Latest / The Avid Indoorsmen / A.I. EP. 204: Joel McKinnon Miller Interview!!!!

Transcript

A.I. EP. 204: Joel McKinnon Miller Interview!!!! · The Avid Indoorsmen

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  Dead and Maiden. The sun is shining, not a cloud in the sky.
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  We wouldn't know because we're so happy inside. Some people boat boot on
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  some skis, but we would rather sit on down and talk some movies.
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  Where the Abbot Indoorsmen gun. Listen to our show where the Abbot Indoorsmen at
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  home on the go, where the Avid indoors Man. So come on in
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  and stay. We'll do our best to make you smile. We're indoors man.
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  What is happening? I'm Rob blunt Quist and I'm bats and we are
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  the Avid Indoorsmenbody A very very exciting day for us and a treat for our
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  listeners. We get to talk with the one, the only, Joel McKinnon
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  Miller. Welcome, Joel, Thank you for having me, Thanks for coming
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  on. This is gonna be awesome. We're super We are very excited.
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  So um, I was lucky enough to run into you on the sidelines at
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  a Minnesota Vikings game where my band Home Free was performing the anthem and they
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  founded awesome. By the way, Oh thank you so much. But I
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  got to introduce myself and I got to gush about how I was a big
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  fan of yours, and yeah, I just wanted to thank you so much
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  for coming on here with us anytime. The three of us here, we
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  all have a few things in common, and one being that we all grew
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  up in the frozen north here in Minnesota. I saw that you grew up
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  in Rockford, Minnesota. What was happening in Rockford that that gave you the
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  acting bug? Not much, that's probably I was. Now. Rockford is
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  a real, uh you know, almost a suburb now Mini Appos, about
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  thirty miles west of Minneappos. And I was born in Monticello. When we
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  moved to Rockford when I was probably about four or five, and you know,
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  there was like fifteen hundred people. Everybody kind of knew your business.
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  My mother was a school teacher there, and my father had had a number
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  of different jobs in his life, but had had a lot of bad luck,
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  you know, and so it was up to my mom to provide for
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  eight people, six six kids, and my mom and dad, and so
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  it was it was, you know a little different. My brothers. I've
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  got four older brothers and they're all you know, the next one to me
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  is five years and the oldest is nine years older than me, And then
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  I had a sister who was a year younger than me, who was born
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  with Down syndrome, and she passed away in two thousand and one. So
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  but my time was mostly spent with her, you know. And so I
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  didn't really spend a lot of time with my brothers because they were already out
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  college and working and everything. And so when I was fourteen, I got
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  my first job working at a place called the Rockford House. And it was
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  a bowling alley kind of place that they didn't take out the bowling alley.
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  They just carpeted it and made it into like they bring bands in and stuff.
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  And I was a buzz boy in a dishwasher. And I had lied
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  about my age so that I could get a job because I needed to buy
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  a new bike or whatever. It was kind of on me to do that,
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  so at that time anyway, that's kind of how that all started.
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  But when I was a little kid, I would sing hymns for my grandmothers.
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  And my one grand mother lived in a town called Ballotin, which is
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  in southwestern Minnesota by Tracy Marshall area, sure, yeah, And she lived
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  in the little town and both my parents had eleven brothers and sisters. So
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  I had huge, you know, lots of cousins and aunts and uncles.
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  And when they would come to my grandma's house in Balloton, I would inevitably
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  sing hymns for her, and my aunts and uncles would give me the change
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  in their pockets. And so my cousins knew, oh, he's going to
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  sing. That means he's going to buy the candy. So we could walk
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  into town there and get you know, you get quite a bit of candy
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  for you know, fifty cents or whatever. A buck come back dumping on
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  the bed. Everybody would have, you know, some candy or whatever.
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  But that's how I started with seeing when I was a little a little kid,
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  and I went to um D to be an opera singer and and ended
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  up in the theater program, and things kind of changed, and you know,
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  went to New York and the theater. And so when you were going
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  to go to UMD, were you like, hey, I'm gonna go for
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  opera or were you going more towards theater. No, I was going to
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  go from our opera. My father, my junior and senior year of high
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  school would drive me into the menu in Minneapolis, and I studied with a
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  professor. His name is doctor Roy Schuster. Okay, I think I'm pronouncing
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  his last name right. It's been a long time, but it was like
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  the quintessential professor with the white hair and the big bushy white eyebra, you
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  know. And I would study singing with him. And when it came time,
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  you know, at the end of the junior year, he asked me,
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  so where are you going to go to college? And I said,
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  well, I'm gonna I'm gonna go here and study with you. And you
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  know, there was this was before the days of when your kids go to
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  college and you go to fifteen visits all over the country, you know what
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  I mean. There's a whatever fell your way is where you went. And
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  he said, well you can't and I go, well, why can't I
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  go? Because I'm retiring. So he told me about this retired opera diva
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  who started an opera program in Duluth. She went there along with her husband.
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  Her husband worked for the EPA and at that time they were cleaning up
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  attachonite tailings, which comes from iron ore mining out of like Superior, So
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  he was there working for the EPA. She tagged along because she had an
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  opera program at Kent State and started her program there. So my teacher at
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  the UH and Minneapolis told me about this. So my dad and I drove
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  up there one day and we came into this big lecture hall and we were
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  kind of up high and down on the floor. There was a big grand
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  piano and there was this student with red hair and a red beard, and
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  he's playing the piano beautifully, and there's all these other people and they're all
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  in like sweatshirts and sweatpants, you know, kind of moving around, and
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  they're dragging this singer across the floor. He's a bass and he's singing an
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  aria and they're slowly dragging him and lifting him up and turning him and he's
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  not missing a beat. He's just this amazing voice and it was beautiful,
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  and I said, I want to do that, and so then that's how
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  I ended up at UMB and then so I was an opera performance major for
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  two years, and then the head of the theater department he asked me if
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  I wanted to if I was going to audition for the summer theater. They
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  had summer theater at that time. He said, no, I hadn't thought
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  about that, he goes, I think you should audition. Okay, So
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  they cast me as Meal the Back in South Pacific and Pseudolus and a funny
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  thing out on the way of the Forum, Teddy and Arsenic and Old Lace.
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  Sure, and then there was a world premiere of a finish play where
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  I played the drunken buddy of the main guy. Anyway, there was this
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  incredible acting challenge. And I hadn't even had an acting class, but I
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  had had opera classes, so I had performed opera students, and I had
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  done a little theater in high school. So this really set me out because
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  every night I would do a different character. You do with South Pacific one
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  night, the next night, Forum, the next night Arsenic and the Lace
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  or whatever, and you'd run them for the summer. And it was an
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  incredible training ground. Sure, so you really went straight into the fire.
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  Oh yeah, that's a lot of stuff to learn right away. There was
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  a lot. But so I remember my time. They were very fondly.
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  So after that summer I moved over to the theater department a lot of be
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  a musical theater as actor. And then one of our opera students was a
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  couple of years ahead of me, and he was in the director program and
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  he was directing a play called When You Coming Back, Red Rider, and
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  it's pretty intense drama. And we were in a little black box theater and
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  he gave me a role where the character came on in the beginning of the
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  play and he came on at the end of the play. It was two
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  act play, and he would have me sit there for the whole rehearsal after
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  I do my scenes and watch how he was doing it. I don't know
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  if he was doing it on purpose or just kind of how it worked out,
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  but I would listen to how he was communicating to the actors, how
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  they were responding to his direction. And I learned a tremendous amount by having
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  to sit there and listen. So then after that point then I started doing
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  plays, all kinds of plays, and I just had a It was a
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  great experience from me there because they let me perform so much. Sure,
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  and that's awesome. That's probably the best way to learn how to be an
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  actor by doing you know, just doing it, just going for it.
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  Yeah. Well, and good for you for not being afraid of that moment,
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  right, which is it's easy to talk yourself out of doing stuff like
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  that, I feel like sometimes. So that's pretty awesome that you went,
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  you know, right in there and went for it. That's cool. And
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  so then did you actually leave UMD then you went to the acting company?
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  Right? Well, first I went down to Minneapolis. I got cast in
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  Kiss Me Kate with the Minnesota Now Formed at the Orphan Theater there on Hennepin.
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  Yeah, and the Children's Theater when they were I did the five hundred
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  halfs of barthol New Covens. So now I'm making money, you know.
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  Yeah. So I left college and I went down there, and then I
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  came back for a quarter and I was one of the professors, was directing
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  Midsummer Night's Dream. And if you want to direct it with me, you
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  do the you do the mechanicals, you do the bottom and snug and all
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  those guys, and he goes and I'll do the lovers and IM sure.
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  So, you know, kind of had a hand at directing something I'd never
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  done before. It was a lot of fun. And then I did a
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  play called Getting Out by Marcia Norman. It's pretty much a two hander,
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  meaning a two person play, and the character I played was kind of an
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  abusive prison guard and the woman was in prison and it was It was a
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  heck of a role and an experience, and we ended up being selected to
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  go to the Irene Ryan Regional competition, which took a million South Dakota.
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  Unbeknownst to me, there was a director from the John Houseman's Acting Company.
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  The executive director was there to cast for a touring company that was going to
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  be like the Farm Club for John Houseman's Acting Company, so they would go
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  play at university and then a couple of weeks later the acting company, the
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  Big Guns would come in you know and do and do their show. So
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  he was there auditioning for that. So I had heard about that, so
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  I was going to audition for him. I performed my role in Getting Out,
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  and then I'd had a material for the Irene Ryan audition is for a
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  scholarship to get to go to graduate school or a or a you know,
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  a training program somewhere. Yeah, And unbeknownst to me, this director had
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  seen me do my role in the play. He had been to my Iron
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  rhin auditions and now the day of my audition for him was the day after
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  we performed our play and we had all had a little too much beer.
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  And I show up to do this audition for him, and I'm not feeling
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  very good. I'm laying on a bench in the hallway and the gal who
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  was you know, coming out and bringing people in kind of running the audition,
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  I said, I'll just tap you if you fall asleep or whatever.
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  You And so it was finally my turn to come in. And I had
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  had all new material for this audition. I had, you know, so
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  he, unbeknownst to me, he saw me do the play, he saw
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  new material that I did for the Iron Ran. I had new material for
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  him. I did that and the whole time in my head, I'm saying,
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  I just want to get off of this stage because I felt really bad.
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  And I started walking off and he said excuse me. I said yes.
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  He goes, can you do anything else? I go, yeah,
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  sure, And I had another monologue, you know, tucked away, and
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  I did that. Goes okay, thank you, and I started leaving.
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  He goes, you anything else, like, dude, I really want to
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  but I go, yeah, I actually I do. I've got one more
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  thing, you know. He said, what's that? I said, it's
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  um. I said, I'll never play the part. I don't think,
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  but it's a it's a speech I love. I go it's the dagger speech
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  from Macbeth and he goes, let me hear. So I did that,
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  and he goes, okay, thank you. Anyway, I got into that
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  company, and so we went out on the road and we were making two
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  hundred and fifty bucks a week. We had to pay our hotel room and
• 14:48
  our food out of that, and so we were sleeping, you know,
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  three guys to a motel six, you know, with the Keith black and
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  white TV, you know that, and and trying to save money to give
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  my wife or my future wife an engagement ring. You know. So we're
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  touring and then the acting company would come behind us, and you know,
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  we had to set up the sets. We had to take them down,
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  build a tractor trailer with all the sets. They could make us ride in
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  the bus, however long it took because we weren't union, it was a
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  non union thing. Sure. So we're in the West Florida and they ran
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  out of money and they said, well, you can ride the bus to
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  Miami and we'll drop you at the airport, or you could ride to New
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  York will drop you at the airport. But they didn't have to pay for
• 15:39
  you to go home because it wasn't a Union gig. So I flew home
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  from Miami. I had saved enough money to buy a ring for my fiance
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  and proposed and everything. And that was in December ninth, nineteen eighty three.
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  In February, our January, they asked me to come join John Houseman's
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  acting company in New York. There was an actor, his name was Richard
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  Ibluski. And Richard left to go to the Guthrie and he was at the
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  Guthrie and I think until he I don't know, five six years ago,
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  something like that. He was one of the He was the character guy and
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  you know, the big guy. And so they asked me into the company.
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  And then they were going to be touring through Minnesota, and so my
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  fiance interviewed for the whig and wardrobe assistant position and they hired her. And
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  so that was February of eighty four, and her mother said, you're not
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  getting on a bus with that guy unless you're married. Sure, we had
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  three months to plan our wedding. It was May of eighty four, and
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  so we've been married just May twelfth was thirty nine years ago, so wow,
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  congratulations, thank you. Sorry. Three years of marriage was on a
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  bus traveling all over the United States doing Shape and other classics. So that's
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  a beautiful that should be a movie in and of itself or something, you
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  know like that. It's crazy. And then we ended up in New York
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  and you know, we were on I remember, you'll get a kick out
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  of this because you guys know about this business. But you have to invite
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  agents to see you perform, you know, or whatever. However you can
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  get an agent. There was an actor in the back of our bus.
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  We had a table and place to play cards, and we would end every
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  season with a run off Broadway of our shows. So the first year,
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  the first of the three years that I did this, I went to the
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  back of the bus one day and al is back there and al right now
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  is like a very well known soap opera director here in Hollywood. So it
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  was cool, cool, cool thing. Anyway, alt the bag and he's
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  got a stack of resumes and pictures and everything, oh, in envelopes.
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  I said, oh, what are you up to? He goes, what
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  do you mean, I'm going to do a mailing and I said, what.
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  He goes, Joel, we're going to perform in New York. You
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  know it's going to get an agent. I go, well, I want
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  to tour another year. I really don't need an agent. He goes here,
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  So he wrote down two names. So I sent two pictures and resumes.
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  One of the people came to the show and got a hold of me
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  afterward and Mind assigned me. So that's how I got my agent. That's
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  amazing. So I got so I got my theatrical agent, film and TV
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  agent that way, and he said, come by the office. We're wanted
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  to do a couple of monologues. So I'll go into this tiny little office
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  in Manhattan. I'm sitting on a sofa and they're sitting on the ear to
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  the desk, and the phone is ringing, and I'm doing some Shakespeare piece
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  sitting there. It was the weirdest moment of my life. You know.
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  They go, yeah, that was great, and we're gonna hire a pianist
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  and we're gonna meet you down at one of the theaters and Broadway wanting to
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  come in and you know, sing for us. And so then I sang
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  for them. So that was good. That went well, and then he
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  said, okay, you ready, let's let's sign the papers. You don't
• 19:22
  want to have you do this. I go, well, I'm going to
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  tour another year. Yes, that's okay, I don't want your money.
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  He goes, just let's sign and when you're done, we'll work together.
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  I go, that sounds like a good deal. So I signed with him.
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  I go out on tour the second year. At the end of the
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  second year, he goes, okay, ready to you know, be in
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  New York and you know start. I go, I'm gonna go one more
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  year. He goes, okay, he goes, I don't want your money.
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  Go ahead, when you're done, I'm here. So I went out
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  toured another and at the end of that third year, I thought, oh
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  my god, this is the life of an actor, hurting him a paycheck
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  every week. This is this is how it is. And it was horrible.
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  I said, they're waiting for the phone to ring. Nothing. I
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  had an agent, everything, nothing happening. Sure, and my wife and
• 20:17
  I would walk over to Brooklyn Heights where they shot What's the One with the
• 20:26
  Moon with Share and Nicholas Cage. That neighborhood they shot we would walk there
• 20:36
  every Sunday and walk down Montague Street and sit down in the promenade looking out
• 20:41
  at Manhattan, having a bagel and reading the New York Times. And I
• 20:45
  took and Montague Street was full of restaurants, a little, tiny, little
• 20:49
  street in Brooklyn, and I said, when we were walking back, I
• 20:53
  go, I can't. I had been taking unemployment. Unemployments are very good
• 21:00
  thing, you know, for our business, but for me it was not
• 21:03
  very good for my psyche that it was making me depressed. So I said,
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  I'm going to find a job at one of these restaurants on the way
• 21:14
  home today. So I'm going to the Irish Pub and they hirired me.
• 21:18
  So have you waited tables before? Yes, I have. I haven't done,
• 21:22
  you know, and made myself indispensable at this pub. And then eventually
• 21:30
  I knew I would need to ask for a favor, So of course it
• 21:33
  came, and I was going to work up in Hartford and do a play
• 21:37
  or the Folder in Washington, or for Joe Papp at the Public Theater.
• 21:42
  And when he was living I worked a couple of times over there, and
• 21:47
  number of plays in Manhattan, and he would let me leave and he'd say,
• 21:52
  just call me two weeks before you're done, and we'll put you back
• 21:55
  on the schedule. I'd come back, I'd have all the crappy shifts.
• 21:59
  Yeah, everybody would have been working so hard because they never replaced me that
• 22:04
  hotly. They would want time off. I would pick up their shifts and
• 22:07
  pretty much I'd be back to my normal shifts along and then the next play
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  would come or whatever. So that was the one time in my career that
• 22:17
  I ever had unemployment. So sure, and so you stayed out there,
• 22:22
  When did you make the move to La then? So in nineteen ninety our
• 22:27
  daughter was born, and so I stopped doing any kind of performing because my
• 22:34
  wife was our breadwinner. She was working in the fashion business and she was
• 22:40
  assistant to a person in a company that did the private label blows, you
• 22:45
  know, for A and s Abraham and Strauss and Bloomingdale's, Sure, and
• 22:53
  so she worked there, and so I took the year to take care of
• 22:59
  her daughter. So I would get up in the morning with them and I
• 23:03
  would make them breakfast and everything, our daughter and my wife, and then
• 23:08
  she'd get on the train and go into Manhattan, and I would when my
• 23:12
  daughter took a nap. I would take a nap because at four o'clock I'd
• 23:17
  bring her around the corner to this little Italian lady that lived in our neighborhood.
• 23:21
  And then I'd ride my bike over to Montague Street in Brooklyn Heights and
• 23:25
  Barton till one two in the morning or wait table whatever they were asking me
• 23:29
  to do, you know, because I learned everything, because I wanted to
• 23:33
  be one of those guys, a utility player that you know, we could
• 23:37
  throw him in and we're covered. Yeah, And because I didn't want them
• 23:41
  to her, not want me around, you know. So I would go
• 23:48
  and work and I would come home and I would do the same thing again,
• 23:51
  you know. And then in January of ninety one, she got laid
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  off with a whole bunch of people in that business. It was there were
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  what was it called junk not junk bonds. Was it junk bonds? Maybe
• 24:06
  it was junk bonds. There was something, yeah, something like that in
• 24:08
  the financial district. Its late eighties, you know, our you know,
• 24:14
  ninety yep, ninety one, and so our daughter just turned one during that
• 24:19
  month of January and beginning of the months she gave her notice and gave her
• 24:23
  notice to our landlord for our apartment, and on January thirtieth, we drove
• 24:30
  through Manhattan and her sister came out and got our daughter went home on the
• 24:36
  plane. So my wife and I and our dog took the moving truck to
• 24:41
  to Loose and put everything in storage there because that's where her mom and dad
• 24:47
  were, and she and our daughters stayed there, and I came out.
• 24:52
  I knew we knew one other couple in La, and I would sleep on
• 24:56
  their bedroom floor or their den floor, and her bedroom well, let's sketch
• 25:00
  you in there then. And I you know, I rented a car.
• 25:04
  I never forget. I rented a car from Ugly Duckling Car Rentals. I
• 25:08
  don't know if you remember or something like that. But it had no passenger
• 25:14
  seat, you know, it just had a driver's seat. There was no
• 25:18
  seat in back. It was twelve bucks a day to rent this car.
• 25:22
  And so I she used her severance, She got a half a year severance
• 25:26
  to make our move. And up until that point, my agent had been
• 25:30
  asking me, you know, he had opened an office in La, come
• 25:33
  on out here, come on out here. It's like, I can't leave
• 25:37
  my wife and daughter and come out and hope I get a job, you
• 25:38
  know, I you know, very practical Minnesota. You know, you don't
• 25:45
  go somewhere if you don't have a job, you know exactly. And so
• 25:49
  so I went out there and I was out here for about three months by
• 25:52
  myself. I found a little house to rent. I got a car out
• 25:59
  of the US. It was called the Recycler. It was like Craigslist,
• 26:03
  only it was a found a car to buy because we never owned a car,
• 26:08
  and living in New York and got a bar job at lunch and of
• 26:15
  our job at dinner. And they came out and I would take the city
• 26:21
  bus downtown LA and I'd work lunch and I'd make about twenty five bucks waiting
• 26:26
  tables, get on the city bus, come back to Highland Park where we
• 26:29
  were living. And Hyland Park right now is a very trendy place. When
• 26:36
  we lived there, there was a lot of gangs and not as such a
• 26:38
  great place for a family. Sure, but i'd come back on the bus,
• 26:45
  they'd hang out with me. My agent was sending me to meet and
• 26:48
  greets. They weren't even auditions, just meeting casting people. So they would
• 26:52
  come with me. Because we had the one car and we'd go. I'd
• 26:56
  go into the meeting and they'd wait for me. I'd come on and we'd
• 26:57
  go to the park with our daughter or whatever her and then I'd bring them
• 27:00
  home. Then I would take the one car and drive to West Hollywood and
• 27:03
  you know, partent to one or two again and do that whole thing for
• 27:08
  a number of months until October. So that was April till October. Then
• 27:14
  I booked Murphy Brown as my first really big break, and they needed in
• 27:19
  Minnesota or the Midwest. Murphy Brown wanted to buy this videotape I had taped
• 27:27
  by accident. I had my family there on a vacation supposedly, and I
• 27:33
  caught a senator coming out of a hotel room with a young and so it
• 27:38
  was between Ted Copple and Murphy Brown. They wanted to buy this tape.
• 27:42
  So I was being wined and dined for the whole episode with my family.
• 27:47
  But you know, they wanted me to talk. You know, well here
• 27:49
  we are at all sure? Yeah, they had me auditioned, like I
• 27:55
  don't know, I think I got called back like three or four times.
• 27:59
  They just don't do that, and you know, they never sure. But
• 28:02
  I had no TV credits, and they were worried about it, but every
• 28:07
  time I came into it the same way and they liked it. Finally they
• 28:11
  hired me, and after that aired. It was at that time it was
• 28:18
  a number one show on TV because it was just ABCNBCCBS. Really, there
• 28:22
  was no cable or anything. Right, it was a number one show.
• 28:26
  It was the time where Dan Quayle had made a comment about a single woman
• 28:30
  having a baby. So everybody was watching this show, and so everybody in
• 28:34
  the business was watching the show. And so after it aired, I was
• 28:40
  able to give up my lunch job and I started getting little co star things
• 28:45
  here or there. But and that one was I. I was the guy.
• 28:48
  I was the guest star. I was in every scene about the episode.
• 28:52
  It was just scared the hell out of me, but it was great.
• 28:57
  Everybody was so nice to me. And when they'd run lines, we'd
• 29:02
  go into Candice Bergen's you know, dressing room, and she would have all
• 29:04
  this stuff from her father, Edgar Bergen, and Charlie McCarthy sitting there her
• 29:11
  you know, the little he was a ventriloquist. He had the dummy there
• 29:15
  and sure those all those little mementos were in her dressing room and they're thinking,
• 29:21
  what am I doing in here with all from this hit TV show?
• 29:26
  Yeah, but that was that was how it got it started. That's so
• 29:32
  cool that show was. It was in front of a live studio audience,
• 29:36
  right, yes, it was, And that was that was a little scary
• 29:40
  out of it. The director, I can't think Peter Bonners and he played
• 29:47
  the dentist on the Old New Heart Show, but he became a TV director,
• 29:51
  comedy director, and he was directing the episode and he knew it was
• 29:56
  my first time ever. And so right before we're gonna do our first scene,
• 30:02
  we're in the elevator. It opens up into the bullpen of Murphy Brown's
• 30:06
  set um. He comes over right before they close the elevator Doorning goes,
• 30:11
  Okay, Joel, we got three hundred people in the audience and we got
• 30:18
  I don't know, twenty twenty five million at home. Ready, wow,
• 30:23
  action, you know it's like you you know, so he leaves that,
• 30:29
  he snicker, you get a laugh for you know, he reach the business.
• 30:33
  So the thing closes, The elevator closes, and now it's supposed to
• 30:37
  open. And then the first thing I'm saying I've got my video camera and
• 30:41
  I go and and it was the show was called FYI, right right,
• 30:45
  come out? I go, well, here we are at FYI. Well
• 30:48
  there's somebody walking by me here at FYI, you know, and I'm video
• 30:53
  taping. And right away I hear cut, Like what's that about? Yeah,
• 31:02
  Peter comes in and he goes the video camera, gotta take the lens
• 31:07
  cap on nice. So I did my first mistake. That out of the
• 31:12
  way. Then I calmed down. My wife was in the audience, however,
• 31:15
  hyper ventilating, so I bet she's like, please don't fire him right
• 31:19
  now, please don't. You know, back of a start. But that's
• 31:25
  amazing I saw. I mean, you've had such an amazing career. That's
• 31:29
  so cool. That's how it started. But you've wracked up over a hundred
• 31:33
  acting credits on IMDb. I saw. The first time I remember seeing you
• 31:38
  was as the garage attendant in The Truman Show, which is having its twenty
• 31:44
  fifth anniversary already, which is crazy. Yeah, but I loved that film
• 31:48
  and thought it was so fun seeing snippets of regular people watching The Truman Show.
• 31:53
  And you were so funny, such a standout. How was that for
• 32:00
  you. Well, here's a couple of little stories if you want to hear
• 32:04
  him. So my agent calls me and said, there's an audition for this
• 32:10
  a movie called The Truman Show. It's being directed by Peter Weir. It's
• 32:15
  one line I go, I'm there, I'm gonna. I had heard of
• 32:19
  Peter Weir. I loved the movie Witness and all that. Sure, so
• 32:23
  he said, okay. So that kind of Friday they called. They go
• 32:28
  okay on Monday, No, no, you will do the audition first,
• 32:32
  because that's pretty good. So your audition, you've got to go meet Peter
• 32:37
  over at Raleigh Studios studio over by Paramount. And so I go over there
• 32:43
  and there's a little bungalow and I go to the door and I opened the
• 32:47
  door, you know, kind of tapped and opened the door and goes bang
• 32:51
  right into the back of a chair. The casting director is sitting at the
• 32:55
  other side of his desk with his back against the door, having his lunch,
• 33:00
  and his assistant is on the other side of the desk, you know,
• 33:04
  where he should be sitting. And there's a guy you know over on
• 33:07
  the fountain, you know, talking, you know, from Australia. You
• 33:10
  know, he's over here talking his own and so I just poked my head
• 33:15
  in, you know, I'm sorry, and the assistant said, you know,
• 33:20
  just I go, I'll be outside. I'll be outside. So I
• 33:22
  went and sat on a bench and I'm sitting there and I have my piece
• 33:27
  of paper with me with my with my one line on it, you know.
• 33:30
  And so I'm sitting there on the bench and all of a sudden,
• 33:34
  the guy who was on the phone with the Australian accent comes walking out and
• 33:39
  he's got a cigarette. He's got a big ash on the end of it,
• 33:43
  you know, and he's got a coffee starter from cup coffee right up
• 33:49
  to the top. And he goes hello, and Peter were what should you
• 33:52
  must be Joe? He says, yes, yes, I am. Put
• 33:55
  out my hand. I stood up to shake his hand. I'm shaking his
• 33:59
  hand, and the coffee's like going all over his shoes and I'm like,
• 34:04
  and he's still shaking my hand, and I'm like looking donald like, holy,
• 34:07
  you know, it's all over his shoes. But he's not even he's
• 34:10
  got his He's just just zeroing in on me, just watching. He goes,
• 34:15
  all right, you get your side to here. He goes, let's
• 34:17
  let's let's run the scene. So we sit down. He goes, all
• 34:21
  right, I'll read the guy before and you read, you know your pod.
• 34:24
  So I read. He reads the line the queue, and I do
• 34:29
  the thing. All right. He goes, let's turn it about. You
• 34:30
  do the other line. I'll do this one all right, all right,
• 34:34
  you're ready to go put it on tape. I go, yeah, sure.
• 34:36
  So we go inside. Now the casting director is behind the camera.
• 34:40
  He's having some kind of issue with his breathing for whatever, like sinuses or
• 34:47
  asthma or something. But he's like this, guys, like this heavy breathing
• 34:53
  thing going on. I'm sitting on a sofa, Peter where you know,
• 34:57
  I'm gonna read with you. So he's over to this side. So he
• 35:00
  goes, all right, i'll do this. Give me a queue. You
• 35:02
  do you do the line, so it gives me the queue. I do
• 35:06
  the line, and also I can hear is this and I'm thinking, oh
• 35:12
  my god, if anybody ever sees us, they're going to wonder what was
• 35:14
  going on in that room, you know. So then he says, all
• 35:19
  right, let's turn it about. I'll read your line. You know you
• 35:22
  read the other line and then I'll read your Line's all right, so I
• 35:27
  read the queue line. He read my line, and then he started improvising.
• 35:31
  So then I started improvising, and we kind of you know how an
• 35:37
  improv kind of goes. It feels like it goes on for an eternity.
• 35:39
  But it was probably you know, thirty forty seconds in it or whatever,
• 35:45
  back and forth, back and forth until he broke it. He broke the
• 35:49
  improv by starting to laugh. I thought, well, that's a good sign.
• 35:53
  He goes. He goes, Joe, I want you to be in
• 35:55
  my movies. So he called my agent right there. I've never had that
• 36:00
  before. You got on the phone. He called my agent, says,
• 36:02
  yeah, I want Joe on my movie. Blah blah blah. Wow.
• 36:07
  A few weeks later whatever, they're going to start shooting. So my agent
• 36:10
  calls me on a Friday. He goes, okay, Monday morning, downtown
• 36:15
  La, six am. You're gonna do a Truman show like a fantastic and
• 36:21
  they're going to pay you. And it was either like seven hundred for the
• 36:23
  day or a thousand. It was no more than that. And when you're
• 36:27
  doing a day part like this, you want it to last an hour.
• 36:32
  I really feel like I made I made seven hundred bucks. Now that's a
• 36:37
  wonderful life. Or you wanted to go like sixteen hours. Lots of over
• 36:42
  time, you know. And so I get down to the parking garage.
• 36:46
  He goes, everyone, I want you to meet my friend Joe. So
• 36:51
  he introduces me to everybody. He was just the sweetest person. He goes,
• 36:54
  all right, Joe, he goes, we got the cameras right here
• 36:58
  in the middle of of this TV. You got all the gut side of
• 37:01
  the TV, and you're gonna look right here, right down the barrel,
• 37:06
  right into the camp like you're watching the Truman Show. All right, should
• 37:10
  we go? All right? So we get ready, we sit down,
• 37:15
  all right, and action. So we do the do my one line?
• 37:17
  Right? It was all right? Good? Do it again? So we
• 37:21
  maybe did it a couple of times. All right, good, So Joe,
• 37:25
  I want you to come from the garage with a pizza box and then
• 37:29
  just say whatever you think you would say. Oh, okay, we're doing
• 37:35
  improps now. Yes, So I kept walking in with a pizza box,
• 37:39
  asked the guy or whatever you know, blah blah blah. All right,
• 37:43
  Joel, now and this one Truman is doing blah blah blah, and so
• 37:45
  I don't want you to comment about that. All right, all right,
• 37:49
  Joel, do this, do this, do this. We did a number
• 37:51
  of things, and then he goes, all right, I think we got
• 37:54
  it. And it was like four hours. So I'm like, I made
• 37:59
  money today. This is great. So I leave and I go home,
• 38:02
  and about six months later, I get a call from my age and he
• 38:06
  says, they called from Truman show you have looping looping, which was with
• 38:12
  the sound. It's actually a d R. It's audio replacement, sure recording
• 38:19
  or whatever. It's like lip syncing if the dialogue group clear. So I
• 38:25
  show up at Paramount at a recording studio, and I opened the door and
• 38:30
  there's Peter were and he gives me this big hug and he goes, you
• 38:32
  end my movie knowing wow, what he's talking about. Yeah, at the
• 38:38
  end of the movie, you hear me say the screen has gone all fuzzy,
• 38:45
  and they say, what else is one? Where's the TV guy?
• 38:51
  Where he goes? And I had made that up, you know, and
• 38:58
  I had no idea what he's talking about. So we did that, and
• 39:00
  we did it all of a sudden there was another little Then yet there was
• 39:05
  another one and another one. I'm like, this is great, you know,
• 39:08
  because I told my wife before I went and go. They kept my
• 39:12
  line, I'm in the movie. You know, I'm going to go do
• 39:15
  a dr you know I'm going to be in the movie. Well, I
• 39:17
  had no idea. So a few months go by, Peter were would always
• 39:22
  take his movie back to Australia to do editing. Sure, do more months
• 39:28
  go by. I hit another call, you got another day of adr.
• 39:30
  Well that's another five six hundred dollars each time you do a little thing,
• 39:36
  you know, So this is this is really great. And I show up
• 39:38
  and there's more of these little vignettes. And so when it came out,
• 39:44
  I had no idea that it was going to be popping in and doing those
• 39:47
  things. And people always ask me, gee, you must have made a
• 39:53
  lot How long did you work on that? Gee you must have made a
• 39:55
  lot of money? No under box or whatever it was, And they go,
• 40:01
  well, how was Jim Carrey? Well I never met him, you
• 40:05
  know, but it was a great, a great thing to be a part
• 40:10
  of. It was so ahead of its time. YEA, think about how
• 40:15
  we use our phones now, you know, capturing moments straight away. And
• 40:20
  you know some people creep on him when you're walking through the airport. You
• 40:23
  see him and you just want to go, just come over here and ask
• 40:28
  for a picture. Let's just do that. Kind of weird, you know,
• 40:31
  But that's that's kind of how that all went soul. Kind of a
• 40:38
  long story, but it's kind of a neat one for young people, young
• 40:43
  actors or whatever, to be careful what you say no to because it's just
• 40:47
  too good for just doing one line. You never know what it could turn
• 40:51
  into. And I've had that happened a number of times. It happened with
• 40:54
  a commercial where I was asked to do a commercial for Alamo Car Runs and
• 41:02
  I was going to make five hundred dollars and the Danny Goldman was the casting
• 41:07
  director and he had been very good to me over the years. And my
• 41:10
  agent and I said to her, I said, should I go? Because
• 41:15
  yeah, it's Danny, he's been really good to you should probably go.
• 41:17
  I go, Okay, Well, I get the part, get my five
• 41:20
  hundred dollars, And you know, that's that's all it was supposed to be.
• 41:24
  There was going to be no residuals or anything like that. I wasn't
• 41:28
  going to play on TV. He was going to play in an air in
• 41:30
  an airplane because I was holding up all these flash cards about hitting a car,
• 41:36
  so nobody had to have headphones. They would see this ad on the
• 41:39
  plane. Then a few, you know, a few months ago, buy
• 41:44
  in and my agent coast are you sitting down? I go, yeah,
• 41:49
  he because you remember that Alamo and commercial. Yeah, well they want to
• 41:52
  give you forty thousand dollars to use a picture of you on a billboard yep,
• 42:00
  and to do five more of these commercials on an airplane. And at
• 42:04
  the time, our backs were against the wall. We were wondering about where
• 42:07
  we were going to live because our house was getting real close. Our daughter
• 42:12
  and son were sharing a room. It was a tiny little home we were
• 42:15
  in. And so at that time, an actor had to have twenty percent
• 42:19
  down. There was no five percent loans or ten percent. Somebody was a
• 42:24
  regular nine to five job to maybe give mine with fifteen percent, but an
• 42:28
  actor you had to have twenty percent. But where am I ever going to
• 42:31
  get twenty percent to put down on an house? And so my house is
• 42:37
  called Cassa to Atimo. That's incredible perfect. I love that. Well.
• 42:46
  I'd love to talk to you a little bit about You've been in so many
• 42:50
  amazing TV shows as well. I got into Big Love while I was in
• 42:54
  college. That was such an amazing cast, and you were so great Don
• 43:00
  Embry and that a lot of your scenes were with Bill Paxton, who was
• 43:04
  always one of my favorites growing up. And yeah, I was so sad
• 43:07
  to hear of his passing. I was wondering what it was like for you
• 43:12
  to work with him, or if you had any fun Bill Paxson stories.
• 43:15
  I do have a couple. We became very good friends. We would always
• 43:21
  work on Mondays. They would do our they would shoot our scenes on Mondays.
• 43:24
  And he told me this later on. Why they did that, He
• 43:28
  goes, because they knew they would get their day. Because he and I
• 43:31
  worked a lot the same, we didn't fool around, and we always came
• 43:37
  really prepared. We always came more than on time, and he was always
• 43:43
  on time. He was always He's just a real pro, you know,
• 43:47
  And so we both kind of had the same kind of work ethic, and
• 43:52
  so we would bang out all of our scenes for an episode in one day.
• 43:57
  And and then we would call each other. We my son and his
• 44:02
  son were the same age, so we'd call each other and say hey,
• 44:07
  you'd say, I'm gonna bring James tomorrow and let him hang out. It
• 44:10
  was in the summer or whatever, and I'll bring Owen And so our sons
• 44:15
  would play and have a great time. And I remember one time they both
• 44:21
  came on to the set. We were working with Harry Dean Stanton this particular
• 44:24
  day. Sure, and Harry was just a sweetheart, but he didn't he
• 44:32
  would he would get really frustrated if he messed up a word or whatever.
• 44:37
  You know, he was a real pro. So he would be out there
• 44:39
  and he'd start throwing these f bombs around, you know, and my son
• 44:44
  is sitting there with headphones on, listening and going, yes, you already
• 44:51
  said that, you know. And so that was a lot of a lot
• 44:54
  of fun. But they came in this one day to the set and they're
• 44:59
  both sweating, and my son had his pockets just full of candy because there
• 45:02
  was always treats on the craft service table. And I said, what have
• 45:07
  you guys been doing? He said, well, we've been playing Hide and
• 45:10
  Sneak, Like where you guys been playing hid and Seek. He goes,
• 45:14
  well, Dad, we started in your trailer, but then we moved to
• 45:16
  mister Paxson's trailer because his is a lot bigger. Thank you for putting me
• 45:24
  in my place. The kids will always make sure you know right. But
• 45:30
  no, he became a good friend, and he came I remember when I
• 45:36
  said, come over and have lunch with me at Brooklyn nine to nine one
• 45:38
  day, and he came over, and then he went down to the set
• 45:42
  and people just flipped out meeting him. Just such a class act. And
• 45:47
  then, probably about six months before he passes passed away, we went to
• 45:52
  lunch. And this was twenty seventeen when he passed away. We were we
• 45:58
  were we were going to meet over in Hollywood. He had just started that
• 46:01
  show training day. It was on CBS, that's right, yea, And
• 46:08
  I was still doing Brooklyn ninety nine. But we both had a break or
• 46:12
  whatever, and I said where you want to meet? He goes, well,
• 46:15
  let's meet at the Chateau, meaning the Chateau Marmont, which is the
• 46:20
  Hollywood cool hang up, way out of my league. Okay, sure,
• 46:25
  you know, put on a blazer and everything, and I show up over
• 46:29
  there, and I come out to the patio area where they had seating,
• 46:32
  and of course there he was looking. You know, he could a perfect,
• 46:37
  perfect seat in the whole place to be seen. He was right,
• 46:42
  and it wasn't bad about him. He was just such a great guy.
• 46:45
  And he'd loved to talk to people, you know that he wanted people to
• 46:50
  see him so that he'd go talk to him, you know, And so
• 46:53
  I could, and I sat down, so I had my back kind of
• 46:57
  to the rest of the restaurant. It were we're having getting ready to order
• 47:01
  lunch, and we're having a drink and we're talking, you know, and
• 47:05
  he goes, hey, Joel, He goes, you ever met Mini Driver?
• 47:09
  I go, no, she's right behind his Mini driver. Let's go
• 47:14
  meet Mini Driver's nice? Okay, all right, talk goes see many Bill
• 47:21
  Paxson just always wanted to me. And she's like, oh God, you're
• 47:23
  just the best. But she's there with two of her sisters, were visiting
• 47:28
  from out of town or something, and he's enterg have you met Joel McKinnon
• 47:31
  Miller And he's on Brooklyn nine night. She goes, oh, yes,
• 47:34
  yes, I love that, Joe. We're gonna and that's like, I
• 47:37
  can't believe he's just like running up to somebody in chatting with him. But
• 47:42
  we just had such a blast. And we had taken our picture together out
• 47:46
  by the valet when we were there going to leave, and I had sent
• 47:55
  he had sent me the pictures he had had the valets his camera. He
• 48:00
  sent me the pictures. The first one was kind of a close up of
• 48:04
  the two of us, and I said thanks for the picture, and they
• 48:07
  sent another one. It was our whole frame. We were all in the
• 48:12
  whole frame and he goes here you go a full frontal. You know,
• 48:21
  that's incredible. Yeah, that's beautiful. But he was a good, good
• 48:24
  friend, and they and they had two services for him, a family one
• 48:30
  that I was invited to, and then one with the Hollywood you know over
• 48:36
  it. I think it was at Warner Brothers or something. Sure, all
• 48:40
  these Ron Howard and Tom Hanks old these people's folks and many things about it.
• 48:45
  But he was just just a really really great guy. I felt so
• 48:51
  fortunate to work with him and to have him be my friend. Yeah,
• 48:55
  that's pretty wonderful. What. Yeah, you've you've worked a ton of amazing
• 49:00
  people in another series that I was a monster fan of was. Of course
• 49:04
  Brooklyn nine nine, which you brought up. Your cast was such an ensemble
• 49:08
  cast and your chemistry together was so amazing. We all fell in love with
• 49:14
  each one of you. Were you guys having as much fun on set as
• 49:19
  it looked? Most? Definitely? Yeah, Yeah, we had a great
• 49:24
  time we had. Andy was one of our producers, so he was like
• 49:29
  one of our bosses on the floor, you know, And whenever you worked
• 49:32
  with Andy, you needed to make sure you were really prepared because inevitably he
• 49:39
  would come up to unesdays all right, to all, he goes, see
• 49:43
  your line, whatever it is, and then I'm gonna say this, and
• 49:46
  then say that other line, and then I'm going to say this, and
• 49:50
  then then i want you to see this other new line here. It's like
• 49:53
  okay, you're ready, It's like yeah. And then you wanted to be
• 50:00
  be able to do it on the first time because that's when the magic happens.
• 50:04
  If it's funny, because you would hear you would do it, we'd
• 50:08
  hold, they'd go cut and then everybody operating the camera would be laughing and
• 50:14
  everybody would you know, you knew that that worked really well. But if
• 50:19
  you blubbed it, then it wasn't quite as funny if you shot it again,
• 50:25
  and that that excitement was gone. But most everything was ninety nine point
• 50:30
  nine percent was all written for us, and so it was just those things
• 50:35
  once in a while that he would come up with. He'd go in and
• 50:37
  talk to the writer and come back out and then then we give it a
• 50:42
  go, you know. I remember one of the first things we did was
• 50:45
  in the first season. It was a Thanksgiving episode and an episode prior to
• 50:52
  that. He and I were sitting there one night everybody had left. We
• 50:57
  had one little scene left to do, me and him, some thing with
• 51:00
  a Andy machine, something stupid, you know. It never even ended up
• 51:04
  in but he and I had to hang around to do this one bit.
• 51:08
  So we were just chatting to kind of get to know each other a little
• 51:13
  bit. It was still early on, and it came up about singing opera,
• 51:19
  and unbeknownst to me, he's texting Dan Gore our showrunner scene Scully sings,
• 51:25
  let's figure it out, you know nice. And so when we did
• 51:30
  that Thanksgiving episode, there was a it was a scene where Terry has turned
• 51:38
  Scully upside down, shaking him wanting to get all the snacks out of his
• 51:43
  pockets. Yeah, right, right. So we're shooting that scene, all
• 51:46
  the blood's running into my head and it's like, oh my god, you
• 51:50
  know, are we done with this yet? You know, So we're done,
• 51:52
  you know, And I was on it. I had a little you
• 51:55
  know, one of those harnesses on that are super comfortable, completely upside down
• 52:00
  and you know. Yeah, And so we got done with that and saw
• 52:05
  him like kind of getting my bearings back. And one of the writers walks
• 52:08
  over to me and he goes, so I understand you sing opera. And
• 52:14
  I go, well, you know, take me a couple of weeks,
• 52:16
  I brush the dust off. He goes, okay, and he walks away.
• 52:22
  A couple of minutes later, or the producer, the boss comes by.
• 52:25
  Let's understand you sing opera. Well, you know, take a couple
• 52:30
  of weeks, brush the dust off, a couple of things times. How
• 52:34
  about it? Right now? I go okay. So I'm running the words
• 52:40
  of DNA immobile through my head, you know, sure what is this about?
• 52:45
  So then Andy comes on and he goes to kiss Okay, nobody knows
• 52:47
  about this, he goes, but you know where I come over to Amy.
• 52:52
  She wants me to wear a suit or dress up, you know,
• 52:55
  to come to her house for Thanksgiving. I'm going to come in and do
• 52:59
  like a scat bobop. I'm not wearing them suedo to your party, you
• 53:05
  know, that kind of thing to her. And then you're going to turn
• 53:07
  around and say are we seeing And we're both going to go no. And
• 53:10
  then you start seeing your argus. Okay, so go in and there and
• 53:19
  he comes in scooby doop. I'm not, you know, wearing that.
• 53:22
  She oh, are we seeing? No? And I start seeing Laudoniam Bobi
• 53:25
  lane and I'm singing and seeing me. You know, usually they're only gonna
• 53:30
  take maybe ten seconds of this or whatever, and I'm going on and on,
• 53:35
  and I'm trying to remember the words in Italian. It's only been thirty
• 53:40
  five years, and so it's coming to me a little bit. And then
• 53:45
  I get to the very end of it and I'm done. And I mean
• 53:50
  I didn't even have a pitch piper or anything. I just got lucky with
• 53:52
  a lower ye have to go too high at the end and I get time
• 54:01
  and it's dead silent. Nobody's saying anything, and all of a sudden and
• 54:07
  he goes the whole place, and boy, I just felt like a million
• 54:17
  bucks. You know, that's so cool, cool, that's incredible that silence
• 54:22
  can that can really go one way or the other. So that but on
• 54:27
  the other end of it my way. You know. The scariest part about
• 54:32
  it was the next day I got an email from the assistant director, we
• 54:37
  need a list of all your arias. I'm like, what the hell,
• 54:40
  I have no list of anything, you know, right, So I go,
• 54:45
  well, what is it that you're looking for? Well, we need
• 54:47
  something in the next episode where you're with a group of professors and you're going
• 54:52
  to sing something. And I go about un four two lagrima from nice Yeah,
• 54:59
  and and then the other one is you're going to be with Holt and
• 55:04
  Kevin in a restaurant. I go about osolameo to put that in perfect send
• 55:09
  it to the to the producers, Yeah, that's perfect. So they got
• 55:15
  away from the whole list of aria thing, you know, they got that
• 55:17
  off their mind, and so I started working on those on my own.
• 55:22
  And then after I did that episode, then I went out got a voice
• 55:27
  teacher to work on some more pieces. So I had them in my back
• 55:32
  pocket. Just think share because for an actor, you never want to say
• 55:38
  no, yeah, because they'll never ask you again. Even if you go
• 55:45
  figure it out and you come back, They're never going to ask you,
• 55:47
  like they say, so you ride a horse, Yes I do. Yeah,
• 55:52
  surely you've got time to go figure out how to ride a horse,
• 55:54
  you know. Yeah. But it's the same thing with this whole singing.
• 56:00
  Well how about right now? Yes, okay, because I knew they would
• 56:04
  never ask me again if I didn't go for it, and so yeah,
• 56:08
  that was very smart. I sing all the time, that's like my job.
• 56:14
  And I had to do an opera thing not that long ago, and
• 56:15
  I really that was out of shape. And I mean I'm singing all the
• 56:20
  time, yeah, but opera is another yeah. Yeah. Yeah. So
• 56:27
  to get to get up there and do it after not doing it so long,
• 56:29
  that's that's really cool. And it sounded amazing. It really did.
• 56:32
  Luckily, I've been doing it a lot in the shower, you know,
• 56:37
  totally, totally. I kind have had it there, but I never thought
• 56:40
  I would be doing it on a comedy you know like that. Yeah,
• 56:44
  But it was just it was a lot of fun. They asked me a
• 56:46
  number of times to do something like that, and then Dirk Blocker and I
• 56:51
  we would you know, people always thought, you know, when if we
• 56:53
  weren't down on the set, we were up in our rooms eating sandwiches or
• 56:57
  something, but we were We were usually up there trying to come up with
• 57:00
  the next bit because a lot of times they would start the scene with the
• 57:05
  camera on us doing something stupid and then pan over to the real scene,
• 57:12
  so we would set up, you know, whatever we were doing. So
• 57:15
  we were coming up with all kinds of things from our childhood, you know,
• 57:20
  the little triangle football, you know, kicking a field goal, anything
• 57:24
  to waste time. That's what our two characters, you know, you know,
• 57:30
  what their life was was. See how how long we can string this
• 57:34
  out before we have to retire, you know and not do anything. Kind
• 57:42
  of how we approached all these gags that we would try and do, and
• 57:46
  we got to be very friendly with the camera operators and so that was they
• 57:51
  would always say, you guys, got anything, yep, Okay, we'll
• 57:55
  start on you then, and you know, because they had that free them
• 58:00
  a little bit because they wanted to make their shot interesting. Yeah, the
• 58:05
  more stuff we had, you know, the more opportunity we had, you
• 58:09
  know so well, and all that stuff like expands the universe of the show
• 58:15
  and then also gives it energy right as they get to move and it turns
• 58:19
  into that living being more than just like shot starts here, you know,
• 58:23
  like that's that's really cool and that's right, felt like it comes through.
• 58:27
  I love that show so good, that's amazing. Well, I could talk
• 58:31
  all day about Brooklyn ninety nine, but I actually just got through watching The
• 58:37
  Staircase. Yeah, and I was I was hesitant to watch it because I
• 58:42
  had I had seen the original documentary and thought I knew all about it,
• 58:45
  And then when I was watching it, your character came in and introduced a
• 58:51
  theory that I had never heard of. Were you like super familiar with that
• 58:55
  case before you got the role. No, I wasn't. I hadn't watched
• 59:00
  the documentary or anything. And I have gotten the audition, filmed it at
• 59:07
  home, you know, sent it in. It was in the middle of
• 59:10
  the pandemic, and met the director and everybody on Zoom like we're doing and
• 59:16
  how much did the audition again, you know on Zoom? And I told
• 59:22
  him before I said, you know, I haven't done one of these yet
• 59:24
  on here, and he goes, well, just think of it as a
• 59:27
  close up. So I just used the camera and blah blah blah, you
• 59:30
  know, and the guy I'm reading with his head is down here in the
• 59:31
  bottom of the screen so you can't look at them. It's a it's a
• 59:37
  weird way to do an audition, but it worked. And so we wrapped
• 59:42
  Brooklyn nine nine on June tenth of twenty twenty one, and the next morning
• 59:51
  I had to have a root now and then get on a plane to Atlanta.
• 59:55
  Oh my god, started to start this the staircase Wow. And the
• 1:00:01
  characterized playing was a real life character and one of his signature things, he's
• 1:00:07
  got a really odd haircut. I noticed that you didn't have the flat top
• 1:00:13
  in that. Yeah, So I thought, okay, how are we going
• 1:00:19
  to do this? And so I had to go there and hang out in
• 1:00:23
  my hotel for a couple of days, and then I could have a COVID
• 1:00:27
  test, then I could go to a wardrobe fitting, and then the next
• 1:00:31
  day we were going to shoot. Well, the day after the wardrobe fitting,
• 1:00:36
  or the day of the wardrobe fitting, I had called the assistant director
• 1:00:39
  and I said where are you guys tomorrow because I need to talk to that
• 1:00:45
  to the hair person, he said, well, we're about an hour from
• 1:00:49
  Atlanti. He goes, you don't want to drive out there? I go,
• 1:00:51
  no, I don't care if you're in New York. I got to
• 1:00:53
  talk to this guy before we go to work, before I go to work
• 1:00:57
  on Thursday, because this hair thing is a big deal. He goes,
• 1:01:04
  Okay, well this is where we're going to be. You know, it
• 1:01:07
  was all like, what's the matter with you? Haven't you ever had to
• 1:01:10
  do this for an actor before? You know? It was just really a
• 1:01:14
  weird response. Sure, no, I'm not going to take this. I
• 1:01:16
  got to go talk to this guy. So I go out to the to
• 1:01:21
  the base camp and everybody's in shooting in this gentleman I can't to give his
• 1:01:30
  name right now, but he wasn't happy at all about having to spend time
• 1:01:34
  with me now after he got everybody else set up for the day. And
• 1:01:38
  so he goes, all right, and he goes, I can't I didn't
• 1:01:42
  have this on my schedule today. I was going to be doing this.
• 1:01:44
  I go, well, thank you so much. I really appreciate you know.
• 1:01:46
  I was like bending over to appease this guy, you know, thank
• 1:01:52
  you, you know. So he puts a week cap on and then he
• 1:01:57
  puts on him away. He goes on, that doesn't that doesn't work.
• 1:02:00
  I go, no, no, it doesn't look good. And I go,
• 1:02:05
  I got kind of a big head. And he goes, well,
• 1:02:08
  well, so did um who's thet so did Richard? I go, oh,
• 1:02:19
  okay. So he comes back and he puts this on and it fits
• 1:02:22
  perfect. I said, you know, the week cap and all this,
• 1:02:28
  and it's like super hot and humid. Here I go, it would be
• 1:02:31
  a lot better if we just shaved my head. Wouldn't it be a lot
• 1:02:35
  cooler when it He goes yeah, and I said, so he checked with
• 1:02:39
  the director to make sure, because they thought they were going to go with
• 1:02:43
  the flat top, and I didn't want to do that because I knew that
• 1:02:46
  this actual person existed and that that was air head, you know, and
• 1:02:53
  it was such a big part of the character. And so we put this
• 1:02:59
  one on and it fits well enough, you know, for the directors say
• 1:03:04
  okay. So then he shaved my head and then we put on then that
• 1:03:07
  really fitted and looked really good. Well. The wig was Richard Burton's wig.
• 1:03:15
  Um, the hair gentleman had been Elizabeth Taylor's hair person for like twenty
• 1:03:22
  five years. Wow, he gave a bunch of wigs. So he had
• 1:03:25
  a collection of wigs back in La said. He goes, I got about
• 1:03:29
  three thousand wigs, not just from Elizabeth Taylor, but you know, collecting
• 1:03:34
  all these wigs over time. And um, he said, I brought about
• 1:03:37
  a thousand of them down here because um, wow, what you know,
• 1:03:46
  Colin Firth needed one for part of it, and um, yeah, well
• 1:03:52
  there was so much time in between. Yeah, so there was a number
• 1:03:57
  of us that needed to wear wigs. And sure. So anyway, by
• 1:04:02
  the by the end of that meeting with him that day before we were going
• 1:04:06
  to shoot, he goes, I'm so glad you came in. I go,
• 1:04:11
  you know, you're like, this is kind of why I wanted to
• 1:04:15
  work through it. You know, I didn't want to be surprised. You
• 1:04:18
  know, the next morning there would have been a nightmare. Oh we have
• 1:04:23
  to scramble around, it would have been Yeah. So that's how that happened,
• 1:04:29
  and it was Richard Burton's wake. I thought that was again. He
• 1:04:31
  gave me goose bumps. I thought that's super cool. This is cool.
• 1:04:35
  So then were you actually shooting that during the pandemic then, like or was
• 1:04:40
  it was? It was so it was in twenty one, so it was
• 1:04:44
  still okay, still happening. And I had just come from Brooklyn ninety nine,
• 1:04:48
  where the protocol was impeccable. Yeah, never got sick or anything.
• 1:04:55
  Go to Atlanta and they're not paying attention to this really very much at all.
• 1:05:00
  And we were wearing masks and things like that. But the actors they
• 1:05:05
  gave those shields that do nothing. I don't know if you saw those big
• 1:05:10
  like face shield and so I would put a mask on. And I remember
• 1:05:15
  the first day going we were shooting in one mansion and there was another mansion
• 1:05:20
  next door that they were using for the holding for the actors to hang out
• 1:05:25
  until they were needed, so we weren't all in the same house. And
• 1:05:30
  we walked into that house and I said to the ps and so where is
• 1:05:33
  everybody? And then goes Weather, They're all upstairs in the bedroom. And
• 1:05:38
  I go, oh, all the actors are in the one room up there.
• 1:05:42
  He goes, yeah, go okay, this dining room right here,
• 1:05:47
  there's nobody here. Would it be a problem, and if I sat here,
• 1:05:51
  he goes, oh no, no, no, no, I thank
• 1:05:54
  you very much. So by myself, it's like, I'm not going to
• 1:05:58
  go hang out with yeah asks on and all this business going on and get
• 1:06:03
  sick. I didn't want to be the guy coming from LA and then getting
• 1:06:10
  being sick or getting someone sick. I really that's would have had me most
• 1:06:15
  concerned. So I was very careful when I was at home when because I
• 1:06:18
  would shoot something and then they'd say, well, we can keep paying your
• 1:06:21
  pre dam and your hotel, or we can fly back to La. I
• 1:06:26
  go, I'll go home. So yeah. So I don't know how many
• 1:06:30
  trips I did between June and November back and forth doing that. But I
• 1:06:39
  would only work like usually a day, and they would do a bunch of
• 1:06:44
  things that I was in or where I might be seen, and it would
• 1:06:46
  usually be a long day, and then the next day I'd be on the
• 1:06:51
  first plane out of there. And it was great, you know, yeah,
• 1:06:58
  but that was that was a very good experience. It was it was
• 1:07:01
  hard that scene where I had to describe my theory, right, I had
• 1:07:06
  sketched all these little sketches on piece of paper and I put them around the
• 1:07:12
  perimeter of my bed in the hotel, and I was so happy I was
• 1:07:16
  there by myself that I didn't have to entertain anybody or worry about anybody else.
• 1:07:23
  I was all about, you know, thinking about myself here and I
• 1:07:27
  could put all those things out and I would just do the scene over and
• 1:07:30
  over and over. So when we got to do that, when I got
• 1:07:33
  to do it with Julie Epanosh, who was like an Academy Award actress,
• 1:07:38
  you know, it was very cool to work with her. And the first
• 1:07:43
  rehearsal of it, I just it was all set out on a table,
• 1:07:48
  so I just went down the table just like I was in my hotel room,
• 1:07:53
  only with the real pictures. So nothing threw me off, you see.
• 1:07:57
  Yea, the director said we should have shot that ursel, you know,
• 1:08:01
  so yeah, that's always a compliment. Yeah yeah, So you are
• 1:08:08
  incredible in that too, and your your character is quite the outdoorsman. Do
• 1:08:12
  you consider yourself an indoorsman or outdoorsman? Good question and no pressure. But
• 1:08:18
  this is called the Avid Indoorsman Podcast, So I mean, you know,
• 1:08:24
  it all seems to be going pretty well so far. No, I think
• 1:08:28
  I'm a I don't know. I like to be outside. I like I
• 1:08:34
  like to hang out inside too. I mean, yeah, I got a
• 1:08:38
  book or something to read or something to do. I guess I like it
• 1:08:45
  all. Yeah, yeah, both. I love that. Very cool.
• 1:08:48
  Yeah. I love being in Duluth when we go back and visit. I
• 1:08:54
  love being there. And you still have family up there, then is that
• 1:08:57
  why you're going back up there or you just like Duluth? Um. My
• 1:09:00
  wife, her mom and dad are still living in hermantown. They're mid eighties,
• 1:09:09
  and just for her to be able to have this kind of time with
• 1:09:15
  them is really cool. My parents were a generation older, so when we
• 1:09:21
  would all get together every once in a while, my parents would kind of
• 1:09:26
  gravitate to my wife's grandparents, you know, they had a little more in
• 1:09:30
  common, and so it's just really nice for her to be able to do
• 1:09:36
  that. And also, we just wanted to get out of la and there's
• 1:09:43
  really not a better place to go. And we still have my wife still
• 1:09:49
  has childhood friends there and their husbands and we all get along, which is
• 1:09:54
  really kind of rare. Sometimes you know, your your your spouse might have
• 1:10:00
  a girlfriend, but the husband's kind of a dud, so you don't really
• 1:10:02
  hit it well, you know, I'm sure you've all experienced that. But
• 1:10:08
  there's there's some really great people there, and we have great friends in Minneapolis
• 1:10:13
  area. And I've got three brothers that live in Minnesota and their children and
• 1:10:18
  a lot of Antonisa's and nephews, and so it just feels very comfortable,
• 1:10:24
  and it just is very relaxing for us to you know, as you give
• 1:10:30
  it, as my brother would say, a little more seasoned in life.
• 1:10:33
  Yes, the traffic out here is you know, is notorious, but the
• 1:10:40
  real thing, like it's getting worse and worse, or maybe we're just getting
• 1:10:43
  older and less tolerant of it, so to get that break too. And
• 1:10:49
  I remember we were there and I was going to drive over to Mount Royal
• 1:10:56
  to the grocery store there. And I told my mother in law, Yeah,
• 1:11:03
  I went over to Mount Royal to the grocery store. Today she does,
• 1:11:06
  she did. That's like nine miles, and I'm thinking, but it
• 1:11:12
  took me like nine minutes, la nine miles could be an hour. Yeah,
• 1:11:17
  it's like when the big deal, it was awesome. You know,
• 1:11:20
  You're like, I got to drive and actually drive rather than just sit there
• 1:11:24
  or whatever, do whatever I wanted to be. I was been banking twenty
• 1:11:29
  minutes, you know, whatever I want. Yeah, very funny. Well
• 1:11:33
  you have been so generous with your time. But I want to get to
• 1:11:39
  the most important question. How do we think our Vikings are going to do
• 1:11:43
  this next season? Hmm, that's a good question. Um Adam Feeling.
• 1:11:50
  I can see why they may be moved on from him. However, he's
• 1:11:55
  a clutch player, man. He was yeah whatever, whenever he was going
• 1:12:00
  his way. You know, the guy's going to catch the ball, you
• 1:12:01
  know, basically score a touchdown or whatever. He had a hick of a
• 1:12:05
  career here, and I am another Minnesota boy, and I don't think he's
• 1:12:10
  done. You know, I think he'll he should do well with I think
• 1:12:14
  with the Panthers, right is Yeah, Yeah, I went to Carolina.
• 1:12:17
  Yeah, he was so good in the red zone, just always get those
• 1:12:20
  tds. Yeah. And a perfect guy for a rookie quarterback right to have
• 1:12:25
  down there, just that patron voice in the room and all that, you
• 1:12:28
  know Carolina yea, yeah, absolutely, And I really thought they were going
• 1:12:33
  to maybe try and get a quarterback because like it was a little talking about
• 1:12:39
  it didn't. But you know, he's, I think, isn't Kurt in
• 1:12:44
  his last year of his contract and maybe they're gonna play it out and see
• 1:12:47
  how it goes. I'm not sure I think that's right. Or maybe it's
• 1:12:51
  like he's got two years but the last one is super expensive or something,
• 1:12:55
  because it's I know, they said things will have to happen after this year
• 1:12:59
  for sure, one where or the other. So you know, maybe maybe
• 1:13:01
  there's somebody in the pipeline that they know about that we don't know bout.
• 1:13:05
  Yeah, as far as a quarterback, but that new receiver, he sounds
• 1:13:14
  sounds like pretty exciting character. Yeah, Addison, that Addison, Yeah,
• 1:13:18
  see yeah, yeah, him and Justin Jefferson. That should be a fun
• 1:13:23
  little duo there. Yeah. And then you've got kg Osborne too. You
• 1:13:27
  know, I think he felt a little left out. He wasn't being mentioned
• 1:13:30
  in all this talk. Yeah, it's a pretty underrated guy, I think,
• 1:13:34
  agreed. And you know they picked up a lot of defense, a
• 1:13:40
  lot of secondary so that could be good for sure. For sure should be
• 1:13:46
  fun. Are you going to be doing anything? It's never easy to say
• 1:13:50
  no. PI kids are gonna go. Everybody's vermotive. It's like walking on
• 1:13:55
  really thin ice. Not sure, I don't know, surely walk out there
• 1:13:59
  or not? You know, I don't want to end up in the lake
• 1:14:03
  here. And we've ended up in that lake plenty of times, many times,
• 1:14:09
  all the times. Are you ever gonna go? You sang at the
• 1:14:13
  anthem too, right, you've done that before. Yeah, you know.
• 1:14:15
  There's a there's a place in uh in uh pro Proctor. I think it's
• 1:14:23
  called Gordy's High Hat. Have you heard? Gordy's is great, great place
• 1:14:29
  in there. Well, one of the young one of the grandsons the Gordy's
• 1:14:34
  is one of the one of the guys who runs it. His name is
• 1:14:38
  um Siva is his name. I don't know his last name. Siba works
• 1:14:44
  there and I went in there for the first time last summer and he saw
• 1:14:47
  me and that he goes, oh, I remember you. You sang the
• 1:14:53
  national anthem and the Viking gave it wasn't nine nine or something else, and
• 1:14:58
  it was like you were remember that. That's awesome. Cool. And partly
• 1:15:02
  the reason he did is because his wife is a Viking cheerleader or now retired
• 1:15:10
  Viking cheerleader. She's only to both young people. I don't know how long
• 1:15:14
  sure does that, but she was I believe at that time a Viking cheerleaders.
• 1:15:19
  So obviously they he was at the game and they go to the games
• 1:15:23
  a lot. He said, So I thought that was kind of fun that
• 1:15:26
  he remembered that. That's super cool. That was a very it was a
• 1:15:30
  cool experience singing there, right. Didn't you enjoy it? Rob? I
• 1:15:33
  did? I did? Um. I you know, that's a lot of
• 1:15:36
  people like I had, you know, my band with me, So I
• 1:15:41
  wasn't like freaking out. I was you know, I wasn't by myself like
• 1:15:44
  like you did. And I think I would have probably been a little nervous.
• 1:15:47
  Well I was, but you know I had the DP from Brooklyn nine
• 1:15:54
  nine was along with me. He's become a very good friend, he and
• 1:15:58
  his wife. He goes, I gotta film this. I go It's okay,
• 1:16:02
  he goes no, And he made this beautiful movie about the whole day.
• 1:16:08
  Oh that's cool, And it's just such a gift that he did come
• 1:16:13
  and do that. It was so sweet and anything I ever ever imagined.
• 1:16:18
  But it really captured he really captured the whole moment and how it went down
• 1:16:26
  and but yeah, seventy thousand people or whatever, and it's like, holy
• 1:16:31
  crap, it is a lot. I almost feel I don't know that many
• 1:16:38
  people wouldn't. I feel like I get more nervous in front of like four
• 1:16:42
  people than I just see. Like I can't even really see any faces.
• 1:16:45
  It's just like a sea of purple. And I can kind of like not
• 1:16:49
  psych myself out too much and be like, Okay, let's just sing this.
• 1:16:53
  You know you guys sounded great. I remember that. Wow, thanks
• 1:16:58
  so much. Well, I feel so bad. We are really taking a
• 1:17:01
  lot of your time, but it's been such a pleasure chatting with you.
• 1:17:06
  I'm happy too. I'm leaving to do one more job here before the writers
• 1:17:12
  or the actor's contract goes up. I'm doing a movie in Peoria, Illinois.
• 1:17:18
  The director grew up there and it's his first feature film. It's an
• 1:17:23
  independent film, and so I'm going to be there next week. And it's
• 1:17:30
  a father and son that are in lockdown together during the pandemics. So that's
• 1:17:36
  what all this business is about. Interesting, nice how people didn't shave or
• 1:17:42
  cut their hair or anything like that. And yeah, the character of playing
• 1:17:46
  isn't the nicest dad you'd want. And I've never really done something like that,
• 1:17:51
  but I really believe in his script and I'm happy to he reached out
• 1:18:00
  to have me to be a part of it. So I'm I'm looking forward
• 1:18:03
  to that. So that's exciting. Yeah, that's amazing, very cool,
• 1:18:08
  very very exciting to do something completely different than been walking the picket lines out
• 1:18:14
  here with the writers. And yeah, I saw that on your social media.
• 1:18:18
  That's so cool. Are they getting anywhere with that? Like they're not
• 1:18:23
  even they're not even negotiating, right, Yeah, Okay, I think they
• 1:18:27
  said. I think I read last time it was over one hundred days,
• 1:18:30
  right that the last strike was. And I don't know if this is this
• 1:18:34
  seems similar ish at least I don't know if it's exactly the same, but
• 1:18:39
  yeah, it was, it was like one hundred days last ye. Hopefully
• 1:18:45
  it doesn't do that again. You know, it's hard, you know,
• 1:18:48
  when I'm when a big part of that business takes a strike, it's whether
• 1:18:55
  it's the actors or the writers or whomever. Yeah, there's so many pe
• 1:19:00
  pull that are affected, you know, restaurant owners, dry cleaners, just
• 1:19:09
  all these caterers, all these people, so you wonder how everybody's going to
• 1:19:14
  get through the summer if this goes on for a long time. But you
• 1:19:17
  know, they they need, they need a better deal than the bottom line.
• 1:19:28
  And well, they got to be able to make a living. They
• 1:19:30
  got to be able to get paid for all the billions and millions of dollars
• 1:19:33
  they helped make as well. You know, they really do. I mean,
• 1:19:38
  yeah, I'm with you. It's like if like a singer, you
• 1:19:41
  know, if you don't have any music to sing, you don't you know,
• 1:19:45
  what are you gonna say? You know, there's nothing written down,
• 1:19:48
  there's no there's no ted Lasso, there's no you know whatever show. You
• 1:19:54
  know, yeah, it's happening. And that was kind of I think it
• 1:20:00
  was yesterday I met I saw you Brett Goldstein, right, yeah, oh
• 1:20:05
  cool. I saw some buddies from Brooklyn nine nine. We met there.
• 1:20:11
  We met at CBS Radford, that's where we filmed Brooklyn ninety nine. And
• 1:20:15
  my card just kind of drives there. So it's like because people ask me,
• 1:20:20
  why are you here, you know, and my card just kind of
• 1:20:24
  goes here. Us. It's closest to where I live in the parking is
• 1:20:28
  a little easier some of the other studios. The parking is a little more
• 1:20:32
  difficult. But and there aren't a lot of actors that go there, so
• 1:20:38
  it's mostly writers. So I always wear my SAG shirt and they're always happy
• 1:20:43
  to see the support from, you know, another union, and so I'm
• 1:20:46
  happy to be there because I want them to get their due and absolutely,
• 1:20:53
  yeah, and I hope I hope the actors do as well. Coming up.
• 1:20:57
  Well, there's a real good chance that if they get this part settled,
• 1:21:00
  that it'll all settle, because they don't want to continue down the road
• 1:21:05
  because it could be a real prolonged situation. If the actors go out as
• 1:21:10
  well, then then there's really nothing happening, you know. Yeah, And
• 1:21:14
  it's such a big machine that it takes a while to spin back up right
• 1:21:17
  and get back to Yeah. So well, hopefully solidarity to all those folks.
• 1:21:23
  I hope it's quick for him. Man, that's tough, scary stuff
• 1:21:27
  for sure. Well, it was great to meet you guys. I don't
• 1:21:31
  know. Yes, I don't have anywhere to go unless you are ready to
• 1:21:34
  be done. But whatever you want to do, I'll just say one thing
• 1:21:39
  about Lundquist, right, So, my mother's maiden name. Who really Wow,
• 1:21:45
  So I thought I wonder if Rob and I are related somehow. That's
• 1:21:48
  incredible. Yeah. So my brother on June one, down at his farm
• 1:21:55
  down by Lassour has invited all of the first cousin from my mother's side of
• 1:22:01
  the family. Like I told you before, my parents each had eleven brothers
• 1:22:05
  and sisters. So yeah, there's a lot of cousins. My cousins.
• 1:22:11
  I really don't know a lot of them because they're older than me. There
• 1:22:15
  are a couple more of my age that will be there, which would be
• 1:22:17
  kind of fun. But yeah, a lun Quist reunion first. It's gonna
• 1:22:23
  be a lot of beautiful people there. I'll tell you what, I haven't
• 1:22:27
  met any other lund Quists. Um, that's incredible. And I yeah,
• 1:22:31
  my dad would probably know if we're related. He loves going and look at
• 1:22:35
  all the DNA things ancestry thing I did that sure yeah, sure, yeah,
• 1:22:45
  well I love that very cool. Well, thank you again. Will
• 1:22:50
  we won't take up any more of your time You've been amazing. Um,
• 1:22:55
  and yeah, maybe we can do this again sometimes. That would be really
• 1:22:57
  cool. Absolutely. Maybe about how those flight heats are doing. Yeah,
• 1:23:01
  love, that's right. Love it. Thanks so much, nice to meet
• 1:23:03
  you, all right, guys, take care. It's a pleasure right on.
• 1:23:06
  All right, Well, thanks everybody for listening. Until we talk to
• 1:23:10
  you next time. Enjoy the great indoors. The sun is shining out of
• 1:23:15
  cloud in the sky. We wouldn't know because we're so happy inside. Some
• 1:23:21
  people row a boat boot on some skis, but we would rather sit on
• 1:23:28
  down and talk some movies. Where the Abbot Indoorsmen come listen to our show,
• 1:23:33
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• 1:23:39
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• 1:23:45
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