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Speaker 1: I'm Alec Baldwin and you were listening to Here's the Thing.

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Speaker 1: Nineteen year old chef Flynn McGarry's new Manhattan restaurant is

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Speaker 1: called a Gem, which is Meg spelled backwards. Meg is

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Speaker 1: Flynn's mom. The tribute is well deserved. Many mothers sacrifice

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Speaker 1: for their son's success. Writer and filmmaker Meg McGarry sacrificed

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Speaker 1: more than most. Nine years ago, she let twelve year

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Speaker 1: old Flynn leave school. She home schooled him and helped

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Speaker 1: him convert her California home into a pop up restaurant.

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Speaker 1: She filled his bedroom with everything he demanded, Japanese grills,

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Speaker 1: a soux vied, and knives for every occasion. Flynn's obsession

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Speaker 1: started at ten, after his parents had divorced. Things were

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Speaker 1: lonely and weird at home. Meg says that's when Flynn

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Speaker 1: started cooking for her. Before long, she was doing dishes

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Speaker 1: after Flynn's restaurant nights in their home in the valley.

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Speaker 1: He was profiled in The New York Times, The New Yorker,

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Speaker 1: and throughout it all. Filmmaker Mega captured the highs and

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Speaker 1: lows on home video. That's one reason director Cameron Yates

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Speaker 1: thought he could turn Flynn's story into his new documentary,

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Speaker 1: Chef Flynn. It's the story of a complicated relationship between

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Speaker 1: a mother and her son who just happens to be

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Speaker 1: a culinary prodigy. He would practice his chopping and so

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Speaker 1: it's like, yeah, he was practicing his chopping because he

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Speaker 1: was interested in it, but also, you know, he was

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Speaker 1: a little kid who didn't really understand why his dad

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Speaker 1: wasn't around. I'm using non alcoholic light line. How come

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Speaker 1: because you're gloth? Flynn McGarry and director Cameron Yates joined

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Speaker 1: me for a live event at guild Hall in East Hampton,

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Speaker 1: New York, as part of the Hampton's International Film Festival's

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Speaker 1: Summer doc series. We're very, very grateful this evening that

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Speaker 1: we have both the director of the film and the

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Speaker 1: subject of the film. Obviously a part of this whole thing.

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Speaker 1: A big part of it is your age as an

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Speaker 1: interesting moment when you're in the kitchen with some guys.

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Speaker 1: I'm would imagine a lot of people your age would

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Speaker 1: be like, you know, if somebody says I'm Joe, yeah,

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Speaker 1: and instead you say I believe we've met. Do you

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Speaker 1: feel that you've been aware of things on a level

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Speaker 1: that's beyond your years most of your life. Well, I

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Speaker 1: think an interesting thing is I spent most of from

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Speaker 1: when I was twelve on not surrounded by people my

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Speaker 1: own age by going to school, but I was surrounded

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Speaker 1: by people in their late twenties and thirties, And so

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Speaker 1: I think the thing that I gained from that was learning.

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Speaker 1: I mean, if you think about it, like if I

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Speaker 1: was in middle school, I would just be surrounded by

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Speaker 1: a bunch of dumb thirteen year olds. We'd all just

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Speaker 1: be dumb together until eventually we all learned all the

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Speaker 1: same stuff. I mean, it was like I was the

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Speaker 1: dumb thirteen year old, but I was surrounded by a

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Speaker 1: bunch of people who have had all this life experience,

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Speaker 1: and those were my years. You just weren't interested in

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Speaker 1: the things that they were interested in. Yeah, and but

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Speaker 1: but what I mean is like I think spending that

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Speaker 1: time only with people who are fully formed adults and

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Speaker 1: are fully matured people is going to obviously make you

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Speaker 1: like speed that process a lot more. Because I couldn't

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Speaker 1: be a thirteen year old around all these people. I

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Speaker 1: wouldn't be able to keep up. But but but but

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Speaker 1: a lot of thirteen year olds arguably that you'd put

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Speaker 1: a young kid or whatever word you want to as

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Speaker 1: a child in a room full of adults and he

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Speaker 1: might shut down and be staring. He wouldn't respond the

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Speaker 1: way you did. Like, do you think that you're just different?

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Speaker 1: You're big part of it. What was your personality? You

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Speaker 1: really are much more adult identified and you want to

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Speaker 1: be an adults? You would you enjoyed it? Yeah? I mean,

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Speaker 1: I mean there's a point where I very actively knew

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Speaker 1: that I was different and I didn't want to be

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Speaker 1: around a bunch of people in my own age because

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Speaker 1: I had nothing in common with them. I had none

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Speaker 1: of the same interests, really, And it was the thing

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Speaker 1: where then I found this group of people that were

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Speaker 1: had the same interest and I felt more comfortable talking

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Speaker 1: with a group of thirty year olds than talking with

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Speaker 1: a group of people my own age. How did you

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Speaker 1: begin this process? Did you read about him in the paper?

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Speaker 1: You heard about him? And how did you make this connection?

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Speaker 1: My father actually handed me the New Yorker piece The

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Speaker 1: Prodigy Talk of the Town, and I was immediately fascinated,

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Speaker 1: and I kind of him out of the blue. I

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Speaker 1: met up with Flynn and his mother, Meg, and his

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Speaker 1: sister Paris as well, and I their dynamic was incredible.

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Speaker 1: Like I was like, I have to make a film

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Speaker 1: about you, um, please let me And they said no.

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Speaker 1: Did you know what you were signing on too? I mean,

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Speaker 1: what was that like for you? Was there a point

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Speaker 1: where you really got sick of being followed and filmed

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Speaker 1: and the subject of the film. Well, I mean the

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Speaker 1: interesting thing when Cameron came along with so, I mean

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Speaker 1: it was the time where I was very hesitant to

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Speaker 1: let anyone film anything. Um, we got to know each

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Speaker 1: other before even started filming. Um. But it was also

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Speaker 1: an interesting thing of growing up with two parents who

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Speaker 1: always had a camera that you were used to being filmed. Well,

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Speaker 1: the interesting thing was I was sick of being filmed

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Speaker 1: by my parents. Your mom was like Ken Burns a

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Speaker 1: camera taking a really long documentary. I was a really

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Speaker 1: huge kid. It was the thing where it was like

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Speaker 1: the fact of someone else coming along who I trusted

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Speaker 1: but was not my I mean, I was thirteen years old.

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Speaker 1: I clearly did not want my mom filming, and so

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Speaker 1: it was actually sort of refreshing to have someone else

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Speaker 1: filming with a very new perspective and like not I

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Speaker 1: mean because I was so used to cameras that the

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Speaker 1: cameras weren't the thing. It was more about who was

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Speaker 1: filming it than the physical thing that was there. Answer

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Speaker 1: one question me, this is an odd question. Those sketches

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Speaker 1: that you made on that little yellow legal path we're

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Speaker 1: it almost looked like a New Yorker cartoon, you know,

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Speaker 1: because everything pretty much to me looked pretty much the same.

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Speaker 1: It was like a blob of little squiggly lines, and

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Speaker 1: you were like broccoli, every different squiggle you knew what

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Speaker 1: it was. Yeah. I stopped doing that after a certain

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Speaker 1: point where I realized I wasn't the most visually talented

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Speaker 1: artists when drawing things. I thought we need to get

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Speaker 1: like Alan touring in here, like break the code or something.

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Speaker 1: You know, it was there. I think that came from honestly.

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Speaker 1: At that time, I was researching a bunch of chefs

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Speaker 1: and I saw a lot of chefs were like drawing dishes,

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Speaker 1: and I was like, oh, that's a good way to

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Speaker 1: like see how to plate something, and then very quickly

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Speaker 1: realized that that was not how I worked. And I

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Speaker 1: would draw it out on a plate and be a

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Speaker 1: bunch of blobs, and then I'd be like those blobs

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Speaker 1: don't look right. There was a period in my life

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Speaker 1: with my mother who had six children and no money.

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Speaker 1: She'd take a nap at like four o'clock in the

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Speaker 1: afternoon for like an hour, and I come home and like,

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Speaker 1: the chicken was like burning in the oven. So I

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Speaker 1: learned how to cook a little bit out of necessity.

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Speaker 1: And your mother kind of intimated that as well, that

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Speaker 1: she was, you know, post divorce, unhappy, preoccupied, a lot

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Speaker 1: of takeout, and you stepped in to feel some kind

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Speaker 1: of a vacuum. Was that the biggest part of it,

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Speaker 1: or was there also prior to that. Did you always

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Speaker 1: have a fascination with food preparation. I think that was

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Speaker 1: definitely the impetus to it. I mean, I see that

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Speaker 1: my mom doesn't want to do this, I'm gonna try

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Speaker 1: it out. I didn't want to take out every single night,

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Speaker 1: and then I just immediately had a super kind of

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Speaker 1: intense connection to it. And there wasn't like a day

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Speaker 1: that I was like, I'm going to make this and

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Speaker 1: then I knew I wanted to do it. It was

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Speaker 1: very kind of I wasn't really thinking about it when

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Speaker 1: it was happening. We've always watched the Food Network because

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Speaker 1: my parents didn't want to watch kids shows and we

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Speaker 1: couldn't watch like adult shows. So that the happy medium,

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Speaker 1: which I feel like is the thing with most families,

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Speaker 1: is food television that's funny. So it was always sort

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Speaker 1: of around that's really funny, Bugs, Bunny, American horror Story,

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Speaker 1: and waste. And so that was I guess the only

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Speaker 1: sort of exposure I had to it, um, because I

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Speaker 1: was there wasn't some two one space odist the moment

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Speaker 1: where you are like the gorilla with the bone sapiens

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Speaker 1: with in your hand. It was very just kind of

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Speaker 1: like I never thought too much about it, and I

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Speaker 1: just sort of wanted to try it out. And I

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Speaker 1: mean that's sort of the way that I've done most things.

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Speaker 1: What was food to you prior to you making you know,

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Speaker 1: very elegant, kind of high end dishes, Like what did

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Speaker 1: you like to eat? I mean I was never a

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Speaker 1: picky eater. Um, as much as I've always kind of

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Speaker 1: talked down mom's food. She would always go to a

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Speaker 1: nice market and get like healthy things, and I was

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Speaker 1: like focused on like playing soccer, and I didn't ever

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Speaker 1: really think about it as kids. I didn't care and

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Speaker 1: then I think, I mean, it was sort of I

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Speaker 1: needed that thing of my mom pulling back, but my

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Speaker 1: sister didn't care. My sister was fine continuing to eat

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Speaker 1: the same food. I reached a point where I was like,

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Speaker 1: I want something different, and that was I think that's

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Speaker 1: where it comes into not just a thing from food inherently.

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Speaker 1: I just was the kind of person that wanted to

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Speaker 1: see where it could go. I mean, we would have

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Speaker 1: a rose chicken once a week, and I was like,

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Speaker 1: there's something else we could do with this. I'm sure, Well,

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Speaker 1: if you en, you're damn right, there's something we take

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Speaker 1: it out of the flame. First of all, I say,

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Speaker 1: my mom has never caught a chicken on fire. It

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Speaker 1: was the funniest thing. Is like, the way that my

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Speaker 1: entire family has always been with food is I always

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Speaker 1: described them as they're scared cooks. I remember the fear

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Speaker 1: my entire family would have when opening the bag of chicken,

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Speaker 1: because no one wanted to touch a raw chicken. And

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Speaker 1: then one day whatever, my mom was kind of preoccupied

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Speaker 1: and it was like, okay, you take care of it,

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Speaker 1: and I was ten. I could not care less. I

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Speaker 1: was like inside the chicken, like holding it. Yeah, I

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Speaker 1: don't care if you saw somebody's skull open, You're I

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Speaker 1: enjoyed the sort of part to that. I had always

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Speaker 1: seen this sort of hesitation to adding more salt, to

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Speaker 1: doing anything like that was like fully kind of like

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Speaker 1: cooking passionately. I mean, neither of my parents were like chefs,

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Speaker 1: so it was cooking to feed your kids and to

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Speaker 1: make sure that everything was fine. But there's no like effort.

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Speaker 1: One more question that it came to me. Wine. It's

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Speaker 1: a big part of a cuisine, and what was it

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Speaker 1: like for you being a minor? What's it been like

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Speaker 1: for you all that time where that was kind of

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Speaker 1: cut out of your cuisine? Are you making up for

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Speaker 1: lost time now you're drinking your ass off down there?

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Speaker 1: And the lower side it was well, So when we

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Speaker 1: were doing at the house, it was just it was

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Speaker 1: illegal enough to be serving people food that we were like,

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Speaker 1: you guys can bring your own wine. We're not going

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Speaker 1: to people about their own wine. Um. I was thinking

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Speaker 1: enough to be surrounded by people who were really talented

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Speaker 1: in the wine world. And like anytime I was doing

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Speaker 1: pop ups, I had this one friend, Max Going. He

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Speaker 1: was the one who helped in the New York thing. Uh,

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Speaker 1: and he would do all of the wind parents, at

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Speaker 1: least inners of mine. And I think that actually helped me,

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Speaker 1: from a very young age understand needing people with other skills,

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Speaker 1: because when you're very ambitious kid who's just like I

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Speaker 1: want to do all these things, the fact that you

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Speaker 1: couldn't serve wine or because they go hand in hand,

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Speaker 1: do you think it made you a better cook? I

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Speaker 1: think it made me be able to rely on people

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Speaker 1: and and understand that, like there's maybe one in a

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Speaker 1: hundred restaurants where the chef actually chooses your wine. You

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Speaker 1: have a wine director, you have someone who spends their

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Speaker 1: life dedicated to that, the way you spend your life

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Speaker 1: dedicated to food. Um. And so I think I learned

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Speaker 1: that very early on. And then I mean, after I've

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Speaker 1: finished school, I I moved to Europe to go work

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Speaker 1: in restaurants, and that was why I actually learned a

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Speaker 1: little bit more about wine and learned kind of how

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Speaker 1: it pairs the food. But I had already been surrounded

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Speaker 1: by these people who are talking about wine, who are

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Speaker 1: sending me wineless, who are sending me pairings with these

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Speaker 1: dishes that I had already had this huge frame of reference.

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Speaker 1: But I knew where the grapes were from. I knew

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Speaker 1: all the regions. I knew what paired with what, not

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Speaker 1: from actually drinking it, but from having people who study,

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Speaker 1: but from studying essentially like reading a book on wine forever,

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Speaker 1: but not actually wine. Yeah you do what? What kind

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Speaker 1: of one you drink? Night? Scenes? Please come on? United

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Speaker 1: States of America. Uh, we'll talk about that now. When

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Speaker 1: you make a film, and obviously you go into a

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Speaker 1: cutting room, you spend how much time with him? This was?

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Speaker 1: This was shot over the course of what period of time?

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Speaker 1: Six six years? No? Yeah, absolutely. My mentor is Albert

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Speaker 1: Mazel's and Great Gardens is one of my favorite films

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Speaker 1: of all time. So not only untraditional family dynamics are

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Speaker 1: I'm attracted to, but I'm there for the long term.

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Speaker 1: Like the longitudinal documentary six years. You're in and out,

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Speaker 1: in and out over exactly exactly, and editing was going on,

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Speaker 1: and you go into the inning room with how many

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Speaker 1: hours of footage you have to cut this down from?

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Speaker 1: I mean, I would say anywhere probably like two hours

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Speaker 1: of footage, but that includes all of his mother's footage,

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Speaker 1: which to me was a huge attraction of the project

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Speaker 1: as well, knowing that there was this treasure trove of

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Speaker 1: archival footage that she shot, you know, for havewe any

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Speaker 1: countless years as well? It is it safe to say

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Speaker 1: you couldn't have done this without your mom? Confidently? I mean,

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Speaker 1: I don't think you really understand how much sacrifice goes

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Speaker 1: into what I was doing when you're in it, because

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Speaker 1: I mean if I had any normal child or normal

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Speaker 1: parents who were worked normal jobs and did not understand

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Speaker 1: the sort of creative drive and this sort of unrelenting feeling,

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Speaker 1: and if there wasn't any tread like kind of tragic

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Speaker 1: thing that happened, I think none of this would have happened,

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Speaker 1: because great things can have happened. When my family was

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Speaker 1: pushed and there was like pressure, and there was all

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Speaker 1: these things, and I think my mom totally could have

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Speaker 1: said no a thousand times. We probably would have been

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Speaker 1: way better off financially. But she understood that in the

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Speaker 1: long term, supporting her child for what I wanted to do,

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Speaker 1: regardless of the even would have worked out. Like the

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Speaker 1: amount of times that like before that I had like

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Speaker 1: wanted to be a rock star for a minute, and

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Speaker 1: I like she bought me a guitar, and then like

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Speaker 1: two weeks later, I was like, I'm done with this,

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Speaker 1: and then like I'm a calendar. Well, no, that was funny.

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Speaker 1: It's like I sold the guitar as I sold all

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Speaker 1: my like soccer to do this. And I think especially

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Speaker 1: the point at which she saw that this was a

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Speaker 1: real thing that I was into, then it was became

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Speaker 1: sort of more than that. And I mean even for

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Speaker 1: like it was, I think in the time you don't

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Speaker 1: realize it, but it was definitely like I don't think

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Speaker 1: many teenagers spend that much time with their mother. Everything

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Speaker 1: was so crazy, and it was nice to have someone

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Speaker 1: there who's your family and kind of is like grounding

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Speaker 1: for that. But then it was also great of like

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Speaker 1: then when I at fifteen wanted to move out and

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Speaker 1: go work on my own, it was like she was

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Speaker 1: kind of like, Okay, I like spent enough time with

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Speaker 1: you in these a couple of years that I'm like, okay,

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Speaker 1: kind of letting go more so now. So it was

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Speaker 1: like it was a very intense thing and then kind

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Speaker 1: of now our relationship is completely different than that. And

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Speaker 1: I mean, yes, simply answered, I could not have done

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Speaker 1: any of this without her. But I think it's also

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Speaker 1: been a very interesting relationship between the two of us

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Speaker 1: as far as a lot of things that were so

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Speaker 1: untraditional and so frowned upon, like don't work with your family,

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Speaker 1: and certain things like I think are the only reasons

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Speaker 1: that I've gotten to this point today. But I wonder

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Speaker 1: if in the future you had a thirteen or fourteen

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Speaker 1: year old son or daughter and they told you that

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Speaker 1: they wanted to bypass a lot of the traditional pathways

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Speaker 1: that young people walk on in this country and skip school,

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Speaker 1: and what happened. They wanted to go and you know,

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Speaker 1: pick some high stakes game. They want to go sit

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Speaker 1: at a desk at Goldman Sacks and trade and they're

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Speaker 1: thirteen years old. They're just a prodigy. They're just this

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Speaker 1: kind of crazy numbers person. And what would you tell them?

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Speaker 1: What would they be missing? Well, I think I think now,

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Speaker 1: I think the way that our culture is sort of

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Speaker 1: moving is that I'm sure there are significantly more thirteen

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Speaker 1: year olds who are asking that their parents because you

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Speaker 1: have so many ways you can get knowledge that it

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Speaker 1: gives this sort of false sense of knowing everything. And

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Speaker 1: if I had this kid that was like, I want

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Speaker 1: to go do this I think it would truly come

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Speaker 1: from the reasons that they would want to go do it,

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Speaker 1: because the reasons that I wanted to leave school and

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Speaker 1: the reasons that I wanted to go cook, we're literally

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Speaker 1: for no. It was never about like, I want to

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Speaker 1: be a chef. It was never but I want to

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Speaker 1: be successful. It was I want to try to master

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Speaker 1: this craft, and the only way that I can do

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Speaker 1: this is to go work in restaurants full time. And

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Speaker 1: it wasn't a thing of like I want to drop

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Speaker 1: out of school to be a celebrity chef, to be

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Speaker 1: treated different than anyone else. It was I want to

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Speaker 1: stop going to school full time to be treated like

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Speaker 1: the lowest level of a cook. This is all I

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Speaker 1: want to do, then yeah, but if for any other reason,

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Speaker 1: like I think that's where the motives are really interesting now,

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Speaker 1: is like, yeah, no one wants to go to school.

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Speaker 1: No one's ever wanted to go to school. There's a

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Speaker 1: very specific kind of person who loves going to school.

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Speaker 1: Many creative people do not want to go to school

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Speaker 1: because you think, oh, if I have my interest in art,

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Speaker 1: in music, whatever, you have this false sense or whatever

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Speaker 1: sense that you know something that everyone else doesn't know,

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Speaker 1: and it's sort of that's where the motives of why

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Speaker 1: you want to learn more are always really interesting. Of

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Speaker 1: like I that, for some reason probably thought I had

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Speaker 1: some false sense of I know this that no one

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Speaker 1: else knows. But at that point at which I wanted

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Speaker 1: to stop having a traditional way of growing up, all

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Speaker 1: I wanted to do was learn. And I think that's

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Speaker 1: where my parents saw that the way that I could

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Speaker 1: learn the most was not from a traditional way of

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Speaker 1: going to school, but from actually learning from a craft. Um.

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Speaker 1: As far as things that are being missed out on,

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Speaker 1: I mean, I've had lots of people be like slow down,

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Speaker 1: like enjoy your childhood to all of these things. The

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Speaker 1: amount of pushback that comes from doing something that is

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Speaker 1: extremely different than what you're the normal path is comes

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Speaker 1: from so much hesitation from every single person you talked to,

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Speaker 1: whether it's your family, whether there's an interviewer, there's anything

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Speaker 1: that from the point that I was thirteen years old,

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Speaker 1: I've been getting asked at least once a week, do

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Speaker 1: you think you're missing out on anything? No? I noticed

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Speaker 1: I was going the other way by when you're standing

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Speaker 1: there when you say it was we talked backstage and

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Speaker 1: you say you're fifteen years old, and you say I

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Speaker 1: think I'm gonna have a brain aneurysm. You under a

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Speaker 1: lot of pressure. Need hands, Come on? Is there okay?

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Speaker 1: But I needed to go calm down somewhere before before

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Speaker 1: I have a brand annis. This is the worst experience

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Speaker 1: I've ever had in my entirelor. Sorry, sucking hell. I'm

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Speaker 1: talking to chef Flynn McGarry and the director of The

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Speaker 1: Duck commentary about him, Cameron Yates sometimes at this point,

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Speaker 1: and here's the thing. I suggest another similar episode you

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Speaker 1: may want to dig into. This may sound far fetched,

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Speaker 1: but Flynn McGarry's early certainty about his path in life

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Speaker 1: reminded me of magician Penn Galette's early certainty about God.

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Speaker 1: When I got to Junior High, I read the Bible

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Speaker 1: and then came in with some questions. And I don't

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Speaker 1: like the idea of their being a love greater than

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Speaker 1: the love I have from my family and friends. And

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Speaker 1: I do believe that humans are good on their own

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Speaker 1: without this, and I don't think anything happens after we die.

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Speaker 1: Penn informed his parents, left youth group, and he's been

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Speaker 1: one of the country's most prominent atheists. For more than

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Speaker 1: thirty years. Enjoy the rest of that interview about God

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Speaker 1: and magic that here's the thing, dot Org, I'm out

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Speaker 1: like Baldwin and you're listening to Here's the thing. Flynn

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Speaker 1: McGarry is demanding both in and out of the kitchen.

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Speaker 1: He has strong opinions about what diners should be looking

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Speaker 1: for as well. I definitely feel like a thing to

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Speaker 1: separate is restaurants you go to every day and restaurants

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Speaker 1: that you're going to for an experience, and like, I

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Speaker 1: don't eat it tasting many restaurants when I'm not working

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Speaker 1: the same four places. I don't have any time. I

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Speaker 1: want to eat something that I know is gonna be good,

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Speaker 1: and then I want to go home if I do

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Speaker 1: go to something that like I ate it. No. By

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Speaker 1: the other day, I was in Copenhagen, and you need

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Speaker 1: to go into it understanding that you're not going to dinner.

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Speaker 1: Separate that you're going to think of that you're going

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Speaker 1: to see a play thinking of like you're going to

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Speaker 1: see a movie. You're going to see a very specific

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Speaker 1: person's like expression of their of their art form, and

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Speaker 1: like I I will say, like I mean, sure, every

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Speaker 1: day we have people who want everything they're being served.

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Speaker 1: It's a service industry. I totally understand that there's a

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Speaker 1: certain level of like you need to give people what

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Speaker 1: they want. But on the other hand, I think not

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Speaker 1: giving restaurants in that caliber, especially when they're really small

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Speaker 1: and really trying to do something different, not treating them

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Speaker 1: like it's a really personal thing where yeah, one night

409
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Speaker 1: might be a little off and one night they might

410
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Speaker 1: not serve exactly what you want. But to be able

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Speaker 1: to separate that from they're not doing that to serve you,

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Speaker 1: They're doing that to showcase a very specific idea and

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Speaker 1: a very specific art form. I think it makes people

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Speaker 1: complain a lot less, like enjoy things a lot more.

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Speaker 1: If you went into something just being like, I'm gonna

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Speaker 1: go to this place to see what this person has created,

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Speaker 1: what environment they've created, what, yeah, atmosphere they've created, what

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Speaker 1: space they've created, what food they've created, what every single

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Speaker 1: detail that they've put out countless hours in creating and

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Speaker 1: enjoy it because I mean, hopefully it tastes good, and

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Speaker 1: like enjoy it for that, but also to be able

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Speaker 1: to enjoy it as a theater. Theater do you do

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Speaker 1: you do you play music? In your restaurant, em gem,

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Speaker 1: what's the volume of the music. I want to say

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Speaker 1: this because I am from that world, the people where

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Speaker 1: if my wife will tell you, nothing makes me go

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Speaker 1: insane more then if they have you know, the who

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Speaker 1: playing at you know some crazy band that I love,

429
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Speaker 1: by the way, But but that loud music in the restaurant.

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Speaker 1: One of my favorite restaurants is you're gonna laugh, and

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00:22:39,600 --> 00:22:42,240
Speaker 1: literally it's only about sound. Foods. Okay, the food is

432
00:22:42,280 --> 00:22:45,560
Speaker 1: what you expect. But I literally crave going to Panco

433
00:22:45,640 --> 00:22:50,119
Speaker 1: Titian because they play very quiet music, all right, and

434
00:22:50,240 --> 00:22:51,879
Speaker 1: you can sit there and think and read the New

435
00:22:51,960 --> 00:22:53,600
Speaker 1: Yorker and have a cup of coffee and do your

436
00:22:53,640 --> 00:22:57,000
Speaker 1: email in the back of you just here. Well. Yeah,

437
00:22:57,119 --> 00:22:59,560
Speaker 1: but the thing is like that is a very specific thing.

438
00:23:00,040 --> 00:23:03,639
Speaker 1: I after a long time realized if we played really

439
00:23:03,800 --> 00:23:06,920
Speaker 1: quiet music, the people in the restaurant would have a

440
00:23:07,000 --> 00:23:09,119
Speaker 1: terrible time. I play the music that I want to

441
00:23:09,119 --> 00:23:11,080
Speaker 1: listen to. It sort of just changes depending on you

442
00:23:11,119 --> 00:23:13,840
Speaker 1: impose that on your diners because they're eating the food

443
00:23:13,880 --> 00:23:18,600
Speaker 1: I want to eat. They're sitting Yeah, and you play

444
00:23:18,640 --> 00:23:20,840
Speaker 1: it loud. We don't play it loud. We play it

445
00:23:20,880 --> 00:23:24,600
Speaker 1: loud enough that you you don't necessarily hear all the lyrics,

446
00:23:24,640 --> 00:23:26,960
Speaker 1: you don't hear anything but music. To me, it sets

447
00:23:27,000 --> 00:23:29,119
Speaker 1: the pace of the room when you walk into a

448
00:23:29,160 --> 00:23:31,840
Speaker 1: place and it's playing. If you walked in and we

449
00:23:31,840 --> 00:23:36,640
Speaker 1: were just playing like classical music, you'd be like. It's

450
00:23:36,840 --> 00:23:38,400
Speaker 1: like like if you walk into per Se and they're

451
00:23:38,400 --> 00:23:41,280
Speaker 1: playing classical music, you know exactly what that restaurant's going

452
00:23:41,359 --> 00:23:43,960
Speaker 1: to be. If you walk in and you hear a

453
00:23:44,080 --> 00:23:48,840
Speaker 1: really weird like David Bowie deep cut song from the

454
00:23:48,840 --> 00:23:52,000
Speaker 1: eight like, it gives you an instant sense of like,

455
00:23:52,359 --> 00:23:54,280
Speaker 1: this is gonna be something different, and it is a

456
00:23:54,320 --> 00:23:58,400
Speaker 1: marker for Also, like I now know within someone's meal

457
00:23:58,520 --> 00:24:01,080
Speaker 1: when there's gonna be lulls in convert station because people

458
00:24:01,080 --> 00:24:03,800
Speaker 1: are eating a bigger course and you know that they're

459
00:24:03,800 --> 00:24:05,600
Speaker 1: gonna all be eating, so no one's gonna be talking

460
00:24:05,600 --> 00:24:07,840
Speaker 1: at that time. And there's nothing worse than a dead

461
00:24:07,920 --> 00:24:10,520
Speaker 1: silent restaurant when everyone's talking, when everyone's eating at the

462
00:24:10,560 --> 00:24:15,320
Speaker 1: exact same time, chewing us to chew. But so we

463
00:24:15,440 --> 00:24:18,320
Speaker 1: literally we time the music so when there's a course

464
00:24:18,320 --> 00:24:23,400
Speaker 1: that everyone's chewing, your listening, and when there's when it's

465
00:24:23,440 --> 00:24:25,680
Speaker 1: the beginning, you put things that are a lot more

466
00:24:25,720 --> 00:24:28,840
Speaker 1: not abrasive, but a lot more kind of like songs

467
00:24:28,840 --> 00:24:31,280
Speaker 1: that are gonna make you a little bit more like, Oh,

468
00:24:31,400 --> 00:24:33,080
Speaker 1: they're going to set the mood for the night. They're

469
00:24:33,080 --> 00:24:34,960
Speaker 1: going to be able to like take you out of

470
00:24:34,960 --> 00:24:37,359
Speaker 1: your element a little bit. Because people come to restaurants

471
00:24:37,400 --> 00:24:39,359
Speaker 1: like like ours and restaurant like this, but such like

472
00:24:39,440 --> 00:24:42,280
Speaker 1: pent up, like they're scared. People come in. They're scared

473
00:24:42,280 --> 00:24:44,639
Speaker 1: to talk to me, they're scared to do anything. So

474
00:24:44,720 --> 00:24:48,040
Speaker 1: when you're playing things that are fun and things that

475
00:24:48,080 --> 00:24:49,959
Speaker 1: are enjoyable, and you're treating it with a very kind

476
00:24:50,000 --> 00:24:51,479
Speaker 1: of when I got you on the phone, finally, I

477
00:24:51,560 --> 00:24:56,760
Speaker 1: was scared. I was scared to death for like three months.

478
00:24:57,400 --> 00:24:59,200
Speaker 1: I mean yeah, And if I might be your favorite

479
00:24:59,200 --> 00:25:04,960
Speaker 1: customer because I talk while i'm chewing. So if you came,

480
00:25:05,000 --> 00:25:07,240
Speaker 1: we would not need we'd probably turn the music down

481
00:25:07,240 --> 00:25:10,320
Speaker 1: and beat you. Last. Yeah, I'm a different customer. I'm

482
00:25:10,320 --> 00:25:13,000
Speaker 1: gonna keep on talking. Now. How did he change? This

483
00:25:13,080 --> 00:25:15,760
Speaker 1: is an obvious question. What did you witness among the things?

484
00:25:15,800 --> 00:25:17,680
Speaker 1: Just so, how did he do other than just him

485
00:25:17,680 --> 00:25:22,200
Speaker 1: maturing age? Was how did he change in the six years? Well,

486
00:25:22,400 --> 00:25:24,560
Speaker 1: one thing. Does everyone know that he has a restaurant.

487
00:25:25,440 --> 00:25:28,720
Speaker 1: He has a restaurant in the city from the Lower Side.

488
00:25:28,800 --> 00:25:33,080
Speaker 1: Gem ye that I mean, yeah, I don't know what

489
00:25:33,160 --> 00:25:35,639
Speaker 1: your crapp because you can't get a seat there. Forget it.

490
00:25:38,760 --> 00:25:42,600
Speaker 1: I'm gonna go about I mean, I have to say

491
00:25:42,640 --> 00:25:45,320
Speaker 1: that was when I first met him at twelve or thirteen,

492
00:25:45,440 --> 00:25:47,679
Speaker 1: he was like, I'm I want to open a restaurant

493
00:25:47,680 --> 00:25:50,480
Speaker 1: in New York. And I think by the time I'm

494
00:25:50,520 --> 00:25:54,240
Speaker 1: eighteen nineteen, and sure enough, you know, after five years

495
00:25:54,240 --> 00:25:56,280
Speaker 1: of filming, you know, he opened up his first restaurant

496
00:25:56,280 --> 00:26:00,520
Speaker 1: this fall. I mean this this past March. Um, And yeah,

497
00:26:00,560 --> 00:26:04,159
Speaker 1: I mean for me, yeah, I mean he's grown up.

498
00:26:04,200 --> 00:26:06,000
Speaker 1: I mean I've I've seen him grown up and and

499
00:26:06,040 --> 00:26:09,480
Speaker 1: I feel like, you know, uh, you know, brothers in

500
00:26:09,480 --> 00:26:11,480
Speaker 1: a way like we we become very good friends. And

501
00:26:11,600 --> 00:26:15,160
Speaker 1: the same thing with Meg Flynn's mom as well. Um.

502
00:26:15,240 --> 00:26:17,960
Speaker 1: But it's been an incredible experience to witness it. And

503
00:26:17,960 --> 00:26:19,240
Speaker 1: I feel like this is just sort of the first

504
00:26:19,280 --> 00:26:21,639
Speaker 1: stage of his life. And that who's the person in

505
00:26:21,680 --> 00:26:23,560
Speaker 1: the piece that you quote you're reading from who calls

506
00:26:23,600 --> 00:26:28,040
Speaker 1: your doogie houser who wrote that, Yeah, it's it's a

507
00:26:28,080 --> 00:26:34,240
Speaker 1: critic film. I want to know what critic? What an asshole?

508
00:26:34,240 --> 00:26:38,520
Speaker 1: They call you? Doogie Houser. I hated that um before.

509
00:26:39,280 --> 00:26:41,040
Speaker 1: I thought that was so rude that one always got

510
00:26:41,080 --> 00:26:43,119
Speaker 1: followed up with people being like do you even know

511
00:26:43,160 --> 00:26:45,639
Speaker 1: who Doogie Houser is? And you should be like, no,

512
00:26:45,800 --> 00:26:48,840
Speaker 1: I don't. Before we go to the questions, I wanted

513
00:26:48,840 --> 00:26:51,360
Speaker 1: to just describe, you know. I was once asked by

514
00:26:51,480 --> 00:26:53,440
Speaker 1: Maureen Dowd. She said, do you want to come with

515
00:26:53,480 --> 00:26:58,159
Speaker 1: me to a sitting with Frank Bruty when Frank was

516
00:26:58,160 --> 00:27:00,440
Speaker 1: the restaurant critic for The Times. When Frank is reviewing

517
00:27:00,440 --> 00:27:03,200
Speaker 1: a restaurant, and she explained to me the protocols you

518
00:27:03,280 --> 00:27:05,159
Speaker 1: go with Frank. Frank has to go to the restaurant

519
00:27:05,200 --> 00:27:07,680
Speaker 1: and eat everything on the menu at the restaurant served

520
00:27:07,720 --> 00:27:09,480
Speaker 1: lunch and dinner. He has to eat both lunch and dinner.

521
00:27:09,480 --> 00:27:15,520
Speaker 1: There he goes UH sometimes for UH sittings. He brings

522
00:27:15,640 --> 00:27:17,920
Speaker 1: a quartet of people. Everyone has to eat what Frank

523
00:27:17,960 --> 00:27:20,359
Speaker 1: tells you to eat, so that Frank and sample everything.

524
00:27:20,400 --> 00:27:23,520
Speaker 1: You're there to kind of enjoy Brunese experience. When he

525
00:27:23,560 --> 00:27:26,520
Speaker 1: walks in the door, he focuses on the service first,

526
00:27:26,520 --> 00:27:28,800
Speaker 1: because eventually they catch onto the fact that it's him,

527
00:27:28,880 --> 00:27:33,240
Speaker 1: and the whole tone of the whole thing changes. Um.

528
00:27:33,280 --> 00:27:35,440
Speaker 1: I mean, it was a fascinating experience to watch Frank

529
00:27:36,359 --> 00:27:39,440
Speaker 1: uh do his thing. We went to Del Posto when

530
00:27:39,440 --> 00:27:42,399
Speaker 1: it was first opening up. Does The Times still have

531
00:27:42,440 --> 00:27:44,399
Speaker 1: as much power in the restaurant world as the as

532
00:27:44,400 --> 00:27:46,439
Speaker 1: they used to have? And what's it like for you

533
00:27:46,520 --> 00:27:49,680
Speaker 1: when Wells came to review the restaurant. Is that's something

534
00:27:49,720 --> 00:27:53,520
Speaker 1: that you're deeply concerned about it You just sit there

535
00:27:53,520 --> 00:27:55,760
Speaker 1: and go, I got a job to do do. I'm gonna

536
00:27:55,760 --> 00:28:00,320
Speaker 1: do the best I can, and you've got a good review. Yeah, yeah,

537
00:28:00,359 --> 00:28:02,320
Speaker 1: it was. It was a review. Yes, it was a

538
00:28:02,359 --> 00:28:08,480
Speaker 1: good review. Um, it was a very interesting situation. It

539
00:28:08,600 --> 00:28:10,840
Speaker 1: was a weird thing where he gave us a lot

540
00:28:10,880 --> 00:28:15,000
Speaker 1: of time. He had reviewed friends of mine's restaurants that

541
00:28:15,000 --> 00:28:18,240
Speaker 1: had opened months after ours before ours, and so it

542
00:28:18,320 --> 00:28:19,520
Speaker 1: was a weird thing where I was like, Okay, he's

543
00:28:19,520 --> 00:28:23,119
Speaker 1: actually giving us time to like figure it out and

544
00:28:23,119 --> 00:28:26,200
Speaker 1: and to answer to New York Times still has The

545
00:28:26,280 --> 00:28:28,960
Speaker 1: day that review came out, we got a significant amount

546
00:28:28,960 --> 00:28:32,119
Speaker 1: of reservations. It still has extreme power in the restaurant industry.

547
00:28:32,520 --> 00:28:34,720
Speaker 1: I had random people I've never even met come up

548
00:28:34,760 --> 00:28:37,320
Speaker 1: to me. John George came utween the Farmers Market was like,

549
00:28:37,320 --> 00:28:39,000
Speaker 1: it's the best review ever went and what like it.

550
00:28:39,440 --> 00:28:42,040
Speaker 1: I still think everyone reads it, especially in New York,

551
00:28:42,040 --> 00:28:44,760
Speaker 1: and it has that kind of power to legitimize a restaurant.

552
00:28:45,080 --> 00:28:48,280
Speaker 1: And I think that was the thing that I necessarily

553
00:28:48,280 --> 00:28:50,600
Speaker 1: didn't think about when he was coming. Mostly what I

554
00:28:50,600 --> 00:28:51,920
Speaker 1: was thinking when he was coming was how clean the

555
00:28:51,920 --> 00:28:55,560
Speaker 1: bathroom was and how quickly his things were getting cleared

556
00:28:55,560 --> 00:28:59,040
Speaker 1: and everything was going on. And obviously once he's there,

557
00:28:59,080 --> 00:29:00,720
Speaker 1: there's nothing you to do. You're gonna serve the food

558
00:29:00,720 --> 00:29:02,959
Speaker 1: that you're gonna serve everyone else and have to have

559
00:29:03,000 --> 00:29:06,080
Speaker 1: that sort of confidence with it. But the thing that

560
00:29:06,360 --> 00:29:10,080
Speaker 1: I actually personally really liked about the review was he

561
00:29:10,120 --> 00:29:12,960
Speaker 1: said exactly what we are, which is, yes, you've read

562
00:29:13,000 --> 00:29:15,600
Speaker 1: about me for seven years whatever, but this is a

563
00:29:15,640 --> 00:29:18,240
Speaker 1: new restaurant that has room to grow, that is super

564
00:29:18,280 --> 00:29:22,440
Speaker 1: ambitious but hasn't figured all out yet. And like it

565
00:29:22,520 --> 00:29:25,000
Speaker 1: gave this sort of feeling to even the entire restored community.

566
00:29:25,000 --> 00:29:27,959
Speaker 1: Like I've had chefs talk to me in a very

567
00:29:27,960 --> 00:29:30,760
Speaker 1: different way after that came out about like he gave

568
00:29:30,760 --> 00:29:33,600
Speaker 1: everyone a reason to root for this restaurant. Not because

569
00:29:33,600 --> 00:29:36,320
Speaker 1: it's like, oh, funk these guys, because they just immediately

570
00:29:36,320 --> 00:29:40,240
Speaker 1: opened and were perfect, but because the New York Times

571
00:29:40,280 --> 00:29:46,280
Speaker 1: saw that You're very aspirational, but it's real. It's not

572
00:29:46,360 --> 00:29:50,200
Speaker 1: like I'm a little wonder kid that was surrounded by

573
00:29:50,240 --> 00:29:53,440
Speaker 1: all the money, had the most expensive everything to do

574
00:29:53,520 --> 00:29:56,480
Speaker 1: everything perfectly. He saw that we wanted to go in

575
00:29:56,480 --> 00:29:58,760
Speaker 1: a very different route from that and go a very

576
00:29:58,760 --> 00:30:01,800
Speaker 1: small kind of kind of reset the clock on all

577
00:30:01,800 --> 00:30:05,520
Speaker 1: of the East I mean, there's a lot of factors

578
00:30:05,560 --> 00:30:07,240
Speaker 1: to it. I had known the people who had the

579
00:30:07,240 --> 00:30:09,960
Speaker 1: space before, so it came in a very natural way.

580
00:30:10,280 --> 00:30:13,800
Speaker 1: The timing of it was very natural. Um. But also,

581
00:30:13,880 --> 00:30:17,640
Speaker 1: I mean, I've been living in New York for almost

582
00:30:17,680 --> 00:30:20,760
Speaker 1: four years now, and I lived in Brooklyn. When Iver

583
00:30:20,800 --> 00:30:22,880
Speaker 1: has moved there, I lived in the West Village. I

584
00:30:22,920 --> 00:30:25,240
Speaker 1: never really truly felt a sort of sense of community

585
00:30:25,240 --> 00:30:27,400
Speaker 1: and like neighborhood until I moved to the Lower East Side.

586
00:30:27,680 --> 00:30:29,720
Speaker 1: And I think it's sort of epitomizes exactly what we

587
00:30:29,760 --> 00:30:33,600
Speaker 1: wanted from a restaurant of like, there are some very

588
00:30:33,680 --> 00:30:36,200
Speaker 1: nice things down there. There's still a little bit of

589
00:30:36,240 --> 00:30:39,040
Speaker 1: grit to it. It still has like this sort of

590
00:30:39,120 --> 00:30:42,320
Speaker 1: yearning for old New York that like my when my

591
00:30:42,360 --> 00:30:44,200
Speaker 1: mom lived in New York would tell me stories about

592
00:30:44,480 --> 00:30:46,000
Speaker 1: New York and the eighties and all these things that

593
00:30:46,040 --> 00:30:48,480
Speaker 1: are the reason when you're a kid and you're hearing

594
00:30:48,520 --> 00:30:51,080
Speaker 1: all these crazy stories about what the city was like

595
00:30:51,080 --> 00:30:52,240
Speaker 1: that you want to move there. And then you move

596
00:30:52,280 --> 00:30:54,080
Speaker 1: there and it's just like there's a Dwayne Read on

597
00:30:54,120 --> 00:30:57,560
Speaker 1: every corner. And then it's well, not not in New

598
00:30:57,640 --> 00:31:00,400
Speaker 1: York that's been overrun by speculative real estate. Yeah, but

599
00:31:00,440 --> 00:31:02,960
Speaker 1: I mean, and I think the Lower Side is not,

600
00:31:03,400 --> 00:31:07,640
Speaker 1: like it's not immune to that whatsoever. Our street is

601
00:31:07,760 --> 00:31:14,480
Speaker 1: very interesting in the business forsythe and it doesn't feel

602
00:31:14,640 --> 00:31:17,360
Speaker 1: there's like we're the most gentrified thing on our entire street.

603
00:31:17,480 --> 00:31:22,120
Speaker 1: There's a barbershopod one would think that, but because we're

604
00:31:22,120 --> 00:31:25,120
Speaker 1: so small, we haven't had any impact on what everyone

605
00:31:25,120 --> 00:31:26,800
Speaker 1: else does on the street. And we haven't. We don't

606
00:31:26,840 --> 00:31:29,760
Speaker 1: try to step on anyone's toes. The barbershop like watches

607
00:31:29,800 --> 00:31:34,800
Speaker 1: out for us, like it feels so inherently well, it

608
00:31:34,840 --> 00:31:37,240
Speaker 1: feels like community in the way that like the stories

609
00:31:37,280 --> 00:31:38,680
Speaker 1: I would hear of old New York where you'd have

610
00:31:39,040 --> 00:31:43,680
Speaker 1: a fine dining restaurant like a bunch of homeless people outside.

611
00:31:43,720 --> 00:31:46,640
Speaker 1: Like it was this like connection of like every walk

612
00:31:46,680 --> 00:31:50,680
Speaker 1: of life in one little area and everyone was respectful

613
00:31:50,800 --> 00:31:54,240
Speaker 1: to each other and understood, like you have your place,

614
00:31:54,240 --> 00:31:55,920
Speaker 1: we have our place. We're not going to mess with

615
00:31:55,960 --> 00:31:58,320
Speaker 1: each other. We're just gonna say hi every morning. And

616
00:31:58,360 --> 00:32:01,560
Speaker 1: like that's the weird thing is like, yeah, the guys

617
00:32:01,600 --> 00:32:03,280
Speaker 1: on the street, they don't know, they don't really care

618
00:32:03,320 --> 00:32:05,400
Speaker 1: what we're serving. But it's like we don't mess with them.

619
00:32:05,400 --> 00:32:07,000
Speaker 1: If they're smoking weed off from the Russian we don't

620
00:32:07,000 --> 00:32:08,680
Speaker 1: tell them the leave. We're just like you can go

621
00:32:08,760 --> 00:32:11,080
Speaker 1: do your thing. We're gonna do our thing. And like

622
00:32:11,720 --> 00:32:15,520
Speaker 1: we have this sense of community that feels so foreign

623
00:32:15,600 --> 00:32:17,840
Speaker 1: to New York City now when this film, this film

624
00:32:17,920 --> 00:32:20,520
Speaker 1: is coming out where we're gonna be opening the Film

625
00:32:20,560 --> 00:32:24,479
Speaker 1: Forum and uh yes we're going streaming, you're on, you're

626
00:32:24,520 --> 00:32:29,720
Speaker 1: in theaters, theaters. And then it always helps when you're leading.

627
00:32:29,760 --> 00:32:32,280
Speaker 1: Man is a good looking guy. I've walked around everybody

628
00:32:32,280 --> 00:32:33,760
Speaker 1: say or you got to see this. This guy's like

629
00:32:33,840 --> 00:32:36,320
Speaker 1: James Dean, Have I told you I've been blowing you up?

630
00:32:36,320 --> 00:32:38,320
Speaker 1: All over New York Man. Not that you need it,

631
00:32:38,360 --> 00:32:40,320
Speaker 1: You've already had all kinds of press. But when you're

632
00:32:40,320 --> 00:32:44,840
Speaker 1: cutting the film, did you find that it was that

633
00:32:44,920 --> 00:32:47,600
Speaker 1: made it easier that you're protagonist to somebody who was

634
00:32:48,760 --> 00:32:52,480
Speaker 1: kind of look like you could start in a movie. Sure,

635
00:32:52,600 --> 00:32:54,880
Speaker 1: I mean our editor hand with the Elephant Boy, it

636
00:32:54,960 --> 00:32:57,520
Speaker 1: might have been a little different store. I mean, um

637
00:32:58,760 --> 00:33:00,400
Speaker 1: er a handabuck. I have to give it all credit too.

638
00:33:00,480 --> 00:33:03,360
Speaker 1: She was an amazing editor. And yes, I think we

639
00:33:03,400 --> 00:33:05,000
Speaker 1: have some mics around you. Let's take a couple of

640
00:33:05,040 --> 00:33:08,120
Speaker 1: quickly and we have any questions, Pass the mic down

641
00:33:09,200 --> 00:33:12,160
Speaker 1: and go I have a question. Um So in the film,

642
00:33:12,240 --> 00:33:14,600
Speaker 1: at one point, your mom says, I'm a writer. I

643
00:33:14,600 --> 00:33:17,480
Speaker 1: feel like I constructed this story. I made this narrative.

644
00:33:18,200 --> 00:33:21,480
Speaker 1: Because I'm a writer. There is an element of me

645
00:33:23,120 --> 00:33:26,600
Speaker 1: that I feel like I wrote this and it's really weird,

646
00:33:26,840 --> 00:33:29,440
Speaker 1: and I don't know why I can't seem to get

647
00:33:29,480 --> 00:33:33,680
Speaker 1: over that feeling of like the guiding of this story,

648
00:33:34,040 --> 00:33:36,880
Speaker 1: like Okay, let's do a super club and then let's

649
00:33:36,880 --> 00:33:39,160
Speaker 1: go here and let's do there. That there's some sort

650
00:33:39,160 --> 00:33:41,880
Speaker 1: of element of like storytelling in it for me, and

651
00:33:41,960 --> 00:33:45,880
Speaker 1: so it fed some part of me and we didn't

652
00:33:45,880 --> 00:33:48,640
Speaker 1: see in the film. I think a response and so

653
00:33:48,800 --> 00:33:51,240
Speaker 1: how maybe a few years after that happened, how do

654
00:33:51,280 --> 00:33:53,840
Speaker 1: you respond to your mother feeling like she created the

655
00:33:53,920 --> 00:33:58,720
Speaker 1: narrative of your life? Um, my mother is a very

656
00:33:58,720 --> 00:34:03,440
Speaker 1: interesting way with words. Uh, And I think that knowing her,

657
00:34:03,480 --> 00:34:06,560
Speaker 1: I mean, I think there's something to be said about

658
00:34:06,560 --> 00:34:12,360
Speaker 1: like she every step of the way was there and

659
00:34:12,440 --> 00:34:14,200
Speaker 1: every step of the way was supporting it. And I

660
00:34:14,239 --> 00:34:16,480
Speaker 1: think that was sort of what she meant by that

661
00:34:16,719 --> 00:34:21,799
Speaker 1: was not that she was forcing it, but that we

662
00:34:21,800 --> 00:34:25,000
Speaker 1: were very sort of aligned to the classic thing is

663
00:34:25,000 --> 00:34:27,440
Speaker 1: like the kid and the parent are having very different

664
00:34:27,480 --> 00:34:32,879
Speaker 1: ideas of where the kids should go. And my mom

665
00:34:32,880 --> 00:34:35,160
Speaker 1: and I always sort of had the same feeling on things,

666
00:34:35,280 --> 00:34:36,920
Speaker 1: like we were doing like together in a lot of

667
00:34:36,920 --> 00:34:39,000
Speaker 1: ways of Like, I mean, I don't think my mom

668
00:34:39,080 --> 00:34:41,000
Speaker 1: or like she didn't want a normal kid. She wanted

669
00:34:41,000 --> 00:34:43,160
Speaker 1: a kid that was going to do something interesting. So

670
00:34:43,200 --> 00:34:46,399
Speaker 1: I think it wrote together. It seems like your mom

671
00:34:46,400 --> 00:34:48,200
Speaker 1: wanted the kids she could film all the time too,

672
00:34:48,400 --> 00:34:52,840
Speaker 1: So maybe who else? Um? I noticed that not only

673
00:34:53,040 --> 00:34:57,840
Speaker 1: are your dishes obviously delicious, but visually they are so

674
00:34:58,040 --> 00:35:01,120
Speaker 1: beautiful it looks like a painting. And I know you

675
00:35:01,200 --> 00:35:04,839
Speaker 1: said that you no longer do any of the drawings,

676
00:35:04,840 --> 00:35:07,760
Speaker 1: but when you assemble your dishes, it is a work

677
00:35:07,760 --> 00:35:12,120
Speaker 1: of art. And what inspires that kind of production for you,

678
00:35:12,480 --> 00:35:15,440
Speaker 1: it's very random. I can't tell you the last time

679
00:35:15,440 --> 00:35:18,400
Speaker 1: I've thought of a dish from how it should look it.

680
00:35:18,920 --> 00:35:22,880
Speaker 1: I mean, I think there's evolution and my cooking that

681
00:35:23,000 --> 00:35:26,560
Speaker 1: went from trying to curate every single element of it,

682
00:35:26,640 --> 00:35:28,560
Speaker 1: of drawing it and trying to figure out where it

683
00:35:28,600 --> 00:35:32,000
Speaker 1: was going to go, to the point of saying, like

684
00:35:32,520 --> 00:35:36,239
Speaker 1: leaving things natural to an extent. And I think that

685
00:35:36,360 --> 00:35:39,319
Speaker 1: definitely came from just like being more confident in my

686
00:35:39,400 --> 00:35:42,360
Speaker 1: cooking that I could make something that was beautiful because

687
00:35:42,360 --> 00:35:46,920
Speaker 1: it was just done very well, not forced to be beautiful,

688
00:35:46,960 --> 00:35:49,400
Speaker 1: like it wasn't it's not plated, it's just it's like

689
00:35:49,440 --> 00:35:51,960
Speaker 1: assembled how it feels right. And I think that came

690
00:35:51,960 --> 00:35:54,399
Speaker 1: with a confidence in being able to cook everything very well.

691
00:35:54,600 --> 00:35:56,319
Speaker 1: There is a time where I was making sure everything

692
00:35:56,400 --> 00:35:58,719
Speaker 1: was arranged in very interesting ways, and I realized that

693
00:35:58,840 --> 00:36:01,680
Speaker 1: if you just cook something really well, it will inherently

694
00:36:01,719 --> 00:36:05,719
Speaker 1: look beautiful. And maybe it's incredibly simple. And I mean

695
00:36:06,000 --> 00:36:09,279
Speaker 1: I'm sure there's a much deeper explanation of where the

696
00:36:09,360 --> 00:36:13,120
Speaker 1: influences come of color, compositions and all these kinds of things.

697
00:36:13,160 --> 00:36:15,640
Speaker 1: But that's the X factor I enjoy of, Like I

698
00:36:15,640 --> 00:36:17,680
Speaker 1: don't know where I'm going when I start plating something,

699
00:36:17,960 --> 00:36:19,759
Speaker 1: and sometimes it doesn't work out. Sometimes I played it

700
00:36:19,800 --> 00:36:21,920
Speaker 1: five times to until I get it to the right place.

701
00:36:22,440 --> 00:36:25,600
Speaker 1: But I let the things I've made dictate where they go.

702
00:36:26,200 --> 00:36:28,719
Speaker 1: What's your guilty pleasure? Like your home? You're freaked out

703
00:36:29,080 --> 00:36:32,600
Speaker 1: having a shitty day. It's Floom McGarry eating fried peanut

704
00:36:32,640 --> 00:36:34,520
Speaker 1: butter and banana sam, which is what are you doing? Man?

705
00:36:35,280 --> 00:36:42,479
Speaker 1: What's your freak out food? Oreo mcflurry. We're all gonna

706
00:36:42,520 --> 00:36:45,040
Speaker 1: eat one tomorrow. Trust me, we're all gonna be like

707
00:36:45,600 --> 00:36:48,719
Speaker 1: Man Flynn. He knows everything. Man, you're gonna do. I'm

708
00:36:48,760 --> 00:36:51,920
Speaker 1: not kidding. You're gonna do a guy like him, his

709
00:36:52,000 --> 00:36:54,759
Speaker 1: age and you've been following him. It's like eight up.

710
00:36:54,760 --> 00:36:57,640
Speaker 1: You're like app ted, you're gonna do a sequel on him.

711
00:36:58,040 --> 00:37:00,320
Speaker 1: We're doing. We're doing like a radio piece actually about

712
00:37:00,320 --> 00:37:02,640
Speaker 1: the opening the restaurant, because as you see the opening

713
00:37:02,640 --> 00:37:04,600
Speaker 1: the restaurant is not in the film so we're updating

714
00:37:04,640 --> 00:37:07,080
Speaker 1: that through him. Very cool. We got time for one more.

715
00:37:07,120 --> 00:37:10,439
Speaker 1: Anybody else right down here in the front was your mom?

716
00:37:10,440 --> 00:37:12,840
Speaker 1: I ever wondered why are you hanging out with twenty

717
00:37:12,920 --> 00:37:15,280
Speaker 1: year old? Because I grew up in the strict world

718
00:37:15,320 --> 00:37:17,840
Speaker 1: I could never do that. I mean, there's a definite

719
00:37:17,880 --> 00:37:21,040
Speaker 1: point where my mom was like, why are these adult

720
00:37:21,080 --> 00:37:26,480
Speaker 1: men hanging out with my small child? Ah? And then

721
00:37:26,800 --> 00:37:29,600
Speaker 1: I would wonder that as a mother. It was a

722
00:37:29,640 --> 00:37:33,399
Speaker 1: true concern of hers as a mother, but she meant them,

723
00:37:33,440 --> 00:37:38,440
Speaker 1: and I think, like, it's always a funny thing, Like

724
00:37:38,440 --> 00:37:40,360
Speaker 1: all of my friends world would always like love my

725
00:37:40,360 --> 00:37:42,719
Speaker 1: mom because they're like she like would go up to

726
00:37:42,760 --> 00:37:45,080
Speaker 1: them like well, like actually asked them like why are

727
00:37:45,120 --> 00:37:47,560
Speaker 1: you hanging Why are you getting along with thirteen year old?

728
00:37:47,600 --> 00:37:50,799
Speaker 1: Like none of that makes sense? And I think it

729
00:37:50,840 --> 00:37:52,880
Speaker 1: was sort of especially to her when she saw that

730
00:37:52,960 --> 00:37:56,680
Speaker 1: these people who were chefs and hand careers were like, no,

731
00:37:56,800 --> 00:37:58,440
Speaker 1: we actually like talking to him, we like hanging out

732
00:37:58,440 --> 00:38:00,200
Speaker 1: with him. I think it was when she could kind

733
00:38:00,200 --> 00:38:02,920
Speaker 1: of step back a lot too and knew that, like,

734
00:38:03,000 --> 00:38:06,880
Speaker 1: I was in good hands over here. Um, I'm gonna

735
00:38:06,880 --> 00:38:10,480
Speaker 1: ask specifically about the night where you said you might

736
00:38:10,520 --> 00:38:14,359
Speaker 1: have had an aneurysm. Did the volatility spill over into

737
00:38:14,400 --> 00:38:19,439
Speaker 1: the directorial relationship on that evening or other evenings where

738
00:38:19,440 --> 00:38:22,680
Speaker 1: there was there ever severe animosity between the two of you.

739
00:38:23,719 --> 00:38:26,000
Speaker 1: Absolutely not. I mean that that Flynn on that night,

740
00:38:26,040 --> 00:38:29,160
Speaker 1: specifically the night where everything went wrong, he was not

741
00:38:29,200 --> 00:38:31,960
Speaker 1: focused on the cameras at all. I mean in general,

742
00:38:32,000 --> 00:38:34,000
Speaker 1: when we were filming in the kitchen that we blended

743
00:38:34,000 --> 00:38:36,200
Speaker 1: into the background, and luckily that kitchen was a larger

744
00:38:36,200 --> 00:38:38,560
Speaker 1: one so it was easy to hide because but to

745
00:38:38,600 --> 00:38:41,040
Speaker 1: me it was horrifying to be there as that was happening.

746
00:38:41,320 --> 00:38:43,120
Speaker 1: The only thing we ever, you know, he got to

747
00:38:43,120 --> 00:38:46,120
Speaker 1: know the mic the mute button on the microphone, so

748
00:38:46,160 --> 00:38:51,600
Speaker 1: occasionally the case that we'd lose his audio and be like, Flynn,

749
00:38:51,920 --> 00:38:55,400
Speaker 1: turn it back. I should have muted the button on

750
00:38:55,440 --> 00:38:58,960
Speaker 1: the microphone. Thank you Flynn for sharing that with me.

751
00:38:59,000 --> 00:39:02,400
Speaker 1: I really very early on of hit the mute button

752
00:39:02,400 --> 00:39:05,359
Speaker 1: on the microphone. Yeah, I would forget that cameras were

753
00:39:05,360 --> 00:39:08,280
Speaker 1: there and everything. And then I was still self aware

754
00:39:08,360 --> 00:39:10,400
Speaker 1: enough that like in the back of my head always

755
00:39:10,440 --> 00:39:13,480
Speaker 1: I was like, there is a mute button here, and

756
00:39:13,520 --> 00:39:15,160
Speaker 1: I no one needs to know I did this one

757
00:39:15,239 --> 00:39:18,640
Speaker 1: last question. So for people who are they cook their

758
00:39:18,680 --> 00:39:23,000
Speaker 1: home and they my wife makes the best I've ever

759
00:39:23,040 --> 00:39:25,279
Speaker 1: had in my life. And what's a mistake you see

760
00:39:25,280 --> 00:39:28,680
Speaker 1: people make in the kitchen? Never add enough salt. They

761
00:39:28,760 --> 00:39:33,759
Speaker 1: never add enough salt. Really, there's like, deep down, I

762
00:39:33,760 --> 00:39:35,839
Speaker 1: feel like everyone with salt was like bad for you.

763
00:39:36,040 --> 00:39:39,920
Speaker 1: That the reason I always tell people, the reason restaurants

764
00:39:39,960 --> 00:39:42,360
Speaker 1: take you because you're fucking nineteen years old, That's what

765
00:39:43,000 --> 00:39:46,719
Speaker 1: I mean. You got to hit the right balance of salt. Well. No,

766
00:39:46,800 --> 00:39:49,600
Speaker 1: I mean the reason food taste better than restaurants, I

767
00:39:49,600 --> 00:39:53,120
Speaker 1: tell everyone is because you add significantly more salt. You

768
00:39:53,160 --> 00:39:55,880
Speaker 1: had more butter to everything, and you had more acidity

769
00:39:55,920 --> 00:39:57,840
Speaker 1: to everything. Honey, did you hear what he said? Honey?

770
00:39:58,440 --> 00:40:03,000
Speaker 1: It's the butter and salt, butter and red wine on everything. Yeah.

771
00:40:03,640 --> 00:40:06,240
Speaker 1: That that is my only true afraid to flavor their food.

772
00:40:06,760 --> 00:40:10,480
Speaker 1: If you put salt, brown butter, and lemon on any food,

773
00:40:10,520 --> 00:40:17,200
Speaker 1: it will taste delicious. Wasn't that what the prices didn't listen? Please?

774
00:40:17,239 --> 00:40:27,719
Speaker 1: This ever? Hair for Flynn McGarry. Cameron lates. Flynn McGarry's

775
00:40:27,800 --> 00:40:31,399
Speaker 1: new restaurant is called Gem, where the tasting menu can

776
00:40:31,440 --> 00:40:36,560
Speaker 1: be had for on prepaid. Please, and that's if you

777
00:40:36,600 --> 00:40:40,080
Speaker 1: can get a table. Cameron Yates is movie about McGarry

778
00:40:40,280 --> 00:40:43,120
Speaker 1: is called a Chef Flynn and will be in theaters

779
00:40:43,160 --> 00:40:48,520
Speaker 1: this November. I'm at like Baldwin and you're listening to

780
00:40:48,640 --> 00:41:01,319
Speaker 1: Here's the Thing, The Sun Come