1
00:00:03,000 --> 00:00:06,880
Speaker 1: So I turned to the Chael chick list and I go,

2
00:00:07,400 --> 00:00:11,040
Speaker 1: it's supposed to be two rooms, and he goes, well,

3
00:00:11,080 --> 00:00:12,360
Speaker 1: I just thought to be easier if we did it

4
00:00:12,400 --> 00:00:14,880
Speaker 1: like a couple's massage, because we had the same time appointment.

5
00:00:15,120 --> 00:00:19,560
Speaker 1: And I was just like, nice, try and I walked out.

6
00:00:20,760 --> 00:00:22,760
Speaker 2: Did you eat money? Did you get the money back?

7
00:00:23,360 --> 00:00:25,040
Speaker 1: I don't care about that, but I'm still tense.

8
00:00:26,040 --> 00:00:29,600
Speaker 2: Hey, Welcome to Hollywood Handbook and Insider's Guide to kicking button,

9
00:00:29,720 --> 00:00:34,680
Speaker 2: dropping names and carpet line back hallways of this industry.

10
00:00:34,720 --> 00:00:37,600
Speaker 2: We call showbiz very exciting day today.

11
00:00:37,840 --> 00:00:41,600
Speaker 1: He's well like them, he says, Rouge, of course, because

12
00:00:41,640 --> 00:00:46,520
Speaker 1: we have we have a documentary crew.

13
00:00:47,000 --> 00:00:51,000
Speaker 2: We have a documentary crew from France and they are

14
00:00:51,040 --> 00:00:54,560
Speaker 2: making a documentary about Sean and I and our Hollywood

15
00:00:54,640 --> 00:00:56,960
Speaker 2: stories and our experience and.

16
00:00:56,880 --> 00:01:00,280
Speaker 1: How exciting to be the subject of a of a

17
00:01:00,360 --> 00:01:04,800
Speaker 1: French film. Yes, when we of course love French film.

18
00:01:04,880 --> 00:01:06,520
Speaker 2: Yes, we love French films so much.

19
00:01:06,600 --> 00:01:09,920
Speaker 1: We are studiers of film and we do study it.

20
00:01:09,959 --> 00:01:12,679
Speaker 2: Yes, and we consider it to be one of the

21
00:01:12,720 --> 00:01:15,640
Speaker 2: most historical film types.

22
00:01:16,200 --> 00:01:22,600
Speaker 1: In my mind, French film is really the daddy of movies,

23
00:01:22,640 --> 00:01:28,960
Speaker 1: and that American is the rebellious teen Yes, yes, and

24
00:01:29,160 --> 00:01:34,280
Speaker 1: just is splashing the graffiti and then the franch has

25
00:01:34,360 --> 00:01:36,039
Speaker 1: to go no, no, no, you know.

26
00:01:37,720 --> 00:01:40,320
Speaker 2: Between treflow oh.

27
00:01:40,280 --> 00:01:43,759
Speaker 1: Yes and Barco Bruno.

28
00:01:44,240 --> 00:01:49,320
Speaker 2: Of course love Bruno and his famous movies.

29
00:01:49,000 --> 00:01:52,640
Speaker 1: All of the big movies that he did it and and.

30
00:01:52,920 --> 00:01:56,360
Speaker 2: The Surprising Friend is one of my favorite good yard

31
00:01:56,520 --> 00:01:59,880
Speaker 2: and pres love Latin movie.

32
00:02:00,080 --> 00:02:05,200
Speaker 1: Mm hmmmm, you too, Momotombi and all the good French

33
00:02:05,280 --> 00:02:08,280
Speaker 1: movies that we just absolutely adore and and that we

34
00:02:08,360 --> 00:02:13,359
Speaker 1: would and study them, you know, with our notebooks with

35
00:02:13,520 --> 00:02:17,440
Speaker 1: as little tikes, and now to be in one. It's

36
00:02:17,480 --> 00:02:17,960
Speaker 1: just like that.

37
00:02:19,360 --> 00:02:27,680
Speaker 2: So our interviewer on cecil is here. Will you say whatever?

38
00:02:27,800 --> 00:02:32,639
Speaker 2: However you say whatever and whatever the word is, that's

39
00:02:33,000 --> 00:02:37,519
Speaker 2: it's very nice. Yes, and what what channel are you

40
00:02:38,120 --> 00:02:47,520
Speaker 2: working for? Do you understand me? Orange? It doesn't seem

41
00:02:47,520 --> 00:02:50,280
Speaker 2: like she doesn't. I think she's trying to say a color. Yes.

42
00:02:51,400 --> 00:02:58,400
Speaker 2: Does she think your shirts orange? It's blue? No?

43
00:02:58,639 --> 00:02:58,880
Speaker 1: Ora?

44
00:03:04,560 --> 00:03:04,800
Speaker 2: Yes?

45
00:03:04,960 --> 00:03:09,799
Speaker 1: Yes, yes, that's she's having fun. And that's what's most

46
00:03:09,840 --> 00:03:12,440
Speaker 1: important to us is that every it's for everyone to

47
00:03:12,480 --> 00:03:13,079
Speaker 1: have a good time.

48
00:03:13,200 --> 00:03:20,480
Speaker 2: This show, this film, is it black and white? Like

49
00:03:20,480 --> 00:03:25,480
Speaker 2: what are you? And artistic? We love how the French

50
00:03:25,560 --> 00:03:30,680
Speaker 2: film they can make these movies so such strange angles

51
00:03:31,560 --> 00:03:34,640
Speaker 2: and interesting, and how they write the words right on

52
00:03:34,720 --> 00:03:36,960
Speaker 2: the screen is so interesting.

53
00:03:37,360 --> 00:03:38,840
Speaker 1: And the mouths don't match.

54
00:03:38,960 --> 00:03:42,360
Speaker 2: Yes, they're saying different they're saying different words, and then

55
00:03:42,880 --> 00:03:45,320
Speaker 2: they're explaining what's going on in the bottom of the

56
00:03:45,320 --> 00:03:47,800
Speaker 2: screen in such an exciting way.

57
00:03:48,120 --> 00:03:55,240
Speaker 1: Yes, no, it's in color mm and is that color wrong?

58
00:03:56,360 --> 00:04:01,880
Speaker 1: You know, because from before many sort of a universal language,

59
00:04:01,920 --> 00:04:02,240
Speaker 1: isn't it.

60
00:04:02,880 --> 00:04:04,920
Speaker 2: Yes? Laughter, And if you and I just made a

61
00:04:04,920 --> 00:04:07,440
Speaker 2: big joke, if you, if you read science books, a

62
00:04:07,520 --> 00:04:10,920
Speaker 2: smile is the easiest way to move your face.

63
00:04:11,440 --> 00:04:12,760
Speaker 1: Yes, And it's less tiring.

64
00:04:12,800 --> 00:04:15,680
Speaker 2: It takes less muscles than a frown. And that's everywhere

65
00:04:15,680 --> 00:04:16,560
Speaker 2: in the world.

66
00:04:16,720 --> 00:04:18,400
Speaker 1: And if you, and for actors, if you want to

67
00:04:18,400 --> 00:04:20,560
Speaker 1: have a strong face, you should make a lot of frowns.

68
00:04:20,600 --> 00:04:23,800
Speaker 2: We all have the same face muscles, and across all cultures,

69
00:04:23,839 --> 00:04:29,520
Speaker 2: skull size varies and that has different effects on brain

70
00:04:29,600 --> 00:04:31,360
Speaker 2: capacity and things like that.

71
00:04:31,400 --> 00:04:34,520
Speaker 1: It's all science, and the size of other things is random.

72
00:04:34,600 --> 00:04:37,560
Speaker 2: Yes, would you like to ask us a question now,

73
00:04:38,279 --> 00:04:41,159
Speaker 2: just to get ahead of the interview we're doing later.

74
00:04:42,279 --> 00:04:47,920
Speaker 1: No masses, okay, okay, Well, Let's do our show. Okay,

75
00:04:48,080 --> 00:04:51,240
Speaker 1: you know, and we love your show. Your show is important,

76
00:04:51,240 --> 00:04:51,840
Speaker 1: but we have to do it.

77
00:04:51,839 --> 00:04:53,320
Speaker 2: We'll just go ahead and do our show, and we

78
00:04:53,600 --> 00:04:55,240
Speaker 2: have to sort of, we do have to do that

79
00:04:55,560 --> 00:04:59,320
Speaker 2: to move on. Today is even more exciting because this

80
00:04:59,400 --> 00:04:59,560
Speaker 2: is a.

81
00:05:00,040 --> 00:05:02,320
Speaker 1: Snapping some pics of the film crew.

82
00:05:02,760 --> 00:05:03,680
Speaker 2: Good you are.

83
00:05:04,920 --> 00:05:05,640
Speaker 1: I'm surprised.

84
00:05:06,279 --> 00:05:07,800
Speaker 2: How do you think you're doing that?

85
00:05:10,000 --> 00:05:10,960
Speaker 3: I did it earlier?

86
00:05:12,279 --> 00:05:13,520
Speaker 2: Just them by themselves?

87
00:05:14,120 --> 00:05:15,680
Speaker 1: Or did you get them talking to us, which is

88
00:05:15,680 --> 00:05:17,600
Speaker 1: really the only thing people would.

89
00:05:17,480 --> 00:05:19,840
Speaker 2: People don't want People don't want to see pictures of

90
00:05:19,880 --> 00:05:24,280
Speaker 2: just them alone. Cody really a guy with a camera.

91
00:05:24,560 --> 00:05:27,320
Speaker 2: I mean, I got all you guys together. Thank you?

92
00:05:27,320 --> 00:05:28,200
Speaker 2: You want to see him?

93
00:05:28,760 --> 00:05:32,359
Speaker 1: Yes, okay, this is real, or this is one of

94
00:05:32,400 --> 00:05:32,960
Speaker 1: your jokes.

95
00:05:33,440 --> 00:05:36,520
Speaker 2: Don't pretend to hand as a camera if this is

96
00:05:36,560 --> 00:05:38,880
Speaker 2: if this is one of your jokes, trying to make

97
00:05:38,880 --> 00:05:40,880
Speaker 2: the sound of handing me a camera. I want to

98
00:05:40,880 --> 00:05:44,320
Speaker 2: see what you did. How do I how do I

99
00:05:44,360 --> 00:05:44,840
Speaker 2: look at what the.

100
00:05:44,920 --> 00:05:46,880
Speaker 1: How does this work? Turn it on before you hand

101
00:05:46,880 --> 00:05:47,480
Speaker 1: it to him?

102
00:05:48,200 --> 00:05:52,080
Speaker 2: Okay he did? Okay, Well they're really good. Oh good,

103
00:05:52,240 --> 00:05:53,839
Speaker 2: you took a lot of good pictures.

104
00:05:54,240 --> 00:05:57,440
Speaker 1: Well great, am I in some of them. No, really

105
00:05:57,520 --> 00:06:01,760
Speaker 1: am I not in them? No, I've noticed that there's

106
00:06:01,760 --> 00:06:03,000
Speaker 1: more pictures of Haze lately.

107
00:06:02,880 --> 00:06:05,440
Speaker 2: Than of me. I can't speak to that decision.

108
00:06:05,640 --> 00:06:08,080
Speaker 1: Well, I don't know what conversation happened, you know, off

109
00:06:08,160 --> 00:06:10,480
Speaker 1: my I said, I know there was no If it's

110
00:06:10,520 --> 00:06:14,039
Speaker 1: a money thing, I've got a little bit of, you know,

111
00:06:14,160 --> 00:06:16,480
Speaker 1: sweet dose of it myself that I could slide you.

112
00:06:16,800 --> 00:06:17,640
Speaker 1: That's what he's doing.

113
00:06:18,200 --> 00:06:21,919
Speaker 2: Today is our music episode. Every year we love to

114
00:06:21,920 --> 00:06:24,120
Speaker 2: do our music episode because as much as we love

115
00:06:24,480 --> 00:06:28,320
Speaker 2: French film, we love music just as much and a nice,

116
00:06:28,839 --> 00:06:34,159
Speaker 2: a nice film with music in it is just the sweetest.

117
00:06:33,680 --> 00:06:37,520
Speaker 1: Taste and all and everyone, all cultures put music on

118
00:06:37,600 --> 00:06:41,920
Speaker 1: their film, and entry love to think about how it

119
00:06:41,960 --> 00:06:45,279
Speaker 1: can change the texture and the feel of a film.

120
00:06:45,400 --> 00:06:47,240
Speaker 2: Yes, to put.

121
00:06:47,720 --> 00:06:51,680
Speaker 1: Music under a scene that otherwise would be flat.

122
00:06:51,839 --> 00:06:54,440
Speaker 2: It's true, it's very it's very true. And we hear

123
00:06:55,279 --> 00:06:58,760
Speaker 2: criticism of music. People say they don't like it because

124
00:06:58,800 --> 00:07:03,000
Speaker 2: you can't see anything and you don't know where to

125
00:07:03,080 --> 00:07:07,880
Speaker 2: look when you're listening to music. I disagree. I think

126
00:07:08,000 --> 00:07:11,120
Speaker 2: music is great, and I think it can create a

127
00:07:11,160 --> 00:07:13,840
Speaker 2: lovely atmosphere for whatever you decide.

128
00:07:13,480 --> 00:07:16,320
Speaker 1: To look at and I actually am on the side

129
00:07:16,360 --> 00:07:21,160
Speaker 1: of those people. But I say, that's why music is

130
00:07:21,280 --> 00:07:24,400
Speaker 1: only good when it is attached to a film. To

131
00:07:24,600 --> 00:07:27,600
Speaker 1: just listen to music out of a radio box or whatever,

132
00:07:28,440 --> 00:07:29,760
Speaker 1: to me, that makes no sense.

133
00:07:29,920 --> 00:07:31,760
Speaker 2: Well, what I would do in that case is you

134
00:07:31,880 --> 00:07:33,880
Speaker 2: choose your own image, and I would pick a flower,

135
00:07:34,320 --> 00:07:36,239
Speaker 2: and I would look at the flower as I listened

136
00:07:36,280 --> 00:07:38,520
Speaker 2: to the music, and I would think about the relationship

137
00:07:38,560 --> 00:07:40,239
Speaker 2: between the sound. But you smell.

138
00:07:40,760 --> 00:07:43,120
Speaker 1: But here's where that becomes. The problem is the flower's

139
00:07:43,200 --> 00:07:45,560
Speaker 1: not moving, and if you're going to know it is

140
00:07:45,640 --> 00:07:47,720
Speaker 1: you move it the whole time. My hand's gonna get tired.

141
00:07:48,440 --> 00:07:52,320
Speaker 1: Now my head is pretty strong. Okay, Well then I'm

142
00:07:52,320 --> 00:07:55,120
Speaker 1: doing it like it's a guy, and it's like you're

143
00:07:55,160 --> 00:07:57,760
Speaker 1: making it move, and it's talking to another flower, and

144
00:07:57,880 --> 00:07:59,240
Speaker 1: the two flowers may be smooch.

145
00:07:59,360 --> 00:08:01,080
Speaker 2: It has its own story. Well, it depends what the

146
00:08:01,160 --> 00:08:05,120
Speaker 2: music is. And let's get into our segment. That's a

147
00:08:05,200 --> 00:08:10,400
Speaker 2: nice segue because we want to show how different pieces

148
00:08:10,760 --> 00:08:15,800
Speaker 2: of musical notes can change the texture of a scene.

149
00:08:16,520 --> 00:08:18,160
Speaker 2: So we will do a scene.

150
00:08:18,960 --> 00:08:21,680
Speaker 1: Let's just do a scene from Da Vinci's Demons, right, Okay.

151
00:08:21,480 --> 00:08:24,040
Speaker 2: Yes, yes, let's pick whatever our favorite scene from Da

152
00:08:24,120 --> 00:08:28,240
Speaker 2: Vinci's Demons with the music extracted, and then we'll play

153
00:08:28,320 --> 00:08:30,000
Speaker 2: a piece of music on top of the scene and

154
00:08:30,080 --> 00:08:33,920
Speaker 2: you can see how the imperceptible changes that you can

155
00:08:33,960 --> 00:08:38,760
Speaker 2: observe once you're hearing the music combined with the dialogue.

156
00:08:39,760 --> 00:08:42,960
Speaker 2: So let's display a clip of our scene from Da

157
00:08:43,040 --> 00:08:43,800
Speaker 2: Vinci's Demons.

158
00:08:44,640 --> 00:08:48,640
Speaker 1: Da Vinci, Uh huh, I want you.

159
00:08:48,600 --> 00:08:52,079
Speaker 2: To paint a picture of the devil.

160
00:08:53,160 --> 00:08:53,840
Speaker 1: W TF?

161
00:08:54,960 --> 00:08:55,600
Speaker 4: No way.

162
00:08:56,960 --> 00:09:00,840
Speaker 2: Use your brush to paint demons.

163
00:09:01,600 --> 00:09:06,199
Speaker 1: Okay, So that's a scene from Da Vinci's Demons. It's

164
00:09:06,280 --> 00:09:08,719
Speaker 1: I think from the pilot, and that's with all the

165
00:09:08,800 --> 00:09:09,760
Speaker 1: music removed.

166
00:09:09,880 --> 00:09:13,360
Speaker 2: Yes, And so now we'll play it with sort of

167
00:09:14,080 --> 00:09:16,520
Speaker 2: a background score and you can listen. Listen for the changes.

168
00:09:16,640 --> 00:09:19,400
Speaker 2: Listen to see how it just feels different the music,

169
00:09:19,440 --> 00:09:21,560
Speaker 2: how it seems like they're there, could even be having

170
00:09:21,559 --> 00:09:31,120
Speaker 2: a different conversation, Da Vinci, Oh, would you would you

171
00:09:31,160 --> 00:09:35,120
Speaker 2: want to just have like a barbecue or something. I'll

172
00:09:35,160 --> 00:09:39,560
Speaker 2: get the ribs, okay, I just got to pull the

173
00:09:39,600 --> 00:09:46,160
Speaker 2: tarp off the pool and uh cilling in. Boy, we're

174
00:09:46,240 --> 00:09:49,280
Speaker 2: slashing around and why you hop on my shoulders and

175
00:09:49,400 --> 00:09:56,280
Speaker 2: we'll have like a chicken fuck a chicken bie. Okay, well,

176
00:09:56,760 --> 00:09:58,400
Speaker 2: make sure my dog doesn't get burnt.

177
00:09:58,840 --> 00:10:05,040
Speaker 5: Okay, oh yeah, yeah, yeah, Hey more mustard, yes, please,

178
00:10:10,480 --> 00:10:12,320
Speaker 5: a little more place. Okay, now do you want me

179
00:10:12,360 --> 00:10:13,839
Speaker 5: to start putting the mustard on.

180
00:10:15,880 --> 00:10:17,960
Speaker 1: I'm goofing and.

181
00:10:18,000 --> 00:10:20,560
Speaker 2: Getting some water on you and slatching a little water

182
00:10:20,640 --> 00:10:22,440
Speaker 2: on you, splashing water.

183
00:10:23,320 --> 00:10:27,160
Speaker 1: Hey, let's take this whole thing back to the boudoir.

184
00:10:31,320 --> 00:10:35,480
Speaker 1: And so that is the same scene that you heard before,

185
00:10:35,520 --> 00:10:38,120
Speaker 1: dialogue wise, but you see how it feels very different

186
00:10:38,160 --> 00:10:43,040
Speaker 1: because the music changes the texture of the scene. Isn't

187
00:10:43,040 --> 00:10:45,480
Speaker 1: that a great lesson about filmmaking?

188
00:10:47,679 --> 00:10:48,720
Speaker 2: Should we try it again?

189
00:10:49,440 --> 00:10:50,760
Speaker 1: What if we put a different song?

190
00:10:50,880 --> 00:10:53,120
Speaker 2: Okay, yeah, let's put a different song that that that's

191
00:10:53,160 --> 00:10:54,400
Speaker 2: the one that they use in the shop.

192
00:10:54,600 --> 00:10:57,240
Speaker 1: Does just music make it feel different? Or is it

193
00:10:57,280 --> 00:10:58,400
Speaker 1: the kind of music?

194
00:10:58,640 --> 00:11:00,600
Speaker 2: Yes, So let's try it one more time. We'll play

195
00:11:00,640 --> 00:11:04,080
Speaker 2: the same scene. I have technology that can put a

196
00:11:04,120 --> 00:11:06,080
Speaker 2: different backing track on the scene. Let me just do

197
00:11:06,120 --> 00:11:09,120
Speaker 2: that now. Okay, we're ready to go. Da vinci?

198
00:11:10,280 --> 00:11:12,640
Speaker 1: Uh?

199
00:11:13,640 --> 00:11:22,200
Speaker 2: Why are we? Why are we fighting? I guess, I

200
00:11:22,200 --> 00:11:29,400
Speaker 2: guess I don't know anymore. You're so talented, you inspire me.

201
00:11:31,240 --> 00:11:33,720
Speaker 1: You're what makes me want to keep going.

202
00:11:35,679 --> 00:11:39,640
Speaker 2: I think about what it was like before you you

203
00:11:39,760 --> 00:11:43,440
Speaker 2: came along, and I don't want to go back.

204
00:11:44,360 --> 00:11:47,480
Speaker 6: Do you want to know why I settle that bad

205
00:11:47,520 --> 00:11:51,000
Speaker 6: stuff to you?

206
00:11:49,080 --> 00:11:59,640
Speaker 2: Why I was jealous of you. Let's let's take this

207
00:11:59,720 --> 00:12:14,520
Speaker 2: back as a boot walk That sounds good. Did you

208
00:12:14,559 --> 00:12:14,880
Speaker 2: hear that?

209
00:12:14,960 --> 00:12:18,400
Speaker 1: Did you hear now? Did you hear how? It's slightly different?

210
00:12:19,280 --> 00:12:23,080
Speaker 1: Like the music makes it feel. I think the last

211
00:12:23,120 --> 00:12:27,160
Speaker 1: one felt kind of like a party almost, Yes, because

212
00:12:27,160 --> 00:12:30,360
Speaker 1: the music was so energetic and the slower music and

213
00:12:30,400 --> 00:12:34,080
Speaker 1: some of the piano tones that makes it sound like

214
00:12:34,280 --> 00:12:37,080
Speaker 1: it gives you a subtext of the conversations. Yeah, seem

215
00:12:37,160 --> 00:12:43,400
Speaker 1: like it's almost romantic. Yeah, Now are those the only

216
00:12:43,440 --> 00:12:44,320
Speaker 1: two kinds of music?

217
00:12:45,360 --> 00:12:46,880
Speaker 2: We can try another one?

218
00:12:47,240 --> 00:12:48,959
Speaker 1: I'd be curious. I don't know what will happen, but

219
00:12:49,080 --> 00:12:56,040
Speaker 1: I'm trying just do my technology. Okay, da vinci uh huh.

220
00:13:01,320 --> 00:13:02,560
Speaker 2: Let's do this.

221
00:13:02,640 --> 00:13:17,360
Speaker 6: Thing cabougie smash flying through glass. But I caught your

222
00:13:17,440 --> 00:13:19,920
Speaker 6: neck with one hand and I'm choking your neck.

223
00:13:23,040 --> 00:13:30,920
Speaker 2: Now, why energy ball, Let's take this back to the.

224
00:13:30,800 --> 00:13:44,600
Speaker 1: Boot woker, so that kind of sounds more like it's

225
00:13:44,679 --> 00:13:47,000
Speaker 1: closer to the last one that we did.

226
00:13:46,920 --> 00:13:51,240
Speaker 2: A sad aspect, a sad overtone.

227
00:13:51,320 --> 00:13:53,800
Speaker 1: So that didn't change it so much for me, but

228
00:13:53,880 --> 00:13:56,880
Speaker 1: did you hear how it did change it from the original,

229
00:13:57,520 --> 00:13:59,760
Speaker 1: And there was just the feel of it and what

230
00:13:59,840 --> 00:14:01,640
Speaker 1: you sort of picture and think about this.

231
00:14:01,840 --> 00:14:06,520
Speaker 2: It's music magic, as we like to say, leg music.

232
00:14:08,480 --> 00:14:13,640
Speaker 2: We have a great guest today, Michael Cronin is a musicians,

233
00:14:13,640 --> 00:14:19,200
Speaker 2: a musician we discovered discovered at the music festival Coachellah,

234
00:14:19,560 --> 00:14:22,720
Speaker 2: and he is going to be coming on the show

235
00:14:23,160 --> 00:14:25,760
Speaker 2: and we're sort of gonna give you an inside look

236
00:14:25,800 --> 00:14:28,160
Speaker 2: as to the hand we sort of have in the

237
00:14:28,200 --> 00:14:30,440
Speaker 2: music industry and that we don't talk about this.

238
00:14:30,680 --> 00:14:33,120
Speaker 1: Yeah, our label and sort of what our vision for

239
00:14:33,240 --> 00:14:33,600
Speaker 1: it is.

240
00:14:33,680 --> 00:14:38,160
Speaker 2: And yes, coming right up on Hollywood Handbook.

241
00:14:38,400 --> 00:14:39,520
Speaker 7: Hollywood hand.

242
00:14:43,120 --> 00:14:45,360
Speaker 1: So I stand up to go to the bathroom.

243
00:14:45,520 --> 00:14:48,840
Speaker 2: Yeah, and Bobby Stepan and.

244
00:14:49,520 --> 00:14:53,760
Speaker 1: Was sitting behind us the whole time. And Nicholson's mortified,

245
00:14:53,920 --> 00:14:56,000
Speaker 1: you know, because he didn't mean to say that stuff

246
00:14:56,040 --> 00:14:59,960
Speaker 1: about Lonesome Dove being bullshit.

247
00:15:00,520 --> 00:15:04,080
Speaker 2: Yeah, it was fake. It was fake. It didn't happen.

248
00:15:04,800 --> 00:15:11,320
Speaker 2: That's why he Welcome back to our special annual music

249
00:15:11,440 --> 00:15:14,560
Speaker 2: episode of Hollywood Handbook and Insider's Guide to kicking button

250
00:15:14,600 --> 00:15:16,840
Speaker 2: dropping names in the red carpet lineback hallways of this

251
00:15:16,920 --> 00:15:20,440
Speaker 2: industry we call showbiz and music and a big what up?

252
00:15:20,520 --> 00:15:21,040
Speaker 2: What up?

253
00:15:21,160 --> 00:15:25,320
Speaker 1: To our guest, a really exciting up and coming musician

254
00:15:25,600 --> 00:15:27,320
Speaker 1: who's getting his big break right now.

255
00:15:27,600 --> 00:15:31,640
Speaker 2: Yes, we this is Michael Cronin is here. Yes, he's

256
00:15:31,680 --> 00:15:37,800
Speaker 2: our guest. He is a musician who we heard it

257
00:15:37,840 --> 00:15:40,160
Speaker 2: was at we were at Coachella. It was sort of

258
00:15:40,200 --> 00:15:40,800
Speaker 2: on the way to.

259
00:15:40,760 --> 00:15:44,840
Speaker 1: Coach yes, we well, it was on the way out

260
00:15:44,920 --> 00:15:48,560
Speaker 1: as I okay. We had seen all the stage shows

261
00:15:48,560 --> 00:15:50,720
Speaker 1: and nothing really grabbed us.

262
00:15:50,680 --> 00:15:53,000
Speaker 2: And then we wanted to buy some almonds for the drive.

263
00:15:53,200 --> 00:15:56,480
Speaker 2: M hmm, some of those lemon almonds. Have you had those, Engineer, Cody,

264
00:15:57,920 --> 00:15:59,840
Speaker 2: We have. Don't just shake your head say yes, or

265
00:16:00,160 --> 00:16:02,080
Speaker 2: when we ask you a question about if you've had

266
00:16:02,200 --> 00:16:04,280
Speaker 2: a certain food like almonds.

267
00:16:04,120 --> 00:16:06,280
Speaker 1: Or just say people don't know the farmer's market, they

268
00:16:06,280 --> 00:16:08,440
Speaker 1: have these lemon almonds. When you to shake your head,

269
00:16:08,440 --> 00:16:10,880
Speaker 1: nobody knows kind of sour, but you could be nodding

270
00:16:11,760 --> 00:16:17,720
Speaker 1: it sound yeah, Cody said no, so he hasn't had

271
00:16:17,800 --> 00:16:20,320
Speaker 1: lemon almonds, but we have, and we think they're just

272
00:16:20,360 --> 00:16:24,640
Speaker 1: a real tasty treat. And as we were purchasing them,

273
00:16:24,720 --> 00:16:27,440
Speaker 1: we heard the sirens song of a young.

274
00:16:27,680 --> 00:16:32,240
Speaker 2: Music man playing yes and just you. I missed the

275
00:16:32,320 --> 00:16:35,240
Speaker 2: days when people played instruments, you know what I mean?

276
00:16:35,280 --> 00:16:38,360
Speaker 2: And now it's all in all this you just beep

277
00:16:38,360 --> 00:16:40,400
Speaker 2: beep beep beep. Oh what what what?

278
00:16:40,520 --> 00:16:40,560
Speaker 1: What?

279
00:16:40,720 --> 00:16:40,800
Speaker 3: What?

280
00:16:40,920 --> 00:16:40,960
Speaker 5: What?

281
00:16:41,120 --> 00:16:41,160
Speaker 1: What?

282
00:16:42,800 --> 00:16:42,960
Speaker 6: One?

283
00:16:45,320 --> 00:16:45,520
Speaker 2: You know?

284
00:16:45,600 --> 00:16:51,720
Speaker 1: All this scrilloks and the dust dusty chemical brothers and

285
00:16:51,760 --> 00:16:52,280
Speaker 1: all that stuff.

286
00:16:52,280 --> 00:16:56,440
Speaker 2: And we we saw this boy playing a guitar he'd

287
00:16:56,480 --> 00:16:59,680
Speaker 2: made out of tissue box and some rubber bands and

288
00:16:59,680 --> 00:17:05,400
Speaker 2: a pen so mm hmm. And the sound of it

289
00:17:05,520 --> 00:17:07,440
Speaker 2: was weird.

290
00:17:07,560 --> 00:17:10,800
Speaker 1: Yes, the sound wasn't right, and his look wasn't right,

291
00:17:11,680 --> 00:17:13,480
Speaker 1: but he had something.

292
00:17:13,200 --> 00:17:18,000
Speaker 2: M yes, And so that's why we we will do

293
00:17:18,040 --> 00:17:20,480
Speaker 2: it right now. We want to sign Michael to be

294
00:17:20,520 --> 00:17:23,120
Speaker 2: our first the first artist on our label, on our

295
00:17:23,720 --> 00:17:27,400
Speaker 2: on our label. Oh my god. Okay is that exciting

296
00:17:27,400 --> 00:17:28,080
Speaker 2: for you? And Michael?

297
00:17:28,600 --> 00:17:32,000
Speaker 8: That's I don't even know what to say. I uh, yeah,

298
00:17:32,040 --> 00:17:35,639
Speaker 8: it's been a it's been a rough road. Maybe I

299
00:17:35,680 --> 00:17:38,040
Speaker 8: can afford an actual guitar.

300
00:17:38,440 --> 00:17:43,080
Speaker 2: Now, right because you we we have mine, you brought

301
00:17:43,119 --> 00:17:43,879
Speaker 2: yours for you.

302
00:17:43,880 --> 00:17:46,080
Speaker 1: You're allowed to play Hayes until you can get your

303
00:17:46,080 --> 00:17:48,000
Speaker 1: own until you get on your feet.

304
00:17:48,760 --> 00:17:51,000
Speaker 2: With the gloves. You have the gloves. I have the gloves.

305
00:17:51,119 --> 00:17:54,639
Speaker 1: Yeah, just so you don't get any of the germs.

306
00:17:55,400 --> 00:17:57,280
Speaker 8: It's lots, yeah, it's a lot of germs.

307
00:17:58,320 --> 00:18:03,720
Speaker 1: But we want to sign you to go Giro Records.

308
00:18:03,720 --> 00:18:04,679
Speaker 2: Good, Gira Records.

309
00:18:04,920 --> 00:18:07,880
Speaker 1: That's our label and it's hot right now and we

310
00:18:07,960 --> 00:18:10,879
Speaker 1: want we want our record label to just stop the

311
00:18:10,960 --> 00:18:14,879
Speaker 1: whole city out and be scary and misunderstood and it

312
00:18:15,040 --> 00:18:15,840
Speaker 1: breathes fire.

313
00:18:16,480 --> 00:18:18,920
Speaker 8: It's a tough business, especially right now.

314
00:18:19,600 --> 00:18:21,000
Speaker 2: Yes, record labels.

315
00:18:20,760 --> 00:18:22,840
Speaker 1: Speak on that, speak on that, please.

316
00:18:23,640 --> 00:18:25,199
Speaker 4: I think you know.

317
00:18:25,320 --> 00:18:34,240
Speaker 8: There's Napster, there's YouTube, and there's uh just really you know,

318
00:18:34,280 --> 00:18:35,520
Speaker 8: you can get so much music for free.

319
00:18:35,560 --> 00:18:36,399
Speaker 4: It's hard to sell records.

320
00:18:36,720 --> 00:18:39,520
Speaker 1: And lime Wire is eating our lunch. I feel like

321
00:18:39,960 --> 00:18:44,199
Speaker 1: LimeWire mm hmm, and Oster m hm.

322
00:18:44,400 --> 00:18:46,240
Speaker 8: Oster is nasty business.

323
00:18:46,359 --> 00:18:46,800
Speaker 3: Mm hmm.

324
00:18:47,600 --> 00:18:48,960
Speaker 2: It's very nasty business.

325
00:18:49,040 --> 00:18:50,680
Speaker 1: And that Pirate Bay.

326
00:18:52,359 --> 00:18:54,520
Speaker 8: Yeah, so it's really hard to it's hard to make

327
00:18:54,560 --> 00:18:57,159
Speaker 8: a living as a musicians, hard to make books.

328
00:18:57,720 --> 00:19:03,000
Speaker 2: But it's not your music really right now that we're

329
00:19:03,040 --> 00:19:05,840
Speaker 2: as interested in, because you're not really selling music right now,

330
00:19:05,880 --> 00:19:10,080
Speaker 2: are you? Is it really that way of a face

331
00:19:10,119 --> 00:19:13,520
Speaker 2: and body that we're selling these days.

332
00:19:14,920 --> 00:19:17,240
Speaker 1: Yeah, let me think about the top musicians who are

333
00:19:17,280 --> 00:19:26,000
Speaker 1: selling music. Billie Joel mm hmm, right, yes, Neil Young

334
00:19:26,320 --> 00:19:32,520
Speaker 1: mm hmmm. Uh huh who I mean? Who Ji Mary

335
00:19:32,600 --> 00:19:39,560
Speaker 1: j Blige one twelve. Yeah, and I think Jodic is

336
00:19:39,640 --> 00:19:41,960
Speaker 1: doing some stuff that's pretty interesting right now, but I

337
00:19:41,960 --> 00:19:44,080
Speaker 1: don't know if it's going to catch on. So to me,

338
00:19:45,359 --> 00:19:50,600
Speaker 1: in common, what they what's the same about all of them?

339
00:19:50,920 --> 00:19:51,560
Speaker 4: They look good?

340
00:19:52,000 --> 00:19:54,840
Speaker 1: Yes, don't be shy you want to fuck them? I

341
00:19:54,880 --> 00:19:59,240
Speaker 1: mean they're fuckable and that's you know, that's true. It's

342
00:19:58,920 --> 00:20:02,040
Speaker 1: it's I mean, that's part of it, isn't it. Michael.

343
00:20:02,080 --> 00:20:04,479
Speaker 8: It's kind of you know, you don't you don't want

344
00:20:04,520 --> 00:20:07,719
Speaker 8: to come out and say it upright, but it's just

345
00:20:08,040 --> 00:20:09,600
Speaker 8: that's it's kind of.

346
00:20:09,720 --> 00:20:12,359
Speaker 1: But say, we're gonna need you to say, yeah, just

347
00:20:12,480 --> 00:20:15,679
Speaker 1: say it talking to hear you say about what you

348
00:20:15,720 --> 00:20:17,520
Speaker 1: want to do to one of those guys.

349
00:20:18,000 --> 00:20:18,560
Speaker 4: Neil Young.

350
00:20:19,000 --> 00:20:28,119
Speaker 8: Neil Young, he he's been looking good for forty years

351
00:20:28,119 --> 00:20:33,720
Speaker 8: at least. Yeah, and like he's an old distinguished man

352
00:20:33,800 --> 00:20:36,440
Speaker 8: now and you want to I feel like he's been

353
00:20:37,760 --> 00:20:44,600
Speaker 8: I would, I would, I would fuck Neil Young?

354
00:20:44,760 --> 00:20:47,440
Speaker 1: Yes, thank you, Yes, was that so hard? And that

355
00:20:47,520 --> 00:20:50,159
Speaker 1: really makes me think this guy's got a future in

356
00:20:50,200 --> 00:20:51,399
Speaker 1: the music business.

357
00:20:51,560 --> 00:20:54,480
Speaker 2: Yes, and so right now we look at you right now,

358
00:20:55,560 --> 00:21:02,000
Speaker 2: you have bugs on you. Your hair is in shredded tatters.

359
00:21:02,920 --> 00:21:04,720
Speaker 1: It's like bits of rope. I think.

360
00:21:04,880 --> 00:21:10,320
Speaker 2: Yes, but we can do something with you and turn

361
00:21:10,440 --> 00:21:13,879
Speaker 2: you into a sort of Neil Young type that people

362
00:21:13,920 --> 00:21:14,680
Speaker 2: are interested in.

363
00:21:14,640 --> 00:21:18,840
Speaker 1: Fucking the sex symbol. And one thing we want to

364
00:21:18,880 --> 00:21:21,439
Speaker 1: dissuade you of is you've talked a lot about wanting

365
00:21:21,480 --> 00:21:25,720
Speaker 1: to write songs and play songs and like make an album,

366
00:21:25,960 --> 00:21:28,480
Speaker 1: right and that doesn't seem like the right direction for

367
00:21:28,560 --> 00:21:30,160
Speaker 1: a musician right now, does it?

368
00:21:31,720 --> 00:21:34,720
Speaker 2: I guess not because you say it's hard it's hard

369
00:21:34,760 --> 00:21:35,640
Speaker 2: to sell albums.

370
00:21:36,200 --> 00:21:41,520
Speaker 8: Yeah, I mean, I guess I'm missing something.

371
00:21:41,720 --> 00:21:44,679
Speaker 2: I don't know. I think it started with Ever since

372
00:21:45,280 --> 00:21:50,320
Speaker 2: on Celebrity Jeopardy, Sean Connery mistook the words an album

373
00:21:50,400 --> 00:21:53,840
Speaker 2: cover for anal bum cover, it's been hard a little

374
00:21:53,840 --> 00:21:57,960
Speaker 2: bit to take music seriously since then, hasn't it.

375
00:21:58,440 --> 00:22:01,840
Speaker 4: Yeah, you could, Yeah, you could say that.

376
00:22:02,800 --> 00:22:03,119
Speaker 2: I don't know.

377
00:22:03,320 --> 00:22:05,760
Speaker 8: It's it's it's a little confusing right now. How to

378
00:22:06,080 --> 00:22:08,520
Speaker 8: how to how to make it, how to.

379
00:22:08,480 --> 00:22:10,560
Speaker 1: Get did you see that episode of Jeopardy.

380
00:22:11,440 --> 00:22:13,000
Speaker 4: I did not see that.

381
00:22:13,200 --> 00:22:13,600
Speaker 2: No, I don't.

382
00:22:13,600 --> 00:22:15,760
Speaker 1: I couldn't believe they'd invited him back because he'd made

383
00:22:15,800 --> 00:22:19,200
Speaker 1: similar mistakes. But I think he's just a popular celebrity

384
00:22:19,240 --> 00:22:24,560
Speaker 1: Jeopardy character. And I think that they really shot themselves

385
00:22:24,600 --> 00:22:26,720
Speaker 1: in the foot because then the Jeopardy album they released

386
00:22:26,760 --> 00:22:29,520
Speaker 1: the following year didn't do well and it just felt silly.

387
00:22:29,800 --> 00:22:30,440
Speaker 4: Huh.

388
00:22:30,760 --> 00:22:33,159
Speaker 1: And so to me, the real money is going to

389
00:22:33,240 --> 00:22:39,480
Speaker 1: be in soundtracks. Yes, scoring, yeah, score, you know, not

390
00:22:39,520 --> 00:22:42,320
Speaker 1: scoring like scoring with Neil Young, like getting to have

391
00:22:42,400 --> 00:22:45,719
Speaker 1: sex with that guy, but just scoring, like the score,

392
00:22:45,880 --> 00:22:46,800
Speaker 1: like the sound score.

393
00:22:46,880 --> 00:22:48,040
Speaker 4: Yeah, okay, I could see that.

394
00:22:48,480 --> 00:22:55,040
Speaker 2: Yeah. So maybe what we could do today is surprise, Michael,

395
00:22:55,080 --> 00:22:58,439
Speaker 2: we've signed you to your first gig, and it's doing

396
00:22:58,560 --> 00:23:02,920
Speaker 2: the score of the show Da Vinci's Demons, which we love,

397
00:23:03,119 --> 00:23:08,000
Speaker 2: and it's on obsessed with It's on I believe Startars.

398
00:23:08,320 --> 00:23:10,240
Speaker 4: Yes, it's a good network.

399
00:23:10,320 --> 00:23:13,040
Speaker 2: Yeah, and it's a show about one of the best

400
00:23:13,040 --> 00:23:19,080
Speaker 2: networks going for original young Leonardo da Vinci, who was

401
00:23:19,160 --> 00:23:21,399
Speaker 2: an artist and a magician.

402
00:23:21,680 --> 00:23:25,359
Speaker 1: And yes, among other things, because he invented I think,

403
00:23:26,720 --> 00:23:30,159
Speaker 1: you know, flye.

404
00:23:29,359 --> 00:23:34,040
Speaker 2: And he has these Demons yea. And they each sit

405
00:23:34,119 --> 00:23:37,400
Speaker 2: on one shoulder and one.

406
00:23:37,240 --> 00:23:39,480
Speaker 1: Is good and tells him what to paint.

407
00:23:39,359 --> 00:23:41,760
Speaker 2: Yes, and the other one is bad and tries to

408
00:23:41,760 --> 00:23:46,320
Speaker 2: tell him and tries to trick him into not painting yes, okay.

409
00:23:46,320 --> 00:23:51,479
Speaker 2: And they both have pitchforks, not the Pitchfork magazine like

410
00:23:51,560 --> 00:23:52,520
Speaker 2: you know about.

411
00:23:52,440 --> 00:23:57,840
Speaker 1: Yes, and it's not not your stupid hipster bullshit like

412
00:23:58,160 --> 00:23:59,440
Speaker 1: real Pitchfork.

413
00:23:59,760 --> 00:24:00,960
Speaker 2: None this America.

414
00:24:01,200 --> 00:24:02,760
Speaker 3: Somebody help woo.

415
00:24:04,760 --> 00:24:07,240
Speaker 1: You know what I mean, none of that.

416
00:24:07,680 --> 00:24:09,880
Speaker 2: And so we thought what we could do is you

417
00:24:10,119 --> 00:24:12,600
Speaker 2: could make sure you have your gloves on. You could

418
00:24:12,840 --> 00:24:13,960
Speaker 2: pick up my guitar.

419
00:24:15,280 --> 00:24:18,120
Speaker 1: And you could We're gonna just describe a Da Vinci's

420
00:24:18,119 --> 00:24:20,320
Speaker 1: Demon scene and you play the.

421
00:24:20,280 --> 00:24:21,000
Speaker 3: Score for it.

422
00:24:21,080 --> 00:24:27,600
Speaker 4: Yes, okay, Yeah, I can give it a shot. Sounds

423
00:24:28,600 --> 00:24:30,040
Speaker 4: sounds like an interesting show.

424
00:24:37,200 --> 00:24:39,439
Speaker 1: Well, no need to show off, and we'll describe the

425
00:24:39,440 --> 00:24:40,440
Speaker 1: scene and then you'll play.

426
00:24:40,560 --> 00:24:42,320
Speaker 2: And it's not the time, that's the order. We're just

427
00:24:42,440 --> 00:24:45,280
Speaker 2: doing like little guitar tricks and stuff. We're trying to,

428
00:24:45,760 --> 00:24:47,240
Speaker 2: you know, and do that.

429
00:24:47,359 --> 00:24:51,200
Speaker 8: I got excited because this isn't just a you know.

430
00:24:51,880 --> 00:24:56,199
Speaker 1: Shoe bucks with rubber with rubber bands. And one what

431
00:24:56,280 --> 00:25:01,400
Speaker 1: looked like maybe a hair elastic. So this is the

432
00:25:01,440 --> 00:25:04,920
Speaker 1: scene where Da Vinci has woken up and he's eating

433
00:25:04,960 --> 00:25:07,400
Speaker 1: his eggs in baky and he's going to sit down

434
00:25:07,400 --> 00:25:14,880
Speaker 1: to do his painting, and a devil is going, hey

435
00:25:14,920 --> 00:25:18,680
Speaker 1: cut it, hey cut that out, and another then yeah.

436
00:25:18,480 --> 00:25:23,480
Speaker 2: So it's a transition from a happy morning song to

437
00:25:24,160 --> 00:25:26,440
Speaker 2: a scary demon song.

438
00:25:26,560 --> 00:25:26,960
Speaker 1: Mm hmm.

439
00:25:27,000 --> 00:25:30,320
Speaker 4: Okay, okay, so.

440
00:25:30,359 --> 00:25:34,080
Speaker 2: Let's hear what would a happy morning song sound like

441
00:25:34,080 --> 00:25:36,000
Speaker 2: and waking up to the day and the day has

442
00:25:36,040 --> 00:25:38,560
Speaker 2: so much potential, and you're gonna eat a nice, big breakfast.

443
00:25:38,800 --> 00:25:41,160
Speaker 4: Okay, we'll start nice major.

444
00:25:40,920 --> 00:25:47,720
Speaker 7: Chord, good morn.

445
00:25:52,040 --> 00:26:02,120
Speaker 2: And shenky from there. Yes, that's really nice.

446
00:26:02,119 --> 00:26:03,080
Speaker 1: That's good for the start.

447
00:26:03,200 --> 00:26:07,520
Speaker 2: Yeah, and then I guess just a few lyrics about

448
00:26:08,200 --> 00:26:17,160
Speaker 2: what he's eating for breakfast, bicky.

449
00:26:19,920 --> 00:26:22,480
Speaker 1: Hamburger sandwich. He's want a hamburger sandwich as.

450
00:26:22,359 --> 00:26:24,960
Speaker 7: Well, hamburg aswich.

451
00:26:29,640 --> 00:26:33,720
Speaker 2: Very good. And now when you get into the scary part,

452
00:26:33,800 --> 00:26:37,480
Speaker 2: so you'll you'll sort of blend from the happy morning

453
00:26:37,560 --> 00:26:40,840
Speaker 2: song into the scary stuff. And when you when something

454
00:26:41,000 --> 00:26:47,480
Speaker 2: starts being scary, you say, oh, and then you announced

455
00:26:47,520 --> 00:26:50,159
Speaker 2: the demon's presence. So now this would be like a

456
00:26:50,240 --> 00:27:15,520
Speaker 2: dark sort of gothic song. Oh oh, and then the

457
00:27:15,560 --> 00:27:21,240
Speaker 2: demon's voice, he's he has to tell Da Vinci not

458
00:27:21,400 --> 00:27:25,240
Speaker 2: to paint in the scariest voice.

459
00:27:27,119 --> 00:27:34,240
Speaker 3: Good bullshit man.

460
00:27:36,520 --> 00:27:39,399
Speaker 2: Okay, Okay, Michael, Okay.

461
00:27:41,119 --> 00:27:43,240
Speaker 1: That felt like it was starting to get a little

462
00:27:43,240 --> 00:27:45,640
Speaker 1: bit off track, and maybe some of the language we're

463
00:27:45,720 --> 00:27:48,359
Speaker 1: using is not what we like, what we're used to

464
00:27:48,400 --> 00:27:48,879
Speaker 1: on Star.

465
00:27:49,000 --> 00:27:54,199
Speaker 8: Sorry, I'm sorry, I got carried away.

466
00:27:54,320 --> 00:27:56,159
Speaker 2: Yes you did that.

467
00:27:56,280 --> 00:27:59,199
Speaker 1: But doesn't this feel better than some of you were

468
00:27:59,240 --> 00:28:00,680
Speaker 1: writing like these songs?

469
00:28:00,840 --> 00:28:06,520
Speaker 4: You know, Yeah, it feels okay, yeah, and.

470
00:28:06,400 --> 00:28:09,359
Speaker 1: Better than what you were doing. Huh. And you almost

471
00:28:09,440 --> 00:28:11,280
Speaker 1: feel like Neil Young when you're doing this.

472
00:28:13,680 --> 00:28:18,479
Speaker 8: I I am yeah, No, I could. I could get

473
00:28:18,560 --> 00:28:19,000
Speaker 8: used to it.

474
00:28:19,440 --> 00:28:24,640
Speaker 2: I think, yeah, you still live in your dreams if if.

475
00:28:25,200 --> 00:28:30,000
Speaker 8: It's not how I imagine honestly, But I mean, I

476
00:28:30,080 --> 00:28:33,520
Speaker 8: just I've had hard times, so I'll do.

477
00:28:33,960 --> 00:28:39,920
Speaker 2: You know, what did you want in life? I it's

478
00:28:39,960 --> 00:28:40,680
Speaker 2: a big question.

479
00:28:42,480 --> 00:28:45,920
Speaker 8: I thought I thought it was about writing writing songs,

480
00:28:46,000 --> 00:28:53,520
Speaker 8: like we were talking about writing songs like progressing. Oh there,

481
00:28:53,600 --> 00:28:57,200
Speaker 8: go ahead, I'm just go ahead. No, I I guess

482
00:28:57,240 --> 00:29:00,760
Speaker 8: I was just confused. I thought to write good songs,

483
00:29:00,760 --> 00:29:01,840
Speaker 8: I want to make good records.

484
00:29:02,720 --> 00:29:05,760
Speaker 1: We do a segment called wrong sometimes on our show,

485
00:29:05,800 --> 00:29:08,080
Speaker 1: and this, this kind of stuff would be perfect for

486
00:29:08,160 --> 00:29:10,320
Speaker 1: that because I'm looking at you and I'm thinking with

487
00:29:10,360 --> 00:29:12,600
Speaker 1: a fresh coat of paint. You know, this is a

488
00:29:12,680 --> 00:29:15,120
Speaker 1: real this is a this is a Billy Joel type

489
00:29:15,440 --> 00:29:17,000
Speaker 1: and potential aircut.

490
00:29:16,680 --> 00:29:21,200
Speaker 2: You know, at least wash like a human ceiling.

491
00:29:20,960 --> 00:29:24,200
Speaker 1: Some kind of varnish or yeah, something to some kind

492
00:29:24,200 --> 00:29:28,880
Speaker 1: of weather protectant. Because you're I mean, you look. You

493
00:29:28,880 --> 00:29:33,479
Speaker 1: know it's not good. No, I know, I know.

494
00:29:36,160 --> 00:29:38,200
Speaker 2: Let's do the scene where Da Vinci's in the big

495
00:29:38,240 --> 00:29:42,640
Speaker 2: bicycle race. I think for this scene. Do you know

496
00:29:42,920 --> 00:29:49,520
Speaker 2: Shine Shine by Collective Soul.

497
00:29:50,600 --> 00:29:52,960
Speaker 4: I'm not, I'm not familiar. How's that go?

498
00:29:53,080 --> 00:29:55,120
Speaker 1: Well, he's in a bicycle race. He's in a bicycle

499
00:29:55,200 --> 00:30:01,400
Speaker 1: race to paint the picture, like Lance Armstrong's got some

500
00:30:01,520 --> 00:30:04,400
Speaker 1: horns and he's coming up around the corner behind.

501
00:30:04,240 --> 00:30:06,400
Speaker 2: One of the he's playing one of the things for

502
00:30:06,440 --> 00:30:06,880
Speaker 2: one day.

503
00:30:07,200 --> 00:30:10,840
Speaker 1: Yes, And it's kind of cool because of the way

504
00:30:10,920 --> 00:30:11,720
Speaker 1: he's perceived.

505
00:30:11,760 --> 00:30:14,160
Speaker 2: Now that we got that in place, we have him

506
00:30:14,160 --> 00:30:16,160
Speaker 2: for as long as it takes for him to bike through.

507
00:30:16,240 --> 00:30:18,480
Speaker 2: He's getting to be in the middle of a different

508
00:30:18,560 --> 00:30:20,920
Speaker 2: race that he's doing, and we just have to be

509
00:30:20,960 --> 00:30:22,880
Speaker 2: ready to film him as he bikes.

510
00:30:22,600 --> 00:30:26,480
Speaker 1: And hopefully Da Vinci's there that time. And then so

511
00:30:26,480 --> 00:30:30,240
Speaker 1: so Da Vinci's driving, and then we're gonna hear some

512
00:30:30,280 --> 00:30:32,560
Speaker 1: shine and then some stuff about bikes.

513
00:30:34,040 --> 00:30:35,440
Speaker 2: Do you not know that song? I don't know?

514
00:30:35,480 --> 00:30:41,400
Speaker 4: That's it goes, Yeah, you're.

515
00:30:42,560 --> 00:30:56,760
Speaker 9: I get, I get, and you're cheering on the viny

516
00:31:00,200 --> 00:31:14,080
Speaker 9: go just just exciting.

517
00:31:14,640 --> 00:31:17,640
Speaker 2: Yes, yes, yes, so then he's winning. But then I

518
00:31:17,640 --> 00:31:19,440
Speaker 2: guess there would be a change in tone.

519
00:31:21,120 --> 00:31:24,040
Speaker 1: And now Lance has passed him and Da Vinci's got

520
00:31:24,040 --> 00:31:24,840
Speaker 1: a bad cramp.

521
00:31:25,920 --> 00:31:39,000
Speaker 3: Okay, carry on.

522
00:31:41,960 --> 00:31:52,960
Speaker 7: Sho bike bike.

523
00:31:54,440 --> 00:31:58,320
Speaker 1: Okay, that's and that's almost pretty good. That's first draft,

524
00:32:00,800 --> 00:32:02,840
Speaker 1: and it felt a little like shine.

525
00:32:04,640 --> 00:32:06,600
Speaker 2: Should we do we have that one more scene? What's

526
00:32:06,640 --> 00:32:08,160
Speaker 2: that last scene that we have to do?

527
00:32:08,760 --> 00:32:11,720
Speaker 1: Okay, So this is sort of this is the scene

528
00:32:11,760 --> 00:32:14,960
Speaker 1: that we needed to score because it's gonna air tomorrow,

529
00:32:15,040 --> 00:32:20,080
Speaker 1: I think this episode. And so Da Vinci has won

530
00:32:20,120 --> 00:32:23,880
Speaker 1: the spelling bee and his dad is, you know, there

531
00:32:23,960 --> 00:32:27,800
Speaker 1: with with the trophy. His dad's the headmaster and he's

532
00:32:27,800 --> 00:32:31,840
Speaker 1: giving him the trophy, and across the way he sees

533
00:32:33,280 --> 00:32:42,600
Speaker 1: the girl and it's of course it's Marie Antoinette, and

534
00:32:42,680 --> 00:32:46,720
Speaker 1: he's looking at her because we are in history, you know, still,

535
00:32:47,200 --> 00:32:50,240
Speaker 1: and he's looking at her, and there's and then a

536
00:32:50,320 --> 00:32:53,720
Speaker 1: demon is coming to punch her, you know, right in

537
00:32:53,760 --> 00:32:57,520
Speaker 1: the stomach. And so there's a couple of things happening

538
00:32:57,560 --> 00:33:01,320
Speaker 1: where he's victorious. That's good, kind of a sweet moment

539
00:33:01,320 --> 00:33:03,320
Speaker 1: with his dad, kind of a romantic thing when he

540
00:33:03,360 --> 00:33:05,600
Speaker 1: sees the girl. And then it's, of course, because it

541
00:33:05,680 --> 00:33:08,640
Speaker 1: is demon's Da Vinci's Demons, it does get scary and

542
00:33:08,640 --> 00:33:10,360
Speaker 1: the demon does come to do something mean.

543
00:33:10,520 --> 00:33:13,080
Speaker 2: But then this is the end of the episode, and

544
00:33:13,120 --> 00:33:17,840
Speaker 2: so he rescues the girl. Yes, and then they consummate.

545
00:33:17,440 --> 00:33:21,480
Speaker 1: That that and they do that kind of what someone

546
00:33:21,520 --> 00:33:25,080
Speaker 1: would ideally do with you young, you know whatever. Else,

547
00:33:25,120 --> 00:33:27,960
Speaker 1: But it's and so and we wanted to have a

548
00:33:28,000 --> 00:33:31,080
Speaker 1: feel just some references. If you know the song Come

549
00:33:31,120 --> 00:33:34,600
Speaker 1: Monday Sure by Jimmy Buffett, that could be a good area.

550
00:33:34,480 --> 00:33:35,360
Speaker 2: Or inside out.

551
00:33:35,560 --> 00:33:37,160
Speaker 4: Do you know rich Girl by six?

552
00:33:37,400 --> 00:33:39,320
Speaker 1: If you know Rich Girl, I'd love to hear just

553
00:33:39,360 --> 00:33:40,920
Speaker 1: a couple pieces.

554
00:33:40,560 --> 00:33:43,560
Speaker 4: Of that Rich Girl. How's that? Who's that is that?

555
00:33:44,640 --> 00:33:45,480
Speaker 4: Jimmy Buffett?

556
00:33:45,960 --> 00:33:49,080
Speaker 1: No, rich Girl's hollow notes? And then oh, this is

557
00:33:49,120 --> 00:33:52,520
Speaker 1: gonna be hard. The Eve six song is good and

558
00:33:52,520 --> 00:33:55,360
Speaker 1: then what was that song by the Refreshments?

559
00:33:56,000 --> 00:33:57,680
Speaker 2: I'm not sure it's good.

560
00:33:57,720 --> 00:34:02,640
Speaker 1: The video they were like in the desert, what's hello?

561
00:34:06,000 --> 00:34:10,200
Speaker 1: Oh oh okay, it doesn't seem like that would be

562
00:34:10,239 --> 00:34:13,719
Speaker 1: our problem, but it is. Sorry about that?

563
00:34:14,840 --> 00:34:19,480
Speaker 2: Is Cody stealing cable engineer?

564
00:34:19,600 --> 00:34:23,680
Speaker 1: Cody is trying to get the Time Warner guys to

565
00:34:23,800 --> 00:34:25,160
Speaker 1: wire the cable from our.

566
00:34:25,080 --> 00:34:27,000
Speaker 2: Studio into his apartment.

567
00:34:28,360 --> 00:34:32,600
Speaker 1: If he has one sit down, sit down to talk

568
00:34:32,640 --> 00:34:33,200
Speaker 1: about this?

569
00:34:34,160 --> 00:34:35,759
Speaker 2: Was that the Time Warner cable man and he just

570
00:34:35,800 --> 00:34:39,680
Speaker 2: knocked on the door to come see you. Yeah, And

571
00:34:39,800 --> 00:34:43,719
Speaker 2: is it true that you're trying to force him to

572
00:34:43,960 --> 00:34:46,279
Speaker 2: take the wires for the cable at Earwolf Studios and

573
00:34:46,320 --> 00:34:48,359
Speaker 2: wire them into your house so you can watch TV

574
00:34:49,880 --> 00:34:51,400
Speaker 2: for free?

575
00:34:53,200 --> 00:34:56,360
Speaker 1: No, no, it's not because you don't have a house.

576
00:34:56,360 --> 00:34:58,400
Speaker 1: But you're going to put the cable in the elevator

577
00:34:58,400 --> 00:35:00,040
Speaker 1: and you're going to sleep in the elevator and I

578
00:35:00,120 --> 00:35:03,120
Speaker 1: and have your TV there. And that's not fair, Cody?

579
00:35:03,160 --> 00:35:06,360
Speaker 2: And now is that true? Okay?

580
00:35:06,440 --> 00:35:08,080
Speaker 1: That No, it took a long time.

581
00:35:08,120 --> 00:35:10,000
Speaker 2: I think it was a very long time to say.

582
00:35:10,360 --> 00:35:12,320
Speaker 1: And we were about to do a big good song,

583
00:35:12,440 --> 00:35:14,960
Speaker 1: and now we got to deal with this and it's

584
00:35:14,960 --> 00:35:17,239
Speaker 1: embarrassing in front of the French French film crew that

585
00:35:17,280 --> 00:35:18,720
Speaker 1: wants to make a movie about us.

586
00:35:19,360 --> 00:35:22,360
Speaker 2: Michael, will you just confirm that there is a French

587
00:35:22,440 --> 00:35:23,840
Speaker 2: film documentary crew.

588
00:35:23,640 --> 00:35:26,560
Speaker 4: And there is get a couple of cameras.

589
00:35:27,800 --> 00:35:29,799
Speaker 2: I mean, they might think you're joking, but I guess

590
00:35:29,800 --> 00:35:31,600
Speaker 2: they should consult the pictures of the website.

591
00:35:31,680 --> 00:35:33,359
Speaker 1: Yeah, it's the real deal.

592
00:35:33,360 --> 00:35:35,000
Speaker 2: They're very distinctly French looking.

593
00:35:35,200 --> 00:35:35,560
Speaker 1: Yes.

594
00:35:36,920 --> 00:35:39,160
Speaker 2: Uh, do you know little yan Man.

595
00:35:41,680 --> 00:35:42,719
Speaker 4: Who did that one?

596
00:35:42,800 --> 00:35:44,480
Speaker 2: Mumford and Sons.

597
00:35:44,520 --> 00:35:46,240
Speaker 4: I don't. I don't.

598
00:35:47,239 --> 00:35:49,000
Speaker 1: It's crazy.

599
00:35:50,280 --> 00:35:50,840
Speaker 2: It comes.

600
00:35:52,719 --> 00:35:57,680
Speaker 1: Doesn't listen to music. Do you know you know bubble toes?

601
00:35:59,360 --> 00:35:59,960
Speaker 4: Bubble Toe?

602
00:36:01,480 --> 00:36:05,480
Speaker 1: Yes, the Jack Johnson's.

603
00:36:06,880 --> 00:36:07,600
Speaker 4: Bubbly Toes.

604
00:36:10,000 --> 00:36:11,480
Speaker 1: Oh, he's doing Koby cal.

605
00:36:11,520 --> 00:36:12,200
Speaker 4: That's good too.

606
00:36:14,320 --> 00:36:15,239
Speaker 2: What songs do you know?

607
00:36:15,480 --> 00:36:17,120
Speaker 1: You know love Fool by the Cardigans?

608
00:36:18,000 --> 00:36:18,680
Speaker 2: I know that one.

609
00:36:18,760 --> 00:36:22,800
Speaker 1: Yeah, I get a better one. What about kiss Me

610
00:36:22,880 --> 00:36:24,080
Speaker 1: by Sixpence in the Richer?

611
00:36:26,200 --> 00:36:26,919
Speaker 2: I know that one?

612
00:36:27,080 --> 00:36:27,279
Speaker 1: Yeah?

613
00:36:31,000 --> 00:36:33,200
Speaker 2: So this is when he sees his girlfriend, he sees

614
00:36:33,200 --> 00:36:33,720
Speaker 2: his girdlfriend.

615
00:36:33,800 --> 00:36:41,840
Speaker 10: Okay, we should change it a little bit, so you

616
00:36:41,960 --> 00:36:45,480
Speaker 10: kid sud Yes, kiss me kind of sounds like Da

617
00:36:45,560 --> 00:36:46,799
Speaker 10: Vinci and I don't want to.

618
00:36:49,320 --> 00:37:00,399
Speaker 3: Okay, Sin seeing the colch.

619
00:37:00,400 --> 00:37:01,040
Speaker 5: Get that.

620
00:37:08,920 --> 00:37:13,880
Speaker 7: My demon, send very careful.

621
00:37:14,800 --> 00:37:26,320
Speaker 1: Finch shot for that, team fish.

622
00:37:23,800 --> 00:37:24,960
Speaker 3: Look up for that.

623
00:37:28,000 --> 00:37:32,360
Speaker 2: Okay, so like that. That's really very nice, very sad.

624
00:37:35,480 --> 00:37:37,040
Speaker 2: If we could just play it now the Demon comes

625
00:37:37,080 --> 00:37:38,200
Speaker 2: up and he's got to punch him. If you're just

626
00:37:38,200 --> 00:37:40,720
Speaker 2: the mission Impossible theme for like two seconds.

627
00:37:47,080 --> 00:37:48,200
Speaker 3: Suis.

628
00:38:00,040 --> 00:38:04,000
Speaker 2: Okay? Good? And then he punched the demon out and

629
00:38:04,080 --> 00:38:07,880
Speaker 2: now it's it's just the final erotic flourish of the show.

630
00:38:21,239 --> 00:38:36,000
Speaker 3: Can't show it up te demon.

631
00:38:40,719 --> 00:38:44,960
Speaker 1: Yeah, but thank you.

632
00:38:45,800 --> 00:38:46,640
Speaker 4: That's close.

633
00:38:46,920 --> 00:38:49,239
Speaker 2: That's damn, very very close.

634
00:38:49,440 --> 00:38:52,360
Speaker 1: That's damn And we didn't need any big machine noises

635
00:38:52,400 --> 00:38:54,320
Speaker 1: to do it, did we. You know we didn't.

636
00:38:55,000 --> 00:38:56,960
Speaker 2: That's stuff, any of that.

637
00:38:56,960 --> 00:38:59,200
Speaker 1: That's not music anymore. And that's going to feel so

638
00:38:59,400 --> 00:39:04,480
Speaker 1: dated late mm hmm. It's about this is forever instrumentation.

639
00:39:04,960 --> 00:39:09,040
Speaker 2: Guitars are forever. Auto tune is not an instrument, Little Wayne.

640
00:39:10,960 --> 00:39:13,800
Speaker 1: Sorry, tea pain. You don't want to be a pain

641
00:39:13,880 --> 00:39:18,720
Speaker 1: in your tea zone. But I've got bad news.

642
00:39:18,880 --> 00:39:19,080
Speaker 2: You know.

643
00:39:20,719 --> 00:39:23,160
Speaker 1: Auto tune is not an instrument. Like what Hayes said,

644
00:39:24,560 --> 00:39:31,840
Speaker 1: whose phone is buzzing? Michael WTF, Cody Big Michael, Michael,

645
00:39:31,840 --> 00:39:32,719
Speaker 1: thank you for being here.

646
00:39:32,880 --> 00:39:33,800
Speaker 4: Thanks for the opportunity.

647
00:39:33,880 --> 00:39:35,759
Speaker 1: You don't have a popcorn gallery thing because you're not

648
00:39:35,800 --> 00:39:38,759
Speaker 1: really movie guy yet we're gonna make you one.

649
00:39:38,960 --> 00:39:41,319
Speaker 2: Yeah, it would have to be. I even know what's

650
00:39:41,320 --> 00:39:42,400
Speaker 2: a music food.

651
00:39:43,440 --> 00:39:45,240
Speaker 4: Rock corn gallery.

652
00:39:46,760 --> 00:39:47,960
Speaker 1: Don't please don't.

653
00:39:47,840 --> 00:39:49,960
Speaker 2: Say that's good, but we can't use it because you

654
00:39:50,040 --> 00:39:50,600
Speaker 2: came up with it.

655
00:39:50,880 --> 00:39:53,440
Speaker 1: Yes, if anything, write that down, slide it to Hay.

656
00:39:53,560 --> 00:39:55,800
Speaker 1: He says it, then he's the hero. But we can't

657
00:39:55,800 --> 00:39:57,520
Speaker 1: have on our own show. We can't have you come

658
00:39:57,560 --> 00:39:59,720
Speaker 1: up with that. Now, it's really fucking good. I can't

659
00:39:59,760 --> 00:40:02,680
Speaker 1: tell shit I've ever heard. Well, I can't pitch anything.

660
00:40:02,719 --> 00:40:08,319
Speaker 1: Now you said rock corn gallery. That's fucking awesome. You

661
00:40:08,400 --> 00:40:11,000
Speaker 1: know that's a snack you eat at the concert. It's

662
00:40:11,000 --> 00:40:13,360
Speaker 1: a rock corn that's fucking great.

663
00:40:13,840 --> 00:40:16,799
Speaker 8: I'll be running pretty much everything through you guys in

664
00:40:16,840 --> 00:40:18,400
Speaker 8: the label from now on.

665
00:40:19,040 --> 00:40:19,279
Speaker 4: Hope.

666
00:40:19,320 --> 00:40:22,520
Speaker 1: So yeah, go Jio Records, good Gio, look out it

667
00:40:22,560 --> 00:40:27,480
Speaker 1: is go Gira, you know. So thanks for coming. Please

668
00:40:27,600 --> 00:40:31,200
Speaker 1: everybody like us on Facebook, rate us on iTunes, write

669
00:40:31,200 --> 00:40:34,719
Speaker 1: a nice review, there a nice long one. Talk to

670
00:40:34,800 --> 00:40:35,480
Speaker 1: us on the forum.

671
00:40:35,560 --> 00:40:38,919
Speaker 2: Please buy the pro Version Corpse. Fucker, shit lord bought

672
00:40:38,960 --> 00:40:43,240
Speaker 2: the pro version this week and his prize as a

673
00:40:43,280 --> 00:40:44,000
Speaker 2: little song.

674
00:40:44,120 --> 00:40:48,879
Speaker 1: He's gonna get an original song about his name. Yes,

675
00:40:49,160 --> 00:40:54,000
Speaker 1: and maybe it's the opening riff from under Pressure, and

676
00:40:54,040 --> 00:40:55,319
Speaker 1: then we just say his name.

677
00:40:56,880 --> 00:40:59,120
Speaker 4: That was corp corpse corpse.

678
00:40:59,600 --> 00:41:01,600
Speaker 2: Corpse fucker ship lad lord, of.

679
00:41:01,480 --> 00:41:13,120
Speaker 7: Course, corpse lover, shit lord.

680
00:41:14,200 --> 00:41:17,799
Speaker 2: I appreciate you jet to corpse lover, but that's not

681
00:41:17,920 --> 00:41:18,239
Speaker 2: the name.

682
00:41:18,320 --> 00:41:30,800
Speaker 11: So let's start over, okay, corpse fucker shit lord, Bye bye.

683
00:41:34,960 --> 00:41:37,919
Speaker 1: This has been an Earwolf Media production executive producers Jeff

684
00:41:37,960 --> 00:41:40,960
Speaker 1: Ulrick and Scott Ackerman. For more information, visit earwolf dot.

685
00:41:40,760 --> 00:41:48,400
Speaker 6: Com, ear Warf Radio Boo dot

686
00:41:48,480 --> 00:41:56,360
Speaker 2: Com, The Wolf Dead