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Speaker 1: Yeah, and I did some I did some soaps. I

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Speaker 1: got this recurring on a soap and cash my little checks,

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Speaker 1: and I would just look at the stack of cash

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Speaker 1: in my cupboard, you know, I put it up. I

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Speaker 1: just opened the door and look at it, like, look.

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Speaker 2: At that, Look at that cash.

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Speaker 1: There must be a thousand dollars there.

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Speaker 3: You know.

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Speaker 1: It's just like right, so stupid, but so wonderful, you know.

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Speaker 1: And just the fact that I kept going kind of

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Speaker 1: always shocks me. I was so dumb, I didn't know

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Speaker 1: to quit.

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Speaker 3: Hi.

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Speaker 1: I'm Garrett Dillant, and I was a little stoned for

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Speaker 1: this entire interview.

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Speaker 4: Hi everybody, it's Brian Baumgartner here, the host of your

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Speaker 4: absolute favorite podcast, I'm sure of it, Off the Beat.

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Speaker 3: Thank you for joining us today.

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Speaker 4: Is well from his own self introduction a second ago,

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Speaker 4: you could probably already tell this is a fun one.

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Speaker 4: You are in for a real treat with today's guest,

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Speaker 4: Garrett Dilla Hunt. Now, I am not high, but we

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Speaker 4: do have a lot of other stuff in common. We

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Speaker 4: both started in the theater, we both knew Rain Wilson

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Speaker 4: as a stage actor. We both guest starred on Criminal Minds,

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Speaker 4: and we both appeared in a music video together where

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Speaker 4: we did a choreographed dance. This is all true, and honestly,

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Speaker 4: all of it was pretty good, so you should go

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Speaker 4: check it out. Garrett does, however, have a number of

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Speaker 4: other credits that well that I do not. He is

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Speaker 4: in one of my all time favorite movies Academy Award

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Speaker 4: winner No Country for Old Men, and one of my

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Speaker 4: favorite television shows, dead Wood, not to mention the fact

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Speaker 4: that he was in Fear of the Walking Dead dead

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Speaker 4: to me, Dawn of the Dead, The Dead Don't Hurt.

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Speaker 3: Yes, we're sending a theme here, Okay, Well, here we go.

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Speaker 4: There are some not dead titles to Raising Hope, The

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Speaker 4: Mindy Project, Hand of God, and a brand new series

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Speaker 4: called Ghosts of Beirut, which I am very excited about. Now,

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Speaker 4: Garrett is going to regale us with tales from his

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Speaker 4: college days in Seattle, his theater days in New York,

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Speaker 4: and his current days in Hollywood. Sit back and enjoy

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Speaker 4: this conversation with the fantastic Garrett Dilla Hunt.

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Speaker 1: Bubble and Squeak. I love it, Bubble and Squeakano, Bubble

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Speaker 1: and Squeak. I could get every mon lift over from

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Speaker 1: the ninety four.

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Speaker 3: What's up, carrot? Hey man, how are you? I'm good.

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Speaker 1: It's been a long long time.

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Speaker 4: It's been a long time. Now do you remember the

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Speaker 4: last time we saw each other?

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Speaker 1: Was it that music video?

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Speaker 5: Oh?

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Speaker 4: The music video? Okay, no, I don't think so. Actually,

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Speaker 4: so this came to me. I think you were in it.

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Speaker 4: If you weren't in it, disregard, but hand of God.

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Speaker 4: Yeah I was in Hand of God.

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Speaker 1: Of course you were.

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Speaker 3: Yeah, that's right, but well, thank you. That's really what

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Speaker 3: I was.

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Speaker 1: We didn't have any scenes together.

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Speaker 4: Well now, wait a second, so maybe now, maybe you

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Speaker 4: weren't in it. And if you weren't, then that because

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Speaker 4: I was trying to think, I was like, we had

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Speaker 4: to have been together at some point, but I was

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Speaker 4: all with Ron. But then there was a weird sex dream.

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Speaker 4: Were you in the sex dream? And it was God,

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Speaker 4: you weren't in the set? You weren't in the sex dream? Well,

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Speaker 4: because I was so distracted, because it was one of

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Speaker 4: these things where I was, this is going off the

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Speaker 4: rails already, But because I was like, and I tried

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Speaker 4: to search to find out if you were there, because

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Speaker 4: I was it was in the show with Ron the

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Speaker 4: whole time. Except this one weird sex dream and I

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Speaker 4: was meeting everyone else kind of for the first time,

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Speaker 4: and it was like in between Dana Delaney's legs and

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Speaker 4: it was me and not Ron, and we were and

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Speaker 4: I was just trying to stay very focused.

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Speaker 1: Its good? Was it always that way? Why is it

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Speaker 1: always the first day?

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Speaker 3: Nice to you, Hi, Dana? How are you?

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Speaker 4: It's so this is I apologize for what's about to

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Speaker 4: happen here for the next four hours.

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Speaker 3: I apologize that was not me.

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Speaker 1: I would definitely remember.

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Speaker 4: That you weren't in it, Okay, well that was the

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Speaker 4: thing is it was a screaming rewatch. No, I know,

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Speaker 4: we hand of God everyone Ron Perlman, Yes, I loved

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Speaker 4: that show. It was it was it was gone too

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Speaker 4: soon as far as I'm concerned.

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Speaker 1: You fit right in. I I remember because I saw

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Speaker 1: the episodes. We didn't have any scenes.

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Speaker 4: I think we had no No, we had together all right,

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Speaker 4: Well here you go failed. Yes, there was a music

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Speaker 4: video though. That was that was Ingrid Michaelson.

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Speaker 1: Ingrid Michaelson. Who's so talented, isn't.

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Speaker 3: She so talented?

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Speaker 4: And what's funny actually is that I ended up in

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Speaker 4: bed in a weird pajama silk thing in that too.

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Speaker 3: With with the.

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Speaker 1: On something here, pedal pedals all over me.

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Speaker 4: That's another one. Ingrid Michael music video good to see

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Speaker 4: You again. I in going back and doing a little

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Speaker 4: dive into you. I didn't realize how many similarities we have.

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Speaker 4: We'll talk about that in a minute. But you grew

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Speaker 4: up in Washington, I know, born in California. What were

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Speaker 4: your earliest influences? What were you watching as a kid.

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Speaker 4: What were some of your your favorite shows?

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Speaker 1: I really loved Alias Smith and Jones.

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Speaker 3: Okay, that one.

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Speaker 1: It was a Western with Hannibal Hayes and Kid Curry,

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Speaker 1: the two most successful outlaws the West has ever known.

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Speaker 1: Out of all the trains and banks they robbed, they

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Speaker 1: never shot anyone. I know, right.

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Speaker 3: I love that.

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Speaker 1: I loved like six Million Dollar Man and Incredible Hulk,

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Speaker 1: Bill Dixby and Luke Can the Wolf Boy. Do you

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Speaker 1: remember any of these?

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Speaker 3: I don't, none of you.

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Speaker 4: Yeah, this is these are unexpected hits like yeah.

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Speaker 1: Well now rewart taste, I think, Yeah, when did.

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Speaker 4: You When did you first begin thinking about yourself as

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Speaker 4: a as a performer or an actor? I mean, I

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Speaker 4: know you went to UWU studied journalism. Were you interested

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Speaker 4: in the arts prior?

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Speaker 1: Well, you know, like a lot of us, pretty shy,

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Speaker 1: you know, particularly in those days, you know, really shy.

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Speaker 1: And I never never would have thought i'd be an actor.

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Speaker 1: I couldn't conceive of getting up in front of people

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Speaker 1: and doing anything. But I wanted to be a writer,

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Speaker 1: you know, so that was artistic. And I like to draw,

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Speaker 1: but my pursuits were more solitary, I think, originally interesting,

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Speaker 1: but yeah, and I didn't This is always the weird

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Speaker 1: part of these interviews. When I was a senior in

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Speaker 1: high school, my older brother was killed in a drunk

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Speaker 1: driving accident, which totally threw me for a loop and

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Speaker 1: sent me into college in a very you know, fucked up,

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Speaker 1: you know, as you can imagine. And everybody has tragedy

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Speaker 1: of one sort or another, but I was. I was

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Speaker 1: really lost and drifting and I didn't know. I did

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Speaker 1: journalism because that's what the plan was, because I was

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Speaker 1: a star on the school newspaper in high school and thought, well,

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Speaker 1: this is what I'll do. And I really stumbled into

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Speaker 1: an acting class. Basically it was a I thought I

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Speaker 1: should write some plays, So what's that about? And everyone

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Speaker 1: had said you should take an acting class so you

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Speaker 1: know what you're writing for, and which was a terrifying prospect.

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Speaker 1: But I just thought I'd take this one class and

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Speaker 1: get out. And that was my last year of college

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Speaker 1: at you dubbed there, and I just loved it. I

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Speaker 1: just was like, oh, I'm sure it was therapeutic, you know,

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Speaker 1: I was. I could not I could be someone else,

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Speaker 1: someone else tell me really smart things to say that

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Speaker 1: I never could have thought of. You know, you have

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Speaker 1: this idea about yourself it's sort of worthless or whatever.

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Speaker 1: It was just I just I just dove in. I did.

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Speaker 1: I was doing so many things at want because I

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Speaker 1: just I just want to I just want to be

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Speaker 1: somebody else. Then I just loved it. I finally found

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Speaker 1: something I could do. I felt like, and uh and

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Speaker 1: and give me a scape. But it established some habits.

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Speaker 1: I'm still kind of doing that. I still kind of

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Speaker 1: go from one thing to another and maybe should be

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Speaker 1: a little pick here, you know, but I don't know. So, yeah,

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Speaker 1: that that was my first inklings.

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Speaker 4: Well that I mean that that one. That's surprising to

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Speaker 4: me that it was, that it was so late. I mean,

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Speaker 4: I certainly share with you and and it's it's even

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Speaker 4: hard for my mom to understand that that that that

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Speaker 4: attention isn't something that I want or ever really wanted that,

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Speaker 4: you know, for me, it's when you begin to transform

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Speaker 4: into that character or.

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Speaker 1: I don't know's I know you feel you feel cheesy

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Speaker 1: talking about it, but it's true.

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Speaker 4: Yeah, but but for you for it to have happened

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Speaker 4: so late is very surprising. Did you then begin taking

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Speaker 4: other classes? I know eventually you landed in the mattress

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Speaker 4: program at NYU. Was that immediately after school or how

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Speaker 4: did that come about?

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Speaker 6: No?

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Speaker 1: I kind of got out of school and thought like, oh,

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Speaker 1: now what and I just kind of acted around Seattle

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Speaker 1: for a year and then and then I thought, you know,

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Speaker 1: I was doing tons of plays whatever I could do,

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Speaker 1: and sleeping and stairwells. He didn't care. You didn't care

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Speaker 1: when you're young, you know what I mean? Yeah, I

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Speaker 1: could sleep anyway, you know, But I just got I

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Speaker 1: don't know what I'm doing. I need some training, And

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Speaker 1: so me and a bunch of other people there were

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Speaker 1: these things called the leagues. Back then, it was a

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Speaker 1: certain it was just a collection of schools like Yale

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Speaker 1: and Juilliard and n Y U and a lot of

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Speaker 1: others that kind of comprised this supposed superior actor training.

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Speaker 1: But there was tons of schools across the country, and

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Speaker 1: they held auditions in three places at that time. Now

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Speaker 1: it's everywhere, or you can probably zoom it in, but

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Speaker 1: you had to get to Chicago, New York, or San

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Speaker 1: Francisco to audition, and there'd be a ton of schools there.

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Speaker 1: I was a security guard at a bank, like the

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Speaker 1: night shift at a bank, which would keep me free

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Speaker 1: to audition or do stuff.

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Speaker 6: During the day.

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Speaker 1: And that's where I honed all my monologues from my audition,

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Speaker 1: powder blue security guard uniform in an empty conference room, right,

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Speaker 1: practicing as a monologue. What a dork, but what what

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Speaker 1: flun Anyway, carpooled some tiny dots in with a bunch

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Speaker 1: of friends of mine who were also auditioning down to

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Speaker 1: San Francisco and slept in somebody's hallway. And I didn't

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Speaker 1: have any money for the application fees, which seemed exorbitant

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Speaker 1: at the time, you know, seventy five bucks or something

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Speaker 1: just to apply, you know, and it was you know,

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Speaker 1: it limited your choices. So I just had to crash.

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Speaker 1: I just had to crash. Everybody. I just went up

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Speaker 1: to the desk and this is my name. I don't

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Speaker 1: have the money for the fee. Do you have an

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Speaker 1: empty slot? You know? And a lot of them let

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Speaker 1: you in. You know. Julliard did not Yale.

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Speaker 4: Yeah, you know.

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Speaker 1: I wasn't playing by the rules, you know, So I understand.

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Speaker 1: But YU did and act and UC San Diego. There's

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Speaker 1: a place called the Denver Center, real good places. And

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Speaker 1: Rain Wilson had left UDUB just before I did to

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Speaker 1: go to n YU, so that was maybe in my

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Speaker 1: brain a little bit too. He was a kind of

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Speaker 1: wonder kind at the undergrad program there got all the

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Speaker 1: juicy parts.

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Speaker 3: Did you know him?

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Speaker 1: And then you know him? I knew him a little bit.

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Speaker 1: I mean I knew from around we were. My roommate

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Speaker 1: was another great guy named Matt Ross, who was mainly

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Speaker 1: directing now he does. But those two were great and

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Speaker 1: got cast and everything, and I was, like I said,

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Speaker 1: just starting. So I'd see them at callbacks and stuff

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Speaker 1: and think, well, they're going to get it. Or I

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Speaker 1: would always say something stupid or do something really naive

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Speaker 1: and stupid. So I felt like he liked to me

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Speaker 1: very much, just like, oh god, you know, but yeah,

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Speaker 1: he's a he's a good dude, good friend.

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Speaker 4: Well, by the way, you always expect that he's he's

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Speaker 4: not gonna like you very much. I mean that is

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Speaker 4: sort of par for the course, even after Yeah, it's

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Speaker 4: just his face, his smug face, the.

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Speaker 1: Asshole solving the world's problems. Yeah, exactly, smart.

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Speaker 3: Bad about myself.

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Speaker 1: Let's start a boozeline, you and me. But anyway, Yeah,

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Speaker 1: so then I chose en by You just because I'd

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Speaker 1: never I got into NYU and a couple others, and

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Speaker 1: I'd never been east of Montana. That was my logic.

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Speaker 1: I wanted to see the east. I went to NYU,

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Speaker 1: and thank god I did.

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Speaker 3: What did that experience give you?

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Speaker 1: I think it was just a safe place to land.

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Speaker 1: You know, I'd gone from my small town to Seattle

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Speaker 1: and the size of that city was mind boggling to me,

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Speaker 1: and it seemed so confusing. And then it went from

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Speaker 1: there to New York, which you know, I was I

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Speaker 1: was like John Voyden midnight cowboy there. I just was

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Speaker 1: so out of place and like dressed like an alien

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Speaker 1: found you know, human clothing from nineteen seventy nine. It

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Speaker 1: was just it was, you know, amazing. You know when

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Speaker 1: there was a group of people waiting for me that

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Speaker 1: would helped me out, and it was a good experience

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Speaker 1: for me. I think being very inexperienced helped, you know

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Speaker 1: what I mean. I wasn't coming in with any real

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Speaker 1: barriers at the breakthrough or anything like that. But I

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Speaker 1: don't think it's for everybody, conservatory training, but it was

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Speaker 1: good for me.

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Speaker 4: Were you focused at that time on the business at

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Speaker 4: all or for you was it just about Was it

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Speaker 4: about learning the craft?

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Speaker 3: Yeah?

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Speaker 1: I wasn't really aware of the business that much.

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Speaker 3: Mhm.

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Speaker 1: Unfortunately, you know, I wish I was. I wish, But

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Speaker 1: to this day, I'm not great at it, you know

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Speaker 1: what I mean. But I'm also not afraid of it,

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Speaker 1: you know, which I think was the more important factor

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Speaker 1: of that, you know, because it's it's a part of it.

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Speaker 1: If you're not if you're not going to play a

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Speaker 1: little bit, then you're just wasting your time. You're just

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Speaker 1: going to be sad, you know, right. So I was,

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Speaker 1: I was not. It took a while. I just I

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Speaker 1: just was going to do plays and that that that

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Speaker 1: that's all I need.

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Speaker 4: So that's that's sort of our first similarity. I mean,

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Speaker 4: I started and for you know, seven years out of

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Speaker 4: out of college, for me, I was I was a

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Speaker 4: theater actor, and that's where I thought my life was.

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Speaker 4: That's that was all I saw and really wanted to be.

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Speaker 4: I know, you, it's a great life.

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Speaker 1: If you could get just a little better pay, be

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Speaker 1: a great life.

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Speaker 3: Right.

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Speaker 4: What is it for you about live performance? What do

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Speaker 4: you like about you say it's a great life.

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Speaker 1: It is. I mean, I haven't done it play in

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Speaker 1: a while, It's been maybe six years or so, neither.

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Speaker 1: But I feel very fortunate in the things I've gotten

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Speaker 1: to do on film and TV, Brian. I feel like

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Speaker 1: an actor, you know, I feel challenged, you know most

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Speaker 1: of the time, you know, and that's I am aware

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Speaker 1: that that's that's a huge stroke of luck. And I

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Speaker 1: feel very fortunate to get to play interesting characters because

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Speaker 1: a lot, you know, I have a lot of very

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Speaker 1: talented friends that get stuck playing one thing or repeating

305
00:16:37,160 --> 00:16:39,840
Speaker 1: that thing over and over or whatever. I think to

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Speaker 1: theater trained people, that's we always knew, that's what it was.

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Speaker 1: We're going to play a bunch of people. And that

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Speaker 1: was the interesting part to stand in all these different

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Speaker 1: shoes and learn and culture and grow your empathy. So

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Speaker 1: I don't want to sound I say all that to

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Speaker 1: say like I don't. I don't want to come across

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Speaker 1: as like I'm I fancy myself as some amazing theater guy.

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Speaker 6: You know, I.

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Speaker 1: It's a mistress. I haven't visited in a while, and

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Speaker 1: it's I feel guilty about it, but I sure loved it.

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Speaker 1: When I was exclusively doing that, it gave me. It

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Speaker 1: gave me everything I'm doing now right, And I think

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Speaker 1: I loved I loved I loved the work. I love.

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Speaker 1: I love having time to really get in there with

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Speaker 1: a bunch of like minded folks and and spend some

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Speaker 1: weeks figuring out exactly what's going on here, and then

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Speaker 1: how to tell it the best. I think I really

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Speaker 1: love that process. And then and then that the fact

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Speaker 1: that every night is different. You know that the audience

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Speaker 1: is an actual factor in the way this is gonna

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Speaker 1: gonna work tonight. You know what I mean? It's different

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Speaker 1: every every night, just a little bit can knot get

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Speaker 1: way off course or to a whole new exciting place

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Speaker 1: that you didn't expect.

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Speaker 4: Isn't that interesting? Because You're You're exactly right, every night

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Speaker 4: is different. Yet on the face of it, you're doing

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Speaker 4: the same thing everything right, and yes, and now you're

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Speaker 4: exploring a character or a story.

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Speaker 3: For as short as a week to you know.

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Speaker 4: Three or four months on a film or you know,

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Speaker 4: years and years. But still every day you're doing something,

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Speaker 4: you're doing something different. But you're right, it is about

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Speaker 4: the immediacy and the feedback that you're getting from a

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Speaker 4: particular audience at a particular time.

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Speaker 1: I mean, yeah, it's certainly an important part in the

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Speaker 1: equation anyway. I know if it's the biggest, but it's big.

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Speaker 1: It's great to be in places where there's just moments

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Speaker 1: of inspiration, isn't it? You know what I mean? When

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Speaker 1: when everybody's present, it's miraculous that anything gets made with

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Speaker 1: all those egos in one room or so many people

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Speaker 1: and entities to satisfy, and you still come up, you

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Speaker 1: come up with the show. You're like, hey, we did it,

348
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Speaker 1: we did it. It's miraculous.

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Speaker 5: It is.

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Speaker 4: When you began transitioning to film and television, was this

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Speaker 4: an abrupt shift? I heard or you have have been

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Speaker 4: quoted as saying that you did theater until you got hungry,

353
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Speaker 4: literally hungry. And that's when I was scared it auditioning

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Speaker 4: for film and television?

355
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Speaker 3: Now, is that true?

356
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Speaker 1: Kind of you know? It was. I remember the day

357
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Speaker 1: I lived in this great little apartment on seventy first

358
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Speaker 1: in Columbus. I mean, the walls built to the side

359
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Speaker 1: of the bathtub comprised one you know, it was like

360
00:19:51,960 --> 00:19:55,080
Speaker 1: three hundred square foot place. I mean, but I loved

361
00:19:55,080 --> 00:19:57,439
Speaker 1: it so much. It was so cheap, and it allowed

362
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Speaker 1: me to travel around the country and do theater whatever else.

363
00:20:00,680 --> 00:20:03,880
Speaker 1: You know, I didn't have to find a sub letter necessary, right,

364
00:20:04,760 --> 00:20:06,919
Speaker 1: but I was. I was hungry that day, and I

365
00:20:06,960 --> 00:20:08,919
Speaker 1: was like, the cupboard was kind of bear and I

366
00:20:08,960 --> 00:20:11,160
Speaker 1: was like, you know, I'm going to make for dinner tonight.

367
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Speaker 1: And I was and I went outside, like where am

368
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Speaker 1: I going to get some dinner? And I passed a

369
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Speaker 1: classmate of mine, someone who graduated sometime after I did,

370
00:20:19,640 --> 00:20:23,040
Speaker 1: and he was just like, man, dude, I saw you

371
00:20:24,080 --> 00:20:26,560
Speaker 1: the bentioned doing the New York Times. That was such

372
00:20:26,560 --> 00:20:29,000
Speaker 1: a great review or what you know, whatever thing I

373
00:20:29,119 --> 00:20:31,960
Speaker 1: had been doing, right, like, you're doing so good. You're

374
00:20:32,000 --> 00:20:36,280
Speaker 1: working NonStop, and and in my head I was thinking,

375
00:20:37,440 --> 00:20:41,160
Speaker 1: I'm doing good, Oh my god, you know what I mean,

376
00:20:41,240 --> 00:20:44,880
Speaker 1: I'm like, oh my god, he's I don't know where

377
00:20:44,880 --> 00:20:48,000
Speaker 1: dinner's coming from, and you know what I mean, And

378
00:20:48,040 --> 00:20:50,520
Speaker 1: it just it skewed me a little bit. And I

379
00:20:50,600 --> 00:20:54,840
Speaker 1: just was like, I deserve I deserve to be paid something,

380
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Speaker 1: a livable wage, you know what I mean. I'm not

381
00:21:00,320 --> 00:21:03,360
Speaker 1: here and cancer, but you know I'm working hard for you,

382
00:21:03,440 --> 00:21:06,280
Speaker 1: and I don't know. It just made me wish i'd

383
00:21:06,359 --> 00:21:08,840
Speaker 1: branched out earlier before. There's no reason I couldn't if

384
00:21:08,840 --> 00:21:10,440
Speaker 1: no one was saying not to. I just didn't know

385
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Speaker 1: how to do it or what I was doing. Yeah,

386
00:21:12,960 --> 00:21:15,640
Speaker 1: and I did some I did some soaps. I got

387
00:21:15,640 --> 00:21:18,320
Speaker 1: this recurring on a soap and cash my little checks

388
00:21:18,359 --> 00:21:20,520
Speaker 1: and I would just look at the stack of cash

389
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Speaker 1: in my cupboard, you know, I put it up. I

390
00:21:22,720 --> 00:21:24,400
Speaker 1: just opened the door and look at it, like, look

391
00:21:24,400 --> 00:21:28,800
Speaker 1: at that, Look at that cash. There must be a

392
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Speaker 1: thousand dollars.

393
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Speaker 3: You know.

394
00:21:30,119 --> 00:21:35,720
Speaker 1: It's just like right, so stupid, but so wonderful, you know.

395
00:21:35,840 --> 00:21:37,960
Speaker 1: And just the fact that I kept going kind of

396
00:21:38,000 --> 00:21:40,919
Speaker 1: always shocks me. I was so dumb. I didn't know

397
00:21:41,040 --> 00:21:43,840
Speaker 1: to quit. But I really enjoyed being on a set.

398
00:21:43,960 --> 00:21:46,240
Speaker 1: And then Deadwood made me have fun.

399
00:21:46,680 --> 00:21:48,200
Speaker 3: Yeah, I want to talk about dead.

400
00:21:48,240 --> 00:21:50,600
Speaker 4: What I first want to ask you just and this

401
00:21:50,640 --> 00:21:53,840
Speaker 4: is this is just for my own personal edification. I

402
00:21:54,280 --> 00:22:01,840
Speaker 4: feel like character based procedural show NYPD. Early in your career,

403
00:22:01,880 --> 00:22:04,719
Speaker 4: you were cast on NYPD Blue, And just want to

404
00:22:04,840 --> 00:22:07,760
Speaker 4: ask you, was this a show that you were a

405
00:22:07,800 --> 00:22:10,440
Speaker 4: fan of yourself, and just a little bit about your

406
00:22:10,480 --> 00:22:14,480
Speaker 4: experience on that show because it was so early for you.

407
00:22:14,960 --> 00:22:15,160
Speaker 3: Yeah.

408
00:22:15,160 --> 00:22:17,760
Speaker 1: I think I got my SAG card on that or

409
00:22:17,800 --> 00:22:19,680
Speaker 1: that or that was the one job I did where

410
00:22:19,680 --> 00:22:21,520
Speaker 1: you didn't have to join yet, you know. That was

411
00:22:21,560 --> 00:22:24,240
Speaker 1: my first one, not too far out of school, So

412
00:22:24,400 --> 00:22:27,600
Speaker 1: the early nineties. I guess I don't remember a ton

413
00:22:27,640 --> 00:22:30,919
Speaker 1: about the experience. I remember because Jimmy Smith's was in

414
00:22:31,000 --> 00:22:34,560
Speaker 1: it at that time, and I think Dennis Franz was still.

415
00:22:34,320 --> 00:22:37,040
Speaker 3: There, right, yeah, yeah, he would have been, yeah.

416
00:22:37,040 --> 00:22:39,119
Speaker 1: Because I think he was there in this conversation. But

417
00:22:39,160 --> 00:22:43,600
Speaker 1: I remember Jimmy Smith's, you know, I was just I

418
00:22:43,760 --> 00:22:46,320
Speaker 1: just marveled at how much work they were doing, you know,

419
00:22:46,560 --> 00:22:48,240
Speaker 1: I just had my little scene to do. It was

420
00:22:48,280 --> 00:22:51,800
Speaker 1: this I think some art dealer who was fencing some

421
00:22:51,880 --> 00:22:54,840
Speaker 1: stolen paintings, and I remember his name was Bryce Cooper

422
00:22:54,880 --> 00:22:59,760
Speaker 1: Smith and I had a horrible vest but it was

423
00:23:00,000 --> 00:23:04,600
Speaker 1: diferent times Brian judgment when you dig that up. But

424
00:23:05,440 --> 00:23:08,680
Speaker 1: I just remember him. He's doing this scene, He's learning

425
00:23:09,240 --> 00:23:11,600
Speaker 1: the next episode while we're doing that, like he was,

426
00:23:11,760 --> 00:23:15,080
Speaker 1: he was his head was spinning, you know, And I

427
00:23:15,080 --> 00:23:17,560
Speaker 1: think that was his actual problem with Milch, was that

428
00:23:17,960 --> 00:23:19,679
Speaker 1: he didn't get the material in time. So it was

429
00:23:19,680 --> 00:23:22,800
Speaker 1: always just breakneck speed. But it was daunting to me,

430
00:23:23,400 --> 00:23:25,639
Speaker 1: but also kind of I wanted. I wanted to feel

431
00:23:25,640 --> 00:23:26,359
Speaker 1: that challenge.

432
00:23:26,720 --> 00:23:30,160
Speaker 4: In two thousand and four, you just mentioned it one

433
00:23:30,160 --> 00:23:34,199
Speaker 4: of my favorite series of all time. Dead would your

434
00:23:34,320 --> 00:23:40,480
Speaker 4: role I want to talk about Francis Walcott just terrifying.

435
00:23:40,960 --> 00:23:44,680
Speaker 4: But you did play a different character in season one?

436
00:23:45,400 --> 00:23:49,200
Speaker 4: So was this just they They just wanted you back,

437
00:23:49,240 --> 00:23:51,679
Speaker 4: and they decided that they didn't care that you had

438
00:23:51,680 --> 00:23:53,720
Speaker 4: appeared as a different character in season one?

439
00:23:55,320 --> 00:23:55,520
Speaker 6: You know?

440
00:23:55,640 --> 00:23:58,680
Speaker 1: David Rutt writes about that in his book, I wish

441
00:23:58,720 --> 00:24:01,600
Speaker 1: I could. I wish I'd thought to queue that up. Well,

442
00:24:02,160 --> 00:24:06,280
Speaker 1: but uh yeah, I don't. I don't know why he

443
00:24:06,400 --> 00:24:12,080
Speaker 1: did unless they're I don't know. I'll talk as if

444
00:24:12,080 --> 00:24:14,720
Speaker 1: it was me in that moment, because I was sad

445
00:24:14,800 --> 00:24:18,359
Speaker 1: to leave. I really was enjoying myself on that show.

446
00:24:18,359 --> 00:24:22,879
Speaker 1: It still to this day the kind of experience on

447
00:24:22,960 --> 00:24:26,159
Speaker 1: set that I try to replicate, and apparently a lot

448
00:24:26,240 --> 00:24:29,760
Speaker 1: of my former cast mates do the same thing, which

449
00:24:29,800 --> 00:24:31,760
Speaker 1: is stupid. We're just trying to make everything dead with

450
00:24:31,880 --> 00:24:35,960
Speaker 1: you know. They because because David comes out before we

451
00:24:36,040 --> 00:24:38,800
Speaker 1: shoot anything, comes out of the writer's room and he

452
00:24:39,000 --> 00:24:42,200
Speaker 1: sort of sets the scene in the most poetic, beautiful

453
00:24:42,240 --> 00:24:47,240
Speaker 1: manner you've ever heard, and it was so motivating to

454
00:24:47,400 --> 00:24:50,560
Speaker 1: us all because he just he just reminded us that

455
00:24:50,640 --> 00:24:54,560
Speaker 1: this was sort of a spiritual experience and I didn't

456
00:24:54,560 --> 00:24:56,879
Speaker 1: expect to get so kind of cheesy an actory today.

457
00:24:56,920 --> 00:25:00,200
Speaker 1: It's really not how I usually do things, but it's

458
00:25:00,440 --> 00:25:05,399
Speaker 1: like it was wonderful, you know, and it was I

459
00:25:05,400 --> 00:25:07,520
Speaker 1: don't think I've ever worked with someone who was so

460
00:25:08,000 --> 00:25:10,440
Speaker 1: who was so good at sort of incorporating everyone else

461
00:25:10,600 --> 00:25:13,320
Speaker 1: around them, if if that makes sense. He because he's

462
00:25:13,320 --> 00:25:17,040
Speaker 1: written this incredible stuff that's in n Iambic Pentamin. It's

463
00:25:17,119 --> 00:25:21,200
Speaker 1: blank verse a lot of the time, you know, and

464
00:25:21,680 --> 00:25:24,240
Speaker 1: you wouldn't think that someone that could write this brilliantly

465
00:25:24,280 --> 00:25:27,240
Speaker 1: would be open to it, but it's it's what informed

466
00:25:27,280 --> 00:25:30,359
Speaker 1: everything and he would see you do something, he'd be like, oh, yeah, yeah,

467
00:25:30,520 --> 00:25:32,840
Speaker 1: now this time say this, like, if you're going to

468
00:25:32,920 --> 00:25:36,920
Speaker 1: do that, which I liked, let's add this dialogue to it,

469
00:25:36,960 --> 00:25:40,480
Speaker 1: which would then inspire you know, Joe behind the camera

470
00:25:40,520 --> 00:25:43,439
Speaker 1: to change the shot, well, if he's going to do that.

471
00:25:43,920 --> 00:25:46,399
Speaker 1: It was just this whirlwind of creativity where everybody was

472
00:25:46,440 --> 00:25:49,399
Speaker 1: completely involved, and we'd go when we weren't working, just

473
00:25:49,440 --> 00:25:52,760
Speaker 1: to watch. I haven't experienced that before or since.

474
00:25:53,680 --> 00:25:54,040
Speaker 3: Yeah.

475
00:25:54,560 --> 00:25:58,520
Speaker 4: Did you feel like the fact that it was set

476
00:25:58,880 --> 00:26:03,280
Speaker 4: as a western well affected the work for you? I mean,

477
00:26:03,320 --> 00:26:10,800
Speaker 4: I've heard tell that the practical the practical environment was

478
00:26:11,000 --> 00:26:14,800
Speaker 4: very difficult for all of you, but it feels like

479
00:26:15,440 --> 00:26:19,520
Speaker 4: it was so rife with creativity that that just became

480
00:26:19,560 --> 00:26:21,000
Speaker 4: an obstacle to overcome.

481
00:26:21,560 --> 00:26:23,840
Speaker 3: But it was still exciting to be there. Is that

482
00:26:24,119 --> 00:26:26,960
Speaker 3: Is that accurate? I think?

483
00:26:27,080 --> 00:26:29,680
Speaker 1: I mean we were at the Melody Ranch in New Hall,

484
00:26:30,160 --> 00:26:33,320
Speaker 1: which isn't far from la and it's a set, but

485
00:26:33,400 --> 00:26:39,520
Speaker 1: it's built real intelligently, you know, because you're in your trailer,

486
00:26:40,080 --> 00:26:43,520
Speaker 1: you get on your costume, and Jennie Bryant was the

487
00:26:43,520 --> 00:26:46,240
Speaker 1: costume designer and she does have to work for you anyway,

488
00:26:46,320 --> 00:26:47,840
Speaker 1: like you put on I put on a wall cotton

489
00:26:47,880 --> 00:26:51,120
Speaker 1: at a completely different posture. You know, I didn't think right.

490
00:26:51,440 --> 00:26:53,320
Speaker 1: But then you walk around a corner and you can't

491
00:26:53,359 --> 00:26:58,159
Speaker 1: see anything but a western town with some incredibly dedicated

492
00:26:58,160 --> 00:27:02,200
Speaker 1: background performers who've invented whole life stories for themselves, and

493
00:27:02,880 --> 00:27:06,040
Speaker 1: you know, giving up semesters of law school to be

494
00:27:06,119 --> 00:27:06,919
Speaker 1: there for the season.

495
00:27:06,920 --> 00:27:07,199
Speaker 3: It was.

496
00:27:07,280 --> 00:27:10,720
Speaker 1: It was crazy. We had like Deadwood Checke's you know,

497
00:27:11,080 --> 00:27:14,159
Speaker 1: from day one, and they gave us so much atmosphere

498
00:27:14,200 --> 00:27:17,480
Speaker 1: in life, so it was really easy to click into

499
00:27:17,520 --> 00:27:21,239
Speaker 1: the world, I think, and and the fact that it

500
00:27:21,280 --> 00:27:24,879
Speaker 1: was so elevated it really pushed us to be on

501
00:27:24,960 --> 00:27:27,760
Speaker 1: our game. It's have you Have you had the good

502
00:27:27,760 --> 00:27:31,120
Speaker 1: fortune to shoot on film? Like anything, you must say yes.

503
00:27:31,200 --> 00:27:32,399
Speaker 3: But it's been a long time.

504
00:27:32,640 --> 00:27:35,119
Speaker 1: It's been a while. I've had a few experiences with

505
00:27:35,160 --> 00:27:38,760
Speaker 1: it and it's I really miss it, and I miss

506
00:27:38,800 --> 00:27:41,520
Speaker 1: it because of what it does to It does to

507
00:27:41,600 --> 00:27:45,400
Speaker 1: everybody that I mean, you walk on, it's a completely

508
00:27:45,400 --> 00:27:49,040
Speaker 1: different atmosphere because everybody's primed, everybody's ready. We have to

509
00:27:49,040 --> 00:27:51,160
Speaker 1: be ready, you know, because this is going to roll

510
00:27:51,920 --> 00:27:55,520
Speaker 1: and it's going to cost a lot of money. There's

511
00:27:55,560 --> 00:27:58,600
Speaker 1: no stopping and backing up and going oh my bad, whoops,

512
00:27:58,680 --> 00:28:00,320
Speaker 1: this is back up and we'll do this, you know,

513
00:28:00,400 --> 00:28:02,920
Speaker 1: like we've gotten used to digitally. It's made us a

514
00:28:02,960 --> 00:28:06,960
Speaker 1: little lazy. But that was the atmosphere every day on Deadwook,

515
00:28:07,000 --> 00:28:09,919
Speaker 1: you know, and everybody really wanted to not be the

516
00:28:09,960 --> 00:28:14,840
Speaker 1: weak link and to support support everybody else. And I

517
00:28:14,840 --> 00:28:16,480
Speaker 1: don't know, it was it was a good time.

518
00:28:17,440 --> 00:28:21,720
Speaker 3: That's so I haven't thought about that in so long though.

519
00:28:22,240 --> 00:28:28,240
Speaker 4: Shooting on film immediately ups the ante and the meetings

520
00:28:28,920 --> 00:28:34,359
Speaker 4: for you're exactly right, because there's no farting around because

521
00:28:34,400 --> 00:28:36,800
Speaker 4: you were literally just costing money.

522
00:28:37,000 --> 00:28:40,080
Speaker 1: If you're far around, you know your stuff. Yeah, are

523
00:28:40,120 --> 00:28:42,720
Speaker 1: you ready to shoot this? You know they've rehearsed it

524
00:28:42,760 --> 00:28:45,680
Speaker 1: to death. You know, the stunts are like, you know,

525
00:28:45,800 --> 00:28:49,960
Speaker 1: queue it up. It was amazing on Looper. Looper shot

526
00:28:49,960 --> 00:28:53,400
Speaker 1: on film, and I'm nervous anyway every time I for

527
00:28:53,440 --> 00:28:56,640
Speaker 1: some reason, I can own a television set just fine,

528
00:28:56,680 --> 00:28:58,080
Speaker 1: and then I get on a movie set and I'm

529
00:28:58,160 --> 00:29:02,000
Speaker 1: just like, oh, never been here before. But I'm with

530
00:29:02,040 --> 00:29:06,200
Speaker 1: Emily and you know, Joseph Gordon Levitt and I have

531
00:29:06,280 --> 00:29:08,960
Speaker 1: a gun. On Joseph and it's this big scene and

532
00:29:09,080 --> 00:29:11,800
Speaker 1: I'm immediately thinking, like, where's everyone so tense? You know,

533
00:29:11,840 --> 00:29:15,880
Speaker 1: it's it's because it's on film, You're like everyone's it's

534
00:29:15,920 --> 00:29:18,440
Speaker 1: like we're about to start a play, you know, like

535
00:29:18,880 --> 00:29:21,240
Speaker 1: time to go, and it's time to be one hundred percent.

536
00:29:21,600 --> 00:29:24,760
Speaker 1: And I and I went up. I went completely up,

537
00:29:25,360 --> 00:29:27,480
Speaker 1: and I'm looking at down my gun, at Joseph, and

538
00:29:27,760 --> 00:29:30,880
Speaker 1: Joseph's acting and then I can see him realize I've

539
00:29:30,880 --> 00:29:33,280
Speaker 1: gone up, you know what I mean, So then he's

540
00:29:33,280 --> 00:29:37,560
Speaker 1: trying to help. It was so awful then just caught.

541
00:29:37,720 --> 00:29:40,960
Speaker 1: Immediately Ryan comes out, you know, like you know, we're good,

542
00:29:41,000 --> 00:29:45,240
Speaker 1: and it was so humiliating, but the boy you felt alive,

543
00:29:45,520 --> 00:29:47,760
Speaker 1: you know what I mean, You're it's exactly right. You've

544
00:29:47,760 --> 00:29:49,840
Speaker 1: got to I don't know.

545
00:29:49,920 --> 00:29:55,120
Speaker 3: Yeah, what do you think the legacy of dead Wood is?

546
00:29:55,880 --> 00:30:01,120
Speaker 1: I don't know. I really want to to read David's book.

547
00:30:01,120 --> 00:30:04,960
Speaker 1: It's called Life's Work. I think you'll find it really inspiring.

548
00:30:06,200 --> 00:30:08,080
Speaker 1: I don't know. I mean, it was a golden era

549
00:30:08,120 --> 00:30:11,000
Speaker 1: of television, wasn't it. I mean the Wire and Sopranos,

550
00:30:11,000 --> 00:30:13,800
Speaker 1: and I don't know if I know what the legacy

551
00:30:13,840 --> 00:30:15,959
Speaker 1: of it would be, you know, but it sure as

552
00:30:15,960 --> 00:30:19,480
Speaker 1: a benchmark in my career, and I guess I'm glad

553
00:30:19,520 --> 00:30:21,920
Speaker 1: it came so early. You know, it's something that you

554
00:30:21,960 --> 00:30:25,320
Speaker 1: wanted to feel again, it was there was beauty in

555
00:30:25,400 --> 00:30:30,280
Speaker 1: something that's so articulate, and the audience was not condescended

556
00:30:30,320 --> 00:30:33,960
Speaker 1: to you know, and we could they could handle the language,

557
00:30:33,960 --> 00:30:38,480
Speaker 1: and you could tell a story that just moving man's

558
00:30:38,520 --> 00:30:42,920
Speaker 1: making order out of chaos located in the town of Deadwood.

559
00:30:42,960 --> 00:30:46,000
Speaker 3: It's beautiful, beautiful.

560
00:30:46,640 --> 00:30:48,800
Speaker 1: I mean the office must have been kind of that way, right.

561
00:30:48,840 --> 00:30:50,800
Speaker 1: I mean, I've never been on the show that's gone

562
00:30:50,800 --> 00:30:55,280
Speaker 1: that long, that maintained excellence for so long. I mean

563
00:30:55,320 --> 00:30:57,600
Speaker 1: that last day must have been insane for you guys.

564
00:30:58,280 --> 00:31:02,160
Speaker 3: Yes it was. I mean that was ten years.

565
00:31:02,800 --> 00:31:06,040
Speaker 4: That's you know, as I I mean, it's so stupid

566
00:31:06,040 --> 00:31:07,720
Speaker 4: to say this, but to me, it does kind of

567
00:31:07,760 --> 00:31:11,720
Speaker 4: put it into perspective. It's like high school and college

568
00:31:11,840 --> 00:31:14,880
Speaker 4: and then a couple more years, like just in terms

569
00:31:14,880 --> 00:31:17,480
Speaker 4: of just the length of time, and also.

570
00:31:17,600 --> 00:31:19,880
Speaker 1: I mean that's the start of my entire career.

571
00:31:20,160 --> 00:31:22,800
Speaker 4: Right and also just as you how you grow as

572
00:31:22,800 --> 00:31:27,840
Speaker 4: a person for your life and changes and all of that. Yeah, No,

573
00:31:28,000 --> 00:31:29,760
Speaker 4: absolutely is it.

574
00:31:29,720 --> 00:31:32,440
Speaker 1: Hard to move on from something like that, like it,

575
00:31:32,920 --> 00:31:36,120
Speaker 1: I've never experienced it, so I'm genuinely curious and like,

576
00:31:38,160 --> 00:31:40,600
Speaker 1: I struggle when I have a good experience on one thing,

577
00:31:40,640 --> 00:31:43,600
Speaker 1: and how will I ever equal that? And what was

578
00:31:43,600 --> 00:31:44,800
Speaker 1: the biggest hurdle for you?

579
00:31:45,080 --> 00:31:49,560
Speaker 3: I'm sure Deadwood was was similar? Well, I think that, you.

580
00:31:49,520 --> 00:31:55,040
Speaker 4: Know, the last oh, let's call it five years, right,

581
00:31:55,160 --> 00:32:00,440
Speaker 4: so kind of from after the writers strike of two

582
00:32:00,520 --> 00:32:02,720
Speaker 4: thousand and seven eight, which was kind of in the

583
00:32:02,760 --> 00:32:06,240
Speaker 4: middle early middle of our run. You know, we were

584
00:32:06,280 --> 00:32:11,920
Speaker 4: doing essentially thirty episodes a year, so there was you know,

585
00:32:12,080 --> 00:32:16,480
Speaker 4: when it was over, it was like trying to re

586
00:32:16,720 --> 00:32:18,480
Speaker 4: enter what other life?

587
00:32:18,680 --> 00:32:19,840
Speaker 3: What other life is?

588
00:32:20,800 --> 00:32:23,720
Speaker 4: Just the rhythm of life became so different and obviously,

589
00:32:24,840 --> 00:32:26,320
Speaker 4: you know, in a lot of ways, not for the

590
00:32:26,360 --> 00:32:29,880
Speaker 4: better because you're like, oh wait, what what how am.

591
00:32:29,800 --> 00:32:31,440
Speaker 3: I filling my time now?

592
00:32:32,120 --> 00:32:34,400
Speaker 4: But yeah, no, just the relationships that we had in

593
00:32:34,440 --> 00:32:36,080
Speaker 4: the amount of time that we spent together.

594
00:32:36,120 --> 00:32:38,000
Speaker 3: I mean it's like such a cliche, but.

595
00:32:38,640 --> 00:32:41,680
Speaker 4: That you know, spending way more time with these people

596
00:32:42,040 --> 00:32:43,440
Speaker 4: than your family.

597
00:32:43,080 --> 00:32:43,880
Speaker 3: For ten years.

598
00:32:43,920 --> 00:32:47,440
Speaker 1: Yes, yeah, you're a company, Yeah, you know, you know,

599
00:32:47,520 --> 00:32:50,160
Speaker 1: every little nuance. I mean, it's why it's such a

600
00:32:50,240 --> 00:32:52,480
Speaker 1: rich experience watching it.

601
00:32:52,720 --> 00:32:55,480
Speaker 4: Well, and I think Deadwood is very much the same,

602
00:32:55,480 --> 00:32:58,360
Speaker 4: which I'm sure is partly in your brain why you're

603
00:32:58,360 --> 00:33:01,600
Speaker 4: bringing it up. You're all sort of immersed in that

604
00:33:01,880 --> 00:33:06,239
Speaker 4: world which is so specific, with such rich characters and

605
00:33:06,280 --> 00:33:10,400
Speaker 4: interactions that because it takes place just like the Office

606
00:33:10,440 --> 00:33:14,440
Speaker 4: is a controlled environment, is you know, essentially with all

607
00:33:14,520 --> 00:33:18,239
Speaker 4: within this small town and the potential for you to

608
00:33:18,840 --> 00:33:23,800
Speaker 4: have interactions with multiple people just by walking in one

609
00:33:24,200 --> 00:33:31,600
Speaker 4: storefront or whatever. Right, Yeah, yeah, Mindy Kaling, Yeah, I

610
00:33:31,640 --> 00:33:33,080
Speaker 4: mean the Mindy Project.

611
00:33:33,520 --> 00:33:36,640
Speaker 1: Oh my god, what a force of nature that woman is. Huh,

612
00:33:36,720 --> 00:33:39,040
Speaker 1: what a fortunate I mean, did you have I have

613
00:33:39,080 --> 00:33:41,480
Speaker 1: no idea what it must have been like on the office,

614
00:33:41,480 --> 00:33:43,600
Speaker 1: and I'm so jealous of that experience, But did you

615
00:33:43,640 --> 00:33:47,160
Speaker 1: have any inkling of what was laying and weight laying

616
00:33:47,200 --> 00:33:49,479
Speaker 1: in wait inside that mind? You know?

617
00:33:49,680 --> 00:33:51,120
Speaker 3: I think it was all there.

618
00:33:51,680 --> 00:33:54,160
Speaker 2: I mean, look, you saw she was a baby, she wrote,

619
00:33:54,200 --> 00:33:57,720
Speaker 2: she wrote, I mean what she was? Was she twenty five?

620
00:33:58,000 --> 00:34:01,960
Speaker 2: I don't I mean she wrote the first Dundee's episode

621
00:34:01,960 --> 00:34:04,640
Speaker 2: that we did, like the beginning, and I don't know

622
00:34:04,760 --> 00:34:05,719
Speaker 2: she wasn't old.

623
00:34:06,040 --> 00:34:08,000
Speaker 3: Let me just I'll spoiler alert.

624
00:34:08,120 --> 00:34:10,320
Speaker 1: She was. She was a wonder kid from the jump.

625
00:34:10,640 --> 00:34:13,960
Speaker 4: Yes, she was just Yes, and she I mean she

626
00:34:14,480 --> 00:34:18,160
Speaker 4: ended up over the seven eight years writing some of

627
00:34:18,360 --> 00:34:21,799
Speaker 4: the best episodes. I mean, I mean the Dundees, the

628
00:34:21,800 --> 00:34:26,440
Speaker 4: injury aka Michael burns his foot on a George Foreman grill,

629
00:34:26,640 --> 00:34:29,360
Speaker 4: that was hers, you know it.

630
00:34:29,719 --> 00:34:31,560
Speaker 3: Uh, she's amazing.

631
00:34:32,120 --> 00:34:35,520
Speaker 1: Yes, she's a lot of respect for her. Yeah. Yeah,

632
00:34:35,640 --> 00:34:40,919
Speaker 1: I feel like I'm not a lazy person, but oh

633
00:34:40,920 --> 00:34:43,160
Speaker 1: my god, when I'm around her, I feel like I'm

634
00:34:43,200 --> 00:34:46,160
Speaker 1: standing still, I'm earth bound. And you know, she's just

635
00:34:46,640 --> 00:34:51,040
Speaker 1: a whirlwind of creativity. It's it's amazing, It is amazing.

636
00:34:51,239 --> 00:34:53,239
Speaker 1: I love her. If you're listening, I love you, and

637
00:34:53,280 --> 00:34:54,920
Speaker 1: I wish she returned my calls quicker.

638
00:34:55,360 --> 00:34:57,319
Speaker 3: Oh yeah, well there's that.

639
00:34:58,080 --> 00:34:59,839
Speaker 4: I have to ask one more question about that, because

640
00:34:59,840 --> 00:35:02,920
Speaker 4: you you brought it up. It's it's funny because when

641
00:35:02,920 --> 00:35:08,360
Speaker 4: I was thinking about Francis Walcott, I was thinking about

642
00:35:08,719 --> 00:35:15,160
Speaker 4: your posture and physicality. How important for you is physicality

643
00:35:15,200 --> 00:35:19,319
Speaker 4: when you're when you're working on a role or when

644
00:35:19,360 --> 00:35:22,040
Speaker 4: you create a role. How important is physicality for you?

645
00:35:23,000 --> 00:35:27,240
Speaker 1: Well, it's I'm trying to think now, if it's most

646
00:35:27,239 --> 00:35:29,440
Speaker 1: of the time. It's kind of the way infamy, and

647
00:35:29,719 --> 00:35:32,640
Speaker 1: it might be I didn't think it was, but I'm thinking.

648
00:35:32,760 --> 00:35:35,839
Speaker 1: I keep thinking, like do I well, I guess that one.

649
00:35:35,840 --> 00:35:39,400
Speaker 1: I kind of did that. Even on Deadwood, I wanted

650
00:35:39,440 --> 00:35:42,839
Speaker 1: to be shorter as Jack McCall than Keith was. Keith

651
00:35:42,880 --> 00:35:45,840
Speaker 1: Caring is about my height, so I was always slouching

652
00:35:46,480 --> 00:35:48,680
Speaker 1: down with that. And then I don't know if you

653
00:35:48,719 --> 00:35:50,840
Speaker 1: put these limits on yourself. I'm sure you do. We

654
00:35:50,920 --> 00:35:53,840
Speaker 1: all do. But I for the longest time thought no

655
00:35:53,880 --> 00:35:58,320
Speaker 1: one was going to buy me in a suit. I

656
00:35:58,360 --> 00:36:00,960
Speaker 1: don't know why, but I was, no one's gonna buy it.

657
00:36:01,000 --> 00:36:03,480
Speaker 1: I'm you know, I'm from a trucker's family and I

658
00:36:03,560 --> 00:36:05,960
Speaker 1: work in the orchards, and I kind of I don't

659
00:36:06,040 --> 00:36:08,080
Speaker 1: own a suit. You know, no one's gonna buy it.

660
00:36:08,080 --> 00:36:11,239
Speaker 1: It's just the dumbest thing. And then Jennie Bryant puts

661
00:36:11,280 --> 00:36:13,799
Speaker 1: me in a two sides it's too small, you know,

662
00:36:14,000 --> 00:36:17,799
Speaker 1: duster for Wolcott, and I'm just suddenly like I'm I'm

663
00:36:17,880 --> 00:36:21,640
Speaker 1: tall and upright. And it was such a big help,

664
00:36:22,120 --> 00:36:23,799
Speaker 1: you know. It's such a big help. And I think

665
00:36:23,880 --> 00:36:26,320
Speaker 1: sometimes opens the door to everything. Do you feel the

666
00:36:26,360 --> 00:36:28,160
Speaker 1: same way, is that where you're staying totally.

667
00:36:28,239 --> 00:36:32,400
Speaker 4: For me, shoes are very important. Yeah, and it makes

668
00:36:32,440 --> 00:36:36,960
Speaker 4: me feel bad when I'm doing something.

669
00:36:37,120 --> 00:36:38,160
Speaker 3: Like very small.

670
00:36:38,239 --> 00:36:39,680
Speaker 4: I don't know, I don't even know how to say that,

671
00:36:39,760 --> 00:36:43,680
Speaker 4: but like where I'm like, dude, nobody cares about your shoes.

672
00:36:43,680 --> 00:36:45,200
Speaker 3: You know what I mean. When I'm like talking.

673
00:36:45,280 --> 00:36:50,040
Speaker 4: Having caught a conversation with with the with the with

674
00:36:50,080 --> 00:36:52,680
Speaker 4: the wardrobe person on the show I was just working on,

675
00:36:52,719 --> 00:36:54,800
Speaker 4: I was like, man, I don't want to be that guy,

676
00:36:55,560 --> 00:36:58,400
Speaker 4: but it is for me, it is it is important,

677
00:36:58,640 --> 00:36:59,320
Speaker 4: it is important.

678
00:36:59,320 --> 00:37:00,920
Speaker 1: It is Yeah. I'm kind of glad to hear you

679
00:37:00,960 --> 00:37:03,319
Speaker 1: say that because I only recently have I been able

680
00:37:03,360 --> 00:37:06,399
Speaker 1: to like swap out into more comfy shoes if I'm

681
00:37:06,440 --> 00:37:10,640
Speaker 1: off camera. But for the longest time, I'm just like

682
00:37:10,719 --> 00:37:12,640
Speaker 1: I have to I don't.

683
00:37:12,440 --> 00:37:16,319
Speaker 3: Have to have run I know. I know me too.

684
00:37:16,800 --> 00:37:18,839
Speaker 4: Don't get me wrong. I will go through on some

685
00:37:18,880 --> 00:37:22,280
Speaker 4: flip flops these days, I mean occasionally off camera.

686
00:37:22,440 --> 00:37:27,560
Speaker 1: Only well they didn't they things changed with those feet.

687
00:37:27,520 --> 00:37:31,280
Speaker 3: Yes they do. I bring this.

688
00:37:32,680 --> 00:37:36,920
Speaker 4: Very small blip on my IMDb page and you have

689
00:37:37,040 --> 00:37:41,719
Speaker 4: it as well. To me, the hardest job I have

690
00:37:41,800 --> 00:37:48,240
Speaker 4: ever had was on Criminal Minds. Yes, and I saw you. Yeah,

691
00:37:48,360 --> 00:37:52,600
Speaker 4: because it's a show that's run that ran for one

692
00:37:52,680 --> 00:37:56,120
Speaker 4: hundred years, right and by the way, I mean no

693
00:37:56,280 --> 00:38:00,359
Speaker 4: disrespect for all the regulars that are there, but in

694
00:38:00,400 --> 00:38:06,879
Speaker 4: my mind, the lead of every episode is the guest star.

695
00:38:07,920 --> 00:38:13,160
Speaker 4: And so you are walking in to a show that

696
00:38:13,280 --> 00:38:16,400
Speaker 4: is that pre exit that it pre exists, and everybody

697
00:38:16,440 --> 00:38:20,760
Speaker 4: knows everybody, and they've been working together for twenty seven

698
00:38:20,880 --> 00:38:22,440
Speaker 4: years and now.

699
00:38:22,480 --> 00:38:25,000
Speaker 1: Here here's some pressure and here's.

700
00:38:25,000 --> 00:38:27,800
Speaker 3: Yeah, you're now the lead this week.

701
00:38:28,080 --> 00:38:32,520
Speaker 4: I found it just like mind just it was just

702
00:38:32,600 --> 00:38:34,360
Speaker 4: a mind bend for me.

703
00:38:34,600 --> 00:38:35,680
Speaker 3: Did you have that too? Ye?

704
00:38:36,880 --> 00:38:39,719
Speaker 1: No, you don't care, No, no, not at all.

705
00:38:39,880 --> 00:38:40,120
Speaker 3: I had.

706
00:38:40,280 --> 00:38:43,120
Speaker 1: I was having a completely different experience though, because I

707
00:38:43,120 --> 00:38:46,360
Speaker 1: mean I needed a paycheck at the time, you know, Okay,

708
00:38:46,880 --> 00:38:48,560
Speaker 1: And so I walk I walk in there like we're

709
00:38:48,560 --> 00:38:50,840
Speaker 1: gonna give you two episodes, and I'm just playing a

710
00:38:50,840 --> 00:38:53,319
Speaker 1: guy laying in a bed like I never leave the bed.

711
00:38:53,680 --> 00:38:57,080
Speaker 1: He's completely paralyzed. You know, there's a breathing machine for him.

712
00:38:57,120 --> 00:39:01,839
Speaker 1: But he's the mastermind manipulating is you know, less less

713
00:39:01,880 --> 00:39:05,560
Speaker 1: intelligent brother to do these horrible crimes like okay, all right,

714
00:39:05,640 --> 00:39:07,960
Speaker 1: No one will see this. I'm embarrassed maybe or I

715
00:39:07,960 --> 00:39:10,360
Speaker 1: think I should be, but I'm I'm like, I just

716
00:39:10,400 --> 00:39:12,400
Speaker 1: want to work, you know, I need to work. I

717
00:39:12,440 --> 00:39:15,239
Speaker 1: love to work and work off. And I showed up

718
00:39:15,239 --> 00:39:19,120
Speaker 1: in one of the regulars. Like she just was simultaneously

719
00:39:20,040 --> 00:39:24,560
Speaker 1: so you know, flattering and also just humiliating because she

720
00:39:24,560 --> 00:39:28,239
Speaker 1: she just went crazy. She was this massive fan. I

721
00:39:28,239 --> 00:39:30,440
Speaker 1: didn't know, you know, she just was like, why are

722
00:39:30,440 --> 00:39:32,479
Speaker 1: you doing this show? Why are you here?

723
00:39:33,120 --> 00:39:33,960
Speaker 6: What are you doing?

724
00:39:34,360 --> 00:39:35,120
Speaker 1: Oh my god?

725
00:39:35,280 --> 00:39:36,680
Speaker 6: Like so I was.

726
00:39:37,200 --> 00:39:40,960
Speaker 1: I was simultaneously like super flattered and like really embarrassed,

727
00:39:41,000 --> 00:39:44,759
Speaker 1: like because I'm like, I just need to need a paycheck, man,

728
00:39:44,960 --> 00:39:45,920
Speaker 1: what do you mean? Why am I?

729
00:39:46,080 --> 00:39:49,040
Speaker 3: Oh that's so funny, that's so good.

730
00:39:49,600 --> 00:39:51,600
Speaker 1: And then I think I'm in and out and you know,

731
00:39:52,360 --> 00:39:56,520
Speaker 1: no one will know or something. But that's everyone. Everyone

732
00:39:56,560 --> 00:40:01,319
Speaker 1: watches that show. Like everyone you've experienced that, like ten

733
00:40:01,400 --> 00:40:03,120
Speaker 1: years at the office. But like, oh, I loved you

734
00:40:03,160 --> 00:40:08,040
Speaker 1: on Criminal Minds all the time. Well no, but no,

735
00:40:08,960 --> 00:40:09,439
Speaker 1: thank god.

736
00:40:09,800 --> 00:40:12,120
Speaker 4: I get it all the time, man. I mean I

737
00:40:12,120 --> 00:40:15,399
Speaker 4: don't know what channel it's on, but it's still playing. Yeah,

738
00:40:15,440 --> 00:40:18,040
Speaker 4: because I get it. I get it a couple of

739
00:40:18,080 --> 00:40:21,919
Speaker 4: times a month. It is always surprising to me. Yeah, well,

740
00:40:22,040 --> 00:40:25,080
Speaker 4: your job was much easier. I found it. I found

741
00:40:25,120 --> 00:40:27,719
Speaker 4: it so difficult, and I love it, and I'm always

742
00:40:27,920 --> 00:40:30,400
Speaker 4: so when someone comes up and mentions it, I'm I, oh,

743
00:40:30,520 --> 00:40:32,879
Speaker 4: you know, it does make me feel good because I

744
00:40:32,920 --> 00:40:36,319
Speaker 4: was very self conscious for a long time about it.

745
00:40:36,320 --> 00:40:38,240
Speaker 3: It's just like, I think I was terrible.

746
00:40:39,000 --> 00:40:41,040
Speaker 1: How often does that happen to you too? Is that happened?

747
00:40:41,040 --> 00:40:44,640
Speaker 1: Snakrd A bit like when I think I did my worst.

748
00:40:45,480 --> 00:40:47,120
Speaker 1: Other people think that was the best thing I've ever

749
00:40:47,120 --> 00:40:48,879
Speaker 1: seen you do, or you see it and you're like, oh,

750
00:40:48,880 --> 00:40:49,839
Speaker 1: that was actually pretty good.

751
00:40:50,000 --> 00:41:11,000
Speaker 6: I have no taste.

752
00:41:13,360 --> 00:41:15,719
Speaker 4: You're in one of my favorite television shows of all

753
00:41:15,800 --> 00:41:21,080
Speaker 4: time and also, no joke, my favorite movies.

754
00:41:21,200 --> 00:41:23,800
Speaker 3: Of all time with the Coen Brothers.

755
00:41:24,719 --> 00:41:27,480
Speaker 4: Talk to me a little bit about that, and also

756
00:41:28,080 --> 00:41:31,920
Speaker 4: just the huge success obviously at the Academy Awards No

757
00:41:32,000 --> 00:41:33,120
Speaker 4: Country for Old Men.

758
00:41:33,680 --> 00:41:36,760
Speaker 3: Your experience working on that and how it came about.

759
00:41:38,640 --> 00:41:41,439
Speaker 1: It's amazing how long ago that was, and I think

760
00:41:41,480 --> 00:41:46,440
Speaker 1: it was after it was after Jesse James and I

761
00:41:46,440 --> 00:41:49,000
Speaker 1: only bring it up because Roger Deacon shot both of

762
00:41:49,000 --> 00:41:51,919
Speaker 1: those movies. Okay, I went from one to the other

763
00:41:51,960 --> 00:41:55,319
Speaker 1: and I got to be there with him for two

764
00:41:55,400 --> 00:41:58,360
Speaker 1: movie experiences. So that was fantastic that I was company

765
00:41:58,440 --> 00:42:01,360
Speaker 1: with the DP already, but it took a while to

766
00:42:01,360 --> 00:42:04,200
Speaker 1: get that gig. I was a big fan of Cormack

767
00:42:04,280 --> 00:42:08,040
Speaker 1: McCarthy's stuff. I found him in college and just ate

768
00:42:08,120 --> 00:42:09,959
Speaker 1: him up, like a lot of dudes did, I think.

769
00:42:10,040 --> 00:42:13,080
Speaker 1: But he was just an amazing writer, and I vowed

770
00:42:13,120 --> 00:42:17,600
Speaker 1: I'd be in every Cormtt McCarthy movie ever made. I failed,

771
00:42:20,120 --> 00:42:25,680
Speaker 1: but I got an auditioned for that one for Llewellyn

772
00:42:25,760 --> 00:42:29,960
Speaker 1: Llewellyn Moss, who eventually was played by Josh Brolin, but

773
00:42:30,080 --> 00:42:33,520
Speaker 1: Josh wasn't the original choice. I think this is I'm

774
00:42:33,560 --> 00:42:35,920
Speaker 1: not breaking some story here, you know. I think Josh

775
00:42:35,920 --> 00:42:37,600
Speaker 1: talks about it. But I think they went to Heath

776
00:42:37,680 --> 00:42:43,560
Speaker 1: Ledger first and I had auditioned for him. Heath said no.

777
00:42:43,640 --> 00:42:46,040
Speaker 1: Then they had another round of auditions. I auditioned again

778
00:42:46,760 --> 00:42:49,120
Speaker 1: for Lluellen Moss. I think they went to Joaquin Phoenix

779
00:42:49,760 --> 00:42:53,799
Speaker 1: at some point, and so there's a story out there

780
00:42:53,800 --> 00:42:55,360
Speaker 1: that it was more times than it was, but I

781
00:42:55,360 --> 00:42:59,000
Speaker 1: think I think three times I auditioned for the boys

782
00:42:59,040 --> 00:43:01,600
Speaker 1: for llewell and Moss and I kind of always imagined

783
00:43:01,640 --> 00:43:05,680
Speaker 1: that character being kind of longer and lankier and coyote ish.

784
00:43:05,800 --> 00:43:10,800
Speaker 1: But look, at some point, you know, you got to

785
00:43:10,840 --> 00:43:12,480
Speaker 1: have someone more famous if we want to get this

786
00:43:12,520 --> 00:43:18,400
Speaker 1: movie made. And and also I think Josh was so

787
00:43:18,560 --> 00:43:21,560
Speaker 1: fucking perfect in it. He was just great. I thought

788
00:43:21,560 --> 00:43:24,759
Speaker 1: he was a worthy adversary for Sugar. But I think

789
00:43:24,800 --> 00:43:28,280
Speaker 1: they liked me enough to at least see me those times.

790
00:43:28,320 --> 00:43:30,320
Speaker 1: I really liked them, even though I was really nervous

791
00:43:30,360 --> 00:43:33,080
Speaker 1: every time I went to their offices. And then they

792
00:43:33,120 --> 00:43:35,399
Speaker 1: had how about this guy? Would you read this guy?

793
00:43:36,160 --> 00:43:40,160
Speaker 1: And auditioned again for a different part. I guess it's

794
00:43:40,239 --> 00:43:43,400
Speaker 1: just an audition story that I took ten minutes to tell. Yeah,

795
00:43:43,520 --> 00:43:44,600
Speaker 1: I auditioned.

796
00:43:44,160 --> 00:43:47,480
Speaker 3: No, but that's no. But that's interesting. Yeah.

797
00:43:47,560 --> 00:43:50,600
Speaker 1: And you know, I've gotten a lot of jobs like that,

798
00:43:50,960 --> 00:43:53,839
Speaker 1: like we want you in this somewhere, we don't know where,

799
00:43:53,920 --> 00:43:56,160
Speaker 1: but we'll be it and not I think back on it,

800
00:43:56,360 --> 00:43:59,959
Speaker 1: those are some of my best experiences. So I got

801
00:44:00,239 --> 00:44:04,120
Speaker 1: I got Wendell, and then we went to New Mexico

802
00:44:04,160 --> 00:44:07,640
Speaker 1: and shot the thing and it was just a lot

803
00:44:07,680 --> 00:44:09,800
Speaker 1: of fun. I can't tell you who does what still?

804
00:44:10,200 --> 00:44:13,120
Speaker 1: When the two are working with you. They were always together,

805
00:44:13,200 --> 00:44:16,439
Speaker 1: at least when they dealt with me, and they'd walk

806
00:44:16,520 --> 00:44:19,080
Speaker 1: up sort of kick rocks a little bit and like, well,

807
00:44:19,120 --> 00:44:21,239
Speaker 1: what'd you think of that? I was like, I don't know.

808
00:44:21,400 --> 00:44:23,480
Speaker 1: That was pretty good, Like, yeah, that's pretty good. Do

809
00:44:23,560 --> 00:44:24,360
Speaker 1: you want to go again?

810
00:44:24,680 --> 00:44:24,879
Speaker 3: Yeah?

811
00:44:24,960 --> 00:44:27,239
Speaker 1: Okay, all right, let's go good. And then they'd walk off.

812
00:44:28,000 --> 00:44:30,200
Speaker 1: Then we go again. And sometimes I'm in scenes with

813
00:44:30,280 --> 00:44:33,719
Speaker 1: Tommy and he's also a director, so he'd be help him.

814
00:44:33,760 --> 00:44:36,240
Speaker 1: Like once off camera he goes like this, I'm on horseback,

815
00:44:36,280 --> 00:44:38,200
Speaker 1: and so I knew my feet were out too far.

816
00:44:38,320 --> 00:44:41,680
Speaker 1: He wanted me to put my toes in. I kind

817
00:44:41,680 --> 00:44:44,680
Speaker 1: of had three directors there, but I didn't care. I

818
00:44:44,800 --> 00:44:47,120
Speaker 1: liked him. Well, Tommy is the handful. I'm glad he

819
00:44:47,239 --> 00:44:47,560
Speaker 1: liked me.

820
00:44:48,400 --> 00:44:49,920
Speaker 3: That's awesome. Yeah.

821
00:44:50,000 --> 00:44:55,000
Speaker 4: I watched it again recently on a plane. I apologized

822
00:44:55,000 --> 00:44:56,800
Speaker 4: to the Colen brothers in advance for watching it on

823
00:44:56,840 --> 00:45:00,640
Speaker 4: a plane. I feel like they're just and Roger because

824
00:45:02,000 --> 00:45:05,440
Speaker 4: every every shot is framed so well, but the movie

825
00:45:05,440 --> 00:45:10,560
Speaker 4: holds up incredibly, incredibly well, not edited strangely. On this plane,

826
00:45:10,560 --> 00:45:12,400
Speaker 4: I'm glad there wasn't a child sitting next to me.

827
00:45:13,920 --> 00:45:19,600
Speaker 4: So in twenty ten you start raising hope. How was

828
00:45:19,640 --> 00:45:23,480
Speaker 4: it for you working on a comedy on television? I mean,

829
00:45:23,480 --> 00:45:26,680
Speaker 4: how was that did you? Were you nervous about that?

830
00:45:26,880 --> 00:45:29,040
Speaker 4: Did you just consider it another job?

831
00:45:30,520 --> 00:45:34,320
Speaker 1: Well? I wanted to do a comedy. Actually, my first

832
00:45:34,400 --> 00:45:37,759
Speaker 1: jobs were all comedies I did. At the same time

833
00:45:37,760 --> 00:45:40,560
Speaker 1: I was doing Deadwood, I was doing a minute with

834
00:45:40,600 --> 00:45:45,320
Speaker 1: Stan Hooper, which was this half hour with Norm McDonald's Yes, okay,

835
00:45:45,320 --> 00:45:47,759
Speaker 1: I loved it. And the pilots I got when I

836
00:45:47,800 --> 00:45:51,279
Speaker 1: first decided to do pilot seasons, and I got like

837
00:45:51,400 --> 00:45:54,520
Speaker 1: three pilots my first time ever out, and I just thought,

838
00:45:54,560 --> 00:45:57,520
Speaker 1: why what have I been waiting for it? Look, this

839
00:45:57,560 --> 00:45:59,680
Speaker 1: will fund the entire year of theater for me if

840
00:45:59,719 --> 00:46:05,200
Speaker 1: I do. So, I didn't feel like anything new to me,

841
00:46:05,719 --> 00:46:08,000
Speaker 1: you know, I think I might have lost track about

842
00:46:08,000 --> 00:46:11,160
Speaker 1: how many you know, awful people I've been playing or

843
00:46:11,360 --> 00:46:16,439
Speaker 1: scary people or whatever, just dramas. And so I said,

844
00:46:16,520 --> 00:46:18,400
Speaker 1: I think we just finished Last House on the Left,

845
00:46:18,400 --> 00:46:20,240
Speaker 1: and I was like, can we do some comedy please,

846
00:46:20,520 --> 00:46:23,160
Speaker 1: you know, let's find a comedy. And you know, it

847
00:46:23,200 --> 00:46:25,680
Speaker 1: took some hoop jumping, because by that point you're the

848
00:46:25,800 --> 00:46:29,080
Speaker 1: drama guy. Or the murdering drama, and I thought I

849
00:46:29,120 --> 00:46:32,200
Speaker 1: didn't I didn't understand that. So I was like, oh,

850
00:46:32,320 --> 00:46:36,120
Speaker 1: oh sure, I'm happy to audition, of course. And Martha

851
00:46:36,200 --> 00:46:39,880
Speaker 1: was already cast. Martha Plimpton and Lucas Neff were already cast,

852
00:46:39,920 --> 00:46:44,120
Speaker 1: and I went and read with them, and yeah, I

853
00:46:44,160 --> 00:46:47,160
Speaker 1: think it's actually the most like me of any part

854
00:46:47,200 --> 00:46:47,680
Speaker 1: I played.

855
00:46:48,360 --> 00:46:48,760
Speaker 3: Really.

856
00:46:49,400 --> 00:46:51,880
Speaker 1: Yeah, I'm kind of I'm not the brightest bulb, and

857
00:46:51,920 --> 00:46:56,319
Speaker 1: I'm just I'm goofy. I like to I love I

858
00:46:56,360 --> 00:47:00,600
Speaker 1: love that stuff. I love a goofy childhood. So it is.

859
00:47:04,360 --> 00:47:05,320
Speaker 3: Chloris Leachman.

860
00:47:05,960 --> 00:47:10,279
Speaker 4: As you mentioned, Lucas Neth, Martha Plumpton, you got a

861
00:47:10,320 --> 00:47:12,280
Speaker 4: nomination for Critics' Choice Awards.

862
00:47:12,960 --> 00:47:13,520
Speaker 1: That's right.

863
00:47:13,719 --> 00:47:18,160
Speaker 4: The story I mean, having having your son adopt the

864
00:47:18,640 --> 00:47:21,719
Speaker 4: you know, or you take over as the father of

865
00:47:21,920 --> 00:47:25,120
Speaker 4: a serial killer mom who's been put to death. I mean,

866
00:47:25,160 --> 00:47:28,280
Speaker 4: this is this sounds like dark stuff on the surface,

867
00:47:28,360 --> 00:47:31,480
Speaker 4: but incredibly funny. I find it so interesting that you

868
00:47:31,520 --> 00:47:33,879
Speaker 4: think that that character is is most like you.

869
00:47:35,280 --> 00:47:35,520
Speaker 6: Yeah.

870
00:47:35,560 --> 00:47:39,759
Speaker 1: It was just very comfortable. And Greg had had a

871
00:47:39,800 --> 00:47:41,919
Speaker 1: hard time talking to David Milch. You know, we both

872
00:47:41,920 --> 00:47:45,880
Speaker 1: were too sort of awkward socially awkward people, and so

873
00:47:46,080 --> 00:47:49,359
Speaker 1: the conversation was awful, you know, but I loved him,

874
00:47:49,360 --> 00:47:52,280
Speaker 1: you know, and I wanted him to know. And Greg

875
00:47:52,400 --> 00:47:55,000
Speaker 1: was different. We just Greg Garcia, I know, you know

876
00:47:55,040 --> 00:47:58,920
Speaker 1: who that is, And yeah, he's a We just had

877
00:47:58,960 --> 00:48:01,200
Speaker 1: the same sense of humor and we just would riff

878
00:48:01,360 --> 00:48:03,800
Speaker 1: on ideas with each other all day. I just loved

879
00:48:03,840 --> 00:48:06,399
Speaker 1: working with him, and I wanted to do well for him,

880
00:48:06,440 --> 00:48:07,040
Speaker 1: you know what I mean?

881
00:48:08,160 --> 00:48:08,319
Speaker 3: Right?

882
00:48:08,400 --> 00:48:11,439
Speaker 1: And Martha's a fucking gift from God. You know, She's

883
00:48:11,480 --> 00:48:14,279
Speaker 1: like a food source in a scene with you, I

884
00:48:14,320 --> 00:48:14,759
Speaker 1: loved it.

885
00:48:16,200 --> 00:48:16,680
Speaker 3: You.

886
00:48:16,680 --> 00:48:20,320
Speaker 4: You also, around this time, right after this, you join

887
00:48:21,640 --> 00:48:25,719
Speaker 4: a long running historic franchise, Fear of the Walking Dead.

888
00:48:26,000 --> 00:48:30,360
Speaker 3: Did you get scared on set? Or do you just

889
00:48:31,400 --> 00:48:33,520
Speaker 3: the zombies come on?

890
00:48:33,600 --> 00:48:36,359
Speaker 1: You know, I mean we're seeing how the sausage is made,

891
00:48:36,400 --> 00:48:37,880
Speaker 1: you know what I mean, we see him smoking and

892
00:48:37,920 --> 00:48:40,680
Speaker 1: on their cell phones, you know, between takes. It's you know,

893
00:48:40,840 --> 00:48:44,360
Speaker 1: it's not it's not super scary for us, but we

894
00:48:44,440 --> 00:48:45,840
Speaker 1: want to make it scary obviously.

895
00:48:45,960 --> 00:48:50,640
Speaker 4: Yeah, did you enjoy that world, the zombie world, because

896
00:48:50,680 --> 00:48:52,400
Speaker 4: this is the departure for you as well.

897
00:48:52,840 --> 00:48:54,640
Speaker 1: Yeah, I got a I got a whole bunch of

898
00:48:54,640 --> 00:48:57,200
Speaker 1: boxes and comic books in there. And you know, I've

899
00:48:57,239 --> 00:48:59,520
Speaker 1: always loved sci fi. I love sci fi and Westerns.

900
00:48:59,560 --> 00:49:02,760
Speaker 1: I just think he can tell any story without offending anyone.

901
00:49:02,880 --> 00:49:06,280
Speaker 1: You know, you can locate any theme and those genres.

902
00:49:06,600 --> 00:49:10,080
Speaker 1: So I was a fan of the walking Toed comic books,

903
00:49:10,320 --> 00:49:10,799
Speaker 1: you know, and.

904
00:49:10,800 --> 00:49:12,239
Speaker 3: You were you were a comic book.

905
00:49:12,320 --> 00:49:16,560
Speaker 1: Okay, Yeah, They're like storyboards, aren't they. And they taught

906
00:49:16,600 --> 00:49:21,799
Speaker 1: me a lot about about framing and you know, expressiveness physically,

907
00:49:22,000 --> 00:49:24,920
Speaker 1: you know, because just it's always at the most heightened

908
00:49:25,000 --> 00:49:29,120
Speaker 1: moment of every scene they draw in those boxes. But

909
00:49:29,120 --> 00:49:31,000
Speaker 1: but yeah, and then there was a moment I was

910
00:49:31,040 --> 00:49:35,719
Speaker 1: talking about with Scott Gimble about being Meagan on the

911
00:49:36,480 --> 00:49:39,040
Speaker 1: on the on the shows. He was looking at several people,

912
00:49:39,120 --> 00:49:41,640
Speaker 1: I think, yeah, and it couldn't work it out. And

913
00:49:41,800 --> 00:49:43,239
Speaker 1: it was during the Hand of God and Hand of

914
00:49:43,280 --> 00:49:46,680
Speaker 1: God came back and Jeffrey Dean Morgan ended up playing

915
00:49:46,719 --> 00:49:50,000
Speaker 1: that part as he probably always would have. But that

916
00:49:50,080 --> 00:49:53,640
Speaker 1: started a relationship with me and Scott. And so when

917
00:49:53,680 --> 00:49:57,080
Speaker 1: then they were kind of rebooting Fear in the fourth season,

918
00:49:57,120 --> 00:49:59,160
Speaker 1: they brought in a bunch of new people and and

919
00:49:59,239 --> 00:50:01,719
Speaker 1: he had a role for me. This sort of gunslinging,

920
00:50:03,160 --> 00:50:05,320
Speaker 1: click draw artist cowboys.

921
00:50:07,200 --> 00:50:08,440
Speaker 3: So it's still a cowboy.

922
00:50:08,800 --> 00:50:13,239
Speaker 4: It doesn't matter what the genre is, it's still it's

923
00:50:13,320 --> 00:50:14,240
Speaker 4: still a cowboy.

924
00:50:14,719 --> 00:50:17,920
Speaker 1: I'm gonna I'm from I'm from Washington State, you know

925
00:50:17,960 --> 00:50:19,040
Speaker 1: what I mean. It's not like.

926
00:50:21,680 --> 00:50:30,480
Speaker 4: Not Texas, No Ghosts of Bear Root. I'm very excited.

927
00:50:31,000 --> 00:50:36,880
Speaker 4: I'm very excited about this show. Have you seen it yet?

928
00:50:37,360 --> 00:50:42,040
Speaker 4: It's about it's coming out folks here in the second

929
00:50:42,080 --> 00:50:44,000
Speaker 4: May nineteenth.

930
00:50:43,560 --> 00:50:46,799
Speaker 1: May nineteenth streaming. I think yeah, twenty first on air.

931
00:50:47,840 --> 00:50:49,200
Speaker 3: The story is so interesting.

932
00:50:49,640 --> 00:50:53,359
Speaker 4: Talk to me about playing a real person and how

933
00:50:53,400 --> 00:50:56,680
Speaker 4: many of the people who who knew him were.

934
00:50:56,480 --> 00:50:59,080
Speaker 3: You able to communicate with or did you not want.

935
00:50:58,880 --> 00:51:01,319
Speaker 1: To do that? Yeah, that's that's funny that you ask

936
00:51:01,400 --> 00:51:04,200
Speaker 1: about that. Have you played have you had to play

937
00:51:04,560 --> 00:51:07,640
Speaker 1: characters that are biographical? You've done biographical kind of work.

938
00:51:07,680 --> 00:51:12,520
Speaker 4: I have done biographical but old Yeah, nobody would be around.

939
00:51:12,800 --> 00:51:15,280
Speaker 1: Yes, I mean, my guy's not around either, but certainly

940
00:51:15,320 --> 00:51:18,279
Speaker 1: people who knew him were. But I think it's it's

941
00:51:18,400 --> 00:51:20,799
Speaker 1: really daunting, especially at least at least the way I

942
00:51:20,880 --> 00:51:22,960
Speaker 1: work and the way I get jobs. I don't have

943
00:51:23,160 --> 00:51:27,279
Speaker 1: generally months in advance to prepare yes, And I rely

944
00:51:27,360 --> 00:51:30,400
Speaker 1: a lot on sort of on set inspiration anyway, you know,

945
00:51:30,880 --> 00:51:34,840
Speaker 1: I'm open to that. But when I play someone and

946
00:51:34,840 --> 00:51:36,319
Speaker 1: it seems like there's been a ton of them all

947
00:51:36,360 --> 00:51:38,759
Speaker 1: of a sudden, you know, I feel a real onus

948
00:51:38,840 --> 00:51:41,280
Speaker 1: to represent them well for the sake of the people

949
00:51:41,280 --> 00:51:44,080
Speaker 1: that are that are living and knew them, and especially

950
00:51:44,080 --> 00:51:46,319
Speaker 1: the ones that talk to me. You know. I did

951
00:51:46,360 --> 00:51:49,080
Speaker 1: talk to one person who knew him, and it's you know,

952
00:51:49,080 --> 00:51:51,319
Speaker 1: it's been a long time for her since she saw him,

953
00:51:51,360 --> 00:51:54,840
Speaker 1: but she remembers those days and I really enjoyed talking

954
00:51:54,880 --> 00:51:56,840
Speaker 1: to her, getting to know her a little bit, and

955
00:51:56,880 --> 00:51:58,839
Speaker 1: then she helped me get to know this guy who

956
00:51:58,920 --> 00:52:01,120
Speaker 1: I do not look like. You know, I don't know

957
00:52:01,160 --> 00:52:02,960
Speaker 1: what he sounded like. You know, he was a spy.

958
00:52:03,080 --> 00:52:05,520
Speaker 1: There's there's no tape on him, you know, other than

959
00:52:06,040 --> 00:52:08,160
Speaker 1: other than a horrifying tape at the end, you know,

960
00:52:08,280 --> 00:52:11,160
Speaker 1: So I don't know what he sounded like for sure.

961
00:52:11,280 --> 00:52:13,880
Speaker 1: I don't know what his rhythms were, and I'm relying

962
00:52:13,960 --> 00:52:16,719
Speaker 1: on the script, so a lot of it feels out

963
00:52:16,719 --> 00:52:18,080
Speaker 1: of my hands. I don't know if that's how it

964
00:52:18,120 --> 00:52:20,960
Speaker 1: felt for you, But I'm just like I'm doing this

965
00:52:21,000 --> 00:52:23,160
Speaker 1: with a full heart. I don't I'm not trying to

966
00:52:23,160 --> 00:52:25,279
Speaker 1: insult your guy, but you know, this is this is

967
00:52:25,280 --> 00:52:27,040
Speaker 1: what it feels like to me. If this is a

968
00:52:27,080 --> 00:52:29,000
Speaker 1: situation and you tell me this is what he's like.

969
00:52:29,880 --> 00:52:32,680
Speaker 1: I think it was something like this, and that detective

970
00:52:32,680 --> 00:52:37,720
Speaker 1: work is fun, but I'd rather, I think, play someone

971
00:52:37,760 --> 00:52:40,120
Speaker 1: that I can create from the boots up.

972
00:52:40,520 --> 00:52:43,200
Speaker 4: Yeah, but that's very interesting. I didn't think about that

973
00:52:43,520 --> 00:52:45,640
Speaker 4: when I was reading about this project. The fact that

974
00:52:45,760 --> 00:52:50,000
Speaker 4: he was a spy. It was in the CIA, so

975
00:52:50,160 --> 00:52:53,640
Speaker 4: there is yeah, there isn't that. There isn't a whole

976
00:52:53,760 --> 00:52:56,960
Speaker 4: ton of knowledge. I mean that was his job was

977
00:52:57,000 --> 00:52:58,720
Speaker 4: to stay private.

978
00:52:59,400 --> 00:53:02,000
Speaker 1: You didn't have a family, didn't have children, you know,

979
00:53:02,080 --> 00:53:04,880
Speaker 1: so we're relying on co workers. Oh, he was always

980
00:53:04,960 --> 00:53:08,200
Speaker 1: dressed well, he was special Forces, he was he was

981
00:53:08,280 --> 00:53:10,680
Speaker 1: kind of a hammer. He's a blunt instrument. But it's fun.

982
00:53:11,160 --> 00:53:13,120
Speaker 1: In fact, Chlorus Leachman said that to me once. I

983
00:53:13,120 --> 00:53:15,520
Speaker 1: asked her, how are you still so excited about this?

984
00:53:15,560 --> 00:53:19,279
Speaker 1: Because she had stories, man, she had amazing stories, And

985
00:53:19,320 --> 00:53:22,880
Speaker 1: she said, I just I just love it. I feel

986
00:53:22,920 --> 00:53:25,719
Speaker 1: like a detective come on a set and you go, oh,

987
00:53:25,760 --> 00:53:27,399
Speaker 1: that's who she is, and you pick up a little

988
00:53:27,440 --> 00:53:31,000
Speaker 1: piece and then another piece. She's ninety, you know, and

989
00:53:31,040 --> 00:53:34,280
Speaker 1: she's still excited about it. And I'm struggling with being jaded.

990
00:53:34,360 --> 00:53:34,520
Speaker 6: You know.

991
00:53:34,560 --> 00:53:37,680
Speaker 1: It's like it was so inspiring because that is fun.

992
00:53:38,040 --> 00:53:40,320
Speaker 1: It is fun to figure it out, isn't it?

993
00:53:40,320 --> 00:53:41,040
Speaker 3: It is fun?

994
00:53:41,560 --> 00:53:42,000
Speaker 1: I don't know.

995
00:53:42,200 --> 00:53:42,439
Speaker 3: Yeah.

996
00:53:42,480 --> 00:53:45,479
Speaker 4: And by the way, she doesn't get any if you're

997
00:53:45,520 --> 00:53:48,160
Speaker 4: if you're needing a pick me up at any time,

998
00:53:49,320 --> 00:53:52,440
Speaker 4: just get yourself a dose of Chlorus Leachman.

999
00:53:52,640 --> 00:53:57,359
Speaker 3: There's no there's no question about that. Well.

1000
00:53:57,440 --> 00:54:01,919
Speaker 4: You also have, by the way, uh, golfing buddy of mine,

1001
00:54:02,040 --> 00:54:07,319
Speaker 4: Michael Panya and you a million miles away about the

1002
00:54:07,360 --> 00:54:09,720
Speaker 4: first Latino in space.

1003
00:54:10,760 --> 00:54:12,279
Speaker 3: When is that coming out?

1004
00:54:12,560 --> 00:54:14,680
Speaker 1: You know, I'm not sure when it's coming out.

1005
00:54:14,520 --> 00:54:18,160
Speaker 4: But okay, thanks for the specific, specific answer. I appreciate that.

1006
00:54:18,360 --> 00:54:19,120
Speaker 1: I don't think they know.

1007
00:54:19,800 --> 00:54:21,319
Speaker 3: Okay, well, there you go.

1008
00:54:21,680 --> 00:54:23,279
Speaker 1: We just did the A dr for it, so I

1009
00:54:23,320 --> 00:54:26,040
Speaker 1: know they're in their final stages, you know, and are

1010
00:54:26,120 --> 00:54:28,799
Speaker 1: very excited about it. It's a great director, and I

1011
00:54:28,920 --> 00:54:31,480
Speaker 1: like Michael a lot. I'm jealous at your is golfing

1012
00:54:31,480 --> 00:54:34,879
Speaker 1: buddy that must that is a funny round of golf man,

1013
00:54:35,080 --> 00:54:37,360
Speaker 1: is a that is a lot of laughing.

1014
00:54:37,560 --> 00:54:39,560
Speaker 3: It's always it's always fun.

1015
00:54:41,280 --> 00:54:45,719
Speaker 4: I well, congratulations and good luck when that comes out.

1016
00:54:45,800 --> 00:54:50,480
Speaker 4: But uh, Ghost of be Rout. Guys, this is a

1017
00:54:50,560 --> 00:54:54,840
Speaker 4: four part story. Talk to me a little bit about

1018
00:54:55,160 --> 00:54:56,760
Speaker 4: I'm sorry, is it immod.

1019
00:54:57,320 --> 00:54:59,279
Speaker 1: It's a it's a hard name to say, and I'm

1020
00:54:59,320 --> 00:55:00,480
Speaker 1: glad I never had to say.

1021
00:55:01,120 --> 00:55:03,920
Speaker 3: Okay, yeah, it's well, it's about.

1022
00:55:04,040 --> 00:55:06,200
Speaker 1: It's kind of the no country for old men in

1023
00:55:06,280 --> 00:55:06,680
Speaker 1: terms of.

1024
00:55:06,680 --> 00:55:08,200
Speaker 3: Terrorists in the CIA.

1025
00:55:08,400 --> 00:55:11,760
Speaker 1: Yeah, yeah, you know, it's about this decade long search

1026
00:55:11,880 --> 00:55:16,799
Speaker 1: for the in mad Moutinier, the ghost. He had all

1027
00:55:16,800 --> 00:55:19,759
Speaker 1: these nicknames, but he was just bedeviling the CIA and

1028
00:55:19,800 --> 00:55:25,040
Speaker 1: Mosad with these hits, and he kind of reinvented terrorism.

1029
00:55:25,080 --> 00:55:29,239
Speaker 1: It was something we'd never seen before, the suicide bombers,

1030
00:55:29,280 --> 00:55:33,120
Speaker 1: you know, driving truckloads of bombs. I mean, I was

1031
00:55:33,239 --> 00:55:36,160
Speaker 1: I was a kid in the early eighties. I mean

1032
00:55:36,200 --> 00:55:37,680
Speaker 1: I was in high school in the early ladies, and

1033
00:55:37,960 --> 00:55:40,680
Speaker 1: I remember these stories like another day. It just seemed

1034
00:55:41,520 --> 00:55:43,360
Speaker 1: there was this new kind of chaos, there was a

1035
00:55:43,400 --> 00:55:45,920
Speaker 1: new fear, you know, that we're still dealing with today.

1036
00:55:46,520 --> 00:55:49,440
Speaker 1: And Greg Barker, who's much smarter than I am, who

1037
00:55:49,480 --> 00:55:52,560
Speaker 1: wrote this script, he's done this thing where it's it's

1038
00:55:52,600 --> 00:55:57,760
Speaker 1: almost like like there's real journalists interspersed in here giving

1039
00:55:57,800 --> 00:56:01,440
Speaker 1: interviews about what's going on and introducing it to characters,

1040
00:56:01,440 --> 00:56:04,440
Speaker 1: and it's it's I think it's pretty well done, and

1041
00:56:04,880 --> 00:56:06,680
Speaker 1: it's and I know it's very tense. I haven't seen

1042
00:56:06,719 --> 00:56:10,880
Speaker 1: the whole thing, but it spans forty years almost the

1043
00:56:10,920 --> 00:56:12,040
Speaker 1: new terrorism.

1044
00:56:12,280 --> 00:56:18,880
Speaker 3: Well, a political thriller. No Country for Old Men. Uh take.

1045
00:56:20,520 --> 00:56:24,440
Speaker 4: That is the new law. That's you got me with that? No,

1046
00:56:24,600 --> 00:56:28,480
Speaker 4: I find it. I find it fascinating. Good luck with

1047
00:56:28,520 --> 00:56:32,840
Speaker 4: that and with everything else. You know, Look, I just

1048
00:56:32,880 --> 00:56:37,000
Speaker 4: admire your work so much, truly, and I'm half jealous

1049
00:56:37,520 --> 00:56:39,719
Speaker 4: of the dramas that you've gotten to work on.

1050
00:56:39,800 --> 00:56:42,000
Speaker 3: So I mean, you could take that too. You can

1051
00:56:42,080 --> 00:56:43,480
Speaker 3: take that to the bank.

1052
00:56:43,760 --> 00:56:46,520
Speaker 1: That's awful kind of It's it's so nice talking to you, man.

1053
00:56:46,600 --> 00:56:49,359
Speaker 1: This is a really fun conversation. I really appreciate being here.

1054
00:56:49,480 --> 00:56:55,480
Speaker 4: Thank you, Thank you, Garrett Dilla Hunt. Go back watch

1055
00:56:55,520 --> 00:56:57,000
Speaker 4: his Criminal Minds episode.

1056
00:56:57,040 --> 00:56:57,759
Speaker 3: We've got a lot.

1057
00:56:57,840 --> 00:57:00,279
Speaker 4: We've got a lot here to go back and check

1058
00:57:00,320 --> 00:57:07,960
Speaker 4: out find his vest in NYPD Blue. Garrett, thank you

1059
00:57:08,040 --> 00:57:11,400
Speaker 4: so much, and I hope to see you soon a

1060
00:57:11,600 --> 00:57:12,520
Speaker 4: music video.

1061
00:57:13,560 --> 00:57:17,440
Speaker 1: Sure you time Machine Ingrid Michael's and me and Brian

1062
00:57:17,960 --> 00:57:18,280
Speaker 1: in the.

1063
00:57:18,240 --> 00:57:22,760
Speaker 4: Sheets time Machine, we sang, we dance. I have rose

1064
00:57:22,840 --> 00:57:25,400
Speaker 4: petals on me, Garrett, thank you so much.

1065
00:57:25,680 --> 00:57:26,160
Speaker 1: I love it.

1066
00:57:39,000 --> 00:57:41,520
Speaker 3: Well, it looks like I've got some homework to do.

1067
00:57:41,960 --> 00:57:42,160
Speaker 5: I have.

1068
00:57:42,600 --> 00:57:45,760
Speaker 4: I have to go rewatch the music video because that

1069
00:57:45,920 --> 00:57:48,800
Speaker 4: was that was a fun time, but long ago. I

1070
00:57:48,920 --> 00:57:52,960
Speaker 4: must find Garrett in that vest on NYPD Blue And

1071
00:57:53,000 --> 00:57:56,920
Speaker 4: we all need to start watching Ghosts of Beirut streaming

1072
00:57:56,960 --> 00:58:01,480
Speaker 4: now on Showtime. And you know, I think it might

1073
00:58:01,520 --> 00:58:05,720
Speaker 4: even be time to watch Deadwood again, because well that's

1074
00:58:05,720 --> 00:58:09,160
Speaker 4: a great show. Thank you Garrett for well for your

1075
00:58:09,240 --> 00:58:13,120
Speaker 4: incredible body of work, and also for taking the time

1076
00:58:13,160 --> 00:58:16,320
Speaker 4: to talk to me. Listeners, you have some homework too.

1077
00:58:16,560 --> 00:58:19,400
Speaker 4: You need to go interact with our Instagram page, leave

1078
00:58:19,480 --> 00:58:22,120
Speaker 4: us a review, make sure you come back next week

1079
00:58:22,200 --> 00:58:23,360
Speaker 4: for another episode.

1080
00:58:23,440 --> 00:58:27,320
Speaker 3: Oh and one more thing, this is very important, Okay,

1081
00:58:27,720 --> 00:58:37,000
Speaker 3: have a great week off.

1082
00:58:37,040 --> 00:58:41,040
Speaker 4: The Beat is hosted and executive produced by me Brian Baumgartner,

1083
00:58:41,320 --> 00:58:45,320
Speaker 4: alongside our executive producer Lang Lead. Our senior producer is

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00:58:45,400 --> 00:58:49,400
Speaker 4: Diego Tapia. Our producers are Liz Hayes, Hannah Harris, and

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Speaker 4: Emily Carr. Our talent producer is Ryan Papa Zachary, and

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Speaker 4: our intern is Sammy Katz. Our theme song Bubble and Squeak,

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Speaker 4: performed by the one Only creep Rid