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Speaker 1: Man, do we have an exciting show today? Donald Faison,

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Speaker 1: We do have an exciting show. You know, we promised

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Speaker 1: the people, we promised the listeners that we wouldn't just

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Speaker 1: have stars of the show on, that we would bring

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Speaker 1: on crew members.

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Speaker 2: You're totally about to geek out about this. You brought

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Speaker 2: up a director. I am going to geek as a

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Speaker 2: fellow director. You're like, Yo, I'm gonna ask him about

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Speaker 2: this shot. I'm gonna ask him about this shot.

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Speaker 1: Well, I am going to talk to him. I think

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Speaker 1: people if I sometimes think when I'm preparing for this,

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Speaker 1: and you know, I do a lot of homework. You

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Speaker 1: should see my desk. It looks like I'm about to

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Speaker 1: write a novel. I was thinking about if I was

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Speaker 1: a listener, I'd want to know some behind it, Like

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Speaker 1: what's it like to be a director of a TV show.

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Speaker 1: Michael Spilder, who we're talking about is is a very

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Speaker 1: big television director, one of the biggest. In fact, he

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Speaker 1: recently won the Emmy for directing Modern Family and he's

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Speaker 1: a very talented guy.

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Speaker 2: Wait wait, hold up, which for the like the final

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Speaker 2: season he won the Emmy.

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Speaker 1: I don't have the exact Emmy.

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Speaker 2: Well, I want to ask him about some of this stuff,

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Speaker 2: like how many shows have you directed?

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Speaker 3: Now? Is it like you know, have you lost? Can

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Speaker 3: you keep count of the amount of share?

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Speaker 1: Save your spiller questions, have them, have them pent up

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Speaker 1: inside you and just have them ready to explode when

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Speaker 1: he comes in the room.

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Speaker 3: Okay, well I got it. I only got a couple.

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Speaker 3: I'm great. How are you man?

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Speaker 1: I'm good, I'm good. Did you work out? Are we

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Speaker 1: gonna have a post peloton Donald?

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Speaker 2: Today? I didn't want to talk about it because I

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Speaker 2: did work out today and I finished the workout. But

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Speaker 2: I'm now disappointed with with said instructor that we talked about.

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Speaker 1: Why, well, he was different today?

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Speaker 2: He talked too much, started singing hold on and then

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Speaker 2: also singing off beat? Right, I don't I don't do

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Speaker 2: peloton to be talked to off beat. I don't appreciate it.

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Speaker 1: Was it still the you know what I love about?

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Speaker 4: You know?

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Speaker 1: I still well? The thing I liked about spinning was

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Speaker 1: when you could get in the groove, unlock, nang.

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Speaker 2: Right, and so it's important that your your your spin

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Speaker 2: instructor is like a DJ, you know what I mean?

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Speaker 2: So right, he or she should be riding with the beat,

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Speaker 2: so the music's going and and and then you need

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Speaker 2: to be going with the music. Also does he say stuff?

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Speaker 1: You know, I like it when they go like they

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Speaker 1: just make noises like.

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Speaker 3: Hey, ho when they diddy that shit.

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Speaker 2: I love that.

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Speaker 5: Yeah, it's like Diddy diddy ed hey.

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Speaker 1: And you know, it's so embarrassing. I find myself and

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Speaker 1: so fucking embarrassing. But I find myself on the treadmill

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Speaker 1: not even spinning, and I'm listening to a good song

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Speaker 1: and I'm.

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Speaker 5: Like, hey, okay, and I'm doing the fucking Diddy spin

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Speaker 5: instructor thing.

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Speaker 3: Ah ah, take that.

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Speaker 1: Take that Ahead Ahead. Before I knew Diddy was like

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Speaker 1: a big producer and I was watching those, I'd be like,

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Speaker 1: so this dude just makes a living one ahead Yeah,

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Speaker 1: Ahead Ahead.

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Speaker 2: I couldn't take it. It was like just too much talking,

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Speaker 2: not enough motivation. Like when you talk, you're supposed to motivate,

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Speaker 2: you're not supposed to talk about how dope the song

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Speaker 2: is and stuff like I don't want to hear.

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Speaker 3: All of that. I already know this song is good,

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Speaker 3: you know what I mean?

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Speaker 2: You chose the class because I saw the playlist right,

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Speaker 2: and you like the music playlist.

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Speaker 3: Right, the playlist looks dope.

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Speaker 1: This isn't an amazing And I know this is the

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Speaker 1: stupidest thing. Everybody knows this, but I was realizing it today.

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Speaker 1: If the fucking music is good and you love it,

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Speaker 1: you can do so much more of a workout. Absolutely,

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Speaker 1: because I've got I've gone to so many spin classes

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Speaker 1: because I do like spinning, and the music is just

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Speaker 1: so not my thing. I mean, it's other people's thing.

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Speaker 1: I'm not, you know, to each their own, but I'm like,

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Speaker 1: And then today I had made this like awesome mix

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Speaker 1: that I was fucking grooving out to, and I was like,

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Speaker 1: I could really work out a long time to this

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Speaker 1: amazing mix. I mean, but I don't know where you

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Speaker 1: work out? Do you like to work out to? Rap? Right?

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Speaker 3: I do like to work Wait what do you work

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Speaker 3: out to? You don't work out to?

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Speaker 2: Like?

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Speaker 6: Wait?

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Speaker 2: Wait, hold on, I didn't realize there was other music

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Speaker 2: you could work out to.

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Speaker 1: Yes, yes, it's in this country. You don't have to

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Speaker 1: just work out.

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Speaker 2: I can understand house music, but no, what do you wait?

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Speaker 3: Hold up?

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Speaker 1: What do you work I like to work out to pop, like,

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Speaker 1: but like uptempo pop? What do you like I'm opening

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Speaker 1: up the fucking playlist right now because there were some

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Speaker 1: fire songs on Here.

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Speaker 3: We Go, Here we Go recommendations from Zach Braff.

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Speaker 1: Avichi has this song. It's like his most popular song.

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Speaker 1: It's wake Me Up, and it's just like up tempo,

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Speaker 1: and it makes me think of this time, because when

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Speaker 1: you're in this time and you're working out, you're like,

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Speaker 1: wake me up from this fucking horrible nightmare. So I

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Speaker 1: like that. I had, you know, I had Michelle branch

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Speaker 1: On here because you know, I love my girl Michelle

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Speaker 1: brand I had Oh Asia, I love cea ed Sheer

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Speaker 1: Cia Unstoppable, Unstoppable today and I had Ed Sheering with

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Speaker 1: Chance the rapper You cross me, you grabbed me Joel's

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Speaker 1: jam and she knows that song. Oh and also Fleetwood

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Speaker 1: Mac this is an old school one. I don't want

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Speaker 1: to know a bath then.

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Speaker 2: Then so I worked out too. Ten crack Commandments b

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Speaker 2: I G.

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Speaker 1: Okay, we're on a very different plane right now.

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Speaker 3: You don't know that song.

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Speaker 1: I know who the Notorious b I G is that song?

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Speaker 1: Give us a sample.

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Speaker 3: It's the Ten Commandments of Selling Drugs.

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Speaker 1: Yeah, I'm I know, I'm dancing and working out to

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Speaker 1: Michelle Branch and you're listening to a song about crack.

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Speaker 2: You know we grew up differently. Yes, I guess we

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Speaker 2: grew up differently. We did, Buddy, Hey, should we go

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Speaker 2: again to the show.

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Speaker 1: Let's invite in our special guest.

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Speaker 7: About six seven eight stories I'm not show we made

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Speaker 7: about a bunch of dogs and nurses.

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Speaker 3: He's the stories natal.

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Speaker 4: So YadA here yea, here, what a song.

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Speaker 1: Lots of talk about the song, the song. I gotta

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Speaker 1: tell you something about those numbers. My whole timeline is

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Speaker 1: people laughing at Bill and saying the numbers and just

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Speaker 1: writing them non stop. In my timeline. That's becoming, unfortunately

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Speaker 1: to me. But of course Bill will love it. He's

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Speaker 1: become a huge hit with his whole bit about.

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Speaker 3: Saying five six seven eight.

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Speaker 2: Yeah, he's like the PC. Well he's not PC, but

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Speaker 2: he's like Todd. He's like the Todd of our show.

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Speaker 2: He comes in and he delivers every time, dude, every time,

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Speaker 2: he's like ups, always delivers.

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Speaker 3: He always delivers. All right, let's bring in our guests.

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Speaker 1: Let's bring in our very special guest. Turn him on,

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Speaker 1: bring him in, ladies and gentlemen, Oh my god, I

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Speaker 1: haven't seen him in years. Yay, and gentlemen, ladies and gentlemen, Michael,

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Speaker 1: still listen, Michael, you are the very first guest we're

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Speaker 1: having on the show who is a member of the crew,

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Speaker 1: not an actor or a writer. And I'm just We're

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Speaker 1: so you're here.

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Speaker 6: It's really awesome, thrilled to be here.

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Speaker 3: You're I would say you're our first director.

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Speaker 2: But Zach has directed an episode and Bill has directed

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Speaker 2: an episode.

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Speaker 1: Right, but not not before Michael Spiller. Michael's our first

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Speaker 1: director of from season one.

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Speaker 3: He is also directed season No, he wrote it, that's right.

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Speaker 1: No, I want to say that, Michael. I would say

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Speaker 1: I think maybe directed the most. Spiller do you know

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Speaker 1: that trivia? Is that true?

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Speaker 6: It is true? How many episodes? Twenty twenty episodes?

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Speaker 1: Twenty episodes?

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Speaker 6: You know? As I go and I work on other

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Speaker 6: shows and stuff, I always meet Scrubs fans, and without fail,

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Speaker 6: I say I've directed more episodes than any or human,

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Speaker 6: leaving the possibility that another someone from another species has

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Speaker 6: directed more than me.

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Speaker 1: Right, but I can confirm it. I can confirm they

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Speaker 1: have it. I would also confirm, Michael, that you are

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Speaker 1: one of our favorites if you look at IMDb, you'll

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Speaker 1: see there's lots of directors of Scrool. Some came in

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Speaker 1: for one episode and then never came back for either

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Speaker 1: Bill's reasons or their reasons, mostly Bills probably. And then

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Speaker 1: there's people like you that everybody loved so much and

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Speaker 1: you did twenty Yeah, I guess go back to how

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Speaker 1: it all began for you, at least with the Scrubs connection.

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Speaker 1: How you got this? I know that back in the

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Speaker 1: day you were, Michael was a cinematographer. He was shooting

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Speaker 1: the show Sex and the City. I don't know if

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Speaker 1: you've ever heard of that show, but Michaeh was the

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Speaker 1: cinematographer on the show and then began to direct that show.

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Speaker 1: And then Michael just talked a little bit about how

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Speaker 1: you got how you transitioned from shooting into directing TV.

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Speaker 6: Well, I mean I went to film school. I went

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Speaker 6: to Sunny Purchase, upstate.

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Speaker 2: New York, New York, New York, New York.

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Speaker 6: That's right. And I started making my own films when

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Speaker 6: I was a kid in Brooklyn. Saved up my paper route,

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Speaker 6: bought a Super eight camera and went to film school.

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Speaker 6: And I wanted to be a cinematographer. I didn't want

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Speaker 6: to be a director because actors were crazy, let's face it,

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Speaker 6: and you know it was mainly I shot a lot

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Speaker 6: of indie movies and music videos and documentaries and travel

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Speaker 6: all over the place. And then I got married and

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Speaker 6: wanted to start a family, and TV sounded like, well,

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Speaker 6: maybe that will provide a little more stable lifestyle. And

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Speaker 6: I was shooting out Sex and the City. And at

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Speaker 6: the end of the first season, my agent said, if

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Speaker 6: the show gets picked up, I'm gonna ask for an

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Speaker 6: episode for you to direct season two. And I'm like, nope,

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Speaker 6: I'm good, I'm good, I'm happy where I am. I

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Speaker 6: don't need it. He said, no, you're going to do it,

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Speaker 6: and I did, and then I did went really well.

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Speaker 6: I also dpeed that episode. Wow, I don't I don't

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Speaker 6: recommend doing that for your first episode of TV.

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Speaker 3: That seems like a lot of work.

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Speaker 6: It's a huge amount of work. And then the third

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Speaker 6: season I did two more. In the fourth season, I

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Speaker 6: did four episodes, and by that time we had moved

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Speaker 6: to La bought a house, moved back for the fourth season, uh,

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Speaker 6: and then moved to La finally right after nine to eleven.

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Speaker 6: But not because of it. Uh. And I had already

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Speaker 6: signed with my current agent, who after three episodes you

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Speaker 6: see what I did, said I want to wrap the

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Speaker 6: sky And he was at the same agency where Bill

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Speaker 6: Lawrence was represented.

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Speaker 1: Oh see, it is all about connections in Hollywood, everybody.

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Speaker 6: It's true. No ute given up.

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Speaker 1: So Scrubs was your Was Scrubs your first non Sex

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Speaker 1: in the City gig?

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Speaker 6: It was meant to be. So you know, my agent

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Speaker 6: sight Unseen, you know, convinced Bill. He did a great

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Speaker 6: job presenting me to Bill, and it was meant to

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Speaker 6: be my first episode. After Sex and the City. I

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Speaker 6: wound up doing an episode of Greg the Bunny.

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Speaker 1: Oh wow, remember that show? God was that? Who was

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Speaker 1: who was that?

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Speaker 3: Who was the star of that show?

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Speaker 6: Sarah Silberman Levy seth Green.

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Speaker 2: There we go.

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Speaker 6: It was. It was a great cast, but it was like,

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Speaker 6: you know, huge puppet sets and all this other stuff.

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Speaker 6: Like it's like, why these like I've never done a

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Speaker 6: puppet show. You know, you had to build sets that

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Speaker 6: were all like four feet off the ground so people

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Speaker 6: could stick their hands up through manipulate anyway. Steve Levittan

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Speaker 6: was the executive producer on that, So I met Steve

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Speaker 6: on my first episode. I later did Modern Family and

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Speaker 6: a bunch of other shows with and then Bill Lawrence

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Speaker 6: on my second show. So very very good agent. Thing.

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Speaker 1: By the way, if you're gonna meet two showrunners when

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Speaker 1: you get to Hollywood, it's down good that it's Steve

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Speaker 1: Levittan and Bill Lawrence. Yeah right, your agent's pretty good.

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Speaker 6: He's Sean Frieden.

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Speaker 3: Hey how many? Wow? Shout out? How many?

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Speaker 2: How many? How manyisodes of Modern Family did you direct?

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Speaker 2: Did you direct the most Modern Family episodes? Also?

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Speaker 6: No, I didn't, but I did twenty two episodes.

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Speaker 1: Twenty two episodes and won the Emmy, won the Emmy.

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Speaker 1: I wish we could have given you an Emmy. Spiller.

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Speaker 1: You deserve.

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Speaker 3: You tried, We tried. I know we all were you.

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Speaker 6: I know you did.

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Speaker 1: Now, Michael, I just want to say, you know again,

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Speaker 1: season one, we're meeting all these directors. For those of

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Speaker 1: you who don't know, it's usually a different director every

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Speaker 1: week because they have to prep. They have about a

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Speaker 1: week's prep before they shoot the episode, and so you're

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Speaker 1: always alternating, and some can't come in, and you know,

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Speaker 1: you know, Donald and I would would like some more

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Speaker 1: than others. Some were really good with comedy, and others

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Speaker 1: were good with moving the camera. One of the things

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Speaker 1: I think we we loved about you, Michael, is that

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Speaker 1: because you were a cinematographer first, you really were amazing

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Speaker 1: with moving the camera and doing interesting things with the camera.

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Speaker 1: But also you did know how to talk to actors

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Speaker 1: and make jokes funnier. And I thought you could just

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Speaker 1: talk to that about about about how how you approach something,

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Speaker 1: how you approach the script, and and and your experience

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Speaker 1: with what it's like being you know, having the DP background.

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Speaker 2: Also, we should go over the process of what it

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Speaker 2: takes to Since we have a television director on right now,

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Speaker 2: we should go through the process of what it takes to.

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Speaker 2: I mean, directing is like the end of the journey,

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Speaker 2: you know, I mean that's not even close to the

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Speaker 2: end that well, it's the middle of the journey.

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Speaker 3: Really.

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Speaker 2: There's prep, there's you know, all of pre production, and

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Speaker 2: then there's post production.

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Speaker 3: We should also talk about that. Our listeners might be

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Speaker 3: interested in that.

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Speaker 1: Yeah they will. So, Michael, we just gave you a

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Speaker 1: lot answer all of that. Go No, talk talk first

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Speaker 1: about you know, being having a DP background and how

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Speaker 1: that affected the way you work well.

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Speaker 6: I think there's no question that having the background as

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Speaker 6: a DP was extremely helpful. I mean, first of all,

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Speaker 6: event that when I came on the set, I could

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Speaker 6: usually bond with the crew very quickly because I spoke

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Speaker 6: their language. I sort of got it. You know. I

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Speaker 6: would stay seen in such a way that worked first

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Speaker 6: and foremost for the story, yet also kept the logistics

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Speaker 6: in mind and the practical aspect of it. And you know,

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Speaker 6: and I was flexible enough that you know, I encouraged

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Speaker 6: and I love to collaborate. I want the DPS input.

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Speaker 6: You know, obviously the cast would give input to the

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Speaker 6: showrunners give input as well, but the nuts and bolts

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Speaker 6: of it, you know, I understood. I've also been a

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Speaker 6: grip and electrician. I've pushed dollie, I've I've pulled focus,

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Speaker 6: I've operated camera for other people. So you know, I

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Speaker 6: love the crew. I mean, these are my people, and

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Speaker 6: I think most people I've worked with can pick up

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Speaker 6: on that. So and I have a deep respect for them,

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Speaker 6: and that that's half the battle. You know, when I

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Speaker 6: was shooting Sex in the City, if we had a

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Speaker 6: new director, and if you know, Sarah Jessica Parker wasn't

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Speaker 6: in the first scene you know that that director was shooting.

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Speaker 6: When she would first come on to set, she would

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Speaker 6: look at me and like gauging, like cow is this person?

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Speaker 6: And if if I gave her like the I don't

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Speaker 6: know look, then that person had to work. You know,

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Speaker 6: it's an uphill battle just to get back to you

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Speaker 6: know zero, right. So you know it's enormously important because

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Speaker 6: I mean, you guys know it's like you love your

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Speaker 6: crew and it's like it's one big family. So a

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Speaker 6: director walking on to a TV show has to be

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Speaker 6: both a leader, right and and you know they're not

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Speaker 6: the ultimate top of the pyramid, but they still got

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Speaker 6: to lead the crew. They've got to get the crew behind,

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Speaker 6: they've got to work with all the you know, the

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Speaker 6: elements that are already in place, and you have to

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Speaker 6: respect that that family that you're walking into.

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Speaker 1: That's what's so bizarre about it. That's what's so bizarre

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Speaker 1: about it is and I've only done it, I think

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Speaker 1: once or twice, Michael, that is, come onto a show

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Speaker 1: that is an entity and say hey, everybody, I'm the

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Speaker 1: leader for the week. And you know it's one thing

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Speaker 1: when you come back and like you came back you know,

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Speaker 1: nineteen more times. But on the first one it's like, hey, everybody,

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Speaker 1: I know that you guys are all friends and have

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Speaker 1: inside jokes and have a way that you do things. Well,

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Speaker 1: I'm the boss for the week. And it's really tricky, right.

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Speaker 6: It's sort of like I liken it sometimes too. You're

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Speaker 6: going to be a conductor on a train. You're gonna

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Speaker 6: take it from this station to the next station. The

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Speaker 6: track has already been laid, you know, everywhere the train

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Speaker 6: already was is established there. We have a very good

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Speaker 6: idea where the train's going to keep going. And yeah,

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Speaker 6: you can slow down around this corner because you like

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Speaker 6: that view, or you can speed up at this section,

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Speaker 6: or you know, you can lean a little left or

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Speaker 6: a little right, but you can only go so far

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Speaker 6: because the train's got to stay on those tracks, right.

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Speaker 6: You can't suddenly say, you know, we're gonna make a

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Speaker 6: left here at Des Moines and go somewhere else.

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Speaker 1: That's that's a really good, great analogy, Michael, because I

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Speaker 1: think that you were just.

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Speaker 3: Talking about this actually the last episode, well.

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Speaker 1: I was talking about how it's so tricky, you know,

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Speaker 1: again just to Bill spoke a little about this, but

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Speaker 1: to remind people who aren't in the business. You know,

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Speaker 1: you know, the pilot director and the showrunner will create

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Speaker 1: sort of the look of the show. How does the

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Speaker 1: camera move, what's sort of the language of the show.

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Speaker 1: In our show, we had fantasies and we had you know,

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Speaker 1: big camera move. The camera was sort of a character.

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Speaker 1: And then other directors that come on they need to

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Speaker 1: use that language. They can, they can, like Michael just

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Speaker 1: said in his train analogy, they can slow down, they

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Speaker 1: can look at this view, but they can't. You have

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Speaker 1: to use the language of the show. If you look

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Speaker 1: at the Office, for example, it's shot like a mockumentary

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Speaker 1: Modern family I believe was as well, yes, whereas Scrubs

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Speaker 1: is crane shots and Dolly moves and steady cam shots.

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Speaker 1: So you have to use that language. But then somehow

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Speaker 1: find a way to make it your own. And I'm

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Speaker 1: glad we're gonna watch the episode with you, because I

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Speaker 1: think there's a lot of cool stuff in here that

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Speaker 1: you that you found a way to make your own.

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Speaker 1: I like that.

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Speaker 3: I do like the train analogy, you know what I mean.

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Speaker 2: It's the same route every time, it's the same track

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Speaker 2: every time. How can you can bend it and move it,

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Speaker 2: you know, to make it your own. So like if

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Speaker 2: a different conductor, you know what I mean, I don't know.

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Speaker 2: I love that analogy.

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Speaker 1: That's really and in season one I would say, you know,

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Speaker 1: even on episode whatever, this is one thirteen, you're still

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Speaker 1: you're still finding that, you're still shaping it.

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Speaker 6: Now.

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Speaker 1: I noticed, Michael, you did some things in here, like

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Speaker 1: going into blacks and coming back that I don't think

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Speaker 1: we'd done too much of yet. That became part of

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Speaker 1: the lexicon. So as an early director in the show,

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Speaker 1: I just directed episode two of one of Bill's news shows,

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Speaker 1: I still felt like, Okay, it's early on, I can

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Speaker 1: I'm still contributing to what the look of the show is,

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Speaker 1: you know, right for sure, when you're when you're lucky

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Speaker 1: enough to direct early in the show's run, there's still

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Speaker 1: a lot of discovery going on.

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Speaker 6: Yeah, the actors are really fine that they're characters, so

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Speaker 6: they're still open to, you know, someone else's input. The

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Speaker 6: writers are discovering what the actors are good at, and

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Speaker 6: they're tailoring the writing to you know, help those words

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Speaker 6: fit better in their mouths. And you find the comedy

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Speaker 6: if you're doing a comedy, and similarly, for a director,

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Speaker 6: it's like, yes, you've you've been given the overall template,

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Speaker 6: the framework, but it's a jumping off point. It's not

401
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Speaker 6: like this is meant to just box you in. You're

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Speaker 6: allowed to push things a little bit further. John Wells,

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Speaker 6: i think, is credited as saying to Paris Barkley, I

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Speaker 6: want you to make an episode of Er only better. Yes,

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Speaker 6: it's like, it still has to feel like an episode

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Speaker 6: of the show that you're already watching, you know, and

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Speaker 6: you've grown accustomed to. But push it a little bit,

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Speaker 6: get your thumbprints on it, and in consultation, you know.

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Speaker 6: That's the thing. It's like, I could have what I

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Speaker 6: think is a great idea, but I'm neither. If that's

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Speaker 6: the case, you know, I have to run it past

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Speaker 6: the showrunner right presenting it.

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Speaker 1: If you have something, let's say you're in prep and

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Speaker 1: you have like a five day prep beforehand, and you go, oh,

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Speaker 1: I have an awesome idea. If it's a little outside

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Speaker 1: the box, you would you would run it by the

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Speaker 1: showrunner and say, hey, what do you think if I do this?

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Speaker 1: And I imagine Bill usually said yeah, go for it. Right.

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Speaker 6: Bill was so amazing that. I mean, it was such

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Speaker 6: a great guy to work with so early in my career,

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Speaker 6: you know, as a freelance director, because I mean, he

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Speaker 6: I think this episode has a good example the end

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Speaker 6: where we we have a music montage. You know, it's

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Speaker 6: like and they kept the song on Hulu.

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Speaker 3: So yeah, that was pretty cool, right.

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Speaker 6: They didn't they didn't swap it out. And you know,

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Speaker 6: I can't remember how many there were leading up to this,

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Speaker 6: but this felt like it was one of the sort

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Speaker 6: of bigger ones, like we're committting to this song. It

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Speaker 6: was in the script early. You know, It's like it

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Speaker 6: wasn't just like there'll be a rock song here and

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Speaker 6: you know, do some cool shots. And it may not

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Speaker 6: have been on this episode, but early in the run

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Speaker 6: with you guys, Bill said to me, because I was

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Speaker 6: like enthusiast pitching this, you know montage I want to

436
00:21:02,480 --> 00:21:05,840
Speaker 6: do in all these transitions, and he's like, dude, if

437
00:21:06,040 --> 00:21:09,720
Speaker 6: I will cut story, if you give me a beautiful

438
00:21:09,720 --> 00:21:13,040
Speaker 6: piece of cinema, Oh great, wow, And that's just insane.

439
00:21:13,119 --> 00:21:16,600
Speaker 6: I mean writers never say that, you know, And so

440
00:21:16,680 --> 00:21:21,280
Speaker 6: I really felt empowered and encouraged by Bill. And he

441
00:21:21,359 --> 00:21:23,720
Speaker 6: also you know, there's no bullshit with him. If he

442
00:21:23,760 --> 00:21:25,760
Speaker 6: doesn't like it, he just tells you.

443
00:21:25,840 --> 00:21:27,840
Speaker 1: Well, there's plenty of times he would come to rehearsal.

444
00:21:28,040 --> 00:21:30,280
Speaker 1: I'm sure this never happened on one of your episodes, Michael,

445
00:21:30,280 --> 00:21:32,240
Speaker 1: but there's plenty of times. You know. The way the

446
00:21:32,280 --> 00:21:33,879
Speaker 1: way it would work is the director would sort of

447
00:21:33,880 --> 00:21:36,000
Speaker 1: block out where everyone's gonna go, where the camera's gonna go.

448
00:21:36,080 --> 00:21:37,880
Speaker 1: And there were definitely times, and then Bill would come

449
00:21:37,920 --> 00:21:40,320
Speaker 1: to the rehears arrive at the rehearsal and be like, yeah,

450
00:21:40,400 --> 00:21:42,200
Speaker 1: that that makes it not funny at all. We're not

451
00:21:42,240 --> 00:21:47,040
Speaker 1: doing it. And then you know, you watch some directors

452
00:21:47,080 --> 00:21:49,800
Speaker 1: be like it was you know, he was even for Bill.

453
00:21:49,840 --> 00:21:52,760
Speaker 1: He was tactful about it sometimes, but you know it

454
00:21:52,840 --> 00:21:54,679
Speaker 1: was like he's like, no, I'm not not doing that.

455
00:21:54,760 --> 00:21:56,320
Speaker 1: If you put him over there and her over there,

456
00:21:56,359 --> 00:21:57,960
Speaker 1: it does it's not funny anymore. So we got to

457
00:21:58,000 --> 00:22:00,960
Speaker 1: do this, and you know, you have to be a

458
00:22:01,000 --> 00:22:03,640
Speaker 1: little bit humbled about it as a director because you're like, oh,

459
00:22:03,880 --> 00:22:05,320
Speaker 1: you know, I didn't now I see.

460
00:22:05,400 --> 00:22:08,400
Speaker 6: You know, I think that most of the time, when

461
00:22:09,320 --> 00:22:15,440
Speaker 6: when writers have clear ideas about that, they're generally right.

462
00:22:15,800 --> 00:22:18,080
Speaker 6: You know, if they're if they're if they're people you

463
00:22:18,080 --> 00:22:23,000
Speaker 6: know of the Steve Lovett and Bill Lawrence, Mindy Kaling caliber,

464
00:22:23,200 --> 00:22:27,160
Speaker 6: like they get it, and you know, you listen to them,

465
00:22:27,160 --> 00:22:30,560
Speaker 6: you don't fight them, and and they're generally right now.

466
00:22:30,560 --> 00:22:32,760
Speaker 6: I did see that happen, you know, with other directors

467
00:22:32,760 --> 00:22:37,000
Speaker 6: when I'd be there prepping. Didn't happen very often with me.

468
00:22:36,600 --> 00:22:40,159
Speaker 1: With Michael Spiller, Sir Michael, not with now with sorry

469
00:22:40,440 --> 00:22:42,240
Speaker 1: Emmy Award winning Michael Spiller.

470
00:22:42,560 --> 00:22:45,480
Speaker 6: I mean, but what I do remember happening a lot

471
00:22:45,760 --> 00:22:48,439
Speaker 6: is like we'd be waiting for Bill to come up

472
00:22:48,480 --> 00:22:50,399
Speaker 6: from the writer's room, and you know, must have been

473
00:22:50,440 --> 00:22:53,080
Speaker 6: in the middle of a very fancy paragraph or something,

474
00:22:53,160 --> 00:22:55,639
Speaker 6: and you know, dial we had to wait, but you know,

475
00:22:55,920 --> 00:22:59,719
Speaker 6: the clock is ticking, we're losing a light. So generally

476
00:23:00,200 --> 00:23:04,200
Speaker 6: for him to arrive. But sometimes I would rehearse without him. Yeah,

477
00:23:04,200 --> 00:23:08,040
Speaker 6: and inevitably, inevitably, as soon as we finished the rehearsal,

478
00:23:08,320 --> 00:23:10,919
Speaker 6: Bill come walking through the doors and I'd have to

479
00:23:11,119 --> 00:23:14,320
Speaker 6: scramble be like, okay, so for this shot, like fake,

480
00:23:14,440 --> 00:23:16,320
Speaker 6: like we're starting the rehearsal from the top right now,

481
00:23:16,560 --> 00:23:17,880
Speaker 6: just finished it right?

482
00:23:18,280 --> 00:23:20,600
Speaker 1: Well, yeah, you know another thing that people might not

483
00:23:20,680 --> 00:23:23,199
Speaker 1: know is that the onus to deliver the show in

484
00:23:23,280 --> 00:23:27,280
Speaker 1: five days is all on the director's hands. I mean

485
00:23:27,320 --> 00:23:30,080
Speaker 1: obviously working with his assistant, his or her assistant directors.

486
00:23:30,400 --> 00:23:33,680
Speaker 1: So you are you not only come on to this

487
00:23:33,920 --> 00:23:36,600
Speaker 1: set where you where you don't work every day, to

488
00:23:36,800 --> 00:23:39,399
Speaker 1: lead a crew of people that are all friends, but

489
00:23:39,480 --> 00:23:41,919
Speaker 1: it's your job to be like, guys, we gotta go,

490
00:23:42,040 --> 00:23:43,760
Speaker 1: we gotta go, we gotta we gotta get out of here.

491
00:23:44,080 --> 00:23:46,000
Speaker 1: So that's that's another thing is that.

492
00:23:45,960 --> 00:23:48,439
Speaker 2: You have to well you.

493
00:23:47,760 --> 00:23:51,320
Speaker 1: You've you've signed on to deliver this episode of television

494
00:23:51,440 --> 00:23:52,920
Speaker 1: in five twelve hour days.

495
00:23:53,000 --> 00:23:55,000
Speaker 2: You have a ton of support, though you have you know,

496
00:23:55,280 --> 00:23:58,040
Speaker 2: if you have a good first your your golden We

497
00:23:58,119 --> 00:24:02,760
Speaker 2: have some pretty cool first ads our show, Franklin Got

498
00:24:02,800 --> 00:24:04,680
Speaker 2: Better and Scott Harris and.

499
00:24:04,640 --> 00:24:07,160
Speaker 1: Richard Wells, who was an incredible first ad.

500
00:24:07,200 --> 00:24:10,320
Speaker 3: Paul Padrera. We had a few of them, you know

501
00:24:10,359 --> 00:24:10,760
Speaker 3: what I mean?

502
00:24:11,240 --> 00:24:12,800
Speaker 2: And you worked with all four of them, right.

503
00:24:13,080 --> 00:24:14,560
Speaker 6: Yes, I worked for them all.

504
00:24:15,080 --> 00:24:18,439
Speaker 3: Yeah, which was your favorite?

505
00:24:19,080 --> 00:24:20,600
Speaker 1: You don't have to answer that. You don't have to

506
00:24:20,600 --> 00:24:24,280
Speaker 1: answer that. Should we get into the episode, because I

507
00:24:24,320 --> 00:24:27,720
Speaker 1: think it would be fun to just really think so

508
00:24:27,720 --> 00:24:30,560
Speaker 1: so Michael. The way we do this is but there's

509
00:24:30,560 --> 00:24:33,639
Speaker 1: really no order. We just started to talk about the episodes. Uh,

510
00:24:33,920 --> 00:24:37,720
Speaker 1: well you've heard, you listened to your your favorite podcast exactly.

511
00:24:37,920 --> 00:24:40,560
Speaker 1: The first thing I noticed. First of all, we have

512
00:24:40,640 --> 00:24:44,480
Speaker 1: to say that Elizabeth Bogish is not only beautiful, obviously,

513
00:24:44,560 --> 00:24:46,639
Speaker 1: but she's really funny. She's a very good actress. I

514
00:24:46,640 --> 00:24:48,160
Speaker 1: thought she did a fantastic.

515
00:24:47,840 --> 00:24:50,919
Speaker 2: Just very moments in this episode. And it's also it's also, uh,

516
00:24:51,880 --> 00:24:54,560
Speaker 2: this is big. She's the first she's the first love

517
00:24:54,600 --> 00:24:58,440
Speaker 2: interest for JD. And so you know, this really set

518
00:24:58,440 --> 00:25:00,880
Speaker 2: the tone for all of the other actresses that would

519
00:25:00,880 --> 00:25:03,359
Speaker 2: come on to play your love interest on the show.

520
00:25:03,520 --> 00:25:05,720
Speaker 2: And she did such a she did such a phenomenal job.

521
00:25:05,720 --> 00:25:07,840
Speaker 2: And you know, you're right, she is very funny, and

522
00:25:07,840 --> 00:25:10,360
Speaker 2: it made it so that whoever else came on had

523
00:25:10,400 --> 00:25:12,639
Speaker 2: to be like, all right, well let me, let me,

524
00:25:13,080 --> 00:25:14,520
Speaker 2: let me see what, let me let me let me

525
00:25:14,840 --> 00:25:15,399
Speaker 2: step up.

526
00:25:15,440 --> 00:25:17,840
Speaker 1: And yeah, they couldn't just be they couldn't just be

527
00:25:18,000 --> 00:25:20,760
Speaker 1: a pretty face. They had to really be good actresses

528
00:25:20,760 --> 00:25:22,960
Speaker 1: and be funny. And and I think that you know,

529
00:25:23,440 --> 00:25:25,760
Speaker 1: Liz was all those things. She she had really good timing.

530
00:25:25,800 --> 00:25:27,600
Speaker 1: She I thought she was good in her dramatic moments.

531
00:25:27,640 --> 00:25:28,560
Speaker 2: And yeah, and.

532
00:25:28,560 --> 00:25:30,399
Speaker 1: Of course Spiller, when you do that beauty shot of

533
00:25:30,440 --> 00:25:33,120
Speaker 1: her at the end arriving with the picnic basket, it's

534
00:25:33,119 --> 00:25:34,639
Speaker 1: so romantic and pretty.

535
00:25:35,600 --> 00:25:35,800
Speaker 3: Yeah.

536
00:25:35,880 --> 00:25:37,879
Speaker 6: Did you have anything the city training in?

537
00:25:38,160 --> 00:25:38,320
Speaker 8: Yeah?

538
00:25:38,920 --> 00:25:41,199
Speaker 1: I was thinking about that. All your sex and the

539
00:25:41,240 --> 00:25:44,440
Speaker 1: city lighting women things all came together in this episode.

540
00:25:44,520 --> 00:25:46,719
Speaker 2: Did you have anything to do with casting on that? Like,

541
00:25:46,800 --> 00:25:49,880
Speaker 2: I know that some directors sit down and help out

542
00:25:49,960 --> 00:25:52,840
Speaker 2: with casting on television shows or bring in their.

543
00:25:53,400 --> 00:25:58,800
Speaker 6: Own Typically, typically we are you know, we're contractually we're

544
00:25:59,040 --> 00:26:01,600
Speaker 6: meant to be involved than all the casting decisions. I

545
00:26:01,640 --> 00:26:04,840
Speaker 6: mean every creative decision on the episode that we're directing,

546
00:26:04,920 --> 00:26:09,920
Speaker 6: we're supposed to be involved in. Sometimes an actual span

547
00:26:10,080 --> 00:26:13,399
Speaker 6: several episodes, so it's sort of a bigger decision. Or

548
00:26:13,480 --> 00:26:16,800
Speaker 6: maybe an actor's availabilities being challenged and you need to

549
00:26:16,840 --> 00:26:20,080
Speaker 6: book them before the director has technically begun their prep.

550
00:26:20,720 --> 00:26:24,440
Speaker 6: I can't recall what the situation was with Liz. I mean,

551
00:26:24,520 --> 00:26:27,560
Speaker 6: she was fantastic. I hard to imagine anyone who I

552
00:26:27,640 --> 00:26:30,439
Speaker 6: would have rather seen in the role, right, But she

553
00:26:30,560 --> 00:26:33,480
Speaker 6: did have a technically a three episode span, although I

554
00:26:33,520 --> 00:26:35,240
Speaker 6: directed two of her episodes.

555
00:26:35,600 --> 00:26:37,880
Speaker 1: Yeah, the two, the second two, right, not the first

556
00:26:37,920 --> 00:26:40,719
Speaker 1: one where she's in the Mr Action right, right, all right?

557
00:26:41,119 --> 00:26:43,400
Speaker 2: But have you have you gone on to do other

558
00:26:43,480 --> 00:26:44,840
Speaker 2: shows and be like, you know what, I got the

559
00:26:44,840 --> 00:26:47,920
Speaker 2: perfect person and gone back to use actors that you've

560
00:26:47,920 --> 00:26:51,479
Speaker 2: had from Oh sure, I say some Scrubs or from

561
00:26:52,080 --> 00:26:54,000
Speaker 2: or from Sex and the City or whatever.

562
00:26:54,720 --> 00:26:57,800
Speaker 6: Yeah, I mean, whenever I can, I try to recommend

563
00:26:57,840 --> 00:27:00,840
Speaker 6: people who I know are cool and they're going to deliver.

564
00:27:01,119 --> 00:27:03,680
Speaker 6: And because we've all worked with people who are super

565
00:27:03,760 --> 00:27:08,600
Speaker 6: funny on screen and really difficult to work with, and

566
00:27:08,880 --> 00:27:10,840
Speaker 6: you know some some even you know, with like a

567
00:27:10,880 --> 00:27:14,240
Speaker 6: toxic personality that could kind of poison a set. So

568
00:27:14,240 --> 00:27:17,080
Speaker 6: it only takes one person to poison a workplace.

569
00:27:17,119 --> 00:27:20,400
Speaker 1: That's a lesson to all you young aspiring actors out

570
00:27:20,440 --> 00:27:25,920
Speaker 1: there that everybody talks. Everybody, everybody talks. So you might

571
00:27:26,160 --> 00:27:28,399
Speaker 1: have been a jerk one day and Michael Spiller was

572
00:27:28,440 --> 00:27:31,280
Speaker 1: the director on Sex and the City, and you think

573
00:27:31,359 --> 00:27:34,439
Speaker 1: that you went home and went all right, well, I

574
00:27:34,480 --> 00:27:38,080
Speaker 1: had a bad day. And then later and then later

575
00:27:38,200 --> 00:27:40,679
Speaker 1: Michael's directing another show where your name is suggested and

576
00:27:40,720 --> 00:27:45,159
Speaker 1: he goes no, no, So you have to be.

577
00:27:45,680 --> 00:27:47,720
Speaker 2: My wife always says, this sounds way too small to

578
00:27:47,760 --> 00:27:48,360
Speaker 2: be an asshole.

579
00:27:49,160 --> 00:27:52,719
Speaker 6: Exactly, that's the perfect And I mean the fact is,

580
00:27:53,560 --> 00:27:57,120
Speaker 6: you know, my wife used to be a costume supervisor,

581
00:27:57,160 --> 00:28:00,960
Speaker 6: a wardrobe supervisor and off. And it's the people behind

582
00:28:00,960 --> 00:28:04,679
Speaker 6: the scenes that get the brunt of an actor's wrath,

583
00:28:05,000 --> 00:28:07,879
Speaker 6: you know, or bad behavior. It's like, if you're making

584
00:28:08,040 --> 00:28:10,800
Speaker 6: you know, your hair and makeup people, or the people

585
00:28:10,840 --> 00:28:13,560
Speaker 6: who are adjusting your clothing, if you're making those people cry,

586
00:28:14,200 --> 00:28:16,200
Speaker 6: you're not a good person, or you need some therapy,

587
00:28:16,280 --> 00:28:19,119
Speaker 6: or you got to work some shit out. But she

588
00:28:19,240 --> 00:28:20,840
Speaker 6: told me there are a couple of people that made

589
00:28:20,880 --> 00:28:23,600
Speaker 6: her cry, you know, back in the day. And I

590
00:28:23,680 --> 00:28:25,200
Speaker 6: have had the pleasure of passing on.

591
00:28:25,119 --> 00:28:30,679
Speaker 1: Some of ah sweet revenge. And you ran home and

592
00:28:30,720 --> 00:28:32,720
Speaker 1: told your wife, didn't you? You're like, yes, see what I

593
00:28:32,840 --> 00:28:33,600
Speaker 1: passed on today.

594
00:28:33,640 --> 00:28:35,920
Speaker 2: I don't believe who they trying to push on me today,

595
00:28:35,960 --> 00:28:36,639
Speaker 2: but I said no.

596
00:28:37,280 --> 00:28:44,040
Speaker 1: And his name was Donald Faison. So Michael, my first

597
00:28:44,080 --> 00:28:46,280
Speaker 1: my first note for you is at twenty four seconds,

598
00:28:46,480 --> 00:28:50,120
Speaker 1: why is my character have a giant entire piece that

599
00:28:50,400 --> 00:28:52,880
Speaker 1: it's a whole chicken on my date plate? I would

600
00:28:52,920 --> 00:28:56,160
Speaker 1: never order such a large meal. I had to stop

601
00:28:56,200 --> 00:28:59,000
Speaker 1: and pause. I'm on this date with this beautiful woman.

602
00:28:59,320 --> 00:29:01,800
Speaker 1: I'm just staring at her, and I have a full

603
00:29:01,960 --> 00:29:03,240
Speaker 1: roasted chicken on my plate.

604
00:29:05,040 --> 00:29:08,280
Speaker 6: You know, all I recall about that is that it

605
00:29:08,440 --> 00:29:11,440
Speaker 6: was part of because it was this the sequence is

606
00:29:11,520 --> 00:29:14,760
Speaker 6: that you can't take your eyes off her. We're so

607
00:29:15,000 --> 00:29:18,320
Speaker 6: fixated on her that you almost forgot to eat. So

608
00:29:18,480 --> 00:29:23,239
Speaker 6: I didn't eat. Having a having a vertical, you know,

609
00:29:23,280 --> 00:29:26,600
Speaker 6: a large meal that would read in this shot because

610
00:29:26,600 --> 00:29:27,920
Speaker 6: there's a lot to look at.

611
00:29:28,440 --> 00:29:30,600
Speaker 1: Icy, So you really wanted to be looking at you.

612
00:29:30,800 --> 00:29:34,120
Speaker 1: But yeah, so you icy, So you rationalization or or

613
00:29:34,160 --> 00:29:36,880
Speaker 1: real genuine roge less you wanted it to quickly read

614
00:29:36,960 --> 00:29:40,040
Speaker 1: that I hadn't touched my plate. Yes, it looks like

615
00:29:40,160 --> 00:29:43,040
Speaker 1: Thanksgiving dinner has been served and no one has calved.

616
00:29:44,440 --> 00:29:46,720
Speaker 6: You know, we were on location for that, and you

617
00:29:46,760 --> 00:29:49,200
Speaker 6: know we didn't do that very often on Scrubs, and

618
00:29:49,240 --> 00:29:51,600
Speaker 6: certainly my first episode. I hadn't done it before with

619
00:29:51,680 --> 00:29:54,880
Speaker 6: you guys. Yeah, and you know that may have been

620
00:29:54,880 --> 00:29:57,440
Speaker 6: what the place had to offer, what Hugos had to

621
00:29:57,480 --> 00:29:58,000
Speaker 6: offer me.

622
00:29:58,080 --> 00:29:58,760
Speaker 1: It was Hugos.

623
00:29:59,360 --> 00:30:03,240
Speaker 3: The I was gonna ask that, is that Hugos.

624
00:30:03,120 --> 00:30:05,040
Speaker 1: And where Is it riverside in the valley?

625
00:30:05,280 --> 00:30:07,160
Speaker 2: Yeah, it was right next to the hospital, just down

626
00:30:07,200 --> 00:30:10,920
Speaker 2: the street. The photo booth in the middle of the supermarket.

627
00:30:11,480 --> 00:30:12,280
Speaker 2: Is that a pharmacy?

628
00:30:13,000 --> 00:30:15,840
Speaker 1: Yeah? What was the deal with that? Who would put

629
00:30:15,840 --> 00:30:17,680
Speaker 1: a photo booth? Who would put a booth in the

630
00:30:17,720 --> 00:30:20,560
Speaker 1: middle of an aisle of the supermarket? Michael, you can

631
00:30:20,640 --> 00:30:23,080
Speaker 1: reach through the photo booth to get items off the shelves.

632
00:30:24,680 --> 00:30:27,880
Speaker 6: Well, maybe they're handy props. You know. This is this

633
00:30:27,960 --> 00:30:31,080
Speaker 6: is before the days of like giant hats and oversized

634
00:30:31,120 --> 00:30:34,200
Speaker 6: sunglasses and big foam pointy thing.

635
00:30:34,680 --> 00:30:36,360
Speaker 1: Was this a set or do you remember?

636
00:30:37,320 --> 00:30:40,120
Speaker 6: I think it was a set and it was just like.

637
00:30:40,280 --> 00:30:44,080
Speaker 2: Yeah, I remember photo booths being like in like bowling

638
00:30:44,160 --> 00:30:47,000
Speaker 2: alleys or I missed by the way, I miss photo booths.

639
00:30:47,080 --> 00:30:49,640
Speaker 2: Let's keep love photo right now. That was like the

640
00:30:49,720 --> 00:30:52,480
Speaker 2: set off for that is the because, I guess because

641
00:30:52,480 --> 00:30:53,120
Speaker 2: of the movies too.

642
00:30:53,120 --> 00:30:54,880
Speaker 3: It's such a romantic setting.

643
00:30:54,600 --> 00:30:56,360
Speaker 1: I know, especially when they're black and white, not this

644
00:30:56,680 --> 00:30:59,720
Speaker 1: not this modern bullshit all black and.

645
00:30:59,680 --> 00:31:03,080
Speaker 2: White neon light that freaking yeah, it surrounds the camera

646
00:31:03,120 --> 00:31:04,440
Speaker 2: and shoots in your face.

647
00:31:04,520 --> 00:31:05,800
Speaker 3: I totally miss photo booths.

648
00:31:05,840 --> 00:31:07,880
Speaker 2: I got some good photo booth pictures of me and

649
00:31:07,880 --> 00:31:09,520
Speaker 2: my wife when we first started dating.

650
00:31:09,520 --> 00:31:12,080
Speaker 1: And you know, it's so romantic when you look at

651
00:31:12,080 --> 00:31:13,640
Speaker 1: them and you feel like you're old school.

652
00:31:13,680 --> 00:31:16,320
Speaker 6: And I've a little fourth strip photo.

653
00:31:16,400 --> 00:31:18,680
Speaker 2: I mean, yes, for those of you out here like

654
00:31:18,760 --> 00:31:21,960
Speaker 2: photo booths at like parties and stuff like that, it

655
00:31:22,040 --> 00:31:24,000
Speaker 2: doesn't it's not the same if it's not in an

656
00:31:24,040 --> 00:31:24,840
Speaker 2: actual booth.

657
00:31:25,120 --> 00:31:28,480
Speaker 1: If you're in Manhattan, Okay, there's a restaurant called the

658
00:31:28,600 --> 00:31:33,960
Speaker 1: Smith on Fourth Street, and like, what is it, like

659
00:31:34,080 --> 00:31:37,320
Speaker 1: fourth and tenth ish you just google it, And in

660
00:31:37,360 --> 00:31:39,840
Speaker 1: the basement of the Smith, which is a good restaurant,

661
00:31:40,080 --> 00:31:42,480
Speaker 1: there's an old school black and white photo booth. So

662
00:31:42,520 --> 00:31:45,040
Speaker 1: there you go. I just took you up. Next time

663
00:31:45,040 --> 00:31:47,040
Speaker 1: you're we're on a trip with your loved one, go

664
00:31:47,120 --> 00:31:49,560
Speaker 1: take a romantic picture there.

665
00:31:49,760 --> 00:31:51,520
Speaker 6: When we're allowed to travel again, when.

666
00:31:51,400 --> 00:31:54,360
Speaker 1: You're allowed to travel again in August and yeah, so, Michael,

667
00:31:54,440 --> 00:31:56,560
Speaker 1: I don't know how they do it on Sex and

668
00:31:56,600 --> 00:31:58,480
Speaker 1: the City, but we certainly don't put photo booths in

669
00:31:58,520 --> 00:32:05,280
Speaker 1: the center of a supermarket aisle here on scrubs. I

670
00:32:05,280 --> 00:32:07,360
Speaker 1: want to say this is very vain, but I looked

671
00:32:07,440 --> 00:32:09,320
Speaker 1: very skinny in this phooto booth and I, but.

672
00:32:09,280 --> 00:32:10,120
Speaker 3: What was up with your hair?

673
00:32:10,200 --> 00:32:13,040
Speaker 2: Dude? Your hair was a little different in these episodes. Man,

674
00:32:13,080 --> 00:32:14,600
Speaker 2: they were very spiky.

675
00:32:14,520 --> 00:32:16,240
Speaker 1: And I was probably you know what, I was probably.

676
00:32:15,960 --> 00:32:19,920
Speaker 3: The truth the spinning of the hair on the time look.

677
00:32:20,280 --> 00:32:21,960
Speaker 1: And the footobooth that looked like I have more makeup

678
00:32:22,000 --> 00:32:24,360
Speaker 1: on than usual. I can only rationalize that I was

679
00:32:24,360 --> 00:32:27,200
Speaker 1: probably nervous in front of this beautiful actress and I

680
00:32:27,200 --> 00:32:29,320
Speaker 1: was probably like, more makeup, this is your hair?

681
00:32:30,000 --> 00:32:30,320
Speaker 3: Okay?

682
00:32:30,360 --> 00:32:33,640
Speaker 2: Now is this your first uh love interest in projects

683
00:32:33,640 --> 00:32:35,880
Speaker 2: that you've been because you hadn't worked that much.

684
00:32:36,320 --> 00:32:39,560
Speaker 3: That's a very tradition I think dated on camera before.

685
00:32:40,000 --> 00:32:42,480
Speaker 1: Very good question. No, I had done an after school

686
00:32:42,520 --> 00:32:47,320
Speaker 1: special called My Summer as a Girl, and basically it

687
00:32:47,320 --> 00:32:48,840
Speaker 1: was an after the special where they just stole the

688
00:32:48,840 --> 00:32:50,640
Speaker 1: whole plot of Tootsie and you know, in order to

689
00:32:50,640 --> 00:32:52,200
Speaker 1: get the job, I had to dress up like a

690
00:32:52,240 --> 00:32:56,120
Speaker 1: woman and then I fell in love. But I remember

691
00:32:56,120 --> 00:32:58,760
Speaker 1: it's interesting remembering that that I remember that there was

692
00:32:58,760 --> 00:33:00,360
Speaker 1: supposed to be a scene where I kind of got

693
00:33:00,400 --> 00:33:02,920
Speaker 1: like too aggressive with trying to make out with her,

694
00:33:03,560 --> 00:33:05,800
Speaker 1: and I remember the director was disappointed because I was

695
00:33:06,040 --> 00:33:08,400
Speaker 1: I couldn't I was too nervous to do it. I

696
00:33:08,440 --> 00:33:11,320
Speaker 1: wasn't doing it enough, being aggressive enough with her.

697
00:33:12,160 --> 00:33:15,040
Speaker 2: Why why why are all after school specials? Why do

698
00:33:15,160 --> 00:33:16,800
Speaker 2: the guys have to be so aggressive?

699
00:33:16,960 --> 00:33:19,120
Speaker 1: Well? The lesson they always taught a lesson, right, Well,

700
00:33:19,120 --> 00:33:20,880
Speaker 1: this one was I was kind of a guy, and

701
00:33:20,920 --> 00:33:24,160
Speaker 1: I was kind of a playboy, but like I was

702
00:33:24,480 --> 00:33:27,960
Speaker 1: a cocky guy, and uh, and then I in order

703
00:33:28,000 --> 00:33:30,200
Speaker 1: to get in order to go after the girl, I

704
00:33:30,280 --> 00:33:32,000
Speaker 1: dressed up like a girl because she had gotten the

705
00:33:32,040 --> 00:33:34,480
Speaker 1: last last job as a chambermaid on the island and

706
00:33:34,720 --> 00:33:36,680
Speaker 1: I wanted to do that too, so I dressed up

707
00:33:36,680 --> 00:33:39,320
Speaker 1: like a girl like a lot. Totalis the platitucy, except

708
00:33:39,400 --> 00:33:42,280
Speaker 1: you know, a chambermaid on an island. And then I

709
00:33:42,320 --> 00:33:44,280
Speaker 1: fall in love with the girl and then i'm too

710
00:33:44,320 --> 00:33:46,160
Speaker 1: I was when I'm a man, I'm too aggressive with her,

711
00:33:46,360 --> 00:33:49,280
Speaker 1: and she's like, get away, You're you're moving too fast.

712
00:33:49,560 --> 00:33:51,520
Speaker 1: And then there's a guy who's in love with me

713
00:33:51,600 --> 00:33:53,960
Speaker 1: when I'm dressed as a woman and he starts doing

714
00:33:54,040 --> 00:33:57,040
Speaker 1: it to me and I'm like kicking her in the nuts.

715
00:33:57,080 --> 00:33:59,600
Speaker 1: And the lesson was like, how do you fucking like it?

716
00:34:00,120 --> 00:34:01,400
Speaker 1: Treat a woman with respect?

717
00:34:03,080 --> 00:34:04,560
Speaker 6: Shoes on the other foot now.

718
00:34:04,720 --> 00:34:07,040
Speaker 1: Yeah, so you can all go google my summer as

719
00:34:07,080 --> 00:34:09,359
Speaker 1: a girl and watch that bit of artistry. But that's

720
00:34:09,360 --> 00:34:11,600
Speaker 1: a good point you brought up, Donald. I don't think

721
00:34:11,640 --> 00:34:15,680
Speaker 1: that I had really had a pretty love interest other

722
00:34:15,719 --> 00:34:18,360
Speaker 1: than Sarah Chalk. But we hadn't really you know, delved

723
00:34:18,360 --> 00:34:20,920
Speaker 1: into that yet, not on the show we're about to.

724
00:34:21,000 --> 00:34:23,000
Speaker 1: We're in a few episodes we're about I think after

725
00:34:23,120 --> 00:34:25,200
Speaker 1: Liz is the first time that it comes up. So yeah,

726
00:34:25,200 --> 00:34:27,279
Speaker 1: I bet I was very nervous around her. I do

727
00:34:27,360 --> 00:34:29,120
Speaker 1: seem to me to look like I have a little

728
00:34:29,120 --> 00:34:31,080
Speaker 1: bit too much makeup on in this photo booth. Like

729
00:34:31,120 --> 00:34:33,560
Speaker 1: I was like, I was trying to look like you know,

730
00:34:33,600 --> 00:34:35,839
Speaker 1: it was important for you to look I wanted to look.

731
00:34:36,080 --> 00:34:38,160
Speaker 1: I wanted to look the best I could for Liz.

732
00:34:38,680 --> 00:34:40,279
Speaker 6: Well, yeah, I mean it is so funny. It's like

733
00:34:40,320 --> 00:34:42,640
Speaker 6: it's it's and scanning a lot of attention these days

734
00:34:42,640 --> 00:34:46,600
Speaker 6: because people are, you know, in this business are evolving somewhat.

735
00:34:46,680 --> 00:34:49,839
Speaker 6: But you know, when you have two actors or more

736
00:34:49,880 --> 00:34:52,040
Speaker 6: depending on the show, uh, you know, who have to

737
00:34:52,120 --> 00:34:55,080
Speaker 6: have a love scene or be intimate physically intimate with

738
00:34:55,120 --> 00:34:58,040
Speaker 6: each other, I mean it's awkward. It's weird, and it

739
00:34:58,160 --> 00:35:02,160
Speaker 6: can it can be really uncomfortable for for people. So

740
00:35:02,200 --> 00:35:04,319
Speaker 6: I mean, I totally get it, even as sort of

741
00:35:04,360 --> 00:35:05,000
Speaker 6: PG as.

742
00:35:05,040 --> 00:35:06,920
Speaker 1: This was right, well, this was pretty bag. You know,

743
00:35:06,960 --> 00:35:08,560
Speaker 1: when we get into some of the Sarah stuff, I

744
00:35:09,200 --> 00:35:11,000
Speaker 1: can't even believe that we were doing what we were

745
00:35:11,000 --> 00:35:13,880
Speaker 1: doing for network TV, And I remember it being like awkward,

746
00:35:14,000 --> 00:35:16,960
Speaker 1: like this is so bizarre. I remember feeling like are

747
00:35:17,000 --> 00:35:19,120
Speaker 1: we on like HBO, Like how are we doing this

748
00:35:19,160 --> 00:35:21,080
Speaker 1: for NBC? You know, it's pretty That was that was

749
00:35:21,080 --> 00:35:23,640
Speaker 1: pretty risque stuff. This stuff with Liz was was was

750
00:35:23,680 --> 00:35:25,400
Speaker 1: pretty tame. But you you know, you're still lying in

751
00:35:25,440 --> 00:35:27,319
Speaker 1: bed with a with a beautiful stranger and to.

752
00:35:27,360 --> 00:35:29,160
Speaker 2: Say at the end of the episode, I'm on top

753
00:35:29,200 --> 00:35:33,480
Speaker 2: of uh Judy and it's we're simulating.

754
00:35:34,680 --> 00:35:36,680
Speaker 1: R This was a sexy episode. There's a lot of

755
00:35:36,680 --> 00:35:40,960
Speaker 1: talk of orgasms and and and Sarah masturbating on a

756
00:35:41,040 --> 00:35:42,520
Speaker 1: washing machine works?

757
00:35:42,560 --> 00:35:46,480
Speaker 3: Does that work? Is a washing machine that powerful?

758
00:35:47,000 --> 00:35:47,120
Speaker 6: YEA?

759
00:35:48,360 --> 00:35:49,080
Speaker 3: Because I can't.

760
00:35:49,239 --> 00:35:51,480
Speaker 2: I don't. I don't, I don't. Apparently I don't. I

761
00:35:51,520 --> 00:35:54,080
Speaker 2: definitely don't produce like the washing machine can produce. Obviously,

762
00:35:54,080 --> 00:35:57,240
Speaker 2: listen first one hundred first, to be honest with everyone

763
00:35:57,280 --> 00:35:59,160
Speaker 2: on the washing machine.

764
00:35:59,239 --> 00:35:59,799
Speaker 3: Is that good?

765
00:36:00,120 --> 00:36:02,200
Speaker 2: Where at the end of it you fall off the

766
00:36:02,239 --> 00:36:03,640
Speaker 2: motherfucking washing machine.

767
00:36:04,120 --> 00:36:06,279
Speaker 3: I can't compete with the washing machine. What am I

768
00:36:06,360 --> 00:36:06,799
Speaker 3: useful for?

769
00:36:06,920 --> 00:36:07,320
Speaker 2: Honey?

770
00:36:07,520 --> 00:36:10,400
Speaker 3: I've been helping you raise these kids? What am I useful?

771
00:36:12,320 --> 00:36:12,840
Speaker 1: Hey Donald?

772
00:36:12,880 --> 00:36:15,440
Speaker 3: The washing machine and the crazy shit? Is My wife's

773
00:36:15,440 --> 00:36:17,520
Speaker 3: always like, I'm gonna go put another load in?

774
00:36:18,040 --> 00:36:21,759
Speaker 1: Yeah, yes she is. She's definitely gonna. Hey Donald, that

775
00:36:21,920 --> 00:36:25,040
Speaker 1: washing machine cannot provide for those children. Only you can.

776
00:36:25,280 --> 00:36:26,759
Speaker 3: Only I can. That's what.

777
00:36:27,080 --> 00:36:27,200
Speaker 6: Well.

778
00:36:27,239 --> 00:36:29,600
Speaker 1: I don't know whether or not, you know, we three

779
00:36:29,840 --> 00:36:32,799
Speaker 1: men have no idea obviously if a washing machine can

780
00:36:33,000 --> 00:36:35,680
Speaker 1: can do that to a woman. But I gotta say, Sarah,

781
00:36:35,800 --> 00:36:37,960
Speaker 1: it worked for Elliott. It really works Elliott.

782
00:36:38,000 --> 00:36:38,960
Speaker 3: It definitely well.

783
00:36:38,960 --> 00:36:41,799
Speaker 2: And it worked for Carla too, because she's the one

784
00:36:41,800 --> 00:36:42,640
Speaker 2: that suggested it.

785
00:36:42,800 --> 00:36:45,799
Speaker 1: Yes, she said, when are you doing laundry next? Now,

786
00:36:45,800 --> 00:36:47,839
Speaker 1: we had a lot of female writers on this show.

787
00:36:47,920 --> 00:36:50,160
Speaker 1: I can only imagine that they had a conversation in

788
00:36:50,160 --> 00:36:51,880
Speaker 1: the writer's room like, do you'all have them run a

789
00:36:51,960 --> 00:36:58,719
Speaker 1: washing machine? Well, let's move on.

790
00:36:59,200 --> 00:37:01,680
Speaker 6: Or you can ask could be an ask Bill moment.

791
00:37:01,920 --> 00:37:04,080
Speaker 2: No, no, no, no, no, no, I don't want to.

792
00:37:04,239 --> 00:37:06,880
Speaker 1: I don't Hey, listen, I don't have anything. Do you

793
00:37:06,880 --> 00:37:09,000
Speaker 1: guys have anything before Sarah shitting a brick? Because I

794
00:37:09,080 --> 00:37:09,920
Speaker 1: laughed out loud at that.

795
00:37:10,040 --> 00:37:11,040
Speaker 3: I laughed out loud at that.

796
00:37:11,040 --> 00:37:13,320
Speaker 1: That was funny, especially Sarah. First of all, when you

797
00:37:13,480 --> 00:37:16,120
Speaker 1: think you'd ever get to see Sarah chalk, you know,

798
00:37:16,239 --> 00:37:17,640
Speaker 1: poohing face, and there we saw it.

799
00:37:18,320 --> 00:37:20,200
Speaker 3: But that's that's that's the one thing.

800
00:37:20,400 --> 00:37:23,239
Speaker 2: Usually somebody makes a poohing face on television, they get

801
00:37:23,320 --> 00:37:26,000
Speaker 2: real big with it. It was pretty it was pretty subtle.

802
00:37:26,160 --> 00:37:27,400
Speaker 2: You didn't know that, you know.

803
00:37:27,440 --> 00:37:29,480
Speaker 1: This eye closed thing. She did an eye closed thing.

804
00:37:29,800 --> 00:37:32,479
Speaker 2: You're right, she closed one eye and and.

805
00:37:32,400 --> 00:37:35,640
Speaker 6: They had to be just enough, just enough push.

806
00:37:35,840 --> 00:37:36,640
Speaker 1: Yeah, a brick.

807
00:37:36,960 --> 00:37:37,759
Speaker 6: You brought that brick.

808
00:37:37,920 --> 00:37:40,040
Speaker 1: So what's funny. What's funny about it? It's builder is

809
00:37:40,080 --> 00:37:42,400
Speaker 1: that she she just does a little bit of a push,

810
00:37:42,440 --> 00:37:46,640
Speaker 1: but then a giant brick falls. I just realized that

811
00:37:46,680 --> 00:37:50,680
Speaker 1: in one episode, in one episode of brilliant television, in

812
00:37:50,719 --> 00:37:53,640
Speaker 1: twenty two minutes, we have Sarah's pooh face and her

813
00:37:53,719 --> 00:37:54,480
Speaker 1: orgasm face.

814
00:37:55,160 --> 00:37:57,040
Speaker 6: That's right. We opened the whole gam it.

815
00:37:57,120 --> 00:37:59,200
Speaker 1: We we opened the show with her poof face and

816
00:37:59,239 --> 00:38:02,000
Speaker 1: closed the show their orgasm face. What what art we

817
00:38:02,080 --> 00:38:03,680
Speaker 1: made what from O Pop?

818
00:38:05,760 --> 00:38:09,759
Speaker 3: Okay, so I think the yeah was improved When Carla pushes.

819
00:38:09,440 --> 00:38:12,000
Speaker 1: Me down, I remember that, Yeah.

820
00:38:13,000 --> 00:38:15,080
Speaker 2: I think that was improved. I don't remember if that

821
00:38:15,120 --> 00:38:16,000
Speaker 2: was in the script or not.

822
00:38:16,320 --> 00:38:18,279
Speaker 1: It wasn't because who the hell would ever guess that

823
00:38:18,320 --> 00:38:19,839
Speaker 1: your T shirt would say yeah on it?

824
00:38:20,040 --> 00:38:22,080
Speaker 3: Right, that my T shirt would say yeah, It didn't.

825
00:38:21,840 --> 00:38:24,640
Speaker 1: Say on the script. Turk wearing a yeah T shirt.

826
00:38:25,560 --> 00:38:27,160
Speaker 6: Points to said prize.

827
00:38:27,840 --> 00:38:30,439
Speaker 1: Yeah. But that was funny. Donald. I wanted to point

828
00:38:30,440 --> 00:38:32,320
Speaker 1: out a little trivia that I saw on the Scrubs

829
00:38:32,360 --> 00:38:36,080
Speaker 1: Wiki at three h five, right before uh You're yeah,

830
00:38:36,080 --> 00:38:40,320
Speaker 1: saying that doctor Cox knows Doug's name, and the Scrubs

831
00:38:40,320 --> 00:38:42,200
Speaker 1: Wiki was pointing out it might be the only time

832
00:38:42,280 --> 00:38:45,680
Speaker 1: he ever says Doug's name, because he goes Doug and.

833
00:38:45,520 --> 00:38:48,800
Speaker 2: Uh, well he uses it. He also uses it as

834
00:38:49,160 --> 00:38:50,399
Speaker 2: like he's gonna pick on Doug.

835
00:38:50,719 --> 00:38:52,799
Speaker 1: Yeah, but I'm saying Cox never you know. His whole

836
00:38:52,800 --> 00:38:54,400
Speaker 1: thing was he doesn't know people's names. He calls them

837
00:38:54,400 --> 00:38:57,080
Speaker 1: all these nicknames, but he randomly knew Doug's name.

838
00:38:57,200 --> 00:38:59,239
Speaker 2: But you too, a Jamin in this episode? Also you

839
00:38:59,480 --> 00:39:03,160
Speaker 2: a like a camaraderie in or Yeah, you know you're

840
00:39:03,200 --> 00:39:03,719
Speaker 2: his go to.

841
00:39:03,880 --> 00:39:05,160
Speaker 3: Now this is the first.

842
00:39:05,880 --> 00:39:08,399
Speaker 2: We established it in the last episode, but yeah, now

843
00:39:08,400 --> 00:39:11,800
Speaker 2: you two are it doesn't seem like you're a fresh

844
00:39:11,960 --> 00:39:14,279
Speaker 2: Nubi even though he calls you nuby and everything like that.

845
00:39:14,520 --> 00:39:18,800
Speaker 2: We're starting to see your your relationship as colleagues form.

846
00:39:19,120 --> 00:39:20,960
Speaker 1: That's true, and I think I wrote down this is

847
00:39:21,000 --> 00:39:23,879
Speaker 1: the first episode to me it seems like he genuinely

848
00:39:24,280 --> 00:39:27,080
Speaker 1: likes JD. Like he's usually good at hiding it, but

849
00:39:27,160 --> 00:39:31,440
Speaker 1: in this episode, I felt like Cox was really bonding

850
00:39:31,480 --> 00:39:34,080
Speaker 1: with JD and liked him even though he was, you know,

851
00:39:34,320 --> 00:39:36,200
Speaker 1: still trying to hide it, but he couldn't hide it.

852
00:39:36,560 --> 00:39:38,640
Speaker 1: And then in the end he really bonded with him

853
00:39:38,640 --> 00:39:40,840
Speaker 1: and said, you know, don't be me, don't be me,

854
00:39:40,960 --> 00:39:43,200
Speaker 1: go have a life, which I thought was was moving.

855
00:39:43,280 --> 00:39:45,560
Speaker 1: I thought that was, you know, a side of doctor

856
00:39:45,600 --> 00:39:47,640
Speaker 1: Cox we don't only see, yes spiller.

857
00:39:47,840 --> 00:39:51,200
Speaker 6: Since we're that's a nice segue into what it's like

858
00:39:51,760 --> 00:39:54,320
Speaker 6: working with Johnny C for the first time as a directory.

859
00:39:54,360 --> 00:39:55,280
Speaker 1: Yeah, was he scared?

860
00:39:55,440 --> 00:39:56,160
Speaker 2: Yeah, let's go.

861
00:39:56,960 --> 00:39:59,439
Speaker 6: Well, I mean, first of all, he's so damn good,

862
00:40:00,000 --> 00:40:03,280
Speaker 6: he's so damn funny, but he is a very very

863
00:40:03,320 --> 00:40:08,480
Speaker 6: intense guy, particularly when you know he's in character. You

864
00:40:08,520 --> 00:40:11,000
Speaker 6: know on set, because you know, as a prepping director,

865
00:40:11,760 --> 00:40:13,880
Speaker 6: you go and you're you're doing all the work in

866
00:40:13,920 --> 00:40:16,480
Speaker 6: the various meetings and location scouting and stuff that you

867
00:40:16,520 --> 00:40:19,120
Speaker 6: do to prep your own episode, but you also try

868
00:40:19,160 --> 00:40:21,880
Speaker 6: and spend as much time as you can on set

869
00:40:22,120 --> 00:40:23,960
Speaker 6: so that you're getting to know the cast in a

870
00:40:24,000 --> 00:40:27,040
Speaker 6: more informal way. You're starting to connect with the crew,

871
00:40:27,760 --> 00:40:30,480
Speaker 6: learn people's names, all these things that are essential to

872
00:40:30,920 --> 00:40:32,919
Speaker 6: you know when you're headed the baton the next week

873
00:40:33,080 --> 00:40:36,480
Speaker 6: that you'll have a good episode. Right, So you know,

874
00:40:36,760 --> 00:40:38,719
Speaker 6: you'd hang out and observe and try not to be

875
00:40:38,840 --> 00:40:40,719
Speaker 6: in the way, and I'd watch another you know, like

876
00:40:40,800 --> 00:40:44,080
Speaker 6: Mark Bucklin work with Johnny c or something, and Johnny

877
00:40:44,160 --> 00:40:48,319
Speaker 6: is intense. You say cut, and he stands there, his

878
00:40:48,560 --> 00:40:52,800
Speaker 6: jaws like clamp shut, his cheek muscles are like fluctuating

879
00:40:52,880 --> 00:40:57,919
Speaker 6: and like he's he's ripped. You know, it's like so aspiring, right,

880
00:40:58,320 --> 00:41:01,080
Speaker 6: It's like okay, and you have to give that person

881
00:41:01,160 --> 00:41:04,160
Speaker 6: a note. So the very the very first time I

882
00:41:04,200 --> 00:41:07,799
Speaker 6: did it, I said cut, went up to him and

883
00:41:07,800 --> 00:41:10,520
Speaker 6: it's like you got the sense that if you said

884
00:41:10,520 --> 00:41:15,120
Speaker 6: the wrong thing, he might actually hit you because he's

885
00:41:15,840 --> 00:41:21,200
Speaker 6: he appears to be that tightly wound, right. So I

886
00:41:21,200 --> 00:41:23,960
Speaker 6: can't remember what the note was, but you know, I said, Johnny,

887
00:41:24,000 --> 00:41:25,640
Speaker 6: can't try that, you know, I have an idea. Blah

888
00:41:25,680 --> 00:41:28,240
Speaker 6: blah blah blah. He looks at me for a second,

889
00:41:28,320 --> 00:41:33,879
Speaker 6: cheek muscle still, you know, rippling away, and he says, fuck, yeah,

890
00:41:33,960 --> 00:41:36,720
Speaker 6: let's do it, and we just we went. It's like, okay,

891
00:41:37,400 --> 00:41:37,960
Speaker 6: I made it.

892
00:41:39,800 --> 00:41:41,759
Speaker 1: That was your test in one day, in one or

893
00:41:41,760 --> 00:41:43,879
Speaker 1: two sentences, he has decided if he liked you.

894
00:41:43,920 --> 00:41:47,279
Speaker 6: Or not forever exactly thankfully.

895
00:41:47,880 --> 00:41:50,919
Speaker 1: Well, I think Johnny Johnny, Johnny Johnny has so much

896
00:41:51,120 --> 00:41:54,440
Speaker 1: had so much experience, you know, and and I've worked

897
00:41:54,440 --> 00:41:56,359
Speaker 1: with so many directors at that point, and I think

898
00:41:56,400 --> 00:41:59,439
Speaker 1: he he you know, if you gave him a good note,

899
00:41:59,640 --> 00:42:02,000
Speaker 1: he was he was down to do it. And and

900
00:42:02,000 --> 00:42:04,080
Speaker 1: then you know, like all of us, we sometimes got

901
00:42:04,120 --> 00:42:05,879
Speaker 1: notes from directors we were like, I'm not doing that,

902
00:42:06,040 --> 00:42:08,360
Speaker 1: and you know, so I think that he in that moment,

903
00:42:08,440 --> 00:42:10,440
Speaker 1: he decided that he liked you and respected you.

904
00:42:11,040 --> 00:42:14,840
Speaker 6: Well, I mean, listen, from from an actor's standpoint, I

905
00:42:14,880 --> 00:42:17,560
Speaker 6: completely get it, because it's like, Okay, as a new

906
00:42:17,680 --> 00:42:19,799
Speaker 6: director every week and some of them are not going

907
00:42:19,840 --> 00:42:21,200
Speaker 6: to be great or something you're just not going to

908
00:42:21,239 --> 00:42:22,920
Speaker 6: get along with. And some are going to ask you

909
00:42:23,040 --> 00:42:25,880
Speaker 6: things that may not even be their note, maybe a

910
00:42:25,920 --> 00:42:29,320
Speaker 6: writer's note. And you know you can't you can't go

911
00:42:29,400 --> 00:42:31,080
Speaker 6: up to an actors say oh, well the writer asked

912
00:42:31,120 --> 00:42:33,640
Speaker 6: me to say this. You know that's not a good

913
00:42:33,640 --> 00:42:35,560
Speaker 6: thing to do. It's like, well, then you're just the

914
00:42:35,640 --> 00:42:36,520
Speaker 6: messenger person.

915
00:42:36,600 --> 00:42:38,439
Speaker 1: Yeah, and then and then it just shows that you're weak.

916
00:42:38,480 --> 00:42:40,080
Speaker 1: I think you have to be like, you have to

917
00:42:40,080 --> 00:42:42,840
Speaker 1: be like you know what I try to be like,

918
00:42:42,960 --> 00:42:44,719
Speaker 1: is I do you want to do you want to try?

919
00:42:44,760 --> 00:42:46,319
Speaker 1: You know, if it's my thing, then I'm like, let's

920
00:42:46,320 --> 00:42:48,239
Speaker 1: try this. But if I'm coming onto a show like this,

921
00:42:48,320 --> 00:42:51,560
Speaker 1: I would say I was thinking this, do you want

922
00:42:51,600 --> 00:42:53,640
Speaker 1: to maybe try this? Because you know, you don't know

923
00:42:53,640 --> 00:42:55,879
Speaker 1: if the actor is going to say, oh, my character

924
00:42:55,920 --> 00:42:58,200
Speaker 1: would never do that, you know that kind of thing. Hey,

925
00:42:58,280 --> 00:43:01,280
Speaker 1: we need to go to a break that thought. Donald,

926
00:43:01,280 --> 00:43:02,120
Speaker 1: We're gonna break hold that.

927
00:43:02,160 --> 00:43:03,560
Speaker 3: Don't you get to ilevant.

928
00:43:04,480 --> 00:43:06,440
Speaker 1: Don't you forget it, Donald, because I know that you've

929
00:43:06,480 --> 00:43:08,839
Speaker 1: tried some of God's lettuce and that affects memory. Hold

930
00:43:08,840 --> 00:43:10,000
Speaker 1: on to that tried.

931
00:43:09,880 --> 00:43:12,240
Speaker 3: Some of God's a few hours. Let's go to break.

932
00:43:19,400 --> 00:43:21,640
Speaker 1: Okay, we're back from break. Donald, did you remember did

933
00:43:21,640 --> 00:43:22,600
Speaker 1: you hold onto the thought?

934
00:43:22,840 --> 00:43:23,400
Speaker 3: I forgot?

935
00:43:23,680 --> 00:43:27,920
Speaker 1: Oh? Fuck? And you kids say weed doesn't cause memory laws.

936
00:43:28,440 --> 00:43:31,800
Speaker 6: Wow, it's like a case study.

937
00:43:32,080 --> 00:43:35,040
Speaker 1: Yeah, like a case study. So Donald, we're doing a

938
00:43:35,080 --> 00:43:37,560
Speaker 1: podcast about the show Scrubs. I had to remind him

939
00:43:37,560 --> 00:43:43,880
Speaker 1: after each breaks. But Mike Spiller, he directed you twenty episodes.

940
00:43:44,080 --> 00:43:47,799
Speaker 3: I don't remember. I don't remember. I don't remember. So

941
00:43:47,880 --> 00:43:50,000
Speaker 3: I'm hanging out with you outside of Scrubs.

942
00:43:50,000 --> 00:43:53,759
Speaker 2: To Spiller, this isn't This is for everyone out there

943
00:43:53,800 --> 00:43:56,520
Speaker 2: that's sitting there and they're like, wow, this is you know,

944
00:43:56,719 --> 00:44:00,160
Speaker 2: a director on the show with the two actors h

945
00:44:00,360 --> 00:44:02,880
Speaker 2: and he directed twenty so that makes him special.

946
00:44:02,960 --> 00:44:04,640
Speaker 3: That's not all that makes Spiller special.

947
00:44:04,880 --> 00:44:07,800
Speaker 2: We've all gone out and hung out and eaten together

948
00:44:07,880 --> 00:44:10,960
Speaker 2: and stuff like that, so you know, it's also it's

949
00:44:11,080 --> 00:44:11,719
Speaker 2: very cool to.

950
00:44:11,680 --> 00:44:12,400
Speaker 3: Catch up with you.

951
00:44:12,560 --> 00:44:17,880
Speaker 1: I'll give you before I'll house Spiller.

952
00:44:18,440 --> 00:44:20,520
Speaker 6: No, we we moved. You have to come see the

953
00:44:20,560 --> 00:44:21,000
Speaker 6: new crib.

954
00:44:21,600 --> 00:44:23,839
Speaker 1: Yeah, that's right now that you got that Emmy Now

955
00:44:23,840 --> 00:44:26,200
Speaker 1: he's down one of those Emmy houses, one of those

956
00:44:26,200 --> 00:44:30,960
Speaker 1: Emmy Houses is like three levels. Listen, it's shaped houses

957
00:44:31,040 --> 00:44:33,040
Speaker 1: shaped like an Emmy.

958
00:44:34,480 --> 00:44:37,000
Speaker 2: If he wasn't responsible, there'd be a water slide from

959
00:44:37,000 --> 00:44:37,880
Speaker 2: his bed to the pool.

960
00:44:38,160 --> 00:44:40,080
Speaker 1: Yeah. When we met him, he had a DP on

961
00:44:40,120 --> 00:44:42,160
Speaker 1: sex in the city house. Now he's got a modern

962
00:44:42,200 --> 00:44:46,040
Speaker 1: family Emmy house. Spiller. I have a great memory of

963
00:44:46,040 --> 00:44:48,160
Speaker 1: you too, and that you came over and helped me

964
00:44:48,160 --> 00:44:50,160
Speaker 1: install a door knomb. Do you remember that?

965
00:44:51,800 --> 00:44:53,440
Speaker 2: Wait? What I mean?

966
00:44:53,440 --> 00:44:56,040
Speaker 6: That totally sounds like me. It's completely on brand.

967
00:44:56,239 --> 00:44:58,799
Speaker 2: Wait, I need to understand this.

968
00:44:58,840 --> 00:45:02,320
Speaker 1: You have. Here's what happened. Here's what happened, Spiller.

969
00:45:02,719 --> 00:45:03,959
Speaker 3: You don't know how to put a door?

970
00:45:04,320 --> 00:45:07,040
Speaker 1: No, let me explain. It's a very sweet Michael Spiller story.

971
00:45:07,160 --> 00:45:09,239
Speaker 1: I was talking him on set. Now, Spiller, you could

972
00:45:09,239 --> 00:45:11,279
Speaker 1: say that this has never happened, and I dreamed it.

973
00:45:11,320 --> 00:45:16,200
Speaker 1: But I haven't done hallucinogenics since college. So I remember

974
00:45:16,480 --> 00:45:19,120
Speaker 1: that I was talking to Michael. Michael's handy. Aren't you

975
00:45:19,120 --> 00:45:21,040
Speaker 1: a handy around the house guy? Like you can ferry

976
00:45:21,160 --> 00:45:23,600
Speaker 1: hand love buildings? And I was saying, God, I wish

977
00:45:23,640 --> 00:45:25,239
Speaker 1: I knew how to build stuff like I have to

978
00:45:25,239 --> 00:45:27,120
Speaker 1: put a doorknob on a door, and I gotta. I

979
00:45:27,120 --> 00:45:28,640
Speaker 1: have a door without a doorknob, and I got to

980
00:45:28,680 --> 00:45:30,080
Speaker 1: go hire someone to do it. I wish that I

981
00:45:30,120 --> 00:45:32,480
Speaker 1: knew how to buy the right drill bid and install

982
00:45:32,600 --> 00:45:35,799
Speaker 1: this doorknob. And Michael said I could teach you, and

983
00:45:35,840 --> 00:45:38,600
Speaker 1: I said really, And he said, yeah, I'll come over

984
00:45:38,640 --> 00:45:40,200
Speaker 1: and show you how to do it. And I said

985
00:45:40,200 --> 00:45:42,160
Speaker 1: that would be so awesome because I don't know anything

986
00:45:42,200 --> 00:45:44,160
Speaker 1: like that and I'd love to actually learn. And Michael

987
00:45:44,239 --> 00:45:47,799
Speaker 1: came over and helped me install a new doorknob on

988
00:45:47,840 --> 00:45:49,120
Speaker 1: a door. Isn't that true, Michael?

989
00:45:49,880 --> 00:45:52,000
Speaker 6: That is true. I don't like to blow my own horn,

990
00:45:52,040 --> 00:45:54,879
Speaker 6: but yes, that is true. And you remember this, Michael, Yeah,

991
00:45:56,120 --> 00:45:58,799
Speaker 6: I don't think, but I do remember it.

992
00:45:58,920 --> 00:45:59,919
Speaker 1: He charged me thirty five.

993
00:46:00,200 --> 00:46:03,040
Speaker 2: I got a story too. So we just finished the

994
00:46:04,000 --> 00:46:08,759
Speaker 2: screening of Garden State. Zach invited great film that Zach.

995
00:46:12,040 --> 00:46:15,719
Speaker 2: Zach invited a bunch of people over to the screening room.

996
00:46:15,800 --> 00:46:19,319
Speaker 2: Danny de Vito was there, Uh, problem was there? A

997
00:46:19,320 --> 00:46:22,080
Speaker 2: bunch of people were there. Mike Spiller, myself, we were

998
00:46:22,120 --> 00:46:25,719
Speaker 2: there also, and I remember the movie ends and we're

999
00:46:25,840 --> 00:46:28,799
Speaker 2: all like, wow, the movie was really good. I had notes, though,

1000
00:46:29,040 --> 00:46:33,240
Speaker 2: and I wanted to dude, and I wanted to figure

1001
00:46:33,280 --> 00:46:35,520
Speaker 2: out a way to tell Zach. All right, I've got

1002
00:46:35,560 --> 00:46:37,240
Speaker 2: a couple of notes about the movie.

1003
00:46:37,560 --> 00:46:37,640
Speaker 6: Now.

1004
00:46:37,640 --> 00:46:40,200
Speaker 2: I remember I see Spiller and we're I don't know

1005
00:46:40,239 --> 00:46:43,320
Speaker 2: if we're drinking or we're eating. It's after the movie's over, probably,

1006
00:46:43,880 --> 00:46:45,920
Speaker 2: and we talked. We're talking and You're like, wow, that

1007
00:46:46,000 --> 00:46:47,480
Speaker 2: was pretty good. And I was like, I was right.

1008
00:46:47,840 --> 00:46:49,680
Speaker 2: I was like, I've got some notes and you said

1009
00:46:49,680 --> 00:46:53,640
Speaker 2: to me, you know, now might not be the best

1010
00:46:53,640 --> 00:46:59,799
Speaker 2: time to deliver, said Zach. And I was like, oh,

1011
00:47:00,000 --> 00:47:02,440
Speaker 2: oh yeah, yeah, yeah, yeah, no, of course I'll figure

1012
00:47:02,440 --> 00:47:06,480
Speaker 2: out a way too, you know, to tell him. Flash

1013
00:47:06,520 --> 00:47:08,800
Speaker 2: cut to Danny DeVito doing a Q and A after

1014
00:47:08,840 --> 00:47:11,840
Speaker 2: the movie and he was like, does anyone have notes?

1015
00:47:13,600 --> 00:47:21,960
Speaker 1: One hand shoots up, one beautiful brown hand and then

1016
00:47:23,280 --> 00:47:25,080
Speaker 1: and then what happened? Then what happened was this? So

1017
00:47:25,120 --> 00:47:26,799
Speaker 1: then Donald goes off on his notes and I'm looking

1018
00:47:26,840 --> 00:47:29,279
Speaker 1: at him like, dude, not fucking now, like tell me

1019
00:47:29,360 --> 00:47:33,560
Speaker 1: these Like Danny Vito was my Danny de Vito was

1020
00:47:33,560 --> 00:47:35,759
Speaker 1: my producer. I was like, dude, tell me privately, what

1021
00:47:35,800 --> 00:47:38,239
Speaker 1: the fuck are you doing? And then so then Danny's like.

1022
00:47:38,480 --> 00:47:39,160
Speaker 2: You wanted to be heard.

1023
00:47:39,200 --> 00:47:39,919
Speaker 3: I wanted to be heard.

1024
00:47:39,960 --> 00:47:41,479
Speaker 1: I didn't want to be heard because I wasn't allowed

1025
00:47:41,520 --> 00:47:43,319
Speaker 1: to be in the movie because because I gave the

1026
00:47:43,360 --> 00:47:48,279
Speaker 1: part to method man. Now, listen, Danny DeVito. You know

1027
00:47:48,800 --> 00:47:51,320
Speaker 1: at the time the movie had had too many endings.

1028
00:47:51,320 --> 00:47:53,080
Speaker 1: It was like it was it was going on a

1029
00:47:53,160 --> 00:47:55,360
Speaker 1: few beads too long. And we all knew that, but

1030
00:47:55,400 --> 00:47:58,200
Speaker 1: I was in denial about him, and and Danny DeVito said,

1031
00:47:58,480 --> 00:48:01,360
Speaker 1: how many of you felt like the had too many endings?

1032
00:48:01,400 --> 00:48:05,040
Speaker 1: Donald's hand shoots up. I'm like, fucking Donald's put your

1033
00:48:05,080 --> 00:48:08,239
Speaker 1: fucking hand down. I'm supposed to be my man on

1034
00:48:08,280 --> 00:48:09,360
Speaker 1: the inside.

1035
00:48:11,640 --> 00:48:13,839
Speaker 2: But you changed it. We changed it.

1036
00:48:13,960 --> 00:48:15,879
Speaker 1: We did. Hey, you know what, this many years later,

1037
00:48:15,920 --> 00:48:18,040
Speaker 1: I'm glad that you're never a yes man. You always

1038
00:48:18,080 --> 00:48:18,799
Speaker 1: tell it like it is.

1039
00:48:21,040 --> 00:48:26,799
Speaker 2: But I just remember that, like, yeah, you know, we should, Yeah,

1040
00:48:26,840 --> 00:48:28,680
Speaker 2: you know. I'm sure we all have notes, but I

1041
00:48:29,000 --> 00:48:32,120
Speaker 2: would wait for my own moment.

1042
00:48:32,160 --> 00:48:34,400
Speaker 1: So you didn't. The lesson of this story is that

1043
00:48:34,440 --> 00:48:35,640
Speaker 1: you should have listened to Spiller.

1044
00:48:36,160 --> 00:48:38,680
Speaker 6: Yes, it's usually that's the end of most stories.

1045
00:48:38,719 --> 00:48:43,440
Speaker 1: Actually, So I want to say, at four or fifteen,

1046
00:48:43,520 --> 00:48:45,880
Speaker 1: I I don't remember the episode, so I thought that

1047
00:48:45,920 --> 00:48:48,160
Speaker 1: it was you who couldn't who had lost your eruction

1048
00:48:48,520 --> 00:48:51,200
Speaker 1: And it was a very good misdirect by both Spiller

1049
00:48:51,239 --> 00:48:54,440
Speaker 1: and Bill because uh it was it was Judy. I

1050
00:48:54,480 --> 00:48:56,120
Speaker 1: don't think I've ever seen story of a woman.

1051
00:48:56,239 --> 00:49:00,399
Speaker 2: Wait, yeah, right, I remember that, But this I knew away.

1052
00:49:00,560 --> 00:49:03,280
Speaker 2: I remember this episode now. I remember this episode because

1053
00:49:03,400 --> 00:49:07,520
Speaker 2: Rob's line in this show. So when I saw you

1054
00:49:07,760 --> 00:49:12,160
Speaker 2: in the hall today and I asked you, how's your penis? Yeah,

1055
00:49:12,200 --> 00:49:13,879
Speaker 2: and you didn't want to talk about it.

1056
00:49:14,120 --> 00:49:20,359
Speaker 6: Yeah, So Rob still tracks, It's still tracks. It's all

1057
00:49:20,360 --> 00:49:22,080
Speaker 6: part of the miss lead because I was I was

1058
00:49:22,120 --> 00:49:24,359
Speaker 6: proud of that. I don't remember. I don't think that

1059
00:49:24,640 --> 00:49:28,960
Speaker 6: was in the script specifically, is like she's holding a

1060
00:49:29,000 --> 00:49:32,239
Speaker 6: piece of bacon in a really odd, upright manner that

1061
00:49:32,280 --> 00:49:35,200
Speaker 6: nobody would ever do. But I thought, Okay, this would

1062
00:49:35,200 --> 00:49:38,680
Speaker 6: be a fun visual transition, and it does. It does

1063
00:49:38,800 --> 00:49:41,360
Speaker 6: lead you to believe. It's more evidence as a viewer

1064
00:49:41,480 --> 00:49:44,000
Speaker 6: that yes, Donald is the one who's had the problem

1065
00:49:44,280 --> 00:49:45,480
Speaker 6: in the classic situation.

1066
00:49:45,640 --> 00:49:47,600
Speaker 1: Yeah, you missled. No, I just wanted to do one

1067
00:49:47,600 --> 00:49:50,320
Speaker 1: little director thing that Spiller kind of introduced, I believe

1068
00:49:50,400 --> 00:49:51,680
Speaker 1: to the show. I don't know that we were doing

1069
00:49:51,719 --> 00:49:55,120
Speaker 1: this too much beforehand, but at four twelve, sorry, it's

1070
00:49:55,120 --> 00:49:56,920
Speaker 1: a little bit before that. So they have sex, and

1071
00:49:56,920 --> 00:49:58,759
Speaker 1: then the camera pans and goes into the back of

1072
00:49:58,800 --> 00:50:01,680
Speaker 1: the TV, and we use that as a transition, you know,

1073
00:50:01,680 --> 00:50:05,520
Speaker 1: a transition time passage, a little time passage, and then

1074
00:50:05,520 --> 00:50:07,840
Speaker 1: we come back to see the bra on Rowdy's head,

1075
00:50:08,200 --> 00:50:10,320
Speaker 1: and then we cut to Liz Bogish holding a bacon

1076
00:50:10,600 --> 00:50:13,839
Speaker 1: in sort of an erect way. Spiller, you naughty, naughty boy.

1077
00:50:16,280 --> 00:50:17,920
Speaker 6: Sometimes bacon is just bacon.

1078
00:50:18,000 --> 00:50:21,200
Speaker 1: Yeah, sometimes bacon's just bacon. But yeah, so I was.

1079
00:50:21,239 --> 00:50:23,759
Speaker 1: I always tricked the whole episode because I genuinely until

1080
00:50:23,840 --> 00:50:27,440
Speaker 1: until obviously she says it. It's funny, Judy. Oh wait,

1081
00:50:27,480 --> 00:50:30,799
Speaker 1: I want I'm jumping ahead. There's a waste. Oh there's

1082
00:50:30,800 --> 00:50:34,200
Speaker 1: a waste of a gift certificate. Oh yeah, there's a

1083
00:50:34,239 --> 00:50:37,520
Speaker 1: way gift Cancel the Cobbler. Now that's eleven twenty eight.

1084
00:50:37,600 --> 00:50:40,520
Speaker 1: I think Neil improv canceled the Cobbler. Definitely, right, Spiller,

1085
00:50:41,239 --> 00:50:41,719
Speaker 1: I think so.

1086
00:50:41,880 --> 00:50:44,160
Speaker 6: But I mean, I the only draft of the script

1087
00:50:44,160 --> 00:50:47,879
Speaker 6: that I could find, although it has notes and diagrams

1088
00:50:47,920 --> 00:50:50,840
Speaker 6: all over, it says it's like a pre table draft

1089
00:50:50,880 --> 00:50:53,960
Speaker 6: of the script. I have almost all my scrub scripts

1090
00:50:53,960 --> 00:50:57,960
Speaker 6: I couldn't find anyway. Yeah, that that whole bit wasn't

1091
00:50:57,960 --> 00:51:00,919
Speaker 6: in the version I had, But I mean I love

1092
00:51:01,040 --> 00:51:04,160
Speaker 6: the bit with Neil that starts that runner you know

1093
00:51:04,200 --> 00:51:07,279
Speaker 6: where you we reveal him next ye you can you know?

1094
00:51:07,360 --> 00:51:09,920
Speaker 6: Someone walks away and just happened to look at him right,

1095
00:51:09,960 --> 00:51:11,279
Speaker 6: and he's like, what if I told you, you know,

1096
00:51:11,320 --> 00:51:14,840
Speaker 6: look at me when I'm eating? I don't like it? Okay,

1097
00:51:15,160 --> 00:51:19,960
Speaker 6: what am I doing eating? And what are you doing daring?

1098
00:51:20,960 --> 00:51:21,279
Speaker 2: Any Way?

1099
00:51:21,280 --> 00:51:23,120
Speaker 1: I would listen to a whole podcast that I would

1100
00:51:23,239 --> 00:51:25,600
Speaker 1: the whole podcast it's called Michael Spilder acts out all

1101
00:51:25,600 --> 00:51:28,280
Speaker 1: the parts of scrubb. I would. I would listen to it.

1102
00:51:28,280 --> 00:51:34,839
Speaker 6: It's coming to Spotify. So Michael an endorsement Carrot Top?

1103
00:51:35,480 --> 00:51:38,439
Speaker 1: Oh my god, yeah, we gotta talk about Okay.

1104
00:51:38,480 --> 00:51:41,240
Speaker 2: First of all, I remember the story shut Out, go ahead,

1105
00:51:41,239 --> 00:51:41,840
Speaker 2: you should tell it that.

1106
00:51:42,000 --> 00:51:43,560
Speaker 1: No, I don't want to take it. You got it, No,

1107
00:51:43,640 --> 00:51:45,279
Speaker 1: you got I'm just worried you're gonna fuck up the

1108
00:51:45,280 --> 00:51:46,000
Speaker 1: story because it's.

1109
00:51:46,040 --> 00:51:48,799
Speaker 3: Gonna up the story. So what's Carrot Top's real name?

1110
00:51:49,160 --> 00:51:50,400
Speaker 1: Joell? Can you look up whatever?

1111
00:51:50,760 --> 00:51:55,440
Speaker 2: Scott Thompson, Scott Thompson Joel never mind.

1112
00:51:55,800 --> 00:51:58,480
Speaker 1: Scott Thompson came on the show, and I always found

1113
00:51:58,560 --> 00:52:00,839
Speaker 1: Scott Thompson very funny. I know that this was sort

1114
00:52:00,840 --> 00:52:02,640
Speaker 1: of like making fun of carrot Top, but I always

1115
00:52:02,640 --> 00:52:05,839
Speaker 1: thought he was a funny guy. And the only thing

1116
00:52:05,840 --> 00:52:09,360
Speaker 1: we had heard about Scott Thompson just by you know,

1117
00:52:09,480 --> 00:52:10,880
Speaker 1: sometimes when you have a guest star, there'd be a

1118
00:52:10,880 --> 00:52:13,239
Speaker 1: couple of things like, hey, don't you know sometimes like

1119
00:52:13,280 --> 00:52:15,239
Speaker 1: I remember someone was allergic to nuts and they were like,

1120
00:52:15,280 --> 00:52:18,319
Speaker 1: don't eat nuts around him. Well, with Scott it was like, hey, guys,

1121
00:52:18,320 --> 00:52:20,040
Speaker 1: don't call him carrat Top. He prefers that you call

1122
00:52:20,160 --> 00:52:23,480
Speaker 1: him Scott, Like, don't don't call him carrot top. And

1123
00:52:23,520 --> 00:52:26,359
Speaker 1: so the crew was told that, the cast was told out,

1124
00:52:26,680 --> 00:52:28,960
Speaker 1: and we had this old prop man at the time

1125
00:52:29,440 --> 00:52:31,120
Speaker 1: who walked right up to him was like, hey, how

1126
00:52:31,160 --> 00:52:41,880
Speaker 1: you doing, carrot Head? And I remember we all all flinching, like,

1127
00:52:42,040 --> 00:52:45,360
Speaker 1: don't call him carrot you call him carrot top alone,

1128
00:52:45,360 --> 00:52:47,280
Speaker 1: carrot head. Hey, how you doing.

1129
00:52:47,120 --> 00:52:48,720
Speaker 2: Carrot How you doing carrot Head?

1130
00:52:49,400 --> 00:52:51,720
Speaker 6: Now? Is this the same guy that allegedly hit rowdy

1131
00:52:51,840 --> 00:52:51,960
Speaker 6: or no?

1132
00:52:52,160 --> 00:52:53,680
Speaker 1: Yes, same guy?

1133
00:52:54,080 --> 00:52:54,960
Speaker 6: So another strike?

1134
00:52:55,480 --> 00:52:59,080
Speaker 1: Yeah, I think his first building, his first strike was

1135
00:52:59,080 --> 00:53:04,719
Speaker 1: calling Scott and Carrot. But I that was funny. I

1136
00:53:04,719 --> 00:53:08,400
Speaker 1: thought Scott did a very funny job, and I laughed

1137
00:53:08,400 --> 00:53:10,359
Speaker 1: at every single one of his jokes. So fuck off

1138
00:53:10,360 --> 00:53:11,280
Speaker 1: if you don't like Carrot.

1139
00:53:11,160 --> 00:53:12,080
Speaker 3: Top right on.

1140
00:53:12,560 --> 00:53:15,440
Speaker 2: I've worked with I've worked with Scott since then. You

1141
00:53:15,560 --> 00:53:17,279
Speaker 2: have a yeah we did, he's still doing.

1142
00:53:17,320 --> 00:53:19,200
Speaker 1: He's ripped, right, that's one thing.

1143
00:53:19,239 --> 00:53:22,319
Speaker 2: Now, we played basketball together. All types of things. Uh,

1144
00:53:22,960 --> 00:53:25,960
Speaker 2: in the celebrity circuit. Uh, he is ripped, He's and

1145
00:53:26,000 --> 00:53:29,840
Speaker 2: he's ripped like he's ripped like diesel, ripped, like rock ripped.

1146
00:53:29,920 --> 00:53:32,040
Speaker 1: You know, he's not just like he's not just he's

1147
00:53:32,080 --> 00:53:32,520
Speaker 1: not as.

1148
00:53:32,440 --> 00:53:34,880
Speaker 2: Tall as the rock, but he's ripped like, you know,

1149
00:53:35,320 --> 00:53:37,879
Speaker 2: at least back then, at least you know, ten years ago.

1150
00:53:37,920 --> 00:53:42,200
Speaker 3: The last time I saw him, he was freaking diesel. Dude.

1151
00:53:42,360 --> 00:53:44,400
Speaker 3: You know, as you get older, you try to figure

1152
00:53:44,400 --> 00:53:45,680
Speaker 3: out ways to stay young.

1153
00:53:45,560 --> 00:53:47,920
Speaker 1: And yeah, well I'm trying to stay I'm trying to

1154
00:53:47,920 --> 00:53:49,480
Speaker 1: stay in shape. But I don't have muscles like that.

1155
00:53:49,600 --> 00:53:51,480
Speaker 1: But I guess I could take it more seriously and

1156
00:53:52,480 --> 00:53:53,640
Speaker 1: eat a lot of calories.

1157
00:53:53,800 --> 00:53:58,319
Speaker 6: Does he have muscles? Like? John?

1158
00:53:59,160 --> 00:53:59,920
Speaker 1: Did I give you that?

1159
00:54:00,280 --> 00:54:00,640
Speaker 3: John C?

1160
00:54:01,000 --> 00:54:01,719
Speaker 6: I think you did.

1161
00:54:02,480 --> 00:54:05,080
Speaker 1: I went on Zon. He's holding up guys. There's a

1162
00:54:05,239 --> 00:54:08,560
Speaker 1: there's a Johnny c who played Red and Platoon. There's

1163
00:54:08,560 --> 00:54:12,239
Speaker 1: a there's a there's a beautiful uh doll. I don't

1164
00:54:12,239 --> 00:54:13,680
Speaker 1: know what you call that. It's like a ken doll.

1165
00:54:13,920 --> 00:54:15,920
Speaker 1: It's like an action figure, an action but it's but

1166
00:54:15,960 --> 00:54:19,839
Speaker 1: it's Kendall. It's a twelve inch And when I when

1167
00:54:19,840 --> 00:54:21,080
Speaker 1: I saw them, I when I.

1168
00:54:21,120 --> 00:54:22,400
Speaker 3: Went sixth scale.

1169
00:54:22,960 --> 00:54:25,680
Speaker 1: By the way, it's it's it's it's accessory is a cigarette,

1170
00:54:25,719 --> 00:54:28,759
Speaker 1: which I always thought was funny. And I, uh yeah,

1171
00:54:28,760 --> 00:54:30,719
Speaker 1: when those came out, I bought one for Johnny and

1172
00:54:30,760 --> 00:54:32,839
Speaker 1: for I guess I bought one for use builder. God,

1173
00:54:32,880 --> 00:54:34,759
Speaker 1: I must have really loved you.

1174
00:54:34,239 --> 00:54:36,239
Speaker 6: He did. Those are the days, yo.

1175
00:54:36,520 --> 00:54:39,480
Speaker 3: Uh So, I love you definitely changes everything.

1176
00:54:39,800 --> 00:54:40,240
Speaker 1: It does.

1177
00:54:40,520 --> 00:54:40,759
Speaker 3: Yeah.

1178
00:54:40,800 --> 00:54:44,000
Speaker 2: Well, and when you say it, apparently in this story,

1179
00:54:44,120 --> 00:54:46,880
Speaker 2: when you say I love you, sh it gets weird

1180
00:54:46,920 --> 00:54:51,160
Speaker 2: for a little bit. Yeah, yes, for Judy with at

1181
00:54:51,239 --> 00:54:54,920
Speaker 2: least with the Turk, and Carla.

1182
00:54:55,160 --> 00:54:56,680
Speaker 6: I think it's weird for both of you. I don't

1183
00:54:56,680 --> 00:54:58,480
Speaker 6: think either of you has ever really said it.

1184
00:54:58,440 --> 00:55:00,799
Speaker 3: Before, right, I just don't.

1185
00:55:00,840 --> 00:55:02,719
Speaker 2: I Mean, I've said it a couple of times in

1186
00:55:02,760 --> 00:55:06,719
Speaker 2: my life, but I don't know that it's changed.

1187
00:55:07,120 --> 00:55:09,440
Speaker 3: I mean, you know, I guess it just makes the

1188
00:55:09,480 --> 00:55:12,399
Speaker 3: breakup harder. I don't know.

1189
00:55:13,920 --> 00:55:16,680
Speaker 2: I just found that. I found that as an interesting

1190
00:55:16,880 --> 00:55:19,200
Speaker 2: story for these guys that I love. You made them

1191
00:55:19,239 --> 00:55:22,840
Speaker 2: have cold feet in the in the bedroom.

1192
00:55:23,120 --> 00:55:25,120
Speaker 1: Well she did, right, and you didn't have cold Well.

1193
00:55:25,040 --> 00:55:27,000
Speaker 2: He had cold feet to he did too. It was

1194
00:55:27,040 --> 00:55:29,600
Speaker 2: a blow to his ego. Also right in his head.

1195
00:55:29,600 --> 00:55:30,520
Speaker 1: He got in his head right.

1196
00:55:30,560 --> 00:55:33,000
Speaker 2: But and even and the fact that Turk is like,

1197
00:55:33,040 --> 00:55:36,320
Speaker 2: you know, it's never happened that, you know, I've always

1198
00:55:36,360 --> 00:55:38,120
Speaker 2: been able to pleasure a woman to the point of

1199
00:55:38,239 --> 00:55:40,120
Speaker 2: orgasm to marry out.

1200
00:55:40,160 --> 00:55:42,520
Speaker 3: I was like, right, I was like, yeah, whatever.

1201
00:55:42,680 --> 00:55:45,000
Speaker 6: Yeah, I don't think the stakes are high. The stakes

1202
00:55:45,000 --> 00:55:45,600
Speaker 6: are high.

1203
00:55:45,840 --> 00:55:48,960
Speaker 2: That's a weird plot line for me. I love you

1204
00:55:49,440 --> 00:55:51,759
Speaker 2: and because of that, you can't come Now.

1205
00:55:52,160 --> 00:55:53,600
Speaker 1: Well, I don't know if you're supposed to say the

1206
00:55:53,640 --> 00:55:56,320
Speaker 1: cum ward. I mean we can say orgasm comes a

1207
00:55:56,360 --> 00:55:58,480
Speaker 1: little aggressive for a family podcast?

1208
00:55:58,760 --> 00:55:59,880
Speaker 3: Are we a family podcast?

1209
00:56:00,760 --> 00:56:04,919
Speaker 1: We're explicit. We're explicit, but we stay away.

1210
00:56:05,000 --> 00:56:08,000
Speaker 3: You had we had established don't know what type of podcast.

1211
00:56:08,200 --> 00:56:11,920
Speaker 1: No, No, we're definitely explicit. But you could have said ejaculate.

1212
00:56:12,080 --> 00:56:15,120
Speaker 1: I wasn't you don't have to say come and so

1213
00:56:15,280 --> 00:56:17,719
Speaker 1: graphic right, Joel crashing up at you right now?

1214
00:56:17,760 --> 00:56:18,759
Speaker 6: She could a climax.

1215
00:56:18,880 --> 00:56:21,439
Speaker 1: She couldn't, Joel, as our producer, should we be using

1216
00:56:21,480 --> 00:56:24,960
Speaker 1: a cem word. I don't know. I talk to heart,

1217
00:56:25,200 --> 00:56:26,600
Speaker 1: call iHeart on the red phone.

1218
00:56:27,040 --> 00:56:27,880
Speaker 2: I don't think it.

1219
00:56:27,880 --> 00:56:30,080
Speaker 3: It'll matter much, guys, whenever you're coaching.

1220
00:56:31,200 --> 00:56:33,400
Speaker 1: I don't know. Donald said it. My heart skipped to

1221
00:56:33,400 --> 00:56:39,200
Speaker 1: beat No. Eight episode I know it's fucking staying. It's

1222
00:56:39,200 --> 00:56:43,680
Speaker 1: stay listen, you know, listen to that point. I noticed

1223
00:56:43,880 --> 00:56:46,200
Speaker 1: Judy didn't say orgasm in the first scene that it

1224
00:56:46,200 --> 00:56:48,239
Speaker 1: comes up, and I was like, oh, it must be

1225
00:56:48,280 --> 00:56:50,040
Speaker 1: like a TV thing. And we see we had a

1226
00:56:50,120 --> 00:56:53,080
Speaker 1: tiptoe around the word. And then everyone starts saying it.

1227
00:56:53,200 --> 00:56:55,439
Speaker 1: You say it, Sarah says it. I'm like, oh, it's

1228
00:56:55,440 --> 00:56:56,640
Speaker 1: just a Judy's character.

1229
00:56:57,080 --> 00:56:57,200
Speaker 2: Uh.

1230
00:56:57,920 --> 00:57:02,000
Speaker 1: Carla is like uncomfortable saying the word in public.

1231
00:57:02,800 --> 00:57:05,400
Speaker 2: Which is odd to me because as you saw, I

1232
00:57:05,480 --> 00:57:08,040
Speaker 2: just said a different word, and all of you guys got.

1233
00:57:08,000 --> 00:57:10,759
Speaker 1: Oh, now you're ashamed. Now now you.

1234
00:57:10,160 --> 00:57:11,359
Speaker 3: Guys kind of shamed me.

1235
00:57:11,480 --> 00:57:12,360
Speaker 2: That was no judge.

1236
00:57:12,360 --> 00:57:13,840
Speaker 1: We're not shaming you. There's no judgment.

1237
00:57:13,960 --> 00:57:14,800
Speaker 3: Was a little bit of judgment.

1238
00:57:14,800 --> 00:57:17,120
Speaker 1: I'm gonna keep it no, no way, no, there's no judgment.

1239
00:57:17,200 --> 00:57:20,200
Speaker 3: And anybody out there listening, I felt your judgment too.

1240
00:57:20,400 --> 00:57:22,000
Speaker 2: No, they weren't judging your judgment too.

1241
00:57:22,080 --> 00:57:24,080
Speaker 1: I think we were all just a little taken aback

1242
00:57:24,120 --> 00:57:26,240
Speaker 1: that you came out us aggressively, no pun intended.

1243
00:57:26,440 --> 00:57:28,600
Speaker 6: I'm going to keep us on topic, but maybe get

1244
00:57:28,680 --> 00:57:29,960
Speaker 6: us out of this office, or are you.

1245
00:57:29,920 --> 00:57:32,000
Speaker 1: Gonna direct us? Piller direct us.

1246
00:57:32,480 --> 00:57:34,240
Speaker 6: I'm just gonna say that, you guys, this is what

1247
00:57:34,280 --> 00:57:37,440
Speaker 6: a director does. It's a little redirect here at that

1248
00:57:37,560 --> 00:57:40,840
Speaker 6: moment at eleven fifty five where Carla catches herself after

1249
00:57:40,880 --> 00:57:43,600
Speaker 6: Elliott's made her confession that she's never been able to

1250
00:57:43,600 --> 00:57:47,680
Speaker 6: climbax ever, even by herself, that that moment after she

1251
00:57:47,800 --> 00:57:52,520
Speaker 6: says it, Judy's like, oh, I'm sorry, I should be

1252
00:57:52,560 --> 00:57:55,840
Speaker 6: more surprised. It's just like the pause and her like

1253
00:57:56,200 --> 00:57:59,560
Speaker 6: her realization. It's it's a silent beat. It's so funny

1254
00:57:59,600 --> 00:58:03,560
Speaker 6: and so definitely executed. And there was something that I

1255
00:58:03,600 --> 00:58:05,560
Speaker 6: have No you can't take no credit for. Of course,

1256
00:58:05,560 --> 00:58:06,440
Speaker 6: that's all the actor.

1257
00:58:06,880 --> 00:58:10,000
Speaker 1: Elliott is so self deprecating in this episode. It's so funny.

1258
00:58:10,040 --> 00:58:13,360
Speaker 1: Every scenes staras in she's like she's just like taking

1259
00:58:13,400 --> 00:58:16,479
Speaker 1: digs at herself over and over and over again. Let's

1260
00:58:16,480 --> 00:58:19,280
Speaker 1: talk about the legendary Sam Lloyd at fifteen thirty saying

1261
00:58:19,280 --> 00:58:24,000
Speaker 1: walk off, bitch. I laughed out loud, Oh yes, now

1262
00:58:24,000 --> 00:58:25,880
Speaker 1: it's Spiller. I noticed he's not sweating. I don't know

1263
00:58:25,880 --> 00:58:27,600
Speaker 1: if you recall because it was so long ago, but

1264
00:58:27,640 --> 00:58:29,520
Speaker 1: I wondered if there was a conscious decision like, no,

1265
00:58:29,640 --> 00:58:32,320
Speaker 1: you found your courage, You're not going to be flopped

1266
00:58:32,360 --> 00:58:33,240
Speaker 1: sweating in this scene.

1267
00:58:34,200 --> 00:58:38,520
Speaker 6: Yeah. I don't remember actually saying the words, but I'd

1268
00:58:38,560 --> 00:58:41,120
Speaker 6: like to think that that is why, you know, with

1269
00:58:41,240 --> 00:58:44,840
Speaker 6: his new found you know, since since Kelso's lost his mojo,

1270
00:58:45,720 --> 00:58:49,240
Speaker 6: Ted has this newfound confidence that he wasn't sweating.

1271
00:58:49,760 --> 00:58:52,160
Speaker 1: Yeah, and then he goes, and then he goes, you

1272
00:58:52,160 --> 00:58:58,800
Speaker 1: are a wonderful person. I love you. Don't know what

1273
00:58:58,880 --> 00:59:02,240
Speaker 1: you did so good, spilurre. Do you want to share

1274
00:59:02,280 --> 00:59:04,600
Speaker 1: any Sammy thoughts? I thought, just you know, because you

1275
00:59:04,920 --> 00:59:07,800
Speaker 1: worked with him a bunch of times, and and and

1276
00:59:07,840 --> 00:59:09,640
Speaker 1: we you know, Donald and I shared some thoughts. But

1277
00:59:09,680 --> 00:59:11,520
Speaker 1: I thought you might want to say anything that you

1278
00:59:11,600 --> 00:59:12,360
Speaker 1: remember about him.

1279
00:59:13,360 --> 00:59:17,920
Speaker 6: Yeah, I mean, gosh, it's take him too soon. I mean,

1280
00:59:18,000 --> 00:59:23,560
Speaker 6: such a great guy, such an amazing talent. I'm so

1281
00:59:23,760 --> 00:59:27,720
Speaker 6: pleased to work with him a bunch and and gotten

1282
00:59:27,720 --> 00:59:30,560
Speaker 6: to know him a little bit. And but I often,

1283
00:59:30,640 --> 00:59:33,560
Speaker 6: I mean, when I heard the news, I kept thinking

1284
00:59:33,600 --> 00:59:36,080
Speaker 6: back to one episode that I haven't seen in a while,

1285
00:59:36,120 --> 00:59:38,120
Speaker 6: but this moment is all I stuck with me where

1286
00:59:38,720 --> 00:59:43,280
Speaker 6: Ted the Lawyer winds up falling off the roof and

1287
00:59:43,480 --> 00:59:46,360
Speaker 6: I mean we shot like a pretty elaborate sequence for it,

1288
00:59:46,480 --> 00:59:50,000
Speaker 6: and you know, see him falling away and he says, oh,

1289
00:59:50,040 --> 00:59:54,400
Speaker 6: sweet relief, you know, like he's finally gonna be out

1290
00:59:54,400 --> 00:59:58,280
Speaker 6: of this torturous life. And you know, years ago, I

1291
00:59:58,320 --> 01:00:00,520
Speaker 6: just would think about that moment because it was funny

1292
01:00:00,560 --> 01:00:05,240
Speaker 6: and so on character. And you know, the past couple

1293
01:00:05,280 --> 01:00:07,240
Speaker 6: of weeks I've just been thinking about as like, well,

1294
01:00:08,360 --> 01:00:10,520
Speaker 6: I hope that he has found peace and you know

1295
01:00:10,520 --> 01:00:14,680
Speaker 6: it's not in pain, and it's just heartbreaking. What an

1296
01:00:14,680 --> 01:00:15,360
Speaker 6: amazing guy.

1297
01:00:15,920 --> 01:00:18,000
Speaker 1: Yeah, he really was. I've been thinking about him a

1298
01:00:18,040 --> 01:00:20,440
Speaker 1: lot lately, and I know, I know all the fans

1299
01:00:20,440 --> 01:00:22,720
Speaker 1: of the show have, but and now, of course, when

1300
01:00:22,720 --> 01:00:24,720
Speaker 1: he comes up in an episode, I'm like extra leaning

1301
01:00:24,760 --> 01:00:26,840
Speaker 1: forward because I know, I just know it's going to

1302
01:00:26,880 --> 01:00:28,600
Speaker 1: be funny. And and you know, I have this thing

1303
01:00:28,640 --> 01:00:30,200
Speaker 1: when I write my notes down for the episode, I

1304
01:00:30,240 --> 01:00:33,480
Speaker 1: write lol just to remind myself to say that. That's

1305
01:00:33,520 --> 01:00:35,480
Speaker 1: something that made me laugh out loud. And Sam, he

1306
01:00:35,560 --> 01:00:37,600
Speaker 1: has like two lines in this episode. I laughed out

1307
01:00:37,600 --> 01:00:38,360
Speaker 1: loud of both of them.

1308
01:00:39,440 --> 01:00:42,520
Speaker 6: That's just him just delivered always.

1309
01:00:42,640 --> 01:00:43,840
Speaker 3: Yeah, he definitely delivered.

1310
01:00:44,880 --> 01:00:48,200
Speaker 1: Johnny c At nineteen twenty seven puts in his own

1311
01:00:48,280 --> 01:00:49,520
Speaker 1: five good ones, you know that's what.

1312
01:00:49,720 --> 01:00:52,440
Speaker 3: Yeah, I noticed that up with that well.

1313
01:00:52,240 --> 01:00:55,400
Speaker 1: You know that that was his expression. I think. I

1314
01:00:55,440 --> 01:00:57,080
Speaker 1: don't know if the writers put it in the script

1315
01:00:57,760 --> 01:00:57,960
Speaker 1: or not.

1316
01:00:58,920 --> 01:01:01,800
Speaker 2: Right here for you, Bob, I like that whole storyline too.

1317
01:01:01,840 --> 01:01:06,600
Speaker 2: That was very funny of Kelso losing his mojo, and

1318
01:01:06,640 --> 01:01:08,480
Speaker 2: the way Ken played it was great, like.

1319
01:01:08,440 --> 01:01:10,880
Speaker 3: A wounded little like a wounded little puppy.

1320
01:01:11,120 --> 01:01:13,920
Speaker 1: Ken was so funny. Right when you ever see Kelso

1321
01:01:14,000 --> 01:01:16,640
Speaker 1: play that like humbled puppy. That was so funny.

1322
01:01:17,760 --> 01:01:20,120
Speaker 2: And and even and uh and and John and you know,

1323
01:01:20,160 --> 01:01:22,680
Speaker 2: and him realizing, wait a second, how did I lose

1324
01:01:22,760 --> 01:01:25,600
Speaker 2: my mojo? And John c rolling by, yeah on the

1325
01:01:25,600 --> 01:01:26,960
Speaker 2: wheelchair waving at him.

1326
01:01:27,040 --> 01:01:30,240
Speaker 1: Hilarious, dude, that's a that's a shot I've seen like

1327
01:01:30,360 --> 01:01:33,240
Speaker 1: in every Scrubs clip reel that's ever shown, or like,

1328
01:01:33,960 --> 01:01:36,840
Speaker 1: you know, gifts and stuff. You just that's it's one

1329
01:01:36,880 --> 01:01:38,800
Speaker 1: of those shots you always see Johnny on the wheelchair

1330
01:01:38,840 --> 01:01:40,000
Speaker 1: rolling by waving like that.

1331
01:01:41,480 --> 01:01:45,040
Speaker 6: Yeah, I think I'm owed some residuals or something, some gift.

1332
01:01:45,120 --> 01:01:46,400
Speaker 1: Those gift residuals are.

1333
01:01:46,720 --> 01:01:48,600
Speaker 3: Yeah, they don't pay, they don't pay.

1334
01:01:50,280 --> 01:01:51,800
Speaker 1: Yeah, I just wrote I wrote down the same thing.

1335
01:01:51,840 --> 01:01:54,120
Speaker 1: Donald ken Ken is so good being humbled. I mean,

1336
01:01:54,400 --> 01:01:56,520
Speaker 1: it's not something you ever really saw in Scrubs, but

1337
01:01:56,560 --> 01:01:58,760
Speaker 1: he was, like he played it so well. Just he

1338
01:01:58,880 --> 01:01:59,960
Speaker 1: that guy has such an amazing ring.

1339
01:02:00,840 --> 01:02:04,640
Speaker 2: Yeah. But and then also also his his comeback was

1340
01:02:04,680 --> 01:02:10,400
Speaker 2: great and the way Cox tricks him or you know,

1341
01:02:10,480 --> 01:02:15,200
Speaker 2: revives him by saying, you know what, guys, from here

1342
01:02:15,240 --> 01:02:17,800
Speaker 2: on out, you just ask me the question and I'll

1343
01:02:17,800 --> 01:02:20,560
Speaker 2: answer everything for you. And you and you realize, oh

1344
01:02:20,560 --> 01:02:23,280
Speaker 2: wait a second, you realize right then, And there Kelso

1345
01:02:23,400 --> 01:02:25,720
Speaker 2: is trying to teach. He gets a kick out of

1346
01:02:25,760 --> 01:02:28,320
Speaker 2: being the most evil person on the planet. But he

1347
01:02:28,520 --> 01:02:32,400
Speaker 2: is the chief of medicine at a teaching hospital, and

1348
01:02:32,440 --> 01:02:35,960
Speaker 2: he fulfills his job in every episode, regardless of how

1349
01:02:36,000 --> 01:02:38,880
Speaker 2: evil he might be or how angry he might seem.

1350
01:02:39,040 --> 01:02:41,840
Speaker 2: You know, I talked about this earlier he uh uh

1351
01:02:42,000 --> 01:02:47,200
Speaker 2: an older and earlier podcasts. He he's always teaching. He's

1352
01:02:47,320 --> 01:02:51,000
Speaker 2: always he's always a part of the solution and not

1353
01:02:51,080 --> 01:02:54,160
Speaker 2: necessarily the problem. Even if it's like, well, look here,

1354
01:02:54,280 --> 01:02:58,680
Speaker 2: this is how we run things. He the lessons always

1355
01:02:59,160 --> 01:03:04,320
Speaker 2: somehow revolve around how mean he is. But he's freaking

1356
01:03:04,400 --> 01:03:07,600
Speaker 2: so he's always teaching. The kids, He's always teaching, or

1357
01:03:07,640 --> 01:03:08,640
Speaker 2: the students or the.

1358
01:03:09,040 --> 01:03:12,120
Speaker 1: And always taken away from him. This time, he's totally

1359
01:03:12,160 --> 01:03:13,760
Speaker 1: like lost his mojo, you know.

1360
01:03:13,840 --> 01:03:16,120
Speaker 2: He well, not only has he lost his mojo, he's

1361
01:03:16,120 --> 01:03:18,120
Speaker 2: lost his purpose in the hospital. Also, what do I

1362
01:03:18,160 --> 01:03:21,800
Speaker 2: do here? I can't freaking get ted to do his job.

1363
01:03:21,880 --> 01:03:25,480
Speaker 2: I can't get you know, I can't get the med

1364
01:03:25,560 --> 01:03:30,760
Speaker 2: students or the interns to do their job. What how

1365
01:03:30,760 --> 01:03:31,520
Speaker 2: do you know?

1366
01:03:31,760 --> 01:03:31,920
Speaker 6: How?

1367
01:03:32,240 --> 01:03:34,919
Speaker 2: What is my purpose here? And it's only until it's

1368
01:03:34,920 --> 01:03:39,360
Speaker 2: only until Cox says, you know, you guys ask me

1369
01:03:39,400 --> 01:03:41,000
Speaker 2: the question where he's like, wait a second, that's not

1370
01:03:41,040 --> 01:03:43,440
Speaker 2: how we run things. And it's all right if I

1371
01:03:43,440 --> 01:03:45,640
Speaker 2: scare the shit out of them, that's a fine way

1372
01:03:45,680 --> 01:03:46,360
Speaker 2: to teach people.

1373
01:03:46,440 --> 01:03:46,720
Speaker 3: Fear.

1374
01:03:46,880 --> 01:03:49,240
Speaker 2: We're in a hospital. If this ship hits Code RED,

1375
01:03:49,280 --> 01:03:51,800
Speaker 2: these people need to be ready to you know, push

1376
01:03:51,840 --> 01:03:55,400
Speaker 2: their nerves aside and answer questions and save lives and

1377
01:03:55,440 --> 01:03:56,680
Speaker 2: everything like that.

1378
01:03:56,920 --> 01:03:59,920
Speaker 6: And you get another glimpse of you know, inside doctor

1379
01:04:00,120 --> 01:04:02,360
Speaker 6: see that you know, there's more than meets the I there.

1380
01:04:02,360 --> 01:04:05,960
Speaker 6: He's not just you know, a scary, intimidating figure in

1381
01:04:05,960 --> 01:04:08,280
Speaker 6: the hospital. It's like, no, he's got part, he's got

1382
01:04:08,280 --> 01:04:12,200
Speaker 6: compassion and you know, understands how things work here and

1383
01:04:11,720 --> 01:04:14,600
Speaker 6: he's the one who's instrumental in restoring the order.

1384
01:04:15,040 --> 01:04:18,080
Speaker 1: Yeah. Yeah, And I thought that was really nice just

1385
01:04:18,200 --> 01:04:23,360
Speaker 1: moment into doctor Cox's mind, seeing that he's a lonesome

1386
01:04:23,400 --> 01:04:27,760
Speaker 1: guy who's dedicated his life to this and and I thought,

1387
01:04:27,760 --> 01:04:29,840
Speaker 1: you know, I just thought that was a nice sort

1388
01:04:29,840 --> 01:04:32,160
Speaker 1: of reveal as we get to know the character more

1389
01:04:32,960 --> 01:04:36,080
Speaker 1: in episode thirteen of the whole series, that you know

1390
01:04:36,120 --> 01:04:39,040
Speaker 1: how dedicated he is to being a doctor, even even

1391
01:04:39,040 --> 01:04:44,360
Speaker 1: in sacrificing relationships with with with people. And you know,

1392
01:04:44,640 --> 01:04:47,920
Speaker 1: Joelle brought up a good point that you know, when

1393
01:04:47,960 --> 01:04:51,120
Speaker 1: you do a TV show, granted we're not doing something

1394
01:04:51,200 --> 01:04:54,760
Speaker 1: noble like saving lives, but you know, when you we

1395
01:04:54,840 --> 01:04:57,320
Speaker 1: had something analogous going on in that we were just

1396
01:04:57,480 --> 01:05:01,160
Speaker 1: at this hospital sixteen hours a day, and it definitely

1397
01:05:01,240 --> 01:05:04,960
Speaker 1: hurt relationships with with family and friends. You know, Donald

1398
01:05:04,960 --> 01:05:08,120
Speaker 1: had children and and and and was gone, and I

1399
01:05:08,240 --> 01:05:10,920
Speaker 1: lost touch with a lot of old friends, and it

1400
01:05:11,000 --> 01:05:12,920
Speaker 1: was it was a bit analogous to to what was

1401
01:05:12,920 --> 01:05:15,520
Speaker 1: happening in our lives. You know, it's interesting when Scrubs ended,

1402
01:05:15,600 --> 01:05:18,560
Speaker 1: I I have this feeling that I was delayed in

1403
01:05:18,600 --> 01:05:21,960
Speaker 1: a sense in that I hadn't had nine years of

1404
01:05:22,000 --> 01:05:25,880
Speaker 1: building friendships outside of the hospital. I had built the

1405
01:05:25,920 --> 01:05:31,680
Speaker 1: best friendships of my life, you especially and Spiller. Spiller, Spiller,

1406
01:05:31,760 --> 01:05:34,680
Speaker 1: you're close, like ten down. But no, I had built

1407
01:05:34,720 --> 01:05:37,960
Speaker 1: some great friendships and uh and and actually that's that's

1408
01:05:38,000 --> 01:05:40,120
Speaker 1: one of the reasons so many of these wonderful people,

1409
01:05:40,200 --> 01:05:43,400
Speaker 1: including uh Bill and and others are so in my life.

1410
01:05:43,720 --> 01:05:48,520
Speaker 1: And of course I I fostered other relationships. But but

1411
01:05:48,640 --> 01:05:52,680
Speaker 1: you know, we didn't have much time over those nine

1412
01:05:52,720 --> 01:05:56,919
Speaker 1: years to to to to build and develop other relationships.

1413
01:05:56,960 --> 01:05:58,520
Speaker 1: And I don't know, I don't know if you if

1414
01:05:58,520 --> 01:06:00,720
Speaker 1: you noticed that Donald, we were when we were finally

1415
01:06:00,760 --> 01:06:03,640
Speaker 1: done and kind of had our normal lives back, I

1416
01:06:04,000 --> 01:06:06,560
Speaker 1: felt that I was like, I don't. I have small

1417
01:06:06,560 --> 01:06:08,640
Speaker 1: circles of friends that I love so much, But I'm

1418
01:06:08,640 --> 01:06:11,480
Speaker 1: not one of these people that really knew a ton

1419
01:06:11,520 --> 01:06:13,160
Speaker 1: of people outside of my job.

1420
01:06:13,440 --> 01:06:16,000
Speaker 2: Right, And because of that, it's a little awkward now

1421
01:06:16,120 --> 01:06:18,640
Speaker 2: when I do, well, we're on lockdown. But when I

1422
01:06:18,680 --> 01:06:22,160
Speaker 2: do meet people, I'm a little awkward about. You know,

1423
01:06:23,680 --> 01:06:25,440
Speaker 2: when you make a bunch of really good friends and

1424
01:06:25,480 --> 01:06:32,280
Speaker 2: it all ends and you only see them occasionally, Well,

1425
01:06:32,320 --> 01:06:34,960
Speaker 2: you and I are a bit different. It's like, well,

1426
01:06:35,000 --> 01:06:36,840
Speaker 2: you know, I spent ten years getting to know a

1427
01:06:36,880 --> 01:06:40,480
Speaker 2: lot of people, and as much as much as I

1428
01:06:40,560 --> 01:06:43,840
Speaker 2: respect and cherished all the time that we spent together,

1429
01:06:44,320 --> 01:06:46,320
Speaker 2: it's weird not having these people in my life. It's

1430
01:06:46,360 --> 01:06:51,640
Speaker 2: weird not seeing Chris or you know, or Ethan or

1431
01:06:51,720 --> 01:06:55,880
Speaker 2: Calvin or Natrick Bolton, Patrick Bolton, it's weird not seeing that,

1432
01:06:56,040 --> 01:06:58,680
Speaker 2: so Vaughan, it's weird not seeing these people. You know.

1433
01:06:58,760 --> 01:07:00,400
Speaker 1: One thing you could do, it would be to ask

1434
01:07:00,480 --> 01:07:03,680
Speaker 1: Spiller to come put a doorknob on your house. That's

1435
01:07:03,720 --> 01:07:06,000
Speaker 1: one trick that I've sometimes used when I don't.

1436
01:07:05,840 --> 01:07:09,160
Speaker 3: Want Spiller anywhere near my house in quarantine.

1437
01:07:09,440 --> 01:07:12,320
Speaker 1: Oh, he could mask up and come put a doorknob.

1438
01:07:12,400 --> 01:07:16,400
Speaker 2: I totally understand that. I totally understand that, but I'm

1439
01:07:16,440 --> 01:07:17,440
Speaker 2: trying to listen.

1440
01:07:17,480 --> 01:07:20,000
Speaker 1: He was thirty five an hour. It was worth every penny.

1441
01:07:20,920 --> 01:07:26,600
Speaker 6: You know the rates of change, Yeah, DGA scale plus fringes.

1442
01:07:26,920 --> 01:07:29,520
Speaker 1: Yeah. But you know, let's talk for a second about

1443
01:07:29,520 --> 01:07:31,720
Speaker 1: New Slang, which is the song that ends the show.

1444
01:07:32,520 --> 01:07:35,120
Speaker 1: Rumor has it it was chosen by Neil Goldman, who

1445
01:07:35,200 --> 01:07:38,240
Speaker 1: unfortunately he keeps getting mentioned because he loves getting mentioned

1446
01:07:38,280 --> 01:07:42,360
Speaker 1: on this podcast. But he was a writer, contributor, He

1447
01:07:42,560 --> 01:07:44,720
Speaker 1: was a what are you saying?

1448
01:07:44,800 --> 01:07:48,320
Speaker 3: I said he was a contributor. He contributed a show.

1449
01:07:48,240 --> 01:07:49,640
Speaker 1: I think on that show.

1450
01:07:50,280 --> 01:07:52,800
Speaker 2: Because of that, on this show, because of that, he

1451
01:07:52,840 --> 01:07:55,760
Speaker 2: gets spoken of all the time. Neil Goldman.

1452
01:07:55,800 --> 01:07:57,360
Speaker 3: I didn't know that Neil Goldman picked this song.

1453
01:07:57,880 --> 01:08:00,840
Speaker 1: Neil Goldman. Let me tell you something. Neil Goldman is

1454
01:08:00,920 --> 01:08:03,240
Speaker 1: very into music, was and is very into music, and

1455
01:08:03,280 --> 01:08:05,880
Speaker 1: he picked the song. Now, this song I so fell

1456
01:08:05,920 --> 01:08:06,360
Speaker 1: in love with.

1457
01:08:07,120 --> 01:08:08,440
Speaker 2: Yeah. I know you used to sing this ship all

1458
01:08:08,440 --> 01:08:12,440
Speaker 2: the time, go teeth and a curse in my mouth.

1459
01:08:12,720 --> 01:08:14,360
Speaker 1: And a curse for this town. And I put it

1460
01:08:14,400 --> 01:08:14,640
Speaker 1: into it.

1461
01:08:14,720 --> 01:08:16,320
Speaker 3: I thought it was a curse in my mouth? Do

1462
01:08:16,439 --> 01:08:17,519
Speaker 3: you know this town.

1463
01:08:18,120 --> 01:08:19,360
Speaker 1: Do you know that it's in Garden State?

1464
01:08:20,080 --> 01:08:20,439
Speaker 3: It is.

1465
01:08:20,920 --> 01:08:22,920
Speaker 1: It's the song that when I say to that.

1466
01:08:23,120 --> 01:08:25,120
Speaker 3: Black people in Garden State, I've never seen garden State.

1467
01:08:26,640 --> 01:08:28,360
Speaker 1: Well when they do, like when we do, like the

1468
01:08:28,400 --> 01:08:31,160
Speaker 1: Wiz version, maybe you'll check it out? Will you be me?

1469
01:08:31,280 --> 01:08:34,120
Speaker 3: And the what are you gonna do? The Wiz version?

1470
01:08:34,200 --> 01:08:35,679
Speaker 1: Yeah, a Wiz version.

1471
01:08:35,720 --> 01:08:36,840
Speaker 2: Who's gonna play your character?

1472
01:08:36,840 --> 01:08:37,400
Speaker 3: Who's playing you?

1473
01:08:37,439 --> 01:08:38,719
Speaker 1: Are you are? Of course?

1474
01:08:38,840 --> 01:08:41,840
Speaker 3: It better be me. That's all I know. When people

1475
01:08:41,920 --> 01:08:44,519
Speaker 3: say your name, they better say my name next. That's

1476
01:08:44,520 --> 01:08:45,880
Speaker 3: all I motherfucker know that.

1477
01:08:46,000 --> 01:08:48,519
Speaker 1: You didn't know that We've already started casting the Whiz

1478
01:08:48,680 --> 01:08:52,679
Speaker 1: version of Garden Seat and you're the star. I love

1479
01:08:52,720 --> 01:08:55,599
Speaker 1: it except when you say you tell me not instead

1480
01:08:55,600 --> 01:08:57,720
Speaker 1: of new slang. When when I when Natalie, when the

1481
01:08:57,800 --> 01:09:00,880
Speaker 1: Natalie character says, you gotta hear this, It'll change your life.

1482
01:09:00,920 --> 01:09:02,479
Speaker 1: And you're in the Whiz version of you that you're in.

1483
01:09:02,560 --> 01:09:03,519
Speaker 1: What's the song gonna be?

1484
01:09:04,160 --> 01:09:08,640
Speaker 2: It goes right foot up, left foot, slide, left foot up,

1485
01:09:09,240 --> 01:09:13,240
Speaker 2: right foot, slide away, about to slide.

1486
01:09:13,840 --> 01:09:15,920
Speaker 3: We do it, slide slide.

1487
01:09:16,400 --> 01:09:18,280
Speaker 1: What is that song?

1488
01:09:19,640 --> 01:09:23,280
Speaker 3: It's just like Michael Ja Son, I can give you

1489
01:09:23,360 --> 01:09:24,960
Speaker 3: the path so.

1490
01:09:26,040 --> 01:09:28,599
Speaker 1: Aren't the lyrics like, yeah, I saw it briefly on

1491
01:09:28,640 --> 01:09:34,759
Speaker 1: somebody's video, But isn't it like lessened pretty much anything

1492
01:09:34,800 --> 01:09:36,759
Speaker 1: you're gonna do. It's like, that's right.

1493
01:09:40,960 --> 01:09:44,479
Speaker 2: Moment. And then I think we should listen. I'm not

1494
01:09:44,520 --> 01:09:47,920
Speaker 2: gonna knock the idea. I'm doing an all black Garden States.

1495
01:09:47,960 --> 01:09:50,639
Speaker 1: Listen. I will license I will license you.

1496
01:09:51,000 --> 01:09:53,360
Speaker 2: It'll be a different story. I mean, it's the same story,

1497
01:09:53,360 --> 01:09:57,160
Speaker 2: but it's a different it's a different it's a different movie. Though.

1498
01:09:57,360 --> 01:10:00,160
Speaker 1: Listen, I will give you the license. You and you

1499
01:10:00,240 --> 01:10:02,640
Speaker 1: in you and someone.

1500
01:10:02,360 --> 01:10:04,479
Speaker 2: And instead of going to method man and now, I'm

1501
01:10:04,479 --> 01:10:07,679
Speaker 2: not gonna choose you to play my fucking the character

1502
01:10:07,760 --> 01:10:14,280
Speaker 2: at the hotel, Great Jack Shepherd, Dax Shepherd, Dax Shepherd.

1503
01:10:15,439 --> 01:10:17,080
Speaker 2: I'm gonna have Ray Romano.

1504
01:10:18,240 --> 01:10:21,679
Speaker 1: So fucked up. My feelings are hurt. Hey, everybody. While

1505
01:10:21,720 --> 01:10:24,880
Speaker 1: Donald cools down and writes his Wiz musical version of

1506
01:10:24,880 --> 01:10:25,360
Speaker 1: Garden State.

1507
01:10:26,560 --> 01:10:28,120
Speaker 2: It's not a musical, it is.

1508
01:10:28,240 --> 01:10:29,320
Speaker 1: The Whiz was a musical.

1509
01:10:29,840 --> 01:10:31,040
Speaker 3: So is The Wizard of Oz.

1510
01:10:31,080 --> 01:10:31,280
Speaker 2: Though.

1511
01:10:31,680 --> 01:10:32,679
Speaker 1: Okay, stop yelling.

1512
01:10:32,920 --> 01:10:35,200
Speaker 2: I'm not yelling. I listen, I'm calm.

1513
01:10:35,200 --> 01:10:53,719
Speaker 9: Okay, Well, we'll be right now.

1514
01:10:46,240 --> 01:10:50,759
Speaker 3: And we're bad. We're bad Michael Spiller with us.

1515
01:10:51,080 --> 01:10:54,960
Speaker 1: We have director Michael Spiller. Emmy Award winning director Michael Spiller,

1516
01:10:55,200 --> 01:10:58,559
Speaker 1: who not only is a fantastic filmmaker, but also can

1517
01:10:58,600 --> 01:11:01,360
Speaker 1: throw a doorknob on a door in thirty minutes flat.

1518
01:11:01,760 --> 01:11:03,920
Speaker 1: Joel introduce us to Whitney and Dustin.

1519
01:11:04,120 --> 01:11:08,160
Speaker 7: Whitney and Dustin, Hi, guys, thanks so much for coming

1520
01:11:08,240 --> 01:11:09,200
Speaker 7: on this show.

1521
01:11:09,000 --> 01:11:09,679
Speaker 3: And for being.

1522
01:11:11,720 --> 01:11:14,920
Speaker 1: Thank you for having us a baby.

1523
01:11:15,439 --> 01:11:19,439
Speaker 8: And yes, we brought the baby along because we wanted

1524
01:11:19,479 --> 01:11:25,759
Speaker 8: to introduce you guys to Atticus Dorian. Oh, totally named

1525
01:11:25,800 --> 01:11:26,439
Speaker 8: after j D.

1526
01:11:29,439 --> 01:11:32,479
Speaker 2: I thought you were gonna say, no, Attic Historian's a

1527
01:11:32,520 --> 01:11:33,200
Speaker 2: beautiful name.

1528
01:11:33,280 --> 01:11:36,280
Speaker 1: Thank you. But he does have on his baby bear shirt.

1529
01:11:37,040 --> 01:11:39,280
Speaker 6: Oh so cute.

1530
01:11:39,840 --> 01:11:40,679
Speaker 1: He's such a cute.

1531
01:11:40,800 --> 01:11:43,880
Speaker 8: We figured since he was gonna meet Vanilla and Chocolate Bear,

1532
01:11:43,960 --> 01:11:44,760
Speaker 8: he needed to rock the.

1533
01:11:44,760 --> 01:11:45,559
Speaker 6: Baby bear shirt.

1534
01:11:45,800 --> 01:11:46,000
Speaker 1: Yeah.

1535
01:11:47,840 --> 01:11:48,400
Speaker 3: Where do you guys?

1536
01:11:49,720 --> 01:11:52,720
Speaker 8: We're from Leaton, Alabama. It's a tiny little town in

1537
01:11:52,800 --> 01:11:55,519
Speaker 8: the sort of like in the Shoals area. I don't know,

1538
01:11:55,680 --> 01:11:57,680
Speaker 8: it's probably something you've never heard of.

1539
01:11:58,240 --> 01:12:01,160
Speaker 2: I've been to Alabama, but in that area.

1540
01:12:01,520 --> 01:12:03,160
Speaker 3: I've been to Birmingham, Alabama.

1541
01:12:03,360 --> 01:12:05,200
Speaker 8: Yeah, we're a little bit north of Birmingham's.

1542
01:12:05,200 --> 01:12:08,559
Speaker 1: Okay, well, we're so glad you guys are here. And

1543
01:12:08,600 --> 01:12:11,360
Speaker 1: you were joined not only by by is it me

1544
01:12:11,400 --> 01:12:13,640
Speaker 1: and Donald, but Michael Spiller, who was one of the

1545
01:12:13,640 --> 01:12:15,920
Speaker 1: best directors of Scrubs.

1546
01:12:15,479 --> 01:12:17,240
Speaker 3: And directed several episodes of.

1547
01:12:17,280 --> 01:12:20,320
Speaker 1: Twenty twenty episodes. He directed some other shows too, but

1548
01:12:20,320 --> 01:12:21,919
Speaker 1: we don't care about them on this podcast.

1549
01:12:22,600 --> 01:12:25,920
Speaker 2: They might care though, Yeah, your show called Sex and

1550
01:12:25,960 --> 01:12:26,400
Speaker 2: the City.

1551
01:12:26,479 --> 01:12:27,599
Speaker 1: He directed a little.

1552
01:12:27,400 --> 01:12:31,040
Speaker 2: Show called Modern Family. Do you guys have a question?

1553
01:12:31,280 --> 01:12:34,599
Speaker 2: Go ahead, We had a couple Okay, let's get into it.

1554
01:12:34,600 --> 01:12:36,720
Speaker 1: It was one extras or I guess it was an

1555
01:12:36,720 --> 01:12:40,720
Speaker 1: extures a background character. It was a bond doctor. In

1556
01:12:40,800 --> 01:12:45,280
Speaker 1: the episode where Janitor got married, she was milk doctor.

1557
01:12:45,680 --> 01:12:48,840
Speaker 8: She seems to be in almost every episode.

1558
01:12:48,520 --> 01:12:51,400
Speaker 1: In the background, alike, just about every episode.

1559
01:12:50,880 --> 01:12:54,120
Speaker 8: We have, like we've noticed her and on you know,

1560
01:12:54,200 --> 01:12:56,800
Speaker 8: on these rewatches we've you know, watched over and over again,

1561
01:12:56,880 --> 01:12:58,599
Speaker 8: and every time, you know, she's in the background.

1562
01:12:58,600 --> 01:12:59,240
Speaker 3: We said, there she is.

1563
01:12:59,479 --> 01:13:00,679
Speaker 8: She's in every episode.

1564
01:13:00,800 --> 01:13:02,400
Speaker 3: What what does she look like?

1565
01:13:02,880 --> 01:13:06,400
Speaker 8: She's she's blonde. She's probably close to like you know,

1566
01:13:06,479 --> 01:13:09,640
Speaker 8: would have been like doctor Cox's age. She wasn't one

1567
01:13:09,680 --> 01:13:13,120
Speaker 8: of the younger interns or anything. But you know when

1568
01:13:13,120 --> 01:13:15,679
Speaker 8: we've looked before. You know, if you try to search

1569
01:13:15,800 --> 01:13:19,280
Speaker 8: for scrubs, milk doctor, you get a lot.

1570
01:13:19,880 --> 01:13:21,599
Speaker 3: Really it's different.

1571
01:13:21,680 --> 01:13:24,200
Speaker 1: Yeah, different, I'll bet I'll bet it probably have nothing

1572
01:13:24,200 --> 01:13:24,800
Speaker 1: to do with the show.

1573
01:13:24,960 --> 01:13:26,320
Speaker 3: They're not at all.

1574
01:13:26,600 --> 01:13:28,240
Speaker 1: Yeah, well, I will tell you this. I will tell

1575
01:13:28,240 --> 01:13:32,200
Speaker 1: you this that you know this. What we tried to

1576
01:13:32,240 --> 01:13:33,960
Speaker 1: do is have the same to have it feel like

1577
01:13:34,000 --> 01:13:36,920
Speaker 1: the same people work there. There would be the same

1578
01:13:37,120 --> 01:13:41,120
Speaker 1: group of like thirty to forty background people that would

1579
01:13:41,120 --> 01:13:44,880
Speaker 1: all sort of rotate in and out, and then each

1580
01:13:44,960 --> 01:13:47,360
Speaker 1: day there'd be some people we'd never seen before. But

1581
01:13:47,479 --> 01:13:49,200
Speaker 1: she must have been. I can't think of who it is.

1582
01:13:50,120 --> 01:13:52,320
Speaker 1: Give me a second, but maybe Joelle can do some recon.

1583
01:13:53,040 --> 01:13:54,479
Speaker 3: I think I got it. I think I got it.

1584
01:13:54,479 --> 01:13:57,519
Speaker 1: Hold up, do you remember what was the episode you grace?

1585
01:13:57,800 --> 01:14:01,200
Speaker 2: I think that's what they're talking about. Is this are yes?

1586
01:14:01,680 --> 01:14:01,960
Speaker 3: Yes?

1587
01:14:02,240 --> 01:14:04,280
Speaker 6: Yes, yes, yes?

1588
01:14:04,479 --> 01:14:09,040
Speaker 1: Arlene. Arlene was one of our regular background folks, and

1589
01:14:09,080 --> 01:14:10,760
Speaker 1: so that's why you see her all the time. She

1590
01:14:10,880 --> 01:14:12,360
Speaker 1: was probably there every day, right.

1591
01:14:12,240 --> 01:14:14,200
Speaker 3: Donald, Yeah, she was there every day.

1592
01:14:14,400 --> 01:14:19,240
Speaker 2: Her snoop dog, Uh, Mickhead. I haven't seen Mickhead yet yet.

1593
01:14:19,280 --> 01:14:21,200
Speaker 2: I guess he came a lot later, but.

1594
01:14:21,600 --> 01:14:24,880
Speaker 1: Snoop has a lot of screen time in the episode.

1595
01:14:24,400 --> 01:14:25,679
Speaker 3: That we we're talking about today.

1596
01:14:25,720 --> 01:14:28,280
Speaker 1: Yes, Spiller, you had him, you had you had Kelso

1597
01:14:28,360 --> 01:14:30,840
Speaker 1: bangs a pot right in Snoop's face in this episode.

1598
01:14:31,240 --> 01:14:34,000
Speaker 6: Yeah, and he held it perfectly, didn't even flinch. I

1599
01:14:34,000 --> 01:14:36,120
Speaker 6: can't remember if he put earplugs in or anything.

1600
01:14:36,400 --> 01:14:40,080
Speaker 2: That's crazy that you guys recognized Arlene she was. Yeah,

1601
01:14:40,120 --> 01:14:43,360
Speaker 2: she was on the show from pretty much the beginning

1602
01:14:43,360 --> 01:14:45,040
Speaker 2: all the way till the end. I don't know. I

1603
01:14:45,800 --> 01:14:47,960
Speaker 2: don't know if everybody did season nine. And you do

1604
01:14:48,080 --> 01:14:50,880
Speaker 2: refer to her when you talk to all of the

1605
01:14:50,960 --> 01:14:54,040
Speaker 2: other background I do, yeah, yeah, yeah.

1606
01:14:53,960 --> 01:14:56,439
Speaker 1: Yeah, Okay, wow, how did you find that so quickly?

1607
01:14:56,439 --> 01:14:57,960
Speaker 1: By the way, I'm very impressed with you right.

1608
01:14:57,840 --> 01:14:59,920
Speaker 2: Now because I remember her. I remember, I knew it

1609
01:15:00,000 --> 01:15:03,000
Speaker 2: exactly who they were talking about. Uh. And you know,

1610
01:15:03,080 --> 01:15:05,639
Speaker 2: Facebook is a is one of those things where everybody

1611
01:15:06,200 --> 01:15:07,120
Speaker 2: still keeps in touch.

1612
01:15:07,200 --> 01:15:08,280
Speaker 3: So once they said that, I was.

1613
01:15:08,200 --> 01:15:09,759
Speaker 1: Like, are you still using Facebook?

1614
01:15:09,960 --> 01:15:13,280
Speaker 8: You're friends with her on Facebook? Or you just need

1615
01:15:13,280 --> 01:15:14,200
Speaker 8: to look her page up?

1616
01:15:14,479 --> 01:15:16,080
Speaker 2: No, No, I'm friends with her on faceboo. I'm friends

1617
01:15:16,080 --> 01:15:18,280
Speaker 2: with everybody, friends with everybody that we worked with.

1618
01:15:18,800 --> 01:15:20,720
Speaker 1: I don't even go on Facebook anymore, but Donald, You're

1619
01:15:20,760 --> 01:15:23,320
Speaker 1: still on there, getting in getting in arguments with everybody.

1620
01:15:24,200 --> 01:15:24,280
Speaker 2: No.

1621
01:15:24,640 --> 01:15:26,320
Speaker 3: I try to stay away from all of the politically.

1622
01:15:26,400 --> 01:15:28,040
Speaker 1: That's why when I turn on and I turn on

1623
01:15:28,040 --> 01:15:30,639
Speaker 1: Facebook these days and see everyone battling each other, I'm like.

1624
01:15:30,600 --> 01:15:32,479
Speaker 2: I'm out, Yeah, good night.

1625
01:15:33,400 --> 01:15:36,479
Speaker 8: I imagine Facebook in the South and with all your

1626
01:15:36,640 --> 01:15:39,599
Speaker 8: you know, conservative friends and stuff that's on there. That's

1627
01:15:39,800 --> 01:15:40,880
Speaker 8: a whole different you know.

1628
01:15:41,640 --> 01:15:44,439
Speaker 1: I'll bet that's tricky. Yeah. I'm in LA, the most

1629
01:15:44,439 --> 01:15:46,720
Speaker 1: liberal place in the world, and I'm like, nope, I'm out.

1630
01:15:48,800 --> 01:15:50,120
Speaker 1: All right, guys, you have another question.

1631
01:15:51,120 --> 01:15:53,680
Speaker 8: Well, we were talking earlier, and you know, we were

1632
01:15:53,760 --> 01:15:55,960
Speaker 8: kind of both racking our brains, like we wanted, really

1633
01:15:56,000 --> 01:15:57,880
Speaker 8: wanted to come up with some profound, you know, like

1634
01:15:57,920 --> 01:16:00,519
Speaker 8: deep question to ask. But really, all I could think

1635
01:16:00,560 --> 01:16:03,600
Speaker 8: of to ask would be, you know, obviously Scrubs is

1636
01:16:03,600 --> 01:16:06,759
Speaker 8: one of our favorite shows, but what do you guys

1637
01:16:06,840 --> 01:16:10,200
Speaker 8: consider to be your favorite TV shows, like of all time?

1638
01:16:10,320 --> 01:16:11,160
Speaker 3: That's a great question.

1639
01:16:11,800 --> 01:16:16,880
Speaker 1: I wow, let's make Spiller start.

1640
01:16:16,920 --> 01:16:20,000
Speaker 3: Since he's yes, Spiller, you go first, direct, very.

1641
01:16:19,920 --> 01:16:22,799
Speaker 1: Very fancy director. Let's see what are his TV show's

1642
01:16:22,840 --> 01:16:25,360
Speaker 1: favorite spiller, and you can't say anything you've directed because

1643
01:16:25,360 --> 01:16:26,519
Speaker 1: we know Scrubs is number one.

1644
01:16:27,160 --> 01:16:31,400
Speaker 6: That's correct, well, slightly different genre. The Wire.

1645
01:16:31,960 --> 01:16:33,120
Speaker 1: Yeah, a lot of people.

1646
01:16:32,840 --> 01:16:36,519
Speaker 6: Say, absolutely, I've watched that all the way through twice.

1647
01:16:38,080 --> 01:16:42,240
Speaker 6: Also Narcos, I've watched that all the way through twice.

1648
01:16:42,479 --> 01:16:45,840
Speaker 1: Really, I just watched Narcos Mexico, which was really well done,

1649
01:16:45,880 --> 01:16:47,880
Speaker 1: but I didn't watch the original Narcos spiller I'm making

1650
01:16:47,880 --> 01:16:50,360
Speaker 1: I'm writing down this list, by the way, because you

1651
01:16:50,400 --> 01:16:52,800
Speaker 1: know the Wire, sure, but I haven't watched Narcos the

1652
01:16:52,800 --> 01:16:53,880
Speaker 1: first one.

1653
01:16:54,400 --> 01:17:00,559
Speaker 6: Chris, I love currently I love Ozark okay, and season

1654
01:17:00,720 --> 01:17:02,680
Speaker 6: ended what ended free? When I got through it, I

1655
01:17:02,760 --> 01:17:05,519
Speaker 6: was really really bummed out, just wanted more. He hasn't

1656
01:17:05,520 --> 01:17:09,599
Speaker 6: watched it. I won't say anything.

1657
01:17:14,080 --> 01:17:20,240
Speaker 1: Everything. No, wait, you're covering now, you're covering his his

1658
01:17:20,320 --> 01:17:23,200
Speaker 1: eyes and ears. But do you guys not watch shows together?

1659
01:17:23,280 --> 01:17:26,120
Speaker 1: Because I find if I if my girlfriend and I

1660
01:17:26,160 --> 01:17:28,720
Speaker 1: get off of sink in watching a show together, that's

1661
01:17:28,760 --> 01:17:32,439
Speaker 1: all hell breaks loose. In fact, I'm currently rewatching a

1662
01:17:32,479 --> 01:17:35,280
Speaker 1: show I've already seen because I want it dead to me,

1663
01:17:35,360 --> 01:17:38,320
Speaker 1: which is really good and we want to watch season two,

1664
01:17:38,760 --> 01:17:40,240
Speaker 1: but now in order to watch that, I have to

1665
01:17:40,280 --> 01:17:43,439
Speaker 1: rewatch all season one with her. With the newborn baby

1666
01:17:43,479 --> 01:17:46,160
Speaker 1: and her own maternity league, she watches a lot more

1667
01:17:46,200 --> 01:17:48,599
Speaker 1: TV during the day while I'm at work, so right

1668
01:17:48,680 --> 01:17:50,960
Speaker 1: sometimes I try to catch up, but I haven't had

1669
01:17:50,960 --> 01:17:52,240
Speaker 1: time to catch up on those sords.

1670
01:17:52,320 --> 01:17:54,040
Speaker 8: I really want him to go back and watch it.

1671
01:17:54,080 --> 01:17:56,080
Speaker 8: I would totally not mind going back and watching it

1672
01:17:56,120 --> 01:17:59,080
Speaker 8: again with him because it is so good. But normally, yeah,

1673
01:17:59,120 --> 01:18:01,200
Speaker 8: when we actually it's pretty good for us because we

1674
01:18:01,280 --> 01:18:04,800
Speaker 8: have a very similar taste in television shows, so it

1675
01:18:05,080 --> 01:18:05,639
Speaker 8: works out.

1676
01:18:06,400 --> 01:18:08,720
Speaker 3: So what's your TV shows that well?

1677
01:18:08,800 --> 01:18:11,840
Speaker 1: I'm gonna recommend one that that I can't believe is

1678
01:18:11,880 --> 01:18:14,479
Speaker 1: this underrated because I never heard anyone talk about it

1679
01:18:14,520 --> 01:18:19,920
Speaker 1: and it's called Patriot and it's on Amazon and there's

1680
01:18:19,960 --> 01:18:24,879
Speaker 1: a few seasons. Spiller, you ever watched that? No, it's amazing,

1681
01:18:25,320 --> 01:18:29,280
Speaker 1: You're gonna love it. Steve Conrad is the showrunner and

1682
01:18:30,800 --> 01:18:34,000
Speaker 1: really really amazingly. No, that's like the best last show

1683
01:18:34,360 --> 01:18:37,160
Speaker 1: I saw. I really really love that. What about you, Donald?

1684
01:18:37,240 --> 01:18:39,439
Speaker 3: I'm embarrassed because my shows are.

1685
01:18:41,479 --> 01:18:48,720
Speaker 2: Shows your embarrassed. So my favorite shows are shows like

1686
01:18:48,960 --> 01:18:54,680
Speaker 2: The Clone Wars and Star Wars Rebels.

1687
01:18:54,560 --> 01:18:56,040
Speaker 6: And recently The Mandalorian.

1688
01:18:56,120 --> 01:18:57,080
Speaker 3: The Mandalorian.

1689
01:18:57,160 --> 01:18:58,439
Speaker 1: Yeah, I like Mandalorian a lot.

1690
01:18:58,360 --> 01:19:01,559
Speaker 2: That that I don't know, those are those are the

1691
01:19:01,560 --> 01:19:04,800
Speaker 2: type of shows that I enjoy watching. I don't watch

1692
01:19:04,840 --> 01:19:07,840
Speaker 2: a lot of television, but when I do watch television,

1693
01:19:07,960 --> 01:19:08,680
Speaker 2: I prefer to.

1694
01:19:08,680 --> 01:19:11,520
Speaker 1: Watch Star Wars related, Wars.

1695
01:19:11,120 --> 01:19:12,800
Speaker 3: Related or documentaries.

1696
01:19:13,000 --> 01:19:15,759
Speaker 1: Do you find that now that sports isn't on, Donald,

1697
01:19:15,880 --> 01:19:17,880
Speaker 1: that you have a lot more time on your hands

1698
01:19:17,880 --> 01:19:20,080
Speaker 1: because you normally like to watch a lot of sports.

1699
01:19:20,280 --> 01:19:23,040
Speaker 2: So I've been doing a lot of animating as of

1700
01:19:23,120 --> 01:19:28,320
Speaker 2: late because sports isn't on. I'm a stop motion animator

1701
01:19:28,880 --> 01:19:33,840
Speaker 2: by hobby, and because sports isn't on and I'm not

1702
01:19:34,280 --> 01:19:37,840
Speaker 2: sitting in front of the TV at night after the

1703
01:19:37,920 --> 01:19:42,760
Speaker 2: kids go down, I find myself in my animation room animating.

1704
01:19:44,240 --> 01:19:46,880
Speaker 1: So it's making you more productive, Actually you're going But I.

1705
01:19:46,880 --> 01:19:48,880
Speaker 3: Don't know if it's productive. I mean it's a hobby.

1706
01:19:48,920 --> 01:19:51,599
Speaker 2: It's not like I'm making things that are gonna get

1707
01:19:51,760 --> 01:19:54,360
Speaker 2: put on television and are gonna be.

1708
01:19:54,479 --> 01:19:56,719
Speaker 1: Well, you never know. You could do a robot chicken

1709
01:19:56,840 --> 01:19:59,280
Speaker 1: type thing and make your own tea.

1710
01:19:59,360 --> 01:20:02,920
Speaker 2: Absolutely. We mentioned Seth Green earlier and how Spiller worked

1711
01:20:02,920 --> 01:20:05,840
Speaker 2: with Seth Green. If it wasn't for Seth Green, I

1712
01:20:05,880 --> 01:20:09,360
Speaker 2: wouldn't be animating like I was looking for an outlet

1713
01:20:09,479 --> 01:20:12,760
Speaker 2: like most actors do when they moved to Hollywood. That

1714
01:20:12,800 --> 01:20:16,760
Speaker 2: hasn't that isn't just acting. I realized I didn't want

1715
01:20:16,760 --> 01:20:19,839
Speaker 2: to be a director. No offense, Mike, and I realized,

1716
01:20:19,960 --> 01:20:23,560
Speaker 2: you know, I don't necessarily I don't. I don't necessarily

1717
01:20:23,600 --> 01:20:25,200
Speaker 2: like hanging out on set.

1718
01:20:25,320 --> 01:20:26,000
Speaker 3: All the time.

1719
01:20:26,040 --> 01:20:30,800
Speaker 2: Which directors do you know they arrived before actors and

1720
01:20:32,040 --> 01:20:34,599
Speaker 2: you know they leave after all the actors.

1721
01:20:34,600 --> 01:20:35,920
Speaker 3: I realized, Okay, that's not for me.

1722
01:20:36,240 --> 01:20:38,519
Speaker 1: Way more stressed with way less money. Makes no sense.

1723
01:20:38,640 --> 01:20:41,160
Speaker 2: Yeah, I realized, said I need something to do though,

1724
01:20:41,240 --> 01:20:45,760
Speaker 2: that's gonna fulfill my creative itch other than acting. And

1725
01:20:47,120 --> 01:20:49,559
Speaker 2: I remember doing taking a stop motion class when I

1726
01:20:49,640 --> 01:20:54,280
Speaker 2: was a kid, and my buddy Seth Green had me

1727
01:20:54,360 --> 01:20:57,080
Speaker 2: do voiceover work for this little project he was doing

1728
01:20:57,120 --> 01:21:00,519
Speaker 2: called Sweet Jay and it was stop motion animation. I

1729
01:21:00,520 --> 01:21:02,519
Speaker 2: was like, dude, I'm totally into this. I'd love to

1730
01:21:02,800 --> 01:21:06,280
Speaker 2: come and check out where you filmed this. And he

1731
01:21:06,400 --> 01:21:08,360
Speaker 2: brought me down to the studio and introduced me to

1732
01:21:08,400 --> 01:21:11,600
Speaker 2: a bunch of animators and the rest is history and

1733
01:21:11,600 --> 01:21:14,320
Speaker 2: now now I do stop motion animation as a hobby.

1734
01:21:14,320 --> 01:21:19,519
Speaker 2: Now that my television at night if there ain't no Mandalorian.

1735
01:21:19,560 --> 01:21:21,680
Speaker 3: And you're getting Star Wars and you're getting.

1736
01:21:21,479 --> 01:21:25,280
Speaker 1: Really good at it and on Instagram, yeah, I'm working

1737
01:21:25,280 --> 01:21:28,680
Speaker 1: at it. Check out Donald's instagram you can see his progress,

1738
01:21:28,880 --> 01:21:32,400
Speaker 1: or go on YouTube and watch his old lego ones

1739
01:21:32,439 --> 01:21:33,520
Speaker 1: called Black Stormtrooper.

1740
01:21:33,680 --> 01:21:35,080
Speaker 3: But yeah, but.

1741
01:21:35,040 --> 01:21:36,840
Speaker 1: I think you've gotten a lot. I think you've gotten

1742
01:21:36,880 --> 01:21:38,480
Speaker 1: a lot better since Black Stormtrooper.

1743
01:21:38,680 --> 01:21:43,839
Speaker 2: Yeah, oh yeah, absolutely, But yeah, that's that's so my favorite.

1744
01:21:43,920 --> 01:21:47,400
Speaker 2: My favorite television has always been like cartoons and stuff

1745
01:21:47,439 --> 01:21:51,040
Speaker 2: like that. I enjoy animation very much. So the Clone

1746
01:21:51,080 --> 01:21:54,160
Speaker 2: Wars Rebels. Yeah, just to bring it pull.

1747
01:21:55,400 --> 01:21:57,519
Speaker 6: I will be checking out your instagram.

1748
01:21:57,040 --> 01:21:59,880
Speaker 2: Tonald, Yes, not now after the show.

1749
01:22:00,080 --> 01:22:01,519
Speaker 6: Give me a followback though.

1750
01:22:02,560 --> 01:22:05,760
Speaker 2: I think I do follow you, Bud Damn.

1751
01:22:06,360 --> 01:22:07,679
Speaker 6: Give me a shout out or something.

1752
01:22:09,920 --> 01:22:12,120
Speaker 1: All right, Whitney and Dustin, thank you guys so much.

1753
01:22:12,160 --> 01:22:17,160
Speaker 1: Good luck with the new baby, with the beautiful We

1754
01:22:17,240 --> 01:22:20,439
Speaker 1: really appreciate you joining us. And uh and uh and

1755
01:22:20,479 --> 01:22:26,599
Speaker 1: stay safe, stay inside, stay safe. We're getting to the end.

1756
01:22:27,360 --> 01:22:29,400
Speaker 1: I just wanted to say that. Yeah, so I I

1757
01:22:29,640 --> 01:22:31,800
Speaker 1: I heard this song news slang, and then I just

1758
01:22:31,840 --> 01:22:34,240
Speaker 1: loved it so much that I years later put it

1759
01:22:34,280 --> 01:22:39,240
Speaker 1: into Garden State. And I want to credit Neil Goldman

1760
01:22:39,280 --> 01:22:41,920
Speaker 1: for being the first person to uh to introduce me

1761
01:22:41,960 --> 01:22:43,400
Speaker 1: to that song. Amazing.

1762
01:22:43,439 --> 01:22:44,839
Speaker 6: Finally he's getting this props.

1763
01:22:44,840 --> 01:22:47,559
Speaker 1: Finally, And Spiller, you, I think we're the very first

1764
01:22:47,600 --> 01:22:50,760
Speaker 1: to do a very cool crane shot out of the wind.

1765
01:22:50,960 --> 01:22:52,519
Speaker 1: That was a really cool shot you did where you

1766
01:22:52,560 --> 01:22:55,559
Speaker 1: started inside the window and then craned out. I thought

1767
01:22:55,560 --> 01:22:56,120
Speaker 1: that was clever.

1768
01:22:56,640 --> 01:22:58,639
Speaker 6: Thank your signature move of mine.

1769
01:22:58,880 --> 01:23:01,400
Speaker 1: We ended up using that bunch. But you you brought

1770
01:23:01,400 --> 01:23:03,000
Speaker 1: that to the you brought that to the table.

1771
01:23:03,680 --> 01:23:06,280
Speaker 6: Well the table, the table was ready for it.

1772
01:23:06,479 --> 01:23:07,559
Speaker 3: Well that's that's a question.

1773
01:23:07,640 --> 01:23:11,320
Speaker 2: That's a question that I that I have for you, Zach,

1774
01:23:11,400 --> 01:23:16,280
Speaker 2: because I know that you used crane shots in your stuff. Yeah,

1775
01:23:16,360 --> 01:23:18,840
Speaker 2: if Spiller's the first one to do it, that made

1776
01:23:18,840 --> 01:23:21,000
Speaker 2: it so that other directors when they came on, they

1777
01:23:21,000 --> 01:23:22,839
Speaker 2: were like, so I saw the crane shot in episode

1778
01:23:23,560 --> 01:23:24,360
Speaker 2: one thirteen.

1779
01:23:24,400 --> 01:23:25,640
Speaker 3: What are the chances that I get to use a

1780
01:23:25,640 --> 01:23:26,040
Speaker 3: crane on this?

1781
01:23:26,280 --> 01:23:26,439
Speaker 6: Yeah?

1782
01:23:26,479 --> 01:23:31,120
Speaker 1: I think you know, the crane was always UH pricey

1783
01:23:31,160 --> 01:23:34,840
Speaker 1: thing and both time. You know, obviously the rental of

1784
01:23:34,880 --> 01:23:37,439
Speaker 1: the crane, but also the labor of of sending it

1785
01:23:37,520 --> 01:23:40,600
Speaker 1: up and practicing it, rehearsing it. So you know, I

1786
01:23:40,600 --> 01:23:44,080
Speaker 1: think within an episode usually you could say hey to

1787
01:23:44,160 --> 01:23:46,439
Speaker 1: the line producer, you'd say, hey, can I get a

1788
01:23:46,520 --> 01:23:48,439
Speaker 1: I'd like to use a crane for this scene. And

1789
01:23:48,560 --> 01:23:50,000
Speaker 1: you know, I don't think it was very rare that

1790
01:23:50,040 --> 01:23:52,559
Speaker 1: they ever said no, particularly to the directors they liked.

1791
01:23:53,720 --> 01:23:56,680
Speaker 1: But yeah, I think that, you know, crane shots are

1792
01:23:56,720 --> 01:23:59,719
Speaker 1: really cool and they give the show scope and scale

1793
01:23:59,840 --> 01:24:03,280
Speaker 1: and and can be really beautiful. And in that end

1794
01:24:03,320 --> 01:24:06,679
Speaker 1: montage that that that Michael created here, which was beautifully done,

1795
01:24:07,080 --> 01:24:08,479
Speaker 1: it was sort of the beautiful. It was like the

1796
01:24:08,479 --> 01:24:10,519
Speaker 1: most perfect way to end it coming out and I

1797
01:24:10,560 --> 01:24:13,040
Speaker 1: believe you had to mount that build that crane on

1798
01:24:13,080 --> 01:24:14,600
Speaker 1: the rooftop in order to get it. There was a

1799
01:24:14,640 --> 01:24:17,360
Speaker 1: lower roof and then he came out to the window

1800
01:24:17,360 --> 01:24:19,679
Speaker 1: and then tilted up to the sky. And so yeah,

1801
01:24:19,720 --> 01:24:21,920
Speaker 1: I mean I think cranes were introduced as part of

1802
01:24:22,000 --> 01:24:24,080
Speaker 1: the sort of the language of the show.

1803
01:24:25,200 --> 01:24:28,760
Speaker 2: And then he said he said it was it was

1804
01:24:28,800 --> 01:24:29,759
Speaker 2: his signature moves.

1805
01:24:29,880 --> 01:24:32,120
Speaker 1: Well, what I was saying specifically, I was, I don't

1806
01:24:32,120 --> 01:24:34,120
Speaker 1: know this this isn't the first crane shot on the show,

1807
01:24:34,120 --> 01:24:37,160
Speaker 1: but the idea of the camera was within the was

1808
01:24:37,240 --> 01:24:39,800
Speaker 1: within the room and then came out the window and

1809
01:24:39,840 --> 01:24:41,439
Speaker 1: then went up to the sky. And I think Spiller

1810
01:24:41,520 --> 01:24:43,840
Speaker 1: was the first person to do that, and you know,

1811
01:24:43,840 --> 01:24:45,920
Speaker 1: I think we copied that many many times.

1812
01:24:46,240 --> 01:24:48,880
Speaker 3: Well, have you gone on to use that on other shows?

1813
01:24:50,360 --> 01:24:53,760
Speaker 6: Yes, I've done versions of of of that shot on

1814
01:24:53,800 --> 01:24:54,519
Speaker 6: other shows too.

1815
01:24:54,840 --> 01:24:55,840
Speaker 3: Is that what it was cool?

1816
01:24:55,920 --> 01:24:58,680
Speaker 6: He sort of like, you know, especially we didn't have

1817
01:24:58,680 --> 01:25:01,679
Speaker 6: a techno crane or anything. I don't believe, but there's

1818
01:25:01,680 --> 01:25:04,040
Speaker 6: a type of crane where you know, the arm itself

1819
01:25:04,120 --> 01:25:08,160
Speaker 6: extends from the base. Yeah, so I mean you can

1820
01:25:08,240 --> 01:25:12,519
Speaker 6: really like you know, it can actually physically be inside

1821
01:25:12,560 --> 01:25:15,479
Speaker 6: the window. I think we probably hit a zoom in

1822
01:25:15,520 --> 01:25:18,320
Speaker 6: the shot as well to sort of make it appear

1823
01:25:18,360 --> 01:25:20,040
Speaker 6: as if we were in there in a close up.

1824
01:25:20,520 --> 01:25:23,000
Speaker 6: So you can do shots that that appear to actually

1825
01:25:23,040 --> 01:25:25,439
Speaker 6: travel through the glass somehow make.

1826
01:25:25,320 --> 01:25:28,160
Speaker 1: Them and nowadays later I did a really cool shot

1827
01:25:28,160 --> 01:25:31,360
Speaker 1: in Going in style where you can camera or pull

1828
01:25:31,479 --> 01:25:35,200
Speaker 1: back through the window. And then in post now add

1829
01:25:35,240 --> 01:25:37,360
Speaker 1: we added a taxi cab door. I had the shot

1830
01:25:37,400 --> 01:25:39,519
Speaker 1: of Michael Caine where he's in the cabin and the

1831
01:25:39,880 --> 01:25:42,320
Speaker 1: camera's in the cab with him. And then and we

1832
01:25:42,400 --> 01:25:45,439
Speaker 1: took the back door off the cab, and we we

1833
01:25:45,640 --> 01:25:47,600
Speaker 1: pull out and the out of the cab and the

1834
01:25:47,640 --> 01:25:50,120
Speaker 1: cab drives off. And then and post we added the

1835
01:25:50,160 --> 01:25:54,040
Speaker 1: cab door. That looks so cool, and most people who

1836
01:25:54,080 --> 01:25:56,000
Speaker 1: aren't filmmakers wouldn't even know how hard that was to

1837
01:25:56,040 --> 01:25:57,560
Speaker 1: do exactly.

1838
01:25:58,120 --> 01:26:00,320
Speaker 6: And I think, like with any of the sort of

1839
01:26:00,320 --> 01:26:02,280
Speaker 6: bells and whistles that we pull out and the tricks

1840
01:26:02,320 --> 01:26:03,680
Speaker 6: that we use them, it's part of the fun of

1841
01:26:03,720 --> 01:26:05,400
Speaker 6: being a director, is part of the fun of telling

1842
01:26:05,400 --> 01:26:09,800
Speaker 6: the story. But sometimes, and this is often true with

1843
01:26:10,640 --> 01:26:15,320
Speaker 6: directors who are former cinematographers, you can get caught up

1844
01:26:15,400 --> 01:26:19,200
Speaker 6: and the gadgetry and the toy of it all and

1845
01:26:19,400 --> 01:26:22,840
Speaker 6: forget that you're telling the story. So it's first and foremost.

1846
01:26:23,160 --> 01:26:25,479
Speaker 6: It's like, yeah, cranes are great. All these devices are

1847
01:26:25,479 --> 01:26:28,320
Speaker 6: great if they're supporting the story, or if they're underlying

1848
01:26:28,360 --> 01:26:30,839
Speaker 6: the comedy, or they're making a dramatic moment more dramatic

1849
01:26:30,920 --> 01:26:33,120
Speaker 6: or whatever, because they do take a lot of time,

1850
01:26:33,200 --> 01:26:37,800
Speaker 6: take a lot of money, and often can be misupplied.

1851
01:26:38,040 --> 01:26:40,080
Speaker 1: Yeah, and I think The job as a director is

1852
01:26:40,120 --> 01:26:44,680
Speaker 1: to go when am I going to spend When can

1853
01:26:44,680 --> 01:26:48,240
Speaker 1: I afford to spend time and money during these five days.

1854
01:26:48,680 --> 01:26:51,479
Speaker 1: So the way I would shoot Scrubs when I directed

1855
01:26:51,479 --> 01:26:53,880
Speaker 1: it was you'd go okay in order to save time

1856
01:26:53,920 --> 01:26:56,080
Speaker 1: to do that elaborate shot I want to do. I

1857
01:26:56,200 --> 01:27:01,360
Speaker 1: need to really get through this dialogue seem quickly. Now.

1858
01:27:01,360 --> 01:27:03,680
Speaker 1: I don't want to rush it because it's important. But

1859
01:27:03,720 --> 01:27:06,320
Speaker 1: if I just shoot this one really simply, then I'm

1860
01:27:06,360 --> 01:27:09,599
Speaker 1: banking time for later. I can do that elaborate onner

1861
01:27:09,760 --> 01:27:12,600
Speaker 1: or later I can do that tricky crane shot. But

1862
01:27:12,680 --> 01:27:14,559
Speaker 1: you have to you have to pick and choose because

1863
01:27:14,560 --> 01:27:16,519
Speaker 1: you just you have to fit it into twelve hours.

1864
01:27:16,640 --> 01:27:19,080
Speaker 1: They used to let us go longer, but nowadays, I

1865
01:27:19,120 --> 01:27:20,880
Speaker 1: don't know. If you find this on your other show, Spiller,

1866
01:27:20,880 --> 01:27:23,360
Speaker 1: no one wants you to go over twelve hours.

1867
01:27:23,160 --> 01:27:27,080
Speaker 6: And frankly, I don't want to either. I mean, Scrubs

1868
01:27:27,120 --> 01:27:29,080
Speaker 6: was unique m Sex and the city was the same way.

1869
01:27:29,120 --> 01:27:32,439
Speaker 6: Our hours were really really long, but it was a

1870
01:27:32,439 --> 01:27:35,320
Speaker 6: similar energy on set, where it's like everyone just enjoyed

1871
01:27:35,360 --> 01:27:38,160
Speaker 6: each other so much. You know, you never laughed as much.

1872
01:27:39,000 --> 01:27:44,040
Speaker 6: The work was high quality and you know then no

1873
01:27:44,080 --> 01:27:46,360
Speaker 6: one was telling you to stop spending money, so you know,

1874
01:27:46,439 --> 01:27:48,280
Speaker 6: you just kept going to you you got it. But

1875
01:27:48,360 --> 01:27:51,679
Speaker 6: it's you know, frankly, it's it's unsafe. These days. I feel,

1876
01:27:51,680 --> 01:27:55,240
Speaker 6: maybe because I'm a tiny bit older that you know,

1877
01:27:55,439 --> 01:27:57,880
Speaker 6: my work doesn't tend to improve after twelve hours.

1878
01:27:58,000 --> 01:28:00,920
Speaker 1: Yeah, and everyone gets cranky and unsafe. You know, there's

1879
01:28:00,920 --> 01:28:03,920
Speaker 1: been plenty of instances of crew members who have to

1880
01:28:03,960 --> 01:28:08,800
Speaker 1: be there longer hours, whether it's teamsters or transport guys

1881
01:28:09,080 --> 01:28:12,400
Speaker 1: or or camera acs, and who've gotten in accidents or

1882
01:28:12,400 --> 01:28:16,280
Speaker 1: even died from just being in preposterous hours. So it

1883
01:28:16,400 --> 01:28:17,920
Speaker 1: is a safety thing. But we used to go I

1884
01:28:17,960 --> 01:28:20,320
Speaker 1: mean we'd have sixteen seventeen hour days on Scrubs.

1885
01:28:20,600 --> 01:28:22,400
Speaker 6: When you guys on one of the earlier shows were

1886
01:28:22,439 --> 01:28:25,719
Speaker 6: talking about like favorite cameos and all that sort of stuff,

1887
01:28:25,760 --> 01:28:27,680
Speaker 6: and like the sort of fantasy camera run.

1888
01:28:27,720 --> 01:28:28,600
Speaker 3: I got a picture of you.

1889
01:28:29,439 --> 01:28:33,320
Speaker 6: I know, there's the re one rerun one which I

1890
01:28:33,400 --> 01:28:37,479
Speaker 6: love that photo. But there's also Dick Van Dyke.

1891
01:28:38,080 --> 01:28:39,680
Speaker 3: Yeah, did you direct that episode?

1892
01:28:39,960 --> 01:28:40,240
Speaker 1: Yes?

1893
01:28:40,960 --> 01:28:43,240
Speaker 6: And I mean when you sung with him in that

1894
01:28:43,320 --> 01:28:45,120
Speaker 6: moment when we were all just hanging out. I mean,

1895
01:28:45,160 --> 01:28:47,120
Speaker 6: it's like I get choked up thinking about it.

1896
01:28:47,160 --> 01:28:48,880
Speaker 1: I mean, give us a little dollar, give us a

1897
01:28:48,920 --> 01:28:50,240
Speaker 1: little of that magic.

1898
01:28:51,840 --> 01:28:53,479
Speaker 2: Glorious day ahead.

1899
01:28:53,800 --> 01:28:57,559
Speaker 3: Right is the morning in may Hey buffee, like I

1900
01:28:57,880 --> 01:28:58,599
Speaker 3: could fly?

1901
01:28:59,280 --> 01:29:03,200
Speaker 2: Hey, have you ever seen it's not habits?

1902
01:29:03,439 --> 01:29:07,040
Speaker 3: Have you ever seen the grass so green?

1903
01:29:08,240 --> 01:29:10,639
Speaker 2: Or a blue sky?

1904
01:29:11,080 --> 01:29:13,160
Speaker 3: Okay, So that's beautiful story.

1905
01:29:13,880 --> 01:29:14,960
Speaker 1: Jolly Holiday.

1906
01:29:15,120 --> 01:29:17,240
Speaker 2: Yeah, Dick Van Dyke was on the show and I

1907
01:29:17,280 --> 01:29:20,160
Speaker 2: got to sing Jolly Holiday. Well, I didn't sing. He

1908
01:29:20,320 --> 01:29:24,040
Speaker 2: sang it, and I played the guitar while he sang it. Uh,

1909
01:29:24,120 --> 01:29:26,559
Speaker 2: there's a tape. There's there's a recording of it out

1910
01:29:26,560 --> 01:29:27,080
Speaker 2: there somewhere.

1911
01:29:27,120 --> 01:29:27,599
Speaker 3: I don't know where.

1912
01:29:27,720 --> 01:29:31,160
Speaker 6: I know I shot it. Yeah, I'm on something. But

1913
01:29:31,240 --> 01:29:34,639
Speaker 6: I was like, did phones have video cameras? Then? I mean,

1914
01:29:34,680 --> 01:29:37,160
Speaker 6: I can't remember, but I know I shot it.

1915
01:29:37,160 --> 01:29:41,639
Speaker 2: It's out there somewhere, somewhere, somewhat somehow it could be found.

1916
01:29:41,640 --> 01:29:42,479
Speaker 3: I don't know who has it.

1917
01:29:42,520 --> 01:29:46,479
Speaker 1: But yeah, yeah, well, Spiller, you've been a fantastic guest.

1918
01:29:46,880 --> 01:29:49,240
Speaker 3: This is the longest this is the longest we've ever

1919
01:29:49,280 --> 01:29:50,000
Speaker 3: had a guest on it.

1920
01:29:50,160 --> 01:29:52,080
Speaker 1: We've ever We were gonna have to cut this fucking

1921
01:29:52,160 --> 01:29:57,479
Speaker 1: way down. Wants to no, I want to be sincere

1922
01:29:57,560 --> 01:30:00,080
Speaker 1: for a second and say, not only are you a

1923
01:30:00,160 --> 01:30:02,840
Speaker 1: fantastic guy, but I, as a filmmaker, learned a lot

1924
01:30:02,880 --> 01:30:07,720
Speaker 1: from watching you, because you are talented and you not

1925
01:30:07,800 --> 01:30:11,960
Speaker 1: only direct a beautiful episode, but you're so charming and

1926
01:30:12,040 --> 01:30:15,479
Speaker 1: everybody loves you on set and you're a great leader,

1927
01:30:15,520 --> 01:30:19,000
Speaker 1: and I'm not surprised that you are successful and have

1928
01:30:19,080 --> 01:30:21,519
Speaker 1: an Emmy and uh, and I hope I get to

1929
01:30:21,520 --> 01:30:22,479
Speaker 1: work with you again soon.

1930
01:30:23,000 --> 01:30:24,759
Speaker 6: Oh, thank you, Zach. That's so kind.

1931
01:30:25,000 --> 01:30:26,840
Speaker 2: I hope I'm one of those actors that you're like,

1932
01:30:26,880 --> 01:30:32,599
Speaker 2: you know what, I got a guy. Don't worry about it. Yeah, Joy,

1933
01:30:32,840 --> 01:30:36,360
Speaker 2: I really enjoyed our time together. You know, it shows.

1934
01:30:36,520 --> 01:30:39,639
Speaker 2: It shows by how long this podcast episode was too?

1935
01:30:40,400 --> 01:30:42,600
Speaker 6: Well, hey, just just keep going because I directed the

1936
01:30:42,640 --> 01:30:45,519
Speaker 6: next episode took a two for you'll be I didn't

1937
01:30:45,520 --> 01:30:45,920
Speaker 6: watch it.

1938
01:30:45,960 --> 01:30:46,880
Speaker 2: I didn't watch it.

1939
01:30:46,920 --> 01:30:48,439
Speaker 3: I didn't watch the next episode.

1940
01:30:48,680 --> 01:30:50,200
Speaker 1: Yeah, yeah, he will.

1941
01:30:50,520 --> 01:30:53,040
Speaker 6: Well, I'm available if you every want to bring me back.

1942
01:30:52,920 --> 01:30:54,920
Speaker 1: We're gonna have you back. You've already goten a callback.

1943
01:30:55,280 --> 01:30:57,439
Speaker 1: Ladies and gentlemen, thank you so much for tuning in

1944
01:30:57,479 --> 01:31:00,120
Speaker 1: to fake Doctors, real friends. I'm your co host a

1945
01:31:00,320 --> 01:31:01,719
Speaker 1: broth with what's your name again?

1946
01:31:02,080 --> 01:31:04,760
Speaker 3: Black Scrubs, Donald Faison a k A T.

1947
01:31:04,960 --> 01:31:05,480
Speaker 6: Diggs.

1948
01:31:05,720 --> 01:31:10,479
Speaker 3: We like k A brown Bear, a k A Turk

1949
01:31:11,200 --> 01:31:15,360
Speaker 3: turkle Tip a k A Maxic.

1950
01:31:15,479 --> 01:31:21,120
Speaker 7: Ten eight stories that show we made about a bunch

1951
01:31:21,160 --> 01:31:24,960
Speaker 7: of talks and nurses in the janitor who I said,

1952
01:31:25,000 --> 01:31:28,200
Speaker 7: here's the stories, net s no.

1953
01:31:29,800 --> 01:31:33,800
Speaker 4: So Gada round you here, Gadder round you here.

1954
01:31:33,920 --> 01:31:36,040
Speaker 2: Our stuffy shows that