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Irish Playwrights · Artists on Artists on Artists on Artists

• 0:04
  Speaker 1: Welcome back to artists and artists and artists and artists.
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  Speaker 1: This week on the show, the most incredible artists that
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  Speaker 1: have ever existed Irish Playwrights.
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  Speaker 2: Ireland is known for its rich culture and even richer art,
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  Speaker 2: and nothing captures the inspiration of dark, brooding, yet whimsically
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  Speaker 2: funny plays like Irish playwrights.
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  Speaker 3: There are countless famous Irish playwrights we could name, but
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  Speaker 3: we got four of them and sat them together in
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  Speaker 3: a room to talk.
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  Speaker 4: About their craft. So sit back and listen. In Ireland,
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  Speaker 4: so I says.
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  Speaker 5: To the guy.
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  Speaker 2: I says, I'm going to need a pint if you're
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  Speaker 2: going to hear my stories. He pours me a pint,
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  Speaker 2: And there I am sitting at the bar right on
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  Speaker 2: the coast, just wondering, you know, when is the fuse
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  Speaker 2: going to blow on this fella? When is this book
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  Speaker 2: going to absolutely lose his fuse. We sit there for
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  Speaker 2: hours and hours and hours. All of a sudden, he
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  Speaker 2: tells me, you know, I'm a twin. I go, huh,
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  Speaker 2: I've been a twin this whole time. Him and his
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  Speaker 2: brother have been switching every time they go back to
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  Speaker 2: the bar, and it's actually influenced two boys by the
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  Speaker 2: sea for me.
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  Speaker 5: Oh yeah, twins, twin God's trick. Twins have always been
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  Speaker 5: God's trick, the greatest trick God has ever pulled.
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  Speaker 4: A twinking too at once you think it's twins.
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  Speaker 5: Well, what a folly for man to say, I'm one
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  Speaker 5: of a kind. To look next to you and see
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  Speaker 5: someone who's one of your kind as well.
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  Speaker 6: Well, you've heard the legend of the Double Saints Day.
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  Speaker 5: No I haven't. Now what's the legend of the Double Saints.
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  Speaker 6: The legend of the Double Saints Day goes as follows.
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  Speaker 6: Fifteen ninety two.
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  Speaker 3: There's a royal scribe who's loyal to the king, and
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  Speaker 3: every day he takes his coffee and he writes down
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  Speaker 3: his ideas.
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  Speaker 6: He says, yes, sir, yes, sir, yes, sir, yes sir.
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  Speaker 3: Then one of the days he strangles him to death,
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  Speaker 3: and the king is so confused, and that's when the
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  Speaker 3: double of him steps out from the church, but looking
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  Speaker 3: exactly as the same as the man who murdered him.
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  Speaker 3: And that's why we celebrate Double Saints Day, because on
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  Speaker 3: that day there were two saints, but one was evil.
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  Speaker 4: They made an evil state.
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  Speaker 3: The story again because it's too painful if you tell
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  Speaker 3: a story twice, that makes the twin of a story.
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  Speaker 4: And I am.
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  Speaker 3: Not I'm not a superstitious man, but I do not
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  Speaker 3: like to replicate ideas lest they become another and killed
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  Speaker 3: the king.
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  Speaker 1: We're four minutes into this episode. I like to talk
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  Speaker 1: to everyone about moments they've seen in their life.
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  Speaker 4: I think I saw God.
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  Speaker 5: Do we say our names?
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  Speaker 4: And when we saw God?
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  Speaker 5: And when you saw God? Some of your works? And
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  Speaker 5: then maybe when you saw God, if God exists at all.
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  Speaker 2: Now that's a query for another day, a query for
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  Speaker 2: hid Pint.
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  Speaker 5: There might not be another day. There's no guarantee that
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  Speaker 5: we are ever going to see out of this episode,
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  Speaker 5: is there?
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  Speaker 4: I like to hope.
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  Speaker 5: I know that I'm a living, breathing person. But when
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  Speaker 5: this recording shuts off, do I continue? I would say yes?
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  Speaker 5: Will you say yes tomorrow? Will you be able to?
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  Speaker 4: Will you be able to?
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  Speaker 5: Will you be able to? So go ahead, tell us
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  Speaker 5: some plays? Your name and when last year you first
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  Speaker 5: me enough?
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  Speaker 6: My name is Samuel McCleary.
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  Speaker 4: McCleary, I and I wrote to.
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  Speaker 6: Waiting for One Sister by the Long Dark.
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  Speaker 2: Peer, one of the most famous Irish plays to come
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  Speaker 2: out in the last century, I would say.
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  Speaker 4: Two sentences waiting for one sister period by the dark,
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  Speaker 4: what is it at the dog for.
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  Speaker 5: One dark sister period by the peer.
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  Speaker 4: By the peer.
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  Speaker 3: But it was waiting for one sister period period period
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  Speaker 3: at the end of a long dark pier.
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  Speaker 2: Yes, which is interesting because that's not a complete sentence
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  Speaker 2: at the end of the dark.
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  Speaker 4: That's what I like about it.
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  Speaker 3: Well, you think it is until you read the rest
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  Speaker 3: of the play, and that's when it becomes clear that
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  Speaker 3: there was a sentence where there ought not be because
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  Speaker 3: we ought not to be watching this, we ought to not.
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  Speaker 4: Be reading this.
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  Speaker 5: Irish playwrights, the act of writing for us is the
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  Speaker 5: act our language. We have a work a way we
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  Speaker 5: work with language tis unlike anybody else. It's our playtool
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  Speaker 5: with their periods wherever we want. We make things look
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  Speaker 5: like poems when they're simply just dialogue. It's what we do.
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  Speaker 4: It's what we do.
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  Speaker 3: And this this, this, this play that was born in
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  Speaker 3: in my heart and and and and translated to the stage.
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  Speaker 3: It tells the story of two men waiting and waiting
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  Speaker 3: and waiting for their sister because they're all going to
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  Speaker 3: go fishing together and they can't wait to fish with
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  Speaker 3: their sister because they've heard she has a great shot.
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  Speaker 4: They with the fish.
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  Speaker 3: She she has a special way of fishing where she
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  Speaker 3: shoots the fish with a rifle. And the two men
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  Speaker 3: can't wait to see this technique. And they can't wait
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  Speaker 3: unless they try it themselves, lest they believe in themselves
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  Speaker 3: muster up.
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  Speaker 6: The courage to shoot a fish on their own.
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  Speaker 4: They do not.
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  Speaker 3: They wait for the sister. And it is an exercise
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  Speaker 3: in futility. Because does the sister ever come, well, that's
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  Speaker 3: up for debate.
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  Speaker 5: If she does not, they starve. I thought, I.
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  Speaker 4: Love in I love when the big poffer fish comes in,
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  Speaker 4: and some interpret that fish to be the sister.
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  Speaker 3: Yes, yes, many interpret it as the sister. And that
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  Speaker 3: pofferfish usually played by uh traditionally played by a fellow,
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  Speaker 3: and drag is a fellow, a fellow in drag, a
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  Speaker 3: fellow in drag, a couple.
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  Speaker 4: Fellah in drag. And it is.
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  Speaker 3: And when when the poffer fish sings the ballad of
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  Speaker 3: of of the Ocean, it is then that the brothers
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  Speaker 3: realize their futility. And I know a bit about futility
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  Speaker 3: because I well, I was raised on a farm with
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  Speaker 3: my siblings, and.
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  Speaker 6: We had the sheep. But the sheep were too cold,
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  Speaker 6: and so they wouldn't produce enough sheep stuff wool.
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  Speaker 3: They wouldn't enough, they wouldn't produce enough warm and I stories.
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  Speaker 4: So here's the dilemma.
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  Speaker 3: It's actually quite profound. The sheep were too cold to
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  Speaker 3: produce the very wold that would save them.
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  Speaker 5: So when was the last time you saw God?
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  Speaker 4: Yes?
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  Speaker 3: And Samuel, how, I'm fifty seven and I see God
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  Speaker 3: every day. I look in the mirror and I believe
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  Speaker 3: he has possessed me. I believe he has possessed my
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  Speaker 3: spirit and he won't let go. And he's demanded that
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  Speaker 3: I write these plays. I don't want to write them.
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  Speaker 3: I wish I didn't have to, but God has told
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  Speaker 3: me to. And that's where I see called.
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  Speaker 4: Fifty seven's good ripe age to write. Yeah, I stated,
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  Speaker 4: the fifties are the Irish playwrights twenties?
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  Speaker 5: Yes, yes, it's the fifties are basically you've left university.
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  Speaker 4: You've just left university and finally try and weird stuff.
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  Speaker 3: You know, your biological clock is ticking. As a playwright
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  Speaker 3: when you get to mid fifties and you go I
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  Speaker 3: got to write to play.
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  Speaker 5: It's literally like I sometimes teach a course at Trinity
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  Speaker 5: College in Dublin. Chiez. Of course, for these twenty year olds,
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  Speaker 5: their scripts might, as will say, googoglea googola, and some
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  Speaker 5: of them literally do.
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  Speaker 4: In my forties, I only did one act, hit fifty
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  Speaker 4: finally told the rest.
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  Speaker 2: Of the story.
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  Speaker 5: Enough, introduce yourself, enough you all right? My name is
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  Speaker 5: Daniel Cricket. You've been a playwright my whole life. I'm
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  Speaker 5: seventy nine years old, about to dip into the great
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  Speaker 5: unknown that.
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  Speaker 2: Is eighty eighty.
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  Speaker 5: My father died at eighty, so now I will live
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  Speaker 5: the same life he has lived when he died. Will
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  Speaker 5: I've meet my maker the day he meet his I
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  Speaker 5: do not know, but I will see. I've written a
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  Speaker 5: very very famous play that's been done all around the world.
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  Speaker 5: It's called The goal Away Girl. It's about an old
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  Speaker 5: woman who lives on a cliff, who sees every man
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  Speaker 5: she ever loved as a ghost jumping off the cliff
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  Speaker 5: every night.
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  Speaker 4: Actually, most used a play for college auditions.
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  Speaker 5: I'm hearing that a lot.
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  Speaker 2: There's a beautiful monologue that is meant for an older
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  Speaker 2: woman that these college girls.
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  Speaker 5: I'm getting tagged on TikTok in sixteen.
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  Speaker 2: Year old Girls Challenges monologue, mondays, I want you to
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  Speaker 2: understand to all the little girls who are trying my monologue.
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  Speaker 1: That was written about to my ma, that was written
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  Speaker 1: about her in hospice, those were actual words she said.
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  Speaker 3: Would you read a little piece of it because I
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  Speaker 3: think the people need to understand the gravitas it takes
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  Speaker 3: for an older woman to say these words and the
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  Speaker 3: pain it causes her.
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  Speaker 2: Or do you want to read it or should we
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  Speaker 2: just play one of these monologue?
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  Speaker 4: I think we want to read it, and then we
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  Speaker 4: could play one of the clips.
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  Speaker 1: And then I'll send you one. It's act Tiffany boisterous.
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  Speaker 1: She's a fantastic actor.
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  Speaker 4: But read it the way you want it read on
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  Speaker 4: the cusp of eighty huh.
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  Speaker 5: All right, This is the way I imagine my Ma
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  Speaker 5: would say it, because this is how I'd seen her
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  Speaker 5: say it with her own words in the hospital.
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  Speaker 3: Bit.
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  Speaker 5: You men walk into my brain every single night, and
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  Speaker 5: your trapes around. You leave mud on the ground, you
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  Speaker 5: leave dirt and soot on my poor little memories.
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  Speaker 1: You act like you're nothing, and yet I look inside
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  Speaker 1: my head, I look inside my pantry, in the cutcase
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  Speaker 1: you've eaten, and the cold coffee you've left in the cups.
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  Speaker 5: I look around and I look at the.
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  Speaker 1: Stain in the sheets from the work in the mines,
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  Speaker 1: the coal you brought into my bed, the coal you
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  Speaker 1: left me with when you're gone, And I realize my
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  Speaker 1: life has always been reaction to the people that have
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  Speaker 1: walked all over it. My life has just been a
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  Speaker 1: mirror for people who are looking beyond me into their
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  Speaker 1: own brains.
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  Speaker 4: And now let's play the clip.
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  Speaker 2: You man just kind of triumph around in my head.
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  Speaker 5: Turn it off, turn it off, Turn it off for me, please, we.
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  Speaker 4: Turned it off.
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  Speaker 6: Pantry, dad, pantry on my mind.
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  Speaker 4: You're in here living as a reaction action.
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  Speaker 3: This man traps around my mind every night for Carnegie Mellon.
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  Speaker 5: TikTok. I think that's gonna help you. Sorry, sorry. I
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  Speaker 5: love the younger people. I love the younger people. I
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  Speaker 5: responding to it.
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  Speaker 1: It's hard to see my mother's words coming out of
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  Speaker 1: girls dressed in juicy cature.
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  Speaker 4: But I when you hear it from a different here's
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  Speaker 4: I do believe, just like a good songwriter, I can't
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  Speaker 4: do this, just like a good songwriter. Sometimes a good
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  Speaker 4: writing can be moved from different povs. I know that
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  Speaker 4: that strictly is your mom, but think about it a
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  Speaker 4: good song Sometimes they say doesn't matter the singer, and
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  Speaker 4: it's different and it's good no matter what.
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  Speaker 2: Well.
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  Speaker 1: Life is pain, life is death, Life is suffering, and
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  Speaker 1: we are out here as the lightning rods to pain
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  Speaker 1: and suffer so other people can feel that through our work.
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  Speaker 4: I think there's something powerful about a woman about to
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  Speaker 4: die seeing that monologue versus a woman about to start
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  Speaker 4: your new life in university.
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  Speaker 3: In a way, university is a kind of death, the
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  Speaker 3: death of the child.
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  Speaker 4: Go introduce yourself.
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  Speaker 2: Go, I will know me enough for you enough.
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  Speaker 3: Hi.
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  Speaker 2: Hello, my name is Hello.
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  Speaker 5: Hi ho hio to you.
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  Speaker 2: My name is Shannon dadra O'Shannon.
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  Speaker 4: Ah Shannon Shannon.
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  Speaker 2: I am from Dublin originally, and I am an Irish
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  Speaker 2: playwright turned movie writer. You might have seen me and
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  Speaker 2: some of my hit scripts. There are seven of us
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  Speaker 2: and one of us is going to die?
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  Speaker 5: Or What's up with that?
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  Speaker 2: M where I adapted Keaton Thompson's What's up with That?
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  Speaker 5: What is that?
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  Speaker 2: It's too long to explain, and I don't know if
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  Speaker 2: I can even talk about it.
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  Speaker 4: Ad no, no, no, no no no. Adaptation is the great
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  Speaker 4: Irish dance.
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  Speaker 2: Yes, it's taking an American ip and turning it, turning
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  Speaker 2: it Irish.
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  Speaker 5: I want to tell you, Shannon, I love your plays.
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  Speaker 2: Thank you.
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  Speaker 7: I love your play Eliza's Big Ocean Adventure. I love
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  Speaker 7: your play The Father Son and Ricky. I love this
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  Speaker 7: new movie you sent me a screenplay. You're adapting the
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  Speaker 7: Fuggy Doug Dolls.
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  Speaker 2: So I'm adapting the Fuggy Doug Dolls. You doing that
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  Speaker 2: day Mattel has got me doing this amazing piece where
• 14:48
  Speaker 2: they give me full liberty to write an original story
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  Speaker 2: about the Fuggy Doug doll dolls. These are an amazing doll.
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  Speaker 2: One of them is going to die in the first act.
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  Speaker 2: I don't know which one is going to die. And
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  Speaker 2: then the rest are going to go to a house
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  Speaker 2: where the doll lived, and by living in the house,
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  Speaker 2: they're going to remember both the beauty and the pain.
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  Speaker 5: Of their dead doll. What number draft are you on?
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  Speaker 5: I'm on fifteen?
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  Speaker 4: Oh, and what's your ideal number? Draft?
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  Speaker 5: Fifteen?
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  Speaker 2: Oh so close to looking at a Yes, So for me,
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  Speaker 2: I write one draft one draft, Throw it away. I
• 15:27
  Speaker 2: want to throw it in the river. I write another
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  Speaker 2: draft based off of the memory, the memory of what
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  Speaker 2: I wrote in the first draft.
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  Speaker 5: Throw that one away.
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  Speaker 4: Keep three pages, just get activated.
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  Speaker 6: Keep three pages?
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  Speaker 5: Got activated?
• 15:40
  Speaker 4: What activated you?
• 15:42
  Speaker 5: And it'll get ready?
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  Speaker 2: Okay, okay? Because I keep three pages, different random pages,
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  Speaker 2: and I let those dictate the act. Forget the story.
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  Speaker 2: Take those three pages, write a completely new draft. Those
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  Speaker 2: have to be the first three pages of the play.
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  Speaker 2: I throw that one away, forget the play, forget the
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  Speaker 2: play for four years away, for four years, four years.
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  Speaker 2: I put the play away. I put it away.
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  Speaker 4: Where do you put it?
• 16:09
  Speaker 5: I put it away?
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  Speaker 4: Where?
• 16:10
  Speaker 5: Throw it away? And put it away? TikTok, TikTok. Four
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  Speaker 5: years go by? What happens four years ago? Oh? Remember
• 16:16
  Speaker 5: that idea? Then I again?
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  Speaker 4: Do you find it?
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  Speaker 2: I go find it? I find it in the cattle
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  Speaker 2: of my mind?
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  Speaker 6: Do you have to set a four year reminder for
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  Speaker 6: when these things come?
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  Speaker 2: My phone is always buzzing with these suns of calendar reminders?
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  Speaker 2: And I remember, what in the hell I'm talking about?
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  Speaker 5: Four thousand a baby? What could that have been? Oh?
• 16:42
  Speaker 3: That sounds I have to be honest, quite funny four
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  Speaker 3: thousand of baby the thistle.
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  Speaker 5: On my side. I mean, what is this?
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  Speaker 2: What is it? If it's lost, it's lost. It's just
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  Speaker 2: like a grave.
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  Speaker 5: It's never meant to be. If it does meant to.
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  Speaker 4: You, I say, that's about my children. If they're lost,
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  Speaker 4: they're lost.
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  Speaker 2: Bye, okay, okay, all right, it is time enough at last. Well, First,
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  Speaker 2: I see God in the flowers.
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  Speaker 4: Oh yeah, And where do you see God?
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  Speaker 5: Oh? I see God in the woman that I order
• 17:13
  Speaker 5: from at Vicdonald's every morning. Her name is eliac Donald's Donald.
• 17:17
  Speaker 1: If you go to fac Donald's, it's the Irish McDonald
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  Speaker 1: You say can I get a biscuit?
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  Speaker 5: And they say can you? And they throw coffee in
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  Speaker 5: your face.
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  Speaker 4: I love it.
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  Speaker 1: Yeahc Donald's Donaldcdonald's.
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  Speaker 4: I hello, enough enough, enough enough know me. My name
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  Speaker 4: is Guinness Scott. I am an Irish playwright sixty eight
• 17:44
  Speaker 4: years old, and I wrote one of my most famous
• 17:48
  Speaker 4: plays is Abortion on the Hillside.
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  Speaker 2: Abortion on the Hillside, Abortion on the hillside.
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  Speaker 5: Sir, abortional hillside with an incredit place, Sir.
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  Speaker 2: It was one of the most amazing plays, Sir.
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  Speaker 6: We thank you for writing Abortion.
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  Speaker 4: On a hairside, Sir. Sir.
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  Speaker 6: You're welcome, sir, man dude.
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  Speaker 3: The way that you handled it was with such grace
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  Speaker 3: Abortional on the hillside and with the empathy for both
• 18:18
  Speaker 3: sides of the isle, where there are these people who
• 18:21
  Speaker 3: you know, there are these women who are fighting for
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  Speaker 3: their rights. It is has been illegal in certain times
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  Speaker 3: in Ireland, so they are if they are fighting for
• 18:31
  Speaker 3: the right over their own bodies. But then you also
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  Speaker 3: lend sympathy to the characters who have these ideas in
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  Speaker 3: their head, who are have grown up with this tradition. Yes,
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  Speaker 3: of no, of we fight that. Yes, and you have
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  Speaker 3: done such a wonderful job with it, sir.
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  Speaker 2: Dude, as Irish playwrights were all at the end of
• 18:53
  Speaker 2: the day studying Catholicism, and the way you study Catholicism
• 18:58
  Speaker 2: Unprotestant distantism in your work Abortion on a Hillside, sir.
• 19:04
  Speaker 4: It opens with a girl. It opens with a girl
• 19:07
  Speaker 4: coming up the hill. She's in her Catholic clothes from school. Yes,
• 19:13
  Speaker 4: because all kids are in Catholic clothes, and has her books.
• 19:18
  Speaker 4: And that's where we hear we see church versus estate.
• 19:23
  Speaker 4: She sits on a hillside and decides throughout the whole
• 19:26
  Speaker 4: play should she get an abortion?
• 19:31
  Speaker 5: She reads her book, she sits around, she rolls around
• 19:34
  Speaker 5: in the grass. Her young lover comes to join her.
• 19:38
  Speaker 5: She doesn't mention it.
• 19:40
  Speaker 4: They talk about bunnies.
• 19:41
  Speaker 5: They talk about bunnies, which was.
• 19:43
  Speaker 2: An apt metaphor, an apt metaphor, and I love the
• 19:46
  Speaker 2: metaphor when she says, what if bunnies could get an abortion?
• 19:50
  Speaker 4: That had the right lips.
• 19:52
  Speaker 3: Of silence that follows the answer to that question is
• 19:56
  Speaker 3: so profound.
• 19:56
  Speaker 4: Thank you, and and I put that That's what I
• 19:58
  Speaker 4: want to talk about stage direction. I what's that in
• 20:00
  Speaker 4: the play? Because a lot of Irish playwrights won't, a
• 20:05
  Speaker 4: lot of Irish play rights won't put that stuff in there.
• 20:08
  Speaker 5: Yeah, well, what else say you? Is? I love that
• 20:12
  Speaker 5: old your scripture about twenty three pages, and you have
• 20:15
  Speaker 5: a lot of silence written in. You say ten minutes.
• 20:19
  Speaker 4: Pregnant pause where life again at the beginning of a
• 20:23
  Speaker 4: pregnant Paul.
• 20:24
  Speaker 5: You know, by the way, would have been a much
• 20:26
  Speaker 5: better title.
• 20:30
  Speaker 4: Abortion on a Hillside.
• 20:32
  Speaker 1: There's so much showing with See there's some Irish playwrights
• 20:35
  Speaker 1: and love subtexts that love meaning understanding a little bit
• 20:39
  Speaker 1: of an ambiguous message.
• 20:40
  Speaker 5: You went straight with abortion on a hill.
• 20:43
  Speaker 3: See, there's so much met so many beautiful metaphors inside
• 20:46
  Speaker 3: the place.
• 20:47
  Speaker 4: Yes, but girls talking about bunnies, yes.
• 20:50
  Speaker 3: Talking about anything but the thing at hand, girls talking
• 20:54
  Speaker 3: about abortion.
• 20:55
  Speaker 5: Yeah.
• 20:57
  Speaker 2: And I love the moment where she turns to the
• 20:58
  Speaker 2: big willow tree next to her. What if a tree
• 21:01
  Speaker 2: could get no.
• 21:04
  Speaker 1: I mean it's amazing. What what kind of feedback did it?
• 21:07
  Speaker 1: I remember you performed that at Saint Patrick's Cathedral. There
• 21:11
  Speaker 1: they were not happy.
• 21:13
  Speaker 5: To do it either.
• 21:14
  Speaker 4: They weren't. Oh god, Ireland. The government in Ireland is interesting,
• 21:20
  Speaker 4: right because you can write something so profound, you can
• 21:23
  Speaker 4: write something so profound yet and culture the Ireland, the
• 21:29
  Speaker 4: people in the world. Dublin, I think it was printed
• 21:34
  Speaker 4: one million times within its first publishment.
• 21:37
  Speaker 2: You're one million times within his first publishment. I mean
• 21:41
  Speaker 2: that's a record.
• 21:42
  Speaker 6: I remember kind of numbers.
• 21:45
  Speaker 2: When I'm saying something important.
• 21:48
  Speaker 5: When I got to call that.
• 21:51
  Speaker 1: Donna's Bells was printed one million times in its first publishment.
• 21:56
  Speaker 5: For me, that was so we've.
• 21:58
  Speaker 2: All had a play that's had one million.
• 22:00
  Speaker 4: In the publish publishment. I mean, let's shock numbers. How
• 22:04
  Speaker 4: much have you done in your first publishment.
• 22:07
  Speaker 2: How much have I done? One million times?
• 22:10
  Speaker 3: Well, I've done, I believe, twelve thousand times in my
• 22:14
  Speaker 3: first publishment of my brother, my sister, my sister, and
• 22:17
  Speaker 3: my brother and also my brother. And it was difficult
• 22:22
  Speaker 3: because it didn't get that bump, and I got periodically
• 22:26
  Speaker 3: dropped from my play.
• 22:27
  Speaker 2: Righting it's become a classic. People were not ready for
• 22:32
  Speaker 2: such a big family on a stage because I didn't it.
• 22:36
  Speaker 4: Did it inspire cheaper by the dozen? A?
• 22:39
  Speaker 5: It did?
• 22:42
  Speaker 1: It inspired the real man from the book to start
• 22:46
  Speaker 1: living his life like that.
• 22:48
  Speaker 2: It is.
• 22:48
  Speaker 3: It is if you to start living. I believe I'm
• 22:56
  Speaker 3: going to have a lot of children, and I believe
• 22:58
  Speaker 3: it would be a movie one day, But not now.
• 23:01
  Speaker 4: Yes, never. Now, what's your thing later? What's my thing?
• 23:05
  Speaker 6: With siblings?
• 23:05
  Speaker 1: Yes?
• 23:06
  Speaker 5: Well?
• 23:08
  Speaker 6: I met a man in a bar. We shared a pint.
• 23:11
  Speaker 5: Similar story.
• 23:13
  Speaker 1: Hold on, if we were to say that, we wouldn't
• 23:16
  Speaker 1: ever publish a story.
• 23:19
  Speaker 5: Story.
• 23:19
  Speaker 6: If we stopped there, we wouldn't write.
• 23:21
  Speaker 3: You can't let anyone own get in.
• 23:23
  Speaker 5: A pint at a bart. I met a man at
• 23:26
  Speaker 5: a bar is our. Once upon a time.
• 23:28
  Speaker 4: I met a man at a bar, and I said,
• 23:31
  Speaker 4: good trees, get an abortion anyway, can going?
• 23:33
  Speaker 5: You met a man in a pub.
• 23:34
  Speaker 3: I met a man at a pub, and we had
• 23:36
  Speaker 3: so much in common. We had a nearly seventy thousand
• 23:40
  Speaker 3: things in common. We kept saying these things and seventy
• 23:44
  Speaker 3: seventy thousand things in common.
• 23:46
  Speaker 5: I've had many nights wrapped on things in common.
• 23:48
  Speaker 1: Night with a friend, barkie barkeep, get me a piece
• 23:52
  Speaker 1: of paper, get me a pen, write down things.
• 23:55
  Speaker 5: That's what we love to do. You do use phones.
• 23:58
  Speaker 5: I use phone one. Larry, we have.
• 24:05
  Speaker 4: Lary. We have about seventy thousand.
• 24:07
  Speaker 3: And you know how I kept track because I have
• 24:09
  Speaker 3: a leather bound journal from that very night, A leather
• 24:12
  Speaker 3: bound journal from that very night.
• 24:14
  Speaker 4: Say night, that's same. Not to have a leather pound journal.
• 24:17
  Speaker 5: No, I think it's involved in the night keep going.
• 24:21
  Speaker 5: It's not independent of the night. I think it's involved
• 24:23
  Speaker 5: in the story of recurrent listening to keep going.
• 24:26
  Speaker 3: No, I kept it tally of every single time I
• 24:28
  Speaker 3: said no way, me too, no way, me too, no way,
• 24:31
  Speaker 3: me too, no way, me too. That's how many things
• 24:33
  Speaker 3: we had in common, seventy thousand, nearly the things we
• 24:36
  Speaker 3: had in common.
• 24:37
  Speaker 2: So you kept sorry, did you have a thing to
• 24:41
  Speaker 2: both signify how many things you had in common, and also,
• 24:43
  Speaker 2: I think, to signify how many times you said no
• 24:46
  Speaker 2: way me too.
• 24:48
  Speaker 1: Like horn from core, no way to. Even though this
• 24:52
  Speaker 1: was things we have in common, we all get it.
• 24:57
  Speaker 6: It was so night you had the same night I
• 25:00
  Speaker 6: had night.
• 25:05
  Speaker 5: The same story.
• 25:13
  Speaker 3: So I counted up the many things we had in common.
• 25:15
  Speaker 6: No aay me too, no ay me too, no way
• 25:16
  Speaker 6: me too, and.
• 25:17
  Speaker 3: We discover the final thing we had in common, the
• 25:21
  Speaker 3: seventy thousand things. We were born on the same day
• 25:25
  Speaker 3: in the same hospital. We were twins and no way
• 25:32
  Speaker 3: me too.
• 25:33
  Speaker 8: Finale, the ultimate no way we too, no way me
• 25:37
  Speaker 8: womb We shared it, We shared it together, and that
• 25:40
  Speaker 8: together the same womb well the shame birthday in the
• 25:44
  Speaker 8: same hospital.
• 25:45
  Speaker 4: We thought, let's not go any further than this. Twins
• 25:49
  Speaker 4: must be we can go further. After twins.
• 25:51
  Speaker 6: We can't go further.
• 25:52
  Speaker 4: You can't.
• 25:53
  Speaker 6: The twins is the precipice at the very end.
• 25:55
  Speaker 3: So to answer your question, that's why I am so
• 25:57
  Speaker 3: wrapped up in the in the relationship between brother and
• 26:00
  Speaker 3: sister and sister and brother, because you never know when
• 26:02
  Speaker 3: a sister or a brother.
• 26:04
  Speaker 5: Is coming twins are God's trick?
• 26:09
  Speaker 6: Have we covered the twins are God's trick?
• 26:11
  Speaker 5: Well, here's what's scary for me.
• 26:13
  Speaker 4: Yes, siblings, is your iron back? What's yours?
• 26:18
  Speaker 5: Well, that's a question entirely different than what I was
• 26:21
  Speaker 5: about to say. Well, twins brought up twice means that
• 26:24
  Speaker 5: there's a twin of a story in the existent thread
• 26:27
  Speaker 5: that we are currently living. Twins have emerged. What does
• 26:32
  Speaker 5: that mean for us? Identicals looking in the mirror, seeing
• 26:37
  Speaker 5: exactly like me? But you have secrets. I can't see.
• 26:40
  Speaker 5: Why are we obsessed with twins? Why are we obsessed
• 26:44
  Speaker 5: with twins? Thing that I think about all the time
• 26:50
  Speaker 5: is the pain of existence. What I'm always writing about.
• 26:57
  Speaker 5: What I always find myself coming back to is the
• 27:01
  Speaker 5: dark thoughts that I have right before I decide to
• 27:04
  Speaker 5: end it all. I look at the disk. There's always sorry.
• 27:14
  Speaker 4: I don't swing that.
• 27:15
  Speaker 5: I'm not gay.
• 27:17
  Speaker 4: I'm not gay.
• 27:18
  Speaker 5: I'm not gay.
• 27:18
  Speaker 2: I'm not gay.
• 27:20
  Speaker 3: We are eciting an old play fas I'm not gay.
• 27:27
  Speaker 2: We all know that one about the Catholic Church and
• 27:31
  Speaker 2: two boys.
• 27:32
  Speaker 4: I'm not gay.
• 27:34
  Speaker 5: It gay. I'm not gay. So at my desk, next
• 27:38
  Speaker 5: to my pen and my paper, there's a news. Oh God,
• 27:45
  Speaker 5: I choose to write or I choose to die, and
• 27:50
  Speaker 5: every day I pick up the pin instead of the news.
• 27:55
  Speaker 2: Can I be honest, It really feels like the news
• 27:58
  Speaker 2: is just there for drum effect. It's like you're never
• 28:01
  Speaker 2: going to choose the noose.
• 28:02
  Speaker 1: If I'm being honest with you, the noose is very
• 28:06
  Speaker 1: very thin.
• 28:07
  Speaker 5: It's a shoelace.
• 28:10
  Speaker 4: Why that's not a noose.
• 28:11
  Speaker 6: It's a noose for a baby.
• 28:13
  Speaker 5: Noose has nothing to do with the fabric.
• 28:15
  Speaker 1: The noose has to do with the type of nott
• 28:18
  Speaker 1: and it absolutely is a noose.
• 28:20
  Speaker 5: Could it hold me neck?
• 28:21
  Speaker 4: No is a noose or not? A noose is not?
• 28:24
  Speaker 5: A noose is not.
• 28:26
  Speaker 3: If the follow through of the noose is not there,
• 28:29
  Speaker 3: does that not a noose?
• 28:30
  Speaker 4: Make? If the fall through of a noose is not death,
• 28:33
  Speaker 4: then does that a noose make?
• 28:35
  Speaker 1: Put a shoelace noose around your neck and don't think
• 28:38
  Speaker 1: that the angel of death is whispering in your ear.
• 28:40
  Speaker 5: It does not matter what a noose is made of
• 28:42
  Speaker 5: the fact that her noose is on your neck. Make
• 28:44
  Speaker 5: sure realize a noose could kill you.
• 28:46
  Speaker 4: It's not the knot, it's not the idea. It's the threat.
• 28:52
  Speaker 2: Two nooses tight, one noose loose. One man has been
• 28:57
  Speaker 2: saved this night.
• 28:59
  Speaker 4: Knock on the door by the cows are out today.
• 29:03
  Speaker 6: Hey, your noose is untied.
• 29:07
  Speaker 4: That's fun.
• 29:09
  Speaker 5: I wonder what that was.
• 29:16
  Speaker 1: Whoa, whoa, whoa whoa there partner, whoa. I know you're
• 29:19
  Speaker 1: enjoying the episode, but there's something else you might enjoy.
• 29:22
  Speaker 1: You see these hats that make us look like we
• 29:24
  Speaker 1: work on set somewhere.
• 29:26
  Speaker 6: You might like these hats. If you're a fan of
• 29:29
  Speaker 6: the pod.
• 29:30
  Speaker 3: And if you're a fan of the pod, you can
• 29:31
  Speaker 3: wear the pod with merch.
• 29:34
  Speaker 1: Yes, but cool merch merch. That doesn't tell anyone that
• 29:37
  Speaker 1: you like the pod except for someone else who likes
• 29:39
  Speaker 1: the pod. We have shirt and we have hats that
• 29:42
  Speaker 1: have all different things on them like TV.
• 29:44
  Speaker 6: Shows, Internet videos, movies.
• 29:47
  Speaker 5: This one's bagged so I could send it right to
• 29:49
  Speaker 5: you if you buy it. You can buy that one.
• 29:52
  Speaker 4: I'll give you this hat, no bag.
• 29:54
  Speaker 3: You can order it an artist on artists on artists
• 29:56
  Speaker 3: on artists dot com.
• 29:58
  Speaker 6: And while you're on our website side or us book.
• 30:00
  Speaker 1: Come on and play some games. I think we got
• 30:02
  Speaker 1: a watermelon drop on there. Come on, come on, enjoy
• 30:07
  Speaker 1: the rest of the episode and give your friends and kids.
• 30:16
  Speaker 5: I love getting around with Irish paid rights.
• 30:18
  Speaker 1: I do believe there's a deep dark on contrary car
• 30:20
  Speaker 1: and we tap into the spirit. The ancestors they called
• 30:24
  Speaker 1: to us. They drag us to the nether space. We
• 30:27
  Speaker 1: live ourselves in some sort of a living and we
• 30:29
  Speaker 1: come back.
• 30:30
  Speaker 5: We went there together just now.
• 30:32
  Speaker 3: We went to the other side to retrieve an idea
• 30:34
  Speaker 3: for a play, and we came back to our own selves.
• 30:40
  Speaker 3: But what you bring up in terms of your writing
• 30:43
  Speaker 3: routine makes me curious. Do you all have a writing
• 30:48
  Speaker 3: ritual that you must go through. I know you wait
• 30:51
  Speaker 3: four years, or is there anything that gets you into
• 30:55
  Speaker 3: the moment when you are currently writing.
• 30:58
  Speaker 2: Well, for me, if I'm really stuck and I need
• 31:01
  Speaker 2: to get some pages down, I'll take a nice walk
• 31:05
  Speaker 2: and I find a walk really clears your head. My
• 31:08
  Speaker 2: walk is very, very fun. I walk malls in Ireland, malls, malls.
• 31:19
  Speaker 3: You want.
• 31:21
  Speaker 4: Stars.
• 31:25
  Speaker 5: I know st I know stars.
• 31:27
  Speaker 4: There's a building of stars.
• 31:28
  Speaker 1: It is.
• 31:30
  Speaker 5: You are.
• 31:32
  Speaker 4: You are the.
• 31:34
  Speaker 5: Apple star, the Apple star.
• 31:38
  Speaker 2: Anyway, So I'll walk around and look for a little
• 31:40
  Speaker 2: bit of what I call the star dust. Stardust, Star Stars,
• 31:48
  Speaker 2: R E.
• 31:48
  Speaker 5: D U S. T Store.
• 31:51
  Speaker 4: Maybe an old bookstore, Oh, an old bookstore with ideas Star.
• 31:55
  Speaker 5: I'll walk into a buck Star and I look at.
• 31:58
  Speaker 3: Box store, that storebox Star Star, a Starbucks afresh box.
• 32:04
  Speaker 5: I'll look it to a box Star.
• 32:06
  Speaker 2: I'll pick the dustiest buck I can find. I a
• 32:12
  Speaker 2: juice box.
• 32:13
  Speaker 5: I'll read a passage from it.
• 32:15
  Speaker 2: And sometimes it'll speak to me, and sometimes it'll yell
• 32:18
  Speaker 2: at me, and sometimes it'll cry at me, and sometimes
• 32:22
  Speaker 2: it'll laugh at me, and sometimes it'll kiss me.
• 32:26
  Speaker 4: It actually fat right in the middle, right, depends on
• 32:30
  Speaker 4: whatever it is.
• 32:31
  Speaker 2: I'm inspired and understand that up there the powers are
• 32:35
  Speaker 2: sending me a message. That is the emotion I must
• 32:38
  Speaker 2: carry into my work.
• 32:40
  Speaker 5: I've got to get out of here now.
• 32:42
  Speaker 6: What was the most recent juice box that spoke to you?
• 32:45
  Speaker 2: The most recent juice box was a Snapper? I opened
• 32:48
  Speaker 2: and I said, I guess we're having fun?
• 32:51
  Speaker 5: Hi? What happened to Hold on a minute? Hold on
• 32:54
  Speaker 5: a minute? Snappers making juice boxes? Are they just boxes?
• 33:01
  Speaker 2: What?
• 33:02
  Speaker 5: Well?
• 33:02
  Speaker 3: Isn't this is strange now, isn't it? Because Snapple existed
• 33:07
  Speaker 3: in one farm jar glass glass jar? Yet is it
• 33:12
  Speaker 3: transition to the juice box. Does it make a fraternal
• 33:15
  Speaker 3: twin of itself?
• 33:16
  Speaker 5: No, they don't look the same.
• 33:18
  Speaker 6: Okay, fraternal? Then I guess we're okay.
• 33:22
  Speaker 4: Snap.
• 33:23
  Speaker 2: Why can a farm not be changed into another farm
• 33:27
  Speaker 2: without us questioning its farm present?
• 33:29
  Speaker 5: Can I ask you? Does a drink of a sibling
• 33:33
  Speaker 5: or is it just itself in another glass?
• 33:36
  Speaker 4: I think drink of itself?
• 33:39
  Speaker 5: Are we?
• 33:40
  Speaker 2: Are we just eating limbs of a drink?
• 33:43
  Speaker 5: Is a river the sister of a lake? Or is
• 33:45
  Speaker 5: it all the same water?
• 33:47
  Speaker 3: Oh?
• 33:48
  Speaker 4: The sister of a lake is an ocean, and the
• 33:51
  Speaker 4: sister of an ocean is a puzzle?
• 33:53
  Speaker 1: I would like I do think, And I could say
• 33:55
  Speaker 1: this with definitiveness.
• 33:57
  Speaker 5: Salt water and fresh water are cousins? Oh?
• 34:02
  Speaker 4: Why nay?
• 34:03
  Speaker 3: But nay, but nay, Because if the salt water and
• 34:06
  Speaker 3: the fresh water are nary cousins, what happens when the
• 34:10
  Speaker 3: freshwater has an angry day is.
• 34:13
  Speaker 6: Swept up by the sea?
• 34:14
  Speaker 3: Oh, is taken from one place via a hurricane via tornado?
• 34:18
  Speaker 6: If the salt water is swept up with a fresh water.
• 34:21
  Speaker 3: And mixed up into the sky and rained down, does
• 34:24
  Speaker 3: it all not become the same water?
• 34:25
  Speaker 1: Now?
• 34:26
  Speaker 5: Hold on a minute.
• 34:26
  Speaker 1: Are you saying that you're not related to the people
• 34:29
  Speaker 1: you love just because you've had an angry day.
• 34:33
  Speaker 6: I'm saying that I believe we're all the same.
• 34:37
  Speaker 3: Iy.
• 34:37
  Speaker 4: What if this wind is a distant cousin of dust?
• 34:44
  Speaker 2: Okay, so the family tree goes all the same, I
• 34:48
  Speaker 2: would say, one, mother, I want you to come in
• 34:51
  Speaker 2: and join.
• 34:52
  Speaker 5: No, I'm just thinking about it.
• 34:54
  Speaker 2: I'm just trying to process the family lineage at this point.
• 34:57
  Speaker 6: Yes, so over shamily, ocean, ocean, cousin, cousin, Dust is
• 35:02
  Speaker 6: dust and wind.
• 35:04
  Speaker 2: We brought up a good point. If water has a
• 35:05
  Speaker 2: fresh water has an angry day, it's.
• 35:08
  Speaker 4: A good point. If its water is angry and it
• 35:11
  Speaker 4: has a bad.
• 35:12
  Speaker 5: Day, does it become more of a sibling? What is
• 35:14
  Speaker 5: our relationships to dust?
• 35:16
  Speaker 1: Are we the parents of dust because we ourselves become dust?
• 35:20
  Speaker 6: Or are we the makers of dust?
• 35:23
  Speaker 5: Yet?
• 35:24
  Speaker 4: Yes? Yeah, oh, yes, yes, I guess the question that
• 35:28
  Speaker 4: we still yes, yes, yes, yes, yes, yes, oh yes,
• 35:33
  Speaker 4: we are the makers of dust? And are we dust
• 35:35
  Speaker 4: at the womb?
• 35:37
  Speaker 2: Are we dust in the womb?
• 35:39
  Speaker 4: Or are we born?
• 35:40
  Speaker 6: Does age and time make us dust?
• 35:43
  Speaker 5: You would know abortion on the hillside. Are we dust
• 35:45
  Speaker 5: in the womb.
• 35:46
  Speaker 4: When does dust begin? Dust begins on a hillside with
• 35:51
  Speaker 4: a girl doing her homework.
• 35:54
  Speaker 5: How was your writing process for that? What do you know?
• 35:56
  Speaker 5: How do you know if it's good work or bad work?
• 35:59
  Speaker 4: With abortion a hillside, I start, I write it to
• 36:04
  Speaker 4: bar okay, a bar or a pub barr pub depends
• 36:09
  Speaker 4: on where I am. Some pubs I go to sometimes
• 36:12
  Speaker 4: I'm writing in I'm dating a girl in America, so
• 36:16
  Speaker 4: sometimes I.
• 36:16
  Speaker 5: Go to bars. And how old is she? And how
• 36:22
  Speaker 5: old is she? I wonder you question it?
• 36:26
  Speaker 4: A question is not questioned unless an answer is so.
• 36:30
  Speaker 5: Let's stop speaking. I know all of you, writes in
• 36:36
  Speaker 5: Raddel's I write in prose.
• 36:38
  Speaker 3: Fine, yes, I know, mister Fugley Doll, mister billion dollar script.
• 36:44
  Speaker 2: We know I.
• 36:46
  Speaker 5: Wrote one coherent piece of.
• 36:55
  Speaker 4: Knock knock at the door. Who is it I sell out?
• 36:58
  Speaker 5: Sell out?
• 37:00
  Speaker 6: Source is untied? Or is it a noose made of cash?
• 37:04
  Speaker 5: Yes, a noose cash? No sense? If my noose is
• 37:08
  Speaker 5: untied or is it a noose of cash?
• 37:12
  Speaker 1: Listen to me, you boy, if your work has understood,
• 37:16
  Speaker 1: your work was not written for yourself. Oh, for you
• 37:19
  Speaker 1: to understand yourself is to say you're the master of
• 37:23
  Speaker 1: the unknown, like you understand what's happening in your brain.
• 37:26
  Speaker 1: You you wrote something coherent. Your wrote shite, your ot
• 37:30
  Speaker 1: nasty shite.
• 37:31
  Speaker 2: If you don't write coherently, you're missing the soul of
• 37:36
  Speaker 2: the world.
• 37:37
  Speaker 1: Coherence is the death of the unknown.
• 37:42
  Speaker 4: Coherence is the cousin of confusion.
• 37:45
  Speaker 2: Incoherence is where we find the truth of confusion. You
• 37:50
  Speaker 2: see a plant grow, you say, the flower blooms, and
• 37:56
  Speaker 2: it implies.
• 37:57
  Speaker 5: So much more. How about this feat?
• 38:02
  Speaker 2: Yes, you say, oh, the blooming flower is a four
• 38:05
  Speaker 2: or five?
• 38:06
  Speaker 5: What does that mean? That's That's what I'm saying. I'm saying.
• 38:09
  Speaker 1: A woman is sitting alone, someone says nice weather today.
• 38:12
  Speaker 1: A big ghost comes in, kisses her on the lips.
• 38:14
  Speaker 1: She says, I think I'll have a sandwich for breakfast.
• 38:17
  Speaker 1: That's what I'm saying. That's what I'm saying.
• 38:21
  Speaker 4: Oh, what are you saying?
• 38:24
  Speaker 6: What am I saying?
• 38:28
  Speaker 4: Are you saying?
• 38:30
  Speaker 3: Though the spirit conkills me, the spirit compels me.
• 38:34
  Speaker 5: To write a story? Okay? The spirit? Yes?
• 38:40
  Speaker 4: And I feel like I asked you I shouldn't last.
• 38:42
  Speaker 5: I am I am remembering at all? Are you? Okay?
• 38:51
  Speaker 6: I was paying attention and I'm trying to remember where
• 38:53
  Speaker 6: I stand.
• 38:55
  Speaker 4: I think I heargree with you.
• 38:56
  Speaker 2: If you at home zoned out with Samuel below.
• 39:00
  Speaker 3: Put yourself in the comments below, because.
• 39:03
  Speaker 6: Was I zoning out?
• 39:06
  Speaker 4: Or was I zoning in.
• 39:07
  Speaker 6: To the collective unconscious? Was I zoning into a message
• 39:15
  Speaker 6: from God?
• 39:16
  Speaker 3: Because I believe that when we stop listening obsessively listening
• 39:20
  Speaker 3: to the worlds around us, we can listen to the
• 39:23
  Speaker 3: vice that really matters, the vice that not only created
• 39:27
  Speaker 3: the world, but is the world. And I believe in
• 39:30
  Speaker 3: the last thirty seconds I spoke to Good directly and
• 39:36
  Speaker 3: he said, you have to write a play about a sweater.
• 39:43
  Speaker 3: And I believe this message is for all of you.
• 39:46
  Speaker 6: It's a warning.
• 39:47
  Speaker 3: I did not sense. I did not sense joy in
• 39:51
  Speaker 3: this task. I sensed ominous, ominous pain. And it feels
• 39:57
  Speaker 3: a dire warning. And should you not heed this warning,
• 40:00
  Speaker 3: I feel I fear we will burn.
• 40:03
  Speaker 6: We will all burn, burn alive in hell.
• 40:07
  Speaker 5: Later.
• 40:08
  Speaker 4: Should we write the play about the sweater?
• 40:10
  Speaker 2: Now?
• 40:13
  Speaker 4: Should we write the play about the sweater?
• 40:14
  Speaker 5: Now?
• 40:15
  Speaker 4: I believe, I believe.
• 40:16
  Speaker 2: Sent by the gods, I believe I will do well.
• 40:22
  Speaker 2: Let's take it line by line, Maybe popcorn it a little.
• 40:24
  Speaker 6: Maybe we popcorn, We popcorn a play about the sweater.
• 40:28
  Speaker 5: All right, if he likes to continue writing the tale,
• 40:31
  Speaker 5: scream popcorn and continue the tale. Okay, so it's different
• 40:37
  Speaker 5: for regular popcorn. You scream, this is the type of popcorn.
• 40:44
  Speaker 4: It is the Irish popcorn.
• 40:47
  Speaker 5: Popcorn and point, get somebody to scream popcorn.
• 40:50
  Speaker 4: But you want to get.
• 40:50
  Speaker 3: In, Okay, scream popcorn to take it over.
• 40:56
  Speaker 4: A kitchen, missy one single light on.
• 41:02
  Speaker 5: Popcorn. A man walks into the kitchen. What's all this mess?
• 41:07
  Speaker 2: Now?
• 41:07
  Speaker 5: Aye ye ye? What time did I go to sleep?
• 41:10
  Speaker 5: Aye yea ye aye pop corn.
• 41:13
  Speaker 3: A mother tired washes the dishes in the sink. She
• 41:17
  Speaker 3: scrubs and scrubs and scrubs.
• 41:19
  Speaker 4: She looks at him.
• 41:20
  Speaker 6: She says, oh you're tired.
• 41:24
  Speaker 4: Well, I've been slaving away all day.
• 41:27
  Speaker 5: Popcorn.
• 41:28
  Speaker 2: The man looks at her and says, woman, you don't
• 41:32
  Speaker 2: know a thing about slaving away. I'm up in a
• 41:35
  Speaker 2: coal mine, mining away until I disappear. So God forbid,
• 41:40
  Speaker 2: I have a pint at the end of night.
• 41:42
  Speaker 4: Popcorn. A man from the window wearing a green sweater
• 41:50
  Speaker 4: walks up to the front door.
• 41:53
  Speaker 1: Hi Delivery, popcorn, Delivery, delivery, he said.
• 42:01
  Speaker 5: The woman looks a bit shy. Does she recognize the man?
• 42:06
  Speaker 5: She runs to the door. She opens it. She quietly says, Phineus, Phoeus,
• 42:11
  Speaker 5: you shouldn't be here right now, Phineus, what are you doing?
• 42:14
  Speaker 4: Pop Corn? I want you to be here.
• 42:17
  Speaker 5: I got your litters, Popcorn, Higus, you can't you can't
• 42:21
  Speaker 5: come here right now. He's awake, he woke from one
• 42:24
  Speaker 5: of his benders.
• 42:24
  Speaker 4: Popcorn.
• 42:26
  Speaker 3: Phineas says, I can't stay away from you, thinking of
• 42:30
  Speaker 3: you in the cold, hard winter here.
• 42:33
  Speaker 6: I need you to have a sweater.
• 42:35
  Speaker 5: Popcorn.
• 42:37
  Speaker 2: The man from the kitchen. Now that's all they say.
• 42:40
  Speaker 2: Who's at the door. Who's up the door?
• 42:43
  Speaker 5: Popcorn?
• 42:44
  Speaker 1: No one, honey, no one, baby, go back to bed, honey,
• 42:47
  Speaker 1: it's just snather solicitor.
• 42:49
  Speaker 5: I know you don't like solicitors out here with it myself. Corn.
• 42:52
  Speaker 6: The man goes, oh, I don't trust you. Then you're lying.
• 42:57
  Speaker 6: Rout a cow, you lion, round a cow.
• 43:00
  Speaker 4: I am going higher. I'm going out, okay, Popcorn.
• 43:06
  Speaker 5: Yes, he leaves.
• 43:09
  Speaker 2: We see Phoegs and the woman unnamed sit. Would you
• 43:15
  Speaker 2: like a spot of tea before we get started?
• 43:19
  Speaker 5: Popcorn spotlight. A young boy comes out, looks forward popcorn.
• 43:24
  Speaker 5: He sings angelic, ooh, popcorn.
• 43:32
  Speaker 4: A different woman walks in through the aisle. That was
• 43:36
  Speaker 4: the day I met the love of my life. The wind,
• 43:41
  Speaker 4: the dust, the ocean, the puddles. This is an aside.
• 43:49
  Speaker 5: Popcorn.
• 43:53
  Speaker 3: The woman stares at the scene, unfolding the angelic boy
• 43:57
  Speaker 3: singing Phineas and the unnamed woman. And she's older, but
• 44:02
  Speaker 3: at the same time they look the same. The younger
• 44:05
  Speaker 3: woman speaks to the audience and this was the day
• 44:08
  Speaker 3: I made my greatest love and my greatest mistake.
• 44:13
  Speaker 5: Popcorn.
• 44:15
  Speaker 4: Back to the woman, so phileas you're going to take
• 44:18
  Speaker 4: your rick out of what.
• 44:21
  Speaker 5: Curtain? Sorry?
• 44:26
  Speaker 4: That was a warning, a warning, warning, It is a warning.
• 44:32
  Speaker 5: I think the muse wanted us to tell that story today.
• 44:36
  Speaker 4: I believe people will be doing those plays that play
• 44:40
  Speaker 4: the sweater. People will do it in schools, do it
• 44:45
  Speaker 4: in pubs, and do it in their hearts.
• 44:47
  Speaker 5: I took no pleasure in writing that with any of you.
• 44:50
  Speaker 6: I wish I didn't have to.
• 44:51
  Speaker 5: It needed to be done.
• 44:53
  Speaker 4: It had a cold rushing through my body.
• 44:56
  Speaker 2: Unfortunately, we didn't have time to talk about anything really substance.
• 45:00
  Speaker 2: It about playwriting, we missed kind of what it feels
• 45:05
  Speaker 2: like to put an actor in a position.
• 45:07
  Speaker 4: Maybe go around and say one tip you have for
• 45:08
  Speaker 4: young player, and then we'll.
• 45:09
  Speaker 2: Call it outlines.
• 45:11
  Speaker 5: Outline really help you know.
• 45:17
  Speaker 1: They're going to tell you, don't write a play in
• 45:20
  Speaker 1: script format on final draft, use the play format. But
• 45:24
  Speaker 1: the truth is screenplay format is so much easier to
• 45:29
  Speaker 1: just use screenplay format.
• 45:31
  Speaker 5: If the play is good enough, they'll read it.
• 45:35
  Speaker 1: If if they're arguing about semantics, they didn't want to
• 45:37
  Speaker 1: read it in the first place.
• 45:39
  Speaker 3: Here's something I wish I wish I was told earlier on.
• 45:43
  Speaker 3: When you're requesting comps, you got to do it way
• 45:46
  Speaker 3: in advance, way in advance. You've got to email the
• 45:49
  Speaker 3: theater or else day of a couple of hours before
• 45:52
  Speaker 3: they get They get pissed off.
• 45:54
  Speaker 5: No one's expecting the playright to have comps.
• 45:56
  Speaker 9: You have to know they think you're alone.
• 46:00
  Speaker 5: It's your opening night of your play and they think
• 46:03
  Speaker 5: you're alone.
• 46:03
  Speaker 4: They think get fourteen comp comps. Really, get your cumps
• 46:08
  Speaker 4: in early.
• 46:08
  Speaker 2: Get your cumps in early, and put up a fight
• 46:11
  Speaker 2: if they're not giving you anything.
• 46:12
  Speaker 9: I park, make sure to park. Oh yeah, to park
• 46:18
  Speaker 9: your car. You don't tell you that all the time.
• 46:20
  Speaker 9: Make sure the car's in park before you leave it
• 46:23
  Speaker 9: in the park.
• 46:23
  Speaker 4: And they think play rights are just gonna leave their
• 46:25
  Speaker 4: car moving.
• 46:26
  Speaker 5: Here's a fun thing.
• 46:27
  Speaker 2: If you're stuck on a character's voice, just true as
• 46:30
  Speaker 2: somebody you love, and then somebody as the character.
• 46:33
  Speaker 4: And here's another thing. You can always rewrite your dad,
• 46:36
  Speaker 4: Yes you can.
• 46:40
  Speaker 1: If you can't figure out the name, just pick on chery.
• 46:43
  Speaker 1: Not at the moment. That might be why I have
• 46:45
  Speaker 1: a mister green beans. And almost every single thing.
• 46:48
  Speaker 6: I write, Oh that's so funny, I've got cheese.
• 46:51
  Speaker 5: It's as well.
• 46:52
  Speaker 10: If you're ever stuck, have their character pick up a dish,
• 46:57
  Speaker 10: and don't let's not get lost in these acts lines,
• 47:00
  Speaker 10: you know, make them short, make them eat punchy, really.
• 47:04
  Speaker 3: Make them short, because the director is going to pick
• 47:06
  Speaker 3: up from where you left off.
• 47:08
  Speaker 6: And if you're stuck right in a.
• 47:10
  Speaker 4: Ghost, if you're stuck writing a ghost, or write in
• 47:16
  Speaker 4: a dream, and just if.
• 47:18
  Speaker 2: You're stuck on metaphor, just think of what the metaphor
• 47:22
  Speaker 2: the adjective or the verb that you're trying to think growing,
• 47:25
  Speaker 2: Oh tree, just throw a tree.
• 47:26
  Speaker 4: And if they want you to stop using the word abortion,
• 47:29
  Speaker 4: start using bunny.
• 47:30
  Speaker 1: If things are too serious for a little bit and
• 47:34
  Speaker 1: you're not very funny, a writer, just add a pause
• 47:37
  Speaker 1: and then add somebody starts laughing in the silence, and
• 47:41
  Speaker 1: it kind of feels.
• 47:42
  Speaker 5: Like a joke. Anything.
• 47:50
  Speaker 3: Here's a good writing exercise. Prompt follow finish the sentence.
• 47:54
  Speaker 3: Death is Now you got yourself a monologue.
• 47:59
  Speaker 4: Now you got yourself a mo I have that one
• 48:01
  Speaker 4: for last night. I dreamt blank, Yeah, you got yourself
• 48:04
  Speaker 4: a monologue.
• 48:04
  Speaker 5: That's so interesting. I always have it with you.
• 48:07
  Speaker 4: Know, I've always wanted to say this.
• 48:09
  Speaker 5: To you, but I haven't.
• 48:10
  Speaker 4: That gets me, or you know what Mama always said, Yes,
• 48:16
  Speaker 4: the sea is so.
• 48:19
  Speaker 5: I also, i've never liked blank. Oh, I've never liked Yes.
• 48:23
  Speaker 4: Yes, now you got yourself a monlogue.
• 48:25
  Speaker 3: And if you want to make something funny, talk about
• 48:27
  Speaker 3: a food. Yes, food is funny.
• 48:30
  Speaker 2: Yes, I don't know. I don't know why people eat steak.
• 48:35
  Speaker 2: That's funny.
• 48:37
  Speaker 4: There's something funny about that. Now you got yourself a
• 48:39
  Speaker 4: small monologue.
• 48:41
  Speaker 5: Well, we must be off into the.
• 48:42
  Speaker 4: Darkness, very off to it. I'm going to get your bye.
• 48:45
  Speaker 5: I'm going back to my wife tonight. She read a
• 48:48
  Speaker 5: new version of my script. And I know if it's
• 48:50
  Speaker 5: a good one, because she either looks at me and
• 48:52
  Speaker 5: says all right, then it gives it back to me.
• 48:56
  Speaker 5: She throws it away. Bartholome, you fell down? Now what
• 48:59
  Speaker 5: could have been?
• 49:01
  Speaker 2: Oh I'm just my phone is blowing up with these
• 49:04
  Speaker 2: old ideas ideas that I've wrote four years ago. Bartholomew
• 49:07
  Speaker 2: fell down. Some notes, some ideas, Yes, I've got some. Well,
• 49:13
  Speaker 2: this is all half of it is ideas of things
• 49:16
  Speaker 2: I want to write and things I did write and
• 49:18
  Speaker 2: forgot about.
• 49:18
  Speaker 4: Oh, my phone's going off. It's my twenty four year
• 49:22
  Speaker 4: old girlfriend.
• 49:23
  Speaker 5: That was her as.
• 49:27
  Speaker 2: My phone's going off.
• 49:29
  Speaker 4: Phone, Oh you got a real phone.
• 49:33
  Speaker 3: I got a date with a man in a bar.
• 49:36
  Speaker 3: We're gonna we're gonna have a lot in common.
• 49:43
  Speaker 4: This is a brother thing.
• 49:45
  Speaker 5: Guys.
• 49:47
  Speaker 4: Okay, I'm a little gay.
• 49:49
  Speaker 5: Great. I don't have a phone, but if I did,
• 49:55
  Speaker 5: it'd be going off from God saying I'll see you soon,
• 50:00
  Speaker 5: and I'll tell him, no, you won't.
• 50:04
  Speaker 4: I can't believe you're gay.
• 50:08
  Speaker 5: Artists answered the question. Now, that's what they call it
• 50:11
  Speaker 5: show business. Good night, good night, the Beautiful Dynasty.
• 50:17
  Speaker 4: Typewriter, Join our Patreon. It's in the Lincoln Blow Bye Bye.
• 50:23
  Speaker 1: Artists on Artists On Artists on Artists is an improvised
• 50:25
  Speaker 1: Hollywood roundtable podcast created, performed, and produced by Kylie Braakman,
• 50:29
  Speaker 1: Jeremy Colhayanne, Angela Giaratana, and Patrick McDonald. Music is by
• 50:34
  Speaker 1: Gabrielle Ponton. The opinions expressed on this podcast do not
• 50:37
  Speaker 1: reflect the opinions of anyone who works on it, not
• 50:39
  Speaker 1: even the performers, because this is an improvised podcast and
• 50:43
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• 50:46
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• 50:49
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• 50:52
  Speaker 5: Good Night, Hollywood, U,