WEBVTT - “That Topher Show Part 2” 0:00:10.640 --> 0:00:12.040 Welcome back to those amigos. 0:00:12.039 --> 0:00:14.560 I Wilmer Valderama and I am Freddie Rodriguez. 0:00:16.160 --> 0:00:20.840 That's what and uh and today we officially are three amigos. 0:00:21.480 --> 0:00:22.400 Welcome named back. 0:00:22.520 --> 0:00:25.840 Are our brother for gret so for Grace in the house? Yes, 0:00:26.079 --> 0:00:26.640 thank you man? 0:00:26.720 --> 0:00:27.640 Were you and can Harley? 0:00:27.640 --> 0:00:27.840 Wait? 0:00:28.160 --> 0:00:31.240 I was, yeah, okay, please cut all this out, man. 0:00:31.280 --> 0:00:34.040 If this is where that group of knuckleheads I was 0:00:34.120 --> 0:00:38.040 friends with in college who Wilmer's met a couple of them. 0:00:39.320 --> 0:00:43.960 Another Dare situation was we snuck into the oscars because 0:00:44.000 --> 0:00:46.600 the shrine auditorium where the oscars used to happen was 0:00:46.640 --> 0:00:50.599 right across the street from our dorm, Harnerment, and so 0:00:50.640 --> 0:00:54.680 we rented. Like I'm drinking looking down on it, We're like, 0:00:54.680 --> 0:00:56.360 I bet we could just like take a limo and 0:00:56.600 --> 0:01:01.400 just drive into that tomorrow. This is pre nine eleven city. God, 0:01:01.840 --> 0:01:03.920 So we rented it. We called a limo place, and 0:01:03.920 --> 0:01:06.280 they're like, no, the limos are all booked, it's the Oscar. 0:01:06.520 --> 0:01:08.240 But I was like, give me a hundred bucks, I'll 0:01:08.280 --> 0:01:10.480 come around the block and pick you up. And so 0:01:10.520 --> 0:01:15.679 we went and rented uh like tuxedos. No, we didn't 0:01:15.680 --> 0:01:19.000 have enough money for tuxedos. We rented bow ties and 0:01:19.040 --> 0:01:22.680 then wore black jackets and black pants got in this. 0:01:23.319 --> 0:01:25.160 It turns out, by the way, it was like whoever's 0:01:25.280 --> 0:01:27.560 limo it was had their credentials in it. So it's 0:01:27.560 --> 0:01:30.160 like Nicole Kimmon took it there, it had hurt credentials. 0:01:30.160 --> 0:01:31.720 So we came around and got us. So we got 0:01:31.720 --> 0:01:34.560 through the barricade, no way. We just walked out the 0:01:34.600 --> 0:01:36.400 red carpet. We were waving and everyone everyone was like 0:01:36.480 --> 0:01:39.160 kind of like, who's that. Like, we just I we 0:01:39.160 --> 0:01:41.240 had a roll you know those roll up cameras and we're 0:01:41.240 --> 0:01:44.199 taking pictures of ourselves and anyway, oh, we were doing 0:01:44.200 --> 0:01:46.800 crazy stuff like that. We just sat and watch like 0:01:46.920 --> 0:01:49.240 you know, Matt and ben Wan and Titanic wait so 0:01:50.600 --> 0:01:55.040 in oh, yeah, the whole the audience is only seed fillers, 0:01:55.240 --> 0:01:56.880 Like it's only the first five rows that have the 0:01:56.920 --> 0:01:58.560 biggest stars in the world. And then you know it's 0:01:58.960 --> 0:02:00.480 so we were I was like sitting behind and share 0:02:00.600 --> 0:02:03.080 and like I remember I took a piss next to 0:02:03.120 --> 0:02:06.000 Gregory Peck because he was like at the urinal next 0:02:06.040 --> 0:02:08.960 to me. That's some crazy story. So we were like 0:02:09.080 --> 0:02:11.760 Hollywood's fun, and I didn't feel like, you know, I 0:02:11.800 --> 0:02:14.280 didn't think I was ever gonna work here and the other. 0:02:14.480 --> 0:02:15.920 Get in trouble for something like that, like what are 0:02:15.919 --> 0:02:16.239 you gonna do? 0:02:16.280 --> 0:02:18.080 Yeah, what are you gonna do? You know, jail for 0:02:18.200 --> 0:02:20.840 they could kick us out of the thing. You'd love it. 0:02:20.880 --> 0:02:23.200 When a guy insecurity came up to us at one 0:02:23.200 --> 0:02:26.560 point and was like like, who are you And as 0:02:26.560 --> 0:02:27.840 he did, I just started yelling at one of the 0:02:27.840 --> 0:02:30.959 other guys like he was my assistant. And the guy 0:02:31.080 --> 0:02:33.280 left because he was like this was embarrassing. Like I 0:02:33.320 --> 0:02:35.360 was like, no, we can get him to me now, No, 0:02:35.520 --> 0:02:36.960 your job is to get and he was like all right, 0:02:37.040 --> 0:02:40.919 he just left, all right, kept hanging out. But then 0:02:41.000 --> 0:02:45.079 we we maybe because of that, we started calling you 0:02:45.160 --> 0:02:47.960 remember Daily Ridy used to have the productions that were 0:02:47.960 --> 0:02:48.360 going on. 0:02:49.080 --> 0:02:51.160 Yeah, in the course, so we're like. 0:02:51.240 --> 0:02:53.600 Oh my god, Jennifer love youew it's starring in this 0:02:53.680 --> 0:02:55.600 movie called The Party. 0:02:56.120 --> 0:02:57.240 Oh yeah, I was called the Party. 0:02:57.320 --> 0:02:59.840 That sounds like we all just seem uh, I know, 0:03:00.000 --> 0:03:01.840 she's last summer or whatever. She'm like, let's go to that. 0:03:02.639 --> 0:03:06.840 So we called the producer. I mean, really, don't include 0:03:06.880 --> 0:03:08.239 this if this is too boring. 0:03:08.560 --> 0:03:11.200 No, this is like you're the best part of the buck. 0:03:11.400 --> 0:03:14.480 And we were like, my friend came up with this. 0:03:14.639 --> 0:03:17.000 He called up and he goes, Hi, who's this. She 0:03:17.080 --> 0:03:19.359 goes Susie, who's this? And he hung up on her 0:03:20.040 --> 0:03:21.600 and then he called back like half an hour and 0:03:21.680 --> 0:03:25.080 he goes, Hi, Susie's Chris from Jim Browner's office at Universal. 0:03:25.160 --> 0:03:27.480 She's like, Hi. There was no internet, so you couldn't 0:03:27.520 --> 0:03:30.520 like look at He's like, so to for Grace and 0:03:30.560 --> 0:03:34.120 his friends are going to be I want to come 0:03:34.160 --> 0:03:36.120 down to the set. You know, he's John Grace's son, 0:03:36.120 --> 0:03:38.760 which but not a lie, but John Grace is just 0:03:38.800 --> 0:03:41.720 my dad wasn't kidding it. So uh, he wants to 0:03:41.800 --> 0:03:44.480 come by to the set and say hi to the cast, 0:03:44.520 --> 0:03:46.400 and like, all right, we'll leave some passes for him. 0:03:46.680 --> 0:03:48.440 So we just went where where were you? Shue I 0:03:48.440 --> 0:03:50.520 was and some warehouse and like way out of the middle. 0:03:50.560 --> 0:03:53.320 No, oh, we dude, we shot where you guys shoot 0:03:53.680 --> 0:03:57.680 the CBO's record. No, and santel Oh that's what it was. 0:03:57.720 --> 0:03:59.360 We had to take a long like we almost went 0:03:59.400 --> 0:04:02.640 broke on the top ride there. We got there, we 0:04:02.680 --> 0:04:04.800 walked in and everyone was there. I was like, this 0:04:04.880 --> 0:04:06.600 was We definitely picked the rest. So we hung out 0:04:06.600 --> 0:04:09.680 for a day. I don't think we met, but if 0:04:09.720 --> 0:04:13.280 you saw some like, you know, preppy, young idiot just 0:04:13.320 --> 0:04:15.640 hanging out by the monitors, like looking around, So. 0:04:15.640 --> 0:04:16.440 Who'd you get to see? 0:04:16.440 --> 0:04:16.480 What? 0:04:16.560 --> 0:04:17.039 You were there? 0:04:17.040 --> 0:04:17.120 Like? 0:04:18.279 --> 0:04:18.960 She loved? Was she? 0:04:19.279 --> 0:04:19.479 Yeah? 0:04:19.480 --> 0:04:19.760 I love? 0:04:19.880 --> 0:04:24.880 Was like, Hi? We saw who else? I think Jerry 0:04:24.920 --> 0:04:26.000 O'Connell was there that day? 0:04:26.200 --> 0:04:27.240 Oh, Jerry, Yeah? 0:04:27.279 --> 0:04:29.159 And who else? 0:04:29.600 --> 0:04:30.320 Uh? 0:04:30.800 --> 0:04:32.919 Jamie and Jamie Presley we're on like hello. 0:04:33.839 --> 0:04:35.920 And Seth Green was probably somewhere in there. 0:04:36.320 --> 0:04:39.719 Seth was probably there. Yeah, yeah, which is funny because like, now. 0:04:40.040 --> 0:04:42.200 Did you ever tell him that story? Sam Green? 0:04:42.960 --> 0:04:45.000 I don't know. I shouldn't tell him that. I don't 0:04:45.000 --> 0:04:46.680 know why. I just thought I think I remembered you 0:04:46.680 --> 0:04:47.839 were in because then we went to see the movie, 0:04:47.839 --> 0:04:50.520 We're like, yeah, Like Hollywood's fun. 0:04:51.920 --> 0:04:59.440 So so for Grays, when it comes to working with 0:04:59.520 --> 0:05:03.880 direct who did you feel you learn from the most? 0:05:06.080 --> 0:05:08.040 Well? Number one be David Trainer. And I'm not saying 0:05:08.040 --> 0:05:10.800 that because you're David directed every single episode of that 0:05:10.839 --> 0:05:13.039 seven show, which is very rare in a sitcom, and 0:05:13.120 --> 0:05:15.480 I maintain I told him this we would lunch. Recently, 0:05:15.520 --> 0:05:18.360 I was like, if you had been sick one day, 0:05:20.000 --> 0:05:22.120 if he'd missed one day of that show, the show 0:05:22.120 --> 0:05:24.719 would have fallen above. But he knew us all before 0:05:25.279 --> 0:05:27.960 it happened, and he knew how to kind of wrangle everyone, 0:05:28.000 --> 0:05:31.839 and he was he's kind of stage guy, like, yeah, 0:05:31.960 --> 0:05:34.640 he comes from the theater, and he actually pushed me 0:05:34.680 --> 0:05:36.280 to do theater, which I did, and he actually, I 0:05:36.279 --> 0:05:37.440 don't know if you know when I did that play, 0:05:37.480 --> 0:05:39.200 I mean you came to see it. He flew to 0:05:39.240 --> 0:05:41.760 New York to see it was like just wonderful. So 0:05:42.320 --> 0:05:44.200 the most from him, and I could tell you one 0:05:44.240 --> 0:05:47.320 hundred separate things that he taught me besides just decorum 0:05:47.360 --> 0:05:50.240 and how to act on a set. Winner and then 0:05:51.360 --> 0:05:52.520 after that I would. 0:05:52.240 --> 0:05:55.800 Say, I mean you had you Sam Rammy. Yeah, it's 0:05:55.800 --> 0:05:57.159 funny with Christopher. 0:05:57.320 --> 0:06:02.200 Soberg Spike Lee, but but specifically with Sodaberg expect Lee. 0:06:02.360 --> 0:06:05.480 They say very little, so I don't think. 0:06:05.360 --> 0:06:06.760 I think they trust their castings. 0:06:06.800 --> 0:06:09.120 We're just like, if I want to be a director, 0:06:09.120 --> 0:06:10.280 I think I can learn a lot from them. As 0:06:10.279 --> 0:06:15.320 an actor. You're kind of like very appreciative yours. They 0:06:15.480 --> 0:06:19.960 just like they I think it's because Stephen comes from 0:06:20.279 --> 0:06:24.080 documentary filmmaking. So I remember one time asking him because 0:06:24.080 --> 0:06:25.840 I was used to getting more direction than he was 0:06:25.880 --> 0:06:28.560 giving me, which is zero, and I was like, hey, 0:06:29.240 --> 0:06:31.479 I mean he was walking around with the camera filming 0:06:31.520 --> 0:06:34.240 it different ways. I'd say like, hey, do you want 0:06:34.279 --> 0:06:36.760 me to do you have any direction for me? Or 0:06:36.920 --> 0:06:38.000 do you want me to do it this way? And 0:06:38.000 --> 0:06:41.640 he went, oh, I don't know. It's such a great 0:06:41.640 --> 0:06:43.720 answer because it's true. He's like, I don't want to 0:06:43.760 --> 0:06:47.440 put my fingerprints on your So those guys I admire 0:06:47.440 --> 0:06:49.760 a lot, and their films are amazing, but I don't know. 0:06:51.839 --> 0:06:53.920 I guess I did learn something about trust and trusting 0:06:53.960 --> 0:06:57.680 your teammates. But they're so do your own thing. They 0:06:57.680 --> 0:07:00.000 don't do a lot of takes. And Chris Nolan's like 0:07:00.080 --> 0:07:03.400 that too. I had a small role in Interstellar, but 0:07:03.440 --> 0:07:05.400 he did like you think he does like one hundred 0:07:05.440 --> 0:07:08.279 takes because films are so precise, but he's so precise 0:07:08.760 --> 0:07:10.040 that he only does like one or two. 0:07:10.280 --> 0:07:12.640 Wow, And does he did you get a lot of 0:07:12.680 --> 0:07:13.480 direction from him? 0:07:13.800 --> 0:07:14.200 No? 0:07:14.200 --> 0:07:14.600 No, No. 0:07:15.160 --> 0:07:17.600 I think mostly what I've learned from them is that 0:07:17.640 --> 0:07:20.800 the masters and I'm sure This is true for people 0:07:21.680 --> 0:07:27.040 who were masters before I started working that they they 0:07:27.200 --> 0:07:29.360 are so dialed in and know what they want that 0:07:29.560 --> 0:07:32.920 like production is not an afterthought, but it's like they've 0:07:33.480 --> 0:07:35.120 figured it all out. You're the person who is supposed 0:07:35.160 --> 0:07:36.800 to be playing the role. This is the person supposed 0:07:36.800 --> 0:07:40.200 to doing wardrobe, and it's almost like I think an exercise. 0:07:40.320 --> 0:07:42.560 They could take themselves out of it almost a little bit. 0:07:42.880 --> 0:07:43.960 You know what I worked with who I really loved 0:07:44.000 --> 0:07:46.200 who was like that is Curtis Hansen. He passed, but 0:07:46.280 --> 0:07:49.200 he did like La Confidential eight mile and stuff, and 0:07:49.240 --> 0:07:54.680 he's he did too big to fail, and he he 0:07:54.840 --> 0:07:58.040 was like that. He was like he didn't want to tell. 0:07:58.120 --> 0:08:00.200 He was like overseeing the process to make sure no 0:08:00.240 --> 0:08:03.440 one interfered with anyone and everyone did their best work. 0:08:03.520 --> 0:08:06.840 And then you watch the thing and you go, right, 0:08:06.880 --> 0:08:12.240 just brilliant. I'll Spike, it's amazing. The other thing I've 0:08:12.280 --> 0:08:14.280 learned from all those guys that I just mentioned, they're 0:08:14.280 --> 0:08:18.480 all really fun. You think they're serious, especially Chris, probably 0:08:18.520 --> 0:08:22.520 because you know his films are so serious and Spike 0:08:22.560 --> 0:08:24.240 maybe you'd think is serious, but they are like you're 0:08:24.280 --> 0:08:28.040 having a blast, Like the energy is always at like 0:08:28.160 --> 0:08:31.360 seventy two degrees with you know, thirty percent chance. It's 0:08:31.400 --> 0:08:33.960 like always like it I'm perfect. They never let it dip. 0:08:34.040 --> 0:08:36.840 They also don't let it get too crazy. Like it's 0:08:36.920 --> 0:08:41.320 just they're kind of masters of what the tone is. 0:08:42.080 --> 0:08:46.400 And I love, love working with those guys. I mean, 0:08:46.559 --> 0:08:48.880 and you're not you guys have worked with directors like this. 0:08:48.960 --> 0:08:51.600 You're not just excited to work with them because you 0:08:51.640 --> 0:08:53.960 think the film's gonna be a hit. It truly is 0:08:54.760 --> 0:08:56.559 like if the film were never to come out. It's 0:08:56.559 --> 0:08:57.800 truly a great experience. 0:08:57.880 --> 0:08:58.040 Yeah. 0:08:59.120 --> 0:09:01.679 I have a couple of friends were in the Odyssey, right, 0:09:01.679 --> 0:09:05.240 not shooting that's going to be a very challenging shoot. 0:09:05.320 --> 0:09:08.400 For what I hear, it's like pretty challenging. Oh yeah, 0:09:08.480 --> 0:09:11.640 it's just like, yeah, the scope of it right, pretty cool. 0:09:11.760 --> 0:09:13.599 I mean you're talking about four thousand. 0:09:13.960 --> 0:09:15.720 But said, I'm telling you, he's a funny guy, Like 0:09:15.720 --> 0:09:17.679 I had a lot of laughs with him, like you would. 0:09:17.760 --> 0:09:20.640 You would love him, like you guys would really get along. 0:09:20.640 --> 0:09:25.000 And it's like they always make sure, you know, it's 0:09:25.000 --> 0:09:26.839 like they take it so seriously and then they don't 0:09:26.840 --> 0:09:29.160 take it too seriously, which is kind of great. Actors too. 0:09:29.160 --> 0:09:30.319 I think maybe well he's. 0:09:30.160 --> 0:09:32.839 He's like he has the perfect scenario. He can ask 0:09:33.120 --> 0:09:36.120 studio give me three hundred million dollars and then yeah, 0:09:36.240 --> 0:09:38.480 you know, it's like so he's like, you know how 0:09:38.520 --> 0:09:40.400 back at it being when you're on said with him, 0:09:40.400 --> 0:09:41.280 it's kind of amazing. 0:09:42.720 --> 0:09:44.200 I do feel, you know. 0:09:44.240 --> 0:09:47.959 I remember doing Fast Nation with Richard Ling later and 0:09:48.000 --> 0:09:49.679 he he was also. 0:09:49.559 --> 0:09:51.319 That I die to work with him. 0:09:51.360 --> 0:09:54.840 He was so yeah, but then he would just like 0:09:55.800 --> 0:09:56.520 it was a vibe. 0:09:56.600 --> 0:09:58.240 You know, that's right, that's right. 0:09:58.360 --> 0:10:00.520 You know, he come in and he he'd be like 0:10:00.720 --> 0:10:08.079 Wilmer for you, it's like like why not first time everything? 0:10:10.640 --> 0:10:11.160 Do it again? 0:10:11.800 --> 0:10:14.920 And like you go back and then he's like action 0:10:16.120 --> 0:10:18.559 and then he say cut and he'll be like. 0:10:20.679 --> 0:10:22.920 Yeah, good, thank you. 0:10:23.080 --> 0:10:26.320 Yeah, Like so, like you said, dude, it's a vibe. 0:10:26.480 --> 0:10:26.720 Yeah. 0:10:26.840 --> 0:10:28.480 I think the best director is they know that the 0:10:28.480 --> 0:10:30.360 whole thing is depending on like the floor. 0:10:30.440 --> 0:10:33.079 They're they're like it's an orchestra, right, Like they're just 0:10:33.120 --> 0:10:36.520 like pulling here, pushing there, you know, and and it's 0:10:36.520 --> 0:10:38.560 he's letting it move on its own, but he's like 0:10:38.800 --> 0:10:40.240 just guiding it a little bit. 0:10:42.120 --> 0:10:43.280 Yeah, you know. 0:10:43.480 --> 0:10:46.400 Yeah, Tarantino was like that I did. I did a 0:10:46.400 --> 0:10:48.880 movie called Grindhouse. Who was Robert Rodriguez. 0:10:48.920 --> 0:10:52.480 Don't tell me he doesn't talk a lot though, Quinn. Yeah, 0:10:52.520 --> 0:10:55.080 don't tell me. He's like the silent No. 0:10:54.640 --> 0:10:56.760 No, man, No, he's. 0:10:57.880 --> 0:11:00.360 You know he what you see is what you yet 0:11:00.520 --> 0:11:03.360 you know, like like he wears his heart on his sleeve. 0:11:03.559 --> 0:11:07.079 Was so gracious and nice to me. 0:11:09.080 --> 0:11:12.520 Well, he I starred in Roberts Have but there were 0:11:12.559 --> 0:11:14.280 supposed to be two movies that we were shooting back 0:11:14.320 --> 0:11:17.920 to back. But he was there during the whole experience and. 0:11:17.880 --> 0:11:19.880 Direct because he was a feature. 0:11:19.880 --> 0:11:21.960 It was a double feature, but he was doing he 0:11:22.040 --> 0:11:23.800 was directing what the unit on. 0:11:24.320 --> 0:11:27.000 No, No, he's so so. Our movie was called Planetarror. 0:11:28.200 --> 0:11:31.880 Okay, yeah, but but he was doing his own thing correct. 0:11:32.320 --> 0:11:34.320 But he was just there like while we were shooting 0:11:34.360 --> 0:11:36.000 our thing, because he just wanted to be part of 0:11:36.000 --> 0:11:39.800 the experience. And there'll be times that Robert will be like, hey, Quentin, 0:11:39.880 --> 0:11:42.680 just direct the scene. Man, I'm gonna go like step 0:11:42.720 --> 0:11:46.199 in and direct the scene. You know, great, yeah, yeah, 0:11:46.240 --> 0:11:48.040 but but you see the genius. 0:11:48.080 --> 0:11:49.520 Man, it's unexplainable. 0:11:50.320 --> 0:11:55.000 He's he's a library of film Uh, and it's so 0:11:55.640 --> 0:11:59.720 like effortless, but you just you feel the genius just 0:12:00.200 --> 0:12:00.600 not them. 0:12:00.640 --> 0:12:01.800 It's it's so effortless. 0:12:01.960 --> 0:12:04.600 If he gives you a lot of stuff to think about, 0:12:04.720 --> 0:12:05.400 is that difficult? 0:12:07.120 --> 0:12:08.440 No? Did he give me a lot of. 0:12:08.440 --> 0:12:10.760 Stuff like when he comes up to you in between. 0:12:10.880 --> 0:12:13.400 No, he's just very instinctual, you know. You know, you 0:12:13.520 --> 0:12:15.720 never like went the film score anything. He's all instinct, 0:12:15.840 --> 0:12:18.320 you know. So if you're doing a scene, like it's 0:12:18.360 --> 0:12:20.640 all about his instinct and he's like, no, do it 0:12:20.679 --> 0:12:22.960 a little more this way, a little that way. But 0:12:23.040 --> 0:12:25.480 you but you feel that it's coming from a from 0:12:25.559 --> 0:12:30.319 a place that is so seeped in like film history, 0:12:30.480 --> 0:12:32.439 and it's. 0:12:32.280 --> 0:12:34.880 Coming pure love, like pure love, totally totally. 0:12:36.200 --> 0:12:38.280 But I worked with the Hughes brothers. I think we 0:12:38.280 --> 0:12:39.480 had this conversation at dinner. 0:12:40.080 --> 0:12:40.200 Uh. 0:12:40.920 --> 0:12:43.000 I did a movie called Dead Presidents with those guys, 0:12:43.240 --> 0:12:46.080 and probably out of all of the directors I ever 0:12:46.200 --> 0:12:50.120 worked with, I learned the most from them because and 0:12:50.160 --> 0:12:51.960 I think maybe this had to do we're so young 0:12:52.000 --> 0:12:54.880 at the time and uh, like we had like a 0:12:54.920 --> 0:12:57.520 couple of weeks of rehearsal before we shot the movie, 0:12:57.880 --> 0:13:00.440 and it wasn't even like rehearsal, really like rehearsing scenes. 0:13:00.440 --> 0:13:02.640 But every night we would sit down and watch a 0:13:02.679 --> 0:13:05.320 movie and they would tell us why a movie was 0:13:05.400 --> 0:13:08.800 good and why it wasn't, why a performance was good 0:13:08.840 --> 0:13:11.000 and why it wasn't. It was like the best film 0:13:11.040 --> 0:13:14.800 school I'd ever wold, and they were so gracious. 0:13:14.200 --> 0:13:15.839 With that knowledge and with their time. 0:13:16.320 --> 0:13:29.920 You know, So do you think your transition into a 0:13:29.960 --> 0:13:30.840 director at some point? 0:13:33.320 --> 0:13:35.439 I think you'd be such a good director. 0:13:35.720 --> 0:13:37.880 Because because you know, I know, we in some of 0:13:38.000 --> 0:13:41.200 our notes that our producers are here gracefully. 0:13:40.760 --> 0:13:42.199 Really really worked hard on it. 0:13:42.880 --> 0:13:47.200 We're talking about home economics, because you were almost every 0:13:47.400 --> 0:13:50.200 possible had you could think of, from the editing room 0:13:50.280 --> 0:13:51.760 to the writer's room to. 0:13:52.520 --> 0:13:54.080 I was in the writer's room, but you know, but 0:13:54.160 --> 0:14:00.640 you you had you create that. No, it was a 0:14:00.679 --> 0:14:04.120 great script that I read that I loved, and everyone 0:14:04.160 --> 0:14:06.440 was nice enough to really let me be a part. 0:14:06.440 --> 0:14:07.920 You know those things what they say, we want you 0:14:07.960 --> 0:14:09.520 to be a producer, but then they're kind of like 0:14:09.600 --> 0:14:13.040 but not really right. But these guys were in order 0:14:13.040 --> 0:14:16.120 for you to say yes, yeah, exactly. But they were 0:14:16.160 --> 0:14:18.880 awesome and I got to participate as much as I 0:14:18.920 --> 0:14:20.400 wanted to. I kind of didn't want to go into 0:14:20.400 --> 0:14:22.560 the writer's room because I thought they were so talented 0:14:22.720 --> 0:14:26.880 and it was very funny. I love that show and Carla. 0:14:27.000 --> 0:14:29.440 Carla is amazing. I really loved working I mean I 0:14:29.440 --> 0:14:30.560 love working with everyone on that show. 0:14:30.600 --> 0:14:33.120 You love working with her more than you working with. 0:14:33.080 --> 0:14:36.000 Me, i'd say, by double or triple. 0:14:36.120 --> 0:14:37.000 Wait, that's a lot. 0:14:37.200 --> 0:14:40.040 Yeah, well that's a lot. Like just putting you guys 0:14:40.040 --> 0:14:42.880 in that instantly sweat right now, thinking about both of 0:14:42.880 --> 0:14:45.600 you guys in my mind, I go like, how are 0:14:45.600 --> 0:14:46.400 you even acting? 0:14:49.120 --> 0:14:51.640 But you wore so many hats, right, So I was wondering, 0:14:52.840 --> 0:14:55.840 why haven't you thought that directing is something because you 0:14:55.960 --> 0:14:58.560 think about all the details and you pay attention. 0:14:58.280 --> 0:14:58.720 To all that. 0:14:58.720 --> 0:15:00.440 That's very kind you to say, I. 0:15:00.280 --> 0:15:01.040 It's very kind. 0:15:02.120 --> 0:15:04.400 Made a little too kind, a little, I might just 0:15:04.440 --> 0:15:07.720 take it back. I feel like I don't have a 0:15:07.800 --> 0:15:10.920 visual sense, Like when I'm reading a script, I'm whenever 0:15:10.960 --> 0:15:13.240 I go on set, I'm like, oh, that's a better idea. 0:15:13.680 --> 0:15:15.360 Like my idea of how to shoot it is like 0:15:16.200 --> 0:15:18.480 the wrong idea, and the directors. 0:15:18.640 --> 0:15:22.800 Grab an amazing DP right, who knows how to put 0:15:22.800 --> 0:15:25.400 the lenses where you need to need them. You could 0:15:25.400 --> 0:15:29.200 really guide a total innovative story. 0:15:29.280 --> 0:15:31.120 Well I would. I would work for you if you 0:15:31.160 --> 0:15:37.000 were directing something. But I for me, I'm like, I 0:15:37.040 --> 0:15:39.680 feel like a jack of all trades, like I really have. 0:15:40.360 --> 0:15:42.800 I feel like I had a natural skill at acting, 0:15:43.200 --> 0:15:45.800 you know, proved by the fact that I ever acted, 0:15:45.840 --> 0:15:47.880 and then I got the show and so I'm very 0:15:47.880 --> 0:15:50.120 happy to do that and love it. And then I've 0:15:50.160 --> 0:15:55.520 loved educating myself about editing more, educating myself about you know, 0:15:56.000 --> 0:15:59.960 writing without I've never written anything but I that I've shared, 0:16:00.320 --> 0:16:02.400 but but I want to know as much about all 0:16:02.440 --> 0:16:04.680 the other what everyone else does. So I when I'm 0:16:04.760 --> 0:16:09.080 in the editing room, like I've never edited, uh something 0:16:09.120 --> 0:16:11.240 that I've been in. But when I'm in the editing room, 0:16:11.240 --> 0:16:13.480 I don't make an ass out of myself, you know, 0:16:13.560 --> 0:16:15.720 I kind of understand what that is. And when I'm 0:16:16.080 --> 0:16:17.400 if I were to go to the writer's room, I 0:16:17.400 --> 0:16:19.360 don't think i'd say something that people are going, oh 0:16:19.360 --> 0:16:22.320 my god, this guy is an actor. So that's my 0:16:22.440 --> 0:16:26.080 goal and it's and it's fun to learn stuff that's around, 0:16:26.080 --> 0:16:27.280 you know, I think it makes you a better actor. 0:16:27.320 --> 0:16:29.440 If you learn about all that stuff, I'll tell you 0:16:29.560 --> 0:16:33.200 editing for me has been amazing because I I used 0:16:33.240 --> 0:16:35.760 to do a lot of the same take over and 0:16:35.800 --> 0:16:39.880 over again, and now I do just crazy different takes. 0:16:40.280 --> 0:16:42.880 Oh you mean you're trying to get that one choice right, 0:16:43.080 --> 0:16:43.720 Well I get. 0:16:43.600 --> 0:16:46.160 The editor of five of the same options, right, and 0:16:46.200 --> 0:16:47.480 now I do a lot of difference. 0:16:47.560 --> 0:16:51.160 So speaking of editing, yeah, right, perfect, We think it's over. 0:16:51.200 --> 0:16:52.880 I don't even know I even know how you did it, 0:16:52.960 --> 0:16:54.600 but we really wanted to talk to you about the 0:16:54.600 --> 0:16:55.560 Star Wars situation. 0:16:55.760 --> 0:16:57.600 Yeah, how did this get blown in the out of proportion? 0:16:57.800 --> 0:17:00.760 But let me let me also say a couple of things. 0:17:01.440 --> 0:17:04.080 One of the biggest bonding moments for us is that 0:17:05.000 --> 0:17:08.720 we love the same movies too, right, So like Back 0:17:08.760 --> 0:17:12.600 to the Future, Jeraccid Park, right, you know, Star Wars, 0:17:12.600 --> 0:17:15.000 Like we were really into these you know, larger than 0:17:15.000 --> 0:17:16.080 life ideas. 0:17:16.560 --> 0:17:18.520 Home were I insed to have a game on set. 0:17:18.880 --> 0:17:20.320 It's kind of just kids who grew up in the 0:17:20.320 --> 0:17:25.840 eighties game where I'd say to him, like the game was, 0:17:25.880 --> 0:17:29.240 you say to the other person, where's he going? And 0:17:29.280 --> 0:17:32.960 the other person says home? So team me up, say 0:17:32.960 --> 0:17:33.640 where is he going? 0:17:33.920 --> 0:17:34.760 Where's he going. 0:17:37.440 --> 0:17:42.320 Home? And we do that for hours, and the posites 0:17:42.320 --> 0:17:45.240 would go so long and so corny whatever, But that 0:17:45.320 --> 0:17:47.240 was because we grew up watching all the same females. 0:17:49.040 --> 0:17:49.840 Where's he going? 0:17:54.840 --> 0:17:56.560 We should have gone a long time again. 0:18:00.320 --> 0:18:01.000 That you changed? 0:18:04.119 --> 0:18:08.040 Oh man, we had this. 0:18:10.320 --> 0:18:12.920 Honestly, that was like that. That was the ending to the. 0:18:14.560 --> 0:18:17.199 Yeah, we also thought, like, what if at the end 0:18:17.240 --> 0:18:20.240 of seventies show that vised cruiser or like the minivan 0:18:20.359 --> 0:18:22.040 or whatever, just to cough up. 0:18:22.200 --> 0:18:22.520 That's right. 0:18:22.560 --> 0:18:24.920 It was what FS was never from from. 0:18:26.840 --> 0:18:30.440 Somebody like Jackie or somebody goes, Where's where's fans going? 0:18:32.760 --> 0:18:38.640 He's going home? Starting the show was just so bizarre. Honestly, 0:18:38.640 --> 0:18:40.320 that would have been an epic And I. 0:18:40.200 --> 0:18:42.359 Hope everyone just saw it. That's what we were doing, 0:18:42.760 --> 0:18:44.679