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Speaker 1: Ridiculous Crime. It's a production of iHeartRadio.

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Speaker 2: Hello Elizabeth his Saron, I love you walk in there

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Speaker 2: and I'm like, hey, look, I gotta tell her his story,

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Speaker 2: and I hear you.

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Speaker 3: Laugh, and I'm always like about twenty thirty minutes late.

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Speaker 2: I was. I was gliding past that because I was

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Speaker 2: seven minutes late.

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Speaker 3: So who oh, okay, So, but.

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Speaker 2: I got a question for you while we're here, Yes, sir,

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Speaker 2: do you know what's ridiculous?

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Speaker 3: Oh? Do I what Heines Brazil?

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Speaker 2: What Heins Brazil?

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Speaker 3: The Brazilian arm of the Hines.

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Speaker 4: Ah, okay, they're wild now.

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Speaker 2: I thought that was one word, Heines of Brazil.

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Speaker 4: Hins Brazil.

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Speaker 3: It's like a German word that means something very specific,

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Speaker 3: you know when you get ketchup and it falls into

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Speaker 3: your decloete. I don't know. Okay, So the Brazilian arm

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Speaker 3: of Heines, Right, I've mentioned them before because they had

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Speaker 3: the whole thing with like the Hines tattoos and oh right, right,

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Speaker 3: I think there was ketchup in the rustard. Yeah whatever.

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Speaker 3: So they have this thing now called Heine grills. And

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Speaker 3: you're thinking, like, oh, meat cooked over flame, zeron, It's

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Speaker 3: not meat cooked over.

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Speaker 4: Flames, grills Z.

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Speaker 3: It's grills with it. It literally is grills with a Z.

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Speaker 3: And what it is is like gold teeth, right, a

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Speaker 3: grill for those uninitiated, like slip on slip on tooth,

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Speaker 3: but they don't have a full grill. They're doing the

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Speaker 3: single dirt bag tooth.

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Speaker 4: Oh, just like a gold cap, right, and so they.

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Speaker 3: Have there's three of them, Ketchup, mustard and mayonnaise. Yeah,

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Speaker 3: the ketchup has this is what it says, says a

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Speaker 3: blingy gold tooth with a red engraved HINZ keystone logo.

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Speaker 4: Oh.

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Speaker 3: Mustard is also gold accented with a splash of yellow

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Speaker 3: and twelve diamonds set into the engraving. And the Mayo

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Speaker 3: grill is the most minimal but the cleanest look a

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Speaker 3: single silver piece with a cutout of their keystone like logo.

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Speaker 2: Ye, so down state of Pennsylvania where they are located, right.

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Speaker 3: But I think there are two important things that need

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Speaker 3: to be mentioned here. One, I saw the to Kendrick

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Speaker 3: Lamar and Mustard's Yeah I got a bone to pit.

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Speaker 3: I uh saw this pop up on Instagram and then

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Speaker 3: within about an hour I was getting forwarded to me

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Speaker 3: from our Instagram ridiculous crime account. All the rude dudes

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Speaker 3: who saw this and were like, send this to Elizabeth.

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Speaker 3: So I love you all. Thank you. So there's so

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Speaker 3: many people and there you're all amazing.

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Speaker 2: Thanks guys.

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Speaker 3: But the other thing is that these are not for sale,

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Speaker 3: you know, just they're just for the Brazilian social media.

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Speaker 2: That's it.

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Speaker 3: That's it.

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Speaker 2: They're not even something you can purchase.

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Speaker 4: Like, I don't know if there's water purchase.

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Speaker 3: Maybe this is just like, yeah, maybe this is just

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Speaker 3: a feeler to see if everyone's like, wait, where do

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Speaker 3: I get this? I want to spend an enordan amount

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Speaker 3: of money?

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Speaker 2: This is their idea of a test ballon Like, hey,

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Speaker 2: what do you guys think?

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Speaker 4: Yeah, in this economy you want to want to hop

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Speaker 4: on that. Yeah?

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Speaker 3: And I so I'm going to guess that you know,

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Speaker 3: no one wants them. I think so except for Mustard.

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Speaker 2: I think he gets them free. Is any doing the

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Speaker 2: ads for them? Now?

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Speaker 3: Yeah, that's right he should.

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Speaker 2: So you know, a couple just says like, hey, thank you.

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Speaker 3: Man, Saron. That's ridiculous.

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Speaker 2: Oh brother, is it?

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Speaker 3: Brother?

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Speaker 5: No?

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Speaker 2: I got a question for you. What sit back down?

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Speaker 3: Oh crap?

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Speaker 2: Yeah? Do you know what else is ridiculous.

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Speaker 3: Yeah, I know, everything's ridiculous.

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Speaker 2: Yeah. Well, what we think of as a crime versus

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Speaker 2: what gets excused is like say, workplace drama. Yeah right,

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Speaker 2: Like today, I have an extreme example of this called

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Speaker 2: from Films and the onset antics of one David O. Russell.

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Speaker 2: Now he's the director who did iHeart Huckabees, Flirting with Disaster,

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Speaker 2: Three Kings, The Fighter, American Hustle, Silver Linings Playbook. Right,

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Speaker 2: you know him?

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Speaker 5: Right?

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Speaker 3: I had of Bradley Cooper in there.

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Speaker 2: Yeah yeah, Jason Schwartzman's all up in there. Lily Tomlin, doubles, Gay,

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Speaker 2: Jennifer something, Oh, Jennifer Lawrence, she's all up in there.

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Speaker 2: Yeah yeah, I left out another one Amsterdam. She thinks

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Speaker 2: she's in that one.

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Speaker 3: BBC.

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Speaker 2: Now, if you didn't know this, he has something of

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Speaker 2: a temper.

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Speaker 6: Oh really, Oh yeah, Oh I had no idea.

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Speaker 2: This is ridiculous crime. A podcast about absurd and outrageous

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Speaker 2: capers and cons. It's always what ninety nine percent murder

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Speaker 2: free and what one hundred percent ridiculous? Elizabeth Hollywood?

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Speaker 3: Oh god, bless or, what's a it?

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Speaker 5: You know?

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Speaker 2: I love it? In fact, I also well I started

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Speaker 2: out wanting to be a film director. You know this,

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Speaker 2: I'd still like to direct a film. So I read

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Speaker 2: the trades. I follow the onset news, and that means,

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Speaker 2: of course you hear about all the onset drama, because

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Speaker 2: that's what we published these days, like oh yeah, so

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Speaker 2: and so, slap so and so. Oftentimes though on set

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Speaker 2: dramas with directors okay, yeah, Well there was a moment there,

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Speaker 2: a brief moment it looked like Hollywood might reconsider all

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Speaker 2: the bad behavior of various film producers and directors and

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Speaker 2: so forth right and work to reduce such abuses in

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Speaker 2: the future. Instead, they invented intimacy coordinators and just kept

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Speaker 2: it moving. So but rather than talk about all the

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Speaker 2: mini abuses on set that go with the me too

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Speaker 2: era and on and off sets in Hollywood that you

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Speaker 2: know that motivated that, I thought we could look next

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Speaker 2: door at the bad behavior of film directors who abuse

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Speaker 2: their actors on set, but not that way, I mean

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Speaker 2: more like verbally abusing them, physically fighting them, and just

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Speaker 2: mentally beating them cruelly. We take a look at how

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Speaker 2: that behavior gets excused in the name of genius. Because

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Speaker 2: a could be considered a crime often and what some

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Speaker 2: of these directors do on these sets, and b it's

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Speaker 2: typically ridiculous. So it really hits right in that sweet

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Speaker 2: spot for us. Elizabeth, you've ever been on a film.

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Speaker 3: Set, I've not, No, you know, I used to when

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Speaker 3: you can talk about reading the trades, and like when

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Speaker 3: I was like in high school, I got variety totally,

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Speaker 3: and it was all about like, I want to make

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Speaker 3: movies do yeah, And I'm minored in film all right.

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Speaker 3: But then the more I learned about it, about the business,

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Speaker 3: and the more I learned about me and the people,

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Speaker 3: that I have a poet's soul and empower. Yeah. I

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Speaker 3: mean in in college, you pet, I took fiction workshop

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Speaker 3: and everyone was so mean to each other and just

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Speaker 3: tearing each other down. And then I took a poetry

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Speaker 3: workshop and everyone was just in love with language and

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Speaker 3: very supportive. Even when it wasn't so great, people would

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Speaker 3: be very supportive and help the author, the poet get

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Speaker 3: to a place where it was it was good, right.

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Speaker 2: Very loving, supportive and total shift.

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Speaker 3: These are my people. And so I think you were

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Speaker 3: telling me not too long ago that there are novelists

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Speaker 3: who are also poets, but there are poets who are novelists,

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Speaker 3: and I think I.

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Speaker 2: Fall you're the poet who is a novelist.

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Speaker 3: Yeah, that's why I would describe you the people not

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Speaker 3: very commercial.

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Speaker 2: No, well exactly, it's kind of we're having a conversation

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Speaker 2: about marketability, and essentially the novelists who are poets, you know,

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Speaker 2: they can they can sell, and then the poets are

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Speaker 2: a novelists. It's like good luck as you're starting from poetry.

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Speaker 2: And that's not something I think about a market.

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Speaker 3: I couldn't hang Hollywood style, that's all market right, and

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Speaker 3: it's just I'm too tender.

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Speaker 2: Yes you are a sweet blossom, but delicate orchid. Yeah,

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Speaker 2: And I don't think like, well the film said that.

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Speaker 2: I thing that always keep in mind is that the

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Speaker 2: director is like, god, yeah, they can do pretty much whatever.

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Speaker 3: They want a ton yeah.

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Speaker 2: Yeah, and TV sets as well and so forth. And

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Speaker 2: I've seen like in TV sets you'll hear the voice

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Speaker 2: of the director because they're like going to control room

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Speaker 2: looking at it like the string. They'll be down there

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Speaker 2: for blocking and setting up. But then once you're shooting,

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Speaker 2: they're off and they're watching on the screens and they're

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Speaker 2: in front of a control back. So you just hear

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Speaker 2: their voices, the voice of God they call it, and

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Speaker 2: you're like talking to the air when you're responding to

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Speaker 2: the director's interesting. Yeah, but on film sets, obviously they're

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Speaker 2: right there. Sometimes they're blow the camera staring at you.

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Speaker 2: We'll get into that in a second, but my point

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Speaker 2: is is, like, it's wild the power directors have on

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Speaker 2: a set and they are allowed, also producers, but especially directors. Right,

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Speaker 2: it's basically this morality, ethics free zone that they run. Right,

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Speaker 2: So what happens is that the attitude of them being

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Speaker 2: a genius gets glamorized, lion eyed, legitimized, and you end

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Speaker 2: up with directors like James Cameron, who is very famous

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Speaker 2: in town for getting his crew shirt to wear on

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Speaker 2: his sets and the shirt mocked his reputation. That was

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Speaker 2: like a whole like you know, in joke for the

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Speaker 2: set and it was basically about him being a task master.

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Speaker 2: And the t shirt's read, you can't scare me. I

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Speaker 2: work for James Cameron. Oh so it's like bluster. I've

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Speaker 2: been so abused from like tough leather.

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Speaker 5: Now.

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Speaker 2: So now there's another au Tour director, Quentin Tarantino. He's

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Speaker 2: a no not just as a foot fetishi on his

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Speaker 2: film sets. The man likes feet, Yes he does, and

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Speaker 2: he likes you to know it, and he wants you

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Speaker 2: to take part with him. I'm like, bro, what is

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Speaker 2: this that feet on the dashboard? Yeah? Yeah, So he's

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Speaker 2: also a bit of a tyrant apparently. And that's not

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Speaker 2: me saying that, that's Jamie Fox's words. He said that

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Speaker 2: to Howard Stern. I guess when he was on the

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Speaker 2: set of Jango Unchained, he was trying to do like

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Speaker 2: a whole like blaxploitation vibe when he first got there.

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Speaker 2: I mean, that's what he was told with the vibe

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Speaker 2: like Tarantino when they were first doing the casting. And

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Speaker 2: then Quentin sees him acting like Jim Brown, you know,

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Speaker 2: and like Fred the Hammer Williamson, and he just goes

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Speaker 2: in on Jamie Fox. As Fox told Howard Stern and

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Speaker 2: I quote, I was just getting to learn Quentin Tarantino,

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Speaker 2: so he was again a tyrant. Now for evidence of this,

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Speaker 2: he recalled how Tarantino yelled at him about coming onto

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Speaker 2: the film like he'd been shaken out of a blaxploitation flick. Yeah,

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Speaker 2: and Tarantino apparently yelled at him in front of people

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Speaker 2: do not my film up, You're not Jim Brown.

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Speaker 3: Well, Jamie FOXX could be excused seeing the rest of

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Speaker 3: the like.

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Speaker 2: Oh yeah, but until that point, right, it's basically a

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Speaker 2: rip off a black sploica. I thought this is what

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Speaker 2: you wanted. Yeah, he's like, no, this is a Western

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Speaker 2: or I guess a Southern. Anyway, when Tarantino, UH meant

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Speaker 2: by what that was the character Django needed to grow.

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Speaker 2: He needed to have a character arc car Quentin's language

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Speaker 2: quote he's a slave and then and then he becomes the.

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Speaker 4: Hero to lose that.

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Speaker 2: That was a direct quote.

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Speaker 3: So they're nicer way to say, right, this.

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Speaker 2: Is what I'm talking about. You just wait, Elizabeth. Jamie

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Speaker 2: fox did off rep rationalization for Tarantino coming at him

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Speaker 2: like that. He said, and I quote, that's what you want.

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Speaker 2: You want a director who even if you're going to

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Speaker 2: go off the cliff, you know that you're going off

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Speaker 2: that cliff. I can see they're like, I want to

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Speaker 2: be beaten up his time. Yeah, I'm sure you you know.

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Speaker 2: I know what he means. You want passion from an artist, right,

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Speaker 2: and he we expect it from our great artists. But like,

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Speaker 2: what about say a director like Michael Bay. Yeah, like

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Speaker 2: of Transformers fan right now. Megan Fox once compared his

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Speaker 2: directing style to Adolf Hitler. Oh god, yeah, which seemed

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Speaker 2: a bit hyperbolic at the time, But I mean, how

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Speaker 2: much abuse should a person have to take on the

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Speaker 2: film set from the director of Transformers three? I mean,

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Speaker 2: so to answer that, we turned two. Friend of the show,

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Speaker 2: Ben Affleck, he once quite famously worked with Michael Bay

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Speaker 2: on Armageddon nineteen ninety eight. They worked together, right to

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Speaker 2: make that action blockbuster, and let me tell you, Ben

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Speaker 2: Affleck hated it. So, I mean even Bruce Willis said

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Speaker 2: that Michael Bay, well, he called Michael Bay quote a

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Speaker 2: screaming director. And then like after AMAgeddon was all done

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Speaker 2: and wrapped and he was like supposed to be doing publicity,

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Speaker 2: he was asked about it and he's like, few people

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Speaker 2: will work with him now, and I know I will

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Speaker 2: never work with him again.

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Speaker 3: Can't yell at Bruce no, right.

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Speaker 2: Now, Ben Affleck, he got singled out very particular abuse, like,

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Speaker 2: for instance, Michael Bay couldn't stand his teeth. He hated

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Speaker 2: Ben Affleck' oversized choppers just fixated on it, right, So

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Speaker 2: he made him go get dental work. Now, there are

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Speaker 2: reports that Ben Affleck got forty hours worth of dentistry

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Speaker 2: in a one week stretch. He was there, Like, yeah,

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Speaker 2: because a full time job just eight hours every day.

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Speaker 2: Let's let's get into it.

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Speaker 3: Dog what interrnation?

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Speaker 2: I don't know.

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Speaker 3: Could they do because he he didn't like the the

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Speaker 3: Veneers right? So did they have to read I.

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Speaker 2: Don't know, chisel them off? I have no idea.

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Speaker 3: I have a problem with the fact that Ben Affleck

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Speaker 3: doesn't seem to be able to close his mouth. You

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Speaker 3: do have a problem with, yes, And I love him

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Speaker 3: to death, Ben, I.

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Speaker 2: Love you, friend of the show. I love Ben. But

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Speaker 2: he barely wasn't let out of the dental chair until

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Speaker 2: Michael Bay was like happy with his dad is which

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Speaker 2: seems cruel and unusual. Yeah, yeah, I think both the

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Speaker 2: Geneva Convention and the Constitution.

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Speaker 3: If your boss, if Admiral iHeart came up to me

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Speaker 3: and it's like, Elizabeth, your face is just a.

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Speaker 2: Mess, strapping your cosmetology.

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Speaker 3: You until work, and it's out of pocket for you

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Speaker 3: because you don't didn't build that into the budget.

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Speaker 2: Yeah, probably not.

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Speaker 3: And you're going to be in pain, but it is

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Speaker 3: to keep this job.

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Speaker 2: But this is because I want to make my blockbuster.

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Speaker 2: It's really just me. I'm bothered by them. No one

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Speaker 2: else in the audience will ever notice this, but I

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Speaker 2: can't have it.

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Speaker 3: Yeah, yeah, who are you?

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Speaker 2: My favorite fun factor in the film comes from the

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Speaker 2: DVD commentary, which, by the way, Ben Affleck does and

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Speaker 2: it's brilliant, Like, just watch it. It's hilariously and I'm

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Speaker 2: not even kidding. At one point, he tells the story

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Speaker 2: how we asked Michael Bay about the central plot of

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Speaker 2: the film, and one might call a major plot hole.

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Speaker 2: Affleck asked Michael Bay, wouldn't it be easier to train

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Speaker 2: astronauts to drill rather than to train roughnecks to be astronauts?

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Speaker 2: And Michael Bay's response was shut them up.

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Speaker 7: So.

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Speaker 2: Another film director who was also known to be a

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Speaker 2: magician of cruelty, constantly pulling new rabbits of abuse out

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Speaker 2: of his hat, is David Fincher. Oh really, Oh yeah?

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Speaker 2: Did you like a two thousand and seven films Zodiac

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Speaker 2: about the Zodiac Killer movie? Yeah? And the reporter from

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Speaker 2: the San Francisco Chronicle who tried to find him. Now,

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Speaker 2: I guess it was no easy feat getting those performances

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Speaker 2: out of Robert Downey Junior and Jake Jillenhall because Fincher

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Speaker 2: beat them like a rented mule, just psychologically. Really, he

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Speaker 2: would sometimes demand regularly up to seventy takes just to

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Speaker 2: get a take he likes.

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Speaker 3: Seventy seventy.

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Speaker 2: Yeah. Sometimes he made Jake Jillenhall do take after take

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Speaker 2: after take until he didn't think he could humanly emote

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Speaker 2: another take, and then to motivate him, Fincher would show

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Speaker 2: him his last take, and since they were shooting on digital,

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Speaker 2: he would just erase the take right there in front

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Speaker 2: of him. Oh yes, And then he did it, not

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Speaker 2: just that one, but like multiple takes, like we're getting

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Speaker 2: rid of this one, this one, this one, this one

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Speaker 2: is erasing his work in front of him.

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Speaker 3: Imagine you come home, I can't wait. Imagine that a

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Speaker 3: bag of groceries. If you walk in the door and

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Speaker 3: you take him to the kitchen and then someone says, cut,

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Speaker 3: do it again. If you had to do that seventy.

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Speaker 2: Times, what could be different between fifty eight and sixty eight.

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Speaker 2: So things got so bad, Jake Jillenhall broke down in tears,

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Speaker 2: and later on Fincher admitted that he erased the takes

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Speaker 2: in front of Jake as part of an art experiment,

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Speaker 2: just to see how many takes he had to erase

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Speaker 2: before Jake would cry. What that's Swear to God, he's

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Speaker 2: that's his.

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Speaker 3: Did he need him in rationalization for that scene.

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Speaker 2: No, he just wanted to like make Jake Jills all cry.

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Speaker 2: And he also had Robert Downey Junior, who was no

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Speaker 2: slouch as an actor. He didn't suffer through as many

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Speaker 2: multiple takes apparently, but he had to rebel against the

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Speaker 2: director on set because he was thought of him as

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Speaker 2: a tyrant. So the guy was demanding that the cast

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Speaker 2: and the crew not take breaks. He wanted them to

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Speaker 2: stay in focus, you know, and whatever. So out of

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Speaker 2: spite in dramatic excess, Robert Downey Junior started to piss

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Speaker 2: in Mason jars and just leave his jars around. They

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Speaker 2: could urine all around.

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Speaker 3: He couldn't even go to the bath.

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Speaker 2: No, he wouldn't have let him go to his trailer.

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Speaker 2: So like he's basically like the love child of Johnny

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Speaker 2: Applested and Howard Hughes, just dropping everywhere, Mason jars of

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Speaker 2: urine everywhere, which is fun. Now, I don't want you

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Speaker 2: to think that this is just male directors who are jerks,

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Speaker 2: because women could be times to Elizabeth exhibit a barber

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Speaker 2: strides in back in nineteen ninety six, she was making

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Speaker 2: a movie called The Mirror Has Two Faces, Right, Yeah,

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Speaker 2: And she'd already made Entil Prince of Tides, and she's

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Speaker 2: riding this wave of critical hand box office success. Right,

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Speaker 2: so then she makes A Mirror Has Two Faces And

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Speaker 2: it was apparently a bit of a nightmare set, Like

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Speaker 2: what kind of nightmare set? Great question is a good question.

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Speaker 2: For one, there was what insiders called the Wall of Crosses.

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Speaker 2: Now in one of the production offices, they'd hung up

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Speaker 2: crosses for everyone who'd been fired from the set. There

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Speaker 2: were at least twenty crucifixes hung on the wall, and

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Speaker 2: there was like one for like what. There was one

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Speaker 2: cross for Dudley Moore, he was an actor who was

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Speaker 2: fired from the movie for blowing his lines. There was

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Speaker 2: another crucifix for Dante Spinoti. If you don't know, he's

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Speaker 2: the cinematographer from like a lot of Michael Mann movies,

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Speaker 2: like Last Mohicans, and he really guy. Yeah, and so

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Speaker 2: he wasn't fired, though he resigned after as one insider

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Speaker 2: told The New York Times quote, taking a tremendous amount

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Speaker 2: of abuse.

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Speaker 3: For the Mirror has two faces.

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Speaker 2: For the cinematography of a mirror, like we're not talking

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Speaker 2: like there's explosions and extras in danger and no, it's

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Speaker 2: just like I'd like the plush carpet to look more plush.

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Speaker 2: So another production insider, speaking on condition of anonymity, like

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Speaker 2: he's a DC power player like off the record, told

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Speaker 2: The New York Times quote, Striys had loves living in chaos.

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Speaker 2: Everything has to be tortured. She's frustrated about everything. It's

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Speaker 2: all me, me, me. She shows up late constantly, which

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Speaker 2: I think is unprofessional. She's tired. I know she's tired.

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Speaker 2: Now they sent in to combat such narrative someone else

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Speaker 2: to speak to The New York Times for the same story,

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Speaker 2: because you know, and they're basically a spokesperson for the film.

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Speaker 2: So they speak with The Times. And they did not

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Speaker 2: request anonymity obviously because they're a spokesperson. Which is great though,

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Speaker 2: because this name is incredible, especially for someone in his

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Speaker 2: line of work. The Mirror has two faces. Spokesperson's name

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Speaker 2: was Ken Sunshine, Ken Sunshine, Ken Sunshine and He told

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Speaker 2: The New York Times rather confidently that missus streisand feels

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Speaker 2: great about this movie. She's killing herself, but she's having

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Speaker 2: a great time doing it, which is like Ken Sunshine

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Speaker 2: has an amazing name, but not good at his job, but.

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Speaker 3: He's so full of sunshine. He's a sunshine boy in

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Speaker 3: the morning.

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Speaker 2: Thrown sunshine up here. Now, you never want to say

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Speaker 2: your client is killing themselves and having a great time

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Speaker 2: doing it.

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Speaker 3: Yeah, because what do we need to get her help?

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Speaker 2: The New York Times one hundred percent is gonna run

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Speaker 2: with that sound by now if you want to take

395
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Speaker 2: the approach of a smooth industry veteran like Piers Brosnan,

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Speaker 2: who was in the film, and he also he talked

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Speaker 2: to The New York Times and he blamed sexism for

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Speaker 2: any reports of bad behavior on the film set. He said,

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Speaker 2: I've watched mal directors spit out the dummy and throw

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Speaker 2: tantrums on set and nobody says a peep. So just

401
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Speaker 2: an important point. Yeah, he also had more to say.

402
00:18:33,320 --> 00:18:35,720
Speaker 2: Brosden added, and I quote, I had a great time

403
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Speaker 2: with the woman. She gets the job done. She's precise,

404
00:18:38,160 --> 00:18:42,760
Speaker 2: kind and aware. There's only one barber streisand but Elizabeth

405
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Speaker 2: Piers Brosnan still ain't done. He had even more to say.

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Speaker 2: He also added that rumors of onset antics are often

407
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Speaker 2: sour grapes. Oh yeah, or is he put it quote?

408
00:18:51,040 --> 00:18:54,760
Speaker 2: Usually the crap you hear comes from frightened, insecure people.

409
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Speaker 2: As we all know, scared dogs bite. At the end

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Speaker 2: of the day, if this picture makes big bucks, no

411
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Speaker 2: one's going to give a flying whatever about how it

412
00:19:01,800 --> 00:19:06,320
Speaker 2: got made big bucks. The two sides to any story,

413
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Speaker 2: they like to say. But then again, there sometimes wants

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Speaker 2: there you go, he's a jobber.

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Speaker 3: I mean, if you say, who has more pull at

416
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Speaker 3: that time?

417
00:19:14,440 --> 00:19:18,119
Speaker 2: Oh yeah, Barbara strives Barbara. Oh yeah, yeah, it was

418
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Speaker 2: definitely run in second.

419
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Speaker 3: When he comes to the bread.

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Speaker 2: But so h there you go. That's, as I say,

421
00:19:26,080 --> 00:19:27,680
Speaker 2: you know, the two sides of the story. He wanted

422
00:19:27,680 --> 00:19:29,560
Speaker 2: to cover both sides. He wanted people to know that

423
00:19:29,600 --> 00:19:31,560
Speaker 2: it's like, hey, it's not everything you hear is true.

424
00:19:32,000 --> 00:19:34,560
Speaker 2: But then again, there are sometimes when, even by Hollywood's

425
00:19:34,640 --> 00:19:37,040
Speaker 2: very lax standards, you got a film director who crosses

426
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Speaker 2: the lines so egregiously so often you have to wonder,

427
00:19:41,040 --> 00:19:44,080
Speaker 2: how is none of this a crime? So let's take

428
00:19:44,080 --> 00:19:46,399
Speaker 2: a little break, and then after these messages we'll get

429
00:19:46,440 --> 00:19:49,080
Speaker 2: into the art and crimes of David o' russell, a

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Speaker 2: tyrant among filmmakers. Yeah, Elizabeth Saron, we're back.

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Speaker 3: Hey.

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Speaker 2: You ready to talk about a film director who makes

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Speaker 2: other film directors say? Well, at least I'm not him?

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Speaker 4: Yes, Oh no, Do you like.

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00:20:19,000 --> 00:20:21,240
Speaker 2: David o' russell, or at least do you like his movies?

436
00:20:21,400 --> 00:20:22,880
Speaker 3: I don't really think I have an opinion.

437
00:20:23,160 --> 00:20:26,320
Speaker 2: Okay, what do you know about David Russell personally?

438
00:20:27,080 --> 00:20:30,040
Speaker 3: I know that his middle name is oh.

439
00:20:29,520 --> 00:20:31,840
Speaker 2: Oh oh o'reiley.

440
00:20:31,880 --> 00:20:33,920
Speaker 3: His bologney has a first name.

441
00:20:34,119 --> 00:20:38,440
Speaker 2: Yeah. Actually his middle name oh is Sands for Owen Owen. Yeah,

442
00:20:38,560 --> 00:20:39,760
Speaker 2: David Owen Russell.

443
00:20:39,880 --> 00:20:40,280
Speaker 3: Okay.

444
00:20:40,480 --> 00:20:42,359
Speaker 2: Yeah. He was born in New York, raised by his father,

445
00:20:42,480 --> 00:20:44,800
Speaker 2: Bernard Salesman, who worked as a way up to vice

446
00:20:44,800 --> 00:20:47,720
Speaker 2: president at Simon Schuster. Oh, I'm big in the publishing world.

447
00:20:47,720 --> 00:20:50,240
Speaker 2: Apparently his mother also worked there as a secretary. Not

448
00:20:50,280 --> 00:20:52,920
Speaker 2: as big in the publishing world. Apparently his father was

449
00:20:53,000 --> 00:20:56,560
Speaker 2: Jewish Russian Jewish family mother was from an Italian American descent.

450
00:20:57,200 --> 00:20:59,000
Speaker 2: He first started out to be a writer, obviously, because

451
00:20:59,000 --> 00:21:01,080
Speaker 2: he's in publishing and rice around publishing, and but then

452
00:21:01,160 --> 00:21:03,000
Speaker 2: he also had this hankering to make films, and so

453
00:21:03,040 --> 00:21:04,520
Speaker 2: when he was a kid, like when he was thirteen,

454
00:21:04,560 --> 00:21:07,480
Speaker 2: he makes his first film, super eight short film, and

455
00:21:07,800 --> 00:21:09,960
Speaker 2: he's a natural artist. He finds he's like, he can

456
00:21:10,119 --> 00:21:13,160
Speaker 2: speak the grammar of film. Then you know, but he's

457
00:21:13,160 --> 00:21:15,159
Speaker 2: also something of a rebel. Like in high school he

458
00:21:15,240 --> 00:21:17,240
Speaker 2: was actually literally voted the class rebel.

459
00:21:17,800 --> 00:21:21,000
Speaker 3: Well, yeah, if you're really a rebel.

460
00:21:20,760 --> 00:21:23,600
Speaker 2: You're not voted the class voted classbel. So then he

461
00:21:23,640 --> 00:21:26,040
Speaker 2: goes off the class rebel, goes off to college at Amherst,

462
00:21:26,200 --> 00:21:33,680
Speaker 2: studies English science. But you have to give him this Elizabeth.

463
00:21:33,720 --> 00:21:36,240
Speaker 2: After college, he went down to Nicaragua and got involved

464
00:21:36,240 --> 00:21:38,199
Speaker 2: in the struggle there, which at the time meant he

465
00:21:38,280 --> 00:21:43,439
Speaker 2: taught literacy at a San Denista camp. He like, wow,

466
00:21:43,680 --> 00:21:45,840
Speaker 2: so yeah, there you go at him.

467
00:21:46,160 --> 00:21:48,080
Speaker 3: He came around on the rebel thing.

468
00:21:48,720 --> 00:21:50,520
Speaker 2: I think maybe he scared himself because when he came

469
00:21:50,520 --> 00:21:53,080
Speaker 2: back to America, he became a bartender. He's like, okay,

470
00:21:53,080 --> 00:21:55,400
Speaker 2: I'm gonna go running back to America. Then that's where

471
00:21:55,400 --> 00:21:58,000
Speaker 2: he worked with other artistic hopefuls in New York. For instance,

472
00:21:58,000 --> 00:21:59,879
Speaker 2: some of his co workers would become members of the

473
00:22:00,000 --> 00:22:00,720
Speaker 2: Blue Man group.

474
00:22:01,080 --> 00:22:03,840
Speaker 3: You love them, God do I Now.

475
00:22:03,960 --> 00:22:07,240
Speaker 2: In the late eighties, he starts making for movies, documentaries

476
00:22:07,240 --> 00:22:09,080
Speaker 2: at first, and then later he works with Betty Davis

477
00:22:09,080 --> 00:22:10,840
Speaker 2: and making of this little short film which is like

478
00:22:10,880 --> 00:22:13,760
Speaker 2: wow to me. Later indie films that were like darlings

479
00:22:13,760 --> 00:22:15,840
Speaker 2: of the film festival circuit. He gets known for his

480
00:22:15,840 --> 00:22:19,320
Speaker 2: film Spanking the Monkey. When he'd originally planned on making

481
00:22:19,320 --> 00:22:21,119
Speaker 2: this movie about a guy who works as a fortune

482
00:22:21,160 --> 00:22:23,879
Speaker 2: cookie writer. He goes to the NEA, the National domen

483
00:22:23,960 --> 00:22:25,720
Speaker 2: of Arts. He g asked them to like, you know,

484
00:22:25,720 --> 00:22:27,439
Speaker 2: give him a grant to make Zindi film. They give

485
00:22:27,520 --> 00:22:29,520
Speaker 2: him the grant, and then he makes a movie about

486
00:22:29,520 --> 00:22:33,240
Speaker 2: a mother's son in sestuous relationship. They'll switch through a

487
00:22:33,280 --> 00:22:36,120
Speaker 2: little bit of a challenging film. It was a comedy, dark,

488
00:22:36,240 --> 00:22:38,840
Speaker 2: dark comedy. When the NEA saw it, they're like, give

489
00:22:38,920 --> 00:22:41,160
Speaker 2: us back the money. Yeah, he hate him, give him

490
00:22:41,160 --> 00:22:43,320
Speaker 2: back the money. And he did. Now despite well, I.

491
00:22:43,320 --> 00:22:45,720
Speaker 3: Mean, here's the thing that with grant money, it's very

492
00:22:45,760 --> 00:22:48,840
Speaker 3: specific it's for and then how you have to.

493
00:22:48,840 --> 00:22:51,560
Speaker 2: Account for, Like I don't see any fortune c being

494
00:22:51,600 --> 00:22:55,560
Speaker 2: written in this story exactly. Despite the high ick factor,

495
00:22:55,600 --> 00:22:58,120
Speaker 2: this film was included in the Sundance Film Festival and

496
00:22:58,160 --> 00:23:01,640
Speaker 2: it won the Audience Award, So try to make sense

497
00:23:01,680 --> 00:23:04,240
Speaker 2: of that. Right after that, David Russell goes off to Hollywood.

498
00:23:04,240 --> 00:23:06,520
Speaker 2: Hollywoods oh opens up the doors, like, come in, you know,

499
00:23:06,640 --> 00:23:09,400
Speaker 2: do some weird stuff here. Nineteen ninety six, he makes

500
00:23:09,440 --> 00:23:12,400
Speaker 2: his first Hollywood movie, a little film called Flirting with Disaster.

501
00:23:12,840 --> 00:23:15,480
Speaker 2: I've mentioned this movie before. I recommend it. I don't

502
00:23:15,480 --> 00:23:16,639
Speaker 2: know if it holds up. I haven't seen it in

503
00:23:16,680 --> 00:23:18,080
Speaker 2: a while, but if you need a life, it's usually

504
00:23:18,080 --> 00:23:20,240
Speaker 2: pretty good. It's worth it just to see Richard Jenkins

505
00:23:20,520 --> 00:23:22,679
Speaker 2: play a federal agent and at one point he slipped

506
00:23:22,720 --> 00:23:25,160
Speaker 2: acid and then he disappears. Then he's found much later

507
00:23:25,240 --> 00:23:27,840
Speaker 2: running around in the desert in his underwear, tripping on acid,

508
00:23:28,040 --> 00:23:29,879
Speaker 2: talking about the oneness of it all, and it's just

509
00:23:29,960 --> 00:23:33,280
Speaker 2: Richard Jenkins is brilliant. So for that alone, anyway, after

510
00:23:33,320 --> 00:23:35,680
Speaker 2: that movie did reasonably well. In nineteen ninety nine, he

511
00:23:35,720 --> 00:23:38,120
Speaker 2: makes his next movie, Three Kings. You remember that one.

512
00:23:38,240 --> 00:23:41,040
Speaker 2: That's a good movie star George Clooney, Marky, Mark Wahlberg,

513
00:23:41,160 --> 00:23:44,040
Speaker 2: Ice Cube, and Sophia Coppola's ex husband Spike Jones. That's

514
00:23:44,080 --> 00:23:46,280
Speaker 2: right now. There are Army GI's in the ninety one

515
00:23:46,640 --> 00:23:49,000
Speaker 2: Iraq War. They try to steal a bunch of Saddamusay's

516
00:23:49,080 --> 00:23:51,959
Speaker 2: stolen gold. And the film has this great energy, all

517
00:23:51,960 --> 00:23:54,760
Speaker 2: this experimental filmmaking. The look is crazy. He's using like

518
00:23:54,960 --> 00:23:57,760
Speaker 2: washed out processes. And it's also the first instance when

519
00:23:57,840 --> 00:24:00,640
Speaker 2: David Russell fought one of the stars of his film.

520
00:24:00,440 --> 00:24:01,200
Speaker 3: Ooh which one.

521
00:24:01,280 --> 00:24:03,720
Speaker 2: Yeah, it was David Russell versus George Clooney.

522
00:24:04,040 --> 00:24:04,960
Speaker 3: Oh, that's interesting.

523
00:24:05,000 --> 00:24:07,080
Speaker 2: The fight went down in nineteen ninety eight. George Clooney

524
00:24:07,240 --> 00:24:08,800
Speaker 2: was at the time King of TV, the star of

525
00:24:09,080 --> 00:24:10,920
Speaker 2: R He's at this point trying to the securest place

526
00:24:10,920 --> 00:24:13,040
Speaker 2: in movies. So he's doing this is his third film.

527
00:24:13,359 --> 00:24:16,400
Speaker 2: He's also keep in mind a former high school quarterback

528
00:24:16,680 --> 00:24:18,919
Speaker 2: who was known to stand up for the little guy. Yeah,

529
00:24:18,960 --> 00:24:21,359
Speaker 2: so he's both a physical specimen and then also somebody

530
00:24:21,359 --> 00:24:23,640
Speaker 2: who has got a strong backbone. So man a principle

531
00:24:23,640 --> 00:24:25,960
Speaker 2: in a world with questionable ethics, is what I'm saying.

532
00:24:26,200 --> 00:24:28,600
Speaker 2: So he's ripe to fight David o' russell.

533
00:24:28,720 --> 00:24:28,920
Speaker 5: Yeah.

534
00:24:29,160 --> 00:24:31,720
Speaker 2: Now, the author Sharon Waxman, she has a book called

535
00:24:31,760 --> 00:24:34,080
Speaker 2: Rebels on the Back Loot, great book, and she records

536
00:24:34,119 --> 00:24:36,720
Speaker 2: the events in her book, and in her account, she says,

537
00:24:36,800 --> 00:24:41,280
Speaker 2: David Russell got so heated he actually headbutts George Clooney. Yeah.

538
00:24:41,320 --> 00:24:43,360
Speaker 2: In her response, yeah, Clooney, then get well, I don't

539
00:24:43,400 --> 00:24:45,040
Speaker 2: want to ruin the whole story, but the truth of

540
00:24:45,040 --> 00:24:48,560
Speaker 2: the matter, what did actually happen? Well, what's not rumor

541
00:24:48,640 --> 00:24:51,600
Speaker 2: what is fact? What happened on that film set that day? Well,

542
00:24:51,600 --> 00:24:54,760
Speaker 2: we do have George Clooney's version of events, because he

543
00:24:54,800 --> 00:24:56,919
Speaker 2: told the whole story to Playboy back in two thousand.

544
00:24:57,200 --> 00:25:00,159
Speaker 2: Playboy asked Clooney why he'd wanted to work with the

545
00:25:00,160 --> 00:25:04,080
Speaker 2: mercurial filmmaker, and Clooney said, quote, David Russell wrote as

546
00:25:04,080 --> 00:25:06,200
Speaker 2: good as a script as I've ever read. I thought

547
00:25:06,240 --> 00:25:08,320
Speaker 2: to get it. He wanted a lot of other actors

548
00:25:08,359 --> 00:25:11,480
Speaker 2: before me. They went to mel and to Nick Cage.

549
00:25:11,800 --> 00:25:13,800
Speaker 2: I wanted to work on this movie. David is in

550
00:25:13,800 --> 00:25:16,320
Speaker 2: many ways a genius, though I learned he's not a

551
00:25:16,400 --> 00:25:19,440
Speaker 2: genius when it comes to people skills. Now, the natural

552
00:25:19,520 --> 00:25:22,360
Speaker 2: follow up question is right there. Yes, And luckily Playboy

553
00:25:22,480 --> 00:25:24,159
Speaker 2: was on it, and they said did you learn that

554
00:25:24,200 --> 00:25:26,760
Speaker 2: the hard way? And Clindey then goes into the whole

555
00:25:26,800 --> 00:25:28,399
Speaker 2: deal of what went down on the film set, and

556
00:25:28,720 --> 00:25:31,480
Speaker 2: he says, and I quote I did. He yelled and

557
00:25:31,480 --> 00:25:34,760
Speaker 2: screamed at people all day from day one, at me often,

558
00:25:35,000 --> 00:25:38,040
Speaker 2: and at someone daily. He throw off his headset and

559
00:25:38,080 --> 00:25:41,760
Speaker 2: scream today the sound department me for me, it came

560
00:25:41,800 --> 00:25:44,840
Speaker 2: to a head a couple of times. Now, Elizabeth, if

561
00:25:44,840 --> 00:25:48,080
Speaker 2: you were wondering, the natural showman Clooney doesn't waste this setup.

562
00:25:48,119 --> 00:25:50,119
Speaker 2: He then follows up with a few examples of what

563
00:25:50,200 --> 00:25:52,439
Speaker 2: it means to coming to a head with George Clooney.

564
00:25:52,520 --> 00:25:53,119
Speaker 3: Yeah.

565
00:25:53,160 --> 00:25:55,359
Speaker 2: Once he went after a camera car driver who I

566
00:25:55,440 --> 00:25:57,159
Speaker 2: knew from high school. I had nothing to do with

567
00:25:57,280 --> 00:26:00,000
Speaker 2: him getting a job, but David began yelling and scream

568
00:26:00,200 --> 00:26:02,200
Speaker 2: he had him and embarrassing him in front of everybody.

569
00:26:02,200 --> 00:26:04,520
Speaker 2: I told him, you can yell and scream and even

570
00:26:04,600 --> 00:26:07,320
Speaker 2: fire him, but what you can't do is humiliate him

571
00:26:07,359 --> 00:26:09,199
Speaker 2: in front of people not on my set. If I

572
00:26:09,240 --> 00:26:11,200
Speaker 2: have any say about it, like I said, the guy's

573
00:26:11,200 --> 00:26:11,720
Speaker 2: got it back for.

574
00:26:11,800 --> 00:26:12,119
Speaker 5: You, right.

575
00:26:12,359 --> 00:26:15,199
Speaker 2: Yeah, Back to Clooney. Another time he screamed at the

576
00:26:15,200 --> 00:26:17,600
Speaker 2: script supervisor and made her cry. I wrote him a

577
00:26:17,680 --> 00:26:19,640
Speaker 2: letter and said, look, I don't know why you do this.

578
00:26:19,720 --> 00:26:22,360
Speaker 2: You've written a brilliant script. I think you're a good director.

579
00:26:22,560 --> 00:26:24,560
Speaker 2: Let's not have a set like this. I don't like it,

580
00:26:24,600 --> 00:26:26,639
Speaker 2: and I don't work well like this. I'm not one

581
00:26:26,680 --> 00:26:29,480
Speaker 2: of those actors who likes things in disarray. He read

582
00:26:29,520 --> 00:26:31,440
Speaker 2: the letter and we started all over again.

583
00:26:32,400 --> 00:26:34,160
Speaker 3: So he sees the fight, and he like goes back

584
00:26:34,200 --> 00:26:39,159
Speaker 3: to his writ and then what hand like puts his

585
00:26:39,200 --> 00:26:41,680
Speaker 3: little like wax stamp on the back and then goes

586
00:26:41,720 --> 00:26:43,040
Speaker 3: and hands it to him solemnly.

587
00:26:43,160 --> 00:26:45,760
Speaker 2: George Clooney is known to write a letter, Yeah right.

588
00:26:49,640 --> 00:26:51,440
Speaker 3: David, I'm gonna need you to read this. And then

589
00:26:51,480 --> 00:26:53,920
Speaker 3: he stand over him and watch, Yeah, well he read

590
00:26:53,920 --> 00:26:55,280
Speaker 3: it or did he just slip.

591
00:26:55,000 --> 00:26:57,879
Speaker 2: It to him and walk? I have even more question totally.

592
00:26:57,960 --> 00:26:59,800
Speaker 2: But this man at this point owned a pig that

593
00:26:59,840 --> 00:27:01,520
Speaker 2: was the only person to live with. So like he

594
00:27:01,640 --> 00:27:04,000
Speaker 2: was like, all right, we're already making decisions that are

595
00:27:04,040 --> 00:27:08,880
Speaker 2: like anachronistic. Let's just put it that way now from

596
00:27:08,960 --> 00:27:11,200
Speaker 2: what we've learned from the stories we tell each other here,

597
00:27:11,280 --> 00:27:13,240
Speaker 2: what do you think happened next? Now that he'd sent

598
00:27:13,359 --> 00:27:15,280
Speaker 2: him David or Russell a letter? Do you think David

599
00:27:15,359 --> 00:27:17,560
Speaker 2: chilled out and became a professional working in a high

600
00:27:17,560 --> 00:27:18,320
Speaker 2: pressure environment.

601
00:27:18,480 --> 00:27:20,840
Speaker 3: I think there's gonna be zero personal growth involvement.

602
00:27:21,000 --> 00:27:23,880
Speaker 2: Yeah no, he did not grow, Elizabeth, because we haven't

603
00:27:23,880 --> 00:27:26,119
Speaker 2: even gotten to the point when George Clooney is about

604
00:27:26,160 --> 00:27:26,920
Speaker 2: to fight David.

605
00:27:27,520 --> 00:27:27,760
Speaker 3: Right.

606
00:27:27,840 --> 00:27:29,240
Speaker 2: But you know what, rather than me tell you about

607
00:27:29,280 --> 00:27:32,440
Speaker 2: the big blowout, Elizabeth, I'd rather you close your eyes.

608
00:27:32,520 --> 00:27:33,320
Speaker 3: My eyes a clone.

609
00:27:33,359 --> 00:27:38,119
Speaker 2: I'd like you to picture it. Elizabeth. It's a pleasant

610
00:27:38,160 --> 00:27:40,960
Speaker 2: Tuesday afternoon in Los Angeles. You are presently seated in

611
00:27:41,000 --> 00:27:42,800
Speaker 2: your office as you light a few candles to said

612
00:27:42,800 --> 00:27:45,880
Speaker 2: a relaxing and welcoming vibe. Your next client is about

613
00:27:45,920 --> 00:27:48,159
Speaker 2: to arrive. You check your watch, and that's when you

614
00:27:48,200 --> 00:27:52,080
Speaker 2: hear a knock. Somehow, the knock is friendly, warm. If

615
00:27:52,119 --> 00:27:55,240
Speaker 2: the amiability of a knock can be felt, that'd be

616
00:27:55,280 --> 00:27:58,520
Speaker 2: your read. The door sweeps open, and there stands your client,

617
00:27:58,800 --> 00:28:01,720
Speaker 2: one of the most famous men in the world, George Clooney.

618
00:28:02,040 --> 00:28:04,159
Speaker 2: You warmly greet him and welcome him to take a

619
00:28:04,160 --> 00:28:06,640
Speaker 2: seat on the couch. You take a seat adjacent Tim.

620
00:28:06,680 --> 00:28:09,840
Speaker 2: Because you are George Clooney's therapist, you already know what

621
00:28:09,880 --> 00:28:11,639
Speaker 2: he plans to talk about. He's been leading up to

622
00:28:11,680 --> 00:28:14,400
Speaker 2: it over his last few sessions, so he gets right

623
00:28:14,520 --> 00:28:17,359
Speaker 2: to it. He takes a deep breath, size clears his head.

624
00:28:17,640 --> 00:28:20,480
Speaker 2: He's ready to get loose. You ask a few preliminary questions,

625
00:28:20,480 --> 00:28:23,000
Speaker 2: and then George Clooney says, it's the fight and all

626
00:28:23,040 --> 00:28:25,200
Speaker 2: traces back to that. You ask him to go back

627
00:28:25,200 --> 00:28:27,439
Speaker 2: and to relive the fight in as much sensory detail

628
00:28:27,480 --> 00:28:30,719
Speaker 2: as he remembers. Colooney clears his voice, stretches his legs

629
00:28:30,720 --> 00:28:33,600
Speaker 2: out on the couch, tucks an arm behind his head,

630
00:28:33,720 --> 00:28:36,880
Speaker 2: and he begins. We were three weeks behind schedule, which

631
00:28:36,920 --> 00:28:39,320
Speaker 2: puts some pressure on you, and he was in bad mood.

632
00:28:39,960 --> 00:28:42,600
Speaker 2: These army kids who were working his extras were supposed

633
00:28:42,640 --> 00:28:45,320
Speaker 2: to tackle us. There were three helicopters in the air

634
00:28:45,360 --> 00:28:48,440
Speaker 2: and three hundred extras on the set. George Clooney's eyes

635
00:28:48,440 --> 00:28:51,000
Speaker 2: are closed. He's there. He's back in the moment, reliving

636
00:28:51,040 --> 00:28:53,680
Speaker 2: it in him being an actor. It's such a dramatic account.

637
00:28:53,880 --> 00:28:56,560
Speaker 2: You feel like you can hear the choppers overhead. You

638
00:28:56,640 --> 00:28:59,120
Speaker 2: scribble notes as colony goes on. It was a tense

639
00:28:59,160 --> 00:29:02,000
Speaker 2: time and a little dangerous too. David wanted one of

640
00:29:02,000 --> 00:29:04,720
Speaker 2: the extras to grab me, throw me down. His kid

641
00:29:04,760 --> 00:29:06,880
Speaker 2: was a little nervous about it, and David walked up

642
00:29:06,880 --> 00:29:09,800
Speaker 2: to him and grabbed him. You imagine the director his

643
00:29:09,880 --> 00:29:13,760
Speaker 2: hands grabbing at some terrified extra. You ask, did David

644
00:29:13,840 --> 00:29:16,560
Speaker 2: hit the extra? Clooney takes another deep breath, and then

645
00:29:16,680 --> 00:29:19,480
Speaker 2: he's back in the desert as he recounts what happened. Next,

646
00:29:19,920 --> 00:29:22,320
Speaker 2: he pushed him onto the ground, kicked him and screamed,

647
00:29:22,560 --> 00:29:24,880
Speaker 2: do you want to be in this movie? Then throw

648
00:29:24,920 --> 00:29:28,200
Speaker 2: him to the ground. The second assistant director came up

649
00:29:28,240 --> 00:29:30,440
Speaker 2: and said, you don't do that, David. You want them

650
00:29:30,440 --> 00:29:33,200
Speaker 2: to do something, you tell me. David grabbed his walkie

651
00:29:33,200 --> 00:29:35,600
Speaker 2: talkie and threw it on the ground. He screamed, shut

652
00:29:35,640 --> 00:29:39,640
Speaker 2: the up you when the ad goes you, I quit.

653
00:29:40,000 --> 00:29:43,320
Speaker 2: He walked off. It was a dangerous time. This is

654
00:29:43,360 --> 00:29:45,480
Speaker 2: more than you expected. But you can tell there's a

655
00:29:45,560 --> 00:29:48,680
Speaker 2: layer that George hasn't mentioned yet. What was he thinking?

656
00:29:48,680 --> 00:29:50,600
Speaker 2: What was he feeling in that moment? So you asked,

657
00:29:50,760 --> 00:29:53,040
Speaker 2: what did you say to David when he assaulted the extra.

658
00:29:53,480 --> 00:29:56,200
Speaker 2: You've reached the core of George Clooney's unresolved anger. You

659
00:29:56,240 --> 00:29:58,520
Speaker 2: can see him balling up his fist. Then he says,

660
00:29:59,160 --> 00:30:01,080
Speaker 2: I was trying to make the work so I went

661
00:30:01,120 --> 00:30:02,960
Speaker 2: over and I put my arm around and I said, David,

662
00:30:03,000 --> 00:30:05,720
Speaker 2: it's a big day, but you can't shove, push or

663
00:30:05,840 --> 00:30:09,640
Speaker 2: humiliate people who aren't allowed to defend themselves. He turned

664
00:30:09,640 --> 00:30:13,080
Speaker 2: on me and said, why don't you worry about your act?

665
00:30:13,480 --> 00:30:15,680
Speaker 2: You're being a You want to hit me, you want

666
00:30:15,680 --> 00:30:19,480
Speaker 2: to hit me, Come on, hit me. Coloney's growing visibly

667
00:30:19,520 --> 00:30:21,880
Speaker 2: tense as he relives the fight. You remind him no

668
00:30:21,880 --> 00:30:23,800
Speaker 2: one can hurt him. Here in your office, he's safe.

669
00:30:23,800 --> 00:30:26,120
Speaker 2: And then you asked, when David called you up, well,

670
00:30:26,160 --> 00:30:28,400
Speaker 2: when he insulted you, how did that make you feel?

671
00:30:29,040 --> 00:30:31,000
Speaker 2: Coloney shakes his head, and then he's right back in

672
00:30:31,040 --> 00:30:33,800
Speaker 2: the desert, narrating their fight, the sand scratching beneath their

673
00:30:33,840 --> 00:30:36,560
Speaker 2: feet as the grunting men bump chest. I'm looking at

674
00:30:36,640 --> 00:30:39,040
Speaker 2: him like he's out of his mind. Then he started

675
00:30:39,520 --> 00:30:42,000
Speaker 2: banging me on the head with his head. He goes,

676
00:30:42,120 --> 00:30:45,160
Speaker 2: hit me, you hit me. Then he got me by

677
00:30:45,200 --> 00:30:48,680
Speaker 2: the throat and I went nuts. Waldo, my my buddy.

678
00:30:48,680 --> 00:30:50,800
Speaker 2: One of the boys grabbed me by the waist to

679
00:30:50,800 --> 00:30:52,840
Speaker 2: get me to let go of him. I had him

680
00:30:52,840 --> 00:30:56,160
Speaker 2: by the throat. I was gonna kill him, just kill him.

681
00:30:56,480 --> 00:30:58,400
Speaker 2: You definitely did not expect the story to go this way.

682
00:30:58,440 --> 00:31:00,480
Speaker 2: You thought George Clooney had been a humili on a

683
00:31:00,520 --> 00:31:02,680
Speaker 2: films that may be beaten up by his director. Turns

684
00:31:02,680 --> 00:31:05,560
Speaker 2: out he scared himself because he nearly killed a man.

685
00:31:05,920 --> 00:31:08,160
Speaker 2: You asked, George Clooney, how did it make you feel

686
00:31:08,200 --> 00:31:11,280
Speaker 2: when you nearly killed your director? Did you apologize? Clooney

687
00:31:11,320 --> 00:31:13,840
Speaker 2: snickers a little. You recognize it from his movies. Then

688
00:31:13,880 --> 00:31:18,360
Speaker 2: he says, finally he apologized, but I walked away. By then,

689
00:31:18,440 --> 00:31:21,040
Speaker 2: the Warner Brothers guys were freaking out. David sort of

690
00:31:21,080 --> 00:31:23,320
Speaker 2: pouted through the rest of the shoot and we finished

691
00:31:23,320 --> 00:31:26,560
Speaker 2: the movie. But it was truly, without exception, the worst

692
00:31:26,720 --> 00:31:30,600
Speaker 2: experience of my life. George Clooney falls silent, but somehow

693
00:31:30,880 --> 00:31:33,160
Speaker 2: a little more at peace hearing it all out loud,

694
00:31:33,200 --> 00:31:35,720
Speaker 2: the story he never likes to tell anyone. For a

695
00:31:35,720 --> 00:31:38,640
Speaker 2: moment of quiet, you asked, George Clooney, would you work

696
00:31:38,680 --> 00:31:41,200
Speaker 2: with him again? He sits up no longer in the desert.

697
00:31:41,240 --> 00:31:42,760
Speaker 2: He looks at you. Then he gives you that movie

698
00:31:42,800 --> 00:31:46,680
Speaker 2: star grin and says life's too short to work with him.

699
00:31:47,400 --> 00:31:50,280
Speaker 3: Elizabeth, I think that this episode is gonna have the

700
00:31:50,320 --> 00:31:51,440
Speaker 3: most bleeps ever.

701
00:31:51,640 --> 00:31:54,600
Speaker 2: Ever, Yeah, as you just learned, George Clooney had a

702
00:31:54,680 --> 00:31:57,720
Speaker 2: really hard time getting over nearly killing David A. Russell.

703
00:31:57,800 --> 00:32:00,680
Speaker 3: Could you imagine if he had what if Cloney got

704
00:32:01,920 --> 00:32:03,520
Speaker 3: had squeezed the life.

705
00:32:04,360 --> 00:32:07,280
Speaker 2: By mistake, just didn't get there Walda wasn't there in time.

706
00:32:07,120 --> 00:32:09,840
Speaker 3: And he's like, does time and we can't tell this

707
00:32:10,000 --> 00:32:11,400
Speaker 3: story because it's a murder.

708
00:32:11,480 --> 00:32:15,640
Speaker 2: Yeah, exactly. He slipped from ninety nine into the Yeah.

709
00:32:15,800 --> 00:32:19,360
Speaker 2: Now it took h like George cliney about well more

710
00:32:19,400 --> 00:32:21,720
Speaker 2: than a decade to get over this, yeah, like, well

711
00:32:21,720 --> 00:32:25,280
Speaker 2: more like two decades. Oh yeah, he didn't just talk

712
00:32:25,320 --> 00:32:28,040
Speaker 2: about it with you. His therapist occasionally journals asked him

713
00:32:28,040 --> 00:32:29,760
Speaker 2: about it, and he gave a candid answer. In two

714
00:32:29,760 --> 00:32:32,320
Speaker 2: thousand and four, six years after their blowout, George Clooney

715
00:32:32,400 --> 00:32:36,440
Speaker 2: told Premier Magazine. Remember Premier Magazine, Oh yeah Magazine, if

716
00:32:36,440 --> 00:32:38,800
Speaker 2: he ever saw David or Russell again in person, he'd

717
00:32:38,800 --> 00:32:42,120
Speaker 2: probably knock his block off, or, as George Clooney put it,

718
00:32:42,200 --> 00:32:45,480
Speaker 2: quite literally, quote quite honestly, if he comes near me,

719
00:32:45,520 --> 00:32:48,640
Speaker 2: I'll sock him right in the mouth. Oh whoa, mister,

720
00:32:48,680 --> 00:32:52,000
Speaker 2: George Clooney, you kissed your mother with that mouth. Now

721
00:32:52,040 --> 00:32:54,680
Speaker 2: around that same time, David R. Russell fired back that

722
00:32:54,800 --> 00:32:57,200
Speaker 2: one he didn't start their fight or their feud, but

723
00:32:57,240 --> 00:32:59,800
Speaker 2: he also wasn't afraid to end it. Where's David ll

724
00:33:00,280 --> 00:33:02,680
Speaker 2: put it? I never physically attacked him. If I ran

725
00:33:02,720 --> 00:33:07,040
Speaker 2: into him, I'd just say shut the few lying ass. No,

726
00:33:07,800 --> 00:33:11,080
Speaker 2: they're feud bubbled a while longer. And then just last

727
00:33:11,160 --> 00:33:14,520
Speaker 2: year in twenty twenty four, remember what happened in nineteen

728
00:33:14,600 --> 00:33:17,640
Speaker 2: ninety eight, So twenty six years after their initial fight

729
00:33:17,720 --> 00:33:20,040
Speaker 2: on that film, said George Clooney was finally ready to

730
00:33:20,040 --> 00:33:22,720
Speaker 2: make peace with the murderous place that David Russell pushed

731
00:33:22,760 --> 00:33:25,520
Speaker 2: him to that faithful day. In an interview with Variety,

732
00:33:25,760 --> 00:33:28,520
Speaker 2: he used David Russell as a shorthand Clooney said, quote,

733
00:33:28,560 --> 00:33:30,960
Speaker 2: the older you get, time allotment is very different. Five

734
00:33:30,960 --> 00:33:32,760
Speaker 2: months out of your life is a lot. And so

735
00:33:32,800 --> 00:33:34,440
Speaker 2: it's not just like, oh, I'm gonna go do a

736
00:33:34,440 --> 00:33:36,440
Speaker 2: really good film like Three Kings, and I'm gonna have

737
00:33:36,480 --> 00:33:39,440
Speaker 2: to have a miserable like David 'russell making my life hell,

738
00:33:39,640 --> 00:33:41,960
Speaker 2: making every person on the cruise life hell. It's not

739
00:33:42,080 --> 00:33:43,920
Speaker 2: worth it. Not at this point in my life. You

740
00:33:44,000 --> 00:33:47,000
Speaker 2: just have to have a good product. He's still banging

741
00:33:47,160 --> 00:33:49,800
Speaker 2: away on that same palm, still using David Russell as

742
00:33:49,840 --> 00:33:50,760
Speaker 2: a low water lark.

743
00:33:50,880 --> 00:33:51,760
Speaker 3: Great exactly.

744
00:33:52,080 --> 00:33:54,040
Speaker 2: The Clooney also did acknowledge that he's trying to let

745
00:33:54,080 --> 00:33:57,080
Speaker 2: things go. Back in twenty fourteen, he did try to

746
00:33:57,200 --> 00:33:59,200
Speaker 2: end dis feud with David Russell. Apparently he said to

747
00:33:59,240 --> 00:34:01,240
Speaker 2: the filmmaker, quote, there came a time when I just

748
00:34:01,280 --> 00:34:04,040
Speaker 2: said to him, justn't going to go on forever. We've

749
00:34:04,080 --> 00:34:06,120
Speaker 2: got to shake hands and let it go. I don't

750
00:34:06,120 --> 00:34:09,359
Speaker 2: know if that happens, because from what George Clooney told

751
00:34:09,360 --> 00:34:12,279
Speaker 2: the outlet Showbiz for one one, and from what else

752
00:34:12,320 --> 00:34:15,239
Speaker 2: he told one one dot com, Clooney added, we put

753
00:34:15,239 --> 00:34:18,160
Speaker 2: it behind us, and that's great now, no details, But

754
00:34:18,200 --> 00:34:21,680
Speaker 2: in twenty twenty four speaking of variety, he still sounded bitter.

755
00:34:21,760 --> 00:34:24,840
Speaker 2: So maybe expect him again next week for your weekly

756
00:34:24,880 --> 00:34:27,879
Speaker 2: therapy sessions. Okay, yeah, anyway, this brings us to our

757
00:34:28,040 --> 00:34:31,000
Speaker 2: next huge David or Russell blow up, if you can

758
00:34:31,000 --> 00:34:33,000
Speaker 2: believe it. The mad filmmaker picked a fight with a

759
00:34:33,040 --> 00:34:35,719
Speaker 2: star he'd worked with before. He decided to come at

760
00:34:35,880 --> 00:34:36,640
Speaker 2: Lily Tomlin.

761
00:34:37,440 --> 00:34:38,480
Speaker 3: Oh that's a bad movie.

762
00:34:38,560 --> 00:34:40,799
Speaker 2: God just saying these words pisses me off, like how

763
00:34:41,000 --> 00:34:44,000
Speaker 2: dare you sir? But dare you come after? American comedy

764
00:34:44,040 --> 00:34:46,920
Speaker 2: legend Lily Toms, Oh, punch you in the mouth, but

765
00:34:47,040 --> 00:34:49,600
Speaker 2: George Clooney's fist. So let me go cool off a bit,

766
00:34:49,760 --> 00:34:51,839
Speaker 2: listen to some ads, chill my monkey mind, and after

767
00:34:51,840 --> 00:34:54,120
Speaker 2: this break, I'll tell you about David or Russell versus

768
00:34:54,320 --> 00:35:18,240
Speaker 2: Lily Tomlin. Oh good, Elizabeth.

769
00:35:19,120 --> 00:35:21,279
Speaker 4: I know I've never left no I did.

770
00:35:21,520 --> 00:35:21,600
Speaker 3: So.

771
00:35:21,760 --> 00:35:23,359
Speaker 2: Did you ever see the two thousand and four movie

772
00:35:23,400 --> 00:35:24,200
Speaker 2: I Heart Huckabees?

773
00:35:24,560 --> 00:35:25,360
Speaker 4: No?

774
00:35:25,360 --> 00:35:25,960
Speaker 2: Now, okay?

775
00:35:26,080 --> 00:35:28,680
Speaker 3: Made me think of Mike Huckabee. I wouldn't watch.

776
00:35:28,600 --> 00:35:31,800
Speaker 2: He reviews on principle. So Dustin Hoffman and Lily Tomlin

777
00:35:31,880 --> 00:35:38,279
Speaker 2: are existential detectives. Existential Isabelle Huperre is their rival, a

778
00:35:38,400 --> 00:35:40,280
Speaker 2: French existential detective.

779
00:35:41,360 --> 00:35:43,399
Speaker 3: This is a precious by half.

780
00:35:43,760 --> 00:35:47,320
Speaker 2: Jason Schwartzman is an environmentalist who's depressed. Jude Law is

781
00:35:47,360 --> 00:35:49,839
Speaker 2: an executive at a major like big box store kind

782
00:35:49,880 --> 00:35:53,359
Speaker 2: of thing. Naomi Watts is their spokesmodel, and Marky Mark

783
00:35:53,400 --> 00:35:56,160
Speaker 2: Wahlberg is a firefighter who is traumatized by nine to eleven.

784
00:35:56,400 --> 00:35:59,640
Speaker 2: All of them hire, all of them hire the existential detectives,

785
00:36:00,200 --> 00:36:03,920
Speaker 2: and they all have their like karma be interlinked and interwoven,

786
00:36:04,080 --> 00:36:07,000
Speaker 2: and they have to resolve it through each other existentially.

787
00:36:07,160 --> 00:36:10,799
Speaker 4: I am so glad I saw it in.

788
00:36:10,760 --> 00:36:14,480
Speaker 2: The theaters, I'm sure. Now, before I tell you about

789
00:36:14,480 --> 00:36:16,880
Speaker 2: the Lily Tomlin versus David or Russell blow up, I

790
00:36:16,880 --> 00:36:20,400
Speaker 2: should tell you about him attacking fellow director Christopher Nolan. Oh,

791
00:36:20,480 --> 00:36:22,920
Speaker 2: he was about the casting for iHeart Huckabees, So we

792
00:36:22,920 --> 00:36:25,799
Speaker 2: should go sequentially. Yeah, So they both wanted golden boy

793
00:36:25,800 --> 00:36:28,120
Speaker 2: of the moment, Jude Law for their next films, right,

794
00:36:28,160 --> 00:36:30,640
Speaker 2: and so the two directors fought over the very very

795
00:36:30,640 --> 00:36:33,640
Speaker 2: pretty boy, like literally fought over him because of Christopher

796
00:36:33,640 --> 00:36:36,120
Speaker 2: Nolan is about to make his movie that would make

797
00:36:36,160 --> 00:36:38,640
Speaker 2: his name, Memento. He hadn't made it yet, so he's

798
00:36:38,640 --> 00:36:41,000
Speaker 2: like coming into Hollywood. They like, people are excited about it.

799
00:36:41,520 --> 00:36:44,480
Speaker 2: But they're both young directors making their first films. So

800
00:36:44,560 --> 00:36:46,800
Speaker 2: it's two thousand and three, the film is in pre production.

801
00:36:46,880 --> 00:36:50,120
Speaker 2: iHeart Huckebyes. David or Russell really wants Jude Law, but

802
00:36:50,239 --> 00:36:53,920
Speaker 2: Judelaud already signed on for Christopher Nolan's movie Memento, So

803
00:36:54,000 --> 00:36:55,600
Speaker 2: I guess he's gonna play the Guy Pierce part.

804
00:36:55,760 --> 00:36:58,279
Speaker 3: I think that it's good that it shook out the

805
00:36:58,320 --> 00:36:58,719
Speaker 3: way it is.

806
00:36:58,840 --> 00:36:59,960
Speaker 2: I totally because he kills them.

807
00:37:00,040 --> 00:37:00,520
Speaker 3: Oh yeah.

808
00:37:00,560 --> 00:37:02,879
Speaker 2: Anyway, the two filmmakers were at some Hollywood party. David

809
00:37:02,960 --> 00:37:05,560
Speaker 2: or Russell sees Christopher Nolan. He's like, he's got my actor.

810
00:37:05,840 --> 00:37:07,399
Speaker 2: So he decides to go up to him and get

811
00:37:07,440 --> 00:37:10,080
Speaker 2: his actor back from him, or from him just in general.

812
00:37:10,280 --> 00:37:12,560
Speaker 2: He confronts Christopher Nolan in front of all these guests,

813
00:37:12,760 --> 00:37:14,399
Speaker 2: and then when he doesn't get the answer he wants,

814
00:37:14,440 --> 00:37:16,360
Speaker 2: which is you can have Jude Law, he throws an

815
00:37:16,440 --> 00:37:18,719
Speaker 2: arm around Christopher Nolan's neck and puts him in a

816
00:37:18,800 --> 00:37:21,200
Speaker 2: chokehold until he relents and gives him Jude Law.

817
00:37:21,320 --> 00:37:24,280
Speaker 3: Oh violence, Yeah, to me, we have We've got crimes,

818
00:37:24,280 --> 00:37:25,240
Speaker 3: we got a lot of assault.

819
00:37:25,320 --> 00:37:25,600
Speaker 4: Battle.

820
00:37:26,440 --> 00:37:29,920
Speaker 2: He demands artistic solidarity from his colleague with him at

821
00:37:29,920 --> 00:37:32,080
Speaker 2: a choke hold. Yeah, he says, give him Jude Law

822
00:37:32,120 --> 00:37:34,279
Speaker 2: so he can save his film, like I need him

823
00:37:34,280 --> 00:37:35,040
Speaker 2: to save my phone.

824
00:37:35,120 --> 00:37:38,799
Speaker 3: At that point, if I'm I'm never going to give

825
00:37:38,880 --> 00:37:39,200
Speaker 3: him up.

826
00:37:39,239 --> 00:37:41,880
Speaker 2: At that point, people are shocked. Everyone who's in the party.

827
00:37:42,160 --> 00:37:44,960
Speaker 2: The story ping pongs through Hollywood the next day, but

828
00:37:45,120 --> 00:37:47,880
Speaker 2: that same next day, Jude Law drops out of Memento

829
00:37:47,960 --> 00:37:49,960
Speaker 2: and signs on to iHeart Huckabees.

830
00:37:50,080 --> 00:37:50,360
Speaker 3: Wow.

831
00:37:50,520 --> 00:37:52,719
Speaker 2: Yeah, the story is so precious though, because Judelaw calls

832
00:37:52,800 --> 00:37:55,280
Speaker 2: David Russell from a boat that's quote crossing the Atlantic.

833
00:37:55,520 --> 00:37:58,920
Speaker 2: He discusses his Huckabees' role at length end quote. Now

834
00:37:59,000 --> 00:38:01,880
Speaker 2: this said, David Russell film from the alternate casting of

835
00:38:02,080 --> 00:38:06,680
Speaker 2: Jim Carrey, if there was a role, if Jim Carrey

836
00:38:06,680 --> 00:38:09,160
Speaker 2: and Jude lock him play, you haven't decided what that

837
00:38:09,280 --> 00:38:12,239
Speaker 2: role is yet. Different. Yeah. So anyway, that was just

838
00:38:12,280 --> 00:38:14,440
Speaker 2: the beginning because reading up on his antics, I kept thinking,

839
00:38:14,480 --> 00:38:16,160
Speaker 2: there's no way in hell I could get away with

840
00:38:16,239 --> 00:38:18,399
Speaker 2: any of the behavior that I've so far heard from

841
00:38:18,400 --> 00:38:21,279
Speaker 2: this guy, and it's only about to get worse. Like

842
00:38:21,360 --> 00:38:23,000
Speaker 2: some of what he does would probably get me a

843
00:38:23,080 --> 00:38:26,319
Speaker 2: visit from the LAPD. Like I'm probably sure i'd test charges. So,

844
00:38:26,320 --> 00:38:28,080
Speaker 2: as The New York Times reported back in two thousand

845
00:38:28,120 --> 00:38:30,399
Speaker 2: and four, quote to get the performances he was after,

846
00:38:30,520 --> 00:38:32,640
Speaker 2: mister Russell did all he could to raise the level

847
00:38:32,640 --> 00:38:37,400
Speaker 2: of tension on set, unapologetically goating, shocking, and teasing as actors.

848
00:38:37,400 --> 00:38:39,560
Speaker 2: That's not the part about the LAPD. I'm talking this

849
00:38:39,680 --> 00:38:41,440
Speaker 2: next part. Yeah, so can we get an example what

850
00:38:41,480 --> 00:38:42,000
Speaker 2: she means there?

851
00:38:42,280 --> 00:38:48,759
Speaker 3: Great question, Elizabeth Pleasure, such pointed, hard hitting and perfect question.

852
00:38:48,840 --> 00:38:52,879
Speaker 2: Yeah, I know, it's just incredible. I'm on July thirty first,

853
00:38:52,880 --> 00:38:55,200
Speaker 2: two thousand and three. The film was on set shooting,

854
00:38:55,280 --> 00:38:57,080
Speaker 2: and during a break while his crew worked on the

855
00:38:57,080 --> 00:38:59,279
Speaker 2: next setup, the director was entertaining his cast with a

856
00:38:59,400 --> 00:39:02,480
Speaker 2: quote GRAPHI recounting of a baby passing through the birth canal.

857
00:39:03,320 --> 00:39:05,560
Speaker 2: He's never given birth, but he's just talking about I've

858
00:39:05,600 --> 00:39:07,560
Speaker 2: reading this last night on the toilet. I get. I

859
00:39:07,600 --> 00:39:11,839
Speaker 2: don't know. So what he said is all dressed lit,

860
00:39:11,920 --> 00:39:14,319
Speaker 2: the camera's ready. Actors take their place on the set.

861
00:39:14,360 --> 00:39:17,200
Speaker 2: They go over blocking and they're having a confab about

862
00:39:17,200 --> 00:39:20,279
Speaker 2: the blocking, and so they have Lily Thomas seated at

863
00:39:20,320 --> 00:39:21,879
Speaker 2: a desk. He's got her legs up on the desk.

864
00:39:21,880 --> 00:39:24,400
Speaker 2: He's supposed to be reading through a file. Dustin Hoffman

865
00:39:24,480 --> 00:39:27,319
Speaker 2: is behind her. He's at two huge chalkboards like you'd

866
00:39:27,320 --> 00:39:30,120
Speaker 2: find in a school classroom, and he's just working on that.

867
00:39:30,480 --> 00:39:33,320
Speaker 2: Jason Schwartzman is seated opposite the desk from her, facing

868
00:39:33,320 --> 00:39:36,520
Speaker 2: Lily Tomlin and facing Dustin Hoffman, and he's again the

869
00:39:36,560 --> 00:39:39,960
Speaker 2: client position, listening to their proposal, their pitch, what have you,

870
00:39:40,280 --> 00:39:41,560
Speaker 2: and so they're going over, how are we going to

871
00:39:41,640 --> 00:39:43,920
Speaker 2: do this scene? Right? So at this point I remember

872
00:39:44,000 --> 00:39:47,920
Speaker 2: Dustin Hoffman, Lily Tomlin. They're playing Existential Detectives. Jason Schwartzman

873
00:39:48,000 --> 00:39:51,080
Speaker 2: is their client and he hates Jude Law, the corporate executive,

874
00:39:51,120 --> 00:39:54,360
Speaker 2: who is another client of the same Existential Detectives. And

875
00:39:54,400 --> 00:39:56,799
Speaker 2: so this is the existential quandary they're trying to work out.

876
00:39:57,120 --> 00:39:59,719
Speaker 2: The karmas are clearly linked. So we're talking about like

877
00:40:00,200 --> 00:40:02,680
Speaker 2: the foibles and frailties of human life. And you got

878
00:40:02,760 --> 00:40:04,799
Speaker 2: David Russell going, how do I add more attention to

879
00:40:04,880 --> 00:40:07,200
Speaker 2: this mix? Yeah, anyway, they're all on set all but

880
00:40:07,280 --> 00:40:09,359
Speaker 2: Jude Law and Lily tom is having a hard time

881
00:40:09,360 --> 00:40:12,120
Speaker 2: with David Russell's direction, so she snaps back that she's

882
00:40:12,160 --> 00:40:14,160
Speaker 2: not getting the answer she needs from him. And I

883
00:40:14,239 --> 00:40:16,840
Speaker 2: know all this because there's a video of this onset

884
00:40:16,880 --> 00:40:20,000
Speaker 2: exchange he got leaked. And it's not actually not just one,

885
00:40:20,000 --> 00:40:22,120
Speaker 2: but two videos got leaked. You can find them on YouTube.

886
00:40:22,120 --> 00:40:24,439
Speaker 2: I watched them, so you don't have to, Elizabeth. Yes,

887
00:40:24,760 --> 00:40:26,480
Speaker 2: let me lay it out like this. So Dustin Hoffmann,

888
00:40:26,480 --> 00:40:29,040
Speaker 2: as I said at the jockboard, Jason Schwartzman, he now

889
00:40:29,080 --> 00:40:31,640
Speaker 2: starts standing. He's opposite the desk, so he's milling about

890
00:40:31,640 --> 00:40:33,600
Speaker 2: in front of the camera. Lily tom was still seated.

891
00:40:33,800 --> 00:40:36,560
Speaker 2: David Russell's just seated below the camera, out of view,

892
00:40:36,680 --> 00:40:38,439
Speaker 2: but he's on the set so you can hear his voice,

893
00:40:38,760 --> 00:40:41,160
Speaker 2: so they're responding to him. Lily Tomlin has an issue

894
00:40:41,160 --> 00:40:43,880
Speaker 2: with the blocking and some stage business about the file whatever.

895
00:40:44,320 --> 00:40:46,759
Speaker 2: So to give you an accurate rendition, I created a

896
00:40:46,760 --> 00:40:51,480
Speaker 2: transcript of his rant thank you. His opening statement is you,

897
00:40:51,719 --> 00:40:54,279
Speaker 2: I'm just trying to help you. Do you understand me.

898
00:40:54,480 --> 00:40:57,319
Speaker 2: I'm being a collaborator. I'm just trying to help you

899
00:40:57,400 --> 00:41:02,160
Speaker 2: figure out the picture. Okay, oh? Exit doesn't hoffin, No,

900
00:41:02,320 --> 00:41:04,160
Speaker 2: he just sort of ambles off the set. When Lily

901
00:41:04,200 --> 00:41:06,399
Speaker 2: Tomin gets called a bitch to her face, doesn't say anything,

902
00:41:06,480 --> 00:41:08,920
Speaker 2: just ambles off the set. Jason Schwartzman just sits there,

903
00:41:08,920 --> 00:41:11,239
Speaker 2: diligent leagues. You know, good actor, because at this point

904
00:41:11,320 --> 00:41:13,560
Speaker 2: David Russell pops up now and he's fighting mad. He

905
00:41:13,680 --> 00:41:16,799
Speaker 2: dramatically sweeps all of the papers and whatnot off of

906
00:41:16,880 --> 00:41:19,839
Speaker 2: Lily Tomlin's desk and there's someone like a staffer who's

907
00:41:19,840 --> 00:41:22,040
Speaker 2: seated by the wall of the set and they get hit.

908
00:41:22,560 --> 00:41:23,840
Speaker 2: I think it's a gaffer because they have all this

909
00:41:23,920 --> 00:41:26,160
Speaker 2: gaffer tape hanging off their belt, so they get hit

910
00:41:26,200 --> 00:41:28,680
Speaker 2: by everything that's being swept off. It's mostly papers, but

911
00:41:28,719 --> 00:41:30,600
Speaker 2: there's a couple of hard objects in there. They don't

912
00:41:30,600 --> 00:41:32,560
Speaker 2: scream or yell or anything, but it's like they get

913
00:41:32,640 --> 00:41:36,760
Speaker 2: hit by a bunch of stuff whatever on set workplace violence.

914
00:41:36,840 --> 00:41:37,120
Speaker 3: Yeah.

915
00:41:37,120 --> 00:41:40,440
Speaker 2: In response to her director's sudden outburst, Lily Tomlin jumps

916
00:41:40,480 --> 00:41:42,319
Speaker 2: up right and you know, because she doesn't know what

917
00:41:42,360 --> 00:41:43,840
Speaker 2: he might do next, if he's gonna like flip the

918
00:41:43,880 --> 00:41:45,560
Speaker 2: desk or whatever, and she doesn't want to be seated

919
00:41:45,560 --> 00:41:48,439
Speaker 2: in this awkward and vulnerable position. And he is far

920
00:41:48,480 --> 00:41:51,320
Speaker 2: from done. So David Russell then says to Lily Tomlin,

921
00:41:51,560 --> 00:41:54,080
Speaker 2: I'm not here to be yelled at. I worked on

922
00:41:54,160 --> 00:41:58,640
Speaker 2: this thing for three years not to have some yell

923
00:41:58,719 --> 00:42:01,080
Speaker 2: let me in front of them. But I'm trying to

924
00:42:01,480 --> 00:42:04,080
Speaker 2: help you figure it out yourself.

925
00:42:04,640 --> 00:42:06,840
Speaker 4: Are you the direct real.

926
00:42:06,960 --> 00:42:09,759
Speaker 2: Sort of Lily Tomlin then says, rather calmly, well, I

927
00:42:09,880 --> 00:42:13,000
Speaker 2: have to do that what but basically figure it out herself.

928
00:42:13,200 --> 00:42:15,920
Speaker 3: You don't have a conversation with that. You either walk

929
00:42:16,040 --> 00:42:18,560
Speaker 3: or you give him the business end of a Louisville slugger.

930
00:42:18,800 --> 00:42:19,880
Speaker 3: There's no between.

931
00:42:20,200 --> 00:42:23,839
Speaker 2: David Russell jumps immediately on her words and says, yeah, yourself,

932
00:42:24,160 --> 00:42:27,239
Speaker 2: to which Lily Tomlin now replies, good. Why don't you

933
00:42:27,280 --> 00:42:31,399
Speaker 2: just your whole movie now? David or Russell interjects, I

934
00:42:31,400 --> 00:42:34,840
Speaker 2: wrote this for you, and Lily Tomlin again calmly responds

935
00:42:35,000 --> 00:42:37,840
Speaker 2: why don't you your whole movie? Because that's what you're doing,

936
00:42:38,200 --> 00:42:40,560
Speaker 2: and David or Russell takes issue with her assessment of

937
00:42:40,719 --> 00:42:43,640
Speaker 2: how he's ruining his movie, so he fires back, why

938
00:42:43,640 --> 00:42:45,920
Speaker 2: don't you shut up before you're doing a one woman

939
00:42:46,040 --> 00:42:49,320
Speaker 2: show again. At this point, he storms off the set,

940
00:42:49,440 --> 00:42:51,839
Speaker 2: but he can be heard yelling in the background, why

941
00:42:51,880 --> 00:42:53,799
Speaker 2: don't you act like a grown up?

942
00:42:54,280 --> 00:42:56,960
Speaker 4: Oh? The iron is God, it's rich.

943
00:42:57,200 --> 00:42:59,520
Speaker 2: So then, through the magic of movies, he reappears on

944
00:42:59,560 --> 00:43:01,440
Speaker 2: the set because he walks through a set door and

945
00:43:01,480 --> 00:43:05,560
Speaker 2: continues to shout at Lily Tomlin, Yeah he's no Like

946
00:43:06,200 --> 00:43:09,640
Speaker 2: he's on stage right and he's yelling, you're a grown up.

947
00:43:09,719 --> 00:43:11,959
Speaker 2: Act like a grown up. You're not a baby, You're.

948
00:43:11,880 --> 00:43:12,880
Speaker 4: A grown up.

949
00:43:12,880 --> 00:43:15,239
Speaker 2: I'm here to help you. That's all I was doing,

950
00:43:15,480 --> 00:43:18,399
Speaker 2: was trying to help you. Is he is he talking

951
00:43:18,480 --> 00:43:20,840
Speaker 2: to himself? He seems like he should be talking to himself.

952
00:43:21,080 --> 00:43:22,880
Speaker 2: At that point, they speak over each other and becomes

953
00:43:22,920 --> 00:43:26,280
Speaker 2: unintelligible until Lily Tomlin finally says in a pause, because

954
00:43:26,320 --> 00:43:29,759
Speaker 2: you're yelling. Really sets off David or russelling. He yells back,

955
00:43:29,880 --> 00:43:32,760
Speaker 2: do you want yelling? Do you want that? At this point,

956
00:43:32,880 --> 00:43:35,120
Speaker 2: Jason Schwartzman, who's now in the line of fire because

957
00:43:35,160 --> 00:43:38,319
Speaker 2: he's the director's just flailing his arms. He pops up.

958
00:43:38,360 --> 00:43:40,200
Speaker 2: He also leaves the set, so now it's just him

959
00:43:40,239 --> 00:43:42,359
Speaker 2: and Lily tom When David Russell Lily Toman on the set,

960
00:43:42,480 --> 00:43:45,319
Speaker 2: David Russell's not done yelling. He shouts, did I yell

961
00:43:45,440 --> 00:43:46,400
Speaker 2: you before? Right now?

962
00:43:46,680 --> 00:43:46,919
Speaker 6: No?

963
00:43:47,200 --> 00:43:50,520
Speaker 2: I never yelled at you, and She's like the irony

964
00:43:50,600 --> 00:43:53,160
Speaker 2: is lost on him entirely, right, but not Lily Tomlin.

965
00:43:53,200 --> 00:43:56,120
Speaker 2: She starts laughing in his face and then he At

966
00:43:56,120 --> 00:43:58,360
Speaker 2: this point he flees the set. He knocks over a

967
00:43:58,400 --> 00:44:00,800
Speaker 2: standing lamp like like a two year old throwing a tantrum,

968
00:44:01,280 --> 00:44:03,200
Speaker 2: throws it to the ground like like a thin like

969
00:44:03,280 --> 00:44:06,000
Speaker 2: the lamp, and walks off the set watching it all

970
00:44:06,040 --> 00:44:08,320
Speaker 2: go down. I was like, you can do that if

971
00:44:08,360 --> 00:44:10,479
Speaker 2: I don't think I would ever work anywhere ever, again,

972
00:44:10,520 --> 00:44:13,760
Speaker 2: if I did even like a third tenth, one hundred

973
00:44:14,280 --> 00:44:17,160
Speaker 2: no David wrestling, he hits a crew member with the stuff,

974
00:44:17,160 --> 00:44:20,359
Speaker 2: he scares dusting off the he broke props. I mean,

975
00:44:20,719 --> 00:44:22,839
Speaker 2: if I was working at a restaurant and I didn't

976
00:44:22,840 --> 00:44:25,279
Speaker 2: even like I broke a mop, right, there's high odds.

977
00:44:25,360 --> 00:44:27,239
Speaker 2: Like if I started yelling at my boss and telling

978
00:44:27,280 --> 00:44:29,239
Speaker 2: everybody to like f off, I would probably spend the

979
00:44:29,320 --> 00:44:31,360
Speaker 2: night in jail, Like if my boss wanted to press charges, Like,

980
00:44:31,400 --> 00:44:33,520
Speaker 2: but you act like this on a film set in Hollywood,

981
00:44:33,520 --> 00:44:36,719
Speaker 2: Everyone's like, you have to understand he's a genius. Like

982
00:44:36,880 --> 00:44:39,120
Speaker 2: I can't tell my restaurant boss like, hey, you understand

983
00:44:39,160 --> 00:44:42,319
Speaker 2: I mistreat everyone here because I'm a genius. I just

984
00:44:42,320 --> 00:44:43,320
Speaker 2: doesn't play the same.

985
00:44:43,239 --> 00:44:47,000
Speaker 3: I feel like you reach. I'm surprised that Lily Tomlin

986
00:44:48,360 --> 00:44:50,800
Speaker 3: for having such a long career.

987
00:44:51,000 --> 00:44:52,640
Speaker 2: Almost all of them take the tone though.

988
00:44:52,920 --> 00:44:56,160
Speaker 3: Yeah, but like I just feel like you could Like

989
00:44:56,239 --> 00:44:59,480
Speaker 3: I can see young people not wanting to set those boundaries.

990
00:44:59,520 --> 00:45:01,799
Speaker 3: But you reach a certain age you would think and

991
00:45:01,840 --> 00:45:02,400
Speaker 3: you're like.

992
00:45:02,680 --> 00:45:04,320
Speaker 2: No, Dustin Offfen didn't say anything.

993
00:45:04,840 --> 00:45:06,400
Speaker 4: We got we.

994
00:45:06,840 --> 00:45:08,560
Speaker 2: Got oscar winners. Oh yeah, he's not going to defend

995
00:45:08,600 --> 00:45:11,080
Speaker 2: a woman based on his history. But I'm thinking we have,

996
00:45:11,120 --> 00:45:13,360
Speaker 2: like you know, people who have secure positions in the industry.

997
00:45:13,440 --> 00:45:14,520
Speaker 2: You're not choosing not to say.

998
00:45:14,440 --> 00:45:19,000
Speaker 3: Anything, ye poets, soul I can't.

999
00:45:20,480 --> 00:45:22,799
Speaker 2: Well, Also, Elizabeth, I think what we're skipping past where

1000
00:45:22,800 --> 00:45:25,000
Speaker 2: I'm over, I'm not really pointing out it well, is

1001
00:45:25,200 --> 00:45:28,560
Speaker 2: this is the power of cinema, or really it's the

1002
00:45:28,600 --> 00:45:30,600
Speaker 2: power of a camera, because it's like they say, if

1003
00:45:30,600 --> 00:45:32,680
Speaker 2: you don't want to get busted for prostitution, just make

1004
00:45:32,719 --> 00:45:34,719
Speaker 2: sure there's a camera in the room. Boom. Now it's

1005
00:45:34,719 --> 00:45:38,480
Speaker 2: a porn set. Totally legal, totally cool. So back to

1006
00:45:38,560 --> 00:45:41,359
Speaker 2: David R. Russell versus Lily tom If you ask either

1007
00:45:41,360 --> 00:45:44,480
Speaker 2: of the participants about their kerfuffle, they both dismiss it,

1008
00:45:44,520 --> 00:45:46,759
Speaker 2: which is basically what we've just been talking about. They

1009
00:45:46,760 --> 00:45:48,680
Speaker 2: act like it was nothing, business as usual, like this

1010
00:45:48,760 --> 00:45:51,680
Speaker 2: is just how it works in Hollywood. David or Russell said, sure,

1011
00:45:51,760 --> 00:45:53,480
Speaker 2: I wish I hadn't done that, but Lily and I

1012
00:45:53,560 --> 00:45:56,359
Speaker 2: are fine now. Lily Thomas said practically the same thing.

1013
00:45:56,440 --> 00:45:58,440
Speaker 2: She said It's not a practice on his part or

1014
00:45:58,520 --> 00:46:01,120
Speaker 2: my part. I'd rather have someone human and available and

1015
00:46:01,239 --> 00:46:03,719
Speaker 2: raw and open, don't give me something cold or cut off,

1016
00:46:03,800 --> 00:46:08,440
Speaker 2: or someone who considers themselves dignified. To further clarify, oh,

1017
00:46:08,480 --> 00:46:12,600
Speaker 2: I demanded any so to further clarify that, Lily Tomlin

1018
00:46:12,680 --> 00:46:14,719
Speaker 2: spoke more to her on set blow up with David

1019
00:46:14,800 --> 00:46:18,719
Speaker 2: or Russell. She further excused his semi criminal tendencies. She

1020
00:46:18,760 --> 00:46:21,600
Speaker 2: put in a twenty eleven interview with The Outlet movie

1021
00:46:21,640 --> 00:46:25,399
Speaker 2: line quote, David is a very mercurial person, and that's

1022
00:46:25,400 --> 00:46:28,680
Speaker 2: part of why he's so brilliant. He almost reflects the movie.

1023
00:46:28,719 --> 00:46:30,520
Speaker 2: I did two movies with him, and I heard Huckeybes

1024
00:46:30,600 --> 00:46:32,799
Speaker 2: was so crazy, so all over the place. I think

1025
00:46:32,840 --> 00:46:36,360
Speaker 2: he kind of embodies intuitively, whatever he's trying to make happen.

1026
00:46:36,520 --> 00:46:39,359
Speaker 2: It was just crazy, crazy stuff. We were always doing

1027
00:46:39,440 --> 00:46:41,640
Speaker 2: something and then we'd get manic and crazy and I

1028
00:46:41,719 --> 00:46:43,759
Speaker 2: just flipped out on him, and then he flipped out

1029
00:46:43,800 --> 00:46:46,440
Speaker 2: on me, And you know, stuff goes on, but it's nothing.

1030
00:46:46,480 --> 00:46:48,120
Speaker 2: It's like family. If you have a big fight in

1031
00:46:48,160 --> 00:46:50,200
Speaker 2: your family. Usually he's treated that way on the set.

1032
00:46:50,480 --> 00:46:53,680
Speaker 2: We don't want to misbehave believe me. It's embarrassing. It's

1033
00:46:53,719 --> 00:46:57,960
Speaker 2: it's humiliating, you know, because you just lose it. You

1034
00:46:58,000 --> 00:47:00,880
Speaker 2: act like a crazy person. But I adore David. I

1035
00:47:00,880 --> 00:47:03,399
Speaker 2: adore him as a talent. A lot of my friends said, well,

1036
00:47:04,080 --> 00:47:07,000
Speaker 2: you won't work with him again. I said, of course

1037
00:47:07,040 --> 00:47:10,560
Speaker 2: I would. I adore him. I love him. He's brilliant.

1038
00:47:11,760 --> 00:47:14,239
Speaker 2: That's Elizabeth. Now I'm going to come in here and

1039
00:47:14,239 --> 00:47:16,000
Speaker 2: tell you where to stick it and throw a laptop

1040
00:47:16,040 --> 00:47:18,160
Speaker 2: at producer Dan. You guys will have to understand, this

1041
00:47:18,239 --> 00:47:21,760
Speaker 2: is just my passion, my genius. You can't press charges.

1042
00:47:21,920 --> 00:47:26,759
Speaker 3: You would just see you look out the window, see the.

1043
00:47:26,920 --> 00:47:30,120
Speaker 2: So what's a ridiculous takeaway herebeth.

1044
00:47:30,520 --> 00:47:35,080
Speaker 3: Ah, I'm still processing that whole rant. Right o, God,

1045
00:47:35,520 --> 00:47:40,800
Speaker 3: I think you know. There's a show out called the Studio.

1046
00:47:41,040 --> 00:47:45,080
Speaker 2: Oh yes, Seth Rogan really really good. Yeah go check it.

1047
00:47:45,080 --> 00:47:48,240
Speaker 2: It's hilarious. App it's a great view of Hollywood too.

1048
00:47:48,200 --> 00:47:51,720
Speaker 3: That's what I'm saying. Like it's it's very permonal because

1049
00:47:51,800 --> 00:47:54,879
Speaker 3: it's just the look of it, and like the way

1050
00:47:54,920 --> 00:47:57,600
Speaker 3: it's shot in the color PILM whatever. But like the

1051
00:47:57,640 --> 00:48:00,000
Speaker 3: way they've created these characters and get you in these

1052
00:48:00,200 --> 00:48:03,719
Speaker 3: like emotional swings and the tension. But one of the

1053
00:48:03,840 --> 00:48:09,640
Speaker 3: kind of recurring themes is how fake everyone is in Hollywood,

1054
00:48:09,680 --> 00:48:11,320
Speaker 3: and so everyone's.

1055
00:48:10,840 --> 00:48:12,879
Speaker 4: Working in angle self serving and so.

1056
00:48:12,920 --> 00:48:17,320
Speaker 3: They'll take this kind of garbage behavior because they're willing

1057
00:48:17,360 --> 00:48:19,360
Speaker 3: to do that in order to get this paychecker, in

1058
00:48:19,440 --> 00:48:21,719
Speaker 3: order to maneuver to get into a different film, or

1059
00:48:22,480 --> 00:48:25,160
Speaker 3: just to be in a certain circle. And I just

1060
00:48:25,280 --> 00:48:27,919
Speaker 3: that is really hard for me to get my head around, because,

1061
00:48:27,960 --> 00:48:29,759
Speaker 3: like I said, you come to a certain age in

1062
00:48:29,800 --> 00:48:32,680
Speaker 3: your life where you're just like, no, no, I put

1063
00:48:32,760 --> 00:48:35,640
Speaker 3: up boundaries. No, it's not worth it, like in the

1064
00:48:35,680 --> 00:48:37,080
Speaker 3: Grand Scheme, and it's everywhere.

1065
00:48:37,120 --> 00:48:40,200
Speaker 2: It's the agents, the producers, the directors, the stars. I mean,

1066
00:48:40,239 --> 00:48:42,960
Speaker 2: it's not just like, oh, just the stars, and it's everywhere.

1067
00:48:42,960 --> 00:48:46,040
Speaker 2: Anyone knows power. They start to excuse this behavior.

1068
00:48:45,760 --> 00:48:48,240
Speaker 3: Right, Saren, what's your reading?

1069
00:48:48,320 --> 00:48:50,560
Speaker 2: Oh I didn't prepare that. Uh well, okay, I'll just

1070
00:48:50,640 --> 00:48:52,879
Speaker 2: I'll say this honestly, all jokes. Society Elizabeth is wild,

1071
00:48:52,920 --> 00:48:55,040
Speaker 2: like doing the show and talking about ridiculous criminals all

1072
00:48:55,080 --> 00:48:56,960
Speaker 2: the time, and then you read the news and you

1073
00:48:57,000 --> 00:48:59,400
Speaker 2: read story sometimes and it's like, wait, wait, how is

1074
00:48:59,400 --> 00:49:01,359
Speaker 2: this not a crime yeah, right, and then like, how

1075
00:49:01,440 --> 00:49:03,400
Speaker 2: is this okay? Which just goes to show you that

1076
00:49:03,520 --> 00:49:07,160
Speaker 2: the law is more like guidelines than hard and fast rules.

1077
00:49:07,000 --> 00:49:08,680
Speaker 3: And it doesn't apply to everybody, right.

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00:49:08,760 --> 00:49:10,760
Speaker 2: I mean, you go and try to choke George Clooney

1079
00:49:10,760 --> 00:49:12,880
Speaker 2: and you see what happens to you. Is that it?

1080
00:49:13,040 --> 00:49:16,600
Speaker 2: That's it there, That's all I got for you this time.

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00:49:16,880 --> 00:49:18,839
Speaker 2: All right, Elizabeth, you're in the mood for a talk back?

1082
00:49:18,920 --> 00:49:21,959
Speaker 4: Oh yes, please, can you favor us with one?

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00:49:24,080 --> 00:49:31,680
Speaker 2: Oh my god, ill get.

1084
00:49:35,040 --> 00:49:35,200
Speaker 5: Hi.

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00:49:35,280 --> 00:49:38,520
Speaker 7: Saron and Elizabeth make from Perth, still doing the Masters.

1086
00:49:38,960 --> 00:49:41,719
Speaker 7: I'm putting my desk together in my new office that

1087
00:49:41,800 --> 00:49:46,320
Speaker 7: my partner and I have been spending a week putting together.

1088
00:49:46,880 --> 00:49:49,799
Speaker 5: And anytime I'm doing anything to do with UNI, I

1089
00:49:49,840 --> 00:49:55,200
Speaker 5: think of you, lovely people, Sarah, Elizabeth, Dave the rude dude.

1090
00:49:55,239 --> 00:49:58,680
Speaker 5: So shout out to my man Blake, and I'd love

1091
00:49:58,719 --> 00:50:01,080
Speaker 5: having you here with me these two years that are

1092
00:50:01,200 --> 00:50:02,680
Speaker 5: tough but awesome.

1093
00:50:02,840 --> 00:50:05,399
Speaker 3: Take it slazy, We're so bad.

1094
00:50:05,440 --> 00:50:06,279
Speaker 2: We can be there for you.

1095
00:50:06,480 --> 00:50:09,600
Speaker 3: I love megs updates on the Master's program.

1096
00:50:09,920 --> 00:50:11,200
Speaker 2: Good luck we got you back on this.

1097
00:50:11,320 --> 00:50:14,560
Speaker 3: Oh yeah, of course, but that's awesome. I love that

1098
00:50:14,920 --> 00:50:16,879
Speaker 3: and I love a good office.

1099
00:50:17,040 --> 00:50:19,759
Speaker 2: You do, I do well as always. You can find

1100
00:50:19,800 --> 00:50:24,000
Speaker 2: us online Ridiculous Crime on blue Ski and uh Instagram

1101
00:50:24,040 --> 00:50:27,800
Speaker 2: and uh fanger and we also have our website ridiculous

1102
00:50:27,800 --> 00:50:31,200
Speaker 2: Crime dot com. I think we were just nominated for

1103
00:50:31,200 --> 00:50:33,799
Speaker 2: a Hugo Award, so very excited about that. A sci

1104
00:50:33,840 --> 00:50:37,719
Speaker 2: fi award. That's big time for me. Also, we love

1105
00:50:37,760 --> 00:50:39,880
Speaker 2: your talkback, so please go to the iHeart app downloaded,

1106
00:50:40,000 --> 00:50:41,880
Speaker 2: leave a talk back and maybe you'll hear your voice

1107
00:50:41,880 --> 00:50:43,640
Speaker 2: and you could say something cool. We'll be like, yeah,

1108
00:50:43,680 --> 00:50:44,400
Speaker 2: looks at you.

1109
00:50:44,400 --> 00:50:44,919
Speaker 3: You rock.

1110
00:50:45,719 --> 00:50:47,799
Speaker 2: So also emails if you like a Ridiculous Crime at

1111
00:50:47,800 --> 00:50:51,480
Speaker 2: gmail dot com. And we have our new YouTube channel,

1112
00:50:51,480 --> 00:50:54,440
Speaker 2: so go check that out. It's Ridiculous Crime Pod at YouTube.

1113
00:50:54,640 --> 00:50:56,560
Speaker 2: Tell your friends, tell your family, you know, tell your

1114
00:50:56,600 --> 00:50:59,080
Speaker 2: enemies maybe they need a laugh. And uh, there you go.

1115
00:50:59,120 --> 00:51:00,720
Speaker 2: That's all I got for you. So thanks for listening.

1116
00:51:00,760 --> 00:51:09,240
Speaker 2: We will catch you next crime. Ridiculous Crime is hosted

1117
00:51:09,320 --> 00:51:12,560
Speaker 2: by Elizabeth Dutton and Zaron Brenette, produced and edited by

1118
00:51:12,600 --> 00:51:16,240
Speaker 2: George Clooney's corner man Dave Kustin and Starry Annaly's Rucker

1119
00:51:16,520 --> 00:51:20,560
Speaker 2: as Judith. Research is by Lily Tomlin's fight trainer Marissa Brown.

1120
00:51:20,719 --> 00:51:23,680
Speaker 2: Our theme song is by Taya Leoni Truthers, Thomas Lee

1121
00:51:23,800 --> 00:51:26,960
Speaker 2: and Travis Dutton. The host wardrobe provided by Botany five,

1122
00:51:27,640 --> 00:51:30,640
Speaker 2: guest hair and makeup by Sparkleshot and The Miss Stood

1123
00:51:30,680 --> 00:51:33,840
Speaker 2: on the Day. Executive producers are David or Russell's sparring

1124
00:51:33,880 --> 00:51:36,440
Speaker 2: partners Ben Bolin and Ol Brown.

1125
00:51:43,520 --> 00:51:47,280
Speaker 3: Why Say It One More Time? Crime?

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00:51:48,360 --> 00:51:51,719
Speaker 1: Ridiculous Crime is a production of iHeartRadio four more podcasts

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00:51:51,840 --> 00:51:55,000
Speaker 1: my heart Radio, visit the iHeartRadio app, Apple Podcasts, or

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00:51:55,000 --> 00:51:56,800
Speaker 1: wherever you listen to your favorite shows.