Latest / Fake Doctors, Real Friends with Zach and Donald / 209.5: My Happy Accident With John C. McGinley

Transcript

209.5: My Happy Accident With John C. McGinley · Fake Doctors, Real Friends with Zach and Donald

• 0:00
  Speaker 1: I said, there's no way, no way I could get
• 0:05
  Speaker 1: it down down there without falling down that ramp.
• 0:09
  Speaker 2: All right, but Donald's singing. You may know if you're
• 0:13
  Speaker 2: an avid listener of Fake Doctor's Real Friends, that Donald
• 0:15
  Speaker 2: and I are big fans of a song of five moment.
• 0:18
  Speaker 2: We sang, he's driving in your window, He's climbing in
• 0:21
  Speaker 2: your window. That's Natien yeo, people up a hod your kids,
• 0:25
  Speaker 2: hodg wife. Well, we are a sucker for song of
• 0:29
  Speaker 2: five moments. And I sent Donald's what is probably the
• 0:33
  Speaker 2: greatest song of the summer.
• 0:34
  Speaker 3: Oh my gosh, it's it's it's my new bop.
• 0:37
  Speaker 2: Dan, You're gonna have to edit this in sounding better
• 0:39
  Speaker 2: than I have it, but I have to play this
• 0:41
  Speaker 2: for you. And I gotta give a shout out to
• 0:42
  Speaker 2: these guys. Oh they're called the Gregory Brothers. You guys.
• 0:45
  Speaker 2: You can find them on on Twitter at Gregory Brothers.
• 0:49
  Speaker 2: And then I saw, yeah, go ahead.
• 0:50
  Speaker 1: Don I just want to say I didn't know. First
• 0:52
  Speaker 1: of all, I had no idea that Donald Trump was
• 0:56
  Speaker 1: a poet.
• 0:57
  Speaker 3: Because he's a poet. He rhymes in his bees and
• 1:00
  Speaker 3: I didn't even know.
• 1:01
  Speaker 2: Listen, Donald and I have been talking about back and
• 1:03
  Speaker 2: forth sometimes with you, sometimes privately on our phone about
• 1:06
  Speaker 2: what are our favorite songs of summer. We've been talking
• 1:08
  Speaker 2: about t Swift. We've been you know, we played you, uh,
• 1:11
  Speaker 2: Toby Sebastian last episode. But listen, this is the song
• 1:16
  Speaker 2: of the summer, you guys, and Donald and I haven't
• 1:18
  Speaker 2: singing it to each other. Okay. Now, for those who
• 1:20
  Speaker 2: don't know, Donald Trump had trouble making it down a ramp.
• 1:24
  Speaker 2: You know, I don't fault the guy. I mean, I
• 1:25
  Speaker 2: fought him for lots of things, but you know, he's
• 1:26
  Speaker 2: in his seventies. There was no banister. But then he
• 1:29
  Speaker 2: had to go brag about it. Okay, he had to
• 1:31
  Speaker 2: go brag about it, and these guys songified the bragging.
• 1:34
  Speaker 2: So here you go. Here's the song and.
• 1:36
  Speaker 4: Something There's no way, yeah, hey, no wait for the hookup.
• 1:59
  Speaker 5: It was.
• 2:01
  Speaker 1: Said, there's no way, fire, no way, fire, kid, here
• 2:09
  Speaker 1: we go, get here we go.
• 2:13
  Speaker 6: But ten feet sure, I read.
• 2:20
  Speaker 2: God, that's the favorite.
• 2:23
  Speaker 3: I read somebody got down to Red.
• 2:31
  Speaker 2: Oh my god, I love that song, my Red. That's
• 2:36
  Speaker 2: my favorite hook Right there, I read down the rips.
• 2:41
  Speaker 2: Fucking fucking DJ Collin couldn't write that hook.
• 2:45
  Speaker 3: Another one. He would, but he would, you know, he
• 2:48
  Speaker 3: heard that like all of us did, and was like,
• 2:50
  Speaker 3: damn that list up.
• 2:52
  Speaker 2: I never heard a song of five song that I
• 2:54
  Speaker 2: wanted a full song to. That's only a minute long.
• 2:56
  Speaker 2: I want the whole fucking song.
• 2:58
  Speaker 3: ID no way, no way. I could wait.
• 3:06
  Speaker 5: I can't.
• 3:08
  Speaker 3: Without falling on my ass. There's no way. And then
• 3:11
  Speaker 3: he goes, I read, I've read.
• 3:18
  Speaker 2: Down the ram, So congrats to those Gregory brothers. That's
• 3:21
  Speaker 2: a that's a that's a bop, as that kid said, bop.
• 3:24
  Speaker 3: Dude, that is a bop. How are you man?
• 3:26
  Speaker 2: Oh man? I read everyone's gonna be singing that. You
• 3:29
  Speaker 2: know what everybody's singing other than that song?
• 3:32
  Speaker 3: What you're trying to get into a d shown. It
• 3:39
  Speaker 3: is a ring tone.
• 3:40
  Speaker 2: It's a ringtone. Joelle. Is it officially available for everybody?
• 3:44
  Speaker 2: It should be by the time this airs. It should
• 3:46
  Speaker 2: officially be available those of you who are clamoring, clamoring
• 3:51
  Speaker 2: for the hottest ring tone of summer, the a Daishun song.
• 3:56
  Speaker 2: Look at your beard? You that is a big beard.
• 3:59
  Speaker 3: I committed to it.
• 4:01
  Speaker 2: You look great.
• 4:02
  Speaker 3: It looks thick and it's very Yeah, I got hair
• 4:05
  Speaker 3: on my face.
• 4:05
  Speaker 2: Does Casey like to run her fingers through it?
• 4:08
  Speaker 3: Me and Casey don't be you know, listen, man, we
• 4:10
  Speaker 3: don't like to kiss and tell.
• 4:11
  Speaker 2: Okay, so well you have to tell me what you
• 4:14
  Speaker 2: did sexually, but you can tell me if she ran
• 4:16
  Speaker 2: her fingers through it. I'm not asking you if she
• 4:19
  Speaker 2: fucking lets you spang her? But did you.
• 4:23
  Speaker 6: It appropriate? I read?
• 4:30
  Speaker 2: No, we're family, Casey, Casey lets me know things.
• 4:34
  Speaker 3: No, she doesn't, she does, she does. My wife tells
• 4:37
  Speaker 3: you shit work.
• 4:38
  Speaker 2: No, no, you know she doesn't. But but you know,
• 4:40
  Speaker 2: when we're together, when we're together as as as couples,
• 4:43
  Speaker 2: we sometimes speak openly.
• 4:46
  Speaker 5: Right.
• 4:46
  Speaker 1: It's crazy, man, with this whole quarantine thing going. We
• 4:50
  Speaker 1: see each other every day, all day, all day. I
• 4:55
  Speaker 1: love my wife tremendously. But once we put the kids down,
• 4:58
  Speaker 1: we kind of separate a little bit and we go
• 5:00
  Speaker 1: in our own rooms and she watches her date lines,
• 5:03
  Speaker 1: and you know, I watch my.
• 5:05
  Speaker 2: It's just like this episode that we're gonna talk about.
• 5:08
  Speaker 3: Well, this episode is you fall asleep.
• 5:10
  Speaker 2: Judy wants romance, Carla wants romance, and she wants some sex.
• 5:14
  Speaker 2: You fall asleep during the Jefferson's theme song.
• 5:17
  Speaker 3: But yeah, but that's after we have sex.
• 5:20
  Speaker 5: Though.
• 5:20
  Speaker 3: First of all, I.
• 5:21
  Speaker 2: Don't know, so is the joke that you only lasted
• 5:23
  Speaker 2: the length of the theme song of the Jeffersons.
• 5:26
  Speaker 3: No, he didn't even last the length of the theme song.
• 5:28
  Speaker 3: It was like, well, we're moving on.
• 5:30
  Speaker 1: He probably got beans down Friday in the kitchen, the
• 5:33
  Speaker 1: beans on, burn on the girl.
• 5:35
  Speaker 3: He probably got to that.
• 5:36
  Speaker 2: Yeah, and then he finished, and.
• 5:38
  Speaker 3: He's like, took a whole lot of trees.
• 5:45
  Speaker 2: Because you're right, because now we know you finished in
• 5:47
  Speaker 2: the first couple of lyrics, because by the time we
• 5:50
  Speaker 2: get to sky Hi the camera till he's out and
• 5:53
  Speaker 2: you're asleep, right, so you needed time to at least
• 5:57
  Speaker 2: clean yourself up a.
• 6:00
  Speaker 3: Lot of too. Right.
• 6:01
  Speaker 2: Yeah, let's assume you finished it. Try and now we
• 6:05
  Speaker 2: up in the big Now you're cleaning yourself my turn.
• 6:08
  Speaker 2: It bet coming up too long?
• 6:09
  Speaker 3: We living it's you and the baby.
• 6:16
  Speaker 2: I think he might have lasted longer. I think he
• 6:18
  Speaker 2: might have lasted longer because if you're back time it,
• 6:21
  Speaker 2: you had you only need about a few few words
• 6:24
  Speaker 2: to get cuddly and fall asleep, So to go ho
• 6:27
  Speaker 2: lot of too fight and find a later spot for
• 6:29
  Speaker 2: your ejaculation.
• 6:30
  Speaker 3: D up in the big Get my turn at bat.
• 6:37
  Speaker 2: No, I think it came out. Ain't nothing wrong with.
• 6:40
  Speaker 3: That, get my turn at bet.
• 6:44
  Speaker 1: As long we living, it's you and me, baby, it
• 6:47
  Speaker 1: ain't nothing wrong with that, said, we're moving on now.
• 6:54
  Speaker 2: That's probably how it timed out. Yeah, that's probably how
• 6:57
  Speaker 2: it timed out. Well, welcome to Fake Doctor's real friends.
• 6:59
  Speaker 2: We have John see McGinley here today for a very
• 7:01
  Speaker 2: very very good episode. I just watched it. It's really good.
• 7:04
  Speaker 3: Yeah, I watched it also just now.
• 7:06
  Speaker 1: I watched it, and I don't think I need a
• 7:09
  Speaker 1: first of all, before we get a movie from six seven.
• 7:12
  Speaker 7: Eight stories, I'm not show. We made about a bunch
• 7:17
  Speaker 7: of tops and nurses, and he said, here's a story
• 7:23
  Speaker 7: nets No.
• 7:26
  Speaker 2: So YadA around here?
• 7:28
  Speaker 3: Yeahda around here, sies.
• 7:32
  Speaker 8: And no, oh hello, there's thunderous applause. Thunderous applause. Damn Donald,
• 7:42
  Speaker 8: turn your key.
• 7:45
  Speaker 3: I look at you, Look at how are you?
• 7:50
  Speaker 5: Sir?
• 7:50
  Speaker 2: You're back in your aque room. You're back in your
• 7:52
  Speaker 2: aquey room, Johnny.
• 7:53
  Speaker 5: I know because Nicole has a migraine and she's upstairs.
• 7:56
  Speaker 5: And when you gets some their blackout and so oh no,
• 8:00
  Speaker 5: that's horrible. Yeah, it's the worst thing on the platt
• 8:03
  Speaker 5: But I am down here and I'm really sorry that
• 8:08
  Speaker 5: that that we have the echo, but I can't go
• 8:10
  Speaker 5: up there.
• 8:10
  Speaker 2: Well, listen, the audience is so fucking excited whenever you
• 8:14
  Speaker 2: come on. I think they will they will handle an
• 8:16
  Speaker 2: echo because all we get on our on our social
• 8:19
  Speaker 2: media is when is Johnny c McGinley coming back on?
• 8:22
  Speaker 2: You're everybody's favorite guests. Everybody loves your story of your
• 8:26
  Speaker 2: leeches attacking your your what do you call it, your
• 8:28
  Speaker 2: your man power power source, Johnny, I.
• 8:35
  Speaker 3: Laugh on it's a latch storm to the power source.
• 8:38
  Speaker 2: Yes, the re leaches all over his power source.
• 8:40
  Speaker 5: I thought the last couple of guests you've had on
• 8:43
  Speaker 5: were fascinating, and I thought Brendan was just so interesting.
• 8:48
  Speaker 5: And it's always fun to listen to how geeked out
• 8:50
  Speaker 5: you guys get. Whether it was with Heather, because Jack,
• 8:53
  Speaker 5: you are clearly uncomfortable. Yeah, I understand that, complete dude.
• 8:58
  Speaker 2: I want the audience to know that I tried my best,
• 9:01
  Speaker 2: but I was I mean, I grew up and she
• 9:04
  Speaker 2: was like she probably was a poster on my wall.
• 9:06
  Speaker 2: I mean she was Haather fucking lock redar and I
• 9:09
  Speaker 2: may be forty five years old, but I was just
• 9:11
  Speaker 2: as giddy.
• 9:12
  Speaker 3: Yes, she's fine.
• 9:14
  Speaker 5: I completely appreciate that because when she was on the
• 9:17
  Speaker 5: set and I was very single, Yeah I did. I
• 9:23
  Speaker 5: no sooner even accurred to me to approach her that
• 9:27
  Speaker 5: way because she's something else.
• 9:29
  Speaker 2: Yeah, but there you were, dude, there you were having
• 9:33
  Speaker 2: uh sex scenes with a goddess, with a living goddess.
• 9:36
  Speaker 3: I was that was acting.
• 9:38
  Speaker 5: That was I was too. That was out of my weight,
• 9:40
  Speaker 5: class man.
• 9:41
  Speaker 2: Totally kind of like kind of like JD hitting on
• 9:44
  Speaker 2: gifts Partofoli there's I'm watching this fucking episode, and the
• 9:50
  Speaker 2: idea of of JD getting Sarah Lancaster, a who plays
• 9:54
  Speaker 2: gift shop girl, and then b not being able to
• 9:58
  Speaker 2: get a hard on for her. I just found unreal
• 10:00
  Speaker 2: liistic television. I'm sorry. I'm sorry, but I called bullshit
• 10:07
  Speaker 2: on this writing. First of all, it's written by Angela
• 10:12
  Speaker 2: Nissel and directed by Gail Mancuso.
• 10:15
  Speaker 3: Angelasle I have to, I have to, I have.
• 10:19
  Speaker 5: To stop before we go any further. I looked at
• 10:23
  Speaker 5: two nine.
• 10:26
  Speaker 2: You look at the wrong episode.
• 10:28
  Speaker 5: Yeah, that.
• 10:31
  Speaker 2: Okay, Well, Johnny, I.
• 10:33
  Speaker 5: Think you guys should start over without me, because I
• 10:37
  Speaker 5: have no idea what two ten is. I have copious
• 10:41
  Speaker 5: notes on two O nine.
• 10:44
  Speaker 2: Which one's two on nine?
• 10:46
  Speaker 5: Two nine's when you you and I have my favorite
• 10:49
  Speaker 5: team we ever did together. When I tell you it
• 10:51
  Speaker 5: wasn't a favorite, it was my job. The end of
• 10:52
  Speaker 5: the episode, Oh, I love that.
• 10:55
  Speaker 2: How do we salvage this, Johnny, because we're so excited
• 10:58
  Speaker 2: to have you on?
• 10:59
  Speaker 5: Well, I know how we can salvage it because I
• 11:02
  Speaker 5: had an overriding angle that I wanted to look at,
• 11:06
  Speaker 5: and it's inspired by what you guys have told me
• 11:09
  Speaker 5: and Uptown Girls and some of your adventures in New
• 11:14
  Speaker 5: York City when you guys were in that apartment. What
• 11:19
  Speaker 5: happened between season one and season two, since I haven't
• 11:23
  Speaker 5: talked to you since the end of season one, for
• 11:26
  Speaker 5: me was that I had a C plus comedy come
• 11:32
  Speaker 5: out with Jason Lee and Tom Green called Stealing Harvard,
• 11:36
  Speaker 5: and I spent the entire hiatus and Jackie, you came
• 11:41
  Speaker 5: to visit me at Columbia doing Identity with James mangle it,
• 11:48
  Speaker 5: and I would suggest to you that what we do
• 11:51
  Speaker 5: in our hiatuses informs what we do when we get
• 11:54
  Speaker 5: back in front of the lens and that you bring
• 11:57
  Speaker 5: that either those asked, that's their liabilities with you, and
• 12:03
  Speaker 5: it informs the way you grow in front of the lens.
• 12:08
  Speaker 2: Yes, I agree, but wait, how are you saying that
• 12:12
  Speaker 2: this informed when we came back together for season two?
• 12:16
  Speaker 9: Because what I brought having spent those I don't know,
• 12:20
  Speaker 9: nine weeks with Jim mangled, you know, I'm mister verb
• 12:24
  Speaker 9: and my overriding objective in season two was to contribute.
• 12:30
  Speaker 5: And then this counterintuitive thing happened where I wanted to
• 12:35
  Speaker 5: I want to cox. I wanted to contribute by capitulating
• 12:39
  Speaker 5: in front of the lens. And I'll tell you what
• 12:41
  Speaker 5: I mean. I was starting to get too busy at
• 12:44
  Speaker 5: the end of season one and intoxicated with the eccentricities
• 12:48
  Speaker 5: of all the craziness. And what happened on Identity, which
• 12:54
  Speaker 5: was the name of the film that Jim directed with
• 12:57
  Speaker 5: Johnny and Ray and Amanda, was that everything just kept
• 13:02
  Speaker 5: getting stripped down. Molina, all these people, He just kept
• 13:05
  Speaker 5: stripping stuff down. And it occurred to me that I
• 13:08
  Speaker 5: was bringing too much baggage in between action and cut,
• 13:11
  Speaker 5: and so what it decided was that what the capitulation
• 13:15
  Speaker 5: would be would would be that I was going to
• 13:18
  Speaker 5: get out of the way. And at no point was
• 13:22
  Speaker 5: it more on point than when you and I were
• 13:25
  Speaker 5: in that doctor's lounge at the end of two nine unfortunately,
• 13:30
  Speaker 5: and you you had been chesty that JD had been
• 13:34
  Speaker 5: chesty the whole episode. And finally they get to come
• 13:40
  Speaker 5: together and Cox lets him off the hook. But in
• 13:44
  Speaker 5: letting him off the hook, there's a surrender in that too,
• 13:47
  Speaker 5: there's a capitulation, and it's just it's the cleanest scene
• 13:51
  Speaker 5: I can remember that I can remember. I can't remember,
• 13:56
  Speaker 5: you know, like Donald and I Zach give a better
• 13:58
  Speaker 5: memory than us, but I can't remember all this stuff.
• 14:01
  Speaker 2: But I agree, Johnny, because one of the things I
• 14:03
  Speaker 2: said when we talked about that was the episode was so,
• 14:07
  Speaker 2: you know, the show is so silly and can be
• 14:10
  Speaker 2: and and and can go all over the place in fantasies.
• 14:13
  Speaker 2: But what I'm so proud of in this show when
• 14:15
  Speaker 2: it worked was how we would just drop in and
• 14:17
  Speaker 2: be straight and and that scene with you and I
• 14:20
  Speaker 2: in that room, to me is one of the best
• 14:23
  Speaker 2: of the series. And it's so it's so simple. It's
• 14:26
  Speaker 2: probably forty five second scene. But I think you and
• 14:29
  Speaker 2: I I was so vulnerable, and you were so vulnerable,
• 14:31
  Speaker 2: and and and up to this point there's been there's
• 14:35
  Speaker 2: been almost no Maybe once or twice you give in,
• 14:38
  Speaker 2: the Cox gives in, and and and is willing to
• 14:40
  Speaker 2: give him some mentorship. But this was a real first time.
• 14:44
  Speaker 2: I think that Cox is this vulnerable in front of him,
• 14:47
  Speaker 2: telling him that it's this is my job. My job
• 14:50
  Speaker 2: is to make sure you don't fuck up.
• 14:53
  Speaker 5: But there's also it's a it's a combination, and you
• 14:55
  Speaker 5: as a filmmaker surely will appreciate this, and Donald as well,
• 15:00
  Speaker 5: is that the scene starts out with this great dolly
• 15:03
  Speaker 5: over your shoulder and then we land on cocks and
• 15:06
  Speaker 5: that fucking great music cue already started when Donald jumped
• 15:11
  Speaker 5: off the couch to go put Rowdy on the fourth floor.
• 15:14
  Speaker 5: And it's under pressure with Queen and Bowie and just everything,
• 15:19
  Speaker 5: and I can't remember. I think Larry Trillian shot it,
• 15:22
  Speaker 5: and everything that could come together in a twenty four
• 15:26
  Speaker 5: minute TV show came together. And that doesn't always happen.
• 15:30
  Speaker 5: And when it does, and it shouldn't happen, it's impossible.
• 15:34
  Speaker 5: The schedule is impossible, and everything is working against you.
• 15:38
  Speaker 5: And when it does, Yeah, it's magic.
• 15:43
  Speaker 2: Yeah, it's so fun too when those moments happen in
• 15:47
  Speaker 2: both You know, as an actor, you just kind of
• 15:50
  Speaker 2: go out it all the time, and sometimes magic happens
• 15:53
  Speaker 2: and sometimes it doesn't. And then there's moments, both as
• 15:56
  Speaker 2: an actor and a director where you're watching something. I
• 15:58
  Speaker 2: remember I was directing Wish I was here and this
• 16:00
  Speaker 2: great scene between Manny Patankin and Kate Hudson, and there
• 16:04
  Speaker 2: was supposed to be this moment where they connected, and
• 16:07
  Speaker 2: all of a sudden, the monitors it just I was
• 16:10
  Speaker 2: watching them, and it just magic happened, and Kate had
• 16:13
  Speaker 2: a single tear just trickling down her eye, and then
• 16:18
  Speaker 2: instead of stopping talking, she just ad libbed this extra
• 16:22
  Speaker 2: line and she swiped her tear away kind of like nonchalantly,
• 16:25
  Speaker 2: like she didn't want Manny Patankin to see the moment.
• 16:28
  Speaker 2: And it was just one of those moments where you're like,
• 16:31
  Speaker 2: holy shit, like something special just happened. That was way
• 16:34
  Speaker 2: better than what was it in my mind. I feel
• 16:36
  Speaker 2: that way about a lot of things in Scrubbs that
• 16:38
  Speaker 2: we did, Like we're oftentimes it was about comedy. We
• 16:41
  Speaker 2: were all riffing together and there'd be some funny thing
• 16:44
  Speaker 2: we'd all come up with then, But this is one
• 16:47
  Speaker 2: of those moments that you're talking about where it was
• 16:49
  Speaker 2: like just so much better than what we could even
• 16:53
  Speaker 2: imagine was on the page.
• 16:54
  Speaker 5: But I had to go away for the summer. And
• 16:57
  Speaker 5: maybe Donald, you'll know what I'm talking about with because
• 16:59
  Speaker 5: I heard you talk and a Heather about the film
• 17:01
  Speaker 5: you guys did. When you when you go away, what
• 17:04
  Speaker 5: happens is and Donald, you'll appreciate this in kind of
• 17:07
  Speaker 5: a sports metaphor. If you if you shoot ten thousand
• 17:13
  Speaker 5: free throws, you will get better at free throws. And
• 17:17
  Speaker 5: if you stay in front of a lens, even when
• 17:19
  Speaker 5: you're on hiatus, if you stay in front of the lens,
• 17:23
  Speaker 5: you'll stop acting and start behaving. And it's not semantics.
• 17:26
  Speaker 5: They're two different things. And especially if you have a
• 17:30
  Speaker 5: task master who's creative, like Jim Mangel, who's not only
• 17:34
  Speaker 5: going to keep you in front of the lens. We're
• 17:35
  Speaker 5: just going to keep stripping stuff down. And what I
• 17:38
  Speaker 5: mean by stripping stuff down is that actors always want
• 17:40
  Speaker 5: to add in eccentricity. They want to they want to
• 17:44
  Speaker 5: add a limp or a lisp, or a or a
• 17:46
  Speaker 5: tick or some some kind of eccentricity, and Jim wanted
• 17:52
  Speaker 5: them all out out out. He went a rain was
• 17:56
  Speaker 5: a character in the story deal with the rain. And
• 17:59
  Speaker 5: I always like when actors have to deal with cold,
• 18:03
  Speaker 5: dark and rain, because everything goes away and they just
• 18:07
  Speaker 5: start behaving. If it's four o'clock in the morning, if
• 18:10
  Speaker 5: you're shooting nights, the production is added rain, it's freezing
• 18:15
  Speaker 5: out and it's four in the morning, everybody stops acting
• 18:20
  Speaker 5: and they just start staying their lines, and scenes start
• 18:23
  Speaker 5: to click because people want to get through the scene
• 18:27
  Speaker 5: like the people in the scene. And I remember one
• 18:31
  Speaker 5: of these times happened, and I can't remember the episode.
• 18:34
  Speaker 5: I'm almost positive you were pulling the Triggers act when
• 18:37
  Speaker 5: Molly Shannon came on.
• 18:39
  Speaker 2: Yeah, that's Donald and I talk about that episode all
• 18:41
  Speaker 2: the time. It's my favorite one because my first time directing.
• 18:44
  Speaker 5: I'm standing across the room from her and she's lovely
• 18:48
  Speaker 5: and all that, but she's a comedian and I don't
• 18:50
  Speaker 5: know what kind of chop she has. And then she
• 18:53
  Speaker 5: finally tells me why she's so kooky, and we find
• 18:57
  Speaker 5: about her, We find out about her loss and what
• 19:00
  Speaker 5: the actor once she went in and dug out was
• 19:04
  Speaker 5: the stuff that dreams are made of for the lens.
• 19:08
  Speaker 5: And I was standing there watching her, and we didn't
• 19:11
  Speaker 5: do that many takes because she crushed it and she
• 19:14
  Speaker 5: brought her she brought her off screen life into that
• 19:18
  Speaker 5: that wasn't on the page. Where she went wasn't on
• 19:21
  Speaker 5: the page.
• 19:24
  Speaker 3: You know, Johnny, I definitely agree with you about working
• 19:27
  Speaker 3: during your hiatus. It keeps you in a rhythm.
• 19:30
  Speaker 1: I feel like I feel like toward the end of
• 19:32
  Speaker 1: every season when we were making the show, we would
• 19:36
  Speaker 1: find our rhythm and we would be all of a
• 19:37
  Speaker 1: sudden clicking, and it, just like you said, it became
• 19:41
  Speaker 1: it was no longer about let me act the shit
• 19:44
  Speaker 1: out of it. Let me say to my lines, I
• 19:46
  Speaker 1: don't want to be here until fucking you know, midnight tonight.
• 19:49
  Speaker 1: Let me say my lines, and let the work do
• 19:51
  Speaker 1: its job. Let the work make it happen. And I
• 19:53
  Speaker 1: think when you go away and you do another project
• 19:56
  Speaker 1: and you get excited again, that same thing fuels you
• 19:59
  Speaker 1: for when you go back to work the next year.
• 20:01
  Speaker 1: Now you're in a rhythm, and so that energy that
• 20:03
  Speaker 1: you had at the end of the season where you're
• 20:05
  Speaker 1: like efficient and You're trying to make it happen like
• 20:08
  Speaker 1: in one take and right away, because you're you know,
• 20:13
  Speaker 1: you're you don't want to be there late, and you
• 20:15
  Speaker 1: want to be looked at as a as a professional.
• 20:19
  Speaker 1: And when you do that all summer long, when you
• 20:20
  Speaker 1: come back in in the beginning, you don't have the rusties,
• 20:23
  Speaker 1: you don't have the I'm nervous about what I've been.
• 20:25
  Speaker 3: Doing, you know what I mean.
• 20:27
  Speaker 2: It's like you were training all summer.
• 20:29
  Speaker 1: Yeah, No, walk in and you're like, right, you walk
• 20:31
  Speaker 1: in and you're like, look, check out my six pack,
• 20:33
  Speaker 1: you know what I mean.
• 20:33
  Speaker 2: I have a question for you guys, as both a
• 20:36
  Speaker 2: actor and a director, I wish as an actor I
• 20:39
  Speaker 2: would have had more directors push me to be better.
• 20:44
  Speaker 2: I feel like I feel like throughout my career there's
• 20:48
  Speaker 2: been a few, but mostly it's been about stand here,
• 20:51
  Speaker 2: the camera's gonna come here. Do you want to go again?
• 20:53
  Speaker 2: Because maybe you should be a little angrier as opposed
• 20:56
  Speaker 2: to like taking me in the corner and being like here,
• 21:00
  Speaker 2: I want to put a fucking thought in your head.
• 21:02
  Speaker 2: And I wonder, Johnny, because you you can be an
• 21:05
  Speaker 2: intimidating fellow. I wonder did Mangold. Was he able to
• 21:09
  Speaker 2: to do that to you?
• 21:10
  Speaker 7: Did he?
• 21:11
  Speaker 2: I mean, Oliver Stone, you've worked with I mean, you've
• 21:13
  Speaker 2: worked with Fincher, You've worked with the legends of the world.
• 21:15
  Speaker 2: Have these guys been able to do that to you?
• 21:17
  Speaker 2: Have they done that to you?
• 21:19
  Speaker 5: And all?
• 21:20
  Speaker 2: I want to know your answer too.
• 21:21
  Speaker 5: But you know, we'll start with Oliver's Oliver's school of directing. Uh,
• 21:27
  Speaker 5: it comes with consequences, and so if you if you're
• 21:30
  Speaker 5: doing something that's not is it necessarily what Oliver had
• 21:36
  Speaker 5: in mind? He'll yell from video village, which is an
• 21:40
  Speaker 5: area away from the set where the director and the
• 21:43
  Speaker 5: and the and the people who are producing the film
• 21:45
  Speaker 5: or watching it. He'll yell from video village McGinley, walk
• 21:50
  Speaker 5: with me, and that just means, uh, you're going to
• 21:55
  Speaker 5: go for a walk. And then he tells you that
• 21:59
  Speaker 5: you're sub in my vision and you're fucking me. Really,
• 22:03
  Speaker 5: You're like, oh god, he did it in the Philippines,
• 22:07
  Speaker 5: he did it down in on Wall Street, he did it,
• 22:10
  Speaker 5: he does it everywhere. You're fucking me. You were better
• 22:14
  Speaker 5: when you I always read actors for him, and he goes,
• 22:16
  Speaker 5: you were better when you were reading the actors. But
• 22:18
  Speaker 5: now you're fucking me and you're like, oh my god,
• 22:23
  Speaker 5: oh my, it's horrifying. How do you not get it?
• 22:26
  Speaker 2: How do you then not spiral Johnny? Because I feel
• 22:28
  Speaker 2: like there's a fine line between taking in the corner
• 22:31
  Speaker 2: and being and being constructive and being like, you got this, man,
• 22:34
  Speaker 2: but I want you to dig deep and do this,
• 22:35
  Speaker 2: and being like, you're fucking me. I can't imagine that
• 22:39
  Speaker 2: I would be so spiraling in my head.
• 22:41
  Speaker 5: I don't know. I guess it all started in the
• 22:43
  Speaker 5: Philippines and I just wasn't gonna There was nowhere to go.
• 22:46
  Speaker 5: We were ten thousand miles from home, and so I
• 22:49
  Speaker 5: guess you got a rally? I don't fucking know.
• 22:52
  Speaker 2: And the object did you tell me this? Sorry? Sorry,
• 22:54
  Speaker 2: go ahead.
• 22:55
  Speaker 5: The opposite of that is Catherine Bigelow on Point Break.
• 22:57
  Speaker 5: You know we did that opening fucking great, Johnny great
• 23:01
  Speaker 5: seven minutes. Remember when I was the those one of
• 23:05
  Speaker 5: those steady cams they used to weigh about eighty pounds,
• 23:08
  Speaker 5: and all the big aussy guys used to be the operators.
• 23:11
  Speaker 5: And in the beginning of that film, there's about a
• 23:13
  Speaker 5: five or six minute walking talk where Keanu and I
• 23:16
  Speaker 5: are doing all the expository who what, where? When?
• 23:19
  Speaker 4: How?
• 23:19
  Speaker 5: For the whole movie, We're just just stealing, stealing, I
• 23:24
  Speaker 5: don't stop talking. And and we did it thirty six times.
• 23:28
  Speaker 5: I think she printed like four eighteen and thirty six,
• 23:32
  Speaker 5: and of course four was the one that was in
• 23:34
  Speaker 5: the movie. And it's just a wonner and it's just scrubs.
• 23:38
  Speaker 5: Made it look second nature because we did those. But
• 23:42
  Speaker 5: at the time when we were doing it, it was
• 23:43
  Speaker 5: a big deal. And you know, all the way through
• 23:46
  Speaker 5: the bowels of the FBI with this, with this steady
• 23:49
  Speaker 5: cam and Katherine just come over and she's the single
• 23:54
  Speaker 5: most supportive person in the history of the planet. But
• 23:57
  Speaker 5: the bottom line was we're going again.
• 24:00
  Speaker 2: She would never say anything. She would never say anything.
• 24:03
  Speaker 5: Oh, she's just the greatest. She's like, you're crushing this,
• 24:06
  Speaker 5: you're crushing this. I'm like, whoa that? I always know
• 24:08
  Speaker 5: when we have it? What about where to God?
• 24:10
  Speaker 2: What about you Donald? Like when you worked with like
• 24:12
  Speaker 2: Boaz or or did did did they give you did
• 24:15
  Speaker 2: you ever get like tough direction? But also that like
• 24:17
  Speaker 2: made you dig deeper?
• 24:20
  Speaker 3: Yeah?
• 24:21
  Speaker 1: You know, uh, bo as was was very much we're
• 24:25
  Speaker 1: going to rehearse and we would we would rehearse and
• 24:28
  Speaker 1: he wouldn't necessarily be there, but he would come and
• 24:30
  Speaker 1: check it out. But he would be like, you guys,
• 24:32
  Speaker 1: go rehearse, you know, rehearse amongst yourselves and stuff. And
• 24:35
  Speaker 1: then when we would do with the scene, he'd be like, Okay, yeah,
• 24:37
  Speaker 1: that's great. Is there anything you want to add to it?
• 24:40
  Speaker 1: I'm trying to think of if there were. I've had
• 24:42
  Speaker 1: directors I don't want to say their names. I've had
• 24:43
  Speaker 1: directors be like, you know, you stumbled on that line,
• 24:47
  Speaker 1: there goes your close up.
• 24:48
  Speaker 3: I've had ship like that before. That's not going to
• 24:52
  Speaker 3: help anybody, No, it doesn't.
• 24:54
  Speaker 2: And to find a way to to to I mean,
• 24:57
  Speaker 2: my goal when I'm directing someone is all I want
• 25:00
  Speaker 2: is for you to be great? How can I support that?
• 25:04
  Speaker 2: Part of it for me is creating an environment on
• 25:07
  Speaker 2: the set. You know, Scrubs is the ultimate example. We
• 25:09
  Speaker 2: had an environment that was so safe to experiment and
• 25:12
  Speaker 2: to and to fuck up, and it was you felt
• 25:15
  Speaker 2: so safe, you felt the net under under the under
• 25:18
  Speaker 2: the tightrope, if you will. So I when I'm making
• 25:21
  Speaker 2: my products, I try and create that environment again where
• 25:25
  Speaker 2: where you're safe, like there's no wrong answer let's play,
• 25:28
  Speaker 2: because I think that puts actors in a good headspace.
• 25:33
  Speaker 2: But I'm also making things so fast, you know, I'm
• 25:36
  Speaker 2: every the three films I've made, I have to go
• 25:38
  Speaker 2: so fast. There isn't a whole lot of time to
• 25:41
  Speaker 2: do like what Oliver Stone can do in the Philippines
• 25:44
  Speaker 2: and be like Johnny Let's Walk. If my producers, if
• 25:48
  Speaker 2: I ever said someone like Natalie Let's Walk, everyone looked
• 25:51
  Speaker 2: at me, like, what the fuck are you doing? We
• 25:53
  Speaker 2: have a half hour left for the day.
• 25:55
  Speaker 1: That it is a luxury. I hear stories about actors
• 25:59
  Speaker 1: and director's going on like forty five minute walks while
• 26:02
  Speaker 1: the crew waits, sometimes two hour walks while the crew waits,
• 26:06
  Speaker 1: and then they come back and the scenes different, and
• 26:08
  Speaker 1: now we're gonna relight it a different way. I've heard
• 26:10
  Speaker 1: crazy ass stories about how, you know, how ego gets
• 26:15
  Speaker 1: in the way of making.
• 26:16
  Speaker 2: Movies and stuff like I've heard stories from that movie
• 26:20
  Speaker 2: what's the well I should probably shouldn't call what the
• 26:23
  Speaker 2: movie is, but I heard stories of a movie star
• 26:24
  Speaker 2: showing up. My friend was shooting the movie, and he said,
• 26:27
  Speaker 2: you wouldn't believe what was going on, Like the movie
• 26:30
  Speaker 2: star would show up and be like, all right, well,
• 26:32
  Speaker 2: we're obviously not saying any of this, so should we
• 26:34
  Speaker 2: go talk about it? And it's like what like? So
• 26:39
  Speaker 2: they would then go on like long, like a like
• 26:42
  Speaker 2: a mini van ride, and like rewrite the day's work,
• 26:46
  Speaker 2: and that's how the day would start. I mean that
• 26:48
  Speaker 2: gives me anxiety even saying it.
• 26:50
  Speaker 3: Have you guys ever like this. It's happened once in
• 26:53
  Speaker 3: my life, Zach. I know when it's happened with you. Johnny,
• 26:56
  Speaker 3: have you ever been so late in any way that
• 26:58
  Speaker 3: you've caused a day? Well, not a day, but you
• 27:02
  Speaker 3: caused a morning, I should say, the director like, like
• 27:07
  Speaker 3: I've been, I've been so I've been ch not a
• 27:09
  Speaker 3: fucking chance.
• 27:10
  Speaker 5: We're not. We're not.
• 27:10
  Speaker 2: Johnny's not late ever, Johnny's early. Johnny gets five in
• 27:13
  Speaker 2: the morning and then goes back to sleep.
• 27:15
  Speaker 3: That would never happen, right, never happened. That happened to me.
• 27:19
  Speaker 3: That happened to me once, Zach, I remember when it
• 27:21
  Speaker 3: happened to you, But it happened mine.
• 27:23
  Speaker 2: Was an alarm clock malfunction.
• 27:24
  Speaker 3: But go ahead, bullshit. But anyway, I told the story
• 27:28
  Speaker 3: in the podcast. Did I ever tell you to Henry
• 27:30
  Speaker 3: Winkler's story, no, please go on. Okay.
• 27:33
  Speaker 1: So I was doing Clueless, the television show at the time, right,
• 27:37
  Speaker 1: and Henry Winklers directing the next day. It's Sunday night.
• 27:41
  Speaker 1: He's directing on Monday, and I'm geeked about it. But
• 27:46
  Speaker 1: I also, I'm twenty something years old and I live
• 27:49
  Speaker 1: with a bunch of dudes. Right, it's me, my buddies.
• 27:52
  Speaker 1: It's me and literally three other dudes living in the
• 27:55
  Speaker 1: house together, and on Sunday nights.
• 27:57
  Speaker 3: I don't know where it was. I think freaking like, uh,
• 28:00
  Speaker 3: Joseph's or or some shit like that was off.
• 28:04
  Speaker 1: The club was going off, right, and so we went
• 28:07
  Speaker 1: out and I didn't get home until like four in
• 28:08
  Speaker 1: the morning, smashed and hammered, and uh, I pass out
• 28:15
  Speaker 1: my call times at six am.
• 28:17
  Speaker 3: I'm doing Clueless at the time. I wake up and
• 28:20
  Speaker 3: it's six thirty and I'm like, oh shit.
• 28:23
  Speaker 1: Henry Winkler's directing. So I throw on clothes and I,
• 28:26
  Speaker 1: you know, jet to work. I get there, I put
• 28:30
  Speaker 1: on my costumes, all in my trailer and everything. I
• 28:33
  Speaker 1: throw on all my shit and as I'm throwing it on,
• 28:36
  Speaker 1: I can smell my breath and I still smell the
• 28:38
  Speaker 1: booze on my breath, and I'm like, oh my god,
• 28:41
  Speaker 1: Oh my god, this is gonna be horrible.
• 28:43
  Speaker 3: This is gonna be horrible.
• 28:45
  Speaker 1: So I run out of my trailer and I'm I'm
• 28:47
  Speaker 1: jetting to set. And as I come around the corner,
• 28:50
  Speaker 1: we were filming on the Paramount lot, and so you
• 28:51
  Speaker 1: have to pass through the big Paramount gates, right, So
• 28:54
  Speaker 1: I come running through the gate toward the set and
• 28:57
  Speaker 1: Henry Winkler sees me, stands up and it looked like
• 29:00
  Speaker 1: he said to whoever the producer was, what the writer was,
• 29:03
  Speaker 1: he was like, that's him, Yeah, that's him.
• 29:04
  Speaker 3: Okay. He starts walking towards.
• 29:06
  Speaker 1: Me, and I'm like, oh god, oh shit, holy shit,
• 29:09
  Speaker 1: you that was the first thing I'm thinking. Now, forget,
• 29:14
  Speaker 1: forget the cast and the crew and everything like that.
• 29:17
  Speaker 1: Fucking Henry Winkler, the legend that he is, is about
• 29:20
  Speaker 1: to fucking give me the business.
• 29:21
  Speaker 3: And I'm gonna and I'm gonna fucking eat it.
• 29:24
  Speaker 1: Right, And so he comes up to me and I
• 29:27
  Speaker 1: take a deep breath to not breathe out so he
• 29:30
  Speaker 1: can't smell this booze on me, right, And he goes, listen,
• 29:35
  Speaker 1: we're not gonna do this. Okay, I don't want to.
• 29:38
  Speaker 1: I don't want any shit from you. Okay, we're not
• 29:40
  Speaker 1: gonna We're not gonna fucking do this. We're gonna do this.
• 29:42
  Speaker 1: We're gonna go over there, We're gonna do the scene. Okay,
• 29:45
  Speaker 1: we're gonna go over there. We're gonna do the scene.
• 29:48
  Speaker 1: And I could tell he wanted to freaking give me
• 29:50
  Speaker 1: the business, but he was like, I don't know you.
• 29:51
  Speaker 1: I don't want to disrespect you, and I could I'm
• 29:54
  Speaker 1: pretty sure you don't want to try and disrespect me
• 29:56
  Speaker 1: or anything like that, but come over here and give
• 29:58
  Speaker 1: me your best right, And it was it was just
• 30:00
  Speaker 1: like when we did the dance scene on Scrubs where
• 30:04
  Speaker 1: I where I'm doing the dance to poison and I
• 30:07
  Speaker 1: hadn't rehearsed it or anything like that, and I just
• 30:09
  Speaker 1: went in there and I did the dance because part
• 30:12
  Speaker 1: of it was because I was afraid for my life
• 30:14
  Speaker 1: that Bill was gonna be like, you know, that's it,
• 30:18
  Speaker 1: You're fired. So it was almost the same thing, like
• 30:21
  Speaker 1: I'm dancing on a table in the scene and I
• 30:24
  Speaker 1: jump off the table into a split right in rehearsal,
• 30:28
  Speaker 1: I do the shit because I'm so look. I the
• 30:32
  Speaker 1: last thing I wanted was to let down, you know,
• 30:36
  Speaker 1: the Fonds. And then when I get over there and
• 30:37
  Speaker 1: I see Stacy Dash and Elisa Donovan and my boy
• 30:41
  Speaker 1: Sean Holland and the crew and all of these guys
• 30:44
  Speaker 1: looking at me, uh and and you know, giving me
• 30:47
  Speaker 1: the face like I can't believe you fucking let down
• 30:50
  Speaker 1: the Fonds. And it was like, all right, well, I'm
• 30:52
  Speaker 1: gonna give you guys a show.
• 30:54
  Speaker 3: And I did. And you know my point?
• 30:57
  Speaker 2: Did he ever take you aside and have a talk
• 30:58
  Speaker 2: with you?
• 30:59
  Speaker 3: That was to talk?
• 31:00
  Speaker 1: It was a quick It was one of those things
• 31:01
  Speaker 1: where it was like, I'm gonna come off like the
• 31:04
  Speaker 1: boss right now. And the humbling thing is is that
• 31:07
  Speaker 1: I'm over here and I'm talking to you about this,
• 31:10
  Speaker 1: but you know better than this. I shouldn't have to
• 31:12
  Speaker 1: have this conversation with you.
• 31:14
  Speaker 3: Ever.
• 31:15
  Speaker 1: He didn't have to say to me, get your shit together.
• 31:18
  Speaker 1: But it was all in the I'm not having this
• 31:20
  Speaker 1: conversation with you. You're way smarter than this. You know
• 31:23
  Speaker 1: better than this bullshit. Let's get over here, let's do
• 31:25
  Speaker 1: the scene, and let's make.
• 31:26
  Speaker 2: It right, and then he fucking hit a jukebox.
• 31:32
  Speaker 3: Let's take a break.
• 31:33
  Speaker 2: We'll be right back after these fine words.
• 31:42
  Speaker 5: I lied I was late one time, but it had
• 31:46
  Speaker 5: it wasn't my fault. I was doing the Actors, the
• 31:49
  Speaker 5: New York Actors Dream of I was. I originated the
• 31:55
  Speaker 5: play Talk Radio with Eric Vigozian, who I brought on
• 31:59
  Speaker 5: the scrubs as my shrink.
• 32:02
  Speaker 2: Unders applause, I'll turn my key for that dam.
• 32:04
  Speaker 5: And so we're down to Public, which is right on
• 32:06
  Speaker 5: Loafayette Street there, and I was in it for almost
• 32:11
  Speaker 5: two years because it was a good gig. And so
• 32:15
  Speaker 5: during that run, Oliver wrote Wall Street and said, do
• 32:19
  Speaker 5: you want to come down uh and do Wall Street
• 32:22
  Speaker 5: for two and a half three weeks And I said, well, yeah,
• 32:25
  Speaker 5: of course, but I'm doing I'm doing this play. And
• 32:28
  Speaker 5: he said, I'll have you wrapped in time and you
• 32:30
  Speaker 5: can get up to the public and everything will be fine.
• 32:33
  Speaker 5: And so I had the language in my contract, but
• 32:36
  Speaker 5: I had to be wrapped at seven thirty. We're down
• 32:38
  Speaker 5: towards the Wolwork building in southern the southern Manhattan, and
• 32:45
  Speaker 5: I had to be wrapped at seven thirty. And I
• 32:46
  Speaker 5: just a straight shot up Lafayette, and I'd go in
• 32:48
  Speaker 5: and make half hour half hours. You have to be
• 32:51
  Speaker 5: at a actor's equity, which is the actor Stage Union
• 32:55
  Speaker 5: dictates that you have to be at the theater a
• 32:57
  Speaker 5: half hour before the curtain. And I like to be there.
• 33:00
  Speaker 5: I like to do a vocal warm up and stretch
• 33:01
  Speaker 5: and all the I like all that stuff. And so
• 33:05
  Speaker 5: while we were down towards the Woolworth Building, the days
• 33:08
  Speaker 5: were going longer and longer. And you know, Charlie and
• 33:11
  Speaker 5: I we had already spent four months in the Philippines,
• 33:14
  Speaker 5: and now we're with Oliver doing this big thing for
• 33:17
  Speaker 5: I guess universal, and so the days are going longer
• 33:21
  Speaker 5: and longer. And I have the superstition just like Blu
• 33:25
  Speaker 5: Gerrigan Wally Pip, because a couple of years earlier, I've
• 33:29
  Speaker 5: been covering John Tutorro and Danny Dee Blue City. I
• 33:32
  Speaker 5: was his understudy and the assistant stage manager. And John
• 33:35
  Speaker 5: was a horse. He just never he thought it was
• 33:38
  Speaker 5: bad luck to let your understudy go on. And so
• 33:40
  Speaker 5: I got that from John, and so I didn't want
• 33:43
  Speaker 5: anybody going for me. And so no matter, the clock
• 33:47
  Speaker 5: kept ticking, and I started getting there at twenty of
• 33:50
  Speaker 5: in quarter of and the stage managers come up to me.
• 33:52
  Speaker 5: He goes, you can't do this. I'm like, listen, just look,
• 33:56
  Speaker 5: I'm going on. So and then later and later, and
• 34:02
  Speaker 5: so it one time I got there at Places and
• 34:05
  Speaker 5: I sprinted up to I forgot which theater we're in
• 34:09
  Speaker 5: at the Public, but it was the New House or something,
• 34:12
  Speaker 5: and I sprint it into the dressing room. I put
• 34:14
  Speaker 5: on my wardrobe and the stage manager's like no, and
• 34:18
  Speaker 5: I'm like, call the cops because I'm going to kick
• 34:19
  Speaker 5: the shit out of you unless you get out of
• 34:21
  Speaker 5: the way. And so I go on and Eric let
• 34:25
  Speaker 5: me kind of write a piece with him where this
• 34:29
  Speaker 5: character gets to he's in three quarters the whole place,
• 34:33
  Speaker 5: so he's three quarter ex exposed to the audience in
• 34:36
  Speaker 5: this proscenium stage. And at about twenty minutes into the piece,
• 34:41
  Speaker 5: he turns around in his chair, a pin spot hits him,
• 34:45
  Speaker 5: and then he walks down the closest you can be
• 34:47
  Speaker 5: to the audience. The light cube up on the board
• 34:50
  Speaker 5: is called down in one. I walk down in one,
• 34:54
  Speaker 5: A pin spot's on me, and I do this seven
• 34:57
  Speaker 5: minute monologue about my relationship with Eric's character Parry champlain,
• 35:01
  Speaker 5: Oh my god, I got you, and about two minutes
• 35:05
  Speaker 5: into it, I went up. Oof.
• 35:09
  Speaker 2: I went up because of you don't give everyone the lingo.
• 35:12
  Speaker 2: That means he forgot his lines. That's the actors say.
• 35:14
  Speaker 3: I went out.
• 35:15
  Speaker 5: Oliver was just yelling at us all day, and Charli
• 35:17
  Speaker 5: and I had been out till god knows how late
• 35:20
  Speaker 5: we were up the night before. But I stood there
• 35:24
  Speaker 5: with a pin spot on me looking at it was
• 35:26
  Speaker 5: a pretty tiny house, maybe three fifty maybe three twenty five.
• 35:30
  Speaker 5: I don't know how big it was, but it was
• 35:31
  Speaker 5: packed because Eric was all the rage and the play
• 35:34
  Speaker 5: was a massive hit, and you couldn't get in. And
• 35:37
  Speaker 5: I'm there and I co wrote this motherfucking monologue and
• 35:41
  Speaker 5: I can't remember anything everything, and I'm looking out at them,
• 35:46
  Speaker 5: and I was crying inside. I don't think I cried
• 35:49
  Speaker 5: out here, but I looked up at the light booth.
• 35:51
  Speaker 5: Even though you can't see anything, you can't see in
• 35:54
  Speaker 5: front of you because the light's so bright. I looked
• 35:56
  Speaker 5: up towards the light booth and I just nodded, and
• 35:59
  Speaker 5: I went back to my chair and they called the
• 36:01
  Speaker 5: next leg queue and Eric started again, and then after
• 36:04
  Speaker 5: the show Eric's the biggest mention on the planet. He
• 36:06
  Speaker 5: just came up and he goes, you can't. You don't
• 36:08
  Speaker 5: do that anymore, don't do that. I'm like, okay. And
• 36:11
  Speaker 5: the next night I did not go on, and guess what,
• 36:16
  Speaker 5: everything was fine. It turns out that the understudy was
• 36:20
  Speaker 5: he was fine. He went on and he was fine.
• 36:22
  Speaker 2: So wait, Johnny, your monologue is roughly seven minutes. How
• 36:25
  Speaker 2: deep did you get into it before you forgot your line?
• 36:27
  Speaker 5: Two minutes? Yeah?
• 36:30
  Speaker 2: Man, that is the I have this nightmare if you're
• 36:33
  Speaker 2: an actor, they actually call it the actor's nightmare. I
• 36:37
  Speaker 2: have this dream where I'm supposed to go on and
• 36:40
  Speaker 2: I don't know my lines at all. Or I'm supposed
• 36:42
  Speaker 2: to go on as an understudy for someone and I
• 36:43
  Speaker 2: don't know my lines at all.
• 36:44
  Speaker 5: I have that dream all the time, too, And now
• 36:48
  Speaker 5: I so over prepare ever since then, I so over
• 36:52
  Speaker 5: prepare the even if you shot me in the esophagus,
• 36:56
  Speaker 5: I'd still be able to continue and do the lives.
• 36:59
  Speaker 5: I don't give two shits. I don't care. I go.
• 37:03
  Speaker 5: I have that that nightmare Zachi too, and it just
• 37:08
  Speaker 5: never again, and it's never happened again ever.
• 37:10
  Speaker 2: You know, my first play was at the same theater Johnny.
• 37:13
  Speaker 2: First of all, I want to say quickly before I
• 37:15
  Speaker 2: change this to that Talk Radio is an amazing film
• 37:19
  Speaker 2: that you should all see with Johnny and Eric Bagosian
• 37:23
  Speaker 2: and Alec Balwin's in it, right, Yeah, And.
• 37:25
  Speaker 5: I didn't get star fucked out of the You know,
• 37:27
  Speaker 5: usually if you created, if it's called creating the play,
• 37:29
  Speaker 5: if you originated the play, you're definitely not in the film.
• 37:32
  Speaker 3: Definitely.
• 37:33
  Speaker 5: And I got to do that. That was Albert and
• 37:38
  Speaker 5: I did Three in a Row because that was the
• 37:39
  Speaker 5: film he did after Wall Street.
• 37:40
  Speaker 2: Well, that's interesting that you were wait, sorry, that's interesting
• 37:44
  Speaker 2: you were doing Wall Street with Oliver and then you're
• 37:46
  Speaker 2: in simultaneously in the play, and then Oliver decides to
• 37:49
  Speaker 2: direct the movie. So he must have seen the play
• 37:51
  Speaker 2: because you're friends with him and he came to see
• 37:52
  Speaker 2: you in it. Is that how it was the genesis
• 37:54
  Speaker 2: of it?
• 37:55
  Speaker 5: No, I think it was so it was such a subvert,
• 37:58
  Speaker 5: politically subversive piece about Alan Freed, a talk show host
• 38:03
  Speaker 5: I think in Denver, and Eric had loosely based it
• 38:06
  Speaker 5: on that that Oliver that was right right in his
• 38:10
  Speaker 5: sweet spot. And we went down to Los Colinas, right
• 38:14
  Speaker 5: outside of Dallas, and we shot the whole thing in
• 38:17
  Speaker 5: five six day weeks, and so we're in Dallas and
• 38:21
  Speaker 5: we didn't come up for air for five weeks. It
• 38:23
  Speaker 5: was the best.
• 38:24
  Speaker 2: Wow, that's a great film. I highly recommend it to everybody.
• 38:27
  Speaker 2: But I wanted to say my very first part out
• 38:29
  Speaker 2: of Northwestern was in a production of Macbeth at the
• 38:32
  Speaker 2: Public Theater in one of the tiny spaces, and the
• 38:37
  Speaker 2: cast was Alec Baldwin, Angela Bassett, Michael C. Hall Yeah,
• 38:44
  Speaker 2: really a hood or other, Jason Butler Harner, really amazing actors.
• 38:48
  Speaker 2: And I was playing the two young roles, Fleance and
• 38:52
  Speaker 2: young Seward, and I had to have a broad sword
• 38:55
  Speaker 2: duel with Alec Baldwin. Now I had never done stage combat.
• 39:00
  Speaker 2: I went to school, I studied acting in filmmaking, but
• 39:02
  Speaker 2: we never got around to, like, I never got around
• 39:04
  Speaker 2: to taking a stage combat course. And George S. Wolf,
• 39:07
  Speaker 2: the director, very fancy director, decides that my character is
• 39:11
  Speaker 2: going to fight Alec Baldwin not only with one broadsword,
• 39:14
  Speaker 2: but he thinks it'd be cool if I was an
• 39:16
  Speaker 2: extra badass. And now I'm going to fight Alec Baldwin
• 39:18
  Speaker 2: with two broad swords.
• 39:20
  Speaker 5: Yeah.
• 39:23
  Speaker 2: Now I've never done Alec is a scary motherfucker, and
• 39:27
  Speaker 2: I've never done a single bit of stage combat, and
• 39:29
  Speaker 2: now I'm going to do a dual broad sword stage
• 39:32
  Speaker 2: fight with him. We get there day one and for
• 39:36
  Speaker 2: the reading, and I've never I was fresh out of school.
• 39:38
  Speaker 2: I think I never met a celebrity in my life before.
• 39:40
  Speaker 2: And Alec Baldwin sits down next to me and he goes,
• 39:42
  Speaker 2: who who am Alec? Who are you playing? I go, oh,
• 39:45
  Speaker 2: I'm playing on Fleance and I'm playing Young Seward and
• 39:48
  Speaker 2: he goes, oh, so I kill you twice?
• 39:55
  Speaker 5: And he did.
• 39:57
  Speaker 2: He killed me twice eight shows a week, and I
• 39:59
  Speaker 2: got it down. It was like but it was scary
• 40:01
  Speaker 2: as as fuck. And uh I I fought Alec on stage?
• 40:06
  Speaker 5: Was was bh Barry your your combat coach?
• 40:10
  Speaker 2: I don't I don't recall who it was, but he
• 40:12
  Speaker 2: taught me well, and I was just I never rehearsed
• 40:15
  Speaker 2: something so much, because I mean I couldn't really, I
• 40:18
  Speaker 2: could have really hurt. I mean, they're they're there, they
• 40:20
  Speaker 2: will fuck you up. They're not sharp, obviously, but they
• 40:22
  Speaker 2: will fuck you up. And I was so afraid that
• 40:26
  Speaker 2: I was gonna hurt Alec Baldwin with my too, my
• 40:29
  Speaker 2: two broad swords.
• 40:30
  Speaker 3: Hell, yeah, you know what I found really funny how
• 40:33
  Speaker 3: quickly you forget the dialogue from shows that you rehearsed
• 40:37
  Speaker 3: over and over and over and over and over and
• 40:39
  Speaker 3: over and over and over and over again.
• 40:42
  Speaker 5: Dude.
• 40:42
  Speaker 3: It's like, within a month to two months, you couldn't
• 40:45
  Speaker 3: go up and do that show again. You know what
• 40:47
  Speaker 3: I mean? You know, but you've rehearsed it like it
• 40:51
  Speaker 3: was your.
• 40:52
  Speaker 5: Life, dude, for life?
• 40:55
  Speaker 2: Did you Donald? Did you ever almost forget your lines
• 40:57
  Speaker 2: when you were doing that play you did? Recently?
• 41:00
  Speaker 3: Yeah, you know.
• 41:00
  Speaker 1: I had one thing where it was like a bunch
• 41:02
  Speaker 1: of math and stuff like that, and the math didn't
• 41:04
  Speaker 1: have to make sense, but it had to be quick.
• 41:07
  Speaker 3: And one night I did I didn't forget the line.
• 41:13
  Speaker 1: I misspoke and I said, oh, excuse me, and then
• 41:16
  Speaker 1: I kept going, and then after I went, it kind
• 41:19
  Speaker 1: of threw the rhythm off for the show for the
• 41:21
  Speaker 1: whole night because I said one line, you know what
• 41:23
  Speaker 1: I mean. And it really is a lesson that when
• 41:26
  Speaker 1: you're doing a show, there's a rhythm to it all,
• 41:29
  Speaker 1: you know what I mean, And if you stick to
• 41:31
  Speaker 1: the rhythm every time.
• 41:33
  Speaker 3: Most likely you're gonna get a great performance if you
• 41:36
  Speaker 3: find the right formula and you stick to the rhythm
• 41:39
  Speaker 3: every time, and you stick to the formula every time,
• 41:41
  Speaker 3: it's gonna be a good show, you know what I mean. Yeah,
• 41:44
  Speaker 3: And just by me saying excuse me, it kind of
• 41:47
  Speaker 3: fucked up the rhythm and cues all of a sudden,
• 41:50
  Speaker 3: We're a little bit late, and you know what I mean.
• 41:52
  Speaker 3: And it was my fault, you know what I mean.
• 41:53
  Speaker 3: And it was just because I said excuse me.
• 41:56
  Speaker 5: I could always tell with when we were doing scrubs,
• 42:00
  Speaker 5: and especially after about twelve episodes in from twelve episodes on,
• 42:06
  Speaker 5: I could always tell whether or not Billy Billy Lawrence
• 42:10
  Speaker 5: had done a pass on Cox because he had written
• 42:14
  Speaker 5: and I had adopted this kind of Martinus Scorcesi on
• 42:20
  Speaker 5: Heroin syncopation for Cox. And I also sometimes when I
• 42:25
  Speaker 5: was bored, I would start to play with the language
• 42:27
  Speaker 5: a little bit, which was irresponsible, but I get bored sometimes,
• 42:32
  Speaker 5: and if Billy hadn't done a pass, I couldn't memorize
• 42:36
  Speaker 5: the lines because they were written out of rhythm, and Donald,
• 42:39
  Speaker 5: I'm just borrowing from what you said but Billy would
• 42:41
  Speaker 5: do a pass on Cox. I'd be down in my
• 42:43
  Speaker 5: rehearsal space, shilling myself, trying to remember these disconnected fucking
• 42:49
  Speaker 5: rants that somebody wrote then and I couldn't get them.
• 42:52
  Speaker 5: And then Billy would do a pass and something as
• 42:55
  Speaker 5: much as Donald do you even saying excuse me, that
• 42:59
  Speaker 5: was out, and then film the flow and the rhythm
• 43:02
  Speaker 5: and I could come in and I can. I can
• 43:04
  Speaker 5: do it in Latin, but I until Billy did a pass,
• 43:07
  Speaker 5: because I get in there and I have to hissy fit,
• 43:09
  Speaker 5: and I'd say, is Billy done a fucking pass on
• 43:11
  Speaker 5: this thing yet? And they're like, no, you haven't seen it.
• 43:13
  Speaker 5: I'm like, well, don't send.
• 43:15
  Speaker 9: It to me.
• 43:19
  Speaker 2: Did that happened? You'd get sented and memorize it and
• 43:21
  Speaker 2: then it would all be changed. You must have fucking gotten.
• 43:23
  Speaker 5: Lived every Monday morning.
• 43:28
  Speaker 2: So he talked to me. You must have talked to
• 43:30
  Speaker 2: Bill eventually even said, dude, you gotta fuck you can't
• 43:32
  Speaker 2: do that to me.
• 43:33
  Speaker 5: Of course I did, but Billy was spinning as many
• 43:35
  Speaker 5: places as he You know, one character of an ensemble
• 43:39
  Speaker 5: of badass, seven or eight of you, and you know
• 43:43
  Speaker 5: you you try to get Billy's attention, and you can't
• 43:46
  Speaker 5: can't always do it.
• 43:47
  Speaker 2: I would go so not. I mean, for those of
• 43:49
  Speaker 2: you who don't memorize for a living, it's easier for
• 43:52
  Speaker 2: some than others. But these chunks that Johnny had to
• 43:54
  Speaker 2: memorize in a short span of time is really hard
• 43:57
  Speaker 2: because he has to see them so fast, as he
• 43:59
  Speaker 2: did so well. But the idea of spending a weekend
• 44:02
  Speaker 2: memorizing that and then yeh work and there's a rewrite,
• 44:06
  Speaker 2: that's yeah, that's my stomach.
• 44:09
  Speaker 5: Even saying that, I get a not in my stomach.
• 44:11
  Speaker 3: That's why you must have loved it. When he had
• 44:14
  Speaker 3: no when he had no choice but to go with
• 44:16
  Speaker 3: what was written because we didn't have scripts, and so
• 44:19
  Speaker 3: he'd be like, yo, look here's here's what we're going
• 44:21
  Speaker 3: to say right now. And he would write it while
• 44:24
  Speaker 3: we were doing rehearsals and shit, and then he would
• 44:26
  Speaker 3: hand it to you and you'd be like, bet, no problem.
• 44:29
  Speaker 5: Because he wrote it. It was in Cox's rhythm, and
• 44:33
  Speaker 5: that's whatever that syncopation Billy came up with. It was
• 44:36
  Speaker 5: in that and I could groove into it.
• 44:38
  Speaker 2: But memora memorization is like a muscle, Johnny, I think
• 44:42
  Speaker 2: and no question, and you really had yours developed. Well,
• 44:44
  Speaker 2: I think, you know when i've when I've just finished
• 44:46
  Speaker 2: a play like I did Romeo and Romey and Juliet
• 44:48
  Speaker 2: when I was fresh out of school and another one
• 44:49
  Speaker 2: of my early roles. And I mean basically, the second
• 44:52
  Speaker 2: you start talking, you don't stop talking for two and
• 44:55
  Speaker 2: a half hours. And I even think thinking about it now,
• 44:59
  Speaker 2: I get anxious. This many years later. This was probably
• 45:02
  Speaker 2: to you know, nineteen ninety eight, but by the time
• 45:07
  Speaker 2: the play was over, that muscle was so developed. I
• 45:10
  Speaker 2: couldn't Russia. And I feel like, as Cox, you had
• 45:13
  Speaker 2: to do it so on the regular that you really
• 45:15
  Speaker 2: just you must have had it so dial Like now,
• 45:18
  Speaker 2: now that might be harder for you because you're not
• 45:19
  Speaker 2: memorizing monologues every week.
• 45:21
  Speaker 5: One hundred percent, one hundred percent.
• 45:24
  Speaker 2: I was when I was doing Bullets over Broadway. We
• 45:27
  Speaker 2: were in previews. And when you're in previews that for
• 45:31
  Speaker 2: those of you who aren't don't know that that means
• 45:33
  Speaker 2: that the critics haven't come yet. You're still working out
• 45:35
  Speaker 2: the play. You're still the writer and the rector. They're
• 45:38
  Speaker 2: changing things all the time. And then after opening night,
• 45:41
  Speaker 2: then then the show is locked, so we're in previews
• 45:43
  Speaker 2: and Woody Allen, who wrote the play, is in the
• 45:45
  Speaker 2: back of the audience and he's there and he's when
• 45:47
  Speaker 2: a joke doesn't work, he would he would give it
• 45:49
  Speaker 2: come the next day and give us a new joke
• 45:51
  Speaker 2: to try that night. But sometimes that was really hard
• 45:53
  Speaker 2: because you had the whole play memorized, and he would
• 45:54
  Speaker 2: just hand you a step of paper and he'd be like, here,
• 45:57
  Speaker 2: just just try this tonight. And you're like, try where
• 46:00
  Speaker 2: where did it? And you're like reading the paper and
• 46:01
  Speaker 2: like scribbled handra and like try this, where where does
• 46:04
  Speaker 2: it go?
• 46:05
  Speaker 5: Like?
• 46:06
  Speaker 2: And then he and you'd figure it out. And then sometimes,
• 46:08
  Speaker 2: in the heat of the adrenaline of doing a show
• 46:10
  Speaker 2: in front of fifteen hundred people, you'd forget. And I
• 46:15
  Speaker 2: there was one time I skipped the new joke you
• 46:18
  Speaker 2: wanted me to do. And I saw him the next
• 46:20
  Speaker 2: day and I said, Woody, I'm really sorry. I got
• 46:22
  Speaker 2: a little frazzled and I didn't even try the new
• 46:25
  Speaker 2: joke you wanted me to try, and he goes, yeah,
• 46:27
  Speaker 2: probably get a bigger laugh if you'll actually say it
• 46:30
  Speaker 2: on stage, Johnny, Will you tell that story that I
• 46:51
  Speaker 2: love that. You told me once about Platoon where you
• 46:53
  Speaker 2: said you were all hanging by the pool when you
• 46:55
  Speaker 2: realize that you weren't going to be in the movie.
• 46:57
  Speaker 5: So, because the conditions in the Philippe were so tense
• 47:02
  Speaker 5: and so fluid, and we were in something called a
• 47:06
  Speaker 5: triple and they were fluid because they're just been a revolution.
• 47:09
  Speaker 5: A guy named Ferdinand Marcos had lost an election to
• 47:12
  Speaker 5: a woman named Coria Kino, and Marcos wouldn't leave until
• 47:17
  Speaker 5: President Reagan, the president at the time, gave him political
• 47:20
  Speaker 5: asylum in Hawaii. So that's why we were postponed. I left.
• 47:24
  Speaker 5: I was doing Hamlet with Kevin Klein at the public
• 47:28
  Speaker 5: and about a week into rehearsal, Oliver calls after the
• 47:33
  Speaker 5: I'd been cast in the film a year and a
• 47:35
  Speaker 5: half earlier, and then the money went away, and he
• 47:38
  Speaker 5: called and he goes, McKinley, do you want to play
• 47:40
  Speaker 5: the fourth lead? I'm like, who the fuck is this?
• 47:45
  Speaker 5: It's Oliver Stone. You want to go to Philippines. And
• 47:47
  Speaker 5: I'm like, I would love to go to the Philippines,
• 47:49
  Speaker 5: but I'm doing I'm playing third guy on the left
• 47:52
  Speaker 5: in Hamlet with Kevin Klein. Over at the Public, and
• 47:54
  Speaker 5: he goes tell Joe Path that it's me. I'm like,
• 47:59
  Speaker 5: oh sure, I'm to go talk to mister Pap and
• 48:01
  Speaker 5: call him. You know, it's like the Wizard of fucking Ass.
• 48:03
  Speaker 5: And so Rosemary Tishler, who was the casting person over
• 48:07
  Speaker 5: at the Public at the time and a friend of
• 48:09
  Speaker 5: mine from n YU, she came in and taught an
• 48:12
  Speaker 5: audition class to us and she's won the great great
• 48:14
  Speaker 5: women ever. And I called Rosemary. I went to see her,
• 48:18
  Speaker 5: and I said, uh, I got offered this movie. It's
• 48:22
  Speaker 5: in the Philippines, and it would mean would mean me
• 48:25
  Speaker 5: leaving rehearsals, and just like anybody in New York, it'd
• 48:28
  Speaker 5: be like crossing Johnny Friendly and on the waterfront. If
• 48:31
  Speaker 5: she said, if you go to this film, you'll never
• 48:33
  Speaker 5: work here again, I would not have gone and done
• 48:35
  Speaker 5: the film. Neither would any anybody in New York. Because
• 48:39
  Speaker 5: once you get in that fraternity slash sorority over to
• 48:42
  Speaker 5: the Shakespeare Festival, you stay, you keep doing plays. And
• 48:47
  Speaker 5: Rosemary said, well, you're fine with me, but you can
• 48:49
  Speaker 5: have to go see Joe. And I'm like, everybody stop
• 48:52
  Speaker 5: calling him Joe. And so I go in and he
• 48:55
  Speaker 5: was you know he had a burden, and he was
• 48:57
  Speaker 5: this guy. You know, it was the way in the
• 48:58
  Speaker 5: back of his bucket smell. And so you know, I'm
• 49:01
  Speaker 5: knocking like I'm going to see the Wizard and the
• 49:03
  Speaker 5: Wizard of ours and he goes, come in, back, come in.
• 49:06
  Speaker 5: And so I go to see mister Path and I
• 49:09
  Speaker 5: told him my story and he goes, go, we'll do
• 49:11
  Speaker 5: Hamlet again when you get back. I was just like
• 49:15
  Speaker 5: crying even thinking about this.
• 49:17
  Speaker 2: I'm so happy they didn't prevent you from going. I
• 49:19
  Speaker 2: would have been horrible.
• 49:21
  Speaker 5: And so I go back. I was living in the
• 49:22
  Speaker 5: funeral parlor at the time, one at the New Jerney
• 49:25
  Speaker 5: funeral Parlor, and so I go up five stories and
• 49:28
  Speaker 5: I'm there. And a week or so after I removed
• 49:32
  Speaker 5: myself from Hamlet, there's a fucking revolution in the Philippines
• 49:36
  Speaker 5: because this guy Marcos won't leave. And so we get
• 49:39
  Speaker 5: postponed for months and months and months, and the play opens,
• 49:44
  Speaker 5: and you know, Vincent can Be calls it the most
• 49:46
  Speaker 5: important Hamlet on these shores. I'm sitting in the funeral
• 49:50
  Speaker 5: parlot going like, oh my god, I hate my life.
• 49:54
  Speaker 5: I hate my life. And finally we get the green
• 49:57
  Speaker 5: light to go because the revolution had subsided a little bit,
• 50:01
  Speaker 5: but not that much. And so, and in the meantime,
• 50:05
  Speaker 5: this language had come out. A bunch of actors in
• 50:07
  Speaker 5: New York, five or six of them circulated this language
• 50:10
  Speaker 5: because we were going to go through this two and
• 50:12
  Speaker 5: a half three week boot camp, that if you got
• 50:13
  Speaker 5: hurt in boot camp, you'd get to do the film.
• 50:18
  Speaker 5: And Oliver was like, no, if you get hurt in
• 50:20
  Speaker 5: boot camp, you get rotated out. You can't be a
• 50:23
  Speaker 5: soldier with a boken arm. No, And so I didn't
• 50:27
  Speaker 5: sign it, and the five people who did didn't go
• 50:30
  Speaker 5: to the Philippines, and so I finally get there and
• 50:35
  Speaker 5: only come to find out that it's a very tricky place.
• 50:38
  Speaker 5: We're shooting in this triple canopy jungle, which meant there
• 50:41
  Speaker 5: was vegetation at ten feet, another vegetation at twenty feet,
• 50:46
  Speaker 5: and these monstrous trees at fifty feet, So it was
• 50:48
  Speaker 5: very dark and swampy underneath these these three canopies of flora,
• 50:55
  Speaker 5: and we're shooting, and there was no shot list because
• 50:58
  Speaker 5: Oliver had to change things every day and on the fly,
• 51:01
  Speaker 5: which he did brilliantly. But the whole there was three
• 51:04
  Speaker 5: squads of eight, so there was twenty four of us,
• 51:07
  Speaker 5: and every day everybody was called to the set, and
• 51:10
  Speaker 5: some days you just sat there all day because if
• 51:12
  Speaker 5: you're not in the scene, you're not in the scene.
• 51:14
  Speaker 5: And so it was about two hour bus ride out
• 51:17
  Speaker 5: to the place, and then you'd sit and you weren't
• 51:20
  Speaker 5: the scene. Then there's two hours back. And so this
• 51:22
  Speaker 5: happened for a couple of weeks. And so Forrest Whitaker
• 51:25
  Speaker 5: and Johnny Depp and I asked Oliver that if we
• 51:30
  Speaker 5: weren't in going to be shooting that day, could we
• 51:33
  Speaker 5: stay at the hotel and he acquiesced, and so we're
• 51:37
  Speaker 5: finally sitting by the pool and we got what we
• 51:39
  Speaker 5: wanted and Forrest I don't do a good forest imitation,
• 51:42
  Speaker 5: but Forrest comes over to Johnny and he goes. You
• 51:45
  Speaker 5: would get the feeling that while we're here, we're not
• 51:48
  Speaker 5: in the movie. We all started coming back to the
• 51:52
  Speaker 5: set every day and Oliver would put us. Oliver would
• 51:56
  Speaker 5: put us on this mountain about a mile out of
• 51:59
  Speaker 5: the frame, and we and you weren't even a speck,
• 52:03
  Speaker 5: and you'd be back there and we started calling it
• 52:07
  Speaker 5: power background. And so guys were doing their best brandoh
• 52:12
  Speaker 5: a mile up a mountain and we called it power Background.
• 52:17
  Speaker 2: I just love it. I just I just love that.
• 52:19
  Speaker 2: You guys were like, all right, fuck this, We're not
• 52:20
  Speaker 2: gonna sit in the jungle. We're gonna go sit by
• 52:22
  Speaker 2: the pool. And then and then it's like you you,
• 52:25
  Speaker 2: Forest Whitaker and Johnny Depp sitting there on your lounge
• 52:28
  Speaker 2: on your lounge chairs with with with a cocktail. And
• 52:30
  Speaker 2: then all of a sudden, someone has the realization, you know,
• 52:33
  Speaker 2: he's probably just improv improvising this movie and we're sitting
• 52:37
  Speaker 2: here at the pool.
• 52:38
  Speaker 5: Was right, yeah, and Forrest, Forrest, I wish I could
• 52:44
  Speaker 5: do a forest invitation, but he was like, if we're
• 52:47
  Speaker 5: here in the movies, and.
• 52:51
  Speaker 2: He was right his rain and what a fucking amazing movie, dude.
• 52:55
  Speaker 2: I think it's one of the greatest movies ever made.
• 52:58
  Speaker 5: But I want to circle back to something that Donald
• 53:00
  Speaker 5: said earlier that when you said when you said you
• 53:02
  Speaker 5: can just trust the work and if when you stay
• 53:05
  Speaker 5: in rhythm, when when you can let the work happen.
• 53:08
  Speaker 5: For me, that was a big aha. When I was
• 53:10
  Speaker 5: with Jim Mangle for the for that hiatus, it was
• 53:14
  Speaker 5: that I was watching all these I was watching ray
• 53:16
  Speaker 5: Leoda and Johnny and All and Johnny Hawks and all
• 53:19
  Speaker 5: these great actors, and and I could see when Jim
• 53:23
  Speaker 5: was directing them. Sometimes you can see a director work
• 53:25
  Speaker 5: better when you're watching them direct somebody else. And I
• 53:28
  Speaker 5: was impacted by just how clean and with that affectations.
• 53:34
  Speaker 5: Jim wanted the style of this piece, and I was like,
• 53:37
  Speaker 5: that's what I'm doing. I'm going there. But in order
• 53:40
  Speaker 5: to do that, you have to acquiesce. You have to
• 53:44
  Speaker 5: you have to, like you were saying, you have to
• 53:45
  Speaker 5: trust it a little bit. And that's hard. But if
• 53:49
  Speaker 5: you're in rhythm and and you can and I the
• 53:53
  Speaker 5: verb to capitulate kept coming up for me and in
• 53:55
  Speaker 5: my in my dope uh composition books, and and to
• 54:00
  Speaker 5: is hard sometimes because somebody calls action and and the
• 54:04
  Speaker 5: trap is to want to drive the scene and and
• 54:07
  Speaker 5: and move the narrative forward. And like that scene with
• 54:12
  Speaker 5: Zachi where at the at the end of two oh nine,
• 54:16
  Speaker 5: when when coxing him have that scene, it just sits
• 54:21
  Speaker 5: and the lens absolutely soaks it up because no one's
• 54:26
  Speaker 5: trying to drive anything.
• 54:28
  Speaker 2: You know, there's so much power in being able to
• 54:31
  Speaker 2: just put a camera. It's interesting. We're talking about going
• 54:34
  Speaker 2: back and forth between theater and film, because when you're
• 54:37
  Speaker 2: in a play, you have to give a performance to
• 54:40
  Speaker 2: the person in the front row, and you have to
• 54:41
  Speaker 2: give a performance to the person in the back round, right,
• 54:43
  Speaker 2: And there's a really there's a dance in being able
• 54:46
  Speaker 2: to do that when you're in a film and the
• 54:49
  Speaker 2: camera can be as tight on our faces as it
• 54:52
  Speaker 2: is in that scene, an actor has to let go
• 54:56
  Speaker 2: in order to do nothing, do you know what I mean? Like,
• 54:58
  Speaker 2: there's so much power in just trusting the words and
• 55:02
  Speaker 2: trusting the camera to capture you doing I would say,
• 55:07
  Speaker 2: if I was directing that scene Johnny that we both love,
• 55:09
  Speaker 2: I would say we both did almost nothing. We were
• 55:12
  Speaker 2: just that's hard, that's very hard.
• 55:15
  Speaker 5: It's counterintuitive, but that's hard.
• 55:17
  Speaker 2: Yeah, yeah, yeah, yeah, yeah, I agree, because we all
• 55:20
  Speaker 2: want to go, we all want to go do something
• 55:22
  Speaker 2: and have a moment, and sometimes there's so much more
• 55:23
  Speaker 2: power in doing nothing.
• 55:27
  Speaker 5: But the style of the piece was to go do something.
• 55:30
  Speaker 5: And it was for Donald to just all of a
• 55:33
  Speaker 5: sudden riff off a dance that was fresh and beautiful,
• 55:36
  Speaker 5: and it was for you to look off the thing
• 55:39
  Speaker 5: and have a fantasy and then in the fantasy, you're
• 55:41
  Speaker 5: you're juggling you know stuff, You're juggling your father, and
• 55:45
  Speaker 5: and the impetus of the piece was to drive it.
• 55:49
  Speaker 5: Everyone was always to Junior's just driving stuff, Sarah was
• 55:52
  Speaker 5: driving stuff. And then all of a suddenly goes that's hard. Yeah,
• 55:58
  Speaker 5: that's agile. You gotta be you gotta be in rhythm. Sorry,
• 56:01
  Speaker 5: I keep stealing that from you, Donald, but you know.
• 56:05
  Speaker 1: It's true, because that's the safe place, you know what
• 56:08
  Speaker 1: I mean. The rhythm of it all is the safe place.
• 56:11
  Speaker 1: Comedy is funny when the rhythm's right. It's not necessarily
• 56:15
  Speaker 1: funny if you're if your timing is off right. So
• 56:19
  Speaker 1: the safe place to find everything in comedy is within
• 56:24
  Speaker 1: the pace of the show, right. So that was one
• 56:28
  Speaker 1: thing that would would always I always noticed that the
• 56:32
  Speaker 1: show always got better towards the end of the season.
• 56:35
  Speaker 1: Like we would come in hot and be so excited,
• 56:39
  Speaker 1: and there would be so much stuff that we're doing
• 56:41
  Speaker 1: in the beginning, tricks and all of these, Yeah, I'm
• 56:48
  Speaker 1: gonna show you what I got. But by the end
• 56:50
  Speaker 1: of the season, that's when all of a sudden, we're
• 56:52
  Speaker 1: doing really good episodes. We should probably go to break.
• 56:55
  Speaker 2: Well, we didn't do any breaks because this conversation was
• 56:57
  Speaker 2: so interesting. Dan will have to put in fake breaks.
• 57:00
  Speaker 2: I had a realization, we're going to call this episode,
• 57:02
  Speaker 2: if it's right with you, Donald, a conversation with Johnny
• 57:05
  Speaker 2: c McGinley. I like that, and then we'll redo uh
• 57:08
  Speaker 2: in the next episode, We'll we'll go do this episode
• 57:11
  Speaker 2: because this was so interesting. I don't think we need
• 57:13
  Speaker 2: to try and do anything else like that.
• 57:17
  Speaker 5: I'm sorry I read I watched the No it's a.
• 57:20
  Speaker 2: Miscommunication, but dude, I have a feeling everything we just
• 57:24
  Speaker 2: talked about you listening to you tell old stories is
• 57:26
  Speaker 2: more interesting than anything Donald and I were going to
• 57:28
  Speaker 2: say about about this episode, other than the fact that
• 57:30
  Speaker 2: it's completely unrealistic that JD would not be able to
• 57:35
  Speaker 2: get stimulated for Gift Shop Girl.
• 57:37
  Speaker 3: That is impossibly not a believable thing for televisions when
• 57:42
  Speaker 3: that should happen. I was like, this is a television listen.
• 57:47
  Speaker 2: I don't want to minimize. I don't want to minimize
• 57:49
  Speaker 2: I don't want to minimize a rectalitysfunction or losing one's
• 57:52
  Speaker 2: libido from stress. I know that's a fact and exists,
• 57:56
  Speaker 2: but one thing that is not a fact, is that
• 57:58
  Speaker 2: JD would not be able to go an direction for
• 58:00
  Speaker 2: Gift Shop Girl.
• 58:02
  Speaker 1: Sarah Lancaster, who played gift Shop Girl, did a fabulous job.
• 58:07
  Speaker 2: By the way, not only not only is Sarah Lancaster
• 58:10
  Speaker 2: very funny, but she's darn pretty. And uh, I just
• 58:15
  Speaker 2: I had a lot of trouble with the scenes where
• 58:16
  Speaker 2: jad is unable to kiss her.
• 58:20
  Speaker 5: I gotta tell you, I gotta tell you. And I
• 58:23
  Speaker 5: think Jerry Lewis always did this for himself as well
• 58:26
  Speaker 5: when he was directing all his movies. J D and
• 58:31
  Speaker 5: his the women that he hangs out with, they're beautiful.
• 58:38
  Speaker 2: Only only on.
• 58:38
  Speaker 3: TV, Johnny, I mean he's talking, Johnny. Look who's talking?
• 58:46
  Speaker 3: And Crystal the first two.
• 58:47
  Speaker 1: Seasons of the show, all you're doing is making out
• 58:51
  Speaker 1: with hot chicks.
• 58:52
  Speaker 2: I know your too, your too, love interest are so far?
• 58:55
  Speaker 5: Oh?
• 58:56
  Speaker 2: Actually, and what's her name? That girl? That woman who
• 58:58
  Speaker 2: was wonderful.
• 58:59
  Speaker 5: Kylie Kelly Kyl Williams, who was absolutely beautiful.
• 59:03
  Speaker 2: No, is that the one who was on the practice?
• 59:05
  Speaker 2: What was her name?
• 59:06
  Speaker 5: Yeah? I sort of that was sort of her name.
• 59:09
  Speaker 3: Joell.
• 59:10
  Speaker 2: Well, you double check. We've spoken about her. She was
• 59:11
  Speaker 2: really good and really pretty.
• 59:12
  Speaker 5: She was great.
• 59:14
  Speaker 2: Yeah, we always say JD did way better than that
• 59:17
  Speaker 2: is realistic. I mean we have Amy Smart coming up
• 59:20
  Speaker 2: as soon as a love entry.
• 59:21
  Speaker 5: Oh my god, that's right. She was so.
• 59:24
  Speaker 2: I'm sure she is so tasty, coma wife tasty.
• 59:29
  Speaker 1: But we talked about we talked about Gift Shop Girl
• 59:32
  Speaker 1: for like the rest of the.
• 59:35
  Speaker 2: Rockout way way by the way, we're gonna go, We're
• 59:38
  Speaker 2: gonna do this episode in a separate podcast, but we
• 59:40
  Speaker 2: have to say. One of my favorite lines is she goes,
• 59:43
  Speaker 2: is that a roller quarters in your pocket? Or are
• 59:45
  Speaker 2: you just having a good time? And I pulled out
• 59:47
  Speaker 2: a roller quds. I go, no, it's it's roller quarters.
• 59:49
  Speaker 2: It's actually laundry day.
• 59:54
  Speaker 3: Okay.
• 59:54
  Speaker 1: I decided, all right, there was one line, there was
• 59:57
  Speaker 1: one line that made me laugh, and I'm just gonna
• 59:59
  Speaker 1: throw this out there and then we can move on
• 1:00:01
  Speaker 1: because we have our guest here. But Todd goes, when
• 1:00:04
  Speaker 1: you're walking down the hall and Todd goes, hey, how's
• 1:00:06
  Speaker 1: your penis?
• 1:00:08
  Speaker 3: It made me go all the way back to that.
• 1:00:11
  Speaker 1: One episode where Turk where you think Turk is having
• 1:00:15
  Speaker 1: a problem getting it up and Todd goes, oh, so
• 1:00:20
  Speaker 1: when I saw you this morning and I said how's
• 1:00:23
  Speaker 1: your penis?
• 1:00:25
  Speaker 3: And you didn't want to talk about it.
• 1:00:29
  Speaker 2: I want to tell you a little trivia when when
• 1:00:31
  Speaker 2: that in that moment, when when when Todd says to me,
• 1:00:35
  Speaker 2: how's your penis? On the day he bangkoks me?
• 1:00:40
  Speaker 5: I remember him doing that to you?
• 1:00:42
  Speaker 2: Yeah, for those of who don't know.
• 1:00:44
  Speaker 5: You did it to each other every once in a while. Yeah.
• 1:00:46
  Speaker 2: There we have to tell us audience who might not
• 1:00:49
  Speaker 2: know what bangkok is. It's a juvenile game that men
• 1:00:52
  Speaker 2: will sometimes play with each other where they hit each
• 1:00:55
  Speaker 2: other's balls and then run away.
• 1:00:58
  Speaker 3: It starts, it starts off like this, what's the capital
• 1:01:02
  Speaker 3: of Thailand?
• 1:01:03
  Speaker 2: That's right, Bangkok? Yes, and then your penis gets hit
• 1:01:07
  Speaker 2: and you crumble over and the person runs away.
• 1:01:09
  Speaker 3: So here's another one. Here's another one. This was back
• 1:01:12
  Speaker 3: when Mitch cup Check was the GM of the Lakers.
• 1:01:15
  Speaker 3: Who's the GM of the Lakers? Mitch cup Check and
• 1:01:18
  Speaker 3: you punch him in the dick check?
• 1:01:20
  Speaker 2: I wouldn't have been able to answer that anyway. But
• 1:01:22
  Speaker 2: if you look at if you look on YouTube, I
• 1:01:24
  Speaker 2: think it's the seat. It would be the season two
• 1:01:26
  Speaker 2: gag reel or boot Blooper reel. I think they put
• 1:01:28
  Speaker 2: that on there. He was on camera. He hit my
• 1:01:31
  Speaker 2: hit my balls and ran away and then I can
• 1:01:33
  Speaker 2: I remember seeing that on the blooperl It was so painful.
• 1:01:36
  Speaker 2: He really got me good. He bangcocks me. Well, all right,
• 1:01:39
  Speaker 2: we have a wait. Why don't we Why don't we
• 1:01:41
  Speaker 2: go to break? Just to give Dan one reel? Break? Okay,
• 1:01:44
  Speaker 2: and we'll be right back. All right, we're back. We
• 1:01:55
  Speaker 2: have a guest, Michael Rat I'm Michael, welcome to Welcome
• 1:02:02
  Speaker 2: to the show.
• 1:02:03
  Speaker 3: Ladies and gentlemen. Thunderous applause for Michael cratch me.
• 1:02:08
  Speaker 2: You have a lot of thunderous applause out lately.
• 1:02:10
  Speaker 3: I really a're not going to turn the key.
• 1:02:13
  Speaker 2: I'm not gonna turn my key for that one. Dan,
• 1:02:14
  Speaker 2: turn your key, sir, No, no, turn your key, sir,
• 1:02:18
  Speaker 2: turn your key, sir, turn your key, sir. All right,
• 1:02:22
  Speaker 2: I don't Michael better be good. I'm gonna turn my key,
• 1:02:24
  Speaker 2: all right, thunder all right, Michael, welcome, you have you
• 1:02:27
  Speaker 2: have a special Johnny C McGinley episode. So ask do
• 1:02:30
  Speaker 2: you have a question for any of the three of us?
• 1:02:34
  Speaker 10: Well, I I definitely have a question. I can kind
• 1:02:36
  Speaker 10: of be for all of you guys.
• 1:02:37
  Speaker 2: Sure.
• 1:02:38
  Speaker 10: So I'm a huge Scrubs fan. It's one of the
• 1:02:41
  Speaker 10: reasons I'm actually a doctor. I went into medicine because
• 1:02:44
  Speaker 10: of Scrubs.
• 1:02:44
  Speaker 2: Oh my god, Wow, thank you every page, Michael.
• 1:02:50
  Speaker 10: I'm a family medicine practitioner. I actually just finished residency
• 1:02:53
  Speaker 10: like a month ago, and then I just took my
• 1:02:55
  Speaker 10: board exam like a week ago. So I'm a full
• 1:02:58
  Speaker 10: fledge doctor at this congradually.
• 1:03:00
  Speaker 3: Congratulations, man, that's incredible, And I just want to say
• 1:03:03
  Speaker 3: on behalf of thunderous applause, Dan thunderous.
• 1:03:05
  Speaker 2: I'm gonna turn my key. I'm gonna turn my key.
• 1:03:07
  Speaker 2: But you're really abusing this kinld. It's supposed to be
• 1:03:09
  Speaker 2: do sparingly.
• 1:03:11
  Speaker 3: That that is deservant, Okay, is the right word.
• 1:03:13
  Speaker 2: Deservant is not a word, but you know.
• 1:03:15
  Speaker 3: What it is, Joel not in the said.
• 1:03:17
  Speaker 2: It was deservant. Deserved with a n T is not
• 1:03:21
  Speaker 2: a word. As the newly fucking as the newly licensed doctor.
• 1:03:26
  Speaker 3: He doesn't know he's a doctor.
• 1:03:27
  Speaker 2: He's not a fucking Really, they didn't covered deservant on
• 1:03:31
  Speaker 2: the fucking Latin Latin.
• 1:03:33
  Speaker 3: It's Latin, all right, okay.
• 1:03:37
  Speaker 2: Dan, Dan for for using deservant thunderous booze. Please thunderous booze,
• 1:03:42
  Speaker 2: turn your turn your geir.
• 1:03:44
  Speaker 3: I'm not turning my key.
• 1:03:46
  Speaker 2: I'm not turning my key.
• 1:03:47
  Speaker 3: You're gonna blow my brains out.
• 1:03:49
  Speaker 2: No way, Dan mix this boom? All right, all right,
• 1:03:54
  Speaker 2: all right, Michael, what's your question?
• 1:03:56
  Speaker 10: So in my life, things that happen in medicine, in
• 1:04:00
  Speaker 10: or just in my general daily life kind of remind
• 1:04:02
  Speaker 10: me of episodes or certain scenes or jokes or even
• 1:04:06
  Speaker 10: fantasies from Scrubs, and they make me like almost laugh
• 1:04:08
  Speaker 10: out loud at inappropriate times. Are there any things from
• 1:04:13
  Speaker 10: the show, whether they're jokes or fantasies or scenes that
• 1:04:16
  Speaker 10: like you experience them in real life that kind of
• 1:04:20
  Speaker 10: bring back memories and make you on the verge of laughing.
• 1:04:24
  Speaker 5: Oh, I got one, go ahead. Johnny Billy did an
• 1:04:27
  Speaker 5: episode where I'll get this wrong, But where when when
• 1:04:32
  Speaker 5: somebody makes this sound that it's it's usually not appropriate
• 1:04:39
  Speaker 5: because when you go see a doctor, all you want
• 1:04:41
  Speaker 5: the doctor to do is shrub and go yeah, you
• 1:04:45
  Speaker 5: know what, let the end turn do it because it's
• 1:04:47
  Speaker 5: no big deal. But when the doctor goes like this,
• 1:04:52
  Speaker 5: and so now when I go to the hardware store
• 1:04:54
  Speaker 5: and I'll ask for a hose to hose elbow cup
• 1:05:00
  Speaker 5: joint for for some garden hose thing, and I see
• 1:05:04
  Speaker 5: the salesman go like this, I'm like, just don't fucking
• 1:05:08
  Speaker 5: don't do that. Don't do that asking. This is not
• 1:05:11
  Speaker 5: fucking leukemia. This is not fucking that answer. This is
• 1:05:16
  Speaker 5: a hose, the hose, Well, go enjoy it. What are
• 1:05:20
  Speaker 5: you doing this for? They can do that?
• 1:05:23
  Speaker 2: Is he making the noise because he's not sure he
• 1:05:25
  Speaker 2: has it?
• 1:05:25
  Speaker 5: Yeah, Well, it's just it's things like well, I don't
• 1:05:29
  Speaker 5: know if we have that in stock. It's like, well,
• 1:05:30
  Speaker 5: when I can pull Amazon and have it in forty
• 1:05:32
  Speaker 5: eight hours for free, you.
• 1:05:35
  Speaker 3: I get it. It sound if your doctor doesn't, it
• 1:05:37
  Speaker 3: usually means ship you know what your.
• 1:05:40
  Speaker 5: Doctor doing that? Yeah, And Big Billy Billy wrote a
• 1:05:43
  Speaker 5: whole like being your c story about that one episode.
• 1:05:46
  Speaker 5: And whenever I see a waiter when I'll ask for
• 1:05:49
  Speaker 5: a crush red peppers on the side and the go
• 1:05:51
  Speaker 5: I'm like, don't fucking do that. There's a jug of
• 1:05:55
  Speaker 5: McCormick's crush red peppers this big back in the kitchen.
• 1:05:59
  Speaker 5: Would you like me to show you where it is.
• 1:06:07
  Speaker 2: That's pretty good. Donald, Do you have anything like that.
• 1:06:11
  Speaker 3: Story, anything that could top that?
• 1:06:12
  Speaker 5: Dude?
• 1:06:13
  Speaker 2: All right, that's where we're gonna go with Johnny's answer
• 1:06:15
  Speaker 2: on that, Michael, do you got another one for us?
• 1:06:17
  Speaker 10: I so my brother is a huge fan as well,
• 1:06:20
  Speaker 10: and he would be very angry at me, my brother
• 1:06:23
  Speaker 10: Ben if I didn't ask a question that he was
• 1:06:25
  Speaker 10: trying to convince me to use as my question.
• 1:06:28
  Speaker 5: When he found out I was going to be on it.
• 1:06:29
  Speaker 10: So he said he wanted to know specifically for you, Zach,
• 1:06:33
  Speaker 10: My Way Home is his favorite episode, and he wanted
• 1:06:35
  Speaker 10: to know how much different is it to direct people
• 1:06:39
  Speaker 10: that you like, actually know compared to directing in a
• 1:06:45
  Speaker 10: different situation.
• 1:06:48
  Speaker 2: That's a great question. I was blessed that this cast
• 1:06:53
  Speaker 2: was totally supportive and embraced me to direct them. I
• 1:06:58
  Speaker 2: think that, you know, it's always a tricky situation. I
• 1:07:02
  Speaker 2: imagine on a show when when someone finally goes, hey,
• 1:07:07
  Speaker 2: I'd like to direct us all. I mean, we're all equals,
• 1:07:10
  Speaker 2: we're all a team, and I imagine in sports playing, uh,
• 1:07:15
  Speaker 2: even though I don't know that world, it would be
• 1:07:16
  Speaker 2: like if someone on the team was like, I'm now
• 1:07:18
  Speaker 2: going to coach, you'd be like, fuck you, Stan, you're
• 1:07:22
  Speaker 2: the forward middle or whatever that is. Is that a position?
• 1:07:27
  Speaker 2: Forward middle?
• 1:07:28
  Speaker 3: Yeah? Sure, I'm sure the forward middle.
• 1:07:32
  Speaker 2: I don't know, maybe in highlight.
• 1:07:35
  Speaker 3: In like quivit or something like yeah, yeah, all right,
• 1:07:42
  Speaker 3: let me.
• 1:07:43
  Speaker 2: Use the sports analogy further.
• 1:07:44
  Speaker 3: No, you know it is.
• 1:07:46
  Speaker 2: It's tricky, but but it all but the cast if
• 1:07:48
  Speaker 2: you're fucked, if if your cast and your friends are like,
• 1:07:51
  Speaker 2: oh god, you don't know what you're doing. And I'm
• 1:07:54
  Speaker 2: not just saying this, because these two guys are here,
• 1:07:56
  Speaker 2: they universally could not be more, couldn't have been more
• 1:07:59
  Speaker 2: support if they were rooting me on. They were, they
• 1:08:03
  Speaker 2: were It's so hard to do it in five days.
• 1:08:05
  Speaker 2: And Donald, because he was on his best behavior, he
• 1:08:08
  Speaker 2: would like be there right away. But for other directors
• 1:08:11
  Speaker 2: he would do that.
• 1:08:11
  Speaker 3: I would know my lines.
• 1:08:12
  Speaker 1: He would be like, dude, there was maybe only one
• 1:08:14
  Speaker 1: episode where I didn't know my lines and I realized
• 1:08:17
  Speaker 1: I was like, look, I can't do my boy like
• 1:08:19
  Speaker 1: this every Yeah. Yeah, from here on out, no matter what,
• 1:08:23
  Speaker 1: I'm gonna have my shit together, especially when he's pretty
• 1:08:27
  Speaker 1: much only when he's directing, who's recording or we ain't
• 1:08:30
  Speaker 1: going out this Who's who's shooting the show?
• 1:08:32
  Speaker 3: I'm not going out this week. I'm gonna take my
• 1:08:34
  Speaker 3: time and my lines for ZB.
• 1:08:36
  Speaker 2: I would text Donald and be like, bro, I love
• 1:08:39
  Speaker 2: you this.
• 1:08:40
  Speaker 3: You have a monologue tomorrow?
• 1:08:42
  Speaker 2: No I would. I'd be like, I'd be like, you know,
• 1:08:45
  Speaker 2: I'd be planning the week, you know, because on Sunday
• 1:08:46
  Speaker 2: night you're like so nervous. It's you know, directing his
• 1:08:49
  Speaker 2: hard period, but directing a single camera TV show in
• 1:08:52
  Speaker 2: five days is like so advanced, this double black diamond.
• 1:08:55
  Speaker 2: It's like you got to do it and do it fast.
• 1:08:57
  Speaker 2: And I remember being a Sunday night being like, oh shit, okay,
• 1:09:00
  Speaker 2: are gonna warned Donald that he needs to learn that monologue?
• 1:09:02
  Speaker 2: And I'd be so I would call him and be
• 1:09:04
  Speaker 2: like our text him and be like, dude, big monologue
• 1:09:06
  Speaker 2: for you on Wednesday. I want to start working on
• 1:09:07
  Speaker 2: it now. And I'd be like, can you please come
• 1:09:09
  Speaker 2: to set right away? Like none of this fucking bullshit
• 1:09:11
  Speaker 2: you're playing fucking whatever video game you're playing in your
• 1:09:14
  Speaker 2: room and taking twenty minutes to come to set because
• 1:09:16
  Speaker 2: remember no, yeah and uh, And he would and this
• 1:09:19
  Speaker 2: is what he would come right away. But it was
• 1:09:21
  Speaker 2: awesome because Johnny, you know, you know you guys, the
• 1:09:25
  Speaker 2: audience can tell from the conversation we just had. We
• 1:09:27
  Speaker 2: both Donald and I look up to him so much
• 1:09:29
  Speaker 2: as an actor, and he's the kind of person that
• 1:09:31
  Speaker 2: I could go up to him and be like, john
• 1:09:33
  Speaker 2: that was awesome. But do you want to try I
• 1:09:35
  Speaker 2: had this idea, do you want to try one where
• 1:09:37
  Speaker 2: it's a little more like this? And you know he
• 1:09:40
  Speaker 2: that's gonna go two ways. A guy with a huge
• 1:09:42
  Speaker 2: ego and who's an asshole is gonna be like, no,
• 1:09:45
  Speaker 2: that's good, move on, or Johnny the polar opposite, is like,
• 1:09:48
  Speaker 2: oh my god, that's fucking awesome. Let's try it.
• 1:09:50
  Speaker 5: Hell yeah.
• 1:09:51
  Speaker 2: And that was the attitude everybody had when I directed
• 1:09:53
  Speaker 2: the show. It was awesome. They were so supportive and
• 1:09:56
  Speaker 2: uh and and I was I was so lucky. I
• 1:09:58
  Speaker 2: was so lucky, especially since Donald was the one.
• 1:10:02
  Speaker 5: OK.
• 1:10:03
  Speaker 2: I directed like seven episodes. It was like the only
• 1:10:05
  Speaker 2: time don'll ever news lines. All right, all right, Michael,
• 1:10:12
  Speaker 2: thank you so much for coming on, and thank you
• 1:10:14
  Speaker 2: for becoming a doctor. I want you to know that
• 1:10:16
  Speaker 2: every life you save, we're gonna take credit for him.
• 1:10:19
  Speaker 10: I'm okay with that.
• 1:10:21
  Speaker 3: You're welcome.
• 1:10:22
  Speaker 5: Please please be safe, Michael, please be saying.
• 1:10:25
  Speaker 3: Take care of yourself.
• 1:10:26
  Speaker 2: Man, don't make that noise that Johnny C doesn't like
• 1:10:28
  Speaker 2: when someone will have to give somebody bad news.
• 1:10:30
  Speaker 10: Okay, reserve was very very bad news.
• 1:10:33
  Speaker 3: Yes, okay, and.
• 1:10:35
  Speaker 2: And and and don't say. You know, when my doctor
• 1:10:38
  Speaker 2: checks my prostate, he when he pulls his finger out,
• 1:10:40
  Speaker 2: he says, was that was that as good for you
• 1:10:42
  Speaker 2: as it was for me? I appreciate it.
• 1:10:45
  Speaker 3: If you wouldn't do that, dude, you you know you
• 1:10:51
  Speaker 3: could sue your doctor.
• 1:10:52
  Speaker 2: No, I have a very I have a doctor who
• 1:10:54
  Speaker 2: prides himself on being outrageous. And if you're not down
• 1:10:56
  Speaker 2: for that, you just shouldn't go to this doctor.
• 1:10:58
  Speaker 5: I see.
• 1:11:00
  Speaker 3: So he because I would. I would be a little
• 1:11:02
  Speaker 3: upset if my doctors imagine your doctor was Madden.
• 1:11:06
  Speaker 2: Now never mind there's a doctor.
• 1:11:07
  Speaker 3: Uh, never mind, listen, I'm not We're good.
• 1:11:10
  Speaker 2: Okay, Michael's not gonna be that kind of doctor. Michael,
• 1:11:12
  Speaker 2: be safe and uh, and thank you so much for
• 1:11:14
  Speaker 2: coming on the show. All right, thank you, brother, I'm Michael.
• 1:11:20
  Speaker 3: Wow.
• 1:11:21
  Speaker 2: Wow, what a show. I think this actually would turned
• 1:11:23
  Speaker 2: out to be a much better episode than it could
• 1:11:24
  Speaker 2: have been because, uh, we had we had a we
• 1:11:26
  Speaker 2: had this is gonna be called I wanted to be
• 1:11:28
  Speaker 2: labeled Joelle, a chat with Johnny c McGinley noted, I
• 1:11:32
  Speaker 2: think it's nice when we show the audience the seems
• 1:11:35
  Speaker 2: a little bit if you will, that hey, we fuck up,
• 1:11:38
  Speaker 2: and you know what, in fuck ups come beautiful things
• 1:11:41
  Speaker 2: sometimes like like this episode.
• 1:11:43
  Speaker 3: Well, yeah, you know, it's it's not always that you
• 1:11:45
  Speaker 3: get to hear the adventures of John c McGinn.
• 1:11:49
  Speaker 2: By the way, I would listen to a podcast that
• 1:11:50
  Speaker 2: was just called Johnny c McGinley tells anecdotes from his career.
• 1:11:54
  Speaker 3: Yeah, I'm gonna be honest with you.
• 1:11:56
  Speaker 1: I didn't know that you did that you had done
• 1:11:57
  Speaker 1: that many shows at the Public, man, I didn't know
• 1:11:59
  Speaker 1: that you were a big Shakespearean actor. Uh in your
• 1:12:04
  Speaker 1: younger years, have you ever thought about going back and
• 1:12:06
  Speaker 1: doing stuff like that?
• 1:12:07
  Speaker 5: Now? Well, Zachi came to see me. Thank you. Donald
• 1:12:10
  Speaker 5: In Uh Glengarry, we did a revival a couple of
• 1:12:15
  Speaker 5: years ago with Al Pacino and Bobby kan Valley and
• 1:12:17
  Speaker 5: Richard Schiff and amazing David Harber, amazing and it was
• 1:12:22
  Speaker 5: it was the single most exciting thing I've ever done,
• 1:12:25
  Speaker 5: but by far. And I think that when when you guys,
• 1:12:31
  Speaker 5: would I'll pivot off of that for a second. What
• 1:12:33
  Speaker 5: what you just said about mistakes spawning nuggets? It makes me,
• 1:12:40
  Speaker 5: It makes me go back to that when you're if
• 1:12:43
  Speaker 5: there is such a thing, and I know Donald Zach
• 1:12:45
  Speaker 5: you will know what I'm talking about. If you can
• 1:12:47
  Speaker 5: when you're in acting shape and and and you're just nimble,
• 1:12:52
  Speaker 5: and you're agile cerebrally, and and your instincts, your acting instincts,
• 1:12:57
  Speaker 5: and you can't fake this stuff. You're either in act
• 1:13:00
  Speaker 5: shape or you're not. And the only way to be
• 1:13:02
  Speaker 5: in acting shape is to just continue to spend time
• 1:13:05
  Speaker 5: in front of a lens. That's the org continue to
• 1:13:08
  Speaker 5: do performances of a play. And when mistakes happen when
• 1:13:11
  Speaker 5: you're in acting shape, when you're just so agile, it
• 1:13:16
  Speaker 5: spawns nuggets. And one time what makes me think of
• 1:13:21
  Speaker 5: it was I decided before we went over to the
• 1:13:23
  Speaker 5: Philippines that Sargean O'Neil, which is the name of the
• 1:13:27
  Speaker 5: character I got to play, and then Tom Bringer's character Barnes,
• 1:13:33
  Speaker 5: that I was just going to do everything I could
• 1:13:35
  Speaker 5: like a like a pilotfish on a shark. I was
• 1:13:38
  Speaker 5: going to do everything I could to help to have
• 1:13:42
  Speaker 5: him facilitate me that character getting the fuck out of
• 1:13:46
  Speaker 5: Southeast Asia, and so whatever it took, and it wasn't
• 1:13:49
  Speaker 5: on the page, but I decided whatever it took, and
• 1:13:53
  Speaker 5: so I told Oliver this. He's like, yeah, do that,
• 1:13:57
  Speaker 5: it'd be a pilot fish.
• 1:13:58
  Speaker 3: I love that.
• 1:13:59
  Speaker 5: And so we're at this one night where at this
• 1:14:02
  Speaker 5: we're assigning a night operation, and Tony Todd's over there,
• 1:14:06
  Speaker 5: and William's here, and Mark Moses is here, and Tom
• 1:14:10
  Speaker 5: Baringer is next to me, and I got this zippo
• 1:14:13
  Speaker 5: and I, because Tom was character, smoke a lot, and
• 1:14:15
  Speaker 5: I always was going to do this no no look
• 1:14:19
  Speaker 5: magic Johnson light of his cigarette and then act like
• 1:14:23
  Speaker 5: it was no big fucking deal. I was just going
• 1:14:26
  Speaker 5: to throw a no look. And I saw it on
• 1:14:28
  Speaker 5: my periphery. Tom was pulling a cigarette out, and I
• 1:14:32
  Speaker 5: did a no look light and I snapped that zippo
• 1:14:35
  Speaker 5: back and I put it back in my in my thing,
• 1:14:38
  Speaker 5: and I could see everyone in the whole scene stopped
• 1:14:41
  Speaker 5: and they're looking at me like I was the biggest
• 1:14:42
  Speaker 5: dick on the planet, and I careful gout nervous telling
• 1:14:46
  Speaker 5: the story. I carefully looked over Tom and I missed
• 1:14:49
  Speaker 5: the light and I took the thing make a fun
• 1:14:51
  Speaker 5: back out and I lit that cigarette and the scene continued.
• 1:14:54
  Speaker 5: And that's what's in the movie, because it's there's no
• 1:14:57
  Speaker 5: ideas me qualified, and Willum looking at me like such
• 1:15:03
  Speaker 5: a dick, and Tony Todd looking at me.
• 1:15:05
  Speaker 2: Like I love it all over in a movie.
• 1:15:08
  Speaker 1: That's fucking dope, dude, because that's but that's who that
• 1:15:11
  Speaker 1: character was in that movie too.
• 1:15:14
  Speaker 5: Yeah, but it's also my point is that I'll go
• 1:15:17
  Speaker 5: third person that the actor playing Sargant O'Neil didn't all
• 1:15:20
  Speaker 5: of a sudden call cut or walk out of the
• 1:15:22
  Speaker 5: scene or you fix it.
• 1:15:24
  Speaker 2: Yeah, he's fix it. Yeah, and then and then and
• 1:15:27
  Speaker 2: then a great director like that's gonna go, that's fucking real,
• 1:15:30
  Speaker 2: I'm putting on the movie.
• 1:15:31
  Speaker 5: Yeah, and it's it's maybe a thousands of a second,
• 1:15:36
  Speaker 5: but but if, if, and when you ever watch it again,
• 1:15:38
  Speaker 5: you'll you'll see it. It's a fuck up, and Oliver
• 1:15:41
  Speaker 5: kept it in and it's genius.
• 1:15:42
  Speaker 3: It probably gets big laughs in the movie too when
• 1:15:45
  Speaker 3: it happens it's probably laugh.
• 1:15:47
  Speaker 5: Because I'm it exposes just what a pilot fish this
• 1:15:51
  Speaker 5: guy is.
• 1:15:52
  Speaker 2: Yeah, this has been awesome. I want to remind the
• 1:15:55
  Speaker 2: audience that the play Johnny's talking about is a movie
• 1:15:58
  Speaker 2: that is one of my favorite films. And if you
• 1:16:01
  Speaker 2: haven't seen Glen Gary Glenn Ross, I think it's a
• 1:16:04
  Speaker 2: masterclass in acting. And we always recommend films to you
• 1:16:08
  Speaker 2: on this podcast, but you should start with Glen Gary
• 1:16:11
  Speaker 2: Glen Ross.
• 1:16:15
  Speaker 5: Very different than the play though. The film's very casual
• 1:16:18
  Speaker 5: and it kind of unfolds on a rainy night. And
• 1:16:21
  Speaker 5: the play, David wrote, the whole thing is a what
• 1:16:24
  Speaker 5: act he told me, but then we found out one
• 1:16:26
  Speaker 5: actus can't win Tony's. He split it up in the
• 1:16:29
  Speaker 5: two act. But the first act is about thirty two
• 1:16:31
  Speaker 5: minutes and you're out having a cigarette outside the showingfeld.
• 1:16:36
  Speaker 5: And then the second act obviously the obviously the real
• 1:16:39
  Speaker 5: estate gets the office gets robbed, and that's the second act.
• 1:16:42
  Speaker 5: But the first act is all of thirty two minutes.
• 1:16:44
  Speaker 2: It's an incredible piece of right.
• 1:16:48
  Speaker 5: Fourth Street.
• 1:16:48
  Speaker 2: I want to tell you my only David Mammont experience.
• 1:16:51
  Speaker 2: Actually there's been two. I'm going to tell you both
• 1:16:53
  Speaker 2: of them first time. First of I loved the movie
• 1:16:55
  Speaker 2: is one of my favorite films, and I'd never seen
• 1:16:57
  Speaker 2: the play performed. Now, I did know the trivia that
• 1:17:00
  Speaker 2: Alec Baldwin has a legendary monologue in the movie that
• 1:17:05
  Speaker 2: that is fucking incredible, but it's not in the play.
• 1:17:09
  Speaker 2: So I see David Mammont backstage somewhere, and I'm so nervous,
• 1:17:12
  Speaker 2: and I go, oh my god, what am I gonna
• 1:17:14
  Speaker 2: say to David Mamma, I'm having a Donald faise on
• 1:17:16
  Speaker 2: when we talked Johnny off And on the podcast about
• 1:17:18
  Speaker 2: how Donald gets nervous around celebrities and always embarrasses himself.
• 1:17:21
  Speaker 3: So I'm I can't help it, Johnny, I can't help what.
• 1:17:25
  Speaker 2: Am I gonna say to David MAMMONTT I don't know
• 1:17:27
  Speaker 2: what to say to David Mammott and uh and I
• 1:17:29
  Speaker 2: and I think, oh okay, I got an idea, got
• 1:17:31
  Speaker 2: an idea. And I walk up to him. This is
• 1:17:33
  Speaker 2: this is long before you're the revival you did. It
• 1:17:35
  Speaker 2: was a different revival that was that was coming up.
• 1:17:38
  Speaker 2: This is how long ago it was. And I said,
• 1:17:41
  Speaker 2: mister Mammott, I just wanted to know. And the revival
• 1:17:44
  Speaker 2: you're doing. Are you gonna Are you gonna put the
• 1:17:46
  Speaker 2: the monologue that you added for for Alec Baldwin into
• 1:17:49
  Speaker 2: the play. And he looked at me like I just
• 1:17:53
  Speaker 2: shit in his fucking coffee, like such distaste, and he's like,
• 1:17:59
  Speaker 2: why would I do that. That's from the movie. I'm
• 1:18:02
  Speaker 2: not gonna put that in my play. And I was like, oh, yeah, yeah, yep, yep, yep, yep.
• 1:18:08
  Speaker 5: I agree.
• 1:18:09
  Speaker 2: Good choice on that, mister Mammott. I'm gonna go away.
• 1:18:13
  Speaker 5: Now. Do you wanna know? You wanna know? You want
• 1:18:19
  Speaker 5: to know another layer to that story? Yeah, I asked.
• 1:18:24
  Speaker 5: I didn't ask him. David told me that before they
• 1:18:26
  Speaker 5: green lit the movie, whoever produced it, whichever studio was, said, uh,
• 1:18:32
  Speaker 5: we need we need a special effect. We need something
• 1:18:35
  Speaker 5: to happen, and you need a car crash, we need something.
• 1:18:38
  Speaker 5: In the first act opens, they say the special effect
• 1:18:42
  Speaker 5: was Alex monologue. Yeah, that's how explosive, that's how great
• 1:18:47
  Speaker 5: Alec was in the writing. Was in that because in
• 1:18:49
  Speaker 5: the play he's an unseen off stage threat, but we
• 1:18:54
  Speaker 5: never see him or hear him. But I mean, but
• 1:18:57
  Speaker 5: he's referenced constantly.
• 1:18:59
  Speaker 2: Alex, in my opinion, a very underrated actor.
• 1:19:02
  Speaker 3: I was about to say, listen, I I agreed that
• 1:19:06
  Speaker 3: I don't know that he's under I think.
• 1:19:07
  Speaker 2: He's underrated, dude, think people think he's I.
• 1:19:11
  Speaker 3: Think he's one of the best actors out there.
• 1:19:12
  Speaker 2: I'm just saying that he's famous, and people's famous. He's famous,
• 1:19:16
  Speaker 2: and he gets a lot of ship for his tabloid
• 1:19:18
  Speaker 2: adventures and and and his politics whatever. But fucking the
• 1:19:23
  Speaker 2: guy is a really good actor. And that monologue is
• 1:19:25
  Speaker 2: one of the fucking greatest moments.
• 1:19:26
  Speaker 5: Ever, no question.
• 1:19:29
  Speaker 3: Coffees for closers, holy ship.
• 1:19:31
  Speaker 2: And then my second my girlfriend and I were were
• 1:19:35
  Speaker 2: staying in a hotel in London and and he came in.
• 1:19:38
  Speaker 2: He was doing a play in London recently for God
• 1:19:42
  Speaker 2: Malcolvich was the star of that, I believe, and uh,
• 1:19:45
  Speaker 2: and we were alone. It was late night and we
• 1:19:47
  Speaker 2: were alone in this little bar lobby area. There was
• 1:19:50
  Speaker 2: like it was like they called this thing and they
• 1:19:51
  Speaker 2: have this thing in England that works there but would
• 1:19:53
  Speaker 2: never work here, called an honor bar. So it's just
• 1:19:56
  Speaker 2: an area of a hotel with where you just take
• 1:19:58
  Speaker 2: whatever and you write down on the pad what you're taking.
• 1:20:03
  Speaker 2: I don't think that would work in at least it
• 1:20:05
  Speaker 2: wouldn't work in la.
• 1:20:07
  Speaker 3: But would it would not work at Joseph's.
• 1:20:10
  Speaker 2: I don't think it would work anywhere. Can you imagine?
• 1:20:12
  Speaker 2: But anyway in London you write down like I had
• 1:20:15
  Speaker 2: one vodka soda and then they charge it to your room.
• 1:20:18
  Speaker 2: So we're sitting there, my girlfriend and I are alone
• 1:20:21
  Speaker 2: in the Honor Bar, and in walks David Mammot and
• 1:20:25
  Speaker 2: it's just the three of us. And I go and
• 1:20:27
  Speaker 2: then my head, I'm going, in my head, I'm going,
• 1:20:29
  Speaker 2: oh my god, don't fuck up this time. Don't fuck
• 1:20:31
  Speaker 2: up this time. Don't mention Glengarry glen Ross. Don't be
• 1:20:35
  Speaker 2: an asshole and mentioned Glengarry glen Ross. The guy just
• 1:20:37
  Speaker 2: wants to get a drink and go to his room. Well,
• 1:20:41
  Speaker 2: I had had a few and uh and I see me,
• 1:20:46
  Speaker 2: mister Panett. Oh my god, I'm so glad to see you.
• 1:20:51
  Speaker 2: My name is Zach, this is Florence. So do you
• 1:20:53
  Speaker 2: want to join us? And he goes, okay, okay, sure, sure.
• 1:20:57
  Speaker 2: I could tell he was stressed. He'd had a night
• 1:20:58
  Speaker 2: of probably rehearsals, a pre views, whatever. He makes himself
• 1:21:01
  Speaker 2: a drink, he sits down. There's like a long pause,
• 1:21:03
  Speaker 2: and I go, I just have to tell you and
• 1:21:05
  Speaker 2: Glengary Glenn Ross, and I started calling off on this
• 1:21:08
  Speaker 2: Glen Gary. Yeah, I'm being Donald. I go off in
• 1:21:10
  Speaker 2: this long Glen Gary Glenn Ross spiel about how amazing
• 1:21:13
  Speaker 2: it is. And he just kind of nods his head.
• 1:21:15
  Speaker 2: He goes, Okay, well, I'm gonna I'm gonna head to bed.
• 1:21:18
  Speaker 2: It was nice talking to you. He left, and he left,
• 1:21:22
  Speaker 2: He just left.
• 1:21:24
  Speaker 3: Those are those moments. Those are one of those moments
• 1:21:26
  Speaker 3: where you wish you could talk about sports.
• 1:21:28
  Speaker 2: And I know the guy didn't want to talk about
• 1:21:30
  Speaker 2: Glenn Gary. The guy can't leave his fucking room without
• 1:21:32
  Speaker 2: talking about Glen Garrylan Ross. You think he wants to.
• 1:21:34
  Speaker 2: He came in to have one drink.
• 1:21:35
  Speaker 3: And if you could have been like, you know, are
• 1:21:37
  Speaker 3: you a Bears fan?
• 1:21:40
  Speaker 5: Yeah?
• 1:21:40
  Speaker 2: I could have said do you play middle forward shoe?
• 1:21:42
  Speaker 3: Do you like Chelsea or United?
• 1:21:45
  Speaker 5: Yeah?
• 1:21:45
  Speaker 2: I could say. I could say, is deservant a word?
• 1:21:51
  Speaker 2: You're a good writer, sir? Is deservant a word?
• 1:21:54
  Speaker 3: He wasn't deservant of the attention.
• 1:21:56
  Speaker 2: You know what, I agree with you, Donald, I agree
• 1:21:59
  Speaker 2: with you that that that genius writer was not deservant
• 1:22:02
  Speaker 2: of my affection. All Right, we should end this fucking
• 1:22:07
  Speaker 2: show because the audience is deservant of a break. Thank
• 1:22:12
  Speaker 2: you for listening, everybody. This was so fun. We're gonna
• 1:22:15
  Speaker 2: call it the Conversation with Johnny c McGinley and we
• 1:22:18
  Speaker 2: will uh. We will be back next week to uh
• 1:22:22
  Speaker 2: or we will be back. I don't know when it
• 1:22:24
  Speaker 2: is next time to sum up the episode, and we
• 1:22:27
  Speaker 2: will talk about Gift Shop Girl at length. Gift Shop
• 1:22:30
  Speaker 2: Girl does a lip bite, by the way, made famous
• 1:22:32
  Speaker 2: first by Alisa Silverstone and Clueless, and I am I'm
• 1:22:35
  Speaker 2: a fan of the lip bite, I must say, but
• 1:22:38
  Speaker 2: more on that next time. What Donald, do you have
• 1:22:41
  Speaker 2: a comment on the lip bite?
• 1:22:42
  Speaker 1: I was just gonna say I was. I was a
• 1:22:44
  Speaker 1: huge fan of you being alone in a tub with Rowdy.
• 1:22:48
  Speaker 2: One of my favorite gifts. It's my favorite gift of myself.
• 1:22:51
  Speaker 3: And then that turning into you alone in a tub
• 1:22:53
  Speaker 3: with Gift Shop Girl and Rowdy.
• 1:22:55
  Speaker 2: There is no better way to express my my, my,
• 1:22:58
  Speaker 2: my often inner monologue in life, in my true realner
• 1:23:01
  Speaker 2: inner monologue life. Then me alone sadly washing a dead dog. Donald,
• 1:23:11
  Speaker 2: will you count us in to our beautiful theme?
• 1:23:13
  Speaker 5: Song.
• 1:23:14
  Speaker 2: Please, thank you, everybody.
• 1:23:15
  Speaker 3: Listen, I want to play. There's no way.
• 1:23:18
  Speaker 2: Okay, okay, let's great idea. Do you want to do?
• 1:23:21
  Speaker 2: You want to take a chance at uh at talking
• 1:23:24
  Speaker 2: up into it, because I've been the one who's been
• 1:23:25
  Speaker 2: lucky enough to do that thus far.
• 1:23:27
  Speaker 3: Ladies and gentlemen, give it up for the President of
• 1:23:31
  Speaker 3: the United States of America, Donald Trump, singing his summer bop.
• 1:23:37
  Speaker 3: There's no way I could get down off that ram, said,
• 1:23:41
  Speaker 3: there's no way, there's no way.
• 1:23:45
  Speaker 6: How can you make it down that ram?
• 1:23:47
  Speaker 3: But I'm holding on my ass. There's no way.
• 1:23:51
  Speaker 6: There's no way.
• 1:23:53
  Speaker 3: General, I don't want that. And this was a new ram.
• 1:24:00
  Speaker 6: Really really say no, hand no, it was like an
• 1:24:04
  Speaker 6: ice game.
• 1:24:05
  Speaker 4: Anyway.
• 1:24:06
  Speaker 6: I said, there's no way, there's no way, how can
• 1:24:10
  Speaker 6: make it down that ramp when I'm rolling on my
• 1:24:13
  Speaker 6: ass beams by inch, I didn't mean little sense for
• 1:24:18
  Speaker 6: out ten feet short. I ran down the less, I
• 1:24:22
  Speaker 6: ran down, ran, I looked her hansom, I ran down, ran.
• 1:24:37
  Speaker 6: Then they numb the
• 1:24:38
  Speaker 2: One and the ramp was probably ten yards long.