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Speaker 1: And I'm like, you know, what is everyone looking at?

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Speaker 1: And I realize I just said transcendental medication, and so

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Speaker 1: Seinfeld's losing it and Lynch is fucking busting up, and I'm.

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Speaker 2: Just like, ooops, you're supposed to be quiet and those

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Speaker 2: things kidding.

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Speaker 3: Hey, what up?

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Speaker 1: What up? What up?

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Speaker 2: Welcome to Hollywood Handbook and Insider's Guide to kicking button

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Speaker 2: dropping names in the red carpet lineback hallways of this

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Speaker 2: industry we call show biz. I'm Hays Davenport. I'm here

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Speaker 2: with Sean Clements.

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Speaker 4: What up. There's a segment that.

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Speaker 2: We truly hate to do, which is when we lose

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Speaker 2: someone in this industry, we memorialize them on.

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Speaker 1: The We recently had to do it with Lewis Reid,

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Speaker 1: and all too soon we're doing it again.

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Speaker 4: With somebody else.

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Speaker 2: This is a segment called that's a wrap And that's

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Speaker 2: what they say at the end of movies, and.

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Speaker 1: Yeah, and and but they also rap mummies in rap

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Speaker 1: in in rapping, and and so and that's a rap

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Speaker 1: on it. That's a rap on a great life lived.

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Speaker 5: Uh.

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Speaker 4: And these the people are in that who are now mummies.

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Speaker 1: To to these to these mummies who we respect.

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Speaker 2: We we lost someone this week who in this industry especially,

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Speaker 2: it was sort of one of our bright shining stars,

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Speaker 2: meant a lot to us. It was a guy named

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Speaker 2: uh Nelson Mandela and he was the star of a

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Speaker 2: movie called Invictus.

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Speaker 1: Uh. Little backstory on the star of Invictus. Hayes and

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Speaker 1: I were doing these USO comedy shows.

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Speaker 5: Uh.

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Speaker 1: We try to give back to our country when we can.

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Speaker 1: And we were crushing busting up troops in a good way, laughter,

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Speaker 1: and coming back from one of the shows, we just

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Speaker 1: had the fever, like we had really gotten our pattern down,

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Speaker 1: and we told the helicopter guy, hey, land us right here.

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Speaker 1: We're doing a show right here. And we landed in

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Speaker 1: somewhere called Southern.

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Speaker 4: Africa, which at the time was not even on a map.

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Speaker 1: No, and this is before GPS, and and we just

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Speaker 1: walked into some local watering hole and started doing our

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Speaker 1: stick and something felt wrong and we look around and

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Speaker 1: realized only half the people are laughing. It was the

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Speaker 1: black people because they really like me and Hayes, but

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Speaker 1: the because they liked it. I'll just say it. The

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Speaker 1: white people wouldn't let themselves crack their whole shit up.

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Speaker 4: The lasts were segregated.

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Speaker 1: The lasts were segregated, and we said, we gotta do something.

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Speaker 2: About this, because if there's one thing that you gotta

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Speaker 2: know about Sean and I, it's that we hate intolerance

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Speaker 2: and it makes us so angry when.

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Speaker 4: People do that.

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Speaker 1: When I see intolerance, I want to do something bad, Hayes,

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Speaker 1: I want to do something real bad.

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Speaker 4: I know exactly what you're talking about, and.

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Speaker 1: I'm not gonna say it. I'm on Mike because because

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Speaker 1: if I see intolerance again, I might just do it.

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Speaker 1: And I don't want this to be used in court

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Speaker 1: against me. So we decide we gotta do something about this.

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Speaker 1: And the way we try to impose change in the

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Speaker 1: world is making movies through movies, uh.

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Speaker 2: And we were bringing in people to do this movie

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Speaker 2: about sort of like a football that helps apartheid and

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Speaker 2: not doing it anymore, and.

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Speaker 1: So we should and to be clear, we should have

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Speaker 1: gotten a director who understood football better, because if you

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Speaker 1: do watch closely, the football scenes in the movie are

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Speaker 1: breaking a lot of the football rules.

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Speaker 2: The football is shaped, the director made his own football,

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Speaker 2: and he comes in with this thing and is like

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Speaker 2: do you like it? And it's like this paper mache egg.

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Speaker 1: You were so far into the process, there was so

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Speaker 1: much more to worry about. We just said it was

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Speaker 1: too late to get a real football and he was

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Speaker 1: a sweet kid. So everyone's wearing shorts, so that's the

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Speaker 1: one misstep, but football rules are not. The message holds true.

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Speaker 1: The movie's called Invictis. Watch if you haven't watched it.

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Speaker 1: But we had to cast a star and we were

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Speaker 1: going for a name.

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Speaker 2: At first, we went out to a lot of names,

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Speaker 2: but then we're auditioning these guys and this person walks

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Speaker 2: in the room and it's like we're not even there.

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Speaker 2: He's doing the scene. He's doing the scene where the

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Speaker 2: Invictus is closing in on the city and he's gonna

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Speaker 2: destroy the city with a part time forever.

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Speaker 1: And I had to know who this guy was because

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Speaker 1: it was like he was living it in front of

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Speaker 1: us the way he's like, Doug, Yeah, And he was like,

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Speaker 1: look out, I'm gonna punch the Invictis and he jumped

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Speaker 1: up and swung in the air, and I swear I

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Speaker 1: heard the thought of him hitting the Invictus in the

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Speaker 1: center of its chest plate. But that man was Nelson Mandela,

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Speaker 1: And I turned to Hayes and I and this is true.

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Speaker 4: At the time. Nelson Feinstein, Yes, Hollywood.

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Speaker 1: But I turned to Hayes and I said, this kid's

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Speaker 1: got something, and if we can't get Tay Digs, Morris Chestnut,

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Speaker 1: Harold Parano or Terrence Howard, we should bring him back in.

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Speaker 2: And look at it now. Apartheid is dead in its grave.

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Speaker 2: And Nelson Mandela became a big star and then we

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Speaker 2: lost him uh to a car racing accident this past weekend.

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Speaker 4: And it just makes me and making me so angry

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Speaker 4: because I hate cry.

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Speaker 6: I fucking hate crying, and I get so mad on

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Speaker 6: my eyes for doing tears when I have to bust

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Speaker 6: up in a bad way like this, and then I

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Speaker 6: yell at them, and then that makes my thrower and

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Speaker 6: then my.

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Speaker 1: Throat so bad and make me buss up crying again.

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Speaker 4: We have a whole show to do.

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Speaker 2: We have a good guest this week, Kyle Nuwichek, director

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Speaker 2: and star of the Work of Hollocks, is on the show.

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Speaker 2: But before we get into that, we wanted to talk

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Speaker 2: a little about the other side of the business, which

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Speaker 2: is not doing business at all, relaxing and pursuing your hobbies.

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Speaker 2: When I first got into this town, and I know

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Speaker 2: you were the same way.

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Speaker 4: I was all about the work.

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Speaker 1: Yeah, you know, it was close to the grindstone.

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Speaker 4: I had that little treehouse studio.

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Speaker 1: And I had rented out a submarine yep.

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Speaker 4: And we were just because.

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Speaker 2: I don't want any distractions, writing pages, making movies, doing

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Speaker 2: scenes every day. And then we realized that wasn't helping

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Speaker 2: our work. It was actually hurting to it.

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Speaker 1: And it was And to be clear, the point, we

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Speaker 1: we're realizing this obviously we've each made fifty sixty movies

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Speaker 1: and we have shit ton of fucking money and success,

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Speaker 1: and we're going this work isn't as good as the

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Speaker 1: first movies we were writing, because it's hurting to it

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Speaker 1: that we're spending all our time working and doing none

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Speaker 1: of our time living.

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Speaker 2: So that's when we decided to start developing some hobbies,

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Speaker 2: getting out there having fun.

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Speaker 1: Because then when you go sit down to write, oh,

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Speaker 1: guess what, you've actually got something to say, because ooh,

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Speaker 1: guess what you've actually done a little bit of something

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Speaker 1: that somebody might find interesting. Because guess what, that's real life.

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Speaker 1: Pal is not sitting from a freaking keyboard computer all

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Speaker 1: the time.

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Speaker 2: So let's talk about some of the things that we

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Speaker 2: like to do the most to sort of get out

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Speaker 2: of town when we're not doing our work. For me,

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Speaker 2: I know, I like to strap on a snowboard and

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Speaker 2: go snowboarding on a mountain.

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Speaker 1: Yeah, And I'm the same way in terms of I

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Speaker 1: strap my feet into the board and I get on

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Speaker 1: the mountain and slide down it on top.

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Speaker 2: All the way down, going so fast, shredding the snow

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Speaker 2: and just waving to some of the other guys saying

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Speaker 2: see you because I'm going real fast and if I.

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Speaker 1: Do a big jumpy all the better, because for.

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Speaker 7: Me, snowboarding is about escape and what feels more like

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Speaker 7: escape than going really fast and also doing a big jumpie.

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Speaker 2: I've started doing no gloves because I found that they

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Speaker 2: were kind of slowing me down because my form is

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Speaker 2: like arms straight up and so like they were increasing

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Speaker 2: the friction. And so now I take the gloves off

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Speaker 2: and it feels like I'm snowboarding in the fucking sky,

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Speaker 2: you know what I mean, And like, that's exactly what

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Speaker 2: you say. I come back to work and now I

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Speaker 2: have a new experience that I can do a movie about,

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Speaker 2: and I'd like to.

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Speaker 1: Talk about another hobby, martial arts.

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Speaker 4: Martial arts the ancient language of punching.

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Speaker 1: The original artists were martial artists, and Haze and I

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Speaker 1: are movies artists. But does that mean we shouldn't learn

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Speaker 1: any other kind of arts.

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Speaker 4: No, we did a couple movies.

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Speaker 3: We did.

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Speaker 2: We are marshall about this, Sean, does Capua I do

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Speaker 2: muy Thai? Both very balance based arts and with a

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Speaker 2: dance component.

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Speaker 1: Yes, that was important to me. Now, when I'm doing

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Speaker 1: a big kick and really smashing a milk carton and

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Speaker 1: making milk go everywhere or whatever I've set on the

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Speaker 1: top of my tall tree stump, I feel like this

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Speaker 1: will show up on the page, and I feel so free.

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Speaker 1: When I follow that big kick and I do a

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Speaker 1: fast punch.

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Speaker 4: I feel the same way. Like what I try to

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Speaker 4: do is.

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Speaker 1: Oh, I'm sorry and I'm punching the ceramic owl. Go ahead?

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Speaker 1: What were you gonna say?

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Speaker 2: Hey?

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Speaker 4: What I try to do? When I'm in the in

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Speaker 4: the dojo.

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Speaker 2: When I'm in the dojo swinging a garden hose around

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Speaker 2: as fast as I can, I think to myself, what

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Speaker 2: is the words of this? What is this as words?

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Speaker 2: And that I go home and I try to do

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Speaker 2: the words of the of the punching, and that's so important,

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Speaker 2: and that came out as a small soldiers. There's another

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Speaker 2: an important distinction we should make is that hobbies and

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Speaker 2: work can sometimes be the same thing, exist on the

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Speaker 2: same field, or shall we say basketball court.

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Speaker 1: Basketball court is the new golf course.

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Speaker 2: This is what we always say. If there's one thing

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Speaker 2: you take away from this show, it's that the basketball

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Speaker 2: court is the new golf course. It used to be

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Speaker 2: you'd go out on the course with your buddies and

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Speaker 2: your fucking khaki pants and your like white baseball caps and.

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Speaker 1: Your style sock in your goddamn.

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Speaker 4: And your fucking wing tips with the tap bottoms.

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Speaker 1: And your fat, fucking privileged I'm sorry, it's just injustice.

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Speaker 1: I I don't know what I'm gonna do.

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Speaker 4: It makes my face so fucking red o. That was

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Speaker 4: the old days.

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Speaker 2: Now all you need is a nice basketball hoop to

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Speaker 2: be able to get out there and not only play

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Speaker 2: the games.

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Speaker 4: But also do some good networking. And it started with Youbama.

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Speaker 2: Youbama had his basketball games where he would bring in

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Speaker 2: some of Washington's thought leaders and play with them. And

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Speaker 2: that's how a lot of policy got made.

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Speaker 1: Yeah, and not just domestic policy. But also I know

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Speaker 1: that he Ubama did a big, big slam dunk on

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Speaker 1: Kim Jong Il and that's what killed him. Uh, and

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Speaker 1: so that made some big changes. I know that he

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Speaker 1: dribbled drive down Osama Bin Laden and put up a nice,

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Speaker 1: tasty little floater that just tickled the twine. And I

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Speaker 1: know that that was part of well, I've been loden.

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Speaker 1: Well I've been laden is zero dark thirty, as they say,

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Speaker 1: he's no longer.

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Speaker 2: They There are ways to because when you step on

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Speaker 2: a basketball court in this town, you're likely to see

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Speaker 2: a phase on a swords in some of these guys

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Speaker 2: who you know, if you can get a second to

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Speaker 2: deliver them a little pitch, it's you know, could be

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Speaker 2: pretty good for you. So there are things you can

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Speaker 2: do to optimize your chances of getting some sit down

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Speaker 2: time with these guys on the court. Bring a bunch

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Speaker 2: of extra gatorades. Everyone's thirsty after a basketball game.

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Speaker 1: Bag of orange slices. One thing I'll do is I

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Speaker 1: will open a power bar and go why did I

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Speaker 1: open this? I don't even want it right now, and

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Speaker 1: I don't want to put it down. Either anyone hungry.

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Speaker 2: M steal someone's wallet and give it back to them

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Speaker 2: and say you caught the guy that did it.

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Speaker 1: Do a big kick of a milk carton, blow it up,

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Speaker 1: you know, start a conversation that way. All these things

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Speaker 1: compliment each other. It's all new tools for your tool belt.

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Speaker 1: And there's nothing that says you can't use a hammer

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Speaker 1: and a screwdriver at the same time. Anyway, you've probably

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Speaker 1: figured out by now that was a segment that you

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Speaker 1: like that we love to do, and it's called it's

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Speaker 1: called The Hobbies Desolation of Smuck.

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Speaker 2: So that was the Hobby's Desolation of Smaug. We're gonna

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Speaker 2: get to Kyle nuwa check in one second. We want

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Speaker 2: to do a quick engineer my career with an engineer Cody,

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Speaker 2: who's in the booth with us today. Cody, what's uh,

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Speaker 2: what's going on for you career wise these days? Are

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Speaker 2: you making any inroads since the last time we spoke? Well,

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Speaker 2: do you want to do? Are you sticking in the

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Speaker 2: sound space?

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Speaker 1: Yeah, the space time continuum.

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Speaker 2: Okay, this is over and we were trying to help Cody,

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Speaker 2: and Cody did a joke.

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Speaker 1: And there's no need to take a big fat swing.

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Speaker 1: A lot of times, what's funny is just a small reaction,

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Speaker 1: something that people can relate to. Yes, But when he

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Speaker 1: says sound space, because you're a sound engineer and you

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Speaker 1: say space time continuing that big fat swing, I just

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Speaker 1: feel the wind of it whiffing, and I can hear

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Speaker 1: it on the mic too, and it it doesn't feel nice.

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Speaker 1: And so that's one of the reasons that we're ending

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Speaker 1: the segment now. And we'd love to do the segment again,

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Speaker 1: but we need to be able to trust you.

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Speaker 4: I'm guess kind of I'm going far it.

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Speaker 2: Well, now you're scared to do anything, which is how

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Speaker 2: you should feel all the time. We'll be right back

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Speaker 2: with our guest, Kyle Nuwachak, director and star of Work

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Speaker 2: of Hollics on Hollywood Handbook.

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Speaker 5: How ham Book.

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Speaker 1: So I step back from the keyboard and they're going nuts.

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Speaker 1: They're applauding, and all the anonymous guys take their masks

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Speaker 1: off and they go, you just hacked the hackers.

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Speaker 4: And I go, I know, And then what did they do?

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Speaker 1: And bought a pizza?

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Speaker 3: Hey? What up? What up?

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Speaker 2: Welcome back to Hollywood Handbook and inside his guide to

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Speaker 2: kicking button dropping names in the red carpet lineback hallways

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Speaker 2: of this industry we call showbiz. We've gotten exciting guest today.

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Speaker 2: This is the first director.

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Speaker 1: We've had on the show exclusively director. Yeah.

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Speaker 4: Sure, everyone, we're both directors.

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Speaker 2: Yes, and everyone we've had on I think has like

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Speaker 2: could do it.

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Speaker 1: I think everyone. Yeah, anybody in this town could direct.

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Speaker 4: Right.

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Speaker 1: Do you agree with that, Kyle?

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Speaker 3: I'd have to say, yeah, it's not it's not hard.

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Speaker 1: Yeah, yeah, yeah yeah.

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Speaker 3: If you have an opinion, you can do it.

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Speaker 4: That's what it's about. Huh opinion.

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Speaker 3: That's right. Oh wow, that's really cool.

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Speaker 2: This is Kyle Niwitchak, Hello, director from Workaholics, many other titles.

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Speaker 3: Like what Hayes.

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Speaker 4: Well, i'll let you say.

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Speaker 1: We don't want to steal your resume from you.

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Speaker 3: Go ahead, and well let's see here. What have I

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Speaker 3: worked on? I've done done Workaholics.

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Speaker 4: As you said, you directed a simple Plan.

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Speaker 3: A simple Plan, Yep, that was me and my brother.

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Speaker 3: What else I do?

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Speaker 1: Well, you did a lot of those Hong Kong action films,

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Speaker 1: a lot of the a lot of the early hard

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Speaker 1: Boiled Was you hard boiled?

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Speaker 3: Yep? Cool hand Luke? Where hard boiled eggs? That was

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Speaker 3: kind of an homage to the first title that I did.

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Speaker 1: Right, Yeah, you were referencing Hard Boiled, which came out

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Speaker 1: later but had been made several years prior.

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Speaker 3: Right right, Yeah, I kind of like to, you know,

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Speaker 3: keep through lines of ideas.

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Speaker 1: There's a lot of all of them pictures. Yeah, if

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Speaker 1: you look, if you look at your filmography, there's a

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Speaker 1: lot of sort of winks at people who've been keeping track.

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Speaker 4: Fans.

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Speaker 3: I'm glad that you notice that you know a lot

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Speaker 3: of people. A lot of people had slips right by them.

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Speaker 3: But yeah, well I enjoy a good wink to the camera,

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Speaker 3: you know well.

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Speaker 1: And to enjoy Kyle's work. And I've said this a lot.

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Speaker 1: You don't have to be paying attention to all the

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Speaker 1: little details to enjoy it, right, but boy does he

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Speaker 1: reward you if you do.

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Speaker 3: If you are paying attention, you're gonna walk away smiling

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Speaker 3: on the.

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Speaker 4: On the rewatch, I find that you're a big rewatch guy.

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Speaker 3: Second time around, totally, And I mean you're talking about

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Speaker 3: the second time, but you should go back and watch

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Speaker 3: it for the eighth time.

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Speaker 4: Is that the one?

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Speaker 3: Yeah, you'll find a lot of hidden gems in there.

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Speaker 3: As I believe Sean knows.

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Speaker 1: Yes, I love the eighth Watch, and I'm a big

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Speaker 1: fan of the twelfth Watch and the first three or four.

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Speaker 1: I don't fucking get it. I mean, I'm watching your

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Speaker 1: shit and I'm going, what is this right?

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Speaker 3: Right? Right?

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Speaker 4: Why did he make it? And why is it like this?

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Speaker 3: Yeah?

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Speaker 1: And what's going on? And who are these people?

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Speaker 3: Well, they're the characters in my movie.

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Speaker 1: Well that's what I found out around Watch nine.

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Speaker 3: Yeah, it's like, you know, I like to I like

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Speaker 3: to around Watch nine, ten, eleven, twelve. You kind of

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Speaker 3: recognize the bittersweet nature of everything. You know, it's a

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Speaker 3: classic rule smile now, cry later. Okay, classic classic director rule,

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Speaker 3: smile now, cry later. But I'm saying speak on that.

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Speaker 3: I'm saying, why not smile now and cry now?

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Speaker 1: And you u both to happen the same time.

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Speaker 3: I want tears to come with laughter. That's really interesting.

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Speaker 3: I want tears to come with laughter. So yeah, I mean,

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Speaker 3: I'm glad your fans.

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Speaker 1: Can you talk a little bit about studio life, music

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Speaker 1: brains and studio life and just sort of your your experience,

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Speaker 1: because I know you woke up this morning in a studio,

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Speaker 1: is that correct?

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Speaker 3: I did. I woke up this morning and I went

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Speaker 3: out to my home studio. I converted my garage into

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Speaker 3: a home studio, and I was working on a classic

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Speaker 3: waltz that I had written than the night before. And

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Speaker 3: then I come here and I'm in another studio. Sure,

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Speaker 3: I mean, that's just the Hollywood life, baby.

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Speaker 4: Yeah, you know.

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Speaker 3: Sound is something that's very near and dear to me.

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Speaker 3: You know, a lot of people think director and they

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Speaker 3: think picture, but I'm here to say that picture is

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Speaker 3: only fifty percent of the senses used to perceive what

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Speaker 3: I do. So sound is just important.

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Speaker 1: It's just important, just as important, just important.

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Speaker 3: It's just important.

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Speaker 4: It's just important.

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Speaker 1: And that's one of the reasons that you were so

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Speaker 1: mad when you saw the artist.

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Speaker 3: Pissed off.

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Speaker 4: Yeah, pissed off.

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Speaker 3: Let them talk? Did they talk in that movie?

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Speaker 1: No?

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Speaker 3: I didn't think so, man, I haven't seen it. I'm

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Speaker 3: sorry I went along with that one. I haven't seen

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Speaker 3: the artist.

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Speaker 4: And also you were like, that's me, I'm the artist.

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Speaker 3: Peyce, not right now, not right now.

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Speaker 1: And speaking of you, and speaking of you being very mad,

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Speaker 1: how pissed off do you get when somebody says that

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Speaker 1: vine is dead?

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Speaker 5: Oh?

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Speaker 3: My god, that is a medium that shall never die.

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Speaker 3: I get mad. I get mad. Yeah, and you have

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Speaker 3: every right to Yeah, I get mad.

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Speaker 1: Yeah.

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Speaker 3: You know, six seconds of material, that's all you really need.

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Speaker 1: Some of the best directing gets done on Vine, doesn't it, Kyle.

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Speaker 3: It does. It's like we're back to the nineteen twenties

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Speaker 3: and the Lumier Brothers just shot that train coming towards

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Speaker 3: the camera.

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Speaker 1: That's right.

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Speaker 3: Speaking, No, you know the lou Brothers.

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Speaker 1: I do, but not as well as you. And you're

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Speaker 1: you're something of a film historian, and you've said to

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Speaker 1: me privately that as much as you love the glitz,

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Speaker 1: the glamour, the Hollywood lifestyle, what you're really most passionate

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Speaker 1: about is education that is correct.

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Speaker 3: Molding the minds of the future is something that I love.

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Speaker 3: I actually was a teacher for quite some time right

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Speaker 3: down the street speak on that school. Well, you know,

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Speaker 3: there's nothing like making a connection with a students when

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Speaker 3: finally a technique is learned and you get to watch

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Speaker 3: the excitement on their face when they put it into practice.

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Speaker 2: And those all those people at the Los Angeles Film

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Speaker 2: School have gone on to be big directors.

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Speaker 3: Yeah since then, right, I would imagine.

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Speaker 4: So who were who are some of yourself?

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Speaker 1: Some of the students that the names we would know

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Speaker 1: because they're famous directors. Now, was the Loomier Gut Boys

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Speaker 1: your Loomier Boys friends.

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Speaker 3: Wasn't it?

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Speaker 2: Wasn't it you that when you were teaching that class,

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Speaker 2: didn't you teach Tim Burton to be so spooky?

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Speaker 5: Uh?

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Speaker 3: No? No. Basically when I taught at the at the school,

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Speaker 3: I just kind of fucked a lot of my students. Yeah,

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Speaker 3: I was twenty two, twenty three, So that's what happened.

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Speaker 3: Sorry about that?

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Speaker 5: Yeah, yeah, yeah, yeah, yeah.

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Speaker 3: Is that a new MacBook? M m no, yeah, I

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Speaker 3: didn't think so.

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Speaker 1: Coffee in there or tea?

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Speaker 3: Oh I got coffee?

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Speaker 1: Yeah?

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Speaker 3: Yeah, wow, I got a gas station on the way here.

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Speaker 4: I'm slaves to this stuff myself.

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00:24:09,080 --> 00:24:12,600
Speaker 3: Coffee Yeah, yeah, I love it. I love it. Actually,

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00:24:12,640 --> 00:24:14,240
Speaker 3: I got out of the store after I got my

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Speaker 3: coffee in some way. He was like, can I pay

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Speaker 3: you five bucks to uh help me put air in

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Speaker 3: my tires? I was like, no, you don't got to

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Speaker 3: pay me five bucks. That's ridiculous. You know, I'll come

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Speaker 3: take a look at it. I'm no good at that ship. Yeah,

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Speaker 3: went over there. Took a look. Girls, got a big

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Speaker 3: old gashing or tire totally flat. Like, I think you're

445
00:24:33,840 --> 00:24:35,160
Speaker 3: gonna need a little bit more than the air.

446
00:24:35,359 --> 00:24:37,600
Speaker 1: Yeah, air in exactly gonna help, sweetheart.

447
00:24:37,640 --> 00:24:40,959
Speaker 3: Yeah, you're probably gonna probably gonna want to maybe go

448
00:24:40,960 --> 00:24:42,080
Speaker 3: get a new tire or something.

449
00:24:43,720 --> 00:24:45,679
Speaker 2: That's the city though, you know what I mean, Like,

450
00:24:45,800 --> 00:24:48,760
Speaker 2: that's that's that's just La. That's sort of the quintessential

451
00:24:48,880 --> 00:24:50,200
Speaker 2: La experience, totally.

452
00:24:50,640 --> 00:24:51,040
Speaker 3: Yeah.

453
00:24:51,280 --> 00:24:53,200
Speaker 4: Yeah, it's a small town.

454
00:24:54,000 --> 00:24:55,960
Speaker 1: Yeah, even though it feels like a big city a

455
00:24:55,960 --> 00:24:57,560
Speaker 1: lot of times, what you find out is that it's

456
00:24:57,560 --> 00:25:01,200
Speaker 1: a small town and people talk. People talk in the city,

457
00:25:01,359 --> 00:25:02,400
Speaker 1: people do talk.

458
00:25:02,440 --> 00:25:05,280
Speaker 3: You gotta be careful who's around you. You know, be

459
00:25:05,320 --> 00:25:09,040
Speaker 3: careful who's around you. The city has eyes and yours.

460
00:25:09,520 --> 00:25:11,600
Speaker 1: And then you've got some exciting stuff in the pike.

461
00:25:11,640 --> 00:25:15,240
Speaker 1: We usually wait for plugs, but you're doing let's lead

462
00:25:15,280 --> 00:25:18,679
Speaker 1: with the plugs. Yeah, plug first, toss us a juicy scoop.

463
00:25:18,960 --> 00:25:20,880
Speaker 3: What do we got? What do we got in the pipeline?

464
00:25:22,440 --> 00:25:25,160
Speaker 1: We heard and there's a lot of rumors in this town.

465
00:25:25,200 --> 00:25:28,520
Speaker 1: I don't know what holds water and what doesn't, but

466
00:25:28,640 --> 00:25:32,240
Speaker 1: we heard, and we hope it's true that you are

467
00:25:32,280 --> 00:25:34,240
Speaker 1: co directing something with Nathan Lane.

468
00:25:35,400 --> 00:25:38,280
Speaker 3: Nathan's a good, good friend of mine. I've been a

469
00:25:38,520 --> 00:25:42,359
Speaker 3: fan of his since Bird Cage. Actually, I think he

470
00:25:42,520 --> 00:25:46,480
Speaker 3: was wonderful that in that particular picture. And yeah, he's

471
00:25:46,520 --> 00:25:49,560
Speaker 3: stepping up. He wants to helm something, you know. So

472
00:25:49,640 --> 00:25:52,640
Speaker 3: he kind of came to me and asked me if

473
00:25:52,680 --> 00:25:57,200
Speaker 3: I would guide him along his journey. We are doing

474
00:25:57,520 --> 00:25:59,960
Speaker 3: a picture about birds.

475
00:26:01,160 --> 00:26:03,200
Speaker 1: Oh okay, so he doesn't want to stray too far

476
00:26:03,240 --> 00:26:04,240
Speaker 1: from the bird cage.

477
00:26:04,520 --> 00:26:06,879
Speaker 3: No, no, no, no. That's what I thought was interesting

478
00:26:06,920 --> 00:26:09,840
Speaker 3: about it because the movie that I really liked him

479
00:26:09,840 --> 00:26:13,520
Speaker 3: in was called Bird Cage. And again here's our guy,

480
00:26:13,680 --> 00:26:18,200
Speaker 3: Nathan Lane, wanting to make his directorial debut about birds

481
00:26:19,400 --> 00:26:21,960
Speaker 3: that fly around you know, Montana.

482
00:26:23,160 --> 00:26:25,440
Speaker 1: Oh wow, what a great setting for that.

483
00:26:25,800 --> 00:26:26,200
Speaker 3: It's cool.

484
00:26:26,320 --> 00:26:28,040
Speaker 1: Well, there's so much space for them to fly.

485
00:26:28,240 --> 00:26:31,239
Speaker 3: Well, the landscape of it is wonderful. You know, you

486
00:26:31,280 --> 00:26:35,840
Speaker 3: have the mesas that they can kind of graze. We're

487
00:26:35,840 --> 00:26:38,879
Speaker 3: thinking about putting This was actually his idea. We're going

488
00:26:38,920 --> 00:26:42,360
Speaker 3: to put a lot of go pro cameras on the birds.

489
00:26:42,400 --> 00:26:45,639
Speaker 3: Oh wow, watch them fly around and whatnot. And then

490
00:26:45,680 --> 00:26:48,600
Speaker 3: I think we're going to get some like helicopter shots.

491
00:26:48,600 --> 00:26:50,159
Speaker 3: I don't know, I don't know if the studio is

492
00:26:50,160 --> 00:26:51,720
Speaker 3: going to allow us to do that, but for sure,

493
00:26:51,760 --> 00:26:54,119
Speaker 3: go pro cameras on birds and watch them fly around

494
00:26:54,200 --> 00:26:57,800
Speaker 3: pick up worms, and you know, that's the kind of

495
00:26:57,840 --> 00:26:58,800
Speaker 3: nest that's.

496
00:26:58,600 --> 00:27:02,560
Speaker 2: The future of of movies, Like these little cameras, Like

497
00:27:02,560 --> 00:27:04,520
Speaker 2: we're just going to be strapping them to the tops

498
00:27:04,520 --> 00:27:07,679
Speaker 2: of our heads, just going around and that's the movie.

499
00:27:08,000 --> 00:27:10,399
Speaker 3: Yeah. Well, I mean the thing that the other idea

500
00:27:10,400 --> 00:27:13,560
Speaker 3: that Nathan had that I thought was pretty tight was

501
00:27:15,080 --> 00:27:19,040
Speaker 3: he's gonna go Milo and Otis on this one, and

502
00:27:19,680 --> 00:27:24,240
Speaker 3: we're actually gonna get Michael J. Fox to voice one

503
00:27:24,280 --> 00:27:26,240
Speaker 3: of the birds. I think he wants him to play

504
00:27:26,280 --> 00:27:30,120
Speaker 3: a hawk or something. I'm not okay, I can't remember.

505
00:27:30,560 --> 00:27:33,439
Speaker 1: And there's a lot of be in Milo and Otis.

506
00:27:33,480 --> 00:27:35,120
Speaker 1: A lot of a lot of people don't know this.

507
00:27:35,600 --> 00:27:38,440
Speaker 1: Michael J. Fox did all the voices originally for Milo

508
00:27:38,480 --> 00:27:41,720
Speaker 1: and Otis, and then they hired I want to say,

509
00:27:41,720 --> 00:27:45,679
Speaker 1: like Dudley Moore. I think it definitely somebody else. And

510
00:27:45,720 --> 00:27:46,960
Speaker 1: then and then Michael J.

511
00:27:47,080 --> 00:27:51,120
Speaker 2: Fox was so but hurt that he went and did

512
00:27:51,160 --> 00:27:52,720
Speaker 2: Homeward Back and did Homeward Bound.

513
00:27:53,760 --> 00:27:56,240
Speaker 3: That is right, yep. And so now he gets a

514
00:27:56,359 --> 00:27:58,480
Speaker 3: chance to be in on the ground floor with Nathan

515
00:27:58,560 --> 00:28:02,399
Speaker 3: Lane's bird project, which is cool for him. It's you know,

516
00:28:02,520 --> 00:28:04,760
Speaker 3: he's he's pumped on it. I heard I heard that

517
00:28:04,800 --> 00:28:06,919
Speaker 3: there was a good phone call between Nathan and Michael.

518
00:28:07,000 --> 00:28:10,200
Speaker 1: And have you considered letting him do it then cutting

519
00:28:10,240 --> 00:28:13,040
Speaker 1: him out of it, if only to create another homeward band.

520
00:28:13,320 --> 00:28:16,960
Speaker 3: You know, that's a great idea. I thank you for that. Yeah,

521
00:28:17,119 --> 00:28:18,159
Speaker 3: I think I'm gonna do that.

522
00:28:18,920 --> 00:28:20,440
Speaker 1: And then you told me that you were going to

523
00:28:20,520 --> 00:28:22,399
Speaker 1: be making a lot of the bird noises yourself for

524
00:28:22,440 --> 00:28:22,879
Speaker 1: the movie.

525
00:28:23,000 --> 00:28:26,800
Speaker 3: Yeah, yeah, I mean I think I think my role

526
00:28:26,840 --> 00:28:31,960
Speaker 3: in it is not necessarily one of a creative standpoint,

527
00:28:32,280 --> 00:28:34,840
Speaker 3: except for the sound of the birds.

528
00:28:35,480 --> 00:28:37,800
Speaker 1: Yeah, can we get a little taste, sure?

529
00:28:37,880 --> 00:28:40,680
Speaker 2: I mean, which which bird one of the one of

530
00:28:40,720 --> 00:28:42,400
Speaker 2: the ones that grazed the maces.

531
00:28:42,720 --> 00:28:49,480
Speaker 3: Well, when a bird flies and sees something that it wants,

532
00:28:50,080 --> 00:28:55,800
Speaker 3: and not just any bird, a hawk, it kind of

533
00:28:55,960 --> 00:28:58,600
Speaker 3: flies down, you know, and gets it in its sights.

534
00:28:58,600 --> 00:29:04,960
Speaker 3: And then so that's that's that's that's a hawk that

535
00:29:05,120 --> 00:29:05,800
Speaker 3: wants something.

536
00:29:06,760 --> 00:29:09,400
Speaker 1: And and I just ducked and covered. If you can't

537
00:29:09,400 --> 00:29:11,720
Speaker 1: see you can't see us in recording this, but I

538
00:29:11,800 --> 00:29:13,760
Speaker 1: ducked and covered my head because I thought a hawk

539
00:29:13,880 --> 00:29:14,760
Speaker 1: was swooping.

540
00:29:14,400 --> 00:29:17,239
Speaker 2: Down and put me in the mindset of a of

541
00:29:17,280 --> 00:29:20,640
Speaker 2: a baby mouse. M yeah, yes, do you want to

542
00:29:20,640 --> 00:29:22,720
Speaker 2: read those texts? Do you want to read those texts

543
00:29:22,720 --> 00:29:23,400
Speaker 2: out loud for us?

544
00:29:23,480 --> 00:29:25,520
Speaker 3: Well, I'm so sorry. I should have put on vibrate.

545
00:29:25,600 --> 00:29:28,680
Speaker 3: But my good friend Thomas Kellogg is texting me and

546
00:29:28,720 --> 00:29:34,880
Speaker 3: it looks like he says, be there closer to twelve player. Okay,

547
00:29:35,040 --> 00:29:40,160
Speaker 3: so I got some time. Which other bird, I mean,

548
00:29:40,320 --> 00:29:41,560
Speaker 3: which other bird would you like to hear?

549
00:29:41,640 --> 00:29:43,760
Speaker 1: I guess I'd like to hear a big old owl.

550
00:29:44,600 --> 00:29:48,080
Speaker 3: Oh yeah, yeah, yeah, yeah, those are those are very

551
00:29:48,080 --> 00:29:52,400
Speaker 3: common amongst the maces of Montana. And now and now

552
00:29:52,480 --> 00:29:55,320
Speaker 3: also and now it sounds a little bit something like

553
00:30:00,440 --> 00:30:02,920
Speaker 3: now you notice that what I've been working on is

554
00:30:02,960 --> 00:30:07,160
Speaker 3: the breath that the bird takes prior to the emission

555
00:30:07,240 --> 00:30:08,200
Speaker 3: of its.

556
00:30:09,520 --> 00:30:12,160
Speaker 1: Voice, and that's the most ignored parts.

557
00:30:13,120 --> 00:30:13,320
Speaker 3: Yeah.

558
00:30:14,000 --> 00:30:15,640
Speaker 1: People don't realize that's where it is.

559
00:30:15,880 --> 00:30:19,360
Speaker 3: If Nathan Lane is going to direct this and I'm

560
00:30:19,440 --> 00:30:21,719
Speaker 3: going to co direct it, but he's kind of pushing

561
00:30:21,760 --> 00:30:25,080
Speaker 3: me out right now, it's I mean, then I'm going

562
00:30:25,160 --> 00:30:27,920
Speaker 3: to latch onto the thing that I'm good at. Yeah,

563
00:30:28,080 --> 00:30:30,680
Speaker 3: and the thing that I'm particularly good at and what

564
00:30:30,720 --> 00:30:32,680
Speaker 3: I would love to be better at. You know, I'm

565
00:30:32,680 --> 00:30:37,400
Speaker 3: not saying I'm a pro is Bird's breaths. So Nathan

566
00:30:37,480 --> 00:30:39,880
Speaker 3: is starting to flex a little bit on this one. Yeah, yeah,

567
00:30:40,000 --> 00:30:43,600
Speaker 3: you know, but I do feel like I'm getting a

568
00:30:43,640 --> 00:30:48,720
Speaker 3: little bit boxed out. But you know, that's that's the game.

569
00:30:49,760 --> 00:30:53,080
Speaker 3: That's the game. When you got so much star power

570
00:30:53,120 --> 00:30:56,800
Speaker 3: as mister Lane, and you know, he's teamed up with me,

571
00:30:57,120 --> 00:30:59,960
Speaker 3: just a bitch ass director from work.

572
00:30:59,800 --> 00:31:03,440
Speaker 1: Ah It's hey, hey, hey, it's tough.

573
00:31:03,800 --> 00:31:04,840
Speaker 3: It's just tough Sean.

574
00:31:05,080 --> 00:31:06,960
Speaker 1: Hey, hey, hey, none of that talk.

575
00:31:07,040 --> 00:31:08,040
Speaker 4: No let him say that.

576
00:31:08,440 --> 00:31:12,000
Speaker 3: I don't know what I'm Those aren't my words, those

577
00:31:12,000 --> 00:31:17,280
Speaker 3: are his. Nathan has called me up and him called

578
00:31:17,280 --> 00:31:20,320
Speaker 3: me a bitch ass director from Workaholics, and he doesn't

579
00:31:20,320 --> 00:31:23,160
Speaker 3: need me on the project. But I asked him if

580
00:31:23,200 --> 00:31:25,760
Speaker 3: I could do the bird sounds and he said sure.

581
00:31:26,800 --> 00:31:28,200
Speaker 1: And then you told me you were going to play

582
00:31:28,200 --> 00:31:34,800
Speaker 1: Pele in a movie next year. Pele, yeah, the soccer star. Yeah,

583
00:31:34,880 --> 00:31:36,520
Speaker 1: I said you were going to be him in a movie.

584
00:31:36,680 --> 00:31:39,280
Speaker 3: That's still early talks. Early talks. I haven't even done

585
00:31:39,280 --> 00:31:42,360
Speaker 3: a lot of character research on that, but I've been

586
00:31:42,400 --> 00:31:45,800
Speaker 3: working on my flips from the corner. So you know,

587
00:31:46,160 --> 00:31:48,600
Speaker 3: that's the one of one of the first things I

588
00:31:48,640 --> 00:31:51,720
Speaker 3: like to do when I'm tackling a role of such

589
00:31:51,800 --> 00:31:55,960
Speaker 3: stature as do the physical work, you know, the physicality,

590
00:31:55,840 --> 00:31:57,440
Speaker 3: physicality of the characters.

591
00:31:57,840 --> 00:32:01,160
Speaker 1: This is good for people to hear. Kyle is what

592
00:32:01,200 --> 00:32:07,080
Speaker 1: we call an outside in actor. He starts with their

593
00:32:07,400 --> 00:32:12,560
Speaker 1: outside movements, what are they wearing? How do they walk well?

594
00:32:12,560 --> 00:32:15,600
Speaker 1: And then he moved and then he internalizes who that is.

595
00:32:16,040 --> 00:32:18,920
Speaker 3: I like to feel the decisions that the characters make

596
00:32:19,120 --> 00:32:23,240
Speaker 3: and then ask myself why so.

597
00:32:23,280 --> 00:32:34,440
Speaker 1: Exactly that's exactly right now. I'd like to double way

598
00:32:34,520 --> 00:32:38,440
Speaker 1: back for a joke I thought of earlier when I

599
00:32:38,480 --> 00:32:43,440
Speaker 1: asked you about your coffee cup, and then Hayes said, oh,

600
00:32:43,480 --> 00:32:45,360
Speaker 1: I'm a slave to the stuff myself, and you said, oh,

601
00:32:45,360 --> 00:32:49,120
Speaker 1: a slave to coffee. I almost thought of saying, I

602
00:32:49,160 --> 00:32:51,480
Speaker 1: heard that movie twelve Years a Slave is about a

603
00:32:51,520 --> 00:32:57,920
Speaker 1: cup of coffee.

604
00:32:59,480 --> 00:33:05,360
Speaker 3: Oh yeah, yeah, yeah, not bad. That's tight, Sean.

605
00:33:05,880 --> 00:33:08,440
Speaker 1: Yeah, I mean it moved on pretty fast beyond that.

606
00:33:08,560 --> 00:33:13,520
Speaker 1: But I'd been sitting on it and uh, you know,

607
00:33:14,000 --> 00:33:16,400
Speaker 1: why not let you guys in.

608
00:33:18,360 --> 00:33:21,080
Speaker 3: You got any other jokes from two years ago?

609
00:33:21,480 --> 00:33:26,280
Speaker 1: Sean, did you see Bridesmaids?

610
00:33:26,640 --> 00:33:30,080
Speaker 3: I did. It's not in the theater with my girlfriend

611
00:33:30,160 --> 00:33:35,080
Speaker 3: my little brother. Good huh yeah you know yeah, yeah, yeah,

612
00:33:35,120 --> 00:33:37,360
Speaker 3: it was really good. It was a good flick. You know.

613
00:33:37,400 --> 00:33:40,160
Speaker 3: It's good to see that women can be out there

614
00:33:40,160 --> 00:33:40,920
Speaker 3: and making us laugh.

615
00:33:41,240 --> 00:33:42,479
Speaker 1: I didn't even think about it that way.

616
00:33:42,560 --> 00:33:42,760
Speaker 5: Yeah.

617
00:33:42,840 --> 00:33:44,640
Speaker 4: Yeah, Actually it was the first time I thought that

618
00:33:44,720 --> 00:33:45,479
Speaker 4: I even heard that.

619
00:33:45,480 --> 00:33:46,480
Speaker 1: To me, it's just a movie.

620
00:33:48,160 --> 00:33:49,520
Speaker 4: It was good people being.

621
00:33:49,360 --> 00:33:54,120
Speaker 3: Funny, Yeah, I mean women being funny. Yeah, but.

622
00:33:55,680 --> 00:33:58,080
Speaker 2: I think it's like the least important thing about it

623
00:33:58,240 --> 00:33:59,680
Speaker 2: from where I'm coming from.

624
00:33:59,680 --> 00:34:04,880
Speaker 3: But oh yeah, I guess, yeah, I guess. I just

625
00:34:04,880 --> 00:34:07,760
Speaker 3: thought that it was one of the first go ahead. Yeah, no,

626
00:34:07,880 --> 00:34:08,960
Speaker 3: it's okay, you can go ahead.

627
00:34:09,520 --> 00:34:12,239
Speaker 1: No, I guess if I'm laughing, like if i'm if

628
00:34:12,600 --> 00:34:19,759
Speaker 1: I'm laughing and laughing. To me, it doesn't matter did

629
00:34:19,800 --> 00:34:25,400
Speaker 1: a man make me laugh or did a It doesn't

630
00:34:25,400 --> 00:34:27,799
Speaker 1: matter did a man make me laugh or did a

631
00:34:27,840 --> 00:34:31,040
Speaker 1: woman make me laugh? It's just it's just all I

632
00:34:31,080 --> 00:34:33,440
Speaker 1: know is I'm laughing. This movie's funny.

633
00:34:34,280 --> 00:34:36,439
Speaker 3: I totally understand where you're coming from. I mean, I'm

634
00:34:36,480 --> 00:34:37,880
Speaker 3: just I guess. All I'm saying is a lot of

635
00:34:37,880 --> 00:34:39,480
Speaker 3: times it's the man that makes me laugh.

636
00:34:40,080 --> 00:34:42,560
Speaker 1: Yeah yeah, oh yeah, absolutely.

637
00:34:42,160 --> 00:34:44,440
Speaker 3: You know a ton of times it's the man that

638
00:34:44,480 --> 00:34:47,880
Speaker 3: makes me laugh. It's did you see the heat?

639
00:34:48,920 --> 00:34:50,240
Speaker 1: Yeah, another good.

640
00:34:50,040 --> 00:34:51,560
Speaker 3: Example of women making you laugh.

641
00:34:52,160 --> 00:34:52,520
Speaker 4: Was good.

642
00:34:53,040 --> 00:34:53,920
Speaker 3: Yeah, it was solid.

643
00:34:54,040 --> 00:34:56,879
Speaker 4: It's good. It's good. Solid piece of business as.

644
00:34:56,800 --> 00:35:01,240
Speaker 2: Well, solid solid flick, solid solid flick, good business.

645
00:35:01,400 --> 00:35:04,719
Speaker 3: Very good business. Yes, Yesice totally. And that's kind of.

646
00:35:04,680 --> 00:35:07,760
Speaker 1: Get up with a nice figure, nice little chunk of change.

647
00:35:08,000 --> 00:35:10,560
Speaker 3: You know. That's something that's very important in this town

648
00:35:10,680 --> 00:35:15,080
Speaker 3: is is the figure the money that the movie actually makes.

649
00:35:15,120 --> 00:35:17,160
Speaker 3: You know, a lot of people think they come to

650
00:35:17,200 --> 00:35:19,719
Speaker 3: Hollywood and they think, oh, it's my time to be creative.

651
00:35:19,719 --> 00:35:22,799
Speaker 3: It's my time to you know, take what's in my

652
00:35:22,920 --> 00:35:24,480
Speaker 3: dream and put it on the screen.

653
00:35:24,880 --> 00:35:25,400
Speaker 1: Not true.

654
00:35:25,480 --> 00:35:28,040
Speaker 2: Catch the next bus, buddy, yeah, catch yeah, yeah, give

655
00:35:28,080 --> 00:35:28,960
Speaker 2: that up real quick.

656
00:35:29,680 --> 00:35:31,760
Speaker 3: You know, it's all about it's all about the suits.

657
00:35:31,840 --> 00:35:37,200
Speaker 2: Take that to freaking Austin or some other crunchy granola town.

658
00:35:37,400 --> 00:35:39,160
Speaker 1: Yeah, freako artist scene.

659
00:35:39,280 --> 00:35:41,359
Speaker 3: Yeah, go screen it in a movie theater for like

660
00:35:41,400 --> 00:35:44,200
Speaker 3: sixteen people. If that's what you want.

661
00:35:43,680 --> 00:35:45,560
Speaker 4: You know, Alamo Draft House.

662
00:35:45,560 --> 00:35:50,160
Speaker 3: Totally Sixth Street. It's all about the money, man, I mean,

663
00:35:50,200 --> 00:35:53,680
Speaker 3: that's that's the BS, that's the BS part of it.

664
00:35:54,800 --> 00:35:57,239
Speaker 1: And you really love money a lot. And you've told

665
00:35:57,280 --> 00:36:00,960
Speaker 1: me this that you love to just buy things just

666
00:36:01,000 --> 00:36:01,880
Speaker 1: to feel power.

667
00:36:02,680 --> 00:36:05,239
Speaker 3: Oh yeah, it's something that my grandmother taught me. It's

668
00:36:05,239 --> 00:36:08,640
Speaker 3: called retail therapy. You know, if I'm feeling down, speak

669
00:36:08,680 --> 00:36:11,720
Speaker 3: on that. If I'm feeling down, feeling in a hole,

670
00:36:12,640 --> 00:36:15,719
Speaker 3: I head out and I buy myself some shoes. You know.

671
00:36:15,760 --> 00:36:18,960
Speaker 3: If I'm feeling worse after that, I'm buy another pair

672
00:36:18,960 --> 00:36:22,879
Speaker 3: of shoes, and then after that, I'll buy a big

673
00:36:22,920 --> 00:36:26,040
Speaker 3: ass dinner, you know, at the most expensive place in Hollywood.

674
00:36:26,880 --> 00:36:29,840
Speaker 2: Tell us about the restaurants that you well, we should

675
00:36:29,840 --> 00:36:33,720
Speaker 2: expl like for people in like the flyover country and stuff.

676
00:36:33,760 --> 00:36:36,160
Speaker 2: But a restaurant is like somewhere it's like a food

677
00:36:36,239 --> 00:36:38,200
Speaker 2: right store. It's like the food stores that.

678
00:36:38,120 --> 00:36:41,440
Speaker 1: You have, yes, yes, but they actually cook the food

679
00:36:41,520 --> 00:36:44,640
Speaker 1: there and then their tables and people carry it over

680
00:36:44,680 --> 00:36:49,600
Speaker 1: to you almost like you know how your grandma or

681
00:36:49,640 --> 00:36:52,120
Speaker 1: your or your wife maybe is bringing the food to

682
00:36:52,160 --> 00:36:52,720
Speaker 1: your table.

683
00:36:53,560 --> 00:36:56,799
Speaker 2: You know how like when they ring that triangle for

684
00:36:56,920 --> 00:36:59,640
Speaker 2: you to eat, like when the woman in your family

685
00:36:59,640 --> 00:37:03,480
Speaker 2: goes on the Portune rings the triangle. Like here, we

686
00:37:03,560 --> 00:37:05,560
Speaker 2: just go to these places and we sit down at

687
00:37:05,560 --> 00:37:07,520
Speaker 2: a table and they and they bring us food.

688
00:37:07,840 --> 00:37:09,839
Speaker 1: But go ahead, go ahead. You were telling us about

689
00:37:09,880 --> 00:37:11,080
Speaker 1: some of the restaurants you've been to.

690
00:37:11,920 --> 00:37:15,280
Speaker 3: Oh yeah, I mean around here. Are you sure they

691
00:37:15,400 --> 00:37:18,319
Speaker 3: know what I'm talking about? If I talk about this?

692
00:37:18,560 --> 00:37:21,960
Speaker 2: It's not for them, It's it's honestly, it's almost more

693
00:37:22,000 --> 00:37:24,600
Speaker 2: fun I found for them to not really know what's

694
00:37:24,680 --> 00:37:28,439
Speaker 2: going on and to just kind of imagine.

695
00:37:28,200 --> 00:37:29,560
Speaker 4: What it's what it's really like.

696
00:37:29,760 --> 00:37:31,640
Speaker 2: Okay, that's what they're saying the message boards and stuff

697
00:37:31,640 --> 00:37:33,480
Speaker 2: say like, I couldn't actually follow what you guys are

698
00:37:33,480 --> 00:37:35,040
Speaker 2: talking about, but I still.

699
00:37:34,880 --> 00:37:37,400
Speaker 4: Had a great time. Okay, keep it up. Love the

700
00:37:37,440 --> 00:37:39,280
Speaker 4: show five star rating.

701
00:37:39,960 --> 00:37:43,280
Speaker 3: Well, I mean, down on the corner of a sunset

702
00:37:43,320 --> 00:37:46,879
Speaker 3: in Librea, there is a really wonderful place called Chick

703
00:37:46,880 --> 00:37:54,120
Speaker 3: fil A. Very good, very very very good, tasty, tasty, tasty, and.

704
00:37:54,239 --> 00:37:57,359
Speaker 2: It's also consistent with your anti gay political views, right.

705
00:37:57,920 --> 00:38:00,440
Speaker 3: Yeah, oh okay, I mean do you want to get

706
00:38:00,440 --> 00:38:04,040
Speaker 3: into that? Yeah, yeah, I don't think this is the place.

707
00:38:04,120 --> 00:38:06,000
Speaker 3: I don't think I don't think people would understand where

708
00:38:06,000 --> 00:38:11,279
Speaker 3: I'm coming from on that one. There's also that's about it.

709
00:38:11,320 --> 00:38:12,360
Speaker 3: I mean I need a check fil a.

710
00:38:12,960 --> 00:38:14,000
Speaker 1: That's the main restaurant.

711
00:38:14,040 --> 00:38:14,359
Speaker 3: That's it.

712
00:38:14,480 --> 00:38:16,879
Speaker 1: Yeah, Yeah, I feel like that's true for a lot

713
00:38:16,920 --> 00:38:17,239
Speaker 1: of us.

714
00:38:17,560 --> 00:38:19,799
Speaker 3: Yeah, it's a solid, solid spot. You know, they've got

715
00:38:19,800 --> 00:38:22,279
Speaker 3: a ton of different sauces. I like that. I'm a

716
00:38:22,320 --> 00:38:24,719
Speaker 3: sauce guy. I'm a freaking sauce guy.

717
00:38:25,280 --> 00:38:27,160
Speaker 1: You know, I think I heard that about you.

718
00:38:27,400 --> 00:38:29,880
Speaker 3: Yeah, BBQ, give me more, BBQ.

719
00:38:30,640 --> 00:38:31,520
Speaker 4: It sounds familiar.

720
00:38:32,320 --> 00:38:37,120
Speaker 3: Yeah, bring hey, saw someome you know.

721
00:38:38,160 --> 00:38:43,120
Speaker 1: Well, Kai guy, thank you so much for coming down

722
00:38:43,160 --> 00:38:46,640
Speaker 1: here and uh educating us a little bit about what

723
00:38:46,680 --> 00:38:49,680
Speaker 1: the cameraman does and how and how he makes the

724
00:38:49,719 --> 00:38:50,279
Speaker 1: camera go.

725
00:38:50,840 --> 00:38:52,200
Speaker 3: And that's not my job.

726
00:38:52,800 --> 00:38:55,239
Speaker 4: And yes, we you made that clear.

727
00:38:55,280 --> 00:38:57,719
Speaker 3: I mean I own a camera, but it's not my job.

728
00:38:57,800 --> 00:39:05,320
Speaker 1: Man, right, Can you get that guy? Yeah, he seems

729
00:39:05,360 --> 00:39:06,560
Speaker 1: like he'd have something to say.

730
00:39:07,400 --> 00:39:11,239
Speaker 4: We're gonna be right back on Hollywood Handbook.

731
00:39:16,840 --> 00:39:19,799
Speaker 1: This has been an Earwolf Media production executive producers Jeff

732
00:39:19,880 --> 00:39:22,880
Speaker 1: Ulrick and Scott Ackerman. For more information, visit Earwolf dot.

733
00:39:22,680 --> 00:39:30,320
Speaker 2: Com, ear Wolf Radio, Boom dot

734
00:39:30,400 --> 00:39:38,240
Speaker 1: Com, The Wolf Dead