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Speaker 1: I said, there's no way, no way I could get

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Speaker 1: it down down there without falling down that ramp.

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Speaker 2: All right, but Donald's singing. You may know if you're

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Speaker 2: an avid listener of Fake Doctor's Real Friends, that Donald

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Speaker 2: and I are big fans of a song of five moment.

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Speaker 2: We sang, he's driving in your window, He's climbing in

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Speaker 2: your window. That's Natien yeo, people up a hod your kids,

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Speaker 2: hodg wife. Well, we are a sucker for song of

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Speaker 2: five moments. And I sent Donald's what is probably the

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Speaker 2: greatest song of the summer.

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Speaker 3: Oh my gosh, it's it's it's my new bop.

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Speaker 2: Dan, You're gonna have to edit this in sounding better

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Speaker 2: than I have it, but I have to play this

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Speaker 2: for you. And I gotta give a shout out to

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Speaker 2: these guys. Oh they're called the Gregory Brothers. You guys.

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Speaker 2: You can find them on on Twitter at Gregory Brothers.

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Speaker 2: And then I saw, yeah, go ahead.

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Speaker 1: Don I just want to say I didn't know. First

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Speaker 1: of all, I had no idea that Donald Trump was

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Speaker 1: a poet.

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Speaker 3: Because he's a poet. He rhymes in his bees and

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Speaker 3: I didn't even know.

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Speaker 2: Listen, Donald and I have been talking about back and

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Speaker 2: forth sometimes with you, sometimes privately on our phone about

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Speaker 2: what are our favorite songs of summer. We've been talking

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Speaker 2: about t Swift. We've been you know, we played you, uh,

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Speaker 2: Toby Sebastian last episode. But listen, this is the song

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Speaker 2: of the summer, you guys, and Donald and I haven't

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Speaker 2: singing it to each other. Okay. Now, for those who

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Speaker 2: don't know, Donald Trump had trouble making it down a ramp.

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Speaker 2: You know, I don't fault the guy. I mean, I

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Speaker 2: fought him for lots of things, but you know, he's

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Speaker 2: in his seventies. There was no banister. But then he

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Speaker 2: had to go brag about it. Okay, he had to

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Speaker 2: go brag about it, and these guys songified the bragging.

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Speaker 2: So here you go. Here's the song and.

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Speaker 4: Something There's no way, yeah, hey, no wait for the hookup.

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Speaker 5: It was.

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Speaker 1: Said, there's no way, fire, no way, fire, kid, here

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Speaker 1: we go, get here we go.

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Speaker 6: But ten feet sure, I read.

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Speaker 2: God, that's the favorite.

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Speaker 3: I read somebody got down to Red.

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Speaker 2: Oh my god, I love that song, my Red. That's

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Speaker 2: my favorite hook Right there, I read down the rips.

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Speaker 2: Fucking fucking DJ Collin couldn't write that hook.

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Speaker 3: Another one. He would, but he would, you know, he

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Speaker 3: heard that like all of us did, and was like,

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Speaker 3: damn that list up.

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Speaker 2: I never heard a song of five song that I

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Speaker 2: wanted a full song to. That's only a minute long.

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Speaker 2: I want the whole fucking song.

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Speaker 3: ID no way, no way. I could wait.

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Speaker 5: I can't.

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Speaker 3: Without falling on my ass. There's no way. And then

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Speaker 3: he goes, I read, I've read.

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Speaker 2: Down the ram, So congrats to those Gregory brothers. That's

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Speaker 2: a that's a that's a bop, as that kid said, bop.

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Speaker 3: Dude, that is a bop. How are you man?

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Speaker 2: Oh man? I read everyone's gonna be singing that. You

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Speaker 2: know what everybody's singing other than that song?

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Speaker 3: What you're trying to get into a d shown. It

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Speaker 3: is a ring tone.

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Speaker 2: It's a ringtone. Joelle. Is it officially available for everybody?

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Speaker 2: It should be by the time this airs. It should

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Speaker 2: officially be available those of you who are clamoring, clamoring

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Speaker 2: for the hottest ring tone of summer, the a Daishun song.

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Speaker 2: Look at your beard? You that is a big beard.

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Speaker 3: I committed to it.

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Speaker 2: You look great.

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Speaker 3: It looks thick and it's very Yeah, I got hair

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Speaker 3: on my face.

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Speaker 2: Does Casey like to run her fingers through it?

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Speaker 3: Me and Casey don't be you know, listen, man, we

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Speaker 3: don't like to kiss and tell.

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Speaker 2: Okay, so well you have to tell me what you

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Speaker 2: did sexually, but you can tell me if she ran

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Speaker 2: her fingers through it. I'm not asking you if she

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Speaker 2: fucking lets you spang her? But did you.

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Speaker 6: It appropriate? I read?

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Speaker 2: No, we're family, Casey, Casey lets me know things.

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Speaker 3: No, she doesn't, she does, she does. My wife tells

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Speaker 3: you shit work.

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Speaker 2: No, no, you know she doesn't. But but you know,

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Speaker 2: when we're together, when we're together as as as couples,

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Speaker 2: we sometimes speak openly.

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Speaker 5: Right.

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Speaker 1: It's crazy, man, with this whole quarantine thing going. We

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Speaker 1: see each other every day, all day, all day. I

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Speaker 1: love my wife tremendously. But once we put the kids down,

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Speaker 1: we kind of separate a little bit and we go

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Speaker 1: in our own rooms and she watches her date lines,

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Speaker 1: and you know, I watch my.

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Speaker 2: It's just like this episode that we're gonna talk about.

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Speaker 3: Well, this episode is you fall asleep.

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Speaker 2: Judy wants romance, Carla wants romance, and she wants some sex.

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Speaker 2: You fall asleep during the Jefferson's theme song.

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Speaker 3: But yeah, but that's after we have sex.

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Speaker 5: Though.

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Speaker 3: First of all, I.

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Speaker 2: Don't know, so is the joke that you only lasted

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Speaker 2: the length of the theme song of the Jeffersons.

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Speaker 3: No, he didn't even last the length of the theme song.

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Speaker 3: It was like, well, we're moving on.

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Speaker 1: He probably got beans down Friday in the kitchen, the

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Speaker 1: beans on, burn on the girl.

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Speaker 3: He probably got to that.

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Speaker 2: Yeah, and then he finished, and.

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Speaker 3: He's like, took a whole lot of trees.

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Speaker 2: Because you're right, because now we know you finished in

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Speaker 2: the first couple of lyrics, because by the time we

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Speaker 2: get to sky Hi the camera till he's out and

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Speaker 2: you're asleep, right, so you needed time to at least

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Speaker 2: clean yourself up a.

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Speaker 3: Lot of too. Right.

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Speaker 2: Yeah, let's assume you finished it. Try and now we

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Speaker 2: up in the big Now you're cleaning yourself my turn.

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Speaker 2: It bet coming up too long?

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Speaker 3: We living it's you and the baby.

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Speaker 2: I think he might have lasted longer. I think he

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Speaker 2: might have lasted longer because if you're back time it,

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Speaker 2: you had you only need about a few few words

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Speaker 2: to get cuddly and fall asleep, So to go ho

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Speaker 2: lot of too fight and find a later spot for

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Speaker 2: your ejaculation.

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Speaker 3: D up in the big Get my turn at bat.

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Speaker 2: No, I think it came out. Ain't nothing wrong with.

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Speaker 3: That, get my turn at bet.

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Speaker 1: As long we living, it's you and me, baby, it

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Speaker 1: ain't nothing wrong with that, said, we're moving on now.

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Speaker 2: That's probably how it timed out. Yeah, that's probably how

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Speaker 2: it timed out. Well, welcome to Fake Doctor's real friends.

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Speaker 2: We have John see McGinley here today for a very

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Speaker 2: very very good episode. I just watched it. It's really good.

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Speaker 3: Yeah, I watched it also just now.

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Speaker 1: I watched it, and I don't think I need a

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Speaker 1: first of all, before we get a movie from six seven.

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Speaker 7: Eight stories, I'm not show. We made about a bunch

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Speaker 7: of tops and nurses, and he said, here's a story

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Speaker 7: nets No.

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Speaker 2: So YadA around here?

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Speaker 3: Yeahda around here, sies.

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Speaker 8: And no, oh hello, there's thunderous applause. Thunderous applause. Damn Donald,

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Speaker 8: turn your key.

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Speaker 3: I look at you, Look at how are you?

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Speaker 5: Sir?

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Speaker 2: You're back in your aque room. You're back in your

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Speaker 2: aquey room, Johnny.

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Speaker 5: I know because Nicole has a migraine and she's upstairs.

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Speaker 5: And when you gets some their blackout and so oh no,

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Speaker 5: that's horrible. Yeah, it's the worst thing on the platt

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Speaker 5: But I am down here and I'm really sorry that

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Speaker 5: that that we have the echo, but I can't go

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Speaker 5: up there.

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Speaker 2: Well, listen, the audience is so fucking excited whenever you

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Speaker 2: come on. I think they will they will handle an

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Speaker 2: echo because all we get on our on our social

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Speaker 2: media is when is Johnny c McGinley coming back on?

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Speaker 2: You're everybody's favorite guests. Everybody loves your story of your

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Speaker 2: leeches attacking your your what do you call it, your

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Speaker 2: your man power power source, Johnny, I.

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Speaker 3: Laugh on it's a latch storm to the power source.

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Speaker 2: Yes, the re leaches all over his power source.

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Speaker 5: I thought the last couple of guests you've had on

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Speaker 5: were fascinating, and I thought Brendan was just so interesting.

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Speaker 5: And it's always fun to listen to how geeked out

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Speaker 5: you guys get. Whether it was with Heather, because Jack,

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Speaker 5: you are clearly uncomfortable. Yeah, I understand that, complete dude.

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Speaker 2: I want the audience to know that I tried my best,

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Speaker 2: but I was I mean, I grew up and she

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Speaker 2: was like she probably was a poster on my wall.

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Speaker 2: I mean she was Haather fucking lock redar and I

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Speaker 2: may be forty five years old, but I was just

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Speaker 2: as giddy.

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Speaker 3: Yes, she's fine.

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Speaker 5: I completely appreciate that because when she was on the

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Speaker 5: set and I was very single, Yeah I did. I

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Speaker 5: no sooner even accurred to me to approach her that

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Speaker 5: way because she's something else.

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Speaker 2: Yeah, but there you were, dude, there you were having

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Speaker 2: uh sex scenes with a goddess, with a living goddess.

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Speaker 3: I was that was acting.

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Speaker 5: That was I was too. That was out of my weight,

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Speaker 5: class man.

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Speaker 2: Totally kind of like kind of like JD hitting on

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Speaker 2: gifts Partofoli there's I'm watching this fucking episode, and the

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Speaker 2: idea of of JD getting Sarah Lancaster, a who plays

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Speaker 2: gift shop girl, and then b not being able to

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Speaker 2: get a hard on for her. I just found unreal

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Speaker 2: liistic television. I'm sorry. I'm sorry, but I called bullshit

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Speaker 2: on this writing. First of all, it's written by Angela

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Speaker 2: Nissel and directed by Gail Mancuso.

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Speaker 3: Angelasle I have to, I have to, I have.

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Speaker 5: To stop before we go any further. I looked at

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Speaker 5: two nine.

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Speaker 2: You look at the wrong episode.

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Speaker 5: Yeah, that.

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Speaker 2: Okay, Well, Johnny, I.

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Speaker 5: Think you guys should start over without me, because I

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Speaker 5: have no idea what two ten is. I have copious

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Speaker 5: notes on two O nine.

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Speaker 2: Which one's two on nine?

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Speaker 5: Two nine's when you you and I have my favorite

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Speaker 5: team we ever did together. When I tell you it

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Speaker 5: wasn't a favorite, it was my job. The end of

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Speaker 5: the episode, Oh, I love that.

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Speaker 2: How do we salvage this, Johnny, because we're so excited

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Speaker 2: to have you on?

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Speaker 5: Well, I know how we can salvage it because I

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Speaker 5: had an overriding angle that I wanted to look at,

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Speaker 5: and it's inspired by what you guys have told me

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Speaker 5: and Uptown Girls and some of your adventures in New

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Speaker 5: York City when you guys were in that apartment. What

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Speaker 5: happened between season one and season two, since I haven't

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Speaker 5: talked to you since the end of season one, for

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Speaker 5: me was that I had a C plus comedy come

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Speaker 5: out with Jason Lee and Tom Green called Stealing Harvard,

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Speaker 5: and I spent the entire hiatus and Jackie, you came

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Speaker 5: to visit me at Columbia doing Identity with James mangle it,

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Speaker 5: and I would suggest to you that what we do

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Speaker 5: in our hiatuses informs what we do when we get

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Speaker 5: back in front of the lens and that you bring

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Speaker 5: that either those asked, that's their liabilities with you, and

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Speaker 5: it informs the way you grow in front of the lens.

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Speaker 2: Yes, I agree, but wait, how are you saying that

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Speaker 2: this informed when we came back together for season two?

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Speaker 9: Because what I brought having spent those I don't know,

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Speaker 9: nine weeks with Jim mangled, you know, I'm mister verb

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Speaker 9: and my overriding objective in season two was to contribute.

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Speaker 5: And then this counterintuitive thing happened where I wanted to

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Speaker 5: I want to cox. I wanted to contribute by capitulating

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Speaker 5: in front of the lens. And I'll tell you what

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Speaker 5: I mean. I was starting to get too busy at

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Speaker 5: the end of season one and intoxicated with the eccentricities

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Speaker 5: of all the craziness. And what happened on Identity, which

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Speaker 5: was the name of the film that Jim directed with

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Speaker 5: Johnny and Ray and Amanda, was that everything just kept

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Speaker 5: getting stripped down. Molina, all these people, He just kept

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Speaker 5: stripping stuff down. And it occurred to me that I

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Speaker 5: was bringing too much baggage in between action and cut,

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Speaker 5: and so what it decided was that what the capitulation

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Speaker 5: would be would would be that I was going to

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Speaker 5: get out of the way. And at no point was

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Speaker 5: it more on point than when you and I were

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Speaker 5: in that doctor's lounge at the end of two nine unfortunately,

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Speaker 5: and you you had been chesty that JD had been

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Speaker 5: chesty the whole episode. And finally they get to come

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Speaker 5: together and Cox lets him off the hook. But in

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Speaker 5: letting him off the hook, there's a surrender in that too,

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Speaker 5: there's a capitulation, and it's just it's the cleanest scene

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Speaker 5: I can remember that I can remember. I can't remember,

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Speaker 5: you know, like Donald and I Zach give a better

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Speaker 5: memory than us, but I can't remember all this stuff.

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Speaker 2: But I agree, Johnny, because one of the things I

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Speaker 2: said when we talked about that was the episode was so,

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Speaker 2: you know, the show is so silly and can be

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Speaker 2: and and and can go all over the place in fantasies.

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Speaker 2: But what I'm so proud of in this show when

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Speaker 2: it worked was how we would just drop in and

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Speaker 2: be straight and and that scene with you and I

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Speaker 2: in that room, to me is one of the best

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Speaker 2: of the series. And it's so it's so simple. It's

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Speaker 2: probably forty five second scene. But I think you and

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Speaker 2: I I was so vulnerable, and you were so vulnerable,

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Speaker 2: and and and up to this point there's been there's

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Speaker 2: been almost no Maybe once or twice you give in,

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Speaker 2: the Cox gives in, and and and is willing to

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Speaker 2: give him some mentorship. But this was a real first time.

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Speaker 2: I think that Cox is this vulnerable in front of him,

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Speaker 2: telling him that it's this is my job. My job

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Speaker 2: is to make sure you don't fuck up.

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Speaker 5: But there's also it's a it's a combination, and you

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Speaker 5: as a filmmaker surely will appreciate this, and Donald as well,

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Speaker 5: is that the scene starts out with this great dolly

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Speaker 5: over your shoulder and then we land on cocks and

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Speaker 5: that fucking great music cue already started when Donald jumped

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Speaker 5: off the couch to go put Rowdy on the fourth floor.

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Speaker 5: And it's under pressure with Queen and Bowie and just everything,

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Speaker 5: and I can't remember. I think Larry Trillian shot it,

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Speaker 5: and everything that could come together in a twenty four

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Speaker 5: minute TV show came together. And that doesn't always happen.

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Speaker 5: And when it does, and it shouldn't happen, it's impossible.

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Speaker 5: The schedule is impossible, and everything is working against you.

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Speaker 5: And when it does, Yeah, it's magic.

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Speaker 2: Yeah, it's so fun too when those moments happen in

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Speaker 2: both You know, as an actor, you just kind of

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Speaker 2: go out it all the time, and sometimes magic happens

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Speaker 2: and sometimes it doesn't. And then there's moments, both as

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Speaker 2: an actor and a director where you're watching something. I

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Speaker 2: remember I was directing Wish I was here and this

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Speaker 2: great scene between Manny Patankin and Kate Hudson, and there

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Speaker 2: was supposed to be this moment where they connected, and

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Speaker 2: all of a sudden, the monitors it just I was

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Speaker 2: watching them, and it just magic happened, and Kate had

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Speaker 2: a single tear just trickling down her eye, and then

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Speaker 2: instead of stopping talking, she just ad libbed this extra

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Speaker 2: line and she swiped her tear away kind of like nonchalantly,

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Speaker 2: like she didn't want Manny Patankin to see the moment.

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Speaker 2: And it was just one of those moments where you're like,

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Speaker 2: holy shit, like something special just happened. That was way

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Speaker 2: better than what was it in my mind. I feel

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Speaker 2: that way about a lot of things in Scrubbs that

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Speaker 2: we did, Like we're oftentimes it was about comedy. We

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Speaker 2: were all riffing together and there'd be some funny thing

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Speaker 2: we'd all come up with then, But this is one

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Speaker 2: of those moments that you're talking about where it was

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Speaker 2: like just so much better than what we could even

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Speaker 2: imagine was on the page.

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Speaker 5: But I had to go away for the summer. And

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Speaker 5: maybe Donald, you'll know what I'm talking about with because

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Speaker 5: I heard you talk and a Heather about the film

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Speaker 5: you guys did. When you when you go away, what

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Speaker 5: happens is and Donald, you'll appreciate this in kind of

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Speaker 5: a sports metaphor. If you if you shoot ten thousand

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Speaker 5: free throws, you will get better at free throws. And

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Speaker 5: if you stay in front of a lens, even when

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Speaker 5: you're on hiatus, if you stay in front of the lens,

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Speaker 5: you'll stop acting and start behaving. And it's not semantics.

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Speaker 5: They're two different things. And especially if you have a

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Speaker 5: task master who's creative, like Jim Mangel, who's not only

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Speaker 5: going to keep you in front of the lens. We're

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Speaker 5: just going to keep stripping stuff down. And what I

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Speaker 5: mean by stripping stuff down is that actors always want

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Speaker 5: to add in eccentricity. They want to they want to

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Speaker 5: add a limp or a lisp, or a or a

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Speaker 5: tick or some some kind of eccentricity, and Jim wanted

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Speaker 5: them all out out out. He went a rain was

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Speaker 5: a character in the story deal with the rain. And

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Speaker 5: I always like when actors have to deal with cold,

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Speaker 5: dark and rain, because everything goes away and they just

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Speaker 5: start behaving. If it's four o'clock in the morning, if

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Speaker 5: you're shooting nights, the production is added rain, it's freezing

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Speaker 5: out and it's four in the morning, everybody stops acting

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Speaker 5: and they just start staying their lines, and scenes start

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Speaker 5: to click because people want to get through the scene

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Speaker 5: like the people in the scene. And I remember one

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Speaker 5: of these times happened, and I can't remember the episode.

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Speaker 5: I'm almost positive you were pulling the Triggers act when

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Speaker 5: Molly Shannon came on.

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Speaker 2: Yeah, that's Donald and I talk about that episode all

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Speaker 2: the time. It's my favorite one because my first time directing.

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Speaker 5: I'm standing across the room from her and she's lovely

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Speaker 5: and all that, but she's a comedian and I don't

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Speaker 5: know what kind of chop she has. And then she

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Speaker 5: finally tells me why she's so kooky, and we find

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Speaker 5: about her, We find out about her loss and what

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Speaker 5: the actor once she went in and dug out was

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Speaker 5: the stuff that dreams are made of for the lens.

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Speaker 5: And I was standing there watching her, and we didn't

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Speaker 5: do that many takes because she crushed it and she

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Speaker 5: brought her she brought her off screen life into that

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Speaker 5: that wasn't on the page. Where she went wasn't on

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Speaker 5: the page.

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Speaker 3: You know, Johnny, I definitely agree with you about working

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Speaker 3: during your hiatus. It keeps you in a rhythm.

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Speaker 1: I feel like I feel like toward the end of

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Speaker 1: every season when we were making the show, we would

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Speaker 1: find our rhythm and we would be all of a

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Speaker 1: sudden clicking, and it, just like you said, it became

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Speaker 1: it was no longer about let me act the shit

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Speaker 1: out of it. Let me say to my lines, I

362
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Speaker 1: don't want to be here until fucking you know, midnight tonight.

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Speaker 1: Let me say my lines, and let the work do

364
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Speaker 1: its job. Let the work make it happen. And I

365
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Speaker 1: think when you go away and you do another project

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Speaker 1: and you get excited again, that same thing fuels you

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Speaker 1: for when you go back to work the next year.

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Speaker 1: Now you're in a rhythm, and so that energy that

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Speaker 1: you had at the end of the season where you're

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Speaker 1: like efficient and You're trying to make it happen like

371
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Speaker 1: in one take and right away, because you're you know,

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Speaker 1: you're you don't want to be there late, and you

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Speaker 1: want to be looked at as a as a professional.

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Speaker 1: And when you do that all summer long, when you

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Speaker 1: come back in in the beginning, you don't have the rusties,

376
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Speaker 1: you don't have the I'm nervous about what I've been.

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Speaker 3: Doing, you know what I mean.

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Speaker 2: It's like you were training all summer.

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Speaker 1: Yeah, No, walk in and you're like, right, you walk

380
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Speaker 1: in and you're like, look, check out my six pack,

381
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Speaker 1: you know what I mean.

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Speaker 2: I have a question for you guys, as both a

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Speaker 2: actor and a director, I wish as an actor I

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Speaker 2: would have had more directors push me to be better.

385
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Speaker 2: I feel like I feel like throughout my career there's

386
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Speaker 2: been a few, but mostly it's been about stand here,

387
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Speaker 2: the camera's gonna come here. Do you want to go again?

388
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Speaker 2: Because maybe you should be a little angrier as opposed

389
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Speaker 2: to like taking me in the corner and being like here,

390
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Speaker 2: I want to put a fucking thought in your head.

391
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Speaker 2: And I wonder, Johnny, because you you can be an

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Speaker 2: intimidating fellow. I wonder did Mangold. Was he able to

393
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Speaker 2: to do that to you?

394
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Speaker 7: Did he?

395
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Speaker 2: I mean, Oliver Stone, you've worked with I mean, you've

396
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Speaker 2: worked with Fincher, You've worked with the legends of the world.

397
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Speaker 2: Have these guys been able to do that to you?

398
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Speaker 2: Have they done that to you?

399
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Speaker 5: And all?

400
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Speaker 2: I want to know your answer too.

401
00:21:21,240 --> 00:21:26,199
Speaker 5: But you know, we'll start with Oliver's Oliver's school of directing. Uh,

402
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Speaker 5: it comes with consequences, and so if you if you're

403
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Speaker 5: doing something that's not is it necessarily what Oliver had

404
00:21:36,359 --> 00:21:39,919
Speaker 5: in mind? He'll yell from video village, which is an

405
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Speaker 5: area away from the set where the director and the

406
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Speaker 5: and the and the people who are producing the film

407
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Speaker 5: or watching it. He'll yell from video village McGinley, walk

408
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Speaker 5: with me, and that just means, uh, you're going to

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Speaker 5: go for a walk. And then he tells you that

410
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Speaker 5: you're sub in my vision and you're fucking me. Really,

411
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Speaker 5: You're like, oh god, he did it in the Philippines,

412
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Speaker 5: he did it down in on Wall Street, he did it,

413
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Speaker 5: he does it everywhere. You're fucking me. You were better

414
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Speaker 5: when you I always read actors for him, and he goes,

415
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Speaker 5: you were better when you were reading the actors. But

416
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Speaker 5: now you're fucking me and you're like, oh my god,

417
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Speaker 5: oh my, it's horrifying. How do you not get it?

418
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Speaker 2: How do you then not spiral Johnny? Because I feel

419
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Speaker 2: like there's a fine line between taking in the corner

420
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Speaker 2: and being and being constructive and being like, you got this, man,

421
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Speaker 2: but I want you to dig deep and do this,

422
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Speaker 2: and being like, you're fucking me. I can't imagine that

423
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Speaker 2: I would be so spiraling in my head.

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Speaker 5: I don't know. I guess it all started in the

425
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Speaker 5: Philippines and I just wasn't gonna There was nowhere to go.

426
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Speaker 5: We were ten thousand miles from home, and so I

427
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Speaker 5: guess you got a rally? I don't fucking know.

428
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Speaker 2: And the object did you tell me this? Sorry? Sorry,

429
00:22:54,320 --> 00:22:54,639
Speaker 2: go ahead.

430
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Speaker 5: The opposite of that is Catherine Bigelow on Point Break.

431
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Speaker 5: You know we did that opening fucking great, Johnny great

432
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Speaker 5: seven minutes. Remember when I was the those one of

433
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Speaker 5: those steady cams they used to weigh about eighty pounds,

434
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Speaker 5: and all the big aussy guys used to be the operators.

435
00:23:11,240 --> 00:23:13,200
Speaker 5: And in the beginning of that film, there's about a

436
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Speaker 5: five or six minute walking talk where Keanu and I

437
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Speaker 5: are doing all the expository who what, where? When?

438
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Speaker 4: How?

439
00:23:19,760 --> 00:23:24,040
Speaker 5: For the whole movie, We're just just stealing, stealing, I

440
00:23:24,080 --> 00:23:28,520
Speaker 5: don't stop talking. And and we did it thirty six times.

441
00:23:28,600 --> 00:23:32,160
Speaker 5: I think she printed like four eighteen and thirty six,

442
00:23:32,280 --> 00:23:34,240
Speaker 5: and of course four was the one that was in

443
00:23:34,320 --> 00:23:38,560
Speaker 5: the movie. And it's just a wonner and it's just scrubs.

444
00:23:38,600 --> 00:23:41,520
Speaker 5: Made it look second nature because we did those. But

445
00:23:42,160 --> 00:23:43,879
Speaker 5: at the time when we were doing it, it was

446
00:23:43,960 --> 00:23:46,760
Speaker 5: a big deal. And you know, all the way through

447
00:23:46,800 --> 00:23:49,840
Speaker 5: the bowels of the FBI with this, with this steady

448
00:23:49,880 --> 00:23:54,399
Speaker 5: cam and Katherine just come over and she's the single

449
00:23:54,440 --> 00:23:57,359
Speaker 5: most supportive person in the history of the planet. But

450
00:23:57,480 --> 00:23:59,280
Speaker 5: the bottom line was we're going again.

451
00:24:00,280 --> 00:24:02,720
Speaker 2: She would never say anything. She would never say anything.

452
00:24:03,600 --> 00:24:05,879
Speaker 5: Oh, she's just the greatest. She's like, you're crushing this,

453
00:24:06,160 --> 00:24:08,760
Speaker 5: you're crushing this. I'm like, whoa that? I always know

454
00:24:08,840 --> 00:24:10,680
Speaker 5: when we have it? What about where to God?

455
00:24:10,760 --> 00:24:12,399
Speaker 2: What about you Donald? Like when you worked with like

456
00:24:12,520 --> 00:24:15,040
Speaker 2: Boaz or or did did did they give you did

457
00:24:15,080 --> 00:24:17,320
Speaker 2: you ever get like tough direction? But also that like

458
00:24:17,480 --> 00:24:18,679
Speaker 2: made you dig deeper?

459
00:24:20,920 --> 00:24:21,120
Speaker 3: Yeah?

460
00:24:21,200 --> 00:24:25,560
Speaker 1: You know, uh, bo as was was very much we're

461
00:24:25,600 --> 00:24:28,040
Speaker 1: going to rehearse and we would we would rehearse and

462
00:24:28,080 --> 00:24:30,399
Speaker 1: he wouldn't necessarily be there, but he would come and

463
00:24:30,520 --> 00:24:32,440
Speaker 1: check it out. But he would be like, you guys,

464
00:24:32,480 --> 00:24:35,440
Speaker 1: go rehearse, you know, rehearse amongst yourselves and stuff. And

465
00:24:35,520 --> 00:24:37,440
Speaker 1: then when we would do with the scene, he'd be like, Okay, yeah,

466
00:24:37,480 --> 00:24:39,040
Speaker 1: that's great. Is there anything you want to add to it?

467
00:24:40,480 --> 00:24:42,239
Speaker 1: I'm trying to think of if there were. I've had

468
00:24:42,280 --> 00:24:43,919
Speaker 1: directors I don't want to say their names. I've had

469
00:24:43,960 --> 00:24:47,400
Speaker 1: directors be like, you know, you stumbled on that line,

470
00:24:47,440 --> 00:24:48,399
Speaker 1: there goes your close up.

471
00:24:48,480 --> 00:24:52,159
Speaker 3: I've had ship like that before. That's not going to

472
00:24:52,200 --> 00:24:54,040
Speaker 3: help anybody, No, it doesn't.

473
00:24:54,960 --> 00:24:57,600
Speaker 2: And to find a way to to to I mean,

474
00:24:57,760 --> 00:25:00,720
Speaker 2: my goal when I'm directing someone is all I want

475
00:25:00,960 --> 00:25:03,720
Speaker 2: is for you to be great? How can I support that?

476
00:25:04,840 --> 00:25:07,159
Speaker 2: Part of it for me is creating an environment on

477
00:25:07,240 --> 00:25:09,280
Speaker 2: the set. You know, Scrubs is the ultimate example. We

478
00:25:09,320 --> 00:25:12,040
Speaker 2: had an environment that was so safe to experiment and

479
00:25:12,119 --> 00:25:15,560
Speaker 2: to and to fuck up, and it was you felt

480
00:25:15,680 --> 00:25:18,760
Speaker 2: so safe, you felt the net under under the under

481
00:25:18,800 --> 00:25:21,680
Speaker 2: the tightrope, if you will. So I when I'm making

482
00:25:21,760 --> 00:25:25,160
Speaker 2: my products, I try and create that environment again where

483
00:25:25,359 --> 00:25:28,320
Speaker 2: where you're safe, like there's no wrong answer let's play,

484
00:25:28,720 --> 00:25:31,520
Speaker 2: because I think that puts actors in a good headspace.

485
00:25:33,160 --> 00:25:36,360
Speaker 2: But I'm also making things so fast, you know, I'm

486
00:25:36,680 --> 00:25:38,560
Speaker 2: every the three films I've made, I have to go

487
00:25:38,800 --> 00:25:41,840
Speaker 2: so fast. There isn't a whole lot of time to

488
00:25:41,920 --> 00:25:44,159
Speaker 2: do like what Oliver Stone can do in the Philippines

489
00:25:44,200 --> 00:25:48,600
Speaker 2: and be like Johnny Let's Walk. If my producers, if

490
00:25:48,640 --> 00:25:51,920
Speaker 2: I ever said someone like Natalie Let's Walk, everyone looked

491
00:25:51,920 --> 00:25:53,119
Speaker 2: at me, like, what the fuck are you doing? We

492
00:25:53,200 --> 00:25:54,560
Speaker 2: have a half hour left for the day.

493
00:25:55,000 --> 00:25:59,800
Speaker 1: That it is a luxury. I hear stories about actors

494
00:25:59,840 --> 00:26:02,560
Speaker 1: and director's going on like forty five minute walks while

495
00:26:02,600 --> 00:26:06,000
Speaker 1: the crew waits, sometimes two hour walks while the crew waits,

496
00:26:06,440 --> 00:26:08,399
Speaker 1: and then they come back and the scenes different, and

497
00:26:08,440 --> 00:26:10,640
Speaker 1: now we're gonna relight it a different way. I've heard

498
00:26:10,960 --> 00:26:15,040
Speaker 1: crazy ass stories about how, you know, how ego gets

499
00:26:15,080 --> 00:26:16,159
Speaker 1: in the way of making.

500
00:26:16,000 --> 00:26:19,840
Speaker 2: Movies and stuff like I've heard stories from that movie

501
00:26:20,680 --> 00:26:22,960
Speaker 2: what's the well I should probably shouldn't call what the

502
00:26:23,000 --> 00:26:24,720
Speaker 2: movie is, but I heard stories of a movie star

503
00:26:24,880 --> 00:26:27,800
Speaker 2: showing up. My friend was shooting the movie, and he said,

504
00:26:27,800 --> 00:26:29,960
Speaker 2: you wouldn't believe what was going on, Like the movie

505
00:26:30,000 --> 00:26:31,920
Speaker 2: star would show up and be like, all right, well,

506
00:26:32,000 --> 00:26:34,760
Speaker 2: we're obviously not saying any of this, so should we

507
00:26:34,840 --> 00:26:39,159
Speaker 2: go talk about it? And it's like what like? So

508
00:26:39,240 --> 00:26:42,720
Speaker 2: they would then go on like long, like a like

509
00:26:42,760 --> 00:26:46,320
Speaker 2: a mini van ride, and like rewrite the day's work,

510
00:26:46,600 --> 00:26:48,560
Speaker 2: and that's how the day would start. I mean that

511
00:26:48,680 --> 00:26:50,080
Speaker 2: gives me anxiety even saying it.

512
00:26:50,600 --> 00:26:52,960
Speaker 3: Have you guys ever like this. It's happened once in

513
00:26:53,040 --> 00:26:55,959
Speaker 3: my life, Zach. I know when it's happened with you. Johnny,

514
00:26:56,000 --> 00:26:58,119
Speaker 3: have you ever been so late in any way that

515
00:26:58,240 --> 00:27:01,960
Speaker 3: you've caused a day? Well, not a day, but you

516
00:27:02,160 --> 00:27:07,200
Speaker 3: caused a morning, I should say, the director like, like

517
00:27:07,560 --> 00:27:09,720
Speaker 3: I've been, I've been so I've been ch not a

518
00:27:09,800 --> 00:27:10,280
Speaker 3: fucking chance.

519
00:27:10,320 --> 00:27:10,840
Speaker 5: We're not. We're not.

520
00:27:10,920 --> 00:27:13,480
Speaker 2: Johnny's not late ever, Johnny's early. Johnny gets five in

521
00:27:13,480 --> 00:27:14,640
Speaker 2: the morning and then goes back to sleep.

522
00:27:15,160 --> 00:27:19,200
Speaker 3: That would never happen, right, never happened. That happened to me.

523
00:27:19,600 --> 00:27:21,840
Speaker 3: That happened to me once, Zach, I remember when it

524
00:27:21,840 --> 00:27:23,280
Speaker 3: happened to you, But it happened mine.

525
00:27:23,160 --> 00:27:24,600
Speaker 2: Was an alarm clock malfunction.

526
00:27:24,720 --> 00:27:28,080
Speaker 3: But go ahead, bullshit. But anyway, I told the story

527
00:27:28,080 --> 00:27:30,960
Speaker 3: in the podcast. Did I ever tell you to Henry

528
00:27:30,960 --> 00:27:33,720
Speaker 3: Winkler's story, no, please go on. Okay.

529
00:27:33,960 --> 00:27:36,600
Speaker 1: So I was doing Clueless, the television show at the time, right,

530
00:27:37,440 --> 00:27:41,280
Speaker 1: and Henry Winklers directing the next day. It's Sunday night.

531
00:27:41,640 --> 00:27:46,520
Speaker 1: He's directing on Monday, and I'm geeked about it. But

532
00:27:46,560 --> 00:27:49,080
Speaker 1: I also, I'm twenty something years old and I live

533
00:27:49,119 --> 00:27:51,879
Speaker 1: with a bunch of dudes. Right, it's me, my buddies.

534
00:27:52,160 --> 00:27:54,639
Speaker 1: It's me and literally three other dudes living in the

535
00:27:55,040 --> 00:27:56,720
Speaker 1: house together, and on Sunday nights.

536
00:27:57,040 --> 00:27:59,520
Speaker 3: I don't know where it was. I think freaking like, uh,

537
00:28:00,680 --> 00:28:03,959
Speaker 3: Joseph's or or some shit like that was off.

538
00:28:04,400 --> 00:28:07,000
Speaker 1: The club was going off, right, and so we went

539
00:28:07,040 --> 00:28:08,720
Speaker 1: out and I didn't get home until like four in

540
00:28:08,760 --> 00:28:15,760
Speaker 1: the morning, smashed and hammered, and uh, I pass out

541
00:28:15,840 --> 00:28:17,040
Speaker 1: my call times at six am.

542
00:28:17,080 --> 00:28:20,240
Speaker 3: I'm doing Clueless at the time. I wake up and

543
00:28:20,359 --> 00:28:23,000
Speaker 3: it's six thirty and I'm like, oh shit.

544
00:28:23,400 --> 00:28:26,520
Speaker 1: Henry Winkler's directing. So I throw on clothes and I,

545
00:28:26,800 --> 00:28:30,200
Speaker 1: you know, jet to work. I get there, I put

546
00:28:30,240 --> 00:28:33,280
Speaker 1: on my costumes, all in my trailer and everything. I

547
00:28:33,520 --> 00:28:36,680
Speaker 1: throw on all my shit and as I'm throwing it on,

548
00:28:36,840 --> 00:28:38,560
Speaker 1: I can smell my breath and I still smell the

549
00:28:38,560 --> 00:28:40,480
Speaker 1: booze on my breath, and I'm like, oh my god,

550
00:28:41,640 --> 00:28:43,280
Speaker 1: Oh my god, this is gonna be horrible.

551
00:28:43,320 --> 00:28:44,120
Speaker 3: This is gonna be horrible.

552
00:28:45,280 --> 00:28:47,480
Speaker 1: So I run out of my trailer and I'm I'm

553
00:28:47,600 --> 00:28:50,080
Speaker 1: jetting to set. And as I come around the corner,

554
00:28:50,080 --> 00:28:51,640
Speaker 1: we were filming on the Paramount lot, and so you

555
00:28:51,720 --> 00:28:54,080
Speaker 1: have to pass through the big Paramount gates, right, So

556
00:28:54,160 --> 00:28:57,400
Speaker 1: I come running through the gate toward the set and

557
00:28:57,640 --> 00:29:00,840
Speaker 1: Henry Winkler sees me, stands up and it looked like

558
00:29:00,920 --> 00:29:03,120
Speaker 1: he said to whoever the producer was, what the writer was,

559
00:29:03,160 --> 00:29:04,640
Speaker 1: he was like, that's him, Yeah, that's him.

560
00:29:04,680 --> 00:29:06,680
Speaker 3: Okay. He starts walking towards.

561
00:29:06,480 --> 00:29:09,320
Speaker 1: Me, and I'm like, oh god, oh shit, holy shit,

562
00:29:09,480 --> 00:29:14,040
Speaker 1: you that was the first thing I'm thinking. Now, forget,

563
00:29:14,200 --> 00:29:16,640
Speaker 1: forget the cast and the crew and everything like that.

564
00:29:17,080 --> 00:29:20,560
Speaker 1: Fucking Henry Winkler, the legend that he is, is about

565
00:29:20,640 --> 00:29:21,880
Speaker 1: to fucking give me the business.

566
00:29:21,960 --> 00:29:23,680
Speaker 3: And I'm gonna and I'm gonna fucking eat it.

567
00:29:24,240 --> 00:29:27,600
Speaker 1: Right, And so he comes up to me and I

568
00:29:27,760 --> 00:29:30,120
Speaker 1: take a deep breath to not breathe out so he

569
00:29:30,200 --> 00:29:35,080
Speaker 1: can't smell this booze on me, right, And he goes, listen,

570
00:29:35,160 --> 00:29:38,040
Speaker 1: we're not gonna do this. Okay, I don't want to.

571
00:29:38,080 --> 00:29:39,920
Speaker 1: I don't want any shit from you. Okay, we're not

572
00:29:40,000 --> 00:29:42,600
Speaker 1: gonna We're not gonna fucking do this. We're gonna do this.

573
00:29:42,680 --> 00:29:45,520
Speaker 1: We're gonna go over there, We're gonna do the scene. Okay,

574
00:29:45,880 --> 00:29:47,680
Speaker 1: we're gonna go over there. We're gonna do the scene.

575
00:29:48,120 --> 00:29:49,920
Speaker 1: And I could tell he wanted to freaking give me

576
00:29:50,000 --> 00:29:51,440
Speaker 1: the business, but he was like, I don't know you.

577
00:29:51,760 --> 00:29:54,560
Speaker 1: I don't want to disrespect you, and I could I'm

578
00:29:54,640 --> 00:29:56,360
Speaker 1: pretty sure you don't want to try and disrespect me

579
00:29:56,480 --> 00:29:58,160
Speaker 1: or anything like that, but come over here and give

580
00:29:58,160 --> 00:30:00,720
Speaker 1: me your best right, And it was it was just

581
00:30:00,960 --> 00:30:04,120
Speaker 1: like when we did the dance scene on Scrubs where

582
00:30:04,120 --> 00:30:07,640
Speaker 1: I where I'm doing the dance to poison and I

583
00:30:07,760 --> 00:30:09,560
Speaker 1: hadn't rehearsed it or anything like that, and I just

584
00:30:09,600 --> 00:30:12,680
Speaker 1: went in there and I did the dance because part

585
00:30:12,720 --> 00:30:14,600
Speaker 1: of it was because I was afraid for my life

586
00:30:14,960 --> 00:30:18,720
Speaker 1: that Bill was gonna be like, you know, that's it,

587
00:30:18,840 --> 00:30:21,320
Speaker 1: You're fired. So it was almost the same thing, like

588
00:30:21,640 --> 00:30:24,200
Speaker 1: I'm dancing on a table in the scene and I

589
00:30:24,360 --> 00:30:28,680
Speaker 1: jump off the table into a split right in rehearsal,

590
00:30:28,800 --> 00:30:32,280
Speaker 1: I do the shit because I'm so look. I the

591
00:30:32,400 --> 00:30:35,840
Speaker 1: last thing I wanted was to let down, you know,

592
00:30:36,120 --> 00:30:37,560
Speaker 1: the Fonds. And then when I get over there and

593
00:30:37,600 --> 00:30:41,200
Speaker 1: I see Stacy Dash and Elisa Donovan and my boy

594
00:30:41,320 --> 00:30:43,880
Speaker 1: Sean Holland and the crew and all of these guys

595
00:30:44,000 --> 00:30:47,440
Speaker 1: looking at me, uh and and you know, giving me

596
00:30:47,520 --> 00:30:49,520
Speaker 1: the face like I can't believe you fucking let down

597
00:30:50,080 --> 00:30:52,920
Speaker 1: the Fonds. And it was like, all right, well, I'm

598
00:30:52,920 --> 00:30:54,000
Speaker 1: gonna give you guys a show.

599
00:30:54,080 --> 00:30:57,120
Speaker 3: And I did. And you know my point?

600
00:30:57,320 --> 00:30:58,800
Speaker 2: Did he ever take you aside and have a talk

601
00:30:58,840 --> 00:30:59,000
Speaker 2: with you?

602
00:30:59,640 --> 00:31:00,320
Speaker 3: That was to talk?

603
00:31:00,360 --> 00:31:01,680
Speaker 1: It was a quick It was one of those things

604
00:31:01,720 --> 00:31:04,560
Speaker 1: where it was like, I'm gonna come off like the

605
00:31:04,640 --> 00:31:07,760
Speaker 1: boss right now. And the humbling thing is is that

606
00:31:07,840 --> 00:31:09,720
Speaker 1: I'm over here and I'm talking to you about this,

607
00:31:10,280 --> 00:31:12,560
Speaker 1: but you know better than this. I shouldn't have to

608
00:31:12,640 --> 00:31:13,760
Speaker 1: have this conversation with you.

609
00:31:14,000 --> 00:31:14,200
Speaker 3: Ever.

610
00:31:15,680 --> 00:31:17,760
Speaker 1: He didn't have to say to me, get your shit together.

611
00:31:18,120 --> 00:31:20,480
Speaker 1: But it was all in the I'm not having this

612
00:31:20,560 --> 00:31:23,160
Speaker 1: conversation with you. You're way smarter than this. You know

613
00:31:23,280 --> 00:31:25,560
Speaker 1: better than this bullshit. Let's get over here, let's do

614
00:31:25,680 --> 00:31:26,800
Speaker 1: the scene, and let's make.

615
00:31:26,720 --> 00:31:29,680
Speaker 2: It right, and then he fucking hit a jukebox.

616
00:31:32,360 --> 00:31:33,080
Speaker 3: Let's take a break.

617
00:31:33,200 --> 00:31:35,600
Speaker 2: We'll be right back after these fine words.

618
00:31:42,680 --> 00:31:46,640
Speaker 5: I lied I was late one time, but it had

619
00:31:46,800 --> 00:31:49,800
Speaker 5: it wasn't my fault. I was doing the Actors, the

620
00:31:49,880 --> 00:31:55,280
Speaker 5: New York Actors Dream of I was. I originated the

621
00:31:55,280 --> 00:31:58,880
Speaker 5: play Talk Radio with Eric Vigozian, who I brought on

622
00:31:59,000 --> 00:32:00,240
Speaker 5: the scrubs as my shrink.

623
00:32:02,200 --> 00:32:03,880
Speaker 2: Unders applause, I'll turn my key for that dam.

624
00:32:04,680 --> 00:32:06,760
Speaker 5: And so we're down to Public, which is right on

625
00:32:06,880 --> 00:32:11,480
Speaker 5: Loafayette Street there, and I was in it for almost

626
00:32:11,520 --> 00:32:14,040
Speaker 5: two years because it was a good gig. And so

627
00:32:15,120 --> 00:32:19,880
Speaker 5: during that run, Oliver wrote Wall Street and said, do

628
00:32:19,880 --> 00:32:22,480
Speaker 5: you want to come down uh and do Wall Street

629
00:32:22,520 --> 00:32:25,000
Speaker 5: for two and a half three weeks And I said, well, yeah,

630
00:32:25,080 --> 00:32:27,960
Speaker 5: of course, but I'm doing I'm doing this play. And

631
00:32:28,040 --> 00:32:30,760
Speaker 5: he said, I'll have you wrapped in time and you

632
00:32:30,880 --> 00:32:33,440
Speaker 5: can get up to the public and everything will be fine.

633
00:32:33,840 --> 00:32:36,200
Speaker 5: And so I had the language in my contract, but

634
00:32:36,800 --> 00:32:38,840
Speaker 5: I had to be wrapped at seven thirty. We're down

635
00:32:38,840 --> 00:32:43,840
Speaker 5: towards the Wolwork building in southern the southern Manhattan, and

636
00:32:45,080 --> 00:32:46,640
Speaker 5: I had to be wrapped at seven thirty. And I

637
00:32:46,760 --> 00:32:48,880
Speaker 5: just a straight shot up Lafayette, and I'd go in

638
00:32:48,960 --> 00:32:51,000
Speaker 5: and make half hour half hours. You have to be

639
00:32:51,040 --> 00:32:55,080
Speaker 5: at a actor's equity, which is the actor Stage Union

640
00:32:55,160 --> 00:32:57,000
Speaker 5: dictates that you have to be at the theater a

641
00:32:57,040 --> 00:32:59,920
Speaker 5: half hour before the curtain. And I like to be there.

642
00:33:00,000 --> 00:33:01,760
Speaker 5: I like to do a vocal warm up and stretch

643
00:33:01,840 --> 00:33:03,840
Speaker 5: and all the I like all that stuff. And so

644
00:33:05,840 --> 00:33:08,440
Speaker 5: while we were down towards the Woolworth Building, the days

645
00:33:08,480 --> 00:33:11,000
Speaker 5: were going longer and longer. And you know, Charlie and

646
00:33:11,040 --> 00:33:14,040
Speaker 5: I we had already spent four months in the Philippines,

647
00:33:14,040 --> 00:33:17,440
Speaker 5: and now we're with Oliver doing this big thing for

648
00:33:17,800 --> 00:33:21,200
Speaker 5: I guess universal, and so the days are going longer

649
00:33:21,280 --> 00:33:25,600
Speaker 5: and longer. And I have the superstition just like Blu

650
00:33:25,720 --> 00:33:29,400
Speaker 5: Gerrigan Wally Pip, because a couple of years earlier, I've

651
00:33:29,400 --> 00:33:31,880
Speaker 5: been covering John Tutorro and Danny Dee Blue City. I

652
00:33:32,000 --> 00:33:34,720
Speaker 5: was his understudy and the assistant stage manager. And John

653
00:33:35,400 --> 00:33:38,080
Speaker 5: was a horse. He just never he thought it was

654
00:33:38,120 --> 00:33:39,800
Speaker 5: bad luck to let your understudy go on. And so

655
00:33:40,440 --> 00:33:43,479
Speaker 5: I got that from John, and so I didn't want

656
00:33:43,480 --> 00:33:47,160
Speaker 5: anybody going for me. And so no matter, the clock

657
00:33:47,240 --> 00:33:49,120
Speaker 5: kept ticking, and I started getting there at twenty of

658
00:33:50,040 --> 00:33:52,520
Speaker 5: in quarter of and the stage managers come up to me.

659
00:33:52,560 --> 00:33:55,880
Speaker 5: He goes, you can't do this. I'm like, listen, just look,

660
00:33:56,640 --> 00:34:02,000
Speaker 5: I'm going on. So and then later and later, and

661
00:34:02,120 --> 00:34:04,480
Speaker 5: so it one time I got there at Places and

662
00:34:05,520 --> 00:34:08,880
Speaker 5: I sprinted up to I forgot which theater we're in

663
00:34:09,120 --> 00:34:11,960
Speaker 5: at the Public, but it was the New House or something,

664
00:34:12,120 --> 00:34:14,919
Speaker 5: and I sprint it into the dressing room. I put

665
00:34:14,960 --> 00:34:17,960
Speaker 5: on my wardrobe and the stage manager's like no, and

666
00:34:18,040 --> 00:34:19,880
Speaker 5: I'm like, call the cops because I'm going to kick

667
00:34:19,880 --> 00:34:21,360
Speaker 5: the shit out of you unless you get out of

668
00:34:21,400 --> 00:34:25,719
Speaker 5: the way. And so I go on and Eric let

669
00:34:25,840 --> 00:34:29,200
Speaker 5: me kind of write a piece with him where this

670
00:34:29,640 --> 00:34:33,160
Speaker 5: character gets to he's in three quarters the whole place,

671
00:34:33,239 --> 00:34:36,680
Speaker 5: so he's three quarter ex exposed to the audience in

672
00:34:36,800 --> 00:34:41,399
Speaker 5: this proscenium stage. And at about twenty minutes into the piece,

673
00:34:41,880 --> 00:34:45,040
Speaker 5: he turns around in his chair, a pin spot hits him,

674
00:34:45,520 --> 00:34:47,840
Speaker 5: and then he walks down the closest you can be

675
00:34:47,960 --> 00:34:50,360
Speaker 5: to the audience. The light cube up on the board

676
00:34:50,560 --> 00:34:54,040
Speaker 5: is called down in one. I walk down in one,

677
00:34:54,760 --> 00:34:57,239
Speaker 5: A pin spot's on me, and I do this seven

678
00:34:57,320 --> 00:35:01,160
Speaker 5: minute monologue about my relationship with Eric's character Parry champlain,

679
00:35:01,920 --> 00:35:05,240
Speaker 5: Oh my god, I got you, and about two minutes

680
00:35:05,280 --> 00:35:09,080
Speaker 5: into it, I went up. Oof.

681
00:35:09,880 --> 00:35:12,239
Speaker 2: I went up because of you don't give everyone the lingo.

682
00:35:12,320 --> 00:35:14,680
Speaker 2: That means he forgot his lines. That's the actors say.

683
00:35:14,719 --> 00:35:15,160
Speaker 3: I went out.

684
00:35:15,360 --> 00:35:17,720
Speaker 5: Oliver was just yelling at us all day, and Charli

685
00:35:17,719 --> 00:35:20,200
Speaker 5: and I had been out till god knows how late

686
00:35:20,200 --> 00:35:24,040
Speaker 5: we were up the night before. But I stood there

687
00:35:24,120 --> 00:35:26,520
Speaker 5: with a pin spot on me looking at it was

688
00:35:26,600 --> 00:35:30,200
Speaker 5: a pretty tiny house, maybe three fifty maybe three twenty five.

689
00:35:30,200 --> 00:35:31,360
Speaker 5: I don't know how big it was, but it was

690
00:35:31,520 --> 00:35:34,719
Speaker 5: packed because Eric was all the rage and the play

691
00:35:34,840 --> 00:35:37,320
Speaker 5: was a massive hit, and you couldn't get in. And

692
00:35:37,440 --> 00:35:41,480
Speaker 5: I'm there and I co wrote this motherfucking monologue and

693
00:35:41,600 --> 00:35:46,799
Speaker 5: I can't remember anything everything, and I'm looking out at them,

694
00:35:46,800 --> 00:35:49,160
Speaker 5: and I was crying inside. I don't think I cried

695
00:35:49,239 --> 00:35:51,720
Speaker 5: out here, but I looked up at the light booth.

696
00:35:51,800 --> 00:35:54,160
Speaker 5: Even though you can't see anything, you can't see in

697
00:35:54,239 --> 00:35:56,520
Speaker 5: front of you because the light's so bright. I looked

698
00:35:56,600 --> 00:35:59,120
Speaker 5: up towards the light booth and I just nodded, and

699
00:35:59,200 --> 00:36:00,800
Speaker 5: I went back to my chair and they called the

700
00:36:01,160 --> 00:36:04,080
Speaker 5: next leg queue and Eric started again, and then after

701
00:36:04,160 --> 00:36:06,239
Speaker 5: the show Eric's the biggest mention on the planet. He

702
00:36:06,320 --> 00:36:08,399
Speaker 5: just came up and he goes, you can't. You don't

703
00:36:08,400 --> 00:36:11,400
Speaker 5: do that anymore, don't do that. I'm like, okay. And

704
00:36:11,719 --> 00:36:15,840
Speaker 5: the next night I did not go on, and guess what,

705
00:36:16,160 --> 00:36:20,360
Speaker 5: everything was fine. It turns out that the understudy was

706
00:36:20,520 --> 00:36:22,520
Speaker 5: he was fine. He went on and he was fine.

707
00:36:22,680 --> 00:36:25,520
Speaker 2: So wait, Johnny, your monologue is roughly seven minutes. How

708
00:36:25,600 --> 00:36:27,399
Speaker 2: deep did you get into it before you forgot your line?

709
00:36:27,800 --> 00:36:30,520
Speaker 5: Two minutes? Yeah?

710
00:36:30,600 --> 00:36:33,520
Speaker 2: Man, that is the I have this nightmare if you're

711
00:36:33,520 --> 00:36:36,920
Speaker 2: an actor, they actually call it the actor's nightmare. I

712
00:36:37,080 --> 00:36:39,880
Speaker 2: have this dream where I'm supposed to go on and

713
00:36:40,000 --> 00:36:42,000
Speaker 2: I don't know my lines at all. Or I'm supposed

714
00:36:42,000 --> 00:36:43,880
Speaker 2: to go on as an understudy for someone and I

715
00:36:43,920 --> 00:36:44,880
Speaker 2: don't know my lines at all.

716
00:36:44,960 --> 00:36:48,640
Speaker 5: I have that dream all the time, too, And now

717
00:36:48,840 --> 00:36:52,319
Speaker 5: I so over prepare ever since then, I so over

718
00:36:52,440 --> 00:36:56,279
Speaker 5: prepare the even if you shot me in the esophagus,

719
00:36:56,400 --> 00:36:59,080
Speaker 5: I'd still be able to continue and do the lives.

720
00:36:59,360 --> 00:37:02,880
Speaker 5: I don't give two shits. I don't care. I go.

721
00:37:03,280 --> 00:37:07,480
Speaker 5: I have that that nightmare Zachi too, and it just

722
00:37:08,000 --> 00:37:10,280
Speaker 5: never again, and it's never happened again ever.

723
00:37:10,680 --> 00:37:13,400
Speaker 2: You know, my first play was at the same theater Johnny.

724
00:37:13,600 --> 00:37:15,000
Speaker 2: First of all, I want to say quickly before I

725
00:37:15,120 --> 00:37:18,560
Speaker 2: change this to that Talk Radio is an amazing film

726
00:37:19,239 --> 00:37:22,880
Speaker 2: that you should all see with Johnny and Eric Bagosian

727
00:37:23,080 --> 00:37:25,319
Speaker 2: and Alec Balwin's in it, right, Yeah, And.

728
00:37:25,320 --> 00:37:26,840
Speaker 5: I didn't get star fucked out of the You know,

729
00:37:27,000 --> 00:37:29,520
Speaker 5: usually if you created, if it's called creating the play,

730
00:37:29,520 --> 00:37:32,359
Speaker 5: if you originated the play, you're definitely not in the film.

731
00:37:32,560 --> 00:37:33,000
Speaker 3: Definitely.

732
00:37:33,640 --> 00:37:37,960
Speaker 5: And I got to do that. That was Albert and

733
00:37:38,040 --> 00:37:39,279
Speaker 5: I did Three in a Row because that was the

734
00:37:39,320 --> 00:37:40,440
Speaker 5: film he did after Wall Street.

735
00:37:40,680 --> 00:37:44,000
Speaker 2: Well, that's interesting that you were wait, sorry, that's interesting

736
00:37:44,040 --> 00:37:46,719
Speaker 2: you were doing Wall Street with Oliver and then you're

737
00:37:46,760 --> 00:37:49,320
Speaker 2: in simultaneously in the play, and then Oliver decides to

738
00:37:49,360 --> 00:37:51,160
Speaker 2: direct the movie. So he must have seen the play

739
00:37:51,239 --> 00:37:52,960
Speaker 2: because you're friends with him and he came to see

740
00:37:52,960 --> 00:37:54,360
Speaker 2: you in it. Is that how it was the genesis

741
00:37:54,400 --> 00:37:54,520
Speaker 2: of it?

742
00:37:55,000 --> 00:37:58,560
Speaker 5: No, I think it was so it was such a subvert,

743
00:37:58,680 --> 00:38:03,239
Speaker 5: politically subversive piece about Alan Freed, a talk show host

744
00:38:03,320 --> 00:38:06,400
Speaker 5: I think in Denver, and Eric had loosely based it

745
00:38:06,480 --> 00:38:10,239
Speaker 5: on that that Oliver that was right right in his

746
00:38:10,400 --> 00:38:14,359
Speaker 5: sweet spot. And we went down to Los Colinas, right

747
00:38:14,440 --> 00:38:17,680
Speaker 5: outside of Dallas, and we shot the whole thing in

748
00:38:17,800 --> 00:38:21,080
Speaker 5: five six day weeks, and so we're in Dallas and

749
00:38:21,120 --> 00:38:23,160
Speaker 5: we didn't come up for air for five weeks. It

750
00:38:23,320 --> 00:38:23,920
Speaker 5: was the best.

751
00:38:24,480 --> 00:38:27,360
Speaker 2: Wow, that's a great film. I highly recommend it to everybody.

752
00:38:27,600 --> 00:38:29,160
Speaker 2: But I wanted to say my very first part out

753
00:38:29,160 --> 00:38:32,560
Speaker 2: of Northwestern was in a production of Macbeth at the

754
00:38:32,600 --> 00:38:36,960
Speaker 2: Public Theater in one of the tiny spaces, and the

755
00:38:37,080 --> 00:38:44,080
Speaker 2: cast was Alec Baldwin, Angela Bassett, Michael C. Hall Yeah,

756
00:38:44,239 --> 00:38:48,200
Speaker 2: really a hood or other, Jason Butler Harner, really amazing actors.

757
00:38:48,600 --> 00:38:52,680
Speaker 2: And I was playing the two young roles, Fleance and

758
00:38:52,800 --> 00:38:55,480
Speaker 2: young Seward, and I had to have a broad sword

759
00:38:55,640 --> 00:38:59,600
Speaker 2: duel with Alec Baldwin. Now I had never done stage combat.

760
00:39:00,160 --> 00:39:02,800
Speaker 2: I went to school, I studied acting in filmmaking, but

761
00:39:02,880 --> 00:39:04,680
Speaker 2: we never got around to, like, I never got around

762
00:39:04,719 --> 00:39:07,239
Speaker 2: to taking a stage combat course. And George S. Wolf,

763
00:39:07,320 --> 00:39:11,160
Speaker 2: the director, very fancy director, decides that my character is

764
00:39:11,200 --> 00:39:14,360
Speaker 2: going to fight Alec Baldwin not only with one broadsword,

765
00:39:14,680 --> 00:39:16,120
Speaker 2: but he thinks it'd be cool if I was an

766
00:39:16,160 --> 00:39:18,600
Speaker 2: extra badass. And now I'm going to fight Alec Baldwin

767
00:39:18,840 --> 00:39:19,920
Speaker 2: with two broad swords.

768
00:39:20,320 --> 00:39:20,520
Speaker 5: Yeah.

769
00:39:23,840 --> 00:39:26,920
Speaker 2: Now I've never done Alec is a scary motherfucker, and

770
00:39:27,000 --> 00:39:29,520
Speaker 2: I've never done a single bit of stage combat, and

771
00:39:29,600 --> 00:39:32,640
Speaker 2: now I'm going to do a dual broad sword stage

772
00:39:32,719 --> 00:39:36,160
Speaker 2: fight with him. We get there day one and for

773
00:39:36,239 --> 00:39:38,840
Speaker 2: the reading, and I've never I was fresh out of school.

774
00:39:38,840 --> 00:39:40,480
Speaker 2: I think I never met a celebrity in my life before.

775
00:39:40,520 --> 00:39:42,799
Speaker 2: And Alec Baldwin sits down next to me and he goes,

776
00:39:42,840 --> 00:39:45,400
Speaker 2: who who am Alec? Who are you playing? I go, oh,

777
00:39:45,640 --> 00:39:48,320
Speaker 2: I'm playing on Fleance and I'm playing Young Seward and

778
00:39:48,400 --> 00:39:51,480
Speaker 2: he goes, oh, so I kill you twice?

779
00:39:55,960 --> 00:39:56,960
Speaker 5: And he did.

780
00:39:57,040 --> 00:39:59,239
Speaker 2: He killed me twice eight shows a week, and I

781
00:39:59,320 --> 00:40:01,320
Speaker 2: got it down. It was like but it was scary

782
00:40:01,520 --> 00:40:06,320
Speaker 2: as as fuck. And uh I I fought Alec on stage?

783
00:40:06,520 --> 00:40:09,640
Speaker 5: Was was bh Barry your your combat coach?

784
00:40:10,880 --> 00:40:12,759
Speaker 2: I don't I don't recall who it was, but he

785
00:40:12,880 --> 00:40:15,200
Speaker 2: taught me well, and I was just I never rehearsed

786
00:40:15,239 --> 00:40:18,000
Speaker 2: something so much, because I mean I couldn't really, I

787
00:40:18,040 --> 00:40:20,319
Speaker 2: could have really hurt. I mean, they're they're there, they

788
00:40:20,400 --> 00:40:22,680
Speaker 2: will fuck you up. They're not sharp, obviously, but they

789
00:40:22,719 --> 00:40:25,960
Speaker 2: will fuck you up. And I was so afraid that

790
00:40:26,040 --> 00:40:28,960
Speaker 2: I was gonna hurt Alec Baldwin with my too, my

791
00:40:29,080 --> 00:40:30,040
Speaker 2: two broad swords.

792
00:40:30,520 --> 00:40:33,279
Speaker 3: Hell, yeah, you know what I found really funny how

793
00:40:33,360 --> 00:40:37,400
Speaker 3: quickly you forget the dialogue from shows that you rehearsed

794
00:40:37,520 --> 00:40:39,520
Speaker 3: over and over and over and over and over and

795
00:40:39,680 --> 00:40:42,040
Speaker 3: over and over and over and over again.

796
00:40:42,160 --> 00:40:42,359
Speaker 5: Dude.

797
00:40:42,800 --> 00:40:45,840
Speaker 3: It's like, within a month to two months, you couldn't

798
00:40:45,880 --> 00:40:47,759
Speaker 3: go up and do that show again. You know what

799
00:40:47,840 --> 00:40:51,759
Speaker 3: I mean? You know, but you've rehearsed it like it

800
00:40:51,920 --> 00:40:52,360
Speaker 3: was your.

801
00:40:52,560 --> 00:40:54,879
Speaker 5: Life, dude, for life?

802
00:40:55,239 --> 00:40:57,640
Speaker 2: Did you Donald? Did you ever almost forget your lines

803
00:40:57,640 --> 00:40:59,240
Speaker 2: when you were doing that play you did? Recently?

804
00:41:00,040 --> 00:41:00,360
Speaker 3: Yeah, you know.

805
00:41:00,480 --> 00:41:01,919
Speaker 1: I had one thing where it was like a bunch

806
00:41:02,000 --> 00:41:04,080
Speaker 1: of math and stuff like that, and the math didn't

807
00:41:04,120 --> 00:41:06,160
Speaker 1: have to make sense, but it had to be quick.

808
00:41:07,120 --> 00:41:13,040
Speaker 3: And one night I did I didn't forget the line.

809
00:41:13,160 --> 00:41:16,400
Speaker 1: I misspoke and I said, oh, excuse me, and then

810
00:41:16,480 --> 00:41:19,120
Speaker 1: I kept going, and then after I went, it kind

811
00:41:19,160 --> 00:41:21,040
Speaker 1: of threw the rhythm off for the show for the

812
00:41:21,080 --> 00:41:23,160
Speaker 1: whole night because I said one line, you know what

813
00:41:23,200 --> 00:41:26,400
Speaker 1: I mean. And it really is a lesson that when

814
00:41:26,440 --> 00:41:29,640
Speaker 1: you're doing a show, there's a rhythm to it all,

815
00:41:29,760 --> 00:41:31,279
Speaker 1: you know what I mean, And if you stick to

816
00:41:31,360 --> 00:41:32,799
Speaker 1: the rhythm every time.

817
00:41:33,360 --> 00:41:36,000
Speaker 3: Most likely you're gonna get a great performance if you

818
00:41:36,040 --> 00:41:38,520
Speaker 3: find the right formula and you stick to the rhythm

819
00:41:39,080 --> 00:41:41,359
Speaker 3: every time, and you stick to the formula every time,

820
00:41:41,840 --> 00:41:44,239
Speaker 3: it's gonna be a good show, you know what I mean. Yeah,

821
00:41:44,480 --> 00:41:47,600
Speaker 3: And just by me saying excuse me, it kind of

822
00:41:47,680 --> 00:41:50,200
Speaker 3: fucked up the rhythm and cues all of a sudden,

823
00:41:50,239 --> 00:41:52,279
Speaker 3: We're a little bit late, and you know what I mean.

824
00:41:52,360 --> 00:41:53,680
Speaker 3: And it was my fault, you know what I mean.

825
00:41:53,800 --> 00:41:55,400
Speaker 3: And it was just because I said excuse me.

826
00:41:56,000 --> 00:41:59,800
Speaker 5: I could always tell with when we were doing scrubs,

827
00:42:00,520 --> 00:42:06,040
Speaker 5: and especially after about twelve episodes in from twelve episodes on,

828
00:42:06,760 --> 00:42:10,200
Speaker 5: I could always tell whether or not Billy Billy Lawrence

829
00:42:10,200 --> 00:42:14,040
Speaker 5: had done a pass on Cox because he had written

830
00:42:14,239 --> 00:42:20,480
Speaker 5: and I had adopted this kind of Martinus Scorcesi on

831
00:42:20,840 --> 00:42:25,440
Speaker 5: Heroin syncopation for Cox. And I also sometimes when I

832
00:42:25,560 --> 00:42:27,480
Speaker 5: was bored, I would start to play with the language

833
00:42:27,480 --> 00:42:31,800
Speaker 5: a little bit, which was irresponsible, but I get bored sometimes,

834
00:42:32,320 --> 00:42:36,640
Speaker 5: and if Billy hadn't done a pass, I couldn't memorize

835
00:42:36,680 --> 00:42:39,120
Speaker 5: the lines because they were written out of rhythm, and Donald,

836
00:42:39,160 --> 00:42:41,640
Speaker 5: I'm just borrowing from what you said but Billy would

837
00:42:41,640 --> 00:42:43,400
Speaker 5: do a pass on Cox. I'd be down in my

838
00:42:43,480 --> 00:42:49,240
Speaker 5: rehearsal space, shilling myself, trying to remember these disconnected fucking

839
00:42:49,360 --> 00:42:52,480
Speaker 5: rants that somebody wrote then and I couldn't get them.

840
00:42:52,680 --> 00:42:55,759
Speaker 5: And then Billy would do a pass and something as

841
00:42:55,880 --> 00:42:58,960
Speaker 5: much as Donald do you even saying excuse me, that

842
00:42:59,480 --> 00:43:02,240
Speaker 5: was out, and then film the flow and the rhythm

843
00:43:02,719 --> 00:43:04,279
Speaker 5: and I could come in and I can. I can

844
00:43:04,360 --> 00:43:07,320
Speaker 5: do it in Latin, but I until Billy did a pass,

845
00:43:07,840 --> 00:43:09,680
Speaker 5: because I get in there and I have to hissy fit,

846
00:43:09,760 --> 00:43:11,440
Speaker 5: and I'd say, is Billy done a fucking pass on

847
00:43:11,520 --> 00:43:13,680
Speaker 5: this thing yet? And they're like, no, you haven't seen it.

848
00:43:13,760 --> 00:43:15,920
Speaker 5: I'm like, well, don't send.

849
00:43:15,760 --> 00:43:16,160
Speaker 9: It to me.

850
00:43:19,480 --> 00:43:21,840
Speaker 2: Did that happened? You'd get sented and memorize it and

851
00:43:21,840 --> 00:43:23,840
Speaker 2: then it would all be changed. You must have fucking gotten.

852
00:43:23,680 --> 00:43:26,080
Speaker 5: Lived every Monday morning.

853
00:43:28,719 --> 00:43:30,560
Speaker 2: So he talked to me. You must have talked to

854
00:43:30,600 --> 00:43:32,759
Speaker 2: Bill eventually even said, dude, you gotta fuck you can't

855
00:43:32,800 --> 00:43:33,239
Speaker 2: do that to me.

856
00:43:33,440 --> 00:43:35,759
Speaker 5: Of course I did, but Billy was spinning as many

857
00:43:35,880 --> 00:43:39,600
Speaker 5: places as he You know, one character of an ensemble

858
00:43:39,680 --> 00:43:43,080
Speaker 5: of badass, seven or eight of you, and you know

859
00:43:43,280 --> 00:43:46,399
Speaker 5: you you try to get Billy's attention, and you can't

860
00:43:46,600 --> 00:43:47,360
Speaker 5: can't always do it.

861
00:43:47,760 --> 00:43:49,719
Speaker 2: I would go so not. I mean, for those of

862
00:43:49,760 --> 00:43:52,400
Speaker 2: you who don't memorize for a living, it's easier for

863
00:43:52,480 --> 00:43:54,880
Speaker 2: some than others. But these chunks that Johnny had to

864
00:43:54,960 --> 00:43:57,759
Speaker 2: memorize in a short span of time is really hard

865
00:43:57,800 --> 00:43:59,360
Speaker 2: because he has to see them so fast, as he

866
00:43:59,480 --> 00:44:02,120
Speaker 2: did so well. But the idea of spending a weekend

867
00:44:02,200 --> 00:44:04,920
Speaker 2: memorizing that and then yeh work and there's a rewrite,

868
00:44:06,520 --> 00:44:09,400
Speaker 2: that's yeah, that's my stomach.

869
00:44:09,440 --> 00:44:11,440
Speaker 5: Even saying that, I get a not in my stomach.

870
00:44:11,800 --> 00:44:14,239
Speaker 3: That's why you must have loved it. When he had

871
00:44:14,440 --> 00:44:16,480
Speaker 3: no when he had no choice but to go with

872
00:44:16,640 --> 00:44:19,320
Speaker 3: what was written because we didn't have scripts, and so

873
00:44:19,440 --> 00:44:21,440
Speaker 3: he'd be like, yo, look here's here's what we're going

874
00:44:21,480 --> 00:44:24,040
Speaker 3: to say right now. And he would write it while

875
00:44:24,080 --> 00:44:26,279
Speaker 3: we were doing rehearsals and shit, and then he would

876
00:44:26,280 --> 00:44:29,400
Speaker 3: hand it to you and you'd be like, bet, no problem.

877
00:44:29,960 --> 00:44:33,400
Speaker 5: Because he wrote it. It was in Cox's rhythm, and

878
00:44:33,480 --> 00:44:36,800
Speaker 5: that's whatever that syncopation Billy came up with. It was

879
00:44:36,880 --> 00:44:38,520
Speaker 5: in that and I could groove into it.

880
00:44:38,760 --> 00:44:41,879
Speaker 2: But memora memorization is like a muscle, Johnny, I think

881
00:44:42,000 --> 00:44:44,879
Speaker 2: and no question, and you really had yours developed. Well,

882
00:44:44,880 --> 00:44:46,480
Speaker 2: I think, you know when i've when I've just finished

883
00:44:46,480 --> 00:44:48,040
Speaker 2: a play like I did Romeo and Romey and Juliet

884
00:44:48,040 --> 00:44:49,920
Speaker 2: when I was fresh out of school and another one

885
00:44:49,960 --> 00:44:52,840
Speaker 2: of my early roles. And I mean basically, the second

886
00:44:52,880 --> 00:44:55,080
Speaker 2: you start talking, you don't stop talking for two and

887
00:44:55,120 --> 00:44:58,960
Speaker 2: a half hours. And I even think thinking about it now,

888
00:44:59,040 --> 00:45:02,080
Speaker 2: I get anxious. This many years later. This was probably

889
00:45:02,320 --> 00:45:07,480
Speaker 2: to you know, nineteen ninety eight, but by the time

890
00:45:07,560 --> 00:45:10,279
Speaker 2: the play was over, that muscle was so developed. I

891
00:45:10,320 --> 00:45:13,239
Speaker 2: couldn't Russia. And I feel like, as Cox, you had

892
00:45:13,280 --> 00:45:15,680
Speaker 2: to do it so on the regular that you really

893
00:45:15,800 --> 00:45:17,880
Speaker 2: just you must have had it so dial Like now,

894
00:45:18,040 --> 00:45:19,560
Speaker 2: now that might be harder for you because you're not

895
00:45:19,800 --> 00:45:21,400
Speaker 2: memorizing monologues every week.

896
00:45:21,760 --> 00:45:24,000
Speaker 5: One hundred percent, one hundred percent.

897
00:45:24,200 --> 00:45:27,840
Speaker 2: I was when I was doing Bullets over Broadway. We

898
00:45:27,920 --> 00:45:31,480
Speaker 2: were in previews. And when you're in previews that for

899
00:45:31,560 --> 00:45:33,399
Speaker 2: those of you who aren't don't know that that means

900
00:45:33,440 --> 00:45:35,520
Speaker 2: that the critics haven't come yet. You're still working out

901
00:45:35,560 --> 00:45:38,399
Speaker 2: the play. You're still the writer and the rector. They're

902
00:45:38,440 --> 00:45:41,000
Speaker 2: changing things all the time. And then after opening night,

903
00:45:41,080 --> 00:45:43,400
Speaker 2: then then the show is locked, so we're in previews

904
00:45:43,400 --> 00:45:45,040
Speaker 2: and Woody Allen, who wrote the play, is in the

905
00:45:45,080 --> 00:45:47,680
Speaker 2: back of the audience and he's there and he's when

906
00:45:47,719 --> 00:45:49,400
Speaker 2: a joke doesn't work, he would he would give it

907
00:45:49,480 --> 00:45:51,000
Speaker 2: come the next day and give us a new joke

908
00:45:51,080 --> 00:45:53,160
Speaker 2: to try that night. But sometimes that was really hard

909
00:45:53,160 --> 00:45:54,839
Speaker 2: because you had the whole play memorized, and he would

910
00:45:54,840 --> 00:45:57,399
Speaker 2: just hand you a step of paper and he'd be like, here,

911
00:45:57,640 --> 00:46:00,439
Speaker 2: just just try this tonight. And you're like, try where

912
00:46:00,480 --> 00:46:01,840
Speaker 2: where did it? And you're like reading the paper and

913
00:46:01,960 --> 00:46:04,759
Speaker 2: like scribbled handra and like try this, where where does

914
00:46:04,800 --> 00:46:05,000
Speaker 2: it go?

915
00:46:05,360 --> 00:46:05,400
Speaker 5: Like?

916
00:46:06,000 --> 00:46:08,720
Speaker 2: And then he and you'd figure it out. And then sometimes,

917
00:46:08,760 --> 00:46:10,680
Speaker 2: in the heat of the adrenaline of doing a show

918
00:46:10,760 --> 00:46:15,600
Speaker 2: in front of fifteen hundred people, you'd forget. And I

919
00:46:15,840 --> 00:46:18,160
Speaker 2: there was one time I skipped the new joke you

920
00:46:18,200 --> 00:46:20,480
Speaker 2: wanted me to do. And I saw him the next

921
00:46:20,560 --> 00:46:22,759
Speaker 2: day and I said, Woody, I'm really sorry. I got

922
00:46:22,800 --> 00:46:25,080
Speaker 2: a little frazzled and I didn't even try the new

923
00:46:25,160 --> 00:46:26,440
Speaker 2: joke you wanted me to try, and he goes, yeah,

924
00:46:27,000 --> 00:46:30,120
Speaker 2: probably get a bigger laugh if you'll actually say it

925
00:46:30,360 --> 00:46:51,160
Speaker 2: on stage, Johnny, Will you tell that story that I

926
00:46:51,280 --> 00:46:53,279
Speaker 2: love that. You told me once about Platoon where you

927
00:46:53,400 --> 00:46:55,680
Speaker 2: said you were all hanging by the pool when you

928
00:46:55,760 --> 00:46:57,439
Speaker 2: realize that you weren't going to be in the movie.

929
00:46:57,840 --> 00:47:02,080
Speaker 5: So, because the conditions in the Philippe were so tense

930
00:47:02,760 --> 00:47:06,200
Speaker 5: and so fluid, and we were in something called a

931
00:47:06,239 --> 00:47:09,160
Speaker 5: triple and they were fluid because they're just been a revolution.

932
00:47:09,719 --> 00:47:12,640
Speaker 5: A guy named Ferdinand Marcos had lost an election to

933
00:47:12,719 --> 00:47:16,720
Speaker 5: a woman named Coria Kino, and Marcos wouldn't leave until

934
00:47:17,040 --> 00:47:20,560
Speaker 5: President Reagan, the president at the time, gave him political

935
00:47:20,600 --> 00:47:24,560
Speaker 5: asylum in Hawaii. So that's why we were postponed. I left.

936
00:47:24,680 --> 00:47:28,200
Speaker 5: I was doing Hamlet with Kevin Klein at the public

937
00:47:28,440 --> 00:47:33,080
Speaker 5: and about a week into rehearsal, Oliver calls after the

938
00:47:33,640 --> 00:47:35,480
Speaker 5: I'd been cast in the film a year and a

939
00:47:35,480 --> 00:47:37,880
Speaker 5: half earlier, and then the money went away, and he

940
00:47:38,000 --> 00:47:40,239
Speaker 5: called and he goes, McKinley, do you want to play

941
00:47:40,280 --> 00:47:42,719
Speaker 5: the fourth lead? I'm like, who the fuck is this?

942
00:47:45,280 --> 00:47:47,920
Speaker 5: It's Oliver Stone. You want to go to Philippines. And

943
00:47:47,960 --> 00:47:49,840
Speaker 5: I'm like, I would love to go to the Philippines,

944
00:47:49,880 --> 00:47:52,160
Speaker 5: but I'm doing I'm playing third guy on the left

945
00:47:52,480 --> 00:47:54,440
Speaker 5: in Hamlet with Kevin Klein. Over at the Public, and

946
00:47:54,480 --> 00:47:59,239
Speaker 5: he goes tell Joe Path that it's me. I'm like,

947
00:47:59,360 --> 00:48:01,440
Speaker 5: oh sure, I'm to go talk to mister Pap and

948
00:48:01,480 --> 00:48:03,480
Speaker 5: call him. You know, it's like the Wizard of fucking Ass.

949
00:48:03,840 --> 00:48:07,359
Speaker 5: And so Rosemary Tishler, who was the casting person over

950
00:48:07,400 --> 00:48:09,360
Speaker 5: at the Public at the time and a friend of

951
00:48:09,400 --> 00:48:12,279
Speaker 5: mine from n YU, she came in and taught an

952
00:48:12,280 --> 00:48:14,879
Speaker 5: audition class to us and she's won the great great

953
00:48:14,960 --> 00:48:18,359
Speaker 5: women ever. And I called Rosemary. I went to see her,

954
00:48:18,440 --> 00:48:22,680
Speaker 5: and I said, uh, I got offered this movie. It's

955
00:48:22,719 --> 00:48:25,160
Speaker 5: in the Philippines, and it would mean would mean me

956
00:48:25,360 --> 00:48:28,359
Speaker 5: leaving rehearsals, and just like anybody in New York, it'd

957
00:48:28,360 --> 00:48:31,319
Speaker 5: be like crossing Johnny Friendly and on the waterfront. If

958
00:48:31,360 --> 00:48:33,160
Speaker 5: she said, if you go to this film, you'll never

959
00:48:33,239 --> 00:48:35,799
Speaker 5: work here again, I would not have gone and done

960
00:48:35,800 --> 00:48:39,200
Speaker 5: the film. Neither would any anybody in New York. Because

961
00:48:39,320 --> 00:48:42,200
Speaker 5: once you get in that fraternity slash sorority over to

962
00:48:42,200 --> 00:48:46,200
Speaker 5: the Shakespeare Festival, you stay, you keep doing plays. And

963
00:48:47,040 --> 00:48:49,839
Speaker 5: Rosemary said, well, you're fine with me, but you can

964
00:48:49,920 --> 00:48:52,000
Speaker 5: have to go see Joe. And I'm like, everybody stop

965
00:48:52,160 --> 00:48:55,480
Speaker 5: calling him Joe. And so I go in and he

966
00:48:55,719 --> 00:48:57,320
Speaker 5: was you know he had a burden, and he was

967
00:48:57,400 --> 00:48:58,880
Speaker 5: this guy. You know, it was the way in the

968
00:48:58,960 --> 00:49:01,640
Speaker 5: back of his bucket smell. And so you know, I'm

969
00:49:01,680 --> 00:49:03,400
Speaker 5: knocking like I'm going to see the Wizard and the

970
00:49:03,440 --> 00:49:06,000
Speaker 5: Wizard of ours and he goes, come in, back, come in.

971
00:49:06,800 --> 00:49:09,200
Speaker 5: And so I go to see mister Path and I

972
00:49:09,280 --> 00:49:11,239
Speaker 5: told him my story and he goes, go, we'll do

973
00:49:11,360 --> 00:49:14,120
Speaker 5: Hamlet again when you get back. I was just like

974
00:49:15,640 --> 00:49:17,200
Speaker 5: crying even thinking about this.

975
00:49:17,400 --> 00:49:19,719
Speaker 2: I'm so happy they didn't prevent you from going. I

976
00:49:19,760 --> 00:49:20,560
Speaker 2: would have been horrible.

977
00:49:21,320 --> 00:49:22,759
Speaker 5: And so I go back. I was living in the

978
00:49:22,800 --> 00:49:25,240
Speaker 5: funeral parlor at the time, one at the New Jerney

979
00:49:25,280 --> 00:49:28,320
Speaker 5: funeral Parlor, and so I go up five stories and

980
00:49:28,640 --> 00:49:32,560
Speaker 5: I'm there. And a week or so after I removed

981
00:49:32,600 --> 00:49:36,640
Speaker 5: myself from Hamlet, there's a fucking revolution in the Philippines

982
00:49:36,680 --> 00:49:39,879
Speaker 5: because this guy Marcos won't leave. And so we get

983
00:49:39,920 --> 00:49:44,000
Speaker 5: postponed for months and months and months, and the play opens,

984
00:49:44,080 --> 00:49:46,160
Speaker 5: and you know, Vincent can Be calls it the most

985
00:49:46,200 --> 00:49:50,280
Speaker 5: important Hamlet on these shores. I'm sitting in the funeral

986
00:49:50,360 --> 00:49:54,200
Speaker 5: parlot going like, oh my god, I hate my life.

987
00:49:54,280 --> 00:49:57,600
Speaker 5: I hate my life. And finally we get the green

988
00:49:57,680 --> 00:50:01,560
Speaker 5: light to go because the revolution had subsided a little bit,

989
00:50:01,719 --> 00:50:05,080
Speaker 5: but not that much. And so, and in the meantime,

990
00:50:05,360 --> 00:50:07,520
Speaker 5: this language had come out. A bunch of actors in

991
00:50:07,560 --> 00:50:10,840
Speaker 5: New York, five or six of them circulated this language

992
00:50:10,840 --> 00:50:12,120
Speaker 5: because we were going to go through this two and

993
00:50:12,120 --> 00:50:13,799
Speaker 5: a half three week boot camp, that if you got

994
00:50:13,880 --> 00:50:18,560
Speaker 5: hurt in boot camp, you'd get to do the film.

995
00:50:18,600 --> 00:50:19,960
Speaker 5: And Oliver was like, no, if you get hurt in

996
00:50:20,040 --> 00:50:23,840
Speaker 5: boot camp, you get rotated out. You can't be a

997
00:50:23,960 --> 00:50:27,160
Speaker 5: soldier with a boken arm. No, And so I didn't

998
00:50:27,160 --> 00:50:30,759
Speaker 5: sign it, and the five people who did didn't go

999
00:50:30,800 --> 00:50:34,520
Speaker 5: to the Philippines, and so I finally get there and

1000
00:50:35,520 --> 00:50:38,200
Speaker 5: only come to find out that it's a very tricky place.

1001
00:50:38,280 --> 00:50:41,440
Speaker 5: We're shooting in this triple canopy jungle, which meant there

1002
00:50:41,560 --> 00:50:46,239
Speaker 5: was vegetation at ten feet, another vegetation at twenty feet,

1003
00:50:46,280 --> 00:50:48,640
Speaker 5: and these monstrous trees at fifty feet, So it was

1004
00:50:48,719 --> 00:50:54,320
Speaker 5: very dark and swampy underneath these these three canopies of flora,

1005
00:50:55,080 --> 00:50:58,800
Speaker 5: and we're shooting, and there was no shot list because

1006
00:50:58,840 --> 00:51:01,319
Speaker 5: Oliver had to change things every day and on the fly,

1007
00:51:01,520 --> 00:51:04,719
Speaker 5: which he did brilliantly. But the whole there was three

1008
00:51:04,760 --> 00:51:06,719
Speaker 5: squads of eight, so there was twenty four of us,

1009
00:51:07,400 --> 00:51:09,840
Speaker 5: and every day everybody was called to the set, and

1010
00:51:10,080 --> 00:51:12,080
Speaker 5: some days you just sat there all day because if

1011
00:51:12,080 --> 00:51:13,959
Speaker 5: you're not in the scene, you're not in the scene.

1012
00:51:14,800 --> 00:51:17,000
Speaker 5: And so it was about two hour bus ride out

1013
00:51:17,040 --> 00:51:20,759
Speaker 5: to the place, and then you'd sit and you weren't

1014
00:51:20,800 --> 00:51:22,440
Speaker 5: the scene. Then there's two hours back. And so this

1015
00:51:22,560 --> 00:51:25,560
Speaker 5: happened for a couple of weeks. And so Forrest Whitaker

1016
00:51:25,800 --> 00:51:29,960
Speaker 5: and Johnny Depp and I asked Oliver that if we

1017
00:51:30,120 --> 00:51:33,160
Speaker 5: weren't in going to be shooting that day, could we

1018
00:51:33,200 --> 00:51:37,279
Speaker 5: stay at the hotel and he acquiesced, and so we're

1019
00:51:37,320 --> 00:51:39,080
Speaker 5: finally sitting by the pool and we got what we

1020
00:51:39,200 --> 00:51:42,280
Speaker 5: wanted and Forrest I don't do a good forest imitation,

1021
00:51:42,520 --> 00:51:45,640
Speaker 5: but Forrest comes over to Johnny and he goes. You

1022
00:51:45,680 --> 00:51:48,520
Speaker 5: would get the feeling that while we're here, we're not

1023
00:51:48,600 --> 00:51:52,680
Speaker 5: in the movie. We all started coming back to the

1024
00:51:52,800 --> 00:51:56,919
Speaker 5: set every day and Oliver would put us. Oliver would

1025
00:51:56,960 --> 00:51:59,759
Speaker 5: put us on this mountain about a mile out of

1026
00:51:59,800 --> 00:52:03,200
Speaker 5: the frame, and we and you weren't even a speck,

1027
00:52:03,719 --> 00:52:06,920
Speaker 5: and you'd be back there and we started calling it

1028
00:52:07,040 --> 00:52:11,560
Speaker 5: power background. And so guys were doing their best brandoh

1029
00:52:12,280 --> 00:52:17,360
Speaker 5: a mile up a mountain and we called it power Background.

1030
00:52:17,520 --> 00:52:19,279
Speaker 2: I just love it. I just I just love that.

1031
00:52:19,320 --> 00:52:20,880
Speaker 2: You guys were like, all right, fuck this, We're not

1032
00:52:20,920 --> 00:52:22,560
Speaker 2: gonna sit in the jungle. We're gonna go sit by

1033
00:52:22,600 --> 00:52:24,960
Speaker 2: the pool. And then and then it's like you you,

1034
00:52:25,200 --> 00:52:28,000
Speaker 2: Forest Whitaker and Johnny Depp sitting there on your lounge

1035
00:52:28,120 --> 00:52:30,560
Speaker 2: on your lounge chairs with with with a cocktail. And

1036
00:52:30,600 --> 00:52:32,920
Speaker 2: then all of a sudden, someone has the realization, you know,

1037
00:52:33,520 --> 00:52:37,400
Speaker 2: he's probably just improv improvising this movie and we're sitting

1038
00:52:37,440 --> 00:52:38,160
Speaker 2: here at the pool.

1039
00:52:38,480 --> 00:52:44,960
Speaker 5: Was right, yeah, and Forrest, Forrest, I wish I could

1040
00:52:44,960 --> 00:52:46,960
Speaker 5: do a forest invitation, but he was like, if we're

1041
00:52:47,000 --> 00:52:51,360
Speaker 5: here in the movies, and.

1042
00:52:51,480 --> 00:52:55,040
Speaker 2: He was right his rain and what a fucking amazing movie, dude.

1043
00:52:55,080 --> 00:52:56,799
Speaker 2: I think it's one of the greatest movies ever made.

1044
00:52:58,000 --> 00:52:59,920
Speaker 5: But I want to circle back to something that Donald

1045
00:53:00,040 --> 00:53:02,440
Speaker 5: said earlier that when you said when you said you

1046
00:53:02,520 --> 00:53:05,000
Speaker 5: can just trust the work and if when you stay

1047
00:53:05,080 --> 00:53:07,680
Speaker 5: in rhythm, when when you can let the work happen.

1048
00:53:08,280 --> 00:53:10,759
Speaker 5: For me, that was a big aha. When I was

1049
00:53:10,880 --> 00:53:14,560
Speaker 5: with Jim Mangle for the for that hiatus, it was

1050
00:53:14,600 --> 00:53:16,560
Speaker 5: that I was watching all these I was watching ray

1051
00:53:16,760 --> 00:53:19,640
Speaker 5: Leoda and Johnny and All and Johnny Hawks and all

1052
00:53:19,640 --> 00:53:22,839
Speaker 5: these great actors, and and I could see when Jim

1053
00:53:23,000 --> 00:53:25,480
Speaker 5: was directing them. Sometimes you can see a director work

1054
00:53:25,560 --> 00:53:28,200
Speaker 5: better when you're watching them direct somebody else. And I

1055
00:53:28,320 --> 00:53:33,800
Speaker 5: was impacted by just how clean and with that affectations.

1056
00:53:34,360 --> 00:53:36,480
Speaker 5: Jim wanted the style of this piece, and I was like,

1057
00:53:37,680 --> 00:53:40,399
Speaker 5: that's what I'm doing. I'm going there. But in order

1058
00:53:40,520 --> 00:53:44,080
Speaker 5: to do that, you have to acquiesce. You have to

1059
00:53:44,200 --> 00:53:45,800
Speaker 5: you have to, like you were saying, you have to

1060
00:53:45,880 --> 00:53:49,279
Speaker 5: trust it a little bit. And that's hard. But if

1061
00:53:49,320 --> 00:53:52,880
Speaker 5: you're in rhythm and and you can and I the

1062
00:53:53,000 --> 00:53:55,800
Speaker 5: verb to capitulate kept coming up for me and in

1063
00:53:55,920 --> 00:53:59,600
Speaker 5: my in my dope uh composition books, and and to

1064
00:54:00,520 --> 00:54:04,600
Speaker 5: is hard sometimes because somebody calls action and and the

1065
00:54:04,680 --> 00:54:06,960
Speaker 5: trap is to want to drive the scene and and

1066
00:54:07,320 --> 00:54:12,120
Speaker 5: and move the narrative forward. And like that scene with

1067
00:54:12,280 --> 00:54:15,399
Speaker 5: Zachi where at the at the end of two oh nine,

1068
00:54:16,040 --> 00:54:20,480
Speaker 5: when when coxing him have that scene, it just sits

1069
00:54:21,520 --> 00:54:26,879
Speaker 5: and the lens absolutely soaks it up because no one's

1070
00:54:26,920 --> 00:54:28,120
Speaker 5: trying to drive anything.

1071
00:54:28,600 --> 00:54:31,000
Speaker 2: You know, there's so much power in being able to

1072
00:54:31,080 --> 00:54:34,520
Speaker 2: just put a camera. It's interesting. We're talking about going

1073
00:54:34,560 --> 00:54:37,279
Speaker 2: back and forth between theater and film, because when you're

1074
00:54:37,360 --> 00:54:40,040
Speaker 2: in a play, you have to give a performance to

1075
00:54:40,080 --> 00:54:41,320
Speaker 2: the person in the front row, and you have to

1076
00:54:41,360 --> 00:54:43,440
Speaker 2: give a performance to the person in the back round, right,

1077
00:54:43,560 --> 00:54:46,040
Speaker 2: And there's a really there's a dance in being able

1078
00:54:46,080 --> 00:54:48,920
Speaker 2: to do that when you're in a film and the

1079
00:54:49,080 --> 00:54:52,279
Speaker 2: camera can be as tight on our faces as it

1080
00:54:52,400 --> 00:54:55,520
Speaker 2: is in that scene, an actor has to let go

1081
00:54:56,400 --> 00:54:58,680
Speaker 2: in order to do nothing, do you know what I mean? Like,

1082
00:54:58,800 --> 00:55:01,920
Speaker 2: there's so much power in just trusting the words and

1083
00:55:02,080 --> 00:55:07,359
Speaker 2: trusting the camera to capture you doing I would say,

1084
00:55:07,480 --> 00:55:09,560
Speaker 2: if I was directing that scene Johnny that we both love,

1085
00:55:09,600 --> 00:55:12,520
Speaker 2: I would say we both did almost nothing. We were

1086
00:55:12,640 --> 00:55:15,440
Speaker 2: just that's hard, that's very hard.

1087
00:55:15,520 --> 00:55:17,560
Speaker 5: It's counterintuitive, but that's hard.

1088
00:55:17,920 --> 00:55:20,359
Speaker 2: Yeah, yeah, yeah, yeah, yeah, I agree, because we all

1089
00:55:20,440 --> 00:55:22,040
Speaker 2: want to go, we all want to go do something

1090
00:55:22,080 --> 00:55:23,799
Speaker 2: and have a moment, and sometimes there's so much more

1091
00:55:23,880 --> 00:55:27,439
Speaker 2: power in doing nothing.

1092
00:55:27,840 --> 00:55:30,600
Speaker 5: But the style of the piece was to go do something.

1093
00:55:30,719 --> 00:55:33,200
Speaker 5: And it was for Donald to just all of a

1094
00:55:33,239 --> 00:55:36,440
Speaker 5: sudden riff off a dance that was fresh and beautiful,

1095
00:55:36,680 --> 00:55:38,920
Speaker 5: and it was for you to look off the thing

1096
00:55:39,000 --> 00:55:41,239
Speaker 5: and have a fantasy and then in the fantasy, you're

1097
00:55:41,880 --> 00:55:45,200
Speaker 5: you're juggling you know stuff, You're juggling your father, and

1098
00:55:45,800 --> 00:55:49,239
Speaker 5: and the impetus of the piece was to drive it.

1099
00:55:49,400 --> 00:55:52,360
Speaker 5: Everyone was always to Junior's just driving stuff, Sarah was

1100
00:55:52,520 --> 00:55:58,000
Speaker 5: driving stuff. And then all of a suddenly goes that's hard. Yeah,

1101
00:55:58,400 --> 00:56:01,560
Speaker 5: that's agile. You gotta be you gotta be in rhythm. Sorry,

1102
00:56:01,600 --> 00:56:03,400
Speaker 5: I keep stealing that from you, Donald, but you know.

1103
00:56:05,200 --> 00:56:08,239
Speaker 1: It's true, because that's the safe place, you know what

1104
00:56:08,280 --> 00:56:11,240
Speaker 1: I mean. The rhythm of it all is the safe place.

1105
00:56:11,360 --> 00:56:14,799
Speaker 1: Comedy is funny when the rhythm's right. It's not necessarily

1106
00:56:15,000 --> 00:56:18,480
Speaker 1: funny if you're if your timing is off right. So

1107
00:56:19,440 --> 00:56:23,240
Speaker 1: the safe place to find everything in comedy is within

1108
00:56:24,000 --> 00:56:28,799
Speaker 1: the pace of the show, right. So that was one

1109
00:56:28,920 --> 00:56:32,480
Speaker 1: thing that would would always I always noticed that the

1110
00:56:32,640 --> 00:56:35,760
Speaker 1: show always got better towards the end of the season.

1111
00:56:35,880 --> 00:56:39,280
Speaker 1: Like we would come in hot and be so excited,

1112
00:56:39,320 --> 00:56:41,120
Speaker 1: and there would be so much stuff that we're doing

1113
00:56:41,200 --> 00:56:48,080
Speaker 1: in the beginning, tricks and all of these, Yeah, I'm

1114
00:56:48,080 --> 00:56:50,279
Speaker 1: gonna show you what I got. But by the end

1115
00:56:50,360 --> 00:56:52,040
Speaker 1: of the season, that's when all of a sudden, we're

1116
00:56:52,080 --> 00:56:54,799
Speaker 1: doing really good episodes. We should probably go to break.

1117
00:56:55,080 --> 00:56:57,759
Speaker 2: Well, we didn't do any breaks because this conversation was

1118
00:56:57,800 --> 00:56:59,879
Speaker 2: so interesting. Dan will have to put in fake breaks.

1119
00:57:00,040 --> 00:57:02,320
Speaker 2: I had a realization, we're going to call this episode,

1120
00:57:02,320 --> 00:57:05,000
Speaker 2: if it's right with you, Donald, a conversation with Johnny

1121
00:57:05,000 --> 00:57:08,359
Speaker 2: c McGinley. I like that, and then we'll redo uh

1122
00:57:08,760 --> 00:57:11,200
Speaker 2: in the next episode, We'll we'll go do this episode

1123
00:57:11,239 --> 00:57:13,359
Speaker 2: because this was so interesting. I don't think we need

1124
00:57:13,400 --> 00:57:15,600
Speaker 2: to try and do anything else like that.

1125
00:57:17,360 --> 00:57:20,440
Speaker 5: I'm sorry I read I watched the No it's a.

1126
00:57:20,440 --> 00:57:24,080
Speaker 2: Miscommunication, but dude, I have a feeling everything we just

1127
00:57:24,160 --> 00:57:26,440
Speaker 2: talked about you listening to you tell old stories is

1128
00:57:26,480 --> 00:57:28,240
Speaker 2: more interesting than anything Donald and I were going to

1129
00:57:28,280 --> 00:57:30,680
Speaker 2: say about about this episode, other than the fact that

1130
00:57:30,760 --> 00:57:34,240
Speaker 2: it's completely unrealistic that JD would not be able to

1131
00:57:35,120 --> 00:57:36,760
Speaker 2: get stimulated for Gift Shop Girl.

1132
00:57:37,200 --> 00:57:42,520
Speaker 3: That is impossibly not a believable thing for televisions when

1133
00:57:42,560 --> 00:57:46,880
Speaker 3: that should happen. I was like, this is a television listen.

1134
00:57:47,000 --> 00:57:49,200
Speaker 2: I don't want to minimize. I don't want to minimize

1135
00:57:49,360 --> 00:57:52,600
Speaker 2: I don't want to minimize a rectalitysfunction or losing one's

1136
00:57:52,640 --> 00:57:56,120
Speaker 2: libido from stress. I know that's a fact and exists,

1137
00:57:56,720 --> 00:57:58,680
Speaker 2: but one thing that is not a fact, is that

1138
00:57:58,880 --> 00:58:00,720
Speaker 2: JD would not be able to go an direction for

1139
00:58:00,800 --> 00:58:01,440
Speaker 2: Gift Shop Girl.

1140
00:58:02,520 --> 00:58:07,360
Speaker 1: Sarah Lancaster, who played gift Shop Girl, did a fabulous job.

1141
00:58:07,400 --> 00:58:09,360
Speaker 2: By the way, not only not only is Sarah Lancaster

1142
00:58:10,120 --> 00:58:14,840
Speaker 2: very funny, but she's darn pretty. And uh, I just

1143
00:58:15,040 --> 00:58:16,720
Speaker 2: I had a lot of trouble with the scenes where

1144
00:58:16,800 --> 00:58:19,120
Speaker 2: jad is unable to kiss her.

1145
00:58:20,160 --> 00:58:23,720
Speaker 5: I gotta tell you, I gotta tell you. And I

1146
00:58:23,800 --> 00:58:26,040
Speaker 5: think Jerry Lewis always did this for himself as well

1147
00:58:26,080 --> 00:58:31,400
Speaker 5: when he was directing all his movies. J D and

1148
00:58:31,560 --> 00:58:37,760
Speaker 5: his the women that he hangs out with, they're beautiful.

1149
00:58:38,080 --> 00:58:38,760
Speaker 2: Only only on.

1150
00:58:38,840 --> 00:58:43,680
Speaker 3: TV, Johnny, I mean he's talking, Johnny. Look who's talking?

1151
00:58:46,280 --> 00:58:47,560
Speaker 3: And Crystal the first two.

1152
00:58:47,680 --> 00:58:51,640
Speaker 1: Seasons of the show, all you're doing is making out

1153
00:58:51,720 --> 00:58:52,600
Speaker 1: with hot chicks.

1154
00:58:52,680 --> 00:58:55,560
Speaker 2: I know your too, your too, love interest are so far?

1155
00:58:55,920 --> 00:58:56,040
Speaker 5: Oh?

1156
00:58:56,080 --> 00:58:58,360
Speaker 2: Actually, and what's her name? That girl? That woman who

1157
00:58:58,440 --> 00:58:59,320
Speaker 2: was wonderful.

1158
00:58:59,000 --> 00:59:02,600
Speaker 5: Kylie Kelly Kyl Williams, who was absolutely beautiful.

1159
00:59:03,160 --> 00:59:05,760
Speaker 2: No, is that the one who was on the practice?

1160
00:59:05,880 --> 00:59:06,480
Speaker 2: What was her name?

1161
00:59:06,560 --> 00:59:09,320
Speaker 5: Yeah? I sort of that was sort of her name.

1162
00:59:09,680 --> 00:59:09,960
Speaker 3: Joell.

1163
00:59:10,000 --> 00:59:11,720
Speaker 2: Well, you double check. We've spoken about her. She was

1164
00:59:11,800 --> 00:59:12,680
Speaker 2: really good and really pretty.

1165
00:59:12,960 --> 00:59:13,680
Speaker 5: She was great.

1166
00:59:14,840 --> 00:59:17,640
Speaker 2: Yeah, we always say JD did way better than that

1167
00:59:17,800 --> 00:59:20,320
Speaker 2: is realistic. I mean we have Amy Smart coming up

1168
00:59:20,520 --> 00:59:21,600
Speaker 2: as soon as a love entry.

1169
00:59:21,640 --> 00:59:23,560
Speaker 5: Oh my god, that's right. She was so.

1170
00:59:24,200 --> 00:59:27,720
Speaker 2: I'm sure she is so tasty, coma wife tasty.

1171
00:59:29,480 --> 00:59:32,400
Speaker 1: But we talked about we talked about Gift Shop Girl

1172
00:59:32,520 --> 00:59:34,880
Speaker 1: for like the rest of the.

1173
00:59:35,280 --> 00:59:38,920
Speaker 2: Rockout way way by the way, we're gonna go, We're

1174
00:59:38,920 --> 00:59:40,640
Speaker 2: gonna do this episode in a separate podcast, but we

1175
00:59:40,720 --> 00:59:43,360
Speaker 2: have to say. One of my favorite lines is she goes,

1176
00:59:43,480 --> 00:59:45,320
Speaker 2: is that a roller quarters in your pocket? Or are

1177
00:59:45,360 --> 00:59:47,760
Speaker 2: you just having a good time? And I pulled out

1178
00:59:47,760 --> 00:59:49,560
Speaker 2: a roller quds. I go, no, it's it's roller quarters.

1179
00:59:49,600 --> 00:59:50,560
Speaker 2: It's actually laundry day.

1180
00:59:54,320 --> 00:59:54,600
Speaker 3: Okay.

1181
00:59:54,680 --> 00:59:57,000
Speaker 1: I decided, all right, there was one line, there was

1182
00:59:57,080 --> 00:59:59,640
Speaker 1: one line that made me laugh, and I'm just gonna

1183
00:59:59,680 --> 01:00:01,680
Speaker 1: throw this out there and then we can move on

1184
01:00:01,800 --> 01:00:04,880
Speaker 1: because we have our guest here. But Todd goes, when

1185
01:00:04,880 --> 01:00:06,800
Speaker 1: you're walking down the hall and Todd goes, hey, how's

1186
01:00:06,840 --> 01:00:07,320
Speaker 1: your penis?

1187
01:00:08,040 --> 01:00:10,960
Speaker 3: It made me go all the way back to that.

1188
01:00:11,080 --> 01:00:15,919
Speaker 1: One episode where Turk where you think Turk is having

1189
01:00:15,960 --> 01:00:19,960
Speaker 1: a problem getting it up and Todd goes, oh, so

1190
01:00:20,080 --> 01:00:23,560
Speaker 1: when I saw you this morning and I said how's

1191
01:00:23,600 --> 01:00:24,240
Speaker 1: your penis?

1192
01:00:25,040 --> 01:00:26,520
Speaker 3: And you didn't want to talk about it.

1193
01:00:29,720 --> 01:00:31,560
Speaker 2: I want to tell you a little trivia when when

1194
01:00:31,640 --> 01:00:35,480
Speaker 2: that in that moment, when when when Todd says to me,

1195
01:00:35,520 --> 01:00:38,560
Speaker 2: how's your penis? On the day he bangkoks me?

1196
01:00:40,760 --> 01:00:42,400
Speaker 5: I remember him doing that to you?

1197
01:00:42,920 --> 01:00:43,960
Speaker 2: Yeah, for those of who don't know.

1198
01:00:44,040 --> 01:00:46,439
Speaker 5: You did it to each other every once in a while. Yeah.

1199
01:00:46,480 --> 01:00:49,400
Speaker 2: There we have to tell us audience who might not

1200
01:00:49,480 --> 01:00:52,480
Speaker 2: know what bangkok is. It's a juvenile game that men

1201
01:00:52,720 --> 01:00:55,600
Speaker 2: will sometimes play with each other where they hit each

1202
01:00:55,640 --> 01:00:57,120
Speaker 2: other's balls and then run away.

1203
01:00:58,920 --> 01:01:02,560
Speaker 3: It starts, it starts off like this, what's the capital

1204
01:01:02,600 --> 01:01:03,160
Speaker 3: of Thailand?

1205
01:01:03,480 --> 01:01:07,560
Speaker 2: That's right, Bangkok? Yes, and then your penis gets hit

1206
01:01:07,600 --> 01:01:09,560
Speaker 2: and you crumble over and the person runs away.

1207
01:01:09,760 --> 01:01:12,080
Speaker 3: So here's another one. Here's another one. This was back

1208
01:01:12,120 --> 01:01:15,520
Speaker 3: when Mitch cup Check was the GM of the Lakers.

1209
01:01:15,560 --> 01:01:18,480
Speaker 3: Who's the GM of the Lakers? Mitch cup Check and

1210
01:01:18,560 --> 01:01:20,120
Speaker 3: you punch him in the dick check?

1211
01:01:20,200 --> 01:01:21,760
Speaker 2: I wouldn't have been able to answer that anyway. But

1212
01:01:22,360 --> 01:01:24,120
Speaker 2: if you look at if you look on YouTube, I

1213
01:01:24,160 --> 01:01:25,920
Speaker 2: think it's the seat. It would be the season two

1214
01:01:26,040 --> 01:01:28,800
Speaker 2: gag reel or boot Blooper reel. I think they put

1215
01:01:28,880 --> 01:01:31,280
Speaker 2: that on there. He was on camera. He hit my

1216
01:01:31,520 --> 01:01:33,480
Speaker 2: hit my balls and ran away and then I can

1217
01:01:33,920 --> 01:01:36,760
Speaker 2: I remember seeing that on the blooperl It was so painful.

1218
01:01:36,840 --> 01:01:39,640
Speaker 2: He really got me good. He bangcocks me. Well, all right,

1219
01:01:39,680 --> 01:01:41,160
Speaker 2: we have a wait. Why don't we Why don't we

1220
01:01:41,160 --> 01:01:44,240
Speaker 2: go to break? Just to give Dan one reel? Break? Okay,

1221
01:01:44,400 --> 01:01:55,440
Speaker 2: and we'll be right back. All right, we're back. We

1222
01:01:55,520 --> 01:02:02,040
Speaker 2: have a guest, Michael Rat I'm Michael, welcome to Welcome

1223
01:02:02,080 --> 01:02:02,720
Speaker 2: to the show.

1224
01:02:03,400 --> 01:02:07,520
Speaker 3: Ladies and gentlemen. Thunderous applause for Michael cratch me.

1225
01:02:08,720 --> 01:02:10,880
Speaker 2: You have a lot of thunderous applause out lately.

1226
01:02:10,960 --> 01:02:12,920
Speaker 3: I really a're not going to turn the key.

1227
01:02:13,080 --> 01:02:14,480
Speaker 2: I'm not gonna turn my key for that one. Dan,

1228
01:02:14,600 --> 01:02:17,320
Speaker 2: turn your key, sir, No, no, turn your key, sir,

1229
01:02:18,240 --> 01:02:21,720
Speaker 2: turn your key, sir, turn your key, sir. All right,

1230
01:02:22,080 --> 01:02:24,120
Speaker 2: I don't Michael better be good. I'm gonna turn my key,

1231
01:02:24,200 --> 01:02:27,720
Speaker 2: all right, thunder all right, Michael, welcome, you have you

1232
01:02:27,760 --> 01:02:30,800
Speaker 2: have a special Johnny C McGinley episode. So ask do

1233
01:02:30,840 --> 01:02:33,320
Speaker 2: you have a question for any of the three of us?

1234
01:02:34,200 --> 01:02:36,760
Speaker 10: Well, I I definitely have a question. I can kind

1235
01:02:36,800 --> 01:02:37,800
Speaker 10: of be for all of you guys.

1236
01:02:37,920 --> 01:02:38,160
Speaker 2: Sure.

1237
01:02:38,360 --> 01:02:41,680
Speaker 10: So I'm a huge Scrubs fan. It's one of the

1238
01:02:41,720 --> 01:02:44,080
Speaker 10: reasons I'm actually a doctor. I went into medicine because

1239
01:02:44,080 --> 01:02:44,640
Speaker 10: of Scrubs.

1240
01:02:44,720 --> 01:02:49,600
Speaker 2: Oh my god, Wow, thank you every page, Michael.

1241
01:02:50,240 --> 01:02:53,600
Speaker 10: I'm a family medicine practitioner. I actually just finished residency

1242
01:02:53,760 --> 01:02:55,560
Speaker 10: like a month ago, and then I just took my

1243
01:02:55,640 --> 01:02:57,959
Speaker 10: board exam like a week ago. So I'm a full

1244
01:02:58,080 --> 01:02:59,920
Speaker 10: fledge doctor at this congradually.

1245
01:03:00,360 --> 01:03:03,240
Speaker 3: Congratulations, man, that's incredible, And I just want to say

1246
01:03:03,240 --> 01:03:05,960
Speaker 3: on behalf of thunderous applause, Dan thunderous.

1247
01:03:05,520 --> 01:03:07,400
Speaker 2: I'm gonna turn my key. I'm gonna turn my key.

1248
01:03:07,600 --> 01:03:09,760
Speaker 2: But you're really abusing this kinld. It's supposed to be

1249
01:03:09,800 --> 01:03:10,560
Speaker 2: do sparingly.

1250
01:03:11,000 --> 01:03:13,920
Speaker 3: That that is deservant, Okay, is the right word.

1251
01:03:13,960 --> 01:03:15,440
Speaker 2: Deservant is not a word, but you know.

1252
01:03:15,480 --> 01:03:17,760
Speaker 3: What it is, Joel not in the said.

1253
01:03:17,600 --> 01:03:21,080
Speaker 2: It was deservant. Deserved with a n T is not

1254
01:03:21,240 --> 01:03:25,760
Speaker 2: a word. As the newly fucking as the newly licensed doctor.

1255
01:03:26,400 --> 01:03:27,720
Speaker 3: He doesn't know he's a doctor.

1256
01:03:27,760 --> 01:03:31,360
Speaker 2: He's not a fucking Really, they didn't covered deservant on

1257
01:03:31,480 --> 01:03:33,440
Speaker 2: the fucking Latin Latin.

1258
01:03:33,640 --> 01:03:37,160
Speaker 3: It's Latin, all right, okay.

1259
01:03:37,080 --> 01:03:41,840
Speaker 2: Dan, Dan for for using deservant thunderous booze. Please thunderous booze,

1260
01:03:42,120 --> 01:03:45,040
Speaker 2: turn your turn your geir.

1261
01:03:44,920 --> 01:03:46,040
Speaker 3: I'm not turning my key.

1262
01:03:46,240 --> 01:03:47,280
Speaker 2: I'm not turning my key.

1263
01:03:47,520 --> 01:03:48,920
Speaker 3: You're gonna blow my brains out.

1264
01:03:49,240 --> 01:03:54,040
Speaker 2: No way, Dan mix this boom? All right, all right,

1265
01:03:54,120 --> 01:03:55,720
Speaker 2: all right, Michael, what's your question?

1266
01:03:56,680 --> 01:04:00,120
Speaker 10: So in my life, things that happen in medicine, in

1267
01:04:00,240 --> 01:04:02,880
Speaker 10: or just in my general daily life kind of remind

1268
01:04:02,960 --> 01:04:06,320
Speaker 10: me of episodes or certain scenes or jokes or even

1269
01:04:06,360 --> 01:04:08,919
Speaker 10: fantasies from Scrubs, and they make me like almost laugh

1270
01:04:08,960 --> 01:04:13,120
Speaker 10: out loud at inappropriate times. Are there any things from

1271
01:04:13,160 --> 01:04:15,880
Speaker 10: the show, whether they're jokes or fantasies or scenes that

1272
01:04:16,360 --> 01:04:20,200
Speaker 10: like you experience them in real life that kind of

1273
01:04:20,560 --> 01:04:23,400
Speaker 10: bring back memories and make you on the verge of laughing.

1274
01:04:24,200 --> 01:04:27,840
Speaker 5: Oh, I got one, go ahead. Johnny Billy did an

1275
01:04:27,880 --> 01:04:32,120
Speaker 5: episode where I'll get this wrong, But where when when

1276
01:04:32,200 --> 01:04:39,680
Speaker 5: somebody makes this sound that it's it's usually not appropriate

1277
01:04:39,720 --> 01:04:41,560
Speaker 5: because when you go see a doctor, all you want

1278
01:04:41,600 --> 01:04:45,480
Speaker 5: the doctor to do is shrub and go yeah, you

1279
01:04:45,560 --> 01:04:47,320
Speaker 5: know what, let the end turn do it because it's

1280
01:04:47,360 --> 01:04:50,040
Speaker 5: no big deal. But when the doctor goes like this,

1281
01:04:52,320 --> 01:04:54,280
Speaker 5: and so now when I go to the hardware store

1282
01:04:54,560 --> 01:04:59,960
Speaker 5: and I'll ask for a hose to hose elbow cup

1283
01:05:00,360 --> 01:05:04,040
Speaker 5: joint for for some garden hose thing, and I see

1284
01:05:04,080 --> 01:05:08,000
Speaker 5: the salesman go like this, I'm like, just don't fucking

1285
01:05:08,280 --> 01:05:11,120
Speaker 5: don't do that. Don't do that asking. This is not

1286
01:05:11,280 --> 01:05:16,160
Speaker 5: fucking leukemia. This is not fucking that answer. This is

1287
01:05:16,280 --> 01:05:20,480
Speaker 5: a hose, the hose, Well, go enjoy it. What are

1288
01:05:20,520 --> 01:05:23,120
Speaker 5: you doing this for? They can do that?

1289
01:05:23,320 --> 01:05:24,920
Speaker 2: Is he making the noise because he's not sure he

1290
01:05:25,000 --> 01:05:25,240
Speaker 2: has it?

1291
01:05:25,800 --> 01:05:29,040
Speaker 5: Yeah, Well, it's just it's things like well, I don't

1292
01:05:29,080 --> 01:05:30,880
Speaker 5: know if we have that in stock. It's like, well,

1293
01:05:30,920 --> 01:05:32,880
Speaker 5: when I can pull Amazon and have it in forty

1294
01:05:32,920 --> 01:05:33,880
Speaker 5: eight hours for free, you.

1295
01:05:35,080 --> 01:05:37,760
Speaker 3: I get it. It sound if your doctor doesn't, it

1296
01:05:37,840 --> 01:05:40,480
Speaker 3: usually means ship you know what your.

1297
01:05:40,480 --> 01:05:43,640
Speaker 5: Doctor doing that? Yeah, And Big Billy Billy wrote a

1298
01:05:43,680 --> 01:05:46,240
Speaker 5: whole like being your c story about that one episode.

1299
01:05:46,240 --> 01:05:49,160
Speaker 5: And whenever I see a waiter when I'll ask for

1300
01:05:49,280 --> 01:05:51,040
Speaker 5: a crush red peppers on the side and the go

1301
01:05:51,960 --> 01:05:55,600
Speaker 5: I'm like, don't fucking do that. There's a jug of

1302
01:05:55,760 --> 01:05:59,000
Speaker 5: McCormick's crush red peppers this big back in the kitchen.

1303
01:05:59,160 --> 01:06:00,880
Speaker 5: Would you like me to show you where it is.

1304
01:06:07,200 --> 01:06:09,080
Speaker 2: That's pretty good. Donald, Do you have anything like that.

1305
01:06:11,000 --> 01:06:12,520
Speaker 3: Story, anything that could top that?

1306
01:06:12,640 --> 01:06:12,840
Speaker 5: Dude?

1307
01:06:13,080 --> 01:06:15,240
Speaker 2: All right, that's where we're gonna go with Johnny's answer

1308
01:06:15,320 --> 01:06:16,840
Speaker 2: on that, Michael, do you got another one for us?

1309
01:06:17,800 --> 01:06:20,000
Speaker 10: I so my brother is a huge fan as well,

1310
01:06:20,320 --> 01:06:22,880
Speaker 10: and he would be very angry at me, my brother

1311
01:06:23,000 --> 01:06:25,920
Speaker 10: Ben if I didn't ask a question that he was

1312
01:06:25,960 --> 01:06:28,000
Speaker 10: trying to convince me to use as my question.

1313
01:06:28,360 --> 01:06:29,680
Speaker 5: When he found out I was going to be on it.

1314
01:06:29,800 --> 01:06:32,959
Speaker 10: So he said he wanted to know specifically for you, Zach,

1315
01:06:33,480 --> 01:06:35,760
Speaker 10: My Way Home is his favorite episode, and he wanted

1316
01:06:35,800 --> 01:06:39,720
Speaker 10: to know how much different is it to direct people

1317
01:06:39,840 --> 01:06:45,000
Speaker 10: that you like, actually know compared to directing in a

1318
01:06:45,040 --> 01:06:45,840
Speaker 10: different situation.

1319
01:06:48,640 --> 01:06:52,760
Speaker 2: That's a great question. I was blessed that this cast

1320
01:06:53,120 --> 01:06:58,240
Speaker 2: was totally supportive and embraced me to direct them. I

1321
01:06:58,400 --> 01:07:02,720
Speaker 2: think that, you know, it's always a tricky situation. I

1322
01:07:02,880 --> 01:07:07,200
Speaker 2: imagine on a show when when someone finally goes, hey,

1323
01:07:07,240 --> 01:07:09,920
Speaker 2: I'd like to direct us all. I mean, we're all equals,

1324
01:07:10,000 --> 01:07:14,760
Speaker 2: we're all a team, and I imagine in sports playing, uh,

1325
01:07:15,080 --> 01:07:16,600
Speaker 2: even though I don't know that world, it would be

1326
01:07:16,640 --> 01:07:18,520
Speaker 2: like if someone on the team was like, I'm now

1327
01:07:18,600 --> 01:07:22,000
Speaker 2: going to coach, you'd be like, fuck you, Stan, you're

1328
01:07:22,080 --> 01:07:27,280
Speaker 2: the forward middle or whatever that is. Is that a position?

1329
01:07:27,400 --> 01:07:28,000
Speaker 2: Forward middle?

1330
01:07:28,840 --> 01:07:31,920
Speaker 3: Yeah? Sure, I'm sure the forward middle.

1331
01:07:32,520 --> 01:07:34,240
Speaker 2: I don't know, maybe in highlight.

1332
01:07:35,960 --> 01:07:42,520
Speaker 3: In like quivit or something like yeah, yeah, all right,

1333
01:07:42,800 --> 01:07:43,040
Speaker 3: let me.

1334
01:07:43,120 --> 01:07:44,439
Speaker 2: Use the sports analogy further.

1335
01:07:44,880 --> 01:07:46,200
Speaker 3: No, you know it is.

1336
01:07:46,360 --> 01:07:48,680
Speaker 2: It's tricky, but but it all but the cast if

1337
01:07:48,720 --> 01:07:51,480
Speaker 2: you're fucked, if if your cast and your friends are like,

1338
01:07:51,680 --> 01:07:54,000
Speaker 2: oh god, you don't know what you're doing. And I'm

1339
01:07:54,040 --> 01:07:56,080
Speaker 2: not just saying this, because these two guys are here,

1340
01:07:56,560 --> 01:07:59,640
Speaker 2: they universally could not be more, couldn't have been more

1341
01:07:59,640 --> 01:08:03,040
Speaker 2: support if they were rooting me on. They were, they

1342
01:08:03,080 --> 01:08:05,560
Speaker 2: were It's so hard to do it in five days.

1343
01:08:05,640 --> 01:08:08,080
Speaker 2: And Donald, because he was on his best behavior, he

1344
01:08:08,120 --> 01:08:11,120
Speaker 2: would like be there right away. But for other directors

1345
01:08:11,200 --> 01:08:11,600
Speaker 2: he would do that.

1346
01:08:11,640 --> 01:08:12,720
Speaker 3: I would know my lines.

1347
01:08:12,880 --> 01:08:14,800
Speaker 1: He would be like, dude, there was maybe only one

1348
01:08:14,840 --> 01:08:17,360
Speaker 1: episode where I didn't know my lines and I realized

1349
01:08:17,360 --> 01:08:19,320
Speaker 1: I was like, look, I can't do my boy like

1350
01:08:19,400 --> 01:08:22,479
Speaker 1: this every Yeah. Yeah, from here on out, no matter what,

1351
01:08:23,040 --> 01:08:27,479
Speaker 1: I'm gonna have my shit together, especially when he's pretty

1352
01:08:27,560 --> 01:08:30,120
Speaker 1: much only when he's directing, who's recording or we ain't

1353
01:08:30,120 --> 01:08:31,800
Speaker 1: going out this Who's who's shooting the show?

1354
01:08:32,000 --> 01:08:33,920
Speaker 3: I'm not going out this week. I'm gonna take my

1355
01:08:34,000 --> 01:08:35,800
Speaker 3: time and my lines for ZB.

1356
01:08:36,120 --> 01:08:39,720
Speaker 2: I would text Donald and be like, bro, I love

1357
01:08:39,800 --> 01:08:40,760
Speaker 2: you this.

1358
01:08:40,960 --> 01:08:42,160
Speaker 3: You have a monologue tomorrow?

1359
01:08:42,439 --> 01:08:45,040
Speaker 2: No I would. I'd be like, I'd be like, you know,

1360
01:08:45,080 --> 01:08:46,719
Speaker 2: I'd be planning the week, you know, because on Sunday

1361
01:08:46,800 --> 01:08:49,120
Speaker 2: night you're like so nervous. It's you know, directing his

1362
01:08:49,320 --> 01:08:52,320
Speaker 2: hard period, but directing a single camera TV show in

1363
01:08:52,479 --> 01:08:55,320
Speaker 2: five days is like so advanced, this double black diamond.

1364
01:08:55,320 --> 01:08:56,920
Speaker 2: It's like you got to do it and do it fast.

1365
01:08:57,400 --> 01:08:59,920
Speaker 2: And I remember being a Sunday night being like, oh shit, okay,

1366
01:09:00,040 --> 01:09:02,560
Speaker 2: are gonna warned Donald that he needs to learn that monologue?

1367
01:09:02,960 --> 01:09:04,240
Speaker 2: And I'd be so I would call him and be

1368
01:09:04,320 --> 01:09:06,439
Speaker 2: like our text him and be like, dude, big monologue

1369
01:09:06,479 --> 01:09:07,880
Speaker 2: for you on Wednesday. I want to start working on

1370
01:09:07,920 --> 01:09:09,720
Speaker 2: it now. And I'd be like, can you please come

1371
01:09:09,760 --> 01:09:11,639
Speaker 2: to set right away? Like none of this fucking bullshit

1372
01:09:11,680 --> 01:09:14,120
Speaker 2: you're playing fucking whatever video game you're playing in your

1373
01:09:14,160 --> 01:09:16,559
Speaker 2: room and taking twenty minutes to come to set because

1374
01:09:16,560 --> 01:09:19,560
Speaker 2: remember no, yeah and uh, And he would and this

1375
01:09:19,640 --> 01:09:21,840
Speaker 2: is what he would come right away. But it was

1376
01:09:21,880 --> 01:09:25,920
Speaker 2: awesome because Johnny, you know, you know you guys, the

1377
01:09:25,920 --> 01:09:27,720
Speaker 2: audience can tell from the conversation we just had. We

1378
01:09:27,960 --> 01:09:29,479
Speaker 2: both Donald and I look up to him so much

1379
01:09:29,479 --> 01:09:31,439
Speaker 2: as an actor, and he's the kind of person that

1380
01:09:31,520 --> 01:09:33,880
Speaker 2: I could go up to him and be like, john

1381
01:09:33,920 --> 01:09:35,600
Speaker 2: that was awesome. But do you want to try I

1382
01:09:35,680 --> 01:09:37,360
Speaker 2: had this idea, do you want to try one where

1383
01:09:37,400 --> 01:09:39,840
Speaker 2: it's a little more like this? And you know he

1384
01:09:40,120 --> 01:09:42,320
Speaker 2: that's gonna go two ways. A guy with a huge

1385
01:09:42,360 --> 01:09:45,120
Speaker 2: ego and who's an asshole is gonna be like, no,

1386
01:09:45,320 --> 01:09:48,280
Speaker 2: that's good, move on, or Johnny the polar opposite, is like,

1387
01:09:48,360 --> 01:09:50,160
Speaker 2: oh my god, that's fucking awesome. Let's try it.

1388
01:09:50,840 --> 01:09:51,320
Speaker 5: Hell yeah.

1389
01:09:51,560 --> 01:09:53,799
Speaker 2: And that was the attitude everybody had when I directed

1390
01:09:53,840 --> 01:09:56,360
Speaker 2: the show. It was awesome. They were so supportive and

1391
01:09:56,720 --> 01:09:58,800
Speaker 2: uh and and I was I was so lucky. I

1392
01:09:58,920 --> 01:10:02,720
Speaker 2: was so lucky, especially since Donald was the one.

1393
01:10:02,720 --> 01:10:02,880
Speaker 5: OK.

1394
01:10:03,000 --> 01:10:04,920
Speaker 2: I directed like seven episodes. It was like the only

1395
01:10:05,000 --> 01:10:12,759
Speaker 2: time don'll ever news lines. All right, all right, Michael,

1396
01:10:12,800 --> 01:10:14,640
Speaker 2: thank you so much for coming on, and thank you

1397
01:10:14,720 --> 01:10:16,200
Speaker 2: for becoming a doctor. I want you to know that

1398
01:10:16,280 --> 01:10:18,519
Speaker 2: every life you save, we're gonna take credit for him.

1399
01:10:19,840 --> 01:10:20,640
Speaker 10: I'm okay with that.

1400
01:10:21,160 --> 01:10:21,759
Speaker 3: You're welcome.

1401
01:10:22,640 --> 01:10:25,879
Speaker 5: Please please be safe, Michael, please be saying.

1402
01:10:25,720 --> 01:10:26,400
Speaker 3: Take care of yourself.

1403
01:10:26,479 --> 01:10:28,560
Speaker 2: Man, don't make that noise that Johnny C doesn't like

1404
01:10:28,640 --> 01:10:30,360
Speaker 2: when someone will have to give somebody bad news.

1405
01:10:30,439 --> 01:10:32,920
Speaker 10: Okay, reserve was very very bad news.

1406
01:10:33,200 --> 01:10:34,559
Speaker 3: Yes, okay, and.

1407
01:10:35,000 --> 01:10:37,960
Speaker 2: And and and don't say. You know, when my doctor

1408
01:10:38,040 --> 01:10:40,920
Speaker 2: checks my prostate, he when he pulls his finger out,

1409
01:10:40,960 --> 01:10:42,519
Speaker 2: he says, was that was that as good for you

1410
01:10:42,600 --> 01:10:45,320
Speaker 2: as it was for me? I appreciate it.

1411
01:10:45,400 --> 01:10:50,920
Speaker 3: If you wouldn't do that, dude, you you know you

1412
01:10:51,000 --> 01:10:51,960
Speaker 3: could sue your doctor.

1413
01:10:52,160 --> 01:10:53,960
Speaker 2: No, I have a very I have a doctor who

1414
01:10:54,040 --> 01:10:56,720
Speaker 2: prides himself on being outrageous. And if you're not down

1415
01:10:56,800 --> 01:10:58,360
Speaker 2: for that, you just shouldn't go to this doctor.

1416
01:10:58,640 --> 01:10:59,200
Speaker 5: I see.

1417
01:11:00,560 --> 01:11:02,320
Speaker 3: So he because I would. I would be a little

1418
01:11:02,400 --> 01:11:06,000
Speaker 3: upset if my doctors imagine your doctor was Madden.

1419
01:11:06,040 --> 01:11:07,679
Speaker 2: Now never mind there's a doctor.

1420
01:11:07,920 --> 01:11:10,519
Speaker 3: Uh, never mind, listen, I'm not We're good.

1421
01:11:10,400 --> 01:11:12,559
Speaker 2: Okay, Michael's not gonna be that kind of doctor. Michael,

1422
01:11:12,720 --> 01:11:14,640
Speaker 2: be safe and uh, and thank you so much for

1423
01:11:14,680 --> 01:11:18,759
Speaker 2: coming on the show. All right, thank you, brother, I'm Michael.

1424
01:11:20,439 --> 01:11:20,679
Speaker 3: Wow.

1425
01:11:21,560 --> 01:11:23,599
Speaker 2: Wow, what a show. I think this actually would turned

1426
01:11:23,600 --> 01:11:24,920
Speaker 2: out to be a much better episode than it could

1427
01:11:24,920 --> 01:11:26,519
Speaker 2: have been because, uh, we had we had a we

1428
01:11:26,600 --> 01:11:28,000
Speaker 2: had this is gonna be called I wanted to be

1429
01:11:28,040 --> 01:11:32,640
Speaker 2: labeled Joelle, a chat with Johnny c McGinley noted, I

1430
01:11:32,760 --> 01:11:35,360
Speaker 2: think it's nice when we show the audience the seems

1431
01:11:35,479 --> 01:11:37,960
Speaker 2: a little bit if you will, that hey, we fuck up,

1432
01:11:38,479 --> 01:11:41,280
Speaker 2: and you know what, in fuck ups come beautiful things

1433
01:11:41,360 --> 01:11:43,160
Speaker 2: sometimes like like this episode.

1434
01:11:43,400 --> 01:11:45,560
Speaker 3: Well, yeah, you know, it's it's not always that you

1435
01:11:45,640 --> 01:11:49,760
Speaker 3: get to hear the adventures of John c McGinn.

1436
01:11:49,479 --> 01:11:50,840
Speaker 2: By the way, I would listen to a podcast that

1437
01:11:50,960 --> 01:11:54,280
Speaker 2: was just called Johnny c McGinley tells anecdotes from his career.

1438
01:11:54,680 --> 01:11:56,000
Speaker 3: Yeah, I'm gonna be honest with you.

1439
01:11:56,080 --> 01:11:57,559
Speaker 1: I didn't know that you did that you had done

1440
01:11:57,600 --> 01:11:59,760
Speaker 1: that many shows at the Public, man, I didn't know

1441
01:11:59,840 --> 01:12:03,800
Speaker 1: that you were a big Shakespearean actor. Uh in your

1442
01:12:04,840 --> 01:12:06,800
Speaker 1: younger years, have you ever thought about going back and

1443
01:12:06,840 --> 01:12:07,479
Speaker 1: doing stuff like that?

1444
01:12:07,560 --> 01:12:10,799
Speaker 5: Now? Well, Zachi came to see me. Thank you. Donald

1445
01:12:10,960 --> 01:12:15,000
Speaker 5: In Uh Glengarry, we did a revival a couple of

1446
01:12:15,080 --> 01:12:17,280
Speaker 5: years ago with Al Pacino and Bobby kan Valley and

1447
01:12:17,439 --> 01:12:22,080
Speaker 5: Richard Schiff and amazing David Harber, amazing and it was

1448
01:12:22,840 --> 01:12:24,920
Speaker 5: it was the single most exciting thing I've ever done,

1449
01:12:25,080 --> 01:12:31,120
Speaker 5: but by far. And I think that when when you guys,

1450
01:12:31,320 --> 01:12:33,479
Speaker 5: would I'll pivot off of that for a second. What

1451
01:12:33,680 --> 01:12:40,479
Speaker 5: what you just said about mistakes spawning nuggets? It makes me,

1452
01:12:40,840 --> 01:12:43,400
Speaker 5: It makes me go back to that when you're if

1453
01:12:43,439 --> 01:12:45,519
Speaker 5: there is such a thing, and I know Donald Zach

1454
01:12:45,560 --> 01:12:47,519
Speaker 5: you will know what I'm talking about. If you can

1455
01:12:47,680 --> 01:12:52,360
Speaker 5: when you're in acting shape and and and you're just nimble,

1456
01:12:52,520 --> 01:12:57,360
Speaker 5: and you're agile cerebrally, and and your instincts, your acting instincts,

1457
01:12:57,800 --> 01:12:59,920
Speaker 5: and you can't fake this stuff. You're either in act

1458
01:13:00,200 --> 01:13:02,360
Speaker 5: shape or you're not. And the only way to be

1459
01:13:02,439 --> 01:13:05,679
Speaker 5: in acting shape is to just continue to spend time

1460
01:13:05,760 --> 01:13:08,240
Speaker 5: in front of a lens. That's the org continue to

1461
01:13:08,320 --> 01:13:11,640
Speaker 5: do performances of a play. And when mistakes happen when

1462
01:13:11,680 --> 01:13:16,320
Speaker 5: you're in acting shape, when you're just so agile, it

1463
01:13:16,960 --> 01:13:21,000
Speaker 5: spawns nuggets. And one time what makes me think of

1464
01:13:21,040 --> 01:13:23,160
Speaker 5: it was I decided before we went over to the

1465
01:13:23,200 --> 01:13:27,200
Speaker 5: Philippines that Sargean O'Neil, which is the name of the

1466
01:13:27,320 --> 01:13:32,320
Speaker 5: character I got to play, and then Tom Bringer's character Barnes,

1467
01:13:33,240 --> 01:13:35,479
Speaker 5: that I was just going to do everything I could

1468
01:13:35,800 --> 01:13:38,519
Speaker 5: like a like a pilotfish on a shark. I was

1469
01:13:38,560 --> 01:13:42,080
Speaker 5: going to do everything I could to help to have

1470
01:13:42,320 --> 01:13:46,200
Speaker 5: him facilitate me that character getting the fuck out of

1471
01:13:46,320 --> 01:13:49,679
Speaker 5: Southeast Asia, and so whatever it took, and it wasn't

1472
01:13:49,720 --> 01:13:52,640
Speaker 5: on the page, but I decided whatever it took, and

1473
01:13:53,240 --> 01:13:56,200
Speaker 5: so I told Oliver this. He's like, yeah, do that,

1474
01:13:57,160 --> 01:13:58,240
Speaker 5: it'd be a pilot fish.

1475
01:13:58,479 --> 01:13:58,920
Speaker 3: I love that.

1476
01:13:59,400 --> 01:14:02,080
Speaker 5: And so we're at this one night where at this

1477
01:14:02,720 --> 01:14:06,679
Speaker 5: we're assigning a night operation, and Tony Todd's over there,

1478
01:14:06,760 --> 01:14:10,160
Speaker 5: and William's here, and Mark Moses is here, and Tom

1479
01:14:10,240 --> 01:14:13,479
Speaker 5: Baringer is next to me, and I got this zippo

1480
01:14:13,640 --> 01:14:15,760
Speaker 5: and I, because Tom was character, smoke a lot, and

1481
01:14:15,960 --> 01:14:19,320
Speaker 5: I always was going to do this no no look

1482
01:14:19,960 --> 01:14:23,600
Speaker 5: magic Johnson light of his cigarette and then act like

1483
01:14:23,680 --> 01:14:26,240
Speaker 5: it was no big fucking deal. I was just going

1484
01:14:26,320 --> 01:14:28,880
Speaker 5: to throw a no look. And I saw it on

1485
01:14:28,920 --> 01:14:32,680
Speaker 5: my periphery. Tom was pulling a cigarette out, and I

1486
01:14:32,760 --> 01:14:35,200
Speaker 5: did a no look light and I snapped that zippo

1487
01:14:35,320 --> 01:14:37,559
Speaker 5: back and I put it back in my in my thing,

1488
01:14:38,040 --> 01:14:40,679
Speaker 5: and I could see everyone in the whole scene stopped

1489
01:14:41,000 --> 01:14:42,799
Speaker 5: and they're looking at me like I was the biggest

1490
01:14:42,960 --> 01:14:46,720
Speaker 5: dick on the planet, and I careful gout nervous telling

1491
01:14:46,760 --> 01:14:49,360
Speaker 5: the story. I carefully looked over Tom and I missed

1492
01:14:49,360 --> 01:14:51,280
Speaker 5: the light and I took the thing make a fun

1493
01:14:51,400 --> 01:14:54,160
Speaker 5: back out and I lit that cigarette and the scene continued.

1494
01:14:54,520 --> 01:14:57,640
Speaker 5: And that's what's in the movie, because it's there's no

1495
01:14:57,880 --> 01:15:03,120
Speaker 5: ideas me qualified, and Willum looking at me like such

1496
01:15:03,160 --> 01:15:05,240
Speaker 5: a dick, and Tony Todd looking at me.

1497
01:15:05,320 --> 01:15:07,960
Speaker 2: Like I love it all over in a movie.

1498
01:15:08,080 --> 01:15:11,360
Speaker 1: That's fucking dope, dude, because that's but that's who that

1499
01:15:11,560 --> 01:15:13,559
Speaker 1: character was in that movie too.

1500
01:15:14,240 --> 01:15:16,920
Speaker 5: Yeah, but it's also my point is that I'll go

1501
01:15:17,080 --> 01:15:20,800
Speaker 5: third person that the actor playing Sargant O'Neil didn't all

1502
01:15:20,800 --> 01:15:22,600
Speaker 5: of a sudden call cut or walk out of the

1503
01:15:22,680 --> 01:15:24,120
Speaker 5: scene or you fix it.

1504
01:15:24,479 --> 01:15:27,800
Speaker 2: Yeah, he's fix it. Yeah, and then and then and

1505
01:15:27,880 --> 01:15:30,479
Speaker 2: then a great director like that's gonna go, that's fucking real,

1506
01:15:30,520 --> 01:15:31,439
Speaker 2: I'm putting on the movie.

1507
01:15:31,800 --> 01:15:35,920
Speaker 5: Yeah, and it's it's maybe a thousands of a second,

1508
01:15:36,240 --> 01:15:38,559
Speaker 5: but but if, if, and when you ever watch it again,

1509
01:15:38,720 --> 01:15:41,240
Speaker 5: you'll you'll see it. It's a fuck up, and Oliver

1510
01:15:41,400 --> 01:15:42,559
Speaker 5: kept it in and it's genius.

1511
01:15:42,960 --> 01:15:45,240
Speaker 3: It probably gets big laughs in the movie too when

1512
01:15:45,320 --> 01:15:47,000
Speaker 3: it happens it's probably laugh.

1513
01:15:47,000 --> 01:15:51,840
Speaker 5: Because I'm it exposes just what a pilot fish this

1514
01:15:51,960 --> 01:15:52,400
Speaker 5: guy is.

1515
01:15:52,760 --> 01:15:55,680
Speaker 2: Yeah, this has been awesome. I want to remind the

1516
01:15:55,720 --> 01:15:58,519
Speaker 2: audience that the play Johnny's talking about is a movie

1517
01:15:58,760 --> 01:16:01,040
Speaker 2: that is one of my favorite films. And if you

1518
01:16:01,160 --> 01:16:04,280
Speaker 2: haven't seen Glen Gary Glenn Ross, I think it's a

1519
01:16:04,400 --> 01:16:08,640
Speaker 2: masterclass in acting. And we always recommend films to you

1520
01:16:08,760 --> 01:16:11,559
Speaker 2: on this podcast, but you should start with Glen Gary

1521
01:16:11,600 --> 01:16:12,160
Speaker 2: Glen Ross.

1522
01:16:15,080 --> 01:16:18,200
Speaker 5: Very different than the play though. The film's very casual

1523
01:16:18,280 --> 01:16:21,200
Speaker 5: and it kind of unfolds on a rainy night. And

1524
01:16:21,560 --> 01:16:24,040
Speaker 5: the play, David wrote, the whole thing is a what

1525
01:16:24,240 --> 01:16:26,680
Speaker 5: act he told me, but then we found out one

1526
01:16:26,720 --> 01:16:29,160
Speaker 5: actus can't win Tony's. He split it up in the

1527
01:16:29,640 --> 01:16:31,880
Speaker 5: two act. But the first act is about thirty two

1528
01:16:31,960 --> 01:16:35,560
Speaker 5: minutes and you're out having a cigarette outside the showingfeld.

1529
01:16:36,080 --> 01:16:39,120
Speaker 5: And then the second act obviously the obviously the real

1530
01:16:39,200 --> 01:16:42,160
Speaker 5: estate gets the office gets robbed, and that's the second act.

1531
01:16:42,200 --> 01:16:44,719
Speaker 5: But the first act is all of thirty two minutes.

1532
01:16:44,920 --> 01:16:46,320
Speaker 2: It's an incredible piece of right.

1533
01:16:48,080 --> 01:16:48,559
Speaker 5: Fourth Street.

1534
01:16:48,680 --> 01:16:51,000
Speaker 2: I want to tell you my only David Mammont experience.

1535
01:16:51,040 --> 01:16:53,040
Speaker 2: Actually there's been two. I'm going to tell you both

1536
01:16:53,080 --> 01:16:55,080
Speaker 2: of them first time. First of I loved the movie

1537
01:16:55,160 --> 01:16:57,559
Speaker 2: is one of my favorite films, and I'd never seen

1538
01:16:57,640 --> 01:17:00,160
Speaker 2: the play performed. Now, I did know the trivia that

1539
01:17:00,400 --> 01:17:04,200
Speaker 2: Alec Baldwin has a legendary monologue in the movie that

1540
01:17:05,240 --> 01:17:08,160
Speaker 2: that is fucking incredible, but it's not in the play.

1541
01:17:09,040 --> 01:17:12,839
Speaker 2: So I see David Mammont backstage somewhere, and I'm so nervous,

1542
01:17:12,840 --> 01:17:14,679
Speaker 2: and I go, oh my god, what am I gonna

1543
01:17:14,680 --> 01:17:16,160
Speaker 2: say to David Mamma, I'm having a Donald faise on

1544
01:17:16,280 --> 01:17:18,280
Speaker 2: when we talked Johnny off And on the podcast about

1545
01:17:18,360 --> 01:17:21,160
Speaker 2: how Donald gets nervous around celebrities and always embarrasses himself.

1546
01:17:21,720 --> 01:17:25,400
Speaker 3: So I'm I can't help it, Johnny, I can't help what.

1547
01:17:25,479 --> 01:17:27,040
Speaker 2: Am I gonna say to David MAMMONTT I don't know

1548
01:17:27,080 --> 01:17:29,680
Speaker 2: what to say to David Mammott and uh and I

1549
01:17:29,800 --> 01:17:31,439
Speaker 2: and I think, oh okay, I got an idea, got

1550
01:17:31,439 --> 01:17:33,720
Speaker 2: an idea. And I walk up to him. This is

1551
01:17:33,880 --> 01:17:35,760
Speaker 2: this is long before you're the revival you did. It

1552
01:17:35,800 --> 01:17:38,160
Speaker 2: was a different revival that was that was coming up.

1553
01:17:38,560 --> 01:17:40,479
Speaker 2: This is how long ago it was. And I said,

1554
01:17:41,240 --> 01:17:44,599
Speaker 2: mister Mammott, I just wanted to know. And the revival

1555
01:17:44,640 --> 01:17:46,280
Speaker 2: you're doing. Are you gonna Are you gonna put the

1556
01:17:46,520 --> 01:17:49,360
Speaker 2: the monologue that you added for for Alec Baldwin into

1557
01:17:49,400 --> 01:17:53,080
Speaker 2: the play. And he looked at me like I just

1558
01:17:53,280 --> 01:17:59,240
Speaker 2: shit in his fucking coffee, like such distaste, and he's like,

1559
01:17:59,320 --> 01:18:02,200
Speaker 2: why would I do that. That's from the movie. I'm

1560
01:18:02,240 --> 01:18:08,200
Speaker 2: not gonna put that in my play. And I was like, oh, yeah, yeah, yep, yep, yep, yep.

1561
01:18:08,920 --> 01:18:09,439
Speaker 5: I agree.

1562
01:18:09,760 --> 01:18:13,080
Speaker 2: Good choice on that, mister Mammott. I'm gonna go away.

1563
01:18:13,160 --> 01:18:19,240
Speaker 5: Now. Do you wanna know? You wanna know? You want

1564
01:18:19,280 --> 01:18:23,439
Speaker 5: to know another layer to that story? Yeah, I asked.

1565
01:18:24,160 --> 01:18:26,840
Speaker 5: I didn't ask him. David told me that before they

1566
01:18:26,920 --> 01:18:31,920
Speaker 5: green lit the movie, whoever produced it, whichever studio was, said, uh,

1567
01:18:32,760 --> 01:18:35,240
Speaker 5: we need we need a special effect. We need something

1568
01:18:35,320 --> 01:18:38,360
Speaker 5: to happen, and you need a car crash, we need something.

1569
01:18:38,560 --> 01:18:42,799
Speaker 5: In the first act opens, they say the special effect

1570
01:18:42,920 --> 01:18:47,519
Speaker 5: was Alex monologue. Yeah, that's how explosive, that's how great

1571
01:18:47,600 --> 01:18:49,760
Speaker 5: Alec was in the writing. Was in that because in

1572
01:18:49,840 --> 01:18:54,720
Speaker 5: the play he's an unseen off stage threat, but we

1573
01:18:54,920 --> 01:18:57,400
Speaker 5: never see him or hear him. But I mean, but

1574
01:18:57,560 --> 01:18:59,040
Speaker 5: he's referenced constantly.

1575
01:18:59,360 --> 01:19:01,639
Speaker 2: Alex, in my opinion, a very underrated actor.

1576
01:19:02,040 --> 01:19:06,000
Speaker 3: I was about to say, listen, I I agreed that

1577
01:19:06,080 --> 01:19:08,040
Speaker 3: I don't know that he's under I think.

1578
01:19:07,920 --> 01:19:11,200
Speaker 2: He's underrated, dude, think people think he's I.

1579
01:19:11,200 --> 01:19:12,559
Speaker 3: Think he's one of the best actors out there.

1580
01:19:12,920 --> 01:19:16,000
Speaker 2: I'm just saying that he's famous, and people's famous. He's famous,

1581
01:19:16,000 --> 01:19:17,799
Speaker 2: and he gets a lot of ship for his tabloid

1582
01:19:18,640 --> 01:19:23,000
Speaker 2: adventures and and and his politics whatever. But fucking the

1583
01:19:23,080 --> 01:19:25,320
Speaker 2: guy is a really good actor. And that monologue is

1584
01:19:25,439 --> 01:19:27,040
Speaker 2: one of the fucking greatest moments.

1585
01:19:26,800 --> 01:19:28,240
Speaker 5: Ever, no question.

1586
01:19:29,320 --> 01:19:31,439
Speaker 3: Coffees for closers, holy ship.

1587
01:19:31,640 --> 01:19:34,519
Speaker 2: And then my second my girlfriend and I were were

1588
01:19:35,200 --> 01:19:38,200
Speaker 2: staying in a hotel in London and and he came in.

1589
01:19:38,280 --> 01:19:41,840
Speaker 2: He was doing a play in London recently for God

1590
01:19:42,040 --> 01:19:44,479
Speaker 2: Malcolvich was the star of that, I believe, and uh,

1591
01:19:45,840 --> 01:19:47,400
Speaker 2: and we were alone. It was late night and we

1592
01:19:47,439 --> 01:19:50,320
Speaker 2: were alone in this little bar lobby area. There was

1593
01:19:50,360 --> 01:19:51,800
Speaker 2: like it was like they called this thing and they

1594
01:19:51,840 --> 01:19:53,479
Speaker 2: have this thing in England that works there but would

1595
01:19:53,520 --> 01:19:56,120
Speaker 2: never work here, called an honor bar. So it's just

1596
01:19:56,200 --> 01:19:58,519
Speaker 2: an area of a hotel with where you just take

1597
01:19:58,640 --> 01:20:02,479
Speaker 2: whatever and you write down on the pad what you're taking.

1598
01:20:03,800 --> 01:20:05,760
Speaker 2: I don't think that would work in at least it

1599
01:20:05,760 --> 01:20:07,559
Speaker 2: wouldn't work in la.

1600
01:20:07,680 --> 01:20:09,759
Speaker 3: But would it would not work at Joseph's.

1601
01:20:10,360 --> 01:20:12,240
Speaker 2: I don't think it would work anywhere. Can you imagine?

1602
01:20:12,960 --> 01:20:15,360
Speaker 2: But anyway in London you write down like I had

1603
01:20:15,560 --> 01:20:18,280
Speaker 2: one vodka soda and then they charge it to your room.

1604
01:20:18,720 --> 01:20:21,840
Speaker 2: So we're sitting there, my girlfriend and I are alone

1605
01:20:21,840 --> 01:20:25,360
Speaker 2: in the Honor Bar, and in walks David Mammot and

1606
01:20:25,439 --> 01:20:27,560
Speaker 2: it's just the three of us. And I go and

1607
01:20:27,600 --> 01:20:29,040
Speaker 2: then my head, I'm going, in my head, I'm going,

1608
01:20:29,080 --> 01:20:31,519
Speaker 2: oh my god, don't fuck up this time. Don't fuck

1609
01:20:31,600 --> 01:20:34,960
Speaker 2: up this time. Don't mention Glengarry glen Ross. Don't be

1610
01:20:35,000 --> 01:20:37,519
Speaker 2: an asshole and mentioned Glengarry glen Ross. The guy just

1611
01:20:37,600 --> 01:20:41,360
Speaker 2: wants to get a drink and go to his room. Well,

1612
01:20:41,880 --> 01:20:46,040
Speaker 2: I had had a few and uh and I see me,

1613
01:20:46,640 --> 01:20:49,840
Speaker 2: mister Panett. Oh my god, I'm so glad to see you.

1614
01:20:51,320 --> 01:20:53,680
Speaker 2: My name is Zach, this is Florence. So do you

1615
01:20:53,720 --> 01:20:56,840
Speaker 2: want to join us? And he goes, okay, okay, sure, sure.

1616
01:20:57,080 --> 01:20:58,720
Speaker 2: I could tell he was stressed. He'd had a night

1617
01:20:58,800 --> 01:21:01,599
Speaker 2: of probably rehearsals, a pre views, whatever. He makes himself

1618
01:21:01,600 --> 01:21:03,880
Speaker 2: a drink, he sits down. There's like a long pause,

1619
01:21:03,880 --> 01:21:05,360
Speaker 2: and I go, I just have to tell you and

1620
01:21:05,439 --> 01:21:08,240
Speaker 2: Glengary Glenn Ross, and I started calling off on this

1621
01:21:08,360 --> 01:21:10,240
Speaker 2: Glen Gary. Yeah, I'm being Donald. I go off in

1622
01:21:10,320 --> 01:21:12,960
Speaker 2: this long Glen Gary Glenn Ross spiel about how amazing

1623
01:21:13,000 --> 01:21:15,800
Speaker 2: it is. And he just kind of nods his head.

1624
01:21:15,840 --> 01:21:18,400
Speaker 2: He goes, Okay, well, I'm gonna I'm gonna head to bed.

1625
01:21:18,560 --> 01:21:22,639
Speaker 2: It was nice talking to you. He left, and he left,

1626
01:21:22,720 --> 01:21:23,240
Speaker 2: He just left.

1627
01:21:24,680 --> 01:21:26,400
Speaker 3: Those are those moments. Those are one of those moments

1628
01:21:26,439 --> 01:21:27,960
Speaker 3: where you wish you could talk about sports.

1629
01:21:28,439 --> 01:21:30,360
Speaker 2: And I know the guy didn't want to talk about

1630
01:21:30,360 --> 01:21:32,639
Speaker 2: Glenn Gary. The guy can't leave his fucking room without

1631
01:21:32,680 --> 01:21:34,240
Speaker 2: talking about Glen Garrylan Ross. You think he wants to.

1632
01:21:34,479 --> 01:21:35,719
Speaker 2: He came in to have one drink.

1633
01:21:35,800 --> 01:21:37,880
Speaker 3: And if you could have been like, you know, are

1634
01:21:37,920 --> 01:21:38,880
Speaker 3: you a Bears fan?

1635
01:21:40,080 --> 01:21:40,280
Speaker 5: Yeah?

1636
01:21:40,400 --> 01:21:42,320
Speaker 2: I could have said do you play middle forward shoe?

1637
01:21:42,680 --> 01:21:44,759
Speaker 3: Do you like Chelsea or United?

1638
01:21:45,120 --> 01:21:45,320
Speaker 5: Yeah?

1639
01:21:45,439 --> 01:21:48,080
Speaker 2: I could say. I could say, is deservant a word?

1640
01:21:51,000 --> 01:21:53,439
Speaker 2: You're a good writer, sir? Is deservant a word?

1641
01:21:54,040 --> 01:21:56,639
Speaker 3: He wasn't deservant of the attention.

1642
01:21:56,840 --> 01:21:59,120
Speaker 2: You know what, I agree with you, Donald, I agree

1643
01:21:59,120 --> 01:22:02,680
Speaker 2: with you that that that genius writer was not deservant

1644
01:22:02,760 --> 01:22:07,559
Speaker 2: of my affection. All Right, we should end this fucking

1645
01:22:07,600 --> 01:22:12,840
Speaker 2: show because the audience is deservant of a break. Thank

1646
01:22:12,920 --> 01:22:15,639
Speaker 2: you for listening, everybody. This was so fun. We're gonna

1647
01:22:15,680 --> 01:22:18,600
Speaker 2: call it the Conversation with Johnny c McGinley and we

1648
01:22:18,680 --> 01:22:22,280
Speaker 2: will uh. We will be back next week to uh

1649
01:22:22,640 --> 01:22:23,960
Speaker 2: or we will be back. I don't know when it

1650
01:22:24,080 --> 01:22:27,000
Speaker 2: is next time to sum up the episode, and we

1651
01:22:27,040 --> 01:22:30,720
Speaker 2: will talk about Gift Shop Girl at length. Gift Shop

1652
01:22:30,760 --> 01:22:32,719
Speaker 2: Girl does a lip bite, by the way, made famous

1653
01:22:32,760 --> 01:22:35,840
Speaker 2: first by Alisa Silverstone and Clueless, and I am I'm

1654
01:22:35,840 --> 01:22:38,720
Speaker 2: a fan of the lip bite, I must say, but

1655
01:22:38,920 --> 01:22:41,240
Speaker 2: more on that next time. What Donald, do you have

1656
01:22:41,280 --> 01:22:42,280
Speaker 2: a comment on the lip bite?

1657
01:22:42,800 --> 01:22:44,600
Speaker 1: I was just gonna say I was. I was a

1658
01:22:44,720 --> 01:22:48,320
Speaker 1: huge fan of you being alone in a tub with Rowdy.

1659
01:22:48,320 --> 01:22:50,839
Speaker 2: One of my favorite gifts. It's my favorite gift of myself.

1660
01:22:51,160 --> 01:22:53,400
Speaker 3: And then that turning into you alone in a tub

1661
01:22:53,439 --> 01:22:54,759
Speaker 3: with Gift Shop Girl and Rowdy.

1662
01:22:55,080 --> 01:22:57,920
Speaker 2: There is no better way to express my my, my,

1663
01:22:58,240 --> 01:23:01,520
Speaker 2: my often inner monologue in life, in my true realner

1664
01:23:01,520 --> 01:23:11,759
Speaker 2: inner monologue life. Then me alone sadly washing a dead dog. Donald,

1665
01:23:11,760 --> 01:23:13,840
Speaker 2: will you count us in to our beautiful theme?

1666
01:23:13,960 --> 01:23:14,120
Speaker 5: Song.

1667
01:23:14,280 --> 01:23:15,600
Speaker 2: Please, thank you, everybody.

1668
01:23:15,439 --> 01:23:17,960
Speaker 3: Listen, I want to play. There's no way.

1669
01:23:18,280 --> 01:23:21,840
Speaker 2: Okay, okay, let's great idea. Do you want to do?

1670
01:23:21,840 --> 01:23:24,080
Speaker 2: You want to take a chance at uh at talking

1671
01:23:24,200 --> 01:23:25,840
Speaker 2: up into it, because I've been the one who's been

1672
01:23:25,920 --> 01:23:27,080
Speaker 2: lucky enough to do that thus far.

1673
01:23:27,600 --> 01:23:30,960
Speaker 3: Ladies and gentlemen, give it up for the President of

1674
01:23:31,080 --> 01:23:36,040
Speaker 3: the United States of America, Donald Trump, singing his summer bop.

1675
01:23:37,280 --> 01:23:41,519
Speaker 3: There's no way I could get down off that ram, said,

1676
01:23:41,560 --> 01:23:44,280
Speaker 3: there's no way, there's no way.

1677
01:23:45,640 --> 01:23:47,080
Speaker 6: How can you make it down that ram?

1678
01:23:47,600 --> 01:23:50,679
Speaker 3: But I'm holding on my ass. There's no way.

1679
01:23:51,640 --> 01:23:52,559
Speaker 6: There's no way.

1680
01:23:53,240 --> 01:23:59,639
Speaker 3: General, I don't want that. And this was a new ram.

1681
01:24:00,439 --> 01:24:04,599
Speaker 6: Really really say no, hand no, it was like an

1682
01:24:04,640 --> 01:24:05,120
Speaker 6: ice game.

1683
01:24:05,160 --> 01:24:05,519
Speaker 4: Anyway.

1684
01:24:06,000 --> 01:24:10,720
Speaker 6: I said, there's no way, there's no way, how can

1685
01:24:10,840 --> 01:24:13,560
Speaker 6: make it down that ramp when I'm rolling on my

1686
01:24:13,680 --> 01:24:18,680
Speaker 6: ass beams by inch, I didn't mean little sense for

1687
01:24:18,840 --> 01:24:22,519
Speaker 6: out ten feet short. I ran down the less, I

1688
01:24:22,760 --> 01:24:35,400
Speaker 6: ran down, ran, I looked her hansom, I ran down, ran.

1689
01:24:37,600 --> 01:24:38,560
Speaker 6: Then they numb the

1690
01:24:38,680 --> 01:24:42,360
Speaker 2: One and the ramp was probably ten yards long.