43,320 Speaker 3: It's running. 120 00:05:43,720 --> 00:05:46,919 Speaker 2: It's a running bit. Yeah it's good. 121 00:05:47,560 --> 00:05:50,600 Speaker 3: Okay, so oh you say that, but. 122 00:05:50,600 --> 00:05:53,400 Speaker 2: You, so, yeah, you know, I didn't really feel like Yeah, 123 00:05:53,480 --> 00:05:55,480 Speaker 2: of course, on some level you feel like you're holding 124 00:05:55,520 --> 00:06:00,000 Speaker 2: a secret, but there was There wasn't anyone who cares 125 00:06:00,160 --> 00:06:02,520 Speaker 2: to know anything about me. I was just a guy 126 00:06:02,560 --> 00:06:04,359 Speaker 2: trying to get a job. And in many ways I 127 00:06:04,440 --> 00:06:07,800 Speaker 2: still feel the same, you know, really well, yeah, I 128 00:06:07,839 --> 00:06:10,359 Speaker 2: just think, you know, ultimately, you're just an actor or 129 00:06:10,520 --> 00:06:12,840 Speaker 2: trying to get a job, and if you're fortunate enough 130 00:06:12,839 --> 00:06:16,440 Speaker 2: to have a little bit of autonomy or choice, then 131 00:06:16,600 --> 00:06:18,720 Speaker 2: and the right project comes along that you can give 132 00:06:18,839 --> 00:06:22,400 Speaker 2: voice too. That's great, you know, you said. And what 133 00:06:22,440 --> 00:06:25,680 Speaker 2: does it feel like now? I think one of the 134 00:06:25,680 --> 00:06:29,320 Speaker 2: big differences now is that back then, I don't think 135 00:06:29,320 --> 00:06:31,400 Speaker 2: I would have even gotten to audition for a role 136 00:06:31,440 --> 00:06:34,159 Speaker 2: like Fellow Travelers. I think it probably would have just 137 00:06:34,200 --> 00:06:37,440 Speaker 2: gone to a straight actor, right, I think, and you know, 138 00:06:37,480 --> 00:06:39,479 Speaker 2: they would have done a great job with it. But 139 00:06:39,640 --> 00:06:42,440 Speaker 2: it's in terms of opportunity, I don't know that I 140 00:06:42,440 --> 00:06:45,880 Speaker 2: would have even had a chance to be at the table. Now. 141 00:06:45,960 --> 00:06:49,040 Speaker 2: A lot of that's a testament to run Nice Wanner 142 00:06:49,200 --> 00:06:54,400 Speaker 2: Robbie Rogers and wanting to bring that sort of authenticity 143 00:06:54,440 --> 00:06:55,880 Speaker 2: in the storytelling to this piece. 144 00:06:56,240 --> 00:06:59,960 Speaker 1: Do you say that in context, you wouldn't have been 145 00:07:00,120 --> 00:07:06,280 Speaker 1: at the table if you were openly gay versus not 146 00:07:06,800 --> 00:07:10,520 Speaker 1: or at a point of just you know no. 147 00:07:11,000 --> 00:07:13,360 Speaker 2: So this is kind of a nuanced answer because what 148 00:07:13,480 --> 00:07:16,960 Speaker 2: I'm it's not even about famously. I just think that 149 00:07:16,960 --> 00:07:20,960 Speaker 2: that role wouldn't have been open to auditions, and if 150 00:07:21,000 --> 00:07:23,680 Speaker 2: it were offered to somebody, it probably at that time 151 00:07:23,680 --> 00:07:25,760 Speaker 2: would have been offered to a straight actor, right. 152 00:07:26,520 --> 00:07:28,960 Speaker 3: You know, because you know the whole. 153 00:07:28,840 --> 00:07:32,960 Speaker 2: Could have easily been today. You know, you think I. 154 00:07:32,880 --> 00:07:35,680 Speaker 1: Do, well, I mean I guess because I mean I think, 155 00:07:35,760 --> 00:07:38,000 Speaker 1: like if you just rewind not so long ago, when 156 00:07:38,160 --> 00:07:41,720 Speaker 1: like something and we've referenced milk with Sean Pagne, who 157 00:07:41,720 --> 00:07:45,200 Speaker 1: we reference broke Back with Heath and with Jake, and 158 00:07:45,240 --> 00:07:48,000 Speaker 1: you have like actors that are not gay that are 159 00:07:48,040 --> 00:07:52,320 Speaker 1: playing these parts, and you've experienced this as any gay 160 00:07:52,360 --> 00:07:55,520 Speaker 1: actor has, like oh when you get the part, or 161 00:07:55,680 --> 00:07:57,760 Speaker 1: like oh he's gay, Okay, you know what, I don't 162 00:07:57,760 --> 00:08:01,000 Speaker 1: think we're gonna go there if or or. 163 00:08:01,000 --> 00:08:03,080 Speaker 2: We'll do one of the characters gay but the other 164 00:08:03,120 --> 00:08:06,880 Speaker 2: guy has to be straight exactly whatever. Look, these are 165 00:08:06,920 --> 00:08:10,280 Speaker 2: all versions that work. All those actors gave their hearts 166 00:08:10,280 --> 00:08:12,640 Speaker 2: and souls and minds to these stories at look at 167 00:08:12,640 --> 00:08:17,160 Speaker 2: the incredible LGBTQ stories being bit or projects that have 168 00:08:17,240 --> 00:08:20,520 Speaker 2: been produced and made and done so with love and 169 00:08:20,560 --> 00:08:23,960 Speaker 2: respect by so many people across the spectrum. Whether it's 170 00:08:24,280 --> 00:08:28,240 Speaker 2: people drinking people's bathwater or pushing the civil rights movement forward, 171 00:08:28,240 --> 00:08:31,680 Speaker 2: it's been wherever you fall on that spectrum, it's been 172 00:08:31,800 --> 00:08:33,679 Speaker 2: kind of an amazing year, told by all different kinds 173 00:08:33,679 --> 00:08:35,240 Speaker 2: of people. And I think that's great. I think that. 174 00:08:35,720 --> 00:08:38,960 Speaker 2: And actors are actors. We should play roles, you know, 175 00:08:39,120 --> 00:08:42,080 Speaker 2: And so what I think is nice is that there 176 00:08:42,080 --> 00:08:45,040 Speaker 2: are opportunities. Now, I think opportunity is the real word 177 00:08:45,120 --> 00:08:48,480 Speaker 2: that you know, it's at least you get a shot 178 00:08:48,520 --> 00:08:51,560 Speaker 2: to be in the room and audition or fight for 179 00:08:51,600 --> 00:08:51,920 Speaker 2: the role. 180 00:08:52,080 --> 00:08:54,719 Speaker 3: Yeah, I mean, I think getting their role. And well, 181 00:08:54,720 --> 00:08:55,600 Speaker 3: I mean as as a. 182 00:08:55,520 --> 00:08:57,920 Speaker 1: Person who grew up at a time when you know 183 00:08:58,120 --> 00:09:01,040 Speaker 1: there was no representation or no the only people you 184 00:09:01,080 --> 00:09:02,960 Speaker 1: saw on television that kind of felt or looked like 185 00:09:03,000 --> 00:09:03,640 Speaker 1: you were. 186 00:09:03,640 --> 00:09:05,720 Speaker 2: Just say, am I supposed to focused on anything other 187 00:09:05,760 --> 00:09:06,640 Speaker 2: than Eric Smellett. 188 00:09:06,720 --> 00:09:10,560 Speaker 3: Now Today is about Eric law Today on Table. 189 00:09:10,600 --> 00:09:13,880 Speaker 2: This episode brought to you by Eric's Matt and Eric Kentucky, 190 00:09:15,840 --> 00:09:21,040 Speaker 2: Kentucky business in front, but it's a party in back, y'all. 191 00:09:30,320 --> 00:09:33,120 Speaker 3: So tell me about your year. You went to Carnegie Mellon, 192 00:09:33,160 --> 00:09:33,440 Speaker 3: which I. 193 00:09:33,440 --> 00:09:35,920 Speaker 1: Did interesting because you also went with bevy of actors 194 00:09:35,920 --> 00:09:39,040 Speaker 1: that are all that your friends that had success or 195 00:09:39,200 --> 00:09:40,480 Speaker 1: having successful crews. 196 00:09:40,840 --> 00:09:42,880 Speaker 3: What was Carnegie Mellon like for you? 197 00:09:43,679 --> 00:09:46,480 Speaker 1: And in regard to like what did you really lean into, 198 00:09:46,760 --> 00:09:49,240 Speaker 1: like the theater, the plays, like what were you? 199 00:09:50,080 --> 00:09:52,480 Speaker 2: I was so excited to be there and just have 200 00:09:53,240 --> 00:09:56,240 Speaker 2: It was a total reset for me in so many ways. 201 00:09:56,320 --> 00:09:59,760 Speaker 2: And I didn't have I'd already worked professionally as an 202 00:09:59,760 --> 00:10:04,959 Speaker 2: actor on stage. You had. Yeah, Well, my very first job, 203 00:10:04,960 --> 00:10:06,440 Speaker 2: which I don't even know if I've ever talked about 204 00:10:06,480 --> 00:10:09,120 Speaker 2: it in presses, I was a background artist in a 205 00:10:09,200 --> 00:10:11,240 Speaker 2: Chuck Norris movie that shot in Houston when I was 206 00:10:11,280 --> 00:10:14,719 Speaker 2: thirteen or twelve, twelve or thirteen, I swear to God 207 00:10:14,840 --> 00:10:19,480 Speaker 2: now that you did you Yeah, it was in downtown Houston. 208 00:10:19,520 --> 00:10:22,320 Speaker 2: There was this period where I was doing forensics in 209 00:10:22,360 --> 00:10:25,880 Speaker 2: middle school and doing these tournaments and things and doing 210 00:10:25,880 --> 00:10:29,559 Speaker 2: well at those, And so my friend's mom and some 211 00:10:29,600 --> 00:10:31,960 Speaker 2: of our friends parents, what forensics is like? I would 212 00:10:32,000 --> 00:10:34,960 Speaker 2: do like a ten minute humorous piece or a dramatic 213 00:10:35,040 --> 00:10:39,960 Speaker 2: piece or duet acting piece or okay, yeah we're doing 214 00:10:39,960 --> 00:10:45,680 Speaker 2: forensic files. Yeah you do, studying cadavers and being judged 215 00:10:45,679 --> 00:10:50,080 Speaker 2: on how well we assessed what had transpired. It does 216 00:10:50,760 --> 00:10:54,800 Speaker 2: it's it's a weird. It's a weird sharing shared name, 217 00:10:54,920 --> 00:10:55,160 Speaker 2: isn't it? 218 00:10:55,240 --> 00:10:55,400 Speaker 3: Yeah? 219 00:10:55,640 --> 00:11:00,760 Speaker 2: Title anyway, So we had My parents could care less. 220 00:11:01,080 --> 00:11:03,600 Speaker 2: I remember asking them for headshots and basically like laughed 221 00:11:03,840 --> 00:11:05,440 Speaker 2: and I'm like, what are you talking about? Get out 222 00:11:05,480 --> 00:11:07,960 Speaker 2: of here, go play outside, which I'm glad they did. 223 00:11:08,200 --> 00:11:10,160 Speaker 2: But I had some friends parents who like let me 224 00:11:10,240 --> 00:11:13,800 Speaker 2: tag along when their kids. So I went and I 225 00:11:13,840 --> 00:11:16,160 Speaker 2: accompanied my friend to the Mickey Mouse Club audition. I 226 00:11:16,160 --> 00:11:18,040 Speaker 2: didn't even I just went with her and I was like, 227 00:11:18,080 --> 00:11:20,400 Speaker 2: I'll try this too, and I was such a jerk. 228 00:11:20,440 --> 00:11:22,560 Speaker 2: I sang the same song. I was not prepared at 229 00:11:22,559 --> 00:11:24,240 Speaker 2: all because I didn't even know what was going on. 230 00:11:24,640 --> 00:11:28,760 Speaker 2: My friend was like ready to go, and I sang 231 00:11:28,800 --> 00:11:30,840 Speaker 2: the same song the person in front of me sang 232 00:11:30,920 --> 00:11:34,040 Speaker 2: because I didn't know what else to sing. And the 233 00:11:34,120 --> 00:11:38,240 Speaker 2: song it was Eternal Flame by the Bengals. Okay, wow, yeah, 234 00:11:38,280 --> 00:11:42,280 Speaker 2: I think I was twelve eleven maybe, and I ended 235 00:11:42,360 --> 00:11:45,960 Speaker 2: up getting really close. And I remember the the casting 236 00:11:46,000 --> 00:11:48,360 Speaker 2: director from Mickey. This is the same year that like 237 00:11:48,800 --> 00:11:55,800 Speaker 2: Gosling and timber Lake Brittany Christina as people cast and 238 00:11:55,880 --> 00:11:59,200 Speaker 2: I remember him calling my house and saying, you know, 239 00:11:59,200 --> 00:12:01,480 Speaker 2: we're thinking about you out here to test for this, 240 00:12:01,559 --> 00:12:03,640 Speaker 2: but you have to come to Florida, like would your 241 00:12:03,679 --> 00:12:06,079 Speaker 2: parents come with you? And we were sitting at a 242 00:12:06,120 --> 00:12:09,160 Speaker 2: dinner table and I was like, hey, mom, would you 243 00:12:09,200 --> 00:12:11,480 Speaker 2: come with me to They're like, I don't know what 244 00:12:11,520 --> 00:12:13,160 Speaker 2: are you talking. Come back and eat dinner. And I 245 00:12:13,160 --> 00:12:15,840 Speaker 2: think the cast directors like, yeah, all right, peace. Not 246 00:12:15,880 --> 00:12:17,360 Speaker 2: to say that I would have gotten it anyway, because 247 00:12:17,360 --> 00:12:19,720 Speaker 2: I was nowhere prepared for that opportunity, but. 248 00:12:20,040 --> 00:12:23,360 Speaker 1: Well it sounds like, you know, they saw something and 249 00:12:23,400 --> 00:12:25,200 Speaker 1: you clearly sound thing. 250 00:12:25,400 --> 00:12:27,920 Speaker 2: But so another one of the gigs that we did 251 00:12:28,080 --> 00:12:30,920 Speaker 2: is we went there was a movie called Sidekicks with 252 00:12:31,000 --> 00:12:33,680 Speaker 2: Chuck Norris and the late Jonathan Brandis May he Rest 253 00:12:33,720 --> 00:12:37,280 Speaker 2: in peace? Who who They were filming in Houston and 254 00:12:37,320 --> 00:12:38,760 Speaker 2: you could go and be a background artist of this 255 00:12:38,840 --> 00:12:41,120 Speaker 2: big karate tournament that was kind of the finale of 256 00:12:41,160 --> 00:12:43,839 Speaker 2: the movement. So we did every day and I got 257 00:12:43,840 --> 00:12:46,480 Speaker 2: to meet Chuck Norris and uh yeah, that was my 258 00:12:46,520 --> 00:12:48,520 Speaker 2: first gig. But then I did a play when I 259 00:12:48,600 --> 00:12:51,640 Speaker 2: was right when I turned eighteen on stage my senior 260 00:12:51,720 --> 00:12:53,839 Speaker 2: year at the Alley Theater in Houston. We did a 261 00:12:53,840 --> 00:12:57,400 Speaker 2: street carnae Desire, and so I had some stage experience, 262 00:12:57,440 --> 00:12:59,760 Speaker 2: but I had no formal training. This is a really 263 00:12:59,760 --> 00:13:00,400 Speaker 2: long answered. 264 00:13:01,600 --> 00:13:02,400 Speaker 3: I'm fascinated. 265 00:13:02,800 --> 00:13:05,360 Speaker 2: So I was excited to just have some sense of 266 00:13:05,400 --> 00:13:08,080 Speaker 2: a technique or some way of approaching the work that 267 00:13:08,240 --> 00:13:11,400 Speaker 2: wasn't just intuitive or just happy, go lucky, you know. 268 00:13:11,480 --> 00:13:14,800 Speaker 2: And so I was really excited to dig in. And 269 00:13:15,160 --> 00:13:17,360 Speaker 2: it was a different program at the time it was 270 00:13:17,440 --> 00:13:19,960 Speaker 2: it was every class is obviously very different. There were 271 00:13:19,960 --> 00:13:23,480 Speaker 2: some hyper competitive classes. Ours was a pretty loving class. 272 00:13:23,520 --> 00:13:25,720 Speaker 2: I have to say, we're all still really good friends. 273 00:13:25,720 --> 00:13:28,360 Speaker 2: I have a text thread with all my classmates. But 274 00:13:28,480 --> 00:13:31,360 Speaker 2: there was a cut program back then, and I think 275 00:13:31,400 --> 00:13:34,080 Speaker 2: we started with twenty people in my class and ended 276 00:13:34,120 --> 00:13:34,640 Speaker 2: with nine. 277 00:13:35,000 --> 00:13:35,360 Speaker 1: Wow. 278 00:13:35,880 --> 00:13:38,240 Speaker 2: So you'd come back after the holiday and be like 279 00:13:38,440 --> 00:13:40,559 Speaker 2: after the holiday, like after Chris, X, Y and Z 280 00:13:40,760 --> 00:13:43,280 Speaker 2: is not back, did you hear? And you'd have to 281 00:13:43,280 --> 00:13:45,640 Speaker 2: have these meetings with the faculty. This has all been 282 00:13:45,800 --> 00:13:48,440 Speaker 2: taken away now, by the way, because it was, you know, 283 00:13:48,600 --> 00:13:51,720 Speaker 2: sort of branded, you know as the little too cruel 284 00:13:51,760 --> 00:13:56,679 Speaker 2: for school. Yeah, and you'd meet with the faculty and 285 00:13:57,040 --> 00:13:58,480 Speaker 2: you'd have to sit in front of that and be 286 00:13:58,800 --> 00:14:01,079 Speaker 2: in every single one of them would talk about how 287 00:14:01,080 --> 00:14:03,480 Speaker 2: you did in a voice and speech, how you didn't singing, 288 00:14:03,720 --> 00:14:06,959 Speaker 2: how you did a movement, how you did enacting, and 289 00:14:07,040 --> 00:14:10,760 Speaker 2: sort of assess you in front of like a jury basically. 290 00:14:10,679 --> 00:14:13,600 Speaker 1: So that like makes me think of an eat you 291 00:14:13,679 --> 00:14:15,559 Speaker 1: have to eat, Matt needs nourishment. 292 00:14:15,880 --> 00:14:17,800 Speaker 2: Is it okay that I'm just chewing a microphone? 293 00:14:17,840 --> 00:14:20,720 Speaker 3: This is tabable to real lunch. Some people are like, 294 00:14:21,280 --> 00:14:21,720 Speaker 3: you know. 295 00:14:21,680 --> 00:14:24,320 Speaker 2: What's it called? What's it called? When you do the tune? 296 00:14:24,360 --> 00:14:26,160 Speaker 2: And people like the sound of it, what's it called? 297 00:14:27,120 --> 00:14:31,480 Speaker 2: Like ASMR, this is a very special ASMR episode. 298 00:14:31,480 --> 00:14:32,080 Speaker 3: I do that sometimes. 299 00:14:32,080 --> 00:14:33,880 Speaker 2: I think, brought to you by Kentucky Waterfalls. 300 00:14:36,240 --> 00:14:37,920 Speaker 3: How many times we're going to be able to say 301 00:14:37,960 --> 00:14:39,000 Speaker 3: Kentucky Waterfalls. 302 00:14:48,960 --> 00:14:52,800 Speaker 1: You bring up something that is I hear, which is 303 00:14:52,840 --> 00:14:55,840 Speaker 1: like kind of horrible that this was, but kind of 304 00:14:55,880 --> 00:14:58,280 Speaker 1: setting people up for the nature of your business of 305 00:14:58,440 --> 00:15:02,800 Speaker 1: just rejection. Yeah, I mean that is really a brutal 306 00:15:02,880 --> 00:15:06,880 Speaker 1: like what it be basically September through December, you did 307 00:15:06,880 --> 00:15:10,640 Speaker 1: a play, you did this, and then you just weren't 308 00:15:10,680 --> 00:15:11,200 Speaker 1: good enough. 309 00:15:11,440 --> 00:15:13,520 Speaker 3: And no, it wasn't it really that. 310 00:15:13,720 --> 00:15:16,400 Speaker 2: It was more about what was your work ethic like 311 00:15:16,760 --> 00:15:19,240 Speaker 2: because you weren't allowed to be a part of Greek life. 312 00:15:19,520 --> 00:15:22,680 Speaker 2: It was your sole focus was to be a part 313 00:15:22,800 --> 00:15:26,920 Speaker 2: of this conservatory, right, And so we were in class 314 00:15:27,560 --> 00:15:30,800 Speaker 2: and when you're freshman and sophomore, you're building the sets, 315 00:15:30,800 --> 00:15:33,680 Speaker 2: you're building the costumes, you're running the lights, you're doing 316 00:15:33,720 --> 00:15:36,400 Speaker 2: all the crew work for the junior and senior shows, 317 00:15:36,400 --> 00:15:38,840 Speaker 2: which I think is a great thing too. I mean 318 00:15:38,880 --> 00:15:43,360 Speaker 2: that really was a great entree into the creative process 319 00:15:43,920 --> 00:15:49,880 Speaker 2: ensemble aspect. But yeah, it's more about, Okay, can you 320 00:15:49,920 --> 00:15:53,680 Speaker 2: handle forty fifty hours of class a week and also 321 00:15:53,760 --> 00:15:55,800 Speaker 2: all the rehearsals on top of that, and then doing 322 00:15:55,840 --> 00:15:59,160 Speaker 2: crew at night and going from one class and doing 323 00:15:59,840 --> 00:16:02,120 Speaker 2: a Shakespeare monologue and going to another class and doing 324 00:16:02,160 --> 00:16:05,080 Speaker 2: a restoration piece, then going to another class doing it temporary. 325 00:16:05,080 --> 00:16:07,120 Speaker 2: Do you have the work ethic, do you have the 326 00:16:07,760 --> 00:16:10,400 Speaker 2: can you take direction? Do you work well with other people? 327 00:16:10,920 --> 00:16:13,520 Speaker 2: It was more sometimes about those things. And by the way, 328 00:16:13,560 --> 00:16:15,120 Speaker 2: a lot of the people who got cut have gone 329 00:16:15,120 --> 00:16:17,760 Speaker 2: on to have great careers. So I don't know that 330 00:16:17,800 --> 00:16:20,440 Speaker 2: it was you know, oftentimes it was a very subjective 331 00:16:20,440 --> 00:16:23,000 Speaker 2: analysis from a very specific faculty. 332 00:16:23,160 --> 00:16:26,680 Speaker 1: But what's so cool about it is it's such a 333 00:16:26,800 --> 00:16:29,840 Speaker 1: moment in your life that you never have again, and 334 00:16:30,240 --> 00:16:31,920 Speaker 1: to be able to do all of that and you 335 00:16:31,960 --> 00:16:34,920 Speaker 1: don't even know really why you're in it, Like this 336 00:16:35,000 --> 00:16:38,840 Speaker 1: is so special because once you get out of there 337 00:16:39,320 --> 00:16:41,800 Speaker 1: and you're in the real world and you're hustling and 338 00:16:41,840 --> 00:16:43,560 Speaker 1: you have two jobs and you live in a one 339 00:16:43,560 --> 00:16:46,760 Speaker 1: bedroom apartment, it's like, that's done. 340 00:16:46,920 --> 00:16:50,680 Speaker 2: Yeah, Yeah, and that's and you got permission to fall 341 00:16:50,680 --> 00:16:54,480 Speaker 2: on your face, yeah, and learn how to fail and 342 00:16:54,640 --> 00:16:57,920 Speaker 2: find a rehearsal process where it was okay to fail, 343 00:16:58,040 --> 00:17:01,880 Speaker 2: and to figure out how to connect to something emotionally 344 00:17:01,920 --> 00:17:03,880 Speaker 2: for the first time, and you're doing it in front 345 00:17:03,880 --> 00:17:07,520 Speaker 2: of a group of twenty people, it's the bond. And 346 00:17:07,560 --> 00:17:09,639 Speaker 2: so if you can do that, when all of a 347 00:17:09,680 --> 00:17:11,640 Speaker 2: sudden you're on set and someone's like, hey, we don't 348 00:17:11,680 --> 00:17:13,160 Speaker 2: have time to rehearse this. I know it's a big 349 00:17:13,200 --> 00:17:16,159 Speaker 2: emotional scene. We're probably only get one take before that 350 00:17:16,200 --> 00:17:18,760 Speaker 2: we lose the sunset. So I'm so sorry about this. 351 00:17:18,840 --> 00:17:21,159 Speaker 2: Let's just go for it. Everybody roll camera like it 352 00:17:21,320 --> 00:17:26,080 Speaker 2: just makes it a little bit. It's not it's not 353 00:17:26,160 --> 00:17:28,680 Speaker 2: the same thing, but it's warmed you up to that 354 00:17:28,760 --> 00:17:29,760 Speaker 2: kind of preparation. 355 00:17:30,080 --> 00:17:53,040 Speaker 3: That's a big deal. Thanks for pulling up a share today. 356 00:17:53,119 --> 00:17:56,320 Speaker 1: On Table for two before the break, Matt was telling 357 00:17:56,440 --> 00:18:00,240 Speaker 1: us about his time at Carnegie Mellon. However, unlike those 358 00:18:00,520 --> 00:18:03,600 Speaker 1: actors who moved to LA right away, Matt started out 359 00:18:03,640 --> 00:18:06,640 Speaker 1: his career in New York. And I'm curious about those 360 00:18:06,720 --> 00:18:10,239 Speaker 1: early days pounding the pavement in Manhattan. 361 00:18:12,160 --> 00:18:14,320 Speaker 3: To leave school. 362 00:18:16,040 --> 00:18:18,960 Speaker 1: You come to New York, you know, you've said just 363 00:18:19,080 --> 00:18:21,960 Speaker 1: you know your training on the shoaps, and everyone who's 364 00:18:21,960 --> 00:18:24,080 Speaker 1: ever been on a shop says the training is just. 365 00:18:24,240 --> 00:18:28,280 Speaker 3: You can't beat it. It's like you just really get used. 366 00:18:28,040 --> 00:18:31,000 Speaker 1: To learning lines, fast, shifting, changing, and you know, kind 367 00:18:31,000 --> 00:18:33,919 Speaker 1: of sets you up a foundation your New York years 368 00:18:34,840 --> 00:18:37,440 Speaker 1: versus the LA years. Because what brought you to LA? 369 00:18:38,200 --> 00:18:40,879 Speaker 2: Oh gosh, Well, going back a little bit before I 370 00:18:40,920 --> 00:18:43,480 Speaker 2: came to New York, I did right after as I 371 00:18:43,520 --> 00:18:46,359 Speaker 2: was kind of finishing school. I got Sundance Theater Lab, 372 00:18:46,520 --> 00:18:48,320 Speaker 2: which is kind of you know, the film lab where 373 00:18:48,320 --> 00:18:50,840 Speaker 2: they work with new directors like Quinton Tarantino, a lot 374 00:18:50,840 --> 00:18:53,439 Speaker 2: of big directors that come out of that, and they 375 00:18:53,520 --> 00:18:55,760 Speaker 2: give them the chance to workshop their new material with 376 00:18:56,560 --> 00:18:59,920 Speaker 2: actors in Sundance at Sundance Sunday, and they do the 377 00:19:00,080 --> 00:19:04,200 Speaker 2: saying that with theater right, yeah, so uh in and 378 00:19:04,240 --> 00:19:08,119 Speaker 2: that yes exactly. And so here I was, I just 379 00:19:08,160 --> 00:19:10,800 Speaker 2: got and I was doing I was working with Craig 380 00:19:10,880 --> 00:19:13,879 Speaker 2: Lucas and Miss Kaufman and all this, and I was 381 00:19:13,920 --> 00:19:17,680 Speaker 2: doing the very first workshop of Spring Awakening Duncan Chic, 382 00:19:17,720 --> 00:19:19,840 Speaker 2: where it was so robbed. He was like still figuring 383 00:19:19,880 --> 00:19:22,239 Speaker 2: out what court it was on the guitar. And I 384 00:19:22,280 --> 00:19:24,320 Speaker 2: was meeting all these idols who had just done their 385 00:19:24,320 --> 00:19:26,359 Speaker 2: work when I was in school. Craig Lucas, I had 386 00:19:26,400 --> 00:19:28,160 Speaker 2: done a scene of his to get an agent. 387 00:19:28,480 --> 00:19:28,760 Speaker 3: Wow. 388 00:19:29,359 --> 00:19:33,120 Speaker 2: And so it was a really studio. 389 00:19:32,880 --> 00:19:35,320 Speaker 3: Great audition for that to get that. 390 00:19:35,320 --> 00:19:37,919 Speaker 2: Casting director came to our school and I did a 391 00:19:37,960 --> 00:19:43,560 Speaker 2: monologue and I sang for her, and she said, I 392 00:19:44,359 --> 00:19:46,760 Speaker 2: used to be a singer. I wouldn't call myself a 393 00:19:46,760 --> 00:19:49,360 Speaker 2: singer anymore, not a real singer, but not in eight 394 00:19:49,400 --> 00:19:51,240 Speaker 2: shows a week like that would take me about a 395 00:19:51,320 --> 00:19:52,400 Speaker 2: year to get back there. 396 00:19:52,440 --> 00:19:54,080 Speaker 3: But you do it. 397 00:19:54,160 --> 00:19:56,040 Speaker 2: But but she brought me in when I was in 398 00:19:56,080 --> 00:19:58,119 Speaker 2: New York and I auditioned, and then from that, I 399 00:19:58,160 --> 00:20:02,160 Speaker 2: also got an audition for a musical called Thoroughly Modern Millie, 400 00:20:03,240 --> 00:20:06,160 Speaker 2: and then I got it had the same director both projects, 401 00:20:06,600 --> 00:20:10,120 Speaker 2: and so I got a job offer for that project 402 00:20:10,119 --> 00:20:12,440 Speaker 2: as well, and so that brought me to New York. 403 00:20:12,920 --> 00:20:15,320 Speaker 2: That ended up nine to eleven happened, So we lost 404 00:20:15,320 --> 00:20:17,639 Speaker 2: the Broadway house. I told the story a lot. 405 00:20:17,680 --> 00:20:21,159 Speaker 3: Oh my gods, I had I would have been, I. 406 00:20:21,119 --> 00:20:23,359 Speaker 2: Would have been on Broadway. First. I was a cover. 407 00:20:23,560 --> 00:20:24,360 Speaker 2: I wasn't the lead. 408 00:20:24,440 --> 00:20:25,000 Speaker 3: I was a cover. 409 00:20:25,119 --> 00:20:27,639 Speaker 2: But I was also just out of school and it 410 00:20:27,680 --> 00:20:31,560 Speaker 2: would have been such a different path. But so I 411 00:20:31,680 --> 00:20:34,359 Speaker 2: was while I was waiting on that house, like we're 412 00:20:34,359 --> 00:20:36,639 Speaker 2: there waiting for the right house to open up. Nine 413 00:20:36,680 --> 00:20:39,439 Speaker 2: to eleven happened. I lost my day job and I 414 00:20:39,480 --> 00:20:41,399 Speaker 2: ended up getting an audition for a soap, which is 415 00:20:41,400 --> 00:20:44,080 Speaker 2: not like a future I had really envisioned for myself 416 00:20:44,119 --> 00:20:47,760 Speaker 2: coming out of theater school. But I was like, whatever, 417 00:20:47,880 --> 00:20:51,160 Speaker 2: let's go, and it was the best thing that ever 418 00:20:51,160 --> 00:20:53,720 Speaker 2: could have happened to me. It was such a great years. 419 00:20:53,760 --> 00:20:56,120 Speaker 2: A year, it was like a year and a half 420 00:20:56,840 --> 00:20:59,440 Speaker 2: and I was terrified to be on camera. I would 421 00:20:59,480 --> 00:21:01,399 Speaker 2: do anything on stage at that point. I was like, 422 00:21:02,119 --> 00:21:05,080 Speaker 2: you know, primed for anything after Conservatory, but I hadn't 423 00:21:05,080 --> 00:21:07,000 Speaker 2: done I'd never really been on camera. 424 00:21:16,320 --> 00:21:19,800 Speaker 1: See, I think, you know, one of the biggest mistakes 425 00:21:19,840 --> 00:21:25,400 Speaker 1: people make, especially when they're young and they're leading person material, 426 00:21:26,080 --> 00:21:29,200 Speaker 1: they you know, shoot out to LA to try to 427 00:21:29,280 --> 00:21:32,600 Speaker 1: be like on like the nine oh two one zero. 428 00:21:32,680 --> 00:21:35,440 Speaker 1: Let's say I'm referring to my generation at that time, 429 00:21:35,520 --> 00:21:38,920 Speaker 1: you know, as opposed to building the foundation of really 430 00:21:39,119 --> 00:21:43,000 Speaker 1: the acting skill, because you'll get there if you got it. 431 00:21:43,160 --> 00:21:46,000 Speaker 1: So like you doing that in Carnegie Mellon and then 432 00:21:46,080 --> 00:21:50,640 Speaker 1: coming to New York and then everything happens for a reason. Yeah, 433 00:21:50,960 --> 00:21:56,399 Speaker 1: to then find yourself so leaving the theater world forcing 434 00:21:56,480 --> 00:22:00,200 Speaker 1: yourself to get a gig on the TV world. That 435 00:22:00,400 --> 00:22:03,200 Speaker 1: teaches you the camera tech. Yeah, the camera acting, which 436 00:22:03,200 --> 00:22:05,440 Speaker 1: is very different. How because like what's different if you 437 00:22:05,520 --> 00:22:09,920 Speaker 1: can explain the different nuances between theater acting, TV acting 438 00:22:10,040 --> 00:22:13,560 Speaker 1: and movie acting, because you kind of you know, you're 439 00:22:13,640 --> 00:22:16,920 Speaker 1: you're like hit them all baby, because like the movie camera, 440 00:22:17,040 --> 00:22:20,000 Speaker 1: I mean, the screen is so big and I'm not 441 00:22:20,040 --> 00:22:22,359 Speaker 1: gonna let not say something here because you know, if 442 00:22:22,400 --> 00:22:25,000 Speaker 1: you haven't seen ma Stroke, how you act with your 443 00:22:25,040 --> 00:22:26,560 Speaker 1: eyes and your smile. 444 00:22:26,640 --> 00:22:28,200 Speaker 3: You're very good in this movie. 445 00:22:28,400 --> 00:22:32,520 Speaker 1: And there's a moment where Leonard Bernstein comes up to 446 00:22:32,640 --> 00:22:40,879 Speaker 1: you with the woman that he's with, Alicia Felicia, and you, 447 00:22:41,960 --> 00:22:47,240 Speaker 1: unprepared have to be gracious and welcoming and kind and 448 00:22:47,520 --> 00:22:50,480 Speaker 1: everything that is being read from your face. 449 00:22:50,440 --> 00:22:53,560 Speaker 3: Is pain and love and it was. 450 00:22:53,800 --> 00:22:57,920 Speaker 1: It's really was a beautiful thing to do. So that 451 00:22:58,040 --> 00:23:00,560 Speaker 1: to me is like incredible, thank you so. 452 00:23:00,720 --> 00:23:04,680 Speaker 2: Much, thank you. That's very kind of you to say. 453 00:23:05,080 --> 00:23:07,159 Speaker 2: I think we were all very fortunate to be in 454 00:23:07,200 --> 00:23:09,280 Speaker 2: Bradley's hands. I think he brings out the best and 455 00:23:09,359 --> 00:23:12,480 Speaker 2: everybody and sees what you want to bring in, tries 456 00:23:12,560 --> 00:23:17,240 Speaker 2: to bring that out in you. But you know, I 457 00:23:17,400 --> 00:23:20,320 Speaker 2: used to think there was this massive discrepancy between the two. 458 00:23:20,640 --> 00:23:24,040 Speaker 2: I really did, And the more and more I'm working 459 00:23:24,119 --> 00:23:28,239 Speaker 2: at the less I feel that discrepancy. Obviously, there are 460 00:23:28,400 --> 00:23:32,320 Speaker 2: different aspects of your such an actory thing to say, 461 00:23:32,440 --> 00:23:34,879 Speaker 2: but your instrument that you have to use when you're 462 00:23:34,920 --> 00:23:37,680 Speaker 2: on stage because the people if it's a you know, 463 00:23:37,960 --> 00:23:40,000 Speaker 2: fifteen hundred seat house, the people in the back row 464 00:23:40,080 --> 00:23:41,840 Speaker 2: have to hear you, and depending on how your might 465 00:23:42,600 --> 00:23:46,840 Speaker 2: you have to take all that into consideration. But in 466 00:23:46,960 --> 00:23:49,439 Speaker 2: terms of connecting with the other actors and being present 467 00:23:49,520 --> 00:23:52,920 Speaker 2: with them and trying to find something that's true to 468 00:23:53,000 --> 00:23:55,760 Speaker 2: what you've rehearsed, but also that's alive in that moment, 469 00:23:55,840 --> 00:24:02,680 Speaker 2: it's it's not terribly different than what's being unfilmed. Okay 470 00:24:02,800 --> 00:24:08,159 Speaker 2: II In sumar ards, I always think too, there are 471 00:24:08,240 --> 00:24:10,600 Speaker 2: some amazing things that can happen on stage that I 472 00:24:10,680 --> 00:24:13,600 Speaker 2: don't think can happen in any other medium, because it's 473 00:24:13,640 --> 00:24:17,320 Speaker 2: almost like it's the closest to that kind of collective 474 00:24:17,880 --> 00:24:21,359 Speaker 2: tribal experience that that theater came out of of, like 475 00:24:21,760 --> 00:24:24,560 Speaker 2: the guy around the fire and the cave talking about 476 00:24:24,560 --> 00:24:26,880 Speaker 2: how the hunt went that day. You have that one 477 00:24:27,000 --> 00:24:30,120 Speaker 2: audience for that one period of time, and it will 478 00:24:30,240 --> 00:24:33,560 Speaker 2: never be exactly the same examen. So there's something that's 479 00:24:33,640 --> 00:24:38,240 Speaker 2: so unique about every different show that is just incredible 480 00:24:38,359 --> 00:24:38,520 Speaker 2: to me. 481 00:24:38,680 --> 00:24:43,960 Speaker 1: Yeah, Because also I would imagine because anything can happen 482 00:24:44,119 --> 00:24:47,760 Speaker 1: within those two hours that might whether it's a mistake, 483 00:24:47,840 --> 00:24:51,480 Speaker 1: a drop a line, just a nuance of something a 484 00:24:51,600 --> 00:24:54,800 Speaker 1: delivered line that you're going to respond and. 485 00:24:54,920 --> 00:24:57,480 Speaker 2: Different actors work differently too. Some people really like to 486 00:24:57,560 --> 00:25:00,600 Speaker 2: do the same thing every night, so have to learn 487 00:25:00,680 --> 00:25:03,680 Speaker 2: how to do that work with that as well. And 488 00:25:05,000 --> 00:25:08,000 Speaker 2: obviously you don't also don't want to go start doing cartwheels. 489 00:25:08,040 --> 00:25:11,240 Speaker 2: H never heard that because then everything could go disastrously wrong. 490 00:25:11,800 --> 00:25:14,480 Speaker 1: Now you're doing now he's doing, car So you know, 491 00:25:14,560 --> 00:25:18,600 Speaker 1: I asked Sarah Jessica Parker on the show last season 492 00:25:19,080 --> 00:25:22,199 Speaker 1: the you know when at what point? You know, when 493 00:25:22,280 --> 00:25:24,720 Speaker 1: she was getting ready to shoot for Sex in the 494 00:25:24,800 --> 00:25:29,960 Speaker 1: City and just like that did Carrie? Was there something 495 00:25:30,040 --> 00:25:34,000 Speaker 1: that she did that all of a sudden Carrie Bradshaw 496 00:25:34,119 --> 00:25:38,560 Speaker 1: was there because I had read earlier with Marilyn Monroe 497 00:25:39,160 --> 00:25:42,000 Speaker 1: when she was walking down the stairs with Susan Strasbourg 498 00:25:42,400 --> 00:25:45,600 Speaker 1: and all these press and she turns to Susan and says, 499 00:25:46,480 --> 00:25:48,200 Speaker 1: are you ready? Do you want to see her? And 500 00:25:48,359 --> 00:25:51,880 Speaker 1: as she walks down the stairs, it's like she shifts 501 00:25:52,000 --> 00:25:54,080 Speaker 1: her whole thing and she greets it. 502 00:25:54,160 --> 00:25:55,800 Speaker 2: And they do that in my week with Marylyn. 503 00:25:55,920 --> 00:25:59,000 Speaker 3: I think that they did so, And Sir Jessica said, 504 00:25:59,720 --> 00:26:01,040 Speaker 3: you know, you get ready. 505 00:26:01,119 --> 00:26:03,320 Speaker 1: Some days it could be twenty two degrees out, you're outside, 506 00:26:03,320 --> 00:26:05,000 Speaker 1: you know, you take you down jacket off, you have 507 00:26:05,080 --> 00:26:05,960 Speaker 1: the poofy skirt on. 508 00:26:06,040 --> 00:26:07,800 Speaker 2: She straps on us Manolo. 509 00:26:09,560 --> 00:26:11,800 Speaker 3: Or you know, now that's Jessica Collectibles. 510 00:26:12,040 --> 00:26:17,520 Speaker 1: And you say, she said, when the word action action 511 00:26:18,040 --> 00:26:20,359 Speaker 1: Carrie came alive because she was like, because I didn't know, 512 00:26:20,560 --> 00:26:23,320 Speaker 1: I couldn't tell you who Carrie was going to be 513 00:26:23,400 --> 00:26:26,639 Speaker 1: at that moment, Carrie was going to be happy, said like, 514 00:26:26,720 --> 00:26:29,320 Speaker 1: I didn't know, And I thought that was also interesting. 515 00:26:30,680 --> 00:26:32,240 Speaker 2: It's a really exciting way to work. 516 00:26:32,280 --> 00:26:35,320 Speaker 3: Right to your craft. So you know you got you guys. 517 00:26:35,440 --> 00:26:39,440 Speaker 3: Did you know you did the revival of Boys in 518 00:26:39,520 --> 00:26:42,399 Speaker 3: the band Billy Freaking who we Love? Who directed the 519 00:26:42,520 --> 00:26:45,360 Speaker 3: movie making recipes? Joe Mantello. 520 00:26:45,400 --> 00:26:47,520 Speaker 1: I remember going to the rehearsal and watching you guys 521 00:26:47,600 --> 00:26:49,680 Speaker 1: do it, and I was so nervous watching you guys 522 00:26:49,880 --> 00:26:50,960 Speaker 1: like here in La but. 523 00:26:51,000 --> 00:26:55,000 Speaker 4: Yeah, right, it was when we were really on the stage. Yes, 524 00:26:55,200 --> 00:26:58,440 Speaker 4: it was just like freaking Yes, Joe is like, what 525 00:26:58,640 --> 00:27:01,960 Speaker 4: is wrong with you? I'm like, it is intense. I 526 00:27:02,080 --> 00:27:02,800 Speaker 4: was freaked out too. 527 00:27:03,080 --> 00:27:06,000 Speaker 1: So you do this show and you're amazing in it, 528 00:27:06,080 --> 00:27:08,000 Speaker 1: and the cast is amazing in it, and I just 529 00:27:08,080 --> 00:27:10,600 Speaker 1: feel like wow, and Joe is such a great director. 530 00:27:10,720 --> 00:27:13,240 Speaker 1: And then you also then bring it to the screen. 531 00:27:13,480 --> 00:27:16,960 Speaker 2: Yeah, what same cast with the same director r which 532 00:27:17,000 --> 00:27:17,920 Speaker 2: is kind of unheard of. 533 00:27:18,119 --> 00:27:24,439 Speaker 3: Crazy. Was there a difference in the character or the development, 534 00:27:24,640 --> 00:27:24,919 Speaker 3: or in. 535 00:27:25,000 --> 00:27:28,960 Speaker 1: The process of because now it's not that hour and 536 00:27:29,000 --> 00:27:31,320 Speaker 1: a half show that's live that all of a sudden, 537 00:27:31,440 --> 00:27:36,720 Speaker 1: you know, somebody does you're like doing the take. 538 00:27:37,080 --> 00:27:37,280 Speaker 3: Yeah. 539 00:27:37,640 --> 00:27:40,760 Speaker 2: I think the real challenge in that regard was giving 540 00:27:40,840 --> 00:27:45,600 Speaker 2: yourself permission in a new medium to not just rely 541 00:27:46,040 --> 00:27:49,159 Speaker 2: on what you knew worked on stage, not just to 542 00:27:49,320 --> 00:27:51,159 Speaker 2: rely what you knew would get a laugh on stage 543 00:27:51,200 --> 00:27:53,200 Speaker 2: right as you've done it one hundred and fifty times 544 00:27:53,320 --> 00:27:55,760 Speaker 2: or whatever it was. But I think it was less 545 00:27:55,800 --> 00:27:59,920 Speaker 2: than that. But but to keep exploring and keep find 546 00:28:00,200 --> 00:28:02,200 Speaker 2: new things, and then Joe could get in and fine 547 00:28:02,280 --> 00:28:06,280 Speaker 2: tune certain moments, just one moment in particular, because the 548 00:28:06,400 --> 00:28:10,120 Speaker 2: play ends with this sort of me holding Jim Parson's 549 00:28:10,240 --> 00:28:12,360 Speaker 2: character in this piazza, and we used had this whole 550 00:28:12,440 --> 00:28:15,920 Speaker 2: meltdown and my characters trying to comfort him, and on 551 00:28:16,080 --> 00:28:18,280 Speaker 2: stage it could be any number of ways. Wherever we 552 00:28:18,359 --> 00:28:20,959 Speaker 2: were that night is just wherever we were that night, right, 553 00:28:21,800 --> 00:28:23,919 Speaker 2: Sometimes wherever we were that night depending on what had 554 00:28:24,000 --> 00:28:25,840 Speaker 2: just happened. The hour and a half before. 555 00:28:25,640 --> 00:28:28,800 Speaker 5: And how vicious it got or how crazy it got, 556 00:28:28,960 --> 00:28:32,119 Speaker 5: or which must mean also like how you enter the 557 00:28:32,280 --> 00:28:34,080 Speaker 5: room that day, like what was your day, like what 558 00:28:34,240 --> 00:28:37,400 Speaker 5: was the audience's daylight? What's all the energy that's got 559 00:28:37,440 --> 00:28:39,600 Speaker 5: into the room collectively that you then go out and 560 00:28:39,680 --> 00:28:40,160 Speaker 5: do this thing. 561 00:28:40,560 --> 00:28:42,000 Speaker 3: It's just going to be different when. 562 00:28:41,920 --> 00:28:44,440 Speaker 2: I feel like that's one thing I've learned more and 563 00:28:44,560 --> 00:28:47,440 Speaker 2: more about the work. Not that this is so no 564 00:28:47,520 --> 00:28:50,480 Speaker 2: one wants to hear this, but to rather than trying 565 00:28:50,520 --> 00:28:52,480 Speaker 2: to drown things out and make it what you want 566 00:28:52,560 --> 00:28:56,880 Speaker 2: it to be, to bring everything into what's happening right 567 00:28:56,960 --> 00:29:00,360 Speaker 2: then and there. You know, it's like this in your 568 00:29:00,440 --> 00:29:03,600 Speaker 2: day to the work and if we're doing a scene, 569 00:29:03,760 --> 00:29:08,240 Speaker 2: rather than you know, making X person feel or look like, 570 00:29:08,280 --> 00:29:11,280 Speaker 2: I want to use what he's actually doing, what's going 571 00:29:11,320 --> 00:29:13,719 Speaker 2: on in his eye, what happened to his hair that day, 572 00:29:13,800 --> 00:29:16,200 Speaker 2: or whatever, like really use that. 573 00:29:17,840 --> 00:29:20,280 Speaker 3: Which makes it must that makes it interesting. 574 00:29:21,400 --> 00:29:26,440 Speaker 2: Way that something I remember I was watching a rough 575 00:29:26,480 --> 00:29:29,880 Speaker 2: cut of my astro with Bradley, and the biggest might 576 00:29:29,920 --> 00:29:31,520 Speaker 2: have been the biggest lesson I learned from him on 577 00:29:31,560 --> 00:29:33,120 Speaker 2: this film. I can't believe I'm giving it away for 578 00:29:33,200 --> 00:29:34,160 Speaker 2: free on your podcast. 579 00:29:34,280 --> 00:29:37,160 Speaker 3: Oh my god, Well it's me, but it's just us. 580 00:29:38,160 --> 00:29:41,360 Speaker 2: And he said to me, in the scene he tripped 581 00:29:41,360 --> 00:29:42,600 Speaker 2: as he was going up the stairs, I don't even 582 00:29:42,600 --> 00:29:44,720 Speaker 2: know if the scenes in the movie anymore. And I 583 00:29:44,800 --> 00:29:48,360 Speaker 2: said and something about him doing that. It was in 584 00:29:48,360 --> 00:29:50,160 Speaker 2: an early scene in the movie at the time, and 585 00:29:51,000 --> 00:29:54,920 Speaker 2: it just as an audience, Remember, I relaxed because it 586 00:29:55,000 --> 00:29:57,240 Speaker 2: took a sense of preciousness out of it, because something 587 00:29:57,320 --> 00:29:59,160 Speaker 2: real and human and in the moment and a live 588 00:29:59,360 --> 00:30:04,560 Speaker 2: happened in that scene. And I said, were there takes 589 00:30:04,560 --> 00:30:06,960 Speaker 2: where you didn't trip? And do you care that you 590 00:30:07,040 --> 00:30:09,320 Speaker 2: tripped or whatever? And he was like, oh, no, I'm 591 00:30:09,400 --> 00:30:13,840 Speaker 2: hoping that I trip because then something's gonna happen. That's real, right, 592 00:30:15,320 --> 00:30:17,320 Speaker 2: And I think you know it doesn't happen every take. 593 00:30:17,400 --> 00:30:20,000 Speaker 2: It doesn't happen every scene, but no, you're always hoping 594 00:30:20,080 --> 00:30:22,120 Speaker 2: for that. If you've been doing it for a while, 595 00:30:22,240 --> 00:30:25,000 Speaker 2: that's kind of the moment you're hoping for. Even on stage, 596 00:30:25,040 --> 00:30:28,800 Speaker 2: that can be what is the most electric if you 597 00:30:28,880 --> 00:30:31,600 Speaker 2: seem like Mary Leise Parker do a play and you 598 00:30:31,720 --> 00:30:34,440 Speaker 2: get that sense that like it's never the same. 599 00:30:35,560 --> 00:30:39,240 Speaker 3: Even in her like right, it's just whatever is going on, 600 00:30:39,440 --> 00:30:40,720 Speaker 3: and it's. 601 00:30:40,760 --> 00:30:41,720 Speaker 2: Electric to watch. 602 00:30:41,960 --> 00:31:05,280 Speaker 1: Yeah, welcome back to Table for two. Matt's big screen 603 00:31:05,320 --> 00:31:07,720 Speaker 1: debut was in two thousand and fives The Flight Plan 604 00:31:07,960 --> 00:31:11,479 Speaker 1: with Jody Foster. Someone who has always loved and been 605 00:31:11,520 --> 00:31:14,520 Speaker 1: in awe of Jody Foster, I'm curious what it was 606 00:31:14,720 --> 00:31:18,480 Speaker 1: like to work with such an iconic actor. You know, 607 00:31:18,600 --> 00:31:24,760 Speaker 1: I am obsessed for years with Jody Foster. I mean, 608 00:31:24,760 --> 00:31:28,720 Speaker 1: I'm just saying, and you know, she is of my generation, 609 00:31:29,280 --> 00:31:32,320 Speaker 1: and I just and she and Nayan, I just I 610 00:31:32,520 --> 00:31:34,640 Speaker 1: was like, Wow, how good are the two of them? 611 00:31:34,680 --> 00:31:37,800 Speaker 1: And Nia They're incredible. They're incredible. 612 00:31:38,000 --> 00:31:40,680 Speaker 2: I told them both. I want them. I want to 613 00:31:40,680 --> 00:31:42,760 Speaker 2: see them take it on the road. I want to 614 00:31:42,760 --> 00:31:45,200 Speaker 2: see those two characters in everything. 615 00:31:45,920 --> 00:31:48,360 Speaker 3: Everything tell me about what I'm working with. 616 00:31:48,920 --> 00:31:53,200 Speaker 2: Beautiful lesbian friendship, not even that beautiful friendship between these 617 00:31:53,240 --> 00:31:58,800 Speaker 2: women both stunningly beautiful, but have not given themselves over 618 00:31:58,880 --> 00:32:01,440 Speaker 2: to vanity in a way takes you out of the story, you. 619 00:32:01,440 --> 00:32:03,720 Speaker 3: Know, not at all. It's like, there's so yeah, and 620 00:32:03,800 --> 00:32:05,120 Speaker 3: they're such Joy. 621 00:32:04,960 --> 00:32:07,600 Speaker 2: Is one of the most beautiful humans to ever exist, 622 00:32:07,720 --> 00:32:08,080 Speaker 2: I mean. 623 00:32:08,040 --> 00:32:08,840 Speaker 3: Completely, you know. 624 00:32:08,920 --> 00:32:12,000 Speaker 1: And it's interesting to me because in the early nineties, 625 00:32:12,080 --> 00:32:14,240 Speaker 1: sort of being in la there was just a little 626 00:32:14,280 --> 00:32:16,640 Speaker 1: bit of a world. She's obviously a very private person 627 00:32:16,880 --> 00:32:19,760 Speaker 1: and she so I know a couple of people that 628 00:32:19,840 --> 00:32:21,959 Speaker 1: were close in her circle but did not know her 629 00:32:22,040 --> 00:32:23,320 Speaker 1: but would see her occasionally. 630 00:32:23,880 --> 00:32:26,720 Speaker 3: And how much the world has changed for being. 631 00:32:26,600 --> 00:32:30,600 Speaker 1: Able to share you know, her life and you worked 632 00:32:30,640 --> 00:32:32,240 Speaker 1: with her, And when you work with someone like that, 633 00:32:32,480 --> 00:32:35,000 Speaker 1: how did how do you at that point in your 634 00:32:36,120 --> 00:32:38,640 Speaker 1: career and age like walk onto a set and be 635 00:32:38,760 --> 00:32:40,080 Speaker 1: like like I'm about. 636 00:32:39,800 --> 00:32:43,440 Speaker 2: To Oh, I was dying right, dying. It was because 637 00:32:43,440 --> 00:32:47,000 Speaker 2: it was the first film I ever did ail yeah, 638 00:32:47,160 --> 00:32:50,080 Speaker 2: holy can and I didn't have a ton to do 639 00:32:50,200 --> 00:32:52,160 Speaker 2: in it, but it all took place on an airplane, right, 640 00:32:52,360 --> 00:32:54,280 Speaker 2: so we all had to be there all the time. 641 00:32:54,680 --> 00:32:56,560 Speaker 2: And you just never knew what this director when you 642 00:32:56,600 --> 00:32:58,080 Speaker 2: were going to be in a shot and it was 643 00:32:58,120 --> 00:32:59,800 Speaker 2: going to feature you, when you're going to have a 644 00:32:59,840 --> 00:33:02,080 Speaker 2: lot line, you know, whenever it was he would just 645 00:33:02,160 --> 00:33:07,480 Speaker 2: call audibles. Robert Schwuink got a great director and Jody 646 00:33:07,640 --> 00:33:10,960 Speaker 2: was so it was like the nice boon of the 647 00:33:11,080 --> 00:33:13,600 Speaker 2: job was that the director of said you can sit 648 00:33:13,680 --> 00:33:16,480 Speaker 2: in on all the rehearsals with Jody Foster and Peter 649 00:33:16,560 --> 00:33:20,320 Speaker 2: Sarsguard and watch Sean Bean, watch how they work, watch 650 00:33:20,400 --> 00:33:23,240 Speaker 2: what their process is like, and watch them on set. 651 00:33:24,040 --> 00:33:26,880 Speaker 2: And I was like, wait, I'm getting paid to have 652 00:33:27,000 --> 00:33:32,880 Speaker 2: a masterclass, right, let's go. So And one of the 653 00:33:32,960 --> 00:33:35,800 Speaker 2: things I learned the most about Jody was just how 654 00:33:35,840 --> 00:33:39,400 Speaker 2: to handle yourself on a set. She is a consummate professional. 655 00:33:40,080 --> 00:33:42,840 Speaker 2: She knows the whole cruise name, she knows the whole 656 00:33:42,920 --> 00:33:45,160 Speaker 2: cast name. And that was a big cast, it was 657 00:33:45,240 --> 00:33:50,400 Speaker 2: a big movie. And she just was so gracious and kind. 658 00:33:51,120 --> 00:33:55,240 Speaker 2: And Jody is somebody that wherever my career was after that, 659 00:33:55,840 --> 00:33:58,520 Speaker 2: if I saw in public, she would treat me the same, 660 00:33:58,720 --> 00:34:01,400 Speaker 2: like a human. And I think, I look at someone 661 00:34:01,480 --> 00:34:03,920 Speaker 2: like her, I look at someone like Jason Bateman, and 662 00:34:04,480 --> 00:34:07,040 Speaker 2: I think one of the hardest things to do is 663 00:34:07,120 --> 00:34:10,200 Speaker 2: to come up in this industry, Drew Barrymore, and to 664 00:34:10,719 --> 00:34:14,160 Speaker 2: come out the other end of it a healthy, saying 665 00:34:14,200 --> 00:34:16,600 Speaker 2: human being, because there's just so many trappings along the way. 666 00:34:17,120 --> 00:34:21,000 Speaker 2: And Jody is the height of sanity in this industry, 667 00:34:21,120 --> 00:34:24,719 Speaker 2: the height of humanity in this industries. So what she's 668 00:34:24,800 --> 00:34:29,640 Speaker 2: achieved and what she has maintained for herself is so commendable. 669 00:34:29,800 --> 00:34:32,759 Speaker 1: Yeah, it's like we went to the Hollywood Bowl and 670 00:34:32,960 --> 00:34:36,200 Speaker 1: unbeknownst to me, we were in a box with Jody 671 00:34:36,280 --> 00:34:39,400 Speaker 1: and her wife several months ago, and it was I 672 00:34:40,320 --> 00:34:46,359 Speaker 1: almost couldn't talk because of the effect that her work 673 00:34:46,480 --> 00:34:49,000 Speaker 1: had at the time when I was in my twenties, 674 00:34:49,080 --> 00:34:51,040 Speaker 1: and you know, I mean, I think Jody's like two 675 00:34:51,200 --> 00:34:53,600 Speaker 1: or three years older than me, so we're really I 676 00:34:53,680 --> 00:34:54,240 Speaker 1: just felt. 677 00:34:54,000 --> 00:34:57,920 Speaker 2: Like, Wow, she's great. Though it also kind of she's 678 00:34:57,960 --> 00:35:00,319 Speaker 2: like Julia Roberts. She's great at kind of taking away 679 00:35:00,400 --> 00:35:03,399 Speaker 2: that veneer as well and completely immediately having a human 680 00:35:03,440 --> 00:35:05,319 Speaker 2: connection with you. And I think there's a real art 681 00:35:05,360 --> 00:35:08,840 Speaker 2: to that, and I think it's an unfortunate responsibility of 682 00:35:08,920 --> 00:35:11,440 Speaker 2: people who are huge stars who then have to do 683 00:35:11,520 --> 00:35:13,719 Speaker 2: a scene with you to suddenly break it all down 684 00:35:13,800 --> 00:35:16,200 Speaker 2: and go, right, hey, we're just in the scene together 685 00:35:16,280 --> 00:35:18,680 Speaker 2: and yeah, we're just two human beings having an interaction. 686 00:35:19,000 --> 00:35:32,560 Speaker 1: Yeah, you know, okay, so missedable. You know, one of 687 00:35:32,600 --> 00:35:36,120 Speaker 1: the things is it responsibility. Do you feel it's a responsibility. 688 00:35:36,280 --> 00:35:40,879 Speaker 1: I mean that you now carry this torch of being 689 00:35:41,040 --> 00:35:44,600 Speaker 1: sort of this like leading man at a time that 690 00:35:45,000 --> 00:35:48,520 Speaker 1: it didn't exist publicly, you know, you've done. You've made choices, 691 00:35:49,239 --> 00:35:52,920 Speaker 1: many different choices. You've played, you know, from all your 692 00:35:53,440 --> 00:35:55,560 Speaker 1: you know, your movies and TV. A lot of what 693 00:35:55,680 --> 00:35:58,320 Speaker 1: you're not playing gay characters. You're just you're playing. But 694 00:35:58,400 --> 00:36:00,600 Speaker 1: you know you you know, we talk about boys in 695 00:36:00,640 --> 00:36:02,520 Speaker 1: the band, We talked about fellow travelers. You know, we 696 00:36:02,560 --> 00:36:04,520 Speaker 1: didn't talk about the normal heart. But my god, what 697 00:36:04,640 --> 00:36:08,160 Speaker 1: a heartbreaking. I remember running into on the street in 698 00:36:08,200 --> 00:36:10,120 Speaker 1: New York City and you were like six pounds. 699 00:36:10,320 --> 00:36:10,759 Speaker 3: Yeah, it was. 700 00:36:11,280 --> 00:36:15,000 Speaker 1: Do you feel there's like a responsibility that you carry me? 701 00:36:15,080 --> 00:36:17,799 Speaker 1: You got a beautiful award this year last year by 702 00:36:18,000 --> 00:36:21,000 Speaker 1: HRC that the President of the United States gave you, 703 00:36:21,360 --> 00:36:22,799 Speaker 1: which is was a big deal. 704 00:36:22,960 --> 00:36:26,960 Speaker 3: Like you've you've really created a life for yourself where 705 00:36:27,000 --> 00:36:30,040 Speaker 3: there's a responsibility to How does that feel? 706 00:36:30,160 --> 00:36:33,960 Speaker 2: Do you feel that? It's interesting? I worked with Diane, 707 00:36:34,000 --> 00:36:36,279 Speaker 2: the lovely Diane Carroll. Maybe she rest in peace. I 708 00:36:36,360 --> 00:36:40,240 Speaker 2: miss her for six years and I was so curious. 709 00:36:40,360 --> 00:36:43,600 Speaker 2: I remember talking to her early on, but she was 710 00:36:43,680 --> 00:36:46,960 Speaker 2: the first African American woman to have her own hour 711 00:36:47,080 --> 00:36:49,840 Speaker 2: long trimetime show. Anyway, I asked her, I was like, 712 00:36:49,920 --> 00:36:51,880 Speaker 2: what was that like did you feel? And she and 713 00:36:52,000 --> 00:36:54,160 Speaker 2: she said I just thought of myself as an actor, right, 714 00:36:55,120 --> 00:36:57,280 Speaker 2: and who had a great role and I was playing 715 00:36:57,360 --> 00:36:59,880 Speaker 2: that and that gave me such a sense of perspective 716 00:37:00,120 --> 00:37:03,840 Speaker 2: at all, because she had had a whole the lifetime 717 00:37:03,920 --> 00:37:06,680 Speaker 2: to look back on that moment, you know. So I 718 00:37:06,719 --> 00:37:09,200 Speaker 2: was fortunate to be with her in that moment and 719 00:37:09,400 --> 00:37:12,600 Speaker 2: and have that answer. But you know, my biggest thing 720 00:37:12,680 --> 00:37:15,240 Speaker 2: if I'm if I'm able to be in a piece 721 00:37:15,320 --> 00:37:20,879 Speaker 2: where has LGBTQ themes or characters, and I'm fortunate enough 722 00:37:20,960 --> 00:37:22,960 Speaker 2: to be, you know, whether it's just an actor or 723 00:37:23,080 --> 00:37:25,759 Speaker 2: I'm producing, I just don't want to drop the ball, right, 724 00:37:26,080 --> 00:37:29,400 Speaker 2: That's the only responsibility I feel, because there is this 725 00:37:29,520 --> 00:37:30,200 Speaker 2: sense of like. 726 00:37:30,560 --> 00:37:32,279 Speaker 3: Which you never will because you take it. 727 00:37:32,440 --> 00:37:35,440 Speaker 2: So you know, there are so many factors that go 728 00:37:35,560 --> 00:37:39,319 Speaker 2: into something like that, but you just know that it's 729 00:37:39,360 --> 00:37:42,160 Speaker 2: a rare opportunity just to even get to be at 730 00:37:42,200 --> 00:37:45,320 Speaker 2: that table. So I want to make sure other people 731 00:37:45,480 --> 00:37:49,120 Speaker 2: get to be there too, And so that's that's I 732 00:37:49,200 --> 00:37:51,399 Speaker 2: think that's it's not at the forefront of my mind, 733 00:37:51,440 --> 00:37:53,560 Speaker 2: but I think that's somewhere in the back of my right. 734 00:37:54,480 --> 00:37:56,520 Speaker 2: Outside of that, it's so funny that people ask me 735 00:37:56,600 --> 00:37:59,919 Speaker 2: all these giant social questions and where I fit into 736 00:37:59,920 --> 00:38:02,439 Speaker 2: the schemes, and there are all questions that I can't 737 00:38:02,480 --> 00:38:05,040 Speaker 2: answer it right right, you know, they think that I 738 00:38:05,120 --> 00:38:07,640 Speaker 2: have some grand answer that's going to be the definitive, 739 00:38:07,680 --> 00:38:09,400 Speaker 2: and it's just not the way the world works, not 740 00:38:09,480 --> 00:38:11,560 Speaker 2: where the zeitgeist works, and not the way our culture 741 00:38:11,640 --> 00:38:12,480 Speaker 2: shapes and shifts. 742 00:38:22,560 --> 00:38:24,719 Speaker 1: I've had such a great time today at lunch with 743 00:38:24,800 --> 00:38:27,400 Speaker 1: my friend Matt Bomer, and I just need to know 744 00:38:27,880 --> 00:38:28,680 Speaker 1: what life. 745 00:38:28,560 --> 00:38:30,200 Speaker 2: Is like for such a busy actor. 746 00:38:32,400 --> 00:38:34,279 Speaker 1: Mattie, you have, first of all, this is like your 747 00:38:34,400 --> 00:38:37,200 Speaker 1: this is a true one of many and you've had 748 00:38:37,320 --> 00:38:40,719 Speaker 1: them happened before. But it's really been fascinating, amazing to 749 00:38:40,800 --> 00:38:44,279 Speaker 1: watch as your friend, this moment in time that your 750 00:38:44,440 --> 00:38:47,840 Speaker 1: career has brought you. I think it's also interesting that 751 00:38:47,920 --> 00:38:51,640 Speaker 1: there was that strike that God made everything weight, so everything. 752 00:38:51,320 --> 00:38:53,600 Speaker 2: It was like getting pulled back on a sling shot, 753 00:38:53,719 --> 00:38:56,800 Speaker 2: I bet because there was so it was such a 754 00:38:57,280 --> 00:38:59,440 Speaker 2: you know, the one thing I was bummed about. And 755 00:38:59,520 --> 00:39:01,800 Speaker 2: it's all, it's fine, it's all panned out fine, But 756 00:39:02,120 --> 00:39:04,240 Speaker 2: I really wanted to go to the Venice Film Festival 757 00:39:04,360 --> 00:39:05,960 Speaker 2: because you just don't get to do that every day. 758 00:39:05,960 --> 00:39:09,800 Speaker 2: And this show Bradley and Carrie and Steve would have 759 00:39:09,840 --> 00:39:12,400 Speaker 2: just been so cool, assuming they would have even invited me. 760 00:39:12,480 --> 00:39:16,520 Speaker 2: Who knows, but if they had. But other than that, 761 00:39:16,800 --> 00:39:19,520 Speaker 2: I had really kind of made this weird piece that 762 00:39:20,000 --> 00:39:21,480 Speaker 2: the work was just out in the world and it 763 00:39:21,600 --> 00:39:24,520 Speaker 2: was going to be what it was. Hopefully folks would 764 00:39:24,520 --> 00:39:27,239 Speaker 2: find the show, and the social media people from the 765 00:39:27,600 --> 00:39:30,520 Speaker 2: studios and networks would do their job and create awareness 766 00:39:30,560 --> 00:39:34,440 Speaker 2: however they do. And then all of a sudden, we 767 00:39:34,520 --> 00:39:37,239 Speaker 2: were unleashed, you know, we were unleashed. I mean, so 768 00:39:37,360 --> 00:39:40,200 Speaker 2: I just it was like, literally this strike ended. There 769 00:39:40,280 --> 00:39:41,960 Speaker 2: was a phone call the next hour. I was on 770 00:39:42,040 --> 00:39:44,640 Speaker 2: a plane the next day, and I have not stopped 771 00:39:44,680 --> 00:39:47,400 Speaker 2: since stop. It's been pretty wild. 772 00:39:47,719 --> 00:39:51,480 Speaker 1: So I just need to like acknowledge as we, I believe, 773 00:39:52,120 --> 00:39:54,719 Speaker 1: come to an end to our launch and we have 774 00:39:54,760 --> 00:39:58,480 Speaker 1: a big weekend ahead of us. To say, the fact 775 00:39:58,520 --> 00:40:02,120 Speaker 1: that you the generosity of Matt Bomer, if you've pulled 776 00:40:02,200 --> 00:40:05,360 Speaker 1: up a chair today, the fact that he's sitting with 777 00:40:05,560 --> 00:40:09,840 Speaker 1: me in a week where he we are celebrating a 778 00:40:09,920 --> 00:40:15,080 Speaker 1: milestone birthday for his husband, in a week where you 779 00:40:15,440 --> 00:40:18,200 Speaker 1: just had the Golden Globe weekend, which is prest Press 780 00:40:18,280 --> 00:40:22,880 Speaker 1: brass in a week where you're does not go unnoticed, unappreciated, 781 00:40:23,200 --> 00:40:26,040 Speaker 1: and really means the world to me that you would 782 00:40:26,040 --> 00:40:28,560 Speaker 1: take the time to sit and have just a sort 783 00:40:28,560 --> 00:40:32,360 Speaker 1: of quiet little lunch in a nook corner of La Bruce. 784 00:40:32,600 --> 00:40:34,360 Speaker 2: We could be in the middle of that Julia Roberts 785 00:40:34,440 --> 00:40:38,120 Speaker 2: movie and I would make the time for you. That's that, miss, 786 00:40:38,200 --> 00:40:40,319 Speaker 2: how deep my love for you and Brian and your 787 00:40:40,360 --> 00:40:40,879 Speaker 2: family goes. 788 00:40:40,960 --> 00:40:43,640 Speaker 3: Thanks so I love you, Matt, I love you too, 789 00:40:43,920 --> 00:40:47,120 Speaker 3: and thank you everyone for listening and you talk. 790 00:40:47,120 --> 00:40:47,800 Speaker 2: Thanks for having me. 791 00:40:48,160 --> 00:40:48,680 Speaker 3: You got it. 792 00:40:57,080 --> 00:40:59,919 Speaker 1: Table for two with Bruce Bossi is produced by iHeartRadio 793 00:41:00,120 --> 00:41:04,160 Speaker 1: seven three seven Park and Airmail. Our executive producers are 794 00:41:04,200 --> 00:41:08,400 Speaker 1: Bruce Bosi Nathan King. Our supervising producer and editor is 795 00:41:08,640 --> 00:41:12,520 Speaker 1: Dylan Fagan. Table for two is researched and written by 796 00:41:12,640 --> 00:41:16,960 Speaker 1: Jack Sullivan. Our sound engineers are Meil B. Klein, Jess Krainich, 797 00:41:17,400 --> 00:41:21,800 Speaker 1: Evan Taylor, and Jesse Funk. Our music supervisor is Randall Poster. 798 00:41:22,200 --> 00:41:25,080 Speaker 1: Our talent booking is done by Jane Sarkin. Table for 799 00:41:25,200 --> 00:41:28,880 Speaker 1: two Social media manager is Gracie Wiener. Special thanks to 800 00:41:29,000 --> 00:41:34,760 Speaker 1: Amy Sugarman, Uni Scherer, Kevin Yuvane, Bobby Bauer, Alison Kanter Graber, 801 00:41:35,200 --> 00:41:38,040 Speaker 1: Barbara Jen, Jeff Klein, and the staff at the Tower 802 00:41:38,160 --> 00:41:42,520 Speaker 1: Bar in the world famous Sunset Tower Hotel in Hollywood. 803 00:41:42,880 --> 00:41:48,080 Speaker 1: For more podcasts from iHeartRadio, visit the iHeartRadio app, Apple podcast, 804 00:41:48,640 --> 00:41:51,560 Speaker 1: or wherever you listen to your favorite shows.