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Speaker 1: You look good. I'm so happy you're here. I'm gonna

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Speaker 1: do an intro for you because I have a lot

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Speaker 1: of respect for you, mind you, I do this for everyone,

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Speaker 1: but I do really respect you. My guest is an

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Speaker 1: actor who you know from Shameless, Fargo, and the Oscar

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Speaker 1: nominated movie Train Dreams. You can also see him in

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Speaker 1: the upcoming series The Land and check out his alcohol company,

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Speaker 1: Woody Creek Distillery. It's William H.

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Speaker 2: Macy.

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Speaker 1: Yeah, and the crowd goes high. Yes, yes, the crowd yeah.

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Speaker 3: Thank you for that intro.

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Speaker 1: Oh my goodness, thank you. You are impressive. Do you

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Speaker 1: realize how impressive you are? Honestly, yes, you've heard it.

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Speaker 3: A lot of actors have impostors syndrome. So when I

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Speaker 3: find myself being fond over I don't know, I get

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Speaker 3: self conscious and.

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Speaker 1: Shy, shy, I see, and you're if I was a

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Speaker 1: therapist and being so and now it's this, which is

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Speaker 1: stand offish. There's no right way to be. This is

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Speaker 1: the way to be.

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Speaker 3: You're a student of this stuff. I like that because

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Speaker 3: I do that when in my acting. You know, I

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Speaker 3: thought a lot about what does this mean? What does

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Speaker 3: that mean? And you know, just the other day, I

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Speaker 3: thought the way to do this, and Bill is opening

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Speaker 3: up his legs and putting his hand on it. It's basically, well,

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Speaker 3: we know what that means.

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Speaker 1: I mean, this is a very confident man. I'm going

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Speaker 1: to take up space. Hand on the leg feels like

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Speaker 1: he's in charge.

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Speaker 3: Yeah, I'm about to strike.

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Speaker 1: Yeah, I see.

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Speaker 3: It worked. And then halfway through the scene I put

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Speaker 3: my legs together and crossed my arms and that said

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Speaker 3: it all too yeah to speak.

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Speaker 1: Yeah, it's true. There's so much embody language. My acting

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Speaker 1: teacher in Los Angeles, any Grinlay, used to say, there's

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Speaker 1: so much more in between the dialogue, the unstated. There's

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Speaker 1: so much in that. But I want you to know

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Speaker 1: I think you are incredibly impressive, as do so many people.

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Speaker 1: And it's I don't say this now to make you

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Speaker 1: uncomfortable and self conscious, because I relate to that as well.

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Speaker 1: I think I'm surprised that even now you feel imposter syndrome.

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Speaker 3: I think it's was Dave Memmett said, nobody ever became

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Speaker 3: an actor because he had a happy childhood. You know,

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Speaker 3: it's it's complicated for me and I don't know, Okay,

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Speaker 3: I don't know. I get it. I've been in this

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Speaker 3: business a long time. I read my resume and I'm embarrassed.

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Speaker 3: You'd think i'd be a lot smarter and a lot richer.

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Speaker 3: But I've done a lot of stuff, and I got

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Speaker 3: to admit I get a script now, and I don't

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Speaker 3: say I've done the scene before, but I've been here,

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Speaker 3: done that. It's rare that I find myself in brand

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Speaker 3: new territory.

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Speaker 1: Right, given that you've had so much experience in this

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Speaker 1: industry and you feel like you've done so much and

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Speaker 1: you have what makes you say, as to a script now.

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Speaker 3: Excellent question. Here's my joke. I used to say. At

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Speaker 3: the beginning of my career, I asked, how does this

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Speaker 3: speak to the human condition? And in the middle of

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Speaker 3: my career, I said, what am I going to get paid?

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Speaker 3: And now I ask do I have to get wet?

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Speaker 2: Now?

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Speaker 3: I would rather be in a successful movie in a

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Speaker 3: smaller role than a big movie, than a failure movie

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Speaker 3: in a big role. It's the story it tells, and

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Speaker 3: I'll admit it. What my part in telling that story

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Speaker 3: is and the words I get to say.

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Speaker 1: That's a good metric. I think I'm in the in

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Speaker 1: the how much do I get paid.

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Speaker 3: Face, no shame.

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Speaker 1: I'm like, hold on how much? Yeah, that's a that's

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Speaker 1: a good. It's a good. It's a good gauge of

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Speaker 1: where exactly I am in my career.

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Speaker 3: I'm gonna well yes when they say yes, you go.

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Speaker 1: Yeah. You gotta aim high.

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Speaker 3: Guys, you're seriously, what's the matter with you? You know who?

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Speaker 3: You couldn't gotten for half this?

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Speaker 1: Are you? Okay? How do you do with negotiation in general?

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Speaker 1: By the way, actually pretty good? Okay.

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Speaker 3: I adopted this m O as a long long time ago,

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Speaker 3: which is lead with the bad stuff. So rather than saying, hi,

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Speaker 3: how are you? I was thinking about the cast and

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Speaker 3: we're going to go ice start, I say how are you?

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Speaker 3: I'm going to fire you? And then you backtrack and

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Speaker 3: try to salvage whatever you can. You know, Yeah, it's

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Speaker 3: not you, it's me.

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Speaker 1: Okay. That is fascinating and I'm I mean, it just

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Speaker 1: made me uncomfortable. I just had a visceral reaction to like,

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Speaker 1: how's your day? I'm going to fire you? And now

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Speaker 1: we can go through the bullet points as to why

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Speaker 1: I'm going to fire you. When did you adopt that?

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Speaker 1: How long ago? If you had to say.

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Speaker 3: In my thirties. Okay, my teacher was Dave Mammot, the

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Speaker 3: great writer, and he drilled into us that an actor's job.

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Speaker 3: A lot of people say, well, you sort of lie

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Speaker 3: for a living. You didn't write those words, and you're

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Speaker 3: not really saying them to anyone you know, heard it?

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Speaker 3: Dave said, no, no, no, no, no, those are the

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Speaker 3: imaginary circumstances. Yes, of course, but our job is to

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Speaker 3: tell the truth always, and not just the truth within

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Speaker 3: the script, tell the truth within you right now in

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Speaker 3: this place, looking at that other person. You know, it

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Speaker 3: could be the script says I look at you and

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Speaker 3: I melt with love, and if I'm not getting along

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Speaker 3: with you, and I'm looking at you and you're sort

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Speaker 3: of annoy me, And you have the guts to put

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Speaker 3: that in the scene because the audience saw it. They

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Speaker 3: just seen the whole thing. They know what's going on

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Speaker 3: between us. Yeah, and you know it's got to be

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Speaker 3: a love story. The solution you come up with always

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Speaker 3: is really elegant, really better than the direct way. You know,

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Speaker 3: it gets complicated.

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Speaker 1: Yeah, did you ever do improv?

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Speaker 2: No?

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Speaker 1: Okay, and no, but I can tell because you just

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Speaker 1: said no, which would end in.

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Speaker 3: Improvs in a film, they'll say you can improv the

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Speaker 3: scene not much, and I don't like it. But no,

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Speaker 3: we were talking about snl oh. Yes, it just scares

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Speaker 3: the Jesus up.

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Speaker 1: So you were offered to host. You got an offer

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Speaker 1: to host.

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Speaker 2: At some point a long time ago?

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Speaker 1: Okay? Was I alive?

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Speaker 2: Do you think must not go there?

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Speaker 1: Okay?

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Speaker 3: I got a pair of shoes that's older than you.

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Speaker 1: Thank you so much. That's the nicest thing anyone's ever

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Speaker 1: said to me. So you got offered the host, but

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Speaker 1: you said no. So did you say yes initially and

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Speaker 1: then go never mind, I don't want to do it.

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Speaker 3: No, it was it was visceral. I said no, no, no, no, no, no, no,

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Speaker 3: I don't want to do that. It's a muscle I

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Speaker 3: just don't have. As a matter of fact, my muscle

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Speaker 3: of being on stage is it is improv but with

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Speaker 3: so many parameters it's not wide open.

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Speaker 1: Yeah.

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Speaker 3: I mean, we got a script, we got a story

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Speaker 3: to tell, we got a job to do, and you

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Speaker 3: improvise within that. And it's the same improvising you do.

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Speaker 1: Yes, it is.

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Speaker 3: It's just rarefied, does it.

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Speaker 1: It just makes you scared. The notion that you just

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Speaker 1: don't have the same kind of guardrails. Yeah, okay, but

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Speaker 1: then in SNL is so not improv was it then

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Speaker 1: the live television aspect of it that was.

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Speaker 3: There's still it? Oh yeah, yeah, yes, And we talked

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Speaker 3: a little bit before the actor in me. People used

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Speaker 3: to not want to go to the theater with me

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Speaker 3: because apparently I'm.

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Speaker 1: Moan and say.

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Speaker 3: It would just come out of me, you know, if

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Speaker 3: it was bad, or if there was a bullshit moment,

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Speaker 3: or it's it just wasn't working apparently, I know, but

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Speaker 3: I've grown up. I don't know what happened. I think

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Speaker 3: it used to offend me that they were bad. Now

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Speaker 3: I realized they didn't. They're not bad on purpose. They're

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Speaker 3: doing the best they can.

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Speaker 2: Yeah, and I've.

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Speaker 3: Done it so much. I know how much work they

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Speaker 3: put into this, so I sort of forgave them. And

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Speaker 3: now I love going to Broadway and plays anywhere.

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Speaker 1: Yeah, because like, if it's bad, no moaning for me.

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Speaker 3: Yeah, it's okay, And I've seen magnificent stuff.

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Speaker 2: Yeah.

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Speaker 1: Do you have performances of yours that you would look

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Speaker 1: at in the past, And I don't want you to

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Speaker 1: name them, but performances of yours that you would look

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Speaker 1: at retroactively, of course, because you can't look at it

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Speaker 1: while you're in it and moan and go on.

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Speaker 3: Yeah, I don't even have to watch them. I can

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Speaker 3: remember them and.

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Speaker 1: The thought of them. Okay, yeah, I see that. So

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Speaker 1: then you've given yourself grace then as well.

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Speaker 3: Right. I also learned along the way, Well, Shameless taught

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Speaker 3: me this because I got to go to work all

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Speaker 3: the time, every day for over a decade. Actors, we

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Speaker 3: don't get there.

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Speaker 1: There were eleven seasons, was it right?

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Speaker 2: Yeah?

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Speaker 3: Yeah, we wait around. But because I got to go

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Speaker 3: all the time, I sort of forgave myself and I realized,

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Speaker 3: you know, you blow this scene. There's another scene, and

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Speaker 3: this episode's not good. There's another episode. This year's not good.

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Speaker 3: We knew we were coming back, so it just took

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Speaker 3: all the pressure off and I became a much nicer

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Speaker 3: fellow to be around, and I forgave everyone. I learned

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Speaker 3: how to help directors without threatening or humiliating, sometimes without

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Speaker 3: them even knowing. And I've been doing this a long time.

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Speaker 3: I mean, I'm older than the teamsters. Now you are

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Speaker 3: You know how old you have.

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Speaker 1: To be to be older than I'm gonna I don't

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Speaker 1: want to say, I don't want to say, I don't

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Speaker 1: want to say.

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Speaker 3: Well, but you know, I'm the Oman old screeze is

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Speaker 3: our French brethren would say. And it's a nice position

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Speaker 3: to be. And I love it. I really love it.

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Speaker 1: It's very cool. I mean to also think that by

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Speaker 1: virtue of doing this for as long as you've done it,

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Speaker 1: and having all the experiences you've had, you're then able

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Speaker 1: to take on some of the responsibility of other people

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Speaker 1: on set. In a sense where you say I learned

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Speaker 1: how to help the director without the director knowing it

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Speaker 1: is pretty that's I think, a pretty remarkable skill to have. Yeah, yeah, you.

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Speaker 3: Know, I'd like to say shameless. John Wells gets all

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Speaker 3: credit for it. But when Hollywood suddenly realized ten fifteen

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Speaker 3: years ago that our movies don't look like America, they

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Speaker 3: really did something about it. I'm proud to be in

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Speaker 3: this industry and John Wells above and beyond anyone I knew.

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Speaker 3: We had all kinds of people, women, people of color,

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Speaker 3: people who had never gotten a shot and were not

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Speaker 3: close to getting a shot. A couple of them were there,

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Speaker 3: and they needed a net. And so sometimes they'd come

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Speaker 3: on and I would see the crew. They would look

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Speaker 3: at each other with wide eyes and there was an

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Speaker 3: unspoken thing. They just would lift this director and gently

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Speaker 3: help him or her over the finish line. And it

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Speaker 3: was so kind, and you.

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Speaker 1: Know, yeah, that's really special.

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Speaker 3: Because it was an impossible show to shoot.

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Speaker 1: Sure, sure it was fast, I can imagine. And also, again,

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Speaker 1: just talking about eleven seasons on the same job, you're

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Speaker 1: so blessed, I think to I've had that experience as

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Speaker 1: an actor because there is so much waiting around in

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Speaker 1: between jobs and not knowing what your next month is

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Speaker 1: going to be. But that is a that's a long lessing. Yeah,

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Speaker 1: it's huge. Did you get at any point did you

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Speaker 1: have a bad attitude about it being on the show?

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Speaker 2: That show?

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Speaker 3: Yeah, just because you know, I loved it from the beginning,

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Speaker 3: but I I was a harsh young man. What it

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Speaker 3: really comes down to is you're worrying about everything, and

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Speaker 3: I think with maturity you realize that's not your job, dude.

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Speaker 3: And you also realize if you're worried about that job,

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Speaker 3: I'm going to guess you're not doing your job too well.

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Speaker 1: Yeah, how many seasons do you think it took for

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Speaker 1: you to learn that on that show.

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Speaker 3: You know, certainly by the midway point, but I could tell.

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Speaker 3: I was always calling the writers and saying, this is

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Speaker 3: we got to fix this. We shoot in the day.

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Speaker 3: Towards the end, I thought, okay, it'll be what it'll be. Also,

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Speaker 3: things that I thought were heinous. I would watch the

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Speaker 3: show and it goes by and I'm in an instant

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Speaker 3: I thought that wasn't so terrible, right, even if it

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Speaker 3: wasn't a good scene, and I was right, a big deal.

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Speaker 1: Yeah, it's not. There's there's like you said, there's another scene.

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Speaker 1: There's another episode, another another week, another year.

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Speaker 3: I saw a T shirt once it said don't worry

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Speaker 3: about the little stuff, and in parentheses it says, it's

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Speaker 3: all little stuff.

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Speaker 1: That's a fact that'd be good to remember. That's a

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Speaker 1: that's a good tattoo. I have a few tattoos, and

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Speaker 1: I think I'll have get them because it'll remind me

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Speaker 1: of something. But I never look at them. So crazy

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Speaker 1: to get this permanent thing, and I'm like, this will

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Speaker 1: be a good reminder that I never look.

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Speaker 3: At I'm acting like an asshole. Hold on here, what's

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Speaker 3: on my back? Could you tell me what that says.

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Speaker 1: Yeah, remind me it don't sweat the little stuff. It's

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Speaker 1: all little stuff. That is a lower back tattoo. That's charming.

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Speaker 1: I have to also ask you, because this is what

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Speaker 1: I do with every guest. Who or what do you

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Speaker 1: want to say thanks to today? It can be anything,

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Speaker 1: anything anyone.

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Speaker 3: I was alerted to this. I would like to say, thanks, Flicka.

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Speaker 3: What a magnificently weird trip this is becoming.

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Speaker 2: And I'm glad you're with me and probably.

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Speaker 3: Probably the day you said yes, that the best day

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Speaker 3: of my life.

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Speaker 2: That is beautiful.

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Speaker 3: I hate it when I do that.

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Speaker 1: No, I love it selfishly because you let me in

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Speaker 1: on what's what's in your on your in your mind

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Speaker 1: and in your heart right now.

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Speaker 3: You're on everyone else listening.

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Speaker 1: Yes, but we love it. This is a loving place.

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Speaker 1: It's a loving place. This podcast.

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Speaker 3: Daughters were watching television. They just howl at me because

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Speaker 3: I weep at the commercials. I weep at everything.

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Speaker 1: Now you saw you've softened with age. It sounds like

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Speaker 1: flick as your wife.

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Speaker 3: Sorry, Felicity, Yes, okay.

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Speaker 1: I shouldn't call it Flicka. Flick a to you, Felicity,

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Speaker 1: to us.

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Speaker 2: There you go.

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Speaker 1: That's it. That's really beautiful. How long have you been married?

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Speaker 3: We've I really should know this, shouldn't I.

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Speaker 1: I don't mean to throw you under under.

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Speaker 3: We're coming up on thirty. I think it's twenty eight

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Speaker 3: coming up. Wow, I think we're gonna do some damage.

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Speaker 1: On thirty What kind of damage?

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Speaker 3: All the same kind of damage we did when we

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Speaker 3: got married. We had the best freaking wedding. We went

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Speaker 3: on for days. We got married in Woody Creek where

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Speaker 3: she grew up, and now we live in Woody Creek.

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Speaker 3: We bought her childhood home. That's incredible and which I

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Speaker 3: would recommend to any husband.

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Speaker 1: Out there by the childhood home.

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Speaker 3: It works out very well for you.

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Speaker 1: You did that kind of stuff.

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Speaker 3: When on three days we had this band from Denver.

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Speaker 3: It was about twelve pieces. They had brass and everything.

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Speaker 3: I agree them five times. They didn't get out of

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Speaker 3: there until four o'clock in the morning. I went to

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Speaker 3: the airport early to take my family and I saw

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Speaker 3: our members in the little Aspen airport and none of

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Speaker 3: them could walk because we danced all nice.

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Speaker 2: Oh wow.

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Speaker 3: And it was in September. So when you went outside

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Speaker 3: to the porta potty, the steam rolled off your back.

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Speaker 3: It was a magnificent wedding.

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Speaker 1: That's incredible. Did you write your own vowels?

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Speaker 3: We did, Funny, you should ask. I wrote them, and

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Speaker 3: about three days before I was reading them, and I realized,

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Speaker 3: this is poetical crap. Even I don't know what I'm

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Speaker 3: talking about. And so my vowels were a list. Okay,

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Speaker 3: I will stand up when you come back to the table. Okay, Someday,

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Speaker 3: somehow you will have a closet big enough. I will

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Speaker 3: never old pets or children over you. I will never

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Speaker 3: make fun of you in public. It goes on.

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Speaker 1: Okay, well, how many things were on the list?

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Speaker 3: I think they're about seven.

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Speaker 1: I don't know what I just okay, I think you

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Speaker 1: just did four, four, five.

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Speaker 3: I'm pretty good on the closet. That's I realized that

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Speaker 3: was a bridge too far. They don't be a closet big.

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Speaker 1: Enough for there will never be. It's an issue, I

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Speaker 1: will say. I mean, I live in New York and

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Speaker 1: my closet is way too small, and your apartment, truly,

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Speaker 1: it's a little baby. It's a little baby closet half

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Speaker 1: the size of my apartment, which is also small. And

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Speaker 1: then my my closet in my house in La my

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Speaker 1: whole thing to the contract.

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Speaker 3: New York.

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Speaker 1: It is actually I'd been like, I need a closet.

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Speaker 1: I have have I need a closet. There's nowhere to

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Speaker 1: put all my stuff. But then in between asking for

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Speaker 1: that and them actually designing it, I got rid of

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Speaker 1: all my clothes. People will see the same outfit on

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Speaker 1: this podcast.

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Speaker 3: Oh that's magnificent.

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Speaker 1: It was really nice. For my birthday a few years ago,

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Speaker 1: maybe two years ago, I realized I had no clothes

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Speaker 1: because it was really in the like I got rid

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Speaker 1: of everything. I had no clothes and I tried to

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Speaker 1: go to dinner with my friend and PROMPTU because I

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Speaker 1: didn't have a plan, and I was like, oh, I

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Speaker 1: don't have anything to wear to this dinner. I've said

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Speaker 1: we should go to now anyway, but it was very nice.

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Speaker 1: It felt light on the birthday was the day it

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Speaker 1: felt like panic.

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Speaker 3: For my birthday one year, Felicity gave me a new wardrobe.

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Speaker 2: We have a.

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Speaker 3: Linda Medven. She's a magnificent designer and shopper and stylist,

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Speaker 3: and she bought me all new clothes. It was cool, amazing.

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Speaker 1: Okay, can I ask though, do you think maybe that

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Speaker 1: was part of Felicity's plan to make you over? Because

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Speaker 1: women do that. We do that. We go this is

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Speaker 1: a good man with a good heart, but we need

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Speaker 1: to change the clothes and the haircut. So do you

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Speaker 1: has it occurred to that It might have been a

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Speaker 1: sort of like, yeah, look at this sweet thing I'm

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Speaker 1: doing for you, But really, my man needs new clothes

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Speaker 1: and a new vibe. I'm sorry.

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Speaker 3: I know one she loves my madness and supports it

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Speaker 3: completely like no one I've ever known.

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Speaker 2: She.

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Speaker 3: I think she likes men, but she likes this man

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Speaker 3: in particular, so, you know anything, she really wants me

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Speaker 3: to do my thing and vice versa. I love women, so.

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Speaker 1: You love that woman especially?

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Speaker 3: Yeah, but I love all women. I think you're magnificent.

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Speaker 3: We need a woman president.

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Speaker 1: For thank you. You can speak on that if you want,

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Speaker 1: because yeah, I think it would be a good idea too.

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Speaker 3: We got to do it, yeah, got This testosterone surge

378
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Speaker 3: we've had is really.

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Speaker 2: Not good at all.

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Speaker 1: I think of the evidence, the proof is in the

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Speaker 1: pudding at this point. Yeah, yeah, I agree. I have

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Speaker 1: to ask though, too, standing up at the table, are

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Speaker 1: we still doing that?

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Speaker 3: Yes?

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Speaker 1: Oh wow?

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Speaker 3: Yes, yes, I'm pretty good. And when I'm not all here,

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Speaker 3: she loves it. I'm a Southern boy. Yeah, I'm really

388
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Speaker 3: starting to believe in all those dorky old things we do,

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Speaker 3: like ma'am and sir and standing up at the table

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Speaker 3: taking your mother hat off when you go inside.

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Speaker 1: What the sensor said, they don't take their hats off.

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Speaker 3: Oh my god, I've gone to five star restaurants and

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Speaker 3: there's some dork in sweatpants with his hat on backwards,

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Speaker 3: a baseball cap. I think, get out of the rest.

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Speaker 1: Kick him out. I bet if you told him, if

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Speaker 1: you approached that young man and said you need to go,

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Speaker 1: they would honor that.

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Speaker 3: Well, they probably beat the crap out of me. But

399
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Speaker 3: my daughter, Georgia, her boyfriend showed up one time at

400
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Speaker 3: a nice restaurant with a baseball cap on, and I

401
00:21:04,160 --> 00:21:07,040
Speaker 3: could see her giving him googly And they make fun

402
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Speaker 3: of me. They make fun of me with all my

403
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Speaker 3: own stuff. I read mismanners. Yeah, anyway, she almost left him,

404
00:21:15,440 --> 00:21:19,920
Speaker 3: took him outside and ripped him a new one. He'll

405
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Speaker 3: never put his hat on in a.

406
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Speaker 1: Restaurant never again. Where's he from? He's not Southern, obviously.

407
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Speaker 3: Now he was he was an LA boy there.

408
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Speaker 1: It is LA boy with hats.

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Speaker 3: All the grown men do it.

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Speaker 1: It's I mean, what do you think the importance of

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Speaker 1: maintaining all those manners is? Though? What do you think

412
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Speaker 1: that what do you think that that represents truly? Because

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Speaker 1: some people just say it's tradition, but.

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Speaker 3: Why civility To a large extent, the taking your hat

415
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Speaker 3: off in a place like that is an act of

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Speaker 3: respect for the place. This is a fine restaurant. So

417
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Speaker 3: I don't come in like I look like I've been

418
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Speaker 3: changing the oil in my car. It's not. It's not polite.

419
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Speaker 3: And I think people really like dressing up. I think

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Speaker 3: we're nicer to each other a lot of times when

421
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Speaker 3: we're all dressed up.

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Speaker 1: Tradition, tradition.

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Speaker 3: I'm Lutheran, but I dig it.

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Speaker 1: Yeah, I'm not, you know, I think that makes sense.

425
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Speaker 1: It's sometimes when people are not trying, I go, why not?

426
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Speaker 1: It feels good? It feels good to try, I would

427
00:22:34,640 --> 00:22:36,959
Speaker 1: say in that regard. But also people have their preferences.

428
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Speaker 1: I once through a birthday party that was black tie

429
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Speaker 1: because I wanted to see all my comedy friends in

430
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Speaker 1: tuxes and dresses.

431
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Speaker 2: Was it great?

432
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Speaker 1: It was so fun. It was so fun. I was like,

433
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Speaker 1: it's not mandatory, but come on, it's kind of what

434
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Speaker 1: the invitation said. And they did it and it was

435
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Speaker 1: so nice.

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Speaker 3: I threw a party in New York. We used to

437
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Speaker 3: rent a place up state in Dover Plains and just

438
00:22:59,560 --> 00:23:02,320
Speaker 3: an hour up on the train. Anyway, we threw a

439
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Speaker 3: white party. Oh nice, interesting title these.

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Speaker 1: Days, I would say. I would say so when I

441
00:23:08,200 --> 00:23:10,200
Speaker 1: said all nice, because I was thinking there are other

442
00:23:10,240 --> 00:23:13,159
Speaker 1: white parties that exist, some have gone down in history.

443
00:23:13,240 --> 00:23:14,000
Speaker 1: Is not good.

444
00:23:14,600 --> 00:23:16,359
Speaker 3: No, they just weren't fun.

445
00:23:16,480 --> 00:23:16,720
Speaker 1: Yeah.

446
00:23:16,840 --> 00:23:23,400
Speaker 3: Yeah, there was a white party and most people did it,

447
00:23:23,480 --> 00:23:27,080
Speaker 3: and some of them had beautiful white gowns, but everybody

448
00:23:27,119 --> 00:23:29,960
Speaker 3: wore white and the party got out of hand. There

449
00:23:29,960 --> 00:23:33,959
Speaker 3: were one hundred people there at the at Amtrak, they

450
00:23:33,960 --> 00:23:38,719
Speaker 3: said what's going on in Dover playing and the people

451
00:23:38,840 --> 00:23:40,840
Speaker 3: who owned the place and said, we can't have any

452
00:23:40,840 --> 00:23:42,800
Speaker 3: more parties like this. But there were a lot of

453
00:23:42,840 --> 00:23:48,000
Speaker 3: people and at one point we're all down. We're playing

454
00:23:48,920 --> 00:23:53,480
Speaker 3: we were playing ball, and the where they were playing

455
00:23:53,560 --> 00:23:57,400
Speaker 3: music and I can't remember what song came in. Everybody stops.

456
00:23:57,400 --> 00:24:01,080
Speaker 3: Everyone and seventy five people well dressed in white on

457
00:24:01,160 --> 00:24:05,560
Speaker 3: a big green lawn dancing kind of, that's a kind

458
00:24:05,600 --> 00:24:08,720
Speaker 3: of It was a kind of together because of the beat.

459
00:24:08,760 --> 00:24:11,560
Speaker 3: You could hear the thing. Yeah, it was magnificent.

460
00:24:12,240 --> 00:24:14,480
Speaker 1: You like to throw a party. I'm getting the sense

461
00:24:14,560 --> 00:24:18,840
Speaker 1: that that is so I do. Yeah, have you thrown

462
00:24:18,840 --> 00:24:22,439
Speaker 1: any recently? A?

463
00:24:24,200 --> 00:24:26,400
Speaker 3: No. But we make a big deal out of Thanksgiving

464
00:24:26,440 --> 00:24:30,520
Speaker 3: and Christmas and okay, some of them they're not huge,

465
00:24:30,520 --> 00:24:31,920
Speaker 3: but ten or twelve.

466
00:24:31,920 --> 00:24:32,760
Speaker 1: Okay, you host?

467
00:24:33,440 --> 00:24:33,680
Speaker 3: Host?

468
00:24:33,880 --> 00:24:36,240
Speaker 1: Do you have a favorite Thanksgiving dish? People are tired

469
00:24:36,240 --> 00:24:39,080
Speaker 1: of turkey, I'm hearing, Yeah.

470
00:24:38,920 --> 00:24:41,760
Speaker 3: I still like it. We always get a ham to stuffing.

471
00:24:41,840 --> 00:24:44,440
Speaker 3: I could eat stuffing. I'm glad I don't eat it

472
00:24:44,480 --> 00:24:48,000
Speaker 3: except Thanksgiving and Christmas. It's something to look.

473
00:24:48,160 --> 00:24:49,879
Speaker 1: I know it's true. I don't. I don't eat the

474
00:24:50,040 --> 00:24:52,560
Speaker 1: I don't eat stuffing outside of thanks Giving me Christmas either.

475
00:24:52,600 --> 00:24:54,879
Speaker 1: But it's so good. It's so good.

476
00:24:55,320 --> 00:24:58,919
Speaker 3: Oh, and talk about tradition. Yeah, when I go to Thanksgiving,

477
00:24:58,960 --> 00:25:06,880
Speaker 3: someone said Bob made his special stuffing. I go, oh no, oh, no,

478
00:25:07,119 --> 00:25:11,119
Speaker 3: I don't want special stuffing. I want the stuffing. Just

479
00:25:11,200 --> 00:25:13,560
Speaker 3: take it out of the freaking box and add water. Man,

480
00:25:13,560 --> 00:25:14,560
Speaker 3: I want stuff on top.

481
00:25:14,880 --> 00:25:16,720
Speaker 1: Yeah, Oh, you want stuff.

482
00:25:16,440 --> 00:25:18,720
Speaker 3: To mean if if you're gonna use if you're gonna

483
00:25:18,840 --> 00:25:21,199
Speaker 3: cook it in the turkey, I like that. Okay, you're

484
00:25:21,200 --> 00:25:24,119
Speaker 3: gonna you know, Okay, but no, when they you know

485
00:25:24,680 --> 00:25:26,080
Speaker 3: this has got pomegranate in.

486
00:25:26,080 --> 00:25:27,720
Speaker 2: It, I just go.

487
00:25:28,080 --> 00:25:29,560
Speaker 3: I've waited all year for this.

488
00:25:31,560 --> 00:25:35,560
Speaker 1: Keep your damn stuffing with the pomegranates. Yeah that's yeah.

489
00:25:35,560 --> 00:25:37,359
Speaker 1: I understand that. I used to love stuff top, and

490
00:25:37,359 --> 00:25:41,400
Speaker 1: now I do love a true from scratch. Sure mind,

491
00:25:41,440 --> 00:25:43,800
Speaker 1: I'm never making it, but I do enjoy it.

492
00:25:44,040 --> 00:25:45,840
Speaker 3: I love it too, as long as it tastes like

493
00:25:46,000 --> 00:25:46,440
Speaker 3: stove top.

494
00:25:46,560 --> 00:25:49,160
Speaker 1: Yeah, you're like, give me the stuffed up. I love that.

495
00:25:49,600 --> 00:26:01,879
Speaker 1: A simple man. Okay, I have to ask you Whatody

496
00:26:01,880 --> 00:26:05,440
Speaker 1: Creek Distillery. I'm very fascinated. How do we get into

497
00:26:05,440 --> 00:26:07,119
Speaker 1: making spirits?

498
00:26:07,240 --> 00:26:12,280
Speaker 3: We got into it because the aforementioned Woody Creek where

499
00:26:12,280 --> 00:26:15,359
Speaker 3: Felicity grew up, in the aforementioned house that we bought.

500
00:26:18,800 --> 00:26:21,480
Speaker 3: Pat and Mary Scanlon where are my neighbors, and Mark

501
00:26:21,520 --> 00:26:24,960
Speaker 3: Kleckner was my neighbor. One two three, Pat and Mary

502
00:26:25,000 --> 00:26:29,320
Speaker 3: and Mark created a distillery called Woody Creek Distillers. The

503
00:26:29,400 --> 00:26:35,160
Speaker 3: distillery is in Basalt, and Pat and Mary have money

504
00:26:35,240 --> 00:26:37,640
Speaker 3: and they decided to make the finest spirits you can

505
00:26:37,960 --> 00:26:41,720
Speaker 3: and they did. We got these Christian Carls stills. If

506
00:26:41,720 --> 00:26:44,080
Speaker 3: you ever get to Aspen, come see this distillery. It's

507
00:26:44,480 --> 00:26:49,080
Speaker 3: kay cool, all right, two stories have these column stills,

508
00:26:49,080 --> 00:26:56,080
Speaker 3: all glass and copper and stainless steel. Anyway, when they

509
00:26:56,400 --> 00:26:59,879
Speaker 3: started off with one hundred percent potato vodka, and they

510
00:27:00,080 --> 00:27:03,800
Speaker 3: grew some potatoes on one of our fields in exchange

511
00:27:03,840 --> 00:27:07,240
Speaker 3: for hanging the fields and splitting, you know, for the horses.

512
00:27:07,400 --> 00:27:13,440
Speaker 3: And so one day Mark knocked on the door and said, Bill,

513
00:27:13,480 --> 00:27:15,440
Speaker 3: I don't know if you know, but we have a distillery.

514
00:27:15,520 --> 00:27:16,840
Speaker 3: Say I'm going to stop you right there.

515
00:27:17,240 --> 00:27:21,680
Speaker 1: I'm in and easy, very easy.

516
00:27:21,720 --> 00:27:25,880
Speaker 3: So and I joke I was the only celebrity within

517
00:27:26,000 --> 00:27:33,000
Speaker 3: walking distance. I've loved it, ies, loved spirits. I drank

518
00:27:33,040 --> 00:27:35,239
Speaker 3: Scotch in college and I had a love affair with that.

519
00:27:35,320 --> 00:27:37,680
Speaker 3: You know, it hasn't changed in two thousand years. It's

520
00:27:37,720 --> 00:27:38,520
Speaker 3: the same gag.

521
00:27:38,800 --> 00:27:42,000
Speaker 1: Yeah, yeah, Scott's your go to? Is that your neighbor?

522
00:27:42,320 --> 00:27:46,639
Speaker 3: Of course not now, it's right, rye whiskey.

523
00:27:46,640 --> 00:27:49,800
Speaker 1: Okay, okay, I'm a I'm in my gin phase. I

524
00:27:49,840 --> 00:27:50,800
Speaker 1: was telling you that before.

525
00:27:51,160 --> 00:27:54,119
Speaker 3: I'm going to hook you so up you're going to

526
00:27:54,160 --> 00:27:58,120
Speaker 3: get a purple gin. Okay, gonna love it.

527
00:27:58,200 --> 00:28:02,280
Speaker 1: Okay, I'm very excited. Have you ever been to Glenwood Springs, Colorado.

528
00:28:02,440 --> 00:28:03,480
Speaker 3: Yeah, it's just down the road.

529
00:28:03,520 --> 00:28:06,399
Speaker 1: Okay. So my friend's parents lived there and they retired

530
00:28:07,400 --> 00:28:09,640
Speaker 1: in Glenwood Springs, and that's where I spent a good

531
00:28:09,680 --> 00:28:10,600
Speaker 1: portion of COVID.

532
00:28:11,040 --> 00:28:12,280
Speaker 3: You know where I lived, Then.

533
00:28:12,280 --> 00:28:16,320
Speaker 1: I do, I'm really going to come if I was.

534
00:28:16,320 --> 00:28:18,520
Speaker 3: Was it fun being there during COVID.

535
00:28:18,680 --> 00:28:20,600
Speaker 1: Yes, it was really nice, So I was. I went

536
00:28:20,640 --> 00:28:24,159
Speaker 1: from midtown Manhattan by Port Authority, which is where my

537
00:28:24,200 --> 00:28:29,600
Speaker 1: apartment was at the height of COVID, which was very aggressive,

538
00:28:30,840 --> 00:28:33,760
Speaker 1: and could not wait to get out because other people fled.

539
00:28:33,800 --> 00:28:36,240
Speaker 1: They have their their houses in the Hampton's and people

540
00:28:36,240 --> 00:28:39,400
Speaker 1: were like, I'm going to mom and Dad's house in Texas.

541
00:28:39,680 --> 00:28:41,240
Speaker 1: And I just was like, I'm going to hunker down

542
00:28:41,240 --> 00:28:43,240
Speaker 1: in my space because I hadn't really spent any time

543
00:28:43,240 --> 00:28:45,400
Speaker 1: in my apartment, and I thought this will be the

544
00:28:45,560 --> 00:28:47,880
Speaker 1: this will be when I become a woman. And it

545
00:28:47,960 --> 00:28:49,680
Speaker 1: really did turn me into a woman. But then I

546
00:28:49,760 --> 00:28:54,120
Speaker 1: quickly fled. Yes exactly I was, but I was like

547
00:28:54,480 --> 00:28:58,719
Speaker 1: eerily peaceful during COVID. It was concerning to me. I

548
00:28:58,800 --> 00:29:01,440
Speaker 1: was like, I didn't leave my apartment because it was

549
00:29:02,120 --> 00:29:04,400
Speaker 1: midtown New York and the height of it, and you

550
00:29:04,440 --> 00:29:06,320
Speaker 1: didn't want to pass a neighbor in the hall. It

551
00:29:06,400 --> 00:29:09,640
Speaker 1: was that intense. You didn't know what And so I

552
00:29:09,800 --> 00:29:13,000
Speaker 1: was weirdly so at peace. I'd made peace, Like I

553
00:29:13,040 --> 00:29:16,120
Speaker 1: live in this box. It was a studio apartment. There

554
00:29:16,160 --> 00:29:19,120
Speaker 1: no natural light gets in here, and I call my

555
00:29:19,200 --> 00:29:21,560
Speaker 1: friends all day and we FaceTime and we make each

556
00:29:21,560 --> 00:29:23,640
Speaker 1: other laugh. But then when it was time to go,

557
00:29:23,720 --> 00:29:25,200
Speaker 1: it was time to go, And so I went to

558
00:29:25,280 --> 00:29:27,960
Speaker 1: Glenwood Spring since I spent like two weeks there.

559
00:29:28,000 --> 00:29:31,280
Speaker 3: We were here and we have a big yard, and

560
00:29:31,360 --> 00:29:35,240
Speaker 3: it was fabulous. I mean, I really kind of enjoyed

561
00:29:35,280 --> 00:29:36,640
Speaker 3: the lockdown you did.

562
00:29:36,840 --> 00:29:38,560
Speaker 1: Okay, well, if you had a yard, I mean had

563
00:29:38,560 --> 00:29:38,880
Speaker 1: a yard.

564
00:29:38,880 --> 00:29:41,640
Speaker 3: I had a job to go back to, thank you lord. Yeah,

565
00:29:41,680 --> 00:29:45,040
Speaker 3: and oh wasn't that different than my life?

566
00:29:45,080 --> 00:29:48,840
Speaker 1: But it was the same pace. Really, did you get

567
00:29:48,920 --> 00:29:50,040
Speaker 1: scared at all during COVID?

568
00:29:50,640 --> 00:29:50,720
Speaker 3: No?

569
00:29:51,080 --> 00:29:52,120
Speaker 1: Yeah, you were just at ease.

570
00:29:52,320 --> 00:29:52,520
Speaker 4: Yeah.

571
00:29:52,560 --> 00:29:55,320
Speaker 3: I'm pretty sure I had COVID before they had named it.

572
00:29:55,480 --> 00:29:58,000
Speaker 3: I was doing a play and I got deathly ill

573
00:29:58,160 --> 00:29:58,960
Speaker 3: for five days.

574
00:29:59,240 --> 00:30:00,960
Speaker 2: Okay, slopped it off.

575
00:30:01,000 --> 00:30:03,080
Speaker 3: But then I got When I did get COVID, I thought,

576
00:30:03,120 --> 00:30:05,760
Speaker 3: wait a minute, you have been there.

577
00:30:06,200 --> 00:30:07,240
Speaker 1: This feels familiar.

578
00:30:07,400 --> 00:30:10,240
Speaker 3: I got it three times. Okay I was sick.

579
00:30:10,080 --> 00:30:13,280
Speaker 1: But yeah, okay, did you lose your sense of taste?

580
00:30:13,400 --> 00:30:13,480
Speaker 2: No?

581
00:30:14,440 --> 00:30:17,240
Speaker 1: See, that would scare me, maybe the most, because I

582
00:30:17,280 --> 00:30:18,160
Speaker 1: love food too much.

583
00:30:18,280 --> 00:30:22,040
Speaker 3: I thought I did. I went. I was in Woody

584
00:30:22,080 --> 00:30:26,320
Speaker 3: Creek and I fixed myself a vodkatonic and I thought,

585
00:30:26,520 --> 00:30:30,960
Speaker 3: what's I can't this tastely? I don't have any taste?

586
00:30:32,080 --> 00:30:37,080
Speaker 3: And I freaked out. And then I tried the a

587
00:30:37,120 --> 00:30:40,680
Speaker 3: shot a bourbon and I could taste it. And I

588
00:30:40,760 --> 00:30:45,200
Speaker 3: looked at the vodka and my girls. Somebody had drunk

589
00:30:45,200 --> 00:30:47,240
Speaker 3: all the vodka and put the water in there.

590
00:30:47,280 --> 00:30:48,560
Speaker 1: Someone about the habit.

591
00:30:49,120 --> 00:30:50,920
Speaker 3: But it also might have been they were doing a

592
00:30:51,440 --> 00:30:55,000
Speaker 3: shooting some scene, so they used that bottle and put

593
00:30:55,040 --> 00:30:55,320
Speaker 3: it back.

594
00:30:55,400 --> 00:30:56,640
Speaker 1: Wait shooting? Do they shoot?

595
00:30:57,280 --> 00:31:03,080
Speaker 3: They My oldest she's in the Macy. She's probably in

596
00:31:03,120 --> 00:31:08,360
Speaker 3: the the Steve Carrell Show. Oh yes, new shows. She's

597
00:31:08,360 --> 00:31:11,680
Speaker 3: in that. It's a nice role. Incredible, and she's got

598
00:31:11,680 --> 00:31:14,360
Speaker 3: a little film called Brian We're going to south By

599
00:31:14,400 --> 00:31:15,320
Speaker 3: Southwest together.

600
00:31:15,520 --> 00:31:19,560
Speaker 1: Incredible. I'm excited for her and you. I'm going to

601
00:31:19,600 --> 00:31:22,160
Speaker 1: be at south By Southwest, so now hopefully around to

602
00:31:22,200 --> 00:31:22,960
Speaker 1: see the film.

603
00:31:23,160 --> 00:31:23,800
Speaker 2: Really cool.

604
00:31:23,960 --> 00:31:26,640
Speaker 3: You've going for the music or for the podcasting?

605
00:31:26,720 --> 00:31:30,720
Speaker 1: iHeart I Heeart Awards is at south By Southwest and

606
00:31:30,720 --> 00:31:33,560
Speaker 1: I'm hosting their awards, so they're giving out podcast awards

607
00:31:33,600 --> 00:31:38,800
Speaker 1: this year. Thank you so much. Where did you grow up?

608
00:31:41,920 --> 00:31:45,840
Speaker 3: Mostly Georgia. Born in Miami, Florida. I was less than

609
00:31:45,920 --> 00:31:49,640
Speaker 3: one when we moved to Georgia around Atlanta make Indicator,

610
00:31:50,840 --> 00:31:52,640
Speaker 3: then to Maryland, Western Maryland.

611
00:31:52,800 --> 00:31:53,840
Speaker 1: I'm from Maryland.

612
00:31:54,320 --> 00:31:54,840
Speaker 3: Cumberland.

613
00:31:55,560 --> 00:31:58,320
Speaker 1: No, I'm familiar with Cumberland, but I'm from Baltimore. Yeah,

614
00:31:59,120 --> 00:32:01,520
Speaker 1: yeah out there, I know Cumberland.

615
00:32:01,720 --> 00:32:04,880
Speaker 3: Yeah, in the mountains. It's beautiful. And then I went

616
00:32:04,960 --> 00:32:10,040
Speaker 3: to starting my career in Chicago about eight ten years,

617
00:32:10,400 --> 00:32:11,920
Speaker 3: then New York eight ten years.

618
00:32:12,600 --> 00:32:14,920
Speaker 2: Then La, you've done it all. I live.

619
00:32:15,560 --> 00:32:16,840
Speaker 3: Yeah, I'm running out of cities.

620
00:32:17,160 --> 00:32:19,480
Speaker 1: But I think you're settled. You're at your wife's childhood home.

621
00:32:19,600 --> 00:32:21,280
Speaker 1: I feel like you're good, You're good to go.

622
00:32:21,400 --> 00:32:23,720
Speaker 3: I'm good. You still have our house here. We tried

623
00:32:23,720 --> 00:32:27,040
Speaker 3: to rent it, but with the fires and the safeguards

624
00:32:27,040 --> 00:32:29,960
Speaker 3: so that people don't get gouged, we couldn't rent it.

625
00:32:30,000 --> 00:32:31,640
Speaker 3: You're in the hand wanted to gouge people.

626
00:32:31,680 --> 00:32:35,520
Speaker 1: Okay, of course you did with the gouge meaning we're

627
00:32:35,560 --> 00:32:37,400
Speaker 1: trying to do we're trying to do that. So you're

628
00:32:37,440 --> 00:32:38,880
Speaker 1: not you're not in the.

629
00:32:39,080 --> 00:32:41,160
Speaker 3: In the hills, then yeah we are.

630
00:32:41,160 --> 00:32:43,400
Speaker 1: You are in the hills. Okay, you can't. You can't

631
00:32:43,440 --> 00:32:45,880
Speaker 1: gouge in the hills. You got to bring the prices

632
00:32:45,920 --> 00:32:46,680
Speaker 1: down in the hills.

633
00:32:47,080 --> 00:32:51,800
Speaker 3: I think, Yeah, it's pretty cool. I'm so I'm so

634
00:32:51,920 --> 00:32:53,200
Speaker 3: happy to be living up there.

635
00:32:53,400 --> 00:32:55,920
Speaker 1: Yeah, I mean it is. How's the cell service up there?

636
00:32:56,240 --> 00:32:58,920
Speaker 3: It's fine, it is it? Okay, it's fine. When you're

637
00:32:59,000 --> 00:33:01,240
Speaker 3: driving down it'll go out once or twice.

638
00:33:01,400 --> 00:33:06,520
Speaker 1: Yeah, the driving down the hills in the hills, the

639
00:33:06,680 --> 00:33:10,880
Speaker 1: lanes are so tiny, right, People drive so fast down

640
00:33:10,920 --> 00:33:13,280
Speaker 1: those hills because they're like, I know my way around it.

641
00:33:13,320 --> 00:33:15,520
Speaker 1: But I'm like, but another car could be coming and

642
00:33:15,560 --> 00:33:17,880
Speaker 1: you wouldn't know how what's your take?

643
00:33:19,040 --> 00:33:20,160
Speaker 2: This is some way it takes.

644
00:33:20,200 --> 00:33:23,560
Speaker 3: But the road I live on, I don't know why

645
00:33:23,600 --> 00:33:24,400
Speaker 3: I don't want to say it.

646
00:33:24,520 --> 00:33:26,440
Speaker 1: Don't say the road don't of course, I know why

647
00:33:26,440 --> 00:33:28,040
Speaker 1: you don't want to say it's your anyway, it's.

648
00:33:27,880 --> 00:33:29,880
Speaker 3: Not like that. You're talking about Laurel Canyon and all

649
00:33:29,920 --> 00:33:30,640
Speaker 3: of those canyons.

650
00:33:31,080 --> 00:33:35,680
Speaker 1: So, but like the little single lane situation where and

651
00:33:35,680 --> 00:33:38,320
Speaker 1: then there's cars, I'm like, yeah, it's not like that.

652
00:33:38,480 --> 00:33:40,239
Speaker 3: As a matter of fact, it was. It's such an

653
00:33:40,280 --> 00:33:44,280
Speaker 3: easy thing. They put twelve stop signs, okay, just to

654
00:33:44,320 --> 00:33:45,120
Speaker 3: slow people down.

655
00:33:45,320 --> 00:33:48,400
Speaker 1: Okay, that's good. Okay, I could do those hills. Those

656
00:33:48,440 --> 00:33:50,440
Speaker 1: are hills I could do. You also ride a motorcycle,

657
00:33:50,480 --> 00:33:53,880
Speaker 1: you were telling me, Yeah, for risk, you enjoy risks.

658
00:33:55,560 --> 00:33:56,160
Speaker 1: Is that fair?

659
00:33:56,840 --> 00:33:59,160
Speaker 3: I guess the risk, the danger of it makes a

660
00:33:59,200 --> 00:34:05,800
Speaker 3: little more fun. It's like flying. It's I've done some

661
00:34:05,880 --> 00:34:09,680
Speaker 3: big trips that was epic. I think, you know, I

662
00:34:09,800 --> 00:34:15,640
Speaker 3: ride like an old man. If it's hard to it's okay,

663
00:34:15,800 --> 00:34:16,560
Speaker 3: it's dangerous.

664
00:34:16,600 --> 00:34:19,560
Speaker 1: It is exactly in short, it's dangerous.

665
00:34:19,719 --> 00:34:23,880
Speaker 3: Felicity, I said, I'm going to get a Harley. Felicity said, okay,

666
00:34:23,920 --> 00:34:27,560
Speaker 3: but two rules. You gotta you got to wear all

667
00:34:27,600 --> 00:34:30,720
Speaker 3: the gack all the time. I said, I do, I will,

668
00:34:31,160 --> 00:34:34,400
Speaker 3: and I do even in the summertime. And it's a caution.

669
00:34:36,520 --> 00:34:38,560
Speaker 3: I said, what's the second role? And she said, if

670
00:34:38,560 --> 00:34:40,520
Speaker 3: you get badly hurt, you got to get killed because

671
00:34:40,560 --> 00:34:43,800
Speaker 3: I'm not taking care of a quadriplegion. I said, okay,

672
00:34:43,960 --> 00:34:46,520
Speaker 3: wear all the gack, get killed. I'm down, and I

673
00:34:46,560 --> 00:34:48,399
Speaker 3: got a Harley felicity.

674
00:34:48,880 --> 00:34:52,560
Speaker 1: I get it. I love her honesty. She's like, I'm

675
00:34:52,600 --> 00:34:55,520
Speaker 1: not about to take care of you if you're half here.

676
00:34:55,840 --> 00:35:00,000
Speaker 3: Yea, yeah, I ride really carefully. Knock knock, knock knocked.

677
00:35:00,200 --> 00:35:03,480
Speaker 3: I mean twee, twee, twee everything, Yes, all the things.

678
00:35:04,320 --> 00:35:08,919
Speaker 3: But I think if you're you know, if you think

679
00:35:08,960 --> 00:35:11,000
Speaker 3: the light turn screening, you can go, then you can't

680
00:35:11,080 --> 00:35:12,160
Speaker 3: ride a motorcycle.

681
00:35:12,960 --> 00:35:14,520
Speaker 1: So okay, well then explain this to me.

682
00:35:15,080 --> 00:35:17,400
Speaker 3: You got to assume everybody's going to be coming the

683
00:35:17,760 --> 00:35:18,560
Speaker 3: light turns green.

684
00:35:18,920 --> 00:35:21,759
Speaker 1: You gotta look defensive driving. You have to really be

685
00:35:21,800 --> 00:35:22,840
Speaker 1: a defensive drivers.

686
00:35:23,360 --> 00:35:25,319
Speaker 3: And you know it's a weird thing. But I rode

687
00:35:25,360 --> 00:35:29,760
Speaker 3: a bicycle in Manhattan when I lived there for eight years.

688
00:35:30,360 --> 00:35:33,680
Speaker 3: I mean all the time. I rarely took the subway

689
00:35:33,840 --> 00:35:36,799
Speaker 3: or a cabow and felt comfortable when I did call

690
00:35:36,880 --> 00:35:41,960
Speaker 3: a cab. But I got a sixth sense about the

691
00:35:42,040 --> 00:35:45,359
Speaker 3: traffic and the car doors, you know, opening up because

692
00:35:45,400 --> 00:35:49,160
Speaker 3: it's tighter there. It's not like that here, But I

693
00:35:49,160 --> 00:35:50,960
Speaker 3: got a sixth sense when it was going to open.

694
00:35:51,600 --> 00:35:54,280
Speaker 1: It's it's the car doors opening, because I know someone

695
00:35:54,280 --> 00:35:56,760
Speaker 1: who got in a bike accident in New York City

696
00:35:57,120 --> 00:35:59,759
Speaker 1: like six months ago, because an old lady opened her

697
00:35:59,760 --> 00:36:03,000
Speaker 1: car and he flipped over and landed on his head

698
00:36:03,040 --> 00:36:04,719
Speaker 1: and had to go to the hospital. And it was

699
00:36:05,480 --> 00:36:07,480
Speaker 1: that's too scary to me. I rode a Have you

700
00:36:07,520 --> 00:36:09,080
Speaker 1: ever been on a city bike in New York?

701
00:36:09,280 --> 00:36:09,520
Speaker 3: Yeah?

702
00:36:09,600 --> 00:36:11,520
Speaker 1: Okay, so I rode a city bike because they gave

703
00:36:11,600 --> 00:36:16,200
Speaker 1: us like a three year subscription in New York, and

704
00:36:16,280 --> 00:36:18,360
Speaker 1: I rode one to go give my friend a gift.

705
00:36:18,360 --> 00:36:20,919
Speaker 1: I think she lived at the time in like Park

706
00:36:21,080 --> 00:36:23,239
Speaker 1: Slope and I live, and it was it was a

707
00:36:23,280 --> 00:36:24,959
Speaker 1: little bit of a way, but I was like, it's fun,

708
00:36:25,040 --> 00:36:27,400
Speaker 1: it's a sunny day. I'm gonna finally use this this

709
00:36:27,880 --> 00:36:31,200
Speaker 1: city bike subscription before it runs out. That city bike

710
00:36:31,360 --> 00:36:35,000
Speaker 1: is heavy as hell. It's a heavy bike. I was

711
00:36:35,040 --> 00:36:38,239
Speaker 1: so but it's I was like, it's not. I felt

712
00:36:38,239 --> 00:36:41,440
Speaker 1: like I was doing more work. I kind of wanted like, I've.

713
00:36:41,239 --> 00:36:42,920
Speaker 3: Never are you a bike rider?

714
00:36:43,600 --> 00:36:45,799
Speaker 1: I like riding bikes in theory I'll.

715
00:36:45,719 --> 00:36:46,279
Speaker 3: Take that as.

716
00:36:48,960 --> 00:36:49,160
Speaker 1: Well.

717
00:36:49,200 --> 00:36:52,080
Speaker 3: Then there it is. Yeah, the bike's heavy. But you know,

718
00:36:52,200 --> 00:36:55,080
Speaker 3: the fly in the ointment in this story is that

719
00:36:55,120 --> 00:36:57,040
Speaker 3: you're not a bike rider, and he decided to go

720
00:36:57,120 --> 00:36:57,800
Speaker 3: twelve miles.

721
00:36:57,840 --> 00:36:59,799
Speaker 1: I am so sure I'm a bike rider except for,

722
00:37:00,000 --> 00:37:01,839
Speaker 1: oh I'm not. Because when I think about my time

723
00:37:01,880 --> 00:37:05,239
Speaker 1: in Glenwood Springs during COVID Day one of getting there,

724
00:37:06,000 --> 00:37:08,799
Speaker 1: my friend whose parents' house was he was like, let's

725
00:37:08,800 --> 00:37:10,120
Speaker 1: go on a bike ride. And I was like, that

726
00:37:10,200 --> 00:37:15,680
Speaker 1: sounds so nice, and I'm imagining like Beach Cruiser, Venice Beach,

727
00:37:16,719 --> 00:37:19,000
Speaker 1: and then he takes me on this ride. I have

728
00:37:19,040 --> 00:37:20,640
Speaker 1: the pictures from me. He takes me on this ride

729
00:37:21,120 --> 00:37:24,000
Speaker 1: and I feel like, fifteen minutes in because it's Colorado,

730
00:37:24,160 --> 00:37:26,919
Speaker 1: I was like the hills. I was like, honey, we need.

731
00:37:26,840 --> 00:37:29,040
Speaker 3: To stop and call a cab.

732
00:37:29,160 --> 00:37:30,880
Speaker 1: We're gonna call a cab. Are their cabs here at

733
00:37:30,880 --> 00:37:36,560
Speaker 1: Glenwood's Rings? Because yeah, I got to bike. Yeah, they

734
00:37:36,600 --> 00:37:39,279
Speaker 1: say they're better. I'm gonna try again. But there's just

735
00:37:39,320 --> 00:37:42,320
Speaker 1: so much to consider, and why bike when you could walk,

736
00:37:43,480 --> 00:37:43,759
Speaker 1: you know.

737
00:37:43,880 --> 00:37:45,520
Speaker 3: Get there faster fair enough.

738
00:37:46,600 --> 00:37:50,560
Speaker 1: It was a trick question, but the answer was obvious.

739
00:37:51,040 --> 00:37:53,440
Speaker 1: I see, But I have you always wanted to ride

740
00:37:53,480 --> 00:37:55,919
Speaker 1: a motorcycle? Like when you were young. Was that something

741
00:37:55,960 --> 00:37:56,400
Speaker 1: you did?

742
00:37:56,480 --> 00:37:59,200
Speaker 3: This movie called Wild Hogs, and that's what really got

743
00:37:59,239 --> 00:38:02,239
Speaker 3: me hooked on it. But I had a bike. I

744
00:38:02,280 --> 00:38:08,920
Speaker 3: had little bikes growing up hither and thither and yeah,

745
00:38:09,239 --> 00:38:11,239
Speaker 3: I think a lot of people ride motorcycles so they

746
00:38:11,239 --> 00:38:12,040
Speaker 3: can wear the gag.

747
00:38:12,440 --> 00:38:15,000
Speaker 1: Yeah, it's just the closes are so cool and you

748
00:38:15,080 --> 00:38:16,600
Speaker 1: but you like that. You like the gag. So when

749
00:38:16,640 --> 00:38:18,239
Speaker 1: Felicity is like, you need to wear the gack, You're like,

750
00:38:18,280 --> 00:38:19,399
Speaker 1: no problem, I like the gack.

751
00:38:19,560 --> 00:38:22,160
Speaker 3: It's it's heavy sometimes, you know, especially when you get

752
00:38:22,160 --> 00:38:24,320
Speaker 3: all the armor and the elbows and the shoulders.

753
00:38:24,440 --> 00:38:27,040
Speaker 1: Some are Yeah, and the summer of it all. Were

754
00:38:27,080 --> 00:38:29,719
Speaker 1: your parents over protective of you when you were younger

755
00:38:29,760 --> 00:38:30,200
Speaker 1: in any way?

756
00:38:30,960 --> 00:38:32,359
Speaker 2: No, no, no, I.

757
00:38:32,320 --> 00:38:36,640
Speaker 3: Have free rain on a bicycle and I covered some miles.

758
00:38:36,760 --> 00:38:37,080
Speaker 1: Okay.

759
00:38:37,520 --> 00:38:39,160
Speaker 3: The rule was I had to be back. I grew

760
00:38:39,239 --> 00:38:41,359
Speaker 3: up in the country. Mostly you had to be back

761
00:38:41,400 --> 00:38:42,960
Speaker 3: by the time the street lights were on.

762
00:38:43,160 --> 00:38:45,279
Speaker 1: That was a thing. That was the thing for me too.

763
00:38:46,000 --> 00:38:48,160
Speaker 3: Even now when they come on, I got wait and

764
00:38:48,280 --> 00:38:48,879
Speaker 3: you have to go home.

765
00:38:48,920 --> 00:38:51,520
Speaker 1: No, I'm allowed to be outside. I'm a grown man.

766
00:38:52,840 --> 00:38:55,520
Speaker 1: I have grown children. What am I talking about? Yeah,

767
00:38:55,640 --> 00:39:00,040
Speaker 1: that's that's very relatable because I think growing up so

768
00:39:00,080 --> 00:39:02,319
Speaker 1: many of us even I think about that too. I

769
00:39:02,320 --> 00:39:06,719
Speaker 1: lived like in a community of townhouses in Baltimore, and

770
00:39:06,800 --> 00:39:09,000
Speaker 1: so yeah, when the street lights came on, all it's

771
00:39:09,040 --> 00:39:12,719
Speaker 1: like everyone's everyone dispersed, everyone's gone home immediately. No one

772
00:39:12,760 --> 00:39:14,560
Speaker 1: wanted to get in trouble. Were you a good kid

773
00:39:14,600 --> 00:39:15,080
Speaker 1: growing up?

774
00:39:16,040 --> 00:39:16,759
Speaker 2: Yeah?

775
00:39:16,840 --> 00:39:23,240
Speaker 3: I think so. I mean, the stuff I got caught

776
00:39:23,600 --> 00:39:27,480
Speaker 3: doing was not that egregious, and the stuff I didn't

777
00:39:27,480 --> 00:39:29,839
Speaker 3: get caught doing, I didn't get caught doing.

778
00:39:29,920 --> 00:39:31,759
Speaker 1: So you're not going to speak on it. You could

779
00:39:31,760 --> 00:39:35,000
Speaker 1: tell our listeners some of that stuff, or you could not,

780
00:39:35,640 --> 00:39:37,080
Speaker 1: or you could not could take it.

781
00:39:37,640 --> 00:39:39,000
Speaker 3: I grew up in the country.

782
00:39:38,760 --> 00:39:40,200
Speaker 2: My dad was.

783
00:39:43,760 --> 00:39:52,160
Speaker 3: Such a fine man and calm, and I sort of

784
00:39:52,200 --> 00:39:54,319
Speaker 3: got that, you know, So it wasn't a big deal.

785
00:39:54,440 --> 00:39:57,560
Speaker 3: There were rules in everything, but we were calm about it.

786
00:39:58,440 --> 00:40:01,400
Speaker 3: And he grew up in the country, all right. I

787
00:40:01,520 --> 00:40:04,320
Speaker 3: was cut lucid about eight. I could go anywhere I wanted.

788
00:40:04,440 --> 00:40:07,160
Speaker 1: Oh wow, a lot of trust there. How where were

789
00:40:07,200 --> 00:40:08,920
Speaker 1: you in the sibling lineup?

790
00:40:09,080 --> 00:40:11,799
Speaker 3: I have a brother. Okay, he's older, all right, and

791
00:40:12,080 --> 00:40:14,320
Speaker 3: he's still with us. He lives in Pennsylvania.

792
00:40:14,400 --> 00:40:16,359
Speaker 1: All right, is he a Steelers fan?

793
00:40:17,040 --> 00:40:21,880
Speaker 3: No? Okay, okay, So I'm doing this series.

794
00:40:21,960 --> 00:40:29,640
Speaker 1: It's really good at improv, you think so, No, I don't, okay,

795
00:40:29,680 --> 00:40:30,399
Speaker 1: you're doing this series.

796
00:40:30,520 --> 00:40:32,160
Speaker 3: Change the subject, but it was it was.

797
00:40:32,120 --> 00:40:33,719
Speaker 1: No, And then you had something you want to tell

798
00:40:33,719 --> 00:40:34,080
Speaker 1: me please?

799
00:40:34,200 --> 00:40:36,239
Speaker 3: You asked me for a Steelers fan and no.

800
00:40:36,280 --> 00:40:38,000
Speaker 1: Your brother. Your brother probably told me the series.

801
00:40:38,160 --> 00:40:40,600
Speaker 3: I happen to be doing a series about the NFL.

802
00:40:40,680 --> 00:40:43,440
Speaker 3: It's called The Land, and it's about the Cleveland Browns,

803
00:40:43,520 --> 00:40:46,480
Speaker 3: and I am the owner, and it's all fictional, but

804
00:40:47,920 --> 00:40:51,040
Speaker 3: we look and act and dressed like the Cleveland Browns,

805
00:40:51,320 --> 00:40:55,640
Speaker 3: which I find really interesting. Cleveland Brown's out there doing

806
00:40:55,640 --> 00:40:58,680
Speaker 3: the same thing. Yes, actually, yeah, So I say, there's

807
00:40:58,680 --> 00:41:02,920
Speaker 3: the real Eveland Brown's are eale, and the real Cleveland

808
00:41:02,920 --> 00:41:04,440
Speaker 3: Browns are e.

809
00:41:03,680 --> 00:41:05,120
Speaker 1: E And that's you guys.

810
00:41:05,120 --> 00:41:05,480
Speaker 3: So clever.

811
00:41:05,920 --> 00:41:08,080
Speaker 1: You are very well. I take back what I said

812
00:41:08,080 --> 00:41:13,440
Speaker 1: about you and improv. You're so clever. I've changed my mind. So, okay,

813
00:41:13,440 --> 00:41:15,839
Speaker 1: how did that that script? Then when you got that one,

814
00:41:16,040 --> 00:41:19,160
Speaker 1: you were like, this is a yes, it's instantly.

815
00:41:19,320 --> 00:41:22,080
Speaker 3: I'm good at reading scripts. Yeah, I always have been.

816
00:41:22,200 --> 00:41:24,800
Speaker 1: What are you looking for when you read a script,

817
00:41:25,280 --> 00:41:28,799
Speaker 1: not even in terms of like saying yes to it, right, Yes,

818
00:41:28,880 --> 00:41:30,759
Speaker 1: the story, but like, what else are you looking for?

819
00:41:30,880 --> 00:41:33,840
Speaker 1: The pros like, no, the story, just the story.

820
00:41:34,080 --> 00:41:37,440
Speaker 3: Don't go to a second base if this story isn't good. Okay,

821
00:41:37,520 --> 00:41:39,600
Speaker 3: that's all the audience wants to know when you when

822
00:41:39,600 --> 00:41:41,680
Speaker 3: you make a movie, we have to remember this. In

823
00:41:41,760 --> 00:41:44,120
Speaker 3: our business. Only thing they want to know is what

824
00:41:44,160 --> 00:41:47,680
Speaker 3: happens next. Okay, all this stuff about our sense memories

825
00:41:47,719 --> 00:41:52,719
Speaker 3: and the the tricky thing that those pairs that pair

826
00:41:52,719 --> 00:41:56,480
Speaker 3: of pants does, or the lighting or something like that. Yeah,

827
00:41:56,600 --> 00:42:02,480
Speaker 3: it's great, it makes everything better, but you're losing if

828
00:42:02,480 --> 00:42:04,719
Speaker 3: the audience is watching that, they just want to know

829
00:42:04,840 --> 00:42:05,400
Speaker 3: the story.

830
00:42:05,640 --> 00:42:07,640
Speaker 1: Well, to you, constitutes a good story.

831
00:42:09,400 --> 00:42:14,920
Speaker 3: That's a great question. It's true in the sense of

832
00:42:16,480 --> 00:42:19,960
Speaker 3: human emotions. I can relate to it. There's something truth,

833
00:42:20,000 --> 00:42:30,040
Speaker 3: there's a core of truth about it. Unexpected. The best

834
00:42:30,200 --> 00:42:34,279
Speaker 3: is when you didn't see that coming with the end.

835
00:42:34,680 --> 00:42:34,879
Speaker 2: Yeah.

836
00:42:37,760 --> 00:42:44,400
Speaker 3: And then the writing beautiful. I just love beautiful writing.

837
00:42:44,480 --> 00:42:46,879
Speaker 3: I mentioned Dave Mamma taught me everything I know and

838
00:42:47,000 --> 00:42:52,560
Speaker 3: he's a magnificent writer. It changed everything for one hundred years.

839
00:42:53,120 --> 00:42:56,360
Speaker 3: After Dave came out, everything started sounding like him. He

840
00:42:56,520 --> 00:43:01,960
Speaker 3: changed everything and his scripts are a joy. You literally

841
00:43:02,200 --> 00:43:05,440
Speaker 3: like saying the lines out loud. Yeah, They're like the

842
00:43:05,520 --> 00:43:09,120
Speaker 3: lyrics of your favorite song. And I've always said, you

843
00:43:09,200 --> 00:43:11,760
Speaker 3: find two guys who have done American Buffalo and played

844
00:43:11,760 --> 00:43:15,759
Speaker 3: Teach and we'll start doing the lines together. It's like

845
00:43:15,880 --> 00:43:17,400
Speaker 3: singing like a duet.

846
00:43:17,880 --> 00:43:18,400
Speaker 2: Yeah.

847
00:43:18,480 --> 00:43:23,600
Speaker 3: Yeah, and he's so funny anyway. Yeah, good lines. And

848
00:43:23,640 --> 00:43:30,080
Speaker 3: the the writing on the on the land is really good.

849
00:43:30,440 --> 00:43:33,799
Speaker 1: Yeah, that's very I mean I respond to that too,

850
00:43:33,880 --> 00:43:38,280
Speaker 1: especially an unexpected twist in a story. It is really nice.

851
00:43:38,520 --> 00:43:41,120
Speaker 1: So that I don't know what it is, what it

852
00:43:41,200 --> 00:43:44,960
Speaker 1: is about that that just makes you go, that's something

853
00:43:45,600 --> 00:43:48,600
Speaker 1: I watching. I'm watching a bunch of movies now hosting

854
00:43:48,600 --> 00:43:51,000
Speaker 1: the Indie Spirit Awards, which I'm very excited about. But

855
00:43:51,040 --> 00:43:55,560
Speaker 1: I'm watching a bunch of You're available, will you come

856
00:43:55,600 --> 00:44:06,160
Speaker 1: do a bit with me? Okay he's gonna improv okay, okay, okay, yes, yes, okay,

857
00:44:06,239 --> 00:44:09,960
Speaker 1: So I I am. What I'm enjoying about watching all

858
00:44:09,960 --> 00:44:11,960
Speaker 1: the movies is and I feel like I tend to

859
00:44:11,960 --> 00:44:16,399
Speaker 1: see this with like indie films, it's the it's more unexpected,

860
00:44:16,480 --> 00:44:18,960
Speaker 1: less formulaic in a way, like you. They know the

861
00:44:19,000 --> 00:44:22,160
Speaker 1: formula clearly, but then they break the formula. Like you,

862
00:44:22,160 --> 00:44:24,399
Speaker 1: you learn the rules to break the rules. And that's

863
00:44:24,880 --> 00:44:27,120
Speaker 1: I'm enjoying that about a lot of the films. Yeah,

864
00:44:27,280 --> 00:44:29,880
Speaker 1: like that's my favorite thing. Have you seen anything recently

865
00:44:29,920 --> 00:44:33,320
Speaker 1: that you're really loving? Film wise, television? Anything?

866
00:44:33,360 --> 00:44:33,640
Speaker 2: Really?

867
00:44:35,640 --> 00:44:39,040
Speaker 3: Is this thing on? Was just I howled. It's hard

868
00:44:39,040 --> 00:44:44,600
Speaker 3: to make me laugh. I berely laughed through that. There's

869
00:44:44,680 --> 00:44:48,920
Speaker 3: a joke about a picture that's I knew it was coming,

870
00:44:49,200 --> 00:44:52,279
Speaker 3: you know, you talk about unexpected. What's really great is

871
00:44:52,320 --> 00:44:55,400
Speaker 3: when they tell you everything you need to know about

872
00:44:55,440 --> 00:44:58,000
Speaker 3: that event happening, but you still didn't know it was

873
00:44:58,040 --> 00:44:58,600
Speaker 3: gonna happen.

874
00:44:59,040 --> 00:45:03,719
Speaker 1: Yeah. Yeah, the best is this thing on? Have you

875
00:45:03,719 --> 00:45:06,319
Speaker 1: guys seen it? Okay, not yet, it's on the.

876
00:45:06,239 --> 00:45:09,879
Speaker 3: List, you know. I've seen all the ones that are nominated,

877
00:45:10,320 --> 00:45:11,840
Speaker 3: all the best pictures.

878
00:45:11,440 --> 00:45:12,920
Speaker 1: And that's all you have to say about that is

879
00:45:12,920 --> 00:45:13,640
Speaker 1: that you've seen them.

880
00:45:13,960 --> 00:45:16,640
Speaker 3: Yeah. No, I liked a lot of them. The level

881
00:45:16,680 --> 00:45:19,719
Speaker 3: of filmmaking this year is really high. It's a bad

882
00:45:19,800 --> 00:45:21,879
Speaker 3: year to get nominated that.

883
00:45:21,880 --> 00:45:25,120
Speaker 1: Sometimes I feel that for philmmakers. Every once in a while,

884
00:45:25,160 --> 00:45:28,720
Speaker 1: I'm like, man, if you were nominated the year before

885
00:45:28,920 --> 00:45:31,680
Speaker 1: or the year after, you'd be a shoe in the competition.

886
00:45:32,400 --> 00:45:35,680
Speaker 1: I've thought that, like, has a filmmaker ever regret regretted

887
00:45:35,760 --> 00:45:38,000
Speaker 1: making their movie in the year that they did, Like,

888
00:45:38,400 --> 00:45:41,200
Speaker 1: damn it to. The competition is stiff.

889
00:45:41,440 --> 00:45:48,040
Speaker 3: It is this. Yeah, the level of filmmaking is really high.

890
00:45:48,440 --> 00:45:51,640
Speaker 3: It's a great time for movies. I think people are

891
00:45:51,640 --> 00:45:52,520
Speaker 3: doing great work.

892
00:45:53,000 --> 00:45:55,400
Speaker 1: Yeah, it's very cool. Do you think has your daughter

893
00:45:55,920 --> 00:45:57,720
Speaker 1: shadowed you on sets?

894
00:45:59,160 --> 00:45:59,319
Speaker 4: No?

895
00:45:59,440 --> 00:46:03,839
Speaker 3: She never shadowed me, but they visited sets a lot.

896
00:46:04,520 --> 00:46:07,319
Speaker 3: I guess something wears off. I mean, at least they

897
00:46:07,360 --> 00:46:11,040
Speaker 3: know that environment. They're in a bunch of scenes in

898
00:46:12,280 --> 00:46:15,960
Speaker 3: Desperate Housewives because they'd be hanging out on set and

899
00:46:16,000 --> 00:46:19,360
Speaker 3: they'd say, okay, here we go and flick it lifted

900
00:46:20,760 --> 00:46:24,640
Speaker 3: the restaurant tablecloth and they'd scurry under there and they'd

901
00:46:24,640 --> 00:46:25,600
Speaker 3: sit there for the scene.

902
00:46:25,760 --> 00:46:28,959
Speaker 1: Wow, it is very cute happen.

903
00:46:29,239 --> 00:46:30,799
Speaker 3: But a lot of times, so.

904
00:46:31,200 --> 00:46:32,920
Speaker 1: Your daughter under the table?

905
00:46:33,080 --> 00:46:35,600
Speaker 3: Yeah, okay, I wonder if we could.

906
00:46:35,400 --> 00:46:39,760
Speaker 1: Find the scenes. Is there any indication table the tablecloth movie?

907
00:46:39,880 --> 00:46:42,600
Speaker 1: A little bit? No indication?

908
00:46:42,719 --> 00:46:47,040
Speaker 3: Now it might move. But then they were good, okay, incredible,

909
00:46:47,800 --> 00:46:51,520
Speaker 3: And Sophia john Wells called up and there was in

910
00:46:51,600 --> 00:46:57,160
Speaker 3: our final episode. Yes, he said, what about Sophia playing

911
00:46:57,200 --> 00:46:59,680
Speaker 3: the nurse? So we did that together.

912
00:47:00,120 --> 00:47:02,759
Speaker 1: That's special. How was that for for you?

913
00:47:04,080 --> 00:47:10,439
Speaker 3: It was magnificent that she was there. It made it

914
00:47:10,520 --> 00:47:15,920
Speaker 3: all the more special. I think John knew that it

915
00:47:15,960 --> 00:47:18,960
Speaker 3: would make it special. And that was a fabulous ending.

916
00:47:19,239 --> 00:47:21,200
Speaker 3: It's hard to end those shows. Yeah, I mean some

917
00:47:21,560 --> 00:47:25,280
Speaker 3: series ends and and people are angry with them. Yes,

918
00:47:25,920 --> 00:47:29,640
Speaker 3: but I love the ending of that. I got to

919
00:47:29,680 --> 00:47:31,640
Speaker 3: say a lot of it was my idea. I thought

920
00:47:31,640 --> 00:47:36,280
Speaker 3: of it in the eleventh year, the tenth year. Yeah,

921
00:47:36,680 --> 00:47:38,960
Speaker 3: and John had been thinking about it too, and we

922
00:47:39,080 --> 00:47:44,439
Speaker 3: both had complimentary ideas, and that was the ending.

923
00:47:44,560 --> 00:47:47,239
Speaker 1: Yeah. All that's special. That's so cool. I'm excited to

924
00:47:47,239 --> 00:47:52,920
Speaker 1: see Sophia in the in this new show. Well, friend,

925
00:47:53,239 --> 00:47:56,359
Speaker 1: I say, Charlie Clive is also in it. I don't

926
00:47:56,360 --> 00:47:58,759
Speaker 1: know if Charlie. Yeah, I'm excited. It looks really good.

927
00:47:58,800 --> 00:47:59,840
Speaker 1: I saw the trailer recently.

928
00:48:00,040 --> 00:48:00,600
Speaker 3: Oh my god.

929
00:48:00,640 --> 00:48:00,839
Speaker 2: Yeah.

930
00:48:00,840 --> 00:48:05,000
Speaker 3: I love Steve. He's the best, he is, He's always good.

931
00:48:05,200 --> 00:48:08,239
Speaker 1: Yeah. Yeah, I'm very very excited. I got to read

932
00:48:08,239 --> 00:48:11,560
Speaker 1: that script and it's a good one. It's a good one.

933
00:48:11,760 --> 00:48:11,960
Speaker 2: You know.

934
00:48:12,080 --> 00:48:15,160
Speaker 1: That's time for a segment I like to call that's nice,

935
00:48:15,320 --> 00:48:16,040
Speaker 1: but what about me?

936
00:48:17,160 --> 00:48:18,720
Speaker 3: Okay, I like it already.

937
00:48:18,800 --> 00:48:22,960
Speaker 1: Thank you because you're here. I'm going to ask you

938
00:48:23,000 --> 00:48:26,239
Speaker 1: a question that I hope you can answer. I need

939
00:48:26,280 --> 00:48:31,200
Speaker 1: a piece of advice auditioning. I still do it sometimes.

940
00:48:32,160 --> 00:48:35,399
Speaker 1: I imagine you're not auditioning anymore. People are just your

941
00:48:35,400 --> 00:48:39,640
Speaker 1: offer only right, You've earned that right when you were auditioning.

942
00:48:39,680 --> 00:48:42,160
Speaker 1: Toward the end of auditioning, if you will, what did

943
00:48:42,200 --> 00:48:47,360
Speaker 1: you do to make it fun for you?

944
00:48:47,360 --> 00:48:51,320
Speaker 3: You could do this professionally. That's a great question, because

945
00:48:51,400 --> 00:49:00,760
Speaker 3: I did absolutely do something, and it was this I

946
00:49:01,360 --> 00:49:04,799
Speaker 3: The way I approach acting is that it's all about

947
00:49:04,800 --> 00:49:07,279
Speaker 3: the objective. It's not how you feel, it's what you want.

948
00:49:08,680 --> 00:49:12,960
Speaker 3: We're always striving to right the boat, whatever's wrong with it,

949
00:49:13,000 --> 00:49:15,040
Speaker 3: and that's where the conflict comes. You think that I

950
00:49:15,080 --> 00:49:17,640
Speaker 3: think this, or you're the problem and I'm the solution.

951
00:49:17,800 --> 00:49:23,680
Speaker 3: And so it's what you're doing is what's important. And

952
00:49:25,320 --> 00:49:29,239
Speaker 3: I was so sick of auditioning that I took the

953
00:49:29,280 --> 00:49:34,600
Speaker 3: attitude of look at this is what I'm going to do.

954
00:49:34,760 --> 00:49:38,120
Speaker 3: If that's not right, don't hire me, because this is

955
00:49:38,160 --> 00:49:44,360
Speaker 3: what I'm going to do. And I literally said out loud,

956
00:49:45,400 --> 00:49:48,520
Speaker 3: I think this is a scene about and I would

957
00:49:48,560 --> 00:49:52,080
Speaker 3: say I would I think it's a scene about him

958
00:49:53,000 --> 00:49:56,080
Speaker 3: trying to get a big favor or something like that.

959
00:49:57,040 --> 00:50:04,200
Speaker 3: They go yeah, or sometimes go I think it's different,

960
00:50:04,320 --> 00:50:07,680
Speaker 3: and we're off to the races and like like I'm

961
00:50:07,719 --> 00:50:10,120
Speaker 3: talking to my sister. No, no, like you're talking to

962
00:50:10,160 --> 00:50:10,720
Speaker 3: a stranger.

963
00:50:10,760 --> 00:50:11,360
Speaker 2: Oh, I get you.

964
00:50:11,719 --> 00:50:16,120
Speaker 3: Yeah, now he's or she is a little pregnant.

965
00:50:16,360 --> 00:50:18,319
Speaker 1: Yeah, yeah, yeah.

966
00:50:18,040 --> 00:50:22,200
Speaker 3: Anyway, I started booking. Oh, I walked in saying, I'll

967
00:50:22,200 --> 00:50:24,160
Speaker 3: show you what I'm going to do. Uh huh uh

968
00:50:24,560 --> 00:50:26,200
Speaker 3: as good as I can do it. If I'm not.

969
00:50:26,280 --> 00:50:29,040
Speaker 3: The guy gets Let's put each other out of the

970
00:50:29,160 --> 00:50:30,640
Speaker 3: misery and get out of it else.

971
00:50:31,520 --> 00:50:34,520
Speaker 1: So would you say that out loud? That was your vibe,

972
00:50:34,520 --> 00:50:36,200
Speaker 1: you were set, you were articulating this.

973
00:50:36,640 --> 00:50:39,239
Speaker 3: Uh No. The only thing I articulated is I think

974
00:50:39,280 --> 00:50:40,600
Speaker 3: this is a scene about this.

975
00:50:40,800 --> 00:50:45,560
Speaker 1: Okay, okay, And then would you ever finish that sentence

976
00:50:45,560 --> 00:50:47,440
Speaker 1: in a way that you knew might make them go

977
00:50:47,719 --> 00:50:49,400
Speaker 1: I don't think so disagree.

978
00:50:49,880 --> 00:50:52,759
Speaker 3: Yes, a couple of times, intentionally, I don't think that's

979
00:50:52,840 --> 00:50:53,600
Speaker 3: what's going.

980
00:50:53,400 --> 00:50:55,680
Speaker 1: On, right, Okay, that was intentional When you would do

981
00:50:55,719 --> 00:50:58,360
Speaker 1: that when you say I think it's a scene about

982
00:50:58,440 --> 00:51:01,280
Speaker 1: him needing a big favor. Was to try to spark

983
00:51:01,320 --> 00:51:02,279
Speaker 1: a conversation of.

984
00:51:02,400 --> 00:51:06,040
Speaker 3: No, yeah, to plant my flag. Okay, okay, I think

985
00:51:06,080 --> 00:51:08,359
Speaker 3: what this is seen about. And if I say he's

986
00:51:08,400 --> 00:51:10,480
Speaker 3: trying to get a big favor, now they know what

987
00:51:10,560 --> 00:51:12,920
Speaker 3: to judge me against. They know exactly what I'm doing

988
00:51:13,000 --> 00:51:16,360
Speaker 3: when I read it, and whatever you know, improv I

989
00:51:16,400 --> 00:51:18,160
Speaker 3: put in there, not with the lines, but you know,

990
00:51:18,280 --> 00:51:21,000
Speaker 3: taking pauses, crossing your arms.

991
00:51:20,760 --> 00:51:24,880
Speaker 1: Or you know body, Okay, okay, I'm going to.

992
00:51:24,920 --> 00:51:28,440
Speaker 3: Take and they know what I'm up to. Yeah, and

993
00:51:28,600 --> 00:51:31,520
Speaker 3: it could spark a conversation because they see that, and

994
00:51:31,800 --> 00:51:33,600
Speaker 3: whether they know it or not, they go, well, that

995
00:51:33,760 --> 00:51:36,160
Speaker 3: is what she was doing. But I don't think it's that,

996
00:51:36,480 --> 00:51:39,399
Speaker 3: And they'll you'll get you're off to the race.

997
00:51:40,280 --> 00:51:44,320
Speaker 1: They're they're they're into you. This is good, Yeah, thank.

998
00:51:44,120 --> 00:51:46,520
Speaker 3: You, And you know what the first part is important.

999
00:51:46,520 --> 00:51:51,120
Speaker 3: This is what I'm going to do because you know,

1000
00:51:52,680 --> 00:51:56,680
Speaker 3: we come from a tradition where the director is the

1001
00:51:56,760 --> 00:51:59,879
Speaker 3: grand dom or the grand old man of the theater

1002
00:52:00,080 --> 00:52:04,560
Speaker 3: and it's been around forever and knows everything. That tradition

1003
00:52:04,680 --> 00:52:11,200
Speaker 3: doesn't exist now it's whoever. And sometimes you know, the

1004
00:52:11,320 --> 00:52:13,960
Speaker 3: director appears to be seventeen years old and here he

1005
00:52:14,040 --> 00:52:18,719
Speaker 3: is doing this big film. Oh well, my point is

1006
00:52:20,400 --> 00:52:22,600
Speaker 3: I didn't like him. They said, no, I think it's

1007
00:52:22,680 --> 00:52:25,319
Speaker 3: more this, and you know, they want more emotion, or

1008
00:52:25,320 --> 00:52:28,680
Speaker 3: they want some result, or they want the obvious, and

1009
00:52:28,760 --> 00:52:32,399
Speaker 3: I didn't have a good feeling about them. And that's

1010
00:52:32,440 --> 00:52:34,279
Speaker 3: a good thing to know at that point. I mean,

1011
00:52:34,560 --> 00:52:37,799
Speaker 3: what I'm talking about is really ballsy behavior and the

1012
00:52:37,840 --> 00:52:40,080
Speaker 3: end of your audition. This was after I had done Fargo.

1013
00:52:40,160 --> 00:52:43,600
Speaker 3: Before it made a difference, but I was feeling my

1014
00:52:43,680 --> 00:52:48,160
Speaker 3: oats and I started booking more just by announcing my

1015
00:52:48,239 --> 00:52:54,959
Speaker 3: attention and sort of saying to myself, we're judging each other.

1016
00:52:57,200 --> 00:52:59,959
Speaker 1: There's something to be said for someone having such common

1017
00:53:00,000 --> 00:53:02,000
Speaker 1: evidence and clarity on who they are and what they're

1018
00:53:02,000 --> 00:53:04,600
Speaker 1: bringing to the table. When they're saying you can take

1019
00:53:04,640 --> 00:53:07,560
Speaker 1: it or leave it, I'm fine with either option. I

1020
00:53:07,640 --> 00:53:10,160
Speaker 1: do think it intrigues people because the few times I've

1021
00:53:10,200 --> 00:53:12,080
Speaker 1: also been like, I don't know if I'm right for this,

1022
00:53:12,160 --> 00:53:14,319
Speaker 1: They're like, wait, I think you're really right, and it's

1023
00:53:14,360 --> 00:53:16,920
Speaker 1: not a mind game. I'm like, truly, sincerely, I'm not

1024
00:53:16,960 --> 00:53:19,040
Speaker 1: sure if I'm right. And it's such an interesting reaction

1025
00:53:19,320 --> 00:53:21,000
Speaker 1: because I've also been in the position where I'm like,

1026
00:53:21,000 --> 00:53:23,319
Speaker 1: please give me this job. I really want this job,

1027
00:53:23,520 --> 00:53:25,280
Speaker 1: and it never quite works out that way.

1028
00:53:25,480 --> 00:53:27,919
Speaker 3: Well, your friends are right. Don't ever say that phrase again,

1029
00:53:28,239 --> 00:53:30,919
Speaker 3: which one I don't think I'm right for this? No,

1030
00:53:31,200 --> 00:53:31,880
Speaker 3: don't say it.

1031
00:53:32,160 --> 00:53:32,480
Speaker 1: Okay.

1032
00:53:32,640 --> 00:53:36,000
Speaker 3: There are millions of people who want to decide whether

1033
00:53:36,040 --> 00:53:38,720
Speaker 3: you're right or not. Yeah, No, I mean they're dozens. Yeah,

1034
00:53:38,760 --> 00:53:41,280
Speaker 3: you don't have to take that on. They'll decide, okay.

1035
00:53:41,480 --> 00:53:44,799
Speaker 3: And if they say it's you, we'll take it to

1036
00:53:44,840 --> 00:53:45,200
Speaker 3: the bank.

1037
00:53:45,239 --> 00:53:45,520
Speaker 2: It's you.

1038
00:53:45,640 --> 00:53:48,920
Speaker 3: So figure out what part of you. In other words,

1039
00:53:49,239 --> 00:53:50,759
Speaker 3: quite auditioning. You've got the role.

1040
00:53:50,880 --> 00:53:55,480
Speaker 1: Yeah, so now do it. Yeah, yeah, okay, sound wisdom,

1041
00:53:55,480 --> 00:53:56,160
Speaker 1: Thank you very much.

1042
00:53:56,239 --> 00:53:58,360
Speaker 3: Now there's some other stuff you can do, which is

1043
00:54:00,480 --> 00:54:04,440
Speaker 3: have the knowledge I've directed. If you ever directed, No,

1044
00:54:04,480 --> 00:54:07,160
Speaker 3: I'd like to, Well, I'll tell you on the first day.

1045
00:54:07,719 --> 00:54:12,440
Speaker 3: The most frightened person on the sad it is not

1046
00:54:12,560 --> 00:54:19,759
Speaker 3: the actors. It's the director, because it's the responsibility is

1047
00:54:20,000 --> 00:54:26,560
Speaker 3: especially in an indie, but the responsibility is crushing, and

1048
00:54:26,640 --> 00:54:29,000
Speaker 3: the good ones can take all that pressure and they

1049
00:54:29,080 --> 00:54:30,200
Speaker 3: still shine.

1050
00:54:30,239 --> 00:54:30,760
Speaker 2: I couldn't.

1051
00:54:30,760 --> 00:54:36,440
Speaker 3: I fell apart. Oh my god. And but just know

1052
00:54:37,800 --> 00:54:40,400
Speaker 3: that when you go to the audition, the director is

1053
00:54:40,680 --> 00:54:46,399
Speaker 3: praying that the character walks in the door. If you're

1054
00:54:46,440 --> 00:54:50,800
Speaker 3: perfect for it, then he or she can go whoo,

1055
00:54:51,160 --> 00:54:54,160
Speaker 3: I don't have to worry about that, and you go

1056
00:54:54,200 --> 00:54:55,919
Speaker 3: to the next thing to worry about in your list.

1057
00:54:56,680 --> 00:54:59,719
Speaker 3: But when they're excited about who they found, because it's

1058
00:54:59,760 --> 00:55:07,399
Speaker 3: per so to that end, I think it's a good

1059
00:55:07,440 --> 00:55:10,200
Speaker 3: idea to walk in a little bit, a little bit

1060
00:55:10,400 --> 00:55:14,319
Speaker 3: as the character find that part of yourself. And when

1061
00:55:14,360 --> 00:55:16,200
Speaker 3: I say a little bit, if they know what you're doing,

1062
00:55:16,360 --> 00:55:18,640
Speaker 3: you're fucked. That's not good.

1063
00:55:18,800 --> 00:55:19,000
Speaker 2: Yeah.

1064
00:55:19,040 --> 00:55:22,400
Speaker 3: Yeah, they got to think you were born to play this.

1065
00:55:22,680 --> 00:55:22,960
Speaker 2: Ah.

1066
00:55:23,080 --> 00:55:26,839
Speaker 1: Yeah. So you mean from we're talking that you walk

1067
00:55:26,880 --> 00:55:29,640
Speaker 1: in the room and it's like hello, I'm in character

1068
00:55:29,719 --> 00:55:30,120
Speaker 1: a little bit.

1069
00:55:30,200 --> 00:55:32,160
Speaker 3: Yeah yeah, and God willing you get to walk in

1070
00:55:32,200 --> 00:55:35,120
Speaker 3: the room and say hello. I preferred that the self tapes.

1071
00:55:35,920 --> 00:55:37,320
Speaker 1: I don't like self tapes.

1072
00:55:38,120 --> 00:55:38,400
Speaker 2: Yeah.

1073
00:55:38,480 --> 00:55:40,600
Speaker 1: I love the thrill of getting one shot, but that's

1074
00:55:40,719 --> 00:55:43,120
Speaker 1: maybe masochistic. I don't, but I really do love the.

1075
00:55:43,200 --> 00:55:46,080
Speaker 3: Like, yeah, they make you do it in one take and.

1076
00:55:46,320 --> 00:55:48,839
Speaker 1: When you go in person and the no I feel

1077
00:55:48,840 --> 00:55:50,600
Speaker 1: like when you go in person, the notion is you're

1078
00:55:50,640 --> 00:55:52,719
Speaker 1: gonna get to do this one time. You might get

1079
00:55:52,760 --> 00:55:55,160
Speaker 1: redirected if you get there, if they have time for that.

1080
00:55:55,200 --> 00:55:57,040
Speaker 1: But in my mind, when you walk into an in

1081
00:55:57,080 --> 00:55:59,920
Speaker 1: personal audition, it's like one chance, let's see what you do.

1082
00:56:00,480 --> 00:56:00,840
Speaker 3: Yeah.

1083
00:56:00,920 --> 00:56:03,600
Speaker 1: Yeah, And for me self tapes, getting to do it

1084
00:56:03,640 --> 00:56:06,560
Speaker 1: over and over and over and over again is I

1085
00:56:06,560 --> 00:56:08,920
Speaker 1: don't enjoy that for a myriad of reasons.

1086
00:56:09,320 --> 00:56:16,120
Speaker 3: I my daughter and her boyfriend both push back, but

1087
00:56:16,280 --> 00:56:19,120
Speaker 3: they give you these instructions to do it straight on

1088
00:56:19,200 --> 00:56:23,319
Speaker 3: and blah blah blah blah blah, and they don't say

1089
00:56:23,360 --> 00:56:28,239
Speaker 3: that you can't move. So I always said, do it

1090
00:56:28,360 --> 00:56:31,799
Speaker 3: here and then walk forward for your own close up.

1091
00:56:32,440 --> 00:56:36,240
Speaker 3: Oh you can do that. And I don't think anyone's

1092
00:56:36,280 --> 00:56:38,240
Speaker 3: going to go take the tape out. They broke the rules.

1093
00:56:38,560 --> 00:56:43,720
Speaker 3: If someone follows you so you can choreograph it. Yeah,

1094
00:56:43,760 --> 00:56:47,359
Speaker 3: And I think it's terrible if you overdress, but if

1095
00:56:47,360 --> 00:56:50,920
Speaker 3: it's a doctor, you could at least wear a white

1096
00:56:50,960 --> 00:56:54,520
Speaker 3: blouse so they get just make it easy as you

1097
00:56:54,560 --> 00:56:58,360
Speaker 3: can on the director, be the character.

1098
00:56:58,560 --> 00:57:01,040
Speaker 1: What do you think about props in audition a self

1099
00:57:01,080 --> 00:57:01,720
Speaker 1: tape audition?

1100
00:57:01,800 --> 00:57:03,960
Speaker 3: Well, sometimes I think it's more self conscious to not

1101
00:57:04,040 --> 00:57:05,680
Speaker 3: have the props than it is to go ahead and

1102
00:57:05,680 --> 00:57:11,200
Speaker 3: get a freaking telephone. Well that's the rule. Imagine yourself

1103
00:57:11,480 --> 00:57:13,640
Speaker 3: trying to figure out who you're going to choose, because

1104
00:57:13,880 --> 00:57:17,040
Speaker 3: you're going to sit there for thirty or forty tays

1105
00:57:17,120 --> 00:57:20,880
Speaker 3: doing the same scene over and over again. Do what

1106
00:57:20,920 --> 00:57:24,720
Speaker 3: you can to help the director out. Yeah, to see

1107
00:57:24,720 --> 00:57:29,440
Speaker 3: the scene. Yeah, I got another trick, right, Yeah, you ready.

1108
00:57:29,280 --> 00:57:31,280
Speaker 1: Yes, I'm ready.

1109
00:57:31,960 --> 00:57:38,720
Speaker 3: They sent you that scene for a reason. Find that reason,

1110
00:57:38,880 --> 00:57:41,600
Speaker 3: and it's going to be one sentence. It'll be one moment.

1111
00:57:43,440 --> 00:57:49,400
Speaker 3: It's a page, but there's this moment where something happens.

1112
00:57:49,640 --> 00:57:51,360
Speaker 3: They want to see if you can do that moment.

1113
00:57:51,480 --> 00:57:54,680
Speaker 3: That's why they choose that scene. Yeah, and that you

1114
00:57:54,720 --> 00:57:58,320
Speaker 3: can imagine is a big moment. Yeah, I'm assuming it's

1115
00:57:58,480 --> 00:58:00,160
Speaker 3: a real role. You know, you're going to be it

1116
00:58:01,040 --> 00:58:06,800
Speaker 3: in the thing a bit, and so when you when

1117
00:58:06,840 --> 00:58:09,480
Speaker 3: you do yourself tape, that's the moment.

1118
00:58:09,880 --> 00:58:10,360
Speaker 2: Yeah.

1119
00:58:11,800 --> 00:58:17,000
Speaker 3: Okay, And if nothing else, pause.

1120
00:58:20,240 --> 00:58:22,000
Speaker 1: Is it because it makes people lean in like I'm.

1121
00:58:22,000 --> 00:58:22,800
Speaker 3: It's because of this.

1122
00:58:23,080 --> 00:58:28,120
Speaker 1: Yeah.

1123
00:58:28,600 --> 00:58:30,560
Speaker 3: So I just took a long pause, and I can

1124
00:58:30,640 --> 00:58:32,720
Speaker 3: tell you just waiting to see what I'm gonna say

1125
00:58:32,840 --> 00:58:35,920
Speaker 3: it works, take a pause, and then do the moment.

1126
00:58:36,320 --> 00:58:40,320
Speaker 1: Okay, ooh, I'm gonna do it. Do you think it'll

1127
00:58:40,320 --> 00:58:42,400
Speaker 1: work in a comedy.

1128
00:58:43,160 --> 00:58:49,320
Speaker 3: I'm absolutely and it could be that's the moment. Okay,

1129
00:58:50,000 --> 00:58:51,400
Speaker 3: how are you going to do the punchline?

1130
00:58:51,520 --> 00:58:54,680
Speaker 1: If I if I book my next job, I'll take

1131
00:58:54,720 --> 00:58:58,840
Speaker 1: ten percent, no problem, no problem. This is a verbal

1132
00:58:58,840 --> 00:59:03,680
Speaker 1: binding contract, No problem. I'm curious too. This is not

1133
00:59:03,800 --> 00:59:07,360
Speaker 1: advice for me, but maybe it could be. How you

1134
00:59:07,640 --> 00:59:13,080
Speaker 1: the distillery, you guys make vodka, whiskey, gin, Okay, how

1135
00:59:13,080 --> 00:59:16,920
Speaker 1: would you characterize each of those spirits? Not necessarily woody creaks,

1136
00:59:16,920 --> 00:59:20,040
Speaker 1: but just in general, what would you say Whiskey's personality is?

1137
00:59:20,280 --> 00:59:23,040
Speaker 3: Okay? I write songs on ukulele for Woody Creek.

1138
00:59:23,160 --> 00:59:23,680
Speaker 1: Okay, great.

1139
00:59:24,200 --> 00:59:26,320
Speaker 3: I sing about the distillery and the people in it

1140
00:59:26,360 --> 00:59:28,200
Speaker 3: and the stuff. And I had this idea for a

1141
00:59:28,240 --> 00:59:33,200
Speaker 3: song that I'm singing to spirits Okay, and it starts off, Hello, Vodka.

1142
00:59:34,080 --> 00:59:36,200
Speaker 3: I'm sorry, I've been out of town. You know I've

1143
00:59:36,200 --> 00:59:40,320
Speaker 3: been working. You're the first one I've called up. Okay.

1144
00:59:40,400 --> 00:59:45,600
Speaker 3: So I was thinking about all these different spirits and vodka.

1145
00:59:47,200 --> 00:59:50,360
Speaker 3: Vodka's the girl who gets along with everyone. You can

1146
00:59:50,400 --> 00:59:51,360
Speaker 3: take her anywhere.

1147
00:59:51,440 --> 00:59:51,640
Speaker 2: Man.

1148
00:59:51,960 --> 00:59:56,840
Speaker 3: She just works. She doesn't have a big range of personality.

1149
00:59:56,880 --> 00:59:59,760
Speaker 3: But what she does she does really well. And if

1150
00:59:59,760 --> 01:00:02,560
Speaker 3: I can be blunt, she's a little bland sometimes a

1151
01:00:02,600 --> 01:00:03,120
Speaker 3: little boring.

1152
01:00:03,280 --> 01:00:05,960
Speaker 1: Okay, that's okay. We all know her.

1153
01:00:06,520 --> 01:00:10,680
Speaker 3: Rye whiskey. Yeah comes from New York. And we'll tell

1154
01:00:10,760 --> 01:00:14,920
Speaker 3: you know, yeah, it's it's it's sophisticated and it's been

1155
01:00:14,960 --> 01:00:18,720
Speaker 3: around the block. But it's got an accent. Bourbon's got

1156
01:00:18,840 --> 01:00:21,280
Speaker 3: to sell an accent. And she's you know, she's flirty,

1157
01:00:21,320 --> 01:00:24,560
Speaker 3: and you know, and I came up with all this

1158
01:00:24,560 --> 01:00:28,680
Speaker 3: stuff until I got to tequila. And this is tequila. Okay, tequila,

1159
01:00:28,880 --> 01:00:32,000
Speaker 3: you bitch. You know I almost lost my job. What

1160
01:00:32,040 --> 01:00:34,720
Speaker 3: were you thinking? Get out of here. I never want

1161
01:00:34,720 --> 01:00:37,000
Speaker 3: to see you. Wait a minute, come back. I'm sorry.

1162
01:00:37,360 --> 01:00:37,720
Speaker 3: It was.

1163
01:00:40,040 --> 01:00:43,520
Speaker 1: That's good. That's good, okay. But Gin, which I'm on now.

1164
01:00:43,640 --> 01:00:46,360
Speaker 1: People are not into gin, but I'm so into Gin now.

1165
01:00:46,640 --> 01:00:49,120
Speaker 3: I am too. Gen and Tonic, yes, I love them

1166
01:00:49,280 --> 01:00:52,840
Speaker 3: love and I love Tonic water, the quinine. And I

1167
01:00:52,920 --> 01:00:55,440
Speaker 3: have never had malaria.

1168
01:00:55,520 --> 01:00:57,600
Speaker 1: Not once. I have as a kid. Can you believe?

1169
01:00:57,760 --> 01:01:01,440
Speaker 3: But I would not drinking that gene. Explain your parents

1170
01:01:01,840 --> 01:01:02,520
Speaker 3: drinking enough.

1171
01:01:02,880 --> 01:01:04,960
Speaker 1: I wasn't drinking enough gin as a four year old.

1172
01:01:05,040 --> 01:01:08,840
Speaker 3: So we got two gins, a regular gin h and

1173
01:01:08,960 --> 01:01:13,000
Speaker 3: the aforementioned Mary's gin, the purple gin. The botanicals are

1174
01:01:13,200 --> 01:01:18,720
Speaker 3: fabulous in that they're not a secret. But gosh, Rye

1175
01:01:18,760 --> 01:01:22,360
Speaker 3: whiskey is made from rye rye grass, and the law

1176
01:01:22,440 --> 01:01:24,680
Speaker 3: says it's got to be fifty one percent rye whiskey.

1177
01:01:25,080 --> 01:01:28,680
Speaker 3: And that's my jam. I love rye whiskey and I'm

1178
01:01:28,680 --> 01:01:35,280
Speaker 3: a Southern boy. Yeah, And I put out a signature rye.

1179
01:01:35,320 --> 01:01:38,640
Speaker 3: It was a blind barrel tasting seven barrels. That was

1180
01:01:38,720 --> 01:01:41,600
Speaker 3: a trip. And the one I chose they put in

1181
01:01:41,640 --> 01:01:45,920
Speaker 3: a really cool box. It's a trifle and it's bottled

1182
01:01:45,960 --> 01:01:48,560
Speaker 3: in bond and ten years old and yummy, yummy, yummy,

1183
01:01:48,880 --> 01:01:52,400
Speaker 3: it's really fine. The second one I chose. That one

1184
01:01:53,200 --> 01:01:55,760
Speaker 3: was an eighty twenty mash bill twenty percent malt. I

1185
01:01:55,760 --> 01:01:57,960
Speaker 3: couldn't believe it. Second one I chose, I could have

1186
01:01:58,000 --> 01:02:02,320
Speaker 3: sworn had some malt one hundred percent rye okay, which

1187
01:02:02,360 --> 01:02:07,880
Speaker 3: is a hat trick that's hard to distill. And uh,

1188
01:02:08,040 --> 01:02:10,720
Speaker 3: we've got a couple of ries The bourbon has to

1189
01:02:10,760 --> 01:02:16,200
Speaker 3: be corn fifty percent, and we've got a bunch of them.

1190
01:02:16,240 --> 01:02:20,560
Speaker 3: There's a high rye bourbon that everyone. There's a weeded bourbon.

1191
01:02:20,680 --> 01:02:22,920
Speaker 3: We got straight corn bourbon.

1192
01:02:24,000 --> 01:02:24,720
Speaker 2: We've got a bunch.

1193
01:02:25,440 --> 01:02:26,320
Speaker 3: What am I missing?

1194
01:02:27,720 --> 01:02:28,200
Speaker 2: We're missing.

1195
01:02:29,000 --> 01:02:35,080
Speaker 3: The vodka is on potato vodka, which has a taste.

1196
01:02:35,200 --> 01:02:37,640
Speaker 3: You know, vodka tastes like what you mix it with it.

1197
01:02:37,640 --> 01:02:41,840
Speaker 3: It's a clear spirit. Ours has a taste because it's

1198
01:02:42,400 --> 01:02:46,120
Speaker 3: there's eight potatoes in every bottle and it's they sort

1199
01:02:46,160 --> 01:02:50,360
Speaker 3: of grind it into mashed potatoes and that goes in

1200
01:02:50,400 --> 01:02:54,280
Speaker 3: the mash and it leaves a taste good.

1201
01:02:54,560 --> 01:02:57,320
Speaker 1: Okay, I'm looking forward to my delivery.

1202
01:02:58,080 --> 01:03:00,400
Speaker 3: I'll be trying the gin is on its way.

1203
01:03:00,640 --> 01:03:03,480
Speaker 1: Okay, I'm very excited. I'll be getting gin and tonics.

1204
01:03:03,520 --> 01:03:07,440
Speaker 1: I won't be getting malaria ever. Again. We're here, Yes.

1205
01:03:07,320 --> 01:03:10,360
Speaker 3: We're here in Total Wine and More. Yes, in a

1206
01:03:10,360 --> 01:03:13,360
Speaker 3: couple of other places. But you can always get it

1207
01:03:14,120 --> 01:03:15,760
Speaker 3: go online Woody Creek Distillers.

1208
01:03:16,040 --> 01:03:18,360
Speaker 1: I'm such an improviser. I thought you were saying this

1209
01:03:18,440 --> 01:03:20,200
Speaker 1: is where I'm setting the location, and I was like,

1210
01:03:20,200 --> 01:03:22,680
Speaker 1: I'm ready to do the scene. We're here at Total Line.

1211
01:03:22,440 --> 01:03:24,880
Speaker 3: And Okay, we're here being la.

1212
01:03:24,520 --> 01:03:28,240
Speaker 1: Exactly exactly, No, I register. We have to give a

1213
01:03:28,720 --> 01:03:31,360
Speaker 1: listener advice. If you're up for it, We're going to

1214
01:03:31,400 --> 01:03:32,760
Speaker 1: give a list Kevin, We're so ready.

1215
01:03:33,240 --> 01:03:33,720
Speaker 3: Hey, I go.

1216
01:03:34,240 --> 01:03:36,640
Speaker 4: It's Zach. I have a question about something I have

1217
01:03:36,640 --> 01:03:39,920
Speaker 4: a lot of trouble with, which is, whenever I'm waiting

1218
01:03:40,000 --> 01:03:43,680
Speaker 4: on the outcome or resolution to something that's been stressing

1219
01:03:43,680 --> 01:03:47,320
Speaker 4: me out, causing me anxiety, I find I have a

1220
01:03:47,360 --> 01:03:52,360
Speaker 4: really hard time waiting for the outcome and kind of

1221
01:03:52,400 --> 01:03:56,240
Speaker 4: sitting in that uncomfortable miss as I wait now, I

1222
01:03:56,280 --> 01:03:59,360
Speaker 4: always feel the need to reach out or check in

1223
01:03:59,440 --> 01:04:02,040
Speaker 4: and try to rab on to some you know, emotional

1224
01:04:02,120 --> 01:04:05,040
Speaker 4: control of the situation. So I was wondering if you

1225
01:04:05,080 --> 01:04:08,400
Speaker 4: guys had any advice on how to sit in that

1226
01:04:08,520 --> 01:04:11,760
Speaker 4: uncomfortableness and wait for the resolution to come to you,

1227
01:04:11,920 --> 01:04:16,000
Speaker 4: because often that is what is best. It's just waiting.

1228
01:04:16,200 --> 01:04:16,800
Speaker 3: I hope you have.

1229
01:04:17,240 --> 01:04:17,760
Speaker 1: Thank you.

1230
01:04:18,200 --> 01:04:21,760
Speaker 4: Also, shout out Baltimore County, Shout out Eastern Tech. Catch

1231
01:04:21,800 --> 01:04:24,120
Speaker 4: me at the White Marsh Avenue in two thousand and five,

1232
01:04:24,840 --> 01:04:26,640
Speaker 4: Act done a damn fool on a group date to

1233
01:04:26,640 --> 01:04:27,200
Speaker 4: see Hitch.

1234
01:04:27,600 --> 01:04:29,480
Speaker 3: Thank you, Oh you sly dog.

1235
01:04:29,880 --> 01:04:31,640
Speaker 1: Oh well, Okay.

1236
01:04:31,760 --> 01:04:33,400
Speaker 3: I hope you have an answer, because I got that

1237
01:04:33,480 --> 01:04:34,160
Speaker 3: same problem.

1238
01:04:34,240 --> 01:04:37,280
Speaker 1: You have the same problem. I don't if you don't

1239
01:04:37,320 --> 01:04:39,760
Speaker 1: have an answer, I can't imagine mine means anything. But

1240
01:04:39,880 --> 01:04:45,240
Speaker 1: my immediate instinct in hearing that was meditation. Nation, right,

1241
01:04:45,400 --> 01:04:47,800
Speaker 1: I feel like you gotta breathe, and I don't. There's

1242
01:04:47,880 --> 01:04:49,720
Speaker 1: real breath work. Have you ever done breath work?

1243
01:04:49,800 --> 01:04:50,760
Speaker 3: Yes, it's real.

1244
01:04:50,920 --> 01:04:53,560
Speaker 1: It's real, and it's incredible, and it really is work,

1245
01:04:53,640 --> 01:04:56,560
Speaker 1: by the way, kind of exhausted. Well, initially it feels

1246
01:04:56,640 --> 01:04:58,840
Speaker 1: very exhausting, and then you get into this sort of

1247
01:04:58,920 --> 01:05:03,080
Speaker 1: like hypnotized state. But I would say that it just

1248
01:05:03,160 --> 01:05:06,240
Speaker 1: grounds you because I understand the desire. I always want answers.

1249
01:05:06,280 --> 01:05:09,920
Speaker 1: I like quick answers. I like clarity. I don't like ambiguity. Kevin,

1250
01:05:10,000 --> 01:05:12,800
Speaker 1: my producer, will tell you it goes always like, Hey,

1251
01:05:13,040 --> 01:05:17,200
Speaker 1: what's happening here? What's the update here? I really like, Yeah,

1252
01:05:17,200 --> 01:05:19,400
Speaker 1: But I think you have to meditate because it brings

1253
01:05:19,400 --> 01:05:22,160
Speaker 1: you right back to here. You know you're okay yet

1254
01:05:22,400 --> 01:05:26,080
Speaker 1: generally usually have everything you need and the answer will

1255
01:05:26,080 --> 01:05:27,640
Speaker 1: come to you, So you've got to.

1256
01:05:28,000 --> 01:05:30,920
Speaker 3: The only part of that I don't like is the meditating.

1257
01:05:31,040 --> 01:05:33,600
Speaker 1: Okay, tell me why I don't like meditating.

1258
01:05:36,120 --> 01:05:38,080
Speaker 3: I hear two things. You have to meditate and you

1259
01:05:38,080 --> 01:05:41,720
Speaker 3: have to take yoga, and they're both absolutely under correct.

1260
01:05:41,880 --> 01:05:44,560
Speaker 1: Yeah yeah, but what do you not like about the meditating?

1261
01:05:44,600 --> 01:05:46,120
Speaker 1: Is it just the stillness bothers you?

1262
01:05:46,240 --> 01:05:47,400
Speaker 2: Is it? What is exactly?

1263
01:05:47,600 --> 01:05:56,800
Speaker 3: I'm being hyperbolic a little bit. I played around with

1264
01:05:56,920 --> 01:06:03,280
Speaker 3: TM and a couple of other things. But I don't know.

1265
01:06:03,480 --> 01:06:05,160
Speaker 3: I don't know why I don't do it. It's a

1266
01:06:05,160 --> 01:06:08,040
Speaker 3: good idea I should, I should practice and it would help.

1267
01:06:08,080 --> 01:06:10,840
Speaker 3: But I do do I said, do do do doo?

1268
01:06:11,320 --> 01:06:11,840
Speaker 1: We gotcha?

1269
01:06:12,560 --> 01:06:16,120
Speaker 3: Do you do our work here has done some meditative stuff.

1270
01:06:16,280 --> 01:06:18,960
Speaker 1: I guess what meditatative stuff do you do?

1271
01:06:20,840 --> 01:06:25,760
Speaker 3: Well? If I'm really flipping out that breathing, it's.

1272
01:06:25,000 --> 01:06:26,400
Speaker 1: Really good, it's good.

1273
01:06:26,680 --> 01:06:26,880
Speaker 3: Yeah.

1274
01:06:27,160 --> 01:06:29,200
Speaker 1: Or journal? By the way, if you don't like meditating,

1275
01:06:29,240 --> 01:06:31,520
Speaker 1: I think an alternative to it is journaling. I think

1276
01:06:31,600 --> 01:06:34,680
Speaker 1: I'm not a therapist. Don't sue me if this doesn't work,

1277
01:06:34,720 --> 01:06:37,680
Speaker 1: but I'm like, I like to journal. Get your thoughts out.

1278
01:06:37,720 --> 01:06:38,760
Speaker 1: What are you so anxious about.

1279
01:06:39,000 --> 01:06:41,520
Speaker 3: I've got the advantage of him because I put it

1280
01:06:41,640 --> 01:06:44,840
Speaker 3: on a bunch more miles and it sort of naturally

1281
01:06:45,240 --> 01:06:47,040
Speaker 3: falls away. You know when when are we going to

1282
01:06:47,080 --> 01:06:49,320
Speaker 3: find out? You know, I just go I got time.

1283
01:06:49,600 --> 01:06:50,840
Speaker 1: Yeah, yeah, I have time.

1284
01:06:50,840 --> 01:06:51,880
Speaker 3: I'm nothing but time.

1285
01:06:52,000 --> 01:06:52,160
Speaker 2: Yeah.

1286
01:06:52,200 --> 01:06:54,400
Speaker 1: I mean, honestly, if we're in this, in this world

1287
01:06:54,480 --> 01:06:56,800
Speaker 1: of speaking about meditation, I feel like that's something to

1288
01:06:56,800 --> 01:06:59,320
Speaker 1: repeat to yourself. You have time, it'll work out. Maybe

1289
01:06:59,320 --> 01:07:00,640
Speaker 1: you need mantra that'll help you.

1290
01:07:00,680 --> 01:07:03,760
Speaker 3: I want to hear a breathing story. Yes, please, I

1291
01:07:03,800 --> 01:07:07,240
Speaker 3: got They called me up to do speed the plow

1292
01:07:07,320 --> 01:07:12,840
Speaker 3: on Broadway to replace somebody, and I had weeks to

1293
01:07:12,920 --> 01:07:16,120
Speaker 3: learn it over Christmas and I almost had it, but

1294
01:07:16,520 --> 01:07:20,800
Speaker 3: it was it's a lot to learn. It's Dave Mammot,

1295
01:07:20,800 --> 01:07:25,800
Speaker 3: which is not easy to learn. And so YadA, YadA, YadA.

1296
01:07:25,800 --> 01:07:27,960
Speaker 3: I go to New York and Felicity was there for

1297
01:07:28,000 --> 01:07:30,680
Speaker 3: the I said, oh my god, I'm in trouble. I

1298
01:07:30,720 --> 01:07:34,880
Speaker 3: can't get through this. She said, breathe, just breathe, and

1299
01:07:35,000 --> 01:07:37,240
Speaker 3: I said, oh my god. I went to the rehearsal

1300
01:07:37,240 --> 01:07:39,000
Speaker 3: to day. I went up four times. She said breathe,

1301
01:07:39,120 --> 01:07:41,000
Speaker 3: just breathe. And then she had to leave town and

1302
01:07:41,040 --> 01:07:44,160
Speaker 3: she said, remember, breathe, just breathe, and I went, would

1303
01:07:44,160 --> 01:07:47,360
Speaker 3: you shut up with the breathing. I don't know the lines.

1304
01:07:47,520 --> 01:07:47,960
Speaker 2: Breathing.

1305
01:07:48,000 --> 01:07:53,320
Speaker 3: I'm breathing. I don't know the lines, and she said, yeah, breathe,

1306
01:07:53,720 --> 01:07:58,720
Speaker 3: just breathe, so boom. I'm sitting at the desk. There's

1307
01:07:58,720 --> 01:08:01,200
Speaker 3: an act curtain. I can hear the audience. The stage

1308
01:08:01,200 --> 01:08:04,120
Speaker 3: manager says, you're right ready, and I said yeah. And

1309
01:08:04,160 --> 01:08:07,640
Speaker 3: then something happened and it was about an extra minute

1310
01:08:07,720 --> 01:08:14,320
Speaker 3: before it went up, and I thought, well, I'm fainting.

1311
01:08:14,960 --> 01:08:18,200
Speaker 3: I was lightheaded, and I grabbed the desk and I thought,

1312
01:08:19,320 --> 01:08:22,080
Speaker 3: the curtain's going to come up and I'll be white

1313
01:08:22,160 --> 01:08:27,639
Speaker 3: and fall forward. Oh God, and my wife's voice came

1314
01:08:27,720 --> 01:08:32,840
Speaker 3: into my head. Breathe and I breathed, and I took

1315
01:08:33,120 --> 01:08:39,439
Speaker 3: about ten cleansing breaths and it calmed me down. And

1316
01:08:40,800 --> 01:08:41,959
Speaker 3: I got through the play.

1317
01:08:41,840 --> 01:08:44,000
Speaker 1: And you didn't and the curtains didn't open to you

1318
01:08:44,240 --> 01:08:48,760
Speaker 1: past Now I was upright, Okay, that is good, Felicity.

1319
01:08:49,320 --> 01:08:55,320
Speaker 1: We started kind of by thanking Felicity, sound advice, sage, wisdom, truly,

1320
01:08:55,400 --> 01:08:58,400
Speaker 1: and it's wild how much our breath not to be

1321
01:08:58,439 --> 01:09:00,960
Speaker 1: this girl but I am this girl. Well, it's wild

1322
01:09:01,320 --> 01:09:04,519
Speaker 1: just how much our breath can ground us. And it's

1323
01:09:04,520 --> 01:09:07,439
Speaker 1: this thing we do so mindlessly and we take for granted.

1324
01:09:07,840 --> 01:09:09,680
Speaker 1: But if we like actually hone in on it and

1325
01:09:09,800 --> 01:09:12,320
Speaker 1: zero and on it, it is so remarkably calming. It's

1326
01:09:12,479 --> 01:09:16,360
Speaker 1: it's wild, but that is that's a fun story in felicity.

1327
01:09:16,439 --> 01:09:20,080
Speaker 1: Right once again, Happy nearly thirty years to you too.

1328
01:09:20,760 --> 01:09:23,519
Speaker 1: I'm so happy you agreed to do my podcast. Thank

1329
01:09:23,560 --> 01:09:24,320
Speaker 1: you for being here.

1330
01:09:24,479 --> 01:09:25,320
Speaker 3: This is fun.

1331
01:09:25,400 --> 01:09:26,559
Speaker 2: I love this. Thank you.

1332
01:09:26,720 --> 01:09:34,120
Speaker 1: This is fun for me too. Thank you. That was

1333
01:09:34,120 --> 01:09:37,880
Speaker 1: my conversation with William H. Macy. I mean, the man

1334
01:09:38,080 --> 01:09:42,240
Speaker 1: is wise. He has lived a lot of life in

1335
01:09:42,280 --> 01:09:44,640
Speaker 1: some sense his words, not mine. Anyway, I feel like

1336
01:09:44,680 --> 01:09:46,439
Speaker 1: I got a lot and maybe I'll book my next

1337
01:09:46,479 --> 01:09:49,960
Speaker 1: audition or something. I'm very excited. If you want advice

1338
01:09:49,960 --> 01:09:51,400
Speaker 1: from me and my next guest, all you have to

1339
01:09:51,400 --> 01:09:53,720
Speaker 1: do is call us and leave me a message. It's

1340
01:09:53,760 --> 01:09:56,759
Speaker 1: five zero two eight four nine three two three seven.

1341
01:09:57,160 --> 01:10:00,200
Speaker 1: Again it's five zero two eight for nine three two three.

1342
01:10:00,400 --> 01:10:02,639
Speaker 1: I cannot wait to hear from you. I cannot wait

1343
01:10:02,680 --> 01:10:06,720
Speaker 1: to attempt to help you. Please. I want to help you.

1344
01:10:07,320 --> 01:10:08,800
Speaker 1: I don't know what I'm doing, but I want to

1345
01:10:08,840 --> 01:10:13,240
Speaker 1: help you. So call, leave a message, and maybe my

1346
01:10:13,400 --> 01:10:16,000
Speaker 1: next guest and I will be giving you advice. Thanks guys,

1347
01:10:16,280 --> 01:10:18,599
Speaker 1: Thanks Dad is a production of Will Ferrell's Big Money

1348
01:10:18,600 --> 01:10:22,320
Speaker 1: Players and iHeart Podcasts. I'm your host Aigo wodem Our.

1349
01:10:22,360 --> 01:10:25,880
Speaker 1: Producer is Kevin Bartelt, and our executive producer is Matt

1350
01:10:25,920 --> 01:10:30,240
Speaker 1: Appadaka