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Speaker 1: Man, do we have an exciting show today?

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Speaker 2: Donald Faison, We do have an exciting show.

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Speaker 1: You know, we promised the people, we promised the listeners

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Speaker 1: that we wouldn't just have stars of the show on,

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Speaker 1: that we would bring on crew members.

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Speaker 2: You're totally about to geek out about this. You brought

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Speaker 2: up a director. I am going to geek as a

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Speaker 2: fellow director. You're like, Yo, I'm gonna ask him about

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Speaker 2: this shot. I'm gonna ask him about this shot.

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Speaker 1: Well, I am going to talk to him. I think

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Speaker 1: people if I sometimes think when I'm preparing for this,

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Speaker 1: and you know, I do a lot of homework. You

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Speaker 1: should see my desk. It looks like I'm about to

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Speaker 1: write a novel. I was thinking about if I was

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Speaker 1: a listener, I'd want to know some behind it, Like

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Speaker 1: what's it like to be a director of a TV show.

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Speaker 1: Michael Spilder, who we're talking about is is a very

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Speaker 1: big television director, one of the biggest. In fact, he

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Speaker 1: recently won the Emmy for directing Modern Family and he's

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Speaker 1: a very talented guy.

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Speaker 2: Wait wait, hold up, which for the like the final

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Speaker 2: season he won the Emmy.

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Speaker 1: I don't have the exact Emmy.

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Speaker 2: Well, I want to ask him about some of this stuff,

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Speaker 2: like how many shows have you directed? Now? Is it

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Speaker 2: like you know, have you lost? Can you keep count

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Speaker 2: of the amount of show.

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Speaker 1: Savior spiller questions? Have them, have them pent up inside

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Speaker 1: you and just have them ready to explode when he

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Speaker 1: comes in the room.

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Speaker 2: Okay, well I got it. I only got a couple.

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Speaker 2: I'm great. How are you man, I'm good, I'm good.

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Speaker 2: Did you work out?

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Speaker 1: Are we gonna have a post peloton Donald?

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Speaker 2: Today?

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Speaker 3: I didn't want to.

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Speaker 2: Talk about it because I did work out today and

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Speaker 2: I finished the workout. But I'm now disappointed with it

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Speaker 2: with said instructor that we talked about.

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Speaker 1: Why, well, he was different today he talked too.

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Speaker 2: Much, started singing on and then also singing off beat. Right,

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Speaker 2: I don't. I don't do peloton to be talked to

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Speaker 2: off beat. I appreciate it.

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Speaker 1: Was it still the you know what I love about

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Speaker 1: you know?

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Speaker 2: I still well?

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Speaker 1: The thing I liked about spinning was when you could

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Speaker 1: get in the groove, unlock, nang.

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Speaker 2: Right, and so it's important that your your your spin

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Speaker 2: instructor is like a DJ, you know what I mean?

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Speaker 2: So right, he or she should be riding with the beat,

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Speaker 2: so the music's going and and and then you need

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Speaker 2: to be going with the music. Also, does he say

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Speaker 2: stuff young?

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Speaker 1: I like it when they go like they just make

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Speaker 1: noises like.

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Speaker 2: Hey, ho when they diddy that shit.

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Speaker 3: I love that.

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Speaker 4: Yeah, it's like Diddy. Diddy used to be like hey,

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Speaker 4: and you.

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Speaker 1: Know, it's so embarrassing. I find myself it's so fucking embarrassing.

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Speaker 1: But I find myself on the treadmill not even spinning,

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Speaker 1: and I'm listening to a good song and I'm.

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Speaker 4: Like, hey, okay, and I'm doing the fucking Diddy spin

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Speaker 4: instructor thing.

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Speaker 2: Ah ha ah, take that.

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Speaker 1: Take that Ahead Ahead. Before I knew Diddy was like

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Speaker 1: a big producer and I was watching those, I'd be like,

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Speaker 1: so this dude just makes a living on Ahead yeahha Ahead.

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Speaker 2: I couldn't take it. It was like just too much talking,

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Speaker 2: not enough motivation, Like when you talk, you're supposed to motivate,

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Speaker 2: you're not supposed to talk about how dope the song

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Speaker 2: is and stuff like I don't want to hear all

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Speaker 2: of that. I already know this song is good, you

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Speaker 2: know what I mean. I chose the class because I

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Speaker 2: saw the playlist, right, and you like the music playlist. Right,

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Speaker 2: the playlist looks dope.

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Speaker 1: I can this isn't an amazing And I know this

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Speaker 1: is the stupidest thing. Everybody knows this, but I was

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Speaker 1: realizing it today. If the fucking music is good and

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Speaker 1: you love it, you can do so much.

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Speaker 2: More of a workout.

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Speaker 1: Absolutely, because I've got I've gone to so many spin

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Speaker 1: classes because I do like spinning, and the music is

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Speaker 1: just so not my thing. I mean, it's other people's thing.

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Speaker 1: I'm not, you know, to eat their own. But I'm like,

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Speaker 1: And then today I had made this like awesome mix

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Speaker 1: that I was fucking grooving out to, and I was like,

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Speaker 1: I could really work out a long time to this

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Speaker 1: amazing mix. I mean, but I don't know where you

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Speaker 1: work out. You like to work out to rap?

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Speaker 3: Right?

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Speaker 2: I do like to work Wait what do you work

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Speaker 2: out to? You don't work out to like?

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Speaker 3: Wait?

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Speaker 2: Wait, hold on, I didn't realize there was other music

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Speaker 2: you could work out to.

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Speaker 1: Yes, style, Yes, it's in this country. You don't have

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Speaker 1: to just work out.

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Speaker 2: I can understand house music, but no, what do you wait?

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Speaker 2: Hold up?

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Speaker 1: What do you work I like to work out to

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Speaker 1: pop like, but like up tempo pop like what do

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Speaker 1: you kids like? I'm opening up the fucking playlist right

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Speaker 1: now because there were some fire songs on Here.

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Speaker 2: We Go, Here we Go recommendations from Zach Braff.

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Speaker 1: Avichi has this song. It's like his most popular song.

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Speaker 1: It's wake Me Up, and it's just like up tempo,

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Speaker 1: and it makes me think of this time, because when

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Speaker 1: you're in this time and you're working out, you're like,

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Speaker 1: wake me up from this fucking horrible nightmare.

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Speaker 2: So I like that.

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Speaker 1: I had, you know, I had Michelle branch On here,

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Speaker 1: because you know, I love Michelle brand I had Oh Asia,

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Speaker 1: I love Cea ed Sheer Sia Unstoppable, Unstoppable today, and

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Speaker 1: I had ed Sheering with Chance the rapper You crossed me,

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Speaker 1: you grabbed me Joel's jam and she knows that song.

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Speaker 1: Oh and also Fleetwood Mac. This is an old school one.

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Speaker 1: I don't want to know at bath and then.

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Speaker 2: So I worked out too. Ten crack Commandments b I G.

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Speaker 1: Okay, we're on a very different plane right now.

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Speaker 2: You don't know that song. I know who the Notorious

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Speaker 2: b I G is that songs give us a sample.

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Speaker 2: It's the ten Commandments of Selling Drugs.

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Speaker 1: Yeah, I'm the I don't know. I'm dancing and working

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Speaker 1: out to Michelle Branch and you're listening to a song

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Speaker 1: about crack.

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Speaker 2: You know, we grew up differently. Yes, I guess we

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Speaker 2: grew up differently. We did. Hey, should we go again

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Speaker 2: to the show.

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Speaker 1: Let's invite in our special guys.

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Speaker 5: About six seven, eight stories about show we made about

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Speaker 5: a bunch of times, and nurses said, he's a story next,

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Speaker 5: So YadA here, yead here.

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Speaker 1: We want a song. Lots of talk about the song,

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Speaker 1: the song. I gotta tell you something about those numbers.

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Speaker 1: My whole timeline is people laughing at and saying the

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Speaker 1: numbers and just writing them non stop in my timeline.

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Speaker 1: That's becoming, unfortunately to me. But of course Bill will

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Speaker 1: love it. He's become a huge hit with his whole

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Speaker 1: bit about.

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Speaker 2: Saying five eight. Yeah, he's like the PC. Well he's

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Speaker 2: not PC, but he's like Todd. He's like the Todd

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Speaker 2: of our show. He comes in and he delivers every time, dude,

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Speaker 2: every time, he's like ups, always delivers, He always delivers.

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Speaker 2: All right, let's bring in our guests.

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Speaker 1: Let's bring in our very special guest. Turn him on,

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Speaker 1: bring him in, ladies and gentlemen. Oh my god, I

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Speaker 1: haven't seen him in years.

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Speaker 3: Yay, ladies and gentlemen.

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Speaker 1: Ladies and gentlemen. Michael Stiller, listen, Michael, you are the

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Speaker 1: very first guest we're having on the show who is

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Speaker 1: a member of the crew, not an actor or a writer.

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Speaker 1: And I'm just We're so you're here.

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Speaker 3: It's really awesome, thrilled to be here.

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Speaker 2: You're I would say you're our first director. But Zach

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Speaker 2: has directed an episode and Bill has directed an episode.

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Speaker 1: Right, but not not before Michael Spiller. Michael's are our

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Speaker 1: first director of from season one.

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Speaker 2: He is also directed season No, he wrote it, that's right.

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Speaker 1: No, I want to say that, Michael. I would say

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Speaker 1: I think maybe directed the most. Spiller Do you know

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Speaker 1: that trivia? Is that true?

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Speaker 3: It is true? Of how many episodes? Twenty twenty episodes?

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Speaker 2: Twenty episodes?

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Speaker 3: You know? As I go and I work on other

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Speaker 3: shows and stuff, I always meet Scrubs fans, and without fail,

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Speaker 3: I say I've directed more episodes than any are human,

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Speaker 3: leaving the possibility that another someone from another species has

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Speaker 3: directed more than me.

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Speaker 1: Right, but I can confirm it. I can confirm they

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Speaker 1: have it. I would also confirm Michael that you are

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Speaker 1: one of our favorites. If you look at IMDb, you'll

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Speaker 1: see there's lots of directors of scool. Some came in

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Speaker 1: for one episode and then never came back for either

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Speaker 1: Bill's reasons or their reasons, mostly Bills probably, And then

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Speaker 1: there's people like you that everybody loved so much, and

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Speaker 1: you did twenty Yeah, I I guess go back to

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Speaker 1: how it all began for you, at least with the

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Speaker 1: Scrubs connection. How you got this. I know that back

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Speaker 1: in the day you were Michael was a cinematographer. He

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Speaker 1: was shooting the show Sex and the City. I don't

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Speaker 1: know if you've ever heard of that show, but Michah

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Speaker 1: was the cinematographer on the show and then began to

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Speaker 1: direct that show. And then Michael just talked a little

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Speaker 1: bit about how you got it, how you transitioned from

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Speaker 1: shooting into directing TV.

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Speaker 3: Well, I mean I went to film school. I went

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Speaker 3: to Sunny Purchase Upstate, New York, New York, New York,

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Speaker 3: New York, that's right. And I started making my own

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Speaker 3: films when I was a kid in Brooklyn. Saved up

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Speaker 3: my paper route and bought a Super eight camera and

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Speaker 3: went to film school, and I wanted to be a cinematographer.

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Speaker 3: I didn't want to be a director because actors were crazy,

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Speaker 3: let's face it, and you know it's mainly I shot

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Speaker 3: a lot of indie movies and music videos and documentaries

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Speaker 3: and travel all over the place. And then I got

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Speaker 3: married and wanted to start a family, and TV sounded like, well,

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Speaker 3: maybe that would provide a little more stable lifestyle. And

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Speaker 3: I was shooting out Sex and the City and at

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Speaker 3: the end of the first season, my agent said, if

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Speaker 3: the show gets picked up, I'm gonna ask for an

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Speaker 3: episode for you to direct season two. And I'm like, nope,

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Speaker 3: I'm good. I'm good, I'm happy where I am. I

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Speaker 3: don't need it. He said, no, you're going to do it,

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Speaker 3: and I did, and then I did went really well.

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Speaker 3: I also dpeed that episode. Wow, I don't think I

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Speaker 3: don't recommend doing that for your first episode of TV.

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Speaker 2: That seems like a lot of work.

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Speaker 3: It's a huge amount of work. And then the third

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Speaker 3: season I did two more. In the fourth season, I

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Speaker 3: did four episodes, and by that time we had moved

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Speaker 3: to La bought a house, moved back for the four

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Speaker 3: season uh, and then moved to La finally right after

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Speaker 3: nine to eleven, but not because of it. Uh And

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Speaker 3: I had already signed with my current agent, who after

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Speaker 3: three episodes you see what I did, said I want

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Speaker 3: to wrap the sky and he was at the same

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Speaker 3: agency where Bill Lawrence was represented.

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Speaker 1: Oh see, it is all about connections in Hollywood, everybody.

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Speaker 3: It's true, no ret give up.

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Speaker 1: So Scrubs was your was Scrubs your first non Sex

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Speaker 1: in the City gig?

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Speaker 3: It was meant to be, so, you know, my agent

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Speaker 3: sight unseen, you know, convinced Bill. He did a great

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Speaker 3: job presenting me to Bill, and it was meant to

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Speaker 3: be my first episode after Sex and the City. I

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Speaker 3: wound up doing an episode of Greg the Bunny. Oh

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Speaker 3: remember that show?

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Speaker 2: God was that? Who was? Who was? Who was the

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Speaker 2: star of that show?

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Speaker 3: Sarah Silberman Levy seth Green, There we go. It was.

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Speaker 3: It was a great cast, but it was like, you know,

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Speaker 3: huge puppet sets and all this other stuff, Like it's like,

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Speaker 3: why these like I've never done a puppet show. You know,

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Speaker 3: you had to build sets that were all like four

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Speaker 3: feet off the ground so people could stick their hands

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Speaker 3: up through manipulate anyway. Steve Levittan was the executive producer

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Speaker 3: on that. So I met Steve on my first episode.

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Speaker 3: I later did Modern Family and a bunch of other

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Speaker 3: shows with and then Bill Lawrence on my second show.

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Speaker 3: So very very good agent. Thing.

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Speaker 1: By the way, if you're gonna meet two showrunners when

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Speaker 1: you get to Hollywood, it's pretty down good that it's

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Speaker 1: Steve Levinton and Bill Lawrence. Yeah right, your agent's pretty good.

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Speaker 3: He's Sean Freeden.

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Speaker 2: Hey how many? Wow? Shout out? How many? How many?

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Speaker 2: How manyisodes of Modern Family did you direct? Did you

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Speaker 2: direct the most Modern Family episodes? Also?

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Speaker 3: No, I didn't, but I did twenty two episodes.

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Speaker 1: Twenty two episodes and won the Emmy, won the Emmy.

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Speaker 1: I wish we could have given you an Emmy. Spiller,

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Speaker 1: you deserve.

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Speaker 2: You tried, We tried.

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Speaker 3: I know we all were shot. I know you did.

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Speaker 1: Now, Michael, I just want to say, you know again,

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Speaker 1: season one, we're meeting all these directors. For those of

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Speaker 1: you who don't know, it's usually a different director every

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Speaker 1: week because they have to prep. They have about a

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Speaker 1: week's prep before they shoot the episode, and so you're

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Speaker 1: always alternating and some can't come in, and you know,

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Speaker 1: you know, Donald and I would would like some more

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Speaker 1: than others. Some were really good with comedy and others

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Speaker 1: were good with moving the camera. One of the things

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Speaker 1: I think we loved about you, Michael, is that because

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Speaker 1: you were a cinematographer first, you really were amazing with

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Speaker 1: moving the camera and doing interesting things with the camera.

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Speaker 1: But also you did know how to talk to actors

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Speaker 1: and make jokes funnier. And I thought you could just

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Speaker 1: talk to that about about about how how you approach something,

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Speaker 1: how you approach the script, and and and your experience

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Speaker 1: with what it's like being you know, having the DP background.

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Speaker 2: Also, we should go over the process of what it

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Speaker 2: takes to since we have a television director on right now,

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Speaker 2: we should go through the process of what it takes too.

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Speaker 2: I mean, directing is like the end of the journey,

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Speaker 2: you know. I mean that's not even close to the

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Speaker 2: end that well, it's the middle of the journey. Really.

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Speaker 2: There's prep, there's you know, all of pre production, and

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Speaker 2: then there's post production. We should also talk about that.

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Speaker 2: Our listeners might be interested in that.

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Speaker 1: Yeah, they will. So, Michael, we just gave you a

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Speaker 1: lot answer all of that. Go No, talk talk first

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Speaker 1: about you know, being having a DP background, and then

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Speaker 1: how that affected the way you work.

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Speaker 3: Well, I think there's no question that having the background

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Speaker 3: as a DP was extremely helpful. I mean, first of all,

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Speaker 3: event and when I came on to set, I could

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Speaker 3: usually bond with the crew very quickly because I spoke

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Speaker 3: their language. I sort of got it. You know. I

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Speaker 3: would stay seen in such a way that worked first

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Speaker 3: and foremost for the story, yet also kept the logistics

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Speaker 3: in mind and the practical aspect of it. And you know,

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Speaker 3: and I was flexible enough that you know, I encouraged

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Speaker 3: and I love to collaborate. I want the DPS input.

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Speaker 3: You know, obviously the cast would give input to the

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Speaker 3: showrunners give input as well, but the nuts and bolts

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Speaker 3: of it, you know, I understood. I've also been a

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Speaker 3: grip and electrician. I've pushed dollie, I've I've pulled focus,

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Speaker 3: I've operated camera for other people. So you know, I

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Speaker 3: love the crew. I mean, these are my people and

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Speaker 3: and I think most people I've worked with can pick

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Speaker 3: up on that. So and I have a deep respect

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Speaker 3: for them, and that that's half the battle. You know,

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Speaker 3: when I was shooting Sex in the City, if we

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Speaker 3: had a new director and if you know Sarah Jessica

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Speaker 3: Parker wasn't in the first scene, you know that that

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Speaker 3: director was shooting. When she would first come on to set,

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Speaker 3: she would look at me and like gauging, like cow

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Speaker 3: is this person? And if if I gave her like

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Speaker 3: the I don't know, look, then that person had to work.

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Speaker 3: You know, it's an uphill battle just to get back

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Speaker 3: to you know, zero, right. So you know it's enormously

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Speaker 3: important because I mean, you guys know it's like you

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Speaker 3: love your crew and it's like it's one big family.

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Speaker 3: So a director walking on to a TV show has

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Speaker 3: to be both a leader, right and and you know

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Speaker 3: they're not the ultimate top of the pyramid, but they've

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Speaker 3: still got to lead the crew. They've got to get

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Speaker 3: the crew behind, they've got to work with all the

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Speaker 3: you know, the elements that are already in place, and

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Speaker 3: you have to respect that that family that you're walking into.

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Speaker 1: That's what's so bizarre about it. That's what's so bizarre

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Speaker 1: about it is and I've only done it, I think

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Speaker 1: once or twice, Michael. That is, come onto a show

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Speaker 1: that is an entity and say hey, everybody, I'm the

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Speaker 1: leader for the week, and you know it's one thing

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Speaker 1: when you come back and like you came back, you know,

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Speaker 1: nineteen more times. But on the first one, it's like, hey, everybody,

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Speaker 1: I know that you guys are all friends and have

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Speaker 1: inside jokes and have a way that you do things.

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Speaker 2: Well, I'm the boss for the week. And it's really tricky, right.

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Speaker 3: It's sort of like I liken it sometimes too. You're

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Speaker 3: gonna be a conductor on a train. You're gonna take

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Speaker 3: it from this station to the next station. The track

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Speaker 3: has already been laid. You know, everywhere the train already

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Speaker 3: was is established there. We have a very good idea

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Speaker 3: where the train's going to keep going. And yeah, you

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Speaker 3: can slow down around this corner because you like that view,

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Speaker 3: or you can speed up at this section, or you know,

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Speaker 3: you can lean a little left or a little right,

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Speaker 3: but you can only go so far because the train's

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Speaker 3: got to stay on those tracks, right. You can't suddenly say,

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Speaker 3: you know, we're gonna make a left here at Des

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Speaker 3: Moines and go somewhere else.

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Speaker 1: That's really that's a really good, great analogy, Michael, because

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Speaker 1: I think that you were.

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Speaker 2: Just talking about this actually the last episode we.

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Speaker 1: Well, I was talking about how it's so tricky, you know,

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Speaker 1: again just to Bill spoke a little about this, but

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Speaker 1: to remind people who aren't in the business, you know,

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Speaker 1: you know, the the pilot director and the showrunner will

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Speaker 1: create sort of the look of the show. How does

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Speaker 1: the camera move, what's sort of the language of the show.

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Speaker 1: In our show, we had fantasies and we had you know,

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Speaker 1: big camera move. The camera was sort of a character.

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Speaker 1: And then other directors that come on they need to

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Speaker 1: use that language. They can, they can, like Michael just

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Speaker 1: said in his train analogy, they can slow down, they

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Speaker 1: can look at this view, but they can't. You have

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Speaker 1: to use the language of the show. If you look

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Speaker 1: at the Office, for example, it's shot like a mockumentary

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Speaker 1: modern family I believe was as well, yes, whereas Scrubs

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Speaker 1: is crane shots and Dolly moves and steady cam shots.

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Speaker 1: So you have to use that language. But then somehow

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Speaker 1: find a way to make it your own. And I'm

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Speaker 1: glad we're gonna watch the episode with you, because I

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Speaker 1: think there's a lot of cool stuff in here that

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Speaker 1: you that you found a way to make your own.

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Speaker 2: I like that. I do like the train analogy, you

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Speaker 2: know what I mean, It's the same route every time.

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Speaker 2: It's the same track every time time. How can you

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Speaker 2: can bend it and move it, you know, to make

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Speaker 2: it your own? So like if a different conductor, you

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Speaker 2: know what I mean, I don't know. I love that analogy.

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Speaker 1: That's really and in season one I would say, you know,

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Speaker 1: even on episode whatever, this is one thirteen, you're still

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Speaker 1: you're still finding that, you're still shaping it.

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Speaker 2: Now.

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Speaker 1: I noticed, Michael, you did some things in here, like

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Speaker 1: going into blacks and coming back that I don't think

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Speaker 1: we'd done too much of yet. That became part of

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Speaker 1: the lexicon. So as an early director in the show,

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Speaker 1: I just directed episode two of one of Bill's news shows,

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Speaker 1: I still felt like, Okay, it's early on, I can

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Speaker 1: I'm still contributing to what the look of the show is,

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Speaker 1: you know, right.

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Speaker 3: For sure, when you're when you're lucky enough to direct

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Speaker 3: early in the show's run, there's still a lot of

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Speaker 3: discovery going on. Yeah, the actors are really fine that

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Speaker 3: they're characters, so they're still open to, you know, someone

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Speaker 3: else's input.

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Speaker 2: Uh.

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Speaker 3: The writers are discovering what the actors are good at,

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Speaker 3: and they're tailoring the writing to you know, help those

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Speaker 3: words fit better in their mouths and you find the

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Speaker 3: comedy if you're doing a comedy. And similarly, for a director,

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Speaker 3: it's like, yes, you've you've been given the overall template,

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Speaker 3: the framework, but it's a jumping off point. It's not

400
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Speaker 3: like this is meant to just box you in. You're

401
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Speaker 3: allowed to push things a little bit further. John Wells,

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Speaker 3: i think, is credited as saying to Paris Barkley, I

403
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Speaker 3: want you to make an episode of Er only better. Yes,

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Speaker 3: it's like it still has to feel like an episode

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Speaker 3: of the show that you're already watching, you know, and

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Speaker 3: you've grown accustomed to. But push a little bit, get

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Speaker 3: your thumbprints on it, and in consultation, you know. That's

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Speaker 3: the thing. It's like, I could have what I think

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Speaker 3: is a great idea, but I'd neither If that's the case,

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Speaker 3: I have to run it past the showrunner, right and

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Speaker 3: make sure that I'm presenting it.

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Speaker 1: If you have something, let's say you're in prep and

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Speaker 1: you have like a five day prep beforehand, and you go, oh,

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Speaker 1: I have an awesome idea. If it's a little outside

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Speaker 1: the box, you would you would run it by the

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Speaker 1: showrunner and say, hey, what do you think if I

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Speaker 1: do this, and I imagine Bill usually said yeah, go

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Speaker 1: for it. Right.

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Speaker 3: Bill was so amazing that, I mean, it was such

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Speaker 3: a great guy to work with so early in my career,

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Speaker 3: you know, as a freelance director, because I mean he

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Speaker 3: I think this episode has a good example the end

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Speaker 3: where we we have a music montage. You know, it's

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Speaker 3: like and they kept the song.

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Speaker 2: On Hulu, so yeah, that was pretty cool, right.

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Speaker 3: They didn't they didn't swap it out. And you know,

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Speaker 3: I can't remember how many there were leading up to this,

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Speaker 3: but this felt like it was one of the sort

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Speaker 3: of bigger ones, like we're com getting to this song.

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Speaker 3: It was in the script early, you know, It's like

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Speaker 3: it wasn't just like there'll be a rock song here

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Speaker 3: and you know, do some cool shots. And it may

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Speaker 3: not have been on this episode, but early in the

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Speaker 3: run with you guys, Bill said to me, because I

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Speaker 3: was like enthusiast pitching this you know montage I want

436
00:21:02,440 --> 00:21:04,800
Speaker 3: to do in all these transitions, and he's like, dude,

437
00:21:05,640 --> 00:21:09,239
Speaker 3: if I will cut story if you give me a

438
00:21:09,240 --> 00:21:13,080
Speaker 3: beautiful piece of cinema, Oh great, wow, And that's just insane.

439
00:21:13,119 --> 00:21:16,600
Speaker 3: I mean writers never say that, you know, And so

440
00:21:16,680 --> 00:21:21,679
Speaker 3: I really felt empowered and encouraged by Bill. And he also,

441
00:21:21,880 --> 00:21:24,119
Speaker 3: you know, there's no bullshit with him. If he doesn't

442
00:21:24,200 --> 00:21:25,760
Speaker 3: like it, he just tells you.

443
00:21:25,840 --> 00:21:27,879
Speaker 1: Well, there's plenty of times he would come to rehearsal.

444
00:21:28,080 --> 00:21:30,280
Speaker 1: I'm sure this never happened on one of your episodes, Michael,

445
00:21:30,320 --> 00:21:31,280
Speaker 1: but there's plenty of times.

446
00:21:31,440 --> 00:21:31,679
Speaker 2: You know.

447
00:21:31,920 --> 00:21:33,399
Speaker 1: The way the way it would work is the director

448
00:21:33,400 --> 00:21:35,280
Speaker 1: would sort of block out where everyone's gonna go, where

449
00:21:35,280 --> 00:21:37,080
Speaker 1: the camera's gonna go, And there were definitely times and

450
00:21:37,119 --> 00:21:38,879
Speaker 1: then Bill would come to the rehears arrive at the

451
00:21:38,880 --> 00:21:41,480
Speaker 1: rehearsal and be like, yeah, that that makes it not

452
00:21:41,520 --> 00:21:42,000
Speaker 1: funny at all.

453
00:21:42,000 --> 00:21:42,560
Speaker 2: We're not doing it.

454
00:21:44,080 --> 00:21:47,399
Speaker 1: And then you know, you watch some directors be like

455
00:21:47,600 --> 00:21:49,960
Speaker 1: it was you know, he was even for Bill, he

456
00:21:50,080 --> 00:21:52,960
Speaker 1: was tactful about it sometimes, but you know it was

457
00:21:52,960 --> 00:21:54,879
Speaker 1: like he's like, no, I'm not not doing that. If

458
00:21:54,920 --> 00:21:56,399
Speaker 1: you put him over there and her over there, it

459
00:21:56,440 --> 00:21:58,240
Speaker 1: does it's not funny anymore. So we got to do this,

460
00:21:58,760 --> 00:22:01,320
Speaker 1: and you know, you have to be a little bit

461
00:22:01,359 --> 00:22:03,400
Speaker 1: humbled about it as a director because you're like.

462
00:22:03,440 --> 00:22:05,600
Speaker 6: Oh, you know, I didn't now I see, you know,

463
00:22:06,880 --> 00:22:10,159
Speaker 6: I think that most of the time when when writers

464
00:22:10,280 --> 00:22:15,960
Speaker 6: have clear ideas about that, they're generally right, you know,

465
00:22:16,000 --> 00:22:18,280
Speaker 6: if they're if they're if they're people you know of

466
00:22:18,440 --> 00:22:19,919
Speaker 6: the Steve.

467
00:22:19,680 --> 00:22:24,320
Speaker 3: Lovett and Bill Lawrence, Mindy Kaling caliber, like they get it,

468
00:22:24,440 --> 00:22:27,960
Speaker 3: and you know, you listen to them, you don't fight them,

469
00:22:28,520 --> 00:22:31,480
Speaker 3: and and they're generally right. Now. I did see that happen,

470
00:22:31,680 --> 00:22:33,840
Speaker 3: you know, with other directors when I'd be there prepping.

471
00:22:34,280 --> 00:22:37,080
Speaker 3: Didn't happen very often with me.

472
00:22:36,640 --> 00:22:40,720
Speaker 1: With Michael Spiller, No, sir, not now with sorry Emmy

473
00:22:40,800 --> 00:22:42,160
Speaker 1: Award winning Michael spill.

474
00:22:42,560 --> 00:22:45,320
Speaker 3: I mean, but what I do remember happening a lot

475
00:22:45,800 --> 00:22:48,479
Speaker 3: is like we'd be waiting for Bill to come up

476
00:22:48,480 --> 00:22:50,399
Speaker 3: from the writer's room, and you know, must have been

477
00:22:50,440 --> 00:22:53,040
Speaker 3: in the middle of a very fancy paragraph or something,

478
00:22:53,160 --> 00:22:55,560
Speaker 3: and you know, dial we had to wait, but you know,

479
00:22:55,920 --> 00:22:59,679
Speaker 3: the clock is ticking, we're losing a light. So generally

480
00:23:00,200 --> 00:23:03,880
Speaker 3: frame to arrive. But sometimes I would rehearse without him. Yeah,

481
00:23:04,240 --> 00:23:08,000
Speaker 3: and inevitably, inevitably, as soon as we finished the rehearsal,

482
00:23:08,320 --> 00:23:10,840
Speaker 3: Bill come walking through the doors and I'd have to

483
00:23:11,119 --> 00:23:14,480
Speaker 3: scramble like okay so for this shot, like fake, like

484
00:23:14,520 --> 00:23:16,600
Speaker 3: we're starting the rehearsal from the time right now, just

485
00:23:16,720 --> 00:23:18,439
Speaker 3: finished it right? Well?

486
00:23:18,480 --> 00:23:19,240
Speaker 2: Yeah, you know.

487
00:23:19,520 --> 00:23:21,399
Speaker 1: Another thing that people might not know is that the

488
00:23:21,520 --> 00:23:24,640
Speaker 1: onus to deliver the show in five days is all

489
00:23:24,800 --> 00:23:28,760
Speaker 1: on the director's hands. I mean obviously working with his assistant,

490
00:23:28,800 --> 00:23:32,320
Speaker 1: his or her assistant directors. So you are you not

491
00:23:32,440 --> 00:23:35,159
Speaker 1: only come on to this set where you where you

492
00:23:35,440 --> 00:23:38,160
Speaker 1: don't work every day, to lead a crew of people

493
00:23:38,200 --> 00:23:41,200
Speaker 1: that are all friends. But it's your job to be like, guys,

494
00:23:41,400 --> 00:23:43,200
Speaker 1: we gotta go, we gotta go, we gotta we gotta

495
00:23:43,200 --> 00:23:45,720
Speaker 1: get out of here. So that's that's another thing is

496
00:23:45,800 --> 00:23:48,680
Speaker 1: that you have to well you you've you've signed on

497
00:23:48,960 --> 00:23:52,880
Speaker 1: to deliver this episode of television in five twelve hour days.

498
00:23:53,000 --> 00:23:54,960
Speaker 2: You have a ton of support, though you have you know,

499
00:23:55,280 --> 00:23:58,000
Speaker 2: if you have a good first your your golden We

500
00:23:58,160 --> 00:24:02,720
Speaker 2: have some pretty cool first ads our show, Franklin Got

501
00:24:02,800 --> 00:24:04,520
Speaker 2: Better and Scott Harris and.

502
00:24:04,680 --> 00:24:07,080
Speaker 1: Richard Wells who was an incredible first ad.

503
00:24:07,200 --> 00:24:10,359
Speaker 2: Paul Padrera. We had a few of them, you know

504
00:24:10,359 --> 00:24:12,800
Speaker 2: what I mean? And you worked with all four of them, right.

505
00:24:13,080 --> 00:24:14,520
Speaker 3: Yes, I worked with them all?

506
00:24:15,080 --> 00:24:18,280
Speaker 2: Yeah, which was your favorite?

507
00:24:18,880 --> 00:24:20,480
Speaker 1: No, you don't have to answer that. You don't have

508
00:24:20,520 --> 00:24:24,040
Speaker 1: to answer that spiller. Should we get into the episode,

509
00:24:24,040 --> 00:24:26,680
Speaker 1: because I think it would be fun to just really

510
00:24:26,800 --> 00:24:29,639
Speaker 1: think so. So, Michael, the way we do this is

511
00:24:30,200 --> 00:24:32,080
Speaker 1: but there's really no order. We just started to talk

512
00:24:32,160 --> 00:24:35,000
Speaker 1: about the episodes. Uh, well you've heard it. You listened

513
00:24:35,000 --> 00:24:39,040
Speaker 1: to your your favorite podcast exactly. The first thing I noticed.

514
00:24:39,400 --> 00:24:42,440
Speaker 1: First of all, we have to say that Elizabeth Bogish

515
00:24:42,680 --> 00:24:45,760
Speaker 1: is not only beautiful, obviously, but she's really funny. She's

516
00:24:45,800 --> 00:24:46,600
Speaker 1: a very good actress.

517
00:24:46,600 --> 00:24:48,560
Speaker 2: I thought she did a fantastic just very moments in

518
00:24:48,640 --> 00:24:52,440
Speaker 2: this episode. And it's also it's also, uh, this is big.

519
00:24:52,720 --> 00:24:55,320
Speaker 2: She's the first, she's the first love interest for JD

520
00:24:55,960 --> 00:24:58,960
Speaker 2: and so, you know, just really set the tone for

521
00:24:59,240 --> 00:25:01,240
Speaker 2: all of the other actresses that would come on to

522
00:25:01,240 --> 00:25:03,959
Speaker 2: play your love interest on the show. And she did

523
00:25:04,119 --> 00:25:06,240
Speaker 2: such a she did such a phenomenal job, and you know,

524
00:25:06,480 --> 00:25:08,200
Speaker 2: you're right, she is very funny, and it made it

525
00:25:08,320 --> 00:25:10,800
Speaker 2: so that whoever else came on had to be like,

526
00:25:10,840 --> 00:25:13,520
Speaker 2: all right, well let me let me let me see what,

527
00:25:13,680 --> 00:25:15,359
Speaker 2: let me let me let me step up.

528
00:25:15,440 --> 00:25:17,800
Speaker 1: And yeah, they couldn't just be they couldn't just be

529
00:25:18,040 --> 00:25:20,720
Speaker 1: a pretty face. They had to really be good actresses

530
00:25:20,760 --> 00:25:22,840
Speaker 1: and be funny. And and I think that you know,

531
00:25:23,440 --> 00:25:25,720
Speaker 1: Liz was all those things. She she had really good timing.

532
00:25:25,800 --> 00:25:27,600
Speaker 1: She I thought she was good in her dramatic moments.

533
00:25:27,640 --> 00:25:29,639
Speaker 1: And yeah, and of course Spiller, when you do that

534
00:25:29,720 --> 00:25:32,000
Speaker 1: beauty shot of her at the end arriving with the

535
00:25:32,080 --> 00:25:34,600
Speaker 1: picnic basket, it's so romantic and pretty.

536
00:25:35,600 --> 00:25:37,920
Speaker 3: Yeah. Did you have anything the city training in?

537
00:25:38,160 --> 00:25:38,320
Speaker 7: Yeah?

538
00:25:38,920 --> 00:25:39,879
Speaker 2: I was thinking about that.

539
00:25:40,320 --> 00:25:42,960
Speaker 1: All your sex and the city lighting women things all

540
00:25:43,040 --> 00:25:44,400
Speaker 1: came together in this episode.

541
00:25:44,560 --> 00:25:46,359
Speaker 2: Did you have anything to do with casting on that?

542
00:25:46,640 --> 00:25:46,680
Speaker 3: Like?

543
00:25:46,800 --> 00:25:49,880
Speaker 2: I know that some directors sit down and help out

544
00:25:49,960 --> 00:25:53,640
Speaker 2: with casting on television shows or bring in their own.

545
00:25:54,640 --> 00:25:59,280
Speaker 3: Typically, typically we are you know, we're contractually we're meant

546
00:25:59,320 --> 00:26:01,760
Speaker 3: to be involved than all the casting decisions. I mean,

547
00:26:01,960 --> 00:26:05,080
Speaker 3: every creative decision on the episode that we're directing, we're

548
00:26:05,240 --> 00:26:09,920
Speaker 3: supposed to be involved in. Sometimes an actu will span

549
00:26:10,080 --> 00:26:13,399
Speaker 3: several episodes. It's sort of a bigger decision, and or

550
00:26:13,480 --> 00:26:16,800
Speaker 3: maybe an actor's availabilities being challenged and you need to

551
00:26:16,840 --> 00:26:20,040
Speaker 3: book them before the director has technically begun their prep.

552
00:26:20,720 --> 00:26:24,399
Speaker 3: I can't recall what the situation was with Liz. I mean,

553
00:26:24,520 --> 00:26:27,520
Speaker 3: she was fantastic. I hard to imagine anyone who I

554
00:26:27,640 --> 00:26:30,440
Speaker 3: would have rather seen in the role right, But she

555
00:26:30,560 --> 00:26:33,480
Speaker 3: did have a technically a three episode span, although I

556
00:26:33,560 --> 00:26:35,199
Speaker 3: directed two of her episodes.

557
00:26:35,600 --> 00:26:38,040
Speaker 1: Yeah to the second two, right, not the first one

558
00:26:38,040 --> 00:26:40,719
Speaker 1: where she's in the Mr Action right, right, all right?

559
00:26:41,160 --> 00:26:43,400
Speaker 2: But have you have you gone on to do other

560
00:26:43,480 --> 00:26:44,800
Speaker 2: shows and be like, you know what, I got the

561
00:26:44,840 --> 00:26:47,880
Speaker 2: perfect person and gone back to use actors that you've

562
00:26:47,960 --> 00:26:51,320
Speaker 2: had from Oh sure, I say from Scrubs or from

563
00:26:52,080 --> 00:26:53,920
Speaker 2: or from Sex and the City or whatever.

564
00:26:54,720 --> 00:26:57,800
Speaker 3: Yeah, I mean, whenever I can, I try to recommend

565
00:26:57,840 --> 00:27:00,800
Speaker 3: people who I know are cool and they're going to deliver.

566
00:27:01,119 --> 00:27:03,720
Speaker 3: And because we've all worked with people who are super

567
00:27:03,760 --> 00:27:08,480
Speaker 3: funny on screen and really difficult to work with, and

568
00:27:08,880 --> 00:27:10,800
Speaker 3: you know some some even you know, with like a

569
00:27:10,880 --> 00:27:14,240
Speaker 3: toxic personality that could kind of poison a set. So

570
00:27:14,240 --> 00:27:17,040
Speaker 3: it only takes one person to poison a workplace.

571
00:27:17,080 --> 00:27:20,399
Speaker 1: That's a lesson to all you young aspiring actors out

572
00:27:20,440 --> 00:27:25,879
Speaker 1: there that everybody talks. Everybody, everybody talks. So you might

573
00:27:26,160 --> 00:27:28,399
Speaker 1: have been a jerk one day and Michael Spiller was

574
00:27:28,440 --> 00:27:31,240
Speaker 1: the director on Sex and the City and you think

575
00:27:31,560 --> 00:27:34,600
Speaker 1: you went home and went all right, well, I had

576
00:27:34,640 --> 00:27:38,560
Speaker 1: a bad day, And then later and then later Michael's

577
00:27:38,600 --> 00:27:40,760
Speaker 1: directing another show, where your name is suggested and he

578
00:27:40,840 --> 00:27:44,720
Speaker 1: goes no, no, so you.

579
00:27:44,800 --> 00:27:47,240
Speaker 2: Have to be My wife always says this sounds way

580
00:27:47,240 --> 00:27:50,080
Speaker 2: too small to be an asshole exactly.

581
00:27:49,680 --> 00:27:52,639
Speaker 3: That that's the perfect And I mean the fact is,

582
00:27:53,560 --> 00:27:57,120
Speaker 3: you know, my wife used to be a costume supervisor,

583
00:27:57,160 --> 00:28:00,920
Speaker 3: a wardrobe supervisor and off. And it's the people behind

584
00:28:01,000 --> 00:28:04,679
Speaker 3: the scenes that get the brunt of an actor's wrath,

585
00:28:05,040 --> 00:28:07,479
Speaker 3: you know, or bad behavior. And it's like, if you're

586
00:28:07,520 --> 00:28:10,520
Speaker 3: making you know, your hair and makeup people, or the

587
00:28:10,600 --> 00:28:12,840
Speaker 3: people who are adjusting her clothing, if you're making those

588
00:28:12,920 --> 00:28:15,679
Speaker 3: people cry, you're not a good person, or you need

589
00:28:15,720 --> 00:28:18,040
Speaker 3: some therapy, or you gotta work some shit out. But

590
00:28:19,040 --> 00:28:20,399
Speaker 3: she told me there are a couple of people that

591
00:28:20,640 --> 00:28:23,359
Speaker 3: made her cry, you know, back in the day. And

592
00:28:23,520 --> 00:28:25,080
Speaker 3: I have had the pleasure of passing on.

593
00:28:25,119 --> 00:28:30,639
Speaker 1: Some of ah sweet revenge. And you ran home and

594
00:28:30,720 --> 00:28:33,159
Speaker 1: told your wife, didn't you like yese what I passed

595
00:28:33,200 --> 00:28:33,439
Speaker 1: on the.

596
00:28:33,640 --> 00:28:35,920
Speaker 2: I don't believe who they trying to push on me today,

597
00:28:35,960 --> 00:28:36,560
Speaker 2: but I said no.

598
00:28:37,280 --> 00:28:43,960
Speaker 1: And his name was Donald Faizon. So Michael, my first

599
00:28:44,120 --> 00:28:46,160
Speaker 1: my first note for you is at twenty four seconds,

600
00:28:46,480 --> 00:28:50,160
Speaker 1: why is my character have a giant entire piece that

601
00:28:50,440 --> 00:28:52,840
Speaker 1: it's a whole chicken on my date plate. I would

602
00:28:52,920 --> 00:28:56,120
Speaker 1: never order such a large meal. I had to stop

603
00:28:56,200 --> 00:28:59,000
Speaker 1: and pause. I'm on this date with this beautiful woman.

604
00:28:59,320 --> 00:29:01,800
Speaker 1: I'm just staying at her, and I have a full

605
00:29:02,000 --> 00:29:03,240
Speaker 1: roasted chicken on my plate.

606
00:29:05,040 --> 00:29:08,280
Speaker 3: You know, all I recall about that is that it

607
00:29:08,440 --> 00:29:11,400
Speaker 3: was part of because it was this The sequence is

608
00:29:11,520 --> 00:29:14,560
Speaker 3: that you can't take your eyes off her. We're so

609
00:29:15,040 --> 00:29:18,280
Speaker 3: fixated on her that you almost forgot to eat. So

610
00:29:18,480 --> 00:29:23,160
Speaker 3: I didn't eat. Having a having a vertical, you know,

611
00:29:23,280 --> 00:29:26,600
Speaker 3: a large meal that would read in this shot because

612
00:29:26,600 --> 00:29:28,760
Speaker 3: there's a lot look at icy.

613
00:29:28,760 --> 00:29:30,400
Speaker 2: So you really wanted to be looking at you.

614
00:29:30,800 --> 00:29:34,080
Speaker 1: But yeah, so you icy, So you rationalization or or

615
00:29:34,160 --> 00:29:37,040
Speaker 1: real genuine roga. You wanted it to quickly read that

616
00:29:37,240 --> 00:29:40,720
Speaker 1: I hadn't touched my plate. Yes, it looks like Thanksgiving

617
00:29:40,760 --> 00:29:43,000
Speaker 1: dinner has been served and no one has calved.

618
00:29:44,440 --> 00:29:46,720
Speaker 3: You know, we were on location for that, and you

619
00:29:46,760 --> 00:29:49,160
Speaker 3: know we didn't do that very often on Scrubs, and

620
00:29:49,240 --> 00:29:51,560
Speaker 3: certainly my first episode. I hadn't done it before with

621
00:29:51,680 --> 00:29:54,840
Speaker 3: you guys. Yeah, and you know that may have been

622
00:29:54,920 --> 00:29:57,760
Speaker 3: what the place had to offer, what Hugos had to offer.

623
00:29:57,840 --> 00:30:00,480
Speaker 2: Oh mean, it was Hugos. They go, I was gonna

624
00:30:00,480 --> 00:30:01,720
Speaker 2: ask that is that Hugos?

625
00:30:03,160 --> 00:30:05,040
Speaker 1: And where is it riverside in the valley?

626
00:30:05,280 --> 00:30:07,120
Speaker 2: Yeah, it was right next to the hospital, just down

627
00:30:07,200 --> 00:30:10,880
Speaker 2: the street. The photo booth in the middle of the supermarket.

628
00:30:11,520 --> 00:30:12,280
Speaker 2: Is that a pharmacy?

629
00:30:13,000 --> 00:30:13,200
Speaker 3: Yeah?

630
00:30:13,200 --> 00:30:15,840
Speaker 1: What was the deal with that, Mike? Who would put

631
00:30:15,880 --> 00:30:17,560
Speaker 1: a photo booth? Who would put a foot of booth

632
00:30:17,560 --> 00:30:20,240
Speaker 1: in the middle of an aisle of the supermarket? Michael,

633
00:30:20,280 --> 00:30:22,360
Speaker 1: you can reach through the photo booth to get items

634
00:30:22,400 --> 00:30:23,400
Speaker 1: off the shlves.

635
00:30:24,680 --> 00:30:27,800
Speaker 3: Wealth Maybe they're handy props, you know. This is this

636
00:30:27,960 --> 00:30:31,080
Speaker 3: is before the days of like giant hats and oversized

637
00:30:31,120 --> 00:30:34,160
Speaker 3: sunglasses and big foam pointy thing.

638
00:30:34,680 --> 00:30:36,320
Speaker 1: Was this a set or do you remember?

639
00:30:37,320 --> 00:30:39,120
Speaker 3: I think it was a set and it.

640
00:30:39,240 --> 00:30:43,120
Speaker 2: Was just like, yeah, I remember photo booths being like

641
00:30:43,280 --> 00:30:46,000
Speaker 2: in like bowling alleys or I missed by the way,

642
00:30:46,040 --> 00:30:48,760
Speaker 2: I miss photo booths. Let's keep love photo right now.

643
00:30:49,000 --> 00:30:51,160
Speaker 2: That was like the set off for that is the

644
00:30:51,680 --> 00:30:53,480
Speaker 2: because I guess because of the movies too. It's such

645
00:30:53,520 --> 00:30:54,800
Speaker 2: a romantic setting, I know.

646
00:30:54,920 --> 00:30:56,880
Speaker 1: Especially when they're black and white. Not this not this

647
00:30:57,120 --> 00:30:57,920
Speaker 1: modern bullshit.

648
00:30:58,000 --> 00:31:01,880
Speaker 2: The little black and white neon light that freaking yeah,

649
00:31:01,960 --> 00:31:04,560
Speaker 2: it surrounds the camera and shoots in your face. I

650
00:31:04,640 --> 00:31:07,120
Speaker 2: totally miss photo booths. I got some good photo booth

651
00:31:07,200 --> 00:31:09,480
Speaker 2: pictures of me and my wife when we first started dating.

652
00:31:09,520 --> 00:31:12,080
Speaker 1: And you know, it's so romantic when you look at

653
00:31:12,080 --> 00:31:13,600
Speaker 1: them and you feel like you're old school.

654
00:31:13,680 --> 00:31:16,320
Speaker 3: And I love a little fourth strip photo.

655
00:31:16,400 --> 00:31:18,640
Speaker 2: I mean, yes, for those of you out here like

656
00:31:18,760 --> 00:31:21,960
Speaker 2: photo booths at like parties and stuff like that, it

657
00:31:22,040 --> 00:31:23,960
Speaker 2: doesn't it's not the same if it's not in an

658
00:31:24,080 --> 00:31:24,840
Speaker 2: actual booth.

659
00:31:25,120 --> 00:31:28,440
Speaker 1: If you're in Manhattan, Okay, there's a restaurant called the

660
00:31:28,600 --> 00:31:33,960
Speaker 1: Smith on Fourth Street, and like, what is it like

661
00:31:34,080 --> 00:31:37,280
Speaker 1: fourth and tenth ish you just google it. And in

662
00:31:37,360 --> 00:31:39,840
Speaker 1: the basement of the Smith, which is a good restaurant,

663
00:31:40,080 --> 00:31:42,280
Speaker 1: there's an old school black and white photo booth.

664
00:31:42,400 --> 00:31:42,880
Speaker 2: So there you go.

665
00:31:42,960 --> 00:31:45,760
Speaker 1: I just toocked you up. Next time you're we're on

666
00:31:45,840 --> 00:31:49,400
Speaker 1: a trip with your loved one, go take a romantic picture.

667
00:31:49,120 --> 00:31:51,080
Speaker 3: There when we're allowed to travel again.

668
00:31:51,280 --> 00:31:54,360
Speaker 1: When you're allowed to travel again in August and yeah, so, Michael,

669
00:31:54,440 --> 00:31:56,560
Speaker 1: I don't know how they do it on Sex and

670
00:31:56,600 --> 00:31:58,440
Speaker 1: the City, but we certainly don't put photo booths in

671
00:31:58,520 --> 00:32:05,200
Speaker 1: the center of a supermarket aisle here on scrubs. I

672
00:32:05,280 --> 00:32:07,320
Speaker 1: want to say, this is very vain, but I looked

673
00:32:07,440 --> 00:32:09,000
Speaker 1: very skinny in this photo booth and I.

674
00:32:09,160 --> 00:32:11,160
Speaker 2: But what was up with your hair? Dude? Your hair

675
00:32:11,280 --> 00:32:13,320
Speaker 2: was a little different in these episodes. Man, they were

676
00:32:13,440 --> 00:32:14,680
Speaker 2: very spiky, and I.

677
00:32:14,800 --> 00:32:16,240
Speaker 1: Was probably you know what I was probably the truth

678
00:32:16,760 --> 00:32:20,320
Speaker 1: of the spinning of the hair on the time and

679
00:32:20,360 --> 00:32:22,040
Speaker 1: the photobooth that looked like I have more makeup on

680
00:32:22,120 --> 00:32:24,680
Speaker 1: than usual. I can only rationalize that I was probably

681
00:32:24,760 --> 00:32:27,280
Speaker 1: nervous in front of this beautiful actress and I was

682
00:32:27,280 --> 00:32:29,280
Speaker 1: probably like, more makeup your hair?

683
00:32:30,000 --> 00:32:33,040
Speaker 2: Okay? Now, is this your first uh love interest in

684
00:32:33,200 --> 00:32:35,840
Speaker 2: projects that you've been because you hadn't worked that much.

685
00:32:36,320 --> 00:32:39,320
Speaker 2: That's a very tradition I think dated on camera before.

686
00:32:40,000 --> 00:32:42,440
Speaker 1: Very good question. No, I had done an after school

687
00:32:42,520 --> 00:32:47,280
Speaker 1: special called My Summer as a Girl, and basically it

688
00:32:47,320 --> 00:32:48,840
Speaker 1: was an after the special where they just stole the

689
00:32:48,840 --> 00:32:50,640
Speaker 1: whole plot of Tootsie and you know, in order to

690
00:32:50,680 --> 00:32:52,200
Speaker 1: get the job, I had to dress up like a

691
00:32:52,240 --> 00:32:56,800
Speaker 1: woman and then I fell. But I remember it's interesting

692
00:32:56,920 --> 00:32:59,160
Speaker 1: remembering that that I remember that there was supposed to

693
00:32:59,160 --> 00:33:00,960
Speaker 1: be a scene where I kind of got like too

694
00:33:01,040 --> 00:33:03,720
Speaker 1: aggressive with trying to make out with her, and I

695
00:33:03,760 --> 00:33:06,520
Speaker 1: remember the director was disappointed because I was I couldn't

696
00:33:06,640 --> 00:33:08,880
Speaker 1: I was too nervous to do it. I wasn't doing

697
00:33:08,920 --> 00:33:11,239
Speaker 1: it enough, being aggressive enough with her.

698
00:33:12,160 --> 00:33:15,000
Speaker 2: Why why why are all after school specials? Why do

699
00:33:15,160 --> 00:33:17,120
Speaker 2: the guys have to be so aggressive? Well?

700
00:33:17,160 --> 00:33:19,160
Speaker 1: The lesson they always taught a lesson, right, Well, this

701
00:33:19,280 --> 00:33:20,960
Speaker 1: one was I was kind of a guy, and I

702
00:33:21,120 --> 00:33:24,520
Speaker 1: was kind of a playboy, but like I was a

703
00:33:24,640 --> 00:33:28,040
Speaker 1: cocky guy, and uh. And then I in order to

704
00:33:28,120 --> 00:33:30,600
Speaker 1: get in order to go after the girl, I dressed

705
00:33:30,680 --> 00:33:32,280
Speaker 1: up like a girl because she had gotten the last

706
00:33:32,400 --> 00:33:34,760
Speaker 1: last job as a chambermaid on the island, and I

707
00:33:34,880 --> 00:33:36,720
Speaker 1: wanted to do that too, So I dressed up like

708
00:33:36,720 --> 00:33:39,560
Speaker 1: a girl, like a lot totalies the platitutcy, except you know,

709
00:33:39,880 --> 00:33:42,560
Speaker 1: a chambermaid on an island. And then I fall in

710
00:33:42,560 --> 00:33:44,480
Speaker 1: love with the girl. And then i'm too I was

711
00:33:44,480 --> 00:33:46,400
Speaker 1: when I'm a man, I'm too aggressive with her, and

712
00:33:46,560 --> 00:33:49,600
Speaker 1: she's like, get away, You're you're moving too fast. And

713
00:33:49,760 --> 00:33:51,719
Speaker 1: then there's a guy who's in love with me when

714
00:33:51,760 --> 00:33:54,080
Speaker 1: I'm dressed as a woman and he starts doing it

715
00:33:54,200 --> 00:33:57,160
Speaker 1: to me and I'm like kicking in the nuts. And

716
00:33:57,240 --> 00:33:59,480
Speaker 1: the lesson was like, how do you fucking like it

717
00:34:00,120 --> 00:34:01,360
Speaker 1: treat a woman with respect.

718
00:34:01,800 --> 00:34:04,320
Speaker 3: Yeah, shoes on the other foot.

719
00:34:04,400 --> 00:34:06,920
Speaker 1: Now, Yeah, so you can all go google my summer

720
00:34:06,920 --> 00:34:09,000
Speaker 1: as a girl and watch that bit of artistry. But

721
00:34:09,200 --> 00:34:11,279
Speaker 1: that's a good point you brought up, Donald. I don't

722
00:34:11,360 --> 00:34:15,320
Speaker 1: think that I had really had a pretty love interest

723
00:34:15,480 --> 00:34:17,480
Speaker 1: other than Sara Chalk. But we hadn't really you know,

724
00:34:18,080 --> 00:34:20,880
Speaker 1: delved into that yet, not on the We're about to

725
00:34:21,000 --> 00:34:23,000
Speaker 1: We're in a few episodes we're about I think after

726
00:34:23,120 --> 00:34:25,200
Speaker 1: Liz is the first time that it comes up. So, yeah,

727
00:34:25,360 --> 00:34:27,200
Speaker 1: I bet I was very nervous around her. I do

728
00:34:27,400 --> 00:34:29,120
Speaker 1: seem to me to look like I have a little

729
00:34:29,120 --> 00:34:31,040
Speaker 1: bit too much makeup on in this photo booth, Like

730
00:34:31,120 --> 00:34:33,520
Speaker 1: I was like, I was trying to look like you know,

731
00:34:33,600 --> 00:34:35,839
Speaker 1: it was important for you too. I wanted to look

732
00:34:36,080 --> 00:34:38,160
Speaker 1: I wanted to look the best I could for Liz.

733
00:34:38,680 --> 00:34:40,239
Speaker 3: Well, yeah, I mean it is so funny. It's like

734
00:34:40,320 --> 00:34:42,640
Speaker 3: it's it's been scanning a lot of attention these days

735
00:34:42,640 --> 00:34:46,560
Speaker 3: because people are, you know, in this business are evolving somewhat.

736
00:34:46,680 --> 00:34:49,799
Speaker 3: But you know, when you have two actors or more

737
00:34:49,880 --> 00:34:52,000
Speaker 3: depending on the show, uh, you know, who have to

738
00:34:52,120 --> 00:34:55,080
Speaker 3: have a love scene or be intimate physically intimate with

739
00:34:55,160 --> 00:34:57,840
Speaker 3: each other. I mean it's awkward, it's weird, and it

740
00:34:58,200 --> 00:35:02,160
Speaker 3: can it can be really uncomfortable for for people. So

741
00:35:02,200 --> 00:35:04,239
Speaker 3: I mean I totally get it, even as sort of

742
00:35:04,360 --> 00:35:05,000
Speaker 3: PG as.

743
00:35:05,080 --> 00:35:07,080
Speaker 1: This was right, well, this was pretty you know, when

744
00:35:07,120 --> 00:35:09,399
Speaker 1: we get into some of the Sarah stuff, I can't

745
00:35:09,440 --> 00:35:11,200
Speaker 1: even believe that we were doing what we were doing

746
00:35:11,239 --> 00:35:13,840
Speaker 1: for network TV, and I remember it being like awkward,

747
00:35:14,000 --> 00:35:16,960
Speaker 1: like this is so bizarre. I remember feeling like are

748
00:35:17,000 --> 00:35:19,040
Speaker 1: we on like HBO, Like how are we doing this

749
00:35:19,160 --> 00:35:21,040
Speaker 1: for NBC? You know, it's pretty That was that was

750
00:35:21,080 --> 00:35:23,640
Speaker 1: pretty risque stuff. This stuff with Liz was was was

751
00:35:23,680 --> 00:35:25,360
Speaker 1: pretty tame. But you you know, you're still lying in

752
00:35:25,480 --> 00:35:27,360
Speaker 1: bed with a with a beautiful stranger and to.

753
00:35:27,360 --> 00:35:29,160
Speaker 2: Say at the end of the episode, I'm on top

754
00:35:29,200 --> 00:35:35,320
Speaker 2: of uh Judy and it's we're simulating r This was

755
00:35:35,400 --> 00:35:36,200
Speaker 2: a sexy episode.

756
00:35:36,200 --> 00:35:38,920
Speaker 1: There's a lot of talk of orgasms and and and

757
00:35:39,320 --> 00:35:41,520
Speaker 1: Sarah masturbating on a washing machine.

758
00:35:42,200 --> 00:35:42,520
Speaker 3: It works?

759
00:35:42,560 --> 00:35:48,640
Speaker 2: Does that work? Is a washing machine that powerful? Because

760
00:35:48,640 --> 00:35:51,359
Speaker 2: I can't. I don't. I don't. I don't. Apparently I don't.

761
00:35:51,360 --> 00:35:54,040
Speaker 2: I definitely don't produce like the washing machine can produce. Obviously,

762
00:35:54,080 --> 00:35:57,480
Speaker 2: Listen first undred. First, just be honest with everyone, of

763
00:35:57,520 --> 00:36:01,040
Speaker 2: the washing machine? Is that good? Aware at the end

764
00:36:01,120 --> 00:36:04,160
Speaker 2: of it, you fall off the motherfucking washing machine. I

765
00:36:04,239 --> 00:36:06,800
Speaker 2: can't compete with a washing machine. What am I useful for?

766
00:36:06,920 --> 00:36:07,200
Speaker 3: Honey?

767
00:36:07,520 --> 00:36:10,400
Speaker 2: I've been helping you raise these kids? What am I useful?

768
00:36:12,320 --> 00:36:12,480
Speaker 8: Hey?

769
00:36:12,560 --> 00:36:12,840
Speaker 1: Donald?

770
00:36:12,880 --> 00:36:15,440
Speaker 2: The washing machine and the crazy shit? Is My wife's

771
00:36:15,440 --> 00:36:17,520
Speaker 2: always like I'm gonna go put another load in?

772
00:36:18,040 --> 00:36:19,320
Speaker 3: Yeah, yes she is.

773
00:36:20,320 --> 00:36:23,400
Speaker 1: She's definitely gon hey Donald, that washing machine cannot provide

774
00:36:23,440 --> 00:36:24,160
Speaker 1: for those children.

775
00:36:24,360 --> 00:36:27,560
Speaker 2: Only you can. Only I can. That's well, I don't

776
00:36:27,600 --> 00:36:28,160
Speaker 2: know whether or not.

777
00:36:28,640 --> 00:36:31,640
Speaker 1: You know, we three men have no idea obviously if

778
00:36:31,680 --> 00:36:34,040
Speaker 1: a washing machine can can do that to a woman.

779
00:36:34,160 --> 00:36:36,720
Speaker 1: But I gotta say, Sarah, it worked for Elliott.

780
00:36:36,840 --> 00:36:39,799
Speaker 2: It really works Elliott, it definitely well. And it worked

781
00:36:39,840 --> 00:36:42,560
Speaker 2: for Carla too, because she's the one that suggested it.

782
00:36:42,800 --> 00:36:45,759
Speaker 1: Yes, she said, when are you doing laundry next? Now,

783
00:36:45,800 --> 00:36:47,839
Speaker 1: we had a lot of female writers on this show.

784
00:36:47,920 --> 00:36:50,120
Speaker 1: I can only imagine that they had a conversation in

785
00:36:50,160 --> 00:36:51,840
Speaker 1: the writer's room like, do y'all have them run a

786
00:36:51,960 --> 00:36:52,560
Speaker 1: washing machine?

787
00:36:57,040 --> 00:37:00,680
Speaker 3: Well, let's move on, or you can ask could be

788
00:37:00,719 --> 00:37:01,640
Speaker 3: an ask bill moment.

789
00:37:01,960 --> 00:37:02,719
Speaker 2: No no, no, no, no no.

790
00:37:03,080 --> 00:37:03,600
Speaker 8: I don't want.

791
00:37:05,480 --> 00:37:07,439
Speaker 1: Hey, listen, I don't have anything. Do you guys have anything?

792
00:37:07,440 --> 00:37:09,680
Speaker 1: Before Sarah shitting a brick? Because I laughed out loud

793
00:37:09,719 --> 00:37:09,840
Speaker 1: at that.

794
00:37:10,040 --> 00:37:10,880
Speaker 2: I laughed out loud at that.

795
00:37:11,040 --> 00:37:13,320
Speaker 1: That was funny, especially Sarah. First of all, when you

796
00:37:13,520 --> 00:37:16,080
Speaker 1: think you'd ever get to see Sarah chalk, you know,

797
00:37:16,239 --> 00:37:17,640
Speaker 1: poohing face, and there we saw it.

798
00:37:18,320 --> 00:37:21,279
Speaker 2: But that's that's that's the one thing. Usually somebody makes

799
00:37:21,320 --> 00:37:24,080
Speaker 2: a pooing face on television, they get real big with it.

800
00:37:24,400 --> 00:37:26,759
Speaker 2: It was pretty it was pretty subtle. You didn't know that.

801
00:37:26,960 --> 00:37:28,239
Speaker 1: You know, this eye closed thing.

802
00:37:28,440 --> 00:37:29,440
Speaker 2: She did an eye closed thing.

803
00:37:29,800 --> 00:37:32,800
Speaker 3: You're right, she closed one eye and they had to

804
00:37:32,880 --> 00:37:35,400
Speaker 3: be just enough, just enough push.

805
00:37:35,840 --> 00:37:37,719
Speaker 2: Yeah, a brick, you that brick?

806
00:37:37,920 --> 00:37:40,040
Speaker 1: So what's funny. What's funny about it? It's builder is

807
00:37:40,120 --> 00:37:42,399
Speaker 1: that she she just does a little bit of a push,

808
00:37:42,440 --> 00:37:46,600
Speaker 1: but then a giant brick fall. I just realized that

809
00:37:46,680 --> 00:37:50,560
Speaker 1: in one episode, in one episode of brilliant television, in

810
00:37:50,719 --> 00:37:53,640
Speaker 1: twenty two minutes, we have Sarah's pooh face and her

811
00:37:53,719 --> 00:37:54,439
Speaker 1: orgasm face.

812
00:37:55,160 --> 00:37:57,040
Speaker 3: That's right. We opened the whole gamut.

813
00:37:57,160 --> 00:37:59,560
Speaker 1: We opened the show with her poof face and closed

814
00:37:59,560 --> 00:38:00,879
Speaker 1: the show the orgasm face.

815
00:38:01,280 --> 00:38:03,680
Speaker 3: What what art we made what from an O poop?

816
00:38:05,800 --> 00:38:09,000
Speaker 2: Okay, so I think the yeah was improved. When Carla

817
00:38:09,040 --> 00:38:13,360
Speaker 2: pushes me down, I remember that, Yeah, I think that

818
00:38:13,520 --> 00:38:15,400
Speaker 2: was improved. I don't remember if that was in the

819
00:38:15,440 --> 00:38:15,960
Speaker 2: script or not.

820
00:38:16,320 --> 00:38:18,560
Speaker 1: It wasn't because who the hell would ever guess that your.

821
00:38:18,480 --> 00:38:20,360
Speaker 2: T shirt would say yeah on it? Right, that my

822
00:38:20,400 --> 00:38:21,440
Speaker 2: T shirt would say yeah on it?

823
00:38:21,520 --> 00:38:23,799
Speaker 1: It didn't say in the script. Turk wearing a yeah

824
00:38:23,920 --> 00:38:24,560
Speaker 1: T shirt.

825
00:38:25,560 --> 00:38:29,040
Speaker 3: Points to said prieze Yeah, but that was funny.

826
00:38:29,120 --> 00:38:31,239
Speaker 1: Donald. I wanted to point out a little trivia that

827
00:38:31,320 --> 00:38:33,480
Speaker 1: I saw on the Scrubs Wiki at three h five,

828
00:38:34,000 --> 00:38:37,759
Speaker 1: right before uh You're yeah, saying that doctor Cox knows

829
00:38:37,800 --> 00:38:41,239
Speaker 1: Doug's name, and the Scrubs Wiki was pointing out it

830
00:38:41,320 --> 00:38:43,400
Speaker 1: might be the only time he ever says Doug's name,

831
00:38:43,400 --> 00:38:45,759
Speaker 1: because he goes Doug and uh.

832
00:38:46,600 --> 00:38:49,200
Speaker 2: Well he uses it. He also uses it as like

833
00:38:49,280 --> 00:38:50,399
Speaker 2: he's gonna pick on Doug.

834
00:38:50,719 --> 00:38:52,799
Speaker 1: Yeah, but I'm saying Cox never you know. His whole

835
00:38:52,800 --> 00:38:54,400
Speaker 1: thing was he doesn't know people's names. He calls them

836
00:38:54,400 --> 00:38:57,040
Speaker 1: all these nicknames, but he randomly knew Doug's name.

837
00:38:57,200 --> 00:38:59,200
Speaker 2: But you too, a Jamin in this episode also you

838
00:38:59,320 --> 00:39:02,080
Speaker 2: to a like a camaraderie in or Yeah, you know,

839
00:39:02,960 --> 00:39:05,960
Speaker 2: you're his go to now this is the fund he

840
00:39:06,040 --> 00:39:08,480
Speaker 2: established it in the last episode. But yet now you

841
00:39:08,560 --> 00:39:12,280
Speaker 2: two are it doesn't seem like you're a fresh nubi

842
00:39:12,320 --> 00:39:14,120
Speaker 2: even though he calls you nuby and everything like that.

843
00:39:14,520 --> 00:39:18,759
Speaker 2: We're starting to see your your relationship as colleagues form.

844
00:39:19,160 --> 00:39:20,960
Speaker 1: That's true, and I think I wrote down this is

845
00:39:21,000 --> 00:39:23,799
Speaker 1: the first episode to me it seems like he genuinely

846
00:39:24,280 --> 00:39:27,080
Speaker 1: likes JD. Like he's usually good at hiding it, but

847
00:39:27,200 --> 00:39:31,400
Speaker 1: in this episode, I felt like Cox was really bonding

848
00:39:31,520 --> 00:39:34,040
Speaker 1: with JD and liked him even though he was, you know,

849
00:39:34,320 --> 00:39:36,160
Speaker 1: still trying and hide it, but he couldn't hide it.

850
00:39:36,560 --> 00:39:38,640
Speaker 1: And then in the end he really bonded with him

851
00:39:38,680 --> 00:39:40,840
Speaker 1: and said, you know, don't be me, don't be me,

852
00:39:40,960 --> 00:39:43,160
Speaker 1: go have a life, which I thought was was moving.

853
00:39:43,280 --> 00:39:45,560
Speaker 1: I thought that was, you know, a side of doctor

854
00:39:45,600 --> 00:39:47,600
Speaker 1: Cox we don't only see, yes spiller.

855
00:39:47,840 --> 00:39:51,200
Speaker 3: Since where That's a nice segue into what it's like

856
00:39:51,760 --> 00:39:54,320
Speaker 3: working with Johnny C for the first time as a directory.

857
00:39:54,360 --> 00:39:55,280
Speaker 1: Yeah, was he scared?

858
00:39:55,440 --> 00:39:56,000
Speaker 2: Yeah, let's go.

859
00:39:57,000 --> 00:39:59,479
Speaker 3: Well, I mean, first of all, he's so damn good,

860
00:40:00,000 --> 00:40:03,160
Speaker 3: he's so damn funny, but he is a very, very

861
00:40:03,360 --> 00:40:08,560
Speaker 3: intense gy, particularly when you know he's in character. You know,

862
00:40:08,800 --> 00:40:11,840
Speaker 3: on set because you know he's a prepping director. You

863
00:40:11,960 --> 00:40:13,960
Speaker 3: go and you're you're doing all the work in the

864
00:40:14,040 --> 00:40:16,560
Speaker 3: various meetings and location scouting and stuff that you do

865
00:40:16,719 --> 00:40:19,200
Speaker 3: to prep your own episode, but you also try and

866
00:40:19,280 --> 00:40:22,200
Speaker 3: spend as much time as you can on set so

867
00:40:22,280 --> 00:40:24,160
Speaker 3: that you're getting to know the cast in a more

868
00:40:24,200 --> 00:40:27,960
Speaker 3: informal way. You're starting to connect with the crew, learn

869
00:40:28,080 --> 00:40:30,960
Speaker 3: people's names, all these things that are essential to you

870
00:40:31,000 --> 00:40:33,160
Speaker 3: know when you're headed the baton the next week that

871
00:40:33,239 --> 00:40:36,960
Speaker 3: you'll have a good episode. Right, So you know, you'd

872
00:40:37,000 --> 00:40:38,880
Speaker 3: hang out and observe and try not to be in

873
00:40:38,960 --> 00:40:41,040
Speaker 3: the way, and I'd watch another you know, like Mark

874
00:40:41,080 --> 00:40:44,960
Speaker 3: Bucklin work with Johnny c or something, and Johnny is intense.

875
00:40:45,960 --> 00:40:49,080
Speaker 3: You say cut and he stands there, his jaws like

876
00:40:49,280 --> 00:40:53,160
Speaker 3: clamp shut, his cheek muscles are like fluctuating and like

877
00:40:53,239 --> 00:40:57,880
Speaker 3: he's he's ripped. You know, it's like so aspiring, Right,

878
00:40:58,360 --> 00:41:01,080
Speaker 3: It's like okay, and you have to give that person

879
00:41:01,160 --> 00:41:04,120
Speaker 3: a note. So the very the very first time I

880
00:41:04,200 --> 00:41:07,719
Speaker 3: did it, I said cut, went up to him and

881
00:41:07,840 --> 00:41:10,520
Speaker 3: it's like you got the sense that if you said

882
00:41:10,560 --> 00:41:15,120
Speaker 3: the wrong thing, he might actually hit you because he's

883
00:41:15,200 --> 00:41:19,520
Speaker 3: that he's he appears to be that tightly wound, right.

884
00:41:20,360 --> 00:41:23,279
Speaker 3: So I can't remember what the note was, but you know,

885
00:41:23,320 --> 00:41:24,920
Speaker 3: I said, Johnny, can't try that, you know, I have

886
00:41:24,960 --> 00:41:27,640
Speaker 3: an idea. Blah blah blah blah. He looks at me

887
00:41:27,719 --> 00:41:31,720
Speaker 3: for a second, cheek muscle still, you know, rippling away,

888
00:41:32,400 --> 00:41:35,279
Speaker 3: and he says, fuck, yeah, let's do it, and we

889
00:41:35,480 --> 00:41:36,000
Speaker 3: just we went.

890
00:41:36,120 --> 00:41:37,880
Speaker 2: It's like, okay, I made it.

891
00:41:39,800 --> 00:41:41,719
Speaker 1: That was your test. In one day, in one or

892
00:41:41,760 --> 00:41:44,040
Speaker 1: two sentences, he decided if he liked you or not

893
00:41:44,160 --> 00:41:50,320
Speaker 1: forever exactly thankfully. Well, I think Johnny Johnny, Johnny Johnny

894
00:41:50,360 --> 00:41:53,239
Speaker 1: has so much had so much experience, you know, and

895
00:41:53,480 --> 00:41:55,879
Speaker 1: and I've worked with so many directors at that point,

896
00:41:55,920 --> 00:41:58,719
Speaker 1: and I think he he you know, if you gave

897
00:41:58,800 --> 00:42:00,719
Speaker 1: him a good note, he was he was down to

898
00:42:00,800 --> 00:42:03,400
Speaker 1: do it. And and then you know, like all of us,

899
00:42:03,440 --> 00:42:05,160
Speaker 1: we sometimes got notes from directors and we were like,

900
00:42:05,200 --> 00:42:07,120
Speaker 1: I'm not doing that, and you know, so I think

901
00:42:07,200 --> 00:42:09,600
Speaker 1: that he in that moment, he decided that he liked

902
00:42:09,640 --> 00:42:10,400
Speaker 1: you and respected you.

903
00:42:11,040 --> 00:42:14,800
Speaker 3: Well, I mean, listen, from from an actor's standpoint, I

904
00:42:14,920 --> 00:42:17,560
Speaker 3: completely get it, because it's like okay as a new

905
00:42:17,680 --> 00:42:19,799
Speaker 3: director every week, and some of them are not going

906
00:42:19,840 --> 00:42:21,200
Speaker 3: to be great, or some you're just not going to

907
00:42:21,239 --> 00:42:22,920
Speaker 3: get along with, and some are going to ask you

908
00:42:23,040 --> 00:42:25,840
Speaker 3: things that may not even be their note, maybe a

909
00:42:25,920 --> 00:42:29,320
Speaker 3: writer's note, and you know you can't you can't go

910
00:42:29,400 --> 00:42:31,080
Speaker 3: up to an actors say oh, well the writer asked

911
00:42:31,120 --> 00:42:33,640
Speaker 3: me to say this. You know that's not a good

912
00:42:33,680 --> 00:42:34,239
Speaker 3: thing to do that.

913
00:42:34,440 --> 00:42:36,799
Speaker 1: It's like, well, then you're just the messenger person. Yeah,

914
00:42:36,800 --> 00:42:38,439
Speaker 1: and then and then it just shows that you're weak.

915
00:42:38,520 --> 00:42:40,040
Speaker 1: I think you have to be like, you have to

916
00:42:40,120 --> 00:42:42,800
Speaker 1: be like you know what I try to be like,

917
00:42:42,960 --> 00:42:44,719
Speaker 1: is I do you want to do you want to try?

918
00:42:44,719 --> 00:42:46,319
Speaker 1: You know, if it's my thing, then I'm like, let's

919
00:42:46,320 --> 00:42:47,959
Speaker 1: try this. But if I'm coming on to a show

920
00:42:48,080 --> 00:42:51,239
Speaker 1: like this, I would say I was thinking this, do

921
00:42:51,320 --> 00:42:53,360
Speaker 1: you want to maybe try this? Because you know, you

922
00:42:53,400 --> 00:42:54,640
Speaker 1: don't know if the actor is going to say, oh,

923
00:42:55,480 --> 00:42:57,520
Speaker 1: my character would never do that, you know that kind

924
00:42:57,520 --> 00:42:59,080
Speaker 1: of thing. Hey, we need to go to a break

925
00:43:00,080 --> 00:43:02,520
Speaker 1: that thought. Donald, We're gonna break hold that thought. Don't

926
00:43:04,480 --> 00:43:06,440
Speaker 1: don't you forget it? Donald, Because I know that you've

927
00:43:06,480 --> 00:43:08,520
Speaker 1: tried some of God's lettuce and that affects memory.

928
00:43:08,600 --> 00:43:11,520
Speaker 2: Hold on to that tried some of God's a few hours.

929
00:43:11,560 --> 00:43:12,200
Speaker 2: Let's go to break.

930
00:43:19,400 --> 00:43:21,640
Speaker 1: Okay, we're back from break. Donald, did you remember did

931
00:43:21,680 --> 00:43:22,560
Speaker 1: you hold onto the thought?

932
00:43:22,800 --> 00:43:23,360
Speaker 2: I forgot?

933
00:43:23,719 --> 00:43:24,600
Speaker 3: Oh fuck?

934
00:43:25,320 --> 00:43:27,920
Speaker 1: And you kids say we doesn't cause memory laws.

935
00:43:28,440 --> 00:43:31,800
Speaker 3: Wow, it's like a case study.

936
00:43:32,120 --> 00:43:35,000
Speaker 1: Yeah, like a case study. So Donald, we're doing a

937
00:43:35,080 --> 00:43:37,560
Speaker 1: podcast about the show Scrub. I had to remind him

938
00:43:37,560 --> 00:43:43,880
Speaker 1: after each breaks. But Mike Spiller directed you twenty episodes.

939
00:43:44,040 --> 00:43:47,759
Speaker 2: I don't remember. I don't remember. I don't remember. So

940
00:43:47,920 --> 00:43:50,560
Speaker 2: I'm start hanging out with you outside of Scrubs. Spiller,

941
00:43:51,680 --> 00:43:54,239
Speaker 2: this isn't This is for everyone out there that's sitting

942
00:43:54,320 --> 00:43:56,759
Speaker 2: there and they're like, wow, this is you know, a

943
00:43:56,920 --> 00:44:00,759
Speaker 2: director on the show with the two actors, and he

944
00:44:00,880 --> 00:44:03,400
Speaker 2: directed twenty so that makes him special. That's not all

945
00:44:03,480 --> 00:44:06,439
Speaker 2: that makes Spiller special. We've all gone out and hung

946
00:44:06,520 --> 00:44:09,719
Speaker 2: out and eaten together and stuff like that, so you know,

947
00:44:09,960 --> 00:44:12,320
Speaker 2: it's also it's very cool to catch up with you.

948
00:44:12,560 --> 00:44:17,520
Speaker 2: I'll give you pool before I've polpier House.

949
00:44:17,520 --> 00:44:20,440
Speaker 3: Spiller. No, we we moved. You have to come see

950
00:44:20,480 --> 00:44:21,000
Speaker 3: the new crib.

951
00:44:21,600 --> 00:44:22,520
Speaker 1: Yeah, now that's right.

952
00:44:22,560 --> 00:44:24,239
Speaker 2: Now that you've got that, Emmy, Now he's got one

953
00:44:24,280 --> 00:44:25,200
Speaker 2: of those Emmy houses.

954
00:44:25,680 --> 00:44:29,040
Speaker 1: One of those Emmy houses is like three levels. Listen,

955
00:44:30,080 --> 00:44:31,840
Speaker 1: it's shaped houses, shaped like an Emmy.

956
00:44:34,480 --> 00:44:37,000
Speaker 2: If he wasn't responsible, there'd be a water slide from

957
00:44:37,040 --> 00:44:37,839
Speaker 2: his bed to the pool.

958
00:44:38,160 --> 00:44:40,040
Speaker 1: Yeah, when we met him, he had a DP on

959
00:44:40,120 --> 00:44:42,160
Speaker 1: sex in the city house. Now he's got a modern

960
00:44:42,200 --> 00:44:43,040
Speaker 1: family Emmy house.

961
00:44:44,239 --> 00:44:44,680
Speaker 2: Spiller.

962
00:44:45,080 --> 00:44:46,719
Speaker 1: I have a great memory of you two and that

963
00:44:46,880 --> 00:44:49,279
Speaker 1: you came over and helped me install a door knob.

964
00:44:49,600 --> 00:44:53,400
Speaker 2: Do you remember that? Wait? What I mean?

965
00:44:53,480 --> 00:44:56,000
Speaker 3: That totally sounds like me. It's completely on brand.

966
00:44:56,239 --> 00:44:59,920
Speaker 2: Wait, I need to understand this. You have sewer, man,

967
00:45:00,360 --> 00:45:03,000
Speaker 2: Here's what happened. Here's what happened, Spiller. Now you don't

968
00:45:03,000 --> 00:45:03,959
Speaker 2: know how to put a door?

969
00:45:04,360 --> 00:45:07,000
Speaker 1: No, let me explain. It's a very sweet Michael Spiller story.

970
00:45:07,160 --> 00:45:09,239
Speaker 1: I was talking him on set. Now, Spiller, you could

971
00:45:09,239 --> 00:45:11,239
Speaker 1: say that this has never happened, and I dreamed it.

972
00:45:11,320 --> 00:45:16,120
Speaker 1: But I haven't done hallucinogenic since college. So I remember

973
00:45:16,480 --> 00:45:19,120
Speaker 1: that I was talking to Michael. Michael's handy. Aren't you

974
00:45:19,160 --> 00:45:21,040
Speaker 1: a handy around the house guy? Like you can ferry

975
00:45:21,040 --> 00:45:23,360
Speaker 1: your handy love buildings? And I was saying, God, I

976
00:45:23,400 --> 00:45:25,120
Speaker 1: wish I knew how to build stuff like I have

977
00:45:25,200 --> 00:45:26,839
Speaker 1: to put a doorknob on a door, and I gotta

978
00:45:27,040 --> 00:45:28,520
Speaker 1: I have a door without a doorknob, and I got

979
00:45:28,600 --> 00:45:29,920
Speaker 1: to go hire someone to do it. I wish that

980
00:45:30,000 --> 00:45:32,000
Speaker 1: I knew how to buy the right drill bit and

981
00:45:32,080 --> 00:45:35,160
Speaker 1: install this doorknob. And Michael said I could teach you,

982
00:45:35,680 --> 00:45:38,440
Speaker 1: and I said really, and he said, yeah, I'll come

983
00:45:38,480 --> 00:45:39,920
Speaker 1: over and show you how to do it. And I

984
00:45:40,000 --> 00:45:41,640
Speaker 1: said that would be so awesome because I don't know

985
00:45:41,760 --> 00:45:43,680
Speaker 1: anything like that and I'd love to actually learn. And

986
00:45:43,800 --> 00:45:47,600
Speaker 1: Michael came over and helped me install a new doorknob

987
00:45:47,719 --> 00:45:48,160
Speaker 1: on a door.

988
00:45:48,239 --> 00:45:49,120
Speaker 2: Isn't that true? Michael?

989
00:45:49,880 --> 00:45:51,959
Speaker 3: That is true. I don't like to blow my own horn,

990
00:45:52,080 --> 00:45:53,239
Speaker 3: but yes, that is true.

991
00:45:53,239 --> 00:45:55,040
Speaker 2: And you remember this, Michael, Yeah.

992
00:45:56,160 --> 00:45:58,759
Speaker 3: I don't think, but I do remember it.

993
00:45:58,920 --> 00:45:59,920
Speaker 1: He charged me thirty five.

994
00:46:00,200 --> 00:46:03,040
Speaker 2: I got a story too. So we just finished the

995
00:46:04,000 --> 00:46:08,759
Speaker 2: screening of Garden State. Zach invited great film that Zach.

996
00:46:12,080 --> 00:46:15,719
Speaker 2: Zach invited a bunch of people over to the screening room.

997
00:46:15,800 --> 00:46:19,560
Speaker 2: Danny de Vito was there, Uh was there? A bunch

998
00:46:19,600 --> 00:46:22,840
Speaker 2: of people were there. Mike Spiller, myself, we were there also,

999
00:46:23,440 --> 00:46:26,439
Speaker 2: and I remember the movie ends and we're all like, wow,

1000
00:46:26,480 --> 00:46:29,120
Speaker 2: the movie was really good. I had notes, though, and

1001
00:46:29,200 --> 00:46:33,400
Speaker 2: I wanted to dude, and I wanted to figure out

1002
00:46:33,440 --> 00:46:35,600
Speaker 2: a way to tell Zach, all right, I've got a

1003
00:46:35,640 --> 00:46:38,400
Speaker 2: couple of notes about the movie. And I remember I

1004
00:46:38,520 --> 00:46:40,960
Speaker 2: see Spiller and we're I don't know if we're drinking

1005
00:46:41,200 --> 00:46:43,759
Speaker 2: or we're eating. It's after the movie's over, probably, and

1006
00:46:44,000 --> 00:46:46,040
Speaker 2: we talked. We're talking and You're like, wow, that was

1007
00:46:46,080 --> 00:46:47,880
Speaker 2: pretty good. And I was like, I was right. I

1008
00:46:47,960 --> 00:46:49,880
Speaker 2: was like, I've got some notes and you said to me,

1009
00:46:50,600 --> 00:46:54,520
Speaker 2: you know, now might not be the best time to deliver,

1010
00:46:54,760 --> 00:47:01,040
Speaker 2: said Zach. And I was like, oh, oh yeah, yeah, yeah, yeah, No,

1011
00:47:01,080 --> 00:47:03,880
Speaker 2: of course I'll figure out a way too, you know,

1012
00:47:04,160 --> 00:47:08,000
Speaker 2: to tell him. Flash cut to Danny DeVito doing a

1013
00:47:08,080 --> 00:47:10,719
Speaker 2: Q and A after the movie, and he was like,

1014
00:47:10,760 --> 00:47:11,840
Speaker 2: does anyone have notes?

1015
00:47:13,600 --> 00:47:17,320
Speaker 1: One hand shoots up, one beautiful brown hand.

1016
00:47:21,640 --> 00:47:24,840
Speaker 2: And then and then what happened? Then what happened was this?

1017
00:47:25,000 --> 00:47:26,600
Speaker 1: So then Donald goes off on his notes and I'm

1018
00:47:26,640 --> 00:47:29,120
Speaker 1: looking at him like, dude, not fucking now, like tell

1019
00:47:29,200 --> 00:47:30,719
Speaker 1: me these Like Danny Vito was my.

1020
00:47:32,800 --> 00:47:34,080
Speaker 2: Danny de Vito was my producer.

1021
00:47:34,160 --> 00:47:36,120
Speaker 1: I was like, dude, tell me privately, what the fuck

1022
00:47:36,160 --> 00:47:38,520
Speaker 1: are you doing? And then so then Danny's like, you

1023
00:47:38,600 --> 00:47:39,200
Speaker 1: wanted to be heard.

1024
00:47:39,200 --> 00:47:40,520
Speaker 2: I wanted to be heard. I didn't want to be.

1025
00:47:40,520 --> 00:47:41,960
Speaker 1: Heard because I wasn't allowed to be in the movie,

1026
00:47:41,960 --> 00:47:44,200
Speaker 1: because because I gave the part to method man.

1027
00:47:44,320 --> 00:47:47,400
Speaker 2: Now, listen, Danny DeVito.

1028
00:47:48,080 --> 00:47:50,759
Speaker 1: You know at the time the movie had had too

1029
00:47:50,760 --> 00:47:52,520
Speaker 1: many endings. It was like it was it was going

1030
00:47:52,560 --> 00:47:55,239
Speaker 1: on a few beads too long, and we all knew that,

1031
00:47:55,320 --> 00:47:57,480
Speaker 1: but I was in denial about him, and and Danny

1032
00:47:57,480 --> 00:47:59,680
Speaker 1: DeVito said, how many of you felt like.

1033
00:47:59,719 --> 00:48:02,719
Speaker 2: The had too many endings? Donald's hand shoots up.

1034
00:48:03,200 --> 00:48:07,000
Speaker 1: I'm like, fucking Donald, put your fucking hand down. I'm

1035
00:48:07,080 --> 00:48:08,920
Speaker 1: supposed to be my man on the inside.

1036
00:48:11,640 --> 00:48:12,440
Speaker 2: But you changed it.

1037
00:48:13,120 --> 00:48:13,759
Speaker 3: We changed it.

1038
00:48:14,000 --> 00:48:14,279
Speaker 2: We did.

1039
00:48:14,360 --> 00:48:16,360
Speaker 1: Hey, you know what, this many years later, I'm glad

1040
00:48:16,400 --> 00:48:17,560
Speaker 1: that you're never a yes man.

1041
00:48:17,680 --> 00:48:21,720
Speaker 2: You always tell it like it is. I just remember

1042
00:48:21,760 --> 00:48:27,000
Speaker 2: that being like, yeah, you know, we should, Yeah, you know.

1043
00:48:27,040 --> 00:48:29,520
Speaker 2: I'm sure we all have notes, but I would wait

1044
00:48:29,680 --> 00:48:33,680
Speaker 2: for my own moment, so you didn't. The lesson of

1045
00:48:33,760 --> 00:48:35,600
Speaker 2: this story is that you should have listened to Spiller.

1046
00:48:36,200 --> 00:48:38,680
Speaker 3: Yes, it's usually that's the end of most stories.

1047
00:48:38,719 --> 00:48:43,440
Speaker 1: Act So I want to say, at four or fifteen,

1048
00:48:43,520 --> 00:48:45,840
Speaker 1: I I don't remember the episode, so I thought that

1049
00:48:45,920 --> 00:48:48,200
Speaker 1: it was you who couldn't who had lost your erection,

1050
00:48:48,520 --> 00:48:51,160
Speaker 1: And it was a very good misdirect by both Spiller

1051
00:48:51,280 --> 00:48:54,359
Speaker 1: and Bill, because uh it was it was Judy.

1052
00:48:54,400 --> 00:48:57,799
Speaker 2: I don't think I've ever seen a story of a woman. Wait, yeah, right,

1053
00:48:58,120 --> 00:49:00,600
Speaker 2: I remember that. But this I knew right away. I

1054
00:49:00,719 --> 00:49:03,760
Speaker 2: remember this episode now. I remember this episode because Rob's

1055
00:49:03,840 --> 00:49:07,800
Speaker 2: line in this show. So when I saw you in

1056
00:49:07,880 --> 00:49:11,399
Speaker 2: the hall today and I asked you, how's your penis? Yeah,

1057
00:49:12,200 --> 00:49:13,719
Speaker 2: and you didn't want to talk about it.

1058
00:49:14,120 --> 00:49:20,319
Speaker 3: Yeah, So Rob's still tracks. It's still tracks. It's all

1059
00:49:20,400 --> 00:49:22,400
Speaker 3: part of the mislead because I was I was proud

1060
00:49:22,440 --> 00:49:24,680
Speaker 3: of that. I don't remember. I don't think that was

1061
00:49:24,880 --> 00:49:29,200
Speaker 3: in the script specifically, is like she's holding a piece

1062
00:49:29,239 --> 00:49:32,600
Speaker 3: of bacon in a really odd, upright manner that nobody

1063
00:49:32,640 --> 00:49:35,239
Speaker 3: would ever do. But I thought, Okay, this would be

1064
00:49:35,280 --> 00:49:39,000
Speaker 3: a fun visual transition, and it does. It does lead

1065
00:49:39,040 --> 00:49:42,000
Speaker 3: you to believe. It's more evidence as a viewer that yes,

1066
00:49:42,160 --> 00:49:44,360
Speaker 3: Donald is the one who's had the problem in the

1067
00:49:44,440 --> 00:49:45,440
Speaker 3: classic situation.

1068
00:49:45,640 --> 00:49:47,839
Speaker 1: Yeah, you misled. I just wanted to do one little

1069
00:49:47,840 --> 00:49:49,880
Speaker 1: director thing that Spiller kind of introduced.

1070
00:49:49,920 --> 00:49:50,759
Speaker 2: I believe to the show.

1071
00:49:50,840 --> 00:49:52,920
Speaker 1: I don't know that we were doing this too much beforehand,

1072
00:49:53,000 --> 00:49:55,840
Speaker 1: but at four twelve, sorry, it's a little bit before that.

1073
00:49:56,120 --> 00:49:57,880
Speaker 1: So they have sex, and then the camera pans and

1074
00:49:57,960 --> 00:49:59,719
Speaker 1: goes into the back of the TV, and we use

1075
00:49:59,760 --> 00:50:03,120
Speaker 1: that as a transition, you know, a transition time passage,

1076
00:50:03,239 --> 00:50:06,160
Speaker 1: a little time passage, and then we come back to

1077
00:50:06,360 --> 00:50:08,759
Speaker 1: see the bra on Rowdy's head, and then we cut

1078
00:50:08,800 --> 00:50:11,120
Speaker 1: to Liz Bogish holding a bacon in sort of an

1079
00:50:11,160 --> 00:50:12,040
Speaker 1: erect way.

1080
00:50:12,160 --> 00:50:13,799
Speaker 2: Spiller, you naughty, naughty boy.

1081
00:50:16,280 --> 00:50:17,920
Speaker 3: Sometimes bacon is just bacon.

1082
00:50:18,040 --> 00:50:21,160
Speaker 1: Yeah, sometimes bacon's just bacon. But yeah, so I was

1083
00:50:21,239 --> 00:50:23,759
Speaker 1: I wass tricked the whole episode because I genuinely until

1084
00:50:23,840 --> 00:50:27,480
Speaker 1: until obviously she says it. It's funny, Judy. Oh wait,

1085
00:50:27,520 --> 00:50:30,520
Speaker 1: I want I'm jumping ahead. There's a waste of Oh

1086
00:50:30,560 --> 00:50:34,160
Speaker 1: there's a waste of a gift certificate. Oh yeah, there's

1087
00:50:34,160 --> 00:50:37,480
Speaker 1: a gift. Cancel the Cobbler. Now that's eleven twenty eight.

1088
00:50:37,600 --> 00:50:41,319
Speaker 1: I think Neil improv canceled the Cobbler. Definitely, right, Spiller, I.

1089
00:50:41,400 --> 00:50:43,680
Speaker 3: Think so, But I mean, I the only draft of

1090
00:50:43,760 --> 00:50:47,040
Speaker 3: the script that I could find, although it has notes

1091
00:50:47,080 --> 00:50:49,560
Speaker 3: and diagrams all over It says, it's like a pre

1092
00:50:49,800 --> 00:50:53,160
Speaker 3: table draft of the script. I have almost all my

1093
00:50:53,239 --> 00:50:57,239
Speaker 3: Scrub scripts I couldn't find anyway. Yeah, that that whole

1094
00:50:57,320 --> 00:50:59,920
Speaker 3: bit wasn't in the version I had, But I mean,

1095
00:51:00,560 --> 00:51:03,120
Speaker 3: I love the bit with Neil that starts that runner.

1096
00:51:04,000 --> 00:51:06,719
Speaker 3: You know where you we reveal him next to you?

1097
00:51:06,880 --> 00:51:08,759
Speaker 3: Can you know someone walks away and just happen to

1098
00:51:08,840 --> 00:51:10,880
Speaker 3: look at him? Right, He's like, what if I told you,

1099
00:51:11,120 --> 00:51:14,279
Speaker 3: you know, look at me when I'm eating? I don't

1100
00:51:14,360 --> 00:51:17,680
Speaker 3: like it? Okay, what am I doing eating? And what

1101
00:51:17,800 --> 00:51:19,920
Speaker 3: are you doing daring?

1102
00:51:20,440 --> 00:51:20,520
Speaker 8: Ye?

1103
00:51:21,000 --> 00:51:22,719
Speaker 1: Any Way, I would listen to a whole podcast that

1104
00:51:22,840 --> 00:51:25,279
Speaker 1: I would the whole podcast it's called Michael Spilder acts

1105
00:51:25,320 --> 00:51:26,360
Speaker 1: out all the parts of Scrub.

1106
00:51:26,640 --> 00:51:27,920
Speaker 2: Would I would listen to it.

1107
00:51:28,280 --> 00:51:34,799
Speaker 3: It's coming to Spotify. So Michael an endorsement Carrot Top.

1108
00:51:35,480 --> 00:51:37,840
Speaker 1: Oh my god, Yeah, we gotta talk about.

1109
00:51:38,200 --> 00:51:40,640
Speaker 2: Okay, First of all, I remember the story shut out,

1110
00:51:40,880 --> 00:51:41,840
Speaker 2: go ahead, you should tell it that.

1111
00:51:42,000 --> 00:51:43,520
Speaker 1: No, I don't want to take it. You got it, No,

1112
00:51:43,640 --> 00:51:45,279
Speaker 1: you got I'm just worried you're gonna suck up the

1113
00:51:45,320 --> 00:51:45,959
Speaker 1: story because it's.

1114
00:51:46,520 --> 00:51:49,480
Speaker 2: Up the story. So what's Carrot Top's real name? Joell

1115
00:51:49,520 --> 00:51:54,280
Speaker 2: Can you look up whatever. Scott Thompson, Scott Thompson, Joel

1116
00:51:54,800 --> 00:51:55,400
Speaker 2: never mind.

1117
00:51:55,800 --> 00:51:58,439
Speaker 1: Scott Thompson came on the show, and I always found

1118
00:51:58,600 --> 00:52:00,839
Speaker 1: Scott Thompson very funny. I know that this was sort

1119
00:52:00,840 --> 00:52:02,640
Speaker 1: of like making fun of carrot Top, but I always

1120
00:52:02,640 --> 00:52:05,799
Speaker 1: thought he was a funny guy. And the only thing

1121
00:52:05,880 --> 00:52:09,320
Speaker 1: we had heard about Scott Thompson, uh, just by You know,

1122
00:52:09,480 --> 00:52:10,840
Speaker 1: sometimes when you have a guest star, there'd be a

1123
00:52:10,880 --> 00:52:13,239
Speaker 1: couple of things like, hey, don't you know sometimes like

1124
00:52:13,280 --> 00:52:15,239
Speaker 1: I remember someone was allergic to nuts and they were like,

1125
00:52:15,280 --> 00:52:16,359
Speaker 1: don't eat nuts around him.

1126
00:52:16,560 --> 00:52:17,200
Speaker 2: What was Scott?

1127
00:52:17,360 --> 00:52:19,200
Speaker 1: It was like, hey, guys, don't call him carat top.

1128
00:52:19,239 --> 00:52:22,000
Speaker 1: He prefers that you call him Scott, Like, don't don't

1129
00:52:22,040 --> 00:52:24,800
Speaker 1: call him carrot top. And so the crew was told that,

1130
00:52:25,120 --> 00:52:27,719
Speaker 1: the cast was told out, and we had this old

1131
00:52:27,800 --> 00:52:30,400
Speaker 1: prop man at the time who walked right up to

1132
00:52:30,520 --> 00:52:38,440
Speaker 1: him was like, hey, how you doing carrot Head? And

1133
00:52:38,520 --> 00:52:42,880
Speaker 1: I remember we all all flinching, like, don't call him

1134
00:52:43,040 --> 00:52:45,879
Speaker 1: carrot you call him carrot top? Along, carrot head?

1135
00:52:46,400 --> 00:52:48,640
Speaker 2: Hey, how you doing cart How you doing carrot Head?

1136
00:52:49,400 --> 00:52:49,520
Speaker 7: Now?

1137
00:52:49,640 --> 00:52:52,319
Speaker 3: Is this the same guy that allegedly hit Rowdy or not? Yes,

1138
00:52:52,440 --> 00:52:54,960
Speaker 3: same guy so another strike.

1139
00:52:55,480 --> 00:52:59,080
Speaker 1: Yeah, I think his first building, his first strike was

1140
00:52:59,120 --> 00:52:59,960
Speaker 1: calling Scott carrot.

1141
00:53:09,760 --> 00:53:10,560
Speaker 2: But I know it's funny.

1142
00:53:10,600 --> 00:53:14,000
Speaker 1: I thought Scott did a very funny job, and I

1143
00:53:14,120 --> 00:53:16,120
Speaker 1: laughed at every single one of his jokes. So fuck

1144
00:53:16,200 --> 00:53:17,320
Speaker 1: off if you don't like carrot.

1145
00:53:17,160 --> 00:53:20,080
Speaker 2: Top right on. I've worked with I've worked with Scott

1146
00:53:20,440 --> 00:53:23,200
Speaker 2: since then. You have. Yeah, we did it, he's still doing.

1147
00:53:23,280 --> 00:53:24,759
Speaker 1: He's ripped, right, that's one thing.

1148
00:53:25,239 --> 00:53:29,000
Speaker 2: Now, we played basketball together, all types of things in

1149
00:53:29,080 --> 00:53:32,120
Speaker 2: the celebrity circuit. Uh, he is ripped. He's and he's

1150
00:53:32,200 --> 00:53:35,759
Speaker 2: ripped like he's ripped like diesel, ripped, like rock ripped.

1151
00:53:35,880 --> 00:53:38,439
Speaker 1: You know, he's not just like he's not he's not as.

1152
00:53:38,440 --> 00:53:40,840
Speaker 2: Tall as the rock, but he's ripped like you know,

1153
00:53:41,320 --> 00:53:43,839
Speaker 2: at least back then, at least you know, ten years ago.

1154
00:53:43,880 --> 00:53:47,640
Speaker 2: The last time I saw him, he was freaking diesel. Dude.

1155
00:53:48,320 --> 00:53:50,359
Speaker 2: You know, as you get older, you try to figure

1156
00:53:50,400 --> 00:53:51,640
Speaker 2: out ways to stay young, and.

1157
00:53:52,280 --> 00:53:54,120
Speaker 1: Yeah, well I'm trying to stay I'm trying to stay

1158
00:53:54,120 --> 00:53:55,600
Speaker 1: in shape. But I don't have muscles like that. But

1159
00:53:55,719 --> 00:53:58,640
Speaker 1: I guess I could take it more seriously and eat

1160
00:53:58,680 --> 00:53:59,520
Speaker 1: a lot of calories.

1161
00:54:00,120 --> 00:54:01,040
Speaker 3: You have muscles like.

1162
00:54:02,640 --> 00:54:07,000
Speaker 1: Johnny John did I give you that John C. I

1163
00:54:07,120 --> 00:54:10,400
Speaker 1: think I went on so he's holding up.

1164
00:54:10,480 --> 00:54:10,680
Speaker 2: Guys.

1165
00:54:10,760 --> 00:54:14,280
Speaker 1: There's a there's a Johnny C who played Red and Platoon.

1166
00:54:14,360 --> 00:54:18,000
Speaker 1: There's a there's a there's a beautiful uh doll. I

1167
00:54:18,040 --> 00:54:19,640
Speaker 1: don't know what you call that. It's like a ken doll.

1168
00:54:19,920 --> 00:54:21,880
Speaker 1: It's like an action figure, an action but it's but

1169
00:54:21,960 --> 00:54:22,560
Speaker 1: it's ken doll.

1170
00:54:24,200 --> 00:54:26,440
Speaker 2: It's a twelve in And when I when I saw them,

1171
00:54:26,480 --> 00:54:28,360
Speaker 2: I when I went sixth scale.

1172
00:54:28,920 --> 00:54:31,680
Speaker 1: By the way, it's it's it's it's accessory is a cigarette,

1173
00:54:31,680 --> 00:54:34,719
Speaker 1: which I always thought was funny. And I, uh yeah,

1174
00:54:34,760 --> 00:54:36,520
Speaker 1: when those came out, I bought one for Johnny and

1175
00:54:36,719 --> 00:54:38,799
Speaker 1: for I guess I bought one for use builder. God,

1176
00:54:38,880 --> 00:54:39,920
Speaker 1: I must have really loved.

1177
00:54:39,680 --> 00:54:41,880
Speaker 3: You, he did. Those are the days.

1178
00:54:42,520 --> 00:54:46,960
Speaker 2: Uh So, I love you definitely changes everything it does. Yeah, Well,

1179
00:54:47,040 --> 00:54:50,279
Speaker 2: and when you say it, apparently in this story, when

1180
00:54:50,280 --> 00:54:53,080
Speaker 2: you say I love you, ship gets weird for a

1181
00:54:53,120 --> 00:54:57,560
Speaker 2: little bit. Yeah, yes, for Judy with at least with

1182
00:54:57,760 --> 00:55:01,200
Speaker 2: the Turken Carla, I.

1183
00:55:01,200 --> 00:55:02,799
Speaker 3: Think it's weird for both of you. I don't think

1184
00:55:02,880 --> 00:55:04,360
Speaker 3: either of you has ever really said it.

1185
00:55:04,400 --> 00:55:07,640
Speaker 2: Before, right, I just don't. I mean, I've said it

1186
00:55:07,800 --> 00:55:11,480
Speaker 2: a couple of times in my life. But I don't

1187
00:55:11,560 --> 00:55:14,839
Speaker 2: know that it's changed. I mean, you know, I guess

1188
00:55:14,880 --> 00:55:19,920
Speaker 2: it just makes the breakup harder. I don't know. I

1189
00:55:20,880 --> 00:55:23,200
Speaker 2: just found that. I found that as an interesting story

1190
00:55:23,280 --> 00:55:25,239
Speaker 2: for these guys that I love. You made them have

1191
00:55:25,400 --> 00:55:29,920
Speaker 2: cold feet in the in the bedroom. Well she did, right,

1192
00:55:29,960 --> 00:55:31,719
Speaker 2: and you didn't have cold Well he had cold feet,

1193
00:55:31,960 --> 00:55:33,839
Speaker 2: he did too. It was a blow to his ego.

1194
00:55:33,960 --> 00:55:36,480
Speaker 2: Also right in his head. He got in his head, right.

1195
00:55:36,560 --> 00:55:38,960
Speaker 2: But and even and the fact that Turk is like,

1196
00:55:39,040 --> 00:55:42,240
Speaker 2: you know, it's never happened that, you know, I've always

1197
00:55:42,320 --> 00:55:44,040
Speaker 2: been able to pleasure a woman to the point of

1198
00:55:44,200 --> 00:55:48,480
Speaker 2: orgasm to marry out. I was like, right, I was like, yeah, whatever.

1199
00:55:48,680 --> 00:55:50,239
Speaker 1: Yeah, I don't think the stakes are high.

1200
00:55:50,520 --> 00:55:51,399
Speaker 3: The stakes are high.

1201
00:55:51,840 --> 00:55:54,800
Speaker 2: That's a weird plot line for me. I love you

1202
00:55:55,440 --> 00:55:57,680
Speaker 2: and because of that, you can't come Now.

1203
00:55:58,160 --> 00:56:00,480
Speaker 1: Well, I don't know if you're supposed to say the cud.

1204
00:56:00,560 --> 00:56:03,120
Speaker 1: I mean we can say orgasm comes a little aggressive

1205
00:56:03,200 --> 00:56:04,880
Speaker 1: for a family podcast.

1206
00:56:04,520 --> 00:56:06,879
Speaker 2: You know, are we a family podcast? I know we're

1207
00:56:06,920 --> 00:56:11,680
Speaker 2: explicitn't know we're explicit, but we stay away had we

1208
00:56:11,719 --> 00:56:13,960
Speaker 2: had established don't know what type of podcast.

1209
00:56:14,200 --> 00:56:17,880
Speaker 1: No, No, we're definitely explicit, but you could have said ejaculate.

1210
00:56:18,080 --> 00:56:18,799
Speaker 2: I wasn't PC.

1211
00:56:19,640 --> 00:56:21,840
Speaker 1: You don't have to say come. It's so graphic, right,

1212
00:56:21,960 --> 00:56:23,640
Speaker 1: Joel crashing up at you right now?

1213
00:56:23,760 --> 00:56:24,719
Speaker 3: She could a climax.

1214
00:56:24,840 --> 00:56:27,399
Speaker 1: She couldn't, Joel, as our producer, should we be using

1215
00:56:27,440 --> 00:56:31,880
Speaker 1: a word? I don't know. I call iHeart on the

1216
00:56:31,920 --> 00:56:32,440
Speaker 1: red phone.

1217
00:56:33,000 --> 00:56:36,040
Speaker 2: I don't think it'll matter much, guys, whenever you're coaching.

1218
00:56:37,200 --> 00:56:37,520
Speaker 2: I don't know.

1219
00:56:37,800 --> 00:56:42,359
Speaker 1: Donald said it. My heart skipped to Beat No. Eight

1220
00:56:42,360 --> 00:56:46,960
Speaker 1: episode I know it's fucking staying. It's say listen, you know,

1221
00:56:47,120 --> 00:56:51,080
Speaker 1: listen to that point. I noticed Judy didn't say orgasm

1222
00:56:51,160 --> 00:56:53,120
Speaker 1: in the first scene that it comes up, and I

1223
00:56:53,280 --> 00:56:55,000
Speaker 1: was like, oh, it must be like a TV thing.

1224
00:56:55,080 --> 00:56:57,120
Speaker 1: And we see that we had a tiptoe around the word.

1225
00:56:57,640 --> 00:56:59,919
Speaker 1: And then everyone starts saying it. You say it, Sara

1226
00:57:00,160 --> 00:57:02,600
Speaker 1: says it. I'm like, oh, it's just a Judy's character.

1227
00:57:03,920 --> 00:57:07,919
Speaker 1: Carla is like uncomfortable saying the word in public.

1228
00:57:08,760 --> 00:57:11,320
Speaker 2: Which is odd to me because as you saw, I

1229
00:57:11,480 --> 00:57:14,120
Speaker 2: just said a different word, and all of you guys got, oh,

1230
00:57:14,200 --> 00:57:17,240
Speaker 2: now you're ashamed. Now now you guys kind of shamed me.

1231
00:57:17,480 --> 00:57:19,840
Speaker 1: That was no judge, We're not shaming you, there's no judgement.

1232
00:57:19,840 --> 00:57:21,320
Speaker 2: It was a little bit of judgment. I'm gonna keep

1233
00:57:21,360 --> 00:57:24,000
Speaker 2: going no way, No, there's no judgment. And anybody out

1234
00:57:24,040 --> 00:57:26,120
Speaker 2: there listening, I felt your judgment too.

1235
00:57:26,360 --> 00:57:27,960
Speaker 3: No, they weren't judging your judgment too.

1236
00:57:28,040 --> 00:57:30,040
Speaker 1: I think we were all just a little taken aback

1237
00:57:30,120 --> 00:57:32,160
Speaker 1: that you came at us aggressively, no pun intended.

1238
00:57:32,440 --> 00:57:34,560
Speaker 3: I'm going to keep us on topic, but maybe get

1239
00:57:34,680 --> 00:57:36,120
Speaker 3: us out of this off or are you going.

1240
00:57:36,080 --> 00:57:39,440
Speaker 1: To direct us? Piller direct us. I'm just gonna say that,

1241
00:57:39,560 --> 00:57:41,040
Speaker 1: you guys, this is what a director does.

1242
00:57:41,640 --> 00:57:44,280
Speaker 3: It's a little redirect here at that moment at eleven

1243
00:57:44,400 --> 00:57:47,680
Speaker 3: fifty five where Carla catches herself after Elliott's made her

1244
00:57:47,760 --> 00:57:50,720
Speaker 3: confession that she's never been able to climbax ever, even

1245
00:57:50,800 --> 00:57:56,440
Speaker 3: by herself, that that moment after she says it, Judy's like, oh,

1246
00:57:57,320 --> 00:57:59,640
Speaker 3: I'm sorry, I should be more surprised. It's just like that,

1247
00:57:59,840 --> 00:58:03,280
Speaker 3: the the pause and her like her realization. It's it's

1248
00:58:03,320 --> 00:58:07,240
Speaker 3: a silent beat. It's so funny and so definitely executed.

1249
00:58:07,320 --> 00:58:10,400
Speaker 3: And there was something that I have No, you can't

1250
00:58:10,400 --> 00:58:12,400
Speaker 3: take no credit for. Of course, that's all the actor.

1251
00:58:12,880 --> 00:58:15,960
Speaker 1: Elliott is so self deprecating in this episode. It's so funny.

1252
00:58:16,000 --> 00:58:19,280
Speaker 1: Every scene staras in She's like she's just like taking

1253
00:58:19,360 --> 00:58:22,439
Speaker 1: digs at herself over and over and over again. Let's

1254
00:58:22,480 --> 00:58:25,240
Speaker 1: talk about the legendary Sam Lloyd at fifteen thirty saying

1255
00:58:25,280 --> 00:58:27,680
Speaker 1: walk off, bitch. I laughed out loud of it. Oh yes,

1256
00:58:29,840 --> 00:58:31,800
Speaker 1: now it's spiller. I noticed he's not sweating. I don't

1257
00:58:31,800 --> 00:58:33,400
Speaker 1: know if you recall because it was so long ago,

1258
00:58:33,480 --> 00:58:35,440
Speaker 1: but I wondered if there was a conscious decision like, no,

1259
00:58:35,600 --> 00:58:38,320
Speaker 1: you found your courage, You're not going to be flopped

1260
00:58:38,320 --> 00:58:39,200
Speaker 1: sweating in this seat.

1261
00:58:40,160 --> 00:58:44,439
Speaker 3: Yeah. I don't remember actually saying the words, but i'd

1262
00:58:44,520 --> 00:58:47,080
Speaker 3: like to think that that is why, you know, with

1263
00:58:47,240 --> 00:58:50,800
Speaker 3: his new found you know, since since Kelso's lost his mojo,

1264
00:58:51,680 --> 00:58:55,160
Speaker 3: Ted has this newfound confidence that he wasn't sweating.

1265
00:58:55,760 --> 00:58:58,000
Speaker 1: Yeah, and then then he goes, and then he goes,

1266
00:58:58,040 --> 00:59:00,320
Speaker 1: you are a wonderful person with you.

1267
00:59:04,000 --> 00:59:05,240
Speaker 3: Don't blurrd know what you did?

1268
00:59:05,840 --> 00:59:08,240
Speaker 1: Yeah, so good, it's blurre. Do you want to share

1269
00:59:08,240 --> 00:59:10,560
Speaker 1: any Sammy thoughts? I thought, just you know, because you

1270
00:59:10,920 --> 00:59:13,720
Speaker 1: worked with him a bunch of times, and and and

1271
00:59:13,800 --> 00:59:15,600
Speaker 1: we you know, Donald and I shared some thoughts. But

1272
00:59:15,640 --> 00:59:17,520
Speaker 1: I thought you might want to say anything that you

1273
00:59:17,600 --> 00:59:18,280
Speaker 1: remember about him.

1274
00:59:19,320 --> 00:59:23,880
Speaker 3: Yeah, I mean, gosh, it's take him too soon. I mean,

1275
00:59:24,000 --> 00:59:29,520
Speaker 3: such a great guy, such an amazing talent. I'm so

1276
00:59:29,760 --> 00:59:33,680
Speaker 3: pleased to work with him a bunch and and gotten

1277
00:59:33,720 --> 00:59:36,520
Speaker 3: to know him a little bit. And but I often,

1278
00:59:36,600 --> 00:59:39,479
Speaker 3: I mean when I heard the news, I kept thinking

1279
00:59:39,560 --> 00:59:42,040
Speaker 3: back to one episode that I haven't seen in a while,

1280
00:59:42,120 --> 00:59:44,000
Speaker 3: but this moment is all I stuck with me where

1281
00:59:44,720 --> 00:59:49,000
Speaker 3: Ted the Lawyer winds up falling off the roof and

1282
00:59:49,440 --> 00:59:52,320
Speaker 3: I mean we shot like a pretty elaborate sequence for it,

1283
00:59:52,480 --> 00:59:55,760
Speaker 3: and you know, see him falling away and he says, oh,

1284
00:59:56,040 --> 00:59:59,760
Speaker 3: sweet relief, you know, like he's finally, you know, gonna

1285
01:00:00,080 --> 01:00:04,080
Speaker 3: be at at this torturous life. And you know, years ago,

1286
01:00:04,160 --> 01:00:05,840
Speaker 3: I just would think about that moment because it was

1287
01:00:05,920 --> 01:00:10,600
Speaker 3: so funny and so on character. And you know, the

1288
01:00:10,720 --> 01:00:13,200
Speaker 3: past couple of weeks I've just been thinking about It's like, well,

1289
01:00:14,320 --> 01:00:16,480
Speaker 3: I hope that he has found peace and you know

1290
01:00:16,520 --> 01:00:20,640
Speaker 3: it's not in pain, and it's just heartbreaking. What an

1291
01:00:20,640 --> 01:00:21,280
Speaker 3: amazing guy.

1292
01:00:21,880 --> 01:00:24,000
Speaker 1: Yeah, he really was. I've been thinking about him a

1293
01:00:24,040 --> 01:00:26,400
Speaker 1: lot lately, and I know, I know all the fans

1294
01:00:26,440 --> 01:00:28,520
Speaker 1: of the show have, but and and now of course

1295
01:00:28,560 --> 01:00:30,320
Speaker 1: when he comes up in an episode, I'm like extra

1296
01:00:30,400 --> 01:00:32,720
Speaker 1: leaning forward because I know, I just know what's going

1297
01:00:32,800 --> 01:00:34,560
Speaker 1: to be funny. And you know, I have this thing

1298
01:00:34,600 --> 01:00:36,200
Speaker 1: when I write my notes down for the episode, I

1299
01:00:36,240 --> 01:00:39,480
Speaker 1: write lol just to remind myself to say that. That's

1300
01:00:39,480 --> 01:00:41,480
Speaker 1: something that made me laugh out loud and saying he

1301
01:00:41,520 --> 01:00:43,600
Speaker 1: has like two lines in this episode. I laughed out

1302
01:00:43,600 --> 01:00:44,280
Speaker 1: lout of both of them.

1303
01:00:45,440 --> 01:00:48,480
Speaker 3: It's just him just delivered always.

1304
01:00:48,640 --> 01:00:49,720
Speaker 2: Yeah, he definitely.

1305
01:00:50,880 --> 01:00:54,160
Speaker 1: Johnny c At nineteen twenty seven puts in his own

1306
01:00:54,280 --> 01:00:55,480
Speaker 1: five good ones, you know that's what.

1307
01:00:55,680 --> 01:00:56,440
Speaker 2: Yeah, I noticed that.

1308
01:00:56,600 --> 01:00:59,120
Speaker 1: That's up with that well, you know he was that

1309
01:01:00,040 --> 01:01:01,640
Speaker 1: that was his expression. I think he I don't know

1310
01:01:01,680 --> 01:01:03,880
Speaker 1: if the writers put it in the script or not.

1311
01:01:04,920 --> 01:01:07,720
Speaker 2: Right here for you, Bob. I like that whole storyline too.

1312
01:01:07,800 --> 01:01:12,360
Speaker 2: That was very funny of Kelso losing his mojo, and

1313
01:01:12,640 --> 01:01:14,920
Speaker 2: the way Ken played it was great, like a wounded

1314
01:01:14,960 --> 01:01:18,080
Speaker 2: little like a wounded little puppy. Ken was so funny.

1315
01:01:18,200 --> 01:01:21,360
Speaker 1: Right when you ever see Kelso play that like humbled puppy,

1316
01:01:21,440 --> 01:01:22,600
Speaker 1: That was so funny.

1317
01:01:23,760 --> 01:01:26,080
Speaker 2: And and even and uh and and John and you know,

1318
01:01:26,160 --> 01:01:28,680
Speaker 2: and him realizing, wait a second, how did I lose

1319
01:01:28,760 --> 01:01:32,120
Speaker 2: my Mojo and john c rolling by, Yeah, the wheelchair

1320
01:01:32,200 --> 01:01:32,880
Speaker 2: waving at him.

1321
01:01:33,040 --> 01:01:36,120
Speaker 1: Hilarious, dude, that's a that's a shot I've seen like

1322
01:01:36,360 --> 01:01:39,160
Speaker 1: in every Scrubs clip reel that's ever shown, or like

1323
01:01:39,920 --> 01:01:42,840
Speaker 1: you know, gifts and stuff. You just that's it's one

1324
01:01:42,840 --> 01:01:44,760
Speaker 1: of those shots you always see Johnny on the wheelchair

1325
01:01:44,840 --> 01:01:45,960
Speaker 1: rolling by, waving like that.

1326
01:01:47,440 --> 01:01:51,000
Speaker 3: Yeah, I think I'm owed some residuals or something, some gift.

1327
01:01:51,080 --> 01:01:54,520
Speaker 2: Those gift residuals are Yeah, they don't pay, they don't pay.

1328
01:01:56,280 --> 01:01:57,760
Speaker 1: Yeah, I just wrote I wrote down the same thing.

1329
01:01:57,840 --> 01:01:59,960
Speaker 1: Donald ken Ken is so good being humbled. I mean,

1330
01:02:00,400 --> 01:02:02,480
Speaker 1: it's not something he ever really saw on Scrubs, but

1331
01:02:02,520 --> 01:02:04,720
Speaker 1: he was, like, he played it so well. Just he

1332
01:02:04,840 --> 01:02:06,200
Speaker 1: that guy has such an amazing range.

1333
01:02:06,800 --> 01:02:10,560
Speaker 2: Yeah. But and then also also his his comeback was

1334
01:02:10,680 --> 01:02:16,320
Speaker 2: great and the way Cox tricks him or you know,

1335
01:02:16,480 --> 01:02:21,160
Speaker 2: revives him by saying, you know what, guys, from here

1336
01:02:21,200 --> 01:02:23,720
Speaker 2: on out, you just ask me the question and I'll

1337
01:02:23,800 --> 01:02:26,520
Speaker 2: answer everything for you. And you and you realize, oh

1338
01:02:26,560 --> 01:02:29,240
Speaker 2: wait a second, you realize right then, and there Kelso

1339
01:02:29,400 --> 01:02:31,680
Speaker 2: is trying to teach. He gets a kick out of

1340
01:02:31,720 --> 01:02:34,280
Speaker 2: being the most evil person on the planet, but he

1341
01:02:34,520 --> 01:02:38,320
Speaker 2: is the chief of medicine at a teaching hospital, and

1342
01:02:38,440 --> 01:02:41,880
Speaker 2: he fulfills his job in every episode, regardless of how

1343
01:02:42,000 --> 01:02:44,480
Speaker 2: evil he might be or how angry he might seem.

1344
01:02:45,000 --> 01:02:48,120
Speaker 2: You know, I talked about this earlier. He h an

1345
01:02:48,360 --> 01:02:54,640
Speaker 2: older and earlier podcast. He's always teaching. He's always he's

1346
01:02:54,680 --> 01:02:58,760
Speaker 2: always a part of the solution and not necessarily the problem.

1347
01:02:58,800 --> 01:03:00,760
Speaker 2: Even if it's like, well, look, this is how we

1348
01:03:00,920 --> 01:03:08,360
Speaker 2: run things. He the lessons always somehow revolve around how

1349
01:03:09,080 --> 01:03:12,000
Speaker 2: mean he is. But he's freaking so he's always teaching.

1350
01:03:12,040 --> 01:03:14,600
Speaker 2: The kids. He's always teaching or the students or the.

1351
01:03:15,000 --> 01:03:18,040
Speaker 1: And always taken away from him. This time he's totally

1352
01:03:18,160 --> 01:03:19,920
Speaker 1: like lost his mojo, you know, he.

1353
01:03:20,600 --> 01:03:22,280
Speaker 2: Well, not only has he lost his mojo, he's lost

1354
01:03:22,320 --> 01:03:24,480
Speaker 2: his purpose in the hospital. Also, what do I do here?

1355
01:03:24,840 --> 01:03:27,880
Speaker 2: I can't freaking get ted to do his job. I

1356
01:03:27,960 --> 01:03:31,920
Speaker 2: can't get you know, I can't get the med students

1357
01:03:32,040 --> 01:03:34,240
Speaker 2: or the interns to do their job.

1358
01:03:35,920 --> 01:03:35,960
Speaker 3: What?

1359
01:03:36,560 --> 01:03:37,400
Speaker 2: How do you know?

1360
01:03:37,760 --> 01:03:37,880
Speaker 3: How?

1361
01:03:38,240 --> 01:03:40,840
Speaker 2: What is my purpose here? And it's only until it's

1362
01:03:40,920 --> 01:03:45,320
Speaker 2: only until Cox says, you know, you guys ask me

1363
01:03:45,400 --> 01:03:46,960
Speaker 2: the question where he's like, wait a second, that's not

1364
01:03:47,040 --> 01:03:49,400
Speaker 2: how we run things, And it's all right, if I

1365
01:03:49,440 --> 01:03:51,600
Speaker 2: scare the shit out of them, that's a fine way

1366
01:03:51,640 --> 01:03:54,240
Speaker 2: to teach people fear. We're in a hospital. If this

1367
01:03:54,280 --> 01:03:56,400
Speaker 2: ship hits Code RED, these people need to be ready

1368
01:03:56,440 --> 01:03:59,880
Speaker 2: to you know, push their nerves aside and answer questions

1369
01:04:00,080 --> 01:04:02,040
Speaker 2: and save lives and everything like that.

1370
01:04:02,200 --> 01:04:05,480
Speaker 3: Psion and you got another glimpse of, you know, inside

1371
01:04:05,640 --> 01:04:07,800
Speaker 3: doctor c that you know, there's more than meets the

1372
01:04:07,880 --> 01:04:10,720
Speaker 3: I there. He's not just you know, a scary, intimidating

1373
01:04:11,480 --> 01:04:13,840
Speaker 3: figure in the hospital. It's like, no, he's got part.

1374
01:04:13,880 --> 01:04:17,280
Speaker 3: He's got compassion and you know, understands how things work

1375
01:04:17,360 --> 01:04:21,240
Speaker 3: here and he's the one who's instrumental in restoring the order. Yeah.

1376
01:04:21,920 --> 01:04:24,400
Speaker 1: Yeah, And I thought that was really nice just moment

1377
01:04:24,480 --> 01:04:29,560
Speaker 1: into doctor Cox's mind, seeing that he's a lonesome guy,

1378
01:04:29,800 --> 01:04:33,240
Speaker 1: who's who who's dedicated his life to this and and

1379
01:04:33,440 --> 01:04:34,560
Speaker 1: I thought, you know, I just thought that was a

1380
01:04:34,640 --> 01:04:37,400
Speaker 1: nice sort of reveal as we get to know the

1381
01:04:37,520 --> 01:04:41,160
Speaker 1: character more in episode thirteen of the whole series, that

1382
01:04:41,880 --> 01:04:43,920
Speaker 1: you know how dedicated he is to being a doctor,

1383
01:04:44,400 --> 01:04:49,160
Speaker 1: even even in sacrificing relationships with with with people. And

1384
01:04:50,120 --> 01:04:53,680
Speaker 1: you know, Joelle brought up a good point that you know,

1385
01:04:53,760 --> 01:04:56,720
Speaker 1: when you do a TV show. Granted we're not doing

1386
01:04:56,800 --> 01:04:59,760
Speaker 1: something noble like saving lives, but you know, when you

1387
01:05:00,240 --> 01:05:03,120
Speaker 1: we had something analogous going on in that we were

1388
01:05:03,200 --> 01:05:06,760
Speaker 1: just at this hospital sixteen hours a day, and it

1389
01:05:06,840 --> 01:05:10,880
Speaker 1: definitely hurt relationships with family and friends. You know, Donald

1390
01:05:10,960 --> 01:05:14,040
Speaker 1: had children and and and and was gone, and I

1391
01:05:14,200 --> 01:05:16,800
Speaker 1: lost touch with a lot of old friends, and it

1392
01:05:16,960 --> 01:05:19,200
Speaker 1: was it was a bit analogous to what was happening

1393
01:05:19,240 --> 01:05:21,479
Speaker 1: in our lives. You know, it's interesting when Scrubs ended,

1394
01:05:21,600 --> 01:05:24,640
Speaker 1: I have this feeling that I was delayed in a

1395
01:05:24,760 --> 01:05:28,400
Speaker 1: sense in that I hadn't had nine years of building

1396
01:05:28,560 --> 01:05:32,120
Speaker 1: friendships outside of the hospital. I had built the best

1397
01:05:32,160 --> 01:05:37,640
Speaker 1: friendships of my life, you especially and Spiller, Spiller, Spiller,

1398
01:05:37,720 --> 01:05:40,680
Speaker 1: you're close, like ten down. But no, I had built

1399
01:05:40,720 --> 01:05:43,920
Speaker 1: some great friendships and uh and and actually that's that's

1400
01:05:43,960 --> 01:05:46,120
Speaker 1: one of the reasons so many of these wonderful people,

1401
01:05:46,160 --> 01:05:49,200
Speaker 1: including a Bill and others, are so in my life.

1402
01:05:49,680 --> 01:05:54,440
Speaker 1: And of course I I fostered other relationships, but but

1403
01:05:54,640 --> 01:05:58,640
Speaker 1: you know, we didn't have much time over those nine

1404
01:05:58,720 --> 01:06:03,560
Speaker 1: years to build and develop other relationships. And I don't know,

1405
01:06:03,640 --> 01:06:05,320
Speaker 1: I don't know if you if you noticed that Donald

1406
01:06:05,480 --> 01:06:07,880
Speaker 1: were we were finally done and kind of had our

1407
01:06:08,000 --> 01:06:11,600
Speaker 1: normal lives back. I felt that I was like, I don't.

1408
01:06:11,880 --> 01:06:14,240
Speaker 1: I have small circles of friends that I love so much,

1409
01:06:14,360 --> 01:06:16,320
Speaker 1: but I'm not one of these people that really knew

1410
01:06:17,160 --> 01:06:19,720
Speaker 1: a ton of people outside of my job right.

1411
01:06:19,800 --> 01:06:22,240
Speaker 2: And because of that, it's a little awkward now when

1412
01:06:22,280 --> 01:06:24,680
Speaker 2: I do well, we're on lockdown. But when I do

1413
01:06:24,880 --> 01:06:29,840
Speaker 2: meet people, I'm a little awkward about. You know, when

1414
01:06:29,880 --> 01:06:31,480
Speaker 2: you make a bunch of really good friends and it

1415
01:06:31,560 --> 01:06:38,320
Speaker 2: all ends and you only see them occasionally, Well, you

1416
01:06:38,400 --> 01:06:41,120
Speaker 2: and I are a bit different. It's like, well, you know,

1417
01:06:41,160 --> 01:06:43,760
Speaker 2: I spent ten years getting to know a lot of people,

1418
01:06:44,520 --> 01:06:48,200
Speaker 2: and as much as much as I respect and cherished

1419
01:06:48,320 --> 01:06:50,840
Speaker 2: all the time that we spent together, it's weird not

1420
01:06:50,960 --> 01:06:53,080
Speaker 2: having these people in my life. It's weird not seeing

1421
01:06:53,160 --> 01:06:57,480
Speaker 2: Chris or Or or you know, or Ethan Or or

1422
01:06:57,720 --> 01:07:01,440
Speaker 2: Calvin or Natural Bolt and Patrick Bolton. It's weird not

1423
01:07:01,560 --> 01:07:04,120
Speaker 2: seeing that so Vaughan, it's weird not seeing these people.

1424
01:07:04,480 --> 01:07:05,960
Speaker 1: You know, one thing you could do it would be

1425
01:07:06,040 --> 01:07:08,560
Speaker 1: to ask Spiller to come put a doorknob on your house.

1426
01:07:09,440 --> 01:07:11,520
Speaker 1: That's one trick that I've sometimes used when I.

1427
01:07:11,600 --> 01:07:15,120
Speaker 2: Don't want Spiller anywhere near my house in quarantine.

1428
01:07:15,400 --> 01:07:18,280
Speaker 1: Oh, he could mask up and come put a doorknob.

1429
01:07:18,360 --> 01:07:22,360
Speaker 2: I totally understand that. I totally understand that, but I'm

1430
01:07:22,400 --> 01:07:23,360
Speaker 2: trying to listen.

1431
01:07:23,440 --> 01:07:26,000
Speaker 3: He was thirty five an hour. It was worth every penny.

1432
01:07:26,920 --> 01:07:31,680
Speaker 3: You know the rates of change. Yeah, it's DGA scale

1433
01:07:31,760 --> 01:07:32,560
Speaker 3: plus fringes.

1434
01:07:32,920 --> 01:07:33,120
Speaker 2: Yeah.

1435
01:07:33,200 --> 01:07:36,000
Speaker 1: But you know, let's talk for a second about new Slang,

1436
01:07:36,280 --> 01:07:39,000
Speaker 1: which is the song that ends the show. Rumor has

1437
01:07:39,080 --> 01:07:41,960
Speaker 1: it it was chosen by Neil Goldman, who unfortunately he

1438
01:07:42,040 --> 01:07:45,000
Speaker 1: keeps getting mentioned because he loves getting mentioned on this podcast.

1439
01:07:45,520 --> 01:07:47,400
Speaker 2: But he was a writer, contributor.

1440
01:07:48,280 --> 01:07:50,640
Speaker 1: He was a what are you saying?

1441
01:07:50,800 --> 01:07:54,040
Speaker 2: I said he was a contributor. He contributed big show,

1442
01:07:54,200 --> 01:07:57,720
Speaker 2: I think on that show. Because of that, on this show,

1443
01:07:57,800 --> 01:08:00,919
Speaker 2: because of that, he gets spoken of all the time.

1444
01:08:01,200 --> 01:08:03,320
Speaker 2: Neil Goldman. I didn't know that Neil Goldman picked this song.

1445
01:08:03,880 --> 01:08:04,440
Speaker 2: Neil Goldman.

1446
01:08:04,560 --> 01:08:07,480
Speaker 1: Let me tell you something. Neil Goldman is very into music,

1447
01:08:07,680 --> 01:08:10,240
Speaker 1: was and is very in music, and he picked the song. Now,

1448
01:08:10,320 --> 01:08:12,280
Speaker 1: this song I so fell in love with.

1449
01:08:13,080 --> 01:08:14,400
Speaker 2: Yeah, I know you used to sing this shit all

1450
01:08:14,440 --> 01:08:18,320
Speaker 2: the time. Go teeth and a curse in my mouth.

1451
01:08:18,680 --> 01:08:20,320
Speaker 1: And a curse for this town and I put it

1452
01:08:20,400 --> 01:08:20,640
Speaker 1: into it.

1453
01:08:20,680 --> 01:08:22,320
Speaker 2: I thought it was a curse in my mouth? Do

1454
01:08:22,439 --> 01:08:23,479
Speaker 2: you know this town?

1455
01:08:24,120 --> 01:08:25,320
Speaker 1: Do you know that it's in garden State?

1456
01:08:26,040 --> 01:08:26,320
Speaker 3: It is.

1457
01:08:26,920 --> 01:08:29,080
Speaker 1: It's the song that when I say to that, no.

1458
01:08:29,120 --> 01:08:31,120
Speaker 2: Black people in garden Stead, I've never seen garden staate.

1459
01:08:32,600 --> 01:08:34,280
Speaker 1: Well when they do, like when we do, like the

1460
01:08:34,360 --> 01:08:36,200
Speaker 1: Wiz version, maybe you'll check it out.

1461
01:08:36,560 --> 01:08:39,400
Speaker 2: Will you be me and the Are you gonna do

1462
01:08:39,439 --> 01:08:42,400
Speaker 2: the Wiz version? Yeah, a Wiz version. Who's gonna play

1463
01:08:42,400 --> 01:08:44,639
Speaker 2: your character? Who's playing you? Are you are? Of course?

1464
01:08:44,840 --> 01:08:47,559
Speaker 2: It better be me. That's all I know because when

1465
01:08:47,600 --> 01:08:50,280
Speaker 2: people say your name, they better say my name next.

1466
01:08:50,320 --> 01:08:51,800
Speaker 2: That's all my motherfucker know that.

1467
01:08:51,960 --> 01:08:54,519
Speaker 1: You didn't know that We've already started casting the Wiz

1468
01:08:54,640 --> 01:08:58,639
Speaker 1: version of garden Stead and you're the star. I love

1469
01:08:58,720 --> 01:09:01,559
Speaker 1: it except when you say you tell me now instead

1470
01:09:01,600 --> 01:09:03,720
Speaker 1: of new slang. When when I when Natalie, when the

1471
01:09:03,800 --> 01:09:06,280
Speaker 1: Natalie character says, you gotta hear this song, it will

1472
01:09:06,360 --> 01:09:08,120
Speaker 1: change your life. And you're in the Whiz version of that.

1473
01:09:08,200 --> 01:09:09,439
Speaker 1: You're in what's the song gonna be?

1474
01:09:10,160 --> 01:09:14,639
Speaker 2: It goes right foot up, left foot slide, left foot up,

1475
01:09:15,240 --> 01:09:20,240
Speaker 2: right foot slide, anyway about to slide? We do it

1476
01:09:20,360 --> 01:09:21,839
Speaker 2: slide slide.

1477
01:09:22,400 --> 01:09:24,240
Speaker 1: What is that song?

1478
01:09:25,640 --> 01:09:29,200
Speaker 2: It's just like Michael Ja Son. I can give you

1479
01:09:29,360 --> 01:09:32,840
Speaker 2: the path, aren't the lyrics like?

1480
01:09:33,200 --> 01:09:35,960
Speaker 1: Yeah, I saw it briefly on somebody's video. But isn't

1481
01:09:35,960 --> 01:09:36,160
Speaker 1: it like.

1482
01:09:38,120 --> 01:09:38,519
Speaker 2: Lessen?

1483
01:09:38,840 --> 01:09:42,240
Speaker 1: Uh, pretty much anything you're gonna do. It's lie.

1484
01:09:46,680 --> 01:09:50,320
Speaker 2: Dope moment. And then I think we should listen. I'm

1485
01:09:50,360 --> 01:09:53,280
Speaker 2: not gonna knock the idea. I'm doing an all black

1486
01:09:53,320 --> 01:09:53,880
Speaker 2: Garden States.

1487
01:09:53,960 --> 01:09:56,400
Speaker 1: Listen. I will license I will license you.

1488
01:09:56,960 --> 01:09:59,320
Speaker 2: It'll be a different story. I mean, it's the same story,

1489
01:09:59,360 --> 01:10:03,120
Speaker 2: but it's a different it's a different it's a different movie. Though.

1490
01:10:03,360 --> 01:10:06,080
Speaker 1: Listen, I will give you the license. You and you

1491
01:10:06,240 --> 01:10:08,240
Speaker 1: and you and someone.

1492
01:10:08,320 --> 01:10:10,439
Speaker 2: And instead of going to method man and now, I'm

1493
01:10:10,479 --> 01:10:13,840
Speaker 2: not gonna choose you to play motherfucking the character at

1494
01:10:13,880 --> 01:10:21,559
Speaker 2: the hotel, choose Jack Shepherd, Dax Shepherd, Dax Shepherd. I'm

1495
01:10:21,560 --> 01:10:23,000
Speaker 2: gonna have Ray Romano.

1496
01:10:24,200 --> 01:10:27,639
Speaker 1: So fucked up. My feelings are hurt, Hey, everybody. While

1497
01:10:27,720 --> 01:10:30,840
Speaker 1: Donald cools down and writes his Wiz musical version of

1498
01:10:30,880 --> 01:10:31,320
Speaker 1: Garden State.

1499
01:10:31,520 --> 01:10:35,280
Speaker 2: It's not a musical, it is. The Whiz was a musical.

1500
01:10:35,840 --> 01:10:36,960
Speaker 2: So is The Wizard of Oz.

1501
01:10:37,040 --> 01:10:38,920
Speaker 1: Though, Okay, stop yelling.

1502
01:10:38,920 --> 01:10:42,160
Speaker 2: I'm not yelling I listen, I'm calm. Okay, well, we'll

1503
01:10:42,240 --> 01:10:55,080
Speaker 2: be right now. And we're bad. We're bad. We have

1504
01:10:55,240 --> 01:10:56,559
Speaker 2: Michael Spiller with us.

1505
01:10:57,080 --> 01:11:00,920
Speaker 1: We have director Michael Spiller, Emmy Award winning director Michael Spiller,

1506
01:11:01,200 --> 01:11:04,519
Speaker 1: who not only is a fantastic filmmaker, but also can

1507
01:11:04,560 --> 01:11:07,320
Speaker 1: throw a doorknob on a door in thirty minutes flat.

1508
01:11:07,720 --> 01:11:09,920
Speaker 1: Joel introducess to Whitney and Dustin.

1509
01:11:10,120 --> 01:11:13,439
Speaker 2: Whitney and Dustin, Hi, guys, thanks.

1510
01:11:13,280 --> 01:11:15,040
Speaker 3: So much for coming on this show, and.

1511
01:11:17,720 --> 01:11:18,960
Speaker 1: Thank you for having us.

1512
01:11:20,400 --> 01:11:20,719
Speaker 3: Baby.

1513
01:11:22,920 --> 01:11:25,960
Speaker 8: We brought the baby along because we wanted to introduce

1514
01:11:26,040 --> 01:11:28,160
Speaker 8: you guys to Atticus Dorian.

1515
01:11:28,520 --> 01:11:32,439
Speaker 3: Oh, totally named after j D.

1516
01:11:35,400 --> 01:11:38,479
Speaker 2: I thought you were gonna say no, Atticus Dorian's a

1517
01:11:38,479 --> 01:11:39,160
Speaker 2: beautiful name.

1518
01:11:39,280 --> 01:11:39,560
Speaker 1: Thank you.

1519
01:11:39,760 --> 01:11:42,240
Speaker 7: But he does have on his baby bear shirt.

1520
01:11:43,080 --> 01:11:46,679
Speaker 2: Oh so cute. He's such a cute.

1521
01:11:46,760 --> 01:11:49,800
Speaker 8: We figured since he was gonna meet Vanilla and Chocolate Bear,

1522
01:11:49,920 --> 01:11:50,519
Speaker 8: he needed.

1523
01:11:50,320 --> 01:11:51,559
Speaker 7: To rock the baby bear shirt.

1524
01:11:51,800 --> 01:11:52,000
Speaker 3: Yeah.

1525
01:11:53,840 --> 01:11:54,360
Speaker 2: Where do you guys?

1526
01:11:55,720 --> 01:11:58,680
Speaker 8: We're from Leaton, Alabama. It's a tiny little town in

1527
01:11:58,760 --> 01:12:01,479
Speaker 8: the sort of like in the Shoals area. I don't know,

1528
01:12:01,640 --> 01:12:03,600
Speaker 8: it's probably something you've never heard of.

1529
01:12:04,240 --> 01:12:07,639
Speaker 2: I've been to Alabama, but not in that area. I've

1530
01:12:07,640 --> 01:12:09,040
Speaker 2: been to Birmingham, Alabama.

1531
01:12:09,320 --> 01:12:09,840
Speaker 3: Yeah, we're a.

1532
01:12:09,800 --> 01:12:11,800
Speaker 8: Little bit north of Birmingham's.

1533
01:12:11,200 --> 01:12:14,320
Speaker 1: Okay, Well, we're so glad you guys are here. And

1534
01:12:14,600 --> 01:12:17,320
Speaker 1: you were joined not only by by is it me

1535
01:12:17,400 --> 01:12:19,560
Speaker 1: and Donald but Michael Spiller, who was one of the

1536
01:12:19,640 --> 01:12:21,840
Speaker 1: best directors of Scrubs.

1537
01:12:21,520 --> 01:12:23,160
Speaker 2: Directed several episodes of.

1538
01:12:23,280 --> 01:12:26,240
Speaker 1: Twenty twenty episodes. He directed some other shows too, but

1539
01:12:26,320 --> 01:12:27,879
Speaker 1: we don't care about them on this podcast.

1540
01:12:28,600 --> 01:12:31,880
Speaker 2: They might care, though, Yeah, your show called Sex and

1541
01:12:31,960 --> 01:12:35,559
Speaker 2: the City. He directed a little show called Modern Family.

1542
01:12:36,000 --> 01:12:36,960
Speaker 2: Do you guys have a question?

1543
01:12:37,280 --> 01:12:38,639
Speaker 1: Go ahead, Yeah, we hit a couple.

1544
01:12:38,960 --> 01:12:40,120
Speaker 2: Okay, let's get into it.

1545
01:12:40,600 --> 01:12:42,720
Speaker 7: It was one extram or I guess it was an

1546
01:12:42,720 --> 01:12:46,680
Speaker 7: extre a background character. It was a bond doctor. In

1547
01:12:46,800 --> 01:12:51,240
Speaker 7: the episode where Janitor got married, she was milk doctor.

1548
01:12:51,640 --> 01:12:54,840
Speaker 8: She seems to be in almost every episode.

1549
01:12:54,479 --> 01:12:56,320
Speaker 7: In the background, alike, just about every.

1550
01:12:56,200 --> 01:13:00,240
Speaker 8: Episode we have, like we've noticed her and know on

1551
01:13:00,320 --> 01:13:02,760
Speaker 8: these rewatches we've you know, watched over and over again

1552
01:13:02,840 --> 01:13:04,880
Speaker 8: and every time you know, she's in the background, said,

1553
01:13:04,880 --> 01:13:06,679
Speaker 8: there she is. She's in every episode.

1554
01:13:06,760 --> 01:13:08,280
Speaker 2: What does she look like.

1555
01:13:08,840 --> 01:13:12,320
Speaker 8: She's she's blonde. She's probably close to like you know,

1556
01:13:12,439 --> 01:13:15,599
Speaker 8: would have been like doctor Cox's age. She wasn't one

1557
01:13:15,640 --> 01:13:19,080
Speaker 8: of the younger interns or anything. But you know when

1558
01:13:19,120 --> 01:13:21,639
Speaker 8: we've looked before. You know, if you try to search

1559
01:13:21,760 --> 01:13:24,840
Speaker 8: for Scrubs milk doctor, you get.

1560
01:13:24,760 --> 01:13:26,960
Speaker 3: A lot really racing results.

1561
01:13:27,000 --> 01:13:27,559
Speaker 2: It's different.

1562
01:13:27,680 --> 01:13:30,160
Speaker 1: Yeah, different, I'll bet, I'll bet it probably have nothing

1563
01:13:30,160 --> 01:13:30,760
Speaker 1: to do with the show.

1564
01:13:30,960 --> 01:13:32,240
Speaker 2: They're not at all.

1565
01:13:32,560 --> 01:13:34,200
Speaker 1: Yeah, well, I will tell you this. I will tell

1566
01:13:34,240 --> 01:13:38,080
Speaker 1: you this that you know. This is what we tried

1567
01:13:38,120 --> 01:13:39,880
Speaker 1: to do is have the same to have it feel

1568
01:13:39,880 --> 01:13:42,479
Speaker 1: like the same people work there. There would be the

1569
01:13:42,600 --> 01:13:46,800
Speaker 1: same group of like thirty to forty background people that

1570
01:13:46,880 --> 01:13:50,680
Speaker 1: would all sort of rotate in and out, and then

1571
01:13:50,720 --> 01:13:52,880
Speaker 1: each day there'd be some people we'd never seen before.

1572
01:13:53,280 --> 01:13:54,800
Speaker 1: But she must have been. I can't think of who

1573
01:13:54,880 --> 01:13:57,720
Speaker 1: it is. Give me a second, but maybe Joelle can

1574
01:13:57,760 --> 01:13:58,519
Speaker 1: do some recon.

1575
01:13:58,760 --> 01:14:00,840
Speaker 2: Second, I think I got it. I got it. Hold up,

1576
01:14:01,080 --> 01:14:03,800
Speaker 2: do you remember what was the episode Arlene Grace? I

1577
01:14:03,880 --> 01:14:06,120
Speaker 2: think that's who they're talking about. Is this her?

1578
01:14:06,800 --> 01:14:07,040
Speaker 3: Yes?

1579
01:14:07,640 --> 01:14:10,879
Speaker 2: Yes, yes, yes, ye. Arlene.

1580
01:14:11,200 --> 01:14:15,120
Speaker 1: Arlene was one of our regular background folks, and so

1581
01:14:15,240 --> 01:14:16,920
Speaker 1: that's why you see her all the time. She was

1582
01:14:17,120 --> 01:14:18,439
Speaker 1: probably there every day right now.

1583
01:14:18,800 --> 01:14:23,280
Speaker 2: Yeah, she was there every day. Her snoop Dog, Mickhead.

1584
01:14:23,640 --> 01:14:25,880
Speaker 2: I haven't seen Mickhead yet yet. I guess he came

1585
01:14:25,920 --> 01:14:26,479
Speaker 2: a lot later.

1586
01:14:26,960 --> 01:14:29,840
Speaker 1: But Snoop has a lot of screen time in the

1587
01:14:29,880 --> 01:14:32,680
Speaker 1: episode that we're talking about today. Yes, Spiller, you had him,

1588
01:14:32,720 --> 01:14:35,280
Speaker 1: you had you had Kelso bangs a pot right in

1589
01:14:35,320 --> 01:14:36,799
Speaker 1: Snoop's face in this episode.

1590
01:14:37,200 --> 01:14:39,920
Speaker 3: Yeah, and he held it perfectly, didn't even flinch. I

1591
01:14:39,960 --> 01:14:42,080
Speaker 3: can't remember if he put earplugs in or anything.

1592
01:14:42,360 --> 01:14:46,040
Speaker 2: That's crazy that you guys recognized Arlene she was. Yeah,

1593
01:14:46,120 --> 01:14:49,320
Speaker 2: she was on the show from pretty much the beginning

1594
01:14:49,360 --> 01:14:51,000
Speaker 2: all the way till the end. I don't know. I

1595
01:14:51,800 --> 01:14:53,880
Speaker 2: don't know if everybody did season nine. And you do

1596
01:14:54,080 --> 01:14:56,840
Speaker 2: refer to her when you talk to all of the

1597
01:14:56,920 --> 01:15:00,160
Speaker 2: other background I do, yeah, yeah, yeah, yea.

1598
01:15:00,600 --> 01:15:02,519
Speaker 1: Okay, wow, how did you find that so quickly? By

1599
01:15:02,520 --> 01:15:03,640
Speaker 1: the way, I'm very impressed with you.

1600
01:15:03,720 --> 01:15:05,920
Speaker 2: Right now because I remember her. I remember, I knew

1601
01:15:05,960 --> 01:15:07,519
Speaker 2: exactly who they were talking about.

1602
01:15:08,080 --> 01:15:08,200
Speaker 3: Uh.

1603
01:15:08,400 --> 01:15:10,720
Speaker 2: And you know, Facebook is a is one of those

1604
01:15:10,760 --> 01:15:13,640
Speaker 2: things where everybody still keeps in touch. So once they

1605
01:15:13,680 --> 01:15:14,200
Speaker 2: said that, I was.

1606
01:15:14,200 --> 01:15:15,759
Speaker 1: Like, are you still using Facebook?

1607
01:15:15,960 --> 01:15:17,720
Speaker 7: You're friends with or on Facebook?

1608
01:15:18,640 --> 01:15:20,120
Speaker 3: Or you just need to look her page up?

1609
01:15:20,439 --> 01:15:22,080
Speaker 2: No, No, I'm friends with her on Facebook. I'm friends

1610
01:15:22,080 --> 01:15:24,200
Speaker 2: with everybody, friends with everybody that we worked with.

1611
01:15:24,760 --> 01:15:26,720
Speaker 1: I don't even go on Facebook anymore, but Donald, You're

1612
01:15:26,720 --> 01:15:29,200
Speaker 1: still on there, getting in getting in arguments with everybody.

1613
01:15:30,200 --> 01:15:30,240
Speaker 3: No.

1614
01:15:30,400 --> 01:15:32,679
Speaker 2: I try to stay away from all of the political That's.

1615
01:15:32,520 --> 01:15:33,960
Speaker 1: Why when I turned on and when I turn on

1616
01:15:34,040 --> 01:15:36,519
Speaker 1: Facebook these days and see everyone battling each other, I'm like,

1617
01:15:36,600 --> 01:15:36,920
Speaker 1: I'm out.

1618
01:15:37,000 --> 01:15:38,400
Speaker 2: Yeah, yeah, good night.

1619
01:15:39,400 --> 01:15:42,439
Speaker 8: I imagine Facebook in the South and with all your

1620
01:15:42,640 --> 01:15:45,200
Speaker 8: you know, conservative friends and stuff that's on there.

1621
01:15:45,360 --> 01:15:46,760
Speaker 7: That's a whole different you.

1622
01:15:46,800 --> 01:15:48,559
Speaker 1: Know, I'll bet that's tricky.

1623
01:15:48,680 --> 01:15:48,840
Speaker 3: Yeah.

1624
01:15:49,040 --> 01:15:51,400
Speaker 1: I'm in LA, the most liberal place in the world,

1625
01:15:51,439 --> 01:15:55,400
Speaker 1: and I'm like, nope, I'm out. All right, guys, you

1626
01:15:55,439 --> 01:15:56,040
Speaker 1: have another question.

1627
01:15:57,120 --> 01:15:59,599
Speaker 8: Well, we were talking earlier, and you know, we were

1628
01:15:59,680 --> 01:16:01,760
Speaker 8: kind of both racking our brains like we want it,

1629
01:16:01,800 --> 01:16:03,600
Speaker 8: really wanted to come up with some profound, you know,

1630
01:16:03,800 --> 01:16:06,280
Speaker 8: like deep question to ask. But really, all I could

1631
01:16:06,320 --> 01:16:09,439
Speaker 8: think of to ask would be, you know, obviously Scrubs

1632
01:16:09,520 --> 01:16:12,360
Speaker 8: is one of our favorite shows, but what do you

1633
01:16:12,479 --> 01:16:15,560
Speaker 8: guys consider to be your favorite TV shows, like of

1634
01:16:15,640 --> 01:16:16,120
Speaker 8: all time?

1635
01:16:16,280 --> 01:16:17,080
Speaker 2: That's a great question.

1636
01:16:17,760 --> 01:16:22,840
Speaker 1: I wow, let's make Spiller start.

1637
01:16:22,880 --> 01:16:25,880
Speaker 3: Since he's yes, Spiller, you go first direct, very.

1638
01:16:25,920 --> 01:16:28,759
Speaker 1: Very fancy director. Let's see, what are his TV show's

1639
01:16:28,840 --> 01:16:31,360
Speaker 1: favorite spiller And you can't say anything you've directed, because

1640
01:16:31,360 --> 01:16:32,479
Speaker 1: we know Scrubs is number one.

1641
01:16:33,160 --> 01:16:38,320
Speaker 3: That's correct, well, slightly different genre. The Wire. Yeah, a

1642
01:16:38,360 --> 01:16:41,560
Speaker 3: lot of people say, absolutely, I've watched that all the

1643
01:16:41,600 --> 01:16:47,360
Speaker 3: way through twice. Also Narcos, I've watched that all the

1644
01:16:47,400 --> 01:16:48,200
Speaker 3: way through twice.

1645
01:16:48,479 --> 01:16:51,840
Speaker 1: Really, I just watched Narcos Mexico, which was really well done,

1646
01:16:51,880 --> 01:16:53,840
Speaker 1: but I didn't watch the original Narcos spiller I'm making

1647
01:16:53,880 --> 01:16:56,320
Speaker 1: I'm writing down this list, by the way, because you

1648
01:16:56,360 --> 01:16:58,760
Speaker 1: know the Wire, sure, but I haven't watched Narcos the

1649
01:16:58,800 --> 01:16:59,200
Speaker 1: first one.

1650
01:17:00,400 --> 01:17:05,439
Speaker 3: Chrisas, I love them currently, I love Ozark. Okay, when

1651
01:17:05,880 --> 01:17:07,559
Speaker 3: current season ended, what ended?

1652
01:17:07,600 --> 01:17:07,800
Speaker 1: Free?

1653
01:17:07,840 --> 01:17:10,000
Speaker 3: When I got through it, I was really really bummed out,

1654
01:17:10,160 --> 01:17:15,640
Speaker 3: just wanted more. He hasn't watched yet. I won't say anything.

1655
01:17:20,040 --> 01:17:26,160
Speaker 1: Everything. No, wait, you're covering now, you're covering his his

1656
01:17:26,280 --> 01:17:29,160
Speaker 1: eyes and ears. But do you guys not watch shows together?

1657
01:17:29,280 --> 01:17:32,040
Speaker 1: Because I find if if if my girlfriend and I

1658
01:17:32,160 --> 01:17:34,720
Speaker 1: get off of sync and watching a show together, that's

1659
01:17:34,760 --> 01:17:38,439
Speaker 1: all hell breaks loose. In fact, I'm currently rewatching a

1660
01:17:38,479 --> 01:17:41,280
Speaker 1: show I've already seen because I want it dead to me,

1661
01:17:41,360 --> 01:17:44,240
Speaker 1: which is really good, and we want to watch season two.

1662
01:17:44,760 --> 01:17:46,200
Speaker 1: But now in order to watch that, I have to

1663
01:17:46,280 --> 01:17:47,680
Speaker 1: rewatch all season one with her.

1664
01:17:48,320 --> 01:17:51,200
Speaker 7: With the newborn baby and her own maternity league, she

1665
01:17:51,360 --> 01:17:53,479
Speaker 7: watches a lot more TV during the day while I'm

1666
01:17:53,520 --> 01:17:56,360
Speaker 7: at work, so right, sometimes I try to catch up,

1667
01:17:56,360 --> 01:17:58,200
Speaker 7: but I haven't had time to catch up on those ords.

1668
01:17:58,280 --> 01:18:00,040
Speaker 8: I really want him to go back and watch, and

1669
01:18:00,080 --> 01:18:02,040
Speaker 8: I would totally not mind going back and watching it

1670
01:18:02,120 --> 01:18:05,040
Speaker 8: again with him because it is so good. But normally, yeah,

1671
01:18:05,120 --> 01:18:07,160
Speaker 8: when we actually it's pretty good for us because we

1672
01:18:07,240 --> 01:18:11,599
Speaker 8: have very similar taste in television shows, so it works out.

1673
01:18:12,400 --> 01:18:15,639
Speaker 1: So what's your TV shows that well, I'm gonna recommend

1674
01:18:16,160 --> 01:18:18,920
Speaker 1: one that that I can't believe is this underrated because

1675
01:18:18,960 --> 01:18:20,960
Speaker 1: I never heard anyone talk about it, and it's called

1676
01:18:21,000 --> 01:18:27,880
Speaker 1: Patriot and it's on Amazon and there's a few seasons. Spiller,

1677
01:18:27,920 --> 01:18:28,479
Speaker 1: you ever watch that?

1678
01:18:29,160 --> 01:18:29,840
Speaker 3: No? I haven't.

1679
01:18:30,040 --> 01:18:33,960
Speaker 1: It's amazing. You're gonna love it. Steve Conrad is the

1680
01:18:34,000 --> 01:18:38,639
Speaker 1: showrunner and really really amazingly. Now, that's like the best

1681
01:18:39,240 --> 01:18:42,320
Speaker 1: last show I saw. I really really love that. What

1682
01:18:42,360 --> 01:18:43,080
Speaker 1: about you, Donald?

1683
01:18:43,200 --> 01:18:49,479
Speaker 2: I'm embarrassed because my shows are shows your embarrassed. So

1684
01:18:50,040 --> 01:18:57,320
Speaker 2: my favorite shows are shows like The Clone Wars and

1685
01:18:58,920 --> 01:19:03,360
Speaker 2: Star Wars Rebel and recently The Mandalorian. The Mandalorian. Yeah,

1686
01:19:03,360 --> 01:19:06,880
Speaker 2: I like Mandalorian a lot that I don't know, those

1687
01:19:06,920 --> 01:19:10,120
Speaker 2: are those are the type of shows that I enjoy watching.

1688
01:19:10,240 --> 01:19:12,720
Speaker 2: I don't watch a lot of television, but when I

1689
01:19:12,800 --> 01:19:16,559
Speaker 2: do watch television, I prefer to watch Star Wars related

1690
01:19:17,080 --> 01:19:18,680
Speaker 2: related or documentaries.

1691
01:19:18,960 --> 01:19:21,759
Speaker 1: Do you find that now that sports isn't on, Donald,

1692
01:19:21,880 --> 01:19:23,840
Speaker 1: that you have a lot more time on your hands

1693
01:19:23,880 --> 01:19:26,040
Speaker 1: because you normally like to watch a lot of sports.

1694
01:19:26,280 --> 01:19:28,960
Speaker 2: So I've been doing a lot of animating as of

1695
01:19:29,120 --> 01:19:34,240
Speaker 2: late because sports isn't on. I'm a stop motion animator

1696
01:19:34,880 --> 01:19:39,760
Speaker 2: by hobby, and because sports isn't on and I'm not

1697
01:19:40,240 --> 01:19:43,679
Speaker 2: sitting in front of the TV at at night after

1698
01:19:43,760 --> 01:19:47,160
Speaker 2: the kids go down, I find myself in my animation

1699
01:19:47,760 --> 01:19:48,720
Speaker 2: room animating.

1700
01:19:50,240 --> 01:19:52,840
Speaker 1: So it's making you more productive, Actually, you're I.

1701
01:19:52,840 --> 01:19:54,840
Speaker 2: Don't know if it's productive. I mean it's a hobby.

1702
01:19:54,880 --> 01:19:57,519
Speaker 2: It's not like I'm making things that are gonna get

1703
01:19:57,760 --> 01:20:00,639
Speaker 2: put on television and are gonna be well.

1704
01:20:00,720 --> 01:20:03,080
Speaker 1: You never know. You could do a robot chicken type

1705
01:20:03,160 --> 01:20:05,240
Speaker 1: thing and make your own tea.

1706
01:20:05,320 --> 01:20:08,080
Speaker 2: Absolutely you know we mentioned Seth Green earlier and how

1707
01:20:08,200 --> 01:20:11,760
Speaker 2: Spiller worked with Seth Green. If it wasn't for Seth Green,

1708
01:20:11,800 --> 01:20:14,840
Speaker 2: I wouldn't be animating like I was looking for an

1709
01:20:14,880 --> 01:20:18,560
Speaker 2: outlet like most actors do when they moved to Hollywood.

1710
01:20:18,640 --> 01:20:22,599
Speaker 2: That hasn't that isn't just acting. I realized I didn't

1711
01:20:22,600 --> 01:20:25,799
Speaker 2: want to be a director. No offense, Mike, and I realized,

1712
01:20:25,920 --> 01:20:29,439
Speaker 2: you know, I don't necessarily I don't. I don't necessarily

1713
01:20:29,600 --> 01:20:32,880
Speaker 2: like hanging out on set all the time. Which directors

1714
01:20:32,920 --> 01:20:38,200
Speaker 2: do you know they arrived before actors and you know

1715
01:20:38,479 --> 01:20:41,400
Speaker 2: they leave after all the actors. I realized, Okay, that's

1716
01:20:41,479 --> 01:20:41,840
Speaker 2: not for me.

1717
01:20:42,240 --> 01:20:44,479
Speaker 1: Way more stressed with way less money makes no sense.

1718
01:20:44,640 --> 01:20:47,120
Speaker 2: Yeah, I realized, said I need something to do though,

1719
01:20:47,200 --> 01:20:51,640
Speaker 2: that's gonna fulfill my creative itch other than acting. And

1720
01:20:53,120 --> 01:20:55,519
Speaker 2: I remember doing taking a stop motion class when I

1721
01:20:55,640 --> 01:21:00,160
Speaker 2: was a kid, and my buddy Seth Green had had

1722
01:21:00,240 --> 01:21:02,760
Speaker 2: me do voiceover work for this little project he was

1723
01:21:02,800 --> 01:21:06,320
Speaker 2: doing called Sweet Jay and it was stop motion animation.

1724
01:21:06,400 --> 01:21:08,200
Speaker 2: I was like, dude, I'm totally into this. I'd love

1725
01:21:08,280 --> 01:21:11,320
Speaker 2: to come and check out where you filmed this. And

1726
01:21:12,080 --> 01:21:14,200
Speaker 2: he brought me down to the studio and introduced me

1727
01:21:14,280 --> 01:21:17,479
Speaker 2: to a bunch of animators and the rest is history.

1728
01:21:17,520 --> 01:21:20,240
Speaker 2: And now now I do stop motion animation as a hobby.

1729
01:21:20,320 --> 01:21:24,000
Speaker 2: Now that my television at night if there ain't no

1730
01:21:24,080 --> 01:21:27,639
Speaker 2: Mandalorian and you're getting Star Wars and you're getting really

1731
01:21:27,680 --> 01:21:31,479
Speaker 2: good at it and instag Yeah, I'm Donald working at it.

1732
01:21:31,800 --> 01:21:34,920
Speaker 1: Check out Donald's instagram you can see his progress, or

1733
01:21:35,160 --> 01:21:38,639
Speaker 1: go on YouTube and watch his old lego ones called

1734
01:21:38,680 --> 01:21:42,000
Speaker 1: Black Stormtrooper. But yeah, but I think you've gotten a lot.

1735
01:21:42,120 --> 01:21:44,480
Speaker 1: I think you've gotten a lot better since Black Stormtrooper.

1736
01:21:44,680 --> 01:21:49,759
Speaker 2: Yeah, oh yeah, absolutely, But yeah, that's that's so my favorite.

1737
01:21:49,920 --> 01:21:53,320
Speaker 2: My favorite television has always been like cartoons and stuff

1738
01:21:53,400 --> 01:21:57,040
Speaker 2: like that. I enjoy animation very much. So the Clone

1739
01:21:57,080 --> 01:21:59,960
Speaker 2: Wars Rebels. Yeah, just to bring.

1740
01:22:01,360 --> 01:22:04,880
Speaker 3: I will be checking out your instagram, Donald, Yes, not

1741
01:22:05,040 --> 01:22:05,840
Speaker 3: now after the show.

1742
01:22:06,040 --> 01:22:10,080
Speaker 2: Give me a followback, though I think I do follow you, Bud.

1743
01:22:11,520 --> 01:22:16,240
Speaker 1: Damn, give me a shout out or something. All right,

1744
01:22:16,320 --> 01:22:18,519
Speaker 1: Whitney and Dustin, thank you guys so much. Good luck

1745
01:22:18,560 --> 01:22:23,839
Speaker 1: with the new baby with the beautiful We really appreciate

1746
01:22:23,920 --> 01:22:27,040
Speaker 1: you joining us. And uh and uh and stay safe,

1747
01:22:27,120 --> 01:22:33,360
Speaker 1: stay inside, stay safe. We're getting to the end. I

1748
01:22:33,479 --> 01:22:35,640
Speaker 1: just wanted to say that. Yeah, so I I I

1749
01:22:35,800 --> 01:22:38,040
Speaker 1: heard this song news Slang and then I just loved

1750
01:22:38,080 --> 01:22:40,639
Speaker 1: it so much that I years later put it into

1751
01:22:41,040 --> 01:22:45,320
Speaker 1: Garden State. And I want to credit Neil Goldman for

1752
01:22:45,400 --> 01:22:47,960
Speaker 1: being the first person to uh to introduce me to

1753
01:22:48,040 --> 01:22:48,320
Speaker 1: that song.

1754
01:22:48,880 --> 01:22:49,280
Speaker 2: Amazing.

1755
01:22:49,439 --> 01:22:50,759
Speaker 3: Finally he's getting this props.

1756
01:22:50,840 --> 01:22:53,240
Speaker 1: Finally, And Spiller, you, I think we were the very

1757
01:22:53,280 --> 01:22:56,400
Speaker 1: first to do a very cool crane shot out of

1758
01:22:56,479 --> 01:22:58,200
Speaker 1: the wind. That was a really cool shot you did

1759
01:22:58,240 --> 01:23:01,120
Speaker 1: where you started inside the window and then craned out.

1760
01:23:01,240 --> 01:23:02,040
Speaker 1: I thought that was clever.

1761
01:23:02,640 --> 01:23:04,599
Speaker 3: Thank your signature move of mine.

1762
01:23:04,880 --> 01:23:07,000
Speaker 1: We ended up using that a bunch. But you you

1763
01:23:07,120 --> 01:23:09,280
Speaker 1: brought that to the you brought that to the table.

1764
01:23:09,680 --> 01:23:12,160
Speaker 3: Well the table, the table was ready for it.

1765
01:23:12,479 --> 01:23:14,840
Speaker 2: Well that's that's a question. That's a question that I,

1766
01:23:15,040 --> 01:23:17,840
Speaker 2: uh that I have for you, Zach, because I know

1767
01:23:18,000 --> 01:23:21,439
Speaker 2: that you used crane shots in your stuff.

1768
01:23:21,880 --> 01:23:22,080
Speaker 1: Yeah.

1769
01:23:22,320 --> 01:23:24,800
Speaker 2: If Spiller's the first one to do it, that made

1770
01:23:24,840 --> 01:23:26,960
Speaker 2: it so that other directors when they came on, they

1771
01:23:27,000 --> 01:23:28,839
Speaker 2: were like, so I saw the crane shot in episode

1772
01:23:29,560 --> 01:23:31,360
Speaker 2: one thirteen. What are the chances that I get to

1773
01:23:31,439 --> 01:23:32,040
Speaker 2: use a crane on this?

1774
01:23:32,240 --> 01:23:32,439
Speaker 3: Yeah?

1775
01:23:32,439 --> 01:23:37,040
Speaker 1: I think you know, the crane was always uh pricey

1776
01:23:37,160 --> 01:23:40,800
Speaker 1: thing and both time, you know, obviously the rental of

1777
01:23:40,880 --> 01:23:43,360
Speaker 1: the crane, but also the labor of of sending it

1778
01:23:43,479 --> 01:23:46,519
Speaker 1: up and practicing and rehearsing it. So you know, I

1779
01:23:46,600 --> 01:23:50,040
Speaker 1: think within an episode usually you could say, hey to

1780
01:23:50,120 --> 01:23:52,000
Speaker 1: the line producer, you'd say, hey, can I get a

1781
01:23:52,479 --> 01:23:54,360
Speaker 1: I'd like to use a crane for this scene. And

1782
01:23:54,520 --> 01:23:55,920
Speaker 1: you know, I don't think it was very rare that

1783
01:23:56,000 --> 01:23:58,519
Speaker 1: they ever said no, particularly to the directors they liked.

1784
01:23:59,680 --> 01:24:02,640
Speaker 1: But yeah, I think that you know, crane shots are

1785
01:24:02,680 --> 01:24:05,679
Speaker 1: really cool and they give the show scope and scale

1786
01:24:05,960 --> 01:24:09,200
Speaker 1: and and can be really beautiful. And in that end

1787
01:24:09,280 --> 01:24:12,519
Speaker 1: montage that that that Michael created here, which was beautifully done,

1788
01:24:13,040 --> 01:24:14,400
Speaker 1: it was sort of the beautiful It was like the

1789
01:24:14,479 --> 01:24:16,479
Speaker 1: most perfect way to end it coming out and I

1790
01:24:16,560 --> 01:24:18,960
Speaker 1: believe you had to mount that build that crane on

1791
01:24:19,040 --> 01:24:20,560
Speaker 1: the rooftop in order to get it. There was a

1792
01:24:20,600 --> 01:24:23,320
Speaker 1: lower roof and then he came out to the window

1793
01:24:23,360 --> 01:24:25,599
Speaker 1: and then tilted up to the sky. And so yeah,

1794
01:24:25,680 --> 01:24:27,840
Speaker 1: I mean, I think cranes were introduced as part of

1795
01:24:27,960 --> 01:24:30,040
Speaker 1: the sort of the language of the show.

1796
01:24:31,160 --> 01:24:34,680
Speaker 2: And then he said, he said it was it was

1797
01:24:34,760 --> 01:24:35,639
Speaker 2: his signature move.

1798
01:24:35,840 --> 01:24:38,080
Speaker 1: Well, what I was saying specifically, I was I don't

1799
01:24:38,120 --> 01:24:40,080
Speaker 1: know this, this isn't the first crane shot on the show,

1800
01:24:40,120 --> 01:24:43,160
Speaker 1: but the idea of the camera was within the was

1801
01:24:43,200 --> 01:24:45,760
Speaker 1: within the room and then came out the window and

1802
01:24:45,840 --> 01:24:47,400
Speaker 1: then went up to the sky. And I think Spiller

1803
01:24:47,520 --> 01:24:49,800
Speaker 1: was the first person to do that. And you know,

1804
01:24:49,840 --> 01:24:51,840
Speaker 1: I think we copied that many many times.

1805
01:24:52,240 --> 01:24:54,479
Speaker 2: Well, have you gone on to use that on other shows?

1806
01:24:56,320 --> 01:24:59,680
Speaker 3: Yes, I've done versions of of of that shot on

1807
01:24:59,720 --> 01:25:02,479
Speaker 3: other Is that what it was cool? You sort of like,

1808
01:25:02,840 --> 01:25:05,880
Speaker 3: you know, especially we didn't have a techno crane or anything.

1809
01:25:05,920 --> 01:25:08,639
Speaker 3: I don't believe, but there's a type of crane where

1810
01:25:08,760 --> 01:25:13,320
Speaker 3: you know, the arm itself extends from the base. Yeah,

1811
01:25:13,439 --> 01:25:16,720
Speaker 3: so I mean you can really like you know, it

1812
01:25:16,800 --> 01:25:19,320
Speaker 3: can actually physically be inside the window. I think we

1813
01:25:19,439 --> 01:25:22,640
Speaker 3: probably hit a zoom in the shot as well to

1814
01:25:23,439 --> 01:25:24,960
Speaker 3: sort of make it appear as if we were in

1815
01:25:25,080 --> 01:25:27,599
Speaker 3: there in a close up. So you can do shots

1816
01:25:27,640 --> 01:25:31,320
Speaker 3: that that appear to actually travel through the glass somehow.

1817
01:25:31,040 --> 01:25:34,200
Speaker 1: And nowadays later I did a really cool shot in

1818
01:25:34,479 --> 01:25:37,639
Speaker 1: Going in style where you can camera or pull back

1819
01:25:37,800 --> 01:25:41,280
Speaker 1: through the window. And then in post now add we

1820
01:25:41,360 --> 01:25:43,400
Speaker 1: added a taxi cab door. I had the shot of

1821
01:25:43,439 --> 01:25:46,280
Speaker 1: Michael Caine where he's in the cabin and the camera's

1822
01:25:46,360 --> 01:25:48,559
Speaker 1: in the cab with him. And then and we took

1823
01:25:48,640 --> 01:25:51,840
Speaker 1: the back door off the cab and we we pull

1824
01:25:51,920 --> 01:25:53,800
Speaker 1: out and then out of the cab and the cab

1825
01:25:53,960 --> 01:25:56,599
Speaker 1: drives off, and then and post we added the cab door.

1826
01:25:56,680 --> 01:25:57,160
Speaker 2: That looks so.

1827
01:25:57,360 --> 01:26:01,240
Speaker 1: Cool and most people who aren't filmakers wouldn't even know

1828
01:26:01,280 --> 01:26:03,519
Speaker 1: how hard that was to do exactly.

1829
01:26:03,920 --> 01:26:06,120
Speaker 3: Yeah, And I think like with any of the sort

1830
01:26:06,160 --> 01:26:07,960
Speaker 3: of bells and whistles that we pull out and the

1831
01:26:08,000 --> 01:26:09,519
Speaker 3: tricks that we use them, it's part of the fun

1832
01:26:09,600 --> 01:26:11,000
Speaker 3: of being a director, is part of the fun of

1833
01:26:11,080 --> 01:26:15,719
Speaker 3: telling the story. But sometimes, and this is often true

1834
01:26:15,720 --> 01:26:21,120
Speaker 3: with directors who are former cinematographers, you can get caught

1835
01:26:21,240 --> 01:26:24,320
Speaker 3: up and the gadgetry and the toy of it all

1836
01:26:25,000 --> 01:26:28,160
Speaker 3: and forget that you're telling the story. So first and

1837
01:26:28,280 --> 01:26:31,280
Speaker 3: foremost it's like, yeah, cranes are great. All these devices

1838
01:26:31,320 --> 01:26:33,720
Speaker 3: are great if they're supporting the story, or if they're

1839
01:26:33,800 --> 01:26:36,280
Speaker 3: underlying the comedy, or they're making a dramatic moment more

1840
01:26:36,360 --> 01:26:39,080
Speaker 3: dramatic or whatever. Because they do take a lot of time,

1841
01:26:39,160 --> 01:26:43,760
Speaker 3: take a lot of money, and often can be misupplied.

1842
01:26:44,000 --> 01:26:46,000
Speaker 1: Yeah, and I think the job as a director is

1843
01:26:46,080 --> 01:26:50,639
Speaker 1: to go when am I going to spend? When can

1844
01:26:50,680 --> 01:26:54,120
Speaker 1: I afford to spend time and money during these five days.

1845
01:26:54,680 --> 01:26:57,439
Speaker 1: So the way I would shoot Scrubs when I directed

1846
01:26:57,439 --> 01:26:59,760
Speaker 1: it was you'd go, okay, in order to save time,

1847
01:27:00,040 --> 01:27:01,640
Speaker 1: do that elaborate shot I want to do.

1848
01:27:01,960 --> 01:27:02,559
Speaker 2: I need to.

1849
01:27:04,320 --> 01:27:06,759
Speaker 1: Really get through this dialogue scene quickly.

1850
01:27:07,200 --> 01:27:07,320
Speaker 8: Now.

1851
01:27:07,320 --> 01:27:09,600
Speaker 1: I don't want to rush it because it's important. But

1852
01:27:09,720 --> 01:27:12,280
Speaker 1: if I just shoot this one really simply, then I'm

1853
01:27:12,320 --> 01:27:15,599
Speaker 1: banking time for later. I can do that elaborate oner

1854
01:27:15,760 --> 01:27:18,560
Speaker 1: or later. I can do that tricky crane shot. But

1855
01:27:18,680 --> 01:27:20,519
Speaker 1: you have to you have to pick and choose because

1856
01:27:20,560 --> 01:27:22,479
Speaker 1: you just you have to fit it into twelve hours.

1857
01:27:22,640 --> 01:27:25,040
Speaker 1: They used to let us go longer, but nowadays, I

1858
01:27:25,080 --> 01:27:26,800
Speaker 1: don't know if you find this on your other show, Spiller,

1859
01:27:26,880 --> 01:27:28,680
Speaker 1: no one wants you to go over twelve hours.

1860
01:27:29,160 --> 01:27:33,040
Speaker 3: And frankly I don't want to either. I mean Scrubs

1861
01:27:33,120 --> 01:27:35,040
Speaker 3: with Gueniku m Sex and the City was the same way.

1862
01:27:35,080 --> 01:27:38,400
Speaker 3: Our hours were really really long, but it was a

1863
01:27:38,439 --> 01:27:41,320
Speaker 3: similar energy on set, where it's like everyone just enjoyed

1864
01:27:41,320 --> 01:27:43,800
Speaker 3: each other so much. You know, you never laughed as

1865
01:27:43,880 --> 01:27:49,800
Speaker 3: much the work was high quality, and you know, and

1866
01:27:49,960 --> 01:27:51,840
Speaker 3: no one was telling you to stop spending money, so

1867
01:27:52,160 --> 01:27:54,120
Speaker 3: you know, you just kept going to you you got it.

1868
01:27:54,200 --> 01:27:57,240
Speaker 3: But it's you know, frankly, it's it's unsafe these days.

1869
01:27:57,280 --> 01:28:00,040
Speaker 3: I feel maybecause I'm a tiny bit older that and

1870
01:28:01,000 --> 01:28:03,840
Speaker 3: you know my work doesn't tend to improve after twelve hours.

1871
01:28:04,000 --> 01:28:06,640
Speaker 1: Yeah, and everyone gets cranky, and it is unsafe. You know,

1872
01:28:06,680 --> 01:28:09,640
Speaker 1: there's been plenty of instances of crew members who have

1873
01:28:09,800 --> 01:28:14,519
Speaker 1: to be there longer hours, whether it's teamsters or transport

1874
01:28:14,600 --> 01:28:18,240
Speaker 1: guys or or camera acs, and who've gotten in accidents

1875
01:28:18,320 --> 01:28:21,400
Speaker 1: or even died from just being in preposterous hours. So

1876
01:28:22,200 --> 01:28:23,120
Speaker 1: it is a safety thing.

1877
01:28:23,200 --> 01:28:23,760
Speaker 3: But we used to go.

1878
01:28:23,880 --> 01:28:26,240
Speaker 1: I mean we'd have sixteen seventeen hour days on Scrubs.

1879
01:28:26,560 --> 01:28:28,400
Speaker 3: When you guys on one of the earlier shows were

1880
01:28:28,439 --> 01:28:31,360
Speaker 3: talking about like favorite cameos and all that sort of

1881
01:28:31,400 --> 01:28:33,639
Speaker 3: stuff and like the sort of fantasy camera we run.

1882
01:28:33,680 --> 01:28:34,560
Speaker 2: I got a picture of you.

1883
01:28:35,400 --> 01:28:39,240
Speaker 3: I know, there's the re one rerun one which I

1884
01:28:39,360 --> 01:28:43,479
Speaker 3: love that photo. But there's also Dick Van Dyke.

1885
01:28:44,040 --> 01:28:45,479
Speaker 2: Yeah, did you direct that episode?

1886
01:28:45,920 --> 01:28:46,120
Speaker 7: Yes?

1887
01:28:46,920 --> 01:28:49,160
Speaker 3: And I mean when you sung with him in that

1888
01:28:49,320 --> 01:28:51,120
Speaker 3: moment when we were all just hanging out. I mean

1889
01:28:51,160 --> 01:28:53,120
Speaker 3: it's like I get choked up thinking about it.

1890
01:28:53,160 --> 01:28:54,840
Speaker 1: I mean, give us a little dollar, give us a

1891
01:28:54,880 --> 01:28:56,200
Speaker 1: little of that magic.

1892
01:28:58,479 --> 01:29:02,000
Speaker 2: Day ahead. Right is the morning in May. Hey, I

1893
01:29:02,120 --> 01:29:04,559
Speaker 2: fee like I could fly.

1894
01:29:05,280 --> 01:29:05,439
Speaker 3: Hey.

1895
01:29:06,720 --> 01:29:10,080
Speaker 2: Have you ever seen it's not habits? Have you ever

1896
01:29:10,200 --> 01:29:17,360
Speaker 2: seen the grass so green? Or a blue sky? Okay,

1897
01:29:17,439 --> 01:29:19,160
Speaker 2: so that's beautiful story.

1898
01:29:19,840 --> 01:29:20,880
Speaker 1: Jolly Holiday.

1899
01:29:21,080 --> 01:29:23,160
Speaker 2: Yeah, Dick Van Dyke was on the show and I

1900
01:29:23,280 --> 01:29:26,120
Speaker 2: got to sing Jolly Holiday. Well I didn't sing. He

1901
01:29:26,280 --> 01:29:29,920
Speaker 2: sang it, and I played the guitar while he sang it. Uh,

1902
01:29:30,120 --> 01:29:32,519
Speaker 2: there's a tape. There's there's a recording of it out

1903
01:29:32,560 --> 01:29:33,599
Speaker 2: there somewhere. I don't know where.

1904
01:29:33,680 --> 01:29:37,120
Speaker 3: I know I shot it. Yeah, I'm on something. But

1905
01:29:37,200 --> 01:29:40,599
Speaker 3: I was like, did phones have video cameras? Then? I mean,

1906
01:29:40,640 --> 01:29:43,000
Speaker 3: I can't remember, but I know I shot it.

1907
01:29:43,160 --> 01:29:47,639
Speaker 2: It's out there somewhere, somewhere, somewhat somehow it could be found.

1908
01:29:47,640 --> 01:29:49,799
Speaker 2: I don't know who has it, but yeah, yeah.

1909
01:29:49,960 --> 01:29:52,439
Speaker 1: Well, Spiller, you've been a fantastic guest.

1910
01:29:52,880 --> 01:29:55,200
Speaker 2: This is the longest this is the longest we've ever

1911
01:29:55,280 --> 01:29:55,959
Speaker 2: had a guest.

1912
01:29:55,760 --> 01:29:57,479
Speaker 1: On this, We've ever We were gonna have to cut

1913
01:29:57,560 --> 01:29:58,479
Speaker 1: this fucking way down.

1914
01:29:58,520 --> 01:30:00,760
Speaker 2: We got down one to listen to one.

1915
01:30:01,840 --> 01:30:05,080
Speaker 1: No, I want to be sincere for a second and say, uh,

1916
01:30:05,280 --> 01:30:07,519
Speaker 1: not only are you a fantastic guy, but I, as

1917
01:30:07,560 --> 01:30:10,800
Speaker 1: a filmmaker, learned a lot from watching you, because you

1918
01:30:11,200 --> 01:30:15,719
Speaker 1: are talented and you not only direct a beautiful episode,

1919
01:30:15,720 --> 01:30:19,599
Speaker 1: but you're so charming and everybody loves you on set,

1920
01:30:19,720 --> 01:30:22,439
Speaker 1: and uh, you're a great leader, and I'm not surprised

1921
01:30:22,479 --> 01:30:26,280
Speaker 1: that you are successful and have an Emmy and uh,

1922
01:30:26,680 --> 01:30:28,439
Speaker 1: and I hope I get to work with you again soon.

1923
01:30:29,000 --> 01:30:30,719
Speaker 3: Oh, thank you, Zach. That's so kind.

1924
01:30:31,000 --> 01:30:32,760
Speaker 2: I hope I'm one of those actors that you're like,

1925
01:30:32,880 --> 01:30:36,160
Speaker 2: you know what, I got a guy, don't worry about it. Yeah,

1926
01:30:37,160 --> 01:30:40,320
Speaker 2: bring enjoyed. I really enjoyed our time together.

1927
01:30:40,760 --> 01:30:42,320
Speaker 3: You know it shows.

1928
01:30:42,479 --> 01:30:45,559
Speaker 2: It shows by how long this podcast episode was too.

1929
01:30:46,360 --> 01:30:48,560
Speaker 3: But hey, just just keep going because I directed the

1930
01:30:48,640 --> 01:30:51,200
Speaker 3: next episode too. Look at two for you'll be I

1931
01:30:51,240 --> 01:30:52,640
Speaker 3: didn't watch it. I didn't watch it.

1932
01:30:52,920 --> 01:30:56,120
Speaker 2: I didn't watch the next episode. Yeah, yeah, he will

1933
01:30:56,479 --> 01:30:56,960
Speaker 2: we probably.

1934
01:30:56,960 --> 01:30:58,680
Speaker 3: Well, I'm available if you every want to bring me.

1935
01:30:58,720 --> 01:30:59,720
Speaker 1: Back, We're going to have you back.

1936
01:30:59,720 --> 01:31:00,880
Speaker 2: You've you definitely callback.

1937
01:31:01,280 --> 01:31:03,320
Speaker 1: Ladies and gentlemen, thank you so much for tuning in

1938
01:31:03,439 --> 01:31:06,200
Speaker 1: to fake doctors, real friends. I'm your co host Zach

1939
01:31:06,280 --> 01:31:07,639
Speaker 1: Braff with what's your name again?

1940
01:31:08,080 --> 01:31:10,760
Speaker 2: Black Scrubs, Donald Faison, a k A T.

1941
01:31:10,960 --> 01:31:11,320
Speaker 3: Diggs.

1942
01:31:11,680 --> 01:31:17,599
Speaker 2: We like K brown Bear, a k A Turk turkle

1943
01:31:17,680 --> 01:31:18,720
Speaker 2: Tip a k.

1944
01:31:19,080 --> 01:31:27,160
Speaker 5: At Stories that show we made about a bunch of

1945
01:31:27,360 --> 01:31:33,480
Speaker 5: dogs and nurses, and jan I said, he's the Stories Nephews.

1946
01:31:34,080 --> 01:31:41,840
Speaker 3: No so YadA round here, yet here we show is