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Speaker 1: So I turned to Damiens echoes yeah, and I go,

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Speaker 1: did you see that who framed Roger Rabbit? He's like, yeah,

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Speaker 1: I did, And I was like, that's kind of funny, right,

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Speaker 1: because of your old thing. Roger Rabbit had fight a

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Speaker 1: bunch of weasels and Damien got bit by a weasel

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Speaker 1: on his foot and he had speaking of which I'm

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Speaker 1: kind of probably gonna sound a little off this show because,

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Speaker 1: as it turns out, and if Anger your Cody could

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Speaker 1: get a picture of this, my feats is haunted, and

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Speaker 1: my feats is actually haunted, and when.

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Speaker 2: I'll have to keep from being upset in this case,

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Speaker 2: actually is the camera supposed to be out of the

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Speaker 2: room or is that?

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Speaker 3: Wait?

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Speaker 2: Is it supposed to be in the room or out

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Speaker 2: of the room. Are we supposed to get up and

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Speaker 2: go out of the room and go get the camera?

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Speaker 2: Is it just supposed to be in the room already?

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Speaker 2: That's nice. So when.

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Speaker 1: Mebro was dressing me this morning, she got very scared.

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Speaker 2: Because now, well we should say, you have your wearing

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Speaker 2: socks with spirits on them, Yes, haunted spirits.

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Speaker 1: And these when I went to bed last night was

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Speaker 1: normal black socks. And when she put them on my feet.

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Speaker 1: Initially there was normal black socks. Oh, and then what

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Speaker 1: it's not me is that the because my feet is

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Speaker 1: haunted and has so much supernatural.

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Speaker 2: Energies, it transforms fabric transforms the sock. But what a

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Speaker 2: satisfying feeling it must be to be stomping on ghosts

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Speaker 2: and spirits all day.

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Speaker 1: Yes, and I know that they can't hurt me, but

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Speaker 1: it's still very scary to see them. And I'm going

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Speaker 1: to segregator today and we'll perform extracism on my feet

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Speaker 1: and I will stomp around in the holy water at

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Speaker 1: the church and everything's gonna be okay.

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Speaker 2: Don't worry about me. I'm going right from here to

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Speaker 2: do that. We have to move a little quickly today.

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Speaker 2: Actually we're a little off schedule.

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Speaker 4: Uh.

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Speaker 2: There was somebody recording in here before us and Jensen

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Speaker 2: carp I don't know if that's a real if that's

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Speaker 2: like a character, like a joke, right, or like if

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Speaker 2: that's a if that's a real guy. But he didn't

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Speaker 2: know that he was supposed to get out of the

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Speaker 2: studio at a certain time because nobody had told him.

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Speaker 1: Oh, well, is that his fault? I mean, does he

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Speaker 1: keep track of the entire schedule, or I mean, who

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Speaker 1: would be with him that would even him.

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Speaker 2: It seems like he would just be in charge of

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Speaker 2: would be with him that he would even know do

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Speaker 2: a good show if there was somebody in here with him,

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Speaker 2: sort of an emissary who was even recording our show.

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Speaker 1: You know what's occurring to me now is Engineer Cody

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Speaker 1: is that person. He could have said, Hey, you really

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Speaker 1: got to be out of here by the time that

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Speaker 1: the other guys need to come in, and then they

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Speaker 1: would have known, because Jensen made a comment to me

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Speaker 1: that was so interesting when he was walking out of

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Speaker 1: the studio. He said, I'm so sorry we didn't know

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Speaker 1: there was someone else coming in.

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Speaker 2: And then normally I would assume that Engineer Cody didn't

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Speaker 2: know we were here, but in this case, I actually

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Speaker 2: I think back to what actually happened during the recreate

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Speaker 2: the Yes, and just retracing my steps, I remember I

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Speaker 2: think actually seeing Engineer Cody ah yes, fleeing the studio

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Speaker 2: during jensen Cars Yes.

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Speaker 1: He left the studio four times he will do true

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Speaker 1: to form, and is when I saw him out, When

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Speaker 1: I saw him outside milling around in the kitchen, I

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Speaker 1: said oh, they must be recording a show in there

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Speaker 1: because that's where he likes to be so.

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Speaker 2: And then locking eyes with us and then disappearing back

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Speaker 2: into the studio for another fifteen to twenty minutes.

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Speaker 1: And I guess at that time I thought, maybe he's

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Speaker 1: going in to tell them that we're out here. But again,

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Speaker 1: that comment from Jensen is the thing that just sticks

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Speaker 1: with me. I can't get over it. So we have

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Speaker 1: to move, you know, So we'll be talking very fast,

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Speaker 1: So why don't you do that quickly? To exciting intro.

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Speaker 2: We've gotten Oh yes, Welcome to Hollywood Handbook and Insider's

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Speaker 2: Guide to kicking button dropping names in the red carpet

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Speaker 2: lined back hallways of this industry. We call show this

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Speaker 2: what about up today? What we're doing is we received

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Speaker 2: a number of theme song submissions we requested a few

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Speaker 2: weeks ago. The show was feeling a little.

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Speaker 3: Still.

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Speaker 2: Yes, there's something music can do. You know, it has

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Speaker 2: these effects.

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Speaker 1: Some of these segments have an internal energy to them

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Speaker 1: that's very powerful, but there's no way to transition.

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Speaker 2: You need to approach them with the right mindset. And

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Speaker 2: that's what music can do, is affect minds. And so

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Speaker 2: we want we haven't heard the songs. We thought we

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Speaker 2: would play the songs and then go through the process

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Speaker 2: of the critique and we can pass it back to

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Speaker 2: the listeners you made them and.

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Speaker 1: Yeah, maybe yes, maybe yes.

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Speaker 2: We go back and forth on this for as long as.

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Speaker 1: It takes, and that's the process.

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Speaker 2: Pass notes, past notes, the ugly business of the critique.

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Speaker 2: So it doesn't have to be ugly. It no end results,

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Speaker 2: I hope.

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Speaker 1: I'm pleasantly surprised by some really good music. But from

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Speaker 1: what I've heard and music, actually, if anybody knows anything

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Speaker 1: about brain science and musical science, is that it's lighting

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Speaker 1: up pieces of your brain, and so you want to

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Speaker 1: light up the right pieces. And I think the parts

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Speaker 1: that they were lighting up a lot for me, and

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Speaker 1: the ones that I heard is the parts that say, hmm,

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Speaker 1: soem very good, but you want to light up the

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Speaker 1: other side.

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Speaker 2: This first song is that this first theme is for

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Speaker 2: the teaser Freezer. It's from Matt Bogden. Now I think

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Speaker 2: that's how pronounce it. He is a drummer, he's a

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Speaker 2: professional drummer, and so I don't know if this is all,

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Speaker 2: if this is gonna be just a drum thing that

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Speaker 2: doesn't sound like that would be very good to me.

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Speaker 2: But we'll listen to it and we'll see if maybe

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Speaker 2: he experimental with some other stuff.

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Speaker 5: It's so cold, it's so cold in the stezer freezer.

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Speaker 1: It's so cold.

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Speaker 3: It's so fucking cold.

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Speaker 2: In the pezer freezzer. Two notes right off the bat.

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Speaker 2: It sounds like maybe the crypt keeper is is speaking

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Speaker 2: in the very beginning, somebody with scary voice and who is.

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Speaker 1: Maybe scared themselves. But that's no reason to drag me

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Speaker 1: into this.

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Speaker 2: I would just say keep the keep the criptkeeper away

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Speaker 2: from as far away from this process as possible.

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Speaker 1: Here's a great way to look at how do I

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Speaker 1: make a good song for what this is? What is

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Speaker 1: the teaser freezer? And for me, I would say, it's educational,

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Speaker 1: it's laughs, it's funniness. It's great. It's fun, it's fast,

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Speaker 1: it's funny, it has good parts. It has good parts.

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Speaker 1: It's good. We love it.

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Speaker 2: It's smart. It's smart.

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Speaker 1: It's for thinking, it's for learning, and it's for having

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Speaker 1: fun with your friends laughing.

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Speaker 2: It's nice. Did you say it's nice?

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Speaker 1: It's nice, it's cool. And you did touch on that

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Speaker 1: a little bit with how cold it is in the freezer,

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Speaker 1: so you were in the neighborhood of that element. But

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Speaker 1: that's only one of the things I said, And a

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Speaker 1: lot of what the other stuff I said was about

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Speaker 1: how it is nice and it's cool and it's funny

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Speaker 1: and it's smart. So you want your song to have

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Speaker 1: those same elements.

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Speaker 2: Uh, no, cussing is my other note. I could do

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Speaker 2: without the language. Yes, limits the the distribution of the

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Speaker 2: song significantly.

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Speaker 1: Always think could Sean play this for his daughter who's

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Speaker 1: only ten days old and not be worried that maybe

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Speaker 1: her first word is going to be like something like

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Speaker 1: an F word, which, by the way, you can get

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Speaker 1: arrested for if your kid is saying that.

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Speaker 2: And I also would say I expected some drums and

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Speaker 2: a nice little drum line at the beginning, like from

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Speaker 2: the movie or like a big marching band or something

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Speaker 2: like that would have been nice, just to like some

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Speaker 2: of the little extra fanfare instead of all the sort

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Speaker 2: of ethereal spookiness.

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Speaker 1: Well, if you saw Birdman, they're playing drums in that.

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Speaker 6: Mm hm.

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Speaker 2: So let's move on. So Matt, can you know.

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Speaker 1: Ba back to the drawing board and try to make

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Speaker 1: it go over the notes?

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Speaker 2: And yeah, and.

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Speaker 1: Make the next pass a little more what we're describing,

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Speaker 1: where you really have a feel for what the segment

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Speaker 1: will be.

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Speaker 2: This one is from I believe he's Charlie Murphy Brown

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Speaker 2: on the forums. He's created a good popcorn gallery theme

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Speaker 2: for us in the fast in the past one where

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Speaker 2: it talks about popcorn chicken and popcorn shrimp. And this

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Speaker 2: is one for gmail Roulette, our famous segment.

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Speaker 7: Munch pay your rat Yo GMAILO Roulette twenty on black

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Speaker 7: twenty seven, No Red, Big.

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Speaker 2: Spin, Big Spin money, Yena.

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Speaker 6: Must win, won't stop chatting talking Gmail coulettech to g

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Speaker 6: MAO Roulette, GAO Roulette.

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Speaker 1: Okay, okay, let me say, can I go m hm?

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Speaker 1: You want to think about what the actual Gmail Roulette

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Speaker 1: segment is, which is its I think we're very vulnerable

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Speaker 1: in it. It's very revealing, it's very smart, and we're

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Speaker 1: laughing a lot, so funny. Smartness would really set the

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Speaker 1: listener up for what they're going here, as well as

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Speaker 1: a little more vulnerability, which I think he touched on

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Speaker 1: slightly because he is hoping that the wheel lands somewhere

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Speaker 1: that helps him, which I think that too. But when

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Speaker 1: he says does he say gmail crew let.

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Speaker 2: Or at some point he does. I believe he says koolett.

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Speaker 1: Okay, that's when he loses me for good.

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Speaker 2: Just from a composition perspective, just thinking about how it's

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Speaker 2: put together, I want you to think about, Charlie. I

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Speaker 2: want you to think about fifths. You know, fifths are

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Speaker 2: sort of that's the sort of central vibration of a

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Speaker 2: lot of the music you hear, like, help me, Ronda,

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Speaker 2: it's the loop of fifths.

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Speaker 1: Yes, help me Ronda to come on like it's it's fifths.

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Speaker 1: It's them bu bu bu, like the uh wait till

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Speaker 1: I get my money right? Yes, So yes, that's sort

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Speaker 1: of what's going on with it. And one thing is

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Speaker 1: just an easy thing to remember about fifths. So if

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Speaker 1: you're looking at piano, see scale, that's all white notes,

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Speaker 1: and if you go up one, you're gonna add one

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Speaker 1: black note. That's one sharp. If you go up another one,

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Speaker 1: you're gonna have two sharp scent it's always gonna be

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Speaker 1: the same basic and if you go down you're gonna

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Speaker 1: add a flat. And so what you want to do

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Speaker 1: is do the fifths right mm hm.

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Speaker 2: And I will say he does the which is sort

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Speaker 2: of a fifty cent thing, and if he were ever

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Speaker 2: to hear that, he would be very upset. And he's

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Speaker 2: a very he's one of the toughest people in the world.

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Speaker 1: Yes, and he's one of the he's one of actually

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Speaker 1: only six people in Hollywood that I don't want to

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Speaker 1: get punched me.

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Speaker 2: You would never want to mess with him. And he's

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Speaker 2: basically unkillable. And he's wearing a bulletproof vest almost all

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Speaker 2: the time, so please take that out. He would just

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Speaker 2: be so mad.

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Speaker 1: If it was ever associated with us. I don't I

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Speaker 1: shudder to think. First of all, I have to shoot

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Speaker 1: at his head because he's got that vesta.

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Speaker 2: But he has the metal teeth. It just goes ping ping.

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Speaker 1: Oh. Yes, no, he'd been shotting the face before.

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Speaker 2: This is a this is a new Gmail roulette theme

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Speaker 2: and this is from dorky but cool.

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Speaker 5: Rolemail Roulette.

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Speaker 1: Okay, well, let's take a step back from this m

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Speaker 1: HM and just ask yourself a simple question, how do

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Speaker 1: I fuel when Gmail Roulette's happening.

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Speaker 2: Yes, that's a that's a great all purpose note for

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Speaker 2: all these people, which is yes, uh, there's this. There's

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Speaker 2: a feeling of anticipation when it's coming on eagerness, mind openness,

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Speaker 2: and then as you're experiencing it, happy niceness.

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Speaker 1: If you think about a song like Sloop John b

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Speaker 1: m hm, what they're using is they're using fifths, and

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Speaker 1: that's allowing the music to sound very because.

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Speaker 2: Yes, think about that song, how it goes like the

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Speaker 2: but D deep right, the e d.

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Speaker 5: Right right?

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Speaker 1: And so just play that get my money here right,

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Speaker 1: you know, like they're all it's all building to that.

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Speaker 1: This the gmail roulette that got screamed almost seemed like

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Speaker 1: an afterthought to the music.

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Speaker 2: You're played, and it sounded like it was somebody on

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Speaker 2: the phone. And I do not like the idea of

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Speaker 2: answering the phone and hearing a loud screamy.

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Speaker 1: Well, I just hate all this. We're all staring at

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Speaker 1: a glowing rectangle all day.

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Speaker 2: Here are we'll do? These are three themes from Think

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Speaker 2: of the Children. The first one is for That's really interesting,

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Speaker 2: really interesting, really interesting.

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Speaker 4: It's weal, we really intrus It's really.

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Speaker 2: It's really interesting, really interesting.

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Speaker 4: What really will the span?

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Speaker 2: And I feel sarcastic it does. That's not music to

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Speaker 2: me is my biggest criticism of it. I like the

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Speaker 2: theme to be.

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Speaker 1: It's a mood and I'm afraid that this person's on drugs,

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Speaker 1: and I you know, and I don't mean to accuse

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Speaker 1: some of that. And we've all experimented. I know that

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Speaker 1: Hayes took a hit off a joint when he was

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Speaker 1: hanging out with Lynyrd Skinnard, who actually do use.

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Speaker 2: Fits mm hmm. Skinnerd is a great guy to go

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Speaker 2: back and listen to and think about the idea of

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Speaker 2: this and how he does the and he just hits a.

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Speaker 1: Then you can't tell me nothing right.

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Speaker 2: On his main song.

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Speaker 4: Just go back.

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Speaker 2: It should be music. Uh, but we did do hash.

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Speaker 2: Let's uh, let's listen to his teaser freezer theme.

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Speaker 1: So you want so, I want to ask a question

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Speaker 1: And it's similar to questions I've asked before, but it's

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Speaker 1: different too. When we are doing a teaser freezer and

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Speaker 1: you're hearing that are we robots? If no, then the

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Speaker 1: song shouldn't be a robot bullying me.

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Speaker 2: It's it's a it's a confusion. I think of the

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Speaker 2: freezer being machinery and like living machinery is robots.

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Speaker 1: Yes, that's a that's a past, but if you've been

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Speaker 1: in the freezer actually is not a robot and.

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Speaker 2: Here's a here's his Gmail roulette theme. This is think

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Speaker 2: of the children.

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Speaker 4: Working normal in your notes, road combat cool ways, the

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Speaker 4: singers or heisen Sean Regeren mouse steam mile rule. Let's

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Speaker 4: to get ready to hear an e mail from the celebrity,

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Speaker 4: it's gene maul u s a. Get ready to hear

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Speaker 4: a mean mouth from the celet retty, it's gene mile rule.

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Speaker 4: Let's to get ready to hear a mean mile from

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Speaker 4: the celet.

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Speaker 6: Thritties get help.

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Speaker 2: The lyric. I will say the lyrics. It sets you

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Speaker 2: up for exactly the right thing, which is hearing an

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Speaker 2: email from sometimes a celebrity.

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Speaker 4: Uh.

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Speaker 2: The voice is horrific. And I wish you would just

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Speaker 2: get a nice scale where like get someone like a

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Speaker 2: Karen Carpenter type to sing a nice should be a

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Speaker 2: nice song.

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Speaker 1: Yes, And if you think about songs like uh love

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Speaker 1: fool by the Cardigans, m hm. What they're using is

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Speaker 1: a pretty simple formula and it just follows fifths. And

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Speaker 1: in order to do that, all they did was they

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Speaker 1: sat up a piano. They said, well, these girls all

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Speaker 1: white kids.

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Speaker 2: You go up one.

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Speaker 1: You have one black key that's so sharp, you go

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Speaker 1: up one more and you know, and then that that

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Speaker 1: scale becomes So if you're an e scale, you know

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Speaker 1: to you know, and you can tell. You can tell

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Speaker 1: because of the way it sound good when you do

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Speaker 1: it right. So, uh, we got a very special episode.

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Speaker 2: Yeah, so this is our first writer's Anne, and we

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Speaker 2: have some very skilled and experienced writers and they're gonna

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Speaker 2: come and they're going to teach you some of the

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Speaker 2: secrets of the writer's room that I actually have never

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Speaker 2: been heard before, and that's coming right up on Hollywood Handbook.

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Speaker 2: So I'm with s the paythan Murgerson. At her housewarming,

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Speaker 2: she has kind of like a New Spanish craftman, kind

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Speaker 2: of on sweeter. Yeah, and it's getting kind of late,

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Speaker 2: and so I say, I got head out and she's like, no,

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Speaker 2: you're not going anywhere, and I'm like, what, it's late,

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Speaker 2: I have to leave. And her eyes start kind of

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Speaker 2: like glowing red and then I hear like time's up.

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Speaker 2: And I was in an Oculus rift and you forget

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Speaker 2: when you're in it, you actually it's it's so immersive

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Speaker 2: you don't know that it's actually a virtual experience.

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Speaker 1: Yes, And well that's why I won't put anything in

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Speaker 1: front of my eyes MM, because I'm so scared of

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Speaker 1: getting tricked.

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Speaker 2: Welcome back to Hollywood Handbook. This is actually a really

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Speaker 2: exciting episode for us. This is the first time we've

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Speaker 2: ever done uh, what's what we what we want to

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Speaker 2: call the writer's panel and what it is? The writer's

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Speaker 2: room is something that so far has always been really

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Speaker 2: shrouded in mystery. It's not it's not something that people

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Speaker 2: really talk about.

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Speaker 1: No one has ever tried to take a look inside

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Speaker 1: the writer's room. It just sort of exists in this

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Speaker 1: kind of dark cave somewhere and you see people.

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Speaker 2: They go into the room and they come out with

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Speaker 2: a funny TV show or a scary TV show.

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Speaker 1: Or an idea for one and the actors do a

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Speaker 1: lot of it.

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Speaker 2: And and but then what's that? What is that magical

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Speaker 2: process that happens in between HM and lots of people

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Speaker 2: don't like to talk about it. But today we have

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Speaker 2: we have three great guests who who are going to

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Speaker 2: tell some stories and maybe a few secrets and maybe

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Speaker 2: help you get in the room yourself.

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Speaker 1: A little like and we're a little like the mask

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Speaker 1: magician who revet some of the tricks, aren't we all

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Speaker 1: a little like mass magicians.

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Speaker 2: Gentlemen, Well, let's let's introduce everyone, starting from my left.

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Speaker 2: Dave King, Hey, you know him from Frank TV, Last

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Speaker 2: Call with Carson Daily. Okay, parts of Recreation.

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Speaker 6: Yeah yeah, and Shipmates.

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Speaker 2: Tell us about Shipmates briefly.

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Speaker 7: Briefly, Shipmates was a it's a reality television show where

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Speaker 7: they put too it was like blind date on a

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Speaker 7: cruise ship, and I would write the funny thoughts, no secret,

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Speaker 7: that was a misconception. That was more blind dates thing.

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Speaker 7: We did, just kind of funny icons and lower thirds

365
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Speaker 7: we'd call him and I would just kind of hackaway

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Speaker 7: at those, and.

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Speaker 3: Is this like a.

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Speaker 1: Stink lines or something. I'm just trying to picture an example.

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Speaker 7: It wasn't that bass, you know, we were a little

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Speaker 7: more eye brother than that. I'd like to think it

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Speaker 7: wasn't that far from that either, you know. It would

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Speaker 7: we'd like to give the people on the dates a

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Speaker 7: little character, like we'd say, this guy is a computer nerd,

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Speaker 7: and then we'd play with that sort of motif of

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Speaker 7: like we'd give him a computer graphic and you KNOWDNK

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Speaker 7: pink kind of like little sunny, funny sound effects and

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Speaker 7: that kind of thing.

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Speaker 2: M M, yes, continuing around the table. Just skip over

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Speaker 2: Sean to Steve Healey, Hey I got skipped.

380
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Speaker 1: No, it's okay, Steve is here.

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Speaker 6: Hi guys, thanks for having me, Steve boy. What a

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Speaker 6: list of credits? Animal Practice?

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Speaker 3: My name is?

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Speaker 2: What my name is?

385
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Speaker 5: Earl?

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Speaker 6: I wasn't on that show, but you see me. I

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Speaker 6: watched it for a minute, right, I've watched it.

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Speaker 2: Didn't you do a cup of coffee on there?

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Speaker 8: Well?

390
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Speaker 6: I told I would often give Volley each under sacre

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Speaker 6: and a lot of his ideas. He would come to me,

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Speaker 6: you know, I have to pitch a story tomorrow. Help

393
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Speaker 6: me what happens.

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Speaker 2: I'd be like, okay, it's oh god, I'm sorry. This

395
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Speaker 2: is what has happened thing for me.

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Speaker 6: They may have given me a credit for that.

397
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Speaker 2: I don't know. So you were on thirty Rock, thirty

398
00:22:05,440 --> 00:22:08,880
Speaker 2: Rocks and the Office Office, American.

399
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Speaker 6: Dad Dad, Last Call. We worked at Last Call, and.

400
00:22:12,720 --> 00:22:14,280
Speaker 2: I know we're gonna hear some stories about that.

401
00:22:14,320 --> 00:22:20,240
Speaker 1: I'm what do you do with the Carson Daily? I mean,

402
00:22:20,720 --> 00:22:22,560
Speaker 1: it's so much of it seems like you just wind

403
00:22:22,640 --> 00:22:25,160
Speaker 1: him up and watch him go. Are you giving him

404
00:22:26,000 --> 00:22:30,119
Speaker 1: areas to play in or are you literally just trying

405
00:22:30,200 --> 00:22:32,960
Speaker 1: to put It's almost like, are you penning him in?

406
00:22:33,160 --> 00:22:35,159
Speaker 2: I would imagine you'd have to build fences for him.

407
00:22:35,240 --> 00:22:36,280
Speaker 1: Yes, that's exactly, yes.

408
00:22:36,320 --> 00:22:38,520
Speaker 6: Building the sandbox, that's how I thought of it.

409
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Speaker 2: Mm hmm, and sort of dust busting it up afterwards. Yeah,

410
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Speaker 2: there's a lot of that ending up the hurricane.

411
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Speaker 1: Well, he's such a whirling dervish of comedy, that.

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Speaker 2: Tas type.

413
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Speaker 1: Yes, yes, it's like the Tasmanian Devil cartoon. Have you

414
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Speaker 1: seen this.

415
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Speaker 6: Most of my writing was for Dave King, who was

416
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Speaker 6: one of the He was sort of the uncredited star

417
00:23:00,359 --> 00:23:02,800
Speaker 6: of the show. He would play I remember he played

418
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Speaker 6: the Hamburgler, he played Jesus Christ, Easter Bunny, Late Night Table.

419
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Speaker 6: It was kind of your show of shows of our

420
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Speaker 6: for our two point zero and what's that? It was

421
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Speaker 6: Sid Caesar had this show and all the great writers

422
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Speaker 6: were on it, like Ernest Hemingway and Woody Allen and

423
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Speaker 6: Neil Simon and I don't know, Family Boitz or somebody

424
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Speaker 6: Kurt Vonnegut.

425
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Speaker 2: Oh, well, let's I guess we have Jeff just keep

426
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Speaker 2: moving on.

427
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Speaker 6: And Jeff Chaucer did a cup of coffee on your show.

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Speaker 1: Someone's getting impatient David. Let's talk to Kenny.

429
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Speaker 2: It's my time Kevin met this year.

430
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Speaker 3: What's up?

431
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Speaker 2: Desperate Housewives and now work of Hollics where you spent

432
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Speaker 2: some time with Sean.

433
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Speaker 3: Yeah, kind of an mentor position.

434
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Speaker 1: Oh I thought you looked familiar.

435
00:24:08,119 --> 00:24:11,520
Speaker 2: Tom Cavanaugh, what's the deal there? Just a quick the best?

436
00:24:12,119 --> 00:24:13,560
Speaker 6: Yeah, the best?

437
00:24:14,440 --> 00:24:18,159
Speaker 9: Is he like you've seen love Monkey? Yes, yes, I

438
00:24:18,240 --> 00:24:20,600
Speaker 9: mean cut short way before it's time.

439
00:24:20,760 --> 00:24:21,160
Speaker 2: Mm hmm.

440
00:24:22,160 --> 00:24:23,960
Speaker 3: But he's the same kind of a Carson.

441
00:24:23,760 --> 00:24:26,520
Speaker 9: Daily figure where you just wind him up, let him go,

442
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Speaker 9: see what happens.

443
00:24:28,800 --> 00:24:31,040
Speaker 3: You're just throwing stuff at him. He's going.

444
00:24:31,920 --> 00:24:34,440
Speaker 2: I never was on set with the editing. Must be difficult.

445
00:24:35,520 --> 00:24:41,000
Speaker 9: The editing was just seeing which hilarious rift do I

446
00:24:41,119 --> 00:24:41,960
Speaker 9: want from Tom?

447
00:24:42,080 --> 00:24:44,240
Speaker 2: And how long can we possibly let this go? We

448
00:24:44,320 --> 00:24:46,000
Speaker 2: have to have commercials for the show.

449
00:24:47,160 --> 00:24:49,280
Speaker 3: That's where the show is made. You know he wrote

450
00:24:49,320 --> 00:24:50,160
Speaker 3: it in the edit bay.

451
00:24:50,160 --> 00:24:55,520
Speaker 2: Absolutely, So let's we talk about well story monsters and

452
00:24:55,680 --> 00:24:58,680
Speaker 2: joke beasts and how everyone has sort of a different

453
00:24:59,400 --> 00:25:03,200
Speaker 2: persona that they're coming in with and in a writer's room,

454
00:25:03,200 --> 00:25:05,560
Speaker 2: you're all sort of characters yourself, just like their characters

455
00:25:05,600 --> 00:25:09,640
Speaker 2: on the show. What would you each consider your role

456
00:25:09,840 --> 00:25:12,320
Speaker 2: to be in your writer's room.

457
00:25:12,560 --> 00:25:15,160
Speaker 1: And I'll put it a different way. What's your superpower?

458
00:25:16,680 --> 00:25:17,160
Speaker 6: That's clever?

459
00:25:18,760 --> 00:25:23,600
Speaker 7: You want me to start, Dave King, I like to

460
00:25:26,040 --> 00:25:29,080
Speaker 7: you know, it feels almost selfish or arrogant to say

461
00:25:29,119 --> 00:25:32,520
Speaker 7: that I'm a story beast, but frankly, I don't have

462
00:25:32,640 --> 00:25:36,040
Speaker 7: time for joke monsters, and I just feel like or

463
00:25:36,119 --> 00:25:38,800
Speaker 7: story call it whatever you want, story monster, joke beast.

464
00:25:39,000 --> 00:25:40,520
Speaker 7: I don't care what the words are. You're either a

465
00:25:40,560 --> 00:25:43,920
Speaker 7: story guy or a joke guy. And to me, the

466
00:25:44,200 --> 00:25:45,800
Speaker 7: show is the story. The story is the.

467
00:25:45,800 --> 00:25:46,560
Speaker 3: Show, and the joke.

468
00:25:46,600 --> 00:25:48,320
Speaker 7: Anyone can write the jokes. And if you don't have

469
00:25:48,440 --> 00:25:50,440
Speaker 7: the story, if you don't have the balls to write

470
00:25:50,440 --> 00:25:53,720
Speaker 7: a story, if you don't have the goods, then frankly,

471
00:25:53,760 --> 00:25:54,720
Speaker 7: what the hell you doing there?

472
00:25:54,880 --> 00:25:59,440
Speaker 1: So cowards and pussies that won't write a story.

473
00:25:59,560 --> 00:26:01,600
Speaker 7: Isn't that I don't want to call them out out.

474
00:26:01,640 --> 00:26:03,399
Speaker 7: This isn't about I don't want to make the other

475
00:26:03,520 --> 00:26:07,240
Speaker 7: side look bad. I'm just saying, quite frankly, either tell

476
00:26:07,280 --> 00:26:08,920
Speaker 7: the story or get the fuck out of the kitchen.

477
00:26:09,000 --> 00:26:10,440
Speaker 7: Pardon my French, it is.

478
00:26:11,080 --> 00:26:14,200
Speaker 2: It does take a certain masculinity though, to sort of

479
00:26:14,920 --> 00:26:18,800
Speaker 2: like to hew a story out of just a handsome oak.

480
00:26:19,200 --> 00:26:20,600
Speaker 7: Yeah, you can't be you know what it is. You

481
00:26:20,680 --> 00:26:24,399
Speaker 7: can't be afraid, you know, you can't be afraid, and

482
00:26:24,480 --> 00:26:27,520
Speaker 7: you can't be uh, you can't be shy. And if

483
00:26:27,560 --> 00:26:30,160
Speaker 7: that's uh, if we want to call that a y chromosome,

484
00:26:30,520 --> 00:26:32,920
Speaker 7: go ahead. You know I'm not the first to say it.

485
00:26:33,080 --> 00:26:35,480
Speaker 1: And when you bring up masculine energy, I think we

486
00:26:35,560 --> 00:26:39,320
Speaker 1: should point out that we're doing a writer's panel and

487
00:26:39,440 --> 00:26:46,280
Speaker 1: it is mostly mostly white men, and I won't be

488
00:26:46,359 --> 00:26:51,040
Speaker 1: surprised when we catch shit for that, right.

489
00:26:51,840 --> 00:26:53,840
Speaker 2: But should we talk about it? Why didn't Why didn't

490
00:26:53,840 --> 00:26:56,720
Speaker 2: any women sort of earn their way under this panel? Yeah, yes,

491
00:26:56,960 --> 00:26:58,080
Speaker 2: it is an interesting question.

492
00:26:58,960 --> 00:27:04,440
Speaker 1: Yes, if I had to just take a wild guess,

493
00:27:05,400 --> 00:27:08,000
Speaker 1: and it's and this is literally I'm not a scientist.

494
00:27:08,080 --> 00:27:11,159
Speaker 1: I don't know anything, but I would assume that it

495
00:27:11,200 --> 00:27:16,560
Speaker 1: would be something to do with periods, and that's not

496
00:27:16,840 --> 00:27:19,120
Speaker 1: and this is not to make any judgment. And look,

497
00:27:20,400 --> 00:27:22,480
Speaker 1: I happen to be fortunate. I don't have to have

498
00:27:22,600 --> 00:27:23,360
Speaker 1: my period.

499
00:27:23,080 --> 00:27:25,879
Speaker 6: All the time, But how often do you have it?

500
00:27:26,640 --> 00:27:32,520
Speaker 1: Okay, hit me with a joke.

501
00:27:32,920 --> 00:27:36,399
Speaker 6: I'm allowed to have some fun. What can I say, Steve,

502
00:27:36,600 --> 00:27:39,440
Speaker 6: is there a difference between a joke monster and a

503
00:27:39,600 --> 00:27:39,960
Speaker 6: sort of.

504
00:27:42,359 --> 00:27:43,120
Speaker 2: Bit machine?

505
00:27:43,720 --> 00:27:44,680
Speaker 1: Are we is this?

506
00:27:44,800 --> 00:27:47,560
Speaker 6: Are we just going to talk about television? Because actually

507
00:27:47,640 --> 00:27:51,399
Speaker 6: I'm a I'm a writer writer. TV is like my

508
00:27:51,520 --> 00:27:55,520
Speaker 6: dad job. These guys are just they're just TV guys.

509
00:27:56,640 --> 00:27:57,240
Speaker 6: But I've written.

510
00:27:58,320 --> 00:28:00,360
Speaker 2: And isn't that sort of what you what you bring

511
00:28:00,560 --> 00:28:02,280
Speaker 2: to a TV writer's room?

512
00:28:02,400 --> 00:28:02,600
Speaker 4: Though?

513
00:28:03,240 --> 00:28:05,840
Speaker 2: Yeah, your your handle of pros?

514
00:28:06,040 --> 00:28:07,760
Speaker 6: Well, actually, I mean I think what I bring is

515
00:28:07,800 --> 00:28:10,240
Speaker 6: like I'm there in the room and the other writers

516
00:28:11,240 --> 00:28:14,080
Speaker 6: feel shame, as they should because they're like, here's a

517
00:28:14,160 --> 00:28:17,560
Speaker 6: real writer. Yeah, so they're stepping up their game to

518
00:28:17,640 --> 00:28:20,119
Speaker 6: be like, hey, am I. It's a great motivator. How

519
00:28:20,160 --> 00:28:22,320
Speaker 6: do I get to this guy's level? How do I

520
00:28:22,680 --> 00:28:25,800
Speaker 6: please him? I'm like a disapproving dad in the room,

521
00:28:26,640 --> 00:28:28,960
Speaker 6: and I bring that energy and it makes everyone turn

522
00:28:29,040 --> 00:28:30,320
Speaker 6: it up a bit. I mean, I think that's why

523
00:28:30,440 --> 00:28:33,080
Speaker 6: shows keep hiring me and hiring me and hiring.

524
00:28:32,880 --> 00:28:35,960
Speaker 1: Me daddy, just for the audience. What are some of

525
00:28:36,000 --> 00:28:37,920
Speaker 1: the things you've written that is real things?

526
00:28:38,360 --> 00:28:40,200
Speaker 6: Well, I wrote a book called How I Became a

527
00:28:40,280 --> 00:28:44,520
Speaker 6: Famous Novelist. It won the James Thurper Price Listeners fellow know.

528
00:28:44,560 --> 00:28:47,280
Speaker 2: That that's the guy who drew about dogs.

529
00:28:48,120 --> 00:28:51,360
Speaker 6: Yeah, he's one of the greatest American humorists of all time.

530
00:28:51,760 --> 00:28:53,960
Speaker 6: People are very funny. If you want to laugh, turn

531
00:28:54,000 --> 00:28:56,000
Speaker 6: off your TV. Get out of a book.

532
00:28:56,480 --> 00:28:58,800
Speaker 2: Some of the most hilarious, flappy eared dogs you'll ever

533
00:28:58,880 --> 00:28:59,600
Speaker 2: see in your life.

534
00:29:00,040 --> 00:29:02,600
Speaker 7: As you that, you know what, As far as I'm concerned,

535
00:29:02,720 --> 00:29:06,080
Speaker 7: him and Billy Wegman are two greatest American humorists.

536
00:29:06,600 --> 00:29:09,200
Speaker 6: If you want to laugh, pick up. I say that

537
00:29:09,920 --> 00:29:12,600
Speaker 6: at least once a day. Yeah, to someone who's like depressed,

538
00:29:12,680 --> 00:29:14,440
Speaker 6: or they're sick, or they got bad news.

539
00:29:15,280 --> 00:29:20,200
Speaker 2: And so you would call yourself sort of a book machine.

540
00:29:20,520 --> 00:29:21,640
Speaker 6: I'd call myself a writer.

541
00:29:21,720 --> 00:29:22,120
Speaker 3: I don't know what.

542
00:29:22,280 --> 00:29:29,720
Speaker 6: Dave and Kevin script guy script TV around your screenwriters.

543
00:29:29,960 --> 00:29:31,880
Speaker 2: Yes, Kevin, what would you call yourself? There's a word

544
00:29:31,960 --> 00:29:32,880
Speaker 2: for you? Is there.

545
00:29:34,320 --> 00:29:34,760
Speaker 3: A doula?

546
00:29:37,040 --> 00:29:40,120
Speaker 9: Please expand on that for me, because I just I

547
00:29:40,400 --> 00:29:45,360
Speaker 9: am a I'm giving birth two ideas. I'm a vessel

548
00:29:45,800 --> 00:29:50,640
Speaker 9: through which, you know, stories, jokes, they appear, they come out.

549
00:29:51,640 --> 00:29:54,280
Speaker 9: I'm just I'm you know, they're not. It's not me

550
00:29:54,520 --> 00:29:55,080
Speaker 9: thinking of them.

551
00:29:55,400 --> 00:29:59,160
Speaker 1: Well, in there is out, The idea is in there.

552
00:29:59,400 --> 00:30:01,960
Speaker 1: Just dating it is but who's going to coax it?

553
00:30:02,320 --> 00:30:02,920
Speaker 3: Right? You know?

554
00:30:03,160 --> 00:30:05,600
Speaker 2: And so I it's so long, you don't want it

555
00:30:05,640 --> 00:30:06,640
Speaker 2: to just fall on the floor.

556
00:30:06,800 --> 00:30:08,960
Speaker 3: Exactly, somebody's got to be there to catch that.

557
00:30:09,040 --> 00:30:12,320
Speaker 1: Baby and towels and everything, exactly.

558
00:30:12,520 --> 00:30:13,880
Speaker 2: Yes, did you see that Mullenie.

559
00:30:15,200 --> 00:30:16,840
Speaker 3: I have not seen an episode of Millennie.

560
00:30:17,800 --> 00:30:19,960
Speaker 2: I don't want to. I don't want to do the whole.

561
00:30:21,720 --> 00:30:24,160
Speaker 6: I saw that Mullenie. Actually in the circumstances, I saw it.

562
00:30:24,400 --> 00:30:28,760
Speaker 6: The sound was off, but I saw that the black

563
00:30:28,800 --> 00:30:32,280
Speaker 6: guy on mulleni he was pushing an air conditioner into

564
00:30:32,400 --> 00:30:35,160
Speaker 6: the room and it was and it was like he

565
00:30:35,440 --> 00:30:38,000
Speaker 6: was giving birth to They were like push push. I

566
00:30:38,080 --> 00:30:41,000
Speaker 6: guess I was having to do my own words.

567
00:30:41,640 --> 00:30:43,360
Speaker 2: Are you walking outside of a store?

568
00:30:43,640 --> 00:30:43,680
Speaker 9: No?

569
00:30:43,840 --> 00:30:46,160
Speaker 6: I was in a hotel and I didn't know how to.

570
00:30:46,640 --> 00:30:48,200
Speaker 6: I didn't feel like turning the sound on.

571
00:30:48,440 --> 00:30:50,920
Speaker 2: MM sounded like you were about to say you didn't

572
00:30:50,960 --> 00:30:53,760
Speaker 2: know how well. And then I think I made the

573
00:30:53,840 --> 00:30:57,360
Speaker 2: decision turn to say that you chose not today.

574
00:30:57,720 --> 00:31:00,800
Speaker 6: It's hard to decide sometimes whether something's a decision or

575
00:31:01,040 --> 00:31:03,640
Speaker 6: it's just, you know, a circumstance. I try and live

576
00:31:03,680 --> 00:31:05,480
Speaker 6: in this way where you know the two things blend.

577
00:31:06,120 --> 00:31:09,680
Speaker 1: It's interesting sometimes writers who are so brainy then don't

578
00:31:09,760 --> 00:31:12,120
Speaker 1: know how to do a simple thing like turn the

579
00:31:12,240 --> 00:31:16,840
Speaker 1: volume on on a television or what's another example.

580
00:31:17,400 --> 00:31:19,040
Speaker 7: You know, yeah, you laugh, but it's true. You know,

581
00:31:19,120 --> 00:31:21,240
Speaker 7: we get so stuck in our heads and everything becomes

582
00:31:21,320 --> 00:31:26,600
Speaker 7: so cerebral. Yes, you know sometimes I yeah, you catch yourself.

583
00:31:28,360 --> 00:31:29,160
Speaker 7: My car is a neutral.

584
00:31:29,200 --> 00:31:31,960
Speaker 6: I forgot to put the car and drive, or you

585
00:31:32,040 --> 00:31:35,240
Speaker 6: know I left something at home. I mean, you know,

586
00:31:35,360 --> 00:31:37,160
Speaker 6: hit a person with my car. I hit a person.

587
00:31:37,520 --> 00:31:40,080
Speaker 7: Okay, Haley, you know you're exaggerating to prove a point,

588
00:31:40,160 --> 00:31:42,080
Speaker 7: and it's funny, but you know, we could go on.

589
00:31:43,200 --> 00:31:45,520
Speaker 7: But yeah, you know, you sometimes you forget the simple

590
00:31:45,560 --> 00:31:48,440
Speaker 7: things when all day long you're trying to just create

591
00:31:48,680 --> 00:31:52,920
Speaker 7: this story that holds together, that feels right, that satisfies people.

592
00:31:54,160 --> 00:31:54,640
Speaker 6: It stuff.

593
00:31:56,240 --> 00:31:59,719
Speaker 2: Dave, Yeah, could you just take us through the beats

594
00:32:00,160 --> 00:32:01,920
Speaker 2: and we can all jump in, but just like the

595
00:32:02,320 --> 00:32:04,760
Speaker 2: just the take us through the beats of like the

596
00:32:05,040 --> 00:32:11,720
Speaker 2: story archetype, the story archetype. I mean, this is it, right,

597
00:32:11,920 --> 00:32:13,560
Speaker 2: I mean, this is the thing right.

598
00:32:14,040 --> 00:32:14,280
Speaker 6: Yeah.

599
00:32:14,520 --> 00:32:18,720
Speaker 7: Well look obviously you know, read your Campbell, read your McKee,

600
00:32:19,000 --> 00:32:21,320
Speaker 7: and then you can get in the room and then

601
00:32:21,440 --> 00:32:23,680
Speaker 7: let's talk. So I feel like it's a little weird

602
00:32:23,760 --> 00:32:28,160
Speaker 7: to even have a one sided thing here where I'm

603
00:32:28,200 --> 00:32:31,040
Speaker 7: going to talk about how I would go about it,

604
00:32:31,240 --> 00:32:34,720
Speaker 7: because it sort of assumes that the listener is coming

605
00:32:34,760 --> 00:32:37,200
Speaker 7: to the table quite frankly, and not to be sound

606
00:32:37,280 --> 00:32:38,960
Speaker 7: like a jerk, but it's coming to the table with

607
00:32:39,080 --> 00:32:41,200
Speaker 7: the same amount of preparation that I have.

608
00:32:41,880 --> 00:32:45,000
Speaker 1: But what we found with this show is it's fun

609
00:32:45,160 --> 00:32:48,000
Speaker 1: for them to pretend that they understand what we're talking

610
00:32:48,040 --> 00:32:52,280
Speaker 1: about when we talk about TV movie, okay, stories, writing

611
00:32:53,000 --> 00:32:58,400
Speaker 1: and pictures of dogs. So that is very refreshing. And

612
00:32:59,160 --> 00:33:01,280
Speaker 1: if I could throw well to you, Kevin, and you

613
00:33:01,400 --> 00:33:05,560
Speaker 1: can talk a little bit about conflict in story, which

614
00:33:05,600 --> 00:33:07,880
Speaker 1: I know is something you're always hammering in the room.

615
00:33:08,360 --> 00:33:12,200
Speaker 1: Is it can't just be, you know, the guy wants

616
00:33:12,280 --> 00:33:14,520
Speaker 1: to meet a doula. It also has to be he's

617
00:33:14,640 --> 00:33:20,320
Speaker 1: scared of he's scared of seeing a woman's lower half, right, absolutely, you.

618
00:33:20,360 --> 00:33:23,400
Speaker 9: Know, there's no drama without conflict. We say that every day.

619
00:33:23,440 --> 00:33:25,520
Speaker 9: I say that to you every day. I say that

620
00:33:25,560 --> 00:33:28,600
Speaker 9: to your writing partner dom every day, and it could

621
00:33:28,600 --> 00:33:32,600
Speaker 9: be frustrating, and I mean half the conflict is for

622
00:33:32,720 --> 00:33:37,800
Speaker 9: me in the room. You guys are just bits, bits bits, bits, bits, right,

623
00:33:38,000 --> 00:33:40,920
Speaker 9: we do fifteen pages of bits, Oh drave me crazy,

624
00:33:41,080 --> 00:33:43,800
Speaker 9: and then we get the story started. It's like, how

625
00:33:43,840 --> 00:33:46,480
Speaker 9: about we kick the story off on page three?

626
00:33:47,760 --> 00:33:48,040
Speaker 3: Okay?

627
00:33:48,160 --> 00:33:50,280
Speaker 1: You know, it's like, we don't need to see none

628
00:33:50,280 --> 00:33:51,120
Speaker 1: of them for bits.

629
00:33:51,360 --> 00:33:55,360
Speaker 3: Fourteen pages of fart jokes and dick jokes. We've done it.

630
00:33:55,560 --> 00:33:59,040
Speaker 9: We want people want stories. They tune in to these

631
00:33:59,080 --> 00:34:03,280
Speaker 9: television programs to see the six seven stories that have

632
00:34:03,360 --> 00:34:05,560
Speaker 9: been told since the beginning of time.

633
00:34:05,960 --> 00:34:08,000
Speaker 1: And yes, that's how many stories are. And it does

634
00:34:08,080 --> 00:34:10,120
Speaker 1: remind me when you talk about the kind of jokes.

635
00:34:10,320 --> 00:34:12,520
Speaker 1: Have we done anything where so many farts on a dick?

636
00:34:13,840 --> 00:34:14,520
Speaker 6: It's a good idea.

637
00:34:14,680 --> 00:34:18,560
Speaker 3: I think that's coming up. I feel like I saw

638
00:34:18,600 --> 00:34:22,520
Speaker 3: an alt for that. So tune in, tune in, stay tuned.

639
00:34:22,680 --> 00:34:26,040
Speaker 2: Steve, what's your favorite show you've ever worked on.

640
00:34:28,360 --> 00:34:31,239
Speaker 6: As a viewer, Man, it would be still luxury to

641
00:34:31,400 --> 00:34:35,000
Speaker 6: just watch my shows. I'm not happy responsible for them.

642
00:34:35,760 --> 00:34:38,640
Speaker 6: I'd say it would have to be American Dad. I

643
00:34:38,719 --> 00:34:41,800
Speaker 6: think the character of Roger is one of the greatest characters,

644
00:34:41,880 --> 00:34:46,520
Speaker 6: and certainly in television. He's an androgynist alien and he

645
00:34:46,640 --> 00:34:48,640
Speaker 6: wears costumes and has adventures.

646
00:34:48,800 --> 00:34:49,879
Speaker 2: I have a sticker of him.

647
00:34:50,000 --> 00:34:53,080
Speaker 6: Yeah, and he invests himself really emotionally in a lot

648
00:34:53,160 --> 00:34:58,279
Speaker 6: of different scenarios. It's just fun. He's a low key, yes,

649
00:34:58,520 --> 00:34:59,279
Speaker 6: coyote figure.

650
00:35:00,800 --> 00:35:02,640
Speaker 2: It is interesting that you don't see that many people

651
00:35:02,680 --> 00:35:04,839
Speaker 2: in disguise on TV anymore except for him.

652
00:35:05,040 --> 00:35:07,560
Speaker 6: It's true. Yeah, he gets away with a lot of disguises.

653
00:35:08,960 --> 00:35:10,880
Speaker 3: You can do that in a cartoon. You have that freedom.

654
00:35:11,200 --> 00:35:14,080
Speaker 1: Yeah, And if you recall some like it, hot disguises

655
00:35:14,200 --> 00:35:16,759
Speaker 1: used to be a huge piece of comedy and it's

656
00:35:16,800 --> 00:35:19,880
Speaker 1: sort of fallen by the wayside with the CGI and

657
00:35:20,040 --> 00:35:24,400
Speaker 1: the all the you know, electronic dinosaurs and things. We

658
00:35:24,560 --> 00:35:27,879
Speaker 1: no longer just think about what if a person had

659
00:35:27,960 --> 00:35:30,640
Speaker 1: on a fake beard if you want to laugh, get

660
00:35:30,719 --> 00:35:33,920
Speaker 1: something like do we talk about the Billy?

661
00:35:34,000 --> 00:35:37,240
Speaker 2: Do we talk about talk about that? Not Billy Wegman,

662
00:35:37,400 --> 00:35:38,920
Speaker 2: but yes, let's get wild.

663
00:35:40,440 --> 00:35:44,360
Speaker 1: Wild Yes, And there's a there's a Wilder before Van Wilder,

664
00:35:44,400 --> 00:35:46,719
Speaker 1: and it was Billy And they're both funny but in

665
00:35:46,840 --> 00:35:50,919
Speaker 1: different ways. So one thing that really struck a chord

666
00:35:51,000 --> 00:35:54,000
Speaker 1: with me, Stephen, that you said is the idea of

667
00:35:54,120 --> 00:35:57,360
Speaker 1: what a luxury it would be to watch a television

668
00:35:57,360 --> 00:35:59,560
Speaker 1: show just as if you were. And do you find

669
00:35:59,600 --> 00:36:02,480
Speaker 1: that you can't turn off your writer's brain and that

670
00:36:02,880 --> 00:36:05,279
Speaker 1: when you see a TV show on guys and you

671
00:36:05,320 --> 00:36:08,719
Speaker 1: can all answer at the same time that you are

672
00:36:09,200 --> 00:36:12,200
Speaker 1: just sort of taking it apart and thinking about the

673
00:36:12,280 --> 00:36:15,600
Speaker 1: construction of it rather than letting it wash over you totally.

674
00:36:15,680 --> 00:36:17,760
Speaker 6: I was watching I don't.

675
00:36:17,600 --> 00:36:19,600
Speaker 3: Laugh at all. I rewrite, I rewrite.

676
00:36:19,600 --> 00:36:22,480
Speaker 6: It's all about editing, editing in my head constantly.

677
00:36:22,480 --> 00:36:22,920
Speaker 1: What was that?

678
00:36:23,080 --> 00:36:24,480
Speaker 3: What was the original line there?

679
00:36:24,640 --> 00:36:26,759
Speaker 6: How can I get to a place where my brain

680
00:36:26,920 --> 00:36:27,920
Speaker 6: feels like Stephen, you.

681
00:36:27,880 --> 00:36:29,560
Speaker 2: Can answer, it was all the time.

682
00:36:29,760 --> 00:36:29,800
Speaker 3: No.

683
00:36:29,960 --> 00:36:32,719
Speaker 2: I started like with the watching comedy is letting the

684
00:36:32,800 --> 00:36:34,239
Speaker 2: others wear themselves out.

685
00:36:34,400 --> 00:36:36,279
Speaker 8: When I want to relact, watch you know, if I

686
00:36:36,320 --> 00:36:38,840
Speaker 8: want to relax, but on a document watching it's writing

687
00:36:39,200 --> 00:36:44,200
Speaker 8: Netflix emotional documentaries see Lady watching the Parks And last

688
00:36:44,239 --> 00:36:45,400
Speaker 8: thing I want to watch is a.

689
00:36:45,520 --> 00:36:48,840
Speaker 6: Half I have to want to joke, joke, I get it.

690
00:36:48,920 --> 00:36:51,799
Speaker 6: I've there, guys, that's all you got?

691
00:36:52,040 --> 00:36:54,080
Speaker 7: I mean, And how about we try that one? A

692
00:36:54,120 --> 00:36:56,600
Speaker 7: fan of those things, but it's not that's such a

693
00:36:56,680 --> 00:37:03,680
Speaker 7: first thought that bell has been ringing all day long. Funny, funny, funny, funny.

694
00:37:05,160 --> 00:37:07,239
Speaker 7: Give me your mad Man, that's on the bottom of

695
00:37:07,320 --> 00:37:10,319
Speaker 7: my statue, Liberty, giving your breaking your Sopranos.

696
00:37:10,680 --> 00:37:12,760
Speaker 9: That's what I wanted to watch when I let Steve

697
00:37:13,120 --> 00:37:13,960
Speaker 9: actual writers.

698
00:37:14,000 --> 00:37:16,120
Speaker 6: Oh, I'm sorry you wanted to know. I thought we

699
00:37:16,160 --> 00:37:16,719
Speaker 6: were supposed to a.

700
00:37:16,680 --> 00:37:19,759
Speaker 1: Sp Well, now I'm worried that something's wrong with Steve,

701
00:37:19,840 --> 00:37:21,239
Speaker 1: and so I just want to check in with him

702
00:37:21,280 --> 00:37:23,120
Speaker 1: to make sure that he's doing okay physically.

703
00:37:23,560 --> 00:37:25,080
Speaker 2: These guys are chatterboxes.

704
00:37:25,200 --> 00:37:27,320
Speaker 6: That's how they, you know, make their bones. They go

705
00:37:27,400 --> 00:37:29,600
Speaker 6: into their room and they keep the chatter going, and

706
00:37:29,680 --> 00:37:31,880
Speaker 6: people like that. You need that sort of stimulation.

707
00:37:33,840 --> 00:37:35,200
Speaker 2: Isn't chatter, Yeah it is.

708
00:37:35,280 --> 00:37:35,520
Speaker 3: Writer.

709
00:37:35,680 --> 00:37:36,919
Speaker 6: Here's our conflict, I guess.

710
00:37:37,080 --> 00:37:37,319
Speaker 3: Yeah.

711
00:37:37,680 --> 00:37:39,439
Speaker 6: What do you find like when you're watching a show

712
00:37:39,520 --> 00:37:40,839
Speaker 6: and you have a lot of thoughts and you write

713
00:37:40,880 --> 00:37:43,120
Speaker 6: them down, do you ever send them to the show runner?

714
00:37:43,320 --> 00:37:45,680
Speaker 6: You know, Hey, Liz, a couple thoughts about last night's

715
00:37:45,719 --> 00:37:47,239
Speaker 6: New Girl. You could have done this or that. Hey,

716
00:37:47,320 --> 00:37:51,080
Speaker 6: Mike watching Parks, I think you made some missteps. Let

717
00:37:51,160 --> 00:37:52,920
Speaker 6: me help you set the course back.

718
00:37:53,040 --> 00:37:55,239
Speaker 9: I'll send them like a d R stuff so for

719
00:37:55,400 --> 00:37:57,600
Speaker 9: future like syndication, right, episode.

720
00:37:57,320 --> 00:38:02,280
Speaker 7: Right, Yeah, yeah, this time, I tend to use back channels.

721
00:38:02,320 --> 00:38:05,839
Speaker 7: I find it's more diplomatic. The showrunner is so much

722
00:38:05,880 --> 00:38:08,320
Speaker 7: on his plate, and I think I hope the listener

723
00:38:08,520 --> 00:38:10,279
Speaker 7: is educated enough to know what a showrunner is.

724
00:38:10,320 --> 00:38:11,239
Speaker 6: They don't want have to explain it.

725
00:38:11,320 --> 00:38:12,759
Speaker 7: But I feel like the showrunner is so much on

726
00:38:12,840 --> 00:38:15,440
Speaker 7: his plate that sometimes it's easier to go to the

727
00:38:15,520 --> 00:38:18,440
Speaker 7: story editor, the E S E or the cop and

728
00:38:18,840 --> 00:38:20,919
Speaker 7: and and slide it as someone who you know, maybe

729
00:38:20,960 --> 00:38:22,719
Speaker 7: on the wall. We'll go right to the studio. Yeah,

730
00:38:22,800 --> 00:38:29,800
Speaker 7: sometimes that's easier too. It's just hey, Sony for you know,

731
00:38:30,400 --> 00:38:34,000
Speaker 7: three DVD, just you know, maybe slide this you're on,

732
00:38:34,400 --> 00:38:37,359
Speaker 7: you know, you're on Lamore's back, or for this shot.

733
00:38:37,480 --> 00:38:39,239
Speaker 7: You could slide in a quick thing, get them in

734
00:38:39,280 --> 00:38:39,760
Speaker 7: the studio.

735
00:38:41,120 --> 00:38:41,640
Speaker 3: They love that.

736
00:38:43,360 --> 00:38:45,640
Speaker 1: Yeah, well, I'll let the air out of their tires.

737
00:38:45,719 --> 00:38:47,680
Speaker 1: And then when they go to get their jack they

738
00:38:47,760 --> 00:38:50,000
Speaker 1: realize that I've put I've written a new script and

739
00:38:50,120 --> 00:38:51,840
Speaker 1: hidden it where their spare tire used to be.

740
00:38:52,480 --> 00:38:54,319
Speaker 6: Now, okay, and.

741
00:38:54,440 --> 00:38:56,640
Speaker 1: It's a and that's a crazy thing to say.

742
00:38:58,600 --> 00:39:01,680
Speaker 9: Go ahead, well just kind of say, can we talk

743
00:39:01,719 --> 00:39:02,640
Speaker 9: about kind of the.

744
00:39:02,840 --> 00:39:04,320
Speaker 3: Saddest part of our job.

745
00:39:06,200 --> 00:39:07,719
Speaker 6: About waking up in the morning.

746
00:39:08,920 --> 00:39:12,160
Speaker 9: Because we talked about giving birth, but have we talked

747
00:39:12,160 --> 00:39:16,839
Speaker 9: about of what we do is killing, killing darlings surgeons,

748
00:39:18,040 --> 00:39:18,239
Speaker 9: you know.

749
00:39:18,800 --> 00:39:21,919
Speaker 1: And surgeons have to kill babies and they don't talk

750
00:39:21,960 --> 00:39:25,600
Speaker 1: about So where's that episode of Grey's Anatomy where they

751
00:39:25,719 --> 00:39:28,879
Speaker 1: have to kill a bunch of the baby in order

752
00:39:28,960 --> 00:39:33,719
Speaker 1: to make room, in order to make time, basically in

753
00:39:33,920 --> 00:39:35,120
Speaker 1: order to make their page count.

754
00:39:35,520 --> 00:39:36,799
Speaker 3: And we mourn them every day.

755
00:39:37,880 --> 00:39:39,479
Speaker 9: You know, you guys sit in that room and write

756
00:39:39,520 --> 00:39:42,799
Speaker 9: alts and then you watch the show and you don't

757
00:39:42,800 --> 00:39:45,040
Speaker 9: see him on there, and you go a.

758
00:39:45,040 --> 00:39:46,480
Speaker 3: Little part of you dies. I know it does.

759
00:39:47,160 --> 00:39:48,800
Speaker 1: And there's a little and if you'll see in my

760
00:39:48,920 --> 00:39:52,400
Speaker 1: office there's a little popsicle stick graves all over and

761
00:39:52,520 --> 00:39:54,800
Speaker 1: those are for the babies that have died. Which is

762
00:39:55,000 --> 00:39:58,120
Speaker 1: like the kind of jokes that I maybe I just say,

763
00:39:58,520 --> 00:40:01,560
Speaker 1: I'm sorry alts us alternative jokes.

764
00:40:02,360 --> 00:40:05,320
Speaker 6: Did you not no, no, no, no, no, no, I know, Okay,

765
00:40:05,400 --> 00:40:05,840
Speaker 6: it's just like.

766
00:40:05,880 --> 00:40:07,400
Speaker 2: You're here to hear you talk about it.

767
00:40:07,480 --> 00:40:07,719
Speaker 6: Sean.

768
00:40:08,400 --> 00:40:10,200
Speaker 2: You say, you write, you spend all day writing the

769
00:40:10,320 --> 00:40:14,440
Speaker 2: main jokes, but you know.

770
00:40:14,760 --> 00:40:18,839
Speaker 1: But but at the same time, does one does one joke,

771
00:40:18,960 --> 00:40:21,440
Speaker 1: you know, is one joke ever enough, And so yeah,

772
00:40:21,680 --> 00:40:24,919
Speaker 1: I'll have a you know, backup plan, pull the rip chord.

773
00:40:25,040 --> 00:40:26,840
Speaker 1: You know, he can't hit this joke the way I

774
00:40:26,920 --> 00:40:30,279
Speaker 1: wrote it, and so I will have some Alton. I'm

775
00:40:30,480 --> 00:40:34,680
Speaker 1: you know, and I'm at monitor, given, you know, given

776
00:40:34,719 --> 00:40:35,200
Speaker 1: the goods.

777
00:40:37,560 --> 00:40:42,719
Speaker 7: You're at monitor sometimes mm hmm. I just surprises me

778
00:40:42,760 --> 00:40:44,040
Speaker 7: that Kevin would authorize.

779
00:40:43,800 --> 00:40:45,759
Speaker 1: Well, for some of the other cubicle stuff, I feel

780
00:40:45,800 --> 00:40:46,800
Speaker 1: like I was at monitor.

781
00:40:47,800 --> 00:40:48,960
Speaker 3: Sure for the web stuff.

782
00:40:49,040 --> 00:40:52,120
Speaker 6: That's fine, web content. Who could see that?

783
00:40:52,880 --> 00:40:53,120
Speaker 3: Wait?

784
00:40:54,880 --> 00:40:55,600
Speaker 2: Web stuff?

785
00:40:56,280 --> 00:40:57,760
Speaker 6: Models are changing, Hayes.

786
00:40:58,960 --> 00:41:02,040
Speaker 2: You you said you were doing stuff it was gonna

787
00:41:02,040 --> 00:41:02,560
Speaker 2: be on TV.

788
00:41:04,239 --> 00:41:05,840
Speaker 6: You said you were a monitor for TVs.

789
00:41:05,960 --> 00:41:09,160
Speaker 1: Oh, it's it's for the web. But they also inexplicably

790
00:41:09,239 --> 00:41:11,480
Speaker 1: play it in the first commercial break so that you

791
00:41:11,600 --> 00:41:15,600
Speaker 1: can't really tell whether the show has edited or whether

792
00:41:15,640 --> 00:41:16,800
Speaker 1: this is part of the episode.

793
00:41:17,000 --> 00:41:18,759
Speaker 6: Hey, let me stick up her shaw on here. You know,

794
00:41:19,040 --> 00:41:21,560
Speaker 6: a whore doesn't care who she fucks, right, mm hmm.

795
00:41:22,680 --> 00:41:24,520
Speaker 1: Thank you for having my back on this.

796
00:41:25,600 --> 00:41:26,120
Speaker 6: It's true.

797
00:41:26,360 --> 00:41:29,120
Speaker 7: Well, and I'd like to defend him too. I gotta say, sometimes,

798
00:41:29,560 --> 00:41:31,480
Speaker 7: you know, you talk about writing alts, but you know,

799
00:41:31,640 --> 00:41:33,200
Speaker 7: sometimes the allt becomes the main.

800
00:41:33,640 --> 00:41:36,480
Speaker 6: Kevin as a showrunner, when you hear a joke, do

801
00:41:36,560 --> 00:41:38,279
Speaker 6: you think you can usually tell whether it's an alter

802
00:41:38,440 --> 00:41:38,719
Speaker 6: or main?

803
00:41:39,320 --> 00:41:42,120
Speaker 9: Absolutely, like there's just a ring or something.

804
00:41:42,160 --> 00:41:44,000
Speaker 3: You get it. Yeah, you go bam. Yeah.

805
00:41:45,280 --> 00:41:47,200
Speaker 2: We talk about the pressures of being a show runner.

806
00:41:47,280 --> 00:41:47,600
Speaker 3: We have it.

807
00:41:48,280 --> 00:41:49,719
Speaker 2: We have a show runner right here in the room.

808
00:41:49,760 --> 00:41:52,880
Speaker 2: And Kevin then just like there must be some temptation

809
00:41:53,120 --> 00:41:55,719
Speaker 2: involved in that, just with having a whole staff of

810
00:41:55,760 --> 00:41:57,800
Speaker 2: people that are just sort of like under your control

811
00:41:58,320 --> 00:41:59,319
Speaker 2: absolutely every day.

812
00:41:59,400 --> 00:42:01,920
Speaker 3: It's it's your manager, m M.

813
00:42:02,160 --> 00:42:05,319
Speaker 9: As much as you are a creator, you're wearing eight

814
00:42:05,440 --> 00:42:11,279
Speaker 9: different hats. The temptation is to, you know, take some

815
00:42:11,400 --> 00:42:14,239
Speaker 9: of the stresses from the home life and bring them

816
00:42:14,239 --> 00:42:17,160
Speaker 9: into the work life. And just you know, if I'm

817
00:42:17,200 --> 00:42:21,480
Speaker 9: having a bad day with my wife, with my cats, whatever, I.

818
00:42:21,560 --> 00:42:24,560
Speaker 3: Come in, I want to so much.

819
00:42:24,680 --> 00:42:27,280
Speaker 9: I just want to bring that into Sean and scream

820
00:42:27,360 --> 00:42:30,240
Speaker 9: at his face for what is this story.

821
00:42:29,960 --> 00:42:30,919
Speaker 3: That doesn't make sense?

822
00:42:31,200 --> 00:42:33,720
Speaker 1: And it does and it does make sense, and it's we're.

823
00:42:33,640 --> 00:42:37,440
Speaker 9: On page fifteen and nothing has happened, and you've got Faro.

824
00:42:37,680 --> 00:42:40,080
Speaker 1: Stuff is happening. It's funny. Stuff is happening.

825
00:42:40,120 --> 00:42:41,960
Speaker 6: And people can't see right now, but the veins in

826
00:42:42,080 --> 00:42:43,400
Speaker 6: Kevin's head are just popping.

827
00:42:43,480 --> 00:42:47,239
Speaker 3: Yeah. I mean, and you know it's Saturday. We've been

828
00:42:47,280 --> 00:42:49,759
Speaker 3: working all week and I know this podcast means a

829
00:42:49,880 --> 00:42:52,600
Speaker 3: lot to him, and we've got one.

830
00:42:52,800 --> 00:42:55,400
Speaker 9: He's got one more, one more a year on his contract.

831
00:42:55,520 --> 00:42:57,959
Speaker 9: So it's like what happens in a couple of months?

832
00:42:58,000 --> 00:42:58,200
Speaker 5: I know.

833
00:42:58,320 --> 00:42:59,759
Speaker 3: So I know this is a big thing. You're trying

834
00:42:59,800 --> 00:43:00,480
Speaker 3: to antis that.

835
00:43:00,560 --> 00:43:05,439
Speaker 2: You guys have some advertisers now quality slick m Yeah,

836
00:43:05,480 --> 00:43:10,480
Speaker 2: so the listeners website, Oh it's time for the Popcorn Gallery.

837
00:43:11,960 --> 00:43:18,040
Speaker 2: We got a lot of questions from our listeners.

838
00:43:19,200 --> 00:43:24,440
Speaker 1: I was very surprised by that song. So the Popcorn Gallery,

839
00:43:24,800 --> 00:43:28,319
Speaker 1: Uh this normally we're not talking about TV, talking about

840
00:43:28,360 --> 00:43:30,720
Speaker 1: movies and Kevin, I know, has some good movie ideas.

841
00:43:30,760 --> 00:43:33,680
Speaker 1: And I bet that Dave King might too. Steven and

842
00:43:33,760 --> 00:43:38,080
Speaker 1: I don't really know what he seems to not really

843
00:43:39,440 --> 00:43:43,920
Speaker 1: get what we're even doing, am I But it seemed

844
00:43:43,920 --> 00:43:45,319
Speaker 1: like he doesn't get what we're doing.

845
00:43:45,520 --> 00:43:46,839
Speaker 6: Maybe you could tell me what are we doing?

846
00:43:48,120 --> 00:43:51,760
Speaker 1: Well, you're trying to do podcast about writers rooms.

847
00:43:53,160 --> 00:43:54,600
Speaker 6: Is it not going as you planned?

848
00:43:55,560 --> 00:43:55,680
Speaker 5: Uh?

849
00:43:58,480 --> 00:43:58,759
Speaker 4: It are?

850
00:43:59,400 --> 00:44:04,279
Speaker 6: What would you say is missing. Don't let me get

851
00:44:04,280 --> 00:44:06,240
Speaker 6: you off track if you need to do popcorn.

852
00:44:05,920 --> 00:44:06,680
Speaker 3: Gallery or whatever.

853
00:44:08,280 --> 00:44:10,759
Speaker 1: No, no, no, we can always edit it out.

854
00:44:11,200 --> 00:44:13,880
Speaker 6: Do you know what's happening? Missing conflict?

855
00:44:15,560 --> 00:44:17,960
Speaker 1: Okay? And this turned out to be an object lesson

856
00:44:18,320 --> 00:44:20,719
Speaker 1: and so Scoop, Troop, get out your pencils and just

857
00:44:20,760 --> 00:44:23,040
Speaker 1: write down the exchange we had and maybe that lines

858
00:44:23,080 --> 00:44:29,320
Speaker 1: up in a movie one day. So, uh, popcorn gallery

859
00:44:29,680 --> 00:44:30,560
Speaker 1: questions from the listeners.

860
00:44:30,760 --> 00:44:38,239
Speaker 2: We have a question inside the popcorn bag, which is

861
00:44:38,400 --> 00:44:45,120
Speaker 2: the main character. This is the question bro Burger Burger

862
00:44:45,239 --> 00:44:48,120
Speaker 2: b r g r ah at Burger, Guys, if you

863
00:44:48,160 --> 00:44:52,480
Speaker 2: could talk about your AV club GPAs is it on

864
00:44:52,600 --> 00:44:55,759
Speaker 2: your resumes? It something that you kind of compare with

865
00:44:55,920 --> 00:44:56,319
Speaker 2: each other?

866
00:44:56,840 --> 00:44:59,000
Speaker 7: And uh, can I tell you one thing that drives

867
00:44:59,040 --> 00:45:04,600
Speaker 7: me crazy such a good question is why don't they

868
00:45:04,719 --> 00:45:08,080
Speaker 7: have your a v GPAV Club GPS on your Wikipedia pages?

869
00:45:08,680 --> 00:45:11,680
Speaker 6: Why is that not at the top? Why isn't that

870
00:45:12,000 --> 00:45:13,320
Speaker 6: right next to our names?

871
00:45:13,680 --> 00:45:16,919
Speaker 9: I'll tell you you know, when you're hiring writers, I've

872
00:45:17,239 --> 00:45:19,040
Speaker 9: been doing it for a couple of years now, and

873
00:45:19,360 --> 00:45:23,600
Speaker 9: that was for sure one of the biggest mistakes early

874
00:45:23,719 --> 00:45:26,600
Speaker 9: on was not that that's question number.

875
00:45:26,400 --> 00:45:28,880
Speaker 2: One, yes, because you used to not have to show it.

876
00:45:29,160 --> 00:45:31,200
Speaker 9: Yeah, right now, and I just I need to know

877
00:45:31,520 --> 00:45:33,840
Speaker 9: straight away. I actually want to know. I mean, we

878
00:45:33,960 --> 00:45:36,840
Speaker 9: screened out so many people. That's based on that. I

879
00:45:36,880 --> 00:45:40,120
Speaker 9: don't read scripts anymore. I mean I read what's your cutoff?

880
00:45:40,200 --> 00:45:43,440
Speaker 9: B plus B B mean, but this is crazy to me.

881
00:45:43,640 --> 00:45:45,600
Speaker 9: I and I maybe I might have to have a

882
00:45:45,680 --> 00:45:49,080
Speaker 9: talk with William Morris endeavor. But I assumed that my

883
00:45:49,320 --> 00:45:52,960
Speaker 9: representation when my name is out there for jobs, that

884
00:45:53,080 --> 00:45:55,759
Speaker 9: they that the first thing they mentioned is my AV

885
00:45:55,880 --> 00:45:58,520
Speaker 9: Club GPA is quite frankly a proud of it.

886
00:45:58,640 --> 00:46:00,239
Speaker 2: What is right now?

887
00:46:00,719 --> 00:46:05,279
Speaker 7: It's well, numerically it's a ninety two and not to brag,

888
00:46:05,360 --> 00:46:07,239
Speaker 7: but that's just what it is. Yeah, no, that's not

889
00:46:07,360 --> 00:46:08,320
Speaker 7: a brag at all, thank you.

890
00:46:08,960 --> 00:46:11,560
Speaker 2: But I wonder about some of these grades. I wish

891
00:46:11,600 --> 00:46:13,440
Speaker 2: there were sort of a waiting system because it were

892
00:46:13,880 --> 00:46:17,040
Speaker 2: Is it like yes, Vanderwurst B plus? Is it a

893
00:46:17,080 --> 00:46:18,720
Speaker 2: Scott Tobias B plus?

894
00:46:18,760 --> 00:46:19,759
Speaker 6: That's so true? Yea.

895
00:46:20,040 --> 00:46:22,160
Speaker 3: Either way, I still think they're all the same.

896
00:46:22,239 --> 00:46:24,480
Speaker 9: I mean, they they are all equally valid, So you

897
00:46:24,719 --> 00:46:29,200
Speaker 9: can't like differentiate based on those guys because they are

898
00:46:29,560 --> 00:46:30,400
Speaker 9: a V club.

899
00:46:30,280 --> 00:46:32,600
Speaker 1: Like there AV club writer.

900
00:46:33,360 --> 00:46:35,319
Speaker 3: They got right.

901
00:46:35,360 --> 00:46:38,520
Speaker 9: They're not just some fucking guy in you know, working

902
00:46:38,560 --> 00:46:40,680
Speaker 9: in a movie store. Like the AV Club has vetted

903
00:46:40,760 --> 00:46:44,560
Speaker 9: these people, you know, they've gone through courses like no,

904
00:46:44,840 --> 00:46:48,440
Speaker 9: don't fucking question the AV Club guys' ability to grade

905
00:46:48,480 --> 00:46:52,240
Speaker 9: television and our uh, you know how much we react

906
00:46:52,320 --> 00:46:54,400
Speaker 9: to it and change shit based on it, because we do.

907
00:46:55,480 --> 00:46:57,399
Speaker 7: I look at it this way. I'm a little more

908
00:46:58,600 --> 00:47:01,640
Speaker 7: I guess realist about it. It's not I say this.

909
00:47:01,880 --> 00:47:05,160
Speaker 7: It's not a perfect system, but it's a damn good system.

910
00:47:05,239 --> 00:47:07,320
Speaker 7: And you're kidding yourself if you think that there's a

911
00:47:07,400 --> 00:47:11,000
Speaker 7: better system. It's like the Nielsen ratings. Are their flaws maybe,

912
00:47:11,640 --> 00:47:15,360
Speaker 7: but it's damn good. It's thank you, it's the gold standard.

913
00:47:15,520 --> 00:47:18,520
Speaker 7: Like why just shut up and tell me your number?

914
00:47:19,000 --> 00:47:23,520
Speaker 1: Right, mit Myers Briggs and we are feeling around in

915
00:47:23,600 --> 00:47:26,680
Speaker 1: the dark here, and so the A V Club has

916
00:47:26,920 --> 00:47:30,680
Speaker 1: given us something of a lantern to say to guide

917
00:47:30,800 --> 00:47:35,000
Speaker 1: us move in this direction. We didn't like this, but

918
00:47:35,200 --> 00:47:36,200
Speaker 1: you could do better.

919
00:47:36,520 --> 00:47:39,720
Speaker 6: Are you guys concerned about the culture of critical superstars?

920
00:47:41,280 --> 00:47:46,640
Speaker 1: Like, let's let let's talk that the bomb, the bomb,

921
00:47:47,480 --> 00:47:51,120
Speaker 1: it was gonna come on bomb en us already.

922
00:47:52,000 --> 00:47:54,560
Speaker 2: Yes, I know, and I personally don't get it.

923
00:47:55,120 --> 00:47:58,000
Speaker 1: Thank you for the points, Kevin, and that is and

924
00:47:58,120 --> 00:48:00,920
Speaker 1: that has made its way into the every writer's room.

925
00:48:01,040 --> 00:48:04,120
Speaker 1: Is you are getting points all the time? Is there

926
00:48:04,200 --> 00:48:06,719
Speaker 1: any show more influential than at Midnight in the past

927
00:48:06,880 --> 00:48:07,560
Speaker 1: fifty years?

928
00:48:08,160 --> 00:48:10,080
Speaker 6: Mash maybe Mash at Midnight?

929
00:48:10,440 --> 00:48:13,759
Speaker 2: The whole Nustbam mystery. I personally don't don't get it.

930
00:48:16,520 --> 00:48:17,680
Speaker 6: I've been worried about it.

931
00:48:18,000 --> 00:48:21,160
Speaker 2: Yes, it does feel like what does it mean? Where

932
00:48:21,440 --> 00:48:24,759
Speaker 2: like Alexander Stanley can operate in virtual anonymity?

933
00:48:25,680 --> 00:48:27,200
Speaker 6: And where isn't that funny?

934
00:48:27,680 --> 00:48:27,839
Speaker 3: Right?

935
00:48:28,040 --> 00:48:31,320
Speaker 2: Yeah, it's just weird to me. I wish I understood it,

936
00:48:31,320 --> 00:48:33,040
Speaker 2: because I feel like I'd be better at my job

937
00:48:33,120 --> 00:48:33,520
Speaker 2: if I did.

938
00:48:33,800 --> 00:48:35,799
Speaker 7: Well, you know, look, I look at it this way.

939
00:48:36,000 --> 00:48:39,080
Speaker 7: The Beatles were incredibly popular. No one knew who the

940
00:48:39,160 --> 00:48:42,239
Speaker 7: Velvet Underground was in nineteen sixty nine except for a

941
00:48:42,320 --> 00:48:46,200
Speaker 7: handful of you know, lunatics so called in Manhattan. And

942
00:48:46,280 --> 00:48:48,239
Speaker 7: then over time we came to learn that, you know,

943
00:48:48,360 --> 00:48:50,239
Speaker 7: one was just as influential as the other.

944
00:48:50,440 --> 00:48:52,839
Speaker 6: Maybe I know you do and what kind of music

945
00:48:52,920 --> 00:48:57,200
Speaker 6: you like? So you know you're maybe you're not Lewis? Yeah? Yes,

946
00:48:57,600 --> 00:48:59,640
Speaker 6: well for real for real man.

947
00:48:59,560 --> 00:49:02,839
Speaker 1: Goodbye Lewis and we miss him, and we miss him

948
00:49:02,880 --> 00:49:03,319
Speaker 1: all the time.

949
00:49:03,880 --> 00:49:05,120
Speaker 2: We should check on the bag.

950
00:49:05,960 --> 00:49:08,160
Speaker 1: Let's go see if there's anything else in that bag.

951
00:49:08,280 --> 00:49:11,040
Speaker 1: And I think what happened before? I remember Kevin said what?

952
00:49:11,640 --> 00:49:13,600
Speaker 1: And I think what Mark was doing was pulling out

953
00:49:13,640 --> 00:49:15,000
Speaker 1: a writerly device.

954
00:49:15,360 --> 00:49:17,640
Speaker 2: Yeah, we told it. We did tell him ahead of time.

955
00:49:17,680 --> 00:49:21,000
Speaker 1: That to the special sound My high school friend Mark

956
00:49:21,040 --> 00:49:22,240
Speaker 1: makes these soundrops.

957
00:49:21,800 --> 00:49:23,560
Speaker 2: Special sound drops for the writer's panel.

958
00:49:24,120 --> 00:49:25,120
Speaker 6: To Mark, great job.

959
00:49:29,680 --> 00:49:33,840
Speaker 1: It's the end of the first act. That's what he

960
00:49:33,920 --> 00:49:36,279
Speaker 1: found in there, and that's something that writers really need

961
00:49:36,400 --> 00:49:36,600
Speaker 1: to have.

962
00:49:37,760 --> 00:49:41,520
Speaker 2: This is a question from AJ. Throughout the eighties and nineties,

963
00:49:41,600 --> 00:49:43,879
Speaker 2: multi caam sitcoms were the standard. Then in the late

964
00:49:44,000 --> 00:49:46,560
Speaker 2: nineties and two thousand, single cam sitcoms started to increase

965
00:49:46,600 --> 00:49:48,560
Speaker 2: in number. What do you think the next trend will

966
00:49:48,640 --> 00:49:53,080
Speaker 2: be an increase in cams or another reduction of which

967
00:49:53,080 --> 00:49:54,799
Speaker 2: would sort of be like a fraction of a cam.

968
00:49:56,320 --> 00:49:57,120
Speaker 6: That is interesting.

969
00:49:57,239 --> 00:49:59,320
Speaker 2: Yeah, six gam six cams.

970
00:49:59,680 --> 00:50:01,600
Speaker 6: I'd love to see a five or a six cam.

971
00:50:02,080 --> 00:50:04,840
Speaker 6: I think, like explore that, see what kind of stories

972
00:50:04,880 --> 00:50:06,960
Speaker 6: we could tell with five or six cameras?

973
00:50:07,080 --> 00:50:10,040
Speaker 9: Right, because it's still it's a stage play, right, Yeah,

974
00:50:10,200 --> 00:50:14,240
Speaker 9: with four cameras, you're not capturing maybe the funniest angles.

975
00:50:14,360 --> 00:50:17,440
Speaker 6: Yeah, you're missing That's why people turned away from it.

976
00:50:17,600 --> 00:50:22,000
Speaker 6: You're missing exits, you're missing entrances, overhead shots. All of

977
00:50:22,040 --> 00:50:25,920
Speaker 6: this comes out of French farce, right, sitcoms and comedia.

978
00:50:26,400 --> 00:50:30,759
Speaker 6: Some of that is missing when you only have four cameras, right, Yes,

979
00:50:30,960 --> 00:50:32,719
Speaker 6: and it was cool and it worked fine in the

980
00:50:32,800 --> 00:50:35,520
Speaker 6: sort of primitive seventies and eighties, But what are we

981
00:50:35,560 --> 00:50:36,839
Speaker 6: going to do next? How are we going to push

982
00:50:36,840 --> 00:50:38,560
Speaker 6: the art forward? Where are we going to find the

983
00:50:38,719 --> 00:50:39,600
Speaker 6: next level?

984
00:50:40,040 --> 00:50:41,759
Speaker 2: They were doing a thing on Goldberg's I don't know

985
00:50:41,760 --> 00:50:44,960
Speaker 2: if you saw this where they experiment was sort of

986
00:50:45,000 --> 00:50:48,719
Speaker 2: the cam sphere, which is almost like a zorb but

987
00:50:49,000 --> 00:50:51,840
Speaker 2: with all like a large zorb, which is like a

988
00:50:51,920 --> 00:50:53,560
Speaker 2: ball that you can sort of like a hamster ball

989
00:50:53,600 --> 00:50:55,120
Speaker 2: that you walk around it, but with all cams on

990
00:50:55,200 --> 00:50:59,759
Speaker 2: the outside, and they put Garland inside and you love him, well,

991
00:51:00,200 --> 00:51:03,200
Speaker 2: he's the perfect one for this obviously, Yeah, and just

992
00:51:03,320 --> 00:51:06,759
Speaker 2: watch him always innovating, navigate the set inside the sort

993
00:51:06,800 --> 00:51:09,440
Speaker 2: of the sort of the cams orb and creating sort

994
00:51:09,440 --> 00:51:11,439
Speaker 2: of a three D rendering of Garland that you don't

995
00:51:12,600 --> 00:51:14,640
Speaker 2: a little shocking to see for the first time on television.

996
00:51:14,640 --> 00:51:17,000
Speaker 1: Well, that's interesting, it was funny. You said, I don't

997
00:51:17,000 --> 00:51:18,880
Speaker 1: know if you saw this. I do know if I

998
00:51:18,920 --> 00:51:20,840
Speaker 1: saw it, and I did, and I loved it, and

999
00:51:20,960 --> 00:51:24,520
Speaker 1: I just think Garland is such a treasure and he's

1000
00:51:24,840 --> 00:51:26,040
Speaker 1: something about his voice.

1001
00:51:26,960 --> 00:51:29,560
Speaker 6: Can I say something really quick to that question? Who

1002
00:51:29,680 --> 00:51:30,040
Speaker 6: was it too?

1003
00:51:30,040 --> 00:51:30,919
Speaker 2: Asked that question? It was aj.

1004
00:51:31,320 --> 00:51:33,000
Speaker 7: It's such a great question. And I don't want to

1005
00:51:33,040 --> 00:51:36,080
Speaker 7: freak anyone out and sound too science fiction here. But

1006
00:51:36,239 --> 00:51:39,000
Speaker 7: the real answer that you know is being whispered all

1007
00:51:39,080 --> 00:51:42,880
Speaker 7: across studios and networks across the country is a drone comedy.

1008
00:51:43,360 --> 00:51:48,759
Speaker 7: M you know with drones. Now, look, whether you think

1009
00:51:48,840 --> 00:51:51,719
Speaker 7: you've seen a drone shot or not, you have. They're

1010
00:51:51,800 --> 00:51:56,520
Speaker 7: already infiltrating everything from Primetime Network to the weirdest show

1011
00:51:56,600 --> 00:51:57,359
Speaker 7: on Adult Swim.

1012
00:51:57,560 --> 00:51:57,880
Speaker 6: Drone.

1013
00:51:58,160 --> 00:52:00,839
Speaker 7: Drone cams are everywhere you can put it. And people

1014
00:52:01,120 --> 00:52:01,920
Speaker 7: think I'm joking.

1015
00:52:02,080 --> 00:52:02,360
Speaker 4: I'm not.

1016
00:52:02,600 --> 00:52:04,680
Speaker 7: You can put a camera GoPro on a drone. You

1017
00:52:04,719 --> 00:52:07,560
Speaker 7: can get anywhere you need to be, and that's the future.

1018
00:52:07,760 --> 00:52:09,279
Speaker 2: You can hear it on about a boy sort of

1019
00:52:09,320 --> 00:52:11,720
Speaker 2: that like it's that quiet.

1020
00:52:11,960 --> 00:52:13,240
Speaker 6: Yeah, that not so quiet.

1021
00:52:13,320 --> 00:52:13,440
Speaker 4: Hum.

1022
00:52:13,560 --> 00:52:16,600
Speaker 1: Yes, they're screaming their dialogue on that show. And I

1023
00:52:17,000 --> 00:52:21,040
Speaker 1: also say when you talked about fractions of cameras that

1024
00:52:21,200 --> 00:52:24,320
Speaker 1: that's kind of a misnomer because cameras are getting so

1025
00:52:24,680 --> 00:52:29,920
Speaker 1: small you could actually fit them in a bug. I

1026
00:52:29,960 --> 00:52:32,400
Speaker 1: don't know what we do with that, but it is

1027
00:52:32,520 --> 00:52:35,320
Speaker 1: something that is available. And would that be funny to

1028
00:52:35,360 --> 00:52:35,920
Speaker 1: see what they.

1029
00:52:35,960 --> 00:52:36,720
Speaker 6: Eat or whatever?

1030
00:52:36,840 --> 00:52:36,960
Speaker 3: Oh?

1031
00:52:37,040 --> 00:52:40,320
Speaker 7: Man, you know that'll be fun Hollin, I guess I

1032
00:52:40,400 --> 00:52:42,959
Speaker 7: want to I'm just hearing this. I want to start

1033
00:52:43,040 --> 00:52:44,040
Speaker 7: cracking that story.

1034
00:52:44,160 --> 00:52:45,680
Speaker 6: What is that going to be? You know, it's just

1035
00:52:46,440 --> 00:52:48,719
Speaker 6: this is so you. You You're never off. You know,

1036
00:52:49,000 --> 00:52:53,600
Speaker 6: you're always sorry. I want to go to work, take

1037
00:52:53,680 --> 00:52:54,600
Speaker 6: a Saturday off.

1038
00:52:54,880 --> 00:52:56,040
Speaker 3: Let me talk to Dave.

1039
00:52:56,560 --> 00:52:59,600
Speaker 7: I know, and I gotta say, because we're all friends

1040
00:52:59,640 --> 00:53:01,480
Speaker 7: here for the most part, some more than others. But

1041
00:53:01,880 --> 00:53:04,320
Speaker 7: you know, I apologize for that, you know, because I

1042
00:53:04,400 --> 00:53:06,840
Speaker 7: know sometimes you want to just kick back and have

1043
00:53:07,000 --> 00:53:08,560
Speaker 7: a brew with me and.

1044
00:53:09,520 --> 00:53:11,160
Speaker 3: Go ahead and rank us friendship wise.

1045
00:53:12,280 --> 00:53:14,000
Speaker 1: Interesting, let's all do it?

1046
00:53:15,239 --> 00:53:15,439
Speaker 8: Well?

1047
00:53:16,680 --> 00:53:18,359
Speaker 6: Oh should we really?

1048
00:53:18,440 --> 00:53:18,759
Speaker 2: For real?

1049
00:53:18,840 --> 00:53:21,920
Speaker 1: You want to rank the friends that all the friendships

1050
00:53:21,920 --> 00:53:24,160
Speaker 1: and let's do it fast?

1051
00:53:24,360 --> 00:53:24,640
Speaker 6: Okay?

1052
00:53:24,840 --> 00:53:30,799
Speaker 7: Kevin won heally two and you know it's probably I'm

1053
00:53:30,880 --> 00:53:33,760
Speaker 7: just gonna say this only because we've worked together Sean

1054
00:53:34,120 --> 00:53:35,040
Speaker 7: three and Hayes four.

1055
00:53:35,680 --> 00:53:40,280
Speaker 2: I would go Sean one, Steve two, Kevin three, engineer

1056
00:53:40,360 --> 00:53:44,160
Speaker 2: Cody four. Day five. Let's reach into the bag and

1057
00:53:44,280 --> 00:53:46,160
Speaker 2: we'll do another question.

1058
00:53:47,200 --> 00:53:50,520
Speaker 9: Oh, double camera comedy though I forgot about that.

1059
00:53:50,719 --> 00:53:53,160
Speaker 2: Yes, I'm sorry that we Yes, did we miss that?

1060
00:53:53,320 --> 00:53:54,560
Speaker 2: We did, yes, talk about.

1061
00:53:54,400 --> 00:53:58,640
Speaker 9: Because we've talked about single cam, Yes about four five? Yes,

1062
00:53:58,719 --> 00:54:01,839
Speaker 9: double cam thirty years from now, I say doublecam. We're

1063
00:54:01,840 --> 00:54:04,840
Speaker 9: gonna have two cameras on set. We're gonna be shooting

1064
00:54:05,160 --> 00:54:06,640
Speaker 9: both of the actors at the same time.

1065
00:54:06,800 --> 00:54:09,279
Speaker 2: Yes, just going boom boom, Yeah, back and forth. Yeah.

1066
00:54:09,320 --> 00:54:11,359
Speaker 1: Oh but wait a second, Kevin, we won't be here

1067
00:54:11,440 --> 00:54:15,759
Speaker 1: thirty years from now because global warming. I mean, you know,

1068
00:54:16,560 --> 00:54:19,520
Speaker 1: some of these bullshit motherfuckers, all right, what's in the

1069
00:54:19,600 --> 00:54:22,840
Speaker 1: bad business man? Yeah, well, I'm trying to talk about

1070
00:54:23,160 --> 00:54:26,080
Speaker 1: you know, business too, and people are making it pretty

1071
00:54:26,120 --> 00:54:27,920
Speaker 1: hard to do my job when they're all full of

1072
00:54:28,080 --> 00:54:30,880
Speaker 1: fucking trash that they want to spew out all over

1073
00:54:30,960 --> 00:54:34,400
Speaker 1: the news at me. So I'm sorry if I got upset,

1074
00:54:34,520 --> 00:54:38,000
Speaker 1: but let's fuck you now. Let's get back at.

1075
00:54:37,960 --> 00:54:40,359
Speaker 2: The bed, let's at the drop. Let's just play the drop.

1076
00:54:47,400 --> 00:54:51,800
Speaker 2: It's the tag on the end of the show.

1077
00:54:52,680 --> 00:54:56,320
Speaker 1: What this is probably the last question that we can do.

1078
00:54:56,560 --> 00:55:00,799
Speaker 2: That's appropriate times you pick the into the show out

1079
00:55:00,840 --> 00:55:02,799
Speaker 2: of the bag. Yeah, that's unfortunately I would have liked

1080
00:55:02,800 --> 00:55:05,560
Speaker 2: to have gone longer. But yeah, uh, this question from

1081
00:55:05,600 --> 00:55:07,520
Speaker 2: as tech. I've heard we have to keep it the short.

1082
00:55:07,520 --> 00:55:09,000
Speaker 2: But I've heard the writer's room can be a difficult

1083
00:55:09,040 --> 00:55:10,840
Speaker 2: place for female writers because if it's a it's a

1084
00:55:10,880 --> 00:55:13,319
Speaker 2: bit of a boys club. Is that like a gay thing?

1085
00:55:14,680 --> 00:55:17,960
Speaker 6: There's whole homo eroticism is definitely part of It's definitely.

1086
00:55:17,960 --> 00:55:20,160
Speaker 2: No question, and it's really I mean that can be

1087
00:55:20,200 --> 00:55:23,799
Speaker 2: like admiration for another, right, I mean, go on.

1088
00:55:23,960 --> 00:55:27,280
Speaker 6: Does that express itself sexually? Sometimes? Admiration? Yeah? Sure absolutely?

1089
00:55:28,320 --> 00:55:29,520
Speaker 6: How else are you going to express that?

1090
00:55:31,840 --> 00:55:33,960
Speaker 2: What's a specific Does anyone have a specific story from

1091
00:55:34,000 --> 00:55:34,800
Speaker 2: a room that they were in?

1092
00:55:35,440 --> 00:55:37,040
Speaker 6: Well, I've had sex with a few of the men.

1093
00:55:40,040 --> 00:55:41,680
Speaker 2: Did I work with? Which ones?

1094
00:55:42,760 --> 00:55:45,160
Speaker 6: I don't. I don't think it's it would be couth, Harris.

1095
00:55:45,480 --> 00:55:48,680
Speaker 2: I don't have any specific stories. But Joe Mandy is

1096
00:55:48,800 --> 00:55:51,960
Speaker 2: always giving off kind of a He's almost like It's

1097
00:55:51,960 --> 00:55:54,480
Speaker 2: almost like he's presenting, you know what I mean.

1098
00:55:58,040 --> 00:56:02,160
Speaker 1: Sort of show you their bulbous and gorged anus in

1099
00:56:02,320 --> 00:56:07,080
Speaker 1: the colors and so forth. You look like a tart.

1100
00:56:07,120 --> 00:56:11,640
Speaker 1: It's a target. It's a target for the wiener I mean, ultimately, yes,

1101
00:56:11,840 --> 00:56:16,120
Speaker 1: for the I'm sorry to be the most sensual of male.

1102
00:56:16,200 --> 00:56:19,960
Speaker 6: We're talking about Joe Mandy's ass and buttle o heal.

1103
00:56:20,160 --> 00:56:22,560
Speaker 1: Well no, but we're saying it's a it's a metaphor.

1104
00:56:22,680 --> 00:56:25,719
Speaker 1: I would think a real writer would know that. And

1105
00:56:25,880 --> 00:56:29,279
Speaker 1: I've now used your own uh phrasing against you.

1106
00:56:29,920 --> 00:56:32,480
Speaker 6: Why are you trying to needle me so hard? What's

1107
00:56:32,560 --> 00:56:36,040
Speaker 6: going on? Can we get into that psychology? Well, you're

1108
00:56:36,080 --> 00:56:38,640
Speaker 6: coming at me strong. Well, you're the only one here

1109
00:56:38,719 --> 00:56:39,800
Speaker 6: who I don't really know.

1110
00:56:41,160 --> 00:56:42,680
Speaker 3: Please so.

1111
00:56:45,000 --> 00:56:45,759
Speaker 5: And so to me?

1112
00:56:47,160 --> 00:56:50,640
Speaker 6: Is that foreign? Dangerous?

1113
00:56:50,880 --> 00:56:51,080
Speaker 3: Look?

1114
00:56:51,400 --> 00:56:53,600
Speaker 1: I know where I stand in the packing order with

1115
00:56:53,719 --> 00:56:57,600
Speaker 1: everyone else. Kevin's my boss. Hayes is smarter than me.

1116
00:56:58,239 --> 00:57:00,839
Speaker 1: Dave King has been very funny today. But you've been

1117
00:57:00,920 --> 00:57:02,880
Speaker 1: quiet enough that I think I might be able to

1118
00:57:03,040 --> 00:57:06,400
Speaker 1: slide in right over. And it's going to take some fancy.

1119
00:57:06,120 --> 00:57:08,560
Speaker 6: Footwork on my right. How do you think it's going

1120
00:57:08,640 --> 00:57:09,319
Speaker 6: to great?

1121
00:57:09,960 --> 00:57:13,759
Speaker 1: It seems that by just and not really responding, you're

1122
00:57:13,840 --> 00:57:18,560
Speaker 1: somehow winning enjoy and just sort of phrasing these questions

1123
00:57:18,680 --> 00:57:20,400
Speaker 1: to me subscribe.

1124
00:57:21,600 --> 00:57:21,840
Speaker 5: On me.

1125
00:57:22,000 --> 00:57:23,400
Speaker 1: I'm just sorry to explain.

1126
00:57:23,520 --> 00:57:24,800
Speaker 9: We didn't think about why.

1127
00:57:24,960 --> 00:57:29,560
Speaker 10: There's what the dynamics are. Somehow I can't win right,

1128
00:57:29,880 --> 00:57:34,480
Speaker 10: it would be hard have boxed you in mask and

1129
00:57:34,560 --> 00:57:35,680
Speaker 10: it's not feeling good.

1130
00:57:35,960 --> 00:57:37,360
Speaker 6: Well, I'm trying to put you on edge and the

1131
00:57:37,400 --> 00:57:40,000
Speaker 6: hopes that that will make them funny, but it's not.

1132
00:57:40,880 --> 00:57:42,320
Speaker 1: It's not happening for me.

1133
00:57:42,840 --> 00:57:44,240
Speaker 2: Do we want to go around and say who we

1134
00:57:45,280 --> 00:57:47,160
Speaker 2: think you're kind of we're seeing a great It.

1135
00:57:47,160 --> 00:57:49,880
Speaker 1: Seems like, oh yeah, is this a new way in

1136
00:57:49,920 --> 00:57:50,600
Speaker 1: which I'm funny?

1137
00:57:50,680 --> 00:57:52,520
Speaker 2: Can Can I stop you guys going fast? We're just

1138
00:57:52,600 --> 00:57:54,240
Speaker 2: going to go around and say which character we each

1139
00:57:54,280 --> 00:57:56,640
Speaker 2: write for on our different shows. It's sort of been

1140
00:57:56,920 --> 00:58:00,640
Speaker 2: illuminating thing. Go ahead. I right for Blake.

1141
00:58:00,800 --> 00:58:02,720
Speaker 7: When I was on A Family Guy, I wrote for

1142
00:58:02,840 --> 00:58:07,040
Speaker 7: the Baby Parks and rec I write for Ben. When

1143
00:58:07,080 --> 00:58:09,240
Speaker 7: I was on Frank TV, I wrote for al Pacino,

1144
00:58:09,840 --> 00:58:13,080
Speaker 7: and when I was on Workaholics, I wrote mostly for Alice.

1145
00:58:14,000 --> 00:58:17,240
Speaker 1: I wrote for Julie on Alan Gregory and I write

1146
00:58:17,280 --> 00:58:18,920
Speaker 1: for a character called ghost Man on.

1147
00:58:19,080 --> 00:58:23,040
Speaker 6: Workaholics, Carson Dally mostly when I was on last called

1148
00:58:23,080 --> 00:58:23,880
Speaker 6: Carson Daly.

1149
00:58:24,920 --> 00:58:30,840
Speaker 2: Paul Schaeffer also online, and we have to give out

1150
00:58:30,880 --> 00:58:33,080
Speaker 2: the pro version, the pro version of the show. Who

1151
00:58:33,160 --> 00:58:33,800
Speaker 2: has it this week?

1152
00:58:33,880 --> 00:58:34,800
Speaker 3: Who has the pro version?

1153
00:58:35,880 --> 00:58:39,640
Speaker 2: Squooby Dupes bought the pro version this week and as

1154
00:58:39,640 --> 00:58:42,360
Speaker 2: a prize, I guess it would be he gets a

1155
00:58:42,400 --> 00:58:43,040
Speaker 2: writing job.

1156
00:58:43,440 --> 00:58:46,280
Speaker 1: Yeah, so anytime if one of these guys you know

1157
00:58:47,320 --> 00:58:50,480
Speaker 1: is you know, sells a show next year, then Scooby

1158
00:58:50,520 --> 00:58:52,440
Speaker 1: Dupes just go ahead and hit him with the email.

1159
00:58:52,680 --> 00:58:52,960
Speaker 3: Bye.

1160
00:58:58,840 --> 00:59:01,800
Speaker 1: This has been an Earwook Media production executive producers Jeff

1161
00:59:01,840 --> 00:59:04,600
Speaker 1: Ulrick and Scott Ackerman. For more information, visit Earwolf dot

1162
00:59:04,640 --> 00:59:04,800
Speaker 1: com

1163
00:59:09,560 --> 00:59:20,200
Speaker 2: Ear Warf Radio Boom dot com, The worf Dead