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Speaker 1: This is Alec Baldwin and you're listening to here's the thing?

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Speaker 1: Are we rolling? Hi? Welcome, Welcome to confession. I'm father

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Speaker 1: al What saw your mind? Kristen? I've done a lot

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Speaker 1: of things. Kristen Wigg has indeed done a lot of things.

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Speaker 1: She was a caterer, a waiter, the lady who gave

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Speaker 1: out peach samples at a farmer's market. She's done floral design.

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Speaker 1: She's answered phones at a law firm that lasted a day.

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Speaker 1: But one thing she has done with astounding consistency for

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Speaker 1: much of the past seven years is make me laugh

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Speaker 1: until tears are streaming down my face. What was your name?

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Speaker 1: Kristin Wiggs? Characters on Saturday Night Live are exercises in juxtaposition.

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Speaker 1: The repulsively friendly target cashier, let's see soundscreen, nose plugs.

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Speaker 1: I wear nose plugs around the house when my neighbor

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Speaker 1: cooks bractoli, the revolting sexpot. One time, when I got

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Speaker 1: really scute, I just read my shirt open and did

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Speaker 1: tons of two any little bounces in a row. Judy

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Speaker 1: the pathologically nervous travel expert. I'm not nervous. I just

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Speaker 1: changed my mind about doing this. Just getting. I didn't

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Speaker 1: change my mind. I changed my clothes, just getting my clothes,

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Speaker 1: and change my addressed and I live it. Twenty one street,

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Speaker 1: just getting job, one two street, just getting. I didn't

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Speaker 1: move and I can move my body. Look just kidding.

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Speaker 1: Lorne Michael's called Wig one of the top three or

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Speaker 1: four performers in his show's history. Kristen inhabits her characters

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Speaker 1: with the fierce commitment of a veteran film actor. It's

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Speaker 1: no wonder her transition into movies was so smooth. Well

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Speaker 1: you're kid, and you'll be my maid of honor. God,

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Speaker 1: of course, of course I will. Perhaps Wig is best

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Speaker 1: known for her starring role in Bridesmaids, which she also

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Speaker 1: co wrote, earning her an Oscar nomination for Best Screenplay.

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Speaker 1: This spring, she's appearing in Jennifer Westfeld's new movie Friends

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Speaker 1: with Kids. With all this success, it's hard to believe

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Speaker 1: Whigg's career in comedy almost didn't happen. She grew up

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Speaker 1: in upstate New York and Pennsylvania, never dreaming of making

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Speaker 1: a living in the entertainment industry. When it was time

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Speaker 1: for college, performing didn't even cross her mind. I was

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Speaker 1: an art major. It wasn't really for me. I was

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Speaker 1: kind of in my I hate the word party phase.

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Speaker 1: I hate that word. I was having fun, I guess

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Speaker 1: at that time, and I taking it easy. I was

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Speaker 1: taking it easy, and then I didn't really know what

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Speaker 1: I was having, Like what am I going to do

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Speaker 1: with my life? You're in your ring ding ding peg.

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Speaker 1: I've never used that term, but I'm going to And

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Speaker 1: then I went back to Rochester because I wasn't sure

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Speaker 1: what I wanted to do. And then I just started

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Speaker 1: like taking classes at the local community college. And then

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Speaker 1: I was like, I want to travel art art classes

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Speaker 1: and there's no performance element of you're doing and more

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Speaker 1: people saying to you, God, you're funny. I don't think

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Speaker 1: people wake up when they're you know what. I never

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Speaker 1: really did plays. I mean, if I had to give

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Speaker 1: a speech in class, I would try anything to get

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Speaker 1: out of it. I hated talking in front of people.

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Speaker 1: I still actually don't really like doing that. If I

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Speaker 1: myself and it's a group of people, it still makes

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Speaker 1: me nervous. Anyway, after I was back in Rochester, I

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Speaker 1: did a Knolls semester. Do you know what that is?

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Speaker 1: It's like outward bound where you like live outside and learned.

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Speaker 1: Is it like meaningful or is it ring ding ding? No,

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Speaker 1: it's meaningful, yeah, soul searching and yes, oh yes, of

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Speaker 1: course for three months there was a little bit of that.

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Speaker 1: It's called what knowles National Outdoor Leadership School. You're laughing

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Speaker 1: in me, it's like outward outdoor Leadership. Yeah. It was

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Speaker 1: like you learn how to live outside and like just

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Speaker 1: incase apocalypse and if you get lost in the woods,

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Speaker 1: like I wouldn't know what to do. And if I

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Speaker 1: was with you, I would bring up this conversation and say,

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Speaker 1: you're on your own, you go get lost in I'm

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Speaker 1: gonna be in the hotel watching Bridesmaids on pay per view. Anyway,

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Speaker 1: long story short after that, went back to Rochester and

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Speaker 1: then applied to the University of Arizona. Went there for

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Speaker 1: a year. Why they're um, it was a boyfriend thing.

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Speaker 1: And then you're pretty normal up until now, pretty normal. Yeah,

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Speaker 1: And then then I took an acting class. Where at

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Speaker 1: University of Arizona, my major was studio art and you

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Speaker 1: could pick three different types of art for that major,

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Speaker 1: and it was like sculpture, painting, and I just tried

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Speaker 1: this class called performance Art, which was very like writing

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Speaker 1: poems and doing kind of yes, like very weird light

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Speaker 1: changes and things like that, which was like my first

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Speaker 1: experience of being on a stage. Even though it was

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Speaker 1: like this tiny little box in front of a class.

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Speaker 1: It was literally acting one on one that was one

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Speaker 1: class one class, and I was terrified to take it

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Speaker 1: because I, like I said, I hate standing up in

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Speaker 1: front of people and performing. But something about this class

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Speaker 1: we learned about improv and my teacher was really supportive,

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Speaker 1: and at the end of the class he was just like,

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Speaker 1: have you ever considered doing this? And I was like, no, yeah, right,

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Speaker 1: was my teacher. Yeah. I just kept thinking about it,

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Speaker 1: and I wasn't really happy there. I didn't really like

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Speaker 1: the art program wasn't really for me. I don't want

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Speaker 1: to say I had an epiphany, but I did have

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Speaker 1: one of those moments where I was like looking at

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Speaker 1: myself in the mirror and I was like, what are

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Speaker 1: you doing? What do you want to do? If you

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Speaker 1: could do anything in this world, what would it be?

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Speaker 1: And I was like, I want to move to l

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Speaker 1: A and try to be an actor, which was crazy,

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Speaker 1: but I didn't stop myself. I packed my car like

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Speaker 1: the next day and my roommate at the time in

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Speaker 1: Arizona lived in Beverly Hills, and she said I could

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Speaker 1: come stay with her. Started flowing in that direction. I

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Speaker 1: didn't tell my parents that I was leaving arit office,

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Speaker 1: and I just kept saying, God, it's really hot here.

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Speaker 1: There's much sand everywhere, exactly West Hollywood, Arizona. Um. And

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Speaker 1: when you got there, how quickly did you get into

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Speaker 1: the down things thing? Not quickly because I moved there

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Speaker 1: and I was like, kind of paste, don't you kind

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Speaker 1: of you're kind of creeping up on this. I got

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Speaker 1: there and I was like, what a slow motion epiphany?

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Speaker 1: It was in a pivo. I got there and I

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Speaker 1: was like, what am I doing? Because l A is

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Speaker 1: a city of actors and performers and writers and filmmakers

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Speaker 1: for the most part, I mean, that's where they all go.

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Speaker 1: And I had zero experience. I wasn't, you know, nineteen

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Speaker 1: and I just got a job and like, wasn't really

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Speaker 1: doing anything job doing what I worked at anthropology? Did

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Speaker 1: your story? You're so close an anthropology? Yeah? And I

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Speaker 1: did like, were you security? I wasn't security, No, But

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Speaker 1: I did a lot of like visual stuff because of

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Speaker 1: my art background. I had help with like the displays

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Speaker 1: and stuff. But when you say you you weren't sure

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Speaker 1: what you were doing, there's something about you. In the

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Speaker 1: time I've known you have been around, you were You're

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Speaker 1: still kind of that way. Oh yeah, I don't think

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Speaker 1: I'm ever going to figure it out. I don't know,

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Speaker 1: do you ever? I don't know. I mean I think

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Speaker 1: that there's two types of people in the business and

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Speaker 1: I've met. That is the ones that have that very

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Speaker 1: Mickey Rooney kind of I'm going to be in show business.

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Speaker 1: You know, they're kids and they just wanted to eat, sleep,

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Speaker 1: and drink it. Then there's people who are, if not accidental,

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Speaker 1: they certainly have a sense that they're visiting. I'll do

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Speaker 1: this for now. You know. Yeah, I love performing, but

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Speaker 1: there's such a big part of me that's like, don't

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Speaker 1: look at me, do you know what I mean? It's

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Speaker 1: hard to find that balance. I think also, like people

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Speaker 1: assume if you're an actor, that you just like walk

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Speaker 1: into a room and you're like, hello, listen to this story.

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Speaker 1: I want everyone to gather out. The exact opposite. If

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Speaker 1: I'm in a room full of people and someone says like, hey, Kristen,

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Speaker 1: what happened at that thing. I'll just be like, oh,

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Speaker 1: I'll start sweating and your dreaming going to dinner and

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Speaker 1: someone else does all the talking. Yeah, that's why I

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Speaker 1: like going to dinner with you. So when you're there

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Speaker 1: and you get into the Groundlings, Groundlings opened everything up.

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Speaker 1: How so because for you you're thinking acting and it

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Speaker 1: was a performing on class. You said I'm gonna go

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Speaker 1: to l to be an actress. And do you feel

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Speaker 1: that you crossed the line and it was I'm a

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Speaker 1: comedian or I'm a comedy actress. You never felt that way. No,

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Speaker 1: I think it was it was improv. It was watching

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Speaker 1: people be on stage acting without a script. There was

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Speaker 1: something in me that was like, I want to do that.

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Speaker 1: I know that I can do that. For some reason,

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Speaker 1: it was less scary to me than having words in

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Speaker 1: front of me, because I think when you're handed a script,

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Speaker 1: you know that you're supposed to do it in a

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Speaker 1: certain way, and people will think like, how is she

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Speaker 1: reading this? But when you're improvising, there's nothing to compare

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Speaker 1: it to and you can do whatever. Yeah. But when

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Speaker 1: I started taking classes at the Groundlings and taking improv,

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Speaker 1: it was like something just like clicked and I felt like, all,

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Speaker 1: this is what I want to do. And but at

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Speaker 1: the same time, did you get a sense of what

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Speaker 1: you're doing? It was working. You were pretty good at it.

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Speaker 1: I mean, yeah, I think so, but you were good no,

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Speaker 1: I mean it was something. It was nice to have

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Speaker 1: that thing that I knew that I was good at. Finally,

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Speaker 1: besides art, which is very personal and quiet, and you know,

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Speaker 1: that was just sort of something I did by myself.

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Speaker 1: You don't talk to anybody when you're drawing or painting.

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Speaker 1: It's very um isolating. And for me, doing the Groundings

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Speaker 1: was the exact opposite of that, because it's such a

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Speaker 1: community and you're you improvise with other people and you

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Speaker 1: have to connect with other people to make it work.

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Speaker 1: Audition to get in it's like a school. I mean

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Speaker 1: you have to go and take the first class, and

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Speaker 1: then after the first class, your teacher tells you if

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Speaker 1: you can move on or if you should repeat it,

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Speaker 1: or if this isn't for you, and then you just

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Speaker 1: keep going. And then the third level is like it's

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Speaker 1: writing intensive. So that's that's like where I learned how

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Speaker 1: to write was at the Groundlings. And the Groundlings was

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Speaker 1: how long probably like four or five years. I guess

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Speaker 1: a few years. Yeah, I mean there's time in between

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Speaker 1: some of the levels because there's such a long waiting list.

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Speaker 1: And then once I got into the main company, I

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Speaker 1: was only in it for a handful of months before

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Speaker 1: I got Now, when SNL comes knocking, for those we knocked,

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Speaker 1: I don't know if they not, well, we sent it im.

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Speaker 1: My manager sent a tape in. So you had an

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Speaker 1: agent and a manager. I had playing the whole thing

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Speaker 1: out there. I had a manager working. I've done a

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Speaker 1: few pilots, I guess, and a few commercials. She weren't

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Speaker 1: cloistered over there on the groundlings. You were, you were working,

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Speaker 1: I was, yeah, I mean I still was had odd jobs.

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Speaker 1: And when you connected with the SNL people, you sent

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Speaker 1: material to them. Naomi sent a tape in. And then

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Speaker 1: your manager, Yes, sorry, my manager, Naomi Odenkirk, whose I

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Speaker 1: wouldn't have any of my career if it wasn't for her.

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Speaker 1: I used to babysit for her, and then I asked

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Speaker 1: her to come see my groundling show and she was

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Speaker 1: like okay, um, yeah anyway, So that's how she signed

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Speaker 1: me was from seeing me there. But she just kind

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Speaker 1: of set my tape in and then you know, you

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Speaker 1: don't hear anything, and then you just get a call.

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Speaker 1: We'd liked her to audition this summer. Five characters, three impressions,

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Speaker 1: five minutes, and I was like, Okay, I don't really

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Speaker 1: have any impressions, so I'm gonna have to Like I'd

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Speaker 1: never done impressions on stage at the groundings, it was

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Speaker 1: just kind of like joking around with my friends. Flew

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Speaker 1: out there. It was the most terrifying experience. Who are

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Speaker 1: you doing it for? I don't even remember deceived darkness.

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Speaker 1: I don't even I just remember Lauren was there, and

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Speaker 1: and Seth and Marcy Tina, you know friends I had

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Speaker 1: met it. No. I went to New York once when

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Speaker 1: I was in eighth grade and like went to to

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Speaker 1: like hard rock cafe or something. When I was in

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Speaker 1: the eighth grade. No, I came to New York and

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Speaker 1: I was like what. I bought a stopwatch because I

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Speaker 1: really thought they were going to just turn the lights

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Speaker 1: off at five minutes, because they said, like it's five minutes,

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Speaker 1: please don't go over. So I was like electric. Yeah,

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Speaker 1: So I practiced in the with like a stopwatch, trying

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Speaker 1: to get it under five minutes, exactly five minutes, and

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Speaker 1: I don't do stand up, so the idea of performing

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Speaker 1: by myself, I felt okay, I felt pretty good. They

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Speaker 1: laughed a little bit. I was warned, you know, like

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Speaker 1: it's going to be quiet, just do it. It's a

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Speaker 1: tough crowd, just do it and go. If anything, I

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Speaker 1: just felt happy that I did it because I was

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Speaker 1: so terrified and shaking. I couldn't sleep, I couldn't eat,

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Speaker 1: and it was over. I didn't hear anything, and I

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Speaker 1: was like, okay, well that was an experience. And then

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Speaker 1: like a month and a half later, we got a

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Speaker 1: call saying can she come back, you know, and if

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Speaker 1: she has new stuff or other stuff that would be

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Speaker 1: great too. And I was like, I've crammed everything I've

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Speaker 1: ever done in that five minutes. But then I just

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Speaker 1: I came up with some new stuff, went back and

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Speaker 1: did it again. Then they asked me to stay and

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Speaker 1: meet with Lauren. I don't remember what I said, I

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Speaker 1: do you have kind of an Alzheimer's problem now because

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Speaker 1: you don't remember a lot. I don't remember because I

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Speaker 1: was I was I do have a horrible memory. But

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Speaker 1: also I was so nervous and probably didn't say much anyway,

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Speaker 1: and then he was like, you know, well we don't

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Speaker 1: really have room for you right now, but you know,

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Speaker 1: your audition was great. I mean he was so sweet,

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Speaker 1: and I was like okay, and then I left. I

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Speaker 1: was so confused, and then I went home and then

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Speaker 1: the season started, and I remember watching the first show

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Speaker 1: and being like, well, I didn't get it. And then

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Speaker 1: after the fourth show, we got a call saying can

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Speaker 1: she come? So then I started, like fifth show in

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Speaker 1: I started, which was even more nerve wracking because you

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Speaker 1: feel a call you when they said get out here. Yeah,

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Speaker 1: had you watched the show prior to yeah? Oh yeah, yeah,

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Speaker 1: I'd grown up watching oh yeah, especially high school. I

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Speaker 1: remember it was like people would watch it and then

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Speaker 1: remember of high school. Yeah, I don't really remember. So

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Speaker 1: you you you had an awareness of the show when

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Speaker 1: you were a fan of the show, so when they

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Speaker 1: called you and asked you to come, you felt nervous.

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Speaker 1: Other than nervous, I I don't know if there was

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Speaker 1: even much more than nervous. I was happy. I was

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Speaker 1: so happy. I was like, this is too good to

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Speaker 1: be true. And in my mind I'm thinking I'm moving

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Speaker 1: to New York City? Where do I live? How do

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Speaker 1: I get around? How do I move my stuff? What

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Speaker 1: if I get there and none of my stuff works?

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Speaker 1: You know it's getting us And I was a huge

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Speaker 1: It's a huge deal. I mean I jumped up and down.

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Speaker 1: I was I couldn't believe it. And I think the

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Speaker 1: difference with SNL's if I had gotten my big break

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Speaker 1: whatever you want to call it, if it was a

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Speaker 1: pilot or a TV show got picked up or a movie,

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Speaker 1: you kind of know what to expect, And with SNL

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Speaker 1: you have no ideas written yet hasn't been written, Like

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Speaker 1: what am I going to do on the show? How

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Speaker 1: how does it's live? It's an hour and a half.

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Speaker 1: But for you, in terms of that open field running,

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Speaker 1: so to speak, in terms of there being a blank canvas,

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Speaker 1: you went in there and you've created all these this

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Speaker 1: incredible range of characters. You have a woman that's your

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Speaker 1: writing partner, yes, Annie Mamolo and Annie Mamola. Where did

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Speaker 1: you meet her at the ground when you went? Did

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Speaker 1: they bring her along with you? When did she come along? Well?

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Speaker 1: I mean I wrote Brides Means with her, but she's

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Speaker 1: not she's not understand Who do you write with on SNL.

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Speaker 1: I write a lot with James Anderson and Kent Sublet,

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Speaker 1: who came from Groundling, to describe how that works, because

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Speaker 1: people who don't know Wes and L don't know that

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Speaker 1: there are these pairings. People kind of find something they

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Speaker 1: dig right for you. Just find the people that you

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Speaker 1: have they want to write for you. Yeah, and it's

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Speaker 1: a similar sense of humor. It's easy, and people just

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Speaker 1: naturally gravitate towards to give me a character that one

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Speaker 1: of them wrote for you. The secret word sketch, I'm

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Speaker 1: thrilled to be here. Look at me. Mindy Grayson is

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Speaker 1: her name that like old Hollywood. They write that I

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Speaker 1: have nothing to do with that, and it's such a gift,

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Speaker 1: no secret words to an actress. I see the word

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Speaker 1: and I explore it. And the movie reviewer Linda she

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Speaker 1: was the Groundlings. I hated one and love the other.

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Speaker 1: Gas so that you brought in your baggage with you. Yeah,

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Speaker 1: and then I write that with Paula. Yeah. Yeah. My

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Speaker 1: next film is Tim Burton's adaptation of Alice in Wonderland

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Speaker 1: or what I like to call it, Alice and wonder

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Speaker 1: if someone put LSD in my crystal like she originally was.

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Speaker 1: I was doing her I think in the show maybe

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Speaker 1: that that I was in when I got SNL and

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Speaker 1: the most distracting thing along Helen Obama Carter, how would

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Speaker 1: it Linda review Bridesmans would in Linda Sex, She'd probably like,

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Speaker 1: there's too many women in it. When when I originally

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Speaker 1: did that character, it was a sketch at the Groundlings

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Speaker 1: and it was a woman who was on the plane

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Speaker 1: who was watching the in flight movie, which was the Matrix,

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Speaker 1: and she was so confused by it and she didn't

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Speaker 1: understand anything, and she just kept talking to the people

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Speaker 1: and like what is going on? And I tried it

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Speaker 1: as a sketch at SNL like five times. It went

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Speaker 1: to dress maybe three times, and finally someone was like,

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Speaker 1: why don't you just try or an update, and so

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Speaker 1: that's how she eventually got on the show. Recently, you

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Speaker 1: did the news segment with Seth. We were that blonde

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Speaker 1: bimbo who had her legs. Who is that woman? Rebecca LaRue?

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Speaker 1: I think is her name? Here to tell us how

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Speaker 1: we can meet a significant other by New Year's Flirting Expert,

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Speaker 1: Rebecca LaRue. I want to tell you that I've never

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Speaker 1: laughed so hard in my life, and like the last

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Speaker 1: year then when I watched you do that, if you

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Speaker 1: want to explain what you're doing right now, just like

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Speaker 1: body language stuff you know that people can do. There's

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Speaker 1: these women you play who have that kind of it

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Speaker 1: doesn't mean to do with femininity or sexuality, it's just

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Speaker 1: more of their psychological jaggedness, if you will. And Linda,

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Speaker 1: that could be Uncle Bob. You take a character that

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Speaker 1: it has there's no really no gender specifics to it.

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Speaker 1: Then you turn around you play a woman who was

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Speaker 1: very gender specific. It looks like, you know, you started

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Speaker 1: flirting already. I'm just listening to you. I'm just really

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Speaker 1: hearing you. You play the super hot, horny actress and

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Speaker 1: you were so funny. I mean, there are some people

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Speaker 1: in comedy who can't do both that. I have to say.

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Speaker 1: One of the greatest gifts that I've gotten from SNL

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Speaker 1: is getting out of my comfort zone. I realized, I

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Speaker 1: think Lauren realized probably the first handful of years that

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Speaker 1: I was there. Most of my characters were ladies in

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Speaker 1: their forties with like short hair and weird sweaters that

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Speaker 1: nobody Barbara Bush, no one wanted at the dinner party

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Speaker 1: and The good thing about being at S n L

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Speaker 1: for me creatively is to think, Okay, I'm comfortable enough,

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Speaker 1: I really want to try something that's not some you know,

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Speaker 1: something that I normally do. And that's when I actually

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Speaker 1: first came up with the character, Um Shannah. One time,

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Speaker 1: I need a bunch of peanuts and I had a pain.

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Speaker 1: You're made billy button. So the doctor to me he

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Speaker 1: needed to still simple and I need to poop when

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Speaker 1: the dainty's cutest little void cup, the one that's like

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Speaker 1: sexy but then does like gross things. Because I was like,

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Speaker 1: I really want to write a character that looks kind

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Speaker 1: of good but blank. And that's kind of where the

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Speaker 1: Flirting Lady came from too. I was like, I just

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Speaker 1: want to try, you know, i'd really know what that

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Speaker 1: was going to be. I mean, none of it was

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Speaker 1: really on the page when we wrote it. But for you,

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Speaker 1: do you feel like, when there's a quotient of a

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Speaker 1: character which is a sensuous quotient and you're sending it up,

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Speaker 1: do you realize that you could walk out the door

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Speaker 1: tomorrow and probably play that character for real in a

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Speaker 1: straight film. I mean, have you ever wanted to do

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Speaker 1: play a leading lady in a dramatic film a love story. Yeah,

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Speaker 1: period film. I would love to do that straight film. Yes,

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Speaker 1: I hope, I hope I get the opportunity to do that.

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Speaker 1: I was just actually talking to someone about this the

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Speaker 1: other day that the audience very quickly puts you in

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Speaker 1: uh folder, like they know you how they first knew you.

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Speaker 1: I'm Kristen from SNL or comedic actress, and people are

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Speaker 1: always so surprised when I want to do dramatic stuff. Really, like,

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Speaker 1: you really want to do that? Have you had any

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Speaker 1: offers for that? Um? I mean there's a couple of

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Speaker 1: things that I'm looking at doing next that aren't comedies

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Speaker 1: at all. One of them is really not at all,

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Speaker 1: and I'm horrible movie. I just want to be in

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Speaker 1: a town. Do you ever want to do a harm

390
00:21:13,080 --> 00:21:15,840
Speaker 1: movie with me? Are you kick a paranormal Blair? Which thing?

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Speaker 1: We're just completely Lucy Goosey, just cameras and we improve

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Speaker 1: we could shoot it in here. We're on the radio

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Speaker 1: and then we just hear voice a dad announcer who's

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Speaker 1: in here, in lacks in here, you know, let's talk

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Speaker 1: about that later on. Okay, I love that. Talk about

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Speaker 1: Jennifer Westfeld's film. It was it like for you acting

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Speaker 1: in the film, Um, it was amazing. It's it was

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Speaker 1: a much more dramatic part than I've had the opportunity

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Speaker 1: to do that. I loved it. I loved it. It

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Speaker 1: was so part of it was satisfying to me. Yeah,

401
00:21:45,240 --> 00:21:46,960
Speaker 1: but it was. But what part of it was hard?

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Speaker 1: As far as the performing part. There were a lot

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Speaker 1: of kids around. It's like, oh, you're not supposed to

404
00:21:57,840 --> 00:21:59,680
Speaker 1: be crying, you know how it is when you've got

405
00:22:00,160 --> 00:22:03,240
Speaker 1: and she had all of that. Actually put the dog's

406
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Speaker 1: bed against the wall and then we'll have the dog

407
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Speaker 1: will Can I go here? Rex? Rex gets one signal?

408
00:22:08,160 --> 00:22:10,479
Speaker 1: Let me send courtesy van for Rex back to the hotel.

409
00:22:11,080 --> 00:22:14,320
Speaker 1: Wrap on Rex, or just give a bird? Yeah, well

410
00:22:14,359 --> 00:22:19,320
Speaker 1: they can be you know, but it's raw. Even the

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Speaker 1: birds that don't talk, say your name. Just pigeons outside

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Speaker 1: clam shells on the beach, Alec. Can that be in

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Speaker 1: our horror movie? Can that be the end of the

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Speaker 1: horror movie where we just zoom in on a clam

415
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Speaker 1: shell on the beach. It's called the mollusks. I love it.

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Speaker 1: Let's get shut out. Someone's got to be listening to

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Speaker 1: somebody really good with a typewriter, not a computer typewriter.

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Speaker 1: Brold School. Yeah, this is Alec Baldwin and you're listening

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Speaker 1: to here's the Thing. More coming up in a minute.

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Speaker 1: This is not like Baldwin and you're listening to here's

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Speaker 1: the Thing. So you wrote Bridesmaids as everybody knows. Okay,

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Speaker 1: An Mama. I don't know Annie, but I know you.

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Speaker 1: And there really is something in this business when you

424
00:23:26,320 --> 00:23:29,200
Speaker 1: see somebody who is as lovely as you are, and

425
00:23:29,240 --> 00:23:31,600
Speaker 1: as pleasant as you are, and as talented as you are,

426
00:23:31,640 --> 00:23:33,440
Speaker 1: and kind of unassuming. I mean, you're not a very

427
00:23:34,040 --> 00:23:37,040
Speaker 1: self important artist in this business, and then all of

428
00:23:37,040 --> 00:23:39,320
Speaker 1: a sudden you go, wow, you know, if you make

429
00:23:39,359 --> 00:23:43,560
Speaker 1: a movie that's just this huge success. We look back

430
00:23:43,600 --> 00:23:47,400
Speaker 1: on it, now, what do you think. When we were

431
00:23:47,480 --> 00:23:51,800
Speaker 1: making the movie, it was like, we wrote this thing,

432
00:23:52,920 --> 00:23:56,160
Speaker 1: we hope it works. Whose idea was it? Everyone's having fun?

433
00:23:56,359 --> 00:23:58,879
Speaker 1: What's going to happen? The original just the idea of

434
00:23:58,920 --> 00:24:02,840
Speaker 1: the story was Annie. Jed asked me to write something

435
00:24:02,960 --> 00:24:05,040
Speaker 1: for myself after I did Knocked Up, and he's like,

436
00:24:05,080 --> 00:24:08,320
Speaker 1: you can write by yourself. You can have a writing partner.

437
00:24:08,800 --> 00:24:10,600
Speaker 1: Most of the sketches that I wrote at Groundlings with

438
00:24:10,720 --> 00:24:12,960
Speaker 1: someone else where with Annie. So I just called her

439
00:24:13,000 --> 00:24:16,639
Speaker 1: and we'd kind of talk loosely, like someday we should

440
00:24:17,080 --> 00:24:20,960
Speaker 1: maybe write a movie, but that's so daunting. I don't

441
00:24:21,000 --> 00:24:24,280
Speaker 1: know how to write. He said, let's write twenty sketches,

442
00:24:24,680 --> 00:24:26,320
Speaker 1: sketches we can do. Yeah, and then just I kind

443
00:24:26,320 --> 00:24:29,000
Speaker 1: of put them together. So she had this idea and

444
00:24:29,080 --> 00:24:31,120
Speaker 1: I was in New York, and so she actually went

445
00:24:31,160 --> 00:24:34,719
Speaker 1: to Jed's office and you know, I was like him,

446
00:24:34,720 --> 00:24:39,119
Speaker 1: Annie's our idea, and He's like, okay, yeah, start writing it.

447
00:24:39,240 --> 00:24:43,160
Speaker 1: So every hiatus, I would come to l A because

448
00:24:43,160 --> 00:24:46,320
Speaker 1: that was the only way we really worked together was

449
00:24:46,440 --> 00:24:50,440
Speaker 1: being in the same room together. We discovered Skype later,

450
00:24:50,520 --> 00:24:53,199
Speaker 1: but we like to do everything together. We're not one

451
00:24:53,240 --> 00:24:55,320
Speaker 1: of those teams that just says like, hey, write this

452
00:24:55,359 --> 00:24:57,200
Speaker 1: and send it to me. We like to do everything together.

453
00:24:57,840 --> 00:25:01,359
Speaker 1: You like working together. I love working with It's so easy.

454
00:25:01,440 --> 00:25:05,240
Speaker 1: We've never gotten in an argument. Yeah, she's in the movie.

455
00:25:05,320 --> 00:25:07,000
Speaker 1: She she plays the woman next to me on the

456
00:25:07,000 --> 00:25:09,800
Speaker 1: plane that's like freaking out, says that the woman got

457
00:25:09,840 --> 00:25:13,440
Speaker 1: sucked in the toilet. She's the best, she's so she's

458
00:25:13,480 --> 00:25:17,560
Speaker 1: one of the fun Yeah, and then what happened? And

459
00:25:17,560 --> 00:25:19,640
Speaker 1: then how much note did you give from somebody else?

460
00:25:19,880 --> 00:25:22,600
Speaker 1: Was it all like it was there? Well, it's a

461
00:25:22,640 --> 00:25:25,560
Speaker 1: different process, I think than you would have with other producers,

462
00:25:25,560 --> 00:25:30,360
Speaker 1: and that we were writing every day on set, writing

463
00:25:30,840 --> 00:25:37,560
Speaker 1: all lines, writing new jokes, and we would have scenes written.

464
00:25:37,600 --> 00:25:40,080
Speaker 1: He'd be like, Okay, write this scene again, but maybe

465
00:25:40,080 --> 00:25:42,840
Speaker 1: this happens, or how about instead of these two characters,

466
00:25:42,840 --> 00:25:44,480
Speaker 1: maybe it's the other two girls that are there. So

467
00:25:44,520 --> 00:25:49,280
Speaker 1: it was constant writing, rewriting. Every day. We would get

468
00:25:49,280 --> 00:25:54,040
Speaker 1: a packet of scenes from old drafts, scenes that we loved,

469
00:25:54,359 --> 00:25:58,560
Speaker 1: scenes that other people's ideas. Yeah, yeah, I mean it

470
00:25:58,680 --> 00:26:02,440
Speaker 1: was a lot of it, a lot writing, and then

471
00:26:02,560 --> 00:26:05,560
Speaker 1: you shot the movie where and l a yeah, And

472
00:26:05,680 --> 00:26:08,000
Speaker 1: in terms of the casting, it looks to me like

473
00:26:08,119 --> 00:26:11,240
Speaker 1: you got everybody you wanted. True. Yeah. One of the

474
00:26:11,280 --> 00:26:15,720
Speaker 1: reasons why Annie and I wanted to write this movie

475
00:26:15,840 --> 00:26:19,280
Speaker 1: was that we know so many funny women from the groundings.

476
00:26:19,280 --> 00:26:22,160
Speaker 1: And you know which of those were in the film,

477
00:26:22,640 --> 00:26:27,119
Speaker 1: Wendy and Melissa and Maya's a former groundling. We wrote

478
00:26:27,160 --> 00:26:30,919
Speaker 1: the part for Wendy and Melissa we were so lucky

479
00:26:31,160 --> 00:26:34,280
Speaker 1: to have her come in and read and improvise with

480
00:26:34,320 --> 00:26:39,040
Speaker 1: me forever. And Ellie and Rose were the only ones

481
00:26:39,119 --> 00:26:41,560
Speaker 1: that I didn't know and talk about Rose Burne who

482
00:26:41,640 --> 00:26:44,679
Speaker 1: I saw her at the SAG Awards, And of course

483
00:26:44,680 --> 00:26:47,480
Speaker 1: she looks um yeah, I saw at the SAG Awards,

484
00:26:47,520 --> 00:26:49,320
Speaker 1: and she definitely is dear in the headlights when you

485
00:26:49,359 --> 00:26:52,800
Speaker 1: meet her. She's very sweet, but she is divine and

486
00:26:52,880 --> 00:26:56,199
Speaker 1: she's so game. Do you find that all you need

487
00:26:56,240 --> 00:26:58,000
Speaker 1: to be as a good actor to get the comedy thing?

488
00:26:58,040 --> 00:27:00,480
Speaker 1: Or didn't there something special to comedy to play? I

489
00:27:00,480 --> 00:27:02,439
Speaker 1: think you just said, I mean to be game, you

490
00:27:02,480 --> 00:27:08,240
Speaker 1: have to be willing to not look good, to put

491
00:27:08,280 --> 00:27:11,240
Speaker 1: it out there, poke fun at yourself. You kind of

492
00:27:11,280 --> 00:27:15,639
Speaker 1: just have to do it. And and Rose is like

493
00:27:16,720 --> 00:27:18,919
Speaker 1: it's like when you meet her. First of all, she's

494
00:27:20,040 --> 00:27:22,960
Speaker 1: drop dead gorgeous. I stared at her for like the

495
00:27:22,960 --> 00:27:25,040
Speaker 1: first three days of rehearsal and was just like, what

496
00:27:25,200 --> 00:27:27,840
Speaker 1: the hell, where did you come from? And she's funny.

497
00:27:28,280 --> 00:27:32,879
Speaker 1: She has no improv experience, and she improvised like crazy

498
00:27:32,960 --> 00:27:37,520
Speaker 1: in this movie. I don't know. I think she's play

499
00:27:37,600 --> 00:27:40,359
Speaker 1: that Cotillion kind of broad. It's that we've seen that

500
00:27:41,000 --> 00:27:43,600
Speaker 1: a lot of manifestations but you've got to stay with it,

501
00:27:43,680 --> 00:27:45,679
Speaker 1: you know, you've got to never comment on it. And

502
00:27:45,720 --> 00:27:47,800
Speaker 1: that's what I love. Wash. She was like it was acting.

503
00:27:48,040 --> 00:27:50,199
Speaker 1: She's like playing this really a stick up her, you

504
00:27:50,240 --> 00:27:52,520
Speaker 1: know what? Yeah, and Annie and I've always said the

505
00:27:52,520 --> 00:27:56,320
Speaker 1: hell and character that she played was the toughest to

506
00:27:56,600 --> 00:27:59,240
Speaker 1: figure out because and for her, I think the toughest

507
00:27:59,280 --> 00:28:03,080
Speaker 1: to play because she's this person that my character instantly

508
00:28:03,160 --> 00:28:06,040
Speaker 1: hates and as an audience member, you have to get that.

509
00:28:06,760 --> 00:28:09,560
Speaker 1: But my best friend is very close with her, so

510
00:28:09,600 --> 00:28:11,720
Speaker 1: you have to see what she sees in her too.

511
00:28:11,760 --> 00:28:14,800
Speaker 1: So Rose was that perfect thing of like, oh God,

512
00:28:14,840 --> 00:28:16,919
Speaker 1: she's driving me crazy, but oh I kind of want

513
00:28:16,920 --> 00:28:21,879
Speaker 1: to hang out with her. And she did that women

514
00:28:22,840 --> 00:28:24,720
Speaker 1: like if men are friends and then you have a friend,

515
00:28:24,800 --> 00:28:27,280
Speaker 1: I can't stand. But with men, they understand just don't

516
00:28:27,280 --> 00:28:30,320
Speaker 1: bring right. But with women it's like, you know, you know,

517
00:28:30,400 --> 00:28:33,440
Speaker 1: come on, yeah, bring her over. He's not so bad. Yeah,

518
00:28:33,480 --> 00:28:37,080
Speaker 1: And then she comes over and you're like, Hi, talk

519
00:28:37,119 --> 00:28:42,920
Speaker 1: about Melissa. Melissa at the Groundlings was a little ahead

520
00:28:42,960 --> 00:28:46,480
Speaker 1: of me. From the moment I met her. I just

521
00:28:46,760 --> 00:28:50,760
Speaker 1: was like looked up to her and had never seen

522
00:28:50,920 --> 00:28:54,920
Speaker 1: anyone in my life not only embrace characters like she does,

523
00:28:54,960 --> 00:28:58,160
Speaker 1: but creates them. The stuff she does at the Groundlings,

524
00:28:58,200 --> 00:29:00,960
Speaker 1: I mean, people see her Inbrise Me and obviously are

525
00:29:01,120 --> 00:29:03,800
Speaker 1: talking about her, but the stuff that she's done at

526
00:29:03,800 --> 00:29:09,520
Speaker 1: the Groundings is insane, like shows sold out when she's

527
00:29:09,760 --> 00:29:13,600
Speaker 1: you know, doing her stuff. When she came into audition

528
00:29:13,680 --> 00:29:18,320
Speaker 1: for this, it was absolutely perfect. There's something very maternal

529
00:29:18,440 --> 00:29:22,760
Speaker 1: about Melissa, which was very important in that character. And

530
00:29:22,800 --> 00:29:26,280
Speaker 1: also she's just can I swear on the show? I

531
00:29:26,520 --> 00:29:31,000
Speaker 1: think of a metaphor? Okay, she's effing brilliant. Can I

532
00:29:31,040 --> 00:29:34,240
Speaker 1: just say that she brought life to that character and

533
00:29:34,400 --> 00:29:37,920
Speaker 1: we're like so lucky that she's in the movie. What

534
00:29:37,920 --> 00:29:40,480
Speaker 1: are you doing next? Have you any movies in the can?

535
00:29:40,600 --> 00:29:42,400
Speaker 1: I have one movie that's in the can right now

536
00:29:42,440 --> 00:29:47,960
Speaker 1: called Imagine that um Bermin and Paulcini directed. They did

537
00:29:48,360 --> 00:29:51,160
Speaker 1: American Splendor, and they did one of my favorite was

538
00:29:51,200 --> 00:29:54,200
Speaker 1: The Extra Man. Yes they did. They're they're married, They're great,

539
00:29:54,400 --> 00:29:59,160
Speaker 1: so yeah, but that's we're actually doing. Um. I'm a

540
00:29:59,520 --> 00:30:04,440
Speaker 1: writer in New York. My relationship has just ended. Without

541
00:30:04,480 --> 00:30:06,719
Speaker 1: giving too much away, people think that I tried to

542
00:30:07,040 --> 00:30:11,720
Speaker 1: kill myself and drama. It's it's a drama with comedy

543
00:30:11,720 --> 00:30:14,800
Speaker 1: in it. Um and then I have to be released

544
00:30:14,840 --> 00:30:16,760
Speaker 1: to a family member when I'm in the hospital because

545
00:30:16,760 --> 00:30:18,400
Speaker 1: they don't have enough room in the hospital, and so

546
00:30:18,440 --> 00:30:19,600
Speaker 1: I have to go home to my mom, who in

547
00:30:19,680 --> 00:30:23,680
Speaker 1: that bending plays I'm seeing her or talk to her,

548
00:30:23,720 --> 00:30:26,360
Speaker 1: and you know, eight ten years so it's sort of

549
00:30:27,120 --> 00:30:31,600
Speaker 1: going back home finding out what's important, that whole kind

550
00:30:31,640 --> 00:30:35,160
Speaker 1: of thing. I love the script. I'm really excited. I

551
00:30:35,160 --> 00:30:38,640
Speaker 1: haven't seen the finished product yet, but I'm really excited

552
00:30:38,640 --> 00:30:42,160
Speaker 1: about it. This is a trite question, but I often

553
00:30:42,200 --> 00:30:45,200
Speaker 1: think about this myself, being older than you and coming

554
00:30:45,200 --> 00:30:47,600
Speaker 1: from a different generation. When I would come in and

555
00:30:47,640 --> 00:30:50,160
Speaker 1: I would meet people that were not peers of mine,

556
00:30:50,200 --> 00:30:53,200
Speaker 1: but people that I really admired. But I didn't always

557
00:30:53,200 --> 00:30:55,680
Speaker 1: work with people that were, you know, on Turner classic movies,

558
00:30:55,720 --> 00:30:58,400
Speaker 1: so to speak. I wasn't making movies with John Garfield

559
00:30:59,200 --> 00:31:02,560
Speaker 1: but the and William Holden. But when I would meet

560
00:31:02,600 --> 00:31:05,520
Speaker 1: these people that I deeply admired, it was just such

561
00:31:05,520 --> 00:31:09,840
Speaker 1: an amazingly resonating experience. And on SNL you've got a

562
00:31:09,840 --> 00:31:12,800
Speaker 1: different person every week, presumably, who were some of the

563
00:31:12,800 --> 00:31:14,840
Speaker 1: ones that are most memorable to you? That you work with.

564
00:31:14,880 --> 00:31:17,560
Speaker 1: You were like, I can't believe I'm standing here doing

565
00:31:17,560 --> 00:31:20,920
Speaker 1: my thing with blank well SNL side and neut bending

566
00:31:20,960 --> 00:31:23,080
Speaker 1: on this movie. I completely had that with her. I

567
00:31:23,120 --> 00:31:25,040
Speaker 1: couldn't believe I was doing scenes with her and she

568
00:31:25,120 --> 00:31:27,720
Speaker 1: was playing my mother. I mean, I can't even just

569
00:31:27,840 --> 00:31:31,960
Speaker 1: very gifted. Yeah, um, I got SNL. It's like every

570
00:31:31,960 --> 00:31:33,680
Speaker 1: week there's different Can you think of even one or

571
00:31:33,720 --> 00:31:39,840
Speaker 1: two that you just went holy, no, no, come on true? Um.

572
00:31:39,840 --> 00:31:43,000
Speaker 1: Steve Martin, when I first met him, I was like,

573
00:31:43,040 --> 00:31:48,000
Speaker 1: oh my gosh, I've I've watched you and worship yeah

574
00:31:48,200 --> 00:31:52,720
Speaker 1: for most of my life and that was pretty crazy.

575
00:31:52,840 --> 00:31:58,520
Speaker 1: And de Niro when he posted when it was it

576
00:31:58,720 --> 00:32:02,240
Speaker 1: was amazing less you know what it is because you

577
00:32:02,280 --> 00:32:04,400
Speaker 1: meet people, you go out to parties whatever, and you

578
00:32:04,440 --> 00:32:07,240
Speaker 1: meet people. But when people come to sn L, you're

579
00:32:07,240 --> 00:32:09,719
Speaker 1: seeing such a different side to them because they're not

580
00:32:09,760 --> 00:32:12,560
Speaker 1: in their element. Some of the more dramatic actors don't

581
00:32:12,600 --> 00:32:17,520
Speaker 1: have comedy experience, so they're kind of in there like

582
00:32:17,600 --> 00:32:21,240
Speaker 1: what do I do you know? Someone like Robert de Niro,

583
00:32:21,320 --> 00:32:23,000
Speaker 1: I'm sure he came in the first time he hosted

584
00:32:23,000 --> 00:32:26,000
Speaker 1: and was like, what, it's interesting to see people not

585
00:32:26,160 --> 00:32:29,640
Speaker 1: in their element, come on the show and be sort

586
00:32:29,680 --> 00:32:36,560
Speaker 1: of like, tell me what to do. SNL is winding

587
00:32:36,640 --> 00:32:43,360
Speaker 1: down for you now, Um, I've I don't know, um

588
00:32:43,440 --> 00:32:46,479
Speaker 1: when your contract up this year? Yeah, this is this

589
00:32:46,520 --> 00:32:49,920
Speaker 1: is the last season you're contracted for. And I guess

590
00:32:49,960 --> 00:32:52,800
Speaker 1: it would be safe to say that although people there

591
00:32:52,840 --> 00:32:55,440
Speaker 1: are crying and sobbing and unhappy, that they don't want

592
00:32:55,480 --> 00:32:58,560
Speaker 1: you to leave twas ever, Thus, yes, I mean everyone

593
00:32:58,600 --> 00:33:02,920
Speaker 1: has to leave, uh, And I will say that when

594
00:33:02,920 --> 00:33:10,800
Speaker 1: I do leave, it's not because I not because I'm

595
00:33:10,800 --> 00:33:14,400
Speaker 1: sick of it, and not because I see something better

596
00:33:14,800 --> 00:33:18,960
Speaker 1: or anything like that. It's just that it's time. When

597
00:33:19,000 --> 00:33:21,840
Speaker 1: I do leave, it will be the hardest thing. I mean,

598
00:33:21,880 --> 00:33:24,320
Speaker 1: you know, you're there for a week and then and

599
00:33:24,320 --> 00:33:27,640
Speaker 1: on Saturday night you're you're sad because you leave these people.

600
00:33:27,760 --> 00:33:30,400
Speaker 1: And people ask me why did you do it fifteen times?

601
00:33:30,760 --> 00:33:32,480
Speaker 1: And I look at it, my go if you could

602
00:33:32,480 --> 00:33:35,160
Speaker 1: do it fifteen times, trust me, you would. Yeah. This

603
00:33:35,200 --> 00:33:38,320
Speaker 1: is my seventh year, and I mean that's my family,

604
00:33:38,400 --> 00:33:41,680
Speaker 1: it's my heart, it's New York to me, and it's

605
00:33:41,680 --> 00:33:45,120
Speaker 1: your history. Yeah, but you know, you have to leave

606
00:33:45,440 --> 00:33:48,400
Speaker 1: things that you love. But what would you miss? Most

607
00:33:48,400 --> 00:33:54,800
Speaker 1: about us and now, um yeah, it's a two parter.

608
00:33:55,080 --> 00:33:58,400
Speaker 1: At the people. I'm going to miss that camaraderie and

609
00:33:58,400 --> 00:34:01,640
Speaker 1: I'm going to miss seeing all those faces every day

610
00:34:01,760 --> 00:34:06,640
Speaker 1: and what the people bring out in me, that creative

611
00:34:06,720 --> 00:34:08,719
Speaker 1: muscle that you have when you're at SNL. You know,

612
00:34:09,000 --> 00:34:11,799
Speaker 1: it's so fast paced. You're putting a puzzle together and

613
00:34:11,840 --> 00:34:19,000
Speaker 1: it has to be put together by Saturday, and you're

614
00:34:19,000 --> 00:34:22,279
Speaker 1: trying to create something that you It's like you have

615
00:34:22,400 --> 00:34:24,919
Speaker 1: to figure it out by that day, whether you're writing

616
00:34:24,920 --> 00:34:31,080
Speaker 1: it on Tuesday or Thursday, and being surrounded by creative

617
00:34:31,080 --> 00:34:33,200
Speaker 1: people and knowing that you're all in it together and

618
00:34:33,200 --> 00:34:36,720
Speaker 1: you're putting on a show and you're all like pushing

619
00:34:36,760 --> 00:34:41,759
Speaker 1: this huge boulder together. Every Saturday you do something that

620
00:34:41,800 --> 00:34:45,400
Speaker 1: you're scared to do. I think I will miss that feeling.

621
00:34:45,560 --> 00:34:48,359
Speaker 1: And of course you have absolutely no prospects whatsoever. I mean, really,

622
00:34:48,360 --> 00:34:51,040
Speaker 1: it's a really ballsy move on your part, because who

623
00:34:51,080 --> 00:34:54,480
Speaker 1: the f can hire you? I don't know. I may

624
00:34:54,920 --> 00:34:59,040
Speaker 1: go back to open up a canoe shop. Do you

625
00:34:59,080 --> 00:35:01,759
Speaker 1: say to yourself the goal, to the extent that you

626
00:35:01,800 --> 00:35:04,560
Speaker 1: want to say or you can say, is the goal

627
00:35:04,680 --> 00:35:07,440
Speaker 1: for you? Films you like the long breaks and the

628
00:35:07,480 --> 00:35:12,080
Speaker 1: more deliberate, thoughtful process of writing, and it's less, you know,

629
00:35:12,440 --> 00:35:15,399
Speaker 1: kind of factory work like assembly line work like TV

630
00:35:15,520 --> 00:35:17,800
Speaker 1: can be. Yeah, I mean temporarily. I mean I I

631
00:35:18,320 --> 00:35:21,560
Speaker 1: don't know. I don't like the word goal because I

632
00:35:21,560 --> 00:35:25,319
Speaker 1: feel like those are always changing for me. You don't

633
00:35:25,320 --> 00:35:27,520
Speaker 1: like having goals. I don't like having goals. That's why,

634
00:35:28,400 --> 00:35:30,600
Speaker 1: you know, do what I do? I don't know. I

635
00:35:30,640 --> 00:35:35,240
Speaker 1: want to direct, I want to live in Paris and paint.

636
00:35:35,320 --> 00:35:37,160
Speaker 1: I want to do like I don't know. I want

637
00:35:37,160 --> 00:35:39,520
Speaker 1: to do a lot of different things. Seriously, if you

638
00:35:39,719 --> 00:35:42,879
Speaker 1: live in Paris and do what I don't know, you'd

639
00:35:42,960 --> 00:35:45,600
Speaker 1: last in Paris for about two months. Well maybe, but

640
00:35:45,640 --> 00:35:47,839
Speaker 1: then I live in Paris for two months. There you go.

641
00:35:48,040 --> 00:35:49,960
Speaker 1: You and I are going to have dinner when we

642
00:35:50,000 --> 00:35:53,440
Speaker 1: talk about the Haunted Studio movie that John is going

643
00:35:53,480 --> 00:35:56,200
Speaker 1: to give us notes on. We'll get together. Also, we'll

644
00:35:56,200 --> 00:35:58,399
Speaker 1: have another lunch of separates to talk about healthy goal

645
00:35:58,440 --> 00:36:01,200
Speaker 1: making healthy right, you know what I mean? It's not

646
00:36:01,239 --> 00:36:03,200
Speaker 1: that I don't think you should have goals. Let me

647
00:36:03,239 --> 00:36:06,279
Speaker 1: go back. What I'm saying is my life right now

648
00:36:06,360 --> 00:36:09,320
Speaker 1: is not what I thought it would be six months ago.

649
00:36:10,640 --> 00:36:12,680
Speaker 1: But you never know what's going to happen, and it's

650
00:36:12,760 --> 00:36:15,399
Speaker 1: so day to day and I don't know. I just

651
00:36:16,040 --> 00:36:17,960
Speaker 1: I don't know. I wake up every day and trying

652
00:36:17,960 --> 00:36:20,920
Speaker 1: to just. But I love that you're so blithe about it,

653
00:36:20,920 --> 00:36:22,520
Speaker 1: but in a healthy way where you're like, you know,

654
00:36:22,719 --> 00:36:25,120
Speaker 1: I'm gonna leave myself because that's artist right to me. No,

655
00:36:25,280 --> 00:36:29,399
Speaker 1: I never want to stop doing creative things, whatever they

656
00:36:29,480 --> 00:36:34,279
Speaker 1: may be. Christin Wig. Next year you may find her

657
00:36:34,320 --> 00:36:37,920
Speaker 1: baking bread in a corner boulongerie in Paris. Oh, I'm

658
00:36:37,920 --> 00:36:39,719
Speaker 1: not gonna bake it. I'm gonna have someone buy it

659
00:36:39,760 --> 00:36:41,759
Speaker 1: for me. I forgot your movie start out, bring it

660
00:36:41,800 --> 00:36:45,279
Speaker 1: to minivered, have someone put the butter on it for me.

661
00:36:46,040 --> 00:36:49,400
Speaker 1: Open my mouth. It's all going well. I can't complain.

662
00:36:49,719 --> 00:36:57,239
Speaker 1: I'm very happy, happy, and seriously funny. Christin Wig. This

663
00:36:57,280 --> 00:37:04,200
Speaker 1: is Alec Baldwin and you're listening to here's the