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Speaker 1: Unpacking the Toolbox is a production of Shondaland Audio in

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Speaker 1: partnership with Higheartradio.

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Speaker 2: Is the Sass and Katie Loves.

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Speaker 3: Hi Guys, Hi, Everybody, Hi, Betsy Beers, Hi, Geermo Diaz, Hi.

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Speaker 4: Kitty Lows Hi, Nutty Nutsters who nutt.

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Speaker 3: We are just talking about Oh yeah, well today is

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Speaker 3: Today is a very exciting day because I actually this

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Speaker 3: is why this podcast is the gift that keeps on giving,

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Speaker 3: because I don't know a lot about this job at

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Speaker 3: all or how it works.

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Speaker 5: Same how you.

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Speaker 3: I honestly think it might be the coolest job in

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Speaker 3: all of Hollywood. I mean, it is the most amazing, interesting, effective,

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Speaker 3: important job.

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Speaker 4: It's a huge part of when you watch something, why

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Speaker 4: you feel the way you feel, and it what this

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Speaker 4: gentleman does, I think is adds this incredible element to

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Speaker 4: shows that if it didn't exist as an occupation, things

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Speaker 4: would not be as wonderful as they are. Can anybody

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Speaker 4: guess this is like we're in fourth grade? Can anybody

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Speaker 4: guess what this job is?

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Speaker 6: Is it an astronaut?

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Speaker 5: No? Is it a fireman?

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Speaker 6: Is it speaker of the house?

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Speaker 7: No, it's a.

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Speaker 6: You like that, It's a co composer.

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Speaker 4: And it's not just any composer. This is an amazing

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Speaker 4: composer who has worked with Shondaland over the years several times.

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Speaker 4: Does amazing work, comes multiple disciplines, pretty much not only

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Speaker 4: a composer, but musician, rock star in his own right.

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Speaker 6: I've got to say, oh, yeah.

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Speaker 4: Lee's welcome to our frisky little podcast here, mister Chad Fisher.

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Speaker 7: We're so pumped to have you on.

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Speaker 3: Anyone who knows that, Like, you watch your show on

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Speaker 3: Silent and it's just doesn't.

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Speaker 6: Not exactly the same, you know.

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Speaker 2: I love those those YouTube videos where they'd taken out

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Speaker 2: the music from like Singing in the Rain and you

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Speaker 2: just hear the guy kind of splashing around, and then

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Speaker 2: that's when you realize, Yeah, the music actually does make

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Speaker 2: a difference.

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Speaker 4: So whenever you're sort of just you're feeling lonely or

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Speaker 4: sad or blocked, do you do that and go that's right, Yeah,

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Speaker 4: I contribute something to the world exactly.

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Speaker 3: And the reason I mean arguably so, like I feel

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Speaker 3: like the composing of television shows really affect your emotional

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Speaker 3: response to the moment, whether it's a kissing scene or

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Speaker 3: a breakup scene or a I hate you scene or anything.

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Speaker 3: I mean, the score I think is like if as important,

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Speaker 3: if not more important than the writing sometimes to make

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Speaker 3: you feel what you're feeling.

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Speaker 5: It's like another character, right, It's.

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Speaker 4: Totally it, totally And let's not forget our favorite the moontage,

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Speaker 4: which I play Cathullen, because we have a few of

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Speaker 4: them when we work. Yeah, and Chad is the king

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Speaker 4: of being able to actually also handle those.

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Speaker 3: So Chad, how in the hell did you become a

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Speaker 3: composer in Hollywood? Like?

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Speaker 7: Who are you?

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Speaker 1: What?

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Speaker 3: How are we so lucky to have you on and

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Speaker 3: tell us about your life?

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Speaker 5: Oh?

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Speaker 2: Well, first of all, what a pleasure to be here

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Speaker 2: with you guys, and actually to speak to you, because

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Speaker 2: I think there might have been a few Christmas parties

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Speaker 2: and there was a passing glance from across the room

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Speaker 2: when you went is that a gaffer? I wonder if

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Speaker 2: that guy?

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Speaker 5: Probably?

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Speaker 4: Yeah, And well we'll get into gaffer podcast, I hope so.

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Speaker 2: But no, it has been. It was really actually an

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Speaker 2: incredible experience working on the show, and I liken it

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Speaker 2: to back in college I did something crazy called rowing,

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Speaker 2: where you get in a boat and you row crew

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Speaker 2: and it's the most painful and miserable experience and challenging thing.

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Speaker 2: And I always would say to myself, well, I survive that.

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Speaker 2: I can do anything now. But I'll have to say

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Speaker 2: this is working on the show became the new bar.

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Speaker 2: I can do just about anything at Gate. Now I

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Speaker 2: can walk into a meeting and there people like, are

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Speaker 2: you sure you're gonna be able to score this whole

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Speaker 2: film in three weeks? Are you kidding me?

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Speaker 6: Of course, bring it on to wow.

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Speaker 3: So what makes your shows so hard? Sorry, like television,

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Speaker 3: your turnaround time in Shondaland and all the other things

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Speaker 3: you've Is it that the pace of it is so

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Speaker 3: demanding in which you get an episode caught, delivered and

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Speaker 3: then you're off to the races and you have to

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Speaker 3: literally get it ready for air date, like exactly within

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Speaker 3: forty eight hours or so, and you're right off.

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Speaker 2: To the races. And I think that actually this job

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Speaker 2: does require that kind of competitive Let's go, the pressure

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Speaker 2: cooker is on, let's hit it, and let's do it

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Speaker 2: for however long it's gonna take. We're going to stay

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Speaker 2: in the ring until the opponent drops. And I think

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Speaker 2: that that that's exciting because without that, as you may

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Speaker 2: know if any of you have worked on that passion

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Speaker 2: project that you're just going to write your book or

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Speaker 2: do your thing on your own with no deadline, it's

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Speaker 2: really hard to get that stuff done. So I'm like,

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Speaker 2: thank God for the deadline, because it's incredible when you

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Speaker 2: find out how much you can actually accomplish in that

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Speaker 2: short amount of time and there's no time for second guessing.

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Speaker 2: You just got to go for it. And I don't

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Speaker 2: know that I find that exhilarating and exhausting. And yes,

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Speaker 2: when it was, when it was all done, I was like, wooh,

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Speaker 2: let's take a deep breath and reclaim our lives.

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Speaker 6: Reclaim your live.

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Speaker 4: But then there'd be another episode just creeping up on you.

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Speaker 4: And also, one thing that a lot of people don't know,

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Speaker 4: or maybe they do, but I certainly didn't know before

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Speaker 4: I started in this business is, in a weird way,

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Speaker 4: it's doubly hard because not only are you scoring everything

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Speaker 4: at a rapid pace, and especially I think with the

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Speaker 4: shows that we tend to make, let's just say, I

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Speaker 4: think we push our deadline, our deadlines a tad. You know,

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Speaker 4: we bring it right up because we're all perfectionists and

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Speaker 4: we all want to do everything perfectly, and we all

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Speaker 4: want it to be the best that a possibly can be.

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Speaker 4: But very often the other thing, Chad you have to

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Speaker 4: do is editors do this thing, which is they temp score,

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Speaker 4: So they put in a score while we're watching rough

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Speaker 4: cuts of things that is the ideal score, and sometimes

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Speaker 4: it's a composer's music, and sometimes it's it's something else,

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Speaker 4: and it's rarely perfect. And so what you have to do,

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Speaker 4: Chad is not only composings that come out of you,

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Speaker 4: but deal with people who've been listening to things sometimes

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Speaker 4: that don't end up having anything to do with the

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Speaker 4: way the show's eventually going to sound right, which is complicated.

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Speaker 2: Well, there's also that time when which is actually the

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Speaker 2: most common, which is when that temp score actually does

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Speaker 2: nail this the just the vibe, tech the tone of

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Speaker 2: the scene. And often you know that editor has rifled

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Speaker 2: through about twenty pieces of music until he's landed on

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Speaker 2: that one. He or she has landed on that one

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Speaker 2: that really works. Now your challenge is to come and

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Speaker 2: recreate that without anyone getting sued. You've got to come

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Speaker 2: up with the same tone but different notes, different chords,

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Speaker 2: and then something that also ties into thematically to the

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Speaker 2: show itself. Now by the way I did. I was

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Speaker 2: doing a little research and going back into some old

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Speaker 2: scenes where you guys are going through some of the

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Speaker 2: most horrendous experiences. You're being tortured, drills being you know,

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Speaker 2: teeth being pulled. It's just so intense. And I distinctly

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Speaker 2: remember that experience of having to write this music, which

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Speaker 2: was incredibly tense, to the scene that's incredibly tense, knowing

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Speaker 2: that there's this deadline coming up, and oh my gosh,

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Speaker 2: am I going to actually finish this? And I was like,

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Speaker 2: I was like, God, this is like, this is so

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Speaker 2: psychologically torturous. And but then watching your scenes and seeing

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Speaker 2: what you guys are going through, I'm like, I don't

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Speaker 2: even I have no right to complain. I'm in my

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Speaker 2: comfy little studio coming up with the little, you know,

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Speaker 2: chords on the piano. You guys are going through unbelievable interactions,

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Speaker 2: and yeah, but we need you.

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Speaker 3: I mean, imagine what these stressful scenes would be like

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Speaker 3: without the perfect music. It would they would fall flat

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Speaker 3: on their stressed out faces.

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Speaker 8: I feel like what Chad did beautifully is sometimes you

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Speaker 8: would play against what was happening in the scene which

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Speaker 8: was so beautiful. You'd hear these like upbeat you know

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Speaker 8: music and songs and someone would be literally getting tortured

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Speaker 8: to death and it just worked so well, so well.

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Speaker 4: My personal favorite the pad, the pad. Whenever on any

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Speaker 4: show or anything we've worked with with Chad, Chad writes

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Speaker 4: the best pad.

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Speaker 6: So what's the pad?

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Speaker 4: Well, the pad to me was always you don't want

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Speaker 4: a big melody. You don't want something and you want

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Speaker 4: something with a particular kind of rhythm because you need

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Speaker 4: either the scene needs more energy or you simply want

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Speaker 4: to be able to focus, but you want to have

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Speaker 4: this little underlying tension or underlying excitement or underlying and Chad,

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Speaker 4: I mean, can you describe how you do a pad

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Speaker 4: or talk a little more about the pad, because we

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Speaker 4: all need pads in our life, Like as opposed to

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Speaker 4: the big moment where in your life you would probably

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Speaker 4: score a big romantic song, a big thing or you like,

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Speaker 4: and a needle drop would come in. The pad is

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Speaker 4: the period of time in which you're waiting anxiously for

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Speaker 4: the moment when you play the big song in your life.

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Speaker 4: So it's like I could use a pad right now,

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Speaker 4: yeh for that matter me to go ahead.

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Speaker 6: Sorry, Chack.

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Speaker 2: I love that you're bringing up the pad because there

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Speaker 2: were there. As Betsy just said, we didn't not a

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Speaker 2: fan of big melodies that are going to come in.

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Speaker 2: And just if you think about all the memorable themes

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Speaker 2: of a Star Wars movie, you've got these really pronounced

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Speaker 2: memorable melodies. Well, we don't want that. There's way too

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Speaker 2: much going on dialogue wise, storyline wise, we can't be

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Speaker 2: jamming yet another element down the throats of our listeners

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Speaker 2: who were just absorbing all this information. So it was

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Speaker 2: very smart, which did mean that we would end up

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Speaker 2: with pads, which are just very subtle tonal sounds, sometimes

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Speaker 2: from a keyboard, sometimes it's a string pad, sometimes it's

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Speaker 2: a guitar with a lot of delay and reverb on it,

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Speaker 2: just creating a mood and a vibe, and it would

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Speaker 2: have to build and recede. There was, however, a particular

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Speaker 2: pad that I was using. I remember I was using

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Speaker 2: it maybe a little too often, and this would happen

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Speaker 2: because how many pads are there, But if you want

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Speaker 2: to keep it fresh, you got to keep coming up

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Speaker 2: with new ones. Well, there was one that would resurface

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Speaker 2: because it did kind of have this eerie, hollow kind

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Speaker 2: of tone. But then it was getting flagged because again

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Speaker 2: if like, if it's too recognizable, get it rid of it.

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Speaker 2: We've heard that too much. We got to come with

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Speaker 2: something else. And I remember this one tone getting flagged

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Speaker 2: and I was like, oops, I used it again and

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Speaker 2: I shouldn't have used it again. And I decided to

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Speaker 2: make a video because I do love making silly videos.

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Speaker 2: I had a video. I had a construction site for

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Speaker 2: this studio that I'm in right now was a construction

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Speaker 2: site and I took this junkie keyboard that was had

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Speaker 2: in it was a cassio that was in the garbage

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Speaker 2: at a music store, and I said, do you mind.

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Speaker 6: If I take that?

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Speaker 2: And I put and then I dressed up like Chewbacca

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Speaker 2: because I had a Chewbacca costume and uh, and then

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Speaker 2: I recreated the opening sequence to two thousand and one

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Speaker 2: Space Odyssey and Chewbacca takes a guitar and smashes this cassio.

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Speaker 5: Play this video.

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Speaker 2: It's pretty good.

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Speaker 7: It's pretty does this video.

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Speaker 6: We will definitely post it, will definitely post it.

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Speaker 2: But it was my it was my commitment to Betsy.

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Speaker 2: You will never hear that pad again, I promise you, Chewbac.

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Speaker 6: I love my pads, but I also tire my pad.

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Speaker 8: But sometimes those those pads become iconic, right even because

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Speaker 8: there they did. But then you're like, oh my god,

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Speaker 8: this is that part with these two main characters, like.

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Speaker 6: Yes, there there are things that you use.

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Speaker 4: Definitely you can use sometimes use a needle drop as

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Speaker 4: a pad, but you also can use because of the

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Speaker 4: drops familiar enough. But yes, Chad, Chad wrote some very

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Speaker 4: very memorable pads in all of his fun shows. And also,

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Speaker 4: I think the other thing, which is really and then

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Speaker 4: we really want to get into, like how the hell

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Speaker 4: you started doing this. The other thing that Chad is

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Speaker 4: really really good at is whether or not because this

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Speaker 4: is a big debate when you're looking at a show

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Speaker 4: in your or a movie is are you actually scoring

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Speaker 4: the character and if so, which one? Or are you

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Speaker 4: scoring the scene?

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Speaker 2: Right?

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Speaker 6: So when you think about it, and we.

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Speaker 4: Had long conversations about this, right Chad constantly, which is like, no,

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Speaker 4: you should.

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Speaker 6: Be scoring the character or why are you just going

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Speaker 6: the scene?

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Speaker 4: And Chad would go, oh, for God's sakes, just shut up,

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Speaker 4: let me job, just let me do my job. Last

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Speaker 4: time I checked you can't read notes what are you doing?

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Speaker 4: Which is true, but I mean talk to that, Chad,

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Speaker 4: because that is one of the trickiest things to me

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Speaker 4: about your job, is like navigating.

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Speaker 3: That you know that.

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Speaker 2: I think theoretically people love the idea that every character

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Speaker 2: has its own theme and that when you see them

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Speaker 2: come in, then their theme, just like you know, again

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Speaker 2: with the Star Wars, Darth Vader walks in, it's gonna

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Speaker 2: be the Darth Vader theme, dun dun, dah dun. So

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Speaker 2: that theoretically sounds great, but if you start shoehorning themes

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Speaker 2: of every character in when they enter the room, and

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Speaker 2: then you've got two characters, well you would get played

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Speaker 2: both of their themes at the same time. It because

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Speaker 2: it's it's I think again, theoretically, yes, that sounds great,

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Speaker 2: but ultimately what you're playing is the tone of the

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Speaker 2: scene and that and it's that's why it's very important

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Speaker 2: to know what is the tone of the episode, the

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Speaker 2: tones of the scenes. And I know you guys had

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Speaker 2: tonal meetings where even when you would read this to

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Speaker 2: have a table read, it was really to kind of

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Speaker 2: assess what that tone is before you even shot the episode.

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Speaker 2: That's right, And I would always tell I would always go, gosh,

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Speaker 2: I should be at those meetings. But should But that's

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Speaker 2: what we would talk about during the spot and the.

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Speaker 4: Other thing, just for folks who don't know, this is

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Speaker 4: what you do right before when an edit is finished

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Speaker 4: of an episode or a movie, we do something called

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Speaker 4: the spot where the producer or the creator of the show,

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Speaker 4: or the director or whoever else is part of that process.

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Speaker 4: The editors sit in a room with the composer and

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Speaker 4: we go through this and the actually sound designers, who

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Speaker 4: are the people who when you hear a bomb go

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Speaker 4: off or something drop, that's what they're doing, so sound

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Speaker 4: and music, and we sit and very often the person

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Speaker 4: who's helping us pick the what we call needle drops,

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Speaker 4: which are the songs that you hear. The spot is

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Speaker 4: when we all said and we watched this show together,

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Speaker 4: and we talk about what different scenes should sound like

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Speaker 4: and what we think we should be feeling, and the

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Speaker 4: editor talks a lot, and it's this. It's sort of

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Speaker 4: the way we kick off the whole process for Chad

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Speaker 4: so that he can actually start writing music for different scenes.

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Speaker 7: Why is it called the spot and why is it

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Speaker 7: called the pad.

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Speaker 1: Do we know?

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Speaker 2: Well, the spot is a good question, and I can

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Speaker 2: I can answer that, which is that you're determining where

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Speaker 2: the music the score will begin and where it will end.

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Speaker 6: Oh, the spot in which the spot which you drop something.

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Speaker 2: Yeah, and that's what we're talking about. We should it

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Speaker 2: start Sometimes the temp started a little too soon. Maybe

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Speaker 2: we should actually have it start a little bit later.

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Speaker 2: So there is someone writing all this information down the

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Speaker 2: time code. Okay, this, cueue this, and in one episode

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Speaker 2: there might be twenty thirty queues, and each queue is

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Speaker 2: its own individual piece of music that begins and ends.

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Speaker 2: And that's what we're doing in the spotting session is

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Speaker 2: to is to surgically decipher where that's going to happen.

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Speaker 2: And then that's my template. Then I go into my

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Speaker 2: studio with and I start writing.

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Speaker 4: And then at the same time he's doing that totally

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Speaker 4: different subject. But there's somebody else saying, all right, how

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Speaker 4: loud do you want that boom? Do you want to

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Speaker 4: hear the sound of eating? Do you want to hear

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Speaker 4: the sound of kissing hard?

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Speaker 3: Or you know?

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Speaker 6: That's so that's all going on at the same time,

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Speaker 6: which is really interesting.

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Speaker 3: So this is so inside, right, inside info I have.

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Speaker 3: I've never known about any of this GMO, have.

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Speaker 8: You no, just adr like we know about ADR. You

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Speaker 8: know when you go in and you do an additional

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Speaker 8: dialogue recording. That's as far as it goes for me

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Speaker 8: as far as shit being educated about this stuff.

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Speaker 5: It's fascinating.

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Speaker 6: Well, it's this is this is one of the things,

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Speaker 6: and this is Chad.

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Speaker 4: Part of the reason we were excited about this is

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Speaker 4: like it's a show and it's a movie because somebody

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Speaker 4: like Chad is in the back and a great composer

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Speaker 4: like Chad is in the back figuring out helping us

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Speaker 4: articulate how we want people to feel or if we

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Speaker 4: don't want people to feel. And the process and the

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Speaker 4: kind of collaboration that goes on behind the scenes is

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Speaker 4: one of the most fun as you all are doing

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Speaker 4: on screen and on stage and on set, what's going

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Speaker 4: on with us in the back is absolutely delightful in riveting,

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Speaker 4: and that's part of the thing which is really cool.

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Speaker 3: We will be back with more after the break.

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Speaker 6: Chad, how the heck tell us what's your origin story?

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Speaker 6: Like this is a Star Wars movie?

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Speaker 2: Okay, Well, first of all, if I were to answer

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Speaker 2: the question as to what qualifications did I see in

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Speaker 2: myself that made me decide what this might be something

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Speaker 2: I could do. Number One, manipulation. I love to manipulate,

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Speaker 2: so that's what you're doing. You're creating music to manipulate

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Speaker 2: the emotions. So that's fun. And then, well, I guess

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Speaker 2: I started by being a drummer in a band I played.

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Speaker 2: I went to music camp when I was a little kid,

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Speaker 2: and that's where I learned piano, and I love the drums.

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Speaker 2: It was all about Ringos Star and Stuart Copeland from

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Speaker 2: the Police, and so I set off even through high

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Speaker 2: school and college just playing drums and as many bands

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Speaker 2: as I could it. And my freshman year in college,

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Speaker 2: I went to a place called Brown University in Providence.

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Speaker 6: We've heard of it. Yeah, You're just a tiny little

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Speaker 6: school with stupid people at it.

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Speaker 7: Dumb dummiasy, not like.

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Speaker 2: You think I'm smart. That's why I told you Brown

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Speaker 2: and you played drums.

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Speaker 3: I mean, I don't think there's like a lot of

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Speaker 3: drummers who went to Brown. I hate to make like

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Speaker 3: a sweeping generalization.

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Speaker 2: Don't forget, though, I was a rower, so I'm an orehead,

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Speaker 2: so I'm not that smart.

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Speaker 6: So okay, I take it back.

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Speaker 2: But after my freshman year. So my freshman year, I

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Speaker 2: had a band even before classes started, put a band together.

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Speaker 2: All through freshman year, we're playing you know, frat parties

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Speaker 2: and club bars and parties on campus. And after that,

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Speaker 2: the singer in that band and I decided, let's drive

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Speaker 2: to Los Angeles, to the Mecca to see what's maybe

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Speaker 2: maybe that's our future. Let's find out. We drive across country,

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Speaker 2: we get to LA we pick up some little menial

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Speaker 2: jobs around Los Angeles, nothing illegal, and damn.

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Speaker 7: Come on, that's the stuff we want.

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Speaker 2: I know, that's the good stuff. My friend, my friend Josh, decides, Okay,

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Speaker 2: I'm going to pursue this. I'm not going to go

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Speaker 2: back to brown I'm like, okay, that's wonderful, Josh. My

385
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Speaker 2: parents will chop my head off if I tell them

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Speaker 2: I'm not going back to school, So I go back.

387
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Speaker 2: I finish the next three years. On the day of graduation,

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Speaker 2: my buddy Josh signed to Capitol Records, is in a

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Speaker 2: band called School of Fish, and their debut single is

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Speaker 2: is premiering on MTV. The day of my graduation. I'm

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Speaker 2: putting on the tie and he's sending me an email about, oh,

392
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Speaker 2: Mike turn on MTV our videos on him. So he

393
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Speaker 2: did it. He like lived the dream and I'm like wow,

394
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Speaker 2: And now I'm like, okay, I'm chasing after Josh. I

395
00:20:54,240 --> 00:20:56,440
Speaker 2: got to play drums in his band. So you know,

396
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Speaker 2: as soon as that guy doesn't work out, you let

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Speaker 2: me know. And sure enough, after about a year, it

398
00:21:00,960 --> 00:21:03,840
Speaker 2: didn't work out with that guy, and I joined his band,

399
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Speaker 2: and that's how it came out to Los Angeles.

400
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Speaker 6: Wait, School of Fish. The band was called School of Fish.

401
00:21:08,800 --> 00:21:11,560
Speaker 2: School of Fish, no relation to Chad Fish. Sure, it

402
00:21:11,720 --> 00:21:13,000
Speaker 2: was just a coincidence.

403
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Speaker 6: There's a little manipulation right there.

404
00:21:17,480 --> 00:21:18,719
Speaker 7: That's the kind of music.

405
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Speaker 2: What was the kind of music that was a grunge

406
00:21:20,840 --> 00:21:25,760
Speaker 2: ninety We're talking nineteen ninety sod a grungey pop band.

407
00:21:25,800 --> 00:21:27,520
Speaker 2: It's a little bit of Beatles but at bit a

408
00:21:27,560 --> 00:21:30,640
Speaker 2: lot of a lot of heavy guitars and just whish

409
00:21:30,760 --> 00:21:33,240
Speaker 2: was good. I had the long blonde hair and bashing away.

410
00:21:34,160 --> 00:21:39,720
Speaker 2: And then that band sadly broke up and I was like,

411
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Speaker 2: what am I going to do now? And I also

412
00:21:43,000 --> 00:21:46,600
Speaker 2: realized I'm I'm okay drummer, but I'm not a great drummer,

413
00:21:47,280 --> 00:21:50,760
Speaker 2: and I had already been replaced by another guy when

414
00:21:50,800 --> 00:21:52,480
Speaker 2: those guys made an album. So I was like, Okay,

415
00:21:52,520 --> 00:21:54,560
Speaker 2: the writing's on the wall. I got to figure something

416
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Speaker 2: else out because don't forget well, I haven't told you

417
00:21:56,960 --> 00:21:59,720
Speaker 2: this yet, but I'm the son of a neurosurgeon and

418
00:22:00,080 --> 00:22:03,280
Speaker 2: that guy. My dad was so upset when I told

419
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Speaker 2: him I was going to follow a career in music,

420
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Speaker 2: mainly because his whole family were musicians. They were all

421
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Speaker 2: jazz musicians, and it was a struggle. All of them struggled,

422
00:22:16,080 --> 00:22:18,199
Speaker 2: and my dad actually had to help some of them

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Speaker 2: out financially. And so when I told him I wanted

424
00:22:20,840 --> 00:22:23,159
Speaker 2: to be a musician, he was just like and I

425
00:22:23,359 --> 00:22:26,360
Speaker 2: was great, and he was like, really another one exactly,

426
00:22:26,400 --> 00:22:27,639
Speaker 2: and he was like, this is the one that got

427
00:22:27,680 --> 00:22:29,200
Speaker 2: into brown. Maybe he'll be a doctor.

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Speaker 3: I thought I broke the cycle. I broke the cycle

429
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Speaker 3: by being a neuro surgeon.

430
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Speaker 4: So I was like, yeah, I study brains in order

431
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Speaker 4: to figure out why the hell all these people are

432
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Speaker 4: playing music and I'm making money.

433
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Speaker 2: Little did he know, though, Little did he know, but

434
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Speaker 2: just imagine my pride later on when I was able

435
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Speaker 2: to go Dad, I know I never became a doctor.

436
00:22:50,119 --> 00:22:53,440
Speaker 2: But hey, I'm doing music for shows about doctors.

437
00:22:54,480 --> 00:22:57,040
Speaker 6: Yes, we're I'm going to tell you something. What's better

438
00:22:57,119 --> 00:22:58,120
Speaker 6: than fake doctors?

439
00:22:58,320 --> 00:22:58,520
Speaker 2: Yes?

440
00:22:59,320 --> 00:22:59,679
Speaker 6: Especially?

441
00:23:01,760 --> 00:23:01,840
Speaker 1: Oh?

442
00:23:01,920 --> 00:23:04,359
Speaker 6: No, so he must have been really Eventually then he

443
00:23:04,520 --> 00:23:05,200
Speaker 6: was really proud.

444
00:23:05,480 --> 00:23:08,680
Speaker 2: In fact, about three years ago, he found a letter

445
00:23:09,000 --> 00:23:10,919
Speaker 2: that I had written to him when I was in college.

446
00:23:10,960 --> 00:23:14,240
Speaker 2: I had just failed Chinese history, which I took because

447
00:23:14,280 --> 00:23:16,640
Speaker 2: of him. He wanted me to take some challenging courses

448
00:23:16,880 --> 00:23:19,600
Speaker 2: and I failed it, and I wrote in this scathing letter, going, Dad,

449
00:23:19,800 --> 00:23:23,800
Speaker 2: i am never doing anything again for you. I'm doing

450
00:23:23,920 --> 00:23:26,119
Speaker 2: things for me because I know what I'm good at,

451
00:23:26,520 --> 00:23:29,400
Speaker 2: and if I just do things to please you, I'm

452
00:23:29,440 --> 00:23:30,080
Speaker 2: going to fail.

453
00:23:30,320 --> 00:23:30,480
Speaker 3: Oh.

454
00:23:30,880 --> 00:23:34,520
Speaker 2: And he sent me that letter with an apology saying,

455
00:23:34,640 --> 00:23:37,240
Speaker 2: you know what, Chad, I didn't really know what I

456
00:23:37,359 --> 00:23:42,040
Speaker 2: was doing as a father, and I apologize I was

457
00:23:42,280 --> 00:23:44,200
Speaker 2: putting way too much pressure on you. And I said,

458
00:23:44,240 --> 00:23:47,760
Speaker 2: you know what, Dad, I'm thankful for you in that pressure,

459
00:23:47,760 --> 00:23:50,440
Speaker 2: because it was that pressure that made me realize, you

460
00:23:50,480 --> 00:23:52,520
Speaker 2: know what, I can't just be a drummer. I got

461
00:23:52,640 --> 00:23:54,520
Speaker 2: to run a recording studio. I got to be a writer.

462
00:23:54,680 --> 00:23:57,520
Speaker 2: I gotta create. I've got to produce. I gotta do

463
00:23:57,600 --> 00:23:59,240
Speaker 2: a lot more. I'm going to make a living off

464
00:23:59,320 --> 00:24:03,800
Speaker 2: of this concept of being a musician. And thankfully there's

465
00:24:03,840 --> 00:24:07,879
Speaker 2: a job called being a composer, which is really what

466
00:24:08,080 --> 00:24:09,200
Speaker 2: saved my ass.

467
00:24:10,000 --> 00:24:12,880
Speaker 7: And how did you learn that that was a job

468
00:24:13,200 --> 00:24:14,359
Speaker 7: like that? That was something?

469
00:24:14,960 --> 00:24:17,479
Speaker 3: How do you jump from drummer in a broken up

470
00:24:17,560 --> 00:24:19,760
Speaker 3: band where you'd been replaced and you were good but

471
00:24:19,880 --> 00:24:21,240
Speaker 3: not great enough to.

472
00:24:21,680 --> 00:24:25,119
Speaker 2: This fantastic question, Good job, Katie. I love it when

473
00:24:25,160 --> 00:24:28,440
Speaker 2: people compliment the question. Thank great question and a really

474
00:24:28,560 --> 00:24:29,040
Speaker 2: great question.

475
00:24:29,359 --> 00:24:31,119
Speaker 6: I it makes me feel like I went to Brown.

476
00:24:31,640 --> 00:24:34,200
Speaker 3: It's feel really smart to oos mosis right now, we

477
00:24:34,320 --> 00:24:35,240
Speaker 3: all went to Brown.

478
00:24:35,600 --> 00:24:36,840
Speaker 7: It's seeming in there somewhere.

479
00:24:37,520 --> 00:24:40,840
Speaker 2: So after that band School of Fish breaks up, I'm

480
00:24:40,960 --> 00:24:45,160
Speaker 2: very lucky to meet a guy named Colin Hay who's

481
00:24:45,240 --> 00:24:47,520
Speaker 2: the singer for Men at Work. Do you remember that

482
00:24:47,600 --> 00:24:48,280
Speaker 2: band Met Work?

483
00:24:49,000 --> 00:24:49,200
Speaker 4: Yeah?

484
00:24:49,280 --> 00:24:49,800
Speaker 6: Wait a second.

485
00:24:49,880 --> 00:24:53,480
Speaker 2: We met because we had kind of were sort of

486
00:24:53,640 --> 00:24:56,359
Speaker 2: maybe dating the same girl, kind of a little bit

487
00:24:56,359 --> 00:24:59,240
Speaker 2: of an overlap. And that's because I was living in

488
00:24:59,400 --> 00:25:03,000
Speaker 2: this actress's house while I was touring with School of Fish.

489
00:25:03,560 --> 00:25:07,640
Speaker 2: And then it was called my friend calls it a situation. Ship.

490
00:25:08,240 --> 00:25:10,800
Speaker 2: There was a little bit of a well but a

491
00:25:12,920 --> 00:25:15,639
Speaker 2: little bit but never something serious. And I'm I'm on

492
00:25:15,880 --> 00:25:18,200
Speaker 2: tour and I call her and Hey, how's it going.

493
00:25:18,200 --> 00:25:20,440
Speaker 2: I hope everything's okay. She's like, yeah, I just met

494
00:25:20,480 --> 00:25:23,480
Speaker 2: this guy you might know of him. His uh and

495
00:25:23,640 --> 00:25:26,240
Speaker 2: I and it's we started dating and it's really fantastic.

496
00:25:26,320 --> 00:25:29,120
Speaker 2: I'm like, oh, that's wonderful. What's his name? Colin Hay.

497
00:25:29,200 --> 00:25:32,520
Speaker 2: And I'm like, Colin Hey from men at work and

498
00:25:32,640 --> 00:25:34,960
Speaker 2: I'm like, my god, I love that guy. So I

499
00:25:35,080 --> 00:25:38,080
Speaker 2: come home from this tour, drop my duffel bag at

500
00:25:38,160 --> 00:25:41,000
Speaker 2: the front door. And who's in having coffee in the kitchen?

501
00:25:41,200 --> 00:25:43,879
Speaker 5: Colin Hey, He's doing more than having coffee in the kitchen.

502
00:25:44,920 --> 00:25:45,120
Speaker 3: Girl?

503
00:25:46,080 --> 00:25:48,040
Speaker 5: And who was the girl who was the actress?

504
00:25:48,400 --> 00:25:51,560
Speaker 2: Funny funny you should ask because she went on to

505
00:25:51,880 --> 00:25:55,040
Speaker 2: her own fame. Uh Melaura Harden.

506
00:25:55,680 --> 00:26:01,480
Speaker 3: No, no, yeah, this is the greatest podcast episode.

507
00:26:01,560 --> 00:26:04,159
Speaker 7: I am on the edge of my seat. Are you kidding?

508
00:26:04,320 --> 00:26:05,000
Speaker 6: Can I just say?

509
00:26:05,040 --> 00:26:07,719
Speaker 4: This is like six degrees of Chad Fisher? I mean,

510
00:26:07,760 --> 00:26:12,040
Speaker 4: this is how Colin freaking' hey is sitting and having coffee.

511
00:26:12,040 --> 00:26:16,160
Speaker 4: It's like, okay, okay, peace out, Hey, Colin Hay yeah.

512
00:26:16,240 --> 00:26:19,880
Speaker 2: Yeah, Well here's the story. As the story goes, Colin

513
00:26:19,920 --> 00:26:21,919
Speaker 2: and I end up hitting it off. He needs a drummer,

514
00:26:22,320 --> 00:26:24,080
Speaker 2: so I end up joining. I end up going up

515
00:26:24,119 --> 00:26:27,120
Speaker 2: and helping him record an album at his studio in Topanga.

516
00:26:27,400 --> 00:26:31,040
Speaker 2: And the story goes that Colin and I left Malaura

517
00:26:31,240 --> 00:26:35,200
Speaker 2: for each other. See and Laura actually she loves to

518
00:26:35,240 --> 00:26:37,880
Speaker 2: talk about how she's a matchmaker and she's very proud

519
00:26:37,920 --> 00:26:39,879
Speaker 2: of the match that she made with Colin and I

520
00:26:40,520 --> 00:26:42,600
Speaker 2: and Colin and actually would later on become the best

521
00:26:42,640 --> 00:26:44,119
Speaker 2: man at my wedding, and I was the best man

522
00:26:44,160 --> 00:26:47,320
Speaker 2: at his wedding. So we're home. We're very very close. Yeah,

523
00:26:47,680 --> 00:26:50,919
Speaker 2: that is so good. So I stay in la obviously

524
00:26:51,080 --> 00:26:53,560
Speaker 2: now that I'm playing with Colin, and then I and

525
00:26:53,760 --> 00:26:56,400
Speaker 2: I'm I've just bought this tiny little place in Laurel

526
00:26:56,520 --> 00:26:59,040
Speaker 2: Canyon with this little with a garage in the back.

527
00:26:59,080 --> 00:27:01,960
Speaker 2: I converted into a recording studio, and I start producing

528
00:27:02,240 --> 00:27:05,200
Speaker 2: Every friend of mine who plays base in a band.

529
00:27:05,240 --> 00:27:07,240
Speaker 2: Everyone wants to do a solo album. By the way,

530
00:27:07,520 --> 00:27:09,560
Speaker 2: every band you see that bass player wants to do

531
00:27:09,600 --> 00:27:12,520
Speaker 2: a solo album, and and the drummer wants to do

532
00:27:12,560 --> 00:27:14,919
Speaker 2: a solo album. So I start producing all these friends,

533
00:27:15,600 --> 00:27:19,800
Speaker 2: and I'm also doing music for commercials. I'm doing songwriting.

534
00:27:20,240 --> 00:27:22,720
Speaker 2: And that's when I decide, screw it, I'm gonna have

535
00:27:22,800 --> 00:27:25,240
Speaker 2: my own band. And I pull what I call a

536
00:27:25,400 --> 00:27:28,840
Speaker 2: David roll, and I do an album of I play

537
00:27:28,880 --> 00:27:33,520
Speaker 2: all the instruments myself, and I actually got Dave Grohl's lawyer,

538
00:27:33,720 --> 00:27:36,680
Speaker 2: Jill Berlinner, to help get me record deal. And that's

539
00:27:36,720 --> 00:27:38,760
Speaker 2: where laslow Bane is born.

540
00:27:38,920 --> 00:27:45,200
Speaker 5: Yes, where did the name come from? Chad? How would

541
00:27:45,200 --> 00:27:46,840
Speaker 5: you get that name? Laslow Bane?

542
00:27:47,119 --> 00:27:50,680
Speaker 2: So good, great question, thank you. My neighbor up the

543
00:27:50,760 --> 00:27:54,879
Speaker 2: street is a writer, and we were friends and I

544
00:27:55,040 --> 00:27:56,600
Speaker 2: said I need to come with a band name, and

545
00:27:56,680 --> 00:27:58,680
Speaker 2: she's like, okay, I'll come down. We'll work it. We'll

546
00:27:58,720 --> 00:28:02,160
Speaker 2: work out some band names. And she has this Jello

547
00:28:02,240 --> 00:28:07,480
Speaker 2: Biafra recording of a spoken word performance where he lists

548
00:28:07,520 --> 00:28:09,600
Speaker 2: all these horrible band names, and we think, well, maybe

549
00:28:09,640 --> 00:28:12,840
Speaker 2: we'll steal one of those. Then she we get bored.

550
00:28:12,920 --> 00:28:17,280
Speaker 2: She starts telling me about a book she's writing about scientology.

551
00:28:18,000 --> 00:28:21,159
Speaker 2: She actually was going to infiltrate and then do a

552
00:28:21,240 --> 00:28:25,320
Speaker 2: piece for the La Weekly, and then decided, if I

553
00:28:25,400 --> 00:28:27,480
Speaker 2: do that, I'll be in big trouble with the church.

554
00:28:27,520 --> 00:28:28,760
Speaker 2: I don't want to get I don't want So she

555
00:28:28,880 --> 00:28:31,480
Speaker 2: starts writing a novel about a guy who gets subducted

556
00:28:31,560 --> 00:28:35,520
Speaker 2: by a cult and that guy's name is laslow Bane

557
00:28:35,840 --> 00:28:38,480
Speaker 2: and I'm like, uh, no one's gonna have that. No

558
00:28:38,560 --> 00:28:40,560
Speaker 2: one's going to have the name laslow Bane.

559
00:28:41,440 --> 00:28:43,640
Speaker 7: Laslow Bane so kind.

560
00:28:43,520 --> 00:28:45,040
Speaker 2: Of rhymes with Kurt Cobaine.

561
00:28:45,640 --> 00:28:47,520
Speaker 1: So that was it.

562
00:28:47,720 --> 00:28:49,680
Speaker 2: So yeah, because here we are, it's nineteen ninety five,

563
00:28:49,800 --> 00:28:53,719
Speaker 2: and anyway, that's that's where that band name came from. Anyway,

564
00:28:53,800 --> 00:28:58,320
Speaker 2: we make two records. We make one record for Geffen

565
00:28:58,480 --> 00:29:02,400
Speaker 2: and that contains a cover of Overkill by Men at Work,

566
00:29:02,960 --> 00:29:07,360
Speaker 2: And the cover actually has Colin singing because he I

567
00:29:07,480 --> 00:29:09,720
Speaker 2: can't hit those crazy high notes that he can, so

568
00:29:09,880 --> 00:29:13,280
Speaker 2: he appears in the video. It gets on MTV two.

569
00:29:13,520 --> 00:29:15,560
Speaker 2: It's like the top ten of the year. This is

570
00:29:15,640 --> 00:29:18,960
Speaker 2: nineteen ninety seven. And then so we're like, great, we

571
00:29:19,080 --> 00:29:21,920
Speaker 2: make another record, the next record with I'm making with

572
00:29:22,080 --> 00:29:25,480
Speaker 2: the band. It's a total collaborative effort. It's no longer

573
00:29:25,520 --> 00:29:28,800
Speaker 2: a one man show. And we make this record. We

574
00:29:28,960 --> 00:29:31,400
Speaker 2: hand it over to the label and they say, oh,

575
00:29:31,520 --> 00:29:34,240
Speaker 2: this is wonderful. We love it. But sadly, we're going

576
00:29:34,320 --> 00:29:37,000
Speaker 2: to fold and we're not going to put it out.

577
00:29:37,040 --> 00:29:38,680
Speaker 2: But you can have your record back and you can

578
00:29:38,720 --> 00:29:41,120
Speaker 2: do whatever you want with it. And I'm like, wow,

579
00:29:41,160 --> 00:29:43,640
Speaker 2: well that's nice. I get the record back. I'll just

580
00:29:44,160 --> 00:29:46,280
Speaker 2: hand it out at barbecues.

581
00:29:46,520 --> 00:29:47,400
Speaker 5: Yeah, shop it around.

582
00:29:47,440 --> 00:29:50,200
Speaker 2: So I'm literally having barbecues and handing out my record.

583
00:29:50,400 --> 00:29:52,080
Speaker 7: Got being a musician is so crazy.

584
00:29:52,400 --> 00:29:54,720
Speaker 2: And this one guy happens to show up at the barbecue,

585
00:29:55,080 --> 00:29:56,880
Speaker 2: who lives up the street. A lot of people live

586
00:29:56,960 --> 00:29:58,440
Speaker 2: up my street. This is Laurel Canyon.

587
00:29:58,480 --> 00:30:00,800
Speaker 4: By the way, You're a canyon, so you're you're in

588
00:30:00,840 --> 00:30:03,600
Speaker 4: the You're in the most iconic music location in the.

589
00:30:03,760 --> 00:30:08,160
Speaker 3: History body listening that doesn't know Laurel Canyon, super famous

590
00:30:08,400 --> 00:30:10,800
Speaker 3: area of Los Angeles. It is a canyon. It's like

591
00:30:10,920 --> 00:30:12,240
Speaker 3: the Mamas and the Papas, and.

592
00:30:12,520 --> 00:30:12,840
Speaker 6: It's the.

593
00:30:15,400 --> 00:30:22,400
Speaker 4: Seventies music, the monkeys, everybody yay.

594
00:30:21,760 --> 00:30:23,880
Speaker 3: The holes goes showing up and going to parties and

595
00:30:24,000 --> 00:30:26,440
Speaker 3: like everyone's up there and the canyon the music is

596
00:30:26,520 --> 00:30:28,080
Speaker 3: reverberating off the hillside.

597
00:30:28,160 --> 00:30:30,200
Speaker 6: And of course Chad is there.

598
00:30:30,840 --> 00:30:32,760
Speaker 2: Yeah, And I like to think that I'm in the

599
00:30:32,960 --> 00:30:36,160
Speaker 2: third wave of Laurel Canyon. This is the nineties and

600
00:30:36,240 --> 00:30:37,840
Speaker 2: it really is. I mean, you got the guy from

601
00:30:37,880 --> 00:30:41,440
Speaker 2: the Counting Crows. Is that somewhere in the canyon that's

602
00:30:41,840 --> 00:30:42,520
Speaker 2: Laurel Canyon.

603
00:30:42,960 --> 00:30:48,400
Speaker 7: So some more day up in the can and it's

604
00:30:48,480 --> 00:30:50,280
Speaker 7: one more night and ally one.

605
00:30:50,560 --> 00:30:50,880
Speaker 2: There you go.

606
00:30:51,240 --> 00:30:54,200
Speaker 6: We've got to get the rights. You're welcome.

607
00:30:54,960 --> 00:30:57,200
Speaker 2: Okay. So I've handed out my seat all the I've

608
00:30:57,240 --> 00:30:59,800
Speaker 2: handed out the CD to friends. I get an email

609
00:31:00,040 --> 00:31:04,040
Speaker 2: a couple of days later from a guy and he's like, Chad,

610
00:31:04,360 --> 00:31:07,640
Speaker 2: I just started this pilot. And I mean he's still

611
00:31:07,680 --> 00:31:10,960
Speaker 2: a waiter, he's still waiting tables down in Hollywood, but

612
00:31:11,400 --> 00:31:13,920
Speaker 2: he's got this pilot. And he's like, there's this song

613
00:31:14,360 --> 00:31:18,600
Speaker 2: Superman on your record that would be the perfect theme

614
00:31:18,720 --> 00:31:21,840
Speaker 2: song for this show. And I'm like, wow, Zach Braf,

615
00:31:22,160 --> 00:31:25,840
Speaker 2: that's a great idea. And I'm like, can you make

616
00:31:25,920 --> 00:31:27,400
Speaker 2: that happen. He's like, I'm going to make it happen.

617
00:31:27,400 --> 00:31:29,880
Speaker 2: I'm like, Okay, you make that happen. That's incredible. He

618
00:31:30,040 --> 00:31:34,240
Speaker 2: goes to the producers Bill Lawrence and has a meeting

619
00:31:34,320 --> 00:31:36,520
Speaker 2: with them and it says, guys, I found the theme

620
00:31:36,600 --> 00:31:39,640
Speaker 2: song for your show and they're like, who is Okay, well, what,

621
00:31:39,880 --> 00:31:41,920
Speaker 2: we don't have time for a theme song. There's two

622
00:31:41,960 --> 00:31:44,240
Speaker 2: way too much dialogue. We only have thirty minutes. There's no,

623
00:31:44,440 --> 00:31:46,320
Speaker 2: there's not going to be a theme song. He's like, no,

624
00:31:46,520 --> 00:31:49,880
Speaker 2: just just have a listen, and he's orchestrated it. So

625
00:31:50,040 --> 00:31:53,880
Speaker 2: the makeup artist, the ward wardrobe woman, He's like, listen,

626
00:31:54,200 --> 00:31:55,959
Speaker 2: I'm going to play this song for these guys. Can

627
00:31:56,000 --> 00:31:58,600
Speaker 2: you just stop in the doorway and go, oh my god,

628
00:31:58,640 --> 00:32:02,360
Speaker 2: I love that song? And they do and it works,

629
00:32:02,840 --> 00:32:07,200
Speaker 2: And that was my entrance way into doing music for

630
00:32:07,280 --> 00:32:09,920
Speaker 2: film and television because little did they you.

631
00:32:09,960 --> 00:32:17,360
Speaker 5: Know, that was like a sound wonderful sound design, Yeah, wonderful. Yes, Chad,

632
00:32:17,480 --> 00:32:17,920
Speaker 5: just put.

633
00:32:17,840 --> 00:32:19,600
Speaker 2: On how we're going to open the show with my

634
00:32:19,720 --> 00:32:22,520
Speaker 2: gladiator mask. But there you go. I believe that.

635
00:32:22,640 --> 00:32:22,760
Speaker 3: Ya.

636
00:32:23,200 --> 00:32:23,960
Speaker 5: We'll be right back.

637
00:32:24,000 --> 00:32:31,560
Speaker 3: Guys, Chad, you are a one in a million singular

638
00:32:31,720 --> 00:32:34,520
Speaker 3: artist and I am so vibing this entire thing.

639
00:32:34,600 --> 00:32:35,320
Speaker 7: But wait a second.

640
00:32:35,880 --> 00:32:39,520
Speaker 3: My question is where in the world is it through

641
00:32:39,600 --> 00:32:42,360
Speaker 3: producing all of your friend's albums that you learned how

642
00:32:42,400 --> 00:32:44,640
Speaker 3: to play all these other instruments, Like I don't understand

643
00:32:44,680 --> 00:32:47,800
Speaker 3: you were a drummer and now you're writing music for

644
00:32:47,920 --> 00:32:49,680
Speaker 3: a bunch of things like how does that happen?

645
00:32:49,840 --> 00:32:52,840
Speaker 2: So it's it's there was a There were two other

646
00:32:52,960 --> 00:32:55,520
Speaker 2: jobs I had around the same time where there's a

647
00:32:55,600 --> 00:32:59,440
Speaker 2: TV show, two TV shows about rock bands that get

648
00:32:59,560 --> 00:33:02,720
Speaker 2: record and become famous, and they needed someone to write

649
00:33:02,760 --> 00:33:06,360
Speaker 2: all the songs. So I'm writing the songs for these shows,

650
00:33:06,960 --> 00:33:09,000
Speaker 2: and then they haven't even thought about the fact that

651
00:33:09,080 --> 00:33:12,400
Speaker 2: they need a composer. So now they're getting close to

652
00:33:12,480 --> 00:33:14,479
Speaker 2: the deadline and they're like, oh my god, we need

653
00:33:14,520 --> 00:33:17,840
Speaker 2: a composer. I'm like, hey, all compose the score. I'll

654
00:33:17,880 --> 00:33:20,800
Speaker 2: just take the songs and do instrumental versions. I'll do

655
00:33:20,920 --> 00:33:24,480
Speaker 2: the sad version and the happy version and the heroic version.

656
00:33:24,680 --> 00:33:27,320
Speaker 2: And remember we're in a time when, or at least

657
00:33:27,400 --> 00:33:30,040
Speaker 2: for that film in particular, a lot of score is

658
00:33:30,160 --> 00:33:34,120
Speaker 2: basically songs without the vocals. In fact, people are putting

659
00:33:34,160 --> 00:33:38,240
Speaker 2: in songs and scenes in montage scenes and things, and

660
00:33:38,320 --> 00:33:41,040
Speaker 2: they're like, ah, this works perfectly, but that vocal is

661
00:33:41,080 --> 00:33:43,360
Speaker 2: getting in the way of the dialogue. And then i'd

662
00:33:43,400 --> 00:33:45,560
Speaker 2: be they'd ask me, can you do an instrumental version?

663
00:33:45,960 --> 00:33:48,920
Speaker 2: So now I'm learning how to basically, yes, I'm learning

664
00:33:48,960 --> 00:33:52,840
Speaker 2: how to play guitar and I already know piano, but

665
00:33:53,120 --> 00:33:58,680
Speaker 2: I'm certainly no like jazz virtuosic musician. But that's actually

666
00:33:58,720 --> 00:34:02,200
Speaker 2: where I'm leaning into the tech technology. And we're in

667
00:34:02,360 --> 00:34:06,480
Speaker 2: a period where with pro tools, with digital recording, you

668
00:34:06,600 --> 00:34:10,680
Speaker 2: can make a professional recording in a home studio. This

669
00:34:10,840 --> 00:34:13,040
Speaker 2: is all happening in the nineties, and people are making

670
00:34:13,160 --> 00:34:17,280
Speaker 2: albums in their home studios. And now with incredible sample libraries,

671
00:34:17,640 --> 00:34:22,320
Speaker 2: you can do entire orchestral scores which are almost indiscernible

672
00:34:22,680 --> 00:34:27,479
Speaker 2: from a live orchestral score. In fact, often now they'll

673
00:34:28,120 --> 00:34:31,040
Speaker 2: the composer will write an orchestral score with samples, then

674
00:34:31,080 --> 00:34:34,240
Speaker 2: they'll record it with a live orchestra, and they'll blend

675
00:34:34,480 --> 00:34:37,400
Speaker 2: the two because the director is so used to hearing

676
00:34:37,480 --> 00:34:39,880
Speaker 2: the samples they want to hear. Can you push the

677
00:34:39,920 --> 00:34:42,440
Speaker 2: samples a little bit more because those live strings are

678
00:34:42,480 --> 00:34:46,880
Speaker 2: getting a little bit sloppy. So it's fascinating, it really is.

679
00:34:47,160 --> 00:34:50,680
Speaker 2: I feel like unbelievably lucky in so many ways. I've

680
00:34:50,719 --> 00:34:52,799
Speaker 2: got lucky that I was in a band that got

681
00:34:52,880 --> 00:34:55,719
Speaker 2: a record deal right before. No one can get record

682
00:34:55,760 --> 00:34:57,800
Speaker 2: deals anymore, or at least if you play in a

683
00:34:57,840 --> 00:35:02,120
Speaker 2: garage rock band, that is over so that was I

684
00:35:02,200 --> 00:35:05,319
Speaker 2: got lucky there. I got incredibly lucky with Zach being

685
00:35:05,360 --> 00:35:08,160
Speaker 2: at my barbecue and then getting the theme song and

686
00:35:08,280 --> 00:35:09,680
Speaker 2: then doing all these other shows.

687
00:35:10,080 --> 00:35:12,160
Speaker 7: And you got real lucky with the chick who is

688
00:35:12,200 --> 00:35:13,200
Speaker 7: also with the men at work.

689
00:35:13,280 --> 00:35:15,839
Speaker 2: Dude, I got real lucky with that one.

690
00:35:16,800 --> 00:35:20,120
Speaker 6: But I'm saying like, even when you start getting lucky,

691
00:35:20,160 --> 00:35:21,040
Speaker 6: you were lucky.

692
00:35:22,440 --> 00:35:25,000
Speaker 7: Exactly Betsy Beer's exactly right.

693
00:35:25,160 --> 00:35:28,040
Speaker 2: And it goes and it goes. I remember getting the

694
00:35:28,160 --> 00:35:31,080
Speaker 2: call from my agent. This is two thousand and seven.

695
00:35:31,239 --> 00:35:34,240
Speaker 2: They're like, okay, so there's gonna be this. There's gonna

696
00:35:34,239 --> 00:35:40,839
Speaker 2: be an offshoot. Thank you who not enough coffee this morning?

697
00:35:41,000 --> 00:35:46,319
Speaker 2: And anyway that I get the message that hey, there

698
00:35:46,960 --> 00:35:50,240
Speaker 2: people are submitting and they've asked if you want to submit,

699
00:35:50,760 --> 00:35:54,000
Speaker 2: and I'm like, are you kidding me? Yes? And we

700
00:35:54,120 --> 00:35:56,960
Speaker 2: get a few scenes and I'm actually just finished touring

701
00:35:57,040 --> 00:36:01,239
Speaker 2: with Las low Bane and I work on a couple

702
00:36:01,600 --> 00:36:05,319
Speaker 2: scenes and didn't hear for a while, thought that maybe okay,

703
00:36:05,440 --> 00:36:07,840
Speaker 2: that one that ship sail. I guess it's not going

704
00:36:07,920 --> 00:36:11,080
Speaker 2: to happen, and then got the phone call Betsy Beers

705
00:36:11,120 --> 00:36:11,840
Speaker 2: would like to meet with.

706
00:36:11,920 --> 00:36:16,400
Speaker 5: You, and that was amazing, and the rest is history.

707
00:36:17,120 --> 00:36:19,440
Speaker 2: I feel like that that was helping me in this

708
00:36:19,640 --> 00:36:23,960
Speaker 2: scenario of getting this incredibly incredible opportunity to work on

709
00:36:24,400 --> 00:36:26,040
Speaker 2: a show that was clearly going to be a hit.

710
00:36:26,560 --> 00:36:30,319
Speaker 2: We're coming off of one of the biggest shows now

711
00:36:30,400 --> 00:36:34,439
Speaker 2: we know, in television history, and I mean, I could

712
00:36:34,520 --> 00:36:38,200
Speaker 2: not have been more blessed and lucky to get that job.

713
00:36:39,239 --> 00:36:39,919
Speaker 6: Blessed and lucky.

714
00:36:39,960 --> 00:36:42,759
Speaker 4: But you're also really talented, And the other thing for us,

715
00:36:42,840 --> 00:36:45,640
Speaker 4: I think to your point, Chad, is that so much

716
00:36:46,320 --> 00:36:49,000
Speaker 4: from the beginning because the first movie I ever worked on,

717
00:36:49,560 --> 00:36:53,000
Speaker 4: I ended up doing the music supervision because I just

718
00:36:53,160 --> 00:36:54,840
Speaker 4: ended up placing a lot of songs. I learned how

719
00:36:54,880 --> 00:36:57,120
Speaker 4: to play songs, and we used a lot of needle drops,

720
00:36:57,160 --> 00:37:00,400
Speaker 4: meaning actual, real songs for people who don't know what

721
00:37:00,480 --> 00:37:04,480
Speaker 4: that means. And so I think in looking at starting

722
00:37:04,560 --> 00:37:08,120
Speaker 4: a show up, we knew how important initially first of all,

723
00:37:08,160 --> 00:37:11,200
Speaker 4: the idea that we could integrate real songs into the

724
00:37:11,280 --> 00:37:16,680
Speaker 4: show and that we needed a like energetic contemporary. We

725
00:37:16,880 --> 00:37:20,560
Speaker 4: knew we wanted somebody from ideally your background, and that

726
00:37:20,719 --> 00:37:23,120
Speaker 4: was we looked at. We listened to your music, and

727
00:37:23,160 --> 00:37:25,759
Speaker 4: I remember, like looking at where you came from, what

728
00:37:25,880 --> 00:37:29,759
Speaker 4: you do. And it was a perfect combination because very

729
00:37:29,800 --> 00:37:31,359
Speaker 4: often what we'll do is we'll look at the show

730
00:37:31,480 --> 00:37:34,920
Speaker 4: itself and say, all right, what's the show about. Who

731
00:37:35,040 --> 00:37:38,520
Speaker 4: could best embrace and sort of articulate what we think

732
00:37:38,600 --> 00:37:40,840
Speaker 4: the show is about. And the thing about Chad in

733
00:37:40,920 --> 00:37:46,040
Speaker 4: each case is you bring a very specific because you're

734
00:37:46,080 --> 00:37:49,160
Speaker 4: so versatile, and because he's so versatile, he could kind

735
00:37:49,200 --> 00:37:52,040
Speaker 4: of do anything. But there are these areas that I

736
00:37:52,080 --> 00:37:55,360
Speaker 4: think are really immediate sweet spots for you where you

737
00:37:55,440 --> 00:37:59,160
Speaker 4: know it's pacing its energy. It's also comedy because very

738
00:37:59,200 --> 00:38:01,520
Speaker 4: often what you find when you're looking for composers, they

739
00:38:01,560 --> 00:38:06,720
Speaker 4: can write, but they don't understand music that supports comedy

740
00:38:06,840 --> 00:38:09,120
Speaker 4: as opposed to what I would call comic cues.

741
00:38:09,840 --> 00:38:12,160
Speaker 6: Yeah, because comic cues tell you how.

742
00:38:12,560 --> 00:38:15,720
Speaker 4: Comic cues tell you how to feel. It's like, wat want,

743
00:38:16,120 --> 00:38:16,919
Speaker 4: it's comic cue?

744
00:38:17,000 --> 00:38:17,080
Speaker 2: Right?

745
00:38:18,080 --> 00:38:21,640
Speaker 5: Well, bum, you did not just say want when I did.

746
00:38:22,360 --> 00:38:27,759
Speaker 3: Wow, that's really interesting. I've never even thought of that, but.

747
00:38:27,960 --> 00:38:29,960
Speaker 4: I think I think that's one of the things, which

748
00:38:30,080 --> 00:38:33,000
Speaker 4: is when you're trying to figure out the right sound

749
00:38:33,120 --> 00:38:35,480
Speaker 4: for a show, you need to have somebody. I mean,

750
00:38:35,520 --> 00:38:37,560
Speaker 4: the thing about Chad is you're so versatile, you have

751
00:38:37,960 --> 00:38:41,160
Speaker 4: so many You're articulate in so many different languages. When

752
00:38:41,200 --> 00:38:44,200
Speaker 4: it comes to the kind of music that we could

753
00:38:44,280 --> 00:38:46,399
Speaker 4: sit with you at any point and say, all right,

754
00:38:47,120 --> 00:38:50,040
Speaker 4: the tone of all this is super different. How can

755
00:38:50,120 --> 00:38:52,200
Speaker 4: you adjust and all of a sudden for the first

756
00:38:52,239 --> 00:38:54,880
Speaker 4: time in a show, they'll be strings or because a

757
00:38:54,920 --> 00:38:56,359
Speaker 4: lot of it too is you tend to use sort

758
00:38:56,360 --> 00:38:59,640
Speaker 4: of the same palette, so the show feels like the show.

759
00:39:00,360 --> 00:39:03,000
Speaker 4: But there have been whole episodes of shows that we've

760
00:39:03,040 --> 00:39:06,640
Speaker 4: done where the tone totally changes. So we were incredibly

761
00:39:06,719 --> 00:39:08,200
Speaker 4: lucky you walked in that room. And also, I'm just

762
00:39:08,239 --> 00:39:10,440
Speaker 4: gonna say, I am a lucky owner of a Laslo

763
00:39:10,560 --> 00:39:12,279
Speaker 4: Beane CD.

764
00:39:13,640 --> 00:39:18,239
Speaker 6: Yeah side it still play it.

765
00:39:18,920 --> 00:39:21,360
Speaker 5: Yeah, I want a vinyl. I want a Laslowbane vinyl

766
00:39:21,520 --> 00:39:22,920
Speaker 5: side Fisher.

767
00:39:24,280 --> 00:39:26,040
Speaker 2: You're all getting T shirts and muss.

768
00:39:27,440 --> 00:39:30,759
Speaker 4: But yeah, is there is there actually any instrument you

769
00:39:31,400 --> 00:39:33,000
Speaker 4: don't play that you wish you played?

770
00:39:33,560 --> 00:39:38,480
Speaker 2: Oddly enough, violin I can actually I'd have played the vie.

771
00:39:38,560 --> 00:39:41,120
Speaker 2: I have a like one hundred dollars violin here that

772
00:39:41,280 --> 00:39:44,680
Speaker 2: I will use just long notes, but any kind of

773
00:39:45,360 --> 00:39:48,640
Speaker 2: articulation or you know, complex I could never I mean,

774
00:39:48,680 --> 00:39:51,120
Speaker 2: I maybe if I actually practiced, I might be able

775
00:39:51,160 --> 00:39:53,640
Speaker 2: to do. But that would be something I would love

776
00:39:53,800 --> 00:39:55,520
Speaker 2: to really to really nail.

777
00:39:55,800 --> 00:39:57,080
Speaker 6: Do you play Do you play the cello?

778
00:39:57,640 --> 00:39:57,800
Speaker 1: You know?

779
00:39:57,840 --> 00:40:01,080
Speaker 2: I have this electric cello and if you can, yeah,

780
00:40:02,239 --> 00:40:06,600
Speaker 2: So that's like yeah, and that again, that's more for you.

781
00:40:06,880 --> 00:40:10,640
Speaker 2: You long notes through some really cool delays and reverbs,

782
00:40:10,680 --> 00:40:13,719
Speaker 2: and now you've got a sci fi score, you know,

783
00:40:14,000 --> 00:40:18,839
Speaker 2: or yeah, it's still Look we I'm sure you guys

784
00:40:18,880 --> 00:40:22,120
Speaker 2: have talked about imposter syndrome. Fake it till you make it?

785
00:40:22,719 --> 00:40:26,160
Speaker 2: You know this this I fall right into that hole.

786
00:40:26,520 --> 00:40:30,120
Speaker 7: Still doing all that right right now every day.

787
00:40:30,200 --> 00:40:31,400
Speaker 6: No matter what we do.

788
00:40:32,280 --> 00:40:34,879
Speaker 2: But when we started this podcast, you guys were talking

789
00:40:34,920 --> 00:40:38,920
Speaker 2: about what you do and uh and then I was like, oh,

790
00:40:39,000 --> 00:40:43,120
Speaker 2: they talking about being podcasters and and I and I

791
00:40:43,280 --> 00:40:45,759
Speaker 2: was going to say, if you're wondering where I am

792
00:40:45,840 --> 00:40:47,560
Speaker 2: in my career now, I'd like to say that I've

793
00:40:47,719 --> 00:40:50,719
Speaker 2: entered the podcast phase of my career, which is where

794
00:40:50,719 --> 00:40:51,719
Speaker 2: I do a lot of podcasts.

795
00:40:51,760 --> 00:40:54,319
Speaker 6: Well you you are you are also you are now

796
00:40:54,560 --> 00:40:55,719
Speaker 6: teaching really, aren't you.

797
00:40:56,320 --> 00:40:59,160
Speaker 2: There's a little a little bit of instructional Yeah. There,

798
00:40:59,200 --> 00:41:02,600
Speaker 2: I've done some ductional videos on writing cues and I

799
00:41:02,640 --> 00:41:04,640
Speaker 2: actually want to do more of that. That's a lot

800
00:41:04,680 --> 00:41:08,480
Speaker 2: of fun. And I and anyone any friend of mine's nephew,

801
00:41:08,840 --> 00:41:11,600
Speaker 2: niece who wants to be a composer, I'm usually meeting

802
00:41:11,640 --> 00:41:14,920
Speaker 2: with them and advising them, And and yeah.

803
00:41:15,280 --> 00:41:19,000
Speaker 3: Can you ever watch a show or a movie and

804
00:41:19,320 --> 00:41:22,560
Speaker 3: not think about the composing? Like, is it such a

805
00:41:22,600 --> 00:41:27,800
Speaker 3: good question to ever just sit there and watch anything

806
00:41:27,920 --> 00:41:30,320
Speaker 3: and not see the work of the composing.

807
00:41:30,400 --> 00:41:33,520
Speaker 2: That's you know, it absolutely not. In fact, just last night,

808
00:41:34,480 --> 00:41:40,000
Speaker 2: just last night, we watched snow White, the original snow White.

809
00:41:40,360 --> 00:41:43,960
Speaker 7: From like what nineteen nineteen thirty seven something.

810
00:41:44,080 --> 00:41:48,040
Speaker 2: Yeah, you had Walt Disney mortgaging is house to make

811
00:41:48,160 --> 00:41:51,160
Speaker 2: this move to finish this movie, and I mean it

812
00:41:51,280 --> 00:41:55,200
Speaker 2: was he put everything on, you know, on the table

813
00:41:55,239 --> 00:41:56,640
Speaker 2: for that and it was either going to be the

814
00:41:56,800 --> 00:41:58,719
Speaker 2: end of Disney or the beginning, and of course it

815
00:41:59,239 --> 00:42:03,359
Speaker 2: ended up just being massively successful. But I'm watching, I'm

816
00:42:03,400 --> 00:42:06,320
Speaker 2: listening to the music, going, gosh, this is incredible score,

817
00:42:06,600 --> 00:42:09,000
Speaker 2: because not only are you doing not only are they

818
00:42:09,080 --> 00:42:12,839
Speaker 2: tackling all the comedy, all the incredible drama, and then

819
00:42:13,560 --> 00:42:16,120
Speaker 2: and then musicals and then sure enough, when the credit

820
00:42:16,200 --> 00:42:20,040
Speaker 2: starts rolling, three composers it took to do that score.

821
00:42:20,160 --> 00:42:20,399
Speaker 3: Wow.

822
00:42:20,960 --> 00:42:23,720
Speaker 2: No, I'm always and of course I'm just I get stressed.

823
00:42:23,760 --> 00:42:26,959
Speaker 2: I'll watch a lot of these. Any film or show

824
00:42:27,000 --> 00:42:29,680
Speaker 2: that i'm watching, I start getting the stress again, Like,

825
00:42:29,880 --> 00:42:31,680
Speaker 2: oh my god, that was a lot of work. Ok,

826
00:42:31,760 --> 00:42:34,280
Speaker 2: I'm sure the guy's had a lot. There's some crazy

827
00:42:34,320 --> 00:42:35,520
Speaker 2: deadlines I had to take care.

828
00:42:37,239 --> 00:42:40,080
Speaker 6: We kind of do that with actors too, Say that

829
00:42:40,480 --> 00:42:41,640
Speaker 6: you do that with acting?

830
00:42:42,120 --> 00:42:44,880
Speaker 8: Oh yeah, you see somebody go through it emotionally and

831
00:42:44,960 --> 00:42:46,960
Speaker 8: you're like, oh god, I don't know if I could do.

832
00:42:47,080 --> 00:42:49,040
Speaker 5: That, or yeah, I know how hard that was.

833
00:42:49,239 --> 00:42:51,120
Speaker 3: Sensitive. I think people always judge me. They're like, I

834
00:42:51,160 --> 00:42:53,160
Speaker 3: can't believe you watch reality and stuff like that. I'm like,

835
00:42:53,200 --> 00:42:55,200
Speaker 3: but it's because it's the you get caught up in it,

836
00:42:55,480 --> 00:42:57,560
Speaker 3: you know, Like I know so many people involved, and

837
00:42:57,600 --> 00:43:00,200
Speaker 3: I'm judging. I'm judging performances, and I'm thinking of about

838
00:43:00,239 --> 00:43:01,520
Speaker 3: what the script looked like and how I would have

839
00:43:01,600 --> 00:43:03,279
Speaker 3: done it and I wouldn't have never d I would

840
00:43:03,280 --> 00:43:04,840
Speaker 3: have never said the line like that, and how do

841
00:43:04,920 --> 00:43:06,640
Speaker 3: they know and deliver it like that? And what's wrong

842
00:43:06,680 --> 00:43:08,360
Speaker 3: with me? And oh god, I'm a failure. I'm the

843
00:43:08,400 --> 00:43:10,400
Speaker 3: worst actor in the world, and it's like, fuck, this

844
00:43:10,600 --> 00:43:12,279
Speaker 3: Friday Night is a toested show.

845
00:43:12,800 --> 00:43:15,480
Speaker 5: I should have just watched the let me watch life

846
00:43:15,560 --> 00:43:16,120
Speaker 5: or whatever.

847
00:43:16,520 --> 00:43:20,800
Speaker 3: Let's watch something some garbage whatever. So yes, I was

848
00:43:20,920 --> 00:43:24,240
Speaker 3: curious if that also works in the composer.

849
00:43:24,480 --> 00:43:29,040
Speaker 2: Absolutely, not only just watching shows and films, just going

850
00:43:29,080 --> 00:43:31,520
Speaker 2: to going to a show and seeing a band perform.

851
00:43:31,880 --> 00:43:34,280
Speaker 2: I'll go to see Wilco, one of my favorite bands,

852
00:43:34,640 --> 00:43:37,839
Speaker 2: and I'll have such a great time, and I'll get

853
00:43:37,920 --> 00:43:42,520
Speaker 2: really depressed that laslow Baine didn't make it like Wilco did. Gosh,

854
00:43:43,160 --> 00:43:45,680
Speaker 2: we could have been on You could be playing theaters

855
00:43:45,760 --> 00:43:47,279
Speaker 2: right now and having an amazing time.

856
00:43:47,880 --> 00:43:50,520
Speaker 5: But what was your first concert ever? What was your

857
00:43:50,600 --> 00:43:51,920
Speaker 5: first concert? Do you remember?

858
00:43:52,120 --> 00:43:55,480
Speaker 2: Oh that I went to? Yeah? That data that you

859
00:43:55,560 --> 00:43:57,799
Speaker 2: went to David Bowie, David Bowie.

860
00:43:57,640 --> 00:44:03,080
Speaker 8: Yes, oh my, which brings me to your amazing laslow

861
00:44:03,160 --> 00:44:06,120
Speaker 8: Bane video Life on Mars where you're made up as

862
00:44:06,200 --> 00:44:06,840
Speaker 8: David Bowie.

863
00:44:06,960 --> 00:44:12,680
Speaker 5: Right, that's right, yeah, which you as well, right.

864
00:44:12,840 --> 00:44:14,840
Speaker 2: Yeah, that you know, we were doing it like everybody,

865
00:44:14,880 --> 00:44:18,600
Speaker 2: every musician during the pandemic decided Okay, I'm just gonna

866
00:44:18,600 --> 00:44:22,680
Speaker 2: do a live show on live stream on Instagram. But

867
00:44:22,840 --> 00:44:24,680
Speaker 2: what I found was a lot of people were just

868
00:44:25,000 --> 00:44:27,680
Speaker 2: they hadn't rehearsed. They were just picking up the guitar

869
00:44:27,920 --> 00:44:30,560
Speaker 2: and you were watching them kind of like, you know,

870
00:44:31,080 --> 00:44:33,680
Speaker 2: make a lot of mistakes and pick their nose. And

871
00:44:34,040 --> 00:44:36,120
Speaker 2: I was like, wait, this is no way to be

872
00:44:36,320 --> 00:44:41,480
Speaker 2: representing yourself. So I decided I will do something similar,

873
00:44:41,520 --> 00:44:43,560
Speaker 2: but I'm gonna make it a little bit more polished.

874
00:44:43,600 --> 00:44:48,279
Speaker 2: And then every video got more and more involved, and

875
00:44:48,360 --> 00:44:51,200
Speaker 2: then green screens, and then I'm getting dressed up in

876
00:44:51,400 --> 00:44:55,759
Speaker 2: costumes and I'm getting my bands and I call all

877
00:44:55,840 --> 00:44:57,759
Speaker 2: my band members. Okay, guys, here's where you get a

878
00:44:57,800 --> 00:45:00,480
Speaker 2: green screen on Amazon, and you are going to green

879
00:45:00,560 --> 00:45:04,080
Speaker 2: screen yourself on your iPhone, shoot it from this angle

880
00:45:04,160 --> 00:45:05,719
Speaker 2: and send me the footage. And then I'm going to

881
00:45:05,840 --> 00:45:08,360
Speaker 2: green screens together so it looks like we're all playing together.

882
00:45:08,719 --> 00:45:11,239
Speaker 8: I mean, it's they're so well made, they're so bad,

883
00:45:11,280 --> 00:45:13,920
Speaker 8: they're so professional. And in the video, like a flower,

884
00:45:14,040 --> 00:45:17,520
Speaker 8: you guys are all in Laslobanis, are all in space suits,

885
00:45:17,920 --> 00:45:20,560
Speaker 8: and you guys are sort of traveling through space. Is

886
00:45:20,600 --> 00:45:22,320
Speaker 8: it safe to say that you're sort of obsessed with

887
00:45:23,160 --> 00:45:27,520
Speaker 8: outer space and astronauts and that whole World Aliens.

888
00:45:27,000 --> 00:45:31,319
Speaker 2: And there's clearly a space theme going. So I'm actually, well,

889
00:45:32,040 --> 00:45:33,520
Speaker 2: if we haven't gotten to the question of what are

890
00:45:33,560 --> 00:45:34,520
Speaker 2: you doing next Chad?

891
00:45:34,680 --> 00:45:39,759
Speaker 6: But yeah, Katie, Katie, what do you think? What do

892
00:45:39,800 --> 00:45:40,480
Speaker 6: you think about Chad?

893
00:45:41,040 --> 00:45:42,880
Speaker 7: What do you go in net? What do you do

894
00:45:42,960 --> 00:45:43,719
Speaker 7: in next chat?

895
00:45:44,600 --> 00:45:48,759
Speaker 6: I bombed in take two? Take two?

896
00:45:49,800 --> 00:45:51,239
Speaker 7: What do you got going on next chat?

897
00:45:51,840 --> 00:45:54,000
Speaker 6: That's great? That was great, that was crazy.

898
00:45:54,120 --> 00:46:01,120
Speaker 2: That's a great question. So I'm actually because the band

899
00:46:01,239 --> 00:46:03,239
Speaker 2: is back together now. We actually just did a tour

900
00:46:03,840 --> 00:46:06,120
Speaker 2: in April opening for Colin Hay. We went up the

901
00:46:06,280 --> 00:46:10,680
Speaker 2: West Coast, had an incredible experience. We're playing. I was like,

902
00:46:10,760 --> 00:46:12,680
Speaker 2: oh my gosh, this must be what it's like to

903
00:46:12,760 --> 00:46:14,800
Speaker 2: be in Wilco because we're playing in front of a

904
00:46:14,880 --> 00:46:18,759
Speaker 2: thousand people a night and because it's like one big

905
00:46:18,880 --> 00:46:22,840
Speaker 2: family and all his fans immediately accepted us. And the

906
00:46:22,960 --> 00:46:26,600
Speaker 2: other fun thing is that little do you guys probably know,

907
00:46:26,760 --> 00:46:30,320
Speaker 2: is that I happened to sing a song that's the

908
00:46:30,440 --> 00:46:33,759
Speaker 2: In and Out Burger theme song. No when you hear

909
00:46:33,840 --> 00:46:38,200
Speaker 2: on the radio, Yeah, that's what a Hamburger's all about.

910
00:46:38,840 --> 00:46:44,400
Speaker 5: So I just got my friend a gift card for

911
00:46:44,520 --> 00:46:45,200
Speaker 5: In and Out burger.

912
00:46:45,280 --> 00:46:48,560
Speaker 7: I love in my mouth is watering.

913
00:46:49,680 --> 00:46:52,000
Speaker 6: We say, wait a second, wait to sing a chat?

914
00:46:52,200 --> 00:46:54,359
Speaker 6: So wait, how long? How long has that been playing?

915
00:46:54,480 --> 00:46:56,160
Speaker 2: That went on for twenty years?

916
00:46:57,719 --> 00:47:02,560
Speaker 3: So that's so that's amburgers all about.

917
00:47:02,680 --> 00:47:03,720
Speaker 7: Oh my god, I'm dying.

918
00:47:03,840 --> 00:47:04,359
Speaker 6: I'm dying.

919
00:47:04,520 --> 00:47:08,000
Speaker 2: Yeah, that's you, that's me. I never told you any

920
00:47:08,760 --> 00:47:10,280
Speaker 2: I never told anybody.

921
00:47:11,600 --> 00:47:13,719
Speaker 5: That was a one time to make good money.

922
00:47:13,960 --> 00:47:16,879
Speaker 2: That was a one time. Here's five thousand dollars. There's

923
00:47:16,880 --> 00:47:20,359
Speaker 2: gonna be no it's a shot full buyout, no residuals.

924
00:47:20,400 --> 00:47:22,520
Speaker 2: It's only gonna run for two weeks. And it ran

925
00:47:22,600 --> 00:47:23,680
Speaker 2: for twenty years.

926
00:47:24,160 --> 00:47:26,120
Speaker 5: Right, that's bullshit.

927
00:47:26,239 --> 00:47:28,520
Speaker 2: I'll tell you what. It was all worth it when

928
00:47:28,760 --> 00:47:30,560
Speaker 2: when we did this tour up the coast, up the

929
00:47:30,640 --> 00:47:33,319
Speaker 2: West coast, and we would play that in our set

930
00:47:33,360 --> 00:47:35,120
Speaker 2: as like a little joke. I set it up like

931
00:47:35,200 --> 00:47:37,880
Speaker 2: we're and I do this song. You guys probably recognize

932
00:47:37,920 --> 00:47:39,600
Speaker 2: my voice from this song, and they're thinking, oh, he's

933
00:47:39,600 --> 00:47:41,320
Speaker 2: gonna do the stream song. And then I do In

934
00:47:41,400 --> 00:47:43,399
Speaker 2: and Out and everyone freaked out.

935
00:47:44,440 --> 00:47:46,560
Speaker 5: And so do you at least get free in and

936
00:47:46,680 --> 00:47:49,200
Speaker 5: out for the rest of your life? Like not even that.

937
00:47:49,600 --> 00:47:51,680
Speaker 2: So it's a family run business. And I think it

938
00:47:51,760 --> 00:47:54,400
Speaker 2: was the grandson that was at the recording session and

939
00:47:54,520 --> 00:47:57,879
Speaker 2: he handed me five coins that got me a free

940
00:47:58,040 --> 00:48:01,279
Speaker 2: double double and that was it. I got five freed devil.

941
00:48:03,000 --> 00:48:04,880
Speaker 6: I just say, there's so.

942
00:48:05,000 --> 00:48:08,800
Speaker 4: Much wrong here with the story, so much right that

943
00:48:08,920 --> 00:48:11,440
Speaker 4: every time I hear that now, I just think somewhere someplace,

944
00:48:11,840 --> 00:48:14,680
Speaker 4: Chad is just proud he's not making money, but he's

945
00:48:15,239 --> 00:48:15,600
Speaker 4: you have.

946
00:48:15,680 --> 00:48:20,560
Speaker 3: Had the most insanely interesting, amazing ride.

947
00:48:20,960 --> 00:48:24,560
Speaker 7: I really it's I mean the in and out really

948
00:48:24,719 --> 00:48:26,040
Speaker 7: killed me like that? Really?

949
00:48:26,200 --> 00:48:28,239
Speaker 5: Still, what you.

950
00:48:29,840 --> 00:48:30,279
Speaker 3: Do next?

951
00:48:30,440 --> 00:48:30,640
Speaker 5: Chat?

952
00:48:35,880 --> 00:48:36,080
Speaker 4: Yes?

953
00:48:38,719 --> 00:48:43,800
Speaker 2: Up in fact, yes, so the next project because and

954
00:48:43,880 --> 00:48:46,520
Speaker 2: we've never really got into this, but my advice to

955
00:48:46,640 --> 00:48:48,880
Speaker 2: everyone out there who wants to do something in the

956
00:48:48,960 --> 00:48:53,280
Speaker 2: creative world is do your passion project. It's your passion

957
00:48:53,360 --> 00:48:56,759
Speaker 2: project that people will recognize what you're actually good at.

958
00:48:57,080 --> 00:49:00,360
Speaker 2: And in my case, it's doing Las Lobane is my

959
00:49:00,480 --> 00:49:03,760
Speaker 2: passion project. So we're going to do a concept album.

960
00:49:03,840 --> 00:49:07,200
Speaker 2: Every band needs to do a concept album, and it's

961
00:49:07,280 --> 00:49:10,279
Speaker 2: going to be a twelve song album that comes with

962
00:49:10,360 --> 00:49:13,719
Speaker 2: a graphic novel about a little girl who goes off

963
00:49:13,760 --> 00:49:17,759
Speaker 2: on a space journey to save a planet. And we're

964
00:49:17,800 --> 00:49:20,800
Speaker 2: going to have so that graphic novel will actually be

965
00:49:21,040 --> 00:49:25,120
Speaker 2: a storyboard of the entire story, which could then be

966
00:49:25,200 --> 00:49:28,680
Speaker 2: turned into a film or TV show. And it's about

967
00:49:28,719 --> 00:49:30,879
Speaker 2: a little girl named Violet, and when she goes off

968
00:49:30,920 --> 00:49:32,600
Speaker 2: on she wakes up in the middle of the night

969
00:49:32,960 --> 00:49:35,600
Speaker 2: freaked out because the closet's shaking and light beams are

970
00:49:35,640 --> 00:49:38,080
Speaker 2: coming through the doors. And then a burst open and

971
00:49:38,160 --> 00:49:41,320
Speaker 2: it's a little dog in a space suit who's adorable

972
00:49:41,680 --> 00:49:43,880
Speaker 2: and says, you need to come with me, are you Violet?

973
00:49:44,320 --> 00:49:47,400
Speaker 2: So she agrees to go with him into his spaceship

974
00:49:47,560 --> 00:49:50,520
Speaker 2: and we find out that she actually is a superhero.

975
00:49:50,680 --> 00:49:54,279
Speaker 2: She didn't even know this, but she's a superhero named Ultraviolet,

976
00:49:54,880 --> 00:49:57,880
Speaker 2: and Ultraviolet can shoot beams of light from her hands

977
00:49:57,960 --> 00:50:00,520
Speaker 2: that restore life, and she goes off to save this

978
00:50:00,640 --> 00:50:03,160
Speaker 2: planet that we find out is Earth twenty years in

979
00:50:03,200 --> 00:50:06,719
Speaker 2: the future, which is dying. Oh so good. Anyway, it's

980
00:50:06,840 --> 00:50:10,600
Speaker 2: very it's totally you know, fantastical, like very anime kind

981
00:50:10,640 --> 00:50:13,799
Speaker 2: of style. And that's that's going to be the next

982
00:50:13,840 --> 00:50:17,520
Speaker 2: two years of my life is right right, writing the score,

983
00:50:17,760 --> 00:50:20,360
Speaker 2: writing the album, doing all the animation and the script.

984
00:50:20,480 --> 00:50:23,719
Speaker 5: And that's amazing, Chad, that's so great.

985
00:50:23,880 --> 00:50:25,680
Speaker 6: Wait, what's what's what's the dog's name?

986
00:50:26,160 --> 00:50:26,480
Speaker 2: Cooper?

987
00:50:27,680 --> 00:50:28,719
Speaker 6: Cooper the dog.

988
00:50:31,360 --> 00:50:33,719
Speaker 8: Well, Katie and I will probably both still be available

989
00:50:33,800 --> 00:50:36,080
Speaker 8: for work because I'm still on strike.

990
00:50:36,000 --> 00:50:38,920
Speaker 5: And since it's a video, yeah, we'll be allowed to

991
00:50:39,080 --> 00:50:39,560
Speaker 5: work in it.

992
00:50:39,760 --> 00:50:43,080
Speaker 3: We can do voiceover, we can do we are available

993
00:50:43,080 --> 00:50:47,320
Speaker 3: for hire. I I am so blown away by this

994
00:50:47,440 --> 00:50:50,120
Speaker 3: episode and I couldn't get to an in and Out faster.

995
00:50:51,360 --> 00:50:55,480
Speaker 6: Hey, I think we're all we're all going there right now, Chad.

996
00:50:55,960 --> 00:50:57,880
Speaker 6: This is epic apic.

997
00:50:58,360 --> 00:51:02,640
Speaker 3: Oh, you are a want of a kind singular human

998
00:51:02,680 --> 00:51:07,640
Speaker 3: and artists, and we are so grateful that you have

999
00:51:08,160 --> 00:51:09,960
Speaker 3: really composed the music.

1000
00:51:09,760 --> 00:51:12,240
Speaker 7: Of our lives on so many of our gigs.

1001
00:51:12,400 --> 00:51:15,440
Speaker 3: But also grace us with your presence today on Unpacking

1002
00:51:15,480 --> 00:51:18,759
Speaker 3: the toolbox, unpacking the industry, to tell us how the

1003
00:51:18,840 --> 00:51:21,840
Speaker 3: hell you got here, because it's the coolest.

1004
00:51:22,440 --> 00:51:23,799
Speaker 7: It's such a cool job.

1005
00:51:23,880 --> 00:51:24,200
Speaker 4: What you do?

1006
00:51:24,480 --> 00:51:25,759
Speaker 6: What a toolbox, Chad?

1007
00:51:27,480 --> 00:51:30,399
Speaker 5: Toolbox? You had a lot of stuff in there?

1008
00:51:31,880 --> 00:51:35,080
Speaker 6: Sure did some people steal boxes? Very very small.

1009
00:51:35,000 --> 00:51:37,839
Speaker 2: Tool and box two words that go together so well

1010
00:51:38,520 --> 00:51:42,400
Speaker 2: and so inappropriately, so appropriately.

1011
00:51:44,160 --> 00:51:46,040
Speaker 5: You know what else goes well in a box? An

1012
00:51:46,080 --> 00:51:46,960
Speaker 5: in and out burger.

1013
00:51:47,280 --> 00:51:53,520
Speaker 3: Yeah, Katie, I am pumped right now about my mouth

1014
00:51:53,640 --> 00:51:53,960
Speaker 3: is watering.

1015
00:51:54,960 --> 00:51:59,040
Speaker 7: Thank you so much, thank you much.

1016
00:51:59,160 --> 00:52:01,000
Speaker 2: I just say, it's been a total pleasure.

1017
00:52:01,120 --> 00:52:02,640
Speaker 6: Thank you for spending the time with us.

1018
00:52:03,280 --> 00:52:06,120
Speaker 3: Yes, and we don't know who is going to be

1019
00:52:06,200 --> 00:52:08,000
Speaker 3: our next guest, neither do you. It's going to be

1020
00:52:08,080 --> 00:52:10,800
Speaker 3: somebody awesome. It's going to continue on to us. Unpacking

1021
00:52:10,840 --> 00:52:15,000
Speaker 3: the Toolbox, Unpacking the industry, hearing all these amazing gigs

1022
00:52:15,080 --> 00:52:20,480
Speaker 3: that make hollyweird, hollyweired, hollywo and things work the.

1023
00:52:20,520 --> 00:52:23,920
Speaker 4: Way they work, every single piece of what we love

1024
00:52:24,000 --> 00:52:28,000
Speaker 4: to watch, breaking it down so we understand better how stuff,

1025
00:52:28,520 --> 00:52:32,440
Speaker 4: how the food gets made, maybe like the internet burgers

1026
00:52:32,480 --> 00:52:35,000
Speaker 4: get made, which I don't think I want to know exactly,

1027
00:52:35,160 --> 00:52:36,000
Speaker 4: but it's okay.

1028
00:52:36,280 --> 00:52:40,400
Speaker 7: I'm definitely going to eat it. Thank you, guys, Thank you,

1029
00:52:41,760 --> 00:52:45,239
Speaker 7: Thank you everybody. Till next time, come back again soon.

1030
00:52:46,040 --> 00:52:46,360
Speaker 6: Bye.

1031
00:52:58,320 --> 00:53:02,280
Speaker 3: Scandal is executive produced by Sandy Bailey, Alex Alcea, Lauren Homan,

1032
00:53:02,600 --> 00:53:06,320
Speaker 3: Tyler Klang, and Gabrielle Collins. Our producer and editor is

1033
00:53:06,400 --> 00:53:10,000
Speaker 3: Vince de Johnny, with music by Chad Fisher. Unpacking the

1034
00:53:10,040 --> 00:53:13,319
Speaker 3: Toolbox is a production of Shondaland Audio in partnership with iHeartRadio.

1035
00:53:13,760 --> 00:53:17,239
Speaker 3: For more podcasts from Shondaland Audio, visit the iHeartRadio app

1036
00:53:17,360 --> 00:53:19,480
Speaker 3: or anywhere you subscribe to your favorite shows.