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Speaker 1: I'm Alec Baldwin and you were listening to Here's the Thing.

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Speaker 1: Kyle McLaughlin's having a moment. Critics and fans are heaping

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Speaker 1: on the praise for his agent Dale Cooper in Twin Peaks.

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Speaker 1: Twenty six years after his star turn as Dale Cooper

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Speaker 1: and Twin Peaks, it is happening again. McLaughlin has had

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Speaker 1: a wonderfully unconventional career. His first job was in David

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Speaker 1: Lynch's ill fated Dune, a movie I love, but it

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Speaker 1: was pilloried when it came out. His second job was

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Speaker 1: starring in Lynch's dark masterpiece Blue Velvet. Then, in his

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Speaker 1: own words, he tried out for Hollywood's big romantic leads

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Speaker 1: and it never quite worked despite his talent and good looks,

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Speaker 1: But his collaboration with Lynch turned into one of the

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Speaker 1: great actor director partnerships. McLaughlin just seems to fit in

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Speaker 1: Lynch's uncanny worlds. Do you remember everything? You would never

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Speaker 1: have predicted it from what he watched as a kid.

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Speaker 1: We were actually restricted to Disney movies. Why do you

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Speaker 1: think that is? Our parents were very conservative, conservative, tremendously conservative. Yeah,

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Speaker 1: some interviews you did talk about you know, throwing footballs

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Speaker 1: and playing golf and flying kites with your brothers. But

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Speaker 1: was there any predisposition toward the kind of vibe that

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Speaker 1: you would then enter into this world with Lynch? Meaning,

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Speaker 1: were you like a sci fi fan? Was a sci

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Speaker 1: fi fan? I was? Yeah, Yeah, definitely. It was a

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Speaker 1: huge Dune fan. Found that book when I was in

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Speaker 1: junior high school. So odd that I ended up being

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Speaker 1: cast in the role of Paul the Prince. Yeah, I

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Speaker 1: didn't seem to made no sense to me. I said,

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Speaker 1: this is just completely surreal. And that started the relationship

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Speaker 1: with David Lynch. How did Lynch find you? I was

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Speaker 1: found by a casting agent, a junior casting agent in Seattle.

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Speaker 1: I was working up there at the theater. I had finished,

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Speaker 1: uh graduated within the last year, I guess, and I

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Speaker 1: was working in the theater doing Tartuff. We were doing

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Speaker 1: an adaptation of TARTUFI was on my way to New

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Speaker 1: York to go do seek my fortune basically, and call

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Speaker 1: came through. Hey, there, that casting agent in in in

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Speaker 1: Seattle had obviously a pipeline too. She actually had been

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Speaker 1: sent out on the you know what they do, the

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Speaker 1: crazy circuit. Yeah, so she was Elizabeth Lustig was her name.

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Speaker 1: She's part of the casting company, and she came through

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Speaker 1: and she met a number of people that day and

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Speaker 1: I read in a hotel room, you know, the Olympic

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Speaker 1: Four Seasons Hotel, downtown Seattle, and she put me on tape,

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Speaker 1: you know, that New Experience, and UH took it down

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Speaker 1: and showed it to David Lynch and Raphaela Dadtorrentists and

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Speaker 1: they said, oh, okay, bring him down, we'd like to

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Speaker 1: meet him. And met him and I met him and

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Speaker 1: what was that like? It was really like meeting a pal.

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Speaker 1: It was like we sat in an office at Universal

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Speaker 1: in one of the tiny bungalows weighing the back. I

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Speaker 1: have no idea where it was. And we just talked

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Speaker 1: about anything. But we didn't talk about noon. We just

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Speaker 1: talked about because he was from the Northwest and I

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Speaker 1: was in the Northwest, and so we talked about growing

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Speaker 1: up there and what it was like in the summertime,

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Speaker 1: and we did and we talked a little bit about

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Speaker 1: red wine because it was like red wine. And we

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Speaker 1: just chat it and uh and then he said, he

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Speaker 1: said in the end, I said, okay, here's the script,

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Speaker 1: twiny voice, and learn this. Learn these scenes. Kale, he

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Speaker 1: didn't call me Kale yet. Learn these scenes and then

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Speaker 1: come back in a few days and we'll shoot him.

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Speaker 1: You do a very good lunch, but we don't expect

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Speaker 1: that of you. You coming. How long did it take

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Speaker 1: you to shoot your part? And doing you play the

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Speaker 1: lead in the film? Yeah? In the film. So it

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Speaker 1: was seven months. We were in Mexico stoity for seven months,

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Speaker 1: which felt totally normal to me. I was like the

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Speaker 1: first experience in the first David Lynch to Mexico for

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Speaker 1: seven months. That's what you shot for seven months, for

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Speaker 1: seven months. That's why it was forty million dollars back then. Well,

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Speaker 1: I don't know if it was forty million dollars the paper,

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Speaker 1: I don't and you believe everything you're reading the pure anyway,

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Speaker 1: we he David was there for a year and a half.

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Speaker 1: They waited for a year and a half film because

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Speaker 1: they had second unit thirty and they had all special effects.

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Speaker 1: He had everything down there, and um he was I

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Speaker 1: think it was you start shooting them. Who was the DP?

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Speaker 1: Do you remember Freddy Francis Frans had no idea and

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Speaker 1: he was using a kind of a light box thing.

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Speaker 1: It was a whole crazy thing and they were smoking

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Speaker 1: up all this. I I got work on stage. You know,

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Speaker 1: this is this is weird. I didn't have to do

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Speaker 1: my own makeup, which is fantastic. Um. You know they

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Speaker 1: have people for that. You know, it was all this

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Speaker 1: new stuff. They put you in, these crazy costumes. Bob

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Speaker 1: Ringwood was was the costume. I did the shadow with

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Speaker 1: Bob ring the Great Bob Yea. We called him Rinky Bobwood.

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Speaker 1: Actually David called them rankey Bobwood. I didn't. I didn't

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Speaker 1: call him Ricky bobbin had a great get, a great

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Speaker 1: group of people. Yeah, it was a big movie, a

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Speaker 1: huge movie Tony Masters with a design pruction designer. I mean,

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Speaker 1: we just we had an extraordinary talented group of people.

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Speaker 1: When you get down there with your first movie. For me,

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Speaker 1: the first time I'm on camera, I'm we joke and

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Speaker 1: say that the soap opera that I first did here

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Speaker 1: in New York, we called it off off television. I

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Speaker 1: mean nobody was watching the show when it was canceled,

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Speaker 1: right when my contract was over two years now and

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Speaker 1: we did the show The Doctors on NBC And you

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Speaker 1: get to work out of the white hot spotlight and

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Speaker 1: your first movie is a big movie. Did you feel

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Speaker 1: pressure or you know, yeah, it was just a naive

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Speaker 1: I'm here to act and you know the kind of

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Speaker 1: the funny thing about training and maybe remember just coming

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Speaker 1: out of school, you really feel like you can do anything.

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Speaker 1: They still in you this sort of sense. And it's

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Speaker 1: also being twenty years old. You really were confident. Yeah,

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Speaker 1: I mean you're you're confident of the point of like

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Speaker 1: you can't even consider anything else. This is what you do. Um.

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Speaker 1: So we did it, you know, and we made a movie.

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Speaker 1: And the deal that I had in place, which is

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Speaker 1: difficult contractually, was that I could not appear in any

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Speaker 1: other film or television, could not even begin work on

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Speaker 1: film or television until Dune was released, which was not

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Speaker 1: but yeah, but that's that's so they were. But so

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Speaker 1: I had nothing else to work on, nothing else to

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Speaker 1: back it up, with nothing else to go, And of

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Speaker 1: course Dune came out. It was not well, it was unfortunately,

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Speaker 1: which is part of the negotiations with the Dayla Mens company.

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Speaker 1: They were really really tough. Um. I also had five

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Speaker 1: non five Dune pictures and three non Dune options. The

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Speaker 1: contract was this, Oh my god, it was and you

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Speaker 1: were in the Mercury. You were in the Arso Mills

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Speaker 1: Mercury Theater. Years I could still be doing doing hap

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Speaker 1: having a good cigar, aren't you? Would you? It's it

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Speaker 1: was one of those But what can I do? You know?

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Speaker 1: I mean, I'm what was working for equity hundred and

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Speaker 1: eighty five dollars a week to this when you go

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Speaker 1: out seven months later, what's changed? I had friends, now,

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Speaker 1: I had an agent, which was great, um, but I

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Speaker 1: hadn't spent any time in Los Angeles. Really. I've literally

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Speaker 1: gone from Seattle shoot down to Mexico City, um. And

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Speaker 1: then I went back to Seattle because I couldn't do

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Speaker 1: film and television, so I go to Los Angeles. So

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Speaker 1: I kind of skipped it and went home, went home

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Speaker 1: when I did a play there again, and I went

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Speaker 1: to New York a little bit and hung out with

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Speaker 1: some friends and just kind of idle my time until

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Speaker 1: the movie finally came out and the expectations were so

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Speaker 1: high and completely just shattered and I was ready to

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Speaker 1: go to work day I was. I was kind of disappointed,

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Speaker 1: but I was also like, well, you know, we did

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Speaker 1: it once, We'll do it again. I had this kind

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Speaker 1: of crazy optimism, like, okay, ware, we go the God

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Speaker 1: so Bad over. I think it had a lot to

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Speaker 1: do with just naivetat of youth and just feeling like

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Speaker 1: it's okay, well, you know, I got an agent. We're

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Speaker 1: gonna go and we're gonna make it happen. So I

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Speaker 1: literally packed up my car. I was in Seattle the time,

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Speaker 1: and drove down to Los Angeles, found a place to

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Speaker 1: stay and started what happens between you and Lynch on

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Speaker 1: the set of the movie that you become his DeNiro?

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Speaker 1: You know, I mean, you're his male protagonist. I don't,

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Speaker 1: again and again and again. Why I don't. I wish

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Speaker 1: I had an answer. I don't really know. I have

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Speaker 1: discussed it. We get along great. I mean there's been

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Speaker 1: various theories, you know, like I'm the guy that can

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Speaker 1: take you through the world. He handed me the script

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Speaker 1: of Blue Velvet while while we were filming Dune and said,

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Speaker 1: this is what I like to do next, and take

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Speaker 1: a look at the role of Jeffrey. And you know,

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Speaker 1: he gave it to me and I said, okay, I

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Speaker 1: took a look at it. Read the script. This is

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Speaker 1: my second film script today I read. The first one

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Speaker 1: was the second is due moment. And I read it

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Speaker 1: and and it was very powerful. So I mean, oh

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Speaker 1: my god, you know, like highly charged and a journey

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Speaker 1: to be honest that I that I could recognize, could understand.

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Speaker 1: Oh my lord, it is a crazy movie. And said

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Speaker 1: that you took the script and wanted your parents approval

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Speaker 1: of the script before you do it. I did, so

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Speaker 1: I got it. And they didn't take a look at this.

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Speaker 1: And my dad read it and he was like, okay,

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Speaker 1: my mom read it. Didn't say anything. You know. I

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Speaker 1: like it. And and she had been already diagnosed with

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Speaker 1: ovarian cancer, was in the middle of that battle. And

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Speaker 1: I said, well, screw it, that's it, but not to

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Speaker 1: do it. I'm not gonna do it. I'm not gonna

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Speaker 1: do if it's an upset her. I don't want to

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Speaker 1: put her in that position and I don't want that

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Speaker 1: kind of pressure or nothing like that. We're not gonna

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Speaker 1: do it. We'll find something else. And I called David

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Speaker 1: and I said, David, I can't. I can't do it,

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Speaker 1: you know, And I kind of explained him a little

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Speaker 1: bit and he understood. To his credit, he says, Gail,

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Speaker 1: want to understand. So there was a you know a

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Speaker 1: few months that he was trying to be cast I

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Speaker 1: think he did. But at the same time, I was like,

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Speaker 1: you know, listen, the offers were not pouring in, to

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Speaker 1: be honest, and I just couldn't shake the script. And

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Speaker 1: so I can kind of came back again, and I

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Speaker 1: kind of and I kind of went to him as well,

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Speaker 1: and I said, David, I really would. I think I

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Speaker 1: really need to do this. And I said that to

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Speaker 1: my mom. I just said to her, I said, Mom,

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Speaker 1: I think it's gonna do what I gotta do, what

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Speaker 1: I gotta do, and I think it's gonna be okay,

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Speaker 1: and I don't want you to worry. Did she lose

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Speaker 1: her battle with it? Then she run that time? Yes,

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Speaker 1: I joke. You know it's dark, you remember, But I

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Speaker 1: say she didn't live long enough to see it, which

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Speaker 1: is probably a good idea. She was fifty one. But

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Speaker 1: your dad survived. He still alive. My dad passed a

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Speaker 1: few about five years ago. Now. He was still close

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Speaker 1: with him at all. Yeah, yeah, what do you think

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Speaker 1: he was? He was, well, he's a critic. Turns out

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Speaker 1: it turns out I didn't know that, isn't my dad?

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Speaker 1: Dad said, you know, um, but he he one of

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Speaker 1: those dads that's really really proud when he's with his

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Speaker 1: friends and around and with me proud too, but also

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Speaker 1: when it's you know, said that one wasn't one of

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Speaker 1: your best. You know, he would say like that, you know,

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Speaker 1: but but but I knew it came from a place

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Speaker 1: of him wanting me to be my best, you know

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Speaker 1: what I mean. And he just could not not tell

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Speaker 1: a lie. That was my dad couldn't tell a lie.

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Speaker 1: But my dad, he had only one note for me

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Speaker 1: and all my he passed away three and I just

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Speaker 1: was starting out on TV and soap operas and going

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Speaker 1: to do pilots, and my dad said to me, completely

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Speaker 1: unrelated to my work at all. He said, you know

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Speaker 1: what you need to do. You need to develop a

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Speaker 1: walk like John Wayne has a walk. I mean he

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Speaker 1: has like a what you need to come up with

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Speaker 1: a work if they have a thing you do where

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Speaker 1: everybody it's like a senior show, like, huh, that's great.

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Speaker 1: I'm gonna go back to Strasburg and get some classes.

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Speaker 1: And don't you love it because now you know we're

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Speaker 1: at the time you're like you know, now you're like

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Speaker 1: he's just doing VESTI can to help. He's like, this

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Speaker 1: is what he knew, and he's like, you know, I

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Speaker 1: can see that in my dad. It's the love that

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Speaker 1: he was inside that body was like going through a

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Speaker 1: really small channel to get out. Just had a hard

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Speaker 1: time getting out, and that's the way it got out.

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Speaker 1: But I recognize that as can just complete love. Now

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Speaker 1: we go into this business and everybody in our lives

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Speaker 1: who are civilians, shall we say, who have their relationship

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Speaker 1: with the movies and television, they are fans. They watch

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Speaker 1: what they watch, they like what they like, and don't

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Speaker 1: like what they don't like. And so when somebody that

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Speaker 1: there intimate with some of their very close to goes

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Speaker 1: into that business and then we find it what the

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Speaker 1: business is really like. It's a job, I mean, and

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Speaker 1: there are sometimes moments of artistic elevation that you have

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Speaker 1: and and kind of a state you can get into

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Speaker 1: which is lovely, but not always where we end up.

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Speaker 1: And they don't get that. So then you go and

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Speaker 1: do blue Velvet. And then much of response to the

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Speaker 1: I remember this. We we had a screening in the valley.

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Speaker 1: You know how they used to do that they should

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Speaker 1: do uh, And they wouldn't tell the audience, or they

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Speaker 1: would say, Hey, we're gonna show, Come come here, you're

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Speaker 1: gonna watch the show. You're gonna fill out these cards

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Speaker 1: and then we're gonna figure out what it's all about.

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Speaker 1: So they were testing basically, and there were some of

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Speaker 1: the worst cards that they'd never mind hope for media

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Speaker 1: or hits this theory. Gosh, she was awful. Um and

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Speaker 1: so we were all just kind of like depressed. And

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Speaker 1: then Pauline Kale wrote about it extensively and started this.

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Speaker 1: I don't know if she would initially started it, but

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Speaker 1: that was one of the early One of the early

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Speaker 1: review is that that I think explained it to people

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Speaker 1: in a way or appointed them in the right direction,

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Speaker 1: or helped them to get a sense of what the

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Speaker 1: world that they were seeing was about. And that started

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Speaker 1: the slow kind of movement of acceptance and criticification of them.

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Speaker 1: Very good. Yeah, when do you begin the first round

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Speaker 1: of twin peaks? What year? So that was eight nine.

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Speaker 1: Now listen, I'm just a kid from Massive Peak Wick.

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Speaker 1: And I mean when I was a kid, I watched

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Speaker 1: you know, like f Troop, I love its heroes, Jones

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Speaker 1: on movies. I would always watch every movie program on

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Speaker 1: TV because there was no HBO then, and there was

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Speaker 1: no VHS, no, no, no nothing. When you go to

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Speaker 1: do Twin Peaks, you would you say that the lynching

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Speaker 1: and experience kicks up another notch now in terms of

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Speaker 1: what you're shooting and how Yeah, without question. First of all,

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Speaker 1: the role Cooper, you know was I read it and

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Speaker 1: I was like, this is this is magnificent, This is

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Speaker 1: pretty special, and and you really were going to tell

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Speaker 1: this story of Twin Peaks, You're really going to do

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Speaker 1: this day. I mean it was one of those kind

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Speaker 1: of like because this isn't like any kind of TV

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Speaker 1: I've ever seen. And so we all signed on, I

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Speaker 1: think to the person I signed on with, you know,

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Speaker 1: and you obviously it's a five and a half year,

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Speaker 1: six year commitment that you have to sign to, and

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Speaker 1: we're all sort of laughing and giddy, were saying like

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Speaker 1: like that will ever happen? You know? He's like, are

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Speaker 1: you kidding me? This is gonna be a one, one

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Speaker 1: and done. You know, this is gonna be a back

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Speaker 1: back door pilot, you know, so it'll be a completed,

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Speaker 1: finished unit, you know, and it will be it. They're

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Speaker 1: never gonna say They're never gonna buy this cut too,

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Speaker 1: you know, they're like an ABCC and goes, oh, we'd

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Speaker 1: like to buy more now. They made the decision well

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Speaker 1: well after we'd finished, you know, and they started to

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Speaker 1: screen it and they got excited about this, and so

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Speaker 1: we said, okay, So we went and we filmed seven

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Speaker 1: more episodes of but nothing had gone to air yet,

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Speaker 1: so they only had the pilot that they thought was great.

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Speaker 1: And then they had seven shows and now they were

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Speaker 1: going to put them on the air. So it wasn't

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Speaker 1: the thing where you put one on the air and

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Speaker 1: you kind of see how it does and you put

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Speaker 1: the next one on the air and say it like

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Speaker 1: it is now. We had had banked these episodes. They committed,

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Speaker 1: they did and you did how many seasons? We just

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Speaker 1: did a year and a half, not even a half.

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Speaker 1: It was like thirty two hours. It was like what

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Speaker 1: you would call now a limited series. Yeah, but internally no,

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Speaker 1: they made it, you know, this was this was something

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Speaker 1: that they wanted to run for a while, but but

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Speaker 1: just went off the rails. You know, they were second season. Yeah.

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Speaker 1: What was the health of his film career in ninety

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Speaker 1: one when you started doing that? Was he having any success. Yeah,

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Speaker 1: Lynch was Yeah, I mean he's always it's always. I

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Speaker 1: think he had Uh so he did. He wasn't detouring

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Speaker 1: into TV because he didn't couldn't make any films in him. No, No,

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Speaker 1: I think he found it as as another medium to

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Speaker 1: let's experiment and see what this could do. You know,

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Speaker 1: um first freak people that every week? Yeah, one of those.

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Speaker 1: And and when does a filmmaker like that on all

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Speaker 1: tour like that come to television? It was. It was

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Speaker 1: the first of his kind. So that was the fun

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Speaker 1: thing about it. And when you're doing scenes, I mean

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Speaker 1: I watched the The two point oh that was recently,

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Speaker 1: when you're sitting there and the character of she was

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Speaker 1: somebody who's going you can do it better than I can.

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Speaker 1: I never I never spoke backwards. That's the whole thing

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Speaker 1: was the great I'll sign you the seriously. But when

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Speaker 1: you're shooting scenes with him like that, is it readily

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Speaker 1: available to you? Is it readily discernible to you? What

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Speaker 1: the intention of the scene. You're a classically trained actor

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Speaker 1: who's done theater and films, and uh, now you're doing

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Speaker 1: this thing, which is a little not absurd but very strange.

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Speaker 1: Is Lynch sitting down when you're saying, oh, Kane out Kyle,

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Speaker 1: this work. Is it what this scene is about and

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Speaker 1: this world we're looping back on it? Or do you

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Speaker 1: just plain it's easy to discern it's I don't say.

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Speaker 1: I wouldn't say it's easy to discern. I think that

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Speaker 1: the reality within this scene David and I, it's a

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Speaker 1: lot of different things. So sometimes we'll find it, find

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Speaker 1: it in the scene as we're doing it. Sometimes it's there.

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Speaker 1: He always knows exactly what he wants and what he's doing.

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Speaker 1: It's just it's gonna map bring me along, you know.

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Speaker 1: But I learned early on. I used to do this

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Speaker 1: in Dune. I used to go in and bother him hours.

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Speaker 1: I would try to talk to him about this scene

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Speaker 1: and what this meant and going here and doing it,

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Speaker 1: and he would listen to me for about eight minutes,

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Speaker 1: and then he I could just see that the blind

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Speaker 1: just would come down and be like, okay, that's it.

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Speaker 1: So that I's always said okay, okay, a little less

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Speaker 1: in blue Velvet, I asked him a little less, and

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Speaker 1: then finally between peaks, I I stopped asking him all

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Speaker 1: together to explain. I just said all right, we'll find

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Speaker 1: you know, I know I kind of know what I

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Speaker 1: got to talk about it too much, talk about too much. No,

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Speaker 1: he find it. Yeah, and he doesn't like to talk

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Speaker 1: about he's the finished product. He said, you go watch it.

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Speaker 1: You tell me what you think. You know, I have

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Speaker 1: that experience, you know, I know what it means to me.

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Speaker 1: But he is loath to like do a lot of

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Speaker 1: hand whole they have. Yeah, he wants people to go

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Speaker 1: on this journey, you know, as as he's a true artist.

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Speaker 1: You know, he wants people to experience this thing, you know,

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Speaker 1: And so that's what we do. So that shows on

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Speaker 1: for a year and a half and that becomes another

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Speaker 1: cult masterpiece. What does that do for you so that

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Speaker 1: you're making development deals with ABC? You know what? I

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Speaker 1: just fu every time that he handed you with the key,

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Speaker 1: you know, I just you dropped them down the d

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Speaker 1: I did. I did, to be honest, and I did. Seriously.

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Speaker 1: I had this opportunity like that and I and I

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Speaker 1: just was like great, but I you know, I didn't

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Speaker 1: know how to generate or that's not Do you look

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Speaker 1: back and wish you had? Are you more leaved in

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Speaker 1: the wind? I looked back and wish I had. I

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Speaker 1: wish I had been smarter, you know, um and had.

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Speaker 1: But then at the same time, I'm going like, you

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Speaker 1: know what, I don't know how I would have done that.

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Speaker 1: You know, I just wasn't built that way. And that's

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Speaker 1: to produce yourself and to market yourself as a product. Yeah,

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Speaker 1: it wasn't, although you know, and part of that is

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Speaker 1: part of that is age. You know, you I look

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Speaker 1: back and not that I know what everyone did, but

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Speaker 1: you know, my heroes were guys like Dean and Montgomery,

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Speaker 1: Clift and Brando and these guys, and and there was

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Speaker 1: a real in at least I believed whether it was

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Speaker 1: true or not, I believed, oh that you know. It

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Speaker 1: was all about the craft and the art and finding

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Speaker 1: playing character and doing that kind of thing. But never

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Speaker 1: any thought towards Okay, this is a story that I

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Speaker 1: really like, a character that I really like, and they

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Speaker 1: were they were out there. I just didn't know how

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Speaker 1: to grasp them. Twin Peaks star Kyle McLaughlin. Like McLaughlin,

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Speaker 1: Stacy Keach is probably best known for playing a mystery

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Speaker 1: solving detective. For Keach, it was Mickey Spillane's Mike camera

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Speaker 1: but His incredibly varied career from King Lear to The

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Speaker 1: Simpsons makes for great stories. Plus, he stars in this

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Speaker 1: year's film noir Girlfriend's Day, alongside Believe It or Not,

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Speaker 1: David Lynch. Teaches credits go back to nineteen sixty four.

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Speaker 1: What's it like for you now to work with younger actors?

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Speaker 1: Do you find that the good ones operate the same

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Speaker 1: way or are they different? They're different, They're very different.

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Speaker 1: But why wow, you know, I mean, every moment is

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Speaker 1: something different. The only one was consistent was inconsistency. As

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Speaker 1: a younger actor, I probably would have gotten nuts, relied

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Speaker 1: on a pattern of something. Well, that's right, But I

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Speaker 1: like I like that, I like spotman, and I like flexibility,

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Speaker 1: as we've also learned to the handle with our full

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Speaker 1: conversation is that Here's the thing dot Org after the break,

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Speaker 1: more from Kyle McGlaughlin. I'm Alec Baldwin and you're listening

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Speaker 1: to Here's the Thing. Kyle McLaughlin has been on a

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Speaker 1: few truly legendary sets, including Oliver Stone's The Doors, in

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Speaker 1: which he plays Raymond Zack, the band's keyboardist. Oh my god,

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Speaker 1: that was amazing. First of all, VAL's performance and that was.

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Speaker 1: It was incredible, perfect, just perfect. He was unbelievable. He

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Speaker 1: was the guy. Everybody wanted that job. Everybody who was

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Speaker 1: age appropriate and physically appropriate and could even remotely play

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Speaker 1: that character wanted to play Jim Morrison with Oliver. I mean,

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Speaker 1: I'm sure he auditioned five hundred actors in this. I

426
00:19:59,080 --> 00:20:01,720
Speaker 1: don't look anything like more than well, but do you

427
00:20:01,720 --> 00:20:03,600
Speaker 1: think to yourself? It says, And and then that movie,

428
00:20:03,960 --> 00:20:06,480
Speaker 1: what was that experience? Like fear? You know? Oliver and

429
00:20:06,480 --> 00:20:08,840
Speaker 1: I had a little bit of history with Platoon way

430
00:20:08,840 --> 00:20:11,119
Speaker 1: back in the day where there was some talk about

431
00:20:11,320 --> 00:20:13,600
Speaker 1: me doing one of the roles there and it didn't

432
00:20:13,600 --> 00:20:16,639
Speaker 1: work out. But he's finicky, but he came back to

433
00:20:16,680 --> 00:20:19,800
Speaker 1: me for for for yeah, for Raymond's Eric, and I

434
00:20:19,800 --> 00:20:20,840
Speaker 1: was kind of like, what did you? Were you a

435
00:20:20,920 --> 00:20:25,200
Speaker 1: Doors fan? Kind of I mean, as yourself in their music.

436
00:20:26,480 --> 00:20:28,359
Speaker 1: I learned because I grew up playing the piano, So

437
00:20:28,440 --> 00:20:30,400
Speaker 1: I took a little keyboard. There's one of the corner

438
00:20:30,440 --> 00:20:32,560
Speaker 1: right there, like one of those, and I just learned

439
00:20:32,560 --> 00:20:36,240
Speaker 1: all the songs. The trouble was and they kept changing

440
00:20:36,280 --> 00:20:38,640
Speaker 1: the songs. That was the problem. But I could play,

441
00:20:38,800 --> 00:20:41,960
Speaker 1: We could almost perform as a band, if we with

442
00:20:42,040 --> 00:20:44,280
Speaker 1: if Robbie Kreeger, because Frank Wally was on the guitar,

443
00:20:44,440 --> 00:20:47,720
Speaker 1: if he had a guitar to harden. Remember Frank, he

444
00:20:48,200 --> 00:20:51,480
Speaker 1: knew a little bit, but we needed Kreeger. So when

445
00:20:51,560 --> 00:20:53,560
Speaker 1: Robbie would play with us, we could actually play a

446
00:20:53,600 --> 00:20:56,000
Speaker 1: couple of songs like the Doors. It was that I

447
00:20:56,000 --> 00:20:57,960
Speaker 1: put the keyboard or could you play Blue Sunday for

448
00:20:58,040 --> 00:21:02,679
Speaker 1: me right now? Highly doubtful. I love that it was,

449
00:21:03,160 --> 00:21:05,760
Speaker 1: but it was an experience. It was like like that

450
00:21:06,440 --> 00:21:08,639
Speaker 1: seven months in the desert. No, but it was as

451
00:21:08,680 --> 00:21:10,800
Speaker 1: close close to that as I had been. Yeah, but

452
00:21:10,880 --> 00:21:13,480
Speaker 1: it was an experience. It was a giant machine, you know.

453
00:21:13,520 --> 00:21:17,119
Speaker 1: And I was a little yeah. Yeah. We were shooting

454
00:21:17,119 --> 00:21:20,040
Speaker 1: in Candle Sleep Park. We were shooting, UM five cameras,

455
00:21:20,280 --> 00:21:23,200
Speaker 1: Bob's on five cameras, were performing and Joe ready, do

456
00:21:23,240 --> 00:21:27,000
Speaker 1: you know what? Okay? Joey's first, right, So Joe, who

457
00:21:27,000 --> 00:21:28,800
Speaker 1: has a voice verson a little bitch. He's got one

458
00:21:28,840 --> 00:21:30,679
Speaker 1: of the big megaphones in the bullhorn, and he's like

459
00:21:31,040 --> 00:21:33,880
Speaker 1: and he makes an announcement. He says, um, to all

460
00:21:34,440 --> 00:21:37,720
Speaker 1: the women in the audience, if you would like to

461
00:21:37,760 --> 00:21:41,320
Speaker 1: earn an extra hundred dollars you could take off your

462
00:21:41,359 --> 00:21:44,639
Speaker 1: top during and anyway, And we're all kind of like,

463
00:21:44,840 --> 00:21:48,399
Speaker 1: he can he ask men do that? Crazy the sag

464
00:21:48,480 --> 00:21:52,840
Speaker 1: rule book. Yeah, it's impossible, you know so, and it's

465
00:21:52,840 --> 00:21:54,720
Speaker 1: not gonna happen, not gonna happen. Did anybody do it?

466
00:21:54,840 --> 00:21:57,120
Speaker 1: Cut to we look out, we've gotten Suddenly they were

467
00:21:57,160 --> 00:22:00,920
Speaker 1: like fifty women off they go. They We're like what,

468
00:22:01,000 --> 00:22:04,159
Speaker 1: and they're on the guys shoulders. Of course they do.

469
00:22:04,400 --> 00:22:06,760
Speaker 1: And we're all up on stage and this is all happening,

470
00:22:06,880 --> 00:22:08,520
Speaker 1: and the cameras are all nuts and we're like we

471
00:22:08,560 --> 00:22:11,080
Speaker 1: can't look because we're just seeing the crimit climate we're

472
00:22:11,080 --> 00:22:14,560
Speaker 1: living in right now. That is disgusting, terrible, disgusting that

473
00:22:14,720 --> 00:22:18,359
Speaker 1: that happened. That's so wrong. But but back then it

474
00:22:18,480 --> 00:22:21,960
Speaker 1: was do you refresh my memory? You do you record

475
00:22:22,000 --> 00:22:25,360
Speaker 1: their music or you lip sync to play to play back?

476
00:22:25,359 --> 00:22:28,399
Speaker 1: I mean, obviously like my fire is this big solo?

477
00:22:28,840 --> 00:22:30,840
Speaker 1: Do we create that in the film? Yeah, yeah, we

478
00:22:30,840 --> 00:22:33,320
Speaker 1: don't know, you're a big moment. It was like it

479
00:22:33,400 --> 00:22:35,000
Speaker 1: was one of the first days of filming. We're out

480
00:22:35,040 --> 00:22:37,040
Speaker 1: of the beach and we were shooting and and we're

481
00:22:37,040 --> 00:22:38,800
Speaker 1: trying to we're trying to find a song. We're trying

482
00:22:38,800 --> 00:22:40,240
Speaker 1: to find a song. You know, how do you play

483
00:22:40,240 --> 00:22:42,199
Speaker 1: that as an actor? Oh you're messing around, you know?

484
00:22:42,200 --> 00:22:45,880
Speaker 1: And you kind and Ray says, ye, give me, guys,

485
00:22:45,880 --> 00:22:47,480
Speaker 1: give me a few minutes. I gotta figure this out.

486
00:22:47,680 --> 00:22:49,399
Speaker 1: So they drop on down to the beach. Saw the

487
00:22:49,440 --> 00:22:51,600
Speaker 1: guys and you hear over the track while they're on

488
00:22:51,600 --> 00:22:56,040
Speaker 1: the beach. The lead kind of a mistake two three,

489
00:22:56,080 --> 00:22:58,639
Speaker 1: and finally he nails it. Okay, guys, come back in.

490
00:22:58,760 --> 00:23:02,120
Speaker 1: I got it. Two minutes later he was like, Okay,

491
00:23:02,280 --> 00:23:03,800
Speaker 1: that's how we're going to play it. And that was

492
00:23:03,880 --> 00:23:07,000
Speaker 1: what was he like? Ray, Yeah, he was. I met

493
00:23:07,040 --> 00:23:09,480
Speaker 1: him twice. He didn't hang out a lot. He didn't

494
00:23:09,480 --> 00:23:11,360
Speaker 1: hang out. He and Oliver were not We're not best

495
00:23:11,400 --> 00:23:14,600
Speaker 1: of friends. Those guys are never cool. With the impression

496
00:23:14,600 --> 00:23:15,879
Speaker 1: I got, I could be wrong. I don't want to

497
00:23:15,920 --> 00:23:17,879
Speaker 1: say the wrong thing, but the impression I got is

498
00:23:17,920 --> 00:23:21,359
Speaker 1: those guys are never cool with representations of you know,

499
00:23:21,440 --> 00:23:26,320
Speaker 1: and and kind of and kind of grave robbing Morrison,

500
00:23:26,880 --> 00:23:30,320
Speaker 1: representations of their work. They're very, very proprietary. I think

501
00:23:30,400 --> 00:23:32,280
Speaker 1: Ray felt like he was, you know, he's the keeper

502
00:23:32,359 --> 00:23:34,520
Speaker 1: of the myth and here was Oliver coming in and

503
00:23:34,520 --> 00:23:36,840
Speaker 1: trying to make it his own and change and change it,

504
00:23:36,880 --> 00:23:39,840
Speaker 1: you know. And Ray had a very specific idea about

505
00:23:39,840 --> 00:23:41,880
Speaker 1: what it was and what it meant. Was his idea, Well,

506
00:23:41,920 --> 00:23:45,000
Speaker 1: I think you know he Jim was to him the

507
00:23:45,040 --> 00:23:47,560
Speaker 1: greatest thing ever. I mean and and and he and

508
00:23:47,600 --> 00:23:49,680
Speaker 1: he was, you know, I mean, Morrison's made him, making

509
00:23:49,760 --> 00:23:53,080
Speaker 1: Jim less damaged. Maybe yeah, he was. He was a god.

510
00:23:53,880 --> 00:23:56,679
Speaker 1: You know. The conversations I had was Ray while we

511
00:23:56,680 --> 00:24:00,280
Speaker 1: were filming versus Um. I found that the best source

512
00:24:00,320 --> 00:24:03,239
Speaker 1: information was actually going back to the interviews and just

513
00:24:03,280 --> 00:24:07,080
Speaker 1: watching the behavior and the physicality and how they said

514
00:24:07,080 --> 00:24:09,919
Speaker 1: and spoke and talked to each other, and that to

515
00:24:09,920 --> 00:24:12,640
Speaker 1: me was the better indicator of what was really happening

516
00:24:12,800 --> 00:24:14,679
Speaker 1: with the band, as opposed to listening to Ray. Ray

517
00:24:14,720 --> 00:24:16,320
Speaker 1: told me some great stuff and great stories, but it

518
00:24:16,359 --> 00:24:19,960
Speaker 1: was all through the lens of time. What about Robbie.

519
00:24:20,280 --> 00:24:22,120
Speaker 1: I didn't speak to Robbie. I don't know. I'm only

520
00:24:22,119 --> 00:24:24,640
Speaker 1: asking because the film is so voluptuous and so wonderful.

521
00:24:24,880 --> 00:24:26,320
Speaker 1: A lot of people have said, you know, it's like

522
00:24:26,400 --> 00:24:29,840
Speaker 1: that's not really remotely The Val is stunning. I mean,

523
00:24:29,840 --> 00:24:32,959
Speaker 1: I put Val in a category with like um Rayliota.

524
00:24:33,520 --> 00:24:35,240
Speaker 1: Here's two guys that they should have won the Oscar

525
00:24:37,720 --> 00:24:39,320
Speaker 1: and Val should have won the Oscar. It wasn't even

526
00:24:39,520 --> 00:24:41,160
Speaker 1: for the doors. And I think there are two guys

527
00:24:41,200 --> 00:24:43,840
Speaker 1: who I am I'm not saying this in any harsh way,

528
00:24:43,840 --> 00:24:45,520
Speaker 1: but they're almost two guys were like they never recovered

529
00:24:45,560 --> 00:24:47,400
Speaker 1: from that, Like they can't believe they didn't get there

530
00:24:47,440 --> 00:24:50,760
Speaker 1: do that. That was that, that kind of role, that's

531
00:24:50,760 --> 00:24:53,600
Speaker 1: the full expression of everything Vale was as a performer.

532
00:24:53,680 --> 00:24:55,199
Speaker 1: That was it. He just put it all out, he

533
00:24:55,280 --> 00:24:58,480
Speaker 1: did and he didn't get what he deserved. That's always

534
00:24:58,640 --> 00:25:01,320
Speaker 1: very very kind of cripple, but it's very demoral. Yeah,

535
00:25:01,320 --> 00:25:03,760
Speaker 1: you've got to be able to come through that. Yeah, yeah, okay.

536
00:25:03,800 --> 00:25:06,360
Speaker 1: Now my other favorite you you even when you I'm

537
00:25:06,359 --> 00:25:07,760
Speaker 1: saying this out of love for you, I mean I'm

538
00:25:07,800 --> 00:25:09,760
Speaker 1: a huge fan of yours. And even when you do

539
00:25:09,840 --> 00:25:12,280
Speaker 1: the movie and the movie's nutty in front of I

540
00:25:12,320 --> 00:25:15,120
Speaker 1: love show Girls. What was you worked with a lot

541
00:25:15,119 --> 00:25:20,600
Speaker 1: of which, Yeah, that was the that was the decision.

542
00:25:20,600 --> 00:25:22,600
Speaker 1: It is like, jeez, you've got Paul Verehoven. I'm a

543
00:25:22,640 --> 00:25:25,639
Speaker 1: huge fan of Verehoven. I mean, I loved RoboCop. Come on.

544
00:25:25,680 --> 00:25:28,399
Speaker 1: I mean that is just something that's this magic, basic

545
00:25:28,440 --> 00:25:30,200
Speaker 1: instinct that just come out. I was like, that's powerful

546
00:25:30,240 --> 00:25:32,040
Speaker 1: as well. I'd like to stuff from before. It's Oldier

547
00:25:32,080 --> 00:25:33,879
Speaker 1: of Orange, it's Betters and stuff you've done before. I

548
00:25:33,920 --> 00:25:36,920
Speaker 1: was like, this is an amazing director and his vision.

549
00:25:36,960 --> 00:25:38,920
Speaker 1: You know, he's gonna take Vegas and it's gonna be

550
00:25:39,200 --> 00:25:41,680
Speaker 1: you know, it's gonna be dark, and it's gonna be visceral,

551
00:25:41,760 --> 00:25:44,239
Speaker 1: and he's going to really expose this whole world. You know.

552
00:25:44,600 --> 00:25:46,840
Speaker 1: Esther House wrote the script. Estherhouse at the time was

553
00:25:47,160 --> 00:25:50,080
Speaker 1: was the guy. He's huge. So you're like you're looking

554
00:25:50,080 --> 00:25:51,399
Speaker 1: at this and you're going, okay, And I get to

555
00:25:51,400 --> 00:25:54,360
Speaker 1: play a character that's slightly devan. He's tough, he's got

556
00:25:54,359 --> 00:25:57,119
Speaker 1: a dark side. To that point, I hadn't had a

557
00:25:57,200 --> 00:25:58,800
Speaker 1: chance to do much of that. You know, as as

558
00:25:58,840 --> 00:26:00,639
Speaker 1: a young actor, you're looking to try to find a

559
00:26:00,680 --> 00:26:05,639
Speaker 1: way to expand your potentiality. I guess two people that

560
00:26:05,680 --> 00:26:07,399
Speaker 1: are that are casting and I was like, this is

561
00:26:07,400 --> 00:26:09,360
Speaker 1: a this is to no brainers is going to be great.

562
00:26:09,359 --> 00:26:11,320
Speaker 1: I like the scenes was very good. I got into it,

563
00:26:11,359 --> 00:26:13,960
Speaker 1: you know, worked hard, came up with a kind of

564
00:26:14,000 --> 00:26:16,240
Speaker 1: a weird look sheep, you know, like one of those

565
00:26:16,440 --> 00:26:18,840
Speaker 1: like a wolf in in sheep's clothing kind of thing.

566
00:26:19,280 --> 00:26:21,960
Speaker 1: I just wanted that's my feel for the guy. That's

567
00:26:22,000 --> 00:26:23,639
Speaker 1: what I wanted him to be like. Because there was

568
00:26:23,680 --> 00:26:26,840
Speaker 1: manipulating people. Oh yeah, definitely, definitely. So I was like, Okay,

569
00:26:26,840 --> 00:26:29,360
Speaker 1: I'm gonna play all this is gonna explore this, you know.

570
00:26:29,520 --> 00:26:31,520
Speaker 1: And and then there was some you know, some newdity

571
00:26:31,560 --> 00:26:33,320
Speaker 1: stuff that we had to sort of work out, which

572
00:26:33,359 --> 00:26:35,240
Speaker 1: was I was fine, you know, I was like, that's okay.

573
00:26:37,720 --> 00:26:42,880
Speaker 1: He wanted he wanted he wanted to porn. He was like, oh,

574
00:26:43,400 --> 00:26:45,040
Speaker 1: he was like thinking of European. I was like, one,

575
00:26:45,080 --> 00:26:47,320
Speaker 1: lies is Europeans. No, we do no, we do full frontal.

576
00:26:47,520 --> 00:26:50,640
Speaker 1: We do full frontal and and yeah. And she's like yeah.

577
00:26:50,680 --> 00:26:54,040
Speaker 1: And I was like I'm not so sure. And he

578
00:26:54,119 --> 00:26:56,159
Speaker 1: was like, what you you don't think you can maintain

579
00:26:56,200 --> 00:26:59,280
Speaker 1: no action? Oh, no, worries we the digital we put

580
00:26:59,280 --> 00:27:02,520
Speaker 1: the digital don't worthy. He thought that my complaint was

581
00:27:02,520 --> 00:27:04,280
Speaker 1: a fact that oh I wouldn't be able to maintain

582
00:27:04,920 --> 00:27:07,320
Speaker 1: and you know, so and I said uh, and I

583
00:27:07,359 --> 00:27:09,200
Speaker 1: said no, no, And then he said digital I said,

584
00:27:09,760 --> 00:27:12,520
Speaker 1: he said oh, so you can do any size you

585
00:27:12,520 --> 00:27:14,359
Speaker 1: want and he said, and I said, I was like,

586
00:27:14,480 --> 00:27:19,919
Speaker 1: oh so anyway. But he wasn't a PERV. He just

587
00:27:19,920 --> 00:27:23,280
Speaker 1: wanted he wanted everything real, just do what be? What

588
00:27:23,440 --> 00:27:25,119
Speaker 1: do with the characters there? Yeah, And we were like,

589
00:27:25,480 --> 00:27:27,920
Speaker 1: how did that take? The shoot? That was a good

590
00:27:27,960 --> 00:27:30,160
Speaker 1: you know, that was pretty traditional three months four months

591
00:27:30,200 --> 00:27:33,080
Speaker 1: of work in his kind and tender with Elizabeth. She

592
00:27:33,119 --> 00:27:34,520
Speaker 1: hadn't made a lot of films and so she had

593
00:27:34,520 --> 00:27:36,760
Speaker 1: and he was pretty kind of I mean, there was

594
00:27:36,800 --> 00:27:38,520
Speaker 1: a lot that went on in that on that movie.

595
00:27:38,560 --> 00:27:40,560
Speaker 1: I mean, there are a lot of stories that happened,

596
00:27:40,600 --> 00:27:43,320
Speaker 1: and I she's a sweet girl. She's lovely, you know,

597
00:27:43,400 --> 00:27:47,920
Speaker 1: something her getting mauled when that movie came out and

598
00:27:48,000 --> 00:27:50,680
Speaker 1: people said a lot of mean spirit. And I've met

599
00:27:50,720 --> 00:27:54,080
Speaker 1: her many times and I absolutely adore her. She's like

600
00:27:54,080 --> 00:27:56,960
Speaker 1: one of the most adorable women. Such a lovely, lovely

601
00:27:57,000 --> 00:27:58,879
Speaker 1: she's a sweetheart. And that was a tough thing for

602
00:27:58,880 --> 00:28:00,800
Speaker 1: her to go through, something I don't think she ever

603
00:28:00,920 --> 00:28:04,720
Speaker 1: may have recovered from. Um. It was difficult. I mean

604
00:28:04,800 --> 00:28:08,920
Speaker 1: the filming process was actually phenomenal because we were working

605
00:28:08,920 --> 00:28:12,840
Speaker 1: in South Lake, Taho. There was a full stage and

606
00:28:12,880 --> 00:28:16,440
Speaker 1: these were all they were doing, the choreography and everything like.

607
00:28:16,440 --> 00:28:18,960
Speaker 1: It was a full blown show. So you'd come in

608
00:28:19,000 --> 00:28:21,720
Speaker 1: and you watch the show during you know, any perform

609
00:28:21,760 --> 00:28:23,399
Speaker 1: and stuff. And then when I wasn't working, which is

610
00:28:23,400 --> 00:28:24,920
Speaker 1: a lot of time, it was one of the best

611
00:28:25,040 --> 00:28:27,359
Speaker 1: snows that they've had in Sally. So I had my

612
00:28:27,400 --> 00:28:29,639
Speaker 1: skis in my trailer and I would just get in

613
00:28:29,640 --> 00:28:31,000
Speaker 1: my car. I swing by because they don't want just

614
00:28:31,000 --> 00:28:33,840
Speaker 1: gidding obviously, and I just load him. I'm just gonna

615
00:28:33,840 --> 00:28:38,600
Speaker 1: go get to yeah, back in a little bit. And

616
00:28:38,720 --> 00:28:41,840
Speaker 1: it was just spectacular. So I'm reading about you and

617
00:28:41,920 --> 00:28:45,160
Speaker 1: you meet your wife. You'd obviously dated a couple of

618
00:28:45,760 --> 00:28:47,880
Speaker 1: very well known women in your life. We will do that.

619
00:28:47,960 --> 00:28:50,560
Speaker 1: You know, we're the quarterback of the football team, Like,

620
00:28:50,560 --> 00:28:52,800
Speaker 1: where's the head sheer, Let's get her over here right now.

621
00:28:52,840 --> 00:28:55,680
Speaker 1: I'm gonna date her and uh um and then um,

622
00:28:55,920 --> 00:28:57,880
Speaker 1: you can really know and I can relate, and then

623
00:28:57,960 --> 00:28:59,800
Speaker 1: you you marry your wife. Where you met she was

624
00:28:59,800 --> 00:29:01,640
Speaker 1: in the her business when you met her. Yeah, she

625
00:29:01,760 --> 00:29:03,320
Speaker 1: had been working at Rogers and Cow and she had

626
00:29:03,400 --> 00:29:06,040
Speaker 1: just left to form her own company called Full Picture

627
00:29:06,520 --> 00:29:10,520
Speaker 1: her Desire Grouper. I met her at a chiropractor's office.

628
00:29:10,680 --> 00:29:14,440
Speaker 1: I was in with Um Blake Edwards. He and I

629
00:29:14,440 --> 00:29:19,280
Speaker 1: shared a room of tractions. Beginning man Edwards just sort

630
00:29:19,320 --> 00:29:21,000
Speaker 1: of hanging out. Happen Hey, Like, how's he going? I

631
00:29:21,080 --> 00:29:23,640
Speaker 1: rubbed you a couple of discs in my back and

632
00:29:23,800 --> 00:29:28,200
Speaker 1: in no I was working up stupid stuff anyway, Um

633
00:29:28,240 --> 00:29:30,280
Speaker 1: and I was in trying to do distraction therapy to

634
00:29:30,360 --> 00:29:32,000
Speaker 1: sort of released the pressure. And so I was in

635
00:29:32,000 --> 00:29:33,520
Speaker 1: the room and Blake was over there and in his

636
00:29:33,600 --> 00:29:35,840
Speaker 1: chair and I was in my chair and uh so

637
00:29:35,880 --> 00:29:38,239
Speaker 1: I gets a little which is kind of good. He's

638
00:29:38,240 --> 00:29:41,120
Speaker 1: a good guy, and uh desire walked past the door,

639
00:29:41,240 --> 00:29:42,880
Speaker 1: so there's a you know, I was sitting in the

640
00:29:42,920 --> 00:29:45,800
Speaker 1: room looked out. She this tall, gorgeous woman walked past

641
00:29:45,800 --> 00:29:49,760
Speaker 1: and I was like, who's that? You know immediately and

642
00:29:49,800 --> 00:29:52,080
Speaker 1: the antenna went out, and uh, I said, oh, I

643
00:29:52,160 --> 00:29:54,040
Speaker 1: kind of find out what's going on. She'll be in

644
00:29:54,040 --> 00:29:56,120
Speaker 1: there for a little while. Well like five minutes later,

645
00:29:56,120 --> 00:29:57,440
Speaker 1: she walked back out again. I was like, this is

646
00:29:57,440 --> 00:29:59,040
Speaker 1: not good because I was stuck in distraction. So I

647
00:29:59,080 --> 00:30:01,000
Speaker 1: got out my traction went up to meet her at

648
00:30:01,040 --> 00:30:03,160
Speaker 1: the front desk, started struck up a conversation, but I

649
00:30:03,200 --> 00:30:06,360
Speaker 1: was too it felt too weird and I felt too

650
00:30:06,360 --> 00:30:08,200
Speaker 1: shy to like get any kind of contact numbers. So

651
00:30:08,240 --> 00:30:10,880
Speaker 1: I just kind of just didn't. Nothing jelled, and I

652
00:30:10,920 --> 00:30:12,920
Speaker 1: was like, oh god, Okay. So she went on her

653
00:30:12,960 --> 00:30:14,480
Speaker 1: way and I was like, oh, maybe I can figure

654
00:30:14,480 --> 00:30:16,280
Speaker 1: out who she was or where she's from. I don't know.

655
00:30:17,440 --> 00:30:22,240
Speaker 1: Two nights later, she walked into the Tina Brown party

656
00:30:22,240 --> 00:30:26,480
Speaker 1: for Talk magazine at the Montreal. She walked in, I

657
00:30:26,520 --> 00:30:29,800
Speaker 1: was like, hello, and so we stock up a conversation

658
00:30:29,880 --> 00:30:32,920
Speaker 1: and uh, and it's got numbers and everything like that.

659
00:30:32,960 --> 00:30:36,480
Speaker 1: At that time, I was felt, you know, you're ready

660
00:30:36,520 --> 00:30:38,720
Speaker 1: to said. I was like, ready, We've already met you once.

661
00:30:39,000 --> 00:30:40,240
Speaker 1: Now I can ask you this is a role I

662
00:30:40,240 --> 00:30:42,680
Speaker 1: could play. Yes, this is there is your boyfriend. There

663
00:30:42,720 --> 00:30:44,440
Speaker 1: is some truth to that. Look at I can do this,

664
00:30:44,960 --> 00:30:47,280
Speaker 1: and it seems like your boyfriend don't for me. When

665
00:30:47,280 --> 00:30:49,160
Speaker 1: I look at your career and I see you, especially

666
00:30:49,200 --> 00:30:51,440
Speaker 1: when you do. I mean, I'm not making any jokes

667
00:30:51,480 --> 00:30:52,800
Speaker 1: about show Girls, because I think there's a lot of

668
00:30:52,800 --> 00:30:54,640
Speaker 1: good in that movie. And for you, what I see

669
00:30:54,680 --> 00:30:57,040
Speaker 1: is you become more of a sexualized leading man were

670
00:30:57,040 --> 00:30:59,240
Speaker 1: before that the more prominent characters you played were more

671
00:30:59,320 --> 00:31:02,880
Speaker 1: chase to more pure and heroic, and the libido and

672
00:31:02,920 --> 00:31:05,840
Speaker 1: the sexuality and the perversions, if you will, are around

673
00:31:05,880 --> 00:31:08,240
Speaker 1: you and behind you and underneath you and everybody else.

674
00:31:08,400 --> 00:31:09,960
Speaker 1: But when you do show Girls and then you do

675
00:31:10,000 --> 00:31:12,000
Speaker 1: other shows like Sex in the City and things like that,

676
00:31:12,000 --> 00:31:14,880
Speaker 1: you become much more of a classic leading man than

677
00:31:14,920 --> 00:31:17,200
Speaker 1: the heroic leading man. And something just didn't you feel

678
00:31:17,240 --> 00:31:19,440
Speaker 1: that way? I mean, I agree with you about then

679
00:31:19,480 --> 00:31:20,840
Speaker 1: you would say, I think it was what served me

680
00:31:20,920 --> 00:31:24,200
Speaker 1: well in Blue Velvet in particular, and that you look

681
00:31:24,200 --> 00:31:27,040
Speaker 1: at him and you go, here's a pretty chaste young

682
00:31:27,240 --> 00:31:29,800
Speaker 1: man that gets drawn into something and is attracted to

683
00:31:29,880 --> 00:31:32,520
Speaker 1: something that is absolutely completely dark, and gets goes through

684
00:31:32,560 --> 00:31:34,640
Speaker 1: that journey and barely makes it out alive, you know,

685
00:31:34,840 --> 00:31:38,080
Speaker 1: singed around the edges. And I think the journey you know,

686
00:31:38,200 --> 00:31:41,080
Speaker 1: with let's say Sex in the City with Desperate Housewives,

687
00:31:41,880 --> 00:31:44,960
Speaker 1: is you know, in an environment with a character that

688
00:31:45,360 --> 00:31:52,280
Speaker 1: is um, you know, he's sort of unusual. There's there's

689
00:31:52,440 --> 00:31:54,960
Speaker 1: what you see on the surface seems to be normal

690
00:31:55,080 --> 00:31:57,400
Speaker 1: and fine and everything is good, but underneath that there

691
00:31:57,440 --> 00:32:00,760
Speaker 1: are some other urges that are king, you know, and

692
00:32:01,040 --> 00:32:02,920
Speaker 1: you like both what exactly they are, we don't know.

693
00:32:03,080 --> 00:32:06,560
Speaker 1: I did. I enjoyed him very much. I um, Sex

694
00:32:06,640 --> 00:32:10,520
Speaker 1: in the City was you know, it's it's um, it's

695
00:32:10,520 --> 00:32:15,520
Speaker 1: a little frightening your uncertain ground because you know, with

696
00:32:15,560 --> 00:32:17,880
Speaker 1: a film, they hand you the material, you know, a

697
00:32:18,040 --> 00:32:20,720
Speaker 1: to zy what you're gonna be doing. So yeah, it's

698
00:32:20,840 --> 00:32:24,040
Speaker 1: right there when you walk into a show like that. UM,

699
00:32:24,360 --> 00:32:26,120
Speaker 1: and sexon City was one of those you know, I

700
00:32:26,200 --> 00:32:28,920
Speaker 1: don't know, did you that two years I was meant

701
00:32:28,920 --> 00:32:30,920
Speaker 1: to come on for just a couple of full season yeah, too,

702
00:32:30,960 --> 00:32:33,160
Speaker 1: full seasons, so right in the middle, and you don't know.

703
00:32:33,360 --> 00:32:34,680
Speaker 1: They hand you a script one week and then the

704
00:32:34,720 --> 00:32:36,480
Speaker 1: next week they hand you another script and suddenly you're

705
00:32:36,600 --> 00:32:40,160
Speaker 1: doing some crazy thing, you know, with an animal who

706
00:32:40,200 --> 00:32:41,480
Speaker 1: knows you know what I mean. It's like and you

707
00:32:41,600 --> 00:32:44,600
Speaker 1: just like, ah, it keeps you on your toes on edge,

708
00:32:44,640 --> 00:32:46,200
Speaker 1: you know, and you're and the uncertainty is there, and

709
00:32:46,320 --> 00:32:49,160
Speaker 1: occasionally i'd have to say, just not comfortable doing this.

710
00:32:49,280 --> 00:32:51,160
Speaker 1: I'm sorry, you know, it's like it's just a little

711
00:32:51,200 --> 00:32:55,480
Speaker 1: too I don't know. The thing about TV that people

712
00:32:55,520 --> 00:32:57,240
Speaker 1: don't realize is that the guy that's going to be

713
00:32:57,320 --> 00:33:00,280
Speaker 1: the head writer in season five or six, it's just

714
00:33:00,520 --> 00:33:04,040
Speaker 1: entering Harvard now and he's like he's just starting his

715
00:33:04,280 --> 00:33:07,000
Speaker 1: college Education's like he's like eighteen. You're like, who knows

716
00:33:07,080 --> 00:33:09,360
Speaker 1: who's going to show up? You know, it's a long journey.

717
00:33:09,400 --> 00:33:11,560
Speaker 1: It's a long road around with TV. And why didn't

718
00:33:11,600 --> 00:33:13,080
Speaker 1: you have your own show men? Was it you? Did

719
00:33:13,120 --> 00:33:15,600
Speaker 1: you not want that? Did you not want? I don't

720
00:33:15,600 --> 00:33:18,880
Speaker 1: want to books? They were six years, they were freedom done.

721
00:33:19,720 --> 00:33:21,200
Speaker 1: I've done pilot. You know. I did a pilot with

722
00:33:21,240 --> 00:33:23,480
Speaker 1: Andy McDowell and I thought this is great. You know,

723
00:33:23,680 --> 00:33:25,880
Speaker 1: Mike Newell director. You know, you sort of look at

724
00:33:25,920 --> 00:33:27,080
Speaker 1: the stuff and you're like, he didn't want with you

725
00:33:27,120 --> 00:33:28,960
Speaker 1: and Andy? Yeah? What was the pilot? Yeah? It was

726
00:33:29,040 --> 00:33:31,560
Speaker 1: called Joe and it was about it about her. But

727
00:33:31,640 --> 00:33:36,200
Speaker 1: I was been an experts the ghost had been expert,

728
00:33:36,280 --> 00:33:38,000
Speaker 1: it would have been would have been better. Um, and

729
00:33:38,080 --> 00:33:40,400
Speaker 1: the wife talks backwards exactly. It was you and Andy,

730
00:33:40,480 --> 00:33:42,720
Speaker 1: she's Joe. Yeah. It was like a family drop. It

731
00:33:42,800 --> 00:33:44,680
Speaker 1: was like a family thing. She was a veterinarian, hit

732
00:33:44,720 --> 00:33:46,600
Speaker 1: her mom. I was the boyfriend. It was kind of

733
00:33:46,640 --> 00:33:48,400
Speaker 1: come back into her life and you know, so it

734
00:33:48,520 --> 00:33:50,680
Speaker 1: was this group so um, I mean it wasn't built

735
00:33:50,680 --> 00:33:52,720
Speaker 1: around me, was built around her. But it seemed like

736
00:33:52,800 --> 00:33:55,080
Speaker 1: it would work and make sense, you know, especially with

737
00:33:55,120 --> 00:33:57,120
Speaker 1: that kind of pedigree. M. But you just never know.

738
00:33:57,320 --> 00:33:59,080
Speaker 1: He just never know. And there were others that I tried,

739
00:33:59,160 --> 00:34:02,080
Speaker 1: and things that you know, had like a short shelf life,

740
00:34:02,120 --> 00:34:04,640
Speaker 1: you know what I mean, and that just never materialized.

741
00:34:04,680 --> 00:34:07,200
Speaker 1: So not without trying, and not without like taking a

742
00:34:07,240 --> 00:34:09,840
Speaker 1: shot at some good stuff, you know. So when the

743
00:34:10,400 --> 00:34:13,719
Speaker 1: Lynch two point oh comes your way, was it something

744
00:34:13,719 --> 00:34:15,440
Speaker 1: you guys had always discussed for a long time? It

745
00:34:15,560 --> 00:34:17,319
Speaker 1: was in your pocket for a while. They also need

746
00:34:17,360 --> 00:34:20,120
Speaker 1: to pop up and go hey a little bit, not

747
00:34:20,320 --> 00:34:23,200
Speaker 1: not without my also over the years sort of because

748
00:34:23,239 --> 00:34:24,920
Speaker 1: we're friends and we live close to each other in

749
00:34:25,120 --> 00:34:26,719
Speaker 1: l A. I've got a house out there, and we

750
00:34:26,760 --> 00:34:29,520
Speaker 1: see each other frequently, and we love to sit and

751
00:34:29,600 --> 00:34:32,080
Speaker 1: talk and reminisce a little bit and talk about what's

752
00:34:32,120 --> 00:34:33,640
Speaker 1: coming up. And I would always say, hey, do you

753
00:34:33,680 --> 00:34:35,560
Speaker 1: ever think about going back between beaks and revisiting that?

754
00:34:35,560 --> 00:34:37,920
Speaker 1: And he would always say no, and I no, no, Well,

755
00:34:38,120 --> 00:34:40,560
Speaker 1: nothing really going on, you know, and so the no

756
00:34:40,680 --> 00:34:42,879
Speaker 1: idea has no thoughts to go back at all. He'd

757
00:34:42,880 --> 00:34:45,080
Speaker 1: also had a difficult time, you know, the television experience.

758
00:34:45,120 --> 00:34:47,239
Speaker 1: I think ultimately, with David, this was not something that

759
00:34:47,320 --> 00:34:49,840
Speaker 1: he wanted to go back into, UM, which I understand.

760
00:34:49,920 --> 00:34:54,240
Speaker 1: It's about having control and that wasn't happening. UM. Somehow

761
00:34:54,320 --> 00:34:57,920
Speaker 1: he and Mark found a common ground, a common story,

762
00:34:58,680 --> 00:35:01,320
Speaker 1: a way to go back that that interested them, and

763
00:35:01,400 --> 00:35:03,960
Speaker 1: they started working on it. And shortly thereafter David came

764
00:35:04,000 --> 00:35:05,360
Speaker 1: to me and said, I need to talk to you

765
00:35:05,360 --> 00:35:06,640
Speaker 1: about something, but he didn't want to talk to me

766
00:35:06,640 --> 00:35:08,800
Speaker 1: about it over the phone. I said, okay. So we

767
00:35:08,880 --> 00:35:11,520
Speaker 1: met in New York and he said, we're gonna go

768
00:35:11,600 --> 00:35:15,080
Speaker 1: back to Twin Peaks. Are you on board? And I said, David,

769
00:35:15,080 --> 00:35:16,880
Speaker 1: I've always wanted to go back to Peaks, know that,

770
00:35:17,040 --> 00:35:21,120
Speaker 1: you know. So I gave him my handshake and UH said,

771
00:35:21,200 --> 00:35:24,719
Speaker 1: let's go, you know, and that Washington I did. That's

772
00:35:24,760 --> 00:35:26,400
Speaker 1: all we needed. That's it. It's the bond, you know.

773
00:35:26,600 --> 00:35:28,600
Speaker 1: And so off he went, and he and Mark were writing,

774
00:35:28,680 --> 00:35:30,520
Speaker 1: and I knew what was coming up, but I couldn't

775
00:35:30,520 --> 00:35:33,279
Speaker 1: say anything until it was far announce smart Frost the

776
00:35:33,320 --> 00:35:36,120
Speaker 1: audience here is yes, good, thank you UM. Because he

777
00:35:36,280 --> 00:35:38,560
Speaker 1: he and David co wrote, co wrote the entire thing,

778
00:35:38,680 --> 00:35:43,279
Speaker 1: so you start shooting that. When we started in the dates,

779
00:35:43,400 --> 00:35:45,680
Speaker 1: I think we met like in twelve and I think

780
00:35:45,760 --> 00:35:54,160
Speaker 1: we started filming in twenty started in Seattle, six weeks

781
00:35:54,200 --> 00:35:58,480
Speaker 1: in Seattle roughly, and then the remainder in Los Angeles, Uh,

782
00:35:58,960 --> 00:36:01,759
Speaker 1: mostly locations to be We were out, yeah, out in

783
00:36:01,880 --> 00:36:04,640
Speaker 1: a kind of the desert environment area, and then the

784
00:36:04,719 --> 00:36:07,000
Speaker 1: last three or four weeks we were on stage. Was

785
00:36:07,040 --> 00:36:08,600
Speaker 1: it familiar to you when you came back to that,

786
00:36:10,160 --> 00:36:13,080
Speaker 1: Not really, because we didn't get back to the character

787
00:36:13,160 --> 00:36:17,200
Speaker 1: of Cooper until our sixteen and so up to that point,

788
00:36:17,960 --> 00:36:21,680
Speaker 1: I was two other characters and one little tiny one

789
00:36:21,840 --> 00:36:24,040
Speaker 1: and got to work with I mean, I'm working with

790
00:36:24,160 --> 00:36:28,120
Speaker 1: Naomi Watts, who is just adorable and fantastic and so

791
00:36:28,239 --> 00:36:31,560
Speaker 1: much fun, so talented, so talented, every fiber of her

792
00:36:31,600 --> 00:36:36,440
Speaker 1: being tiny. He's tiny, He's tiny. David perfectly cast. So

793
00:36:36,640 --> 00:36:38,560
Speaker 1: enjoyed working with her. She had the lion's share of

794
00:36:38,600 --> 00:36:40,759
Speaker 1: the language, you know, because the character I played at

795
00:36:40,800 --> 00:36:43,879
Speaker 1: that point, Dougie, is almost mute apart from a couple

796
00:36:43,920 --> 00:36:46,680
Speaker 1: of words. Oh my god, the'd the best right come

797
00:36:46,760 --> 00:36:49,360
Speaker 1: to work every morning. I got one word in between

798
00:36:49,400 --> 00:36:54,799
Speaker 1: two paragraphs. Okay, let me go you say nothing, nothing,

799
00:36:54,880 --> 00:36:57,160
Speaker 1: You stand there and yeah, yeah, people like you know,

800
00:36:57,239 --> 00:37:02,840
Speaker 1: they get behind that. So um, that was unexpected. And

801
00:37:03,920 --> 00:37:06,080
Speaker 1: I didn't know when David said that they're going back,

802
00:37:06,120 --> 00:37:07,799
Speaker 1: he said, there's gonna be some other things that they're

803
00:37:07,840 --> 00:37:09,480
Speaker 1: going to have to do. You know, there's a other

804
00:37:09,640 --> 00:37:12,000
Speaker 1: you know. I was like, I didn't grasp what it

805
00:37:12,120 --> 00:37:15,680
Speaker 1: was until I sat and read this five plus page script,

806
00:37:16,480 --> 00:37:17,960
Speaker 1: you know, at one sitting with a couple of cups

807
00:37:18,000 --> 00:37:20,439
Speaker 1: of coffee. Oh yeah, they said. I couldn't I could

808
00:37:20,480 --> 00:37:23,719
Speaker 1: not leave the but you can find yourself at the

809
00:37:23,719 --> 00:37:27,440
Speaker 1: page that was it. But it was there and I

810
00:37:27,560 --> 00:37:29,880
Speaker 1: read it and I couldn't believe what what I was

811
00:37:29,960 --> 00:37:33,040
Speaker 1: being asked to do. It was like someone had given

812
00:37:33,080 --> 00:37:35,719
Speaker 1: me the greatest gift in the world. Oh yeah, it's like,

813
00:37:35,800 --> 00:37:38,640
Speaker 1: look at these characters there. Yeah, not just one, not

814
00:37:38,840 --> 00:37:40,440
Speaker 1: just one great character. There was a second. It was

815
00:37:40,480 --> 00:37:43,600
Speaker 1: a three great characters. Said this. I said, it is

816
00:37:43,600 --> 00:37:45,759
Speaker 1: going to test me, and I got scared. You know,

817
00:37:45,880 --> 00:37:47,920
Speaker 1: you get nervous, and then you you're like, I'm going

818
00:37:47,960 --> 00:37:49,520
Speaker 1: to do this. I'm gonna do this, and so you

819
00:37:49,800 --> 00:37:53,319
Speaker 1: just go on that journey. And I had David if

820
00:37:53,360 --> 00:37:55,920
Speaker 1: it were another director who knows if I would have

821
00:37:56,000 --> 00:37:59,279
Speaker 1: felt comfortable to relax and allow him to like watch

822
00:37:59,360 --> 00:38:01,080
Speaker 1: and tell me Steer, you know what I mean, and

823
00:38:01,239 --> 00:38:04,440
Speaker 1: that that was what made the difference. See, what I

824
00:38:04,600 --> 00:38:07,040
Speaker 1: love about your career is that you can play people

825
00:38:07,040 --> 00:38:09,680
Speaker 1: who are these very tender and very sincere and kind

826
00:38:09,719 --> 00:38:12,320
Speaker 1: of no name fish characters in your early career, and

827
00:38:12,360 --> 00:38:15,000
Speaker 1: then who's the darker character in the two point ohr?

828
00:38:18,320 --> 00:38:20,960
Speaker 1: And you inhabit that character? You really, really you are.

829
00:38:21,680 --> 00:38:25,280
Speaker 1: You are the guy that could be like Annie McDowell's boyfriend,

830
00:38:25,400 --> 00:38:27,279
Speaker 1: and you know, there's a you're bringing a basket full

831
00:38:27,320 --> 00:38:29,759
Speaker 1: of puppies over to her house, and then you're just

832
00:38:29,920 --> 00:38:33,759
Speaker 1: this nightmare and and no fun to play. But then

833
00:38:33,920 --> 00:38:37,280
Speaker 1: once you're in there, you're like the feeling of power

834
00:38:37,400 --> 00:38:40,960
Speaker 1: I get it is like I am a god in

835
00:38:41,040 --> 00:38:43,160
Speaker 1: a weird way. That's what I felt when I walked

836
00:38:43,200 --> 00:38:46,279
Speaker 1: through that. I mean, true, he's from another dimension, all right,

837
00:38:46,760 --> 00:38:50,560
Speaker 1: But you're giving yourself that and you're like, wow, it's

838
00:38:50,600 --> 00:38:54,160
Speaker 1: not something you want to abuse or carry around or

839
00:38:54,280 --> 00:38:57,440
Speaker 1: let exist other than when the cameras rolling from starting,

840
00:38:57,440 --> 00:39:00,759
Speaker 1: you know, cut from action to cut, because it's just

841
00:39:01,000 --> 00:39:04,480
Speaker 1: too it's the ring in the Hobbit. It's like you

842
00:39:04,680 --> 00:39:07,080
Speaker 1: just you don't want to put that on, you know,

843
00:39:07,560 --> 00:39:10,640
Speaker 1: because not unless you really have to. I did the

844
00:39:10,680 --> 00:39:14,080
Speaker 1: Scottish play the public Theater back in and we had

845
00:39:14,120 --> 00:39:16,560
Speaker 1: a funny cask because we had a lot of future stars,

846
00:39:17,160 --> 00:39:20,320
Speaker 1: and I remember I would kill Zach Brath, he played Fleance,

847
00:39:20,560 --> 00:39:23,279
Speaker 1: and I'd stab him. I put my boot on his

848
00:39:23,400 --> 00:39:25,960
Speaker 1: shoulder and I peeled him off my sword and that

849
00:39:26,040 --> 00:39:27,560
Speaker 1: would turn to the people in the front row who

850
00:39:27,600 --> 00:39:29,279
Speaker 1: were like maybe five away, and I'll be like, are

851
00:39:29,320 --> 00:39:31,719
Speaker 1: you next, any one of you? And you know, I

852
00:39:31,800 --> 00:39:33,440
Speaker 1: mean you want a piece of this. We're literally like

853
00:39:33,520 --> 00:39:35,200
Speaker 1: trying to bring the audience into like I'm gonna kill

854
00:39:35,239 --> 00:39:37,440
Speaker 1: you now you want to funk with me? And the

855
00:39:37,520 --> 00:39:40,040
Speaker 1: second act of Scottish play, you just went went crazy

856
00:39:40,160 --> 00:39:42,280
Speaker 1: and you really like lost your mind. So when Jeffrey

857
00:39:42,320 --> 00:39:43,759
Speaker 1: Nordling would kill me in the end, I was like,

858
00:39:44,080 --> 00:39:46,160
Speaker 1: I'd lay there and we had a rain effect and

859
00:39:46,360 --> 00:39:48,440
Speaker 1: rain would be coming down in My body was half

860
00:39:48,560 --> 00:39:51,320
Speaker 1: in the gate of the castle and half outside, so

861
00:39:51,480 --> 00:39:53,719
Speaker 1: my body's inside of my head is just outside and

862
00:39:53,960 --> 00:39:56,240
Speaker 1: rain is coming down and I look up at Jeffrey,

863
00:39:56,239 --> 00:39:58,120
Speaker 1: who's gonna kill me, and I look up and whisper.

864
00:39:58,200 --> 00:40:00,680
Speaker 1: In the scene, I go, I'm you do really kill me?

865
00:40:01,480 --> 00:40:05,120
Speaker 1: Because I can't do this fucking show. Another time that

866
00:40:05,239 --> 00:40:08,200
Speaker 1: was so tired of a sword fighting and killing in

867
00:40:08,280 --> 00:40:11,279
Speaker 1: the hatred and the malice and the anxiety. Yeah, I

868
00:40:11,360 --> 00:40:14,239
Speaker 1: mean Macbeth going crazy, and I would sit down and

869
00:40:14,280 --> 00:40:16,360
Speaker 1: look a bit drearily. Non, I go, shove that sword,

870
00:40:16,600 --> 00:40:19,560
Speaker 1: please jump off. I can't do this. I can't do that.

871
00:40:19,920 --> 00:40:21,799
Speaker 1: But but that's interesting, you see that, because I think

872
00:40:21,840 --> 00:40:24,320
Speaker 1: you were right in keeping with that character. What's happening

873
00:40:24,360 --> 00:40:26,239
Speaker 1: in his mind at the same time. I think he's

874
00:40:26,239 --> 00:40:29,000
Speaker 1: probably at that point he's got a death wish. He's

875
00:40:29,120 --> 00:40:31,640
Speaker 1: exactly he can't stop it. He said, you have to

876
00:40:31,640 --> 00:40:33,359
Speaker 1: stop it for me. I think so. I think someone

877
00:40:33,440 --> 00:40:37,080
Speaker 1: stopped me right in the wheelhouse questions. You know, so

878
00:40:37,200 --> 00:40:40,080
Speaker 1: you have a winery but you make wine? Yeah? Where

879
00:40:40,239 --> 00:40:42,319
Speaker 1: I make one in Eastern Washington. You know, I grew

880
00:40:42,400 --> 00:40:46,040
Speaker 1: up in Yakoma's Eastern Washington. I watched the wine world

881
00:40:46,200 --> 00:40:49,200
Speaker 1: developed there and the quality every year it gets better

882
00:40:49,239 --> 00:40:53,560
Speaker 1: and better and improves. And I wanted to be honest,

883
00:40:53,560 --> 00:40:55,960
Speaker 1: I really wanted I'm interested in wine. I wanted to

884
00:40:56,040 --> 00:40:58,239
Speaker 1: go back and explore that I'd like to. I wanted

885
00:40:58,239 --> 00:40:59,840
Speaker 1: to learn more about wine, and that was one of

886
00:40:59,920 --> 00:41:01,359
Speaker 1: the ways I could do it. And I wanted an

887
00:41:01,400 --> 00:41:02,960
Speaker 1: excuse to go back and see my dad, who was

888
00:41:03,000 --> 00:41:05,040
Speaker 1: alive at the time more and I said, did he

889
00:41:05,080 --> 00:41:06,799
Speaker 1: work with you? We would go together. We went down

890
00:41:06,800 --> 00:41:09,960
Speaker 1: to the winery together, we tasted together. He participated with it. Yeah,

891
00:41:10,000 --> 00:41:12,480
Speaker 1: he loved it. You owned it. I partnered with an

892
00:41:12,520 --> 00:41:14,759
Speaker 1: existing winery that already had all the infrastructure. There's so

893
00:41:14,840 --> 00:41:17,279
Speaker 1: much infrastructure and the wine that costs so much money.

894
00:41:17,640 --> 00:41:20,320
Speaker 1: So I sourced the fruit. I found the barrels that

895
00:41:20,360 --> 00:41:22,680
Speaker 1: I wanted to use, new French oak barrels. And I

896
00:41:23,080 --> 00:41:28,600
Speaker 1: have your own labels called Pursued by Bear, Pursued by Bear?

897
00:41:29,320 --> 00:41:30,879
Speaker 1: And where did that come from? If I may ask,

898
00:41:31,800 --> 00:41:34,320
Speaker 1: the Winner's Tale, it's right from the Winner's Tale Exit

899
00:41:34,400 --> 00:41:38,000
Speaker 1: Pursued by a Bear. It's it's my favorite stage times.

900
00:41:38,040 --> 00:41:39,600
Speaker 1: Oh my god, I love it. I love it. You've

901
00:41:39,640 --> 00:41:41,839
Speaker 1: been doing for how long? I started in two thousand five?

902
00:41:42,080 --> 00:41:45,600
Speaker 1: Was the first finite. We're right now and currently I'm

903
00:41:45,600 --> 00:41:47,680
Speaker 1: a little not behind it. Just I aged for a while.

904
00:41:47,760 --> 00:41:51,320
Speaker 1: It's got my out e commerce site. Now do you

905
00:41:51,400 --> 00:41:53,160
Speaker 1: want to expand that and do more of them? Maybe?

906
00:41:53,320 --> 00:41:56,839
Speaker 1: You know, it's like couple. Yeah, that's amazing. Oh my god.

907
00:41:57,000 --> 00:41:58,719
Speaker 1: I think he makes I mean obviously he makes more

908
00:41:58,760 --> 00:42:01,640
Speaker 1: money doing the one. And then I thought, yeah, but um,

909
00:42:01,840 --> 00:42:03,680
Speaker 1: but maybe I don't know what's going to happen, you know,

910
00:42:03,800 --> 00:42:05,440
Speaker 1: right now, it's just something else, you know what I mean,

911
00:42:05,520 --> 00:42:07,360
Speaker 1: that's different from the business, that takes you kind of

912
00:42:07,400 --> 00:42:08,920
Speaker 1: a way into a different place, and something I can

913
00:42:08,960 --> 00:42:11,480
Speaker 1: share with friends and my wife gets a kick out

914
00:42:11,520 --> 00:42:12,520
Speaker 1: of it, you know, and I get to go home

915
00:42:12,560 --> 00:42:14,640
Speaker 1: and see my brothers now and do you know what

916
00:42:14,719 --> 00:42:19,200
Speaker 1: you're doing next? Yeah? Not no, no, reading, reading some things. Um,

917
00:42:19,680 --> 00:42:22,200
Speaker 1: there's some kind of cool things you know out there. Um,

918
00:42:22,520 --> 00:42:24,400
Speaker 1: I don't know. I love this one line that you

919
00:42:24,520 --> 00:42:28,080
Speaker 1: were quoted saying not working makes me nervous. I do

920
00:42:28,239 --> 00:42:30,160
Speaker 1: enjoy my tour, so to be honest, Yeah, oh yeah,

921
00:42:30,200 --> 00:42:32,359
Speaker 1: I've learned. I said, you know what, something will come

922
00:42:32,560 --> 00:42:34,920
Speaker 1: and it's up to me to keep plugging away and

923
00:42:35,080 --> 00:42:37,200
Speaker 1: talking to my agents, my managers and I find the

924
00:42:37,239 --> 00:42:39,440
Speaker 1: best thing that we can find. But in the meantime,

925
00:42:40,080 --> 00:42:42,279
Speaker 1: I'm having a great time with my son. You know,

926
00:42:42,560 --> 00:42:45,880
Speaker 1: I'm doing my gardening and boxing, you know what's like that,

927
00:42:46,280 --> 00:42:51,520
Speaker 1: and I love that kind of stuff. Kyle McGlaughlin David

928
00:42:51,640 --> 00:42:57,319
Speaker 1: Lynch's go to leading man. I'm Alec Baldwin and you're

929
00:42:57,400 --> 00:43:03,320
Speaker 1: listening to Here's the Thing, Paul, to make the baby

930
00:43:03,760 --> 00:43:06,360
Speaker 1: of THETT make the