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Speaker 1: Ladies and gentleman Donald Ebody, Donald Nice. He's wearing his.

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Speaker 2: Hot California. Don't you have Arizona, Nevada?

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Speaker 3: As this motherfuckeris alte No.

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Speaker 1: This is a really good smoothie I just got. Oh,

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Speaker 1: it's got I think it's got dates in it or

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Speaker 1: figs in it or some ship dates smoothie?

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Speaker 3: What is that?

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Speaker 1: I didn't hear you guys ever go to Earth Cafe

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Speaker 1: a couple of Yeah, of course, Earth Cafe is my jam.

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Speaker 3: It's Earth Cafe Earth You.

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Speaker 1: It's spelled for you listeners who might one day visit

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Speaker 1: West Hollywood, California. It's spelled you are th h And

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Speaker 1: it's really good. You know what I like to get?

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Speaker 3: Donald Deez motherfucking nuts.

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Speaker 1: Way, mister, what's his name, mister mister uh, mister beats.

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Speaker 1: What's his name? Daniel, mister be the beast, his beast,

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Speaker 1: mister beast. He's got God. This guy is fucking breaking

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Speaker 1: in the money. He's got a freak Anyway, his team

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Speaker 1: I know, and he has chocolate that's called D's Nuts.

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Speaker 1: I don't know why I'm giving this guy a promo

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Speaker 1: because I haven't even tried these nuts. But his team

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Speaker 1: slid into my DMS saying they wanted to send me

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Speaker 1: something and it looked really good. It looked like Reese's

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Speaker 1: peanut butter cups.

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Speaker 2: I don't want to I don't necessarily want to eat

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Speaker 2: mister beasts. Well it's called these nuts, so it doesn't work,

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Speaker 2: but it's funny. You know, it really works. I'm sorry

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Speaker 2: I heard this on the internet. My kid is now

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Speaker 2: surfing YouTube when we're in the car on the way

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Speaker 2: to basketball, and I heard a really good D's Nuts

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Speaker 2: one and I don't want to say it because I

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Speaker 2: don't want to sound like I'm kind of like, you know,

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Speaker 2: but the joke is the dude goes, what's your name?

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Speaker 2: And he goes imagine And the guy goes, imagine Dragon,

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Speaker 2: What imagine Dragon? These nuts all over your face? And

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Speaker 2: I lost it.

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Speaker 3: My kid played this ship and I lost it. I

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Speaker 3: lost the best dad because but.

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Speaker 1: Donald Donald's the perfect dad for a little teenage boy

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Speaker 1: because he's.

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Speaker 3: Like, he's nuts. My kid's nine.

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Speaker 1: You reminded me of something I learned this weekend from

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Speaker 1: a sixteen year old Donald. Have you heard of the

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Speaker 1: expression that's now on TikTok and a sixteen year old

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Speaker 1: boy explained it to me. It's called the giacht. Is

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Speaker 1: that like when no, Donald, that's an egot. Okay, what

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Speaker 1: it's used to describe, Joel, you might want to adopt this,

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Speaker 1: write it down. It's when you see a really nice,

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Speaker 1: juicy bottom, and that's called the giach. Do you know

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Speaker 1: why it's called the giyat? Donald?

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Speaker 3: Why?

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Speaker 1: Because when you see it, you go yeah, no.

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Speaker 4: Oh, my word, the children.

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Speaker 2: That's exactly how I felt when they said, imagine dragon,

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Speaker 2: these nuts all over your face.

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Speaker 3: I laughed for like five minutes. But yo, look, I don't.

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Speaker 1: Want Henry Lawrence who taught me this, And I'm like,

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Speaker 1: I don't understand. Why are they calling a nice bubble

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Speaker 1: butt a gillacht? He goes, because when you see it,

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Speaker 1: you think gillacht diale.

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Speaker 3: That's just horrible.

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Speaker 1: That's why I thought you'd like that. You think it's horrible.

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Speaker 3: I like these nuts jokes better. But all right, that's

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Speaker 3: just me.

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Speaker 1: Yeah, I saw mission impossible. It was fucking awesome.

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Speaker 3: It didn't do that well.

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Speaker 1: Well, it didn't do that well?

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Speaker 3: And are we allowed to talk about that? Okay? Now

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Speaker 3: this is where we get we're not allowed to talk

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Speaker 3: about this.

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Speaker 1: We're not allowed to talk about seeing a movie, Joel,

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Speaker 1: I think some.

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Speaker 4: People will constitute that as promotion.

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Speaker 1: Well, you can leave that in. You can leave that

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Speaker 1: in because we're learning, all right, guys, So let's just

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Speaker 1: get to the obvious. There's a SAG strike, there's a

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Speaker 1: Writer's Guild strike. We're not allowed to talk about Scrubs

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Speaker 1: because one of the rules that we received is you

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Speaker 1: cannot even promote a show that would have been struck

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Speaker 1: had it been filming now, and obviously Scrubs would have

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Speaker 1: been struck, right.

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Speaker 3: Donald, Yep?

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Speaker 1: Now, Joelle, I saw that full House of the TV

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Speaker 1: show they just started a rewatch podcast and it said

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Speaker 1: that they had received some sort of permission from SAG

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Speaker 1: to do it, and I was like, I'm gonna ask

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Speaker 1: Joelle about that.

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Speaker 4: Yeah, so the rules have come down and there's.

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Speaker 3: A little bit confusing.

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Speaker 4: So basically, so SAG wrote to iHeart it was basically like, hey,

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Speaker 4: you guys can continue to do rewatch podcasts if you're

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Speaker 4: under con tracked to do them.

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Speaker 3: So okay.

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Speaker 4: Then we got through the SAG rules we're going through

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Speaker 4: with a fine line and it said if you are SAG,

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Speaker 4: you cannot promote a show. And then sag asked cosplayers

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Speaker 4: not to promote a show if they ever want to

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Speaker 4: be in the union. So then I was like, the

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Speaker 4: waiver seems interesting and a little bit confusing, and so

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Speaker 4: you know, when you came back and you're like, I

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Speaker 4: don't think we should do it, I was like, Okay,

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Speaker 4: I think it's a good to be in alignment with

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Speaker 4: the union and support and we are a very visible podcast,

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Speaker 4: and so I like the idea, and we're looking for

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Speaker 4: ways to pivot when we run out of Scrubs episodes.

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Speaker 4: So I thought, you know what, this might be a

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Speaker 4: been few time for us to try some new things.

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Speaker 1: Joelle, I actually said that to Donald because Donald and

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Speaker 1: I went to picket Netflix today to show our support

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Speaker 1: for our union, and I said to him, I'm in

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Speaker 1: the car. I think it's actually fine because it'll get

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Speaker 1: us practicing and doing other things but the show since

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Speaker 1: we're running out of episode and we want the show

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Speaker 1: to continue.

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Speaker 4: M Yeah, I think it's a good opportunity for us

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Speaker 4: in a good way for us to show our support

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Speaker 4: and hopefully educate folks. I'm like, why it's important to

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Speaker 4: be in alignment with the union with the union is

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Speaker 4: trying to get for everybody.

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Speaker 3: It's a big deal. What's happening right now?

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Speaker 2: Yeah, you know, whether you agree with it or whether

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Speaker 2: you don't agree with it, the fact that all of

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Speaker 2: these people are coming together for one cause, for one

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Speaker 2: purpose is powerful no matter.

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Speaker 5: You know.

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Speaker 2: That was a conversation. That's another conversation. We'll get into

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Speaker 2: it later on too, as we get into the show.

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Speaker 2: But that was another conversation Zach and I had in

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Speaker 2: a car, like what are we doing this for?

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Speaker 3: What's the end game? You know what I mean?

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Speaker 1: Or We have a great guest today whose name is

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Speaker 1: Adam Conover, and he hosts a show called Adam Ruins Everything,

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Speaker 1: but most importantly for our purposes, he's been very vocal

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Speaker 1: on social media. Choell, correct me. I'm ever wrong about

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Speaker 1: explaining this strike and the Writer's Guild strike to people

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Speaker 1: that don't understand it, because most of our listeners, as

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Speaker 1: we obviously understand, are not in the industry, and you

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Speaker 1: might think, like, what is this about. You know, when

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Speaker 1: you think of Hollywood, you think of rich, famous celebrities,

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Speaker 1: and of course this strike is not about the rock

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Speaker 1: It's not really about even Donald and I. It's not

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Speaker 1: about a lot of people I mean in the macro,

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Speaker 1: of course it is, but it's really about the fact

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Speaker 1: that an animal correct the stat if I'm wrong. But

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Speaker 1: I just recently read it, and that is that only

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Speaker 1: twelve percent of SAG members make the minimum amount, which

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Speaker 1: is twenty six thousand dollars a year in order to

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Speaker 1: qualify for health insurance. So it's about so many people

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Speaker 1: that are barely getting by with the way the industry

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Speaker 1: currently is, and how all of these new modes of

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Speaker 1: receiving the entertainment that is streaming, have cut out the

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Speaker 1: main way that actors and writers were making money, which

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Speaker 1: was participating in residuals and of course AI and.

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Speaker 2: All the Yeah, well I want to get into AI too,

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Speaker 2: because you know, I heard rumors and I don't know

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Speaker 2: if this is true, and we'll talk to Adam about this,

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Speaker 2: but I heard rumors that they had already started contacting

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Speaker 2: people or have taken pictures of people's likenesses in the background,

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Speaker 2: paid them one time, and then used, yeah, there, this

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Speaker 2: is true.

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Speaker 1: Well what it is we can ask Adam. But as

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Speaker 1: I understand it, it wasn't for a perpetuity. Although that's

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Speaker 1: super sketch. Who's gonna who's gonna look and and and

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Speaker 1: be able to who's gonna freaking who's gonna audit whether

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Speaker 1: you're right. But let's say you're on Let's say you're

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Speaker 1: a background person on Game of Thrones or or something,

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Speaker 1: some big crowd scene. Right, So they pay you to

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Speaker 1: be a background performer for the day, which is I

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Speaker 1: don't know, two hundred fifty dollars, like you sure the

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Speaker 1: sagmentum what the sagmentimum background is? And then they scan

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Speaker 1: you because they're gonna also use you digitally in crowd

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Speaker 1: scenes in that show. So the ridiculous deal seem to be,

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Speaker 1: we're gonna pay you for one working day, but then

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Speaker 1: also scan you and use you in perpetuity on this

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Speaker 1: show for that whatever that minimal day rate is. So

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Speaker 1: that's all crazy stuff. That's that that that's happening, and

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Speaker 1: we're gonna ask Adam all about that. But most importantly,

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Speaker 1: we want to have Adam on the show for our listeners.

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Speaker 1: Because we, the four of us, only know little tidbits

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Speaker 1: about it. We wanted someone to come on who could

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Speaker 1: explain it all, not only to us but to you

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Speaker 1: and hopefully we can all gain some insight what this

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Speaker 1: what this is all about, and what is the endgame?

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Speaker 1: As Donald said, how does this possibly end? And how

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Speaker 1: long could it feasibly be? I gotta say one funny

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Speaker 1: story before bite, Adam, and do you remember the the

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Speaker 1: Key and Peel sketch you guys were where Barack Obama

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Speaker 1: gets off the stage and to all the African American people,

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Speaker 1: he's giving the hip hop hugs. This is exactly what

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Speaker 1: happened when Donald and I were just picking it. Donald,

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Speaker 1: every single African American actor was like yo to Donald

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Speaker 1: giving him hugs. They remembered him, they knew him in

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Speaker 1: New York, they know his mom, all this stuff. Like

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Speaker 1: Donald was like fucking basically Obama on the picket line.

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Speaker 1: And then they'd seen me in like, oh hey, how

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Speaker 1: are you? How are you?

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Speaker 3: How are Yeah?

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Speaker 1: I was like, I was like, dude, this is real life.

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Speaker 1: This is the real life version of that Key and Peel.

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Speaker 3: See, this hasn't happened in a long time where people were.

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Speaker 2: Like, yo, fuck Faison, Donald, Faison, I'm sorry, what's your name?

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Speaker 1: To Zach that really happened to him. And then the

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Speaker 1: same guy who said that was like, yeah, I'm killing

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Speaker 1: it with the Spectrum commercials with Donald Donald. I was

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Speaker 1: like when I left the picking like Donald should run

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Speaker 1: for office. I mean, everybody loved Donald. They were going crazy,

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Speaker 1: They're asking for selfies with Donald.

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Speaker 3: I got haters. I got haters. Don't everybody got haters? Donald,

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Speaker 3: I got, I gotta have haters. I ain't doing it right.

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Speaker 1: Donald. You must have left that picket line being like, damn,

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Speaker 1: I'm beloved, no, because you always tell that story how

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Speaker 1: it was scrubs guy, and today today it was it was.

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Speaker 1: It was definitely Donald Faison and white scrubs and.

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Speaker 3: White scrubs, right, all.

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Speaker 1: Right, So let's count in and inviting Adam.

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Speaker 6: Go ahead, Donald sties about sure, we made about a

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Speaker 6: bunch of.

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Speaker 5: The stories. So here, ladies and gentlemen, give it up.

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Speaker 1: Oh god, I don't think that's how you say his name, Donald,

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Speaker 1: How do you say it? Adam Conover? I did say that,

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Speaker 1: I know, but you said it with your Oprah voice,

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Speaker 1: and it was really hard to understand.

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Speaker 3: You're a dick, Adam.

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Speaker 1: You're very handsome man. Yeah, I told you that.

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Speaker 2: I was expecting something else.

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Speaker 1: Show, and so I know what you look like, but

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Speaker 1: I didn't know I was gonna get movement?

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Speaker 2: Is I am never well, this is harassment. I have

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Speaker 2: never seen your show. It's fine, But as soon as

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Speaker 2: I saw you, I was like, hello.

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Speaker 1: Yeah, yeah, Well now this chat's going to be If

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Speaker 1: you guys need to google image if you don't know

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Speaker 1: what Adam looks like. He's a very handsome man, and

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Speaker 1: I think it's gonna make this chat even more enjoyable.

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Speaker 3: Donald I agree. Wow you guys, You guys are too nice.

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Speaker 1: Adam, thank you so much for coming on. We this

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Speaker 1: is our very first episode not talking about our television

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Speaker 1: show because we are honoring the strike rules and we

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Speaker 1: all have questions we don't know understand we have. We

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Speaker 1: know we know some basic things about the strike. Our audience, obviously,

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Speaker 1: for the most part, is not entertainment, and we thought

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Speaker 1: they probably have lots of questions because they probably are

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Speaker 1: sitting there going why is Leonardo DiCaprio on strike? I

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Speaker 1: don't understand he has a yacht.

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Speaker 2: And also for those audience members out there who do

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Speaker 2: know who are in the union and who are actors

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Speaker 2: but still don't know what's going on, this is a

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Speaker 2: great conversation to have because there are a.

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Speaker 3: Bunch of people out there.

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Speaker 2: There are a bunch of people out there that have

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Speaker 2: no clue what's happening.

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Speaker 3: Yes, I'm happy to answer every question as best I can,

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Speaker 3: and uh my credentials in that matter, in case you're

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Speaker 3: curious are I'm on the board of the Writer's Guild

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Speaker 3: of America West and the negotiating committee for the Writers

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Speaker 3: Guild on a sag After a member as well, so

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Speaker 3: I know a little bit more about the Writers Guild

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Speaker 3: than about sag After. But I bet I can answer

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Speaker 3: almost every one of your questions.

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Speaker 1: Okay, Well, let's start at the very beginning, which Donald

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Speaker 1: is you know, is a very good place to start.

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Speaker 2: Let's start at the very Okay, So which line should

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Speaker 2: we go to if we're looking for hot chicks?

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Speaker 3: Yeah?

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Speaker 1: Donald wants to know first and foremost, even as a

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Speaker 1: married man. As a married man, Donald wants to know

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Speaker 1: which picket line has the most baddies.

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Speaker 3: The answer is absolutely Netflix. You need to go to

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Speaker 3: the Netflix line.

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Speaker 1: Okay, Well, there you go, Donald, you've been informed that's

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Speaker 1: actually where we picketed today. We picketed today. Let's get

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Speaker 1: to the basics, Adam, and we'll just start with SAG

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Speaker 1: if you don't mind, because that's the one that is

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Speaker 1: obviously become on our minds. I'm in the Writers' Guild too,

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Speaker 1: but Donald's in SAG and obviously one hundred and sixty

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Speaker 1: thousand people just went on the strike, and those were

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Speaker 1: all the most of the celebrity names that people know.

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Speaker 1: So we've explained it in mediocre terms to people trying

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Speaker 1: to explain the idea of residuals, and we can will

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Speaker 1: separate AI out for just for the moment, let's just

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Speaker 1: talk about how people's livelihoods have been changed with the

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Speaker 1: move to streaming. Can you can you explain it like

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Speaker 1: I'm five, as they say to our audience who are

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Speaker 1: not in entertainment.

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Speaker 3: Sure, So the last time writers and actors went on

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Speaker 3: strike together was nineteen sixty. It was sixty three years ago,

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Speaker 3: and what we want in that negotiation was this thing

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Speaker 3: called residuals. And the residual payment as it was then

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Speaker 3: and mostly still is today, is that when something that

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Speaker 3: we make that you know, we create as the original

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Speaker 3: artists who created the work, and then this includes directors

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Speaker 3: as well and crew members, every time that airs, we

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Speaker 3: receive a percentage of the profit or we receive a payment,

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Speaker 3: So it's not technically a percentage of the profit. It's

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Speaker 3: a it's you know, we receive a payment every single

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Speaker 3: time it airs. And you know that was invented in

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Speaker 3: the days of broadcast, then updated for cable where you know,

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Speaker 3: it's near programming, so every time they choose to rerun it,

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Speaker 3: you get a payment. It also applies to theatrical releases

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Speaker 3: and you know physical DVD as well, And this ended

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Speaker 3: up becoming a fundamental part of our our compensation where

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Speaker 3: you know, as folks may not realize that for the

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Speaker 3: average working actor or writer, you know, you work one

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Speaker 3: job and you get paid for that job, but it

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Speaker 3: can be six months to a year before you get

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Speaker 3: your next job, during which time you're not sitting around,

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Speaker 3: you're working. You're a plot you know, you're auditioning, you're

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Speaker 3: writing spec scripts, you're developing, right, but you're not paid

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Speaker 3: for that work. So residuals became an essential part of

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Speaker 3: how you know what it's like to make a living

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Speaker 3: in this town. So, for example, I created a show

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Speaker 3: called Adam Ruins. Everything I wrote on that show I

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Speaker 3: also acted in it, and every every year that the

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Speaker 3: show aired, I would receive something like twenty five thousand

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Speaker 3: dollars in residuals for all the various runs of the episodes,

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Speaker 3: and the residual is it's the first time it runs,

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Speaker 3: and it goes down every time. So, you know, the

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Speaker 3: first job, we get the twenty five thousand dollars. Now

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Speaker 3: I get maybe five grand year or something like that.

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Speaker 3: Now twenty five thousand dollars. I'm not getting rich off

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Speaker 3: of that, but that's like, you know, part of a

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Speaker 3: mortgage payment for your year. You're right, that's just that's

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Speaker 3: part of a living and it adds up with everything,

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Speaker 3: all the other money that you're making. It helps you

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Speaker 3: make a life here.

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Speaker 2: Because coming here you gotta hustle regardless. And we all know, yes,

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Speaker 2: right that, we all know this town is about hustling

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Speaker 2: and it never fucking pays. But you know, back then,

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Speaker 2: at least we got some sort of you know, here

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Speaker 2: you go, here's an extra bonus of we played it again.

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Speaker 3: And by the way, some people wonder, what is the

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Speaker 3: concept behind a residual at all? Why do we think

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Speaker 3: we deserve one? Because most people who do a job,

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Speaker 3: they're like, well, you know, if I help build a boat,

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Speaker 3: I don't get money every time someone rents the boat

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Speaker 3: or whatever. Right, the reason for that is and this

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Speaker 3: is I think one of the interesting things that's underappreciated

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Speaker 3: is that most writers or performers, you own the copyright

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Speaker 3: to what you make. Right, you write a novel, you

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Speaker 3: own the copyright to it, and you have to get

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Speaker 3: paid every time. Right. In the entertainment industry, we give

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Speaker 3: the copyright to the movie studio when I write a

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Speaker 3: screenplay or an episode of television. I don't retain the

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Speaker 3: copyright like a novelist does, right, I give it to

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Speaker 3: the company. And so the residual is like a really

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Speaker 3: payback for me assigning the copyright to them. So sorry,

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Speaker 3: what was your question going to be, Zach?

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Speaker 1: You know, I want to just help parse out for

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Speaker 1: people to remove the celebrity aspects of not that obviously

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Speaker 1: those people want residuals, Donald and I want residuals. But

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Speaker 1: I want to just parse out that everyone in Hollywood,

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Speaker 1: for the most part is a freelance worker. Yes, some people, yes,

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Speaker 1: have been very lucky and made a ton of money,

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Speaker 1: but think of the bulk of the guild, and those

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Speaker 1: can range from people who work every once in a while,

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Speaker 1: and the are date players who get a line here

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Speaker 1: and there. They're the smaller characters. Those could be people

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Speaker 1: that have a big show but have had haven't had

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Speaker 1: a show again in years. And those can be also

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Speaker 1: a background performers who works as the people in the

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Speaker 1: background and everything and anything in betw.

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Speaker 2: I'm about to say, there's so much. There's so many

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Speaker 2: other things. There are people that were on television shows

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Speaker 2: for years and didn't get paid money because of course

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Speaker 2: the way contracts were made, and didn't get paid a

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Speaker 2: lot of money. And we are led to believe that

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Speaker 2: their persona in the world is big and they're famous

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Speaker 2: and everything like that, but their check was little.

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Speaker 1: Right, Yeah. Think of that ultimate example of that wonderful actor.

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Speaker 1: I can't think of his name, Joelle, you might know it,

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Speaker 1: who was on The Cosby Show and he was working

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Speaker 1: as a grocery bagger and I remember it went viral

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Speaker 1: because the world was shocked, and he was like, noh, yeah,

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Speaker 1: why are you shocked? I worked for a while on

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Speaker 1: the Cosby Show, but I haven't worked in years, and

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Speaker 1: now I need to make a living and pay for

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Speaker 1: my family. And there was such an outpouring of love

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Speaker 1: for him. He ended up getting lots of jobs, but

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Speaker 1: that was a that was a moment that I think

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Speaker 1: is really apropos for this discussion, because there's a guy

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Speaker 1: who who isn't just a who. Maybe he's not a

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Speaker 1: household name, but he was a working actor we all

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Speaker 1: grew up watching, and now he's working as a was

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Speaker 1: working as a grocery bagger. So I just would help you,

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Speaker 1: I guess, Adam, I want you to help us explain

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Speaker 1: to the audience how to parse out, yeah, the different

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Speaker 1: aspects of the union.

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Speaker 3: Look, I saw I saw a great Sorry, sorry.

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Speaker 1: I want to say. His name is Jeffrey Owens. Jowell

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Speaker 1: just told me go ahead.

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Speaker 3: Oh yeah, I mean Jeffrey's story is the is the

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Speaker 3: common story in Hollywood. I saw some stats today that

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Speaker 3: if you go look at the number of actors who

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Speaker 3: have appeared on your favorite show, look at like Law

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Speaker 3: and Order, Right, thousands of actors have appeared on Law

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Speaker 3: and Order over there. Now that's a long show, but

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Speaker 3: even a shorter run show, it'll be you know, a

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Speaker 3: thousand actors have been on Mad Men or whatever. Right,

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Speaker 3: we're talking background actors. We're talking like, you know, people

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Speaker 3: who have one or two lines, et cetera. And those

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Speaker 3: are middle class jobs. When you turn on your television.

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Speaker 3: Ninety five percent of the people you see on there

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Speaker 3: are just trying to make a mortgage payment. You know,

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Speaker 3: Mariska Hargeta is making a ton of money. The guy

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Speaker 3: who's playing the dead body is like hoping to hoping

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Speaker 3: to pay rent this month, right, right, And so the

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Speaker 3: decline of residuals has hit those folks. So I said that,

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Speaker 3: you know, for writing in Adam Ruins Everything, I would

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Speaker 3: receive about twenty five grand a year, a little bit

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Speaker 3: less for acting. Let's say ten something like that, right,

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Speaker 3: my total residual payment. I created a new show for Netflix,

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Speaker 3: six episodes called The G Word. Came out in last year,

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Speaker 3: twenty twenty two. I just received my first residual payment

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Speaker 3: for the entire year of that being on the largest

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Speaker 3: platform in the world, whereas Adam Ruins Everything was on

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Speaker 3: the smallest channel on basic cable. My entire year's residual

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Speaker 3: was five hundred dollars, which is obviously shit.

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Speaker 2: Oh shit, dude, listen, man, all right, If I'm on

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Speaker 2: a show and it streams like a beast on whatever

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Speaker 2: streaming platform it is, and somebody else is on the

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Speaker 2: show and it doesn't stream like a beast, here's the question,

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Speaker 2: shouldn't I get paid more money in residuals because my

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Speaker 2: show was watched more?

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Speaker 3: Or I mean, these.

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Speaker 1: Are want to connect. I just want to I just

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Speaker 1: want to connect the dots for everyone. So Adam's first

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Speaker 1: show that he's referencing where he made the twenty five

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Speaker 1: and the ten thousand dollars, was a basic a smaller

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Speaker 1: basic cable show on te T Now. Yes, yeah, on

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Speaker 1: True TV. Now that we the whole world has moved

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Speaker 1: to streaming is basically gone. I'm surprised you even got

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Speaker 1: five hundred dollars there. It's just not a thing. The

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Speaker 1: Netflix model and Netflix began it, if I'm not mistaken,

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Speaker 1: was we're not going to participate in that there There

435
00:22:35,359 --> 00:22:38,119
Speaker 1: is no or maybe there's a miniscool amount there, but

436
00:22:38,320 --> 00:22:41,520
Speaker 1: for all intents and purposes, there is no residual. We're

437
00:22:41,560 --> 00:22:44,119
Speaker 1: buying you out and there is no back end money.

438
00:22:44,200 --> 00:22:46,320
Speaker 1: How did they get around that, Adam, I guess because

439
00:22:46,320 --> 00:22:49,640
Speaker 1: it was a new platform. It wasn't cable, it was streaming, right, correct.

440
00:22:49,720 --> 00:22:52,199
Speaker 3: So you know, one of the problems with you know,

441
00:22:52,320 --> 00:22:54,960
Speaker 3: labor negotiations in America, this is just how it works

442
00:22:54,960 --> 00:22:58,040
Speaker 3: in our industry is every time there's a new format,

443
00:22:58,280 --> 00:23:01,879
Speaker 3: we have to renegotiate for that format. So you know,

444
00:23:01,960 --> 00:23:04,440
Speaker 3: the when the Writers Guild was founded ninety years ago,

445
00:23:04,520 --> 00:23:07,359
Speaker 3: SAG after around the same time, or sorry, SAG was

446
00:23:07,359 --> 00:23:10,840
Speaker 3: originally just the Screen Actors Guild, and you know, first

447
00:23:10,840 --> 00:23:13,480
Speaker 3: it just covered film. Then television was invented, and the

448
00:23:13,560 --> 00:23:16,000
Speaker 3: unions had to fight to cover television, and that that

449
00:23:16,119 --> 00:23:20,880
Speaker 3: was just broadcast, right NBC, ABC, CBS. Then cable was invented,

450
00:23:20,880 --> 00:23:22,439
Speaker 3: and so we had to fight to cover cable, had

451
00:23:22,440 --> 00:23:24,720
Speaker 3: to fight to cover HBO, and now streaming and.

452
00:23:24,760 --> 00:23:29,920
Speaker 1: That was DVDs HS and I guess probably covered DVD.

453
00:23:30,720 --> 00:23:33,960
Speaker 3: And if you if you remember the last writers strike

454
00:23:34,000 --> 00:23:36,880
Speaker 3: in two thousand and seven and eight, the entire point

455
00:23:36,920 --> 00:23:39,680
Speaker 3: of that strike was just to get jurisdiction over the internet,

456
00:23:39,840 --> 00:23:42,399
Speaker 3: just to say those jobs have to be union. And

457
00:23:42,880 --> 00:23:45,080
Speaker 3: thankfully the writers at that time went on strike and

458
00:23:45,119 --> 00:23:49,159
Speaker 3: won that for everybody. Now that you know streaming has

459
00:23:49,240 --> 00:23:51,600
Speaker 3: taken over, we are going back to get the money

460
00:23:51,680 --> 00:23:54,800
Speaker 3: right because our contracts just the formulas are worse for

461
00:23:55,040 --> 00:23:57,760
Speaker 3: they're very very poor for streaming, whereas they're quite good

462
00:23:57,760 --> 00:24:00,280
Speaker 3: and mature for broadcasting cable. And so we're trying to

463
00:24:00,320 --> 00:24:00,960
Speaker 3: get that parody.

464
00:24:01,240 --> 00:24:03,840
Speaker 2: Well, what's crazy is that they'll, you know, like always,

465
00:24:03,840 --> 00:24:07,480
Speaker 2: they'll scream, we don't have the money, though, where's the money?

466
00:24:07,520 --> 00:24:10,159
Speaker 2: What fucking money are you talking about? I'm not making

467
00:24:10,200 --> 00:24:10,800
Speaker 2: any money.

468
00:24:10,840 --> 00:24:11,119
Speaker 3: I'm not.

469
00:24:11,400 --> 00:24:14,399
Speaker 2: I mean, yeah, I got paid my salary and then

470
00:24:14,480 --> 00:24:17,800
Speaker 2: got that bonus that you know, extra forty three but

471
00:24:17,960 --> 00:24:20,720
Speaker 2: you know, the million, but you know that's not where

472
00:24:21,000 --> 00:24:24,199
Speaker 2: what are you talking about? That we have money to

473
00:24:24,320 --> 00:24:25,800
Speaker 2: pay all of you actors?

474
00:24:26,280 --> 00:24:26,440
Speaker 3: Yeah?

475
00:24:26,520 --> 00:24:28,320
Speaker 1: Yeah, So what do you say to that, Adam, Because

476
00:24:28,359 --> 00:24:34,640
Speaker 1: obviously the studios, the streamers, line and Bob Iger came

477
00:24:34,680 --> 00:24:37,000
Speaker 1: out and said some things that were quite unpopular, but

478
00:24:37,080 --> 00:24:39,520
Speaker 1: basically saying, the industry is at a tough spot. It's

479
00:24:39,520 --> 00:24:42,080
Speaker 1: recovering from COVID. This is the worst time for this.

480
00:24:42,359 --> 00:24:45,560
Speaker 1: We don't have money. This is going to hurt the

481
00:24:45,560 --> 00:24:49,840
Speaker 1: industry more at a time when it's just trying to recover.

482
00:24:50,000 --> 00:24:55,960
Speaker 1: I'm paraphrasing. He was. You know, it was round widely received,

483
00:24:56,280 --> 00:25:00,000
Speaker 1: very poorly, as he felt like he was the living

484
00:25:00,280 --> 00:25:03,760
Speaker 1: incarnation of mister Burns from The Simpsons, especially since he's

485
00:25:03,760 --> 00:25:06,440
Speaker 1: collecting some obscene amount of salary every year.

486
00:25:06,640 --> 00:25:08,720
Speaker 3: Yeah, he had just renegotiated in a salary for himself

487
00:25:08,760 --> 00:25:09,880
Speaker 3: an extra fifty million a year.

488
00:25:10,560 --> 00:25:12,840
Speaker 1: An extra fifty million a Year's.

489
00:25:12,440 --> 00:25:13,280
Speaker 3: That's my understanding.

490
00:25:13,320 --> 00:25:18,560
Speaker 1: Yeah, So what do they say in response other than

491
00:25:18,680 --> 00:25:20,320
Speaker 1: we can't afford this.

492
00:25:21,520 --> 00:25:23,719
Speaker 3: I mean, that's that is all that they say, you know.

493
00:25:23,800 --> 00:25:26,119
Speaker 3: And here's the thing though, that's not a line that

494
00:25:26,160 --> 00:25:30,160
Speaker 3: we can listen to, because you know, we never ask

495
00:25:30,280 --> 00:25:32,920
Speaker 3: them and they say, oh, yeah, now's a great time.

496
00:25:33,000 --> 00:25:35,800
Speaker 3: Business is booming. Pull up a chair, you know, we're

497
00:25:35,880 --> 00:25:38,200
Speaker 3: ready to negotiate, right, They always oh, it is such

498
00:25:38,200 --> 00:25:41,280
Speaker 3: a bad time. Oh we're all tightening our belts. Oh,

499
00:25:41,320 --> 00:25:43,240
Speaker 3: we can't afford it. Right, But if you look at

500
00:25:43,280 --> 00:25:45,040
Speaker 3: the actual numbers and the writers build we have a

501
00:25:45,080 --> 00:25:48,320
Speaker 3: research department that spends all day every day analyzing how

502
00:25:48,359 --> 00:25:51,040
Speaker 3: much money the companies are making. They're all making more

503
00:25:51,119 --> 00:25:53,760
Speaker 3: profit than ever, they're all making more revenue than ever.

504
00:25:54,119 --> 00:25:56,439
Speaker 3: And the show budgets have gone up. Show budgets have

505
00:25:56,440 --> 00:25:58,440
Speaker 3: gone up by fifty percent over the last ten years.

506
00:25:58,520 --> 00:26:01,600
Speaker 3: Writer pay has gone down by twenty three percent. And

507
00:26:01,760 --> 00:26:03,600
Speaker 3: I don't have the figures on hand for actors, but

508
00:26:03,760 --> 00:26:06,880
Speaker 3: if listening to you know, working actors such as yourselves

509
00:26:06,880 --> 00:26:08,360
Speaker 3: and my friends who do that, and just my own

510
00:26:08,400 --> 00:26:12,639
Speaker 3: experiences as an actor. It's it's clearly harder to make

511
00:26:12,640 --> 00:26:14,800
Speaker 3: a living here than it was, you know, just five

512
00:26:14,880 --> 00:26:18,760
Speaker 3: or ten years ago. So you know, now what has

513
00:26:18,840 --> 00:26:22,359
Speaker 3: happened is that they had a boom because of the pandemic.

514
00:26:22,400 --> 00:26:24,840
Speaker 3: Everyone signed up for streaming services, and the boom is

515
00:26:24,840 --> 00:26:26,960
Speaker 3: like fading a little bit, right, But that was That

516
00:26:26,960 --> 00:26:29,919
Speaker 3: doesn't mean they're unprofitable. And also they all decided to

517
00:26:29,920 --> 00:26:32,840
Speaker 3: buy each other. So Warner Brothers Discovery, you know, took

518
00:26:32,880 --> 00:26:36,119
Speaker 3: on immense amounts of debts that David Zoslov could you know,

519
00:26:36,160 --> 00:26:38,679
Speaker 3: his small company, Discovery, he could buy this giant company,

520
00:26:38,680 --> 00:26:41,639
Speaker 3: Warner Brothers. It was a terrible deal. He's you know,

521
00:26:41,680 --> 00:26:44,000
Speaker 3: they're losing money on the deal because they're having to

522
00:26:44,040 --> 00:26:47,000
Speaker 3: finance all this debt. But that's not our fault. It

523
00:26:47,040 --> 00:26:49,080
Speaker 3: doesn't you know, that doesn't mean that we should pay

524
00:26:49,119 --> 00:26:51,159
Speaker 3: Like if you work at a grocery store, you know,

525
00:26:51,280 --> 00:26:53,880
Speaker 3: the grocery store can't say, hey, guess what, people aren't

526
00:26:53,880 --> 00:26:55,760
Speaker 3: buying as many big beans, we're gonna pay you less,

527
00:26:55,880 --> 00:26:59,640
Speaker 3: you know, like it's I'm sorry, you know, they're still

528
00:26:59,640 --> 00:27:01,640
Speaker 3: making aid amounts of money on our work. And by

529
00:27:01,680 --> 00:27:06,199
Speaker 3: the way, they are rocketing towards profitability. All these companies.

530
00:27:06,240 --> 00:27:09,560
Speaker 3: They're adding ads, they're adding free tiers. I mean, you

531
00:27:09,600 --> 00:27:12,680
Speaker 3: know all if you listen to their earnings calls right

532
00:27:12,680 --> 00:27:14,960
Speaker 3: where they talk to the stock market, they say, Wow,

533
00:27:15,040 --> 00:27:17,280
Speaker 3: everything's going so great. We're growing, growing, growing, We've got

534
00:27:17,280 --> 00:27:19,320
Speaker 3: all these new movies coming out. Oh my god, most

535
00:27:19,320 --> 00:27:21,360
Speaker 3: profitable ever. Blah blah blah blah blah. Then they sit

536
00:27:21,440 --> 00:27:24,280
Speaker 3: down with us and they plead poverty. It's ridiculous, you know,

537
00:27:24,440 --> 00:27:25,320
Speaker 3: it's just propaganda.

538
00:27:25,400 --> 00:27:27,560
Speaker 2: I mean it's always been that though, right, Like, it's

539
00:27:27,600 --> 00:27:30,919
Speaker 2: always been what it is though. You know, it's hardest.

540
00:27:31,000 --> 00:27:32,800
Speaker 2: The hardest thing to do in this town is get

541
00:27:32,800 --> 00:27:37,160
Speaker 2: a movie made. That's the hardest thing to do. Yeah,

542
00:27:38,119 --> 00:27:38,800
Speaker 2: we'll make it.

543
00:27:38,880 --> 00:27:41,199
Speaker 1: What will happen? So it's been what has it been

544
00:27:41,240 --> 00:27:43,560
Speaker 1: with the writers? It's been thirteen weeks? Is that correct?

545
00:27:44,320 --> 00:27:48,480
Speaker 3: Uh, let's see something. Yeah, we're in the eighties of

546
00:27:48,560 --> 00:27:49,520
Speaker 3: days in terms.

547
00:27:49,359 --> 00:27:53,480
Speaker 1: Of well, is that correct? You put that in my notest? Okay,

548
00:27:51,880 --> 00:27:56,600
Speaker 1: so I think ye, So that's Joelle says, that's I

549
00:27:56,640 --> 00:28:00,600
Speaker 1: can't do math. But Joelle says, that's thirteen weeks. It

550
00:28:00,640 --> 00:28:03,439
Speaker 1: goes without saying it helps that one hundred and sixty

551
00:28:03,520 --> 00:28:07,720
Speaker 1: thousand people just additionally went on strike when the actors

552
00:28:07,800 --> 00:28:10,560
Speaker 1: joined them. You know, the question on everyone's mind is

553
00:28:10,600 --> 00:28:15,440
Speaker 1: how long could this possibly play out? These studios are

554
00:28:15,440 --> 00:28:20,400
Speaker 1: definitely putting out there that they're in no rush to

555
00:28:20,400 --> 00:28:22,520
Speaker 1: to settle this, that they're going to try and wait

556
00:28:22,560 --> 00:28:22,840
Speaker 1: it out.

557
00:28:22,920 --> 00:28:25,480
Speaker 2: They know some of them are partying in the Hamptons

558
00:28:25,560 --> 00:28:26,400
Speaker 2: as we speak.

559
00:28:26,640 --> 00:28:29,840
Speaker 1: I just want to say that, you know the other

560
00:28:29,880 --> 00:28:31,399
Speaker 1: thing I want to just touch on. I know I'm

561
00:28:31,400 --> 00:28:33,119
Speaker 1: asking you two questions at once, but I'm excited to

562
00:28:33,119 --> 00:28:36,040
Speaker 1: have you. I have so many questions. But the you know,

563
00:28:36,240 --> 00:28:39,520
Speaker 1: it goes without saying. This affects so many people outside

564
00:28:39,560 --> 00:28:42,120
Speaker 1: of these guilts because the industry is on pause. So

565
00:28:42,240 --> 00:28:45,120
Speaker 1: whether you're a restaurant in the neighborhood, or you're a

566
00:28:45,200 --> 00:28:47,560
Speaker 1: dry cleaner that service the industry, or you're any of

567
00:28:47,600 --> 00:28:49,840
Speaker 1: the crew positions that aren't in these guilds that are

568
00:28:49,880 --> 00:28:52,800
Speaker 1: that are that are forced to stop your work. People

569
00:28:52,880 --> 00:28:56,760
Speaker 1: are really going to start or already are starting to struggle,

570
00:28:57,480 --> 00:29:01,840
Speaker 1: And the question on every one's minds is how long

571
00:29:01,920 --> 00:29:05,680
Speaker 1: can this go? How long can these studios sort of

572
00:29:05,800 --> 00:29:10,160
Speaker 1: fold their arms and make people wait to come to

573
00:29:10,200 --> 00:29:11,800
Speaker 1: the table with a real offer.

574
00:29:12,400 --> 00:29:14,240
Speaker 3: First of all, you know, there's no way for me

575
00:29:14,280 --> 00:29:16,520
Speaker 3: to predict how long it's going to go. And anyone

576
00:29:16,520 --> 00:29:18,880
Speaker 3: who tells you they have a prediction is making shit

577
00:29:19,000 --> 00:29:21,360
Speaker 3: up and they're they're bullshitting you, and you should ignore them.

578
00:29:21,600 --> 00:29:24,040
Speaker 3: But but how do we think about how long it's

579
00:29:24,080 --> 00:29:28,840
Speaker 3: going to go? Look, the only way that a labor

580
00:29:29,440 --> 00:29:32,720
Speaker 3: union ever loses is if their own members say, you

581
00:29:32,800 --> 00:29:35,080
Speaker 3: know what, this has gone on too long. We want

582
00:29:35,080 --> 00:29:36,600
Speaker 3: to go back to work and take a bad deal,

583
00:29:36,840 --> 00:29:38,880
Speaker 3: you know, like we just you know what, let's just

584
00:29:39,000 --> 00:29:42,520
Speaker 3: let's just go back to work. Everything was fine, no worries, right,

585
00:29:42,600 --> 00:29:44,680
Speaker 3: just so we'll take an okay deal. I don't think

586
00:29:44,680 --> 00:29:46,080
Speaker 3: that's gonna happen this year.

587
00:29:46,000 --> 00:29:48,200
Speaker 2: Because I really hope that doesn't happen, because if that doesn't,

588
00:29:48,200 --> 00:29:50,320
Speaker 2: I don't think what the fuck were we doing?

589
00:29:50,800 --> 00:29:53,120
Speaker 3: I don't think and I don't think it will donald

590
00:29:53,120 --> 00:29:56,480
Speaker 3: because I think actors and writers know that if we

591
00:29:56,520 --> 00:29:58,080
Speaker 3: don't have this fight right now, we're not going to

592
00:29:58,160 --> 00:30:00,400
Speaker 3: have jobs to go back to five years from now.

593
00:30:00,440 --> 00:30:03,320
Speaker 3: That you know it's gonna our careers will be turned

594
00:30:03,320 --> 00:30:06,280
Speaker 3: into gigwork. Uh, you know, the companies will have eradicated

595
00:30:06,320 --> 00:30:08,920
Speaker 3: the writing room. They'll have like you know, they'll be

596
00:30:08,920 --> 00:30:12,280
Speaker 3: stealing everybody's likenesses with AI And even if you get

597
00:30:12,320 --> 00:30:13,800
Speaker 3: a job, it won't pay enough to be able to

598
00:30:13,800 --> 00:30:15,920
Speaker 3: make a living. And we're gonna be doing this nights

599
00:30:15,960 --> 00:30:18,440
Speaker 3: and weekends in between shifts at Gelson's or you know,

600
00:30:18,600 --> 00:30:20,560
Speaker 3: at our H and R Block job. Right, that'll be

601
00:30:20,560 --> 00:30:22,280
Speaker 3: the new reality. That's what Bill, That's what it is

602
00:30:22,320 --> 00:30:24,040
Speaker 3: in a lot of countries like Korea, that's what the

603
00:30:24,160 --> 00:30:25,160
Speaker 3: entertainment industry is.

604
00:30:25,280 --> 00:30:27,320
Speaker 1: Sorry, go ahead, And that's what Bill Lawrence had said.

605
00:30:27,360 --> 00:30:29,880
Speaker 1: Another thing he thought said that I thought was really insightful.

606
00:30:29,960 --> 00:30:34,840
Speaker 1: He said, you know, this will become a career that

607
00:30:35,000 --> 00:30:41,200
Speaker 1: is only accessible to people who are wealthy, people who

608
00:30:41,240 --> 00:30:43,520
Speaker 1: have a spouse who can support them, people who have

609
00:30:43,520 --> 00:30:46,640
Speaker 1: a family that can support them. And obviously that's gonna

610
00:30:46,680 --> 00:30:53,760
Speaker 1: skew away from minorities. It's gonna skew away from all

611
00:30:53,800 --> 00:30:58,960
Speaker 1: sorts of folks who are less likely statistically to have

612
00:30:59,440 --> 00:31:03,400
Speaker 1: some sort of of generational wealth that enables them to

613
00:31:03,440 --> 00:31:07,520
Speaker 1: pursue the art form. Uh, whether with making under twenty

614
00:31:07,520 --> 00:31:10,120
Speaker 1: six thousand dollars a year or it'll be like.

615
00:31:10,080 --> 00:31:13,200
Speaker 2: A freaking high school elective all of a sudden, like, yeah,

616
00:31:13,360 --> 00:31:15,280
Speaker 2: the fuck, you know what I mean, Like it's not

617
00:31:15,320 --> 00:31:15,960
Speaker 2: even part of.

618
00:31:15,920 --> 00:31:17,200
Speaker 3: The curriculum anymore.

619
00:31:17,440 --> 00:31:20,239
Speaker 2: It's just a freaking you gotta go freaking sign up

620
00:31:20,280 --> 00:31:22,360
Speaker 2: for that shit, and if you're lucky, you get picked,

621
00:31:22,880 --> 00:31:23,480
Speaker 2: you know, yeah.

622
00:31:23,320 --> 00:31:25,400
Speaker 3: I mean. And there's a really good example of that,

623
00:31:25,440 --> 00:31:28,520
Speaker 3: by the way, it's called reality shows. Right. People who

624
00:31:28,560 --> 00:31:30,680
Speaker 3: work on reality shows, they pay you nothing to do it.

625
00:31:31,040 --> 00:31:33,239
Speaker 3: They do it because they're already rich. And then how

626
00:31:33,240 --> 00:31:34,840
Speaker 3: do they make money. They make money off of doing

627
00:31:34,880 --> 00:31:37,680
Speaker 3: all the ancillary stuff like selling, you know, brand putting

628
00:31:37,680 --> 00:31:40,200
Speaker 3: their name on stuff and branding things, et cetera. Right, Right,

629
00:31:40,240 --> 00:31:43,200
Speaker 3: And I think that we as a culture and we

630
00:31:43,240 --> 00:31:45,600
Speaker 3: as an industry don't want that to happen to our industry.

631
00:31:45,840 --> 00:31:48,160
Speaker 3: I don't think we're gonna let it happen. So I think, uh,

632
00:31:48,480 --> 00:31:51,320
Speaker 3: I think that the workers are incredibly united and we're

633
00:31:51,320 --> 00:31:53,320
Speaker 3: not gonna leave the picket line. So how does that

634
00:31:53,360 --> 00:31:56,960
Speaker 3: mean things are going to end? Well, it's gonna end

635
00:31:56,960 --> 00:31:58,719
Speaker 3: when the companies come back to the table and they

636
00:31:58,720 --> 00:32:01,560
Speaker 3: make deals with the unions that that the unions can accept.

637
00:32:01,720 --> 00:32:03,800
Speaker 3: So how long is that gonna happen. It is gonna

638
00:32:03,800 --> 00:32:05,400
Speaker 3: take for that to happen. I think it's I think

639
00:32:05,400 --> 00:32:07,680
Speaker 3: we're going to start to see it over the next

640
00:32:07,800 --> 00:32:11,280
Speaker 3: couple weeks and months. Because when the Writer's Guild went

641
00:32:11,320 --> 00:32:13,400
Speaker 3: on strike, the Writer's gold Is historically been the only

642
00:32:13,400 --> 00:32:15,440
Speaker 3: militant union, the only union that went on strike, So

643
00:32:15,480 --> 00:32:18,680
Speaker 3: they spend all year planning for a Writer's Guild strike

644
00:32:18,760 --> 00:32:20,440
Speaker 3: in case there is one, we'll just hold them off

645
00:32:20,440 --> 00:32:23,160
Speaker 3: for three months, right, and they plan to hold us off.

646
00:32:23,640 --> 00:32:27,080
Speaker 3: Nobody though expected sag After to go on strike because

647
00:32:27,080 --> 00:32:29,160
Speaker 3: it hasn't happened since the eighties, and the two unions

648
00:32:29,160 --> 00:32:32,120
Speaker 3: haven't been on strike together since the sixties, so they

649
00:32:32,160 --> 00:32:35,120
Speaker 3: had no plan. So literally after the strike was called,

650
00:32:35,400 --> 00:32:37,320
Speaker 3: you know, we're about a week and a half after

651
00:32:37,320 --> 00:32:41,200
Speaker 3: the strike was called. Now, the CEO spent the first

652
00:32:41,200 --> 00:32:45,080
Speaker 3: week just shitting themselves, just going, hold on a second,

653
00:32:45,120 --> 00:32:47,960
Speaker 3: how much money are we losing? What just shut down?

654
00:32:48,320 --> 00:32:50,480
Speaker 3: What can I do? What thing that I was counting

655
00:32:50,480 --> 00:32:52,920
Speaker 3: on isn't happening now? Fuck? What do I do? My

656
00:32:53,000 --> 00:32:55,440
Speaker 3: whole plan fell apart. Then it's gonna take them a

657
00:32:55,480 --> 00:32:58,000
Speaker 3: week to call each other on the phone, be like Hey, Bob,

658
00:32:58,040 --> 00:33:00,640
Speaker 3: did you fucking I heard what you said on CNBC.

659
00:33:00,680 --> 00:33:03,240
Speaker 3: Don't worry about it. I thought you were right. Anyway,

660
00:33:03,640 --> 00:33:05,880
Speaker 3: we got to go talk to these actors and write,

661
00:33:05,960 --> 00:33:08,280
Speaker 3: Oh you want to go talk to them? All right,

662
00:33:08,720 --> 00:33:10,880
Speaker 3: all right, let's make a call, right And that's just

663
00:33:10,920 --> 00:33:14,320
Speaker 3: gonna take time. It's just logistics, right, uh, And then

664
00:33:14,360 --> 00:33:16,200
Speaker 3: they have to come back to the table if to negotiate.

665
00:33:16,520 --> 00:33:19,160
Speaker 1: I saw that they're already mumbling about moving some of

666
00:33:19,200 --> 00:33:22,760
Speaker 1: these giant ten poles, Like you know, there's some big.

667
00:33:23,080 --> 00:33:25,080
Speaker 3: There's a bunch of things have changed.

668
00:33:25,200 --> 00:33:27,720
Speaker 2: My show is listen, man, my show isn't coming on,

669
00:33:27,960 --> 00:33:31,080
Speaker 2: isn't on the fall lineup anymore because of what's going

670
00:33:31,120 --> 00:33:31,720
Speaker 2: on right now.

671
00:33:31,840 --> 00:33:33,880
Speaker 1: Yeah, you know, like, well, they wouldn't want to launch

672
00:33:33,880 --> 00:33:36,800
Speaker 1: your show without you promoting it. I mean, you understand why.

673
00:33:36,680 --> 00:33:39,240
Speaker 3: That I completely understand.

674
00:33:39,280 --> 00:33:41,120
Speaker 1: And they all these I just went to the movies

675
00:33:41,160 --> 00:33:45,040
Speaker 1: and saw all these trailers for big ass movies and

676
00:33:45,080 --> 00:33:46,880
Speaker 1: they're all supposed to be rolling out the rest of

677
00:33:46,920 --> 00:33:49,560
Speaker 1: this year, and they're not gonna want those big ass

678
00:33:49,600 --> 00:33:52,760
Speaker 1: movies coming out without the stars on the red carpet

679
00:33:52,760 --> 00:33:53,760
Speaker 1: and talk shows.

680
00:33:53,800 --> 00:33:56,560
Speaker 3: And then look past that, look at the pipeline, right.

681
00:33:56,600 --> 00:33:59,440
Speaker 3: The main thing we're affecting is the future pipeline. So

682
00:33:59,720 --> 00:34:03,080
Speaker 3: if you you're Ted Sarandos, right, you don't get any

683
00:34:03,080 --> 00:34:06,600
Speaker 3: more Stranger Things until this, until the strike is settled.

684
00:34:06,760 --> 00:34:08,279
Speaker 3: Like they don't have any in the can. There's no

685
00:34:08,320 --> 00:34:11,120
Speaker 3: new season to release. Stranger Things is the super Bowl

686
00:34:11,120 --> 00:34:14,160
Speaker 3: in Netflix, that's when they get all their subscribers every year, right,

687
00:34:14,640 --> 00:34:16,520
Speaker 3: And so when the writer's strike was happening, he was like,

688
00:34:16,560 --> 00:34:18,359
Speaker 3: all right, I just wait a couple months. I'll get

689
00:34:18,360 --> 00:34:20,239
Speaker 3: my new Stranger Things around August. That's when they'll start

690
00:34:20,239 --> 00:34:22,480
Speaker 3: working on it. Now that the actors are on strike

691
00:34:22,520 --> 00:34:24,960
Speaker 3: as well. That he has no idea when he's going

692
00:34:25,040 --> 00:34:27,520
Speaker 3: to get it, right, He it's a question mark on

693
00:34:27,600 --> 00:34:31,440
Speaker 3: his schedule and he cannot last that long without filling

694
00:34:31,520 --> 00:34:34,000
Speaker 3: in that question mark because he knows he needs that

695
00:34:34,120 --> 00:34:36,799
Speaker 3: because he's got those quarterly earnings calls coming up in

696
00:34:36,840 --> 00:34:37,480
Speaker 3: a couple months.

697
00:34:37,520 --> 00:34:40,640
Speaker 1: And of all those streamers have their Stranger.

698
00:34:40,239 --> 00:34:44,120
Speaker 3: Things exactly right. I mean Apple has Severance that was

699
00:34:44,160 --> 00:34:47,319
Speaker 3: shut down, you know, every one of them has that right, uh.

700
00:34:47,960 --> 00:34:50,080
Speaker 3: And not to mention movies. And by the way, half

701
00:34:50,120 --> 00:34:53,279
Speaker 3: of these companies still have fall broadcast schedules, as you said,

702
00:34:53,320 --> 00:34:58,759
Speaker 3: Donald right, like you know him not anymore exactly. They're

703
00:34:58,760 --> 00:35:02,200
Speaker 3: trying they're trying to replace it with reality shows. I mean,

704
00:35:02,360 --> 00:35:04,359
Speaker 3: some people will watch those. Some of those reality shows

705
00:35:04,360 --> 00:35:06,160
Speaker 3: are covered by a sag after I think, and therefore

706
00:35:06,600 --> 00:35:09,040
Speaker 3: still might have to go off the air. Like you know,

707
00:35:09,040 --> 00:35:11,600
Speaker 3: they're scrambling and they have you know, literally they're talking

708
00:35:11,640 --> 00:35:14,800
Speaker 3: to like Tide Detergents and Tiede is like, we're pulling

709
00:35:14,800 --> 00:35:17,320
Speaker 3: our commercial because you guys don't have new Abbt Elementary.

710
00:35:17,480 --> 00:35:20,400
Speaker 3: They're running reruns of Abbot Elementary in primetime instead of

711
00:35:20,400 --> 00:35:22,600
Speaker 3: new episodes, the biggest show, you know, one of the

712
00:35:22,600 --> 00:35:23,680
Speaker 3: biggest shows on broadcast.

713
00:35:23,840 --> 00:35:24,040
Speaker 1: Yeah.

714
00:35:24,080 --> 00:35:29,080
Speaker 3: So so these companies, the hurt is starting for them immediately, right,

715
00:35:29,360 --> 00:35:32,239
Speaker 3: But for us on the picket line, the hurt is real.

716
00:35:32,360 --> 00:35:35,279
Speaker 3: But it's hurt we've already been experiencing because go talk

717
00:35:35,280 --> 00:35:36,960
Speaker 3: to any of those actors. They said, i'ven't been able

718
00:35:37,000 --> 00:35:39,080
Speaker 3: to make a living for three years because you know,

719
00:35:39,120 --> 00:35:40,640
Speaker 3: I got a job, it didn't pay. I don't get

720
00:35:40,680 --> 00:35:43,760
Speaker 3: residuals anymore. So they're not thinking, oh god, I'm missing

721
00:35:43,760 --> 00:35:46,000
Speaker 3: out by so much, but being on strike, we're all

722
00:35:46,000 --> 00:35:48,120
Speaker 3: out there thinking if we don't do this right now,

723
00:35:48,320 --> 00:35:50,279
Speaker 3: then we're never going to have careers again. And so

724
00:35:50,440 --> 00:35:52,120
Speaker 3: we're gonna be out there as long as it takes,

725
00:35:52,480 --> 00:35:54,239
Speaker 3: and it's just gonna take. How long How long does

726
00:35:54,280 --> 00:35:56,160
Speaker 3: it take for them to realize that for the CEOs

727
00:35:56,160 --> 00:35:59,360
Speaker 3: to realize that we support you guys obviously because we

728
00:35:59,400 --> 00:36:02,520
Speaker 3: are actors. I'm not yeah, show where.

729
00:36:02,239 --> 00:36:03,840
Speaker 1: We supposed to kick at him off? Yeah, we have

730
00:36:03,880 --> 00:36:05,120
Speaker 1: more I'm not kicking him off.

731
00:36:05,239 --> 00:36:07,680
Speaker 3: We're gonna dude, I'm not kicking him off.

732
00:36:07,800 --> 00:36:09,560
Speaker 1: Well, you said you sounded like you were summing up,

733
00:36:09,600 --> 00:36:10,879
Speaker 1: and I was like, don't fucking sum up.

734
00:36:11,239 --> 00:36:13,680
Speaker 2: I'm not fucking summing up. He just made a big

735
00:36:13,920 --> 00:36:15,400
Speaker 2: He just made a big fucking statement.

736
00:36:15,400 --> 00:36:17,799
Speaker 1: Okay, just don't sum up because we have more questions.

737
00:36:17,840 --> 00:36:21,759
Speaker 2: I'm not summing fucking We're just gonna go to break.

738
00:36:21,840 --> 00:36:23,440
Speaker 1: We need to cool off. We're gonna go break. And

739
00:36:23,440 --> 00:36:25,400
Speaker 1: when we come back from break, not only is Donald

740
00:36:25,480 --> 00:36:27,160
Speaker 1: not gonna sum up, but we are going to ask

741
00:36:27,200 --> 00:36:28,320
Speaker 1: Adam about the age.

742
00:36:28,200 --> 00:36:29,520
Speaker 3: You support the writers.

743
00:36:30,120 --> 00:36:32,480
Speaker 1: Okay, thank you for everyone's ears.

744
00:36:32,680 --> 00:36:34,960
Speaker 2: I'm an actor too, by the way, but well, I

745
00:36:34,960 --> 00:36:36,560
Speaker 2: mean I can't look at him look at his face.

746
00:36:36,600 --> 00:36:37,640
Speaker 1: Donald, he's an actor.

747
00:36:37,840 --> 00:36:39,440
Speaker 3: I already told you you don't put you.

748
00:36:39,360 --> 00:36:42,680
Speaker 1: Don't put that face behind a commodore, you know, typewriter.

749
00:36:42,800 --> 00:36:46,680
Speaker 1: You gotta see that face. We'll be right back, and

750
00:36:46,719 --> 00:36:49,719
Speaker 1: we don't ask Adam about AI. Donald'll be right back.

751
00:36:56,160 --> 00:36:59,040
Speaker 1: What you're trying to get into one day or show?

752
00:36:59,600 --> 00:37:00,840
Speaker 1: What's your trying to news?

753
00:37:01,160 --> 00:37:02,959
Speaker 3: So we want to thank Adam for being on the show.

754
00:37:03,120 --> 00:37:08,400
Speaker 1: Mother, I will fucking kill you. All right, we're back, Adam.

755
00:37:08,560 --> 00:37:11,239
Speaker 1: I wanted to ask you about the AI component of

756
00:37:11,280 --> 00:37:13,920
Speaker 1: all this, because we spent the first part talking about residuals.

757
00:37:13,960 --> 00:37:17,279
Speaker 1: I think our audience probably grasps what the fight is

758
00:37:17,280 --> 00:37:20,759
Speaker 1: there for the labor unions. Now, the second part of

759
00:37:20,800 --> 00:37:25,640
Speaker 1: this is this explosion of this AI universe. I went

760
00:37:25,640 --> 00:37:27,880
Speaker 1: to the Ted Talks this year, and as you can imagine,

761
00:37:28,000 --> 00:37:31,040
Speaker 1: ninety five percent of what was talked about was AI

762
00:37:31,120 --> 00:37:36,920
Speaker 1: in every aspect of human life. And I saw many

763
00:37:36,960 --> 00:37:39,920
Speaker 1: examples of how it's going to affect the entertainment industry.

764
00:37:40,239 --> 00:37:46,200
Speaker 1: This weekend, Bill Lawrence's teenage son played me an AI

765
00:37:46,400 --> 00:37:51,000
Speaker 1: song that was He told me that this musician producer

766
00:37:51,040 --> 00:37:54,880
Speaker 1: had put in three huge artists whose voices can be

767
00:37:54,920 --> 00:37:58,800
Speaker 1: completely perfectly simulated. He'd put in all this data of

768
00:37:59,400 --> 00:38:04,200
Speaker 1: ten different songs he liked, and he sung the parts himself,

769
00:38:04,239 --> 00:38:07,160
Speaker 1: but then the AI took over with the famous voices

770
00:38:07,480 --> 00:38:09,360
Speaker 1: and he played me this song. It was a really

771
00:38:09,480 --> 00:38:13,959
Speaker 1: really hooky pop song sung by three stars I wasn't

772
00:38:13,960 --> 00:38:16,840
Speaker 1: familiar with, but I'm sure young people are. And it

773
00:38:16,880 --> 00:38:21,839
Speaker 1: was spooky because it was good. And so obviously that's

774
00:38:21,840 --> 00:38:24,680
Speaker 1: going to affect our entire industry, and that is something

775
00:38:24,680 --> 00:38:27,680
Speaker 1: that the guilds are trying to get a hold on

776
00:38:27,719 --> 00:38:29,600
Speaker 1: before it gets out of control. So can you talk

777
00:38:29,880 --> 00:38:31,200
Speaker 1: can you speak to that a little bit?

778
00:38:31,480 --> 00:38:34,200
Speaker 3: Sure? So, look, I want to be clear about one thing.

779
00:38:34,200 --> 00:38:37,239
Speaker 3: I'm a bit of a contrarian on AI, and so

780
00:38:37,280 --> 00:38:40,480
Speaker 3: the first point I want to make is that AI

781
00:38:40,600 --> 00:38:43,759
Speaker 3: is a marketing term that these companies made up to

782
00:38:44,239 --> 00:38:47,040
Speaker 3: you know, bundle together a bunch of like largely unrelated

783
00:38:47,080 --> 00:38:50,239
Speaker 3: technologies and to make them seem like science fiction, make

784
00:38:50,280 --> 00:38:54,720
Speaker 3: them seem really powerful and scary. Right, They're actually quite

785
00:38:54,760 --> 00:38:58,160
Speaker 3: limited in what they can do. The problem is the

786
00:38:58,200 --> 00:39:01,719
Speaker 3: companies that employ us intend to use this limited technology

787
00:39:01,760 --> 00:39:03,720
Speaker 3: in order to put actors out of work, put writers

788
00:39:03,719 --> 00:39:05,799
Speaker 3: out of work, and you know, we can't let them

789
00:39:05,800 --> 00:39:08,200
Speaker 3: do that. So it's less about the technology and more

790
00:39:08,200 --> 00:39:11,200
Speaker 3: what they're trying to do. So you know, for actors,

791
00:39:11,239 --> 00:39:15,600
Speaker 3: there's a real threat here of their likenesses being reproduced

792
00:39:15,680 --> 00:39:19,400
Speaker 3: without their consent. Now, by the way, they had the

793
00:39:19,400 --> 00:39:21,239
Speaker 3: power to do this like two or three years ago,

794
00:39:21,400 --> 00:39:23,600
Speaker 3: if you saw the Star Wars previous Star Wars movies,

795
00:39:23,600 --> 00:39:27,000
Speaker 3: they're already doing this right with with actors. The buzzword

796
00:39:27,040 --> 00:39:29,800
Speaker 3: AI hadn't come up yet. AI is just the crypto

797
00:39:29,960 --> 00:39:32,640
Speaker 3: blockchain metaverse of twenty twenty three.

798
00:39:32,719 --> 00:39:34,560
Speaker 2: You go see them splash, you could see that shit.

799
00:39:34,600 --> 00:39:36,960
Speaker 2: It's too freaking right exactly.

800
00:39:37,840 --> 00:39:41,280
Speaker 3: It's just a new form of VFX right of CGI.

801
00:39:41,400 --> 00:39:44,239
Speaker 3: We've had that for a long time, but it is

802
00:39:44,320 --> 00:39:46,640
Speaker 3: something that has gotten good enough that they can really

803
00:39:46,760 --> 00:39:48,759
Speaker 3: use it to harm actors. So a real example of

804
00:39:48,800 --> 00:39:52,120
Speaker 3: this that has actually happened is that sag after voice

805
00:39:52,120 --> 00:39:56,680
Speaker 3: actors who do audiobook narration. Apple took voice prints of

806
00:39:56,719 --> 00:40:00,279
Speaker 3: their voices without their consent, without paying them and had

807
00:40:00,280 --> 00:40:03,960
Speaker 3: them narrating audiobooks that they had never read like that

808
00:40:04,080 --> 00:40:07,880
Speaker 3: without paying them. And when they discovered this, they were horrified,

809
00:40:07,880 --> 00:40:09,279
Speaker 3: And that was really the canary in the coal mine

810
00:40:09,280 --> 00:40:11,719
Speaker 3: for sag After it. Right, And by the way, that's

811
00:40:11,719 --> 00:40:13,520
Speaker 3: not like a terrible use of the technology if the

812
00:40:13,560 --> 00:40:16,239
Speaker 3: person is paid, because hey, maybe there's an audiobook that

813
00:40:16,320 --> 00:40:18,160
Speaker 3: not that many people want to listen to, but you can,

814
00:40:18,360 --> 00:40:19,160
Speaker 3: you know, if you can do.

815
00:40:19,160 --> 00:40:22,200
Speaker 2: It automatically or shit, maybe you don't want to do

816
00:40:22,200 --> 00:40:23,880
Speaker 2: all that work, and they're freaking gonna pay you that

817
00:40:23,960 --> 00:40:25,040
Speaker 2: one time because you got the.

818
00:40:24,960 --> 00:40:29,480
Speaker 3: Fixed and it'll be a worse it'll be a worse

819
00:40:29,560 --> 00:40:32,759
Speaker 3: audiobook because it won't have Donald's performance giving his you know,

820
00:40:32,840 --> 00:40:35,560
Speaker 3: wonderful line reading to every single line. But hey, if

821
00:40:35,600 --> 00:40:38,160
Speaker 3: I just want to you know ingest an audiobook quickly

822
00:40:38,160 --> 00:40:41,400
Speaker 3: that that wasn't you know, popular enough to be done professionally,

823
00:40:41,440 --> 00:40:43,279
Speaker 3: then maybe that's not bad, right, But the art has

824
00:40:43,280 --> 00:40:47,000
Speaker 3: to be done with the compensation and consent of the artist, agree.

825
00:40:47,040 --> 00:40:49,399
Speaker 3: And uh so that's what sag After is fighting for.

826
00:40:49,640 --> 00:40:52,240
Speaker 3: Uh you know, one of the one of the company

827
00:40:52,320 --> 00:40:57,040
Speaker 3: proposals that they literally they proposed in the room was

828
00:40:57,120 --> 00:40:59,800
Speaker 3: that background actors, the folks who are in the background

829
00:40:59,800 --> 00:41:01,640
Speaker 3: of scene, which, by the way, you guys work with

830
00:41:01,680 --> 00:41:05,120
Speaker 3: background actors, they're professionals, right, These are like I I.

831
00:41:05,440 --> 00:41:07,440
Speaker 2: These are the real These are the real people who

832
00:41:07,480 --> 00:41:11,000
Speaker 2: are trying to make a living as actors in Hollywood.

833
00:41:11,239 --> 00:41:15,040
Speaker 2: Everyone else, everyone else is everyone else is playing the gamble,

834
00:41:15,440 --> 00:41:18,520
Speaker 2: is gambling. Background actors are doing a nine to five

835
00:41:18,960 --> 00:41:21,200
Speaker 2: for real, for real. They're going to work every day

836
00:41:21,480 --> 00:41:23,960
Speaker 2: trying to get that money because that's what's paying.

837
00:41:24,440 --> 00:41:27,120
Speaker 1: Yeah, and not nine to five, but yes, but you know,

838
00:41:27,200 --> 00:41:30,800
Speaker 1: you know, you know, yeah, that's more like nine to twelve.

839
00:41:30,840 --> 00:41:33,799
Speaker 3: But yeah, right, well it depends, you know. And they

840
00:41:33,840 --> 00:41:36,040
Speaker 3: bring their own wardrobe, you know. And by the way,

841
00:41:36,040 --> 00:41:38,520
Speaker 3: they're professionals. They know how to behave on a set,

842
00:41:38,640 --> 00:41:41,000
Speaker 3: they know how to take instruction from the ad, they

843
00:41:41,040 --> 00:41:43,000
Speaker 3: know how to hit their marks, you know, like they

844
00:41:43,040 --> 00:41:48,240
Speaker 3: are professional actors. So the companies proposed that these actors

845
00:41:48,520 --> 00:41:51,360
Speaker 3: would be paid a day or half a day's wages,

846
00:41:51,719 --> 00:41:55,920
Speaker 3: have their likenesses scanned into a computer, and then the

847
00:41:56,000 --> 00:41:58,920
Speaker 3: company would own their likeness and be able to reproduce

848
00:41:58,960 --> 00:42:02,160
Speaker 3: it in perpetuity without paying them again, long after they're dead.

849
00:42:03,040 --> 00:42:05,200
Speaker 3: And that is so first of all offensive with the

850
00:42:05,200 --> 00:42:08,360
Speaker 3: professionalism those actors. It would also end the job of

851
00:42:08,440 --> 00:42:11,239
Speaker 3: background acting, and it would create worse content because do

852
00:42:11,239 --> 00:42:13,880
Speaker 3: you really want to see CGI people walking around in

853
00:42:13,920 --> 00:42:16,040
Speaker 3: the back of every scene because the company felt like

854
00:42:16,080 --> 00:42:17,960
Speaker 3: save in a couple hundred bucks a person.

855
00:42:18,080 --> 00:42:20,080
Speaker 1: Yeah, well, it's interesting, is I noticed this. I watched

856
00:42:20,160 --> 00:42:23,640
Speaker 1: remember watching a House of Dragons behind the scenes thing.

857
00:42:24,320 --> 00:42:26,040
Speaker 1: I believe it was for the There was a big

858
00:42:26,160 --> 00:42:30,080
Speaker 1: joust in the last season and it was incredibly done,

859
00:42:30,080 --> 00:42:32,760
Speaker 1: and I was curious as of filmmaker how it was achieved.

860
00:42:32,800 --> 00:42:34,400
Speaker 1: And one of the things I noticed is that they

861
00:42:34,440 --> 00:42:37,600
Speaker 1: were showing how they built this massive crowd, and they

862
00:42:37,600 --> 00:42:41,480
Speaker 1: were showing how they would scan the background people sometimes

863
00:42:41,480 --> 00:42:43,960
Speaker 1: in groups of three cheering, and then they'd scan them

864
00:42:43,960 --> 00:42:46,920
Speaker 1: in groups of four booing. And then they showed how

865
00:42:46,920 --> 00:42:51,560
Speaker 1: they multiply multiplied, multiply multiply modes to create a realistic

866
00:42:51,800 --> 00:42:56,080
Speaker 1: giant crowd, which I thought was interesting, but I never

867
00:42:56,200 --> 00:42:59,680
Speaker 1: thought that I never looked at it from the point

868
00:42:59,680 --> 00:43:02,319
Speaker 1: of view, is that House of Dragons show could then

869
00:43:02,440 --> 00:43:05,439
Speaker 1: keep all of these people in their database and next

870
00:43:05,440 --> 00:43:07,879
Speaker 1: time they needed a crowd, just reuse all of those

871
00:43:07,920 --> 00:43:10,239
Speaker 1: faces and likenesses without without paying them.

872
00:43:10,800 --> 00:43:12,880
Speaker 3: Next year they're on uh, next year they're on the

873
00:43:12,880 --> 00:43:14,640
Speaker 3: Sex in the City reboot, right, and they were like,

874
00:43:14,680 --> 00:43:17,520
Speaker 3: hold on a second, well only got paid for house dragons.

875
00:43:17,520 --> 00:43:19,319
Speaker 1: They'd be in house of dragon's clothing. But that would

876
00:43:19,360 --> 00:43:19,840
Speaker 1: be amazing.

877
00:43:21,320 --> 00:43:24,239
Speaker 2: I mean, yeah, I mean we joke around, but that's

878
00:43:24,239 --> 00:43:26,920
Speaker 2: some fucked up shit. Man, that's livelihoods right there. And

879
00:43:26,960 --> 00:43:28,480
Speaker 2: I know yeah, and I have a lot of friends

880
00:43:28,480 --> 00:43:31,319
Speaker 2: that do background. I've started in background. I think most

881
00:43:31,360 --> 00:43:34,759
Speaker 2: actors started in background. And that shit paid the bills. Man,

882
00:43:34,840 --> 00:43:36,680
Speaker 2: that shit, really, you know what I mean? That was

883
00:43:36,719 --> 00:43:39,879
Speaker 2: how that was? That was you want to talk about residuals,

884
00:43:40,120 --> 00:43:41,360
Speaker 2: you know what really paid the bills?

885
00:43:41,400 --> 00:43:41,720
Speaker 3: First?

886
00:43:42,239 --> 00:43:45,320
Speaker 2: Background work. That's how that's how I got my SAG card.

887
00:43:45,360 --> 00:43:46,960
Speaker 2: That's how I got so many things, you know what

888
00:43:47,000 --> 00:43:49,400
Speaker 2: I mean. And now you're going to take the ability

889
00:43:49,680 --> 00:43:53,040
Speaker 2: to freaking work away from so many people who don't

890
00:43:53,120 --> 00:43:56,279
Speaker 2: get the opportunity to make it to the level of

891
00:43:56,400 --> 00:43:59,000
Speaker 2: fucking Will Smith, who don't make it to the level

892
00:43:59,200 --> 00:44:01,680
Speaker 2: of Tom Crue but still have a dream of being

893
00:44:01,719 --> 00:44:02,240
Speaker 2: an actor.

894
00:44:02,400 --> 00:44:03,600
Speaker 3: And you want to take that away.

895
00:44:03,440 --> 00:44:05,560
Speaker 1: Now to whatever happened to Will Smith, something changed in

896
00:44:05,640 --> 00:44:08,439
Speaker 1: his career. Sorry, I don't know too soon.

897
00:44:08,880 --> 00:44:11,280
Speaker 3: Well, now, well, now here's how this applies to you guys.

898
00:44:11,280 --> 00:44:14,600
Speaker 3: By the way, is that for for working actors such

899
00:44:14,600 --> 00:44:17,040
Speaker 3: as yourselves. Well, what if they use that same technology,

900
00:44:17,200 --> 00:44:20,160
Speaker 3: and you know, long after you've shot your scene, they say, actually,

901
00:44:20,160 --> 00:44:22,400
Speaker 3: I don't like how Donald read that line. Let's have

902
00:44:22,480 --> 00:44:24,840
Speaker 3: him say something else, you know, Let's have him. Let's

903
00:44:24,840 --> 00:44:27,280
Speaker 3: have him. Uh, that's bullshit, right.

904
00:44:28,760 --> 00:44:31,200
Speaker 1: To But I don't know if you remember that there

905
00:44:31,280 --> 00:44:33,799
Speaker 1: was a movie about Adam. I don't even know this

906
00:44:33,920 --> 00:44:36,600
Speaker 1: if you know this story or any of you guys,

907
00:44:36,640 --> 00:44:39,880
Speaker 1: but there was a movie about two women stuck on

908
00:44:40,000 --> 00:44:42,600
Speaker 1: the top of a of a wind turbine or something.

909
00:44:42,680 --> 00:44:44,280
Speaker 3: Oh yes, I saw the trailer for this. I forget

910
00:44:44,280 --> 00:44:45,240
Speaker 3: the name of it, but yeah.

911
00:44:45,080 --> 00:44:47,120
Speaker 1: Okay, so that's the premise, right, it's genius. It's just

912
00:44:47,160 --> 00:44:49,120
Speaker 1: it's a it's a thriller. But the premise is just.

913
00:44:49,040 --> 00:44:51,600
Speaker 3: That these two get up on the wind turbine.

914
00:44:51,640 --> 00:44:52,800
Speaker 1: I didn't watch the movie.

915
00:44:52,560 --> 00:44:54,520
Speaker 3: But they like climbed the ladder and then a ladder

916
00:44:54,560 --> 00:44:56,480
Speaker 3: fell off and then they're like, oh shit, how do

917
00:44:56,560 --> 00:44:56,960
Speaker 3: we get down?

918
00:44:57,120 --> 00:44:59,000
Speaker 1: Well, what's the name of that movie? I'm looking at it.

919
00:44:59,360 --> 00:45:01,399
Speaker 2: It's called It's I think the name of the movie

920
00:45:01,480 --> 00:45:03,680
Speaker 2: is It's all our fault, all.

921
00:45:03,600 --> 00:45:08,600
Speaker 1: Right, So anyway, and it's all our fault. They apparently

922
00:45:08,680 --> 00:45:11,239
Speaker 1: the two gals they were doing lots of improv because

923
00:45:11,280 --> 00:45:14,719
Speaker 1: they were playing terrified and as you would you you'd be,

924
00:45:14,800 --> 00:45:16,319
Speaker 1: You're not going to just stick to the script, you'd be.

925
00:45:16,680 --> 00:45:18,680
Speaker 1: And apparently they were cursing left and right as they

926
00:45:19,280 --> 00:45:22,000
Speaker 1: as they riffed, and and when they when the people

927
00:45:22,040 --> 00:45:25,520
Speaker 1: cut this movie together, it was actually testing really well,

928
00:45:25,560 --> 00:45:27,600
Speaker 1: and they were very pleased with their product, and they

929
00:45:27,600 --> 00:45:29,319
Speaker 1: thought it was gonna do. What the problem was, they

930
00:45:29,360 --> 00:45:31,440
Speaker 1: did not want an r movie, and these two women

931
00:45:31,880 --> 00:45:36,000
Speaker 1: were cursing left and right, and so they for the

932
00:45:36,040 --> 00:45:37,759
Speaker 1: first time, I believe they were the first company to

933
00:45:37,840 --> 00:45:41,640
Speaker 1: do this. They hired a company that could digitally change

934
00:45:41,880 --> 00:45:45,720
Speaker 1: all of the lips. It's called Fall Thank you Joel,

935
00:45:46,280 --> 00:45:49,800
Speaker 1: and they every time they cursed, they changed their lips

936
00:45:49,840 --> 00:45:52,719
Speaker 1: to a non curse yep. And this you can you

937
00:45:53,000 --> 00:45:54,960
Speaker 1: can YouTube this because I saw a video on it,

938
00:45:55,520 --> 00:45:59,440
Speaker 1: and the technology was so brilliant and perfect that they

939
00:45:59,440 --> 00:46:01,520
Speaker 1: went on to say that this will be what they'll

940
00:46:01,520 --> 00:46:05,279
Speaker 1: be using in the future instead of subtitles, because they'll

941
00:46:05,280 --> 00:46:08,200
Speaker 1: be able to change every actor's lips and have them

942
00:46:08,280 --> 00:46:12,040
Speaker 1: speak the native tongue of whatever country the movie is playing.

943
00:46:12,080 --> 00:46:15,520
Speaker 1: In and Okay, so that's just that's just, you know,

944
00:46:16,320 --> 00:46:19,439
Speaker 1: the first example incarnation of this. But what Adam's saying

945
00:46:19,520 --> 00:46:21,600
Speaker 1: is that I, as a filmmaker, can go I don't

946
00:46:21,640 --> 00:46:25,400
Speaker 1: love Donald's reading of that. Can you AI help me

947
00:46:25,480 --> 00:46:28,520
Speaker 1: make him do it angrier and a bit and change

948
00:46:28,520 --> 00:46:33,080
Speaker 1: it so his line is like, not today, motherfucker? Yeah?

949
00:46:33,120 --> 00:46:35,759
Speaker 3: And then and then Donald, you're watching that going I

950
00:46:35,760 --> 00:46:38,279
Speaker 3: would never swear like that, And now my daughters are

951
00:46:38,280 --> 00:46:41,400
Speaker 3: going to see this and aren't I And don't I

952
00:46:41,440 --> 00:46:42,000
Speaker 3: look awful?

953
00:46:42,080 --> 00:46:42,239
Speaker 4: Yeah?

954
00:46:42,560 --> 00:46:43,359
Speaker 3: Or whatever it is.

955
00:46:43,600 --> 00:46:45,520
Speaker 2: I don't like the idea of putting stuff into my

956
00:46:45,560 --> 00:46:47,080
Speaker 2: mouth that I didn't agree to that.

957
00:46:47,120 --> 00:46:49,719
Speaker 1: I know that's the first time you've ever said that, Donald, I.

958
00:46:50,920 --> 00:46:54,600
Speaker 3: Well, because that I've read every time. I've agreed every time,

959
00:46:54,719 --> 00:46:55,920
Speaker 3: don't I.

960
00:46:55,880 --> 00:46:57,600
Speaker 1: Know, in front of Adam, you don't want to act

961
00:46:57,640 --> 00:46:59,359
Speaker 1: like you don't like to put things in your mouth.

962
00:46:59,480 --> 00:47:03,239
Speaker 1: But I'm sorry, Joelle as best behavior in front of you,

963
00:47:03,320 --> 00:47:05,120
Speaker 1: I'm sorry. You know.

964
00:47:05,160 --> 00:47:07,359
Speaker 3: The reason I think you feel that way is it's

965
00:47:07,360 --> 00:47:10,600
Speaker 3: not about compensation. It's about your dignity and your professionalism

966
00:47:10,600 --> 00:47:12,320
Speaker 3: in your work, and of course.

967
00:47:12,080 --> 00:47:14,279
Speaker 1: What you do if the performance, if they change your

968
00:47:14,280 --> 00:47:16,839
Speaker 1: performance to something. Even when you see when as an actor,

969
00:47:16,880 --> 00:47:18,600
Speaker 1: when you see some of the way something's cut, you go,

970
00:47:18,680 --> 00:47:21,400
Speaker 1: oh my god, they cut out the pause without the pause.

971
00:47:21,440 --> 00:47:23,839
Speaker 1: I suck that that performance is so bad without the

972
00:47:24,320 --> 00:47:27,640
Speaker 1: actor taking in that pause and receiving that information, that's

973
00:47:27,719 --> 00:47:30,680
Speaker 1: just that's just editing. Now, imagine you see a performance

974
00:47:30,680 --> 00:47:34,000
Speaker 1: you're like, I never fucking said that. That's horrible. Yeah,

975
00:47:34,000 --> 00:47:34,840
Speaker 1: that's so cringe.

976
00:47:35,400 --> 00:47:39,120
Speaker 3: And you know that that removes you as an artist, right,

977
00:47:39,160 --> 00:47:42,320
Speaker 3: That removes your artists free. It makes you a puppet

978
00:47:42,480 --> 00:47:46,920
Speaker 3: for them. And I think that's a really fundamental, you know,

979
00:47:46,960 --> 00:47:49,960
Speaker 3: abridgment of our of our dignity as performers. You know that,

980
00:47:50,160 --> 00:47:52,279
Speaker 3: Like you hired me because I fucking know what I'm

981
00:47:52,280 --> 00:47:54,120
Speaker 3: doing and this is how I'm good. You've you've both

982
00:47:54,160 --> 00:47:56,400
Speaker 3: had those moments on that set where you're like, you

983
00:47:56,440 --> 00:47:58,240
Speaker 3: know what I'm not doing that. You know, the director

984
00:47:58,280 --> 00:48:00,839
Speaker 3: says would you do this, and you're like, actually, I'm

985
00:48:00,840 --> 00:48:02,520
Speaker 3: not going to do it, yeah, because I don't. I

986
00:48:02,520 --> 00:48:04,120
Speaker 3: don't want to be on camera doing this. I'm not

987
00:48:04,120 --> 00:48:07,080
Speaker 3: going to give you the take use it, Yep, I'm

988
00:48:07,080 --> 00:48:08,440
Speaker 3: not going to give it to you. I'm using my

989
00:48:08,560 --> 00:48:10,880
Speaker 3: judgment as a human on your set who knows best

990
00:48:11,160 --> 00:48:13,839
Speaker 3: to say as an artist, I'm not doing this, and

991
00:48:14,000 --> 00:48:16,080
Speaker 3: they want to take away that ability from us, and

992
00:48:16,080 --> 00:48:20,680
Speaker 3: and that's uh, that's repugnant. Now, as writers, there's a

993
00:48:20,719 --> 00:48:24,960
Speaker 3: whole other set of issues where you know, the people

994
00:48:24,960 --> 00:48:28,640
Speaker 3: are worried about them using chat GPT to output scripts.

995
00:48:29,640 --> 00:48:31,600
Speaker 3: And the point that I like to draw here is

996
00:48:31,600 --> 00:48:34,440
Speaker 3: that like chat GPT or technologies like it cannot do

997
00:48:34,520 --> 00:48:36,239
Speaker 3: the work of a writer, because being a writer is

998
00:48:36,280 --> 00:48:38,480
Speaker 3: a lot more than outputting a script. Being a writer

999
00:48:38,760 --> 00:48:42,520
Speaker 3: is uh talking to the network and you know, taking

1000
00:48:42,560 --> 00:48:44,879
Speaker 3: their notes, is talking to the director. So if it's

1001
00:48:44,880 --> 00:48:47,160
Speaker 3: his vision, it's talking to the actors to make sure

1002
00:48:47,160 --> 00:48:48,839
Speaker 3: that they like the lines and working on it with them.

1003
00:48:48,880 --> 00:48:51,080
Speaker 3: It's going to set to say, oh, hold on a second,

1004
00:48:51,120 --> 00:48:54,200
Speaker 3: the way Donald said that line, it actually doesn't doesn't

1005
00:48:54,200 --> 00:48:55,840
Speaker 3: mean what we thought it meant when we wrote it.

1006
00:48:55,880 --> 00:48:57,680
Speaker 3: If he uses that inflection, but we like the inflection,

1007
00:48:57,760 --> 00:48:59,759
Speaker 3: let's adjust the line a little bit or whatever it is, right,

1008
00:49:00,040 --> 00:49:02,320
Speaker 3: then it means going to the edit and saying, hold

1009
00:49:02,320 --> 00:49:04,520
Speaker 3: on a second, this it's for five minutes too long.

1010
00:49:04,560 --> 00:49:07,640
Speaker 3: What scene can we cut uh? You know, without uh,

1011
00:49:07,680 --> 00:49:09,919
Speaker 3: without while having it still makes sense. Oh, let's write

1012
00:49:09,920 --> 00:49:12,239
Speaker 3: a little line of ADR for Donald to say, you'll

1013
00:49:12,280 --> 00:49:14,360
Speaker 3: come in and he'll record that, and that'll make everything

1014
00:49:14,360 --> 00:49:16,960
Speaker 3: make sense. That's the work of a writer, right. What

1015
00:49:17,000 --> 00:49:19,880
Speaker 3: we're worried about is the company saying, well, hold on

1016
00:49:19,920 --> 00:49:24,200
Speaker 3: a second, chat GPT wrote a script, would you just, Adam,

1017
00:49:25,000 --> 00:49:27,280
Speaker 3: punch it up, talk to the director, talk to the actor,

1018
00:49:27,320 --> 00:49:29,239
Speaker 3: go to set, go to post, and do all that work.

1019
00:49:29,320 --> 00:49:32,680
Speaker 3: Oh you're not the writer, though, You're just a producer

1020
00:49:32,680 --> 00:49:35,640
Speaker 3: who's being paid less than you ever were. And I'm

1021
00:49:35,680 --> 00:49:38,160
Speaker 3: looking at that going, no, I'm I'm the writer, right.

1022
00:49:38,400 --> 00:49:41,120
Speaker 3: You just output me some garbage and I made it good.

1023
00:49:41,560 --> 00:49:44,400
Speaker 3: But you're but you're using this shitty technology as an

1024
00:49:44,440 --> 00:49:47,600
Speaker 3: excuse to undermine my work. And that's what we're not

1025
00:49:47,640 --> 00:49:48,200
Speaker 3: going to allow.

1026
00:49:48,360 --> 00:49:50,359
Speaker 2: Yeah, just because you're a ghostwriter don't mean you didn't

1027
00:49:50,360 --> 00:49:53,840
Speaker 2: write that shit. That's probely Yeah, exactly.

1028
00:49:53,920 --> 00:49:54,640
Speaker 3: Let's take a break.

1029
00:49:54,719 --> 00:50:04,759
Speaker 1: We'll be right back after these fine words you now, Adam.

1030
00:50:05,360 --> 00:50:10,240
Speaker 1: The most urgent concern to my limited brain is that

1031
00:50:10,760 --> 00:50:14,640
Speaker 1: writers will be forced to begin using a smaller room

1032
00:50:14,680 --> 00:50:19,920
Speaker 1: of people and saying have chat GBT bang out an

1033
00:50:19,920 --> 00:50:22,200
Speaker 1: outline because whether it's bad or not. I mean, we

1034
00:50:22,280 --> 00:50:25,760
Speaker 1: fucked with it on this podcast just as to be funny,

1035
00:50:25,760 --> 00:50:29,000
Speaker 1: saying having it write scrub scenes. Now they're not good,

1036
00:50:30,000 --> 00:50:33,560
Speaker 1: but it's year one of this. And also they do

1037
00:50:33,640 --> 00:50:36,000
Speaker 1: at least follow what we told them. They do bang

1038
00:50:36,040 --> 00:50:39,160
Speaker 1: out a very bad version of a scene with the instructions.

1039
00:50:39,440 --> 00:50:42,319
Speaker 1: So to me, the beginning of the concern, especially as

1040
00:50:42,400 --> 00:50:44,799
Speaker 1: this thing is growing and growing and growing in who

1041
00:50:44,880 --> 00:50:47,640
Speaker 1: knows what it will be in two three years, that

1042
00:50:47,719 --> 00:50:50,759
Speaker 1: it will be able to spit out a bad but

1043
00:50:51,000 --> 00:50:53,440
Speaker 1: confident version of the scene you told it to write

1044
00:50:53,480 --> 00:50:56,160
Speaker 1: that they can then be punched up so the mandate

1045
00:50:56,200 --> 00:50:59,200
Speaker 1: will be Adam, you don't need a writer's room of

1046
00:50:59,200 --> 00:51:01,440
Speaker 1: twelve people, need a writer's room of three people.

1047
00:51:02,200 --> 00:51:05,320
Speaker 2: I feel like before we before there's a sidebar to

1048
00:51:05,400 --> 00:51:08,680
Speaker 2: this too. I think there's it's very dangerous because kids

1049
00:51:08,680 --> 00:51:13,360
Speaker 2: are kids are using this ship also for their lessons

1050
00:51:13,400 --> 00:51:14,480
Speaker 2: in school.

1051
00:51:14,760 --> 00:51:17,960
Speaker 3: For like, it's a cheat, you know what I mean?

1052
00:51:18,400 --> 00:51:21,280
Speaker 2: Yeah, And it's a it's it's a big time cheat.

1053
00:51:21,600 --> 00:51:26,520
Speaker 2: And within cheating comes I mean, will become a soulless,

1054
00:51:27,120 --> 00:51:28,160
Speaker 2: fucking population.

1055
00:51:28,760 --> 00:51:31,760
Speaker 1: If we can that's a big sidebar. Let him answer

1056
00:51:31,800 --> 00:51:34,320
Speaker 1: my question first, before we get to Soula's population.

1057
00:51:37,400 --> 00:51:40,200
Speaker 3: I love this double I have a minor sidebar.

1058
00:51:40,320 --> 00:51:45,839
Speaker 1: Do you think we're going to become a soulless population? Uh?

1059
00:51:45,920 --> 00:51:49,719
Speaker 3: Donald the answers yes. But to zax question, so, look,

1060
00:51:49,880 --> 00:51:52,839
Speaker 3: my my opinion is that, well, first of all, they're

1061
00:51:52,880 --> 00:51:56,560
Speaker 3: already doing that. They're already shrinking the writer's room. In fact,

1062
00:51:56,680 --> 00:51:58,799
Speaker 3: one of the main Writers Guild's proposals is just to

1063
00:51:58,880 --> 00:52:01,439
Speaker 3: preserve the writer's room, says say, there must be one,

1064
00:52:01,760 --> 00:52:04,279
Speaker 3: because the companies have gone from you know, having a

1065
00:52:04,320 --> 00:52:06,480
Speaker 3: writer's room of you know, eight to twelve people, as

1066
00:52:06,480 --> 00:52:08,440
Speaker 3: you say, to saying, well now do it with three,

1067
00:52:08,520 --> 00:52:11,480
Speaker 3: Now do it with two now. And what they're literally

1068
00:52:11,520 --> 00:52:14,920
Speaker 3: now paying showrunners to do, they're offering them bonuses to

1069
00:52:15,040 --> 00:52:17,600
Speaker 3: not have a writer's room at all and just write

1070
00:52:17,600 --> 00:52:19,640
Speaker 3: the whole season themselves. Maybe they farm out one or

1071
00:52:19,640 --> 00:52:21,640
Speaker 3: two scripts freelance, which you for which you're paid a

1072
00:52:21,640 --> 00:52:23,480
Speaker 3: small percentage of what you're made for being on staff.

1073
00:52:24,320 --> 00:52:25,960
Speaker 3: And if we allow that to happen in a couple

1074
00:52:26,000 --> 00:52:27,600
Speaker 3: of years, that's gonna be all TV writing. If you

1075
00:52:27,640 --> 00:52:29,680
Speaker 3: sell a show, they're gonna be like, all right, Zach, right,

1076
00:52:29,680 --> 00:52:31,680
Speaker 3: the whole thing yourself. You have fifteen grand you can

1077
00:52:31,800 --> 00:52:34,040
Speaker 3: use to you know, farm out freelance scripts if you want.

1078
00:52:34,600 --> 00:52:37,440
Speaker 3: That's already their plan, and it's because our contract allows

1079
00:52:37,480 --> 00:52:40,440
Speaker 3: that to happen. And it's just the norms of how

1080
00:52:40,440 --> 00:52:42,320
Speaker 3: TV has been produced for the past fifty years that

1081
00:52:42,360 --> 00:52:44,399
Speaker 3: have protected us. But the companies have shown they want

1082
00:52:44,400 --> 00:52:45,880
Speaker 3: to break those norms, and so now we need to

1083
00:52:45,880 --> 00:52:49,120
Speaker 3: get the existence of the writer's room put into our contract.

1084
00:52:49,719 --> 00:52:52,280
Speaker 3: But the issue that you raised though, of chat GPT

1085
00:52:52,840 --> 00:52:55,400
Speaker 3: being used as an excuse to that even further, I

1086
00:52:55,440 --> 00:52:57,799
Speaker 3: think is a real one. I just want to really

1087
00:52:57,880 --> 00:53:00,800
Speaker 3: highlight I think it's a lie because I don't think

1088
00:53:00,840 --> 00:53:04,719
Speaker 3: that it is possible for one of these large language

1089
00:53:04,719 --> 00:53:09,720
Speaker 3: models to output anything that helps, like save any labor

1090
00:53:09,760 --> 00:53:12,960
Speaker 3: as a writer, you know, because the I think any

1091
00:53:13,000 --> 00:53:17,080
Speaker 3: writer knows the first draft is always fucking garbage. That's

1092
00:53:17,120 --> 00:53:20,160
Speaker 3: not the hard part. The hard part is every other

1093
00:53:20,280 --> 00:53:23,200
Speaker 3: piece of it. If I'm taking a if it's my

1094
00:53:23,360 --> 00:53:25,320
Speaker 3: choice as a writer to start with some chat GPT

1095
00:53:25,440 --> 00:53:27,919
Speaker 3: output and punch it up myself, sure I can take

1096
00:53:27,920 --> 00:53:30,800
Speaker 3: that choice. I don't think I'm saving myself any fucking

1097
00:53:30,880 --> 00:53:33,680
Speaker 3: time by doing that, because the hard part is the

1098
00:53:33,719 --> 00:53:37,440
Speaker 3: originality that I add, you know, Like, look, I'll just

1099
00:53:37,440 --> 00:53:39,640
Speaker 3: talk about it as a comedy writer. Okay, As a

1100
00:53:39,640 --> 00:53:42,000
Speaker 3: comedy writer, you have to write so many jokes, right,

1101
00:53:42,080 --> 00:53:45,160
Speaker 3: joke after joke after joke, and every joke you write

1102
00:53:45,360 --> 00:53:47,600
Speaker 3: has to be on some level a new joke. If

1103
00:53:47,680 --> 00:53:50,279
Speaker 3: you're telling a joke people have heard before, they don't laugh, right,

1104
00:53:50,400 --> 00:53:52,600
Speaker 3: People want a new joke every time. How do you

1105
00:53:52,600 --> 00:53:54,680
Speaker 3: write a new joke. You think about the specifics of

1106
00:53:54,719 --> 00:53:57,799
Speaker 3: the situation. You think about who your audience is. You think,

1107
00:53:58,440 --> 00:54:00,840
Speaker 3: you figure out here's what they think of the situation,

1108
00:54:01,239 --> 00:54:04,000
Speaker 3: Here's what will strike them as fun. Okay, if I'm

1109
00:54:04,000 --> 00:54:06,640
Speaker 3: writing late Night, Ted Cruz did something in the news, Okay,

1110
00:54:06,640 --> 00:54:08,200
Speaker 3: what did he do? What does the audience think of

1111
00:54:08,200 --> 00:54:10,880
Speaker 3: Ted Cruz? What does this remind them of in their

1112
00:54:10,920 --> 00:54:12,560
Speaker 3: own lives? That's going to be a surprising thing. I

1113
00:54:12,560 --> 00:54:15,359
Speaker 3: can compare it to right the way Trevor Noah's jokes

1114
00:54:15,360 --> 00:54:17,399
Speaker 3: would always be like this is like when your mom

1115
00:54:17,480 --> 00:54:19,160
Speaker 3: would be blah blah blah blah blah, and you'd, like,

1116
00:54:19,200 --> 00:54:21,359
Speaker 3: you know, do some dating reference or something like that. Right,

1117
00:54:21,880 --> 00:54:24,080
Speaker 3: that is a magic trick every time. It is one

1118
00:54:24,120 --> 00:54:27,200
Speaker 3: of the most complex cultural things to have to do

1119
00:54:27,640 --> 00:54:29,200
Speaker 3: is to figure out how to write a new joke

1120
00:54:29,239 --> 00:54:32,120
Speaker 3: that'll make people laugh. And Chad GPT will never be

1121
00:54:32,160 --> 00:54:34,240
Speaker 3: able to do it. So it'll always be an immense

1122
00:54:34,239 --> 00:54:36,960
Speaker 3: amount of work on a human writer to write a

1123
00:54:37,040 --> 00:54:39,400
Speaker 3: joke that is going to bring delight to people in

1124
00:54:39,440 --> 00:54:40,080
Speaker 3: the way that we do.

1125
00:54:41,960 --> 00:54:43,799
Speaker 1: I hear you, man, I just hope that you know.

1126
00:54:44,000 --> 00:54:46,320
Speaker 1: I just think of year one of the cell phone

1127
00:54:46,640 --> 00:54:49,799
Speaker 1: compared to what we now have in our pockets, and

1128
00:54:49,840 --> 00:54:53,719
Speaker 1: I think of what Chad GBT could become in five

1129
00:54:53,840 --> 00:54:54,440
Speaker 1: ten years.

1130
00:54:54,719 --> 00:54:57,320
Speaker 2: Think of what AI can become in five ten, fifteen

1131
00:54:57,400 --> 00:55:01,160
Speaker 2: years if weaponize. I mean, this is like it's already

1132
00:55:01,160 --> 00:55:03,440
Speaker 2: being weaponized against actors and writers.

1133
00:55:03,560 --> 00:55:07,759
Speaker 1: And Daniel's laughing because you just steered it to military reach.

1134
00:55:07,880 --> 00:55:11,600
Speaker 3: It absolutely is. But here's just what I'd like. Here's

1135
00:55:11,719 --> 00:55:14,120
Speaker 3: the point I'd like to make, is that the iPhone

1136
00:55:14,239 --> 00:55:17,640
Speaker 3: was built on pre existing technology. Right. It was not

1137
00:55:17,960 --> 00:55:20,200
Speaker 3: like some new It wasn't like they invented the wheel

1138
00:55:20,320 --> 00:55:23,200
Speaker 3: or they invented cold fusion or something. Right. It was

1139
00:55:23,239 --> 00:55:25,919
Speaker 3: a business decision to put these things together this way.

1140
00:55:26,000 --> 00:55:28,360
Speaker 3: And so what we should be afraid of is not

1141
00:55:28,880 --> 00:55:33,080
Speaker 3: artificial intelligence technology run amuck. It's the business practices of

1142
00:55:33,160 --> 00:55:36,799
Speaker 3: these companies using the technology to hurt us and hurt

1143
00:55:36,840 --> 00:55:39,840
Speaker 3: other people. It's not if you accept too much this

1144
00:55:39,920 --> 00:55:42,600
Speaker 3: technological argument, you can be tricked into thinking, oh, we

1145
00:55:42,600 --> 00:55:44,719
Speaker 3: should just accept whatever they say because the technology is

1146
00:55:44,760 --> 00:55:47,839
Speaker 3: coming now. People are choosing to make these decisions, and

1147
00:55:47,880 --> 00:55:50,640
Speaker 3: we can force them to choose otherwise by using our

1148
00:55:50,680 --> 00:55:51,400
Speaker 3: collective power.

1149
00:55:52,000 --> 00:55:53,680
Speaker 1: Yeah. Well, that's the power of the union. That's the

1150
00:55:53,680 --> 00:55:55,600
Speaker 1: whole point of being in this union that we pay

1151
00:55:56,000 --> 00:55:56,960
Speaker 1: lots of money and doing.

1152
00:55:57,000 --> 00:55:58,759
Speaker 2: Sounds like you're trying to wrap up. Zech I'm just

1153
00:55:58,760 --> 00:56:00,560
Speaker 2: gonna put it out there. Sounds I could try to

1154
00:56:00,560 --> 00:56:01,000
Speaker 2: wrap up.

1155
00:56:02,040 --> 00:56:03,239
Speaker 1: Well, we do have to let Adam go.

1156
00:56:03,480 --> 00:56:04,680
Speaker 3: I'm gonna be honest with you.

1157
00:56:04,760 --> 00:56:06,920
Speaker 1: Well, I'm not wrapping up. I'm segueing into the point

1158
00:56:06,920 --> 00:56:09,359
Speaker 1: where my tone suggests that we don't want to take

1159
00:56:09,440 --> 00:56:10,719
Speaker 1: up too much of Adam's time.

1160
00:56:11,560 --> 00:56:13,880
Speaker 3: I mean, that sounds a bit like a wrap up,

1161
00:56:13,920 --> 00:56:14,960
Speaker 3: but no, my tone.

1162
00:56:15,719 --> 00:56:18,760
Speaker 1: My tone is we can continue talking, but Adam probably

1163
00:56:18,760 --> 00:56:23,359
Speaker 1: has lots of important things to do. That's my tone. Wait,

1164
00:56:23,400 --> 00:56:25,960
Speaker 1: I want to ask Joel. Joel gave us some good questions,

1165
00:56:25,960 --> 00:56:27,359
Speaker 1: and I want to make sure, I hit some of them,

1166
00:56:27,640 --> 00:56:32,040
Speaker 1: Please do what's surprising? What has surprised you most during

1167
00:56:32,080 --> 00:56:34,800
Speaker 1: this experience. You've been on strike now for thirteen weeks.

1168
00:56:35,239 --> 00:56:37,399
Speaker 1: What is there things that have happened that have made

1169
00:56:37,440 --> 00:56:39,120
Speaker 1: you go I was not expecting that.

1170
00:56:40,360 --> 00:56:43,200
Speaker 3: I mean, sag after joining the strike was not something

1171
00:56:43,200 --> 00:56:45,680
Speaker 3: that in my wildest dreams I would have I would

1172
00:56:45,680 --> 00:56:47,560
Speaker 3: have thought was happening as a sag after. Remember, if

1173
00:56:47,560 --> 00:56:49,359
Speaker 3: you had asked me, you know, six months ago, I'd say,

1174
00:56:49,360 --> 00:56:51,080
Speaker 3: no way, is it ever going to happen. And the

1175
00:56:51,200 --> 00:56:55,440
Speaker 3: leadership of our union really stepped up in order to

1176
00:56:55,480 --> 00:56:58,040
Speaker 3: call the strike to show our power. It was amazing

1177
00:56:58,080 --> 00:56:59,920
Speaker 3: to see to see Fran and Duncan and all that

1178
00:57:00,840 --> 00:57:01,320
Speaker 3: go ahead.

1179
00:57:01,680 --> 00:57:03,880
Speaker 2: Yeah, dude, if you would have asked the night before

1180
00:57:04,480 --> 00:57:09,960
Speaker 2: if SAD going to strike, everybody would be like no, yeah.

1181
00:57:10,000 --> 00:57:12,000
Speaker 2: And then that paper came through.

1182
00:57:14,360 --> 00:57:15,439
Speaker 3: Oh my yeah.

1183
00:57:15,440 --> 00:57:19,000
Speaker 1: I'm surprised that the Director's Guilds of America, which I'm

1184
00:57:19,000 --> 00:57:20,680
Speaker 1: a part of as well, didn't strike.

1185
00:57:21,680 --> 00:57:24,480
Speaker 3: I was not surprised that by that, because that's their strategy.

1186
00:57:24,520 --> 00:57:27,080
Speaker 3: That is the strategy that they've historically used as a union.

1187
00:57:27,120 --> 00:57:29,400
Speaker 3: And I, you know, as a guy who thinks a

1188
00:57:29,440 --> 00:57:31,640
Speaker 3: lot about labor. It's it's not the strategy that I

1189
00:57:31,680 --> 00:57:33,640
Speaker 3: think gets the biggest gains for members. I think you

1190
00:57:33,680 --> 00:57:36,200
Speaker 3: get the biggest gains when you are willing to take

1191
00:57:36,240 --> 00:57:38,680
Speaker 3: a strike vote and you know, threaten to go on

1192
00:57:38,720 --> 00:57:40,680
Speaker 3: strike if necessary, and then be willing to pull the

1193
00:57:40,720 --> 00:57:43,120
Speaker 3: trigger if it comes to that. But you know that's

1194
00:57:43,240 --> 00:57:47,560
Speaker 3: uh that union operates a different way. The Teamsters didn't strike, right,

1195
00:57:47,640 --> 00:57:51,400
Speaker 3: They didn't strike. The Teamsters just announced a tentative deal

1196
00:57:51,440 --> 00:57:54,160
Speaker 3: with UPS today, if that might be what you're talking about.

1197
00:57:55,040 --> 00:57:57,080
Speaker 3: They were about, I mean, three hundred and fifty thousand

1198
00:57:57,080 --> 00:58:00,320
Speaker 3: Teamsters were about to go on strike against U P. Yes,

1199
00:58:00,560 --> 00:58:02,360
Speaker 3: and they just announced today that they got the biggest

1200
00:58:02,400 --> 00:58:04,120
Speaker 3: deal in their history. And the reason they got such

1201
00:58:04,120 --> 00:58:06,560
Speaker 3: a big deal is because they brought a credible threat

1202
00:58:06,560 --> 00:58:08,480
Speaker 3: of going on strike. They say, either you give us

1203
00:58:08,480 --> 00:58:11,560
Speaker 3: what we want or we're fucking striking, and UPS blinked

1204
00:58:11,600 --> 00:58:13,440
Speaker 3: and gave it to them. And that's what the writer's

1205
00:58:13,440 --> 00:58:15,600
Speaker 3: gill does in a good year, right, And that's what

1206
00:58:15,640 --> 00:58:17,760
Speaker 3: I'm really happy that sag After brought that same energy

1207
00:58:17,800 --> 00:58:19,640
Speaker 3: and said we're going to strike, and the you know,

1208
00:58:19,880 --> 00:58:22,760
Speaker 3: try us, and the companies tried them and that's what happened.

1209
00:58:22,960 --> 00:58:25,400
Speaker 3: I mean, every day in the strike, there's been new surprises,

1210
00:58:25,440 --> 00:58:28,440
Speaker 3: new pieces of support, people support coming in from all angles.

1211
00:58:28,480 --> 00:58:31,520
Speaker 3: The public support has been enormous, The support and the

1212
00:58:31,520 --> 00:58:34,080
Speaker 3: press has been enormous, like we're we're gonna win, We're

1213
00:58:34,240 --> 00:58:37,600
Speaker 3: we're unstoppable because everything has been trending in our favor

1214
00:58:37,680 --> 00:58:40,480
Speaker 3: every day, and that's not something I expected when we started.

1215
00:58:41,040 --> 00:58:43,640
Speaker 1: All Right, here's another good Joell question. How can people

1216
00:58:43,760 --> 00:58:48,360
Speaker 1: outside of Los Angeles? I think she means also outside

1217
00:58:48,360 --> 00:58:52,240
Speaker 1: of the entertainment industry, because you know, we have people

1218
00:58:52,240 --> 00:58:55,320
Speaker 1: in Atlanta and New York everywhere. Joell, come on, how

1219
00:58:55,360 --> 00:58:59,640
Speaker 1: can people outside of the entertainment industry show their support

1220
00:58:59,640 --> 00:59:00,880
Speaker 1: for both unions?

1221
00:59:01,200 --> 00:59:03,840
Speaker 3: Yeah, this is a great question, and actually, Zach's it

1222
00:59:03,840 --> 00:59:06,040
Speaker 3: gives me an opportunity to answer a question you asked

1223
00:59:06,040 --> 00:59:09,360
Speaker 3: earlier in terms of support for other crew members, because

1224
00:59:09,400 --> 00:59:10,920
Speaker 3: there's a lot of folks who are affected by the

1225
00:59:10,920 --> 00:59:13,000
Speaker 3: strike who are not actors and not writers. Right, there's

1226
00:59:13,000 --> 00:59:15,880
Speaker 3: crew members, there's pas, and there's you know, folks who

1227
00:59:15,920 --> 00:59:19,000
Speaker 3: cater you know, film shoots and et cetera. They're all

1228
00:59:19,480 --> 00:59:23,320
Speaker 3: suffering because of the strike, and so we raise money

1229
00:59:23,400 --> 00:59:25,840
Speaker 3: for a fund called the Entertainment Community Fund. It's a

1230
00:59:25,880 --> 00:59:29,080
Speaker 3: wonderful fund that's existed in LA in New York for

1231
00:59:29,080 --> 00:59:31,080
Speaker 3: one hundred and forty years. Anybody in the country who

1232
00:59:31,120 --> 00:59:33,520
Speaker 3: works in the entertainment industry who is on hard times

1233
00:59:33,600 --> 00:59:35,600
Speaker 3: having trouble paying rant to their medical bills can apply

1234
00:59:35,680 --> 00:59:38,360
Speaker 3: to it for cash assistance, and we are raising money

1235
00:59:38,400 --> 00:59:41,280
Speaker 3: for that fund. We've raised over three million dollars so far.

1236
00:59:41,800 --> 00:59:44,600
Speaker 3: But if you would like to contribute, your money will

1237
00:59:44,640 --> 00:59:48,160
Speaker 3: go directly to an affected entertainment industry worker.

1238
00:59:48,640 --> 00:59:52,400
Speaker 1: I believe the link is Entertainmentcommunity dot org.

1239
00:59:53,200 --> 00:59:55,240
Speaker 3: Correct. Isn't there a screen actors?

1240
00:59:55,240 --> 00:59:58,800
Speaker 2: Gil found the Yes, I played golf for it every

1241
00:59:58,880 --> 01:00:01,040
Speaker 2: year and it's it's the same same type of situation,

1242
01:00:01,160 --> 01:00:02,200
Speaker 2: is it Yep?

1243
01:00:02,280 --> 01:00:05,800
Speaker 3: Yep. The bag After Foundation, the sag After Foundation you

1244
01:00:05,840 --> 01:00:07,840
Speaker 3: can donate to as well. It's a very similar fund

1245
01:00:07,880 --> 01:00:09,720
Speaker 3: and that money will go to Google go to support

1246
01:00:09,760 --> 01:00:11,040
Speaker 3: actors specifically.

1247
01:00:11,200 --> 01:00:13,520
Speaker 1: Yeah, and the Rock I heard just gave a bunch

1248
01:00:13,520 --> 01:00:14,880
Speaker 1: of money to one of those funds.

1249
01:00:14,880 --> 01:00:18,760
Speaker 4: No or something, Yeah, seven figures we're hearing.

1250
01:00:18,840 --> 01:00:19,880
Speaker 3: We don't have an exact.

1251
01:00:19,720 --> 01:00:21,680
Speaker 1: I was generous of him. Donald, don't try and get

1252
01:00:21,680 --> 01:00:23,600
Speaker 1: that money to fix up your patio because I know

1253
01:00:23,640 --> 01:00:24,640
Speaker 1: you're working on your patty.

1254
01:00:24,680 --> 01:00:28,440
Speaker 3: I'm trying to get that rock money, motherfucker.

1255
01:00:28,760 --> 01:00:33,640
Speaker 1: Listen man, listen man, don't wrap up all right, Listen now,

1256
01:00:33,800 --> 01:00:36,880
Speaker 1: Daniel wants just to clarify, because Daniel's very wise that

1257
01:00:37,320 --> 01:00:39,640
Speaker 1: a deal has been reached for UPS but still needs

1258
01:00:39,640 --> 01:00:41,520
Speaker 1: to be approved by the majority of the union.

1259
01:00:41,640 --> 01:00:44,560
Speaker 2: Yeah, so for the chancers, yeah mind, but still that's

1260
01:00:44,560 --> 01:00:45,360
Speaker 2: still progress.

1261
01:00:45,480 --> 01:00:48,120
Speaker 7: It's definitely, it's definitely progressed. But you know, my understanding

1262
01:00:48,160 --> 01:00:49,520
Speaker 7: is that a lot of the team sers were holding

1263
01:00:49,520 --> 01:00:51,880
Speaker 7: out for a hard line of twenty five dollars an hour,

1264
01:00:51,920 --> 01:00:54,240
Speaker 7: and this current deal is twenty one dollars an hour,

1265
01:00:54,320 --> 01:00:57,160
Speaker 7: going up to twenty three eventually. So there's a good

1266
01:00:57,240 --> 01:00:59,000
Speaker 7: chance that a lot of the hardliners might be like

1267
01:00:59,320 --> 01:01:02,840
Speaker 7: no five or nothing. So we'll see, we'll see that.

1268
01:01:03,000 --> 01:01:05,080
Speaker 3: And that, by the way, is part of what's so

1269
01:01:05,160 --> 01:01:07,880
Speaker 3: powerful about a union, because unions are democracies, right, So

1270
01:01:08,000 --> 01:01:10,840
Speaker 3: when the leader leadership of a union goes and makes

1271
01:01:10,880 --> 01:01:13,120
Speaker 3: a deal, the membership then gets to vote on it,

1272
01:01:13,160 --> 01:01:15,560
Speaker 3: and if the membership doesn't like the deal, they will

1273
01:01:15,920 --> 01:01:18,120
Speaker 3: vote no and you know, reject the deal. Then the

1274
01:01:18,160 --> 01:01:20,560
Speaker 3: leadership has to go back to the table. And so

1275
01:01:20,680 --> 01:01:24,000
Speaker 3: that's why, you know, our leadership of our two unions

1276
01:01:24,000 --> 01:01:26,360
Speaker 3: can't just go and cut our legs out from under

1277
01:01:26,440 --> 01:01:28,960
Speaker 3: us like it. You know, it depends on what the

1278
01:01:29,000 --> 01:01:31,280
Speaker 3: workers actually need. It's one of the things that makes

1279
01:01:31,400 --> 01:01:33,160
Speaker 3: unions so powerful. Let's take a break.

1280
01:01:33,240 --> 01:01:43,120
Speaker 1: We'll be right back after these fine words. Are you

1281
01:01:43,160 --> 01:01:45,720
Speaker 1: in the quote unquote room where it happens for the

1282
01:01:45,840 --> 01:01:48,080
Speaker 1: WGA when this? Yeah, and how many of you are

1283
01:01:48,080 --> 01:01:49,720
Speaker 1: in are in the room? Roughly?

1284
01:01:50,400 --> 01:01:53,760
Speaker 3: I believe we've got seventeen or eighteen negotiating committee members

1285
01:01:53,960 --> 01:01:55,840
Speaker 3: from the Writers Guild West and East, and there's also

1286
01:01:55,840 --> 01:01:58,000
Speaker 3: our staff members as well, of which.

1287
01:01:57,840 --> 01:01:59,520
Speaker 1: And then how many do they have? How many of

1288
01:01:59,560 --> 01:02:01,200
Speaker 1: the am TPS.

1289
01:02:02,320 --> 01:02:05,440
Speaker 3: AMPTP they have? Uh, there's about a half dozen lawyers

1290
01:02:05,480 --> 01:02:11,120
Speaker 3: just from the AMPTP and then lawyers also from you know, Netflix, Disney, Amazon, Right,

1291
01:02:11,400 --> 01:02:12,720
Speaker 3: so it's a big room room together.

1292
01:02:12,880 --> 01:02:16,120
Speaker 1: Yeah, he do people ever stand up? You can't handle

1293
01:02:16,160 --> 01:02:16,600
Speaker 1: the truth.

1294
01:02:17,240 --> 01:02:20,960
Speaker 3: So look, the actual negotiating room is very formal. Right.

1295
01:02:21,000 --> 01:02:23,120
Speaker 3: We go in and wee present our proposals, our proposal

1296
01:02:23,120 --> 01:02:25,400
Speaker 3: one is this a proposal? Two is that? And then

1297
01:02:25,600 --> 01:02:27,640
Speaker 3: they say thank you, and then we leave the room,

1298
01:02:27,680 --> 01:02:29,840
Speaker 3: and then we go back in later and they respond

1299
01:02:29,840 --> 01:02:32,960
Speaker 3: to the proposals. Our response to proposal one is rejected.

1300
01:02:33,200 --> 01:02:37,080
Speaker 3: Our responsive proposal two is rejected, you know, and very mutic.

1301
01:02:36,920 --> 01:02:38,760
Speaker 1: For a bunch of for a bunch of dramatic people,

1302
01:02:38,760 --> 01:02:40,040
Speaker 1: that's not very dramatic.

1303
01:02:39,880 --> 01:02:41,480
Speaker 3: About it's lawyers.

1304
01:02:42,920 --> 01:02:45,760
Speaker 1: I bet you in the sag. How about I bet

1305
01:02:45,800 --> 01:02:48,680
Speaker 1: you in the sague. Then Nanny's like, fuck you motherfuckers.

1306
01:02:48,960 --> 01:02:51,680
Speaker 3: I think there was a little bit more of that. Yeah,

1307
01:02:51,760 --> 01:02:53,120
Speaker 3: I think there was all that.

1308
01:02:53,160 --> 01:02:58,320
Speaker 1: One doesn't around, you know, friends on a desk, beyond people.

1309
01:02:58,840 --> 01:03:02,480
Speaker 3: But you know what, what happens in that room is

1310
01:03:02,560 --> 01:03:06,280
Speaker 3: kind of secondary because those people in that negotiating room

1311
01:03:06,320 --> 01:03:08,919
Speaker 3: are the no machine. The only reason they're in there.

1312
01:03:09,040 --> 01:03:11,120
Speaker 3: Their job is to say no over and over and

1313
01:03:11,160 --> 01:03:14,240
Speaker 3: over again, and they're hired by the CEOs who are

1314
01:03:14,240 --> 01:03:16,840
Speaker 3: not in the room. Our job is to put pressure

1315
01:03:16,880 --> 01:03:18,560
Speaker 3: on the CEOs, and we do that by being on

1316
01:03:18,600 --> 01:03:21,520
Speaker 3: the picket line. Right. But here's the thing.

1317
01:03:22,560 --> 01:03:26,120
Speaker 2: Is there ever a chance that you know you're going

1318
01:03:26,160 --> 01:03:29,240
Speaker 2: to see any of the CEOs or anything like that?

1319
01:03:29,360 --> 01:03:29,440
Speaker 5: No?

1320
01:03:30,640 --> 01:03:32,600
Speaker 3: Oh yeah, yeah, that's the point.

1321
01:03:33,080 --> 01:03:35,360
Speaker 2: That's the point is when when do you start running

1322
01:03:35,400 --> 01:03:37,080
Speaker 2: up on people, like when does that happen?

1323
01:03:37,120 --> 01:03:40,120
Speaker 3: When does on site become a situation? And I think

1324
01:03:40,200 --> 01:03:43,480
Speaker 3: it starts happening very soon, right, because the whole point is,

1325
01:03:44,080 --> 01:03:46,600
Speaker 3: I don't want to get too deep into the labor

1326
01:03:46,600 --> 01:03:50,080
Speaker 3: weeds for your audience. But the AMPTP is an outsourcing organization, right,

1327
01:03:50,360 --> 01:03:53,400
Speaker 3: Ted Sarandos, Babeiger, all of them. They hire this company

1328
01:03:53,440 --> 01:03:56,720
Speaker 3: called the AMPTP to do their labor negotiations for them

1329
01:03:56,760 --> 01:03:58,480
Speaker 3: and to say no for them, so they don't ever

1330
01:03:58,520 --> 01:04:00,200
Speaker 3: have to think about it. They just get to load

1331
01:04:00,200 --> 01:04:02,040
Speaker 3: around in their yachts, be on the top story of

1332
01:04:02,040 --> 01:04:04,760
Speaker 3: their buildings, right while someone else handles it. And our

1333
01:04:04,880 --> 01:04:07,120
Speaker 3: entire goal is to get them off the bench, is

1334
01:04:07,160 --> 01:04:10,840
Speaker 3: to make them get involved by pressing the issue until

1335
01:04:11,160 --> 01:04:13,840
Speaker 3: it's literally such a fucking problem for Ted Sorrandos he

1336
01:04:13,880 --> 01:04:15,640
Speaker 3: has to call Bob Iger then go what are we

1337
01:04:15,720 --> 01:04:17,560
Speaker 3: going to do? And then they have to call us, right,

1338
01:04:18,040 --> 01:04:22,000
Speaker 3: And that's what is about to happen, because again, this

1339
01:04:22,080 --> 01:04:27,120
Speaker 3: strike currently is unprecedented. Uh, the AMPTP failed in its

1340
01:04:27,160 --> 01:04:29,800
Speaker 3: in its you know, mission to stop a dual strike,

1341
01:04:30,320 --> 01:04:33,800
Speaker 3: and they've lost all credibility. And now those CEOs have

1342
01:04:33,880 --> 01:04:35,920
Speaker 3: to get involved. So so this is literally going to

1343
01:04:36,080 --> 01:04:39,000
Speaker 3: end when you know, in a conversation with that Ted

1344
01:04:39,040 --> 01:04:42,280
Speaker 3: Sorrandos and Iiger and and you know, Sherry Redstone and

1345
01:04:42,320 --> 01:04:43,320
Speaker 3: all of them are involved in.

1346
01:04:44,000 --> 01:04:48,080
Speaker 1: Don't isn't there an algorithm of sorts where there's CFOs

1347
01:04:48,120 --> 01:04:51,960
Speaker 1: and money people are going listen or we can afford

1348
01:04:52,320 --> 01:04:56,920
Speaker 1: and prepare to recoup in these creative ways this amount

1349
01:04:56,960 --> 01:04:59,440
Speaker 1: of money. But once it goes beyond that, we're in.

1350
01:04:59,480 --> 01:05:01,200
Speaker 1: You know, our doc is going to be effected. I mean,

1351
01:05:01,280 --> 01:05:03,480
Speaker 1: aren't they running all those kind of numbers and going,

1352
01:05:03,880 --> 01:05:06,440
Speaker 1: all right, we can let them suffer till November? You know,

1353
01:05:06,880 --> 01:05:08,360
Speaker 1: I mean, I'm just pulling that out of my ass.

1354
01:05:08,360 --> 01:05:11,440
Speaker 3: But oh, they look they cannot let this go on

1355
01:05:11,640 --> 01:05:13,960
Speaker 3: all right, like like they did have that plan with

1356
01:05:14,000 --> 01:05:16,080
Speaker 3: the Writer's Guild. They're playing with the reskuils always let's

1357
01:05:16,080 --> 01:05:18,040
Speaker 3: hold them off three months before we even talk to them,

1358
01:05:18,400 --> 01:05:21,120
Speaker 3: sag after again, striking is not something they predicted. And

1359
01:05:21,200 --> 01:05:23,080
Speaker 3: I don't believe they have the ability to weather it

1360
01:05:23,160 --> 01:05:27,200
Speaker 3: at all. Now. They always they all will always will

1361
01:05:27,240 --> 01:05:31,040
Speaker 3: do those projections, you know, and and those are projections

1362
01:05:31,040 --> 01:05:33,760
Speaker 3: that are designed to tell you no right, what we

1363
01:05:33,800 --> 01:05:35,760
Speaker 3: can't afford it for X, Y and Z reason. But

1364
01:05:35,880 --> 01:05:40,120
Speaker 3: all that matters is what are we willing to work

1365
01:05:40,160 --> 01:05:43,880
Speaker 3: with and without? Right? All all that matters is, UH,

1366
01:05:43,960 --> 01:05:48,320
Speaker 3: what are writers and actors willing to countenance? You know what?

1367
01:05:48,760 --> 01:05:48,880
Speaker 4: Uh?

1368
01:05:49,520 --> 01:05:52,280
Speaker 3: Are we willing to work for less than this? Uh?

1369
01:05:52,360 --> 01:05:54,560
Speaker 3: And if the answer is no, then you know we're

1370
01:05:54,600 --> 01:05:57,480
Speaker 3: going to get what we want because you know, all

1371
01:05:57,480 --> 01:05:59,480
Speaker 3: that matters at the end of the day is us

1372
01:05:59,600 --> 01:06:02,520
Speaker 3: using power and saying, look, if you don't give us

1373
01:06:02,560 --> 01:06:04,720
Speaker 3: what we want, we're not fucking going back to work. Right,

1374
01:06:04,840 --> 01:06:07,720
Speaker 3: Unless these companies want to stop making American film and

1375
01:06:07,760 --> 01:06:10,080
Speaker 3: television entirely, they're gonna have to bargain with us and

1376
01:06:10,080 --> 01:06:12,520
Speaker 3: make a deal that we can accept. And that's going

1377
01:06:12,560 --> 01:06:14,760
Speaker 3: to be the endgame. No matter what, it's going to

1378
01:06:14,840 --> 01:06:18,400
Speaker 3: happen sooner rather than later. But you know that's that

1379
01:06:18,640 --> 01:06:18,920
Speaker 3: That is.

1380
01:06:18,920 --> 01:06:20,680
Speaker 1: The last thing I want, Adam, Thank you so much.

1381
01:06:20,680 --> 01:06:23,200
Speaker 1: The last one to ask you was I'm hearing that

1382
01:06:23,440 --> 01:06:28,720
Speaker 1: certain indie movies are being getting a waiver because they

1383
01:06:28,720 --> 01:06:33,240
Speaker 1: are independent of all of these conglomerates and they are

1384
01:06:33,640 --> 01:06:40,400
Speaker 1: somehow giving SAG what they're asking for in the contract.

1385
01:06:40,480 --> 01:06:43,080
Speaker 1: Can you explain that how how indies are getting waivers?

1386
01:06:43,080 --> 01:06:43,720
Speaker 1: Do you understand?

1387
01:06:43,920 --> 01:06:45,920
Speaker 3: Sure? So I only know about this what I've read

1388
01:06:45,920 --> 01:06:47,560
Speaker 3: in the trades because I'm not part of this decision

1389
01:06:47,560 --> 01:06:49,240
Speaker 3: making process and SAG, but I can explain it a

1390
01:06:49,280 --> 01:06:54,080
Speaker 3: little bit that for companies that they feel are not

1391
01:06:54,480 --> 01:06:58,040
Speaker 3: affiliated with the AMPTP, they are signing them to an

1392
01:06:58,040 --> 01:07:01,080
Speaker 3: interim agreement which says we will will agree to whatever

1393
01:07:01,120 --> 01:07:04,440
Speaker 3: your final agreement is with the AMPTP, and they're continuing

1394
01:07:04,480 --> 01:07:08,080
Speaker 3: to work. SAG after his view seems to be that

1395
01:07:08,160 --> 01:07:10,680
Speaker 3: this will put more pressure on the majors because these

1396
01:07:10,720 --> 01:07:13,240
Speaker 3: other you know, independent companies, so you know, so called

1397
01:07:13,280 --> 01:07:17,640
Speaker 3: independent companies are making you know, films outside of the system,

1398
01:07:17,760 --> 01:07:19,720
Speaker 3: and it's going to encourage you know, the big the

1399
01:07:19,720 --> 01:07:21,880
Speaker 3: big players like Universal and Pairamount to come back to

1400
01:07:21,920 --> 01:07:26,200
Speaker 3: the table sooner. Personally, very personally, I don't think that

1401
01:07:26,280 --> 01:07:30,520
Speaker 3: strategy is going to work that well because unfortunately, a

1402
01:07:30,520 --> 01:07:32,360
Speaker 3: lot of those movies are still going to end up

1403
01:07:32,360 --> 01:07:34,920
Speaker 3: on Netflix and Apple TV and all these other services.

1404
01:07:35,120 --> 01:07:38,720
Speaker 3: They're still part of the pipeline that the AMPTP companies

1405
01:07:39,000 --> 01:07:42,080
Speaker 3: are making, uh, you know, making money off of. So

1406
01:07:42,760 --> 01:07:44,720
Speaker 3: I don't think it's a great strategy. By the way,

1407
01:07:44,720 --> 01:07:46,560
Speaker 3: this is something the Writers Guild tried in two thousand

1408
01:07:46,600 --> 01:07:48,800
Speaker 3: and seven and eight, and the reason we're not doing

1409
01:07:48,880 --> 01:07:50,960
Speaker 3: it this year is because it didn't We feel it

1410
01:07:50,960 --> 01:07:54,280
Speaker 3: didn't work during the two thousand and seven and eight strike. Yeah,

1411
01:07:54,320 --> 01:07:57,920
Speaker 3: and so you know, that's that's a disagreement I have. However,

1412
01:07:58,520 --> 01:08:00,680
Speaker 3: I think that it's ultimately not gonna matter that much

1413
01:08:00,720 --> 01:08:03,520
Speaker 3: because we're talking about, you know, thirty projects or so,

1414
01:08:04,400 --> 01:08:06,840
Speaker 3: when the reality is, you know, tens of thousands of

1415
01:08:06,840 --> 01:08:10,760
Speaker 3: product projects are stopped down right now. So there's also

1416
01:08:10,840 --> 01:08:12,400
Speaker 3: a couple of them that are happening. There was one

1417
01:08:12,440 --> 01:08:15,400
Speaker 3: for Apple TV called Tehran, which my understanding is like

1418
01:08:16,000 --> 01:08:17,600
Speaker 3: the real problem there was that it was in a

1419
01:08:17,600 --> 01:08:20,760
Speaker 3: country where the strike couldn't have been enforced because it

1420
01:08:20,800 --> 01:08:22,200
Speaker 3: was shooting overseas, and so there was.

1421
01:08:22,320 --> 01:08:26,080
Speaker 1: There's there's some shows like House of Dragon. I don't

1422
01:08:26,080 --> 01:08:27,439
Speaker 1: know why I keep bringing that show up today, but

1423
01:08:27,479 --> 01:08:32,639
Speaker 1: I am that is not sad. It's a fully English union.

1424
01:08:33,000 --> 01:08:36,479
Speaker 1: Uh So they're continuing, and I think I know that

1425
01:08:36,520 --> 01:08:39,400
Speaker 1: it doesn't I know this strike doesn't affect commercials, and

1426
01:08:39,439 --> 01:08:42,679
Speaker 1: I think animation as well. I think those are separate contracts.

1427
01:08:42,720 --> 01:08:43,000
Speaker 1: If I'm not.

1428
01:08:43,640 --> 01:08:45,760
Speaker 4: Luckily, the animators are getting together to start their own union,

1429
01:08:45,800 --> 01:08:46,719
Speaker 4: which is really exciting.

1430
01:08:46,800 --> 01:08:48,920
Speaker 2: Well, it's about time. I'm gonna be honest with you.

1431
01:08:49,000 --> 01:08:52,960
Speaker 2: That's something that animators don't have. And animators are shitt

1432
01:08:53,200 --> 01:08:56,360
Speaker 2: ton for their work. And some of these guys do

1433
01:08:56,560 --> 01:09:00,040
Speaker 2: hours that you and me and girls. Yeah, that's you

1434
01:09:00,080 --> 01:09:01,600
Speaker 2: know what I meant. Some of these people, let me

1435
01:09:01,720 --> 01:09:02,240
Speaker 2: put it that way.

1436
01:09:02,360 --> 01:09:05,080
Speaker 3: And non binary. There's a lot of non binary animators.

1437
01:09:05,120 --> 01:09:06,040
Speaker 3: I have met many.

1438
01:09:06,520 --> 01:09:10,880
Speaker 2: Okay, look, some of these human beings, Okay, we can

1439
01:09:10,920 --> 01:09:15,000
Speaker 2: all agree there some thank you. Some of these human

1440
01:09:15,080 --> 01:09:19,120
Speaker 2: beings are working their asses off for hours and hours

1441
01:09:19,160 --> 01:09:22,680
Speaker 2: and hours and getting paid very very little. You want

1442
01:09:22,680 --> 01:09:25,400
Speaker 2: to talk about, no, do try making a living as

1443
01:09:25,439 --> 01:09:27,920
Speaker 2: an animator, dude, It's almost impossible.

1444
01:09:27,960 --> 01:09:30,000
Speaker 1: And about these VLX companies that always seem to go

1445
01:09:30,040 --> 01:09:32,160
Speaker 1: out of business after a giant movie comes out because

1446
01:09:32,360 --> 01:09:33,719
Speaker 1: they just can't pay their bills.

1447
01:09:34,000 --> 01:09:35,600
Speaker 3: And let me correct you a little bit, Joelle, they

1448
01:09:35,640 --> 01:09:37,920
Speaker 3: actually do have a union. There isn't a union called

1449
01:09:37,920 --> 01:09:40,439
Speaker 3: the Animation Guild, but historically it has been a union

1450
01:09:40,479 --> 01:09:44,360
Speaker 3: that unfortunately has not been a real fighting union. And

1451
01:09:44,840 --> 01:09:46,880
Speaker 3: what the people in the animation Guild are doing now

1452
01:09:47,000 --> 01:09:49,680
Speaker 3: is they are fighting their asses off. They are saying, well,

1453
01:09:49,720 --> 01:09:51,400
Speaker 3: we want some of this fight for us.

1454
01:09:51,520 --> 01:09:53,639
Speaker 2: Yeah, if you read some of the stories on how

1455
01:09:53,680 --> 01:09:56,599
Speaker 2: these people are treated at some of these animation houses, man,

1456
01:09:56,640 --> 01:09:59,760
Speaker 2: you can find them one line if anybody's interested, Like,

1457
01:10:00,200 --> 01:10:03,639
Speaker 2: because I'm so into animation, you just just just the

1458
01:10:03,840 --> 01:10:06,759
Speaker 2: disrespect that these people, that a lot of these people

1459
01:10:06,800 --> 01:10:09,800
Speaker 2: receive for their for their hard earned work is just

1460
01:10:09,880 --> 01:10:13,240
Speaker 2: as is just as uh deplorable as what we're seeing

1461
01:10:13,240 --> 01:10:13,719
Speaker 2: going on.

1462
01:10:13,720 --> 01:10:16,719
Speaker 3: With SAG and uh yeah and the Writers Guild.

1463
01:10:16,840 --> 01:10:20,400
Speaker 1: When I've been up animation, I meant the SAG contract

1464
01:10:20,439 --> 01:10:25,120
Speaker 1: with animated things, I believe is a different contract.

1465
01:10:25,400 --> 01:10:26,160
Speaker 3: I'm talking about.

1466
01:10:26,640 --> 01:10:31,320
Speaker 2: I'm talking about the actual animators and creators and point.

1467
01:10:31,120 --> 01:10:32,080
Speaker 3: And to say they're clarifyed.

1468
01:10:32,120 --> 01:10:35,240
Speaker 4: Cartoon Network and Warner Brothers animators specifically have gone to

1469
01:10:35,520 --> 01:10:39,599
Speaker 4: the National Labor Relations Board and asked to form a union.

1470
01:10:39,840 --> 01:10:41,679
Speaker 4: So they're in the process of trying to move away

1471
01:10:41,680 --> 01:10:44,280
Speaker 4: from the established union and create one like in House

1472
01:10:44,920 --> 01:10:47,000
Speaker 4: Network and Warner Brothers got it.

1473
01:10:47,120 --> 01:10:50,080
Speaker 3: Yeah, So there's a lot of activism happening in animation

1474
01:10:50,200 --> 01:10:51,960
Speaker 3: that I like, I'm not even all up to speed. Yet.

1475
01:10:51,960 --> 01:10:54,000
Speaker 3: I mean, there's one of the really cool things about

1476
01:10:54,000 --> 01:10:57,840
Speaker 3: this strike is that we are showing that we have

1477
01:10:58,000 --> 01:11:00,600
Speaker 3: power and that we are gonna use that power to

1478
01:11:00,600 --> 01:11:02,880
Speaker 3: get what we need. And us as writers and actors,

1479
01:11:02,880 --> 01:11:05,519
Speaker 3: we're lucky because our unions have been around and powerful

1480
01:11:05,560 --> 01:11:08,960
Speaker 3: for ninety almost one hundred years. But what's happening now

1481
01:11:09,080 --> 01:11:11,719
Speaker 3: is folks from all other parts of the entertainment industry

1482
01:11:11,720 --> 01:11:14,000
Speaker 3: and other industries around the country are watching what we're

1483
01:11:14,000 --> 01:11:16,519
Speaker 3: doing and saying, oh, this is something we can do

1484
01:11:16,640 --> 01:11:19,800
Speaker 3: too if we step up. So I've literally talked to choreographers,

1485
01:11:20,200 --> 01:11:23,760
Speaker 3: music supervisors, post production workers. These are folks in our

1486
01:11:23,800 --> 01:11:27,080
Speaker 3: industry who don't have unions, and they are forming unions

1487
01:11:27,880 --> 01:11:30,040
Speaker 3: and take it, which is much harder. That's the hardest

1488
01:11:30,080 --> 01:11:31,479
Speaker 3: thing to do is start a union from scratch. But

1489
01:11:31,479 --> 01:11:34,080
Speaker 3: they're doing it because they're seeing, Oh my god, look

1490
01:11:34,120 --> 01:11:35,400
Speaker 3: at what you can do if you have a union.

1491
01:11:35,439 --> 01:11:37,439
Speaker 3: And so that's one of my favorite things about what

1492
01:11:37,600 --> 01:11:38,760
Speaker 3: we're doing right now.

1493
01:11:38,760 --> 01:11:41,320
Speaker 1: Adam, thank you so much for coming on. Sounds like

1494
01:11:42,000 --> 01:11:44,240
Speaker 1: I am going to wrap up. We can stay on

1495
01:11:44,280 --> 01:11:46,479
Speaker 1: for a second in chat, but Adam, thank you so much.

1496
01:11:46,880 --> 01:11:48,800
Speaker 1: And I'm not allowed to promote it. But I am

1497
01:11:49,000 --> 01:11:51,400
Speaker 1: intrigued by how articulate you are. And I am going

1498
01:11:51,439 --> 01:11:54,240
Speaker 1: to watch your show and go back and go do

1499
01:11:54,320 --> 01:11:55,880
Speaker 1: a deep dive on all your work.

1500
01:11:56,240 --> 01:11:57,760
Speaker 3: Thank you so much. And just if I can do

1501
01:11:57,800 --> 01:11:59,759
Speaker 3: a little plug, I am a touring stand up comedian.

1502
01:11:59,760 --> 01:12:01,240
Speaker 3: Would is one of the few kinds of work I

1503
01:12:01,240 --> 01:12:04,080
Speaker 3: can do during the strike. Yeah, if you live where

1504
01:12:04,080 --> 01:12:06,479
Speaker 3: are you gonna be? Do you live in Buffalo, Saint Louis, Providence,

1505
01:12:06,520 --> 01:12:08,600
Speaker 3: Rhode Island, come see me Adam connover dot net for

1506
01:12:08,600 --> 01:12:09,960
Speaker 3: tickets and tour dates.

1507
01:12:10,280 --> 01:12:13,679
Speaker 1: I go see Adam guys because he's uh, he's clever,

1508
01:12:13,840 --> 01:12:15,960
Speaker 1: he's smart. Way do you get your eyes on him?

1509
01:12:16,160 --> 01:12:19,120
Speaker 1: And he's a looker.

1510
01:12:19,520 --> 01:12:20,479
Speaker 3: He is a looker.

1511
01:12:20,800 --> 01:12:23,639
Speaker 1: Yeah, all right, Adam, thank you, thank you so much.

1512
01:12:23,640 --> 01:12:24,720
Speaker 1: But we really appreciate this.

1513
01:12:24,760 --> 01:12:27,120
Speaker 3: Thank you, thank you, pleasure being here, thank.

1514
01:12:27,040 --> 01:12:30,439
Speaker 1: Me, thank you, Thanks Adam, Joel, great job of producing,

1515
01:12:30,520 --> 01:12:33,200
Speaker 1: Joel getting Adam as a guest, thank you.

1516
01:12:33,320 --> 01:12:34,040
Speaker 3: I was very excited.

1517
01:12:34,040 --> 01:12:35,040
Speaker 1: He really came through.

1518
01:12:35,240 --> 01:12:35,719
Speaker 3: Fabulous.

1519
01:12:36,400 --> 01:12:39,360
Speaker 1: We needed it, we needed yeah, Donald's right, it was perfect.

1520
01:12:39,400 --> 01:12:42,040
Speaker 1: We needed someone who knew their ship like that, and

1521
01:12:42,080 --> 01:12:42,880
Speaker 1: you came through.

1522
01:12:43,200 --> 01:12:45,639
Speaker 2: We also needed it because I know our listeners out

1523
01:12:45,640 --> 01:12:47,120
Speaker 2: there are like, well, what the fuck is going on

1524
01:12:47,200 --> 01:12:48,439
Speaker 2: with fake doctors right now?

1525
01:12:48,479 --> 01:12:51,120
Speaker 1: What are they doing right right? So we are going

1526
01:12:51,200 --> 01:12:54,400
Speaker 1: to not talk about scrubs for a while until the

1527
01:12:54,439 --> 01:12:56,719
Speaker 1: strike is over, but we're gonna talk about other interesting things.

1528
01:12:57,240 --> 01:12:59,960
Speaker 3: Donald got a great guest lined up for next We have.

1529
01:12:59,880 --> 01:13:01,240
Speaker 1: A really good guest for next week.

1530
01:13:02,520 --> 01:13:05,679
Speaker 3: Did you did Let's just say Tom Cruise.

1531
01:13:06,000 --> 01:13:09,519
Speaker 1: It's not Tom Cruise, but we could. We could build

1532
01:13:09,560 --> 01:13:12,320
Speaker 1: to that. Listen, we are going to build an empire, Donald,

1533
01:13:13,360 --> 01:13:15,400
Speaker 1: and we're going to start.

1534
01:13:15,720 --> 01:13:17,519
Speaker 3: Can I be the Emperor?

1535
01:13:17,840 --> 01:13:18,680
Speaker 1: Yes, you can be.

1536
01:13:18,680 --> 01:13:20,639
Speaker 3: I'm willing to be the Lord Vader.

1537
01:13:21,720 --> 01:13:23,600
Speaker 1: I don't Oh, I see it all goes back to

1538
01:13:23,600 --> 01:13:28,160
Speaker 1: Star Wars because you can be. You can be the Emperor.

1539
01:13:28,600 --> 01:13:31,519
Speaker 1: Is the Emperor higher.

1540
01:13:31,000 --> 01:13:33,320
Speaker 3: Than Lord Vader? Yes? Than everyone?

1541
01:13:33,920 --> 01:13:39,320
Speaker 1: Emperor is the highest. What's that guy who's not the Emperor?

1542
01:13:39,400 --> 01:13:42,000
Speaker 1: But he he was in the last big Star Wars

1543
01:13:42,000 --> 01:13:44,240
Speaker 1: movie and he was like a hologram and he feels

1544
01:13:44,240 --> 01:13:44,759
Speaker 1: like the Emperor.

1545
01:13:45,080 --> 01:13:49,439
Speaker 3: Snoke Snoop snook. No, you're talking about.

1546
01:13:49,240 --> 01:13:54,840
Speaker 1: Snooky Snoky Snokey. She was he was on Jersey Shore

1547
01:13:54,920 --> 01:14:00,320
Speaker 1: to Snokey was snow higher than the Emperor.

1548
01:14:00,479 --> 01:14:03,080
Speaker 3: No, No was created by the improve.

1549
01:14:02,800 --> 01:14:04,320
Speaker 1: Oh, I want to be Snoke. You can be the

1550
01:14:04,680 --> 01:14:09,320
Speaker 1: Okay I created Snoke is snow higher than Vader.

1551
01:14:10,200 --> 01:14:10,400
Speaker 3: No.

1552
01:14:11,760 --> 01:14:14,560
Speaker 4: By the time Snoke comes out.

1553
01:14:13,800 --> 01:14:16,439
Speaker 1: I need a family tree, Joelle.

1554
01:14:16,439 --> 01:14:19,080
Speaker 2: Can you you know you need to be You could

1555
01:14:19,120 --> 01:14:22,519
Speaker 2: be you could be freaking tarkt Grandma Tarkan.

1556
01:14:22,960 --> 01:14:24,840
Speaker 1: That don't give me a really Donald and Casey gave

1557
01:14:24,880 --> 01:14:27,080
Speaker 1: me a really nice belated birthday present.

1558
01:14:28,800 --> 01:14:29,240
Speaker 5: What you get?

1559
01:14:29,600 --> 01:14:32,560
Speaker 1: Well, they know that I really love land Rover Defenders.

1560
01:14:33,200 --> 01:14:36,240
Speaker 1: I'm a big fan of them, especially the old D nineties,

1561
01:14:36,280 --> 01:14:40,240
Speaker 1: and they got me a D land Rover Defender D

1562
01:14:40,400 --> 01:14:46,479
Speaker 1: ninety Lego set. Guess what I'm going to be doing

1563
01:14:46,560 --> 01:14:47,400
Speaker 1: whilst I strike?

1564
01:14:49,320 --> 01:14:49,439
Speaker 5: Oh?

1565
01:14:49,600 --> 01:14:53,360
Speaker 4: Hell yeah, hell yeah, I love some Legos.

1566
01:14:53,680 --> 01:14:56,720
Speaker 1: Listen, Donald, I love you, I love you. You know

1567
01:14:56,760 --> 01:14:59,240
Speaker 1: what I've been watching? I listen. I never get into

1568
01:14:59,280 --> 01:15:02,439
Speaker 1: these reality shows. Okay, ever, my whole life, I never

1569
01:15:02,479 --> 01:15:05,640
Speaker 1: watched reality shows. But someone gave me a taste of

1570
01:15:05,640 --> 01:15:09,960
Speaker 1: the crack, and now I can't. I can't stop watching

1571
01:15:10,160 --> 01:15:16,960
Speaker 1: No Below Deck Mediterrane. Well, he's on that people. Donald,

1572
01:15:17,160 --> 01:15:21,760
Speaker 1: they fight, they all hook up, some of them have yachts.

1573
01:15:25,920 --> 01:15:28,840
Speaker 2: I'm still watching dance moms. I didn't realize that that

1574
01:15:28,920 --> 01:15:30,280
Speaker 2: they were that many seasons.

1575
01:15:30,600 --> 01:15:33,840
Speaker 1: Well, I'm looking at below Deck. I'm looking at below Deck,

1576
01:15:33,880 --> 01:15:37,080
Speaker 1: which is my crack problem, my strike crack problem. And

1577
01:15:37,439 --> 01:15:40,200
Speaker 1: there's so many seasons, and I'm like, I gotta get

1578
01:15:40,200 --> 01:15:42,200
Speaker 1: off of this. But look how many seasons there are?

1579
01:15:42,680 --> 01:15:46,600
Speaker 2: These shows? Are they We're allowed to watch this, aren't we.

1580
01:15:46,400 --> 01:15:48,600
Speaker 1: These people are not sacked, but some of them do have.

1581
01:15:49,840 --> 01:15:51,639
Speaker 1: These people do have yachts, some of them.

1582
01:15:51,960 --> 01:15:54,680
Speaker 4: The bowl is not to promote anything a studio is

1583
01:15:54,720 --> 01:15:55,760
Speaker 4: currently promoting.

1584
01:15:56,000 --> 01:15:59,200
Speaker 1: We're okay with Below Deck, Joel.

1585
01:16:00,120 --> 01:16:03,040
Speaker 3: We're not okay with dance Moms. I'll talk to you, guys.

1586
01:16:03,040 --> 01:16:03,719
Speaker 3: It's your idea.

1587
01:16:03,840 --> 01:16:04,320
Speaker 1: I will take that.

1588
01:16:04,479 --> 01:16:06,519
Speaker 3: I'm not fucking around friend Dresser.

1589
01:16:06,760 --> 01:16:10,000
Speaker 1: If fran Dresser calls me about talking about below Deck, med,

1590
01:16:11,320 --> 01:16:12,400
Speaker 1: it's my fault.

1591
01:16:13,439 --> 01:16:14,960
Speaker 3: All right, okay, all right, guys.

1592
01:16:15,080 --> 01:16:17,519
Speaker 1: We love you, We love you listeners. Thank you for

1593
01:16:17,560 --> 01:16:20,200
Speaker 1: tuning in. We hope you were educational. That's where we're

1594
01:16:20,200 --> 01:16:20,600
Speaker 1: trying to be.

1595
01:16:21,840 --> 01:16:26,160
Speaker 6: And five six, seven, eight stories I'm not sure. We

1596
01:16:26,280 --> 01:16:30,040
Speaker 6: made about a bunch of talks and nurses and.

1597
01:16:31,960 --> 01:16:32,959
Speaker 4: I said, here's.

1598
01:16:32,760 --> 01:16:41,320
Speaker 6: A story natural, so YadA around you here yeada around here.

1599
01:16:41,880 --> 01:16:46,040
Speaker 5: Spell me, no M