1 00:00:02,560 --> 00:00:07,880 Speaker 1: This is let's be clear with Shannon Drny, when did 2 00:00:07,920 --> 00:00:13,760 Speaker 1: you start termed what year, uh, nineteen ninety eight or something? 3 00:00:13,760 --> 00:00:16,680 Speaker 2: Maybe I don't know, so Jason like ship from ninety 4 00:00:16,720 --> 00:00:18,840 Speaker 2: eight to even two thousand and one, which is when 5 00:00:18,840 --> 00:00:20,680 Speaker 2: Shannon kind of comes back into our life. When we 6 00:00:20,720 --> 00:00:24,520 Speaker 2: did Jane Soladbob Strike, then that's how bad a bomb 7 00:00:24,560 --> 00:00:27,400 Speaker 2: Malrats was. She scattered for six fucking years. It wasn't 8 00:00:27,480 --> 00:00:30,120 Speaker 2: until the dust settled six years later. I was a 9 00:00:30,120 --> 00:00:32,479 Speaker 2: bona fide thing at this point. I had like chasing 10 00:00:32,479 --> 00:00:34,800 Speaker 2: Amy dog Ben. Here we were making Jane Soundbob Strike 11 00:00:34,840 --> 00:00:39,280 Speaker 2: back with Miramax, and She's like, I'll come back, and 12 00:00:39,479 --> 00:00:42,320 Speaker 2: we did it. See what responsible for all your fucking 13 00:00:42,320 --> 00:00:44,959 Speaker 2: feature film work? Is it? Mal Rats and Jane Solob? 14 00:00:45,560 --> 00:00:47,880 Speaker 1: I mean, Heathers are you? 15 00:00:48,000 --> 00:00:49,639 Speaker 2: That's right now? And then, oh my god, I got 16 00:00:49,680 --> 00:00:51,560 Speaker 2: so arrogant for a second of all your movies. 17 00:00:51,640 --> 00:00:54,640 Speaker 1: And now the movies I do is with the it's 18 00:00:54,680 --> 00:00:56,880 Speaker 1: you know, I have a friend named James who hires 19 00:00:56,920 --> 00:00:59,720 Speaker 1: me on a ton of stuff. So like thank goodness, 20 00:00:59,720 --> 00:01:03,120 Speaker 1: like Fortress, which was with Bruce Willis. 21 00:01:03,040 --> 00:01:04,240 Speaker 2: How was that you worked with Bruce? 22 00:01:04,360 --> 00:01:06,440 Speaker 1: Yeah? I mean lovely I. 23 00:01:06,360 --> 00:01:08,440 Speaker 2: Actually saw an interview we said something really nice. 24 00:01:08,560 --> 00:01:11,840 Speaker 1: Yeah, you know, we just we did one a year 25 00:01:11,840 --> 00:01:13,600 Speaker 1: and a half or two years ago with Mon Gibson. 26 00:01:16,080 --> 00:01:18,920 Speaker 1: He did a movie with Jean Claude ven Dam recently 27 00:01:19,040 --> 00:01:21,679 Speaker 1: that I that I had like one scene in just 28 00:01:22,640 --> 00:01:24,360 Speaker 1: He's like, can you do this one scene. I'm like, sure, 29 00:01:24,600 --> 00:01:25,400 Speaker 1: I'll come in and do it. 30 00:01:25,560 --> 00:01:27,679 Speaker 2: So two thousand and one, Shannon comes out and we 31 00:01:27,760 --> 00:01:31,360 Speaker 2: do Jane Sambab Stragbag and it's a very funny scene. 32 00:01:31,400 --> 00:01:34,360 Speaker 2: Her in Wes Craven. Yes. A couple of years after that, 33 00:01:34,920 --> 00:01:37,080 Speaker 2: we tried to get Shannon. We tried to get you 34 00:01:37,120 --> 00:01:40,560 Speaker 2: in Reboot, but we were shooting in New Orleans and 35 00:01:40,560 --> 00:01:42,520 Speaker 2: she would have played cock knocker. She would have been like, 36 00:01:42,600 --> 00:01:44,920 Speaker 2: right now in that movie, somebody a fist punches through 37 00:01:44,920 --> 00:01:48,480 Speaker 2: the wall, and it would have been Shannon. Because but 38 00:01:48,640 --> 00:01:51,680 Speaker 2: if there was ever a cock knocker, fuck a ballbuster, 39 00:01:51,760 --> 00:01:55,240 Speaker 2: if you will. But we did this thing the Fox Shortcoms. 40 00:01:55,960 --> 00:01:58,440 Speaker 2: But the idea was again it was supposed to be 41 00:01:58,480 --> 00:02:02,120 Speaker 2: a competitive show where you shoot these like little sitcoms 42 00:02:02,120 --> 00:02:04,200 Speaker 2: that were like five to seven minutes long, and then 43 00:02:04,280 --> 00:02:06,320 Speaker 2: it would compete over the course of the life of 44 00:02:06,320 --> 00:02:09,079 Speaker 2: the show until one remained, and that was going to 45 00:02:09,120 --> 00:02:12,000 Speaker 2: become like grow Up to be an actual Fox sitcom 46 00:02:12,080 --> 00:02:13,800 Speaker 2: or something. It was a good idea. They shot a 47 00:02:13,800 --> 00:02:15,680 Speaker 2: pilot and then they didn't go forward with it. But 48 00:02:15,720 --> 00:02:24,400 Speaker 2: that was me, you Ralph, Ralph, Justin, Justin, and it 49 00:02:24,520 --> 00:02:29,680 Speaker 2: was with Andy mckelfrish my buddy, and I was in it. 50 00:02:29,680 --> 00:02:32,040 Speaker 2: I got to act, got to act with Shannon. 51 00:02:31,720 --> 00:02:33,799 Speaker 1: Well we because on Marats we didn't. 52 00:02:33,560 --> 00:02:36,560 Speaker 2: Really we have one scene where you like tell us 53 00:02:36,600 --> 00:02:40,560 Speaker 2: to right before before Ethan's like Brenda, Yes we acted 54 00:02:40,600 --> 00:02:43,400 Speaker 2: together in that. Yes, we didn't really act together in Malratz, 55 00:02:43,440 --> 00:02:45,000 Speaker 2: but we actually did dialogue together. 56 00:02:45,200 --> 00:02:49,520 Speaker 1: I thought that that was like a really guy. Yeah, 57 00:02:49,600 --> 00:02:50,440 Speaker 1: I thought it was good. 58 00:02:50,560 --> 00:02:53,239 Speaker 2: It's weird like the older you get, like the more 59 00:02:53,280 --> 00:02:57,120 Speaker 2: you realize like, oh shit, I'm lucky anything went anywhere right, 60 00:02:57,240 --> 00:02:59,320 Speaker 2: you know, sometimes you're like, fuck, man, why didn't that? 61 00:02:59,440 --> 00:03:01,959 Speaker 2: And it's like it's not so much why didn't that work? 62 00:03:02,000 --> 00:03:06,480 Speaker 2: As much as why did everything work? Ever, Like it's 63 00:03:06,480 --> 00:03:10,400 Speaker 2: not because it's not talent necessarily, Like everybody who wants 64 00:03:10,440 --> 00:03:13,040 Speaker 2: to be in this business to some degree has talent. Shit, 65 00:03:13,080 --> 00:03:16,040 Speaker 2: a lot of it is like Tim Luck and timing. 66 00:03:16,080 --> 00:03:17,679 Speaker 2: It's just being in the right place at the right 67 00:03:17,960 --> 00:03:18,359 Speaker 2: right time. 68 00:03:18,600 --> 00:03:21,960 Speaker 1: Why do you why do you think mal Rats is 69 00:03:22,000 --> 00:03:27,680 Speaker 1: such a huge sort of iconic now movie. I think 70 00:03:27,720 --> 00:03:29,919 Speaker 1: it's but it wasn't then. 71 00:03:30,040 --> 00:03:34,079 Speaker 2: Because it wasn't tied into anyone's childhood at that point, right, 72 00:03:34,160 --> 00:03:36,160 Speaker 2: like it was a brand new movie and stuff. So 73 00:03:36,200 --> 00:03:38,040 Speaker 2: the same way, like I believe I put it on 74 00:03:38,080 --> 00:03:40,280 Speaker 2: the same level as fucking Gone with the Wind, but 75 00:03:40,480 --> 00:03:43,160 Speaker 2: or or Wizard well less com with the Wind. I'm 76 00:03:43,160 --> 00:03:44,680 Speaker 2: put it on the same level with Wizzard of Oz. 77 00:03:45,160 --> 00:03:47,400 Speaker 2: Oz comes out and it's not the Wizard of Oz. 78 00:03:47,440 --> 00:03:50,240 Speaker 2: It takes a few years for it's become holy shit, 79 00:03:50,400 --> 00:03:53,960 Speaker 2: what an amazing magical movie and the gold standard and whatnot. 80 00:03:54,200 --> 00:03:58,520 Speaker 2: So it comes out and it's just a movie, you know, 81 00:03:58,600 --> 00:04:00,920 Speaker 2: and to a lot of critics a dumb movie, like 82 00:04:00,960 --> 00:04:03,040 Speaker 2: the guy who made Clerks made this, what the fuck? 83 00:04:04,160 --> 00:04:11,400 Speaker 2: Over time, the movie is improved by people's association with 84 00:04:11,480 --> 00:04:14,880 Speaker 2: the era of their life in which they watched movie. 85 00:04:15,280 --> 00:04:19,359 Speaker 2: So it becomes a conduit to a happier time, to 86 00:04:19,440 --> 00:04:22,039 Speaker 2: a better time, to a more innocent time. You know. 87 00:04:22,080 --> 00:04:24,160 Speaker 2: As a species, we tend a lot of we tend 88 00:04:24,160 --> 00:04:27,040 Speaker 2: to look back a lot, which is dangerous because you know, 89 00:04:27,080 --> 00:04:29,400 Speaker 2: in the past that's where depression lies, and the future 90 00:04:29,480 --> 00:04:31,599 Speaker 2: is where anxiety lies. In the presence where you have 91 00:04:31,640 --> 00:04:33,200 Speaker 2: to be to be mindful, you got to stay in 92 00:04:33,200 --> 00:04:36,440 Speaker 2: the present. Doesn't mean you can't reminisce, just can't get 93 00:04:36,480 --> 00:04:38,760 Speaker 2: lost in it and stuff. And I think that movie 94 00:04:38,839 --> 00:04:41,400 Speaker 2: is a nice way to reminisce without getting lost in 95 00:04:41,400 --> 00:04:44,080 Speaker 2: the past. It's like when you hear a song or 96 00:04:44,600 --> 00:04:47,840 Speaker 2: smells something cooking that takes you to a very particular 97 00:04:48,480 --> 00:04:51,360 Speaker 2: moment in your life and your childhood and stuff. It's 98 00:04:51,400 --> 00:04:54,320 Speaker 2: evocative for people. So aside from just being like, oh, 99 00:04:54,480 --> 00:04:57,479 Speaker 2: like watching James Aundblov run around or fucking Brody's funny 100 00:04:57,520 --> 00:05:00,640 Speaker 2: or whatever. Fuck, it's like it's like a Eliabeth Olson. 101 00:05:00,720 --> 00:05:02,960 Speaker 2: I watched this with my brother like one summer. This 102 00:05:03,080 --> 00:05:05,880 Speaker 2: is all we fucking did. So now it's built into 103 00:05:05,920 --> 00:05:08,360 Speaker 2: the DNA. We had the benefit of being like not, 104 00:05:08,520 --> 00:05:10,400 Speaker 2: you know, definitely not one of the first movies on 105 00:05:10,440 --> 00:05:13,320 Speaker 2: home video. Home video been around for a while, but 106 00:05:13,400 --> 00:05:16,239 Speaker 2: it was a movie that like didn't benefit from playing 107 00:05:16,320 --> 00:05:19,800 Speaker 2: on Netflix and didn't benefit from playing on HBO repeatedly. 108 00:05:20,200 --> 00:05:23,720 Speaker 2: It was a pass around, so you know, it depicted 109 00:05:24,080 --> 00:05:26,360 Speaker 2: a world that and this is so funny, we're talking 110 00:05:26,440 --> 00:05:28,960 Speaker 2: so high faluting about Malrats, but you get to do 111 00:05:29,000 --> 00:05:31,400 Speaker 2: that because we survived, and so the movie with age, 112 00:05:31,960 --> 00:05:36,359 Speaker 2: but it captured a world that hadn't been captured yet. 113 00:05:36,560 --> 00:05:42,320 Speaker 2: And ironically that world is now overly captured. Like brody 114 00:05:42,600 --> 00:05:46,360 Speaker 2: loving stan Lee in comic books, he's about ten fifteen 115 00:05:46,440 --> 00:05:51,000 Speaker 2: years ahead of the culture, right, Like Malrats aged insanely well, 116 00:05:51,200 --> 00:05:54,880 Speaker 2: because for whatever reason, Thank the Lord, the culture shifted 117 00:05:54,960 --> 00:05:58,600 Speaker 2: toward all the things that Malrats was centered around. And 118 00:05:58,680 --> 00:06:03,200 Speaker 2: so just even that love like of Marvel. And you know, 119 00:06:03,440 --> 00:06:06,040 Speaker 2: the script originally was DC and Marvel equal, because I 120 00:06:06,080 --> 00:06:08,720 Speaker 2: was definitely more of a DC guy, but DC didn't 121 00:06:08,720 --> 00:06:10,719 Speaker 2: want to give us anything. Marvel was like, take anything 122 00:06:10,720 --> 00:06:12,760 Speaker 2: you want, and so it became more Marvel centric, and 123 00:06:12,839 --> 00:06:14,919 Speaker 2: having Stan in it made it even more so. And 124 00:06:14,920 --> 00:06:18,440 Speaker 2: then years later, Marvel becomes so dominant in the culture, 125 00:06:18,600 --> 00:06:22,520 Speaker 2: and stan cameos in movies that make a billion dollars 126 00:06:22,560 --> 00:06:24,800 Speaker 2: become the gold standard. And every year when he was 127 00:06:24,839 --> 00:06:27,760 Speaker 2: alive that they wrote about him doing a cameo, they're like, 128 00:06:27,800 --> 00:06:31,440 Speaker 2: of course, his first cameo was in mal Rats and stuff, 129 00:06:31,480 --> 00:06:34,120 Speaker 2: and so Stan goes on and does like, you know, 130 00:06:34,240 --> 00:06:36,720 Speaker 2: I get to introduce Stan to a generation of kids 131 00:06:36,760 --> 00:06:39,599 Speaker 2: maybe weren't that familiar with them with Malrats. Years later, 132 00:06:40,040 --> 00:06:42,960 Speaker 2: he returns the favor in Captain Marvel when he's sitting 133 00:06:42,960 --> 00:06:46,240 Speaker 2: on a train and reading Malrat script. So you know, 134 00:06:46,720 --> 00:06:51,880 Speaker 2: things like that helped booy it over the years, and 135 00:06:51,960 --> 00:06:56,120 Speaker 2: it just like got better, Like you know, in people's memory, 136 00:06:56,160 --> 00:06:58,640 Speaker 2: the movie didn't improve. It is what it always was. 137 00:06:59,320 --> 00:07:02,760 Speaker 2: But it's also simple. There's nothing complex about it. It's got 138 00:07:02,839 --> 00:07:05,839 Speaker 2: enough laughs, enough naughty laughs and shit that it tracks 139 00:07:05,880 --> 00:07:08,000 Speaker 2: in this modern day and age where it could make 140 00:07:08,000 --> 00:07:10,520 Speaker 2: a modern person laugh as opposed to like release jokes 141 00:07:10,600 --> 00:07:14,160 Speaker 2: or fucking tame or something like that. But I think 142 00:07:14,200 --> 00:07:16,640 Speaker 2: it has more to do with everyone going like, oh 143 00:07:16,680 --> 00:07:19,000 Speaker 2: I saw this when I was ex y or Z 144 00:07:19,240 --> 00:07:22,840 Speaker 2: now I love when I'm in a con just like 145 00:07:22,960 --> 00:07:25,400 Speaker 2: you and fucking like somebody comes up to you and 146 00:07:25,400 --> 00:07:28,120 Speaker 2: they're fourteen, like I love mal Rats and you're like yes, 147 00:07:28,680 --> 00:07:30,960 Speaker 2: because I'm gonna live just a little bit longer because 148 00:07:30,960 --> 00:07:32,880 Speaker 2: of that shit this. Yeah, he's gonna live a little 149 00:07:32,880 --> 00:07:33,360 Speaker 2: bit longer. 150 00:07:33,440 --> 00:07:36,320 Speaker 1: And it is finding a new younger audience, Like it 151 00:07:36,560 --> 00:07:42,760 Speaker 1: just cheaps regurgitating itself really where people like their parents 152 00:07:42,840 --> 00:07:44,920 Speaker 1: have now put them in front of it and had 153 00:07:44,920 --> 00:07:49,520 Speaker 1: them watch it. So it's it's spanning generations. 154 00:07:49,200 --> 00:07:52,240 Speaker 2: And that honestly like that, like I said before, like 155 00:07:52,320 --> 00:07:55,000 Speaker 2: you saying yes being in the movie is what got 156 00:07:55,040 --> 00:07:59,920 Speaker 2: the movie made, but like you being in it also 157 00:08:00,200 --> 00:08:04,400 Speaker 2: makes it like just one of the most nineties things 158 00:08:04,560 --> 00:08:11,000 Speaker 2: ever me you Malrats, Jason Lee skateboarder, you know, moving 159 00:08:11,000 --> 00:08:16,000 Speaker 2: out of a skateboarding career, Like it's just so evocative 160 00:08:16,000 --> 00:08:21,240 Speaker 2: of that era without being aged, you don't watch it 161 00:08:21,280 --> 00:08:24,680 Speaker 2: necessarily go like everything looks fucking old. All that fashion 162 00:08:24,800 --> 00:08:27,560 Speaker 2: came back and people wear that shit. Yeah, as long 163 00:08:27,600 --> 00:08:30,920 Speaker 2: as comic book culture is, you know, still part of 164 00:08:30,960 --> 00:08:34,920 Speaker 2: the conversation, Malrats continues to age, Yeah, very well, but 165 00:08:34,960 --> 00:08:37,640 Speaker 2: you being in it legitimizes it as well. Man, Like 166 00:08:38,360 --> 00:08:44,000 Speaker 2: it's again I'm blowing smoke. But fuck dude, like you've 167 00:08:44,040 --> 00:08:49,120 Speaker 2: had such an iconic career and Malrats is a big 168 00:08:49,160 --> 00:08:51,559 Speaker 2: part of my mythology, and it seems like it's a big, 169 00:08:51,960 --> 00:08:55,360 Speaker 2: pretty decent part of your mythology inasmuch as we both 170 00:08:55,400 --> 00:08:57,520 Speaker 2: had the relationship with it where it was like, oh, 171 00:08:57,640 --> 00:09:00,520 Speaker 2: fuck it it ruined me. And now it's a thing 172 00:09:00,559 --> 00:09:01,280 Speaker 2: that who is you? 173 00:09:01,640 --> 00:09:04,760 Speaker 1: Yes, so I know that I asked you this, And 174 00:09:04,840 --> 00:09:08,640 Speaker 1: it's what everybody is going to want to know is 175 00:09:09,080 --> 00:09:13,000 Speaker 1: what do we have to do to get Marats two 176 00:09:14,320 --> 00:09:15,680 Speaker 1: and done? Where are we at? 177 00:09:15,880 --> 00:09:18,640 Speaker 2: Here's the story of Marats two. And now there's been 178 00:09:19,000 --> 00:09:21,320 Speaker 2: I think two versions of the Marats two script. You 179 00:09:21,320 --> 00:09:24,520 Speaker 2: probably read both current versions called Twilight of the Marats. 180 00:09:24,600 --> 00:09:29,560 Speaker 2: I love it a lot. It's really quite special every 181 00:09:29,640 --> 00:09:33,640 Speaker 2: time I approach Universal because Universal owns the rights tomorrow Ats. 182 00:09:33,760 --> 00:09:37,560 Speaker 2: As previously mentioned, they're the last person standing in that 183 00:09:38,000 --> 00:09:40,320 Speaker 2: Grammarcy equation that I think they got all the grammar 184 00:09:40,360 --> 00:09:42,520 Speaker 2: sy properties and stuff. So if you want to make 185 00:09:42,520 --> 00:09:44,600 Speaker 2: a Marats movie, you got to make it with Universal. 186 00:09:44,800 --> 00:09:47,080 Speaker 2: And years ago when I wrote Maratz sequel the first 187 00:09:47,080 --> 00:09:50,760 Speaker 2: time around my agent, that agent was like, I said, hey, ma, 188 00:09:50,760 --> 00:09:53,280 Speaker 2: I'm gonna write a Maratz sequel, Like can I just 189 00:09:53,559 --> 00:09:55,640 Speaker 2: kind of do that? And he's like, yeah, there's three 190 00:09:55,640 --> 00:09:57,520 Speaker 2: ways by which you can make a Marts movie. One, 191 00:09:57,600 --> 00:09:59,320 Speaker 2: Universe wants to do it and they make it. Two 192 00:10:00,160 --> 00:10:02,680 Speaker 2: so I was like, oh, get a copro and we'll 193 00:10:02,679 --> 00:10:04,400 Speaker 2: do it. And three they just give it back to 194 00:10:04,440 --> 00:10:06,400 Speaker 2: you and you just go make it. I was like, seriously, 195 00:10:06,520 --> 00:10:07,800 Speaker 2: they'll give it to me and I can make them 196 00:10:07,760 --> 00:10:09,319 Speaker 2: all Ron's equol if they don't want it, because that's 197 00:10:09,360 --> 00:10:11,360 Speaker 2: what I prefer making up with a studio. I just 198 00:10:11,400 --> 00:10:13,480 Speaker 2: go make my own version. And he was like yeah, 199 00:10:13,520 --> 00:10:15,679 Speaker 2: and I was great, and so I set out and 200 00:10:15,760 --> 00:10:17,960 Speaker 2: wrote it and that's where everybody remember I in my 201 00:10:18,000 --> 00:10:21,240 Speaker 2: Instagram thread, everybody putting up two fingers and ship. And 202 00:10:21,240 --> 00:10:23,360 Speaker 2: then I finished it and my agent was like, all right, 203 00:10:23,400 --> 00:10:24,960 Speaker 2: so you guys submit it to Universal. I was like 204 00:10:24,960 --> 00:10:26,960 Speaker 2: why and he's like, well, they have to read it. 205 00:10:27,080 --> 00:10:28,800 Speaker 2: I was like, they're not gonna make it and I 206 00:10:28,840 --> 00:10:31,199 Speaker 2: just didn't make it a Maronce movie and he goes, yeah, 207 00:10:31,280 --> 00:10:33,319 Speaker 2: but they have to make sure there's no anti universal 208 00:10:33,400 --> 00:10:35,560 Speaker 2: sentiment or something like that. It's like all right, So 209 00:10:35,559 --> 00:10:38,480 Speaker 2: I sent the script and I waited, and a week 210 00:10:38,559 --> 00:10:40,600 Speaker 2: later I was like, what they say? Can I go? 211 00:10:40,920 --> 00:10:44,000 Speaker 2: And he goes, uh no. I said why, there's nothing 212 00:10:44,040 --> 00:10:47,160 Speaker 2: in that script that's offensive to them, and he's like, well, 213 00:10:47,360 --> 00:10:49,520 Speaker 2: you know, I said, there were three pass by which 214 00:10:49,559 --> 00:10:52,120 Speaker 2: the movie gets made. But it turns out the historically 215 00:10:52,160 --> 00:10:55,439 Speaker 2: and the entire fucking history of Universal as a studio, 216 00:10:55,520 --> 00:10:58,480 Speaker 2: going back to the Limley's or whatever the fuck. They 217 00:10:58,520 --> 00:11:02,160 Speaker 2: have never let go of a property that they own. 218 00:11:02,400 --> 00:11:03,920 Speaker 2: They just do that. They would never let go of 219 00:11:03,960 --> 00:11:06,120 Speaker 2: a library title, even if they don't give a fuck 220 00:11:06,120 --> 00:11:08,840 Speaker 2: about it. It's just against policy. So I'm like, oh, 221 00:11:08,920 --> 00:11:11,000 Speaker 2: so there's two ways by which this movie gets made, 222 00:11:11,000 --> 00:11:12,760 Speaker 2: and he's like, yeah, Universe is gonna make kind of 223 00:11:12,760 --> 00:11:15,520 Speaker 2: want to do it, or you co pro it. And 224 00:11:15,559 --> 00:11:17,960 Speaker 2: then it turned out that they wouldn't copro either. So 225 00:11:18,000 --> 00:11:20,120 Speaker 2: there was literally one way by which the movie got made, 226 00:11:20,120 --> 00:11:24,240 Speaker 2: which is Universal go like, oh, well they don't care. 227 00:11:24,360 --> 00:11:26,400 Speaker 2: Here I'll tell you, here's a great mallright story that 228 00:11:26,480 --> 00:11:28,000 Speaker 2: tells you why they don't give a shit. Like when 229 00:11:28,000 --> 00:11:30,320 Speaker 2: I brought in the script, I was like, I'm writing, man, 230 00:11:30,320 --> 00:11:32,160 Speaker 2: I'm gonnake a mall rte sequel, and shit, it's gonna 231 00:11:32,160 --> 00:11:34,120 Speaker 2: be fun. And we got an audience for it. Everybody 232 00:11:34,120 --> 00:11:38,240 Speaker 2: loves it. Shit, and they read it and they were like, well, 233 00:11:38,320 --> 00:11:41,920 Speaker 2: this is neither fast nor furious, Like how do we 234 00:11:42,679 --> 00:11:45,360 Speaker 2: how do we make this? Why would we make this movie? 235 00:11:45,679 --> 00:11:48,920 Speaker 2: It's not a just puzzlement because it wasn't a movie 236 00:11:48,960 --> 00:11:51,200 Speaker 2: that was a hit for him. We don't have an 237 00:11:51,200 --> 00:11:54,360 Speaker 2: American by billboard outside of Universal Studios, Theme Park and 238 00:11:54,400 --> 00:11:56,880 Speaker 2: shit like that. We were a cult hit and one 239 00:11:56,880 --> 00:11:59,600 Speaker 2: that I don't particularly care that much about. So during 240 00:11:59,679 --> 00:12:03,319 Speaker 2: Jaye's Bob reboot and Clerks three, I got in bed 241 00:12:03,360 --> 00:12:05,920 Speaker 2: with good folks at Lionsgate. And so for a minute there, 242 00:12:06,160 --> 00:12:09,320 Speaker 2: Lionsgate was working with Universal because they're like, oh, we 243 00:12:09,360 --> 00:12:11,360 Speaker 2: work with them on co productions and I'm like what, 244 00:12:12,120 --> 00:12:16,160 Speaker 2: So they were trying to make some headway or we're 245 00:12:16,200 --> 00:12:18,240 Speaker 2: making headway. But then the person who was our Lionsgate 246 00:12:18,320 --> 00:12:21,840 Speaker 2: person left, So I right now, I have no idea 247 00:12:22,840 --> 00:12:27,600 Speaker 2: where it stands. I know Universal really doesn't give a shit, like, 248 00:12:28,080 --> 00:12:32,120 Speaker 2: but that could be me just thinking Universal doesn't give 249 00:12:32,120 --> 00:12:35,320 Speaker 2: a shit. Maybe they're like ooh, And also since I 250 00:12:35,400 --> 00:12:38,280 Speaker 2: went in there, thinks you know, there's peacock. Maybe there's 251 00:12:38,320 --> 00:12:41,800 Speaker 2: a fucking path to do it via them or whatever exactly. 252 00:12:42,120 --> 00:12:45,560 Speaker 2: But you know where our best chances are of like 253 00:12:45,640 --> 00:12:49,400 Speaker 2: we do a scene from the script and people could 254 00:12:49,480 --> 00:12:53,120 Speaker 2: hear what it sounds like and fucking lobby the public 255 00:12:53,160 --> 00:12:55,319 Speaker 2: to like lobby them to be like, oh my god. 256 00:12:55,160 --> 00:12:56,600 Speaker 1: Fucking did you have a scene. 257 00:12:56,840 --> 00:12:59,920 Speaker 2: Yes, it's a long way of fucking getting right to 258 00:13:00,080 --> 00:13:14,760 Speaker 2: the point. Yes, all right, So this is a scene 259 00:13:14,800 --> 00:13:16,440 Speaker 2: from Twilight of the Marrats. So let me set it 260 00:13:16,520 --> 00:13:19,640 Speaker 2: up for you. In this version of the movie, we 261 00:13:19,800 --> 00:13:23,360 Speaker 2: find we are we are in the scene. Particularly, we 262 00:13:23,440 --> 00:13:28,360 Speaker 2: are duplicating the scene that kicked off Mall Rats. So 263 00:13:29,160 --> 00:13:31,760 Speaker 2: in Malrats, you remember the first time you've seen Renee. 264 00:13:31,760 --> 00:13:35,160 Speaker 2: She's kneeling on the bend. She's knocking on Brodie's head 265 00:13:35,200 --> 00:13:37,200 Speaker 2: and wakes him up, and he's like Jesus Christ would 266 00:13:37,280 --> 00:13:39,319 Speaker 2: knock it off. And they have a whole conversation in 267 00:13:39,360 --> 00:13:41,280 Speaker 2: the bedroom and ship, and it ends with her giving 268 00:13:41,280 --> 00:13:44,160 Speaker 2: that beautiful monologue about fucking being an air traffic controller 269 00:13:44,200 --> 00:13:46,960 Speaker 2: and ship, which I've met so many air traffic controllers 270 00:13:46,960 --> 00:13:50,560 Speaker 2: in my life who were like, thank you, thank you 271 00:13:51,200 --> 00:13:54,960 Speaker 2: for that moment alone and ship. So in in Twilight 272 00:13:55,000 --> 00:13:59,360 Speaker 2: of the Mall Rats, our eciting incident happens before the movie, 273 00:14:00,040 --> 00:14:02,760 Speaker 2: before we get to this part. This is where we're 274 00:14:02,880 --> 00:14:07,920 Speaker 2: meeting Brody and Renee for the first time. Years later, 275 00:14:07,960 --> 00:14:12,000 Speaker 2: Brody and Renee have a kid, Brody Bruce's kid. As 276 00:14:12,040 --> 00:14:16,080 Speaker 2: we referenced in If You Saw Jane Sad Bob reboot. 277 00:14:16,120 --> 00:14:18,600 Speaker 2: There's some cut scenes where we at the end during 278 00:14:18,600 --> 00:14:22,320 Speaker 2: the credits where Brody Bruce talked about his daughter Banner. 279 00:14:22,360 --> 00:14:25,640 Speaker 2: Bruce so like the reverse of Bruce Banner, Brody being 280 00:14:25,680 --> 00:14:28,040 Speaker 2: a big comic book nerd and shit like that. So 281 00:14:28,400 --> 00:14:31,080 Speaker 2: Banner is the daughter of Renee and Brody, and she 282 00:14:31,200 --> 00:14:36,320 Speaker 2: is insanely unimpressed by her father, who lives in the 283 00:14:36,360 --> 00:14:39,200 Speaker 2: glory moment of what happened in Malraitz. It is the 284 00:14:39,280 --> 00:14:40,920 Speaker 2: biggest thing that ever happened to him. Then he went 285 00:14:40,920 --> 00:14:42,720 Speaker 2: on to host the Tonight Show with Renee as his 286 00:14:42,760 --> 00:14:46,920 Speaker 2: band leader, and then after that nothing. Then it was like, 287 00:14:47,000 --> 00:14:49,880 Speaker 2: you know, fucking fell off the pop cultural cliff and stuff. 288 00:14:49,920 --> 00:14:54,520 Speaker 2: But Brody relives that. Brody lives in that era. Brody 289 00:14:54,640 --> 00:14:57,560 Speaker 2: is holding on steadfast to the nineties. I swear the 290 00:14:57,640 --> 00:15:01,240 Speaker 2: character is not based on me. He's steadfastly holding on 291 00:15:01,280 --> 00:15:03,200 Speaker 2: to then. And he's so much so that he is 292 00:15:03,480 --> 00:15:06,640 Speaker 2: in He's moved his compic store into the mall. The 293 00:15:06,720 --> 00:15:09,000 Speaker 2: mall has been dying. It is at less than fifty 294 00:15:09,000 --> 00:15:12,320 Speaker 2: percent capacity and shit, and that figures prominently in the 295 00:15:12,360 --> 00:15:16,680 Speaker 2: plot of the movie the mall itself. So Brody and 296 00:15:16,720 --> 00:15:21,080 Speaker 2: Renee are split. They're going through a split. She threw 297 00:15:21,120 --> 00:15:23,200 Speaker 2: him out of the house because Brody took their life 298 00:15:23,200 --> 00:15:25,840 Speaker 2: savings to invest in a compic store in a dying 299 00:15:25,840 --> 00:15:28,560 Speaker 2: fucking mall. You'll find out in this scene. So they're 300 00:15:28,600 --> 00:15:31,880 Speaker 2: split when this begins. And of course they were split 301 00:15:31,920 --> 00:15:34,120 Speaker 2: when Mall Rats began. So I wonder if in the 302 00:15:34,160 --> 00:15:37,760 Speaker 2: third act been getting back together. Fucking Universal, let's find 303 00:15:37,760 --> 00:15:38,280 Speaker 2: out together. 304 00:15:38,440 --> 00:15:40,480 Speaker 1: Yeah, Universal, So here we. 305 00:15:40,400 --> 00:15:42,960 Speaker 2: Are in this scene. This is what we've our opening 306 00:15:43,040 --> 00:15:45,360 Speaker 2: scene deals with Banner and fucking what puts her in 307 00:15:45,400 --> 00:15:47,880 Speaker 2: trouble and stuff and what incites the whole movie. So 308 00:15:48,040 --> 00:15:50,480 Speaker 2: this is where we get to meet Brody and Renee, 309 00:15:50,520 --> 00:15:52,360 Speaker 2: and it is to get it into your head what 310 00:15:52,400 --> 00:15:56,520 Speaker 2: it looks like. Just imagine their first scene in mal Rats, 311 00:15:56,600 --> 00:15:59,040 Speaker 2: but now they look like what they look like now, 312 00:15:59,040 --> 00:16:01,800 Speaker 2: they're just fucking grown up up stage the same way. 313 00:16:02,600 --> 00:16:05,160 Speaker 2: The delivery is the same fucking way, And it's just 314 00:16:05,280 --> 00:16:10,360 Speaker 2: meant to show you that life doesn't fucking change, actually 315 00:16:11,040 --> 00:16:12,920 Speaker 2: not at all. So here we go. Man, I'm gonna 316 00:16:12,920 --> 00:16:16,280 Speaker 2: read from the script. I'll read the expository shit, and 317 00:16:16,280 --> 00:16:18,720 Speaker 2: then I'll read the Brody part interior, Brody's Room Day 318 00:16:19,280 --> 00:16:22,040 Speaker 2: match to a close up from the previous shot would 319 00:16:22,080 --> 00:16:25,920 Speaker 2: be a banner to a current day Brody Bruce asleep 320 00:16:26,120 --> 00:16:29,120 Speaker 2: sitting up. A woman's hand enters the frame and knocks 321 00:16:29,240 --> 00:16:32,720 Speaker 2: on his head reveal current day Renee Bruce because I 322 00:16:32,800 --> 00:16:36,560 Speaker 2: got married, dressed and kneeling on the bed beside Brody 323 00:16:36,840 --> 00:16:39,640 Speaker 2: knocking on his head. Brody wakes pissed in a room 324 00:16:39,680 --> 00:16:43,760 Speaker 2: that looks almost exactly like his bedroom in nineteen ninety five. 325 00:16:43,800 --> 00:16:47,480 Speaker 2: So Brody's trying to keep shit the same those of 326 00:16:47,560 --> 00:16:50,320 Speaker 2: us who have ever succeeded in life try to replicate 327 00:16:50,360 --> 00:16:53,160 Speaker 2: that moment over and over, and that's Brody's late motif. 328 00:16:53,560 --> 00:16:55,680 Speaker 2: So Brody begins he's getting knocked on the head, just 329 00:16:55,720 --> 00:16:58,640 Speaker 2: like in Malred. He goes, sweet fucking Christ, would you 330 00:16:58,720 --> 00:17:00,840 Speaker 2: knock it off? And they close his eyes. He reopens 331 00:17:00,840 --> 00:17:02,360 Speaker 2: and he goes, wait, what are you doing here? We're 332 00:17:02,360 --> 00:17:03,240 Speaker 2: not married anymore? 333 00:17:03,280 --> 00:17:05,040 Speaker 1: Thank God for that. Your daughter's outside. 334 00:17:05,359 --> 00:17:07,560 Speaker 2: Renee gets off the bed and looks at all the 335 00:17:07,560 --> 00:17:11,560 Speaker 2: posters on the walls. Now kids sidebar Renee the actor. 336 00:17:12,320 --> 00:17:15,560 Speaker 2: Shannon the actor made a choice for Renee. In the script, 337 00:17:15,600 --> 00:17:22,280 Speaker 2: it says, Hallelujah. As previously mentioned, she was like ok, 338 00:17:22,320 --> 00:17:24,480 Speaker 2: I have a hard time with that word. Instead, she 339 00:17:24,520 --> 00:17:25,840 Speaker 2: made a choice. What did you choose? 340 00:17:26,119 --> 00:17:26,640 Speaker 1: Thank god? 341 00:17:26,880 --> 00:17:29,640 Speaker 2: Now, when we were in Ma Rats nineteen ninety five, 342 00:17:29,640 --> 00:17:31,800 Speaker 2: I would have been like, well, do what's in the script, 343 00:17:31,880 --> 00:17:34,520 Speaker 2: because I was very dictatory about the script. But now 344 00:17:34,640 --> 00:17:37,080 Speaker 2: modern day keV knows how to go with the flow. 345 00:17:37,560 --> 00:17:40,600 Speaker 2: I like your time like you know. Also we do 346 00:17:40,720 --> 00:17:43,000 Speaker 2: both takes, but I like the change that you may. 347 00:17:43,080 --> 00:17:45,880 Speaker 2: I like. I liked your choice, man, so I. 348 00:17:45,840 --> 00:17:48,040 Speaker 1: Mean I like the hallolulas. 349 00:17:48,920 --> 00:17:50,600 Speaker 2: You think she didn't go for it. 350 00:17:51,680 --> 00:17:55,359 Speaker 1: Here's the problem is, like any once I find a 351 00:17:55,400 --> 00:17:59,240 Speaker 1: word that that I trip on, yes, I will never 352 00:17:59,359 --> 00:18:00,840 Speaker 1: be able to say forever and ever. 353 00:18:00,920 --> 00:18:04,160 Speaker 2: Yeah, see, kids, acting comes down to choices. Shannon made 354 00:18:04,160 --> 00:18:06,600 Speaker 2: the right choices, like I'm gonna trip over that fucking word. Yeah, 355 00:18:06,680 --> 00:18:09,000 Speaker 2: absolutely not back into the scene. I'm gonna take us 356 00:18:09,000 --> 00:18:10,920 Speaker 2: back to the weight so you can hear it again. 357 00:18:10,960 --> 00:18:12,720 Speaker 2: She'll make a different probably, watch her make a different 358 00:18:12,800 --> 00:18:14,879 Speaker 2: choice here we go. Wait, what are you doing here? 359 00:18:14,880 --> 00:18:15,920 Speaker 2: We're not married anymore? 360 00:18:16,080 --> 00:18:18,200 Speaker 1: Sweet fucking Christ for that your daughter's outside. 361 00:18:18,280 --> 00:18:20,879 Speaker 2: But she made a second fucking choice because usable so 362 00:18:21,080 --> 00:18:22,960 Speaker 2: me as the director, I'm more of an editor, right, 363 00:18:23,160 --> 00:18:26,200 Speaker 2: I'm on set quote unquote directing, and she'll test in 364 00:18:26,280 --> 00:18:29,000 Speaker 2: my directing. It's very mental. But I'm more of an editor, right. 365 00:18:29,080 --> 00:18:31,720 Speaker 2: So in that moment, the editor keV is like, oh nice, 366 00:18:31,760 --> 00:18:34,199 Speaker 2: I got choices, and I like the second one too. 367 00:18:34,280 --> 00:18:37,120 Speaker 2: Her delivery gets more and more comfortable. She goes on, man, 368 00:18:37,160 --> 00:18:39,439 Speaker 2: so you can get a first take out of Shannon. 369 00:18:39,680 --> 00:18:42,680 Speaker 2: That's usable in the movie. But let her go here. 370 00:18:42,680 --> 00:18:45,280 Speaker 2: You get some gold. That's mine. That's my acting list, 371 00:18:45,400 --> 00:18:48,280 Speaker 2: my directing lesson acting lesson for those listening. Okay, Regge 372 00:18:48,320 --> 00:18:50,359 Speaker 2: gets off the bed, looks at all the posters on 373 00:18:50,400 --> 00:18:53,480 Speaker 2: the wall. Brody goes, uh, why he's referring to his 374 00:18:53,560 --> 00:18:56,600 Speaker 2: daughter being outside? Why isn't this a school day? Oh shit, 375 00:18:56,800 --> 00:18:58,760 Speaker 2: there's not another quarantine, is it. I don't have any 376 00:18:58,800 --> 00:18:59,480 Speaker 2: toilet paper. 377 00:18:59,560 --> 00:19:01,600 Speaker 1: I see him managed to rescue some of your ship 378 00:19:01,640 --> 00:19:02,480 Speaker 1: from my garbage. 379 00:19:02,600 --> 00:19:04,919 Speaker 2: I can't believe you had the nerve to throw my 380 00:19:05,040 --> 00:19:06,200 Speaker 2: life out of our house. 381 00:19:06,560 --> 00:19:10,240 Speaker 1: You don't live there anymore. So yes, Brody Bruce me, 382 00:19:11,800 --> 00:19:13,120 Speaker 1: how did you wrote this? 383 00:19:13,240 --> 00:19:17,119 Speaker 2: I did left the Brody Bruce Museum. So you're referring 384 00:19:17,160 --> 00:19:18,040 Speaker 2: to this place as. 385 00:19:17,960 --> 00:19:19,040 Speaker 1: As a museum. 386 00:19:19,119 --> 00:19:23,520 Speaker 2: I get it. Me zoom museum. Me zoom museum instead 387 00:19:23,520 --> 00:19:24,639 Speaker 2: a museum. It's me. 388 00:19:24,960 --> 00:19:27,240 Speaker 1: You guys like, this is what I deal with with 389 00:19:27,400 --> 00:19:30,280 Speaker 1: Kevin Smith, where he's like this is easy for me. 390 00:19:30,320 --> 00:19:32,479 Speaker 2: I'm like, what's made up? Words? And naturally I have 391 00:19:32,520 --> 00:19:36,720 Speaker 2: a question. Museum like ins museum, it's amazium, meaning it's 392 00:19:36,760 --> 00:19:38,560 Speaker 2: all dedicated to you. 393 00:19:38,560 --> 00:19:41,840 Speaker 1: Don't live there anymore. So the Brody Bruce Museum is 394 00:19:41,920 --> 00:19:44,080 Speaker 1: out of business. I mean, look at all of this shit. 395 00:19:44,240 --> 00:19:48,000 Speaker 2: You know what I'm proud of, all my professional accomplishments. Amused, 396 00:19:48,359 --> 00:19:51,399 Speaker 2: Rene sees a particular frame on the wall. She says, 397 00:19:51,720 --> 00:19:55,240 Speaker 2: you framed our divorce papers and my personal accomplishments. 398 00:19:55,880 --> 00:19:59,160 Speaker 1: Well you'll find no pride and our daughter's accomplishments. Today. 399 00:19:59,240 --> 00:20:02,520 Speaker 1: Banner got caught with Gavin Hamilton at the Edentown Hotel 400 00:20:02,600 --> 00:20:05,720 Speaker 1: last night doing what what do people do at hotels? 401 00:20:05,760 --> 00:20:07,800 Speaker 2: Brody go to comic book shows? 402 00:20:08,400 --> 00:20:10,720 Speaker 1: Why did we go to the Edentown Hotel on prom 403 00:20:10,800 --> 00:20:13,480 Speaker 1: night when you asked me to sleep under the bed 404 00:20:13,520 --> 00:20:14,639 Speaker 1: in case your mom burst in? 405 00:20:15,000 --> 00:20:18,000 Speaker 2: She went there for sex and burned down the hotel? 406 00:20:18,440 --> 00:20:19,760 Speaker 2: Is that s flying for sex? Now? 407 00:20:19,960 --> 00:20:22,639 Speaker 1: No, Brody, she literally burned the hotel down there was 408 00:20:22,640 --> 00:20:23,000 Speaker 1: a fire. 409 00:20:23,200 --> 00:20:24,600 Speaker 2: Holy shit, really is banner. 410 00:20:24,640 --> 00:20:27,120 Speaker 1: Okay, nobody got hurt, but the hotel is gone. It's 411 00:20:27,160 --> 00:20:28,280 Speaker 1: just a big pile of ash. 412 00:20:28,320 --> 00:20:32,240 Speaker 2: Wow, I mean fireside. That's kind of metal. Our kid rocks. 413 00:20:32,440 --> 00:20:34,320 Speaker 1: Oh so glad that you feel that way, because we 414 00:20:34,359 --> 00:20:36,000 Speaker 1: may be liable for all of her damages. 415 00:20:36,080 --> 00:20:37,120 Speaker 2: Oh I'm gonna kill that kid. 416 00:20:37,280 --> 00:20:39,360 Speaker 1: I could barely keep my store open as it is, 417 00:20:39,480 --> 00:20:42,040 Speaker 1: and I just got a second notice about the second mortgage. 418 00:20:42,080 --> 00:20:44,720 Speaker 2: Shit already, you fucked. 419 00:20:44,480 --> 00:20:46,880 Speaker 1: Us when you refinanced our house to move your stupid 420 00:20:46,880 --> 00:20:48,920 Speaker 1: comic book store to a dying mall. 421 00:20:49,119 --> 00:20:52,040 Speaker 2: Well, the stash is making a big comeback tomorrow. Renee 422 00:20:52,040 --> 00:20:55,040 Speaker 2: Brody finally gets out of bed to show Renee a 423 00:20:55,200 --> 00:20:59,920 Speaker 2: poster for the Brody Bruce Comic Con featuring Brody centric artwork. 424 00:21:00,160 --> 00:21:03,080 Speaker 2: The Brody Bruce Comic coom will resuscitate my store. 425 00:21:03,160 --> 00:21:05,800 Speaker 1: Your store is as good as dead because nobody goes 426 00:21:05,840 --> 00:21:09,760 Speaker 1: to the mall anymore. Bro maybe not since Amazon, since 427 00:21:09,800 --> 00:21:13,560 Speaker 1: the world wide pandemic. You're literally the last person alive 428 00:21:13,560 --> 00:21:16,200 Speaker 1: who even gives a fat rat's ass about a mall anymore. 429 00:21:16,240 --> 00:21:18,800 Speaker 1: I mean, christ, I wish you showed half as much 430 00:21:18,800 --> 00:21:19,640 Speaker 1: interest in your daughter. 431 00:21:19,720 --> 00:21:23,480 Speaker 2: Hey, I love my daughter jack good good because she's 432 00:21:23,520 --> 00:21:26,080 Speaker 2: spending the day with you. Away, man, I got to 433 00:21:26,119 --> 00:21:27,920 Speaker 2: be at the mall to do press for the con 434 00:21:27,960 --> 00:21:30,200 Speaker 2: at noon. And doesn't Banner have like a prom tonight 435 00:21:30,280 --> 00:21:30,560 Speaker 2: or something. 436 00:21:30,680 --> 00:21:32,800 Speaker 1: There's no place to have a prom, so there's not 437 00:21:32,840 --> 00:21:35,480 Speaker 1: going to be a prompt tonight. So just this one time, 438 00:21:35,560 --> 00:21:39,800 Speaker 1: can you put our daughter ahead of your mall and yourself? Please, Brody, never. 439 00:21:39,680 --> 00:21:42,080 Speaker 2: Say no to you when you say please, because you'll 440 00:21:42,119 --> 00:21:44,600 Speaker 2: always be the only one for me. Renee. We hear 441 00:21:44,640 --> 00:21:47,240 Speaker 2: a toilet flush and a lady emerges. She sees Renee. 442 00:21:47,280 --> 00:21:51,000 Speaker 2: Ooh you ordered us postmates. Brody says to Renee, saving face, 443 00:21:51,359 --> 00:21:54,840 Speaker 2: this was just sex, okay, but you still have my heart, Brodie. 444 00:21:54,880 --> 00:21:57,719 Speaker 1: Your heart is the second smallest organ you ever gave me. 445 00:21:57,880 --> 00:22:00,600 Speaker 2: Renee exits after it beat. The girl, says Brodie. I 446 00:22:00,640 --> 00:22:01,800 Speaker 2: thought it was a good size. 447 00:22:02,400 --> 00:22:02,600 Speaker 1: Come. 448 00:22:02,880 --> 00:22:05,240 Speaker 2: I don't want to see that movie, right. It's good 449 00:22:05,440 --> 00:22:07,920 Speaker 2: you crush bro That was so fucking good. I need 450 00:22:07,960 --> 00:22:08,760 Speaker 2: some rehearsals. 451 00:22:08,800 --> 00:22:11,920 Speaker 1: We got to get our pace going, I mean, Jason Lee, 452 00:22:12,080 --> 00:22:15,720 Speaker 1: we got to get that keep playing a cougar. 453 00:22:15,800 --> 00:22:20,080 Speaker 2: Fuckable mom. You know what I'm saying, and then the relationship, 454 00:22:20,119 --> 00:22:21,480 Speaker 2: you know, I mean, I don't want to spoil it, 455 00:22:21,520 --> 00:22:26,040 Speaker 2: but it's a comedy of remarriage. So will they get together? 456 00:22:26,800 --> 00:22:28,760 Speaker 2: Come and see, But yeah, they will get together. And 457 00:22:28,760 --> 00:22:31,479 Speaker 2: it's very sweet. It's very romantic, and it's also like 458 00:22:32,280 --> 00:22:36,000 Speaker 2: something that you know, people who grew up with malrats 459 00:22:36,400 --> 00:22:40,439 Speaker 2: now have malrats of their own right. So you know, 460 00:22:40,560 --> 00:22:44,359 Speaker 2: it's fun because it plays with all the toys of marats, 461 00:22:44,400 --> 00:22:48,960 Speaker 2: but it also has the perspective of being a grown 462 00:22:49,040 --> 00:22:51,280 Speaker 2: up and letting go in the right time to like 463 00:22:51,400 --> 00:22:54,520 Speaker 2: let go and stuff. So if you haven't figured it out, 464 00:22:54,880 --> 00:22:57,720 Speaker 2: as you heard in the dialogue, like the hotel where 465 00:22:57,720 --> 00:23:00,760 Speaker 2: they're going to hold the prom burns down or his 466 00:23:00,920 --> 00:23:03,840 Speaker 2: daughter accidentally burned it in and so they wind up 467 00:23:03,880 --> 00:23:07,480 Speaker 2: having an emergency prom at the mall, which is the 468 00:23:07,560 --> 00:23:10,639 Speaker 2: big vacant building and shit, and that's when the comic 469 00:23:10,680 --> 00:23:13,400 Speaker 2: CON's going on, and so Brody Bruce turns it into 470 00:23:13,440 --> 00:23:16,040 Speaker 2: a prom con and invites the world like anybody who's 471 00:23:16,040 --> 00:23:18,480 Speaker 2: ever been left at anything, this is your fucking problem 472 00:23:18,480 --> 00:23:21,320 Speaker 2: of people's prom And it becomes this like cause to 473 00:23:21,400 --> 00:23:24,639 Speaker 2: celebrite and stuff like that, and it's it's a very 474 00:23:24,760 --> 00:23:28,080 Speaker 2: it's antic like mal Rads, but it's also like like, 475 00:23:28,119 --> 00:23:30,760 Speaker 2: oh they got kids now. I call it the degrassy formula, 476 00:23:31,000 --> 00:23:35,000 Speaker 2: like de Grassy. When they did the Next Generation, their 477 00:23:35,040 --> 00:23:39,119 Speaker 2: big twist was these kids belong to the kids that 478 00:23:39,240 --> 00:23:40,720 Speaker 2: used to be on the show. Now they're starting to 479 00:23:40,760 --> 00:23:42,760 Speaker 2: have kids, so these are those kids. And I was like, 480 00:23:42,920 --> 00:23:46,560 Speaker 2: you have me, like it's continuity, keeps going like fucking 481 00:23:46,680 --> 00:23:49,280 Speaker 2: it's not like Brandon, like you know, I didn't watch it, 482 00:23:49,320 --> 00:23:52,000 Speaker 2: but the New charm did have much connection to the 483 00:23:52,000 --> 00:23:54,760 Speaker 2: old Charmed or were they just like it's three new 484 00:23:54,840 --> 00:23:59,919 Speaker 2: chicks and the you know, I like stuff where it's like, 485 00:24:00,160 --> 00:24:05,399 Speaker 2: hey man, it's a very least a nod back or something, 486 00:24:05,480 --> 00:24:08,840 Speaker 2: so uh ma, Twilight of the Mall Rats is much 487 00:24:08,840 --> 00:24:09,880 Speaker 2: more than a nod back. 488 00:24:09,920 --> 00:24:14,920 Speaker 1: It is a return and it's good and it's great. 489 00:24:15,160 --> 00:24:20,120 Speaker 2: Yeah, it's it's especially like if you got kids. It's 490 00:24:20,200 --> 00:24:21,040 Speaker 2: it's really like. 491 00:24:21,520 --> 00:24:23,199 Speaker 1: Does Universal have an Instagram? 492 00:24:23,960 --> 00:24:26,760 Speaker 2: Hit them? Hit them? Bro? You you fucking get press 493 00:24:27,080 --> 00:24:28,920 Speaker 2: since you started your progress you wear in Good Morning 494 00:24:28,920 --> 00:24:34,080 Speaker 2: America promoting your podcast, and then like the Holly episode 495 00:24:34,080 --> 00:24:36,600 Speaker 2: got pressed. So I'm telling you I brought it here 496 00:24:36,640 --> 00:24:41,000 Speaker 2: because I'm like this will disseminate that information. Listen, fucking 497 00:24:41,119 --> 00:24:43,159 Speaker 2: read for Renee, how incredible she is. 498 00:24:43,800 --> 00:24:45,240 Speaker 1: We have a pizza party. 499 00:24:45,760 --> 00:24:47,119 Speaker 2: You're gonna have to. I'm gonna get a man to 500 00:24:47,160 --> 00:24:49,360 Speaker 2: Pete come back and compete against him and ship. 501 00:24:49,440 --> 00:24:50,760 Speaker 1: Oh god, she's really good. 502 00:24:50,920 --> 00:24:53,920 Speaker 2: She worked out for a man Pete. Man. I wonder 503 00:24:53,920 --> 00:24:55,600 Speaker 2: if she ever thinks about do you think she's ever 504 00:24:55,680 --> 00:24:58,199 Speaker 2: like you dragged me out to fucking California for a 505 00:24:58,240 --> 00:25:05,760 Speaker 2: Mallrats edition of I think did just fine. I think 506 00:25:05,760 --> 00:25:08,720 Speaker 2: about no doubt she's like Shannon caught that mall Rat's 507 00:25:08,720 --> 00:25:14,840 Speaker 2: bullet dodge Universal Pictures. Probably yeah, all right, follow you 508 00:25:14,920 --> 00:25:17,439 Speaker 2: gotta be specific, man, you got to go after like Donna. 509 00:25:17,600 --> 00:25:20,560 Speaker 2: What's her name? Donna? Who runs Universal? I don't know? 510 00:25:21,520 --> 00:25:23,480 Speaker 1: All right, you guys, you're gonna do this for us. 511 00:25:23,400 --> 00:25:27,840 Speaker 2: You know, we go after here's the approach Blumhouse. We 512 00:25:27,960 --> 00:25:31,439 Speaker 2: go after Jason Blum because we can make a like 513 00:25:31,480 --> 00:25:34,080 Speaker 2: a cheap version of it and like for you know, 514 00:25:34,400 --> 00:25:37,000 Speaker 2: he started doing his division, which is a genre division 515 00:25:37,400 --> 00:25:39,159 Speaker 2: and it's not a horror movie and stuff, but like 516 00:25:39,200 --> 00:25:41,760 Speaker 2: he's done some stuff ain't necessarily horror movies. That's who 517 00:25:41,800 --> 00:25:44,240 Speaker 2: I should reach out to. I'm literally thinking this out 518 00:25:44,240 --> 00:25:46,440 Speaker 2: in real time because as you're going, like we should 519 00:25:46,480 --> 00:25:47,760 Speaker 2: hit up Universal, I was like, they. 520 00:25:47,640 --> 00:25:53,520 Speaker 1: Don't give a fulling him. So it's uh, Jason his Instagram, 521 00:25:55,240 --> 00:25:59,280 Speaker 1: it's Jason Blum b l u M start hitting him up. 522 00:25:59,200 --> 00:26:01,880 Speaker 2: Back in the day, and then he created Blumhouse Pictures, 523 00:26:01,880 --> 00:26:05,520 Speaker 2: which has become the Blumhouse fucking enterprise. I almost made 524 00:26:05,640 --> 00:26:08,600 Speaker 2: Tusk with them years ago, but I knew him back 525 00:26:08,640 --> 00:26:11,119 Speaker 2: in the day from from the previous life as well. Anyway, 526 00:26:11,160 --> 00:26:15,800 Speaker 2: he turned his ship into a fucking growing concerns. But 527 00:26:15,920 --> 00:26:18,240 Speaker 2: he's based at Universal and he might be the way 528 00:26:18,280 --> 00:26:20,560 Speaker 2: in where he's like, look, I'll shepherd this fucking thing 529 00:26:21,040 --> 00:26:23,800 Speaker 2: that nobody cares about, but I feel people care about it. 530 00:26:24,080 --> 00:26:27,640 Speaker 2: I do too. How about this, hey, Netflix, Let's make 531 00:26:27,640 --> 00:26:30,760 Speaker 2: a Mallrat sequel. Because Netflix, like they're making a fucking 532 00:26:30,760 --> 00:26:33,960 Speaker 2: Beverly Hills cop sequel and Netflix is going to put 533 00:26:33,960 --> 00:26:36,159 Speaker 2: it out, so like, why not, Like I'm telling you, 534 00:26:36,200 --> 00:26:38,520 Speaker 2: we would not be an expensive movie. You can make 535 00:26:38,560 --> 00:26:40,480 Speaker 2: this movie for like, wait, less than ten million, you 536 00:26:40,520 --> 00:26:42,240 Speaker 2: make it five. You make it for the same budget 537 00:26:42,280 --> 00:26:45,119 Speaker 2: we made Mallrats for back in the day. And I 538 00:26:45,160 --> 00:26:49,320 Speaker 2: guarantee you it would be insanely fucking watched because people 539 00:26:49,480 --> 00:26:50,480 Speaker 2: know that name. 540 00:26:50,359 --> 00:27:01,320 Speaker 1: And I gave the movie. Could you imagine what would 541 00:27:01,359 --> 00:27:03,600 Speaker 1: be super cool is if like a Netflix did it, 542 00:27:03,640 --> 00:27:09,520 Speaker 1: for instance, that right before a premieres, they do a 543 00:27:09,600 --> 00:27:12,920 Speaker 1: running of Malrats so that people can watch them back 544 00:27:12,920 --> 00:27:15,040 Speaker 1: to back and see, like what the original, so they 545 00:27:15,080 --> 00:27:17,119 Speaker 1: can have their kids watch the original and then you 546 00:27:17,160 --> 00:27:19,880 Speaker 1: go right into Malrats And that's our best case scenario. 547 00:27:19,960 --> 00:27:25,280 Speaker 2: Then is Peacock because Peacock makes original productions their NBC Universal, 548 00:27:25,640 --> 00:27:28,320 Speaker 2: so they are the ones that air Mallrats on their 549 00:27:28,359 --> 00:27:28,920 Speaker 2: streaming search. 550 00:27:29,080 --> 00:27:30,919 Speaker 1: So why can't we just go and get a meeting 551 00:27:30,960 --> 00:27:31,720 Speaker 1: at Peacock? 552 00:27:31,960 --> 00:27:34,200 Speaker 2: Do it? Let's do it. If I walk in with you, 553 00:27:34,720 --> 00:27:36,960 Speaker 2: they probably take me a lot more seriously. Where are 554 00:27:36,960 --> 00:27:37,240 Speaker 2: you at? 555 00:27:37,320 --> 00:27:37,920 Speaker 1: I'm nowhere. 556 00:27:38,080 --> 00:27:40,760 Speaker 2: You don't have an agency right now? Nothing? Because what 557 00:27:40,800 --> 00:27:44,400 Speaker 2: you took time off agency wasn't what I was thinking 558 00:27:44,440 --> 00:27:45,679 Speaker 2: of when I was fucking find No. 559 00:27:45,720 --> 00:27:47,920 Speaker 1: You want to know what's really interesting is every sort 560 00:27:47,920 --> 00:27:50,159 Speaker 1: of agent that I've had in the last you know, 561 00:27:50,160 --> 00:27:54,760 Speaker 1: a couple of years. They they always come in very 562 00:27:54,760 --> 00:27:57,720 Speaker 1: excited and they're like, oh, representing Shannon Jordy and this 563 00:27:57,760 --> 00:28:01,960 Speaker 1: is so cool, and they're like, I know, I'm sure 564 00:28:01,960 --> 00:28:03,879 Speaker 1: there's going to be some doors that are gonna be 565 00:28:03,960 --> 00:28:07,640 Speaker 1: hard to get through, but but it's okay, like we 566 00:28:07,720 --> 00:28:10,879 Speaker 1: will get through them eventually. And then after, you know, 567 00:28:11,000 --> 00:28:13,240 Speaker 1: like eight months or a year, they're like, yeah, we 568 00:28:13,520 --> 00:28:14,720 Speaker 1: just nobody's interested. 569 00:28:14,920 --> 00:28:16,359 Speaker 2: They don't know, they don't know what to do with you. 570 00:28:16,480 --> 00:28:18,159 Speaker 1: And I'm like, what do you mean no one's interested 571 00:28:18,160 --> 00:28:20,639 Speaker 1: and they're like, yeah, no one's no one's like you know, 572 00:28:20,720 --> 00:28:23,840 Speaker 1: people are too scared of you, your your reputation or 573 00:28:23,880 --> 00:28:26,520 Speaker 1: your cancer or your this, And I'm like, first off, 574 00:28:27,240 --> 00:28:31,919 Speaker 1: they will still be talking about a reputation is like 575 00:28:32,280 --> 00:28:38,920 Speaker 1: stop right, Like every eighteen nineteen twenty year old had ship. 576 00:28:39,200 --> 00:28:41,040 Speaker 2: There are folks that you laid the track, and the 577 00:28:41,040 --> 00:28:45,040 Speaker 2: folks that followed on that track did were far more, yes, 578 00:28:45,200 --> 00:28:48,040 Speaker 2: misbehaved than you ever were. But yeah, I would not 579 00:28:48,080 --> 00:28:50,440 Speaker 2: imagine that's crazy. I would not imagine most people even 580 00:28:50,440 --> 00:28:52,800 Speaker 2: remember that you were a bad So I just stopped. 581 00:28:52,880 --> 00:28:55,840 Speaker 1: I was just like, I'm I don't you know, and 582 00:28:55,880 --> 00:28:59,160 Speaker 1: I've got and I've got James, who is you know 583 00:28:59,240 --> 00:29:02,440 Speaker 1: a friend who hire me? And Autumn, I've got you, 584 00:29:02,440 --> 00:29:04,640 Speaker 1: you know, like I have enough people who keep hiring 585 00:29:04,680 --> 00:29:05,920 Speaker 1: me for jobs that it's fine. 586 00:29:06,080 --> 00:29:08,560 Speaker 2: Why, Like I would imagine you would be the kind 587 00:29:08,560 --> 00:29:10,440 Speaker 2: of person that fucking Hallmark would be, like, we'll pay 588 00:29:10,440 --> 00:29:12,360 Speaker 2: you so much money to do like four movies in 589 00:29:12,400 --> 00:29:14,400 Speaker 2: a row because we make nineteen a week. 590 00:29:14,680 --> 00:29:18,320 Speaker 1: Right, I made one a long time ago, growing the big. 591 00:29:18,160 --> 00:29:21,200 Speaker 2: One, which is very double entendre. 592 00:29:21,400 --> 00:29:25,000 Speaker 1: It is, but it was all about like a pumpkin contest. 593 00:29:25,280 --> 00:29:29,120 Speaker 2: Oh that's adorable, isn't it? Sweet? Fucking why but why 594 00:29:29,120 --> 00:29:31,400 Speaker 2: aren't you go back? I don't know. 595 00:29:31,440 --> 00:29:34,160 Speaker 1: I mean, I don't have an agent. I'm just I'm fine. 596 00:29:34,400 --> 00:29:36,520 Speaker 1: I'm you know, I'm a podcaster. 597 00:29:36,680 --> 00:29:39,120 Speaker 2: Now you could do that and other things. I've been 598 00:29:39,160 --> 00:29:42,560 Speaker 2: podcasting since two thousand and seven. It's always been a 599 00:29:42,560 --> 00:29:47,200 Speaker 2: wonderful side hustle. But yeah, I mean it's people's main listen. 600 00:29:47,280 --> 00:29:51,080 Speaker 1: I obviously love acting like it's thrilling to me. My 601 00:29:51,160 --> 00:29:54,800 Speaker 1: head is still focused on that scene and like all 602 00:29:54,840 --> 00:29:57,920 Speaker 1: the things that I need to improve, all the like 603 00:29:58,160 --> 00:30:01,720 Speaker 1: the timing, the rhythm, like I'm I'm that's my head 604 00:30:01,920 --> 00:30:03,440 Speaker 1: stayed there cold read. 605 00:30:03,840 --> 00:30:08,120 Speaker 2: You are so lyrical, so beautiful, and wrote that ship 606 00:30:08,320 --> 00:30:10,200 Speaker 2: like and I wrote that years ago. At this point. 607 00:30:11,040 --> 00:30:13,240 Speaker 2: You know that is in my That's how I heard 608 00:30:13,240 --> 00:30:14,720 Speaker 2: it in my head. So the way you delivered it, 609 00:30:14,720 --> 00:30:19,200 Speaker 2: I was like, perfect, Thanks that that there you go. Man. Kids, 610 00:30:19,240 --> 00:30:21,720 Speaker 2: if you're like, if you're out there and you're like, hey, 611 00:30:21,720 --> 00:30:26,080 Speaker 2: I got free time, fucking turn all your internet attentions 612 00:30:26,480 --> 00:30:30,680 Speaker 2: on Jason Blum and Peacock and Demand are Marat sequels. 613 00:30:31,280 --> 00:30:34,000 Speaker 2: We'll work on it from our side. Yes, yeah, let's 614 00:30:34,000 --> 00:30:35,600 Speaker 2: just set up a meeting and go. I'm telling you, 615 00:30:35,640 --> 00:30:37,200 Speaker 2: and I walk in, what are they going to say? Look, 616 00:30:37,240 --> 00:30:38,760 Speaker 2: they can say no to me, they can say no 617 00:30:38,800 --> 00:30:40,800 Speaker 2: to you. I can say no to us. I know 618 00:30:40,880 --> 00:30:43,600 Speaker 2: that sounds very privileged. Maybe I should. Maybe I should 619 00:30:43,600 --> 00:30:46,760 Speaker 2: fucking check myself and stuff like, like I could walk 620 00:30:46,760 --> 00:30:48,200 Speaker 2: in there and be like, we can make this movie 621 00:30:48,200 --> 00:30:51,640 Speaker 2: for like five million bucks, bro, five million is nothing 622 00:30:51,720 --> 00:30:53,880 Speaker 2: to you, folks. Give us five million. We will give 623 00:30:53,920 --> 00:30:57,080 Speaker 2: you more than that. An audience, and even people that 624 00:30:57,200 --> 00:30:59,719 Speaker 2: hate this thing will hate watch it to be like 625 00:30:59,760 --> 00:31:03,360 Speaker 2: fuck e he look how fucking woke he's become or 626 00:31:03,360 --> 00:31:06,400 Speaker 2: whatever the fuck like. But it won't be that. It'll 627 00:31:06,440 --> 00:31:10,240 Speaker 2: just be this like funny. It's a funny, sweet movie 628 00:31:11,280 --> 00:31:13,360 Speaker 2: that I think people who love the original would be like, 629 00:31:13,400 --> 00:31:15,200 Speaker 2: oh my god, that's what happened when they grew up. 630 00:31:15,440 --> 00:31:18,280 Speaker 2: It's good times. Twilight of the Mall Rats is so 631 00:31:18,880 --> 00:31:23,040 Speaker 2: it's sweet, fun, nostalgic, nostalgic, but like in a really, really, 632 00:31:23,040 --> 00:31:27,160 Speaker 2: really good way. Yeah. I agree. I start to work kids. 633 00:31:27,200 --> 00:31:30,840 Speaker 1: Fuck yeah, I mean if we walk in also with 634 00:31:31,000 --> 00:31:33,440 Speaker 1: Jason Lee, like saying no to three of us is 635 00:31:33,560 --> 00:31:34,320 Speaker 1: Jerry Hart. 636 00:31:34,320 --> 00:31:36,080 Speaker 2: And Jason Lee wants to do it too. He was 637 00:31:36,120 --> 00:31:38,680 Speaker 2: like he's loved every version. I mean, he's got it. Mike. 638 00:31:39,600 --> 00:31:42,760 Speaker 2: You know, there's no one else for Brodie Jason Lee. Yeah, 639 00:31:43,400 --> 00:31:44,560 Speaker 2: they don't even go forward with I. 640 00:31:44,560 --> 00:31:47,840 Speaker 1: Mean, you're still friends with a fleck, Like, believe. 641 00:31:47,600 --> 00:31:49,800 Speaker 2: Me, Ei, there's a bar for him and he and Ben's. 642 00:31:50,120 --> 00:31:52,400 Speaker 2: Ben told me once that he's like, he's like, bro 643 00:31:52,640 --> 00:31:56,920 Speaker 2: my kids, of all the movies I've done, the one 644 00:31:56,960 --> 00:31:59,040 Speaker 2: they like the best is Mall Rats. And I was like, 645 00:31:59,080 --> 00:32:01,400 Speaker 2: the number one. They have great taste? Why And he 646 00:32:01,520 --> 00:32:03,800 Speaker 2: was like, it's because of everything I wear. It's the 647 00:32:03,920 --> 00:32:07,240 Speaker 2: outfit I wear. They think it's hysterical. They love the 648 00:32:07,280 --> 00:32:09,880 Speaker 2: fashion of mal Rats. He's like, my daughter is fascinated 649 00:32:09,880 --> 00:32:12,640 Speaker 2: by Marats And I was like, good to know, I said, 650 00:32:12,680 --> 00:32:16,080 Speaker 2: because we're doing as Like, oh my god. He's like, 651 00:32:17,360 --> 00:32:19,760 Speaker 2: if it's going to happen, he's going I know people 652 00:32:19,760 --> 00:32:23,280 Speaker 2: in my world who will support it, So he'll come out, 653 00:32:23,760 --> 00:32:24,600 Speaker 2: he said he would come. 654 00:32:24,480 --> 00:32:28,760 Speaker 1: Out, right, I mean like that right, there is five 655 00:32:28,800 --> 00:32:29,800 Speaker 1: million dollars I know. 656 00:32:29,880 --> 00:32:31,320 Speaker 2: But if I was like, hey, Ben's going to come 657 00:32:31,320 --> 00:32:32,560 Speaker 2: out for a scene, They're like, well, can you make 658 00:32:32,640 --> 00:32:34,560 Speaker 2: in the villain comedian in the whole movie? Can you 659 00:32:34,600 --> 00:32:36,240 Speaker 2: make it more than a scene? It's like, I mean 660 00:32:36,280 --> 00:32:40,640 Speaker 2: maybe that's you know who Renee hooks back up with good, good, 661 00:32:41,040 --> 00:32:46,320 Speaker 2: good fun stuff kids. Yeah, yeah, Malrat's legend can continue. Uh, 662 00:32:46,360 --> 00:32:49,960 Speaker 2: the audience is familiar with your current life and stuff 663 00:32:50,000 --> 00:32:54,480 Speaker 2: like that more or less. Yeah. So not currently in 664 00:32:54,480 --> 00:33:00,959 Speaker 2: a relationship, but one day I'm very close to the dog, 665 00:33:01,120 --> 00:33:04,760 Speaker 2: but one day not not adverse to ever getting in 666 00:33:04,760 --> 00:33:05,880 Speaker 2: a relationship again. 667 00:33:05,760 --> 00:33:07,160 Speaker 1: No, not adverse at all. 668 00:33:07,520 --> 00:33:10,280 Speaker 2: You must know what you want going forward, what you're 669 00:33:10,280 --> 00:33:12,120 Speaker 2: looking for. Give some fuckers hope out there. You know 670 00:33:12,160 --> 00:33:14,880 Speaker 2: what you talk about, like your battle, that's one people hope. 671 00:33:14,960 --> 00:33:17,280 Speaker 2: Give some single motherfuckers out there hope that they're like, 672 00:33:17,360 --> 00:33:20,080 Speaker 2: you mean, fucking there's a chance there's a chance to 673 00:33:20,120 --> 00:33:22,040 Speaker 2: shannandor I definitely have. 674 00:33:22,200 --> 00:33:26,720 Speaker 1: A list of things, and you know what's the most important, 675 00:33:27,280 --> 00:33:30,040 Speaker 1: most important for me is probably going to be someone 676 00:33:30,080 --> 00:33:33,680 Speaker 1: who has the personality is going to be number one. 677 00:33:34,120 --> 00:33:40,600 Speaker 1: And that includes humor, It includes humility, It includes intelligence 678 00:33:41,080 --> 00:33:46,520 Speaker 1: and a sense of strong moral values. And I love, 679 00:33:47,800 --> 00:33:51,080 Speaker 1: I love a sense of humor because I'd like to 680 00:33:51,120 --> 00:33:53,400 Speaker 1: eat and they have to be into my kind of 681 00:33:53,440 --> 00:33:56,280 Speaker 1: sense of humor because it's I'm a much more dark, 682 00:33:56,480 --> 00:34:00,200 Speaker 1: dry sense of humor that I'm not everybody's cup of tea, right. 683 00:34:01,120 --> 00:34:03,720 Speaker 2: You know. My theory is everyone's just looking for somebody 684 00:34:03,760 --> 00:34:06,840 Speaker 2: to watch TV. Yeah, and that's predominantly like what me 685 00:34:07,200 --> 00:34:09,560 Speaker 2: and Jennifer did, Like you know, we do other things 686 00:34:09,560 --> 00:34:13,960 Speaker 2: and we talk during it, but like that predominantly is 687 00:34:14,000 --> 00:34:16,640 Speaker 2: how we spend most of the relationships. Like somebody who 688 00:34:16,680 --> 00:34:18,399 Speaker 2: wants to cook with me? Is that right? 689 00:34:18,520 --> 00:34:18,800 Speaker 1: Yeah? 690 00:34:18,880 --> 00:34:21,200 Speaker 2: All right? So there you go. The audience right now, 691 00:34:21,719 --> 00:34:25,200 Speaker 2: some fucking like amateur and pro chefs, you know, the beast, 692 00:34:25,239 --> 00:34:28,239 Speaker 2: the bare level chefs are hearing this and going like 693 00:34:28,280 --> 00:34:30,960 Speaker 2: I got a fucking shot with them, and I hear 694 00:34:31,000 --> 00:34:35,000 Speaker 2: her house is amazing, amazing, amazing, and the kitchen is astounding, 695 00:34:35,120 --> 00:34:36,480 Speaker 2: so he's got to be able to cook. Yeah, I 696 00:34:36,520 --> 00:34:40,200 Speaker 2: mean either way or just guys, guys, you guys. 697 00:34:41,000 --> 00:34:47,000 Speaker 1: I like cooking, so I would was one who enjoys 698 00:34:47,040 --> 00:34:49,560 Speaker 1: it and they don't have to be a great cook, 699 00:34:49,680 --> 00:34:51,680 Speaker 1: but just somebody who wants to get in there, help 700 00:34:51,719 --> 00:34:53,840 Speaker 1: me chop the onion, so you cry instead of me. 701 00:34:54,000 --> 00:34:56,239 Speaker 2: So all that sounded so sexual. Just get in there 702 00:34:56,280 --> 00:34:57,759 Speaker 2: and che motherfucker. 703 00:35:00,400 --> 00:35:03,280 Speaker 1: As to do, like watching movies with someone? 704 00:35:03,719 --> 00:35:08,120 Speaker 2: Of course, what do you do because you can only 705 00:35:08,160 --> 00:35:11,000 Speaker 2: you can't cook twenty four to seven? Right, what do 706 00:35:11,080 --> 00:35:13,360 Speaker 2: you Historically? 707 00:35:13,520 --> 00:35:15,200 Speaker 1: I'm a big reader's all right? 708 00:35:15,280 --> 00:35:17,239 Speaker 2: Yeah, so you sit in a room with that person 709 00:35:17,400 --> 00:35:19,680 Speaker 2: read while they're doing something else. Yeah, can you read 710 00:35:19,680 --> 00:35:21,200 Speaker 2: if they're doing other things? Like you can have the 711 00:35:21,280 --> 00:35:21,680 Speaker 2: TV on? 712 00:35:21,719 --> 00:35:23,400 Speaker 1: You can, they can have they can have the TV on. 713 00:35:23,440 --> 00:35:25,680 Speaker 1: It doesn't Once I start reading something that I'm into, 714 00:35:25,880 --> 00:35:27,520 Speaker 1: I'm focused. I'm focused. 715 00:35:27,560 --> 00:35:29,200 Speaker 2: How are you with memorization? 716 00:35:29,320 --> 00:35:30,680 Speaker 1: Still amazing? 717 00:35:30,880 --> 00:35:33,719 Speaker 2: I mean that's something that you have to develop early on. 718 00:35:33,880 --> 00:35:34,960 Speaker 2: Is it truly photographic? 719 00:35:35,080 --> 00:35:40,080 Speaker 1: Yeah, it's it's one of those photographic memories where it's 720 00:35:40,080 --> 00:35:42,839 Speaker 1: almost like you have to click it on. Right, I'm 721 00:35:42,840 --> 00:35:45,680 Speaker 1: not going to just you know, read something and instantly 722 00:35:45,760 --> 00:35:47,640 Speaker 1: know it. It's you have to sort of go, okay, 723 00:35:48,600 --> 00:35:50,480 Speaker 1: now I really need to know this, and then it 724 00:35:50,680 --> 00:35:53,640 Speaker 1: just and then you pull up the page in your 725 00:35:54,320 --> 00:35:56,520 Speaker 1: like it comes in front of your eyes and. 726 00:35:56,480 --> 00:35:56,920 Speaker 2: You see it. 727 00:35:56,960 --> 00:35:59,520 Speaker 1: I just I don't like, I don't love using it 728 00:35:59,560 --> 00:36:03,640 Speaker 1: as an act journeymore because what I found I've needed 729 00:36:03,680 --> 00:36:04,440 Speaker 1: it on occasion. 730 00:36:04,520 --> 00:36:05,520 Speaker 2: But what I found is. 731 00:36:05,480 --> 00:36:10,319 Speaker 1: That it's when you use the photographic memory, there's a 732 00:36:10,320 --> 00:36:13,400 Speaker 1: little bit of a disconnect from yourself and the material, 733 00:36:13,880 --> 00:36:14,920 Speaker 1: if that makes any sense. 734 00:36:15,480 --> 00:36:17,600 Speaker 2: Whereas if I actually really. 735 00:36:17,480 --> 00:36:20,200 Speaker 1: Take the time and study this, if I like study 736 00:36:20,200 --> 00:36:24,640 Speaker 1: your bio, if I really really look this over and 737 00:36:24,760 --> 00:36:29,960 Speaker 1: connect with it and understand every single word and why 738 00:36:30,000 --> 00:36:33,799 Speaker 1: it's like why it's done like that right right, it 739 00:36:34,360 --> 00:36:37,000 Speaker 1: pulls me much closer to the character than. 740 00:36:37,000 --> 00:36:39,239 Speaker 2: It helps me form that character instead. 741 00:36:38,960 --> 00:36:41,200 Speaker 1: Of just a page in front of you know, invisibly 742 00:36:41,440 --> 00:36:42,480 Speaker 1: in front of my eyes. 743 00:36:42,560 --> 00:36:44,600 Speaker 2: So can I can? I of course it's me. So 744 00:36:44,600 --> 00:36:46,240 Speaker 2: I'm going to try to put it into sexual terms. 745 00:36:46,239 --> 00:36:50,840 Speaker 2: It is all the difference between like fucking Megan love 746 00:36:51,440 --> 00:36:55,400 Speaker 2: passionately and just wrote fucking yeah yeah, where it's just 747 00:36:55,440 --> 00:36:57,080 Speaker 2: like I can do this and I can go through 748 00:36:57,120 --> 00:36:59,040 Speaker 2: the motions and I can fucking and it'll it'll be 749 00:36:59,080 --> 00:37:02,120 Speaker 2: good and and will feel good and stuff. But if 750 00:37:02,120 --> 00:37:05,120 Speaker 2: you take the time and it becomes you become the character. 751 00:37:05,360 --> 00:37:08,239 Speaker 2: It's coming through the character. That's so fucking interesting, man. 752 00:37:08,680 --> 00:37:10,960 Speaker 2: But think about that. What a great like side hustle 753 00:37:11,000 --> 00:37:12,879 Speaker 2: you got out of your main job. Your main job 754 00:37:12,960 --> 00:37:15,000 Speaker 2: is like be an actor. Your side hustle is like 755 00:37:15,040 --> 00:37:18,280 Speaker 2: I can fucking memorize the ship. I have a photographic memory. Yeah? 756 00:37:18,480 --> 00:37:20,880 Speaker 2: Or did that exist and that helped with acting? 757 00:37:21,239 --> 00:37:24,080 Speaker 1: I mean I think it helped with acting initially because 758 00:37:24,520 --> 00:37:27,880 Speaker 1: it didn't exist. Hold readings were always pretty easy for me, 759 00:37:28,120 --> 00:37:28,640 Speaker 1: is that right? 760 00:37:28,719 --> 00:37:28,959 Speaker 2: Yeah? 761 00:37:29,200 --> 00:37:31,240 Speaker 1: You know they'd give you you walk in for an audition, 762 00:37:31,320 --> 00:37:33,440 Speaker 1: that give you a page and I'd be like, okay, 763 00:37:33,440 --> 00:37:36,279 Speaker 1: I got it, and then sit down and not really 764 00:37:36,320 --> 00:37:47,120 Speaker 1: have to look at Besides, how. 765 00:37:47,000 --> 00:37:49,640 Speaker 2: Long did you were you in the auditioning world before 766 00:37:50,280 --> 00:37:51,319 Speaker 2: you didn't have. 767 00:37:51,280 --> 00:37:54,000 Speaker 1: To like I've always been in the auditioning right. 768 00:37:54,160 --> 00:37:57,080 Speaker 2: Yeah, So with Charmed, you get offered Charmed, right, They're 769 00:37:57,080 --> 00:37:59,640 Speaker 2: not like you got to read and I know what 770 00:37:59,680 --> 00:38:00,600 Speaker 2: you want to did you audition? 771 00:38:00,719 --> 00:38:03,600 Speaker 1: I had to audition and it was by the way 772 00:38:03,640 --> 00:38:06,040 Speaker 1: the exact same thing. Like I auditioned and I went 773 00:38:06,080 --> 00:38:08,719 Speaker 1: to Network, and Network flew out a girl from the 774 00:38:08,719 --> 00:38:16,759 Speaker 1: East Coast and traditionally, but traditionally, as you know, when 775 00:38:16,880 --> 00:38:19,840 Speaker 1: when they spend that money to fly somebody, you're like, 776 00:38:19,920 --> 00:38:23,680 Speaker 1: that person is getting the job for sure, that's true. 777 00:38:23,920 --> 00:38:27,200 Speaker 1: So yeah, I've I've I feel like I've always been 778 00:38:27,239 --> 00:38:32,359 Speaker 1: in the auditioning world. Maybe now later in life I'm 779 00:38:32,400 --> 00:38:34,200 Speaker 1: not as open to doing. 780 00:38:33,960 --> 00:38:36,200 Speaker 2: It and everything. 781 00:38:37,840 --> 00:38:40,040 Speaker 1: I'm like, is there really a character I can't play? 782 00:38:40,239 --> 00:38:43,160 Speaker 1: But obviously there are, you know, people I would audition 783 00:38:43,239 --> 00:38:46,279 Speaker 1: for in a heartbeat, like I don't have, and they 784 00:38:46,320 --> 00:38:48,800 Speaker 1: make it easier now because usually you can just self 785 00:38:48,840 --> 00:38:52,120 Speaker 1: tape and send it in. It's the meeting of people. 786 00:38:53,400 --> 00:38:56,839 Speaker 1: I remember I went on an audition and it was, 787 00:38:57,120 --> 00:38:59,720 Speaker 1: you know, after nine, like after Charmed. 788 00:38:59,800 --> 00:39:00,080 Speaker 2: It was. 789 00:39:01,640 --> 00:39:05,560 Speaker 1: You're very successful, right, And it was supposed to just 790 00:39:05,640 --> 00:39:09,319 Speaker 1: be no other actors were going to be there. It's 791 00:39:09,320 --> 00:39:13,000 Speaker 1: supposed to be very quiet. They were being very respectful 792 00:39:13,040 --> 00:39:15,200 Speaker 1: towards me, blah blah blah. There wouldn't be a lot 793 00:39:15,200 --> 00:39:17,600 Speaker 1: of people in the room. And I went in and 794 00:39:17,640 --> 00:39:20,000 Speaker 1: there was like friggin ten or eleven people in the 795 00:39:20,080 --> 00:39:22,880 Speaker 1: room and one of the actresses who had been in 796 00:39:23,480 --> 00:39:27,720 Speaker 1: Uh the original was in the room at zero scenes 797 00:39:27,719 --> 00:39:34,000 Speaker 1: with her, and I was like, are you staying? Are 798 00:39:34,000 --> 00:39:36,919 Speaker 1: you reading? Like like she goes, oh, no, I heard 799 00:39:36,920 --> 00:39:38,319 Speaker 1: you were coming in and I just wanted to come 800 00:39:38,320 --> 00:39:39,160 Speaker 1: in and watch your audition. 801 00:39:42,160 --> 00:39:46,040 Speaker 2: I was flattered it. 802 00:39:46,840 --> 00:39:49,120 Speaker 1: I literally couldn't stop shaking. 803 00:39:49,320 --> 00:39:50,360 Speaker 2: Tell me explained. 804 00:39:50,360 --> 00:39:54,560 Speaker 1: It made me extremely nervous because I got very self conscious, 805 00:39:55,600 --> 00:39:58,360 Speaker 1: what are you? And I got very self conscious serious. 806 00:39:58,400 --> 00:40:03,719 Speaker 1: I felt like the judgment was going to be, you know, 807 00:40:03,880 --> 00:40:08,279 Speaker 1: twenty times harder because it was me versus somebody else, 808 00:40:09,239 --> 00:40:12,000 Speaker 1: and all that kept going through my head was I'm 809 00:40:12,040 --> 00:40:15,799 Speaker 1: going to disappoint. It didn't help that it was a 810 00:40:15,840 --> 00:40:20,799 Speaker 1: movie I didn't even want to audition for, and my 811 00:40:20,840 --> 00:40:24,279 Speaker 1: manager at the time, John was like, no, you need 812 00:40:24,360 --> 00:40:27,080 Speaker 1: to go. This is good for you. It's a studio movie. 813 00:40:27,160 --> 00:40:29,800 Speaker 1: And ever since you know, mal Ratz killed your film career. 814 00:40:31,640 --> 00:40:33,759 Speaker 2: Fuck, we forgot about that. I was feel good for 815 00:40:33,760 --> 00:40:37,359 Speaker 2: a second there. Wait, did you when you went in 816 00:40:38,320 --> 00:40:41,399 Speaker 2: the person who said that, did you get the What 817 00:40:41,480 --> 00:40:43,400 Speaker 2: was the tone with which they were saying, well, I know. 818 00:40:43,640 --> 00:40:46,160 Speaker 1: She didn't mean it in a It wasn't a negative like, 819 00:40:46,200 --> 00:40:48,200 Speaker 1: oh my god, I want to watch she was a fan. 820 00:40:48,360 --> 00:40:52,680 Speaker 2: I think she honestly just wanted to audition. She was like, 821 00:40:52,719 --> 00:40:55,239 Speaker 2: I'm literally here because fucking like you. I watched you 822 00:40:55,239 --> 00:40:57,640 Speaker 2: on TV, Like I'm a huge fan. And that made you. 823 00:40:57,640 --> 00:41:00,239 Speaker 1: Nervous as opposed to like firston, I was also a 824 00:41:00,280 --> 00:41:06,080 Speaker 1: fan of hers, and and it made me. Yes, I 825 00:41:06,200 --> 00:41:10,160 Speaker 1: was just nervous. And again I didn't want to disappoint, 826 00:41:11,320 --> 00:41:14,960 Speaker 1: and I did. I in fact disappointed them all. You 827 00:41:15,000 --> 00:41:20,760 Speaker 1: didn't think you I don't think I know. I was terrible. 828 00:41:22,600 --> 00:41:26,600 Speaker 1: My entire body shaking, I started sweating. I was so 829 00:41:26,680 --> 00:41:30,360 Speaker 1: bad that they actually said to my manager, is she okay? 830 00:41:30,600 --> 00:41:36,200 Speaker 2: No? Like, yeah, that person, it was that bad. If 831 00:41:36,239 --> 00:41:37,880 Speaker 2: that person hadn't said that, do you think you would have? 832 00:41:37,920 --> 00:41:39,480 Speaker 1: I think I still would have been nervous because I 833 00:41:39,520 --> 00:41:41,520 Speaker 1: had an auditioned in so long. It was kind of 834 00:41:41,560 --> 00:41:42,400 Speaker 1: my first audition. 835 00:41:42,560 --> 00:41:46,719 Speaker 2: Back, take me back to the beginning, like what was 836 00:41:46,760 --> 00:41:51,080 Speaker 2: the first Like did you book commercials before you booked 837 00:41:51,280 --> 00:41:54,279 Speaker 2: like a gig? Like was night shift the first gig 838 00:41:54,360 --> 00:41:55,959 Speaker 2: that you booked? Because you're young? 839 00:41:56,040 --> 00:42:00,920 Speaker 1: In that shot, I booked a Pacific bellmmercial, which was 840 00:42:00,960 --> 00:42:02,160 Speaker 1: a telephone company. 841 00:42:02,680 --> 00:42:06,359 Speaker 2: And how old were you? I think I was nine 842 00:42:06,480 --> 00:42:06,759 Speaker 2: or ten. 843 00:42:08,719 --> 00:42:13,759 Speaker 1: I was excited. I guess I didn't. All I had 844 00:42:13,800 --> 00:42:16,880 Speaker 1: to do was sleep in a bad and then the 845 00:42:17,040 --> 00:42:21,040 Speaker 1: grandma comes over and it was it was a it 846 00:42:21,040 --> 00:42:24,040 Speaker 1: was a Spanish commercial, so I didn't even know like 847 00:42:24,239 --> 00:42:29,080 Speaker 1: she everything was in Spanish, and so she kisses me 848 00:42:29,200 --> 00:42:33,279 Speaker 1: good night, and my eyes stay closed and she goes 849 00:42:33,320 --> 00:42:37,600 Speaker 1: on something about the telephone company. That was my first job. 850 00:42:37,800 --> 00:42:39,640 Speaker 1: And then I did a couple of commercials, like I 851 00:42:39,680 --> 00:42:43,359 Speaker 1: did McDonald's commercial. I did a shout you know that. 852 00:42:43,480 --> 00:42:48,719 Speaker 3: The spray to get games out and oh my god, 853 00:42:48,800 --> 00:42:51,000 Speaker 3: and fucking you must have been like the most famous 854 00:42:51,080 --> 00:42:54,120 Speaker 3: person in your world at that point, like certainly the 855 00:42:54,160 --> 00:42:57,000 Speaker 3: most famous people for person that your family met. 856 00:42:57,280 --> 00:43:00,560 Speaker 1: Yeah, but nobody really paid it that close attention to 857 00:43:00,680 --> 00:43:04,359 Speaker 1: they were. And then I did. I think. I think 858 00:43:04,400 --> 00:43:06,600 Speaker 1: my next thing might have been the Secret of Nim, 859 00:43:06,800 --> 00:43:08,680 Speaker 1: which was an animated. 860 00:43:08,200 --> 00:43:10,080 Speaker 2: You did the voice of cigarette Nime. 861 00:43:10,120 --> 00:43:12,000 Speaker 1: Yeah, Teresa the mouse get. 862 00:43:11,800 --> 00:43:14,400 Speaker 2: Out of here, all right? So then what do you 863 00:43:14,440 --> 00:43:14,880 Speaker 2: do that? 864 00:43:14,960 --> 00:43:17,439 Speaker 1: What's your And then I think came Father Murphy, which 865 00:43:17,480 --> 00:43:19,240 Speaker 1: Michael Lannon was producing and writing. 866 00:43:19,360 --> 00:43:21,960 Speaker 2: So that was before you even nightshift and. 867 00:43:22,239 --> 00:43:24,520 Speaker 1: Oh no, night Shift was probably right at the same 868 00:43:24,560 --> 00:43:25,800 Speaker 1: time as the first commercial. 869 00:43:26,440 --> 00:43:29,200 Speaker 2: And so Father Murphy was a Michael Landon thing and 870 00:43:29,480 --> 00:43:32,319 Speaker 2: the wild thing that was our house and that came 871 00:43:32,360 --> 00:43:33,799 Speaker 2: after Father Murphy. Yes, how long? 872 00:43:33,960 --> 00:43:35,120 Speaker 1: That came after a little house? 873 00:43:35,560 --> 00:43:39,160 Speaker 2: You were a fucking little house, bro Oh my god, I. 874 00:43:39,160 --> 00:43:41,160 Speaker 1: Forgot yeah little house in the beginning. 875 00:43:42,280 --> 00:43:42,920 Speaker 2: Wow. 876 00:43:43,520 --> 00:43:45,160 Speaker 1: Yeah, it was awesome that experience. 877 00:43:45,160 --> 00:43:47,160 Speaker 2: And did you work with Landon? Did you meet him 878 00:43:47,200 --> 00:43:48,040 Speaker 2: and talk to him? All? 879 00:43:48,080 --> 00:43:53,000 Speaker 1: He directed, he directed, and he wrote a lot of 880 00:43:53,480 --> 00:43:57,320 Speaker 1: episodes specifically for me, where he would write very specific 881 00:43:57,360 --> 00:43:59,680 Speaker 1: episodes for me and end up directing this How old 882 00:43:59,680 --> 00:44:02,440 Speaker 1: are you at this point? That carried me probably from 883 00:44:03,160 --> 00:44:06,800 Speaker 1: you know, ten and a half to maybe thirteen. 884 00:44:07,040 --> 00:44:09,279 Speaker 2: And you don't have you got wonderful parents. You don't 885 00:44:09,280 --> 00:44:11,440 Speaker 2: have those terrible parents that took your money and fucking 886 00:44:11,520 --> 00:44:12,280 Speaker 2: ran and stuff. 887 00:44:12,400 --> 00:44:14,200 Speaker 1: No, but I mean, you know how much money you're 888 00:44:14,280 --> 00:44:17,920 Speaker 1: making your especially back then, what is making scale? 889 00:44:18,640 --> 00:44:19,040 Speaker 2: Really? 890 00:44:19,120 --> 00:44:20,560 Speaker 1: Yeah? What was scale back then? 891 00:44:21,000 --> 00:44:23,960 Speaker 2: No? No, whole fucking a lot. So all right, so 892 00:44:24,040 --> 00:44:25,840 Speaker 2: that eventually stops. 893 00:44:25,640 --> 00:44:30,240 Speaker 1: And then and then our House comes around and. 894 00:44:30,280 --> 00:44:32,120 Speaker 2: Oh I did, girl? I did? I think I did? 895 00:44:32,120 --> 00:44:33,960 Speaker 1: Girls just want to have fun? Which was a movie 896 00:44:33,960 --> 00:44:39,400 Speaker 1: with Sarah as well. Yeah, and then and then I think. 897 00:44:39,680 --> 00:44:41,120 Speaker 2: God, I did kill your movie career. 898 00:44:41,280 --> 00:44:43,840 Speaker 1: You did, God damn it. Then I did Our House 899 00:44:44,360 --> 00:44:45,759 Speaker 1: and and. 900 00:44:45,680 --> 00:44:47,840 Speaker 2: That was Will for Brimley? And who else was in that? 901 00:44:48,080 --> 00:44:53,279 Speaker 2: Didra Hal from well? From Days of Our Lives? And 902 00:44:53,320 --> 00:44:54,040 Speaker 2: who else was in it? 903 00:44:54,120 --> 00:44:54,720 Speaker 1: Chad Allen? 904 00:44:55,360 --> 00:44:58,680 Speaker 2: Look at you? Oh my god? Who else? Carrie? What 905 00:44:58,719 --> 00:45:01,560 Speaker 2: was Brimley like? Wonderful? He was a good guy for me. 906 00:45:01,640 --> 00:45:03,919 Speaker 1: He was fantastic. Yeah, I mean, listen, he was a 907 00:45:04,160 --> 00:45:05,160 Speaker 1: wonderful horseman. 908 00:45:06,920 --> 00:45:07,440 Speaker 2: Yeah. 909 00:45:07,600 --> 00:45:10,800 Speaker 1: I went to his ranch often. His first wife Lynn, 910 00:45:10,800 --> 00:45:13,960 Speaker 1: I was very close with. He was wonderful to me. 911 00:45:14,239 --> 00:45:18,440 Speaker 1: I don't know if some of our writers or producers 912 00:45:18,440 --> 00:45:19,399 Speaker 1: felt the same way. 913 00:45:21,400 --> 00:45:23,279 Speaker 2: He was one of those cats, like a figure of 914 00:45:23,360 --> 00:45:24,440 Speaker 2: controversy or something. You know. 915 00:45:24,520 --> 00:45:28,160 Speaker 1: He was a he was like he was an ex wrangler. 916 00:45:28,239 --> 00:45:33,440 Speaker 1: He was literally a wrangler, and he just was no nonsense. 917 00:45:33,480 --> 00:45:36,000 Speaker 1: And if he didn't like a script, you knew it. 918 00:45:36,440 --> 00:45:39,800 Speaker 1: He was For me, he was fantastic. He was a cowboy. 919 00:45:40,120 --> 00:45:41,520 Speaker 2: How many years was that show? 920 00:45:42,280 --> 00:45:44,600 Speaker 1: God, I have no idea. I mean, I don't think 921 00:45:44,600 --> 00:45:48,440 Speaker 1: it lasted a very long time. Maybe two seasons or so, Maybe. 922 00:45:48,440 --> 00:45:50,719 Speaker 2: Was that girls just want to have fun. After that, 923 00:45:50,920 --> 00:45:52,360 Speaker 2: it was either before or after. 924 00:45:52,600 --> 00:45:55,200 Speaker 1: But I know that that might have carried me until 925 00:45:55,200 --> 00:45:59,080 Speaker 1: he was sixteen or so, and then I think I 926 00:45:59,200 --> 00:46:02,600 Speaker 1: did some movie the weeks and then I did Heathers 927 00:46:02,800 --> 00:46:04,400 Speaker 1: at right around seventeen. 928 00:46:04,600 --> 00:46:07,200 Speaker 2: Bro, you could have never done anything else for the 929 00:46:07,239 --> 00:46:09,799 Speaker 2: rest of your life, and for a while, Heathers would 930 00:46:09,800 --> 00:46:12,799 Speaker 2: have been enough. Like you know, maybe cats don't really 931 00:46:12,800 --> 00:46:14,759 Speaker 2: I mean they maybe cats do realize that because they 932 00:46:14,800 --> 00:46:19,120 Speaker 2: did do a revamp show. But this fucking movie was everything. 933 00:46:19,239 --> 00:46:22,279 Speaker 2: It wasn't like a successful box office hit. It was 934 00:46:22,320 --> 00:46:25,239 Speaker 2: a sleeper that like everyone discovered on home video, not 935 00:46:25,440 --> 00:46:28,600 Speaker 2: unlike Waul Rats later on that got bigger and bigger. 936 00:46:28,600 --> 00:46:30,799 Speaker 2: But every critic in the world loved this movie. Every 937 00:46:30,800 --> 00:46:33,160 Speaker 2: fucking teenager in the world loved this movie. And shit, 938 00:46:33,600 --> 00:46:37,400 Speaker 2: it was huge. That was a massive film in my childhood. 939 00:46:38,160 --> 00:46:39,760 Speaker 2: What was it like? 940 00:46:39,920 --> 00:46:43,000 Speaker 1: I didn't understand it, Like in terms of the yeah, 941 00:46:43,120 --> 00:46:47,920 Speaker 1: to be honest, I didn't really understand the movie. I 942 00:46:49,080 --> 00:46:52,520 Speaker 1: understood that the dialogue was super cool, Like I got 943 00:46:52,520 --> 00:46:56,440 Speaker 1: that right, that was dialogue is my things, as you know. 944 00:46:57,520 --> 00:47:03,040 Speaker 1: But I don't think when I watched the movie at 945 00:47:03,040 --> 00:47:07,680 Speaker 1: the At the screening, I was I didn't know it 946 00:47:07,719 --> 00:47:11,479 Speaker 1: was a comedy, baffled by Heathers all of a sudden 947 00:47:11,520 --> 00:47:15,920 Speaker 1: it's a comedy, and I was completely confused. 948 00:47:15,960 --> 00:47:17,680 Speaker 2: So when you read the script, you were like, this 949 00:47:17,760 --> 00:47:19,479 Speaker 2: is a fucking this is some sinister ship. 950 00:47:19,719 --> 00:47:21,839 Speaker 1: I thought it was sinister, but I thought it was 951 00:47:22,320 --> 00:47:26,319 Speaker 1: an actual sort of take on what was transpiring in 952 00:47:26,360 --> 00:47:29,040 Speaker 1: the world and in high schools at that point in time, and. 953 00:47:28,920 --> 00:47:31,680 Speaker 2: That rampant suicides. 954 00:47:32,480 --> 00:47:36,480 Speaker 1: Yeah, and so I just I think I took it 955 00:47:36,520 --> 00:47:39,440 Speaker 1: more as a drama anything else. 956 00:47:40,440 --> 00:47:43,759 Speaker 2: Yeah, it's meant to be funny. Yeah, what is that? 957 00:47:43,960 --> 00:47:47,640 Speaker 2: I would So that's pre nine oh two. AZ does 958 00:47:47,680 --> 00:47:48,880 Speaker 2: that lead directly? 959 00:47:49,120 --> 00:47:52,560 Speaker 1: Apparently that led to them calling me for an audition. 960 00:47:52,880 --> 00:47:55,959 Speaker 1: So the story goes is that Toy was a huge 961 00:47:55,960 --> 00:47:59,120 Speaker 1: fan of Heathers. So when they were looking for a Brenda, 962 00:47:59,320 --> 00:48:04,879 Speaker 1: Toys to her dad me the fuck seriously, they called 963 00:48:04,920 --> 00:48:05,879 Speaker 1: me to audition. 964 00:48:06,680 --> 00:48:09,640 Speaker 2: And then the rest of course, as we know television history. 965 00:48:09,920 --> 00:48:13,279 Speaker 1: Thank you everyone for listening into Let's be clear with 966 00:48:13,719 --> 00:48:15,480 Speaker 1: the amazing Kevin Smith. 967 00:48:15,520 --> 00:48:18,920 Speaker 2: Oh stop, this is an absolute fucking pleasure. You've always 968 00:48:18,920 --> 00:48:22,120 Speaker 2: been one of my favorite people that I've ever worked 969 00:48:22,120 --> 00:48:27,120 Speaker 2: in this business, and I do so closely, closely associate 970 00:48:27,160 --> 00:48:31,960 Speaker 2: you with the beginning of my career. Like I know 971 00:48:32,120 --> 00:48:35,840 Speaker 2: I have some place in your mythology, but like you 972 00:48:36,600 --> 00:48:40,200 Speaker 2: feature very prominently in mine, because you were what was 973 00:48:40,280 --> 00:48:43,080 Speaker 2: at the other side of the bridge, right like making 974 00:48:43,080 --> 00:48:46,080 Speaker 2: clerks like and bought. I crossed a bridge into another 975 00:48:46,080 --> 00:48:48,279 Speaker 2: world and you were waiting on the other side. It 976 00:48:48,280 --> 00:48:50,840 Speaker 2: was a comforting face to see because I'd known that face, 977 00:48:51,760 --> 00:48:55,600 Speaker 2: like from other media, my whole life. So I have 978 00:48:55,719 --> 00:48:58,279 Speaker 2: such a big space in my heart for you, always have, 979 00:48:58,360 --> 00:49:00,000 Speaker 2: always will thank you. 980 00:49:00,760 --> 00:49:02,480 Speaker 1: We are going to get Maurets too done. 981 00:49:02,520 --> 00:49:04,799 Speaker 2: Bye, Yes, God, damn it. 982 00:49:04,960 --> 00:49:06,560 Speaker 1: I want to be back on a set with you. 983 00:49:06,880 --> 00:49:10,800 Speaker 2: Be fun. Yeah, totally fun, I'm telling you. The reboot 984 00:49:10,840 --> 00:49:13,200 Speaker 2: thing bugs me not because, like, as I was driving 985 00:49:13,239 --> 00:49:15,200 Speaker 2: over here, I was like, why didn't we just shoot 986 00:49:15,239 --> 00:49:17,600 Speaker 2: her in Los Angeles? And then I could have had 987 00:49:17,680 --> 00:49:19,560 Speaker 2: what I wanted? Fuck, And then I started thinking about 988 00:49:19,600 --> 00:49:22,960 Speaker 2: like re release chains. I'm all rebooting, this is the 989 00:49:23,120 --> 00:49:26,359 Speaker 2: rabbit holes I fall down. Sure, but yes, but yeah, 990 00:49:26,400 --> 00:49:28,960 Speaker 2: it would be fun to fucking play man. And that 991 00:49:29,080 --> 00:49:30,840 Speaker 2: was what a great way to play that would be 992 00:49:30,840 --> 00:49:32,400 Speaker 2: because it would be one of those things where you 993 00:49:32,440 --> 00:49:35,120 Speaker 2: know there's an audience waiting. Oftentimes you make a thing 994 00:49:35,120 --> 00:49:37,200 Speaker 2: and you're like, fuck, I hope somebody is gonna watch this. 995 00:49:37,440 --> 00:49:40,680 Speaker 2: Especially in this they're they're waiting. It's something that would 996 00:49:40,719 --> 00:49:42,680 Speaker 2: pop you know what I'm saying, like in terms of 997 00:49:42,680 --> 00:49:45,160 Speaker 2: people going oh oh, I'm familiar with that term and 998 00:49:45,200 --> 00:49:47,759 Speaker 2: I love that movie and stuff. So yes, let's make 999 00:49:47,800 --> 00:49:49,840 Speaker 2: it happen people, Let's make it happen.