1 00:00:00,160 --> 00:00:05,560 Speaker 1: I said, there's no way, no way I could get 2 00:00:07,120 --> 00:00:10,520 Speaker 1: without falling down that rap. All right, no way, but 3 00:00:10,680 --> 00:00:13,880 Speaker 1: Donald singing. You may know if you're an avid listener 4 00:00:13,880 --> 00:00:15,840 Speaker 1: of Fake Doctor's Real Friends, that Donald and I are 5 00:00:15,880 --> 00:00:18,880 Speaker 1: big fans of a song of five moment um. We 6 00:00:18,880 --> 00:00:21,720 Speaker 1: we sang, he's driving in your window, He's climbing in 7 00:00:21,760 --> 00:00:25,560 Speaker 1: your window, Nas nat Janio, pull up? How did you kids? 8 00:00:25,680 --> 00:00:29,120 Speaker 1: How'd you wife? Well, we are a sucker for a 9 00:00:29,280 --> 00:00:32,560 Speaker 1: song of five moments? And I sent Donald what is 10 00:00:32,560 --> 00:00:35,120 Speaker 1: probably the greatest song of the summer. Oh my gosh, 11 00:00:35,200 --> 00:00:37,839 Speaker 1: it's it's it's my new bop. Dan. You're gonna have 12 00:00:37,920 --> 00:00:40,199 Speaker 1: to edit this in sounding better than I have it, 13 00:00:40,280 --> 00:00:41,519 Speaker 1: but I have to play this for you. And I 14 00:00:41,560 --> 00:00:43,600 Speaker 1: gotta give a shout out to these guys. Oh they're 15 00:00:43,600 --> 00:00:46,440 Speaker 1: called the Gregory Brothers. You guys. You can find them 16 00:00:46,479 --> 00:00:50,760 Speaker 1: on on Twitter at Gregory Brothers and they ad I 17 00:00:50,800 --> 00:00:52,600 Speaker 1: just want to say I didn't know. First of all, 18 00:00:53,120 --> 00:00:56,520 Speaker 1: I had no idea that Donald Trump was a poet. 19 00:00:57,040 --> 00:01:00,440 Speaker 1: Because he's a poet. He rhymes in his beaches. And 20 00:01:00,520 --> 00:01:02,520 Speaker 1: I didn't even know. Listen, Donald and I have been 21 00:01:02,560 --> 00:01:05,920 Speaker 1: talking about back and forth sometimes with you, sometimes privately 22 00:01:06,000 --> 00:01:08,319 Speaker 1: on our phone about what are our favorite songs of summer. 23 00:01:08,360 --> 00:01:10,320 Speaker 1: We've been talking about t Swift. We've been you know, 24 00:01:10,360 --> 00:01:15,720 Speaker 1: we played you Toby Sebastian last episode. But listen, this 25 00:01:15,959 --> 00:01:18,240 Speaker 1: is the song of the summer. You guys, and Donald 26 00:01:18,240 --> 00:01:19,920 Speaker 1: and I haven't singing into each other. Okay, Now, for 27 00:01:19,959 --> 00:01:22,480 Speaker 1: those who don't know, Donald Trump had trouble making it 28 00:01:22,560 --> 00:01:24,960 Speaker 1: down a ramp. And you know, I don't fault the guy. 29 00:01:25,000 --> 00:01:26,360 Speaker 1: I mean, I fought them for lots of things, but 30 00:01:26,440 --> 00:01:28,400 Speaker 1: you know, he's in his seventies. There was no banister. 31 00:01:28,840 --> 00:01:30,919 Speaker 1: But then he had to go brag about it. Okay, 32 00:01:31,440 --> 00:01:33,319 Speaker 1: he had to go brag about it, and these guys 33 00:01:33,360 --> 00:01:35,920 Speaker 1: song afide the bragging. So here you go. Here's the 34 00:01:36,000 --> 00:01:50,880 Speaker 1: song of something. There's no yeah, hey, general, no wait 35 00:01:50,920 --> 00:02:02,960 Speaker 1: for the hue. It was said there's no way fired, 36 00:02:03,160 --> 00:02:10,000 Speaker 1: because no way fired. Whatever we get here we go. 37 00:02:13,639 --> 00:02:23,440 Speaker 1: But I feet short I do. That's the five favorite 38 00:02:23,639 --> 00:02:33,000 Speaker 1: i'd ram I've been. Oh my god, I love that song. 39 00:02:34,280 --> 00:02:38,040 Speaker 1: I ran that's my favorite hook right there, I ran 40 00:02:39,040 --> 00:02:44,519 Speaker 1: down the rip. I fucking fucking DJ Collie couldn't write 41 00:02:44,520 --> 00:02:47,400 Speaker 1: that hook another one. He would, but he would, you know, 42 00:02:48,200 --> 00:02:50,440 Speaker 1: he heard that like all of us did, and was like, 43 00:02:50,639 --> 00:02:53,760 Speaker 1: damn that I never heard a song of five songs 44 00:02:53,800 --> 00:02:55,919 Speaker 1: that I wanted a full song too. That's only a 45 00:02:55,960 --> 00:02:58,680 Speaker 1: minute long. I want the whole fucking song. I'm dead 46 00:03:00,200 --> 00:03:06,079 Speaker 1: do it. No way, no way, I could wait, I 47 00:03:06,120 --> 00:03:11,280 Speaker 1: could get ram without falling on my ass. There's no way. 48 00:03:11,560 --> 00:03:18,760 Speaker 1: And then he goes, I read, I've read down the ram. 49 00:03:19,600 --> 00:03:22,200 Speaker 1: So congrats to those Gregory brothers. That's a that's a 50 00:03:22,360 --> 00:03:25,000 Speaker 1: that's a bop. As the kids say, Bob, dude, that 51 00:03:25,280 --> 00:03:27,560 Speaker 1: is a bob. How are you man? Oh man? I 52 00:03:27,760 --> 00:03:30,480 Speaker 1: read everyone's gonna be singing that. You know what everybody's 53 00:03:30,480 --> 00:03:33,840 Speaker 1: singing other than that song? What you're trying to get 54 00:03:33,960 --> 00:03:40,760 Speaker 1: into a day shown? It is a ring tone. It's 55 00:03:40,800 --> 00:03:43,480 Speaker 1: a ring tone, Joel, Is it officially available for everybody? 56 00:03:44,000 --> 00:03:46,160 Speaker 1: It should be by the time this error is it 57 00:03:46,200 --> 00:03:49,640 Speaker 1: should officially be available those of you who are clamoring, 58 00:03:50,320 --> 00:03:54,480 Speaker 1: clamoring for the hottest ring tone of summer, the Adao 59 00:03:54,520 --> 00:03:58,400 Speaker 1: Shoon song. Look at your beard? You that is a 60 00:03:58,520 --> 00:04:02,160 Speaker 1: big beard. I committed to it. You look great. It 61 00:04:02,240 --> 00:04:05,320 Speaker 1: looks thick and it's very Yeah, I got hair on 62 00:04:05,400 --> 00:04:08,720 Speaker 1: my face, like to run her fingers through it. Me 63 00:04:08,840 --> 00:04:10,760 Speaker 1: and Casey don't be you know, listen, man, we don't 64 00:04:10,800 --> 00:04:13,720 Speaker 1: like to kiss and tell. Okay, so well you have 65 00:04:13,760 --> 00:04:15,560 Speaker 1: to tell me what you did sexually, but you can 66 00:04:15,600 --> 00:04:18,719 Speaker 1: tell me if she ran her fingers through it. I'm 67 00:04:18,720 --> 00:04:21,200 Speaker 1: not asking you if she fucking lets you spanker, But 68 00:04:21,320 --> 00:04:31,960 Speaker 1: did you appropriate? I'm read. No, we're family, Casey, Casey 69 00:04:32,120 --> 00:04:36,640 Speaker 1: lets me know things. No she doesn't, she does, she does. 70 00:04:36,760 --> 00:04:38,640 Speaker 1: My wife tells you shit word. No, no, you know 71 00:04:38,800 --> 00:04:41,080 Speaker 1: she doesn't. But but you know, when we're together, when 72 00:04:41,120 --> 00:04:46,440 Speaker 1: we're together as as as couples, we sometimes speak openly. Right. 73 00:04:46,800 --> 00:04:49,880 Speaker 1: It's crazy, man, with this whole quarantine thing going. We 74 00:04:50,040 --> 00:04:54,160 Speaker 1: see each other every day, right, all day, all day. Um, 75 00:04:54,920 --> 00:04:57,880 Speaker 1: I love my wife tremendously. But once we put the 76 00:04:57,960 --> 00:05:00,040 Speaker 1: kids down, we kind of separate a little bit it 77 00:05:00,120 --> 00:05:02,120 Speaker 1: and we go on our own rooms and she watches 78 00:05:02,160 --> 00:05:05,040 Speaker 1: her date Lines and you know, I watched my Uh, 79 00:05:05,200 --> 00:05:08,200 Speaker 1: it's just like this episode that we're going to talk about. Well, 80 00:05:08,279 --> 00:05:11,960 Speaker 1: this episode is you fall asleep. Judy wants romance, Carlo 81 00:05:12,040 --> 00:05:15,040 Speaker 1: wants romance, and she wants some sex. You fall asleep 82 00:05:15,120 --> 00:05:19,360 Speaker 1: during the Jefferson's theme song, Yeah but yeah, but that's 83 00:05:19,400 --> 00:05:21,320 Speaker 1: after we have sex. Though, first of all, I don't know. 84 00:05:21,720 --> 00:05:24,280 Speaker 1: So it's the joke that you only lasted the length 85 00:05:24,360 --> 00:05:26,640 Speaker 1: of the theme song of the Jeffersons. No, he didn't 86 00:05:26,680 --> 00:05:29,400 Speaker 1: even last the length of the theme song. It was like, well, 87 00:05:29,400 --> 00:05:32,000 Speaker 1: here we're moving on. He probably got beans on Friday 88 00:05:32,040 --> 00:05:34,880 Speaker 1: in the kitchen, the beans on, burn on the girl. 89 00:05:35,320 --> 00:05:37,920 Speaker 1: He probably got to that, yeah, and then he finished. 90 00:05:37,920 --> 00:05:45,480 Speaker 1: And he's like, took a whole lot of tree because 91 00:05:45,560 --> 00:05:47,720 Speaker 1: you're right, because now we know you finished in the 92 00:05:47,800 --> 00:05:50,120 Speaker 1: first couple of lyrics, because by the time we get 93 00:05:50,200 --> 00:05:54,480 Speaker 1: to sky Hi, Hi, the camera til you're asleep, right, 94 00:05:54,760 --> 00:05:58,200 Speaker 1: So you needed time to at least clean yourself up. 95 00:05:59,320 --> 00:06:02,240 Speaker 1: Took a whole a lot of two. Right. Yeah, Now 96 00:06:02,320 --> 00:06:05,440 Speaker 1: let's assume you finished the time. Now we up in 97 00:06:05,520 --> 00:06:09,280 Speaker 1: the big Now you're cleaning yourself out, turn it back up. 98 00:06:09,880 --> 00:06:16,560 Speaker 1: We living, it's you and the baby. No, No, I 99 00:06:16,640 --> 00:06:18,400 Speaker 1: think he might have lasted longer. I think he might 100 00:06:18,440 --> 00:06:21,120 Speaker 1: have lasted longer because if you back time it, you 101 00:06:21,240 --> 00:06:24,359 Speaker 1: hadn't you only need about a few a few words 102 00:06:24,440 --> 00:06:26,680 Speaker 1: to get cuddly and fall asleep. So it took a 103 00:06:26,839 --> 00:06:29,480 Speaker 1: whole lot of two and find a later spot for 104 00:06:29,560 --> 00:06:34,160 Speaker 1: your ejaculation. Now we up in the big mee. Get 105 00:06:34,320 --> 00:06:38,640 Speaker 1: my turn at back. No, no, I think it came at. 106 00:06:38,839 --> 00:06:44,640 Speaker 1: Ain't nothing wrong with that, get my turn it back alone. 107 00:06:44,760 --> 00:06:47,640 Speaker 1: We living. It's you and me, baby, It ain't nothing 108 00:06:47,680 --> 00:06:55,040 Speaker 1: wrong with that. We're moving. Oh no, that's probably how 109 00:06:55,040 --> 00:06:57,880 Speaker 1: it timed out. Yeah, that's probably how it timed out. Well, 110 00:06:58,160 --> 00:07:00,120 Speaker 1: welcome to fake Doctor's real friends. We have John he 111 00:07:00,160 --> 00:07:02,799 Speaker 1: see McGinley here today for a very very very good episode. 112 00:07:02,800 --> 00:07:04,799 Speaker 1: I just watched it. It's really good. Yeah, I watched 113 00:07:04,839 --> 00:07:07,440 Speaker 1: it also just now, I watched it, and I don't 114 00:07:07,480 --> 00:07:10,640 Speaker 1: think I need a first of all, before we get 115 00:07:11,480 --> 00:07:17,000 Speaker 1: six seven eight stories about show we made about a 116 00:07:17,040 --> 00:07:22,280 Speaker 1: bunch of docks and nervous, and Jan said, he's the stories. 117 00:07:26,000 --> 00:07:31,920 Speaker 1: So get around you here, yeat around you here with 118 00:07:35,880 --> 00:07:42,200 Speaker 1: oh hello there, bitch, thunderous applause, thunderous applause. Damn Donald, 119 00:07:42,280 --> 00:07:49,560 Speaker 1: turn your key. I look at you, Look at how 120 00:07:49,640 --> 00:07:51,760 Speaker 1: are you, sir? You're back in your echo room. You're 121 00:07:51,760 --> 00:07:54,520 Speaker 1: back in your echoe room, Johnny. I know because Nicole 122 00:07:54,600 --> 00:07:57,040 Speaker 1: has a migraine. She's upstairs and when she gets some 123 00:07:57,360 --> 00:08:02,760 Speaker 1: their blackout and so oh no, that's yeah, it's the 124 00:08:02,840 --> 00:08:04,760 Speaker 1: worst thing on the planet. But I am down here 125 00:08:04,920 --> 00:08:09,680 Speaker 1: and I'm really sorry that that that we have the echo, 126 00:08:09,840 --> 00:08:12,080 Speaker 1: but I can't go up there. Well, listen, the audience 127 00:08:12,320 --> 00:08:15,320 Speaker 1: is so fucking excited whenever you come on. I think 128 00:08:15,400 --> 00:08:18,240 Speaker 1: they will they will handle an echo because all we 129 00:08:18,400 --> 00:08:20,880 Speaker 1: get on our on our social media is when is 130 00:08:20,960 --> 00:08:24,080 Speaker 1: Johnny c McGinley coming back on your everybody's favorite guests. 131 00:08:24,520 --> 00:08:27,560 Speaker 1: Everybody loves your story of your leeches attacking your your 132 00:08:27,640 --> 00:08:35,040 Speaker 1: what do you call your your man power source? Power source? Johnny, 133 00:08:35,080 --> 00:08:36,920 Speaker 1: I laugh on it's a latch store on to the 134 00:08:37,000 --> 00:08:40,640 Speaker 1: power source. Yes, the leach is all over his power source. 135 00:08:40,920 --> 00:08:43,199 Speaker 1: I thought the last couple of guests you've had on 136 00:08:43,320 --> 00:08:48,000 Speaker 1: were fascinating. I thought Brendan was just so interesting, and 137 00:08:48,200 --> 00:08:50,439 Speaker 1: it's always fun to listen to how geeked out you 138 00:08:50,520 --> 00:08:53,520 Speaker 1: guys get whether it was with Heather, because Jack, you 139 00:08:53,600 --> 00:08:58,079 Speaker 1: are clearly uncomfortable. Yeah, I understand that, complete dude. I 140 00:08:58,200 --> 00:09:00,760 Speaker 1: want the audience to know that I tried my best, 141 00:09:00,960 --> 00:09:03,679 Speaker 1: but I was I mean I grew up and she 142 00:09:03,960 --> 00:09:06,200 Speaker 1: was like she probably was a poster on my wall. 143 00:09:06,320 --> 00:09:08,719 Speaker 1: I mean she was had the fucking lock reader and 144 00:09:08,960 --> 00:09:10,719 Speaker 1: I may be forty five years old, but I was 145 00:09:10,840 --> 00:09:16,120 Speaker 1: just as giddy. Yeah, she's fine. I completely appreciate that 146 00:09:16,240 --> 00:09:18,760 Speaker 1: because when she was on the set and I was 147 00:09:19,000 --> 00:09:24,840 Speaker 1: very single, Um yeah I did. I no sooner even 148 00:09:25,520 --> 00:09:28,720 Speaker 1: occurred to me to approach her that way because she's 149 00:09:28,800 --> 00:09:31,559 Speaker 1: something else. Yeah, yeah, she's out of it. But there 150 00:09:31,600 --> 00:09:34,240 Speaker 1: you were, dude, there you were having a sex scenes 151 00:09:34,320 --> 00:09:36,839 Speaker 1: with with a goddess, with a living goddess. I was 152 00:09:37,000 --> 00:09:39,959 Speaker 1: that was acting. That was I was too. That was 153 00:09:40,000 --> 00:09:42,760 Speaker 1: out of my weight, class man. Totally kind of like 154 00:09:43,000 --> 00:09:45,199 Speaker 1: kind of like JD hitting on gifts part of all, 155 00:09:45,559 --> 00:09:50,400 Speaker 1: there's no I'm watching this fucking episode, and um, the 156 00:09:50,480 --> 00:09:54,680 Speaker 1: idea of of JD getting Sarah Lancaster, a who plays 157 00:09:54,679 --> 00:09:57,280 Speaker 1: gift shop girl, and then b not being able to 158 00:09:57,720 --> 00:09:59,560 Speaker 1: be get a heart on for her, I just found 159 00:09:59,679 --> 00:10:06,960 Speaker 1: unreal list television. I'm sorry. I'm sorry, but I call 160 00:10:07,040 --> 00:10:10,800 Speaker 1: bullshit on this writing. First of all, it's written by 161 00:10:11,240 --> 00:10:17,920 Speaker 1: Angela Nissel and directed by Gail Mancuso Angels. Yes, I 162 00:10:18,000 --> 00:10:20,400 Speaker 1: have to, I have to. I have to stop before 163 00:10:20,440 --> 00:10:23,679 Speaker 1: we go any further. I looked at two o nine. 164 00:10:26,400 --> 00:10:32,520 Speaker 1: You look at the wrong episode. Yeah, okay, Well, Johnny, 165 00:10:33,440 --> 00:10:37,040 Speaker 1: I think you guys should start over without me because 166 00:10:37,280 --> 00:10:40,160 Speaker 1: I have no idea what two ten is. I have 167 00:10:40,640 --> 00:10:45,640 Speaker 1: copious notes on two O nine, which one's two on nine? 168 00:10:46,679 --> 00:10:49,520 Speaker 1: Two nine's when you and I have my favorite team 169 00:10:49,559 --> 00:10:51,240 Speaker 1: we ever did together. When I tell you it wasn't 170 00:10:51,240 --> 00:10:52,719 Speaker 1: a favorite, it was my job at the end of 171 00:10:52,720 --> 00:10:56,000 Speaker 1: the episode, Oh I love that. Um, we how do 172 00:10:56,080 --> 00:10:58,400 Speaker 1: we salvage this, Johnny, because we're so excited to have 173 00:10:58,520 --> 00:11:01,120 Speaker 1: you on. Well, I know how we can salvage it 174 00:11:01,200 --> 00:11:05,839 Speaker 1: because I had an overriding angle that I wanted to 175 00:11:05,960 --> 00:11:08,959 Speaker 1: look at, and it's inspired by what you guys have 176 00:11:09,080 --> 00:11:14,480 Speaker 1: told me an Uptown Girls and some of your adventures 177 00:11:14,559 --> 00:11:17,920 Speaker 1: in New York City when you guys were in that apartment. 178 00:11:19,040 --> 00:11:22,719 Speaker 1: What happened between season one and season two, since I 179 00:11:22,800 --> 00:11:25,080 Speaker 1: haven't talked to you since the end of season one, 180 00:11:26,640 --> 00:11:32,439 Speaker 1: for me was that I had a C plus comedy 181 00:11:32,520 --> 00:11:36,120 Speaker 1: come out with Jason Lee and Tom Green called Stealing Harvard, 182 00:11:36,800 --> 00:11:41,040 Speaker 1: and I spent the entire hiatus and Jackie, you came 183 00:11:41,120 --> 00:11:45,000 Speaker 1: to visit me at Columbia doing Identity with James Mangel 184 00:11:45,679 --> 00:11:50,520 Speaker 1: and it and I would suggest to you that what 185 00:11:50,760 --> 00:11:53,719 Speaker 1: we do in our hiatuses informs what we do when 186 00:11:53,760 --> 00:11:57,240 Speaker 1: we get back in front of the lens, and that 187 00:11:57,400 --> 00:12:01,319 Speaker 1: you bring that either those asks, that's their liabilities with you, 188 00:12:02,080 --> 00:12:05,400 Speaker 1: and it informs the way you grow in front of 189 00:12:05,440 --> 00:12:11,640 Speaker 1: the lens. Yes, I agree, But how are you saying 190 00:12:11,720 --> 00:12:15,600 Speaker 1: that this informed when we came back together for season two? 191 00:12:16,480 --> 00:12:20,439 Speaker 1: Because what I've brought having spent those I don't know, 192 00:12:20,640 --> 00:12:23,839 Speaker 1: nine weeks with Jim mangled, you know, I'm mister verb 193 00:12:24,200 --> 00:12:29,599 Speaker 1: and my overwriting objective in season two was to contribute, 194 00:12:30,360 --> 00:12:36,040 Speaker 1: and then this counterintuitive thing happened where I wanted to cox. 195 00:12:36,559 --> 00:12:39,960 Speaker 1: I wanted to contribute by capitulating in front of the lens. 196 00:12:40,160 --> 00:12:43,360 Speaker 1: And I'll tell you what I mean. I was starting 197 00:12:43,400 --> 00:12:45,719 Speaker 1: to get too busy at the end of season one 198 00:12:45,800 --> 00:12:52,079 Speaker 1: and intoxicated with the eccentricities of all the craziness. And 199 00:12:52,920 --> 00:12:55,199 Speaker 1: what happened on Identity, which was the name of the 200 00:12:55,280 --> 00:12:59,520 Speaker 1: film that Jim directed with Johnny and Ray and Amanda, 201 00:13:00,280 --> 00:13:04,120 Speaker 1: was that everything just kept getting stripped down. Molina, all 202 00:13:04,160 --> 00:13:07,640 Speaker 1: these people just kept stripping stuff down. And it occurred 203 00:13:07,679 --> 00:13:10,240 Speaker 1: to me that I was bringing too much baggage in 204 00:13:10,400 --> 00:13:13,480 Speaker 1: between action and cut, and so what it decided was 205 00:13:13,559 --> 00:13:18,199 Speaker 1: that what the capitulation would be would would be that 206 00:13:18,320 --> 00:13:20,199 Speaker 1: I was going to get out of the way. And 207 00:13:20,360 --> 00:13:24,400 Speaker 1: at no point was it more on point than when 208 00:13:24,480 --> 00:13:27,640 Speaker 1: you and I were in that doctor's lounge at the 209 00:13:27,760 --> 00:13:32,160 Speaker 1: end of two oh nine, unfortunately, and you had been 210 00:13:32,240 --> 00:13:37,319 Speaker 1: chesty that JD had been chesty the whole episode. And 211 00:13:37,559 --> 00:13:42,719 Speaker 1: finally they get to come together and Cox lets him 212 00:13:42,720 --> 00:13:45,400 Speaker 1: off the hook. But in letting him off the hook, 213 00:13:45,480 --> 00:13:48,800 Speaker 1: there's a surrender, and that too, there's a capitulation, and 214 00:13:48,960 --> 00:13:53,839 Speaker 1: it's just it's the cleanest scene I can remember that 215 00:13:54,440 --> 00:13:57,040 Speaker 1: I can remember. I can't remember, you know, like Donald 216 00:13:57,080 --> 00:13:59,440 Speaker 1: and I zac you have a better memory than us, 217 00:13:59,480 --> 00:14:02,400 Speaker 1: but I can't remember all this stuff. But I agree, Johnny, 218 00:14:02,440 --> 00:14:04,160 Speaker 1: because one of the things I said when we talked 219 00:14:04,160 --> 00:14:08,120 Speaker 1: about that was the episode was so, you know, the 220 00:14:08,200 --> 00:14:11,040 Speaker 1: show is so silly and can be and and can 221 00:14:11,120 --> 00:14:13,760 Speaker 1: go all over the place and fantasies. But what I'm 222 00:14:13,800 --> 00:14:15,920 Speaker 1: so proud of in this show when it worked was 223 00:14:16,000 --> 00:14:18,079 Speaker 1: how we would just drop in and be straight and 224 00:14:18,400 --> 00:14:21,200 Speaker 1: and that scene with you and I uh in in 225 00:14:21,360 --> 00:14:23,920 Speaker 1: that room, to me is one of the best of 226 00:14:24,280 --> 00:14:27,080 Speaker 1: the series. And it's so it's so simple. It's probably 227 00:14:27,200 --> 00:14:29,800 Speaker 1: forty five second scene. But I think you and I 228 00:14:30,080 --> 00:14:32,560 Speaker 1: was so vulnerable, and you were so vulnerable, and and 229 00:14:32,760 --> 00:14:35,120 Speaker 1: and and up to this point there's been there's been 230 00:14:35,160 --> 00:14:38,640 Speaker 1: almost no maybe once or twice you give in it 231 00:14:38,760 --> 00:14:40,880 Speaker 1: Cox gives in and and and is willing to give 232 00:14:40,960 --> 00:14:44,600 Speaker 1: him some some mentorship. But this was a real first time. 233 00:14:44,680 --> 00:14:47,840 Speaker 1: I think that Cox is this vulnerable in front of him, 234 00:14:47,880 --> 00:14:49,880 Speaker 1: telling him that it's this is my job. My job 235 00:14:50,000 --> 00:14:53,560 Speaker 1: is to make sure you don't fuck up. But there's 236 00:14:53,600 --> 00:14:55,840 Speaker 1: also the it's a it's a combination, and you as 237 00:14:55,880 --> 00:14:59,520 Speaker 1: a filmmaker surely will appreciate this, and Donald as well. 238 00:15:00,240 --> 00:15:03,200 Speaker 1: Is that the scene starts up with this great dolly 239 00:15:03,520 --> 00:15:06,600 Speaker 1: over your shoulder and then we land on Cox and 240 00:15:06,760 --> 00:15:11,240 Speaker 1: the fucking great music Q already started when Donald jumped 241 00:15:11,280 --> 00:15:13,840 Speaker 1: off the couch to go put Rowdy on the fourth floor, 242 00:15:14,840 --> 00:15:18,160 Speaker 1: and it's it's under pressure with Queen and Bowie and 243 00:15:18,440 --> 00:15:21,520 Speaker 1: just everything and I can't remember. I think Larry Trilling 244 00:15:21,600 --> 00:15:24,880 Speaker 1: shot it, and everything that could come together in a 245 00:15:25,360 --> 00:15:29,560 Speaker 1: in a twenty four minute TV show came together. And 246 00:15:29,640 --> 00:15:32,000 Speaker 1: that doesn't always happen. And when it does, and it 247 00:15:32,040 --> 00:15:37,360 Speaker 1: shouldn't happen, it's impossible. The schedules impossible, and everything's is 248 00:15:37,480 --> 00:15:43,200 Speaker 1: working against you, and when it does, yeah, it's magic. Yeah, 249 00:15:43,760 --> 00:15:47,640 Speaker 1: it's so fun too when those moments happen in both Uh, 250 00:15:48,000 --> 00:15:50,600 Speaker 1: you know, as an actor, you you just kind of 251 00:15:50,680 --> 00:15:53,120 Speaker 1: go at it all the time, and sometimes magic happens 252 00:15:53,160 --> 00:15:56,240 Speaker 1: and sometimes it doesn't. And then there's moments both as 253 00:15:56,280 --> 00:15:58,280 Speaker 1: an actor and a director where you're watching something. I 254 00:15:58,320 --> 00:15:59,880 Speaker 1: remember I was directing Wish I was here and there 255 00:16:00,160 --> 00:16:02,920 Speaker 1: this great scene between Manny Patankon and Kate Hudson, and 256 00:16:03,760 --> 00:16:05,600 Speaker 1: there were supposed to be this moment where they connected 257 00:16:05,880 --> 00:16:09,120 Speaker 1: and all of a sudden that the monitors it just 258 00:16:10,200 --> 00:16:12,680 Speaker 1: I was watching them, and it just magic happened, and 259 00:16:13,480 --> 00:16:17,200 Speaker 1: Kate had a single tear just trickling down her eye, 260 00:16:17,960 --> 00:16:20,720 Speaker 1: and then instead of stopping talking, she just ad libbed 261 00:16:21,440 --> 00:16:24,880 Speaker 1: this extra line and she swiped her tear away kind 262 00:16:24,920 --> 00:16:27,360 Speaker 1: of like nonchalantly, like she didn't want Manny Patakon to 263 00:16:27,400 --> 00:16:30,360 Speaker 1: see the moment. And it was just one of those 264 00:16:30,440 --> 00:16:33,760 Speaker 1: moments where you're like, holy shit, like something special just happened. 265 00:16:33,800 --> 00:16:35,800 Speaker 1: That was way better than when was it? In my mind, 266 00:16:36,280 --> 00:16:37,760 Speaker 1: I feel that way about a lot of things and 267 00:16:37,800 --> 00:16:40,640 Speaker 1: scrubbs that we did, like where oftentimes it was about 268 00:16:40,640 --> 00:16:43,320 Speaker 1: comedy we were all riffing together and there'd be some 269 00:16:43,560 --> 00:16:47,080 Speaker 1: funny thing we'd all come up with. But then but 270 00:16:47,200 --> 00:16:48,960 Speaker 1: this is one of those moments that you're talking about 271 00:16:49,000 --> 00:16:52,200 Speaker 1: where it was like just just so much better than 272 00:16:52,560 --> 00:16:54,800 Speaker 1: what we could even imagine was on the page. But 273 00:16:55,000 --> 00:16:57,640 Speaker 1: I had to go away for the summer. And maybe Donald, 274 00:16:57,720 --> 00:16:59,640 Speaker 1: you'll know what I'm talking about with because I heard 275 00:16:59,680 --> 00:17:01,680 Speaker 1: you talk and a Heather about the film you guys did. 276 00:17:02,000 --> 00:17:05,560 Speaker 1: When you when you go away, what happens is and Donald, 277 00:17:05,640 --> 00:17:10,280 Speaker 1: you will appreciate this in kind of a a sports metaphor. 278 00:17:11,480 --> 00:17:15,040 Speaker 1: If you if you shoot ten thousand free throws, you 279 00:17:15,280 --> 00:17:17,920 Speaker 1: will get better at free throws. And if you stay 280 00:17:17,960 --> 00:17:20,320 Speaker 1: in front of the lens, even when you're on hiatus, 281 00:17:20,440 --> 00:17:23,560 Speaker 1: if you stay in front of the lens, you'll stop 282 00:17:23,640 --> 00:17:27,080 Speaker 1: acting and start behaving. And it's not semantics. There're two 283 00:17:27,160 --> 00:17:32,320 Speaker 1: different things. And especially if you have a taskmaster who's creative, 284 00:17:32,359 --> 00:17:34,800 Speaker 1: like Jim Mangold, who's not only going to keep you 285 00:17:34,840 --> 00:17:36,119 Speaker 1: in front of the lens, but it's just going to 286 00:17:36,200 --> 00:17:38,639 Speaker 1: keep stripping stuff down. And what I mean by stripping 287 00:17:38,680 --> 00:17:43,119 Speaker 1: stuff down is that actors always want to add an eccentricity. 288 00:17:43,240 --> 00:17:45,040 Speaker 1: They want to they want to add a limp or 289 00:17:45,080 --> 00:17:49,359 Speaker 1: a lisp or a or a tick or some some 290 00:17:49,920 --> 00:17:55,639 Speaker 1: kind of eccentricity, and Jim wanted them all out out out. 291 00:17:55,840 --> 00:17:57,880 Speaker 1: He went, a rain was a character in the story, 292 00:17:58,000 --> 00:18:00,760 Speaker 1: deal with the rain. And I always like when actors 293 00:18:01,280 --> 00:18:05,840 Speaker 1: have to deal with cold, dark and rain, because everything 294 00:18:05,920 --> 00:18:08,760 Speaker 1: goes away and they just start behaving. If it's four 295 00:18:08,800 --> 00:18:12,840 Speaker 1: o'clock in the morning, if you're shooting nights, the production 296 00:18:13,000 --> 00:18:16,639 Speaker 1: is added rain, it's freezing out and it's four in 297 00:18:16,720 --> 00:18:21,480 Speaker 1: the morning, everybody stops acting and they just start saying 298 00:18:21,520 --> 00:18:25,879 Speaker 1: their lines and scenes start to click because people people 299 00:18:25,920 --> 00:18:28,119 Speaker 1: want to get through the scene, like the people in 300 00:18:28,240 --> 00:18:32,320 Speaker 1: the scene. Yeah, and I remember one of these times 301 00:18:32,400 --> 00:18:35,640 Speaker 1: happened that I can't remember the episode up almost positive 302 00:18:35,680 --> 00:18:39,520 Speaker 1: you were pulling the trigger zact when Molly Shannon came on. Yeah, 303 00:18:39,600 --> 00:18:42,000 Speaker 1: that's Donald and I talked about that episode all the time. 304 00:18:42,000 --> 00:18:44,760 Speaker 1: It's my favorite one because my first time directing, I'm 305 00:18:44,880 --> 00:18:48,320 Speaker 1: standing across the room from her and she's lovely and 306 00:18:48,400 --> 00:18:50,359 Speaker 1: all that, but she's a comedian and I don't know 307 00:18:50,640 --> 00:18:53,320 Speaker 1: what kind of chops she has. And then she finally 308 00:18:53,440 --> 00:18:58,080 Speaker 1: tells me why she's so kookie and we find about her, 309 00:18:58,160 --> 00:19:01,479 Speaker 1: we find out about her loss and what the actor 310 00:19:01,800 --> 00:19:05,240 Speaker 1: once she went in and dug out was the stuff 311 00:19:05,280 --> 00:19:09,159 Speaker 1: that dreams are made of for the lens. And I 312 00:19:09,359 --> 00:19:11,200 Speaker 1: was standing there watching her, and we didn't do that. 313 00:19:11,440 --> 00:19:15,240 Speaker 1: It takes because she queshed it and she brought her 314 00:19:15,680 --> 00:19:18,640 Speaker 1: She brought her off screen life into that that wasn't 315 00:19:18,680 --> 00:19:22,280 Speaker 1: on the page. Where she went wasn't on the page. 316 00:19:23,960 --> 00:19:27,119 Speaker 1: You know, Johnny, I definitely agree with you about working 317 00:19:27,760 --> 00:19:30,280 Speaker 1: during your hiatus. It keeps you in a rhythm. I 318 00:19:30,440 --> 00:19:32,960 Speaker 1: feel like, I feel like toward the end of every 319 00:19:33,040 --> 00:19:36,280 Speaker 1: season when we were making the show, we would find 320 00:19:36,359 --> 00:19:38,119 Speaker 1: our rhythm and we would be all of a sudden 321 00:19:38,200 --> 00:19:41,480 Speaker 1: clicking and it was just like you said, it became 322 00:19:41,560 --> 00:19:44,800 Speaker 1: it was no longer about let me act the shit 323 00:19:44,840 --> 00:19:46,080 Speaker 1: out of it. Let me say to my lines, I 324 00:19:46,119 --> 00:19:49,280 Speaker 1: don't want to be here until fucking you know, midnight tonight. 325 00:19:49,440 --> 00:19:51,040 Speaker 1: Let me say my lines and let the work do 326 00:19:51,200 --> 00:19:53,879 Speaker 1: its job. Let the work make it happen. And I 327 00:19:53,960 --> 00:19:56,000 Speaker 1: think when you go away and you do another project 328 00:19:56,080 --> 00:19:58,960 Speaker 1: and you get excited again, that same thing fuels you 329 00:19:59,119 --> 00:20:01,359 Speaker 1: for when you go back to work the next year, 330 00:20:01,400 --> 00:20:03,600 Speaker 1: and now you're in a rhythm and so that energy 331 00:20:03,680 --> 00:20:05,560 Speaker 1: that you had at the end of the season where 332 00:20:05,600 --> 00:20:08,280 Speaker 1: you're like efficient and you're trying to make it happen 333 00:20:08,400 --> 00:20:11,879 Speaker 1: like in one take and right away because you're you know, 334 00:20:13,280 --> 00:20:15,480 Speaker 1: you're you don't want to be there late, and you 335 00:20:15,560 --> 00:20:18,560 Speaker 1: want to be looked at as a as a professional. 336 00:20:19,040 --> 00:20:20,680 Speaker 1: And when you do that all summer long, when you 337 00:20:20,760 --> 00:20:22,919 Speaker 1: come back in in the beginning, you don't have the rusties, 338 00:20:23,280 --> 00:20:25,960 Speaker 1: you don't have the I'm nervous about what I've been doing, 339 00:20:26,080 --> 00:20:27,639 Speaker 1: you know what I mean? You're training. It's like you 340 00:20:27,720 --> 00:20:30,439 Speaker 1: were training all summer. Yeah, no, walk getting You're right. 341 00:20:30,720 --> 00:20:32,200 Speaker 1: You walk in and you're like, look, check out my 342 00:20:32,280 --> 00:20:33,960 Speaker 1: six pack, you know what I mean. I have a 343 00:20:34,040 --> 00:20:37,640 Speaker 1: question for you guys, as both a actor and a director, 344 00:20:38,400 --> 00:20:40,880 Speaker 1: I wish as an actor I would have had more 345 00:20:41,040 --> 00:20:46,119 Speaker 1: directors push me to be better. I feel like I 346 00:20:46,280 --> 00:20:48,800 Speaker 1: feel like throughout my career there's been a few, but 347 00:20:48,960 --> 00:20:51,960 Speaker 1: mostly it's been about stand here, the camera's going to 348 00:20:52,040 --> 00:20:54,160 Speaker 1: come here, do you want to go again? Because maybe 349 00:20:54,160 --> 00:20:56,920 Speaker 1: you should be a little angrier as opposed to like 350 00:20:57,160 --> 00:21:00,280 Speaker 1: taking me in the corner and being like here, I 351 00:21:00,320 --> 00:21:02,879 Speaker 1: want to put a fucking thought in your head. And 352 00:21:03,320 --> 00:21:06,439 Speaker 1: I wonder, Johnny, because you you can be an intimidating fellow. 353 00:21:06,480 --> 00:21:09,680 Speaker 1: I wonder did Mangold was he able to to do 354 00:21:09,840 --> 00:21:12,080 Speaker 1: that to you? Did he? I mean, Oliver Stone, you've 355 00:21:12,119 --> 00:21:14,000 Speaker 1: worked with I mean, you've worked with Fincher, You've worked 356 00:21:14,040 --> 00:21:16,119 Speaker 1: with the legends of the world. Had these guys been 357 00:21:16,160 --> 00:21:18,560 Speaker 1: able to do that to you? Have they done that 358 00:21:18,680 --> 00:21:21,119 Speaker 1: to you? And I want to know your answer too. 359 00:21:21,200 --> 00:21:24,440 Speaker 1: But you know, we'll start with the Olivers Oliver school 360 00:21:24,440 --> 00:21:30,320 Speaker 1: of directing. Uh comes with consequences, and so if you 361 00:21:30,480 --> 00:21:35,520 Speaker 1: if you're doing something that's not is it necessarily what 362 00:21:35,680 --> 00:21:39,400 Speaker 1: Oliver had in mind? He'll yell from video village, which 363 00:21:39,520 --> 00:21:42,000 Speaker 1: is an area away from the set where the director 364 00:21:42,080 --> 00:21:44,760 Speaker 1: and the and the and the people who are producing 365 00:21:44,800 --> 00:21:49,320 Speaker 1: the film are watching it. He'll yell from video village, McGinley, 366 00:21:50,119 --> 00:21:55,040 Speaker 1: walk with me, and that just means, uh, you're going 367 00:21:55,119 --> 00:21:58,720 Speaker 1: to go for a walk. And then he tells you 368 00:21:58,880 --> 00:22:03,600 Speaker 1: that you're already in my vision and you're fucking me. Really, 369 00:22:03,720 --> 00:22:07,080 Speaker 1: You're like, oh god, he did it in the Philippines, 370 00:22:07,160 --> 00:22:09,720 Speaker 1: he did it it down in on Wall Street, he 371 00:22:09,840 --> 00:22:13,440 Speaker 1: did it, He does it everywhere. You're fucking me. You 372 00:22:13,520 --> 00:22:15,920 Speaker 1: were better when you always read actors for him, and 373 00:22:16,000 --> 00:22:18,360 Speaker 1: he goes, you were better when you were reading the actors, 374 00:22:18,640 --> 00:22:22,720 Speaker 1: but now you're fucking me, and you're like, oh my god, 375 00:22:23,560 --> 00:22:26,520 Speaker 1: oh horrifying. How do you not get it? How do 376 00:22:26,600 --> 00:22:29,120 Speaker 1: you then not spiral Johnny? Because I feel like there's 377 00:22:29,119 --> 00:22:31,200 Speaker 1: a fine line between taking you in the corner and 378 00:22:31,320 --> 00:22:34,199 Speaker 1: being and being constructive and being like, you got this, man, 379 00:22:34,280 --> 00:22:35,600 Speaker 1: but I want you to dig deep and do this 380 00:22:35,760 --> 00:22:39,280 Speaker 1: and being like, you're fucking me. I can't imagine that 381 00:22:39,320 --> 00:22:42,240 Speaker 1: I would be so spiraling in my head. I don't know. 382 00:22:42,280 --> 00:22:44,080 Speaker 1: I guess it all started in the Philippines and I 383 00:22:44,160 --> 00:22:46,959 Speaker 1: just wasn't gonna there was nowhere to go. We were 384 00:22:47,040 --> 00:22:50,040 Speaker 1: ten thousand miles from home, and so I guess you 385 00:22:50,160 --> 00:22:52,960 Speaker 1: got a rally. I don't fucking know. And the obviously 386 00:22:53,040 --> 00:22:54,800 Speaker 1: didn't you tell me this? Sorry, sorry, go ahead again. 387 00:22:55,040 --> 00:22:57,760 Speaker 1: The opposite of that is Catherine Bigelow on Point Break. 388 00:22:57,800 --> 00:23:03,119 Speaker 1: You know we did that opening movie, Johnny, Johnny, remember 389 00:23:03,119 --> 00:23:06,720 Speaker 1: when there was one of those steadicams they used to 390 00:23:06,760 --> 00:23:09,480 Speaker 1: weigh about eighty pounds, and all the big Aussie guys 391 00:23:09,600 --> 00:23:12,200 Speaker 1: used to be the operators. And in the beginning of 392 00:23:12,240 --> 00:23:14,840 Speaker 1: that film, there's about a five or six minute walk 393 00:23:14,880 --> 00:23:17,280 Speaker 1: and talk where Keano and I are doing all the 394 00:23:17,400 --> 00:23:20,919 Speaker 1: expository who what, where? When? How? For the whole movie, 395 00:23:21,040 --> 00:23:25,520 Speaker 1: we're just just stealing, stealing, I don't stop talking. And 396 00:23:26,880 --> 00:23:28,920 Speaker 1: and we did it thirty six times. I think she 397 00:23:29,040 --> 00:23:33,080 Speaker 1: printed like four, eighteen and thirty six, And of course 398 00:23:33,200 --> 00:23:35,080 Speaker 1: four was the one that was in the movie. And 399 00:23:35,200 --> 00:23:38,720 Speaker 1: it's just a one er and it's just scrubs. Made 400 00:23:38,760 --> 00:23:42,280 Speaker 1: it look second nature because we did those. But at 401 00:23:42,320 --> 00:23:43,960 Speaker 1: the time when we were doing it, it was a 402 00:23:44,359 --> 00:23:46,760 Speaker 1: big deal. And you know, all the way through the 403 00:23:46,880 --> 00:23:52,000 Speaker 1: bowels of the FBI with this steadicam and Catherine just 404 00:23:52,119 --> 00:23:55,480 Speaker 1: come over and she's a single most supportive person in 405 00:23:55,560 --> 00:23:58,359 Speaker 1: the history of the planet. But the bottom line was, 406 00:23:58,400 --> 00:24:02,000 Speaker 1: we're going again. She would never say anything, she would 407 00:24:02,000 --> 00:24:05,000 Speaker 1: never say anything. No, she's just the greatest. She's like, 408 00:24:05,040 --> 00:24:07,840 Speaker 1: you're crushing us. You're crushing us. I'm like, who, But 409 00:24:08,000 --> 00:24:10,320 Speaker 1: I always know when we have it. What about Weird 410 00:24:10,400 --> 00:24:12,160 Speaker 1: of God? What about you Donald? Like when you worked 411 00:24:12,200 --> 00:24:14,800 Speaker 1: with like Boas or or did did they give you 412 00:24:14,920 --> 00:24:17,119 Speaker 1: did you ever get like tough direction? But also that 413 00:24:17,240 --> 00:24:22,120 Speaker 1: like made you dig deeper? Um? Yeah, you know, uh. 414 00:24:23,200 --> 00:24:26,760 Speaker 1: Boas was was very much we're gonna rehearse. Uh, And 415 00:24:26,840 --> 00:24:29,360 Speaker 1: we would we would rehearse and he wouldn't necessarily be there, 416 00:24:29,400 --> 00:24:31,560 Speaker 1: but he would come and check it out. But he 417 00:24:31,600 --> 00:24:33,400 Speaker 1: would be like, you guys, go rehearse, you know, rehearse 418 00:24:33,440 --> 00:24:36,119 Speaker 1: amongst yourselves and stuff. And then when we would do 419 00:24:36,160 --> 00:24:37,760 Speaker 1: it the scene, he'd be like, Okay, yeah, that's great. 420 00:24:37,840 --> 00:24:40,000 Speaker 1: Is there anything you want to add to it? Um, 421 00:24:40,440 --> 00:24:42,639 Speaker 1: I'm trying to think of if they were. I've had directors. 422 00:24:42,640 --> 00:24:44,320 Speaker 1: I don't want to say their names. I've had directors 423 00:24:44,320 --> 00:24:47,400 Speaker 1: to be like, you know, uh, you stumbled on that line, 424 00:24:47,440 --> 00:24:49,280 Speaker 1: there goes, you're close up. I've had shit like that 425 00:24:49,720 --> 00:24:54,439 Speaker 1: before you. That's not gonna help anybody, No, it doesn't. Uh. 426 00:24:54,880 --> 00:24:57,560 Speaker 1: And to find a way to to to I mean, 427 00:24:57,720 --> 00:25:00,720 Speaker 1: my goal when I'm directing someone is all I want 428 00:25:00,920 --> 00:25:03,680 Speaker 1: is for you to be great? How can I support that? 429 00:25:04,840 --> 00:25:07,119 Speaker 1: Part of it for me is creating an environment on 430 00:25:07,200 --> 00:25:09,240 Speaker 1: the set. You know, Scrubs is the ultimate example. We 431 00:25:09,320 --> 00:25:12,000 Speaker 1: had an environment that was so safe to experiment and 432 00:25:12,080 --> 00:25:15,560 Speaker 1: to and to fuck up. And it was you felt 433 00:25:15,640 --> 00:25:18,720 Speaker 1: so safe, you felt the net under under the under 434 00:25:18,760 --> 00:25:21,200 Speaker 1: the tight rope, if you will, um, so I when 435 00:25:21,240 --> 00:25:23,320 Speaker 1: I'm making my products. I try and hate create that 436 00:25:23,480 --> 00:25:27,680 Speaker 1: environment again where where you're safe, like there's no wrong answer, 437 00:25:27,800 --> 00:25:30,520 Speaker 1: let's play, because I think that puts actors in a 438 00:25:30,760 --> 00:25:35,199 Speaker 1: good headspace. Um. But I'm also making things so fast, 439 00:25:35,680 --> 00:25:38,119 Speaker 1: you know, I'm every the three films I've made, I 440 00:25:38,240 --> 00:25:41,320 Speaker 1: have to go so fast. There isn't a whole lot 441 00:25:41,359 --> 00:25:43,240 Speaker 1: of time to do like what Oliver Stone can do 442 00:25:43,359 --> 00:25:47,600 Speaker 1: in the Philippines and be like Johnny Let's Walk. If 443 00:25:47,800 --> 00:25:52,119 Speaker 1: produces someone like Natalie Let's Walk, everyone looked at me like, 444 00:25:52,160 --> 00:25:53,560 Speaker 1: what the fuck are you doing? We have a half 445 00:25:53,600 --> 00:25:57,800 Speaker 1: hour left for the day. That truly is a luxury. Luxury. 446 00:25:58,119 --> 00:26:01,000 Speaker 1: I hear stories about actors and directors going on like 447 00:26:01,119 --> 00:26:04,360 Speaker 1: forty five minute walks while the crew waits, sometimes two 448 00:26:04,400 --> 00:26:07,000 Speaker 1: hour walks while the crew waits, and then they come 449 00:26:07,040 --> 00:26:09,280 Speaker 1: back in the scenes different. Now we're going to relight 450 00:26:09,320 --> 00:26:12,600 Speaker 1: it a different way. I've heard crazy ass stories about how, 451 00:26:13,080 --> 00:26:15,840 Speaker 1: you know, how ego gets in the way of making 452 00:26:15,960 --> 00:26:19,840 Speaker 1: movies and stuff like I've had stories from that movie 453 00:26:20,640 --> 00:26:22,879 Speaker 1: What's the Well. I should probably shouldn't call it what 454 00:26:22,920 --> 00:26:24,440 Speaker 1: the movie is, but I heard stories of a movie 455 00:26:24,480 --> 00:26:27,440 Speaker 1: star showing up. My friend was shooting the movie, and 456 00:26:27,480 --> 00:26:29,320 Speaker 1: he said, you wouldn't believe what was going on. Like 457 00:26:29,400 --> 00:26:31,880 Speaker 1: the movie star would show up and be like, all right, well, 458 00:26:31,920 --> 00:26:34,720 Speaker 1: we're obviously not saying any of this, so should we 459 00:26:34,800 --> 00:26:39,119 Speaker 1: go talk about it? And it's like what like? So 460 00:26:39,200 --> 00:26:42,280 Speaker 1: they would then go on like long, like a like 461 00:26:42,440 --> 00:26:46,240 Speaker 1: a like a minivan ride and like rewrite the day's work, 462 00:26:46,560 --> 00:26:48,560 Speaker 1: and that's how the day would start. I mean that 463 00:26:48,640 --> 00:26:51,360 Speaker 1: gives me anxiety even saying it. Have you guys ever 464 00:26:51,480 --> 00:26:53,960 Speaker 1: like this? It's happened once in my life, Zach. I 465 00:26:54,080 --> 00:26:56,359 Speaker 1: know when it's happened with you. Johnny, have you ever 466 00:26:56,440 --> 00:27:01,200 Speaker 1: been so late in any way that you've caused a day? Well, 467 00:27:01,240 --> 00:27:04,120 Speaker 1: not a day, but you caused a morning, I should say, 468 00:27:05,119 --> 00:27:08,719 Speaker 1: the director like, like I've been, I've been so I've been. 469 00:27:09,520 --> 00:27:11,719 Speaker 1: Not a fucking chance. We're not. Johnny's not late ever, 470 00:27:11,800 --> 00:27:13,800 Speaker 1: Johnny's early. Johnny gets scared five in the morning and 471 00:27:13,840 --> 00:27:16,600 Speaker 1: then goes back to sleep. That would never happen, right, 472 00:27:17,880 --> 00:27:21,160 Speaker 1: never happened. That happened to me. That happened to me once, Zach, 473 00:27:21,200 --> 00:27:22,800 Speaker 1: I remember when it happened to you, But it happened 474 00:27:22,840 --> 00:27:26,399 Speaker 1: mine was an alarm clock malfunction. Ahead, bullshit. But anyway, 475 00:27:27,359 --> 00:27:30,280 Speaker 1: I told the story in the podcast. Did I ever 476 00:27:30,359 --> 00:27:33,719 Speaker 1: tell you to Henry Winkler's story? No? Please go on. Okay. 477 00:27:33,920 --> 00:27:36,639 Speaker 1: So I was doing Clueless, the television show at the time, right, 478 00:27:37,359 --> 00:27:41,239 Speaker 1: and Henry Winkler's directing the next day. It's Sunday night. 479 00:27:41,600 --> 00:27:46,399 Speaker 1: He's directing on Monday, um, and I'm geeked about it. 480 00:27:46,480 --> 00:27:48,879 Speaker 1: But I also I'm twenty something years old and I 481 00:27:48,920 --> 00:27:51,840 Speaker 1: live with a bunch of dudes. Right, It's me, my buddies, 482 00:27:52,720 --> 00:27:55,600 Speaker 1: me and literally three other dudes living in the house together. 483 00:27:55,720 --> 00:27:57,840 Speaker 1: And on Sunday nights. I don't know where it was. 484 00:27:57,880 --> 00:28:02,960 Speaker 1: I think freaking like uh Joseph's or or some shit 485 00:28:03,080 --> 00:28:05,920 Speaker 1: like that was off. The club was going off, right, 486 00:28:06,320 --> 00:28:07,960 Speaker 1: and so we went out and I didn't get home 487 00:28:08,040 --> 00:28:12,600 Speaker 1: until like four in the morning, smashed and hammered, and 488 00:28:14,640 --> 00:28:17,199 Speaker 1: I pass out my call times at six am. I'm 489 00:28:17,240 --> 00:28:20,440 Speaker 1: doing Clueless at the time. I wake up and it's 490 00:28:20,480 --> 00:28:24,640 Speaker 1: six thirty and I'm like, oh shit, Henry Winkler's directing. 491 00:28:24,760 --> 00:28:27,359 Speaker 1: So I throw on clothes and I, you know, jet 492 00:28:27,480 --> 00:28:31,200 Speaker 1: to work. I get there, I put on my customers 493 00:28:31,280 --> 00:28:34,200 Speaker 1: all in my trailer and everything I throw on all 494 00:28:34,280 --> 00:28:37,000 Speaker 1: my shit, and as I'm throwing it on, I can 495 00:28:37,080 --> 00:28:38,880 Speaker 1: smell my breath and I still smell the booze on 496 00:28:38,960 --> 00:28:42,200 Speaker 1: my breath, and I'm like, oh my god, Oh my god, 497 00:28:42,280 --> 00:28:44,120 Speaker 1: this is gonna be horrible. This is gonna be horrible. 498 00:28:45,200 --> 00:28:47,240 Speaker 1: So I run out of my trailer and I'm starting 499 00:28:47,280 --> 00:28:50,040 Speaker 1: I'm jetting to set. And as I come around the corner, 500 00:28:50,080 --> 00:28:51,720 Speaker 1: were filming on the Paramount lot, and so you have 501 00:28:51,800 --> 00:28:54,160 Speaker 1: to pass through the big Paramount gates, right, So I 502 00:28:54,240 --> 00:28:58,000 Speaker 1: come running through the gate towards the set, and Henry 503 00:28:58,040 --> 00:29:00,920 Speaker 1: Winkler sees me, stands up and it looked like he 504 00:29:01,000 --> 00:29:03,120 Speaker 1: said to whoever the producer was or the writer was, 505 00:29:03,160 --> 00:29:05,280 Speaker 1: he was like, that's him. Yeah, that's him. Okay. He 506 00:29:05,360 --> 00:29:08,240 Speaker 1: starts walking towards me, and I'm like, oh god, oh shit, 507 00:29:08,640 --> 00:29:12,640 Speaker 1: holy shit you that was the first thing I'm thinking. 508 00:29:12,800 --> 00:29:15,880 Speaker 1: Now the fuck forget forget the cast and the crew 509 00:29:15,920 --> 00:29:19,400 Speaker 1: and everything like that. Fucking Henry Winkler, the legend that 510 00:29:19,520 --> 00:29:21,840 Speaker 1: he is, is about to fucking give me the business. 511 00:29:21,920 --> 00:29:24,320 Speaker 1: And I'm gonna and I'm gonna fucking eat it, right, 512 00:29:24,880 --> 00:29:27,920 Speaker 1: And so he comes up to me and I take 513 00:29:27,960 --> 00:29:30,400 Speaker 1: a deep breath to not breathe out so he can't 514 00:29:30,400 --> 00:29:35,040 Speaker 1: smell this booze on me, right, and he goes, listen, 515 00:29:35,080 --> 00:29:38,040 Speaker 1: we're not gonna do this. Okay, I don't want to. 516 00:29:38,040 --> 00:29:39,880 Speaker 1: I don't want any ship from you. Okay, we're not 517 00:29:39,960 --> 00:29:42,560 Speaker 1: gonna We're not gonna fucking do this. We're gonna do this. 518 00:29:42,640 --> 00:29:45,520 Speaker 1: We're gonna go over there, We're gonna do the scene. Okay, 519 00:29:45,840 --> 00:29:47,680 Speaker 1: we're gonna go over there. We're gonna do the scene. 520 00:29:48,040 --> 00:29:49,800 Speaker 1: And I could tell he wanted to freak and give 521 00:29:49,840 --> 00:29:51,440 Speaker 1: me the business, but he was like, I don't know you. 522 00:29:51,760 --> 00:29:54,520 Speaker 1: I don't want to disrespect you, and I can I'm 523 00:29:54,600 --> 00:29:56,360 Speaker 1: pretty sure you don't want to try and disrespect me 524 00:29:56,480 --> 00:29:58,120 Speaker 1: or anything like that, but come over here and give 525 00:29:58,160 --> 00:30:00,600 Speaker 1: me your best right, And it was it was just 526 00:30:00,840 --> 00:30:04,080 Speaker 1: like when we did the dance scene on Scrubs where 527 00:30:04,120 --> 00:30:07,640 Speaker 1: I where I'm doing um dance to poison and I 528 00:30:07,720 --> 00:30:09,520 Speaker 1: hadn't rehearsed it or anything like that, and I just 529 00:30:09,600 --> 00:30:12,640 Speaker 1: went in there and I did the dance because part 530 00:30:12,680 --> 00:30:14,560 Speaker 1: of it was because I was afraid for my life 531 00:30:14,920 --> 00:30:18,680 Speaker 1: that Bill was gonna be like, you know, that's it, 532 00:30:18,840 --> 00:30:21,280 Speaker 1: You're fired. So it was almost the same thing, like 533 00:30:21,600 --> 00:30:24,160 Speaker 1: I'm dancing on a table in the scene, and I 534 00:30:24,320 --> 00:30:28,600 Speaker 1: jumped off the table into a split right in rehearsal. 535 00:30:28,760 --> 00:30:32,240 Speaker 1: I do the shit because I'm so look. I the 536 00:30:32,360 --> 00:30:35,800 Speaker 1: last thing I wanted was to let down, you know, 537 00:30:36,080 --> 00:30:37,560 Speaker 1: the Fons. And then when I get over there and 538 00:30:37,560 --> 00:30:41,160 Speaker 1: I see Stacy Dash and Alsa Donovan and my boy 539 00:30:41,240 --> 00:30:43,880 Speaker 1: Sean Holland and the crew and all of these guys 540 00:30:43,960 --> 00:30:47,400 Speaker 1: looking at me, uh and uh, you know, giving me 541 00:30:47,520 --> 00:30:49,480 Speaker 1: the face like I can't believe you fucking let down 542 00:30:50,040 --> 00:30:52,880 Speaker 1: the Fonds. And it was like, all right, well, I'm 543 00:30:52,880 --> 00:30:54,640 Speaker 1: gonna give you guys a show. And I did. And 544 00:30:55,480 --> 00:30:58,520 Speaker 1: you know, did he ever take you aside and never 545 00:30:58,600 --> 00:31:00,840 Speaker 1: talk with you? That was talk. It was a quick 546 00:31:00,840 --> 00:31:02,240 Speaker 1: It was one of those things where it was like, 547 00:31:03,000 --> 00:31:05,800 Speaker 1: I'm gonna come off like the boss right now. And 548 00:31:06,680 --> 00:31:08,440 Speaker 1: the humbling thing is is that I'm over here and 549 00:31:08,520 --> 00:31:11,000 Speaker 1: I'm talking to you about this, but you know better 550 00:31:11,080 --> 00:31:14,160 Speaker 1: than this. I shouldn't have to have this conversation with you. Ever. 551 00:31:15,920 --> 00:31:17,720 Speaker 1: He didn't have to say to me, get your shit together, 552 00:31:18,120 --> 00:31:20,440 Speaker 1: But it was all in the I'm not having this 553 00:31:20,560 --> 00:31:23,120 Speaker 1: conversation with you. You're way smarter than this, you know 554 00:31:23,280 --> 00:31:25,520 Speaker 1: better than this bullshit. Let's get over here, let's do 555 00:31:25,640 --> 00:31:28,560 Speaker 1: the scene, and let's make it right. And then he 556 00:31:28,640 --> 00:31:33,040 Speaker 1: fucking hit a jukebox. It didn't. Let's take a break. 557 00:31:33,120 --> 00:31:43,000 Speaker 1: We'll be right back after these fine words. I lied. 558 00:31:43,080 --> 00:31:47,200 Speaker 1: I was late one time, but it had it wasn't 559 00:31:47,240 --> 00:31:50,200 Speaker 1: my fault. I was doing the Actor's the New York 560 00:31:50,720 --> 00:31:55,760 Speaker 1: Actor's Dream of I was. I originated the play Talk 561 00:31:55,840 --> 00:31:59,400 Speaker 1: Radio with Eric Begosian, who I brought on the scrubs 562 00:31:59,480 --> 00:32:03,520 Speaker 1: as my shrine thunders applause, I'll turn my key for 563 00:32:03,600 --> 00:32:06,240 Speaker 1: that down. And so we're down at the Public, which 564 00:32:06,240 --> 00:32:10,640 Speaker 1: has read on Lattie up Street there and I was 565 00:32:10,720 --> 00:32:12,880 Speaker 1: in it for almost two years because it was a 566 00:32:12,960 --> 00:32:18,120 Speaker 1: good gig. And so during that run, Oliver wrote Wall 567 00:32:18,200 --> 00:32:20,640 Speaker 1: Street and said, do you want to come down and 568 00:32:21,640 --> 00:32:23,800 Speaker 1: do Wall Street for two and a half three weeks? 569 00:32:23,920 --> 00:32:26,680 Speaker 1: And I said, well, yeah, of course, but I'm doing 570 00:32:26,880 --> 00:32:29,280 Speaker 1: I'm doing this play. And he said, I'll have you 571 00:32:29,440 --> 00:32:31,600 Speaker 1: wrapped in time and you can get up to the 572 00:32:31,680 --> 00:32:34,360 Speaker 1: Public and everything will be fine. And so I had 573 00:32:34,400 --> 00:32:37,640 Speaker 1: the language in my contract, but I had to be wrapped. 574 00:32:37,640 --> 00:32:39,960 Speaker 1: At seven thirty. We're down towards the war warp building 575 00:32:41,160 --> 00:32:45,440 Speaker 1: in southern the Southern Manhattan, and I had to be 576 00:32:45,480 --> 00:32:47,520 Speaker 1: wrapped at seven thirty, and I just a straight shot 577 00:32:47,600 --> 00:32:50,440 Speaker 1: up Lafayette, go in and make half hour a half hours. 578 00:32:50,560 --> 00:32:53,560 Speaker 1: You have to be at a actor's equity, which is 579 00:32:53,640 --> 00:32:56,080 Speaker 1: the actor's stage Union dictates it. You have to be 580 00:32:56,200 --> 00:32:59,040 Speaker 1: at the theater a half hour before the curtain. And 581 00:32:59,160 --> 00:33:00,440 Speaker 1: I like to be there. I like to do a 582 00:33:00,520 --> 00:33:02,680 Speaker 1: vocal warm up and stretch and all the I like 583 00:33:02,800 --> 00:33:06,840 Speaker 1: all that stuff. And so while we were down towards 584 00:33:06,880 --> 00:33:09,640 Speaker 1: the World Worth Building, the days we're going longer and longer. 585 00:33:09,720 --> 00:33:12,240 Speaker 1: And you know, Charlie and I we had already spent 586 00:33:12,760 --> 00:33:15,480 Speaker 1: four months in the Philippines, and now we're with Oliver 587 00:33:15,680 --> 00:33:19,440 Speaker 1: doing this big thing for I guess universal, and so 588 00:33:20,120 --> 00:33:23,240 Speaker 1: the days are going longer and longer. And I have 589 00:33:23,400 --> 00:33:27,160 Speaker 1: the superstition just like Blue Garrig and Wally Pip, because 590 00:33:28,160 --> 00:33:30,440 Speaker 1: a couple of years earlier, I've been covering John Tatro 591 00:33:30,560 --> 00:33:32,920 Speaker 1: and Danny Blue City. I was his understudy and the 592 00:33:32,960 --> 00:33:36,120 Speaker 1: assistant stage manager and not John was a horse. He 593 00:33:36,280 --> 00:33:38,680 Speaker 1: just never he thought it was bad luck to let 594 00:33:38,720 --> 00:33:41,240 Speaker 1: your under study go on. And so I got that 595 00:33:41,440 --> 00:33:44,280 Speaker 1: from John, and so I didn't want anybody going for me, 596 00:33:44,720 --> 00:33:47,840 Speaker 1: and so no matter, the clock kept ticking and I 597 00:33:47,880 --> 00:33:51,160 Speaker 1: started getting there at twenty of in quarter of and 598 00:33:51,240 --> 00:33:52,840 Speaker 1: the stage managers come up to me, he goes, you 599 00:33:52,920 --> 00:33:57,120 Speaker 1: can't do this. I'm like, listen, just look, I'm going on. 600 00:33:57,360 --> 00:34:03,040 Speaker 1: So and then later and later, and so one time 601 00:34:03,080 --> 00:34:07,080 Speaker 1: I got there at Places and I sprinted up to 602 00:34:07,360 --> 00:34:09,960 Speaker 1: I forgot which theater we're in at the Public, but 603 00:34:10,640 --> 00:34:13,640 Speaker 1: it was the New House or something, and I sprinted 604 00:34:13,680 --> 00:34:16,120 Speaker 1: into the dressing room. I put on my wardrobe, and 605 00:34:16,239 --> 00:34:18,680 Speaker 1: the stage managers like no, and I'm like, call the 606 00:34:18,760 --> 00:34:20,400 Speaker 1: cops because I'm going to kick the shit out of 607 00:34:20,400 --> 00:34:22,640 Speaker 1: you unless you get out of the way. And so 608 00:34:23,560 --> 00:34:27,680 Speaker 1: I go on and Eric let me kind of write 609 00:34:27,719 --> 00:34:31,520 Speaker 1: a piece with him where this character gets to he's 610 00:34:31,560 --> 00:34:34,000 Speaker 1: in three quarters the whole place, so he's three quarter 611 00:34:34,640 --> 00:34:39,359 Speaker 1: exposed to the audience in this precenium stage. And at 612 00:34:39,400 --> 00:34:42,680 Speaker 1: about twenty minutes into the piece, he turns around in 613 00:34:42,760 --> 00:34:45,920 Speaker 1: his chair, a pin spot hits him, and then he 614 00:34:46,040 --> 00:34:48,600 Speaker 1: walks down the closest you can be to the audience. 615 00:34:48,680 --> 00:34:51,239 Speaker 1: The light cue up on the board is called down 616 00:34:51,480 --> 00:34:55,719 Speaker 1: in one. I walk down in one of pinspots on 617 00:34:55,840 --> 00:34:58,520 Speaker 1: me and I do this seven minute monologue about my 618 00:34:58,680 --> 00:35:02,400 Speaker 1: relationship with Eric's character Barry shamplaining, oh my god, I 619 00:35:02,480 --> 00:35:09,120 Speaker 1: got chill, and about two minutes into it, I went up. Poof, 620 00:35:09,800 --> 00:35:12,239 Speaker 1: I went up because of you don't give everyone the lingo. 621 00:35:12,320 --> 00:35:14,719 Speaker 1: That means you forgot his lines. That's the actors saying. 622 00:35:14,719 --> 00:35:17,000 Speaker 1: I went up. Oliver is just yelling at us all day, 623 00:35:17,120 --> 00:35:19,520 Speaker 1: and Charlie and I have been out till I god 624 00:35:19,640 --> 00:35:22,759 Speaker 1: knows how late we're up the night before, but I 625 00:35:23,080 --> 00:35:25,120 Speaker 1: still I stood there with a pin spot on me 626 00:35:25,680 --> 00:35:28,359 Speaker 1: looking at it was a pretty tiny house, maybe three 627 00:35:28,520 --> 00:35:30,799 Speaker 1: fifty maybe three twenty five. I don't know how big 628 00:35:30,840 --> 00:35:33,120 Speaker 1: it was, but it was packed because Eric was all 629 00:35:33,200 --> 00:35:35,920 Speaker 1: the rage and the play was a massive hit, and 630 00:35:36,040 --> 00:35:38,920 Speaker 1: you couldn't get in. And I'm there and I co 631 00:35:39,200 --> 00:35:44,680 Speaker 1: wrote this motherfucking monologue and I can't remember anything, anything, 632 00:35:45,520 --> 00:35:48,200 Speaker 1: and I'm looking out at them, and I was crying inside. 633 00:35:48,239 --> 00:35:50,799 Speaker 1: I don't think I cried out here, but I looked 634 00:35:50,880 --> 00:35:53,160 Speaker 1: up at the light booth. Even though you can't see anything, 635 00:35:53,400 --> 00:35:55,239 Speaker 1: you can't see in front of you because the light's 636 00:35:55,280 --> 00:35:57,560 Speaker 1: so bright. I looked up towards the light booth and 637 00:35:57,600 --> 00:36:00,239 Speaker 1: I just nodded, and I went back to my chair, 638 00:36:00,239 --> 00:36:03,040 Speaker 1: and they called the next like que and Eric started again. 639 00:36:03,520 --> 00:36:05,600 Speaker 1: And then after the show, Eric's the biggest mention on 640 00:36:05,680 --> 00:36:07,200 Speaker 1: the planet. He just came up and he goes, you 641 00:36:07,280 --> 00:36:10,480 Speaker 1: can't don't do that anymore. Don't do that. I'm like, okay. 642 00:36:11,280 --> 00:36:14,840 Speaker 1: And the next night I did not go on, and 643 00:36:15,480 --> 00:36:18,719 Speaker 1: guess what, everything was fine. Yeah, it turns out that 644 00:36:19,200 --> 00:36:21,759 Speaker 1: the understudy was he was fine. He went on and 645 00:36:21,840 --> 00:36:24,759 Speaker 1: he was fine. So wait, Johnny, your monologue is roughly 646 00:36:24,800 --> 00:36:26,640 Speaker 1: seven minutes. How deep did you get into it before 647 00:36:26,640 --> 00:36:31,320 Speaker 1: you forgot your lives? Two minutes? Yeah, man, that is 648 00:36:31,360 --> 00:36:34,120 Speaker 1: the I have this nightmare if you're an actor. They 649 00:36:34,160 --> 00:36:38,120 Speaker 1: actually called the actor's nightmare. I have this dream where 650 00:36:38,160 --> 00:36:40,560 Speaker 1: I'm supposed to go on and I don't know my 651 00:36:40,680 --> 00:36:42,560 Speaker 1: lines at all. Or I'm supposed to go on as 652 00:36:42,600 --> 00:36:44,600 Speaker 1: an understudy for someone and I don't know my lines 653 00:36:44,600 --> 00:36:46,960 Speaker 1: at all. I have that dream all the time. It's 654 00:36:47,000 --> 00:36:51,200 Speaker 1: fine too, and now I so over prepare. Ever since then, 655 00:36:51,360 --> 00:36:55,400 Speaker 1: I so over prepare. Even if you shot me in 656 00:36:55,440 --> 00:36:58,440 Speaker 1: the esophagus, I'd still be able to continue and do 657 00:36:58,600 --> 00:37:01,839 Speaker 1: the lives. I don't give two ships. I don't care, 658 00:37:02,640 --> 00:37:05,560 Speaker 1: I go I have that that nightmare Zachie too, and 659 00:37:06,960 --> 00:37:10,000 Speaker 1: it just never again and it's never happened again ever. 660 00:37:10,680 --> 00:37:13,360 Speaker 1: You know, my first play was at the same theater Johnny. 661 00:37:13,560 --> 00:37:15,000 Speaker 1: First of all, I want to say quickly before I 662 00:37:15,080 --> 00:37:19,239 Speaker 1: changed to that Talk Radio is an amazing film that 663 00:37:19,440 --> 00:37:23,040 Speaker 1: you should all see with Johnny and Eric Wagozian and 664 00:37:23,400 --> 00:37:25,759 Speaker 1: Alec Balwin's in it, right, Yeah, And I didn't get 665 00:37:25,800 --> 00:37:27,960 Speaker 1: star fucked out of it. You know, usually if you've created, 666 00:37:28,040 --> 00:37:30,680 Speaker 1: if it's called creating the play, if you originated to play, 667 00:37:31,160 --> 00:37:35,719 Speaker 1: you're definitely not in the film, definitely. And I got 668 00:37:35,800 --> 00:37:38,400 Speaker 1: to do that. That was Albert and I did Three 669 00:37:38,440 --> 00:37:39,719 Speaker 1: in a Row because that was the film he did 670 00:37:39,760 --> 00:37:43,200 Speaker 1: after Wall Street. Well, that's interesting that you were wait, sorry, 671 00:37:43,360 --> 00:37:45,880 Speaker 1: that's interesting you were doing Wall Street with Oliver and 672 00:37:46,080 --> 00:37:48,720 Speaker 1: then you're in simultaneously in the play, and then Oliver 673 00:37:48,920 --> 00:37:50,719 Speaker 1: decides to direct the movie. So he must have seen 674 00:37:50,800 --> 00:37:52,640 Speaker 1: them play because you're friends with him and he came 675 00:37:52,680 --> 00:37:53,759 Speaker 1: to see you in it. Is that how it was 676 00:37:53,800 --> 00:37:57,080 Speaker 1: the genesis of it? Now? I think it was so 677 00:37:57,440 --> 00:38:01,880 Speaker 1: it was such a subvert, politically subversive about Alan Freed, 678 00:38:02,200 --> 00:38:05,319 Speaker 1: a talk show host. I think in Denver and Eric 679 00:38:05,400 --> 00:38:08,279 Speaker 1: had loosely based it on that that Oliver that was 680 00:38:08,440 --> 00:38:12,359 Speaker 1: right rate in his sweet spot. And we went down 681 00:38:12,400 --> 00:38:16,880 Speaker 1: to Lost Callinas, right outside of Dallas, and we shot 682 00:38:16,920 --> 00:38:19,520 Speaker 1: the whole thing in five six day weeks, and so 683 00:38:20,280 --> 00:38:22,000 Speaker 1: we're in Dallas and we didn't come up for air 684 00:38:22,120 --> 00:38:25,360 Speaker 1: for five weeks. It was the best. Wow, that's a 685 00:38:25,440 --> 00:38:27,680 Speaker 1: great film. I highly recommend it to everybody. But I 686 00:38:27,719 --> 00:38:29,920 Speaker 1: wanted to say my very first part out of Northwestern 687 00:38:30,239 --> 00:38:33,200 Speaker 1: was in a production to Macbeth at the Public Theater 688 00:38:33,719 --> 00:38:37,440 Speaker 1: in one of the tiny spaces, and the cast was 689 00:38:37,520 --> 00:38:45,279 Speaker 1: Alec Baldwin, Angela Bassett, Michael Shall actors. Yeah really hood 690 00:38:45,320 --> 00:38:48,600 Speaker 1: there are other Jason Butler Harner, really amazing actors. And 691 00:38:49,480 --> 00:38:53,480 Speaker 1: I was playing the two young roles, Fleance and young Seward, 692 00:38:53,760 --> 00:38:57,400 Speaker 1: and I had to have a broadsword duel with Alec Baldwin. 693 00:38:57,640 --> 00:39:01,280 Speaker 1: Now I had never done stage combat. I went to school, 694 00:39:01,360 --> 00:39:03,600 Speaker 1: I studied acting in filmmaking, but we never got around 695 00:39:03,640 --> 00:39:05,319 Speaker 1: to like, I never got around to taking a stage 696 00:39:05,360 --> 00:39:08,920 Speaker 1: combat course. And George C. Wolf, the director, very fancy director, 697 00:39:09,120 --> 00:39:12,440 Speaker 1: decides that my character is going to fight Alec Baldwin 698 00:39:12,560 --> 00:39:15,480 Speaker 1: not only with one broad sword, but he thinks would 699 00:39:15,480 --> 00:39:17,080 Speaker 1: be cool if I was an extra badass. And now 700 00:39:17,120 --> 00:39:23,960 Speaker 1: I'm gonna fight Alec Baldwin with two broadswords. Yeah, now 701 00:39:24,200 --> 00:39:27,160 Speaker 1: I've never done Alec is a scary motherfucker, and I've 702 00:39:27,280 --> 00:39:29,680 Speaker 1: never done a single bit of stage combat, and now 703 00:39:29,719 --> 00:39:33,279 Speaker 1: I'm going to do a dual broadsword stage fight with him. 704 00:39:34,560 --> 00:39:36,719 Speaker 1: We get their day one and for the reading, and 705 00:39:37,080 --> 00:39:39,000 Speaker 1: I've never I was fresh out of school. I think 706 00:39:39,000 --> 00:39:40,520 Speaker 1: I never met a celebrity in my life before. And 707 00:39:40,520 --> 00:39:42,759 Speaker 1: Alec Balwin sits down next to me and he goes, 708 00:39:42,800 --> 00:39:44,520 Speaker 1: who are you who? I'm Alec, who are you playing? 709 00:39:44,920 --> 00:39:47,439 Speaker 1: I go, oh, I'm playing on Fleance and I'm playing 710 00:39:47,520 --> 00:39:51,440 Speaker 1: Young Seward and he goes, oh, so I kill you twice? 711 00:39:55,880 --> 00:39:58,279 Speaker 1: And he did. He killed me twice. He shows a 712 00:39:58,320 --> 00:40:00,520 Speaker 1: week and I got it down. It was like but 713 00:40:00,600 --> 00:40:05,279 Speaker 1: it was scary as as fuck. And I I fought 714 00:40:05,320 --> 00:40:09,600 Speaker 1: Alec on stage. Wash was bh Barry your your combat coach. 715 00:40:10,800 --> 00:40:12,759 Speaker 1: I don't I don't recall who it was, but he 716 00:40:12,840 --> 00:40:15,160 Speaker 1: taught me well. And I was just I never rehearsed 717 00:40:15,200 --> 00:40:17,960 Speaker 1: something so much because I mean I couldn't really, I 718 00:40:18,000 --> 00:40:20,520 Speaker 1: could have really hurt. I mean, they're there, they will 719 00:40:20,600 --> 00:40:22,839 Speaker 1: fuck you up. They're not sharp, obviously, but they will 720 00:40:22,880 --> 00:40:26,040 Speaker 1: fuck you up. And I was so afraid that I 721 00:40:26,160 --> 00:40:29,200 Speaker 1: was gonna hurt Alec Baldwin with my tool, my two 722 00:40:29,320 --> 00:40:32,640 Speaker 1: broad swords. Hell yeah, you know what I found really 723 00:40:32,680 --> 00:40:36,680 Speaker 1: funny how quickly you forget the dialogue from shows that 724 00:40:36,800 --> 00:40:39,080 Speaker 1: you rehearsed over and over and over and over and 725 00:40:39,200 --> 00:40:43,040 Speaker 1: over and over and over and over again. Dude. It's like, 726 00:40:43,160 --> 00:40:46,120 Speaker 1: within a month to two months, you couldn't go up 727 00:40:46,160 --> 00:40:48,080 Speaker 1: and do that show again, you know what I mean? 728 00:40:48,400 --> 00:40:51,560 Speaker 1: You could check, you know, but you rehearsed it like 729 00:40:51,680 --> 00:40:56,000 Speaker 1: it was your life, dude life did you Donald? Did 730 00:40:56,040 --> 00:40:58,120 Speaker 1: you ever almost forget your lines when you were doing 731 00:40:58,239 --> 00:41:00,480 Speaker 1: that play you did recently? Yeah? Yeah, you know. I 732 00:41:00,560 --> 00:41:02,000 Speaker 1: had one thing where it was like a bunch of 733 00:41:02,120 --> 00:41:04,120 Speaker 1: math and stuff like that, and the math didn't have 734 00:41:04,200 --> 00:41:06,680 Speaker 1: to make sense, but it had to be quick, and 735 00:41:09,120 --> 00:41:14,279 Speaker 1: one night I did I didn't forget the line I misspoken. 736 00:41:14,320 --> 00:41:16,440 Speaker 1: I said, oh, excuse me in it, and then I 737 00:41:16,600 --> 00:41:19,160 Speaker 1: kept going. And then after I went, it kind of 738 00:41:19,239 --> 00:41:21,239 Speaker 1: threw the rhythm off for the show for the whole 739 00:41:21,360 --> 00:41:23,440 Speaker 1: night because I said one line, you know what I mean? 740 00:41:23,880 --> 00:41:26,759 Speaker 1: And and it really is a lesson when you're doing 741 00:41:26,840 --> 00:41:29,880 Speaker 1: a show, there's a rhythm to it all, you know 742 00:41:29,920 --> 00:41:31,760 Speaker 1: what I mean. And if you stick to the rhythm 743 00:41:32,160 --> 00:41:35,719 Speaker 1: every time, most likely you're gonna get a great performance. 744 00:41:35,760 --> 00:41:37,960 Speaker 1: If you find a right formula and you stick to 745 00:41:38,040 --> 00:41:40,760 Speaker 1: the rhythm every time, and you stick to the formula 746 00:41:40,840 --> 00:41:43,400 Speaker 1: every time, it's gonna be a good show, you know 747 00:41:43,400 --> 00:41:46,600 Speaker 1: what I mean. And just by me saying excuse me, 748 00:41:47,080 --> 00:41:49,680 Speaker 1: it kind of fucked up the rhythm and cuse all 749 00:41:49,680 --> 00:41:51,719 Speaker 1: of a sudden, we're a little bit late, and you 750 00:41:51,800 --> 00:41:53,239 Speaker 1: know what I mean, And it was my fault, you 751 00:41:53,280 --> 00:41:54,600 Speaker 1: know what I mean. And it was just because I 752 00:41:54,640 --> 00:41:58,239 Speaker 1: said excuse me. I could always tell with when we 753 00:41:58,320 --> 00:42:03,920 Speaker 1: were doing Scrubs, and especially after about twelve episodes in 754 00:42:04,880 --> 00:42:08,800 Speaker 1: from twelve episodes on, I could always tell whether or 755 00:42:08,800 --> 00:42:11,279 Speaker 1: not Billy had Billy Lawrence had done a pass on 756 00:42:11,480 --> 00:42:17,120 Speaker 1: Cox because he had written and I had adopted this 757 00:42:17,400 --> 00:42:23,360 Speaker 1: kind of Martinus scorsesey on Heroin syncopatient for Cox. And 758 00:42:23,480 --> 00:42:26,439 Speaker 1: I also sometimes when I was bored, I would start 759 00:42:26,480 --> 00:42:29,840 Speaker 1: to play with the language a little bit, which was irresponsible, 760 00:42:29,960 --> 00:42:34,879 Speaker 1: but I get bored sometimes and if Billy hadn't done 761 00:42:34,920 --> 00:42:37,640 Speaker 1: a pass, I couldn't memorize the lines because they were 762 00:42:37,680 --> 00:42:39,960 Speaker 1: written out of rhythm and Donald, I'm just borrowing from 763 00:42:40,000 --> 00:42:42,600 Speaker 1: what you said. But Billy would do a pass on Cox. 764 00:42:42,640 --> 00:42:46,880 Speaker 1: I'd be down to my rehearsal space, killing myself trying 765 00:42:46,920 --> 00:42:50,920 Speaker 1: to remember these disconnected fucking rants that somebody wrote, and 766 00:42:51,000 --> 00:42:53,520 Speaker 1: then I couldn't get them. And then Billy would do 767 00:42:53,560 --> 00:42:57,640 Speaker 1: a pass and something as much as Donald, you even saying, 768 00:42:57,719 --> 00:43:01,440 Speaker 1: excuse me, that was out, and then film the flow 769 00:43:01,600 --> 00:43:03,839 Speaker 1: and the rhythm and I could come in and I can. 770 00:43:03,960 --> 00:43:06,799 Speaker 1: I can do it in Latin, but until Billy did 771 00:43:06,880 --> 00:43:09,040 Speaker 1: a pass, because I get in there and I had 772 00:43:09,080 --> 00:43:10,759 Speaker 1: to hissy fit, and I'd say, it's Billy done a 773 00:43:10,800 --> 00:43:13,000 Speaker 1: fucking pass on this thing yet, and they're like, no, 774 00:43:13,120 --> 00:43:15,359 Speaker 1: you hadn't seen it. I'm like, well don't. I can 775 00:43:15,480 --> 00:43:21,040 Speaker 1: send it to me that happened. You'd get sent it 776 00:43:21,120 --> 00:43:22,640 Speaker 1: and memorize it, and then it would all be changed. 777 00:43:22,680 --> 00:43:29,040 Speaker 1: You must have gotten living every Monday morning. So you 778 00:43:29,160 --> 00:43:31,160 Speaker 1: talked to me. You must have talked to Bill eventually 779 00:43:31,160 --> 00:43:32,960 Speaker 1: even said dude, you gotta fuck you can't do that 780 00:43:33,040 --> 00:43:35,360 Speaker 1: to me. Of course I did, but Billy was spinning 781 00:43:35,400 --> 00:43:38,640 Speaker 1: as many plates as he you know, one character of 782 00:43:38,920 --> 00:43:41,800 Speaker 1: an ensemble of badass, seven or eight of you, and 783 00:43:42,880 --> 00:43:45,960 Speaker 1: you know you, you try to get Billy's attention and 784 00:43:46,040 --> 00:43:48,880 Speaker 1: you can't. Can't always do it. I would go so not. 785 00:43:49,000 --> 00:43:50,640 Speaker 1: I mean, for those of you who don't memorize for 786 00:43:50,680 --> 00:43:53,759 Speaker 1: a living, it's easier for some than others. But these 787 00:43:53,880 --> 00:43:56,200 Speaker 1: chunks that Johnny had to memorize in a short span 788 00:43:56,280 --> 00:43:58,440 Speaker 1: of time is really hard because he has to say 789 00:43:58,480 --> 00:44:00,680 Speaker 1: them so fast, as he did so well. But the 790 00:44:00,800 --> 00:44:03,919 Speaker 1: idea of spending a weekend memorizing that and then work 791 00:44:04,040 --> 00:44:09,320 Speaker 1: and there's a rewrite, that's shit. Yeah, that's my stomach. 792 00:44:09,400 --> 00:44:11,400 Speaker 1: Even saying that, I get a not in my stomach. 793 00:44:11,800 --> 00:44:14,200 Speaker 1: That's why you must have loved it when he had 794 00:44:14,400 --> 00:44:16,400 Speaker 1: no when he had no choice but to go with 795 00:44:16,600 --> 00:44:19,279 Speaker 1: what was written because we didn't have scripts, and so 796 00:44:19,400 --> 00:44:21,520 Speaker 1: he'd be like, yeoh, look, here's here's what we're gonna 797 00:44:21,560 --> 00:44:24,080 Speaker 1: say right now. And he would write it while we 798 00:44:24,160 --> 00:44:26,440 Speaker 1: were doing rehearsals and shit, and then he would hand 799 00:44:26,480 --> 00:44:28,960 Speaker 1: it to you and you'd be like, bet, no problem, 800 00:44:29,920 --> 00:44:33,360 Speaker 1: because he wrote it. It was in Cox's rhythm, and 801 00:44:33,480 --> 00:44:36,759 Speaker 1: that's whatever that syncopation Billy came up with. It was 802 00:44:36,840 --> 00:44:40,480 Speaker 1: in that and I could groove into it memorizations like 803 00:44:40,520 --> 00:44:43,360 Speaker 1: a muscle. Johnny, I think, and no question, and you 804 00:44:43,480 --> 00:44:45,520 Speaker 1: really had yours developed? Well, I think, you know when 805 00:44:45,560 --> 00:44:46,960 Speaker 1: I've when I've just finished a play like I did 806 00:44:47,080 --> 00:44:48,719 Speaker 1: Romeo and Romeo and Juliet when I was fresh out 807 00:44:48,760 --> 00:44:50,880 Speaker 1: of school and another one of my early roles. And 808 00:44:51,560 --> 00:44:54,080 Speaker 1: I mean basically, the second you start talking, you don't 809 00:44:54,120 --> 00:44:56,880 Speaker 1: stop talking for two and a half hours. And I 810 00:44:57,600 --> 00:45:00,560 Speaker 1: even think thinking about it now, I get anxious. This 811 00:45:00,680 --> 00:45:03,760 Speaker 1: many years later, this was probably too you know, nineteen 812 00:45:03,920 --> 00:45:07,839 Speaker 1: ninety eight, but um, but by the time the play 813 00:45:07,960 --> 00:45:11,520 Speaker 1: was over, that muscle was so developed I could rush it. 814 00:45:11,600 --> 00:45:13,400 Speaker 1: And I feel like, as Cox, you had to do 815 00:45:13,520 --> 00:45:16,160 Speaker 1: it so on the regular that you really just you 816 00:45:16,280 --> 00:45:18,279 Speaker 1: must have had it so dialed. Like now, now that 817 00:45:18,360 --> 00:45:20,760 Speaker 1: might be harder for you, because you're not memorizing monologues 818 00:45:20,760 --> 00:45:26,480 Speaker 1: every week I was doing. When I was doing Bullets 819 00:45:26,520 --> 00:45:30,480 Speaker 1: over Broadway, we were in previews. And when you're in 820 00:45:30,560 --> 00:45:32,680 Speaker 1: previews that for those of you who aren't don't know 821 00:45:32,840 --> 00:45:34,920 Speaker 1: that that means that the critics haven't come yet. You're 822 00:45:34,920 --> 00:45:37,759 Speaker 1: still working out the play. You're still the writer and 823 00:45:37,800 --> 00:45:39,920 Speaker 1: the rector that they're changing things all the time, and 824 00:45:40,000 --> 00:45:42,160 Speaker 1: then after opening night, then then the show is locked, 825 00:45:42,560 --> 00:45:44,840 Speaker 1: so we're in previews and Woody Allen, who wrote the plays, 826 00:45:44,840 --> 00:45:47,080 Speaker 1: in the back of the audience, and he's there and 827 00:45:47,160 --> 00:45:49,160 Speaker 1: he's when a joke doesn't work, he would he would 828 00:45:49,160 --> 00:45:50,440 Speaker 1: give it come the next day and give us a 829 00:45:50,520 --> 00:45:52,719 Speaker 1: new joke to try that night. But sometimes that was 830 00:45:52,760 --> 00:45:54,520 Speaker 1: really hard because you had the whole play memorized, and 831 00:45:54,520 --> 00:45:56,560 Speaker 1: he would just hand you a sup of paper and 832 00:45:56,680 --> 00:45:59,360 Speaker 1: he'd be like, here, just just try this tonight. And 833 00:45:59,440 --> 00:46:01,319 Speaker 1: you're like, try where where did And you're like reading 834 00:46:01,360 --> 00:46:03,480 Speaker 1: the paper and like scribble the handwrit like try this, 835 00:46:03,640 --> 00:46:06,759 Speaker 1: where where does it go? Like? And then he and 836 00:46:06,840 --> 00:46:09,160 Speaker 1: you'd figure it out. And then sometimes in the heat 837 00:46:09,160 --> 00:46:11,120 Speaker 1: of the adrenaline of doing a show in front of 838 00:46:11,600 --> 00:46:16,239 Speaker 1: fifteen hundred people, you'd forget. And I there was one 839 00:46:16,280 --> 00:46:18,719 Speaker 1: time I skipped the new joke you wanted me to do, 840 00:46:19,280 --> 00:46:21,400 Speaker 1: and I saw him the next day and I said, Woodie, 841 00:46:21,560 --> 00:46:23,680 Speaker 1: I'm really sorry. I got a little frazzled and I 842 00:46:23,960 --> 00:46:25,960 Speaker 1: didn't even try the new joke you wanted me to try, 843 00:46:25,960 --> 00:46:28,080 Speaker 1: and he goes, yeah, get you probably get a bigger 844 00:46:28,160 --> 00:46:49,480 Speaker 1: laugh if you actually say it. On stage, Johnny, will 845 00:46:49,520 --> 00:46:51,480 Speaker 1: you tell that story? Um, well that I love that 846 00:46:51,560 --> 00:46:54,200 Speaker 1: You told me once about Platoon where you said you 847 00:46:54,280 --> 00:46:56,160 Speaker 1: were all hanging by the pool when you realize that 848 00:46:56,320 --> 00:46:58,720 Speaker 1: you weren't going to be in the movie. So, because 849 00:46:58,760 --> 00:47:04,000 Speaker 1: the conditions in the Philippe were so tense and so fluid, 850 00:47:04,760 --> 00:47:06,839 Speaker 1: and we were in something called a triple and they 851 00:47:06,880 --> 00:47:09,719 Speaker 1: were fluid because they had just been a revolution. A 852 00:47:09,800 --> 00:47:12,719 Speaker 1: guy named Ferdinand Marcos had lost an election to a 853 00:47:12,800 --> 00:47:17,920 Speaker 1: woman named Korea Kino, and Marcos wouldn't leave until President Reagan, 854 00:47:18,280 --> 00:47:21,880 Speaker 1: the president at the time, gave him political asylum in Hawaii. 855 00:47:22,440 --> 00:47:24,880 Speaker 1: So that's why we were postponed. I left. I was 856 00:47:24,960 --> 00:47:29,480 Speaker 1: doing Hamlet with Kevin Klein at the public and about 857 00:47:29,480 --> 00:47:34,239 Speaker 1: a weekend of rehearsal, Oliver calls. After I'd been cast 858 00:47:34,280 --> 00:47:36,200 Speaker 1: in the film a year and a half earlier, and 859 00:47:36,280 --> 00:47:39,160 Speaker 1: then the money went away, and he called and he goes, McKinley, 860 00:47:39,560 --> 00:47:41,600 Speaker 1: do you want to play the fourth lead? I'm like, 861 00:47:41,719 --> 00:47:46,800 Speaker 1: who the fuck is this? It's Oliver Stone. Are you 862 00:47:46,840 --> 00:47:48,400 Speaker 1: want to go to the Philippines? And I'm like, I 863 00:47:48,480 --> 00:47:50,359 Speaker 1: would love to go to the Philippines, but I'm doing 864 00:47:50,760 --> 00:47:53,040 Speaker 1: I'm playing third guy on the left in Hamlet with 865 00:47:53,160 --> 00:47:55,880 Speaker 1: Kevin Klein over at the Public, and he goes tell 866 00:47:56,000 --> 00:47:59,920 Speaker 1: Joe Path that it's me. I'm like, oh, shure, I'm 867 00:48:00,040 --> 00:48:01,960 Speaker 1: to go talk to mister Pap and call him Joe. 868 00:48:02,040 --> 00:48:04,000 Speaker 1: You know. It's like the Wizard of Fuckings. And so 869 00:48:05,040 --> 00:48:07,520 Speaker 1: Rosemary Tishler, who was the casting person over at the 870 00:48:07,600 --> 00:48:11,080 Speaker 1: Public at the time and a friend of mine from NYU, 871 00:48:11,239 --> 00:48:13,319 Speaker 1: she came in and taught an audition class to us 872 00:48:13,360 --> 00:48:16,480 Speaker 1: and she want a great great women ever. And I 873 00:48:16,880 --> 00:48:19,279 Speaker 1: called Rosemary, I would to see her. And I said, uh, 874 00:48:20,960 --> 00:48:23,440 Speaker 1: I got offered this movie. It's in the Philippines, and 875 00:48:23,480 --> 00:48:26,680 Speaker 1: it would mean would mean me leaving rehearsal bit and 876 00:48:26,840 --> 00:48:28,960 Speaker 1: just like anybody in New York, it'd be like crossing 877 00:48:29,040 --> 00:48:31,799 Speaker 1: Johnny Friendly and on the waterfront. If she said if 878 00:48:31,840 --> 00:48:33,839 Speaker 1: you go to this film, you'll never work here again, 879 00:48:33,960 --> 00:48:36,439 Speaker 1: I would not have gone and done the film. Neither 880 00:48:36,520 --> 00:48:39,520 Speaker 1: would at any anybody in New York, because once you 881 00:48:39,600 --> 00:48:43,719 Speaker 1: get in that fraternity slash sat the Shakespeare Festival, that 882 00:48:43,960 --> 00:48:47,920 Speaker 1: you stay, you keep doing plays. And Rosemary said, well, 883 00:48:48,719 --> 00:48:50,080 Speaker 1: you're fine with me, but you can't have to go 884 00:48:50,160 --> 00:48:52,799 Speaker 1: see Joe. And I'm like, everybody stopped calling him Joe. 885 00:48:53,440 --> 00:48:56,040 Speaker 1: And so I go in and he was, you know, 886 00:48:56,160 --> 00:48:58,320 Speaker 1: he had a bo and he was this guy. It 887 00:48:58,440 --> 00:49:00,480 Speaker 1: was the way the back of this bucket smell. And 888 00:49:00,680 --> 00:49:02,839 Speaker 1: so you know, I'm knocking like I'm going to see 889 00:49:02,840 --> 00:49:05,080 Speaker 1: the Wizard and the Wizard of Oz and he goes 890 00:49:05,120 --> 00:49:07,960 Speaker 1: coming back, come in and so I go to see 891 00:49:08,080 --> 00:49:10,400 Speaker 1: mister pat and I told him my story. He goes, go, 892 00:49:10,920 --> 00:49:13,719 Speaker 1: We'll do Hamlet again when you get back. I was 893 00:49:13,760 --> 00:49:18,040 Speaker 1: just like, I'm crying even thinking about I'm so happy 894 00:49:18,120 --> 00:49:20,560 Speaker 1: they didn't prevent you from going. I would have been horrible. 895 00:49:21,239 --> 00:49:22,719 Speaker 1: And so I go back. I was living in the 896 00:49:22,760 --> 00:49:25,200 Speaker 1: funeral parlor at the time, one the new ur only 897 00:49:25,239 --> 00:49:28,279 Speaker 1: funeral parlor, and so I go up five stories and 898 00:49:28,600 --> 00:49:32,520 Speaker 1: I'm there. And a week or so after I removed 899 00:49:32,560 --> 00:49:36,600 Speaker 1: myself from Hamlet, there's a fucking revolution in the Philippines 900 00:49:36,600 --> 00:49:39,839 Speaker 1: because this guy Marcos won't leave. And so we get 901 00:49:39,880 --> 00:49:43,920 Speaker 1: postponed for months and months and months, and the play opens, 902 00:49:44,040 --> 00:49:46,600 Speaker 1: and you know, Vincent Canny calls at the most important 903 00:49:46,640 --> 00:49:50,560 Speaker 1: Hamlet on these shores. I'm sitting in the funeral parlor 904 00:49:50,680 --> 00:49:54,279 Speaker 1: going like, oh my god, I hate my life. I 905 00:49:54,360 --> 00:49:57,759 Speaker 1: hate my life. And finally we get the green light 906 00:49:57,840 --> 00:50:01,520 Speaker 1: to go because the revolution had subsided a little bit, 907 00:50:01,680 --> 00:50:05,040 Speaker 1: but not that much. And so and in the meantime, 908 00:50:05,280 --> 00:50:07,480 Speaker 1: this language had come out. A bunch of actors in 909 00:50:07,520 --> 00:50:10,279 Speaker 1: New York on five or six of them circulated this 910 00:50:10,440 --> 00:50:12,040 Speaker 1: language because we were going to go through this two 911 00:50:12,040 --> 00:50:13,520 Speaker 1: and a half three week boot camp, that if you 912 00:50:13,600 --> 00:50:18,520 Speaker 1: got hurt in boot camp, you'd get to do the film. 913 00:50:18,560 --> 00:50:19,960 Speaker 1: And Oliver was like, no, if you get hurt in 914 00:50:20,000 --> 00:50:23,600 Speaker 1: boot camp, you get rotated out. You can't be a 915 00:50:23,960 --> 00:50:27,440 Speaker 1: soldier with the broken arm. And so I didn't sign it, 916 00:50:27,600 --> 00:50:31,480 Speaker 1: and the five people who did didn't go to the Philippines, 917 00:50:31,760 --> 00:50:36,239 Speaker 1: and so I finally get there and only to come 918 00:50:36,320 --> 00:50:38,439 Speaker 1: to find out that it's a very tricky place. We're 919 00:50:38,880 --> 00:50:41,600 Speaker 1: shooting in this triple canopy jungle, which meant there was 920 00:50:42,360 --> 00:50:46,320 Speaker 1: vegetation at ten feet, another vegetation at twenty feet, and 921 00:50:46,440 --> 00:50:49,160 Speaker 1: these monstrous trees at fifty feet, so it's very dark 922 00:50:49,360 --> 00:50:55,000 Speaker 1: and swampy underneath these these three canopies of flora, and 923 00:50:56,200 --> 00:50:59,040 Speaker 1: we're shooting and there was no shot list because Oliver 924 00:50:59,200 --> 00:51:01,319 Speaker 1: had to change things every day and on the fly, 925 00:51:01,480 --> 00:51:04,680 Speaker 1: which he did brilliantly. But the whole there was three 926 00:51:04,719 --> 00:51:06,680 Speaker 1: squads of eight, so there was twenty four of us, 927 00:51:07,320 --> 00:51:09,479 Speaker 1: and every day but he was called to the set. 928 00:51:09,719 --> 00:51:11,799 Speaker 1: And some days you just sat there all day because 929 00:51:11,800 --> 00:51:14,960 Speaker 1: you're not the scene. You're not the scene, and so 930 00:51:15,400 --> 00:51:17,200 Speaker 1: it was about two hour bus ride out to the 931 00:51:18,239 --> 00:51:21,080 Speaker 1: place and then you'd sit and you weren't in the scene. 932 00:51:21,120 --> 00:51:22,920 Speaker 1: There's two hours back. And so this happened for a 933 00:51:22,960 --> 00:51:27,160 Speaker 1: couple of weeks, and so Forrest Whittaker and Johnny Depp 934 00:51:27,239 --> 00:51:31,880 Speaker 1: and I asked Oliver that if we weren't in going 935 00:51:31,960 --> 00:51:33,520 Speaker 1: to be shooting that day, could we stay at the 936 00:51:33,560 --> 00:51:38,040 Speaker 1: hotel and he acquiesced, and so we're finally sitting by 937 00:51:38,080 --> 00:51:40,680 Speaker 1: the pool and we got what we wanted and Forest, 938 00:51:40,760 --> 00:51:43,680 Speaker 1: I don't do a good forest invitation, but Forrest comes 939 00:51:43,719 --> 00:51:46,080 Speaker 1: over to Johnny and he goes. You would get the 940 00:51:46,120 --> 00:51:49,080 Speaker 1: feeling that while we're here, we're not in the movie. 941 00:51:51,080 --> 00:51:53,520 Speaker 1: We all started going back to the set every day 942 00:51:54,520 --> 00:51:57,400 Speaker 1: and Oliver would put us. Oliver would put us on 943 00:51:57,560 --> 00:52:00,880 Speaker 1: this mountain about a mile out of the rain, and 944 00:52:01,120 --> 00:52:05,160 Speaker 1: we and you weren't even a spec and you'd be 945 00:52:05,320 --> 00:52:08,680 Speaker 1: back there and we started calling it power background and 946 00:52:09,520 --> 00:52:12,760 Speaker 1: so guys were doing their best brand though a mile 947 00:52:12,880 --> 00:52:17,680 Speaker 1: up amount, and we called the Power Background. I just 948 00:52:17,800 --> 00:52:19,600 Speaker 1: love it. I just I just love that you guys 949 00:52:19,640 --> 00:52:21,200 Speaker 1: were like, all right, fuck this, We're not gonna sit 950 00:52:21,239 --> 00:52:22,920 Speaker 1: in the jungle. We're gonna go sit by the pool. 951 00:52:23,320 --> 00:52:25,800 Speaker 1: And then and then it's like you you, Forrest Whittaker 952 00:52:25,840 --> 00:52:28,279 Speaker 1: and Johnny Depp sitting there on your lounge on your 953 00:52:28,320 --> 00:52:30,799 Speaker 1: lounge chairs with with with a cocktail. And then all 954 00:52:30,800 --> 00:52:33,719 Speaker 1: of a sudden, someone has the realization, you know, he's 955 00:52:33,760 --> 00:52:37,560 Speaker 1: probably just improv improvising this movie, and we're sitting here 956 00:52:37,600 --> 00:52:44,160 Speaker 1: at the pools, right, yeah, yeah, yeah, and Forest first, 957 00:52:44,320 --> 00:52:46,120 Speaker 1: I wish I could do a first invitation, but he 958 00:52:46,239 --> 00:52:51,239 Speaker 1: was like, if we're here, win in the movie, and 959 00:52:51,440 --> 00:52:55,040 Speaker 1: he was right his rain And what a fucking amazing movie, dude. 960 00:52:55,040 --> 00:52:56,799 Speaker 1: I think it's one of the greatest movies ever made. 961 00:52:57,960 --> 00:52:59,920 Speaker 1: But I want to circle back to something that Donald 962 00:53:00,040 --> 00:53:02,400 Speaker 1: said earlier that when you said when you said you 963 00:53:02,480 --> 00:53:04,959 Speaker 1: can just trust the work and if when you stay 964 00:53:05,080 --> 00:53:07,640 Speaker 1: in rhythm, when when you can let the work happen. 965 00:53:08,239 --> 00:53:10,719 Speaker 1: For me, that was a big aha. When I was 966 00:53:10,840 --> 00:53:14,520 Speaker 1: with Jim Angol for the for that hiatus, it was 967 00:53:14,600 --> 00:53:16,520 Speaker 1: that I was watching all these I was watching ray 968 00:53:16,719 --> 00:53:19,400 Speaker 1: Leoda and Johnny and all that and Johnny Hawks and 969 00:53:19,480 --> 00:53:22,520 Speaker 1: all these great actors, and and I could see when 970 00:53:22,600 --> 00:53:25,240 Speaker 1: Jim was directing them. Sometimes you can see a director 971 00:53:25,280 --> 00:53:27,960 Speaker 1: work better when you're watching them direct nobody else. And 972 00:53:28,120 --> 00:53:33,720 Speaker 1: I was impacted by just how clean and with that affectations. 973 00:53:34,320 --> 00:53:36,400 Speaker 1: Jim wanted the style of this piece, and I was like, 974 00:53:37,640 --> 00:53:40,359 Speaker 1: that's what I'm doing. I'm going there. But in order 975 00:53:40,440 --> 00:53:44,000 Speaker 1: to do that, you have to acquiesce. You have to 976 00:53:44,160 --> 00:53:45,759 Speaker 1: you have to, like you were saying, you have to 977 00:53:45,840 --> 00:53:49,120 Speaker 1: trust it a little bit. And that's harder, I put 978 00:53:49,160 --> 00:53:52,800 Speaker 1: if you're in rhythm, and you can and I the 979 00:53:52,960 --> 00:53:55,759 Speaker 1: verb to capitulate kept coming up for me and in 980 00:53:55,920 --> 00:54:00,560 Speaker 1: my in my Dope composition books and Tom Actually it's 981 00:54:00,560 --> 00:54:04,799 Speaker 1: hard sometimes because somebody calls action and and the trap 982 00:54:05,040 --> 00:54:07,279 Speaker 1: just to want to drive the scene and and and 983 00:54:07,920 --> 00:54:12,520 Speaker 1: move the narrative forward. And like that scene with Zachi 984 00:54:12,600 --> 00:54:14,879 Speaker 1: where where we're at the at the end of two 985 00:54:14,920 --> 00:54:19,120 Speaker 1: oh nine, when when coction him at that scene, it 986 00:54:19,560 --> 00:54:26,440 Speaker 1: just sits and the lens absolutely soaks it up because 987 00:54:26,520 --> 00:54:29,080 Speaker 1: no one's trying to drive anything. You know, there's so 988 00:54:29,200 --> 00:54:31,760 Speaker 1: much power in being able to just put a camera. 989 00:54:33,160 --> 00:54:35,200 Speaker 1: It's interesting we're talking about going back and forth between 990 00:54:35,200 --> 00:54:38,160 Speaker 1: theater and film, because when you're in a play, you 991 00:54:38,280 --> 00:54:40,520 Speaker 1: have to give a performance to the person in the 992 00:54:40,560 --> 00:54:42,000 Speaker 1: front row, and you have to give a performance to 993 00:54:42,040 --> 00:54:44,160 Speaker 1: the person in the background, right, and and there's a 994 00:54:44,239 --> 00:54:46,360 Speaker 1: really there's a dance in being able to do that 995 00:54:47,440 --> 00:54:50,200 Speaker 1: when you're in a film and the camera can be 996 00:54:50,320 --> 00:54:52,680 Speaker 1: as tight on our faces as it is in that 997 00:54:52,800 --> 00:54:56,680 Speaker 1: scene an actor has to let go to in order 998 00:54:56,719 --> 00:54:58,640 Speaker 1: to do nothing, do you know what I mean? Like, 999 00:54:58,760 --> 00:55:01,840 Speaker 1: there's so much power in just trusting the words and 1000 00:55:02,000 --> 00:55:07,319 Speaker 1: trusting the camera to capture you doing I would say, 1001 00:55:07,400 --> 00:55:09,520 Speaker 1: if I was directing that scene Johnny that we both love, 1002 00:55:09,560 --> 00:55:12,480 Speaker 1: I would say we both did almost nothing. We were 1003 00:55:12,560 --> 00:55:19,000 Speaker 1: just that's hard, that's very hard. It's counterintuitive, but that's hard. Yeah, yeah, yeah, yeah, yeah, 1004 00:55:19,040 --> 00:55:21,160 Speaker 1: I agree, because we all want to go we all 1005 00:55:21,200 --> 00:55:22,759 Speaker 1: want to go do something and have a moment, and 1006 00:55:22,840 --> 00:55:27,440 Speaker 1: sometimes there's so much more power in, uh, in doing nothing. 1007 00:55:27,800 --> 00:55:30,560 Speaker 1: But the style of the piece was to go do something, 1008 00:55:30,680 --> 00:55:33,160 Speaker 1: and it was for Donald to just all of a 1009 00:55:33,200 --> 00:55:36,400 Speaker 1: sudden rip off a dance that was fresh and beautiful 1010 00:55:36,640 --> 00:55:38,880 Speaker 1: and It was for you to look off the thing 1011 00:55:38,960 --> 00:55:41,200 Speaker 1: and have a fantasy, and then in the fantasy, you're 1012 00:55:41,520 --> 00:55:44,959 Speaker 1: you're you're juggling you know stuff, you're juggling your father, 1013 00:55:45,120 --> 00:55:49,239 Speaker 1: and and the impetus of the piece was to drive it. 1014 00:55:49,360 --> 00:55:52,320 Speaker 1: Everyone was always for juniors, just driving stuff. Sarah was 1015 00:55:52,480 --> 00:55:54,799 Speaker 1: driving stuff. And then all of a sudden, it goes 1016 00:55:56,560 --> 00:56:00,439 Speaker 1: that's hard. Yeah, that's agile. You gotta be you gotta 1017 00:56:00,440 --> 00:56:02,960 Speaker 1: be in rhythm. Sorry, I keep stealing that from you, Donald, 1018 00:56:03,000 --> 00:56:07,800 Speaker 1: but you know it's true, because that's the safe place, 1019 00:56:08,000 --> 00:56:10,239 Speaker 1: you know what I mean, The rhythm of it all 1020 00:56:10,360 --> 00:56:13,640 Speaker 1: is the safe place. Comedy is funny when the rhythm's right. 1021 00:56:13,760 --> 00:56:17,279 Speaker 1: It's not necessarily funny if you're if your timing is 1022 00:56:17,440 --> 00:56:21,640 Speaker 1: off right. So the safe place to find everything in 1023 00:56:21,800 --> 00:56:26,520 Speaker 1: comedy is within the pace of the show. Right, So 1024 00:56:27,920 --> 00:56:30,560 Speaker 1: that that was one thing that would would always I 1025 00:56:30,600 --> 00:56:34,640 Speaker 1: always noticed that the show always got better towards the 1026 00:56:34,920 --> 00:56:36,959 Speaker 1: end of the season. Like we would come in hot 1027 00:56:37,680 --> 00:56:40,319 Speaker 1: and be so excited, and there would be so much 1028 00:56:40,320 --> 00:56:47,200 Speaker 1: stuff that we're doing in the beginning, right and all 1029 00:56:47,360 --> 00:56:49,480 Speaker 1: the yeah, I'm gonna show you what I got. But 1030 00:56:49,640 --> 00:56:51,480 Speaker 1: by the end of the season, that's when all of 1031 00:56:51,520 --> 00:56:54,200 Speaker 1: a sudden, we're doing really good episodes. We should probably 1032 00:56:54,280 --> 00:56:56,960 Speaker 1: go to break. Well, we didn't do any breaks because 1033 00:56:57,000 --> 00:56:59,040 Speaker 1: this conversation was so darn interesting, Dan, I'll have to 1034 00:56:59,120 --> 00:57:01,520 Speaker 1: put in fake breaks. I had a realization, we're gonna 1035 00:57:01,560 --> 00:57:03,520 Speaker 1: call this episode, if it's right with you, Donald, a 1036 00:57:03,640 --> 00:57:07,040 Speaker 1: conversation with Johnny c McGinley. I like that, and then 1037 00:57:07,120 --> 00:57:10,320 Speaker 1: we'll redo uh in the next episode. We'll we'll go 1038 00:57:10,440 --> 00:57:12,879 Speaker 1: do this episode because this was so interesting. I don't 1039 00:57:12,880 --> 00:57:15,239 Speaker 1: think we need to try and do anything else. I 1040 00:57:15,360 --> 00:57:18,360 Speaker 1: like that. I like that. I'm sorry I read I 1041 00:57:18,520 --> 00:57:22,200 Speaker 1: watched the wrong wrong. No, it's a miscommunication. But dude, 1042 00:57:22,280 --> 00:57:24,760 Speaker 1: I have a feeling everything we just talked about you 1043 00:57:24,920 --> 00:57:27,040 Speaker 1: listening to you tell old stories is more interesting than 1044 00:57:27,080 --> 00:57:29,120 Speaker 1: anything Donald and I were going to say about about 1045 00:57:29,160 --> 00:57:32,080 Speaker 1: this episode, other than the fact that it's completely unrealistic 1046 00:57:32,200 --> 00:57:35,880 Speaker 1: that j D would not be able to get stimulated 1047 00:57:35,920 --> 00:57:38,880 Speaker 1: for Gift Shop Girl. That is impossibly. It's not a 1048 00:57:39,000 --> 00:57:43,560 Speaker 1: believable thing for television. When that shit happened, I was like, 1049 00:57:44,000 --> 00:57:47,920 Speaker 1: this is a television listen. I don't want to minimize. 1050 00:57:48,040 --> 00:57:50,280 Speaker 1: I don't want to minimize. I don't want to minimize 1051 00:57:50,320 --> 00:57:54,600 Speaker 1: erectalitis function or losing one's libido from stress. I know 1052 00:57:54,720 --> 00:57:57,440 Speaker 1: that's a fact and exists. But one thing that is 1053 00:57:57,480 --> 00:57:59,640 Speaker 1: not a fact is that j D would not be 1054 00:57:59,720 --> 00:58:03,480 Speaker 1: able to a direction for Gift Shop Girl Sarah Lancaster, 1055 00:58:04,480 --> 00:58:08,280 Speaker 1: who played gift Shop Girl fabulous job. Not only not 1056 00:58:08,320 --> 00:58:13,160 Speaker 1: only is Sarah Lancaster very funny, but she's darn pretty. 1057 00:58:13,440 --> 00:58:15,880 Speaker 1: And uh, I just I had a lot of trouble 1058 00:58:15,960 --> 00:58:19,120 Speaker 1: with the scenes where JD is unable to kiss her. 1059 00:58:20,120 --> 00:58:23,680 Speaker 1: I gotta tell you, I gotta tell you. And I 1060 00:58:23,800 --> 00:58:26,000 Speaker 1: think Jerry Lewis always did this for himself as well 1061 00:58:26,080 --> 00:58:31,600 Speaker 1: when he was directing all his movies. JD and his 1062 00:58:33,000 --> 00:58:37,720 Speaker 1: the women that he hangs out with, Yeah, they're beautiful, 1063 00:58:38,040 --> 00:58:41,880 Speaker 1: only only on TV, Johnny. I mean he's talking, Johnny, 1064 00:58:42,320 --> 00:58:48,160 Speaker 1: Look who's talking? I know you just first two seasons 1065 00:58:48,320 --> 00:58:51,720 Speaker 1: of the show. All you're doing is making out with 1066 00:58:51,880 --> 00:58:54,760 Speaker 1: hot chicks. I know you're too, We're too love interest 1067 00:58:54,880 --> 00:58:57,760 Speaker 1: are so far? Oh? Actually, and what's her name? That girl? 1068 00:58:57,840 --> 00:59:01,200 Speaker 1: That woman who was wonderful, Ye, Kelly Williams, who was 1069 00:59:01,600 --> 00:59:04,640 Speaker 1: absolutely beautiful. No, was that the one who was um 1070 00:59:04,960 --> 00:59:08,320 Speaker 1: on the practice? What was her name? Yeah? Sort of 1071 00:59:08,440 --> 00:59:10,560 Speaker 1: that was sort of her name Joel, Well, you double check. 1072 00:59:10,600 --> 00:59:12,680 Speaker 1: We've spoken about her. She was really good and really pretty. 1073 00:59:12,920 --> 00:59:16,480 Speaker 1: She was great. Yeah, we always say JD did way 1074 00:59:16,560 --> 00:59:19,439 Speaker 1: better than that is realistic. I mean we have Amy 1075 00:59:19,520 --> 00:59:21,720 Speaker 1: Smart coming up as soon as a love interest. Oh 1076 00:59:21,760 --> 00:59:25,560 Speaker 1: my god, that's right. She was so she is so tasty, 1077 00:59:25,960 --> 00:59:31,480 Speaker 1: tasty como wife. But we talked about We talked about 1078 00:59:31,560 --> 00:59:38,120 Speaker 1: gift Shop Girl for like the rest of the knock out. Anyway, anyway, fine, 1079 00:59:38,120 --> 00:59:39,600 Speaker 1: the way we're gonna go, We're gonna do this episode 1080 00:59:39,640 --> 00:59:41,320 Speaker 1: in the separate podcast. But we have to say one 1081 00:59:41,320 --> 00:59:43,680 Speaker 1: of my favorite lines is she goes, is that a 1082 00:59:43,760 --> 00:59:46,160 Speaker 1: roller quarters in your pocket? Or are you just having 1083 00:59:46,200 --> 00:59:47,680 Speaker 1: a good time? And he go and I pulled out 1084 00:59:47,720 --> 00:59:49,040 Speaker 1: a roll of quarters, like, oh no, it's it's a 1085 00:59:49,120 --> 00:59:55,040 Speaker 1: roller quarters. It's actually laundry day. Okay, I just said, 1086 00:59:55,040 --> 00:59:57,520 Speaker 1: all right, there was one line. There was one line 1087 00:59:57,560 --> 00:59:59,920 Speaker 1: that made me laugh, and I'm just gonna throw this 1088 01:00:00,120 --> 01:00:02,040 Speaker 1: out there and then we can move on because we 1089 01:00:02,120 --> 01:00:05,280 Speaker 1: have our guests here. But Todd goes, when you're walking 1090 01:00:05,320 --> 01:00:07,280 Speaker 1: down the hall and Todd goes, hey, how's your penis? 1091 01:00:07,960 --> 01:00:10,880 Speaker 1: It made me go all the way back to that 1092 01:00:11,080 --> 01:00:15,640 Speaker 1: one episode where turk Uh where you think Turk is 1093 01:00:15,680 --> 01:00:19,000 Speaker 1: having a problem getting it up, and Todd goes, oh, 1094 01:00:19,840 --> 01:00:22,800 Speaker 1: so when I saw you this morning and I said 1095 01:00:23,200 --> 01:00:26,480 Speaker 1: how's your penis? And you didn't want to talk about it? 1096 01:00:29,720 --> 01:00:31,560 Speaker 1: I want to tell you a little trivia when when 1097 01:00:31,600 --> 01:00:35,440 Speaker 1: that in that moment, when when when Todd says to me, 1098 01:00:35,480 --> 01:00:40,720 Speaker 1: how's your penis? On the day he bangkoks me? I 1099 01:00:41,000 --> 01:00:43,520 Speaker 1: remember him doing that to you? Yeah, for those of 1100 01:00:43,520 --> 01:00:45,120 Speaker 1: you don't know, you guys did it to each other 1101 01:00:45,200 --> 01:00:47,800 Speaker 1: every once in a while. Yeah, there were two of me. 1102 01:00:47,960 --> 01:00:49,480 Speaker 1: We have to tell the audience who might not know 1103 01:00:49,560 --> 01:00:52,880 Speaker 1: what Bangkok is. It's a juvenile game that men will 1104 01:00:52,920 --> 01:00:55,880 Speaker 1: sometimes play with each other where they hit each other's 1105 01:00:55,920 --> 01:01:01,400 Speaker 1: balls and then run away. Watch it starts off like this, 1106 01:01:01,760 --> 01:01:06,280 Speaker 1: what's the capital of Thailand? That's right? Bangkok? Yes? And 1107 01:01:06,440 --> 01:01:08,600 Speaker 1: then your penis gets hit and you crumble over and 1108 01:01:08,680 --> 01:01:11,600 Speaker 1: the person runs away. So here's another one. Here's another one. 1109 01:01:11,640 --> 01:01:14,560 Speaker 1: This was back when Mits cup Check was the GM 1110 01:01:14,720 --> 01:01:17,760 Speaker 1: of the Lakers. Who's the gem of the Lakers? Mits 1111 01:01:17,800 --> 01:01:20,200 Speaker 1: cup Check? And you punch him in the dick? I 1112 01:01:20,240 --> 01:01:22,480 Speaker 1: wouldn't have been able to answer that anyway. But if 1113 01:01:22,520 --> 01:01:24,280 Speaker 1: you look at if you look on YouTube, I think 1114 01:01:24,360 --> 01:01:26,520 Speaker 1: it's the Sea. It would be the season two Gagriel 1115 01:01:26,800 --> 01:01:29,000 Speaker 1: or boot Blooper reel. I think they put that on 1116 01:01:29,080 --> 01:01:31,640 Speaker 1: there because it was on camera. He hit my hit 1117 01:01:31,720 --> 01:01:34,360 Speaker 1: my balls and ran away and then I come remember 1118 01:01:34,400 --> 01:01:37,640 Speaker 1: seeing that it was so painful. He really got me good. 1119 01:01:37,680 --> 01:01:40,760 Speaker 1: He bangcocks me. Well, all right, we wait, why don't 1120 01:01:40,760 --> 01:01:42,000 Speaker 1: we Why don't we go to break? Just to give 1121 01:01:42,120 --> 01:01:45,520 Speaker 1: Dan one reel? Break okay, and we'll be right back 1122 01:01:45,600 --> 01:01:57,120 Speaker 1: with all right, we're back. We have a guest, Michael 1123 01:01:57,280 --> 01:02:02,439 Speaker 1: rat La. I'm Michael. Welcome to Welcome to the show, 1124 01:02:03,360 --> 01:02:09,240 Speaker 1: ladies and gentlemen. Thunderous applause for Michael Cratchley. You a 1125 01:02:09,280 --> 01:02:12,200 Speaker 1: lot of thunderous applause out lately. I really am not 1126 01:02:12,240 --> 01:02:13,640 Speaker 1: going to turn the key. I'm not going to turn 1127 01:02:13,680 --> 01:02:15,840 Speaker 1: my key for that one. Dan, turn your key, sir. No, No, 1128 01:02:16,200 --> 01:02:21,160 Speaker 1: turn your key, sir, turn your key, sir, your key, sir. 1129 01:02:21,400 --> 01:02:23,360 Speaker 1: All right, I don't I Michael better be good. I'm 1130 01:02:23,360 --> 01:02:27,280 Speaker 1: gonna turn my key, all right. Thunder all right, Michael, welcome. 1131 01:02:27,320 --> 01:02:30,160 Speaker 1: You have you have a special uh Johnny c McGinley episode, 1132 01:02:30,200 --> 01:02:32,600 Speaker 1: So ask do you have a question for any of 1133 01:02:32,640 --> 01:02:35,640 Speaker 1: the three of us. Well, I definitely have a question. 1134 01:02:36,000 --> 01:02:38,080 Speaker 1: I can kind of be for all of you guys. Sure, 1135 01:02:38,320 --> 01:02:41,560 Speaker 1: so um, I'm a huge Scrubs fan. It's one of 1136 01:02:41,600 --> 01:02:43,720 Speaker 1: the reasons I'm actually a doctor. I went into medicine 1137 01:02:43,760 --> 01:02:49,600 Speaker 1: because of Scrubs. Oh my god, wown't thank you Page, Michael. 1138 01:02:50,160 --> 01:02:53,560 Speaker 1: I'm a family medicine practitioner. I actually just finished residency 1139 01:02:53,680 --> 01:02:55,560 Speaker 1: like a month ago, and then I just took my 1140 01:02:55,640 --> 01:02:57,919 Speaker 1: board exam like a week ago. So I'm a full 1141 01:02:58,040 --> 01:03:02,480 Speaker 1: pledge doctor at this congratulate. Congratulations. Man, that's incredible, and 1142 01:03:02,560 --> 01:03:05,320 Speaker 1: I just want to saund behalf underous applause, Dan thunder. 1143 01:03:05,480 --> 01:03:07,400 Speaker 1: I'm gonna turn my key. I'm gonna turn my key. 1144 01:03:07,600 --> 01:03:09,760 Speaker 1: But you're really abusing this Kindel. It's supposed to be 1145 01:03:10,000 --> 01:03:13,520 Speaker 1: sparingly that that is deservant, okay, is that even the 1146 01:03:13,600 --> 01:03:15,360 Speaker 1: right word? Deservant is not a word, but you know 1147 01:03:15,440 --> 01:03:18,600 Speaker 1: what it is, Joel not In said it was deservant. 1148 01:03:19,120 --> 01:03:22,040 Speaker 1: Be deserved with an ant is not a word. As 1149 01:03:22,560 --> 01:03:25,720 Speaker 1: to ask the newly fucking as the newly licensed doctor, 1150 01:03:26,360 --> 01:03:28,520 Speaker 1: he doesn't know he's a doctor. He's not a fucking 1151 01:03:29,080 --> 01:03:34,240 Speaker 1: really eating covered deservant On the fucking Latin Latin. It's Latin, 1152 01:03:34,480 --> 01:03:40,480 Speaker 1: all right, okay, Dan, Dan for for using deservant thunderous booze. 1153 01:03:40,560 --> 01:03:47,640 Speaker 1: Please thunderous booze. Turn, I'm not turning. I'm not You're 1154 01:03:47,640 --> 01:03:54,920 Speaker 1: gonna blow my brains out, Dan, mix this boom alright, alright, alright, Michael, 1155 01:03:54,960 --> 01:03:59,479 Speaker 1: what's your question? So in my life, things that happen 1156 01:03:59,560 --> 01:04:02,440 Speaker 1: in medicin or just in my general daily life kind 1157 01:04:02,480 --> 01:04:05,440 Speaker 1: of remind me of episodes or certain scenes or jokes 1158 01:04:05,600 --> 01:04:08,040 Speaker 1: or even fantasies from Scrubs, and they make me like 1159 01:04:08,200 --> 01:04:12,560 Speaker 1: almost laugh out loud at inappropriate times. Are there anythings 1160 01:04:12,920 --> 01:04:15,720 Speaker 1: from the show, whether they're jokes or fantasies or scenes 1161 01:04:15,800 --> 01:04:20,080 Speaker 1: that like you experience them in real life that kind 1162 01:04:20,120 --> 01:04:22,840 Speaker 1: of bring back memories and make you on the verge 1163 01:04:22,880 --> 01:04:27,480 Speaker 1: of laughing. So I got one, go ahead. Johnny Billy 1164 01:04:27,560 --> 01:04:31,200 Speaker 1: did an episode where I'll get the wrong but where 1165 01:04:31,480 --> 01:04:37,840 Speaker 1: when when somebody makes this sound that it's it's usually 1166 01:04:38,280 --> 01:04:41,240 Speaker 1: not appropriate because when you go see a doctor, all 1167 01:04:41,240 --> 01:04:44,880 Speaker 1: you want the doctor to do is shrub and go yeah, 1168 01:04:45,400 --> 01:04:47,080 Speaker 1: you know what, Let the in turn do it because 1169 01:04:47,120 --> 01:04:49,840 Speaker 1: it's no big deal. But when the doctor goes like 1170 01:04:49,960 --> 01:04:53,920 Speaker 1: this and So now when I go to the hardware 1171 01:04:54,000 --> 01:05:00,600 Speaker 1: store and I'll ask for as elbow cup billing joint 1172 01:05:00,760 --> 01:05:04,120 Speaker 1: for for some garden host thing, and I see the 1173 01:05:04,200 --> 01:05:08,480 Speaker 1: salesman go like this, I'm like, just don't fucking don't 1174 01:05:08,520 --> 01:05:11,120 Speaker 1: do that. Don't do that. Mask it. This is not 1175 01:05:11,240 --> 01:05:16,160 Speaker 1: fucking leukemia. This is not the fucking cancer. This is 1176 01:05:16,240 --> 01:05:20,520 Speaker 1: a host to host will enjoy it, Tuck, are you 1177 01:05:20,680 --> 01:05:23,720 Speaker 1: doing this for they can do that? Is he making 1178 01:05:23,760 --> 01:05:26,160 Speaker 1: a noise because he's not sure he has it? Yeah, No, 1179 01:05:26,400 --> 01:05:29,280 Speaker 1: it's just it seems like, well, I don't know if 1180 01:05:29,360 --> 01:05:31,240 Speaker 1: we have that in stock. It's like, well I can 1181 01:05:31,320 --> 01:05:33,320 Speaker 1: call Amazon and I have it in forty eight hours 1182 01:05:33,400 --> 01:05:38,120 Speaker 1: for free. You sound if your doctor doesn't, it usually 1183 01:05:38,200 --> 01:05:42,240 Speaker 1: means ship you don't want you doctor doing that. And 1184 01:05:42,400 --> 01:05:44,640 Speaker 1: Big Billy Billy wrote a whole Like Being r C 1185 01:05:44,840 --> 01:05:47,880 Speaker 1: story about that one episode. And whenever I see a 1186 01:05:48,000 --> 01:05:50,480 Speaker 1: waiter when I'll ask for crush red peppers on the 1187 01:05:50,560 --> 01:05:55,000 Speaker 1: side and the go, I'm like, don't do that. There's 1188 01:05:55,000 --> 01:05:58,360 Speaker 1: a jug of McCormick's crush red peppers this big back 1189 01:05:58,400 --> 01:06:00,320 Speaker 1: in the kitchen. Would you like me to go show 1190 01:06:00,360 --> 01:06:08,320 Speaker 1: you where it is? That's pretty good. Donald do you 1191 01:06:08,400 --> 01:06:13,640 Speaker 1: have anything like that? I don't, dude. All right, that's 1192 01:06:13,680 --> 01:06:15,800 Speaker 1: we're gonna go with Johnny's answer on that, Michael, do 1193 01:06:15,840 --> 01:06:18,840 Speaker 1: you got another one for us? Um? So, my brother 1194 01:06:18,960 --> 01:06:21,320 Speaker 1: is a huge fan as well, and he would be 1195 01:06:21,520 --> 01:06:24,280 Speaker 1: very angry at me, my brother Ben, UM if I 1196 01:06:24,360 --> 01:06:26,560 Speaker 1: didn't ask a question that he was trying to convince 1197 01:06:26,640 --> 01:06:28,960 Speaker 1: me to use as my question when he found out 1198 01:06:28,960 --> 01:06:30,320 Speaker 1: I was going to be on it. So he said 1199 01:06:30,760 --> 01:06:33,840 Speaker 1: he wanted to know specifically for you, Zach. My Way 1200 01:06:33,880 --> 01:06:35,920 Speaker 1: Home is his favorite episode, and he wanted to know 1201 01:06:36,840 --> 01:06:41,120 Speaker 1: how much different is it to direct people that you like, 1202 01:06:41,320 --> 01:06:48,240 Speaker 1: actually know compared to directing in a different situation. Um, 1203 01:06:48,560 --> 01:06:52,040 Speaker 1: that's a great question. Um. I was blessed that this 1204 01:06:52,400 --> 01:06:57,960 Speaker 1: cast was totally um supportive and embraced me to direct them. 1205 01:06:58,160 --> 01:07:02,240 Speaker 1: I think that, you know, it's always a tricky situation. UM. 1206 01:07:02,640 --> 01:07:07,160 Speaker 1: I imagine on a show when when someone finally goes, hey, 1207 01:07:07,240 --> 01:07:09,880 Speaker 1: I'd like to direct us all. I mean, we're all equals, 1208 01:07:09,960 --> 01:07:14,800 Speaker 1: we're all a team. And I imagine in sports playing, Uh, 1209 01:07:15,040 --> 01:07:16,560 Speaker 1: even though I don't know that world, it would be 1210 01:07:16,600 --> 01:07:18,480 Speaker 1: like if someone on the team was like, I'm now 1211 01:07:18,560 --> 01:07:22,000 Speaker 1: going to coach, you'd be like, fuck you, Stan, you're 1212 01:07:22,080 --> 01:07:26,680 Speaker 1: the forward middle or whatever that is? Um, is that 1213 01:07:26,800 --> 01:07:32,840 Speaker 1: a position? Forward middle? Yeah? Sure, I'm sure. I don't know. 1214 01:07:33,040 --> 01:07:37,680 Speaker 1: Maybe in high lie in like quibbit or something like 1215 01:07:37,840 --> 01:07:43,160 Speaker 1: yeah and qui quid. Yeah, all right, let me use 1216 01:07:43,240 --> 01:07:46,240 Speaker 1: the sports analogy further. No, Um, you know it is. 1217 01:07:46,320 --> 01:07:48,320 Speaker 1: It is tricky, but but it all but the cast 1218 01:07:48,520 --> 01:07:50,680 Speaker 1: if you're fucked, if if if you're cast and your 1219 01:07:50,720 --> 01:07:53,200 Speaker 1: friends are like, oh god, you don't know what you're doing. 1220 01:07:53,640 --> 01:07:55,680 Speaker 1: And I'm not just saying this because these two guys 1221 01:07:55,720 --> 01:07:59,360 Speaker 1: are here, they universally could not be more, couldn't have 1222 01:07:59,360 --> 01:08:02,200 Speaker 1: been more support if they were rooting me on. They were, 1223 01:08:02,840 --> 01:08:05,480 Speaker 1: they were It's so hard to do it in five days. 1224 01:08:05,600 --> 01:08:07,960 Speaker 1: And Donald, because he was being on his best behavior, 1225 01:08:08,000 --> 01:08:10,640 Speaker 1: he would like be there right away. But for other 1226 01:08:10,680 --> 01:08:13,160 Speaker 1: directors he would I would know my lines. He would 1227 01:08:13,160 --> 01:08:15,480 Speaker 1: be like, dude, there was maybe only one episode where 1228 01:08:15,520 --> 01:08:17,920 Speaker 1: I didn't know my lines and I realized I was like, look, 1229 01:08:18,160 --> 01:08:20,599 Speaker 1: I can't do my boy like this every yeah. Yeah, 1230 01:08:20,680 --> 01:08:23,519 Speaker 1: but from here I'm out. No matter what, I'm gonna 1231 01:08:23,600 --> 01:08:27,920 Speaker 1: have my shit together, especially when he's pretty much only 1232 01:08:27,960 --> 01:08:30,439 Speaker 1: when he's directing, who's recording. Oh we ain't going out 1233 01:08:30,479 --> 01:08:32,680 Speaker 1: this who's who shooting the show? I'm not going out 1234 01:08:32,720 --> 01:08:34,720 Speaker 1: this week. I'm gonna take my time and learning my 1235 01:08:34,800 --> 01:08:38,320 Speaker 1: lines for z being. I would text Donald and be like, um, 1236 01:08:38,439 --> 01:08:41,200 Speaker 1: bro um, I love you, Um this you have a 1237 01:08:41,280 --> 01:08:43,960 Speaker 1: monologue from No I'd be like I would, I'd be like, 1238 01:08:44,200 --> 01:08:45,840 Speaker 1: I'd be like, you know, I'd be planning the week, 1239 01:08:45,880 --> 01:08:47,759 Speaker 1: you know, because on Sunday night, you're like so nervous. 1240 01:08:47,920 --> 01:08:50,560 Speaker 1: It's you know, directing his hard period, but directing a 1241 01:08:50,680 --> 01:08:54,240 Speaker 1: single camera TV show in five days is like so advanced, 1242 01:08:54,320 --> 01:08:56,120 Speaker 1: this double block diamond. It's like you gotta do it 1243 01:08:56,200 --> 01:08:58,439 Speaker 1: and do it fast. And I remember being a Sunday 1244 01:08:58,520 --> 01:09:00,840 Speaker 1: night being like, oh shit, okay, are gonna warn Donald 1245 01:09:00,920 --> 01:09:03,439 Speaker 1: that he needs to learn that monologue? And so I 1246 01:09:03,479 --> 01:09:04,960 Speaker 1: would call him and be like our text him and 1247 01:09:05,000 --> 01:09:07,080 Speaker 1: be like, dude, big monologue for you on Wednesday. You 1248 01:09:07,120 --> 01:09:08,920 Speaker 1: want to start working on it now, And I'd be like, 1249 01:09:09,000 --> 01:09:10,680 Speaker 1: can you please come to set right away? Like none 1250 01:09:10,720 --> 01:09:13,360 Speaker 1: of this fucking bullshit. You're playing fucking whatever video game 1251 01:09:13,400 --> 01:09:15,479 Speaker 1: you're playing in your room and taking twenty minutes to 1252 01:09:15,520 --> 01:09:18,920 Speaker 1: come to set because remember yeah and uh, and he 1253 01:09:18,960 --> 01:09:20,920 Speaker 1: would and this is what he would come right away. 1254 01:09:21,479 --> 01:09:24,240 Speaker 1: But it was awesome because Johnny, you know, you know 1255 01:09:24,439 --> 01:09:27,240 Speaker 1: you ask the audience can tell from the conversation we 1256 01:09:27,320 --> 01:09:28,960 Speaker 1: just had. We both Donald and I look up to 1257 01:09:29,040 --> 01:09:30,920 Speaker 1: him so much as an actor, and he's the kind 1258 01:09:30,960 --> 01:09:32,840 Speaker 1: of person that I could go up to him and 1259 01:09:33,000 --> 01:09:35,000 Speaker 1: be like, john that was awesome. But do you want 1260 01:09:35,040 --> 01:09:36,760 Speaker 1: to try I had this idea, do you want to 1261 01:09:36,800 --> 01:09:39,120 Speaker 1: try one where it's a little more like this? And 1262 01:09:39,479 --> 01:09:41,840 Speaker 1: you know that's gonna go two ways. A guy with 1263 01:09:41,920 --> 01:09:45,080 Speaker 1: a huge ego and who's an asshole is gonna be like, no, 1264 01:09:45,320 --> 01:09:48,240 Speaker 1: that's good, move on, or Johnny the polar opposite, is like, 1265 01:09:48,280 --> 01:09:51,280 Speaker 1: oh my god, that's fucking awesome. Let's try it. Yeah, 1266 01:09:51,479 --> 01:09:53,759 Speaker 1: And that was the attitude everybody had when I directed 1267 01:09:53,800 --> 01:09:56,280 Speaker 1: the show. It was awesome. They were so supportive and 1268 01:09:56,720 --> 01:09:58,760 Speaker 1: uh and and I was I was so lucky. I 1269 01:09:58,880 --> 01:10:02,960 Speaker 1: was so lucky, especially since Donald was the one. Okay, 1270 01:10:02,960 --> 01:10:04,880 Speaker 1: I directed like seven episodes. It was like the only 1271 01:10:04,960 --> 01:10:12,719 Speaker 1: time Donald ever news lines. Um, all right, all right, Michael, 1272 01:10:12,800 --> 01:10:14,600 Speaker 1: thank you so much for coming on, and thank you 1273 01:10:14,680 --> 01:10:16,200 Speaker 1: for becoming a doctor. I want you to know that 1274 01:10:16,280 --> 01:10:18,519 Speaker 1: every life you save, we're gonna take credit for him. 1275 01:10:19,000 --> 01:10:24,960 Speaker 1: I am okay with that. You're welcome. Please please be safe, Michael, 1276 01:10:25,040 --> 01:10:27,439 Speaker 1: Please take care of yourself and don't make that noise 1277 01:10:27,479 --> 01:10:29,400 Speaker 1: that Johnny C doesn't like when someone you have to 1278 01:10:29,439 --> 01:10:34,160 Speaker 1: give somebody bad news, okay, very bad news, yes, okay, 1279 01:10:34,439 --> 01:10:37,280 Speaker 1: and um and um and and don't say you know 1280 01:10:37,360 --> 01:10:39,960 Speaker 1: when my doctor checks my prostate, uh he when he 1281 01:10:40,040 --> 01:10:41,920 Speaker 1: pulls his finger out, he says, was that was that 1282 01:10:42,000 --> 01:10:44,000 Speaker 1: as good for you as it was for me? And 1283 01:10:44,600 --> 01:10:49,960 Speaker 1: I appreciate it. If you wouldn't do that, dude, you 1284 01:10:50,160 --> 01:10:52,439 Speaker 1: you you know you could sue your doctor. No, I 1285 01:10:52,520 --> 01:10:54,719 Speaker 1: have a very I have a doctor who prized himself 1286 01:10:54,840 --> 01:10:56,920 Speaker 1: on being outrageous. And if you're not down for that, 1287 01:10:57,000 --> 01:11:00,720 Speaker 1: you just shouldn't go to this doctor. Um so he 1288 01:11:00,760 --> 01:11:02,840 Speaker 1: because I would. I would be a little upset if 1289 01:11:02,920 --> 01:11:06,599 Speaker 1: my doctors imagine your doctor was imagine no, never mind, 1290 01:11:06,920 --> 01:11:10,639 Speaker 1: there's a doctor. H never mind. Listen, I'm not We're good, Okay, 1291 01:11:10,720 --> 01:11:12,760 Speaker 1: Michael's not gonna be that kind of doctor. Michael, be 1292 01:11:12,880 --> 01:11:14,840 Speaker 1: safe and uh and thank you so much for coming 1293 01:11:14,880 --> 01:11:17,640 Speaker 1: on the show. All right, thanks by thanks, thank you 1294 01:11:17,720 --> 01:11:22,800 Speaker 1: brother Michael. Um. Wow, wow, what a show. I think 1295 01:11:22,840 --> 01:11:24,479 Speaker 1: this actually turned out to be a much better episode 1296 01:11:24,520 --> 01:11:26,320 Speaker 1: than it could have been because we had we had 1297 01:11:26,320 --> 01:11:27,840 Speaker 1: a we had what is gonna be called I wanted 1298 01:11:27,840 --> 01:11:30,839 Speaker 1: to be labeled Joel A chat with Johnny c McGinley. 1299 01:11:32,600 --> 01:11:34,800 Speaker 1: I think it's nice when we show the audience the 1300 01:11:34,880 --> 01:11:37,240 Speaker 1: seems a little bit, if you will, that hey, we 1301 01:11:37,439 --> 01:11:40,479 Speaker 1: fuck up, and you know what, in fuck ups come 1302 01:11:40,560 --> 01:11:44,000 Speaker 1: beautiful things sometimes, like like this episode. Well, yeah, you know, 1303 01:11:44,160 --> 01:11:46,280 Speaker 1: it's it's not always that you get to hear the 1304 01:11:46,800 --> 01:11:50,040 Speaker 1: adventures of John c McGinn By the way, I would 1305 01:11:50,080 --> 01:11:52,080 Speaker 1: listen to a podcast it was just called Johnny c 1306 01:11:52,320 --> 01:11:55,559 Speaker 1: McGinley tells anecdotes from his career. Yeah, because I'm gonna 1307 01:11:55,560 --> 01:11:56,840 Speaker 1: be honest with you. I didn't know that you did 1308 01:11:56,960 --> 01:11:59,320 Speaker 1: that you had done that many shows at the Public, man, 1309 01:11:59,360 --> 01:12:01,519 Speaker 1: I didn't know that you were a big Shakespearean actor. 1310 01:12:02,240 --> 01:12:06,360 Speaker 1: Uh in your younger years, have you ever thought about 1311 01:12:06,360 --> 01:12:09,360 Speaker 1: going back and doing stuff like that? Now? Well, Zachy 1312 01:12:09,439 --> 01:12:12,560 Speaker 1: came to see me. Thank you. Donald In uh Glengarry, 1313 01:12:12,680 --> 01:12:15,400 Speaker 1: we did a revival um a couple of years ago 1314 01:12:15,439 --> 01:12:18,240 Speaker 1: with Al Paccino and Bobby Convalli and Richard Schiff and 1315 01:12:18,720 --> 01:12:23,120 Speaker 1: amazing David Harbor, amazing band. It was. It was the 1316 01:12:23,200 --> 01:12:26,360 Speaker 1: single most exciting thing I've ever done, but by far. 1317 01:12:27,200 --> 01:12:32,040 Speaker 1: And I think that when when you guys what I'll 1318 01:12:32,080 --> 01:12:33,920 Speaker 1: pivot off of that for a second. What what you 1319 01:12:34,040 --> 01:12:40,439 Speaker 1: just said about mistakes spawning um nuggets? It makes me, 1320 01:12:40,800 --> 01:12:43,360 Speaker 1: it makes me go back to that when you're if 1321 01:12:43,400 --> 01:12:45,479 Speaker 1: there is such a thing, and I know Donald Zach, 1322 01:12:45,520 --> 01:12:47,840 Speaker 1: you'll know what I'm talking about if you can when 1323 01:12:47,880 --> 01:12:52,519 Speaker 1: you're in acting shape and and you're just nimble and 1324 01:12:52,640 --> 01:12:57,760 Speaker 1: you're agile cerebrally and your instincts, you're acting instincts, and 1325 01:12:57,880 --> 01:13:00,120 Speaker 1: you can't fake this stuff. You're you're in acting in 1326 01:13:00,160 --> 01:13:02,280 Speaker 1: shape or you're not. And the only way to be 1327 01:13:02,400 --> 01:13:05,639 Speaker 1: in acting shape is to just continue to spend time 1328 01:13:05,720 --> 01:13:08,200 Speaker 1: in front of the lens. That's the or continue to 1329 01:13:08,280 --> 01:13:11,639 Speaker 1: do performances of a play. And when mistakes happen when 1330 01:13:11,680 --> 01:13:16,280 Speaker 1: you're in acting shape, when you're just so agile, it 1331 01:13:16,920 --> 01:13:20,960 Speaker 1: spawns nuggets. And one time what makes me think of 1332 01:13:21,000 --> 01:13:23,160 Speaker 1: it was I decided before we went over to the 1333 01:13:23,160 --> 01:13:27,200 Speaker 1: Philippines that Sarde O'Neill, which is the name of the 1334 01:13:27,280 --> 01:13:32,280 Speaker 1: character I got to play, and then Tom Berenger's character Barnes, 1335 01:13:33,200 --> 01:13:35,439 Speaker 1: that I was just going to do everything I could 1336 01:13:35,720 --> 01:13:38,280 Speaker 1: like a like a pilot fish on a shark. I 1337 01:13:38,439 --> 01:13:41,840 Speaker 1: was going to do everything I could to help to 1338 01:13:42,000 --> 01:13:46,120 Speaker 1: have him facilitate me that character getting the fuck out 1339 01:13:46,160 --> 01:13:49,320 Speaker 1: of Southeast Asia, and so whatever it took, and it 1340 01:13:49,439 --> 01:13:52,000 Speaker 1: wasn't on the page, but I decided whatever it took, 1341 01:13:52,520 --> 01:13:55,960 Speaker 1: and so I told Oliver this. He's like, yeah, do 1342 01:13:56,120 --> 01:13:59,560 Speaker 1: that be a pilot fish. I love that. And so 1343 01:14:00,080 --> 01:14:03,840 Speaker 1: we're at this one night at this we're assigning a 1344 01:14:04,040 --> 01:14:07,639 Speaker 1: night operation, and Tony Todd's over there, and William's here, 1345 01:14:07,960 --> 01:14:11,160 Speaker 1: and Mark Moses is here, and Tom Barringer's next to me, 1346 01:14:11,720 --> 01:14:14,960 Speaker 1: and I got this zippo, and I because Tom's character 1347 01:14:15,000 --> 01:14:17,360 Speaker 1: smoked a lot, and I always was going to do 1348 01:14:17,520 --> 01:14:22,719 Speaker 1: this no no look Magic Johnson light of his cigarette 1349 01:14:22,840 --> 01:14:25,599 Speaker 1: and then act like it was no big fucking deal. 1350 01:14:25,720 --> 01:14:28,240 Speaker 1: I was just gonna throw a no look. And I 1351 01:14:28,320 --> 01:14:32,200 Speaker 1: saw out of my periphery, Tom was pulling a cigarette out, 1352 01:14:32,439 --> 01:14:34,639 Speaker 1: and I did a no look light and I snapped 1353 01:14:34,640 --> 01:14:37,519 Speaker 1: that zippo back and I put it back in my thing, 1354 01:14:37,960 --> 01:14:40,639 Speaker 1: and I could see everyone in the whole scene stopped 1355 01:14:40,920 --> 01:14:42,360 Speaker 1: and they were looking at me like I was the 1356 01:14:42,439 --> 01:14:46,519 Speaker 1: biggest dick on the planet. And I careful, got nervous 1357 01:14:46,520 --> 01:14:48,680 Speaker 1: telling the story. I carefully looked over at Tom and 1358 01:14:48,800 --> 01:14:50,760 Speaker 1: I missed the light and I took the thing like 1359 01:14:50,920 --> 01:14:53,040 Speaker 1: a full back out and I lit that cigarette and 1360 01:14:53,160 --> 01:14:56,400 Speaker 1: the scene continued. And that's what's in the movie, because 1361 01:14:56,439 --> 01:15:02,080 Speaker 1: it's there's no me horrified and William looking at me 1362 01:15:02,240 --> 01:15:05,080 Speaker 1: like that's such a dick, and Tony Todd looking at 1363 01:15:05,120 --> 01:15:07,920 Speaker 1: me like him and I love it all in the movie. 1364 01:15:08,040 --> 01:15:11,360 Speaker 1: That's fucking dope, dude, because that's but that's who that 1365 01:15:11,520 --> 01:15:15,160 Speaker 1: character was in that movie too. Yeah, but it's also 1366 01:15:15,320 --> 01:15:17,960 Speaker 1: my point is that I'll go third person that the 1367 01:15:18,080 --> 01:15:21,439 Speaker 1: actor playing Sardin O'Neil didn't all of a sudden call 1368 01:15:21,600 --> 01:15:24,639 Speaker 1: cat or walk out of the scene or fix it. Yeah, 1369 01:15:24,720 --> 01:15:28,000 Speaker 1: just fix it. Yeah, and then and then and then 1370 01:15:28,080 --> 01:15:30,479 Speaker 1: a great director like that's gonna go that's fucking real, 1371 01:15:30,520 --> 01:15:33,880 Speaker 1: I'm putting on the movie. Yeah, and it's it's maybe 1372 01:15:34,479 --> 01:15:37,400 Speaker 1: a thountains of a second. But but if if in 1373 01:15:37,479 --> 01:15:39,439 Speaker 1: when you ever watch it again, you'll you'll see it. 1374 01:15:39,760 --> 01:15:41,880 Speaker 1: It's a fuck up, and Oliver kept it in and 1375 01:15:41,920 --> 01:15:44,599 Speaker 1: it's genius. It probably gets big laughs in the movie 1376 01:15:44,640 --> 01:15:49,680 Speaker 1: too when it happens. It's probably yea, because it's exposes 1377 01:15:50,080 --> 01:15:53,519 Speaker 1: just what a pilot fish this guy is. Yeah, yeah, 1378 01:15:54,080 --> 01:15:56,040 Speaker 1: this has been awesome. I want to remind the audience 1379 01:15:56,160 --> 01:15:58,760 Speaker 1: that the play Johnny's talking about is a movie that 1380 01:15:59,000 --> 01:16:01,400 Speaker 1: is one of my favorite films. And if you haven't 1381 01:16:01,439 --> 01:16:05,040 Speaker 1: seen Glen Garry Glenn Ross, I think it's a masterclass 1382 01:16:05,120 --> 01:16:08,640 Speaker 1: in acting. And uh, we always recommend films to you 1383 01:16:08,720 --> 01:16:11,559 Speaker 1: on this podcast, but you should start with Glen Garry 1384 01:16:11,600 --> 01:16:17,200 Speaker 1: Glenn Ross. Very different than the play though. The film 1385 01:16:17,320 --> 01:16:20,040 Speaker 1: is very casual and it kind of unfolds on a 1386 01:16:20,160 --> 01:16:23,640 Speaker 1: rainy night. And the play David wrote the whole thing 1387 01:16:23,680 --> 01:16:25,760 Speaker 1: as a one act, he told me, but then he 1388 01:16:25,840 --> 01:16:28,720 Speaker 1: found out one act can't win Tony's. He split it 1389 01:16:28,840 --> 01:16:31,080 Speaker 1: up in the two act. But the first act is 1390 01:16:31,080 --> 01:16:34,439 Speaker 1: about thirty two minutes and you're out having a cigarette 1391 01:16:34,479 --> 01:16:37,679 Speaker 1: outside the show Feld. And then the second act obviously 1392 01:16:37,760 --> 01:16:40,759 Speaker 1: the realist, obviously the real estate gets office gets robbed, 1393 01:16:41,120 --> 01:16:43,080 Speaker 1: and that's the second act. But the first act is 1394 01:16:43,320 --> 01:16:46,200 Speaker 1: all of thirty two minutes. It's an incredible piece of right. 1395 01:16:48,640 --> 01:16:50,960 Speaker 1: I want to tell you my my only David Mammott experience. 1396 01:16:51,000 --> 01:16:53,080 Speaker 1: Actually there's been two. I'm gonna tell you both of 1397 01:16:53,160 --> 01:16:55,160 Speaker 1: them first time. First of all, I love the movies, 1398 01:16:55,200 --> 01:16:57,640 Speaker 1: one of my favorite films, and I'd never seen the 1399 01:16:57,720 --> 01:17:00,639 Speaker 1: play performed. Now, I did know the trivia that Alec 1400 01:17:00,720 --> 01:17:04,720 Speaker 1: Baldwin has a legendary monologue in the movie that, uh, 1401 01:17:05,200 --> 01:17:08,120 Speaker 1: that is fucking incredible, but it's not in the play. 1402 01:17:09,000 --> 01:17:12,759 Speaker 1: So I see David Mammott backstage somewhere, and I'm so nervous, 1403 01:17:12,800 --> 01:17:14,639 Speaker 1: and I go, oh my god, what am I gonna 1404 01:17:14,640 --> 01:17:16,120 Speaker 1: say to David? Ma'm I'm having a Donald phaze on 1405 01:17:16,160 --> 01:17:18,000 Speaker 1: him when we talked Johnny off And on the podcast 1406 01:17:18,040 --> 01:17:21,160 Speaker 1: about how Donald gets nervous around celebrities and always embarrassed himself. 1407 01:17:21,680 --> 01:17:26,759 Speaker 1: So I'm what am I gonna say to David Mammett? 1408 01:17:26,760 --> 01:17:28,160 Speaker 1: I don't know what to say to David Mammott and 1409 01:17:28,360 --> 01:17:30,680 Speaker 1: uh and I and I think, oh, okay, I got 1410 01:17:30,720 --> 01:17:33,000 Speaker 1: an idea. I got an idea. And um, I walk 1411 01:17:33,080 --> 01:17:34,880 Speaker 1: up to him. This is this is long before you're 1412 01:17:34,960 --> 01:17:37,000 Speaker 1: the revival you did. It was a different revival that 1413 01:17:37,160 --> 01:17:39,080 Speaker 1: was coming, it was coming up. This is how long 1414 01:17:39,080 --> 01:17:41,960 Speaker 1: ago it was. And I said, um, mister Mammott, I 1415 01:17:42,160 --> 01:17:44,920 Speaker 1: just wanted to know, um, and the revival you're doing? 1416 01:17:44,920 --> 01:17:47,240 Speaker 1: Are you gonna are you gonna put the monologue that 1417 01:17:47,280 --> 01:17:51,040 Speaker 1: you added for for Alec Baldwin into the play, And 1418 01:17:51,240 --> 01:17:54,040 Speaker 1: he looked at me like I just shit in his 1419 01:17:54,400 --> 01:17:59,719 Speaker 1: fucking coffee, like such distaste, and he's like, why would 1420 01:17:59,720 --> 01:18:02,519 Speaker 1: I do that. That's from the movie. I'm not gonna 1421 01:18:02,520 --> 01:18:08,160 Speaker 1: put that in my play. And I was like, oh, yeah, yeah, yep, yep, yep, yep. 1422 01:18:08,880 --> 01:18:12,679 Speaker 1: I agree. Good choice on that, mister Mammott. I'm gonna 1423 01:18:12,720 --> 01:18:18,160 Speaker 1: go away now. Um, do you want to know? You 1424 01:18:18,240 --> 01:18:20,360 Speaker 1: want to know? You want to know another layer to 1425 01:18:20,479 --> 01:18:25,200 Speaker 1: that story? Yeah, I asked. I didn't ask him. David 1426 01:18:25,280 --> 01:18:29,760 Speaker 1: told me that before they greenlit the movie, whoever produced it, 1427 01:18:30,160 --> 01:18:33,840 Speaker 1: whichever studio was, said, Uh, we need we need a 1428 01:18:33,880 --> 01:18:37,080 Speaker 1: special effect. We need something to happen, and you need 1429 01:18:37,120 --> 01:18:39,280 Speaker 1: a car crash, we need something in the first act, 1430 01:18:39,400 --> 01:18:42,960 Speaker 1: open it up, as they said, the special effect was 1431 01:18:42,960 --> 01:18:48,040 Speaker 1: Alex monologue. Yeah, that's how explosive, that's how great Alec was. 1432 01:18:48,120 --> 01:18:50,200 Speaker 1: And the writing was in that because in the play 1433 01:18:50,600 --> 01:18:55,360 Speaker 1: he's an unseen off stage fret, but we never see 1434 01:18:55,439 --> 01:18:59,679 Speaker 1: him or hear him. But I mean he's referenced constantly. Alex, 1435 01:19:00,040 --> 01:19:03,160 Speaker 1: in my opinion, very underrated actor. Are you people, I 1436 01:19:03,240 --> 01:19:06,320 Speaker 1: was about to say, listen, I agreed that I don't 1437 01:19:06,360 --> 01:19:09,000 Speaker 1: know that he's under I think he was underrated, dude, 1438 01:19:10,479 --> 01:19:11,920 Speaker 1: people think he's I think he's one of the best 1439 01:19:11,920 --> 01:19:14,280 Speaker 1: actors out there. I'm just saying that he's famous, and 1440 01:19:14,600 --> 01:19:16,720 Speaker 1: people's famous. He's famous, and he gets a lot of 1441 01:19:16,720 --> 01:19:21,519 Speaker 1: shit for his tabloid adventures and and and his politics whatever. 1442 01:19:22,000 --> 01:19:24,519 Speaker 1: But fucking the guy's a really good actor. And that 1443 01:19:24,680 --> 01:19:30,520 Speaker 1: monologue is one of the greatest moments every coffees for closers. 1444 01:19:30,720 --> 01:19:33,880 Speaker 1: Holy shit. And then my second my girlfriend and I 1445 01:19:34,000 --> 01:19:37,519 Speaker 1: were were staying in a hotel in London and and 1446 01:19:37,720 --> 01:19:39,920 Speaker 1: he came in. He was doing a play in London recently. 1447 01:19:40,200 --> 01:19:43,559 Speaker 1: Um for God Malkovich was the star of it, I believe, 1448 01:19:43,960 --> 01:19:46,960 Speaker 1: and uh right, And we were alone. It was late 1449 01:19:47,080 --> 01:19:50,000 Speaker 1: night and we were alone in this little bar lobby area. 1450 01:19:50,120 --> 01:19:51,559 Speaker 1: It was like it was like they called this thing, 1451 01:19:51,600 --> 01:19:53,000 Speaker 1: and they have this thing in England that that works 1452 01:19:53,040 --> 01:19:54,760 Speaker 1: there but would never work here, called an honor bar. 1453 01:19:55,600 --> 01:19:57,439 Speaker 1: So it's just an area of a hotel with the 1454 01:19:57,560 --> 01:19:59,880 Speaker 1: with the where you just take whatever and you write 1455 01:20:00,040 --> 01:20:04,240 Speaker 1: down on the pad what you're taking. I don't think 1456 01:20:04,240 --> 01:20:06,760 Speaker 1: that would work and at least it wouldn't work in 1457 01:20:07,200 --> 01:20:09,759 Speaker 1: la but would not it would not work at Joseph's. 1458 01:20:09,800 --> 01:20:11,680 Speaker 1: You're right, I don't think it would work anywhere. Can 1459 01:20:11,720 --> 01:20:14,720 Speaker 1: you imagine? But anyway in London you write down like 1460 01:20:14,880 --> 01:20:17,920 Speaker 1: I had one vodka soda and then they charged to 1461 01:20:17,920 --> 01:20:21,559 Speaker 1: your room. So we're sitting there, my girlfriend, I are 1462 01:20:21,560 --> 01:20:24,599 Speaker 1: alone in the Honor Bar, and in walks David Mammott 1463 01:20:25,240 --> 01:20:27,280 Speaker 1: and it's just the three of us. And I goes 1464 01:20:27,479 --> 01:20:29,000 Speaker 1: and then my head, I'm going in my head, I'm like, 1465 01:20:29,040 --> 01:20:31,479 Speaker 1: oh my god, don't fuck up this time. Don't fuck 1466 01:20:31,560 --> 01:20:34,840 Speaker 1: up this time. Don't mention Glen Garring Lyn Ross. Don't 1467 01:20:34,880 --> 01:20:37,080 Speaker 1: be an asshole and mentioned Glen Garing lyn Ross. The 1468 01:20:37,160 --> 01:20:39,160 Speaker 1: guy just wants to get a drink and go to 1469 01:20:39,280 --> 01:20:45,360 Speaker 1: his room. Well, I had had a few and and 1470 01:20:45,520 --> 01:20:49,400 Speaker 1: I see mister Pannett. Oh my god, I'm so glad 1471 01:20:49,439 --> 01:20:53,360 Speaker 1: to see you. My name is Zach, this is Florence. 1472 01:20:53,400 --> 01:20:56,840 Speaker 1: So you want to join us? And he goes, okay, okay, sure, sure. 1473 01:20:57,040 --> 01:20:58,720 Speaker 1: I could tell he was stressed. He'd had a night 1474 01:20:58,760 --> 01:21:01,559 Speaker 1: of probably rehearsals, a pre views, whatever. He makes himself 1475 01:21:01,560 --> 01:21:03,800 Speaker 1: a drink, he sits down. There's like a long pause, 1476 01:21:03,840 --> 01:21:05,320 Speaker 1: and I go, I just have to tell you and 1477 01:21:05,400 --> 01:21:08,000 Speaker 1: Glen Garry Glen Ross, and I started going off on 1478 01:21:08,120 --> 01:21:10,160 Speaker 1: this Glen Garry, Yeah, I'm Bean. Donald. I go off 1479 01:21:10,200 --> 01:21:12,519 Speaker 1: in this long Glen Garry Glen Ross spiel about how 1480 01:21:12,560 --> 01:21:15,040 Speaker 1: amazing it isn't dada dada da, And he just kind 1481 01:21:15,080 --> 01:21:17,599 Speaker 1: of nods his head. He goes, Okay, well, I'm gonna 1482 01:21:17,600 --> 01:21:19,839 Speaker 1: I'm gonna head to bed. It was nice talking to you, guys, 1483 01:21:19,920 --> 01:21:23,240 Speaker 1: said he left, Oh, and he left, he just left. 1484 01:21:24,640 --> 01:21:26,360 Speaker 1: Those are those moment. Those are one of those moments 1485 01:21:26,400 --> 01:21:28,680 Speaker 1: where you wish you could talk about sports. Sec. I 1486 01:21:28,840 --> 01:21:30,760 Speaker 1: know the guy didn't want to talk about Glen Gary. 1487 01:21:30,880 --> 01:21:33,000 Speaker 1: The guy can't leave his fucking room without talking about 1488 01:21:33,000 --> 01:21:34,320 Speaker 1: Glen Garry, Glen Ross. You think he wants that. He 1489 01:21:34,680 --> 01:21:36,479 Speaker 1: came in to have one drink, and I could have 1490 01:21:36,560 --> 01:21:40,240 Speaker 1: been like, you know, are you a Bears fan? Yeah? 1491 01:21:40,360 --> 01:21:42,680 Speaker 1: I could have said, do you play middle forward? Do 1492 01:21:42,800 --> 01:21:46,200 Speaker 1: you like Chelsea or United? Yeah? I could say. I 1493 01:21:46,280 --> 01:21:51,960 Speaker 1: could say, is deservant a word? You're a good writer, sir, 1494 01:21:52,320 --> 01:21:56,680 Speaker 1: Is deservant a word? He wasn't deservant of the attention. 1495 01:21:56,800 --> 01:21:59,080 Speaker 1: You know what? I agree with you? Donald, I agree 1496 01:21:59,080 --> 01:22:02,680 Speaker 1: with you that that that genius writer was not deservant 1497 01:22:02,720 --> 01:22:07,519 Speaker 1: of my affection. All right, we should end this fucking 1498 01:22:07,560 --> 01:22:12,840 Speaker 1: show because the audience is deservant of a break. Thank 1499 01:22:12,880 --> 01:22:15,599 Speaker 1: you for listening, everybody. This was so fun. We're gonna 1500 01:22:15,640 --> 01:22:18,840 Speaker 1: call it the Conversation with Johnny c McGinley, and we will. 1501 01:22:19,120 --> 01:22:22,920 Speaker 1: We will be back next week too, or we will 1502 01:22:22,960 --> 01:22:24,639 Speaker 1: be back. I don't know when it is. Next time 1503 01:22:24,800 --> 01:22:27,639 Speaker 1: to sum up the episode, and we will talk about 1504 01:22:27,680 --> 01:22:31,160 Speaker 1: Gift Shop Girl at length. Gift Shop Girl does a 1505 01:22:31,200 --> 01:22:33,439 Speaker 1: lip bite, by the way, made famous first by Elsa 1506 01:22:33,520 --> 01:22:36,679 Speaker 1: Silverstone and Clueless, and I'm a fan of the lip bite, 1507 01:22:36,720 --> 01:22:41,080 Speaker 1: I must say. But more on that next time. What Donald, 1508 01:22:41,080 --> 01:22:42,960 Speaker 1: do you have a comment on the lip bite? I 1509 01:22:43,160 --> 01:22:44,920 Speaker 1: was just gonna say I was. I was a huge 1510 01:22:45,000 --> 01:22:47,960 Speaker 1: fan of you being alone in a tub with Rowdy 1511 01:22:48,280 --> 01:22:50,759 Speaker 1: one of my favorite gifts. It's my favorite gift of myself. 1512 01:22:51,120 --> 01:22:53,320 Speaker 1: And then that turning into you alone in a tub 1513 01:22:53,400 --> 01:22:55,800 Speaker 1: with Gift Shop Girl and Rowdy. There is no better 1514 01:22:55,880 --> 01:22:59,000 Speaker 1: way to some express my my my my often inner 1515 01:22:59,080 --> 01:23:02,120 Speaker 1: monologue in life, in my true, real inner inner monologue 1516 01:23:02,120 --> 01:23:07,400 Speaker 1: in life, than me alone um sadly of washing a 1517 01:23:07,520 --> 01:23:13,559 Speaker 1: dead dog, Donald, will you count us into our beautiful 1518 01:23:13,600 --> 01:23:17,200 Speaker 1: theme song? Please? Thank you everybody for listening. Way, there's 1519 01:23:17,320 --> 01:23:21,360 Speaker 1: no way, Okay, okay, let's Go's a great idea. Do 1520 01:23:21,400 --> 01:23:22,679 Speaker 1: you want to do? You want to take a chance 1521 01:23:22,720 --> 01:23:25,280 Speaker 1: at atu at talking up into it, because I've been 1522 01:23:25,320 --> 01:23:27,040 Speaker 1: the one who's been lucky enough to do that thus far. 1523 01:23:27,560 --> 01:23:30,920 Speaker 1: Ladies and gentlemen, give it up for the President of 1524 01:23:31,040 --> 01:23:36,040 Speaker 1: the United States of America, Donald Trump, singing his summer Bob. 1525 01:23:37,240 --> 01:23:40,880 Speaker 1: There's no way I could get down off that ram. 1526 01:23:41,160 --> 01:23:45,880 Speaker 1: He said, there's no way. There's no way I can 1527 01:23:46,200 --> 01:23:49,040 Speaker 1: get down that m what I'm falling on my ass, 1528 01:23:49,760 --> 01:23:58,640 Speaker 1: There's no way, There's no way, general, And this was 1529 01:23:58,720 --> 01:24:04,360 Speaker 1: a really really steep, no hand girl, it was like 1530 01:24:04,439 --> 01:24:08,360 Speaker 1: an ice skating week. I said, there's no way, there's 1531 01:24:08,439 --> 01:24:12,439 Speaker 1: no way I can make it down that ramp. What 1532 01:24:12,640 --> 01:24:17,280 Speaker 1: I falling? My ask each my each I took me 1533 01:24:17,400 --> 01:24:21,800 Speaker 1: little use. When I turned meat short, I rammed down 1534 01:24:21,880 --> 01:24:34,920 Speaker 1: the left. I raged down ram very hands, ram down 1535 01:24:35,080 --> 01:24:42,280 Speaker 1: rag number one. And the ramp was probably ten yards long.