WEBVTT - Penn Badgley

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<v Speaker 1>Did you view yourself as the outsider on the ship?

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<v Speaker 1>In life? On the show? On the show, did I

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<v Speaker 1>view Dan as the outsider? As Dan as the outsider?

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<v Speaker 1>I mean, that's who he's identified as. But to me,

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<v Speaker 1>the joke is always like, Bro, how much more on

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<v Speaker 1>the inside could you be? You're just not in the

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<v Speaker 1>deepest of the inner circle, but you're in the same school.

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<v Speaker 1>You're you're a you're a white boy, you know, you're

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<v Speaker 1>you know your dad was a rock star, and you

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<v Speaker 1>live in a three million dollar apartment rather than a

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<v Speaker 1>thirty million dollar mansions. So like, if you think you're

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<v Speaker 1>on the outside, Dan Humphrey, I'm sorry, but you have

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<v Speaker 1>a lot of learning to do. Hi. My name is

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<v Speaker 1>Penn Badgeley and I am you. Hi everybody. As always,

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<v Speaker 1>I'm your host, Brian bamb Gartner, and today we are

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<v Speaker 1>truly going off the beat. Thanks for joining me. Today's guest.

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<v Speaker 1>He's charming, he's thoughtful, he's incredible, likable, and he plays

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<v Speaker 1>a serial killer on TV. I'm talking, of course, about

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<v Speaker 1>the uber talented Penn Badgeley, a man who is as

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<v Speaker 1>much at home on his podcast talking about the awkward

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<v Speaker 1>middle school years as he is luring people to their

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<v Speaker 1>deaths on the hit show you talk about range. Pen

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<v Speaker 1>and I we have a lot in common. We're both actors,

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<v Speaker 1>we both love many of the same people, some of

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<v Speaker 1>whom co starred with him on Gossip Girl of course,

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<v Speaker 1>where he played Dan Humphrey. And we're both always watching. No,

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<v Speaker 1>not really, but seriously. I loved hearing about Penn's unique

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<v Speaker 1>journey growing up on television and now he's reflecting on

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<v Speaker 1>it over twenty years later with his podcast pod Crushed,

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<v Speaker 1>which coincidentally I'm a guest on this month as well.

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<v Speaker 1>Give that a listen if you want to hear about

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<v Speaker 1>my awkward junior high years. Can't wait for you to

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<v Speaker 1>hear this one. I won't make you wait any longer.

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<v Speaker 1>Here he is my new friend, Penn Badgeley, Bubble and Squeak.

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<v Speaker 1>I love it. Bubble and Squeak on Bubble and Squeaker

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<v Speaker 1>Cookie every month left over from the night before. Pen.

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<v Speaker 1>It's great to see you. Where are you? You're I'm

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<v Speaker 1>in New York City. You're in New York You're in

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<v Speaker 1>You're in a very official I podcast studio. It's branded

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<v Speaker 1>and everything it is well so this is it's it's

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<v Speaker 1>funny because the first year of producing and recording our podcast,

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<v Speaker 1>I was in a different super jan Kie environment every

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<v Speaker 1>for every interview. And actually, if you look at some

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<v Speaker 1>of the stuff we've put together on social media, when

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<v Speaker 1>we weren't even trying to be visual, but we just

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<v Speaker 1>had some zoom footage, I'm in a different place every time.

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<v Speaker 1>The lighting is terrible, Like I have facial here and

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<v Speaker 1>that's very unkempt, whereas now it's there, but it's kempt

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<v Speaker 1>and it's m Yeah. And so now I'm like getting

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<v Speaker 1>used to. I get on the train and I come

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<v Speaker 1>and it's like taking care of and we have our

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<v Speaker 1>engineer here, and we have our producer. It's like, it's yeah,

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<v Speaker 1>it's if this is podcasting, signed me up? This is it? Now.

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<v Speaker 1>I have to ask you, this is like such a lame, lame,

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<v Speaker 1>lame Hollywood question. Do we know each other? Did we

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<v Speaker 1>know from back in the day? But I don't think so,

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<v Speaker 1>you don't. But here's why it's easy to be somewhat certain.

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<v Speaker 1>I've lived in New York for the last fifteen years,

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<v Speaker 1>and I really don't run into people the same way.

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<v Speaker 1>We'll see. Here's the thing. I randomly became, which, of

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<v Speaker 1>course we'll talk about Gossip Girl in a little bit.

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<v Speaker 1>I randomly became friends slash friendly with virtually your entire

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<v Speaker 1>cast in New York City, really so like Ed and

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<v Speaker 1>Sebastian stand Chase and all sort of through Jeff z

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<v Speaker 1>or Ah. Okay, yeah, yeah, yeah. So it's then you

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<v Speaker 1>know what it were you it would have been in

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<v Speaker 1>New York because I really haven't been to a much.

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<v Speaker 1>So if you were around when the show was still

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<v Speaker 1>on the air, when Gossip Girl was still going, then

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<v Speaker 1>I suppose it's possible, yes, but if neither of us

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<v Speaker 1>remember it, it probably wasn't. I think we can go

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<v Speaker 1>ahead and say, nice to meet you. Yeah, nice to

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<v Speaker 1>meet you. That sounds makes sense. Nice to meet you. Yes,

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<v Speaker 1>you know, Gossip Girls started shortly before the Office, and

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<v Speaker 1>you guys were so big and so hip, which was

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<v Speaker 1>the opposite of us at that time. I uh, when

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<v Speaker 1>you started, I mean you, well when for sure, when

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<v Speaker 1>we started, but also but even throughout you know, the

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<v Speaker 1>we weren't. We weren't like paparazzi stalked and like, we

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<v Speaker 1>weren't living that sort of well gossip girl type life.

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<v Speaker 1>I guess you're just creating the most watched television show

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<v Speaker 1>I think in history. Is that? Now? What the office is?

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<v Speaker 1>The U S Office. It's it for sure. Now I

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<v Speaker 1>don't know, maybe maybe I love Lucy or something. It's

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<v Speaker 1>still okay, it's still bigger. But um yeah. So so

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<v Speaker 1>I had some crazy like New York experiences like oh,

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<v Speaker 1>this is the back door of a place, like I

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<v Speaker 1>wasn't used to that. Yes, I still don't know how

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<v Speaker 1>to get in the front door. I've actually talked my

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<v Speaker 1>way into the front door of a club once, exactly

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<v Speaker 1>once in my life, in the first season of Gossip Girl,

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<v Speaker 1>the first and last time I ever did it. I

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<v Speaker 1>still don't know how to wield that hammer, and and

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<v Speaker 1>it's it's comical. But you know, if a back door

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<v Speaker 1>is open to me and I'm being ushered through it,

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<v Speaker 1>sure thing. Yeah, it's easy. Yeah, all right, Well I

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<v Speaker 1>want to start back before that. You're a You're a

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<v Speaker 1>difficult guy to pin down in terms of the question

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<v Speaker 1>where are you from. It sounds like you were born

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<v Speaker 1>in Maryland and then going to move to Virginia at

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<v Speaker 1>two years old. Packed up my bags. Yeah, then I

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<v Speaker 1>was also in Washington State. By the time I was

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<v Speaker 1>I think eight or nine. And then I was in

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<v Speaker 1>l A, l A, pursuing a career as an actor

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<v Speaker 1>at the right old age of twelve, and about time

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<v Speaker 1>I was twenty, I was in New York City. Okay,

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<v Speaker 1>so you you went, you went the opposite way. You're

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<v Speaker 1>one of the very very few who moved from l

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<v Speaker 1>A to New York. That doesn't usually happened. No, I

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<v Speaker 1>mean I was really lucky in a number of ways

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<v Speaker 1>when Gossip Girl came along, even though even though it

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<v Speaker 1>was something that I have spoken a lot about, how like,

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<v Speaker 1>you know, sort of in the beginning, I wasn't sure

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<v Speaker 1>it seems to be the way I signed on to

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<v Speaker 1>things because it was the same with my show You Now.

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<v Speaker 1>But I yeah, I mean one of the great gifts

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<v Speaker 1>that brought was living in New York City. Truly, I

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<v Speaker 1>cannot well, any other life is a fantasy, but I

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<v Speaker 1>can't imagine not having been in New York in my twenties.

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<v Speaker 1>And it's very intense, by the way, like the city

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<v Speaker 1>is exhausting, so that fifteen sixteen years later, I'm like,

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<v Speaker 1>you know, having to process what that was. But but man, yeah,

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<v Speaker 1>it's an incredible place to be. Where would you say,

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<v Speaker 1>what place influenced you the most before you're your move

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<v Speaker 1>to New York. It sounds like you were in in

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<v Speaker 1>in Washington State for quite a while. Yeah, every everywhere

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<v Speaker 1>was a different kind of influence, each one of them

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<v Speaker 1>pretty deep. I think the one that resonates the most

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<v Speaker 1>is Washington State because at that age I was just

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<v Speaker 1>nine to twelves and those are such formative years. And

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<v Speaker 1>then by the time I was in l A. You know,

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<v Speaker 1>those are formative years as well. But then, of course,

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<v Speaker 1>like any like any teenager, I became to disdain the

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<v Speaker 1>place that I lived. And I think, um, being a

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<v Speaker 1>an actor, you of course, you know, the relationship you

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<v Speaker 1>developed with l A is different then if you do

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<v Speaker 1>something else right, you know, And so I think by

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<v Speaker 1>the time I was twenty, I really wanted to get out.

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<v Speaker 1>I always wanted to live in in New York, and

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<v Speaker 1>so then the opportunity came, and so yeah, I'd say

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<v Speaker 1>Washington State, that place is the place that feels like

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<v Speaker 1>my home before it all kind of started. Before it started. Um,

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<v Speaker 1>were you named after a tennis ball brand? I was. Indeed,

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<v Speaker 1>Now that doesn't really mean anything because there was no

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<v Speaker 1>attachment to the brand. My parents were not that's not

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<v Speaker 1>even that's it's tennis players. Well, my dad was a

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<v Speaker 1>tennis player, but not you know, I mean, it's like

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<v Speaker 1>it was more of a happenstance where he was he

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<v Speaker 1>was bouncing gripping a pen tennis ball just sort of

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<v Speaker 1>like because it was there and it was a stress thing.

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<v Speaker 1>And my mom said, uh, oh, he's about the size

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<v Speaker 1>of that tennis ball. Right now, I think they've just

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<v Speaker 1>gotten the first sonogram. I don't know if a story is.

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<v Speaker 1>I don't know if they were actually in the hospital

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<v Speaker 1>at a time or if what what it was. But

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<v Speaker 1>but then and then he just looked at the ball

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<v Speaker 1>and then in that moment they knew pen. That's that's

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<v Speaker 1>the Yeah, fascinating. Do you think that that that bouncinus

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<v Speaker 1>influenced anything later on? Back and forth? Uh, that's interesting.

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<v Speaker 1>I've never thought of that. And my relationship with tennis

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<v Speaker 1>is I really like to watch it, but I've never

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<v Speaker 1>been a tennis person. I don't it doesn't. Here's where

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<v Speaker 1>the name means something to me is that I kind

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<v Speaker 1>of I went through this phase where I got into them.

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<v Speaker 1>The etymology of the word pen like a like a

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<v Speaker 1>like a writing pen, even though that's technically not I mean,

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<v Speaker 1>it has an extra end, so I don't know if

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<v Speaker 1>that just makes it a name or whatever. But like

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<v Speaker 1>the idea that a pen point is like, it's like this,

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<v Speaker 1>like I don't know the point where things come to

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<v Speaker 1>a head. It's it kind of used to mean like

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<v Speaker 1>a general. I think in Germanic. It's sort of like

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<v Speaker 1>the root of the word used for a general. Yeah,

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<v Speaker 1>it's kind of I don't know, interesting esoteric stuff. But

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<v Speaker 1>now the name, the name, doesn't I like it because

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<v Speaker 1>it's unique. Yes, I rarely ever see the name or

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<v Speaker 1>hear the name in any of the reference than to me,

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<v Speaker 1>you know what I mean. So that's kind of interesting,

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<v Speaker 1>Like you know, people who have a name, like it's

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<v Speaker 1>more common, they're accustomed to meeting people with their name.

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<v Speaker 1>I I have only met one other person named pen

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<v Speaker 1>And incidentally, my mother's neighbor for a very brief period.

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<v Speaker 1>My mother lived in Colorado, and she actually when she

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<v Speaker 1>first moved in to this suburban street in Colorado. This

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<v Speaker 1>is like I don't want to say, six seven, eight

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<v Speaker 1>years ago, she uh had somebody left cookies on her

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<v Speaker 1>front door and it said, you know, nice to meet

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<v Speaker 1>your neighbor signed pen and my mom. The way she

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<v Speaker 1>describes it, she literally was like what and like she

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<v Speaker 1>didn't see who it was. She was just so she

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<v Speaker 1>was having like a brain glitch, like a matrix moment,

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<v Speaker 1>you know, like what do you mean That's not possible.

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<v Speaker 1>And it turns out the woman who lived next door,

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<v Speaker 1>she was like in her forties. I think she had

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<v Speaker 1>like two kids. She was from. Her heritage is a

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<v Speaker 1>West Indies, so she's black, and so it's it's it's

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<v Speaker 1>an interesting funny story that the only other woman me

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<v Speaker 1>or my family has ever met was an older black

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<v Speaker 1>woman who lived next right to my mom. You know

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<v Speaker 1>that's kind of I like that the name has that spectrum. Yeah,

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<v Speaker 1>it does, you know, it does. It transverses the world. Now,

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<v Speaker 1>I have to tell you, in the weirdest coincidence ever,

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<v Speaker 1>I have only met one other pen And Gilette to

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<v Speaker 1>him on this podcast, very very recently, and I will

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<v Speaker 1>tell you, well, you have you have a lot to

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<v Speaker 1>live up to. He was, he's fascinating. Yeah, he's pretty

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<v Speaker 1>incredibly smart and intuitive, and he immediately invited me, well

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<v Speaker 1>not immediately, but at the end of our conversation invited

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<v Speaker 1>me to a show of his in Vegas and I

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<v Speaker 1>have never been. And after the conversation, I was like, anytime,

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<v Speaker 1>and I will just fly there to come and hang

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<v Speaker 1>out with you. And that actually makes me feel like

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<v Speaker 1>I've never felt this way about like another quote unquote celebrity.

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<v Speaker 1>That's sort of I don't operate like that. But that

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<v Speaker 1>just made me realize like he is the only other

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<v Speaker 1>famous pen I'm aware of. He uh, and he's a

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<v Speaker 1>profound dude. He's like he's their act Penn and Teller

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<v Speaker 1>is is I think brilliant. I mean I've never really

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<v Speaker 1>dug into it, but I I've never seen it live.

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<v Speaker 1>But you're making me feel like somehow I really want

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<v Speaker 1>to reach out to him, and just because he is

0:12:56.440 --> 0:13:03.320
<v Speaker 1>so smart, you need to and it'll Pen and Pen. Yeah,

0:13:03.360 --> 0:13:05.600
<v Speaker 1>Pen and Pen, that's an episode we gotta get him

0:13:05.600 --> 0:13:09.439
<v Speaker 1>for our podcast. Yeah, Pen and Pen, you just give

0:13:09.480 --> 0:13:11.600
<v Speaker 1>me credit just in the in the bottom corner. Definitely,

0:13:11.600 --> 0:13:17.960
<v Speaker 1>You're not gonna get any points or anything but points. Points. Points. Yeah,

0:13:18.040 --> 0:13:21.880
<v Speaker 1>It's just I've never had points in anything yet. Points

0:13:21.880 --> 0:13:26.040
<v Speaker 1>are what you get when something is not worth anything, right, right,

0:13:26.160 --> 0:13:29.840
<v Speaker 1>right right. However, However, if you get in I mean,

0:13:29.880 --> 0:13:31.559
<v Speaker 1>you know, on a show like yours or if it's well,

0:13:32.040 --> 0:13:33.240
<v Speaker 1>I know, I'm not saying that you guys did it.

0:13:33.280 --> 0:13:35.439
<v Speaker 1>I'm just saying like, there is that rare like Keianna

0:13:35.480 --> 0:13:39.000
<v Speaker 1>Reeves famously got him, he didn't he like rather than

0:13:39.040 --> 0:13:41.160
<v Speaker 1>getting paid a lot for the matrix, he got some points.

0:13:41.559 --> 0:13:44.720
<v Speaker 1>Well those are good points to have, Yeah, exactly if

0:13:44.720 --> 0:13:47.000
<v Speaker 1>you can stumble onto something that is going to turn

0:13:47.040 --> 0:13:54.120
<v Speaker 1>the giant. Yes, Um, when did you start becoming interested

0:13:54.160 --> 0:13:56.720
<v Speaker 1>in acting? Now? I understand you did some stuff for

0:13:56.840 --> 0:13:59.920
<v Speaker 1>Seattle Children's Theater, so this is young. But was this

0:14:00.040 --> 0:14:02.600
<v Speaker 1>a hobby or was this something you were really interested

0:14:02.640 --> 0:14:06.480
<v Speaker 1>in pursuing? I mean both it it went from a hobby.

0:14:07.040 --> 0:14:10.760
<v Speaker 1>My first creative passion is music that was kind of

0:14:10.760 --> 0:14:14.439
<v Speaker 1>from birth pretty evidently, which with my toddler actually seems

0:14:14.440 --> 0:14:17.560
<v Speaker 1>to be the same case. Really really his love music

0:14:17.640 --> 0:14:20.000
<v Speaker 1>from the get go and has a very specific kind

0:14:20.000 --> 0:14:24.080
<v Speaker 1>of taste. So yeah, singing performing in that way was

0:14:24.120 --> 0:14:28.000
<v Speaker 1>like something that I think my heart desired. But the

0:14:28.040 --> 0:14:31.320
<v Speaker 1>way it became acting I can't really recall, except that

0:14:31.360 --> 0:14:34.800
<v Speaker 1>there were some school players pretty young and then and

0:14:34.960 --> 0:14:37.280
<v Speaker 1>but then really what did it was that I was

0:14:37.480 --> 0:14:40.400
<v Speaker 1>clearly a very creative person. Actually, the thing I spent

0:14:40.440 --> 0:14:43.320
<v Speaker 1>the most time doing was drawing. I would draw and

0:14:43.360 --> 0:14:45.480
<v Speaker 1>listen to music and I didn't sing that much that

0:14:45.640 --> 0:14:47.960
<v Speaker 1>at that point. But but then when we moved to

0:14:47.960 --> 0:14:50.440
<v Speaker 1>Washington State, we lived in the middle of nowhere, and

0:14:50.440 --> 0:14:52.680
<v Speaker 1>I needed a social outlet because it was just the

0:14:52.680 --> 0:14:55.200
<v Speaker 1>beginning of summer. I had no school, nothing like that,

0:14:55.680 --> 0:14:58.680
<v Speaker 1>and my mom and I would drive to this, uh,

0:14:58.720 --> 0:15:01.200
<v Speaker 1>this theater house. It was like few miles away in

0:15:01.240 --> 0:15:04.960
<v Speaker 1>a town called Monroe. And that was when I fell

0:15:05.000 --> 0:15:08.360
<v Speaker 1>in love with the practice. A crew of cast, you know,

0:15:08.600 --> 0:15:12.040
<v Speaker 1>like there's sometimes nothing better. It's like this communal experience.

0:15:12.080 --> 0:15:13.560
<v Speaker 1>You get to meet so many different kinds of people,

0:15:13.600 --> 0:15:16.680
<v Speaker 1>especially when you're that age. You know most kids are.

0:15:16.760 --> 0:15:19.960
<v Speaker 1>Most kids are surrounded by kids only their age, which

0:15:20.000 --> 0:15:21.800
<v Speaker 1>is a construct of school you think about, it's not

0:15:21.840 --> 0:15:24.760
<v Speaker 1>totally natural what I love. I loved being around just

0:15:24.840 --> 0:15:29.000
<v Speaker 1>adults and all different kinds of people, creative people. I

0:15:29.400 --> 0:15:32.720
<v Speaker 1>just I really loved it. And then I saw Seattle

0:15:32.760 --> 0:15:35.480
<v Speaker 1>as this like um because I didn't live in Seattle,

0:15:35.520 --> 0:15:37.320
<v Speaker 1>and when I would go into Seattle later when I

0:15:37.320 --> 0:15:39.440
<v Speaker 1>was doing plays in the city, I just felt some

0:15:39.520 --> 0:15:42.120
<v Speaker 1>Metropolitan would go to the museum and stuff. I just

0:15:42.480 --> 0:15:44.720
<v Speaker 1>it just felt like like the arts with this access

0:15:44.760 --> 0:15:47.280
<v Speaker 1>to the world, you know, And and so I didn't

0:15:47.320 --> 0:15:52.960
<v Speaker 1>just love acting. I loved the entire thing. You know,

0:15:53.360 --> 0:15:55.680
<v Speaker 1>it just was like magical. It just it was it

0:15:55.720 --> 0:15:58.280
<v Speaker 1>was lovely and so I really pretty and I don't know,

0:15:58.320 --> 0:16:00.280
<v Speaker 1>I mean it just that couldn't have matter been doing

0:16:00.280 --> 0:16:05.960
<v Speaker 1>anything else. You bring up something I've never thought about before.

0:16:06.120 --> 0:16:08.800
<v Speaker 1>But it's so true. I mean, if you think about

0:16:08.840 --> 0:16:12.240
<v Speaker 1>school and you think about sports, even at a young

0:16:12.280 --> 0:16:15.000
<v Speaker 1>age to right, I mean, you're you're it's like you're

0:16:15.040 --> 0:16:17.640
<v Speaker 1>playing with nine and ten year olds or eleven, you know,

0:16:17.680 --> 0:16:23.520
<v Speaker 1>in on teams. But theater specifically is one place where

0:16:23.960 --> 0:16:29.040
<v Speaker 1>you have the opportunity to be around and in a

0:16:29.080 --> 0:16:32.680
<v Speaker 1>way be on the same team with a variety of

0:16:33.240 --> 0:16:40.119
<v Speaker 1>ages and types and sexes and everything. That is that

0:16:40.120 --> 0:16:43.320
<v Speaker 1>that's so valuable, I would is no. I mean, I

0:16:43.360 --> 0:16:45.480
<v Speaker 1>actually think it's a more natural way for people to

0:16:45.520 --> 0:16:48.320
<v Speaker 1>grow up because you think about schools, schools haven't existed

0:16:48.360 --> 0:16:51.720
<v Speaker 1>that long, Like we're normally the world is mixed age,

0:16:52.120 --> 0:16:53.800
<v Speaker 1>Like you know, you're going to be in the world.

0:16:54.000 --> 0:16:57.320
<v Speaker 1>So in the way I grew up like in the world,

0:16:58.000 --> 0:16:59.960
<v Speaker 1>and I think, you look, I mean, it has it's

0:17:00.160 --> 0:17:03.360
<v Speaker 1>it has its taxes and as its cost. But but

0:17:03.400 --> 0:17:05.880
<v Speaker 1>there's something about that that I always loved. I really

0:17:05.920 --> 0:17:08.359
<v Speaker 1>always loved and I and I and I stopped going

0:17:08.400 --> 0:17:11.040
<v Speaker 1>to school in a traditional sense pretty early on, so

0:17:11.760 --> 0:17:15.800
<v Speaker 1>you know, yeah, I've I've come to appreciate it. Did

0:17:15.800 --> 0:17:19.720
<v Speaker 1>you graduate high school at age thirteen? Technically, what I

0:17:19.760 --> 0:17:23.240
<v Speaker 1>did was took the California High School State Proficiency Exams,

0:17:23.240 --> 0:17:25.560
<v Speaker 1>So that's now referred to as the CHEST because it's

0:17:25.600 --> 0:17:30.040
<v Speaker 1>a bit more popular for kids who were seeking to Basically,

0:17:30.080 --> 0:17:32.720
<v Speaker 1>what it does is it allows you to work without

0:17:32.760 --> 0:17:35.840
<v Speaker 1>a tutor on set and without the constraints of like

0:17:35.880 --> 0:17:37.320
<v Speaker 1>the eight and a half hours or whatever that is.

0:17:37.359 --> 0:17:39.840
<v Speaker 1>So like I could work for twelve hours and I

0:17:39.840 --> 0:17:41.880
<v Speaker 1>wouldn't have to have a tutor. And you know, if

0:17:41.920 --> 0:17:45.200
<v Speaker 1>you're an autodidact, if you like learning, that's not a

0:17:45.240 --> 0:17:47.159
<v Speaker 1>bad thing at all, because the set tutor is a

0:17:47.160 --> 0:17:50.440
<v Speaker 1>little bit of a I didn't five with it, and

0:17:50.840 --> 0:17:55.159
<v Speaker 1>and I'm again like, I'm not recommending it for all people,

0:17:55.240 --> 0:17:57.199
<v Speaker 1>but the way that it worked for me was that

0:17:57.240 --> 0:18:00.879
<v Speaker 1>it is that it worked fascinating. So like basically the

0:18:00.920 --> 0:18:03.359
<v Speaker 1>equivalent of a G E D or something the exact

0:18:03.400 --> 0:18:05.040
<v Speaker 1>same thing. It's just a G E D I think

0:18:05.119 --> 0:18:07.879
<v Speaker 1>is a national thing with this is just in the

0:18:07.920 --> 0:18:09.520
<v Speaker 1>state of California. So what I did was I started

0:18:09.520 --> 0:18:11.320
<v Speaker 1>going to Santa Monica College. I don't know if you've

0:18:11.320 --> 0:18:12.720
<v Speaker 1>ever been there, but it's a really cool kind of

0:18:12.720 --> 0:18:15.600
<v Speaker 1>like cultural hub too. Yes, there was another example of

0:18:15.640 --> 0:18:19.000
<v Speaker 1>how this profession sort of kept opening up the world

0:18:19.040 --> 0:18:21.159
<v Speaker 1>to me. You know, I was taking sociology at a

0:18:21.200 --> 0:18:25.399
<v Speaker 1>college level when I was like fourteen, and I loved that.

0:18:25.520 --> 0:18:28.040
<v Speaker 1>I loved that. I took photography, you know, and I

0:18:28.520 --> 0:18:30.439
<v Speaker 1>was taking drawing and I was drawing models, you know,

0:18:30.520 --> 0:18:33.320
<v Speaker 1>and stuff. It was just loved it. I really really

0:18:33.320 --> 0:18:36.359
<v Speaker 1>loved it. Well, again, this makes a ton of sense.

0:18:36.400 --> 0:18:39.159
<v Speaker 1>I mean, if you're someone who is interested in the

0:18:39.200 --> 0:18:42.719
<v Speaker 1>world and wanting to be educated, but not wanting to

0:18:42.760 --> 0:18:46.080
<v Speaker 1>be because you're because you're working, because you're pursuing something

0:18:46.119 --> 0:18:51.320
<v Speaker 1>you love, not wanting to be held with those constraints

0:18:51.359 --> 0:18:54.679
<v Speaker 1>that are sort of artificial, but being able to actually

0:18:55.080 --> 0:18:58.680
<v Speaker 1>begin focusing and expanding your knowledge with things that you're

0:18:58.720 --> 0:19:02.000
<v Speaker 1>interested in, that make a ton of sense. I've actually

0:19:02.040 --> 0:19:05.320
<v Speaker 1>never heard of that. Never maybe I haven't been around

0:19:05.359 --> 0:19:09.720
<v Speaker 1>smart kids. I didn't. I never occurred to me that,

0:19:09.760 --> 0:19:12.080
<v Speaker 1>oh well if you if you place out, you you

0:19:12.119 --> 0:19:14.119
<v Speaker 1>don't have to be under those same rules or do

0:19:14.200 --> 0:19:17.159
<v Speaker 1>the set school or whatever. Yeah, well, I mean and

0:19:17.200 --> 0:19:19.399
<v Speaker 1>to be to be again to kind of underscore like

0:19:19.440 --> 0:19:22.080
<v Speaker 1>I didn't, I didn't test out of high school in

0:19:22.080 --> 0:19:24.320
<v Speaker 1>in that way that you would think of. What really

0:19:24.320 --> 0:19:28.240
<v Speaker 1>started happening was that, like this other way of of

0:19:28.520 --> 0:19:31.240
<v Speaker 1>being able to make things work and have a sort

0:19:31.280 --> 0:19:35.680
<v Speaker 1>of a career and occupation started to present itself very early,

0:19:35.840 --> 0:19:39.199
<v Speaker 1>so that it seemed like a safe enough gamble to

0:19:39.200 --> 0:19:41.240
<v Speaker 1>be like, you know what, what do people go to

0:19:41.240 --> 0:19:44.200
<v Speaker 1>school for? What do you do it for? They do

0:19:44.280 --> 0:19:47.200
<v Speaker 1>it to set them up, right, I mean, you don't

0:19:47.440 --> 0:19:49.679
<v Speaker 1>like unfortunately people don't really go there to learn. You

0:19:49.720 --> 0:19:51.600
<v Speaker 1>do it because you basically have to. If you don't

0:19:51.600 --> 0:19:53.440
<v Speaker 1>go to school, your child services will be called in

0:19:53.480 --> 0:19:56.239
<v Speaker 1>your parents at something. Right, So you know it's like,

0:19:56.440 --> 0:19:58.600
<v Speaker 1>but that's again, this is kind of a construct like

0:19:58.640 --> 0:20:01.919
<v Speaker 1>and so and again. And you know, I don't believe

0:20:01.960 --> 0:20:05.440
<v Speaker 1>in children should not all go to Hollywood. It's the

0:20:05.560 --> 0:20:08.520
<v Speaker 1>last place really they should be, you know. So it's

0:20:08.560 --> 0:20:12.360
<v Speaker 1>like it does not work for everybody, but I managed

0:20:12.440 --> 0:20:15.359
<v Speaker 1>to cut a path that that again, it came with

0:20:15.440 --> 0:20:19.920
<v Speaker 1>some costs, but ultimately, like was this really rich sort

0:20:19.960 --> 0:20:23.400
<v Speaker 1>of exposure to culture and a different kind of education

0:20:23.520 --> 0:20:28.159
<v Speaker 1>that you know, I never lost the love for learning, actually,

0:20:28.720 --> 0:20:32.560
<v Speaker 1>And that's interesting because a lot of people get to

0:20:32.640 --> 0:20:36.080
<v Speaker 1>college and they're just exhausted by the academic experience. I personally,

0:20:36.640 --> 0:20:38.840
<v Speaker 1>you know, I read more than most people I know,

0:20:38.880 --> 0:20:40.640
<v Speaker 1>and I think one of these one of the reasons

0:20:40.720 --> 0:20:44.399
<v Speaker 1>is is this right, I just love to absorb. You know,

0:20:44.960 --> 0:20:49.800
<v Speaker 1>you went to Los Angeles then, specifically at that point

0:20:50.119 --> 0:20:56.040
<v Speaker 1>fourteen to pursue a career. Yeah, yeah, the cliff notes

0:20:56.080 --> 0:21:02.600
<v Speaker 1>are yes. The longer answer is, no one at thirteen,

0:21:02.760 --> 0:21:05.040
<v Speaker 1>No one as a child is going with a parent

0:21:05.119 --> 0:21:09.720
<v Speaker 1>to l a to pursue a career without some aspect

0:21:09.760 --> 0:21:12.240
<v Speaker 1>of the family being like people needing to get away

0:21:12.280 --> 0:21:15.160
<v Speaker 1>from each other, parents getting divorced, that sort of thing.

0:21:15.359 --> 0:21:18.520
<v Speaker 1>So it's you know, it's always I mean, if you

0:21:18.520 --> 0:21:22.560
<v Speaker 1>look at Hollywood as it like a control experiment or something,

0:21:23.240 --> 0:21:25.520
<v Speaker 1>you know, you know that child actors are coming from

0:21:25.880 --> 0:21:29.640
<v Speaker 1>often a lot of a lot of stuff and and

0:21:29.680 --> 0:21:33.919
<v Speaker 1>so and so that was a part of it. But

0:21:34.000 --> 0:21:38.919
<v Speaker 1>I did have the genuine desire to act, to pursue

0:21:38.920 --> 0:21:42.119
<v Speaker 1>a life as a creative person, as an artist. And

0:21:42.119 --> 0:21:43.960
<v Speaker 1>I'm not even saying that that's what I achieved, but

0:21:44.040 --> 0:21:46.000
<v Speaker 1>that is what brought me there. And you know, and

0:21:46.040 --> 0:21:49.240
<v Speaker 1>then I started working right off the bat, uh in

0:21:49.240 --> 0:21:52.720
<v Speaker 1>in television and I virtually have not stopped since. Yeah,

0:21:53.520 --> 0:21:57.600
<v Speaker 1>you had a number of recurring roles early on Young

0:21:57.640 --> 0:22:00.199
<v Speaker 1>and the Restless, which, by the way, in terms of

0:22:00.200 --> 0:22:05.960
<v Speaker 1>an education doing a soap opera, learning quickly how to

0:22:06.040 --> 0:22:09.879
<v Speaker 1>be on set and how to be efficient and work,

0:22:10.240 --> 0:22:15.119
<v Speaker 1>that's a great education, right, Yeah, I mean, you know,

0:22:15.320 --> 0:22:17.600
<v Speaker 1>I did it briefly enough that I think, Yeah, it

0:22:17.720 --> 0:22:19.760
<v Speaker 1>was just it kept me working. It kept me like

0:22:19.800 --> 0:22:23.000
<v Speaker 1>if like I didn't study a lot, and as an actor,

0:22:23.040 --> 0:22:25.639
<v Speaker 1>I was just sort of living by doing or sorry,

0:22:25.880 --> 0:22:29.560
<v Speaker 1>learning by doing. And um, it was just it all

0:22:29.800 --> 0:22:33.080
<v Speaker 1>was training, it all, you know, all those sort of

0:22:33.080 --> 0:22:37.280
<v Speaker 1>recurring roles. I remember being very very nervous every time

0:22:37.320 --> 0:22:40.680
<v Speaker 1>I went to Younger than Restless because it was right

0:22:40.680 --> 0:22:45.520
<v Speaker 1>next to the Prices right studio, Okay, and that just

0:22:46.000 --> 0:22:48.880
<v Speaker 1>is an iconic kinda I mean, young people now don't

0:22:48.880 --> 0:22:50.400
<v Speaker 1>probably don't even know what that it is, but like,

0:22:50.960 --> 0:22:52.760
<v Speaker 1>you know, it just was in the days of network

0:22:52.800 --> 0:22:55.520
<v Speaker 1>television being the only way you consume anything and it

0:22:55.640 --> 0:22:58.840
<v Speaker 1>being like a pillar of everybody's sort of life. You know,

0:22:59.440 --> 0:23:03.480
<v Speaker 1>television news there to raise me and you know, the

0:23:03.520 --> 0:23:05.959
<v Speaker 1>Price is Right is there to keep me company and

0:23:06.119 --> 0:23:08.080
<v Speaker 1>you know what I mean, like so the Price is

0:23:08.200 --> 0:23:11.520
<v Speaker 1>Right being a living, real thing right next to where

0:23:11.520 --> 0:23:13.879
<v Speaker 1>we shot and everything, as you said, it moves fast,

0:23:14.160 --> 0:23:17.160
<v Speaker 1>so like as a kid. Oh man, Actually, I haven't

0:23:17.160 --> 0:23:18.600
<v Speaker 1>thought about this in a long time, but I was

0:23:18.680 --> 0:23:22.000
<v Speaker 1>always so nervous going to work there because it just

0:23:22.000 --> 0:23:24.920
<v Speaker 1>seemed huge. It was the CBS studios, you know, CBS

0:23:25.000 --> 0:23:30.119
<v Speaker 1>Radford just this like giant kind of old Hollywood vibe everybody. Yeah,

0:23:30.240 --> 0:23:53.600
<v Speaker 1>it's yeah. I'm always fascinated with people who get into

0:23:53.920 --> 0:23:56.480
<v Speaker 1>the business. And I hate the phrase to business, but

0:23:56.520 --> 0:24:01.320
<v Speaker 1>I just used it early. Do you feel like you

0:24:01.480 --> 0:24:08.000
<v Speaker 1>had a normal childhood? No? No, no, no, no not

0:24:08.080 --> 0:24:10.919
<v Speaker 1>at all. No. I mean, in fact, part of what

0:24:11.000 --> 0:24:13.600
<v Speaker 1>I even started my podcast for, which is like it's

0:24:13.640 --> 0:24:16.119
<v Speaker 1>called podcrushed. It's this is not a plug, it's just

0:24:16.160 --> 0:24:21.480
<v Speaker 1>the truth. Um. We were exploring middle school partly. And

0:24:21.680 --> 0:24:24.120
<v Speaker 1>my two co hosts have their own middle school experiences,

0:24:24.160 --> 0:24:27.320
<v Speaker 1>their own life experiences. Actually their teachers, they were teachers

0:24:27.680 --> 0:24:31.360
<v Speaker 1>before they left at all the come stars. No, that's

0:24:31.359 --> 0:24:34.639
<v Speaker 1>not what they're doing. But um, but I yeah, I

0:24:34.640 --> 0:24:38.040
<v Speaker 1>mean I'm kind of openly processing what it was to

0:24:38.280 --> 0:24:43.840
<v Speaker 1>have a late childhood and an adolescence and teen years

0:24:44.440 --> 0:24:47.520
<v Speaker 1>and even early and even my twenties in in in

0:24:47.600 --> 0:24:50.520
<v Speaker 1>this this business, you know, and and under the public

0:24:50.560 --> 0:24:53.719
<v Speaker 1>eye more and more, and it's not normal yet it's not.

0:24:53.920 --> 0:24:56.800
<v Speaker 1>I It's like, I, you know, just face value. It's like,

0:24:56.920 --> 0:25:00.000
<v Speaker 1>wouldn't recommend it. It's like, if you go that route,

0:25:00.280 --> 0:25:04.000
<v Speaker 1>be ready for soon. Some life brings us all challenges.

0:25:04.200 --> 0:25:07.040
<v Speaker 1>I would say this, this kind of challenge is is

0:25:07.080 --> 0:25:09.880
<v Speaker 1>extreme and it's unique, and there's no there's no clear

0:25:09.880 --> 0:25:11.960
<v Speaker 1>reason anybody should subject themselves to it. That's what I

0:25:12.000 --> 0:25:17.560
<v Speaker 1>would say, except except that you loved it. Well yeah,

0:25:17.600 --> 0:25:21.080
<v Speaker 1>and so that's yeah, yeah, that's true. I mean, look, yes, um,

0:25:21.200 --> 0:25:25.800
<v Speaker 1>but you know, I love the whole thing, and my

0:25:26.000 --> 0:25:28.960
<v Speaker 1>pure love of the craft ultimately is what's carried me through.

0:25:29.080 --> 0:25:31.080
<v Speaker 1>But so much of it I don't feel as though

0:25:31.119 --> 0:25:36.920
<v Speaker 1>I've spent like refining the very participating in the art

0:25:37.119 --> 0:25:41.000
<v Speaker 1>and refining the craft in its purest sense, so that like,

0:25:41.240 --> 0:25:42.840
<v Speaker 1>you know, I don't feel as I've been living my

0:25:42.880 --> 0:25:44.800
<v Speaker 1>life as like a working artist. That's not really what

0:25:44.840 --> 0:25:47.000
<v Speaker 1>it feels like. It feels like I got into this

0:25:47.040 --> 0:25:49.359
<v Speaker 1>business and it's very much a business, and then I

0:25:49.400 --> 0:25:53.159
<v Speaker 1>spent a really long time doing like succeeding in the

0:25:53.240 --> 0:25:56.560
<v Speaker 1>business as a player in it. And then I think,

0:25:56.600 --> 0:25:59.600
<v Speaker 1>only now, after all this time, do I start to

0:25:59.720 --> 0:26:02.960
<v Speaker 1>real they feel as though I can take some control

0:26:03.000 --> 0:26:06.080
<v Speaker 1>of that and and and reclaim this feeling of being

0:26:06.119 --> 0:26:13.160
<v Speaker 1>an artist, to be honest. Yeah, again, it's always interesting

0:26:13.160 --> 0:26:15.320
<v Speaker 1>to me when I talked to someone who started so young,

0:26:15.400 --> 0:26:20.080
<v Speaker 1>because I didn't quite frankly, and even talking about you know,

0:26:20.160 --> 0:26:24.960
<v Speaker 1>being involved in theater and you know, having a variety,

0:26:25.080 --> 0:26:27.800
<v Speaker 1>you know, being around people of different age. That really

0:26:27.840 --> 0:26:31.119
<v Speaker 1>wasn't my experience because you know, I was essentially early

0:26:31.160 --> 0:26:36.480
<v Speaker 1>on doing school play, so it was all my age essentially,

0:26:36.560 --> 0:26:39.200
<v Speaker 1>So you know, I was even then playing the sixty

0:26:39.280 --> 0:26:42.120
<v Speaker 1>year old may On or whatever. But you know the

0:26:42.119 --> 0:26:47.200
<v Speaker 1>next next next to my friend was playing the young

0:26:47.280 --> 0:26:52.679
<v Speaker 1>lover or whatever. Um, so yeah, you know, it was

0:26:52.760 --> 0:26:55.040
<v Speaker 1>just it was just very and it wasn't until after,

0:26:55.440 --> 0:26:58.120
<v Speaker 1>you know, after I got out of school that that

0:26:58.119 --> 0:27:00.919
<v Speaker 1>that really started for me. But I I just I

0:27:00.960 --> 0:27:04.639
<v Speaker 1>find it so interesting in it it makes sense that

0:27:04.720 --> 0:27:06.720
<v Speaker 1>at such a young age you would feel sort of

0:27:06.760 --> 0:27:10.800
<v Speaker 1>out of control and trying to find your way and

0:27:10.920 --> 0:27:14.679
<v Speaker 1>make your way and not being able to sort of

0:27:14.720 --> 0:27:17.400
<v Speaker 1>guide yourself down, you know as you as you say,

0:27:17.520 --> 0:27:20.919
<v Speaker 1>an artist path, but really just trying to survive. And

0:27:20.960 --> 0:27:24.920
<v Speaker 1>then you know, in your case, succeed in the business

0:27:25.840 --> 0:27:28.679
<v Speaker 1>the business of acting. Yeah, which by the way, is

0:27:28.680 --> 0:27:32.320
<v Speaker 1>a statistical anomaly. Success in the business is actually the

0:27:32.400 --> 0:27:36.199
<v Speaker 1>exception that proves the rule that you will fail. I

0:27:36.200 --> 0:27:39.720
<v Speaker 1>mean not to sound like what I mean is that

0:27:39.760 --> 0:27:45.040
<v Speaker 1>anyone you succeed succeeding is actually the anomaly. The business

0:27:45.680 --> 0:27:49.360
<v Speaker 1>is not one that offers any kind of like merit

0:27:49.440 --> 0:27:54.159
<v Speaker 1>based metric. It's not. It's like it is. It is

0:27:54.280 --> 0:27:56.680
<v Speaker 1>you see someone doing what you want to do. Guess

0:27:56.720 --> 0:27:59.480
<v Speaker 1>what if it's a numbers thing that they're doing, it

0:27:59.520 --> 0:28:03.160
<v Speaker 1>means that you can't, that you won't. I'm not based

0:28:03.200 --> 0:28:05.960
<v Speaker 1>on your worth, not based on fairness. This is not just,

0:28:06.119 --> 0:28:07.480
<v Speaker 1>but it is the way that it is, like the

0:28:07.520 --> 0:28:09.760
<v Speaker 1>percentage of people who succeed versus the percent of people

0:28:09.760 --> 0:28:14.800
<v Speaker 1>who fail is so disproportionate. Son even succeeding in all

0:28:14.840 --> 0:28:17.360
<v Speaker 1>of it is like, wow, what is what is? It's gets,

0:28:17.440 --> 0:28:19.600
<v Speaker 1>it's it's it's a it's a crazy thing that we do.

0:28:20.600 --> 0:28:25.320
<v Speaker 1>You uh, nineteen twenty years old, you already have a

0:28:25.359 --> 0:28:29.600
<v Speaker 1>ton of credits under your belt. I was ready. I'm

0:28:29.600 --> 0:28:31.320
<v Speaker 1>not kidding. I was ready to hang it up before

0:28:31.320 --> 0:28:34.240
<v Speaker 1>I took Crossip Girl. I've been doing television for so long. Really,

0:28:34.320 --> 0:28:38.120
<v Speaker 1>it was already so disillusioned with the process. I had

0:28:38.120 --> 0:28:41.520
<v Speaker 1>done so many shows, series leads, series that at all

0:28:41.560 --> 0:28:43.719
<v Speaker 1>gone to series, not just pilots that had then failed

0:28:43.720 --> 0:28:45.880
<v Speaker 1>and been canceled. We try to get that back nine,

0:28:45.920 --> 0:28:47.240
<v Speaker 1>you know what I mean? You know the first season

0:28:47.280 --> 0:28:48.480
<v Speaker 1>in the office, you know, you know, how is it

0:28:48.560 --> 0:28:51.360
<v Speaker 1>a struggle a compatas to get a show to make it?

0:28:51.840 --> 0:28:53.160
<v Speaker 1>And I was just like, you know, I can't do

0:28:53.240 --> 0:28:55.480
<v Speaker 1>TV anymore. I just can't. And that's why when Crossip

0:28:55.520 --> 0:28:58.240
<v Speaker 1>Grow came along, I initially did say no, but anyway, sorry,

0:28:58.280 --> 0:29:02.480
<v Speaker 1>you can know so you you so no, So you

0:29:02.480 --> 0:29:04.800
<v Speaker 1>you have the opportunity for Gossip Girl comes and you

0:29:04.880 --> 0:29:08.200
<v Speaker 1>say no, Yeah, I mean so so the so the

0:29:08.280 --> 0:29:11.320
<v Speaker 1>co creator, Stephanie Savage, she actually asked me. She emailed

0:29:11.320 --> 0:29:13.200
<v Speaker 1>me the script and she said, you know, I feel

0:29:13.240 --> 0:29:15.560
<v Speaker 1>like you will have already she her words in my

0:29:15.680 --> 0:29:19.240
<v Speaker 1>memory are I think that you will feel like you've

0:29:19.240 --> 0:29:23.520
<v Speaker 1>already done this, which is play the flappy haired, awkward kid. Okay,

0:29:23.560 --> 0:29:25.000
<v Speaker 1>because that's what I had done on the show we'd

0:29:25.040 --> 0:29:27.160
<v Speaker 1>worked together on like two or three years previous. When

0:29:27.200 --> 0:29:29.120
<v Speaker 1>I was seventeen years old. I lived in Vancouver for

0:29:29.120 --> 0:29:31.600
<v Speaker 1>the best six months on a show called The Mountain

0:29:31.680 --> 0:29:34.240
<v Speaker 1>where I was playing this young professional snowboarder and a

0:29:34.280 --> 0:29:36.120
<v Speaker 1>show that was basically like the pitch was. It was

0:29:36.200 --> 0:29:39.520
<v Speaker 1>Dynasty on a Mountain, Okay, and she co created that

0:29:39.520 --> 0:29:41.520
<v Speaker 1>show with mcg at the time was huge with the

0:29:41.600 --> 0:29:44.320
<v Speaker 1>OC and all this stuff. So then she and Josh

0:29:44.360 --> 0:29:47.520
<v Speaker 1>Schwartz got together to to make Gossip Girl, and um,

0:29:47.560 --> 0:29:50.160
<v Speaker 1>she emails me the concept the script and was like,

0:29:50.280 --> 0:29:52.360
<v Speaker 1>I would really love you to look at it, Dan,

0:29:52.720 --> 0:29:55.600
<v Speaker 1>even though I feel like you you'll probably not want

0:29:55.600 --> 0:29:58.120
<v Speaker 1>to do it. And I read it and I said

0:29:59.120 --> 0:30:04.080
<v Speaker 1>thank you, and you're right, you know, thank you for

0:30:04.120 --> 0:30:06.440
<v Speaker 1>thinking of me, but respectfully like, yeah, this is just

0:30:06.480 --> 0:30:08.680
<v Speaker 1>not what I'm interested in doing right now, and the

0:30:08.800 --> 0:30:12.959
<v Speaker 1>opportunity went away and they cast everybody else. I couldn't

0:30:13.000 --> 0:30:16.640
<v Speaker 1>find who they thought was Dan. Um. She comes back

0:30:16.680 --> 0:30:18.920
<v Speaker 1>and sort of gives me a little bit of a

0:30:18.920 --> 0:30:22.240
<v Speaker 1>a plea, I mean plea maybe sounds not. It wasn't

0:30:22.240 --> 0:30:24.240
<v Speaker 1>like desperate, it was more like it. She she pitched

0:30:24.280 --> 0:30:27.800
<v Speaker 1>me on the idea that I was Dan and Um,

0:30:27.840 --> 0:30:30.720
<v Speaker 1>I ultimately was sold on it and and said, yes,

0:30:31.920 --> 0:30:37.960
<v Speaker 1>why what made you change your mind? Um? Honestly something

0:30:38.000 --> 0:30:41.240
<v Speaker 1>that did not even pan out, like I don't feel

0:30:41.240 --> 0:30:43.400
<v Speaker 1>like she was she she meant what she said, but

0:30:43.480 --> 0:30:46.280
<v Speaker 1>what she said was that she was interested in the

0:30:46.360 --> 0:30:48.600
<v Speaker 1>fact that he was like the sort of moral center

0:30:48.640 --> 0:30:50.400
<v Speaker 1>of the show, like a sort of male lead of

0:30:50.440 --> 0:30:53.600
<v Speaker 1>the show I think at its outset. And she was

0:30:53.640 --> 0:30:57.440
<v Speaker 1>sort of pitching me on like this idea that three

0:30:57.520 --> 0:30:59.400
<v Speaker 1>years prior I had done our show where I started

0:30:59.400 --> 0:31:01.760
<v Speaker 1>out in a in a recurring role, and then that

0:31:01.880 --> 0:31:04.000
<v Speaker 1>role became slowly kind of the heart of how she

0:31:04.080 --> 0:31:06.320
<v Speaker 1>saw the show that I was in every episode I

0:31:06.360 --> 0:31:07.920
<v Speaker 1>think in the end and by the end, I was

0:31:08.000 --> 0:31:11.320
<v Speaker 1>like a really a main character, and she was like,

0:31:11.360 --> 0:31:13.480
<v Speaker 1>you know, think about that's that was the ark with

0:31:13.560 --> 0:31:16.360
<v Speaker 1>your last guy, you know, And I've done another series

0:31:16.360 --> 0:31:19.720
<v Speaker 1>of Warner Brothers since then. And actually he was in college,

0:31:19.880 --> 0:31:22.760
<v Speaker 1>so I was taking a step back into high school.

0:31:22.800 --> 0:31:25.440
<v Speaker 1>And at twenty years old, I was like, high school?

0:31:25.440 --> 0:31:28.959
<v Speaker 1>Are you kidding me? Like I'm like, like my sideburns

0:31:29.080 --> 0:31:32.080
<v Speaker 1>are down to my jaw. I don't, I don't, I'm not.

0:31:32.160 --> 0:31:37.840
<v Speaker 1>I'm not, like you know all I've never even been

0:31:37.840 --> 0:31:41.560
<v Speaker 1>to high school. And I honestly was just I just

0:31:41.640 --> 0:31:45.200
<v Speaker 1>so wanted to play other things and other people and

0:31:45.200 --> 0:31:49.600
<v Speaker 1>and and other ideas. But she kind of had this idea.

0:31:49.640 --> 0:31:51.719
<v Speaker 1>She was like, you know, this time, you'll be starting

0:31:51.720 --> 0:31:54.719
<v Speaker 1>out as a sort of heart of the show, and

0:31:54.760 --> 0:31:55.960
<v Speaker 1>you know, just think of where it can go from

0:31:55.960 --> 0:31:59.360
<v Speaker 1>there and and what's interesting about class of Girl. And

0:31:59.360 --> 0:32:00.960
<v Speaker 1>I say this as a witness, not as like a

0:32:01.360 --> 0:32:03.200
<v Speaker 1>I think I took it personally initially, and I am

0:32:03.240 --> 0:32:06.360
<v Speaker 1>I complained as a young and but what I see

0:32:06.360 --> 0:32:09.000
<v Speaker 1>it now and just just purely with detachment and like

0:32:09.080 --> 0:32:12.320
<v Speaker 1>you know, distance and time. The whole point at Gossip

0:32:12.360 --> 0:32:13.840
<v Speaker 1>Girl was that Dan was not meant to He was

0:32:13.880 --> 0:32:16.360
<v Speaker 1>not the heart. Like the show wasn't so concerned with

0:32:16.400 --> 0:32:20.400
<v Speaker 1>having a heart. It was concerned with this aspirational as

0:32:20.440 --> 0:32:23.720
<v Speaker 1>we say, this sort of fantasy of of the of

0:32:23.840 --> 0:32:28.640
<v Speaker 1>the elite, you know, of the of the glamorous, of

0:32:29.240 --> 0:32:32.920
<v Speaker 1>which basically doesn't exist, you know, but but yeah, it's

0:32:32.920 --> 0:32:36.800
<v Speaker 1>this like fantasy life of youth. And and actually, in

0:32:36.880 --> 0:32:39.520
<v Speaker 1>Chuck and Blair, who I think very quickly became the

0:32:39.560 --> 0:32:42.560
<v Speaker 1>clear heart or hearts of the show, or the bivalve

0:32:42.640 --> 0:32:45.160
<v Speaker 1>heart of the show, the whole point was that they

0:32:45.200 --> 0:32:47.920
<v Speaker 1>were not moral. The whole point was that they were.

0:32:48.640 --> 0:32:50.840
<v Speaker 1>They weren't immoral, but they were a moral They were

0:32:50.880 --> 0:32:53.760
<v Speaker 1>sort of like, they did what served them. And at

0:32:53.760 --> 0:32:55.560
<v Speaker 1>the end of the day, because they were portrayed by

0:32:55.600 --> 0:32:59.200
<v Speaker 1>two talented actors, those characters had such depth and such

0:32:59.320 --> 0:33:01.560
<v Speaker 1>range because actually, when you play people who are who

0:33:01.640 --> 0:33:05.720
<v Speaker 1>are not sure about what's right, you ultimately get a

0:33:05.720 --> 0:33:07.920
<v Speaker 1>more compelling story. And I mean that's why, you know,

0:33:08.920 --> 0:33:13.160
<v Speaker 1>years later, I'm playing a serial killer and people haven't

0:33:13.160 --> 0:33:16.880
<v Speaker 1>ever responded more positively, you know. And I think it's

0:33:16.880 --> 0:33:18.760
<v Speaker 1>a sign of like the sort of stories that we're

0:33:18.760 --> 0:33:22.160
<v Speaker 1>interested in, in in what we get from stories. It's actually

0:33:22.240 --> 0:33:24.680
<v Speaker 1>very hard to tell a story about a moral center.

0:33:25.040 --> 0:33:28.160
<v Speaker 1>It's it's I'm not saying that it's not a good story.

0:33:28.200 --> 0:33:30.160
<v Speaker 1>I'm not saying it's not worth trying, but I'm saying

0:33:30.160 --> 0:33:32.960
<v Speaker 1>that it's Currently we live in an age where it's

0:33:33.000 --> 0:33:36.280
<v Speaker 1>it's more compelling off the bat to tell a story

0:33:36.280 --> 0:33:40.560
<v Speaker 1>about a bad person who's trying, who's trying, because I

0:33:40.600 --> 0:33:44.760
<v Speaker 1>think we can identify more readily with that visceral level

0:33:44.800 --> 0:33:50.080
<v Speaker 1>of struggle. And people also don't want to be told

0:33:50.440 --> 0:33:54.400
<v Speaker 1>what's yeah, exactly, what is right? Yeah, Actually that's never

0:33:54.440 --> 0:33:58.080
<v Speaker 1>worked with anybody, so any right, yeah, then it becomes

0:33:58.120 --> 0:34:01.600
<v Speaker 1>preaching well exactly. And I think in sense, Dan coupled

0:34:01.640 --> 0:34:06.000
<v Speaker 1>with the way that I unconsciously played him, became righteous

0:34:06.000 --> 0:34:09.399
<v Speaker 1>and annoying, you know. And and that's and that makes

0:34:09.440 --> 0:34:13.520
<v Speaker 1>sense at least, I'll say this. I think true stands

0:34:13.600 --> 0:34:18.120
<v Speaker 1>of Gossip Girl usually seem to align with the Chuck

0:34:18.160 --> 0:34:21.920
<v Speaker 1>and Blair kind of like thing. And that's that. I

0:34:21.960 --> 0:34:24.920
<v Speaker 1>do think it's really seems to me, like I remember

0:34:24.920 --> 0:34:27.719
<v Speaker 1>when it happened the first season was episode six. They

0:34:27.719 --> 0:34:30.160
<v Speaker 1>were the kind of unexpected relationship that then just worked

0:34:30.320 --> 0:34:32.360
<v Speaker 1>and then it became the heart of the show really

0:34:32.440 --> 0:34:37.640
<v Speaker 1>and and I think that no one anticipated that, but

0:34:37.680 --> 0:34:40.440
<v Speaker 1>it was a sign of the times. It was like, ah,

0:34:40.560 --> 0:34:42.200
<v Speaker 1>and a sign of what you just said, which is like,

0:34:42.520 --> 0:34:45.040
<v Speaker 1>you can't start out with somebody who's who's like always

0:34:45.160 --> 0:34:47.239
<v Speaker 1>right or something or who and who always thinks that

0:34:47.239 --> 0:34:49.440
<v Speaker 1>they're good and then just complains about how no one

0:34:49.480 --> 0:34:51.560
<v Speaker 1>else is as good as them. That's not that's not

0:34:51.640 --> 0:34:53.719
<v Speaker 1>as interesting, it's not and it's not it's actually not

0:34:53.800 --> 0:34:56.480
<v Speaker 1>humble in the end, did you view yourself as the

0:34:56.520 --> 0:34:59.440
<v Speaker 1>outsider on the ship? In life? On the show? On

0:34:59.480 --> 0:35:02.640
<v Speaker 1>the show, did I view Dan as the outsider? As

0:35:02.719 --> 0:35:05.919
<v Speaker 1>Dan as the outsider? I mean, that's who he's identified as.

0:35:06.160 --> 0:35:08.359
<v Speaker 1>But to me, the joke is always like, bro, how

0:35:08.400 --> 0:35:10.239
<v Speaker 1>much more on the inside could you be? You're just

0:35:10.360 --> 0:35:12.239
<v Speaker 1>not in the deepest of the inner circle. But you're

0:35:12.239 --> 0:35:15.000
<v Speaker 1>in the same school. You're you're a you're a white boy.

0:35:15.239 --> 0:35:17.600
<v Speaker 1>You know, you're you know, your dad was a rock star,

0:35:17.719 --> 0:35:19.799
<v Speaker 1>and you live in a three million dollar apartment rather

0:35:19.800 --> 0:35:22.560
<v Speaker 1>than a thirty million dollar mansion. So like, if you

0:35:22.600 --> 0:35:24.759
<v Speaker 1>think you're on the outside, Dan Humphrey, I'm sorry, but

0:35:25.160 --> 0:35:28.839
<v Speaker 1>you have a lot of learning to do. You just

0:35:28.880 --> 0:35:32.319
<v Speaker 1>aren't literally inside the inside of the inside. You're just

0:35:32.640 --> 0:35:35.839
<v Speaker 1>on the outspirit of the inside, you know. So Uh,

0:35:35.880 --> 0:35:38.000
<v Speaker 1>when did you find out that that he's got the

0:35:38.760 --> 0:35:42.879
<v Speaker 1>Gossip Girl? I think right like just the day before

0:35:42.880 --> 0:35:47.000
<v Speaker 1>we started shooting in that final episode I believe now

0:35:47.040 --> 0:35:49.680
<v Speaker 1>at the beginning of that season, the producers did tell

0:35:49.719 --> 0:35:52.360
<v Speaker 1>me they kind of cryptically like Dan is going to

0:35:52.400 --> 0:35:54.880
<v Speaker 1>assume more power this season, so I just get ready

0:35:55.520 --> 0:35:58.440
<v Speaker 1>and and you know, in a typically seasons or twenty

0:35:58.440 --> 0:36:00.919
<v Speaker 1>six episodes, but we that's season only did a half

0:36:01.040 --> 0:36:03.360
<v Speaker 1>order like of ten or something like that. So I

0:36:03.360 --> 0:36:05.839
<v Speaker 1>remember thinking like, wells, you have to get there pretty

0:36:05.880 --> 0:36:11.000
<v Speaker 1>soon or um, yeah, And but I didn't know what

0:36:11.040 --> 0:36:13.840
<v Speaker 1>that meant. And I didn't even think that it was

0:36:13.880 --> 0:36:16.760
<v Speaker 1>about being gossip Girl at all, like not even remotely,

0:36:17.120 --> 0:36:18.920
<v Speaker 1>because you know, if you try to break it down logically,

0:36:20.160 --> 0:36:22.520
<v Speaker 1>it's you know, it doesn't really make sense for anybody

0:36:22.520 --> 0:36:25.280
<v Speaker 1>to have been Gossip Girl other than de Rota or

0:36:25.920 --> 0:36:31.520
<v Speaker 1>some other more peripheral character. M hm. I mean this

0:36:31.719 --> 0:36:35.480
<v Speaker 1>marks the first time that you work on a really

0:36:35.520 --> 0:36:38.480
<v Speaker 1>long running show with the same group of people, largely

0:36:38.520 --> 0:36:40.839
<v Speaker 1>the same cast. How how is that? How was that

0:36:40.920 --> 0:36:45.239
<v Speaker 1>different for you one playing that character um being able

0:36:45.280 --> 0:36:49.280
<v Speaker 1>to play through multiple arcs over several seasons, but also

0:36:49.400 --> 0:36:54.680
<v Speaker 1>play alongside your cast mates for for that long. You know,

0:36:55.719 --> 0:36:58.120
<v Speaker 1>it's a lot of things. I mean, the first things

0:36:58.120 --> 0:37:00.280
<v Speaker 1>that come to mind are totally like sensory and mo stional,

0:37:00.440 --> 0:37:03.719
<v Speaker 1>like man, it was just those superformative years of being

0:37:03.719 --> 0:37:08.560
<v Speaker 1>in your early and mid twenties and youth. How was it,

0:37:08.920 --> 0:37:13.200
<v Speaker 1>you know, the arcs, the character, the cast. I feel

0:37:13.239 --> 0:37:17.000
<v Speaker 1>like for me, I was never as invested in the

0:37:17.120 --> 0:37:20.440
<v Speaker 1>story as I was in the experience. I was never

0:37:20.480 --> 0:37:22.759
<v Speaker 1>as invested in the show as I was in like

0:37:22.880 --> 0:37:26.200
<v Speaker 1>the set, like the like the cast and crew I was.

0:37:26.280 --> 0:37:28.680
<v Speaker 1>I was never as invested in Dan as I was

0:37:28.920 --> 0:37:32.640
<v Speaker 1>in having new experiences as an actor, and so unfortunately,

0:37:32.680 --> 0:37:34.120
<v Speaker 1>I think what that meant as a as a as

0:37:34.120 --> 0:37:39.680
<v Speaker 1>a as a young and hungry professional, I constantly felt

0:37:39.680 --> 0:37:42.360
<v Speaker 1>the limitations of the show and the role, which is

0:37:42.400 --> 0:37:44.400
<v Speaker 1>not right. You know, it's like it's but it is.

0:37:44.640 --> 0:37:47.040
<v Speaker 1>It is I think common for such a for for

0:37:47.040 --> 0:37:51.520
<v Speaker 1>for young people thrust into that position. But what I

0:37:51.600 --> 0:37:55.080
<v Speaker 1>do think, I mean, you know, I had, of course

0:37:55.120 --> 0:37:57.839
<v Speaker 1>the first couple of years, had had a relationship with

0:37:57.960 --> 0:38:02.160
<v Speaker 1>Blake Lively, and that that that was its own bubble

0:38:02.200 --> 0:38:06.319
<v Speaker 1>experience of portraying Dan and Serena and being together, and

0:38:06.360 --> 0:38:09.520
<v Speaker 1>that was really, when you break it down, that's actually

0:38:09.520 --> 0:38:12.120
<v Speaker 1>a very surreal experience. Another one I would not necessarily

0:38:12.120 --> 0:38:14.640
<v Speaker 1>recommend to others, but if you somehow find yourself there,

0:38:14.880 --> 0:38:20.960
<v Speaker 1>go ahead and journal because it's weird, of course, which

0:38:20.960 --> 0:38:23.840
<v Speaker 1>I'll you know, always be grateful for those experiences, really

0:38:23.880 --> 0:38:28.800
<v Speaker 1>really lovely things ultimately went out in memory. But but weird,

0:38:28.880 --> 0:38:31.080
<v Speaker 1>you know, it's it's it's a it's an intensive way

0:38:31.120 --> 0:38:34.440
<v Speaker 1>to do things. And yeah, I don't even know what

0:38:34.560 --> 0:38:38.040
<v Speaker 1>I think about the character because to me, it's very

0:38:38.080 --> 0:38:42.760
<v Speaker 1>that that show was so intimately connected to our personal

0:38:42.840 --> 0:38:46.640
<v Speaker 1>lives in the tabloids. I gotta honestly say, like, and

0:38:46.680 --> 0:38:50.800
<v Speaker 1>I'm saying this again as a witness, this is not

0:38:51.080 --> 0:38:53.680
<v Speaker 1>in the realm of complaint. I really see it as

0:38:53.719 --> 0:38:56.719
<v Speaker 1>like we were too young to really understand what's going on.

0:38:57.320 --> 0:39:00.200
<v Speaker 1>It was too much of a frothy pop gossip an

0:39:00.360 --> 0:39:03.280
<v Speaker 1>engine on its own, you know. And I just feel

0:39:03.320 --> 0:39:06.200
<v Speaker 1>like it was very hard to separate life from from fiction.

0:39:06.640 --> 0:39:10.840
<v Speaker 1>And yes, and I personally didn't like that. I actually

0:39:10.920 --> 0:39:14.920
<v Speaker 1>didn't want more of that. I can't. I don't know

0:39:15.000 --> 0:39:17.800
<v Speaker 1>how you guys did it. Now, I joked with jess

0:39:18.000 --> 0:39:22.279
<v Speaker 1>Or about this, and I was not going to say

0:39:22.280 --> 0:39:24.719
<v Speaker 1>this to you because I didn't know what your experience

0:39:24.880 --> 0:39:29.600
<v Speaker 1>was or what you know. Look, I don't follow the tabloids,

0:39:29.600 --> 0:39:32.560
<v Speaker 1>so I don't. To me, it doesn't matter what the

0:39:32.600 --> 0:39:36.600
<v Speaker 1>machinations or what the pairings were. But all I know

0:39:36.880 --> 0:39:40.040
<v Speaker 1>is every time I would run into those guys, which

0:39:40.040 --> 0:39:43.839
<v Speaker 1>I would run into jess Or Chase or Sebastian or

0:39:44.080 --> 0:39:47.640
<v Speaker 1>Ed as I mentioned at various times throughout the year,

0:39:47.719 --> 0:39:50.040
<v Speaker 1>but months would go by because I was in l

0:39:50.080 --> 0:39:54.080
<v Speaker 1>A and you guys were in New York. I couldn't

0:39:54.200 --> 0:39:57.120
<v Speaker 1>I couldn't keep it straight. I couldn't keep it straight

0:39:57.160 --> 0:40:00.960
<v Speaker 1>who was with who because I felt like one summer

0:40:01.400 --> 0:40:05.320
<v Speaker 1>two of you guys would be together, and by Christmas

0:40:05.400 --> 0:40:09.680
<v Speaker 1>time that wasn't happening anymore. But everybody was still cool

0:40:09.760 --> 0:40:12.680
<v Speaker 1>with each other and going out together. Yeah, I mean,

0:40:12.719 --> 0:40:15.279
<v Speaker 1>but now you were with someone else and it was

0:40:15.320 --> 0:40:18.439
<v Speaker 1>playing out differently on the show, so that was confusing.

0:40:18.640 --> 0:40:20.440
<v Speaker 1>I don't know how you did it. I don't know

0:40:20.440 --> 0:40:22.759
<v Speaker 1>how you how you lived through it. I truly don't. Again,

0:40:22.760 --> 0:40:26.480
<v Speaker 1>I don't recommend it to anybody, but if you find

0:40:26.520 --> 0:40:30.920
<v Speaker 1>yourself in the position, journal my friend, you journal like

0:40:31.040 --> 0:40:35.120
<v Speaker 1>you have never journal before. It'll be really interesting later on,

0:40:35.280 --> 0:40:37.320
<v Speaker 1>and you're gonna need to process it with your therapist.

0:40:37.680 --> 0:40:40.759
<v Speaker 1>So it's just a short cut, a short cut. You

0:40:40.760 --> 0:40:43.759
<v Speaker 1>You you cling to that journal, young gossip girl. You

0:40:43.800 --> 0:40:46.719
<v Speaker 1>cling onto it like your sanity depends on it. Um.

0:40:46.760 --> 0:40:48.280
<v Speaker 1>You know, it's funny as that I didn't journal throughout

0:40:48.280 --> 0:40:51.160
<v Speaker 1>those years, and which is why I'm saying is but um, yeah, man,

0:40:51.320 --> 0:40:54.840
<v Speaker 1>look I mean it. It is a it is a

0:40:54.920 --> 0:40:58.080
<v Speaker 1>completely constructed thing. It's not normal to to to put

0:40:58.760 --> 0:41:03.280
<v Speaker 1>we're portraying people younger than we are who live relationships

0:41:03.440 --> 0:41:08.239
<v Speaker 1>as though they're forty year old billionaires, right, you know,

0:41:08.520 --> 0:41:12.839
<v Speaker 1>the sort of the level of emotional nuance and like

0:41:13.440 --> 0:41:17.319
<v Speaker 1>sexual experience that all these teenagers are meant to be demonstrating,

0:41:17.360 --> 0:41:19.880
<v Speaker 1>it literally is more like the it's more like the

0:41:19.880 --> 0:41:23.880
<v Speaker 1>love lives of a theater company in Paris in like

0:41:24.040 --> 0:41:28.120
<v Speaker 1>nineteen twenty. Like, it's not the way that teenagers live,

0:41:28.200 --> 0:41:32.680
<v Speaker 1>and not even most adults in America live. Um, but

0:41:32.680 --> 0:41:34.719
<v Speaker 1>then you know you you so, so we're they're kind

0:41:34.760 --> 0:41:37.440
<v Speaker 1>of bringing that thing to life. And then but then

0:41:37.520 --> 0:41:40.440
<v Speaker 1>you keep us together for years on end without any

0:41:40.480 --> 0:41:45.279
<v Speaker 1>any of course elsewhere, like we couldn't unless we die

0:41:45.320 --> 0:41:47.000
<v Speaker 1>on the show, we can't. We can't get out of

0:41:47.000 --> 0:41:49.879
<v Speaker 1>this thing. We're not gonna so so so we're continually

0:41:49.920 --> 0:41:52.879
<v Speaker 1>thrust together. And I think the reality is that young

0:41:52.920 --> 0:41:57.800
<v Speaker 1>actors actors in general, really relate to one another in

0:41:57.840 --> 0:41:58.960
<v Speaker 1>a way that no one else is going to be

0:41:59.000 --> 0:42:02.120
<v Speaker 1>able to relate, which is often why they find relationships together.

0:42:02.239 --> 0:42:05.640
<v Speaker 1>You know, Um, it's actually why I cherished so much

0:42:05.680 --> 0:42:08.759
<v Speaker 1>that my wife is not an actress. Yes, but I

0:42:08.800 --> 0:42:11.160
<v Speaker 1>realized now why I was, why I had a couple

0:42:11.160 --> 0:42:14.160
<v Speaker 1>of significant relationships with actresses, because no one else can

0:42:14.239 --> 0:42:18.000
<v Speaker 1>quite understand what you're doing and and uniquely on that show,

0:42:18.160 --> 0:42:22.160
<v Speaker 1>what was happening then, So you know, that's right, that's right. No,

0:42:22.360 --> 0:42:26.560
<v Speaker 1>but yeah, you you guys at that time, and part

0:42:26.600 --> 0:42:29.400
<v Speaker 1>of it was in New York too. I mean, I

0:42:29.440 --> 0:42:32.680
<v Speaker 1>think that's a huge New York a huge party. You

0:42:32.719 --> 0:42:37.920
<v Speaker 1>were the biggest kind of pop hit culture show in

0:42:37.960 --> 0:42:41.640
<v Speaker 1>New York and you're all and who else can relate

0:42:41.760 --> 0:42:43.959
<v Speaker 1>to you at that well, just one of the people

0:42:44.000 --> 0:42:46.799
<v Speaker 1>you're working with exactly, No, exactly, And you know, to

0:42:46.840 --> 0:42:49.480
<v Speaker 1>be fair, the way that Blake and I got in

0:42:49.560 --> 0:42:52.640
<v Speaker 1>relationship and sort of more or less clung to one another.

0:42:52.800 --> 0:42:55.120
<v Speaker 1>I think it was a certain it was a safety

0:42:55.200 --> 0:42:56.920
<v Speaker 1>and it and it worked by the way, like I

0:42:56.960 --> 0:42:58.920
<v Speaker 1>think those first couple of years of the show was

0:42:59.000 --> 0:43:02.080
<v Speaker 1>when we were all gonna get broadsided by fame and

0:43:02.120 --> 0:43:05.920
<v Speaker 1>all that more than any other you know, And I

0:43:05.960 --> 0:43:08.680
<v Speaker 1>think in a way we were it was a safety mechanism.

0:43:08.840 --> 0:43:10.440
<v Speaker 1>Like I'm not saying that it was in a legitimate

0:43:10.440 --> 0:43:14.239
<v Speaker 1>relationship and we loved each other and stuff, but you know,

0:43:14.440 --> 0:43:16.320
<v Speaker 1>when I look back, I'm like, man, I'm thankful for

0:43:16.360 --> 0:43:19.720
<v Speaker 1>that relationship for that reason. You know, we we actually

0:43:19.719 --> 0:43:23.520
<v Speaker 1>didn't engage socially the same way that that that everyone

0:43:23.560 --> 0:43:27.279
<v Speaker 1>else kind of was thrust into it because you know,

0:43:27.320 --> 0:43:30.200
<v Speaker 1>the other relationships were cycling through a lot faster and

0:43:30.360 --> 0:43:32.920
<v Speaker 1>for better or worse, ours was longer and that and

0:43:32.960 --> 0:43:35.600
<v Speaker 1>I do think it was a safety. You keep in

0:43:35.640 --> 0:43:38.799
<v Speaker 1>touch with those guys still, you know. So I had

0:43:38.880 --> 0:43:40.400
<v Speaker 1>Chase on the show, and I oh, and I had

0:43:40.440 --> 0:43:42.400
<v Speaker 1>Laton on the show and Sebastian. So it's kind of

0:43:42.440 --> 0:43:44.040
<v Speaker 1>like a smattering. It's like a it's like a we

0:43:44.120 --> 0:43:47.879
<v Speaker 1>don't were like roommates from college where we remember each

0:43:47.880 --> 0:43:53.120
<v Speaker 1>other fondly, but we're not always right in touch, you know. Yeah,

0:43:53.160 --> 0:43:56.640
<v Speaker 1>you talked earlier of your first and maybe more significant

0:43:56.680 --> 0:43:59.799
<v Speaker 1>love of music. Um, I want to talk to you

0:44:00.040 --> 0:44:04.560
<v Speaker 1>little bit about mother, Okay, yeah, with an X, with

0:44:04.640 --> 0:44:08.440
<v Speaker 1>an X, yes, I have to be clear about that.

0:44:09.480 --> 0:44:12.480
<v Speaker 1>Were you excited, I mean this this starts around the

0:44:12.480 --> 0:44:15.080
<v Speaker 1>time Gossip Girl ends. Were you excited to do something

0:44:15.080 --> 0:44:18.120
<v Speaker 1>in a new direction and pursue that sort of original love?

0:44:18.640 --> 0:44:20.960
<v Speaker 1>Very yeah? Actually know it's funny, I haven't. I haven't

0:44:20.960 --> 0:44:23.279
<v Speaker 1>spoken about mother really in an interview at length in

0:44:23.280 --> 0:44:24.960
<v Speaker 1>a while, I don't think, which is so thank you

0:44:24.960 --> 0:44:28.040
<v Speaker 1>for the opportunity. Um. Yeah. So by the time gossip

0:44:28.080 --> 0:44:31.120
<v Speaker 1>Girl was ending, Remember how I said that I I

0:44:31.160 --> 0:44:33.160
<v Speaker 1>was kind of thinking about hanging it up at least

0:44:33.200 --> 0:44:35.400
<v Speaker 1>in terms of television by the by the time Gossip

0:44:35.440 --> 0:44:39.360
<v Speaker 1>Girl came around, right, So I felt that way. Even

0:44:39.440 --> 0:44:43.319
<v Speaker 1>more so by the end of gossip Girl because it

0:44:43.480 --> 0:44:46.880
<v Speaker 1>was such a full on experience, I really wanted to

0:44:46.920 --> 0:44:49.360
<v Speaker 1>pursue acting more. I didn't know what kind of opportunities

0:44:49.360 --> 0:44:52.480
<v Speaker 1>would present themselves. So I knew, you know, I've done

0:44:52.520 --> 0:44:55.719
<v Speaker 1>a few great film roles that were very encouraging and

0:44:55.760 --> 0:44:59.040
<v Speaker 1>inspiring and then ultimately lead to music because I played

0:44:59.040 --> 0:45:01.239
<v Speaker 1>a role I played of Buckley in this in this

0:45:01.440 --> 0:45:04.680
<v Speaker 1>very kind of small, quiet biopic. It was not a

0:45:04.680 --> 0:45:07.040
<v Speaker 1>traditional biopic in that sense. It's just like this little

0:45:07.040 --> 0:45:10.800
<v Speaker 1>snapshot right kind of viaby movie and playing a musician,

0:45:11.480 --> 0:45:13.799
<v Speaker 1>you know, it was just finally kind of things felt

0:45:13.880 --> 0:45:17.120
<v Speaker 1>like they were meeting where I loved and then and

0:45:17.120 --> 0:45:19.319
<v Speaker 1>then after so yeah, so Gossip Girl ends, and I

0:45:19.400 --> 0:45:22.000
<v Speaker 1>just really wanted to play music and I had. I mean,

0:45:22.040 --> 0:45:24.160
<v Speaker 1>the key thing is that I had this great friendship

0:45:24.200 --> 0:45:28.200
<v Speaker 1>with His name is Jimmy Gianopolis, who's actually now directing movies,

0:45:28.360 --> 0:45:30.919
<v Speaker 1>and I've done is it one or two? I feel

0:45:30.920 --> 0:45:33.360
<v Speaker 1>like I've done bit parts and at least one of

0:45:33.400 --> 0:45:35.759
<v Speaker 1>his movies. But it's funny that I can't remember because

0:45:35.760 --> 0:45:38.040
<v Speaker 1>we that's the nature of our relationship. We we we

0:45:38.160 --> 0:45:41.440
<v Speaker 1>met back in what we just immediately knew that we

0:45:41.440 --> 0:45:44.880
<v Speaker 1>would make things together. By the time Gossip girlins and

0:45:45.520 --> 0:45:49.919
<v Speaker 1>late finally there's some time we start recording this thing.

0:45:50.360 --> 0:45:53.080
<v Speaker 1>We include two other friends, the four of us become

0:45:53.719 --> 0:45:55.920
<v Speaker 1>this really tight knit unit for like a month and

0:45:55.960 --> 0:45:59.280
<v Speaker 1>make this record, and then we got a deal and

0:45:59.280 --> 0:46:02.080
<v Speaker 1>and toured that record on and off for three years.

0:46:02.200 --> 0:46:04.440
<v Speaker 1>And by the end of those three years, we had

0:46:04.480 --> 0:46:07.279
<v Speaker 1>done what is very hard to do. We had gone

0:46:07.280 --> 0:46:09.080
<v Speaker 1>to a point where we could sell out, you know,

0:46:09.160 --> 0:46:12.080
<v Speaker 1>like a five capacity club and in all the major

0:46:12.120 --> 0:46:14.640
<v Speaker 1>in like a major city like New York, London, l A,

0:46:15.440 --> 0:46:20.120
<v Speaker 1>places in South America as well, like and uh, we

0:46:20.120 --> 0:46:23.000
<v Speaker 1>we could have actually kept continued except the fact that

0:46:23.560 --> 0:46:29.480
<v Speaker 1>like we'd we'd overcome those professional hurdles of making music

0:46:29.520 --> 0:46:31.799
<v Speaker 1>that people want to go see and pay money for

0:46:32.000 --> 0:46:35.840
<v Speaker 1>in the age of streaming, which is a racket. I

0:46:35.840 --> 0:46:38.000
<v Speaker 1>don't know how people do it now. It's just insane.

0:46:38.560 --> 0:46:41.600
<v Speaker 1>But with the four of us, we're now unfriendly terms.

0:46:41.640 --> 0:46:45.440
<v Speaker 1>But we we really couldn't work together creatively. Then something

0:46:45.680 --> 0:46:48.080
<v Speaker 1>some think something about the foundation of the way it

0:46:48.120 --> 0:46:50.239
<v Speaker 1>all started. It just didn't really pave the way for

0:46:50.320 --> 0:46:52.359
<v Speaker 1>more than one record to be made. We couldn't. We

0:46:52.360 --> 0:46:54.399
<v Speaker 1>didn't find that we could work together in the same way,

0:46:54.440 --> 0:46:56.439
<v Speaker 1>and that's that's a shame, but it is it's also

0:46:56.600 --> 0:46:58.960
<v Speaker 1>I think very common. You know, it's hard to it's

0:46:59.000 --> 0:47:03.600
<v Speaker 1>like being married to to three other guys. You know,

0:47:05.160 --> 0:47:08.400
<v Speaker 1>it's just it's it's uh engaging in a in a

0:47:08.520 --> 0:47:14.319
<v Speaker 1>creative and and business partnership is like you better get

0:47:14.360 --> 0:47:17.879
<v Speaker 1>ready again cling to your journal that that's my maunch

0:47:18.000 --> 0:47:22.160
<v Speaker 1>for today. Well, but and you're also spending I mean,

0:47:22.239 --> 0:47:26.680
<v Speaker 1>so you're engaging in business and creative and then you're,

0:47:26.920 --> 0:47:29.560
<v Speaker 1>as you say, you're going on tour. So then you're

0:47:29.600 --> 0:47:33.000
<v Speaker 1>also living together. Oh yeah, yeah, and and you know, travel, sleeping,

0:47:33.000 --> 0:47:35.600
<v Speaker 1>advance together. And it's always so scrappy because you need

0:47:35.600 --> 0:47:37.960
<v Speaker 1>to make a lot of money to be able to

0:47:38.000 --> 0:47:40.160
<v Speaker 1>do that in a way that it's not scrappy tour

0:47:41.239 --> 0:47:45.799
<v Speaker 1>and uh so it was really, uh it was great.

0:47:45.800 --> 0:47:48.560
<v Speaker 1>It was actually you know what, it was a little

0:47:48.560 --> 0:47:50.239
<v Speaker 1>bit like I was finally doing what I never got

0:47:50.239 --> 0:47:51.680
<v Speaker 1>to do as a teenager. And then but it was

0:47:51.719 --> 0:47:54.600
<v Speaker 1>in my my mid to late twenties, I was getting

0:47:54.640 --> 0:47:58.799
<v Speaker 1>to have a band and like grow out my hair,

0:47:59.239 --> 0:48:02.400
<v Speaker 1>and we started in shows that were so small and

0:48:02.520 --> 0:48:04.880
<v Speaker 1>so bad, and then by the end of it, we

0:48:04.880 --> 0:48:08.680
<v Speaker 1>were actually knowing how to really like rock a crowd

0:48:08.760 --> 0:48:10.880
<v Speaker 1>of five hundred, six hundred people, it was like. And

0:48:10.920 --> 0:48:13.439
<v Speaker 1>we also did play We got the chance to open

0:48:13.520 --> 0:48:17.120
<v Speaker 1>for much bigger acts and play big festivals, and we

0:48:17.160 --> 0:48:20.160
<v Speaker 1>would sometimes play for crowds that were like ten fifteen thousand,

0:48:20.520 --> 0:48:23.160
<v Speaker 1>and that was man, that was actually I can't believe

0:48:23.200 --> 0:48:27.279
<v Speaker 1>we did that. It's it's it's really, it's really really

0:48:27.320 --> 0:48:30.160
<v Speaker 1>a lot at that level of performance. It's it's but

0:48:30.320 --> 0:48:33.080
<v Speaker 1>if you when you find yourself in those moments, like,

0:48:33.760 --> 0:48:37.120
<v Speaker 1>it is special, it's very special. Yeah. But no, no

0:48:37.200 --> 0:48:40.200
<v Speaker 1>more albums and not from other No. And I and

0:48:40.200 --> 0:48:42.759
<v Speaker 1>I mean, all those guys kept going on with it,

0:48:42.920 --> 0:48:46.080
<v Speaker 1>and they're all very talented producers and songwriters and musicians

0:48:46.080 --> 0:48:48.000
<v Speaker 1>and their own right, and they're all just you know,

0:48:49.480 --> 0:48:53.279
<v Speaker 1>making it work the way that artists do. But yeah,

0:48:53.360 --> 0:48:55.120
<v Speaker 1>and I might put out of I might. I might

0:48:55.160 --> 0:48:57.279
<v Speaker 1>actually get it together and put out a record of

0:48:57.360 --> 0:48:59.520
<v Speaker 1>some kind in the future. But you know, it's not

0:48:59.640 --> 0:49:02.239
<v Speaker 1>it's it's what I was saying earlier about, just like

0:49:02.280 --> 0:49:05.680
<v Speaker 1>the the racket, the age of streaming, the same way

0:49:05.719 --> 0:49:09.560
<v Speaker 1>that has changed television in a large part in film,

0:49:09.560 --> 0:49:12.120
<v Speaker 1>it's changed music even more, I think, because it's like

0:49:12.200 --> 0:49:14.080
<v Speaker 1>the only way to make money as to tour, and

0:49:14.120 --> 0:49:18.920
<v Speaker 1>touring is a very intense lifestyle, and so I think

0:49:18.960 --> 0:49:20.400
<v Speaker 1>in order to make it worth it, you need to

0:49:20.400 --> 0:49:43.160
<v Speaker 1>be very successful. You had a song on the album

0:49:43.200 --> 0:49:47.960
<v Speaker 1>called Victim and attempting to make one of the greatest

0:49:47.960 --> 0:49:50.480
<v Speaker 1>segues in the history of podcasting. I think I know

0:49:50.600 --> 0:49:56.399
<v Speaker 1>you're going with this your next show. You come on.

0:49:56.719 --> 0:50:00.960
<v Speaker 1>That was pretty good bright to you that we're going.

0:50:01.680 --> 0:50:05.520
<v Speaker 1>It's certainly the most unique I've gotten. And I do

0:50:05.640 --> 0:50:08.000
<v Speaker 1>want to say it's the best because that's a good

0:50:08.000 --> 0:50:09.719
<v Speaker 1>song too. It's one of my favorite songs of ours.

0:50:10.160 --> 0:50:14.880
<v Speaker 1>I knew that. That's why I said it. Uh Stalker

0:50:15.000 --> 0:50:19.319
<v Speaker 1>murderer Joe Goldberg and you Now I have to tell you,

0:50:19.520 --> 0:50:23.000
<v Speaker 1>I well, I mean, I guess the word is binged.

0:50:23.120 --> 0:50:26.600
<v Speaker 1>I binged season one. I have, I have, I have

0:50:26.719 --> 0:50:30.839
<v Speaker 1>watched every episode of the show. I don't it is

0:50:31.080 --> 0:50:33.440
<v Speaker 1>we were talking about before, so I'm gonna bring it

0:50:33.520 --> 0:50:37.799
<v Speaker 1>up now because we're talking about uh you. It is

0:50:37.960 --> 0:50:43.759
<v Speaker 1>in line with what you know many people call the

0:50:43.800 --> 0:50:49.160
<v Speaker 1>Golden Age of television, which I identify as being the

0:50:49.200 --> 0:50:53.560
<v Speaker 1>time where we found the anti hero. Yeah, I would

0:50:53.600 --> 0:50:57.400
<v Speaker 1>agree with you. There the greatest you know in in

0:50:57.400 --> 0:51:03.680
<v Speaker 1>in my opinion, being Tony Rano or or yes, break

0:51:03.760 --> 0:51:08.840
<v Speaker 1>Walter White breaking Bad, many many others um and I

0:51:09.000 --> 0:51:14.360
<v Speaker 1>It's it's compelling in that way, but of course different.

0:51:14.719 --> 0:51:16.839
<v Speaker 1>It is different because it's funny when you say, when

0:51:16.880 --> 0:51:18.560
<v Speaker 1>you bring up those two, I mean, I don't ever

0:51:18.640 --> 0:51:22.520
<v Speaker 1>in my mind include Joe Goldberg in the same realm.

0:51:22.560 --> 0:51:24.320
<v Speaker 1>And I'm not giving the same kind of performance, and

0:51:24.360 --> 0:51:25.920
<v Speaker 1>it isn't the same kind of show, but you are

0:51:26.040 --> 0:51:28.319
<v Speaker 1>right that it is part of In a way, I

0:51:28.360 --> 0:51:31.560
<v Speaker 1>feel like my show You is now kind of like

0:51:31.600 --> 0:51:36.120
<v Speaker 1>an entrance into the next iteration of this golden era

0:51:36.160 --> 0:51:40.080
<v Speaker 1>where of the anti hero, because the show is so

0:51:40.160 --> 0:51:44.160
<v Speaker 1>like um, almost like self referencing. It's it is popular.

0:51:44.320 --> 0:51:47.680
<v Speaker 1>It's not the clinical portrayal of a real killer. It's

0:51:47.880 --> 0:51:50.160
<v Speaker 1>you know what I mean. It's not a man falling

0:51:50.200 --> 0:51:54.439
<v Speaker 1>from grace. It's a man starting out as this sort

0:51:54.480 --> 0:52:00.719
<v Speaker 1>of like evil deconstruction of the same trope we've been

0:52:01.400 --> 0:52:03.960
<v Speaker 1>imbibing for the last couple of decades, you know, and

0:52:04.040 --> 0:52:07.520
<v Speaker 1>like John Hughes movies and stuff, romantic tropes of of

0:52:07.520 --> 0:52:12.800
<v Speaker 1>a good man. Yes, I think that's true. Yeah, And

0:52:12.800 --> 0:52:17.359
<v Speaker 1>and there's never a real attempt to be good. Yet

0:52:17.680 --> 0:52:23.560
<v Speaker 1>we do find ourselves caring about him and what ultimately

0:52:23.800 --> 0:52:27.680
<v Speaker 1>is going to happen to him. Um, I understand you.

0:52:27.680 --> 0:52:30.840
<v Speaker 1>You almost didn't take this role as well, right, Evidently

0:52:30.840 --> 0:52:34.240
<v Speaker 1>that's just part of my character, my my pan Batics

0:52:34.360 --> 0:52:40.640
<v Speaker 1>character flaws. Yes, I was in a similar position where

0:52:42.040 --> 0:52:44.520
<v Speaker 1>so after my band mother. Actually, you know what, this

0:52:44.640 --> 0:52:46.640
<v Speaker 1>was a good segue because you're tracking, you're kind of

0:52:46.680 --> 0:52:49.000
<v Speaker 1>going through the actual timeline here. I haven't done I

0:52:49.000 --> 0:52:50.960
<v Speaker 1>haven't done an interview like this in a very long time.

0:52:51.800 --> 0:52:55.560
<v Speaker 1>Thank you, So kudos to you. I had so my

0:52:55.680 --> 0:52:58.160
<v Speaker 1>band had just dissolved. We had just done the thing

0:52:58.160 --> 0:52:59.440
<v Speaker 1>that was very hard to do, and then realized we

0:52:59.480 --> 0:53:01.400
<v Speaker 1>couldn't make another record, and so that was a bit

0:53:01.480 --> 0:53:05.000
<v Speaker 1>of spiriting. I was considering exploring a solo career in

0:53:05.120 --> 0:53:07.680
<v Speaker 1>music and actually had some meetings set up with labels.

0:53:08.920 --> 0:53:12.759
<v Speaker 1>The script comes along, and again I actually was like,

0:53:12.800 --> 0:53:15.640
<v Speaker 1>you know what, this is not initially what I'm interested in.

0:53:15.840 --> 0:53:20.160
<v Speaker 1>It felt it just felt like I couldn't appreciate the

0:53:20.200 --> 0:53:22.560
<v Speaker 1>places it would go and how different it actually was,

0:53:22.600 --> 0:53:25.120
<v Speaker 1>because you know, when television, you only get to read

0:53:25.120 --> 0:53:28.560
<v Speaker 1>the pilot, and in the pilot, a lot of what

0:53:28.640 --> 0:53:31.080
<v Speaker 1>I was resisting was where I felt like I saw

0:53:31.160 --> 0:53:33.279
<v Speaker 1>Dan Humphrey, you know what I mean, And if you

0:53:33.320 --> 0:53:36.279
<v Speaker 1>look at the very first scene where Joe meets back,

0:53:37.360 --> 0:53:42.640
<v Speaker 1>I'm basically Dan Humphrey. And then performance was because I

0:53:42.680 --> 0:53:45.040
<v Speaker 1>actually mean you all in every way, the way that

0:53:45.080 --> 0:53:46.680
<v Speaker 1>I look, the way that I'm acting, the way that

0:53:46.719 --> 0:53:49.040
<v Speaker 1>the character is behaving. This sort of conceit of a

0:53:49.040 --> 0:53:51.200
<v Speaker 1>man falling in love with a woman who's unattainable, but

0:53:51.239 --> 0:53:54.160
<v Speaker 1>who he's actually going to end up with. Um, you

0:53:54.160 --> 0:53:55.799
<v Speaker 1>know what I mean. It's like, it's it's it's I

0:53:55.800 --> 0:53:59.800
<v Speaker 1>don't remember the first scene, but I believe he's a

0:53:59.800 --> 0:54:03.960
<v Speaker 1>book snorting yeah, yeah, and Dan was a writer, you know.

0:54:04.960 --> 0:54:07.160
<v Speaker 1>So it's just it's just it's a it's to me,

0:54:07.360 --> 0:54:09.320
<v Speaker 1>I think, what actually the reason it all works. And

0:54:09.360 --> 0:54:11.200
<v Speaker 1>then what's brilliant about it is that it's kind of

0:54:11.239 --> 0:54:14.120
<v Speaker 1>picking up not where Gossip Girl and Dan left off,

0:54:14.360 --> 0:54:16.840
<v Speaker 1>but it's picking up where that era of that kind

0:54:16.920 --> 0:54:21.040
<v Speaker 1>of show leaves off. Because look, even the Gossip Girl reboot,

0:54:21.080 --> 0:54:22.960
<v Speaker 1>it doesn't it's it doesn't hit the same like we

0:54:23.000 --> 0:54:26.360
<v Speaker 1>don't live in the same age, we don't live in

0:54:26.360 --> 0:54:29.560
<v Speaker 1>the same political time, we don't live in the same time.

0:54:29.600 --> 0:54:33.440
<v Speaker 1>Where like the way climate change literally generates anxiety and

0:54:33.440 --> 0:54:36.000
<v Speaker 1>generations of youth, we didn't have that. We should have,

0:54:36.080 --> 0:54:37.319
<v Speaker 1>by the way, but we didn't have it in two

0:54:37.320 --> 0:54:41.880
<v Speaker 1>thousands seven, you know, like like it's just not the same.

0:54:43.120 --> 0:54:45.759
<v Speaker 1>People don't feel the same people don't, you know, So

0:54:45.760 --> 0:54:47.480
<v Speaker 1>therefore they don't want to see the same thing. And

0:54:47.520 --> 0:54:49.480
<v Speaker 1>I think why I might show you works is that

0:54:49.520 --> 0:54:53.640
<v Speaker 1>it kind of brilliantly sees that takes the sort of

0:54:53.719 --> 0:54:57.959
<v Speaker 1>conceit of a romantic lead, whether he's Dan Humphrey or

0:54:58.360 --> 0:55:02.399
<v Speaker 1>or he's from something early three decades prior in John

0:55:02.480 --> 0:55:05.600
<v Speaker 1>Hughes film you know, and it, and it starts there,

0:55:05.640 --> 0:55:10.520
<v Speaker 1>but says this is there's something wrong with this, there's

0:55:10.600 --> 0:55:15.000
<v Speaker 1>something wrong with these ideas. Let's start. And I'm not

0:55:15.080 --> 0:55:19.600
<v Speaker 1>saying that there's nothing right about the idea of romance

0:55:19.800 --> 0:55:21.600
<v Speaker 1>in the way we've seen it in movies. But this

0:55:21.640 --> 0:55:24.120
<v Speaker 1>show is not a show that's doing that. It's exploring

0:55:24.200 --> 0:55:26.600
<v Speaker 1>what's really actually kind of crazy and toxic about a

0:55:26.600 --> 0:55:30.239
<v Speaker 1>lot of romantic tropes, particularly in the portrayal of men

0:55:30.400 --> 0:55:33.680
<v Speaker 1>as romantic leads kind of like needing to win the

0:55:33.719 --> 0:55:37.640
<v Speaker 1>affection of women and thereby just sort of perpetionally objectifying them.

0:55:37.640 --> 0:55:40.160
<v Speaker 1>So I think it's to me that's what's really cool.

0:55:40.280 --> 0:55:43.040
<v Speaker 1>But I couldn't feel and see all of that when

0:55:43.040 --> 0:55:46.480
<v Speaker 1>I first read the pilot. I really just saw the

0:55:46.600 --> 0:55:49.480
<v Speaker 1>things that it shared as opposed to the things that

0:55:49.520 --> 0:55:53.399
<v Speaker 1>it did really differently, and so I was really really

0:55:53.400 --> 0:55:58.400
<v Speaker 1>hesitant and and sort of tried to say no to

0:55:58.280 --> 0:56:01.440
<v Speaker 1>to Greg Berlante. But it was my conversations with him

0:56:01.440 --> 0:56:03.920
<v Speaker 1>and Sarah Gamble, who co created the show together, and

0:56:03.920 --> 0:56:08.360
<v Speaker 1>it's really Sarah Gamble's journey as a showrunner's her creation,

0:56:08.440 --> 0:56:12.400
<v Speaker 1>her baby. Um, it's my conversations with them that that

0:56:12.560 --> 0:56:15.439
<v Speaker 1>convinced me that it was like, oh, this is really

0:56:15.440 --> 0:56:17.920
<v Speaker 1>doing something different and it will be really really interesting

0:56:18.360 --> 0:56:23.239
<v Speaker 1>to do. I have to ask you a question. Now,

0:56:23.360 --> 0:56:26.640
<v Speaker 1>there's an obvious answer here, but I'm trying to go

0:56:26.719 --> 0:56:29.680
<v Speaker 1>a little bit deeper. So indulge me for just a second.

0:56:30.800 --> 0:56:39.200
<v Speaker 1>Why Joe is a fairly charismatic and on the surface

0:56:39.920 --> 0:56:46.680
<v Speaker 1>likable character, Right, He's able, He's a likable guy. He's

0:56:46.719 --> 0:56:51.600
<v Speaker 1>a you know, moderately attractive of course, played by moderately.

0:56:52.080 --> 0:56:56.319
<v Speaker 1>I'm stressing that word attractive, played by you. Why does

0:56:56.480 --> 0:57:01.760
<v Speaker 1>he feel as though he must do what he does?

0:57:02.520 --> 0:57:07.719
<v Speaker 1>Or is it just I'm trying to get it when yeah,

0:57:07.760 --> 0:57:12.400
<v Speaker 1>truly exploring like why does he why does he feel

0:57:12.480 --> 0:57:18.560
<v Speaker 1>he must do what? He does as opposed to break

0:57:18.680 --> 0:57:21.640
<v Speaker 1>because there are several times I feel like the character

0:57:21.800 --> 0:57:25.200
<v Speaker 1>is going to break away from this and he can't

0:57:26.360 --> 0:57:29.480
<v Speaker 1>do you know why? Well, so there's like three levels

0:57:29.480 --> 0:57:32.040
<v Speaker 1>to this answer, and I don't know which one to

0:57:32.680 --> 0:57:35.120
<v Speaker 1>So on one hand, I think the writers would give

0:57:35.160 --> 0:57:40.560
<v Speaker 1>you a better answer that pertains to the to Joe

0:57:40.640 --> 0:57:45.240
<v Speaker 1>Goldberg than I can. As an actor. I just I

0:57:45.280 --> 0:57:47.360
<v Speaker 1>can't really question a lot of this stuff. I just

0:57:47.400 --> 0:57:50.560
<v Speaker 1>have to believe what I'm saying, and that's what I

0:57:50.600 --> 0:57:54.439
<v Speaker 1>try to do. And then I think, So there's there's

0:57:54.480 --> 0:57:56.880
<v Speaker 1>two levels to it. One is that I think the

0:57:56.960 --> 0:58:00.600
<v Speaker 1>show is always meant to be more are of a

0:58:01.400 --> 0:58:06.360
<v Speaker 1>of a metaphor or it's a work of like fiction

0:58:06.600 --> 0:58:10.480
<v Speaker 1>that is somewhat fantastical and campy in the way that

0:58:10.520 --> 0:58:14.640
<v Speaker 1>it's exploring the story of this man and always at

0:58:14.640 --> 0:58:17.440
<v Speaker 1>the end grounding it in something that resonates so profoundly

0:58:17.480 --> 0:58:21.920
<v Speaker 1>as like emotionally consistent and truth, so that it always

0:58:21.960 --> 0:58:25.080
<v Speaker 1>comes home in this way that like truly good fiction

0:58:25.160 --> 0:58:29.120
<v Speaker 1>is of course it's real because it resonates no matter

0:58:29.120 --> 0:58:32.040
<v Speaker 1>how fantastical it is. It's doing something where it is like,

0:58:32.080 --> 0:58:34.760
<v Speaker 1>oh that's yeah, like I'm having a true I'm having

0:58:34.800 --> 0:58:36.680
<v Speaker 1>some kind of reflection that it's worthwhile because it's like

0:58:37.000 --> 0:58:39.240
<v Speaker 1>there's something true here even though it's a total fiction.

0:58:40.320 --> 0:58:43.800
<v Speaker 1>In that way, there's something deep happening. But I think

0:58:43.840 --> 0:58:46.120
<v Speaker 1>when it comes to Joe as a killer and as

0:58:46.160 --> 0:58:48.320
<v Speaker 1>a person who really does that behavior, I don't think

0:58:48.360 --> 0:58:50.840
<v Speaker 1>he's I don't think anybody's ever tried to ground him

0:58:51.040 --> 0:58:55.920
<v Speaker 1>in in like the clinical reality of someone who does that,

0:58:56.040 --> 0:58:59.360
<v Speaker 1>this sort of pathological makeup, you know what I mean,

0:58:59.400 --> 0:59:01.160
<v Speaker 1>Because I think like at the end of the day,

0:59:01.240 --> 0:59:06.720
<v Speaker 1>he feels too much and is maybe too inconsistent to

0:59:06.920 --> 0:59:11.080
<v Speaker 1>truly be what a real killer would be, like say,

0:59:11.160 --> 0:59:12.680
<v Speaker 1>I don't know, but then us at the same time,

0:59:12.720 --> 0:59:15.320
<v Speaker 1>I think Ted Bundy was evidently very like I don't know,

0:59:15.400 --> 0:59:17.160
<v Speaker 1>he had a lot, he had what didn't he have

0:59:17.200 --> 0:59:20.280
<v Speaker 1>like a family and he and then there's a gay

0:59:20.360 --> 0:59:22.640
<v Speaker 1>cy I guess, was like evidently loved by his community,

0:59:22.720 --> 0:59:26.160
<v Speaker 1>and and so you know, there's there's I actually don't

0:59:26.200 --> 0:59:28.600
<v Speaker 1>know that much about zero Killers in in truth. I mean,

0:59:28.600 --> 0:59:31.680
<v Speaker 1>I I just think that what the writers are exploring

0:59:31.800 --> 0:59:34.200
<v Speaker 1>is something different. I think it's like an I think

0:59:34.200 --> 0:59:36.560
<v Speaker 1>it's like an exercise you know, it's like a meditation.

0:59:37.480 --> 0:59:39.920
<v Speaker 1>And so there are things that Joe does that are

0:59:39.960 --> 0:59:42.520
<v Speaker 1>you know, maybe impossible or inconsistent, and that's not the point.

0:59:42.680 --> 0:59:44.960
<v Speaker 1>I think the point is where examining something and it

0:59:45.320 --> 0:59:49.280
<v Speaker 1>always comes home in something that really makes sense. And

0:59:49.360 --> 0:59:51.720
<v Speaker 1>so then on the other level, where if Joe is,

0:59:51.920 --> 0:59:53.840
<v Speaker 1>if we're trying to understand why Joe really does this,

0:59:53.880 --> 0:59:56.040
<v Speaker 1>which is to say why anybody could or would do this,

0:59:56.480 --> 0:59:58.960
<v Speaker 1>it all has to do with I think unprocessed trauma.

0:59:59.200 --> 1:00:02.200
<v Speaker 1>You know, it comes to maleness, like masculinity, when it

1:00:02.240 --> 1:00:05.760
<v Speaker 1>comes to whiteness, when it comes to any any behavior

1:00:05.840 --> 1:00:10.600
<v Speaker 1>that someone exhibits that is ultimately violent to like another

1:00:10.600 --> 1:00:13.080
<v Speaker 1>group of people, because it's not Joe does kill people,

1:00:13.120 --> 1:00:16.680
<v Speaker 1>but it's he's uniquely violent towards women, the same way

1:00:16.720 --> 1:00:19.840
<v Speaker 1>that like there is racial violence. It is if something

1:00:19.920 --> 1:00:22.960
<v Speaker 1>is racially motivated, something is motivated by a bias, you know,

1:00:23.080 --> 1:00:27.840
<v Speaker 1>by prejudice. As my understanding, you know, many brilliant, famous

1:00:27.920 --> 1:00:30.240
<v Speaker 1>thinkers have said something like this. The person who comes

1:00:30.240 --> 1:00:34.320
<v Speaker 1>to mind is Bell Hooks, a black woman sort of

1:00:35.200 --> 1:00:39.360
<v Speaker 1>think her philosopher activists many things. She said something the

1:00:39.360 --> 1:00:43.600
<v Speaker 1>effect of, like, you know, the first casualty in um,

1:00:43.720 --> 1:00:45.840
<v Speaker 1>she didn't say toxic masculinity because I I don't think

1:00:45.840 --> 1:00:48.080
<v Speaker 1>that was such so much to phrase them, which in

1:00:48.160 --> 1:00:50.640
<v Speaker 1>my understanding, she's talking about like, you know, maleness, like

1:00:50.800 --> 1:00:53.360
<v Speaker 1>in male violence, you know, but the first casualty is

1:00:53.400 --> 1:00:57.480
<v Speaker 1>to that man, to his soul. And I think it's

1:00:57.480 --> 1:01:01.040
<v Speaker 1>the same and racially motivated violent all forms of violence,

1:01:01.120 --> 1:01:03.800
<v Speaker 1>you know, the first act, the first casualty, the first

1:01:03.800 --> 1:01:06.040
<v Speaker 1>act of violence is to the person who's perpetrating it.

1:01:06.880 --> 1:01:09.160
<v Speaker 1>And I think that one of the reasons this show

1:01:09.160 --> 1:01:12.440
<v Speaker 1>also really resonates is that that is we're looking at again,

1:01:12.480 --> 1:01:15.880
<v Speaker 1>not a clinical portrayal, but like this sort of the

1:01:15.920 --> 1:01:18.840
<v Speaker 1>way that something in Lord of the Rings resonates as true.

1:01:19.520 --> 1:01:23.080
<v Speaker 1>It's ultimately about like what perseverance, about friendship, about I

1:01:23.080 --> 1:01:24.600
<v Speaker 1>don't know, like I'm not really sure. I'm not really

1:01:24.600 --> 1:01:27.720
<v Speaker 1>Lord of the Rings person, but it's right, like, it's

1:01:27.720 --> 1:01:31.320
<v Speaker 1>not about it's not about the ring, it's about something else.

1:01:32.160 --> 1:01:34.400
<v Speaker 1>That's what this show is. Well, that's what I think,

1:01:34.480 --> 1:01:37.400
<v Speaker 1>That's what I think. Yeah, I know, I agree with you.

1:01:37.520 --> 1:01:44.720
<v Speaker 1>I mean there's something about as you mentioned before, well

1:01:45.000 --> 1:01:51.320
<v Speaker 1>one the objectification of women by him, for sure, But

1:01:51.440 --> 1:01:54.080
<v Speaker 1>I think that also, And I think what it is

1:01:54.240 --> 1:01:58.840
<v Speaker 1>why it just the show I can't stop watching it

1:01:58.920 --> 1:02:03.520
<v Speaker 1>is it has to do it. It's something about it's

1:02:03.560 --> 1:02:11.120
<v Speaker 1>the idealization of what love love and specifically what what

1:02:11.720 --> 1:02:17.120
<v Speaker 1>Hollywood quote unquote or movies or shows or whatever tells

1:02:17.280 --> 1:02:22.640
<v Speaker 1>us about love and what it should be or what

1:02:22.680 --> 1:02:28.680
<v Speaker 1>it can be and how it should manifest itself. I

1:02:28.880 --> 1:02:32.160
<v Speaker 1>agree with you, Yeah, yeah, I know That's what I've

1:02:32.200 --> 1:02:35.280
<v Speaker 1>tapped into as a thinking person with my role. I

1:02:35.280 --> 1:02:38.000
<v Speaker 1>don't always necessarily think about this, like between action and cut,

1:02:38.040 --> 1:02:39.960
<v Speaker 1>Like when I'm having Joe, it's like, it just is

1:02:40.000 --> 1:02:42.040
<v Speaker 1>what it is. But the way that it really are

1:02:42.080 --> 1:02:43.840
<v Speaker 1>resonates to me is exactly what you said, Like it

1:02:43.880 --> 1:02:47.360
<v Speaker 1>isn't even about you know when I talk about yeah,

1:02:47.400 --> 1:02:50.040
<v Speaker 1>it isn't even really about It isn't just about the

1:02:50.040 --> 1:02:53.000
<v Speaker 1>objectification of women. It's it's it is I think much

1:02:53.040 --> 1:02:57.160
<v Speaker 1>more about, like, well, this guy like if he's if

1:02:57.160 --> 1:02:59.600
<v Speaker 1>he's doing all this, the first person he's doing it

1:02:59.600 --> 1:03:02.200
<v Speaker 1>to is an self, but because he can't recognize that,

1:03:02.440 --> 1:03:04.440
<v Speaker 1>he then has to do it to other people, you know.

1:03:04.560 --> 1:03:08.120
<v Speaker 1>And so and I think that really crazy myth of

1:03:08.160 --> 1:03:11.560
<v Speaker 1>love that Hollywood has unconsciously and also in some cases

1:03:11.600 --> 1:03:15.640
<v Speaker 1>consciously sold us basically since its inception is that that

1:03:15.800 --> 1:03:19.160
<v Speaker 1>you you have to feel as though you're like addicted

1:03:19.200 --> 1:03:22.960
<v Speaker 1>to a freaking drug. Otherwise there's no love. Otherwise there's

1:03:23.160 --> 1:03:26.160
<v Speaker 1>passion and and it's akin to believing in magic. It's like,

1:03:26.200 --> 1:03:29.680
<v Speaker 1>if I'm not feeling these feelings like I can't have

1:03:29.760 --> 1:03:33.320
<v Speaker 1>anything to do with love, then if it's not a practice,

1:03:33.320 --> 1:03:35.920
<v Speaker 1>it's not a discipline. It's this magical feeling that visits

1:03:35.920 --> 1:03:37.560
<v Speaker 1>me that I have to feel, and if I don't

1:03:37.600 --> 1:03:41.160
<v Speaker 1>feel it, then I must not be in love. And

1:03:41.360 --> 1:03:45.880
<v Speaker 1>you know, all people I think are somewhat victim to

1:03:46.080 --> 1:03:50.440
<v Speaker 1>this idea of love that is actually really really unhelpful

1:03:50.440 --> 1:03:52.800
<v Speaker 1>if you want to have a relationship, and I think

1:03:52.880 --> 1:03:56.240
<v Speaker 1>Joe is more than anything victim to that. It's like,

1:03:56.320 --> 1:04:02.320
<v Speaker 1>you don't understand the first thing about love. You actually don't.

1:04:03.120 --> 1:04:05.800
<v Speaker 1>You actually do not understand a single thing about it.

1:04:06.040 --> 1:04:08.080
<v Speaker 1>And you know what that is sad, and you know

1:04:08.120 --> 1:04:10.200
<v Speaker 1>what the first person to get hurt and all of

1:04:10.240 --> 1:04:14.960
<v Speaker 1>that is you. That's the title at all, Just you

1:04:16.320 --> 1:04:21.600
<v Speaker 1>fascinating season four coming up, your directorial debut. That's right? Yeah,

1:04:22.280 --> 1:04:24.600
<v Speaker 1>how was that was? That fun. It was fun. It

1:04:24.640 --> 1:04:26.000
<v Speaker 1>was also like we didn't have time for me to

1:04:26.040 --> 1:04:28.720
<v Speaker 1>watch playback, so it was chaotic. I mean I was

1:04:28.840 --> 1:04:30.480
<v Speaker 1>I was kind of directing with my eyes closed. So

1:04:30.560 --> 1:04:32.160
<v Speaker 1>I I feel good about it. I feel good about

1:04:32.160 --> 1:04:35.400
<v Speaker 1>the cut. I haven't seen the final finals. They take

1:04:35.440 --> 1:04:37.320
<v Speaker 1>it and do their do their do their work to it.

1:04:37.360 --> 1:04:41.800
<v Speaker 1>But UM, great experience overall, like, yeah, something you want

1:04:41.840 --> 1:04:44.600
<v Speaker 1>to keep doing. I don't know that I can do

1:04:44.640 --> 1:04:47.280
<v Speaker 1>it on my show. In fact, I'm almost positive I can't.

1:04:47.280 --> 1:04:50.200
<v Speaker 1>It was too much at all. At the same time,

1:04:51.080 --> 1:04:53.320
<v Speaker 1>it just wasn't really feat because Joe is placed so

1:04:53.400 --> 1:04:55.440
<v Speaker 1>centrally in the show, like there was no opportunity for

1:04:55.480 --> 1:04:58.920
<v Speaker 1>me to prep adequately. So again, the thing that enables

1:04:58.920 --> 1:05:00.480
<v Speaker 1>me to do it is also of the thing that

1:05:00.800 --> 1:05:02.680
<v Speaker 1>hinders me from doing it. So I think, like I

1:05:02.680 --> 1:05:04.840
<v Speaker 1>would love, I mean I do, I am in the

1:05:04.840 --> 1:05:08.840
<v Speaker 1>works to direct something else, but but not I don't

1:05:08.840 --> 1:05:11.200
<v Speaker 1>think I can do my own show what We'll See.

1:05:11.960 --> 1:05:17.920
<v Speaker 1>You mentioned it before pod Crushed Premier this year earlier

1:05:17.960 --> 1:05:22.480
<v Speaker 1>this year. How has how has that been? Man, it's

1:05:22.480 --> 1:05:25.680
<v Speaker 1>been It's been a real joy, you know, because it's like,

1:05:26.120 --> 1:05:30.480
<v Speaker 1>even though it's only one half of the medium of film.

1:05:30.520 --> 1:05:34.880
<v Speaker 1>It's just the audio mostly. UM say for bonus content,

1:05:34.920 --> 1:05:39.080
<v Speaker 1>would you can find it on on YouTube channel would Um

1:05:39.120 --> 1:05:41.400
<v Speaker 1>It's like it's an exercise and production, you know, I

1:05:41.440 --> 1:05:43.320
<v Speaker 1>mean I kind of love it, Like like me and

1:05:43.360 --> 1:05:46.360
<v Speaker 1>my two producing partners, we're cutting our teeth with it

1:05:46.440 --> 1:05:49.320
<v Speaker 1>and it's it's great. It's um you know. And just

1:05:49.400 --> 1:05:52.680
<v Speaker 1>this the stories that we get from everybody, I think

1:05:52.800 --> 1:06:00.120
<v Speaker 1>is really lovely because everybody can relate to feeling of

1:06:00.200 --> 1:06:04.080
<v Speaker 1>rejection and awkwardness and insecurity prof I mean deep insecurity,

1:06:04.120 --> 1:06:05.720
<v Speaker 1>Like it doesn't matter who you are, the level of

1:06:05.760 --> 1:06:09.560
<v Speaker 1>insecurity you feel when you're in middle school is is

1:06:10.000 --> 1:06:13.120
<v Speaker 1>essentially as deep as it's ever going to get. And

1:06:13.120 --> 1:06:14.800
<v Speaker 1>and that, I don't know, it shapes who we are.

1:06:14.840 --> 1:06:17.000
<v Speaker 1>It shapes how we how we see the world and

1:06:17.040 --> 1:06:18.840
<v Speaker 1>what we think of it, and how we see ourselves

1:06:18.840 --> 1:06:21.440
<v Speaker 1>and how we behave in all of our relationships. So

1:06:21.520 --> 1:06:23.080
<v Speaker 1>I think if you, you know, if you tap into

1:06:23.120 --> 1:06:25.280
<v Speaker 1>it the right way, you can get anywhere from something

1:06:25.320 --> 1:06:27.840
<v Speaker 1>that is really really really funny and light to something

1:06:27.920 --> 1:06:31.160
<v Speaker 1>that is frankly, really really intense. And we've kind of

1:06:31.200 --> 1:06:34.000
<v Speaker 1>had all those stories. We've had stories of stories of

1:06:34.000 --> 1:06:38.320
<v Speaker 1>a breakup that is so painfully awkward but superficial because

1:06:38.320 --> 1:06:42.200
<v Speaker 1>they're like eleven two stories of someone losing their mother,

1:06:42.360 --> 1:06:44.760
<v Speaker 1>you know, And I mean it literally is that spectrum.

1:06:44.840 --> 1:06:48.920
<v Speaker 1>It's like it's like it's it and and it's all

1:06:49.600 --> 1:06:53.120
<v Speaker 1>in these you know, stories that are written in from

1:06:53.360 --> 1:06:56.000
<v Speaker 1>from people who listen to the show. And then of

1:06:56.040 --> 1:06:58.680
<v Speaker 1>course that isn't those stories are not the heart of

1:06:58.680 --> 1:07:00.840
<v Speaker 1>the show with everybody. All of our guests come on

1:07:00.880 --> 1:07:03.560
<v Speaker 1>and tell, you know, various story from middle school and

1:07:03.560 --> 1:07:04.840
<v Speaker 1>we just kind of go from there. But at the

1:07:04.920 --> 1:07:08.640
<v Speaker 1>end of every every episode there's a there's a narrated

1:07:08.640 --> 1:07:12.560
<v Speaker 1>story by me from one of our listeners, and you know,

1:07:12.680 --> 1:07:16.000
<v Speaker 1>it's just it's like, as I said before, it's it's

1:07:16.040 --> 1:07:19.840
<v Speaker 1>almost been like a way to process. I mean, I

1:07:19.880 --> 1:07:21.920
<v Speaker 1>didn't finish middle school, you know. And the two people

1:07:21.920 --> 1:07:23.600
<v Speaker 1>that I'm doing the show with their two teachers, so

1:07:23.920 --> 1:07:26.520
<v Speaker 1>they didn't. They're not only finished middle school, they then

1:07:26.560 --> 1:07:31.200
<v Speaker 1>went back to it as adults, so you know, more right,

1:07:31.280 --> 1:07:33.400
<v Speaker 1>and so we're coming at it from a lot of

1:07:33.440 --> 1:07:38.080
<v Speaker 1>angles in a way. Well, I have been really enjoying

1:07:38.120 --> 1:07:42.560
<v Speaker 1>I've been catching up on episodes recently because spoiler alert

1:07:42.880 --> 1:07:47.560
<v Speaker 1>there's gonna be a very special guest. How special, odd,

1:07:48.560 --> 1:07:54.160
<v Speaker 1>really really special. I can only promise specialness. I'm I'm

1:07:54.280 --> 1:07:59.160
<v Speaker 1>very much looking forward to that, Penn, thank you so much.

1:07:59.600 --> 1:08:02.479
<v Speaker 1>Thanks chatting. Yeah, man, thank you so much for having

1:08:02.480 --> 1:08:06.480
<v Speaker 1>me on. Uh, congratulations on all the success of course,

1:08:07.200 --> 1:08:10.520
<v Speaker 1>and on the new season of you. And just just

1:08:10.640 --> 1:08:16.600
<v Speaker 1>know this, I will I will be watching you. We

1:08:16.720 --> 1:08:19.880
<v Speaker 1>got a new Joe Goldberg right here. Thank you, Thank you,

1:08:20.280 --> 1:08:36.080
<v Speaker 1>Thanks Ben Pen. Awesome time talking with you. You may

1:08:36.120 --> 1:08:39.559
<v Speaker 1>be the second pen on this show, but you are

1:08:39.720 --> 1:08:44.840
<v Speaker 1>absolutely tied for first place in my heart. Hi. I

1:08:44.880 --> 1:08:48.800
<v Speaker 1>hope you're ready for a very special guest on your podcast.

1:08:49.000 --> 1:08:53.599
<v Speaker 1>No no, no, my friend, you cannot keep me away.

1:08:54.160 --> 1:08:58.400
<v Speaker 1>I am going to get pod crushed. For all you listeners,

1:08:58.439 --> 1:09:01.080
<v Speaker 1>I hope you enjoyed today's episod owed as much as

1:09:01.200 --> 1:09:04.439
<v Speaker 1>I did getting to No Pen. We've got a very

1:09:04.479 --> 1:09:07.080
<v Speaker 1>special episode for you next week end of the year,

1:09:07.800 --> 1:09:20.920
<v Speaker 1>coming round. We will see you that. Off the Beat

1:09:21.200 --> 1:09:25.560
<v Speaker 1>is hosted an executive produced by me Brian Baumgartner, alongside

1:09:25.560 --> 1:09:29.959
<v Speaker 1>our executive producer Langley. Our senior producer is Diego Tapia.

1:09:30.200 --> 1:09:33.879
<v Speaker 1>Our producers are Liz Hayes, Hannah Harris and Emily Carr.

1:09:34.120 --> 1:09:38.040
<v Speaker 1>Our talent producer is Ryan Papa Zachary and our intern

1:09:38.320 --> 1:09:42.480
<v Speaker 1>is Sammy Cats. Our theme song Bubble and Squeak, performed

1:09:42.520 --> 1:09:45.040
<v Speaker 1>by the one and only Creed Bratton,