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Speaker 1: Man, do we have an exciting show today? Donald Faison,

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Speaker 1: We do have an exciting show. You know, we promised

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Speaker 1: the people, we promised the listeners that we wouldn't just

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Speaker 1: have stars of the show on, that we would bring

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Speaker 1: on crew members.

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Speaker 2: You're totally about to geek out about this. You brought

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Speaker 2: up a director. I am going to geek as a

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Speaker 2: fellow director. You're like, Yo, I'm gonna ask him about

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Speaker 2: this shot. I'm gonna ask him about this shot.

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Speaker 1: Well, I am going to talk to him. I think

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Speaker 1: people if I sometimes think when I'm preparing for this,

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Speaker 1: and you know, I do a lot of homework. You

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Speaker 1: should see my desk. It looks like I'm about to

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Speaker 1: write a novel. I was thinking about if I was

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Speaker 1: a listener, I'd want to know some behind it, Like

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Speaker 1: what's it like to be a director of a TV show.

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Speaker 1: Michael Spilder, who we're talking about is is a very

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Speaker 1: big television director, one of the biggest. In fact, he

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Speaker 1: recently won the Emmy for directing Modern Family and he's

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Speaker 1: a very talented guy.

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Speaker 2: Wait wait, hold up, which for the like the final

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Speaker 2: season he won the Emmy.

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Speaker 1: I don't have the exact Emmy.

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Speaker 2: Well, I want to ask him about some of this stuff,

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Speaker 2: like how many shows have you directed? Now? Is it

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Speaker 2: like you know, have you lost? Can you keep count

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Speaker 2: of the amount of share?

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Speaker 1: Save your spiller questions, have them, have them pent up

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Speaker 1: inside you and just have them ready to explode when

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Speaker 1: he comes in the room.

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Speaker 2: Okay, well I got it. I only got a couple.

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Speaker 2: I'm great.

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Speaker 1: How are you man, I'm good, I'm good. Did you

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Speaker 1: work out? Are we gonna have a post peloton Donald? Today?

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Speaker 2: I didn't want to talk about it because I did

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Speaker 2: work out today and I finished the workout. But I'm

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Speaker 2: now disappointed with with said instructor that we talked about.

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Speaker 1: Why, Well, he was different today he talked.

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Speaker 2: Too much, started singing hold on and then also singing

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Speaker 2: off beat. Right, I don't I don't do peloton to

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Speaker 2: be talked to off beat. I appreciate it.

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Speaker 1: Was it still the you know what I love about

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Speaker 1: you know? I still well? The thing I liked about

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Speaker 1: spinning was when you could get in the groove, unlock, nang.

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Speaker 2: Right, and so it's important that your your your spin

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Speaker 2: instructor is like a DJ, you know what I mean?

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Speaker 2: So right, he or she should be riding with the beat,

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Speaker 2: so the music's going and and and then you need

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Speaker 2: to be going with the music.

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Speaker 1: Also does he say stuff? You know, I like it

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Speaker 1: when they go like they just make noises like.

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Speaker 2: Hey ho when they diddy that shit.

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Speaker 1: I love that. J Yeah, it's like Diddy Diddy used

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Speaker 1: to be like hey, and you know, it's so embarrassing.

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Speaker 1: I find myself it's so fucking embarrassing. But I find

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Speaker 1: myself on the treadmill not even spinning, and I'm listening

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Speaker 1: to a good song and I'm like, hey, okay, and

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Speaker 1: I'm doing the fucking Diddy spin instructored thing.

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Speaker 2: Ah ha ah, take that.

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Speaker 1: Take that Ahead Ahead. Before I knew Diddy was like

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Speaker 1: a big producer and I was watching those, I'd be like,

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Speaker 1: so this dude just makes a living on Ahead Ahead

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Speaker 1: yeahha Ahead.

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Speaker 2: I couldn't take it. It was like just too much talking,

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Speaker 2: not enough motivation, Like when you talk, you're supposed to motivate,

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Speaker 2: you're not supposed to talk about how dope the song

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Speaker 2: is and stuff like I don't want to hear all

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Speaker 2: of that. I already know this song is good, you

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Speaker 2: know what I mean? You chose the class because I

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Speaker 2: saw the playlist right and you like the music playlist? Right,

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Speaker 2: the playlist looks dope, I can.

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Speaker 1: This isn't an amazing And I know this is the

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Speaker 1: stupidest thing. Everybody knows this, but I was realizing it today.

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Speaker 1: If the fucking music is good and you love it,

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Speaker 1: you can do so much more of a workout. Absolutely,

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Speaker 1: because I've got I've gone to so many spin classes

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Speaker 1: because I do like spinning, and the music is just

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Speaker 1: so not my thing. I mean, it's other people's thing.

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Speaker 1: I'm not, you know, to each their own, but I'm like,

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Speaker 1: And then today I had made this like awesome mix

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Speaker 1: that I was fucking grooving out to, and I was like,

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Speaker 1: I could really work out a long time to this

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Speaker 1: amazing mix. I mean, but I don't where you work out?

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Speaker 1: Do you like to work out to? Rap? Right?

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Speaker 2: I do like to work out. Wait what do you

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Speaker 2: work out to? You don't work out to?

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Speaker 3: Like?

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Speaker 2: Wait? Wait hold on? I didn't realize there was other

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Speaker 2: music you could work out to.

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Speaker 1: Yes, yes, it's in this country. You don't have to

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Speaker 1: just work out.

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Speaker 2: I can understand house music, but no, what do you wait?

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Speaker 2: Hold up?

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Speaker 1: What do you work I like to work out to pop?

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Speaker 4: Like?

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Speaker 1: But like up tempo pop.

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Speaker 2: Like, what do you kids like?

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Speaker 1: I'm opening up the fucking playlist right now because there

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Speaker 1: were some fire songs on Here.

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Speaker 2: We Go, Here we Go recommendations from Zach Braff.

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Speaker 1: Avichi has this song. It's like his most popular song.

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Speaker 1: It's wake Me Up, and it's just like up tempo,

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Speaker 1: and it makes me think of this time, because when

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Speaker 1: you're in this time and you're working out, you're like,

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Speaker 1: wake me up from this fucking horrible nightmare. So I

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Speaker 1: like that. I had, you know, I had Michelle branch

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Speaker 1: On here, because you know, I love my girl Michelle

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Speaker 1: brand I had Oh Asia, I love cea ed Sheer

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Speaker 1: Sia Unstoppable, Unstoppable Today, and I had ed Sheering with

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Speaker 1: Chance the rapper You crossed me, you grabbed me Joel's

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Speaker 1: jam and she knows that song. Oh and also Fleetwood Mac.

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Speaker 1: This is an old school one. I don't want to

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Speaker 1: know at bath then non.

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Speaker 2: So I worked out too. Ten crack Commandments b.

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Speaker 1: I Okay, we're on a very different plane right now.

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Speaker 2: You don't know that song.

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Speaker 1: I know who the Notorious b I G Is that song?

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Speaker 1: Give us a sample.

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Speaker 2: It's the ten Commandments of selling Drugs.

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Speaker 1: Yeah, I'm the I don't know. I'm dancing and working

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Speaker 1: out to Michelle Ranch and you're listening to a song

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Speaker 1: about crack.

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Speaker 2: You know, we grew up differently. Yes, I guess we

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Speaker 2: grew up differently.

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Speaker 1: We did.

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Speaker 2: Hey, should we go again to the show.

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Speaker 1: Let's invite in our special guess.

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Speaker 2: About six seven eight stories.

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Speaker 3: I'm not show.

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Speaker 1: We made about a bunch of times, and nurses.

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Speaker 5: Said, here's the stories natural should know. So YadA here yea, here.

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Speaker 1: What a song. Lots of talk about the song, the song.

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Speaker 1: I gotta tell you something about those numbers. My whole

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Speaker 1: timeline is people laughing at and saying the numbers and

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Speaker 1: just writing them non stop in my timeline. That's becoming,

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Speaker 1: unfortunately to me. But of course Bill will love it.

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Speaker 1: He's become a huge hit with his whole bit about

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Speaker 1: saying five eight.

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Speaker 2: Yeah, he's like the PC. Well he's not PC, but

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Speaker 2: he's like Todd. He's like the Todd of our show.

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Speaker 2: He comes in and he delivers every time, dude, every time,

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Speaker 2: he's like ups, always delivers, He always delivers. All right,

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Speaker 2: let's bring in our guests.

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Speaker 1: Let's bring in our very special guests. Turn him on,

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Speaker 1: bring him in ladies and gentlemen. Oh my god, I

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Speaker 1: haven't seen him in years. Yayman, ladies and gentlemen. Michael Stiller. Listen, Michael,

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Speaker 1: you are the very first guest we're having on the

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Speaker 1: show who is a member of the crew, not an

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Speaker 1: actor or a writer. And I'm just We're so you're here.

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Speaker 3: It's really awesome, thrilled to be here.

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Speaker 2: You're I would say you're our first director. But Zach

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Speaker 2: has directed an episode and Bill has directed an episode.

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Speaker 1: Right, but not not before Michael Spiller Michaels are our

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Speaker 1: first director of from season one.

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Speaker 2: He is also directed season No, he wrote it, that's right.

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Speaker 1: No, And I want to say that Michael, I would

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Speaker 1: say I think maybe directed the most. Spiller Do you

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Speaker 1: know that trivia? Is that true?

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Speaker 3: It is true? Of how many episodes? Twenty twenty episodes?

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Speaker 1: Twenty episodes?

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Speaker 2: You know.

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Speaker 3: As I go and I work on other shows and stuff,

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Speaker 3: I always meet Scrubs fans, and without fail, I say

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Speaker 3: I've directed more episodes than any are human, leaving the

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Speaker 3: possibility that another someone from another species has directed more

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Speaker 3: than me.

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Speaker 1: Right, but I can confirm it. I can confirm they

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Speaker 1: have it. I would also confirm Michael that you are

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Speaker 1: one of our favorites. If you look at IMDb, you'll

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Speaker 1: see there's lots of directors of scool. Some came in

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Speaker 1: for one episode and then never came back for either

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Speaker 1: Bill's reasons or their reasons, mostly Bills probably, And then

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Speaker 1: there's people like you that everybody loved so much and

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Speaker 1: you did twenty Yeah, I guess go back to how

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Speaker 1: it all began for you, at least with the Scrubs connection.

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Speaker 1: How you got this. I know that back in the

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Speaker 1: day you were, Michael was a cinematographer. He was shooting

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Speaker 1: the show Sex and the City. I don't know if

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Speaker 1: you've ever heard of that show, but Michaeh was the

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Speaker 1: cinematographer on the show and then began to direct that show.

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Speaker 1: And then Michael just talked a little bit about how

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Speaker 1: you got how you transitioned from shooting into directing TV.

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Speaker 3: Well, I mean I went to film school. I went

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Speaker 3: to Sunny Purchase Upstate, New.

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Speaker 2: York, New York, New York, New York, that's right.

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Speaker 3: And I started making my own films when when I

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Speaker 3: was a kid in Brooklyn, saved up my paper route,

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Speaker 3: bought a Super eight camera and went to film school

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Speaker 3: and I wanted to be a cinematographer. I didn't want

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Speaker 3: to be a director because actors were crazy, let's face it,

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Speaker 3: and you know it was mainly I shot a lot

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Speaker 3: of indie movies and music videos and documentaries and travel

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Speaker 3: all over the place. And then I got married and

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Speaker 3: wanted to start a family, and TV sounded like, well,

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Speaker 3: maybe that would provide a little more stable lifestyle. And

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Speaker 3: I was shooting out Sex and the City. And at

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Speaker 3: the end of the first season, my agent said, if

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Speaker 3: the show gets picked up, I'm gonna ask for an

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Speaker 3: episode for you to direct season two. And I'm like, nope,

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Speaker 3: I'm good, I'm good, I'm happy where I am. I

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Speaker 3: don't need it. He said, no, You're going to do it,

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Speaker 3: and I did, and then I did went really well.

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Speaker 3: I also dpe'd that episode. Wow, I don't think I

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Speaker 3: don't recommend doing that for your first episode of TV.

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Speaker 2: That seems like a lot of work.

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Speaker 3: It's a huge amount of work. And then the third

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Speaker 3: season I did two more. In the fourth season, I

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Speaker 3: did four episodes, and by that time we had moved

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Speaker 3: to La bought a house, moved back for the fourth season. Uh,

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Speaker 3: and then moved to la finally right after nine to eleven,

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Speaker 3: but not because of it. Uh And I had already

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Speaker 3: signed with my current agent, who after three episodes, you know,

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Speaker 3: seeing what I did, said I want to wrap the

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Speaker 3: sky And he was at the same agency where Bill

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Speaker 3: Lawrence was represented.

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Speaker 1: Oh see, it is all about connections in Hollywood, everybody.

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Speaker 3: It's true, no ret give up.

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Speaker 1: So Scrubs was your was Scrubs your first non Sex

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Speaker 1: in the City gig?

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Speaker 3: It was meant to be, so, you know, my agent

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Speaker 3: sight unseen, you know, convinced Bill. He did a great

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Speaker 3: job presenting me to Bill, and it was meant to

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Speaker 3: be my first episode After Sex and the City. I

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Speaker 3: wound up doing an episode of Greg the Bunny. Oh

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Speaker 3: I remember that show?

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Speaker 1: God was that? Who was who was that?

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Speaker 2: Who was the star of that show?

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Speaker 3: Sarah Silberman Levy seth Green, Here we go.

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Speaker 2: Look for it was.

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Speaker 3: It was a great cast, but it was like what

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Speaker 3: you know, huge puppet sets and all this other stuff,

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Speaker 3: Like it's like why these like I've never done a

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Speaker 3: puppet show.

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Speaker 1: You know.

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Speaker 3: You had to build sets that were all like four

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Speaker 3: feet off the ground so people could stick their hands

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Speaker 3: up through manipulate anyway, Steve Levittan was the executive producer

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Speaker 3: on that, so I met Steve on my first episode.

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Speaker 3: I later did Modern Family and a bunch of other

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Speaker 3: shows with and then Bill Lawrence on my second show.

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Speaker 3: So very very good agent. Thing.

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Speaker 1: By the way, if you're gonna meet two showrunners when

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Speaker 1: you get to Hollywood, it's down good that it's Steve

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Speaker 1: Levinton and Bill Lawrence. Yeah right, your agent's pretty good.

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Speaker 3: He's Sean Frieden.

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Speaker 2: Hey how many? Wow? Shout out? How many? How many?

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Speaker 2: How many pisodes of Modern Family did you direct? Did

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Speaker 2: you direct the most Modern Family episodes? Also?

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Speaker 3: No, I didn't, but I did twenty two episodes.

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Speaker 1: Twenty two episodes and won the Emmy, won the Emmy.

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Speaker 1: I wish we could have given you an Emmy. Spiller,

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Speaker 1: you deserve.

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Speaker 2: You tried, We tried.

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Speaker 3: I know we all were shot. I know you did.

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Speaker 1: Now, Michael, I just want to say you know again,

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Speaker 1: season one, we're meeting all these directors. For those of

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Speaker 1: you who don't know, it's usually a different director every

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Speaker 1: week because they have to prep. They have about a

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Speaker 1: week's prep before they shoot the episode, and so you're

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Speaker 1: always alternating, and some can't come in and you know,

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Speaker 1: you know, Donald and I would would like some more

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Speaker 1: than others. Some were really good with comedy and others

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Speaker 1: were good with moving the camera. One of the things

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Speaker 1: I think we loved about you, Michael, is that because

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Speaker 1: you were a cinematographer first, you really were amazing with

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Speaker 1: moving the camera and doing interesting things with the camera.

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Speaker 1: But also you did know how to talk to actors

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Speaker 1: and make jokes funnier. And I thought maybe you could

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Speaker 1: just talk to that about about about how how you

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Speaker 1: approach something, how you approach the script, and and and

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Speaker 1: your experience with what it's like being you know, having

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Speaker 1: the DP background.

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Speaker 2: Also, we should go over the process of what it

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Speaker 2: takes to Since we have a television director on right now,

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Speaker 2: we should go through the process of what it takes to.

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Speaker 2: I mean, directing is like the end of the journey,

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Speaker 2: you know, I mean that's not even close to the

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Speaker 2: end that well, it's the middle of the journey. Really.

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Speaker 2: There's prep, there's you know, all of pre production, and

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Speaker 2: then there's post production. We should also talk about that.

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Speaker 2: Our listeners might be interested in that.

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Speaker 1: Yeah, they will. So, Michael, we just gave you a

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Speaker 1: lot answer all of that. Go no talk talk first

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Speaker 1: about you know, being having a DP background, and then

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Speaker 1: how that affected the way you work.

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Speaker 3: Well, I think there's no question that having the background

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Speaker 3: as a DP was extremely helpful. I mean, first of all,

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Speaker 3: event that when I came on the set, I could

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Speaker 3: usually bond with the crew very quickly because I spoke

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Speaker 3: their language. I sort of got it. You know. I

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Speaker 3: would stay seen in such a way that worked first

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Speaker 3: and foremost for the story, yet also kept the logistics

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Speaker 3: in mind and the practical aspect of it. And you know,

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Speaker 3: and I was flexible enough that you know, I encouraged

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Speaker 3: and I love to collaborate. I want the DPS input.

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Speaker 3: You know, obviously the cast would give input to the

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Speaker 3: showrunners give input as well, but the nuts and bolts

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Speaker 3: of it, you know, I understood. I've also been a grip,

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Speaker 3: an electrician. I've pushed dollie've, I've pulled focus, I've operated

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Speaker 3: camera for other people. So you know, I love the crew.

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Speaker 3: I mean, these are my people and and I think

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Speaker 3: most people I've worked with can pick up on that.

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Speaker 3: So and I have a deep respect for them, and

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Speaker 3: that that's half the battle. You know, when I was

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Speaker 3: shooting Sex in the City, if we had a new director,

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Speaker 3: and if you know, Sarah Jessica Parker wasn't in the

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Speaker 3: first scene, you know that that director was shooting. When

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Speaker 3: she would first come on to set, she would look

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Speaker 3: at me and like gauging, like cow is this person?

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Speaker 3: And if if I gave her like the I don't know, look,

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Speaker 3: then that person had to work. You know, it's an

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Speaker 3: uphill battle just to get back to you know, zero, right,

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Speaker 3: So you know it's enormously important because I mean, you

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Speaker 3: guys know it's like you love your crew and it's

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Speaker 3: like it's one big family. So a director walking on

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Speaker 3: to a TV show has to be both a leader,

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Speaker 3: right and and you know they're not the ultimate top

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Speaker 3: of the pyramid, but they still got to lead the crew.

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Speaker 3: They've got to get the crew behind, they've got to

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Speaker 3: work with all the you know, the elements that are

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Speaker 3: already in place, and you have to respect that that

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Speaker 3: family that you're walking into.

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Speaker 1: That's what's so bizarre about it. That's what's so bizarre

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Speaker 1: about it is and I've only done it I think

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Speaker 1: once or twice, Michael, that is, come onto a show

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Speaker 1: that is an entity and say, hey, everybody, I'm the

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Speaker 1: leader for the week, and you know, it's one thing

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Speaker 1: when you come back and like you came back, you know,

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Speaker 1: nineteen more times. But on the first one, it's like, hey, everybody,

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Speaker 1: I know that you guys are all friends and have

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Speaker 1: inside jokes and have a way that you do things. Well,

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Speaker 1: I'm the boss for the week. And it's really tricky, right.

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Speaker 3: It's sort of like I liken it sometimes too. You're

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Speaker 3: gonna be a conductor on a train. You're gonna take

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Speaker 3: it from this station to the next station. The track

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Speaker 3: has already been laid, you know, everywhere the train already

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Speaker 3: was is established there. We have a very good idea

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Speaker 3: where the train's going to keep going. And yeah, you

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Speaker 3: can slow down around this corner because you like that view,

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Speaker 3: or you can speed up at this section, or you know,

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Speaker 3: you can lean a little left or a little right,

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Speaker 3: but you can only go so far because the train's

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Speaker 3: got to stay on those tracks, right. You can't suddenly say,

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Speaker 3: you know, we're gonna make a left here at Des

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Speaker 3: Moines and go somewhere else.

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Speaker 1: That's that's a really good, great analogy, Michael, because I

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Speaker 1: think that you were.

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Speaker 2: Just talking about this actually the last episode we well,

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Speaker 2: I was.

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Speaker 1: Talking about how it's so tricky, you know, again just

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Speaker 1: to remember Bill spoke a little about this, but to

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Speaker 1: remind people who aren't in the business, you know, you know,

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Speaker 1: the the pilot director and the showrunner will create sort

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Speaker 1: of the look of the show. How does the camera move,

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Speaker 1: what's sort of the language of the show. In our show,

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Speaker 1: we had fantasies and we had, you know, big camera move.

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Speaker 1: The camera was sort of a character. And then other

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Speaker 1: directors that come on they need to use that language.

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Speaker 1: They can, they can, like Michael just said in his

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Speaker 1: train analogy, they can slow down, they can look at

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Speaker 1: this view, but they can't. You have to use the

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Speaker 1: language of the show. If you look at the Office,

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Speaker 1: for example, it's shot like a mockumentary modern family I

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Speaker 1: believe was as well, yes, whereas Scrubs is crane shots

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Speaker 1: and Dolly moves and steady cam shots. So you have

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Speaker 1: to use that language. But then somehow find a way

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Speaker 1: to make it your own. And I'm glad we're gonna

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Speaker 1: watch the episode with you, because I think there's a

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Speaker 1: lot of cool stuff in here that you that you

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Speaker 1: found a way to make your own. I like that.

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Speaker 2: I do like the train analogy. You know, what I mean.

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Speaker 2: It's the same route every time, it's the same track

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Speaker 2: every time time. How can you can bend it and

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Speaker 2: move it, you know, to make it your own so

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Speaker 2: like if a different conductor, you know what I mean,

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Speaker 2: I don't know. I love that analogy. That's really and in.

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Speaker 1: Season one I will say, you know, even on episode whatever,

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Speaker 1: this is one thirteen, you're still you're still finding that,

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Speaker 1: you're still shaping it.

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Speaker 2: Now.

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Speaker 1: I noticed, Michael, you did some things in here, like

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Speaker 1: going into blacks and coming back that I don't think

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Speaker 1: we'd done too much of yet. That became part of

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Speaker 1: the lexicon. So is an early director in the show.

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Speaker 1: I just directed episode two of one of Bill's news shows.

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Speaker 1: I still felt like, okay, it's early on, I can

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Speaker 1: I'm still contributing to.

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Speaker 3: What the look of the show is, you know, right

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Speaker 3: for sure when you're when you're lucky enough to direct

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Speaker 3: early in the show's run, there's still a lot of

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Speaker 3: discovery going on. Yeah, the actors are really fine that

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Speaker 3: they're characters, so they're still open to, you know, someone

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Speaker 3: else's input. The writers are discovering what the actors are

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Speaker 3: good at, and they're tailoring the writing to you know,

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Speaker 3: help those words fit better in their mouths, and you

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Speaker 3: find the comedy if you're doing a comedy. And similarly,

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Speaker 3: for a director, it's like, yes, you've you've been given

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Speaker 3: the overall template, the framework, but it's a jumping off point.

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Speaker 3: It's not like this is meant to just box you in.

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Speaker 3: You're allowed to push things a little bit further. John Wells,

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Speaker 3: i think, is credited as saying to Paris Barkley, I

402
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Speaker 3: want you to make an episode of Er only better. Yes,

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Speaker 3: like it still has to feel like an episode of

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Speaker 3: the show that you're already watching, you know, and you've

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Speaker 3: grown accustomed to. But push a little bit, get your

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Speaker 3: thumbprints on it, and in consultation, you know. That's the thing.

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Speaker 3: It's like, I could have what I think is a

408
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Speaker 3: great idea, but I'm neither. If that's the case, I

409
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Speaker 3: have to run it past the showrunner, right, and I'm

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Speaker 3: presenting it.

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Speaker 1: If you have something, let's say you're in prep and

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Speaker 1: you have like a five day prep beforehand, and you go, oh,

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Speaker 1: I have an awesome idea. If it's a little outside

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Speaker 1: the box, you would you would run it by the

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Speaker 1: showrunner and say, hey, what do you think if I

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Speaker 1: do this, and I imagine Bill usually said, yeah, go

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Speaker 1: for it. Right.

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Speaker 3: Bill was so amazing that, I mean, it was such

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Speaker 3: a great guy to work with so early in my career,

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Speaker 3: you know, as a freelance director, because I mean he

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Speaker 3: I think this episode has a good example the end

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Speaker 3: where we we have a music montage. You know, it's

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Speaker 3: like and they kept the song on Hulu.

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Speaker 2: So yeah, that was pretty cool. Right, They didn't.

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Speaker 3: They didn't swap it out. And you know, I can't

426
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Speaker 3: remember how many there were leading up to this, but

427
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Speaker 3: this felt like it was one of the sort of

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Speaker 3: bigger ones, like we're committing to this song. It was

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Speaker 3: in the script early, you know, It's like it wasn't

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Speaker 3: just like there'll be a rock song here and you know,

431
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Speaker 3: do some cool shots. And it may not have been

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Speaker 3: on this episode, but early in the run with you guys,

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Speaker 3: Bill said to me, because I was like enthusiast pitching this,

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Speaker 3: you know montage I want to do in all these transitions,

435
00:21:03,920 --> 00:21:07,920
Speaker 3: and he's like, dude, if I will cut story, if

436
00:21:07,960 --> 00:21:11,840
Speaker 3: you give me a beautiful piece of cinema, Oh great, wow,

437
00:21:11,880 --> 00:21:14,920
Speaker 3: And that's just insane. I mean writers never say that,

438
00:21:15,000 --> 00:21:20,080
Speaker 3: you know, And so I really felt empowered and encouraged

439
00:21:20,640 --> 00:21:22,800
Speaker 3: by Bill, and he also, you know, there's no bullshit

440
00:21:22,840 --> 00:21:25,800
Speaker 3: with him. If he doesn't like it, he just tells you.

441
00:21:25,880 --> 00:21:27,879
Speaker 1: Well, there's plenty of times he would come to rehearsal.

442
00:21:28,080 --> 00:21:30,280
Speaker 1: I'm sure this never happened on one of your episodes, Michael,

443
00:21:30,320 --> 00:21:32,280
Speaker 1: but there's plenty of times. You know. The way the

444
00:21:32,280 --> 00:21:33,879
Speaker 1: way it would work is the director would sort of

445
00:21:33,880 --> 00:21:35,960
Speaker 1: block out where everyone's gonna go, where the camera's gonna go,

446
00:21:36,119 --> 00:21:37,880
Speaker 1: And there were definitely times and then Bill would come

447
00:21:37,960 --> 00:21:40,359
Speaker 1: to the rehears arrive at the rehearsal and be like, yeah,

448
00:21:40,440 --> 00:21:42,600
Speaker 1: that makes it not funny at all. We're not doing it.

449
00:21:44,080 --> 00:21:47,399
Speaker 1: And then you know, you watch some directors be like

450
00:21:47,640 --> 00:21:50,040
Speaker 1: it was you know, he was even for Bill, he

451
00:21:50,080 --> 00:21:52,960
Speaker 1: was tactful about it sometimes, but you know it was

452
00:21:53,000 --> 00:21:54,920
Speaker 1: like he's like, no, I'm not not doing that. If

453
00:21:54,920 --> 00:21:56,439
Speaker 1: you put him over there and her over there, it

454
00:21:56,440 --> 00:21:58,240
Speaker 1: does it's not funny anymore. So we got to do this,

455
00:21:58,760 --> 00:22:01,320
Speaker 1: and you know, you have to be a little bit

456
00:22:01,359 --> 00:22:03,640
Speaker 1: humbled about it as a director because you're like, oh,

457
00:22:03,920 --> 00:22:05,320
Speaker 1: you know, I didn't now I see.

458
00:22:05,400 --> 00:22:08,400
Speaker 3: You know, I think that most of the time when

459
00:22:09,359 --> 00:22:15,480
Speaker 3: when writers have clear ideas about that. They're generally right,

460
00:22:15,840 --> 00:22:18,080
Speaker 3: you know, if they're if they're if they're people you

461
00:22:18,119 --> 00:22:20,920
Speaker 3: know of the Steve love It to and Bill Lawrence,

462
00:22:21,119 --> 00:22:26,399
Speaker 3: Mindy Kaling caliber, like they get it, and you know,

463
00:22:26,480 --> 00:22:28,960
Speaker 3: you listen to them, you don't fight them, and and

464
00:22:29,080 --> 00:22:30,160
Speaker 3: they're generally right.

465
00:22:30,440 --> 00:22:30,560
Speaker 2: Now.

466
00:22:30,600 --> 00:22:32,760
Speaker 3: I did see that happen, you know, with other directors

467
00:22:32,800 --> 00:22:37,040
Speaker 3: when I'd be there prepping. Didn't happen very often with me.

468
00:22:36,640 --> 00:22:40,159
Speaker 1: With Michael Spiller, No, sir, not with now with sorry

469
00:22:40,480 --> 00:22:42,160
Speaker 1: Emmy Award winning Michael spill.

470
00:22:42,560 --> 00:22:45,520
Speaker 3: I mean, but what I do remember happening a lot

471
00:22:45,800 --> 00:22:48,480
Speaker 3: is like we'd be waiting for Bill to come up

472
00:22:48,480 --> 00:22:50,399
Speaker 3: from the writer's room, and you know, must have been

473
00:22:50,440 --> 00:22:53,120
Speaker 3: in the middle of a very fancy paragraph or something,

474
00:22:53,200 --> 00:22:55,639
Speaker 3: and you know, dial we had to wait, but you know,

475
00:22:55,920 --> 00:22:59,719
Speaker 3: the clock is ticking, we're losing a light. So generally

476
00:23:00,040 --> 00:23:04,000
Speaker 3: eight frame to arrive. But sometimes I would rehearse without him. Yeah,

477
00:23:04,240 --> 00:23:08,080
Speaker 3: and inevitably, inevitably, as soon as we finished the rehearsal,

478
00:23:08,359 --> 00:23:10,959
Speaker 3: Bill come walking through the doors and I'd have to

479
00:23:11,160 --> 00:23:14,520
Speaker 3: scrawmb like okay so for this shot, like fake, like

480
00:23:14,560 --> 00:23:16,679
Speaker 3: we're starting the rehearsal from the top right, not just

481
00:23:16,760 --> 00:23:17,920
Speaker 3: finished it right?

482
00:23:18,320 --> 00:23:20,639
Speaker 1: Well, yeah, you know. Another thing that people might not

483
00:23:20,720 --> 00:23:23,199
Speaker 1: know is that the onus to deliver the show in

484
00:23:23,280 --> 00:23:27,320
Speaker 1: five days is all on the director's hands. I mean

485
00:23:27,359 --> 00:23:30,120
Speaker 1: obviously working with his assistant, his or her assistant directors.

486
00:23:30,440 --> 00:23:33,760
Speaker 1: So you are you not only come on to this

487
00:23:33,920 --> 00:23:36,600
Speaker 1: set where you where you don't work every day, to

488
00:23:36,840 --> 00:23:39,439
Speaker 1: lead a crew of people that are all friends. But

489
00:23:39,520 --> 00:23:42,000
Speaker 1: it's your job to be like, guys, we gotta go,

490
00:23:42,080 --> 00:23:43,520
Speaker 1: we gotta go, we got it, we gotta get out

491
00:23:43,520 --> 00:23:46,119
Speaker 1: of here. So that's that's another thing is that you

492
00:23:46,200 --> 00:23:49,720
Speaker 1: have to well you you've you've signed on to deliver

493
00:23:49,960 --> 00:23:52,920
Speaker 1: this episode of television in five twelve hour days.

494
00:23:53,040 --> 00:23:55,000
Speaker 2: You have a ton of support, though you have you know,

495
00:23:55,320 --> 00:23:58,080
Speaker 2: if you have a good first your your golden We

496
00:23:58,160 --> 00:24:02,520
Speaker 2: have some pretty cool first ads on our show, Franklin

497
00:24:02,560 --> 00:24:04,720
Speaker 2: Got Better and Scott Harris.

498
00:24:04,480 --> 00:24:07,120
Speaker 1: And Richard Wells who was an incredible first ad.

499
00:24:07,200 --> 00:24:10,359
Speaker 2: Paul Padrera. We had a few of them, you know

500
00:24:10,400 --> 00:24:12,840
Speaker 2: what I mean? And you worked with all four of them, right.

501
00:24:13,119 --> 00:24:14,600
Speaker 3: Yes, I worked with them all?

502
00:24:15,119 --> 00:24:18,280
Speaker 2: Yeah, which was your favorite?

503
00:24:18,880 --> 00:24:20,480
Speaker 1: No, you don't have to answer that. You don't have

504
00:24:20,560 --> 00:24:24,040
Speaker 1: to answer that. Siller, Should we get into the episode

505
00:24:24,040 --> 00:24:28,639
Speaker 1: because I think would be fun to just really think so. So, Michael,

506
00:24:28,640 --> 00:24:31,240
Speaker 1: the way we do this is but there's really no order.

507
00:24:31,280 --> 00:24:34,120
Speaker 1: We just started to talk about the episodes. Uh, well

508
00:24:34,160 --> 00:24:36,680
Speaker 1: you've heard it. You listened to your your favorite podcast.

509
00:24:37,200 --> 00:24:40,359
Speaker 1: Exactly the first thing I noticed. First of all, we

510
00:24:40,480 --> 00:24:44,480
Speaker 1: have to say that Elizabeth Bogish is not only beautiful, obviously,

511
00:24:44,560 --> 00:24:46,600
Speaker 1: but she's really funny. She's a very good actress.

512
00:24:46,600 --> 00:24:48,600
Speaker 2: I thought she did a fantastic just great moments in

513
00:24:48,640 --> 00:24:52,520
Speaker 2: this episode. And it's also it's also, uh, this is big.

514
00:24:52,720 --> 00:24:55,800
Speaker 2: She's the first, she's the first love interest for JD

515
00:24:56,000 --> 00:24:59,160
Speaker 2: and so, you know, just really set the tone for

516
00:24:59,280 --> 00:25:01,240
Speaker 2: all of the other actresses that would come on to

517
00:25:01,280 --> 00:25:04,040
Speaker 2: play your love interest on the show. And she did

518
00:25:04,160 --> 00:25:06,320
Speaker 2: such a she did such a phenomenal job. And you know,

519
00:25:06,480 --> 00:25:08,280
Speaker 2: you're right, she is very funny, and it made it

520
00:25:08,320 --> 00:25:10,840
Speaker 2: so that whoever else came on had to be like,

521
00:25:10,840 --> 00:25:13,600
Speaker 2: all right, well let me let me, let me see what,

522
00:25:13,720 --> 00:25:15,399
Speaker 2: let me let me let me step up.

523
00:25:15,440 --> 00:25:17,879
Speaker 1: And yeah, they couldn't just be they couldn't just be

524
00:25:18,040 --> 00:25:20,760
Speaker 1: a pretty face. They had to really be good actresses

525
00:25:20,800 --> 00:25:22,960
Speaker 1: and be funny. And and I think that you know,

526
00:25:23,440 --> 00:25:25,800
Speaker 1: Liz was all those things. She she had really good timing.

527
00:25:25,840 --> 00:25:27,639
Speaker 1: She I thought she was good in her dramatic moments.

528
00:25:27,680 --> 00:25:29,720
Speaker 1: And yeah, and of course, Spiller, when you do that

529
00:25:29,720 --> 00:25:32,040
Speaker 1: beauty shot of her at the end arriving with the

530
00:25:32,080 --> 00:25:34,679
Speaker 1: picnic basket, it's so romantic and pretty.

531
00:25:35,640 --> 00:25:35,880
Speaker 2: Yeah.

532
00:25:35,920 --> 00:25:37,920
Speaker 3: Did you have anything the city training in?

533
00:25:38,160 --> 00:25:38,360
Speaker 4: Yeah?

534
00:25:38,960 --> 00:25:41,240
Speaker 1: I was thinking about that. All your sex and the

535
00:25:41,280 --> 00:25:44,480
Speaker 1: city lighting women things all came together in this episode.

536
00:25:44,560 --> 00:25:46,399
Speaker 2: Did you have anything to do with casting on that?

537
00:25:46,640 --> 00:25:46,720
Speaker 5: Like?

538
00:25:46,840 --> 00:25:49,920
Speaker 2: I know that some directors sit down and help out

539
00:25:49,960 --> 00:25:53,680
Speaker 2: with casting on television shows or bring in their own.

540
00:25:54,680 --> 00:25:59,280
Speaker 3: Typically, typically we are you know, we're contractually we're meant

541
00:25:59,359 --> 00:26:01,800
Speaker 3: to be involved than all the casting decisions. I mean,

542
00:26:02,000 --> 00:26:05,160
Speaker 3: every creative decision on the episode that we're directing, we're

543
00:26:05,240 --> 00:26:11,040
Speaker 3: supposed to be involved in. Sometimes an actual span several episodes,

544
00:26:11,160 --> 00:26:14,399
Speaker 3: it's sort of a bigger decision. And or maybe an

545
00:26:14,440 --> 00:26:17,280
Speaker 3: actor's availabilities being challenged and you need to book them

546
00:26:17,359 --> 00:26:21,160
Speaker 3: before the director has technically begun their prep. I can't

547
00:26:21,200 --> 00:26:24,639
Speaker 3: recall what the situation was with Liz. I mean, she

548
00:26:24,760 --> 00:26:27,880
Speaker 3: was fantastic. I hard to imagine anyone who I would

549
00:26:27,920 --> 00:26:30,800
Speaker 3: have rather seen in the role, right, But she did

550
00:26:30,840 --> 00:26:33,960
Speaker 3: have a technically a three episode span, although I directed

551
00:26:34,000 --> 00:26:35,240
Speaker 3: two of her episodes.

552
00:26:35,600 --> 00:26:37,880
Speaker 1: Yeah, the two, the second two, right, not the first

553
00:26:37,920 --> 00:26:40,760
Speaker 1: one where she's in the Mr Action right, right, all right?

554
00:26:41,160 --> 00:26:43,440
Speaker 2: But have you have you gone on to do other

555
00:26:43,520 --> 00:26:44,840
Speaker 2: shows and be like, you know what, I got the

556
00:26:44,840 --> 00:26:47,960
Speaker 2: perfect person and gone back to use actors that you've

557
00:26:47,960 --> 00:26:51,520
Speaker 2: had from Oh sure, I say from Scrubs or from

558
00:26:52,080 --> 00:26:54,000
Speaker 2: or from Sex and the City or whatever.

559
00:26:54,720 --> 00:26:57,800
Speaker 3: Yeah, I mean, whenever I can, I try to recommend

560
00:26:57,840 --> 00:27:00,840
Speaker 3: people who I know are cool and they're going to deliver.

561
00:27:01,160 --> 00:27:03,760
Speaker 3: And because we've all worked with people who are super

562
00:27:03,800 --> 00:27:08,640
Speaker 3: funny on screen and really difficult to work with, and

563
00:27:08,920 --> 00:27:10,840
Speaker 3: you know some some even you know with like a

564
00:27:10,920 --> 00:27:14,320
Speaker 3: toxic personality that could kind of poison a set. It

565
00:27:14,359 --> 00:27:17,120
Speaker 3: only takes one person to poison a workplace.

566
00:27:17,119 --> 00:27:20,440
Speaker 1: That's a lesson to all you young aspiring actors out

567
00:27:20,440 --> 00:27:25,960
Speaker 1: there that everybody talks. Everybody, everybody talks. So you might

568
00:27:26,200 --> 00:27:28,439
Speaker 1: have been a jerk one day and Michael Spiller was

569
00:27:28,440 --> 00:27:31,280
Speaker 1: the director on Sex and the City, and you think

570
00:27:31,560 --> 00:27:34,639
Speaker 1: you went home and went all right, well, I had

571
00:27:34,640 --> 00:27:38,600
Speaker 1: a bad day. And then later and then later Michael's

572
00:27:38,600 --> 00:27:41,080
Speaker 1: directing another show where your name is suggested.

573
00:27:40,640 --> 00:27:45,199
Speaker 2: And he goes, no, no, So you have to be

574
00:27:45,480 --> 00:27:47,760
Speaker 2: My wife always says this sounds way too small to

575
00:27:47,760 --> 00:27:48,360
Speaker 2: be an asshole.

576
00:27:49,200 --> 00:27:52,720
Speaker 3: Exactly, that's the perfect way. And I mean the fact is,

577
00:27:53,560 --> 00:27:57,160
Speaker 3: you know, my wife used to be a costume supervisor,

578
00:27:57,200 --> 00:28:00,960
Speaker 3: a wardrobe supervisor and off. And it's the people behind

579
00:28:01,000 --> 00:28:04,719
Speaker 3: the scenes that get the brunt of an actor's wrath,

580
00:28:05,040 --> 00:28:07,879
Speaker 3: you know, or bad behavior. It's like, if you're making

581
00:28:08,080 --> 00:28:10,879
Speaker 3: you know, your hair and makeup people, or the people

582
00:28:10,880 --> 00:28:13,600
Speaker 3: who are adjusting your clothing, if you're making those people cry,

583
00:28:14,200 --> 00:28:16,240
Speaker 3: you're not a good person, or you need some therapy,

584
00:28:16,280 --> 00:28:19,480
Speaker 3: or you gotta work some shit out. But she told

585
00:28:19,480 --> 00:28:21,399
Speaker 3: me there are a couple of people that made her cry,

586
00:28:22,080 --> 00:28:24,040
Speaker 3: you know, back in the day. And I have had

587
00:28:24,040 --> 00:28:25,320
Speaker 3: the pleasure of passing on some.

588
00:28:25,320 --> 00:28:28,879
Speaker 2: Of ah sweet revenge.

589
00:28:29,760 --> 00:28:32,400
Speaker 1: And you ran home and told your wife, didn't you like, yes,

590
00:28:32,600 --> 00:28:33,280
Speaker 1: what I passed on.

591
00:28:33,680 --> 00:28:35,960
Speaker 2: I don't believe who they tried to push on me today,

592
00:28:35,960 --> 00:28:36,639
Speaker 2: but I said no.

593
00:28:37,320 --> 00:28:44,080
Speaker 1: And his name was Donald Faizon. So Michael, my first

594
00:28:44,120 --> 00:28:46,280
Speaker 1: my first note for you is at twenty four seconds,

595
00:28:46,520 --> 00:28:50,160
Speaker 1: why is my character have a giant entire piece that

596
00:28:50,440 --> 00:28:52,840
Speaker 1: it's a whole chicken on my date plate. I would

597
00:28:52,920 --> 00:28:56,160
Speaker 1: never order such a large meal. I had to stop

598
00:28:56,200 --> 00:28:59,040
Speaker 1: and pause. I'm on this date with this beautiful woman.

599
00:28:59,360 --> 00:29:01,840
Speaker 1: I'm just standing at her, and I have a full

600
00:29:02,000 --> 00:29:03,280
Speaker 1: roasted chicken on my plate.

601
00:29:05,080 --> 00:29:08,320
Speaker 3: You know, all I recall about that is that it

602
00:29:08,480 --> 00:29:11,480
Speaker 3: was part of because it was this The sequence is

603
00:29:11,520 --> 00:29:14,760
Speaker 3: that you can't take your eyes off her. We're so

604
00:29:15,040 --> 00:29:18,160
Speaker 3: fixated on her that you almost forgot to eat.

605
00:29:18,240 --> 00:29:19,000
Speaker 1: So I didn't eat.

606
00:29:19,440 --> 00:29:24,720
Speaker 3: Having a having a vertical, you know, a large meal

607
00:29:24,840 --> 00:29:27,040
Speaker 3: that would read in this shot because there's a lot

608
00:29:27,440 --> 00:29:28,120
Speaker 3: to look at.

609
00:29:28,440 --> 00:29:30,640
Speaker 1: Icy, So you really want to be looking at you.

610
00:29:30,800 --> 00:29:34,160
Speaker 1: But yeah, so you icy. So your rationalization or or

611
00:29:34,200 --> 00:29:37,120
Speaker 1: real genuine rog you wanted it to quickly read that

612
00:29:37,280 --> 00:29:40,760
Speaker 1: I hadn't touched my plate. Yes, it looks like Thanksgiving

613
00:29:40,760 --> 00:29:43,080
Speaker 1: dinner has been served and no one has carved.

614
00:29:44,440 --> 00:29:46,760
Speaker 3: You know, we were on location for that, and you

615
00:29:46,800 --> 00:29:49,239
Speaker 3: know we didn't do that very often on Scrubs, and

616
00:29:49,280 --> 00:29:51,640
Speaker 3: certainly my first episode. I hadn't done it before with

617
00:29:51,680 --> 00:29:54,920
Speaker 3: you guys. Yeah, and you know that may have been

618
00:29:54,920 --> 00:29:57,800
Speaker 3: with the place had to offer what Hugos had to offer.

619
00:29:57,880 --> 00:29:58,760
Speaker 1: Oh, it was Hugos.

620
00:30:00,040 --> 00:30:03,200
Speaker 2: I was gonna ask that is that Hugos.

621
00:30:03,160 --> 00:30:05,080
Speaker 1: And where is it Riverside in the valley?

622
00:30:05,280 --> 00:30:07,160
Speaker 2: Yeah, it was right next to the hospital, just down

623
00:30:07,200 --> 00:30:10,960
Speaker 2: the street. The photo booth in the middle of the supermarket.

624
00:30:11,520 --> 00:30:12,320
Speaker 2: Is that a pharmacy?

625
00:30:13,040 --> 00:30:15,680
Speaker 1: Yeah? What was the deal with that, Mike? Who would

626
00:30:15,680 --> 00:30:17,640
Speaker 1: put a photo booth? Who would put a booth in

627
00:30:17,680 --> 00:30:20,400
Speaker 1: the middle of an aisle of the supermarket? Michael, you

628
00:30:20,400 --> 00:30:22,560
Speaker 1: can reach through the photo booth to get items off

629
00:30:22,600 --> 00:30:23,120
Speaker 1: the shelves.

630
00:30:24,720 --> 00:30:27,920
Speaker 3: Well, maybe they're handy props. You know. This is this

631
00:30:28,000 --> 00:30:31,120
Speaker 3: is before the days of like giant hats and oversized

632
00:30:31,160 --> 00:30:34,240
Speaker 3: sunglasses and big foam pointy thing.

633
00:30:34,680 --> 00:30:36,400
Speaker 1: Was this a set or do you remember?

634
00:30:37,360 --> 00:30:40,160
Speaker 3: I think it was a set and it was just like.

635
00:30:40,320 --> 00:30:43,560
Speaker 2: Yeah, I remember a photo booths being like in like

636
00:30:43,680 --> 00:30:46,360
Speaker 2: bowling alleys or I missed by the way, I miss

637
00:30:46,400 --> 00:30:47,040
Speaker 2: photo booths.

638
00:30:47,120 --> 00:30:48,840
Speaker 1: Let's keep love photo right now.

639
00:30:49,040 --> 00:30:52,000
Speaker 2: That was like the set off for that is the because,

640
00:30:52,000 --> 00:30:53,640
Speaker 2: I guess because of the movies too. It's such a

641
00:30:53,720 --> 00:30:54,880
Speaker 2: romantic setting.

642
00:30:54,640 --> 00:30:56,400
Speaker 1: I know, especially when they're black and white. Not this

643
00:30:56,680 --> 00:30:59,760
Speaker 1: not this modern bullshit, thet black and.

644
00:30:59,680 --> 00:31:03,120
Speaker 2: White neon light that freaking yeah, it surrounds the camera

645
00:31:03,160 --> 00:31:05,760
Speaker 2: and shoots in your face. I totally miss photo booths.

646
00:31:05,840 --> 00:31:07,880
Speaker 2: I got some good photo booth pictures of me and

647
00:31:07,920 --> 00:31:09,520
Speaker 2: my wife when we first started dating.

648
00:31:09,560 --> 00:31:12,080
Speaker 1: And you know, it's so romantic when you look at

649
00:31:12,120 --> 00:31:14,200
Speaker 1: them and you feel like you're old school and.

650
00:31:14,440 --> 00:31:16,360
Speaker 3: I've a little fourth strip photo.

651
00:31:16,400 --> 00:31:18,720
Speaker 2: I mean, yes, for those of you out here like

652
00:31:18,760 --> 00:31:22,000
Speaker 2: photo booths at like parties and stuff like that, it

653
00:31:22,080 --> 00:31:24,040
Speaker 2: doesn't it's not the same if it's not in an

654
00:31:24,080 --> 00:31:24,880
Speaker 2: actual booth.

655
00:31:25,120 --> 00:31:28,520
Speaker 1: If you're in Manhattan, Okay, there's a restaurant called the

656
00:31:28,600 --> 00:31:34,000
Speaker 1: Smith on Fourth Street, and like, what is it, like

657
00:31:34,120 --> 00:31:37,360
Speaker 1: fourth and tenth ish you just google it, And in

658
00:31:37,400 --> 00:31:39,880
Speaker 1: the basement of the Smith, which is a good restaurant,

659
00:31:40,080 --> 00:31:42,520
Speaker 1: there's an old school black and white photo booth. So

660
00:31:42,560 --> 00:31:45,040
Speaker 1: there you go. I just took you up. Next time

661
00:31:45,080 --> 00:31:47,080
Speaker 1: you're we're on a trip with your loved one, go

662
00:31:47,120 --> 00:31:49,480
Speaker 1: take a romantic picture.

663
00:31:49,120 --> 00:31:51,120
Speaker 3: There when we're allowed to travel again.

664
00:31:51,280 --> 00:31:54,400
Speaker 1: When you're allowed to travel again in August and yeah, so, Michael,

665
00:31:54,480 --> 00:31:56,600
Speaker 1: I don't know how they do it on Sex and

666
00:31:56,600 --> 00:31:58,480
Speaker 1: the City, but we certainly don't put photo booths in

667
00:31:58,560 --> 00:32:01,280
Speaker 1: the center of a supermarket aisle here on scrubs.

668
00:32:02,360 --> 00:32:02,960
Speaker 2: Because I.

669
00:32:05,320 --> 00:32:07,360
Speaker 1: Want to say, this is very vain, but I looked

670
00:32:07,480 --> 00:32:09,080
Speaker 1: very skinny in this photo booth and I.

671
00:32:09,200 --> 00:32:11,200
Speaker 2: But what was up with your hair? Dude? Your hair

672
00:32:11,320 --> 00:32:13,320
Speaker 2: was a little different in these episodes. Man, they were

673
00:32:13,440 --> 00:32:14,680
Speaker 2: very spiky.

674
00:32:14,520 --> 00:32:16,080
Speaker 1: And I was probably you know what, I was probably the.

675
00:32:16,040 --> 00:32:19,800
Speaker 2: Truth the spinning of the hair on the time of.

676
00:32:19,800 --> 00:32:21,640
Speaker 1: It and the footbooth that looked like I have more

677
00:32:21,640 --> 00:32:24,280
Speaker 1: makeup on than usual. I can only rationalize that I

678
00:32:24,320 --> 00:32:27,040
Speaker 1: was probably nervous in front of this beautiful actress and

679
00:32:27,120 --> 00:32:29,320
Speaker 1: I was probably like, more makeup, this is your hair?

680
00:32:30,000 --> 00:32:30,320
Speaker 2: Okay?

681
00:32:30,360 --> 00:32:30,560
Speaker 1: Now?

682
00:32:30,680 --> 00:32:33,760
Speaker 2: Is this your first uh love interest in projects that

683
00:32:33,800 --> 00:32:36,600
Speaker 2: you've been because you hadn't worked that much. That's a

684
00:32:36,760 --> 00:32:39,560
Speaker 2: very tradition I think dated on camera before.

685
00:32:40,040 --> 00:32:42,520
Speaker 1: Very good question. No, I had done an after school

686
00:32:42,560 --> 00:32:47,320
Speaker 1: special called My Summer as a Girl, and basically it

687
00:32:47,360 --> 00:32:48,880
Speaker 1: was an after the special where they just stole the

688
00:32:48,880 --> 00:32:50,680
Speaker 1: whole plot of Tootsie and you know, in order to

689
00:32:50,680 --> 00:32:52,240
Speaker 1: get the job, I had to dress up like a

690
00:32:52,280 --> 00:32:56,120
Speaker 1: woman and then I fell in love. But I remember

691
00:32:56,160 --> 00:32:58,800
Speaker 1: it's interesting remembering that that I remember that there was

692
00:32:58,800 --> 00:33:00,520
Speaker 1: supposed to be a scene where I and got like

693
00:33:00,840 --> 00:33:03,640
Speaker 1: too aggressive with trying to make out with her, and

694
00:33:03,680 --> 00:33:06,520
Speaker 1: I remember the director was disappointed because I was. I couldn't.

695
00:33:06,680 --> 00:33:08,920
Speaker 1: I was too nervous to do it. I wasn't doing

696
00:33:08,960 --> 00:33:11,360
Speaker 1: it enough, being aggressive enough with her.

697
00:33:12,200 --> 00:33:15,040
Speaker 2: Why why why are all after school specials? Why do

698
00:33:15,200 --> 00:33:17,120
Speaker 2: the guys have to be so aggressive? Well?

699
00:33:17,160 --> 00:33:19,280
Speaker 1: The lesson they always taught a lesson, right, Well, this

700
00:33:19,320 --> 00:33:21,040
Speaker 1: one was I was kind of a guy, and I

701
00:33:21,120 --> 00:33:24,560
Speaker 1: was kind of a playboy, but like I was a

702
00:33:24,640 --> 00:33:28,120
Speaker 1: cocky guy, and uh, and then I in order to

703
00:33:28,120 --> 00:33:30,640
Speaker 1: get in order to go after the girl, I dressed

704
00:33:30,680 --> 00:33:32,360
Speaker 1: up like a girl because she had gotten the last

705
00:33:32,440 --> 00:33:34,840
Speaker 1: last job as a chambermaid on the island, and I

706
00:33:34,920 --> 00:33:36,760
Speaker 1: wanted to do that too, So I dressed up like

707
00:33:36,800 --> 00:33:39,640
Speaker 1: a girl, like a lot. Totally's the platitucy, except you know,

708
00:33:39,880 --> 00:33:42,560
Speaker 1: a chambermaid on an island. And then I fall in

709
00:33:42,600 --> 00:33:44,640
Speaker 1: love with the girl, and then i'm too I was one,

710
00:33:44,640 --> 00:33:47,000
Speaker 1: I'm a man, I'm too aggressive with her, and she's like,

711
00:33:47,080 --> 00:33:50,160
Speaker 1: get away, You're you're moving too fast. And then there's

712
00:33:50,200 --> 00:33:52,240
Speaker 1: a guy who's in love with me when I'm dressed

713
00:33:52,240 --> 00:33:54,480
Speaker 1: as a woman and he starts doing it to me,

714
00:33:55,480 --> 00:33:57,800
Speaker 1: and I'm like kicking in the nuts. And the lesson

715
00:33:57,960 --> 00:34:00,440
Speaker 1: was like, how do you fucking like it? Treat a

716
00:34:00,440 --> 00:34:01,880
Speaker 1: woman with respect.

717
00:34:03,120 --> 00:34:04,360
Speaker 3: Shoes on the other foot.

718
00:34:04,400 --> 00:34:06,920
Speaker 1: Now, yeah, so you can all go google my summer

719
00:34:06,960 --> 00:34:09,080
Speaker 1: as a girl and watch that bit of artistry. But

720
00:34:09,200 --> 00:34:11,320
Speaker 1: that's a good point you brought up, Donald. I don't

721
00:34:11,360 --> 00:34:15,400
Speaker 1: think that I had really had a pretty love interest

722
00:34:15,480 --> 00:34:17,560
Speaker 1: other than Sarah Chalk. But we hadn't really you know,

723
00:34:18,080 --> 00:34:21,520
Speaker 1: delved into that yet. We're about to. We're in a

724
00:34:21,520 --> 00:34:23,600
Speaker 1: few episodes we're about I think after Liz is the

725
00:34:23,600 --> 00:34:25,600
Speaker 1: first time that it comes up. So, yeah, I bet

726
00:34:25,640 --> 00:34:27,840
Speaker 1: I was very nervous around her. I do seem to

727
00:34:27,920 --> 00:34:29,400
Speaker 1: me to look like I have a little bit too

728
00:34:29,480 --> 00:34:32,160
Speaker 1: much makeup on in this photo booth, Like I was like,

729
00:34:32,200 --> 00:34:33,440
Speaker 1: I was trying to look like.

730
00:34:33,400 --> 00:34:34,680
Speaker 2: You know, it was important for you too.

731
00:34:35,320 --> 00:34:37,080
Speaker 1: I wanted to look I wanted to look the best

732
00:34:37,160 --> 00:34:38,200
Speaker 1: I could for Liz.

733
00:34:38,680 --> 00:34:40,319
Speaker 3: Well, yeah, I mean it is so funny. It's like

734
00:34:40,320 --> 00:34:42,640
Speaker 3: it's it's been scanning a lot of attention these days

735
00:34:42,680 --> 00:34:46,640
Speaker 3: because people are, you know, in this business are evolving somewhat.

736
00:34:46,680 --> 00:34:49,839
Speaker 3: But you know, when you have two actors or more

737
00:34:49,880 --> 00:34:52,080
Speaker 3: depending on the show, uh, you know, who have to

738
00:34:52,160 --> 00:34:55,120
Speaker 3: have a love scene or be intimate physically intimate with

739
00:34:55,160 --> 00:34:58,080
Speaker 3: each other. I mean it's awkward. It's weird, and it

740
00:34:58,200 --> 00:35:02,200
Speaker 3: can it can be really uncomfortable for for people. So

741
00:35:02,239 --> 00:35:04,319
Speaker 3: I mean I totally get it, even as sort of

742
00:35:04,400 --> 00:35:05,040
Speaker 3: PG as.

743
00:35:05,080 --> 00:35:06,960
Speaker 1: This was right, well, this was pretty bag. You know,

744
00:35:06,960 --> 00:35:08,600
Speaker 1: when we get into some of the Sarah stuff, I

745
00:35:09,200 --> 00:35:11,040
Speaker 1: can't even believe that we were doing what we were

746
00:35:11,040 --> 00:35:13,880
Speaker 1: doing for network TV, and I remember it being like awkward,

747
00:35:14,040 --> 00:35:17,000
Speaker 1: like this is so bizarre. I remember feeling like are

748
00:35:17,000 --> 00:35:19,120
Speaker 1: we on like HBO, Like how are we doing this

749
00:35:19,160 --> 00:35:21,080
Speaker 1: for NBC? You know, it's pretty That was that was

750
00:35:21,120 --> 00:35:23,640
Speaker 1: pretty risque stuff. This stuff with Liz was was was

751
00:35:23,680 --> 00:35:25,680
Speaker 1: pretty tame. But you know, you're still lying in bed

752
00:35:25,719 --> 00:35:27,520
Speaker 1: with a with a beautiful stranger to say.

753
00:35:27,560 --> 00:35:29,319
Speaker 2: At the end of the episode, I'm on top of

754
00:35:29,719 --> 00:35:32,759
Speaker 2: uh Judy and it's we're simulating.

755
00:35:34,719 --> 00:35:36,680
Speaker 1: Yeah, this was a sexy episode. There's a lot of

756
00:35:36,719 --> 00:35:40,960
Speaker 1: talk of orgasms and Andy and Sarah masturbating on a

757
00:35:41,080 --> 00:35:41,560
Speaker 1: washing machine.

758
00:35:42,200 --> 00:35:46,520
Speaker 2: It works? Does that work? Is a washing machine that powerful?

759
00:35:48,400 --> 00:35:51,040
Speaker 2: Because I can't. I don't, I don't, I don't. Apparently

760
00:35:51,080 --> 00:35:53,240
Speaker 2: I don't. I definitely don't produce like the washing machine

761
00:35:53,239 --> 00:35:56,600
Speaker 2: can produce. Obviously, Listen, first undred first, just be honest

762
00:35:56,680 --> 00:36:00,400
Speaker 2: with everyone of the washing machine. Is that good? Aware

763
00:36:00,600 --> 00:36:02,759
Speaker 2: at the end of it, you fall off the motherfucking

764
00:36:02,880 --> 00:36:05,960
Speaker 2: washing machine. I can't compete with the washing machine. What

765
00:36:06,080 --> 00:36:08,680
Speaker 2: am I useful for? Honey? I've been helping you raise

766
00:36:08,760 --> 00:36:10,400
Speaker 2: these kids? What am I useful?

767
00:36:12,360 --> 00:36:12,880
Speaker 1: Hey Donald?

768
00:36:12,880 --> 00:36:15,440
Speaker 2: The washing machine and the crazy shit? Is My wife's

769
00:36:15,480 --> 00:36:17,600
Speaker 2: always like, I'm gonna go put another load in?

770
00:36:18,080 --> 00:36:21,799
Speaker 1: Yeah, yes she is. She's definitely gonna, Hey Donald, that

771
00:36:21,920 --> 00:36:25,080
Speaker 1: washing machine cannot provide for those children. Only you can.

772
00:36:25,280 --> 00:36:26,759
Speaker 2: Only I can. That's what.

773
00:36:27,120 --> 00:36:29,200
Speaker 1: Well, I don't know whether or not, you know, we

774
00:36:29,360 --> 00:36:32,560
Speaker 1: three men have no idea obviously if a washing machine

775
00:36:32,600 --> 00:36:35,760
Speaker 1: can can do that to a woman. But I gotta say, Sarah,

776
00:36:35,840 --> 00:36:38,960
Speaker 1: it worked for Elliott. It really works, EIoT, it definitely well.

777
00:36:38,960 --> 00:36:41,799
Speaker 2: And it worked for Carla too, because she's the one

778
00:36:41,840 --> 00:36:42,640
Speaker 2: that suggested it.

779
00:36:42,800 --> 00:36:45,799
Speaker 1: Yes, she said, when are you doing laundry next? Now,

780
00:36:45,840 --> 00:36:47,879
Speaker 1: we had a lot of female writers on this show.

781
00:36:47,920 --> 00:36:50,160
Speaker 1: I can only imagine that they had a conversation in

782
00:36:50,200 --> 00:36:51,880
Speaker 1: the writer's room like, do y'all have them run a

783
00:36:51,960 --> 00:36:58,680
Speaker 1: washing machine? Well, let's move on.

784
00:36:59,239 --> 00:37:01,720
Speaker 3: Or you can ask could be an ask Bill moment.

785
00:37:01,960 --> 00:37:03,600
Speaker 2: No, no, no, no, no, no, I don't want.

786
00:37:05,480 --> 00:37:07,200
Speaker 1: Hey, listen, I don't have anything. Do you guys have

787
00:37:07,200 --> 00:37:09,520
Speaker 1: anything before Sarah shitting a brick? Because I laughed out

788
00:37:09,520 --> 00:37:09,840
Speaker 1: loud at that.

789
00:37:10,080 --> 00:37:11,040
Speaker 2: I laughed out loud at that.

790
00:37:11,040 --> 00:37:13,320
Speaker 1: That was funny, especially Sarah. First of all, when you

791
00:37:13,520 --> 00:37:16,160
Speaker 1: think you'd ever get to see Sarah chalk, you know,

792
00:37:16,239 --> 00:37:17,719
Speaker 1: poohing face, and there we saw it.

793
00:37:18,360 --> 00:37:21,319
Speaker 2: But that's that's that's the one thing. Usually somebody makes

794
00:37:21,320 --> 00:37:24,400
Speaker 2: a poohing face on television, they get real big with it.

795
00:37:24,400 --> 00:37:26,839
Speaker 2: It was pretty it was pretty subtle. You didn't know that,

796
00:37:27,000 --> 00:37:27,440
Speaker 2: you know.

797
00:37:27,480 --> 00:37:29,520
Speaker 1: This eye closed thing. She did an eye closed thing.

798
00:37:29,800 --> 00:37:32,960
Speaker 2: You're right, she closed one eye and.

799
00:37:32,440 --> 00:37:36,040
Speaker 3: They had to be just enough, just enough push. Yeah,

800
00:37:36,360 --> 00:37:37,719
Speaker 3: a brick, yourick.

801
00:37:37,960 --> 00:37:40,080
Speaker 1: So what's funny. What's funny about it? It's builder is

802
00:37:40,120 --> 00:37:42,440
Speaker 1: that she she just does a little bit of a push,

803
00:37:42,440 --> 00:37:46,640
Speaker 1: but then a giant brick fall. I just realized that

804
00:37:46,719 --> 00:37:50,719
Speaker 1: in one episode, in one episode of brilliant television, in

805
00:37:50,719 --> 00:37:53,640
Speaker 1: twenty two minutes, we have Sarah's pooh face and her

806
00:37:53,760 --> 00:37:54,479
Speaker 1: orgasm face.

807
00:37:55,200 --> 00:37:57,080
Speaker 3: That's right. We opened the whole gamut.

808
00:37:57,160 --> 00:37:59,239
Speaker 1: We we opened the show with her poof face and

809
00:37:59,280 --> 00:38:02,279
Speaker 1: closed the show their orgasm face. What what art we made?

810
00:38:02,360 --> 00:38:06,080
Speaker 1: What from poop? Okay?

811
00:38:06,080 --> 00:38:09,799
Speaker 2: So I think the yeah was improved. When Carla pushes.

812
00:38:09,480 --> 00:38:11,800
Speaker 1: Me down, I remember that Yeah.

813
00:38:13,040 --> 00:38:15,080
Speaker 2: I think that was improved. I don't remember if that

814
00:38:15,120 --> 00:38:16,040
Speaker 2: was in the script or not.

815
00:38:16,360 --> 00:38:18,279
Speaker 1: It wasn't because who the hell would ever guess that

816
00:38:18,320 --> 00:38:19,879
Speaker 1: your T shirt would say yeah on it?

817
00:38:20,040 --> 00:38:21,399
Speaker 2: Right, that my T shirt would say yeah.

818
00:38:21,440 --> 00:38:23,839
Speaker 1: It didn't say on the script. Turk wearing a yeah

819
00:38:23,920 --> 00:38:24,640
Speaker 1: T shirt.

820
00:38:25,560 --> 00:38:27,200
Speaker 3: Points to said freeze.

821
00:38:27,880 --> 00:38:30,480
Speaker 1: Yeah, but that was funny. Donald. I wanted to point

822
00:38:30,480 --> 00:38:32,360
Speaker 1: out a little trivia that I saw on the Scrubs

823
00:38:32,360 --> 00:38:36,080
Speaker 1: Wiki at three h five, right before uh You're yeah

824
00:38:36,120 --> 00:38:40,360
Speaker 1: saying that doctor Cox knows Doug's name, and the Scrubs

825
00:38:40,360 --> 00:38:42,239
Speaker 1: Wiki was pointing out it might be the only time

826
00:38:42,280 --> 00:38:45,719
Speaker 1: he ever says Doug's name, because he goes Doug and.

827
00:38:45,560 --> 00:38:48,920
Speaker 2: Uh, well he uses it. He also uses it as

828
00:38:49,200 --> 00:38:50,439
Speaker 2: like he's gonna pick on Doug.

829
00:38:50,760 --> 00:38:52,799
Speaker 1: Yeah, but I'm saying Cox never. You know, his whole

830
00:38:52,840 --> 00:38:54,400
Speaker 1: thing was he doesn't know people's names. He calls them

831
00:38:54,440 --> 00:38:57,080
Speaker 1: all these nicknames, but he randomly knew Doug's name.

832
00:38:57,200 --> 00:38:59,279
Speaker 2: But you too, a Jamin in this episode? Also you

833
00:38:59,520 --> 00:39:03,160
Speaker 2: a like a camaraderie in or Yeah, you know you're

834
00:39:03,239 --> 00:39:06,560
Speaker 2: his go to. Now this is the first, we established

835
00:39:06,560 --> 00:39:08,759
Speaker 2: it in the last episode, but yeah, now you two

836
00:39:08,800 --> 00:39:12,480
Speaker 2: are it doesn't seem like you're a fresh Nubi even

837
00:39:12,520 --> 00:39:14,719
Speaker 2: though he calls you nuby and everything like that. We're

838
00:39:14,760 --> 00:39:18,840
Speaker 2: starting to see your your relationship as colleagues form.

839
00:39:19,160 --> 00:39:21,000
Speaker 1: That's true, and I think, I wrote down this is

840
00:39:21,000 --> 00:39:23,880
Speaker 1: the first episode to me it seems like he genuinely

841
00:39:24,280 --> 00:39:27,120
Speaker 1: likes JD. Like he's usually good at hiding it, but

842
00:39:27,200 --> 00:39:31,480
Speaker 1: in this episode, I felt like Cox was really bonding

843
00:39:31,520 --> 00:39:34,080
Speaker 1: with JD and liked him even though he was, you know,

844
00:39:34,360 --> 00:39:36,239
Speaker 1: still trying to hide it, but he couldn't hide it.

845
00:39:36,560 --> 00:39:38,680
Speaker 1: And then in the end he really bonded with him

846
00:39:38,680 --> 00:39:40,880
Speaker 1: and said, you know, don't be me, don't be me,

847
00:39:40,960 --> 00:39:43,240
Speaker 1: go have a life, which I thought was was moving.

848
00:39:43,320 --> 00:39:45,319
Speaker 1: I thought that was good, you know, a side of

849
00:39:45,320 --> 00:39:47,600
Speaker 1: doctor Cox we don't only see yes spiller.

850
00:39:47,840 --> 00:39:51,239
Speaker 3: Since where That's a nice segue into what it's like

851
00:39:51,800 --> 00:39:54,240
Speaker 3: working with Johnny c for the first time as a director.

852
00:39:54,400 --> 00:39:55,280
Speaker 1: Yeah, was he scared?

853
00:39:55,480 --> 00:39:56,160
Speaker 2: Yeah, let's go.

854
00:39:57,000 --> 00:39:59,520
Speaker 3: Well. I mean, first of all, he's so damn good,

855
00:40:00,040 --> 00:40:03,320
Speaker 3: he's so damn funny, but he is a very very

856
00:40:03,360 --> 00:40:08,640
Speaker 3: intense gy, particularly when you know he's in character. You know,

857
00:40:08,800 --> 00:40:11,880
Speaker 3: on set because you know, as a prepping director, you

858
00:40:11,960 --> 00:40:14,000
Speaker 3: go and you're you're doing all the work in the

859
00:40:14,080 --> 00:40:16,640
Speaker 3: various meetings and location scouting and stuff that you do

860
00:40:16,719 --> 00:40:19,239
Speaker 3: to prep your own episode, but you also try and

861
00:40:19,320 --> 00:40:22,279
Speaker 3: spend as much time as you can on set so

862
00:40:22,280 --> 00:40:24,200
Speaker 3: that you're getting to know the cast in a more

863
00:40:24,239 --> 00:40:28,040
Speaker 3: informal way. You're starting to connect with the crew, learn

864
00:40:28,080 --> 00:40:31,000
Speaker 3: people's names, all these things that are essential to you

865
00:40:31,040 --> 00:40:33,200
Speaker 3: know when you're handed the baton the next week that

866
00:40:33,280 --> 00:40:37,000
Speaker 3: you'll have a good episode. Right, So you know, you'd

867
00:40:37,000 --> 00:40:38,920
Speaker 3: hang out and observe and try not to be in

868
00:40:38,960 --> 00:40:41,040
Speaker 3: the way, and I'd watch another you know, like Mark

869
00:40:41,080 --> 00:40:45,040
Speaker 3: Bucklin work with Johnny c or something, and Johnny is intense.

870
00:40:46,000 --> 00:40:49,160
Speaker 3: You say cut, and he stands there, his jaws like

871
00:40:49,280 --> 00:40:53,160
Speaker 3: clamp shut, his cheek muscles are like fluctuating and like

872
00:40:53,280 --> 00:40:57,920
Speaker 3: he's he's ripped. You know, it's like so aspiring, right,

873
00:40:58,360 --> 00:41:00,799
Speaker 3: It's like okay, and you have to think of that

874
00:41:00,840 --> 00:41:04,040
Speaker 3: person a note. So the very the very first time

875
00:41:04,080 --> 00:41:07,600
Speaker 3: I did it, I said cut, went up to him

876
00:41:07,680 --> 00:41:10,239
Speaker 3: and it's like you got the sense that if you

877
00:41:10,320 --> 00:41:14,920
Speaker 3: said the wrong thing, he might actually hit you, because

878
00:41:14,960 --> 00:41:20,320
Speaker 3: he's that he's he appears to be that tightly wound right,

879
00:41:20,360 --> 00:41:23,319
Speaker 3: So I can't remember what the note was, but you know,

880
00:41:23,360 --> 00:41:24,960
Speaker 3: I said, Johnny, can't try that. You know, I have

881
00:41:25,000 --> 00:41:27,719
Speaker 3: an idea. Blah blah blah blah. He looks at me

882
00:41:27,760 --> 00:41:31,760
Speaker 3: for a sec cheek muscle still, you know, rippling away,

883
00:41:32,440 --> 00:41:35,399
Speaker 3: and he says, fuck, yeah, let's do it, and we

884
00:41:35,480 --> 00:41:38,000
Speaker 3: just we went. It's like, okay, I made it.

885
00:41:38,360 --> 00:41:42,520
Speaker 1: That was your test in one in one or two sentences,

886
00:41:42,560 --> 00:41:44,520
Speaker 1: he has decided if he liked you or not forever

887
00:41:45,280 --> 00:41:50,520
Speaker 1: exactly thankfully. Well, I think Johnny Johnny, Johnny Johnny has

888
00:41:50,520 --> 00:41:53,920
Speaker 1: so much had so much experience, you know, and and

889
00:41:54,000 --> 00:41:56,040
Speaker 1: I've worked with so many directors at that point, and

890
00:41:56,080 --> 00:41:58,920
Speaker 1: I think he he you know, if you gave him

891
00:41:58,920 --> 00:42:01,120
Speaker 1: a good note, he was he was down to do it.

892
00:42:01,320 --> 00:42:03,440
Speaker 1: And uh. And then you know, like all of us,

893
00:42:03,440 --> 00:42:05,359
Speaker 1: we sometimes got notes from directors we were like, I'm

894
00:42:05,400 --> 00:42:07,279
Speaker 1: not doing that, and you know, so I think that

895
00:42:07,360 --> 00:42:09,719
Speaker 1: he in that moment, he decided that he liked you

896
00:42:09,760 --> 00:42:10,440
Speaker 1: and respected you.

897
00:42:11,040 --> 00:42:11,200
Speaker 2: Well.

898
00:42:11,239 --> 00:42:15,400
Speaker 3: I mean, listen, from from an actor's standpoint, I completely

899
00:42:15,440 --> 00:42:18,080
Speaker 3: get it, because it's like, Okay, it's a new director

900
00:42:18,160 --> 00:42:19,920
Speaker 3: every week, and some of them are not going to

901
00:42:19,960 --> 00:42:21,399
Speaker 3: be great or something you're just not going to get

902
00:42:21,400 --> 00:42:23,400
Speaker 3: along with. And some are going to ask you things

903
00:42:23,960 --> 00:42:26,800
Speaker 3: that may not even be their note, maybe a writer's note,

904
00:42:27,239 --> 00:42:29,560
Speaker 3: and you know you can't you can't go up to

905
00:42:29,560 --> 00:42:31,360
Speaker 3: an actors say oh, well the writer asked me to

906
00:42:31,440 --> 00:42:33,960
Speaker 3: say this. You know that's not a good thing to

907
00:42:34,000 --> 00:42:36,560
Speaker 3: do that. It's like, well, then you're just the messenger person.

908
00:42:36,640 --> 00:42:38,480
Speaker 1: Yeah, and then and then it just shows that you're weak.

909
00:42:38,520 --> 00:42:40,080
Speaker 1: I think you have to be like, you have to

910
00:42:40,120 --> 00:42:42,840
Speaker 1: be like you know what I try to be like

911
00:42:43,000 --> 00:42:44,759
Speaker 1: is do you want to do you want to try?

912
00:42:44,800 --> 00:42:46,359
Speaker 1: You know, if it's my thing, then I'm like, let's

913
00:42:46,360 --> 00:42:48,000
Speaker 1: try this. But if I'm coming on to a show

914
00:42:48,080 --> 00:42:51,319
Speaker 1: like this, I would say I was thinking this, do

915
00:42:51,360 --> 00:42:53,440
Speaker 1: you want to maybe try this? Because you know, you

916
00:42:53,440 --> 00:42:54,680
Speaker 1: don't know if the actor is going to say, oh,

917
00:42:55,480 --> 00:42:57,560
Speaker 1: my character would never do that, you know that kind

918
00:42:57,560 --> 00:42:59,160
Speaker 1: of thing. Hey, we need to go to a break

919
00:43:00,120 --> 00:43:03,600
Speaker 1: that thought. Donald, We're gonna break hold that, don't you bevant?

920
00:43:04,520 --> 00:43:06,480
Speaker 1: Don't you forget it? Donald, because I know that you've

921
00:43:06,480 --> 00:43:08,600
Speaker 1: tried some of God's lettuce and that affects memory.

922
00:43:08,600 --> 00:43:11,520
Speaker 2: Hold on to that tried some of god's a few hours.

923
00:43:11,600 --> 00:43:12,280
Speaker 2: Let's go to break.

924
00:43:19,440 --> 00:43:21,680
Speaker 1: Okay, we're back from break. Donald, did you remember did

925
00:43:21,680 --> 00:43:22,640
Speaker 1: you hold onto the thought?

926
00:43:22,840 --> 00:43:23,400
Speaker 2: I forgot?

927
00:43:23,719 --> 00:43:24,120
Speaker 3: Oh?

928
00:43:24,360 --> 00:43:28,080
Speaker 1: Fuck? And you kids say we doesn't cause memory laws.

929
00:43:28,440 --> 00:43:31,840
Speaker 3: Wow, it's like a case study.

930
00:43:32,120 --> 00:43:35,080
Speaker 1: Yeah, like a case study. So Donald, we're doing a

931
00:43:35,120 --> 00:43:37,560
Speaker 1: podcast about the show Scrub. I had to remind him

932
00:43:37,600 --> 00:43:43,920
Speaker 1: after each breaks. But Mike Spiller directed you twenty episodes.

933
00:43:44,080 --> 00:43:47,799
Speaker 2: I don't remember. I don't remember. I don't remember. So

934
00:43:47,920 --> 00:43:50,600
Speaker 2: I'm start hanging out with you outside of Scrubs. Spiller,

935
00:43:51,719 --> 00:43:54,280
Speaker 2: This isn't This is for everyone out there that's sitting

936
00:43:54,320 --> 00:43:56,839
Speaker 2: there and they're like, wow, this is you know, a

937
00:43:56,920 --> 00:44:00,680
Speaker 2: director on the show with the two actors, and and

938
00:44:00,719 --> 00:44:03,239
Speaker 2: he directed twenty so that makes some special. That's not

939
00:44:03,320 --> 00:44:06,160
Speaker 2: all that makes Spiller special. We've all gone out and

940
00:44:06,280 --> 00:44:09,000
Speaker 2: hung out and eaten together and stuff like that, so

941
00:44:09,560 --> 00:44:12,120
Speaker 2: you know, it's also it's very cool to catch up

942
00:44:12,160 --> 00:44:16,080
Speaker 2: with you. I'll pol before I've swam pool Spiller.

943
00:44:16,600 --> 00:44:19,960
Speaker 3: Still the house, Spiller, No, we we moved. You have

944
00:44:20,040 --> 00:44:21,080
Speaker 3: to come see the new crib.

945
00:44:21,600 --> 00:44:22,560
Speaker 1: Yeah, now that's right.

946
00:44:22,600 --> 00:44:23,640
Speaker 2: Now that you've got that Emmy.

947
00:44:23,719 --> 00:44:26,000
Speaker 1: Now he's down one of those Emmy houses, one of

948
00:44:26,000 --> 00:44:30,279
Speaker 1: those Emmy houses. It's like three levels. No, listen, it's

949
00:44:30,280 --> 00:44:33,040
Speaker 1: shaped houses, shaped like an Emmy.

950
00:44:34,480 --> 00:44:37,000
Speaker 2: If he wasn't responsible, there'd be a water slide from

951
00:44:37,040 --> 00:44:37,879
Speaker 2: his bed to the poop.

952
00:44:38,200 --> 00:44:40,080
Speaker 1: Yeah. When we met him, he had a DP on

953
00:44:40,160 --> 00:44:42,160
Speaker 1: sex in the city house. Now he's got a modern

954
00:44:42,200 --> 00:44:46,040
Speaker 1: family Emmy house. Spiller. I have a great memory of

955
00:44:46,080 --> 00:44:48,160
Speaker 1: you too, and that you came over and helped me

956
00:44:48,200 --> 00:44:50,200
Speaker 1: install a door knomb Do you remember that?

957
00:44:51,800 --> 00:44:52,080
Speaker 2: Wait?

958
00:44:52,160 --> 00:44:55,440
Speaker 3: What I mean? That totally sounds like me. It's completely

959
00:44:55,480 --> 00:44:56,080
Speaker 3: on brand.

960
00:44:56,280 --> 00:44:58,799
Speaker 2: Wait, I need to understand this.

961
00:44:58,880 --> 00:45:02,360
Speaker 1: You have. Man, Here's what happened. Here's what happened, Spiller.

962
00:45:02,520 --> 00:45:04,000
Speaker 2: Now you don't know how to put a door?

963
00:45:04,360 --> 00:45:07,080
Speaker 1: No, let me explain. It's a very sweet Michael Spiller story.

964
00:45:07,200 --> 00:45:09,279
Speaker 1: I was talking him on set. Now, Spiller, you could

965
00:45:09,280 --> 00:45:11,319
Speaker 1: say that this has never happened and I dreamed it.

966
00:45:11,360 --> 00:45:16,200
Speaker 1: But I haven't done hallucinogenics since college. So I remember

967
00:45:16,520 --> 00:45:19,160
Speaker 1: that I was talking to Michael. Michael's handy. Aren't you

968
00:45:19,160 --> 00:45:21,080
Speaker 1: a handy around the house guy? Like you can ferry

969
00:45:21,080 --> 00:45:23,319
Speaker 1: your hand I love buildings, and I was saying, God,

970
00:45:23,360 --> 00:45:25,040
Speaker 1: I wish I knew how to build stuff like I

971
00:45:25,080 --> 00:45:26,600
Speaker 1: have to put a doorknob on a door, and I

972
00:45:26,600 --> 00:45:28,320
Speaker 1: gotta I have a door without a doorknob, and I

973
00:45:28,440 --> 00:45:29,839
Speaker 1: got to go hire someone to do it. I wish

974
00:45:29,920 --> 00:45:31,880
Speaker 1: that I knew how to buy the right drill bit

975
00:45:31,960 --> 00:45:35,279
Speaker 1: and install this doorknob. And Michael said I could teach you,

976
00:45:35,680 --> 00:45:38,480
Speaker 1: and I said really, and he said, yeah, I'll come

977
00:45:38,480 --> 00:45:40,000
Speaker 1: over and show you how to do it. And I

978
00:45:40,000 --> 00:45:41,719
Speaker 1: said that would be so awesome because I don't know

979
00:45:41,760 --> 00:45:43,799
Speaker 1: anything like that and I'd love to actually learn. And

980
00:45:43,840 --> 00:45:47,680
Speaker 1: Michael came over and helped me install a new doorknob

981
00:45:47,719 --> 00:45:49,160
Speaker 1: on a door. Isn't that true, Michael?

982
00:45:49,920 --> 00:45:52,000
Speaker 3: That is true. I don't like to blow my own horn,

983
00:45:52,080 --> 00:45:54,920
Speaker 3: but yes, that is true. And you remember this, Michael, Yeah,

984
00:45:56,160 --> 00:45:58,840
Speaker 3: I don't think, but I do remember it.

985
00:45:58,960 --> 00:45:59,960
Speaker 1: He charged me thirty five.

986
00:46:00,239 --> 00:46:03,040
Speaker 2: I got a story too. So we just finished the

987
00:46:04,000 --> 00:46:08,799
Speaker 2: screening of Garden State. Zach invited great film that Zach.

988
00:46:12,080 --> 00:46:15,759
Speaker 2: Zach invited a bunch of people over to the screening room.

989
00:46:15,800 --> 00:46:19,320
Speaker 2: Danny de Vito was there, Uh, problem was there? A

990
00:46:19,360 --> 00:46:22,120
Speaker 2: bunch of people were there. Mike Spiller, myself, we were

991
00:46:22,120 --> 00:46:25,759
Speaker 2: there also, and I remember the movie ends and we're

992
00:46:25,880 --> 00:46:28,239
Speaker 2: all like, Wow, the movie was really good. I had

993
00:46:28,280 --> 00:46:32,520
Speaker 2: notes though, and I wanted to dude, and I wanted

994
00:46:32,560 --> 00:46:34,920
Speaker 2: to figure out a way to tell Zach, all right,

995
00:46:35,200 --> 00:46:37,600
Speaker 2: I've got a couple of notes about the movie. And

996
00:46:37,680 --> 00:46:40,239
Speaker 2: I remember I see Spiller and we're I don't know

997
00:46:40,280 --> 00:46:43,320
Speaker 2: if we're drinking or we're eating. It's after the movie's over, probably,

998
00:46:43,719 --> 00:46:45,960
Speaker 2: and we talked. We're talking and You're like, wow, that

999
00:46:46,000 --> 00:46:47,520
Speaker 2: was pretty good. And I was like, I was right.

1000
00:46:47,880 --> 00:46:49,719
Speaker 2: I was like, I've got some notes and you said

1001
00:46:49,719 --> 00:46:53,640
Speaker 2: to me, you know, now might not be the best

1002
00:46:53,680 --> 00:47:00,000
Speaker 2: time to deliver, said Zach. And I was like, oh,

1003
00:47:00,040 --> 00:47:02,440
Speaker 2: oh yeah, yeah, yeah, yeah, no, of course I'll figure

1004
00:47:02,440 --> 00:47:06,520
Speaker 2: out a way too, you know, to tell him. Flash

1005
00:47:06,520 --> 00:47:08,799
Speaker 2: cut to Danny DeVito doing a Q and A after

1006
00:47:08,840 --> 00:47:11,880
Speaker 2: the movie and he was like, does anyone have notes?

1007
00:47:13,600 --> 00:47:22,000
Speaker 1: One hand shoots up, one beautiful brown hand and then

1008
00:47:23,280 --> 00:47:25,120
Speaker 1: and then what happened? Then what happened was this? So

1009
00:47:25,160 --> 00:47:26,839
Speaker 1: then Donald goes off on his notes and I'm looking

1010
00:47:26,840 --> 00:47:29,279
Speaker 1: at him like, dude, not fucking now, like tell me

1011
00:47:29,360 --> 00:47:33,600
Speaker 1: these Like Danny Vito was my Danny de Vito was

1012
00:47:33,600 --> 00:47:35,759
Speaker 1: my producer. I was like, dude, tell me privately, what

1013
00:47:35,800 --> 00:47:38,560
Speaker 1: the fuck are you doing? And then so then Danny's.

1014
00:47:38,160 --> 00:47:39,919
Speaker 2: Like, you wanted to be heard. I wanted to be heard.

1015
00:47:40,000 --> 00:47:41,520
Speaker 1: I didn't want to be heard because I wasn't allowed

1016
00:47:41,520 --> 00:47:43,320
Speaker 1: to be in the movie because because I gave the

1017
00:47:43,400 --> 00:47:48,319
Speaker 1: part to method man. Now, listen, Danny DeVito. You know

1018
00:47:48,800 --> 00:47:51,320
Speaker 1: at the time the movie had had too many endings.

1019
00:47:51,360 --> 00:47:53,160
Speaker 1: It was like it was it was going on a

1020
00:47:53,200 --> 00:47:55,400
Speaker 1: few beats too long, and we all knew that, but

1021
00:47:55,440 --> 00:47:58,239
Speaker 1: I was in denial about him, and and Danny DeVito said,

1022
00:47:58,520 --> 00:48:01,360
Speaker 1: how many of you felt like the had too many endings?

1023
00:48:01,400 --> 00:48:05,080
Speaker 1: Donald's hand shoots up. I'm like, fucking Donald, put your

1024
00:48:05,120 --> 00:48:08,279
Speaker 1: fucking hand down. I'm supposed to be my man on

1025
00:48:08,320 --> 00:48:09,400
Speaker 1: the inside.

1026
00:48:11,680 --> 00:48:13,879
Speaker 2: But you changed it. We changed it.

1027
00:48:14,000 --> 00:48:15,920
Speaker 1: We did. Hey, you know what, this many years later,

1028
00:48:15,960 --> 00:48:18,120
Speaker 1: I'm glad that you're never a yes man. You always

1029
00:48:18,120 --> 00:48:18,799
Speaker 1: tell it like it is.

1030
00:48:21,200 --> 00:48:26,799
Speaker 2: I just remember that being like, yeah, you know, we should, Yeah,

1031
00:48:26,880 --> 00:48:28,719
Speaker 2: you know. I'm sure we all have notes, but I

1032
00:48:29,040 --> 00:48:32,200
Speaker 2: would wait for my own moment.

1033
00:48:32,200 --> 00:48:34,440
Speaker 1: So you didn't. The lesson of this story is that

1034
00:48:34,480 --> 00:48:35,759
Speaker 1: you should have listened to Spiller.

1035
00:48:36,200 --> 00:48:38,680
Speaker 3: Yes, it's usually that's the end of most stories.

1036
00:48:38,719 --> 00:48:43,480
Speaker 1: Actually, So I want to say, at four or fifteen,

1037
00:48:43,560 --> 00:48:45,880
Speaker 1: I I don't remember the episode, So I thought that

1038
00:48:45,920 --> 00:48:48,200
Speaker 1: it was you who couldn't who had lost your erection,

1039
00:48:48,560 --> 00:48:51,240
Speaker 1: And it was a very good misdirect by both Spiller

1040
00:48:51,280 --> 00:48:54,480
Speaker 1: and Bill because uh it was it was Judy. I

1041
00:48:54,480 --> 00:48:56,160
Speaker 1: don't think I've ever seen of a woman.

1042
00:48:56,280 --> 00:49:00,200
Speaker 2: Wait, yeah, right, I remember that. But I knew right

1043
00:49:00,200 --> 00:49:02,759
Speaker 2: away I remember this episode now. I remember this episode

1044
00:49:03,000 --> 00:49:07,320
Speaker 2: because Rob's line in this show. So when I saw

1045
00:49:07,360 --> 00:49:10,080
Speaker 2: you in the hall today and I asked you, how

1046
00:49:10,160 --> 00:49:13,359
Speaker 2: is your penis? Yeah, and you didn't want to talk

1047
00:49:13,400 --> 00:49:13,919
Speaker 2: about it.

1048
00:49:14,120 --> 00:49:20,359
Speaker 3: Yeah, so I'm still tracks. It's still tracks. It's all

1049
00:49:20,400 --> 00:49:22,440
Speaker 3: part of the mislead because I was I was proud

1050
00:49:22,480 --> 00:49:24,759
Speaker 3: of that. I don't remember. I don't think that was

1051
00:49:24,920 --> 00:49:29,239
Speaker 3: in the script specifically, is like she's holding a piece

1052
00:49:29,280 --> 00:49:32,680
Speaker 3: of bacon in a really odd, upright manner that nobody

1053
00:49:32,680 --> 00:49:35,239
Speaker 3: would ever do. But I thought, Okay, this would be

1054
00:49:35,280 --> 00:49:39,040
Speaker 3: a fun visual transition, and it does. It does lead

1055
00:49:39,080 --> 00:49:42,080
Speaker 3: you to believe. It's more evidence as a viewer that yes,

1056
00:49:42,160 --> 00:49:44,440
Speaker 3: Donald is the one who's had the problem in the

1057
00:49:44,440 --> 00:49:45,480
Speaker 3: classic situation.

1058
00:49:45,680 --> 00:49:47,839
Speaker 1: Yeah, you misled. I just wanted to do one little

1059
00:49:47,880 --> 00:49:50,360
Speaker 1: director thing that Bill a kind of introduced, I believe

1060
00:49:50,440 --> 00:49:51,719
Speaker 1: to the show. I don't know that we were doing

1061
00:49:51,719 --> 00:49:55,120
Speaker 1: this too much beforehand, but at four twelve, sorry, it's

1062
00:49:55,160 --> 00:49:56,920
Speaker 1: a little bit before that. So they have sex, and

1063
00:49:56,920 --> 00:49:58,799
Speaker 1: then the camera pans and goes into the back of

1064
00:49:58,800 --> 00:50:01,879
Speaker 1: the TV, and we use that a transition, you know, a.

1065
00:50:01,880 --> 00:50:03,760
Speaker 3: Transition time passage, a little.

1066
00:50:03,640 --> 00:50:06,640
Speaker 1: Time passage, and then we come back to see the

1067
00:50:06,680 --> 00:50:09,160
Speaker 1: bra on Rowdy's head, and then we cut to Liz

1068
00:50:09,160 --> 00:50:12,520
Speaker 1: Bogish holding a bacon in sort of an erect way. Spiller,

1069
00:50:12,680 --> 00:50:13,839
Speaker 1: you naughty, naughty boy.

1070
00:50:16,320 --> 00:50:17,960
Speaker 3: Sometimes bacon is just bacon.

1071
00:50:18,040 --> 00:50:21,200
Speaker 1: Yeah, sometimes bacon's just bacon. But yeah, so I was

1072
00:50:21,280 --> 00:50:23,759
Speaker 1: I wass tricked the whole episode because I genuinely until

1073
00:50:23,840 --> 00:50:27,480
Speaker 1: until obviously she says it. It's funny, Judy. Oh wait,

1074
00:50:27,520 --> 00:50:30,799
Speaker 1: I want I'm jumping ahead. There's a waste. Oh there's

1075
00:50:30,840 --> 00:50:34,239
Speaker 1: a waste of a gift certificate. Oh yeah, there's a

1076
00:50:34,600 --> 00:50:37,680
Speaker 1: gift Cancel the Cobbler. Now that's eleven twenty eight. I

1077
00:50:37,719 --> 00:50:41,360
Speaker 1: think Neil improv canceled the Cobbler. Definitely, right, Spiller, I

1078
00:50:41,400 --> 00:50:41,759
Speaker 1: think so.

1079
00:50:41,920 --> 00:50:44,120
Speaker 3: But I mean, I the only draft of the script

1080
00:50:44,160 --> 00:50:47,920
Speaker 3: that I could find, although it has notes and diagrams

1081
00:50:47,960 --> 00:50:50,840
Speaker 3: all over, it says it's like a pre table draft

1082
00:50:50,880 --> 00:50:53,960
Speaker 3: of the script. I have almost all my Scrub scripts

1083
00:50:53,960 --> 00:50:57,959
Speaker 3: I couldn't find anyway. Yeah, that that whole bit wasn't

1084
00:50:58,000 --> 00:51:01,160
Speaker 3: in the version I had, But I'm I love the

1085
00:51:01,200 --> 00:51:04,439
Speaker 3: bit with Neil that starts that runner, you know where

1086
00:51:04,480 --> 00:51:07,319
Speaker 3: you we reveal him next to you can you know?

1087
00:51:07,400 --> 00:51:09,480
Speaker 3: Someone walks away and just happen to look at him

1088
00:51:10,000 --> 00:51:11,319
Speaker 3: and he's like, what if I told you g you know,

1089
00:51:11,320 --> 00:51:14,880
Speaker 3: look at me when I'm eating? I don't like it. Okay,

1090
00:51:15,160 --> 00:51:19,920
Speaker 3: what am I doing eating? And what are you doing daring?

1091
00:51:21,000 --> 00:51:22,719
Speaker 1: Any Way? I would listen to a whole podcast that

1092
00:51:22,880 --> 00:51:25,279
Speaker 1: I would the whole podcast it's called Michael Spiller acts

1093
00:51:25,320 --> 00:51:27,439
Speaker 1: out all the parts of Scrub. Would I would totally

1094
00:51:27,480 --> 00:51:28,320
Speaker 1: listen to it.

1095
00:51:28,320 --> 00:51:33,360
Speaker 3: It's coming to Spotify. So Michael an endorsement.

1096
00:51:35,520 --> 00:51:38,680
Speaker 1: Oh my god, Yeah, we gotta talk about Okay, First

1097
00:51:38,719 --> 00:51:41,239
Speaker 1: of all, I remember the story shut Out, go ahead,

1098
00:51:41,239 --> 00:51:42,560
Speaker 1: you should tell it that. No, I don't want to

1099
00:51:42,600 --> 00:51:44,360
Speaker 1: take it. You got it, No, you got I'm just

1100
00:51:44,400 --> 00:51:45,920
Speaker 1: worried you're gonna suck up the story because.

1101
00:51:45,719 --> 00:51:48,839
Speaker 2: It's up the story. So what's Carrot Top's real name?

1102
00:51:49,200 --> 00:51:50,440
Speaker 1: Joel? Can you look up whatever?

1103
00:51:50,800 --> 00:51:55,480
Speaker 2: Scott Thompson Scott Thompson, Joel never mind.

1104
00:51:55,800 --> 00:51:58,480
Speaker 1: Scott Thompson came on the show, and I always found

1105
00:51:58,600 --> 00:52:00,839
Speaker 1: Scott Thompson very funny. I know that this was sort

1106
00:52:00,880 --> 00:52:02,640
Speaker 1: of like making fun of carrot Top, but I always

1107
00:52:02,680 --> 00:52:05,839
Speaker 1: thought he was a funny guy. And the only thing

1108
00:52:05,880 --> 00:52:09,360
Speaker 1: we had heard about Scott Thompson just by you know,

1109
00:52:09,480 --> 00:52:10,840
Speaker 1: sometimes when you have a guest star, there'd be a

1110
00:52:10,920 --> 00:52:13,279
Speaker 1: couple of things like, hey, don't you know sometimes like

1111
00:52:13,320 --> 00:52:15,279
Speaker 1: I remember someone was allergic to nuts and they were like,

1112
00:52:15,280 --> 00:52:18,319
Speaker 1: don't eat nuts around him. Oh is Scott. It was like, hey, guys,

1113
00:52:18,360 --> 00:52:20,120
Speaker 1: don't call him carrat top. He prefers that you call

1114
00:52:20,160 --> 00:52:23,520
Speaker 1: him Scott, Like, don't don't call him carrot top. And

1115
00:52:23,560 --> 00:52:26,399
Speaker 1: so the crew was told that, the cast was told out,

1116
00:52:26,719 --> 00:52:28,879
Speaker 1: and we had this old prop man at the time

1117
00:52:29,480 --> 00:52:31,200
Speaker 1: who walked right up to him was like, hey, how

1118
00:52:31,200 --> 00:52:41,880
Speaker 1: you doing, carrot Head? And I remember we all all flinching, like,

1119
00:52:42,080 --> 00:52:45,360
Speaker 1: don't call him carrot you call him carrot top alone,

1120
00:52:45,400 --> 00:52:48,080
Speaker 1: carrot head. Hey, how you doing cart How you doing

1121
00:52:48,120 --> 00:52:49,600
Speaker 1: carrot Head? Now?

1122
00:52:49,640 --> 00:52:52,399
Speaker 3: Is this the same guy that allegedly hit Rowdy or not? Yes,

1123
00:52:52,440 --> 00:52:55,000
Speaker 3: same guy, So another strike.

1124
00:52:55,480 --> 00:52:59,120
Speaker 1: Yeah, I think his first building, his first Strike was

1125
00:52:59,120 --> 00:53:10,959
Speaker 1: calling Scott carrot. But I know it's funny. I thought

1126
00:53:11,040 --> 00:53:14,480
Speaker 1: Scott did a very funny job, and I laughed at

1127
00:53:14,480 --> 00:53:16,480
Speaker 1: every single one of his jokes. So fuck off if

1128
00:53:16,480 --> 00:53:17,280
Speaker 1: you don't like carrot.

1129
00:53:17,160 --> 00:53:20,120
Speaker 2: Top right on. I've worked with I've worked with Scott

1130
00:53:20,480 --> 00:53:20,960
Speaker 2: since then.

1131
00:53:21,400 --> 00:53:24,200
Speaker 1: You have, Yeah, we did, he's still doing. He's ripped, right,

1132
00:53:24,280 --> 00:53:25,200
Speaker 1: that's one thing.

1133
00:53:25,239 --> 00:53:28,319
Speaker 2: Now, we played basketball together. All types of things. Uh,

1134
00:53:28,960 --> 00:53:31,960
Speaker 2: in the celebrity circuit. Uh, he is ripped, He's and

1135
00:53:32,000 --> 00:53:35,840
Speaker 2: he's ripped like he's ripped like diesel, ripped, like rock ripped.

1136
00:53:35,920 --> 00:53:38,520
Speaker 1: You know, he's not just like he's not he's not as.

1137
00:53:38,440 --> 00:53:40,880
Speaker 2: Tall as the rock, but he's ripped like, you know,

1138
00:53:41,320 --> 00:53:43,879
Speaker 2: at least back then, at least you know, ten years ago.

1139
00:53:43,920 --> 00:53:48,200
Speaker 2: The last time I saw him, he was freaking diesel. Dude.

1140
00:53:48,360 --> 00:53:50,400
Speaker 2: You know, as you get older, you try to figure

1141
00:53:50,400 --> 00:53:51,880
Speaker 2: out ways to stay young, and.

1142
00:53:52,320 --> 00:53:54,120
Speaker 1: Yeah, well I'm trying to stay I'm trying to stay

1143
00:53:54,160 --> 00:53:55,680
Speaker 1: in shape. But I don't have muscles like that. But

1144
00:53:55,760 --> 00:53:58,640
Speaker 1: I guess I could take it more seriously and eat

1145
00:53:58,680 --> 00:53:59,600
Speaker 1: a lot of calories.

1146
00:54:00,120 --> 00:54:04,640
Speaker 3: You have muscles like Johnny.

1147
00:54:05,160 --> 00:54:06,080
Speaker 1: Did I give you that?

1148
00:54:06,239 --> 00:54:06,640
Speaker 2: John C.

1149
00:54:06,960 --> 00:54:10,719
Speaker 1: I think I went on so he's holding up guys.

1150
00:54:10,760 --> 00:54:14,320
Speaker 1: There's a there's a Johnny c who played Red and Platoon.

1151
00:54:14,360 --> 00:54:18,080
Speaker 1: There's a there's a there's a beautiful uh doll. I

1152
00:54:18,080 --> 00:54:19,680
Speaker 1: don't know what you call that. It's like a ken doll.

1153
00:54:19,920 --> 00:54:21,920
Speaker 1: It's like an action figure, an action but it's but

1154
00:54:21,960 --> 00:54:22,560
Speaker 1: it's Kendall.

1155
00:54:24,200 --> 00:54:24,680
Speaker 2: It's a twelve.

1156
00:54:25,200 --> 00:54:27,040
Speaker 1: And when I when I saw them, I.

1157
00:54:26,840 --> 00:54:28,400
Speaker 2: When I went sixth scale.

1158
00:54:28,960 --> 00:54:31,680
Speaker 1: By the way, it's it's it's it's accessory is a cigarette,

1159
00:54:31,680 --> 00:54:34,759
Speaker 1: which I always thought was funny. And I, uh yeah,

1160
00:54:34,760 --> 00:54:36,719
Speaker 1: when those came out, I bought one for Johnny and

1161
00:54:36,760 --> 00:54:38,839
Speaker 1: for I guess I bought one for use Filder. God,

1162
00:54:38,880 --> 00:54:40,720
Speaker 1: I must have really loved you, he did.

1163
00:54:41,040 --> 00:54:44,480
Speaker 2: Those are the days, Y, So I love you definitely

1164
00:54:44,640 --> 00:54:48,040
Speaker 2: changes everything it does. Yeah, Well, and when you say it,

1165
00:54:48,680 --> 00:54:51,239
Speaker 2: apparently in this story, when you say I love you,

1166
00:54:52,080 --> 00:54:55,040
Speaker 2: ship gets weird for a little bit. Yeah, yes, for

1167
00:54:55,160 --> 00:55:00,520
Speaker 2: Judy with at least with the Turken Carla.

1168
00:55:01,160 --> 00:55:02,640
Speaker 3: I think it's weird for both of you. I don't

1169
00:55:02,680 --> 00:55:04,480
Speaker 3: think either of you has ever really said.

1170
00:55:04,320 --> 00:55:07,600
Speaker 2: It before, right, I just don't. I mean, I've said

1171
00:55:07,600 --> 00:55:11,319
Speaker 2: it a couple of times in my life, but I

1172
00:55:11,320 --> 00:55:14,120
Speaker 2: don't know that it's changed. I mean, you know, I

1173
00:55:14,680 --> 00:55:18,399
Speaker 2: guess it just makes the breakup harder. I don't know.

1174
00:55:19,920 --> 00:55:22,680
Speaker 2: I just found that. I found that as an interesting

1175
00:55:22,880 --> 00:55:25,200
Speaker 2: story for these guys that I love. You made them

1176
00:55:25,239 --> 00:55:29,960
Speaker 2: have cold feet in the in the bedroom, well did right?

1177
00:55:30,000 --> 00:55:31,120
Speaker 1: And you didn't have cold well.

1178
00:55:31,040 --> 00:55:33,080
Speaker 2: He had cold feet, he did too. It was a

1179
00:55:33,120 --> 00:55:35,640
Speaker 2: blow to his ego. Also right in his head. He

1180
00:55:35,680 --> 00:55:37,960
Speaker 2: got in his head, right. But and even and the

1181
00:55:38,000 --> 00:55:40,400
Speaker 2: fact that Turk is like, you know, it's never happened that,

1182
00:55:41,080 --> 00:55:43,560
Speaker 2: you know, I've always been able to pleasure a woman

1183
00:55:43,600 --> 00:55:47,120
Speaker 2: to the point of orgasm to marry out. I was like, right,

1184
00:55:47,160 --> 00:55:48,520
Speaker 2: I was like, yeah, whatever.

1185
00:55:48,680 --> 00:55:51,640
Speaker 3: Yeah, I don't the stakes are high. The stakes are high.

1186
00:55:51,840 --> 00:55:54,960
Speaker 2: That's a weird plot line for me. I love you

1187
00:55:55,440 --> 00:55:57,759
Speaker 2: and because of that, you can't come now.

1188
00:55:58,200 --> 00:56:00,480
Speaker 1: Well, I don't know if you're supposed to say the cud.

1189
00:56:00,600 --> 00:56:03,160
Speaker 1: I mean we can say orgasm comes a little aggressive

1190
00:56:03,200 --> 00:56:04,480
Speaker 1: for a family podcast?

1191
00:56:04,760 --> 00:56:05,880
Speaker 2: Are we a family podcast?

1192
00:56:06,000 --> 00:56:10,919
Speaker 1: I know we're explicit. We're explicit, but we stay away.

1193
00:56:11,000 --> 00:56:14,000
Speaker 2: You had we had established don't know what type of podcast.

1194
00:56:14,200 --> 00:56:17,920
Speaker 1: No, No, we're definitely explicit. But you could have said ejaculate.

1195
00:56:18,080 --> 00:56:21,720
Speaker 1: I wasn't you don't have to say. Come, it's so graphic,

1196
00:56:21,800 --> 00:56:23,719
Speaker 1: right Joel crashing up at you right now?

1197
00:56:23,760 --> 00:56:24,759
Speaker 3: She could a climax.

1198
00:56:24,880 --> 00:56:27,439
Speaker 1: She couldn't, Joel, as our producer, should we be using

1199
00:56:27,480 --> 00:56:31,840
Speaker 1: a word? I don't know. I hear call iHeart on

1200
00:56:31,880 --> 00:56:32,560
Speaker 1: the red phone.

1201
00:56:33,040 --> 00:56:36,160
Speaker 2: I don't think it. It'll matter much, guys, whenever you're coaching.

1202
00:56:37,200 --> 00:56:39,400
Speaker 1: I don't know. Donald said it. My heart skipped to

1203
00:56:39,400 --> 00:56:46,400
Speaker 1: beat no episode, I know it's fucking staying. It's stay listen,

1204
00:56:46,840 --> 00:56:50,399
Speaker 1: you know, listen to that point. I noticed Judy didn't

1205
00:56:50,400 --> 00:56:52,680
Speaker 1: say orgasm in the first scene that it comes up,

1206
00:56:52,960 --> 00:56:54,480
Speaker 1: and I was like, oh, it must be like a

1207
00:56:54,480 --> 00:56:56,520
Speaker 1: TV thing. And we see that we had a tiptoe

1208
00:56:56,560 --> 00:56:59,319
Speaker 1: around the word. And then everyone starts saying it. You

1209
00:56:59,360 --> 00:57:01,480
Speaker 1: say it's sad, says it. I'm like, oh, it's just

1210
00:57:01,560 --> 00:57:06,600
Speaker 1: a Judy's character. Carla is like uncomfortable saying the word

1211
00:57:06,800 --> 00:57:08,000
Speaker 1: in public.

1212
00:57:08,800 --> 00:57:11,400
Speaker 2: Which is odd to me because as you saw, I

1213
00:57:11,480 --> 00:57:14,040
Speaker 2: just said a different word and all of you guys got.

1214
00:57:14,000 --> 00:57:16,800
Speaker 1: Oh, now you're ashamed. Now now you guys kind of

1215
00:57:16,800 --> 00:57:19,080
Speaker 1: shamed me. That was no judge. We're not shaming you.

1216
00:57:19,120 --> 00:57:19,840
Speaker 1: There's no judgment.

1217
00:57:19,960 --> 00:57:20,800
Speaker 2: Was a little bit of judgment.

1218
00:57:20,800 --> 00:57:23,120
Speaker 1: I'm gonna keep it no, no way, No, there's no judgment.

1219
00:57:23,200 --> 00:57:26,520
Speaker 2: And anybody out there listening, I felt your judgment too. No,

1220
00:57:26,600 --> 00:57:28,000
Speaker 2: they weren't judging your judgment too.

1221
00:57:28,080 --> 00:57:30,080
Speaker 1: I think we were all just a little taken aback

1222
00:57:30,120 --> 00:57:32,240
Speaker 1: that you came at us aggressively, no pun intended.

1223
00:57:32,440 --> 00:57:34,600
Speaker 3: I'm going to keep us on topic, but maybe get

1224
00:57:34,680 --> 00:57:35,960
Speaker 3: us out of this office, or are you.

1225
00:57:35,920 --> 00:57:38,000
Speaker 1: Going to direct us? Piller direct us.

1226
00:57:38,480 --> 00:57:40,240
Speaker 3: I'm just gonna say that, you guys, this is what

1227
00:57:40,280 --> 00:57:43,440
Speaker 3: a director does. It's a little redirect here at that

1228
00:57:43,560 --> 00:57:46,840
Speaker 3: moment at eleven fifty five where Carla catches herself after

1229
00:57:46,880 --> 00:57:49,600
Speaker 3: Elliott's made her confession that she's never been able to

1230
00:57:49,600 --> 00:57:53,680
Speaker 3: climbax ever, even by herself, that that moment after she

1231
00:57:53,800 --> 00:57:58,520
Speaker 3: says it, Judy's like, oh, I'm sorry, I should be

1232
00:57:58,560 --> 00:58:01,480
Speaker 3: more surprised. It's just like that, the the pause and

1233
00:58:01,480 --> 00:58:04,360
Speaker 3: her like her realization. It's it's a silent beat. It's

1234
00:58:04,520 --> 00:58:09,280
Speaker 3: so funny and so definitely executed. And there was something

1235
00:58:09,320 --> 00:58:11,160
Speaker 3: that I have no you can't take no credit for.

1236
00:58:11,200 --> 00:58:12,760
Speaker 3: Of course, that's all the actor.

1237
00:58:12,920 --> 00:58:16,000
Speaker 1: Elliott is so self deprecating in this episode. It's so funny.

1238
00:58:16,040 --> 00:58:19,360
Speaker 1: Every scenes staras in She's like, she's just like taking

1239
00:58:19,360 --> 00:58:22,479
Speaker 1: digs at herself over and over and over again. Let's

1240
00:58:22,480 --> 00:58:25,280
Speaker 1: talk about the legendary Sam Lloyd at fifteen thirty saying

1241
00:58:25,280 --> 00:58:27,840
Speaker 1: walk off, bitch. I laughed out loud it Oh, yes,

1242
00:58:29,880 --> 00:58:31,800
Speaker 1: now it's spiller. I noticed he's not sweating. I don't

1243
00:58:31,800 --> 00:58:33,479
Speaker 1: know if you recall because it was so long ago,

1244
00:58:33,520 --> 00:58:35,480
Speaker 1: but I wondered if there was a conscious decision like, no,

1245
00:58:35,640 --> 00:58:38,320
Speaker 1: you found your courage. You're not going to be flopped

1246
00:58:38,360 --> 00:58:39,240
Speaker 1: sweating in this scene.

1247
00:58:40,200 --> 00:58:44,520
Speaker 3: Yeah. I don't remember actually saying the words, but I'd

1248
00:58:44,560 --> 00:58:47,120
Speaker 3: like to think that that is why, you know, with

1249
00:58:47,240 --> 00:58:50,840
Speaker 3: his new found you know, since since Kelso's lost his mojo,

1250
00:58:51,720 --> 00:58:55,240
Speaker 3: Ted has this newfound confidence that he wasn't sweating.

1251
00:58:55,760 --> 00:58:58,160
Speaker 1: Yeah, and then it goes, and then he goes. You

1252
00:58:58,160 --> 00:59:02,640
Speaker 1: are a wonderful person with you.

1253
00:59:04,040 --> 00:59:05,320
Speaker 2: Don't blurrd know what you did?

1254
00:59:05,840 --> 00:59:08,240
Speaker 1: Yeah, so good, it's blurred. Do you want to share

1255
00:59:08,280 --> 00:59:10,560
Speaker 1: any Sammy thoughts? I thought, just you know, because you

1256
00:59:10,920 --> 00:59:12,960
Speaker 1: worked with him a bunch of times, and and uh

1257
00:59:13,680 --> 00:59:15,560
Speaker 1: and we you know, Donald and I shared some thoughts.

1258
00:59:15,560 --> 00:59:17,440
Speaker 1: But I thought you might want to say anything that

1259
00:59:17,480 --> 00:59:18,360
Speaker 1: you remember about him.

1260
00:59:19,360 --> 00:59:23,920
Speaker 3: Yeah, I mean, gosh, it's take him too soon. I mean,

1261
00:59:24,000 --> 00:59:29,560
Speaker 3: such a great guy, such an amazing talent. I'm so

1262
00:59:29,760 --> 00:59:33,720
Speaker 3: pleased to work with him a bunch and and gotten

1263
00:59:33,720 --> 00:59:36,560
Speaker 3: to know him a little bit. And but I often

1264
00:59:36,640 --> 00:59:39,560
Speaker 3: I mean, when I heard the news, I kept thinking

1265
00:59:39,600 --> 00:59:42,080
Speaker 3: back to one episode that I haven't seen in a while,

1266
00:59:42,120 --> 00:59:44,120
Speaker 3: but this moment is all I stuck with me where

1267
00:59:44,720 --> 00:59:49,280
Speaker 3: Ted the Lawyer winds up falling off the roof and

1268
00:59:49,480 --> 00:59:52,360
Speaker 3: I mean we shot like a pretty elaborate sequence for it,

1269
00:59:52,480 --> 00:59:56,000
Speaker 3: and you know, see him falling away and he says, oh,

1270
00:59:56,040 --> 00:59:59,840
Speaker 3: sweet relief, you know, like he's finally, you know, gonna

1271
01:00:00,080 --> 01:00:04,120
Speaker 3: be at at this torturous life. And you know, years ago,

1272
01:00:04,200 --> 01:00:05,920
Speaker 3: I just would think about that moment because it was

1273
01:00:05,960 --> 01:00:10,440
Speaker 3: so funny and so on character, and you know, the

1274
01:00:10,720 --> 01:00:13,240
Speaker 3: past couple of weeks I've just been thinking about It's like, well,

1275
01:00:14,360 --> 01:00:16,520
Speaker 3: I hope that he has found peace and you know

1276
01:00:16,520 --> 01:00:20,680
Speaker 3: it's not in pain, and it's just heartbreaking. What an

1277
01:00:20,680 --> 01:00:21,360
Speaker 3: amazing guy.

1278
01:00:21,920 --> 01:00:24,000
Speaker 1: Yeah, he really was. I've been thinking about him a

1279
01:00:24,040 --> 01:00:26,440
Speaker 1: lot lately, and I know, I know all the fans

1280
01:00:26,440 --> 01:00:28,720
Speaker 1: of the show have. But and now, of course, when

1281
01:00:28,720 --> 01:00:30,720
Speaker 1: he comes up in an episode, I'm like extra leaning

1282
01:00:30,760 --> 01:00:32,840
Speaker 1: forward because I know, I just know what's going to

1283
01:00:32,880 --> 01:00:34,760
Speaker 1: be funny. And you know, I have this thing when

1284
01:00:34,800 --> 01:00:36,479
Speaker 1: I write my notes down for the episode, I write

1285
01:00:36,560 --> 01:00:39,680
Speaker 1: lol just to remind myself to say that. That's something

1286
01:00:39,680 --> 01:00:41,720
Speaker 1: that made me laugh out loud and saying he has

1287
01:00:41,760 --> 01:00:43,760
Speaker 1: like two lines in this episode. I laughed out loud

1288
01:00:43,760 --> 01:00:44,360
Speaker 1: of both of them.

1289
01:00:45,440 --> 01:00:48,520
Speaker 3: That's just him just delivered always.

1290
01:00:48,640 --> 01:00:49,680
Speaker 2: Yeah, he definitely.

1291
01:00:50,880 --> 01:00:54,200
Speaker 1: Johnny c At nineteen twenty seven puts in his own

1292
01:00:54,280 --> 01:00:56,400
Speaker 1: five good ones, you know, that's what. Yeah, I noticed

1293
01:00:56,440 --> 01:01:00,920
Speaker 1: that with that, well, you know that that was his expression.

1294
01:01:00,960 --> 01:01:02,560
Speaker 1: I think I don't know if the writers put it

1295
01:01:02,560 --> 01:01:04,000
Speaker 1: in the script or not.

1296
01:01:04,920 --> 01:01:07,800
Speaker 2: Right here for you, Bob, I like that whole storyline too.

1297
01:01:07,800 --> 01:01:12,600
Speaker 2: That was very funny of Kelso losing his mojo, and

1298
01:01:12,640 --> 01:01:14,960
Speaker 2: the way Ken played it was great, like a wounded

1299
01:01:15,000 --> 01:01:16,880
Speaker 2: little like a wounded little puppy.

1300
01:01:17,120 --> 01:01:19,920
Speaker 1: Ken was so funny. Right when you ever see Kelso

1301
01:01:20,000 --> 01:01:22,640
Speaker 1: play that like humbled puppy, That was so funny.

1302
01:01:23,760 --> 01:01:26,120
Speaker 2: And and even and uh and and John and you know,

1303
01:01:26,160 --> 01:01:28,720
Speaker 2: and him realizing, wait a second, how did I lose

1304
01:01:28,760 --> 01:01:32,160
Speaker 2: my mojo? And John c rolling by, Yeah, the wheelchair

1305
01:01:32,240 --> 01:01:32,960
Speaker 2: waving at him.

1306
01:01:33,040 --> 01:01:36,240
Speaker 1: Hilarious, dude, that's a that's a shot I've seen like

1307
01:01:36,360 --> 01:01:39,240
Speaker 1: in every Scrubs clip reel that's ever shown, or like,

1308
01:01:39,960 --> 01:01:42,840
Speaker 1: you know, gifts and stuff. You just that's it's one

1309
01:01:42,880 --> 01:01:44,760
Speaker 1: of those shots you always see Johnny on the wheelchair

1310
01:01:44,840 --> 01:01:46,000
Speaker 1: rolling by waving like that.

1311
01:01:47,480 --> 01:01:51,040
Speaker 3: Yeah, I think I'm owed some residuals or something, some gift.

1312
01:01:51,080 --> 01:01:52,680
Speaker 1: Those gift residuals.

1313
01:01:52,160 --> 01:01:54,600
Speaker 2: Are Yeah, they don't pay, they don't pay.

1314
01:01:56,280 --> 01:01:57,800
Speaker 1: Yeah, I just wrote I wrote down the same thing.

1315
01:01:57,840 --> 01:01:59,960
Speaker 1: Donald ken Ken is so good being humbled. I mean,

1316
01:02:00,080 --> 01:02:02,520
Speaker 1: it's not something you ever really saw on Scrubs, but

1317
01:02:02,560 --> 01:02:04,760
Speaker 1: he was, like he played it so well. Just he

1318
01:02:04,880 --> 01:02:06,320
Speaker 1: that guy has such an amazing range.

1319
01:02:06,840 --> 01:02:10,640
Speaker 2: Yeah. But and then also also his his comeback was

1320
01:02:10,680 --> 01:02:16,400
Speaker 2: great and the way Cox tricks him or you know,

1321
01:02:16,480 --> 01:02:21,200
Speaker 2: revives him by saying, you know what, guys, from here

1322
01:02:21,240 --> 01:02:23,760
Speaker 2: on out, you just ask me the question and I'll

1323
01:02:23,800 --> 01:02:26,560
Speaker 2: answer everything for you. And you and you realize, oh

1324
01:02:26,560 --> 01:02:29,280
Speaker 2: wait a second, you realize right then, And there Kelso

1325
01:02:29,400 --> 01:02:31,720
Speaker 2: is trying to teach. He gets a kick out of

1326
01:02:31,760 --> 01:02:34,320
Speaker 2: being the most evil person on the planet. But he

1327
01:02:34,520 --> 01:02:38,400
Speaker 2: is the chief of medicine at a teaching hospital, and

1328
01:02:38,440 --> 01:02:41,960
Speaker 2: he fulfills his job in every episode, regardless of how

1329
01:02:42,000 --> 01:02:44,840
Speaker 2: evil he might be or how angry he might seem.

1330
01:02:45,040 --> 01:02:48,280
Speaker 2: You know, I talked about this earlier. He h an

1331
01:02:48,400 --> 01:02:53,960
Speaker 2: older and earlier podcast. He he's always teaching. He's always

1332
01:02:54,480 --> 01:02:57,840
Speaker 2: he's always a part of the solution and not necessarily

1333
01:02:58,400 --> 01:03:00,560
Speaker 2: the problem. Even if it's like, well, look, this is

1334
01:03:00,560 --> 01:03:07,200
Speaker 2: how we run things. He the lessons always somehow revolve

1335
01:03:07,560 --> 01:03:11,320
Speaker 2: around how mean he is. But he's freaking so he's

1336
01:03:11,360 --> 01:03:14,600
Speaker 2: always teaching. The kids. He's always teaching, or the students or.

1337
01:03:14,520 --> 01:03:17,640
Speaker 1: The and always taken away from him. This time, he's

1338
01:03:17,760 --> 01:03:19,760
Speaker 1: totally like lost his mojo, you know.

1339
01:03:19,840 --> 01:03:22,120
Speaker 2: He well, not only has he lost his mojo, he's

1340
01:03:22,120 --> 01:03:24,120
Speaker 2: lost his purpose in the hospital. Also, what do I

1341
01:03:24,160 --> 01:03:27,800
Speaker 2: do here? I can't freaking get ted to do his job.

1342
01:03:27,880 --> 01:03:31,480
Speaker 2: I can't get you know, I can't get the med

1343
01:03:31,560 --> 01:03:36,760
Speaker 2: students or the interns to do their job. What how

1344
01:03:36,760 --> 01:03:37,520
Speaker 2: do you know?

1345
01:03:37,760 --> 01:03:37,920
Speaker 3: How?

1346
01:03:38,240 --> 01:03:40,880
Speaker 2: What is my purpose here? And it's only until it's

1347
01:03:40,920 --> 01:03:45,360
Speaker 2: only until Cox says, you know, you guys ask me

1348
01:03:45,400 --> 01:03:47,000
Speaker 2: the question where he's like, wait a second, that's not

1349
01:03:47,040 --> 01:03:49,440
Speaker 2: how we run things. And it's all right if I

1350
01:03:49,440 --> 01:03:51,640
Speaker 2: scare the shit out of them, that's a fine way

1351
01:03:51,640 --> 01:03:54,280
Speaker 2: to teach people. Fear we're in a hospital. If this

1352
01:03:54,280 --> 01:03:56,440
Speaker 2: ship hits Code RED, these people need to be ready

1353
01:03:56,440 --> 01:03:59,960
Speaker 2: to you know, push their nerves aside and answer questions

1354
01:04:00,080 --> 01:04:02,040
Speaker 2: and save lives and everything like.

1355
01:04:02,040 --> 01:04:04,680
Speaker 3: That psion and you get another glimpse of, you know,

1356
01:04:04,960 --> 01:04:07,760
Speaker 3: inside doctor c that you know, there's more than meets

1357
01:04:07,760 --> 01:04:09,840
Speaker 3: the I there. He's not just you know, a scary,

1358
01:04:09,920 --> 01:04:13,840
Speaker 3: intimidating figure in the hospital. It's like, no, he's got part.

1359
01:04:13,920 --> 01:04:17,280
Speaker 3: He's got compassion and you know, understands how things work

1360
01:04:17,360 --> 01:04:20,600
Speaker 3: here and he's the one who's instrumental in restoring the order.

1361
01:04:21,000 --> 01:04:24,040
Speaker 1: Yeah. Yeah, And I thought that was really nice just

1362
01:04:24,160 --> 01:04:29,360
Speaker 1: moment into doctor Cox's mind, seeing that he's a lonesome

1363
01:04:29,400 --> 01:04:33,280
Speaker 1: guy who's who's dedicated his life to this and and

1364
01:04:33,440 --> 01:04:34,600
Speaker 1: I thought, you know, I just thought that was a

1365
01:04:34,680 --> 01:04:37,440
Speaker 1: nice sort of reveal as we get to know the

1366
01:04:37,520 --> 01:04:41,240
Speaker 1: character more in episode thirteen of the whole series, that

1367
01:04:41,880 --> 01:04:43,920
Speaker 1: you know how dedicated he is to being a doctor,

1368
01:04:44,400 --> 01:04:49,280
Speaker 1: even even in sacrificing relationships with with with people. And

1369
01:04:50,120 --> 01:04:53,720
Speaker 1: you know, Joelle brought up a good point that you know,

1370
01:04:53,760 --> 01:04:56,720
Speaker 1: when you do a TV show, granted we're not doing

1371
01:04:56,800 --> 01:05:00,120
Speaker 1: something noble like saving lives, but you know, when you

1372
01:05:00,240 --> 01:05:03,200
Speaker 1: we had something analogous going on in that we were

1373
01:05:03,240 --> 01:05:06,800
Speaker 1: just at this hospital sixteen hours a day, and it

1374
01:05:06,840 --> 01:05:10,960
Speaker 1: definitely hurt relationships with family and friends. You know, Donald

1375
01:05:10,960 --> 01:05:14,120
Speaker 1: had children and and and and was gone, and I

1376
01:05:14,240 --> 01:05:16,920
Speaker 1: lost touch with a lot of old friends, and it

1377
01:05:17,000 --> 01:05:19,240
Speaker 1: was it was a bit analogous to what was happening

1378
01:05:19,280 --> 01:05:21,520
Speaker 1: in our lives. You know, It's interesting. When Scrubs ended,

1379
01:05:21,600 --> 01:05:24,680
Speaker 1: I had this feeling that I was delayed in a

1380
01:05:24,760 --> 01:05:28,480
Speaker 1: sense in that I hadn't had nine years of building

1381
01:05:28,600 --> 01:05:32,160
Speaker 1: friendships outside of the hospital. I had built the best

1382
01:05:32,200 --> 01:05:37,680
Speaker 1: friendships of my life. You especially and Spiller, Spiller, Spiller,

1383
01:05:37,760 --> 01:05:40,680
Speaker 1: you're close, like ten down. But no, I had built

1384
01:05:40,720 --> 01:05:44,160
Speaker 1: some great friendships. And uh and actually that's that's one

1385
01:05:44,160 --> 01:05:46,600
Speaker 1: of the reasons so many of these wonderful people, including

1386
01:05:47,040 --> 01:05:50,000
Speaker 1: Bill and others, are so in my life. And of

1387
01:05:50,040 --> 01:05:54,840
Speaker 1: course I I fostered other relationships, but but you know,

1388
01:05:55,360 --> 01:05:59,760
Speaker 1: we didn't have much time over those nine years to

1389
01:06:00,040 --> 01:06:03,720
Speaker 1: build and develop other relationships. And I don't know, I

1390
01:06:03,760 --> 01:06:05,680
Speaker 1: don't know if you if you noticed that Donald were

1391
01:06:05,960 --> 01:06:07,920
Speaker 1: when we were finally done and kind of had our

1392
01:06:08,000 --> 01:06:11,320
Speaker 1: normal lives back, I felt that I was like, I

1393
01:06:11,400 --> 01:06:13,760
Speaker 1: don't I have small circles of friends that I love

1394
01:06:13,840 --> 01:06:15,400
Speaker 1: so much. But I'm not one of these people that

1395
01:06:15,840 --> 01:06:19,160
Speaker 1: really knew a ton of people outside of my job.

1396
01:06:19,440 --> 01:06:22,000
Speaker 2: Right And because of that, it's a little awkward now

1397
01:06:22,120 --> 01:06:24,640
Speaker 2: when I do well, we're on lockdown. But when I

1398
01:06:24,680 --> 01:06:28,080
Speaker 2: do meet people, I'm a little awkward about. You know,

1399
01:06:29,680 --> 01:06:31,440
Speaker 2: when you make a bunch of really good friends and

1400
01:06:31,480 --> 01:06:38,280
Speaker 2: it all ends and you only see them occasionally, Well,

1401
01:06:38,320 --> 01:06:40,960
Speaker 2: you and I are a bit different. It's like, well,

1402
01:06:41,000 --> 01:06:42,840
Speaker 2: you know, I spent ten years getting to know a

1403
01:06:42,880 --> 01:06:46,360
Speaker 2: lot of people, and as much as as much as

1404
01:06:46,400 --> 01:06:49,840
Speaker 2: I respect and cherished all the time that we spent together.

1405
01:06:50,320 --> 01:06:52,320
Speaker 2: It's weird not having these people in my life. It's

1406
01:06:52,360 --> 01:06:56,600
Speaker 2: weird not seeing Chris or or you know, or ethan

1407
01:06:56,960 --> 01:07:01,120
Speaker 2: Or or Calvin or Natural Boult and Patrick Bolton. It's

1408
01:07:01,160 --> 01:07:03,640
Speaker 2: weird not seeing this so Vaughan. It's weird not seeing

1409
01:07:03,680 --> 01:07:04,200
Speaker 2: these people.

1410
01:07:04,520 --> 01:07:06,000
Speaker 1: You know, one thing you could do, it would be

1411
01:07:06,040 --> 01:07:08,600
Speaker 1: to ask Spiller to come put a doorknob on your house.

1412
01:07:09,480 --> 01:07:12,000
Speaker 1: That's one trick that I've sometimes used when I don't.

1413
01:07:11,840 --> 01:07:15,160
Speaker 2: Want Spiller anywhere near my house in quarantine.

1414
01:07:15,440 --> 01:07:18,320
Speaker 1: Oh, he could mask up and come put a doorknob.

1415
01:07:18,400 --> 01:07:22,720
Speaker 2: I totally understand. I totally understand that, but I'm trying

1416
01:07:22,720 --> 01:07:23,440
Speaker 2: to listen.

1417
01:07:23,480 --> 01:07:26,000
Speaker 1: He was thirty five an hour. It was worth every penny.

1418
01:07:26,920 --> 01:07:32,600
Speaker 3: You know the rates of change, Yeah, DGA scale plus fringes.

1419
01:07:32,920 --> 01:07:35,520
Speaker 1: Yeah. But you know, let's talk for a second about

1420
01:07:35,520 --> 01:07:37,720
Speaker 1: New Slang, which is the song that ends the show.

1421
01:07:38,520 --> 01:07:41,120
Speaker 1: Rumor has it it was chosen by Neil Goldman, who

1422
01:07:41,200 --> 01:07:44,240
Speaker 1: unfortunately he keeps getting mentioned because he loves getting mentioned

1423
01:07:44,280 --> 01:07:48,360
Speaker 1: on this podcast. But he was a writer, contributor, He

1424
01:07:48,560 --> 01:07:50,720
Speaker 1: was a what are you saying?

1425
01:07:50,800 --> 01:07:54,080
Speaker 2: I said he was a contributor. He contributed show.

1426
01:07:54,240 --> 01:07:55,640
Speaker 1: I think on that show.

1427
01:07:56,280 --> 01:07:58,800
Speaker 2: Because of that, on this show, because of that, he

1428
01:07:58,840 --> 01:08:02,080
Speaker 2: gets spoken of all the time. Neil Goldman. I didn't

1429
01:08:02,080 --> 01:08:03,400
Speaker 2: know that Neil Goldman picked this song.

1430
01:08:03,880 --> 01:08:06,840
Speaker 1: Neil Goldman. Let me tell you something. Neil Goldman is

1431
01:08:06,920 --> 01:08:09,240
Speaker 1: very into music, was and is very into music, and

1432
01:08:09,280 --> 01:08:11,880
Speaker 1: he picked the song. Now, this song I so fell

1433
01:08:11,920 --> 01:08:12,360
Speaker 1: in love with.

1434
01:08:13,120 --> 01:08:14,440
Speaker 2: Yeah, I know you used to sing this ship all

1435
01:08:14,440 --> 01:08:17,599
Speaker 2: the time, go teeth and a curse in.

1436
01:08:17,560 --> 01:08:20,040
Speaker 1: My mouth and a curse for this town, and I

1437
01:08:20,080 --> 01:08:20,640
Speaker 1: put it into it.

1438
01:08:20,720 --> 01:08:22,360
Speaker 2: I thought it was a curse in my mouth? Do

1439
01:08:22,439 --> 01:08:23,559
Speaker 2: you know this town?

1440
01:08:24,120 --> 01:08:25,360
Speaker 1: Do you know that it's in garden State.

1441
01:08:26,080 --> 01:08:26,439
Speaker 2: It is.

1442
01:08:26,920 --> 01:08:29,519
Speaker 1: It's the song that when I say to that black.

1443
01:08:29,360 --> 01:08:31,120
Speaker 2: People in garden State, I've never seen garden State.

1444
01:08:32,640 --> 01:08:34,360
Speaker 1: Well when they do, like when we do, like the

1445
01:08:34,400 --> 01:08:36,960
Speaker 1: Wiz version, maybe you'll check it out. Will you be

1446
01:08:37,080 --> 01:08:37,800
Speaker 1: me and the stuff?

1447
01:08:38,040 --> 01:08:40,120
Speaker 2: What are you gonna do the Wiz version?

1448
01:08:40,200 --> 01:08:41,679
Speaker 1: Yeah, the Wiz version.

1449
01:08:41,720 --> 01:08:42,800
Speaker 2: Who's gonna play your character?

1450
01:08:42,840 --> 01:08:44,719
Speaker 1: Who's playing you? Are you are? Of course?

1451
01:08:44,840 --> 01:08:47,840
Speaker 2: It better be me. That's all I know. When people

1452
01:08:47,920 --> 01:08:50,479
Speaker 2: say your name, they better say my name next. That's

1453
01:08:50,520 --> 01:08:51,439
Speaker 2: all I motherfucker know.

1454
01:08:51,600 --> 01:08:54,160
Speaker 1: Got that you didn't know that. We've already started casting

1455
01:08:54,200 --> 01:08:56,240
Speaker 1: the Wiz version of Garden Seat and you're the star.

1456
01:08:58,320 --> 01:09:01,000
Speaker 1: I love it except when you say you tell me

1457
01:09:01,080 --> 01:09:03,479
Speaker 1: not instead of news slang? When when I when Natalie,

1458
01:09:03,479 --> 01:09:06,080
Speaker 1: when the Natalie character says, you got to hear this song.

1459
01:09:06,120 --> 01:09:07,519
Speaker 1: It will change your life. And you're in the Whiz

1460
01:09:07,600 --> 01:09:09,519
Speaker 1: version of you that you're in. What's the song gonna be?

1461
01:09:10,160 --> 01:09:14,640
Speaker 2: It goes right foot up, left foot, slide, left foot up,

1462
01:09:15,240 --> 01:09:20,280
Speaker 2: right foot, slide away, about to slide. We do it,

1463
01:09:20,400 --> 01:09:22,520
Speaker 2: slide slide.

1464
01:09:22,400 --> 01:09:24,280
Speaker 1: What is that song?

1465
01:09:25,640 --> 01:09:29,280
Speaker 2: It's just like Michael Ja Son, I can give you

1466
01:09:29,360 --> 01:09:30,320
Speaker 2: the path.

1467
01:09:30,880 --> 01:09:34,439
Speaker 1: So aren't the lyrics like, yeah, I saw it briefly

1468
01:09:34,479 --> 01:09:40,200
Speaker 1: on somebody's video, But isn't it like lessen pretty much

1469
01:09:40,280 --> 01:09:41,439
Speaker 1: anything you're gonna do.

1470
01:09:41,560 --> 01:09:48,479
Speaker 2: It's like, that's right, dope moment, And then I think

1471
01:09:48,520 --> 01:09:52,400
Speaker 2: we should listen. I'm not gonna knock the idea. I'm

1472
01:09:52,400 --> 01:09:53,920
Speaker 2: doing an all black Garden States.

1473
01:09:53,960 --> 01:09:56,639
Speaker 1: Listen. I will license I will license you.

1474
01:09:57,000 --> 01:09:59,360
Speaker 2: It'll be a different story. I mean, it's the same story,

1475
01:09:59,360 --> 01:10:03,160
Speaker 2: but it's a different it's a different it's a different movie. Though.

1476
01:10:03,360 --> 01:10:06,120
Speaker 1: Listen, I will give you the license, you and you

1477
01:10:06,240 --> 01:10:08,320
Speaker 1: and you and someone.

1478
01:10:08,360 --> 01:10:10,479
Speaker 2: And instead of going to method man and now, I'm

1479
01:10:10,479 --> 01:10:13,880
Speaker 2: not gonna choose you to play motherfucking the character at

1480
01:10:13,920 --> 01:10:20,320
Speaker 2: the hotel, choose great Jack Shepherd, Dax Shepherd, Dax Shepherd.

1481
01:10:21,439 --> 01:10:23,080
Speaker 2: I'm gonna have Ray Romano.

1482
01:10:24,240 --> 01:10:27,679
Speaker 1: So fucked up. My feelings are hurt. Hey, everybody. While

1483
01:10:27,720 --> 01:10:30,880
Speaker 1: Donald cools down and writes his Wiz musical version of

1484
01:10:30,880 --> 01:10:31,360
Speaker 1: Garden State.

1485
01:10:32,560 --> 01:10:34,120
Speaker 2: It's not a musical, it is.

1486
01:10:34,240 --> 01:10:35,320
Speaker 1: The Whiz was a musical.

1487
01:10:35,840 --> 01:10:37,280
Speaker 2: So is The Wizard of Oz. Though.

1488
01:10:37,680 --> 01:10:38,719
Speaker 1: Okay, stop yelling.

1489
01:10:38,920 --> 01:10:41,200
Speaker 2: I'm not yelling. I listen, I'm calm.

1490
01:10:41,200 --> 01:10:54,479
Speaker 1: Okay, Well, we'll be right now, and we're bad we're bad.

1491
01:10:55,240 --> 01:10:56,759
Speaker 2: Michael Spiller with us.

1492
01:10:57,080 --> 01:11:00,960
Speaker 1: We have director Michael Spiller, Emmy Award winning director Michael Spiller,

1493
01:11:01,200 --> 01:11:04,559
Speaker 1: who not only is a fantastic filmmaker, but also can

1494
01:11:04,600 --> 01:11:07,360
Speaker 1: throw a door knob on a door in thirty minutes flat.

1495
01:11:07,760 --> 01:11:09,920
Speaker 1: Joel introduce us to Whitney and Dustin.

1496
01:11:10,120 --> 01:11:14,160
Speaker 2: Whitney and Dustin, Hi, guys, thanks so much for coming

1497
01:11:14,240 --> 01:11:15,200
Speaker 2: on this show.

1498
01:11:15,000 --> 01:11:15,080
Speaker 3: And.

1499
01:11:17,720 --> 01:11:20,920
Speaker 1: Thank you for having us a baby.

1500
01:11:21,439 --> 01:11:25,439
Speaker 6: And yes, we brought the baby along because we wanted

1501
01:11:25,479 --> 01:11:31,759
Speaker 6: to introduce you guys to Atticus Dorian. Oh, totally named

1502
01:11:31,800 --> 01:11:32,439
Speaker 6: after j D.

1503
01:11:35,439 --> 01:11:38,479
Speaker 2: I thought you were gonna say, no, Attic Historian's a

1504
01:11:38,520 --> 01:11:39,200
Speaker 2: beautiful name.

1505
01:11:39,280 --> 01:11:39,680
Speaker 1: Thank you.

1506
01:11:39,760 --> 01:11:42,280
Speaker 4: But he does have on his baby bear shirt.

1507
01:11:43,080 --> 01:11:46,679
Speaker 1: Oh so cute. He's such a cute.

1508
01:11:46,800 --> 01:11:49,880
Speaker 7: We figured since he was gonna meet Vanilla and Chocolate Bear,

1509
01:11:49,920 --> 01:11:51,559
Speaker 7: he needed to rock the baby bear shirt.

1510
01:11:51,800 --> 01:11:52,000
Speaker 3: Yeah.

1511
01:11:53,840 --> 01:11:54,400
Speaker 2: Where do you guys?

1512
01:11:55,720 --> 01:11:58,720
Speaker 7: We're from Leaton, Alabama. It's a tiny little town in

1513
01:11:58,800 --> 01:12:01,519
Speaker 7: the sort of like in the Shoals area. I don't know,

1514
01:12:01,680 --> 01:12:03,680
Speaker 7: it's probably something you've never heard of.

1515
01:12:04,240 --> 01:12:07,679
Speaker 2: I've been to Alabama, but not in that area. I've

1516
01:12:07,680 --> 01:12:09,240
Speaker 2: been to Birmingham, Alabama.

1517
01:12:09,360 --> 01:12:11,200
Speaker 7: Yeah, we're a little bit north of Birmingham's.

1518
01:12:11,240 --> 01:12:14,479
Speaker 1: Okay, well, we're so glad you guys are here. And

1519
01:12:14,600 --> 01:12:17,360
Speaker 1: you were joined not only by by is it me

1520
01:12:17,400 --> 01:12:19,640
Speaker 1: and Donald, but Michael Spiller, who was one of the

1521
01:12:19,640 --> 01:12:21,559
Speaker 1: best directors of Scrubs and.

1522
01:12:21,520 --> 01:12:23,240
Speaker 2: Directed several episodes of.

1523
01:12:23,280 --> 01:12:26,320
Speaker 1: Twenty twenty episodes. He directed some other shows too, but

1524
01:12:26,320 --> 01:12:27,919
Speaker 1: we don't care about them on this podcast.

1525
01:12:28,320 --> 01:12:31,519
Speaker 2: I mean they might care though, Yeah, your show called

1526
01:12:31,560 --> 01:12:32,400
Speaker 2: Sex and the City.

1527
01:12:32,479 --> 01:12:33,200
Speaker 1: He directed a.

1528
01:12:33,120 --> 01:12:37,040
Speaker 2: Little show called Modern Family. Do you guys have a question?

1529
01:12:37,280 --> 01:12:39,880
Speaker 2: Go ahead, if we hit a couple, Okay, let's get

1530
01:12:39,880 --> 01:12:40,599
Speaker 2: into it.

1531
01:12:40,600 --> 01:12:42,720
Speaker 4: It was one extras or I guess it was an

1532
01:12:42,760 --> 01:12:44,120
Speaker 4: extures a background character.

1533
01:12:44,600 --> 01:12:46,280
Speaker 3: It was a bond doctor.

1534
01:12:46,640 --> 01:12:51,280
Speaker 4: In the episode where Janitor got married, she was milk doctor.

1535
01:12:51,680 --> 01:12:54,840
Speaker 7: She seems to be in almost every episode.

1536
01:12:54,479 --> 01:12:57,400
Speaker 4: In the background, alike, just about every episode.

1537
01:12:56,880 --> 01:13:00,240
Speaker 7: We have, like we've noticed her and on know, on

1538
01:13:00,360 --> 01:13:02,800
Speaker 7: these rewatches we've you know, watched over and over again,

1539
01:13:02,840 --> 01:13:04,559
Speaker 7: and every time, you know, she's in the background.

1540
01:13:04,600 --> 01:13:05,240
Speaker 2: We said, there she is.

1541
01:13:05,240 --> 01:13:06,679
Speaker 7: She's in every episode.

1542
01:13:06,760 --> 01:13:08,360
Speaker 2: What does she look like.

1543
01:13:08,880 --> 01:13:12,400
Speaker 7: She's she's blonde. She's probably close to like you know,

1544
01:13:12,479 --> 01:13:15,640
Speaker 7: would have been like doctor Cox's age. She wasn't one

1545
01:13:15,680 --> 01:13:19,120
Speaker 7: of the younger interns or anything. But you know when

1546
01:13:19,120 --> 01:13:21,679
Speaker 7: we've looked before. You know, if you try to search

1547
01:13:21,800 --> 01:13:27,000
Speaker 7: for Scrubs, milk doctor, you get a lot really racing results.

1548
01:13:27,000 --> 01:13:27,599
Speaker 2: It's different.

1549
01:13:27,680 --> 01:13:30,200
Speaker 1: Yeah, different, I'll bet I'll bet it probably have nothing

1550
01:13:30,200 --> 01:13:30,800
Speaker 1: to do with the show.

1551
01:13:30,960 --> 01:13:32,280
Speaker 2: They're not at all.

1552
01:13:32,600 --> 01:13:34,240
Speaker 1: Yeah, well, I will tell you this. I will tell

1553
01:13:34,240 --> 01:13:38,120
Speaker 1: you this that you know. This is what we tried

1554
01:13:38,120 --> 01:13:39,880
Speaker 1: to do is have the same to have it feel

1555
01:13:39,920 --> 01:13:42,559
Speaker 1: like the same people work there. There would be the

1556
01:13:42,640 --> 01:13:46,880
Speaker 1: same group of like thirty to forty background people that

1557
01:13:46,920 --> 01:13:50,680
Speaker 1: would all sort of rotate in and out, and then

1558
01:13:50,720 --> 01:13:52,960
Speaker 1: each day there'd be some people we'd never seen before.

1559
01:13:53,280 --> 01:13:54,880
Speaker 1: But she must have been. I can't think of who

1560
01:13:54,880 --> 01:13:57,760
Speaker 1: it is. Give me a second, but maybe Joelle can

1561
01:13:57,800 --> 01:13:58,960
Speaker 1: do some recon.

1562
01:13:59,040 --> 01:14:00,479
Speaker 2: I think I got it, I got it.

1563
01:14:00,520 --> 01:14:03,519
Speaker 1: Hold up, do you remember what was the episode Arlene Grace?

1564
01:14:03,800 --> 01:14:06,200
Speaker 2: I think that's who they're talking about. Is this her?

1565
01:14:06,840 --> 01:14:07,200
Speaker 1: Yes?

1566
01:14:07,680 --> 01:14:10,959
Speaker 3: Yes, yes, yes, yes, Arlene.

1567
01:14:11,200 --> 01:14:15,160
Speaker 1: Arlene was one of our regular background folks, and so

1568
01:14:15,240 --> 01:14:16,960
Speaker 1: that's why you see her all the time. She was

1569
01:14:17,120 --> 01:14:18,360
Speaker 1: probably there every day right.

1570
01:14:18,240 --> 01:14:23,360
Speaker 2: Now, Yeah, she was there every day. Her snoop Dog, Uh, Mickhead.

1571
01:14:23,680 --> 01:14:25,920
Speaker 2: I haven't seen Mickhead yet. Yet I guess he came

1572
01:14:25,960 --> 01:14:26,559
Speaker 2: a lot later.

1573
01:14:26,960 --> 01:14:29,880
Speaker 1: But Snoop has a lot of screen time in the

1574
01:14:29,920 --> 01:14:32,720
Speaker 1: episode that we're talking about today. Yes, Spiller, you had him,

1575
01:14:32,760 --> 01:14:35,320
Speaker 1: you had you had Kelso bangs a pot right in

1576
01:14:35,320 --> 01:14:36,920
Speaker 1: Snoop's face in this episode.

1577
01:14:37,240 --> 01:14:40,000
Speaker 3: Yeah, and he held it perfectly, didn't even flinch. I

1578
01:14:40,000 --> 01:14:42,120
Speaker 3: can't remember if he put earplugs in or anything.

1579
01:14:42,400 --> 01:14:46,080
Speaker 2: That's crazy that you guys recognized Arlene she was. Yeah,

1580
01:14:46,120 --> 01:14:49,360
Speaker 2: she was on the show from pretty much the beginning

1581
01:14:49,360 --> 01:14:51,040
Speaker 2: all the way till the end. I don't know. I

1582
01:14:51,800 --> 01:14:53,960
Speaker 2: don't know if everybody did season nine. And you do

1583
01:14:54,080 --> 01:14:56,920
Speaker 2: refer to her when you talk to all of the

1584
01:14:56,960 --> 01:14:58,040
Speaker 2: other background.

1585
01:14:58,560 --> 01:15:01,479
Speaker 1: I do, yeah, yeah, yeah, yea, okay, wow, how did

1586
01:15:01,479 --> 01:15:03,080
Speaker 1: you find that so quickly? By the way, I'm very

1587
01:15:03,080 --> 01:15:03,960
Speaker 1: impressed with you right.

1588
01:15:03,840 --> 01:15:06,320
Speaker 2: Now because I remember her. I remember, I knew exactly

1589
01:15:06,400 --> 01:15:09,600
Speaker 2: who they were talking about. Uh. And you know, Facebook

1590
01:15:09,680 --> 01:15:12,439
Speaker 2: is a is one of those things where everybody still

1591
01:15:12,520 --> 01:15:14,280
Speaker 2: keeps in touch. So once they said that, I was.

1592
01:15:14,200 --> 01:15:15,759
Speaker 1: Like, are you still using Facebook?

1593
01:15:15,960 --> 01:15:19,240
Speaker 7: You're friends with her on Facebook? Or you just need

1594
01:15:19,280 --> 01:15:20,200
Speaker 7: to look her page up?

1595
01:15:20,479 --> 01:15:22,080
Speaker 2: No, No, I'm friends with her on Facebook. I'm friends

1596
01:15:22,080 --> 01:15:24,280
Speaker 2: with everybody, friends with everybody that we worked with.

1597
01:15:24,280 --> 01:15:26,720
Speaker 1: I don't even go on Facebook anymore, but Donald, You're

1598
01:15:26,720 --> 01:15:29,320
Speaker 1: still on there, getting in getting in arguments with everybody.

1599
01:15:30,200 --> 01:15:31,880
Speaker 2: No, I try to stay away from all of the

1600
01:15:31,920 --> 01:15:32,639
Speaker 2: political That's.

1601
01:15:32,560 --> 01:15:34,479
Speaker 1: Why when I turn on and I turn on Facebook

1602
01:15:34,520 --> 01:15:36,559
Speaker 1: these days and see everyone battling each other, I'm like,

1603
01:15:36,600 --> 01:15:38,479
Speaker 1: I'm out, Yeah, good night.

1604
01:15:39,400 --> 01:15:42,479
Speaker 7: I imagine Facebook in the South and with all your

1605
01:15:42,640 --> 01:15:45,599
Speaker 7: you know, conservative friends and stuff that's on there. That's

1606
01:15:45,760 --> 01:15:46,880
Speaker 7: a whole different you know.

1607
01:15:47,640 --> 01:15:50,439
Speaker 1: I'll bet that's tricky. Yeah, I'm in LA, the most

1608
01:15:50,439 --> 01:15:52,720
Speaker 1: liberal place in the world, and I'm like, nope, I'm out.

1609
01:15:54,800 --> 01:15:56,120
Speaker 1: All right, guys, you have another question.

1610
01:15:57,120 --> 01:15:59,640
Speaker 7: Well, we were talking earlier, and you know, we were

1611
01:15:59,680 --> 01:16:01,960
Speaker 7: kind of both racking our brains, like we wanted, really

1612
01:16:02,000 --> 01:16:03,880
Speaker 7: wanted to come up with some profound, you know, like

1613
01:16:03,920 --> 01:16:06,519
Speaker 7: deep question to ask. But really, all I could think

1614
01:16:06,520 --> 01:16:09,600
Speaker 7: of to ask would be, you know, obviously Scrubs is

1615
01:16:09,600 --> 01:16:12,759
Speaker 7: one of our favorite shows, but what do you guys

1616
01:16:12,840 --> 01:16:16,200
Speaker 7: consider to be your favorite TV shows, like of all time?

1617
01:16:16,320 --> 01:16:17,160
Speaker 2: That's a great question.

1618
01:16:17,800 --> 01:16:22,840
Speaker 1: I wow, let's make Spiller start.

1619
01:16:22,920 --> 01:16:26,000
Speaker 2: Since he's yes, Spiller, you go first, direct, very.

1620
01:16:25,920 --> 01:16:28,799
Speaker 1: Very fancy director. Let's see what are his TV show's

1621
01:16:28,840 --> 01:16:31,360
Speaker 1: favorite spiller, and you can't say anything you've directed because

1622
01:16:31,360 --> 01:16:32,519
Speaker 1: we know Scrubs is number one.

1623
01:16:33,160 --> 01:16:37,400
Speaker 3: That's correct, well, slightly different genre. The Wire.

1624
01:16:37,960 --> 01:16:39,040
Speaker 1: Yeah, a lot of people.

1625
01:16:38,840 --> 01:16:42,519
Speaker 3: Say absolutely, I've watched that all the way through twice.

1626
01:16:44,040 --> 01:16:48,240
Speaker 3: Also Narcos, I've watched that all the way through twice.

1627
01:16:48,479 --> 01:16:51,840
Speaker 1: Really, I just watched Narcos Mexico, which was really well done,

1628
01:16:51,880 --> 01:16:53,880
Speaker 1: but I didn't watch the original Narcos spiller I'm making

1629
01:16:53,880 --> 01:16:56,360
Speaker 1: I'm writing down this list, by the way, because you

1630
01:16:56,400 --> 01:16:58,800
Speaker 1: know the Wire, sure, but I haven't watched Narcos the

1631
01:16:58,800 --> 01:17:00,719
Speaker 1: first one Christmas.

1632
01:17:01,120 --> 01:17:06,160
Speaker 3: I love them currently. I love Ozark. Okay, when current

1633
01:17:06,240 --> 01:17:07,599
Speaker 3: season ended, what ended?

1634
01:17:07,640 --> 01:17:07,840
Speaker 1: Free?

1635
01:17:07,840 --> 01:17:10,040
Speaker 3: When I got through it, I was really really bummed out,

1636
01:17:10,160 --> 01:17:10,880
Speaker 3: just wanted more.

1637
01:17:11,120 --> 01:17:14,000
Speaker 4: He hasn't watched yet.

1638
01:17:14,640 --> 01:17:15,599
Speaker 3: I won't say anything.

1639
01:17:20,040 --> 01:17:26,240
Speaker 1: Everything. No, wait, you're covering now, you're covering his his

1640
01:17:26,320 --> 01:17:29,200
Speaker 1: eyes and ears. But do you guys not watch shows together?

1641
01:17:29,280 --> 01:17:32,120
Speaker 1: Because I find if I if my girlfriend and I

1642
01:17:32,160 --> 01:17:34,720
Speaker 1: get off of sync in watching a show together, that's

1643
01:17:34,760 --> 01:17:38,439
Speaker 1: all hell breaks loose. In fact, I'm currently rewatching a

1644
01:17:38,479 --> 01:17:41,280
Speaker 1: show I've already seen because I want it dead to me,

1645
01:17:41,360 --> 01:17:44,439
Speaker 1: which is really good, and we want to watch season two,

1646
01:17:44,760 --> 01:17:46,240
Speaker 1: but now in order to watch that, I have to

1647
01:17:46,280 --> 01:17:47,760
Speaker 1: rewatch all season one with her.

1648
01:17:48,320 --> 01:17:51,240
Speaker 4: With the newborn baby and her own maternity league, she

1649
01:17:51,360 --> 01:17:53,479
Speaker 4: watches a lot more TV during the day while I'm

1650
01:17:53,520 --> 01:17:56,360
Speaker 4: at work, so right sometimes I try to catch up,

1651
01:17:56,400 --> 01:17:58,120
Speaker 4: but I haven't had time to catch up on Ozor.

1652
01:17:58,320 --> 01:18:00,040
Speaker 7: I really want him to go back and watch, and

1653
01:18:00,120 --> 01:18:02,040
Speaker 7: I would totally not mind going back and watching it

1654
01:18:02,120 --> 01:18:05,080
Speaker 7: again with him because it is so good. But normally, yeah,

1655
01:18:05,120 --> 01:18:07,200
Speaker 7: when we actually it's pretty good for us because we

1656
01:18:07,280 --> 01:18:11,639
Speaker 7: have very similar taste in television shows, so it works out.

1657
01:18:12,400 --> 01:18:13,720
Speaker 2: So what's your TV shows? Act?

1658
01:18:14,520 --> 01:18:17,719
Speaker 1: Well, I'm gonna recommend one that that I can't believe

1659
01:18:17,800 --> 01:18:20,320
Speaker 1: is this underrated? Because I never heard anyone talk about

1660
01:18:20,360 --> 01:18:25,680
Speaker 1: it and it's called Patriot and it's on Amazon and

1661
01:18:25,720 --> 01:18:28,519
Speaker 1: there's a few seasons. Spiller, you ever watch that?

1662
01:18:29,200 --> 01:18:29,800
Speaker 3: No, I have it.

1663
01:18:30,040 --> 01:18:34,000
Speaker 1: It's amazing. You're gonna love it. Steve Conrad is the

1664
01:18:34,000 --> 01:18:38,679
Speaker 1: showrunner and really really amazingly. No, that's like the best

1665
01:18:39,240 --> 01:18:42,360
Speaker 1: last show I saw. I really really love that. What

1666
01:18:42,400 --> 01:18:43,160
Speaker 1: about you, Donald?

1667
01:18:43,240 --> 01:18:45,439
Speaker 2: I'm embarrassed because my shows are.

1668
01:18:47,479 --> 01:18:49,040
Speaker 1: Shows your embarrassed.

1669
01:18:49,439 --> 01:18:55,880
Speaker 2: So my favorite shows are shows like The Clone Wars

1670
01:18:57,280 --> 01:19:03,080
Speaker 2: and Star Wars Rebel, and recently The Mandalorian. The Mandalorian.

1671
01:19:03,200 --> 01:19:04,439
Speaker 1: Yeah, I like Mandalorian a lot that.

1672
01:19:06,040 --> 01:19:07,840
Speaker 2: I don't know, those are those are the type of

1673
01:19:07,880 --> 01:19:11,080
Speaker 2: shows that I enjoy watching. I don't watch a lot

1674
01:19:11,120 --> 01:19:14,479
Speaker 2: of television, but when I do watch television, I prefer

1675
01:19:14,520 --> 01:19:18,800
Speaker 2: to watch Star Wars, Relative Wars related or documentaries.

1676
01:19:19,000 --> 01:19:21,759
Speaker 1: Do you find that now that sports isn't on, Donald,

1677
01:19:21,880 --> 01:19:23,880
Speaker 1: that you have a lot more time on your hands

1678
01:19:23,880 --> 01:19:26,200
Speaker 1: because you normally like to watch a lot of sports.

1679
01:19:26,280 --> 01:19:29,040
Speaker 2: So I've been doing a lot of animating as of

1680
01:19:29,120 --> 01:19:34,320
Speaker 2: late because sports isn't on. I'm a stop motion animator

1681
01:19:34,880 --> 01:19:39,800
Speaker 2: by hobby, and because sports isn't on and I'm not

1682
01:19:40,280 --> 01:19:43,719
Speaker 2: sitting in front of the TV at at night after

1683
01:19:43,760 --> 01:19:47,240
Speaker 2: the kids go down, I find myself in my animation

1684
01:19:47,800 --> 01:19:48,760
Speaker 2: room animating.

1685
01:19:50,240 --> 01:19:52,880
Speaker 1: So it's making you more productive, actually you're going but I.

1686
01:19:52,840 --> 01:19:54,880
Speaker 2: Don't know if it's productive. I mean it's a hobby.

1687
01:19:54,920 --> 01:19:57,599
Speaker 2: It's not like I'm making things that are gonna get

1688
01:19:57,760 --> 01:20:00,639
Speaker 2: put on television and are gonna to be well.

1689
01:20:00,720 --> 01:20:03,080
Speaker 1: You never know, you could do a robot chicken type

1690
01:20:03,160 --> 01:20:05,280
Speaker 1: thing and make your own tea.

1691
01:20:05,360 --> 01:20:08,120
Speaker 2: Absolutely. You know. We mentioned Seth Green earlier and how

1692
01:20:08,200 --> 01:20:11,800
Speaker 2: Spiller worked with Seth Green. If it wasn't for Seth Green,

1693
01:20:11,800 --> 01:20:14,880
Speaker 2: I wouldn't be animating like I was looking for an

1694
01:20:14,880 --> 01:20:18,640
Speaker 2: outlet like most actors do when they moved to Hollywood.

1695
01:20:18,640 --> 01:20:22,599
Speaker 2: That hasn't that isn't just acting. I realized I didn't

1696
01:20:22,600 --> 01:20:25,839
Speaker 2: want to be a director. No offense, Mike, and I realized,

1697
01:20:25,960 --> 01:20:29,560
Speaker 2: you know, I don't necessarily I don't. I don't necessarily

1698
01:20:29,600 --> 01:20:32,920
Speaker 2: like hanging out on set all the time. Which directors

1699
01:20:32,960 --> 01:20:38,240
Speaker 2: do you know they arrived before actors and you know

1700
01:20:38,520 --> 01:20:41,439
Speaker 2: they leave after all the actors. I realized, Okay, that's

1701
01:20:41,479 --> 01:20:41,920
Speaker 2: not for me.

1702
01:20:42,240 --> 01:20:44,519
Speaker 1: Way more stressed with way less money. Makes no sense.

1703
01:20:44,640 --> 01:20:47,160
Speaker 2: Yeah, I realized, said I need something to do though,

1704
01:20:47,240 --> 01:20:51,760
Speaker 2: that's gonna fulfill my creative itch other than acting. And

1705
01:20:53,160 --> 01:20:55,559
Speaker 2: I remember doing taking a stop motion class when I

1706
01:20:55,640 --> 01:21:00,320
Speaker 2: was a kid, and my buddy Seth Green had me

1707
01:21:00,400 --> 01:21:03,040
Speaker 2: do voiceover work for this little project he was doing

1708
01:21:03,120 --> 01:21:06,519
Speaker 2: called Sweet Jay and it was stop motion animation. I

1709
01:21:06,520 --> 01:21:08,519
Speaker 2: was like, dude, I'm totally into this. I'd love to

1710
01:21:08,800 --> 01:21:12,240
Speaker 2: come and check out where you filmed this. And he

1711
01:21:12,400 --> 01:21:14,360
Speaker 2: brought me down to the studio and introduced me to

1712
01:21:14,400 --> 01:21:17,600
Speaker 2: a bunch of animators and the rest is history. And

1713
01:21:17,600 --> 01:21:20,320
Speaker 2: now now I do stop motion animation as a hobby.

1714
01:21:20,320 --> 01:21:25,519
Speaker 2: Now that my television at night if there ain't no Mandalorian.

1715
01:21:25,560 --> 01:21:27,840
Speaker 1: And you're getting Star Wars and you're getting really good

1716
01:21:27,880 --> 01:21:32,000
Speaker 1: at it and Instagram, Yeah, I'm working at it. Check

1717
01:21:32,000 --> 01:21:35,280
Speaker 1: out Donald's Instagram you can see his progress, or go

1718
01:21:35,400 --> 01:21:39,520
Speaker 1: on YouTube and watch his old lego ones called Black Stormtrooper.

1719
01:21:39,680 --> 01:21:41,080
Speaker 2: But yeah, but.

1720
01:21:41,040 --> 01:21:42,840
Speaker 1: I think you've gotten a lot. I think you've gotten

1721
01:21:42,880 --> 01:21:44,480
Speaker 1: a lot better since Black Stormtrooper.

1722
01:21:44,680 --> 01:21:49,839
Speaker 2: Yeah, oh yeah, absolutely, But yeah, that's that's so my favorite.

1723
01:21:49,920 --> 01:21:53,400
Speaker 2: My favorite television has always been like cartoons and stuff

1724
01:21:53,439 --> 01:21:57,040
Speaker 2: like that. I enjoy animation very much. So the Clone

1725
01:21:57,080 --> 01:21:58,800
Speaker 2: Wars Rebels.

1726
01:21:59,160 --> 01:22:03,519
Speaker 3: Yeah, just to bring I will be checking out your instagram.

1727
01:22:03,040 --> 01:22:06,439
Speaker 2: Donald, Yes, not now after the show. Give me a

1728
01:22:06,479 --> 01:22:10,160
Speaker 2: followback though I think I do follow you, Bud.

1729
01:22:11,560 --> 01:22:16,280
Speaker 1: Damn, give me a shout out or something. All right,

1730
01:22:16,360 --> 01:22:18,559
Speaker 1: Whitney and Dustin, thank you guys so much. Good luck

1731
01:22:18,560 --> 01:22:23,919
Speaker 1: with the new baby, with the beautiful We really appreciate

1732
01:22:23,960 --> 01:22:27,080
Speaker 1: you joining us. And uh and uh and stay safe,

1733
01:22:27,120 --> 01:22:33,439
Speaker 1: stay inside, stay safe. We're getting to the end. I

1734
01:22:33,520 --> 01:22:35,720
Speaker 1: just wanted to say that. Yeah, so I I I

1735
01:22:35,800 --> 01:22:38,080
Speaker 1: heard this song news slang. And then I just loved

1736
01:22:38,080 --> 01:22:40,679
Speaker 1: it so much that I years later put it into

1737
01:22:41,080 --> 01:22:45,360
Speaker 1: Garden State. And I want to credit Neil Goldman for

1738
01:22:45,439 --> 01:22:48,040
Speaker 1: being the first person to uh to introduce me to

1739
01:22:48,040 --> 01:22:48,400
Speaker 1: that song.

1740
01:22:48,920 --> 01:22:50,839
Speaker 3: Amazing, Finally he's getting this props.

1741
01:22:50,840 --> 01:22:53,559
Speaker 1: Finally, And Spiller, you, I think we're the very first

1742
01:22:53,600 --> 01:22:56,840
Speaker 1: to do a very cool crane shot out of the window.

1743
01:22:56,960 --> 01:22:58,519
Speaker 1: That was a really cool shot you did where you

1744
01:22:58,560 --> 01:23:01,559
Speaker 1: started inside the window and then craned out. I thought

1745
01:23:01,560 --> 01:23:02,120
Speaker 1: that was clever.

1746
01:23:02,640 --> 01:23:04,639
Speaker 3: Thank your signature move of mine.

1747
01:23:04,880 --> 01:23:07,080
Speaker 1: We ended up using that a bunch. But you you

1748
01:23:07,120 --> 01:23:09,000
Speaker 1: brought that to the you brought that to the table.

1749
01:23:09,680 --> 01:23:12,280
Speaker 3: Well the table, the table was ready for it.

1750
01:23:12,479 --> 01:23:14,920
Speaker 2: Well that's that's a question. That's a question that I,

1751
01:23:15,080 --> 01:23:17,920
Speaker 2: uh that I have for you, Zach, because I know

1752
01:23:18,000 --> 01:23:21,519
Speaker 2: that you used crane shots in your stuff.

1753
01:23:21,880 --> 01:23:22,280
Speaker 1: Yeah.

1754
01:23:22,360 --> 01:23:24,840
Speaker 2: If Spiller's the first one to do it, that made

1755
01:23:24,840 --> 01:23:27,000
Speaker 2: it so that other directors when they came on, they

1756
01:23:27,000 --> 01:23:28,879
Speaker 2: were like, so I saw the crane shot in episode

1757
01:23:29,560 --> 01:23:31,360
Speaker 2: one thirteen. What are the chances that I get to

1758
01:23:31,439 --> 01:23:32,040
Speaker 2: use a crane on this?

1759
01:23:32,280 --> 01:23:32,439
Speaker 3: Yeah?

1760
01:23:32,479 --> 01:23:37,120
Speaker 1: I think you know, the crane was always uh pricey

1761
01:23:37,160 --> 01:23:40,840
Speaker 1: thing and both time, you know, obviously the rental of

1762
01:23:40,880 --> 01:23:43,280
Speaker 1: the crane, but also the labor of of of sending

1763
01:23:43,360 --> 01:23:46,400
Speaker 1: it up and practicing it, rehearsing it. So you know,

1764
01:23:46,520 --> 01:23:49,479
Speaker 1: I think within an episode usually you could say, hey,

1765
01:23:50,000 --> 01:23:51,960
Speaker 1: to the line producer, you'd say, hey, can I get

1766
01:23:52,000 --> 01:23:54,280
Speaker 1: a I'd like to use a crane for this scene.

1767
01:23:54,320 --> 01:23:55,880
Speaker 1: And you know, I don't think it was very rare

1768
01:23:55,920 --> 01:23:58,559
Speaker 1: that they ever said no, particularly to the directors they liked.

1769
01:23:59,680 --> 01:24:02,559
Speaker 1: But yeah, yeah, I think that, you know, crane shots

1770
01:24:02,560 --> 01:24:05,200
Speaker 1: are really cool and they give the show scope and

1771
01:24:05,280 --> 01:24:08,960
Speaker 1: scale and and can be really beautiful. And in that

1772
01:24:09,120 --> 01:24:11,800
Speaker 1: end montage that that that Michael created here, which was

1773
01:24:11,840 --> 01:24:14,280
Speaker 1: beautifully done, it was sort of the beautiful It was

1774
01:24:14,320 --> 01:24:16,080
Speaker 1: like the most perfect way to end it coming out

1775
01:24:16,360 --> 01:24:18,559
Speaker 1: and I believe you had to mount that build that

1776
01:24:18,600 --> 01:24:20,439
Speaker 1: crane on the rooftop in order to get it. There

1777
01:24:20,479 --> 01:24:22,880
Speaker 1: was a lower roof and then he came out to

1778
01:24:23,000 --> 01:24:25,040
Speaker 1: the window and then tilted up to the sky. And

1779
01:24:25,200 --> 01:24:27,479
Speaker 1: so yeah, I mean, I think cranes were introduced as

1780
01:24:27,520 --> 01:24:30,080
Speaker 1: part of the sort of the language of the show.

1781
01:24:31,200 --> 01:24:34,760
Speaker 2: And then he said, he said it was it was

1782
01:24:34,800 --> 01:24:35,759
Speaker 2: his signature moves.

1783
01:24:35,880 --> 01:24:38,120
Speaker 1: Well, what I was saying specifically, I was, I don't

1784
01:24:38,120 --> 01:24:40,120
Speaker 1: know this This isn't the first crane shot on the show,

1785
01:24:40,120 --> 01:24:43,160
Speaker 1: but the idea of the camera was within the was

1786
01:24:43,240 --> 01:24:45,800
Speaker 1: within the room and then came out the window and

1787
01:24:45,840 --> 01:24:47,439
Speaker 1: then went up to the sky. And I think Spiller

1788
01:24:47,520 --> 01:24:49,840
Speaker 1: was the first person to do that, and you know,

1789
01:24:49,840 --> 01:24:51,920
Speaker 1: I think we copied that many many times.

1790
01:24:52,240 --> 01:24:54,519
Speaker 2: Well, have you gone on to use that on other shows?

1791
01:24:56,360 --> 01:24:59,320
Speaker 3: Yes, I've done versions of of.

1792
01:24:59,200 --> 01:25:01,800
Speaker 2: That shot on other Is that what it was cool?

1793
01:25:01,920 --> 01:25:04,640
Speaker 3: You sort of like, you know, especially we didn't have

1794
01:25:04,680 --> 01:25:07,679
Speaker 3: a techno crane or anything. I don't believe, but there's

1795
01:25:07,680 --> 01:25:10,040
Speaker 3: a type of crane where you know, the arm itself

1796
01:25:10,120 --> 01:25:14,200
Speaker 3: extends from the base. Yeah, so I mean you can

1797
01:25:14,240 --> 01:25:18,519
Speaker 3: really like, you know, it can actually physically be inside

1798
01:25:18,560 --> 01:25:21,479
Speaker 3: the window. I think we probably hit a zoom in

1799
01:25:21,520 --> 01:25:24,320
Speaker 3: the shot as well to sort of make it appear

1800
01:25:24,360 --> 01:25:26,000
Speaker 3: as if we were in there in a close up.

1801
01:25:26,520 --> 01:25:29,000
Speaker 3: So you can do shots that that appear to actually

1802
01:25:29,040 --> 01:25:31,440
Speaker 3: travel through the glass somehow.

1803
01:25:31,520 --> 01:25:34,200
Speaker 1: And nowadays later I did a really cool shot in

1804
01:25:34,479 --> 01:25:37,719
Speaker 1: Going in style where you can camera or pull back

1805
01:25:37,800 --> 01:25:41,320
Speaker 1: through the window. And then in post now add we

1806
01:25:41,360 --> 01:25:43,439
Speaker 1: added a taxi cab door. I had the shot of

1807
01:25:43,479 --> 01:25:46,320
Speaker 1: Michael Caine where he's in the cabin and the camera's

1808
01:25:46,360 --> 01:25:48,599
Speaker 1: in the cab with him. And then and we took

1809
01:25:48,640 --> 01:25:51,840
Speaker 1: the back door off the cab and we we pull

1810
01:25:51,920 --> 01:25:53,880
Speaker 1: out and then out of the cab and the cab

1811
01:25:53,960 --> 01:25:56,599
Speaker 1: drives off. And then and post we added the cab door.

1812
01:25:56,680 --> 01:26:00,759
Speaker 1: That looks so cool and most people who aren't filmmakers

1813
01:26:00,760 --> 01:26:03,560
Speaker 1: wouldn't even know how hard that was to do exactly.

1814
01:26:03,920 --> 01:26:06,120
Speaker 3: Yeah, And I think, like with any of the sort

1815
01:26:06,160 --> 01:26:08,000
Speaker 3: of bells and whistles that we pull out and the

1816
01:26:08,040 --> 01:26:09,559
Speaker 3: tricks that we use them, it's part of the fun

1817
01:26:09,600 --> 01:26:11,040
Speaker 3: of being a director, is part of the fun of

1818
01:26:11,080 --> 01:26:15,719
Speaker 3: telling the story. But sometimes, and this is often true

1819
01:26:15,760 --> 01:26:21,160
Speaker 3: with directors who are former cinematographers, you can get caught

1820
01:26:21,240 --> 01:26:24,479
Speaker 3: up and the gadgetry and the toy of it all

1821
01:26:25,040 --> 01:26:28,080
Speaker 3: and forget that you're telling the story. So it's first

1822
01:26:28,160 --> 01:26:30,800
Speaker 3: and foremost. It's like, Yeah, cranes are great. All these

1823
01:26:30,840 --> 01:26:33,559
Speaker 3: devices are great if they're supporting the story, or if

1824
01:26:33,560 --> 01:26:36,120
Speaker 3: they're underlying the comedy, or they're making a dramatic moment

1825
01:26:36,200 --> 01:26:38,880
Speaker 3: more dramatic or whatever, because they do take a lot

1826
01:26:38,880 --> 01:26:43,000
Speaker 3: of time, take a lot of money, and often can

1827
01:26:43,000 --> 01:26:43,800
Speaker 3: be misupplied.

1828
01:26:44,040 --> 01:26:46,040
Speaker 1: Yeah, and I think the job as a director is

1829
01:26:46,120 --> 01:26:50,680
Speaker 1: to go, when am I going to spend When can

1830
01:26:50,680 --> 01:26:54,240
Speaker 1: I afford to spend time and money during these five days.

1831
01:26:54,680 --> 01:26:57,479
Speaker 1: So the way I would shoot Scrubs when I directed

1832
01:26:57,479 --> 01:26:59,800
Speaker 1: it was you'd go, okay, in order to save time,

1833
01:27:00,080 --> 01:27:02,479
Speaker 1: do that elaborate shot I want to do. I need

1834
01:27:02,479 --> 01:27:07,400
Speaker 1: to really get through this dialogue scene quickly. Now. I

1835
01:27:07,400 --> 01:27:09,880
Speaker 1: don't want to rush it because it's important. But if

1836
01:27:09,920 --> 01:27:12,799
Speaker 1: I just shoot this one really simply, then I'm banking

1837
01:27:12,920 --> 01:27:16,120
Speaker 1: time for later. I can do that elaborate oner or later.

1838
01:27:16,200 --> 01:27:18,920
Speaker 1: I can do that tricky crane shot. But you have

1839
01:27:18,960 --> 01:27:20,800
Speaker 1: to you have to pick and choose because you just

1840
01:27:20,880 --> 01:27:23,000
Speaker 1: you have to fit it into twelve hours. They used

1841
01:27:23,000 --> 01:27:25,360
Speaker 1: to let us go longer, but nowadays, I don't know

1842
01:27:25,400 --> 01:27:26,960
Speaker 1: if you find this on your other show, Spiller, no

1843
01:27:26,960 --> 01:27:29,439
Speaker 1: one wants you to go over twelve hours.

1844
01:27:29,160 --> 01:27:33,080
Speaker 3: And frankly I don't want to either. I mean, Scrubs

1845
01:27:33,120 --> 01:27:35,080
Speaker 3: was unique m Sex and the city was the same way.

1846
01:27:35,120 --> 01:27:38,439
Speaker 3: Our hours were really really long, but it was a

1847
01:27:38,439 --> 01:27:41,320
Speaker 3: similar energy on set where it's like everyone just enjoyed

1848
01:27:41,360 --> 01:27:44,160
Speaker 3: each other so much. You know, you never laughed as much.

1849
01:27:45,000 --> 01:27:50,040
Speaker 3: The work was high quality, and you know, and no

1850
01:27:50,080 --> 01:27:52,360
Speaker 3: one was telling you to stop spending money, so you know,

1851
01:27:52,439 --> 01:27:54,280
Speaker 3: you just kept going to you. You got it. But

1852
01:27:54,360 --> 01:27:57,679
Speaker 3: it's you know, frankly, it's it's unsafe these days. I feel,

1853
01:27:57,680 --> 01:28:01,240
Speaker 3: maybe because I'm a tiny bit older that and you know,

1854
01:28:01,439 --> 01:28:03,920
Speaker 3: my work doesn't tend to improve after twelve hours.

1855
01:28:04,000 --> 01:28:06,680
Speaker 1: Yeah, and everyone gets cranky, and it is unsafe. You know,

1856
01:28:06,680 --> 01:28:09,760
Speaker 1: there's been plenty of instances of crew members who have

1857
01:28:09,840 --> 01:28:14,599
Speaker 1: to be there longer hours, whether it's teamsters or transport

1858
01:28:14,600 --> 01:28:18,400
Speaker 1: guys or camera acs, and who've gotten in accidents or

1859
01:28:18,400 --> 01:28:22,280
Speaker 1: even died from just being in preposterous hours. So it

1860
01:28:22,400 --> 01:28:23,920
Speaker 1: is a safety thing. But we used to go. I

1861
01:28:23,960 --> 01:28:26,320
Speaker 1: mean we'd have sixteen seventeen hour days on Scrubs.

1862
01:28:26,600 --> 01:28:28,439
Speaker 3: When you guys on one of the earlier shows were

1863
01:28:28,439 --> 01:28:31,439
Speaker 3: talking about like favorite cameos and all that sort of

1864
01:28:31,439 --> 01:28:33,680
Speaker 3: stuff and like the sort of fantasy camera run.

1865
01:28:33,720 --> 01:28:34,600
Speaker 2: I got a picture of you.

1866
01:28:35,439 --> 01:28:39,320
Speaker 3: I know, there's the re one rerun one which I

1867
01:28:39,400 --> 01:28:43,479
Speaker 3: love that photo. But there's also Dick Van Dyke.

1868
01:28:44,080 --> 01:28:45,640
Speaker 2: Yeah, did you direct that episode?

1869
01:28:45,960 --> 01:28:46,240
Speaker 1: Yes?

1870
01:28:46,960 --> 01:28:49,200
Speaker 3: And I mean when you sung with him in that

1871
01:28:49,320 --> 01:28:51,160
Speaker 3: moment when we were all just hanging out, I mean,

1872
01:28:51,160 --> 01:28:53,120
Speaker 3: it's like I get choked up. Thinking about it.

1873
01:28:53,160 --> 01:28:54,880
Speaker 1: I mean, give us a little dollar, give us a

1874
01:28:54,920 --> 01:28:59,519
Speaker 1: little of that magic day ahead?

1875
01:28:59,760 --> 01:29:03,280
Speaker 2: Right is the morning in May? Hey, I fee like

1876
01:29:03,439 --> 01:29:09,160
Speaker 2: I could fly. Hey, have you ever seen it's not habits?

1877
01:29:09,439 --> 01:29:14,760
Speaker 2: Have you ever seen the grass so green? Or a

1878
01:29:15,080 --> 01:29:19,200
Speaker 2: blue sky? Okay, so that's beautiful story.

1879
01:29:19,880 --> 01:29:20,960
Speaker 1: Jolly Holiday.

1880
01:29:21,120 --> 01:29:23,240
Speaker 2: Yeah, Dick Van Dyke was on the show and I

1881
01:29:23,280 --> 01:29:26,160
Speaker 2: got to sing Jolly Holiday. Well, I didn't sing. He

1882
01:29:26,320 --> 01:29:30,040
Speaker 2: sang it, and I played the guitar while he sang it. Uh,

1883
01:29:30,120 --> 01:29:32,559
Speaker 2: there's a tape. There's there's a recording of it out

1884
01:29:32,560 --> 01:29:33,599
Speaker 2: there somewhere. I don't know where.

1885
01:29:33,720 --> 01:29:37,160
Speaker 3: I know I shot it. Yeah, I'm on something. But

1886
01:29:37,240 --> 01:29:40,120
Speaker 3: I was like, did phones have video cameras?

1887
01:29:40,160 --> 01:29:40,320
Speaker 1: Then?

1888
01:29:40,400 --> 01:29:43,160
Speaker 3: I mean, I can't remember, but I know I shot it.

1889
01:29:43,160 --> 01:29:47,639
Speaker 2: It's out there somewhere, somewhere, somewhat somehow it could be found.

1890
01:29:47,640 --> 01:29:50,240
Speaker 2: I don't know who has it, but yeah, yeah.

1891
01:29:50,000 --> 01:29:52,479
Speaker 1: Well, Spiller, you've been a fantastic guest.

1892
01:29:52,880 --> 01:29:55,240
Speaker 2: This is the longest this is the longest we've ever

1893
01:29:55,280 --> 01:29:56,000
Speaker 2: had a guest on this.

1894
01:29:56,160 --> 01:29:58,080
Speaker 1: We've ever We were gonna have to cut this fucking

1895
01:29:58,120 --> 01:30:01,960
Speaker 1: way down. We got down one to listen to one. No,

1896
01:30:02,040 --> 01:30:05,240
Speaker 1: I want to be sincere for a second and say, uh,

1897
01:30:05,320 --> 01:30:07,559
Speaker 1: not only are you a fantastic guy, but I as

1898
01:30:07,560 --> 01:30:11,080
Speaker 1: a filmmaker, learned a lot from watching you, because you

1899
01:30:11,200 --> 01:30:15,719
Speaker 1: are talented and you not only direct a beautiful episode,

1900
01:30:15,760 --> 01:30:19,639
Speaker 1: but you're so charming and everybody loves you on set

1901
01:30:19,760 --> 01:30:22,479
Speaker 1: and uh, you're a great leader, and I'm not surprised

1902
01:30:22,520 --> 01:30:26,639
Speaker 1: that you are successful and have an Emmy and uh,

1903
01:30:26,720 --> 01:30:28,479
Speaker 1: and I hope I get to work with you again soon.

1904
01:30:29,360 --> 01:30:30,759
Speaker 3: Thank you, Zach. That's so kind.

1905
01:30:31,000 --> 01:30:32,840
Speaker 2: I hope I'm one of those actors that you're like,

1906
01:30:32,880 --> 01:30:35,760
Speaker 2: you know what, I got a guy, don't worry about it.

1907
01:30:36,000 --> 01:30:38,639
Speaker 1: Yeah, enjoyed.

1908
01:30:38,880 --> 01:30:42,360
Speaker 2: I really enjoyed our time together. You know, it shows.

1909
01:30:42,520 --> 01:30:45,639
Speaker 2: It shows by how long this podcast episode was too.

1910
01:30:46,400 --> 01:30:48,600
Speaker 3: Well, hey, just just keep going because I directed the

1911
01:30:48,640 --> 01:30:51,160
Speaker 3: next episode too. Look at two for You'll be.

1912
01:30:51,200 --> 01:30:51,920
Speaker 2: I didn't watch it.

1913
01:30:51,960 --> 01:30:52,880
Speaker 3: I didn't watch it.

1914
01:30:52,920 --> 01:30:54,439
Speaker 2: I didn't watch the next episode.

1915
01:30:54,680 --> 01:30:56,439
Speaker 1: Yeah, yeah he will.

1916
01:30:56,680 --> 01:30:58,559
Speaker 3: Probab Well, I'm available if you every want to bring

1917
01:30:58,600 --> 01:30:58,880
Speaker 3: me back.

1918
01:30:58,920 --> 01:31:00,920
Speaker 1: We're going to have you back. You've you definitely callback,

1919
01:31:01,280 --> 01:31:03,439
Speaker 1: Ladies and gentlemen. Thank you so much for tuning in

1920
01:31:03,479 --> 01:31:06,200
Speaker 1: to Fake Doctors, Real Friends. I'm your co host, Zach

1921
01:31:06,280 --> 01:31:07,719
Speaker 1: Braf with what's your name again?

1922
01:31:08,080 --> 01:31:10,760
Speaker 2: Black Scrubs, Donald Faison a k A T.

1923
01:31:10,960 --> 01:31:11,360
Speaker 1: Diggs.

1924
01:31:11,720 --> 01:31:17,599
Speaker 8: We like K brown Bear a k A Turk turkle

1925
01:31:18,320 --> 01:31:21,960
Speaker 8: a k Ax.

1926
01:31:22,080 --> 01:31:27,719
Speaker 5: Stories that show we made about a bunch of docs

1927
01:31:27,720 --> 01:31:29,479
Speaker 5: and nurses and janitor.

1928
01:31:29,520 --> 01:31:34,200
Speaker 2: Who I said, here's the stories. Netwis no.

1929
01:31:35,800 --> 01:31:41,840
Speaker 5: So yadda round here, YadA round here. Specto is