Latest / Half the Picture / #38 - ANDREW LEWIS CALDWELL

Transcript

#38 - ANDREW LEWIS CALDWELL · Half the Picture

• 0:00
  Nick and I got along so well. At one point, I see him pull the director aside and he's talking to her and she walks up to me and she goes,
• 0:07
  Hey, um, so Nick's gonna do something. I was like, what do you mean? What you gonna do? What do you mean?
• 0:12
  She's like, let's just let him just just do it. It's like, okay. At the end of the scene, he just busts into this musical number and he's pointing directly at me
• 0:21
  and he's like doing this thing completely unprovoked and there was hilarious.
• 0:26
  What was he singing? What was the song he just singing? You'll see in the show. It makes the cut. I was in the show. Yeah, it's in the cut. You'll see. Yeah, you can't miss it.
• 0:42
  Hello, Andrew. Welcome to Half the Picture. How are you doing today, Chief? I'm doing all right, man. How are you? Thanks for having me.
• 0:47
  I'm doing very well, thanks. And it's a pleasure to have you on. Talking about your new series Spiderman a while, which is very exciting.
• 0:53
  So I guess because as we say, so you've, you know, you've been acting for 20 years, you go back to the days when you were a teenager in the
• 1:00
  naughties and things like Hannah Montana. And for you, I guess there's an opening question like, what makes a good actor for you?
• 1:07
  Emotional availability, I think is what makes a good actor. I mean, the ability to identify an emotion as it comes through.
• 1:16
  And not only identify it, but be able to identify it and empathize with yourself and the ability to express that emotion quickly and on the fly.
• 1:27
  You know, I think emotions are a thing that that tend to take us over.
• 1:33
  You know, an emotion, a lot of people think that, that, you know, these emotions sort of hit us like a wave and they do. But I think what makes a good actor is that ability to spot it just before it rolls over and not lose yourself to it and become more in control of the emotion and having that availability of whatever that emotion may be.
• 1:50
  A lot of times, you don't want to really address the actual emotion we're feeling, you know, for like, oh, I'm angry. Technically, are we angry or are we jealous or are as there are resent, you know, is there's, there's, there's usually an emotion that we hide behind the emotion that we express.
• 2:05
  And so being able to identify that emotion and express it and control it, I think is what what makes a good actor. So, so I would say emotional availability is court.
• 2:17
  Okay, so like emotional availability and would you say emotional intelligence just overall as well, rather than like up here more like in here.
• 2:24
  Yeah, I think, you know, what all kind of happens at once, you know, I feel like again, it's an actor has to learn how to identify and examine and evaluate the things that people naturally do without thinking and examining and evaluating it.
• 2:38
  And we don't think about our heart beating, we don't control our heart beating, but it does.
• 2:43
  But if you stop and think and really focus, you can feel the heartbeat, you know, so I think that's, I think that's what it is. I think it's, it's, it's the awareness of yourself in a non critical kind of way.
• 2:58
  You can say like you can't be the critic and the creator at the same time.
• 3:02
  And so you have to be able to let yourself feel what you're feeling, but identify the root feeling of it. I'm not angry. I'm a heartbroken or I'm not, you know, I'm, I'm not, I'm not mad at this person. I'm resentful. I'm envious. I'm feel, you know, so it's about the ability to dive deeper into the initial sort of counterfeit emotion.
• 3:25
  For sure. And view for that, that sort of critical thinking, I guess, which is, which I hear what you're saying is kind of sort of antifetical to being in the moment as an actor.
• 3:35
  Do you find that critical side of you where you sort of analyze maybe what you've done and go, okay, that works. That doesn't, does that come after for you after you've had that emotional moment in the performance?
• 3:44
  Yeah. Yeah. So again, it's, it's, I think the hardest thing for all actors is balancing the critic and the creator.
• 3:51
  Like I think that's the hardest part because you can't not criticize yourself or else you're lacking the self evaluation.
• 3:59
  You know, so you have to be able to, to, to be the critic, but the creator has to be completely set loose. You know, so I find myself in the critical stages in very weird times.
• 4:15
  You know, like, like with new R, I was noticing, so the first day we were shooting, I was noticing sort of this, this way I was moving my body a little bit.
• 4:24
  And it felt really good to do. It felt good. It felt like this is kind of how, and then I saw playback on it and I was like, ah, it doesn't look as good as it feels.
• 4:35
  Now, it doesn't mean that it felt unauthentic. It just, I was like, you know, considering the fact that this is not just an emotional expression.
• 4:43
  This isn't just, this is a film or a show. You have to make sure that it looks good on camera.
• 4:48
  And so the creator, or the critic gets to sort of come out, I think, in between moments of the creative.
• 4:55
  I, you know, people, I hate when actors say like, oh, I hate watching my work. It's like, you're a liar. You love watching your work. You need to love watching your work.
• 5:03
  And so, you know, I allow myself a minute or two during my first time watching the job or watching the project to evaluate.
• 5:13
  And then after that, you have to just let it go and know that that's what was created in the moment and appreciate it.
• 5:19
  For sure. And you mentioned Spider-Man, which of course is the new show you've got coming out.
• 5:24
  You know, with Nick Cage has been Riley Spider-Man and Brendan Gleason, you know, an incredible cast and crew working on that show, including yourself.
• 5:31
  And I guess going back to the start of that project, if I may, like, how did you first get wind of the project? Like, how did it first come on your radar?
• 5:38
  Yeah, it's kind of a crazy story, man. So I did this self-tape audition that I was like super proud of. I mean, I went all out, you know, like I did a lot of my face and I did the whole thing.
• 5:51
  And I did it in my studio, which was funny. I did my self-tape in front of about 20 of my students.
• 5:58
  And I ended up doing my network test in front of another group of students. So I was testing for the show with a live audience.
• 6:06
  But anyway, so I sent it a tape and I was really confident about the tape. I thought, you know, this, if there was ever something that was going to come through, like it would have been.
• 6:15
  But you have to remember too, I just spent the last like five years of my life being, you know, the guy who was pinned for the job at the last minute and kind of pulled or, you know, went in other direction.
• 6:25
  So my expectations weren't high because I was just like, oh, they're probably going to go with some guy from the boys or something, you know.
• 6:33
  So I sent it to the tape and it was weird because a couple of days later, my manager Brian Walsh had said to me, he's like, hey, man, you know, it's not moving forward. And I was like, oh, of course, you know, like what are you going to do?
• 6:44
  And then I don't know where like a month later, he and called and he's like, hey, we're doing a chemistry reading for Spider-Man, they want to zoom with you.
• 6:52
  So I was like, oh, great, awesome. And so I get on this, this zoom with Or in the creator of the show and we were on for like three hours.
• 7:01
  And he was putting in, it was great because it was, you know, my, I always say to my actors in my studio, like, if you can't be directed, you can't be an actor.
• 7:11
  Like you have to be malleable at all time. You have to be able to like make a choice for your character that's based in desire and then be able to conform it to whatever sort of thing is being given to you.
• 7:23
  And these guys gave me everything and they were just throwing options at me for this character to see kind of how quickly I could, you know, keep, keep the intention of my character, but also be malleable.
• 7:35
  Probably because they were like, he's going to work with Nicholas Cage and you need to be able to do anything at any time when he's around.
• 7:41
  And so yeah, so then so I tested for it over zoom and then a couple of days after that, they called and they made the deal and and I was in, I was in spider noir.
• 7:53
  And so then when I got L.A. to shoot, I didn't know what's version of my character. They wanted me to play because in the audition or whatever I did so many different versions. I was like, you know, which one did you guys land on? And they were like, oh, the original, the one you did in the tape. That's what we're doing.
• 8:07
  So yeah, so it's kind of your standard sort of actor, procedure, you know, self tape, callback, work session, wait, wait, wait, wait, wait.
• 8:17
  Yeah, hurry up and wait, as they say, I'll be on set and getting, you know, working in film and TV. And how excited were you to get the part? I mean, were you a comics fan? Were you a Spider-Man fan growing up or, you know, were you a fan of that world?
• 8:29
  Yeah, oh, yeah, big time. And also just like a huge Nicholas Cage fan. I mean, I think anybody is. And so, yeah, I mean, I was, I was a, he was a static man. And, you know, I lived in L.A. 20 years and I just moved to New York. And so it was like going right back home.
• 8:48
  I mean, I ended up staying in an apartment, a block away from the place I lived before I moved. And, and yeah, it was awesome. And what's cool too is like for me,
• 8:58
  Spider-Man who are represented like the next sort of chapter of the career and of the artist, you know, like this was a, this was my chance to, you know, to really do something that was more than just kind of the funny buddy or the, you know, there was a lot, there's a lot of depth to this character.
• 9:16
  And there's a lot of, it's, it's real work, you know, I've been able to phone in a lot of my work over the years, as long as my characters got some jokes. And I, you know, it's, it's kind of wheelhouse character stuff.
• 9:27
  But to be asked to step out of that wheelhouse and then be, be on, you know, center stage with Nick Cage and Brennan Gleason and, and all these amazing actors and gets it playing that sandbox was life changing man. It was, it was insane. It was incredible.
• 9:45
  You know, I was talking to some of the guys at the premier the other day. And I like so much about spider noir is, it's like, if you take a bunch of real artists, because that's what these actors were, man, like they're got to a point where we're on set. It's Brennan Gleason, me, Jack Houston, Nick Cage, the more and more. It's like, you know, all these like amazing actors, apopula from these different levels and variations of their careers or their stardom or whatever it may be.
• 10:11
  But about 15, 20 minutes into us sitting on set, we all realize like, oh, we're, we're like, we, no matter who we are in the stratosphere of the name that we have or the career, we have like, we all really appreciate the artistic and value of acting.
• 10:26
  You know, acting is an art form that I think a lot of people forget is an art form. It becomes so analytical at a certain point. And so once that sort of occurred to us, we just, we realize like, wow, we are a bunch of artists ready to really let loose in the biggest fanciest sandbox of all time.
• 10:44
  I mean, we're in this like Spider-Man world yet, we're not a part of the machine. We really got to like create be interesting and different. So that was awesome.
• 10:55
  I can only imagine, because as you say, you know, all these guys, you know, a terrific actor, it's like, you know, Gleason and Cage, but also say little more Morrison Legion Lee and, you know, Jack Houston.
• 11:04
  I mean, what kind of conversations would you have with those guys? What was the experience like working with them?
• 11:08
  That was the best part, man. You know, like I said, like, you know, you get on movie sets or TV shows and there's a dynamic, you know, and it's not a bad thing. It's just there's just a certain sort of dynamic where people go and sit and do and that didn't exist on this.
• 11:22
  This was very much, we were all on the equal playing field and we were all appreciative of each other and really supportive, man. Like, you know, we had this this day where we were shooting this 24 page scene and it went on for we were shooting it for like a week.
• 11:36
  And it was grueling, man. I mean, it was just lots of, you know, and it's me Brennan Nick, Lamar and Jack.
• 11:44
  And it gets to this point where where it's just a bunch of actors acting with all the insecurities involved to Bren and Gleason being like, oh, that was shy, you know, I'm like, dude, no, we're good, man.
• 11:55
  And like, and same thing, like I would do a take and because it was such a, you know, a grueling scene, you know, you get that memory like, ah, I look over and in Brennan Gleason and Nick are like, you know, so there was a camaraderie on this set that I wasn't expecting.
• 12:12
  You know, you get that kind of camaraderie in the indie films, you know, you do a movie like Haunt and you get these, you know, young and I'm coming actors and you forge this bond and you sort of, but to be on set with such massive star power and experience and yet to still find all of us on the same page sort of, you know, gas and each other up and helping each other get through the moments and stuff was surreal.
• 12:35
  I mean, being able to sit with Nick Cage and talk to him about the generations of our industry and being like, so like of all the eras, like, what, you know, what's the one, like, what do you mean so to hear him talk about, you know, going from raising Arizona to ages where he's doing Connor and face off and, you know, the 90s and 2000s to now where it's, you know, more indie films and films that you kind of have to look for or things that it streamers.
• 13:00
  I mean, the conversations were wide open and so would you have an opportunity to sit on a stage with Nick and Brennan Gleason and they're, they're talking to you like you and I are talking right now, the plethora of information was.
• 13:14
  It was unbelievable and the willingness of them to give it to you, you know, anything you wanted to know really I was talking about face off gets cast or Troy is like one of my favorite characters.
• 13:23
  Yeah, you know, and it goes, you know, if you think about it, he's like, I played cast or Troy for about four days.
• 13:31
  He's like, I wasn't cast or Troy. I guess that's true. He's like, you know, so just stuff like that that you that you get to hear from these guys and never forget, you know.
• 13:42
  Yeah, well, I did want to ask you know, being a cage fan, I presume, like, you know, did you have, do you have any particular favorite cage films or performances?
• 13:49
  I mean, you just named some great ones there. And did you get to talk to Nick about them?
• 13:53
  Yeah, he made a comment about how I won't say who, but he made a comment about how some actor had ripped off cast or Troy in like a movie.
• 14:02
  He's like, he's basically just played cast or Troy. And I was like, Nick, we're all basically just playing cast or Troy.
• 14:09
  But yeah, man, like, you know, I grew up in the 90s, man. So like con air is like huge. I remember just sitting in my house on the HS and watching con air all the time face off.
• 14:20
  Like classic. I mean, the guy, it's so weird. You forget how much content there is of Nicholas cage until you're really like going through it all.
• 14:31
  You're like, man, I mean, this guy's been around doing it to the highest level at every, you know, face of his career.
• 14:40
  And it's amazing. It's amazing. But yeah, I mean, we, yeah, I would say my big ones growing up that I remember just watching over and over face off with con air.
• 14:51
  Two great ones. I mean, for me, raising Arizona is just, it's got to be my number one. Just because I don't know if there's, if there's been, it's just such perfect casting to get Nick cage in that role, you know, as high.
• 15:02
  It's just like so perfect. Like, you know, whoever was cast that movie nailed it on that film. So no, he's fantastic. I mean, with, with Spiderman, while then going into it, because you play his character, Dirk Landon, you know, megawatts, you know, one of the baddies alongside like Brennan Gleason, Silverman and Jack Houston, Samman, you know, tombstone.
• 15:19
  You got these, you know, a great range rose gallery of villains. And I mean, were you aware of the character before you got the part where did you do any, what was the research process for you?
• 15:27
  I don't think anybody is aware of Dirk Landon. Is it an obscure one, isn't it?
• 15:32
  Yeah, which I thought was, and I remember asking, I remember asking Lauren, like, hey, man, I'm just curious, like, why, why, like, megawatt, like, why, like, Dirk Landon and like, and is it because, because why not?
• 15:42
  Like, because no one knows who that is. Like, no, and I'm like, oh, that's a good point.
• 15:46
  I didn't know who I had booked until I had already booked it. So I remember in the audition is when they were like, oh, by the way, because it wasn't in the breakdown or anything.
• 15:58
  Or like, oh, by the way, you have superpowers and you shoot electricity out of your hand.
• 16:03
  And I was like, oh, so in my head, I'm like, am I a electrode? I was like, that's, you know, like, that'd be odd.
• 16:10
  Like, it doesn't feel like electrode of me, like, because again, there wasn't a lot of restraints on this character.
• 16:16
  And so I remember typing in on my phone, like, Marvel electricity villains. And like, a couple came up and I saw Dirk laden in there.
• 16:27
  And it was just this one little excerpt, like, former stuntman who did it and I'm like, that, I don't know if that's the guy.
• 16:33
  I mean, that'd be a pretty obscure supervillanda years. And then turns out it was, which I think to me worked my advantage, man.
• 16:41
  Like, when they started releasing stuff for the show and people thought I was electro, they were pissed.
• 16:47
  They were like, this guy is not. And I remember just like seeing it. I'm like, oh, no, I'm not. Hold on, wait, I'm not electro.
• 16:54
  You'll see, I'm not like, I didn't touch electro. But because megawatt, I think is such a obscure character with, I guess, low expectations.
• 17:04
  I don't think anybody's like, I don't think anybody out there's like, they better not fuck up megawatt.
• 17:11
  So I was able to sort of create this guy. And with what little I had of him of him wanting to be an actor and him, you know, I really had the luxury of creating this dude from the bottom up.
• 17:24
  And I took that opportunity. I mean, I really gave, there's a lot of, I really, I mean, listen, I may, I probably didn't have to work that hard, but I did.
• 17:33
  And I gave him, I gave him a lot of, so, you know, what's cool is is if, you know, God willing, goes, well, you know, I get to meet the first guy that played megawatt.
• 17:43
  For sure, for sure. Yeah. And so there was a lot of, sounds like there was quite a lot of freedom then to develop the character and do something different with it.
• 17:50
  Because you weren't playing this really established, you know, someone like electro, as you say.
• 17:55
  Yeah, there was, there was. And, you know, putting it in the new R world in the 1930s and, you know, the era that they put in helped a lot.
• 18:05
  Because, you know, it's easier. I guess I felt that it was easier to pin down why megawatt was the way he is based on the world that they created for me to already be in.
• 18:17
  And, you know, the POW element of it, the Broadway star element of it, the rest of the Craig Depression prohibition, you know, it lent itself really well to developing a character like this.
• 18:28
  So a lot of the work was done for me in the world. And then I just got to sort of plug in the pieces for him personally.
• 18:38
  Because in the comics, there is a kind of show of his element to that character, to his, to his backstory. And, and it sounds like that. And that is something that's going to follow through in the series that in the character of Dirk's character. There is a show of his element.
• 18:49
  Is that am I right in saying that?
• 18:51
  Yeah, he's, he's a fan of the theater, you know, he sees himself as a Broadway star.
• 18:56
  When I was developing the character, the way I developed my characters is, is I would say like there's never been a story told about a character that was not in the pursuit of a desire.
• 19:05
  And so I, I make sure it should start with like what is his desire.
• 19:10
  And then, and so once I had his desire, which I was like, I, he just wants to watch the world burn.
• 19:16
  Right? So then when it, when it was the next step is desire, and then you know, you're your perception, which is the way people see you, the way you're perceived, you know, this.
• 19:27
  So he had this grandiosity because he's a theater actor and you wanted to be this, you know, this Shakespearean star.
• 19:34
  And then the perspective, which is the internal why, you know, like why my why do I want to watch the world burn.
• 19:40
  You know, and so I was able to pull from the fact that he was in the, he is a POW and all these things. So, so I was able to build that intentional character so well with the desire of like watching the world burn.
• 19:50
  Why do I want to watch the world burn because the world doesn't deserve to be in the light.
• 19:55
  The world is all a stage in a show and we don't know where actors and I'm the only one who's kind of in on this.
• 20:00
  And the absurdity of what life is and why not perform it and how am I going about it, you know, with a song and a dance and grandiosity.
• 20:07
  So the character was really the mapping of this character was, was easier because of the world that I had, but I really was allowed to, to really stretch and do it.
• 20:18
  And they gave, you know, there's a lot of freedom for your character development, especially when you're doing the thing with Nick Cage, you kind of have to be allowed to create a character that's.
• 20:25
  It's going to be a little bit bigger than just what's on the page.
• 20:28
  Well, I do want to ask about that because of course Nick Cage has this energy and has always had this energy for his career.
• 20:33
  And which seems to me to have like an improvisational edge to it and you yourself as an actor as someone who has always also had a great improvisational energy going back to the early days of your career.
• 20:43
  I mean, was there much room for improv on the set and did you get to improvise much with Nick?
• 20:47
  Yeah, so one day we're on set and Nick and I got along so well.
• 20:54
  I think like we both saw the work ethic and we both saw like how we were approaching our characters.
• 20:59
  And so there was, there was a moment early on where so an unspoken understanding where he was like, we see what we're doing here.
• 21:06
  And at one point, I see him pull the director aside and he's talking to her.
• 21:11
  And he was pointing at me like this and I'm like, what is he doing?
• 21:14
  What's going on here?
• 21:16
  And she walks up to me and she goes, hey, so Nick's going to do something.
• 21:20
  Just react to it.
• 21:22
  I was like, what do you mean, what's he going to do?
• 21:24
  She's like, let's just let him just do it.
• 21:27
  It's like, okay.
• 21:28
  And I think this was like my first second day.
• 21:31
  I think it was the second day I said.
• 21:33
  And at the end of the scene, he just busts into this musical number.
• 21:38
  Not in the script, but it's not.
• 21:41
  I didn't know like not well warning and he's pointing directly at me and he's like doing this thing.
• 21:46
  And I had to roll with it.
• 21:48
  But yeah, I mean, Nick got to improvise a little bit more than the rest of us.
• 21:52
  But yeah, there was there was a bit of the freedom.
• 21:55
  Yeah, for sure.
• 21:56
  But he just sang pointing at me, saying this like musical number.
• 21:59
  Completely unprovoked and it was hilarious.
• 22:04
  I mean, it sounds very, very him.
• 22:06
  I mean, what can, what do you remember?
• 22:07
  What was he singing?
• 22:08
  What was the song he just sang?
• 22:10
  You'll see in the show.
• 22:11
  I was in the show.
• 22:12
  Yeah, it's in the cut.
• 22:13
  You'll see.
• 22:14
  You can't miss it.
• 22:15
  Oh, that's so cool.
• 22:16
  I mean, it sounds very him, as I say.
• 22:18
  So that was, was that on a common occurrence on set?
• 22:21
  There'll be a lot of improvisation, a lot of sort of freshness to the scene.
• 22:24
  Yeah, yeah, it's weird.
• 22:25
  I wouldn't say like the script was so good, you know?
• 22:28
  So as far as like improvising dialogue and things like that, like not so much,
• 22:33
  but improvising the emotion that's being projected, yes.
• 22:37
  There was a lot of freedom to sort of change the way your character felt about the situation that they were in.
• 22:43
  And because you're there with like Brendan Gleason and like Jack Houston, you know,
• 22:47
  and the baddies, there's like a sort of triumvirate of villains.
• 22:50
  It's you and it's Houston and then there's a tombstone as well.
• 22:53
  And looking at the trailer, it seemed like those guys, maybe the guys,
• 22:57
  I presume that you were getting the most scenes with.
• 23:00
  I mean, what were those guys?
• 23:01
  Let's work with his like a little gang.
• 23:03
  It seems to me like a gang of villains.
• 23:05
  It was awesome.
• 23:06
  And you know, it's funny.
• 23:07
  The three of us, well, four of us, you know, were all so different.
• 23:11
  And we've all had such different lives, you know,
• 23:13
  and we all come in these different places.
• 23:15
  But yeah, that the group of us, we had a good time.
• 23:18
  I mean, we, like I said, it was such a professional environment.
• 23:23
  Like we were all, we all been there.
• 23:25
  We all knew what we were doing and we all knew it.
• 23:28
  But yeah, I mean, getting to sit on that set and just like bounce off these actors all day
• 23:33
  and be around these like amazing talents was unbelievable, man.
• 23:38
  It was great.
• 23:39
  Yeah.
• 23:40
  And we had a good dynamic and we knew what the other characters were there to do.
• 23:44
  And we supported each other's, you know, decisions.
• 23:47
  And we allowed each other to sort of have those moments and create those things.
• 23:51
  And so the camaraderie was unbelievable.
• 23:54
  Yeah, I can imagine.
• 23:56
  And you said, I remember you said this thing about Dirk, about the character of Dirk of Megawatt
• 24:00
  in one of the press interviews for the series where like a lot of the other villains
• 24:05
  are trying to solve some kind of problem in their lives.
• 24:08
  But Dirk himself is the problem.
• 24:10
  And I was wondering what you meant by that.
• 24:12
  Maybe you can elaborate on what you mean by that for the character.
• 24:15
  Yeah, I'm sure I think how much of it I am allowed to say until we...
• 24:19
  Yeah.
• 24:20
  Like I said earlier, there's never been a story about a character not in the pursuit of a desire.
• 24:29
  A lot of the characters in Spider Noir's desire is for peace, simplicity, you know, look.
• 24:39
  They're all in the pursuit of a desire for something to settle them.
• 24:45
  And my character is in the pursuit of a desire that is the exact opposite of that.
• 24:50
  And so it counteracts what everyone's going after in the show, you know, and that was fun for me
• 24:54
  because when we're all standing at a door and you have Abe and you have Jack
• 24:59
  and their desire is to go this way and mine, you can see the difference.
• 25:03
  You know, you can see just enough standing there then on the other side of this door
• 25:06
  what's there means something totally different to everyone of us.
• 25:10
  So anyway, you can almost say he's kind of the most nihilistic of the three then.
• 25:13
  Absolutely.
• 25:14
  Yeah, I would say that.
• 25:15
  I would say the Dirk.
• 25:17
  Dirk is not there for healing.
• 25:19
  He doesn't want redemption anyway.
• 25:21
  He just wants destruction.
• 25:22
  Yes.
• 25:23
  Okay.
• 25:24
  Sounds like a hell of a fun character to play.
• 25:26
  Yeah, that's great.
• 25:27
  I mean, I've been obviously seeing any of the series yet because it's not out.
• 25:30
  But like, I've seen the trailer.
• 25:31
  And like, even just going by the trailer, it looks like you share at least one action set piece
• 25:35
  with Nick Cage, you know, Spider-Man Noir himself.
• 25:38
  I mean, what was that like to shoot?
• 25:39
  You know, doing the action.
• 25:40
  Amazing.
• 25:41
  That was my first day.
• 25:43
  My first day.
• 25:44
  Show up.
• 25:45
  And, and I'm doing this huge, you know, sequence.
• 25:49
  It was awesome.
• 25:50
  I mean, it was, it was, it takes a second.
• 25:52
  You know, we're on the universal back lot.
• 25:54
  And it's, you know, they built New York City in the 1930s.
• 25:57
  And there's Spider-Man Noir flipping around.
• 25:59
  And there's, you know, it's, I mean, they built this huge world.
• 26:02
  So you kind of have to collect yourself at first.
• 26:04
  Like, when I first got there and they're like, let's run the rehearsal.
• 26:07
  And I'm like, oh, we, you know.
• 26:10
  But once you're able to sort of ground yourself out and, and, and realize what you're there to do,
• 26:16
  it becomes another job.
• 26:17
  But, yeah, I mean, it was a spectacle.
• 26:19
  And it was, you know, a learning fight choreography.
• 26:22
  And, and having this whole fight scene all done within a couple hours.
• 26:26
  I mean, there was no rehearsal for the fight choreography.
• 26:28
  It was the day of.
• 26:29
  And, and, and it looks great.
• 26:31
  And it was intense.
• 26:32
  And the stunt team Solo was the greatest, man.
• 26:36
  We really went for it and, you know, that first action sequence.
• 26:39
  We were going full speed, man.
• 26:41
  Like, I told the, I told the stunt guys.
• 26:43
  I'm like, listen, like, I don't know if I'm going to be able to, I mean, I'm not going to hit you.
• 26:47
  But I don't know if I'm going to be able to sort of do that slow kind of thing.
• 26:51
  Like, I'm so invested in this character.
• 26:53
  And it's so alive in the world.
• 26:54
  I mean, I'm looking around.
• 26:55
  It's so big.
• 26:56
  I don't know if, in the moment, I'm going to, I mean, let's go for it.
• 26:59
  And they're like, let's do it.
• 27:00
  So when you're watching these fight sequences, I mean, we are, we are running.
• 27:04
  Yeah.
• 27:05
  And do you have, you know, I'm guessing you have quite a lot of action over the series, right?
• 27:09
  Because there were certain bits in the trailers, which show like, you know, your powers and sort of, you know, like having added with Nick.
• 27:14
  I mean, is that, was there a lot of that sort of physical?
• 27:16
  Was it quite a physical role?
• 27:18
  Oh, very.
• 27:19
  Yeah, very.
• 27:20
  And I made the characters.
• 27:24
  I made physicality a big part of what I do, you know, like I said, this grandiosity was a big word for me on this.
• 27:32
  And so yeah, everything had a movement.
• 27:35
  Everything whether it was a fight or just walking into a room, like everything for Dirk had a movement.
• 27:41
  So physical was definitely the word for this project from you, for sure.
• 27:46
  And for that to be your second day, I mean, that sounds quite intense.
• 27:49
  I mean, how did you deal with that stressful at all?
• 27:52
  I mean, the fact that it was so early on, was it stressful at all?
• 27:55
  Yeah.
• 27:57
  Stay one.
• 27:59
  And I'm walking on the back a lot to go fight Spider-Man.
• 28:02
  Yeah, it was pretty, pretty wild.
• 28:04
  They will.
• 28:05
  But, but, you know, the, like I said, the team, the crew, everybody around, like they really kind of, once you can get over the, the sheer size of it all.
• 28:15
  And once you can sort of swallow all that, then it becomes much easier to, to focus.
• 28:20
  So yeah, of course, but I got my shit together.
• 28:24
  And Nick has talked about how, with his performance, he was looking at people like, your actors like Bogart and Jimmy Cagney, and you know,
• 28:32
  going back to the golden age of Hollywood and also noir movies, you know, stuff like Kiss Me Deadly and all those great, you know,
• 28:38
  noir movies are the 30s, 40s and 50s for his performance.
• 28:41
  I mean, I did want to ask, like, did you go back and look at any actors or films from that era as well for inspiration?
• 28:48
  No, but what I did do is I kept like a character journal that sort of turned into this like manifesto thing.
• 28:56
  And so I, I would reference a lot of things of that era in that journal to sort of key, you know, I didn't want to be doing an impression.
• 29:05
  I didn't want this, I didn't want Dirk to feel like anything that's been played before.
• 29:11
  I didn't want him to feel familiar to anyone.
• 29:14
  You know, you get into these noir films and it's a lot of like, hey, I can't, I was having a, you know, you get a lot.
• 29:19
  So I wanted him to feel relatable to any generation, it was for better or worse.
• 29:28
  And I didn't want him to feel familiar, I didn't want, I didn't want Dirk Layton to come on screen.
• 29:34
  And it feel like a character that you've seen before in any way, shape or form, which, you know, could either work to my advantage or my discipline.
• 29:43
  But, um, so no, I didn't reference other actors, but I was living in, I was referencing the time period a lot.
• 29:50
  And, and like people of that era and like what I would have, what would have interested Dirk in this time in era and place.
• 29:59
  And so, um, I was, I was definitely submerged in the noir era, but not necessarily in noir art.
• 30:07
  And what kind of specific things were you looking at, stuff that Dirk would like or respond to?
• 30:11
  What kind of things were you looking at research?
• 30:13
  So I would, I would take, uh, because he wanted to be an actor.
• 30:17
  So what I would do is I would have Dirk write all of the things that, that make him better than like a Humbery Bogart or these actors.
• 30:25
  Like I would, I would, um, I was referencing, you know, this need, there's a story point here, but this need for more power.
• 30:33
  And so I was referencing like Tesla and all these different sort of like these things that would have been prevalent to, to when he was around, you know, I would cut out.
• 30:43
  Um, I was cutting out images and pictures of, of different people and things that he would have found fascinating and then having an opinion on it in that journal.
• 30:54
  And linking that, I guess, to his electricity power stuff like Tesla, that all the speeds in to that.
• 30:59
  And you're working with so many great people in front of the camera, but also behind the camera.
• 31:02
  You know, some great directors on the series.
• 31:04
  People like, you know, Harry Bradbear, you know, who directed, killing even Fleabag over here.
• 31:09
  I mean, what was the crew like to work with? What were the directors like to work with on the show?
• 31:12
  Amazing. There was a, there was like one point in time where we were looking around.
• 31:17
  I was talking to the special effects makeup artist.
• 31:20
  And he's like, I'm just off the top of my head looking around and noticing there's well over 100 MEs on this set.
• 31:26
  Um, and I said something to Dan, our producer.
• 31:29
  I was like, you know, it's pretty amazing that you guys were able to put together the best of the best of the industry.
• 31:36
  I mean, it was no expense spared. The best of everyone was there.
• 31:42
  I mean, from the, from the PAs to the camera department.
• 31:45
  And you could tell, I mean, it was a machine. It ran flawlessly.
• 31:50
  And it was, it was this massive, beautiful thing. And the crew was incredible.
• 31:55
  No one there, everyone there was the best in their business.
• 31:58
  And did you get to me and talk with Phil Lorde and Chris Miller, who of course knows exec producers on the project.
• 32:03
  Do they ever come down and visit the set?
• 32:06
  Yeah, they, they'd sort of, you know, come check it out every once in a while.
• 32:09
  But again, you know, we were, we were all really kind of focused on the, the thing.
• 32:13
  And I think a lot of them knew that. Like we were, there was definitely a, um,
• 32:17
  that they, they kind of kept the, the business away from the art a lot.
• 32:21
  Like we were sort of focused. So there wasn't a lot of that going on.
• 32:25
  But yeah, but like we all met and everybody was there and it was great.
• 32:29
  And how much is the Spider-Man noir comic itself?
• 32:33
  Was it, how much of that was an element in the production?
• 32:35
  Because I remember reading that comic around about when it came out.
• 32:38
  And it's a, and it's a really, you know, it's really good.
• 32:40
  And the series really captures that aesthetic.
• 32:42
  I mean, what, how much of an element was that for you and just generally on the show?
• 32:46
  Um, look, I think that they, I think they, there was a lot of respect given to the comic.
• 32:53
  Um, I think that it mattered to them that fans of the comic are going to feel good about what they're seeing.
• 32:59
  And so that there was a lot, you know, again, my character.
• 33:03
  There wasn't much of a reference point, you know, there wasn't really much from the comics for me to pull for.
• 33:09
  But I do know that there was a lot of respect given to the comic.
• 33:13
  And then as you mentioned earlier, the show had its premiere, you know, a few days ago.
• 33:18
  And it's coming out, you know, next week, you know, I think on the 25th in the US and then 27th everywhere else.
• 33:23
  I mean, what was the premiere like?
• 33:25
  It was awesome. It was really good to see everybody.
• 33:29
  It was, you know, we, we all had a lot of fun.
• 33:32
  Uh, again, it was like they went all out. It was really great.
• 33:35
  Um, it was really great seeing everybody and getting up there and sort of checking back in after the year.
• 33:40
  But the premiere was a blast. Um, it was in New York City.
• 33:43
  You know, we, we, it was, it was great. It was awesome.
• 33:46
  Yeah, I guess it must be nice checking back in with all the guys singing.
• 33:49
  Because I want to say that you guys shot this, um, quite a while ago.
• 33:52
  But was it about a year ago that the show happened?
• 33:54
  Yeah. Yeah.
• 33:55
  Yeah. And we've stayed in touch. I mean, I've had those guys on my podcast.
• 33:58
  And, um, we've, I've had a lot more in Abe and, um, Jack Houston.
• 34:03
  And so we, we've stayed in touch. But yeah, it was great.
• 34:05
  And it didn't feel that long ago.
• 34:07
  It's weird. Like when we're around each other, it just kind of clipped right back like it didn't feel like it had been over a year.
• 34:12
  But yeah.
• 34:13
  And what kind of reactions did you get to the, uh, to the series?
• 34:16
  I mean, I guess I imagine it was probably the first episode that was premiered.
• 34:19
  Yeah, they've made the first two episodes.
• 34:21
  People loved it. I mean, it was great. It's so beautiful.
• 34:24
  And we watched one episode in color, one episode in black and white.
• 34:27
  Um, uh, yeah, the response was amazing.
• 34:30
  I think people really appreciate this show because of the level of detail that's given.
• 34:35
  I mean, this is a show that's made to be, um, special.
• 34:40
  Like it, why would you know, and it is.
• 34:42
  So I think you really are responding well to it.
• 34:44
  Hmm.
• 34:45
  I did want to ask actually about the black and white and the color versions.
• 34:48
  The true hue, I believe is the name, the term that's given to the, uh, the color version,
• 34:52
  which is sort of is really saturated, kind of like height and technical, uh,
• 34:56
  version of the show.
• 34:57
  And then you've got the black and white.
• 34:58
  I mean, was that an element that was actually on like that you shot in?
• 35:01
  So would you, would you, how did that work on the set like shooting black and white?
• 35:05
  Like, uh, yeah, that we were well aware of it.
• 35:10
  I mean, it was a big part of what we were doing.
• 35:12
  You know, um, you know, I'll think God it was Sony.
• 35:15
  The more cameras than they could dream of.
• 35:17
  So it was just a lot of cameras, a lot of cameras.
• 35:19
  But, um, you know, we, I've watched it in both.
• 35:23
  I've watched it in color and in black and white.
• 35:25
  And like, I, that's how I recommend you do it because it's, it, it, it really does feel like a different show,
• 35:32
  depending on which version of it that you're watching.
• 35:34
  So I mean, I, I, how they recommend watching both.
• 35:38
  Yeah.
• 35:39
  I mean, I remember also well says something about like how every performance, uh, every artist performance looks better in black and white.
• 35:44
  Just does, like a black and white does something to the, to the performance and to the image that it just is so stark and so beautiful.
• 35:52
  You know, and the trailer and the series look really looks captures that, you know, the trailer in black and white looks gorgeous.
• 35:57
  So I can't, I think that's, I can't wait to see it in black and white person.
• 36:00
  I think that's the version that I'm most keen to see.
• 36:02
  Yeah, it's, it's, it's, you're not every disappointed.
• 36:05
  And what was the, you touched on a bit there, but like on when you were shooting that on set.
• 36:09
  So would you shoot like you'd have two cameras running one shooting color one in black and white.
• 36:14
  Like how did it work on the set capturing that?
• 36:16
  Yeah, I mean, well, it was less about the, what the cameras are doing and more about the angles and more about like specific shots for the black and white.
• 36:23
  Not that they're necessarily different, but you would just know like this is, this is going to be a shot that's going to shine in the black and white.
• 36:30
  Um, and then you go, well, this is going to be a shot that you just kind of knew like what artistically and aesthetically you were framing up for it.
• 36:38
  So the lighting would be different depending on what was being, in terms of whether it was black and white, you would like for black and white.
• 36:44
  Is that right?
• 36:45
  Well, yeah, yeah, pretty much, yeah.
• 36:47
  Yeah, but also light for color.
• 36:48
  Right.
• 36:49
  Yeah, well, yeah, a lot of cameras that I'm guessing, a lot of cameras, a lot of lights, a lot of hardware.
• 36:54
  Yeah, fantastic.
• 36:55
  Well, I mean, I can't wait to see the show.
• 36:57
  You know, I'm really excited to, you know, see it just based off the trailers and what people have said about it already.
• 37:02
  I mean, jumping off from a spot around the bathroom for a minute.
• 37:04
  But like, I mean, one of the things, you know, that you've been in more recently is rep matrix resurrections.
• 37:09
  You have a small role in there in kind of one of the key scenes with between Keanu Reeves and Carrie Mars, you know, Neo and Trinity.
• 37:16
  The scene where they kind of read, they meet again after all these years.
• 37:19
  And I did want to ask as a fan and also obviously as a matrix fan.
• 37:22
  Like, you know, I could say it's jumping off a spot by under one for a second.
• 37:25
  But like, I just had to ask like, what was it like shooting matrix resurrections?
• 37:29
  Because that's such an interesting film.
• 37:31
  What was your experience like?
• 37:32
  Well, it was a very interesting experience.
• 37:34
  We shot it during COVID.
• 37:36
  We were in Berlin.
• 37:38
  So it was a very isolating experience.
• 37:42
  Because we kind of had to stay isolated.
• 37:44
  Matrix resurrections was, it was, it was great.
• 37:46
  It was another spectacle.
• 37:49
  Absolutely.
• 37:50
  Working with Keanu was great.
• 37:51
  Carrie and Moss was amazing.
• 37:52
  She's the sweetest.
• 37:54
  Yeah, the matrix was.
• 37:57
  It was a very practical.
• 37:59
  Well, is, are you an actor?
• 38:00
  Who do you, um, do you have a preference for like spectacle?
• 38:03
  Or for like the smaller, more sort of maybe independently minded projects?
• 38:07
  What's funny is like, you know, the spectacle wears off.
• 38:11
  Like when, when I was doing Spider-Man, like, when you, when I like I said,
• 38:14
  when I shoot up for that first fight scene and it's the back lot and it's New York.
• 38:17
  Like once that initial sort of woe goes away, it's, they're all the same to me.
• 38:23
  Whether it's an indie movie, whether it's a big budget, Hollywood day, you know,
• 38:27
  that it's all the same process.
• 38:30
  You know, once you can get over the environment, it all feels the same.
• 38:33
  So I have no preference.
• 38:35
  I treat them all the exact same.
• 38:37
  Yeah, we had, we had an over actor on the podcast recently, Eddie Marzan,
• 38:40
  who, um, who's the loads of fantastic stuff, you know,
• 38:43
  you know, both big and smaller scale projects.
• 38:45
  And he was saying, yeah, it's the exact same whatever you're working on.
• 38:47
  You do, as an actor, you approach it the exact same way.
• 38:50
  Yeah, that's a change anything.
• 38:52
  Yeah.
• 38:53
  And then with, with Matrix, like say, because I just as a fan, like I just want to ask,
• 38:56
  like, we've worked with Keanu and then Carrie and also Lana Wachowski, you know,
• 39:00
  the great Lana Wachowski.
• 39:01
  I mean, like, I mean, you tell, you tell the story about Keanu, like, Keanu,
• 39:04
  was it, was it, was it true that it took a, it took like a week,
• 39:07
  a few days to sort of figure you guys to figure each of route on the set?
• 39:10
  Am I right in saying that?
• 39:11
  Like, you know, because I was, I was sort of playing my care, you know,
• 39:16
  and there was originally much more of that character in the, in the film.
• 39:21
  But my character had this awareness of the Matrix and of the world that we were in
• 39:27
  that allowed him to have this sort of a brass, loud sort of theatrical approach to things.
• 39:38
  And so, and Keanu such a subtle sort of subdued, you know, his work is quiet.
• 39:45
  You know, like, and, and my character in, in resurrections was loud.
• 39:49
  And so, I think it just took a while for us to sort of gauge for him to sort of figure me out.
• 39:55
  Like, how much of this is really like this guy and how much is this,
• 39:59
  is him just staying in it and staying in the work.
• 40:01
  And so, I, I, I definitely did a fool of myself a lot.
• 40:05
  And it was worth it, I get.
• 40:09
  And I'm all right in thinking like something like it was this birthday on set one day
• 40:13
  and then there was something about, it was like a Bill and Ted's, like Bill and Ted had just come out.
• 40:17
  And there was something to do like the box office of that.
• 40:19
  Am I right in saying that? I was like, red fake news to Keanu Reeves.
• 40:23
  Like, I don't know what, dude, I, you know, when you're on these sets,
• 40:27
  like your brain just sort of goes numb, you know.
• 40:30
  And it's such an idiot.
• 40:32
  And I was, I was like scrolling through a Bill and Ted had just come out.
• 40:36
  And I was talking, I read something like quickly.
• 40:38
  And that was my first mistake.
• 40:40
  And I was just sort of doom scrolling.
• 40:42
  And I saw like Bill and Ted makes, you know, breaks records and streaming views.
• 40:46
  But I was like, oh, shit, good for him.
• 40:48
  And so we go to sat and this is birthday.
• 40:50
  And I'm like, hey, man, congratulations.
• 40:52
  I just read Bill and Ted, like broke this crazy record.
• 40:54
  And he's like, what?
• 40:55
  And so it's everybody's trying to scramble to figure out like what record they broke.
• 40:58
  And then I found out like that wasn't true.
• 41:00
  It was like a parody joke.
• 41:02
  And so I basically made fun of him on his birthday.
• 41:06
  Well, he sounds like he's a pretty robust individual.
• 41:09
  I'm sure he laughed about it, I'm guessing.
• 41:12
  Yeah, he did.
• 41:13
  Oh, it's great.
• 41:14
  And you mentioned something earlier, which is interesting to me,
• 41:17
  which is that, like, I know that you run your own app to studio.
• 41:20
  In fact, there's a logo for it there in the background.
• 41:22
  Yeah, there it is.
• 41:23
  And I remember when I was doing my sort of research for this chat,
• 41:27
  I was reading about the app to studio and the kind of philosophy behind it.
• 41:31
  And I just wanted to ask about that.
• 41:33
  What made you want to start the app to studio in the first place?
• 41:37
  So after my son was born, my wife and I were in California.
• 41:43
  And it was right after COVID and the strike and all this stuff.
• 41:48
  And she's from Western New York.
• 41:50
  And so we had our son.
• 41:52
  And I was like, why don't we go back and live in Western New York.
• 41:57
  And I was still at all my additions were on tape.
• 42:00
  Anyway, so I didn't really need to be in Los Angeles anymore.
• 42:03
  And I was like, and she's like, what are you going to do?
• 42:06
  Just sit at home and sit around and do nothing and wait for the phone to ring.
• 42:10
  I'm like, that's what I'm doing here.
• 42:12
  But I was like, no, I'll start a little actor studio and I'll teach acting.
• 42:16
  And I'll work with actors and do stuff.
• 42:19
  And so when I got here, I did that.
• 42:22
  But then I also noticed there's this kind of budding industry out here.
• 42:25
  And there's these really great filmmakers out here that just kind of don't know
• 42:28
  what to do with what they know.
• 42:31
  And so it started the studio.
• 42:32
  It started as just sort of teaching acting and industry tips.
• 42:36
  And it's evolved all the way into a production studio where we help
• 42:40
  make projects for local filmmakers.
• 42:42
  And we make our own projects.
• 42:44
  And we write original content.
• 42:46
  And I'm working with people who want to learn how to be writers,
• 42:49
  directors, actors.
• 42:50
  And we just sort of come to this studio five days a week and create and produce.
• 42:55
  And you know, it's it's a great little community.
• 42:58
  It sounds great.
• 42:59
  And I remember reading something you said once that like the one of the part
• 43:03
  one of the ideas was also to create something that was independent
• 43:05
  from the sort of LA bubble of the industry.
• 43:08
  Is that what another part of it?
• 43:10
  Yeah, big time.
• 43:11
  You know, you get stuck in this trap when you're in the entertainment industry
• 43:15
  where you feel like you have to go through so many gatekeepers.
• 43:19
  And so you end up becoming.
• 43:22
  You end up finding yourself working just to be told no.
• 43:25
  You know, like everybody just assumes.
• 43:28
  And so to have the freedom to be able to create something new.
• 43:32
  And I think because the industry is changing so much,
• 43:35
  there's opportunity for new paths to be carved.
• 43:39
  Whether it be how to get discovered as an actor or what type of content is created
• 43:44
  and how you deliver it and how it's packaged together.
• 43:48
  And so I've taken this opportunity here in New York to really try to carve a new
• 43:53
  lane in the industry for growth and development and independent artistry.
• 44:03
  And how do you and you mentioned that the industry is changing?
• 44:06
  How do you mean it's changing?
• 44:07
  What ways do you think it's changing?
• 44:09
  Well, I think things I don't think everything is in the same hub anymore.
• 44:12
  You know, you had to be in Los Angeles or New York to break in as an actor.
• 44:15
  And like I don't think that's necessarily the case anymore.
• 44:18
  I think it's become bigger and smaller at the same time.
• 44:24
  Like you people more there's more access to the industry now than there ever has been.
• 44:30
  But the the the opportunities are significantly less.
• 44:38
  And they're being given out to to a different sort of a person.
• 44:43
  You know, the days of a of a cattle call casting, you know,
• 44:47
  where you just send in all your new actors to go meet a casting director and audition for a
• 44:52
  co star on a on a network show like those are kind of over.
• 44:56
  You have to be seen and pulled in rather than sort of knocking on the door kind of thing.
• 45:02
  And in terms of the studio that you've set up, like what kind of strategies are you developing
• 45:07
  and sort of I asked to adapt and deal with those those changes for your students?
• 45:12
  So we write all original content for all of our students.
• 45:15
  So like most acting classes when you go, you're doing things from other films or plays.
• 45:20
  And we write all original stuff and we shoot everything in a sort of black box stage
• 45:25
  that I have here that we build out, you know, aesthetically like where there's an artistry to it.
• 45:30
  So like we use these backdrops, but we like them so that, you know,
• 45:34
  we're not trying to fool someone into thinking that we're, you know, on a beach.
• 45:39
  So we make sure that everything is aesthetically pleasing, but also artistically pleasing based in story.
• 45:46
  And so my goal is to sort of launch people, you know, people and materials
• 45:52
  and having stories that people find interesting through this, this short form content
• 45:58
  and allowing actors that, you know, don't live in LA or don't have, you know, managers and agents
• 46:04
  to work on material that has meat and that is like, you know, something that they can really express that, you know, it's so,
• 46:09
  think about this. I've been acting for 20 years and it wasn't until spider noir
• 46:14
  where I got to really do something artistic, you know, it was a lot of just, you know,
• 46:18
  and like, look, there's art to that too. Don't get me wrong.
• 46:21
  But to really dive into something to give me the opportunity to be seen doing what I feel like I'm capable of
• 46:27
  and never got that change for 20 years.
• 46:30
  It was always sort of those wheelhouse characters that pay the bills and that's great.
• 46:35
  But to give these actors with, with no, you know, they don't have to spend 20 years playing the best friend.
• 46:43
  You know, they don't have to do the same kind of thing that the hell, you know,
• 46:47
  they can, I could take a guy who's never been in anything and give him an Oscar-type role.
• 46:53
  So right off the gate, he's getting to experience something that has that depth and weight to it.
• 46:59
  And I'm guessing those roles that you just discussed, like on Spider-Man Noir, you know,
• 47:03
  playing something that has, I guess, like, yeah, there isn't in that normal wheelhouse of parts.
• 47:08
  Is that something that you'd like to keep doing to pursue down the line? This is the beginning of the new age.
• 47:14
  I love a lot of the stuff that I've done and I'm really proud of like the 20-year career I have
• 47:20
  and I'm proud of the stuff I've been in all of it.
• 47:23
  I mean, you know, there's this stigma about people who are on like Disney shows
• 47:28
  and like, you know, working on Disney, especially when I was working on it.
• 47:31
  It wasn't cool to be on the Disney Channel.
• 47:33
  I've always been so proud of all that from Hannah Montana to Spider-Noir, man.
• 47:38
  Like, it's all been great.
• 47:41
  But I definitely now have a taste for something a little bit more than just being able to be like the funny best friend
• 47:49
  or the wacky horny buddy, you know.
• 47:52
  I think after doing this, I listen, I will happily go be in another movie where I play the wacky horny buddy.
• 47:59
  But I do, I think now after this and experiencing Spider-Noir,
• 48:05
  I definitely think I have a different taste for some of the work I want to do and I think because of my studio
• 48:12
  and because I've simplified my life a bit by not living in LA and not having to grind and grind and grind.
• 48:18
  Now I sort of do get to be like, well, hey, maybe I don't have to take every opportunity that comes my way.
• 48:24
  Like, maybe I can sort of wait for the right thing, you know.
• 48:27
  I can cobble shoes until something comes along.
• 48:31
  Fantastic. Well, hey, I think it's cross, you know.
• 48:34
  And I think that's a lovely note to wrap up on, Andrew.
• 48:37
  But like, this has been great fun and hey, you know, I can't wait to see the series.
• 48:40
  I can't wait to see your work in it.
• 48:42
  And yeah, I think I hope that, you know, more of this to come, more of this to come hopefully, you know.
• 48:47
  Keep my fingers crossed for you.
• 48:48
  Absolutely. I mean, thank you so much for having me out.
• 48:50
  I really appreciate it. It was nice meeting you.
• 49:01
  Hey everyone.
• 49:02
  Thanks so much for listening to my chat with Andrew Lewis Coldwell.
• 49:05
  Remember to like and subscribe to the podcast.
• 49:07
  See you never miss an episode.
• 49:08
  And stay tuned for more exciting interviews and guests coming soon on after the picture.