1 00:00:02,680 --> 00:00:10,960 Speaker 1: Hey, hey, Hey. 2 00:00:29,800 --> 00:00:33,280 Speaker 2: You're watching Podlandia. Hi. 3 00:00:33,360 --> 00:00:37,160 Speaker 1: I'm Fred Armison, I'm Karrie Brownstein, and this is AO 4 00:00:37,440 --> 00:00:39,080 Speaker 1: rewatch heo rewatch. 5 00:00:40,520 --> 00:00:42,880 Speaker 3: We are going to be looking back on Portlandia. 6 00:00:42,960 --> 00:00:45,159 Speaker 1: We're going to take a look at all of the 7 00:00:45,200 --> 00:00:48,720 Speaker 1: episodes that we've done of Portlandia, which ran from twenty 8 00:00:48,760 --> 00:00:53,479 Speaker 1: eleven to twenty eighteen, and talk about them as we've 9 00:00:53,520 --> 00:00:54,360 Speaker 1: been watching them. 10 00:00:54,440 --> 00:00:56,680 Speaker 3: Yes, nice to see you, by the way. 11 00:00:56,600 --> 00:00:58,840 Speaker 1: Nice to see you too. I'm so happy we're doing this. 12 00:00:59,000 --> 00:00:59,320 Speaker 3: Me too. 13 00:01:00,640 --> 00:01:02,880 Speaker 1: I really haven't had an opportunity to watch the show 14 00:01:03,840 --> 00:01:07,559 Speaker 1: in the meantime since we stopped, so this is it's 15 00:01:07,560 --> 00:01:08,440 Speaker 1: been really fun for me. 16 00:01:09,000 --> 00:01:12,000 Speaker 3: Same same here. Yeah, it's re airing on Netflix. 17 00:01:12,000 --> 00:01:15,360 Speaker 4: So I feel like a lot of people are watching 18 00:01:15,400 --> 00:01:19,399 Speaker 4: it right now and have started to text me or 19 00:01:19,560 --> 00:01:21,280 Speaker 4: call me or just come up to me people I 20 00:01:21,360 --> 00:01:23,119 Speaker 4: don't know and are mentioning things. 21 00:01:23,200 --> 00:01:25,319 Speaker 3: Again. It sort of never went away, but it feels 22 00:01:25,360 --> 00:01:28,000 Speaker 3: also like a refresher, you know. 23 00:01:28,200 --> 00:01:31,639 Speaker 1: Yeah, Also like people send me memes and stuff. And 24 00:01:31,720 --> 00:01:36,000 Speaker 1: I believe there's also a channel on some cable systems 25 00:01:36,319 --> 00:01:38,360 Speaker 1: that runs the show continuously. 26 00:01:38,800 --> 00:01:45,360 Speaker 3: Sure, So whatever you say, why are we doing this podcast? 27 00:01:45,680 --> 00:01:48,120 Speaker 1: Aside from it being on Netflix now and on that 28 00:01:48,360 --> 00:01:54,160 Speaker 1: cable channel. We've always remained friends anyway, so we haven't 29 00:01:54,240 --> 00:01:57,200 Speaker 1: seen each other, we've worked together. So let's talk about 30 00:01:57,520 --> 00:02:01,280 Speaker 1: the roots of the show where, yes, why we started, 31 00:02:01,360 --> 00:02:05,320 Speaker 1: where it all came from. And it goes back to 32 00:02:05,360 --> 00:02:10,720 Speaker 1: the nineties in that I was and am a huge 33 00:02:10,760 --> 00:02:14,079 Speaker 1: fan of Slater Kenny and was friends with your drummer 34 00:02:14,120 --> 00:02:19,200 Speaker 1: at the time, Janet Weiss, And that also we shared 35 00:02:19,240 --> 00:02:20,959 Speaker 1: many friends because I was in a band in the 36 00:02:21,040 --> 00:02:25,160 Speaker 1: nineties and you were as well, we shared some friends. 37 00:02:25,240 --> 00:02:26,959 Speaker 1: We like knew many of the same people. 38 00:02:27,400 --> 00:02:29,080 Speaker 4: Yeah, and I just want to point out that some 39 00:02:29,160 --> 00:02:32,240 Speaker 4: listeners might not know who are what Slater Kenny is, 40 00:02:32,280 --> 00:02:37,920 Speaker 4: which is a band that I formed in college in 41 00:02:37,919 --> 00:02:43,200 Speaker 4: the nineteen nineties in Olympia, Washington. And Fred was in 42 00:02:43,240 --> 00:02:47,160 Speaker 4: a band Trench Mouth in Chicago, and at the time, 43 00:02:48,360 --> 00:02:52,120 Speaker 4: you know, their pre Internet, it was just word of mouth, 44 00:02:52,360 --> 00:02:55,480 Speaker 4: and you met people through touring, so you know, you 45 00:02:55,480 --> 00:02:58,200 Speaker 4: would go there was a whole sort of circuit and 46 00:02:58,280 --> 00:03:01,600 Speaker 4: system of like going from one town to the next, 47 00:03:01,760 --> 00:03:04,000 Speaker 4: you would meet other people in the music scene. You 48 00:03:04,080 --> 00:03:08,079 Speaker 4: really relied on them for everything, you know, like where 49 00:03:08,080 --> 00:03:11,119 Speaker 4: are the best places to eat, what venues should we play? Ad? 50 00:03:11,160 --> 00:03:14,360 Speaker 4: You know, this is how you also discovered music. Just 51 00:03:14,520 --> 00:03:16,919 Speaker 4: people would sort of point you in a right direction, 52 00:03:17,000 --> 00:03:18,880 Speaker 4: or you listen to a certain label from a city, 53 00:03:18,919 --> 00:03:20,640 Speaker 4: and you got to know all those bands. And I 54 00:03:20,680 --> 00:03:24,080 Speaker 4: remember sleeping on your couch. You were out of town. 55 00:03:24,520 --> 00:03:29,680 Speaker 4: I was on tour. I stayed at your apartment. My 56 00:03:29,760 --> 00:03:33,040 Speaker 4: friend was friends with Damon who was in Trench Mouth, 57 00:03:33,200 --> 00:03:37,480 Speaker 4: and I just remember, oh, yeah, this is Fred's house. Okay, 58 00:03:38,040 --> 00:03:40,480 Speaker 4: you know I know of Fred. So this was before 59 00:03:40,520 --> 00:03:43,120 Speaker 4: you were on SNL. I just knew you as a 60 00:03:43,200 --> 00:03:45,520 Speaker 4: drummer in a punk band, and you knew me as 61 00:03:45,760 --> 00:03:48,080 Speaker 4: you know, a guitarist and Slater Kinney. 62 00:03:48,120 --> 00:03:51,600 Speaker 3: That's those are sort of pre TV. 63 00:03:51,520 --> 00:03:54,560 Speaker 4: Identities and still an identity I think that we hold 64 00:03:54,600 --> 00:03:57,800 Speaker 4: on to is you know, we we still consider ourselves musicians, 65 00:03:57,800 --> 00:04:00,520 Speaker 4: and I think the lens through which we view a 66 00:04:00,560 --> 00:04:06,240 Speaker 4: lot of phenomena was very much formed in these early 67 00:04:06,320 --> 00:04:08,400 Speaker 4: years when we play music and by the scenes we 68 00:04:08,480 --> 00:04:14,040 Speaker 4: came up in. You know, that sensibility very like very nineties, 69 00:04:14,320 --> 00:04:18,000 Speaker 4: very sort of indie punk rock. You know, we've not 70 00:04:18,040 --> 00:04:20,159 Speaker 4: only did it inform us, but it's something that we've 71 00:04:20,160 --> 00:04:23,560 Speaker 4: grappled with, you know, the stuff that really was helpful 72 00:04:24,200 --> 00:04:26,920 Speaker 4: and also the stuff that kind of hampered us at times. 73 00:04:26,960 --> 00:04:28,400 Speaker 4: And we'll end up talking about that a lot in 74 00:04:28,440 --> 00:04:32,600 Speaker 4: the podcast because you know, my friend calls it punk damage. 75 00:04:32,920 --> 00:04:34,760 Speaker 4: You know, you're just like a lot of the stuff 76 00:04:34,800 --> 00:04:38,040 Speaker 4: was so strident, and you know you sort of fight 77 00:04:38,080 --> 00:04:42,080 Speaker 4: with that later like what was useful about that sensibility 78 00:04:42,120 --> 00:04:46,160 Speaker 4: and what, yeah, just made things more difficult. And we 79 00:04:46,640 --> 00:04:48,320 Speaker 4: infuse a lot of this into the show. 80 00:04:48,480 --> 00:04:52,760 Speaker 1: Including characters that we met while we were on tour 81 00:04:54,520 --> 00:04:59,320 Speaker 1: or recording, people who had their own studios, people who 82 00:04:59,400 --> 00:05:04,279 Speaker 1: ran label, people had venues, fans, you know, what the 83 00:05:04,279 --> 00:05:08,680 Speaker 1: whole experience was like in the music world. We do 84 00:05:09,480 --> 00:05:11,760 Speaker 1: revisit in on Portland. 85 00:05:11,320 --> 00:05:12,240 Speaker 3: Yah exactly. 86 00:05:12,560 --> 00:05:15,560 Speaker 4: So yeah, So going back, basically, we were in each 87 00:05:15,600 --> 00:05:21,799 Speaker 4: other's like circles, you know, sort of extended social circles. 88 00:05:22,839 --> 00:05:27,039 Speaker 4: And then you were officially on SNL and Slater Kinney 89 00:05:27,120 --> 00:05:29,720 Speaker 4: was touring and we were coming through New York and 90 00:05:29,839 --> 00:05:32,960 Speaker 4: through our drummer Janet Wise you mentioned you were friends 91 00:05:32,960 --> 00:05:36,960 Speaker 4: with you invited us to SNL. It was Jennifer Garner 92 00:05:37,040 --> 00:05:39,400 Speaker 4: was the host, Beck was the musical guest. We were 93 00:05:39,440 --> 00:05:41,960 Speaker 4: really excited to go, but unfortunately we had our own show. 94 00:05:42,000 --> 00:05:44,279 Speaker 4: I think we were playing at Irving Plaza and so 95 00:05:44,320 --> 00:05:46,640 Speaker 4: you said, why don't you come to the after party. So, 96 00:05:47,000 --> 00:05:48,520 Speaker 4: you know, we played the show, we showed up to 97 00:05:48,520 --> 00:05:51,480 Speaker 4: this after party and that's where I met you. 98 00:05:52,200 --> 00:05:54,440 Speaker 3: And you had a little button with my face on it. 99 00:05:54,640 --> 00:05:57,080 Speaker 1: Yeah, because because at the time, I think from that 100 00:05:57,200 --> 00:06:01,919 Speaker 1: album you had pins for each band member. 101 00:06:02,080 --> 00:06:04,320 Speaker 4: Yes, and it was they were taken from when we 102 00:06:04,360 --> 00:06:07,040 Speaker 4: had toured Australia and were each holding koalas. 103 00:06:07,360 --> 00:06:10,040 Speaker 1: Yeah. Yeah, so I had the carry one. 104 00:06:09,880 --> 00:06:12,960 Speaker 4: On, you had the carry one on, which is you know, flattering. 105 00:06:13,320 --> 00:06:15,560 Speaker 4: And I was also like, oh, who is this guy 106 00:06:15,600 --> 00:06:18,080 Speaker 4: that's like wearing a button with my face on it? 107 00:06:18,480 --> 00:06:23,360 Speaker 1: And in the writers in my office at SNL, I 108 00:06:23,400 --> 00:06:26,600 Speaker 1: purposefully kept it undecorated. I didn't want it to be 109 00:06:26,800 --> 00:06:30,400 Speaker 1: homie or anything like it. But on my bulletin board 110 00:06:30,960 --> 00:06:35,680 Speaker 1: I had a poster of Slater Kenny and it was 111 00:06:35,720 --> 00:06:38,119 Speaker 1: one of those smaller posters. It wasn't like a poster poster. 112 00:06:38,160 --> 00:06:40,839 Speaker 1: It was like one of those little ones. And the 113 00:06:41,040 --> 00:06:44,240 Speaker 1: point about all of this is that Sleeter Kenny is 114 00:06:44,400 --> 00:06:49,719 Speaker 1: my favorite band and when I first heard you guys play. 115 00:06:49,760 --> 00:06:52,560 Speaker 1: When I first heard your records, it was really an 116 00:06:52,600 --> 00:06:56,080 Speaker 1: epiphany for me. It really was in my life. I think, 117 00:06:56,400 --> 00:07:02,400 Speaker 1: like many people, people who grew up on certain types 118 00:07:02,440 --> 00:07:05,320 Speaker 1: of music, you know, you start with the Beatles and 119 00:07:05,360 --> 00:07:10,040 Speaker 1: the Who, and then punk sort of took over. And 120 00:07:11,680 --> 00:07:16,600 Speaker 1: for me, Prince, these are all sort of like answers 121 00:07:16,640 --> 00:07:20,800 Speaker 1: to what I used to listen to before punk. And 122 00:07:20,840 --> 00:07:23,120 Speaker 1: then Prince sort of like was like, well, that's what 123 00:07:24,000 --> 00:07:26,760 Speaker 1: Sleeter Kenny was that for me. Where after all that, 124 00:07:26,840 --> 00:07:29,200 Speaker 1: I was like, this is what I've been looking for, 125 00:07:29,760 --> 00:07:34,360 Speaker 1: and I was obsessed. People use that word a lot, obsessed, 126 00:07:34,360 --> 00:07:36,880 Speaker 1: but I would say that that is an accurate description 127 00:07:37,480 --> 00:07:41,440 Speaker 1: of how much I listened to Sleeter Kenny. 128 00:07:42,040 --> 00:07:44,520 Speaker 4: What's interesting about that, Well, first of all, thank you, 129 00:07:44,800 --> 00:07:49,800 Speaker 4: and you know, it's always been very a source of 130 00:07:49,800 --> 00:07:52,080 Speaker 4: pride for me that you're such a fan of the band, 131 00:07:52,640 --> 00:07:56,120 Speaker 4: because you are such an amazing musician and anyway, so 132 00:07:56,240 --> 00:08:00,160 Speaker 4: thank you. But I remember back in that sorry, but 133 00:08:00,200 --> 00:08:02,040 Speaker 4: I remember back in the day when I would meet 134 00:08:02,040 --> 00:08:06,400 Speaker 4: some of your co stars in snl Amy Tina, they 135 00:08:06,440 --> 00:08:08,920 Speaker 4: would say like, oh, Fred's obsessed with your band, Fred 136 00:08:08,960 --> 00:08:11,080 Speaker 4: love Slater Kinney, Like I think they were tired of 137 00:08:11,080 --> 00:08:12,080 Speaker 4: hearing about Slater Kinney. 138 00:08:12,160 --> 00:08:15,280 Speaker 3: Honestly, yep, yeah, you know which. 139 00:08:15,080 --> 00:08:20,560 Speaker 4: Was I was like, I'm so sorry that our musual 140 00:08:20,560 --> 00:08:22,480 Speaker 4: friend talks about the band. I mean, they were really 141 00:08:22,600 --> 00:08:24,080 Speaker 4: nice about it, but they just thought it was kind 142 00:08:24,120 --> 00:08:27,400 Speaker 4: of funny because I think compared to some of your cohorts, 143 00:08:27,760 --> 00:08:30,080 Speaker 4: your interests were a little bit different. You know, you 144 00:08:30,360 --> 00:08:34,400 Speaker 4: music was such an obsession for you, and your musical taste. 145 00:08:34,240 --> 00:08:36,920 Speaker 3: Was not mainstream. 146 00:08:37,360 --> 00:08:38,000 Speaker 1: That sounds right. 147 00:08:39,520 --> 00:08:42,760 Speaker 4: So after this night, I remember us keeping in touch, 148 00:08:43,200 --> 00:08:45,960 Speaker 4: and at one point you said, hey, it'd be really 149 00:08:46,000 --> 00:08:48,800 Speaker 4: fun to collaborate in in something. And again I assumed, well, 150 00:08:48,840 --> 00:08:52,520 Speaker 4: we'll collaborate on music, but you actually were interested in 151 00:08:53,320 --> 00:08:56,679 Speaker 4: shooting a video doing some comedy, and you had been 152 00:08:56,720 --> 00:09:01,000 Speaker 4: asked by the John Kerry campaign presidential campaig to make 153 00:09:01,120 --> 00:09:04,040 Speaker 4: a video. And this is then the first time that 154 00:09:04,120 --> 00:09:07,360 Speaker 4: we collaborate, and you fly to Portland and we shoot 155 00:09:07,360 --> 00:09:09,319 Speaker 4: this very silly video. 156 00:09:09,640 --> 00:09:11,360 Speaker 3: And you can explain it because. 157 00:09:11,440 --> 00:09:16,800 Speaker 1: Well, at the time, Saddam Hussein, the dictator of Iraq, 158 00:09:17,200 --> 00:09:23,679 Speaker 1: was on trial. So at this point the government had 159 00:09:23,720 --> 00:09:29,439 Speaker 1: been overthrown and in court he wore he didn't look 160 00:09:29,480 --> 00:09:31,480 Speaker 1: like he didn't have his military outfit on. He had 161 00:09:31,520 --> 00:09:34,600 Speaker 1: a sort of version of a suit that looked kind 162 00:09:34,600 --> 00:09:37,240 Speaker 1: of like rock and rolling, meaning like you know, and 163 00:09:37,679 --> 00:09:42,280 Speaker 1: someone like Pete Townsend or part Weller or whoever, you know, 164 00:09:42,280 --> 00:09:46,800 Speaker 1: when they dressed kind of nicely. And he also had 165 00:09:46,840 --> 00:09:49,440 Speaker 1: like his beard was different and his hair was different, 166 00:09:49,480 --> 00:09:51,360 Speaker 1: and he had like a he looked sort of British 167 00:09:51,400 --> 00:09:55,440 Speaker 1: to me. And I just thought, what if there's this 168 00:09:55,520 --> 00:09:58,520 Speaker 1: character of Saddam Hussein who's British and is only into music, 169 00:09:58,640 --> 00:10:01,959 Speaker 1: same guy, but he does want to talk to talk 170 00:10:02,000 --> 00:10:08,880 Speaker 1: about the dictatorship. So we did this video called boinc, which. 171 00:10:08,679 --> 00:10:11,120 Speaker 4: Is the name of the cable access show, this stake 172 00:10:11,200 --> 00:10:15,160 Speaker 4: cable access show that my character Cindy Overton hosts. 173 00:10:15,679 --> 00:10:17,640 Speaker 1: And I think you thought of the title right away. 174 00:10:18,080 --> 00:10:20,160 Speaker 1: I think in the moment you just said you welcome 175 00:10:20,160 --> 00:10:20,600 Speaker 1: to Boinc. 176 00:10:21,400 --> 00:10:25,280 Speaker 4: Yeah, and I'm getting the first post bunker interview, like 177 00:10:25,320 --> 00:10:28,679 Speaker 4: an exclusive ye with Sadam Hussein. 178 00:10:29,040 --> 00:10:31,320 Speaker 1: And I had my you know, I had like a 179 00:10:31,360 --> 00:10:34,079 Speaker 1: fake beard on their suit. I think I put even 180 00:10:34,160 --> 00:10:35,480 Speaker 1: I might have been put like a little bit of 181 00:10:35,480 --> 00:10:38,480 Speaker 1: like dark under my eyes, you know, or my eyebrows. 182 00:10:38,520 --> 00:10:41,680 Speaker 1: I know, I made my eyebrows really dark, and I 183 00:10:41,720 --> 00:10:43,240 Speaker 1: had the guitar. I might have had your guitar. And 184 00:10:43,280 --> 00:10:44,880 Speaker 1: I think this was in Korin's basement. 185 00:10:45,080 --> 00:10:47,319 Speaker 4: Yeah, so my bandmate Krn Tucker from Slater Guinney, we 186 00:10:47,360 --> 00:10:50,120 Speaker 4: shot it in her basement. That was the set for BOK. 187 00:10:50,240 --> 00:10:53,160 Speaker 4: You had a guitar and you just played guitar a lot. 188 00:10:53,240 --> 00:10:54,760 Speaker 4: You spoke in a British accent. 189 00:10:54,559 --> 00:10:58,560 Speaker 1: Yep, and you just were interviewing and you were already 190 00:10:58,559 --> 00:11:02,560 Speaker 1: a character sort of like nervously, you know, trying to 191 00:11:02,600 --> 00:11:07,320 Speaker 1: get information from Saddam Hussein and you know, not nervous, 192 00:11:07,360 --> 00:11:10,439 Speaker 1: you know, like a sort of cable access vibe. 193 00:11:10,920 --> 00:11:12,600 Speaker 3: Yeah, well, what a big get for my show? 194 00:11:12,720 --> 00:11:19,560 Speaker 1: Yes, you know, yeah, and I remember that shooting these 195 00:11:19,600 --> 00:11:21,800 Speaker 1: opening credits. By the way, what did we have for 196 00:11:21,960 --> 00:11:25,960 Speaker 1: a crew? Just Patrick, I think, right, Jeff Buchanan. Jeff Buchanan, okay, 197 00:11:26,600 --> 00:11:32,720 Speaker 1: and he did everything. Yeah, so Jeff Buchanan did all 198 00:11:32,760 --> 00:11:37,840 Speaker 1: of it, the camera work, editing. The opening credits were 199 00:11:37,880 --> 00:11:42,880 Speaker 1: there was graffiti near Corn's house and it was the 200 00:11:43,000 --> 00:11:48,560 Speaker 1: video was you scraping off the graffiti, cleaning off the graffiti, 201 00:11:48,840 --> 00:11:53,280 Speaker 1: just like your expression was, you know, these dumb kids 202 00:11:53,280 --> 00:11:59,160 Speaker 1: making you know. And I remember in that moment realizing 203 00:12:00,080 --> 00:12:02,079 Speaker 1: which I was already convinced anyway, I was like, oh, 204 00:12:02,160 --> 00:12:05,880 Speaker 1: this is who I want to work with. We were 205 00:12:06,000 --> 00:12:11,880 Speaker 1: in line when it comes to tone and comedy. I 206 00:12:11,960 --> 00:12:14,680 Speaker 1: just feel like we were like right exactly on the 207 00:12:14,720 --> 00:12:17,760 Speaker 1: same page of the message we were trying to send, 208 00:12:17,840 --> 00:12:20,680 Speaker 1: whatever that is. And we'll talk about that too and 209 00:12:20,760 --> 00:12:24,800 Speaker 1: what it goes back to, what bands it was inspired by, 210 00:12:24,880 --> 00:12:29,160 Speaker 1: what comedy, whatever it was, it was exactly what I 211 00:12:29,200 --> 00:12:30,920 Speaker 1: was looking for. It did feel like a puzzle piece. 212 00:12:31,520 --> 00:12:34,719 Speaker 4: Well, I will say that whose sensibility it didn't work 213 00:12:34,760 --> 00:12:37,080 Speaker 4: for was the John Kerry campaign, who never used that 214 00:12:37,160 --> 00:12:41,720 Speaker 4: video but also lost the election. So just putting that 215 00:12:41,720 --> 00:12:43,520 Speaker 4: out there. 216 00:12:43,040 --> 00:12:46,640 Speaker 1: We'll also put out there that should he run again. 217 00:12:47,960 --> 00:12:50,760 Speaker 3: Exactly that video is there and really holds. 218 00:12:50,520 --> 00:12:54,000 Speaker 1: Up and holds up. I believe the original was eight minutes. 219 00:12:53,720 --> 00:12:59,760 Speaker 4: Longer or longer maybe fourteen Yeah, throw it up there. Yeah, anyway, 220 00:13:00,080 --> 00:13:05,760 Speaker 4: vote for Carrie. So after that, we definitely enjoy working 221 00:13:05,760 --> 00:13:07,679 Speaker 4: with each other. We decide we're going to keep doing this, 222 00:13:08,360 --> 00:13:11,120 Speaker 4: and you kept coming up to Portland, and I think 223 00:13:11,200 --> 00:13:17,440 Speaker 4: this really helps create a look and a feel for 224 00:13:17,520 --> 00:13:19,600 Speaker 4: what ends up being portlandy We just happened to keep shooting. 225 00:13:19,600 --> 00:13:22,200 Speaker 4: You lived in New York, but we kept shooting in Portland. 226 00:13:22,400 --> 00:13:26,800 Speaker 4: We kept using local restaurants and businesses. We went to 227 00:13:26,840 --> 00:13:31,559 Speaker 4: a place called Reading Frenzy, which was near Powell's Books, 228 00:13:31,559 --> 00:13:35,760 Speaker 4: which is this really famous independent bookstore in Portland, kind 229 00:13:35,800 --> 00:13:38,719 Speaker 4: of a tourist destination. And there's this little shop called 230 00:13:38,760 --> 00:13:42,960 Speaker 4: Reading Frenzy and it had like fanzines and you know, 231 00:13:43,080 --> 00:13:48,640 Speaker 4: small print books. And the proprietor, Chloe you Daily, she 232 00:13:49,440 --> 00:13:50,960 Speaker 4: was an acquaintance of Mind, and she said, yeah, you 233 00:13:50,960 --> 00:13:54,920 Speaker 4: can shoot at my store. So we had these characters 234 00:13:55,120 --> 00:13:58,680 Speaker 4: Tony and Candice, and I mean I remember going and 235 00:13:58,720 --> 00:14:02,959 Speaker 4: buying a very expensive wig, just you know, long straight 236 00:14:03,600 --> 00:14:08,520 Speaker 4: black hair with bangs, and we went to Goodwill and 237 00:14:08,960 --> 00:14:10,040 Speaker 4: bought some clothing. 238 00:14:10,320 --> 00:14:11,600 Speaker 3: You know, we just sort of threw this together. 239 00:14:12,160 --> 00:14:15,680 Speaker 4: And then we just went and collected flyers from like 240 00:14:15,760 --> 00:14:20,640 Speaker 4: co ops and other like you know, little like corkboards 241 00:14:20,680 --> 00:14:25,480 Speaker 4: and whatnot. And just the whole conceit of this sketch 242 00:14:25,800 --> 00:14:28,680 Speaker 4: was just us deciding which flyers to put up in 243 00:14:28,720 --> 00:14:30,280 Speaker 4: the store at this little bookshop. 244 00:14:31,400 --> 00:14:33,400 Speaker 3: And that was the birth of feminist bookstore. 245 00:14:34,960 --> 00:14:37,920 Speaker 1: I don't even remember where my wig came from. Probably 246 00:14:37,960 --> 00:14:39,760 Speaker 1: from the same place, you know. I actually no, I 247 00:14:39,760 --> 00:14:41,640 Speaker 1: do remember we went there was like a one of 248 00:14:41,640 --> 00:14:42,800 Speaker 1: those like just wig shops. 249 00:14:42,880 --> 00:14:46,360 Speaker 4: Yeah, Wigland. It's on Northeast Broadway. It's still there, great 250 00:14:46,360 --> 00:14:49,760 Speaker 4: wig shop. We I mean we bought inexpensive wigs. Yeah, 251 00:14:49,800 --> 00:14:53,200 Speaker 4: because I remember later when Tony and Cannice became characters 252 00:14:53,200 --> 00:14:57,000 Speaker 4: on Portlandia, obviously we had to improve upon these these wigs. 253 00:14:57,520 --> 00:15:04,760 Speaker 1: But yeah, that It's funny because I don't remember either 254 00:15:04,800 --> 00:15:08,520 Speaker 1: of us having like the ambition of, like, listen, if 255 00:15:08,520 --> 00:15:10,320 Speaker 1: we get this together, we could really pitch this as 256 00:15:10,320 --> 00:15:13,400 Speaker 1: a show someday. It was for no reason. It was 257 00:15:13,440 --> 00:15:14,520 Speaker 1: just let's just do this. 258 00:15:15,320 --> 00:15:19,800 Speaker 4: Yeah, And we made seven or eight videos before we 259 00:15:19,880 --> 00:15:23,160 Speaker 4: even thought about it as anything bigger than it was. 260 00:15:23,440 --> 00:15:29,360 Speaker 4: We were just enjoying working together. We were just having 261 00:15:29,400 --> 00:15:32,280 Speaker 4: our friends film us. At this point. It's Patrick Stanton. 262 00:15:33,080 --> 00:15:35,880 Speaker 4: We did one in la we did one in New York, 263 00:15:36,400 --> 00:15:38,240 Speaker 4: but most of the time we were in Portland. And 264 00:15:39,200 --> 00:15:42,120 Speaker 4: you know, in addition to feminist books or there are 265 00:15:42,120 --> 00:15:44,400 Speaker 4: a couple other there was, we. 266 00:15:44,360 --> 00:15:46,400 Speaker 3: Did have these bike rights activists. 267 00:15:46,480 --> 00:15:49,640 Speaker 4: Yep, and you end up having a character Spike, who's 268 00:15:50,040 --> 00:15:55,240 Speaker 4: kind of a you know, bicycle rights enthusiasts. So yeah, 269 00:15:55,280 --> 00:15:59,120 Speaker 4: there's just these early this like these kernels of what 270 00:15:59,120 --> 00:16:03,320 Speaker 4: would become Portland. We called it thunder Ant. We originally 271 00:16:03,320 --> 00:16:06,360 Speaker 4: going to call it thunder Egg, which is the official 272 00:16:06,400 --> 00:16:09,880 Speaker 4: state rock of Oregon. And then we looked at MySpace 273 00:16:10,240 --> 00:16:12,720 Speaker 4: and there was a band with like seventy followers call 274 00:16:13,000 --> 00:16:15,680 Speaker 4: and you are very kind in this way, and you 275 00:16:15,680 --> 00:16:17,240 Speaker 4: were just like, I just don't want to take the 276 00:16:17,360 --> 00:16:20,480 Speaker 4: name thunder Egg. There's already this established band, So we 277 00:16:20,600 --> 00:16:24,160 Speaker 4: changed it to thunder Ant, and that was the moniker 278 00:16:24,880 --> 00:16:29,840 Speaker 4: you know that we used until your manager Tim Sarkas, 279 00:16:30,280 --> 00:16:34,200 Speaker 4: who then became my manager, later said hey, you guys, 280 00:16:34,440 --> 00:16:37,240 Speaker 4: this is a thing like you guys have a you 281 00:16:37,280 --> 00:16:40,000 Speaker 4: love working with each other. There's a sensibility and a 282 00:16:40,040 --> 00:16:42,920 Speaker 4: point of view like what if this was a TV show. 283 00:16:43,040 --> 00:16:48,479 Speaker 4: We never said. This was just a completely organic dynamic. 284 00:16:48,600 --> 00:16:53,040 Speaker 4: It stemmed from our friendship and we did not start 285 00:16:53,120 --> 00:16:54,560 Speaker 4: out with like, hey, let's pitch a show. 286 00:16:55,120 --> 00:16:55,360 Speaker 1: Nope. 287 00:16:55,560 --> 00:16:59,440 Speaker 4: It it's hard to stress how different this is from 288 00:16:59,440 --> 00:17:02,200 Speaker 4: the way people approach things, like in some ways, it's 289 00:17:02,240 --> 00:17:04,919 Speaker 4: much more analogous to the way I formed Slater Kinney 290 00:17:04,960 --> 00:17:07,320 Speaker 4: or the way you probably formed trench Mouth, which was 291 00:17:07,440 --> 00:17:10,960 Speaker 4: just who are people I want to be around? Who 292 00:17:11,000 --> 00:17:13,640 Speaker 4: are people who I respect and admire and I glean 293 00:17:13,680 --> 00:17:16,280 Speaker 4: inspiration from. I want to keep hanging out with this person, 294 00:17:16,520 --> 00:17:18,240 Speaker 4: but I want to keep hanging out with them in 295 00:17:18,280 --> 00:17:20,880 Speaker 4: a way where we get to do something creative. And 296 00:17:21,640 --> 00:17:25,000 Speaker 4: that was thunder ant. It was not hey, let's set 297 00:17:25,040 --> 00:17:27,960 Speaker 4: a general meeting and this is Fred Armison. He you know, 298 00:17:28,000 --> 00:17:31,160 Speaker 4: I think you guys would like each other, or even like, hey, 299 00:17:31,359 --> 00:17:34,320 Speaker 4: I were friends, but like, what's the most ambitious thing 300 00:17:34,359 --> 00:17:38,360 Speaker 4: we could do together? It was really we had almost 301 00:17:38,400 --> 00:17:42,720 Speaker 4: like ten sketches, ten videos before we even thought of 302 00:17:42,760 --> 00:17:43,720 Speaker 4: this as a show. 303 00:17:43,720 --> 00:17:47,160 Speaker 1: And it was just online. We didn't try to monetize 304 00:17:47,160 --> 00:17:48,879 Speaker 1: it in any way. It was just these videos that 305 00:17:48,920 --> 00:17:52,480 Speaker 1: were up I don't think even told that many people 306 00:17:52,520 --> 00:17:54,680 Speaker 1: about it. We didn't even we didn't have a campaign 307 00:17:54,680 --> 00:17:56,920 Speaker 1: of like you got to watch these videos. They were 308 00:17:56,960 --> 00:17:57,600 Speaker 1: just up there. 309 00:17:58,000 --> 00:18:02,119 Speaker 3: Yeah. And then and we did decide, like, let's pitch 310 00:18:02,240 --> 00:18:03,359 Speaker 3: this as a show. 311 00:18:03,800 --> 00:18:06,520 Speaker 4: Our friend Patrick, who we mentioned he flew to New York, 312 00:18:06,560 --> 00:18:07,960 Speaker 4: I was actually living in New York at the time. 313 00:18:08,560 --> 00:18:11,160 Speaker 4: We filmed a little introduction and we kind of put 314 00:18:11,200 --> 00:18:13,760 Speaker 4: together a little I guess would be called sizzle reel 315 00:18:15,400 --> 00:18:19,240 Speaker 4: of just basically like a demo video, like here's a 316 00:18:19,240 --> 00:18:22,840 Speaker 4: proof of concept. And that was the pitch, and I'm 317 00:18:22,840 --> 00:18:27,280 Speaker 4: actually really glad that we had sketches something to actually 318 00:18:27,280 --> 00:18:29,399 Speaker 4: show them. We didn't have a script, which is sometimes 319 00:18:29,400 --> 00:18:31,679 Speaker 4: what people pitched with. We didn't really have like an 320 00:18:31,760 --> 00:18:33,520 Speaker 4: out you know, a story outline. We just said, this 321 00:18:33,560 --> 00:18:35,560 Speaker 4: is sort of what it would be like. It's really 322 00:18:35,600 --> 00:18:38,000 Speaker 4: just the two of us doing silly things. 323 00:18:38,520 --> 00:18:39,679 Speaker 3: And we pitched that. 324 00:18:40,640 --> 00:18:42,520 Speaker 4: Well, first of all, I guess we should talk about 325 00:18:42,840 --> 00:18:46,199 Speaker 4: you were on SNL and we were actually required in 326 00:18:46,240 --> 00:18:50,239 Speaker 4: this obligatory way, like you know, Broadway Video, which is 327 00:18:50,520 --> 00:18:53,240 Speaker 4: Lauren's production company, they have the right of first refusal. 328 00:18:53,280 --> 00:18:56,719 Speaker 4: We literally had to ask Lauren for permission, and we 329 00:18:56,760 --> 00:18:59,800 Speaker 4: assumed he would say thanks, but no, like this is 330 00:19:00,480 --> 00:19:02,280 Speaker 4: weird to Indie for me. 331 00:19:02,800 --> 00:19:05,919 Speaker 1: I have you know I have a Giants by the way, 332 00:19:05,960 --> 00:19:12,000 Speaker 1: Lauren Michael's the creator of Saturday Night Live. Yeah, but 333 00:19:12,280 --> 00:19:18,840 Speaker 1: we did and through his company, Andrew Singer at Broadway 334 00:19:18,920 --> 00:19:21,040 Speaker 1: Video decided to take it on. 335 00:19:21,440 --> 00:19:24,400 Speaker 4: Yeah, and he went into the rooms with us. We 336 00:19:24,480 --> 00:19:29,560 Speaker 4: pitched to Comedy Central and IFC, and was there one 337 00:19:29,600 --> 00:19:30,359 Speaker 4: more do we pitch to? 338 00:19:30,440 --> 00:19:31,080 Speaker 1: Can remember? 339 00:19:31,400 --> 00:19:34,399 Speaker 4: I definitely I remember Comedy Central, Oh and Adult Swim. 340 00:19:34,560 --> 00:19:38,639 Speaker 4: Okay and Adult Swim in Comedy Central both said no 341 00:19:38,680 --> 00:19:44,400 Speaker 4: one does get shows. And then I f C, which 342 00:19:44,480 --> 00:19:47,640 Speaker 4: was the Independent Film Channel, and they mostly really did 343 00:19:47,680 --> 00:19:51,720 Speaker 4: just show like Tarantino Films and you know, just indie movies, 344 00:19:51,880 --> 00:19:55,960 Speaker 4: and they were just starting to original programming. They had 345 00:19:55,960 --> 00:20:00,040 Speaker 4: a couple things on, but very very few shows, and 346 00:20:00,160 --> 00:20:03,040 Speaker 4: I think we just lucked out. They were really looking 347 00:20:03,800 --> 00:20:08,000 Speaker 4: to start doing more of that, and they needed creators 348 00:20:08,040 --> 00:20:10,199 Speaker 4: and shows, and they took a chance on us and 349 00:20:10,240 --> 00:20:13,879 Speaker 4: said okay and ordered a pilot, just a pilot, not 350 00:20:13,880 --> 00:20:19,840 Speaker 4: not straight to series, you know, not anything too you know, 351 00:20:20,320 --> 00:20:23,439 Speaker 4: big or like it. Just they were like, okay, we'll 352 00:20:23,480 --> 00:20:34,919 Speaker 4: try a pilot. 353 00:20:33,640 --> 00:20:36,480 Speaker 1: Before we get to that. I was just I just 354 00:20:36,560 --> 00:20:41,520 Speaker 1: remembered that. Remember the video that we made in New York. 355 00:20:41,400 --> 00:20:42,040 Speaker 3: In my apartment. 356 00:20:42,520 --> 00:20:46,880 Speaker 1: Yes, yeah, it was a similar setup to this, where 357 00:20:46,880 --> 00:20:49,360 Speaker 1: it was two little desks facing each other. 358 00:20:49,400 --> 00:20:49,800 Speaker 3: That's right. 359 00:20:51,160 --> 00:20:52,760 Speaker 1: I don't know what the premise was. It was almost 360 00:20:52,800 --> 00:20:56,960 Speaker 1: like we were going to start each episode with us talking. 361 00:20:56,720 --> 00:20:57,760 Speaker 3: To each other or something. 362 00:20:58,840 --> 00:21:04,200 Speaker 1: That's right, And I also want to point out that 363 00:21:05,000 --> 00:21:10,280 Speaker 1: at the time you were new to the world of 364 00:21:11,440 --> 00:21:13,200 Speaker 1: I can't say the new to the world of comedy, 365 00:21:13,240 --> 00:21:16,159 Speaker 1: but just let's say new to Lauren Michael's world. 366 00:21:16,520 --> 00:21:20,320 Speaker 4: Oh, I mean that's like an understatement, like I was 367 00:21:21,480 --> 00:21:23,679 Speaker 4: just yeah, yeah, I mean thanks, but you know, I 368 00:21:23,640 --> 00:21:29,240 Speaker 4: mean it's more it's even more of an understatement. And you. 369 00:21:30,720 --> 00:21:34,000 Speaker 1: Were and are fifty percent you were, you know, a 370 00:21:34,000 --> 00:21:37,800 Speaker 1: co collaborator of this show, this that we were pitching 371 00:21:37,800 --> 00:21:44,639 Speaker 1: that didn't have a title, so Lauren had trust. But 372 00:21:44,800 --> 00:21:49,040 Speaker 1: still there was like a moment that sealed it for him. 373 00:21:49,680 --> 00:21:53,840 Speaker 4: Right, I mean, contextually, you're working with the best of 374 00:21:53,880 --> 00:21:56,000 Speaker 4: the best. You know, if this was going to be 375 00:21:56,119 --> 00:21:58,720 Speaker 4: like designed in a lab, you know, you're already working 376 00:21:58,760 --> 00:22:01,359 Speaker 4: with Maya Rudolph, you're working with Kristin Wig, You're working 377 00:22:01,359 --> 00:22:05,000 Speaker 4: with Amy Pohle or like certainly someone easily could have said, oh, 378 00:22:05,040 --> 00:22:07,359 Speaker 4: Fred wants to do his own show separate from SNL. Great, 379 00:22:07,520 --> 00:22:09,960 Speaker 4: well let's pair him with Maya, you know, let's let's 380 00:22:09,960 --> 00:22:14,320 Speaker 4: put him with Kristen like Apps. Of course, and you 381 00:22:14,359 --> 00:22:18,479 Speaker 4: and I were fairly untested, you know, in the bigger 382 00:22:18,520 --> 00:22:21,879 Speaker 4: scheme of things, and certainly untested with Laurene. He knew 383 00:22:21,960 --> 00:22:25,560 Speaker 4: that you like you and I were friends, that's about it, 384 00:22:25,600 --> 00:22:26,800 Speaker 4: but we didn't know each other personally. 385 00:22:26,880 --> 00:22:29,880 Speaker 3: So you get married and. 386 00:22:30,200 --> 00:22:35,639 Speaker 4: You asked me to be the best man essentially, and 387 00:22:35,720 --> 00:22:37,080 Speaker 4: to give the toast. 388 00:22:37,200 --> 00:22:39,800 Speaker 3: And I was the only person. 389 00:22:40,200 --> 00:22:42,440 Speaker 1: There was no other speed. He wasn't like no family, 390 00:22:42,520 --> 00:22:44,240 Speaker 1: nobody just here, just me there. 391 00:22:44,320 --> 00:22:46,000 Speaker 4: It wasn't like, hey, we're going to do a whole 392 00:22:46,040 --> 00:22:47,920 Speaker 4: series of toasts. Can you do the lead off toast 393 00:22:48,000 --> 00:22:49,920 Speaker 4: or can you emc. It was like, hey, we don't 394 00:22:49,920 --> 00:22:51,639 Speaker 4: want to do a lot of talking and stuff. We 395 00:22:51,640 --> 00:22:54,680 Speaker 4: want to keep it simple. So it's just me. So 396 00:22:54,920 --> 00:22:59,199 Speaker 4: I write a toast and I remember, I'm, you know, 397 00:22:59,400 --> 00:23:03,720 Speaker 4: at the wedding any and I look around and it 398 00:23:03,760 --> 00:23:07,119 Speaker 4: is it's all the aforementioned people plus Tina Fey, plus 399 00:23:07,160 --> 00:23:09,040 Speaker 4: You're you're marrying Elizabeth Moss. 400 00:23:09,200 --> 00:23:11,040 Speaker 3: This is the peak of mad Men, you know. 401 00:23:11,080 --> 00:23:13,960 Speaker 4: So it's like Jon Ham, it's Matt Winer, the creator 402 00:23:14,000 --> 00:23:14,480 Speaker 4: of the show. 403 00:23:14,800 --> 00:23:18,439 Speaker 3: I mean, this is a very like stacked event. And 404 00:23:18,520 --> 00:23:19,600 Speaker 3: I'm I'm. 405 00:23:19,400 --> 00:23:24,439 Speaker 4: An indie musician, you know, and I give this toast. 406 00:23:24,960 --> 00:23:30,960 Speaker 4: I it's comedic, it's heartfelt, and I I kind of 407 00:23:31,000 --> 00:23:34,480 Speaker 4: can't believe that. I wasn't more scared it just but 408 00:23:34,640 --> 00:23:39,000 Speaker 4: I did it. And I remember later you telling me like, 409 00:23:39,520 --> 00:23:42,600 Speaker 4: you know, that was kind of your audition for Lauren. Now, 410 00:23:42,640 --> 00:23:46,600 Speaker 4: if you had told me that beforehand, I didn't know beforehand, No, no, 411 00:23:46,600 --> 00:23:49,160 Speaker 4: I know, but if I had even thought that that 412 00:23:49,280 --> 00:23:51,960 Speaker 4: could have been the case. I wasn't thinking of any 413 00:23:52,000 --> 00:23:54,679 Speaker 4: of that. I mean, you're just one of my best friends. 414 00:23:54,680 --> 00:23:58,359 Speaker 4: I just you know, am wishing you the best and 415 00:23:58,400 --> 00:24:01,000 Speaker 4: trying to create some like context for this you know, 416 00:24:01,400 --> 00:24:05,760 Speaker 4: ceremony and for these nuptials. And later I you know, 417 00:24:05,800 --> 00:24:07,560 Speaker 4: when you couched it like that, and when you sort 418 00:24:07,600 --> 00:24:10,360 Speaker 4: of realized that was the case. Yeah, it was sort 419 00:24:10,400 --> 00:24:14,040 Speaker 4: of mind blowing because I, in retrospect, I should have 420 00:24:14,040 --> 00:24:16,200 Speaker 4: been so much more nervous. 421 00:24:16,680 --> 00:24:19,880 Speaker 1: Yeah, but it was so well written and well done. 422 00:24:19,960 --> 00:24:24,280 Speaker 1: And it was also it was Lauren also who told 423 00:24:24,320 --> 00:24:26,399 Speaker 1: me later like, I'm sure he didn't realize it, but 424 00:24:26,440 --> 00:24:29,200 Speaker 1: it was as it was happening, he was like, oh right, yeah, 425 00:24:29,240 --> 00:24:29,879 Speaker 1: that's her audition. 426 00:24:30,240 --> 00:24:32,960 Speaker 4: Yeah, And I think what he realized was like, the 427 00:24:33,040 --> 00:24:35,800 Speaker 4: show is actually reliant on this chemistry. 428 00:24:36,000 --> 00:24:39,160 Speaker 3: It has to be these two people, like it's. 429 00:24:38,800 --> 00:24:41,639 Speaker 4: You know, if it was you and someone from SNL, 430 00:24:41,800 --> 00:24:45,320 Speaker 4: Like that's a whole different show. But but this show, 431 00:24:45,840 --> 00:24:49,120 Speaker 4: what you know, comes to be Portlandia. That's Fredd and Carry. 432 00:24:50,040 --> 00:24:53,800 Speaker 4: Like the way they connect, you know, what they connect on, 433 00:24:53,880 --> 00:24:57,760 Speaker 4: what they find funny, you know, their friendship, the seamlessness 434 00:24:57,760 --> 00:25:01,240 Speaker 4: of it, the intimacy of it, Like we just can't 435 00:25:01,320 --> 00:25:04,480 Speaker 4: replicate that even if we're just pulling from someone that 436 00:25:04,520 --> 00:25:08,320 Speaker 4: everyone knows, well, that's like a really funny woman that's famous, Like, 437 00:25:09,160 --> 00:25:11,399 Speaker 4: it just won't be this. It will be something else 438 00:25:11,480 --> 00:25:13,000 Speaker 4: and it could be great, but it's not going to 439 00:25:13,040 --> 00:25:16,320 Speaker 4: be this. And I think that's one of the brilliant 440 00:25:16,320 --> 00:25:19,360 Speaker 4: things about Lauren is he knows that he knows that 441 00:25:19,359 --> 00:25:23,919 Speaker 4: that that's how things work, and that trust, that faith 442 00:25:23,920 --> 00:25:27,439 Speaker 4: in us I think really went a long way, you know, 443 00:25:27,640 --> 00:25:31,120 Speaker 4: and he ends up, you know, fighting for us at 444 00:25:31,240 --> 00:25:34,560 Speaker 4: certain moments, especially you know, we filmed the pilot and 445 00:25:34,640 --> 00:25:38,760 Speaker 4: he we needed a fast pickup order because you were 446 00:25:38,840 --> 00:25:40,960 Speaker 4: going to you needed to be back in SNL in 447 00:25:41,000 --> 00:25:43,680 Speaker 4: the fall. We shot the pilot in like May or something, 448 00:25:44,080 --> 00:25:46,960 Speaker 4: and he's like, you got to decide otherwise, you know, 449 00:25:47,119 --> 00:25:49,480 Speaker 4: if we wait a year, if we sort of dick. 450 00:25:49,320 --> 00:25:51,639 Speaker 3: Around, like we all know this is not going to happen. 451 00:25:52,400 --> 00:25:55,600 Speaker 4: And he was a big champion and you know still 452 00:25:55,680 --> 00:26:00,199 Speaker 4: is in uh came up to Portland often and visited us, 453 00:26:00,240 --> 00:26:04,040 Speaker 4: and yeah, anyway, but yeah, that's that always sort of 454 00:26:04,040 --> 00:26:06,440 Speaker 4: gives me chills thinking about, like I get nervous now 455 00:26:07,000 --> 00:26:09,800 Speaker 4: for an event that took place, you know, twenty years ago. 456 00:26:10,880 --> 00:26:14,360 Speaker 1: And he was right, all those instincts were right about it. 457 00:26:14,680 --> 00:26:18,880 Speaker 1: Yeah when we first so we pitched the show at IFC, 458 00:26:19,000 --> 00:26:22,920 Speaker 1: and we didn't have a title just yet. 459 00:26:22,800 --> 00:26:25,200 Speaker 4: No, and nor did we pitch it as a show 460 00:26:25,200 --> 00:26:28,320 Speaker 4: that would be shot in Portland. That to me is 461 00:26:28,320 --> 00:26:32,560 Speaker 4: always so interesting, Like we knew that the show had 462 00:26:32,600 --> 00:26:35,719 Speaker 4: like a certain feel to it, that the sketches had 463 00:26:35,760 --> 00:26:39,560 Speaker 4: a certain feel. We were definitely reveling in absurdity. We 464 00:26:39,640 --> 00:26:43,400 Speaker 4: wanted things to be silly, irreverent, like you know, there 465 00:26:43,440 --> 00:26:46,760 Speaker 4: was all these ingredients, but we never actually thought of 466 00:26:47,200 --> 00:26:51,040 Speaker 4: Place as part of that, which is ridiculous because of 467 00:26:51,080 --> 00:26:52,600 Speaker 4: course Place. 468 00:26:52,400 --> 00:26:54,320 Speaker 3: Was very much informing what we were doing. 469 00:26:54,720 --> 00:26:56,480 Speaker 4: I just think we one, we didn't take it for granted, 470 00:26:56,520 --> 00:26:59,560 Speaker 4: and we didn't assume that anyone would sign off and 471 00:27:00,119 --> 00:27:02,760 Speaker 4: shooting in Portland like most people, especially at the time. 472 00:27:03,240 --> 00:27:05,680 Speaker 4: You know, now, of course a lot of things don't 473 00:27:05,680 --> 00:27:08,040 Speaker 4: shoot in LA and that's a problem. But at the time, 474 00:27:08,119 --> 00:27:09,800 Speaker 4: tons of things shot in LA and that just seemed 475 00:27:09,800 --> 00:27:12,800 Speaker 4: like a given. Yeah, and yeah, it was sort of 476 00:27:12,840 --> 00:27:15,800 Speaker 4: someone else. In fact, it was IFC that was like, 477 00:27:15,840 --> 00:27:17,639 Speaker 4: of course, you guys should shoot in Portland. 478 00:27:17,880 --> 00:27:23,560 Speaker 1: I think Evan Schapiro, Okay, yeah at IFC at I 479 00:27:23,960 --> 00:27:27,320 Speaker 1: and it was that was good news. I mean, I 480 00:27:27,359 --> 00:27:30,399 Speaker 1: love going to Portland anyway. So and then we shot 481 00:27:30,440 --> 00:27:33,200 Speaker 1: so much of it there that I love that we 482 00:27:33,400 --> 00:27:34,120 Speaker 1: got to do that. 483 00:27:35,440 --> 00:27:39,119 Speaker 4: I think it absolutely made the show. You know, it 484 00:27:39,600 --> 00:27:43,840 Speaker 4: looked different. Uh, all the people who populated the show 485 00:27:43,880 --> 00:27:47,199 Speaker 4: in terms of the background don't look like you know, 486 00:27:47,520 --> 00:27:52,240 Speaker 4: LA actors, Like it's just like it feels. 487 00:27:50,800 --> 00:27:52,679 Speaker 3: Yeah, everything about it. We shot on location. 488 00:27:52,840 --> 00:27:55,399 Speaker 4: We didn't end up like setting up at a sound 489 00:27:55,400 --> 00:27:59,160 Speaker 4: stage and building sets like it just and it became 490 00:28:00,080 --> 00:28:04,320 Speaker 4: a stand in. You know, it wasn't Portland, it was Portlandia, 491 00:28:04,440 --> 00:28:08,240 Speaker 4: and so it became a stand in for an ideology 492 00:28:08,359 --> 00:28:10,760 Speaker 4: or a way of trying to live or do your 493 00:28:10,800 --> 00:28:13,800 Speaker 4: best or just it just it allowed it to be 494 00:28:13,880 --> 00:28:16,960 Speaker 4: heightened and we wanted something that felt a little bit mythical, 495 00:28:17,119 --> 00:28:20,000 Speaker 4: a little bit magical. Like we didn't want to be 496 00:28:20,480 --> 00:28:22,960 Speaker 4: always grounded in reality. We wanted to be able to 497 00:28:23,000 --> 00:28:28,000 Speaker 4: like step off into this place that was imaginative and strange. 498 00:28:28,280 --> 00:28:32,720 Speaker 4: And I think it all it just coalesced into something. 499 00:28:32,760 --> 00:28:36,119 Speaker 4: And we were very fortunate because again we didn't come 500 00:28:36,400 --> 00:28:38,320 Speaker 4: into this with like, and this is what we want 501 00:28:38,360 --> 00:28:39,760 Speaker 4: to do and it has to be the city. Like 502 00:28:40,440 --> 00:28:43,680 Speaker 4: a lot of this we lucked into and then realized later, oh, 503 00:28:43,760 --> 00:28:46,640 Speaker 4: it had to be this and it wouldn't have been 504 00:28:46,640 --> 00:28:50,160 Speaker 4: the same any other way. But yeah, even the title 505 00:28:50,240 --> 00:28:51,560 Speaker 4: Portlandia didn't exist. 506 00:28:51,880 --> 00:28:56,560 Speaker 1: Yeah, we had a few titles in the running. And 507 00:28:56,600 --> 00:29:01,640 Speaker 1: then it was someone at Broadway Video, Marx who's from Portland, 508 00:29:02,320 --> 00:29:07,000 Speaker 1: who pointed out that there's a statue there called Portlandia, 509 00:29:07,280 --> 00:29:12,000 Speaker 1: and that was an immediate yes, yeah, that makes so 510 00:29:12,080 --> 00:29:12,600 Speaker 1: much sense. 511 00:29:13,080 --> 00:29:15,760 Speaker 4: Yeah, it just conjures something. It's just like, oh, okay, 512 00:29:15,960 --> 00:29:18,680 Speaker 4: it's a place. It's a real place, but it's also 513 00:29:18,720 --> 00:29:21,840 Speaker 4: an imagined space. And I think having that kind of 514 00:29:22,240 --> 00:29:27,880 Speaker 4: blank canvas was really helpful. And yeah, I think the 515 00:29:27,920 --> 00:29:30,880 Speaker 4: other titles were not great. 516 00:29:32,520 --> 00:29:36,080 Speaker 1: I have a picture of us somewhere with the whiteboard 517 00:29:36,560 --> 00:29:38,280 Speaker 1: with the other titles written in. 518 00:29:38,560 --> 00:29:44,600 Speaker 4: Oh yeah, so yes, A one with Stumptown, which is, 519 00:29:44,680 --> 00:29:48,600 Speaker 4: you know, a coffee shop in Portland that's now global 520 00:29:49,240 --> 00:29:52,720 Speaker 4: but at the time was a pretty small local business. 521 00:29:53,240 --> 00:29:57,640 Speaker 3: There was what were some of the others I don't remember. 522 00:29:57,720 --> 00:30:01,040 Speaker 1: I think something like from the the City of Portland 523 00:30:01,120 --> 00:30:03,480 Speaker 1: or something like that. Something that might be wrong, but 524 00:30:03,560 --> 00:30:07,000 Speaker 1: something with the city the word city in it, okay. 525 00:30:08,760 --> 00:30:11,440 Speaker 1: And there's a couple others. I mean, it was thunder 526 00:30:11,440 --> 00:30:12,240 Speaker 1: Ant in there. 527 00:30:12,560 --> 00:30:15,120 Speaker 3: It maybe was it, maybe it was I think. 528 00:30:15,080 --> 00:30:18,560 Speaker 1: Just as a yeah, obligatory left let's add this in 529 00:30:18,640 --> 00:30:23,200 Speaker 1: as a title idea. And then Jonathan Kreisel, who was 530 00:30:23,760 --> 00:30:27,080 Speaker 1: at SNL working on some of the short films that 531 00:30:27,120 --> 00:30:33,200 Speaker 1: they had, like in an addition to Lonely Island. Yeah, 532 00:30:33,520 --> 00:30:36,560 Speaker 1: he would. John would do some videos as well. So 533 00:30:38,480 --> 00:30:43,760 Speaker 1: we met with him and then he became our co creator, 534 00:30:43,840 --> 00:30:46,000 Speaker 1: co director or director. 535 00:30:46,720 --> 00:30:49,680 Speaker 3: I mean, Jonathan really elevated the show. You know, you 536 00:30:49,720 --> 00:30:54,280 Speaker 3: and I were thinking in terms of character and story, 537 00:30:54,600 --> 00:30:58,240 Speaker 3: and Jonathan was thinking visually. And I think one as 538 00:30:58,360 --> 00:31:02,640 Speaker 3: we get into these episodes, I have been struck by 539 00:31:02,720 --> 00:31:06,800 Speaker 3: how ambitious the visuals are. That you know, there is 540 00:31:06,800 --> 00:31:10,360 Speaker 3: a cinematic quality to it that I think I totally 541 00:31:10,400 --> 00:31:15,000 Speaker 3: credit to krysl You know, he just was thinking big. 542 00:31:15,160 --> 00:31:18,600 Speaker 3: He didn't want it to look like, Okay, we're just 543 00:31:18,760 --> 00:31:21,680 Speaker 3: just people in a room talking like he wanted there 544 00:31:21,920 --> 00:31:24,520 Speaker 3: it was. There are a lot of exteriors, there was pacing, like, 545 00:31:24,560 --> 00:31:28,880 Speaker 3: there was visual storytelling like I'm I'm really surprised what 546 00:31:28,880 --> 00:31:31,560 Speaker 3: we were able to pull off. And I think that's 547 00:31:31,680 --> 00:31:36,680 Speaker 3: just stemming from his you know, filmmaking prowess, like he 548 00:31:36,760 --> 00:31:39,480 Speaker 3: really I think it was before he I mean now 549 00:31:39,520 --> 00:31:40,960 Speaker 3: he directs a lot of things. 550 00:31:40,960 --> 00:31:43,240 Speaker 4: This was some of the first stuff he directed, and 551 00:31:43,240 --> 00:31:45,520 Speaker 4: I think he had he was like, yeah, I want 552 00:31:45,560 --> 00:31:47,600 Speaker 4: to do all this big stuff and try it out 553 00:31:47,680 --> 00:31:48,160 Speaker 4: on the show. 554 00:31:49,400 --> 00:31:54,600 Speaker 1: Yeah, he worked a bit on with Timinaria. But then 555 00:31:54,640 --> 00:31:56,680 Speaker 1: and Nick Kroll all right, or is that after? 556 00:31:57,480 --> 00:31:59,320 Speaker 3: I think it was at the time, I'm not sure. 557 00:32:01,040 --> 00:32:03,680 Speaker 1: But yeah. Also, I remember him in the writer's room. 558 00:32:04,080 --> 00:32:06,720 Speaker 1: This is how little I knew. We would have a 559 00:32:06,760 --> 00:32:09,840 Speaker 1: sketch idea and he would say something like yeah, but 560 00:32:09,880 --> 00:32:12,640 Speaker 1: how do you show that, which is a way of 561 00:32:12,680 --> 00:32:16,720 Speaker 1: saying no, And he was right where I I didn't 562 00:32:16,720 --> 00:32:18,720 Speaker 1: have an answer. I was like, yeah, that's true. How 563 00:32:18,760 --> 00:32:20,960 Speaker 1: do we show that you know, this is a sketch idea. 564 00:32:21,280 --> 00:32:25,960 Speaker 4: Yeah, and we'll have Jonathan on the show. Sorry, we'll 565 00:32:25,960 --> 00:32:28,880 Speaker 4: have Jonathan on this podcast because you know, it's I 566 00:32:28,880 --> 00:32:30,400 Speaker 4: think it's important to talk to him. 567 00:32:30,400 --> 00:32:32,520 Speaker 3: He's just so in the DNA of the show. 568 00:32:32,720 --> 00:32:37,040 Speaker 4: Yeah, we were not thinking visually as much as we 569 00:32:37,040 --> 00:32:42,160 Speaker 4: were content and write commedially. Yeah, And we brought in 570 00:32:42,240 --> 00:32:45,640 Speaker 4: Alison Silverman yep, who was a writer on The Colbert 571 00:32:45,680 --> 00:32:47,600 Speaker 4: Report and. 572 00:32:47,840 --> 00:32:48,480 Speaker 3: What else did. 573 00:32:48,480 --> 00:32:51,520 Speaker 1: She was a bunch of stuff, but she was definitely like. 574 00:32:51,520 --> 00:32:56,120 Speaker 4: Most recently from the time Colbert Report. And it was 575 00:32:56,200 --> 00:32:57,320 Speaker 4: kind of just the four of us. 576 00:32:57,440 --> 00:32:59,960 Speaker 1: That was it, and that's we worked out of whereas 577 00:33:00,160 --> 00:33:04,400 Speaker 1: like later seasons would work out of Portland. That one 578 00:33:04,760 --> 00:33:07,160 Speaker 1: that was in at Universe. 579 00:33:06,960 --> 00:33:10,680 Speaker 4: In a small office with no desk, no, just a 580 00:33:10,720 --> 00:33:12,000 Speaker 4: couple of chairs. 581 00:33:12,360 --> 00:33:14,080 Speaker 3: In a room, a whiteboard. 582 00:33:14,880 --> 00:33:33,320 Speaker 4: And we started thinking of this mostly the pilot. 583 00:33:27,320 --> 00:33:30,800 Speaker 1: And between the pilot and getting the season ordered, just 584 00:33:30,880 --> 00:33:34,600 Speaker 1: to give you some more background to it, because of 585 00:33:34,640 --> 00:33:37,880 Speaker 1: my schedule, we needed like a little bit of a 586 00:33:37,960 --> 00:33:39,640 Speaker 1: rush answer from i FC. 587 00:33:40,320 --> 00:33:42,280 Speaker 3: Yes, which is again very rare. 588 00:33:43,080 --> 00:33:46,680 Speaker 4: It's hard to really convey how green we were, like, 589 00:33:46,800 --> 00:33:50,000 Speaker 4: how like the things that were happening and happening at 590 00:33:50,000 --> 00:33:53,920 Speaker 4: a rapid pace. We're so unusual, like now we sort 591 00:33:53,960 --> 00:33:59,040 Speaker 4: of know how glacial development is and production, but we 592 00:33:59,120 --> 00:34:01,480 Speaker 4: just kept lucking at to it. I think partly, I 593 00:34:01,600 --> 00:34:05,600 Speaker 4: fc their enthusiasm, you know, just getting into you know, 594 00:34:05,880 --> 00:34:09,400 Speaker 4: doing original programming. They were moving at and able to 595 00:34:09,440 --> 00:34:11,959 Speaker 4: be more nimble, like moving at a much faster pace 596 00:34:13,960 --> 00:34:16,120 Speaker 4: and yeah, which just the time crunch of you going 597 00:34:16,160 --> 00:34:17,719 Speaker 4: back to SNEL. I think they were a little bit 598 00:34:17,760 --> 00:34:20,759 Speaker 4: like if it's not now never, okay, so what is 599 00:34:20,800 --> 00:34:25,640 Speaker 4: it like watching you know, like just going back and 600 00:34:26,120 --> 00:34:29,719 Speaker 4: looking like as we launch into this podcast, we've done, 601 00:34:29,760 --> 00:34:33,080 Speaker 4: you know, for this first episode, We've just started rewatching 602 00:34:33,160 --> 00:34:33,680 Speaker 4: this stuff. 603 00:34:33,840 --> 00:34:37,520 Speaker 1: I love the sort of the blindness of it, the 604 00:34:37,600 --> 00:34:41,200 Speaker 1: sort of like the naivete like, yeah, yeah, let's just 605 00:34:41,800 --> 00:34:46,680 Speaker 1: you know, make this thing that I but but by 606 00:34:46,719 --> 00:34:51,720 Speaker 1: two people who still have the same viewpoint, but still yeah, 607 00:34:53,320 --> 00:34:55,359 Speaker 1: you know, without like a final goal. 608 00:34:56,680 --> 00:34:59,320 Speaker 4: Yeah, there's there's an innocence to it. I think there's 609 00:34:59,800 --> 00:35:03,640 Speaker 4: an earnestness to it for sure, and a sincerity. I 610 00:35:03,640 --> 00:35:07,359 Speaker 4: think that you and I are sincere people. I think 611 00:35:07,400 --> 00:35:12,359 Speaker 4: we are not cynics, you know, or at least when 612 00:35:12,440 --> 00:35:16,840 Speaker 4: I feel that mindset encroaching. I'm always trying to like 613 00:35:17,840 --> 00:35:21,080 Speaker 4: show it away, and I think there is a sweetness 614 00:35:21,280 --> 00:35:23,080 Speaker 4: to the show and a lot of characters. I think 615 00:35:24,440 --> 00:35:27,280 Speaker 4: I'm reminded of that when I'm watching it. I'm reminded 616 00:35:27,360 --> 00:35:32,520 Speaker 4: of the fact that we were mostly exploring elements of ourselves, 617 00:35:32,920 --> 00:35:36,960 Speaker 4: you know, some small facet of our personality or you know, 618 00:35:37,160 --> 00:35:39,480 Speaker 4: like people we could have been if we had made 619 00:35:39,480 --> 00:35:42,960 Speaker 4: different decisions, like we weren't sort of looking out at 620 00:35:43,000 --> 00:35:46,080 Speaker 4: the world and making other people targets of our derision 621 00:35:46,880 --> 00:35:51,720 Speaker 4: or scorn. It was like, oh, I'm so curious why 622 00:35:52,080 --> 00:35:54,560 Speaker 4: I have this part of myself that comes out when 623 00:35:54,600 --> 00:35:56,200 Speaker 4: these certain things happen. 624 00:35:56,080 --> 00:36:01,400 Speaker 3: Or Yeah, it just it felt very curious and. 625 00:36:01,600 --> 00:36:04,839 Speaker 4: Very like it like an exploration. 626 00:36:05,480 --> 00:36:07,560 Speaker 3: And I see that when I watch it, and I'm. 627 00:36:07,360 --> 00:36:11,719 Speaker 4: Like, oh, yeah, there's okay, there's it's almost sweeter than 628 00:36:11,719 --> 00:36:13,640 Speaker 4: I remember in some ways. 629 00:36:13,880 --> 00:36:17,680 Speaker 1: Yeah, I feel exactly the same, sweeter than I remember. Yeah, 630 00:36:18,400 --> 00:36:21,920 Speaker 1: I'm not going you no, you go well, I was 631 00:36:21,960 --> 00:36:24,439 Speaker 1: going to say, like the thing, I like that it's 632 00:36:24,560 --> 00:36:29,600 Speaker 1: so long ago, and seeing that we were already close friends, 633 00:36:30,000 --> 00:36:32,040 Speaker 1: then yes, I love that. 634 00:36:32,440 --> 00:36:35,600 Speaker 4: And I can even see in Okay, so we play 635 00:36:35,719 --> 00:36:38,040 Speaker 4: a version of ourselves in the show Fred and Carry, 636 00:36:38,400 --> 00:36:40,400 Speaker 4: and I will say this now and I'll point it 637 00:36:40,400 --> 00:36:45,040 Speaker 4: out later. There there's some reality to that, and then 638 00:36:45,080 --> 00:36:47,879 Speaker 4: there's I think we wanted to allow Fred and Carry 639 00:36:47,960 --> 00:36:53,000 Speaker 4: to be just a little more guileless and clueless and 640 00:36:53,120 --> 00:36:57,480 Speaker 4: just sillier. So we are just not as smart sometimes, 641 00:36:57,560 --> 00:36:59,640 Speaker 4: or I would like to think that this version of 642 00:36:59,640 --> 00:37:02,520 Speaker 4: myself smarter than the Portlandia Carry And you will see 643 00:37:02,520 --> 00:37:04,279 Speaker 4: that over and over again, like just for the sake 644 00:37:04,280 --> 00:37:09,600 Speaker 4: of comedy, we just allow this ignorance to come about, 645 00:37:10,719 --> 00:37:12,440 Speaker 4: just so we're not like stuck and like, well, no, 646 00:37:12,680 --> 00:37:16,200 Speaker 4: Fred Armison wouldn't do that, but I do see every 647 00:37:16,200 --> 00:37:18,200 Speaker 4: once in a while, no, not every once in a while, 648 00:37:18,239 --> 00:37:20,280 Speaker 4: a lot I'm like, oh, this is a real conversation 649 00:37:20,360 --> 00:37:22,879 Speaker 4: because there's so much improvisation. I think that's the other 650 00:37:22,920 --> 00:37:25,080 Speaker 4: thing to point out early on, Like, especially in these 651 00:37:25,120 --> 00:37:30,200 Speaker 4: first couple of seasons. You know, we would obviously pitch, 652 00:37:30,600 --> 00:37:33,360 Speaker 4: you know, sketch ideas, and they we did have beats 653 00:37:33,400 --> 00:37:37,440 Speaker 4: for each sketch and an outline, but there was a 654 00:37:37,640 --> 00:37:40,960 Speaker 4: very rudimentary script, and if there was a script, we 655 00:37:41,040 --> 00:37:44,240 Speaker 4: often basically threw it out, And so when I see 656 00:37:44,719 --> 00:37:47,360 Speaker 4: us talking as Fred and Carry, but also in other characters, 657 00:37:47,520 --> 00:37:49,839 Speaker 4: I can tell, oh, my gosh, this is just a 658 00:37:49,880 --> 00:37:52,640 Speaker 4: real conversation you and I are having. I can also 659 00:37:52,680 --> 00:37:55,440 Speaker 4: tell when we're actually really annoyed at one another, like 660 00:37:55,480 --> 00:37:57,719 Speaker 4: when in terms of like if someone says something that's 661 00:37:57,760 --> 00:38:01,719 Speaker 4: annoying that actually irks Carry or irks Fred, I. 662 00:38:01,719 --> 00:38:09,400 Speaker 3: Can see it. It's an interesting like mirror, yeah for sure, accurate. 663 00:38:09,960 --> 00:38:15,400 Speaker 1: Yeah. Then physically, like you know, I'm so glad that 664 00:38:15,400 --> 00:38:19,680 Speaker 1: we grew up on bands in that whenever I see 665 00:38:19,680 --> 00:38:22,960 Speaker 1: that bands start looking older, I like it. I like 666 00:38:23,040 --> 00:38:26,600 Speaker 1: that they had different eras of their existence. So when 667 00:38:26,600 --> 00:38:28,839 Speaker 1: I look back and I see that, Okay, that's a 668 00:38:28,880 --> 00:38:32,239 Speaker 1: younger version, it's a good feeling like, hey, that was 669 00:38:32,320 --> 00:38:34,920 Speaker 1: what Yeah, that's what the band looked like back then. 670 00:38:34,960 --> 00:38:35,719 Speaker 3: That's what we look like. 671 00:38:36,120 --> 00:38:42,200 Speaker 4: For me, I feel like the first season hate my haircut. 672 00:38:42,320 --> 00:38:44,600 Speaker 4: I'm like, what is that haircut? I basically have had 673 00:38:44,600 --> 00:38:47,280 Speaker 4: the same hair by the way, for since like seventh grade, 674 00:38:47,880 --> 00:38:50,920 Speaker 4: different versions of it. This is like season one is 675 00:38:50,960 --> 00:38:54,800 Speaker 4: like not my favorite version. My bangs don't feel connected 676 00:38:54,840 --> 00:38:56,960 Speaker 4: to the rest of my hair. It was like I 677 00:38:56,960 --> 00:38:59,399 Speaker 4: had two different people cut it. I might have cut 678 00:38:59,400 --> 00:39:01,520 Speaker 4: my hair that year. I have no idea. It's very 679 00:39:03,000 --> 00:39:05,160 Speaker 4: I just noticed it. I was like, what's happening here? 680 00:39:05,560 --> 00:39:08,360 Speaker 3: Oh, I can't answer that question. Also, I feel. 681 00:39:08,200 --> 00:39:12,279 Speaker 4: Like like I'm wearing lipstick now, but like I'm like, 682 00:39:12,320 --> 00:39:13,120 Speaker 4: why is my character? 683 00:39:13,239 --> 00:39:14,960 Speaker 3: Why is Carrie wearing such bright lipstick? 684 00:39:14,960 --> 00:39:17,400 Speaker 4: And every scene like it's just it's day it's daytime, 685 00:39:17,520 --> 00:39:19,799 Speaker 4: Like okay, you know, but I think in my mind 686 00:39:19,840 --> 00:39:21,839 Speaker 4: again in that sort of like naivitate, it's like, well, 687 00:39:21,840 --> 00:39:24,040 Speaker 4: I'm on camera, we should definitely put a lipstick on, 688 00:39:24,080 --> 00:39:24,239 Speaker 4: you know. 689 00:39:24,400 --> 00:39:26,720 Speaker 3: So it's like, what, Like, no, it's the reality. 690 00:39:26,760 --> 00:39:30,160 Speaker 4: But and I see that across all characters, like just 691 00:39:30,200 --> 00:39:33,800 Speaker 4: looking at early versions of like you know, the costume 692 00:39:33,880 --> 00:39:35,600 Speaker 4: and the makeup, and even though we were working with 693 00:39:35,760 --> 00:39:39,680 Speaker 4: consummate professionals, like we all just were like I don't know. 694 00:39:41,160 --> 00:39:44,319 Speaker 4: In some ways sometimes just there is just that sort 695 00:39:44,360 --> 00:39:46,440 Speaker 4: of figuring it out. But I like that there's a 696 00:39:46,520 --> 00:39:49,719 Speaker 4: charm to it for me looking back, like it gave 697 00:39:49,760 --> 00:39:50,480 Speaker 4: us somewhere to go. 698 00:39:51,680 --> 00:39:59,880 Speaker 1: Yeah, I think dress style wise, I'm kind of the same. 699 00:40:00,320 --> 00:40:02,720 Speaker 1: And that's a good thing and a bad thing. Sometimes 700 00:40:02,760 --> 00:40:04,600 Speaker 1: I see myself wearing a hoodie, and I remember at 701 00:40:04,640 --> 00:40:06,600 Speaker 1: the time thinking someday I won't wear hoodies anymore. 702 00:40:06,719 --> 00:40:08,040 Speaker 3: That is not true, and. 703 00:40:07,960 --> 00:40:10,520 Speaker 1: I'm like still wearing hoodies and I really wanted to 704 00:40:10,560 --> 00:40:14,400 Speaker 1: outgrow it. And this jacket that I'm wearing today, I 705 00:40:14,400 --> 00:40:18,160 Speaker 1: actually chose not because it matched anything on Portlandia's just 706 00:40:18,160 --> 00:40:21,200 Speaker 1: because I like green jackets. Yeah, but then I did 707 00:40:21,239 --> 00:40:24,440 Speaker 1: have jackets like this back then, So I'm like, I 708 00:40:24,480 --> 00:40:29,080 Speaker 1: guess that's what I gravitate towards. So I feel mostly 709 00:40:29,120 --> 00:40:32,520 Speaker 1: good about it. I just wish I had outgrown hoodies. 710 00:40:33,440 --> 00:40:34,080 Speaker 3: There's still time. 711 00:40:34,680 --> 00:40:35,399 Speaker 1: There's still time. 712 00:40:35,560 --> 00:40:36,200 Speaker 3: There's still time. 713 00:40:36,280 --> 00:40:39,520 Speaker 1: It'd be nice to sort of put that aside. 714 00:40:39,560 --> 00:40:41,799 Speaker 4: You know what a little goal is, or sorry, you 715 00:40:41,800 --> 00:40:43,239 Speaker 4: know what a little goal could be is to not 716 00:40:43,239 --> 00:40:45,560 Speaker 4: wear a hoodie on this podcast. 717 00:40:45,920 --> 00:40:51,359 Speaker 1: I love it. Just let's start small, let's try. I'm 718 00:40:51,360 --> 00:40:51,879 Speaker 1: saying that to. 719 00:40:51,840 --> 00:40:56,960 Speaker 4: Myself, okay, but then also watching it, I will say, like, 720 00:40:57,239 --> 00:41:01,240 Speaker 4: you know, I'm just like the the show is very white. 721 00:41:01,360 --> 00:41:03,640 Speaker 4: Sometimes I'm like, just I will just look at certain things. 722 00:41:03,680 --> 00:41:06,439 Speaker 4: When I was watching the show, I'm like, oh, this 723 00:41:06,520 --> 00:41:09,120 Speaker 4: is there's too many white people in this scene, like 724 00:41:09,880 --> 00:41:13,840 Speaker 4: Dream of the Ninties, dream of the nineties. I was 725 00:41:13,880 --> 00:41:18,680 Speaker 4: just like, ugh, like, do better. This is Yeah, there's 726 00:41:18,680 --> 00:41:21,600 Speaker 4: definitely some of that. Yeah, and it does improve. But 727 00:41:21,680 --> 00:41:25,359 Speaker 4: like watching that, I was like, what and. 728 00:41:25,320 --> 00:41:28,000 Speaker 1: There's so many people, there's so many people in the video. 729 00:41:28,239 --> 00:41:31,280 Speaker 4: Yeah, and I and I'm just not even specifically that sketch, 730 00:41:31,320 --> 00:41:34,040 Speaker 4: I think in general, not just about other things. 731 00:41:34,080 --> 00:41:35,560 Speaker 3: Like i will just say like. 732 00:41:36,040 --> 00:41:38,840 Speaker 4: I'm watching some of these sketches and I'm like, I 733 00:41:38,840 --> 00:41:43,920 Speaker 4: would not do that now, you know, Like I and 734 00:41:44,160 --> 00:41:47,840 Speaker 4: I'm sorry, and I'm a flawed person. I'm just like, 735 00:41:47,880 --> 00:41:50,319 Speaker 4: oh my gosh, like this sketch does not hold up 736 00:41:50,360 --> 00:41:52,200 Speaker 4: to me. I'm not talking about dreaming the nineties. I 737 00:41:52,960 --> 00:41:55,920 Speaker 4: really love that to sketch, but like other sketches. So 738 00:41:55,960 --> 00:41:57,719 Speaker 4: just so people know when we watching this, I'm just like, 739 00:41:57,760 --> 00:41:59,880 Speaker 4: oh my god, yes, let's not do that. 740 00:42:00,040 --> 00:42:01,879 Speaker 3: And we when we'll talk about those things and we. 741 00:42:02,640 --> 00:42:08,479 Speaker 1: Improve, I mean definitely, yeah, that got better over time. 742 00:42:09,320 --> 00:42:11,839 Speaker 4: But yeah, yeah, but just you know, I'm not even 743 00:42:11,880 --> 00:42:13,360 Speaker 4: talking about dreaming that n needs a nymmor just some 744 00:42:13,400 --> 00:42:15,600 Speaker 4: other sketches. I just and I'll say, like at the 745 00:42:15,600 --> 00:42:17,439 Speaker 4: beginning of the I'll be like, yeah, this one makes 746 00:42:17,440 --> 00:42:20,239 Speaker 4: me cringe. You know, because you're just like, oh, yeah, 747 00:42:20,239 --> 00:42:23,959 Speaker 4: I don't. I don't have a defense for this one. 748 00:42:24,160 --> 00:42:28,960 Speaker 1: I have a that this is a lame defense. Oh boy, no, 749 00:42:29,000 --> 00:42:30,800 Speaker 1: it's not even a defense. It's not even a defense. 750 00:42:30,840 --> 00:42:31,960 Speaker 1: It's gonna sound defensive. 751 00:42:32,280 --> 00:42:34,279 Speaker 3: It already does that. 752 00:42:35,920 --> 00:42:38,320 Speaker 1: Sometimes I have the same feeling you do, or I'm sorry, 753 00:42:38,320 --> 00:42:41,160 Speaker 1: I always have the same feeling you do. But sometimes, 754 00:42:41,400 --> 00:42:47,600 Speaker 1: but I'll remind myself. I'll say, like, I'm Venezuelan. That's 755 00:42:47,600 --> 00:42:50,520 Speaker 1: just something. I'm like, I'm just that's me talking to myself. 756 00:42:50,560 --> 00:42:53,480 Speaker 1: So I'm Korean and Venezuelan. I'm going to put that 757 00:42:53,520 --> 00:42:56,840 Speaker 1: in there as a sort of like, Okay, don't be 758 00:42:56,960 --> 00:42:57,840 Speaker 1: too hard on yourself. 759 00:42:57,920 --> 00:43:01,919 Speaker 3: Of course, no, I mean yeah. 760 00:43:01,160 --> 00:43:03,960 Speaker 1: I'm leaving that as I understand that that is, you know, 761 00:43:04,160 --> 00:43:06,400 Speaker 1: it is not a perfect defense, but it's just something. 762 00:43:06,840 --> 00:43:10,640 Speaker 3: Oh, I mean, yeah, we are bringing ourselves to it. 763 00:43:10,840 --> 00:43:15,359 Speaker 4: Yeah, and we each have we possess multitudes, we have 764 00:43:16,160 --> 00:43:19,839 Speaker 4: our own identities and indexers of those identities, and we 765 00:43:19,880 --> 00:43:24,080 Speaker 4: bring our own flaws and contradictions to it. And that's 766 00:43:24,120 --> 00:43:25,719 Speaker 4: just who we are. I mean, I feel like we're 767 00:43:25,840 --> 00:43:30,000 Speaker 4: very like the show is in conversation with the city 768 00:43:30,360 --> 00:43:32,200 Speaker 4: and we are in conversation with the show like it. 769 00:43:32,239 --> 00:43:36,840 Speaker 4: To me, Portlandia is kind of a very ongoing discourse, 770 00:43:37,360 --> 00:43:39,279 Speaker 4: you know, and it's interesting to sort of look back on, 771 00:43:39,360 --> 00:43:42,560 Speaker 4: and this I think podcast just extends that discourse. 772 00:43:42,840 --> 00:43:43,000 Speaker 1: You know. 773 00:43:43,040 --> 00:43:46,080 Speaker 4: I think we always as we were writing, felt like 774 00:43:46,880 --> 00:43:51,279 Speaker 4: we're exploring you know, ideas and phenomena and a way 775 00:43:51,320 --> 00:43:55,360 Speaker 4: of being in the world and sort of critiquing it. 776 00:43:55,440 --> 00:43:59,640 Speaker 4: But also it's you know, embracing it and just trying 777 00:43:59,640 --> 00:44:01,959 Speaker 4: to have and be funny. And what I like about 778 00:44:01,960 --> 00:44:05,920 Speaker 4: this podcast is that just continues the conversation and like 779 00:44:06,160 --> 00:44:08,520 Speaker 4: there's no sort of final word on it. Like certainly 780 00:44:08,560 --> 00:44:11,000 Speaker 4: a Portlandia sketch is not the final word on anything. 781 00:44:11,040 --> 00:44:13,880 Speaker 3: Like our intention was to have. 782 00:44:13,760 --> 00:44:18,920 Speaker 4: Fun and make people laugh and you know, sometimes make 783 00:44:18,960 --> 00:44:22,800 Speaker 4: people think or just to you know, like be observational. 784 00:44:24,200 --> 00:44:28,000 Speaker 4: But that's not you know, like that doesn't mean we 785 00:44:28,040 --> 00:44:31,719 Speaker 4: did it the right way all the time. Well a 786 00:44:31,719 --> 00:44:34,920 Speaker 4: lot of time we didn't. Yeah, Honestly, a lot of 787 00:44:34,960 --> 00:44:37,560 Speaker 4: the sketches in a good way to me hold up 788 00:44:37,719 --> 00:44:40,520 Speaker 4: and some things we predicted. Some things I was like, well, 789 00:44:40,560 --> 00:44:41,719 Speaker 4: well we were ahead of the curve here. 790 00:44:41,800 --> 00:44:44,920 Speaker 1: Oh yeah, And since then we've sort of kept in 791 00:44:45,040 --> 00:44:47,360 Speaker 1: touch about that. Yeah, or we'll see something in the news. 792 00:44:47,680 --> 00:44:52,680 Speaker 1: I remember when Pitchfork got sold or oh yeah I 793 00:44:52,719 --> 00:44:55,000 Speaker 1: didn't again, didn't really get shut down, but sort of 794 00:44:55,000 --> 00:44:57,640 Speaker 1: bought up by another company. Yeah, we had a sketch 795 00:44:57,680 --> 00:44:58,120 Speaker 1: about that. 796 00:44:58,640 --> 00:45:00,399 Speaker 4: Yeah, And I think the last thing I to say 797 00:45:00,480 --> 00:45:02,560 Speaker 4: is that, like I think another one of our intentions 798 00:45:02,600 --> 00:45:05,120 Speaker 4: and one of the reasons I create anything is to 799 00:45:05,400 --> 00:45:08,920 Speaker 4: feel a connection with people. And that connection is not 800 00:45:09,120 --> 00:45:15,080 Speaker 4: always just like joyful. Human connection is also one that's 801 00:45:15,239 --> 00:45:19,640 Speaker 4: uncomfortable sometimes, and I think that's okay, and we just 802 00:45:19,680 --> 00:45:22,880 Speaker 4: have to have it be uncomfortable sometimes, you know, because 803 00:45:23,120 --> 00:45:27,759 Speaker 4: authentic connection and communicating with people is about communicating through 804 00:45:27,880 --> 00:45:29,600 Speaker 4: the good and bad of it. So I'll to say that, 805 00:45:29,680 --> 00:45:31,799 Speaker 4: like the intention I think of the show and this 806 00:45:31,840 --> 00:45:35,400 Speaker 4: podcast is to feel a human connection and to just 807 00:45:35,560 --> 00:45:38,279 Speaker 4: ride that out, you know, through all the sort of 808 00:45:38,320 --> 00:45:41,279 Speaker 4: iterations of what that means. A lot of people once 809 00:45:41,320 --> 00:45:44,759 Speaker 4: it came back on Netflix, you know, sort of were 810 00:45:44,840 --> 00:45:47,520 Speaker 4: as curious as we were, like what from the show 811 00:45:47,600 --> 00:45:50,000 Speaker 4: sort of felt ahead of its time, what kind of 812 00:45:50,080 --> 00:45:54,080 Speaker 4: holds up what feels like a relic? You know, because 813 00:45:54,120 --> 00:45:57,440 Speaker 4: we were sort of capturing a specific moment. 814 00:45:57,719 --> 00:45:57,919 Speaker 1: It's. 815 00:45:58,080 --> 00:46:00,719 Speaker 4: Yeah, so it's interesting to kind of a look at 816 00:46:00,760 --> 00:46:04,319 Speaker 4: all those things, and it's there's so many sketches. So 817 00:46:04,360 --> 00:46:07,920 Speaker 4: it's it's a really fun journey for us. We hope 818 00:46:07,960 --> 00:46:10,759 Speaker 4: it is for the audience as well. Plus the other 819 00:46:10,800 --> 00:46:12,520 Speaker 4: thing that people may not know is you and I 820 00:46:12,600 --> 00:46:15,919 Speaker 4: hang out outside of Portlandia's so, like we were saying, 821 00:46:15,960 --> 00:46:19,040 Speaker 4: we hung out before the show started, and we have hung. 822 00:46:18,840 --> 00:46:20,800 Speaker 3: Out every year since. 823 00:46:21,160 --> 00:46:24,759 Speaker 4: So this is again it's a continuation of a conversation 824 00:46:24,880 --> 00:46:27,239 Speaker 4: that we have with each other all the time. Not 825 00:46:27,280 --> 00:46:29,239 Speaker 4: that we're always talking about the show, but just you know, 826 00:46:29,280 --> 00:46:32,400 Speaker 4: we're talking about some of the things that we discussed 827 00:46:32,400 --> 00:46:36,359 Speaker 4: on the show that we showed on Portlandia. Like that's 828 00:46:36,480 --> 00:46:38,480 Speaker 4: just in the ether for us, Like it's part of 829 00:46:38,480 --> 00:46:41,960 Speaker 4: our friendship sort of commenting on and thinking about these things. 830 00:46:42,120 --> 00:46:45,160 Speaker 4: Plus we've spent many years in the interim texting each other. 831 00:46:45,880 --> 00:46:47,920 Speaker 4: I wish the show is still on because I have 832 00:46:48,040 --> 00:46:49,640 Speaker 4: this idea if we were still doing the. 833 00:46:49,560 --> 00:46:52,480 Speaker 1: Show, so many, so many ideas there, Yeah, it would 834 00:46:52,520 --> 00:46:54,000 Speaker 1: have made any sense. 835 00:46:54,360 --> 00:46:54,520 Speaker 2: You know. 836 00:46:55,040 --> 00:46:56,240 Speaker 3: Anyway, thanks for listening. 837 00:46:56,280 --> 00:47:00,120 Speaker 4: We're excited to bring you back through port Landia a. 838 00:47:08,400 --> 00:47:12,200 Speaker 1: Bit. What what what what wa wa wa wa one 839 00:47:12,400 --> 00:47:14,760 Speaker 1: w u n nash