1 00:00:02,690 --> 00:00:04,190 Speaker 1: Hey, hey, hey, watch, watch. 2 00:00:04,230 --> 00:00:07,270 Speaker 2: Hey, hey, hey, watch, watch. Hey, hey, hey, watch, watch. 3 00:00:07,410 --> 00:00:13,129 Speaker 1: 4 00:00:13,210 --> 00:00:18,490 Speaker 1: . 5 00:00:32,170 --> 00:00:33,470 Speaker 2: You're watching Podlandia. 6 00:00:33,930 --> 00:00:34,729 Speaker 3: Hi, this is Keri. 7 00:00:34,870 --> 00:00:35,310 Speaker 1: I'm Fred. 8 00:00:35,610 --> 00:00:37,350 Speaker 3: And this is AAO Rewatch. 9 00:00:37,370 --> 00:00:43,190 Speaker 2: A Portlandia Rewatch podcast. And today we've got Jonathan Kreisel 10 00:00:43,210 --> 00:00:46,690 Speaker 2: with us, co-creator, director. Hello. 11 00:00:47,890 --> 00:00:48,710 Speaker 3: Thanks for coming back. 12 00:00:48,729 --> 00:00:49,210 Speaker 1: Thank you. 13 00:00:49,530 --> 00:00:52,530 Speaker 2: And we're going from the end of season one, kind 14 00:00:52,550 --> 00:00:56,020 Speaker 2: of like when we were figuring out what the show is. 15 00:00:56,030 --> 00:00:59,780 Speaker 2: And I feel like we really were like immediately, we 16 00:01:00,880 --> 00:01:03,500 Speaker 2: had like, A focus. Yeah. 17 00:01:03,580 --> 00:01:06,679 Speaker 4: Wait, let's zoom out slightly. Let's talk about like our 18 00:01:06,720 --> 00:01:09,660 Speaker 4: experiences after season one. Because this is the first time 19 00:01:10,300 --> 00:01:14,500 Speaker 4: like it kind of like it took off a little bit, right? 20 00:01:14,520 --> 00:01:17,440 Speaker 4: Like we were very, I remember being very surprised at 21 00:01:17,780 --> 00:01:20,770 Speaker 4: the response and reception of the show. Like what was 22 00:01:20,780 --> 00:01:24,470 Speaker 4: your guys' experience of like the season, the first season airing, 23 00:01:24,770 --> 00:01:27,850 Speaker 4: the press and just like feedback from friends or like 24 00:01:27,890 --> 00:01:29,010 Speaker 4: what do you guys remember from that time? 25 00:01:29,030 --> 00:01:34,270 Speaker 2: I remember it. being immediate in that my cast members 26 00:01:34,530 --> 00:01:38,180 Speaker 2: of SNL were talking to me about it. And the 27 00:01:38,600 --> 00:01:42,780 Speaker 2: details that they knew about the show signified to me 28 00:01:42,880 --> 00:01:44,320 Speaker 2: that it was more than they were just saying, oh, 29 00:01:44,360 --> 00:01:47,140 Speaker 2: nice job on your show. They were into it and 30 00:01:47,160 --> 00:01:50,340 Speaker 2: they really knew it. And that's when I knew that 31 00:01:50,380 --> 00:01:51,940 Speaker 2: it was more than just. 32 00:01:52,540 --> 00:01:53,480 Speaker 3: Like a lark that you were. 33 00:01:53,800 --> 00:01:57,520 Speaker 2: Yeah. It was something, the feeling, it was like a 34 00:01:57,580 --> 00:02:00,610 Speaker 2: substantial feeling. And then, and a million other things. And 35 00:02:00,630 --> 00:02:04,160 Speaker 2: also like, I think even press wise, like just like 36 00:02:04,200 --> 00:02:04,640 Speaker 2: a lot. 37 00:02:05,760 --> 00:02:08,700 Speaker 1: I remember at the time, the New York times was 38 00:02:08,740 --> 00:02:11,180 Speaker 1: writing a lot of articles about Portland as this sort 39 00:02:11,220 --> 00:02:15,330 Speaker 1: of case study and like what was to come or something. 40 00:02:15,350 --> 00:02:18,290 Speaker 1: And I thought, not that that's related to the reviews 41 00:02:18,330 --> 00:02:20,630 Speaker 1: of the show, but Portland was like just this thing 42 00:02:20,669 --> 00:02:23,550 Speaker 1: that people were talking about. And I think we, so 43 00:02:23,930 --> 00:02:26,730 Speaker 1: it became part of that dialogue. I remember being somewhere 44 00:02:26,750 --> 00:02:28,740 Speaker 1: and people were talking about the show in front of 45 00:02:28,750 --> 00:02:31,020 Speaker 1: me and I'm like, Oh my God, I'm watching this. 46 00:02:32,130 --> 00:02:35,830 Speaker 1: this like organic moment of people talking about it. And 47 00:02:35,870 --> 00:02:38,110 Speaker 1: then I don't even know if I interjected, but it 48 00:02:38,590 --> 00:02:40,690 Speaker 1: was just cool. Then, you know, okay, something is kind 49 00:02:40,720 --> 00:02:41,600 Speaker 1: of in the zeitgeist. 50 00:02:42,220 --> 00:02:42,460 Speaker 4: Yeah. 51 00:02:42,480 --> 00:02:43,740 Speaker 1: I'm seeing the conversation. 52 00:02:43,980 --> 00:02:47,440 Speaker 4: And certain phrases, especially from season one, like cacao or 53 00:02:47,480 --> 00:02:49,460 Speaker 4: put a bird on it. And speaking of New York 54 00:02:49,500 --> 00:02:53,250 Speaker 4: times articles, there started to be this sentence structure of 55 00:02:53,310 --> 00:02:55,549 Speaker 4: put a blank on it. It started to appear as 56 00:02:56,410 --> 00:02:59,830 Speaker 4: like article titles. And that was so strange and surreal. Yeah. 57 00:03:00,110 --> 00:03:01,889 Speaker 1: And I remember when we started season two, I think 58 00:03:01,910 --> 00:03:04,370 Speaker 1: it was season two, we were near that brewery and 59 00:03:04,389 --> 00:03:07,030 Speaker 1: they had a chicken salad and it said like, put 60 00:03:07,070 --> 00:03:09,120 Speaker 1: a bird on it salad or something. We saw it 61 00:03:09,160 --> 00:03:13,000 Speaker 1: on a menu. And I was like, okay, you're right. 62 00:03:13,080 --> 00:03:15,860 Speaker 1: That phrase was everywhere. 63 00:03:16,860 --> 00:03:20,020 Speaker 2: And Kerry, what was it like for you? This is 64 00:03:20,080 --> 00:03:23,780 Speaker 2: kind of like your move from musician to musician comedian. 65 00:03:25,030 --> 00:03:27,709 Speaker 4: I mean, it was very surreal because, you know, Slater 66 00:03:27,750 --> 00:03:32,269 Speaker 4: Kinney was a critically acclaimed band and certainly a band 67 00:03:32,290 --> 00:03:36,110 Speaker 4: that some people knew or, you know, many people, but 68 00:03:36,150 --> 00:03:38,480 Speaker 4: not in like a mainstream way. You know, there was 69 00:03:38,680 --> 00:03:41,880 Speaker 4: kind of just like a ceiling to that. And I 70 00:03:41,940 --> 00:03:45,220 Speaker 4: always could tell if I was in a room, who 71 00:03:45,240 --> 00:03:47,560 Speaker 4: would know me? Like, okay, this person has a certain 72 00:03:47,580 --> 00:03:50,200 Speaker 4: haircut or a tattoo or, you know, is wearing certain 73 00:03:50,300 --> 00:03:50,980 Speaker 4: shoes or something. 74 00:03:51,000 --> 00:03:54,190 Speaker 3: I'm like, they're going to know Slater Kinney. But when you... 75 00:03:54,690 --> 00:03:56,650 Speaker 3: the weirdest thing for me was that change. 76 00:03:56,670 --> 00:04:01,090 Speaker 4: Like just exponentially, like TV is just, you are just 77 00:04:01,360 --> 00:04:04,720 Speaker 4: in people's living rooms or on their device. And there 78 00:04:04,820 --> 00:04:07,040 Speaker 4: is just that sense that they know you in a 79 00:04:07,080 --> 00:04:12,340 Speaker 4: different way. And that was very first unnerving and also exciting, 80 00:04:12,440 --> 00:04:15,529 Speaker 4: but very odd. Like it was just, it just went 81 00:04:15,570 --> 00:04:18,090 Speaker 4: from being able to pinpoint who I might have a 82 00:04:18,110 --> 00:04:22,159 Speaker 4: connection with to just feeling like anyone at any point, might. 83 00:04:22,080 --> 00:04:22,510 Speaker 3: Come up to me. 84 00:04:22,520 --> 00:04:24,620 Speaker 4: And at first I would just be like, Hey, like, Oh, 85 00:04:24,920 --> 00:04:27,190 Speaker 4: we must know each other from something. And then I realized, Oh, 86 00:04:27,220 --> 00:04:29,580 Speaker 4: they just know me from TV. And that was a 87 00:04:30,120 --> 00:04:30,740 Speaker 4: massive shift. 88 00:04:31,339 --> 00:04:35,400 Speaker 2: Let's leave it there. 89 00:04:35,500 --> 00:04:37,010 Speaker 3: And not in a bad way. Sorry. 90 00:04:37,230 --> 00:04:39,710 Speaker 4: You're not in a bad way, but like definitely a 91 00:04:39,910 --> 00:04:42,750 Speaker 4: like life changing and like kind of soon after was 92 00:04:43,110 --> 00:04:46,530 Speaker 4: that New Yorker profile. I think that was either at, 93 00:04:46,570 --> 00:04:49,580 Speaker 4: I would think it was season two, but yeah, I mean, I, 94 00:04:50,440 --> 00:04:52,770 Speaker 4: And I feel like for maybe for all of us, 95 00:04:52,800 --> 00:04:55,679 Speaker 4: I mean, this was certainly like you created this show, 96 00:04:55,800 --> 00:04:59,760 Speaker 4: you know, it's very different than being on someone else's thing, 97 00:04:59,960 --> 00:05:03,550 Speaker 4: you know, like just, it felt like we, we had 98 00:05:03,690 --> 00:05:06,330 Speaker 4: ownership over this, which is I think a very different 99 00:05:06,670 --> 00:05:09,250 Speaker 4: way of being in the world. And I think in 100 00:05:09,290 --> 00:05:12,330 Speaker 4: terms of like our peers, you know, that really changes 101 00:05:12,350 --> 00:05:16,740 Speaker 4: the perception of you. And, you know, like I remember 102 00:05:17,130 --> 00:05:18,880 Speaker 4: really quickly, I don't know if it must've been season 103 00:05:18,900 --> 00:05:21,830 Speaker 4: two or people, I mean, you started, you were like, 104 00:05:22,070 --> 00:05:23,360 Speaker 4: people wanted to make shows with you. 105 00:05:23,380 --> 00:05:24,460 Speaker 1: Oh, yeah, yeah. 106 00:05:24,980 --> 00:05:28,800 Speaker 4: I mean, that just, things definitely started happening in a 107 00:05:28,820 --> 00:05:32,140 Speaker 4: way that I think we didn't expect. Because as we 108 00:05:32,170 --> 00:05:35,110 Speaker 4: talked about, you and I have talked about, we talked 109 00:05:35,130 --> 00:05:37,830 Speaker 4: about last time John was on the show. It felt, 110 00:05:38,230 --> 00:05:41,330 Speaker 4: it's such an insular filming experience. So to have something feel... 111 00:05:42,020 --> 00:05:44,620 Speaker 4: Like you're in such a silo and it doesn't touch 112 00:05:44,660 --> 00:05:47,140 Speaker 4: at all. And like New York, LA, pop culture, and 113 00:05:47,160 --> 00:05:48,500 Speaker 4: then to put it out in the world and have 114 00:05:48,540 --> 00:05:51,290 Speaker 4: it sort of explode out there. There's such a dissonance 115 00:05:51,400 --> 00:05:52,790 Speaker 4: between those two things. Yeah. 116 00:05:53,210 --> 00:05:56,950 Speaker 2: I remember they also, going into that next summer, really 117 00:05:56,990 --> 00:06:01,910 Speaker 2: made room to make this show happen. So right away 118 00:06:01,950 --> 00:06:04,230 Speaker 2: we were working on it. As soon as I was 119 00:06:04,270 --> 00:06:08,169 Speaker 2: done with that season of SNL, I felt like they 120 00:06:08,210 --> 00:06:10,150 Speaker 2: prioritized us going into productions. 121 00:06:10,750 --> 00:06:12,410 Speaker 1: And sometimes they would let you come back like an 122 00:06:12,510 --> 00:06:14,410 Speaker 1: episode late, right? 123 00:06:14,850 --> 00:06:16,230 Speaker 2: Yeah, that started to happen. 124 00:06:17,250 --> 00:06:19,570 Speaker 1: But it really changed the landscape of SNL too because 125 00:06:19,890 --> 00:06:21,950 Speaker 1: nobody was doing outside stuff and now all of a 126 00:06:21,970 --> 00:06:25,190 Speaker 1: sudden they're all doing outside stuff during the summer. It 127 00:06:25,210 --> 00:06:28,870 Speaker 1: just changed a lot. Maybe it wasn't just this. 128 00:06:29,650 --> 00:06:32,029 Speaker 2: Yeah, but it became a sort of thing that happened. 129 00:06:32,270 --> 00:06:32,810 Speaker 1: Yeah, yeah. 130 00:06:33,050 --> 00:06:34,950 Speaker 3: Who did we bring on season two for writing? Was 131 00:06:34,970 --> 00:06:36,450 Speaker 3: that when Carrie Dornetto came on? 132 00:06:37,390 --> 00:06:37,669 Speaker 1: Yes. 133 00:06:38,350 --> 00:06:40,489 Speaker 3: And this is when we wrote at Gus's? 134 00:06:41,080 --> 00:06:44,940 Speaker 1: And we also wrote at Lauren's office at Paramount. Because 135 00:06:44,980 --> 00:06:50,440 Speaker 1: I remember we did have Bill Oakley on Facebook. That's right. Skype. 136 00:06:50,620 --> 00:06:51,820 Speaker 3: Or was that season three? 137 00:06:52,120 --> 00:06:52,500 Speaker 1: Was it? 138 00:06:52,520 --> 00:06:54,159 Speaker 3: I thought it was season three. 139 00:06:54,279 --> 00:06:56,039 Speaker 1: Oh, maybe you're right. 140 00:06:56,080 --> 00:06:56,740 Speaker 3: Where Bill. 141 00:06:57,460 --> 00:06:59,779 Speaker 1: Bill was there. Oh, and then Carrie left. 142 00:07:00,060 --> 00:07:02,900 Speaker 3: And Chelsea Dornette. Chelsea Peretti. Chelsea Peretti. I think that 143 00:07:02,920 --> 00:07:03,440 Speaker 3: was season three. 144 00:07:03,460 --> 00:07:04,680 Speaker 1: I think you're right. I think you're right. Oh, yeah. 145 00:07:04,700 --> 00:07:07,820 Speaker 1: So season two was Carrie. And where did we do it? 146 00:07:08,260 --> 00:07:09,430 Speaker 3: Was that Gus's? 147 00:07:09,440 --> 00:07:10,170 Speaker 2: This is where. 148 00:07:10,510 --> 00:07:12,820 Speaker 1: Yeah, because that's where we said, oh, let's go for 149 00:07:12,840 --> 00:07:14,220 Speaker 1: a bike ride. And Carrie's like, I'm so good at 150 00:07:14,260 --> 00:07:16,240 Speaker 1: bike riding. And it fell immediately. 151 00:07:16,280 --> 00:07:18,080 Speaker 3: That's the other Carrie, by the way, not me. 152 00:07:18,120 --> 00:07:22,040 Speaker 1: Because there's train tracks in Portland, which is so scary 153 00:07:22,060 --> 00:07:24,070 Speaker 1: on a bike. Because if you get right in them, 154 00:07:24,350 --> 00:07:26,550 Speaker 1: you're dead and your bike is going to break. 155 00:07:26,590 --> 00:07:30,110 Speaker 4: And literally there's signs everywhere depicting a bicyclist. 156 00:07:29,590 --> 00:07:31,750 Speaker 3: Falling into the tram tracks. 157 00:07:31,790 --> 00:07:34,880 Speaker 4: And she suddenly was the living incarnate of that sign. 158 00:07:35,730 --> 00:07:40,130 Speaker 4: And it was really scary. And she legitimately hurt herself. 159 00:07:40,250 --> 00:07:41,810 Speaker 3: She was injured. It was bad. 160 00:07:42,130 --> 00:07:45,830 Speaker 2: But those offices were great. And I remember feeling like, oh, 161 00:07:45,870 --> 00:07:48,430 Speaker 2: we're really in Portland. We're really working there. 162 00:07:48,490 --> 00:07:50,800 Speaker 1: That was the coolest office. You're like, I'm working in 163 00:07:50,830 --> 00:07:54,200 Speaker 1: Gus Van Sant's office. First of all, if you imagine 164 00:07:54,220 --> 00:07:58,700 Speaker 1: what that looks like, it's right. Very cinematic loft kind 165 00:07:58,740 --> 00:07:59,400 Speaker 1: of space. 166 00:07:59,840 --> 00:08:02,120 Speaker 3: An old brick building across from a brewery. 167 00:08:02,220 --> 00:08:09,100 Speaker 4: That was so cool. Yeah. And what I'm trying to think, 168 00:08:10,240 --> 00:08:13,700 Speaker 4: what are, I bet, like we talked about this on 169 00:08:13,720 --> 00:08:16,700 Speaker 4: the last episode with you, like often there's an analogy 170 00:08:16,740 --> 00:08:19,600 Speaker 4: for like, what album are we writing? I bet we 171 00:08:19,640 --> 00:08:22,820 Speaker 4: talked about like a good follow-up album because that was 172 00:08:22,870 --> 00:08:23,850 Speaker 4: definitely our intention. 173 00:08:24,050 --> 00:08:26,130 Speaker 1: I felt like the cure of first album was always 174 00:08:26,210 --> 00:08:28,310 Speaker 1: coming up to me. That's what I remember. 175 00:08:28,510 --> 00:08:30,520 Speaker 2: For some reason, Regatta de Blanc comes up for me. 176 00:08:30,530 --> 00:08:33,809 Speaker 2: I think a second Police album where like they really, 177 00:08:33,830 --> 00:08:35,949 Speaker 2: you know, figured out their sound. 178 00:08:36,490 --> 00:08:36,770 Speaker 4: Yeah. 179 00:08:37,190 --> 00:08:38,750 Speaker 2: I can't believe I'm describing it that way, but you 180 00:08:38,770 --> 00:08:42,740 Speaker 2: know what I mean? Or even Talking Heads, more songs 181 00:08:42,780 --> 00:08:43,620 Speaker 2: about buildings and food. 182 00:08:43,660 --> 00:08:44,540 Speaker 3: Oh, that's a good one. 183 00:08:45,040 --> 00:08:49,520 Speaker 4: Or even like going from Bleach to Nevermind for Nirvana 184 00:08:49,540 --> 00:08:51,470 Speaker 4: and then from Nevermind in utero. 185 00:08:52,150 --> 00:08:53,030 Speaker 3: Those are some big shifts. 186 00:08:55,130 --> 00:08:58,729 Speaker 4: I'm trying to think of what we pitched in those 187 00:08:58,890 --> 00:09:00,550 Speaker 4: early like blue sky days. 188 00:09:01,550 --> 00:09:04,910 Speaker 3: And I'm trying to, For season two? 189 00:09:05,110 --> 00:09:05,370 Speaker 1: Yeah. 190 00:09:06,890 --> 00:09:11,000 Speaker 2: Well, I feel like the idea of the wraparound solidified. 191 00:09:11,020 --> 00:09:12,340 Speaker 2: Even though we had it in season one, there was 192 00:09:12,360 --> 00:09:15,839 Speaker 2: something about it that was like very, it has to 193 00:09:15,860 --> 00:09:18,199 Speaker 2: be this way. That there's like a main sketch that 194 00:09:18,320 --> 00:09:19,000 Speaker 2: goes throughout. 195 00:09:19,640 --> 00:09:22,770 Speaker 4: And writing for specific characters was something that we sort of. 196 00:09:22,730 --> 00:09:25,990 Speaker 1: Just like, Touched on in season one, just barely. 197 00:09:26,070 --> 00:09:28,150 Speaker 4: Yeah, but we didn't do a ton of recurring. 198 00:09:28,410 --> 00:09:30,390 Speaker 3: We did a little bit of Nina and. 199 00:09:30,350 --> 00:09:32,970 Speaker 4: Lance season one, but definitely season two, we were like, okay, 200 00:09:33,010 --> 00:09:36,600 Speaker 4: here are this like a few characters who we really like, 201 00:09:36,679 --> 00:09:37,960 Speaker 4: could we write towards them? 202 00:09:37,980 --> 00:09:38,180 Speaker 3: Yes. 203 00:09:38,380 --> 00:09:42,640 Speaker 4: And then obviously that became even more of, you know, 204 00:09:42,660 --> 00:09:45,239 Speaker 4: something we did later on. But the second season, we 205 00:09:45,260 --> 00:09:47,380 Speaker 4: were like, oh wait, Peter and Nance, we like them. 206 00:09:47,720 --> 00:09:52,740 Speaker 2: Yeah. We had, is cops redesign on here? Yeah. 207 00:09:52,940 --> 00:09:54,000 Speaker 1: On that season. Uh-huh. 208 00:09:55,080 --> 00:09:57,220 Speaker 4: That's Carrie and Fred. And the mayor, we started writing 209 00:09:57,240 --> 00:09:59,850 Speaker 4: for Kyle. We were like, I was going to come back. 210 00:10:00,490 --> 00:10:02,569 Speaker 1: Well, he was in the first season. He was missing. 211 00:10:03,050 --> 00:10:03,470 Speaker 4: Right. Yeah. 212 00:10:03,510 --> 00:10:04,929 Speaker 3: He was, he was in three, I think in the 213 00:10:04,950 --> 00:10:05,490 Speaker 3: first season. 214 00:10:05,510 --> 00:10:05,689 Speaker 4: Yeah. 215 00:10:05,970 --> 00:10:06,650 Speaker 1: That was crazy. 216 00:10:06,929 --> 00:10:07,339 Speaker 3: Yeah. 217 00:10:07,580 --> 00:10:11,980 Speaker 2: I wanted to address also that like we had Jody 218 00:10:12,980 --> 00:10:17,800 Speaker 2: from SNL. Our hair person, Jody McPherson. 219 00:10:17,940 --> 00:10:20,610 Speaker 3: And, um, She didn't come back season two, did she? 220 00:10:20,870 --> 00:10:22,590 Speaker 3: Or did she one more season? 221 00:10:22,770 --> 00:10:25,429 Speaker 2: One more season, maybe the third as well. Or she 222 00:10:25,460 --> 00:10:26,890 Speaker 2: designed at least from New York. 223 00:10:27,160 --> 00:10:28,600 Speaker 1: I mean, not to think it was a small show, 224 00:10:28,640 --> 00:10:31,199 Speaker 1: but the characters and the wigs and the costumes were 225 00:10:31,260 --> 00:10:34,780 Speaker 1: like at the highest level. So that if you saw something, 226 00:10:34,980 --> 00:10:39,580 Speaker 1: I know that person. They weren't archetypes of Portland, LA, 227 00:10:39,620 --> 00:10:43,160 Speaker 1: New York, Austin, whatever. They were so well done. Those 228 00:10:43,230 --> 00:10:45,270 Speaker 1: wigs really were next level. 229 00:10:45,570 --> 00:10:45,830 Speaker 2: Yeah. 230 00:10:46,429 --> 00:10:48,790 Speaker 4: I mean, and I feel like that was something that, 231 00:10:49,420 --> 00:10:53,160 Speaker 4: you in particular were allergic to SNL, which has a 232 00:10:53,200 --> 00:10:57,760 Speaker 4: very high level of that. But you knew the difference 233 00:10:57,840 --> 00:11:01,170 Speaker 4: between a bad wig and a good wig and how 234 00:11:01,970 --> 00:11:06,349 Speaker 4: that creates believability. And that's a real person versus a caricature. 235 00:11:06,390 --> 00:11:10,309 Speaker 4: And we didn't want to portray caricatures. We were always 236 00:11:10,370 --> 00:11:12,380 Speaker 4: writing from like, what would we do? 237 00:11:12,460 --> 00:11:13,600 Speaker 3: Or this is someone I know. 238 00:11:13,620 --> 00:11:15,440 Speaker 1: Or we know someone. Yeah, exactly. They're real people. 239 00:11:15,460 --> 00:11:18,890 Speaker 3: Yeah. And I mean, we were very lucky. To have 240 00:11:18,970 --> 00:11:21,250 Speaker 3: someone that... I mean, they were literally going off and 241 00:11:21,530 --> 00:11:23,719 Speaker 3: winning Emmys in the fall for SNL. 242 00:11:23,940 --> 00:11:24,340 Speaker 1: They were. 243 00:11:24,400 --> 00:11:26,140 Speaker 3: Oh, yeah. Multiple years. 244 00:11:26,160 --> 00:11:26,699 Speaker 4: And Amanda. 245 00:11:27,000 --> 00:11:31,440 Speaker 3: Actually, I think first season, Amanda... Was it first or second? 246 00:11:31,500 --> 00:11:32,819 Speaker 2: First or second season. 247 00:11:32,860 --> 00:11:34,210 Speaker 3: Our costume designer won the Emmy. 248 00:11:34,230 --> 00:11:35,569 Speaker 2: She got an Emmy. 249 00:11:35,590 --> 00:11:35,810 Speaker 3: Yeah. 250 00:11:35,950 --> 00:11:36,550 Speaker 2: She won a couple. 251 00:11:36,570 --> 00:11:37,210 Speaker 1: She won two, yeah. 252 00:11:37,230 --> 00:11:37,530 Speaker 3: Yeah. 253 00:11:37,550 --> 00:11:40,850 Speaker 4: So for how low budget our show was, we were 254 00:11:40,910 --> 00:11:41,950 Speaker 4: punching well above our. 255 00:11:41,870 --> 00:11:42,469 Speaker 3: Weight, I thought. 256 00:11:42,510 --> 00:11:44,510 Speaker 1: The costumes were amazing. 257 00:11:44,530 --> 00:11:45,330 Speaker 2: Yeah. Really, really good. 258 00:11:45,350 --> 00:11:46,030 Speaker 1: So good. 259 00:11:46,110 --> 00:11:46,790 Speaker 3: Nothing repeated. 260 00:11:47,130 --> 00:11:47,340 Speaker 4: I mean. 261 00:11:48,210 --> 00:11:49,449 Speaker 3: Nothing. There was just, yeah. 262 00:11:49,500 --> 00:11:54,010 Speaker 4: And she knew the costumes and the characters so intimately. 263 00:11:54,410 --> 00:11:57,650 Speaker 4: And like for, and I think we've probably talked about 264 00:11:57,690 --> 00:12:00,550 Speaker 4: this a little bit, but for how quickly we had 265 00:12:00,590 --> 00:12:03,609 Speaker 4: to change from one character to the next and just 266 00:12:03,690 --> 00:12:05,790 Speaker 4: go from like one sketch to the next, being able 267 00:12:05,850 --> 00:12:08,170 Speaker 4: to put a wig on and know exactly who this 268 00:12:08,210 --> 00:12:09,949 Speaker 4: person is and how they talk or being able to 269 00:12:09,990 --> 00:12:12,420 Speaker 4: put like a piece of jewelry on. It's like, okay, 270 00:12:12,490 --> 00:12:14,950 Speaker 4: this is heavy. So now my posture is different. Like 271 00:12:15,010 --> 00:12:18,530 Speaker 4: it's so important for how quickly we were working. And, 272 00:12:18,570 --> 00:12:23,189 Speaker 4: you know, I really credit like all, you know, Jen, Jodi, Amanda, 273 00:12:23,480 --> 00:12:25,080 Speaker 4: Jess Needham, our makeup artist for that. 274 00:12:25,320 --> 00:12:27,200 Speaker 3: Just like, oh, this eyeshadow. Okay. 275 00:12:27,540 --> 00:12:29,340 Speaker 2: This is who this is. Yeah. 276 00:12:29,740 --> 00:12:30,460 Speaker 3: But I remember that. 277 00:12:30,460 --> 00:12:34,340 Speaker 4: All kind of coming together season two, like just that 278 00:12:34,380 --> 00:12:36,910 Speaker 4: starting to like click. And we made some personnel changes, 279 00:12:36,929 --> 00:12:38,050 Speaker 4: you know, like. 280 00:12:38,170 --> 00:12:39,230 Speaker 1: When did we get the RVs? 281 00:12:40,520 --> 00:12:41,679 Speaker 2: RV was season one. 282 00:12:41,800 --> 00:12:43,080 Speaker 1: It was. 283 00:12:43,400 --> 00:12:46,060 Speaker 3: No, not the Airstream. RV, we had season one. 284 00:12:46,179 --> 00:12:46,860 Speaker 1: Oh, the Airstream. 285 00:12:46,880 --> 00:12:47,400 Speaker 4: Oh, okay. 286 00:12:47,620 --> 00:12:49,440 Speaker 2: So the RV was season one. 287 00:12:49,720 --> 00:12:52,559 Speaker 1: The Airstream was later, right? Like season four. 288 00:12:53,470 --> 00:12:54,830 Speaker 2: You might be right. Yeah. 289 00:12:56,110 --> 00:13:00,470 Speaker 1: But the RV was, even though it was clunky, it 290 00:13:00,510 --> 00:13:03,010 Speaker 1: was kind of like a nice, I mean, it was, 291 00:13:03,510 --> 00:13:07,390 Speaker 1: you don't have a hair makeup, a hair trailer, clothing trailer, 292 00:13:07,730 --> 00:13:09,740 Speaker 1: personal trailer. It's an RV, period. 293 00:13:09,980 --> 00:13:11,320 Speaker 3: Yeah. All of us in one place. 294 00:13:11,340 --> 00:13:13,719 Speaker 4: Yeah. And we've talked about a little bit, like talked 295 00:13:13,760 --> 00:13:15,920 Speaker 4: about guests coming on and being like, you'll be changing 296 00:13:16,520 --> 00:13:16,990 Speaker 4: with us. 297 00:13:17,330 --> 00:13:18,770 Speaker 3: Just go in that back room and shut the door. 298 00:13:19,530 --> 00:13:20,510 Speaker 3: We'll leave you alone. 299 00:13:20,770 --> 00:13:24,230 Speaker 2: Also, me and you, like we changed right in front 300 00:13:24,250 --> 00:13:27,290 Speaker 2: of each other, just like wigs, everything. There was no 301 00:13:27,630 --> 00:13:29,939 Speaker 2: time or room to be like, to have. 302 00:13:30,540 --> 00:13:31,340 Speaker 3: Modesty, really. 303 00:13:31,640 --> 00:13:31,740 Speaker 4: Yeah. 304 00:13:32,170 --> 00:13:35,670 Speaker 1: But you know what was a big season two? Battlestar Galactica. 305 00:13:35,940 --> 00:13:36,580 Speaker 3: That was huge. 306 00:13:36,780 --> 00:13:39,260 Speaker 1: That was huge. And that was really us getting out 307 00:13:39,320 --> 00:13:43,400 Speaker 1: in front of binge TV or whatever. Like so early on. 308 00:13:43,420 --> 00:13:49,090 Speaker 1: And just exciting to have like the actual cast of 309 00:13:49,120 --> 00:13:50,610 Speaker 1: Battlestar Galactica and Ronald D. 310 00:13:50,650 --> 00:13:50,949 Speaker 3: Moore. 311 00:13:51,530 --> 00:13:54,510 Speaker 1: Who's still the coolest guy. 312 00:13:54,910 --> 00:13:55,150 Speaker 4: Yeah. 313 00:13:55,250 --> 00:13:59,900 Speaker 1: He has For All Mankind and Outlander. Like these big... 314 00:14:00,340 --> 00:14:01,040 Speaker 1: shows that are. 315 00:14:00,920 --> 00:14:03,880 Speaker 4: Like yeah and edward james almost like i just couldn't 316 00:14:03,900 --> 00:14:08,370 Speaker 4: believe that you know it's it is strange like the 317 00:14:08,390 --> 00:14:10,990 Speaker 4: caliber like to me i still kind of can't believe 318 00:14:11,030 --> 00:14:13,970 Speaker 4: like the caliber of guest star yeah but it's actually 319 00:14:13,990 --> 00:14:17,430 Speaker 4: those i mean yeah we had some like a-list actors 320 00:14:17,620 --> 00:14:18,610 Speaker 4: but when we. 321 00:14:18,900 --> 00:14:22,540 Speaker 3: Got someone like ronald d moore on the show. 322 00:14:22,280 --> 00:14:25,260 Speaker 4: Like someone who was an another creator yeah you know 323 00:14:25,300 --> 00:14:28,150 Speaker 4: that wanted to like come into our world and like 324 00:14:28,320 --> 00:14:30,360 Speaker 4: understood what we were doing. Like just having someone else 325 00:14:30,380 --> 00:14:33,380 Speaker 4: that you respect get it was really rewarding. 326 00:14:33,400 --> 00:14:35,300 Speaker 1: And who doesn't always do it. Like even Amy Mann, 327 00:14:35,320 --> 00:14:36,220 Speaker 1: like she's so funny. 328 00:14:36,520 --> 00:14:37,080 Speaker 3: So funny. 329 00:14:37,180 --> 00:14:39,940 Speaker 1: But you know, like she's a musician. So it's just 330 00:14:39,960 --> 00:14:41,970 Speaker 1: cool to see people doing other things. But if you're 331 00:14:41,990 --> 00:14:47,090 Speaker 1: super creative and you can do other creative things well, 332 00:14:47,110 --> 00:14:48,970 Speaker 1: because you're a fan of them or whatever. 333 00:14:48,990 --> 00:14:51,950 Speaker 4: Yeah. Yeah, I feel like for sure one more episode 334 00:14:52,030 --> 00:14:54,950 Speaker 4: was like the touchstone of season two. Like that to 335 00:14:54,970 --> 00:14:57,810 Speaker 4: me was sort of like a peak of probably the 336 00:14:57,830 --> 00:15:01,260 Speaker 4: entire series. But like I think a lot of people deeply, 337 00:15:01,300 --> 00:15:03,880 Speaker 4: deeply related to that feeling. 338 00:15:04,640 --> 00:15:07,940 Speaker 2: And also the logic of, I don't know who came 339 00:15:07,960 --> 00:15:09,740 Speaker 2: up with the idea of looking through the phone book. 340 00:15:11,140 --> 00:15:12,960 Speaker 1: I'm pretty sure that was my idea. I can't remember 341 00:15:12,980 --> 00:15:14,520 Speaker 1: what it was based on, but yeah, it was so funny. 342 00:15:15,060 --> 00:15:17,180 Speaker 2: What a great idea of like, there he is. 343 00:15:18,860 --> 00:15:22,100 Speaker 1: That casting of that other guy who was the local 344 00:15:22,160 --> 00:15:25,250 Speaker 1: Ronald D. Moore, he became one of the cast members. 345 00:15:25,270 --> 00:15:29,710 Speaker 1: Chico slash Henry. God, he was hilarious. And literally he 346 00:15:29,750 --> 00:15:32,650 Speaker 1: drove his cousin, Floyd, who we would also have on 347 00:15:32,690 --> 00:15:34,930 Speaker 1: the show sometimes. He was in the reggae band with 348 00:15:34,970 --> 00:15:35,350 Speaker 1: the mayor. 349 00:15:35,530 --> 00:15:35,710 Speaker 2: Yeah. 350 00:15:35,730 --> 00:15:36,609 Speaker 1: I'm pretty sure. 351 00:15:36,630 --> 00:15:38,130 Speaker 3: And his niece was also on our show. 352 00:15:38,650 --> 00:15:40,890 Speaker 1: That's right. But Simon was like, you drove your cousin. 353 00:15:41,030 --> 00:15:42,790 Speaker 1: Would you mind auditioning as well? Okay. 354 00:15:43,130 --> 00:15:43,340 Speaker 3: Yeah. 355 00:15:43,760 --> 00:15:46,000 Speaker 1: He made me laugh so hard because he was just. 356 00:15:47,580 --> 00:15:48,260 Speaker 1: So funny. 357 00:15:48,480 --> 00:15:49,580 Speaker 2: He was great. 358 00:15:49,760 --> 00:15:53,180 Speaker 4: Yeah. And people, like, buying into it, like, and we 359 00:15:54,100 --> 00:15:56,960 Speaker 4: rarely had a problem with guest stars, local or otherwise, 360 00:15:57,700 --> 00:16:00,760 Speaker 4: trying to go big. Like, people really played it straight 361 00:16:00,960 --> 00:16:03,950 Speaker 4: and they kept it very grounded, which is always what 362 00:16:03,970 --> 00:16:04,430 Speaker 4: we needed. 363 00:16:04,450 --> 00:16:06,510 Speaker 3: Yeah, we were very lucky. 364 00:16:06,570 --> 00:16:10,150 Speaker 4: Did you feel like there were people, like, how much 365 00:16:10,670 --> 00:16:13,290 Speaker 4: directing did you do in terms of performance? Like, I mean, 366 00:16:13,430 --> 00:16:15,910 Speaker 4: we sometimes got feedback, but, like, with some of the, like, 367 00:16:16,840 --> 00:16:19,680 Speaker 4: guest stars or local actors do you remember having to 368 00:16:19,700 --> 00:16:21,140 Speaker 4: focus on that at all or I. 369 00:16:21,140 --> 00:16:24,420 Speaker 1: Mean the audition process was pretty extensive and they were 370 00:16:24,500 --> 00:16:27,060 Speaker 1: improvising a lot in the audition so you really did 371 00:16:27,140 --> 00:16:31,100 Speaker 1: get a sense of their thing but like for instance 372 00:16:31,280 --> 00:16:32,940 Speaker 1: I can't remember what season it was in but the 373 00:16:33,300 --> 00:16:35,810 Speaker 1: the library with the records in it. 374 00:16:35,890 --> 00:16:38,510 Speaker 3: No that's season two yeah yeah that. 375 00:16:38,230 --> 00:16:43,430 Speaker 1: To me was where the locals were like, okay, we 376 00:16:43,450 --> 00:16:45,690 Speaker 1: get this game too. And we know a lot about 377 00:16:45,750 --> 00:16:48,970 Speaker 1: records too. And it was like, okay, this is like 378 00:16:49,110 --> 00:16:52,130 Speaker 1: really exciting. And watching that one back, that thing is 379 00:16:52,410 --> 00:16:57,700 Speaker 1: so funny and so specific. But Joe and Karina, right? 380 00:16:57,740 --> 00:17:01,400 Speaker 1: Like they were so good as a match to you guys, 381 00:17:01,680 --> 00:17:05,280 Speaker 1: like throwing it back in your face. It was so good. 382 00:17:11,050 --> 00:17:14,430 Speaker 4: Joe was getting like emotional, like angry, like that just 383 00:17:14,450 --> 00:17:16,110 Speaker 4: like taking offense a little bit. 384 00:17:16,150 --> 00:17:16,750 Speaker 3: Yeah. 385 00:17:16,810 --> 00:17:19,170 Speaker 1: And I remember you said, that's pabulum. And I'm like, 386 00:17:19,190 --> 00:17:22,580 Speaker 1: what is that word? But it's so funny. It's so good. 387 00:17:23,060 --> 00:17:25,780 Speaker 4: And then Isaac Brock comes in to give his records 388 00:17:25,840 --> 00:17:26,500 Speaker 4: away at the end. 389 00:17:26,980 --> 00:17:27,320 Speaker 3: Yeah. 390 00:17:27,660 --> 00:17:29,699 Speaker 4: Oh, so that's interesting because that was something we were 391 00:17:29,740 --> 00:17:31,899 Speaker 4: not privy to. Like we, Fred and I just show 392 00:17:31,920 --> 00:17:34,200 Speaker 4: up to set and there's like, you know, oh, here's 393 00:17:34,240 --> 00:17:34,740 Speaker 4: the day players. 394 00:17:34,780 --> 00:17:39,020 Speaker 3: But like, what was the like casting process? 395 00:17:39,080 --> 00:17:43,619 Speaker 1: I think I remember Karina. There were just people that 396 00:17:43,660 --> 00:17:45,640 Speaker 1: you would see in the auditions and go, ooh, okay, 397 00:17:45,660 --> 00:17:47,460 Speaker 1: they didn't get this one, but bring them back. I 398 00:17:47,510 --> 00:17:49,730 Speaker 1: want to find a spot for them. And then I 399 00:17:49,770 --> 00:17:51,930 Speaker 1: think it was Simon saying, well, her boyfriend at the time, Joe, 400 00:17:51,970 --> 00:17:55,869 Speaker 1: was like, okay, bring real couples in. And Simon was 401 00:17:55,890 --> 00:18:00,010 Speaker 1: just so entrenched in the world of Portland. So he 402 00:18:00,050 --> 00:18:00,830 Speaker 1: knew the people. 403 00:18:00,930 --> 00:18:01,070 Speaker 2: And so. 404 00:18:03,310 --> 00:18:05,370 Speaker 1: But just like, okay, we need someone who really knows 405 00:18:05,470 --> 00:18:09,550 Speaker 1: music because otherwise it'll have no momentum. It'll just die 406 00:18:09,570 --> 00:18:12,090 Speaker 1: because you guys will do one and then they'll die. 407 00:18:13,369 --> 00:18:16,600 Speaker 1: So I think that was just finding... Yeah, I don't... 408 00:18:17,260 --> 00:18:18,720 Speaker 1: But yeah, they were so good. 409 00:18:19,500 --> 00:18:21,800 Speaker 2: Did her budget go up in that second season? 410 00:18:21,980 --> 00:18:25,399 Speaker 1: No, I think it went up like season five or something. 411 00:18:25,460 --> 00:18:26,220 Speaker 2: Wow. 412 00:18:26,320 --> 00:18:28,300 Speaker 1: I mean, I think it probably went up a little 413 00:18:28,340 --> 00:18:30,560 Speaker 1: bit year to year, but then I remember there was 414 00:18:30,640 --> 00:18:36,090 Speaker 1: one sort of jump but the production never really changed 415 00:18:36,369 --> 00:18:39,389 Speaker 1: all that much from year to year. I mean, I 416 00:18:40,330 --> 00:18:42,830 Speaker 1: can't remember a big change. Season three, we got a 417 00:18:42,850 --> 00:18:45,929 Speaker 1: different camera that was a little easier to use, but 418 00:18:45,950 --> 00:18:51,550 Speaker 1: it was basically the same camera. I don't remember. We 419 00:18:52,590 --> 00:18:54,730 Speaker 1: had better mics one time or something. 420 00:18:54,910 --> 00:18:59,790 Speaker 4: Do you remember having to like talk to IFC or 421 00:18:59,830 --> 00:19:03,530 Speaker 4: talk to Andrew Singer and like justify something in the 422 00:19:03,570 --> 00:19:04,370 Speaker 4: budget or that? 423 00:19:04,470 --> 00:19:07,950 Speaker 1: Oh, I remember one sketch in particular. I still think 424 00:19:07,990 --> 00:19:11,169 Speaker 1: about this constantly. I don't know what season it was in, 425 00:19:11,450 --> 00:19:13,370 Speaker 1: but there was a scene and it's so good where 426 00:19:13,410 --> 00:19:16,409 Speaker 1: it's like, it's been cold and the sun comes out 427 00:19:16,830 --> 00:19:19,690 Speaker 1: and everyone rushes out summer. And then it's like, it's gone, 428 00:19:20,090 --> 00:19:22,370 Speaker 1: you know? And that's a classic kind of East coast thing. 429 00:19:22,450 --> 00:19:25,350 Speaker 1: And LA, we don't have that, but you know, there's 430 00:19:25,369 --> 00:19:27,490 Speaker 1: people feel like the sun is coming out and it's 431 00:19:27,510 --> 00:19:30,060 Speaker 1: been so cold. So we said, well, in order to 432 00:19:30,100 --> 00:19:32,350 Speaker 1: do that, we need a light. And we need it 433 00:19:32,369 --> 00:19:34,469 Speaker 1: to be a big light so we can mimic the 434 00:19:34,510 --> 00:19:39,659 Speaker 1: sun coming out. We talked about a light every lunch 435 00:19:39,859 --> 00:19:42,719 Speaker 1: for months. Could we afford this light? It might have 436 00:19:42,740 --> 00:19:44,320 Speaker 1: to come up from LA. might have to come from 437 00:19:44,380 --> 00:19:47,460 Speaker 1: Seattle we don't have this light in Portland it's gonna 438 00:19:47,520 --> 00:19:51,550 Speaker 1: cost this amount of money this could we and eventually 439 00:19:51,570 --> 00:19:53,110 Speaker 1: it was like we can't afford it we just can't 440 00:19:53,130 --> 00:19:54,909 Speaker 1: do it so we'll just do it sort of like 441 00:19:54,930 --> 00:20:00,030 Speaker 1: we'll fake it in post-production and The scrutiny that went 442 00:20:00,070 --> 00:20:04,170 Speaker 1: into every financial decision beyond just like the normal stuff 443 00:20:04,250 --> 00:20:07,290 Speaker 1: was excruciating. And I remember I was working on another 444 00:20:07,330 --> 00:20:10,429 Speaker 1: show like only maybe a little while later. And they're like, oh, yeah, 445 00:20:10,450 --> 00:20:11,810 Speaker 1: let's get a couple of cranes and stuff. And I 446 00:20:11,869 --> 00:20:15,760 Speaker 1: was like, how can you do that? We talked about 447 00:20:15,800 --> 00:20:20,440 Speaker 1: this one light for so long. It was just it's 448 00:20:20,740 --> 00:20:25,040 Speaker 1: baked into me. I can't spend money on a show. 449 00:20:25,180 --> 00:20:27,480 Speaker 1: It's hard for me because I just know what it 450 00:20:27,600 --> 00:20:32,010 Speaker 1: took to do. Portlandia, like every decision was scrutinized and 451 00:20:32,050 --> 00:20:35,730 Speaker 1: you know, it always made it better in a way. 452 00:20:35,790 --> 00:20:38,530 Speaker 1: It would be like, well, we can't do certain things 453 00:20:38,609 --> 00:20:41,610 Speaker 1: on this show. Who cares? Like it doesn't really matter. Yeah. 454 00:20:41,630 --> 00:20:44,409 Speaker 3: Sometimes I feel like those limitations are good. 455 00:20:44,970 --> 00:20:47,010 Speaker 4: I mean, they're frustrating and I feel like we all 456 00:20:47,109 --> 00:20:49,690 Speaker 4: felt them at times, but it forced us to be, 457 00:20:49,710 --> 00:20:53,530 Speaker 4: you know, imagine imaginative and for sure. Yeah. 458 00:20:54,650 --> 00:20:58,260 Speaker 2: Did we stop? Improvising at some point. I remember, I 459 00:20:58,580 --> 00:20:59,440 Speaker 2: have a feeling it like. 460 00:20:59,540 --> 00:21:00,480 Speaker 1: Not a hundred percent. 461 00:21:00,580 --> 00:21:02,160 Speaker 2: But a little bit like I felt like. 462 00:21:02,800 --> 00:21:04,780 Speaker 1: Like around season seven, eight. 463 00:21:05,560 --> 00:21:07,879 Speaker 2: Something where we were like, we figured out that it 464 00:21:07,920 --> 00:21:10,550 Speaker 2: was becoming, it was taking up a lot of time. 465 00:21:10,570 --> 00:21:11,750 Speaker 1: It definitely takes more time. 466 00:21:11,770 --> 00:21:17,709 Speaker 4: Yeah. I mean, I remember watching the camera operators start 467 00:21:17,730 --> 00:21:18,590 Speaker 4: to have to shift and. 468 00:21:18,530 --> 00:21:19,430 Speaker 3: You can see it on screen. 469 00:21:19,450 --> 00:21:20,550 Speaker 1: Because it takes a really long time. 470 00:21:20,570 --> 00:21:20,689 Speaker 4: Yeah. 471 00:21:20,830 --> 00:21:22,370 Speaker 3: Like especially Feminist Bookstore. 472 00:21:22,390 --> 00:21:22,470 Speaker 4: Yeah. 473 00:21:23,130 --> 00:21:24,070 Speaker 3: Season one and two. 474 00:21:24,090 --> 00:21:24,650 Speaker 2: I mean. 475 00:21:25,109 --> 00:21:26,210 Speaker 1: Oh, we would see it in the edit room. The 476 00:21:26,230 --> 00:21:28,370 Speaker 1: camera would just drop. We'd be like, whoa, we can't 477 00:21:28,430 --> 00:21:30,939 Speaker 1: use that take. They're like, my arm hurts, dude. 478 00:21:31,119 --> 00:21:32,879 Speaker 4: And I could, I would sometimes get distracted out of 479 00:21:32,900 --> 00:21:35,340 Speaker 4: the corner. I just see someone just like almost fall over. 480 00:21:35,359 --> 00:21:37,580 Speaker 3: Yeah. And there was, and you just, yeah, we wouldn't, 481 00:21:37,900 --> 00:21:40,160 Speaker 3: you wouldn't yell cut. Well, because we were still going. 482 00:21:40,480 --> 00:21:40,850 Speaker 1: Yeah. 483 00:21:40,869 --> 00:21:43,330 Speaker 3: Yeah. And those are long takes. 484 00:21:43,450 --> 00:21:45,790 Speaker 1: And we used a lot of that stuff. It wasn't 485 00:21:46,230 --> 00:21:51,080 Speaker 1: all just off in random places. I mean, or sometimes 486 00:21:51,119 --> 00:21:53,050 Speaker 1: if you hit on something, I'm like, okay, now that's 487 00:21:53,200 --> 00:21:53,590 Speaker 1: the scene. 488 00:21:53,690 --> 00:21:53,910 Speaker 3: Okay. 489 00:21:53,930 --> 00:21:54,790 Speaker 1: We found it now. 490 00:21:55,869 --> 00:22:00,050 Speaker 4: Um, and were there things like directorially, were you from 491 00:22:00,109 --> 00:22:02,869 Speaker 4: season one to two where you're like, okay, this worked, 492 00:22:02,930 --> 00:22:05,830 Speaker 4: I'm going to steer you guys or steer this sketch 493 00:22:06,530 --> 00:22:07,169 Speaker 4: towards that. 494 00:22:07,190 --> 00:22:10,210 Speaker 1: I mean, definitely you like, remember, oh, that worked. Let's 495 00:22:10,250 --> 00:22:15,139 Speaker 1: try that again. But I don't, I don't think anything 496 00:22:16,280 --> 00:22:21,360 Speaker 1: changed that much about it. Um, Yeah, I don't. 497 00:22:22,800 --> 00:22:24,919 Speaker 4: Did we get something to make it easier on the 498 00:22:24,960 --> 00:22:26,560 Speaker 4: camera operators? I felt like there was. 499 00:22:26,660 --> 00:22:28,520 Speaker 1: Well, we definitely got the camera season three. That was 500 00:22:28,580 --> 00:22:34,070 Speaker 1: a lot easier for them. But I think also because 501 00:22:34,090 --> 00:22:37,190 Speaker 1: it was handheld, like we did. They started like kind 502 00:22:37,210 --> 00:22:40,250 Speaker 1: of rest faking the handheld, like putting it on a tripod. 503 00:22:40,270 --> 00:22:43,290 Speaker 1: So they weren't. Yeah, they did. They did start to 504 00:22:43,330 --> 00:22:46,730 Speaker 1: do that because I just always remember Aubrey was like 505 00:22:46,950 --> 00:22:49,270 Speaker 1: so far away because we had these lenses that you 506 00:22:49,310 --> 00:22:51,960 Speaker 1: could be far away, which was good. But then it's 507 00:22:52,080 --> 00:22:58,000 Speaker 1: really shaky. She'd always just be dying in a corner. 508 00:22:58,020 --> 00:23:01,419 Speaker 3: Yeah, no, first season for sure. You can see it's 509 00:23:01,440 --> 00:23:02,350 Speaker 3: just like really wobbly. 510 00:23:02,390 --> 00:23:03,649 Speaker 1: Yeah, it was very bouncy. 511 00:23:04,490 --> 00:23:07,710 Speaker 2: Do either of you remember sketches that we didn't do? 512 00:23:08,890 --> 00:23:12,650 Speaker 1: I remember first season we had on the board one 513 00:23:12,690 --> 00:23:14,750 Speaker 1: where we were like, oh, let's get Bob Odenkirk to 514 00:23:14,810 --> 00:23:20,780 Speaker 1: play a farmer, like a backyard farmer character. raising chickens 515 00:23:20,820 --> 00:23:24,040 Speaker 1: or something like that, like urban farmer. And we're like, 516 00:23:24,080 --> 00:23:25,480 Speaker 1: this is gold. This is going to be good. And 517 00:23:25,500 --> 00:23:27,460 Speaker 1: we could just never like, well, what's the joke of it? 518 00:23:27,820 --> 00:23:29,880 Speaker 1: It was just like, we could never figure it out. 519 00:23:30,600 --> 00:23:32,260 Speaker 1: What was funny about it, but it went, I don't 520 00:23:32,280 --> 00:23:34,500 Speaker 1: think it migrated to season two. Yeah. And it was 521 00:23:34,540 --> 00:23:38,350 Speaker 1: like drifting around on a card and just never made it. 522 00:23:38,650 --> 00:23:41,090 Speaker 4: I thought of one the other day because I saw this, 523 00:23:41,170 --> 00:23:43,889 Speaker 4: which was, we had one about a tandem bike that 524 00:23:43,930 --> 00:23:45,030 Speaker 4: was called divorce maker. 525 00:23:45,050 --> 00:23:47,869 Speaker 1: That's really funny. 526 00:23:48,450 --> 00:23:51,020 Speaker 4: And we could not, like, yeah, we would laugh at 527 00:23:51,040 --> 00:23:52,900 Speaker 4: it when we would see it. And then we just 528 00:23:52,980 --> 00:23:55,300 Speaker 4: could not figure out a story for it at all. 529 00:23:55,380 --> 00:23:56,260 Speaker 4: And it just kept getting moved. 530 00:23:56,609 --> 00:23:57,530 Speaker 1: And the friend collector. 531 00:23:57,550 --> 00:23:58,730 Speaker 3: Friend collector. 532 00:23:58,770 --> 00:23:59,550 Speaker 2: Friend collector. 533 00:23:59,570 --> 00:24:02,209 Speaker 1: Because I heard that term. I'm like, okay, that's definitely good. 534 00:24:02,230 --> 00:24:03,500 Speaker 1: And then we could just never figure it out. 535 00:24:04,300 --> 00:24:06,620 Speaker 4: Same with age mirror was one that you would bring 536 00:24:06,740 --> 00:24:08,800 Speaker 4: up and I, it was, you know, where you think 537 00:24:08,840 --> 00:24:10,879 Speaker 4: you look a certain way young and then you see 538 00:24:10,920 --> 00:24:13,120 Speaker 4: someone your same age that you like went to high 539 00:24:13,140 --> 00:24:14,169 Speaker 4: school or college with and. 540 00:24:14,140 --> 00:24:18,730 Speaker 3: You're like, Oh my God, they look so old. You're like, wait, 541 00:24:19,050 --> 00:24:19,890 Speaker 3: do I look like that? 542 00:24:20,050 --> 00:24:23,570 Speaker 4: And you're like, yeah, which is so, it's a great 543 00:24:23,609 --> 00:24:25,250 Speaker 4: observation and it's very real. 544 00:24:25,590 --> 00:24:27,890 Speaker 2: But there's no sketch. Like what, what can the sketch be? 545 00:24:28,869 --> 00:24:31,689 Speaker 1: We did something about your, your birthday when they're like, 546 00:24:32,060 --> 00:24:34,060 Speaker 1: you're turning 50 and you're like, that's wrong, right? Didn't 547 00:24:34,100 --> 00:24:34,460 Speaker 1: we do that? 548 00:24:34,680 --> 00:24:35,140 Speaker 2: Something. 549 00:24:35,200 --> 00:24:36,240 Speaker 1: With your mom was in it? 550 00:24:36,380 --> 00:24:37,740 Speaker 2: Yeah, something like that. 551 00:24:38,340 --> 00:24:38,760 Speaker 1: But it was funny. 552 00:24:38,780 --> 00:24:40,680 Speaker 3: Was it when you go off to the other towns, 553 00:24:40,760 --> 00:24:42,840 Speaker 3: like the Cheville? 554 00:24:42,859 --> 00:24:45,220 Speaker 2: I thought it was one with Kumail as like a. 555 00:24:46,440 --> 00:24:47,940 Speaker 1: That's different too, I think. 556 00:24:48,560 --> 00:24:50,960 Speaker 3: We must have tried to shoehorn it a million times. 557 00:24:51,020 --> 00:24:52,960 Speaker 1: With Tunde from TV on the Road. 558 00:24:52,980 --> 00:24:54,000 Speaker 2: That's the one I'm talking about. 559 00:24:54,040 --> 00:24:55,109 Speaker 1: Yeah, that, I loved that one. 560 00:24:55,140 --> 00:24:57,750 Speaker 3: That's with Rachel Dratch, I think. No. I think that's 561 00:24:57,790 --> 00:24:58,439 Speaker 3: that one, isn't it? 562 00:24:58,650 --> 00:24:58,850 Speaker 1: No. 563 00:24:59,190 --> 00:25:03,460 Speaker 2: No, she's with the, when I'm, dating an Italian. 564 00:25:04,800 --> 00:25:05,180 Speaker 4: Mom. 565 00:25:05,580 --> 00:25:09,399 Speaker 1: Oh, that reminds me. You had an idea, right? For 566 00:25:10,330 --> 00:25:11,730 Speaker 1: called third day Italy, which we made. 567 00:25:11,950 --> 00:25:12,330 Speaker 3: Oh yes. 568 00:25:12,430 --> 00:25:14,109 Speaker 1: And it was such a funny idea. You pitched it. 569 00:25:14,410 --> 00:25:17,020 Speaker 1: Start to fish, right? Totally got this. And you're like, 570 00:25:17,140 --> 00:25:19,700 Speaker 1: I wrote the script. It was 40 pages long. 571 00:25:19,790 --> 00:25:20,570 Speaker 2: I'm sorry. 572 00:25:20,740 --> 00:25:23,930 Speaker 1: I'm like, this is going to be three minutes long. 573 00:25:24,430 --> 00:25:28,450 Speaker 1: And it was the most hilarious script. And all the 574 00:25:28,490 --> 00:25:30,350 Speaker 1: crew would come up to me like, this is 40 575 00:25:30,350 --> 00:25:34,510 Speaker 1: pages long. How are we making this? You guys know 576 00:25:34,550 --> 00:25:35,169 Speaker 1: how the show is made. 577 00:25:35,210 --> 00:25:37,980 Speaker 2: I remember the other side of this. I remember thinking, oh, 578 00:25:38,060 --> 00:25:40,639 Speaker 2: I really, there's other parts to this sketch. That I 579 00:25:40,660 --> 00:25:41,500 Speaker 2: guess we're just not doing. 580 00:25:41,520 --> 00:25:43,980 Speaker 1: But we did. I think all of them. They just 581 00:25:44,020 --> 00:25:46,000 Speaker 1: weren't as long each scene. 582 00:25:46,080 --> 00:25:47,300 Speaker 2: I'm glad you didn't do them. 583 00:25:47,520 --> 00:25:48,540 Speaker 1: Customs. We did that. 584 00:25:49,000 --> 00:25:52,190 Speaker 2: But there's one like she always has a big water bottle. 585 00:25:55,090 --> 00:25:56,010 Speaker 1: That turned out really good. 586 00:25:56,510 --> 00:25:58,610 Speaker 2: That was a really fun one. Yeah, she was great. 587 00:25:59,500 --> 00:26:02,000 Speaker 2: And then we made like a little European hotel room. 588 00:26:02,080 --> 00:26:05,119 Speaker 3: Yeah. But the bathroom that was like, the shower is 589 00:26:05,160 --> 00:26:05,870 Speaker 3: like right there. 590 00:26:06,109 --> 00:26:09,609 Speaker 1: Or you're like, it's sort of sexy, but not always. 591 00:26:09,630 --> 00:26:11,550 Speaker 1: It is a real experience when you travel. 592 00:26:11,570 --> 00:26:12,530 Speaker 2: You're like, come on with these. 593 00:26:12,930 --> 00:26:16,030 Speaker 1: These like sex showers. Yeah. Put that away. Like I 594 00:26:16,270 --> 00:26:18,170 Speaker 1: just have to take a shower sometimes. 595 00:26:19,970 --> 00:26:22,410 Speaker 2: I remember this one we could never figure out, which 596 00:26:22,470 --> 00:26:26,370 Speaker 2: was Portland. Centuries and centuries ago. 597 00:26:27,260 --> 00:26:29,520 Speaker 1: But they still, I remember you pitching that. 598 00:26:29,540 --> 00:26:31,580 Speaker 3: Was it the writing letters. 599 00:26:31,060 --> 00:26:35,439 Speaker 4: From the Oregon trail, like writing letters or something like that? 600 00:26:35,510 --> 00:26:37,420 Speaker 2: I can't remember what it was, but we just couldn't 601 00:26:38,270 --> 00:26:39,310 Speaker 2: figure out what it was going to be. 602 00:26:39,369 --> 00:26:39,669 Speaker 1: Yeah. 603 00:26:39,830 --> 00:26:40,050 Speaker 3: Yeah. 604 00:26:40,210 --> 00:26:41,210 Speaker 1: I do remember that. 605 00:26:41,290 --> 00:26:43,710 Speaker 4: One thing I did like about our writer's room, every 606 00:26:43,750 --> 00:26:47,250 Speaker 4: iteration of it is that it was like, it was 607 00:26:47,470 --> 00:26:50,490 Speaker 4: easy to pitch something and have it fall flat. 608 00:26:50,710 --> 00:26:52,290 Speaker 3: And it's just, we just moved right on. Like it 609 00:26:52,310 --> 00:26:55,810 Speaker 3: just was so supportive. I felt like that, you know, like, yeah, yeah. 610 00:26:55,869 --> 00:26:58,169 Speaker 1: Or sometimes it would, Turn into something else. 611 00:26:58,230 --> 00:26:58,500 Speaker 4: Yeah. 612 00:26:58,560 --> 00:26:59,600 Speaker 3: Like it could be resurrected. 613 00:26:59,640 --> 00:27:01,639 Speaker 4: But I just felt like there was a lot of 614 00:27:02,040 --> 00:27:05,430 Speaker 4: just like support and rooting for each other, but also 615 00:27:05,470 --> 00:27:07,989 Speaker 4: like not caring that much if. 616 00:27:07,950 --> 00:27:08,730 Speaker 3: Your idea didn't. 617 00:27:09,260 --> 00:27:12,119 Speaker 4: Like we would even sometimes fight for things again. And 618 00:27:12,520 --> 00:27:15,179 Speaker 4: then other, my favorite thing about you is when you 619 00:27:15,220 --> 00:27:17,500 Speaker 4: don't like something and you just sort of let it, 620 00:27:17,520 --> 00:27:19,720 Speaker 4: you kind of just hope it's going to go away. 621 00:27:19,740 --> 00:27:21,900 Speaker 1: Yeah, we could do that. 622 00:27:22,020 --> 00:27:25,100 Speaker 4: Yeah. And then it's like, usually we don't end up 623 00:27:25,140 --> 00:27:27,310 Speaker 4: doing it, but like sometimes at the very end, you'd 624 00:27:27,350 --> 00:27:28,810 Speaker 4: actually be like, I just think I don't like that. 625 00:27:28,869 --> 00:27:30,530 Speaker 3: But for a while you're trying to be like nice 626 00:27:30,590 --> 00:27:30,970 Speaker 3: about it. 627 00:27:31,210 --> 00:27:31,790 Speaker 1: Well, I wonder if. 628 00:27:31,790 --> 00:27:34,170 Speaker 2: There's anything, because I can't think of that we ever 629 00:27:34,190 --> 00:27:36,250 Speaker 2: did a sketch that I didn't want to do. 630 00:27:36,369 --> 00:27:39,120 Speaker 1: No, but a good example would be like, I think 631 00:27:39,140 --> 00:27:41,530 Speaker 1: early on season one, there was like, oh, we could 632 00:27:41,550 --> 00:27:42,830 Speaker 1: do something about the art gallery. 633 00:27:43,810 --> 00:27:44,109 Speaker 2: Uh-huh. 634 00:27:44,590 --> 00:27:45,890 Speaker 1: And we were like, you know what? And I think 635 00:27:45,910 --> 00:27:47,730 Speaker 1: you were kind of like, art has been made fun of. 636 00:27:47,830 --> 00:27:51,129 Speaker 1: It's just too low hanging fruit. Like, let's do something 637 00:27:51,150 --> 00:27:53,970 Speaker 1: a little more original. And I was like, that was 638 00:27:54,020 --> 00:27:56,940 Speaker 1: a good mantra throughout. Like, if you've seen it or 639 00:27:56,980 --> 00:28:00,600 Speaker 1: it's like making, because you know, these types of characters 640 00:28:00,640 --> 00:28:03,380 Speaker 1: you see in other things and people like making fun 641 00:28:03,420 --> 00:28:05,900 Speaker 1: of them. And it's just never funny because you're like, 642 00:28:07,300 --> 00:28:09,880 Speaker 1: are just people try to make, They're in this community 643 00:28:09,980 --> 00:28:12,390 Speaker 1: and they're making fun of like people go to Erewhon 644 00:28:12,410 --> 00:28:14,970 Speaker 1: or whatever it is. Like, well, we all go there 645 00:28:15,130 --> 00:28:17,030 Speaker 1: every once in a while. Like, it's fine. Like, I 646 00:28:17,050 --> 00:28:20,250 Speaker 1: don't know. There's just an attitude towards making fun of 647 00:28:20,310 --> 00:28:24,180 Speaker 1: something that just sometimes we go icky and like you're 648 00:28:24,200 --> 00:28:26,640 Speaker 1: not in on the joke. You're like, yeah, that person 649 00:28:26,660 --> 00:28:29,420 Speaker 1: is so stupid. later yoga or whatever it's just like 650 00:28:29,540 --> 00:28:31,400 Speaker 1: oh god don't do that don't do that joke. 651 00:28:31,359 --> 00:28:34,660 Speaker 4: Yeah what i appreciate about the show is like often 652 00:28:34,700 --> 00:28:36,609 Speaker 4: we would just set something in a world that was 653 00:28:36,640 --> 00:28:39,010 Speaker 4: familiar but it would be about something else like sandra 654 00:28:39,130 --> 00:28:42,150 Speaker 4: goes to meditation but. 655 00:28:42,070 --> 00:28:44,230 Speaker 3: It's really joke on meditation yeah it's. 656 00:28:44,170 --> 00:28:48,360 Speaker 4: Just about that she's imagining this guy and how great 657 00:28:48,420 --> 00:28:49,860 Speaker 4: he is you know. 658 00:28:49,840 --> 00:28:52,770 Speaker 1: And It's a different joke than the obvious joke of 659 00:28:52,810 --> 00:28:56,670 Speaker 1: like meditating is so stupid. It's like, no, no, that's fine. 660 00:28:56,870 --> 00:28:58,950 Speaker 1: We like to meditate. It's what you imagine about the 661 00:28:58,990 --> 00:29:00,750 Speaker 1: person you're sitting next to. Yeah. 662 00:29:00,780 --> 00:29:03,240 Speaker 4: And I remember with, it was either, it was one 663 00:29:03,260 --> 00:29:05,100 Speaker 4: of you guys with Bryce and Lisa. I remember when 664 00:29:05,120 --> 00:29:07,040 Speaker 4: we were doing put a bird on it and this 665 00:29:07,060 --> 00:29:09,540 Speaker 4: would continue into the the rest of the seasons with 666 00:29:09,560 --> 00:29:11,600 Speaker 4: the rest of the characters we were just doing put 667 00:29:11,640 --> 00:29:13,940 Speaker 4: a bird on it it was like conceptual and presentational 668 00:29:14,480 --> 00:29:16,330 Speaker 4: and you were like there has to be a dynamic 669 00:29:16,370 --> 00:29:18,610 Speaker 4: between you guys and that's when we started like i 670 00:29:18,630 --> 00:29:20,610 Speaker 4: started bothering you and you kind of turned into this 671 00:29:20,650 --> 00:29:23,050 Speaker 4: like fussy bryce turned into really fussy and like you 672 00:29:23,070 --> 00:29:25,230 Speaker 4: got dust in your eye and it suddenly became who 673 00:29:25,270 --> 00:29:26,270 Speaker 4: cares about put a bird. 674 00:29:26,150 --> 00:29:28,180 Speaker 3: On it it's about a couple right yeah you. 675 00:29:28,140 --> 00:29:31,000 Speaker 1: Know it's so funny that you're like wait that's where 676 00:29:31,020 --> 00:29:32,960 Speaker 1: the comedy is going because the put on a bird 677 00:29:33,020 --> 00:29:37,100 Speaker 1: is such a well-observed thing but that lasts like 15 seconds. 678 00:29:37,350 --> 00:29:39,850 Speaker 1: And then like, oh wait, but it's about these weird people. 679 00:29:39,910 --> 00:29:43,260 Speaker 1: I think that's how it could last and not feel dated. 680 00:29:43,280 --> 00:29:45,240 Speaker 1: Because maybe that put a bird on a joke was 681 00:29:45,360 --> 00:29:48,520 Speaker 1: so timely at the moment. I don't see that bird 682 00:29:48,600 --> 00:29:51,280 Speaker 1: thing as much. But it's so funny. Because it's you 683 00:29:51,320 --> 00:29:56,020 Speaker 1: two guys as a couple who has like passive-aggressive issues 684 00:29:56,060 --> 00:29:57,290 Speaker 1: with each other. Yeah. 685 00:29:57,310 --> 00:29:59,729 Speaker 4: But starting to write for character, I think, and like, 686 00:29:59,780 --> 00:30:03,040 Speaker 4: that's what people watch in like sitcoms or dramas is like, 687 00:30:03,060 --> 00:30:05,400 Speaker 4: you're watching, it doesn't matter where you put them in space, 688 00:30:05,420 --> 00:30:06,700 Speaker 4: you put them in a hospital, whatever. 689 00:30:06,760 --> 00:30:07,720 Speaker 3: It's like the characters. 690 00:30:08,060 --> 00:30:10,740 Speaker 4: And I feel like when we realized that we could, 691 00:30:11,000 --> 00:30:14,560 Speaker 4: it didn't just have to be like, Oh, this funny idea. 692 00:30:14,580 --> 00:30:17,260 Speaker 3: Like it added, I think more heart to it. 693 00:30:18,580 --> 00:30:26,970 Speaker 4: Another great one in season two is, and, this guest 694 00:30:26,990 --> 00:30:31,720 Speaker 4: stars and idea was, um, the motorcycle where, um, Peter 695 00:30:31,760 --> 00:30:36,240 Speaker 4: and Nance see Deidre Aaron on a motorcycle and decide 696 00:30:36,260 --> 00:30:37,400 Speaker 4: they need to shake up their life. 697 00:30:37,960 --> 00:30:42,120 Speaker 2: Cause he calls, he calls Peter an old man. Hey 698 00:30:43,330 --> 00:30:43,810 Speaker 2: old man. 699 00:30:44,710 --> 00:30:50,310 Speaker 4: And then they go, yeah, that was, those were characters 700 00:30:50,350 --> 00:30:52,770 Speaker 4: I loved writing for because we, I always understood what 701 00:30:53,130 --> 00:30:54,190 Speaker 4: their dynamic was. 702 00:30:54,690 --> 00:30:56,910 Speaker 3: But like Abby and Christine, another example of like. 703 00:30:57,150 --> 00:30:59,480 Speaker 1: Oh my God, I forgot about that. They were so funny. 704 00:30:59,580 --> 00:31:00,100 Speaker 2: So good. 705 00:31:00,380 --> 00:31:00,620 Speaker 4: Yeah. 706 00:31:00,880 --> 00:31:03,460 Speaker 3: Where they invite us in for the, to swing. 707 00:31:05,700 --> 00:31:06,620 Speaker 2: Yeah. 708 00:31:06,740 --> 00:31:06,940 Speaker 4: Yeah. 709 00:31:07,180 --> 00:31:09,280 Speaker 2: And Danger was, Danger Aaron was really good as a 710 00:31:09,320 --> 00:31:11,020 Speaker 2: sort of, he pops up a lot. 711 00:31:11,120 --> 00:31:12,180 Speaker 1: Yeah, yeah. He was really good. 712 00:31:13,930 --> 00:31:16,230 Speaker 2: You know what it is now? I was, because you said, 713 00:31:16,450 --> 00:31:20,130 Speaker 2: it's not birds anymore, putting a bird, I see deer 714 00:31:20,170 --> 00:31:20,750 Speaker 2: with antlers. 715 00:31:20,770 --> 00:31:22,170 Speaker 1: Oh yeah, antlers. 716 00:31:23,050 --> 00:31:24,710 Speaker 2: As a sort of, And some hotels. 717 00:31:25,350 --> 00:31:25,709 Speaker 3: Yeah. 718 00:31:27,040 --> 00:31:30,540 Speaker 1: But even the Ace Hotel, I'm like, is it still 719 00:31:30,580 --> 00:31:31,020 Speaker 1: in Portland? 720 00:31:31,520 --> 00:31:32,260 Speaker 3: Not in Portland anymore. 721 00:31:32,300 --> 00:31:32,760 Speaker 1: It's gone. 722 00:31:32,880 --> 00:31:35,440 Speaker 2: Wow. I think it's mostly gone. It's still in Seattle. 723 00:31:35,460 --> 00:31:37,239 Speaker 1: Downtown LA is gone, I think. 724 00:31:37,300 --> 00:31:39,640 Speaker 3: It's still in Brooklyn. They have one in Toronto. It's 725 00:31:39,790 --> 00:31:42,290 Speaker 3: still in Brooklyn and Manhattan. And I think still in London. 726 00:31:43,450 --> 00:31:45,890 Speaker 1: But that was kind of like that Deuce Hotel. I 727 00:31:45,910 --> 00:31:48,450 Speaker 1: was looking at that today. I'm like, yeah, we were 728 00:31:49,010 --> 00:31:50,570 Speaker 1: doing the Ace Hotel thing. Yeah, yeah, yeah. 729 00:31:51,010 --> 00:31:51,350 Speaker 2: Clearly. 730 00:31:51,390 --> 00:31:52,709 Speaker 1: But it's kind of over, I guess. 731 00:31:54,140 --> 00:31:55,820 Speaker 2: I wonder if that kind of hotel is over. 732 00:31:56,060 --> 00:32:01,150 Speaker 1: I think it is. But you know what they revolutionized? 733 00:32:01,170 --> 00:32:02,770 Speaker 1: I always think about the Ace Hotel. They had in 734 00:32:02,810 --> 00:32:08,670 Speaker 1: the shower, the dispenser. And then all hotels were like, actually, 735 00:32:08,690 --> 00:32:09,270 Speaker 1: that's a good idea. 736 00:32:09,290 --> 00:32:10,300 Speaker 2: Yeah, like a big thing. 737 00:32:10,340 --> 00:32:11,420 Speaker 1: But they revolutionized that. 738 00:32:11,440 --> 00:32:13,000 Speaker 3: Yeah, that's right. I remember that for the first time 739 00:32:13,040 --> 00:32:15,480 Speaker 3: I saw that. I actually don't love that. 740 00:32:16,560 --> 00:32:18,340 Speaker 4: Because I just feel like I'm just putting my hand, 741 00:32:18,360 --> 00:32:19,420 Speaker 4: like I'm always touching. 742 00:32:19,440 --> 00:32:21,640 Speaker 3: But I mean, I guess that's true of anything. But 743 00:32:21,660 --> 00:32:24,280 Speaker 3: I'm just like, is that clean? I don't know. 744 00:32:24,420 --> 00:32:24,720 Speaker 4: Yeah. 745 00:32:25,380 --> 00:32:29,600 Speaker 2: But it seems more hip than a little bottle of shampoo. 746 00:32:29,960 --> 00:32:31,640 Speaker 3: Yeah. It's not as wasteful. 747 00:32:32,120 --> 00:32:32,360 Speaker 2: Yeah. 748 00:32:32,500 --> 00:32:33,580 Speaker 1: Right. Yeah. 749 00:32:33,800 --> 00:32:38,610 Speaker 2: Yeah. I guess, like, I think we even addressed this 750 00:32:38,690 --> 00:32:40,890 Speaker 2: back then. A lot of those hotels also have, like, 751 00:32:41,250 --> 00:32:42,130 Speaker 2: simple signage. 752 00:32:42,690 --> 00:32:45,530 Speaker 1: Soap. Oh, yeah. But I think they were kind of 753 00:32:45,650 --> 00:32:46,730 Speaker 1: a frontrunner. 754 00:32:46,970 --> 00:32:49,010 Speaker 3: And a clever sign to say that you did not 755 00:32:49,030 --> 00:32:49,880 Speaker 3: want to be disturbed. 756 00:32:50,430 --> 00:32:50,610 Speaker 4: Yes. 757 00:32:50,670 --> 00:32:51,770 Speaker 3: Like a phrase that was not. 758 00:32:52,750 --> 00:32:54,430 Speaker 2: Oh, that would be such a good new sketch. 759 00:32:54,470 --> 00:32:55,030 Speaker 1: I know. 760 00:32:55,050 --> 00:32:57,040 Speaker 2: Because you know the ones who made like, you know, 761 00:32:57,630 --> 00:32:59,380 Speaker 2: what's the couple that does like all the art, bad 762 00:32:59,400 --> 00:33:01,280 Speaker 2: art for Good Walls? 763 00:33:01,440 --> 00:33:03,080 Speaker 1: Remember that one? Yeah, yeah. 764 00:33:04,220 --> 00:33:05,100 Speaker 2: That would be so good if we did. 765 00:33:05,120 --> 00:33:07,100 Speaker 1: Oh, those people. God, that was hilarious. And we did 766 00:33:07,120 --> 00:33:08,120 Speaker 1: it with Sean Hayes. Remember that? 767 00:33:08,260 --> 00:33:08,540 Speaker 4: Yeah. 768 00:33:08,560 --> 00:33:09,140 Speaker 1: He was so funny. 769 00:33:09,560 --> 00:33:12,270 Speaker 2: But we should have done it with Do Not Disturb. Yes. 770 00:33:12,640 --> 00:33:13,830 Speaker 2: It would be such a good sketch. 771 00:33:14,030 --> 00:33:14,490 Speaker 1: Yeah. 772 00:33:14,970 --> 00:33:18,460 Speaker 4: No, no. We also did one when we were coming 773 00:33:18,480 --> 00:33:20,600 Speaker 4: up with puns for business names. 774 00:33:21,500 --> 00:33:22,180 Speaker 1: Oh, yeah, yeah, yeah. 775 00:33:23,120 --> 00:33:23,820 Speaker 3: Do you remember that? 776 00:33:24,000 --> 00:33:25,160 Speaker 1: Was there a guest star in that too? 777 00:33:25,780 --> 00:33:26,500 Speaker 3: I think it was just. 778 00:33:26,960 --> 00:33:27,500 Speaker 1: Just you two. 779 00:33:27,540 --> 00:33:28,180 Speaker 2: But what was the. 780 00:33:28,330 --> 00:33:30,810 Speaker 1: It was like faux restaurants. 781 00:33:31,410 --> 00:33:35,770 Speaker 4: But you had one of the craziest ones, which was 782 00:33:36,650 --> 00:33:37,450 Speaker 4: planned pizza hood. 783 00:33:38,310 --> 00:33:39,130 Speaker 3: Or a pizza shop. 784 00:33:39,450 --> 00:33:40,410 Speaker 2: I don't remember that. 785 00:33:40,450 --> 00:33:40,860 Speaker 1: That's a. 786 00:33:42,800 --> 00:33:44,260 Speaker 3: Good one. 787 00:33:44,280 --> 00:33:44,830 Speaker 2: Which is one of the. 788 00:33:45,400 --> 00:33:47,380 Speaker 3: Dumbest things I've ever heard and it's so good. 789 00:33:47,400 --> 00:33:48,280 Speaker 1: That's hilarious. 790 00:33:48,380 --> 00:33:49,580 Speaker 3: I was like, what? 791 00:33:50,000 --> 00:33:52,420 Speaker 2: But was that sketch, was it that we were doing 792 00:33:52,460 --> 00:33:53,720 Speaker 2: different businesses? Yeah. 793 00:33:53,960 --> 00:33:54,620 Speaker 1: Oh, okay, okay. 794 00:33:54,640 --> 00:33:55,780 Speaker 3: Yeah, it was just one of those like. 795 00:33:55,820 --> 00:33:57,060 Speaker 1: But then they did bad art too. 796 00:33:57,340 --> 00:33:59,160 Speaker 2: Yeah, yeah, there was a separate thing. 797 00:33:59,180 --> 00:34:02,720 Speaker 1: Yeah, yeah. But which one was Sean Hayes in? Bad art. 798 00:34:02,780 --> 00:34:03,420 Speaker 3: Bad art Goodwills. 799 00:34:03,440 --> 00:34:03,940 Speaker 1: Oh, it was, it was. 800 00:34:03,960 --> 00:34:08,359 Speaker 2: Yeah. Before we wrap this up, do you remember any 801 00:34:08,510 --> 00:34:15,339 Speaker 2: common bits that we did pre-shooting? Like, When we get 802 00:34:15,360 --> 00:34:17,180 Speaker 2: to set, was there anything that like. 803 00:34:18,840 --> 00:34:19,960 Speaker 1: Why do you remember? I don't. 804 00:34:20,660 --> 00:34:21,049 Speaker 2: What do you mean? 805 00:34:21,090 --> 00:34:21,819 Speaker 3: Like a thing that. 806 00:34:21,870 --> 00:34:26,310 Speaker 2: Like some joke or something. I just like, we got 807 00:34:26,350 --> 00:34:27,149 Speaker 2: so used to each other. 808 00:34:27,170 --> 00:34:27,530 Speaker 1: Yeah. 809 00:34:27,890 --> 00:34:30,930 Speaker 2: That I think we just started doing kind of the 810 00:34:30,969 --> 00:34:31,710 Speaker 2: same jokes. 811 00:34:32,790 --> 00:34:34,910 Speaker 4: I remember one of yours was to show up and 812 00:34:34,989 --> 00:34:37,009 Speaker 4: not pretend that you didn't know what we were doing. 813 00:34:37,460 --> 00:34:40,020 Speaker 3: Like, you know, you just be like, sorry, what are 814 00:34:40,040 --> 00:34:42,379 Speaker 3: we doing today? What is this again? As if you 815 00:34:42,440 --> 00:34:44,120 Speaker 3: didn't even know that you were on Portlandia. 816 00:34:45,480 --> 00:34:48,040 Speaker 4: And also Ian reminded me that you would sometimes also 817 00:34:48,060 --> 00:34:49,400 Speaker 4: be like, I just have to do a quick thing. 818 00:34:49,440 --> 00:34:54,239 Speaker 4: And you would turn the camera and like promote something. 819 00:34:55,680 --> 00:34:58,980 Speaker 2: But we really like we're in a groove. I mean, yeah. 820 00:34:59,140 --> 00:35:01,760 Speaker 1: And I feel like every day was like 7 a.m. 821 00:35:01,760 --> 00:35:02,440 Speaker 1: 7 p.m. 822 00:35:02,560 --> 00:35:02,759 Speaker 4: Yeah. 823 00:35:03,040 --> 00:35:03,239 Speaker 2: Yeah. 824 00:35:03,739 --> 00:35:05,690 Speaker 1: It was bare. There were some nights, but very few. 825 00:35:06,219 --> 00:35:07,810 Speaker 2: Not much at all. Yeah. 826 00:35:07,850 --> 00:35:10,089 Speaker 4: And I wonder if this was a season that you, 827 00:35:10,469 --> 00:35:12,850 Speaker 4: we went into September and you and the last couple 828 00:35:12,890 --> 00:35:15,530 Speaker 4: episodes were gone. Had to go just on the weekends, 829 00:35:15,570 --> 00:35:19,830 Speaker 4: had to do that crazy schedule where you would take off, fly. 830 00:35:19,469 --> 00:35:20,069 Speaker 3: On a red eye. 831 00:35:20,090 --> 00:35:21,450 Speaker 1: Do SNL and come back. 832 00:35:21,550 --> 00:35:22,950 Speaker 3: Come back, which is, I mean, yeah. 833 00:35:24,510 --> 00:35:26,520 Speaker 2: But I also loved it. 834 00:35:26,770 --> 00:35:27,110 Speaker 1: Yeah. 835 00:35:27,790 --> 00:35:29,770 Speaker 2: The drama of being on, you know, got to get 836 00:35:29,790 --> 00:35:30,330 Speaker 2: on the plane. 837 00:35:31,050 --> 00:35:32,230 Speaker 3: Yeah. 838 00:35:32,630 --> 00:35:33,850 Speaker 1: That's a long flight. 839 00:35:33,870 --> 00:35:34,610 Speaker 2: It's a long flight. 840 00:35:34,630 --> 00:35:36,669 Speaker 3: It's a long flight. No joke. Especially coming back. 841 00:35:36,850 --> 00:35:40,810 Speaker 4: It's like with the headwind. Anyway, Jonathan, thank you for 842 00:35:40,850 --> 00:35:42,710 Speaker 4: coming on this podcast. 843 00:35:42,750 --> 00:35:43,310 Speaker 1: Of course. 844 00:35:44,130 --> 00:35:49,720 Speaker 2: Pleasure I guess thank you for being part of the team. 845 00:35:49,739 --> 00:35:51,020 Speaker 4: Wait did you just bring up the bit thing because 846 00:35:51,040 --> 00:35:53,920 Speaker 4: you wanted us to no no I. 847 00:35:53,920 --> 00:35:56,279 Speaker 2: Was actually trying to I think we had some routines 848 00:35:56,320 --> 00:35:59,430 Speaker 2: kind of that like but I don't remember vaguely familiar 849 00:35:59,489 --> 00:36:03,110 Speaker 2: I just I just remember that we like the beginnings 850 00:36:03,150 --> 00:36:07,210 Speaker 2: of our days were very fun and easy. 851 00:36:07,110 --> 00:36:09,710 Speaker 4: Yes I will say I liked showing up to work 852 00:36:10,270 --> 00:36:12,140 Speaker 4: oh my god it was a blast. 853 00:36:11,910 --> 00:36:15,720 Speaker 2: Yeah there was no boss really You know what I mean? 854 00:36:15,800 --> 00:36:17,219 Speaker 2: It was really like just us. 855 00:36:17,239 --> 00:36:19,540 Speaker 1: Yeah. And then David reading the newspaper. 856 00:36:19,620 --> 00:36:19,779 Speaker 4: Yeah. 857 00:36:21,070 --> 00:36:21,450 Speaker 3: It was great. 858 00:36:21,590 --> 00:36:23,850 Speaker 1: You know, but I will say something that's just odd 859 00:36:23,870 --> 00:36:25,719 Speaker 1: about the way we would do it because everything was 860 00:36:25,739 --> 00:36:27,760 Speaker 1: like at call time. You guys come at seven. 861 00:36:28,020 --> 00:36:28,219 Speaker 4: Yeah. 862 00:36:28,340 --> 00:36:28,980 Speaker 1: I come at seven. 863 00:36:29,160 --> 00:36:29,319 Speaker 4: Yeah. 864 00:36:29,520 --> 00:36:31,040 Speaker 1: And then it was like, you guys go into hair 865 00:36:31,060 --> 00:36:33,279 Speaker 1: and makeup at seven, start getting ready. And we would 866 00:36:33,300 --> 00:36:35,779 Speaker 1: just like set up the first shot without you guys. 867 00:36:36,020 --> 00:36:37,489 Speaker 1: That is not the way it's done. 868 00:36:37,620 --> 00:36:39,670 Speaker 3: Or no, right. No stand-ins, right? We didn't do any, 869 00:36:39,690 --> 00:36:40,250 Speaker 3: no rehearsals. 870 00:36:40,290 --> 00:36:41,569 Speaker 1: It was just like, okay, so you have to stand 871 00:36:41,590 --> 00:36:43,509 Speaker 1: right here. You do the first take, start moving around. 872 00:36:43,570 --> 00:36:46,130 Speaker 1: Everyone would go, ah, what are they doing? Because there 873 00:36:46,170 --> 00:36:49,390 Speaker 1: was no, but it worked. It kind of worked. For 874 00:36:49,430 --> 00:36:52,120 Speaker 1: the most part, it worked. Occasionally, it would fall apart. 875 00:36:52,640 --> 00:36:52,960 Speaker 1: It's true. 876 00:36:53,000 --> 00:36:55,720 Speaker 4: And because this was my first experience, I didn't know 877 00:36:55,739 --> 00:36:57,720 Speaker 4: that usually you go in, there's blocking. 878 00:36:57,739 --> 00:36:59,040 Speaker 1: Yeah, I didn't know that either. 879 00:36:59,620 --> 00:37:01,560 Speaker 3: Like focus marks, like all these things. 880 00:37:01,600 --> 00:37:04,700 Speaker 1: They would always be like focusing. They walked over there. 881 00:37:04,719 --> 00:37:06,920 Speaker 1: Where are they going? Because we were trying to do 882 00:37:06,940 --> 00:37:09,239 Speaker 1: it so simple. You're there. You're there. That's it. That's 883 00:37:09,260 --> 00:37:11,770 Speaker 1: all we can do. And so most of the time, 884 00:37:11,810 --> 00:37:12,410 Speaker 1: that would work. 885 00:37:12,950 --> 00:37:14,770 Speaker 3: Oh, also, I guess one thing. Sorry, I know we're 886 00:37:14,890 --> 00:37:17,420 Speaker 3: over time. Yeah. One thing I wanted to ask you about, 887 00:37:17,719 --> 00:37:19,640 Speaker 3: because so many DPs don't like to do it, but 888 00:37:19,780 --> 00:37:22,779 Speaker 3: you did cross coverage. Like, and why, why is that? 889 00:37:22,840 --> 00:37:26,740 Speaker 3: Or cross shooting? Why is that? Sorry, not cross coverage. 890 00:37:26,900 --> 00:37:27,440 Speaker 4: And why? 891 00:37:28,320 --> 00:37:29,460 Speaker 3: Well, explain why that's. 892 00:37:29,739 --> 00:37:31,700 Speaker 1: Well, you know what it was? I saw Thunder and, 893 00:37:31,980 --> 00:37:37,259 Speaker 1: and I saw, I just knew, okay, this is, this 894 00:37:37,320 --> 00:37:40,680 Speaker 1: is a hundred percent improvised and that's important. So we 895 00:37:40,700 --> 00:37:43,160 Speaker 1: got to just get it. So, you know, when we 896 00:37:43,180 --> 00:37:45,549 Speaker 1: did Tim and Eric, we had three cameras. I'm like, 897 00:37:45,700 --> 00:37:48,969 Speaker 1: that's essential to it working. Like if we have to 898 00:37:49,010 --> 00:37:51,410 Speaker 1: do like this person and that, and it's just not 899 00:37:51,430 --> 00:37:53,790 Speaker 1: going to work. I could just tell that you guys were, 900 00:37:53,850 --> 00:37:56,270 Speaker 1: it was like, you're having fun in the moment, lightning 901 00:37:56,290 --> 00:37:58,029 Speaker 1: in a bow, got it. We have to be able 902 00:37:58,070 --> 00:38:01,410 Speaker 1: to capture that. So I just was like, we have 903 00:38:01,450 --> 00:38:04,049 Speaker 1: to do it that way because yeah, because you have 904 00:38:04,070 --> 00:38:06,489 Speaker 1: to be able to cut it down later and change it. 905 00:38:06,570 --> 00:38:08,390 Speaker 1: And so I had a lot of experience doing that. 906 00:38:08,410 --> 00:38:11,029 Speaker 1: So I'm like, we have to do it. It's just essential. 907 00:38:11,489 --> 00:38:15,939 Speaker 1: No one cared. And Bryce was like, totally up for 908 00:38:16,060 --> 00:38:19,580 Speaker 1: it so that was huge that was huge to the 909 00:38:19,660 --> 00:38:21,879 Speaker 1: success of the show I think if someone had come 910 00:38:21,920 --> 00:38:24,029 Speaker 1: in with a more traditional like here's how you do 911 00:38:24,070 --> 00:38:26,189 Speaker 1: a show it wouldn't have worked so it was good 912 00:38:26,230 --> 00:38:28,549 Speaker 1: to not know everything even though I had done other 913 00:38:28,570 --> 00:38:30,890 Speaker 1: shows we also didn't know what we were doing so 914 00:38:30,910 --> 00:38:32,950 Speaker 1: it was like nice that was the first time I 915 00:38:32,989 --> 00:38:35,260 Speaker 1: think I had like no I had done some other 916 00:38:35,280 --> 00:38:38,920 Speaker 1: stuff but like call times and like unions and all 917 00:38:38,960 --> 00:38:40,920 Speaker 1: that kind of stuff it was I had done it 918 00:38:40,960 --> 00:38:44,379 Speaker 1: a little bit but but this was such a family vibe. 919 00:38:44,420 --> 00:38:47,920 Speaker 1: It didn't never felt like super structured or anything. 920 00:38:48,180 --> 00:38:49,520 Speaker 4: Yeah. I was just thinking of that when you were 921 00:38:49,560 --> 00:38:52,399 Speaker 4: saying that, like, we didn't feel reined in, like there 922 00:38:52,660 --> 00:38:54,950 Speaker 4: is such a freedom in knowing like, Oh my gosh, 923 00:38:54,969 --> 00:38:57,149 Speaker 4: I don't have to read, especially with improv where like 924 00:38:57,350 --> 00:39:01,290 Speaker 4: some script supervisor who would have had to write down everything. 925 00:39:01,330 --> 00:39:04,070 Speaker 1: Supervisors. I could, I could talk about them for hours. 926 00:39:04,310 --> 00:39:07,029 Speaker 4: And then you'd have to read it back. I mean, 927 00:39:07,070 --> 00:39:08,930 Speaker 4: it just, we just didn't have to worry about that. 928 00:39:09,350 --> 00:39:11,560 Speaker 1: I would say the first time this, A script supervisor 929 00:39:11,580 --> 00:39:14,110 Speaker 1: would start for the season. They'd see the first shot. 930 00:39:14,150 --> 00:39:16,710 Speaker 1: They'd come up to me. Okay, so what just happened? 931 00:39:17,190 --> 00:39:18,830 Speaker 1: I have no idea. And I'm like, don't worry, don't worry, 932 00:39:18,850 --> 00:39:21,630 Speaker 1: don't worry. I'm keeping track of it. Just kind of 933 00:39:21,650 --> 00:39:23,750 Speaker 1: keep track. But it was it was hilarious. 934 00:39:24,010 --> 00:39:27,700 Speaker 2: I remember you doing that motion. Don't worry. Like I 935 00:39:27,719 --> 00:39:29,759 Speaker 2: think I've seen those conversations. You're like, don't worry. 936 00:39:30,360 --> 00:39:30,940 Speaker 3: Yeah. 937 00:39:31,239 --> 00:39:34,200 Speaker 1: I'm sorry. No, no, you go. You go. You go. 938 00:39:34,239 --> 00:39:34,660 Speaker 3: No, for real. 939 00:39:35,680 --> 00:39:37,520 Speaker 2: Uh, well, this is a separate thought is the one 940 00:39:37,540 --> 00:39:42,110 Speaker 2: thing I remember about John has five o'clock in the afternoon, 941 00:39:42,130 --> 00:39:45,230 Speaker 2: a little bit of ice cream, a lot of ice cream. Yeah. 942 00:39:45,310 --> 00:39:48,680 Speaker 1: Still do that towards the end. It's just, yeah, I 943 00:39:48,700 --> 00:39:50,580 Speaker 1: love that. That's so funny. 944 00:39:50,620 --> 00:39:51,960 Speaker 4: I feel like one of the only places I've run 945 00:39:52,000 --> 00:39:55,320 Speaker 4: into in the last, like, couple years is at an 946 00:39:55,380 --> 00:39:57,480 Speaker 4: ice cream place on Hillhurst. 947 00:39:58,520 --> 00:39:59,779 Speaker 1: Really? Like Jenny's Ice Cream? 948 00:39:59,840 --> 00:40:00,080 Speaker 2: Yeah. 949 00:40:00,380 --> 00:40:03,819 Speaker 1: Huh. I mean, when you have little kids, you go 950 00:40:03,840 --> 00:40:05,230 Speaker 1: to a lot of ice cream. I haven't been to 951 00:40:05,310 --> 00:40:09,390 Speaker 1: ice cream all that much recently. But, yeah, ice cream 952 00:40:09,410 --> 00:40:10,609 Speaker 1: was booming in Portland when we. 953 00:40:10,530 --> 00:40:12,109 Speaker 3: Were making this show. It was booming. We gave Salt 954 00:40:12,190 --> 00:40:13,470 Speaker 3: and Straw a shout out earlier. 955 00:40:13,489 --> 00:40:14,230 Speaker 2: I know, we did. 956 00:40:14,250 --> 00:40:16,070 Speaker 1: Yeah. Yeah. 957 00:40:16,110 --> 00:40:18,259 Speaker 2: Because they were, like, a little... They were just like 958 00:40:18,300 --> 00:40:19,060 Speaker 2: getting started. 959 00:40:19,080 --> 00:40:20,320 Speaker 1: Oh, there was always a line. 960 00:40:21,140 --> 00:40:22,180 Speaker 3: There still is always a line. 961 00:40:22,200 --> 00:40:24,800 Speaker 1: But it was only in Portland at that time, right? Yeah. Yeah. 962 00:40:25,020 --> 00:40:28,120 Speaker 3: Same with Voodoo Donuts. Only in Portland. 963 00:40:29,760 --> 00:40:30,230 Speaker 1: At that time. 964 00:40:30,650 --> 00:40:31,069 Speaker 3: At that time. 965 00:40:31,130 --> 00:40:31,470 Speaker 1: Right. 966 00:40:31,489 --> 00:40:32,790 Speaker 3: Now it's everywhere. 967 00:40:32,870 --> 00:40:33,430 Speaker 1: Oh, yeah. 968 00:40:33,810 --> 00:40:33,989 Speaker 4: Yeah. 969 00:40:34,150 --> 00:40:34,969 Speaker 3: Including here, I think. 970 00:40:35,350 --> 00:40:38,830 Speaker 4: That seems like a good place to wrap up. Jonathan, 971 00:40:38,870 --> 00:40:40,370 Speaker 4: thanks for being on the podcast. 972 00:40:40,390 --> 00:40:40,870 Speaker 1: Of course. 973 00:40:41,930 --> 00:40:42,750 Speaker 2: Thank you, John. 974 00:40:42,910 --> 00:40:43,720 Speaker 1: Thank you. Thank you. 975 00:40:48,320 --> 00:40:49,140 Speaker 2: Rewatch. 976 00:40:49,180 --> 00:40:49,719 Speaker 4: Rewatch.