1 00:00:06,000 --> 00:00:09,479 Speaker 1: Hey everyone, it's Bruce. Thanks for joining us for another 2 00:00:09,480 --> 00:00:13,040 Speaker 1: episode of Table for Two. Today we're back at the 3 00:00:13,080 --> 00:00:16,720 Speaker 1: Tower Bar in Hollywood for another amazing lunch. 4 00:00:17,160 --> 00:00:18,880 Speaker 2: I always get turkey chilly. That's the only thing I 5 00:00:18,920 --> 00:00:21,959 Speaker 2: ever got in. But I think I will do the 6 00:00:22,000 --> 00:00:25,400 Speaker 2: classic club. But now I'm now I'm gonna be the 7 00:00:25,400 --> 00:00:26,720 Speaker 2: guy that takes a bunch of stuff off. 8 00:00:26,800 --> 00:00:28,280 Speaker 3: He always have exactly. 9 00:00:28,680 --> 00:00:32,040 Speaker 1: We're sitting down today with an incredible director. He's made 10 00:00:32,080 --> 00:00:36,440 Speaker 1: some of the funniest films I've ever seen, including Bride'smaids. 11 00:00:37,000 --> 00:00:40,640 Speaker 1: His new movie Jackpot just came out on Prime video. 12 00:00:41,080 --> 00:00:44,320 Speaker 3: This water is yours if you want. I'm having a 13 00:00:44,360 --> 00:00:47,839 Speaker 3: new brew right now, lovely, which is just a whole 14 00:00:47,880 --> 00:00:48,919 Speaker 3: other conversation. 15 00:00:50,680 --> 00:00:52,720 Speaker 2: See the only thing I can't do I can't have caffeine. 16 00:00:54,360 --> 00:00:54,880 Speaker 3: That's right. 17 00:00:55,440 --> 00:00:58,440 Speaker 1: We're having lunch with Paul Figue. We're going to talk 18 00:00:58,480 --> 00:01:03,640 Speaker 1: about things that we both love. Cocktails, movies, and fashion. 19 00:01:04,280 --> 00:01:07,080 Speaker 1: I mean every project that he directs, he wears a 20 00:01:07,120 --> 00:01:08,440 Speaker 1: suit on set. 21 00:01:08,680 --> 00:01:09,640 Speaker 3: How cool is that? 22 00:01:10,080 --> 00:01:12,759 Speaker 1: So pull up a chair, grab a glass of rose, 23 00:01:13,480 --> 00:01:16,759 Speaker 1: and I hope you enjoy. I'm Bruce Bosi and this 24 00:01:16,840 --> 00:01:18,960 Speaker 1: is my podcast Table for two. 25 00:01:27,000 --> 00:01:28,600 Speaker 3: Welcome to table for two. 26 00:01:29,040 --> 00:01:32,120 Speaker 2: I love it. It's a thrilling to be here with you, Bruce. 27 00:01:32,160 --> 00:01:34,960 Speaker 2: I think you're the greatest. Thank you, and you know, 28 00:01:35,720 --> 00:01:36,720 Speaker 2: it's an honor to be here. 29 00:01:36,800 --> 00:01:38,679 Speaker 3: What does your day look like like? What did today 30 00:01:38,720 --> 00:01:39,080 Speaker 3: look like? 31 00:01:39,880 --> 00:01:41,880 Speaker 2: I'm very much a creature of habit so much of 32 00:01:41,959 --> 00:01:43,679 Speaker 2: My wife makes fun of me all the time because 33 00:01:43,720 --> 00:01:46,160 Speaker 2: I'm a very much a three meal guy. So get 34 00:01:46,240 --> 00:01:48,040 Speaker 2: up and do my walk, and do like a four 35 00:01:48,080 --> 00:01:51,520 Speaker 2: mile walk most days, like a speed walk kind of thing. 36 00:01:51,720 --> 00:01:54,240 Speaker 3: Starting your day with movement you have to do so 37 00:01:54,360 --> 00:01:54,960 Speaker 3: very important. 38 00:01:55,040 --> 00:01:58,320 Speaker 2: Yeah, I've owed my whole life kind of been plagued 39 00:01:58,360 --> 00:02:02,280 Speaker 2: with bouts of depression. And read years and years ago 40 00:02:02,840 --> 00:02:06,800 Speaker 2: an article about Charles Dickens then about how he fought 41 00:02:06,800 --> 00:02:08,919 Speaker 2: depression too and he would just walk. He would just 42 00:02:08,960 --> 00:02:10,800 Speaker 2: walk from one side of London to the other and 43 00:02:10,840 --> 00:02:13,079 Speaker 2: so way back when it's like, I can do that too, 44 00:02:13,200 --> 00:02:15,400 Speaker 2: and it is amazing how much it cures. You know. 45 00:02:15,520 --> 00:02:17,359 Speaker 2: It's just I think if your brain just sits and 46 00:02:17,400 --> 00:02:19,239 Speaker 2: your chemicals don't move around. 47 00:02:19,080 --> 00:02:21,119 Speaker 1: Yeah, no, I think, you know. And I find one 48 00:02:21,120 --> 00:02:24,160 Speaker 1: of the great things about New York is because I'm 49 00:02:24,160 --> 00:02:27,160 Speaker 1: a walker. Yeah, is when you are really processing something 50 00:02:27,160 --> 00:02:27,680 Speaker 1: in your head. 51 00:02:27,800 --> 00:02:30,399 Speaker 3: Yeah, and you just walk and walk and walk. 52 00:02:30,200 --> 00:02:33,520 Speaker 1: Down those cities that you know, you forget you're walking 53 00:02:33,760 --> 00:02:37,400 Speaker 1: because you're so you're looking in store windows, you're seeing people, 54 00:02:37,440 --> 00:02:38,840 Speaker 1: You're looking at fashion. 55 00:02:38,560 --> 00:02:41,280 Speaker 2: You know, so true, so true. Yeah, you know, and 56 00:02:41,320 --> 00:02:43,400 Speaker 2: I live in London a lot too, so you know 57 00:02:43,400 --> 00:02:45,320 Speaker 2: the same thing. You're just walking constantly. 58 00:02:45,400 --> 00:02:49,000 Speaker 3: That's why you're so full of style too, very style. 59 00:02:49,120 --> 00:02:52,240 Speaker 2: You know it is nice. I mean, you know, we know, La, 60 00:02:52,400 --> 00:02:54,880 Speaker 2: we kind of battle the charity of the casual here, right, 61 00:02:54,919 --> 00:02:55,799 Speaker 2: but I'll tell. 62 00:02:55,639 --> 00:02:59,120 Speaker 1: You, Paul, very similar to you, And how don't I 63 00:02:59,240 --> 00:03:01,320 Speaker 1: describe to the list and our support. You have a 64 00:03:01,360 --> 00:03:06,440 Speaker 1: double brusted suit, that is it's how about the pattern 65 00:03:06,480 --> 00:03:07,400 Speaker 1: would be considered? 66 00:03:08,040 --> 00:03:11,120 Speaker 2: This is like almost like a a checkerboard. 67 00:03:11,320 --> 00:03:14,880 Speaker 1: Yeah, it's beautiful, it's blue, it's gray, right, and you 68 00:03:14,880 --> 00:03:18,880 Speaker 1: have a beautiful pocket square which I watched you on 69 00:03:19,200 --> 00:03:21,000 Speaker 1: YouTube teach how to part. 70 00:03:20,840 --> 00:03:21,600 Speaker 3: Your pocket square? 71 00:03:21,760 --> 00:03:21,919 Speaker 2: Right? 72 00:03:24,600 --> 00:03:27,320 Speaker 1: They fair sort of and it's really the fig fold 73 00:03:27,440 --> 00:03:31,320 Speaker 1: is hey, yes, well you should understand that well, being. 74 00:03:31,160 --> 00:03:34,560 Speaker 2: A manifest you know, like men are so put off 75 00:03:34,639 --> 00:03:37,720 Speaker 2: by pocket squares because there is this whole cult of 76 00:03:37,800 --> 00:03:41,400 Speaker 2: like folding them and it's so finnicky that I hate 77 00:03:41,440 --> 00:03:45,160 Speaker 2: anything that looks like so, you know, kind of just 78 00:03:45,720 --> 00:03:46,680 Speaker 2: obsessed over. 79 00:03:47,200 --> 00:03:49,800 Speaker 3: Do you when you dress? Are you dressing for you? 80 00:03:50,120 --> 00:03:51,840 Speaker 1: Like, when let's say you're in New York, you're dressing 81 00:03:52,160 --> 00:03:54,680 Speaker 1: for people on the street, Like, what's the motivation? 82 00:03:55,600 --> 00:03:56,680 Speaker 3: I turned you on about it? 83 00:03:56,720 --> 00:03:59,800 Speaker 2: I think I dressed for myself. Hilariously, when I used 84 00:03:59,800 --> 00:04:01,760 Speaker 2: to be in New York a lot, there was the 85 00:04:01,840 --> 00:04:03,160 Speaker 2: days when I kind of felt like I didn't want 86 00:04:03,160 --> 00:04:05,600 Speaker 2: to dress up. It was the Bill Cunningham day and 87 00:04:05,680 --> 00:04:08,040 Speaker 2: I was like, what did Bill hunting I happen to 88 00:04:08,120 --> 00:04:10,360 Speaker 2: be walking past? I don't want to miss my one opportunity, 89 00:04:10,360 --> 00:04:13,520 Speaker 2: I mean sweatpants. There's many reasons why I dress this way, 90 00:04:13,560 --> 00:04:16,279 Speaker 2: but one of them is it's a calling card that 91 00:04:16,360 --> 00:04:19,160 Speaker 2: tells the world who you are. You know, and not 92 00:04:19,880 --> 00:04:23,000 Speaker 2: that people know me, but people know that I do 93 00:04:23,040 --> 00:04:26,960 Speaker 2: this now. But you know, in general, if somebody's walking around, 94 00:04:27,160 --> 00:04:30,360 Speaker 2: if you show up like a slob, you're saying I'm 95 00:04:30,360 --> 00:04:35,160 Speaker 2: a slob. And I find it to be very egotistical 96 00:04:35,200 --> 00:04:38,480 Speaker 2: in a way of you're saying that people you better 97 00:04:38,520 --> 00:04:41,279 Speaker 2: get to know me before you can judge me. I agree, 98 00:04:41,320 --> 00:04:43,360 Speaker 2: you know, what I mean, yes, and so, but I'm like, 99 00:04:43,720 --> 00:04:46,000 Speaker 2: there's so much people you meet and stuff, why not 100 00:04:46,120 --> 00:04:48,280 Speaker 2: help them out? This is who I am? 101 00:04:48,480 --> 00:04:50,400 Speaker 1: Yeah, which I also love because you know, when you're 102 00:04:50,400 --> 00:04:51,720 Speaker 1: directing a film. 103 00:04:51,480 --> 00:04:54,279 Speaker 2: You dress, oh yeah, always super time and. 104 00:04:54,120 --> 00:04:57,760 Speaker 1: So you why do you dress? Because those are long 105 00:04:57,880 --> 00:04:59,919 Speaker 1: days and they're not you know, you're on a set. 106 00:05:00,040 --> 00:05:01,240 Speaker 1: You're seeing me up and down. 107 00:05:01,800 --> 00:05:04,599 Speaker 3: What what's the it's to me? 108 00:05:04,760 --> 00:05:06,599 Speaker 2: I'm the captain of the ship. Yeah, And I always 109 00:05:06,600 --> 00:05:08,240 Speaker 2: say if the captain. If I've gone into a ship 110 00:05:08,240 --> 00:05:10,320 Speaker 2: and the captain is wearing sweatpants, I get off the ship. 111 00:05:11,640 --> 00:05:14,000 Speaker 2: It just I just kind of started because I love 112 00:05:14,040 --> 00:05:16,320 Speaker 2: old Hollywood and you know, coming up and I wanted 113 00:05:16,320 --> 00:05:18,600 Speaker 2: to be a director, and all I would see these 114 00:05:18,640 --> 00:05:22,600 Speaker 2: pictures of Hitchcock and john Ford and all these people 115 00:05:22,680 --> 00:05:24,200 Speaker 2: on the set in these suits and ties, and the 116 00:05:24,279 --> 00:05:26,839 Speaker 2: crew wearing ties and you know, kind of their sleeves 117 00:05:26,880 --> 00:05:31,000 Speaker 2: arerolled up but like dress pants and all that. Yeah, 118 00:05:31,320 --> 00:05:33,440 Speaker 2: it looks So I was like that I want when 119 00:05:33,440 --> 00:05:35,360 Speaker 2: I see a movie, I want to think that's who's right, 120 00:05:35,520 --> 00:05:38,080 Speaker 2: that's what the people who made it look like. And 121 00:05:38,120 --> 00:05:40,240 Speaker 2: it's also just a show of respect to the crews. 122 00:05:40,400 --> 00:05:42,800 Speaker 2: And to my my cast. But I I do it 123 00:05:42,839 --> 00:05:45,159 Speaker 2: across the board. I mean I do it anytime I 124 00:05:45,160 --> 00:05:48,000 Speaker 2: have business. I mean when I'm in pre production, when 125 00:05:48,000 --> 00:05:49,560 Speaker 2: I'm in the editing room. Every day, I'm always in 126 00:05:49,600 --> 00:05:52,279 Speaker 2: a suit and tie. I mean everyonce in blue Moons, 127 00:05:52,440 --> 00:05:54,360 Speaker 2: I won't wear a tie or whatever, just because I'm like, Okay, 128 00:05:54,360 --> 00:05:58,080 Speaker 2: I'm not going to see anything today. But yeah, it's 129 00:05:58,160 --> 00:06:00,719 Speaker 2: just kind of it feels professional of me. I feel 130 00:06:00,800 --> 00:06:03,000 Speaker 2: like a grown up, and it just focuses me. Like 131 00:06:03,040 --> 00:06:05,960 Speaker 2: you say, like during the pandemic, I was always saying 132 00:06:06,360 --> 00:06:10,400 Speaker 2: my little Instagram cocktails are like just change because if 133 00:06:10,440 --> 00:06:12,560 Speaker 2: you go through the day and the thing you slept 134 00:06:12,600 --> 00:06:17,040 Speaker 2: in there's it's depressed. I mean it's there's no delineation 135 00:06:17,440 --> 00:06:20,839 Speaker 2: between night and day, and you just lose track of everything, 136 00:06:21,040 --> 00:06:21,919 Speaker 2: including yourself. 137 00:06:22,000 --> 00:06:24,080 Speaker 3: Yeah, now it's very true. 138 00:06:24,320 --> 00:06:26,560 Speaker 1: Is there a period of time style wise that you 139 00:06:26,640 --> 00:06:28,520 Speaker 1: really relate to that you say, Okay, this. 140 00:06:28,720 --> 00:06:32,960 Speaker 2: Was Yeah, that's a great that's a great question. Actually 141 00:06:33,880 --> 00:06:35,279 Speaker 2: the thirties and forties. 142 00:06:35,440 --> 00:06:36,480 Speaker 3: I thought you'd say that. 143 00:06:36,560 --> 00:06:39,800 Speaker 2: Yeah, I love that, you know, I mean my mind 144 00:06:39,880 --> 00:06:42,479 Speaker 2: was just blown when I was in college and the 145 00:06:42,480 --> 00:06:45,960 Speaker 2: first time I saw his girl Friday, Okay, you know, 146 00:06:46,040 --> 00:06:48,840 Speaker 2: bring a baby, those things just that you know, carry 147 00:06:48,839 --> 00:06:51,960 Speaker 2: Grant and those those double breasted suits and the way 148 00:06:52,000 --> 00:06:55,120 Speaker 2: he would like, especially in his Girl Friday, but he 149 00:06:55,200 --> 00:06:57,000 Speaker 2: kind of uses it to make a point and he 150 00:06:57,120 --> 00:06:59,840 Speaker 2: snaps it clothes and buttons it up, and I would 151 00:06:59,839 --> 00:07:02,880 Speaker 2: just like, that's so fantastic. Things so much, you know. 152 00:07:02,920 --> 00:07:06,800 Speaker 2: But then I also really love the men's suiting of 153 00:07:06,839 --> 00:07:10,600 Speaker 2: the fifties into the early sixties, kind of the thin 154 00:07:10,760 --> 00:07:15,080 Speaker 2: tie thing. Funny when I did when I directed an 155 00:07:15,120 --> 00:07:17,600 Speaker 2: episode of mad Men in the first season. I came 156 00:07:17,640 --> 00:07:19,400 Speaker 2: in and that was a period when I was wearing 157 00:07:19,520 --> 00:07:22,200 Speaker 2: vintage suits from that era too, and I came into 158 00:07:22,200 --> 00:07:25,200 Speaker 2: the office to you know, to meet with Matt Winer 159 00:07:25,200 --> 00:07:28,120 Speaker 2: for the first time, and the receptionist is like, oh, oh, 160 00:07:28,200 --> 00:07:31,720 Speaker 2: castings down the hall. It's like, no, I'm not here 161 00:07:31,760 --> 00:07:35,040 Speaker 2: in costume. This is actually how I dress. And then 162 00:07:35,080 --> 00:07:37,480 Speaker 2: in the intervening years when mad Men took off, I 163 00:07:37,520 --> 00:07:39,560 Speaker 2: would wear that. People go like, oh, you're a Madman fan, 164 00:07:39,640 --> 00:07:42,360 Speaker 2: and it's like, no, I'm not doing cosplay. And so 165 00:07:42,480 --> 00:07:45,480 Speaker 2: finally I had a jettison that look because thanks Matt Winer, 166 00:07:46,440 --> 00:07:48,160 Speaker 2: my whole my whole closet. 167 00:07:48,600 --> 00:07:51,000 Speaker 3: I loved Mad Men for the style. 168 00:07:51,280 --> 00:07:54,680 Speaker 1: It's so important to get all those like details correct 169 00:07:54,720 --> 00:07:58,400 Speaker 1: and it's so fascinating. How does that play into when 170 00:07:58,400 --> 00:08:01,760 Speaker 1: you're doing a movie, you're doing a piece and you're like, oh, okay, 171 00:08:01,880 --> 00:08:03,080 Speaker 1: this is the time we're doing. 172 00:08:04,040 --> 00:08:06,240 Speaker 3: How do you kind of go down the list of Well, it's. 173 00:08:06,160 --> 00:08:11,240 Speaker 2: Really important to not cherry pick the most over the 174 00:08:11,280 --> 00:08:16,760 Speaker 2: top versions of style at that period. Case in point, 175 00:08:16,760 --> 00:08:19,120 Speaker 2: when I did my show Freaks and Geeks, which I created, 176 00:08:19,520 --> 00:08:21,320 Speaker 2: you know, I I love, Oh, thank you, So. 177 00:08:21,240 --> 00:08:23,160 Speaker 1: I mean really, but I do want to talk about that, 178 00:08:23,200 --> 00:08:25,000 Speaker 1: and I want to talk cast about I mean, it 179 00:08:25,080 --> 00:08:28,679 Speaker 1: just was also like what where that came from? Inside 180 00:08:28,680 --> 00:08:29,520 Speaker 1: of each Yeah? 181 00:08:29,680 --> 00:08:31,600 Speaker 2: Well no, but it was, you know, because it took 182 00:08:31,640 --> 00:08:36,160 Speaker 2: place in nineteen eighty and that seventy show was on 183 00:08:36,200 --> 00:08:37,600 Speaker 2: and stuff. There was this whole thing of like, well 184 00:08:37,600 --> 00:08:39,600 Speaker 2: the seventies all that it's all leisure suits and bell 185 00:08:39,640 --> 00:08:42,439 Speaker 2: bottoms and you know, in platform shoes. I was like, no, 186 00:08:42,520 --> 00:08:45,040 Speaker 2: I so I made this point. I brought it all 187 00:08:45,040 --> 00:08:47,600 Speaker 2: my old yearbooks from that were from seventy six to 188 00:08:47,640 --> 00:08:50,720 Speaker 2: eighty and highlight all this stuff like this was how 189 00:08:50,720 --> 00:08:53,240 Speaker 2: we dressed yes, there were some disco kids. There were 190 00:08:53,280 --> 00:08:54,720 Speaker 2: some kids did that. I kind of did that. I 191 00:08:54,760 --> 00:08:56,439 Speaker 2: went through a period in high school where I was 192 00:08:56,559 --> 00:09:00,320 Speaker 2: wearing like angels flight pants, you know, and the collar 193 00:09:00,360 --> 00:09:03,000 Speaker 2: out on your on your jacket and stuff. But we 194 00:09:03,000 --> 00:09:04,080 Speaker 2: weren't cartoons. 195 00:09:04,320 --> 00:09:05,600 Speaker 3: Right, that's a good point. 196 00:09:05,640 --> 00:09:09,600 Speaker 1: So you're saying you don't get so like bogged down 197 00:09:09,640 --> 00:09:13,120 Speaker 1: in the details, but sort of really understand the essence 198 00:09:13,160 --> 00:09:15,400 Speaker 1: of Yeah, because the clothes, you were right on with 199 00:09:15,440 --> 00:09:17,480 Speaker 1: the clothes. Like when I was, you know, one of 200 00:09:17,480 --> 00:09:19,800 Speaker 1: the things in sort of preparation of having lunch with you, 201 00:09:19,840 --> 00:09:21,720 Speaker 1: I was like, oh, let me like rewatch this, let 202 00:09:21,760 --> 00:09:22,920 Speaker 1: me see it. 203 00:09:22,520 --> 00:09:23,960 Speaker 3: And it's really spot on. 204 00:09:24,320 --> 00:09:27,360 Speaker 2: No thanks, I mean it's literally just pulled from those 205 00:09:27,840 --> 00:09:29,800 Speaker 2: from those yearbooks, and like this is what we wore, 206 00:09:29,880 --> 00:09:31,880 Speaker 2: you know. I mean, you know the reason that Lindsay 207 00:09:32,240 --> 00:09:35,320 Speaker 2: We're you know, Linda Carlini's character wears an army field 208 00:09:35,360 --> 00:09:36,880 Speaker 2: jacket all the time is because my dad owned an 209 00:09:36,920 --> 00:09:40,040 Speaker 2: army surplus store and uh, and so we've sold to 210 00:09:40,080 --> 00:09:42,160 Speaker 2: all a lot of kids in our school who weren't 211 00:09:42,240 --> 00:09:45,360 Speaker 2: the stylish one. 212 00:09:50,679 --> 00:09:53,840 Speaker 1: We always this funny like why did like I mean, 213 00:09:54,760 --> 00:09:56,680 Speaker 1: I mean, I can use and many people have. There's 214 00:09:56,679 --> 00:09:58,880 Speaker 1: a number of them with bridesmaids. For example, you talked 215 00:09:58,880 --> 00:10:03,560 Speaker 1: about I mean literally fall out of your seat at 216 00:10:03,600 --> 00:10:05,880 Speaker 1: the moments that were created. And I've watched some of 217 00:10:05,880 --> 00:10:08,120 Speaker 1: your interviews in regard to like a lot of sort 218 00:10:08,120 --> 00:10:10,160 Speaker 1: of the improv piece of it, and also how you 219 00:10:10,200 --> 00:10:11,200 Speaker 1: shot it. 220 00:10:11,320 --> 00:10:13,760 Speaker 3: Were you always as funny and what do you look 221 00:10:13,920 --> 00:10:17,000 Speaker 3: for with when you're making a movie or choosing to 222 00:10:17,000 --> 00:10:17,640 Speaker 3: make a movie. 223 00:10:17,679 --> 00:10:20,880 Speaker 2: Well, thank you, first of all. But I've always loved comedy. 224 00:10:20,880 --> 00:10:24,079 Speaker 2: Comedies is in my DNA. It's all I've ever wanted 225 00:10:24,080 --> 00:10:26,880 Speaker 2: to do. I mean since I was little. I just 226 00:10:26,880 --> 00:10:29,679 Speaker 2: love it. I love making people laugh, making them happy, 227 00:10:29,480 --> 00:10:32,960 Speaker 2: trying to but in an honest way. Like I've always 228 00:10:33,000 --> 00:10:40,680 Speaker 2: been very sensitive to and against over the top dishonest 229 00:10:40,720 --> 00:10:42,880 Speaker 2: comedy because I can enjoy it really broadcast. 230 00:10:42,920 --> 00:10:45,040 Speaker 3: Let's give me an example of dishonest comedy. 231 00:10:45,600 --> 00:10:48,440 Speaker 2: It's a lot of comedies that have been made over 232 00:10:48,440 --> 00:10:51,640 Speaker 2: the last you know, thirty years or whatever. I particularly 233 00:10:51,679 --> 00:10:54,560 Speaker 2: felt like the nineties were kind of not my style 234 00:10:54,600 --> 00:10:57,960 Speaker 2: of comedy because it was all performative. It was very like, 235 00:10:58,840 --> 00:11:01,760 Speaker 2: look how crazy I am, and you know I'm not 236 00:11:01,800 --> 00:11:03,920 Speaker 2: this crazy, and I know I'm not, so let's just 237 00:11:04,000 --> 00:11:05,760 Speaker 2: kind of make fun of this character, have like a 238 00:11:05,760 --> 00:11:08,480 Speaker 2: crazy character. And I was like, I don't buy. I'd 239 00:11:08,600 --> 00:11:11,120 Speaker 2: rather watch I want to watch a person who if 240 00:11:11,160 --> 00:11:14,439 Speaker 2: they're crazy, they don't know it, you know, And there's 241 00:11:14,480 --> 00:11:17,160 Speaker 2: an honesty to that and it's hard to put down, 242 00:11:17,200 --> 00:11:18,720 Speaker 2: but you know when you see it and you just 243 00:11:18,760 --> 00:11:20,920 Speaker 2: go like, I don't know, it just doesn't there's no 244 00:11:21,000 --> 00:11:22,719 Speaker 2: honesty to it. That's why I was always I was 245 00:11:22,840 --> 00:11:26,680 Speaker 2: very happy when I was involved with the Office because 246 00:11:27,320 --> 00:11:31,040 Speaker 2: that brought in this this docu style, right, so natural, 247 00:11:31,200 --> 00:11:35,240 Speaker 2: so because then you can you can be broad, but 248 00:11:35,360 --> 00:11:37,440 Speaker 2: it's in a context of like, oh that person just 249 00:11:38,040 --> 00:11:40,360 Speaker 2: is just kind of weird, you know. And then that 250 00:11:40,360 --> 00:11:43,439 Speaker 2: that I love. So it's a real high bar for that. 251 00:11:43,559 --> 00:11:47,520 Speaker 2: And yeah, then just I think I just love trying 252 00:11:47,520 --> 00:11:49,920 Speaker 2: to get the best out of funny people because I 253 00:11:50,080 --> 00:11:52,640 Speaker 2: I think one of my good skills is seeing what's 254 00:11:52,679 --> 00:11:55,680 Speaker 2: funny about somebody, whether they know it or not. And 255 00:11:55,679 --> 00:11:57,880 Speaker 2: a lot of times they don't, you know, and that's 256 00:11:57,920 --> 00:11:59,679 Speaker 2: what's really fun. That's why a lot of times I 257 00:11:59,679 --> 00:12:02,000 Speaker 2: don't of an audition, like you know, it's kind of 258 00:12:02,200 --> 00:12:04,840 Speaker 2: a name person you have them read the part. I 259 00:12:04,880 --> 00:12:06,360 Speaker 2: just want to have drinks with them or have a 260 00:12:06,400 --> 00:12:08,840 Speaker 2: meal to see. Yeah, I can go like, what's funny 261 00:12:08,840 --> 00:12:12,040 Speaker 2: about this person? And then you oh, man, especially when 262 00:12:12,080 --> 00:12:15,400 Speaker 2: you discover something about somebody that nobody else knows. 263 00:12:15,600 --> 00:12:17,840 Speaker 1: I think I think some people, like people were surprised 264 00:12:17,880 --> 00:12:20,200 Speaker 1: that John Ham was so funny, you know, because you 265 00:12:20,320 --> 00:12:22,199 Speaker 1: kind of look at the package that John comes in. 266 00:12:22,320 --> 00:12:25,920 Speaker 2: Well, a funny story about that. When I because that 267 00:12:26,000 --> 00:12:28,000 Speaker 2: same day when I went into you know, to meet 268 00:12:28,080 --> 00:12:30,800 Speaker 2: to direct an episode because it was it was it 269 00:12:30,840 --> 00:12:32,920 Speaker 2: was just in the first season, so nobody had seen anything. 270 00:12:32,960 --> 00:12:34,679 Speaker 2: I just seen the pilot, and I remember when I 271 00:12:34,679 --> 00:12:35,880 Speaker 2: watched the pilot, I was kind of like, do I 272 00:12:35,920 --> 00:12:38,840 Speaker 2: want to do the show because there's it seems like 273 00:12:38,880 --> 00:12:42,160 Speaker 2: such a humorless show to me when I watched the pilot, 274 00:12:42,400 --> 00:12:44,240 Speaker 2: and I especially went like that lead guy. I mean, 275 00:12:44,240 --> 00:12:46,240 Speaker 2: he's really good, but he seems like he doesn't have 276 00:12:46,280 --> 00:12:48,680 Speaker 2: a funny bone in his body like it was because 277 00:12:48,720 --> 00:12:51,000 Speaker 2: he's such a stoic character. Yeah, and so I kind 278 00:12:51,000 --> 00:12:52,160 Speaker 2: of go to the set and I'm like, oh boy, 279 00:12:52,200 --> 00:12:53,800 Speaker 2: what am I gonna do with this guy? So I'm 280 00:12:53,800 --> 00:12:55,599 Speaker 2: talking to Matt and he takes me down on the 281 00:12:55,640 --> 00:12:57,120 Speaker 2: set talking and stuff, and all of a sudden, this 282 00:12:57,280 --> 00:13:00,760 Speaker 2: like shaggy haired kind of surfer comes up, like joking around. 283 00:13:00,800 --> 00:13:02,880 Speaker 2: He's making these voices and he's hilarious and he goes 284 00:13:02,920 --> 00:13:05,720 Speaker 2: away and go like, who's that. He goes, that's John, 285 00:13:05,800 --> 00:13:08,240 Speaker 2: the star of the show. That's John, And then I 286 00:13:08,280 --> 00:13:09,600 Speaker 2: was like, oh my god. Then I find out he's 287 00:13:09,600 --> 00:13:11,920 Speaker 2: a huge comedy nerd and one of the funniest people. 288 00:13:11,960 --> 00:13:15,160 Speaker 1: I know, completely so funny, and that's like you would 289 00:13:15,160 --> 00:13:17,440 Speaker 1: never say like that's Don Draper and then be like, 290 00:13:17,480 --> 00:13:18,040 Speaker 1: oh my god. 291 00:13:18,080 --> 00:13:21,600 Speaker 2: Okay, oh no, I mean completely they that's when you 292 00:13:21,600 --> 00:13:23,800 Speaker 2: go out. He's a really good actor because he's nothing 293 00:13:23,880 --> 00:13:24,520 Speaker 2: like that guy. 294 00:13:24,800 --> 00:13:27,400 Speaker 1: Did you have because you know when John we have 295 00:13:27,559 --> 00:13:29,640 Speaker 1: lunch and he had like a plan for himself. So 296 00:13:29,720 --> 00:13:32,719 Speaker 1: like you went to sc you gave towards at Universal, 297 00:13:32,800 --> 00:13:35,400 Speaker 1: which is fine. I gave towards at NBC. That was 298 00:13:35,440 --> 00:13:39,160 Speaker 1: Abe in New York and those were some of the 299 00:13:39,200 --> 00:13:40,760 Speaker 1: most fun experiences. 300 00:13:41,160 --> 00:13:42,920 Speaker 3: What were you like as a tour guy? 301 00:13:43,040 --> 00:13:45,360 Speaker 1: Were you and then you know you did stand up 302 00:13:45,400 --> 00:13:49,040 Speaker 1: so you were you kind of yeah, well, developing all this. 303 00:13:49,000 --> 00:13:51,200 Speaker 2: Yeah, I mean I started doing stand up when I 304 00:13:51,240 --> 00:13:55,480 Speaker 2: was fifteen years old in Detroit. Yeah wow, yeah, and 305 00:13:55,559 --> 00:13:56,800 Speaker 2: you know I'd have to take my parents at the 306 00:13:56,800 --> 00:13:58,959 Speaker 2: comedy club to do it and all that stuff. So 307 00:14:00,559 --> 00:14:06,080 Speaker 2: but when I was a tour guide, I i it 308 00:14:06,160 --> 00:14:08,280 Speaker 2: was the greatest lesson ever of how to be yourself 309 00:14:08,720 --> 00:14:10,400 Speaker 2: in front of people. And I don't like because when 310 00:14:10,400 --> 00:14:13,160 Speaker 2: I first started, I just went in to total DJ mode. Hey, everybody, 311 00:14:13,200 --> 00:14:15,200 Speaker 2: welcome to the tour olds. I was just talking like 312 00:14:15,240 --> 00:14:18,200 Speaker 2: that the whole time. And like I remember one driver 313 00:14:18,400 --> 00:14:20,200 Speaker 2: kind of after a few like a month, and he's 314 00:14:20,240 --> 00:14:21,680 Speaker 2: just like, why do you talk like that? I said, 315 00:14:22,040 --> 00:14:23,960 Speaker 2: I don't know, am I supposed to? He goes, just 316 00:14:24,000 --> 00:14:26,600 Speaker 2: be yourselves, like okay, and then I get so I 317 00:14:26,680 --> 00:14:28,680 Speaker 2: finally kind of figured out just how to talk to 318 00:14:28,720 --> 00:14:31,160 Speaker 2: people and be natural in front of them. So it 319 00:14:31,240 --> 00:14:33,920 Speaker 2: was a great learning curve. But yeah, I was insufferable 320 00:14:33,920 --> 00:14:34,440 Speaker 2: at the beginning. 321 00:14:35,520 --> 00:14:38,480 Speaker 1: I mean I would find that giving those tours of NBC, 322 00:14:38,640 --> 00:14:40,480 Speaker 1: like you sort of you know, you'd go from floor 323 00:14:40,680 --> 00:14:43,960 Speaker 1: three to sevens. You know, you were in the The 324 00:14:44,080 --> 00:14:46,080 Speaker 1: Today Show studio or let them, and you were all 325 00:14:46,080 --> 00:14:47,760 Speaker 1: these places, but you had, like you know, you had 326 00:14:47,760 --> 00:14:50,520 Speaker 1: to hit your points and the more comfortable you became 327 00:14:50,560 --> 00:14:52,720 Speaker 1: with any of your points, the more you sort of 328 00:14:53,160 --> 00:14:57,280 Speaker 1: would then be able to joke or people are like staring, 329 00:14:57,400 --> 00:15:00,400 Speaker 1: and in New York you would do it. The elevators 330 00:15:00,440 --> 00:15:03,080 Speaker 1: at NBC's like, so you have fifteen people and yourself 331 00:15:03,240 --> 00:15:07,360 Speaker 1: and your jam packed, like you're facing them, right, they're 332 00:15:07,360 --> 00:15:07,840 Speaker 1: facing you. 333 00:15:08,320 --> 00:15:10,240 Speaker 2: The elevator doesn't break, Okay, it doesn't. 334 00:15:10,760 --> 00:15:13,320 Speaker 3: And I can remember one day and it was the nineties. 335 00:15:13,440 --> 00:15:16,560 Speaker 3: I mean I just had hair that was bigger than curly, bigger. 336 00:15:16,600 --> 00:15:17,840 Speaker 2: I want to say, pictures, Bruce. 337 00:15:17,920 --> 00:15:18,760 Speaker 3: You have to see pictures. 338 00:15:18,840 --> 00:15:20,600 Speaker 1: And I said, so, you know, as we're about to 339 00:15:20,680 --> 00:15:23,760 Speaker 1: end the tour, does anyone have any final questions about 340 00:15:23,800 --> 00:15:24,160 Speaker 1: the Torrents? 341 00:15:24,160 --> 00:15:27,920 Speaker 3: When I was like, yeah, is that a wig? I 342 00:15:27,960 --> 00:15:30,600 Speaker 3: was like, no, that's not yah. 343 00:15:31,560 --> 00:15:34,560 Speaker 2: We're not here to roast me. That's all. 344 00:15:54,080 --> 00:15:55,520 Speaker 3: Welcome back to Table for two. 345 00:15:55,960 --> 00:15:59,360 Speaker 1: Paul Fiek's first big project was nineteen ninety nine s 346 00:15:59,400 --> 00:16:04,360 Speaker 1: beloved TV show Freaks and Geeks. Since then, he's found 347 00:16:04,440 --> 00:16:07,240 Speaker 1: massive success as a director on both the small and 348 00:16:07,320 --> 00:16:10,960 Speaker 1: big screen. Looking back, does he think it would be 349 00:16:11,040 --> 00:16:13,480 Speaker 1: harder or easier to. 350 00:16:13,520 --> 00:16:14,520 Speaker 3: Break through now. 351 00:16:16,280 --> 00:16:19,760 Speaker 1: Those early years which are probably very different now? For 352 00:16:19,840 --> 00:16:22,480 Speaker 1: people who are trying to, oh do write? You know 353 00:16:22,680 --> 00:16:23,400 Speaker 1: it was was. 354 00:16:23,360 --> 00:16:25,640 Speaker 3: It harder than and how how did you kind of 355 00:16:25,760 --> 00:16:27,040 Speaker 3: drill your path? 356 00:16:27,560 --> 00:16:30,720 Speaker 2: Well, there was more opportunity and less opportunity at the 357 00:16:30,720 --> 00:16:34,080 Speaker 2: same time. And I only mean that by you know, 358 00:16:34,120 --> 00:16:38,640 Speaker 2: I wanted to make movies, and back then to make 359 00:16:38,840 --> 00:16:41,920 Speaker 2: anything you had to buy film and you had to 360 00:16:41,960 --> 00:16:44,720 Speaker 2: rent cameras and you had it was expensive. You couldn't 361 00:16:44,720 --> 00:16:46,200 Speaker 2: do you know. The first movie I made is a 362 00:16:46,240 --> 00:16:48,480 Speaker 2: thing called Life Sohoul separately that has never been released 363 00:16:48,880 --> 00:16:52,200 Speaker 2: in my house, a feature film that I wrote and 364 00:16:52,240 --> 00:16:54,320 Speaker 2: directed and started and produced and all this stuff and 365 00:16:54,360 --> 00:16:57,560 Speaker 2: paid for myself. And it literally said, what's the cheapest 366 00:16:57,560 --> 00:16:59,760 Speaker 2: movie I can make? And it's like four people in 367 00:16:59,800 --> 00:17:03,320 Speaker 2: a one day waiting for UFO. Okay, So that's what 368 00:17:03,360 --> 00:17:05,080 Speaker 2: it was. I wrote this kind of piece, but I 369 00:17:05,320 --> 00:17:07,440 Speaker 2: was really proud of it. But it cost me thirty 370 00:17:07,440 --> 00:17:09,919 Speaker 2: five thousand dollars, you know, and that was all the 371 00:17:09,960 --> 00:17:12,960 Speaker 2: savings I had at the time. I could today make 372 00:17:13,000 --> 00:17:16,600 Speaker 2: that movie on my iPhone for free. Basically, I just 373 00:17:16,640 --> 00:17:18,880 Speaker 2: did whatever costume that I bought for the people, get 374 00:17:18,880 --> 00:17:21,399 Speaker 2: it edited on my laptop and be done, and then 375 00:17:21,440 --> 00:17:22,520 Speaker 2: put it out of the internet. 376 00:17:22,600 --> 00:17:23,439 Speaker 3: That's amazing, you know. 377 00:17:23,440 --> 00:17:25,960 Speaker 2: But this thing I walked around with it, finished this movie, 378 00:17:26,240 --> 00:17:28,399 Speaker 2: walked around with it for a year trying to get 379 00:17:28,400 --> 00:17:30,600 Speaker 2: a festivals, couldn't get a festivals, couldn't it. And it's 380 00:17:30,640 --> 00:17:33,920 Speaker 2: just like this disaster that I couldn't get anybody to see. 381 00:17:34,160 --> 00:17:36,399 Speaker 2: So in that way, I say, anytime I lectured to 382 00:17:36,440 --> 00:17:40,439 Speaker 2: film students or any any young young people, I like, 383 00:17:40,520 --> 00:17:42,480 Speaker 2: you have no excuse not to If you want to 384 00:17:42,480 --> 00:17:44,320 Speaker 2: make stuff, you have no excuse not to do it. 385 00:17:44,400 --> 00:17:46,600 Speaker 1: If you go back to freaking geeks, you know, you 386 00:17:46,960 --> 00:17:48,719 Speaker 1: had this incredible cast that all went on. 387 00:17:48,760 --> 00:17:50,760 Speaker 3: So I have this these illustrious careers. 388 00:17:51,640 --> 00:17:52,560 Speaker 2: Nobody got arrested. 389 00:17:52,600 --> 00:17:55,840 Speaker 3: That's why I like, all right, nobody got arrested, and 390 00:17:56,720 --> 00:18:00,600 Speaker 3: the chemistry was so good. How does that work? You're casting? 391 00:18:00,760 --> 00:18:04,199 Speaker 1: I mean your chemistry with like I mean, you know, 392 00:18:05,320 --> 00:18:08,200 Speaker 1: like looking at Christian Way with Melissa McCarthy, I mean, 393 00:18:08,720 --> 00:18:11,280 Speaker 1: how do you know how to put people together? 394 00:18:11,600 --> 00:18:14,119 Speaker 2: Well, it's I mean you see a lot of people 395 00:18:14,800 --> 00:18:18,119 Speaker 2: and you see what their vibe is and then you 396 00:18:18,240 --> 00:18:20,879 Speaker 2: kind of go, this would mix well with this just 397 00:18:21,280 --> 00:18:24,919 Speaker 2: like not so much visually, although visually sometimes, but just 398 00:18:25,000 --> 00:18:27,720 Speaker 2: kind of attitude wise, like these would be fun together. 399 00:18:27,760 --> 00:18:31,720 Speaker 2: But then you'll usually, like for Bridesmaids, we took like 400 00:18:31,760 --> 00:18:35,040 Speaker 2: our top twelve candidates and then mix and match them 401 00:18:35,040 --> 00:18:37,960 Speaker 2: in these in a session. You okay, you four coming together. Okay, 402 00:18:37,960 --> 00:18:39,760 Speaker 2: now you two go together. Okay, and you start to 403 00:18:39,800 --> 00:18:42,800 Speaker 2: see like, oh this it's not even so much anybody 404 00:18:42,880 --> 00:18:46,800 Speaker 2: good will find chemistry. I find, especially comedy people really 405 00:18:46,800 --> 00:18:49,040 Speaker 2: because you can't you know, unless you're one of these people, 406 00:18:49,240 --> 00:18:50,840 Speaker 2: just like I want all the jokes and you can't 407 00:18:50,840 --> 00:18:53,480 Speaker 2: be funny around me, which that's instant death of your 408 00:18:53,840 --> 00:18:56,879 Speaker 2: comedy person. They're used to being team players. You know, 409 00:18:56,880 --> 00:18:58,800 Speaker 2: you're very much a team player because you're lying on 410 00:18:58,840 --> 00:19:01,159 Speaker 2: the other person to set you up and all that. 411 00:19:01,320 --> 00:19:05,560 Speaker 2: So yeah, so it tends to kind of sort itself out, 412 00:19:05,600 --> 00:19:07,320 Speaker 2: you kind of know going in and then it just 413 00:19:07,400 --> 00:19:10,320 Speaker 2: becomes like, oh, whose energy is going to be a 414 00:19:10,320 --> 00:19:12,920 Speaker 2: good counterpart to this person? So I'm almost doing more 415 00:19:12,920 --> 00:19:15,000 Speaker 2: for the camera knowing I think they'll figure it out. 416 00:19:15,040 --> 00:19:17,080 Speaker 2: I mean if once a while you go like, okay, 417 00:19:17,080 --> 00:19:19,320 Speaker 2: those two people just don't have any it just doesn't 418 00:19:19,400 --> 00:19:20,280 Speaker 2: seem right together. 419 00:19:20,440 --> 00:19:22,960 Speaker 3: Does it ever gets to the place where you have. 420 00:19:24,680 --> 00:19:30,200 Speaker 1: Actually cast it begun shooting and then go ooh, they're 421 00:19:30,240 --> 00:19:32,399 Speaker 1: just not getting. 422 00:19:32,440 --> 00:19:35,480 Speaker 2: I've been very lucky. I've only had a couple of times, 423 00:19:35,800 --> 00:19:38,639 Speaker 2: one in particular, where we had to replace somebody. But 424 00:19:38,720 --> 00:19:40,520 Speaker 2: it wasn't really it wasn't a chemistry thing. It was 425 00:19:40,520 --> 00:19:42,240 Speaker 2: all the other thing they had to do with. I 426 00:19:42,240 --> 00:19:46,119 Speaker 2: think I don't know what happened. It was in another country. 427 00:19:46,119 --> 00:19:48,720 Speaker 2: It might have been jet lag. There might have been 428 00:19:49,760 --> 00:19:52,880 Speaker 2: some ways to get past jet lag that didn't work. 429 00:19:53,520 --> 00:19:56,639 Speaker 2: But no, I've been very very lucky because but I 430 00:19:57,119 --> 00:19:59,360 Speaker 2: really vet who I work with too, Like I will 431 00:19:59,400 --> 00:20:02,159 Speaker 2: call around, but not just a one person, you know, 432 00:20:02,200 --> 00:20:04,240 Speaker 2: and just go like how But you know, if you 433 00:20:04,280 --> 00:20:07,680 Speaker 2: call one person, they go the person's terrible. That person 434 00:20:07,720 --> 00:20:09,920 Speaker 2: could the person who's telling you they were terrible could 435 00:20:09,920 --> 00:20:12,359 Speaker 2: have been terrible, right, you know. So I don't do that, 436 00:20:12,400 --> 00:20:15,080 Speaker 2: but I'll kind of if I hear somebody's like iffy, 437 00:20:15,280 --> 00:20:17,119 Speaker 2: then I'll call other people who they work with and 438 00:20:17,160 --> 00:20:20,040 Speaker 2: go like, what's the what's the story. And generally it's 439 00:20:20,080 --> 00:20:23,119 Speaker 2: it's almost you know, there's very few that people go 440 00:20:23,200 --> 00:20:25,439 Speaker 2: like forget it, forget it. And also I like working 441 00:20:25,480 --> 00:20:29,600 Speaker 2: with people who people who are particular when I was 442 00:20:29,640 --> 00:20:31,439 Speaker 2: a TV director, you know, I did it for ten 443 00:20:31,520 --> 00:20:34,119 Speaker 2: years before I started got to do Bridesmaids and all 444 00:20:34,160 --> 00:20:39,080 Speaker 2: that stuff. I was kind of good at coming into 445 00:20:39,680 --> 00:20:45,879 Speaker 2: shows that had difficult situations, especially with lead actresses, and 446 00:20:45,960 --> 00:20:47,879 Speaker 2: I was always just like, well, just take me on 447 00:20:47,880 --> 00:20:49,920 Speaker 2: the set. Let me go meet them before I even start, 448 00:20:49,960 --> 00:20:51,920 Speaker 2: and just go like, hey, I just want to find 449 00:20:51,960 --> 00:20:54,080 Speaker 2: out how you work, what way do you like to work, 450 00:20:54,600 --> 00:20:56,520 Speaker 2: you know, because I want to be I just want 451 00:20:56,520 --> 00:20:59,280 Speaker 2: to be here for you. And they loved it, and 452 00:20:59,280 --> 00:21:01,840 Speaker 2: we'd always have a experience. So you know, there's so 453 00:21:01,880 --> 00:21:02,399 Speaker 2: many people just. 454 00:21:02,440 --> 00:21:03,840 Speaker 3: Want to be seen. They want to know that they're 455 00:21:03,880 --> 00:21:05,880 Speaker 3: being heard in. 456 00:21:06,160 --> 00:21:09,200 Speaker 2: Respect, and if you're not giving them the respect on 457 00:21:09,280 --> 00:21:13,480 Speaker 2: the set in collaborating with them, they're just like the 458 00:21:13,560 --> 00:21:14,120 Speaker 2: trust is. 459 00:21:14,040 --> 00:21:20,480 Speaker 1: Gone, right, It's completely gone. I pursued acting for a 460 00:21:20,520 --> 00:21:23,320 Speaker 1: couple of years in the early nineties that came out here. 461 00:21:23,520 --> 00:21:25,960 Speaker 1: I was like, you know, yeah, it was so bad. 462 00:21:27,480 --> 00:21:30,879 Speaker 1: And I got this part on one movie under Siege 463 00:21:30,880 --> 00:21:34,240 Speaker 1: with Steven Savelle as a fighter pilot. The only thing 464 00:21:34,240 --> 00:21:36,800 Speaker 1: you could see with my eyes and I was going 465 00:21:36,880 --> 00:21:41,520 Speaker 1: to be blown up at beat thirteen. So I'm flying 466 00:21:41,520 --> 00:21:44,639 Speaker 1: this like F eighteen. It's like fake F eighteen, you know, 467 00:21:44,680 --> 00:21:47,919 Speaker 1: the second unit. It's like, okay, I'm beat twelve. You 468 00:21:48,040 --> 00:21:51,160 Speaker 1: have to or eleven. You have to start to show 469 00:21:51,200 --> 00:21:53,399 Speaker 1: panic because like, you know, so first I'm like flying 470 00:21:53,400 --> 00:21:56,679 Speaker 1: on like this. He's like no, there's like, you know, force, 471 00:21:56,720 --> 00:21:59,400 Speaker 1: so you can't just move like that. And so I'm 472 00:21:59,400 --> 00:22:04,399 Speaker 1: like one, two, three's counting, and I actually start to like, 473 00:22:04,560 --> 00:22:06,560 Speaker 1: you know, show it in my eyes. I go see 474 00:22:06,600 --> 00:22:09,200 Speaker 1: the movie they they blow up the plane and Beat 475 00:22:09,240 --> 00:22:10,680 Speaker 1: eight looks like I'm just like. 476 00:22:10,760 --> 00:22:15,800 Speaker 3: Having occasionally fired. Like I always said to myself, Wow, 477 00:22:15,880 --> 00:22:18,359 Speaker 3: like they really my one little performance. 478 00:22:18,440 --> 00:22:19,040 Speaker 2: They fucked over. 479 00:22:19,160 --> 00:22:21,040 Speaker 3: They fucked me over, like he didn't kill me, and 480 00:22:21,160 --> 00:22:25,119 Speaker 3: BE thirteen killed me and B eight thirteen. But I 481 00:22:25,119 --> 00:22:27,440 Speaker 3: think you're right, he's gonna fix worries. 482 00:22:28,040 --> 00:22:31,160 Speaker 2: The editing room is that's that's where it all happens. 483 00:22:31,720 --> 00:22:32,440 Speaker 3: It really does. 484 00:22:32,680 --> 00:22:35,840 Speaker 2: Yeah, you know, I was kind of just I like 485 00:22:35,920 --> 00:22:40,720 Speaker 2: actors who understand the filmmaking process. I could take something 486 00:22:40,800 --> 00:22:42,840 Speaker 2: from a different part of the performance and put it 487 00:22:42,840 --> 00:22:45,640 Speaker 2: over here, you know. And it's not like I'm trying 488 00:22:45,640 --> 00:22:47,600 Speaker 2: to fool you or anything. It's just like I need 489 00:22:47,640 --> 00:22:49,680 Speaker 2: something in this moment because I need you to look 490 00:22:49,680 --> 00:22:51,680 Speaker 2: over here. I need to see something in your face. 491 00:22:52,000 --> 00:22:54,440 Speaker 2: And the editing process, you know, it's like the Eisenstein 492 00:22:54,760 --> 00:22:57,000 Speaker 2: thing where he just photographed the guy just staring at 493 00:22:57,000 --> 00:22:59,679 Speaker 2: the camera and they intercut with different things in the audience, like, oh, 494 00:22:59,680 --> 00:23:01,440 Speaker 2: he was moting so much on this on that. It's 495 00:23:01,480 --> 00:23:03,760 Speaker 2: like we're building it right, you know. I mean, the 496 00:23:03,760 --> 00:23:06,399 Speaker 2: actor has to give you great stuff, sure, but at 497 00:23:06,400 --> 00:23:08,639 Speaker 2: the same time, then we're manipulating that beyond that. And 498 00:23:08,640 --> 00:23:11,159 Speaker 2: i'd like when actors who understand that. But even just 499 00:23:11,160 --> 00:23:13,040 Speaker 2: the way I wear, I don't rehearse or anything. I'm 500 00:23:13,080 --> 00:23:16,600 Speaker 2: just kind of like cameras here, no, no, I want 501 00:23:16,720 --> 00:23:18,440 Speaker 2: I want to know what they're going to do. I 502 00:23:18,480 --> 00:23:20,359 Speaker 2: don't even like to do rehearsals, like in the in 503 00:23:20,400 --> 00:23:22,840 Speaker 2: the run up to sometime we'll do them read throughs 504 00:23:22,840 --> 00:23:24,560 Speaker 2: and that kind of stuff, just more for the writing 505 00:23:24,600 --> 00:23:26,280 Speaker 2: to go like oh I need to change this or that. 506 00:23:26,720 --> 00:23:28,439 Speaker 2: The way that I get a lot of takes that 507 00:23:28,480 --> 00:23:31,159 Speaker 2: I like and a lot of variety is just don't rehearse, 508 00:23:31,800 --> 00:23:33,480 Speaker 2: and so we have to ferry with the cameras are okay, 509 00:23:33,560 --> 00:23:35,560 Speaker 2: just kind of you know, talk through it. But don't 510 00:23:35,720 --> 00:23:37,880 Speaker 2: you know where would you go? Where'd you go? Set 511 00:23:37,920 --> 00:23:40,560 Speaker 2: up the cameras, and then just start shooting. And what 512 00:23:40,640 --> 00:23:42,600 Speaker 2: happens is when I get the first few takes are 513 00:23:42,720 --> 00:23:45,920 Speaker 2: just coming out of that actor's brain what they think 514 00:23:45,920 --> 00:23:47,840 Speaker 2: it should be, and I'm usually got, oh, I kind 515 00:23:47,880 --> 00:23:49,800 Speaker 2: of wish it was this. So then I'll slowly and 516 00:23:49,840 --> 00:23:53,399 Speaker 2: incrementally move them each take with just another, try this, 517 00:23:53,600 --> 00:23:57,120 Speaker 2: try this, until I get them, you know, five ten 518 00:23:57,240 --> 00:24:01,119 Speaker 2: takes in to do what I thought I wanted, and 519 00:24:01,240 --> 00:24:04,040 Speaker 2: almost always what I thought I wanted isn't kind of 520 00:24:04,080 --> 00:24:06,840 Speaker 2: what I liked, or or if I go like that 521 00:24:06,920 --> 00:24:09,239 Speaker 2: last take, like that's the one I want, I never 522 00:24:09,320 --> 00:24:11,800 Speaker 2: end up using it, really cause the editing room, away 523 00:24:11,800 --> 00:24:15,520 Speaker 2: from what you are trying to control, suddenly you're like, oh, 524 00:24:15,640 --> 00:24:17,440 Speaker 2: this is actually better. And I have an editor. I 525 00:24:17,560 --> 00:24:20,439 Speaker 2: never I never circle takes my editor. I just say like, 526 00:24:20,520 --> 00:24:23,600 Speaker 2: just do your assembly, pick whatever takes you want. And halftime, 527 00:24:23,640 --> 00:24:25,679 Speaker 2: I watched the assembly, I'm like, why would you use 528 00:24:25,720 --> 00:24:27,240 Speaker 2: those takes? And he's like, we'll just watch it again, 529 00:24:27,280 --> 00:24:29,680 Speaker 2: and I'm like, oh, you know, that's that's actually way 530 00:24:29,720 --> 00:24:32,280 Speaker 2: better than what I wanted. Wow, I'd rather have a 531 00:24:32,320 --> 00:24:35,840 Speaker 2: ten percent less. Yeah, great looking shop and have this 532 00:24:36,000 --> 00:24:38,640 Speaker 2: lightning in a bottle moment that happened, because there's nothing 533 00:24:38,680 --> 00:24:42,679 Speaker 2: worse when somebody's off camera when they say something, you're like, oh, yeah, god, 534 00:24:42,760 --> 00:24:44,679 Speaker 2: that was great, trying to remember it. Could you do 535 00:24:44,720 --> 00:24:46,800 Speaker 2: that again? It's never the same. They never repeat it 536 00:24:46,880 --> 00:24:47,400 Speaker 2: the same way. 537 00:24:47,680 --> 00:24:50,000 Speaker 1: You could never even if we were to do something 538 00:24:50,119 --> 00:24:52,840 Speaker 1: to say and then they say something here and you're like, okay, 539 00:24:53,480 --> 00:24:56,120 Speaker 1: if oh, can you pick that up and say it again, 540 00:24:56,560 --> 00:24:57,359 Speaker 1: it just doesn't. 541 00:24:57,440 --> 00:25:17,280 Speaker 4: It doesn't resonate the same way. 542 00:25:19,560 --> 00:25:23,040 Speaker 3: Thanks for joining us on Table for two. Paul's movies are. 543 00:25:22,920 --> 00:25:27,120 Speaker 1: Not only hilarious, but have a powerful emotional center. As 544 00:25:27,160 --> 00:25:30,560 Speaker 1: someone with such great taste, I'm wondering what does he 545 00:25:30,720 --> 00:25:33,320 Speaker 1: like to watch and gather inspiration from? 546 00:25:34,840 --> 00:25:40,680 Speaker 3: What growing up movies? Where your your sort of influence 547 00:25:40,760 --> 00:25:44,480 Speaker 3: your old movies? That really kind of okay. 548 00:25:44,359 --> 00:25:46,400 Speaker 2: Well, I mean all the comedy. I was a Marx 549 00:25:46,480 --> 00:25:50,879 Speaker 2: Brothers fanatic and oh yeah, and loved all Laurel Hardy, 550 00:25:51,119 --> 00:25:53,400 Speaker 2: any silent comedies in the black and white, old black 551 00:25:53,440 --> 00:25:57,119 Speaker 2: white comedies, all that stuff. I love. The first one 552 00:25:57,160 --> 00:25:59,720 Speaker 2: that blew my mind, well, first of one was Animal 553 00:25:59,760 --> 00:26:03,000 Speaker 2: Crack because they had the Marx Brothers movies because they 554 00:26:03,000 --> 00:26:06,520 Speaker 2: had re released it in theaters, and my mom took 555 00:26:06,600 --> 00:26:09,280 Speaker 2: me and I was probably like seven or eight, and 556 00:26:09,280 --> 00:26:11,840 Speaker 2: and it was all these college place was filmed college 557 00:26:12,160 --> 00:26:14,880 Speaker 2: and it destroyed and you're just like, how can an 558 00:26:14,880 --> 00:26:17,440 Speaker 2: old movie like this just but it was such anarchy, 559 00:26:17,560 --> 00:26:20,359 Speaker 2: you know, because Crouch, it was crazy and Harbo and 560 00:26:20,440 --> 00:26:22,359 Speaker 2: all of them. So that was cool. But then the 561 00:26:22,400 --> 00:26:25,879 Speaker 2: big one for me was What's Up? Doc? Ah, the 562 00:26:25,880 --> 00:26:26,840 Speaker 2: Bogdanovic film. 563 00:26:26,880 --> 00:26:28,439 Speaker 3: Yeah, I love that movie. 564 00:26:28,600 --> 00:26:30,520 Speaker 2: That movie is so great. I did that like a 565 00:26:30,600 --> 00:26:32,600 Speaker 2: few years ago at the Austin Film Festival. They had 566 00:26:32,600 --> 00:26:34,840 Speaker 2: me like program a couple of movies, and I did 567 00:26:34,920 --> 00:26:37,240 Speaker 2: What's Up Doc for this young audience and it killed, 568 00:26:37,440 --> 00:26:38,040 Speaker 2: It just killed. 569 00:26:38,080 --> 00:26:40,480 Speaker 1: I don't think that's a movie a lot of people realize. 570 00:26:40,760 --> 00:26:43,879 Speaker 1: Younger people know. I mean Madeline conn in that movie. 571 00:26:43,640 --> 00:26:50,000 Speaker 2: Oh my god, Kenneth Mars, Yeah, I mean I had 572 00:26:50,000 --> 00:26:56,920 Speaker 2: such a crush on her cute and he was great, 573 00:26:57,000 --> 00:27:00,359 Speaker 2: and you know, no, it's it's Austin Penalty and it 574 00:27:00,480 --> 00:27:00,879 Speaker 2: just goes. 575 00:27:01,640 --> 00:27:04,120 Speaker 3: Where I forgot about it. I mean it's I didn't. 576 00:27:03,880 --> 00:27:06,119 Speaker 2: Even know about screwball comedies, right, so I just kid 577 00:27:06,200 --> 00:27:07,480 Speaker 2: I was just like, oh my god, this is crazy. 578 00:27:07,480 --> 00:27:09,960 Speaker 2: And then you know later you see bringing a baby 579 00:27:09,960 --> 00:27:12,840 Speaker 2: and here's Friday, like, oh that's where this is all from. Yeah, 580 00:27:12,880 --> 00:27:15,399 Speaker 2: but it's done so well. And then you know it's 581 00:27:15,440 --> 00:27:16,840 Speaker 2: a kid that had a car, Chason, and so I 582 00:27:16,840 --> 00:27:19,560 Speaker 2: love that. But that was a mind blower for me. 583 00:27:19,640 --> 00:27:22,320 Speaker 2: And that was you know, back kids before you could 584 00:27:22,320 --> 00:27:25,439 Speaker 2: go watch stuff on you know, over and over on 585 00:27:25,480 --> 00:27:27,520 Speaker 2: whatever media you had. Right I had to go to 586 00:27:27,520 --> 00:27:29,560 Speaker 2: the theater. I saw it I think nine or ten 587 00:27:29,600 --> 00:27:32,240 Speaker 2: times in the theater. I would just go every few 588 00:27:32,320 --> 00:27:34,159 Speaker 2: days and watch it and study it and study it 589 00:27:34,160 --> 00:27:34,400 Speaker 2: and look. 590 00:27:34,400 --> 00:27:37,159 Speaker 1: The most exciting, the most exciting thing to me is 591 00:27:37,920 --> 00:27:41,160 Speaker 1: being in a darkened movie theater movie. The lights go down, 592 00:27:42,520 --> 00:27:44,720 Speaker 1: the curtain opens up, and you know, for the next 593 00:27:44,800 --> 00:27:48,840 Speaker 1: two hours you're just in this incredible space. And that's 594 00:27:48,840 --> 00:27:53,520 Speaker 1: sort of like thankfully seemingly coming back, you know, the 595 00:27:54,240 --> 00:27:58,280 Speaker 1: sort of rhythm got broke with COVID and streaming and 596 00:27:58,320 --> 00:28:00,000 Speaker 1: all the crap that we all go through. 597 00:28:00,480 --> 00:28:03,960 Speaker 3: Are you watching you? What do you watch? What is. 598 00:28:07,240 --> 00:28:09,919 Speaker 2: Much of My wife is in dismay and sugrin. I 599 00:28:09,920 --> 00:28:13,080 Speaker 2: watch a lot of horror and thrillers. I don't watch. 600 00:28:13,119 --> 00:28:15,480 Speaker 2: I don't watch a lot of comedy for some reason. Yeah, 601 00:28:15,480 --> 00:28:17,359 Speaker 2: I just maybe it's a bust on was holiday. I 602 00:28:17,359 --> 00:28:20,680 Speaker 2: don't know, I just don't. I don't enjoy it anymore. 603 00:28:20,840 --> 00:28:23,520 Speaker 2: It's hilariously. The last night, I just I just finished 604 00:28:23,520 --> 00:28:25,879 Speaker 2: a giantry ride on my next movie, and I was 605 00:28:25,880 --> 00:28:27,320 Speaker 2: just like, I finally got time to sit here, and 606 00:28:27,320 --> 00:28:31,359 Speaker 2: I just was flipping around Netflix, and Blues Brothers popped up, 607 00:28:31,359 --> 00:28:33,720 Speaker 2: which I've seen a thousand times, and I was just like, 608 00:28:33,720 --> 00:28:35,560 Speaker 2: you know, I'm just gonna treat myself. I was gonna 609 00:28:35,560 --> 00:28:38,640 Speaker 2: watch right, and I just I was so happy. So 610 00:28:38,800 --> 00:28:41,680 Speaker 2: that's always been my problem. I've never seen a ton 611 00:28:41,720 --> 00:28:43,840 Speaker 2: of movies. But the movies i've seen, I've seen a 612 00:28:43,840 --> 00:28:47,080 Speaker 2: thousand times, you know, so it becomes comfort food. But then, 613 00:28:47,400 --> 00:28:50,640 Speaker 2: but then I really like what I like about horror. 614 00:28:50,640 --> 00:28:52,920 Speaker 2: And I'm not talking about like you know, Saw and 615 00:28:52,960 --> 00:28:56,040 Speaker 2: that kind of stuff. I'm talking about Megan and those things, 616 00:28:56,160 --> 00:28:58,520 Speaker 2: because those are the best comedies going right now. That 617 00:28:58,520 --> 00:29:00,840 Speaker 2: that is the new comedy is horror movies. 618 00:29:00,880 --> 00:29:02,560 Speaker 3: I mean, you are right. 619 00:29:02,640 --> 00:29:05,080 Speaker 2: I think Megan was the funniest movie last year. I 620 00:29:05,120 --> 00:29:06,920 Speaker 2: love that film and it made me laugh and I 621 00:29:07,080 --> 00:29:09,680 Speaker 2: just but it's still the stakes are high, so it's real. 622 00:29:09,760 --> 00:29:12,720 Speaker 2: So then it gets me out of silly comedy, you 623 00:29:12,760 --> 00:29:16,760 Speaker 2: know again finding dishonest comedy, you know. So that's I 624 00:29:16,880 --> 00:29:20,080 Speaker 2: think comedy needs a driver in the middle of it. 625 00:29:20,520 --> 00:29:23,120 Speaker 2: I always say my movies are just dramas that are funny, 626 00:29:23,400 --> 00:29:24,880 Speaker 2: you know, because you have to plot them out like 627 00:29:25,000 --> 00:29:28,600 Speaker 2: dramas otherwise, you know, so many big com so many 628 00:29:28,600 --> 00:29:30,800 Speaker 2: comedies go off the rails because you're kind of with 629 00:29:30,840 --> 00:29:32,920 Speaker 2: it and then suddenly somebody will do something and you're like, well, 630 00:29:32,960 --> 00:29:34,560 Speaker 2: why would they do that. It's like, well, because it 631 00:29:34,600 --> 00:29:36,880 Speaker 2: was funny. It's like, oh, now you've broken the reality 632 00:29:36,920 --> 00:29:38,960 Speaker 2: and I don't know why. Like, there's nothing worse than 633 00:29:39,000 --> 00:29:43,000 Speaker 2: a funny bad guy. Yeah, unless it's Alan Rickman Diehard, 634 00:29:43,000 --> 00:29:44,800 Speaker 2: who's terrifying, but he's still funny at. 635 00:29:44,680 --> 00:29:46,800 Speaker 3: The same time you can deliver those lines. 636 00:29:47,240 --> 00:29:49,440 Speaker 2: I was a Star Wars fanatic when I was okay, 637 00:29:49,760 --> 00:29:51,640 Speaker 2: you know, the first Star Wars and second Star Wars. 638 00:29:51,920 --> 00:29:54,840 Speaker 2: I remember, you know, so I'm both opening weekend and 639 00:29:54,880 --> 00:29:59,400 Speaker 2: what I remember about those two screenings where they were 640 00:29:59,520 --> 00:30:02,320 Speaker 2: getting a laugh every minute, every single minute there was 641 00:30:02,360 --> 00:30:05,080 Speaker 2: a joke or a laugh or something light that happened, 642 00:30:05,400 --> 00:30:08,800 Speaker 2: and they were so much fun. And then suddenly those 643 00:30:08,800 --> 00:30:13,560 Speaker 2: Time Wars universe became really serious, and I'm like, and 644 00:30:13,840 --> 00:30:16,600 Speaker 2: every time I watch they're really good movies and all that, 645 00:30:16,640 --> 00:30:19,120 Speaker 2: but I'm just like, we've lost that thing of like 646 00:30:19,840 --> 00:30:23,280 Speaker 2: this can all be fun. You know, It's like watching 647 00:30:23,520 --> 00:30:27,240 Speaker 2: and I've seen this so many times comedy stars who 648 00:30:27,640 --> 00:30:30,040 Speaker 2: want to be taken seriously, so they make a movie 649 00:30:30,520 --> 00:30:34,920 Speaker 2: and they purposely drain every ounce of humor out of 650 00:30:35,000 --> 00:30:38,800 Speaker 2: their body. So it's just like, you know, it's an 651 00:30:38,800 --> 00:30:41,920 Speaker 2: audience that person's normally funny, Well what's happening? Like is 652 00:30:41,960 --> 00:30:43,760 Speaker 2: this a setup? And then they're gonna do something crazy? 653 00:30:43,920 --> 00:30:46,440 Speaker 2: And then you're and you're so frustrated by that. But 654 00:30:46,480 --> 00:30:48,960 Speaker 2: my problem with it is like that's not life, Like 655 00:30:49,000 --> 00:30:51,760 Speaker 2: would you hang out with people who are just so 656 00:30:52,040 --> 00:30:55,680 Speaker 2: dour and never crack a joke and never laugh? Like, no, 657 00:30:55,720 --> 00:30:57,200 Speaker 2: you want to flee from those people. 658 00:30:57,280 --> 00:30:59,280 Speaker 3: Sure, I think you make a very good point with 659 00:30:59,320 --> 00:30:59,920 Speaker 3: the Star Wars. 660 00:30:59,880 --> 00:31:02,840 Speaker 1: I can remember too exactly, like the theater I was 661 00:31:02,840 --> 00:31:05,120 Speaker 1: in in nineteen seventy seven when I saw the first 662 00:31:05,120 --> 00:31:09,720 Speaker 1: Star Wars eighty fourth Street, and there was so much laughter, 663 00:31:10,080 --> 00:31:12,360 Speaker 1: and yet you were like overwhelmed by this. 664 00:31:12,360 --> 00:31:15,320 Speaker 2: Like laughter and cheer, darkness, light, yeah. 665 00:31:15,280 --> 00:31:17,320 Speaker 3: Ale, this whole thing that you're also sitting on the 666 00:31:17,440 --> 00:31:18,120 Speaker 3: edge of your seat. 667 00:31:18,680 --> 00:31:21,120 Speaker 2: But yet Raiders the Lost Art, I mean, yeah, that 668 00:31:21,240 --> 00:31:22,959 Speaker 2: was the Raiders of the movie that made me want 669 00:31:23,000 --> 00:31:25,960 Speaker 2: to become a filmmaker because I saw that opening morning. 670 00:31:26,560 --> 00:31:29,280 Speaker 2: I knew nothing about it. I'm a friend. When I 671 00:31:29,280 --> 00:31:30,360 Speaker 2: was a tour guy. They were like, we're going to 672 00:31:30,400 --> 00:31:34,360 Speaker 2: see this new Spielberg movie. Oh cool, and that theater 673 00:31:34,440 --> 00:31:39,680 Speaker 2: in the Chinese Yeah, gigantic. People went crazy then that. 674 00:31:39,800 --> 00:31:41,440 Speaker 2: You know, we've seen that boulder rolling down in a 675 00:31:41,520 --> 00:31:43,760 Speaker 2: billion times now that it looks old and hacky to us, 676 00:31:43,760 --> 00:31:47,200 Speaker 2: but the first time that happened literally entire I get 677 00:31:47,240 --> 00:31:49,920 Speaker 2: goosebumps every time I talk about, like people, the whole 678 00:31:50,080 --> 00:31:53,160 Speaker 2: everyone out of their seats and we're like screaming and 679 00:31:53,240 --> 00:31:55,240 Speaker 2: yelling and stuff. And that was when I went like, 680 00:31:55,320 --> 00:31:57,720 Speaker 2: that's what a movie directory is. Before that, I'd always 681 00:31:57,760 --> 00:31:59,760 Speaker 2: watched movies as an actor, going like I want to 682 00:31:59,760 --> 00:32:01,600 Speaker 2: play it that part or or is it like a 683 00:32:01,800 --> 00:32:03,680 Speaker 2: you know, Close Encounters, Like I want an alien to 684 00:32:03,720 --> 00:32:05,440 Speaker 2: come and take me away. Yeah, you know, but that 685 00:32:05,520 --> 00:32:07,200 Speaker 2: was the moment I go like, that's what. With a 686 00:32:07,240 --> 00:32:09,600 Speaker 2: camera and a good script and great actors, you know, 687 00:32:09,640 --> 00:32:10,600 Speaker 2: you're doing that's what you can do. 688 00:32:10,720 --> 00:32:11,720 Speaker 3: And in those. 689 00:32:11,560 --> 00:32:14,440 Speaker 1: Movies and you had, you know, when Harrison Ford al sudden, 690 00:32:14,480 --> 00:32:17,360 Speaker 1: you know, delivered the comedic line or took out the 691 00:32:17,400 --> 00:32:20,360 Speaker 1: gun and shot the guy with the sword, and you're like, okay, 692 00:32:20,440 --> 00:32:24,200 Speaker 1: it's it alleviates this moment and it is real life 693 00:32:24,240 --> 00:32:25,640 Speaker 1: in a way. You're like, okay, yeah, of course if 694 00:32:25,680 --> 00:32:26,800 Speaker 1: I have a gun and you have a sort and 695 00:32:26,840 --> 00:32:28,120 Speaker 1: you want to come on, guess what. 696 00:32:28,320 --> 00:32:31,520 Speaker 2: Yeah, exactly, which, hilariously, I know, you know. The backstory 697 00:32:31,520 --> 00:32:34,480 Speaker 2: on that gag is that they had a whole giant 698 00:32:34,480 --> 00:32:38,000 Speaker 2: fight scene choreographed and Harrison Ford either had food poisoning 699 00:32:38,080 --> 00:32:39,760 Speaker 2: or the flu or something and he was just sick 700 00:32:39,800 --> 00:32:42,040 Speaker 2: as a dog that day and they're trying to rehearse it. 701 00:32:42,120 --> 00:32:43,840 Speaker 2: He goes like, wouldn't I just pull out my gun 702 00:32:43,920 --> 00:32:45,960 Speaker 2: and kill the guy? And they're like, okay, let's just 703 00:32:46,000 --> 00:32:48,080 Speaker 2: do that. And that's one of those iconic movies. 704 00:32:49,160 --> 00:32:51,840 Speaker 3: History story and it is. Yeah, and I think you're right. 705 00:32:51,920 --> 00:32:54,240 Speaker 1: I don't think I've ever thought about it, but you know, 706 00:32:54,320 --> 00:32:57,920 Speaker 1: they're not they're serious stories that are funny, you know 707 00:32:57,960 --> 00:33:00,040 Speaker 1: what I mean, the real stories, real life stories, a 708 00:33:00,160 --> 00:33:02,160 Speaker 1: LIFETI lemons that are funny. 709 00:33:02,200 --> 00:33:05,000 Speaker 2: You have to have steaks, you know. It's the hackiest 710 00:33:05,040 --> 00:33:07,720 Speaker 2: word that every executive will say in studio open had. 711 00:33:08,040 --> 00:33:11,480 Speaker 2: It's why I and this is slightly different, but I've 712 00:33:11,520 --> 00:33:14,920 Speaker 2: always had trouble with superhero movies. Okay, I think they're gray, right, 713 00:33:15,080 --> 00:33:17,600 Speaker 2: but for me, I go like, God just got punched 714 00:33:17,600 --> 00:33:20,280 Speaker 2: through a building, a skyscraper fall on top of him. 715 00:33:20,480 --> 00:33:23,000 Speaker 2: You got crushed between two buses and he kind of 716 00:33:23,000 --> 00:33:24,960 Speaker 2: comes out and shakes his head and he's fine, Like 717 00:33:25,440 --> 00:33:27,000 Speaker 2: how do I don't know how to invest in this? 718 00:33:27,640 --> 00:33:30,960 Speaker 2: You know, if you can't die, then I'm not really 719 00:33:31,000 --> 00:33:33,640 Speaker 2: worried about you versus. This is why I did that movie, 720 00:33:33,720 --> 00:33:36,160 Speaker 2: you know, did Ghostbusters, because I was like, yeah, it's 721 00:33:36,920 --> 00:33:39,200 Speaker 2: real humans with all this stuff on them, but they 722 00:33:39,200 --> 00:33:41,240 Speaker 2: could get killed. So at least I'm like, oh no, 723 00:33:41,280 --> 00:33:42,720 Speaker 2: I hope, I hope they don't die. 724 00:33:42,920 --> 00:33:44,200 Speaker 3: Yeah, yeah, yeah. 725 00:33:44,400 --> 00:33:48,120 Speaker 1: Is it more difficult to remake a movie like when 726 00:33:48,120 --> 00:33:50,760 Speaker 1: you you know, you look at Ghostbusters? 727 00:33:50,800 --> 00:33:56,920 Speaker 5: Never again, I'm happy I did it, but it's just again, 728 00:33:56,960 --> 00:34:00,360 Speaker 5: when you step into fan service, and I didn't realize 729 00:34:00,360 --> 00:34:01,720 Speaker 5: I was stepping into fan service. 730 00:34:02,280 --> 00:34:04,600 Speaker 2: It was just a movie that you know, had It 731 00:34:04,640 --> 00:34:06,760 Speaker 2: was twenty years twenty five years old by the point, 732 00:34:07,160 --> 00:34:09,640 Speaker 2: you know, it was brought to me and I was like, oh, 733 00:34:09,680 --> 00:34:11,839 Speaker 2: this is great. It was Amy Pascal's really won't talk 734 00:34:11,840 --> 00:34:13,960 Speaker 2: me into it. She was like, why don't you and 735 00:34:14,080 --> 00:34:16,080 Speaker 2: you comedy guys want to do this? This, this amazing 736 00:34:16,120 --> 00:34:18,560 Speaker 2: franchise is just sitting there, and I was like, because 737 00:34:18,640 --> 00:34:22,360 Speaker 2: it's it's this, you know, it's so such cannon now. 738 00:34:22,440 --> 00:34:23,880 Speaker 2: But then that's why I was like, oh, wait, if 739 00:34:23,920 --> 00:34:26,120 Speaker 2: I do it, you know, reboot it so I'm not 740 00:34:26,280 --> 00:34:29,400 Speaker 2: in the original world and I cast all the funny 741 00:34:29,400 --> 00:34:32,040 Speaker 2: women I know then who would be offended. So that 742 00:34:32,120 --> 00:34:33,600 Speaker 2: kind of went into just like his lamb to the 743 00:34:33,600 --> 00:34:37,000 Speaker 2: slaughter of like everybody's lots, you know, and then it 744 00:34:37,120 --> 00:34:39,759 Speaker 2: just all blew up. But I'm happy I did it. 745 00:34:39,800 --> 00:34:44,520 Speaker 2: But yeah, I just think if you can avoid doing 746 00:34:45,120 --> 00:34:47,160 Speaker 2: those kinds of things, plus all, I just want to 747 00:34:47,160 --> 00:34:47,960 Speaker 2: do original stuff. 748 00:34:48,120 --> 00:34:49,480 Speaker 3: You know, it's fun understandable. 749 00:34:49,600 --> 00:34:52,080 Speaker 2: I'm about to go in production on Simple Favor two, 750 00:34:52,120 --> 00:34:54,879 Speaker 2: which is my first sequel I've done. But I mean 751 00:34:55,120 --> 00:34:58,279 Speaker 2: we worked on this script so long or so hard 752 00:34:58,320 --> 00:34:59,880 Speaker 2: on it, because I like, if I'm going to do 753 00:34:59,880 --> 00:35:01,799 Speaker 2: a it's got to be great. It's got to pay 754 00:35:01,800 --> 00:35:04,960 Speaker 2: off for the people getting on fan service because the movies, 755 00:35:05,000 --> 00:35:07,640 Speaker 2: you know, found an audience, but it also needs to 756 00:35:07,640 --> 00:35:11,280 Speaker 2: be different. I'm really happy or finally got to really 757 00:35:11,320 --> 00:35:12,239 Speaker 2: happy with Yeah. 758 00:35:12,280 --> 00:35:15,120 Speaker 1: That's like, you know, you really kind of roll the 759 00:35:15,160 --> 00:35:18,320 Speaker 1: dice when you say, Okay, we're gonna and not many 760 00:35:18,360 --> 00:35:21,799 Speaker 1: films that do the other succeed in that. They go, oh, 761 00:35:21,880 --> 00:35:24,000 Speaker 1: you know, you go like okay, I mean, but some do, 762 00:35:24,200 --> 00:35:26,080 Speaker 1: like you know, you have a lot actually a lot 763 00:35:26,120 --> 00:35:27,520 Speaker 1: to I take that back. You know, there have been 764 00:35:27,560 --> 00:35:29,640 Speaker 1: a lot of sort of number twos that I think 765 00:35:29,680 --> 00:35:33,080 Speaker 1: have been great. When they go to number three or four, sometimes. 766 00:35:32,600 --> 00:35:34,640 Speaker 3: Yeah, you start to lose the mojo. 767 00:35:34,960 --> 00:35:38,920 Speaker 2: It's just sequels are hard because the thing that made 768 00:35:38,960 --> 00:35:43,360 Speaker 2: you love the first one was the originality of it. 769 00:35:43,760 --> 00:35:46,279 Speaker 2: You know, I mean everybody wants Bridesmaids too. 770 00:35:46,560 --> 00:35:50,000 Speaker 3: Yeah, I don't know about like needing a sequel to that. 771 00:35:50,040 --> 00:35:52,600 Speaker 1: I think you're right, Like, certain movies are so beautiful, 772 00:35:52,600 --> 00:35:54,560 Speaker 1: they're just meant to live. 773 00:35:55,200 --> 00:35:57,520 Speaker 2: And why do we always want more? 774 00:35:57,760 --> 00:36:07,360 Speaker 6: So watch it again as we sort of kind of 775 00:36:07,680 --> 00:36:11,400 Speaker 6: come to a close and a lunch, which is this 776 00:36:11,480 --> 00:36:12,719 Speaker 6: has been so joyful for me. 777 00:36:12,719 --> 00:36:15,200 Speaker 1: And it's really having lunch with Paul Vegas, and it 778 00:36:15,320 --> 00:36:17,440 Speaker 1: is an amazing thing you are. 779 00:36:18,040 --> 00:36:20,560 Speaker 3: Your movies do make us. 780 00:36:20,440 --> 00:36:23,120 Speaker 1: Feel great and they make us laugh and they make 781 00:36:23,239 --> 00:36:26,239 Speaker 1: us have an and that's so important right now. 782 00:36:26,800 --> 00:36:30,920 Speaker 3: And you're a man of such debonair style and thank you. 783 00:36:31,000 --> 00:36:34,640 Speaker 3: You always look thank you. So you love cocktails and 784 00:36:34,680 --> 00:36:37,080 Speaker 3: you have a gin and I didn't really realize that. 785 00:36:37,160 --> 00:36:39,720 Speaker 1: And I have a my partner and I we launched 786 00:36:39,719 --> 00:36:42,680 Speaker 1: a liquor a couple of years ago called Mujen, which 787 00:36:42,719 --> 00:36:44,040 Speaker 1: is a Japanese show choo. 788 00:36:44,120 --> 00:36:45,040 Speaker 2: Oh oh my god, I love you. 789 00:36:45,120 --> 00:36:48,839 Speaker 3: So this is for you, right. 790 00:36:48,920 --> 00:36:51,479 Speaker 1: My partner Sandra, she designed the bottle. We have a 791 00:36:51,560 --> 00:36:54,239 Speaker 1: this is our thirty five percent great in cocktails, and 792 00:36:54,280 --> 00:36:55,640 Speaker 1: we have a ten year age and we have an 793 00:36:55,680 --> 00:36:57,839 Speaker 1: ai which is a light and you're gonna get all 794 00:36:58,000 --> 00:37:01,319 Speaker 1: the other two and there it's just we we didn't 795 00:37:01,360 --> 00:37:05,280 Speaker 1: know about show shows. Is an amazing Japanese spirits and alcohol. 796 00:37:05,760 --> 00:37:09,160 Speaker 1: So tell me about your love of cock So just 797 00:37:09,680 --> 00:37:13,480 Speaker 1: it's part thank you love for coming today. What what 798 00:37:13,480 --> 00:37:16,160 Speaker 1: do you love about cocktails and you know you're really 799 00:37:16,160 --> 00:37:21,080 Speaker 1: good at you're you know, making cocktails and how did 800 00:37:21,160 --> 00:37:21,800 Speaker 1: how did that? 801 00:37:21,960 --> 00:37:25,520 Speaker 2: It's my love of adult life. To me, cocktails are 802 00:37:25,560 --> 00:37:29,520 Speaker 2: the embodiment of being an adult. You know, that's as 803 00:37:29,520 --> 00:37:34,200 Speaker 2: a kid, you know, the influence of Darren Stevens having 804 00:37:34,280 --> 00:37:38,160 Speaker 2: Martini we him from work every day was so monumental. Yes, 805 00:37:38,400 --> 00:37:39,240 Speaker 2: you don't know. 806 00:37:39,160 --> 00:37:40,960 Speaker 3: The reference to Darren Stevens. 807 00:37:41,160 --> 00:37:47,560 Speaker 1: He was the husband to Bewitched Samantha and a drinks cart. 808 00:37:47,840 --> 00:37:49,960 Speaker 3: Did you have a favorite Darren Stevens Number one or 809 00:37:50,040 --> 00:37:50,440 Speaker 3: number two? 810 00:37:50,520 --> 00:37:53,080 Speaker 2: No, number one, number one? There no shade to dig sart. 811 00:37:56,360 --> 00:37:58,239 Speaker 3: Yes, like they have the cocktail car. 812 00:37:58,480 --> 00:38:00,520 Speaker 2: Yeah, and it either she'd have ate it and hands 813 00:38:00,560 --> 00:38:02,280 Speaker 2: with him or he'd go over and mix it himself. 814 00:38:02,320 --> 00:38:05,799 Speaker 2: I'm like, that looks fantastic, Like I just wanted that. 815 00:38:06,000 --> 00:38:08,680 Speaker 2: And then also when I was a kid, my parents 816 00:38:08,760 --> 00:38:12,719 Speaker 2: took me to Las Vegas when I was five or 817 00:38:12,760 --> 00:38:14,320 Speaker 2: six or something because they were going to see the 818 00:38:14,560 --> 00:38:17,640 Speaker 2: Muhammad Ali fight, and so I kind of thought I 819 00:38:17,680 --> 00:38:19,560 Speaker 2: was gonna go see it too, because it's a kid thing, 820 00:38:19,719 --> 00:38:22,120 Speaker 2: and they kind of parayed me through the outer edge 821 00:38:22,160 --> 00:38:23,880 Speaker 2: of the casino. I think we were staying with the 822 00:38:23,920 --> 00:38:26,360 Speaker 2: dunes or something, and then put me in this nursery 823 00:38:26,440 --> 00:38:31,919 Speaker 2: which was hilariously attached to the casino the old days 824 00:38:33,920 --> 00:38:36,960 Speaker 2: cigarettes for the kids. But it had this big sliding 825 00:38:36,960 --> 00:38:40,040 Speaker 2: glass door that looked onto the casino floor. And I 826 00:38:40,040 --> 00:38:43,160 Speaker 2: remember all these kids were being idiot kids behind me. 827 00:38:43,680 --> 00:38:45,879 Speaker 2: I was just at that door, pressed against that door, 828 00:38:45,960 --> 00:38:48,160 Speaker 2: looking out and onto that floor. And you saw. This 829 00:38:48,200 --> 00:38:50,560 Speaker 2: was back when people dressed up in Vegas. People are 830 00:38:50,719 --> 00:38:55,279 Speaker 2: glamoring touxedos and gowns, smoking and they're drinking. And I 831 00:38:55,400 --> 00:38:57,920 Speaker 2: just saw people drinking martinis. And I was just like, 832 00:38:58,600 --> 00:39:01,759 Speaker 2: God is my witness. I will have that when I 833 00:39:01,800 --> 00:39:03,000 Speaker 2: am not a child anymore. 834 00:39:03,160 --> 00:39:05,759 Speaker 3: I love the way your brain works. I mean it 835 00:39:05,800 --> 00:39:09,120 Speaker 3: has worked that way since your human. 836 00:39:08,920 --> 00:39:11,000 Speaker 2: I just didn't want to be a kid, you didn't. 837 00:39:11,120 --> 00:39:13,720 Speaker 1: I love that you notice these things and they because 838 00:39:13,760 --> 00:39:15,960 Speaker 1: you could see it in every aspect of your life. 839 00:39:16,200 --> 00:39:22,440 Speaker 3: So you have a gin and your website's phenomenal, you know, 840 00:39:22,680 --> 00:39:23,280 Speaker 3: having now. 841 00:39:23,160 --> 00:39:25,479 Speaker 1: Been in the spirits world for just a couple of years, 842 00:39:26,840 --> 00:39:31,000 Speaker 1: you know, three years and in UH stores, but six years. 843 00:39:31,120 --> 00:39:33,280 Speaker 3: It's a it's a brutal. 844 00:39:33,000 --> 00:39:35,839 Speaker 2: It is a brutal industry. Thank God, it's not our 845 00:39:35,920 --> 00:39:41,280 Speaker 2: main business street. No, I mean just trying to get 846 00:39:41,640 --> 00:39:42,520 Speaker 2: people to pick it up. 847 00:39:42,440 --> 00:39:44,200 Speaker 3: All right, pick it up, just just distribution. 848 00:39:44,360 --> 00:39:46,959 Speaker 2: I can't even get it in here. I've been trying 849 00:39:46,960 --> 00:39:48,719 Speaker 2: for three years to get into the tower. I can't 850 00:39:48,719 --> 00:39:49,120 Speaker 2: get it in. 851 00:39:49,960 --> 00:39:51,840 Speaker 1: I mean, we do have much in here, so we 852 00:39:51,880 --> 00:39:55,040 Speaker 1: need to speak to JK. But again, we have a 853 00:39:55,160 --> 00:39:59,279 Speaker 1: category that is very unique. Most places you're competing with 854 00:39:59,520 --> 00:40:01,400 Speaker 1: we have we have to kill as we have Vodkas. 855 00:40:01,560 --> 00:40:04,160 Speaker 2: Well, the problem with Gin is that Americans don't think 856 00:40:04,200 --> 00:40:06,800 Speaker 2: they like Gin. I mean, it's you know, cocktail culture 857 00:40:06,840 --> 00:40:08,480 Speaker 2: is kind of you know, the mixology is kind of 858 00:40:08,480 --> 00:40:11,400 Speaker 2: bringing it around the cool bartenders. But most people have 859 00:40:11,400 --> 00:40:14,280 Speaker 2: had a bad experience with Gin when they were kids. 860 00:40:14,320 --> 00:40:17,040 Speaker 2: They go down to the basements, open up the bottle 861 00:40:17,040 --> 00:40:20,800 Speaker 2: of beef Feeder's terrible, and that's it. And that's only remembers. 862 00:40:20,800 --> 00:40:23,680 Speaker 2: And I really formulated my Gin for people who don't 863 00:40:23,760 --> 00:40:26,920 Speaker 2: like Gin, you know, so it's still Gin. So it's 864 00:40:27,000 --> 00:40:29,480 Speaker 2: like people like Gin, really like it, but it's it's 865 00:40:29,520 --> 00:40:33,759 Speaker 2: it's mellower on the Juniper front, and so so many 866 00:40:33,800 --> 00:40:35,160 Speaker 2: people are like, oh, I don't like Jen. I we'll 867 00:40:35,160 --> 00:40:38,279 Speaker 2: just try this. Oh, I like this again because I'm 868 00:40:38,320 --> 00:40:43,719 Speaker 2: not going that hardcore pine pine, but yeah, exactly kind 869 00:40:43,719 --> 00:40:47,200 Speaker 2: of thing. It's it's really there, it is so yeah, 870 00:40:47,680 --> 00:40:49,480 Speaker 2: I'm really proud of it. We won a ton of 871 00:40:49,520 --> 00:40:50,320 Speaker 2: awards and stuff. 872 00:40:50,400 --> 00:40:53,760 Speaker 1: Yeah, now I look, do you still do the cocktail Instagram? 873 00:40:54,080 --> 00:40:54,200 Speaker 2: Uh? 874 00:40:54,640 --> 00:40:58,279 Speaker 3: Hour Like no, no, that was only it was really cold. 875 00:40:58,360 --> 00:41:01,000 Speaker 2: Yeah, and my wife always we should do it again. 876 00:41:01,920 --> 00:41:03,719 Speaker 2: There was just something I love doing it. 877 00:41:03,760 --> 00:41:04,680 Speaker 3: Can we access it? 878 00:41:04,760 --> 00:41:04,840 Speaker 1: Like? 879 00:41:04,880 --> 00:41:06,759 Speaker 2: Does it still? It's still on my face so you 880 00:41:06,840 --> 00:41:09,640 Speaker 2: can see almost all. Sometimes occasional they'll take one down 881 00:41:09,680 --> 00:41:13,239 Speaker 2: for music rice, which is like, what's really somebody really, 882 00:41:13,280 --> 00:41:15,719 Speaker 2: I'm not making money off this, you know, I don't 883 00:41:15,760 --> 00:41:20,759 Speaker 2: think they mine. I love doing it. And then once 884 00:41:20,760 --> 00:41:23,439 Speaker 2: the pandemic was not even panic, it was over just coming. 885 00:41:23,640 --> 00:41:25,719 Speaker 2: Even after that hundred days, it was kind of like, 886 00:41:26,480 --> 00:41:29,880 Speaker 2: I think we're moving forward now, so like to do 887 00:41:29,960 --> 00:41:33,640 Speaker 2: it now just feels like I'm kind of self promote. 888 00:41:34,320 --> 00:41:35,520 Speaker 2: It had a purpose back then. 889 00:41:35,760 --> 00:41:38,439 Speaker 3: Well, I mean I totally get what you're saying. 890 00:41:38,440 --> 00:41:40,359 Speaker 1: And I also think, you know, because you actually do 891 00:41:40,440 --> 00:41:43,440 Speaker 1: have a gin, it's like a fun thing. It's it's 892 00:41:43,480 --> 00:41:45,440 Speaker 1: you always are thinking of new ideas to short of 893 00:41:45,480 --> 00:41:47,359 Speaker 1: had to promote whatever you do, whether it's a movie 894 00:41:47,480 --> 00:41:50,120 Speaker 1: or you're but I loved it and I will be. 895 00:41:50,840 --> 00:41:51,359 Speaker 3: I will be. 896 00:41:51,719 --> 00:41:54,080 Speaker 1: I'm interested to know what you think about this, and 897 00:41:54,080 --> 00:41:55,600 Speaker 1: I'm going to send you the other ones. 898 00:41:56,160 --> 00:41:58,759 Speaker 2: I'm going to create some cocktails. Yeah, you know, I 899 00:41:58,880 --> 00:42:00,000 Speaker 2: have a cocktail book out. 900 00:42:00,080 --> 00:42:01,640 Speaker 3: I know you have a coctap book. You have memoirs? 901 00:42:01,640 --> 00:42:03,040 Speaker 3: You do? Have you done two? 902 00:42:03,480 --> 00:42:04,120 Speaker 2: Two memoirs? 903 00:42:04,680 --> 00:42:07,120 Speaker 3: You've done two? So your last one was in two 904 00:42:07,160 --> 00:42:07,880 Speaker 3: thousand and five? 905 00:42:08,440 --> 00:42:11,400 Speaker 2: Yeah it was yeah, Yeah, there was like two thousand 906 00:42:11,400 --> 00:42:12,440 Speaker 2: and three and then two thousand. 907 00:42:13,000 --> 00:42:15,720 Speaker 3: Got some years under our bettle? Is there another one? Comment? 908 00:42:16,080 --> 00:42:17,960 Speaker 2: I always say I wanted to get in the trilogy 909 00:42:17,960 --> 00:42:19,879 Speaker 2: of shame. I call it so I need. I need 910 00:42:19,920 --> 00:42:22,520 Speaker 2: to complete the trilogy. And I've got stories that I've 911 00:42:22,520 --> 00:42:24,719 Speaker 2: written for but I haven't kind of put it together yet. 912 00:42:24,760 --> 00:42:26,680 Speaker 2: But then I have two other books. I put out. 913 00:42:27,600 --> 00:42:31,200 Speaker 2: These two like young adult sci fi comedy books called 914 00:42:31,280 --> 00:42:33,880 Speaker 2: Ignations like Farland, Yes, which was fun. 915 00:42:34,120 --> 00:42:36,160 Speaker 3: I don't understand you. I don't. 916 00:42:36,280 --> 00:42:38,200 Speaker 1: I mean I'm sitting here. I mean like I could 917 00:42:38,200 --> 00:42:40,680 Speaker 1: barely like do one thing in my day. 918 00:42:41,120 --> 00:42:43,600 Speaker 2: I don't sit around. Well, I get it's so funny. 919 00:42:43,880 --> 00:42:45,520 Speaker 2: Whenever I'm working, all I want to do is be 920 00:42:45,600 --> 00:42:48,279 Speaker 2: off right a minute I'm done, I'm like, i gotta 921 00:42:48,280 --> 00:42:49,160 Speaker 2: do something. I can't stop. 922 00:42:49,280 --> 00:42:51,280 Speaker 3: I mean, I'm just blown away. 923 00:42:51,320 --> 00:42:54,160 Speaker 1: I look forward to all is there as I know 924 00:42:54,200 --> 00:42:56,719 Speaker 1: you're working on a bunch of projects. We though the 925 00:42:56,719 --> 00:42:59,680 Speaker 1: world will continue to have your voice in it. 926 00:43:00,960 --> 00:43:03,600 Speaker 2: Have a movie that I finished that I shot last 927 00:43:03,640 --> 00:43:07,600 Speaker 2: year that's coming out this summer called Jack Pop, John 928 00:43:07,640 --> 00:43:10,680 Speaker 2: Cena and Aquafina and Lu And it's just a big 929 00:43:11,280 --> 00:43:13,520 Speaker 2: action comedy in the vein of the heat and spy 930 00:43:13,920 --> 00:43:16,800 Speaker 2: and it's it feels like a fun return to I 931 00:43:16,840 --> 00:43:19,040 Speaker 2: want to say return to form, because it feels like 932 00:43:19,040 --> 00:43:21,799 Speaker 2: like I've done terrible stuff. But I think it's just 933 00:43:21,840 --> 00:43:24,040 Speaker 2: a returned to sort of my roots of just like 934 00:43:24,480 --> 00:43:28,120 Speaker 2: lots of jokes. But you know, stakes are great and 935 00:43:28,160 --> 00:43:30,520 Speaker 2: that it is a very high concept, but it's very 936 00:43:30,560 --> 00:43:34,840 Speaker 2: emotional points and and I'm just excited about it. It 937 00:43:34,880 --> 00:43:36,759 Speaker 2: was just so much fun to work with them, and 938 00:43:36,800 --> 00:43:38,120 Speaker 2: it's a lot of action and stuff. 939 00:43:38,880 --> 00:43:41,640 Speaker 1: Thank you so much for joining us, joining me today, 940 00:43:41,800 --> 00:43:43,880 Speaker 1: please on the table. Thank you for pulling up a 941 00:43:43,960 --> 00:43:46,279 Speaker 1: chair on the other side of the mic. And Paul, 942 00:43:46,400 --> 00:43:50,480 Speaker 1: thank you for more dinners, and yes, Laurie and Brian 943 00:43:50,560 --> 00:43:50,839 Speaker 1: and Vall. 944 00:43:51,120 --> 00:43:54,280 Speaker 2: Please Bruce, it's it's a thrill because we've we've always 945 00:43:54,320 --> 00:43:55,920 Speaker 2: known each other, but we've never got to spend any 946 00:43:55,920 --> 00:43:58,239 Speaker 2: extended amount of time together. So this has just been 947 00:43:58,280 --> 00:43:59,160 Speaker 2: an absolute joy. 948 00:43:59,200 --> 00:44:01,600 Speaker 1: Thank you, thank you, Thank you everyone to have a 949 00:44:01,640 --> 00:44:09,080 Speaker 1: great day. 950 00:44:11,440 --> 00:44:12,919 Speaker 3: Thank you for pulling up a chair. 951 00:44:13,520 --> 00:44:17,560 Speaker 1: I love our lunches and never forget the romance of 952 00:44:17,600 --> 00:44:20,799 Speaker 1: a meal. If you enjoy the show, please tell a 953 00:44:20,840 --> 00:44:24,840 Speaker 1: friend and rate and review us on Apple Podcasts. Table 954 00:44:24,880 --> 00:44:27,799 Speaker 1: for two with Bruce Bozi is produced by iHeartRadio seven 955 00:44:27,880 --> 00:44:31,920 Speaker 1: three seven Park and Airmail. Our executive producers are Bruce 956 00:44:31,960 --> 00:44:36,160 Speaker 1: Bosi and Nathan King. Our supervising producer is Dylan Fagan. 957 00:44:36,480 --> 00:44:40,400 Speaker 1: Our editors are Vincent to Johnny and Cas B Bias. 958 00:44:40,920 --> 00:44:44,320 Speaker 1: Table for two is researched and written by Jack Sullivan. 959 00:44:44,680 --> 00:44:48,760 Speaker 1: Our sound engineers are Meil B. Klein, Jess Krainich, Evan Taylor, 960 00:44:48,920 --> 00:44:53,000 Speaker 1: and Jesse Funk. Our music supervisor is Randall Poster. Our 961 00:44:53,040 --> 00:44:54,960 Speaker 1: talent booking is done by Jane Sarkin. 962 00:44:55,360 --> 00:44:59,000 Speaker 3: Table for two Social media manager is Gracie Wiener. Special 963 00:44:59,040 --> 00:45:00,800 Speaker 3: thanks to Amy Berman. 964 00:45:00,719 --> 00:45:06,439 Speaker 1: Uni Scherer, Kevin Yuvane, Bobby Bauer, Alison Kanter Graber, Barbara Jen, 965 00:45:06,600 --> 00:45:09,200 Speaker 1: Jeff Klein, and the staff at the Tower Bar in 966 00:45:09,239 --> 00:45:13,799 Speaker 1: the world famous Sunset Tower Hotel in Hollywood. For more 967 00:45:13,840 --> 00:45:19,080 Speaker 1: podcasts from iHeartRadio, visit the iHeartRadio app, Apple podcast, or 968 00:45:19,160 --> 00:45:22,040 Speaker 1: wherever you listen to your favorite shows.