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Speaker 1: What are we even do? What are we even doing?

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Speaker 2: Hey?

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Speaker 1: Everyone, welcome to What Are We Even Doing? I am

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Speaker 1: Kyle MacLaughlin, your host. This is a podcast where I

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Speaker 1: sit down with creatives, people who are shaking up the

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Speaker 1: world of internet film art, and we talk about creative

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Speaker 1: process and anything else that pops up. We basically get

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Speaker 1: weird in a very nice way. Today we have someone special,

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Speaker 1: you know. Usually on this show we speak about the

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Speaker 1: younger generation, the generation is coming up, fresh faces, people

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Speaker 1: that are dominating your news feed. But it's April Fools

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Speaker 1: and we made an We accidentally booked someone who is

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Speaker 1: actually has decades of experience, who is a critic, has

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Speaker 1: critical acclaim, a Bob Hope Humanitarian Award, and a fully

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Speaker 1: developed frontal lobe. Yes, ladies and gentlemen, today we have

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Speaker 1: on the show the one the only mister Ted dancing.

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Speaker 2: Well done. I don't do that. You don't do the

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Speaker 2: I do intros by myself. Yeah, because I'm bad at

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Speaker 2: it and I'm embarrassed by it. But you did it

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Speaker 2: right in front of me.

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Speaker 1: I just I just did, and I'm embarrassed. We just

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Speaker 1: like to roll with the roll with the changes. Usually

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Speaker 1: we on our show we bring a little libation for you,

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Speaker 1: and most of our guests love this latte, iced cold latte,

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Speaker 1: a little bit of oat milk of a splash of vanilla.

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Speaker 1: So it's a macha for you.

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Speaker 2: Thank you. Mass are cool.

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Speaker 1: You don't have to touch that because I.

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Speaker 2: Will depending on the sugar content. I got you right now.

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Speaker 1: Let me know because otherwise we have the black coffee,

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Speaker 1: which is.

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Speaker 2: God, it's really good.

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Speaker 3: We've got a convert.

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Speaker 1: This is just a black coffee ready to rock and roll,

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Speaker 1: because if you're like me, you take it black as

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Speaker 1: midnight on a moonless night. How you doing, man, It's

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Speaker 1: so nice that you're here.

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Speaker 2: I'm good. I'm good. I'm surrounded by so many people

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Speaker 2: in my life, kids, grandkids, friends of kids, yeah, friends

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Speaker 2: of grandkids, and my wife Mary, and you're in a

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Speaker 2: really blessed and I'm not feeling that way. I'm a

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Speaker 2: full on asshole because I'm just surrounded by blessings.

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Speaker 1: You're grumpy ted when that's not around.

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Speaker 2: I do it. I do grumpy.

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Speaker 1: I'm similar when I'm not with my wife or my child.

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Speaker 1: I have a son who's seventeen. I feel a little

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Speaker 1: out of sorts.

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Speaker 2: My endorphin level just drops when I'm not around Mary.

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Speaker 1: She's delightful and full of energy.

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Speaker 2: We know so many of the same people. But do

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Speaker 2: you know Mary. Have you worked with Mary? I have

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Speaker 2: not worked with Mary.

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Speaker 1: No, we've met, but I can't say I really know her.

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Speaker 1: But Laura Dern is the common thread there because they're

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Speaker 1: very good friends.

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Speaker 2: Yeah.

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Speaker 1: Isabella Rosseline another one who you worked with I've worked with.

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Speaker 1: I think Mary accuses me of falling in love with her,

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Speaker 1: and it's true. I did for a week. Yes, No,

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Speaker 1: I was one week. I understand how could you not?

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Speaker 2: And then yeah, how could you not?

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Speaker 1: Honestly really lovely. Yeah, she's very special. She had done

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Speaker 1: Blue Velvet, so this was a couple of years after

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Speaker 1: for that. She took a pretty good hit on Blue Velvet. Actually,

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Speaker 1: there were some people that were very you.

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Speaker 2: Know, ye vaguely remember that. But why because of the subject, manitor,

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Speaker 2: the nudity. Yeah, all of us really.

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Speaker 1: Yeah, yeah, I know, and I don't think unexpected. People

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Speaker 1: were like, oh that's oh he's a little Sellini and

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Speaker 1: they you know, they had expected something else and here

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Speaker 1: she came out with this very raw.

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Speaker 2: She's an actor, she's working as a director, and this

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Speaker 2: is what they came up with. Yeah.

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Speaker 1: Yeah, and Mary, Mary worked with David. Yes, she did

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Speaker 1: experience on that.

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Speaker 2: She did her story and should let her tell it.

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Speaker 2: But her story is she just did a kind of

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Speaker 2: glamour photo shoot and Laura Dern said, hey, do you

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Speaker 2: want to come quick? And so she literally drove to

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Speaker 2: the location, which was an active meth house. It wasn't

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Speaker 2: a set, okay, sure you know, you know, and he

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Speaker 2: was in his v W bug or something meditating when

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Speaker 2: she arrived. So it was like, yeah, one of these

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Speaker 2: and then here she was in full and he came

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Speaker 2: up to her and said, can I mess you up

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Speaker 2: a little bit? Grab some dirt?

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Speaker 1: Uh huh?

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Speaker 2: But I envy her. What a what astounding director, slash

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Speaker 2: human beings, slash meditator who put that out into the world.

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Speaker 1: Yeah, all of those things. He was incredibly special and

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Speaker 1: he yeah, he would you. Yeah, my first to Dune.

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Speaker 1: You know, without that, and without David, you know, who

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Speaker 1: knows what would have happened to me, what kind of

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Speaker 1: career I would have had. But that started it in

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Speaker 1: a very big way and nearly ended it, to be

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Speaker 1: quite honest. And then Blue Velvet came along. And uh,

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Speaker 1: and that sort of captured a different audience, and that

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Speaker 1: propelled me a little bit forward. Yeah, you know a lot. Yeah,

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Speaker 1: that was sort of the precursor to Twin Peaks, and

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Speaker 1: I was thinking about you with cheers obviously. I mean

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Speaker 1: that's a performance that we will always remember. Would you

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Speaker 1: say that experience was Everything leading up to that point

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Speaker 1: was challenging, difficult? No, you all good?

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Speaker 2: It wasn't you know. It wasn't a rocket ship to

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Speaker 2: fame or anything like that. But I came sort of

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Speaker 2: late to acting, you know, sophomore in college, and man,

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Speaker 2: there was nothing else in life I could have done. Literally,

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Speaker 2: not just because it's my passion. I mean there's literally

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Speaker 2: nothing else I could have done. But the light bulb

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Speaker 2: went off and everything just made sense. I was smitten.

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Speaker 2: I went from being a crappy student to be you know,

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Speaker 2: head of her heels, Yeah, passionately dedicated, went to Carnegie Mellon,

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Speaker 2: studied all of that stuff. So by the time I

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Speaker 2: got to LA years, I had worked in New York

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Speaker 2: a little bit, but I almost didn't care whether I

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Speaker 2: was in an acting class, acting or being paid to act.

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Speaker 2: Almost nice to be hired, nice to be paid the

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Speaker 2: process of acting was so delicious that I was just

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Speaker 2: in love. I was in love with Hollywood. I was

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Speaker 2: in love with the studios. My first audition driving through

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Speaker 2: the Paramount Gates. Crazy still throws me, It really does.

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Speaker 2: So anyway, yes, there were. You know. I did a

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Speaker 2: couple of movies. I did every guest start. You know.

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Speaker 2: I was on BJ and the Bears. Look that one.

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Speaker 1: I remember that we're not that different in the age.

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Speaker 2: I remember that one just couldn't get enough.

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Speaker 1: It sounds we started in ton of a similar way.

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Speaker 1: I was at the University of Washington. You were at Stanford, Panford,

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Speaker 1: and then Carnegie.

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Speaker 2: Yeah, but I was always geographically interesting because I was

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Speaker 2: not a good student. I struggled too to get a

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Speaker 2: C plus. You know, I remember sitting in this advanced

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Speaker 2: placement English or some stupid reason they put me in,

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Speaker 2: and I remember saying, they go, I don't understand what

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Speaker 2: the professor just said. But I also don't understand what

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Speaker 2: the student next to me asked him.

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Speaker 1: I couldn't.

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Speaker 2: I literally it was just over my head. So I

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Speaker 2: did nothing until I fell in love with acting. Transferred

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Speaker 2: to Carnegieeah. And that happened at Stanford. The falling in love.

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Speaker 1: They had like a drama cool thing.

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Speaker 2: They had some acting classes, and I don't know if

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Speaker 2: you felt this way, you ran off to join the cerviace.

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Speaker 2: You found your tribe. They were smoking cigarettes and the

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Speaker 2: girls were cursing.

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Speaker 1: Yes and.

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Speaker 2: Changing.

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Speaker 1: He drank wine. Yes, what is these what? Who are

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Speaker 1: these people? I love them? And it was the same thing.

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Speaker 1: You watched those actors and went wow, this is this. Yeah,

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Speaker 1: I love this and you want to be part of that.

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Speaker 1: Somehow I believe I read that you was a neighborhood playhouse.

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Speaker 1: That's that's when Mary was neighborhood plays Mary Sandy Meisner.

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Speaker 2: She came from, you know, at eighteen, from the Little

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Speaker 2: Rock North, Little Rock, Arkansas. You know, still saying, you

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Speaker 2: know there was no difference between a pin that you

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Speaker 2: wrote with and a pin pin. Yes, you know. She

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Speaker 2: did an improv group for a couple of years after

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Speaker 2: waiting tables, but after going to the neighborhood playoffs, which

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Speaker 2: was for those who don't know who are listening is

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Speaker 2: probably the premier acting teacher and making the rounds, went

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Speaker 2: to an audition. I went to a just meet the

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Speaker 2: casting director, and I went okay for a second or two,

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Speaker 2: and they said thank you. And Mary said, are you

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Speaker 2: casting anything now, something she would never do because she

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Speaker 2: had been excused from the room. And they said, yes,

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Speaker 2: it's called Going South. It's for only either astoundingly beautiful

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Speaker 2: models or famous actresses. It's a Jack Nicholson project. And

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Speaker 2: Mary turned around and said, well, I'm just going to

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Speaker 2: wait until I could see a script. I'll just wait outside.

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Speaker 2: It was just so ballsy and so not her, and

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Speaker 2: she as soon as she sat down outside, she went,

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Speaker 2: oh my god, what have I done. She sat there

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Speaker 2: for a while, it was getting encouraged to go back

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Speaker 2: in and apologize, and she's looking at her feet and

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Speaker 2: she hears this iconic voice saying, are you waiting to

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Speaker 2: see me? And she looks up and there's Jack Nicholson

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Speaker 2: and she said no, and he said why not because

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Speaker 2: I don't have a script. And he turned around and

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Speaker 2: got a script, brought it to her and said come

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Speaker 2: back tomorrow and we'll read. I mean, she had to

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Speaker 2: go back to her waiting shift. She was waiting wearing

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Speaker 2: her waiting stained T shirt waitress, you know, and she

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Speaker 2: read it went back. They read for hours together and

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Speaker 2: she got the part of the rest of history.

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Speaker 1: That's ballsy that Yeah, but Jack saw something he was like,

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Speaker 1: I guess yeah, Wow, I was thinking of your moment.

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Speaker 1: Was there a role or something performance or something where

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Speaker 1: you're like.

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Speaker 2: Wow, I'm waiting for that life put me in again, coach,

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Speaker 2: you know.

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Speaker 1: Yeah, when you talk about sort of that the worthy

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Speaker 1: feeling like the worthy, the belonging, that kind of I have.

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Speaker 2: To say on a big level, it was second the

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Speaker 2: third year of cheers. Maybe not run with the bulls,

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Speaker 2: but walk with the bulls. At least it was maybe

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Speaker 2: the onion field their body heat, which were the first

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Speaker 2: couple of yeah, things I did.

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Speaker 1: When I came back was great.

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Speaker 2: But I didn't feel like I arrived and had any

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Speaker 2: right to walk through the door, you know, as if

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Speaker 2: I belonged for a very long time. Maybe second, third

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Speaker 2: year of Cheers. Yeah, there's something about when you stick

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Speaker 2: your head out, you know, you may be afraid of

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Speaker 2: what people think, and then at some you know, are

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Speaker 2: you being judged? And then you go, yeah, you're being judged.

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Speaker 2: You know, half the people love you, half people hate you,

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Speaker 2: you know, and all of a sudden you realize, oh, what,

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Speaker 2: who gives a fuck? Right? This is me? I got Yes,

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Speaker 2: forget it and you stop worrying about what people think

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Speaker 2: of you. And that's kind of when I feel like

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Speaker 2: I started because I didn't want a lot of people

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Speaker 2: have that self confidence and that something right off the bat,

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Speaker 2: even you know, where it's like fuck you, this is me.

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Speaker 1: Yeah you know, yeah, you know, like who cares?

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Speaker 2: I didn't get that.

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Speaker 1: I can totally relate to that feeling. And I still,

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Speaker 1: as you were sort of alluding to, I still have,

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Speaker 1: you know, when you start up new project, Yeah, it's

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Speaker 1: always like right, it's like can I do this? Am

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Speaker 1: I going to remember? And then of course you do,

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Speaker 1: you know, you step in and and the same kind

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Speaker 1: of experience. And as funny as, I'm in interviewing a

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Speaker 1: lot of young creatives and I feel like somehow they

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Speaker 1: are totally okay, you.

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Speaker 2: Know, yeah, maybe there is evolution, Maybe they are why

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Speaker 2: are stepping on our insecure shoulders to get to their

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Speaker 2: secure place? Yeah?

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Speaker 1: Yeah, yeah, it's true.

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Speaker 2: I mean, I I don't think I can point to

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Speaker 2: anything as Ted the young actor and go oh look

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Speaker 2: at you, you know, you know, and some of these

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Speaker 2: kids straight out of the shooter.

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Speaker 1: Like yeah, whoa, yeah, look at you? So talent, and

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Speaker 1: I wonder where that confidence or what it is that

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Speaker 1: that is that it's drugs it you know, if I

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Speaker 1: only had taken more drugs when I was a kid.

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Speaker 2: What's cool though about our profession is you and I

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Speaker 2: me more so because I'm older, still get to hang

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Speaker 2: out with these incredible people. We're talking about young people

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Speaker 2: were talking about, Yeah, you get to be young, you

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Speaker 2: get to be old, you get to be a you know,

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Speaker 2: a toddler. You can be a ninety year old and

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Speaker 2: still be on the same Somble team. Yeah, that's that's

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Speaker 2: a really cool thing.

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Speaker 1: That journey is interesting, right, starting off as kind of

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Speaker 1: the young leading juvenile man whatever, and then gradually moving

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Speaker 1: through and then getting to a point where now I'm

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Speaker 1: doing these roles, you know, and it's a little odd

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Speaker 1: when you come in you go, I'm the I'm the

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Speaker 1: dad again, you know, you know, but it's still fun.

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Speaker 2: What's it like? I wish we could turn the camera

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Speaker 2: on this group of.

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Speaker 1: Young ones total age maybe yeah, together thirty.

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Speaker 2: You know, it's like, I wonder what it's like. But

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Speaker 2: that's what this podcast is, right, Yeah, talking to really

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Speaker 2: young people.

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Speaker 1: Yeah, yeah, who are there?

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Speaker 2: Just their thoughts about us and the world that we

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Speaker 2: kind of handed them.

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Speaker 1: The thing what I've learned from the conversations is highly motivated,

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Speaker 1: very creative, the multi hyphen word people talk about it.

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Speaker 1: They do many different things. They access social in a

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Speaker 1: way that we don't. Although I've been helped by my team,

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Speaker 1: we work together, I've kind of leaned into I don't

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Speaker 1: know you going growing up and going through everything. Did

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Speaker 1: you ever feel, oh, I'm kind of have to I'm

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Speaker 1: playing these kind of roles. I sort of have to

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Speaker 1: be this kind of person. Or did you feel like

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Speaker 1: whatever I can show any side of me. Did you

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Speaker 1: feel comfortable.

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Speaker 2: I was whatever. I don't think I self imposed limits.

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Speaker 1: Did you ever feel like, oh I need to I guess,

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Speaker 1: for lack of a better word, stay in my lane,

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Speaker 1: or these are the kind of roles I want to

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Speaker 1: go for.

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Speaker 2: Or yes, I mean, but I mean I bring you know,

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Speaker 2: you do bring baggage. You may think you're not type cast,

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Speaker 2: or you bring your bad totally. You know. Oh, here

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Speaker 2: comes sweet nice Ted. He's a nice guy. Yeah whatever,

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Speaker 2: Oh he makes me smile. You know. But you can

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Speaker 2: then with the right writer story, you can turn it

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Speaker 2: on It's ear sure. Oh here comes nice sweet tedd Yeah,

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Speaker 2: stuck knife in that pas, you know, yeah, because if

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Speaker 2: the story is well done, you can use it, you know,

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Speaker 2: to the advantage of not seeing that coming.

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Speaker 1: Yeah. I was just thinking about saving Private Ryan when

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Speaker 1: he came in, and you were like, this is no nonsense,

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Speaker 1: get down to business guy who's serious, understands everything. Smart

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Speaker 1: but definitely no nonsense.

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Speaker 2: No you know what that you know where all of

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Speaker 2: that came from. Tell me that's Steven Spielberg. I better

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Speaker 2: not fuck around. And I'm I'm working with Hanks. Fuck,

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Speaker 2: don't yeh you get serious? Yeah?

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Speaker 1: Yeah, come on? Were you like with your lines? We're like,

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Speaker 1: I'm getting these lines down solid.

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Speaker 2: They work so fast, both of them, but Stephen obviously

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Speaker 2: the director. Yeah, and I can't bember his name is

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Speaker 2: famous cinematographer. Anyway, they and it was outdoors, so there

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Speaker 2: was it worked fast? Yeah, little little story.

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Speaker 1: Yeah, tell me I was.

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Speaker 2: I was a Concord soldier, MENI I went flew in,

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Speaker 2: flew out two days Concord. The team, the platoon was

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Speaker 2: there you know, for months, being a they did boot

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Speaker 2: camp train by Captain Dale died.

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Speaker 1: Yeah, yeah, that's the guy.

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Speaker 2: So that was the they were the real deal. The

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Speaker 2: reason why I flew in so quickly was because they

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Speaker 2: finished up D Day, which they were shooting in Ireland.

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Speaker 2: That first thirty unbelievable minute segment that was just changed

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Speaker 2: people's experience of World War two, literally, I agree. And

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Speaker 2: he finished it a week early, astounding the man. Then

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Speaker 2: I witnessed him in my little scene being so fast,

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Speaker 2: and I went we went out to dinner with the

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Speaker 2: group with him after the movie came out and all that.

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Speaker 2: I said, you know, Steve, and I still tell that

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Speaker 2: story about it finished. He looked to me like, what, No,

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Speaker 2: we ran out of black powder. We couldn't blow anything

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Speaker 2: up all of Europe. They could not find any more

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Speaker 2: black powder to blow shut up.

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Speaker 1: And that was the story.

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Speaker 2: It was okay. Yeah, When when when a project is

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Speaker 2: so thoughtfully put together and so purposeful, and there's a

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Speaker 2: creative force that's just so strong, there are no accidents.

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Speaker 2: Every accident and everything that you didn't expect feeds into

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Speaker 2: it and makes it better. And that was kind of

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Speaker 2: Larry Kasin. He had thought out Body Heat, he had

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Speaker 2: storyboarded it, I think two or three times before we

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Speaker 2: even got before the cameras. Then we started to rehearse.

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Speaker 2: We had maybe two weeks or rehearsal, so I got

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Speaker 2: to work with the choreographer. My character was this guy

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Speaker 2: who loved Fred Astaire and do these silly dances off

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Speaker 2: of everything. And I got to dance off car bumpers

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Speaker 2: all over Sherman Oaks with my choreography for two months,

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Speaker 2: you know, and so and they became so rich from

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Speaker 2: the rehearsal that he would shoot half a master in

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Speaker 2: a quarter of a.

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Speaker 1: You knew exactly what he knew exactly what he wants.

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Speaker 2: You could take the script that we auditioned with and

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Speaker 2: go watch the movie now and conduct it like it.

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Speaker 1: Was that tight.

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Speaker 2: Every note is there.

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Speaker 1: I was thinking about my work on stage with Woody Holson. Yes,

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Speaker 1: we did a plate again.

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Speaker 2: And we can talk about your work off stage. What

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Speaker 2: did you do?

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Speaker 1: Sorry, we did a new play in London called On

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Speaker 1: an Average Day. This was in the middle of his

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Speaker 1: raw food face. Yeah, no, did you go through that

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Speaker 1: at all with him working?

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Speaker 2: He does it periodic period. Yes, he's the real deal.

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Speaker 1: It was memorable. His diet on stage certain nights.

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Speaker 2: Oh, I see what you're saying.

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Speaker 1: Yes, vegetarian wasting in makes about odors wafting, you produce

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Speaker 1: about thirty cubic feet of air out your rear end.

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Speaker 2: You know what it is? Yes, okay, when you eat

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Speaker 2: that way?

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Speaker 1: Yes, yes, okay, So it was I'm not alone, it was.

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Speaker 2: Here's my we're talking farts.

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Speaker 1: That's what we've gotten to.

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Speaker 2: This is my Woody Harrelson fart story. And farts are funny.

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Speaker 2: Come on, if you don't laugh farts. I can't imagine

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Speaker 2: people who don't raise their kids teaching them how funny

364
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Speaker 2: farts are at an early age. You have to. Yeah, yeah,

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Speaker 2: because they are funny. Anyway, here's Woody's fart story. Cheers.

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Speaker 2: Was you know, one big set. Really, it was a

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Speaker 2: huge perscenium arch like theater set where everybody in the

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Speaker 2: bar had to stay live and acting and all of that,

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Speaker 2: even though the cameras may be over here shooting a

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Speaker 2: little intimate thing. He'd come up and say, I got

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Speaker 2: to tell you something. I just really appreciate your point

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Speaker 2: of view. And I'm going, oh, that's my ego kicked

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Speaker 2: in and oh I love this. Yeah, no, please tell me.

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Speaker 2: And he would start this story and he'd be looking

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Speaker 2: intensely in my eyes, having silently cut a fart that

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Speaker 2: was just horrendous. But he was looking in my eyes

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Speaker 2: waiting for the fart to hit my nose like a

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Speaker 2: killer who wants to see his victim die. Oh man

379
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Speaker 2: all off. Sometimes it was so offensive that I would

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Speaker 2: hit him as hard as I could in front of me.

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Speaker 1: Absolutely, we had so many stories. It was a two hander.

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Speaker 1: So it's just he and I on and he went

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Speaker 1: on stage in the in the very beginning, and they

384
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Speaker 1: would try to cool the theater with his giant swamp

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Speaker 1: peters even while the audience was there. They were going

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Speaker 1: and he would cut them off just before curtain. One day,

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Speaker 1: they forgot to turn them off. So when he comes

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Speaker 1: on stage, he starts to talk, Wow, it sure is

389
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Speaker 1: loud out here. Somebody better. Yeah, they must be doing

390
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Speaker 1: some construction somewhere. He's trying to just kind of in

391
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Speaker 1: character character, let the stage manager know that they'd forgotten

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Speaker 1: to turn off because they couldn't hear it. I go

393
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Speaker 1: out like you, and I'm hearing it, and we're both

394
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Speaker 1: talking at the top of our lungs, trying to be heard.

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Speaker 1: In about two minutes in, we hear a voice al

396
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Speaker 1: Pacino's in the audience and he stands up. Hey, these

397
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Speaker 1: actors are trying to work out here. Somebody turn off

398
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Speaker 1: and he goes off and the house slights come up.

399
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Speaker 1: We stand and there We're like what the hell? And

400
00:21:27,359 --> 00:21:29,639
Speaker 1: the stageman comes out and they say, oh, there's a

401
00:21:29,680 --> 00:21:32,720
Speaker 1: whole hullabaloo, and we go back and we start to

402
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Speaker 1: play over again. They turn off this, they turn off

403
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Speaker 1: the swamp coolers. But if he hadn't been in the audience,

404
00:21:37,800 --> 00:21:40,240
Speaker 1: it would have been like, oh cool. Now we were like,

405
00:21:40,440 --> 00:21:42,399
Speaker 1: and now, of course we're scared shitless because we know

406
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Speaker 1: that he's in the audience, Like, holy fuck, we've better

407
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Speaker 1: do a good performance. Anyway. One of the story many

408
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Speaker 1: many moments with Woody.

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Speaker 2: You talked for a while.

410
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Speaker 1: Well, you mentioned you mentioned Dick van Dyke, which I

411
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Speaker 1: because I grew up with the Dick Van Dyke Show,

412
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Speaker 1: and I think you tell the story of one of

413
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Speaker 1: the first things that you saw when you actually did

414
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Speaker 1: watch television.

415
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Speaker 2: I hadn't found acting yet or anything, but I was

416
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Speaker 2: just smitten. And I'm the best part about any kind

417
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Speaker 2: of degree of success is you kind of feel it's

418
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Speaker 2: okay to go talk to people you admire and love,

419
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Speaker 2: you know. So I started to stalk him every time

420
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Speaker 2: I say, you know, I think he started to flinch

421
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Speaker 2: when he would see me coming.

422
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Speaker 1: I was just so.

423
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Speaker 2: In love with him, I swear I think I tried

424
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Speaker 2: to steal every physicality of his I could physical comedian.

425
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Speaker 1: Extraordinary, unbelievable. I adored his show. I adored his comedy.

426
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Speaker 2: Really, I got to in our podcast, Mary and I

427
00:22:42,920 --> 00:22:46,359
Speaker 2: went out to his house. His house is as full

428
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Speaker 2: of kind of memorabilia and stuff, and I mean, but

429
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Speaker 2: pictures and letters, you know, Buster. I think it was

430
00:22:52,520 --> 00:22:56,600
Speaker 2: Buster Key writing him this letter, chaplain writing who is

431
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Speaker 2: this kid? You know, people who just saw his physical

432
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Speaker 2: comedy chops and pointed them out.

433
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Speaker 1: Yeah, and Reckon he's the heir apparent. Yeah yeah.

434
00:23:06,600 --> 00:23:10,919
Speaker 2: He played my father on Becker And, which was a

435
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Speaker 2: half hour show and you rehearse for a week. But

436
00:23:14,240 --> 00:23:16,560
Speaker 2: he was great. The rest of the gus sucked because

437
00:23:16,600 --> 00:23:18,400
Speaker 2: all we did was sit down and want to talk

438
00:23:18,440 --> 00:23:21,640
Speaker 2: to him. Nout's one more story, may learn about one

439
00:23:21,640 --> 00:23:22,879
Speaker 2: more story, One more story.

440
00:23:23,119 --> 00:23:25,919
Speaker 1: Oh my god, I had an experience doing live camera.

441
00:23:26,119 --> 00:23:29,000
Speaker 1: I was terrified. I don't know, did you how did

442
00:23:29,000 --> 00:23:31,080
Speaker 1: you get over with cheers?

443
00:23:31,080 --> 00:23:33,840
Speaker 2: Did you feel like pardon me? I you know I

444
00:23:33,920 --> 00:23:37,560
Speaker 2: was young enough to have the adrenaline pump. Now I don't.

445
00:23:37,920 --> 00:23:40,199
Speaker 2: I would never do it. It'd be like, yeah, you

446
00:23:40,200 --> 00:23:44,080
Speaker 2: don't care, No I care. I would be so terrified.

447
00:23:44,320 --> 00:23:46,800
Speaker 2: I you know, every line would fly out of my head.

448
00:23:47,440 --> 00:23:50,720
Speaker 2: We would rehearse so much. I guess we all kind

449
00:23:50,720 --> 00:23:52,880
Speaker 2: of learned. And it was such an ensemble. You never

450
00:23:52,920 --> 00:23:55,280
Speaker 2: felt like you were It was all on your shoulders

451
00:23:55,640 --> 00:23:59,359
Speaker 2: and and the writing was so good that you never

452
00:23:59,440 --> 00:24:01,520
Speaker 2: felt like, how am I going to make this work?

453
00:24:01,560 --> 00:24:04,919
Speaker 2: It was can I live up to the material you discovered?

454
00:24:05,040 --> 00:24:08,000
Speaker 2: I think later on, if you showed up without that

455
00:24:08,320 --> 00:24:12,479
Speaker 2: not terror, but nerves, you'd fuck up right away. It

456
00:24:12,520 --> 00:24:14,879
Speaker 2: was you learned to go, oh, I'm glad I have

457
00:24:15,040 --> 00:24:19,679
Speaker 2: this adrenaline pump in my body because and for cheers

458
00:24:19,720 --> 00:24:22,000
Speaker 2: after you know, so many years it was like eleventh

459
00:24:22,040 --> 00:24:26,280
Speaker 2: so about episode. You know, from fourth or sixth season

460
00:24:26,359 --> 00:24:31,560
Speaker 2: on you had to manufacture that adrenaline pump because it

461
00:24:31,640 --> 00:24:34,359
Speaker 2: was so familiar. But you didn't want to show up

462
00:24:34,440 --> 00:24:37,480
Speaker 2: lack a days ago. So the unfortunately the way to

463
00:24:37,520 --> 00:24:41,760
Speaker 2: show up was I really didn't learn my lines this time?

464
00:24:41,960 --> 00:24:46,200
Speaker 1: Oh no, oh no, that's terror, that's the actor's night here,

465
00:24:46,920 --> 00:24:48,720
Speaker 1: but that got you through.

466
00:24:49,600 --> 00:24:53,119
Speaker 2: And also by then the audience loved you messing up.

467
00:24:53,840 --> 00:24:54,760
Speaker 2: They found it funny.

468
00:24:55,040 --> 00:24:59,000
Speaker 1: Yeah. So yeah, we had some of those until it

469
00:24:59,080 --> 00:25:01,879
Speaker 1: kept happening over in a while and then they're like,

470
00:25:02,119 --> 00:25:04,240
Speaker 1: let's move on, shall we Can I.

471
00:25:04,160 --> 00:25:07,160
Speaker 2: Ask questions because I am yeah? Yeah, yeah, yeah, So

472
00:25:07,240 --> 00:25:10,399
Speaker 2: you are mostly talking to people, Uh what age and

473
00:25:10,480 --> 00:25:11,760
Speaker 2: under on your.

474
00:25:11,680 --> 00:25:17,440
Speaker 1: Pop gen z young? Yeah, thirty five under basically thirty

475
00:25:17,440 --> 00:25:20,280
Speaker 1: five and under. I kind of steer it to the creative,

476
00:25:20,720 --> 00:25:24,119
Speaker 1: their process, what their journey, where they started, how they

477
00:25:24,200 --> 00:25:26,640
Speaker 1: use social you know, how they how they present. It's

478
00:25:26,680 --> 00:25:28,960
Speaker 1: allowing them to show another. So let's say, for instance,

479
00:25:29,000 --> 00:25:32,240
Speaker 1: Mahala I had on here. She's almost a show called Industry,

480
00:25:32,240 --> 00:25:35,320
Speaker 1: and she plays pretty pretty hard house on Industry. She's

481
00:25:35,440 --> 00:25:38,199
Speaker 1: delightfully free spirited and young and wonderful, and so she

482
00:25:38,280 --> 00:25:41,280
Speaker 1: presents that on her social while she has the character

483
00:25:41,280 --> 00:25:43,359
Speaker 1: that she plays which is really a toughie, you know,

484
00:25:43,640 --> 00:25:46,679
Speaker 1: and so we just talk about how she navigates that world.

485
00:25:47,359 --> 00:25:51,760
Speaker 2: How about AI, what do they say about that anything? See, Really,

486
00:25:51,760 --> 00:25:54,520
Speaker 2: when you get to my age, I do wonder whether

487
00:25:54,600 --> 00:25:59,120
Speaker 2: or not because everything is more sensitized maybe I mean

488
00:25:59,200 --> 00:26:03,920
Speaker 2: literally I'm sure or your body nervous system is different,

489
00:26:04,560 --> 00:26:08,399
Speaker 2: doesn't have as much fat around the nerve cells, you know,

490
00:26:09,960 --> 00:26:12,560
Speaker 2: not around the nerves. I think getting older is like

491
00:26:12,680 --> 00:26:13,520
Speaker 2: eating paleo.

492
00:26:14,200 --> 00:26:16,199
Speaker 1: Oh yeah at all times.

493
00:26:16,240 --> 00:26:19,560
Speaker 2: Yeah, you're like what yeah, yeah, yeah, yeah, everything is

494
00:26:19,600 --> 00:26:22,879
Speaker 2: a little bit jarring. Yeah, so I find life a

495
00:26:22,880 --> 00:26:26,359
Speaker 2: little bit jarring, right, Yeah, I'm using euphemism. I think

496
00:26:26,520 --> 00:26:30,080
Speaker 2: it's such a These people you're talking about are obviously

497
00:26:30,200 --> 00:26:33,720
Speaker 2: not what I'm afraid of, which is everybody is getting

498
00:26:33,800 --> 00:26:36,639
Speaker 2: segmented into smaller and smaller groups because they can be

499
00:26:37,119 --> 00:26:41,760
Speaker 2: home on the internet and social media, and all of

500
00:26:41,800 --> 00:26:45,240
Speaker 2: a sudden, we're very little, teeny pockets of points of

501
00:26:45,320 --> 00:26:49,000
Speaker 2: view and people. We're not We're not a community that

502
00:26:49,240 --> 00:26:52,240
Speaker 2: shows up to a theater and watches a movie together

503
00:26:52,359 --> 00:26:56,640
Speaker 2: and then you know, blah blahuh everything. There's very there's

504
00:26:56,720 --> 00:26:58,400
Speaker 2: less and less community.

505
00:26:59,520 --> 00:27:01,439
Speaker 1: You know, the opposite is actually happening.

506
00:27:01,440 --> 00:27:03,960
Speaker 2: Oh how wonderful. Tell me, Well, the.

507
00:27:03,920 --> 00:27:07,080
Speaker 1: People that I interview, they are very aware of each other.

508
00:27:07,119 --> 00:27:10,640
Speaker 1: They work together. Many skinner who I do over compensating

509
00:27:10,720 --> 00:27:14,720
Speaker 1: with cast members Mary Beth Brone and homes and who

510
00:27:14,760 --> 00:27:18,840
Speaker 1: are part of their group, who are also creating, doing

511
00:27:18,880 --> 00:27:21,480
Speaker 1: their own thing, and there's a lot of crossover. They're

512
00:27:21,600 --> 00:27:24,320
Speaker 1: very aware of what's happening in the community, so in

513
00:27:24,359 --> 00:27:26,879
Speaker 1: the creative side of things, they're very much alive. And

514
00:27:26,920 --> 00:27:30,919
Speaker 1: I've been recently reading things that a younger culture is

515
00:27:30,960 --> 00:27:34,640
Speaker 1: sort of pushing away from AI and algorithms and those

516
00:27:34,720 --> 00:27:37,440
Speaker 1: kind of things because they want to do it themselves.

517
00:27:37,480 --> 00:27:40,040
Speaker 1: They want to go out and source and find what

518
00:27:40,400 --> 00:27:42,680
Speaker 1: they want. They want it more. I don't think an

519
00:27:42,680 --> 00:27:46,080
Speaker 1: analog experience is really an expression that maybe that's not correct,

520
00:27:46,080 --> 00:27:48,760
Speaker 1: but it feels to me they're kind of trying to

521
00:27:48,800 --> 00:27:51,800
Speaker 1: go for that more right now, which is really heartening.

522
00:27:51,840 --> 00:27:53,480
Speaker 1: I think wait, might have a word to teach you

523
00:27:53,520 --> 00:27:55,520
Speaker 1: both exactly about that. Oh tell me.

524
00:27:55,920 --> 00:27:59,359
Speaker 3: It's called friction maxing, which is basically this idea that

525
00:27:59,400 --> 00:28:02,760
Speaker 3: young people we want to create like more work in

526
00:28:02,800 --> 00:28:06,640
Speaker 3: our lives because usually AI they're using it to make

527
00:28:06,720 --> 00:28:10,399
Speaker 3: their lives harder, shortcuts and like you're going, smooth brain.

528
00:28:10,760 --> 00:28:13,120
Speaker 3: We have more wrinkles in our brains the more we think, the.

529
00:28:13,080 --> 00:28:14,400
Speaker 1: More we in our lives.

530
00:28:14,480 --> 00:28:16,560
Speaker 3: Yeah, we want they want friction maxing.

531
00:28:16,640 --> 00:28:19,480
Speaker 2: Yeah good, I'm so glad to hear that, because that

532
00:28:19,640 --> 00:28:23,800
Speaker 2: means Okay, all these tools that are heaving up and

533
00:28:23,840 --> 00:28:28,200
Speaker 2: a downside, you know, AI is going to transform medicine

534
00:28:28,240 --> 00:28:31,479
Speaker 2: in a wonderful way and all of these things that

535
00:28:31,640 --> 00:28:34,879
Speaker 2: can be used for good, you know, and then this

536
00:28:35,160 --> 00:28:39,440
Speaker 2: horrible side. But it's so, of course, what would I

537
00:28:39,480 --> 00:28:43,280
Speaker 2: think that everyone would buy into that? You know, that's

538
00:28:43,440 --> 00:28:47,320
Speaker 2: very that's very encouraging. The thing that's different in my

539
00:28:47,480 --> 00:28:51,080
Speaker 2: mind that the people you're talking to are confronting is

540
00:28:51,120 --> 00:28:54,520
Speaker 2: there's a ticking clock, you know, because we're blowing up

541
00:28:54,560 --> 00:28:57,360
Speaker 2: people at the moment. We're dropping bombs, we're doing this,

542
00:28:57,520 --> 00:29:01,560
Speaker 2: we're co opting democracy, we're putting people in prison camps

543
00:29:01,600 --> 00:29:03,880
Speaker 2: here in this country. We're doing all these things that

544
00:29:04,480 --> 00:29:07,320
Speaker 2: from my point of view, are quite horrible. And so

545
00:29:07,360 --> 00:29:11,320
Speaker 2: do you find those those people you're talking to even

546
00:29:11,360 --> 00:29:13,960
Speaker 2: involved with that as much? Even younger? I think the

547
00:29:13,960 --> 00:29:16,760
Speaker 2: people that I'm speaking with. My son is seventeen, so

548
00:29:17,280 --> 00:29:20,600
Speaker 2: his friends that age are very conscious of it, and

549
00:29:20,640 --> 00:29:23,000
Speaker 2: they're thinking about it. They're thinking about the world that

550
00:29:23,000 --> 00:29:23,680
Speaker 2: they're going.

551
00:29:23,520 --> 00:29:25,960
Speaker 1: To inherit of course, and climate change is very big

552
00:29:26,000 --> 00:29:27,200
Speaker 1: on their list of concerns.

553
00:29:27,280 --> 00:29:29,600
Speaker 2: Well, can I say something to your I mean, assuming

554
00:29:29,640 --> 00:29:31,800
Speaker 2: that the people it's not just old people listening to

555
00:29:31,840 --> 00:29:34,640
Speaker 2: your podcast going, oh my god, I don't know they

556
00:29:34,640 --> 00:29:37,480
Speaker 2: were young people still around. Good on you for doing this.

557
00:29:37,640 --> 00:29:42,959
Speaker 2: Oh what a smart, useful, productive thing to do the

558
00:29:42,960 --> 00:29:45,120
Speaker 2: way you're doing. Thank you, yeah, thank you.

559
00:29:45,360 --> 00:29:47,720
Speaker 1: I appreciate that, and thank you for coming on for

560
00:29:47,800 --> 00:29:49,160
Speaker 1: our April Fools episode.

561
00:29:49,320 --> 00:29:51,480
Speaker 2: Why am I the April Fools.

562
00:29:53,440 --> 00:29:56,120
Speaker 1: It's a gift to the young generation. I'm bringing them.

563
00:29:55,960 --> 00:29:58,400
Speaker 2: A gift, and here's our gift back to them.

564
00:29:58,680 --> 00:30:01,080
Speaker 1: Tell me to do what you're doing, to.

565
00:30:00,960 --> 00:30:05,520
Speaker 2: Live your life fully, making a difference, you know, keep going,

566
00:30:05,680 --> 00:30:08,880
Speaker 2: keep your foot on the gas pedal. Be Jane Fonda.

567
00:30:08,960 --> 00:30:12,760
Speaker 2: You know what Jane Fonda is what she's eighty What

568
00:30:13,080 --> 00:30:16,760
Speaker 2: she's eighty seven, Yeah, something like that. She still is

569
00:30:16,800 --> 00:30:20,160
Speaker 2: getting on buses and airplanes to after working all day

570
00:30:20,200 --> 00:30:22,280
Speaker 2: to go support service.

571
00:30:23,560 --> 00:30:27,440
Speaker 1: She's going to d Sebby And what that is also

572
00:30:27,600 --> 00:30:31,160
Speaker 1: saying to young girls is there's no shelf.

573
00:30:30,880 --> 00:30:33,800
Speaker 2: Life for you. You know, you can be eighty seven and

574
00:30:33,880 --> 00:30:37,760
Speaker 2: make a huge difference into the world and look beautiful.

575
00:30:37,840 --> 00:30:40,240
Speaker 1: Yeah at the same time, Yeah, she's done.

576
00:30:40,360 --> 00:30:43,520
Speaker 2: So that's what you're doing too. You're trying to do

577
00:30:44,040 --> 00:30:45,760
Speaker 2: make a difference in the world and not.

578
00:30:45,720 --> 00:30:49,600
Speaker 1: Go well, it's a thing I think also funny we

579
00:30:49,680 --> 00:30:51,760
Speaker 1: talk about this today you being here, but I think

580
00:30:52,560 --> 00:30:55,680
Speaker 1: my experience in working with younger generation we talked about

581
00:30:55,720 --> 00:30:58,400
Speaker 1: that before, particularly on Overcompensating and some of the other shows,

582
00:30:58,400 --> 00:31:03,200
Speaker 1: is that are genuinely interested in where I've been, where

583
00:31:03,400 --> 00:31:07,040
Speaker 1: you've been, what's the journey, what have you learned? What

584
00:31:07,080 --> 00:31:11,040
Speaker 1: can you teach? They're looking to us to at least

585
00:31:11,120 --> 00:31:14,920
Speaker 1: explain a little bit about what we've done. Mentor maybe

586
00:31:14,960 --> 00:31:17,320
Speaker 1: too strong a word, but they're like, no, we want

587
00:31:17,320 --> 00:31:21,000
Speaker 1: to know how how have you lived your life? How

588
00:31:21,640 --> 00:31:24,000
Speaker 1: what have you done? Where have you made a difference?

589
00:31:24,320 --> 00:31:26,680
Speaker 1: What's the experience like to be around as long as

590
00:31:26,720 --> 00:31:29,320
Speaker 1: we've been around? And there's a curiosity there and a

591
00:31:29,680 --> 00:31:30,440
Speaker 1: genuine interest.

592
00:31:31,280 --> 00:31:34,920
Speaker 2: So can I do one more thing? Yes? Selfish, self centered.

593
00:31:35,320 --> 00:31:42,280
Speaker 2: Oceana dot Org Oceania dot org is the organization that

594
00:31:42,320 --> 00:31:44,680
Speaker 2: I've been on the board of directors for since it's

595
00:31:45,120 --> 00:31:50,040
Speaker 2: found founding. Is the world's largest ocean activist group to

596
00:31:50,160 --> 00:31:54,400
Speaker 2: restore and protect the oceans. Really, what it's about is

597
00:31:55,240 --> 00:31:59,040
Speaker 2: protecting the world's fisheries so that if you harvest correctly,

598
00:31:59,200 --> 00:32:02,040
Speaker 2: you could feed it billion fish meals a day forever,

599
00:32:02,680 --> 00:32:06,280
Speaker 2: which is an animal protein which in the southern hemisphere,

600
00:32:06,360 --> 00:32:10,400
Speaker 2: women people of color are desperately in need of, you know,

601
00:32:10,520 --> 00:32:14,000
Speaker 2: many of them. And so you're addressing You're not just

602
00:32:14,200 --> 00:32:19,360
Speaker 2: hugging the ocean. You're addressing you know, need food insecurity.

603
00:32:20,000 --> 00:32:22,640
Speaker 2: And the other thing is I would love to I

604
00:32:22,680 --> 00:32:28,240
Speaker 2: would so welcome you on our podcast, my podcast, Woodies

605
00:32:28,360 --> 00:32:32,840
Speaker 2: podcast to come talk and whether I you know, maybe

606
00:32:32,920 --> 00:32:36,440
Speaker 2: Jane Fonda would come back, but to talk to young

607
00:32:37,440 --> 00:32:43,160
Speaker 2: ocean activists, young climate change activists. And if there's any

608
00:32:43,160 --> 00:32:46,680
Speaker 2: way I can you know, you probably don't need me

609
00:32:46,960 --> 00:32:49,520
Speaker 2: as a platform, but if I can help make use

610
00:32:49,880 --> 00:32:54,600
Speaker 2: of the platform I have for you who are younger

611
00:32:55,120 --> 00:33:00,479
Speaker 2: but doing this work, I would love it. So forgive

612
00:33:00,520 --> 00:33:02,360
Speaker 2: me for making use of Please.

613
00:33:03,920 --> 00:33:04,480
Speaker 1: Of joy.

614
00:33:04,600 --> 00:33:05,280
Speaker 2: Let's play a game.

615
00:33:05,400 --> 00:33:09,400
Speaker 1: Sorry, we're going to play a game. It's a game

616
00:33:09,440 --> 00:33:17,800
Speaker 1: called ted Dance In or ted Dance Out. Nice when

617
00:33:17,800 --> 00:33:26,760
Speaker 1: we come back. So we created a game where you

618
00:33:26,800 --> 00:33:30,600
Speaker 1: can give us your honest opinions on topics all sorts.

619
00:33:30,400 --> 00:33:31,959
Speaker 2: Of is that a wink? Honest?

620
00:33:31,960 --> 00:33:36,240
Speaker 1: They're honest, honest, truly honest. As you know from having kids,

621
00:33:36,320 --> 00:33:38,840
Speaker 1: grand kids, people like to play this game in and out,

622
00:33:38,880 --> 00:33:41,680
Speaker 1: and that's why we named it Ted Dance Ins Ted

623
00:33:42,040 --> 00:33:44,640
Speaker 1: Dance Out. So I guess that's pretty obvious for those

624
00:33:44,680 --> 00:33:46,680
Speaker 1: of you at home listening but not watching. We are

625
00:33:46,720 --> 00:33:51,680
Speaker 1: both bewigged. We've like deaged for forty years, at least

626
00:33:51,720 --> 00:33:53,760
Speaker 1: forty years. I think the reason that we're looking the

627
00:33:53,800 --> 00:33:57,320
Speaker 1: way we are is that we are going back to

628
00:33:57,400 --> 00:34:00,640
Speaker 1: a magical time eight of a time machine when we

629
00:34:00,640 --> 00:34:01,640
Speaker 1: were well.

630
00:34:01,560 --> 00:34:04,160
Speaker 2: Younger, younger and dyed our hair.

631
00:34:04,000 --> 00:34:06,800
Speaker 1: And dyed our hair. For me, it started when I

632
00:34:06,840 --> 00:34:08,920
Speaker 1: was in my mid twenties. This is our pre silver

633
00:34:09,000 --> 00:34:12,719
Speaker 1: Fox era. You have a paddle there which we can

634
00:34:12,800 --> 00:34:14,880
Speaker 1: use to mark whether it's Ted Dance Ins or Ted.

635
00:34:15,080 --> 00:34:18,120
Speaker 1: So we have, Yes, we have. This is the yes.

636
00:34:18,160 --> 00:34:21,920
Speaker 1: We love Ted Dance Ins. Sad Ted.

637
00:34:22,000 --> 00:34:22,200
Speaker 2: Yeah.

638
00:34:22,480 --> 00:34:23,520
Speaker 3: One side is happy Ted.

639
00:34:23,560 --> 00:34:27,600
Speaker 1: One yeah, happy Ted. One side is y cumpy. We

640
00:34:27,640 --> 00:34:31,200
Speaker 1: can do it together, Okay, reading, I'm so ready. Ocean pollution.

641
00:34:31,760 --> 00:34:36,040
Speaker 1: Oh we're starting with an easy one. I think that's

642
00:34:36,400 --> 00:34:36,959
Speaker 1: that's an out.

643
00:34:37,280 --> 00:34:41,680
Speaker 2: Well, it's out, but sadly it's in. Oh yes, why

644
00:34:42,160 --> 00:34:42,920
Speaker 2: there's a lot of it.

645
00:34:42,960 --> 00:34:43,680
Speaker 1: There's a lot of it.

646
00:34:44,200 --> 00:34:48,439
Speaker 2: So this is are you in favor of quite out? Yeah?

647
00:34:48,600 --> 00:34:56,880
Speaker 1: Yeah, not in favor of easy sitcoms without physical comedy.

648
00:34:55,960 --> 00:34:59,600
Speaker 1: You gotta have physical comedy. Yeah, we pointed to Dick

649
00:34:59,680 --> 00:35:03,360
Speaker 1: vand yes, he's the patron Caryl Burnett at Carol Burnett,

650
00:35:03,480 --> 00:35:07,960
Speaker 1: the patron patron saints of physical comedy. Oh, here's a

651
00:35:07,960 --> 00:35:11,560
Speaker 1: good one. Couples who wordle together.

652
00:35:13,080 --> 00:35:16,800
Speaker 2: Oh yeah, and by that, I mean we don't compete

653
00:35:16,880 --> 00:35:20,000
Speaker 2: with each other. Oh, really work as a team.

654
00:35:20,200 --> 00:35:24,560
Speaker 1: Oh, I like that. Here's a good one. Tik talk dances.

655
00:35:28,480 --> 00:35:30,120
Speaker 2: I'm going to change that because you don't know we're

656
00:35:30,120 --> 00:35:31,160
Speaker 2: going to trick you into anyone.

657
00:35:31,239 --> 00:35:33,680
Speaker 1: Oh yeah, have a difference of opinion here.

658
00:35:33,760 --> 00:35:33,960
Speaker 2: Yeah.

659
00:35:34,320 --> 00:35:37,360
Speaker 1: Yeah, and yet you say to me you danced all over.

660
00:35:38,719 --> 00:35:42,239
Speaker 2: I'm terrible at it and it scares me, and all

661
00:35:42,280 --> 00:35:45,359
Speaker 2: of that. I don't know that it in itself is out.

662
00:35:46,120 --> 00:35:51,080
Speaker 1: Okay, it could well be in. We're gonna, okay, turn

663
00:35:51,200 --> 00:35:55,920
Speaker 1: that all right. Here's one you're gonna like, whispering Sandy

664
00:35:56,120 --> 00:36:01,200
Speaker 1: before a performance as an ode to Sandy Meisner. Yes, yeah,

665
00:36:01,719 --> 00:36:03,719
Speaker 1: we did that. Can I start doing that? Can I

666
00:36:03,840 --> 00:36:07,400
Speaker 1: use that, Sandy? Yeah, it's just a reminder, I agree,

667
00:36:07,600 --> 00:36:08,320
Speaker 1: be present.

668
00:36:08,640 --> 00:36:09,080
Speaker 2: Yeah.

669
00:36:09,280 --> 00:36:16,120
Speaker 1: Actors over sixty becoming podcast hosts guilty. Is that guilt

670
00:36:16,600 --> 00:36:19,279
Speaker 1: is a we guilty this charge? Yes we are, Yes,

671
00:36:19,320 --> 00:36:24,560
Speaker 1: we are retirement communities and long cons.

672
00:36:25,239 --> 00:36:27,200
Speaker 2: Long cons meaning a law.

673
00:36:27,640 --> 00:36:31,520
Speaker 1: Yeah, yeah, yeah, the long coun I think that's yeah right,

674
00:36:32,200 --> 00:36:33,760
Speaker 1: your friend and mine, Woody Harrelson.

675
00:36:38,760 --> 00:36:41,880
Speaker 2: No, no, no, no, oh he's my best friend. I

676
00:36:41,920 --> 00:36:42,759
Speaker 2: love one hundred percent.

677
00:36:43,719 --> 00:36:46,200
Speaker 1: What's not There's nothing not to love about Woody. The

678
00:36:46,239 --> 00:36:46,880
Speaker 1: word schmoli.

679
00:36:49,120 --> 00:36:52,600
Speaker 2: This is sad. No, this is this is it's ted,

680
00:36:53,200 --> 00:36:54,120
Speaker 2: this is so sad.

681
00:36:54,400 --> 00:36:56,640
Speaker 1: I have to start using that I did.

682
00:36:56,920 --> 00:36:59,560
Speaker 2: I just discovered for all you young folks out there,

683
00:36:59,440 --> 00:37:03,000
Speaker 2: a new fraid said I'm just loving it's. Oh snap,

684
00:37:04,760 --> 00:37:08,280
Speaker 2: love that. I think it will catch on public pantsing.

685
00:37:08,920 --> 00:37:10,719
Speaker 2: I don't even know what this is in reference. I'm

686
00:37:10,760 --> 00:37:12,520
Speaker 2: I'm I'm in the dark hair, So clain to me.

687
00:37:12,560 --> 00:37:13,080
Speaker 1: What's what's this?

688
00:37:13,360 --> 00:37:13,480
Speaker 3: Well?

689
00:37:13,520 --> 00:37:16,319
Speaker 2: I did? I did pants Woody Harrelson in front of

690
00:37:16,360 --> 00:37:21,560
Speaker 2: a live audience. Well, Woody Harrelson. Yes, pants, Woody Harrelson

691
00:37:22,040 --> 00:37:26,439
Speaker 2: anytime anywhere. This is a message to the world. Yeah,

692
00:37:26,920 --> 00:37:27,799
Speaker 2: pants that boy.

693
00:37:27,960 --> 00:37:30,600
Speaker 1: But but the panting, and Woody probably really enjoyed it.

694
00:37:30,640 --> 00:37:31,480
Speaker 1: That's the thing. I'm sure you.

695
00:37:31,480 --> 00:37:32,640
Speaker 2: Gotta keep embarrassed.

696
00:37:32,800 --> 00:37:34,200
Speaker 1: Oh did it yeah, okay.

697
00:37:34,600 --> 00:37:36,960
Speaker 2: He probably would have claimed it was cold outside, but.

698
00:37:39,680 --> 00:37:42,680
Speaker 1: So it was a full pantsing. Oh dear, okay, yes,

699
00:37:43,760 --> 00:37:45,480
Speaker 1: mismatched socks.

700
00:37:48,400 --> 00:37:51,600
Speaker 2: Yeah, it's just well, hey, here's the deal. Need to

701
00:37:51,800 --> 00:37:54,560
Speaker 2: if they're the same colored tongue, go for it. Because

702
00:37:54,640 --> 00:37:56,919
Speaker 2: I I I'm never quite you know what.

703
00:37:58,360 --> 00:38:00,680
Speaker 1: I don't like him really going the other way.

704
00:38:00,760 --> 00:38:04,480
Speaker 2: It makes me sad, you know, because I because all

705
00:38:04,520 --> 00:38:09,800
Speaker 2: I have is mismatched rescue dogs.

706
00:38:11,040 --> 00:38:13,960
Speaker 1: I'm a big fan too, me too, Yeah, sure, owning

707
00:38:13,960 --> 00:38:20,160
Speaker 1: a TV oh, I mean, okay, you're right, you're right,

708
00:38:20,280 --> 00:38:20,640
Speaker 1: you're right.

709
00:38:20,680 --> 00:38:21,120
Speaker 2: I'm with you.

710
00:38:21,239 --> 00:38:30,080
Speaker 1: And the last one, April Fools. We were in agreement

711
00:38:30,239 --> 00:38:35,279
Speaker 1: all the way down, apart from TikTok dances. But one

712
00:38:35,360 --> 00:38:40,120
Speaker 1: of the beauties of being able to join in this

713
00:38:40,200 --> 00:38:42,359
Speaker 1: as an older fellow joining in on the social world

714
00:38:42,480 --> 00:38:44,920
Speaker 1: is I used to be everything had to be perfect

715
00:38:44,960 --> 00:38:47,280
Speaker 1: and had to be right in the middle of the street.

716
00:38:47,960 --> 00:38:50,120
Speaker 1: Not the case. They don't want. The kids that want

717
00:38:50,120 --> 00:38:51,560
Speaker 1: that they want to see. They want to see the

718
00:38:51,600 --> 00:38:51,960
Speaker 1: real deal.

719
00:38:51,960 --> 00:38:55,040
Speaker 2: They want to see. I think it's tricky. I also

720
00:38:55,080 --> 00:38:58,040
Speaker 2: have a little bit of Mary's voice in my head.

721
00:38:58,320 --> 00:39:00,719
Speaker 2: I respect a great deal, but you know, it's a

722
00:39:00,760 --> 00:39:04,440
Speaker 2: little bit like when she gets a script and that

723
00:39:04,520 --> 00:39:07,160
Speaker 2: we're both in and you know there's a scene where

724
00:39:07,160 --> 00:39:10,040
Speaker 2: we kiss. She goes, oh, no, no, no one wants

725
00:39:10,080 --> 00:39:13,040
Speaker 2: to see people our age kiss. I'm not one hundred

726
00:39:13,080 --> 00:39:15,960
Speaker 2: percent sure everybody wants to see people our age dance.

727
00:39:16,239 --> 00:39:19,000
Speaker 1: They do just the comedy, the comedy alone.

728
00:39:19,120 --> 00:39:23,440
Speaker 2: Okay, yeah, but yes, do we need to give you

729
00:39:23,480 --> 00:39:26,359
Speaker 2: an image that you can mock? Oh I'm in please.

730
00:39:26,480 --> 00:39:33,160
Speaker 1: Yes, he says, no, he says no. Now, ladies and gentlemen,

731
00:39:33,239 --> 00:39:36,719
Speaker 1: but wait, what a pleasure? Yeah you too, Thank you?

732
00:39:36,760 --> 00:39:37,239
Speaker 1: Thank you.

733
00:39:37,440 --> 00:39:41,920
Speaker 2: I love saying sincere things with these wigs on. Yes,

734
00:39:42,080 --> 00:39:44,200
Speaker 2: I love how you embrace your age and you're not

735
00:39:44,320 --> 00:39:47,680
Speaker 2: ashamed of your age. Thank you once again, pretty ironic

736
00:39:47,800 --> 00:39:48,520
Speaker 2: with that wig.

737
00:39:48,719 --> 00:39:50,600
Speaker 1: Yes, what else can we can believe?

738
00:39:50,640 --> 00:39:54,120
Speaker 2: All of that? Yeah, I'm glad that you're not trying

739
00:39:54,120 --> 00:39:55,440
Speaker 2: to pick up young people.

740
00:39:56,880 --> 00:40:00,399
Speaker 1: Thank God. So tell me what's happen? I ain't tell

741
00:40:00,400 --> 00:40:02,080
Speaker 1: me more. What where can we see you? So you

742
00:40:02,120 --> 00:40:04,919
Speaker 1: said you were going to start filming very soon?

743
00:40:05,440 --> 00:40:08,479
Speaker 2: Mike sure who I've worked with. He's a writer, amazing writer,

744
00:40:08,760 --> 00:40:11,719
Speaker 2: so many different things, starting with the office and he

745
00:40:11,760 --> 00:40:14,120
Speaker 2: did the good place and I worked in them for

746
00:40:14,160 --> 00:40:16,440
Speaker 2: four years on that and we're about to start the

747
00:40:16,480 --> 00:40:20,239
Speaker 2: third season of which Mary is in as well. I

748
00:40:20,320 --> 00:40:23,200
Speaker 2: think spoiland Alert, but she was in the second right

749
00:40:24,040 --> 00:40:28,400
Speaker 2: season of A Man on the Inside. And we start

750
00:40:28,400 --> 00:40:31,120
Speaker 2: shooting in September, so I'm not sure what that means.

751
00:40:31,719 --> 00:40:34,919
Speaker 1: Christmas y maybe yeah, amazing first of the year.

752
00:40:35,120 --> 00:40:38,160
Speaker 2: Yeah, Netflix, man, you do a show and then the

753
00:40:38,239 --> 00:40:40,600
Speaker 2: all days three months later you'd start shooting again.

754
00:40:40,719 --> 00:40:41,120
Speaker 1: Yeah.

755
00:40:41,480 --> 00:40:45,160
Speaker 2: Now it's like and nine months later you start shooting again.

756
00:40:45,239 --> 00:40:46,240
Speaker 1: Do you remember the character?

757
00:40:46,719 --> 00:40:50,160
Speaker 2: Yeah, exactly or do you think you can still act?

758
00:40:50,800 --> 00:40:55,120
Speaker 1: And again the plug for Oceana. Yeah, really important. Thank

759
00:40:55,160 --> 00:40:56,920
Speaker 1: you for bringing Thank you for talking about that and

760
00:40:56,960 --> 00:41:01,319
Speaker 1: explaining a little bit and encouraging my audience to take

761
00:41:01,360 --> 00:41:04,440
Speaker 1: a look. So thank you, thank you, thank.

762
00:41:04,320 --> 00:41:04,840
Speaker 2: You, thank you.

763
00:41:05,600 --> 00:41:08,440
Speaker 1: All Right, What are We Even Doing? Is a production

764
00:41:08,560 --> 00:41:12,920
Speaker 1: of iHeartMedia and the Elvis Duran podcast Network, hosted by

765
00:41:12,960 --> 00:41:17,240
Speaker 1: me Kyle maclachlin and created and produced by Full Picture

766
00:41:17,239 --> 00:41:22,600
Speaker 1: productionists Hey, featuring music by Yata and artwork by Danica Robinson.

767
00:41:23,200 --> 00:41:26,319
Speaker 1: For more information about the podcast, please visit our Instagram

768
00:41:26,400 --> 00:41:33,120
Speaker 1: and TikTok at wawed with Kyle. Please rate, review and

769
00:41:33,160 --> 00:41:38,520
Speaker 1: subscribe to What Are we Even Doing On Apple, Spotify, YouTube,

770
00:41:38,840 --> 00:41:42,320
Speaker 1: or anywhere you get your podcasts. Exclamation points,