1
00:00:05,160 --> 00:00:08,480
Speaker 1: It's winter and the weather is crap. It sucks. It's dark,

2
00:00:08,520 --> 00:00:11,800
Speaker 1: it's cold, it's raining. Sometimes I don't even feel like

3
00:00:11,880 --> 00:00:14,680
Speaker 1: leaving the house, even with something as simple and fun

4
00:00:15,080 --> 00:00:18,200
Speaker 1: as going to a movie theater. Winter has sucked the

5
00:00:18,280 --> 00:00:22,080
Speaker 1: life out of it. But luckily it's two thousand seventeen, guys,

6
00:00:22,320 --> 00:00:27,319
Speaker 1: and there's Voodoo vu Du. That's Voodoo. Voodoo lets you

7
00:00:27,400 --> 00:00:32,320
Speaker 1: stream movies anytime from anywhere your phone, your iPad, your tablet,

8
00:00:32,520 --> 00:00:36,320
Speaker 1: your laptop, and obviously on your smart TV, Xbox and

9
00:00:36,360 --> 00:00:39,480
Speaker 1: PlayStation and things like your Roku or even your Blu

10
00:00:39,600 --> 00:00:42,960
Speaker 1: Ray player. Get with the program, people, forget the theater.

11
00:00:43,320 --> 00:00:45,680
Speaker 1: You've got people who won't shut up during the movie.

12
00:00:45,880 --> 00:00:49,080
Speaker 1: People are hacking, coughing up along behind you. It's a mess.

13
00:00:49,680 --> 00:00:52,880
Speaker 1: Voodoo has over a hundred thousand movies and TV shows,

14
00:00:53,040 --> 00:00:56,680
Speaker 1: including Beats Rhymes in Life. Maybe that sounds familiar to you.

15
00:00:56,920 --> 00:00:59,720
Speaker 1: It should. I directed it. I'm so happy that my

16
00:00:59,720 --> 00:01:02,200
Speaker 1: stuff up is on Voodoo. Yeah, I checked it out.

17
00:01:02,320 --> 00:01:05,360
Speaker 1: So what? On Voodoo? You get to rent and own

18
00:01:05,480 --> 00:01:09,440
Speaker 1: just what you want, no monthly subscriptions, nothing to return,

19
00:01:09,560 --> 00:01:12,000
Speaker 1: and no late vies. And it's free to sign up,

20
00:01:12,280 --> 00:01:15,720
Speaker 1: all right. For a limited time just for I am

21
00:01:15,840 --> 00:01:19,920
Speaker 1: Wrapp Report Stereo podcast listeners, Voodoo is giving you twent

22
00:01:20,600 --> 00:01:23,280
Speaker 1: off your first movie or TV show with the code

23
00:01:23,319 --> 00:01:26,080
Speaker 1: Wrapp Report. Just go to Voodoo dot Com, v U

24
00:01:26,319 --> 00:01:30,480
Speaker 1: d u dot Com Forward Slash Movie Credits, Voodoo dot

25
00:01:30,480 --> 00:01:34,760
Speaker 1: Com Forward Slash Movie Credits, entering the code and bingo.

26
00:01:35,240 --> 00:01:38,160
Speaker 1: The discount will be applied to your next purchase. Use

27
00:01:38,240 --> 00:01:40,240
Speaker 1: the promo code Wrapp Report R A P A p

28
00:01:40,400 --> 00:01:44,119
Speaker 1: O RT. You know the people have spoken. We are

29
00:01:44,240 --> 00:01:48,280
Speaker 1: a five star podcast. We've even got soft ass T

30
00:01:48,400 --> 00:01:50,800
Speaker 1: shirts to prove it. Anytime you hear something on the

31
00:01:50,840 --> 00:01:54,240
Speaker 1: I M Rapp Report podcast that is five star worthy,

32
00:01:54,440 --> 00:01:58,440
Speaker 1: go to iTunes and give us five star reviews. You

33
00:01:58,480 --> 00:02:00,680
Speaker 1: could do it as many times you want. Evenus some review.

34
00:02:00,920 --> 00:02:04,760
Speaker 1: We see everything. Ask a question, I llow us whatever

35
00:02:04,800 --> 00:02:07,960
Speaker 1: you want. Hit up iTunes, give us a review, the good,

36
00:02:08,120 --> 00:02:10,600
Speaker 1: the bad, the indifferent, whatever you want. We want to

37
00:02:10,600 --> 00:02:13,079
Speaker 1: take over iTunes. They still don't show us the love

38
00:02:13,160 --> 00:02:17,079
Speaker 1: we deserve to see. Iron Wrap Coorts Stereo Podcast. I'm

39
00:02:17,200 --> 00:02:21,120
Speaker 1: very excited about this. I got a special, special special guest.

40
00:02:21,320 --> 00:02:24,080
Speaker 1: I'm gonna gush over him first. I'm in here with

41
00:02:24,120 --> 00:02:28,920
Speaker 1: my man big Ron Perlman, one of a kind, well,

42
00:02:29,560 --> 00:02:32,720
Speaker 1: one of a kind actor until they can do better,

43
00:02:32,960 --> 00:02:37,400
Speaker 1: fucking and they can't do better, unduplicatable from New York City.

44
00:02:37,800 --> 00:02:39,799
Speaker 1: I'm just gonna gush and then then I'll be normal.

45
00:02:40,200 --> 00:02:41,799
Speaker 1: You don't mind if I just jump in? Everyone? So,

46
00:02:41,840 --> 00:02:43,480
Speaker 1: oh yeah, you could? You could, You could jump in

47
00:02:43,480 --> 00:02:46,359
Speaker 1: as much as you want. It's the Iron Rapports stereo podcast.

48
00:02:47,120 --> 00:02:49,760
Speaker 1: New York City's owned. There's no medication on. It's hard

49
00:02:49,760 --> 00:02:51,519
Speaker 1: for me to show up. How many medications are you on?

50
00:02:51,800 --> 00:02:54,160
Speaker 1: I can't. I can't even take me twenty minutes to

51
00:02:54,160 --> 00:02:56,040
Speaker 1: finish taking the pills in the morning. Now, I got

52
00:02:56,080 --> 00:02:58,440
Speaker 1: so many different and apparently you got a call. We're

53
00:02:58,440 --> 00:03:00,960
Speaker 1: gonna have a flem off. And I still diarrhea. I don't,

54
00:03:01,040 --> 00:03:03,960
Speaker 1: I don't, I don't know. I guess I'm taking one

55
00:03:03,960 --> 00:03:07,519
Speaker 1: pill too few. You still you're you're taking pills for diarrhea.

56
00:03:08,080 --> 00:03:10,560
Speaker 1: I'm collecting social Security, man. I hear, I got a

57
00:03:10,560 --> 00:03:13,680
Speaker 1: pill for everything I got. I got a lot of pills. Roun, Yeah,

58
00:03:13,800 --> 00:03:17,480
Speaker 1: I got a lot of pills. Anyway, you don't, don't,

59
00:03:17,520 --> 00:03:19,400
Speaker 1: don't let me. All right, I'm just gonna say this

60
00:03:19,800 --> 00:03:25,720
Speaker 1: one of my favorite actors. One of a kind, unduplicatable, unduplicatable.

61
00:03:25,760 --> 00:03:28,040
Speaker 1: That means there will never be another Ron Perlman. There's

62
00:03:28,080 --> 00:03:30,600
Speaker 1: not a Ron Perlman type. That's one of the things

63
00:03:30,680 --> 00:03:33,120
Speaker 1: that I love about this guy. And you can all

64
00:03:33,120 --> 00:03:36,360
Speaker 1: stop saying thank God, Okay, that may may not be

65
00:03:36,400 --> 00:03:38,880
Speaker 1: a bad thing people out there in Podsville or whatever

66
00:03:38,920 --> 00:03:40,800
Speaker 1: the funk you hang out there all over the pills.

67
00:03:41,600 --> 00:03:44,280
Speaker 1: Oh yeah, you could say fuck shit pussy because you're

68
00:03:44,280 --> 00:03:46,200
Speaker 1: gonna I'm gonna get a yell out if I'm if

69
00:03:46,240 --> 00:03:48,440
Speaker 1: I'm really lucky, Yeah, if you're really lucky. But I

70
00:03:49,400 --> 00:03:51,120
Speaker 1: don't think we me and you, we could I yellow

71
00:03:51,120 --> 00:03:55,560
Speaker 1: each other other people. You know, I'm old enough to remember,

72
00:03:55,680 --> 00:03:58,520
Speaker 1: like when when you got roasted at the Friar's Club,

73
00:03:59,280 --> 00:04:01,360
Speaker 1: And to me, the modern day equivalent to that is

74
00:04:01,400 --> 00:04:04,440
Speaker 1: getting ill. That would be that would be an honor.

75
00:04:04,560 --> 00:04:06,880
Speaker 1: Thank you. All right, Well, you gotta do something bad, Ron,

76
00:04:07,920 --> 00:04:11,040
Speaker 1: But I I could to get I have a catalog

77
00:04:11,720 --> 00:04:14,400
Speaker 1: of different ship all right. Let me just let let

78
00:04:14,400 --> 00:04:17,160
Speaker 1: me gush and then I'll be normal. City of Lost Children.

79
00:04:18,480 --> 00:04:20,800
Speaker 1: Golden Globe winner in the eighties, which I can't even

80
00:04:20,800 --> 00:04:23,200
Speaker 1: imagine what the golden globes were like back then. They

81
00:04:23,200 --> 00:04:26,599
Speaker 1: were heavier, they were awards made out a pure, pure

82
00:04:26,640 --> 00:04:31,000
Speaker 1: solid gold. Were they were they? In fact, back then

83
00:04:31,000 --> 00:04:35,240
Speaker 1: it was carrot. Are you serious? But you would think

84
00:04:35,240 --> 00:04:37,200
Speaker 1: that maybe that's true, Like they're they're cheapening them out

85
00:04:37,200 --> 00:04:39,919
Speaker 1: there there, hollow. Yeah, well look look who's winning them

86
00:04:39,960 --> 00:04:42,560
Speaker 1: these days. They've given them. They're given away like anybody.

87
00:04:42,600 --> 00:04:45,719
Speaker 1: It's like they're giving out pez. It's like getting black belts,

88
00:04:45,760 --> 00:04:48,720
Speaker 1: you know in the game, right everybody gets anybody and

89
00:04:48,760 --> 00:04:50,720
Speaker 1: every it's like you don't have to break, would you

90
00:04:50,720 --> 00:04:53,479
Speaker 1: don't even have to break? Win you black belt? You

91
00:04:53,560 --> 00:04:57,880
Speaker 1: get them. Son of Anarchy, the original hell Boy and

92
00:04:58,520 --> 00:05:07,120
Speaker 1: the rare extinct silverback Jew Ron Perlman is in the building. Wow,

93
00:05:07,560 --> 00:05:09,520
Speaker 1: what an honor it is to be sitting here with you,

94
00:05:10,760 --> 00:05:14,400
Speaker 1: my friends. The rare extinct silverback jew. I mean, there's

95
00:05:14,440 --> 00:05:17,680
Speaker 1: not many of us know this is true. There it's

96
00:05:17,760 --> 00:05:22,760
Speaker 1: it's a rare breed. Once once we go, folks, I

97
00:05:22,800 --> 00:05:26,680
Speaker 1: don't know if they're like, that's it. There's a cut

98
00:05:26,720 --> 00:05:28,479
Speaker 1: off point, and I don't know if we have to

99
00:05:28,480 --> 00:05:31,320
Speaker 1: pro create, but the silver back jew is a rare species.

100
00:05:31,440 --> 00:05:33,960
Speaker 1: Can I can I can you can you? Like? I mean,

101
00:05:34,120 --> 00:05:36,159
Speaker 1: not that I don't know what a silver back jew is?

102
00:05:36,240 --> 00:05:39,120
Speaker 1: Like who doesn't, right, but would you mind for those

103
00:05:39,360 --> 00:05:41,520
Speaker 1: you know on the West coast here who are a

104
00:05:41,520 --> 00:05:45,920
Speaker 1: little vapid explaining because they don't have seasons here, they

105
00:05:45,960 --> 00:05:48,920
Speaker 1: just have biblical events like floods and fires and pestle

106
00:05:49,160 --> 00:05:51,120
Speaker 1: right when it rains here, it's like when it rains,

107
00:05:51,160 --> 00:05:54,159
Speaker 1: it floods, it's like the world coming to an end

108
00:05:54,160 --> 00:05:57,840
Speaker 1: in Los Angeles starts sliding into the sea. Yeah, even

109
00:05:57,880 --> 00:05:59,640
Speaker 1: just like a little sprinkle like it is, say, like

110
00:05:59,680 --> 00:06:04,760
Speaker 1: people are freaked out the silver back? Is this in

111
00:06:04,839 --> 00:06:10,240
Speaker 1: show business particularly and growing up in New York. My father,

112
00:06:10,400 --> 00:06:12,839
Speaker 1: my father who who's like a duplicate of me, same

113
00:06:12,880 --> 00:06:15,520
Speaker 1: size as me, but he always sort of like, I

114
00:06:15,560 --> 00:06:17,560
Speaker 1: mean he he obviously loved Woody Allen, but he was

115
00:06:17,600 --> 00:06:21,839
Speaker 1: like he didn't like the stereotype of the Woody Allens,

116
00:06:21,920 --> 00:06:24,680
Speaker 1: the Larry David's, the and these are these are all

117
00:06:24,680 --> 00:06:27,520
Speaker 1: people I love and admire, but there there's especially in

118
00:06:27,600 --> 00:06:32,240
Speaker 1: show is that there's a stereotype the shlubs. And when

119
00:06:32,240 --> 00:06:33,880
Speaker 1: you put that out in the world outside of New

120
00:06:33,960 --> 00:06:36,159
Speaker 1: York and Los Angeles. People think that's what Jews are,

121
00:06:37,520 --> 00:06:40,760
Speaker 1: but that's not what all all of us are. There

122
00:06:40,760 --> 00:06:44,400
Speaker 1: are rare silver back Jews like Ron and hopefully something

123
00:06:44,440 --> 00:06:48,280
Speaker 1: I could be considered in that category. So so and

124
00:06:48,440 --> 00:06:51,839
Speaker 1: and and in terms of Hollywood, because the thing about

125
00:06:52,200 --> 00:06:54,320
Speaker 1: there's so many things about looks, and then there's Jews,

126
00:06:54,320 --> 00:06:57,160
Speaker 1: and then even Sandler, who's great, he's awesome, like even

127
00:06:57,160 --> 00:07:00,640
Speaker 1: ben So, but there's like shlubbishness and there there's sort

128
00:07:00,680 --> 00:07:03,600
Speaker 1: of like Jews in film Jews and TV Jews and

129
00:07:03,640 --> 00:07:06,159
Speaker 1: comedy it's always like the guy who's getting pushed around.

130
00:07:06,320 --> 00:07:09,039
Speaker 1: So that's what I mean. Like, and your career as

131
00:07:09,040 --> 00:07:12,320
Speaker 1: an actor is so unique and and and so one

132
00:07:12,360 --> 00:07:14,760
Speaker 1: of a kind, and you sort of how the fund

133
00:07:14,840 --> 00:07:17,920
Speaker 1: did you even want? You're you're classically trained actor? And

134
00:07:17,960 --> 00:07:20,520
Speaker 1: what does that mean to be classically trained as opposed

135
00:07:20,560 --> 00:07:23,040
Speaker 1: to like just like no training, and like and how

136
00:07:23,120 --> 00:07:25,880
Speaker 1: much of your classical training do you still use to

137
00:07:25,960 --> 00:07:28,600
Speaker 1: this day? And in all in all, on all seriousness, well,

138
00:07:28,600 --> 00:07:30,280
Speaker 1: come on, let's face it. I mean, you know, when

139
00:07:30,320 --> 00:07:34,880
Speaker 1: we're all writing our first resumes, you know there's a

140
00:07:34,880 --> 00:07:39,200
Speaker 1: lot of bullshit on there, like special skills. Could you juggle.

141
00:07:39,240 --> 00:07:41,240
Speaker 1: What was your special I can make a hole in

142
00:07:41,400 --> 00:07:44,800
Speaker 1: one at a miniature golf course. You know that. That

143
00:07:44,880 --> 00:07:48,320
Speaker 1: was on my special skills and classical training. Of course

144
00:07:48,360 --> 00:07:50,080
Speaker 1: I put that on there because I came up through

145
00:07:50,160 --> 00:07:53,280
Speaker 1: New York and I figured, you know, I should say that.

146
00:07:53,520 --> 00:07:57,880
Speaker 1: But are you not classically trained? House broken? Ye? Felt

147
00:07:57,920 --> 00:07:59,600
Speaker 1: as far as it goes, no, But as far as

148
00:07:59,640 --> 00:08:01,960
Speaker 1: acting like you, you you studied, you went to school,

149
00:08:02,040 --> 00:08:04,040
Speaker 1: you went to this school this way a lot of

150
00:08:04,040 --> 00:08:06,760
Speaker 1: people accused me of being classically trained, and I've never

151
00:08:07,240 --> 00:08:11,000
Speaker 1: denied it. But I'm not gonna. I'm not gonna I'm

152
00:08:11,040 --> 00:08:14,160
Speaker 1: not going to comment further. Okay, all right, However I

153
00:08:14,200 --> 00:08:16,960
Speaker 1: have done I have you know. Look, I started out

154
00:08:16,960 --> 00:08:18,760
Speaker 1: in the theater in New York. That was where it

155
00:08:18,800 --> 00:08:22,400
Speaker 1: all started. And this is in the seventies. This is

156
00:08:22,440 --> 00:08:27,520
Speaker 1: in the sixties. Holy shit, in high school and and

157
00:08:27,520 --> 00:08:30,320
Speaker 1: and who are who are the actors at that time

158
00:08:30,880 --> 00:08:35,000
Speaker 1: that are sort of your your your peers were there

159
00:08:35,000 --> 00:08:37,920
Speaker 1: any Let's face it, I had no peers. You had none,

160
00:08:39,040 --> 00:08:41,960
Speaker 1: or the guys I'm going to mention they had no you.

161
00:08:42,080 --> 00:08:45,520
Speaker 1: And I was no threat. But um, I mean I

162
00:08:45,559 --> 00:08:51,160
Speaker 1: was lucky enough to come up in a time in

163
00:08:51,200 --> 00:08:55,720
Speaker 1: life where there were so many motherfucker's walking the earth.

164
00:08:57,160 --> 00:09:00,600
Speaker 1: I mean, I was alive when Humphrey Bogart asked Away,

165
00:09:01,600 --> 00:09:06,600
Speaker 1: and Clark Gable and Gary Cooper and Spencer Tracy was

166
00:09:06,600 --> 00:09:09,360
Speaker 1: was in his last throws in the first fifteen years

167
00:09:09,400 --> 00:09:12,439
Speaker 1: of my life doing stuff like guess Who's coming to

168
00:09:12,520 --> 00:09:16,600
Speaker 1: dinner and judgment at Nuremberg. So these guys were still

169
00:09:16,640 --> 00:09:20,880
Speaker 1: at large and working, and there were vestiges of and

170
00:09:21,000 --> 00:09:24,640
Speaker 1: vital enough so that and and Burt Lancaster, who is

171
00:09:24,679 --> 00:09:29,280
Speaker 1: my absolute you know that's my Is that your guy? Absolute?

172
00:09:29,360 --> 00:09:34,520
Speaker 1: Favorite favorite guy? What? What? What about Burt Lancaster? Man,

173
00:09:34,720 --> 00:09:40,520
Speaker 1: I've never been asked to to put that into into

174
00:09:40,679 --> 00:09:43,920
Speaker 1: some sort of cogent thought like what is it about?

175
00:09:43,960 --> 00:09:46,000
Speaker 1: Like you know, because there's different people, like different guys

176
00:09:46,000 --> 00:09:48,800
Speaker 1: like you mentioned these actors. Everybody has their guy they

177
00:09:48,800 --> 00:09:51,320
Speaker 1: relate to. What was it about Burt lane Caster that

178
00:09:51,400 --> 00:09:55,880
Speaker 1: you say that's your guy? Look, I'm as heterosexual as

179
00:09:55,920 --> 00:09:58,480
Speaker 1: it gets. Yes, So you say, I've read things the

180
00:09:58,520 --> 00:10:04,320
Speaker 1: internet a lot of coming it was two during grad school.

181
00:10:04,800 --> 00:10:07,840
Speaker 1: I'm not going to get into it. But with Bert

182
00:10:08,720 --> 00:10:12,000
Speaker 1: there was something about the way he moved his swagger

183
00:10:12,320 --> 00:10:18,160
Speaker 1: and everything that I am. I'm a groupie. There's an

184
00:10:18,160 --> 00:10:23,840
Speaker 1: audacity to him, There's there's a manliness to him. There's

185
00:10:24,160 --> 00:10:31,040
Speaker 1: uh um, a confidence that he abused to the viewer

186
00:10:31,160 --> 00:10:35,960
Speaker 1: when you're watching him move through a role. And um,

187
00:10:36,000 --> 00:10:38,480
Speaker 1: and then there's this guard davive that comes out every

188
00:10:38,559 --> 00:10:42,400
Speaker 1: once in a while that is that is singular. There's

189
00:10:42,440 --> 00:10:47,280
Speaker 1: there's no other actor that that could have could have

190
00:10:47,360 --> 00:10:50,679
Speaker 1: could have been held Elmagantry like he was Elment right.

191
00:10:51,520 --> 00:10:54,560
Speaker 1: You know, he just ate that ship up. There was

192
00:10:54,720 --> 00:10:59,120
Speaker 1: no piece of scenery left standing and he got finished. Um.

193
00:10:59,200 --> 00:11:02,040
Speaker 1: And then he just does all this physical stuff like

194
00:11:02,080 --> 00:11:05,560
Speaker 1: he started out as an acrobat and and so he's

195
00:11:05,640 --> 00:11:09,160
Speaker 1: just you know, nobody looked better pulling a gun out

196
00:11:09,200 --> 00:11:13,880
Speaker 1: of a holster. Nobody looked better walking down um uh

197
00:11:14,080 --> 00:11:20,959
Speaker 1: boothill you know, uh the okay corral um and I

198
00:11:21,000 --> 00:11:24,720
Speaker 1: don't know. And then and then on top of all that,

199
00:11:25,720 --> 00:11:32,560
Speaker 1: he uh becomes a producer in a time when actors

200
00:11:32,679 --> 00:11:36,319
Speaker 1: weren't known for being producers and starts a production company.

201
00:11:36,400 --> 00:11:38,000
Speaker 1: And if you look at the body of work that

202
00:11:38,120 --> 00:11:40,040
Speaker 1: came out of the production comp what did he produce?

203
00:11:40,360 --> 00:11:46,080
Speaker 1: He produced a sweet smell of Success, Trapeze, The Swimmer.

204
00:11:47,280 --> 00:11:53,720
Speaker 1: He produced all stuff that would have been European art

205
00:11:53,760 --> 00:11:56,640
Speaker 1: house film, but he was doing them as a mainstream

206
00:11:56,720 --> 00:12:02,040
Speaker 1: Hollywood star who could shoot us what he was going

207
00:12:02,120 --> 00:12:07,080
Speaker 1: to parlay his power and his leverage to do. He

208
00:12:07,120 --> 00:12:11,080
Speaker 1: was doing like George Clooney. Shit, yeah, ben Affleck. I

209
00:12:11,080 --> 00:12:13,640
Speaker 1: mean Clooney to me was like sort of the revitalization

210
00:12:13,720 --> 00:12:16,959
Speaker 1: of like actor producer. And then a lot of people

211
00:12:16,960 --> 00:12:20,880
Speaker 1: started doing it. You know that There's Michael Douglas did

212
00:12:20,880 --> 00:12:25,880
Speaker 1: it with Cuckoo's Nest. There's a whole little sub genre

213
00:12:26,040 --> 00:12:30,640
Speaker 1: of actors who I truly admire. In a world where

214
00:12:31,640 --> 00:12:35,400
Speaker 1: I'm I'm absolutely obsessed with watching what people do with

215
00:12:35,480 --> 00:12:38,240
Speaker 1: their fame and their power and their and their ability

216
00:12:38,280 --> 00:12:43,800
Speaker 1: to pick and choose, very few of them get it right, right,

217
00:12:43,880 --> 00:12:46,120
Speaker 1: I agree. And Bert was one of the first guys.

218
00:12:46,200 --> 00:12:50,000
Speaker 1: Kirk Douglas actually as well. They were like asshole buddies.

219
00:12:50,160 --> 00:12:54,240
Speaker 1: They did five movies together, no mistake. But you know

220
00:12:54,280 --> 00:12:57,760
Speaker 1: they both wanted to be more than movie stars. You know,

221
00:12:57,920 --> 00:13:02,800
Speaker 1: they wanted to leave behind and um some sort of

222
00:13:02,880 --> 00:13:06,640
Speaker 1: reflection of their own aesthetic. Uh and there and and

223
00:13:06,679 --> 00:13:09,320
Speaker 1: with regard to Bert, if you look at these these

224
00:13:09,360 --> 00:13:12,600
Speaker 1: movies that I just mentioned, and I'm I'm I'm blanking

225
00:13:12,640 --> 00:13:15,280
Speaker 1: on a lot of the movies that were produced by

226
00:13:15,280 --> 00:13:18,280
Speaker 1: heck Hill Lancaster, which was his production company. But if

227
00:13:18,320 --> 00:13:20,960
Speaker 1: you just take Sweet Smell of Success, which had Clifford

228
00:13:20,960 --> 00:13:25,400
Speaker 1: Oh Debts and Ernest Lehman as the screenwriters, and you

229
00:13:25,480 --> 00:13:30,880
Speaker 1: had Alexander McKendrick and directing, and James wang How doing this,

230
00:13:31,240 --> 00:13:35,120
Speaker 1: you know, definitive black and white photography. And it was

231
00:13:35,160 --> 00:13:39,600
Speaker 1: basically about a columnist, not unlike Walter Winchell, who had

232
00:13:40,520 --> 00:13:42,800
Speaker 1: the entire world by the balls. I mean, he was

233
00:13:42,840 --> 00:13:46,680
Speaker 1: the jed Go Hoover of columnists. He kept a file

234
00:13:46,760 --> 00:13:50,760
Speaker 1: on Motherfucker's and Bert was warned, if you do Sweet

235
00:13:50,760 --> 00:13:54,440
Speaker 1: Smell of Success, you're done in this town. And that

236
00:13:54,559 --> 00:13:56,960
Speaker 1: just made him want to do it even more. For me,

237
00:13:57,080 --> 00:14:00,880
Speaker 1: there's always like the big bang in acting, and it

238
00:14:01,000 --> 00:14:08,040
Speaker 1: was James Dean and Brando and they took with Bert, Humphrey, Bogart, Cagney,

239
00:14:08,080 --> 00:14:10,760
Speaker 1: all all the guys and the girls. But as far

240
00:14:10,760 --> 00:14:13,360
Speaker 1: as I'm talking about men and and since because it's

241
00:14:13,400 --> 00:14:16,320
Speaker 1: interesting you're talking about Burt being your guy, and then

242
00:14:16,640 --> 00:14:22,760
Speaker 1: the naturalistic form of acting, Brando being the real sort

243
00:14:22,760 --> 00:14:25,360
Speaker 1: of game changer, but it was Paul Newman was doing it.

244
00:14:25,560 --> 00:14:28,520
Speaker 1: James Dean was where it became naturalistic. Because for me,

245
00:14:28,640 --> 00:14:30,640
Speaker 1: a lot of times when I look at older films,

246
00:14:31,280 --> 00:14:35,040
Speaker 1: I'm like, even, um, what's the film? I just watched

247
00:14:35,040 --> 00:14:39,040
Speaker 1: it again over Christmas the Christmas Um, you watch it

248
00:14:39,040 --> 00:14:46,200
Speaker 1: every year. It's a wonderful life little film. But we

249
00:14:46,240 --> 00:14:48,920
Speaker 1: had tiny little film. They but but I was just watching.

250
00:14:49,000 --> 00:14:50,800
Speaker 1: I'm like watching, I'm like I'm you know, and I'm

251
00:14:50,840 --> 00:14:53,280
Speaker 1: like this film, you know, like it's like I have

252
00:14:53,360 --> 00:14:56,440
Speaker 1: to shift my brain because the style of acting, style

253
00:14:56,480 --> 00:15:00,120
Speaker 1: of filmmaking, it's it's prehistoric. But the acting itself off

254
00:15:00,440 --> 00:15:03,360
Speaker 1: like you see the acting as opposed to win. You know,

255
00:15:03,640 --> 00:15:06,480
Speaker 1: in the sixties, the all like the guys and all

256
00:15:06,520 --> 00:15:09,720
Speaker 1: they were out of New York Pacino. They shifted the

257
00:15:09,720 --> 00:15:11,760
Speaker 1: whole thing and it became it took everything these guys

258
00:15:12,040 --> 00:15:15,320
Speaker 1: and then it became this naturalistic thing. And you know,

259
00:15:15,400 --> 00:15:18,320
Speaker 1: you're saying you love Bert and and and you know,

260
00:15:18,400 --> 00:15:20,560
Speaker 1: being a New York theater guy and starting in that.

261
00:15:21,280 --> 00:15:24,240
Speaker 1: Was that something that was in the air or was

262
00:15:24,280 --> 00:15:25,800
Speaker 1: it just something that was happening? Do you know what

263
00:15:25,880 --> 00:15:27,760
Speaker 1: I'm saying, was this something that was being talked about, like, yeah,

264
00:15:27,760 --> 00:15:29,480
Speaker 1: we're gonna change is, We're gonna make it more real,

265
00:15:29,520 --> 00:15:31,360
Speaker 1: We're gonna make it more genuine, gonna make it more

266
00:15:31,400 --> 00:15:34,640
Speaker 1: like as opposed to acting. Do you know what I'm saying?

267
00:15:35,040 --> 00:15:38,600
Speaker 1: Does that make sense? Yeah? It's it's I'm not well

268
00:15:38,680 --> 00:15:40,880
Speaker 1: read enough, and I should be because I'm kind of

269
00:15:40,880 --> 00:15:46,160
Speaker 1: obsessed with with you know what you're sort of driving

270
00:15:46,160 --> 00:15:50,040
Speaker 1: at and talking around right now. I'm very obsessed with

271
00:15:50,920 --> 00:15:57,760
Speaker 1: that that seismic shift where the narrative turned into something

272
00:15:58,160 --> 00:16:01,840
Speaker 1: much more internalized and behave year old, which is what

273
00:16:01,880 --> 00:16:05,600
Speaker 1: you're talking about. And Brando happened to be Brando and

274
00:16:05,640 --> 00:16:08,600
Speaker 1: Montgomery Clift happened to be on the cusp of that.

275
00:16:09,400 --> 00:16:12,320
Speaker 1: As it was happening, then there was all this other

276
00:16:12,400 --> 00:16:20,600
Speaker 1: stuff that was part of the environmental zeitgeist where a

277
00:16:20,760 --> 00:16:24,680
Speaker 1: change was it was you know, inevitable anyway, like the

278
00:16:25,000 --> 00:16:31,560
Speaker 1: studios were breaking down independent everything became more like independently contracted.

279
00:16:32,040 --> 00:16:37,000
Speaker 1: The emergence of the utur, the emergence of and post

280
00:16:37,000 --> 00:16:40,480
Speaker 1: World War two. I don't know all of the events

281
00:16:40,520 --> 00:16:45,080
Speaker 1: that led up to it, but um, there was a declarativeness.

282
00:16:46,600 --> 00:16:52,600
Speaker 1: The focus was on storytelling until the focus became um

283
00:16:52,880 --> 00:17:00,160
Speaker 1: kind of obsessed with idiosyncrasy and behavior and uh and

284
00:17:00,240 --> 00:17:03,600
Speaker 1: the ant the anti hero, you know, like the guy

285
00:17:03,640 --> 00:17:07,040
Speaker 1: who's the most fucked up guy as your hero. And

286
00:17:07,359 --> 00:17:12,639
Speaker 1: that's when it became essential that the new generation of

287
00:17:12,760 --> 00:17:18,119
Speaker 1: guys had to be in touch with their vulnerabilities and

288
00:17:18,160 --> 00:17:21,520
Speaker 1: their and their flaws and their weaknesses, because that was

289
00:17:21,600 --> 00:17:25,720
Speaker 1: what became the endearing thing, that that that wagged the dog.

290
00:17:26,400 --> 00:17:29,520
Speaker 1: Whereas in the old days, like you know, what I

291
00:17:29,560 --> 00:17:31,680
Speaker 1: wanted to do on a turn of classic movies one

292
00:17:31,720 --> 00:17:35,439
Speaker 1: time is I wanted to do five war movies, and

293
00:17:35,480 --> 00:17:38,720
Speaker 1: I wanted to do two from the thirties and forties,

294
00:17:39,680 --> 00:17:41,639
Speaker 1: and then the middle one would be Best Years of

295
00:17:41,640 --> 00:17:46,280
Speaker 1: our Lives and then to post and what would be

296
00:17:46,280 --> 00:17:47,919
Speaker 1: the what would be the five What would be the

297
00:17:47,960 --> 00:17:50,720
Speaker 1: first two? Well, the first one of the first two

298
00:17:50,880 --> 00:17:56,480
Speaker 1: would would have to be Sergeant York because Mel fucking

299
00:17:56,520 --> 00:17:59,440
Speaker 1: Gibson just fucking remade it as haxel Rich. It's a

300
00:17:59,480 --> 00:18:03,560
Speaker 1: story about a conscientious objector. I'm not the little thing,

301
00:18:03,640 --> 00:18:06,160
Speaker 1: Mel Gibson. It should be the best picture of the year.

302
00:18:06,200 --> 00:18:10,960
Speaker 1: It's a masterpiece. But it's the second movie about a

303
00:18:11,000 --> 00:18:14,760
Speaker 1: conscientious objector, and the first one was Motherfucker was Howard

304
00:18:14,760 --> 00:18:20,880
Speaker 1: Hawks made and like the thirties, I think maybe forty one,

305
00:18:21,400 --> 00:18:23,160
Speaker 1: you know, just as we were getting into the war.

306
00:18:24,080 --> 00:18:28,800
Speaker 1: But it was a big idea film and the behavior

307
00:18:29,040 --> 00:18:31,920
Speaker 1: wasn't the thing you walked away with. You walked away

308
00:18:31,920 --> 00:18:36,800
Speaker 1: with the big idea of this guy who was dirt poor,

309
00:18:36,840 --> 00:18:40,000
Speaker 1: who was like you know, but who was imbued with

310
00:18:40,080 --> 00:18:43,400
Speaker 1: some sort of patriotic you know, and it was these

311
00:18:43,400 --> 00:18:45,879
Speaker 1: were the these were the things that made the movie

312
00:18:45,920 --> 00:18:50,560
Speaker 1: the movie, and the filmmaking was had this sweep to it,

313
00:18:50,640 --> 00:18:55,719
Speaker 1: this historic epic sweep to it, big shots. You know,

314
00:18:56,400 --> 00:19:00,760
Speaker 1: well everything became close ups. Post fifty the second warre movie,

315
00:19:00,760 --> 00:19:03,240
Speaker 1: I would pick I don't know, you know, it could

316
00:19:03,240 --> 00:19:05,119
Speaker 1: be it could be any number of things, all quiet

317
00:19:05,160 --> 00:19:07,840
Speaker 1: on the Western Front or any anything like this. Then

318
00:19:07,880 --> 00:19:11,240
Speaker 1: there was Best Years of Our Lives. Great film if

319
00:19:11,280 --> 00:19:13,359
Speaker 1: you've never seen it, and it's a it's the best

320
00:19:13,359 --> 00:19:18,800
Speaker 1: picture it was made in and it's it's it's about

321
00:19:18,800 --> 00:19:21,640
Speaker 1: guys coming home from World War Two, three guys who

322
00:19:22,040 --> 00:19:25,040
Speaker 1: spent a goodly amount of the water together and who

323
00:19:25,080 --> 00:19:29,040
Speaker 1: bonded in ways that only soldiers can bond. And then

324
00:19:29,080 --> 00:19:32,640
Speaker 1: they The first fifteen minutes of the movie is them

325
00:19:32,800 --> 00:19:37,679
Speaker 1: on this cargo flight coming back and they're laughing in

326
00:19:37,720 --> 00:19:39,720
Speaker 1: their carrying and one of them has hooks for hands.

327
00:19:40,000 --> 00:19:44,080
Speaker 1: He got an oscar. That actor. The other one is

328
00:19:44,240 --> 00:19:49,639
Speaker 1: um Um Dana Andrews. And then the guy who was

329
00:19:50,040 --> 00:19:51,840
Speaker 1: you know, we don't fact check at the Iron Rapports

330
00:19:51,840 --> 00:19:54,600
Speaker 1: stereo pocket. So it comes back to in forty minutes. Yeah,

331
00:19:55,040 --> 00:19:57,800
Speaker 1: there's no fact checking. That's the beauty, one of the

332
00:19:57,800 --> 00:20:00,200
Speaker 1: beautiful things. So you could say you could, you could

333
00:20:00,200 --> 00:20:01,639
Speaker 1: say you could, you could say the wrong act no,

334
00:20:01,760 --> 00:20:07,879
Speaker 1: but but but anyway, Um, and when they come back,

335
00:20:09,040 --> 00:20:15,399
Speaker 1: it's the first time a movie examined the price, the

336
00:20:15,520 --> 00:20:22,879
Speaker 1: human price. These guys are really damaged and they assimilating

337
00:20:23,200 --> 00:20:28,360
Speaker 1: is not even possible. They didn't call it PTSD. They

338
00:20:28,400 --> 00:20:33,400
Speaker 1: maybe they didn't even want to dignify sentimentalizing it by

339
00:20:33,440 --> 00:20:38,120
Speaker 1: even calling it anything. It just was three guys who

340
00:20:38,600 --> 00:20:42,919
Speaker 1: had no fucking chance at getting back to who they

341
00:20:42,960 --> 00:20:48,400
Speaker 1: were pre uniform, and all of a sudden, movies got psychological.

342
00:20:49,000 --> 00:20:51,080
Speaker 1: From that moment, you would say that movie was it was.

343
00:20:51,200 --> 00:20:53,920
Speaker 1: I think that that movie was was the dividing line

344
00:20:54,040 --> 00:20:57,679
Speaker 1: between the storytelling of the thirties and forties, which was

345
00:20:57,760 --> 00:21:02,520
Speaker 1: big scope, big idea, a big narrative, and then it

346
00:21:02,720 --> 00:21:08,320
Speaker 1: switched to behavior and internalized. And I'm not particularly a

347
00:21:08,320 --> 00:21:10,600
Speaker 1: fan of of the of the switch, by the way,

348
00:21:10,640 --> 00:21:12,920
Speaker 1: because I'm a fan of the big idea stuff, and

349
00:21:12,960 --> 00:21:15,760
Speaker 1: I'm a fan of the the John Fords and the

350
00:21:16,400 --> 00:21:20,240
Speaker 1: Preston surgon Is and the Frank Kapper's and you know,

351
00:21:20,920 --> 00:21:25,480
Speaker 1: the guys. Not saying that. You know, we don't have

352
00:21:26,000 --> 00:21:31,840
Speaker 1: uh an incredible array of genius from from nineteen fifty

353
00:21:31,960 --> 00:21:34,440
Speaker 1: to the president. But it didn't change, you know, it

354
00:21:34,520 --> 00:21:37,080
Speaker 1: totally changed. And you and me are like, we're part

355
00:21:37,080 --> 00:21:40,000
Speaker 1: of the change. Now, getting back to what you originally

356
00:21:40,040 --> 00:21:44,560
Speaker 1: asked me. I was born in nineteen fifties, so I was,

357
00:21:45,119 --> 00:21:48,000
Speaker 1: you know, alive when Streetcar named as I was playing

358
00:21:48,000 --> 00:21:51,720
Speaker 1: on Broadway and became a movie. No, I didn't see

359
00:21:51,720 --> 00:21:54,119
Speaker 1: a Broadway shown till I was seventeen. I had no money.

360
00:21:54,760 --> 00:21:56,320
Speaker 1: My aunt, my rich aunt, had to take me to

361
00:21:56,359 --> 00:21:58,440
Speaker 1: see Fiddler on the Roof. That was the first show.

362
00:21:59,480 --> 00:22:02,479
Speaker 1: Seventeen and you're growing up. I was already doing plays

363
00:22:02,680 --> 00:22:04,360
Speaker 1: and I still hadn't seen it. Where were you doing

364
00:22:04,400 --> 00:22:06,760
Speaker 1: plays high school? What high school did you go to?

365
00:22:06,840 --> 00:22:09,280
Speaker 1: George Washington High School and Washington Heights and you're from

366
00:22:09,280 --> 00:22:12,240
Speaker 1: Washington Heights. I am from Washington High and I'm not

367
00:22:12,280 --> 00:22:15,560
Speaker 1: only from there, I'm of there. I hear you explain

368
00:22:15,600 --> 00:22:17,800
Speaker 1: what you mean. I don't know what I mean, but

369
00:22:18,240 --> 00:22:21,679
Speaker 1: I'm gonna explain what if Washington Heights and explain it

370
00:22:21,680 --> 00:22:23,400
Speaker 1: for me. Ron could do it better because you grew

371
00:22:23,480 --> 00:22:27,120
Speaker 1: up there. Listen, I don't know about that. The Washington

372
00:22:27,160 --> 00:22:32,120
Speaker 1: Heights is totally Latin now, right, Dominicans Not No, not

373
00:22:32,160 --> 00:22:34,840
Speaker 1: really because the neighborhood my mom still lives in. She

374
00:22:34,960 --> 00:22:40,159
Speaker 1: still lives in Washington. There's an encla still old Jews. Yeah,

375
00:22:40,240 --> 00:22:43,879
Speaker 1: that's fucking fantastic. Explain where Washington Heights is though, for

376
00:22:43,920 --> 00:22:46,719
Speaker 1: people that are in New Yorkers. So Washington Heights is

377
00:22:47,600 --> 00:22:52,000
Speaker 1: with the George Washington Bridge side of Manhattan, which leads

378
00:22:52,040 --> 00:22:56,439
Speaker 1: to Jersey that area. It's above Harlem. Yeah. It starts

379
00:22:56,480 --> 00:22:59,879
Speaker 1: it around the hundred and sixty eight street and it

380
00:23:00,080 --> 00:23:02,119
Speaker 1: goes all the way to Inwood, which is about a

381
00:23:02,160 --> 00:23:05,359
Speaker 1: hundred and nine street right and it and it goes

382
00:23:05,440 --> 00:23:07,400
Speaker 1: from the East River all the way to the Hudson River.

383
00:23:07,840 --> 00:23:11,480
Speaker 1: So it's this huge block um. And the reason why

384
00:23:11,520 --> 00:23:14,080
Speaker 1: they call it Washington Heights is because at the peak

385
00:23:14,160 --> 00:23:18,200
Speaker 1: of a hundred and eighties, Sixth Street and Fort Washington

386
00:23:18,280 --> 00:23:23,679
Speaker 1: Avenue is the highest point in Manhattan as actually you

387
00:23:24,080 --> 00:23:27,199
Speaker 1: start climbing a hill as you as you get to

388
00:23:27,240 --> 00:23:30,080
Speaker 1: midtown Manhattan and the and the pinnacle, and this is

389
00:23:30,119 --> 00:23:35,359
Speaker 1: where George Washington and the troops waited for Burgoyne and

390
00:23:35,400 --> 00:23:40,400
Speaker 1: the British and they had a decisive battle. They were

391
00:23:40,400 --> 00:23:44,199
Speaker 1: able to watch the Brits march up Manhattan and then

392
00:23:44,240 --> 00:23:48,560
Speaker 1: they kicked their motherfucking ask and here we are because

393
00:23:48,920 --> 00:23:52,159
Speaker 1: a couple of Jews. So you're from watching night so

394
00:23:52,200 --> 00:23:58,240
Speaker 1: there was because you're born there. The neighborhood is is

395
00:23:58,320 --> 00:24:02,119
Speaker 1: what what's the racial mix that at that time and

396
00:24:02,200 --> 00:24:04,520
Speaker 1: what is it now? Well, there were a lot of

397
00:24:04,840 --> 00:24:09,120
Speaker 1: uh Um Holocaust of IRUs, so there were a lot

398
00:24:09,160 --> 00:24:14,920
Speaker 1: of damaged Jews that were there, and many many old

399
00:24:14,960 --> 00:24:19,000
Speaker 1: people settled there and then started having families. So that's

400
00:24:19,000 --> 00:24:22,520
Speaker 1: how that's how I assimilated there. I had a grandma

401
00:24:22,560 --> 00:24:26,400
Speaker 1: who escaped Poland and and they ended up in Washington

402
00:24:26,440 --> 00:24:28,280
Speaker 1: Heights and they were tremendous amount of that, but there

403
00:24:28,320 --> 00:24:32,600
Speaker 1: were also a great deal of Irish, there were a

404
00:24:32,640 --> 00:24:35,480
Speaker 1: lot of Italians. And then this new thing that started

405
00:24:36,080 --> 00:24:38,680
Speaker 1: right when I was born, which is Puerto Ricans, which

406
00:24:38,760 --> 00:24:42,080
Speaker 1: is how we got the show West Side Story. So

407
00:24:42,200 --> 00:24:47,160
Speaker 1: you know, the Puerto Ricans became so inundative of all

408
00:24:47,200 --> 00:24:52,239
Speaker 1: of Manhattan, but particularly certain parts of that that you know,

409
00:24:52,320 --> 00:24:55,120
Speaker 1: they had the idea to like adapt Romeo and Juliet

410
00:24:55,160 --> 00:24:58,320
Speaker 1: into West Side Story. Now, so that's a fucking cool

411
00:24:58,440 --> 00:25:00,280
Speaker 1: place to grow up. I mean to me, like I

412
00:25:00,480 --> 00:25:03,120
Speaker 1: always you know, New York is so much of who

413
00:25:03,119 --> 00:25:07,040
Speaker 1: I am, but oldly like my father, you know, nineteen

414
00:25:07,119 --> 00:25:09,119
Speaker 1: thirty three, he's from the Upper West Side. But like

415
00:25:09,200 --> 00:25:10,879
Speaker 1: you know, I never I didn't grow up in the

416
00:25:10,880 --> 00:25:14,639
Speaker 1: neighborhood that was like had that eclecticness, you know, and

417
00:25:14,680 --> 00:25:17,120
Speaker 1: I always admire it, like I always like envy it,

418
00:25:17,160 --> 00:25:19,040
Speaker 1: you know, like I always like wish part of me

419
00:25:19,080 --> 00:25:21,280
Speaker 1: feels like, you know, like I'm from that time, you

420
00:25:21,320 --> 00:25:24,400
Speaker 1: know what I mean, because it's so it doesn't exist anymore.

421
00:25:24,920 --> 00:25:27,920
Speaker 1: You know, It's like the neighborhoods I mean, now it's

422
00:25:27,920 --> 00:25:30,680
Speaker 1: totally fucked up, but like to have like you're around

423
00:25:30,800 --> 00:25:34,840
Speaker 1: all the different people, all different kinds of people, um,

424
00:25:34,880 --> 00:25:37,960
Speaker 1: but all working class people. I imagine to me, I

425
00:25:38,320 --> 00:25:40,480
Speaker 1: envy that. I think that's so fucking dope. Like you

426
00:25:40,520 --> 00:25:45,040
Speaker 1: speak Spanish, you don't speak New York Spanish. No, no,

427
00:25:45,119 --> 00:25:47,639
Speaker 1: if I speak any Spanish, all because of going to

428
00:25:47,720 --> 00:25:50,760
Speaker 1: Mexico as much as I did with a Gammo, But no,

429
00:25:50,880 --> 00:25:52,920
Speaker 1: I didn't. I didn't learn anything as a kid except

430
00:25:52,960 --> 00:25:56,760
Speaker 1: how to run. I learned how to run away from ship.

431
00:25:56,880 --> 00:25:58,399
Speaker 1: A lot was there a lot of ship going on.

432
00:25:58,440 --> 00:26:00,199
Speaker 1: There's a lot of ship going on, man, you know,

433
00:26:00,359 --> 00:26:06,000
Speaker 1: there was like any neighborhood in the world that has

434
00:26:06,040 --> 00:26:09,359
Speaker 1: that kind of cross section of ethnicities, there's gonna be

435
00:26:09,440 --> 00:26:12,960
Speaker 1: tribal stuff, that's gonna be territorial stuff. And so the

436
00:26:13,000 --> 00:26:18,680
Speaker 1: Irish hated the fucking can I say Spanish especially, everybody

437
00:26:18,680 --> 00:26:21,680
Speaker 1: hated the Jews. Political the political correct police are at

438
00:26:21,720 --> 00:26:25,520
Speaker 1: my fucking door right now, everybody. They're gonna knock, they're, they're, they're, they're,

439
00:26:25,600 --> 00:26:27,920
Speaker 1: they're here right now. I gotta I wish I could

440
00:26:28,040 --> 00:26:30,560
Speaker 1: yell at somebody. Don't worry, I'll get him. Yeah, you

441
00:26:30,840 --> 00:26:33,960
Speaker 1: get them for me, get them. But anyway, everybody, you know,

442
00:26:34,040 --> 00:26:36,440
Speaker 1: every there was always at tension, There was always attention.

443
00:26:36,520 --> 00:26:39,000
Speaker 1: And if you were Jewish, even if you were a

444
00:26:39,080 --> 00:26:43,280
Speaker 1: big guy like me, which and I wasn't, you know,

445
00:26:43,800 --> 00:26:49,080
Speaker 1: because I come from a Jewish background, fighting wasn't in

446
00:26:49,119 --> 00:26:51,640
Speaker 1: the menu. That's just not our part of our thing.

447
00:26:52,200 --> 00:26:55,880
Speaker 1: It wasn't on the menu, you know. And if anybody

448
00:26:55,920 --> 00:26:58,359
Speaker 1: needed how to learn how to fight, or at least

449
00:26:59,440 --> 00:27:02,880
Speaker 1: I have a swagger right where fighting was was like

450
00:27:03,400 --> 00:27:08,880
Speaker 1: um indicated just as a defense mechanism, like come on, motherfucker,

451
00:27:09,000 --> 00:27:11,600
Speaker 1: come come come on over here. I'll kick your fucking

452
00:27:11,720 --> 00:27:13,840
Speaker 1: you know, just to have that would have been good

453
00:27:13,880 --> 00:27:15,520
Speaker 1: if you were you didn't have that when you you

454
00:27:15,560 --> 00:27:19,280
Speaker 1: were younger. I I have it now, Now you have it.

455
00:27:19,600 --> 00:27:22,359
Speaker 1: You play that no, But I mean now I'm so

456
00:27:22,560 --> 00:27:25,240
Speaker 1: piste off about everything that I know. You're you're ready

457
00:27:25,280 --> 00:27:27,600
Speaker 1: to go. I'm I am, I'm at all times. It's

458
00:27:27,600 --> 00:27:29,800
Speaker 1: not good though. I mean too, I almost had a

459
00:27:29,880 --> 00:27:32,639
Speaker 1: fight right outside my door two weeks this well whatever,

460
00:27:32,720 --> 00:27:35,280
Speaker 1: But I mean it's I know what you mean, because

461
00:27:35,280 --> 00:27:39,240
Speaker 1: there's so much sort of palpable shit and frustration. As

462
00:27:39,280 --> 00:27:41,960
Speaker 1: you get older, you sort of you know, I find

463
00:27:41,960 --> 00:27:45,800
Speaker 1: myself sort of embracing what I like when I don't

464
00:27:45,840 --> 00:27:49,479
Speaker 1: like the crotchety, the grumpiness, the fucking politics, which we're

465
00:27:49,520 --> 00:27:54,800
Speaker 1: going to get into ron ron prom um um alright,

466
00:27:54,840 --> 00:27:57,040
Speaker 1: because I'm gonna jump all over the place. But the

467
00:27:57,040 --> 00:27:58,880
Speaker 1: best thing that ever happened to me, just to put

468
00:27:58,920 --> 00:28:04,000
Speaker 1: a caper on only on the the skills that you

469
00:28:04,080 --> 00:28:06,480
Speaker 1: needed to grow up in New York fighting would have

470
00:28:06,480 --> 00:28:09,160
Speaker 1: been a good one. And the best thing that ever

471
00:28:09,200 --> 00:28:11,080
Speaker 1: happened to me was that there was this one Irish

472
00:28:11,119 --> 00:28:15,040
Speaker 1: guy who sensed a weakness in me and basically was

473
00:28:15,080 --> 00:28:19,040
Speaker 1: picking me like a scab. And the more he picked

474
00:28:19,040 --> 00:28:21,760
Speaker 1: at me, the more he realized, you know, you're a pussy.

475
00:28:21,760 --> 00:28:24,360
Speaker 1: You're a fucking pussy. And then one day he hit

476
00:28:24,400 --> 00:28:27,040
Speaker 1: me as hard as he could in the head. And

477
00:28:27,080 --> 00:28:28,879
Speaker 1: that was the best thing that ever happened to me

478
00:28:29,920 --> 00:28:33,120
Speaker 1: because it didn't hurt, because I found out I could

479
00:28:33,400 --> 00:28:37,320
Speaker 1: take a punch, and then all fear left me. And

480
00:28:37,400 --> 00:28:40,840
Speaker 1: this guy looked at me like, not, you know, he

481
00:28:40,960 --> 00:28:43,000
Speaker 1: hit me as hard as he could, where do he

482
00:28:43,040 --> 00:28:46,880
Speaker 1: actually connect like upside the motherfucking you got a fucking head, right,

483
00:28:47,360 --> 00:28:50,120
Speaker 1: But he hit me really hard, and I basically just

484
00:28:51,040 --> 00:28:53,760
Speaker 1: and then I looked at him and he goes, he's

485
00:28:53,760 --> 00:28:56,040
Speaker 1: gonna kill me. Right. No, I didn't hit him back.

486
00:28:56,640 --> 00:28:58,920
Speaker 1: But the minute you learned you could take a punch

487
00:29:00,360 --> 00:29:03,080
Speaker 1: is a very It's like a very seminal moment in

488
00:29:03,160 --> 00:29:08,080
Speaker 1: a young man's life, right, because then it's like, what

489
00:29:08,080 --> 00:29:10,640
Speaker 1: what's the worst that can do? You know, you might

490
00:29:10,800 --> 00:29:15,240
Speaker 1: you're gonna break your hand or you know, good hit right.

491
00:29:15,360 --> 00:29:17,880
Speaker 1: You know, maybe I'll go down. Maybe that won't right,

492
00:29:18,960 --> 00:29:23,600
Speaker 1: and maybe I might hit back at the You know,

493
00:29:23,680 --> 00:29:27,360
Speaker 1: I am so excited for NBA All Star Weekend and

494
00:29:27,400 --> 00:29:30,120
Speaker 1: it's not what you think. The I Am Wrapp Reports

495
00:29:30,160 --> 00:29:34,120
Speaker 1: stereo podcast is coming live to the Big Easy for

496
00:29:34,320 --> 00:29:37,800
Speaker 1: NBA All Star Weekend. Me and g Moody will be

497
00:29:37,800 --> 00:29:41,880
Speaker 1: performing at the Iconic Joy Theater in New Orleans Saturday,

498
00:29:42,120 --> 00:29:46,880
Speaker 1: February eight at five thirty, with doors opening at four thirty.

499
00:29:47,080 --> 00:29:51,400
Speaker 1: Tickets are available at www Dot I Am rappaport Toward

500
00:29:51,520 --> 00:29:57,000
Speaker 1: dot com or www Dot Joy Theater dot com. You

501
00:29:57,000 --> 00:29:58,920
Speaker 1: know what we do when we do live shows. You've

502
00:29:58,960 --> 00:30:01,520
Speaker 1: heard them if you're in New Orleans for the NBA

503
00:30:01,600 --> 00:30:03,880
Speaker 1: All Star Weekend or you're just chilling down to New

504
00:30:03,960 --> 00:30:06,880
Speaker 1: Orleans and your fans of the Iron Rapports stereo podcast.

505
00:30:06,960 --> 00:30:10,560
Speaker 1: Come see us live at the Joy Theater Saturday, February

506
00:30:10,640 --> 00:30:14,200
Speaker 1: eighth at five thirty pm, doors opening four thirty. Go

507
00:30:14,280 --> 00:30:19,000
Speaker 1: to www dot I m Rappaport toward dot com. I

508
00:30:19,160 --> 00:30:22,480
Speaker 1: love my Blue Apron meals. I'm back to cooking at home.

509
00:30:22,840 --> 00:30:25,800
Speaker 1: I'm making great meals that are saving me money, time

510
00:30:25,880 --> 00:30:29,240
Speaker 1: and they are delicious. Blue Apron meals have variety. You

511
00:30:29,240 --> 00:30:32,040
Speaker 1: could choose from a variety of new recipes each week,

512
00:30:32,320 --> 00:30:36,200
Speaker 1: or let Blue Aprons culinary team surprising. But whatever they send,

513
00:30:36,320 --> 00:30:39,640
Speaker 1: it's gonna be fantastic. Recipes are not repeated within a year,

514
00:30:39,840 --> 00:30:43,560
Speaker 1: so you're never gonna get bored. Each meal comes with

515
00:30:43,600 --> 00:30:46,720
Speaker 1: a step by step, easy to follow recipe card and

516
00:30:46,880 --> 00:30:50,360
Speaker 1: preportioned ingredients that can be prepared in forty minutes or less.

517
00:30:50,480 --> 00:30:52,520
Speaker 1: I'm doing it, so I'm sure anybody could do it

518
00:30:52,560 --> 00:30:54,920
Speaker 1: because I'm not a chef, but Blue Apron has me

519
00:30:55,000 --> 00:31:00,200
Speaker 1: feeling like chef. Rappaport. Blue Aprons Freshness Guarantee promises at

520
00:31:00,280 --> 00:31:03,600
Speaker 1: every ingredient in your delivery arrives ready to cook, or

521
00:31:03,720 --> 00:31:06,560
Speaker 1: they will make it right. Blue Apron could be delivered

522
00:31:06,600 --> 00:31:10,560
Speaker 1: to the Continental US for those of you who spend

523
00:31:10,560 --> 00:31:13,200
Speaker 1: a lot at restaurants or high end grocery change, you

524
00:31:13,240 --> 00:31:16,840
Speaker 1: can now spend under ten dollars per person for delicious

525
00:31:16,880 --> 00:31:19,960
Speaker 1: meal at home at blue apron dot com. All right, now,

526
00:31:20,040 --> 00:31:22,560
Speaker 1: check out this week's menu and get your first three

527
00:31:22,560 --> 00:31:27,560
Speaker 1: meals free. Okay, get your first three meals free with

528
00:31:27,720 --> 00:31:31,040
Speaker 1: free shipping by going to blue apron dot com slash

529
00:31:31,120 --> 00:31:34,360
Speaker 1: rappaport r a p A p o r T. Blue

530
00:31:34,400 --> 00:31:39,600
Speaker 1: Apron is a better way to cook. Welcome to Play It,

531
00:31:39,760 --> 00:31:45,800
Speaker 1: a new podcast network featuring radio and TV personalities talking business, sports, tech, entertainment,

532
00:31:45,840 --> 00:31:49,719
Speaker 1: and more. Play it at play dot in. All right,

533
00:31:49,920 --> 00:31:52,400
Speaker 1: These are the questions that some of the fans wanted

534
00:31:52,480 --> 00:31:57,280
Speaker 1: to ask, hell Boy three, is that film happening? And

535
00:31:57,320 --> 00:31:59,960
Speaker 1: this thing? I'm gonna follow up, when did you realize

536
00:32:00,160 --> 00:32:03,720
Speaker 1: Giermo del Toro, Like, did you know right away? Like

537
00:32:03,760 --> 00:32:06,560
Speaker 1: he's obviously I don't throw this word around genius level?

538
00:32:07,240 --> 00:32:08,959
Speaker 1: Did you know it right away? Were you? Like? What

539
00:32:09,000 --> 00:32:11,760
Speaker 1: the funk is this ship? Like the some of the

540
00:32:11,760 --> 00:32:14,440
Speaker 1: films we've done are so unique. City of Lost Children

541
00:32:14,920 --> 00:32:20,200
Speaker 1: is so like your your body of work. The uniqueness

542
00:32:20,200 --> 00:32:22,800
Speaker 1: and the eclecticness of it is to me, I'd be like,

543
00:32:22,920 --> 00:32:26,280
Speaker 1: suck my fucking dick like you want me to, Like,

544
00:32:26,440 --> 00:32:28,480
Speaker 1: you know, imagine sometimes some people still want you to

545
00:32:28,480 --> 00:32:30,520
Speaker 1: come in and read because it's retarded, as if you

546
00:32:30,560 --> 00:32:33,280
Speaker 1: haven't done like there's only one run Perlman, I'm gonna

547
00:32:33,320 --> 00:32:35,400
Speaker 1: do what I do. But you've broken out of what

548
00:32:35,640 --> 00:32:38,520
Speaker 1: sort of stereotypes you might have been able to been

549
00:32:38,560 --> 00:32:42,080
Speaker 1: put in because you're such a unique actor and you've

550
00:32:42,080 --> 00:32:45,479
Speaker 1: done such a unique body of work. I sincerely mean.

551
00:32:45,520 --> 00:32:48,120
Speaker 1: I mean, like, like, you know, Sons of Anarchies like

552
00:32:48,120 --> 00:32:50,640
Speaker 1: almost one of the straightest in a weird way things

553
00:32:50,640 --> 00:32:53,920
Speaker 1: you've ever done. And I say straightest. You know, it's

554
00:32:53,920 --> 00:32:56,040
Speaker 1: a fucked up character and a show, but it's like

555
00:32:56,360 --> 00:32:58,320
Speaker 1: you know, you know, with with hell Boy and City

556
00:32:58,360 --> 00:33:00,800
Speaker 1: of Lost Children and Beauty and the Beast. I'm like,

557
00:33:01,720 --> 00:33:04,240
Speaker 1: this is such a unique career. The ship you've done

558
00:33:04,280 --> 00:33:07,720
Speaker 1: is so unique that like Sons of Anarchy, there's no makeup,

559
00:33:07,760 --> 00:33:12,720
Speaker 1: there's no nothing. It's you're speaking English, so Germa del Toro,

560
00:33:12,800 --> 00:33:14,880
Speaker 1: I know, I just sort of threw that around. When

561
00:33:14,920 --> 00:33:17,360
Speaker 1: did you know like this was somebody like that was special?

562
00:33:17,400 --> 00:33:19,400
Speaker 1: Did you know right away or like we're at first

563
00:33:19,440 --> 00:33:23,040
Speaker 1: we like this guy's fucking nuts, some sci fi weirdo. Well,

564
00:33:23,080 --> 00:33:29,280
Speaker 1: I had a feeling from the get go. But then, um,

565
00:33:29,320 --> 00:33:32,480
Speaker 1: I've had a feelings many times that ended up being

566
00:33:32,480 --> 00:33:36,800
Speaker 1: disastrously wrong. But with Gammo, I I had this feeling

567
00:33:37,120 --> 00:33:39,720
Speaker 1: that uh, like he wrote me this letter out of

568
00:33:39,720 --> 00:33:43,880
Speaker 1: the blue. Um, and it was I was. I was

569
00:33:43,920 --> 00:33:47,480
Speaker 1: a guy who who actually thought I was invisible. I

570
00:33:47,560 --> 00:33:49,880
Speaker 1: was a guy who thought that no one was noticing

571
00:33:50,160 --> 00:33:53,160
Speaker 1: anything I did because nothing that I ever did had

572
00:33:53,160 --> 00:33:56,600
Speaker 1: a cause and effect. I would just do shit and

573
00:33:56,640 --> 00:33:58,719
Speaker 1: then three or four years would go by before anybody

574
00:33:58,800 --> 00:34:01,400
Speaker 1: called me to do anything else. So there was no

575
00:34:01,600 --> 00:34:04,240
Speaker 1: there was no like momentum, there was no like, oh yeah,

576
00:34:04,240 --> 00:34:05,960
Speaker 1: this guy was in this, let's get him, you know.

577
00:34:07,680 --> 00:34:10,640
Speaker 1: So I had this this and then out of the blue,

578
00:34:10,719 --> 00:34:15,799
Speaker 1: this letter comes and it comprehensively goes over every move

579
00:34:15,840 --> 00:34:18,680
Speaker 1: I've ever made. And it's this young Mexican dude who

580
00:34:18,680 --> 00:34:23,040
Speaker 1: has never made a film before, who's begging me to

581
00:34:23,160 --> 00:34:28,319
Speaker 1: consider reading his script and maybe coming on board. And

582
00:34:28,360 --> 00:34:33,040
Speaker 1: the letter was I still have it. It's handwritten, it's gorgeous,

583
00:34:33,280 --> 00:34:37,759
Speaker 1: and it's it's got so much love and and uh,

584
00:34:37,840 --> 00:34:41,279
Speaker 1: he truly was studying. And the reason why he was

585
00:34:41,320 --> 00:34:43,319
Speaker 1: studying me is because at that by the time he

586
00:34:43,360 --> 00:34:45,600
Speaker 1: wrote it to me, I had already had a body

587
00:34:45,600 --> 00:34:48,600
Speaker 1: of work where I was behind a lot of the

588
00:34:48,719 --> 00:34:53,320
Speaker 1: creations of these great makeup artists. I had already been

589
00:34:53,600 --> 00:34:58,879
Speaker 1: working with Chris Tucker out of uh England, and Rick

590
00:34:58,960 --> 00:35:02,600
Speaker 1: Baker and Dick Smith and Stan Winston on which things

591
00:35:02,760 --> 00:35:05,880
Speaker 1: Beauty and the Beast and various things beauting the Beast,

592
00:35:06,120 --> 00:35:09,160
Speaker 1: on Beauty and the Beast, which Rick Baker quest of

593
00:35:09,239 --> 00:35:11,920
Speaker 1: fire name of the Rose was man Leo Roquetti, who

594
00:35:11,920 --> 00:35:15,800
Speaker 1: won the Academy Award. These were these were world class

595
00:35:16,000 --> 00:35:20,160
Speaker 1: special effects makeup. Are Giamo, being a guy who made

596
00:35:20,200 --> 00:35:24,640
Speaker 1: monster movies, came to the United States to figure out

597
00:35:24,680 --> 00:35:26,760
Speaker 1: how to make his own makeup for his own movies

598
00:35:26,920 --> 00:35:31,000
Speaker 1: because nobody in Mexico could could execute the ship he needed.

599
00:35:31,600 --> 00:35:36,200
Speaker 1: And in studying all this makeup stuff, he he just

600
00:35:36,480 --> 00:35:40,200
Speaker 1: you know, naturally came across all the stuff that I

601
00:35:40,239 --> 00:35:45,400
Speaker 1: had done and it was like, uh, Ron, problem, this

602
00:35:45,440 --> 00:35:47,000
Speaker 1: is your life. That's what the letter was like. This

603
00:35:47,120 --> 00:35:50,080
Speaker 1: is like that, and Alma was a love letter, was

604
00:35:50,120 --> 00:36:00,439
Speaker 1: like nineteen ninety one minute and um and I read

605
00:36:00,440 --> 00:36:02,279
Speaker 1: the script, and it was a script for a movie

606
00:36:02,280 --> 00:36:08,560
Speaker 1: called Chronos, and it was the weirdest, most original, most

607
00:36:08,880 --> 00:36:13,080
Speaker 1: unlike anything I've ever seen vampire story. And there was

608
00:36:13,280 --> 00:36:16,400
Speaker 1: an elegance to it. We're able to make sense of

609
00:36:16,400 --> 00:36:18,400
Speaker 1: the script vision and none of the script was. The

610
00:36:18,400 --> 00:36:22,560
Speaker 1: script was brilliantly written, very easy to to to even

611
00:36:22,680 --> 00:36:25,960
Speaker 1: see it. It was written incredibly well do you know

612
00:36:26,040 --> 00:36:28,080
Speaker 1: what I'm saying, Because like sometimes you read sci fi

613
00:36:28,160 --> 00:36:29,360
Speaker 1: like for me and I'm like, what the funk? I

614
00:36:29,400 --> 00:36:31,400
Speaker 1: don't know what the fund this is? Like what is

615
00:36:31,440 --> 00:36:33,400
Speaker 1: this going to be? Yeah? But it was. It was

616
00:36:33,480 --> 00:36:38,960
Speaker 1: beyond genre. It happened to be a vampire movie, right,

617
00:36:39,160 --> 00:36:42,560
Speaker 1: but it was also sort of like very philosophical, and

618
00:36:42,600 --> 00:36:46,640
Speaker 1: it was it was talking about kind of um gothic.

619
00:36:47,440 --> 00:36:52,799
Speaker 1: It had this big sort of gothic kind of um

620
00:36:53,040 --> 00:36:56,239
Speaker 1: color rings to it and a real sophistication and a

621
00:36:56,280 --> 00:37:00,600
Speaker 1: real elegance to the writing. And so because it was

622
00:37:00,680 --> 00:37:04,440
Speaker 1: none of the things you would expect to read it was,

623
00:37:04,840 --> 00:37:07,120
Speaker 1: it became essential that I, I mean, I had to

624
00:37:07,160 --> 00:37:09,440
Speaker 1: meet this guy. He comes to the United States. We

625
00:37:09,520 --> 00:37:13,440
Speaker 1: go have dinner at some restaurant on Wilsha Boulevard and

626
00:37:14,080 --> 00:37:20,080
Speaker 1: in in five is this heavy set Mexican kid. In

627
00:37:20,120 --> 00:37:22,880
Speaker 1: five minutes, It's like we knew each other for thirty years.

628
00:37:23,520 --> 00:37:25,960
Speaker 1: But we start talking about the movie and the movie

629
00:37:26,000 --> 00:37:28,360
Speaker 1: that he has in his head. I'm telling him what

630
00:37:28,440 --> 00:37:31,880
Speaker 1: I see in the script. Nothing that I say is

631
00:37:31,880 --> 00:37:34,560
Speaker 1: is what he's gonna do. He's telling me what he's

632
00:37:34,560 --> 00:37:36,200
Speaker 1: gonna do. And I'm going on, Holy sh it, I

633
00:37:36,360 --> 00:37:39,520
Speaker 1: never even imagine you were going to go here with it.

634
00:37:40,040 --> 00:37:43,560
Speaker 1: And I'm listening to this guy to the point where

635
00:37:43,600 --> 00:37:46,120
Speaker 1: I'm realizing I'm I'm in the presence of somebody who

636
00:37:46,160 --> 00:37:49,279
Speaker 1: doesn't think like anybody else. You knew, well, he I

637
00:37:49,320 --> 00:37:52,680
Speaker 1: definitely knew he doesn't think like anybody else. But he

638
00:37:52,800 --> 00:37:58,440
Speaker 1: also thinks like he was born to put images on

639
00:37:58,480 --> 00:38:01,480
Speaker 1: the screen, like there were certain guys who were just

640
00:38:01,600 --> 00:38:06,160
Speaker 1: born to be filmmakers. And this guy was talking like

641
00:38:06,160 --> 00:38:10,640
Speaker 1: like he kind of blew my mind because you don't

642
00:38:10,680 --> 00:38:13,560
Speaker 1: expect to meet a guy like that who had never

643
00:38:13,640 --> 00:38:16,000
Speaker 1: made a movie before. He had never made him you've

644
00:38:16,040 --> 00:38:18,839
Speaker 1: never made a movie before. But you just knew from

645
00:38:18,880 --> 00:38:21,360
Speaker 1: the way he was speaking he was special. Yeah, I

646
00:38:21,360 --> 00:38:24,160
Speaker 1: mean you know he was he was painting. He was

647
00:38:24,239 --> 00:38:29,719
Speaker 1: painting a world that was, you know, nothing that I

648
00:38:29,760 --> 00:38:33,440
Speaker 1: could have in my imagination put together. This was something

649
00:38:33,480 --> 00:38:37,279
Speaker 1: that this was coming from from an imagination that was

650
00:38:37,320 --> 00:38:40,880
Speaker 1: really really singular and really original and really didn't have

651
00:38:40,920 --> 00:38:44,359
Speaker 1: any connection to anything that I had ever experienced before.

652
00:38:44,960 --> 00:38:46,840
Speaker 1: So I said, Okay, I'm in the presence of something.

653
00:38:46,960 --> 00:38:49,840
Speaker 1: I'm not sure what. Then we start doing the movie

654
00:38:50,719 --> 00:38:55,840
Speaker 1: and I get invited to watch dailies and I realized

655
00:38:56,280 --> 00:39:00,200
Speaker 1: from the way he's framing things and from the ways

656
00:39:00,200 --> 00:39:04,319
Speaker 1: are playing that he's not he's not making a movie,

657
00:39:04,320 --> 00:39:06,759
Speaker 1: he's making cinema with a capital C. And you know,

658
00:39:06,800 --> 00:39:10,120
Speaker 1: he's like like this is this is one of those guys.

659
00:39:10,160 --> 00:39:13,359
Speaker 1: Are you like, fuck? How lucky am I? Because you know,

660
00:39:13,920 --> 00:39:17,520
Speaker 1: everybody wants to find somebody that like that, like thinks

661
00:39:17,520 --> 00:39:20,160
Speaker 1: you're the ship that gets you that and he obviously

662
00:39:20,239 --> 00:39:22,799
Speaker 1: got you, and he's and and and and then you

663
00:39:22,800 --> 00:39:25,680
Speaker 1: know which is flattering, and there's a younger actor you're younger.

664
00:39:25,719 --> 00:39:27,560
Speaker 1: Then you're like, you know, I got a guy who

665
00:39:27,560 --> 00:39:29,480
Speaker 1: thinks I'm great and you know, open me. And then

666
00:39:29,560 --> 00:39:32,360
Speaker 1: you see him and you're like, holy sh it, you know,

667
00:39:32,440 --> 00:39:35,279
Speaker 1: like this is are you like, what the funk? Like?

668
00:39:35,320 --> 00:39:37,520
Speaker 1: How lucky? Am I like, you know, it was very

669
00:39:37,600 --> 00:39:41,960
Speaker 1: much like that. And uh, and then the friendship that

670
00:39:42,080 --> 00:39:45,239
Speaker 1: developed there was a real closeness. We we we had

671
00:39:45,280 --> 00:39:47,720
Speaker 1: a couple of incidents in the course of the movie

672
00:39:47,760 --> 00:39:51,400
Speaker 1: that just drove us even more in love with each other. Uh,

673
00:39:51,680 --> 00:39:54,480
Speaker 1: really realized, you know, he's got my back, I got

674
00:39:54,560 --> 00:39:59,640
Speaker 1: his back, and that just made us more than collaborators,

675
00:39:59,680 --> 00:40:03,600
Speaker 1: more than director actor like bros. You know, so that

676
00:40:03,640 --> 00:40:06,560
Speaker 1: when it came time to do Blade, he found a

677
00:40:06,680 --> 00:40:09,239
Speaker 1: role for me and that and then you know, letting

678
00:40:09,239 --> 00:40:10,920
Speaker 1: me know that he had this other thing called hell

679
00:40:11,000 --> 00:40:14,120
Speaker 1: Boy that that the studio was throwing all these names

680
00:40:14,120 --> 00:40:16,680
Speaker 1: at him, and he kept throwing around Promo's name back

681
00:40:17,200 --> 00:40:19,239
Speaker 1: and he took him seven years, but he finally got

682
00:40:19,280 --> 00:40:22,160
Speaker 1: that made the way he wanted, which was with me.

683
00:40:22,600 --> 00:40:25,600
Speaker 1: And you get this. I mean, this is such a again,

684
00:40:25,680 --> 00:40:28,359
Speaker 1: this is like what the funk You're like this New

685
00:40:28,440 --> 00:40:31,160
Speaker 1: York jew you're this actor and was like this movie

686
00:40:31,440 --> 00:40:32,960
Speaker 1: like this is one I'm saying like you broke out

687
00:40:33,000 --> 00:40:36,200
Speaker 1: of like stereotypes, Like you're not even playing like Gavones,

688
00:40:36,239 --> 00:40:38,360
Speaker 1: Like I'm sure you've done your you know this TV

689
00:40:38,880 --> 00:40:40,719
Speaker 1: you know bone, you know you're the only other guy

690
00:40:40,800 --> 00:40:43,840
Speaker 1: be says my best friend rest in peace, Burton Levy,

691
00:40:43,920 --> 00:40:47,880
Speaker 1: who is a godfather. But is that actually a word?

692
00:40:48,239 --> 00:40:50,759
Speaker 1: I'm not sure. It's definitely some fucking new I think

693
00:40:50,760 --> 00:40:54,040
Speaker 1: it is a word, but new Yorker. It's a New

694
00:40:54,120 --> 00:40:56,960
Speaker 1: York word. But but it means like you're not playing

695
00:40:57,000 --> 00:41:00,080
Speaker 1: like Joe Sho. You know, thug too, and you know

696
00:41:00,239 --> 00:41:02,480
Speaker 1: goon this and this, Like if you say that to

697
00:41:02,520 --> 00:41:06,759
Speaker 1: any Italian outside of New York, they're gonna go get

698
00:41:06,800 --> 00:41:09,839
Speaker 1: goes to five, you know what the fun So yeah,

699
00:41:09,840 --> 00:41:11,680
Speaker 1: it's it's a New York word. God bless you for

700
00:41:11,800 --> 00:41:13,640
Speaker 1: using the word. Gablo and I haven't heard of since

701
00:41:13,680 --> 00:41:17,520
Speaker 1: my my, my dear friend. But it's a totally New

702
00:41:17,600 --> 00:41:21,000
Speaker 1: York word. But you you you, I mean, this is

703
00:41:21,000 --> 00:41:23,640
Speaker 1: something I just admired because you broke out of all

704
00:41:23,680 --> 00:41:26,920
Speaker 1: these stereotypes of what your career could have been. You

705
00:41:26,960 --> 00:41:30,680
Speaker 1: know what, what would be just the typical sort of

706
00:41:30,920 --> 00:41:32,879
Speaker 1: New York guy, Like you could just be like New

707
00:41:32,960 --> 00:41:35,760
Speaker 1: York and you you find this guy and these parts

708
00:41:35,760 --> 00:41:39,560
Speaker 1: that are just out of that that typical thing, and

709
00:41:39,880 --> 00:41:42,040
Speaker 1: I just I think it's just so so cool, so

710
00:41:42,040 --> 00:41:43,920
Speaker 1: so but this you get this film help boy, Like

711
00:41:43,960 --> 00:41:46,799
Speaker 1: did you know that was special? Like when you're reading this,

712
00:41:46,920 --> 00:41:49,720
Speaker 1: but at this point, you know Guiarmo is you're working

713
00:41:49,719 --> 00:41:52,600
Speaker 1: with high level ship and right, well not only that,

714
00:41:52,640 --> 00:41:56,279
Speaker 1: but after Chronos, like Chronos h with all of the

715
00:41:56,280 --> 00:42:01,560
Speaker 1: little problems that had finally finding its way to the world. Um,

716
00:42:01,600 --> 00:42:05,600
Speaker 1: it gets invited to competition and can Film Festival. They

717
00:42:05,600 --> 00:42:08,760
Speaker 1: have like three different They have the big the big prize,

718
00:42:08,760 --> 00:42:12,319
Speaker 1: the Palm door, then they have a certain regard and

719
00:42:12,320 --> 00:42:15,760
Speaker 1: then they have critics Week. And it got invited to

720
00:42:15,800 --> 00:42:18,640
Speaker 1: participate I think in critics Week and at one so

721
00:42:18,719 --> 00:42:22,880
Speaker 1: Gammo immediately vaulted to a place where the world was

722
00:42:23,000 --> 00:42:25,319
Speaker 1: He put the world on notice. There's a new guy

723
00:42:25,320 --> 00:42:29,840
Speaker 1: in town and you're his fucking guy. Well, um, I

724
00:42:29,920 --> 00:42:32,520
Speaker 1: happened to be there from the beginning, which is I mean,

725
00:42:32,520 --> 00:42:35,640
Speaker 1: that's special, but it was very special. It was really

726
00:42:35,680 --> 00:42:39,680
Speaker 1: special watching like having that moment the day I was

727
00:42:39,680 --> 00:42:41,799
Speaker 1: watching dailies and I turned to the other people in

728
00:42:41,800 --> 00:42:45,560
Speaker 1: the room and I went, this is not an ordinary filmmaker.

729
00:42:45,840 --> 00:42:49,600
Speaker 1: This is a guy who he has Like you know,

730
00:42:50,200 --> 00:42:53,359
Speaker 1: you look at a frame of David Lean and you go,

731
00:42:54,440 --> 00:42:57,200
Speaker 1: there's only one guy who could who could actually put

732
00:42:57,280 --> 00:43:00,560
Speaker 1: that frame on and then you look at a frame

733
00:43:00,560 --> 00:43:04,040
Speaker 1: of Courasau and you say the same thing. Scorsese, has,

734
00:43:04,160 --> 00:43:07,440
Speaker 1: Coppola has that. Well, Giamo is in that group. I mean,

735
00:43:07,520 --> 00:43:09,480
Speaker 1: you know, he's a guy who you just look at

736
00:43:09,520 --> 00:43:14,319
Speaker 1: his framing and you go, he's not pedestrian. And this

737
00:43:14,400 --> 00:43:21,000
Speaker 1: is not random. This is he's painting. He's painting, like uh,

738
00:43:21,320 --> 00:43:24,279
Speaker 1: like you know, a great impression is painting. But he's

739
00:43:24,320 --> 00:43:28,160
Speaker 1: doing it narratively, which is what makes cinema so unique. Yeah,

740
00:43:28,800 --> 00:43:31,400
Speaker 1: you don't realize he's painting because you're you're you're swept

741
00:43:31,400 --> 00:43:34,359
Speaker 1: into this world and the story and this behavior is

742
00:43:34,360 --> 00:43:36,799
Speaker 1: he is he doing things on the fly? How much

743
00:43:36,800 --> 00:43:39,560
Speaker 1: preparation is it to get a frame to get a shot?

744
00:43:39,840 --> 00:43:42,680
Speaker 1: Obviously when you get into technicalities and C G I

745
00:43:42,800 --> 00:43:45,359
Speaker 1: and and you know, and and that stuff, but just

746
00:43:45,400 --> 00:43:47,440
Speaker 1: in terms of like when he gets on a set

747
00:43:47,640 --> 00:43:49,799
Speaker 1: and you're doing a scene and we're shooting a scene here,

748
00:43:50,840 --> 00:43:53,120
Speaker 1: how clear is he how much is fluid? How much

749
00:43:53,160 --> 00:43:54,560
Speaker 1: is in the moment or is it a little bit

750
00:43:54,560 --> 00:44:00,000
Speaker 1: of both. It's all it's huge amounts of free product,

751
00:44:00,560 --> 00:44:04,120
Speaker 1: huge amounts of thinking about what style he's going to employ,

752
00:44:04,800 --> 00:44:09,840
Speaker 1: just visually for each film he does, um huge amounts.

753
00:44:10,719 --> 00:44:15,279
Speaker 1: Here's the genius part though, Like Mike Rappaport shows up

754
00:44:15,280 --> 00:44:18,600
Speaker 1: on set, he says, I got an idea. I say,

755
00:44:18,640 --> 00:44:21,480
Speaker 1: I got an idea, and he goes, I said, this

756
00:44:21,520 --> 00:44:23,160
Speaker 1: is what we're gonna do today. No, no, no, you

757
00:44:23,200 --> 00:44:25,279
Speaker 1: don't say that. No, I know, okay, but I'm just

758
00:44:25,520 --> 00:44:26,960
Speaker 1: I mean, you might say that. I would be the

759
00:44:27,040 --> 00:44:29,880
Speaker 1: last time you say anything. I think I'm crazy. But

760
00:44:29,880 --> 00:44:32,000
Speaker 1: but you say, hey, could you listen to this? This

761
00:44:32,080 --> 00:44:34,200
Speaker 1: is I think this is pretty Was that your exhibit

762
00:44:34,239 --> 00:44:37,160
Speaker 1: here at the was it? What was it? Yeah? Lackman?

763
00:44:37,239 --> 00:44:39,799
Speaker 1: Was that lackman? And I was thinking, Guillermo, check this out,

764
00:44:39,840 --> 00:44:44,600
Speaker 1: this is what we're gonna do today? Because I but

765
00:44:44,719 --> 00:44:47,239
Speaker 1: he but but you could you say? I was up

766
00:44:47,239 --> 00:44:49,600
Speaker 1: all night, man, I gotta I gotta share this with you.

767
00:44:49,960 --> 00:44:52,839
Speaker 1: And you tell it to him, and if he digs it,

768
00:44:53,640 --> 00:44:56,720
Speaker 1: he'll change his whole day around and accommodate that idea

769
00:44:57,239 --> 00:44:59,680
Speaker 1: if he believes in and he and if he goes,

770
00:45:00,000 --> 00:45:01,839
Speaker 1: if he thinks that's a better idea than the one

771
00:45:01,920 --> 00:45:07,160
Speaker 1: he was gonna shoot, I've seen him do it, and um,

772
00:45:07,200 --> 00:45:11,359
Speaker 1: that's another thing, you know, you know that puts him

773
00:45:11,360 --> 00:45:14,120
Speaker 1: in a different kind of weight class break down because

774
00:45:14,160 --> 00:45:15,960
Speaker 1: because I know you're going with that, but I know,

775
00:45:16,040 --> 00:45:18,960
Speaker 1: I mean, you know, most guys, when they come up

776
00:45:18,960 --> 00:45:21,560
Speaker 1: with a plan, they don't want to you know, there's

777
00:45:21,600 --> 00:45:24,600
Speaker 1: room for a little collaboration, but they're not gonna fucking

778
00:45:24,680 --> 00:45:27,560
Speaker 1: change their shot list or change their whole approach to

779
00:45:27,560 --> 00:45:29,960
Speaker 1: how they're going to shoot this particularly scene a moment

780
00:45:30,200 --> 00:45:34,120
Speaker 1: because some asshole comes up with a different idea. But

781
00:45:34,239 --> 00:45:38,640
Speaker 1: he will, and he has and he does and and

782
00:45:38,640 --> 00:45:40,840
Speaker 1: and then on top of that, he turns it into

783
00:45:41,080 --> 00:45:46,239
Speaker 1: a Picasso. Uh. There's so many aspects of what I

784
00:45:46,280 --> 00:45:48,360
Speaker 1: do that I love that it's it's impossible for me.

785
00:45:48,400 --> 00:45:50,160
Speaker 1: I could. I could spend the rest of my life

786
00:45:51,080 --> 00:45:54,640
Speaker 1: enumerating the things that I love. But there's nothing about

787
00:45:54,760 --> 00:45:57,960
Speaker 1: the process of making movies that's more unique than the

788
00:45:58,000 --> 00:46:02,520
Speaker 1: collaboration of it. Because and this was the greatest epiphany

789
00:46:02,520 --> 00:46:04,640
Speaker 1: I've ever had. And this is not the first podcast

790
00:46:04,680 --> 00:46:06,719
Speaker 1: I will share this story on all but this is

791
00:46:06,760 --> 00:46:09,399
Speaker 1: the most the best poet Marrin and the other guys

792
00:46:09,400 --> 00:46:12,359
Speaker 1: are Fantastic is the most recent. I don't know if

793
00:46:12,360 --> 00:46:14,600
Speaker 1: I ever shared this on any podcast. Good give me

794
00:46:14,640 --> 00:46:16,440
Speaker 1: the good I wrote this in my book. This is

795
00:46:16,440 --> 00:46:23,600
Speaker 1: in my book. I'm on a cliff twenty kilometers outside

796
00:46:23,640 --> 00:46:32,160
Speaker 1: of of Rome. Okay, it's two and I'm on I'm

797
00:46:32,160 --> 00:46:34,200
Speaker 1: on the set of this movie, but I'm not in

798
00:46:34,239 --> 00:46:36,520
Speaker 1: the scene that they're about to go shoot and they're

799
00:46:36,520 --> 00:46:39,839
Speaker 1: trying to get a shot at magic hour. Magic hour

800
00:46:39,960 --> 00:46:42,400
Speaker 1: happens twice a day. It happens at dawn and it

801
00:46:42,440 --> 00:46:45,120
Speaker 1: happens at dusk, and it's actually an hour, and it's

802
00:46:45,160 --> 00:46:47,240
Speaker 1: actually less than an hour. It's about a twenty minute

803
00:46:47,280 --> 00:46:50,120
Speaker 1: window where the light is different than any other part

804
00:46:50,120 --> 00:46:52,560
Speaker 1: of the day. And on sets, when you're trying to

805
00:46:52,600 --> 00:46:55,400
Speaker 1: do that, it's very tense because it's they will a

806
00:46:55,520 --> 00:46:57,759
Speaker 1: lot of times will arrange the whole day to shoot

807
00:46:57,760 --> 00:47:00,919
Speaker 1: this twenty minute to get something very specific, very quote

808
00:47:01,000 --> 00:47:04,160
Speaker 1: unquote magical, and you have you have to you have

809
00:47:04,200 --> 00:47:07,560
Speaker 1: to be ready to utilize every one of the twenty

810
00:47:07,560 --> 00:47:11,200
Speaker 1: minutes that you have where you actually get the magical light.

811
00:47:11,360 --> 00:47:13,080
Speaker 1: When they know that they're going to go for a

812
00:47:13,120 --> 00:47:16,839
Speaker 1: shot at magic time, at magic hour, the whole day

813
00:47:16,920 --> 00:47:20,840
Speaker 1: is planned around. We stop what we're doing at four thirty,

814
00:47:20,960 --> 00:47:23,200
Speaker 1: and we prepped for that shot right, you got to

815
00:47:23,200 --> 00:47:24,960
Speaker 1: know your lines. It can't be any fun. It's like

816
00:47:25,360 --> 00:47:29,640
Speaker 1: TV because at five ten we have to be rolling

817
00:47:30,080 --> 00:47:34,080
Speaker 1: and by five we've we've lost the light parties over.

818
00:47:34,880 --> 00:47:38,800
Speaker 1: So um, I'm on the set of a movie called

819
00:47:39,120 --> 00:47:43,680
Speaker 1: Name of the Rose, and Jean Jacka no Academy Award winner,

820
00:47:43,719 --> 00:47:48,800
Speaker 1: is directing. Janina Della Coli, Academy Award winner, is is

821
00:47:49,360 --> 00:47:56,680
Speaker 1: lighting Sean Connery Academy Award winners, starring production designer Frederick

822
00:47:56,719 --> 00:47:59,680
Speaker 1: Marsh by the way, is the other star of Best Joseph.

823
00:48:00,880 --> 00:48:02,680
Speaker 1: But now I can't remember the name of the production

824
00:48:02,719 --> 00:48:04,359
Speaker 1: designer from the Name of the Rose, but I will

825
00:48:04,400 --> 00:48:06,480
Speaker 1: in a minute. We'll get to that. That will pop up.

826
00:48:07,400 --> 00:48:11,680
Speaker 1: Multi Academy Award winner. Then there's a woman who's doing costumes.

827
00:48:11,880 --> 00:48:15,640
Speaker 1: Five Academy Awards. Then so, and I'm on a I'm

828
00:48:15,680 --> 00:48:21,320
Speaker 1: on a hilltop, dressed in sixteenth century garb as a hunchback,

829
00:48:22,040 --> 00:48:25,279
Speaker 1: and I've got made up up the wazoo right, and

830
00:48:25,320 --> 00:48:29,480
Speaker 1: I'm watching four hundred people, half of them who have

831
00:48:29,560 --> 00:48:33,480
Speaker 1: Academy Awards in disparate art forms. One of them is

832
00:48:33,520 --> 00:48:36,480
Speaker 1: a painter, one of them is seemstress, one of them

833
00:48:36,600 --> 00:48:42,080
Speaker 1: lights photography. One of them directs, and they're all running

834
00:48:42,080 --> 00:48:46,520
Speaker 1: around like they're in kindergarten, trying to get this moment

835
00:48:46,600 --> 00:48:48,719
Speaker 1: that happens from five ten in the evening until five

836
00:48:51,000 --> 00:48:53,360
Speaker 1: And I'm watching them run around and they look like

837
00:48:53,480 --> 00:48:57,120
Speaker 1: six year old they like have you know, they have

838
00:48:57,600 --> 00:49:01,200
Speaker 1: food that they're dropping on on their their clothes. You know,

839
00:49:01,360 --> 00:49:04,480
Speaker 1: they're burning themselves with cigarettes while they're trying to do

840
00:49:04,560 --> 00:49:08,520
Speaker 1: fifteen things. I mean, they're just a fucking mess. But

841
00:49:08,600 --> 00:49:13,200
Speaker 1: they're the most sophisticated, motherfucking artists on the planet, the

842
00:49:13,239 --> 00:49:16,080
Speaker 1: best at what they do, and they're all trying to

843
00:49:16,120 --> 00:49:20,000
Speaker 1: go for one moment of a hundred and thirty five

844
00:49:20,040 --> 00:49:24,800
Speaker 1: minute film. And I'm going, if this ain't the greatest

845
00:49:24,840 --> 00:49:28,120
Speaker 1: way to make a living that I've ever seen. And

846
00:49:28,120 --> 00:49:33,000
Speaker 1: it's different from theater, it's different from from TV, it's

847
00:49:33,040 --> 00:49:38,840
Speaker 1: different from everything else because it's the most elite and

848
00:49:38,840 --> 00:49:43,319
Speaker 1: and it's beyond there's there's there's no adulthood to it.

849
00:49:43,800 --> 00:49:52,960
Speaker 1: It's all childish, imaginative, unabashed, just pure enthusiasm and like,

850
00:49:54,160 --> 00:49:56,680
Speaker 1: and everybody's on this one page and it's all being

851
00:49:56,719 --> 00:50:00,480
Speaker 1: filtered through one sensibility, which is the filmmaker. But everybody's

852
00:50:00,560 --> 00:50:03,440
Speaker 1: using these and you know it's a high, right. So

853
00:50:04,120 --> 00:50:06,000
Speaker 1: this is what I mean when I say collaboration. I

854
00:50:06,040 --> 00:50:09,600
Speaker 1: don't throw the word around like this is this is

855
00:50:09,640 --> 00:50:13,880
Speaker 1: a This is a real privilege to be witnessing that

856
00:50:14,080 --> 00:50:19,799
Speaker 1: form of the artistry all being utilized in all these

857
00:50:19,840 --> 00:50:23,360
Speaker 1: disparate ways to come up with something that you hope

858
00:50:23,560 --> 00:50:25,719
Speaker 1: is going to be watchable, and no one even knows.

859
00:50:25,840 --> 00:50:28,560
Speaker 1: You know, you have no clue. Nobody even knows. You know,

860
00:50:28,560 --> 00:50:30,520
Speaker 1: I've been in a million movies where the same ship

861
00:50:30,600 --> 00:50:32,920
Speaker 1: I'm describing to you what happens, and the movie is

862
00:50:32,960 --> 00:50:34,759
Speaker 1: a piece of ship. You can't watch. You can't watch

863
00:50:34,800 --> 00:50:37,279
Speaker 1: one second of it. You know you want to kill yourself.

864
00:50:37,280 --> 00:50:39,399
Speaker 1: You did it, you know. So you don't never know,

865
00:50:40,200 --> 00:50:42,399
Speaker 1: but you go into every one of them hoping. Right,

866
00:50:43,400 --> 00:50:47,399
Speaker 1: So when I mentioned collaborating, like what I was talking

867
00:50:47,400 --> 00:50:50,040
Speaker 1: about with Giamma, when I say I have this idea,

868
00:50:50,120 --> 00:50:54,680
Speaker 1: and he actually takes the time to listen without being

869
00:50:54,760 --> 00:50:57,600
Speaker 1: fearful that it's gonna just funk up his day, that

870
00:50:57,760 --> 00:51:02,160
Speaker 1: somebody through this monkey wrench into his plan. So he

871
00:51:02,239 --> 00:51:06,759
Speaker 1: has he has enough security in himself to know that

872
00:51:06,800 --> 00:51:09,400
Speaker 1: he can still go with somebody else's idea, and it

873
00:51:09,440 --> 00:51:11,719
Speaker 1: won't if it makes the movie better, that's the only

874
00:51:11,719 --> 00:51:14,880
Speaker 1: thing that matters. So he's adult enough to be to

875
00:51:14,960 --> 00:51:18,799
Speaker 1: be that guy. He's also smart enough to know a good,

876
00:51:19,000 --> 00:51:20,759
Speaker 1: a better idea than his own when he hears it.

877
00:51:21,400 --> 00:51:24,800
Speaker 1: And he's also adaptable enough to turn somebody else's idea

878
00:51:24,920 --> 00:51:27,840
Speaker 1: into his own and make it maybe the best moment

879
00:51:27,920 --> 00:51:32,839
Speaker 1: in the movie. That's collaboration. And I've seen that very

880
00:51:32,960 --> 00:51:36,399
Speaker 1: rarely in my I've seen it many, probably more than

881
00:51:36,560 --> 00:51:38,560
Speaker 1: than a lot of actors compens have been doing it

882
00:51:38,640 --> 00:51:41,480
Speaker 1: so long. But it's a beautiful thing when it happens.

883
00:51:41,600 --> 00:51:43,880
Speaker 1: When when because you have that in your pocket and

884
00:51:43,920 --> 00:51:46,480
Speaker 1: you have experienced that, and it's such a rare thing.

885
00:51:46,520 --> 00:51:49,160
Speaker 1: And I know we're talking some Artie Farci ship when

886
00:51:49,160 --> 00:51:52,760
Speaker 1: you're on season two of Sons of Anarchy or season

887
00:51:53,160 --> 00:51:57,240
Speaker 1: you know, you know, one episode nine of another show

888
00:51:57,680 --> 00:52:00,160
Speaker 1: and anarchy. I can't I don't know if things, but

889
00:52:00,200 --> 00:52:02,920
Speaker 1: like you know, directors come in. There's different directors, and

890
00:52:02,960 --> 00:52:06,040
Speaker 1: you get a director who's clearly like not listening to you,

891
00:52:06,480 --> 00:52:10,160
Speaker 1: not you know, respecting you, not collaborative, you know, puppeteering

892
00:52:10,239 --> 00:52:12,880
Speaker 1: you Tony to hit marks and all ships. At this point,

893
00:52:13,239 --> 00:52:15,839
Speaker 1: how do you deal with that? As like now that

894
00:52:15,880 --> 00:52:18,239
Speaker 1: you you you've you've had that that beauty, You've had

895
00:52:18,280 --> 00:52:21,560
Speaker 1: these moments, a bunch of them, and you've worked with

896
00:52:21,800 --> 00:52:24,920
Speaker 1: a guy who's a director, a filmmaker who's had a

897
00:52:25,000 --> 00:52:29,279
Speaker 1: fucking actual exhibit Guillermo del Toro in a fucking museum,

898
00:52:29,320 --> 00:52:32,040
Speaker 1: Like you got to think about that, like the motherfucker.

899
00:52:32,160 --> 00:52:35,080
Speaker 1: Like there's a lot of dope filmmakers, but like there's

900
00:52:35,200 --> 00:52:39,799
Speaker 1: another there's a handful. Kubrick had one, what's Tim Burton hammer?

901
00:52:39,840 --> 00:52:41,960
Speaker 1: But then like this, like you're were you've were like

902
00:52:42,040 --> 00:52:44,920
Speaker 1: you're this person's guy or one of his main guys.

903
00:52:45,160 --> 00:52:48,840
Speaker 1: And then you're on season two and fucking schmucko directors

904
00:52:48,920 --> 00:52:51,279
Speaker 1: coming and telling you to do on your show or

905
00:52:51,280 --> 00:52:53,279
Speaker 1: even a show that you're guest starring, And how do

906
00:52:53,320 --> 00:52:55,480
Speaker 1: you do? Do you go? Fuck you? Do you listen

907
00:52:55,520 --> 00:52:58,800
Speaker 1: to you not listen? Or are you are combative or

908
00:52:58,840 --> 00:53:01,279
Speaker 1: you're just like okay, okay, and then do it your way?

909
00:53:01,440 --> 00:53:04,680
Speaker 1: Do you know what I'm saying? When because I can't

910
00:53:04,719 --> 00:53:08,040
Speaker 1: fucking stand it. I don't understand it either. That why

911
00:53:08,080 --> 00:53:11,359
Speaker 1: they why would they put handcuffs on Big Run, but

912
00:53:11,640 --> 00:53:14,520
Speaker 1: or any actor. You know, if you'd asked me this

913
00:53:14,560 --> 00:53:16,480
Speaker 1: ten years ago, you probably would have got a different answer.

914
00:53:17,080 --> 00:53:19,840
Speaker 1: Give you now got you. I'm trying very hard to like.

915
00:53:21,000 --> 00:53:23,640
Speaker 1: The best advice I was ever given was by this

916
00:53:24,320 --> 00:53:27,200
Speaker 1: p a, this young girl who was running base camp

917
00:53:27,880 --> 00:53:33,200
Speaker 1: on this disastrous movie that was like the most disorganized

918
00:53:33,400 --> 00:53:36,680
Speaker 1: piece of shit amateurs Ville thing. And that's saying a lot,

919
00:53:36,719 --> 00:53:39,880
Speaker 1: because I've been on a lot of really really disastrous

920
00:53:40,239 --> 00:53:43,719
Speaker 1: piece of ship disorganized amateurs Ville thing, but this was

921
00:53:43,800 --> 00:53:48,880
Speaker 1: the number one. And this girl who was running base camp,

922
00:53:49,480 --> 00:53:53,359
Speaker 1: poor girl, how to give me bad information every day,

923
00:53:53,840 --> 00:53:55,560
Speaker 1: six times a day. And she's just a young girl

924
00:53:55,600 --> 00:53:57,239
Speaker 1: trying to find her way in life. And she had

925
00:53:57,320 --> 00:53:59,600
Speaker 1: to give me this information knowing that it was going

926
00:53:59,640 --> 00:54:02,440
Speaker 1: to pick me off, knowing that it was wrong, knowing

927
00:54:02,440 --> 00:54:05,040
Speaker 1: that she was completely steering me down the garden path.

928
00:54:05,120 --> 00:54:07,680
Speaker 1: I think there was not, but she had to give

929
00:54:07,719 --> 00:54:10,120
Speaker 1: it because she's on the radio, and she's she's the

930
00:54:10,160 --> 00:54:13,279
Speaker 1: lowest and the food chain, so she had to be

931
00:54:13,320 --> 00:54:17,600
Speaker 1: the one to deal with my reaction. On the last

932
00:54:17,719 --> 00:54:20,600
Speaker 1: day when they wrapped me and they finally, you know,

933
00:54:20,640 --> 00:54:23,320
Speaker 1: said okay, you can go home wrong. I said goodbye

934
00:54:23,360 --> 00:54:26,160
Speaker 1: everybody on the set. The last person I said goodbye

935
00:54:26,160 --> 00:54:28,040
Speaker 1: to was her, because she's standing there by the car

936
00:54:28,080 --> 00:54:30,520
Speaker 1: that I'm going to get into and drive away. And

937
00:54:30,560 --> 00:54:32,000
Speaker 1: she said to me, can I give you a piece

938
00:54:32,000 --> 00:54:35,239
Speaker 1: of advice? I said, sure, donald, And she loved me

939
00:54:35,320 --> 00:54:38,439
Speaker 1: and I loved her, but she saw some dark ship

940
00:54:39,800 --> 00:54:43,239
Speaker 1: and and she says to me, trying not to be

941
00:54:43,320 --> 00:54:48,160
Speaker 1: yourself so much. And I came back and mentioned that

942
00:54:48,200 --> 00:54:51,359
Speaker 1: to my family, my life and my kids, And that's

943
00:54:51,400 --> 00:54:54,360
Speaker 1: the best piece of advice you've ever gotten. Yeah, I'm

944
00:54:54,360 --> 00:54:58,200
Speaker 1: gonna take key to that. But uh, when I when

945
00:54:58,200 --> 00:55:02,520
Speaker 1: that guy appears on the set, if he's a really sweet,

946
00:55:02,680 --> 00:55:06,200
Speaker 1: nice guy, I will I will say, you know you

947
00:55:06,280 --> 00:55:08,480
Speaker 1: probably want to how about we do it this way.

948
00:55:09,080 --> 00:55:11,960
Speaker 1: If he's a dickhead and he's walking around with like

949
00:55:11,960 --> 00:55:15,000
Speaker 1: like a big swinging dick and he's like he's like

950
00:55:15,120 --> 00:55:17,120
Speaker 1: the guy and like, you know, you know what else

951
00:55:17,160 --> 00:55:22,080
Speaker 1: I've directed, I will eat this motherfucker's lunch, how like

952
00:55:22,160 --> 00:55:24,719
Speaker 1: just break just just you will you will? You will

953
00:55:24,760 --> 00:55:29,000
Speaker 1: you stay on him? No, I'll make it like like

954
00:55:29,400 --> 00:55:33,120
Speaker 1: I don't have time for for for this to be

955
00:55:33,160 --> 00:55:36,560
Speaker 1: a process I'm going to tell you right now, what

956
00:55:36,600 --> 00:55:39,680
Speaker 1: the funk you're doing is not gonna We're not going

957
00:55:39,800 --> 00:55:43,319
Speaker 1: one minute past this like this, So now it's time

958
00:55:43,320 --> 00:55:45,080
Speaker 1: for you to shut the funk up and get the

959
00:55:45,120 --> 00:55:51,279
Speaker 1: funk out of all way. And they usually begins quick, um,

960
00:55:51,600 --> 00:55:53,520
Speaker 1: don't get I don't, I don't get all fun. No,

961
00:55:53,560 --> 00:55:55,600
Speaker 1: I don't, I don't look. I don't look forward to

962
00:55:55,680 --> 00:55:57,840
Speaker 1: doing that. I hate to do it. But if somebody

963
00:55:58,000 --> 00:56:00,840
Speaker 1: walks on a set, and for me, the set is

964
00:56:00,920 --> 00:56:04,120
Speaker 1: kind of like church, right, and and they take a

965
00:56:04,200 --> 00:56:09,440
Speaker 1: dump on the on in my church, you know, they

966
00:56:09,520 --> 00:56:12,320
Speaker 1: gotta get straightened out, right, are you? Do you get

967
00:56:12,360 --> 00:56:15,719
Speaker 1: concerned about Oh, they're gonna say, Ron Perlman is difficult,

968
00:56:15,920 --> 00:56:17,719
Speaker 1: do you know? You know, you know because I know,

969
00:56:17,840 --> 00:56:19,960
Speaker 1: like you you don't want to do that. You don't

970
00:56:19,960 --> 00:56:21,759
Speaker 1: want to be because I'm asking because I deal with

971
00:56:21,760 --> 00:56:23,920
Speaker 1: it a lot to it. I'm actually just dealing with recently,

972
00:56:24,000 --> 00:56:27,959
Speaker 1: and I'm trying to find like the most diplomatic, constructive way.

973
00:56:28,280 --> 00:56:32,080
Speaker 1: But it's sometimes it's like it's just what the funk man? Like,

974
00:56:32,160 --> 00:56:34,160
Speaker 1: what the funk man? Like? You know, what do you

975
00:56:34,160 --> 00:56:36,120
Speaker 1: want me to fucking do? Like? Why am I here,

976
00:56:36,200 --> 00:56:38,320
Speaker 1: like you know, and I know what again, Like people

977
00:56:38,320 --> 00:56:40,840
Speaker 1: like you sound like too fucking winey fucking pitches, but

978
00:56:40,840 --> 00:56:43,160
Speaker 1: I'm just talking about the creative process. Do you get

979
00:56:43,200 --> 00:56:45,920
Speaker 1: worried about like, well, he's difficult, he's a pain in

980
00:56:45,960 --> 00:56:48,319
Speaker 1: the st to deal with, Like does that cross your money?

981
00:56:48,360 --> 00:56:52,000
Speaker 1: At this point You're like fuck it? No? At this point, Um,

982
00:56:52,040 --> 00:56:55,480
Speaker 1: I'm like fuck it because because pretty much I never

983
00:56:55,560 --> 00:56:59,280
Speaker 1: pull that card out unless they got it coming. And

984
00:56:59,400 --> 00:57:03,400
Speaker 1: I also deal as though it's justified because time is

985
00:57:03,440 --> 00:57:05,759
Speaker 1: of the essence on a movie set, or especially on

986
00:57:05,800 --> 00:57:09,680
Speaker 1: a TV show, because you're shooting so much per day,

987
00:57:10,760 --> 00:57:12,799
Speaker 1: and if somebody walks on there and they're and they're

988
00:57:12,800 --> 00:57:16,280
Speaker 1: ready to like funk up everybody's bio rhythms, that needs

989
00:57:16,320 --> 00:57:20,720
Speaker 1: to be stopped. So I actually feel like doing what

990
00:57:20,760 --> 00:57:24,320
Speaker 1: I do, I'm doing the show a service. I try

991
00:57:24,480 --> 00:57:29,480
Speaker 1: to uh not be cruel, But if the guy's a

992
00:57:29,560 --> 00:57:35,160
Speaker 1: sucking asshole, he's an asshole, right, you know? Um, But yeah,

993
00:57:35,240 --> 00:57:37,680
Speaker 1: I mean there were times in my life before I

994
00:57:37,760 --> 00:57:40,320
Speaker 1: was the silver back jew you know, where I paid

995
00:57:40,360 --> 00:57:42,720
Speaker 1: a heavy price for opening my mouth, you know, and

996
00:57:42,800 --> 00:57:45,280
Speaker 1: I did get you know, I probably did have people

997
00:57:45,280 --> 00:57:48,320
Speaker 1: talking about what a fucking dickhead this who the fund

998
00:57:48,360 --> 00:57:51,440
Speaker 1: does this guy thinking? You know, because I've always had

999
00:57:52,040 --> 00:57:56,960
Speaker 1: of standards that I followed that I felt like, you know,

1000
00:57:57,880 --> 00:58:01,000
Speaker 1: this is the way it should be done. And the

1001
00:58:01,040 --> 00:58:03,960
Speaker 1: minute you have an opinion like that, you know, but

1002
00:58:04,040 --> 00:58:10,120
Speaker 1: you're in the sandbox, somebody's gonna go stay away from him,

1003
00:58:09,440 --> 00:58:13,240
Speaker 1: you know. And and every great actor I know, probably

1004
00:58:13,280 --> 00:58:16,800
Speaker 1: including Meryl Street, probably somebody is walking around going what

1005
00:58:16,920 --> 00:58:19,720
Speaker 1: a fucking you know. Listen, you come across so many

1006
00:58:19,760 --> 00:58:23,480
Speaker 1: fucking people in show business. You know, there's what is

1007
00:58:23,520 --> 00:58:25,680
Speaker 1: his sixty fifty could be a hundred people on a

1008
00:58:25,760 --> 00:58:29,480
Speaker 1: gigantic movie. Not everybody's gonna like you, And and it's

1009
00:58:29,480 --> 00:58:32,440
Speaker 1: certainly my I mean, some people, some actors are. But

1010
00:58:32,720 --> 00:58:34,560
Speaker 1: you know, if you have a disposition like I just

1011
00:58:34,600 --> 00:58:37,680
Speaker 1: don't think everybody's gonna like you all the fucking time.

1012
00:58:37,840 --> 00:58:39,880
Speaker 1: And if you try to make everybody like you all

1013
00:58:39,920 --> 00:58:42,640
Speaker 1: the time, and you do that, god bless you. But

1014
00:58:42,920 --> 00:58:44,320
Speaker 1: I know a lot of people who do. I know

1015
00:58:44,320 --> 00:58:46,160
Speaker 1: a lot of people who will do anything to not

1016
00:58:46,240 --> 00:58:49,560
Speaker 1: make waves. And I don't particularly respect those people that much.

1017
00:58:49,600 --> 00:58:52,000
Speaker 1: I hear you, I hear you. I really want to know,

1018
00:58:52,080 --> 00:58:55,360
Speaker 1: like what are you really feeling right now? And maybe

1019
00:58:55,360 --> 00:58:57,320
Speaker 1: we can channel listen to some good ship here in

1020
00:58:57,320 --> 00:59:00,680
Speaker 1: the movie, right. Can I pause for a quick yes, Yes,

1021
00:59:00,840 --> 00:59:03,080
Speaker 1: I just want to point out to the listening audience

1022
00:59:03,120 --> 00:59:05,040
Speaker 1: before I forget that you and I are in a

1023
00:59:05,080 --> 00:59:08,600
Speaker 1: movie together which has not opened yet. Leev Shriver, I

1024
00:59:08,600 --> 00:59:10,560
Speaker 1: don't know if you've seen it. You haven't seen it yet.

1025
00:59:10,560 --> 00:59:13,120
Speaker 1: The Bleeder. I've seen it. It's a story. It's a

1026
00:59:13,280 --> 00:59:15,960
Speaker 1: it's a boxing movie of Chuck Webner, about Chuck Webner.

1027
00:59:16,800 --> 00:59:20,440
Speaker 1: And although you and I have no scenes together, none,

1028
00:59:20,760 --> 00:59:22,960
Speaker 1: and you did your scenes on a completely day, a

1029
00:59:23,000 --> 00:59:25,560
Speaker 1: day where I was not nowhere near the premises and

1030
00:59:25,680 --> 00:59:29,840
Speaker 1: vice versa. I did see the movie. Yes, is it heard?

1031
00:59:29,840 --> 00:59:32,880
Speaker 1: It's really good. I like the movie a lot. I'm

1032
00:59:32,880 --> 00:59:35,000
Speaker 1: a big fan of Leev. I think he's a really

1033
00:59:35,080 --> 00:59:38,840
Speaker 1: talented silverback jew silverback young Silverback jew on the Rise.

1034
00:59:39,080 --> 00:59:42,600
Speaker 1: Naomi is fantastic in the movie. Um, and I will

1035
00:59:42,640 --> 00:59:46,720
Speaker 1: think of the other girl. Um. It's a great cast.

1036
00:59:46,840 --> 00:59:49,200
Speaker 1: Chuck Webner, if you don't know, is like he's like

1037
00:59:49,240 --> 00:59:52,360
Speaker 1: the real Rocky and and and you know he accused

1038
00:59:52,640 --> 00:59:55,440
Speaker 1: and a lot of the movie is about the ramifications

1039
00:59:55,480 --> 00:59:57,840
Speaker 1: of him. Sort of going crazy from the movie Rocket.

1040
00:59:57,840 --> 01:00:00,240
Speaker 1: It's not the life and times of Chuck Webner. It's

1041
01:00:00,320 --> 01:00:02,440
Speaker 1: he fought Muhammad Ali. And it's one of the things,

1042
01:00:02,520 --> 01:00:04,400
Speaker 1: one of the things. It's not the total reason, because

1043
01:00:04,400 --> 01:00:06,880
Speaker 1: I'm not going to discredit stillan, it's one of the reasons,

1044
01:00:07,080 --> 01:00:11,040
Speaker 1: one of the ideas that spawned Rocky and and and

1045
01:00:11,080 --> 01:00:13,880
Speaker 1: after he saw and after he saw that, him seeing

1046
01:00:13,880 --> 01:00:17,400
Speaker 1: that movie sort of made him crazy, made him go nuts.

1047
01:00:17,600 --> 01:00:20,240
Speaker 1: And that's that's very much part of the storytelling, and

1048
01:00:20,760 --> 01:00:22,760
Speaker 1: which is a cool way. It's not a biopic. It's

1049
01:00:22,760 --> 01:00:24,440
Speaker 1: not like, Oh, I got my first pair of gloves.

1050
01:00:24,840 --> 01:00:27,320
Speaker 1: But it's a good movie. It's coming out soon, and

1051
01:00:27,440 --> 01:00:29,240
Speaker 1: it's the first time I get to share the screen

1052
01:00:29,320 --> 01:00:34,040
Speaker 1: with Michael Rappaport and you play Chuck's brother, and you

1053
01:00:34,080 --> 01:00:36,800
Speaker 1: have not seen the movie, and I'm telling you you're wonderful.

1054
01:00:37,880 --> 01:00:40,880
Speaker 1: I mean, really really. You have a couple of scenes,

1055
01:00:41,680 --> 01:00:45,240
Speaker 1: the second of which will just I'm tearing up thinking

1056
01:00:45,240 --> 01:00:49,240
Speaker 1: about it. It was very moving, very moving because the

1057
01:00:49,280 --> 01:00:56,240
Speaker 1: relationship between these two brothers is really abrasive, and like

1058
01:00:56,320 --> 01:00:59,680
Speaker 1: most abrasive relations they are that way because of how

1059
01:00:59,760 --> 01:01:04,280
Speaker 1: deep the feelings go. Um and that's beautifully played by

1060
01:01:04,320 --> 01:01:06,800
Speaker 1: you and Leev. In fact, he doesn't even say anything

1061
01:01:06,840 --> 01:01:09,360
Speaker 1: in the in the second scene, it's all you and

1062
01:01:09,440 --> 01:01:11,560
Speaker 1: it's great. Oh cool. I'm looking forward to seeing it.

1063
01:01:11,640 --> 01:01:13,200
Speaker 1: I you know, I was. I was like when they

1064
01:01:13,200 --> 01:01:14,960
Speaker 1: asked me about it, because I've known the story, because

1065
01:01:15,320 --> 01:01:18,400
Speaker 1: Rocky was like, that was like my movie. Like I

1066
01:01:18,440 --> 01:01:19,720
Speaker 1: saw that when I was I didn't want to be

1067
01:01:19,760 --> 01:01:21,880
Speaker 1: an actor, but I was just like, that was like

1068
01:01:22,280 --> 01:01:24,920
Speaker 1: I wanted. It just sucked. It changed my whole I

1069
01:01:24,920 --> 01:01:30,880
Speaker 1: mean everybody, of course. The I n Rapports Stereo podcast

1070
01:01:31,000 --> 01:01:35,320
Speaker 1: is sponsored by Casper mattress and obsessively engineered mattress at

1071
01:01:35,360 --> 01:01:38,840
Speaker 1: a shockingly fair price. You could try a cast for

1072
01:01:38,920 --> 01:01:41,280
Speaker 1: mattress for a hundred nights risk free in your home.

1073
01:01:41,360 --> 01:01:43,000
Speaker 1: If you do not love it, they will pick it

1074
01:01:43,080 --> 01:01:47,960
Speaker 1: up and refund you everything. With over twenty thousand reviews

1075
01:01:48,120 --> 01:01:52,080
Speaker 1: online and an average of four point eight stars, Casper

1076
01:01:52,240 --> 01:01:56,640
Speaker 1: is quickly becoming the internet's most popular mattress. They have sheets,

1077
01:01:56,960 --> 01:02:00,440
Speaker 1: they have pillows, they even have doggy beds. Go to

1078
01:02:00,560 --> 01:02:04,880
Speaker 1: casper dot com say fifty dollars towards any mattress purchase

1079
01:02:04,960 --> 01:02:09,960
Speaker 1: by visiting www dot Casper dot com forward slash rapp report.

1080
01:02:10,240 --> 01:02:13,880
Speaker 1: Use the promo called Wrappaport. Try a Casper mattress a

1081
01:02:13,960 --> 01:02:16,520
Speaker 1: hundred nights risk free in your home. If you don't

1082
01:02:16,520 --> 01:02:18,800
Speaker 1: love it, they will pick it up and refund you everything.

1083
01:02:18,960 --> 01:02:23,440
Speaker 1: Go to www dot Casper dot com Forward slash Rappaport.

1084
01:02:28,120 --> 01:02:31,680
Speaker 1: Welcome to Play, a new podcast network featuring radio and

1085
01:02:31,720 --> 01:02:36,360
Speaker 1: TV personalities talking business, sports, tech, entertainment, and more. Play

1086
01:02:36,360 --> 01:02:44,760
Speaker 1: it at Play dot in all right, I'm gonna rattle

1087
01:02:44,800 --> 01:02:50,840
Speaker 1: off questions, hell boy three, is it coming? I don't.

1088
01:02:51,040 --> 01:02:54,080
Speaker 1: I just don't have anything more to add to that

1089
01:02:54,280 --> 01:02:56,480
Speaker 1: about two weeks ago. Do you get asked this all

1090
01:02:56,480 --> 01:02:59,600
Speaker 1: the fun, all the time, all the time, and you know,

1091
01:02:59,680 --> 01:03:03,080
Speaker 1: sometimes I was just dead. Sometimes it's alive. Right now

1092
01:03:03,160 --> 01:03:06,120
Speaker 1: it's um a little bit alive again. But I'm not

1093
01:03:06,160 --> 01:03:09,240
Speaker 1: gonna say very much alive again. Because Gammo tweeted something

1094
01:03:09,320 --> 01:03:15,520
Speaker 1: the other day, UM asking the fans um whether they

1095
01:03:15,520 --> 01:03:18,000
Speaker 1: wanted to see it, and you got this avalanche of

1096
01:03:18,040 --> 01:03:22,760
Speaker 1: a response they said yes yes, So uh it's back

1097
01:03:22,800 --> 01:03:27,840
Speaker 1: on the discussions again. But if you know, I'm not

1098
01:03:27,880 --> 01:03:30,760
Speaker 1: gonna I don't know, what's the longest amount of time

1099
01:03:31,000 --> 01:03:32,880
Speaker 1: that you've ever sat in a makeup chair, Because you've

1100
01:03:32,920 --> 01:03:35,720
Speaker 1: done these fucking films and TV with the makeup and

1101
01:03:35,800 --> 01:03:40,080
Speaker 1: the prosthetics. I don't know how, especially like your disposition,

1102
01:03:40,160 --> 01:03:42,320
Speaker 1: I would be like just getting normally made up for

1103
01:03:42,320 --> 01:03:44,640
Speaker 1: fifteen twenty minutes, I'm like, just get me the funk

1104
01:03:44,640 --> 01:03:46,520
Speaker 1: out of here, like a how are you able to

1105
01:03:46,520 --> 01:03:48,320
Speaker 1: do that? Like you're sitting there for how long? What's

1106
01:03:48,360 --> 01:03:51,760
Speaker 1: the longest process of what was the most arduous show

1107
01:03:51,800 --> 01:03:55,880
Speaker 1: that you did? A film that you did with the makeup? Well? Uh,

1108
01:03:56,320 --> 01:04:01,360
Speaker 1: the longest day was, uh, it's well hours. Well you're

1109
01:04:01,360 --> 01:04:04,880
Speaker 1: sitting down. It took me twelve hours before I was

1110
01:04:04,960 --> 01:04:07,040
Speaker 1: able to It was the first day of Name of

1111
01:04:07,080 --> 01:04:11,720
Speaker 1: the Rose, and the scheduling was really fucked up. They

1112
01:04:11,760 --> 01:04:15,480
Speaker 1: should have they should never have scheduled this particular scene

1113
01:04:15,520 --> 01:04:18,480
Speaker 1: on my first day. But I play a hunchback in

1114
01:04:18,560 --> 01:04:20,720
Speaker 1: the movie. So not only did they have to turn

1115
01:04:20,800 --> 01:04:23,840
Speaker 1: me in my face into like very similar to Charles

1116
01:04:23,960 --> 01:04:28,160
Speaker 1: Lawton in his hunchback movie, but they this in this

1117
01:04:28,200 --> 01:04:33,400
Speaker 1: particular scene, they whipped me shirtless and they had to

1118
01:04:33,440 --> 01:04:37,200
Speaker 1: put the hump on, which is a one time only thing,

1119
01:04:37,920 --> 01:04:39,919
Speaker 1: so you have to see the actual hump on your skin.

1120
01:04:40,040 --> 01:04:42,439
Speaker 1: So they spent eight hours getting my face right because

1121
01:04:42,440 --> 01:04:45,960
Speaker 1: it was they'd never done it before. What takes eight

1122
01:04:45,960 --> 01:04:47,720
Speaker 1: hours the first day ends up being like two and

1123
01:04:47,720 --> 01:04:50,320
Speaker 1: a half three hours once you get the hang of it.

1124
01:04:51,440 --> 01:04:53,720
Speaker 1: And then they had to put this hump on and

1125
01:04:53,720 --> 01:04:57,800
Speaker 1: it had to blend perfectly into my own back because

1126
01:04:57,840 --> 01:05:01,320
Speaker 1: this close ups of me getting whipped, and that took

1127
01:05:01,480 --> 01:05:05,040
Speaker 1: another four and a half hours. So, uh, we only

1128
01:05:05,080 --> 01:05:08,200
Speaker 1: had likes to shoot the scene right and you got

1129
01:05:08,240 --> 01:05:10,600
Speaker 1: all this ship on. Yeah, but that was that was

1130
01:05:10,840 --> 01:05:13,920
Speaker 1: that was a one off. Uh, there were days on

1131
01:05:14,000 --> 01:05:18,280
Speaker 1: Hellboy to one and two where I was shirtless. Those

1132
01:05:18,360 --> 01:05:20,919
Speaker 1: days took around six and a half hours to get

1133
01:05:20,960 --> 01:05:23,840
Speaker 1: made up because it's top to bottom. Because you do that,

1134
01:05:23,960 --> 01:05:26,680
Speaker 1: the face has to be I mean, the way Giammo

1135
01:05:26,760 --> 01:05:28,880
Speaker 1: shooting it, he's got the camera like right, you know,

1136
01:05:28,920 --> 01:05:32,120
Speaker 1: inches away from you, so it can't look like makeup.

1137
01:05:32,600 --> 01:05:37,160
Speaker 1: So just putting the face on the head on is arduous.

1138
01:05:38,160 --> 01:05:42,640
Speaker 1: And then when he had these shirtless scenes, um, it's

1139
01:05:42,680 --> 01:05:45,600
Speaker 1: the same thing. Everything had to blend in perfectly and

1140
01:05:45,600 --> 01:05:48,720
Speaker 1: and uh not look like makeup. Do you do you

1141
01:05:48,760 --> 01:05:52,160
Speaker 1: get because because and he's one of these guys other

1142
01:05:52,160 --> 01:05:54,800
Speaker 1: guys would be c g I they would just shooting me.

1143
01:05:54,920 --> 01:05:57,160
Speaker 1: I'd have a whole bunch of like pins in me,

1144
01:05:57,720 --> 01:06:00,400
Speaker 1: and then they would put the stuff in postport auction,

1145
01:06:00,960 --> 01:06:04,520
Speaker 1: which is cheating and which but Gammo, it all has

1146
01:06:04,560 --> 01:06:06,800
Speaker 1: to be practical, and it all has to be alive,

1147
01:06:06,840 --> 01:06:09,840
Speaker 1: in in in real time and in nature. He's the

1148
01:06:09,840 --> 01:06:12,720
Speaker 1: real deal because he feels as though the minute you

1149
01:06:12,800 --> 01:06:19,000
Speaker 1: do something that's that's completely manufactured, you're kind of putting

1150
01:06:19,000 --> 01:06:22,760
Speaker 1: a wall between the viewer and what they're looking at.

1151
01:06:22,840 --> 01:06:24,840
Speaker 1: I got you, and I agree with that. Do you

1152
01:06:25,480 --> 01:06:30,040
Speaker 1: what kind of what's the craziest hell Boy fan lunatic

1153
01:06:30,120 --> 01:06:32,480
Speaker 1: that you've dealt with? Because when you did that kind

1154
01:06:32,480 --> 01:06:37,520
Speaker 1: of film and that kind of cult nous and and fanaticism,

1155
01:06:37,560 --> 01:06:42,320
Speaker 1: I imagine, what's the craziest like one incident fucking guy

1156
01:06:42,400 --> 01:06:44,520
Speaker 1: where you like, you know, I gotta call it the authorities.

1157
01:06:44,600 --> 01:06:48,200
Speaker 1: I'm sure it's come across specifically from hell Boy, maybe

1158
01:06:48,280 --> 01:06:50,360
Speaker 1: sons of anarchy. I mean, you've done these things that

1159
01:06:50,480 --> 01:06:53,640
Speaker 1: like they're very culty, you know, not that there's like

1160
01:06:53,800 --> 01:06:56,280
Speaker 1: that I'm saying, like they I could see the fan

1161
01:06:56,640 --> 01:06:59,760
Speaker 1: the fans being culty. What's the craziest thing from hell

1162
01:07:00,040 --> 01:07:02,040
Speaker 1: way that you've dealt with? Is it a guy? Is

1163
01:07:02,040 --> 01:07:03,760
Speaker 1: it a girl? Is it a group of little kids

1164
01:07:03,760 --> 01:07:06,280
Speaker 1: showing up at your door? Like, what's the craziest you've

1165
01:07:06,280 --> 01:07:08,080
Speaker 1: dealt with? It? From a fan in regard to that,

1166
01:07:08,360 --> 01:07:11,520
Speaker 1: one of those films that you've done hell Boy, not much,

1167
01:07:11,560 --> 01:07:14,800
Speaker 1: but really Beauty and the Beast, which was the very

1168
01:07:14,840 --> 01:07:19,960
Speaker 1: first time that I did anything that was kind of

1169
01:07:20,000 --> 01:07:24,160
Speaker 1: mainstream because that was on CBS Prime Time. And the

1170
01:07:24,200 --> 01:07:29,760
Speaker 1: Beast became because he was an outcast and because he

1171
01:07:29,880 --> 01:07:32,160
Speaker 1: was prevented from living a normal life because he was

1172
01:07:32,200 --> 01:07:39,040
Speaker 1: a freak. He touched off um a lot of responses

1173
01:07:39,760 --> 01:07:43,920
Speaker 1: by people who had really low self esteem, some some

1174
01:07:44,000 --> 01:07:50,440
Speaker 1: people who had real serious like big time problems, health problems.

1175
01:07:51,320 --> 01:07:54,520
Speaker 1: He became a symbol and they're relating to the character,

1176
01:07:55,240 --> 01:07:59,800
Speaker 1: and they're really relating. And the mail was the mail

1177
01:08:00,000 --> 01:08:02,680
Speaker 1: I started getting, and that it was the first kind

1178
01:08:02,680 --> 01:08:04,760
Speaker 1: of mainstream thing I ever did. So I read every

1179
01:08:04,760 --> 01:08:07,600
Speaker 1: single thing now, I responded to it, I answered it.

1180
01:08:08,840 --> 01:08:12,520
Speaker 1: I had to stop because people were involving me in

1181
01:08:12,520 --> 01:08:15,520
Speaker 1: in these nightmarish scenarios and their own that they were

1182
01:08:15,520 --> 01:08:17,639
Speaker 1: living through in their own lives. And I would get

1183
01:08:17,640 --> 01:08:21,880
Speaker 1: emotionally involved, and I would start caring about these people

1184
01:08:21,920 --> 01:08:26,519
Speaker 1: and and and oh. But then there were a few

1185
01:08:27,200 --> 01:08:31,800
Speaker 1: people who couldn't separate. I don't want to dignify the

1186
01:08:32,160 --> 01:08:38,160
Speaker 1: stalkers by by getting into too much detail. Um suffice

1187
01:08:38,240 --> 01:08:40,200
Speaker 1: to say they were police involved and everything like this.

1188
01:08:40,720 --> 01:08:43,040
Speaker 1: But people would show up at the front door, people

1189
01:08:43,040 --> 01:08:45,000
Speaker 1: would show up in my house. People would show up.

1190
01:08:45,040 --> 01:08:51,960
Speaker 1: Holy sh it, and some people still do. Fuck. I

1191
01:08:51,960 --> 01:08:56,480
Speaker 1: hear you don't take no for an answer, and that's scary,

1192
01:08:57,280 --> 01:08:59,439
Speaker 1: and you're like, I'm just fucking roun remember that, you know,

1193
01:08:59,439 --> 01:09:03,280
Speaker 1: I'm just Ron from Washington Heights, like Sons of Anarchies

1194
01:09:03,320 --> 01:09:05,519
Speaker 1: and like again to me, like I think about all

1195
01:09:05,520 --> 01:09:08,840
Speaker 1: the things you've done, the straightest fucking thing, and then

1196
01:09:08,840 --> 01:09:11,000
Speaker 1: you're like, Sons of Antasy is straight, But in the

1197
01:09:11,120 --> 01:09:13,920
Speaker 1: Ron Perlman career, it's sort of straight. There's no makeup.

1198
01:09:16,200 --> 01:09:19,200
Speaker 1: That's another one that created like this this sturb, this cult.

1199
01:09:19,240 --> 01:09:22,599
Speaker 1: It's that you're dealing with the underbelly. I heard as

1200
01:09:22,640 --> 01:09:27,200
Speaker 1: an actor, I'd hear around town fucking guys would be

1201
01:09:27,240 --> 01:09:30,160
Speaker 1: getting into fights on the set. Craft service people would

1202
01:09:30,200 --> 01:09:32,920
Speaker 1: be fighting other craft service people. You know, people are

1203
01:09:32,920 --> 01:09:35,519
Speaker 1: throwing cameras, like I heard that that set the making

1204
01:09:35,560 --> 01:09:37,400
Speaker 1: of that show. Like I remember one day, I was like,

1205
01:09:37,720 --> 01:09:39,280
Speaker 1: what do you guys? I thought I heard like two

1206
01:09:39,320 --> 01:09:41,439
Speaker 1: people talking about like a fight, like a gang fight,

1207
01:09:41,720 --> 01:09:43,080
Speaker 1: And I was like, what are you guys talking about?

1208
01:09:43,080 --> 01:09:46,720
Speaker 1: Overheard him at lunch sons. I was like, this is

1209
01:09:46,720 --> 01:09:49,680
Speaker 1: on a TV show. Oh yeah, they fight at every day.

1210
01:09:49,720 --> 01:09:52,320
Speaker 1: I was like, actors are fighting each other all the time.

1211
01:09:52,400 --> 01:09:55,960
Speaker 1: Every day actors are fighting, uh each other? Uh, the

1212
01:09:56,800 --> 01:09:59,360
Speaker 1: creators fighting actors. It was like it sounds like it

1213
01:09:59,439 --> 01:10:02,040
Speaker 1: was like a a crazy a crazy house, yet it

1214
01:10:02,080 --> 01:10:04,519
Speaker 1: was the successful thing. What was without going into too

1215
01:10:04,600 --> 01:10:07,320
Speaker 1: much detail of the showing, what was the reality of

1216
01:10:07,400 --> 01:10:10,439
Speaker 1: making that show? What was the kurt center of it all?

1217
01:10:10,600 --> 01:10:13,280
Speaker 1: And where people actually fighting each other on this sound

1218
01:10:13,320 --> 01:10:17,519
Speaker 1: like it sounds like a fucking nuthhouse? Oh wow? Where

1219
01:10:17,520 --> 01:10:21,920
Speaker 1: do I begin? Where do I end? Um? It was

1220
01:10:22,000 --> 01:10:25,960
Speaker 1: never quite as you described, but there was a basis

1221
01:10:26,840 --> 01:10:31,080
Speaker 1: for why it. You know, it turned into like this

1222
01:10:31,080 --> 01:10:34,320
Speaker 1: this fish story. You catch a fish that's six inches

1223
01:10:34,360 --> 01:10:36,280
Speaker 1: and by the time you tell the story, it's four

1224
01:10:36,320 --> 01:10:38,800
Speaker 1: and a half feet. You've heard this before about this set, right,

1225
01:10:39,120 --> 01:10:41,960
Speaker 1: heard it? I lived it bro I mean, there were

1226
01:10:42,000 --> 01:10:48,200
Speaker 1: fisticuffs on occasion, there was a lot of testosterone. Um,

1227
01:10:48,360 --> 01:10:52,400
Speaker 1: there was a good deal of tension a lot of

1228
01:10:52,400 --> 01:10:55,439
Speaker 1: the time, a lot of it coming from the top,

1229
01:10:56,840 --> 01:11:04,000
Speaker 1: and without going into a great do of of detail, uh,

1230
01:11:04,080 --> 01:11:07,960
Speaker 1: for legal reasons and and for a lot of other

1231
01:11:08,000 --> 01:11:12,040
Speaker 1: reasons where you know, I I'll get back to this

1232
01:11:12,080 --> 01:11:16,759
Speaker 1: in a second. But the story I told you about

1233
01:11:16,920 --> 01:11:22,280
Speaker 1: collaboration being my favorite thing in why this means to

1234
01:11:22,320 --> 01:11:26,160
Speaker 1: me what it does, that didn't exist on that show

1235
01:11:27,960 --> 01:11:32,400
Speaker 1: and for a guy like me, and not just me,

1236
01:11:32,479 --> 01:11:35,240
Speaker 1: but there were a whole bunch of other veteran actors

1237
01:11:35,360 --> 01:11:40,479
Speaker 1: like me who we're used to a certain degree of um. Well,

1238
01:11:40,520 --> 01:11:43,240
Speaker 1: now we're acting this, this is this is our ours

1239
01:11:43,280 --> 01:11:46,280
Speaker 1: now the character to bring to life. There comes a

1240
01:11:46,280 --> 01:11:49,960
Speaker 1: certain point where you know, you you gotta let me

1241
01:11:50,040 --> 01:11:54,800
Speaker 1: run with it, and maybe not. You know, you know

1242
01:11:55,439 --> 01:11:57,479
Speaker 1: they're paying you. You know you got to live by

1243
01:11:57,520 --> 01:12:01,160
Speaker 1: their rules. But that doesn't make it any easier when

1244
01:12:02,280 --> 01:12:08,679
Speaker 1: you are not supposed to be the guy driving the bus,

1245
01:12:10,200 --> 01:12:14,479
Speaker 1: because relinquishing control is not what we're here to do.

1246
01:12:15,800 --> 01:12:20,000
Speaker 1: And that was an assault on my sensibilities for six years.

1247
01:12:20,840 --> 01:12:23,960
Speaker 1: Here's the here's here, here was here was a tightrope walk.

1248
01:12:25,400 --> 01:12:28,280
Speaker 1: I love the guys that you worked with, the actors.

1249
01:12:28,840 --> 01:12:32,880
Speaker 1: I loved being Claymorrow. I love the fact that every

1250
01:12:33,000 --> 01:12:36,879
Speaker 1: year we were breaking not only the records of The Shield,

1251
01:12:36,880 --> 01:12:38,760
Speaker 1: which was the other show at f X, the only

1252
01:12:38,760 --> 01:12:41,719
Speaker 1: other show at FFX that got any attention, we started

1253
01:12:41,720 --> 01:12:44,040
Speaker 1: shattering their records, and then year, year after year we

1254
01:12:44,040 --> 01:12:46,639
Speaker 1: shattered our own record to the point where we were

1255
01:12:46,680 --> 01:12:49,800
Speaker 1: like a juggernaut. I love that. I love being part

1256
01:12:49,800 --> 01:12:52,519
Speaker 1: of that. None of those things were things I could

1257
01:12:52,600 --> 01:12:59,920
Speaker 1: walk away from easily. Um, the adulation, the success, the mainstreaming,

1258
01:13:01,120 --> 01:13:03,160
Speaker 1: you know, element of it, because most of my career

1259
01:13:03,200 --> 01:13:06,519
Speaker 1: has always been kind of fringe e an art house.

1260
01:13:06,600 --> 01:13:11,080
Speaker 1: He Um. This was like straight fast, fastball, straight down

1261
01:13:11,120 --> 01:13:16,559
Speaker 1: the middle. Um. And it was so those things that

1262
01:13:16,600 --> 01:13:21,120
Speaker 1: were niggling at me were I would go to myself,

1263
01:13:21,760 --> 01:13:24,920
Speaker 1: shut the funk up, man, stop belly ache, and look

1264
01:13:24,960 --> 01:13:27,880
Speaker 1: what you have, all the great ship you have. But

1265
01:13:28,600 --> 01:13:33,920
Speaker 1: suffice as to say, uh, it created an environment that

1266
01:13:34,120 --> 01:13:42,280
Speaker 1: was somewhat toxic. And if you heard stories about fisticuffs,

1267
01:13:43,240 --> 01:13:47,880
Speaker 1: which were probably multiplied tenfold from what actually happened, I mean,

1268
01:13:47,880 --> 01:13:50,240
Speaker 1: it wasn't that bad. There was an awful lot of

1269
01:13:50,280 --> 01:13:52,719
Speaker 1: love and hugging and kissing and you know, guys hanging

1270
01:13:52,720 --> 01:13:56,400
Speaker 1: out and drinking and partying and officiating at each other's

1271
01:13:56,680 --> 01:14:02,599
Speaker 1: christenings baptisms and you know, like like real spirit of core.

1272
01:14:04,000 --> 01:14:08,240
Speaker 1: But there was also this this toxicity that we had

1273
01:14:08,280 --> 01:14:10,920
Speaker 1: to maneuver our way through, to navigate our way through,

1274
01:14:11,800 --> 01:14:17,200
Speaker 1: and um, it taught me a great deal about what

1275
01:14:17,240 --> 01:14:20,400
Speaker 1: I will tolerate and what I won't and and and

1276
01:14:20,439 --> 01:14:22,920
Speaker 1: what I will do for my family and for paying

1277
01:14:22,960 --> 01:14:26,880
Speaker 1: the rent and ship man. You know, yeah, I mean

1278
01:14:27,040 --> 01:14:29,880
Speaker 1: it brought me right to my limit of what I

1279
01:14:31,240 --> 01:14:33,439
Speaker 1: what I could tolerate. Is it is it was, it

1280
01:14:33,520 --> 01:14:36,120
Speaker 1: was it just like being told what to do or

1281
01:14:36,200 --> 01:14:37,920
Speaker 1: the way it was being told what to do, or

1282
01:14:37,960 --> 01:14:39,920
Speaker 1: all of it, of all of the above, like because

1283
01:14:40,080 --> 01:14:42,920
Speaker 1: that sounds like that's that's fucked up, because it's like

1284
01:14:43,120 --> 01:14:44,960
Speaker 1: the show is so adored and so loved and it

1285
01:14:45,040 --> 01:14:48,120
Speaker 1: there's this success and then you're like, you know and

1286
01:14:48,160 --> 01:14:52,760
Speaker 1: a goddamn you know, emotional war sometimes physical war over

1287
01:14:52,800 --> 01:14:54,559
Speaker 1: a TV show and then like you look at like

1288
01:14:54,960 --> 01:14:56,960
Speaker 1: you know what real life is and you know real

1289
01:14:56,960 --> 01:14:59,320
Speaker 1: health is and real health issues and you know, real

1290
01:14:59,320 --> 01:15:02,719
Speaker 1: world problem. I'm sure it's like a conflicting thing because

1291
01:15:02,720 --> 01:15:05,639
Speaker 1: you're like, because I mean, who might have ever fucking

1292
01:15:05,880 --> 01:15:09,800
Speaker 1: complained about anything or even or even give the slightest

1293
01:15:10,040 --> 01:15:14,839
Speaker 1: inclination that anything that I'm doing is a problem compared

1294
01:15:14,920 --> 01:15:18,080
Speaker 1: to like look around and you just look at you know,

1295
01:15:19,200 --> 01:15:24,439
Speaker 1: the realities of so many of our brethren. And sistern

1296
01:15:24,680 --> 01:15:28,840
Speaker 1: is the word cistern you're asking me because you're throwing

1297
01:15:28,880 --> 01:15:31,519
Speaker 1: some fucking good words in me, Rhyn. But anyways, you

1298
01:15:31,560 --> 01:15:35,080
Speaker 1: know that's the other thing. You just I just never

1299
01:15:35,120 --> 01:15:39,080
Speaker 1: want to give the impression that this was anything other

1300
01:15:39,120 --> 01:15:41,680
Speaker 1: than the greatest blessing that was ever bestowed on me.

1301
01:15:42,320 --> 01:15:44,880
Speaker 1: But even so, life is not black and white. I mean,

1302
01:15:45,000 --> 01:15:48,599
Speaker 1: you know life, life has you know, there's there's twenty

1303
01:15:48,640 --> 01:15:50,160
Speaker 1: four hours in the day and you've got to get

1304
01:15:50,200 --> 01:15:52,880
Speaker 1: through them. I mean, you know, look at Sinatra, man,

1305
01:15:54,120 --> 01:15:56,000
Speaker 1: you know, whatever gets me through the night will You're

1306
01:15:56,040 --> 01:15:58,240
Speaker 1: you're you're sitting on top of the fucking world and

1307
01:15:58,320 --> 01:16:01,160
Speaker 1: you have a wanting two next to you and you

1308
01:16:01,200 --> 01:16:02,720
Speaker 1: don't know whether you're gonna when are you gonna put

1309
01:16:02,760 --> 01:16:05,759
Speaker 1: you put it in your mouth because this ava Gardner stuff.

1310
01:16:06,640 --> 01:16:09,360
Speaker 1: So it's not. It's not black and white. You could

1311
01:16:09,360 --> 01:16:10,800
Speaker 1: be there. You could be in the in the in

1312
01:16:10,880 --> 01:16:17,320
Speaker 1: the greatest like most privileged place and still um having

1313
01:16:17,360 --> 01:16:22,400
Speaker 1: to navigate through it in areas that you're you're not

1314
01:16:22,479 --> 01:16:25,760
Speaker 1: you weren't kind of trained for. I wasn't trained to

1315
01:16:25,800 --> 01:16:30,040
Speaker 1: be political, I wasn't trained to to to be popular.

1316
01:16:30,200 --> 01:16:32,800
Speaker 1: You know, these are things you have to learn how

1317
01:16:32,840 --> 01:16:36,360
Speaker 1: to do in order to Like, Um, this is really

1318
01:16:36,400 --> 01:16:41,840
Speaker 1: gonna sound fucked up, but failing in show business is

1319
01:16:41,880 --> 01:16:46,360
Speaker 1: easy compared to succeeding, because the minute you are a success,

1320
01:16:47,800 --> 01:16:53,040
Speaker 1: your problems get so complex. First of all, you now

1321
01:16:53,160 --> 01:16:58,240
Speaker 1: have something to lose, which the way you got the

1322
01:16:58,320 --> 01:17:01,760
Speaker 1: success was by how having nothing to lose. So you

1323
01:17:01,840 --> 01:17:05,439
Speaker 1: have this spirit of adventure, you have the spirit of fearlessness. Year,

1324
01:17:05,760 --> 01:17:08,160
Speaker 1: I got nothing to lose, man, I'm really gonna like,

1325
01:17:08,479 --> 01:17:12,080
Speaker 1: I'm gonna a yellow everybody, right, And then you get

1326
01:17:12,080 --> 01:17:14,519
Speaker 1: there and you suddenly have a bank account that you're

1327
01:17:14,520 --> 01:17:16,559
Speaker 1: trying at, a nest egg that you're trying to protect,

1328
01:17:17,000 --> 01:17:19,200
Speaker 1: and all of a sudden, your choices start getting more

1329
01:17:19,200 --> 01:17:23,800
Speaker 1: and more safe, and your behavior starts getting more and

1330
01:17:23,840 --> 01:17:30,680
Speaker 1: more like noncommittal, and you're picking friends differently and you're

1331
01:17:30,280 --> 01:17:33,400
Speaker 1: you know, you may have a different dynamic with family members.

1332
01:17:33,680 --> 01:17:36,719
Speaker 1: This is all things that come with People will start

1333
01:17:36,760 --> 01:17:39,519
Speaker 1: looking at you differently, which makes you have to look

1334
01:17:39,520 --> 01:17:43,360
Speaker 1: at the world differently. All this stuff comes with success.

1335
01:17:43,560 --> 01:17:47,400
Speaker 1: It's very, very hard thing to navigate. And you've seen

1336
01:17:47,479 --> 01:17:50,839
Speaker 1: story after story after story after story in every field

1337
01:17:50,840 --> 01:17:55,680
Speaker 1: in the world with the success of people fucking it up.

1338
01:17:56,160 --> 01:17:58,559
Speaker 1: And I'm one of these guys. It's constantly been on

1339
01:17:58,640 --> 01:18:00,840
Speaker 1: the verge of fucking up everything. I have a built

1340
01:18:00,840 --> 01:18:05,200
Speaker 1: for myself. I'm bomb thrower, I'm a bridge burner, you know.

1341
01:18:05,479 --> 01:18:10,240
Speaker 1: I mean, you know, I'm an angry Jew. And it's

1342
01:18:10,280 --> 01:18:13,400
Speaker 1: a miracle. It's a miracle that I'm sitting here with

1343
01:18:13,439 --> 01:18:15,800
Speaker 1: you and somebody still wants to hear what the funk

1344
01:18:15,880 --> 01:18:18,880
Speaker 1: I think right now. I totally understand what you're saying.

1345
01:18:18,960 --> 01:18:22,360
Speaker 1: I totally understand what you're saying. That's what I'm asking

1346
01:18:22,400 --> 01:18:24,880
Speaker 1: you because you know, I see what you're doing, and

1347
01:18:24,920 --> 01:18:28,160
Speaker 1: I see your career and your temperament, and you know,

1348
01:18:28,280 --> 01:18:30,120
Speaker 1: just so that people know, like me and Ron met,

1349
01:18:30,840 --> 01:18:33,000
Speaker 1: which the first time we met was that a golf

1350
01:18:33,400 --> 01:18:35,760
Speaker 1: charity thing and we just hit it up. I had

1351
01:18:35,840 --> 01:18:37,320
Speaker 1: never I was just a fan of yours. We were

1352
01:18:37,360 --> 01:18:40,000
Speaker 1: at this charity. I don't even play golf, run. I

1353
01:18:40,000 --> 01:18:43,240
Speaker 1: don't know. Listen, you had clubs, you had an outfit.

1354
01:18:43,360 --> 01:18:45,080
Speaker 1: I don't know, like I mean, I don't know if

1355
01:18:45,080 --> 01:18:48,000
Speaker 1: that was like you. Yeah, I mean I was, like,

1356
01:18:48,200 --> 01:18:49,760
Speaker 1: you know, I was hitting balls of wrong. I know

1357
01:18:49,800 --> 01:18:51,720
Speaker 1: what the funk was going on with here. But but

1358
01:18:51,960 --> 01:18:54,320
Speaker 1: you know, I've always felt this kinship to you and

1359
01:18:54,320 --> 01:18:57,360
Speaker 1: and and admiration because you're a little bit older than me.

1360
01:18:57,640 --> 01:18:59,720
Speaker 1: And it isn't so great because I'm such a fan

1361
01:18:59,760 --> 01:19:01,840
Speaker 1: of yours and have been you know, from Afar and

1362
01:19:02,000 --> 01:19:03,800
Speaker 1: who knew? I mean, who knew that? You know that

1363
01:19:04,080 --> 01:19:08,840
Speaker 1: you know it's great when uh yeah, who who? Risk?

1364
01:19:08,960 --> 01:19:11,440
Speaker 1: Because I want to get into politics and Ron Perlman,

1365
01:19:12,760 --> 01:19:14,960
Speaker 1: just quick, you can rattle them off. Who have been

1366
01:19:15,000 --> 01:19:18,559
Speaker 1: actors over your your your career that you've been in

1367
01:19:18,600 --> 01:19:21,240
Speaker 1: front of that you were like, whoa, this person is

1368
01:19:21,280 --> 01:19:24,160
Speaker 1: fucking good. Like if you're playing like basketball, like obviously,

1369
01:19:24,240 --> 01:19:26,800
Speaker 1: like you know NBA people a lot of people talk

1370
01:19:26,800 --> 01:19:28,559
Speaker 1: about when they were on the court with Jordan's for

1371
01:19:28,600 --> 01:19:30,320
Speaker 1: the first time, and it might not even be the

1372
01:19:30,320 --> 01:19:32,559
Speaker 1: famous ones. It could be the guy unless you know,

1373
01:19:32,640 --> 01:19:34,680
Speaker 1: but like over you Like, there's been a handful of

1374
01:19:34,720 --> 01:19:36,519
Speaker 1: times where I've been in front of actors where I'm like,

1375
01:19:37,040 --> 01:19:41,960
Speaker 1: oh shit, you know, like where you're seeing their skill level. Yeah, no,

1376
01:19:42,160 --> 01:19:44,479
Speaker 1: I I when I when I give it up to somebody,

1377
01:19:44,720 --> 01:19:49,880
Speaker 1: I become a ball of quivering jello. I mean, you know, Um,

1378
01:19:49,920 --> 01:19:53,240
Speaker 1: I don't. I won't go into the Brandos stories because

1379
01:19:53,280 --> 01:19:56,080
Speaker 1: they're all in the book. I'm recommending if you're listening

1380
01:19:56,120 --> 01:19:58,200
Speaker 1: to the podcast and you haven't read my book yet,

1381
01:19:58,800 --> 01:20:00,840
Speaker 1: we don't have time to get into the Brando stairs

1382
01:20:00,840 --> 01:20:04,559
Speaker 1: because they're they're really long. I can't. Yeah, but I

1383
01:20:04,600 --> 01:20:07,840
Speaker 1: became a massive quivering flesh in front of him, I'm sure.

1384
01:20:08,040 --> 01:20:09,720
Speaker 1: And what was the film you worked with him? On

1385
01:20:10,120 --> 01:20:14,559
Speaker 1: the Island of Dr Moreau and you talk about a nuthouse.

1386
01:20:14,600 --> 01:20:16,920
Speaker 1: Apparently that set was a fucking real nuthouse, So I

1387
01:20:16,960 --> 01:20:21,400
Speaker 1: guess any Brando, Yeah set was the nuthouse. But yeah,

1388
01:20:21,400 --> 01:20:23,920
Speaker 1: I was in the presence of Sinatra. I've been in

1389
01:20:23,960 --> 01:20:29,160
Speaker 1: the presence of Mickey Mantle, and um, these are guys that,

1390
01:20:29,520 --> 01:20:33,599
Speaker 1: um I stopped being me. I just start being like

1391
01:20:33,760 --> 01:20:39,000
Speaker 1: a loser, like I'm not worthy, and it turns out

1392
01:20:39,360 --> 01:20:43,439
Speaker 1: I come. I come to find out afterwards that Brando

1393
01:20:43,560 --> 01:20:45,840
Speaker 1: had seen my movies and really thought I was cool

1394
01:20:45,960 --> 01:20:47,439
Speaker 1: until he met me, and he goes, what the fund

1395
01:20:47,600 --> 01:20:49,760
Speaker 1: is wrong with this dude. He's like, he's like a

1396
01:20:49,840 --> 01:20:55,200
Speaker 1: mess same you know, Sinatra. I could have spent time

1397
01:20:55,200 --> 01:20:57,680
Speaker 1: with him if I wasn't such a fucking you know,

1398
01:20:57,960 --> 01:21:01,920
Speaker 1: like you're Frank, I'm like, I'm nobody. I hear you,

1399
01:21:01,960 --> 01:21:04,439
Speaker 1: though I I keep the same sort of distance. I'm like,

1400
01:21:05,160 --> 01:21:07,760
Speaker 1: I'd rather just keep it as like some people, I'm

1401
01:21:07,800 --> 01:21:10,080
Speaker 1: just like, you know, I've had you know, ball players

1402
01:21:10,160 --> 01:21:12,200
Speaker 1: or actors. I'm just like, I'd rather just I don't

1403
01:21:12,240 --> 01:21:14,479
Speaker 1: want to get to know you. I love you too much.

1404
01:21:14,800 --> 01:21:16,799
Speaker 1: I don't even like I just want to watch the painting.

1405
01:21:16,840 --> 01:21:19,080
Speaker 1: I don't want to be inside the fucking painting, you

1406
01:21:19,160 --> 01:21:21,280
Speaker 1: know what I mean? Like you and that's what some

1407
01:21:21,320 --> 01:21:23,040
Speaker 1: people are cool with, sort of like being like, hey,

1408
01:21:23,080 --> 01:21:26,400
Speaker 1: I'm hanging out here. Here's Kobe, he's over here for waffles.

1409
01:21:26,400 --> 01:21:28,160
Speaker 1: I'm like, I watch him. I want to go see

1410
01:21:28,240 --> 01:21:30,040
Speaker 1: him on the court, and that's it, or you know

1411
01:21:30,080 --> 01:21:32,719
Speaker 1: what I'm saying. You know, every once in a while

1412
01:21:33,000 --> 01:21:36,960
Speaker 1: you have that fanboy thing and then the guy turns

1413
01:21:36,960 --> 01:21:41,240
Speaker 1: out to be to bend over backwards to to make

1414
01:21:41,360 --> 01:21:46,439
Speaker 1: you his equal, and and then the switch goes off

1415
01:21:46,560 --> 01:21:48,920
Speaker 1: and and you you start hanging out like like you

1416
01:21:48,960 --> 01:21:50,840
Speaker 1: and me are hanging out now where you know, there's

1417
01:21:50,960 --> 01:21:56,000
Speaker 1: none of there's no right Sean Connery. When I walked

1418
01:21:56,040 --> 01:21:58,040
Speaker 1: on the set with him for the first few days,

1419
01:21:58,800 --> 01:22:03,400
Speaker 1: I was stammering right, but he was so nice to me,

1420
01:22:04,160 --> 01:22:06,479
Speaker 1: and he took me aside and he said, I seet

1421
01:22:06,479 --> 01:22:09,160
Speaker 1: what you're doing here with this this thing. I really

1422
01:22:09,160 --> 01:22:11,599
Speaker 1: want to let's rehearse because I have some great idea.

1423
01:22:11,960 --> 01:22:17,360
Speaker 1: And he kind of came down to me and said, um,

1424
01:22:17,360 --> 01:22:19,280
Speaker 1: this is We're going to do this differently now that

1425
01:22:19,320 --> 01:22:22,240
Speaker 1: I see what you're doing. And we ended up he

1426
01:22:22,320 --> 01:22:25,559
Speaker 1: ended up being so easy to be around because he

1427
01:22:25,720 --> 01:22:29,760
Speaker 1: was so um on my level. He went out of

1428
01:22:29,800 --> 01:22:32,360
Speaker 1: his way that by the end of it we were like,

1429
01:22:32,720 --> 01:22:35,439
Speaker 1: you know, we were I felt like, Okay, we could

1430
01:22:35,479 --> 01:22:39,720
Speaker 1: be buds. I wish I wish I could have achieved

1431
01:22:39,760 --> 01:22:44,200
Speaker 1: that with Marlon because I found out years later, you know,

1432
01:22:44,439 --> 01:22:46,760
Speaker 1: Marlon would have loved to have hung out with you,

1433
01:22:47,360 --> 01:22:49,880
Speaker 1: but I just couldn't. I couldn't go there. It's too

1434
01:22:49,880 --> 01:22:53,160
Speaker 1: far to imagine though, like like, like you know, going

1435
01:22:53,240 --> 01:22:55,519
Speaker 1: up to his hotel room. I'm on location in the

1436
01:22:55,560 --> 01:22:59,920
Speaker 1: Far North, Queensland, Australia and on my hotel, my hotel

1437
01:23:00,040 --> 01:23:02,559
Speaker 1: him the six six, and he's a ninety two. Go

1438
01:23:02,640 --> 01:23:04,720
Speaker 1: up and hang out with Marlin for three hours and

1439
01:23:04,760 --> 01:23:07,200
Speaker 1: swap stories like you and me are doing. Now. Can

1440
01:23:07,240 --> 01:23:11,720
Speaker 1: you imagine? That's insane? With fucking Marlin missed out on it.

1441
01:23:11,960 --> 01:23:13,560
Speaker 1: I mean, you know, I got to hang out with

1442
01:23:13,600 --> 01:23:15,240
Speaker 1: him on set and I got to observe the ship

1443
01:23:15,320 --> 01:23:19,479
Speaker 1: out of him. But this kind of ship, right would

1444
01:23:19,479 --> 01:23:22,840
Speaker 1: have been nice with Marlon Brandon would have been nice.

1445
01:23:24,600 --> 01:23:27,639
Speaker 1: You're all soft, dess. Iron Rapports Stereo Podcast T shirts

1446
01:23:27,640 --> 01:23:30,360
Speaker 1: are available at district lines dot com, Forward Slash, iron

1447
01:23:30,360 --> 01:23:33,920
Speaker 1: Wrap Report. We got the five star Stereo podcast t

1448
01:23:34,400 --> 01:23:37,360
Speaker 1: the Iron Wrap Reports Stereo Podcast, zip up and pull

1449
01:23:37,400 --> 01:23:40,960
Speaker 1: over hoodies, the full Iverson T shirt, the Stickman T

1450
01:23:41,120 --> 01:23:44,080
Speaker 1: shirt collection, the I Don't Fact Check the Hard Body

1451
01:23:44,160 --> 01:23:46,719
Speaker 1: Karate T shirt for men and women. Go to district

1452
01:23:46,720 --> 01:23:50,439
Speaker 1: Lines dot com, Forward Slash I Am rapp Report. If

1453
01:23:50,479 --> 01:23:54,240
Speaker 1: you're into YouTube, subscribe to our page for exclusive content

1454
01:23:54,520 --> 01:23:57,439
Speaker 1: that we're gonna be rolling out. Go to www dot

1455
01:23:57,479 --> 01:24:00,400
Speaker 1: YouTube dot com Forward Slash Wrappaport. We got our own

1456
01:24:00,439 --> 01:24:03,639
Speaker 1: page on YouTube. People. All right, if you're into YouTube,

1457
01:24:03,680 --> 01:24:07,760
Speaker 1: subscribe to our page again www dot YouTube dot com

1458
01:24:07,840 --> 01:24:15,679
Speaker 1: Forward Slash. I am Rappaport. Welcome to play a new

1459
01:24:15,760 --> 01:24:21,320
Speaker 1: podcast network featuring radio and TV personalities, talking business, sports, tech, entertainment,

1460
01:24:21,360 --> 01:24:30,080
Speaker 1: and more. Play it at play dot It all right,

1461
01:24:30,520 --> 01:24:34,840
Speaker 1: Ron politics, I never thought that me personal. I just

1462
01:24:34,880 --> 01:24:39,840
Speaker 1: say for myself that I would be so invested emotionally, um,

1463
01:24:39,840 --> 01:24:44,280
Speaker 1: curious about politics. I want to hear all your takes

1464
01:24:44,479 --> 01:24:46,960
Speaker 1: because you're on social media. You like, I talk a

1465
01:24:46,960 --> 01:24:51,040
Speaker 1: lot of ship, you say, like wild ship, and you're

1466
01:24:51,200 --> 01:24:54,800
Speaker 1: very politically uh, you know, thoughtful and and and you

1467
01:24:54,840 --> 01:24:57,720
Speaker 1: know there's there's obviously a lot of stuff going on.

1468
01:24:58,000 --> 01:25:02,360
Speaker 1: My first question in regard it's the politics is does

1469
01:25:02,400 --> 01:25:05,439
Speaker 1: it frustrate you that because because you know, people think

1470
01:25:05,479 --> 01:25:08,040
Speaker 1: like if you're an actor, you're you're a quote unquote celebrity,

1471
01:25:08,160 --> 01:25:10,800
Speaker 1: Like we're living on some special actor planet and like

1472
01:25:10,880 --> 01:25:14,479
Speaker 1: you Hollywood foks, like it's reigning outside. You know, my

1473
01:25:14,600 --> 01:25:17,680
Speaker 1: breath stinks. You know, I take ships. I take pisces through.

1474
01:25:17,760 --> 01:25:20,320
Speaker 1: You know, it's like we're regular guys, Ron from Washington Heights,

1475
01:25:20,479 --> 01:25:22,840
Speaker 1: how do you feel about the people like actors should

1476
01:25:22,840 --> 01:25:25,080
Speaker 1: shut the funk up? You don't know anything. You don't

1477
01:25:25,080 --> 01:25:26,920
Speaker 1: know what the real life, the real world is life.

1478
01:25:26,920 --> 01:25:29,720
Speaker 1: You don't know what real world problems are. Um, you're

1479
01:25:29,800 --> 01:25:32,559
Speaker 1: these liberal fox you don't know what you're talking about.

1480
01:25:32,800 --> 01:25:34,960
Speaker 1: And and because you're so outspoken, I'm sure that some

1481
01:25:35,000 --> 01:25:37,120
Speaker 1: of the you know, blowback you get from you know,

1482
01:25:37,240 --> 01:25:39,960
Speaker 1: Joe Schmo, who's very entitled. And I'm like, well, what,

1483
01:25:40,120 --> 01:25:43,559
Speaker 1: Joe Schmo? Respect you? But what why is your opinion

1484
01:25:43,600 --> 01:25:45,760
Speaker 1: more value than than mine? I have kids, I have

1485
01:25:45,800 --> 01:25:48,200
Speaker 1: a family, I have worries, you know, like, how do

1486
01:25:48,240 --> 01:25:50,280
Speaker 1: you feel about that first part of it? And and

1487
01:25:50,320 --> 01:25:52,559
Speaker 1: then just like where are you at politically? And have

1488
01:25:52,640 --> 01:25:56,920
Speaker 1: you always been this sort of politically charged and politically conscious?

1489
01:25:57,320 --> 01:26:00,360
Speaker 1: That's like a seven part question. Yeah, the Actus nation.

1490
01:26:00,960 --> 01:26:03,320
Speaker 1: You're an actor, keep your mouth shut. You're here to entertain.

1491
01:26:03,840 --> 01:26:07,760
Speaker 1: Nobody cares about your opinion. That has evolved with me.

1492
01:26:08,160 --> 01:26:09,920
Speaker 1: It used to bother me a little bit when people

1493
01:26:09,920 --> 01:26:12,400
Speaker 1: would say that I would actually shut up for a minute.

1494
01:26:13,320 --> 01:26:16,479
Speaker 1: In this new age where which is which is the

1495
01:26:16,520 --> 01:26:21,120
Speaker 1: most polarized I've ever seen especially and it's being exacerbated

1496
01:26:21,120 --> 01:26:25,920
Speaker 1: by Twitter, by the fact that anybody has has a

1497
01:26:25,960 --> 01:26:29,080
Speaker 1: platform now, like the biggest fucking loser in the world

1498
01:26:29,200 --> 01:26:32,120
Speaker 1: suddenly has a platform. You know they have three followers,

1499
01:26:32,160 --> 01:26:37,400
Speaker 1: but you know they still can get on there, and um,

1500
01:26:37,439 --> 01:26:46,160
Speaker 1: since the recent happenstances, politically, yes, I have removed the

1501
01:26:46,280 --> 01:26:49,400
Speaker 1: chains I have. It's you know, the gloves are off,

1502
01:26:50,160 --> 01:26:52,400
Speaker 1: it's all all bets are off. Now you have the

1503
01:26:52,560 --> 01:26:57,000
Speaker 1: fucking balls to say, what right does an actor have

1504
01:26:57,200 --> 01:26:59,400
Speaker 1: to have an opinion? And you just put a fucking

1505
01:27:00,160 --> 01:27:04,960
Speaker 1: game show fucking clown in the White House who couldn't

1506
01:27:05,000 --> 01:27:07,200
Speaker 1: fucking act his way out of a paper bag. He's

1507
01:27:07,240 --> 01:27:10,840
Speaker 1: he's a loser, right as a fucking entertainer. He's a

1508
01:27:10,920 --> 01:27:15,519
Speaker 1: one dimensional fucking loser. And you have the balls to say,

1509
01:27:15,560 --> 01:27:21,160
Speaker 1: to me, a classically trained actor, classically trained actor where

1510
01:27:21,680 --> 01:27:23,760
Speaker 1: may or may not be classically trained at this point,

1511
01:27:23,800 --> 01:27:26,760
Speaker 1: we might have pulled the funk from pussy to badass

1512
01:27:27,120 --> 01:27:29,639
Speaker 1: in front of your eyes, exactly. You have the balls

1513
01:27:29,680 --> 01:27:32,000
Speaker 1: to say that, So I shut those guys down, like,

1514
01:27:32,680 --> 01:27:35,840
Speaker 1: and what's your normal shutdown for that? You're an actor?

1515
01:27:35,880 --> 01:27:39,960
Speaker 1: Shut the funk up, Just up, hell boy, put your

1516
01:27:39,960 --> 01:27:42,040
Speaker 1: hell boy fucking face on. You don't know what you're

1517
01:27:42,040 --> 01:27:44,800
Speaker 1: talking about. I have fun with it. Every everybody gets

1518
01:27:44,840 --> 01:27:48,240
Speaker 1: a completely unique different response depending on like how they

1519
01:27:48,320 --> 01:27:51,040
Speaker 1: worded it. I'll hit him back with And then there's

1520
01:27:51,080 --> 01:27:54,559
Speaker 1: occasionally you'll see somebody who writes who kind of like

1521
01:27:54,680 --> 01:27:58,479
Speaker 1: tugs at your heartstrings, like they're so maybe you're on

1522
01:27:58,520 --> 01:28:01,559
Speaker 1: the spectrum, maybe maybe you know, maybe there's something wrong

1523
01:28:01,600 --> 01:28:03,200
Speaker 1: with you, And I'll try to be nice with them

1524
01:28:03,240 --> 01:28:06,960
Speaker 1: and go, hey, um, you know, I'm just you know,

1525
01:28:07,520 --> 01:28:09,559
Speaker 1: I'll try to be gentle with them. Do you find you?

1526
01:28:09,600 --> 01:28:12,559
Speaker 1: But but fools, I will not suffer right now? Do

1527
01:28:12,640 --> 01:28:17,600
Speaker 1: you you go off? Especially now where my wife hates it.

1528
01:28:17,920 --> 01:28:21,519
Speaker 1: But you know I I am of the school that

1529
01:28:21,840 --> 01:28:26,240
Speaker 1: we have just stumbled into a a very very dark,

1530
01:28:27,560 --> 01:28:31,840
Speaker 1: very dangerous scenario here by handing over the reins of

1531
01:28:31,880 --> 01:28:37,840
Speaker 1: power to uh people who are not equipped. Who who

1532
01:28:37,880 --> 01:28:40,280
Speaker 1: out of the bunch scares you the most? Because the

1533
01:28:40,280 --> 01:28:42,679
Speaker 1: guy that makes me the most uncomfortable is this fucking

1534
01:28:42,680 --> 01:28:45,240
Speaker 1: Banning guy. I feel like that guy really has a

1535
01:28:45,240 --> 01:28:48,080
Speaker 1: black heart. No Trump scares me the most because Trump

1536
01:28:49,280 --> 01:28:53,439
Speaker 1: Trump is fine by, you know, hanging out with guys

1537
01:28:53,479 --> 01:28:58,439
Speaker 1: like Bannon like he sought him out and he and

1538
01:28:58,600 --> 01:29:02,000
Speaker 1: company keep and he evaded him. He gave him a

1539
01:29:02,080 --> 01:29:05,240
Speaker 1: position where he can do some real damage to the

1540
01:29:05,280 --> 01:29:09,920
Speaker 1: average American, which is you and me and uh. And

1541
01:29:11,479 --> 01:29:14,080
Speaker 1: the thing about it that that kind of breaks my

1542
01:29:14,120 --> 01:29:17,559
Speaker 1: heart the most is that his supporters, the people who

1543
01:29:18,080 --> 01:29:20,400
Speaker 1: voted for him, that they're the ones that are probably

1544
01:29:20,439 --> 01:29:25,960
Speaker 1: gonna get hurt the most because he ships on a

1545
01:29:26,040 --> 01:29:33,920
Speaker 1: golden fucking toilet. You kidding me? You know the ship

1546
01:29:34,040 --> 01:29:36,439
Speaker 1: that you sold these guys, the snake oil ship that

1547
01:29:36,479 --> 01:29:38,640
Speaker 1: you sold these guys during the election. How you you

1548
01:29:38,640 --> 01:29:42,080
Speaker 1: are their guy. You are there guy on a certain

1549
01:29:42,560 --> 01:29:47,880
Speaker 1: very sick twisted level. But it's not about improving their lives.

1550
01:29:48,800 --> 01:29:51,280
Speaker 1: It's not going to improve their lot. If that's if

1551
01:29:51,280 --> 01:29:55,639
Speaker 1: that's the scenario, people are in for some real eye

1552
01:29:55,680 --> 01:29:58,760
Speaker 1: opening ship. Do you think that The thing for me

1553
01:29:58,840 --> 01:30:01,320
Speaker 1: that I've talked a lot about, the thing that bothers

1554
01:30:01,320 --> 01:30:05,040
Speaker 1: me the most about how he got elected is not

1555
01:30:05,120 --> 01:30:08,800
Speaker 1: saying it but throwing out that sentiment that make America

1556
01:30:08,880 --> 01:30:13,240
Speaker 1: a great again? You know that racial you know, anti

1557
01:30:13,320 --> 01:30:16,400
Speaker 1: this anti that sentiment that he never actually says, but

1558
01:30:16,400 --> 01:30:18,840
Speaker 1: but he's put out there like to make America great again?

1559
01:30:18,880 --> 01:30:23,080
Speaker 1: Like what what what's the again? Uh? The sixties, the forties,

1560
01:30:23,520 --> 01:30:27,280
Speaker 1: third guy in the White House, Right, That's what the

1561
01:30:27,320 --> 01:30:29,920
Speaker 1: again is. And and that's the thing to me that

1562
01:30:29,960 --> 01:30:32,760
Speaker 1: I I think it is the most unforgivable thing as

1563
01:30:32,800 --> 01:30:35,400
Speaker 1: of yet, because there's gonna be more unforgivable things. But

1564
01:30:35,520 --> 01:30:38,320
Speaker 1: playing with that again pre having a black guy in

1565
01:30:38,320 --> 01:30:41,160
Speaker 1: the white House, you know, with the women's ship. And

1566
01:30:41,200 --> 01:30:43,280
Speaker 1: I'm not Mr. The fucking feminist, but I don't give

1567
01:30:43,320 --> 01:30:45,360
Speaker 1: a funk. You know. It's like it's like this guy

1568
01:30:45,439 --> 01:30:48,840
Speaker 1: has made some of the like he's so fucked up

1569
01:30:48,840 --> 01:30:51,679
Speaker 1: and he's playing with morale so bad that like certain

1570
01:30:51,720 --> 01:30:53,519
Speaker 1: people are gonna get better because of him. They're be

1571
01:30:53,600 --> 01:30:55,760
Speaker 1: like I'm you know, I'm a fucking scumbag, but I'm

1572
01:30:55,760 --> 01:30:58,599
Speaker 1: not like this fucking guy, Like I've said some things,

1573
01:30:58,640 --> 01:31:01,040
Speaker 1: but this fucking guys on another the level, you know

1574
01:31:01,080 --> 01:31:03,599
Speaker 1: what I mean, Like he and he's really doing it

1575
01:31:04,000 --> 01:31:06,840
Speaker 1: and he he's in fucking power, you know. So so

1576
01:31:07,040 --> 01:31:11,720
Speaker 1: that that make America great again thing? The again is

1577
01:31:11,720 --> 01:31:14,400
Speaker 1: what bothers me. Well, it's a dog whistle, you know.

1578
01:31:14,479 --> 01:31:17,360
Speaker 1: It's like it's a dog whistle. And the people who

1579
01:31:17,479 --> 01:31:19,719
Speaker 1: that's the best way to say it. And the people

1580
01:31:19,760 --> 01:31:25,120
Speaker 1: who hear the whistle, uh, you know, he's appealing to

1581
01:31:25,160 --> 01:31:29,720
Speaker 1: them on a very, very very primal level. It's very emotional,

1582
01:31:30,160 --> 01:31:34,840
Speaker 1: it's very from the gut, and there's a resentment of

1583
01:31:35,040 --> 01:31:40,160
Speaker 1: so much of what the world is evolving into. Um,

1584
01:31:40,240 --> 01:31:42,599
Speaker 1: having the black guy as the leader of the free

1585
01:31:42,600 --> 01:31:47,880
Speaker 1: world is definitely probably the most offensive thing to a

1586
01:31:47,920 --> 01:31:51,320
Speaker 1: great many people. But then there's all the stuff that

1587
01:31:51,360 --> 01:31:53,800
Speaker 1: goes with that, which is globalization. We now have to

1588
01:31:53,800 --> 01:31:56,519
Speaker 1: worry about fucking trade agreements with fucking China. We have

1589
01:31:56,560 --> 01:31:59,080
Speaker 1: to worry about trade agreements. And so when he comes

1590
01:31:59,080 --> 01:32:02,080
Speaker 1: and says, you know, Mexicans a rapists and this and that,

1591
01:32:02,560 --> 01:32:05,760
Speaker 1: he's dog whistling. Every single thing he says is a

1592
01:32:05,800 --> 01:32:09,479
Speaker 1: dog whistle. Everything he says is a signal to these guys,

1593
01:32:09,560 --> 01:32:12,960
Speaker 1: like the ship you just are looking at. You know,

1594
01:32:13,920 --> 01:32:16,479
Speaker 1: I'm gonna I'm gonna take us back to a time

1595
01:32:16,520 --> 01:32:19,880
Speaker 1: when we used to you know. And then while he's

1596
01:32:19,920 --> 01:32:22,519
Speaker 1: saying that, somebody's getting punched in the back row, and

1597
01:32:22,520 --> 01:32:24,840
Speaker 1: he's saying, back in the day, you would have been

1598
01:32:24,880 --> 01:32:29,000
Speaker 1: fucking carried down on fucking stretcher in the good old days,

1599
01:32:29,600 --> 01:32:35,559
Speaker 1: and those of us who react in the way that

1600
01:32:35,600 --> 01:32:39,840
Speaker 1: you and I react are outraged. But it turns out

1601
01:32:39,840 --> 01:32:43,240
Speaker 1: half the population thinks that's the coolest thing they've heard.

1602
01:32:45,000 --> 01:32:47,880
Speaker 1: And that's that's what we're grappling with right now, is

1603
01:32:47,960 --> 01:32:56,599
Speaker 1: that he managed to tap into something that um has

1604
01:32:56,640 --> 01:33:03,200
Speaker 1: got these ramifications that their very one dimensional on one level.

1605
01:33:03,560 --> 01:33:05,639
Speaker 1: But when you're president of the United States and you're

1606
01:33:05,680 --> 01:33:09,920
Speaker 1: the most powerful, fulk rum point on the planet and

1607
01:33:10,000 --> 01:33:12,920
Speaker 1: every single thing that you do affects every fucking member

1608
01:33:12,960 --> 01:33:18,640
Speaker 1: of the planet Earth, one dimensional ship, don't cut it.

1609
01:33:20,160 --> 01:33:23,840
Speaker 1: And you're seeing how he's legislating and seeing how he's

1610
01:33:23,880 --> 01:33:27,599
Speaker 1: wielding his power, and it's all one dimensional. It's all

1611
01:33:27,680 --> 01:33:29,559
Speaker 1: like like ship that I used to do in the

1612
01:33:29,600 --> 01:33:34,599
Speaker 1: third grade in the schoolyard. It's just fucking uh. I'll

1613
01:33:34,600 --> 01:33:37,840
Speaker 1: tell you how it's gonna go, motherfucker. You're gonna pay

1614
01:33:37,840 --> 01:33:40,559
Speaker 1: for the wall, right, No, no where a sovereign country.

1615
01:33:40,560 --> 01:33:45,280
Speaker 1: We're not. We don't work for you, we're not part

1616
01:33:45,280 --> 01:33:48,240
Speaker 1: of the Trump organizing. There's no I guarantee you, and

1617
01:33:48,280 --> 01:33:51,120
Speaker 1: you can say there's no he. I think Trump knew

1618
01:33:52,479 --> 01:33:56,160
Speaker 1: the details the business of that wall from the beginning.

1619
01:33:56,200 --> 01:33:58,400
Speaker 1: And I think he knows there's never gonna be no

1620
01:33:58,479 --> 01:34:01,560
Speaker 1: fucking wall. I think he knew Mexico would say that.

1621
01:34:01,560 --> 01:34:04,920
Speaker 1: That's like the blatant part of the dog whistle. There's

1622
01:34:04,960 --> 01:34:08,000
Speaker 1: no there's no fucking wall going up. It's not happening.

1623
01:34:08,600 --> 01:34:10,800
Speaker 1: They're not building the fucking wall. They're not paying for

1624
01:34:10,840 --> 01:34:12,760
Speaker 1: the fucking wall, and we're not paying for the wall.

1625
01:34:12,840 --> 01:34:15,120
Speaker 1: There's gonna be no fucking wall. And that's gonna think

1626
01:34:15,160 --> 01:34:16,560
Speaker 1: gonna be one of the things that bites him in

1627
01:34:16,600 --> 01:34:19,679
Speaker 1: the as four years. There's not gonna be a fucking wall.

1628
01:34:19,840 --> 01:34:22,559
Speaker 1: It's not happening. There's no walls going up. Well, when

1629
01:34:22,640 --> 01:34:24,320
Speaker 1: is it going to be built? Who's paying for it?

1630
01:34:24,479 --> 01:34:26,439
Speaker 1: How the fund are you gonna build a wall that big?

1631
01:34:26,960 --> 01:34:30,080
Speaker 1: Where's it go? What's it gonna be called? The Trump Wall?

1632
01:34:30,840 --> 01:34:33,480
Speaker 1: But the thing of it is is that he's stomping

1633
01:34:33,600 --> 01:34:43,520
Speaker 1: on um what truly makes humanity noble and and and

1634
01:34:43,520 --> 01:34:49,200
Speaker 1: and and worth investing in and worth perfecting all of

1635
01:34:49,280 --> 01:34:54,599
Speaker 1: the beautiful, elegant, wonderful things that we learned. We're supposed

1636
01:34:54,600 --> 01:34:56,640
Speaker 1: to be learned in Sunday School. We're supposed to be

1637
01:34:56,720 --> 01:35:00,240
Speaker 1: learning when we kids growing up, our civic responsibility, love

1638
01:35:00,360 --> 01:35:04,400
Speaker 1: thy neighbor or having that that requires having empathy, that

1639
01:35:04,479 --> 01:35:07,000
Speaker 1: requires understanding of what it's like to walk in another

1640
01:35:07,040 --> 01:35:14,439
Speaker 1: guy's shoes, That requires he's stomping on every single thing

1641
01:35:14,880 --> 01:35:22,800
Speaker 1: that that encompasses decency and generosity For this kind of

1642
01:35:22,920 --> 01:35:25,200
Speaker 1: Robert Baron like, let me get as rich as I

1643
01:35:25,520 --> 01:35:27,639
Speaker 1: can and take all my fucking people who only care

1644
01:35:27,680 --> 01:35:32,080
Speaker 1: about money with me and then sacrificing every other part

1645
01:35:32,120 --> 01:35:36,640
Speaker 1: of humanity, And humanity is really really delicate, it's really complex,

1646
01:35:37,360 --> 01:35:40,559
Speaker 1: and it's really it's really something that needs to be

1647
01:35:40,600 --> 01:35:43,120
Speaker 1: dealt with with a great deal of humility, which he's

1648
01:35:43,120 --> 01:35:48,719
Speaker 1: incapable of having any of. He has no remorse about

1649
01:35:48,720 --> 01:35:53,120
Speaker 1: any of the really truly ugly things he says. Really true.

1650
01:35:53,160 --> 01:35:58,559
Speaker 1: I mean, you know, he he's a danger and he's

1651
01:35:58,560 --> 01:36:01,040
Speaker 1: going to get a lot of people killed, right, and

1652
01:36:01,160 --> 01:36:04,880
Speaker 1: it's gonna be very, very sad when when when the

1653
01:36:04,960 --> 01:36:07,639
Speaker 1: chickens come home to roost. I'm not predicting anything. I'm

1654
01:36:07,680 --> 01:36:12,440
Speaker 1: just telling you you cannot expect to behave this way

1655
01:36:12,640 --> 01:36:15,599
Speaker 1: and think there won't be any blowback. You go around

1656
01:36:15,800 --> 01:36:19,120
Speaker 1: kicking everybody you meet in the fucking nuts, you get

1657
01:36:19,120 --> 01:36:22,840
Speaker 1: into a fight with your three best allies and week one,

1658
01:36:23,120 --> 01:36:29,040
Speaker 1: week fucking one Australia Mexico. What the fund is that

1659
01:36:29,200 --> 01:36:34,960
Speaker 1: what everybody loves? Australians. They got kangaroos, man, fucking kangaroos,

1660
01:36:35,680 --> 01:36:40,160
Speaker 1: I mean what, they're adorable. There's allies and would you're

1661
01:36:40,160 --> 01:36:43,599
Speaker 1: starting ship with the fucking with Australia, I mean right?

1662
01:36:44,120 --> 01:36:48,960
Speaker 1: And Australians are tough. They're to this guy Turnbull is

1663
01:36:49,360 --> 01:36:51,519
Speaker 1: listening to the phone. He's actually probably looking at the

1664
01:36:51,520 --> 01:36:56,719
Speaker 1: phone going it's laughing his ass up, saying probably putting

1665
01:36:56,720 --> 01:36:58,519
Speaker 1: it on speaker phone to all the other people in

1666
01:36:58,560 --> 01:37:01,599
Speaker 1: the room, going listen to this fucking retard. Worse, you're

1667
01:37:01,640 --> 01:37:08,720
Speaker 1: starting beef with fucking Australia and Mexico. Like what our

1668
01:37:08,920 --> 01:37:12,360
Speaker 1: next door neighbor. The guy's not paying for the funk

1669
01:37:12,479 --> 01:37:14,320
Speaker 1: we do. What did you think you were gonna do?

1670
01:37:14,439 --> 01:37:16,920
Speaker 1: You thought you were gonna just like you're you're paying

1671
01:37:16,960 --> 01:37:21,840
Speaker 1: for this isn't some fucking real estate business, uh in

1672
01:37:22,120 --> 01:37:24,840
Speaker 1: New York. And like you know, there's some superintendent in

1673
01:37:24,880 --> 01:37:27,360
Speaker 1: one of your I don't know what he thinks and

1674
01:37:27,439 --> 01:37:30,400
Speaker 1: what he thought, you know. Unfortunately, and you know the

1675
01:37:30,680 --> 01:37:34,559
Speaker 1: problem is is that there were just too many of

1676
01:37:34,640 --> 01:37:38,679
Speaker 1: us who who said it can't happen here, who said

1677
01:37:38,720 --> 01:37:41,960
Speaker 1: it's not possible. Every single thing that you could have

1678
01:37:42,040 --> 01:37:45,320
Speaker 1: pointed out about how ill equipped he is for this

1679
01:37:45,360 --> 01:37:49,719
Speaker 1: particular job was pointed out in the in the course

1680
01:37:49,760 --> 01:37:54,200
Speaker 1: of the election and pointed out, I thought, rather articulately,

1681
01:37:54,880 --> 01:37:59,160
Speaker 1: and still and yet we are here. So round problem

1682
01:38:00,080 --> 01:38:03,559
Speaker 1: is the following no, yeah, go ahead? Where did it runs?

1683
01:38:04,240 --> 01:38:08,800
Speaker 1: Go ahead? On election day in November seven, I go

1684
01:38:08,880 --> 01:38:10,920
Speaker 1: out and I play around the golf. I get home

1685
01:38:10,960 --> 01:38:14,479
Speaker 1: around five pm l A time, which is eight pm

1686
01:38:14,600 --> 01:38:16,720
Speaker 1: New York times. How was your round of golf? By

1687
01:38:16,720 --> 01:38:18,160
Speaker 1: the way, it was pretty good. I had a nice

1688
01:38:18,240 --> 01:38:21,120
Speaker 1: day with some people. I love, my buddy Dan Lauria

1689
01:38:21,160 --> 01:38:23,719
Speaker 1: and a couple other guys. I'm shouting out Dan Lourie

1690
01:38:23,760 --> 01:38:25,880
Speaker 1: on your show. He's one of the most You should

1691
01:38:25,880 --> 01:38:29,200
Speaker 1: have him on. He's one of the purest, most beautifully.

1692
01:38:29,200 --> 01:38:32,679
Speaker 1: He's veteran's he was a US Marine during the Vietnam days.

1693
01:38:33,320 --> 01:38:36,080
Speaker 1: He is as pure guy as you're ever going to meet.

1694
01:38:36,120 --> 01:38:37,880
Speaker 1: How was your stroke that day? Though? Do you remember

1695
01:38:37,880 --> 01:38:40,880
Speaker 1: how your stroke was? Usually I usually suck, but every

1696
01:38:40,880 --> 01:38:42,599
Speaker 1: once in a while I'll have a day where I'm where,

1697
01:38:42,600 --> 01:38:44,720
Speaker 1: I'm relaxed, I'm hitting the ball good. I had a

1698
01:38:44,720 --> 01:38:47,880
Speaker 1: good day that day. I get home, I put on MSNBC,

1699
01:38:48,000 --> 01:38:50,960
Speaker 1: which I normally do, and I'm at five o'clock in

1700
01:38:51,000 --> 01:38:54,479
Speaker 1: the afternoon, and then the polls on the East Coast

1701
01:38:54,479 --> 01:38:59,160
Speaker 1: are just starting to close. I start to see patterns

1702
01:38:59,439 --> 01:39:04,639
Speaker 1: that I don't like, and I have the news on

1703
01:39:04,800 --> 01:39:11,120
Speaker 1: for literally six minutes, and I immediately turned the channel

1704
01:39:11,160 --> 01:39:13,240
Speaker 1: to Turn the Classic Movies because I couldn't watch it.

1705
01:39:14,320 --> 01:39:18,519
Speaker 1: I kept the TV on Turn of Classic Movies for

1706
01:39:18,600 --> 01:39:21,240
Speaker 1: the next four hours, but I would check Twitter every

1707
01:39:21,240 --> 01:39:24,559
Speaker 1: once in a while and I would see holy shit,

1708
01:39:26,000 --> 01:39:31,280
Speaker 1: Florida just went to him, Holy shit, Pennsylvania. And I'm

1709
01:39:31,360 --> 01:39:35,240
Speaker 1: checking Twitter, and I'm i'm I'm I'm checking people's reactions

1710
01:39:35,280 --> 01:39:38,599
Speaker 1: to people I follow, but I'm watching Turn of Classic Movies.

1711
01:39:39,080 --> 01:39:42,519
Speaker 1: Around nine l A time, I finally turned back to

1712
01:39:42,560 --> 01:39:48,840
Speaker 1: the news and they're just announcing Ohio and now he

1713
01:39:49,200 --> 01:39:53,759
Speaker 1: needs places like fucking Wisconsin and and and these states

1714
01:39:53,760 --> 01:39:58,599
Speaker 1: he's never gonna get. And I I began at nine

1715
01:39:58,920 --> 01:40:00,680
Speaker 1: at night l A time. This is about two and

1716
01:40:00,680 --> 01:40:02,920
Speaker 1: a half, three hours before they actually called the election.

1717
01:40:03,800 --> 01:40:06,840
Speaker 1: I began to go through the five stages of grief,

1718
01:40:08,160 --> 01:40:11,639
Speaker 1: the last stage of which is acceptance. And I got

1719
01:40:11,640 --> 01:40:16,479
Speaker 1: through the entire five stages, including acceptance, and I'm saying

1720
01:40:16,520 --> 01:40:19,160
Speaker 1: Donald Trump is going to be my president. And then

1721
01:40:19,200 --> 01:40:23,000
Speaker 1: I said, fuck this. I started. I started again, and

1722
01:40:23,040 --> 01:40:26,200
Speaker 1: I went. I started my second cycle of the five

1723
01:40:26,200 --> 01:40:28,880
Speaker 1: stages of grief. I got to anger, which is like

1724
01:40:28,960 --> 01:40:32,320
Speaker 1: the second or third phase. That's a tough one for you, right.

1725
01:40:32,800 --> 01:40:36,160
Speaker 1: I got to anger, and that's when I took the

1726
01:40:36,200 --> 01:40:38,960
Speaker 1: picture of myself a selfie with my hand over my heart,

1727
01:40:39,040 --> 01:40:43,200
Speaker 1: saying I'm using my immense Twitter following to announce my

1728
01:40:43,280 --> 01:40:49,519
Speaker 1: candidacy because I decided at that moment that this was

1729
01:40:49,560 --> 01:40:53,760
Speaker 1: a reality that couldn't just be accepted. This was a

1730
01:40:53,800 --> 01:40:57,840
Speaker 1: reality that needed to be dealt with in a way

1731
01:40:57,880 --> 01:41:03,400
Speaker 1: that you. I could never conceive of placing myself candidacy

1732
01:41:03,520 --> 01:41:05,479
Speaker 1: for presidency in the United States. I don't want to

1733
01:41:05,520 --> 01:41:08,639
Speaker 1: be fucking president, who then, right in the right mind,

1734
01:41:08,640 --> 01:41:12,280
Speaker 1: would want to be. But that's better than sitting here

1735
01:41:12,320 --> 01:41:16,439
Speaker 1: going I have no choice. And to this day, and

1736
01:41:16,760 --> 01:41:19,760
Speaker 1: I vowed to myself and my few people around me

1737
01:41:20,439 --> 01:41:23,360
Speaker 1: that this was kind of half a joke, but that

1738
01:41:23,439 --> 01:41:26,400
Speaker 1: I was never gonna stop running for president until I

1739
01:41:26,439 --> 01:41:29,760
Speaker 1: saw somebody better that was more prepared to like kick

1740
01:41:29,840 --> 01:41:33,320
Speaker 1: some fucking ask than me. And so far nobody has emerged.

1741
01:41:33,600 --> 01:41:36,559
Speaker 1: So what has been the running so so so? So

1742
01:41:36,760 --> 01:41:40,840
Speaker 1: I got no can't plane pledges whatsoever? No pledges yet.

1743
01:41:41,360 --> 01:41:44,040
Speaker 1: Actually bucks for you today, I know, I mean, I'm

1744
01:41:44,120 --> 01:41:47,000
Speaker 1: I'm talking about I need money to put in the meter. Yeah,

1745
01:41:47,160 --> 01:41:49,400
Speaker 1: I got you. I I'll pay for the meter. Okay,

1746
01:41:49,439 --> 01:41:54,040
Speaker 1: I'll pay for the met And I got that. I

1747
01:41:54,120 --> 01:41:56,320
Speaker 1: got that. I got that for a week. Gas for

1748
01:41:56,640 --> 01:41:59,479
Speaker 1: the campaign pledge. That's fantastic. So you heard it here

1749
01:41:59,560 --> 01:42:03,800
Speaker 1: first on the micro Report I am Report podcast. I

1750
01:42:03,840 --> 01:42:07,479
Speaker 1: finally got my first campaign contribution. This is historic moment. Now,

1751
01:42:07,560 --> 01:42:10,360
Speaker 1: what's been the reaction in three three and a half years?

1752
01:42:10,560 --> 01:42:15,200
Speaker 1: Three years? Probably no one's gonna emerge. People are gonna

1753
01:42:15,240 --> 01:42:19,719
Speaker 1: be going, we want Ron, we want Ron, we want Ron.

1754
01:42:20,439 --> 01:42:22,639
Speaker 1: That's gonna be the chant, the first one. If that's

1755
01:42:22,680 --> 01:42:25,639
Speaker 1: the case, then what do we do? You got me

1756
01:42:25,960 --> 01:42:28,439
Speaker 1: and and and would like how far would you take this? Like?

1757
01:42:28,479 --> 01:42:30,360
Speaker 1: If people are like we want you have a you

1758
01:42:30,600 --> 01:42:33,200
Speaker 1: have a million followers on Facebook, you got three d

1759
01:42:33,439 --> 01:42:36,639
Speaker 1: something people. No one's gonna say we don't want Ron.

1760
01:42:37,120 --> 01:42:40,439
Speaker 1: Everybody loves Ron fucking Perlman. What are we gonna do

1761
01:42:40,600 --> 01:42:42,720
Speaker 1: in two years two and a half years if ship

1762
01:42:42,920 --> 01:42:46,559
Speaker 1: isn't like figured out, there's not a viable young or

1763
01:42:46,640 --> 01:42:49,360
Speaker 1: older person that we could all stand behind, and they're like,

1764
01:42:49,439 --> 01:42:54,680
Speaker 1: we want Ron. How you'd go? I would go? I

1765
01:42:54,720 --> 01:42:57,720
Speaker 1: would go? And how would you deal with? Because I

1766
01:42:57,760 --> 01:43:00,920
Speaker 1: look at Trump. One of the things that I have

1767
01:43:01,000 --> 01:43:04,400
Speaker 1: to say that I like about Trump is the New

1768
01:43:04,479 --> 01:43:07,400
Speaker 1: York News and but but, but, but but, just because

1769
01:43:07,439 --> 01:43:09,760
Speaker 1: I relate to it, I've seen he's like a three

1770
01:43:09,760 --> 01:43:13,320
Speaker 1: card Monty guy when Times Square was three card Monty Central.

1771
01:43:13,479 --> 01:43:16,880
Speaker 1: He's a New York then we're all New York ship

1772
01:43:16,920 --> 01:43:18,800
Speaker 1: If you're a New Yorker, you're a New York ship talker.

1773
01:43:18,920 --> 01:43:23,520
Speaker 1: That's the thing that I see in myself about him.

1774
01:43:23,560 --> 01:43:26,439
Speaker 1: He's a New York ship talker. But he's also fucking punk,

1775
01:43:26,640 --> 01:43:29,360
Speaker 1: and he's also a rich New York ship talker. And

1776
01:43:29,479 --> 01:43:33,040
Speaker 1: he's totally his whole life was was silver spoon. He's

1777
01:43:33,240 --> 01:43:35,479
Speaker 1: you know, everything was given to He's a New York

1778
01:43:35,479 --> 01:43:38,679
Speaker 1: ship talker. You're up there debating him and he's talking

1779
01:43:38,680 --> 01:43:41,400
Speaker 1: to Oh what is this actor, like would you would

1780
01:43:41,439 --> 01:43:45,000
Speaker 1: you be able to he cannot? I would have him

1781
01:43:45,040 --> 01:43:49,040
Speaker 1: in five minutes. How I'd have him. I'm smarter than

1782
01:43:49,080 --> 01:43:51,880
Speaker 1: he is, slicker than he is, I'm much more, I'm

1783
01:43:51,920 --> 01:43:54,880
Speaker 1: as fearless as he is, and I'm way smarter than

1784
01:43:54,880 --> 01:43:58,880
Speaker 1: he is. And I would my my New York thing.

1785
01:44:00,040 --> 01:44:02,360
Speaker 1: I discovered this. This was a big moment in in

1786
01:44:02,479 --> 01:44:07,479
Speaker 1: the maturity, the maturing process of of yours. Truly, I'm

1787
01:44:07,560 --> 01:44:10,439
Speaker 1: used to guys, this is New York. New York is

1788
01:44:10,479 --> 01:44:14,559
Speaker 1: a very provocative People will randomly come over to you

1789
01:44:14,640 --> 01:44:19,960
Speaker 1: in New York and start fucking with you, and they

1790
01:44:20,000 --> 01:44:25,000
Speaker 1: have a mechanism by which they know when they own you.

1791
01:44:25,760 --> 01:44:27,600
Speaker 1: And a lot of New Yorkers are just out to

1792
01:44:27,680 --> 01:44:32,280
Speaker 1: like own motherfucker right. And I got owned for years

1793
01:44:32,280 --> 01:44:36,000
Speaker 1: and years in New York by by becoming, you know,

1794
01:44:36,040 --> 01:44:38,720
Speaker 1: a fodder for the you know, like like victims of

1795
01:44:38,760 --> 01:44:41,680
Speaker 1: these of these guys who, hey, that looks like a

1796
01:44:41,720 --> 01:44:44,599
Speaker 1: big fucking fat loose so let's let's funk with him

1797
01:44:44,600 --> 01:44:47,040
Speaker 1: for a minute, and they would you know, I got

1798
01:44:47,080 --> 01:44:52,240
Speaker 1: owned enough so that I one day I said, whatever degree,

1799
01:44:52,920 --> 01:44:56,840
Speaker 1: this motherfucker is gonna come at me with I'm gonna

1800
01:44:56,920 --> 01:44:59,840
Speaker 1: top him by one degree. I'm gonna be one to

1801
01:45:00,040 --> 01:45:04,200
Speaker 1: gree crazier than him. And the minute I started doing that,

1802
01:45:05,160 --> 01:45:11,280
Speaker 1: they would run like cockroaches. I could out fucking Trump

1803
01:45:11,400 --> 01:45:16,639
Speaker 1: Trump and a heartbeat, I would own that. Mother. There's

1804
01:45:17,160 --> 01:45:22,080
Speaker 1: little Ron, little Marco lion Ted. You know, come on,

1805
01:45:22,200 --> 01:45:26,000
Speaker 1: are you're kidding me? I got shipped better, threw better

1806
01:45:26,040 --> 01:45:29,599
Speaker 1: hair than his, right, kidding me? That's what I look at,

1807
01:45:29,640 --> 01:45:31,880
Speaker 1: that fucking main a hair. But I mean, you know,

1808
01:45:31,920 --> 01:45:33,720
Speaker 1: but I know what you mean, because it's like you

1809
01:45:33,760 --> 01:45:35,680
Speaker 1: think about like name calling in like when he was

1810
01:45:35,760 --> 01:45:37,800
Speaker 1: up there shooting on everybody in Hillary, I was like,

1811
01:45:38,240 --> 01:45:40,400
Speaker 1: se is like I wanted to be the mouthpiece for

1812
01:45:41,200 --> 01:45:44,640
Speaker 1: to just shut this. And I'm convinced that that the

1813
01:45:44,720 --> 01:45:53,360
Speaker 1: weakness in Hillary was that that indefinable thing that you know,

1814
01:45:53,479 --> 01:45:58,280
Speaker 1: you can't like put a quantify called pizzas. It's the

1815
01:45:58,320 --> 01:46:00,960
Speaker 1: same thing with actors, right. You know, sometimes you're looking

1816
01:46:00,920 --> 01:46:03,320
Speaker 1: at an act and you go, that's that's a very capable,

1817
01:46:04,200 --> 01:46:07,960
Speaker 1: very fine performance, right, and then you look at somebody

1818
01:46:07,960 --> 01:46:10,200
Speaker 1: who's like, holy shoot, I have no idea what the

1819
01:46:10,240 --> 01:46:12,559
Speaker 1: funk this guy is gonna do that? And you cannot

1820
01:46:12,600 --> 01:46:17,360
Speaker 1: stop looking at right. Hillary just didn't have that right,

1821
01:46:17,800 --> 01:46:19,960
Speaker 1: she said, all the right ship. He has the possess

1822
01:46:20,280 --> 01:46:22,479
Speaker 1: he was a bright, shiny and he's able to talk

1823
01:46:22,520 --> 01:46:25,519
Speaker 1: off the cuff better than So if that's the level

1824
01:46:25,640 --> 01:46:32,040
Speaker 1: upon which you dominated the Democratic candidate, I got you.

1825
01:46:33,200 --> 01:46:35,120
Speaker 1: I got you. You know what I'm saying, talk about

1826
01:46:35,120 --> 01:46:38,240
Speaker 1: policy right, right, you know, let's get past all of

1827
01:46:38,240 --> 01:46:41,680
Speaker 1: the fucking schoolyard ship. I'll own you, right, but you

1828
01:46:41,720 --> 01:46:44,519
Speaker 1: have to. You have to because he he did that

1829
01:46:44,600 --> 01:46:47,320
Speaker 1: to them. He's talking ship. He said this, and and

1830
01:46:47,360 --> 01:46:49,400
Speaker 1: that's the thing that like, you know, he making people

1831
01:46:49,479 --> 01:46:51,160
Speaker 1: laugh and he's like up there and I'm like, this

1832
01:46:51,200 --> 01:46:54,519
Speaker 1: guy is a fucking three card monthy, fucking hustler. He's

1833
01:46:54,560 --> 01:46:57,479
Speaker 1: talking bullshit, Like what the funk are you talking like?

1834
01:46:57,520 --> 01:46:59,920
Speaker 1: He's even now he's like he says something He's like

1835
01:47:00,040 --> 01:47:02,080
Speaker 1: cool back then, I'm not sure when it was, but

1836
01:47:02,200 --> 01:47:05,439
Speaker 1: I'm like, you say the date, motherfucker, like we finish yourself.

1837
01:47:06,000 --> 01:47:08,680
Speaker 1: But I talked ship too. But if you talked that

1838
01:47:08,680 --> 01:47:11,439
Speaker 1: ship in my neighborhood, people who just would have gone,

1839
01:47:11,920 --> 01:47:15,000
Speaker 1: you ain't even funny man, and they would have walked away.

1840
01:47:15,640 --> 01:47:18,719
Speaker 1: You gotta at least be funny. You're gonna talk ship,

1841
01:47:18,720 --> 01:47:21,240
Speaker 1: you gotta like it's gotta be some wit to it.

1842
01:47:21,240 --> 01:47:25,439
Speaker 1: It can't just all be hated like spewing like. So

1843
01:47:26,400 --> 01:47:29,519
Speaker 1: that's the part of it that, Yeah, uh, what else

1844
01:47:29,560 --> 01:47:32,000
Speaker 1: you want to know? You gotta your books out. I

1845
01:47:32,000 --> 01:47:35,840
Speaker 1: wrote a book about two years ago, a memoir, and

1846
01:47:35,880 --> 01:47:38,080
Speaker 1: not only was it is it a memoir, but it's

1847
01:47:38,320 --> 01:47:40,720
Speaker 1: um a little bit of a manifesto. There's a lot

1848
01:47:40,760 --> 01:47:43,320
Speaker 1: of anger in it. There's a lot of you know,

1849
01:47:43,720 --> 01:47:47,840
Speaker 1: with the people, motherfucker's with fist clenched. But what it

1850
01:47:48,000 --> 01:47:52,439
Speaker 1: mostly is is, um, it's a letter to my children,

1851
01:47:52,840 --> 01:47:56,559
Speaker 1: who are artists, and it's a letter. So what I

1852
01:47:56,600 --> 01:48:02,800
Speaker 1: do is like chronicle, you know, my life, my trajectory,

1853
01:48:02,960 --> 01:48:05,760
Speaker 1: the things that influenced me and gave me my aesthetic.

1854
01:48:06,680 --> 01:48:13,080
Speaker 1: And I'm talking about being alive for some of Humphrey Bogart,

1855
01:48:13,760 --> 01:48:17,840
Speaker 1: a lot of Jimmy Cagney, some of Gary Cooper, all

1856
01:48:17,920 --> 01:48:22,240
Speaker 1: of Frank Sinatra, all of Bob Dylan. You know I'm

1857
01:48:22,280 --> 01:48:24,639
Speaker 1: talking about I when I walked through all of all

1858
01:48:24,640 --> 01:48:26,960
Speaker 1: of this, dude up here, there's an amazing you guys

1859
01:48:27,000 --> 01:48:29,719
Speaker 1: can't see this, but there's an amazing photograph of Ali

1860
01:48:29,760 --> 01:48:33,280
Speaker 1: and Angelo Dundee on Michael's wall here. And I know

1861
01:48:33,600 --> 01:48:37,160
Speaker 1: I followed you on Twitter and Instagram when when we

1862
01:48:37,240 --> 01:48:43,720
Speaker 1: lost Mohammed last year, nobody was more prolific at capturing

1863
01:48:43,800 --> 01:48:46,240
Speaker 1: what we had lost in you. I mean you you

1864
01:48:46,240 --> 01:48:49,559
Speaker 1: you I read I re posted your ship all the

1865
01:48:49,560 --> 01:48:52,040
Speaker 1: time because you said what I was hoping I could

1866
01:48:52,040 --> 01:48:56,200
Speaker 1: say about that guy. I don't know what I was

1867
01:48:56,240 --> 01:48:58,960
Speaker 1: just talking. You were talking about the book. What's in

1868
01:48:59,000 --> 01:49:01,960
Speaker 1: the book? Yeah? But I mean, uh, not only did

1869
01:49:01,960 --> 01:49:04,559
Speaker 1: I have all these heroes, but I lived in a

1870
01:49:04,600 --> 01:49:07,839
Speaker 1: world that was governed differently than it is now because

1871
01:49:08,040 --> 01:49:12,479
Speaker 1: all of the studios and all of the networks when

1872
01:49:12,520 --> 01:49:16,080
Speaker 1: I was a kid coming up, we're owned by individuals.

1873
01:49:18,960 --> 01:49:21,200
Speaker 1: There's nothing that's owned by an individual Now it's all

1874
01:49:21,200 --> 01:49:27,479
Speaker 1: corporately owned. So so making a movie at Paramount, you're

1875
01:49:27,520 --> 01:49:30,799
Speaker 1: like line four hundred and thirty eight on a corporate

1876
01:49:30,840 --> 01:49:37,080
Speaker 1: Ledger sheet. Making a movie for uh Adolph Zukor at Paramount,

1877
01:49:38,000 --> 01:49:41,040
Speaker 1: there was no Ledger sheet. Was one thing. Make movies.

1878
01:49:42,680 --> 01:49:44,679
Speaker 1: That's what we do. We do it because we love movies.

1879
01:49:45,160 --> 01:49:47,559
Speaker 1: We do it because we we want to We want

1880
01:49:47,600 --> 01:49:51,080
Speaker 1: to change the world. One movie viewer at the time.

1881
01:49:52,080 --> 01:49:57,519
Speaker 1: So the difference between my influences and what led to

1882
01:49:57,600 --> 01:50:01,520
Speaker 1: me having my value system as an act to were

1883
01:50:01,560 --> 01:50:05,599
Speaker 1: different than my kids coming into the world. Their influences are.

1884
01:50:05,800 --> 01:50:10,280
Speaker 1: They have no heroes, no heroes whatsoever. There's nobody bigger

1885
01:50:10,280 --> 01:50:14,080
Speaker 1: than life. There's no Sinatras, there's no Muhammad alive, you know,

1886
01:50:14,520 --> 01:50:20,200
Speaker 1: I mean, thank God for like you know, Connor McGregor um.

1887
01:50:20,280 --> 01:50:23,240
Speaker 1: And they have this Internet, and they're stealing music. They're

1888
01:50:23,240 --> 01:50:26,120
Speaker 1: not paying for anything. There's no there They're they're they're

1889
01:50:26,120 --> 01:50:28,640
Speaker 1: stealing the New York Times. They're not even paying for that,

1890
01:50:29,560 --> 01:50:32,160
Speaker 1: and you know, and and they're looking down in their

1891
01:50:32,160 --> 01:50:33,800
Speaker 1: phones all the time. They don't want to look up

1892
01:50:33,800 --> 01:50:37,120
Speaker 1: and see a blue fucking sky. So I'm trying to

1893
01:50:37,120 --> 01:50:40,320
Speaker 1: write a letter to them as to like, here's what

1894
01:50:40,400 --> 01:50:43,720
Speaker 1: I saw, and here's what how how it made me

1895
01:50:43,760 --> 01:50:47,160
Speaker 1: think about things, and here's what a privilege it is

1896
01:50:47,200 --> 01:50:50,479
Speaker 1: to fucking stand on the shoulders. And I listed I

1897
01:50:50,560 --> 01:50:55,760
Speaker 1: had like four pages, single space of the names of

1898
01:50:55,800 --> 01:50:58,559
Speaker 1: the motherfucker's that were walking the earth that led to

1899
01:50:58,640 --> 01:51:02,800
Speaker 1: my aesthetic. And I said, if you don't think you're

1900
01:51:02,840 --> 01:51:04,880
Speaker 1: standing on the shoulders of greatness. If you think you're

1901
01:51:04,880 --> 01:51:07,360
Speaker 1: inventing anything for the first time and you think you

1902
01:51:07,360 --> 01:51:10,559
Speaker 1: can swagger over that ship, fuck you, suck my dick.

1903
01:51:12,160 --> 01:51:15,719
Speaker 1: You are part of something great here and never forget it.

1904
01:51:16,080 --> 01:51:18,360
Speaker 1: And that's why when I come across a motherfucker who

1905
01:51:18,400 --> 01:51:20,200
Speaker 1: doesn't know how to collaborate and it doesn't know how

1906
01:51:20,240 --> 01:51:23,479
Speaker 1: to respect other artists, already, I'm ready to kill that

1907
01:51:23,560 --> 01:51:28,000
Speaker 1: mother right, That's all I'll say. On there, where's the book?

1908
01:51:28,760 --> 01:51:31,160
Speaker 1: I should have brought your copy? But where can people

1909
01:51:31,200 --> 01:51:33,200
Speaker 1: find a book? Because I need to need the brand

1910
01:51:33,640 --> 01:51:36,720
Speaker 1: to If you go to my um my pages, uh,

1911
01:51:37,520 --> 01:51:39,800
Speaker 1: it's the link to where you can get it on

1912
01:51:39,840 --> 01:51:42,200
Speaker 1: Amazon is right on there. What's the title of it?

1913
01:51:42,439 --> 01:51:48,160
Speaker 1: Easy Street The hard Way Hand of God. Second seasons

1914
01:51:48,200 --> 01:51:52,200
Speaker 1: coming March, which is your show on Amazon. You keep

1915
01:51:52,240 --> 01:51:56,240
Speaker 1: fucking going, Yeah, you're you're you're getting better with age,

1916
01:51:56,640 --> 01:51:59,240
Speaker 1: You're getting better opportunities with age, although you've had a

1917
01:51:59,280 --> 01:52:02,120
Speaker 1: fucking run for the last thirty years that I truly admire.

1918
01:52:02,479 --> 01:52:04,800
Speaker 1: You're one of a kind. Ron I I'm sincere when

1919
01:52:04,800 --> 01:52:07,599
Speaker 1: I say this, what you've done as an actor and

1920
01:52:07,600 --> 01:52:09,759
Speaker 1: and and the space that you've carved out for yourself

1921
01:52:10,000 --> 01:52:14,719
Speaker 1: is unduplicatable. I'm gonna illow you right now, you big

1922
01:52:15,000 --> 01:52:19,840
Speaker 1: fucking silver back ju you son of anarchy. I got

1923
01:52:20,000 --> 01:52:23,679
Speaker 1: fucking hell boy in here with me right now, breaking

1924
01:52:23,800 --> 01:52:27,200
Speaker 1: my fucking balls. You never come across Danny Hello in

1925
01:52:27,240 --> 01:52:29,799
Speaker 1: your years. I played baseball in the in the Broadway

1926
01:52:29,880 --> 01:52:32,479
Speaker 1: Show League against Danny They used to call him over

1927
01:52:32,520 --> 01:52:34,479
Speaker 1: the trees Danny because he hit the ball so far.

1928
01:52:34,640 --> 01:52:38,040
Speaker 1: He could hit. Oh, he was a power was that

1929
01:52:38,360 --> 01:52:40,960
Speaker 1: could I fucking hit? I hit the fucking ball out

1930
01:52:41,000 --> 01:52:44,559
Speaker 1: of Central Park? Rapp Reports says, give me, that's fucking ron.

1931
01:52:44,640 --> 01:52:48,160
Speaker 1: If I could fucking hit, I swatted that fucking thing

1932
01:52:48,560 --> 01:52:52,960
Speaker 1: that fifth fucking Avenue. You Cox suckers. You. And by

1933
01:52:52,960 --> 01:52:55,200
Speaker 1: the way, Danny A Hello, the third who was a

1934
01:52:55,200 --> 01:52:58,800
Speaker 1: stuntman who passed away died. He died young. He was

1935
01:52:58,840 --> 01:53:01,640
Speaker 1: always my double whenever I worked in New York, and

1936
01:53:01,680 --> 01:53:03,240
Speaker 1: he was a great double for me. We were the

1937
01:53:03,320 --> 01:53:06,400
Speaker 1: same exact size, we had the same coloring. He was

1938
01:53:06,439 --> 01:53:09,400
Speaker 1: a beautiful fucking guy. So when you finally, when you

1939
01:53:09,439 --> 01:53:11,519
Speaker 1: get next to Danny again, tell him I miss his

1940
01:53:11,560 --> 01:53:14,040
Speaker 1: son so bad. I absolutely well, I'm just such a

1941
01:53:14,040 --> 01:53:15,960
Speaker 1: fan of his and the yellowing just came out of

1942
01:53:16,040 --> 01:53:18,280
Speaker 1: because you know, like to. The best thing though, is

1943
01:53:18,320 --> 01:53:21,240
Speaker 1: when you ill O and asked him to yellow back

1944
01:53:21,760 --> 01:53:23,280
Speaker 1: and he can't do it right, He's just like, oh,

1945
01:53:23,320 --> 01:53:25,360
Speaker 1: I don't like I get him. I get him going

1946
01:53:25,640 --> 01:53:28,400
Speaker 1: because he's he's such a he's such a New York guy,

1947
01:53:28,439 --> 01:53:30,360
Speaker 1: all right. And also, I'm gonna give you a soft

1948
01:53:30,400 --> 01:53:33,559
Speaker 1: ass make podcast great T shirt again, and you're the

1949
01:53:33,600 --> 01:53:36,840
Speaker 1: first person to bestow because because Ron is a golfer.

1950
01:53:37,120 --> 01:53:40,360
Speaker 1: I say that with serious air quotes. He's a golfer,

1951
01:53:40,520 --> 01:53:44,280
Speaker 1: but I got I got the the stickman iron wrapped

1952
01:53:44,360 --> 01:53:48,519
Speaker 1: port golf shirt, the polo pull over in hell Boy

1953
01:53:48,640 --> 01:53:53,040
Speaker 1: Red for you. And I would never ever ever cop

1954
01:53:53,120 --> 01:53:55,599
Speaker 1: to being a stickman, but to be in the presence

1955
01:53:55,600 --> 01:53:58,160
Speaker 1: of one is an honor. Ron. This is the Iron

1956
01:53:58,240 --> 01:54:01,320
Speaker 1: Rapports Stereo podcast. We're done. It's gonna said that