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Speaker 1: I had directed one project that started out I did

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Speaker 1: this at Circle Rep Lab, Okay, and it started out

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Speaker 1: where all the actors were there was. I brought in

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Speaker 1: I think maybe three hundred pounds of peat moss into

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Speaker 1: this sphere.

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Speaker 2: Yeah, and the.

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Speaker 1: Show started where the actors were lying under the peat

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Speaker 1: moss with just like just their faces, you know, and

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Speaker 1: hope it and the audience had to kind of navigate

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Speaker 1: through that. They were guided somewhat, you know. And then

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Speaker 1: at some point, you know, this crazy music starts happening

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Speaker 1: and they're like vibrating kind of coming out of the soil.

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Speaker 2: Yeah, you know, it's like, gosh, we are very I

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Speaker 2: mine was sand coming out of sand. Oh my god.

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Speaker 2: This is a different coming out of being born out

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Speaker 2: of sand. And I was I was, I was the

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Speaker 2: I was the bad guy in that. And at the

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Speaker 2: at the end, like the wicked Witch, I descended and

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Speaker 2: melted down into the sand at the very end of

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Speaker 2: the show. Yep, all the elements, all the elements.

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Speaker 1: Got to find this material.

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Speaker 2: Okay, all right, Hi, I'm.

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Speaker 1: Josh Pie and I'm sitting in a chair.

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Speaker 2: Hello everybody. I am excited to have you back here

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Speaker 2: with me on another edition. Of Off the Beat. I am,

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Speaker 2: of course, your host Brian Baumgartner on the show today,

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Speaker 2: we have that guy, you know.

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Speaker 1: The one.

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Speaker 2: I mean, he's been on all your favorite shows and

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Speaker 2: movies and was the original Well Rafael in Teenage Mutant,

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Speaker 2: Ninja Turtles, he was on Law and Order, The Sopranos,

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Speaker 2: a beautiful mind, joker. He's worked with just about every

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Speaker 2: actor out there, and he's been in the business for

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Speaker 2: over thirty years. I know you know him, of course,

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Speaker 2: I am talking about my guest today, Josh Eyes. Josh

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Speaker 2: will be the first to tell you that he has

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Speaker 2: made a very long and very successful career of being

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Speaker 2: that guy, not quite in the limelight, but always a

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Speaker 2: strong supporting role in really fantastic projects. When you see

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Speaker 2: that face, you know it is going to be great,

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Speaker 2: even if you can't exactly think of his name. His

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Speaker 2: most recent project Man in Full, which is out for

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Speaker 2: you right now on Netflix. Now. I'm pretty sure this

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Speaker 2: conversation will help you remember him once and for all.

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Speaker 2: He's smart, he is charming, he is so very very talented.

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Speaker 2: He's that guy and so much more. He is Josh Pies,

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Speaker 2: Bubble and Squeak.

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Speaker 1: I love it.

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Speaker 2: Bubble and squeak on.

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Speaker 1: Bubble and squeak.

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Speaker 2: I cook get every mole lift over from the nine before.

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Speaker 2: Hi Josh, Hi, Hi Josh. How are you.

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Speaker 1: I'm good, nice to meet you and.

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Speaker 2: Very nice to meet you as well. Thank you for

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Speaker 2: joining me today. I'm going to get the elephant out

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Speaker 2: of the way right now. I'm wearing my very small

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Speaker 2: kids headphones right now. They have stickers on them. I

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Speaker 2: left my headphones on a plane this last weekend.

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Speaker 1: Wow, and are you going to be able to get

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Speaker 1: them back?

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Speaker 2: Or I think they're I think they were pretty nice,

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Speaker 2: so I think they're gone. I'm assuming they're gone. I

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Speaker 2: bought some new ones and could not make them work

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Speaker 2: here today, So there you go. I've got some.

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Speaker 1: Hey, I think they look great on you. I think

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Speaker 1: it should be your new look.

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Speaker 2: Yeah, I mean it's I think I think they're pinching

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Speaker 2: my head a little bit. So there's a way to

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Speaker 2: excuse anything stupid that comes out of my mouth. They

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Speaker 2: will just leave it at that. Uh, it's very nice

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Speaker 2: to meet you. What a career that you've had, and uh,

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Speaker 2: I've been a fan of yours for a very long time. Likewise,

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Speaker 2: like well, that's that's very kind. But now I know

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Speaker 2: more about you, having dive doven doved into uh, into

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Speaker 2: your life dove in. I understand you very interesting childhood,

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Speaker 2: some some parents that were well it's it seems quite different.

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Speaker 2: But you grew up there in New York.

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Speaker 1: City, in Alphabet City.

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Speaker 2: Out in in New York City, in Alphabet City.

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Speaker 1: In alphabet city, you know what Alphabet city.

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Speaker 2: I mean, yes, of course, yes, But.

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Speaker 1: I mean were we out buying heroin? You know? You

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Speaker 1: know thirty years ago you were in my neighborhood, you know.

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Speaker 2: A little more gentrified now though to be to.

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Speaker 1: Be clear, it's totally gentrified now.

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Speaker 2: Yeah, yeah, but that.

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Speaker 1: You know, back then, it was just the police just

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Speaker 1: kind of cordoned off the you know from First Avenue East, uh,

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Speaker 1: and they just they knew it was completely out of control.

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Speaker 1: You know, it was just a it was a drug world.

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Speaker 1: It was violent and it was also full of creative people,

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Speaker 1: so it was a great mix. And if you lived there,

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Speaker 1: you were protected. But anybody coming in, no taxis wouldn't

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Speaker 1: go past, you know, Avenue A.

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Speaker 2: Yeah, I this is about you, but I do have

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Speaker 2: to bring up your dad is about you? Well, it's

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Speaker 2: always here's the thing. It's always about me, So I

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Speaker 2: just pretend it's about other people to really get my own,

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Speaker 2: my own attenda across. Uh, your dad, as a physicist,

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Speaker 2: survived the Holocaust in the Netherlands, worked with Albert Einstein

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Speaker 2: and and ended up writing his biography. He I understand,

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Speaker 2: ended up on the Upper east Side. So you had

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Speaker 2: this life in New York in part of the time

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Speaker 2: in Alphabet City and and part of the time on

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Speaker 2: the Upper east Side. Yes, what do you think that

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Speaker 2: that gave you as a child, that sort of diverse

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Speaker 2: experience even in one city.

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Speaker 1: I mean, it gave me a very broad view of life.

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Speaker 1: You know. It was the Upper East Side was very

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Speaker 1: at that time, it was really the posh neighborhood and

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Speaker 1: you know, very affluent, and you know, in Alphabet City

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Speaker 1: it was poverty, you know, and struggle and people thriving

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Speaker 1: on struggle like they felt, yeah, I'm struggling.

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Speaker 2: It's I'm a badass, right, like a badge. Ward is

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Speaker 2: a badge, Yeah.

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Speaker 1: To a certain extent. Yeah, And so it just gave

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Speaker 1: me this incredibly broad spectrum. It was like the perfect

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Speaker 1: childhood for an actor, just to be immersed in these

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Speaker 1: two different cultures. And seeing how these different people survived

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Speaker 1: and lived and thrived and created. Yeah, I mean, there

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Speaker 1: was going to be more to that sentence, but it just.

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Speaker 2: Then it's stuck. No, but it's I mean, you know,

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Speaker 2: we're obviously going to talk about where you ended up

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Speaker 2: and what you're doing now, but at the time it's

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Speaker 2: clearly like rich character study material. I mean, these two

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Speaker 2: worlds at the time as a child, are you acknowledging

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Speaker 2: that or just observing? Is there anything within yourself even

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Speaker 2: at that young age where you're you begin studying, for

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Speaker 2: lack of a better phrase, the human condition or by

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Speaker 2: by by the different people that you're encountering.

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Speaker 1: I think on some level I was, and on also

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Speaker 1: on some level in Alphabet city, like you had, I

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Speaker 1: had to be able to assess who people were on

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Speaker 1: the street and who is dangerous and who was cool

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Speaker 1: and who you know, So it there was a certain

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Speaker 1: survival strategy in my ability to read people quickly and

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Speaker 1: get where they were at. And I think I think

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Speaker 1: on some level I was a little anthropologist, you know,

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Speaker 1: because the worlds were so diverse, So I think I

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Speaker 1: think I was. I think I had a bit of

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Speaker 1: awareness of how unusual.

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Speaker 2: This was Yeah, do you feel like Alphabet City and

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Speaker 2: the people there. I mean you talk about needing to identify,

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Speaker 2: I know exactly what you mean. You walk into a

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Speaker 2: situation and it's like, okay, there, this is good, this

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Speaker 2: is safe, this is maybe not. Was there a feeling

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Speaker 2: of community there? Like was there a safeness if you

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Speaker 2: were there and you belonged there that you felt protected

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Speaker 2: in a way.

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Speaker 1: It was beautiful, just beauty, a full community and it was.

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Speaker 1: There was some racial tension, but there was not a

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Speaker 1: lot of racial tension relative to the mix of different

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Speaker 1: people that were there because we were all in it together.

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Speaker 1: And you know, there was one guy and he always

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Speaker 1: he would say, you know, he would say, I've got

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Speaker 1: eyes in the back of my head for you. I'm

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Speaker 1: looking out for you. You know, I got your back.

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Speaker 2: Wow.

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Speaker 1: And he was an American Indian man named Reno Thunder

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Speaker 1: who was an actor no longer around. And you know,

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Speaker 1: and I also got to see like, for example, just

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Speaker 1: with Reno, like this very dynamic, powerful man. And he

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Speaker 1: got evicted from his apartment and he's he ended up

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Speaker 1: living in Tompkins Square Park, do you know what I mean.

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Speaker 1: So it was just like so intense to see that

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Speaker 1: level of struggle and that level of how uncertain things were.

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Speaker 1: I mean, everything really is uncertain, but you know, we

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Speaker 1: strive to live in the illusion that it's not as

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Speaker 1: uncertain as it is. But that was a very uncertain environment,

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Speaker 1: which also was I think challenging as a kid. You

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Speaker 1: know that it was like somebody just took acid and

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Speaker 1: jumped out the window of an abandoned building. You know,

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Speaker 1: somebody just got got killed on the street, or somebody

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Speaker 1: is making this amazing art. You know, they found a

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Speaker 1: piano and they're taking all the piano parts and they're

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Speaker 1: making this amazing sculpture, you know, and you know, so

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Speaker 1: it's just like everything was out, nothing was in everything,

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Speaker 1: Like people just expressed themselves fully on the street. Again.

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Speaker 1: Kind of great childhood for an actor, just to be

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Speaker 1: exposed to that.

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Speaker 2: Yeah, I was going to ask you, and you sort

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Speaker 2: of answered my question before I asked it that you know,

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Speaker 2: it's known as being incredibly diverse, dangerous, but also sort

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Speaker 2: of bohemian and artistic. Do you feel like that was

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Speaker 2: nurtured by you?

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Speaker 1: Oh? Yeah, I mean my mom was a painter and

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Speaker 1: a poet, you know, and she always you know, told

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Speaker 1: me like being an artist is the ultimate thing you

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Speaker 1: can be and just create, make something, make something every day,

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Speaker 1: whether it's a little drawing or a poem or something.

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Speaker 1: And we had performances in our performance art in our

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Speaker 1: living room where people would gather and there would be

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Speaker 1: music and people would get up and improvise something. And

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Speaker 1: there was there was this one cab driver, this guy

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Speaker 1: named Billy, and he would always pull in, he'd park

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Speaker 1: his cab outside and he'd come in and he he

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Speaker 1: would bring a bowler hat and he would do like

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Speaker 1: waiting for Geodo, Like he would take his hat off

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Speaker 1: and do one part and at that point, like because

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Speaker 1: he always did the same thing, like people would just

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Speaker 1: kind of check out and be like, you know, I'm

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Speaker 1: gonna go get some wine right.

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Speaker 2: Now, you know whatever.

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Speaker 1: But it was just like full of full of characters,

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Speaker 1: full of.

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Speaker 2: Yeah, you know, I think that everybody, depending on who

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Speaker 2: you're with, right is at times playing versions of themselves. Right.

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Speaker 2: You behave in a certain way depending on who you're with,

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Speaker 2: whether it's your grandparents or you know, your your buddies

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Speaker 2: on the street and Alphabet City or whatever. It seems

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Speaker 2: to me looking at your career later on and again

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Speaker 2: the teaching that you have done. That it seems like

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Speaker 2: you potentially attended your own master class as a young

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Speaker 2: age being there in Alphabet City, and then you go

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Speaker 2: to your dad's on the Upper East Side and you're

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Speaker 2: encountering I imagine, a whole different sort of cast of

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Speaker 2: characters which forces you to very specifically probably behave and

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Speaker 2: act in a totally different way. Not that you're being

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Speaker 2: not yourself, but as I like to say, a different

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Speaker 2: version of yourself. Do you feel like that training early

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Speaker 2: on was real?

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Speaker 1: Well, I definitely, I definitely did that.

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Speaker 2: You know.

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Speaker 1: My mom was very unstructured, free flowing whatever, you know,

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Speaker 1: I didn't have to be home at any particular time,

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Speaker 1: and my dad was very structured, and so I had

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Speaker 1: to fall in line with you know, with that structure.

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Speaker 1: And then you know, and then just being around these

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Speaker 1: theoretical physicists, you know, was fascinating, you know.

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Speaker 2: Different, different than Billy the cab driver.

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Speaker 1: Different, a little different. Yeah, and so many of these

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Speaker 1: these physicists, you know, like my dad for example, like

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Speaker 1: absolutely brilliant, but in certain like he got a toaster oven,

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Speaker 1: I remember, you know, and I and it was so complex,

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Speaker 1: like I had to go over. You know, you first

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Speaker 1: you put this setting, then you open the door, then

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Speaker 1: you put the bread in close it, then you press

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Speaker 1: the button and he would write that down like it

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Speaker 1: was so like, and so many of them were so

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Speaker 1: their brains were so amazing in these certain areas. In

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Speaker 1: other areas, it's all the focus went one right into

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Speaker 1: one area. And what interesting with physicists is they would

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Speaker 1: always compete with jokes, which was always interesting. They would

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Speaker 1: always try to, you know, tell a better joke, whether

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Speaker 1: they were actually funny, they were somewhat funny, but they

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Speaker 1: were very drawn.

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Speaker 2: Out, okay, like joke stories, joke stories. Yeah, yeah, yeah,

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Speaker 2: that's interesting. I know you went to Syracuse. You studied

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Speaker 2: acting and directing there. Something that I like to talk

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Speaker 2: to everybody about, is there a moment for you where

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Speaker 2: because look, you're performing in first your mom's living room,

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Speaker 2: then you start to develop a taste. Were you solid

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Speaker 2: in what your path was going to be before you

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Speaker 2: went to Syracuse? Did you go there with that in mind?

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Speaker 1: Yeah? I was. I was pretty I was pretty solid

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Speaker 1: about it.

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Speaker 2: Yeah.

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Speaker 1: Yeah, I kind of knew it. I knew it, and

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Speaker 1: you know, there were certain experiences that I had at Syracuse.

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Speaker 1: That woke parts of me up. You know, there was

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Speaker 1: a familiar with this dude, Jersey Gretowski, who is of

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Speaker 1: course Polish. Yeah, you know. And I had a teacher

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Speaker 1: that had just come back who was working with him,

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Speaker 1: and and you know, she introduced us to this physical

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Speaker 1: work of like pushing yourself beyond your mind, basic like

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Speaker 1: getting so tuned into your body and your impulses that

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Speaker 1: the you know, the mind ceased to be the dominant force.

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Speaker 1: And that was that was like a real awakening for me.

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Speaker 1: And I was like, this is what I want. I want,

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Speaker 1: I want to how can I make how can I

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Speaker 1: live in this arena? So like that like that that

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Speaker 1: sunk things in on another level.

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Speaker 2: Yeah, it's it's fascinating to me again because you called

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Speaker 2: me out and said it's about me, but about me.

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Speaker 2: I had a very similar experience and ended up starting

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Speaker 2: a theater company when I graduated from college, and our

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Speaker 2: first original work was we called it the Ki Kurtowski

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Speaker 2: Experience and it was a company created work that was

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Speaker 2: literally that like like working your body, very physical for

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Speaker 2: those of you who don't know. And then ended up

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Speaker 2: working in sort of totally a different way for a

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Speaker 2: long period of time with some folks from the Chocolate

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Speaker 2: Cox School, which was physical but in a different, more

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Speaker 2: comedy based way. So yeah, no, I know what you mean.

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Speaker 2: It's like, oh, okay, here's you know, a loud guy

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Speaker 2: with good instincts, and now it's like, oh, look at

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Speaker 2: the world that actually exists here, and then I have

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Speaker 2: to explore Yeah, yeah for me as well.

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Speaker 1: Do you have footage of that? Do you have any

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Speaker 1: footage of that?

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Speaker 2: You know what? I have not thought about that in

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Speaker 2: so long.

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Speaker 1: I'm gonna think it's time to bring out, you know, the.

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Speaker 2: Experience Grotowski experiment. And then there was a a colon

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Speaker 2: and then there was something else and as you were talking,

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Speaker 2: I couldn't. I can't. I can't remember at the moment

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Speaker 2: what it is, but I'm gonna. I'm gonna find out. Yeah,

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Speaker 2: it's uh.

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Speaker 1: Don't very similar paths because I was I was so

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Speaker 1: deep into all of that and creating directing. I had

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Speaker 1: directed one project that started out I did this at

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Speaker 1: Circle Rep Lab, okay, and it started out where all

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Speaker 1: the actors were there was I brought in I think

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Speaker 1: maybe three hundred pounds of peat moss into this sphere. Yeah,

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Speaker 1: and the show started where the actors were lying under

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Speaker 1: the peat moss, just like just their faces, you know,

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Speaker 1: and hope it and the audience had to kind of

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Speaker 1: navigate through that. They were guided somewhat, you know. And

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Speaker 1: then at some point, you know, this crazy music starts

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Speaker 1: happening and they're like vibrating, kind of coming out of

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Speaker 1: the soil.

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Speaker 2: Yeah, you know, it's like, gosh, we are I mine

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Speaker 2: was sand coming out of sand. Oh my god. This

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Speaker 2: is a different coming out of being born out of sand.

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Speaker 2: And I was I was, I was the I was

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Speaker 2: the bad guy in that. And at the at the end,

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Speaker 2: like the wicked witch, I descended and melted down into

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Speaker 2: the sand. And at the very end of the show. Yep,

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Speaker 2: all the elements, all the elements.

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Speaker 1: Uh so got to find this material.

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Speaker 2: Okay, all right, all right, that that last one I

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Speaker 2: I have. I definitely have that somewhere. Look, the shows

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Speaker 2: that you have been in and played in in some

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Speaker 2: cases significant recurring roles. You have a decade's long career,

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Speaker 2: and yet you you seem to, based on what I've read,

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Speaker 2: consider yourself that guy. Uh even on on on your Instagram, bio,

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Speaker 2: your your reps, so you know, called you a face

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Speaker 2: you recognize, but when a story still left to be told?

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Speaker 2: What does what does that mean to you?

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Speaker 1: Mm? It mean let's see, let's figure this out. Help me.

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Speaker 1: I mean a face to be recognized. Yeah, I have

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Speaker 1: a certain you know. People are like oh oh yeah, yeah, yeah,

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Speaker 1: yeah you you hey, I know, I know you and

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Speaker 1: and like some people are like almost like come up quietly,

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Speaker 1: like I really I know you are I know, like

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Speaker 1: it's you know, like it's a big secret, the story

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Speaker 1: to be told. I don't know.

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Speaker 2: You know, do you enjoy being that guy? Do you

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Speaker 2: do you enjoy that?

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Speaker 1: Yeah? I do. It's sometimes I'll have the situation where,

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Speaker 1: you know, I'll go into a store and they'll be like, oh,

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Speaker 1: we went to camp together, and I was like, no, no,

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Speaker 1: I never went to camp. And it's like no, no,

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Speaker 1: I know you from oh you've been in the store before.

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Speaker 1: No no. And then it's like and this happens all

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Speaker 1: the time, and then and then that eventually I'll go

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Speaker 1: like I'm an actor and they'll be like no, no, no, no,

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Speaker 1: that's not it, you know, and this is just regular

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Speaker 1: you know. And then there's people that they know me

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Speaker 1: and they know how they know me. You know, they

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Speaker 1: know me from Ray Donovan or you know what, Law

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Speaker 1: and Order or whatever it may be.

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Speaker 2: I want to attempt to tell at least a part

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Speaker 2: of your story for those of you who don't know.

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Speaker 2: Josh started out doing spots on television in well, just

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Speaker 2: little shows like Cosby's Show, Murphy Brown. I mean, you're

357
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Speaker 2: working on iconic and at the time, humongous shows that

358
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Speaker 2: truly like everyone is watching, and not just everybody is

359
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Speaker 2: watching like today, everyone is watching at exactly the same

360
00:24:01,320 --> 00:24:08,439
Speaker 2: time on eight o'clock on a Thursday or whatever. So

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Speaker 2: you're starting there, and you're starting I'm sure to get

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Speaker 2: recognized for this work because everybody is watching it, and

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Speaker 2: then pretty quickly you get like an enormous break. You're

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Speaker 2: cast as one of the teenage mutant ninja turtles. At

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Speaker 2: the time, does this feel like a big break for you?

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Speaker 2: Wh your face is not seen? So it's a weird

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Speaker 2: like thing, right, It.

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Speaker 1: Was so weird? Yeah, it was. It was so immersive

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Speaker 1: and it was almost similar to Gretowski work because Christ

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Speaker 1: is so physical and so absolutely engaging. I mean just

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Speaker 1: the cost of you know, costume was seventy pounds. None

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Speaker 1: of the little dots, you know, right, the body is

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Speaker 1: like you're fucking carrying this dude, you know, seventy pounds.

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Speaker 2: And you're the only actor who did the voice and

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Speaker 2: strapped on and got in there. I mean, you love

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Speaker 2: Gratowski the physical stuff. Did were you happy with this

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Speaker 2: choice that you made this choice at the time, or

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Speaker 2: did you begin to regret that choice?

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Speaker 1: Well, I mean I'm not somebody that just in the

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Speaker 1: act of filming it, like, I'm not somebody that experiences claustrophobia,

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Speaker 1: Like it's not something, it's not a concern. But I

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Speaker 1: experienced major claustrophobia. You know, like you are completely sealed in,

383
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Speaker 1: your head is glued on, and you're it's hard to breathe,

384
00:25:54,080 --> 00:25:57,439
Speaker 1: it's hard to see, you know, and your body just

385
00:25:57,520 --> 00:25:59,040
Speaker 1: gets hotter and hotter.

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Speaker 2: You know.

387
00:25:59,560 --> 00:26:04,679
Speaker 1: We would lose five pounds from morning till lunch. You know,

388
00:26:04,760 --> 00:26:07,800
Speaker 1: they had just impressed air. So it was just, you know,

389
00:26:07,840 --> 00:26:11,160
Speaker 1: there were times where it was like this is insane.

390
00:26:11,920 --> 00:26:17,399
Speaker 1: But it also helped to create that character Raphael, you know,

391
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Speaker 1: who was like full of angst and rage and you know,

392
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Speaker 1: so it's like it was perfect. It couldn't have been

393
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Speaker 1: a better preparation. And it was. It was weird because

394
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Speaker 1: when it came out, you know, there was I remember

395
00:26:31,280 --> 00:26:35,840
Speaker 1: one day I was with Leif Tilden, who played Donatello.

396
00:26:36,280 --> 00:26:39,439
Speaker 1: We were hanging out on the beach and this kid

397
00:26:39,680 --> 00:26:43,199
Speaker 1: had a teenage hutant ninja turtle towel and he was

398
00:26:43,280 --> 00:26:46,239
Speaker 1: running around all around the beach and was going, I'm

399
00:26:46,280 --> 00:26:49,520
Speaker 1: an ninja turtle, I'm an inja turtle. And we stopped

400
00:26:49,600 --> 00:26:52,600
Speaker 1: him and said, hey, I'm Raphael, and this is Donna Tllo,

401
00:26:52,840 --> 00:26:55,520
Speaker 1: you know, and his face crumbled, you know, and he

402
00:26:55,640 --> 00:26:58,359
Speaker 1: ran to his mother like you know, he was you know,

403
00:26:59,160 --> 00:27:03,640
Speaker 1: seeing two petal files or something, you know, And yeah,

404
00:27:03,720 --> 00:27:06,919
Speaker 1: it was bizarre. It was a bizarre experience because it

405
00:27:07,000 --> 00:27:11,560
Speaker 1: was the hit movie of that year, huge, huge, Yeah,

406
00:27:11,560 --> 00:27:14,560
Speaker 1: and it continues to you know, the impact that it's

407
00:27:14,560 --> 00:27:17,080
Speaker 1: had on people. People reach out to me all the

408
00:27:17,160 --> 00:27:20,160
Speaker 1: time like, oh that was my childhood and blah blah blah.

409
00:27:20,960 --> 00:27:24,679
Speaker 1: So it was it was very bizarre to yeah, to

410
00:27:24,760 --> 00:27:29,240
Speaker 1: be in that and to not be recognized. And it also,

411
00:27:29,640 --> 00:27:34,840
Speaker 1: you know, there was something about also being in where

412
00:27:34,880 --> 00:27:38,640
Speaker 1: I grew up, in that neighborhood that I also had

413
00:27:38,680 --> 00:27:42,919
Speaker 1: to be invisible at times. I had to kind of

414
00:27:42,960 --> 00:27:47,479
Speaker 1: maneuver my way through without being seen. So it was

415
00:27:47,520 --> 00:27:53,280
Speaker 1: like kind of an interesting dynamic playing out.

416
00:27:54,640 --> 00:28:00,439
Speaker 2: Yeah. Yeah, I imagine crazy. I mean, I guess tend

417
00:28:00,520 --> 00:28:07,199
Speaker 2: to an enormous animated role that is created and becomes

418
00:28:07,200 --> 00:28:11,600
Speaker 2: the big thing. But you also having the physicality giving

419
00:28:12,000 --> 00:28:16,440
Speaker 2: you know, having you doing the physicality, really creating that

420
00:28:16,600 --> 00:28:19,800
Speaker 2: character and how people view it as well, and still

421
00:28:19,960 --> 00:28:23,439
Speaker 2: not being seen. That that's very it's very interesting and

422
00:28:23,600 --> 00:28:28,399
Speaker 2: kind of like doesn't exist anymore, particularly with all of

423
00:28:28,440 --> 00:28:30,880
Speaker 2: the as you say, the dots all over.

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00:28:31,119 --> 00:28:34,640
Speaker 1: Yeah. Yeah, yeah, they wanted they wanted to keep us.

425
00:28:35,160 --> 00:28:39,040
Speaker 1: They didn't want to destroy the illusion. You know, although

426
00:28:39,080 --> 00:28:42,400
Speaker 1: I can't do Kathy and Regis, you know, I did.

427
00:28:42,760 --> 00:28:49,120
Speaker 2: Things like that, right, but they they wanted your anonymity specifically,

428
00:28:49,200 --> 00:28:50,520
Speaker 2: I mean to a large degree.

429
00:28:50,800 --> 00:28:56,240
Speaker 1: Yeah, yeah, especially in the first three or four months. Yeah,

430
00:28:56,320 --> 00:28:57,960
Speaker 1: then they started to open it up a bit.

431
00:28:58,080 --> 00:29:02,520
Speaker 2: Yeah. For a long time, you played on a series,

432
00:29:02,560 --> 00:29:05,160
Speaker 2: and again it's not overstating it to say, you know,

433
00:29:05,840 --> 00:29:10,120
Speaker 2: millions and millions and millions of people watching as appointment

434
00:29:10,160 --> 00:29:15,240
Speaker 2: television Law and or both Law and Order and Law

435
00:29:15,280 --> 00:29:21,160
Speaker 2: and Order SVU, which undoubtedly took away a lot of

436
00:29:21,200 --> 00:29:25,720
Speaker 2: your anonymity, especially in New York City. You know, I

437
00:29:25,720 --> 00:29:28,960
Speaker 2: had the experience to work on SVU. Not a more

438
00:29:29,440 --> 00:29:37,320
Speaker 2: professional set and environment is possible, particularly for hour long

439
00:29:37,840 --> 00:29:43,680
Speaker 2: network television than what exists on those sets. And you know,

440
00:29:43,920 --> 00:29:49,920
Speaker 2: as sort of a huge, huge recurring role on this

441
00:29:50,000 --> 00:29:53,600
Speaker 2: big show, you're spending a lot of time there. Talk

442
00:29:53,640 --> 00:29:57,600
Speaker 2: to me about your experience on set and if that

443
00:29:57,840 --> 00:30:02,240
Speaker 2: gave you anything in terms of of confidence or that

444
00:30:02,880 --> 00:30:05,360
Speaker 2: you learned something that you were able to take moving

445
00:30:05,400 --> 00:30:08,760
Speaker 2: forward because of how well that show was operated.

446
00:30:09,560 --> 00:30:13,920
Speaker 1: Mm hmm. I mean it was especially you know, I

447
00:30:14,040 --> 00:30:17,920
Speaker 1: was in it, you know, the Mothership as they call it,

448
00:30:17,960 --> 00:30:22,200
Speaker 1: the original like from the first season, and it was

449
00:30:23,200 --> 00:30:27,200
Speaker 1: especially in the first season like it was testosterone. It

450
00:30:27,320 --> 00:30:30,960
Speaker 1: was like you're gonna walk here, We're gonna turn here,

451
00:30:31,200 --> 00:30:34,800
Speaker 1: the camera's gonna come here, turn here on this line,

452
00:30:35,800 --> 00:30:40,720
Speaker 1: and let's let's go. Let's go. You know that it

453
00:30:40,880 --> 00:30:46,160
Speaker 1: simmered down, you know, as you know I went there. Yeah,

454
00:30:47,040 --> 00:30:50,760
Speaker 1: but that's how you know, that's how it started. I

455
00:30:50,800 --> 00:30:53,560
Speaker 1: mean for me, I you know, for a long time,

456
00:30:53,600 --> 00:30:58,240
Speaker 1: I played the medical examiner. Yeah, and I came up

457
00:30:58,280 --> 00:31:02,480
Speaker 1: with this notion which helped, you know, which helped make

458
00:31:02,520 --> 00:31:07,120
Speaker 1: it more live for me that I was I was

459
00:31:07,200 --> 00:31:11,160
Speaker 1: solving the case and these detectives were idiots, you know

460
00:31:11,200 --> 00:31:14,800
Speaker 1: what I mean. And that kind of gave me a

461
00:31:14,800 --> 00:31:19,160
Speaker 1: certain and almost like a resentment towards them that they

462
00:31:19,240 --> 00:31:24,200
Speaker 1: were getting the accolades for solving the case. And somehow

463
00:31:24,240 --> 00:31:28,920
Speaker 1: just making that little choice it made it a very

464
00:31:29,240 --> 00:31:34,440
Speaker 1: active It turned something on creatively for me because I

465
00:31:34,520 --> 00:31:39,160
Speaker 1: had to say so much technical jargon, right, but it

466
00:31:39,200 --> 00:31:43,280
Speaker 1: gave it gave me an angle in which to have

467
00:31:43,360 --> 00:31:46,200
Speaker 1: fun with this character and with these guys.

468
00:31:46,520 --> 00:31:50,720
Speaker 2: Oh, I love that, And it's so clear in your work.

469
00:31:51,520 --> 00:31:54,640
Speaker 2: It's I mean, it is so clear that that there

470
00:31:54,840 --> 00:31:59,920
Speaker 2: is as opposed to let's just call it a more tradition,

471
00:32:00,040 --> 00:32:05,320
Speaker 2: an old procedural show and performance, that there's a life there.

472
00:32:05,720 --> 00:32:08,360
Speaker 2: I feel like a lot on the mother Ship. There

473
00:32:08,360 --> 00:32:11,400
Speaker 2: were a lot of guys on the mother Ship who

474
00:32:11,560 --> 00:32:17,520
Speaker 2: had clearly took some sort of perspective week to week

475
00:32:17,600 --> 00:32:21,320
Speaker 2: that played out in some way that gave that show life. Yeah,

476
00:32:21,320 --> 00:32:22,760
Speaker 2: that's very interesting.

477
00:32:24,000 --> 00:32:28,200
Speaker 1: Yeah, And I always try to find something that turns

478
00:32:28,240 --> 00:32:34,680
Speaker 1: me on creatively so that I don't act basically, so

479
00:32:34,760 --> 00:32:37,480
Speaker 1: that I don't get caught up in how to say

480
00:32:37,520 --> 00:32:39,840
Speaker 1: a line, because you know, if we get too caught

481
00:32:39,920 --> 00:32:42,080
Speaker 1: up in that's it's dead.

482
00:32:43,240 --> 00:32:48,960
Speaker 2: Yeah, in looking over your career, I always anytime I

483
00:32:49,000 --> 00:32:54,520
Speaker 2: see the Sopranos, it stands out to me. I saw you,

484
00:32:54,920 --> 00:32:57,920
Speaker 2: and I'm watching it again. By the way, right now,

485
00:32:58,040 --> 00:32:59,640
Speaker 2: I haven't quite gotten to your.

486
00:33:00,160 --> 00:33:02,760
Speaker 1: Done that yet, but I'm I know that's coming. So

487
00:33:03,000 --> 00:33:06,760
Speaker 1: you haven't watched now, I haven't watched. I haven't watched.

488
00:33:06,800 --> 00:33:09,320
Speaker 1: You know. I watched it when it was sure, you know,

489
00:33:09,400 --> 00:33:11,880
Speaker 1: when it was unfolding, and then every now and then

490
00:33:11,920 --> 00:33:14,440
Speaker 1: I'll catch you know, and I'm like, God, this is

491
00:33:14,560 --> 00:33:17,680
Speaker 1: it's going to be such a treat. How consistently are

492
00:33:17,720 --> 00:33:18,760
Speaker 1: you watching it?

493
00:33:19,120 --> 00:33:22,720
Speaker 2: Well, they suckered me in. It hasn't been that long

494
00:33:22,800 --> 00:33:25,200
Speaker 2: since I watched it the last time. I mean, it's

495
00:33:25,240 --> 00:33:30,440
Speaker 2: not like I've seen it fourteen times, but I I

496
00:33:30,440 --> 00:33:34,959
Speaker 2: I don't. It was like Max had just some you know,

497
00:33:36,280 --> 00:33:42,320
Speaker 2: DVD like image and it says twenty fifth anniversary or

498
00:33:42,800 --> 00:33:45,040
Speaker 2: thirty I don't even remember. And I just saw that

499
00:33:45,120 --> 00:33:48,600
Speaker 2: and I was like, oh, yeah, let's give that another watch.

500
00:33:48,600 --> 00:33:51,200
Speaker 2: And I just started it and now I'm like in

501
00:33:51,320 --> 00:33:56,560
Speaker 2: season four and but that a number of other shows,

502
00:33:56,920 --> 00:34:01,600
Speaker 2: both in New York and elsewhere, they you've had tremendous

503
00:34:01,680 --> 00:34:07,040
Speaker 2: I imagine experiences. Anything stand out from your guest star

504
00:34:07,560 --> 00:34:13,960
Speaker 2: stints on shows like Damages, Sex and the City, The Sopranos,

505
00:34:14,160 --> 00:34:19,080
Speaker 2: star Trek, Anything stand out for you in terms of

506
00:34:19,719 --> 00:34:24,960
Speaker 2: a show that changed something for you, that potentially you

507
00:34:25,200 --> 00:34:28,360
Speaker 2: found even after working on all of these other things

508
00:34:28,400 --> 00:34:31,360
Speaker 2: for a period of time, or that was particularly memorable

509
00:34:31,400 --> 00:34:31,719
Speaker 2: for you.

510
00:34:33,520 --> 00:34:38,160
Speaker 1: I mean, on so many levels. I feel like every

511
00:34:38,280 --> 00:34:44,319
Speaker 1: show I go into these shows looking to learn and

512
00:34:44,520 --> 00:34:49,080
Speaker 1: just kind of fascinated by how other people work. I

513
00:34:49,160 --> 00:34:51,759
Speaker 1: mean when you said Damages, you know, I had this

514
00:34:51,960 --> 00:34:56,360
Speaker 1: great thing with Ted Danson, scenes with him, and it

515
00:34:56,480 --> 00:35:00,640
Speaker 1: was just what I strive for in my self and

516
00:35:00,680 --> 00:35:05,160
Speaker 1: what I am so excited when I am exposed to

517
00:35:05,239 --> 00:35:10,720
Speaker 1: it in other actors is the dance of going into

518
00:35:10,760 --> 00:35:14,960
Speaker 1: the unknown. Like we know our lines, but it's like

519
00:35:15,200 --> 00:35:18,520
Speaker 1: going into the unknown and like how is it gonna

520
00:35:18,560 --> 00:35:21,600
Speaker 1: How is this take going to play out? It's like, oh,

521
00:35:21,640 --> 00:35:25,640
Speaker 1: the energy's going here now, it's going here, right, And

522
00:35:25,640 --> 00:35:30,360
Speaker 1: that's you know, so many of those shows that you mentioned,

523
00:35:30,760 --> 00:35:35,480
Speaker 1: you know, the actors were so so game to play.

524
00:35:36,000 --> 00:35:39,040
Speaker 1: I'll tell you like a horrible experience I had on

525
00:35:39,360 --> 00:35:42,080
Speaker 1: Law and Order if you want to hear all experience.

526
00:35:43,800 --> 00:35:47,400
Speaker 1: So I was directed. I was actually directing one of

527
00:35:47,440 --> 00:35:51,040
Speaker 1: these crazy plays at the time while I was recurring

528
00:35:51,080 --> 00:35:54,360
Speaker 1: on that. And they called and they said, oh, we

529
00:35:54,400 --> 00:35:55,719
Speaker 1: have a new episode.

530
00:35:56,040 --> 00:35:56,239
Speaker 2: You know.

531
00:35:56,400 --> 00:35:58,600
Speaker 1: I think they called on a Wednesday and they said, oh,

532
00:35:58,600 --> 00:36:02,680
Speaker 1: we have a new episode. It's you're on Friday and so,

533
00:36:02,960 --> 00:36:04,640
Speaker 1: and I was in the middle of directing this play

534
00:36:04,680 --> 00:36:07,440
Speaker 1: and it was like, okay, great, So you know, I

535
00:36:07,480 --> 00:36:09,600
Speaker 1: get the script. I don't have time to read the

536
00:36:09,600 --> 00:36:12,799
Speaker 1: whole script. I go, I find my part, learn, learn

537
00:36:12,840 --> 00:36:15,560
Speaker 1: those lines, go wait in the I'm in my dressing

538
00:36:15,640 --> 00:36:18,520
Speaker 1: room and then and somebody comes in and goes like, okay,

539
00:36:18,560 --> 00:36:21,239
Speaker 1: we're going to do this scene first, And it was

540
00:36:21,480 --> 00:36:23,839
Speaker 1: what do you mean, wait, what do you mean this

541
00:36:23,880 --> 00:36:28,000
Speaker 1: scene first? And it's like there's another scene, you know,

542
00:36:28,280 --> 00:36:31,600
Speaker 1: at the end of the and I'm like, and I

543
00:36:31,719 --> 00:36:36,320
Speaker 1: just you know, and it was so much jargon, you know,

544
00:36:36,360 --> 00:36:38,799
Speaker 1: it was so much technical you know, and it's in, well,

545
00:36:38,840 --> 00:36:41,719
Speaker 1: there's a corpse on the table. And so I'm in

546
00:36:41,760 --> 00:36:45,680
Speaker 1: there doing that scene and it was like on a Friday,

547
00:36:45,760 --> 00:36:49,200
Speaker 1: and the crew was like they want to go home right,

548
00:36:49,480 --> 00:36:54,239
Speaker 1: just you know, bobbling the lines and Jerry Orbach is like,

549
00:36:54,880 --> 00:36:56,840
Speaker 1: you know, who would become a friend. But he's like

550
00:36:57,040 --> 00:36:59,960
Speaker 1: this is insane, you know, and he starts to get

551
00:37:00,200 --> 00:37:02,279
Speaker 1: learn my lines, you know, and I get to a

552
00:37:02,320 --> 00:37:04,279
Speaker 1: place and I you know, I don't know what the

553
00:37:04,440 --> 00:37:07,960
Speaker 1: and he kind of you know, ruins the take and

554
00:37:08,000 --> 00:37:11,920
Speaker 1: he says it's this, you know. Anyway, that was that

555
00:37:12,040 --> 00:37:14,799
Speaker 1: was that was a nightmare. I'm just having a little

556
00:37:14,800 --> 00:37:21,320
Speaker 1: PTSD on that one right now. But I mean Sex

557
00:37:21,360 --> 00:37:25,279
Speaker 1: and the City. It was just it felt like there

558
00:37:25,360 --> 00:37:29,120
Speaker 1: was such a nurturing of like it just felt like

559
00:37:29,360 --> 00:37:34,600
Speaker 1: highly creative, like people were on all those shows were

560
00:37:34,800 --> 00:37:39,200
Speaker 1: it felt like there was experimentation and yeah, they were

561
00:37:39,239 --> 00:37:45,880
Speaker 1: just very creative. Okay, I got nothing else on that.

562
00:37:46,239 --> 00:37:49,520
Speaker 2: No, but that makes sense, which which leads me to

563
00:37:50,560 --> 00:37:54,319
Speaker 2: something that I'm sure people don't know about you. You are, well,

564
00:37:54,480 --> 00:37:58,360
Speaker 2: dare I say, a master teacher. You have been working

565
00:37:58,440 --> 00:38:02,080
Speaker 2: and coaching actors for a long long time, and throughout

566
00:38:02,080 --> 00:38:06,960
Speaker 2: your career you've developed and honed a method of acting

567
00:38:07,360 --> 00:38:11,560
Speaker 2: called committed impulse. Tell me tell me about that.

568
00:38:12,760 --> 00:38:18,759
Speaker 1: I mean that how how that emerged was after I

569
00:38:18,800 --> 00:38:21,719
Speaker 1: went to Syracuse. You know, I was exposed to this

570
00:38:21,800 --> 00:38:25,239
Speaker 1: Grotowski work and you know, nothing against Syracuse, but it

571
00:38:25,320 --> 00:38:29,719
Speaker 1: was like very Stanislavsky, very heady stuff. Yes, and it

572
00:38:29,800 --> 00:38:34,319
Speaker 1: made sense, but it didn't. It didn't work for me.

573
00:38:34,960 --> 00:38:37,719
Speaker 1: And so I went on a journey like training with

574
00:38:37,840 --> 00:38:41,799
Speaker 1: people like directors and you know, from all over the

575
00:38:41,840 --> 00:38:47,960
Speaker 1: world that were doing very physical, very impulsive training. And

576
00:38:48,000 --> 00:38:53,680
Speaker 1: then after that Circle rep, this off Broadway theater company

577
00:38:53,719 --> 00:38:57,399
Speaker 1: that had had their own space, They said, why don't

578
00:38:57,440 --> 00:39:01,959
Speaker 1: I train people in what I've learned? And the deal

579
00:39:02,120 --> 00:39:04,600
Speaker 1: was I would train them, I would direct them in

580
00:39:04,760 --> 00:39:08,719
Speaker 1: something that we created together, but every three months we

581
00:39:08,800 --> 00:39:12,760
Speaker 1: would show the work that we were doing to an audience,

582
00:39:12,800 --> 00:39:16,720
Speaker 1: like an open rehearsal. And from doing that, people started

583
00:39:16,800 --> 00:39:19,680
Speaker 1: asking me to teach. And I was like, I'm not

584
00:39:19,800 --> 00:39:23,319
Speaker 1: a teacher. I don't know what teaching is, blah blah blah,

585
00:39:23,520 --> 00:39:26,560
Speaker 1: and then NYU asked me to teach, and I was

586
00:39:26,600 --> 00:39:33,280
Speaker 1: like okay. And so, you know, so I just started

587
00:39:33,360 --> 00:39:40,800
Speaker 1: teaching and experimenting and saw that what really stops people

588
00:39:40,960 --> 00:39:45,360
Speaker 1: creatively is two things, and one is the thoughts in

589
00:39:45,440 --> 00:39:49,760
Speaker 1: their heads, the crap that cycles through basically, I suck,

590
00:39:50,000 --> 00:39:51,600
Speaker 1: this isn't going well? What do they think of me?

591
00:39:52,280 --> 00:39:57,799
Speaker 1: All that mental chatter and that stops people creatively and

592
00:39:57,880 --> 00:40:05,720
Speaker 1: also body sensations fear, anxiety, nervousness that also hampers people's creativity.

593
00:40:06,160 --> 00:40:09,640
Speaker 1: It doesn't have to, but it tends to. And so

594
00:40:10,320 --> 00:40:13,960
Speaker 1: I began experimenting, like, how how do we how can

595
00:40:14,040 --> 00:40:17,960
Speaker 1: I help actors break through this? And so part of

596
00:40:18,080 --> 00:40:22,440
Speaker 1: the work is to instead of, you know, the common

597
00:40:23,160 --> 00:40:26,160
Speaker 1: kind of self help notion that's out there is if

598
00:40:26,160 --> 00:40:28,719
Speaker 1: you're nervous, like how can you find a way to

599
00:40:28,719 --> 00:40:31,480
Speaker 1: get rid of it? And how can you manage it?

600
00:40:31,520 --> 00:40:35,200
Speaker 1: And so on? And what I've been experimenting with is,

601
00:40:36,480 --> 00:40:39,000
Speaker 1: instead of trying to manage it or alter it or

602
00:40:39,040 --> 00:40:41,359
Speaker 1: get rid of it, is how can you increase your

603
00:40:41,560 --> 00:40:48,120
Speaker 1: tolerance for your full range of body experience and just

604
00:40:48,200 --> 00:40:51,520
Speaker 1: to assume that everything you're experiencing is built into your

605
00:40:51,600 --> 00:40:58,080
Speaker 1: DNA and to broaden this the range of which you

606
00:40:58,160 --> 00:41:03,000
Speaker 1: can allow yourself to stay present while whatever is happening

607
00:41:03,120 --> 00:41:06,240
Speaker 1: is happening. And that I've found that as soon as

608
00:41:06,719 --> 00:41:10,920
Speaker 1: somebody is feeling something that they don't like, say nervousness

609
00:41:11,000 --> 00:41:16,600
Speaker 1: or fear, they suppress it however they to you know,

610
00:41:16,640 --> 00:41:19,120
Speaker 1: however consciously or unconsciously, they do it. And as soon

611
00:41:19,160 --> 00:41:23,600
Speaker 1: as we suppress this energy in our body, our mind

612
00:41:23,760 --> 00:41:28,160
Speaker 1: goes off and so our mind gets really active. And

613
00:41:28,200 --> 00:41:34,840
Speaker 1: so it's really allowing all this energy to travel through

614
00:41:34,840 --> 00:41:39,200
Speaker 1: the body, and that if you fully connect to whatever's there,

615
00:41:39,280 --> 00:41:42,799
Speaker 1: it really shifts in seven to twelve seconds. And so

616
00:41:42,880 --> 00:41:45,279
Speaker 1: if you can stay on the train, stay on the

617
00:41:45,320 --> 00:41:47,920
Speaker 1: train of experience, it will it will shift. If you

618
00:41:47,960 --> 00:41:49,960
Speaker 1: try to manage it or get rid of it, it's

619
00:41:50,000 --> 00:41:53,239
Speaker 1: like trapping a little squirrel in a cage and you're

620
00:41:53,280 --> 00:41:54,480
Speaker 1: just like stuck with it.

621
00:41:55,360 --> 00:41:55,560
Speaker 2: Right.

622
00:41:55,640 --> 00:41:57,719
Speaker 1: So that's that's kind of one of it. And then

623
00:41:57,719 --> 00:42:00,680
Speaker 1: I came up with these four access points to presence,

624
00:42:01,040 --> 00:42:04,320
Speaker 1: you know, which very simply is staying in your body,

625
00:42:05,280 --> 00:42:08,960
Speaker 1: connecting with your immediate environment, keeping your breath going. And

626
00:42:09,000 --> 00:42:12,040
Speaker 1: then as soon as you're aware that your mind has

627
00:42:12,640 --> 00:42:16,120
Speaker 1: got you, you say I'm back. And so in my

628
00:42:16,200 --> 00:42:18,520
Speaker 1: class a lot, you know, people are like, I'm back,

629
00:42:18,600 --> 00:42:23,800
Speaker 1: I'm back. Well, i'm back, you know, so fascinating. Yeah,

630
00:42:23,840 --> 00:42:26,080
Speaker 1: So that's that's that's part of it. And then there's

631
00:42:26,160 --> 00:42:30,400
Speaker 1: these tools called inner atomics, which are ways of altering

632
00:42:30,480 --> 00:42:35,839
Speaker 1: the energetic patterns in the body to stimulate your creativity

633
00:42:35,880 --> 00:42:40,000
Speaker 1: and create behavior and create character so that it's all

634
00:42:40,239 --> 00:42:41,200
Speaker 1: very organic.

635
00:42:42,120 --> 00:42:47,840
Speaker 2: Do you feel to create a character physically? Do you

636
00:42:47,920 --> 00:42:50,240
Speaker 2: do you like to start from zero? Are you trying

637
00:42:50,239 --> 00:42:54,439
Speaker 2: to get your students to a place of neutrality right?

638
00:42:54,640 --> 00:42:56,960
Speaker 2: I mean there's at least if you look at I

639
00:42:56,960 --> 00:43:00,480
Speaker 2: don't know, Alexander technique or something where you're trying to

640
00:43:00,560 --> 00:43:03,640
Speaker 2: make sure everything is flowing, that we're at a place

641
00:43:03,680 --> 00:43:07,879
Speaker 2: of sort of neutrality that you work from there. Are

642
00:43:07,920 --> 00:43:11,400
Speaker 2: you Are you thinking more in terms of a person's

643
00:43:11,520 --> 00:43:16,600
Speaker 2: own I mean place of neutrial?

644
00:43:16,680 --> 00:43:22,640
Speaker 1: I mean I would say it's more starting exactly where

645
00:43:22,680 --> 00:43:28,480
Speaker 1: you are, okay, yeah, and not to make relaxation better

646
00:43:28,680 --> 00:43:34,600
Speaker 1: than a little sense of fear. You know, like starting

647
00:43:34,640 --> 00:43:39,200
Speaker 1: with wherever that being is and if they happen to

648
00:43:39,239 --> 00:43:42,880
Speaker 1: be relaxed, that's awesome. But if they're not relaxed, then

649
00:43:43,440 --> 00:43:47,960
Speaker 1: you have to create with what's there, and then it's

650
00:43:49,320 --> 00:43:52,680
Speaker 1: you know, all the tools to creating character. Like I know,

651
00:43:52,800 --> 00:43:55,239
Speaker 1: for me, when I first started out, it was like,

652
00:43:55,280 --> 00:43:59,319
Speaker 1: how can I create something to hide behind? And that

653
00:43:59,719 --> 00:44:03,400
Speaker 1: gen rated a lot of off off, off, off, Broadway

654
00:44:03,920 --> 00:44:08,520
Speaker 1: working in basements if I was lucky, and then you know,

655
00:44:08,600 --> 00:44:11,759
Speaker 1: when I fet realized, like, oh I have how can

656
00:44:11,800 --> 00:44:17,720
Speaker 1: I reveal myself in the character. That's when I started

657
00:44:17,719 --> 00:44:29,040
Speaker 1: getting work.

658
00:44:36,440 --> 00:44:40,239
Speaker 2: Who are your favorite actors to watch today in film

659
00:44:40,360 --> 00:44:41,120
Speaker 2: or television?

660
00:44:41,400 --> 00:44:44,879
Speaker 1: Where I mean walking Phoenix is okay?

661
00:44:45,360 --> 00:44:49,000
Speaker 2: That gosh, I love it when we're obviously you had

662
00:44:49,000 --> 00:44:53,400
Speaker 2: the opportunity which I just watched on a plane that

663
00:44:53,480 --> 00:44:55,880
Speaker 2: I lost my headphones on, and that I've been watching

664
00:44:55,920 --> 00:44:59,240
Speaker 2: The Sopranos. I did take a break knowing the Joker

665
00:44:59,320 --> 00:45:04,480
Speaker 2: too is coming out to watch Joker and your performance

666
00:45:05,239 --> 00:45:08,360
Speaker 2: in that, and you know, in reading about you and

667
00:45:08,400 --> 00:45:11,480
Speaker 2: then hearing you just talk to me, there's there are

668
00:45:11,920 --> 00:45:14,239
Speaker 2: I'm not going to say none, but there are very

669
00:45:14,239 --> 00:45:17,319
Speaker 2: few actors working at such a high level that I

670
00:45:17,440 --> 00:45:25,280
Speaker 2: feel like live and express in their body like Joaquin does. Yeah.

671
00:45:25,440 --> 00:45:29,839
Speaker 1: Yeah, And every take that we did, like he came in,

672
00:45:30,520 --> 00:45:34,279
Speaker 1: he was different than the previous take, which led me

673
00:45:34,400 --> 00:45:40,680
Speaker 1: to be different, you know, which is the that's the

674
00:45:40,719 --> 00:45:48,040
Speaker 1: bravery of actors to be able to, you know, step

675
00:45:48,080 --> 00:45:53,200
Speaker 1: into the unknown fully committed and let and letting, letting,

676
00:45:54,320 --> 00:45:57,080
Speaker 1: trusting that it's going to unfold. Perfectly.

677
00:45:57,920 --> 00:45:59,719
Speaker 2: Did you talk about it at all? Or just let

678
00:45:59,800 --> 00:46:00,320
Speaker 2: it happened?

679
00:46:01,440 --> 00:46:04,680
Speaker 1: We just let it happen. Like he was, he was

680
00:46:04,760 --> 00:46:12,640
Speaker 1: in the zone, and that set was so concentrated like

681
00:46:12,800 --> 00:46:17,759
Speaker 1: he was, so he was so in this that it

682
00:46:18,840 --> 00:46:24,560
Speaker 1: created absolute concentration, you know, as you know, like typically

683
00:46:24,960 --> 00:46:27,480
Speaker 1: as soon as the director calls cut, like there's chaos,

684
00:46:27,520 --> 00:46:31,400
Speaker 1: you know, everybody's like what are you doing later? You know,

685
00:46:31,440 --> 00:46:34,080
Speaker 1: and like and then there's like you know, and then

686
00:46:34,239 --> 00:46:37,320
Speaker 1: some lights get adjusted, and then there's this other period

687
00:46:37,360 --> 00:46:41,919
Speaker 1: of time where it's like what's happening, Like why aren't

688
00:46:41,920 --> 00:46:45,960
Speaker 1: we filming? You know, and it's like this it's like

689
00:46:46,040 --> 00:46:48,680
Speaker 1: every wait a minute, everything set up, you know what

690
00:46:48,800 --> 00:46:49,440
Speaker 1: we get.

691
00:46:49,520 --> 00:46:55,640
Speaker 2: What are we doing? Yeah?

692
00:46:55,640 --> 00:47:01,680
Speaker 1: But with this, it like it was quiet, it was concentrated,

693
00:47:01,920 --> 00:47:05,960
Speaker 1: it was focused. I've never heard anybody say this is

694
00:47:06,000 --> 00:47:10,120
Speaker 1: how we're it needs to be. It was just that

695
00:47:10,400 --> 00:47:16,799
Speaker 1: level of concentration and commitment to the work extending from

696
00:47:16,880 --> 00:47:24,600
Speaker 1: Joaquin outward. It just generated this amazing focus so that

697
00:47:25,080 --> 00:47:30,240
Speaker 1: we could let things unfold, let that magic happen.

698
00:47:31,719 --> 00:47:34,960
Speaker 2: Yeah. I love to hear that, and partly why I

699
00:47:35,000 --> 00:47:38,080
Speaker 2: love to hear it, and look, let's I mean I'm

700
00:47:38,120 --> 00:47:42,840
Speaker 2: certainly not going to say that Joker is a barrel

701
00:47:42,880 --> 00:47:48,320
Speaker 2: of laughs. Incredibly dark and brooding, difficult, one might say,

702
00:47:48,760 --> 00:47:58,560
Speaker 2: but also very playful, very mischievous and light in a

703
00:47:58,680 --> 00:48:03,719
Speaker 2: way at times that is, by the way unexpected, which

704
00:48:03,719 --> 00:48:06,920
Speaker 2: of course draws you in more and more. And to

705
00:48:07,080 --> 00:48:16,279
Speaker 2: hear that the set was well, not reference earlier like

706
00:48:16,360 --> 00:48:22,000
Speaker 2: your dad, very organized, very on point, very orderly, not

707
00:48:22,160 --> 00:48:28,279
Speaker 2: a lot of shenan agains or you know, unnecessary lapses

708
00:48:28,440 --> 00:48:33,279
Speaker 2: or breaks, just on point. But by creating that structure,

709
00:48:34,200 --> 00:48:37,759
Speaker 2: and I saw in your performance as well some ability

710
00:48:37,880 --> 00:48:42,360
Speaker 2: to play, and I just yeah, I love to hear that.

711
00:48:42,480 --> 00:48:46,239
Speaker 1: Well it it invited it. You know, it was like

712
00:48:46,280 --> 00:48:51,160
Speaker 1: there was concentrations so that when the camera was rolling,

713
00:48:51,800 --> 00:48:55,560
Speaker 1: it could it could, it could drift and float and

714
00:48:56,239 --> 00:49:04,200
Speaker 1: pound and shift. You know, it created that. That's you know,

715
00:49:04,560 --> 00:49:07,399
Speaker 1: that structure. If you take it to my dad, it's

716
00:49:07,440 --> 00:49:11,240
Speaker 1: like that structure allowed like the creativity of my mother's

717
00:49:11,280 --> 00:49:13,919
Speaker 1: side to then you know, flourish.

718
00:49:14,719 --> 00:49:14,919
Speaker 2: Right.

719
00:49:14,960 --> 00:49:18,279
Speaker 1: It's just like an interesting way to look at it.

720
00:49:19,280 --> 00:49:22,040
Speaker 2: Speaking of dark and brooding, that's what you call a

721
00:49:22,040 --> 00:49:31,120
Speaker 2: professional transition, uh Ray Donovan Stu Feldman, uh I loved

722
00:49:31,560 --> 00:49:35,480
Speaker 2: that show not as much playfulness there, at least from

723
00:49:35,880 --> 00:49:39,160
Speaker 2: from Ray. I'm gonna be honest, not much much more,

724
00:49:39,640 --> 00:49:43,040
Speaker 2: much more dark and brooding. Weirdly, when you consider the

725
00:49:43,080 --> 00:49:47,560
Speaker 2: subject matter, did that show change for you? You being perceived

726
00:49:47,600 --> 00:49:51,560
Speaker 2: as that guy? I mean you must have gotten specifically

727
00:49:51,680 --> 00:49:56,319
Speaker 2: recognized for your work there as that show took off

728
00:49:56,320 --> 00:49:57,800
Speaker 2: in popularity deservedly.

729
00:49:57,880 --> 00:50:01,319
Speaker 1: So Yeah, that that definitely bumped things up for me

730
00:50:01,400 --> 00:50:05,960
Speaker 1: in terms of being recognized. I mean I had so

731
00:50:06,160 --> 00:50:10,000
Speaker 1: much fun, you know with this character, you know, Stu

732
00:50:10,160 --> 00:50:13,080
Speaker 1: Feldman of Just you know, it's like a guy who

733
00:50:13,120 --> 00:50:20,360
Speaker 1: has all this power but but no security within himself

734
00:50:20,719 --> 00:50:27,680
Speaker 1: and just create which create this behavior, this crazy behavior,

735
00:50:27,840 --> 00:50:33,040
Speaker 1: and trying to and also this kind of infatuation with Ray.

736
00:50:33,520 --> 00:50:36,560
Speaker 1: You know that it's like almost want you know, he

737
00:50:36,719 --> 00:50:40,359
Speaker 1: wants to be Ray, Like he sees how confident Ray

738
00:50:40,520 --> 00:50:43,880
Speaker 1: is right and and you know, and he's trying to

739
00:50:43,960 --> 00:50:47,879
Speaker 1: emulate him and has this kind of man crush on him,

740
00:50:48,280 --> 00:50:51,520
Speaker 1: right and just you know, and just to play with

741
00:50:52,320 --> 00:50:56,400
Speaker 1: just on the pilot. The director said, how did he

742
00:50:56,440 --> 00:50:59,680
Speaker 1: phrase it? It was something like like he said, like

743
00:50:59,719 --> 00:51:03,360
Speaker 1: what this guy is like wearing like a nervous suit,

744
00:51:04,120 --> 00:51:07,200
Speaker 1: you know, and he can't sit still, like he doesn't

745
00:51:07,200 --> 00:51:10,960
Speaker 1: even know how to suppress like this nervous energy that

746
00:51:11,160 --> 00:51:14,719
Speaker 1: comes out of all these parts of his body, you know,

747
00:51:15,040 --> 00:51:17,840
Speaker 1: And that just kind of opened again, Like that was

748
00:51:17,880 --> 00:51:21,279
Speaker 1: something that opened the door for me creatively of this

749
00:51:21,360 --> 00:51:25,319
Speaker 1: guy that's he's he would like to be still and

750
00:51:25,440 --> 00:51:30,680
Speaker 1: focused like Ray, but like everything but everything is just

751
00:51:30,920 --> 00:51:34,960
Speaker 1: like twitching, you know, like there's just so much nervous energy.

752
00:51:35,239 --> 00:51:39,920
Speaker 1: You know that he's trying to trying to focus.

753
00:51:40,640 --> 00:51:41,200
Speaker 2: Yeah.

754
00:51:41,239 --> 00:51:44,279
Speaker 1: That I had so much fun on that show. Yeah,

755
00:51:44,520 --> 00:51:45,240
Speaker 1: so much fun.

756
00:51:45,480 --> 00:51:47,919
Speaker 2: I love that idea of him wanting to be Ray,

757
00:51:48,120 --> 00:51:54,279
Speaker 2: except except just absolutely like a butterfly as opposed to

758
00:51:55,200 --> 00:52:00,520
Speaker 2: you know, a still strong person. And it's like I want,

759
00:52:00,560 --> 00:52:03,239
Speaker 2: I want to be that. I'm that, right, I'm that,

760
00:52:03,600 --> 00:52:05,920
Speaker 2: but just never like never being.

761
00:52:06,160 --> 00:52:09,239
Speaker 1: It has all the power and all the money, you know,

762
00:52:09,280 --> 00:52:12,240
Speaker 1: and run runs the studio, you know, a movie studio,

763
00:52:13,000 --> 00:52:16,400
Speaker 1: but none of it read, none of it appeals whatever

764
00:52:16,719 --> 00:52:18,759
Speaker 1: his childhood wound is, you.

765
00:52:18,719 --> 00:52:20,160
Speaker 2: Know, right.

766
00:52:22,400 --> 00:52:22,560
Speaker 1: You.

767
00:52:23,040 --> 00:52:28,600
Speaker 2: In recent years, more unbelievable projects like to Drop Out, Missus, Fletcher,

768
00:52:29,120 --> 00:52:35,320
Speaker 2: Motherless Brooklyn, and now a new show, A Man in Full,

769
00:52:35,960 --> 00:52:42,359
Speaker 2: just released on Netflix with the brilliant Jeff Daniels and

770
00:52:42,480 --> 00:52:47,560
Speaker 2: Diane Lane. Tell me about your experience working on that project,

771
00:52:47,880 --> 00:52:51,719
Speaker 2: again based on a very popular best selling book, so

772
00:52:51,760 --> 00:52:54,719
Speaker 2: the story is out there a little bit. Did you

773
00:52:54,800 --> 00:52:57,719
Speaker 2: find that a challenge? And yeah, how is it like

774
00:52:57,800 --> 00:52:59,480
Speaker 2: working with those two actors?

775
00:53:00,200 --> 00:53:04,080
Speaker 1: I mean, you know, working with Jeff was I really

776
00:53:04,160 --> 00:53:08,200
Speaker 1: didn't like Sometimes knowing someone's work, you can kind of

777
00:53:08,680 --> 00:53:12,160
Speaker 1: get an idea like, oh, I bet this guy is

778
00:53:12,280 --> 00:53:16,279
Speaker 1: like this, you know. And with Jeff, I was like,

779
00:53:17,480 --> 00:53:20,960
Speaker 1: because I'd never met him before we started filming, and

780
00:53:21,000 --> 00:53:24,279
Speaker 1: I was like, is this guy gonna be an asshole

781
00:53:24,640 --> 00:53:27,880
Speaker 1: or like a sweetheart? Like he just couldn't tell, but

782
00:53:28,680 --> 00:53:34,680
Speaker 1: such a sweetheart like such such so committed and interested

783
00:53:35,160 --> 00:53:40,239
Speaker 1: in acting and the craft. So that was awesome. And

784
00:53:40,880 --> 00:53:46,800
Speaker 1: on the very first day he said, he went like, Josh,

785
00:53:47,320 --> 00:53:51,040
Speaker 1: I'm going big. I'm going big on this one, you know.

786
00:53:51,200 --> 00:53:57,040
Speaker 1: And his character is like enormous, right, and my character

787
00:53:57,200 --> 00:54:02,000
Speaker 1: is like, you know, has in some way more power

788
00:54:03,200 --> 00:54:07,440
Speaker 1: and has the money that he wants he wants me

789
00:54:07,520 --> 00:54:11,480
Speaker 1: to bail him out. And it's like he's going big

790
00:54:11,560 --> 00:54:16,360
Speaker 1: and I'm like a submarine, like just going really low

791
00:54:16,840 --> 00:54:22,160
Speaker 1: and just holding the power and kind of emerging with

792
00:54:22,360 --> 00:54:27,200
Speaker 1: power when I need to kind of the opposite of

793
00:54:27,239 --> 00:54:32,239
Speaker 1: Stu Feldman in in some way. And so it was

794
00:54:32,360 --> 00:54:36,520
Speaker 1: just it was just a blast. It was challenging, and

795
00:54:36,560 --> 00:54:41,319
Speaker 1: it was you know, the Tommy SCHLAMI like a couple

796
00:54:41,360 --> 00:54:44,520
Speaker 1: of days before we start, who was one of the directors,

797
00:54:44,960 --> 00:54:49,560
Speaker 1: Regina King was the other director, and Tommy he said,

798
00:54:49,800 --> 00:54:54,319
Speaker 1: get this book. Get this book, tough Jews. And he said, like,

799
00:54:55,160 --> 00:54:57,879
Speaker 1: you know, he said, your character is definitely a Jew,

800
00:54:58,680 --> 00:55:03,880
Speaker 1: but he like, let's make this guy a badass, not

801
00:55:04,000 --> 00:55:08,520
Speaker 1: a funny Jew, not the Schlemiel whatever, right, but like

802
00:55:09,280 --> 00:55:14,600
Speaker 1: a warrior, you know, a gangster. And and so that

803
00:55:14,760 --> 00:55:18,000
Speaker 1: was very you know that that was that was a

804
00:55:18,080 --> 00:55:22,680
Speaker 1: great also a great note to kind of inspire, how

805
00:55:22,719 --> 00:55:26,279
Speaker 1: can I have more power than Jeff's character even though

806
00:55:26,360 --> 00:55:32,840
Speaker 1: Jeff is enormous and be like under the surface. So

807
00:55:32,920 --> 00:55:35,759
Speaker 1: that was kind of the dance that I was playing with.

808
00:55:36,760 --> 00:55:40,360
Speaker 2: You know, I don't know if we've told your whole story,

809
00:55:40,400 --> 00:55:47,160
Speaker 2: but I've found a runner through this entire conversation from

810
00:55:47,480 --> 00:55:49,560
Speaker 2: your time at Law and Order and a decision that

811
00:55:49,600 --> 00:55:54,920
Speaker 2: you made through Stuf Feldman through this show in some ways,

812
00:55:55,400 --> 00:56:03,319
Speaker 2: the Joker as well. You have found a lot of

813
00:56:03,560 --> 00:56:10,239
Speaker 2: tactics and actions to play characters of high status, which

814
00:56:10,280 --> 00:56:15,319
Speaker 2: doesn't necessarily mean they always win, but the character themselves

815
00:56:15,520 --> 00:56:21,040
Speaker 2: has status. But you've found you've had an amazing ability

816
00:56:21,719 --> 00:56:25,840
Speaker 2: to take what you might even consider to be a

817
00:56:25,960 --> 00:56:32,319
Speaker 2: very similar character type, but using that high status in

818
00:56:32,400 --> 00:56:37,280
Speaker 2: different ways has enabled you to become a chameleon throughout

819
00:56:37,440 --> 00:56:39,400
Speaker 2: all of those things. I don't know, this is just

820
00:56:39,440 --> 00:56:42,480
Speaker 2: occurring to me right now. This wasn't this wasn't pre planned.

821
00:56:43,920 --> 00:56:47,480
Speaker 2: I find that. I found find that fascinating and a

822
00:56:47,560 --> 00:56:52,239
Speaker 2: great lesson for other actors to take that. Like, what

823
00:56:52,280 --> 00:56:54,960
Speaker 2: does high status mean? Well, you have money? I mean

824
00:56:55,120 --> 00:56:58,000
Speaker 2: literally the two roles you were just talking about right here,

825
00:56:58,320 --> 00:57:03,000
Speaker 2: yet taking different tactics based on the characters that you're

826
00:57:03,080 --> 00:57:07,319
Speaker 2: playing with, So what your given circumstances are, uh, and

827
00:57:07,560 --> 00:57:11,560
Speaker 2: using that status in different ways to either increase them

828
00:57:11,800 --> 00:57:14,600
Speaker 2: or sort of undercut them with something else. I find

829
00:57:14,640 --> 00:57:17,840
Speaker 2: that very interesting. Mm hmm true.

830
00:57:18,360 --> 00:57:23,000
Speaker 1: Was yeah, true? Wow, Wow, this is this is uh,

831
00:57:24,360 --> 00:57:26,320
Speaker 1: this is your You're unveiling the.

832
00:57:26,360 --> 00:57:31,200
Speaker 2: Story I'm trying And it wasn't even intentional. I'm just

833
00:57:31,360 --> 00:57:34,360
Speaker 2: listening to you.

834
00:57:34,880 --> 00:57:38,880
Speaker 1: I never really thought of it that way, but it's true. Yeah.

835
00:57:38,880 --> 00:57:43,000
Speaker 1: And I also just like I don't know, like I

836
00:57:43,000 --> 00:57:45,000
Speaker 1: don't know. It was maybe like six months ago, and

837
00:57:45,040 --> 00:57:48,520
Speaker 1: I was like, wow, I do play these powerful guys.

838
00:57:48,960 --> 00:57:52,120
Speaker 2: Yes, yes, you know, and.

839
00:57:52,040 --> 00:57:54,720
Speaker 1: It's not intentional, it's not right.

840
00:57:55,200 --> 00:57:55,360
Speaker 2: Yeah.

841
00:57:55,360 --> 00:57:59,760
Speaker 1: And I'm also working on this show raising Kanaan playing

842
00:58:00,080 --> 00:58:04,960
Speaker 1: this kind of music producer, roughly basing the character on

843
00:58:05,080 --> 00:58:08,680
Speaker 1: Rick Rubin. Have you read his book, by the way,

844
00:58:08,800 --> 00:58:11,200
Speaker 1: Rick Rubin's book, The Creative Act.

845
00:58:12,040 --> 00:58:13,520
Speaker 2: I have not so recommend it.

846
00:58:13,560 --> 00:58:14,800
Speaker 1: I think you would love it.

847
00:58:15,200 --> 00:58:17,800
Speaker 2: Oh interesting, Yeah, great book.

848
00:58:18,040 --> 00:58:22,280
Speaker 1: But again, like another high powered dude.

849
00:58:23,480 --> 00:58:26,640
Speaker 2: I hear you're publishing a book next year. Are you

850
00:58:26,680 --> 00:58:27,120
Speaker 2: writing it?

851
00:58:27,560 --> 00:58:32,280
Speaker 1: Well, Penguin is It's not it's not. I'm I have

852
00:58:32,320 --> 00:58:35,880
Speaker 1: to hand it in in September, okay, And it's coming

853
00:58:35,920 --> 00:58:40,280
Speaker 1: out September twenty twenty five, and the working title is

854
00:58:41,160 --> 00:58:46,600
Speaker 1: Lose Your Mind The Path to Creative Invincibility. I like that,

855
00:58:47,080 --> 00:58:52,320
Speaker 1: thank you. In a very unplanned way, somebody started pitching

856
00:58:52,360 --> 00:58:57,280
Speaker 1: me to some publishers, and the book is kind of

857
00:58:57,320 --> 00:59:00,960
Speaker 1: taking what I've been teaching, this committed impulse work and tape,

858
00:59:01,000 --> 00:59:05,800
Speaker 1: but not making it actor specific. It's like taking this

859
00:59:05,920 --> 00:59:09,520
Speaker 1: work for the general public, which is really exciting. So

860
00:59:09,640 --> 00:59:12,560
Speaker 1: much of what you know, we as actors go through

861
00:59:13,680 --> 00:59:18,320
Speaker 1: and are challenged with its kind of remarkable and it's

862
00:59:19,240 --> 00:59:24,960
Speaker 1: it's a much higher level of challenges than maybe people

863
00:59:25,040 --> 00:59:28,120
Speaker 1: have in other careers. But we all go through the

864
00:59:28,200 --> 00:59:31,560
Speaker 1: same stuff and kind of using the experience of being

865
00:59:31,560 --> 00:59:35,760
Speaker 1: an actor and the universality of that of because we

866
00:59:35,800 --> 00:59:39,680
Speaker 1: all have audiences. We all you know, when we put

867
00:59:39,720 --> 00:59:42,880
Speaker 1: ourselves further out into the world, you know, as actors

868
00:59:42,920 --> 00:59:46,200
Speaker 1: say in an audition or walking on set. You know,

869
00:59:46,280 --> 00:59:50,040
Speaker 1: we all everybody has the equivalent of that of putting

870
00:59:50,120 --> 00:59:53,680
Speaker 1: themselves even if it's in a meeting with one other person,

871
00:59:54,160 --> 00:59:58,080
Speaker 1: and the same kind of things emerge. And so just

872
00:59:58,120 --> 01:00:01,120
Speaker 1: trying to connect the dots of what I of learned

873
01:00:01,560 --> 01:00:05,160
Speaker 1: and making it available to the general public, and it's

874
01:00:05,320 --> 01:00:08,200
Speaker 1: it's very exciting. I just feel like I'm getting a

875
01:00:08,320 --> 01:00:10,360
Speaker 1: piece of my life's work out there.

876
01:00:11,680 --> 01:00:16,760
Speaker 2: I love that. Uh. And it is true having being

877
01:00:16,800 --> 01:00:24,760
Speaker 2: able to apply teachings principles of acting. Yeah, it can

878
01:00:24,880 --> 01:00:29,800
Speaker 2: help throughout all all all facets of your life.

879
01:00:29,880 --> 01:00:33,280
Speaker 1: Yeah, because what we have, we've had to we've had

880
01:00:33,320 --> 01:00:36,840
Speaker 1: to learn how to you know, deal with so much,

881
01:00:37,320 --> 01:00:41,600
Speaker 1: you know, and it's I mean actings like a spiritual

882
01:00:41,640 --> 01:00:45,240
Speaker 1: practice on so many levels, I think, you know, because

883
01:00:45,280 --> 01:00:49,880
Speaker 1: we have to can't get caught up in rejection and

884
01:00:50,040 --> 01:00:53,360
Speaker 1: got to just keep opening our hearts no matter what

885
01:00:53,720 --> 01:00:59,000
Speaker 1: and open the channel and move forward, going forward. Yeah.

886
01:00:59,640 --> 01:01:03,600
Speaker 2: Last thing, you just shot a new film, The Friend,

887
01:01:04,000 --> 01:01:09,840
Speaker 2: with Naomi Watts and Bill Murray. Uh, good experience. When

888
01:01:09,920 --> 01:01:10,919
Speaker 2: is this When is this out?

889
01:01:11,960 --> 01:01:18,880
Speaker 1: It's an endie so who knows, probably a year and

890
01:01:20,440 --> 01:01:23,040
Speaker 1: just you know, most of my stuff was with Naomi

891
01:01:23,080 --> 01:01:28,200
Speaker 1: Watts and and this amazing dog, this enormous great Dane

892
01:01:29,360 --> 01:01:31,440
Speaker 1: who is central to the story.

893
01:01:32,120 --> 01:01:35,280
Speaker 2: Was are you being truthful? Was it really a great dog?

894
01:01:36,160 --> 01:01:40,840
Speaker 1: Yes, it's a great Dane and a great dog. And

895
01:01:41,240 --> 01:01:45,600
Speaker 1: there's an article this week in the New Yorker about

896
01:01:45,640 --> 01:01:49,480
Speaker 1: that dog and and the and the guy that came

897
01:01:49,520 --> 01:01:54,000
Speaker 1: on to train him. Oh yeah, in this week's New Yorker.

898
01:01:54,720 --> 01:01:56,760
Speaker 2: I just I just worked with a pug.

899
01:01:57,520 --> 01:01:58,880
Speaker 1: Oh really? I was that?

900
01:01:59,320 --> 01:02:05,160
Speaker 2: It wasn't that he no, yeah, no, smart.

901
01:02:04,640 --> 01:02:08,000
Speaker 1: Well, like seventy percent of the time he did what

902
01:02:08,080 --> 01:02:10,520
Speaker 1: he was told and then thirty percent of the time

903
01:02:10,600 --> 01:02:16,080
Speaker 1: is like I'm not gonna do that. No, no, that's okay.

904
01:02:16,800 --> 01:02:20,960
Speaker 1: That's okay. I'm gonna go who's got snacks? Anybody got snacks?

905
01:02:21,280 --> 01:02:23,400
Speaker 2: By the way, that just sounds like me, So he

906
01:02:23,480 --> 01:02:28,360
Speaker 2: and I would get along really, really really well. Uh, Josh,

907
01:02:28,400 --> 01:02:30,520
Speaker 2: thanks so much for coming and chatting with me.

908
01:02:31,160 --> 01:02:33,840
Speaker 1: Such a pleasure. Thank you, Brian, No.

909
01:02:33,880 --> 01:02:39,720
Speaker 2: I really enjoyed it. Come back again anytime, and uh, look,

910
01:02:39,760 --> 01:02:43,240
Speaker 2: I'll figure out more things about you. Okay, great problem.

911
01:02:43,280 --> 01:02:45,920
Speaker 1: Please I want to know. I want to know about me.

912
01:02:46,720 --> 01:02:49,760
Speaker 2: Good luck on the book and you and I will

913
01:02:49,920 --> 01:02:53,200
Speaker 2: I will see you on a screen very very soon.

914
01:02:53,600 --> 01:02:53,880
Speaker 1: Great.

915
01:02:54,240 --> 01:03:09,280
Speaker 2: Thanks man, Josh, Thank you so much, such a pleasure

916
01:03:09,320 --> 01:03:12,520
Speaker 2: to get to know you. Had so much fun talking

917
01:03:12,600 --> 01:03:18,840
Speaker 2: shop with you today, a master class in acting and beyond.

918
01:03:18,880 --> 01:03:22,440
Speaker 2: Good luck with your new book. Listeners, go watch Man

919
01:03:22,480 --> 01:03:26,680
Speaker 2: in full on Netflix and see The Friend when it

920
01:03:26,720 --> 01:03:30,640
Speaker 2: comes out whenever that may be. Go check out all

921
01:03:30,680 --> 01:03:34,160
Speaker 2: of his work. He really is fantastic and you'll remember

922
01:03:34,720 --> 01:03:39,800
Speaker 2: he's Josh Piez, not just that guy anymore. I'll see

923
01:03:39,840 --> 01:03:52,240
Speaker 2: you next week and until then, have a great one. Off.

924
01:03:52,280 --> 01:03:56,320
Speaker 2: The Beat is hosted and executive produced by me Brian Baumgartner,

925
01:03:56,560 --> 01:04:00,560
Speaker 2: alongside our executive producer Ling Lee. Our Senior produce is

926
01:04:00,640 --> 01:04:04,640
Speaker 2: Diego Tapia. Our producers are Liz Hayes, Hannah Harris and

927
01:04:04,720 --> 01:04:09,120
Speaker 2: Emily Carr. Our talent producer is Ryan Papa Zachary and

928
01:04:09,200 --> 01:04:13,320
Speaker 2: our intern is Ali Amir Sahim. Our theme song Bubble

929
01:04:13,400 --> 01:04:17,280
Speaker 2: and Squeak, performed by the one and only Creed Bragg,