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Speaker 1: This is Alec Baldwin and you're listening to Here's the

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Speaker 1: Thing from iHeart Radio. Few people illuminate the art of

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Speaker 1: music and storytelling like my guest today, Rishi Kish Hereway

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Speaker 1: didn't set out to become one of the biggest podcasters

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Speaker 1: in the world, but that's precisely what happened when he

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Speaker 1: created the Song Exploder podcast in twenty fourteen. In addition

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Speaker 1: to podcast host, Hereway is a composer, record producer, and artist.

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Speaker 1: His latest album, In the Last Hour of Light, will

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Speaker 1: be released April twenty fourth. Along with Song Exploder, Hereway

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Speaker 1: is the creator of the podcast partners The West Wing

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Speaker 1: Weekly and the award winning Home Cooking with Chef and

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Speaker 1: co host Samine Nosrats. As a composer, Hereway has penned

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Speaker 1: the scores for feature films and documentaries, a Netflix TV series,

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Speaker 1: and a video game. His music has appeared on hit

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Speaker 1: TV shows like Gossip Girl and One Tree Hill. Here

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Speaker 1: Way has a gift for tapping into the cultural zeitgeist

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Speaker 1: and drawing out the creative spark from some of the

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Speaker 1: world's best musicians. I asked Rishie to be my guest

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Speaker 1: for a live taping at The Wife Hotel in Brooklyn

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Speaker 1: for on AirFest. Growing up in an Indian household, I

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Speaker 1: was curious how Hereway's childhood shaped his cultural world view

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Speaker 1: and how we first connected with music.

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Speaker 2: Well, I have an older sister, Priya, and she's five

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Speaker 2: years older than me, So I really inherited so much

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Speaker 2: of my taste from her, and that basically meant listening

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Speaker 2: to top forty radio. You know, she went to school

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Speaker 2: and she found out what was cool from other friends,

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Speaker 2: and so we just listened to whatever she was listening to.

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Speaker 2: The first time that I got to actually make music

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Speaker 2: choices of my own was when she got a Columbia

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Speaker 2: House subscription. You know, you send in a penny and

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Speaker 2: they send you back eight cassettes, and she very generous

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Speaker 2: origin Yeah exactly. Yeah, she generously allowed me to pick two.

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Speaker 2: She gave me two of her eight selections, and so

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Speaker 2: I picked Aerosmith Permanent Vacation and White Snake by White Snake.

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Speaker 1: So music is in your life and then you start

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Speaker 1: to make music. You played the piano.

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Speaker 2: I played piano growing up, Yeah, just taking piano lessons,

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Speaker 2: and then I started playing in the school band. And

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Speaker 2: then when I got to high school, I started playing

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Speaker 2: in bands.

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Speaker 3: Did you play in the school band?

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Speaker 2: Drums, keyboard? But then I was in the percussion department

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Speaker 2: and everybody else it was me and six boys who

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Speaker 2: played the drum kit, but there's only one drum kit

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Speaker 2: to share, and everybody else played either a snare drum

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Speaker 2: or a bass drum. And eventually, when everybody else went home,

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Speaker 2: I would start sitting behind the drum kit myself, and

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Speaker 2: then I got really excited about playing drums. And so

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Speaker 2: then in high school I started playing drums in a band.

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Speaker 3: What were you good at?

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Speaker 2: I don't know that I was or am good at anything.

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Speaker 2: I feel like I was like pretty good at some

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Speaker 2: of the things, you know, like guitar. I played, learned

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Speaker 2: to play guitar, I learned to play piano, I learned

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Speaker 2: to play drums, and I was like okay at all

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Speaker 2: of those.

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Speaker 1: And then when do you start making music that you're

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Speaker 1: going to sell?

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Speaker 2: Well, I started writing my own songs at the end

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Speaker 2: of high school and then starting into the beginning of college.

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Speaker 2: Selling it was still far from my mind, but just

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Speaker 2: writing it was the first step.

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Speaker 1: Before you get into the podcast world, where a lot

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Speaker 1: of us in an in depth analysis and examination of

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Speaker 1: other people's music, which is thrilling you play music, and

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Speaker 1: when does that When do you decide that's not where

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Speaker 1: you want to go, Because at some point you start

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Speaker 1: making enough money you live off.

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Speaker 3: Of the music business.

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Speaker 2: Yeah, that's right, Yeah, describe that period. So I think

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Speaker 2: in two thousand and seven was the first year that

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Speaker 2: I felt like I could say that I made music

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Speaker 2: as my living. I'd put out an album that year,

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Speaker 2: and I produced an album for another band, and I

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Speaker 2: actually was able to pay my bills just through music.

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Speaker 2: I didn't have to have, you know, my freelance graphic

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Speaker 2: design job or temping or anything like that.

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Speaker 3: You live fairly comfortably.

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Speaker 2: I mean it was comfortable for me. That was a

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Speaker 2: pretty big milestone for me. That felt like it's hard

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Speaker 2: to grow up in an Indian household and say I

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Speaker 2: want to be a musician. And I think my parents

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Speaker 2: never understood the sort of validators that I turned to.

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Speaker 2: It would be hard to say like, hey, look this

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Speaker 2: is going okay. You know, like I could say to

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Speaker 2: my mom, it's an A point one on Pitchfork and

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Speaker 2: she'd be like, I know those are all words, but

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Speaker 2: I don't know what any of them mean together.

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Speaker 3: I'm glad that means something to you.

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Speaker 2: So being able to actually like make my living from music,

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Speaker 2: that was the first way that I was able to

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Speaker 2: sort of say to my family, Look, this is this

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Speaker 2: is turning out okay.

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Speaker 3: You know.

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Speaker 2: It was a leap of faith for them to, you know,

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Speaker 2: even just understand that this is what I was doing.

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Speaker 1: Between twenty twenty and twenty eleven, those nine years, you

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Speaker 1: released four albums.

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Speaker 2: Two thousand and twenty eleven.

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Speaker 1: Yeah, and so pick one album and tell me what's

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Speaker 1: the process of getting that made.

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Speaker 2: So I always made my music kind of like in

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Speaker 2: my bedroom wherever that was, and I would write the

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Speaker 2: songs and sort of record them as I was writing

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Speaker 2: them and sort of try and design into whatever the

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Speaker 2: song was about, adding layers, you know, one at a time,

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Speaker 2: and it would take sometimes months and sometimes years before

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Speaker 2: I felt like it was it was done, and then

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Speaker 2: once I had enough of them for an album, then

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Speaker 2: that would be the album. It took a very long time,

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Speaker 2: and I would sometimes bring other people in, but for

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Speaker 2: the most part I tried to do as much of

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Speaker 2: it on my own.

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Speaker 1: Hurry down on dirty Yeah, and then when it's old

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Speaker 1: together the elements are together, where do you take it

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Speaker 1: who do you take it to?

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Speaker 2: Well, the first couple albums came out on like a

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Speaker 2: punk rock label, even though the music wasn't punk rock.

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Speaker 2: I kind of came up in a sort of we

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Speaker 2: need content. I came up listening to punk, and a

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Speaker 2: lot of my friends who were in bands played in

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Speaker 2: punk bands, and so that was kind of my community.

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Speaker 2: I would play like these basement punk shows as the

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Speaker 2: weird outlier, you know, just just a sad boy with

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Speaker 2: a guitar in between these screamy bands. But because of

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Speaker 2: that I got to meet some folks, including someone who

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Speaker 2: had a record label who said, I like your records

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Speaker 2: and I'd like to put them out, and so I

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Speaker 2: did that for a first couple and then when I

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Speaker 2: moved to La I signed with like an independent label

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Speaker 2: based there.

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Speaker 1: Your new album is called in the Last Hour of

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Speaker 1: Late and when's it coming out?

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Speaker 2: It comes out in April.

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Speaker 1: This is your piece at you all the eight tracks,

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Speaker 1: ten tracks, whatever.

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Speaker 2: No, So this one is very different from how I

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Speaker 2: used to make music. For this one, I sort of

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Speaker 2: went the completely opposite direction, and it's recorded live with

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Speaker 2: the band and sort of in a much more kind

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Speaker 2: of classic way, went into a studio, played with some

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Speaker 2: amazing musicians and taught them the songs in the morning,

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Speaker 2: and then we'd work on the arrangement and then we'd

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Speaker 2: record it, and then we'd break for lunch and then

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Speaker 2: do another song in the afternoon.

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Speaker 3: The Beatles would say that, Yeah.

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Speaker 1: The Beatles would say, we would go into the studio

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Speaker 1: and we'd record four songs in the morning. Then they go,

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Speaker 1: he goes, then we go have a cigarette and it

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Speaker 1: pints and maybe some fish and chips, that we record

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Speaker 1: four songs in the afternoon. Yeah, they make an album

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Speaker 1: in a day.

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Speaker 2: Yeah, Well I had seven days and it was so

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Speaker 2: completely contrary to how I had worked the rest of

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Speaker 2: my music making life. I said to the producer Phil Weinrob,

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Speaker 2: I said, this is crazy. This is a crazy way

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Speaker 2: to make music. And he said no, actually, most music

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Speaker 2: in the history of recorded music was made this way.

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Speaker 2: The way that you've been making it is crazy.

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Speaker 3: So in your music.

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Speaker 1: Career pre Song Exploder, I'm assuming that One Tree Hill

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Speaker 1: and Gossip Girl that came before Song Exploder.

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Speaker 3: Yes, how do you get your music?

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Speaker 1: The thing about you was it seems like every door

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Speaker 1: just opens to you. You know, how do you get

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Speaker 1: your music in front of the one Tree Hill people.

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Speaker 1: Gossip World was a huge hit. How do you get

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Speaker 1: in front of them?

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Speaker 2: I mean, especially in those days, in the sort of

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Speaker 2: heyday of indie music on TV, you know, kind of

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Speaker 2: like two thousand and five to twenty ten or so,

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Speaker 2: it was really wonderful because there were a lot of

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Speaker 2: shows on TV. TV still existed, music budgets still existed,

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Speaker 2: and they would actively have this mission to put cool

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Speaker 2: music in shows. And so there were music supervisors who'd

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Speaker 2: be actively looking for something that they liked to include.

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Speaker 2: And I got very lucky the label that I was on,

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Speaker 2: they had folks who would send the music to music

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Speaker 2: supervisors and yeah they were so they were were always

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Speaker 2: looking for music. Yeah, yeah, and they'd be putting you know,

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Speaker 2: they put out twenty four episodes of Gossip Girl and

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Speaker 2: then have like five or six songs in each episode.

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Speaker 1: So the first thing I want to ask you is,

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Speaker 1: per song explorer, how do you get the rights to

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Speaker 1: the music? Oh, even when we do the show and

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Speaker 1: we want heavy with music, we struggle. We think the

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Speaker 1: artists is on our side and they're going to help us,

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Speaker 1: and it's like, are the people that have the rights.

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Speaker 2: No, Yeah, the artist has no power or very little power. Occasionally, Yeah, well,

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Speaker 2: I work with a wonderful woman named Kathleen Smith who

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Speaker 2: has been working with me since twenty fifteen, and she

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Speaker 2: goes and knocks on all the doors and asks everybody

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Speaker 2: you know, would you please sign this piece of paper

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Speaker 2: that says we can use this song with song Exploder.

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Speaker 2: It's a little bit different, I think than other uses

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Speaker 2: because it's not like the music is scoring some other content.

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Speaker 2: The music is the content. You know, we're telling the

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Speaker 2: story of this song.

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Speaker 3: Gotta have it your license.

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Speaker 1: Yeah, I'm wondering you check out the right situation prior

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Speaker 1: to the show. They don't come on unless you're all

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Speaker 1: clear with the music.

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Speaker 2: At this point, we sort of hope in you know,

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Speaker 2: feel like we've got relationships enough that like we can

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Speaker 2: tape the interview and the end as we're working on

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Speaker 2: the licensing at the same time, but we won't put

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Speaker 2: it out till it's all cleared.

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Speaker 1: Song Exploder whose idea was that it.

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Speaker 2: Was, you know, something that kind of had percolated over

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Speaker 2: a very long time, just the idea of trying to

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Speaker 2: make something that felt closer to what the music making

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Speaker 2: process was as I had experienced it. You know, I

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Speaker 2: would listen to or read interviews with artists that I admire,

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Speaker 2: and the interviews always felt like they were very big picture,

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Speaker 2: Like the interviewers would ask big picture questions and the

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Speaker 2: guests would answer in big picture answers. But I felt

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Speaker 2: like the creative process is so much more about the

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Speaker 2: inch by inch journey. You know, every single small creative

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Speaker 2: decision that gets made is really what shapes both the

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Speaker 2: final product and the experience. And I thought it would

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Speaker 2: be really fascinating if people could get inside that process

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Speaker 2: and hear what a song sounds like from the perspective

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Speaker 2: of someone who made it. Also, I wanted to kind

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Speaker 2: of circumvent the idea of a critic being the only

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Speaker 2: way into how a song could be thought of and

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Speaker 2: kind of re establish the idea of an author's intention.

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Speaker 1: How did you develop the skill to help them unravel

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Speaker 1: the song?

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Speaker 2: Well, I think it helps to have someone ask questions

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Speaker 2: from a sort of empathetic position, you know, like I

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Speaker 2: tried to bring the kinds of questions that I was

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Speaker 2: trying to answer to the questions that I would be

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Speaker 2: posing to them. And part of the reason why I

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Speaker 2: used to cut myself out of the show entirely was

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Speaker 2: because I had never interviewed anybody, and I didn't want

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Speaker 2: to reveal myself to be the amateur that I was,

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Speaker 2: And I thought it would sound much more professional if

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Speaker 2: it just felt like a story being told from the

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Speaker 2: perspective of the artist. The reason it changed in the

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Speaker 2: Netflix show is because I got that idea that, you know,

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Speaker 2: the sort of non narrated thing which exists in so

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Speaker 2: much radio, But I got it from watching documentary films.

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Speaker 2: In the best documentary films, you just see the cameras on,

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Speaker 2: you know, close up on the subject, and they're telling

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Speaker 2: their story. You don't hear an interviewer. Sometimes you might

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Speaker 2: hear them off camera, but it's never about the two

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Speaker 2: of them. So I wanted my show to feel legitimate,

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Speaker 2: even though I was making it from my bedroom or

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Speaker 2: my garage. I wanted it to seem like, oh, elevated,

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Speaker 2: So let me make it like these documentaries. When we

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Speaker 2: went to make the Netflix show, I was talking to

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Speaker 2: the executive producer, Morgan Neville, who himself is an Oscar

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Speaker 2: winning documentarium four twenty Free from Stardom.

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Speaker 1: We played that at the Hampton Film festal law summer time.

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Speaker 2: Yeah, amazing movie, amazing. So I was telling him, you know,

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Speaker 2: this is my reason for why I shouldn't be in

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Speaker 2: the show. We should keep the same kind of format

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Speaker 2: for the Netflix show. And he argued that it wasn't special.

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Speaker 2: Now we're basically going into the documentary format and the

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Speaker 2: thing that I was pulling for a podcast that had

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Speaker 2: felt special is not going to be special once you

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Speaker 2: return it to the original source. And he said, what

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Speaker 2: would be much more interesting and intimate? Because I was

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Speaker 2: saying I kept saying the word intimacy, it was felt

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Speaker 2: more intimate to just have the first person narrative from

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Speaker 2: the guest. He said, well, I think what would be

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Speaker 2: more intimate is to see the two of you having

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Speaker 2: a conversation.

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Speaker 3: I agree, you're so unattractive, that's the problem. I mean,

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Speaker 3: you should be on camera.

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Speaker 2: And he said, well, look, let's shoot something. We'll put

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Speaker 2: one camera on the subject and if you decide that's all.

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Speaker 2: You know, you just want to do that, fine, but

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Speaker 2: let me also put a camera on you and let's

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Speaker 2: try it. You know, would you be game.

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Speaker 1: For That'd you like it?

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Speaker 2: It was stressful? And then in the edit, you know,

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Speaker 2: I kept on trying to cut out any kind of

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Speaker 2: reaction shots or anything like that. I was like, no,

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Speaker 2: it's it's distracting. It's but a lot of the time

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Speaker 2: what the directors or the editors were trying to bring

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Speaker 2: in were moments of real human interaction as opposed to

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Speaker 2: something too antiseptic and clean. But for me, I felt like,

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Speaker 2: oh clean was that's that's what I want. I wanted

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Speaker 2: to feel like my goal of the podcast. I wanted

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Speaker 2: to feel like it was just this beautifully made sculpture

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Speaker 2: where you couldn't see any seams and if you see

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Speaker 2: me laughing, or you see us like have this moment

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Speaker 2: of dialogue where you hear my question, doesn't that break

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Speaker 2: up the dream? I want the show to feel like

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Speaker 2: a dream and I don't want someone to wake up

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Speaker 2: in the middle. And they said, no, those moments are

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Speaker 2: real human interaction and that's actually something really wonderful to see,

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Speaker 2: and they all basically agreed, and at a certain point

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Speaker 2: I said, Okay, if you all think this and I'm

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Speaker 2: the only one on the other side, then like maybe

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Speaker 2: I just need to let it go. But it was

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Speaker 2: it was tough.

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Speaker 1: We had people on our show over the years who

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Speaker 1: if you let it breathe if I can get in there,

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Speaker 1: because in the beginning I was very very hands on

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Speaker 1: trying to push them towards where I wanted them to go.

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Speaker 1: And when you come on and you just let it

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Speaker 1: happen and people are in the mood to talk to you.

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Speaker 1: We've had number a number of shows, but I like

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Speaker 1: in Name three, one was Tom Yorke. Tom Yorke came on.

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Speaker 1: I'm like, what the hell am I going to say

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Speaker 1: to this Guy's gonna be interesting to him. He doesn't

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Speaker 1: give a shit about me, He'd probably don't even know me.

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Speaker 3: And I'm sitting there talking to Tom York And it

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Speaker 3: was great.

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Speaker 1: It was heaven because he was he was in the

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Speaker 1: mood to talk. We did Nck Fleetwood, he was in

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Speaker 1: the mood to talk. We did Letterman. Letterman came and

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Speaker 1: even his own staff like had their hand over their mouth.

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Speaker 1: They couldn't believe what he was saying because he was

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Speaker 1: talking about how he was like, you know, he goes

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Speaker 1: how I was miserable. Well, I did was work, I

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Speaker 1: did have any kids, did have a family. Everything was work.

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Speaker 1: But he was really very very self disclosing, you know,

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Speaker 1: in that way where the conversation works of people just

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Speaker 1: flows now where we were talking about something like this

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Speaker 1: like Somebody is historic, you know, popular song.

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Speaker 3: Do you think that makes it easier for you?

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Speaker 2: It certainly makes it easier for me because they know

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Speaker 2: what the parameters of the story is going to be.

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Speaker 2: And I think it also allows me to probe in

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Speaker 2: other parts because if they're talking about something that where

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Speaker 2: they're very comfortable, they're talking about their artistry. You know,

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Speaker 2: we're listening to stems and they're talking about the very

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Speaker 2: direct answer to a question of how did you make this?

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Speaker 2: I can then start to veer into well why did

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Speaker 2: you make this? And if I had started that way

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Speaker 2: and I didn't have the stems and I didn't have

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Speaker 2: the song to talk about and just said, you know,

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Speaker 2: out of the blue, hey why did you write this lyric?

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Speaker 2: They might clam up, or they might you know, have

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Speaker 2: a different kind of reaction. But I think the familiarity

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Speaker 2: of the material and the small parameter of just let's

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Speaker 2: talk about this one song, let's get deep in that

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Speaker 2: one song, it helps them open up. And you know,

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Speaker 2: musicians can be tougher interviews because they they speak through

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Speaker 2: their music exactly.

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Speaker 3: Yeah, And they're not really that articulate.

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Speaker 1: In terms of interviews about the music. They're really just

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Speaker 1: play it. I don't want to talk about it. I

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Speaker 1: don't want to do it, ye know. And I've come

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Speaker 1: across that from time to time.

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Speaker 2: Can I say one thing, by the way, But so

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Speaker 2: the Letterman interview, if it's the one that I'm thinking of.

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Speaker 2: You did a Letterman interview in December of twenty thirteen.

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Speaker 1: My god, that's uncanny.

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Speaker 2: It was important to me in a few different ways.

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Speaker 2: One because I had not interviewed people I was trying

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Speaker 2: to absorb. At this point, I had, you know, I

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Speaker 2: had the concept for the show. I'd made one episode

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Speaker 2: as a sort of pilot, and then I was like, okay,

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Speaker 2: I'm going to do this. I was trying to learn

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Speaker 2: as much as I could about interviewing from just taking

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Speaker 2: it in from other sources. And here's the thing is

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Speaker 2: one of the shows that I turned to. And the

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Speaker 2: other thing was I had never spoken into a mic before,

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Speaker 2: and i'd sung, but I hadn't recorded myself. And I

365
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Speaker 2: was like, well, how do I do this? And so

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Speaker 2: I launched the show in January of twenty fourteen. As

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Speaker 2: I was getting ready for that that episode that you did,

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Speaker 2: the last episode I think of twenty thirteen around that

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Speaker 2: it was a Letterman interview. I listened to that and

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Speaker 2: tried to, you know, learn what I could about interviewing.

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Speaker 2: But also I tried to learn how to set my

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Speaker 2: microphone to sound like your voice. I was like, how

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Speaker 2: do I emulate something like that? And so I was

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Speaker 2: fiddling with my EQ settings on my microphone.

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Speaker 1: When you say that, it's interesting because it's to get

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Speaker 1: out of your own way to some guests come, they're

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Speaker 1: not in the mood to talk. You know, we do

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Speaker 1: the video now. I never wanted to do the video.

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Speaker 1: One of the first shows we did was Kathleen Turner

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Speaker 1: early on years ago, and Kathleen Turner comes in.

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Speaker 3: I called her on the phone and she.

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Speaker 1: Goes, oh baby.

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Speaker 3: She goes, so I have to is it on camera?

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Speaker 3: Is it on?

385
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Speaker 1: Are you doing the video with this thing? And I

386
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Speaker 1: go she goes, thank god, I can just come in

387
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Speaker 1: a ponytail, in my sweats and like every woman to

388
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Speaker 1: be perfectly honest. It's mostly the actresses and public figures

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Speaker 1: who are women are like, thank I don't have to

390
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Speaker 1: get ready and fill right, I have to do my hair,

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Speaker 1: on my makeup, with my clothes and so forth.

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Speaker 2: Do you find that when you're doing an interview now

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Speaker 2: on camera that the responses you get are different, Like

394
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Speaker 2: people can port themselves different than knowing that they're on camming.

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Speaker 1: That people who were professional public figures, they got it down.

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Speaker 1: We've been in front of cameras in all of our lives.

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Speaker 1: Now talk about West Wing? How did that happen?

398
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Speaker 2: Yeah, So from twenty sixteen to twenty twenty, mainly I

399
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Speaker 2: made a podcast called The West Wing Weekly with my

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Speaker 2: friend Joshua Molina, who is an actor who was on

401
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Speaker 2: the West Wing, and we did about a hunt, you know,

402
00:18:24,080 --> 00:18:26,119
Speaker 2: one episode for every episode of the show, plus some

403
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Speaker 2: bonus episodes. I stole Zach McNeice. Zach came and mixed

404
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Speaker 2: our show. I posted a thing saying I'm looking for

405
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Speaker 2: someone to help me with the show, and he wrote

406
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Speaker 2: back and I saw here's a thing was on his CV,

407
00:18:39,680 --> 00:18:42,360
Speaker 2: and I said, well, I already have the settings as

408
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Speaker 2: close to what I think you've done, so here you go.

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Speaker 2: So I met josh It goes way back. Actually, when

410
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Speaker 2: I had was graduating college, I thought I wanted to

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Speaker 2: move to la because I wanted to make music for films.

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Speaker 2: I wanted to score films. But I had no idea

413
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Speaker 2: how one that. I had no idea how you I

414
00:19:03,560 --> 00:19:06,959
Speaker 2: grew up in Massachusetts, moving to LA seemed inconceivable, let alone,

415
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Speaker 2: how do you find a job in Hollywood? And I

416
00:19:09,760 --> 00:19:12,040
Speaker 2: was at Yell and I thought, I was like, this

417
00:19:12,080 --> 00:19:13,840
Speaker 2: isn't even the kind of college where, like, you know,

418
00:19:14,160 --> 00:19:15,800
Speaker 2: people come out of here that where there's no old

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Speaker 2: boys network, you know, where someone can say like, hey,

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Speaker 2: I want to get a job at Goldman Sachs. Oh,

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Speaker 2: you know, I know the Shrafts.

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Speaker 1: Anymore, you can hang out at the counter, right.

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Speaker 2: And then I had mentioned I had started watching again

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Speaker 2: through my sister's taste. I started watching Sports Night, Aaron

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00:19:30,640 --> 00:19:34,840
Speaker 2: Sorkin's first TV show, and my friend said, well, you

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Speaker 2: know Josh Molina he went here, he went to Yell.

427
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Speaker 2: And I said, really, I know that I love that character.

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Speaker 2: I love that actor, you know.

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Speaker 3: And you didn't know him.

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Speaker 2: I didn't know him.

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Speaker 3: No.

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Speaker 2: And then months later I was living in Massachusetts. I

433
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Speaker 2: was working at you know, at a day job and

434
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Speaker 2: dreaming of this dream to get to LA. And one

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Speaker 2: night I looked up Josh's name on you know, this

436
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Speaker 2: is before Google. I looked it up on whatever alta

437
00:20:00,800 --> 00:20:04,239
Speaker 2: Vista or something ask Jeeves, and I found he had

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Speaker 2: a website. He had his own personal website with his

439
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Speaker 2: headshot and his resume and an email address. So I

440
00:20:10,160 --> 00:20:12,520
Speaker 2: clicked on it and I just sent him an email saying,

441
00:20:13,040 --> 00:20:14,920
Speaker 2: you know, dear Josh, we don't know each other. I've

442
00:20:15,040 --> 00:20:17,520
Speaker 2: just recently graduated. I'm trying to figure out how how

443
00:20:17,560 --> 00:20:22,200
Speaker 2: does one get to make music for films. I don't

444
00:20:22,200 --> 00:20:24,840
Speaker 2: know if you have any advice for someone like me,

445
00:20:24,960 --> 00:20:27,159
Speaker 2: but like, thanks, I fan hope to hear from you.

446
00:20:27,640 --> 00:20:30,000
Speaker 2: I was considering trying to move to LA or moved

447
00:20:30,000 --> 00:20:32,040
Speaker 2: to New York. New York was much easier, and I

448
00:20:32,040 --> 00:20:33,440
Speaker 2: had a lot of friends who were moving on why

449
00:20:34,680 --> 00:20:39,200
Speaker 2: easier geographically and easier, Yeah, and I knew people there,

450
00:20:39,240 --> 00:20:42,479
Speaker 2: and it just it felt daunting but much less daunting.

451
00:20:42,880 --> 00:20:44,800
Speaker 2: And I thought, well, I do know that there are

452
00:20:44,840 --> 00:20:46,800
Speaker 2: films that get made in New York. Maybe I can

453
00:20:47,240 --> 00:20:49,919
Speaker 2: skate by if I do that. Josh wrote back and

454
00:20:49,960 --> 00:20:53,200
Speaker 2: said he's like, look, I I'm not in that side

455
00:20:53,240 --> 00:20:55,439
Speaker 2: of things. I play cards with some composers, but my

456
00:20:55,520 --> 00:20:57,480
Speaker 2: senses in general is generally, if you want to do

457
00:20:57,520 --> 00:20:59,000
Speaker 2: stuff in films, you got to be here in LA

458
00:20:59,640 --> 00:21:02,680
Speaker 2: And I said, okay, thank you very much. I moved

459
00:21:02,720 --> 00:21:06,239
Speaker 2: to New York because I was just I was too

460
00:21:06,280 --> 00:21:07,320
Speaker 2: scared of her form.

461
00:21:07,400 --> 00:21:10,199
Speaker 1: Yeah, you're gonna flush that Yale degree down the toilet somehow.

462
00:21:10,520 --> 00:21:14,359
Speaker 2: Yeah. And then I tried New York for a while.

463
00:21:14,600 --> 00:21:16,720
Speaker 2: It was hard in other ways and it just didn't

464
00:21:16,720 --> 00:21:18,240
Speaker 2: didn't end up working out for me and that. But

465
00:21:18,280 --> 00:21:21,119
Speaker 2: then I did move to LA about a year later.

466
00:21:21,560 --> 00:21:23,520
Speaker 2: And when I got there, I wrote to Josh and said, hey,

467
00:21:23,520 --> 00:21:25,040
Speaker 2: thank you so much for the advice. Here I am.

468
00:21:25,080 --> 00:21:28,680
Speaker 2: His email no longer worked, and I was like, well

469
00:21:29,119 --> 00:21:32,440
Speaker 2: that was that. And I slowly, you know, I found

470
00:21:32,480 --> 00:21:34,520
Speaker 2: a job as an assistant to a composer. I was

471
00:21:34,520 --> 00:21:37,320
Speaker 2: making my own records. I started, you know, just trying

472
00:21:37,320 --> 00:21:41,760
Speaker 2: to do music however I could. And then in twenty twelve,

473
00:21:41,840 --> 00:21:44,800
Speaker 2: I finally had my first feature film that I had scored,

474
00:21:44,920 --> 00:21:46,920
Speaker 2: went to Sun Dance, which was what it was called

475
00:21:46,960 --> 00:21:49,639
Speaker 2: Save the Date, directed by my friend Michael Mohan and

476
00:21:49,680 --> 00:21:53,680
Speaker 2: starring Alison Brie and Allison Brie. Alison Brie and.

477
00:21:53,640 --> 00:21:55,760
Speaker 3: You wrote music for you. You did the score for

478
00:21:55,760 --> 00:21:56,200
Speaker 3: the whole film.

479
00:21:56,280 --> 00:21:58,120
Speaker 2: Yeah, I wrote the score and I wrote a song for.

480
00:21:58,119 --> 00:22:00,680
Speaker 1: He asked you to come or you've pitched yourself to well.

481
00:22:00,880 --> 00:22:03,520
Speaker 2: He had originally written a song of mine that I

482
00:22:03,560 --> 00:22:06,359
Speaker 2: had written into the script. One of the characters played

483
00:22:06,359 --> 00:22:09,840
Speaker 2: by Jeffrey Aaron was a songwriter and he and he

484
00:22:10,080 --> 00:22:12,720
Speaker 2: had written in the script a song of mine that

485
00:22:12,760 --> 00:22:15,280
Speaker 2: already existed, and then he was like, well, maybe is

486
00:22:15,280 --> 00:22:16,480
Speaker 2: that he sent it to me and he said, is

487
00:22:16,480 --> 00:22:18,679
Speaker 2: that weird that he's he's like writing a song, but

488
00:22:18,720 --> 00:22:20,720
Speaker 2: it's your song? And I said, yeah, maybe a little bit.

489
00:22:20,760 --> 00:22:22,400
Speaker 2: And he said, well, would you write a new song

490
00:22:22,440 --> 00:22:24,080
Speaker 2: for it? And I said yeah. So originally it was

491
00:22:24,119 --> 00:22:26,440
Speaker 2: just that write a song for the movie, but then

492
00:22:26,600 --> 00:22:29,560
Speaker 2: they asked me to score it as well. So I

493
00:22:29,600 --> 00:22:32,359
Speaker 2: went to Sundance and it was so exciting and I

494
00:22:32,359 --> 00:22:35,200
Speaker 2: met all these people, and then afterwards I was on Twitter,

495
00:22:35,320 --> 00:22:37,680
Speaker 2: back when Twitter was a nice place to be, and

496
00:22:38,040 --> 00:22:41,439
Speaker 2: I was just looking at like sort of Sundance chatter

497
00:22:41,760 --> 00:22:44,679
Speaker 2: and looking at movies that I'd seen, because one of

498
00:22:44,680 --> 00:22:46,400
Speaker 2: the great things about going was you know, you get

499
00:22:46,400 --> 00:22:48,040
Speaker 2: a pass and you can see just like everything, and

500
00:22:48,080 --> 00:22:50,920
Speaker 2: I saw I think like fourteen movies you know, and

501
00:22:51,160 --> 00:22:53,480
Speaker 2: I was just looking at seeing what people were talking about.

502
00:22:53,520 --> 00:22:58,399
Speaker 2: And in the conversation, josh Molina had replied to somebody

503
00:22:58,440 --> 00:23:01,040
Speaker 2: who you know I'd been looking at, and josh Molina

504
00:23:01,080 --> 00:23:03,480
Speaker 2: replied to him, and I was like, josh Molina, hey,

505
00:23:03,840 --> 00:23:06,720
Speaker 2: and I forgot that, like social media was a thing that,

506
00:23:07,280 --> 00:23:09,159
Speaker 2: you know, was a way that you could try and

507
00:23:09,200 --> 00:23:11,919
Speaker 2: reach people. And I clicked on his name and then

508
00:23:11,920 --> 00:23:14,119
Speaker 2: he had a link to his Facebook page and I

509
00:23:14,160 --> 00:23:16,240
Speaker 2: clicked on that, and then I sent him a message

510
00:23:16,240 --> 00:23:18,199
Speaker 2: and I said, hey, you might not remember this, but

511
00:23:18,920 --> 00:23:20,840
Speaker 2: over a decade ago, you gave me this advice, come

512
00:23:20,840 --> 00:23:22,600
Speaker 2: to LA if you want to score films. Well, it

513
00:23:22,600 --> 00:23:24,320
Speaker 2: took me a long time to do it, but I

514
00:23:24,320 --> 00:23:26,840
Speaker 2: didn't and I just scored my first film. And could

515
00:23:26,880 --> 00:23:29,000
Speaker 2: I take you out to lunch to say thank you?

516
00:23:29,840 --> 00:23:32,800
Speaker 2: And he wrote back the next day and said, as

517
00:23:32,840 --> 00:23:34,840
Speaker 2: an out of work actor, I make it a point

518
00:23:34,880 --> 00:23:38,479
Speaker 2: never to say no to a free lunch. And so

519
00:23:38,800 --> 00:23:41,520
Speaker 2: we met up and we just hit it off and

520
00:23:41,760 --> 00:23:44,840
Speaker 2: had a great time, and we later ended up making

521
00:23:44,880 --> 00:23:48,280
Speaker 2: a pilot for a game show, an idea that I

522
00:23:48,320 --> 00:23:49,960
Speaker 2: had tried to do as a live thing, and then

523
00:23:50,160 --> 00:23:51,359
Speaker 2: he participated.

524
00:23:50,920 --> 00:23:53,080
Speaker 3: What was the game show? I read about this.

525
00:23:53,280 --> 00:23:56,400
Speaker 2: So I had done this charity event called Celebrity Celebrity.

526
00:23:56,440 --> 00:23:59,480
Speaker 2: Do you know the game Celebrity. Imagine two teams and

527
00:23:59,480 --> 00:24:01,520
Speaker 2: there's a bold of names in the middle and people

528
00:24:01,560 --> 00:24:03,920
Speaker 2: have put in names of famous people and you might

529
00:24:04,119 --> 00:24:06,560
Speaker 2: pull it out and without saying the name of the person.

530
00:24:06,800 --> 00:24:10,040
Speaker 2: It was first this charity game, I said, let's raise money.

531
00:24:10,119 --> 00:24:13,760
Speaker 2: Let's what if it was celebrity celebrity celebrities instead of

532
00:24:13,760 --> 00:24:15,719
Speaker 2: just being the names of the bowl actually playing. Wouldn't

533
00:24:15,720 --> 00:24:17,160
Speaker 2: that be fun? And it was really fun.

534
00:24:17,280 --> 00:24:17,760
Speaker 3: You did it?

535
00:24:17,840 --> 00:24:18,239
Speaker 2: I did it.

536
00:24:18,440 --> 00:24:19,840
Speaker 3: Were some of your celebrity guests.

537
00:24:19,920 --> 00:24:22,560
Speaker 2: So Josh was the captain of one team and on

538
00:24:22,640 --> 00:24:25,680
Speaker 2: his team was Sarah Silverman, Michael Ian Black, Rob Delaney.

539
00:24:25,920 --> 00:24:30,080
Speaker 2: There was another team with Martin Starr, Aubrey Plaza, Aleah.

540
00:24:29,720 --> 00:24:32,040
Speaker 1: Shashit good real comic talents.

541
00:24:32,119 --> 00:24:32,760
Speaker 2: Yeah, it was great.

542
00:24:32,800 --> 00:24:33,280
Speaker 3: What happened?

543
00:24:33,359 --> 00:24:36,080
Speaker 2: It was wonderful. And the curtain came down and I said, Josh,

544
00:24:36,119 --> 00:24:37,520
Speaker 2: thanks so much. I was like, I think there might

545
00:24:37,560 --> 00:24:39,240
Speaker 2: be something here and he said, I think so too.

546
00:24:39,800 --> 00:24:42,919
Speaker 2: And Josh, besides being on the Western Heat executive produced

547
00:24:42,960 --> 00:24:46,320
Speaker 2: Celebrity Poker Showdown, he'd co created that show, and so

548
00:24:46,359 --> 00:24:47,920
Speaker 2: I said, do you want to try and see if

549
00:24:47,920 --> 00:24:49,720
Speaker 2: this is something that could we could do for TV

550
00:24:50,280 --> 00:24:53,879
Speaker 2: with me? And he said yes, and so we pitched

551
00:24:53,880 --> 00:24:56,280
Speaker 2: it and we sold it. We got a we did

552
00:24:56,280 --> 00:24:59,119
Speaker 2: a pilot. We had Mike Leean Black hosting it, and

553
00:24:59,200 --> 00:25:01,119
Speaker 2: we had the cast of The West Wing versus the

554
00:25:01,119 --> 00:25:03,320
Speaker 2: cast of Scandal, two shows that Josh had been on,

555
00:25:03,800 --> 00:25:06,480
Speaker 2: and it was really fun. And then the network that

556
00:25:06,520 --> 00:25:10,159
Speaker 2: we sold it to got sold to another network and

557
00:25:10,280 --> 00:25:13,200
Speaker 2: somewhere in the shuffle between executives and things like that,

558
00:25:13,240 --> 00:25:15,840
Speaker 2: we got lost, and we were just waiting. And so

559
00:25:15,880 --> 00:25:18,840
Speaker 2: this was in twenty fourteen. We shot the pilot. Meanwhile

560
00:25:18,880 --> 00:25:22,640
Speaker 2: I started making song Exploder, and a year later, we're

561
00:25:22,680 --> 00:25:24,600
Speaker 2: still waiting to hear what's going to happen with the

562
00:25:24,600 --> 00:25:27,040
Speaker 2: game show with the Game Show, and eventually I said

563
00:25:27,040 --> 00:25:29,159
Speaker 2: to Josh, I said, hey, do you want to just

564
00:25:29,440 --> 00:25:32,240
Speaker 2: try making a podcast with me? Because I'm really enjoying

565
00:25:32,240 --> 00:25:34,960
Speaker 2: this format and it feels closer to the sort of

566
00:25:35,040 --> 00:25:37,040
Speaker 2: the punk rock thing that I came up with, which

567
00:25:37,080 --> 00:25:39,000
Speaker 2: is like we can just do it ourselves. We don't

568
00:25:39,000 --> 00:25:41,879
Speaker 2: have to ask permission, we don't need gatekeepers. Let us

569
00:25:41,920 --> 00:25:43,080
Speaker 2: do it. Yeah, we can just do it.

570
00:25:43,119 --> 00:25:45,000
Speaker 3: And this was a west wink and.

571
00:25:44,920 --> 00:25:47,359
Speaker 2: This was about and I said, look, I've been very polite.

572
00:25:47,440 --> 00:25:49,399
Speaker 2: I have not peppered you with all of my questions

573
00:25:49,440 --> 00:25:51,520
Speaker 2: about the West Wing right, but we could do you

574
00:25:51,560 --> 00:25:54,800
Speaker 2: know this kind of There were some shows that existed

575
00:25:54,800 --> 00:25:57,159
Speaker 2: where people would go episode by episode, but none of

576
00:25:57,160 --> 00:26:00,480
Speaker 2: them at that time had someone from the show as

577
00:26:00,640 --> 00:26:02,919
Speaker 2: one of the hosts. It would take some of the

578
00:26:03,119 --> 00:26:06,919
Speaker 2: song exploder DNA of having someone who is intimately involved

579
00:26:06,920 --> 00:26:09,240
Speaker 2: with the creation of the thing telling the story.

580
00:26:09,480 --> 00:26:12,320
Speaker 1: The thing with West Wing, I always view Sorkin. I

581
00:26:12,440 --> 00:26:15,600
Speaker 1: worked with him very guarded, very guarded guy, brilliant, but

582
00:26:15,720 --> 00:26:17,960
Speaker 1: very close to the vest. And I thought to myself,

583
00:26:18,160 --> 00:26:19,240
Speaker 1: what was it like working with him?

584
00:26:19,240 --> 00:26:21,840
Speaker 3: And he did? I think I was told three episodes

585
00:26:21,840 --> 00:26:23,000
Speaker 3: of your show, correct.

586
00:26:22,920 --> 00:26:24,080
Speaker 2: I think even maybe more than that.

587
00:26:24,200 --> 00:26:24,639
Speaker 1: More than that.

588
00:26:24,720 --> 00:26:26,159
Speaker 3: Was it tough to lure him in or not?

589
00:26:26,640 --> 00:26:26,800
Speaker 4: No?

590
00:26:27,040 --> 00:26:29,639
Speaker 2: It was actually really he was always so game and

591
00:26:29,680 --> 00:26:32,400
Speaker 2: incredibly generous with his time. And you know, one time

592
00:26:32,440 --> 00:26:35,119
Speaker 2: we did a live taping in San Francisco. It was

593
00:26:35,119 --> 00:26:36,960
Speaker 2: for the finale of season three, and we were like,

594
00:26:37,000 --> 00:26:39,119
Speaker 2: would you please come? We had this possibility of doing

595
00:26:39,200 --> 00:26:42,080
Speaker 2: this and it's such a significant episode. And we said,

596
00:26:42,119 --> 00:26:44,440
Speaker 2: you know, could you come, We will fly you out,

597
00:26:44,480 --> 00:26:46,760
Speaker 2: you know, we'll fly you first class, Like what can

598
00:26:46,760 --> 00:26:49,720
Speaker 2: we do to get you? And he said, how about this,

599
00:26:50,080 --> 00:26:53,119
Speaker 2: I'll fly myself out and whatever you were going to

600
00:26:53,160 --> 00:26:56,000
Speaker 2: spend on the plane ticket, let's pick a charity and

601
00:26:56,000 --> 00:26:57,640
Speaker 2: you can give it to that or something like. He

602
00:26:57,760 --> 00:26:59,440
Speaker 2: just took care of of his own stuff. He's like,

603
00:26:59,480 --> 00:27:01,400
Speaker 2: he has don't need to spend money on me. And

604
00:27:01,640 --> 00:27:04,600
Speaker 2: it was so kind. And then, you know, I think

605
00:27:04,600 --> 00:27:08,520
Speaker 2: for him, we're just talking about everything that we loved

606
00:27:08,520 --> 00:27:11,320
Speaker 2: about the show and asking him questions. So I think

607
00:27:11,320 --> 00:27:14,880
Speaker 2: for him it was nice. I hope it was nice.

608
00:27:16,520 --> 00:27:21,399
Speaker 1: Musician and podcaster Rishi Cash here way. If you enjoy

609
00:27:21,480 --> 00:27:27,040
Speaker 1: conversations with creative innovators whose talents extend beyond music, check

610
00:27:27,080 --> 00:27:28,919
Speaker 1: out my episode with Julian Lennon.

611
00:27:29,720 --> 00:27:32,119
Speaker 5: One of the really important things that happened to me

612
00:27:32,480 --> 00:27:36,879
Speaker 5: in my relationship with photography and the images was that

613
00:27:37,040 --> 00:27:40,480
Speaker 5: I would have people write to me, people that couldn't

614
00:27:40,520 --> 00:27:44,520
Speaker 5: financially afford to travel the world or go anywhere, couldn't

615
00:27:44,680 --> 00:27:47,960
Speaker 5: or were disabled and couldn't travel the world or go anywhere.

616
00:27:48,560 --> 00:27:50,680
Speaker 5: And what they had all said to me is that

617
00:27:50,760 --> 00:27:53,879
Speaker 5: you bring these stories to us, you bring the truth,

618
00:27:53,960 --> 00:27:57,359
Speaker 5: You bring life to us of cultures that we would

619
00:27:57,440 --> 00:27:59,359
Speaker 5: never necessarily know anything about.

620
00:28:01,280 --> 00:28:04,760
Speaker 1: To hear more of my conversation with Julian Lennon, go

621
00:28:04,840 --> 00:28:09,600
Speaker 1: to Here's the Thing dot org. After the break, Hereway

622
00:28:09,760 --> 00:28:12,879
Speaker 1: shares the guest he was most excited to have on

623
00:28:13,080 --> 00:28:16,200
Speaker 1: song Exploder and one whom he would like to interview

624
00:28:16,400 --> 00:28:30,199
Speaker 1: in the future. I'm Alec Baldwin and this is Here's

625
00:28:30,240 --> 00:28:36,200
Speaker 1: the Thing. Rishie Kish Hereway created song Exploder in twenty fourteen.

626
00:28:36,960 --> 00:28:41,280
Speaker 1: Since then, it has received critical acclaim, won many awards,

627
00:28:41,480 --> 00:28:44,320
Speaker 1: and was recently named by Time as one of the

628
00:28:44,400 --> 00:28:48,560
Speaker 1: one hundred best podcasts of all time. This year, here

629
00:28:48,640 --> 00:28:52,600
Speaker 1: Way will be presented with the twenty twenty six iHeartMedia

630
00:28:52,720 --> 00:28:57,680
Speaker 1: Innovator Award for his visionary approach to storytelling. Guests on

631
00:28:57,880 --> 00:29:01,360
Speaker 1: song Exploder have ranged from you Yo Yoma to Madonna,

632
00:29:01,600 --> 00:29:06,520
Speaker 1: from Billie Eilish to Metallica. Having interviewed so many music legends,

633
00:29:06,920 --> 00:29:09,720
Speaker 1: I was curious if there was one particular artist that

634
00:29:09,760 --> 00:29:11,680
Speaker 1: he was most excited to interview.

635
00:29:12,960 --> 00:29:15,440
Speaker 2: When I first started the show, you know, I had

636
00:29:15,440 --> 00:29:17,440
Speaker 2: a few ideas of like the kind of artist that

637
00:29:17,480 --> 00:29:19,640
Speaker 2: would be a dream to have on you know, the

638
00:29:19,720 --> 00:29:24,000
Speaker 2: kind of people where their artistry is exceptional and also

639
00:29:24,600 --> 00:29:27,760
Speaker 2: mysterious to me. And one of those that small list

640
00:29:27,920 --> 00:29:32,160
Speaker 2: was Buyork. And so she did the show twenty sixteen.

641
00:29:32,200 --> 00:29:33,960
Speaker 2: So I had been doing it for two years and

642
00:29:33,960 --> 00:29:36,360
Speaker 2: that was just incredible. I couldn't believe that she got

643
00:29:36,400 --> 00:29:37,840
Speaker 2: to do it, and she was in London at the time,

644
00:29:37,880 --> 00:29:39,400
Speaker 2: so I had to wake up at five in the morning,

645
00:29:40,000 --> 00:29:42,040
Speaker 2: did the interview over the phone. She had somebody, you know,

646
00:29:42,120 --> 00:29:47,040
Speaker 2: like remote sinking her recording, and that was I couldn't

647
00:29:47,040 --> 00:29:51,800
Speaker 2: believe it. My wife afterwards, you know, when she woke up,

648
00:29:51,920 --> 00:29:53,480
Speaker 2: she's like, why did you get up so early? I said,

649
00:29:53,680 --> 00:29:55,640
Speaker 2: I had to interview Byorke and she's like, you what.

650
00:29:56,080 --> 00:29:58,280
Speaker 2: She also loves Beork and I hadn't even told her

651
00:29:58,280 --> 00:30:00,720
Speaker 2: that I was doing it because I so sure that

652
00:30:00,760 --> 00:30:02,520
Speaker 2: it was going to fall apart at any point and

653
00:30:02,520 --> 00:30:04,240
Speaker 2: I didn't want to jinx it or anything like that,

654
00:30:04,360 --> 00:30:06,600
Speaker 2: so I didn't even let anybody know that it was

655
00:30:06,600 --> 00:30:08,600
Speaker 2: happening until after I had done it.

656
00:30:09,080 --> 00:30:11,320
Speaker 1: So New York was one that you got excited about.

657
00:30:11,480 --> 00:30:13,080
Speaker 3: Yeah, yeah, who's.

658
00:30:12,800 --> 00:30:16,360
Speaker 2: Someone you want Tom York if you can call him

659
00:30:16,440 --> 00:30:16,760
Speaker 2: up for me.

660
00:30:17,520 --> 00:30:19,360
Speaker 3: I'll call Tom York. If you call Humfrey Bogart.

661
00:30:20,240 --> 00:30:22,960
Speaker 2: Deal, would you want Tom York?

662
00:30:23,240 --> 00:30:23,840
Speaker 3: Yeah?

663
00:30:24,040 --> 00:30:27,160
Speaker 2: Absolutely. I mean Radiohead is another one that was on

664
00:30:27,200 --> 00:30:28,120
Speaker 2: that list.

665
00:30:28,680 --> 00:30:33,160
Speaker 1: Who's someone who their musicianship impressed you. You really were

666
00:30:33,200 --> 00:30:35,000
Speaker 1: amazed by their musician ship.

667
00:30:35,120 --> 00:30:38,080
Speaker 2: Oh so I just did an episode that you know,

668
00:30:38,120 --> 00:30:40,880
Speaker 2: this is just recency bias, but I just put out

669
00:30:40,880 --> 00:30:46,920
Speaker 2: an episode with the Mexican artist Silvana Astrada, and there's

670
00:30:47,000 --> 00:30:49,240
Speaker 2: a moment where I, you know, isolate just her vocals,

671
00:30:49,720 --> 00:30:52,800
Speaker 2: and her vocal take is just stunning. I just listened

672
00:30:52,840 --> 00:30:54,520
Speaker 2: to it over and over again, the way that she

673
00:30:54,600 --> 00:30:58,000
Speaker 2: can sing. She did this thing where she's holding out

674
00:30:58,040 --> 00:31:00,520
Speaker 2: such a long note and doing all the kind of

675
00:31:00,680 --> 00:31:04,840
Speaker 2: you know, Seraph's calligraphic kind of moves with her voice

676
00:31:04,960 --> 00:31:07,640
Speaker 2: as she goes through the note, and then somehow at

677
00:31:07,640 --> 00:31:11,160
Speaker 2: the end she ramps up and like crescendo's to the

678
00:31:11,280 --> 00:31:13,200
Speaker 2: end of the note instead of it just sort of

679
00:31:13,240 --> 00:31:16,800
Speaker 2: like dying out. And it's like a level of musicality

680
00:31:17,120 --> 00:31:20,760
Speaker 2: and musical instinct but also physical control, like there's an

681
00:31:20,760 --> 00:31:23,360
Speaker 2: athleticism to be able to do that. Everything about that.

682
00:31:23,480 --> 00:31:25,640
Speaker 2: It just blew me away, and I feel like I

683
00:31:25,680 --> 00:31:29,120
Speaker 2: get to encounter something like that pretty regularly in the show.

684
00:31:29,360 --> 00:31:30,360
Speaker 3: Let's take some questions.

685
00:31:30,520 --> 00:31:32,520
Speaker 6: Hi, I'm glad you brought up classical music. I used

686
00:31:32,520 --> 00:31:34,320
Speaker 6: to writ about class music and I love classical music.

687
00:31:34,600 --> 00:31:36,040
Speaker 6: I know that you did some stuff with the Toronto

688
00:31:36,040 --> 00:31:39,200
Speaker 6: Symphony Orchestra, like the Symphony Exploder, and I know you've

689
00:31:39,200 --> 00:31:41,960
Speaker 6: done stuff with Steve Reisch. What are the particular challenges

690
00:31:42,000 --> 00:31:44,440
Speaker 6: of doing classical this format with classical music and do

691
00:31:44,480 --> 00:31:46,080
Speaker 6: you have plans to do any of that in the future.

692
00:31:46,880 --> 00:31:50,760
Speaker 2: Well, I think Steve Reisch was a wonderful opportunity because

693
00:31:50,800 --> 00:31:53,720
Speaker 2: not only do I love his music, he's alive and

694
00:31:53,800 --> 00:31:56,640
Speaker 2: so because the show is primarily about the idea of

695
00:31:56,720 --> 00:32:00,920
Speaker 2: telling the story from the creator's perspective. With most classical music,

696
00:32:00,960 --> 00:32:04,000
Speaker 2: that's not possible. With the Toronto Symphony Orchestra, you know,

697
00:32:04,200 --> 00:32:07,720
Speaker 2: the music director and conductor sort of stood in place

698
00:32:07,920 --> 00:32:11,280
Speaker 2: for Stravinsky talking about his interpretation of Stravinsky. It was

699
00:32:11,280 --> 00:32:13,960
Speaker 2: a really special experience and it was a different.

700
00:32:13,760 --> 00:32:15,120
Speaker 3: Kind of excercisies on Netflix.

701
00:32:15,520 --> 00:32:17,520
Speaker 2: This was a live event that I did with the

702
00:32:17,560 --> 00:32:18,640
Speaker 2: Toronto Symphony orchestra.

703
00:32:18,720 --> 00:32:19,880
Speaker 3: Where is that available?

704
00:32:20,280 --> 00:32:22,800
Speaker 2: It wasn't filmed. It was just an event that happened,

705
00:32:23,200 --> 00:32:26,360
Speaker 2: But I think it was interesting. But it felt like

706
00:32:26,400 --> 00:32:28,880
Speaker 2: it's a different idea than what song splitter.

707
00:32:28,600 --> 00:32:31,280
Speaker 3: Is anybody else here? Do we see anybody right over there?

708
00:32:31,800 --> 00:32:34,920
Speaker 3: What's your favorite acting performance of all time? Oh? For me,

709
00:32:35,600 --> 00:32:36,880
Speaker 3: favorite movie performance?

710
00:32:37,160 --> 00:32:40,200
Speaker 2: Can I say one that sticks in my head forever?

711
00:32:40,280 --> 00:32:43,960
Speaker 2: One line reading is in stateon Maine after the car accident,

712
00:32:44,040 --> 00:32:46,080
Speaker 2: the car flips over. You get out of there and

713
00:32:46,160 --> 00:32:46,800
Speaker 2: you say.

714
00:32:46,880 --> 00:32:48,120
Speaker 3: So that happened. Yeah?

715
00:32:48,560 --> 00:32:50,760
Speaker 1: No, But I mean movies are very ephemeral. They don't

716
00:32:50,760 --> 00:32:53,000
Speaker 1: really stick to you. You do movies and the movie

717
00:32:53,000 --> 00:32:55,720
Speaker 1: comes on TV and you're sitting there watching it, like

718
00:32:55,720 --> 00:32:57,240
Speaker 1: you're in your kitchen. It's two o'clock in the morning.

719
00:32:57,240 --> 00:32:59,320
Speaker 1: A movie comes on, you're in and literally the scene

720
00:32:59,320 --> 00:33:01,680
Speaker 1: comes on and you go, I remember that day, That's

721
00:33:01,680 --> 00:33:04,400
Speaker 1: when I had that accident in the Ventura Freeway. Remember

722
00:33:04,440 --> 00:33:06,440
Speaker 1: what happened in your life, in and around. But the

723
00:33:06,480 --> 00:33:09,040
Speaker 1: scenes themselves are not as indelible as when you do

724
00:33:09,400 --> 00:33:09,920
Speaker 1: in the theater.

725
00:33:10,600 --> 00:33:11,600
Speaker 3: And in the theater, when you.

726
00:33:11,520 --> 00:33:13,720
Speaker 1: Do a play, especially if it's a good play and

727
00:33:13,840 --> 00:33:16,160
Speaker 1: you work at it, you wind up going to the

728
00:33:16,200 --> 00:33:19,080
Speaker 1: same show years later with your friends, and you ruined

729
00:33:19,080 --> 00:33:20,480
Speaker 1: the play for them. But you lean over and go,

730
00:33:20,720 --> 00:33:21,360
Speaker 1: I didn't do.

731
00:33:21,360 --> 00:33:23,400
Speaker 2: It that way.

732
00:33:24,120 --> 00:33:25,480
Speaker 1: We have the one right here in the foreground. You

733
00:33:25,600 --> 00:33:26,520
Speaker 1: stand up, Please.

734
00:33:26,480 --> 00:33:27,320
Speaker 7: Question for your guest.

735
00:33:27,600 --> 00:33:30,080
Speaker 8: So I, my daughter was then nine years old, do

736
00:33:30,240 --> 00:33:33,040
Speaker 8: a lipa episode like love Again? Was the song you

737
00:33:33,080 --> 00:33:35,560
Speaker 8: did and the symphony, But we were surprised that was

738
00:33:35,560 --> 00:33:38,760
Speaker 8: the song that was chosen. How was the song chosen?

739
00:33:38,960 --> 00:33:41,680
Speaker 8: Sometimes they weren't the most notable song for the performer.

740
00:33:41,960 --> 00:33:43,640
Speaker 8: How did you agree to choose the.

741
00:33:43,600 --> 00:33:46,920
Speaker 2: Song for that show, for that episode specifically.

742
00:33:46,440 --> 00:33:47,840
Speaker 8: Or any of them, but that episode?

743
00:33:47,920 --> 00:33:50,680
Speaker 2: Yeah, yeah, I mean normally for any episode, it's sort

744
00:33:50,680 --> 00:33:54,160
Speaker 2: of a it's a conversation between myself and the artists,

745
00:33:54,200 --> 00:33:57,080
Speaker 2: usually facilitated by a publicist. You know where I'm asking

746
00:33:57,600 --> 00:34:01,400
Speaker 2: for which is the song that has the story that's

747
00:34:01,440 --> 00:34:04,880
Speaker 2: the most emotionally significant to them, because I think it

748
00:34:04,920 --> 00:34:07,720
Speaker 2: would be easy for a story about the process of

749
00:34:07,760 --> 00:34:12,040
Speaker 2: a song to simply be like technical And for me,

750
00:34:12,080 --> 00:34:16,000
Speaker 2: it's a chance to have a little miniature biography, tiny

751
00:34:16,040 --> 00:34:18,960
Speaker 2: little portrait of an artist, and we're looking through the

752
00:34:19,000 --> 00:34:22,440
Speaker 2: song to find that. So not all songs provide that

753
00:34:22,600 --> 00:34:28,000
Speaker 2: some songs are really revealing of someone's process but also

754
00:34:28,120 --> 00:34:30,360
Speaker 2: who they are and you know, how their brain works,

755
00:34:30,680 --> 00:34:33,080
Speaker 2: and so by trying to narrow it to something that

756
00:34:33,280 --> 00:34:35,480
Speaker 2: feels like they have a lot to say and it

757
00:34:35,520 --> 00:34:37,920
Speaker 2: really meant something to them, then usually it's a more

758
00:34:37,960 --> 00:34:40,799
Speaker 2: compelling episode. Oftentimes, you know, the label will say, hey,

759
00:34:40,840 --> 00:34:43,319
Speaker 2: we want you to do the latest single, and you know,

760
00:34:43,360 --> 00:34:46,799
Speaker 2: and so sometimes you know, I can counter with that,

761
00:34:46,880 --> 00:34:48,280
Speaker 2: and sometimes it's the same song.

762
00:34:48,840 --> 00:34:51,359
Speaker 3: Tell me about the cooking show, talk about that.

763
00:34:51,440 --> 00:34:54,279
Speaker 2: Yeah, So I made a show called Home Cooking with

764
00:34:54,360 --> 00:34:58,719
Speaker 2: my friend Samin Nosrat, who is an incredible acclaimed cook

765
00:34:58,719 --> 00:35:01,560
Speaker 2: book author and chef. She wrote Salt, Fat, Acid, Heat,

766
00:35:01,880 --> 00:35:05,440
Speaker 2: you know, which was a huge bestseller, and then there

767
00:35:05,440 --> 00:35:07,359
Speaker 2: was a Netflix show based on that that was also

768
00:35:07,400 --> 00:35:10,879
Speaker 2: a huge hit. Samin got called like the modern Julia Child. That's,

769
00:35:11,040 --> 00:35:14,279
Speaker 2: you know, she's really like humanizes and introduces people to

770
00:35:14,480 --> 00:35:18,000
Speaker 2: cooking in a very gentle and loving way. We became

771
00:35:18,040 --> 00:35:21,319
Speaker 2: friends by chance, you know, in twenty seventeen, and then

772
00:35:21,360 --> 00:35:24,640
Speaker 2: when the pandemic hit, suddenly everybody was in lockdown and

773
00:35:24,719 --> 00:35:29,000
Speaker 2: pandemic and everybody's relationship to eating changed because now there

774
00:35:29,040 --> 00:35:31,560
Speaker 2: were no restaurants available for that, you know, first week

775
00:35:31,600 --> 00:35:34,160
Speaker 2: of Lockdown, I was like, I don't know how long

776
00:35:34,200 --> 00:35:37,600
Speaker 2: this is going to go, but people are feeling like me,

777
00:35:37,680 --> 00:35:41,839
Speaker 2: and you know, there's so much uncertainty. And I had

778
00:35:41,880 --> 00:35:44,719
Speaker 2: been asking to me about a podcast previously, but then

779
00:35:44,880 --> 00:35:46,719
Speaker 2: I said, hey, is this the moment where you know

780
00:35:47,000 --> 00:35:49,520
Speaker 2: we can make a podcast where you can help people

781
00:35:49,560 --> 00:35:52,120
Speaker 2: answer their questions. You know, we would come back from

782
00:35:52,120 --> 00:35:55,759
Speaker 2: the grocery stores with such strange carts, you know, like

783
00:35:55,840 --> 00:35:58,160
Speaker 2: whatever was left on the shelf. It's like, well, I'm

784
00:35:58,160 --> 00:36:00,239
Speaker 2: trying a bean. I've never heard of you, but that

785
00:36:00,320 --> 00:36:02,040
Speaker 2: I have six cans of it? What do I do

786
00:36:02,120 --> 00:36:05,240
Speaker 2: with it? Could you help answer these kinds of questions?

787
00:36:05,640 --> 00:36:07,800
Speaker 2: And so she said yes, and so in March of

788
00:36:07,880 --> 00:36:09,640
Speaker 2: twenty twenty, we we were like, we'll just do this

789
00:36:09,760 --> 00:36:13,200
Speaker 2: like special series. What out four episodes and then you know,

790
00:36:13,239 --> 00:36:15,839
Speaker 2: this will blow over, and but we'll have provided some

791
00:36:16,239 --> 00:36:18,280
Speaker 2: fun and something, you know, while people are feeling lonely

792
00:36:18,280 --> 00:36:21,279
Speaker 2: and scared, here's something nice. And then of course the

793
00:36:21,280 --> 00:36:23,320
Speaker 2: things continued, and so then we made more episodes, and

794
00:36:23,360 --> 00:36:26,000
Speaker 2: then things continued, and then we made more episodes and

795
00:36:26,080 --> 00:36:28,000
Speaker 2: so and then we just and then we took a break,

796
00:36:28,040 --> 00:36:30,600
Speaker 2: and then we just made another season this year.

797
00:36:30,880 --> 00:36:33,000
Speaker 3: Anybody else, We have a couple more questions here.

798
00:36:33,200 --> 00:36:36,279
Speaker 7: Hi, I have a question about celebrity for both of you.

799
00:36:36,760 --> 00:36:41,080
Speaker 7: The game now celebrities, I guess Rishiakisha, I'm curious. You

800
00:36:41,160 --> 00:36:44,520
Speaker 7: know you're talking to all of these extremely huge stars.

801
00:36:45,120 --> 00:36:48,399
Speaker 7: Do you find yourself feeling like a fan or has

802
00:36:48,440 --> 00:36:50,480
Speaker 7: that like changed over time because you talked to so

803
00:36:50,520 --> 00:36:52,480
Speaker 7: many people? But how do you see them as people?

804
00:36:52,600 --> 00:36:55,560
Speaker 7: And then question for Alec like do you feel like

805
00:36:55,560 --> 00:36:58,319
Speaker 7: there's sort of an obstacle because you're so famous in

806
00:36:58,400 --> 00:37:00,560
Speaker 7: connecting with people, like if you're out the world?

807
00:37:01,400 --> 00:37:01,680
Speaker 1: Is that?

808
00:37:01,760 --> 00:37:04,040
Speaker 7: I'm curious about your experience of celebrity as well.

809
00:37:04,520 --> 00:37:06,680
Speaker 3: I'm sorry we're out of time. You go ahead to

810
00:37:06,680 --> 00:37:07,480
Speaker 3: be ahead.

811
00:37:08,080 --> 00:37:11,640
Speaker 2: Well, I think that my I'm so concerned with making

812
00:37:11,680 --> 00:37:15,640
Speaker 2: sure that the show feels like a professional experience for

813
00:37:15,719 --> 00:37:18,200
Speaker 2: everyone and that like I can get a good show

814
00:37:18,600 --> 00:37:21,520
Speaker 2: in the limited time that I have with someone, that

815
00:37:21,520 --> 00:37:25,720
Speaker 2: that overcomes any possibility of you know, fanboying or something

816
00:37:25,760 --> 00:37:28,800
Speaker 2: like that. Because sort of related to the previous question

817
00:37:28,880 --> 00:37:31,560
Speaker 2: about making someone feel comfortable, I think if you come

818
00:37:31,600 --> 00:37:35,480
Speaker 2: in with too much starstruck energy. It puts people in

819
00:37:35,560 --> 00:37:38,120
Speaker 2: the opposite place, or at least not the right place

820
00:37:38,320 --> 00:37:40,759
Speaker 2: where I want them, which is to feel relaxed. And

821
00:37:41,120 --> 00:37:43,000
Speaker 2: like you said, you know, just like have their guard down.

822
00:37:43,080 --> 00:37:45,319
Speaker 1: You've got to convince them you're not to get them. Yes, well,

823
00:37:45,400 --> 00:37:47,480
Speaker 1: this is all about My show is all about appreciation.

824
00:37:47,719 --> 00:37:51,680
Speaker 2: Yeah, And I think if you can show genuine curiosity

825
00:37:51,719 --> 00:37:54,399
Speaker 2: at a deeper level than just like, oh I love

826
00:37:54,400 --> 00:37:57,080
Speaker 2: this thing, you know, then I think that also helps

827
00:37:57,360 --> 00:38:00,319
Speaker 2: people relax. So getting into that mind frame for me

828
00:38:00,800 --> 00:38:03,959
Speaker 2: is easy because I'm just trying to make the best

829
00:38:04,000 --> 00:38:07,880
Speaker 2: show possible. If it goes really well and the interview

830
00:38:08,000 --> 00:38:10,160
Speaker 2: is over, then I can sort of say, you know,

831
00:38:10,160 --> 00:38:12,319
Speaker 2: if they're happy, then I can say, by the way,

832
00:38:12,800 --> 00:38:15,719
Speaker 2: I've loved everything you've made, and you know, here's a

833
00:38:16,080 --> 00:38:18,880
Speaker 2: story about how I first got into your work or

834
00:38:18,880 --> 00:38:20,759
Speaker 2: something like that. But only if it goes well, and

835
00:38:20,920 --> 00:38:22,040
Speaker 2: only at the end, do we.

836
00:38:21,960 --> 00:38:23,279
Speaker 3: Have one more question before we go, because I have

837
00:38:23,280 --> 00:38:24,120
Speaker 3: another last one for you.

838
00:38:24,239 --> 00:38:24,399
Speaker 9: Hi.

839
00:38:24,840 --> 00:38:27,439
Speaker 10: I'm a big fan of Perfume Genius and I loved

840
00:38:27,440 --> 00:38:30,440
Speaker 10: your episode with them, but I wanted to ask, is

841
00:38:30,480 --> 00:38:35,000
Speaker 10: there an episode that you felt like really helped an

842
00:38:35,080 --> 00:38:37,120
Speaker 10: artist kind of level up their audience, or if it's

843
00:38:37,120 --> 00:38:40,279
Speaker 10: an older song, sort of like helped introduce it to

844
00:38:40,480 --> 00:38:42,080
Speaker 10: a new audience or generation.

845
00:38:42,760 --> 00:38:45,399
Speaker 2: I wouldn't presume to try and answer for an artist

846
00:38:45,480 --> 00:38:47,880
Speaker 2: in terms of, you know, what an episode of the

847
00:38:47,920 --> 00:38:50,560
Speaker 2: podcast has done for them. I will say one thing

848
00:38:50,560 --> 00:38:53,440
Speaker 2: that was really nice was I did an episode with

849
00:38:53,520 --> 00:38:56,120
Speaker 2: Dan Wilson from the band Semi Sonic about Closing Time,

850
00:38:56,560 --> 00:38:58,920
Speaker 2: and you know, it's such a famous song, but I

851
00:38:58,920 --> 00:39:01,839
Speaker 2: think most people didn't know the real backstory behind it.

852
00:39:02,120 --> 00:39:05,040
Speaker 2: And after that episode came out, he was very kind

853
00:39:05,120 --> 00:39:08,960
Speaker 2: about it, and he said that he got more messages

854
00:39:08,960 --> 00:39:12,279
Speaker 2: from people listening to that episode and reacting to it

855
00:39:12,360 --> 00:39:15,040
Speaker 2: him personally than any other thing that he had done.

856
00:39:15,200 --> 00:39:17,960
Speaker 2: And you know, I think people were really moved by

857
00:39:17,960 --> 00:39:20,840
Speaker 2: his story. It's not my story, it's his story. You know.

858
00:39:20,920 --> 00:39:22,880
Speaker 2: I can't really claim any credit for it, but I

859
00:39:22,920 --> 00:39:25,520
Speaker 2: think that was something that was really nice where it's

860
00:39:25,560 --> 00:39:27,279
Speaker 2: not like that song needed any help in terms of

861
00:39:27,280 --> 00:39:31,000
Speaker 2: its popularity, but to be able to give Dana platform

862
00:39:31,080 --> 00:39:32,800
Speaker 2: to say, like, this is what the song is really about.

863
00:39:32,960 --> 00:39:34,000
Speaker 2: That was special.

864
00:39:36,600 --> 00:39:42,160
Speaker 1: Musician and podcaster Wishy Cash hereway, if you're enjoying this conversation,

865
00:39:42,280 --> 00:39:45,000
Speaker 1: tell a friend and be sure to follow Here's the

866
00:39:45,080 --> 00:39:50,160
Speaker 1: Thing on the iHeartRadio app, Spotify, or wherever you get

867
00:39:50,200 --> 00:39:54,439
Speaker 1: your podcasts. When we come back, here Way shares how

868
00:39:54,480 --> 00:40:11,759
Speaker 1: he came to score the CNN documentary Our Nixon. I'm

869
00:40:11,760 --> 00:40:15,600
Speaker 1: Alec Baldwin and this is Here's the Thing. In addition

870
00:40:15,680 --> 00:40:20,720
Speaker 1: to creating award winning podcasts and recording multiple albums, Bashi

871
00:40:20,800 --> 00:40:24,400
Speaker 1: Cash Hereway as also a composer for film and TV.

872
00:40:25,080 --> 00:40:29,000
Speaker 1: He scored his first film, Save the Date, in twenty twelve.

873
00:40:29,160 --> 00:40:32,680
Speaker 1: A year later, an opportunity came to score the CNN

874
00:40:32,760 --> 00:40:36,600
Speaker 1: documentary Our Nixon. I wanted to know how here Way

875
00:40:36,680 --> 00:40:40,080
Speaker 1: went from the indie music and film scene to scoring

876
00:40:40,120 --> 00:40:41,560
Speaker 1: a CNN documentary.

877
00:40:42,160 --> 00:40:44,799
Speaker 2: It's directed by a wonderful director named Penny Lane. It's

878
00:40:44,840 --> 00:40:48,360
Speaker 2: a real name, and it's all archival material except for

879
00:40:48,400 --> 00:40:53,080
Speaker 2: the score. She gathered the home movies of the Nixon

880
00:40:53,120 --> 00:40:56,600
Speaker 2: cabinet members. These eight millimeters home movies that they had

881
00:40:56,600 --> 00:41:00,640
Speaker 2: made while working for Nixon had been confiscated by the FBI,

882
00:41:00,960 --> 00:41:04,640
Speaker 2: and they sat undeveloped for decades, and then they got

883
00:41:04,640 --> 00:41:08,879
Speaker 2: declassified and in the world of like archivist nerds. These

884
00:41:08,880 --> 00:41:10,359
Speaker 2: were kind of like a holy Grail, and then they

885
00:41:10,520 --> 00:41:14,240
Speaker 2: came out and then they developed them. And her idea

886
00:41:14,400 --> 00:41:17,360
Speaker 2: was that these guys are the biggest villains in American

887
00:41:17,360 --> 00:41:20,279
Speaker 2: political history at the time, this is twenty thirteen. These

888
00:41:20,280 --> 00:41:23,759
Speaker 2: guys were the biggest villains in American political history. But

889
00:41:23,840 --> 00:41:26,239
Speaker 2: nobody's a villain in their own home movies. So what

890
00:41:26,280 --> 00:41:28,200
Speaker 2: does that look like and what happens if you try

891
00:41:28,239 --> 00:41:31,319
Speaker 2: and tell the story as seen through their eyes? And

892
00:41:31,600 --> 00:41:33,880
Speaker 2: I had seen a short film of hers called The Voyagers,

893
00:41:33,880 --> 00:41:37,959
Speaker 2: which is beautiful. Also highly recommended The Voyagers about Carl

894
00:41:38,000 --> 00:41:41,800
Speaker 2: Sagan and the Voyager Mission, and it's beautiful short film.

895
00:41:42,080 --> 00:41:44,839
Speaker 2: I was just a fan. Subscribed to her newsletter. One

896
00:41:44,880 --> 00:41:48,319
Speaker 2: day she mentioned that she was working on this Nixon documentary,

897
00:41:48,360 --> 00:41:50,600
Speaker 2: and I said, hey, I love what you do. I

898
00:41:50,680 --> 00:41:56,080
Speaker 2: love that era of American politics. I just think it

899
00:41:56,200 --> 00:41:57,040
Speaker 2: is a movie, you know.

900
00:41:57,520 --> 00:42:00,000
Speaker 1: Like, I'm a fan of too many Oliver Stone movies.

901
00:42:00,040 --> 00:42:01,879
Speaker 1: I mean I like them, they're okay, But his film

902
00:42:01,920 --> 00:42:04,360
Speaker 1: on Nixon, Montoni Happens, that's an amazing film.

903
00:42:04,440 --> 00:42:04,720
Speaker 3: Yeah.

904
00:42:04,760 --> 00:42:05,680
Speaker 1: That just shattered me.

905
00:42:05,960 --> 00:42:08,480
Speaker 2: Yeah, I mean, well, all the president's men, you know,

906
00:42:08,840 --> 00:42:11,359
Speaker 2: it's just I think that's probably part of the reason

907
00:42:11,400 --> 00:42:13,640
Speaker 2: why I love the story too. So I just said,

908
00:42:14,239 --> 00:42:16,440
Speaker 2: you're working on this documentary, do you have a composer?

909
00:42:16,480 --> 00:42:18,799
Speaker 2: Do you need a composer? Can I audition? How can

910
00:42:18,840 --> 00:42:21,520
Speaker 2: I work on this with you? And she wrote back

911
00:42:21,560 --> 00:42:23,160
Speaker 2: and said, no, we don't have a composer. But you know,

912
00:42:23,400 --> 00:42:25,800
Speaker 2: she didn't know we'd never met, so I had to audition.

913
00:42:25,840 --> 00:42:29,160
Speaker 2: I like wrote some music based on the idea of

914
00:42:29,160 --> 00:42:30,440
Speaker 2: what I thought the film was going to be.

915
00:42:30,680 --> 00:42:33,680
Speaker 1: You're the poster boy for doesn't hurt to ask? Yeah,

916
00:42:34,320 --> 00:42:37,000
Speaker 1: that's your life. Doesn't hurt to ask? I wanted to

917
00:42:37,000 --> 00:42:38,920
Speaker 1: ask you two silly questions. I can't help myself.

918
00:42:38,920 --> 00:42:40,760
Speaker 3: I'm sorry. What's your favorite food?

919
00:42:42,080 --> 00:42:44,960
Speaker 2: Cookies? Chocolate chip cookies?

920
00:42:45,280 --> 00:42:49,000
Speaker 1: Okay? Really, well, Connor, what brand of cookie?

921
00:42:49,440 --> 00:42:53,280
Speaker 2: Well? Here in New York there's the Jacques Torres Chalcosh cookie,

922
00:42:53,280 --> 00:42:56,640
Speaker 2: which is kind of I feel like, so fancy cookies. Yes, yeah, yeah,

923
00:42:56,719 --> 00:42:58,759
Speaker 2: no girls no, girls Scout cookie. No, I want the

924
00:42:58,800 --> 00:43:01,000
Speaker 2: New York Yankees of cookie where it's like they've spent

925
00:43:01,160 --> 00:43:03,960
Speaker 2: so much money on all the ingredients, Yeah, to make

926
00:43:03,960 --> 00:43:06,520
Speaker 2: it the best thing. That's yeah, that's what about food?

927
00:43:06,560 --> 00:43:07,000
Speaker 3: Like a meal?

928
00:43:07,320 --> 00:43:09,960
Speaker 2: A meal? I mean it's a cliche, but you know

929
00:43:10,000 --> 00:43:11,919
Speaker 2: my my mom was a great cook and I would

930
00:43:11,920 --> 00:43:13,279
Speaker 2: give anything to have her cooking again.

931
00:43:14,760 --> 00:43:16,399
Speaker 1: Let's have a round up a pause from my guest,

932
00:43:27,360 --> 00:43:31,360
Speaker 1: my thanks to Rishi Cash, Hairway and the on air fest.

933
00:43:31,960 --> 00:43:34,719
Speaker 1: I'll leave you with the latest single, roller Coaster, from

934
00:43:34,800 --> 00:43:38,279
Speaker 1: his new album in the Last Hour of Light. I'm

935
00:43:38,320 --> 00:43:40,960
Speaker 1: Alec Baldwin. Here's the thing that's brought to you by

936
00:43:41,080 --> 00:43:42,440
Speaker 1: iHeart Radio.

937
00:43:43,560 --> 00:43:52,400
Speaker 4: Out on Cattarina. There's a hundred buffalo pending by the ocean.

938
00:43:53,400 --> 00:43:55,240
Speaker 4: The only now.

939
00:43:56,480 --> 00:44:00,000
Speaker 9: Did they do my great names?

940
00:44:00,120 --> 00:44:04,960
Speaker 4: They breathe in the salting? Can you miss the places

941
00:44:05,080 --> 00:44:08,240
Speaker 4: you're meant to be? If you earnther?

942
00:44:08,640 --> 00:44:10,319
Speaker 2: The Does it go?

943
00:44:11,719 --> 00:44:11,879
Speaker 3: And?

944
00:44:13,320 --> 00:44:17,120
Speaker 9: And what if this goes on?

945
00:44:18,400 --> 00:44:29,000
Speaker 4: And? And caught myself staring into nothing much at all,

946
00:44:29,880 --> 00:44:35,800
Speaker 4: past the fair ground, the graveyard, the empty shopping mall.

947
00:44:37,000 --> 00:44:41,880
Speaker 4: I drove till the road and they didn't, Uh Cody

948
00:44:42,280 --> 00:44:48,560
Speaker 4: Beach about the distance between me and everything that's out

949
00:44:48,600 --> 00:44:50,600
Speaker 4: of each Does it go?

950
00:44:52,000 --> 00:44:57,480
Speaker 9: And? And what if this goes on?

951
00:44:58,680 --> 00:45:07,680
Speaker 4: And and? On a road the cold stir a ride

952
00:45:10,160 --> 00:45:14,240
Speaker 4: upper gains seal that sky.

953
00:45:15,920 --> 00:45:20,560
Speaker 9: What if this goes on and and.

954
00:45:35,880 --> 00:45:40,360
Speaker 2: What if this goes on, and dope, and.

955
00:45:42,520 --> 00:45:49,680
Speaker 9: What if this goes on and and so what if

956
00:45:49,840 --> 00:45:55,280
Speaker 9: this goes on and.

957
00:45:53,640 --> 00:45:58,680
Speaker 3: And what if this goes on and

958
00:46:00,280 --> 00:46:00,879
Speaker 4: And don