Latest / Fake Doctors, Real Friends with Zach and Donald / 113: My Balancing Act

Transcript

113: My Balancing Act · Fake Doctors, Real Friends with Zach and Donald

• 0:00
  Speaker 1: Man, do we have an exciting show today? Donald Faison,
• 0:02
  Speaker 1: We do have an exciting show. You know, we promised
• 0:05
  Speaker 1: the people, we promised the listeners that we wouldn't just
• 0:08
  Speaker 1: have stars of the show on, that we would bring
• 0:10
  Speaker 1: on crew members.
• 0:11
  Speaker 2: You're totally about to geek out about this. You brought
• 0:14
  Speaker 2: up a director. I am going to geek as a
• 0:15
  Speaker 2: fellow director. You're like, Yo, I'm gonna ask him about
• 0:18
  Speaker 2: this shot. I'm gonna ask him about this shot.
• 0:21
  Speaker 1: Well, I am going to talk to him. I think
• 0:22
  Speaker 1: people if I sometimes think when I'm preparing for this,
• 0:25
  Speaker 1: and you know, I do a lot of homework. You
• 0:27
  Speaker 1: should see my desk. It looks like I'm about to
• 0:30
  Speaker 1: write a novel. I was thinking about if I was
• 0:33
  Speaker 1: a listener, I'd want to know some behind it, Like
• 0:35
  Speaker 1: what's it like to be a director of a TV show.
• 0:37
  Speaker 1: Michael Spilder, who we're talking about is is a very
• 0:40
  Speaker 1: big television director, one of the biggest. In fact, he
• 0:43
  Speaker 1: recently won the Emmy for directing Modern Family and he's
• 0:47
  Speaker 1: a very talented guy.
• 0:48
  Speaker 2: Wait wait, hold up, which for the like the final
• 0:51
  Speaker 2: season he won the Emmy.
• 0:53
  Speaker 1: I don't have the exact Emmy.
• 0:55
  Speaker 2: Well, I want to ask him about some of this stuff,
• 0:57
  Speaker 2: like how many shows have you directed? Now? Is it
• 0:59
  Speaker 2: like you know, have you lost? Can you keep count
• 1:02
  Speaker 2: of the amount of share?
• 1:03
  Speaker 1: Save your spiller questions, have them, have them pent up
• 1:06
  Speaker 1: inside you and just have them ready to explode when
• 1:09
  Speaker 1: he comes in the room.
• 1:10
  Speaker 2: Okay, well I got it. I only got a couple.
• 1:12
  Speaker 2: I'm great.
• 1:12
  Speaker 1: How are you man, I'm good, I'm good. Did you
• 1:14
  Speaker 1: work out? Are we gonna have a post peloton Donald? Today?
• 1:17
  Speaker 2: I didn't want to talk about it because I did
• 1:19
  Speaker 2: work out today and I finished the workout. But I'm
• 1:22
  Speaker 2: now disappointed with with said instructor that we talked about.
• 1:26
  Speaker 1: Why, Well, he was different today he talked.
• 1:28
  Speaker 2: Too much, started singing hold on and then also singing
• 1:33
  Speaker 2: off beat. Right, I don't I don't do peloton to
• 1:38
  Speaker 2: be talked to off beat. I appreciate it.
• 1:42
  Speaker 1: Was it still the you know what I love about
• 1:44
  Speaker 1: you know? I still well? The thing I liked about
• 1:46
  Speaker 1: spinning was when you could get in the groove, unlock, nang.
• 1:51
  Speaker 2: Right, and so it's important that your your your spin
• 1:56
  Speaker 2: instructor is like a DJ, you know what I mean?
• 2:00
  Speaker 2: So right, he or she should be riding with the beat,
• 2:03
  Speaker 2: so the music's going and and and then you need
• 2:06
  Speaker 2: to be going with the music.
• 2:07
  Speaker 1: Also does he say stuff? You know, I like it
• 2:09
  Speaker 1: when they go like they just make noises like.
• 2:11
  Speaker 2: Hey ho when they diddy that shit.
• 2:15
  Speaker 1: I love that. J Yeah, it's like Diddy Diddy used
• 2:18
  Speaker 1: to be like hey, and you know, it's so embarrassing.
• 2:22
  Speaker 1: I find myself it's so fucking embarrassing. But I find
• 2:24
  Speaker 1: myself on the treadmill not even spinning, and I'm listening
• 2:27
  Speaker 1: to a good song and I'm like, hey, okay, and
• 2:32
  Speaker 1: I'm doing the fucking Diddy spin instructored thing.
• 2:35
  Speaker 2: Ah ha ah, take that.
• 2:37
  Speaker 1: Take that Ahead Ahead. Before I knew Diddy was like
• 2:41
  Speaker 1: a big producer and I was watching those, I'd be like,
• 2:43
  Speaker 1: so this dude just makes a living on Ahead Ahead
• 2:46
  Speaker 1: yeahha Ahead.
• 2:49
  Speaker 2: I couldn't take it. It was like just too much talking,
• 2:52
  Speaker 2: not enough motivation, Like when you talk, you're supposed to motivate,
• 2:55
  Speaker 2: you're not supposed to talk about how dope the song
• 2:58
  Speaker 2: is and stuff like I don't want to hear all
• 3:00
  Speaker 2: of that. I already know this song is good, you
• 3:02
  Speaker 2: know what I mean? You chose the class because I
• 3:05
  Speaker 2: saw the playlist right and you like the music playlist? Right,
• 3:08
  Speaker 2: the playlist looks dope, I can.
• 3:10
  Speaker 1: This isn't an amazing And I know this is the
• 3:12
  Speaker 1: stupidest thing. Everybody knows this, but I was realizing it today.
• 3:16
  Speaker 1: If the fucking music is good and you love it,
• 3:19
  Speaker 1: you can do so much more of a workout. Absolutely,
• 3:22
  Speaker 1: because I've got I've gone to so many spin classes
• 3:24
  Speaker 1: because I do like spinning, and the music is just
• 3:26
  Speaker 1: so not my thing. I mean, it's other people's thing.
• 3:28
  Speaker 1: I'm not, you know, to each their own, but I'm like,
• 3:31
  Speaker 1: And then today I had made this like awesome mix
• 3:33
  Speaker 1: that I was fucking grooving out to, and I was like,
• 3:35
  Speaker 1: I could really work out a long time to this
• 3:39
  Speaker 1: amazing mix. I mean, but I don't where you work out?
• 3:43
  Speaker 1: Do you like to work out to? Rap? Right?
• 3:44
  Speaker 2: I do like to work out. Wait what do you
• 3:46
  Speaker 2: work out to? You don't work out to?
• 3:47
  Speaker 3: Like?
• 3:48
  Speaker 2: Wait? Wait hold on? I didn't realize there was other
• 3:51
  Speaker 2: music you could work out to.
• 3:52
  Speaker 1: Yes, yes, it's in this country. You don't have to
• 3:55
  Speaker 1: just work out.
• 3:56
  Speaker 2: I can understand house music, but no, what do you wait?
• 3:58
  Speaker 2: Hold up?
• 3:59
  Speaker 1: What do you work I like to work out to pop?
• 4:02
  Speaker 4: Like?
• 4:02
  Speaker 1: But like up tempo pop.
• 4:03
  Speaker 2: Like, what do you kids like?
• 4:05
  Speaker 1: I'm opening up the fucking playlist right now because there
• 4:07
  Speaker 1: were some fire songs on Here.
• 4:09
  Speaker 2: We Go, Here we Go recommendations from Zach Braff.
• 4:12
  Speaker 1: Avichi has this song. It's like his most popular song.
• 4:15
  Speaker 1: It's wake Me Up, and it's just like up tempo,
• 4:17
  Speaker 1: and it makes me think of this time, because when
• 4:19
  Speaker 1: you're in this time and you're working out, you're like,
• 4:21
  Speaker 1: wake me up from this fucking horrible nightmare. So I
• 4:25
  Speaker 1: like that. I had, you know, I had Michelle branch
• 4:27
  Speaker 1: On here, because you know, I love my girl Michelle
• 4:28
  Speaker 1: brand I had Oh Asia, I love cea ed Sheer
• 4:33
  Speaker 1: Sia Unstoppable, Unstoppable Today, and I had ed Sheering with
• 4:39
  Speaker 1: Chance the rapper You crossed me, you grabbed me Joel's
• 4:47
  Speaker 1: jam and she knows that song. Oh and also Fleetwood Mac.
• 4:50
  Speaker 1: This is an old school one. I don't want to
• 4:52
  Speaker 1: know at bath then non.
• 4:56
  Speaker 2: So I worked out too. Ten crack Commandments b.
• 5:00
  Speaker 1: I Okay, we're on a very different plane right now.
• 5:03
  Speaker 2: You don't know that song.
• 5:05
  Speaker 1: I know who the Notorious b I G Is that song?
• 5:09
  Speaker 1: Give us a sample.
• 5:10
  Speaker 2: It's the ten Commandments of selling Drugs.
• 5:13
  Speaker 1: Yeah, I'm the I don't know. I'm dancing and working
• 5:15
  Speaker 1: out to Michelle Ranch and you're listening to a song
• 5:17
  Speaker 1: about crack.
• 5:19
  Speaker 2: You know, we grew up differently. Yes, I guess we
• 5:22
  Speaker 2: grew up differently.
• 5:24
  Speaker 1: We did.
• 5:25
  Speaker 2: Hey, should we go again to the show.
• 5:26
  Speaker 1: Let's invite in our special guess.
• 5:28
  Speaker 2: About six seven eight stories.
• 5:31
  Speaker 3: I'm not show.
• 5:32
  Speaker 1: We made about a bunch of times, and nurses.
• 5:38
  Speaker 5: Said, here's the stories natural should know. So YadA here yea, here.
• 5:53
  Speaker 1: What a song. Lots of talk about the song, the song.
• 5:56
  Speaker 1: I gotta tell you something about those numbers. My whole
• 5:58
  Speaker 1: timeline is people laughing at and saying the numbers and
• 6:02
  Speaker 1: just writing them non stop in my timeline. That's becoming,
• 6:07
  Speaker 1: unfortunately to me. But of course Bill will love it.
• 6:10
  Speaker 1: He's become a huge hit with his whole bit about
• 6:13
  Speaker 1: saying five eight.
• 6:15
  Speaker 2: Yeah, he's like the PC. Well he's not PC, but
• 6:18
  Speaker 2: he's like Todd. He's like the Todd of our show.
• 6:21
  Speaker 2: He comes in and he delivers every time, dude, every time,
• 6:26
  Speaker 2: he's like ups, always delivers, He always delivers. All right,
• 6:31
  Speaker 2: let's bring in our guests.
• 6:32
  Speaker 1: Let's bring in our very special guests. Turn him on,
• 6:35
  Speaker 1: bring him in ladies and gentlemen. Oh my god, I
• 6:38
  Speaker 1: haven't seen him in years. Yayman, ladies and gentlemen. Michael Stiller. Listen, Michael,
• 6:48
  Speaker 1: you are the very first guest we're having on the
• 6:52
  Speaker 1: show who is a member of the crew, not an
• 6:56
  Speaker 1: actor or a writer. And I'm just We're so you're here.
• 7:01
  Speaker 3: It's really awesome, thrilled to be here.
• 7:03
  Speaker 2: You're I would say you're our first director. But Zach
• 7:05
  Speaker 2: has directed an episode and Bill has directed an episode.
• 7:08
  Speaker 1: Right, but not not before Michael Spiller Michaels are our
• 7:11
  Speaker 1: first director of from season one.
• 7:15
  Speaker 2: He is also directed season No, he wrote it, that's right.
• 7:18
  Speaker 1: No, And I want to say that Michael, I would
• 7:21
  Speaker 1: say I think maybe directed the most. Spiller Do you
• 7:25
  Speaker 1: know that trivia? Is that true?
• 7:26
  Speaker 3: It is true? Of how many episodes? Twenty twenty episodes?
• 7:32
  Speaker 1: Twenty episodes?
• 7:33
  Speaker 2: You know.
• 7:33
  Speaker 3: As I go and I work on other shows and stuff,
• 7:35
  Speaker 3: I always meet Scrubs fans, and without fail, I say
• 7:41
  Speaker 3: I've directed more episodes than any are human, leaving the
• 7:45
  Speaker 3: possibility that another someone from another species has directed more
• 7:49
  Speaker 3: than me.
• 7:50
  Speaker 1: Right, but I can confirm it. I can confirm they
• 7:52
  Speaker 1: have it. I would also confirm Michael that you are
• 7:56
  Speaker 1: one of our favorites. If you look at IMDb, you'll
• 7:58
  Speaker 1: see there's lots of directors of scool. Some came in
• 8:00
  Speaker 1: for one episode and then never came back for either
• 8:04
  Speaker 1: Bill's reasons or their reasons, mostly Bills probably, And then
• 8:07
  Speaker 1: there's people like you that everybody loved so much and
• 8:10
  Speaker 1: you did twenty Yeah, I guess go back to how
• 8:13
  Speaker 1: it all began for you, at least with the Scrubs connection.
• 8:17
  Speaker 1: How you got this. I know that back in the
• 8:20
  Speaker 1: day you were, Michael was a cinematographer. He was shooting
• 8:23
  Speaker 1: the show Sex and the City. I don't know if
• 8:25
  Speaker 1: you've ever heard of that show, but Michaeh was the
• 8:27
  Speaker 1: cinematographer on the show and then began to direct that show.
• 8:31
  Speaker 1: And then Michael just talked a little bit about how
• 8:32
  Speaker 1: you got how you transitioned from shooting into directing TV.
• 8:38
  Speaker 3: Well, I mean I went to film school. I went
• 8:40
  Speaker 3: to Sunny Purchase Upstate, New.
• 8:42
  Speaker 2: York, New York, New York, New York, that's right.
• 8:46
  Speaker 3: And I started making my own films when when I
• 8:48
  Speaker 3: was a kid in Brooklyn, saved up my paper route,
• 8:52
  Speaker 3: bought a Super eight camera and went to film school
• 8:56
  Speaker 3: and I wanted to be a cinematographer. I didn't want
• 8:58
  Speaker 3: to be a director because actors were crazy, let's face it,
• 9:03
  Speaker 3: and you know it was mainly I shot a lot
• 9:05
  Speaker 3: of indie movies and music videos and documentaries and travel
• 9:10
  Speaker 3: all over the place. And then I got married and
• 9:13
  Speaker 3: wanted to start a family, and TV sounded like, well,
• 9:15
  Speaker 3: maybe that would provide a little more stable lifestyle. And
• 9:20
  Speaker 3: I was shooting out Sex and the City. And at
• 9:23
  Speaker 3: the end of the first season, my agent said, if
• 9:26
  Speaker 3: the show gets picked up, I'm gonna ask for an
• 9:30
  Speaker 3: episode for you to direct season two. And I'm like, nope,
• 9:32
  Speaker 3: I'm good, I'm good, I'm happy where I am. I
• 9:35
  Speaker 3: don't need it. He said, no, You're going to do it,
• 9:38
  Speaker 3: and I did, and then I did went really well.
• 9:41
  Speaker 3: I also dpe'd that episode. Wow, I don't think I
• 9:45
  Speaker 3: don't recommend doing that for your first episode of TV.
• 9:49
  Speaker 2: That seems like a lot of work.
• 9:51
  Speaker 3: It's a huge amount of work. And then the third
• 9:54
  Speaker 3: season I did two more. In the fourth season, I
• 9:57
  Speaker 3: did four episodes, and by that time we had moved
• 10:00
  Speaker 3: to La bought a house, moved back for the fourth season. Uh,
• 10:06
  Speaker 3: and then moved to la finally right after nine to eleven,
• 10:10
  Speaker 3: but not because of it. Uh And I had already
• 10:13
  Speaker 3: signed with my current agent, who after three episodes, you know,
• 10:19
  Speaker 3: seeing what I did, said I want to wrap the
• 10:21
  Speaker 3: sky And he was at the same agency where Bill
• 10:26
  Speaker 3: Lawrence was represented.
• 10:27
  Speaker 1: Oh see, it is all about connections in Hollywood, everybody.
• 10:30
  Speaker 3: It's true, no ret give up.
• 10:33
  Speaker 1: So Scrubs was your was Scrubs your first non Sex
• 10:38
  Speaker 1: in the City gig?
• 10:39
  Speaker 3: It was meant to be, so, you know, my agent
• 10:42
  Speaker 3: sight unseen, you know, convinced Bill. He did a great
• 10:45
  Speaker 3: job presenting me to Bill, and it was meant to
• 10:47
  Speaker 3: be my first episode After Sex and the City. I
• 10:51
  Speaker 3: wound up doing an episode of Greg the Bunny. Oh
• 10:55
  Speaker 3: I remember that show?
• 10:56
  Speaker 1: God was that? Who was who was that?
• 10:58
  Speaker 2: Who was the star of that show?
• 10:59
  Speaker 3: Sarah Silberman Levy seth Green, Here we go.
• 11:08
  Speaker 2: Look for it was.
• 11:10
  Speaker 3: It was a great cast, but it was like what
• 11:12
  Speaker 3: you know, huge puppet sets and all this other stuff,
• 11:15
  Speaker 3: Like it's like why these like I've never done a
• 11:19
  Speaker 3: puppet show.
• 11:20
  Speaker 1: You know.
• 11:20
  Speaker 3: You had to build sets that were all like four
• 11:22
  Speaker 3: feet off the ground so people could stick their hands
• 11:24
  Speaker 3: up through manipulate anyway, Steve Levittan was the executive producer
• 11:28
  Speaker 3: on that, so I met Steve on my first episode.
• 11:32
  Speaker 3: I later did Modern Family and a bunch of other
• 11:35
  Speaker 3: shows with and then Bill Lawrence on my second show.
• 11:38
  Speaker 3: So very very good agent. Thing.
• 11:41
  Speaker 1: By the way, if you're gonna meet two showrunners when
• 11:44
  Speaker 1: you get to Hollywood, it's down good that it's Steve
• 11:47
  Speaker 1: Levinton and Bill Lawrence. Yeah right, your agent's pretty good.
• 11:52
  Speaker 3: He's Sean Frieden.
• 11:55
  Speaker 2: Hey how many? Wow? Shout out? How many? How many?
• 11:59
  Speaker 2: How many pisodes of Modern Family did you direct? Did
• 12:02
  Speaker 2: you direct the most Modern Family episodes? Also?
• 12:05
  Speaker 3: No, I didn't, but I did twenty two episodes.
• 12:08
  Speaker 1: Twenty two episodes and won the Emmy, won the Emmy.
• 12:12
  Speaker 1: I wish we could have given you an Emmy. Spiller,
• 12:14
  Speaker 1: you deserve.
• 12:14
  Speaker 2: You tried, We tried.
• 12:16
  Speaker 3: I know we all were shot. I know you did.
• 12:20
  Speaker 1: Now, Michael, I just want to say you know again,
• 12:22
  Speaker 1: season one, we're meeting all these directors. For those of
• 12:25
  Speaker 1: you who don't know, it's usually a different director every
• 12:27
  Speaker 1: week because they have to prep. They have about a
• 12:30
  Speaker 1: week's prep before they shoot the episode, and so you're
• 12:34
  Speaker 1: always alternating, and some can't come in and you know,
• 12:37
  Speaker 1: you know, Donald and I would would like some more
• 12:39
  Speaker 1: than others. Some were really good with comedy and others
• 12:43
  Speaker 1: were good with moving the camera. One of the things
• 12:45
  Speaker 1: I think we loved about you, Michael, is that because
• 12:49
  Speaker 1: you were a cinematographer first, you really were amazing with
• 12:52
  Speaker 1: moving the camera and doing interesting things with the camera.
• 12:55
  Speaker 1: But also you did know how to talk to actors
• 12:57
  Speaker 1: and make jokes funnier. And I thought maybe you could
• 13:00
  Speaker 1: just talk to that about about about how how you
• 13:03
  Speaker 1: approach something, how you approach the script, and and and
• 13:06
  Speaker 1: your experience with what it's like being you know, having
• 13:09
  Speaker 1: the DP background.
• 13:10
  Speaker 2: Also, we should go over the process of what it
• 13:12
  Speaker 2: takes to Since we have a television director on right now,
• 13:17
  Speaker 2: we should go through the process of what it takes to.
• 13:19
  Speaker 2: I mean, directing is like the end of the journey,
• 13:21
  Speaker 2: you know, I mean that's not even close to the
• 13:23
  Speaker 2: end that well, it's the middle of the journey. Really.
• 13:25
  Speaker 2: There's prep, there's you know, all of pre production, and
• 13:28
  Speaker 2: then there's post production. We should also talk about that.
• 13:30
  Speaker 2: Our listeners might be interested in that.
• 13:32
  Speaker 1: Yeah, they will. So, Michael, we just gave you a
• 13:34
  Speaker 1: lot answer all of that. Go no talk talk first
• 13:37
  Speaker 1: about you know, being having a DP background, and then
• 13:40
  Speaker 1: how that affected the way you work.
• 13:42
  Speaker 3: Well, I think there's no question that having the background
• 13:45
  Speaker 3: as a DP was extremely helpful. I mean, first of all,
• 13:49
  Speaker 3: event that when I came on the set, I could
• 13:53
  Speaker 3: usually bond with the crew very quickly because I spoke
• 13:55
  Speaker 3: their language. I sort of got it. You know. I
• 13:59
  Speaker 3: would stay seen in such a way that worked first
• 14:02
  Speaker 3: and foremost for the story, yet also kept the logistics
• 14:07
  Speaker 3: in mind and the practical aspect of it. And you know,
• 14:10
  Speaker 3: and I was flexible enough that you know, I encouraged
• 14:14
  Speaker 3: and I love to collaborate. I want the DPS input.
• 14:17
  Speaker 3: You know, obviously the cast would give input to the
• 14:20
  Speaker 3: showrunners give input as well, but the nuts and bolts
• 14:24
  Speaker 3: of it, you know, I understood. I've also been a grip,
• 14:27
  Speaker 3: an electrician. I've pushed dollie've, I've pulled focus, I've operated
• 14:32
  Speaker 3: camera for other people. So you know, I love the crew.
• 14:35
  Speaker 3: I mean, these are my people and and I think
• 14:38
  Speaker 3: most people I've worked with can pick up on that.
• 14:41
  Speaker 3: So and I have a deep respect for them, and
• 14:44
  Speaker 3: that that's half the battle. You know, when I was
• 14:46
  Speaker 3: shooting Sex in the City, if we had a new director,
• 14:49
  Speaker 3: and if you know, Sarah Jessica Parker wasn't in the
• 14:51
  Speaker 3: first scene, you know that that director was shooting. When
• 14:55
  Speaker 3: she would first come on to set, she would look
• 14:58
  Speaker 3: at me and like gauging, like cow is this person?
• 15:03
  Speaker 3: And if if I gave her like the I don't know, look,
• 15:07
  Speaker 3: then that person had to work. You know, it's an
• 15:09
  Speaker 3: uphill battle just to get back to you know, zero, right,
• 15:13
  Speaker 3: So you know it's enormously important because I mean, you
• 15:16
  Speaker 3: guys know it's like you love your crew and it's
• 15:20
  Speaker 3: like it's one big family. So a director walking on
• 15:23
  Speaker 3: to a TV show has to be both a leader,
• 15:28
  Speaker 3: right and and you know they're not the ultimate top
• 15:31
  Speaker 3: of the pyramid, but they still got to lead the crew.
• 15:34
  Speaker 3: They've got to get the crew behind, they've got to
• 15:36
  Speaker 3: work with all the you know, the elements that are
• 15:39
  Speaker 3: already in place, and you have to respect that that
• 15:43
  Speaker 3: family that you're walking into.
• 15:45
  Speaker 1: That's what's so bizarre about it. That's what's so bizarre
• 15:48
  Speaker 1: about it is and I've only done it I think
• 15:51
  Speaker 1: once or twice, Michael, that is, come onto a show
• 15:54
  Speaker 1: that is an entity and say, hey, everybody, I'm the
• 15:58
  Speaker 1: leader for the week, and you know, it's one thing
• 16:01
  Speaker 1: when you come back and like you came back, you know,
• 16:03
  Speaker 1: nineteen more times. But on the first one, it's like, hey, everybody,
• 16:06
  Speaker 1: I know that you guys are all friends and have
• 16:08
  Speaker 1: inside jokes and have a way that you do things. Well,
• 16:10
  Speaker 1: I'm the boss for the week. And it's really tricky, right.
• 16:15
  Speaker 3: It's sort of like I liken it sometimes too. You're
• 16:20
  Speaker 3: gonna be a conductor on a train. You're gonna take
• 16:23
  Speaker 3: it from this station to the next station. The track
• 16:26
  Speaker 3: has already been laid, you know, everywhere the train already
• 16:30
  Speaker 3: was is established there. We have a very good idea
• 16:33
  Speaker 3: where the train's going to keep going. And yeah, you
• 16:36
  Speaker 3: can slow down around this corner because you like that view,
• 16:39
  Speaker 3: or you can speed up at this section, or you know,
• 16:42
  Speaker 3: you can lean a little left or a little right,
• 16:45
  Speaker 3: but you can only go so far because the train's
• 16:47
  Speaker 3: got to stay on those tracks, right. You can't suddenly say,
• 16:50
  Speaker 3: you know, we're gonna make a left here at Des
• 16:52
  Speaker 3: Moines and go somewhere else.
• 16:53
  Speaker 1: That's that's a really good, great analogy, Michael, because I
• 16:56
  Speaker 1: think that you were.
• 16:57
  Speaker 2: Just talking about this actually the last episode we well,
• 17:00
  Speaker 2: I was.
• 17:00
  Speaker 1: Talking about how it's so tricky, you know, again just
• 17:03
  Speaker 1: to remember Bill spoke a little about this, but to
• 17:06
  Speaker 1: remind people who aren't in the business, you know, you know,
• 17:08
  Speaker 1: the the pilot director and the showrunner will create sort
• 17:12
  Speaker 1: of the look of the show. How does the camera move,
• 17:15
  Speaker 1: what's sort of the language of the show. In our show,
• 17:17
  Speaker 1: we had fantasies and we had, you know, big camera move.
• 17:20
  Speaker 1: The camera was sort of a character. And then other
• 17:22
  Speaker 1: directors that come on they need to use that language.
• 17:25
  Speaker 1: They can, they can, like Michael just said in his
• 17:28
  Speaker 1: train analogy, they can slow down, they can look at
• 17:31
  Speaker 1: this view, but they can't. You have to use the
• 17:33
  Speaker 1: language of the show. If you look at the Office,
• 17:35
  Speaker 1: for example, it's shot like a mockumentary modern family I
• 17:38
  Speaker 1: believe was as well, yes, whereas Scrubs is crane shots
• 17:41
  Speaker 1: and Dolly moves and steady cam shots. So you have
• 17:44
  Speaker 1: to use that language. But then somehow find a way
• 17:47
  Speaker 1: to make it your own. And I'm glad we're gonna
• 17:48
  Speaker 1: watch the episode with you, because I think there's a
• 17:50
  Speaker 1: lot of cool stuff in here that you that you
• 17:51
  Speaker 1: found a way to make your own. I like that.
• 17:54
  Speaker 2: I do like the train analogy. You know, what I mean.
• 17:56
  Speaker 2: It's the same route every time, it's the same track
• 17:59
  Speaker 2: every time time. How can you can bend it and
• 18:02
  Speaker 2: move it, you know, to make it your own so
• 18:06
  Speaker 2: like if a different conductor, you know what I mean,
• 18:09
  Speaker 2: I don't know. I love that analogy. That's really and in.
• 18:11
  Speaker 1: Season one I will say, you know, even on episode whatever,
• 18:14
  Speaker 1: this is one thirteen, you're still you're still finding that,
• 18:19
  Speaker 1: you're still shaping it.
• 18:20
  Speaker 2: Now.
• 18:20
  Speaker 1: I noticed, Michael, you did some things in here, like
• 18:22
  Speaker 1: going into blacks and coming back that I don't think
• 18:24
  Speaker 1: we'd done too much of yet. That became part of
• 18:26
  Speaker 1: the lexicon. So is an early director in the show.
• 18:29
  Speaker 1: I just directed episode two of one of Bill's news shows.
• 18:32
  Speaker 1: I still felt like, okay, it's early on, I can
• 18:34
  Speaker 1: I'm still contributing to.
• 18:35
  Speaker 3: What the look of the show is, you know, right
• 18:37
  Speaker 3: for sure when you're when you're lucky enough to direct
• 18:40
  Speaker 3: early in the show's run, there's still a lot of
• 18:42
  Speaker 3: discovery going on. Yeah, the actors are really fine that
• 18:45
  Speaker 3: they're characters, so they're still open to, you know, someone
• 18:49
  Speaker 3: else's input. The writers are discovering what the actors are
• 18:54
  Speaker 3: good at, and they're tailoring the writing to you know,
• 18:57
  Speaker 3: help those words fit better in their mouths, and you
• 18:59
  Speaker 3: find the comedy if you're doing a comedy. And similarly,
• 19:04
  Speaker 3: for a director, it's like, yes, you've you've been given
• 19:07
  Speaker 3: the overall template, the framework, but it's a jumping off point.
• 19:11
  Speaker 3: It's not like this is meant to just box you in.
• 19:14
  Speaker 3: You're allowed to push things a little bit further. John Wells,
• 19:20
  Speaker 3: i think, is credited as saying to Paris Barkley, I
• 19:26
  Speaker 3: want you to make an episode of Er only better. Yes,
• 19:32
  Speaker 3: like it still has to feel like an episode of
• 19:34
  Speaker 3: the show that you're already watching, you know, and you've
• 19:37
  Speaker 3: grown accustomed to. But push a little bit, get your
• 19:40
  Speaker 3: thumbprints on it, and in consultation, you know. That's the thing.
• 19:44
  Speaker 3: It's like, I could have what I think is a
• 19:46
  Speaker 3: great idea, but I'm neither. If that's the case, I
• 19:50
  Speaker 3: have to run it past the showrunner, right, and I'm
• 19:55
  Speaker 3: presenting it.
• 19:55
  Speaker 1: If you have something, let's say you're in prep and
• 19:58
  Speaker 1: you have like a five day prep beforehand, and you go, oh,
• 20:01
  Speaker 1: I have an awesome idea. If it's a little outside
• 20:03
  Speaker 1: the box, you would you would run it by the
• 20:04
  Speaker 1: showrunner and say, hey, what do you think if I
• 20:06
  Speaker 1: do this, and I imagine Bill usually said, yeah, go
• 20:09
  Speaker 1: for it. Right.
• 20:11
  Speaker 3: Bill was so amazing that, I mean, it was such
• 20:14
  Speaker 3: a great guy to work with so early in my career,
• 20:17
  Speaker 3: you know, as a freelance director, because I mean he
• 20:21
  Speaker 3: I think this episode has a good example the end
• 20:24
  Speaker 3: where we we have a music montage. You know, it's
• 20:27
  Speaker 3: like and they kept the song on Hulu.
• 20:29
  Speaker 2: So yeah, that was pretty cool. Right, They didn't.
• 20:31
  Speaker 3: They didn't swap it out. And you know, I can't
• 20:36
  Speaker 3: remember how many there were leading up to this, but
• 20:39
  Speaker 3: this felt like it was one of the sort of
• 20:40
  Speaker 3: bigger ones, like we're committing to this song. It was
• 20:43
  Speaker 3: in the script early, you know, It's like it wasn't
• 20:46
  Speaker 3: just like there'll be a rock song here and you know,
• 20:48
  Speaker 3: do some cool shots. And it may not have been
• 20:52
  Speaker 3: on this episode, but early in the run with you guys,
• 20:56
  Speaker 3: Bill said to me, because I was like enthusiast pitching this,
• 21:01
  Speaker 3: you know montage I want to do in all these transitions,
• 21:03
  Speaker 3: and he's like, dude, if I will cut story, if
• 21:07
  Speaker 3: you give me a beautiful piece of cinema, Oh great, wow,
• 21:11
  Speaker 3: And that's just insane. I mean writers never say that,
• 21:15
  Speaker 3: you know, And so I really felt empowered and encouraged
• 21:20
  Speaker 3: by Bill, and he also, you know, there's no bullshit
• 21:22
  Speaker 3: with him. If he doesn't like it, he just tells you.
• 21:25
  Speaker 1: Well, there's plenty of times he would come to rehearsal.
• 21:28
  Speaker 1: I'm sure this never happened on one of your episodes, Michael,
• 21:30
  Speaker 1: but there's plenty of times. You know. The way the
• 21:32
  Speaker 1: way it would work is the director would sort of
• 21:33
  Speaker 1: block out where everyone's gonna go, where the camera's gonna go,
• 21:36
  Speaker 1: And there were definitely times and then Bill would come
• 21:37
  Speaker 1: to the rehears arrive at the rehearsal and be like, yeah,
• 21:40
  Speaker 1: that makes it not funny at all. We're not doing it.
• 21:44
  Speaker 1: And then you know, you watch some directors be like
• 21:47
  Speaker 1: it was you know, he was even for Bill, he
• 21:50
  Speaker 1: was tactful about it sometimes, but you know it was
• 21:53
  Speaker 1: like he's like, no, I'm not not doing that. If
• 21:54
  Speaker 1: you put him over there and her over there, it
• 21:56
  Speaker 1: does it's not funny anymore. So we got to do this,
• 21:58
  Speaker 1: and you know, you have to be a little bit
• 22:01
  Speaker 1: humbled about it as a director because you're like, oh,
• 22:03
  Speaker 1: you know, I didn't now I see.
• 22:05
  Speaker 3: You know, I think that most of the time when
• 22:09
  Speaker 3: when writers have clear ideas about that. They're generally right,
• 22:15
  Speaker 3: you know, if they're if they're if they're people you
• 22:18
  Speaker 3: know of the Steve love It to and Bill Lawrence,
• 22:21
  Speaker 3: Mindy Kaling caliber, like they get it, and you know,
• 22:26
  Speaker 3: you listen to them, you don't fight them, and and
• 22:29
  Speaker 3: they're generally right.
• 22:30
  Speaker 2: Now.
• 22:30
  Speaker 3: I did see that happen, you know, with other directors
• 22:32
  Speaker 3: when I'd be there prepping. Didn't happen very often with me.
• 22:36
  Speaker 1: With Michael Spiller, No, sir, not with now with sorry
• 22:40
  Speaker 1: Emmy Award winning Michael spill.
• 22:42
  Speaker 3: I mean, but what I do remember happening a lot
• 22:45
  Speaker 3: is like we'd be waiting for Bill to come up
• 22:48
  Speaker 3: from the writer's room, and you know, must have been
• 22:50
  Speaker 3: in the middle of a very fancy paragraph or something,
• 22:53
  Speaker 3: and you know, dial we had to wait, but you know,
• 22:55
  Speaker 3: the clock is ticking, we're losing a light. So generally
• 23:00
  Speaker 3: eight frame to arrive. But sometimes I would rehearse without him. Yeah,
• 23:04
  Speaker 3: and inevitably, inevitably, as soon as we finished the rehearsal,
• 23:08
  Speaker 3: Bill come walking through the doors and I'd have to
• 23:11
  Speaker 3: scrawmb like okay so for this shot, like fake, like
• 23:14
  Speaker 3: we're starting the rehearsal from the top right, not just
• 23:16
  Speaker 3: finished it right?
• 23:18
  Speaker 1: Well, yeah, you know. Another thing that people might not
• 23:20
  Speaker 1: know is that the onus to deliver the show in
• 23:23
  Speaker 1: five days is all on the director's hands. I mean
• 23:27
  Speaker 1: obviously working with his assistant, his or her assistant directors.
• 23:30
  Speaker 1: So you are you not only come on to this
• 23:33
  Speaker 1: set where you where you don't work every day, to
• 23:36
  Speaker 1: lead a crew of people that are all friends. But
• 23:39
  Speaker 1: it's your job to be like, guys, we gotta go,
• 23:42
  Speaker 1: we gotta go, we got it, we gotta get out
• 23:43
  Speaker 1: of here. So that's that's another thing is that you
• 23:46
  Speaker 1: have to well you you've you've signed on to deliver
• 23:49
  Speaker 1: this episode of television in five twelve hour days.
• 23:53
  Speaker 2: You have a ton of support, though you have you know,
• 23:55
  Speaker 2: if you have a good first your your golden We
• 23:58
  Speaker 2: have some pretty cool first ads on our show, Franklin
• 24:02
  Speaker 2: Got Better and Scott Harris.
• 24:04
  Speaker 1: And Richard Wells who was an incredible first ad.
• 24:07
  Speaker 2: Paul Padrera. We had a few of them, you know
• 24:10
  Speaker 2: what I mean? And you worked with all four of them, right.
• 24:13
  Speaker 3: Yes, I worked with them all?
• 24:15
  Speaker 2: Yeah, which was your favorite?
• 24:18
  Speaker 1: No, you don't have to answer that. You don't have
• 24:20
  Speaker 1: to answer that. Siller, Should we get into the episode
• 24:24
  Speaker 1: because I think would be fun to just really think so. So, Michael,
• 24:28
  Speaker 1: the way we do this is but there's really no order.
• 24:31
  Speaker 1: We just started to talk about the episodes. Uh, well
• 24:34
  Speaker 1: you've heard it. You listened to your your favorite podcast.
• 24:37
  Speaker 1: Exactly the first thing I noticed. First of all, we
• 24:40
  Speaker 1: have to say that Elizabeth Bogish is not only beautiful, obviously,
• 24:44
  Speaker 1: but she's really funny. She's a very good actress.
• 24:46
  Speaker 2: I thought she did a fantastic just great moments in
• 24:48
  Speaker 2: this episode. And it's also it's also, uh, this is big.
• 24:52
  Speaker 2: She's the first, she's the first love interest for JD
• 24:56
  Speaker 2: and so, you know, just really set the tone for
• 24:59
  Speaker 2: all of the other actresses that would come on to
• 25:01
  Speaker 2: play your love interest on the show. And she did
• 25:04
  Speaker 2: such a she did such a phenomenal job. And you know,
• 25:06
  Speaker 2: you're right, she is very funny, and it made it
• 25:08
  Speaker 2: so that whoever else came on had to be like,
• 25:10
  Speaker 2: all right, well let me let me, let me see what,
• 25:13
  Speaker 2: let me let me let me step up.
• 25:15
  Speaker 1: And yeah, they couldn't just be they couldn't just be
• 25:18
  Speaker 1: a pretty face. They had to really be good actresses
• 25:20
  Speaker 1: and be funny. And and I think that you know,
• 25:23
  Speaker 1: Liz was all those things. She she had really good timing.
• 25:25
  Speaker 1: She I thought she was good in her dramatic moments.
• 25:27
  Speaker 1: And yeah, and of course, Spiller, when you do that
• 25:29
  Speaker 1: beauty shot of her at the end arriving with the
• 25:32
  Speaker 1: picnic basket, it's so romantic and pretty.
• 25:35
  Speaker 2: Yeah.
• 25:35
  Speaker 3: Did you have anything the city training in?
• 25:38
  Speaker 4: Yeah?
• 25:38
  Speaker 1: I was thinking about that. All your sex and the
• 25:41
  Speaker 1: city lighting women things all came together in this episode.
• 25:44
  Speaker 2: Did you have anything to do with casting on that?
• 25:46
  Speaker 5: Like?
• 25:46
  Speaker 2: I know that some directors sit down and help out
• 25:49
  Speaker 2: with casting on television shows or bring in their own.
• 25:54
  Speaker 3: Typically, typically we are you know, we're contractually we're meant
• 25:59
  Speaker 3: to be involved than all the casting decisions. I mean,
• 26:02
  Speaker 3: every creative decision on the episode that we're directing, we're
• 26:05
  Speaker 3: supposed to be involved in. Sometimes an actual span several episodes,
• 26:11
  Speaker 3: it's sort of a bigger decision. And or maybe an
• 26:14
  Speaker 3: actor's availabilities being challenged and you need to book them
• 26:17
  Speaker 3: before the director has technically begun their prep. I can't
• 26:21
  Speaker 3: recall what the situation was with Liz. I mean, she
• 26:24
  Speaker 3: was fantastic. I hard to imagine anyone who I would
• 26:27
  Speaker 3: have rather seen in the role, right, But she did
• 26:30
  Speaker 3: have a technically a three episode span, although I directed
• 26:34
  Speaker 3: two of her episodes.
• 26:35
  Speaker 1: Yeah, the two, the second two, right, not the first
• 26:37
  Speaker 1: one where she's in the Mr Action right, right, all right?
• 26:41
  Speaker 2: But have you have you gone on to do other
• 26:43
  Speaker 2: shows and be like, you know what, I got the
• 26:44
  Speaker 2: perfect person and gone back to use actors that you've
• 26:47
  Speaker 2: had from Oh sure, I say from Scrubs or from
• 26:52
  Speaker 2: or from Sex and the City or whatever.
• 26:54
  Speaker 3: Yeah, I mean, whenever I can, I try to recommend
• 26:57
  Speaker 3: people who I know are cool and they're going to deliver.
• 27:01
  Speaker 3: And because we've all worked with people who are super
• 27:03
  Speaker 3: funny on screen and really difficult to work with, and
• 27:08
  Speaker 3: you know some some even you know with like a
• 27:10
  Speaker 3: toxic personality that could kind of poison a set. It
• 27:14
  Speaker 3: only takes one person to poison a workplace.
• 27:17
  Speaker 1: That's a lesson to all you young aspiring actors out
• 27:20
  Speaker 1: there that everybody talks. Everybody, everybody talks. So you might
• 27:26
  Speaker 1: have been a jerk one day and Michael Spiller was
• 27:28
  Speaker 1: the director on Sex and the City, and you think
• 27:31
  Speaker 1: you went home and went all right, well, I had
• 27:34
  Speaker 1: a bad day. And then later and then later Michael's
• 27:38
  Speaker 1: directing another show where your name is suggested.
• 27:40
  Speaker 2: And he goes, no, no, So you have to be
• 27:45
  Speaker 2: My wife always says this sounds way too small to
• 27:47
  Speaker 2: be an asshole.
• 27:49
  Speaker 3: Exactly, that's the perfect way. And I mean the fact is,
• 27:53
  Speaker 3: you know, my wife used to be a costume supervisor,
• 27:57
  Speaker 3: a wardrobe supervisor and off. And it's the people behind
• 28:01
  Speaker 3: the scenes that get the brunt of an actor's wrath,
• 28:05
  Speaker 3: you know, or bad behavior. It's like, if you're making
• 28:08
  Speaker 3: you know, your hair and makeup people, or the people
• 28:10
  Speaker 3: who are adjusting your clothing, if you're making those people cry,
• 28:14
  Speaker 3: you're not a good person, or you need some therapy,
• 28:16
  Speaker 3: or you gotta work some shit out. But she told
• 28:19
  Speaker 3: me there are a couple of people that made her cry,
• 28:22
  Speaker 3: you know, back in the day. And I have had
• 28:24
  Speaker 3: the pleasure of passing on some.
• 28:25
  Speaker 2: Of ah sweet revenge.
• 28:29
  Speaker 1: And you ran home and told your wife, didn't you like, yes,
• 28:32
  Speaker 1: what I passed on.
• 28:33
  Speaker 2: I don't believe who they tried to push on me today,
• 28:35
  Speaker 2: but I said no.
• 28:37
  Speaker 1: And his name was Donald Faizon. So Michael, my first
• 28:44
  Speaker 1: my first note for you is at twenty four seconds,
• 28:46
  Speaker 1: why is my character have a giant entire piece that
• 28:50
  Speaker 1: it's a whole chicken on my date plate. I would
• 28:52
  Speaker 1: never order such a large meal. I had to stop
• 28:56
  Speaker 1: and pause. I'm on this date with this beautiful woman.
• 28:59
  Speaker 1: I'm just standing at her, and I have a full
• 29:02
  Speaker 1: roasted chicken on my plate.
• 29:05
  Speaker 3: You know, all I recall about that is that it
• 29:08
  Speaker 3: was part of because it was this The sequence is
• 29:11
  Speaker 3: that you can't take your eyes off her. We're so
• 29:15
  Speaker 3: fixated on her that you almost forgot to eat.
• 29:18
  Speaker 1: So I didn't eat.
• 29:19
  Speaker 3: Having a having a vertical, you know, a large meal
• 29:24
  Speaker 3: that would read in this shot because there's a lot
• 29:27
  Speaker 3: to look at.
• 29:28
  Speaker 1: Icy, So you really want to be looking at you.
• 29:30
  Speaker 1: But yeah, so you icy. So your rationalization or or
• 29:34
  Speaker 1: real genuine rog you wanted it to quickly read that
• 29:37
  Speaker 1: I hadn't touched my plate. Yes, it looks like Thanksgiving
• 29:40
  Speaker 1: dinner has been served and no one has carved.
• 29:44
  Speaker 3: You know, we were on location for that, and you
• 29:46
  Speaker 3: know we didn't do that very often on Scrubs, and
• 29:49
  Speaker 3: certainly my first episode. I hadn't done it before with
• 29:51
  Speaker 3: you guys. Yeah, and you know that may have been
• 29:54
  Speaker 3: with the place had to offer what Hugos had to offer.
• 29:57
  Speaker 1: Oh, it was Hugos.
• 30:00
  Speaker 2: I was gonna ask that is that Hugos.
• 30:03
  Speaker 1: And where is it Riverside in the valley?
• 30:05
  Speaker 2: Yeah, it was right next to the hospital, just down
• 30:07
  Speaker 2: the street. The photo booth in the middle of the supermarket.
• 30:11
  Speaker 2: Is that a pharmacy?
• 30:13
  Speaker 1: Yeah? What was the deal with that, Mike? Who would
• 30:15
  Speaker 1: put a photo booth? Who would put a booth in
• 30:17
  Speaker 1: the middle of an aisle of the supermarket? Michael, you
• 30:20
  Speaker 1: can reach through the photo booth to get items off
• 30:22
  Speaker 1: the shelves.
• 30:24
  Speaker 3: Well, maybe they're handy props. You know. This is this
• 30:28
  Speaker 3: is before the days of like giant hats and oversized
• 30:31
  Speaker 3: sunglasses and big foam pointy thing.
• 30:34
  Speaker 1: Was this a set or do you remember?
• 30:37
  Speaker 3: I think it was a set and it was just like.
• 30:40
  Speaker 2: Yeah, I remember a photo booths being like in like
• 30:43
  Speaker 2: bowling alleys or I missed by the way, I miss
• 30:46
  Speaker 2: photo booths.
• 30:47
  Speaker 1: Let's keep love photo right now.
• 30:49
  Speaker 2: That was like the set off for that is the because,
• 30:52
  Speaker 2: I guess because of the movies too. It's such a
• 30:53
  Speaker 2: romantic setting.
• 30:54
  Speaker 1: I know, especially when they're black and white. Not this
• 30:56
  Speaker 1: not this modern bullshit, thet black and.
• 30:59
  Speaker 2: White neon light that freaking yeah, it surrounds the camera
• 31:03
  Speaker 2: and shoots in your face. I totally miss photo booths.
• 31:05
  Speaker 2: I got some good photo booth pictures of me and
• 31:07
  Speaker 2: my wife when we first started dating.
• 31:09
  Speaker 1: And you know, it's so romantic when you look at
• 31:12
  Speaker 1: them and you feel like you're old school and.
• 31:14
  Speaker 3: I've a little fourth strip photo.
• 31:16
  Speaker 2: I mean, yes, for those of you out here like
• 31:18
  Speaker 2: photo booths at like parties and stuff like that, it
• 31:22
  Speaker 2: doesn't it's not the same if it's not in an
• 31:24
  Speaker 2: actual booth.
• 31:25
  Speaker 1: If you're in Manhattan, Okay, there's a restaurant called the
• 31:28
  Speaker 1: Smith on Fourth Street, and like, what is it, like
• 31:34
  Speaker 1: fourth and tenth ish you just google it, And in
• 31:37
  Speaker 1: the basement of the Smith, which is a good restaurant,
• 31:40
  Speaker 1: there's an old school black and white photo booth. So
• 31:42
  Speaker 1: there you go. I just took you up. Next time
• 31:45
  Speaker 1: you're we're on a trip with your loved one, go
• 31:47
  Speaker 1: take a romantic picture.
• 31:49
  Speaker 3: There when we're allowed to travel again.
• 31:51
  Speaker 1: When you're allowed to travel again in August and yeah, so, Michael,
• 31:54
  Speaker 1: I don't know how they do it on Sex and
• 31:56
  Speaker 1: the City, but we certainly don't put photo booths in
• 31:58
  Speaker 1: the center of a supermarket aisle here on scrubs.
• 32:02
  Speaker 2: Because I.
• 32:05
  Speaker 1: Want to say, this is very vain, but I looked
• 32:07
  Speaker 1: very skinny in this photo booth and I.
• 32:09
  Speaker 2: But what was up with your hair? Dude? Your hair
• 32:11
  Speaker 2: was a little different in these episodes. Man, they were
• 32:13
  Speaker 2: very spiky.
• 32:14
  Speaker 1: And I was probably you know what, I was probably the.
• 32:16
  Speaker 2: Truth the spinning of the hair on the time of.
• 32:19
  Speaker 1: It and the footbooth that looked like I have more
• 32:21
  Speaker 1: makeup on than usual. I can only rationalize that I
• 32:24
  Speaker 1: was probably nervous in front of this beautiful actress and
• 32:27
  Speaker 1: I was probably like, more makeup, this is your hair?
• 32:30
  Speaker 2: Okay?
• 32:30
  Speaker 1: Now?
• 32:30
  Speaker 2: Is this your first uh love interest in projects that
• 32:33
  Speaker 2: you've been because you hadn't worked that much. That's a
• 32:36
  Speaker 2: very tradition I think dated on camera before.
• 32:40
  Speaker 1: Very good question. No, I had done an after school
• 32:42
  Speaker 1: special called My Summer as a Girl, and basically it
• 32:47
  Speaker 1: was an after the special where they just stole the
• 32:48
  Speaker 1: whole plot of Tootsie and you know, in order to
• 32:50
  Speaker 1: get the job, I had to dress up like a
• 32:52
  Speaker 1: woman and then I fell in love. But I remember
• 32:56
  Speaker 1: it's interesting remembering that that I remember that there was
• 32:58
  Speaker 1: supposed to be a scene where I and got like
• 33:00
  Speaker 1: too aggressive with trying to make out with her, and
• 33:03
  Speaker 1: I remember the director was disappointed because I was. I couldn't.
• 33:06
  Speaker 1: I was too nervous to do it. I wasn't doing
• 33:08
  Speaker 1: it enough, being aggressive enough with her.
• 33:12
  Speaker 2: Why why why are all after school specials? Why do
• 33:15
  Speaker 2: the guys have to be so aggressive? Well?
• 33:17
  Speaker 1: The lesson they always taught a lesson, right, Well, this
• 33:19
  Speaker 1: one was I was kind of a guy, and I
• 33:21
  Speaker 1: was kind of a playboy, but like I was a
• 33:24
  Speaker 1: cocky guy, and uh, and then I in order to
• 33:28
  Speaker 1: get in order to go after the girl, I dressed
• 33:30
  Speaker 1: up like a girl because she had gotten the last
• 33:32
  Speaker 1: last job as a chambermaid on the island, and I
• 33:34
  Speaker 1: wanted to do that too, So I dressed up like
• 33:36
  Speaker 1: a girl, like a lot. Totally's the platitucy, except you know,
• 33:39
  Speaker 1: a chambermaid on an island. And then I fall in
• 33:42
  Speaker 1: love with the girl, and then i'm too I was one,
• 33:44
  Speaker 1: I'm a man, I'm too aggressive with her, and she's like,
• 33:47
  Speaker 1: get away, You're you're moving too fast. And then there's
• 33:50
  Speaker 1: a guy who's in love with me when I'm dressed
• 33:52
  Speaker 1: as a woman and he starts doing it to me,
• 33:55
  Speaker 1: and I'm like kicking in the nuts. And the lesson
• 33:57
  Speaker 1: was like, how do you fucking like it? Treat a
• 34:00
  Speaker 1: woman with respect.
• 34:03
  Speaker 3: Shoes on the other foot.
• 34:04
  Speaker 1: Now, yeah, so you can all go google my summer
• 34:06
  Speaker 1: as a girl and watch that bit of artistry. But
• 34:09
  Speaker 1: that's a good point you brought up, Donald. I don't
• 34:11
  Speaker 1: think that I had really had a pretty love interest
• 34:15
  Speaker 1: other than Sarah Chalk. But we hadn't really you know,
• 34:18
  Speaker 1: delved into that yet. We're about to. We're in a
• 34:21
  Speaker 1: few episodes we're about I think after Liz is the
• 34:23
  Speaker 1: first time that it comes up. So, yeah, I bet
• 34:25
  Speaker 1: I was very nervous around her. I do seem to
• 34:27
  Speaker 1: me to look like I have a little bit too
• 34:29
  Speaker 1: much makeup on in this photo booth, Like I was like,
• 34:32
  Speaker 1: I was trying to look like.
• 34:33
  Speaker 2: You know, it was important for you too.
• 34:35
  Speaker 1: I wanted to look I wanted to look the best
• 34:37
  Speaker 1: I could for Liz.
• 34:38
  Speaker 3: Well, yeah, I mean it is so funny. It's like
• 34:40
  Speaker 3: it's it's been scanning a lot of attention these days
• 34:42
  Speaker 3: because people are, you know, in this business are evolving somewhat.
• 34:46
  Speaker 3: But you know, when you have two actors or more
• 34:49
  Speaker 3: depending on the show, uh, you know, who have to
• 34:52
  Speaker 3: have a love scene or be intimate physically intimate with
• 34:55
  Speaker 3: each other. I mean it's awkward. It's weird, and it
• 34:58
  Speaker 3: can it can be really uncomfortable for for people. So
• 35:02
  Speaker 3: I mean I totally get it, even as sort of
• 35:04
  Speaker 3: PG as.
• 35:05
  Speaker 1: This was right, well, this was pretty bag. You know,
• 35:06
  Speaker 1: when we get into some of the Sarah stuff, I
• 35:09
  Speaker 1: can't even believe that we were doing what we were
• 35:11
  Speaker 1: doing for network TV, and I remember it being like awkward,
• 35:14
  Speaker 1: like this is so bizarre. I remember feeling like are
• 35:17
  Speaker 1: we on like HBO, Like how are we doing this
• 35:19
  Speaker 1: for NBC? You know, it's pretty That was that was
• 35:21
  Speaker 1: pretty risque stuff. This stuff with Liz was was was
• 35:23
  Speaker 1: pretty tame. But you know, you're still lying in bed
• 35:25
  Speaker 1: with a with a beautiful stranger to say.
• 35:27
  Speaker 2: At the end of the episode, I'm on top of
• 35:29
  Speaker 2: uh Judy and it's we're simulating.
• 35:34
  Speaker 1: Yeah, this was a sexy episode. There's a lot of
• 35:36
  Speaker 1: talk of orgasms and Andy and Sarah masturbating on a
• 35:41
  Speaker 1: washing machine.
• 35:42
  Speaker 2: It works? Does that work? Is a washing machine that powerful?
• 35:48
  Speaker 2: Because I can't. I don't, I don't, I don't. Apparently
• 35:51
  Speaker 2: I don't. I definitely don't produce like the washing machine
• 35:53
  Speaker 2: can produce. Obviously, Listen, first undred first, just be honest
• 35:56
  Speaker 2: with everyone of the washing machine. Is that good? Aware
• 36:00
  Speaker 2: at the end of it, you fall off the motherfucking
• 36:02
  Speaker 2: washing machine. I can't compete with the washing machine. What
• 36:06
  Speaker 2: am I useful for? Honey? I've been helping you raise
• 36:08
  Speaker 2: these kids? What am I useful?
• 36:12
  Speaker 1: Hey Donald?
• 36:12
  Speaker 2: The washing machine and the crazy shit? Is My wife's
• 36:15
  Speaker 2: always like, I'm gonna go put another load in?
• 36:18
  Speaker 1: Yeah, yes she is. She's definitely gonna, Hey Donald, that
• 36:21
  Speaker 1: washing machine cannot provide for those children. Only you can.
• 36:25
  Speaker 2: Only I can. That's what.
• 36:27
  Speaker 1: Well, I don't know whether or not, you know, we
• 36:29
  Speaker 1: three men have no idea obviously if a washing machine
• 36:32
  Speaker 1: can can do that to a woman. But I gotta say, Sarah,
• 36:35
  Speaker 1: it worked for Elliott. It really works, EIoT, it definitely well.
• 36:38
  Speaker 2: And it worked for Carla too, because she's the one
• 36:41
  Speaker 2: that suggested it.
• 36:42
  Speaker 1: Yes, she said, when are you doing laundry next? Now,
• 36:45
  Speaker 1: we had a lot of female writers on this show.
• 36:47
  Speaker 1: I can only imagine that they had a conversation in
• 36:50
  Speaker 1: the writer's room like, do y'all have them run a
• 36:51
  Speaker 1: washing machine? Well, let's move on.
• 36:59
  Speaker 3: Or you can ask could be an ask Bill moment.
• 37:01
  Speaker 2: No, no, no, no, no, no, I don't want.
• 37:05
  Speaker 1: Hey, listen, I don't have anything. Do you guys have
• 37:07
  Speaker 1: anything before Sarah shitting a brick? Because I laughed out
• 37:09
  Speaker 1: loud at that.
• 37:10
  Speaker 2: I laughed out loud at that.
• 37:11
  Speaker 1: That was funny, especially Sarah. First of all, when you
• 37:13
  Speaker 1: think you'd ever get to see Sarah chalk, you know,
• 37:16
  Speaker 1: poohing face, and there we saw it.
• 37:18
  Speaker 2: But that's that's that's the one thing. Usually somebody makes
• 37:21
  Speaker 2: a poohing face on television, they get real big with it.
• 37:24
  Speaker 2: It was pretty it was pretty subtle. You didn't know that,
• 37:27
  Speaker 2: you know.
• 37:27
  Speaker 1: This eye closed thing. She did an eye closed thing.
• 37:29
  Speaker 2: You're right, she closed one eye and.
• 37:32
  Speaker 3: They had to be just enough, just enough push. Yeah,
• 37:36
  Speaker 3: a brick, yourick.
• 37:37
  Speaker 1: So what's funny. What's funny about it? It's builder is
• 37:40
  Speaker 1: that she she just does a little bit of a push,
• 37:42
  Speaker 1: but then a giant brick fall. I just realized that
• 37:46
  Speaker 1: in one episode, in one episode of brilliant television, in
• 37:50
  Speaker 1: twenty two minutes, we have Sarah's pooh face and her
• 37:53
  Speaker 1: orgasm face.
• 37:55
  Speaker 3: That's right. We opened the whole gamut.
• 37:57
  Speaker 1: We we opened the show with her poof face and
• 37:59
  Speaker 1: closed the show their orgasm face. What what art we made?
• 38:02
  Speaker 1: What from poop? Okay?
• 38:06
  Speaker 2: So I think the yeah was improved. When Carla pushes.
• 38:09
  Speaker 1: Me down, I remember that Yeah.
• 38:13
  Speaker 2: I think that was improved. I don't remember if that
• 38:15
  Speaker 2: was in the script or not.
• 38:16
  Speaker 1: It wasn't because who the hell would ever guess that
• 38:18
  Speaker 1: your T shirt would say yeah on it?
• 38:20
  Speaker 2: Right, that my T shirt would say yeah.
• 38:21
  Speaker 1: It didn't say on the script. Turk wearing a yeah
• 38:23
  Speaker 1: T shirt.
• 38:25
  Speaker 3: Points to said freeze.
• 38:27
  Speaker 1: Yeah, but that was funny. Donald. I wanted to point
• 38:30
  Speaker 1: out a little trivia that I saw on the Scrubs
• 38:32
  Speaker 1: Wiki at three h five, right before uh You're yeah
• 38:36
  Speaker 1: saying that doctor Cox knows Doug's name, and the Scrubs
• 38:40
  Speaker 1: Wiki was pointing out it might be the only time
• 38:42
  Speaker 1: he ever says Doug's name, because he goes Doug and.
• 38:45
  Speaker 2: Uh, well he uses it. He also uses it as
• 38:49
  Speaker 2: like he's gonna pick on Doug.
• 38:50
  Speaker 1: Yeah, but I'm saying Cox never. You know, his whole
• 38:52
  Speaker 1: thing was he doesn't know people's names. He calls them
• 38:54
  Speaker 1: all these nicknames, but he randomly knew Doug's name.
• 38:57
  Speaker 2: But you too, a Jamin in this episode? Also you
• 38:59
  Speaker 2: a like a camaraderie in or Yeah, you know you're
• 39:03
  Speaker 2: his go to. Now this is the first, we established
• 39:06
  Speaker 2: it in the last episode, but yeah, now you two
• 39:08
  Speaker 2: are it doesn't seem like you're a fresh Nubi even
• 39:12
  Speaker 2: though he calls you nuby and everything like that. We're
• 39:14
  Speaker 2: starting to see your your relationship as colleagues form.
• 39:19
  Speaker 1: That's true, and I think, I wrote down this is
• 39:21
  Speaker 1: the first episode to me it seems like he genuinely
• 39:24
  Speaker 1: likes JD. Like he's usually good at hiding it, but
• 39:27
  Speaker 1: in this episode, I felt like Cox was really bonding
• 39:31
  Speaker 1: with JD and liked him even though he was, you know,
• 39:34
  Speaker 1: still trying to hide it, but he couldn't hide it.
• 39:36
  Speaker 1: And then in the end he really bonded with him
• 39:38
  Speaker 1: and said, you know, don't be me, don't be me,
• 39:40
  Speaker 1: go have a life, which I thought was was moving.
• 39:43
  Speaker 1: I thought that was good, you know, a side of
• 39:45
  Speaker 1: doctor Cox we don't only see yes spiller.
• 39:47
  Speaker 3: Since where That's a nice segue into what it's like
• 39:51
  Speaker 3: working with Johnny c for the first time as a director.
• 39:54
  Speaker 1: Yeah, was he scared?
• 39:55
  Speaker 2: Yeah, let's go.
• 39:57
  Speaker 3: Well. I mean, first of all, he's so damn good,
• 40:00
  Speaker 3: he's so damn funny, but he is a very very
• 40:03
  Speaker 3: intense gy, particularly when you know he's in character. You know,
• 40:08
  Speaker 3: on set because you know, as a prepping director, you
• 40:11
  Speaker 3: go and you're you're doing all the work in the
• 40:14
  Speaker 3: various meetings and location scouting and stuff that you do
• 40:16
  Speaker 3: to prep your own episode, but you also try and
• 40:19
  Speaker 3: spend as much time as you can on set so
• 40:22
  Speaker 3: that you're getting to know the cast in a more
• 40:24
  Speaker 3: informal way. You're starting to connect with the crew, learn
• 40:28
  Speaker 3: people's names, all these things that are essential to you
• 40:31
  Speaker 3: know when you're handed the baton the next week that
• 40:33
  Speaker 3: you'll have a good episode. Right, So you know, you'd
• 40:37
  Speaker 3: hang out and observe and try not to be in
• 40:38
  Speaker 3: the way, and I'd watch another you know, like Mark
• 40:41
  Speaker 3: Bucklin work with Johnny c or something, and Johnny is intense.
• 40:46
  Speaker 3: You say cut, and he stands there, his jaws like
• 40:49
  Speaker 3: clamp shut, his cheek muscles are like fluctuating and like
• 40:53
  Speaker 3: he's he's ripped. You know, it's like so aspiring, right,
• 40:58
  Speaker 3: It's like okay, and you have to think of that
• 41:00
  Speaker 3: person a note. So the very the very first time
• 41:04
  Speaker 3: I did it, I said cut, went up to him
• 41:07
  Speaker 3: and it's like you got the sense that if you
• 41:10
  Speaker 3: said the wrong thing, he might actually hit you, because
• 41:14
  Speaker 3: he's that he's he appears to be that tightly wound right,
• 41:20
  Speaker 3: So I can't remember what the note was, but you know,
• 41:23
  Speaker 3: I said, Johnny, can't try that. You know, I have
• 41:25
  Speaker 3: an idea. Blah blah blah blah. He looks at me
• 41:27
  Speaker 3: for a sec cheek muscle still, you know, rippling away,
• 41:32
  Speaker 3: and he says, fuck, yeah, let's do it, and we
• 41:35
  Speaker 3: just we went. It's like, okay, I made it.
• 41:38
  Speaker 1: That was your test in one in one or two sentences,
• 41:42
  Speaker 1: he has decided if he liked you or not forever
• 41:45
  Speaker 1: exactly thankfully. Well, I think Johnny Johnny, Johnny Johnny has
• 41:50
  Speaker 1: so much had so much experience, you know, and and
• 41:54
  Speaker 1: I've worked with so many directors at that point, and
• 41:56
  Speaker 1: I think he he you know, if you gave him
• 41:58
  Speaker 1: a good note, he was he was down to do it.
• 42:01
  Speaker 1: And uh. And then you know, like all of us,
• 42:03
  Speaker 1: we sometimes got notes from directors we were like, I'm
• 42:05
  Speaker 1: not doing that, and you know, so I think that
• 42:07
  Speaker 1: he in that moment, he decided that he liked you
• 42:09
  Speaker 1: and respected you.
• 42:11
  Speaker 2: Well.
• 42:11
  Speaker 3: I mean, listen, from from an actor's standpoint, I completely
• 42:15
  Speaker 3: get it, because it's like, Okay, it's a new director
• 42:18
  Speaker 3: every week, and some of them are not going to
• 42:19
  Speaker 3: be great or something you're just not going to get
• 42:21
  Speaker 3: along with. And some are going to ask you things
• 42:23
  Speaker 3: that may not even be their note, maybe a writer's note,
• 42:27
  Speaker 3: and you know you can't you can't go up to
• 42:29
  Speaker 3: an actors say oh, well the writer asked me to
• 42:31
  Speaker 3: say this. You know that's not a good thing to
• 42:34
  Speaker 3: do that. It's like, well, then you're just the messenger person.
• 42:36
  Speaker 1: Yeah, and then and then it just shows that you're weak.
• 42:38
  Speaker 1: I think you have to be like, you have to
• 42:40
  Speaker 1: be like you know what I try to be like
• 42:43
  Speaker 1: is do you want to do you want to try?
• 42:44
  Speaker 1: You know, if it's my thing, then I'm like, let's
• 42:46
  Speaker 1: try this. But if I'm coming on to a show
• 42:48
  Speaker 1: like this, I would say I was thinking this, do
• 42:51
  Speaker 1: you want to maybe try this? Because you know, you
• 42:53
  Speaker 1: don't know if the actor is going to say, oh,
• 42:55
  Speaker 1: my character would never do that, you know that kind
• 42:57
  Speaker 1: of thing. Hey, we need to go to a break
• 43:00
  Speaker 1: that thought. Donald, We're gonna break hold that, don't you bevant?
• 43:04
  Speaker 1: Don't you forget it? Donald, because I know that you've
• 43:06
  Speaker 1: tried some of God's lettuce and that affects memory.
• 43:08
  Speaker 2: Hold on to that tried some of god's a few hours.
• 43:11
  Speaker 2: Let's go to break.
• 43:19
  Speaker 1: Okay, we're back from break. Donald, did you remember did
• 43:21
  Speaker 1: you hold onto the thought?
• 43:22
  Speaker 2: I forgot?
• 43:23
  Speaker 3: Oh?
• 43:24
  Speaker 1: Fuck? And you kids say we doesn't cause memory laws.
• 43:28
  Speaker 3: Wow, it's like a case study.
• 43:32
  Speaker 1: Yeah, like a case study. So Donald, we're doing a
• 43:35
  Speaker 1: podcast about the show Scrub. I had to remind him
• 43:37
  Speaker 1: after each breaks. But Mike Spiller directed you twenty episodes.
• 43:44
  Speaker 2: I don't remember. I don't remember. I don't remember. So
• 43:47
  Speaker 2: I'm start hanging out with you outside of Scrubs. Spiller,
• 43:51
  Speaker 2: This isn't This is for everyone out there that's sitting
• 43:54
  Speaker 2: there and they're like, wow, this is you know, a
• 43:56
  Speaker 2: director on the show with the two actors, and and
• 44:00
  Speaker 2: he directed twenty so that makes some special. That's not
• 44:03
  Speaker 2: all that makes Spiller special. We've all gone out and
• 44:06
  Speaker 2: hung out and eaten together and stuff like that, so
• 44:09
  Speaker 2: you know, it's also it's very cool to catch up
• 44:12
  Speaker 2: with you. I'll pol before I've swam pool Spiller.
• 44:16
  Speaker 3: Still the house, Spiller, No, we we moved. You have
• 44:20
  Speaker 3: to come see the new crib.
• 44:21
  Speaker 1: Yeah, now that's right.
• 44:22
  Speaker 2: Now that you've got that Emmy.
• 44:23
  Speaker 1: Now he's down one of those Emmy houses, one of
• 44:26
  Speaker 1: those Emmy houses. It's like three levels. No, listen, it's
• 44:30
  Speaker 1: shaped houses, shaped like an Emmy.
• 44:34
  Speaker 2: If he wasn't responsible, there'd be a water slide from
• 44:37
  Speaker 2: his bed to the poop.
• 44:38
  Speaker 1: Yeah. When we met him, he had a DP on
• 44:40
  Speaker 1: sex in the city house. Now he's got a modern
• 44:42
  Speaker 1: family Emmy house. Spiller. I have a great memory of
• 44:46
  Speaker 1: you too, and that you came over and helped me
• 44:48
  Speaker 1: install a door knomb Do you remember that?
• 44:51
  Speaker 2: Wait?
• 44:52
  Speaker 3: What I mean? That totally sounds like me. It's completely
• 44:55
  Speaker 3: on brand.
• 44:56
  Speaker 2: Wait, I need to understand this.
• 44:58
  Speaker 1: You have. Man, Here's what happened. Here's what happened, Spiller.
• 45:02
  Speaker 2: Now you don't know how to put a door?
• 45:04
  Speaker 1: No, let me explain. It's a very sweet Michael Spiller story.
• 45:07
  Speaker 1: I was talking him on set. Now, Spiller, you could
• 45:09
  Speaker 1: say that this has never happened and I dreamed it.
• 45:11
  Speaker 1: But I haven't done hallucinogenics since college. So I remember
• 45:16
  Speaker 1: that I was talking to Michael. Michael's handy. Aren't you
• 45:19
  Speaker 1: a handy around the house guy? Like you can ferry
• 45:21
  Speaker 1: your hand I love buildings, and I was saying, God,
• 45:23
  Speaker 1: I wish I knew how to build stuff like I
• 45:25
  Speaker 1: have to put a doorknob on a door, and I
• 45:26
  Speaker 1: gotta I have a door without a doorknob, and I
• 45:28
  Speaker 1: got to go hire someone to do it. I wish
• 45:29
  Speaker 1: that I knew how to buy the right drill bit
• 45:31
  Speaker 1: and install this doorknob. And Michael said I could teach you,
• 45:35
  Speaker 1: and I said really, and he said, yeah, I'll come
• 45:38
  Speaker 1: over and show you how to do it. And I
• 45:40
  Speaker 1: said that would be so awesome because I don't know
• 45:41
  Speaker 1: anything like that and I'd love to actually learn. And
• 45:43
  Speaker 1: Michael came over and helped me install a new doorknob
• 45:47
  Speaker 1: on a door. Isn't that true, Michael?
• 45:49
  Speaker 3: That is true. I don't like to blow my own horn,
• 45:52
  Speaker 3: but yes, that is true. And you remember this, Michael, Yeah,
• 45:56
  Speaker 3: I don't think, but I do remember it.
• 45:58
  Speaker 1: He charged me thirty five.
• 46:00
  Speaker 2: I got a story too. So we just finished the
• 46:04
  Speaker 2: screening of Garden State. Zach invited great film that Zach.
• 46:12
  Speaker 2: Zach invited a bunch of people over to the screening room.
• 46:15
  Speaker 2: Danny de Vito was there, Uh, problem was there? A
• 46:19
  Speaker 2: bunch of people were there. Mike Spiller, myself, we were
• 46:22
  Speaker 2: there also, and I remember the movie ends and we're
• 46:25
  Speaker 2: all like, Wow, the movie was really good. I had
• 46:28
  Speaker 2: notes though, and I wanted to dude, and I wanted
• 46:32
  Speaker 2: to figure out a way to tell Zach, all right,
• 46:35
  Speaker 2: I've got a couple of notes about the movie. And
• 46:37
  Speaker 2: I remember I see Spiller and we're I don't know
• 46:40
  Speaker 2: if we're drinking or we're eating. It's after the movie's over, probably,
• 46:43
  Speaker 2: and we talked. We're talking and You're like, wow, that
• 46:46
  Speaker 2: was pretty good. And I was like, I was right.
• 46:47
  Speaker 2: I was like, I've got some notes and you said
• 46:49
  Speaker 2: to me, you know, now might not be the best
• 46:53
  Speaker 2: time to deliver, said Zach. And I was like, oh,
• 47:00
  Speaker 2: oh yeah, yeah, yeah, yeah, no, of course I'll figure
• 47:02
  Speaker 2: out a way too, you know, to tell him. Flash
• 47:06
  Speaker 2: cut to Danny DeVito doing a Q and A after
• 47:08
  Speaker 2: the movie and he was like, does anyone have notes?
• 47:13
  Speaker 1: One hand shoots up, one beautiful brown hand and then
• 47:23
  Speaker 1: and then what happened? Then what happened was this? So
• 47:25
  Speaker 1: then Donald goes off on his notes and I'm looking
• 47:26
  Speaker 1: at him like, dude, not fucking now, like tell me
• 47:29
  Speaker 1: these Like Danny Vito was my Danny de Vito was
• 47:33
  Speaker 1: my producer. I was like, dude, tell me privately, what
• 47:35
  Speaker 1: the fuck are you doing? And then so then Danny's.
• 47:38
  Speaker 2: Like, you wanted to be heard. I wanted to be heard.
• 47:40
  Speaker 1: I didn't want to be heard because I wasn't allowed
• 47:41
  Speaker 1: to be in the movie because because I gave the
• 47:43
  Speaker 1: part to method man. Now, listen, Danny DeVito. You know
• 47:48
  Speaker 1: at the time the movie had had too many endings.
• 47:51
  Speaker 1: It was like it was it was going on a
• 47:53
  Speaker 1: few beats too long, and we all knew that, but
• 47:55
  Speaker 1: I was in denial about him, and and Danny DeVito said,
• 47:58
  Speaker 1: how many of you felt like the had too many endings?
• 48:01
  Speaker 1: Donald's hand shoots up. I'm like, fucking Donald, put your
• 48:05
  Speaker 1: fucking hand down. I'm supposed to be my man on
• 48:08
  Speaker 1: the inside.
• 48:11
  Speaker 2: But you changed it. We changed it.
• 48:14
  Speaker 1: We did. Hey, you know what, this many years later,
• 48:15
  Speaker 1: I'm glad that you're never a yes man. You always
• 48:18
  Speaker 1: tell it like it is.
• 48:21
  Speaker 2: I just remember that being like, yeah, you know, we should, Yeah,
• 48:26
  Speaker 2: you know. I'm sure we all have notes, but I
• 48:29
  Speaker 2: would wait for my own moment.
• 48:32
  Speaker 1: So you didn't. The lesson of this story is that
• 48:34
  Speaker 1: you should have listened to Spiller.
• 48:36
  Speaker 3: Yes, it's usually that's the end of most stories.
• 48:38
  Speaker 1: Actually, So I want to say, at four or fifteen,
• 48:43
  Speaker 1: I I don't remember the episode, So I thought that
• 48:45
  Speaker 1: it was you who couldn't who had lost your erection,
• 48:48
  Speaker 1: And it was a very good misdirect by both Spiller
• 48:51
  Speaker 1: and Bill because uh it was it was Judy. I
• 48:54
  Speaker 1: don't think I've ever seen of a woman.
• 48:56
  Speaker 2: Wait, yeah, right, I remember that. But I knew right
• 49:00
  Speaker 2: away I remember this episode now. I remember this episode
• 49:03
  Speaker 2: because Rob's line in this show. So when I saw
• 49:07
  Speaker 2: you in the hall today and I asked you, how
• 49:10
  Speaker 2: is your penis? Yeah, and you didn't want to talk
• 49:13
  Speaker 2: about it.
• 49:14
  Speaker 3: Yeah, so I'm still tracks. It's still tracks. It's all
• 49:20
  Speaker 3: part of the mislead because I was I was proud
• 49:22
  Speaker 3: of that. I don't remember. I don't think that was
• 49:24
  Speaker 3: in the script specifically, is like she's holding a piece
• 49:29
  Speaker 3: of bacon in a really odd, upright manner that nobody
• 49:32
  Speaker 3: would ever do. But I thought, Okay, this would be
• 49:35
  Speaker 3: a fun visual transition, and it does. It does lead
• 49:39
  Speaker 3: you to believe. It's more evidence as a viewer that yes,
• 49:42
  Speaker 3: Donald is the one who's had the problem in the
• 49:44
  Speaker 3: classic situation.
• 49:45
  Speaker 1: Yeah, you misled. I just wanted to do one little
• 49:47
  Speaker 1: director thing that Bill a kind of introduced, I believe
• 49:50
  Speaker 1: to the show. I don't know that we were doing
• 49:51
  Speaker 1: this too much beforehand, but at four twelve, sorry, it's
• 49:55
  Speaker 1: a little bit before that. So they have sex, and
• 49:56
  Speaker 1: then the camera pans and goes into the back of
• 49:58
  Speaker 1: the TV, and we use that a transition, you know, a.
• 50:01
  Speaker 3: Transition time passage, a little.
• 50:03
  Speaker 1: Time passage, and then we come back to see the
• 50:06
  Speaker 1: bra on Rowdy's head, and then we cut to Liz
• 50:09
  Speaker 1: Bogish holding a bacon in sort of an erect way. Spiller,
• 50:12
  Speaker 1: you naughty, naughty boy.
• 50:16
  Speaker 3: Sometimes bacon is just bacon.
• 50:18
  Speaker 1: Yeah, sometimes bacon's just bacon. But yeah, so I was
• 50:21
  Speaker 1: I wass tricked the whole episode because I genuinely until
• 50:23
  Speaker 1: until obviously she says it. It's funny, Judy. Oh wait,
• 50:27
  Speaker 1: I want I'm jumping ahead. There's a waste. Oh there's
• 50:30
  Speaker 1: a waste of a gift certificate. Oh yeah, there's a
• 50:34
  Speaker 1: gift Cancel the Cobbler. Now that's eleven twenty eight. I
• 50:37
  Speaker 1: think Neil improv canceled the Cobbler. Definitely, right, Spiller, I
• 50:41
  Speaker 1: think so.
• 50:41
  Speaker 3: But I mean, I the only draft of the script
• 50:44
  Speaker 3: that I could find, although it has notes and diagrams
• 50:47
  Speaker 3: all over, it says it's like a pre table draft
• 50:50
  Speaker 3: of the script. I have almost all my Scrub scripts
• 50:53
  Speaker 3: I couldn't find anyway. Yeah, that that whole bit wasn't
• 50:58
  Speaker 3: in the version I had, But I'm I love the
• 51:01
  Speaker 3: bit with Neil that starts that runner, you know where
• 51:04
  Speaker 3: you we reveal him next to you can you know?
• 51:07
  Speaker 3: Someone walks away and just happen to look at him
• 51:10
  Speaker 3: and he's like, what if I told you g you know,
• 51:11
  Speaker 3: look at me when I'm eating? I don't like it. Okay,
• 51:15
  Speaker 3: what am I doing eating? And what are you doing daring?
• 51:21
  Speaker 1: Any Way? I would listen to a whole podcast that
• 51:22
  Speaker 1: I would the whole podcast it's called Michael Spiller acts
• 51:25
  Speaker 1: out all the parts of Scrub. Would I would totally
• 51:27
  Speaker 1: listen to it.
• 51:28
  Speaker 3: It's coming to Spotify. So Michael an endorsement.
• 51:35
  Speaker 1: Oh my god, Yeah, we gotta talk about Okay, First
• 51:38
  Speaker 1: of all, I remember the story shut Out, go ahead,
• 51:41
  Speaker 1: you should tell it that. No, I don't want to
• 51:42
  Speaker 1: take it. You got it, No, you got I'm just
• 51:44
  Speaker 1: worried you're gonna suck up the story because.
• 51:45
  Speaker 2: It's up the story. So what's Carrot Top's real name?
• 51:49
  Speaker 1: Joel? Can you look up whatever?
• 51:50
  Speaker 2: Scott Thompson Scott Thompson, Joel never mind.
• 51:55
  Speaker 1: Scott Thompson came on the show, and I always found
• 51:58
  Speaker 1: Scott Thompson very funny. I know that this was sort
• 52:00
  Speaker 1: of like making fun of carrot Top, but I always
• 52:02
  Speaker 1: thought he was a funny guy. And the only thing
• 52:05
  Speaker 1: we had heard about Scott Thompson just by you know,
• 52:09
  Speaker 1: sometimes when you have a guest star, there'd be a
• 52:10
  Speaker 1: couple of things like, hey, don't you know sometimes like
• 52:13
  Speaker 1: I remember someone was allergic to nuts and they were like,
• 52:15
  Speaker 1: don't eat nuts around him. Oh is Scott. It was like, hey, guys,
• 52:18
  Speaker 1: don't call him carrat top. He prefers that you call
• 52:20
  Speaker 1: him Scott, Like, don't don't call him carrot top. And
• 52:23
  Speaker 1: so the crew was told that, the cast was told out,
• 52:26
  Speaker 1: and we had this old prop man at the time
• 52:29
  Speaker 1: who walked right up to him was like, hey, how
• 52:31
  Speaker 1: you doing, carrot Head? And I remember we all all flinching, like,
• 52:42
  Speaker 1: don't call him carrot you call him carrot top alone,
• 52:45
  Speaker 1: carrot head. Hey, how you doing cart How you doing
• 52:48
  Speaker 1: carrot Head? Now?
• 52:49
  Speaker 3: Is this the same guy that allegedly hit Rowdy or not? Yes,
• 52:52
  Speaker 3: same guy, So another strike.
• 52:55
  Speaker 1: Yeah, I think his first building, his first Strike was
• 52:59
  Speaker 1: calling Scott carrot. But I know it's funny. I thought
• 53:11
  Speaker 1: Scott did a very funny job, and I laughed at
• 53:14
  Speaker 1: every single one of his jokes. So fuck off if
• 53:16
  Speaker 1: you don't like carrot.
• 53:17
  Speaker 2: Top right on. I've worked with I've worked with Scott
• 53:20
  Speaker 2: since then.
• 53:21
  Speaker 1: You have, Yeah, we did, he's still doing. He's ripped, right,
• 53:24
  Speaker 1: that's one thing.
• 53:25
  Speaker 2: Now, we played basketball together. All types of things. Uh,
• 53:28
  Speaker 2: in the celebrity circuit. Uh, he is ripped, He's and
• 53:32
  Speaker 2: he's ripped like he's ripped like diesel, ripped, like rock ripped.
• 53:35
  Speaker 1: You know, he's not just like he's not he's not as.
• 53:38
  Speaker 2: Tall as the rock, but he's ripped like, you know,
• 53:41
  Speaker 2: at least back then, at least you know, ten years ago.
• 53:43
  Speaker 2: The last time I saw him, he was freaking diesel. Dude.
• 53:48
  Speaker 2: You know, as you get older, you try to figure
• 53:50
  Speaker 2: out ways to stay young, and.
• 53:52
  Speaker 1: Yeah, well I'm trying to stay I'm trying to stay
• 53:54
  Speaker 1: in shape. But I don't have muscles like that. But
• 53:55
  Speaker 1: I guess I could take it more seriously and eat
• 53:58
  Speaker 1: a lot of calories.
• 54:00
  Speaker 3: You have muscles like Johnny.
• 54:05
  Speaker 1: Did I give you that?
• 54:06
  Speaker 2: John C.
• 54:06
  Speaker 1: I think I went on so he's holding up guys.
• 54:10
  Speaker 1: There's a there's a Johnny c who played Red and Platoon.
• 54:14
  Speaker 1: There's a there's a there's a beautiful uh doll. I
• 54:18
  Speaker 1: don't know what you call that. It's like a ken doll.
• 54:19
  Speaker 1: It's like an action figure, an action but it's but
• 54:21
  Speaker 1: it's Kendall.
• 54:24
  Speaker 2: It's a twelve.
• 54:25
  Speaker 1: And when I when I saw them, I.
• 54:26
  Speaker 2: When I went sixth scale.
• 54:28
  Speaker 1: By the way, it's it's it's it's accessory is a cigarette,
• 54:31
  Speaker 1: which I always thought was funny. And I, uh yeah,
• 54:34
  Speaker 1: when those came out, I bought one for Johnny and
• 54:36
  Speaker 1: for I guess I bought one for use Filder. God,
• 54:38
  Speaker 1: I must have really loved you, he did.
• 54:41
  Speaker 2: Those are the days, Y, So I love you definitely
• 54:44
  Speaker 2: changes everything it does. Yeah, Well, and when you say it,
• 54:48
  Speaker 2: apparently in this story, when you say I love you,
• 54:52
  Speaker 2: ship gets weird for a little bit. Yeah, yes, for
• 54:55
  Speaker 2: Judy with at least with the Turken Carla.
• 55:01
  Speaker 3: I think it's weird for both of you. I don't
• 55:02
  Speaker 3: think either of you has ever really said.
• 55:04
  Speaker 2: It before, right, I just don't. I mean, I've said
• 55:07
  Speaker 2: it a couple of times in my life, but I
• 55:11
  Speaker 2: don't know that it's changed. I mean, you know, I
• 55:14
  Speaker 2: guess it just makes the breakup harder. I don't know.
• 55:19
  Speaker 2: I just found that. I found that as an interesting
• 55:22
  Speaker 2: story for these guys that I love. You made them
• 55:25
  Speaker 2: have cold feet in the in the bedroom, well did right?
• 55:30
  Speaker 1: And you didn't have cold well.
• 55:31
  Speaker 2: He had cold feet, he did too. It was a
• 55:33
  Speaker 2: blow to his ego. Also right in his head. He
• 55:35
  Speaker 2: got in his head, right. But and even and the
• 55:38
  Speaker 2: fact that Turk is like, you know, it's never happened that,
• 55:41
  Speaker 2: you know, I've always been able to pleasure a woman
• 55:43
  Speaker 2: to the point of orgasm to marry out. I was like, right,
• 55:47
  Speaker 2: I was like, yeah, whatever.
• 55:48
  Speaker 3: Yeah, I don't the stakes are high. The stakes are high.
• 55:51
  Speaker 2: That's a weird plot line for me. I love you
• 55:55
  Speaker 2: and because of that, you can't come now.
• 55:58
  Speaker 1: Well, I don't know if you're supposed to say the cud.
• 56:00
  Speaker 1: I mean we can say orgasm comes a little aggressive
• 56:03
  Speaker 1: for a family podcast?
• 56:04
  Speaker 2: Are we a family podcast?
• 56:06
  Speaker 1: I know we're explicit. We're explicit, but we stay away.
• 56:11
  Speaker 2: You had we had established don't know what type of podcast.
• 56:14
  Speaker 1: No, No, we're definitely explicit. But you could have said ejaculate.
• 56:18
  Speaker 1: I wasn't you don't have to say. Come, it's so graphic,
• 56:21
  Speaker 1: right Joel crashing up at you right now?
• 56:23
  Speaker 3: She could a climax.
• 56:24
  Speaker 1: She couldn't, Joel, as our producer, should we be using
• 56:27
  Speaker 1: a word? I don't know. I hear call iHeart on
• 56:31
  Speaker 1: the red phone.
• 56:33
  Speaker 2: I don't think it. It'll matter much, guys, whenever you're coaching.
• 56:37
  Speaker 1: I don't know. Donald said it. My heart skipped to
• 56:39
  Speaker 1: beat no episode, I know it's fucking staying. It's stay listen,
• 56:46
  Speaker 1: you know, listen to that point. I noticed Judy didn't
• 56:50
  Speaker 1: say orgasm in the first scene that it comes up,
• 56:52
  Speaker 1: and I was like, oh, it must be like a
• 56:54
  Speaker 1: TV thing. And we see that we had a tiptoe
• 56:56
  Speaker 1: around the word. And then everyone starts saying it. You
• 56:59
  Speaker 1: say it's sad, says it. I'm like, oh, it's just
• 57:01
  Speaker 1: a Judy's character. Carla is like uncomfortable saying the word
• 57:06
  Speaker 1: in public.
• 57:08
  Speaker 2: Which is odd to me because as you saw, I
• 57:11
  Speaker 2: just said a different word and all of you guys got.
• 57:14
  Speaker 1: Oh, now you're ashamed. Now now you guys kind of
• 57:16
  Speaker 1: shamed me. That was no judge. We're not shaming you.
• 57:19
  Speaker 1: There's no judgment.
• 57:19
  Speaker 2: Was a little bit of judgment.
• 57:20
  Speaker 1: I'm gonna keep it no, no way, No, there's no judgment.
• 57:23
  Speaker 2: And anybody out there listening, I felt your judgment too. No,
• 57:26
  Speaker 2: they weren't judging your judgment too.
• 57:28
  Speaker 1: I think we were all just a little taken aback
• 57:30
  Speaker 1: that you came at us aggressively, no pun intended.
• 57:32
  Speaker 3: I'm going to keep us on topic, but maybe get
• 57:34
  Speaker 3: us out of this office, or are you.
• 57:35
  Speaker 1: Going to direct us? Piller direct us.
• 57:38
  Speaker 3: I'm just gonna say that, you guys, this is what
• 57:40
  Speaker 3: a director does. It's a little redirect here at that
• 57:43
  Speaker 3: moment at eleven fifty five where Carla catches herself after
• 57:46
  Speaker 3: Elliott's made her confession that she's never been able to
• 57:49
  Speaker 3: climbax ever, even by herself, that that moment after she
• 57:53
  Speaker 3: says it, Judy's like, oh, I'm sorry, I should be
• 57:58
  Speaker 3: more surprised. It's just like that, the the pause and
• 58:01
  Speaker 3: her like her realization. It's it's a silent beat. It's
• 58:04
  Speaker 3: so funny and so definitely executed. And there was something
• 58:09
  Speaker 3: that I have no you can't take no credit for.
• 58:11
  Speaker 3: Of course, that's all the actor.
• 58:12
  Speaker 1: Elliott is so self deprecating in this episode. It's so funny.
• 58:16
  Speaker 1: Every scenes staras in She's like, she's just like taking
• 58:19
  Speaker 1: digs at herself over and over and over again. Let's
• 58:22
  Speaker 1: talk about the legendary Sam Lloyd at fifteen thirty saying
• 58:25
  Speaker 1: walk off, bitch. I laughed out loud it Oh, yes,
• 58:29
  Speaker 1: now it's spiller. I noticed he's not sweating. I don't
• 58:31
  Speaker 1: know if you recall because it was so long ago,
• 58:33
  Speaker 1: but I wondered if there was a conscious decision like, no,
• 58:35
  Speaker 1: you found your courage. You're not going to be flopped
• 58:38
  Speaker 1: sweating in this scene.
• 58:40
  Speaker 3: Yeah. I don't remember actually saying the words, but I'd
• 58:44
  Speaker 3: like to think that that is why, you know, with
• 58:47
  Speaker 3: his new found you know, since since Kelso's lost his mojo,
• 58:51
  Speaker 3: Ted has this newfound confidence that he wasn't sweating.
• 58:55
  Speaker 1: Yeah, and then it goes, and then he goes. You
• 58:58
  Speaker 1: are a wonderful person with you.
• 59:04
  Speaker 2: Don't blurrd know what you did?
• 59:05
  Speaker 1: Yeah, so good, it's blurred. Do you want to share
• 59:08
  Speaker 1: any Sammy thoughts? I thought, just you know, because you
• 59:10
  Speaker 1: worked with him a bunch of times, and and uh
• 59:13
  Speaker 1: and we you know, Donald and I shared some thoughts.
• 59:15
  Speaker 1: But I thought you might want to say anything that
• 59:17
  Speaker 1: you remember about him.
• 59:19
  Speaker 3: Yeah, I mean, gosh, it's take him too soon. I mean,
• 59:24
  Speaker 3: such a great guy, such an amazing talent. I'm so
• 59:29
  Speaker 3: pleased to work with him a bunch and and gotten
• 59:33
  Speaker 3: to know him a little bit. And but I often
• 59:36
  Speaker 3: I mean, when I heard the news, I kept thinking
• 59:39
  Speaker 3: back to one episode that I haven't seen in a while,
• 59:42
  Speaker 3: but this moment is all I stuck with me where
• 59:44
  Speaker 3: Ted the Lawyer winds up falling off the roof and
• 59:49
  Speaker 3: I mean we shot like a pretty elaborate sequence for it,
• 59:52
  Speaker 3: and you know, see him falling away and he says, oh,
• 59:56
  Speaker 3: sweet relief, you know, like he's finally, you know, gonna
• 1:00:00
  Speaker 3: be at at this torturous life. And you know, years ago,
• 1:00:04
  Speaker 3: I just would think about that moment because it was
• 1:00:05
  Speaker 3: so funny and so on character, and you know, the
• 1:00:10
  Speaker 3: past couple of weeks I've just been thinking about It's like, well,
• 1:00:14
  Speaker 3: I hope that he has found peace and you know
• 1:00:16
  Speaker 3: it's not in pain, and it's just heartbreaking. What an
• 1:00:20
  Speaker 3: amazing guy.
• 1:00:21
  Speaker 1: Yeah, he really was. I've been thinking about him a
• 1:00:24
  Speaker 1: lot lately, and I know, I know all the fans
• 1:00:26
  Speaker 1: of the show have. But and now, of course, when
• 1:00:28
  Speaker 1: he comes up in an episode, I'm like extra leaning
• 1:00:30
  Speaker 1: forward because I know, I just know what's going to
• 1:00:32
  Speaker 1: be funny. And you know, I have this thing when
• 1:00:34
  Speaker 1: I write my notes down for the episode, I write
• 1:00:36
  Speaker 1: lol just to remind myself to say that. That's something
• 1:00:39
  Speaker 1: that made me laugh out loud and saying he has
• 1:00:41
  Speaker 1: like two lines in this episode. I laughed out loud
• 1:00:43
  Speaker 1: of both of them.
• 1:00:45
  Speaker 3: That's just him just delivered always.
• 1:00:48
  Speaker 2: Yeah, he definitely.
• 1:00:50
  Speaker 1: Johnny c At nineteen twenty seven puts in his own
• 1:00:54
  Speaker 1: five good ones, you know, that's what. Yeah, I noticed
• 1:00:56
  Speaker 1: that with that, well, you know that that was his expression.
• 1:01:00
  Speaker 1: I think I don't know if the writers put it
• 1:01:02
  Speaker 1: in the script or not.
• 1:01:04
  Speaker 2: Right here for you, Bob, I like that whole storyline too.
• 1:01:07
  Speaker 2: That was very funny of Kelso losing his mojo, and
• 1:01:12
  Speaker 2: the way Ken played it was great, like a wounded
• 1:01:15
  Speaker 2: little like a wounded little puppy.
• 1:01:17
  Speaker 1: Ken was so funny. Right when you ever see Kelso
• 1:01:20
  Speaker 1: play that like humbled puppy, That was so funny.
• 1:01:23
  Speaker 2: And and even and uh and and John and you know,
• 1:01:26
  Speaker 2: and him realizing, wait a second, how did I lose
• 1:01:28
  Speaker 2: my mojo? And John c rolling by, Yeah, the wheelchair
• 1:01:32
  Speaker 2: waving at him.
• 1:01:33
  Speaker 1: Hilarious, dude, that's a that's a shot I've seen like
• 1:01:36
  Speaker 1: in every Scrubs clip reel that's ever shown, or like,
• 1:01:39
  Speaker 1: you know, gifts and stuff. You just that's it's one
• 1:01:42
  Speaker 1: of those shots you always see Johnny on the wheelchair
• 1:01:44
  Speaker 1: rolling by waving like that.
• 1:01:47
  Speaker 3: Yeah, I think I'm owed some residuals or something, some gift.
• 1:01:51
  Speaker 1: Those gift residuals.
• 1:01:52
  Speaker 2: Are Yeah, they don't pay, they don't pay.
• 1:01:56
  Speaker 1: Yeah, I just wrote I wrote down the same thing.
• 1:01:57
  Speaker 1: Donald ken Ken is so good being humbled. I mean,
• 1:02:00
  Speaker 1: it's not something you ever really saw on Scrubs, but
• 1:02:02
  Speaker 1: he was, like he played it so well. Just he
• 1:02:04
  Speaker 1: that guy has such an amazing range.
• 1:02:06
  Speaker 2: Yeah. But and then also also his his comeback was
• 1:02:10
  Speaker 2: great and the way Cox tricks him or you know,
• 1:02:16
  Speaker 2: revives him by saying, you know what, guys, from here
• 1:02:21
  Speaker 2: on out, you just ask me the question and I'll
• 1:02:23
  Speaker 2: answer everything for you. And you and you realize, oh
• 1:02:26
  Speaker 2: wait a second, you realize right then, And there Kelso
• 1:02:29
  Speaker 2: is trying to teach. He gets a kick out of
• 1:02:31
  Speaker 2: being the most evil person on the planet. But he
• 1:02:34
  Speaker 2: is the chief of medicine at a teaching hospital, and
• 1:02:38
  Speaker 2: he fulfills his job in every episode, regardless of how
• 1:02:42
  Speaker 2: evil he might be or how angry he might seem.
• 1:02:45
  Speaker 2: You know, I talked about this earlier. He h an
• 1:02:48
  Speaker 2: older and earlier podcast. He he's always teaching. He's always
• 1:02:54
  Speaker 2: he's always a part of the solution and not necessarily
• 1:02:58
  Speaker 2: the problem. Even if it's like, well, look, this is
• 1:03:00
  Speaker 2: how we run things. He the lessons always somehow revolve
• 1:03:07
  Speaker 2: around how mean he is. But he's freaking so he's
• 1:03:11
  Speaker 2: always teaching. The kids. He's always teaching, or the students or.
• 1:03:14
  Speaker 1: The and always taken away from him. This time, he's
• 1:03:17
  Speaker 1: totally like lost his mojo, you know.
• 1:03:19
  Speaker 2: He well, not only has he lost his mojo, he's
• 1:03:22
  Speaker 2: lost his purpose in the hospital. Also, what do I
• 1:03:24
  Speaker 2: do here? I can't freaking get ted to do his job.
• 1:03:27
  Speaker 2: I can't get you know, I can't get the med
• 1:03:31
  Speaker 2: students or the interns to do their job. What how
• 1:03:36
  Speaker 2: do you know?
• 1:03:37
  Speaker 3: How?
• 1:03:38
  Speaker 2: What is my purpose here? And it's only until it's
• 1:03:40
  Speaker 2: only until Cox says, you know, you guys ask me
• 1:03:45
  Speaker 2: the question where he's like, wait a second, that's not
• 1:03:47
  Speaker 2: how we run things. And it's all right if I
• 1:03:49
  Speaker 2: scare the shit out of them, that's a fine way
• 1:03:51
  Speaker 2: to teach people. Fear we're in a hospital. If this
• 1:03:54
  Speaker 2: ship hits Code RED, these people need to be ready
• 1:03:56
  Speaker 2: to you know, push their nerves aside and answer questions
• 1:04:00
  Speaker 2: and save lives and everything like.
• 1:04:02
  Speaker 3: That psion and you get another glimpse of, you know,
• 1:04:04
  Speaker 3: inside doctor c that you know, there's more than meets
• 1:04:07
  Speaker 3: the I there. He's not just you know, a scary,
• 1:04:09
  Speaker 3: intimidating figure in the hospital. It's like, no, he's got part.
• 1:04:13
  Speaker 3: He's got compassion and you know, understands how things work
• 1:04:17
  Speaker 3: here and he's the one who's instrumental in restoring the order.
• 1:04:21
  Speaker 1: Yeah. Yeah, And I thought that was really nice just
• 1:04:24
  Speaker 1: moment into doctor Cox's mind, seeing that he's a lonesome
• 1:04:29
  Speaker 1: guy who's who's dedicated his life to this and and
• 1:04:33
  Speaker 1: I thought, you know, I just thought that was a
• 1:04:34
  Speaker 1: nice sort of reveal as we get to know the
• 1:04:37
  Speaker 1: character more in episode thirteen of the whole series, that
• 1:04:41
  Speaker 1: you know how dedicated he is to being a doctor,
• 1:04:44
  Speaker 1: even even in sacrificing relationships with with with people. And
• 1:04:50
  Speaker 1: you know, Joelle brought up a good point that you know,
• 1:04:53
  Speaker 1: when you do a TV show, granted we're not doing
• 1:04:56
  Speaker 1: something noble like saving lives, but you know, when you
• 1:05:00
  Speaker 1: we had something analogous going on in that we were
• 1:05:03
  Speaker 1: just at this hospital sixteen hours a day, and it
• 1:05:06
  Speaker 1: definitely hurt relationships with family and friends. You know, Donald
• 1:05:10
  Speaker 1: had children and and and and was gone, and I
• 1:05:14
  Speaker 1: lost touch with a lot of old friends, and it
• 1:05:17
  Speaker 1: was it was a bit analogous to what was happening
• 1:05:19
  Speaker 1: in our lives. You know, It's interesting. When Scrubs ended,
• 1:05:21
  Speaker 1: I had this feeling that I was delayed in a
• 1:05:24
  Speaker 1: sense in that I hadn't had nine years of building
• 1:05:28
  Speaker 1: friendships outside of the hospital. I had built the best
• 1:05:32
  Speaker 1: friendships of my life. You especially and Spiller, Spiller, Spiller,
• 1:05:37
  Speaker 1: you're close, like ten down. But no, I had built
• 1:05:40
  Speaker 1: some great friendships. And uh and actually that's that's one
• 1:05:44
  Speaker 1: of the reasons so many of these wonderful people, including
• 1:05:47
  Speaker 1: Bill and others, are so in my life. And of
• 1:05:50
  Speaker 1: course I I fostered other relationships, but but you know,
• 1:05:55
  Speaker 1: we didn't have much time over those nine years to
• 1:06:00
  Speaker 1: build and develop other relationships. And I don't know, I
• 1:06:03
  Speaker 1: don't know if you if you noticed that Donald were
• 1:06:05
  Speaker 1: when we were finally done and kind of had our
• 1:06:08
  Speaker 1: normal lives back, I felt that I was like, I
• 1:06:11
  Speaker 1: don't I have small circles of friends that I love
• 1:06:13
  Speaker 1: so much. But I'm not one of these people that
• 1:06:15
  Speaker 1: really knew a ton of people outside of my job.
• 1:06:19
  Speaker 2: Right And because of that, it's a little awkward now
• 1:06:22
  Speaker 2: when I do well, we're on lockdown. But when I
• 1:06:24
  Speaker 2: do meet people, I'm a little awkward about. You know,
• 1:06:29
  Speaker 2: when you make a bunch of really good friends and
• 1:06:31
  Speaker 2: it all ends and you only see them occasionally, Well,
• 1:06:38
  Speaker 2: you and I are a bit different. It's like, well,
• 1:06:41
  Speaker 2: you know, I spent ten years getting to know a
• 1:06:42
  Speaker 2: lot of people, and as much as as much as
• 1:06:46
  Speaker 2: I respect and cherished all the time that we spent together.
• 1:06:50
  Speaker 2: It's weird not having these people in my life. It's
• 1:06:52
  Speaker 2: weird not seeing Chris or or you know, or ethan
• 1:06:56
  Speaker 2: Or or Calvin or Natural Boult and Patrick Bolton. It's
• 1:07:01
  Speaker 2: weird not seeing this so Vaughan. It's weird not seeing
• 1:07:03
  Speaker 2: these people.
• 1:07:04
  Speaker 1: You know, one thing you could do, it would be
• 1:07:06
  Speaker 1: to ask Spiller to come put a doorknob on your house.
• 1:07:09
  Speaker 1: That's one trick that I've sometimes used when I don't.
• 1:07:11
  Speaker 2: Want Spiller anywhere near my house in quarantine.
• 1:07:15
  Speaker 1: Oh, he could mask up and come put a doorknob.
• 1:07:18
  Speaker 2: I totally understand. I totally understand that, but I'm trying
• 1:07:22
  Speaker 2: to listen.
• 1:07:23
  Speaker 1: He was thirty five an hour. It was worth every penny.
• 1:07:26
  Speaker 3: You know the rates of change, Yeah, DGA scale plus fringes.
• 1:07:32
  Speaker 1: Yeah. But you know, let's talk for a second about
• 1:07:35
  Speaker 1: New Slang, which is the song that ends the show.
• 1:07:38
  Speaker 1: Rumor has it it was chosen by Neil Goldman, who
• 1:07:41
  Speaker 1: unfortunately he keeps getting mentioned because he loves getting mentioned
• 1:07:44
  Speaker 1: on this podcast. But he was a writer, contributor, He
• 1:07:48
  Speaker 1: was a what are you saying?
• 1:07:50
  Speaker 2: I said he was a contributor. He contributed show.
• 1:07:54
  Speaker 1: I think on that show.
• 1:07:56
  Speaker 2: Because of that, on this show, because of that, he
• 1:07:58
  Speaker 2: gets spoken of all the time. Neil Goldman. I didn't
• 1:08:02
  Speaker 2: know that Neil Goldman picked this song.
• 1:08:03
  Speaker 1: Neil Goldman. Let me tell you something. Neil Goldman is
• 1:08:06
  Speaker 1: very into music, was and is very into music, and
• 1:08:09
  Speaker 1: he picked the song. Now, this song I so fell
• 1:08:11
  Speaker 1: in love with.
• 1:08:13
  Speaker 2: Yeah, I know you used to sing this ship all
• 1:08:14
  Speaker 2: the time, go teeth and a curse in.
• 1:08:17
  Speaker 1: My mouth and a curse for this town, and I
• 1:08:20
  Speaker 1: put it into it.
• 1:08:20
  Speaker 2: I thought it was a curse in my mouth? Do
• 1:08:22
  Speaker 2: you know this town?
• 1:08:24
  Speaker 1: Do you know that it's in garden State.
• 1:08:26
  Speaker 2: It is.
• 1:08:26
  Speaker 1: It's the song that when I say to that black.
• 1:08:29
  Speaker 2: People in garden State, I've never seen garden State.
• 1:08:32
  Speaker 1: Well when they do, like when we do, like the
• 1:08:34
  Speaker 1: Wiz version, maybe you'll check it out. Will you be
• 1:08:37
  Speaker 1: me and the stuff?
• 1:08:38
  Speaker 2: What are you gonna do the Wiz version?
• 1:08:40
  Speaker 1: Yeah, the Wiz version.
• 1:08:41
  Speaker 2: Who's gonna play your character?
• 1:08:42
  Speaker 1: Who's playing you? Are you are? Of course?
• 1:08:44
  Speaker 2: It better be me. That's all I know. When people
• 1:08:47
  Speaker 2: say your name, they better say my name next. That's
• 1:08:50
  Speaker 2: all I motherfucker know.
• 1:08:51
  Speaker 1: Got that you didn't know that. We've already started casting
• 1:08:54
  Speaker 1: the Wiz version of Garden Seat and you're the star.
• 1:08:58
  Speaker 1: I love it except when you say you tell me
• 1:09:01
  Speaker 1: not instead of news slang? When when I when Natalie,
• 1:09:03
  Speaker 1: when the Natalie character says, you got to hear this song.
• 1:09:06
  Speaker 1: It will change your life. And you're in the Whiz
• 1:09:07
  Speaker 1: version of you that you're in. What's the song gonna be?
• 1:09:10
  Speaker 2: It goes right foot up, left foot, slide, left foot up,
• 1:09:15
  Speaker 2: right foot, slide away, about to slide. We do it,
• 1:09:20
  Speaker 2: slide slide.
• 1:09:22
  Speaker 1: What is that song?
• 1:09:25
  Speaker 2: It's just like Michael Ja Son, I can give you
• 1:09:29
  Speaker 2: the path.
• 1:09:30
  Speaker 1: So aren't the lyrics like, yeah, I saw it briefly
• 1:09:34
  Speaker 1: on somebody's video, But isn't it like lessen pretty much
• 1:09:40
  Speaker 1: anything you're gonna do.
• 1:09:41
  Speaker 2: It's like, that's right, dope moment, And then I think
• 1:09:48
  Speaker 2: we should listen. I'm not gonna knock the idea. I'm
• 1:09:52
  Speaker 2: doing an all black Garden States.
• 1:09:53
  Speaker 1: Listen. I will license I will license you.
• 1:09:57
  Speaker 2: It'll be a different story. I mean, it's the same story,
• 1:09:59
  Speaker 2: but it's a different it's a different it's a different movie. Though.
• 1:10:03
  Speaker 1: Listen, I will give you the license, you and you
• 1:10:06
  Speaker 1: and you and someone.
• 1:10:08
  Speaker 2: And instead of going to method man and now, I'm
• 1:10:10
  Speaker 2: not gonna choose you to play motherfucking the character at
• 1:10:13
  Speaker 2: the hotel, choose great Jack Shepherd, Dax Shepherd, Dax Shepherd.
• 1:10:21
  Speaker 2: I'm gonna have Ray Romano.
• 1:10:24
  Speaker 1: So fucked up. My feelings are hurt. Hey, everybody. While
• 1:10:27
  Speaker 1: Donald cools down and writes his Wiz musical version of
• 1:10:30
  Speaker 1: Garden State.
• 1:10:32
  Speaker 2: It's not a musical, it is.
• 1:10:34
  Speaker 1: The Whiz was a musical.
• 1:10:35
  Speaker 2: So is The Wizard of Oz. Though.
• 1:10:37
  Speaker 1: Okay, stop yelling.
• 1:10:38
  Speaker 2: I'm not yelling. I listen, I'm calm.
• 1:10:41
  Speaker 1: Okay, Well, we'll be right now, and we're bad we're bad.
• 1:10:55
  Speaker 2: Michael Spiller with us.
• 1:10:57
  Speaker 1: We have director Michael Spiller, Emmy Award winning director Michael Spiller,
• 1:11:01
  Speaker 1: who not only is a fantastic filmmaker, but also can
• 1:11:04
  Speaker 1: throw a door knob on a door in thirty minutes flat.
• 1:11:07
  Speaker 1: Joel introduce us to Whitney and Dustin.
• 1:11:10
  Speaker 2: Whitney and Dustin, Hi, guys, thanks so much for coming
• 1:11:14
  Speaker 2: on this show.
• 1:11:15
  Speaker 3: And.
• 1:11:17
  Speaker 1: Thank you for having us a baby.
• 1:11:21
  Speaker 6: And yes, we brought the baby along because we wanted
• 1:11:25
  Speaker 6: to introduce you guys to Atticus Dorian. Oh, totally named
• 1:11:31
  Speaker 6: after j D.
• 1:11:35
  Speaker 2: I thought you were gonna say, no, Attic Historian's a
• 1:11:38
  Speaker 2: beautiful name.
• 1:11:39
  Speaker 1: Thank you.
• 1:11:39
  Speaker 4: But he does have on his baby bear shirt.
• 1:11:43
  Speaker 1: Oh so cute. He's such a cute.
• 1:11:46
  Speaker 7: We figured since he was gonna meet Vanilla and Chocolate Bear,
• 1:11:49
  Speaker 7: he needed to rock the baby bear shirt.
• 1:11:51
  Speaker 3: Yeah.
• 1:11:53
  Speaker 2: Where do you guys?
• 1:11:55
  Speaker 7: We're from Leaton, Alabama. It's a tiny little town in
• 1:11:58
  Speaker 7: the sort of like in the Shoals area. I don't know,
• 1:12:01
  Speaker 7: it's probably something you've never heard of.
• 1:12:04
  Speaker 2: I've been to Alabama, but not in that area. I've
• 1:12:07
  Speaker 2: been to Birmingham, Alabama.
• 1:12:09
  Speaker 7: Yeah, we're a little bit north of Birmingham's.
• 1:12:11
  Speaker 1: Okay, well, we're so glad you guys are here. And
• 1:12:14
  Speaker 1: you were joined not only by by is it me
• 1:12:17
  Speaker 1: and Donald, but Michael Spiller, who was one of the
• 1:12:19
  Speaker 1: best directors of Scrubs and.
• 1:12:21
  Speaker 2: Directed several episodes of.
• 1:12:23
  Speaker 1: Twenty twenty episodes. He directed some other shows too, but
• 1:12:26
  Speaker 1: we don't care about them on this podcast.
• 1:12:28
  Speaker 2: I mean they might care though, Yeah, your show called
• 1:12:31
  Speaker 2: Sex and the City.
• 1:12:32
  Speaker 1: He directed a.
• 1:12:33
  Speaker 2: Little show called Modern Family. Do you guys have a question?
• 1:12:37
  Speaker 2: Go ahead, if we hit a couple, Okay, let's get
• 1:12:39
  Speaker 2: into it.
• 1:12:40
  Speaker 4: It was one extras or I guess it was an
• 1:12:42
  Speaker 4: extures a background character.
• 1:12:44
  Speaker 3: It was a bond doctor.
• 1:12:46
  Speaker 4: In the episode where Janitor got married, she was milk doctor.
• 1:12:51
  Speaker 7: She seems to be in almost every episode.
• 1:12:54
  Speaker 4: In the background, alike, just about every episode.
• 1:12:56
  Speaker 7: We have, like we've noticed her and on know, on
• 1:13:00
  Speaker 7: these rewatches we've you know, watched over and over again,
• 1:13:02
  Speaker 7: and every time, you know, she's in the background.
• 1:13:04
  Speaker 2: We said, there she is.
• 1:13:05
  Speaker 7: She's in every episode.
• 1:13:06
  Speaker 2: What does she look like.
• 1:13:08
  Speaker 7: She's she's blonde. She's probably close to like you know,
• 1:13:12
  Speaker 7: would have been like doctor Cox's age. She wasn't one
• 1:13:15
  Speaker 7: of the younger interns or anything. But you know when
• 1:13:19
  Speaker 7: we've looked before. You know, if you try to search
• 1:13:21
  Speaker 7: for Scrubs, milk doctor, you get a lot really racing results.
• 1:13:27
  Speaker 2: It's different.
• 1:13:27
  Speaker 1: Yeah, different, I'll bet I'll bet it probably have nothing
• 1:13:30
  Speaker 1: to do with the show.
• 1:13:30
  Speaker 2: They're not at all.
• 1:13:32
  Speaker 1: Yeah, well, I will tell you this. I will tell
• 1:13:34
  Speaker 1: you this that you know. This is what we tried
• 1:13:38
  Speaker 1: to do is have the same to have it feel
• 1:13:39
  Speaker 1: like the same people work there. There would be the
• 1:13:42
  Speaker 1: same group of like thirty to forty background people that
• 1:13:46
  Speaker 1: would all sort of rotate in and out, and then
• 1:13:50
  Speaker 1: each day there'd be some people we'd never seen before.
• 1:13:53
  Speaker 1: But she must have been. I can't think of who
• 1:13:54
  Speaker 1: it is. Give me a second, but maybe Joelle can
• 1:13:57
  Speaker 1: do some recon.
• 1:13:59
  Speaker 2: I think I got it, I got it.
• 1:14:00
  Speaker 1: Hold up, do you remember what was the episode Arlene Grace?
• 1:14:03
  Speaker 2: I think that's who they're talking about. Is this her?
• 1:14:06
  Speaker 1: Yes?
• 1:14:07
  Speaker 3: Yes, yes, yes, yes, Arlene.
• 1:14:11
  Speaker 1: Arlene was one of our regular background folks, and so
• 1:14:15
  Speaker 1: that's why you see her all the time. She was
• 1:14:17
  Speaker 1: probably there every day right.
• 1:14:18
  Speaker 2: Now, Yeah, she was there every day. Her snoop Dog, Uh, Mickhead.
• 1:14:23
  Speaker 2: I haven't seen Mickhead yet. Yet I guess he came
• 1:14:25
  Speaker 2: a lot later.
• 1:14:26
  Speaker 1: But Snoop has a lot of screen time in the
• 1:14:29
  Speaker 1: episode that we're talking about today. Yes, Spiller, you had him,
• 1:14:32
  Speaker 1: you had you had Kelso bangs a pot right in
• 1:14:35
  Speaker 1: Snoop's face in this episode.
• 1:14:37
  Speaker 3: Yeah, and he held it perfectly, didn't even flinch. I
• 1:14:40
  Speaker 3: can't remember if he put earplugs in or anything.
• 1:14:42
  Speaker 2: That's crazy that you guys recognized Arlene she was. Yeah,
• 1:14:46
  Speaker 2: she was on the show from pretty much the beginning
• 1:14:49
  Speaker 2: all the way till the end. I don't know. I
• 1:14:51
  Speaker 2: don't know if everybody did season nine. And you do
• 1:14:54
  Speaker 2: refer to her when you talk to all of the
• 1:14:56
  Speaker 2: other background.
• 1:14:58
  Speaker 1: I do, yeah, yeah, yeah, yea, okay, wow, how did
• 1:15:01
  Speaker 1: you find that so quickly? By the way, I'm very
• 1:15:03
  Speaker 1: impressed with you right.
• 1:15:03
  Speaker 2: Now because I remember her. I remember, I knew exactly
• 1:15:06
  Speaker 2: who they were talking about. Uh. And you know, Facebook
• 1:15:09
  Speaker 2: is a is one of those things where everybody still
• 1:15:12
  Speaker 2: keeps in touch. So once they said that, I was.
• 1:15:14
  Speaker 1: Like, are you still using Facebook?
• 1:15:15
  Speaker 7: You're friends with her on Facebook? Or you just need
• 1:15:19
  Speaker 7: to look her page up?
• 1:15:20
  Speaker 2: No, No, I'm friends with her on Facebook. I'm friends
• 1:15:22
  Speaker 2: with everybody, friends with everybody that we worked with.
• 1:15:24
  Speaker 1: I don't even go on Facebook anymore, but Donald, You're
• 1:15:26
  Speaker 1: still on there, getting in getting in arguments with everybody.
• 1:15:30
  Speaker 2: No, I try to stay away from all of the
• 1:15:31
  Speaker 2: political That's.
• 1:15:32
  Speaker 1: Why when I turn on and I turn on Facebook
• 1:15:34
  Speaker 1: these days and see everyone battling each other, I'm like,
• 1:15:36
  Speaker 1: I'm out, Yeah, good night.
• 1:15:39
  Speaker 7: I imagine Facebook in the South and with all your
• 1:15:42
  Speaker 7: you know, conservative friends and stuff that's on there. That's
• 1:15:45
  Speaker 7: a whole different you know.
• 1:15:47
  Speaker 1: I'll bet that's tricky. Yeah, I'm in LA, the most
• 1:15:50
  Speaker 1: liberal place in the world, and I'm like, nope, I'm out.
• 1:15:54
  Speaker 1: All right, guys, you have another question.
• 1:15:57
  Speaker 7: Well, we were talking earlier, and you know, we were
• 1:15:59
  Speaker 7: kind of both racking our brains, like we wanted, really
• 1:16:02
  Speaker 7: wanted to come up with some profound, you know, like
• 1:16:03
  Speaker 7: deep question to ask. But really, all I could think
• 1:16:06
  Speaker 7: of to ask would be, you know, obviously Scrubs is
• 1:16:09
  Speaker 7: one of our favorite shows, but what do you guys
• 1:16:12
  Speaker 7: consider to be your favorite TV shows, like of all time?
• 1:16:16
  Speaker 2: That's a great question.
• 1:16:17
  Speaker 1: I wow, let's make Spiller start.
• 1:16:22
  Speaker 2: Since he's yes, Spiller, you go first, direct, very.
• 1:16:25
  Speaker 1: Very fancy director. Let's see what are his TV show's
• 1:16:28
  Speaker 1: favorite spiller, and you can't say anything you've directed because
• 1:16:31
  Speaker 1: we know Scrubs is number one.
• 1:16:33
  Speaker 3: That's correct, well, slightly different genre. The Wire.
• 1:16:37
  Speaker 1: Yeah, a lot of people.
• 1:16:38
  Speaker 3: Say absolutely, I've watched that all the way through twice.
• 1:16:44
  Speaker 3: Also Narcos, I've watched that all the way through twice.
• 1:16:48
  Speaker 1: Really, I just watched Narcos Mexico, which was really well done,
• 1:16:51
  Speaker 1: but I didn't watch the original Narcos spiller I'm making
• 1:16:53
  Speaker 1: I'm writing down this list, by the way, because you
• 1:16:56
  Speaker 1: know the Wire, sure, but I haven't watched Narcos the
• 1:16:58
  Speaker 1: first one Christmas.
• 1:17:01
  Speaker 3: I love them currently. I love Ozark. Okay, when current
• 1:17:06
  Speaker 3: season ended, what ended?
• 1:17:07
  Speaker 1: Free?
• 1:17:07
  Speaker 3: When I got through it, I was really really bummed out,
• 1:17:10
  Speaker 3: just wanted more.
• 1:17:11
  Speaker 4: He hasn't watched yet.
• 1:17:14
  Speaker 3: I won't say anything.
• 1:17:20
  Speaker 1: Everything. No, wait, you're covering now, you're covering his his
• 1:17:26
  Speaker 1: eyes and ears. But do you guys not watch shows together?
• 1:17:29
  Speaker 1: Because I find if I if my girlfriend and I
• 1:17:32
  Speaker 1: get off of sync in watching a show together, that's
• 1:17:34
  Speaker 1: all hell breaks loose. In fact, I'm currently rewatching a
• 1:17:38
  Speaker 1: show I've already seen because I want it dead to me,
• 1:17:41
  Speaker 1: which is really good, and we want to watch season two,
• 1:17:44
  Speaker 1: but now in order to watch that, I have to
• 1:17:46
  Speaker 1: rewatch all season one with her.
• 1:17:48
  Speaker 4: With the newborn baby and her own maternity league, she
• 1:17:51
  Speaker 4: watches a lot more TV during the day while I'm
• 1:17:53
  Speaker 4: at work, so right sometimes I try to catch up,
• 1:17:56
  Speaker 4: but I haven't had time to catch up on Ozor.
• 1:17:58
  Speaker 7: I really want him to go back and watch, and
• 1:18:00
  Speaker 7: I would totally not mind going back and watching it
• 1:18:02
  Speaker 7: again with him because it is so good. But normally, yeah,
• 1:18:05
  Speaker 7: when we actually it's pretty good for us because we
• 1:18:07
  Speaker 7: have very similar taste in television shows, so it works out.
• 1:18:12
  Speaker 2: So what's your TV shows? Act?
• 1:18:14
  Speaker 1: Well, I'm gonna recommend one that that I can't believe
• 1:18:17
  Speaker 1: is this underrated? Because I never heard anyone talk about
• 1:18:20
  Speaker 1: it and it's called Patriot and it's on Amazon and
• 1:18:25
  Speaker 1: there's a few seasons. Spiller, you ever watch that?
• 1:18:29
  Speaker 3: No, I have it.
• 1:18:30
  Speaker 1: It's amazing. You're gonna love it. Steve Conrad is the
• 1:18:34
  Speaker 1: showrunner and really really amazingly. No, that's like the best
• 1:18:39
  Speaker 1: last show I saw. I really really love that. What
• 1:18:42
  Speaker 1: about you, Donald?
• 1:18:43
  Speaker 2: I'm embarrassed because my shows are.
• 1:18:47
  Speaker 1: Shows your embarrassed.
• 1:18:49
  Speaker 2: So my favorite shows are shows like The Clone Wars
• 1:18:57
  Speaker 2: and Star Wars Rebel, and recently The Mandalorian. The Mandalorian.
• 1:19:03
  Speaker 1: Yeah, I like Mandalorian a lot that.
• 1:19:06
  Speaker 2: I don't know, those are those are the type of
• 1:19:07
  Speaker 2: shows that I enjoy watching. I don't watch a lot
• 1:19:11
  Speaker 2: of television, but when I do watch television, I prefer
• 1:19:14
  Speaker 2: to watch Star Wars, Relative Wars related or documentaries.
• 1:19:19
  Speaker 1: Do you find that now that sports isn't on, Donald,
• 1:19:21
  Speaker 1: that you have a lot more time on your hands
• 1:19:23
  Speaker 1: because you normally like to watch a lot of sports.
• 1:19:26
  Speaker 2: So I've been doing a lot of animating as of
• 1:19:29
  Speaker 2: late because sports isn't on. I'm a stop motion animator
• 1:19:34
  Speaker 2: by hobby, and because sports isn't on and I'm not
• 1:19:40
  Speaker 2: sitting in front of the TV at at night after
• 1:19:43
  Speaker 2: the kids go down, I find myself in my animation
• 1:19:47
  Speaker 2: room animating.
• 1:19:50
  Speaker 1: So it's making you more productive, actually you're going but I.
• 1:19:52
  Speaker 2: Don't know if it's productive. I mean it's a hobby.
• 1:19:54
  Speaker 2: It's not like I'm making things that are gonna get
• 1:19:57
  Speaker 2: put on television and are gonna to be well.
• 1:20:00
  Speaker 1: You never know, you could do a robot chicken type
• 1:20:03
  Speaker 1: thing and make your own tea.
• 1:20:05
  Speaker 2: Absolutely. You know. We mentioned Seth Green earlier and how
• 1:20:08
  Speaker 2: Spiller worked with Seth Green. If it wasn't for Seth Green,
• 1:20:11
  Speaker 2: I wouldn't be animating like I was looking for an
• 1:20:14
  Speaker 2: outlet like most actors do when they moved to Hollywood.
• 1:20:18
  Speaker 2: That hasn't that isn't just acting. I realized I didn't
• 1:20:22
  Speaker 2: want to be a director. No offense, Mike, and I realized,
• 1:20:25
  Speaker 2: you know, I don't necessarily I don't. I don't necessarily
• 1:20:29
  Speaker 2: like hanging out on set all the time. Which directors
• 1:20:32
  Speaker 2: do you know they arrived before actors and you know
• 1:20:38
  Speaker 2: they leave after all the actors. I realized, Okay, that's
• 1:20:41
  Speaker 2: not for me.
• 1:20:42
  Speaker 1: Way more stressed with way less money. Makes no sense.
• 1:20:44
  Speaker 2: Yeah, I realized, said I need something to do though,
• 1:20:47
  Speaker 2: that's gonna fulfill my creative itch other than acting. And
• 1:20:53
  Speaker 2: I remember doing taking a stop motion class when I
• 1:20:55
  Speaker 2: was a kid, and my buddy Seth Green had me
• 1:21:00
  Speaker 2: do voiceover work for this little project he was doing
• 1:21:03
  Speaker 2: called Sweet Jay and it was stop motion animation. I
• 1:21:06
  Speaker 2: was like, dude, I'm totally into this. I'd love to
• 1:21:08
  Speaker 2: come and check out where you filmed this. And he
• 1:21:12
  Speaker 2: brought me down to the studio and introduced me to
• 1:21:14
  Speaker 2: a bunch of animators and the rest is history. And
• 1:21:17
  Speaker 2: now now I do stop motion animation as a hobby.
• 1:21:20
  Speaker 2: Now that my television at night if there ain't no Mandalorian.
• 1:21:25
  Speaker 1: And you're getting Star Wars and you're getting really good
• 1:21:27
  Speaker 1: at it and Instagram, Yeah, I'm working at it. Check
• 1:21:32
  Speaker 1: out Donald's Instagram you can see his progress, or go
• 1:21:35
  Speaker 1: on YouTube and watch his old lego ones called Black Stormtrooper.
• 1:21:39
  Speaker 2: But yeah, but.
• 1:21:41
  Speaker 1: I think you've gotten a lot. I think you've gotten
• 1:21:42
  Speaker 1: a lot better since Black Stormtrooper.
• 1:21:44
  Speaker 2: Yeah, oh yeah, absolutely, But yeah, that's that's so my favorite.
• 1:21:49
  Speaker 2: My favorite television has always been like cartoons and stuff
• 1:21:53
  Speaker 2: like that. I enjoy animation very much. So the Clone
• 1:21:57
  Speaker 2: Wars Rebels.
• 1:21:59
  Speaker 3: Yeah, just to bring I will be checking out your instagram.
• 1:22:03
  Speaker 2: Donald, Yes, not now after the show. Give me a
• 1:22:06
  Speaker 2: followback though I think I do follow you, Bud.
• 1:22:11
  Speaker 1: Damn, give me a shout out or something. All right,
• 1:22:16
  Speaker 1: Whitney and Dustin, thank you guys so much. Good luck
• 1:22:18
  Speaker 1: with the new baby, with the beautiful We really appreciate
• 1:22:23
  Speaker 1: you joining us. And uh and uh and stay safe,
• 1:22:27
  Speaker 1: stay inside, stay safe. We're getting to the end. I
• 1:22:33
  Speaker 1: just wanted to say that. Yeah, so I I I
• 1:22:35
  Speaker 1: heard this song news slang. And then I just loved
• 1:22:38
  Speaker 1: it so much that I years later put it into
• 1:22:41
  Speaker 1: Garden State. And I want to credit Neil Goldman for
• 1:22:45
  Speaker 1: being the first person to uh to introduce me to
• 1:22:48
  Speaker 1: that song.
• 1:22:48
  Speaker 3: Amazing, Finally he's getting this props.
• 1:22:50
  Speaker 1: Finally, And Spiller, you, I think we're the very first
• 1:22:53
  Speaker 1: to do a very cool crane shot out of the window.
• 1:22:56
  Speaker 1: That was a really cool shot you did where you
• 1:22:58
  Speaker 1: started inside the window and then craned out. I thought
• 1:23:01
  Speaker 1: that was clever.
• 1:23:02
  Speaker 3: Thank your signature move of mine.
• 1:23:04
  Speaker 1: We ended up using that a bunch. But you you
• 1:23:07
  Speaker 1: brought that to the you brought that to the table.
• 1:23:09
  Speaker 3: Well the table, the table was ready for it.
• 1:23:12
  Speaker 2: Well that's that's a question. That's a question that I,
• 1:23:15
  Speaker 2: uh that I have for you, Zach, because I know
• 1:23:18
  Speaker 2: that you used crane shots in your stuff.
• 1:23:21
  Speaker 1: Yeah.
• 1:23:22
  Speaker 2: If Spiller's the first one to do it, that made
• 1:23:24
  Speaker 2: it so that other directors when they came on, they
• 1:23:27
  Speaker 2: were like, so I saw the crane shot in episode
• 1:23:29
  Speaker 2: one thirteen. What are the chances that I get to
• 1:23:31
  Speaker 2: use a crane on this?
• 1:23:32
  Speaker 3: Yeah?
• 1:23:32
  Speaker 1: I think you know, the crane was always uh pricey
• 1:23:37
  Speaker 1: thing and both time, you know, obviously the rental of
• 1:23:40
  Speaker 1: the crane, but also the labor of of of sending
• 1:23:43
  Speaker 1: it up and practicing it, rehearsing it. So you know,
• 1:23:46
  Speaker 1: I think within an episode usually you could say, hey,
• 1:23:50
  Speaker 1: to the line producer, you'd say, hey, can I get
• 1:23:52
  Speaker 1: a I'd like to use a crane for this scene.
• 1:23:54
  Speaker 1: And you know, I don't think it was very rare
• 1:23:55
  Speaker 1: that they ever said no, particularly to the directors they liked.
• 1:23:59
  Speaker 1: But yeah, yeah, I think that, you know, crane shots
• 1:24:02
  Speaker 1: are really cool and they give the show scope and
• 1:24:05
  Speaker 1: scale and and can be really beautiful. And in that
• 1:24:09
  Speaker 1: end montage that that that Michael created here, which was
• 1:24:11
  Speaker 1: beautifully done, it was sort of the beautiful It was
• 1:24:14
  Speaker 1: like the most perfect way to end it coming out
• 1:24:16
  Speaker 1: and I believe you had to mount that build that
• 1:24:18
  Speaker 1: crane on the rooftop in order to get it. There
• 1:24:20
  Speaker 1: was a lower roof and then he came out to
• 1:24:23
  Speaker 1: the window and then tilted up to the sky. And
• 1:24:25
  Speaker 1: so yeah, I mean, I think cranes were introduced as
• 1:24:27
  Speaker 1: part of the sort of the language of the show.
• 1:24:31
  Speaker 2: And then he said, he said it was it was
• 1:24:34
  Speaker 2: his signature moves.
• 1:24:35
  Speaker 1: Well, what I was saying specifically, I was, I don't
• 1:24:38
  Speaker 1: know this This isn't the first crane shot on the show,
• 1:24:40
  Speaker 1: but the idea of the camera was within the was
• 1:24:43
  Speaker 1: within the room and then came out the window and
• 1:24:45
  Speaker 1: then went up to the sky. And I think Spiller
• 1:24:47
  Speaker 1: was the first person to do that, and you know,
• 1:24:49
  Speaker 1: I think we copied that many many times.
• 1:24:52
  Speaker 2: Well, have you gone on to use that on other shows?
• 1:24:56
  Speaker 3: Yes, I've done versions of of.
• 1:24:59
  Speaker 2: That shot on other Is that what it was cool?
• 1:25:01
  Speaker 3: You sort of like, you know, especially we didn't have
• 1:25:04
  Speaker 3: a techno crane or anything. I don't believe, but there's
• 1:25:07
  Speaker 3: a type of crane where you know, the arm itself
• 1:25:10
  Speaker 3: extends from the base. Yeah, so I mean you can
• 1:25:14
  Speaker 3: really like, you know, it can actually physically be inside
• 1:25:18
  Speaker 3: the window. I think we probably hit a zoom in
• 1:25:21
  Speaker 3: the shot as well to sort of make it appear
• 1:25:24
  Speaker 3: as if we were in there in a close up.
• 1:25:26
  Speaker 3: So you can do shots that that appear to actually
• 1:25:29
  Speaker 3: travel through the glass somehow.
• 1:25:31
  Speaker 1: And nowadays later I did a really cool shot in
• 1:25:34
  Speaker 1: Going in style where you can camera or pull back
• 1:25:37
  Speaker 1: through the window. And then in post now add we
• 1:25:41
  Speaker 1: added a taxi cab door. I had the shot of
• 1:25:43
  Speaker 1: Michael Caine where he's in the cabin and the camera's
• 1:25:46
  Speaker 1: in the cab with him. And then and we took
• 1:25:48
  Speaker 1: the back door off the cab and we we pull
• 1:25:51
  Speaker 1: out and then out of the cab and the cab
• 1:25:53
  Speaker 1: drives off. And then and post we added the cab door.
• 1:25:56
  Speaker 1: That looks so cool and most people who aren't filmmakers
• 1:26:00
  Speaker 1: wouldn't even know how hard that was to do exactly.
• 1:26:03
  Speaker 3: Yeah, And I think, like with any of the sort
• 1:26:06
  Speaker 3: of bells and whistles that we pull out and the
• 1:26:08
  Speaker 3: tricks that we use them, it's part of the fun
• 1:26:09
  Speaker 3: of being a director, is part of the fun of
• 1:26:11
  Speaker 3: telling the story. But sometimes, and this is often true
• 1:26:15
  Speaker 3: with directors who are former cinematographers, you can get caught
• 1:26:21
  Speaker 3: up and the gadgetry and the toy of it all
• 1:26:25
  Speaker 3: and forget that you're telling the story. So it's first
• 1:26:28
  Speaker 3: and foremost. It's like, Yeah, cranes are great. All these
• 1:26:30
  Speaker 3: devices are great if they're supporting the story, or if
• 1:26:33
  Speaker 3: they're underlying the comedy, or they're making a dramatic moment
• 1:26:36
  Speaker 3: more dramatic or whatever, because they do take a lot
• 1:26:38
  Speaker 3: of time, take a lot of money, and often can
• 1:26:43
  Speaker 3: be misupplied.
• 1:26:44
  Speaker 1: Yeah, and I think the job as a director is
• 1:26:46
  Speaker 1: to go, when am I going to spend When can
• 1:26:50
  Speaker 1: I afford to spend time and money during these five days.
• 1:26:54
  Speaker 1: So the way I would shoot Scrubs when I directed
• 1:26:57
  Speaker 1: it was you'd go, okay, in order to save time,
• 1:27:00
  Speaker 1: do that elaborate shot I want to do. I need
• 1:27:02
  Speaker 1: to really get through this dialogue scene quickly. Now. I
• 1:27:07
  Speaker 1: don't want to rush it because it's important. But if
• 1:27:09
  Speaker 1: I just shoot this one really simply, then I'm banking
• 1:27:12
  Speaker 1: time for later. I can do that elaborate oner or later.
• 1:27:16
  Speaker 1: I can do that tricky crane shot. But you have
• 1:27:18
  Speaker 1: to you have to pick and choose because you just
• 1:27:20
  Speaker 1: you have to fit it into twelve hours. They used
• 1:27:23
  Speaker 1: to let us go longer, but nowadays, I don't know
• 1:27:25
  Speaker 1: if you find this on your other show, Spiller, no
• 1:27:26
  Speaker 1: one wants you to go over twelve hours.
• 1:27:29
  Speaker 3: And frankly I don't want to either. I mean, Scrubs
• 1:27:33
  Speaker 3: was unique m Sex and the city was the same way.
• 1:27:35
  Speaker 3: Our hours were really really long, but it was a
• 1:27:38
  Speaker 3: similar energy on set where it's like everyone just enjoyed
• 1:27:41
  Speaker 3: each other so much. You know, you never laughed as much.
• 1:27:45
  Speaker 3: The work was high quality, and you know, and no
• 1:27:50
  Speaker 3: one was telling you to stop spending money, so you know,
• 1:27:52
  Speaker 3: you just kept going to you. You got it. But
• 1:27:54
  Speaker 3: it's you know, frankly, it's it's unsafe these days. I feel,
• 1:27:57
  Speaker 3: maybe because I'm a tiny bit older that and you know,
• 1:28:01
  Speaker 3: my work doesn't tend to improve after twelve hours.
• 1:28:04
  Speaker 1: Yeah, and everyone gets cranky, and it is unsafe. You know,
• 1:28:06
  Speaker 1: there's been plenty of instances of crew members who have
• 1:28:09
  Speaker 1: to be there longer hours, whether it's teamsters or transport
• 1:28:14
  Speaker 1: guys or camera acs, and who've gotten in accidents or
• 1:28:18
  Speaker 1: even died from just being in preposterous hours. So it
• 1:28:22
  Speaker 1: is a safety thing. But we used to go. I
• 1:28:23
  Speaker 1: mean we'd have sixteen seventeen hour days on Scrubs.
• 1:28:26
  Speaker 3: When you guys on one of the earlier shows were
• 1:28:28
  Speaker 3: talking about like favorite cameos and all that sort of
• 1:28:31
  Speaker 3: stuff and like the sort of fantasy camera run.
• 1:28:33
  Speaker 2: I got a picture of you.
• 1:28:35
  Speaker 3: I know, there's the re one rerun one which I
• 1:28:39
  Speaker 3: love that photo. But there's also Dick Van Dyke.
• 1:28:44
  Speaker 2: Yeah, did you direct that episode?
• 1:28:45
  Speaker 1: Yes?
• 1:28:46
  Speaker 3: And I mean when you sung with him in that
• 1:28:49
  Speaker 3: moment when we were all just hanging out, I mean,
• 1:28:51
  Speaker 3: it's like I get choked up. Thinking about it.
• 1:28:53
  Speaker 1: I mean, give us a little dollar, give us a
• 1:28:54
  Speaker 1: little of that magic day ahead?
• 1:28:59
  Speaker 2: Right is the morning in May? Hey, I fee like
• 1:29:03
  Speaker 2: I could fly. Hey, have you ever seen it's not habits?
• 1:29:09
  Speaker 2: Have you ever seen the grass so green? Or a
• 1:29:15
  Speaker 2: blue sky? Okay, so that's beautiful story.
• 1:29:19
  Speaker 1: Jolly Holiday.
• 1:29:21
  Speaker 2: Yeah, Dick Van Dyke was on the show and I
• 1:29:23
  Speaker 2: got to sing Jolly Holiday. Well, I didn't sing. He
• 1:29:26
  Speaker 2: sang it, and I played the guitar while he sang it. Uh,
• 1:29:30
  Speaker 2: there's a tape. There's there's a recording of it out
• 1:29:32
  Speaker 2: there somewhere. I don't know where.
• 1:29:33
  Speaker 3: I know I shot it. Yeah, I'm on something. But
• 1:29:37
  Speaker 3: I was like, did phones have video cameras?
• 1:29:40
  Speaker 1: Then?
• 1:29:40
  Speaker 3: I mean, I can't remember, but I know I shot it.
• 1:29:43
  Speaker 2: It's out there somewhere, somewhere, somewhat somehow it could be found.
• 1:29:47
  Speaker 2: I don't know who has it, but yeah, yeah.
• 1:29:50
  Speaker 1: Well, Spiller, you've been a fantastic guest.
• 1:29:52
  Speaker 2: This is the longest this is the longest we've ever
• 1:29:55
  Speaker 2: had a guest on this.
• 1:29:56
  Speaker 1: We've ever We were gonna have to cut this fucking
• 1:29:58
  Speaker 1: way down. We got down one to listen to one. No,
• 1:30:02
  Speaker 1: I want to be sincere for a second and say, uh,
• 1:30:05
  Speaker 1: not only are you a fantastic guy, but I as
• 1:30:07
  Speaker 1: a filmmaker, learned a lot from watching you, because you
• 1:30:11
  Speaker 1: are talented and you not only direct a beautiful episode,
• 1:30:15
  Speaker 1: but you're so charming and everybody loves you on set
• 1:30:19
  Speaker 1: and uh, you're a great leader, and I'm not surprised
• 1:30:22
  Speaker 1: that you are successful and have an Emmy and uh,
• 1:30:26
  Speaker 1: and I hope I get to work with you again soon.
• 1:30:29
  Speaker 3: Thank you, Zach. That's so kind.
• 1:30:31
  Speaker 2: I hope I'm one of those actors that you're like,
• 1:30:32
  Speaker 2: you know what, I got a guy, don't worry about it.
• 1:30:36
  Speaker 1: Yeah, enjoyed.
• 1:30:38
  Speaker 2: I really enjoyed our time together. You know, it shows.
• 1:30:42
  Speaker 2: It shows by how long this podcast episode was too.
• 1:30:46
  Speaker 3: Well, hey, just just keep going because I directed the
• 1:30:48
  Speaker 3: next episode too. Look at two for You'll be.
• 1:30:51
  Speaker 2: I didn't watch it.
• 1:30:51
  Speaker 3: I didn't watch it.
• 1:30:52
  Speaker 2: I didn't watch the next episode.
• 1:30:54
  Speaker 1: Yeah, yeah he will.
• 1:30:56
  Speaker 3: Probab Well, I'm available if you every want to bring
• 1:30:58
  Speaker 3: me back.
• 1:30:58
  Speaker 1: We're going to have you back. You've you definitely callback,
• 1:31:01
  Speaker 1: Ladies and gentlemen. Thank you so much for tuning in
• 1:31:03
  Speaker 1: to Fake Doctors, Real Friends. I'm your co host, Zach
• 1:31:06
  Speaker 1: Braf with what's your name again?
• 1:31:08
  Speaker 2: Black Scrubs, Donald Faison a k A T.
• 1:31:10
  Speaker 1: Diggs.
• 1:31:11
  Speaker 8: We like K brown Bear a k A Turk turkle
• 1:31:18
  Speaker 8: a k Ax.
• 1:31:22
  Speaker 5: Stories that show we made about a bunch of docs
• 1:31:27
  Speaker 5: and nurses and janitor.
• 1:31:29
  Speaker 2: Who I said, here's the stories. Netwis no.
• 1:31:35
  Speaker 5: So yadda round here, YadA round here. Specto is