WEBVTT - Jonathan Krisel Part 1 0:00:02.680 --> 0:00:08.119 Hey, hey, watch. 0:00:10.560 --> 0:00:15.440 Hey, you're listening to Podlanda. This is Fred, and this 0:00:15.560 --> 0:00:19.279 is Kerry and this is Ao Rewatch Ao rewatch a 0:00:19.400 --> 0:00:25.280 Portlandia Rewatch podcast. Hy friend, Kerry, Hey, we have a guest, 0:00:25.520 --> 0:00:28.600 ourst one, our first guest, and it's an important guest 0:00:28.880 --> 0:00:31.760 in some ways, maybe the most important guest. 0:00:32.400 --> 0:00:36.680 Agreed because you could say, if this was a three 0:00:36.720 --> 0:00:39.639 person podcast, this would be our third person exactly. 0:00:40.400 --> 0:00:41.680 This is Jonathan Chryslon. 0:00:42.360 --> 0:00:43.600 Hello, thank you for having me. 0:00:45.320 --> 0:00:49.360 This is our director, co creator, co creator. 0:00:49.320 --> 0:00:52.680 Creator, co writer and the director exclusively for the first 0:00:52.760 --> 0:00:58.360 two seasons three I think, okay, first three, yeah, I 0:00:58.400 --> 0:00:59.680 think so, yeah, yeah. 0:01:00.000 --> 0:01:03.280 I missed two of season four something like that. I 0:01:03.280 --> 0:01:04.440 can't remember something like that. 0:01:04.880 --> 0:01:07.160 But we were like, as we've been going through these episodes, 0:01:08.360 --> 0:01:10.880 you come up all the time naturally because we know, 0:01:11.520 --> 0:01:14.040 you know, the ideas were yours and that like the 0:01:14.959 --> 0:01:18.560 way it looks and everything, and it just keeps coming up. 0:01:18.600 --> 0:01:24.959 So it's it's great to actually meet you. We did 0:01:24.959 --> 0:01:31.800 the show for Zoom pre pre covid, pre covid, but. 0:01:30.000 --> 0:01:33.480 But when we the first episode I guess of the podcast, 0:01:33.520 --> 0:01:35.080 we spent a lot of time talking about how the 0:01:35.160 --> 0:01:38.200 show came together and we sort of talked up through 0:01:38.280 --> 0:01:41.000 thunder Ants and friend and I and we did touch 0:01:41.040 --> 0:01:42.600 on meeting you, but we wanted to get it from 0:01:42.640 --> 0:01:46.920 your perspective. What do you remember freaks? 0:01:47.720 --> 0:01:54.000 Okay, because I remember I had well, obviously I I 0:01:54.080 --> 0:01:57.480 knew thunder Aunt, of course, because it was just around 0:01:57.960 --> 0:02:02.560 and Doug was editing it. I remember that. And I 0:02:02.600 --> 0:02:05.560 remember I was working SNL and there was this thing 0:02:05.600 --> 0:02:08.320 in there Fred's doing a show and then I was like, oh, 0:02:08.360 --> 0:02:10.840 and it's ThunderAnt with Carrie. It's being turned into a show. 0:02:11.440 --> 0:02:13.600 And they're like, I think you guys weren't there. But 0:02:13.600 --> 0:02:17.440 I met with Andrew Singer at Broadway Video Lauren's company, 0:02:17.480 --> 0:02:19.520 and they were like, so it's going to be a 0:02:19.600 --> 0:02:22.920 show where Fred and Carey work at an office and 0:02:23.120 --> 0:02:27.160 come up with sketches. They get hired to make sketches 0:02:28.720 --> 0:02:31.880 and every week. I don't know whose idea this was, 0:02:31.919 --> 0:02:36.040 but they'll do like three sketches per episode, but they'll 0:02:36.080 --> 0:02:38.560 be them work at this office that sells sketches or something. 0:02:38.600 --> 0:02:40.400 I don't know, something like that. That's what it was 0:02:40.440 --> 0:02:43.560 sold to me. But we're kind of shoot it in Portland. 0:02:43.600 --> 0:02:48.040 We know that. I was like, okay, I mean, I 0:02:48.600 --> 0:02:52.680 couldn't really understand that idea, but I just knew, like, 0:02:52.720 --> 0:02:54.320 I'm a fan and I want to be a part 0:02:54.360 --> 0:02:56.520 of it. That's this is what I remember. 0:02:57.720 --> 0:02:59.160 We want a way to pitch it. We didn't. That 0:02:59.200 --> 0:03:00.160 was an rida no. 0:03:00.760 --> 0:03:03.200 So then I said, so. Then I had a meeting 0:03:03.240 --> 0:03:07.600 with Dan Pasternak at i FC, and I had been 0:03:07.639 --> 0:03:10.799 thinking about it, and I knew it was going to 0:03:10.840 --> 0:03:12.959 be in Portland, and I knew the Feminist Bookstore was 0:03:12.960 --> 0:03:16.240 like one of this recurring things for sure. Maybe I 0:03:16.280 --> 0:03:18.480 had talked to you about it at SNL or something 0:03:18.760 --> 0:03:21.239 must have. And I was like, but what if it's 0:03:21.400 --> 0:03:25.520 just the town is the unifying thing and it's just 0:03:25.560 --> 0:03:28.880 like the random weirdos in Portland or something like that. 0:03:29.440 --> 0:03:31.440 And the network was like, okay, yes, we like that, 0:03:32.400 --> 0:03:37.480 and that seems like all it needs anyway, That's what 0:03:37.560 --> 0:03:42.080 I remember from the early early talks. 0:03:42.320 --> 0:03:44.920 Well, we remember you remember meeting with us, so too. 0:03:44.920 --> 0:03:48.320 Right, I do remember meeting with you guys, Yes, I 0:03:48.360 --> 0:03:49.120 do remember that. 0:03:49.640 --> 0:03:52.560 And we only met with one other potential director and I. 0:03:52.440 --> 0:03:54.160 Know who that was. Did you talk about that? 0:03:54.480 --> 0:03:55.800 We didn't say their name. 0:03:55.960 --> 0:03:58.600 But we because there's actually a funny anecdote which we 0:03:58.600 --> 0:03:59.320 could talk about later. 0:04:01.840 --> 0:04:04.520 Yeah, perfectly fine, perfectly fine. 0:04:04.520 --> 0:04:08.440 He was great, But yeah, i'd worked with you on SNL. 0:04:08.960 --> 0:04:10.560 Got Tim and Eric too, That's right. 0:04:10.960 --> 0:04:14.360 Yeah, I remember the meeting that we were like, yeah, 0:04:14.360 --> 0:04:17.640 we like John, but I feel like you didn't necessarily 0:04:18.000 --> 0:04:19.720 like I remember thinking like, this guy's not even not 0:04:19.839 --> 0:04:24.279 into it, and then you called I well based on 0:04:24.320 --> 0:04:25.680 I mean if you were thinking that it was in 0:04:25.760 --> 0:04:28.239 office and you were like this is a terrible idea, 0:04:28.960 --> 0:04:31.880 but I think you called back right or you like 0:04:31.960 --> 0:04:34.479 talked to Andrew later, and maybe that's when you talked 0:04:34.480 --> 0:04:37.159 about the being having a unifying Well, I. 0:04:37.240 --> 0:04:39.520 Knew I had to go into the network where they 0:04:39.520 --> 0:04:41.520 were like, well, we know you met with them, but 0:04:41.600 --> 0:04:43.200 you got to meet with us. And then I was like, Okay, 0:04:43.200 --> 0:04:45.159 I'm going to come in with the whole huge thing 0:04:45.160 --> 0:04:48.680 because I'm like i gotta do this, whatever it ends 0:04:48.760 --> 0:04:53.200 up being, just because I'm a fan of this voice, 0:04:53.360 --> 0:04:56.320 this comedy voice, whatever it is. But then I also 0:04:56.360 --> 0:04:58.680 remember it was at the Universe Left, They're like, Okay, 0:04:58.720 --> 0:05:01.679 we're starting on the show, like it is happening and 0:05:01.720 --> 0:05:03.360 it's going to be on such and such date. I 0:05:03.400 --> 0:05:06.840 remember driving in and being like, is anyone here? I 0:05:08.080 --> 0:05:10.320 don't even remember if I had, like anyway, It was 0:05:10.320 --> 0:05:12.760 just very But then we were working in the Universal a. 0:05:12.680 --> 0:05:14.679 Lot in that tiny office. 0:05:14.800 --> 0:05:15.679 Yeah, that was great. 0:05:15.920 --> 0:05:19.039 Yeah, with Alison Silverman and we talked about a little bit. 0:05:19.040 --> 0:05:21.240 And then we had Jason Benzuk's come in for a 0:05:21.320 --> 0:05:22.320 couple of days of pitching. 0:05:23.279 --> 0:05:25.640 I don't remember that, maybe I do. 0:05:26.040 --> 0:05:30.279 And then we everything was one reason maybe that you 0:05:30.279 --> 0:05:32.720 don't remember because it was so expedited, because. 0:05:32.480 --> 0:05:34.160 I remember it was just like because Fred had to 0:05:34.200 --> 0:05:34.800 go back to us. 0:05:34.960 --> 0:05:37.960 Yes, we had to shoot the pilot really quickly. Yeah, 0:05:38.000 --> 0:05:39.920 and then we went up to Portland. 0:05:41.000 --> 0:05:44.240 Yeah, what's the first thing we shot? 0:05:44.880 --> 0:05:48.359 Well, remember it's tricky because we weren't actually shooting what 0:05:48.440 --> 0:05:49.480 became the pilot. 0:05:49.600 --> 0:05:52.839 No, I remember that the episode that song for Portland. Yeah, 0:05:52.880 --> 0:05:56.359 but the very first peace that we shot, like the 0:05:56.400 --> 0:05:56.920 first time. 0:05:56.800 --> 0:05:57.600 We were on set. 0:05:57.880 --> 0:05:59.520 It wasn't put a bird on it was it? Because 0:05:59.520 --> 0:06:00.640 that seemed early to me. 0:06:00.800 --> 0:06:02.320 Okay, I can't remember. 0:06:02.360 --> 0:06:07.400 It was either the dog outside the child being the 0:06:07.480 --> 0:06:10.800 dog tied up outside the restaurant. I remember that very 0:06:10.839 --> 0:06:14.640 early on but honestly, I don't remember. 0:06:14.720 --> 0:06:15.720 Yeah, I don't remember at all. 0:06:16.560 --> 0:06:19.080 Or was it I wouldn't have been Kyle the first day, 0:06:19.120 --> 0:06:19.680 would it like? 0:06:20.320 --> 0:06:21.960 Or like one of those were weird because I always 0:06:21.960 --> 0:06:25.000 had shoot in the Mayor's office like on Saturday. Oh right, right, 0:06:25.520 --> 0:06:27.320 because it was the actual mayor's office. 0:06:27.440 --> 0:06:29.800 But burn on it. I have a memory of it 0:06:29.920 --> 0:06:32.599 being a first something something felt. 0:06:32.320 --> 0:06:36.080 Like maybe I remember we had the pigeon and Dan. 0:06:36.160 --> 0:06:38.479 I remember Dan being there too, and best being on 0:06:38.520 --> 0:06:39.480 that at that shop. 0:06:39.640 --> 0:06:45.400 I mean, yeah, something felt like a first day of sorts. 0:06:45.440 --> 0:06:46.360 But I don't know. 0:06:47.080 --> 0:06:49.480 I remember having lunch on the first day on I 0:06:49.640 --> 0:06:53.760 was on Alberta, right, so maybe it was maybe that shop. 0:06:54.800 --> 0:06:57.080 Oh but that was on Mississippi, Mississippi. 0:06:57.400 --> 0:07:03.679 Okay, wait, I remember having lunch with maybe Katie O Kady. 0:07:03.960 --> 0:07:05.280 Yeah, yeah, maybe it was. 0:07:05.320 --> 0:07:07.479 Maybe it was because there was another part of it 0:07:07.520 --> 0:07:10.520 that we shot later, Yes, at the very end. 0:07:10.720 --> 0:07:12.360 Yeah, we came a couple of days. 0:07:12.520 --> 0:07:15.400 The footage that you like, everything that you had on 0:07:15.480 --> 0:07:18.960 that first the pilot, Yeah, how did you turn it 0:07:19.000 --> 0:07:20.240 into it? 0:07:20.280 --> 0:07:22.640 Took a while. I remember I seeing an early early 0:07:22.880 --> 0:07:26.000 early cut that was like probably like an hour long 0:07:26.160 --> 0:07:30.240 being like, this is not good, but it will get good, 0:07:30.280 --> 0:07:33.600 because obviously, when you have so much improvised stuff, it 0:07:33.640 --> 0:07:37.760 takes a while to like whittle it down to what 0:07:38.000 --> 0:07:40.400 that two minutes is or whatever. So there's a lot 0:07:40.400 --> 0:07:42.320 of different and I just remember the Feminist books store 0:07:42.360 --> 0:07:47.840 had a lot of stuff, but boom, it quickly got 0:07:48.280 --> 0:07:51.320 a million times better and then I was like, whoa, 0:07:51.560 --> 0:07:53.760 this is so good and I can't remember. We would 0:07:53.760 --> 0:07:57.520 sit around the editor room going this is so specific 0:07:58.760 --> 0:08:02.800 and is that gonna that seems great? We love it, 0:08:02.840 --> 0:08:06.760 but like I've never seen a sketch show. At least 0:08:06.760 --> 0:08:08.280 at the time, it just felt like this is such 0:08:08.320 --> 0:08:11.640 a unique slice of the world that we're making fun 0:08:11.680 --> 0:08:14.800 of or loving. We would always talk about we love 0:08:14.840 --> 0:08:16.680 the characters, we don't make fun of them, or something 0:08:16.720 --> 0:08:18.640 like that. So anyway, I don't know, it just felt 0:08:18.680 --> 0:08:23.320 like I'm loving this, but will people understand what this is? 0:08:23.880 --> 0:08:26.160 At least right when we were making that pilot, it 0:08:26.320 --> 0:08:29.520 just felt like, wow, who was the editor? It was 0:08:29.600 --> 0:08:35.439 Dan Loengino and Doug Lasson. How they both did the pilot? Yeah, yeah, 0:08:35.480 --> 0:08:37.160 And I would always like in the early days, I 0:08:37.160 --> 0:08:41.520 would edit like one scene and then by like season two. 0:08:41.559 --> 0:08:44.520 I was like, I'm good, just because I had started 0:08:44.559 --> 0:08:46.920 as an editor too with those guys too. Yeah, so 0:08:46.960 --> 0:08:49.040 I just like, oh, there's one I want to do, 0:08:49.960 --> 0:08:51.199 but quickly I gave that up. 0:08:51.480 --> 0:08:55.719 But yeah, what was your because you had not been 0:08:55.720 --> 0:08:56.679 to Portland before? Right? 0:08:57.120 --> 0:08:59.360 Well? I had been to Portland but sort of in 0:08:59.400 --> 0:09:02.000 a different eric as my grandfather lived in Welsh's, Oregon, 0:09:02.040 --> 0:09:05.000 which is like like forty five minutes away. I had 0:09:05.000 --> 0:09:07.280 been to the twenty four hour Church of Elvis, right 0:09:07.400 --> 0:09:09.240 Remember that was like kind of a different era. 0:09:09.679 --> 0:09:12.280 Yeah, that was like the no was sort of late nineties, 0:09:12.360 --> 0:09:13.640 late nineties downtown. 0:09:14.600 --> 0:09:18.319 But I didn't experience kind of what you had experienced 0:09:18.400 --> 0:09:21.760 living there. I just experienced it more as a tourist. 0:09:21.800 --> 0:09:28.360 I guess. 0:09:28.080 --> 0:09:31.040 What was your impression of like filming, like when you 0:09:31.640 --> 0:09:34.160 crewed up in Portland and we were like, you know, 0:09:34.240 --> 0:09:36.880 getting the DP, Like, what was your impression of just 0:09:36.960 --> 0:09:38.360 like that whole millieu? 0:09:39.000 --> 0:09:41.960 Now was it that first season that we worked at 0:09:41.960 --> 0:09:43.320 a gust Fan Sant's office? 0:09:43.400 --> 0:09:45.760 That was yeah? Second season? 0:09:46.040 --> 0:09:52.199 Well, because what I quickly found through David crest Do sir, 0:09:52.280 --> 0:09:54.520 who's local that you had worked with and you knew 0:09:55.200 --> 0:09:58.160 that there was such a film community there that and 0:09:58.200 --> 0:10:00.600 it seemed like it was the gust fans, it kind 0:10:00.640 --> 0:10:03.839 of Nike, I don't know what it was, but there 0:10:03.880 --> 0:10:07.320 was like, Wow, this is a deep town of filmmakers 0:10:07.360 --> 0:10:10.079 and people who really care about film and no cool 0:10:10.120 --> 0:10:13.560 stuff and some cinematographers. But I was really like, I 0:10:13.600 --> 0:10:17.800 need a cinematographer who gets comedy and like, we're not 0:10:18.000 --> 0:10:21.440 making like a movie that's slow or making something this 0:10:21.520 --> 0:10:24.319 victim of and then so yeah, then we met Bryce 0:10:24.400 --> 0:10:27.240 Fortner and he had been shooting Wayney Days, David Wayne's 0:10:27.440 --> 0:10:31.160 what do you call YouTube show back then web web 0:10:31.240 --> 0:10:35.120 series websary Sorry sorry, So I was like, oh my god, 0:10:35.160 --> 0:10:37.400 there's someone here who like totally gets it, Like Wayney 0:10:37.480 --> 0:10:40.760 Days was actually really good and he totally got it. 0:10:40.760 --> 0:10:42.720 And I was like, oh my god, this is so exciting. 0:10:43.320 --> 0:10:46.160 And that really was huge to find someone local who 0:10:46.200 --> 0:10:49.400 could do it. Obviously we had the crew like Kyler 0:10:49.520 --> 0:10:52.319 Robinson and Amanda need Him and even Simon max Hill 0:10:52.360 --> 0:10:55.280 who I just saw recently. Just a great group of 0:10:55.280 --> 0:10:58.360 people that you that was essential to the show, Like 0:10:59.679 --> 0:11:03.960 I don't, like, you couldn't. Everyone involved was like special 0:11:04.000 --> 0:11:06.480 and made it the show even more special than just 0:11:07.360 --> 0:11:09.080 the people at the top. So it was that that 0:11:09.240 --> 0:11:11.480 was really I mean we just felt it felt like 0:11:11.520 --> 0:11:14.959 a family very fast immediately. Yeah, and you knew a 0:11:14.960 --> 0:11:15.720 lot of them already. 0:11:16.160 --> 0:11:18.120 I knew some of them. I had never met Bryce, 0:11:18.320 --> 0:11:20.720 I knew Amanda, but a lot of the people were 0:11:20.760 --> 0:11:26.120 new to me. I mean we had like TG and Aubrey. Yeah, 0:11:26.160 --> 0:11:29.640 so it had a familial feeling right away. Remember that 0:11:29.720 --> 0:11:32.160 one of the Baldwin brothers was in that building. 0:11:32.360 --> 0:11:33.880 Yes, yes, I remember that. 0:11:34.160 --> 0:11:37.000 We were like sharing an office with Yeah. 0:11:37.559 --> 0:11:39.800 Yeah, because he was making a movie there something. 0:11:39.920 --> 0:11:40.079 Yeah. 0:11:40.200 --> 0:11:42.080 Yeah. How did we get Amanda? 0:11:42.960 --> 0:11:43.480 You knew her? 0:11:43.760 --> 0:11:45.280 Yeah? And David and Amanda. 0:11:46.120 --> 0:11:50.440 Yeah, Well, David crestlike was running a commercial productive company 0:11:50.480 --> 0:11:53.880 in Portland and all the pas that kind of came 0:11:53.920 --> 0:11:55.719 through there. He would say, what do you want to be, Oh, 0:11:55.720 --> 0:11:57.640 I want to be a costome science. Okay, you set 0:11:57.679 --> 0:12:01.760 that up, you get that going, and I'll hire you. Amanda, go, Simon, 0:12:01.840 --> 0:12:03.800 I want to be a castic. Great, set up your 0:12:03.800 --> 0:12:06.320 own company. I'll hire And so they each were like 0:12:06.400 --> 0:12:09.880 trained by David. He was their mentor by Tyler too, 0:12:09.960 --> 0:12:12.160 and they he just kind of was like launched all 0:12:12.200 --> 0:12:16.320 these young people and then we got to hire all 0:12:16.360 --> 0:12:19.040 of them and they were all amazing. So I think 0:12:19.200 --> 0:12:21.960 David was press. I still think of it as just 0:12:22.000 --> 0:12:25.080 like one of the best. When you would see the 0:12:25.120 --> 0:12:27.400 Portlandia crew driving down the street, it was I don't 0:12:27.400 --> 0:12:29.280 know if you guys talked about this, like the school 0:12:29.280 --> 0:12:32.360 bus turned into a snack truck, like all the trucks, 0:12:32.400 --> 0:12:34.360 the ice cream truck turned into the I mean. 0:12:34.280 --> 0:12:37.320 It was just it was like a children's show. It 0:12:37.440 --> 0:12:40.800 was just like this circus coming into town. But you're 0:12:40.920 --> 0:12:44.439 right that David really like helped inform the culture of 0:12:44.480 --> 0:12:46.920 the show. Like I don't I think we talked about 0:12:46.920 --> 0:12:49.120 this how he did not like we did not have 0:12:49.160 --> 0:12:51.400 a video village, and like how that like kept us 0:12:51.400 --> 0:12:55.360 so nimble. It was basically like no one sat on set. 0:12:54.720 --> 0:12:57.400 Would allowed director's chairs because we don't. He was like, 0:12:57.400 --> 0:12:59.040 we don't have time to sit. We got to just 0:12:59.120 --> 0:12:59.880 keep moving. 0:12:59.679 --> 0:13:01.719 And he was that's right, we literally didn't have time really, 0:13:01.760 --> 0:13:02.680 and it did keep us moving. 0:13:02.760 --> 0:13:05.000 And and I had a little monitor that had like 0:13:05.000 --> 0:13:07.840 a little antenna on it, like a little TV, and 0:13:07.880 --> 0:13:09.719 the signal was sent and it would come in a 0:13:09.760 --> 0:13:12.839 little fuzzy sometimes and I literally could change the channel 0:13:12.840 --> 0:13:15.880 and watch soap operas on this TV and it was 0:13:16.000 --> 0:13:19.319 so small I could barely see it. So I'm like, Okay, 0:13:19.360 --> 0:13:22.200 it looks pretty good this tiny. Then when I see 0:13:22.200 --> 0:13:24.720 it in the editor, I'm like, wow, this looks incredible. 0:13:25.559 --> 0:13:29.440 So but it was, Yeah, it was very handmade vibe. 0:13:29.840 --> 0:13:34.120 When uh, I was remembering that, like some sketches as 0:13:34.160 --> 0:13:37.360 we started shooting, I did you know, I didn't know 0:13:37.360 --> 0:13:38.920 what the end result was going to be? Like I 0:13:39.000 --> 0:13:41.520 thought of did you read? I didn't have a clear 0:13:41.559 --> 0:13:41.960 picture of. 0:13:41.960 --> 0:13:46.040 What that was going to be. How did you know that? Like? 0:13:46.120 --> 0:13:46.760 How did you. 0:13:47.280 --> 0:13:50.920 Deal with us as performers saying like, hey, you know, 0:13:51.320 --> 0:13:53.160 we're tired, we don't even know what this is. 0:13:53.160 --> 0:13:55.800 How do you how did you manage to push? 0:13:56.000 --> 0:14:00.400 But you guys were very accommodating and easy, not exactly 0:14:00.480 --> 0:14:03.120 always knowing exactly what you were being at. I thought 0:14:03.120 --> 0:14:08.520 that that was always really easy. I mean, we the 0:14:08.679 --> 0:14:10.880 editors and I we had just come up under this 0:14:11.240 --> 0:14:14.000 system that we had sort of perfected over the years 0:14:14.040 --> 0:14:19.480 of like editing as this true playground. So I just knew, like, okay, 0:14:19.480 --> 0:14:22.600 here's the pieces, especially for something like that, and we 0:14:22.640 --> 0:14:24.280 had already done I think at that point that other 0:14:24.360 --> 0:14:26.960 one you got to get out of here, which was 0:14:27.040 --> 0:14:30.080 kind of in a way like from the first season. 0:14:29.880 --> 0:14:32.320 Like the beta version of that, yeah, exactly. 0:14:32.160 --> 0:14:34.640 Where it just becomes like we can tell we can 0:14:34.680 --> 0:14:37.840 make jokes that are not just dialogue that's written. That's funny. 0:14:37.880 --> 0:14:40.560 It's like and we would talk about this in the 0:14:40.560 --> 0:14:44.240 writers from too, like the different style of energy piece. 0:14:46.160 --> 0:14:48.120 We always had different color cards kind of for that. 0:14:48.560 --> 0:14:50.800 So that to me was like, this is more of 0:14:50.880 --> 0:14:56.040 a textural piece that is like I mean, it was 0:14:56.080 --> 0:14:59.880 a great observation. I think that was Harry's idea about 0:14:59.880 --> 0:15:01.960 like did you read this article? Did you? And then 0:15:02.080 --> 0:15:05.600 we take that concept and turn it into this like cacophony. 0:15:06.080 --> 0:15:07.480 And I don't know if you remember, like when we 0:15:07.880 --> 0:15:10.200 like Doug who's the master of editing that kind of stuff. 0:15:10.920 --> 0:15:14.080 You use the same shot twice the second time you 0:15:14.240 --> 0:15:16.640 see it, it is so funny, and we just we 0:15:16.720 --> 0:15:18.960 really coming from to America and all that stuff, we 0:15:19.040 --> 0:15:23.640 learned these tricks about how to make people laugh, but 0:15:23.880 --> 0:15:28.160 not through just dialogue, through editing, how editing can and 0:15:28.200 --> 0:15:30.720 it's true for all comedy editing is the key. You 0:15:30.760 --> 0:15:33.320 have to just gather. You could be so funny on set, 0:15:33.360 --> 0:15:35.760 and you could edit it to be unfunny. It's very 0:15:35.760 --> 0:15:39.320 easy to do. So yeah, I don't know that that 0:15:39.600 --> 0:15:41.600 just became like and I just felt like you guys 0:15:41.600 --> 0:15:45.160 were already in that being both musicians that you kind 0:15:45.160 --> 0:15:47.240 of you know, we could we could make stuff that 0:15:47.240 --> 0:15:50.880 that was more rhythmic and percussive, and we did a 0:15:50.880 --> 0:15:54.760 lot of music pieces. I remember the whole music thing, 0:15:54.880 --> 0:15:58.040 Like just watching you guys make all that music was 0:15:58.120 --> 0:16:01.280 like truly like a map was so cool. 0:16:02.120 --> 0:16:04.760 I remember when the day you came in with the 0:16:04.800 --> 0:16:07.080 idea of the gream of the nineties. 0:16:07.320 --> 0:16:10.400 Yes, I remember that too. It was a very dramatic day. Yeah, 0:16:10.440 --> 0:16:13.320 but yeah, I had been driving around just thinking about 0:16:14.480 --> 0:16:16.880 I mean just talks that we would have. Yeah, you know, 0:16:17.040 --> 0:16:19.520 like you just kind of not always just on work, 0:16:19.560 --> 0:16:23.320 but like the fact that and coming in as an 0:16:23.360 --> 0:16:27.560 outsider to Portland going like, oh this is you know, 0:16:27.600 --> 0:16:29.880 because I was a kid of the nineties, just kind 0:16:29.880 --> 0:16:33.280 of like that that message that was coming through was like, yeah, 0:16:33.920 --> 0:16:36.760 it can be yourself and that I don't know, the 0:16:36.840 --> 0:16:39.760 whole Lollapalooza concert and everything was just kind of like 0:16:40.320 --> 0:16:44.080 outsider world and that was like, oh, we have this town. 0:16:44.200 --> 0:16:46.680 So I don't know. I just kept driving around, listening 0:16:46.720 --> 0:16:49.760 to music, thinking about that and going guys, and I 0:16:49.840 --> 0:16:52.400 was thinking about that, trying to prepare for this, like 0:16:52.440 --> 0:16:58.360 the Suicidal Tendency song like Institutionalized or I don't know 0:16:58.360 --> 0:17:03.120 if you remember this song, the Sweater song by Maren Kdell. No. 0:17:03.440 --> 0:17:05.159 It was this kind of like I don't know, mid 0:17:05.280 --> 0:17:07.400 nineties song, but it would be these songs where people. 0:17:07.240 --> 0:17:10.520 Would talk wait, not Weezer sweater song. 0:17:10.640 --> 0:17:13.639 It was pre the Weezer sweater song. I or not 0:17:13.720 --> 0:17:16.560 a surf at That song popular where they would talk 0:17:16.680 --> 0:17:19.239 during the verses and I always liked it. And there 0:17:19.280 --> 0:17:20.919 was another guy who did a lot of that and 0:17:20.960 --> 0:17:23.560 I can't think of his name. It was about he was. 0:17:24.160 --> 0:17:26.040 He did a bunch of songs like where he was. 0:17:26.119 --> 0:17:31.680 Jesus, Oh, yes, yes, you know who's that. 0:17:32.400 --> 0:17:34.960 I can't think of it anyway. So it's like, let's 0:17:34.960 --> 0:17:36.919 do a song like that. Because to me, the concept 0:17:36.960 --> 0:17:39.000 of like writing a song like Lonely Island, I'm like, 0:17:39.000 --> 0:17:41.480 I can't. I don't know how to do that exactly. 0:17:41.520 --> 0:17:43.959 But this is we can talk about it and then 0:17:44.000 --> 0:17:46.400 have this chorus that kicks it in as a song. 0:17:46.480 --> 0:17:49.000 So it's like a different format that we used a 0:17:49.040 --> 0:17:50.400 couple of times throughout the show. 0:17:50.640 --> 0:17:51.160 It's great. 0:17:51.920 --> 0:17:54.439 I love that suicide Tendency song. I think about it 0:17:54.480 --> 0:17:55.080 all the time. 0:17:55.200 --> 0:17:56.639 Yeah, it's intense. 0:17:56.840 --> 0:17:59.440 It's intense, and he's like, oh and I just get 0:17:59.440 --> 0:18:02.000 a PEPSI I just want to are you on drugs? 0:18:02.560 --> 0:18:05.679 And then there's a chorus. 0:18:05.880 --> 0:18:09.360 I think, yeah, they say that institutionalized. 0:18:09.520 --> 0:18:10.119 Yeah. 0:18:10.320 --> 0:18:12.200 Yeah, I remember when you came in that day because 0:18:12.240 --> 0:18:16.080 even at the time, it felt momentous, like it was 0:18:16.080 --> 0:18:19.919 like you just completely like cracked something that we needed, 0:18:19.960 --> 0:18:20.320 Like we. 0:18:20.320 --> 0:18:23.080 Made it to you guys in a car and I 0:18:23.240 --> 0:18:28.000 played a song to kind of explain how it would work. 0:18:28.359 --> 0:18:31.240 Yeah, it was like we needed a thesis for the 0:18:31.280 --> 0:18:37.359 show and just like some idea like you know, you know, 0:18:37.480 --> 0:18:41.800 guiding principle essentially, and it became that in this way 0:18:41.840 --> 0:18:44.359 that like I think if we didn't have that in 0:18:44.400 --> 0:18:46.359 the first season, like that was the and I was 0:18:46.359 --> 0:18:48.960 what that anchored it and everyone understood and I remember 0:18:48.960 --> 0:18:51.680 we you know, we talked about this, but Lauren understood 0:18:52.440 --> 0:18:56.160 that the Yeah, and it was like to be the first, 0:18:56.400 --> 0:18:59.640 but it was I remember you must have had because 0:18:59.640 --> 0:19:01.520 I know that feeling too. We were like, this is 0:19:01.520 --> 0:19:03.919 a good idea. I just have to make sure that 0:19:03.960 --> 0:19:06.680 they get that it's a good idea, which we did, 0:19:06.880 --> 0:19:08.639 and it did feel kind of big. 0:19:09.520 --> 0:19:12.560 Yeah when we watched it. The production is so huge. 0:19:12.880 --> 0:19:15.000 Yeah, And that was a lot of David Cress because 0:19:15.000 --> 0:19:17.600 I was just feeding him like, Okay, here's kind of 0:19:17.640 --> 0:19:20.359 the idea, like I want this, and he'd be like, 0:19:20.400 --> 0:19:22.240 how about a guy in a really tall bicycle or something. 0:19:22.280 --> 0:19:25.000 I'm like, yes, he got it. Yeah, so just give 0:19:25.040 --> 0:19:29.600 me all those elements of like nineties whatever. 0:19:29.640 --> 0:19:34.800 It was, Yeah, Like from a director's standpoint, like because 0:19:34.920 --> 0:19:37.760 you know, we've talked about how the scripts were basically 0:19:37.840 --> 0:19:41.160 outlined a little bit of dialogue that we almost got 0:19:41.240 --> 0:19:45.800 you know, did away with immediately. Like how helpful were 0:19:46.080 --> 0:19:49.080 the various departments that were like adding to the visuals, 0:19:49.320 --> 0:19:51.639 Like like, how was that process for you working with 0:19:51.680 --> 0:19:52.800 like Amanda Tyler. 0:19:53.640 --> 0:19:57.760 I mean both of them would just they a lot 0:19:57.800 --> 0:19:59.280 of times there's a thing in the script and then 0:19:59.280 --> 0:20:02.199 they wear this outfit. We didn't really put those details in. 0:20:02.280 --> 0:20:04.879 They would just go, oh, I get this character. It 0:20:04.880 --> 0:20:06.720