Latest / Fake Doctors, Real Friends with Zach and Donald / 420.1 Our Favorite Celebrity Career Advice

Transcript

420.1 Our Favorite Celebrity Career Advice · Fake Doctors, Real Friends with Zach and Donald

• 0:04
  Speaker 1: Here's some stories about show we made about a bunch
• 0:10
  Speaker 1: of nurses and sound around here. Hey everybody, it's Zack here,
• 0:31
  Speaker 1: Zach Braff, the co host of Fake Doctors, Real Friends. UM.
• 0:36
  Speaker 1: I'm sorry to report that we don't have a show
• 0:38
  Speaker 1: for you this week, UM an original show, that is.
• 0:41
  Speaker 1: We had planned to have the co directors of C
• 0:46
  Speaker 1: Spiracy on UM, but then we realized it was Mother's Day.
• 0:50
  Speaker 1: We record the show Sunday afternoons because Donald and I
• 0:53
  Speaker 1: are both working and UM, and Donald, being the good
• 0:57
  Speaker 1: daddy that he is, had to, UM, you know, spend
• 1:02
  Speaker 1: time with the family and honor his queen, the Casey Cobb,
• 1:06
  Speaker 1: and watch the kids so Casey could have some mom
• 1:09
  Speaker 1: time and all that. So recording UH an episode became
• 1:13
  Speaker 1: a little difficult. UM. So Joel has curated an amazing
• 1:19
  Speaker 1: best of sort of thing for this week and we
• 1:22
  Speaker 1: will be back next Tuesday with original episode with the
• 1:27
  Speaker 1: co directors of the documentary C Spiracy, which you should
• 1:30
  Speaker 1: check out UM so you can be current with the conversation.
• 1:35
  Speaker 1: It's a fascinating documentary and UM it's become quite controversial
• 1:39
  Speaker 1: and I'm anxious and excited to UH to talk to
• 1:43
  Speaker 1: the filmmakers about it because it really had an impact
• 1:46
  Speaker 1: on me, and UM, I just want to say thank you.
• 1:50
  Speaker 1: Since I have a moment with Donald not here, you know,
• 1:54
  Speaker 1: I can say, UM anything I want. That's what I'm
• 1:57
  Speaker 1: talking about. Thank you, Donald Casey. What are your thoughts
• 2:00
  Speaker 1: on me? En? I'm allowed to use the soundboard without
• 2:03
  Speaker 1: own present, but we're going to find out, okay because
• 2:06
  Speaker 1: he's probably Daniel. What are your thoughts? UM? From the
• 2:15
  Speaker 1: bottom of my heart, I want to thank all of
• 2:17
  Speaker 1: you for for your response to this podcast. We never
• 2:21
  Speaker 1: could have imagined a thousand years, UM, that people would
• 2:24
  Speaker 1: like it so much, and I could never have found
• 2:29
  Speaker 1: them how fun it would be. UM. I genuinely look
• 2:32
  Speaker 1: forward to it every every Sunday and made such wonderful
• 2:37
  Speaker 1: new friends, particularly obviously Daniel and Joel, to people that
• 2:42
  Speaker 1: weren't in my life, and two people Donald and I
• 2:45
  Speaker 1: have both grown quite fond of and extraordinary human beings,
• 2:50
  Speaker 1: And just looking back and UM and sharing these stories
• 2:54
  Speaker 1: with all of you and memories has been so special.
• 2:58
  Speaker 1: I know I've said it before. We never thought that
• 3:01
  Speaker 1: so many people would be interested, So the fact that
• 3:05
  Speaker 1: this has become quite a phenomenon across earth, UM is
• 3:10
  Speaker 1: mind blowing to us. But but but please know from
• 3:13
  Speaker 1: the bottom of our hearts that we really appreciate you
• 3:15
  Speaker 1: and appreciate um how special the show was to you
• 3:20
  Speaker 1: and how much it meant to you. And also how
• 3:23
  Speaker 1: many of you have been emailing us or or I
• 3:25
  Speaker 1: should say d m ng us or instagramming us. Uh,
• 3:29
  Speaker 1: how much you like the show. Because we have a
• 3:31
  Speaker 1: we get a lot of joy bringing it to you.
• 3:34
  Speaker 1: To all the mothers out there. I know this is
• 3:36
  Speaker 1: belated because it's Tuesday, but I'm recording this on Sunday,
• 3:39
  Speaker 1: Happy Mother's Day. I know it is very hard to
• 3:40
  Speaker 1: be a mom, and UM, I was blessed with a
• 3:43
  Speaker 1: wonderful mom, and UM she made such a difference in
• 3:47
  Speaker 1: my life. A great mom can shape who that child
• 3:52
  Speaker 1: is for the rest of their lives, and my mom
• 3:53
  Speaker 1: certainly did. And I feel so blessed and I know
• 3:55
  Speaker 1: how hard it is for you moms out there. UM,
• 3:59
  Speaker 1: so here's me hipping my hat to you and UM,
• 4:01
  Speaker 1: from the bottom of my heart, thank you so much.
• 4:04
  Speaker 1: And lastly, thank you to all of you who checked
• 4:07
  Speaker 1: out Percy Verse Calias Um, the movie I made with
• 4:10
  Speaker 1: Christopher Walking and Christina Richie. I again, we made that
• 4:13
  Speaker 1: move for very little money had as they haven't spent
• 4:16
  Speaker 1: one cent on on marketing because they didn't really have
• 4:19
  Speaker 1: one sent to spend. And I'm just so surprised and honored.
• 4:24
  Speaker 1: Uh there you go, Daniel, Yeah, I fee you guys
• 4:28
  Speaker 1: honored me by by um by collectively making it number
• 4:31
  Speaker 1: two on iTunes. I mean, for for a while there
• 4:34
  Speaker 1: it was second to Nomad Land, which is pretty crazy
• 4:37
  Speaker 1: for a movie that um has no ads, no billboards,
• 4:42
  Speaker 1: no any of commercials, nothing. UM. I think it's a
• 4:47
  Speaker 1: testament to the job that that Clark Johnson did for
• 4:51
  Speaker 1: those little trivia. The director is the director who directed
• 4:54
  Speaker 1: the pilot of the Wire. Uh that's how talented mr
• 4:59
  Speaker 1: Mr Clark Johnson is. UM. All right, I'm rambling. If
• 5:02
  Speaker 1: you hadn't got a chance to check out Perceivers clathes,
• 5:04
  Speaker 1: please do and thank you, thank you, thank you. We
• 5:09
  Speaker 1: are so grateful for you. Please be patient with us.
• 5:11
  Speaker 1: UM again, you guys, and we all got used to
• 5:15
  Speaker 1: us doing this during the pandemic, but now that we're
• 5:17
  Speaker 1: both back to work, it is a little tricky to
• 5:18
  Speaker 1: schedule with with our busy schedules. I'm doing cheap by
• 5:22
  Speaker 1: the dozen, and he's been doing powerpuff Girls and um,
• 5:26
  Speaker 1: but make no mistake, we love doing this and we're
• 5:28
  Speaker 1: gonna keep bringing it to you. And and that's it. Okay, Casey,
• 5:33
  Speaker 1: do you have any last thoughts? I get it, girl,
• 5:36
  Speaker 1: but calm down. Okay, Donald's not here, and it's getting
• 5:39
  Speaker 1: a little weird what you're trying to get into one
• 5:42
  Speaker 1: day of shoon, what you're trying to do. I could
• 5:46
  Speaker 1: literally just sit here for an hour and a half
• 5:47
  Speaker 1: and ramble like this. Um, but you guys will probably
• 5:50
  Speaker 1: get bored. Um, without further ado, here is Joel, Thanks,
• 5:55
  Speaker 1: Zach Hi everybody. Um, First, I want to apologize if
• 5:59
  Speaker 1: you can your birds or water dripping. My window is stuck.
• 6:03
  Speaker 1: So this is the best I can do. But I'm
• 6:05
  Speaker 1: so happy to be back with another clips show. Um.
• 6:08
  Speaker 1: You guys in a lot of great suggestions on my
• 6:11
  Speaker 1: Twitter page and I really appreciate it. So we're gonna
• 6:14
  Speaker 1: do two clip shows this week. Our first one is
• 6:17
  Speaker 1: Celebrity guest Stories about the industry. We've had so many
• 6:21
  Speaker 1: great people come in and tell us all of these
• 6:24
  Speaker 1: great behind scenes how to basically, how to better audition,
• 6:29
  Speaker 1: how the pros do it, how to make sure you're
• 6:32
  Speaker 1: on set so that you don't actually get cut from
• 6:34
  Speaker 1: an improv movie by Oliver's Stone, how to uplift your
• 6:39
  Speaker 1: cast mates by buying them a puppy. And we're going
• 6:42
  Speaker 1: to share all of those stories with you here today.
• 6:44
  Speaker 1: I wanted to start with one of our favorite guests,
• 6:47
  Speaker 1: one Mr john C McGinley. Now Johnny c came back
• 6:52
  Speaker 1: on in season two and if you guys remember, we
• 6:55
  Speaker 1: had a bit of a flub where we were supposed
• 6:58
  Speaker 1: to have him on for two or nine, but you
• 6:59
  Speaker 1: can mon two ten and it was Johnny C. When
• 7:02
  Speaker 1: the man opens his mouth, greatness pours out. Not is
• 7:06
  Speaker 1: he just a talented actor a wonderful writer, he's also
• 7:11
  Speaker 1: a great orator. And it begins with Zack asking have
• 7:14
  Speaker 1: you ever had a director really push you all the
• 7:17
  Speaker 1: way to Donald saying have you ever been so late
• 7:21
  Speaker 1: that you lost a day of shooting? And in between
• 7:24
  Speaker 1: there we get all these wonderful moments from Johnny C
• 7:27
  Speaker 1: about being in a movie and a play at the
• 7:29
  Speaker 1: same time, and whether you let your understudy go up
• 7:32
  Speaker 1: or if that's bad luck, and of course his wonderful
• 7:35
  Speaker 1: advice about platoon. So without first there Ado here's Johnny
• 7:39
  Speaker 1: C take it away. I have a question for you guys.
• 7:43
  Speaker 1: It's both a actor and a director. I wish as
• 7:47
  Speaker 1: an actor I would have had more directors pushed me
• 7:52
  Speaker 1: to be better. I feel like I feel like throughout
• 7:56
  Speaker 1: my career there's been a few, but mostly it's been
• 7:58
  Speaker 1: about stand year, the camera's gonna come here? Do you
• 8:01
  Speaker 1: want to go again? Because maybe you should be a
• 8:03
  Speaker 1: little angrier as opposed to like taking me in the
• 8:06
  Speaker 1: corner and being here. I want to put a fucking
• 8:10
  Speaker 1: thought in your head. And I wonder, Johnny, because you
• 8:13
  Speaker 1: you can be an intimidating fellow. I wonder did Mangold
• 8:16
  Speaker 1: was he able to to do that to you? Did he?
• 8:19
  Speaker 1: I mean, Oliver Stone, you've worked with I mean, if
• 8:21
  Speaker 1: you've worked with Fincher, you worked with the legends of
• 8:23
  Speaker 1: the world. Have these guys been able to do that
• 8:26
  Speaker 1: to you? Have have they done that to you? And
• 8:29
  Speaker 1: I want to know your answer too. But you know,
• 8:30
  Speaker 1: we'll start with Oliver school of directing. Uh comes with consequences,
• 8:37
  Speaker 1: and so if you if you're doing something that's not
• 8:42
  Speaker 1: isn't necessarily what Oliver had in mind, He'll yell from
• 8:47
  Speaker 1: video Village which is an area away from the set
• 8:50
  Speaker 1: where the director and the and the and the people
• 8:52
  Speaker 1: who are producing the film are watching it. He'll yell
• 8:56
  Speaker 1: from video Village Maginy, walk with me, and that just means, uh,
• 9:03
  Speaker 1: you're gonna go for a walk. And then he tells
• 9:07
  Speaker 1: you that you're subverting my vision and you're fucking me, like,
• 9:14
  Speaker 1: oh god, he did it in the Philippines, he did
• 9:16
  Speaker 1: it down in on Wall Street, he did it, He
• 9:19
  Speaker 1: does it everywhere. You're fucking me. You were better when
• 9:23
  Speaker 1: you always read actors for him, and he goes, you're
• 9:25
  Speaker 1: better when you were reading the actors, but now you're
• 9:28
  Speaker 1: fucking me, and you're like, oh my god, horrifying. How
• 9:34
  Speaker 1: do you not get it? How do you then not
• 9:36
  Speaker 1: spiral Johnny? Because I feel like there's a fine line
• 9:38
  Speaker 1: between taking in the corner and being and being constructive
• 9:42
  Speaker 1: and being like, you got this, man, but I want
• 9:43
  Speaker 1: you to dig deep and do this and being like,
• 9:45
  Speaker 1: you're fucking me. I can't imagine that I would be
• 9:48
  Speaker 1: so spiraling in my head. I don't know. I guess
• 9:51
  Speaker 1: it all started in the Philippines and I just wasn't
• 9:53
  Speaker 1: gonna there was nowhere to go. We were ten thousand
• 9:56
  Speaker 1: miles from home, and so I guess you gotta rally.
• 9:59
  Speaker 1: I don't fucking no. And the obviously tell the opposite
• 10:04
  Speaker 1: of that is Katherine Bigelow on Point Break. You know,
• 10:06
  Speaker 1: we did that opening great movie, Johnny Johnny, remember when
• 10:12
  Speaker 1: it was the was one of those stead camps they
• 10:15
  Speaker 1: used the way about eighty pounds and all the big
• 10:17
  Speaker 1: Aussie guys used to be the operators. And in the
• 10:20
  Speaker 1: beginning of that film there's about a five or six
• 10:23
  Speaker 1: minute walk and talk where Keian on I are doing
• 10:25
  Speaker 1: all the expository who what where when? How? For the
• 10:29
  Speaker 1: whole movie, we're just just stealing speling. I don't stop talking.
• 10:34
  Speaker 1: And and we did it thirty six times. I think
• 10:37
  Speaker 1: she printed like four eighteen and thirty six, and of
• 10:41
  Speaker 1: course four was the one that was in the movie.
• 10:44
  Speaker 1: And it's just a wonder and it's just scrubs made
• 10:47
  Speaker 1: it look second nature because we did those. But at
• 10:51
  Speaker 1: the time when we were doing it, it was a
• 10:53
  Speaker 1: big deal. And you know, all the way through the
• 10:55
  Speaker 1: bowels of the FBI with this, with this steadicam and
• 11:00
  Speaker 1: captain just come over and uh, she's a single most
• 11:03
  Speaker 1: supportive person in the history of the planet. But the
• 11:06
  Speaker 1: bottom line was we're going again. She would never say anything,
• 11:10
  Speaker 1: You'd never say anything. No, she's just the greatest. She's
• 11:13
  Speaker 1: like you, you're crushing us. You're crushing us. I'm like that.
• 11:16
  Speaker 1: I always know when we have it. What about you Donald,
• 11:20
  Speaker 1: Like when you worked with like Boas or or did
• 11:22
  Speaker 1: did did they give you? Did you ever get like
• 11:24
  Speaker 1: tough direction? But also that like made you dig deeper? Um? Yeah,
• 11:30
  Speaker 1: you know. Uh. Bo As was was very much we're
• 11:34
  Speaker 1: gonna rehearse. Uh, And we would we would rehearse and
• 11:36
  Speaker 1: he wouldn't necessarily be there, but he would come and
• 11:39
  Speaker 1: check it out. But he would be like, you guys,
• 11:41
  Speaker 1: go rehearse, you know, rehearse amongst yourselves and stuff. And
• 11:44
  Speaker 1: then when we would do with the scene, he'd be like, Okay, yeah,
• 11:46
  Speaker 1: that's great. Is there anything you want to add to it? Um,
• 11:49
  Speaker 1: I'm trying to think of if they were. I've had
• 11:51
  Speaker 1: directors I don't want to say their names. I've had
• 11:52
  Speaker 1: directors to be like, you know, you stumbled on that line,
• 11:56
  Speaker 1: there goes you're close up. I've had ship like that.
• 12:00
  Speaker 1: You that's not gonna help anybody, No, it doesn't. And
• 12:04
  Speaker 1: to find a way to too too. I mean, my
• 12:06
  Speaker 1: goal when I'm directing someone is all I want is
• 12:09
  Speaker 1: for for you to be great? How can I support that?
• 12:13
  Speaker 1: Part of it for me is creating an environment on
• 12:16
  Speaker 1: the set. You know, Scrubs is the ultimate example. We
• 12:18
  Speaker 1: had an environment that was so safe to experiment and
• 12:21
  Speaker 1: to and to and to funk up. And it was
• 12:24
  Speaker 1: you felt so safe, you felt the net under under
• 12:27
  Speaker 1: the under the tight rope, if you will. Um. So,
• 12:29
  Speaker 1: I when I'm making my products, I try and create
• 12:32
  Speaker 1: that environment again where where you're safe, like there's no
• 12:36
  Speaker 1: wrong answer let's play, because I think that puts actors
• 12:39
  Speaker 1: in a good headspace. Um. But I'm also making things
• 12:43
  Speaker 1: so fast, you know, I'm every the three films I've made,
• 12:47
  Speaker 1: I have to go so fast. There isn't a whole
• 12:50
  Speaker 1: lot of time to do like what Oliver Stone can
• 12:52
  Speaker 1: do in the Philippines and be like Johnny Let's Walk.
• 12:56
  Speaker 1: If produces someone like Natalie Let's Walk, everyone looked at
• 13:00
  Speaker 1: me like, what the funk are you doing? We have
• 13:02
  Speaker 1: a half hour left for the day. That truly is
• 13:04
  Speaker 1: a luxury. It has a luxury. I hear stories about
• 13:08
  Speaker 1: actors and directors going on like forty five minute walks
• 13:11
  Speaker 1: while the crew waits, sometimes two hour walks while the
• 13:14
  Speaker 1: crew waits, and then they come back in the scenes different.
• 13:17
  Speaker 1: Now we're gonna relight it a different way. I've heard
• 13:19
  Speaker 1: crazy ass stories about how, you know, how ego gets
• 13:23
  Speaker 1: in the way of making movies and had stories from
• 13:28
  Speaker 1: that movie, Uh, what's the well I should probably shouldn't
• 13:31
  Speaker 1: call it what what with the movie is? But I heard
• 13:32
  Speaker 1: stories of a movie star showing up. My friend was
• 13:35
  Speaker 1: shooting the movie and he said, you wouldn't believe what
• 13:37
  Speaker 1: was going on. Like the movie star would show up
• 13:39
  Speaker 1: and be like, all right, well we're obviously not saying
• 13:41
  Speaker 1: any of this, so should we go talk about it?
• 13:45
  Speaker 1: And it's like what like? So they would then go
• 13:48
  Speaker 1: on like long, uh, like like a like a minivan
• 13:52
  Speaker 1: ride and like rewrite the day's work and that's how
• 13:56
  Speaker 1: the day would start. I mean that gives me anxiety
• 13:58
  Speaker 1: even saying it. Have you guys ever like it's happened
• 14:01
  Speaker 1: once in my life, Zack, I know when it's happened
• 14:03
  Speaker 1: with you, Johnny. Have you ever been so late in
• 14:06
  Speaker 1: any way that you've caused a day? We're not a day,
• 14:10
  Speaker 1: but you caused a morning I should say the director
• 14:15
  Speaker 1: like I've been. I've been, so I've been. Not a chance,
• 14:19
  Speaker 1: We're not. Johnny's not late ever, Johnny's early. Johnny gets
• 14:22
  Speaker 1: five in the morning and then goes back to sleep.
• 14:24
  Speaker 1: That would never happen, right, never happened. That happened to me.
• 14:28
  Speaker 1: That happened to me once, Zack, I remember when it
• 14:30
  Speaker 1: happened to you, But it happened mine was an alarm
• 14:32
  Speaker 1: clock malfunction. Bullshit. But anyway, I told the story in
• 14:37
  Speaker 1: the podcast. Did I ever tell you to Henry Winkler's story? Okay?
• 14:42
  Speaker 1: So I was doing Clueless, the television show at the time, right,
• 14:46
  Speaker 1: and Henry Winkler is directing the next day. It's Sunday night.
• 14:50
  Speaker 1: He's directing on Monday, um, and I'm geeked about it.
• 14:55
  Speaker 1: But I also I'm twenty something years old and I
• 14:57
  Speaker 1: live with a bunch of dudes. Right. It's me, my
• 15:00
  Speaker 1: buddies as me and literally three other dudes living in
• 15:03
  Speaker 1: the house together, and on Sunday nights. I don't know
• 15:06
  Speaker 1: where it was. I think freaking like uh Joseph's or
• 15:10
  Speaker 1: or some ship like that was off. The club was
• 15:14
  Speaker 1: going off, right, and so we went out and I
• 15:16
  Speaker 1: didn't get home until like four in the morning, smashed
• 15:20
  Speaker 1: and hammered and uh pass out my call times at
• 15:25
  Speaker 1: six am. I'm doing Clueless at the time. I wake
• 15:28
  Speaker 1: up and it's six thirty and I'm like, oh shit,
• 15:32
  Speaker 1: Henry Winkler's directly. So I throw on clothes and I,
• 15:35
  Speaker 1: you know, jet to work. I get there, I put
• 15:39
  Speaker 1: on my customers all in my my trailer and everything.
• 15:42
  Speaker 1: I throw on all my ship and as I'm throwing
• 15:45
  Speaker 1: it on, I can smell my breath and I still
• 15:47
  Speaker 1: smell the booze on my breath, and I'm like, oh
• 15:48
  Speaker 1: my god, Oh my god, this is gonna be horrible.
• 15:52
  Speaker 1: This is gonna be horrible. So I run out of
• 15:54
  Speaker 1: my trailer and I'm starting I'm jetting to set. And
• 15:57
  Speaker 1: as I come around the corner, we were filming on
• 15:59
  Speaker 1: the paramil A lot, and so you have to pass
• 16:01
  Speaker 1: through the big paramount gates, right, So I come running
• 16:03
  Speaker 1: through the gate towards the set and Henry Winkler sees me,
• 16:08
  Speaker 1: stands up and it looked like he said to whoever
• 16:10
  Speaker 1: the producer was, what the writer was, he was like,
• 16:12
  Speaker 1: that's him, Yeah, that's him. Okay. He starts walking towards me,
• 16:15
  Speaker 1: and I'm like, oh God, oh holy sh it, that
• 16:20
  Speaker 1: was the first thing I'm thinking, Now, forget, forget the
• 16:23
  Speaker 1: cast and the crew and everything like that. Fucking Henry Winkler,
• 16:27
  Speaker 1: the legend that he is, is about to give me
• 16:30
  Speaker 1: the business, and I'm gonna and I'm gonna fucking eat it. Right,
• 16:33
  Speaker 1: And so he comes up to me and I take
• 16:36
  Speaker 1: a deep breath to not breathe out so he can't
• 16:39
  Speaker 1: smell this booze on me, right, and he goes, listen,
• 16:44
  Speaker 1: we're not gonna do this, Okay, I don't want to.
• 16:46
  Speaker 1: I don't want any ship from you. Okay, we're not
• 16:48
  Speaker 1: gonna We're not gonna do this. We're gonna do is.
• 16:51
  Speaker 1: We're gonna go over there. We're gonna do the scene. Okay,
• 16:54
  Speaker 1: we're gonna go over there. We're gonna do the scene.
• 16:57
  Speaker 1: And I could tell he wanted to freak and give
• 16:58
  Speaker 1: me the business, but he was like, I don't know you,
• 17:00
  Speaker 1: I don't want to disrespect you, and I could I
• 17:03
  Speaker 1: I'm pretty sure you don't want to try and disrespect
• 17:05
  Speaker 1: me or anything like that, but come over here and
• 17:06
  Speaker 1: give me your best, right, And it was just it
• 17:09
  Speaker 1: was just like when we did the dance scene on
• 17:12
  Speaker 1: Scrubs where I where I'm doing um dance to Poison
• 17:16
  Speaker 1: and I hadn't rehearsed it or anything like that, and
• 17:18
  Speaker 1: I just went in there and I did the dance
• 17:20
  Speaker 1: because part of it was because I was afraid for
• 17:23
  Speaker 1: my life that Bill was gonna be like, you know, uh,
• 17:27
  Speaker 1: that's it, You're fired. So it was almost the same thing,
• 17:30
  Speaker 1: like I'm dancing on a table in the scene and
• 17:33
  Speaker 1: I jumped off the table into a split right in rehearsal,
• 17:37
  Speaker 1: I do the ship because I'm so look, I the
• 17:41
  Speaker 1: last thing I wanted was to let down you know,
• 17:45
  Speaker 1: the Fonds. And then when I get over there and
• 17:46
  Speaker 1: I see Stacy dash and a Lisa Donovan and my
• 17:49
  Speaker 1: boy Sean Holland and the crew and all of these
• 17:52
  Speaker 1: guys looking at me, uh and and uh, you know,
• 17:56
  Speaker 1: giving me the face like I can't believe you fucking
• 17:58
  Speaker 1: let down the Fons. And it was like, all right, well,
• 18:01
  Speaker 1: I'm gonna give you guys a show. And I did.
• 18:03
  Speaker 1: And you know my point, did he ever take you
• 18:06
  Speaker 1: aside and have a talk with you? That wasn't talk?
• 18:09
  Speaker 1: It was a quick It was one of those things
• 18:10
  Speaker 1: where it was like, I'm gonna come off like the
• 18:13
  Speaker 1: boss right now. And the humbling thing is is that
• 18:16
  Speaker 1: I'm over here and I'm talking to you about this,
• 18:19
  Speaker 1: but you know better than this. I shouldn't have to
• 18:21
  Speaker 1: have this conversation with you ever. Uh, he didn't have
• 18:25
  Speaker 1: to say to me, get your ship together. But it
• 18:27
  Speaker 1: was all in the I'm not having this conversation with you.
• 18:30
  Speaker 1: You're way smarter than this. You know better than this bullshit.
• 18:33
  Speaker 1: Let's get over here, let's do the scene, and let's
• 18:35
  Speaker 1: make it right. And then he fucking hit a jukebox.
• 18:41
  Speaker 1: Donald Did you ever almost forget your lines when you
• 18:43
  Speaker 1: were doing that play you did recently? Yeah, you know,
• 18:46
  Speaker 1: I had one thing where it was like a bunch
• 18:47
  Speaker 1: of math and stuff like that, and the math didn't
• 18:49
  Speaker 1: have to make sense, but it had to be quick.
• 18:52
  Speaker 1: And uh, one night I did. I didn't forget the
• 18:58
  Speaker 1: line I misspoken said oh, excuse me in it, and
• 19:01
  Speaker 1: then I kept going. And then after I went, it
• 19:04
  Speaker 1: kind of threw the rhythm off for the show for
• 19:06
  Speaker 1: the whole night because I said one line, you know
• 19:08
  Speaker 1: what I mean? And and and it really is a
• 19:11
  Speaker 1: lesson that when you're doing a show. There's a rhythm
• 19:14
  Speaker 1: to it all, you know what I mean. And if
• 19:16
  Speaker 1: you stick to the rhythm every time, most likely you're
• 19:20
  Speaker 1: gonna get a great performance. If you find the right
• 19:22
  Speaker 1: formula and you stick to the rhythm every time, and
• 19:25
  Speaker 1: you stick to the formula every time, it's gonna be
• 19:28
  Speaker 1: a good show, you know what I mean. And just
• 19:30
  Speaker 1: by me saying excuse me, it kind of sucked up
• 19:33
  Speaker 1: the rhythm and cues all of a sudden, we're a
• 19:36
  Speaker 1: little bit late, and you know what I mean, And
• 19:38
  Speaker 1: it was my fault, you know what I mean. And
• 19:39
  Speaker 1: it was just because I said excuse me. I could
• 19:42
  Speaker 1: always tell with with when we were doing scrubs, and
• 19:46
  Speaker 1: especially after about twelve episodes in from twelve episodes on,
• 19:52
  Speaker 1: I could always tell whether or not Billy had Billy
• 19:55
  Speaker 1: Lawrence had done a pass on Cox because he he
• 19:59
  Speaker 1: had written an I had adopted this kind of Martinus
• 20:05
  Speaker 1: Scorsese on Heroin syncopatent for Cox. And I also sometimes
• 20:10
  Speaker 1: when I was bored, I would start to play with
• 20:12
  Speaker 1: the language a little bit, which was irresponsible, but I
• 20:16
  Speaker 1: get bored sometimes, and uh, if Billy hadn't done a pass,
• 20:21
  Speaker 1: I couldn't memorize the lines because they were written out
• 20:23
  Speaker 1: of rhythm and Donald, I'm just borrowing from what you said.
• 20:26
  Speaker 1: But Billy would do a pass on Cox. I'd be
• 20:28
  Speaker 1: down to my rehearsal space, killing myself trying to remember
• 20:33
  Speaker 1: these disconnected fucking rants that somebody wrote, and then I
• 20:37
  Speaker 1: I couldn't get them. And then Billy would do a
• 20:39
  Speaker 1: pass and something as as much as Donald you even
• 20:43
  Speaker 1: saying excuse me, that was out, and then filmed the
• 20:46
  Speaker 1: flow and the rhythm, and I could come in and
• 20:49
  Speaker 1: I can. I could do it in the Latin, but
• 20:51
  Speaker 1: until Billy did a pass, because I get in there
• 20:54
  Speaker 1: and I had to hissy fit, and I'd say it's
• 20:55
  Speaker 1: Billy done a pass on this thing yet, and they're like, no,
• 20:58
  Speaker 1: you haven't seen it. I'm like, well, don't send it
• 21:01
  Speaker 1: to me. Did that happened? You'd get sent it and
• 21:06
  Speaker 1: memorize it and then it would all be changed. You
• 21:08
  Speaker 1: must have gotten living every Monday morning. So he talked
• 21:14
  Speaker 1: to me. You must have talked to Bill. Eventually even said, dude,
• 21:17
  Speaker 1: you gotta funk. You can't do that to me. Of
• 21:19
  Speaker 1: course I did, but Billy was spinning as many plates
• 21:21
  Speaker 1: as he You know. One character of an ensemble of badass,
• 21:26
  Speaker 1: seven or eight of you, and you know you you
• 21:30
  Speaker 1: try to get Billy's attention and you can't. Can't always
• 21:32
  Speaker 1: do it. I would go so not. I mean, for
• 21:35
  Speaker 1: those of you who don't memorize for a living, it's
• 21:37
  Speaker 1: easier for some than others. But these chunks that Johnny
• 21:40
  Speaker 1: had to memorize in a short span of time is
• 21:42
  Speaker 1: really hard because he has to say them so fast,
• 21:44
  Speaker 1: as he did so well. But the idea of spending
• 21:47
  Speaker 1: a weekend memorizing that and then get work and there's
• 21:49
  Speaker 1: a rewrite, that's my stomach. Even saying that, I get
• 21:56
  Speaker 1: a not in my stomach. That's why you must have
• 21:58
  Speaker 1: loved it when he had know when he had no
• 22:01
  Speaker 1: choice but to go with what was written because we
• 22:03
  Speaker 1: didn't have scripts, and so he'd be like, yeah, look,
• 22:06
  Speaker 1: here's here's what we're gonna say right now. And he
• 22:08
  Speaker 1: would write it while we were doing rehearsals and sick,
• 22:11
  Speaker 1: and then he would hand it to you and you'd
• 22:13
  Speaker 1: be like, bet, no problem, because he wrote it. It
• 22:16
  Speaker 1: was in Cox's and that's whatever that syncopation Billy came
• 22:21
  Speaker 1: up with. It was in that and I could groove
• 22:23
  Speaker 1: into it. Rememberization memorizations like a muscle, Johnny, I think
• 22:27
  Speaker 1: you question, and you really had yours developed? Well, I
• 22:30
  Speaker 1: think you know when I've when I've just finished a
• 22:32
  Speaker 1: play like I did Romeo and Romo and Juliet when
• 22:33
  Speaker 1: I was fresh out of school and another one of
• 22:35
  Speaker 1: my early roles. And I mean basically, the second you
• 22:38
  Speaker 1: start talking, you don't stop talking for two and a
• 22:40
  Speaker 1: half hours. And I even think thinking about it now,
• 22:44
  Speaker 1: I get anxious. Uh this many years later this was
• 22:47
  Speaker 1: probably too you know, but um, but but by the
• 22:52
  Speaker 1: time the play was over, that muscle was so developed
• 22:55
  Speaker 1: I could rush it. And I feel like, as Cox,
• 22:58
  Speaker 1: you had to do it so on the red Deler
• 23:00
  Speaker 1: that you really just you must have had it so dialed.
• 23:03
  Speaker 1: Like now, now that might be harder for you because
• 23:04
  Speaker 1: you're not memorizing monologues every week I was doing when
• 23:10
  Speaker 1: I was doing Bullets over Broadway, we were in previews.
• 23:14
  Speaker 1: And um, when you're in previews that for those of
• 23:17
  Speaker 1: you who aren't don't know that that means that the
• 23:19
  Speaker 1: critics haven't come yet. You're still working out the play.
• 23:21
  Speaker 1: You're still the writer and the rector. They're changing things
• 23:24
  Speaker 1: all the time. And then after opening night. Then then
• 23:26
  Speaker 1: the show is locked, so we're in previews and Woody Allen,
• 23:29
  Speaker 1: who wrote the players in the back of the audience
• 23:31
  Speaker 1: and he's there and he's when a joke doesn't work,
• 23:34
  Speaker 1: he would he would give it come the next day
• 23:35
  Speaker 1: and give us a new joke to try that night.
• 23:37
  Speaker 1: But sometimes that was really hard because you had the
• 23:39
  Speaker 1: whole play memorized, and he would just hand you a
• 23:40
  Speaker 1: sup of paper and he'd be like, here, just just
• 23:43
  Speaker 1: try this tonight, and you're like, try it. Where where?
• 23:46
  Speaker 1: And you're like reading the paper and like scribbled handlend
• 23:48
  Speaker 1: like try this where where does it go? Like? And
• 23:51
  Speaker 1: then he and you figure it out. And then sometimes
• 23:54
  Speaker 1: in the heat of the adrenaline of doing a show
• 23:56
  Speaker 1: in front of people, you'd forget. And I there was
• 24:01
  Speaker 1: one time I skipped the new joke you wanted me
• 24:04
  Speaker 1: to do. And I saw him the next day and
• 24:06
  Speaker 1: I said, Woody, I'm really sorry. I got a little
• 24:08
  Speaker 1: frazzled and I didn't even try the new joke you
• 24:11
  Speaker 1: wanted me to try, and he goes, yeah, you probably
• 24:12
  Speaker 1: get a bigger laugh if you actually say it on Johnny,
• 24:29
  Speaker 1: will you tell that story? Um that I love that
• 24:31
  Speaker 1: you told me once about Platoon where you said, um,
• 24:33
  Speaker 1: you were all hanging by the pool when you realize
• 24:35
  Speaker 1: that you weren't gonna be in the movie. So because
• 24:38
  Speaker 1: the conditions in the Philippines were so tense and so fluid. Uh.
• 24:44
  Speaker 1: And we were in something called a triple and they
• 24:46
  Speaker 1: were fluid because they're just been a revolution. A guy
• 24:49
  Speaker 1: named Ferdinand Marcos had lost an election to a woman
• 24:52
  Speaker 1: named Coria Kino, and Marcos wouldn't leave until President Reagan,
• 24:58
  Speaker 1: the president at the time, gave him the goal asylum
• 25:01
  Speaker 1: in Hawaii. So we that's why we were postponed. I left.
• 25:04
  Speaker 1: I was doing Hamlet with Kevin Klein at the public
• 25:08
  Speaker 1: and about a weekend of rehearsal, Oliver calls after the
• 25:13
  Speaker 1: I've been cast in the film a year and a
• 25:15
  Speaker 1: half earlier, and then the money went away and he
• 25:17
  Speaker 1: called me. He goes, McKinley, do you want to play
• 25:19
  Speaker 1: the fourth lead? I'm like, who the funk is this?
• 25:24
  Speaker 1: It's Oliver Stone. Are you want to go to Philippines?
• 25:27
  Speaker 1: And I'm like, I would love to go to the Philippines,
• 25:29
  Speaker 1: but I'm doing I'm playing third guy on the left
• 25:31
  Speaker 1: and in Hamlet with Kevin Klein over at the Public
• 25:34
  Speaker 1: and he goes tell tell Joe Path that that that
• 25:37
  Speaker 1: it's me. I'm like, oh, sure, I'm gonna go talk
• 25:40
  Speaker 1: to Mr Pap and call him. You know. It's like
• 25:42
  Speaker 1: the Wizard of Fun. And so Rosemary Tishler, who was
• 25:45
  Speaker 1: the casting person over at the Public at the time
• 25:48
  Speaker 1: and a friend of mine from n y U. She
• 25:51
  Speaker 1: came in and taught an audition class to us, and
• 25:53
  Speaker 1: she wanted great great women ever, And I called Rosemary.
• 25:57
  Speaker 1: I went to see her, and I said, uh, I
• 26:00
  Speaker 1: got off for this movie. It's in the Philippines, and
• 26:03
  Speaker 1: it would me mean would mean me leaving rehearsal bit
• 26:06
  Speaker 1: And just like anybody in New York would be like
• 26:08
  Speaker 1: crossing Johnny Friendly and on the waterfront. If she said,
• 26:11
  Speaker 1: if you go to this film, you'll never work here again,
• 26:13
  Speaker 1: I would not have gone and done the film. Neither
• 26:16
  Speaker 1: would at any anybody in New York, because once you
• 26:19
  Speaker 1: get in that fraternity slashed Arong Shakespeare Festival that you stay,
• 26:24
  Speaker 1: you keep doing plays. And Rosemary said, well, uh, you're
• 26:28
  Speaker 1: fine with me, but you can't have to go see Joe.
• 26:30
  Speaker 1: And I'm like, everybody stopped calling him Joe, and so
• 26:34
  Speaker 1: I go in and he was you know, he had
• 26:36
  Speaker 1: a boat and he was this guy. It was the
• 26:38
  Speaker 1: way to back this bucket smuth. And so you know,
• 26:41
  Speaker 1: I'm knocking like I'm going to see the Wizard and
• 26:43
  Speaker 1: the Wizard of Oz and he goes, come in, back,
• 26:45
  Speaker 1: come in, and so I go to see Mr Pap
• 26:48
  Speaker 1: and I told him my story. He goes, go, We'll
• 26:50
  Speaker 1: do happen it again when you get back. I was
• 26:53
  Speaker 1: just like crying, even thinking I'm so happy they didn't
• 26:58
  Speaker 1: prevent you from going. I would have been hard alone.
• 27:00
  Speaker 1: And so I go back. I was living in the
• 27:02
  Speaker 1: funeral parlor at the time, one the neutral only funeral parlor,
• 27:06
  Speaker 1: and so I go up five stories and I'm there.
• 27:08
  Speaker 1: And a week or so after I removed myself from Hamlet,
• 27:14
  Speaker 1: there's a revolution in the Philippines because this guy Marcos
• 27:18
  Speaker 1: won't leave. And so we get postponed for months and
• 27:21
  Speaker 1: months and months, and the play opens, and you know,
• 27:24
  Speaker 1: Vincent can be called at the most important hamlet on
• 27:26
  Speaker 1: these shores. I'm sitting in the funeral polo going like,
• 27:31
  Speaker 1: oh my god, I hate my life. I hate my life.
• 27:34
  Speaker 1: And finally we we get the green light to go
• 27:37
  Speaker 1: because the revolution had subsided a little bit, but not
• 27:42
  Speaker 1: that much. And so uh And in the meantime this
• 27:45
  Speaker 1: language had come out. A bunch of actors in New
• 27:47
  Speaker 1: York on five or six of them circulated this language
• 27:50
  Speaker 1: because we're going to go through this two and a
• 27:51
  Speaker 1: half three week boot camp that if you got hurt
• 27:53
  Speaker 1: in boot camp, um, you you get to do the film.
• 27:58
  Speaker 1: And Ill was like, no, if you get hurt, book him,
• 28:00
  Speaker 1: you you get rotated out. You can't be a soldier
• 28:04
  Speaker 1: over the boat and arm And so I didn't sign it.
• 28:07
  Speaker 1: And the five people who did, uh, I didn't go
• 28:10
  Speaker 1: to the Philippines. And so I finally get there and
• 28:15
  Speaker 1: only to come to find out that it's a very
• 28:17
  Speaker 1: tricky place. We're shooting in this triple canopy jungle, which
• 28:20
  Speaker 1: meant there was vegetation at ten ft, another vegetation of
• 28:26
  Speaker 1: and these monstrous trees at fifty ft. So it's very
• 28:28
  Speaker 1: dark and and swampy underneath these these three canopies of flora,
• 28:34
  Speaker 1: and we're shooting. And there was no shot list because
• 28:38
  Speaker 1: Oliver had to change things every day and on the fly,
• 28:41
  Speaker 1: which he did brilliantly. But the whole there was three
• 28:44
  Speaker 1: squads of eight, so there was twenty four of us,
• 28:47
  Speaker 1: and every day everybody was called to the set and
• 28:49
  Speaker 1: sometimes you just sat there all day because you're not
• 28:52
  Speaker 1: the scene. You you're not the scene, and so it
• 28:55
  Speaker 1: was about two hour bus ride out to the place
• 28:58
  Speaker 1: and then you'd sit and you weren't the scene. There's
• 29:01
  Speaker 1: two hours back. And so this happened for a couple
• 29:02
  Speaker 1: of weeks. And so Forest Whitaker and Johnny Depp and
• 29:07
  Speaker 1: I uh asked Albert that if we weren't in it's
• 29:11
  Speaker 1: going to be shooting that day, could we stay at
• 29:13
  Speaker 1: the hotel? And he acquiesced, and so we're finally sitting
• 29:17
  Speaker 1: by the pool and we got what we wanted and Forest,
• 29:20
  Speaker 1: I don't do a good Forest invitation, but Forest comes
• 29:23
  Speaker 1: over to Johnny and he goes. You would get the
• 29:25
  Speaker 1: feeling that while we're here, we're not in the movie.
• 29:30
  Speaker 1: We all started coming back to the set every day
• 29:34
  Speaker 1: and Oliver would put us. Oliver would put us on
• 29:37
  Speaker 1: this mountain about a mile out of the frame, and
• 29:40
  Speaker 1: we and you weren't even a spec and you'd be
• 29:45
  Speaker 1: back there and we started calling it power background. And
• 29:49
  Speaker 1: so guys were doing their best brand though a mile
• 29:52
  Speaker 1: up amount and we called the power Background. I just
• 29:57
  Speaker 1: love it. I just I just loove that. You guys
• 29:59
  Speaker 1: were like, all right this, We're not gonna sit in
• 30:01
  Speaker 1: the jungle. We're gonna go sit by the pool. And
• 30:03
  Speaker 1: then and then it's like you you, Forest Whitaker and
• 30:05
  Speaker 1: Johnny Depp sitting there on your lounge, on your lounge,
• 30:08
  Speaker 1: shares with with with a cocktail. And then all of
• 30:10
  Speaker 1: a sudden, someone has the realization, you know, he's probably
• 30:13
  Speaker 1: just improbably improvising this movie and we're sitting here at
• 30:17
  Speaker 1: the pool, right, yeah, yeah, yeah, and first first and
• 30:24
  Speaker 1: I wish I could do a first invitation, but he
• 30:25
  Speaker 1: was like, if we're here when in the movie and
• 30:33
  Speaker 1: got that. Johnny c is a legend. Speaking of legends,
• 30:43
  Speaker 1: for very obvious reasons, Heather Graham was one of our
• 30:46
  Speaker 1: most listened to guests and it was such an honor
• 30:50
  Speaker 1: to have her on the podcast. Yes she's going, yes
• 30:52
  Speaker 1: she's funny, but she's also very kind and one of
• 30:55
  Speaker 1: my favorite insights she left us swift was the joy,
• 30:58
  Speaker 1: despair and encourage you meant that can happen when one
• 31:01
  Speaker 1: is auditioning. Auditioning is one of the most difficult aspects
• 31:05
  Speaker 1: of an actor's career. You get one chance to get
• 31:08
  Speaker 1: it right, one chance to potentially change your life. And
• 31:11
  Speaker 1: hearing the guys talk about how they used to daydream
• 31:14
  Speaker 1: about what they do with their new casting money, and
• 31:18
  Speaker 1: you know, also the downfalls of walking out of a
• 31:20
  Speaker 1: room when the actor killed it. It's a lot of fun. So,
• 31:24
  Speaker 1: without further ado, here's Heather Graham telling us some of
• 31:28
  Speaker 1: her favorite audition stories. That's the thing, it's the hardest
• 31:31
  Speaker 1: thing to be in a moment for these auditions. Like
• 31:34
  Speaker 1: you get the audition and you're like, I'm so excited
• 31:37
  Speaker 1: to audition for this. You look at the side and
• 31:39
  Speaker 1: then all of a sudden, your head, your mind wanders
• 31:42
  Speaker 1: off into all the things that you're gonna do after
• 31:45
  Speaker 1: you get the part. You know what I mean, After
• 31:47
  Speaker 1: I get this part, I'm gonna go on vacation. I'm
• 31:51
  Speaker 1: I'm what I'm gonna do with this money. I'm gonna
• 31:52
  Speaker 1: I'm gonna get me, I'm gonna get my girl, gonna
• 31:54
  Speaker 1: get I'm gonna get a role. And you think about
• 31:57
  Speaker 1: all the things you're gonna do with this money and
• 32:00
  Speaker 1: all of the fame that's gonna come with this part
• 32:03
  Speaker 1: before you even get it, and then you go on
• 32:06
  Speaker 1: to audition. It never helps because you go on to
• 32:08
  Speaker 1: the audition and when you walk out, you're like, well,
• 32:11
  Speaker 1: I guess I gotta wait for the next audition to
• 32:13
  Speaker 1: get that, you know what I mean, Like it's the worst, man,
• 32:16
  Speaker 1: I like I always do that. The one the auditions
• 32:19
  Speaker 1: that I do great on are the ones where I'm like,
• 32:21
  Speaker 1: I don't give a funk, man, I'm just gonna go
• 32:22
  Speaker 1: in there. I'm gonna do whatever the fun it is
• 32:25
  Speaker 1: I do, and I'm gonna leave and I'm not gonna talk.
• 32:27
  Speaker 1: I'm not gonna try, and I'm not gonna try and
• 32:29
  Speaker 1: wow anybody with the freaking what I've been doing in
• 32:32
  Speaker 1: my off time. Funk that ship. I'm gonna go in there,
• 32:35
  Speaker 1: I'm gonna fucking do the audition, and I'm gonna leave.
• 32:39
  Speaker 1: And those are the ones where usually do for things occasionally.
• 32:43
  Speaker 1: Well that's what I was, you know, I feel like,
• 32:45
  Speaker 1: you know, when we were auditioning for things like, I
• 32:47
  Speaker 1: just feel like people don't audition in person anymore, and
• 32:50
  Speaker 1: now I feel like everyone has to send a tape
• 32:51
  Speaker 1: if you ever do like you do, you guys, ever
• 32:53
  Speaker 1: audition in person anymore. Well, no, but not during COVID,
• 32:57
  Speaker 1: but before COVID occasionally, Heather Win like it was like
• 33:00
  Speaker 1: a super fancy director by the way. By the way,
• 33:04
  Speaker 1: the director wouldn't necessarily be there. It was like some
• 33:06
  Speaker 1: mega A list director, but they're interested. They want you
• 33:10
  Speaker 1: to go in, and if it was someone dying to
• 33:11
  Speaker 1: work with, I would do it. Um. But yeah, you're right.
• 33:15
  Speaker 1: I actually think I actually think it's better, though, Heather,
• 33:17
  Speaker 1: because you have more self tape. Well, don't get me wrong.
• 33:21
  Speaker 1: It's great to go in the room and meet the
• 33:23
  Speaker 1: director and shoot the ship and and see if you
• 33:25
  Speaker 1: have a connection. Um, But I do think a self
• 33:27
  Speaker 1: tape you can at least shape and practice and only
• 33:30
  Speaker 1: send the best one. But I think most some people
• 33:33
  Speaker 1: might be surprised that, you know, no matter even when
• 33:36
  Speaker 1: you've had success in this business, you still have to
• 33:39
  Speaker 1: go out in campaign to get parts. Auditioning is terrifying,
• 33:42
  Speaker 1: it really is. It's the hardest thing on the planet
• 33:44
  Speaker 1: when it comes. That's the hardest thing in acting. Forget
• 33:48
  Speaker 1: the parts, forget during the role, forget all that the
• 33:50
  Speaker 1: other stuff, Forget everything that comes after you get the
• 33:53
  Speaker 1: part or before you get the part. The audition is
• 33:57
  Speaker 1: that's the toughest thing to do. You it's harding the
• 34:02
  Speaker 1: actual role one shot to nail it, get one shot,
• 34:06
  Speaker 1: and if you're lucky, the director says, I like that,
• 34:08
  Speaker 1: let's try it again this way. And usually when that happens,
• 34:11
  Speaker 1: that doesn't necessarily mean you got the role. That just
• 34:14
  Speaker 1: means your preparation wasn't what the director saw, you know
• 34:18
  Speaker 1: what I mean. And so it's like it's the it's
• 34:21
  Speaker 1: the hardest thing ever, and so to get roles and
• 34:24
  Speaker 1: I'm always I'm always so appreciative that an audition was
• 34:30
  Speaker 1: all it was what it took for me to you know,
• 34:32
  Speaker 1: you liked what I did in the room, You're gonna
• 34:34
  Speaker 1: love what I do when I when when the cameras rolling,
• 34:36
  Speaker 1: then it does feel like there's no other way to
• 34:39
  Speaker 1: really do it. But but but it does feel like
• 34:42
  Speaker 1: not a great test for how well you're gonna be
• 34:44
  Speaker 1: on set because you're coming in with all this adrenaline,
• 34:46
  Speaker 1: you're coming in with nerves, You're doing it in front
• 34:48
  Speaker 1: of however many random people, and so it's not it's
• 34:51
  Speaker 1: it's it's a bit like an obstacle course, you know
• 34:53
  Speaker 1: what I mean, Like you have to do it now
• 34:56
  Speaker 1: under pressure. Go But it is such a high when
• 35:00
  Speaker 1: when you know you killed it and they know you
• 35:02
  Speaker 1: killed it, and there's like, yeah, it is amazing. It's
• 35:04
  Speaker 1: crazy in the waiting room too though, when you see
• 35:06
  Speaker 1: other the other people that are auditioning, you know what
• 35:08
  Speaker 1: if you know them or yeah, it's play mind games too.
• 35:12
  Speaker 1: I remember back in the day, like all these people
• 35:15
  Speaker 1: would be like I really was aware of the psychology
• 35:17
  Speaker 1: of the waiting room. How people would try and distract you.
• 35:20
  Speaker 1: How people would, you know, start conversation with you, like
• 35:23
  Speaker 1: they knew you were going next, so they would like
• 35:25
  Speaker 1: try and keep take your mind off of learning, you know,
• 35:28
  Speaker 1: working on the lines. And no. I just remember this
• 35:31
  Speaker 1: one kid where I was up for this part. He
• 35:34
  Speaker 1: came out of the room and he was swiping away
• 35:37
  Speaker 1: his tears and he's like break a leg, guys, and
• 35:41
  Speaker 1: we all looked at each other like flipping through the sides,
• 35:43
  Speaker 1: like where's the fucking crying scene. And this dude, I
• 35:50
  Speaker 1: I got to know him, and he could just cry
• 35:52
  Speaker 1: on que and so he would just put it into
• 35:54
  Speaker 1: any audition to show off that he could like cry
• 35:56
  Speaker 1: even if the scene called for it, because he thought
• 35:59
  Speaker 1: it was like going to blow their minds. And I
• 36:02
  Speaker 1: remember I asked him once ago, so you're just crying
• 36:04
  Speaker 1: and like every audition he's like yeah, I tried to
• 36:06
  Speaker 1: just to like show him what I can do, and
• 36:09
  Speaker 1: I was like, wow, um, okay, well what do you
• 36:11
  Speaker 1: why do you do that? He goes, I just think
• 36:14
  Speaker 1: anyone doing anything bad animals. Oh, I was like, you
• 36:19
  Speaker 1: know what, Okay, Waiting in the waiting room when you
• 36:22
  Speaker 1: hear someone else killing is also sucks. Right when you're
• 36:24
  Speaker 1: waiting and you can hear that person who's in there
• 36:26
  Speaker 1: is like just killing and everyone loves them, that's also horrible.
• 36:29
  Speaker 1: But don't you also remember those times when you're in
• 36:31
  Speaker 1: there and you hear someone go and they're like and
• 36:33
  Speaker 1: they suck, and you're like, yeah. Next, we have Sarah Chuck. Now,
• 36:39
  Speaker 1: Sarah Chuck is an icon, a legend. You know her,
• 36:43
  Speaker 1: you love her, perhaps, if not from Scrubs, you know
• 36:47
  Speaker 1: her incredible performance as the mom on Rick and Morty Listen.
• 36:52
  Speaker 1: Getting to meet her has clearly been the highlight of
• 36:55
  Speaker 1: being on this show, because it's rare that the people
• 36:59
  Speaker 1: you idolize are as kind and sweet and generous with
• 37:02
  Speaker 1: her time as MS Sarah Chalk is so we still
• 37:05
  Speaker 1: appreciate her. And when she came on in season three,
• 37:08
  Speaker 1: I think this is her third visit to the podcast,
• 37:11
  Speaker 1: so it's all to happy. Now she'd figured out the technology.
• 37:15
  Speaker 1: She'd finally gotten us sound proof booth, so her audio
• 37:18
  Speaker 1: crisp and clear and we love her. And she shared
• 37:21
  Speaker 1: one of my favorite stories has ever been shared on
• 37:24
  Speaker 1: the podcast about a group of people who love you
• 37:26
  Speaker 1: coming together to make sure you get a dog. Okay,
• 37:30
  Speaker 1: vital And if you know anything about me, you know
• 37:32
  Speaker 1: I similarly experienced the same thing. Zach wanted me to
• 37:36
  Speaker 1: have puppy and now I have lions. What a gift.
• 37:39
  Speaker 1: So here's Sarah Chalk talking about how she got her dog, Cowboys,
• 37:43
  Speaker 1: Switches and her love of this cast. Enjoy. This is
• 37:48
  Speaker 1: the episode that Frick started. Yeah, tote everybody the very
• 37:52
  Speaker 1: first Frick. What's the genesis of Frick? I wish I remembered.
• 37:57
  Speaker 1: I don't remember. I don't know, I don't remember. I
• 38:00
  Speaker 1: don't know. If it was me, your bill and then
• 38:02
  Speaker 1: it then it developed I went to double frick and
• 38:05
  Speaker 1: then Frick on a stick with a brick, it was Frick,
• 38:09
  Speaker 1: double frick, freak on a stick on with a brick.
• 38:14
  Speaker 1: It became one of Sarah's catchphrases. She finally got her
• 38:17
  Speaker 1: what you're talking about? Will got it? In season three,
• 38:20
  Speaker 1: Season three, she got her frick. I didn't get a
• 38:23
  Speaker 1: box there, but I got a frick. Yeah, but I did.
• 38:27
  Speaker 1: I did get that pink Cashmere juicy jogger set that
• 38:29
  Speaker 1: I wore in that frick scene. I remember they let
• 38:31
  Speaker 1: me take that home. Do you remember Juicy? Do you
• 38:36
  Speaker 1: remember Juicy Juicy Kashmere. Yeah, man, Juicy with the gym
• 38:45
  Speaker 1: everybody had and it was sweatsuits. It was a bunch
• 38:47
  Speaker 1: of sweatsuits and everybody was paying three dollars for a sweatsuit. Yeah, Juicy,
• 38:54
  Speaker 1: they figured it out, Juicy. Um. So you know, frick
• 38:58
  Speaker 1: comes from you can't You know? On TV shows and
• 39:01
  Speaker 1: network you're always trying to work around places where you'd
• 39:03
  Speaker 1: actually curse. Some shows like Do It and Beep It,
• 39:08
  Speaker 1: which which I guess it's easier if you're more documentary style,
• 39:10
  Speaker 1: like like The Office or or Modern Family or something. Um.
• 39:14
  Speaker 1: Some shows, uh the Good Place very creatively, UM made
• 39:19
  Speaker 1: it fork because they were in like this supposedly in
• 39:23
  Speaker 1: this like heaven type setting where where it just automatically
• 39:27
  Speaker 1: changes all your curses to better words. But so so
• 39:30
  Speaker 1: frick allowed Sarah to say fun without saying fuck. There's
• 39:34
  Speaker 1: one more there's one more place that they changed the
• 39:37
  Speaker 1: word and so you wouldn't say fucking. That was Battlestar
• 39:40
  Speaker 1: Galactica and they said frak and that became are you
• 39:44
  Speaker 1: fracking kidding me? Are you franking kidding me? Right now?
• 39:47
  Speaker 1: But that they never explained it, or they just just
• 39:49
  Speaker 1: did it. They just did it for the whole the
• 39:51
  Speaker 1: whole run of the show. It would be like, what
• 39:53
  Speaker 1: the frac are you talking about? Frak? I'm gonna frack
• 39:57
  Speaker 1: you up. You can say freaking um, which I always
• 40:00
  Speaker 1: thought was which was a comfortable alternative. Yeah, but some
• 40:04
  Speaker 1: people don't like freaking. It doesn't have the power that
• 40:06
  Speaker 1: buck has or freak or frick. You need the K,
• 40:10
  Speaker 1: you need the k frick. You know that to make
• 40:13
  Speaker 1: a movie PG thirteen, Uh, you're allowed one fuck in
• 40:18
  Speaker 1: a PG thirteen movie, and it can't be as sexual funk.
• 40:21
  Speaker 1: You can't be like, oh, I want to fuck her,
• 40:24
  Speaker 1: but you can be like what the fuck? Oh I
• 40:28
  Speaker 1: didn't trivia for you? So you have to pick your fuck.
• 40:31
  Speaker 1: If you're if you're directing a PG third teen movie,
• 40:32
  Speaker 1: they're like, all right, pick your funck what do you want?
• 40:34
  Speaker 1: And then next rating you can do what you want. Yeah, okay,
• 40:41
  Speaker 1: so there's some sorry, go ahead ahead, I'm trying to
• 40:43
  Speaker 1: think of the other oh PG thirteen rules they probably changed.
• 40:48
  Speaker 1: They used to be like um obviously sex um, but
• 40:52
  Speaker 1: there were some other other ones. I forgot drug used
• 40:55
  Speaker 1: maybe I don't know. Alright, go ahead, Donald uh Kelso's
• 40:59
  Speaker 1: nose squeaks the entire episode before we get to Kelso's nose.
• 41:02
  Speaker 1: What about Sarah losing her car door? I mean that
• 41:04
  Speaker 1: was further and then carrying it around the hospital with
• 41:09
  Speaker 1: doesn't get stolen. Now, this is something that this is
• 41:11
  Speaker 1: something that goes on. This joke continues through other episodes
• 41:17
  Speaker 1: because you you later on have like a taxicab door
• 41:20
  Speaker 1: like a yellow in your car and everything like that.
• 41:24
  Speaker 1: So this is a joke that continues with your brand
• 41:26
  Speaker 1: new card. Am I right? Or am I wrong? Yeah?
• 41:29
  Speaker 1: That's right. I forgot about that. That's right. Yeah she did.
• 41:32
  Speaker 1: She didn't get the matching color door. She just got
• 41:35
  Speaker 1: it was the same door her car, but it was yellow. Um. Yeah,
• 41:42
  Speaker 1: so that I thought that was very funny. Um, and
• 41:45
  Speaker 1: then yeah, so sorry do I'll go to go to
• 41:47
  Speaker 1: Kelso's squeaky nose, which is very funny for the whole episode.
• 41:51
  Speaker 1: Kelso has a squeaking nose because of the punch he
• 41:54
  Speaker 1: received from Dr Cox and that ship is left. You know,
• 41:58
  Speaker 1: every time Ken would inhale, it would squeak. It's only
• 42:02
  Speaker 1: on the inhale. Though it's not on the exhale. It's
• 42:04
  Speaker 1: only on the inhale. I don't know how people hate
• 42:10
  Speaker 1: him so much that even though the room was packed,
• 42:12
  Speaker 1: He's like, miraculously no one was. Sorry Sammy, Sammy in
• 42:18
  Speaker 1: the background going like now my dive under the gurney.
• 42:24
  Speaker 1: I replayed it a few times because I thought it
• 42:26
  Speaker 1: was a cowboy switch scene. I couldn't figure out if
• 42:29
  Speaker 1: it was or not. I was that a cowboy switch?
• 42:33
  Speaker 1: I feel like it was. I feel like you came
• 42:36
  Speaker 1: running up in the hallway and from the back, then
• 42:39
  Speaker 1: it was cowboy switch, and then you popped up. I know,
• 42:41
  Speaker 1: but it was so seamless that so, for those of
• 42:44
  Speaker 1: you who don't remember a cowboy switches when the actor
• 42:47
  Speaker 1: who's not a stunt man is hiding and the stuntman
• 42:51
  Speaker 1: does something insane and then kind of goes off camera
• 42:54
  Speaker 1: and then the real actor plops up. So j D
• 42:57
  Speaker 1: does this insane sort of slide under a girl any
• 43:00
  Speaker 1: and then I pop up. I'm pretty I'm like, I'm
• 43:03
  Speaker 1: pretty sure it's a cowboy switch, but man, it is seamless.
• 43:05
  Speaker 1: You cannot tell. It's so like the timing of me
• 43:08
  Speaker 1: coming up was so it's over. And I mean, you
• 43:11
  Speaker 1: did always for the most part, try your own falls always,
• 43:15
  Speaker 1: so it's very possible. I did. I did. I did
• 43:17
  Speaker 1: a lot of them. But when when when when you know?
• 43:19
  Speaker 1: The thing about a stunt man is there is when
• 43:21
  Speaker 1: there's a real chance, like, okay, you could get hurt
• 43:24
  Speaker 1: doing this one, like like when I exit the room,
• 43:27
  Speaker 1: that's it takes a really hard fall on the gurney
• 43:30
  Speaker 1: tipping over. So you don't want your actors breaking anything
• 43:34
  Speaker 1: because then you can't fucking make the show. So a
• 43:37
  Speaker 1: lot of these actors, also, stunt people often don't get
• 43:41
  Speaker 1: paid well. They get like one rate to show up,
• 43:44
  Speaker 1: but then often they won't get more money unless they
• 43:47
  Speaker 1: do the thing. So sometimes I feel for stunt people
• 43:50
  Speaker 1: who are like, oh, come on you, I don't want
• 43:52
  Speaker 1: to show off and do it yourself, but let me
• 43:54
  Speaker 1: do the stunt and uh and so I often tried
• 43:57
  Speaker 1: to do them, but but but some of them where
• 43:59
  Speaker 1: I could like break up hand, they were like, no,
• 44:01
  Speaker 1: you're not doing that. I would still, even not doing
• 44:04
  Speaker 1: my own stunts. Come once a season two scrubs on
• 44:07
  Speaker 1: crutches with having torn the ligaments in my left ankle.
• 44:10
  Speaker 1: I think it was about once a year, and I'd
• 44:12
  Speaker 1: be like, Randall, I'm so sorry. They would like they
• 44:15
  Speaker 1: would have me like standing behind the beside the bed
• 44:18
  Speaker 1: and standing in a lot of scenes and not walking.
• 44:21
  Speaker 1: How many how many times did you get injured making
• 44:23
  Speaker 1: this show? I feel like it was it was always
• 44:25
  Speaker 1: my ankle, and it was never doing anything fabulous. I
• 44:27
  Speaker 1: would come to send people like how do you do
• 44:29
  Speaker 1: and I'd be like, I was walking Lolan, and I
• 44:31
  Speaker 1: tripped on a pine ground on the sidewalk, and then
• 44:34
  Speaker 1: it was yeah, it was. It was basically the first
• 44:36
  Speaker 1: time I did it. I was in college and my
• 44:39
  Speaker 1: leg was crossed and my foot fell asleep and I
• 44:41
  Speaker 1: was in like a five personal lecture hall and I
• 44:43
  Speaker 1: got up to ask the professor question and I went
• 44:46
  Speaker 1: down on like I went over my ankle. I ruled
• 44:48
  Speaker 1: my ankle and it swoll up to the size of
• 44:50
  Speaker 1: a grapefruit and they X rayed and I was nineteen
• 44:53
  Speaker 1: years old and I had a growth plate that hadn't
• 44:56
  Speaker 1: closed because I had finished growing. But they thought it
• 44:58
  Speaker 1: was a hairline fractures. So like by mistake, put into
• 45:00
  Speaker 1: a plaster cast up to my knee and I went
• 45:02
  Speaker 1: to go film an episode of The Rosanne Show and
• 45:04
  Speaker 1: she was like. Roseanne was like, it doesn't make sense.
• 45:06
  Speaker 1: You would have that get that taken off, and so
• 45:08
  Speaker 1: I did, even though like that's like a kid who
• 45:11
  Speaker 1: has like, you know, a potentially what's wrong take that cast.
• 45:17
  Speaker 1: So they asked me to the cast off, so I did,
• 45:18
  Speaker 1: and the doctor down there was like, here, it's actually
• 45:21
  Speaker 1: a blessing in disguise because this is like a growth
• 45:23
  Speaker 1: place that hasn't closed. It's not a caroline for actually,
• 45:25
  Speaker 1: if it's not broken, you just sprained it really badly
• 45:28
  Speaker 1: and that's why it swole up so much. Coldness actually
• 45:31
  Speaker 1: helped you. It was It was such a it was
• 45:34
  Speaker 1: a gift. Man, it's all for you. Sarah. Tell everyone
• 45:37
  Speaker 1: who's listening about your seven thousand dollar dog. And before
• 45:39
  Speaker 1: you judge everyone, No, she didn't go buy some boutique,
• 45:43
  Speaker 1: fancy expensive that was. That was a big evening for
• 45:47
  Speaker 1: us to what what was the evening? What were we doing?
• 45:49
  Speaker 1: Where were It was a charity, Sarah? Do you remember
• 45:51
  Speaker 1: what the cause was? It was the Help Group, It
• 45:54
  Speaker 1: was for autism with children with autism, and it was Um,
• 45:57
  Speaker 1: Jeff Zucker who was the boss at NBC. Will you
• 46:00
  Speaker 1: remember that Donald infamously gave the noogie two that our
• 46:02
  Speaker 1: first part please Donald's nod. Uh. So we were there
• 46:08
  Speaker 1: and we were excited. I think it was like season two, um,
• 46:11
  Speaker 1: and season one or season two, and when we went
• 46:14
  Speaker 1: and Jeff Sucker was our boss, and the night was
• 46:16
  Speaker 1: to honor him and his contribution to the Help Group
• 46:19
  Speaker 1: as well. And so there was this little chocolate lab
• 46:21
  Speaker 1: that they were having as part of the auction to
• 46:24
  Speaker 1: raise money and just pause there, let me pause there.
• 46:28
  Speaker 1: Did they have one dog or several? It was just
• 46:30
  Speaker 1: one alright? So I recall it was an auction obviously
• 46:33
  Speaker 1: to raise money for for for autism, and they geniusly
• 46:37
  Speaker 1: brought in this puppy that was the cutest chocolate lab
• 46:40
  Speaker 1: puppy you've ever seen. It was like tiny, you can
• 46:43
  Speaker 1: fit in your palm in your hands, and it was
• 46:45
  Speaker 1: probably I don't know, I'm guessing ten weeks old. And
• 46:48
  Speaker 1: the idea was, you know, we're gonna get they wanted
• 46:51
  Speaker 1: every and then you got everyone like buzzed on alcohol.
• 46:53
  Speaker 1: And then the idea is like, all right, who's you
• 46:55
  Speaker 1: guys are gonna bid on who gets to take home
• 46:57
  Speaker 1: this dog? And they brought they brought her around like
• 47:01
  Speaker 1: you're saying to like to get everybody super excited, brought
• 47:03
  Speaker 1: her around. I was holding her, this little chocolate brown nugget.
• 47:07
  Speaker 1: She was, yeah, she was like tiny, she's ten weeks old.
• 47:09
  Speaker 1: And I was wearing a chocolate brown dress. I remember
• 47:12
  Speaker 1: it was my was my bridesmaid's dress from my sister's wedding,
• 47:16
  Speaker 1: and and uh so I'm falling in love with this dog.
• 47:21
  Speaker 1: And then the bidding starts in the room and I'm
• 47:23
  Speaker 1: bidding on her, and the whole I fall over the
• 47:25
  Speaker 1: souls rest from everyone's going crazy. Everyone's bidding on it,
• 47:27
  Speaker 1: and so finally I just gave up because it was insane.
• 47:30
  Speaker 1: It got too high. And then the whole cast around
• 47:33
  Speaker 1: the table, you guys all whispered to each other. And
• 47:35
  Speaker 1: then when the bidding came to right before the ending,
• 47:38
  Speaker 1: you all like stood up and put your arms up
• 47:39
  Speaker 1: and and got her for me, and and um, we
• 47:42
  Speaker 1: all split the thousand dollars? How long? How long did
• 47:47
  Speaker 1: it take for me to pay you the thousand dollars?
• 47:50
  Speaker 1: I did pay her? Okay, how long I don't remember.
• 47:54
  Speaker 1: I don't remember. But it just was the most sweetest, thoughtful,
• 47:57
  Speaker 1: touching thing ever. And she see like became her scrubs
• 48:01
  Speaker 1: mascot and came to scrubs to work every day. And
• 48:03
  Speaker 1: I loved her so much. She was very I think
• 48:06
  Speaker 1: I paid for Lola like season eight or nine the money.
• 48:12
  Speaker 1: And remember whenever we had group things that chippen on
• 48:15
  Speaker 1: like crew gifts or or or getting getting something for
• 48:18
  Speaker 1: the crew or in this case giving money to charity
• 48:21
  Speaker 1: for Sarah's dog, Johnny C would pay you like an
• 48:24
  Speaker 1: hour later, he'd be like, fast money makes fast friends.
• 48:27
  Speaker 1: That was one of his Johnny seism would be like
• 48:29
  Speaker 1: fast money makes fast friends. And then was the polar opposite,
• 48:32
  Speaker 1: Donald will be like eight years later he'd be like, yo,
• 48:35
  Speaker 1: did I ever pay you for the dog? And then
• 48:41
  Speaker 1: I remember I was the one who I was so disorganized.
• 48:44
  Speaker 1: I just would never cash the check. And Ken would
• 48:45
  Speaker 1: be like, Sarah, you haven't cashed the check yet. I
• 48:48
  Speaker 1: hate those people. Um So, Lola, when you went into
• 48:54
  Speaker 1: Sara's dress room, I know we brought this up another time,
• 48:56
  Speaker 1: but it was like the It was like if you
• 48:58
  Speaker 1: ever seen the show Hoarders. It was like that, but worse.
• 49:01
  Speaker 1: It was like there was like a soup. There was
• 49:04
  Speaker 1: like an open soup can from two seasons ago, and
• 49:07
  Speaker 1: like it looked like it kind of is like as
• 49:13
  Speaker 1: if this pages of notes was my dressing room, as
• 49:16
  Speaker 1: if if this kind of like rain so Ken Jenkins
• 49:21
  Speaker 1: is trying to manage his check book and Sarah just
• 49:23
  Speaker 1: throws a check for a thousand dollars in there somewhere
• 49:26
  Speaker 1: kind of soup from two seasons it goes true. But
• 49:28
  Speaker 1: my nickname was super Breakfast because I would always have
• 49:30
  Speaker 1: soup all the time, and you guys be like super Breakfast,
• 49:34
  Speaker 1: super breakfast. I love I love soups. I mean, I
• 49:37
  Speaker 1: have my hot tea right now. There's always something hot
• 49:39
  Speaker 1: in my hands. It's like either soup or tea or yeah.
• 49:42
  Speaker 1: But that's guys, you run cold. That's only that's the circulation.
• 49:48
  Speaker 1: She was fourteen. Oh, she died, died, she did she literally,
• 49:53
  Speaker 1: she was fourteen years old. That's pretty duven good for
• 49:56
  Speaker 1: a lab it was fourteen years I guess wh it's
• 50:07
  Speaker 1: Sarah Chuck everybody the greatest. Next, we have one of
• 50:13
  Speaker 1: the most surprising, one of the most talked about, one
• 50:17
  Speaker 1: of the most filled with nuggets of wisdom and knowledge interviews.
• 50:24
  Speaker 1: I don't want to be too bold and say maybe ever,
• 50:27
  Speaker 1: but certainly here on Fake Doctor's Fake Real Friends. I
• 50:30
  Speaker 1: know the show name of this podcast, it's early. Um.
• 50:35
  Speaker 1: We had Richard Kind on the show guys, and he
• 50:39
  Speaker 1: blew us away with his passion for where the audition process,
• 50:46
  Speaker 1: with his love for Michael J. Fox and all that
• 50:49
  Speaker 1: that man has brought to the world of entertainment, and
• 50:53
  Speaker 1: just with his ability to be so damn funny right
• 50:57
  Speaker 1: off the cuff. So bless you Richard for coming on
• 50:59
  Speaker 1: the show. Thank you for your time, thank you for
• 51:02
  Speaker 1: your wisdom. Let's take another listen to one of my
• 51:05
  Speaker 1: favorite interviews. Okay, what I wanted to say, I mean,
• 51:10
  Speaker 1: you talked about, Uh, do I get excited about a
• 51:13
  Speaker 1: script or are excited about a part? Yes I do,
• 51:16
  Speaker 1: I certainly do. Or you pray that you have an
• 51:18
  Speaker 1: opportunity to play that part. I'm gonna say something that
• 51:23
  Speaker 1: that might be interesting to you guys, or I'm one
• 51:27
  Speaker 1: of the idiots that likes auditioning. Really why A couple
• 51:33
  Speaker 1: of reasons. Number one, As an actor, I like to
• 51:38
  Speaker 1: play all different kinds of roles. I may not be
• 51:42
  Speaker 1: i may not be hired, but for ten minutes, I've
• 51:46
  Speaker 1: got to play that role. And I can't do it
• 51:49
  Speaker 1: alone in the bathroom. I'm not going to invite friends
• 51:52
  Speaker 1: over and go, hey, listen to me, do this. Listen
• 51:55
  Speaker 1: to me do Willie Loman, because you know, just here here,
• 51:58
  Speaker 1: I'll give you a sandwich and let I would come
• 52:00
  Speaker 1: to see you do a little would something. I'd love
• 52:04
  Speaker 1: to do it. But but but the thing is, you
• 52:06
  Speaker 1: need an acter, needs an audience, and even if it's
• 52:09
  Speaker 1: a kid with a camera, you're still performing. So I
• 52:14
  Speaker 1: happened to appreciate it. Uh. The other thing is is, um,
• 52:20
  Speaker 1: I like being nervous. I like the jitters of like
• 52:25
  Speaker 1: an opening night. That's fun for me. I know I'm
• 52:29
  Speaker 1: not gonna die, I know that my life is not
• 52:32
  Speaker 1: on the line. I know nothing's gonna happen to my kids.
• 52:35
  Speaker 1: But I get nervous, like being on a roller coaster
• 52:38
  Speaker 1: can be fun. And so you're going in front of
• 52:41
  Speaker 1: important people. You make it a job. This could be
• 52:44
  Speaker 1: the job that makes you a huge amount of money,
• 52:48
  Speaker 1: brings you fame, and you might be Matt Terry and
• 52:51
  Speaker 1: in friends you don't know. Uh so, who knows what
• 52:54
  Speaker 1: this audition is going to bring or that the person
• 52:57
  Speaker 1: that you're auditioning for may become a good friend. Whatever
• 53:00
  Speaker 1: it is. But you're nervous. Things around the line A
• 53:03
  Speaker 1: good way to live. I never heard a bet like that,
• 53:07
  Speaker 1: but heard the nervous. I heard the nervous part put
• 53:10
  Speaker 1: like that. I've never heard the actors need to perform.
• 53:13
  Speaker 1: Look at it as a room to perform. I do. Oh,
• 53:15
  Speaker 1: it's an opportunity. And that's that's such a golf analogy too.
• 53:20
  Speaker 1: That's such a golf analogy, dude. But it's an opportunity.
• 53:24
  Speaker 1: Here's here's another crazy thing that if I'm teaching, which
• 53:28
  Speaker 1: I don't do a lot of but I have, when
• 53:31
  Speaker 1: you go in for an audition, you are going, oh,
• 53:35
  Speaker 1: dear God, let me get this role. Please let me
• 53:37
  Speaker 1: be good, Please let me be great. I don't go
• 53:39
  Speaker 1: in that way. I go in and I see six
• 53:43
  Speaker 1: people who all want to make Larry David money. They
• 53:47
  Speaker 1: all want the successive side field. They all want the
• 53:50
  Speaker 1: success of curb your enthusiasm. That's what they want. They
• 53:53
  Speaker 1: want money, they want success. They don't care whether I
• 53:56
  Speaker 1: get the role. They want money. And I go in saying, if,
• 54:02
  Speaker 1: and you have to believe this, you have to believe
• 54:04
  Speaker 1: you're the right actor for the role. But if I,
• 54:06
  Speaker 1: if I believe that, which a lot of times I do,
• 54:08
  Speaker 1: I can do this. I go in with the mindset of, Guys,
• 54:15
  Speaker 1: I'm going to help you make a lot of money.
• 54:20
  Speaker 1: You better if when you cast me, you better cast
• 54:24
  Speaker 1: around me as good as me, because I'll help you
• 54:29
  Speaker 1: make money. I'm going to help make this thing great.
• 54:33
  Speaker 1: Don't worry. I got your back talk. But most people
• 54:38
  Speaker 1: go in going, oh, I gotta get this. Oh. If
• 54:41
  Speaker 1: you go in with the with the feeling of I'm
• 54:43
  Speaker 1: going to help you make the success, that takes all
• 54:48
  Speaker 1: the pressure off of you. Yeah, Richard, I love that.
• 54:50
  Speaker 1: And I had to say from when I'm directing, I
• 54:53
  Speaker 1: learned a lot about auditioning when I was directing. Because
• 54:56
  Speaker 1: you sit you think that being on the other side
• 54:58
  Speaker 1: of the table is fun. It's fun. For about thirty
• 55:00
  Speaker 1: five minutes, and then it's really grueling and stressful because
• 55:05
  Speaker 1: all you're thinking is funk, We're not going to find
• 55:07
  Speaker 1: this guy or this gal. So what I always say
• 55:10
  Speaker 1: to actors is you need to I mean, yours is
• 55:13
  Speaker 1: brilliant and I'm gonna steal it. But I also say,
• 55:16
  Speaker 1: they're you don't know this. They're rooting for you. They want,
• 55:20
  Speaker 1: they're dying for you to be good. If you're great,
• 55:22
  Speaker 1: they're done. If you're great. They're gonna make money if
• 55:27
  Speaker 1: you're good, and all you want to be good for yourself.
• 55:30
  Speaker 1: Don't guess they're they're saying, Dear God, give me somebody
• 55:34
  Speaker 1: who's good. I agree with you. Now I'm gonna bring
• 55:36
  Speaker 1: up something that you're gonna hate. But you know that
• 55:38
  Speaker 1: I'm gonna bring it up when you were doing going
• 55:41
  Speaker 1: my way. I auditioned for the bank or at the beginning,
• 55:49
  Speaker 1: and I did not have and I only went on
• 55:51
  Speaker 1: tape and I did not have. I remember not being
• 55:54
  Speaker 1: not feeling good about it. I remember it, and I,
• 56:00
  Speaker 1: of course you care whether or not you get it.
• 56:02
  Speaker 1: I think I requested you come in for it. Okay,
• 56:04
  Speaker 1: could be what I wanted to do. Let's not get
• 56:08
  Speaker 1: the role I wanted to do. I wanted to impress Zack.
• 56:12
  Speaker 1: Oh my god, that's what I wanted to do. Now,
• 56:15
  Speaker 1: the guy you hired happened to be a friend of
• 56:18
  Speaker 1: mine and he's great. Yeah, it's wonderful. Uh and I
• 56:23
  Speaker 1: do you do you mind not getting a role? Oh? Yeah,
• 56:25
  Speaker 1: it happens. But that that was my mindset and it
• 56:31
  Speaker 1: could have gotten in my way of doing a good job. Well,
• 56:34
  Speaker 1: I gotta say that. What what I think is I
• 56:36
  Speaker 1: recall I asked you to come in because I literally
• 56:39
  Speaker 1: when I when I'm casting something and it's a particularly
• 56:43
  Speaker 1: a funny part, I'm like, well, who are the funny
• 56:45
  Speaker 1: people that I like working with? I agree with age
• 56:48
  Speaker 1: and you're at the top of that list. Um, and
• 56:51
  Speaker 1: uh but yeah, I I I I really like And
• 56:55
  Speaker 1: I'm sure there's a lot of actors listening. Who who who?
• 56:59
  Speaker 1: This is this really useful advice. The audition process. We've
• 57:02
  Speaker 1: all been groomed our whole lives to be like and
• 57:04
  Speaker 1: we do it. Oh shit, I'm nervous. Oh shit, come on,
• 57:06
  Speaker 1: please come on, God, come on, Universe, give this to me.
• 57:09
  Speaker 1: But it really comes down to not walking in that room, terrified,
• 57:13
  Speaker 1: walking in that room with your shoulders back going, guys,
• 57:15
  Speaker 1: let me let me help you. I'm here to do this.
• 57:18
  Speaker 1: Let me help you. I'm not necessarily saying that you
• 57:21
  Speaker 1: can't say no performance. Let's just be clearman, Yes, yes, actors,
• 57:27
  Speaker 1: please don't walk in the room and say you're looking.
• 57:29
  Speaker 1: I'm here. You don't say it out loude you go.
• 57:31
  Speaker 1: You don't say hey, fucker's you better cast as well?
• 57:39
  Speaker 1: This is a good segue into can you tell us
• 57:42
  Speaker 1: about Spince? Your audition for Spin City and and and
• 57:45
  Speaker 1: and Bill and how all that went? I got a
• 57:48
  Speaker 1: great story. This is this, take about five minutes? Great story?
• 57:51
  Speaker 1: You could you can take an hour. Go ahead, tea time.
• 57:54
  Speaker 1: He's got a tea time, but take take five minutes time. Yes,
• 57:57
  Speaker 1: but we're talking about me. So I guess I have
• 57:59
  Speaker 1: a lot. I'll only I'll only play eight homes if
• 58:04
  Speaker 1: I can keep talking about being probably how good I am?
• 58:08
  Speaker 1: Richard Richard Richard only as a tea time if we're
• 58:11
  Speaker 1: talking about things unrelated to him. All right, So uh,
• 58:18
  Speaker 1: Gary David Goldberg had a show called Champs. It was
• 58:22
  Speaker 1: about it was sort of like that Championship season. It
• 58:24
  Speaker 1: was it was sort of based on his life. It
• 58:27
  Speaker 1: was one coach and five guys who were best friends,
• 58:30
  Speaker 1: of which Gary does have that life. He he had
• 58:34
  Speaker 1: his best friends who were a basketball team from when
• 58:37
  Speaker 1: he was in high school. So he made a sitcom
• 58:41
  Speaker 1: about that club chance and I wanted to read for it,
• 58:44
  Speaker 1: and Gary said, he's not right. He goes, I know
• 58:48
  Speaker 1: Richard kind, I know him from Man About He's not
• 58:50
  Speaker 1: he's not right for it, and I'm going I I
• 58:53
  Speaker 1: just let me read. He would not see me. That
• 58:58
  Speaker 1: show went the way of most shows, like one season.
• 59:03
  Speaker 1: Then he had Spin City and he didn't want to
• 59:09
  Speaker 1: see me. And we called the casting director, and the
• 59:14
  Speaker 1: casting director spoke to Bill Lawrence and Bill wanted to
• 59:18
  Speaker 1: see me, and I said, let me go in and
• 59:21
  Speaker 1: see the casting director first so that I I can practice
• 59:24
  Speaker 1: and see it because Gary doesn't want to see me.
• 59:26
  Speaker 1: And Gary says, oh, I know, I know which you're
• 59:28
  Speaker 1: kind for Man About you and he's great. He's great.
• 59:31
  Speaker 1: He's not right for the role. Gary didn't want to
• 59:33
  Speaker 1: see me. Bill did. I had a handle on this part.
• 59:37
  Speaker 1: The only thing that would have uh not gone it
• 59:40
  Speaker 1: for me is because I was too tall from Michael J.
• 59:42
  Speaker 1: Fox or I might have been too Jewish ethnic New
• 59:47
  Speaker 1: York City for whatever. But otherwise, if they called me back,
• 59:53
  Speaker 1: the role is mine. So I wanted to go into
• 59:56
  Speaker 1: the casting director and then I went into UH the
• 1:00:01
  Speaker 1: UH to read for Bill and for Gary, and indeed
• 1:00:05
  Speaker 1: I was called back. And I literally said to myself,
• 1:00:08
  Speaker 1: if they called me back, this role is mine. Okay,
• 1:00:12
  Speaker 1: I have to go in to meet with Michael. Cut
• 1:00:17
  Speaker 1: back years before when I was at Second City, Michael J.
• 1:00:22
  Speaker 1: Fox came to the Second City was doing the movie Satisfaction.
• 1:00:26
  Speaker 1: Let me just for those for those that don't know,
• 1:00:28
  Speaker 1: Second Cities an improv group ahead right and uh and
• 1:00:32
  Speaker 1: I was part of the company, and whenever somebody famous
• 1:00:35
  Speaker 1: was in the audist, we would invite them to improvise
• 1:00:37
  Speaker 1: with us, which we did with Michael. So Michael and
• 1:00:41
  Speaker 1: Robin Duke are doing a scene there was obviously he
• 1:00:45
  Speaker 1: was the son, she was the mother. It's obvious if
• 1:00:48
  Speaker 1: I opened the door and I say, Honey, I'm home,
• 1:00:51
  Speaker 1: I'm the father, and I belong there. I So I
• 1:00:55
  Speaker 1: come into the scene with Honney I'm home, and Michael
• 1:01:01
  Speaker 1: bounded one too three and jumped into my like this,
• 1:01:09
  Speaker 1: I mean off the floor into my arms. Now a
• 1:01:13
  Speaker 1: couple of things. I'm strong, but I'm not that strong.
• 1:01:20
  Speaker 1: Michael J. Fox is so light that anybody's strong. And
• 1:01:26
  Speaker 1: he clumped onto me like David Letterman did with self pro.
• 1:01:32
  Speaker 1: You remember when he did that too, And Michael did
• 1:01:36
  Speaker 1: that and he hung on like that when I tell you,
• 1:01:40
  Speaker 1: and you've got to understand how long time is. There
• 1:01:46
  Speaker 1: was a forty five second laugh. It's and it wasn't that.
• 1:01:53
  Speaker 1: It was that. It was Michael was so athletic and
• 1:01:57
  Speaker 1: agile and knew the laugh and he just hung on
• 1:02:01
  Speaker 1: and I walked around with him. I'm telling you like
• 1:02:06
  Speaker 1: a money like at Yeah, they were dying. It is
• 1:02:10
  Speaker 1: a laugh. I will always remember it in my head.
• 1:02:14
  Speaker 1: It's like a movie. I can see what it looks like.
• 1:02:17
  Speaker 1: Memorable before I went into the audition. Cut to today, okay,
• 1:02:22
  Speaker 1: to to the audition for Spin City. And sometimes I
• 1:02:26
  Speaker 1: don't have a therapist anymore, but at the time I
• 1:02:28
  Speaker 1: had a therapist, and it was a good luck thing
• 1:02:31
  Speaker 1: that I go and see my therapist sometime before I
• 1:02:34
  Speaker 1: had the audition, and it would loosen me up, it
• 1:02:36
  Speaker 1: would make me feel alive or whatever. So I go
• 1:02:38
  Speaker 1: in and I say, I tell him the story and
• 1:02:41
  Speaker 1: I say, should I bring it up? And my therapist goes, absolutely,
• 1:02:46
  Speaker 1: if it was that memorable, absolutely bring it up. I
• 1:02:50
  Speaker 1: go in, I meet Michael, and I say, I've got
• 1:02:52
  Speaker 1: to tell you. You You may not we've met before. I
• 1:02:57
  Speaker 1: was on stage at Second City and we did is
• 1:03:00
  Speaker 1: and this is what Michael said, and he's given me
• 1:03:02
  Speaker 1: permission to to tell the story. He goes, I'm sorry,
• 1:03:08
  Speaker 1: I don't remember it because I was so drunk and
• 1:03:12
  Speaker 1: high during that point in my life. I don't even
• 1:03:15
  Speaker 1: remember doing Satisfaction. He did not remember being at Second City,
• 1:03:21
  Speaker 1: he didn't remember being in Chicago. He had no memory
• 1:03:25
  Speaker 1: of really doing the movie. Isn't that amazing? God, I know,
• 1:03:30
  Speaker 1: isn't that isn't that sensing one of the biggest It's
• 1:03:33
  Speaker 1: crazy that one of the biggest moments in your life,
• 1:03:36
  Speaker 1: one of the moments that of a memorable laugh. He
• 1:03:40
  Speaker 1: had no clue, no clue. He has no memory of
• 1:03:44
  Speaker 1: leaping leaping onto one of the improv comedians. He has
• 1:03:48
  Speaker 1: no memory of leaping on and holding one. However, this
• 1:03:52
  Speaker 1: is something I then remember about the audition. This is
• 1:03:56
  Speaker 1: something I clearly remember. Is I had a They wrote
• 1:04:01
  Speaker 1: Bill Lawrence, as you know, as everybody who's listening. Bill
• 1:04:05
  Speaker 1: Lawrence is a fucking genius. He works very hard at
• 1:04:11
  Speaker 1: being a genius, and sometimes he works to the last
• 1:04:15
  Speaker 1: minute at being a genius. But nonetheless he is a
• 1:04:19
  Speaker 1: genius at what he has chosen to do. He's he
• 1:04:23
  Speaker 1: makes things accessible, funny, weird. And let me get to
• 1:04:28
  Speaker 1: to that a little later. But I remember doing the
• 1:04:32
  Speaker 1: scene and he wrote such a brilliant funny line. Because
• 1:04:36
  Speaker 1: he was a great writer. Um Gary was a great
• 1:04:39
  Speaker 1: show runner. Not necessarily he was a great captain. He
• 1:04:43
  Speaker 1: was not necessarily as great a writer as some of
• 1:04:46
  Speaker 1: the products that he put out. But when you have
• 1:04:48
  Speaker 1: a genius like like Bill Lawrence, you can get it.
• 1:04:51
  Speaker 1: And Gary was able to to teach things, to build
• 1:04:54
  Speaker 1: and generate things that Bill not only learn but cultivated
• 1:04:59
  Speaker 1: and made blast him even more. But that I had
• 1:05:03
  Speaker 1: one hilariously funny line that I read at Michael J. Fox.
• 1:05:08
  Speaker 1: I wonder if I could do it. I don't think
• 1:05:10
  Speaker 1: I'm met late anymore. In this chair's gonna gonna roll,
• 1:05:13
  Speaker 1: He jumped in the air like this and just landed.
• 1:05:16
  Speaker 1: He jumped in the air with laughter and landed on
• 1:05:21
  Speaker 1: the chair. He laughed that hard at my delivery, and
• 1:05:24
  Speaker 1: I have to admit I walked out of there going
• 1:05:27
  Speaker 1: the part is mine, Yeah, it's mine. We we we.
• 1:05:33
  Speaker 1: Donald and I have spoken about his timing Michael J. Fox.
• 1:05:36
  Speaker 1: I mean, I I grew up watching family ties, and
• 1:05:39
  Speaker 1: I didn't know how to analyze comedy or or anything
• 1:05:43
  Speaker 1: about it at a young age. But I just knew
• 1:05:46
  Speaker 1: that he was doing something unique with his timing that
• 1:05:51
  Speaker 1: was so special. And Bill has said to us that
• 1:05:54
  Speaker 1: no one, no one could hold the pause and wait
• 1:05:58
  Speaker 1: for the laugh better than than Mike Fox. He he
• 1:06:01
  Speaker 1: just knew. It's like you watch those teenage girls playing
• 1:06:03
  Speaker 1: double dutch and how they know just when to go in.
• 1:06:06
  Speaker 1: Like Michael J. Fox was just so skilled at just
• 1:06:09
  Speaker 1: the right amount of pause, right he was. I'm gonna
• 1:06:11
  Speaker 1: tell you. I'll tell you two things. Number One, I
• 1:06:15
  Speaker 1: heard Carl Reiner interviewed by Bob Costas, and Carl Reiner
• 1:06:20
  Speaker 1: said sitcoms were written by Jews to be acted by
• 1:06:26
  Speaker 1: non Jews. And Michael J. Fox has the rhythm of
• 1:06:32
  Speaker 1: a bors belt comedian Jewish. Michael great, great, great talent.
• 1:06:43
  Speaker 1: He has that rhythm. And now I'm gonna tell you
• 1:06:47
  Speaker 1: something else. This is sour grapes a little bit. Michael
• 1:06:52
  Speaker 1: could hold for the for that he could take a
• 1:06:55
  Speaker 1: line and make it three lines, and the camera would
• 1:06:59
  Speaker 1: alway be on him because he's Michael J. Fox and
• 1:07:02
  Speaker 1: he's the star of the show. If we tried to
• 1:07:05
  Speaker 1: do it, Gary would edit it and it would all
• 1:07:08
  Speaker 1: be compressed because we're not the start, and you've just
• 1:07:12
  Speaker 1: got to understand you're not the star. But I would, Well,
• 1:07:16
  Speaker 1: maybe I couldn't do what he did, because quite honestly,
• 1:07:20
  Speaker 1: what he did something. I've done this with Michael, and
• 1:07:24
  Speaker 1: I've done this with Christopher Walking. I have acted with them,
• 1:07:29
  Speaker 1: and as they're talking, in my head, I'm going, really,
• 1:07:33
  Speaker 1: that's how you're going to deliver the line. That's your
• 1:07:39
  Speaker 1: that's your choice. That's what you want to say and
• 1:07:43
  Speaker 1: how you want to say. All right, that's if that's
• 1:07:45
  Speaker 1: going on in my head. And I would do that
• 1:07:48
  Speaker 1: with Michael. And I was lucky enough to act with
• 1:07:50
  Speaker 1: Christopher Walking, and I see them on screen and it
• 1:07:54
  Speaker 1: takes a breath of Richard kind everybody. To conclude our episode,
• 1:08:06
  Speaker 1: we're gonna have the most visited guest, the person without
• 1:08:12
  Speaker 1: whom none of this would be possible. Obviously, I'm speaking
• 1:08:16
  Speaker 1: of Mr Bill Lawrence, I'm just gonna just let it
• 1:08:20
  Speaker 1: sprinkle over you, surprise you as it were. He's been
• 1:08:23
  Speaker 1: on a lie, but there was a particular moment I
• 1:08:27
  Speaker 1: happen to love. I think you guys will enjoy revisiting UM.
• 1:08:32
  Speaker 1: It highlights the joy that is the friendship between Bill
• 1:08:35
  Speaker 1: and Zach and Donald. Let's it. That's our show, So
• 1:08:39
  Speaker 1: enjoy the lovely outro. Have a great couple of days.
• 1:08:42
  Speaker 1: We will see you on Thursday when Daniel comes back
• 1:08:45
  Speaker 1: to host. Oh my god, I'm so excited. Daniel's doing
• 1:08:47
  Speaker 1: his first clip show and he's going to tell us
• 1:08:50
  Speaker 1: all about the beats behind your favorite rap recaps. So
• 1:08:54
  Speaker 1: join us on Thursday. We'll see you guys. Then have
• 1:08:57
  Speaker 1: a great one by Bill. Tell everyone and what the
• 1:09:00
  Speaker 1: very unique only once, I believe in eight and a
• 1:09:03
  Speaker 1: half or nine seasons did this occur. Tell everybody what occurred?
• 1:09:07
  Speaker 1: Uh So, this is fascinating, man, because the book, it's
• 1:09:11
  Speaker 1: an it's an old argument that's kind of gone away
• 1:09:13
  Speaker 1: thanks to streaming. But what UM television network television specifically
• 1:09:19
  Speaker 1: considered appropriate with sensors um and with standards and practices
• 1:09:25
  Speaker 1: was so weird, especially you know, the ageld argument was violence,
• 1:09:30
  Speaker 1: you know versus uh sexual cond You know, you kill
• 1:09:34
  Speaker 1: anybody on TV, but don't have anybody uh you know,
• 1:09:37
  Speaker 1: taking someone shirt off or something like that is crazy.
• 1:09:40
  Speaker 1: And this episode in particular drove me insane because, um,
• 1:09:45
  Speaker 1: it was before UH medicinal marijuana was crazy, crazy widespread.
• 1:09:53
  Speaker 1: And the episode was originally written that Elliott and Carla
• 1:09:58
  Speaker 1: are trying to help a cancerous woman who is on
• 1:10:01
  Speaker 1: the way out and just having such a hard time
• 1:10:04
  Speaker 1: with the pain and the discomfort. It was them out
• 1:10:08
  Speaker 1: and about trying to get her marijuana because they knew
• 1:10:12
  Speaker 1: medically that it would alleviate a ship ton of her symptoms. UM.
• 1:10:16
  Speaker 1: And we handed that script in and said, you can't
• 1:10:19
  Speaker 1: there this. You can't, unfortunately for you on NBC, even
• 1:10:23
  Speaker 1: though it's um for altruistic reasons. You can't have a
• 1:10:28
  Speaker 1: physician and a nurse driving around trying to find someone
• 1:10:31
  Speaker 1: they can buy pot off of post one moment there,
• 1:10:34
  Speaker 1: Bill is, I recall we be you handed it in,
• 1:10:36
  Speaker 1: but we had begun shooting you. We shot a scene
• 1:10:40
  Speaker 1: or two of it. Is that, Yeah, but you know
• 1:10:42
  Speaker 1: that just makes me look like some doing all right?
• 1:10:44
  Speaker 1: So what Zack story? One of the parts of zack
• 1:10:47
  Speaker 1: story is Bill sometimes didn't hand in the script until
• 1:10:50
  Speaker 1: after we started. Yeah, yeah, but you did, Yeah, the
• 1:10:54
  Speaker 1: subject says Bill. Uh, Well, you had the you had
• 1:10:57
  Speaker 1: the power and cloud to be able to do it
• 1:11:00
  Speaker 1: like that in the day. But this was the one chance.
• 1:11:02
  Speaker 1: This is the one opportunity where they were like yeah,
• 1:11:05
  Speaker 1: but no, yeah, so say they said we wouldn't air it.
• 1:11:08
  Speaker 1: And partly because it was an easy fix, and partly
• 1:11:11
  Speaker 1: because I found it so hypocritical, I said, all right, well,
• 1:11:15
  Speaker 1: because we need the story to stork structurally, we'll just
• 1:11:18
  Speaker 1: have the woman that's dying be a virgin, and we'll
• 1:11:22
  Speaker 1: have Elliott and Carla go look for a man horse
• 1:11:25
  Speaker 1: so she can get laid. And they're like, oh, that's fine.
• 1:11:29
  Speaker 1: I love that you were being facetious. And they were like,
• 1:11:32
  Speaker 1: all right, but yeah, do that so they can't go
• 1:11:37
  Speaker 1: even though it's proven by you know, so many medical studies.
• 1:11:41
  Speaker 1: And now, as you guys know, we use UM uh
• 1:11:45
  Speaker 1: you know, different um products CBD severa for anything pain,
• 1:11:50
  Speaker 1: this was, this was whatever, this was yea. Even back
• 1:11:53
  Speaker 1: then it was considered an amazing treatment for the side
• 1:11:56
  Speaker 1: effects for chemo, you know, and for uh for nausea
• 1:12:00
  Speaker 1: and for all that stuff. So I'm I'm like, doctors
• 1:12:02
  Speaker 1: can't go get a patient that's dying marijuana, but they
• 1:12:06
  Speaker 1: can go to anywhere and get her a man horse,
• 1:12:09
  Speaker 1: so she canna have sex in the hospital. Yeah, that
• 1:12:11
  Speaker 1: sounds funny, but it is funny. Funny, it is funny.
• 1:12:18
  Speaker 1: It's a very it's a very funny episode Bill with
• 1:12:20
  Speaker 1: a lot of memorable quotes, including the first ever what
• 1:12:23
  Speaker 1: has two thumbs and doesn't give a crap? Bob Bobob
• 1:12:27
  Speaker 1: by the way, never ever, And that's an old joke
• 1:12:30
  Speaker 1: and the only reason that joke feels new is it
• 1:12:33
  Speaker 1: has never ever been delivered better than Ken Jenkins delivered
• 1:12:37
  Speaker 1: man just and by the way, you know it's next version.
• 1:12:40
  Speaker 1: It's sequel, which you guys will get to, is what
• 1:12:43
  Speaker 1: has two thumbs and still doesn't give a crap? By
• 1:12:48
  Speaker 1: the way? Instead Bob Kelso, how you do? And it's
• 1:12:51
  Speaker 1: Bob Kelso I thought we had met, you know, I
• 1:12:57
  Speaker 1: had never heard this joke until this moment, So, yeah,
• 1:13:00
  Speaker 1: this is the first time, and so I kind of
• 1:13:02
  Speaker 1: got caught off guard when he was like, what has
• 1:13:04
  Speaker 1: two thumbs and doesn't give a crap? I was like
• 1:13:06
  Speaker 1: what has two thumbs and doesn't and then he goes bam.
• 1:13:11
  Speaker 1: I laughed so hard. I don't think i've yeah to
• 1:13:14
  Speaker 1: this day. You're absolutely right, Kim has. Kim crushes it
• 1:13:17
  Speaker 1: better than anybody has. It's hilarious, and I like Donald
• 1:13:21
  Speaker 1: I never I didn't know it was a known joke.
• 1:13:23
  Speaker 1: I thought you guys came up with it, but I
• 1:13:24
  Speaker 1: thought it was hilarious. He's an assassin. When he just
• 1:13:28
  Speaker 1: says things like they're real that way, it just kills me.
• 1:13:32
  Speaker 1: My biggest memory of and you guys from then dragged
• 1:13:35
  Speaker 1: through the different of this particular episode was um. I
• 1:13:39
  Speaker 1: occasionally had times on scrubs I'm sure you guys did too,
• 1:13:41
  Speaker 1: that I'd wander onto set. I wouldn't be sure what
• 1:13:43
  Speaker 1: we were doing, and then what was happening there would
• 1:13:46
  Speaker 1: make me think that I was on Who Loosenagen's or
• 1:13:49
  Speaker 1: have a moment like I was anybody do this on television?
• 1:13:56
  Speaker 1: Because I had a bunch of things going on in
• 1:13:59
  Speaker 1: this episode and was working on other things too. Sometimes
• 1:14:01
  Speaker 1: and I strolled down into the apartment set, which was
• 1:14:05
  Speaker 1: away from everywhere else, and I walked in and terror
• 1:14:08
  Speaker 1: Read was sitting on a throne of toilet paper, and
• 1:14:10
  Speaker 1: they were like a bunch of male models dancing around,
• 1:14:13
  Speaker 1: and I'm like, what the hell is going on? How
• 1:14:15
  Speaker 1: is this? This isn't something for national television? Is it? Like? No, no,
• 1:14:19
  Speaker 1: you guys? Is in the script there's some ship had me.
• 1:14:25
  Speaker 1: There's there's two different there's two different tower read Uh,
• 1:14:28
  Speaker 1: you're conflating to There's one where she's in a room
• 1:14:31
  Speaker 1: made of toilet paper, drinking a cocktail out of a
• 1:14:34
  Speaker 1: toilet paper roll. And then there's another where I'm sort
• 1:14:38
  Speaker 1: of a studious, nerdy guy reading my book and she's
• 1:14:43
  Speaker 1: filled the apartment with male strippers who are gyrating all
• 1:14:47
  Speaker 1: over her. Hammocks everywhere or something it will be out
• 1:14:53
  Speaker 1: of hammocks everywhere. Why Bill? Why Why do j D
• 1:14:57
  Speaker 1: and and and Turk have a rule about guests bringing
• 1:15:00
  Speaker 1: their own toilet paper? Uh? I think that that was
• 1:15:08
  Speaker 1: That was loosely based on a story I told about
• 1:15:12
  Speaker 1: my college roommate named Steve mac who whenever we went
• 1:15:16
  Speaker 1: on spring breaks or on trips, every time he opened
• 1:15:19
  Speaker 1: his backpack there'd be toilet paper in there. And it
• 1:15:22
  Speaker 1: just always by the way, It's like those people that
• 1:15:24
  Speaker 1: bring their own pillow on trips and you think, and
• 1:15:27
  Speaker 1: then you sleep on the pillow. And we used to
• 1:15:29
  Speaker 1: give him a ship, you know, like, oh, if you
• 1:15:31
  Speaker 1: baby your ass, little baby, you we get you know,
• 1:15:33
  Speaker 1: we used to give him costs of shit about it.
• 1:15:35
  Speaker 1: But then you get to some ski resort or some
• 1:15:38
  Speaker 1: shitty hotel and they would have like two ply sand
• 1:15:41
  Speaker 1: paper hanging from metal thing by the toilet, and Steve
• 1:15:44
  Speaker 1: mac would be like, nobody touched my own toilet. And
• 1:15:48
  Speaker 1: I'm like, that's good. That should be a rule for
• 1:15:52
  Speaker 1: bring your own toilet paper anywhere you go. That's funny. Yeah,
• 1:15:55
  Speaker 1: I have a buddy that brings his own wipes wherever
• 1:15:57
  Speaker 1: he goes. It's not dumb. You know. I traveled with
• 1:16:00
  Speaker 1: a pillow. Now I don't feel bad about it. I
• 1:16:02
  Speaker 1: did my first pillow travel, this time to London, Bill
• 1:16:06
  Speaker 1: because I have fallen in love with a pillow. And
• 1:16:09
  Speaker 1: you can go to the fanciest hotel or the cheapest
• 1:16:11
  Speaker 1: motel and and and have bad pillows and it sucks. Uh.
• 1:16:16
  Speaker 1: You want to know another odd thing. And I did
• 1:16:18
  Speaker 1: see this, I think because I looked at watched the
• 1:16:20
  Speaker 1: episode last night and I didn't want to do a gabby,
• 1:16:22
  Speaker 1: which is what it means. When Oh my God told Bill,
• 1:16:26
  Speaker 1: I was like, Bill, you you told us I'll bring
• 1:16:27
  Speaker 1: a writer on and the writer didn't watch the episode.
• 1:16:30
  Speaker 1: The I love Gabby, They're so funny. It wasn't great,
• 1:16:34
  Speaker 1: but we love to give her about it. The uh,
• 1:16:37
  Speaker 1: you know, she doesn't don't worry. She doesn't listen. She
• 1:16:39
  Speaker 1: doesn't know where she's talking. Yet, by the way, this
• 1:16:41
  Speaker 1: is on a Friday. She will not listen no matter what.
• 1:16:43
  Speaker 1: The other piece of trivia that I remembered about this
• 1:16:47
  Speaker 1: particular episode was there's a joke about Elliott saying someone
• 1:16:50
  Speaker 1: saw her orgasm face, and Um, I remember getting ship
• 1:16:54
  Speaker 1: the writer's room because we were pretty good about continuity,
• 1:16:58
  Speaker 1: but we condictular ourself with Elliott's sexual past. You thousand
• 1:17:03
  Speaker 1: times you did scrubs. Wicky is very upset about it.
• 1:17:05
  Speaker 1: I will readjo a direct quote from people on TV
• 1:17:09
  Speaker 1: without pity. We're not having it. Let me tell you something.
• 1:17:12
  Speaker 1: Here we go, it says Um. When Ellien is talking
• 1:17:15
  Speaker 1: to her patient, she talks about a time in high
• 1:17:17
  Speaker 1: school when she had a quote orgasm face. Yet in
• 1:17:21
  Speaker 1: the previous episode, she told Carla that she has never
• 1:17:23
  Speaker 1: had an orgasm Elliott's romantic life is full of differing
• 1:17:27
  Speaker 1: stories their contradictions. We also, I think she said once
• 1:17:30
  Speaker 1: we said that she lost I think she lost her
• 1:17:33
  Speaker 1: virginity in a crawl space. Um, but maybe we can
• 1:17:39
  Speaker 1: rationalize it by saying Elliott is just just doesn't I
• 1:17:42
  Speaker 1: don't know how can you Rationalizy Did you say she
• 1:17:44
  Speaker 1: doesn't remember? And I think you also said I think
• 1:17:48
  Speaker 1: one time she lost her virginity with a guy that
• 1:17:50
  Speaker 1: lost his arm to a bear if you remember that.
• 1:17:55
  Speaker 1: By the way, she's so funny in this episode. She
• 1:17:57
  Speaker 1: was just like, let loose on this episode, I mean,
• 1:18:00
  Speaker 1: your both the writing for her and her whole just
• 1:18:04
  Speaker 1: way of being was just fucking on like level ten.
• 1:18:07
  Speaker 1: There were some uncomfortable moments though in this episode, for
• 1:18:09
  Speaker 1: when he face no that one Randall jumping out of
• 1:18:13
  Speaker 1: the closet and Krista and Johnny c being on the
• 1:18:16
  Speaker 1: bed and leather that kind of sucked me up. Remember,
• 1:18:21
  Speaker 1: and I remember the GI was it random? I would no, wait,
• 1:18:25
  Speaker 1: wait Frank better, Yeah, let's wait hold up this time, No,
• 1:18:30
  Speaker 1: Krista was oiled up too. They both put the oil
• 1:18:33
  Speaker 1: on because they're doing some pulp fiction gimp stuff. It
• 1:18:38
  Speaker 1: was very weird. I can't imagine Chris the reading that
• 1:18:40
  Speaker 1: and being like okay, Bill, okay. By the way, I
• 1:18:44
  Speaker 1: just laid low and tried to avoid her, you know
• 1:18:46
  Speaker 1: what I mean. Here's some stories about show. We made
• 1:18:55
  Speaker 1: nurses eas NETA should know. So gather around you here
• 1:19:05
  Speaker 1: are gather around you here aubus, but free while your wins.
• 1:19:09
  Speaker 1: And then mm hmmm