Speaker 1: This is me, Craig Ferguson. I'm inviting you to come
Speaker 1: and see my brand new comedy hour well as Actually
Speaker 1: it's about an hour and a half and I don't
Speaker 1: have an opener because these guys cost money. But what
Speaker 1: I'm saying is I'll be on stage for a while. Anyway,
Speaker 1: come and see me live on the Pants on Fire
Speaker 1: Tour in your region. Tickets are on sale now and
Speaker 1: we'll be adding more as the tour continues throughout twenty
Speaker 1: twenty five and beyond. For a full list of dates,
Speaker 1: go to the Craig Ferguson show dot com. See you
Speaker 1: on the road, my DearS. My name is Craig Ferguson.
Speaker 1: The name of this podcast is Joy. I talk to
Speaker 1: interest in people about what brings them happiness.
Speaker 2: Welcome to the Joy Podcast. Welcome to the Kids Super
Speaker 2: Studios here.
Speaker 1: In Brooklyn, New York, where inside the tent today, my
Speaker 1: guest will not be here because this is one of
Speaker 1: the rare shows we're going to do remotely. I'm doing
Speaker 1: the show remotely, as in it's kind of like a
Speaker 1: zoom call, like the way I'm talking to you right now,
Speaker 1: but I'll be talking to my guest Jim rash Jim
Speaker 1: is a writer, an actor, and performer, and an improv
Speaker 1: guy who was a frequent guest on the old late
Speaker 1: night show of Mine, and he was in a show
Speaker 1: called Community, which one is one of the great American sitcoms.
Speaker 1: Slightly unsung. Those who are into it are really into it,
Speaker 1: and those who are not into it.
Speaker 2: I've never heard of it, kind of like me.
Speaker 1: Please welcome Jim rash Jim.
Speaker 2: Yes, I've broken my rule for you.
Speaker 1: I had this rule that I wasn't going to do
Speaker 1: any more remote podcasts. Oh, but I've broken it for
Speaker 1: you for two reasons.
Speaker 2: One because it's you and I adore you.
Speaker 1: Thank you.
Speaker 2: Two because I heard you had your kitchen done.
Speaker 1: But I'm I'm on the East Coast and I and
Speaker 1: I wanted to be able to see it. But at
Speaker 1: the same time, I wasn't prepared to make you know,
Speaker 1: trends go intinntal flight for just and I know I've
Speaker 1: talked up this kitchen and you've been going on about
Speaker 1: it and dying to see it.
Speaker 3: So this is this is a win win for both
Speaker 3: of us because I'm so very proud.
Speaker 1: You should be proud. Now let me, did you design
Speaker 1: it yourself. Are you a design Are you a house
Speaker 1: design any person? No, not at all. And for those
Speaker 1: washing I feel like I'm stereotyping you there a little
Speaker 1: bit because I feel like I'm like, oh, you probably
Speaker 1: do your own design, if.
Speaker 3: You know what I mean, but you probably don't. No,
Speaker 3: I just get it. The gays get it. No, I
Speaker 3: have a friend who is much better at this. I'm
Speaker 3: one of those people that point and go I like that,
Speaker 3: you know that kind of that kind of eye. And
Speaker 3: then you always want somebody who's going to do something
Speaker 3: that you don't even think of. So not that this
Speaker 3: kitchen is like out of the ordinary, and most people
Speaker 3: listening are going, oh, do you really have this kitchen done?
Speaker 3: But this is like seven years old, and come on,
Speaker 3: it's not that crazy.
Speaker 1: I think is pretty great. And also what what you
Speaker 1: wander with the designers? You want cohesion? Cohesion? Cohesion, because
Speaker 1: I like I I can I do what you do?
Speaker 1: I go, wow, like that, But do I know, say
Speaker 1: we that is nice, but you've got to have you know,
Speaker 1: if you're going to have that, you've got to have that.
Speaker 3: You don't want to do like you know, theme rooms
Speaker 3: like flag thing playing. Yeah, this is this is my kitchen. Yeah,
Speaker 3: is that your kitchen?
Speaker 1: Actually?
Speaker 2: Okay, No, I mean it's a choice. It's a choice.
Speaker 1: It's a choice. But I'm in a tent in Brooklyn.
Speaker 1: What it is? I mean, I don't know if you've
Speaker 1: been to Brooklyn Williamsburg recently? Have you been to Williamsburg?
Speaker 2: Not recently? I have?
Speaker 1: I have been. Remember the TV show Portlandia. I do, yes,
Speaker 1: it's that. It's that's where I am.
Speaker 3: Okay, understood, it's Newbarkle, a little bit of Portland to Brooklyn.
Speaker 1: Well, I didn't bring it, it was here. I just turned
Speaker 1: up bringing a little bit. I brought a little bit
Speaker 1: of Scotland, but no so much of Scotland. So you're
Speaker 1: just squatting in some tent. I have intent. I'm squatting
Speaker 1: in Williamsburg. Where are you from? You know you have rights?
Speaker 1: I have right from LA. Is that what you're going
Speaker 1: to ask? Yeah, I was going to say, I think
Speaker 1: I think of you as being East coasty, but you're actually.
Speaker 3: No right, No Iam east coast in the sense of southeast.
Speaker 3: I grew up in North Carolina, so so yes in
Speaker 3: that sense.
Speaker 2: But I grew up in Charlotte. I love Charlotte did
Speaker 2: you ever?
Speaker 1: You know they have that really good comedy club there,
Speaker 1: the Comedy Zone. I think.
Speaker 3: I have never been there. It's also been a hot
Speaker 3: minute since I've been in Charlotte's. I've lived in LA
Speaker 3: for thirty years and I was at school in Chapel
Speaker 3: Hill and that was just a quite a bit of
Speaker 3: go So that was you know. I have family still there,
Speaker 3: but I don't get there as much these days. Why
Speaker 3: wouldn't you go back to Charlotte? It's I mean, oh,
Speaker 3: I just you. I have family there and I just
Speaker 3: don't get there that much.
Speaker 4: That's why I don't go to Scotland. No, I also
Speaker 4: have family in Scotland. Yeah, that's true, you know I don't.
Speaker 4: That's not the reason. I just haven't been back east
Speaker 4: some time. They've been coming here.
Speaker 1: So that's it. You know, it's probably my turn now.
Speaker 1: I haven't seen you in a while. Did you get
Speaker 1: damaged in either? Have you been rioted or fired? Not?
Speaker 1: Fire doesn't work, fired button, fire, dozen on fire fired before,
Speaker 1: but not in that way.
Speaker 3: But no, I I you know, gratefully did not have to.
Speaker 3: I left my house at one point because there was
Speaker 3: a fire when a very brief one broke out in
Speaker 3: run Yan Canyon. Oh yeah, and that was one of
Speaker 3: those ones where you're looking at it and go yeah, even
Speaker 3: though it's not close, too close for me. So I
Speaker 3: went one night to a friend's house, but that was
Speaker 3: put out pretty fast. And but no, no, I uh,
Speaker 3: I am thankful unfortunately have friends who were not who
Speaker 3: lived in Altadena and stuff. But you know, it was
Speaker 3: quite a time, quite a time.
Speaker 1: Yeah, I mean watching it from Afar, I mean I
Speaker 1: lived in LA for twenty three years and watching it
Speaker 1: the neighborhoods grew up. I was like, oh my god,
Speaker 1: that's crazy, Like I mean, it's not it's very yeah,
Speaker 1: which it like no, is it the air better and stuff?
Speaker 2: Well, I guess so.
Speaker 3: But you know that season's coming, so you know, everyone
Speaker 3: got like the watch Duty app which was like saved
Speaker 3: probably everybody.
Speaker 1: You know.
Speaker 3: It was very up to date and that's already you
Speaker 3: know now and then going off they're small like quickly
Speaker 3: put out things. But you know that's it is. That
Speaker 3: time of year is coming to us.
Speaker 1: Fire season. I don't know that fire should be a season.
Speaker 1: There's one of the at all no these I live
Speaker 1: in New York City no, and it's it's different. Every
Speaker 1: day is weed, pee and rat smell. That's the season.
Speaker 3: But that's at least you at least you expect one season.
Speaker 3: Sort of, how la is almost the same temperature you
Speaker 3: get up in the morning. You know, great, pe rats
Speaker 3: all is right in the world, and weed all is
Speaker 3: right in the world.
Speaker 2: Yeah, yeah, I don't.
Speaker 1: I feel like it's a little bit of an imposition
Speaker 1: the weed smell because I don't smoke weed. You smoke weed.
Speaker 3: I do not, right, That's not said as a judgment.
Speaker 1: I just don't. No, I'm not judging people for doing it.
Speaker 1: I just don't feel I should have to participate in it.
Speaker 1: Do you know what I mean. I'm getting a lot
Speaker 1: of secondhand weed smell. Yeah, understood. Yeah, I don't care
Speaker 1: for it.
Speaker 3: I'm just I was bad at it, you know, like
Speaker 3: I've done even nibbling an edible.
Speaker 1: I did it wrong.
Speaker 3: I just I don't like I guess some people some
Speaker 3: people just know how and and their personality or something
Speaker 3: it reacts right way. I just I'm the one who
Speaker 3: gets quiet, and which might be great for other people,
Speaker 3: but I get quiet and I get in my head
Speaker 3: and then all I'm doing is having a dialogu where
Speaker 3: I'm like, you're not speaking gym, You're not saying anything.
Speaker 3: And I was like, while that might be beneficial to
Speaker 3: those around me, it isn't to me in my head.
Speaker 1: So I was like, I'm not doing this correctly.
Speaker 2: You were right when you look at because I mean,
Speaker 2: I think.
Speaker 1: Of you obviously as a performer stough, but I always
Speaker 1: think of you as a writer too.
Speaker 2: Do you ever have any do you have any good ideas?
Speaker 1: When you were like, because there is this myth, Well
Speaker 1: maybe it's not a myth for some people. For me,
Speaker 1: I could never come up with anything when I was high. Nothing.
Speaker 3: No, I don't think it does me creatively right, and
Speaker 3: that that I can remember because obviously I don't do it.
Speaker 3: So if I did, I would have kept doing it
Speaker 3: if it was more fruitful than me just staring at
Speaker 3: a blank page, cold sober.
Speaker 1: Yeah, I think that that kind of terror is what
Speaker 1: gets me to work, is when I see that you
Speaker 1: know there, if I don't do anything here, there's going
Speaker 1: to be a problem. As opposed to I'm busy thinking
Speaker 1: like I think type first, think later. That's my approach,
Speaker 1: and certainly that seems to be Yeah, you know, observable
Speaker 1: in my output, like clearly he types first then thinks later,
Speaker 1: oh yeah yeah.
Speaker 3: Well then somebody is going to say, you know, every
Speaker 3: every book is going to say their version of that,
Speaker 3: oh right from your first past, just right from your heart,
Speaker 3: don't you know, don't edit or whatever. I find that
Speaker 3: enviable but personally impossible. I I I write, rewrite, but
Speaker 3: the same you.
Speaker 2: Got to rewrite. You got to like go back and
Speaker 2: go back, go back, go back all the time.
Speaker 1: Are you writing right now? Are you writing anything? Just now?
Speaker 1: I am?
Speaker 3: I just I just finished editing something I had written
Speaker 3: closer to pandemic year and and just starting outlining something
Speaker 3: at the moment.
Speaker 1: So it's a movie. You did a movie.
Speaker 3: It's a movie. It's it's based on it is a
Speaker 3: true story, which I've never done, like something a real
Speaker 3: persons story. But I'm taking a stab at it, and
Speaker 3: see if I do you remember Team well, they went
Speaker 3: by a team named Team Hoyt last name h o
Speaker 3: y T. The father pushed his quadripletic son who had
Speaker 3: serebral palsy through Belfston marathons, triathlons, and so they were
Speaker 3: a team for a good Lord. They ran thirty marathons,
Speaker 3: you know, and he would just push his son through
Speaker 3: all these things. And then they were very high in
Speaker 3: activism for differently abled people and and quite an inspirational story.
Speaker 1: Do you have any connection to that world? Do you
Speaker 1: are you close to anyone who's in that position?
Speaker 3: No, No, I just it was just I think I'm
Speaker 3: working with nat Fax and who I often work with,
Speaker 3: and I think it's just a beautiful story and and
Speaker 3: there was like a lot of elements to it that
Speaker 3: I felt that we felt fit within the things that
Speaker 3: we like. There's a lot of comedy and drama happening
Speaker 3: at the same time, which I'm always attracted to. So yeah,
Speaker 3: so we're just starting that process of digging through all
Speaker 3: because there's when you're doing these kind of things, there's
Speaker 3: so many interviews, so many there are books and stuff,
Speaker 3: so you're really there's a lot to dig through and
Speaker 3: you're spending a long period of time, so that's another challenge.
Speaker 1: Yeah. I was great. I'm glad you brought up not
Speaker 1: because I was. I didn't know if you and I
Speaker 1: were still working together, or if you had some horrible
Speaker 1: argument and they weren't talking to each other.
Speaker 2: So I'm glad to hear that you're not well.
Speaker 3: The second statement is true. There's always a horrible argument,
Speaker 3: but we are still together. I find him, I find him,
Speaker 3: and I say this with love. Just reprehensible.
Speaker 1: Yeah, you know, it's funny. You are a very odd couple.
Speaker 1: I mean, I know you're not a couple, but but
Speaker 1: but you're You're an odd duel. You see, very different,
Speaker 1: and yet the stuff that you do has a very
Speaker 1: definite voice to it, like all of its own. It's
Speaker 1: kind of it's interesting to me. Have you ever thought
Speaker 1: of appearing as the odd couple? I think the Neil
Speaker 1: Simon played with you and that fact. There's something there,
Speaker 1: you know. You know.
Speaker 3: The one thing I do know is no one's tired
Speaker 3: of watching the odd couple on stage or ever.
Speaker 1: So so no, I'm serious. It is it is.
Speaker 3: It is a a coupling that always works. Now we
Speaker 3: we will maybe one day we'll get into regional theater
Speaker 3: and actually do the odd couple, odd couple. But we are,
Speaker 3: we are very different, and I think that works to
Speaker 3: our benefit. You know, we have and that's how we
Speaker 3: operate at the groundlings, I think you just find people
Speaker 3: that you sync up with, you know, comedically, and and
Speaker 3: then I think we just have a nice way of
Speaker 3: working together for the most part, which means which is comfortable,
Speaker 3: which is me saying that get out of here and
Speaker 3: let me just do this.
Speaker 1: Get out and let me finish this. Yeah. Yeah, I
Speaker 1: feel like I observed that as well. Is that what
Speaker 1: you met at Groundlings?
Speaker 3: Yeah, we met at Groundlings in what's called the Sunday Company,
Speaker 3: right before the main company.
Speaker 2: What's the Sunday Company.
Speaker 3: Well, there's so many there levels. You know, you start
Speaker 3: the school and everyone starts at the same place. You know,
Speaker 3: you have like basic improv and intermediate improv, and you
Speaker 3: work on your way to the Sunday Company, which literally
Speaker 3: performs on Sunday and sort of like your last stage
Speaker 3: to hopefully make it into the main stage, the main
Speaker 3: Groundings Company. So a lot of people spend up to
Speaker 3: a year and a half in the Sunday Company and
Speaker 3: then hopefully get into the main company. So it's a
Speaker 3: very fun time.
Speaker 1: I did. I made it.
Speaker 3: I was in the I was an actual main community
Speaker 3: for thirteen years and I still performed the day I'm
Speaker 3: getting ready to direct the next main show.
Speaker 2: So I have never left.
Speaker 3: I just you know, at one point you become an
Speaker 3: alum because you don't want to deal with uh mass
Speaker 3: emails and voting right.
Speaker 1: And I feel like I feel Groundlings is a bit
Speaker 1: like Catholicism that once you know, once you're in, you
Speaker 1: don't you don't get out, like maybe the mafia, you know,
Speaker 1: comedy in comedy out you know, there's no no way
Speaker 1: to doing it any other way. No, it's one way through. Yeah,
Speaker 1: it does seem like a like is it? Can I
Speaker 1: say it's a cult? I think it's a cult. Yeah,
Speaker 1: I mean I know it's not, but I like saying
Speaker 1: it is. I mean, let me, are we drinking blood?
Speaker 3: Sure, but I mean other other than because if you
Speaker 3: don't have someone else's blood in the taste of it,
Speaker 3: you can't perform or find a comedic connecting thread.
Speaker 1: I mean that's a lot a lot of people don't
Speaker 1: know that about show business. Then you have to.
Speaker 2: Drink blood before you get one stand.
Speaker 1: Uda Haggens said it.
Speaker 3: Even in acting, you really need to taste blood of
Speaker 3: your partner in order to really connect on stage. And
Speaker 3: don't anybody look that up. But that's what Uda Hagen said.
Speaker 3: I love that you referenced uttah Hagen you're welcome. That's
Speaker 3: no right thing.
Speaker 1: Nina Hogen. No, Nina, it wasn't Nina Hagen. Ninety nine
Speaker 1: Luft balloons.
Speaker 3: Oh, I did not know that, but I I love.
Speaker 1: That ninety nine balloons were just looking up right now?
Speaker 1: Remember ninety nine? Yeah, yes, no, yeah, I knew it
Speaker 1: because you would either hear it, well it was partly
Speaker 1: in English or there was also by an all English version. Yes,
Speaker 1: I think it was an all English version which was
Speaker 1: released for America. M She did not sing, well, that's
Speaker 1: who Nina Hogen didn't. We're wrong. No, it was a
Speaker 1: woman called Nina, but our second name was not. No,
Speaker 1: it was because the Hagen thing.
Speaker 3: I was going to say, because I remember Nina Hagen
Speaker 3: to be UDA's sister who always did not care for Uda,
Speaker 3: because she was always assigned to be prop master for
Speaker 3: UDA's actings.
Speaker 1: You remember, Nina, that would be a lot of work blogs,
Speaker 1: I said, Well, I think that's what I said. I
Speaker 1: don't think let's talk a little about Utta Hagen, though
Speaker 1: I don't want to let this draw up just yet
Speaker 1: because I don't I feel like I don't know really
Speaker 1: anything about Uta Hagen. Do you know much about Utta
Speaker 1: Hagen to me, I do not.
Speaker 3: The fact that I referenced her was mostly a bit
Speaker 3: I will say. I will say I I took it.
Speaker 3: I deactivated and took a little mentalist break from on Instagram.
Speaker 3: But at the time Instagram someone was uploading old clips
Speaker 3: of Udah Hagen and teaching her acting classes, which were
Speaker 3: a dream to watch as she's showing, you know, actors
Speaker 3: in whatever period. This was from certain tricks and how
Speaker 3: to be in a scene, and that was enthralling. But
Speaker 3: that's as much as I have I have a mental
Speaker 3: picture in my head of her.
Speaker 1: That's it. I think Uta Hagen was was the person
Speaker 1: I remember talking about the illusion of spontaneity. I think
Speaker 1: she said that you have to look like I just
Speaker 1: thought of it. Well, you understand the words the illusion
Speaker 1: of spontaneity. But that's I feel like that was hard.
Speaker 1: But that could have been Uta Lamper as well. It
Speaker 1: was certainly a Nuta or maybe or maybe it was
Speaker 1: Nina who sang ninety nine.
Speaker 2: Right right, and she's sang it. It was like the
Speaker 2: first time.
Speaker 1: Yeah, it's safe for us to assume that there are
Speaker 1: a lot of Uddahs out there and a lot of
Speaker 1: people last named Hagen, who are very very key in
Speaker 1: our lives.
Speaker 2: You know that Sammy Hagar's real name no is Uta Hagar.
Speaker 2: I can see why he switched it up a little bit. Yeah,
Speaker 2: and I think that was the right choice. I mean, Sammy,
Speaker 2: so we're at a rock star relatable a Sammy. How
Speaker 2: he's doing?
Speaker 1: Yeah, because that's that's a rock stars talk apparently, Yeah,
Speaker 1: how he's doing?
Speaker 3: And you also, I'm sure there were concerts where instead
Speaker 3: of yelling out of a song they wanted to hear
Speaker 3: they go.
Speaker 1: Tell us something about acting, you know, like like what
Speaker 1: about the illusion? Yeah, forget and I know this is
Speaker 1: not him, but forget freebird. Tell us how the best
Speaker 1: way to block a scene? Yes, that's what. What is
Speaker 1: the best way to block a scene? I always think
Speaker 1: it's good to have all the actors standing in the light,
Speaker 1: shouting towards the front, and then everybody is able to
Speaker 1: break up on what's going on.
Speaker 3: I always tell them, don't cheat out, be out, like
Speaker 3: be out, don't look at your scene partner, connect only
Speaker 3: with the audience and throw everything right at them and.
Speaker 1: As loud as possible. And if you have to shout no,
Speaker 1: that's okay.
Speaker 3: I don't say projected the back, I say project to
Speaker 3: another state.
Speaker 1: That's right. Just just yell as loud as you can,
Speaker 1: and it does. It's okay to look like you're yelling
Speaker 1: a lot of people. They'll get it, they'll understand what
Speaker 1: you're trying to do.
Speaker 3: Yeah, and then I tell them, if the scene is
Speaker 3: about anger, choose one note and stay there.
Speaker 1: Yeah, and start big, Like if it's an angry scene,
Speaker 1: start really angry and stay really angry.
Speaker 3: I always say, anyone who tells you to build from
Speaker 3: a place doesn't know what it means to construct a scene.
Speaker 3: That person needs to quit and go open up any
Speaker 3: type of shop. But don't tell me how to build
Speaker 3: a scene. Start big and go bigger. I always like.
Speaker 1: There's a very complicated I call it the the bone
Speaker 1: Jovi acting technique. This is how I like to do it.
Speaker 1: By Jeovie songs, me to do big noise. Then there's
Speaker 1: a little bit of things, then a big noise. That's
Speaker 1: how I like to do act. Right, shout something, then
Speaker 1: I do yeah, then I shout it again.
Speaker 3: Yeah, and then it's always oh it. Acting is like
Speaker 3: performing a song. There's a verse, there's a chorus, there's
Speaker 3: a bridge, right. So if i'm if the scene is,
Speaker 3: you know, I'm upset. I'm telling this person to get
Speaker 3: out out of there. I'm like, gout and here's what
Speaker 3: you're gonna do.
Speaker 2: Don't look at me, but you better believe.
Speaker 3: Now, should they be able to hear what the stuff
Speaker 3: I'm saying quietly? Not necessarily necessarily if they are in
Speaker 3: the street, if they've read the script, they already know.
Speaker 3: So you always act because you know what's happening in
Speaker 3: the scene, don't.
Speaker 1: I feel I feel as well that I don't know
Speaker 1: if you have the I whenever I work as an actor,
Speaker 1: I don't read the script. I read the lights. So
Speaker 1: it's I just lead the lines that I'll be saying
Speaker 1: because I figured, Dan, it will come as a nice
Speaker 1: surprise when the other.
Speaker 3: I say, what that's one o one. It's my job
Speaker 3: to know what their lines are. It's my job to
Speaker 3: know my lines, and if I choose to skip a
Speaker 3: couple pages, that's my right.
Speaker 2: I always tell you that they can fix it.
Speaker 1: And post Hello. This is Greig Ferguson and I want
Speaker 1: to let you know I have a brand new stand
Speaker 1: up comedy special out now on YouTube. It's called I'm
Speaker 1: so happy, and I would be so happy if you
Speaker 1: checked it out to watch the special. Just go to
Speaker 1: my YouTube channel at the Craig Ferguson Show and is
Speaker 1: this right there? Just click it and play it and
Speaker 1: it's free. I can't look, I'm not going to come
Speaker 1: around your house and show you how to do it.
Speaker 1: If you can't do it, then you can't have it.
Speaker 1: But if you can figure it out, it's yours. You
Speaker 1: mentioned something which I'm quite interested in, because I feel
Speaker 1: like everybody I talked to has has said this that
Speaker 1: you said you were you came off of Instagram, you
Speaker 1: came off of social did was Did you find that
Speaker 1: it was becoming intrusive in your life in some way?
Speaker 3: Very much so? I I yes, I felt it was
Speaker 3: robbing me. I think I was getting distracted, I think,
Speaker 3: And it wasn't even me posting so you people go,
Speaker 3: I don't post much when I go, but it's really
Speaker 3: not about posting that bothers me. And because I do
Speaker 3: enjoy there, look, I you know, I understand the joys
Speaker 3: of it. I enjoyed that kind stuff. But I found
Speaker 3: myself getting to the place where if we're going to
Speaker 3: a party and you say to your friend. Oh my god,
Speaker 3: you went to Europe. Like in other words, back in
Speaker 3: the day, you would not know this information. But then
Speaker 3: your it feels like we're so caught up on someone's life.
Speaker 3: We walk in and we just we fill it in
Speaker 3: because we don't need to have a conversation. You just
Speaker 3: you just you just got that uppy Oh yeah, I
Speaker 3: got Oh he's adorable, and then you move on and
Speaker 3: that's the end of that.
Speaker 1: Anyway.
Speaker 3: I just I just didn't like And also we're getting
Speaker 3: you know, you get hit with a lot of news
Speaker 3: at the same time, so you're just trying to, like,
Speaker 3: I think, uh, take care of yourself.
Speaker 2: I've stopped looking at the news completely.
Speaker 1: Now I don't look at the news at all. It
Speaker 1: seems like it's going well. Yeah, I think it's going great.
Speaker 1: I know that if I like, sometimes if I walk
Speaker 1: by a TV repair shop, of which you know, MYNN
Speaker 1: is legendarily the thousands I love on the Upper East Side,
Speaker 1: which is mostly TV repair shops. So that's that's I February,
Speaker 1: I walk by a TV repair shop and the news
Speaker 1: is on. Seems like Los Angeles is doing great, particularly
Speaker 1: in the last couple of days.
Speaker 3: Yeah, yes, it's it's it's a pleasure to refresh your
Speaker 3: news and just and and and and then everything's either
Speaker 3: the opposite. This is happening, this isn't happening, and it's
Speaker 3: and it's like, you know, Ellie's a giant place. So
Speaker 3: it's we're talking about something that's like downtown right at
Speaker 3: this moment, and rightfully so protesting uh this moment, you know,
Speaker 3: and you hope, I hope it doesn't get to a
Speaker 3: place of violence. But it's just sort of it's pretty
Speaker 3: crazy to think it's just downtown right now, you know.
Speaker 1: No, it's funny, though. Have you ever been part of
Speaker 1: a protest or something like that? I mean, I've It's
Speaker 1: something I've never really never really found myself in that position.
Speaker 1: I've never thought, well, you know what, Steim, I was
Speaker 1: said this and joined in with my friends. Maybe it's
Speaker 1: because I do what I do for eleven so you're
Speaker 1: gonna get it out another way. But or maybe I
Speaker 1: should Maybe I have absolutely no civic responsibility and I'm
Speaker 1: a horrible person. It could be that quite easily.
Speaker 3: Well, you know, these are great places where you put
Speaker 3: a mirror in front of yourself and you have to
Speaker 3: look at yourself, crag and decide.
Speaker 2: Right, what are you for?
Speaker 1: Yeah, well, you know, mostly for at this point in
Speaker 1: my life. I'm now sixty three years old, Jim, So
Speaker 1: I'm I'm kind of mostly for sitting down.
Speaker 2: I'm all about sitting down, and.
Speaker 3: That's kind for protesting, that's that's for who they need.
Speaker 3: They just want you to sit. They need to love
Speaker 3: and keep it coming.
Speaker 1: If there's a sit in somewhere comfortable, like if they're
Speaker 1: going to be well, we're all getting together, we're going
Speaker 1: to sit in this very comfortable lounge to protest, then
Speaker 1: we're like, wow, I feel like I want to be
Speaker 1: part of that.
Speaker 3: You need a glamping version of activism.
Speaker 1: Welcome to my tent. I'm in a tent right now,
Speaker 1: a glamping tent.
Speaker 2: That's yeah, it's called that's called full circle.
Speaker 1: Full circle conversation. That's one of those Rate and Slash
Speaker 1: acting techniques. And they teach you that in the ground,
Speaker 1: Like what do you learn on your day at the ground?
Speaker 1: Like I call it full circle.
Speaker 3: In other words, if you get lost in the scene
Speaker 3: and you don't remember it, just go back to the
Speaker 3: first line and see if you get it right. And
Speaker 3: so the audience will get it. Oh, we're going to
Speaker 3: go back and we're going to start over. It's called
Speaker 3: full circle.
Speaker 1: You know that. You know this the idea of the
Speaker 1: call back, when the comedian will call back to a
Speaker 1: joke at the ear layer. I've been working on a
Speaker 1: technique recently called the reverse call back, where I referenced
Speaker 1: jokes which I haven't told yet. Seems to I think
Speaker 1: audiences really like that. I like, wow, this is clever.
Speaker 3: Yeah, I love it in the sense that you just
Speaker 3: keep doing and go how about for that for a callback?
Speaker 3: And then just keep going And then someone goes like
Speaker 3: I really, I wasn't listening very well.
Speaker 2: I kept missing missing stuff.
Speaker 3: I didn't remember when he talked about barbershops, but he
Speaker 3: came right back to it and he said, you know,
Speaker 3: hair and a shave done done like that? And I
Speaker 3: kept I didn't know why I kept going. And I
Speaker 3: think that is it hair and a shave cut.
Speaker 2: Hair and a shave done done.
Speaker 1: Like shave and a haircut. Fo bits, it's too predictable.
Speaker 1: And I think hair and a shave done done is
Speaker 1: I still want to know what you teach the first
Speaker 1: day of when you go to groundlings as a fresh
Speaker 1: faced young improvisationer, like, I'd like to be an improvisationer.
Speaker 2: Yeah, what is day one? When you sit down and
Speaker 2: what do you do?
Speaker 1: Well? Uh?
Speaker 3: Really it truthfully, it is to jump up and just
Speaker 3: start doing it. And I find it very interesting to
Speaker 3: watch what happens when you get a class or two
Speaker 3: of just throwing them up there and doing improv exercises
Speaker 3: and then take a moment to sit down and break
Speaker 3: down if we want to call them rules or like structures,
Speaker 3: and then watch how it deconstructs them, and then they
Speaker 3: get terrible. Me included back in the day because I
Speaker 3: realized when we don't know any rules and we just
Speaker 3: jump in, it's fun to watch people do it without
Speaker 3: any any any parameters. At first, that won't be great scenes,
Speaker 3: but there's a spirit. And then when they hear the rules,
Speaker 3: they shut down and then they get very apprehensive, like, oh,
Speaker 3: here we are at the cake place. Oh yes, I
Speaker 3: love this cake. It's good. Yes, let's let's let's keep
Speaker 3: making this cake.
Speaker 1: Oh boy.
Speaker 2: And the one they realize, I know, is that the
Speaker 2: yes andrel Is that a real rule?
Speaker 1: Yes? And you just have to keep adding? Is that
Speaker 1: is that real? I think? I think it's a good
Speaker 1: rule to be learning in the very beginning, and the
Speaker 1: idea of being in agreement.
Speaker 3: In other words, I'm going to zig with you. If
Speaker 3: you're gonna zag, then I'm just going to go with you.
Speaker 3: In other words, I'm not going to to not and
Speaker 3: I'm not going to negate that. I think improvisers who
Speaker 3: were doing for a while there is a version of
Speaker 3: no that they come to understand that keeps the scene going,
Speaker 3: you know. But I think in the beginning, knowing that
Speaker 3: I am going to let go of any preconceived ideas
Speaker 3: about where this scene is going, and if you decide
Speaker 3: that you're that we're that the building got on fire,
Speaker 3: then we're going to play that.
Speaker 1: You know. I find it fascinating improvisation because the it's
Speaker 1: something that I've never really been comfortable with in groups.
Speaker 1: I mean, look that what I was doing late and
Speaker 1: I Josh and I who was doing the scale, and
Speaker 1: that's all we ever did, like we we never really have.
Speaker 1: But but actually the the kind of slightly more I
Speaker 1: don't know about structure, but certainly branded sort of improvs
Speaker 1: that you know, Okay, those four of stage we're going
Speaker 1: to play what is it they used to call. There
Speaker 1: was one of the games. I can't remember the name
Speaker 1: of it, the the something they put it, I don't
Speaker 1: know if it was.
Speaker 3: I thought that was so vague. It was called the something. Well,
Speaker 3: everything's called something, right, The idea of the of the improv.
Speaker 3: It was like a long form thing that you would
Speaker 3: tell us the way. I can't long form improv, which
Speaker 3: I don't really I don't. I genuinely don't understand.
Speaker 1: I'm not trying to be obtuou so I don't know
Speaker 1: what it means when you say long form improv. What
Speaker 1: does it mean?
Speaker 3: Well, I mean I think long form improv is you
Speaker 3: might just get one suggestion, as I understand it. Let's
Speaker 3: just say, like a group gets up there and says
Speaker 3: we're going to perform long improv. Just give us the
Speaker 3: title of display, and they don't. They're not gonna get
Speaker 3: anything else from the audience. They're just going to go
Speaker 3: with that one thing, and then for me, long long improv.
Speaker 3: And then like you know, Second City and they do Haralds,
Speaker 3: which can be based on one thing.
Speaker 2: The one here's the one, you know, the Harald or
Speaker 2: the or Harold.
Speaker 3: Well, I always said Harold, but that's that's I don't
Speaker 3: know if it's the man's name or like Harold as
Speaker 3: in a but I have to do with well Harold,
Speaker 3: but also always thinking of something that flows into each other,
Speaker 3: because the idea is that, you know, if you're doing
Speaker 3: a correct Harold. Now I'm not proficient on them, but uh,
Speaker 3: it's like I think, like three separate scenes get started,
Speaker 3: and then as they say, some kind of game happens,
Speaker 3: and then the scenes are revisited with time, and then
Speaker 3: it all comes together if you nailed it, as they
Speaker 3: say in the Harald world. Now, someone on here who
Speaker 3: knows a Harold listening going, you know, just swerved in
Speaker 3: their car and said, jimn fucking know what he's talking about?
Speaker 1: Right, well, clearly, fair well, but that but they're breaking
Speaker 1: the rule of, you know, keeping the scene going because
Speaker 1: they've swerved the car, they've stopped the car, and they've said,
Speaker 1: Jim doesn't know he's talking about. Doesn't it give you
Speaker 1: anywhere to go? Doesn't give me where to give?
Speaker 3: I heard that, I would say, you just negated what
Speaker 3: I just said, which I said, was this true statement
Speaker 3: about a Herald, right.
Speaker 1: That was the one I always felt intimidated by it.
Speaker 1: Because when I was doing the Drew Carey show, that's
Speaker 1: just when those Drew and Ryan styles and those guys
Speaker 1: were putting together Colin Mockery were putting together whose line
Speaker 1: is it? Anyway? And they would go and practice at
Speaker 1: the Improv Club in Los Angeles and I went once
Speaker 1: and I thought, I don't like this. I don't understand that.
Speaker 1: I don't feel comfortable doing it. And they were like, no,
Speaker 1: You're the perfect sort of person for this, and I'm like,
Speaker 1: but I don't feel like I am. I can't connect
Speaker 1: to it. What was throwing you off? Was it the
Speaker 1: page of those games? I think I don't like people.
Speaker 1: I don't work well with others, and that's difficult. Yeah,
Speaker 1: cranky loaner, I think is okay. I was working, But
Speaker 1: aren't you? You're a bit of a cranky loaner. I
Speaker 1: feel too. I mean you, dare you? I see you
Speaker 1: there in your kitchen? Well you know, am I am
Speaker 1: I cranky? Right now? Uh? No? Am I loan? Yes?
Speaker 2: Always that part I get.
Speaker 1: I like I like being alone. I like I like
Speaker 1: working a loon, I like being on stage in my
Speaker 1: That's that's fair.
Speaker 3: It's like you're and I'm going to say it, because
Speaker 3: I think you're saying it. You're selfish, you want all
Speaker 3: of the glory on stage. Yes, yes, I think that's right. Selfish, mean,
Speaker 3: mean spirited. I think it is probably fair. That's fair.
Speaker 3: That's that's your that's your brand, and I think it's
Speaker 3: it's it's working.
Speaker 2: I I'm known for it.
Speaker 1: I am known for it.
Speaker 3: No, when I was getting I'm here, I text her
Speaker 3: friend and I said, oh, I'm getting ready to go
Speaker 3: on this really mean spirited, uh selfish loaner. And he goes, look,
Speaker 3: Craig Ferguson, I go, yes.
Speaker 2: I oh god, that's alarming but true.
Speaker 1: I guess what about the idea of working alone for
Speaker 1: you like doing stand up? You ever done stand up?
Speaker 1: I don't think of you a.
Speaker 3: Stund No, I've never done stand up. I envy those
Speaker 3: who have that skill set. That doesn't seem like it's
Speaker 3: my jam if you will not to be great jam.
Speaker 1: But I will say what I have done.
Speaker 3: Alone on stage, which springs, which I love so much.
Speaker 3: And I didn't create the show, but I've done it
Speaker 3: before at the Groundings. A former Grounding create a show
Speaker 3: called one and one is the idea that a performer
Speaker 3: will get up there at improvise, completely improvised with nothing,
Speaker 3: obviously a one person show.
Speaker 2: So I get up there so looking there for that?
Speaker 1: Can I do that? Yes? It is.
Speaker 3: You would excel at this. It's so funny. It's terrifying.
Speaker 3: All day you're like, this is one of those shows
Speaker 3: where you're like, uh, maybe not be for you, but
Speaker 3: for me. You're wired and the day is shot because
Speaker 3: you're trying to do everything else and you just know
Speaker 3: eight o'clock's coming and.
Speaker 1: You're like, why the fuck am I doing this show? Oh? Why?
Speaker 3: Because it's terrifying, and the audience is so on your
Speaker 3: side because they know the idea. But the idea is
Speaker 3: you get up there and the director will get the
Speaker 3: this is Jim, I'm not playing gim like. It'll get
Speaker 3: a fake name just so they separate this. Not Jim Rushes,
Speaker 3: one person show. It's like just a made up name,
Speaker 3: whether you use that or not. Other than they are
Speaker 3: intro then you get the name of this pretentious sounding,
Speaker 3: you know, one person show, so it would be like,
Speaker 3: you know, my father never loved me, or the waves
Speaker 3: crashed at midnight, whatever it is. And then she sets
Speaker 3: up and audience members get to create like three little
Speaker 3: stages using blocks and stuff that I have to justify
Speaker 3: as different set pieces, and then I just go for
Speaker 3: an hour and I just create a whole one person
Speaker 3: show and it's basically, oh it is.
Speaker 1: It is terrifying.
Speaker 3: And then when you get off stage or like, I
Speaker 3: want to do it again, and then you book it
Speaker 3: and then you know why am I doing this? And
Speaker 3: then I want to do it again because the audience
Speaker 3: is so there, And so you get to do this
Speaker 3: type of improv that I've never done, where you just
Speaker 3: have to trust that there is going to be lulls.
Speaker 3: You look up at this clock and it's like forty
Speaker 3: minutes in and you just hit which is natural, like
Speaker 3: a party where you just lose conversation and you're like,
Speaker 3: oh my god, something needs to happen, and then it
Speaker 3: just you just pull.
Speaker 1: Yourself out of it.
Speaker 3: And so you play a bunch of characters, you talk
Speaker 3: to eat yourself as different characters, and it gets insane,
Speaker 3: of course, but it's fun.
Speaker 1: I am not kidding. I've never heard of this before.
Speaker 1: I feel like I might have been doing a version
Speaker 1: of this my entire career, and I want to I
Speaker 1: want to do this I genuinely want to do this.
Speaker 1: I need you, I need you to give me a
Speaker 1: number of the Groundlings or do you have a New
Speaker 1: York branch of the.
Speaker 3: Groundling that way way way back way before me, they
Speaker 3: had an attempt at an expansion, but this was long,
Speaker 3: long ago, and they don't.
Speaker 1: It's just la.
Speaker 3: But yeah, Deanna Oliver, who is a fantastic writer as well,
Speaker 3: and she's Groundling alum, and she created the show, so
Speaker 3: I will give her a talk, is Yes, it's a blast.
Speaker 1: That's it is perfect for me. This is actually perfect me.
Speaker 1: I feel like you'll like to drink two cups of
Speaker 1: coffee before it. I think one and a half.
Speaker 3: But that's just because because that's well, you know why
Speaker 3: I say one half. That's the folklore of It's very Shakespearean.
Speaker 3: Never drink two cups of coffee before a play?
Speaker 2: Is it because it's an even number?
Speaker 3: Or I think it was either again Udah Hagan or
Speaker 3: Shakespeare who said it, so, I don't remember which of
Speaker 3: the two said it, but it was something of like
Speaker 3: he who he or she who has one cup? Your
Speaker 3: talent runneth over to talent? Uh to the door she go?
Speaker 3: But the door do well, and I think that's the
Speaker 3: exact same. One and a half will do well too.
Speaker 3: No one will do you well. The talent will be
Speaker 3: forth coming something you can sell.
Speaker 1: Yeah, some of these words are going to change when
Speaker 1: I tell you the second time, but just give me
Speaker 1: a second to get it right. It's like one cup
Speaker 1: of coffee will do you well, and talent will be
Speaker 1: forthcoming too, will make it leave the door.
Speaker 3: A half cup more and talent shall be fine. I'm
Speaker 3: pretty sure that's what it was.
Speaker 1: It's interesting because it does change quite a lot every
Speaker 1: time you see it, which I don't think.
Speaker 3: So have one cup of coffee and you will do fine,
Speaker 3: and talent will come much more too, and it will
Speaker 3: leave the door a half a cup more will do
Speaker 3: you fine.
Speaker 1: It's the same, right, I feel like I feel like
Speaker 1: I feel like I have it now, and that's great. Now, Shakespeare,
Speaker 1: this is Look, I'm sorry to bring this up, but
Speaker 1: I feel like I must for the stake of historical accuracy.
Speaker 1: I don't think Shakespeare knew what coffee was.
Speaker 3: Oh okay, well, if good luck, go to Wikipedia and
Speaker 3: you'll find out you're wrong.
Speaker 1: Well, I didn't feel like coffee might have arrived in
Speaker 1: Britain after Shakespeare. I think up until they drank only mud,
Speaker 1: you know, they were they would experimenting with different brown liquids.
Speaker 1: There was mud, there was pooh, there was courage water,
Speaker 1: there was you know, dysentery and stuff. But they didn't
Speaker 1: have actual coffee until coffee Time, which was.
Speaker 3: Was that a proclamation? Coffee time was? Was that an
Speaker 3: actor or.
Speaker 1: It was the coffee of seventeen o two when coffee
Speaker 1: was I think coffee is a new world thing that.
Speaker 3: Wasn't so the king proclaimed it. I mean to me,
Speaker 3: you said mud, but that to me is slang for coffee, like, oh,
Speaker 3: a cup of jokeup, cup of mud. So maybe you
Speaker 3: just don't understand translation of text, and that's just that's
Speaker 3: okay if you don't know it.
Speaker 1: Yeah, it's possible. I think it's possible that I don't
Speaker 1: understand mud, although growing up where I grew up, I
Speaker 1: feel like I have a very firm grasp of swampy
Speaker 1: conditions and the.
Speaker 2: Mud.
Speaker 1: I'm pretty sure Shakespeare didn't know what coffee was, and
Speaker 1: I feel like his plays would have zipped along a
Speaker 1: bit faster if he did. I think, particularly King Lear,
Speaker 1: I think it would be oh, I'm old. These kids
Speaker 1: is driving me crazy. What are you gonna do? Yeah,
Speaker 1: there's your three acts right there, King Lear. Oh, I'm
Speaker 1: getting old. These kids are driving me crazy. What are
Speaker 1: you going to do? Yeah?
Speaker 3: I mean I think for it's good for a couple
Speaker 3: of productions to give it a shot of espresso, as
Speaker 3: we would say, like let's get this Shakespeare a shot
Speaker 3: of espresso and espresso.
Speaker 1: Yeah. But I feel like as well, if he was
Speaker 1: in The Two Gentlemen of Verona, which was of course
Speaker 1: said in Italy, in the town of Verona, shakespearean play,
Speaker 1: I feel like you would have put coffee in that.
Speaker 1: If you have a coffee was Hey, let's go for
Speaker 1: a cup of coffee. I'm it with you, my gentleman friend.
Speaker 1: M h what accent were you just doing? That was
Speaker 1: Groucho Marx Chica Marx Mark in Two Gentlemen of Verona,
Speaker 1: his one man show. That was the twist. No.
Speaker 3: I I closed my eyes and I was like, holy shit,
Speaker 3: am I that shallow?
Speaker 1: And then yeah, I was coming to go. It's to
Speaker 1: me your friend from Verona.
Speaker 2: Chico, Chico.
Speaker 1: Yeah, yeah, And have you ever been to Verona or
Speaker 1: anywhere Ronda or Italy?
Speaker 3: I have been only to uh is it? Is it
Speaker 3: called Turin or Charino like northern Italy.
Speaker 1: I know exactly the tone you mean. I would call
Speaker 1: it to Reno, but I feel like that might be
Speaker 1: because ifever I'm reading the news on TV, I liked
Speaker 1: if the story is about Nicaragua.
Speaker 3: I always like to say nic Yeah, all right, but
Speaker 3: that's the only I have so much of Italy to see,
Speaker 3: and that's the only place I've been.
Speaker 1: I would say, be careful when you go to Italy
Speaker 1: because if someone has bad eyes, say, and they can't
Speaker 1: really see, they may think that you're Stanley Tucci.
Speaker 3: No, I I get that, or Mobi. And Mobi doesn't
Speaker 3: live that far from me either, so we could do
Speaker 3: a great freaky Friday. But he has tattoos, so and
Speaker 3: you should be able to tell the difference. I know,
Speaker 3: I know Mob be quite well. I feel like, now
Speaker 3: as you mention it, you know what you do. You
Speaker 3: guys do look quite similar, right, No, No, that's the
Speaker 3: one I get more than Stanley Chuccu. However, I was
Speaker 3: in a lobby hotel lobby, and a woman approached me
Speaker 3: and said, oh my god, I'm a big fan.
Speaker 1: Can I get a selfie?
Speaker 3: We were posing for her, you know, her handheld selfie,
Speaker 3: and she said I love your show on Italy and
Speaker 3: then I go, oh, I'm.
Speaker 1: Not Stanley Tucci.
Speaker 3: And she did not snap that picture and it was
Speaker 3: just a slow you know, her hands slowly came down.
Speaker 1: She didn't.
Speaker 3: I jokingly said you probably don't need this picture, and
Speaker 3: she didn't take it. And then I told her her
Speaker 3: I was nothing that registered on her.
Speaker 2: But I really burst that bubble.
Speaker 3: I should have just said I, as Joel McHale told me,
Speaker 3: I should have just said, yes, I'm Stanley just kept going.
Speaker 3: But anyway, I was humbled by it because I was like, oh,
Speaker 3: I wish I had that kind of acting talent.
Speaker 1: But thank you. I think you do.
Speaker 2: I think she's amazing.
Speaker 1: But I will take thank you.
Speaker 2: No, he is amazing.
Speaker 1: He's an amazing actor actually, because but I see him
Speaker 1: in Italy and I think, you know, I don't think
Speaker 1: he's acting there. I think he's genuinely having a good time.
Speaker 1: I would imagine, yes, yeah, yeah, I do love Italy.
Speaker 1: Where's the name rash from him? That's not an Italian name,
Speaker 1: is it. No?
Speaker 3: Now I should say I'm adopted, So I'm not going
Speaker 3: I'm not going to rbus iner this, but but as
Speaker 3: I understand Rash as courting to my grandfather, found is Welsh.
Speaker 1: Oh I thought I thought it was an allis Island
Speaker 1: thing from Rash from Germany because ri E s h
Speaker 1: E Rash.
Speaker 2: Yes is a German name.
Speaker 3: I according to whether this is right or not, he said,
Speaker 3: this particular Rash is a Welsh I believe it. Have
Speaker 3: you ever been to Wales, like as a teenager, so
Speaker 3: it's been a hot metod obviously, Yes, as a teenager
Speaker 3: we did the whole Yeah, Wales, Scotland, Oh you did?
Speaker 1: Where did you go to Scotland?
Speaker 3: Because that's where I'm from, I know, I'm all I
Speaker 3: remember is as a kid is wanting to go as
Speaker 3: many like castles and castle ruins. So I couldn't tell
Speaker 3: you everywhere we went. I've lived in most of them
Speaker 3: and we rode tripped through, so we just kept going.
Speaker 1: You know. Yeah, it's probably a good idea. Did you
Speaker 1: were you very? You were a teenager.
Speaker 3: Probably a preteeny yeah right, so did you eat the
Speaker 3: food there?
Speaker 1: Well?
Speaker 3: If I was a kid, if I was complaining, I
Speaker 3: do remember how jet lagged we were experienced hitting London,
Speaker 3: even when a family hits the place and everything goes
Speaker 3: off the rails immediately, and it's about being angry and
Speaker 3: like Coca Cola didn't have ice in it, so that
Speaker 3: probably freaked me out for a second.
Speaker 1: Nothing day, they're still like, still, we don't have any eyes.
Speaker 2: You can put it on the cold shelf.
Speaker 1: If you ever experienced the cold shelf from Britain, shelf,
Speaker 1: it's a shelf, but it has no refrigerating quality. It's
Speaker 1: just ab I've got some one the cold shelf. It's
Speaker 1: a shelf near the door. That's it? Is that true? Wow? Yes?
Speaker 3: Mostly yeah, if you're hot, go sit on the shelf.
Speaker 1: Baby. They say that to people. Why don't you Nobody
Speaker 1: calls anybody baby in Britain. You can't see that's not
Speaker 1: you have an actual baby in Britain legally get cold baby.
Speaker 1: You can't say, hey baby, what's up in the south.
Speaker 1: It's just okay.
Speaker 3: I would just naturally go and go, hey baby, why
Speaker 3: don't you go sit on that shaft feet y'all, y'all, y'all, sugar, y'all, y'all,
Speaker 3: and go sit on that shelf.
Speaker 1: That's not that's not very Brendon if you coas someone baby,
Speaker 1: if you say I love baby, it's her babies and
Speaker 1: actual baby. Oh, it's an actual baby, the chances of
Speaker 1: you getting a reply or limited. Yeah.
Speaker 3: I was just probably being a nice you know, one
Speaker 3: of one of my aunts or something calling me that
Speaker 3: to tell me go sit on the shelf.
Speaker 1: But yeah, you're right, you're right, You're right, you're right.
Speaker 1: So if I go to the South, the next dame
Speaker 1: I go to the South, if I call people baby,
Speaker 1: they'll think it's okay. I'll hey, baby, can I have
Speaker 1: a scriber?
Speaker 3: I haven't lived there in thirty years, but I'm pretty
Speaker 3: sure you know it's classic.
Speaker 1: Hey, y'all, Hey baby, I don't know. I see. I
Speaker 1: feel like great affinity for people in the South because
Speaker 1: I also walk the earth meeting everyone I meet feels
Speaker 1: they can do my accent better than me. That I
Speaker 1: think people in the South also experience that what you're doing. Yeah, hi, y'all,
Speaker 1: Hey baby, you know, do you have a do you
Speaker 1: have any truth picks there?
Speaker 3: Oh that's a classic y'all have tooth, which actually probably
Speaker 3: is everyone likes to pick their teeth because you would
Speaker 3: go to those restaurants like Sizzler, which you know, anybody
Speaker 3: knows Sizzler or something or any of those like chain
Speaker 3: steak places where you're getting like a waffle hot, waffle hout,
Speaker 3: waffle house, waffle hut, whatever they're you know. Yeah, you'd
Speaker 3: have that little thing where you could rotate the little
Speaker 3: plastic dial on the side and it would get one
Speaker 3: toothpick in it and and the toothpick would come out.
Speaker 1: Yeah, y'all have any toothpicks in your dial? Your dial? Yeah?
Speaker 1: Have the dial up toothpicks?
Speaker 2: Yeah?
Speaker 3: Yeah, that was like, you know, that was pre COVID.
Speaker 3: They knew how to get one single, one touch, one
Speaker 3: touch toothpick device was already invented way before all that.
Speaker 1: Did you get COVID by the way twice?
Speaker 2: Yeah, me too, Yeah I had.
Speaker 1: But how bad was? It was pretty bad?
Speaker 3: The first one was I guess it's all subjective, but
Speaker 3: it was like, you know, the fever, don't feel like
Speaker 3: doing anything, sit on the couch for a couple of days,
Speaker 3: and then it just sort of broke. The second time,
Speaker 3: it felt like nothing had happened. Did you get vaccinated?
Speaker 3: Am I love to even ask you?
Speaker 1: I don't know.
Speaker 3: I mean, I'm not afraid to say it, of course,
Speaker 3: Yes I did.
Speaker 1: Yeah, no, I I get vaccinated. I took iver mixed him.
Speaker 1: I drank bleach. That's so smart. Yeah, I feel like
Speaker 1: I took all the precautions. I oh, well, some of
Speaker 1: those things are just wonderful things. You don't want to
Speaker 1: let go.
Speaker 3: Like I keep wiping down my groceries just for nostalgia,
Speaker 3: you know me, let me just oh, I wipe down
Speaker 3: these turkey burgers and just get nice and clean.
Speaker 1: Yeah. I still bulk by enormous amounts of toilet paper.
Speaker 1: So smart, huge amounts of toilet paper, drunkloads. I bought
Speaker 1: big things of ketchup. I really thought that was going
Speaker 1: to be a you know, a possible, you know, empty shelf.
Speaker 1: But anyway, I was wrong. I have plenty of ketchup
Speaker 1: in Britain. You get your ketchup from the cold shelf.
Speaker 3: Well, you know, it's probably makes sense because everyone debates
Speaker 3: whether ketchup should be in the fridge or not be
Speaker 3: in the fridge.
Speaker 1: Well here's the thing, though, it's not cold ketchup in Britain.
Speaker 1: It's called tomato sauce, right classic, and it goes with
Speaker 1: the other sauce they have is and I'm not getting
Speaker 1: brown sauce.
Speaker 3: And what is brown sauce? Is it like an a one?
Speaker 3: Is it like a or gravy?
Speaker 1: Like it was like a steak sauce thing, but they
Speaker 1: call it brown sauce. Have you any brown sauce? I
Speaker 1: think a color shouldn't be the name of a sauce. No,
Speaker 1: not at all.
Speaker 3: And I also think whoever invented brown sauce has always
Speaker 3: been offended because they were like, the ingredients deserve some respect.
Speaker 3: And he goes, wait, do you taste this? Oh, I
Speaker 3: love your brown sauce, and they go no, no, no,
Speaker 3: it's it's.
Speaker 1: Your brown sauce.
Speaker 2: Delicious, baby, it's ten ingredients. Oh, I don't care, it's
Speaker 2: brown sauce.
Speaker 1: Brown brown, will do fine. I think that's probably what
Speaker 1: Shakespeare called coffee. Now when I think of it, see again,
Speaker 1: full circle, and now we know you know what. I
Speaker 1: think that is as the goodest time as any to
Speaker 1: say good day. That oh great, that was it. Yeah,
Speaker 1: that's it. That's it. We don't go on forever with
Speaker 1: this thing. We know, we we get it done. We
Speaker 1: call each other baby. We talked about pre Shakespearean beverages,
Speaker 1: and then it's time to heaven. That's heaven.
Speaker 2: It is, it's heaven to see you again.
Speaker 1: I could to see you from far. I wish I
Speaker 1: could be in the room with you, because I you know,
Speaker 1: it's kind of an open secret of how delightful you smell,
Speaker 1: and and I wish I could be in the room.
Speaker 1: I can only imagine what your kitchen is like.
Speaker 3: It's just it's like Camra mill and dragcar cologne. It's
Speaker 3: just a beautiful collection of sense.
Speaker 1: It's like going to dip teak. I think that you
Speaker 1: know the kind.
Speaker 3: Yeah you yeah, will you make your own candles or
Speaker 3: you just you just smell?
Speaker 1: Give you a little sticks. Then they say what does
Speaker 1: that smell like? And the oldest sticks to me, they
Speaker 1: old smell the name since I've had COVID.
Speaker 3: Yeah, oh okay, so you had that problem. So it all
Speaker 3: is lavender to you or something.
Speaker 1: Yeah, well everything at this point, because I'm No. Sixty three,
Speaker 1: everything smells like lavender and pee. But I think that's
Speaker 1: because I smell like lavender.
Speaker 3: You know, it's so great to have all these things
Speaker 3: to look forward to the different chapters, you know.
Speaker 1: Those parts of life that are just where everything just falls.
Speaker 1: The fuck apart. Now.
Speaker 3: I remember sitting around the Southern campfire. My grandfather would
Speaker 3: tell stories of how you know he could he knew,
Speaker 3: you know, the love of his life was coming around
Speaker 3: the corner because urine and lavender wafted into the house.
Speaker 3: And I remember how romantic it was to think, Oh,
Speaker 3: here goes Grandma. Yeah, he smelled of it even then.
Speaker 1: No, I heard the rustle of her bag and I
Speaker 1: knew she was the one.
Speaker 3: Here she was, and then crackle, crackle of the fire.
Speaker 3: Those are the memories. Jim, God, bless you, bless you.
Speaker 3: It's great to see your baby. So good to see you.
Speaker 3: That was so much, Such a joy to talk to you.
Speaker 1: It's lovely to talk to you. And congratulations on your kitchen.
Speaker 1: I know I'm seven years later, Bill, Thank you, Bill, wonderful.
Speaker 1: What a ninny right, what a journey I mean, I
Speaker 1: feel like we've all been on that journey twenty eighteen.
Speaker 2: To twenty twenty five. You know, it's been a long road.
Speaker 1: But we got that kitchen and yeah, darn look it's
Speaker 1: a beauty.
Speaker 2: All worth it, all right, take care of my friend.
Speaker 1: Thank you, Bye, Bry