Latest / Podlandia: A-O Rewatch with Fred Armisen and Carrie Brownstein / 105: Blunderbuss

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105: Blunderbuss · Podlandia: A-O Rewatch with Fred Armisen and Carrie Brownstein

• 0:02
  Speaker 1: Hey, hey, hey, hey, watch, watch.
• 0:04
  Speaker 2: Hey, hey, hey, watch, watch.
• 0:05
  Speaker 1: Hey, hey, hey, hey, watch, watch.
• 0:06
  Speaker 2: <HAL> <HAL> <HAL> <HAL> <HAL> <HAL> <HAL> <HAL> <HAL> <HAL> <HAL> <HAL>.
• 0:09
  Speaker 3: <HAL> You're watching Podlandia.
• 0:33
  Speaker 2: Hi, I'm Fred Armisen.
• 0:36
  Speaker 1: And I am Carrie Brownstein.
• 0:38
  Speaker 2: And this is AO Rewatch. So today we're going to
• 0:44
  Speaker 2: talk about, from season one, episode five, Blunderbuss.
• 0:49
  Speaker 1: Blunderbuss, which is the made-up music festival.
• 0:54
  Speaker 2: Kind of like many music festivals that you know already.
• 0:57
  Speaker 2: I don't know how the name came to us. I know.
• 1:00
  Speaker 4: I'm trying to think, like, doing word association, like what
• 1:04
  Speaker 4: we would have been thinking blunderbuss, like it's not Lollapalooza.
• 1:10
  Speaker 4: It's not like, and there's ones that came after it
• 1:13
  Speaker 4: that sound like it, but I'm trying to think of
• 1:14
  Speaker 4: something that came before.
• 1:15
  Speaker 2: Anyway, I wonder if it's more like that. It was
• 1:18
  Speaker 2: the syllables, the amount of syllables.
• 1:19
  Speaker 3: Yeah.
• 1:20
  Speaker 1: The alliteration.
• 1:21
  Speaker 2: Yeah. Yeah.
• 1:22
  Speaker 1: The kind of nonsensical, but almost makes sense. Yeah.
• 1:26
  Speaker 2: Yeah. I think that that first season, um, We just
• 1:31
  Speaker 2: set aside this... We just wanted to talk about music
• 1:34
  Speaker 2: festivals and it was almost like an excuse to do
• 1:37
  Speaker 2: something more about the music scene.
• 1:39
  Speaker 4: In my mind, this is another John Kreisel, who's one
• 1:43
  Speaker 4: of our co-creators.
• 1:45
  Speaker 1: This got in his head. He was like, do a
• 1:49
  Speaker 1: music festival.
• 1:50
  Speaker 3: Yes.
• 1:50
  Speaker 1: Am I right?
• 1:51
  Speaker 2: That sounds right.
• 1:52
  Speaker 1: Yeah.
• 1:54
  Speaker 4: And this is one of the many episodes, but certainly features...
• 1:59
  Speaker 4: probably more than most, where we have real-life musicians.
• 2:03
  Speaker 2: That's right.
• 2:05
  Speaker 4: This has two members of the Decembrists, Colin Malloy and
• 2:08
  Speaker 4: Jenny Conley, Corin Tucker, who is my longtime friend and
• 2:13
  Speaker 4: bandmate in Slater Kinney, and James Mercer from The Shins.
• 2:18
  Speaker 1: Am I missing anyone else?
• 2:19
  Speaker 2: No, that's it for this one.
• 2:20
  Speaker 1: For music.
• 2:21
  Speaker 2: For music. And they play a band.
• 2:24
  Speaker 1: They play a band. Echo Echo.
• 2:27
  Speaker 2: Echo Echo. And so we start the, well, the whole
• 2:31
  Speaker 2: episode starts with the cold open of flyers being pasted
• 2:35
  Speaker 2: on top of each other.
• 2:36
  Speaker 4: One of the only cold opens I can think of,
• 2:38
  Speaker 4: although I have not yet rewatched all eight seasons, but
• 2:42
  Speaker 4: we are not in it.
• 2:43
  Speaker 1: And that's pretty rare.
• 2:45
  Speaker 2: Yeah.
• 2:46
  Speaker 1: It is Doug Lusenhop.
• 2:47
  Speaker 4: You don't see his face really, but Doug Lusenhop was
• 2:50
  Speaker 4: our editor at the time, editor for many seasons.
• 2:52
  Speaker 2: Yeah.
• 2:54
  Speaker 1: It's him.
• 2:55
  Speaker 2: Yeah.
• 2:55
  Speaker 4: And he is putting up flyers. And he's kind of aggressively,
• 3:00
  Speaker 4: hurriedly putting up flyers. It's a very like percussive, it's
• 3:05
  Speaker 4: actually a very musical cold open.
• 3:07
  Speaker 2: Yes.
• 3:07
  Speaker 4: Which is, I think, also a real like common feature
• 3:13
  Speaker 4: of the show is to edit in a kind of
• 3:15
  Speaker 4: musical way. It vacillates between this very like percussive music
• 3:21
  Speaker 4: and then this kind of these dulcet tones as the
• 3:23
  Speaker 4: flyers change to this woman putting up a missing cat flyer.
• 3:27
  Speaker 2: Yeah. And it's kind of frenetic too.
• 3:31
  Speaker 4: Yes.
• 3:31
  Speaker 2: It just jumps around a lot. But I like it
• 3:34
  Speaker 2: because the message is, it's just something that must happen
• 3:38
  Speaker 2: all the time. Yeah.
• 3:39
  Speaker 1: It tells a story visually.
• 3:40
  Speaker 2: Yeah. This missing cat.
• 3:42
  Speaker 1: Yeah. It reminds me of the bike rides guy.
• 3:49
  Speaker 2: Yeah.
• 3:50
  Speaker 4: Another very music-based, percussive kind of editing where there's like
• 3:55
  Speaker 4: a lot of drums and stuff. Yeah.
• 3:58
  Speaker 2: I also, it reminded me also of back in the
• 4:03
  Speaker 2: day or in the 90s when I was in a
• 4:05
  Speaker 2: band and how much I did go through or many
• 4:10
  Speaker 2: musicians went through putting up flyers.
• 4:12
  Speaker 1: Oh boy, yes.
• 4:13
  Speaker 2: It was a real, it was like a focal point
• 4:16
  Speaker 2: of the week.
• 4:17
  Speaker 3: Yes.
• 4:17
  Speaker 2: We've got to put up these flyers. How are we
• 4:20
  Speaker 2: going to do it? We'd use sometimes, you know, wallpaper
• 4:23
  Speaker 2: paste or something.
• 4:24
  Speaker 1: Or stapler.
• 4:25
  Speaker 2: Stapler.
• 4:26
  Speaker 1: And it was a little.
• 4:28
  Speaker 2: little bit like that where you would notice like wait
• 4:31
  Speaker 2: so i think someone put a flyer over our oh.
• 4:33
  Speaker 4: Yes flyer wars yes i also in high school before
• 4:36
  Speaker 4: i was in a band but was very starting to
• 4:38
  Speaker 4: get very obsessed with music i would drive around after
• 4:42
  Speaker 4: shows that happened and take flyers and from for my
• 4:45
  Speaker 4: archive and i still have a lot of flyers.
• 4:48
  Speaker 2: Oh you mean take them down yeah oh yeah.
• 4:51
  Speaker 1: Yeah i wanted to keep them for.
• 4:53
  Speaker 2: Do you still have them yeah oh i want to
• 4:55
  Speaker 2: see that.
• 4:56
  Speaker 4: Yeah i have um When I was in high school,
• 4:59
  Speaker 4: there was this band called Seven Year Bitch. They were
• 5:02
  Speaker 4: on CZ Records, same time as Nirvana and Mad Honey.
• 5:06
  Speaker 4: And their guitarist, Stephanie Sargent, she sadly passed away. And
• 5:15
  Speaker 4: there was these flyers.
• 5:18
  Speaker 1: With her name on it. And I went and got that.
• 5:20
  Speaker 4: And then I collected flyers, as many as I could.
• 5:23
  Speaker 4: I mean, I just wanted....
• 5:26
  Speaker 1: Oh, that's so cool that you did that.
• 5:27
  Speaker 2: All of that ephemera.
• 5:28
  Speaker 4: And I keep all the early Slater-Kinney flyers in my archive.
• 5:32
  Speaker 1: But, I mean, it was such a great art form.
• 5:34
  Speaker 1: And there were people who, that is what they did.
• 5:36
  Speaker 4: I mean, at a time, talk about a time when
• 5:38
  Speaker 4: the music industry was like a legitimate industry, like with
• 5:42
  Speaker 4: a huge infrastructure that supported many people, including artists that
• 5:46
  Speaker 4: made flyers.
• 5:46
  Speaker 2: Oh, yeah.
• 5:47
  Speaker 1: And posters.
• 5:48
  Speaker 2: And kinkos to an extent, too. Yeah. I don't know
• 5:51
  Speaker 2: what Portland had at the time, but in Chicago it
• 5:54
  Speaker 2: was kinkos. And it was a real, it was a
• 5:58
  Speaker 2: huge part of your day figuring out, you know, how
• 6:01
  Speaker 2: you're going to get this many flyers and also doing
• 6:05
  Speaker 2: this sort of literal cut and paste.
• 6:07
  Speaker 3: Yeah.
• 6:07
  Speaker 1: And fanzines too.
• 6:08
  Speaker 2: Yeah. Yeah.
• 6:09
  Speaker 1: All of it.
• 6:10
  Speaker 2: I wonder now though, now that I am this age
• 6:15
  Speaker 2: and the way that I think of bands and the
• 6:17
  Speaker 2: way I think of making things, what was this obsession? Like,
• 6:21
  Speaker 2: why was it so important for me? at the time
• 6:23
  Speaker 2: to be like, you got to come to our show.
• 6:25
  Speaker 2: Now I'd be like, I don't care. Why don't you
• 6:28
  Speaker 2: just put an ad out? And if people come, great.
• 6:30
  Speaker 2: And if not, that's fine. This like campaign, like it's
• 6:34
  Speaker 2: got to be full. It would have been fine if
• 6:36
  Speaker 2: it wasn't, I mean, it wasn't ever full anyway, but
• 6:39
  Speaker 2: what's the difference that it's so, it was freezing in
• 6:42
  Speaker 2: Chicago to put that much work into it. Now, anyway,
• 6:46
  Speaker 2: that must've been, Yeah.
• 6:47
  Speaker 4: Well, I mean, I think we didn't have the means,
• 6:49
  Speaker 4: like there were, there was, there was no one that
• 6:51
  Speaker 4: was supporting us. Like we weren't, we couldn't afford an ad.
• 6:54
  Speaker 4: And I'm just talking about an ad in like.
• 6:55
  Speaker 1: The local weekly.
• 6:57
  Speaker 4: If you were lucky, the club or venue would have a,
• 7:01
  Speaker 4: you know, their listing and your name would be on there,
• 7:03
  Speaker 4: but you know, there wasn't the internet. So how else
• 7:06
  Speaker 4: would people know unless there was a flyer? Like there
• 7:08
  Speaker 4: was no like website with like ever out or like
• 7:11
  Speaker 4: a calendar or something, you know, you really, it was
• 7:14
  Speaker 4: all tactile and visual. So whether you cared or not,
• 7:17
  Speaker 4: like it was literally the only way that you could
• 7:19
  Speaker 4: get people to your show.
• 7:21
  Speaker 2: But what's the idea? Like I'm walking down the street
• 7:23
  Speaker 2: and then I say, Oh yeah, there's.
• 7:24
  Speaker 4: An, but that's, I mean, that's how I found out
• 7:28
  Speaker 4: about the show.
• 7:28
  Speaker 2: That's how I would have found out about Slater Caney.
• 7:30
  Speaker 1: Yeah.
• 7:31
  Speaker 2: I would have been walking down some street or in
• 7:33
  Speaker 2: a record.
• 7:33
  Speaker 4: Store, you know, often behind the counter, there would be
• 7:35
  Speaker 4: like a section for flyers.
• 7:37
  Speaker 1: But yeah, I mean, it was that whole thing.
• 7:39
  Speaker 4: I remember labels had street teams and they would like
• 7:41
  Speaker 4: go like pound the pavement, you know, putting up flyers.
• 7:45
  Speaker 4: What I like about it though, is it becomes this
• 7:47
  Speaker 4: like visual extension. Like it, to me, it's like these
• 7:52
  Speaker 4: tentacles that start from like, you know, to me, it's like,
• 7:55
  Speaker 4: it's this dissemination of creativity that it's just like starts
• 7:58
  Speaker 4: with this band, but then you have all these different
• 8:00
  Speaker 4: iterations of like, you know, it's just, I don't know.
• 8:03
  Speaker 4: It feels like it's this weird, connection, this connectivity that
• 8:07
  Speaker 4: seems really organic to me.
• 8:10
  Speaker 2: That's also like a good early lesson on showbiz. Yeah. Okay.
• 8:14
  Speaker 2: You want to be in a band when this is
• 8:16
  Speaker 2: part of it?
• 8:17
  Speaker 4: It was definitely part of it. You know, most people
• 8:20
  Speaker 4: didn't have managers or, you know, labels early on. And
• 8:24
  Speaker 4: even when you had a label, I remember someone at
• 8:27
  Speaker 4: the label was doing it. If you weren't doing it yourself,
• 8:29
  Speaker 4: someone at the label was literally putting it up. I
• 8:31
  Speaker 4: also loved like It was like tree rings or something
• 8:36
  Speaker 4: like that. The flyers were, there was like five years
• 8:41
  Speaker 4: of flyers of old staples. Yeah.
• 8:44
  Speaker 1: Old staples.
• 8:45
  Speaker 4: And like you would peel back when you're like, Oh
• 8:46
  Speaker 4: my God, this show is from two years ago.
• 8:49
  Speaker 2: Yeah.
• 8:49
  Speaker 1: And it all faded from the rain. And I don't know.
• 8:52
  Speaker 2: Yeah.
• 8:52
  Speaker 4: It's just this weird ephemera that I think it's, I
• 8:56
  Speaker 4: don't know.
• 8:57
  Speaker 1: I see it as like a way of, I don't know.
• 9:01
  Speaker 4: It feels very anthropological to me to just, think of
• 9:03
  Speaker 4: like all the, the things that have been advertised on
• 9:07
  Speaker 4: and just like a telephone pole.
• 9:08
  Speaker 1: So yes, this was, I guess this was probably the
• 9:11
  Speaker 1: waning days.
• 9:11
  Speaker 4: Although I still in, I don't know so much in LA,
• 9:15
  Speaker 4: but in Portland that are still a ton of flyers.
• 9:18
  Speaker 3: Oh, I know.
• 9:19
  Speaker 2: I do see them.
• 9:20
  Speaker 3: Yeah.
• 9:20
  Speaker 4: I mean, now a lot of them are like more like,
• 9:22
  Speaker 4: you know, moving companies or dog walking, you know, services
• 9:26
  Speaker 4: or something, but I don't know, to me, I still,
• 9:29
  Speaker 4: I love it.
• 9:30
  Speaker 2: I wish that I had saved some.
• 9:33
  Speaker 3: Yeah.
• 9:34
  Speaker 2: And one worked on me recently. What? A couple years ago.
• 9:39
  Speaker 2: This was in London. It's like such a brag whenever
• 9:41
  Speaker 2: you say they've been traveling. I was in London. But
• 9:44
  Speaker 2: I was walking down the street and I saw a
• 9:46
  Speaker 2: flyer up for a Kim Gordon show. And I didn't
• 9:50
  Speaker 2: know before that. I was like, oh, she's playing in town. Right. So. Yeah.
• 9:53
  Speaker 4: It's also I think of a way of like it's
• 9:55
  Speaker 4: there's something so site specific about it.
• 9:57
  Speaker 1: Like it just so marries you to place. Right.
• 10:00
  Speaker 4: You know it's not just like reading something like in
• 10:04
  Speaker 4: a magazine or seeing something online you're just like here
• 10:08
  Speaker 4: i am now on this corner and there's this thing like.
• 10:11
  Speaker 2: Yeah someone just put this up probably yeah.
• 10:14
  Speaker 4: Yeah yeah i really love that so yes this is
• 10:16
  Speaker 4: how blunderbuss starts with With flyers coming up for this festival.
• 10:21
  Speaker 4: And then we go to part one.
• 10:24
  Speaker 1: Of the wraparound, which is about this band.
• 10:29
  Speaker 2: It's about this band and also about the festival.
• 10:33
  Speaker 1: And Sparkle Pony.
• 10:34
  Speaker 2: And Sparkle Pony.
• 10:35
  Speaker 1: And Sparkle Pony is the one played by Jenny Conley.
• 10:38
  Speaker 2: Yeah.
• 10:39
  Speaker 1: The keyboardist and piano player singer from the Decembrists.
• 10:43
  Speaker 2: And it's her trying to do a sound check.
• 10:47
  Speaker 1: Mm-hmm.
• 10:47
  Speaker 2: For, you know, at a festival, there's all these different stages.
• 10:51
  Speaker 2: And so she's trying to get in to do a
• 10:53
  Speaker 2: sound check. And it's always difficult or it's often difficult
• 10:59
  Speaker 2: when there's someone at the door.
• 11:01
  Speaker 4: Yes.
• 11:02
  Speaker 2: To this day, there's always some, they're not letting some
• 11:05
  Speaker 2: people in. This badge works. This, you know, sticker works. Yeah.
• 11:10
  Speaker 1: The bureaucracy of it.
• 11:11
  Speaker 4: And it's so like hierarchical and feels arbitrary sometimes.
• 11:16
  Speaker 2: Yeah.
• 11:17
  Speaker 4: I remember when Slater-Kinney played Coachella, it actually might've been
• 11:23
  Speaker 4: Wild Flag, which was like a side project that I
• 11:28
  Speaker 4: was in and we played Coachella and we were literally,
• 11:31
  Speaker 4: we had a show.
• 11:32
  Speaker 1: To get to.
• 11:32
  Speaker 4: And you go backstage and there's all these golf carts
• 11:37
  Speaker 4: and we were kind of in a hurry because we
• 11:39
  Speaker 4: had to be on stage and they just kept letting
• 11:41
  Speaker 4: all these like actors get to wherever.
• 11:45
  Speaker 1: They needed to go first. And we were just waiting.
• 11:46
  Speaker 4: And it often feels like that, like that somebody is
• 11:49
  Speaker 4: prioritizing something besides the actual artists shows, whether it's like,
• 11:55
  Speaker 4: let's get the corporate sponsors, the people who work for
• 11:57
  Speaker 4: the corporate sponsor to their seats.
• 11:59
  Speaker 1: First, or, you know, festivals are a racket there.
• 12:02
  Speaker 4: There's good and bad things about them, but sometimes the
• 12:05
  Speaker 4: behind the scenes is not as glamorous as one might think.
• 12:09
  Speaker 2: There are many points of entry. That's the part that's
• 12:12
  Speaker 2: hard where this person didn't get the instructions that this
• 12:15
  Speaker 2: sticker works. And that is really challenging.
• 12:20
  Speaker 1: Yes.
• 12:21
  Speaker 2: And there have been times in my life where I've
• 12:24
  Speaker 2: been told like you have to go around.
• 12:26
  Speaker 3: Yeah.
• 12:27
  Speaker 2: And I feel like I'm not trying to rip anybody off.
• 12:29
  Speaker 2: I'm just a person. You know, like what? You know
• 12:34
  Speaker 2: what I mean? I'm like, what do you think? I'm
• 12:36
  Speaker 2: trying to get backstage to hang out.
• 12:38
  Speaker 4: Yeah, it always seems like a higher security there than
• 12:40
  Speaker 4: at places that should have good security.
• 12:42
  Speaker 2: Right, yes.
• 12:43
  Speaker 1: Yeah, you're like, wow, this was literally, yes.
• 12:45
  Speaker 2: Really important for you to tell me I've got to
• 12:47
  Speaker 2: go all the way around.
• 12:48
  Speaker 1: Yeah.
• 12:50
  Speaker 4: It's a lot of people not communicating with each other.
• 12:52
  Speaker 4: That's what it feels like, you know.
• 12:54
  Speaker 2: So that comes up a lot in this.
• 12:56
  Speaker 1: Yes.
• 12:56
  Speaker 2: Where Sparkle Pony's trying to get in.
• 12:59
  Speaker 4: I was trying to think, who do you think Sparkle Pony?
• 13:01
  Speaker 4: Because she's, you know, she's very, like, sensitive. There's, like,
• 13:05
  Speaker 4: this real yearning, melancholy. Jenny Conley, by the way, is
• 13:09
  Speaker 4: really good at this. Like she's, it's a, it's a
• 13:12
  Speaker 4: very sweet performance, but I was trying to think if
• 13:15
  Speaker 4: we were basing her on someone, you know, but I, I,
• 13:21
  Speaker 4: I couldn't think of somebody in particular.
• 13:23
  Speaker 2: The only person I can think of, and I don't
• 13:27
  Speaker 2: think Sparkle Pony is like Cat Power, but Cat Power,
• 13:31
  Speaker 2: I remember would come up in the writer's room a
• 13:33
  Speaker 2: lot as a sort of a version of what A
• 13:36
  Speaker 2: musician is. Yeah. There's that version of a musician.
• 13:39
  Speaker 4: Right.
• 13:39
  Speaker 1: And also because we're huge fans of Cat Power.
• 13:41
  Speaker 2: Absolutely.
• 13:42
  Speaker 4: And I will say, I do remember playing shows with Sean,
• 13:47
  Speaker 4: that's Cat Power's real name, Sean Marshall, early on. It's
• 13:50
  Speaker 4: like Slater Kinney, John Spencer, Blues Explosion, Cat Power. And
• 13:55
  Speaker 4: Sean has this incredible voice, but she was so much
• 13:59
  Speaker 4: quieter than, you know, big rock bands. And you're always,
• 14:03
  Speaker 4: you know, you're always... they're trying to like fight against
• 14:08
  Speaker 4: like all of this volume, you know, like that kind
• 14:10
  Speaker 4: of soft power is really tricky in a festival environment.
• 14:14
  Speaker 4: Cause you're just like, Oh, well these people, they have
• 14:16
  Speaker 4: all this bombast. There's eight of them. You know, they've
• 14:19
  Speaker 4: got their whole like crew and all the amps and
• 14:22
  Speaker 4: all the gear. And it just feels like they're just
• 14:24
  Speaker 4: these like giant transformers like coming through. And then you're
• 14:28
  Speaker 4: sort of like the lone person, even though Sean also
• 14:31
  Speaker 4: had like, you know, probably other people on tour with her.
• 14:34
  Speaker 4: But I have seen her get on stage by herself.
• 14:37
  Speaker 4: And like once she's on stage, she's actually commanding so
• 14:40
  Speaker 4: much of the room. But in those early days, you
• 14:43
  Speaker 4: can just imagine how much you're underestimated.
• 14:48
  Speaker 3: Yes.
• 14:48
  Speaker 4: You know, and then it's hard to just, yeah, I
• 14:52
  Speaker 4: guess just kind of like stand up for your advocate
• 14:55
  Speaker 4: for yourself when you're just like one performer, especially like
• 14:58
  Speaker 4: a young woman who's like not the loudest singer.
• 15:03
  Speaker 2: Yeah.
• 15:04
  Speaker 4: And I, yeah, I sort of like the, the sensitive
• 15:06
  Speaker 4: journey that sparkle ponies on. I remember it was a
• 15:08
  Speaker 4: real like, Oh, she was good at.
• 15:12
  Speaker 2: She looks really confused.
• 15:13
  Speaker 4: Yes.
• 15:14
  Speaker 2: In those scenes and all the different door people were
• 15:18
  Speaker 2: of all different, you know, they had different attitudes of
• 15:22
  Speaker 2: being difficult. Yes.
• 15:23
  Speaker 1: All the, yeah, exactly.
• 15:27
  Speaker 2: So, but, Aside from that, the actual getting into those venues,
• 15:32
  Speaker 2: there's the sort of Ace Hotel or the Deuce Hotel.
• 15:36
  Speaker 3: Yes.
• 15:36
  Speaker 1: Modeled after the Ace Hotel.
• 15:38
  Speaker 2: Yes.
• 15:38
  Speaker 4: Which started in the Pacific Northwest. It was first up
• 15:42
  Speaker 4: in Seattle. That was the original one. And then the
• 15:44
  Speaker 4: second one was Portland. So again, a lot of these
• 15:47
  Speaker 4: things like Stumptown that we've talked about earlier that, you know,
• 15:50
  Speaker 4: now are sort of very widely known, widely known. you know,
• 15:55
  Speaker 4: we sort of think of as like, oh yeah, that's
• 15:57
  Speaker 4: like this Northwest thing. So I think that's why we
• 15:59
  Speaker 4: specifically went with the Ace and we knew Alex.
• 16:04
  Speaker 2: Yeah, we knew Alex. We were friends with him and
• 16:07
  Speaker 2: I stayed at different Ace hotels all over the place. Yeah.
• 16:11
  Speaker 2: Always loved it. And there's this thing that they do
• 16:14
  Speaker 2: and it would look like we're, it would seem like
• 16:16
  Speaker 2: we're making fun of this, but I like this kind
• 16:18
  Speaker 2: of thing around. I see it more often, which is
• 16:21
  Speaker 2: the hotel providing things for you like a turntable and records.
• 16:26
  Speaker 2: And they do do that. I just like the aesthetic
• 16:29
  Speaker 2: of it. Although when you check into a hotel, I
• 16:32
  Speaker 2: don't think you're even thinking of records. You're sort of,
• 16:35
  Speaker 2: you know, I just think of breakfast.
• 16:37
  Speaker 1: Yeah.
• 16:37
  Speaker 4: It's not first on my list. Like, do you have
• 16:39
  Speaker 4: a good record player and a good record collection?
• 16:41
  Speaker 2: Otherwise I'm not going to stay here.
• 16:43
  Speaker 1: Yeah. There is, I know.
• 16:46
  Speaker 2: But I still, once, if I do check into a
• 16:49
  Speaker 2: hotel like that, I do feel like this is the
• 16:52
  Speaker 2: hotel I want to be at.
• 16:53
  Speaker 1: I'm not mad that it's there.
• 16:54
  Speaker 3: Right.
• 16:54
  Speaker 4: I think if it was there in lieu of like
• 16:56
  Speaker 4: a clean room or like a, you know, then I wouldn't,
• 16:59
  Speaker 4: but it's, it's nice. It's very considered and it's, it's
• 17:03
  Speaker 4: kind of a lifestyle, you know, that like the, it's,
• 17:06
  Speaker 4: it's kind of lifestyle prescriptive.
• 17:09
  Speaker 1: You know what I mean?
• 17:09
  Speaker 4: It's sort of like imposing like a taste, you know
• 17:13
  Speaker 4: what I mean?
• 17:14
  Speaker 3: Yeah.
• 17:15
  Speaker 4: Um, which can sometimes be a little heavy handed. I'm not, it's,
• 17:20
  Speaker 4: singling out the ace but i'm saying sometimes i'm like
• 17:22
  Speaker 4: oh i get it okay.
• 17:24
  Speaker 2: I just realized we could have done a different sketch.
• 17:26
  Speaker 1: Okay we could have done we should reshoot it we.
• 17:30
  Speaker 2: Could have done uh like a bad hotel like a
• 17:34
  Speaker 2: motel trying to be that yes so that the those
• 17:38
  Speaker 2: people are sort of handing you a turntable and or
• 17:41
  Speaker 2: whatever version that.
• 17:42
  Speaker 4: Would yeah what would it i don't or it would
• 17:45
  Speaker 4: just be like the kind of records that they have.
• 17:47
  Speaker 2: Yeah or something just something where like None of those,
• 17:50
  Speaker 2: maybe it's a truck driver who pulls in. It was like,
• 17:52
  Speaker 2: I don't, you know, I just want to stay here.
• 17:54
  Speaker 3: Right.
• 17:54
  Speaker 1: Yeah.
• 17:55
  Speaker 2: They're like, why are you slowing me down.
• 17:56
  Speaker 1: With all this?
• 17:56
  Speaker 4: They're like, why do I, you want me to listen
• 17:58
  Speaker 4: to the Sonic Youth record? I would like, do you
• 18:01
  Speaker 4: have hot water?
• 18:02
  Speaker 3: Yeah.
• 18:03
  Speaker 2: No.
• 18:03
  Speaker 1: Okay.
• 18:03
  Speaker 2: But yeah.
• 18:04
  Speaker 1: Oh, but this band is good.
• 18:06
  Speaker 3: Yeah. Yeah.
• 18:07
  Speaker 1: Yeah. You have to have all of it. Otherwise it
• 18:10
  Speaker 1: doesn't work.
• 18:10
  Speaker 4: Yeah.
• 18:11
  Speaker 2: I was at a hotel recently that provided acoustic guitars.
• 18:15
  Speaker 1: No, I, you know what?
• 18:17
  Speaker 2: Yeah.
• 18:18
  Speaker 4: That's, that's a pass for me. One, because I think, like,
• 18:21
  Speaker 4: there's almost, it can be terrorizing. You know, like, you're
• 18:24
  Speaker 4: basically putting a weapon in somebody's hands to just give
• 18:27
  Speaker 4: them license to just play.
• 18:29
  Speaker 2: Crune away. Yeah. It was in a hard case in
• 18:32
  Speaker 2: my room already. Yeah.
• 18:34
  Speaker 4: It's like, that's when I want to put a damper
• 18:35
  Speaker 4: on someone's creativity a little bit.
• 18:37
  Speaker 2: Yeah.
• 18:37
  Speaker 3: Yeah.
• 18:38
  Speaker 4: I think if you will, if you, you should at
• 18:40
  Speaker 4: least need to go check one out from behind the
• 18:42
  Speaker 4: front desk.
• 18:43
  Speaker 2: Yeah.
• 18:43
  Speaker 1: You know, like. Yeah, you should just... Yes, that's a
• 18:46
  Speaker 1: good way.
• 18:46
  Speaker 4: I'm not saying you need a background check, but you
• 18:48
  Speaker 4: should at least have to go through a process to
• 18:51
  Speaker 4: get a guitar. Because you don't want to just be
• 18:53
  Speaker 4: hearing somebody just kind of tinkering around out of tune
• 18:58
  Speaker 4: for a long time.
• 18:58
  Speaker 2: It also takes up a lot of space.
• 19:01
  Speaker 1: Yes, it does. In New York, you have like a
• 19:06
  Speaker 1: 250 square foot room. Like I'd rather have.
• 19:09
  Speaker 2: Space.
• 19:10
  Speaker 1: Yeah, I'd rather have those two feet. Yeah, the space.
• 19:14
  Speaker 2: So it was that kind of hotel front desk.
• 19:18
  Speaker 1: Yeah.
• 19:20
  Speaker 2: A certain kind of trendy, which is like sort of well-dressed,
• 19:24
  Speaker 2: like white shirts.
• 19:25
  Speaker 1: Yeah, you play the employees.
• 19:26
  Speaker 2: Yeah, we play the employees.
• 19:28
  Speaker 3: Yeah.
• 19:28
  Speaker 2: And we're checking in the band, Echo Echo.
• 19:30
  Speaker 4: And also a kind of like that sort of inverse
• 19:35
  Speaker 4: where certain like businesses, it's like you think that they're
• 19:41
  Speaker 4: there to like help you, but really....
• 19:44
  Speaker 1: It's the opposite.
• 19:45
  Speaker 2: You know what I mean?
• 19:45
  Speaker 1: Like, you're just like, oh, you're, you're the rock star here.
• 19:49
  Speaker 4: Yes like you work at this hotel you're the.
• 19:52
  Speaker 2: Rock star yeah that was kind of the feeling behind
• 19:55
  Speaker 2: it yeah.
• 19:56
  Speaker 4: Which I think is something that wouldn't probably bother me
• 20:00
  Speaker 4: then more than it does like now I'm just like
• 20:02
  Speaker 4: yeah who you know they're working a customer service job
• 20:05
  Speaker 4: they can do whatever they want yes who cares but
• 20:08
  Speaker 4: yeah I think again thinking back to that time, like
• 20:12
  Speaker 4: we talked about it earlier with like restaurants, like there's
• 20:15
  Speaker 4: this sort of shift into this very, like where I
• 20:19
  Speaker 4: think it, to me, it like real life started emulating
• 20:23
  Speaker 4: the internet. Like the internet was a way of just
• 20:25
  Speaker 4: like customization, right? Like now I don't have to read
• 20:30
  Speaker 4: the same things as everyone else. I don't have to
• 20:31
  Speaker 4: watch the same things as everyone else. Like I can
• 20:35
  Speaker 4: curate my own life and it, It can just be
• 20:39
  Speaker 4: for me. And I feel like in brick and mortar
• 20:42
  Speaker 4: places started to be like that too. Like, oh, well,
• 20:45
  Speaker 4: we no longer will just be for everyone. We want
• 20:47
  Speaker 4: to be for a certain person because you're used to
• 20:48
  Speaker 4: curating your life. And this was, I think, as we
• 20:51
  Speaker 4: were starting to transition into that world. And so you
• 20:56
  Speaker 4: see it with hotels, you see it with restaurants, you
• 20:58
  Speaker 4: see it with like all these real life experiences that
• 21:01
  Speaker 4: are now like very niche. Yeah.
• 21:04
  Speaker 1: And I think hotels got like that too.
• 21:07
  Speaker 2: Yeah. And I do see similar, I don't know if
• 21:11
  Speaker 2: they're copycats, but versions of the Ace Hotel around.
• 21:15
  Speaker 4: And it was like, I mean, I remember when it
• 21:18
  Speaker 4: first opened up, it felt very special. It felt like
• 21:21
  Speaker 4: you were staying almost in like your friend's house or something,
• 21:24
  Speaker 4: which definitely was different than like kind of like a corporate,
• 21:27
  Speaker 4: like we don't want to make everything the same in
• 21:29
  Speaker 4: a hotel.
• 21:30
  Speaker 1: It's not about uniformity, right? It's about individuality.
• 21:33
  Speaker 2: One thing we used to do, and this probably came
• 21:36
  Speaker 2: up in the writer's room is, They like to label
• 21:39
  Speaker 2: things in very plain words. Yes. Soap.
• 21:43
  Speaker 3: Towel.
• 21:45
  Speaker 2: And at the time, I remember thinking, like, that was
• 21:47
  Speaker 2: like a revolution. I was like, yeah, come on. Let's
• 21:49
  Speaker 2: get back to naming it. Things like that.
• 21:51
  Speaker 4: This is also the era where instead of do not disturb,
• 21:54
  Speaker 4: they were getting really clever.
• 21:55
  Speaker 3: Yeah, yeah, yeah.
• 21:56
  Speaker 1: Like, yeah.
• 21:57
  Speaker 3: No.
• 21:58
  Speaker 1: Yeah, out to lunch or whatever. Yeah, like, yeah.
• 22:01
  Speaker 4: It was.
• 22:02
  Speaker 2: Of course not.
• 22:02
  Speaker 1: Yes. No, thank you. Yeah, like, it was, again, just...
• 22:08
  Speaker 1: Creating a story. That's again, let's create a whole narrative.
• 22:11
  Speaker 2: But they found an avenue for expression.
• 22:14
  Speaker 1: Oh yeah.
• 22:14
  Speaker 2: Which is a do not disturb sign. Like here's our chance.
• 22:17
  Speaker 1: Yeah.
• 22:18
  Speaker 4: And again, probably like a copywriter, like someone was hired, like,
• 22:23
  Speaker 4: you know, now, now AI would do that. But back
• 22:25
  Speaker 4: then there was just someone like over a desk, like, like, oh,
• 22:29
  Speaker 4: what can we come up with?
• 22:31
  Speaker 2: Have you ever been to a hotel where they get
• 22:34
  Speaker 2: so advanced that, I.
• 22:36
  Speaker 1: Know what you're going to say, and I'm already bad
• 22:38
  Speaker 1: about it.
• 22:39
  Speaker 2: Well, this is, what I'm going to say is that
• 22:41
  Speaker 2: they have a language that you're supposed to think about
• 22:44
  Speaker 2: for a minute. So a sort of red talus, you know,
• 22:49
  Speaker 2: a red sort of, or a blue one or a
• 22:53
  Speaker 2: green one. So for a second, you're like, wait, which
• 22:55
  Speaker 2: one is do not, oh, okay.
• 22:57
  Speaker 3: Right.
• 22:57
  Speaker 2: I think this is do not disturb.
• 22:58
  Speaker 3: Right.
• 22:59
  Speaker 1: So first you take like a, you learn their language.
• 23:01
  Speaker 3: Yes.
• 23:01
  Speaker 4: I thought you were going to say the kind of
• 23:04
  Speaker 4: locked in syndrome that I feel at certain hotels that
• 23:06
  Speaker 4: have gone really digital or they're like, there's no phone.
• 23:09
  Speaker 1: You can't, there's no human. Those actually make me very,
• 23:13
  Speaker 1: I feel anxious in them.
• 23:15
  Speaker 3: Yeah.
• 23:15
  Speaker 4: Like they're like scan this QR code or like there's
• 23:18
  Speaker 4: no front desk person. Just there's an iPad and I'm
• 23:22
  Speaker 4: just supposed to interface with an iPad in order to
• 23:24
  Speaker 4: like ask someone at the front desk something. Like I
• 23:28
  Speaker 4: really like a personalized hotel. And like from touring and
• 23:35
  Speaker 4: even still when I sometimes drive down, like if I'm
• 23:37
  Speaker 4: taking my dogs down to L.A., to stay here. Like
• 23:41
  Speaker 4: I stay in roadside hotels. I'm not like I'm high,
• 23:45
  Speaker 4: low with hotels. I love a best Western. I love
• 23:47
  Speaker 4: a holiday and express one of my favorites. So this
• 23:50
  Speaker 4: is like hotels of all stripes. I like human interaction
• 23:55
  Speaker 4: because one, like you're somewhere.
• 23:56
  Speaker 1: Else, right? So you're out of your element.
• 23:59
  Speaker 4: So I like a person that's at the front desk
• 24:02
  Speaker 4: that is like tethering me to where I am, which
• 24:06
  Speaker 4: is not home. Like I don't want an iPad to
• 24:09
  Speaker 4: as my, you know, sort of like guide to the hotel.
• 24:12
  Speaker 1: That really makes me feel trapped.
• 24:15
  Speaker 2: Yeah. How much could it cost them to have a person?
• 24:17
  Speaker 4: I think they still have someone there, but they're, I
• 24:19
  Speaker 4: think they're like, see, I don't know what they're trying to.
• 24:22
  Speaker 2: Um, I've been to some, I was at one recently
• 24:25
  Speaker 2: where they didn't have a person. Oh. And it's, what
• 24:28
  Speaker 2: I don't like about it is also like the, uh,
• 24:31
  Speaker 2: some needs that you have, some requests are too complex
• 24:36
  Speaker 2: to put in, to type in. It's like, I'm leaving
• 24:39
  Speaker 2: this bag for myself. There's like a, you know.
• 24:43
  Speaker 3: Yes.
• 24:43
  Speaker 1: Like what prompt is that on a phone?
• 24:45
  Speaker 4: Yeah.
• 24:45
  Speaker 1: There's not a prompt for that.
• 24:46
  Speaker 2: No.
• 24:47
  Speaker 1: That's how I feel about customer service. Like 1-800 numbers.
• 24:50
  Speaker 1: Like when I.
• 24:51
  Speaker 3: Oh yeah.
• 24:51
  Speaker 4: I mean, that's, this is such a tangent, but that
• 24:53
  Speaker 4: there's almost nothing that makes me like basically cry.
• 24:58
  Speaker 1: I think.
• 24:58
  Speaker 2: It just happened to me.
• 24:59
  Speaker 1: Really?
• 25:01
  Speaker 2: Trying to send flowers to a friend who's opening a
• 25:06
  Speaker 2: show in Ohio. Uh, Jeff, uh, and I got such
• 25:14
  Speaker 2: a runaround as to why it couldn't be delivered. And
• 25:17
  Speaker 2: I still, this morning was trying to call. It's just
• 25:20
  Speaker 2: a loop of like, you lost your money. You lost it.
• 25:24
  Speaker 4: Yeah.
• 25:24
  Speaker 1: I thought you were going to say you cry.
• 25:27
  Speaker 2: I didn't cry, but it was a feeling of like
• 25:30
  Speaker 2: ultimate frustration. There actually was no, there's no answer. There's no,
• 25:36
  Speaker 2: it is unresolved. forever.
• 25:38
  Speaker 4: Forever. I, that, that just happened to me the other day.
• 25:41
  Speaker 4: I went to cancel a credit card that I was
• 25:44
  Speaker 4: like cleaning out my office. And I realized I had
• 25:46
  Speaker 4: this credit card that I never used. I was like, well,
• 25:48
  Speaker 4: I don't need this. Like, I don't need all these
• 25:50
  Speaker 4: open cards. Like let's cancel this. I called, I never
• 25:54
  Speaker 4: talked to a human. I supposedly the card is no
• 25:57
  Speaker 4: longer operable for all I know.
• 25:59
  Speaker 1: I opened up a new bank account.
• 26:01
  Speaker 4: I might like, it was so unnerving to be dealing
• 26:04
  Speaker 4: with something like fiduciary like that and just be like,
• 26:07
  Speaker 4: a computer just telling me that I'm good.
• 26:09
  Speaker 2: Okay. I mean, yeah, it's just, I'm not anti-technology, but
• 26:15
  Speaker 2: there is, I just.
• 26:18
  Speaker 1: I'm pro-human though.
• 26:19
  Speaker 4: Yeah. You can, you like, I think it's okay. Like, sure. I,
• 26:23
  Speaker 4: I like tech, but I'm very pro-human.
• 26:25
  Speaker 2: Same. Yeah. It's faster.
• 26:27
  Speaker 4: And it's, I like it. The other day I was
• 26:29
  Speaker 4: on the phone with someone and I, I was like,
• 26:32
  Speaker 4: where are you right now? And they were like, yeah,
• 26:33
  Speaker 4: I'm in Fort Worth. And we have a nice, like,
• 26:35
  Speaker 4: while they were helping me, they were, we were talking about,
• 26:38
  Speaker 4: you know, we talked about like the Dallas Mavericks and stuff.
• 26:40
  Speaker 4: Like we had a little chat about Dallas Fort Worth. Like,
• 26:43
  Speaker 4: I'm not going to, what am I going to do
• 26:46
  Speaker 4: with like a robot, with a bot?
• 26:48
  Speaker 1: We're not going to talk about a city that they
• 26:50
  Speaker 1: live in.
• 26:52
  Speaker 2: Where do they live?
• 26:52
  Speaker 1: I don't know. Okay.
• 26:54
  Speaker 3: Anyway.
• 26:55
  Speaker 2: So, okay.
• 26:56
  Speaker 1: So back to this episode.
• 26:59
  Speaker 2: Yes.
• 26:59
  Speaker 4: So that's the broader context of kind of, but it's probably,
• 27:03
  Speaker 4: you know what? This is a good example of what
• 27:05
  Speaker 4: the writer's room is like. I mean, that's like when
• 27:08
  Speaker 4: you write a sketch, it's often, well, first of all,
• 27:11
  Speaker 4: it starts out with what's called blue sky period. So
• 27:13
  Speaker 4: you're blue sky. We're just throwing ideas at the wall,
• 27:15
  Speaker 4: big ideas. We're not like drilling down on anything. And
• 27:19
  Speaker 4: it is often conversational and anecdotal. And you start with
• 27:22
  Speaker 4: a phenomenon that you witnessed or an experience you've had.
• 27:26
  Speaker 1: And then someone else piles on. Me too.
• 27:28
  Speaker 4: Yes. And then you're like, what are we looking at?
• 27:31
  Speaker 4: What is the thing about that that's funny or interesting
• 27:33
  Speaker 4: or what's our take on it? So in some ways,
• 27:36
  Speaker 4: it's a lot like the conversation we just had.
• 27:38
  Speaker 2: And then there's enough for a sketch.
• 27:40
  Speaker 1: Yeah.
• 27:42
  Speaker 2: I did like the ending to that first part, which
• 27:44
  Speaker 2: is we want to be like the band and we
• 27:46
  Speaker 2: destroy everything.
• 27:47
  Speaker 3: Yes.
• 27:48
  Speaker 2: And I think it's like underestimated in sketches, or at
• 27:52
  Speaker 2: least in Portlandia, people destroying things that are not– they're
• 27:56
  Speaker 2: destructible anyway, they're fragile anyway, really works on me as
• 28:01
  Speaker 2: I was watching it. I had a smile of like, oh,
• 28:04
  Speaker 2: that's cool. That's a good little ending. Yeah.
• 28:05
  Speaker 4: I think we are of the same mind with that.
• 28:09
  Speaker 4: There's always, I think, something slightly anarchic about our sensibility,
• 28:14
  Speaker 4: like in terms of just wanting to sort of like
• 28:16
  Speaker 4: destroy things or blow things up or just like, and
• 28:19
  Speaker 4: maybe it's from coming from indie and punk music of
• 28:23
  Speaker 4: just like, oh yeah, this was made to be torn down.
• 28:27
  Speaker 1: I do like that. And I like physical comedy a lot.
• 28:30
  Speaker 4: Like I just, I love that feeling of just kind
• 28:35
  Speaker 4: of letting go and just messing it all up. It's
• 28:39
  Speaker 4: very satisfying to me. I used to like watching that
• 28:43
  Speaker 4: with like Chris Farley or I like watching it with
• 28:46
  Speaker 4: like in Will Ferrell stuff or, you know, Gilda Radner,
• 28:51
  Speaker 4: a lot of people that just are like silly and yeah.
• 28:55
  Speaker 1: All right. The next thing is the massage couple.
• 28:59
  Speaker 2: Yes.
• 29:00
  Speaker 1: Sorry, not a massage couple.
• 29:01
  Speaker 4: It's musicians who are live musicians inside of a massage
• 29:05
  Speaker 4: therapist office.
• 29:06
  Speaker 3: Yeah.
• 29:07
  Speaker 2: Yeah.
• 29:08
  Speaker 4: And I remember thinking about this when I've had back
• 29:15
  Speaker 4: problems in the past.
• 29:17
  Speaker 1: Luckily, I don't have them anymore, but for a while
• 29:19
  Speaker 1: I did.
• 29:19
  Speaker 4: And I would go to a lot of massage therapists
• 29:20
  Speaker 4: and I would think about the music that was playing.
• 29:23
  Speaker 1: I find it actually very distracting.
• 29:24
  Speaker 4: In fact, even when it's purposely relaxing, that's almost more
• 29:28
  Speaker 4: distracting to me.
• 29:29
  Speaker 1: Because it's so particular. It's such a particular kind of music.
• 29:33
  Speaker 4: And I feel like they all are just drawing from
• 29:35
  Speaker 4: the same, even before playlists and stuff.
• 29:38
  Speaker 3: Yeah.
• 29:38
  Speaker 1: They all have the same CDs.
• 29:40
  Speaker 3: Yeah.
• 29:41
  Speaker 4: And anyway, so yeah, our take on that was, you know,
• 29:45
  Speaker 4: what if there was just a live, a hapless live
• 29:47
  Speaker 4: band in the room that could barely set up and
• 29:52
  Speaker 4: like was just whatever, bumping stuff around and things were
• 29:55
  Speaker 4: falling over and yeah.
• 29:57
  Speaker 2: The volume was all over the place.
• 29:59
  Speaker 1: Yeah.
• 29:59
  Speaker 2: I mean, it could, that's one sketch that could exist
• 30:03
  Speaker 2: at SNL.
• 30:04
  Speaker 1: Yes.
• 30:05
  Speaker 2: And it's sort of, you know, idea or like the,
• 30:08
  Speaker 2: you know, the, the idea that someone is playing music
• 30:13
  Speaker 2: in the wrong place.
• 30:14
  Speaker 3: Yes.
• 30:15
  Speaker 1: Sort of inappropriate, something that's inappropriate.
• 30:18
  Speaker 2: Yeah.
• 30:18
  Speaker 1: It's yeah. It's out of place.
• 30:21
  Speaker 2: Exactly.
• 30:21
  Speaker 4: I just feel like, this reminds me that whenever we could,
• 30:25
  Speaker 4: I feel like we inserted music into the show.
• 30:29
  Speaker 2: I think we were like really wanting to.
• 30:31
  Speaker 3: Yeah.
• 30:31
  Speaker 4: Whether we're playing or it's about music. Um, and then, uh, also, sorry.
• 30:42
  Speaker 4: And then also, of course we had so many musical guests.
• 30:45
  Speaker 4: I mean, this is like the tip of the iceberg
• 30:47
  Speaker 4: as we get farther into this, um, Sorry, I just
• 30:50
  Speaker 4: said that wrong. This is the tip of the iceberg
• 30:52
  Speaker 4: as we get further into this podcast rewatch. We will
• 30:56
  Speaker 4: name a ton of musicians. I sometimes, I don't even
• 31:00
  Speaker 4: think I could list them top to bottom. Sometimes I'll
• 31:03
  Speaker 4: forget and then remember and be like, oh my God,
• 31:06
  Speaker 4: I can't believe that person was on the show.
• 31:08
  Speaker 1: We were very lucky in that way.
• 31:09
  Speaker 4: Yeah.
• 31:10
  Speaker 2: And I love it all these years later thinking, oh,
• 31:12
  Speaker 2: we really got to work with all these people and Yeah.
• 31:15
  Speaker 4: I mean, to me, like those, the interstitial sketches, you know,
• 31:19
  Speaker 4: that we sort of have that aren't the cold open,
• 31:21
  Speaker 4: that aren't the recurring like character sketches, that aren't the wraparounds,
• 31:26
  Speaker 4: like that, that kind of sketch to me like is,
• 31:32
  Speaker 4: can be very satisfying.
• 31:34
  Speaker 1: You know what I mean?
• 31:34
  Speaker 4: Like if it's just, it's sort of, if it's executed well,
• 31:38
  Speaker 4: like this one I thought was like, okay, you know,
• 31:39
  Speaker 4: I see where we're going. And I feel like that
• 31:42
  Speaker 4: idea of inappropriateness, like was something that we played with
• 31:45
  Speaker 4: a lot.
• 31:46
  Speaker 3: Yeah.
• 31:46
  Speaker 4: You know, like what is the wrong answer for this?
• 31:50
  Speaker 1: And like, let's, let's put that in.
• 31:53
  Speaker 2: I think also like us as a music duo.
• 31:57
  Speaker 3: Mm-hmm.
• 31:58
  Speaker 2: Comes up again with Whisker Patrol.
• 32:01
  Speaker 1: Oh, yes.
• 32:02
  Speaker 2: So even though, because this is our first season. Yeah.
• 32:05
  Speaker 2: Things are still being sculpted. And then I feel like
• 32:10
  Speaker 2: in a way that is almost a version of Whisker Patrol.
• 32:14
  Speaker 1: Yes.
• 32:14
  Speaker 2: Like they've been the same people. Yeah.
• 32:17
  Speaker 4: I always also felt like you and I were really
• 32:19
  Speaker 4: campaigning to play music on the show.
• 32:23
  Speaker 1: As much as we could.
• 32:24
  Speaker 2: Yes.
• 32:24
  Speaker 1: Yeah. And just make up songs. Yeah.
• 32:26
  Speaker 2: Yeah. And we succeeded in that one.
• 32:28
  Speaker 1: And we succeeded, yes.
• 32:30
  Speaker 2: Then for the next part of Sparkle Pony, we've got
• 32:34
  Speaker 2: the film festival part of it.
• 32:36
  Speaker 1: Yes. Right.
• 32:37
  Speaker 4: So this is like South by Southwest where there is
• 32:39
  Speaker 4: like a festival with, you know, multi, you know, many components.
• 32:44
  Speaker 4: So you've got tech, film, music. So Blunderbuss was one
• 32:47
  Speaker 4: of those film festivals. So we play, I believe, the
• 32:49
  Speaker 4: Warnrooker Brothers.
• 32:50
  Speaker 2: Yeah.
• 32:51
  Speaker 4: And this is, I think, the second male character I've played.
• 32:55
  Speaker 4: Lance would have been... The first one of Nina and Lance.
• 32:58
  Speaker 2: Yeah.
• 32:59
  Speaker 4: We've got our little news boy caps on.
• 33:04
  Speaker 3: Yep.
• 33:06
  Speaker 2: And we're very confident.
• 33:07
  Speaker 1: Very confident.
• 33:08
  Speaker 2: In a way, I think it's John Kreisel's view of
• 33:13
  Speaker 2: like the independent film world.
• 33:15
  Speaker 3: Yes.
• 33:16
  Speaker 2: Gus Van Zandt's in it.
• 33:17
  Speaker 1: Yep.
• 33:18
  Speaker 2: Selma Blair is a guest star.
• 33:20
  Speaker 1: Yeah. Well, we shot a whole film with her.
• 33:22
  Speaker 2: Yeah.
• 33:23
  Speaker 3: Yep.
• 33:24
  Speaker 2: Yeah.
• 33:25
  Speaker 4: I'm sorry, not a feature, but we implied and we
• 33:28
  Speaker 4: showed some of it that we had shot a movie
• 33:31
  Speaker 4: with her.
• 33:32
  Speaker 2: Yeah. And that movie within the show is really funny.
• 33:35
  Speaker 2: It's like all the cliches of dating in a movie.
• 33:39
  Speaker 1: Yeah, like a rom-com.
• 33:42
  Speaker 2: So also those film festival Q & As are exhausting
• 33:49
  Speaker 2: and the lighting is always so weird. So I like
• 33:54
  Speaker 2: that we captured with that. feeling is and also that
• 33:57
  Speaker 2: we got Gus Van Zandt and.
• 33:58
  Speaker 4: Solomon Blair yeah Gus is and we wrote it in
• 34:03
  Speaker 4: Gus Van Zandt's office Portland office he's a Portland based
• 34:07
  Speaker 4: filmmaker I think for season two yeah he had an
• 34:12
  Speaker 4: office in downtown Portland like an in an old building
• 34:15
  Speaker 4: and we were up there such a beautiful building and
• 34:18
  Speaker 4: he would come by with his Australian shepherd right yeah
• 34:24
  Speaker 4: Another aspect, I think, of Portlandia that I loved was
• 34:27
  Speaker 4: just like it sort of pulled the curtain back on
• 34:30
  Speaker 4: so many elements of Portland. Like I knew Gus a
• 34:33
  Speaker 4: little bit, but like just getting a glimpse into his
• 34:37
  Speaker 4: like creative space or getting to collaborate with people who
• 34:40
  Speaker 4: normally I wouldn't be able to collaborate with like across
• 34:44
  Speaker 4: so many like disciplines. And like it was, yeah, I
• 34:49
  Speaker 4: always really was struck by that. And I never took
• 34:52
  Speaker 4: that for granted. Like it just, it had this kind
• 34:55
  Speaker 4: of a cumulative feeling of awe. I was like, oh,
• 34:58
  Speaker 4: and now here's Gus Van Zandt doing this silly cue.
• 35:02
  Speaker 4: I mean, that's the thing, like to me, the juxtaposition
• 35:05
  Speaker 4: between sort of how serious I took someone else's work
• 35:09
  Speaker 4: and I assume how serious they took their own work
• 35:11
  Speaker 4: and their willingness to partake in something that was just
• 35:17
  Speaker 4: only for levity. And I, you know, I think it
• 35:20
  Speaker 4: showed like the sense of humor, not only that people
• 35:23
  Speaker 4: had in general, but about themselves that like, that, you know,
• 35:25
  Speaker 4: these were, I think that's just something that like, that
• 35:28
  Speaker 4: was kind of a non-starter. Like you had to come
• 35:30
  Speaker 4: in and be able to kind of poke fun of yourself,
• 35:34
  Speaker 4: like in, you know, or even like maybe burst the
• 35:38
  Speaker 4: bubble of what people thought, you know, later we'll get
• 35:40
  Speaker 4: to someone like Henry Rollins or Jello Biafra or Martina Navratilova,
• 35:45
  Speaker 4: like all these people who everyone was like, oh my gosh,
• 35:47
  Speaker 4: they are like, they're so serious and so, you know, severe.
• 35:52
  Speaker 4: And it's like, nope, here they are just being really playful.
• 35:56
  Speaker 4: And I always really loved that. And I think Gus
• 35:59
  Speaker 4: is one of the first people, just that weird feeling
• 36:02
  Speaker 4: of looking over and thinking of him directing my own
• 36:05
  Speaker 4: private Idaho or drugstore cowboy, you know, good old hunting.
• 36:10
  Speaker 4: And I'm like, no, he's just interviewing these absolute, like
• 36:13
  Speaker 4: these guys, these characters that, We're just so clueless.
• 36:18
  Speaker 1: And indulgent and bombastic. And yeah, it was fun.
• 36:23
  Speaker 2: And proud.
• 36:25
  Speaker 1: Very proud.
• 36:25
  Speaker 4: I remember the, one of the jokes was that when
• 36:29
  Speaker 4: we rolled credits on the movie, they had done everything,
• 36:33
  Speaker 4: which in one way is very true to like indie films.
• 36:37
  Speaker 4: But at the same time, it's also like, we get it.
• 36:40
  Speaker 4: Like you don't actually need to credit yourself for all
• 36:43
  Speaker 4: that you've done.
• 36:44
  Speaker 1: Yeah.
• 36:44
  Speaker 4: Yes.
• 36:45
  Speaker 2: Also like that attitude of we're on our way. Like
• 36:48
  Speaker 2: these two directors.
• 36:49
  Speaker 1: Oh, the assuredness.
• 36:50
  Speaker 2: We're here, you know.
• 36:51
  Speaker 1: I know.
• 36:52
  Speaker 2: We're starting. Here we go.
• 36:54
  Speaker 1: And we all know that that's just not necessarily true.
• 36:57
  Speaker 3: No, no.
• 36:58
  Speaker 1: We've all felt that too. Like this is it.
• 37:00
  Speaker 2: Yeah.
• 37:01
  Speaker 1: It's not it. It's not it.
• 37:03
  Speaker 2: No. Yeah.
• 37:04
  Speaker 1: And it's so humbling later. But at the time, you
• 37:06
  Speaker 1: kind of need that bravado.
• 37:08
  Speaker 2: Yeah.
• 37:08
  Speaker 4: And also like those stepping stones, like whether it's, you know,
• 37:12
  Speaker 4: Sundance or South by like you do, you're so in
• 37:14
  Speaker 4: the moment, there's so much validation, like institutional validation. And
• 37:18
  Speaker 4: you just think like, this is it.
• 37:20
  Speaker 1: The doors are open. They've been blown off the hinges.
• 37:23
  Speaker 2: This is what I do.
• 37:24
  Speaker 1: This is what I do. I am this now.
• 37:26
  Speaker 4: I've quit every other job I have. And then, yeah,
• 37:29
  Speaker 4: you're like, Oh, I guess it's all little by little.
• 37:31
  Speaker 3: Yeah.
• 37:31
  Speaker 2: Yeah.
• 37:32
  Speaker 1: Then you're moving back.
• 37:32
  Speaker 4: Home with your parents, but yeah, it's, uh, but I,
• 37:37
  Speaker 4: I mean, as you know, people who have like stepped
• 37:41
  Speaker 4: out and done a lot of like, especially when I
• 37:44
  Speaker 4: was doing music, like it was never just, it's just not,
• 37:49
  Speaker 4: nothing is a sure bet. You know, I feel like even, yeah,
• 37:54
  Speaker 4: but I do, I guess I love that precipice though.
• 37:56
  Speaker 4: Like I wouldn't, I still love when people are are
• 38:01
  Speaker 4: on it and they embrace it. Like, of course you should,
• 38:03
  Speaker 4: you should embrace it.
• 38:03
  Speaker 2: Like you should feel all enjoying it.
• 38:05
  Speaker 1: You should feel all the hope in the world. Yes.
• 38:07
  Speaker 4: Um, but that is a good, but then you get
• 38:09
  Speaker 4: on the other side of it and you're like, Oh,
• 38:11
  Speaker 4: this is not just a linear path straight up. That
• 38:14
  Speaker 4: just keeps getting better. Like there are many roadblocks and
• 38:17
  Speaker 4: hiccups and.
• 38:18
  Speaker 2: All the way, all the way through.
• 38:19
  Speaker 1: And ways to fail. Um, but yeah, so it's fun.
• 38:22
  Speaker 1: It was fun playing people that were just like, yep,
• 38:26
  Speaker 1: this is.
• 38:26
  Speaker 3: Who we are.
• 38:27
  Speaker 1: You know, no looking back.
• 38:29
  Speaker 4: Yeah.
• 38:29
  Speaker 2: Even in that little theater.
• 38:30
  Speaker 1: Yeah. Was that the Hollywood theater or was that? I
• 38:33
  Speaker 1: can't remember.
• 38:33
  Speaker 2: Yeah. What do you remember as far as like the
• 38:38
  Speaker 2: length of a day of a shooting day? Like, because now,
• 38:43
  Speaker 2: you know, at the time I was upset that I
• 38:45
  Speaker 2: had to be up so early in the morning, but
• 38:48
  Speaker 2: now I forgot it. Now I don't have that feeling anymore.
• 38:50
  Speaker 2: And I think it was reasonable, but I, what is
• 38:54
  Speaker 2: your memory of how long our shooting days were?
• 38:58
  Speaker 4: Season one for me was a year where it all
• 39:03
  Speaker 4: was so new that I didn't have that sort of
• 39:07
  Speaker 4: anticipatory anxiety about something or dread of like, oh, right,
• 39:13
  Speaker 4: this is what it's going to feel like where I'm
• 39:15
  Speaker 4: going to be bone tired or the slog of it.
• 39:17
  Speaker 1: Or even though I love.
• 39:18
  Speaker 4: This, I'm so depleted, which I definitely felt in later seasons.
• 39:23
  Speaker 1: And we'll probably touch on that.
• 39:25
  Speaker 4: But in this this season, I don't remember. I just
• 39:29
  Speaker 4: feel like we did this in such a truncated period
• 39:32
  Speaker 4: of time. You know, we were trying to get finished
• 39:35
  Speaker 4: before you went to SNL. Did you actually end up
• 39:37
  Speaker 4: having to go or was it not till season two?
• 39:40
  Speaker 2: That was some later seasons where I had to go
• 39:42
  Speaker 2: back and forth a little.
• 39:43
  Speaker 4: Which was so intense. Like you were double dipping on
• 39:45
  Speaker 4: these two extreme jobs. But I remember- it feeling early
• 39:49
  Speaker 4: for sure in the morning, but just this kind of
• 39:54
  Speaker 4: buoyancy all day of just kind of, again, that feeling
• 39:59
  Speaker 4: of like walking into set and not just being so
• 40:02
  Speaker 4: in shock of how everyone had thrown this together, like,
• 40:06
  Speaker 4: and getting to set and realizing, you know, we didn't
• 40:08
  Speaker 4: really know what the costumes were beforehand. Like the director did,
• 40:12
  Speaker 4: you know, and at this point it was still Jonathan
• 40:15
  Speaker 4: Kreisel directing every episode. you know, we would do fittings,
• 40:18
  Speaker 4: but we weren't exact. It's not like a regular show
• 40:21
  Speaker 4: where you play one character and you kind of know, well,
• 40:24
  Speaker 4: this character dresses like this. Like eventually we learn, okay, feminist.
• 40:27
  Speaker 1: Bookstore characters, this is their look. This is someone else's aesthetic.
• 40:31
  Speaker 4: But often like there was just such novelty to it.
• 40:34
  Speaker 4: And that was so, I remember that being very energizing. Yeah.
• 40:38
  Speaker 1: And that helped, I think, the tiredness.
• 40:41
  Speaker 4: I also think, I do think we did work pretty
• 40:44
  Speaker 4: long hours because it was, we were really cramming, but
• 40:48
  Speaker 4: I don't remember feeling.
• 40:50
  Speaker 1: Super depleted.
• 40:52
  Speaker 2: No, same thing. And I remember because we changed costumes,
• 40:59
  Speaker 2: then all of a sudden it became like exciting again.
• 41:03
  Speaker 2: I think if we were in the same costumes all day,
• 41:06
  Speaker 2: then it would have felt like, just we're doing this
• 41:08
  Speaker 2: one scene over and over this. I think I liked that.
• 41:12
  Speaker 2: It was like, Oh, it's a new sketch anyway. So
• 41:14
  Speaker 2: it kind of like, shook something.
• 41:17
  Speaker 4: Up right and that's true like it's a good point
• 41:19
  Speaker 4: like if you're if you're tired of one sketch like
• 41:22
  Speaker 4: just tired like physically tired you were likely about to
• 41:25
  Speaker 4: be out of that sketch changing new wig new makeup
• 41:29
  Speaker 4: you know new costume and on to the next um
• 41:31
  Speaker 4: but another thing david kress our producer um from season
• 41:37
  Speaker 4: one to the end executive producer just Right? And yeah,
• 41:42
  Speaker 4: producer and then definitely EP. So he is kind of
• 41:46
  Speaker 4: local legend. He came up with Gus Van Sant. And
• 41:50
  Speaker 4: one thing that he insisted on on his sets, no sitting.
• 41:54
  Speaker 1: So we did not. We didn't have a video village.
• 41:57
  Speaker 4: We didn't have a video village, which is absolutely like
• 42:01
  Speaker 4: that is the norm for any television show. You basically,
• 42:04
  Speaker 4: there's a village, you know, it's essentially like a pop-up
• 42:07
  Speaker 4: tent with chairs and with cast chairs, monitors. It's usually for,
• 42:12
  Speaker 4: you know, the executives, people from the studio, maybe, you know,
• 42:16
  Speaker 4: if you have your agent there or something.
• 42:19
  Speaker 2: Little headphones.
• 42:20
  Speaker 1: Headphones.
• 42:21
  Speaker 4: And it's just people basically sit there and, you know,
• 42:24
  Speaker 4: watch and chat and, you know, have snacks from Crafty and,
• 42:29
  Speaker 4: It's like, it's definitely a place to zone out and relax.
• 42:33
  Speaker 4: And David Kress was like, no sitting. So we did
• 42:36
  Speaker 4: not have video village and we did not have cast
• 42:38
  Speaker 4: chairs for eight seasons. We did not have cast chairs.
• 42:41
  Speaker 4: So we never sat, no one sat. And that, and
• 42:46
  Speaker 4: David got that from Gus Van Sant, running gun, shooting
• 42:49
  Speaker 4: those Portland, you know, indie films. And he was like, work, People,
• 42:54
  Speaker 4: when they can sit, don't work as hard. And I mean,
• 42:58
  Speaker 4: I'm not saying that's like the best thing, but it definitely, for,
• 43:02
  Speaker 4: I will say Video Village, you don't need.
• 43:03
  Speaker 1: A Video Village.
• 43:04
  Speaker 4: It's like, you know, the crew, when, you know, everyone
• 43:08
  Speaker 4: gets tired, like, yes, we would go and sit and
• 43:10
  Speaker 4: hang out and lunch and we'd sit on coolers or whatever.
• 43:13
  Speaker 4: But there was just no, but it was equal, meaning
• 43:16
  Speaker 4: that no one that usually has a cast chair that
• 43:18
  Speaker 4: gets to rest while everyone else.
• 43:20
  Speaker 1: Is working, got to rest.
• 43:21
  Speaker 2: So we, that's so good. We just hang out.
• 43:24
  Speaker 4: And I, I love that because it also felt like
• 43:27
  Speaker 4: that all hands on deck feel of like, okay, you know,
• 43:30
  Speaker 4: like since I'm not sitting, I will, I remember moving
• 43:34
  Speaker 4: stuff around like in between, you know, takes like, it
• 43:38
  Speaker 4: wasn't like we never went back to the trailer unless
• 43:40
  Speaker 4: we had to change, you know? And then, then we
• 43:43
  Speaker 4: were like being hustled through a change, but, it never
• 43:46
  Speaker 4: had that feeling of like, I'm waiting, which is often
• 43:48
  Speaker 4: what happens like on a traditional set. It's like you
• 43:52
  Speaker 4: finish a scene, you go back to your trailer and
• 43:55
  Speaker 4: you wait for a second.
• 43:57
  Speaker 2: Yeah. And get sleepy.
• 43:58
  Speaker 3: Yeah.
• 43:59
  Speaker 4: It was like, so I think in that way, like
• 44:02
  Speaker 4: I didn't feel tired because I couldn't really be tired
• 44:06
  Speaker 4: until the end of the day. I mean, we were
• 44:09
  Speaker 4: just like this, you know, amoeba, this like organism that
• 44:12
  Speaker 4: was just like always moving and, You know, we got
• 44:16
  Speaker 4: to know everyone really well.
• 44:17
  Speaker 2: Yeah, we sure did. Yeah. And also the city's kind
• 44:20
  Speaker 2: of small. Yeah. So it wasn't like a long commute
• 44:24
  Speaker 2: that was exhausting or anything like that. It was kind
• 44:26
  Speaker 2: of like, I feel it. My memory is that I
• 44:28
  Speaker 2: kind of rolled out of bed and had some breakfast.
• 44:32
  Speaker 2: And before I knew it, I was on set. And
• 44:35
  Speaker 2: I was kind of, there was something kind of easy
• 44:39
  Speaker 2: about it.
• 44:39
  Speaker 4: Yeah.
• 44:40
  Speaker 1: I mean, no commute really is more than 10 or
• 44:43
  Speaker 1: 15 minutes.
• 44:43
  Speaker 3: Yeah.
• 44:44
  Speaker 1: And everyone drove themselves or biked or whatever.
• 44:48
  Speaker 2: Yeah.
• 44:49
  Speaker 4: So, yeah, it just didn't have a very hierarchical feel
• 44:54
  Speaker 4: to it, which is, I think, very intrinsic to film
• 44:58
  Speaker 4: and TV. You know, you're just like, who's number one
• 45:01
  Speaker 4: and two on the call sheet? Like, who's above the line,
• 45:04
  Speaker 4: below the line? Like, it definitely felt much more like
• 45:08
  Speaker 4: a collective.
• 45:09
  Speaker 1: Yeah.
• 45:09
  Speaker 3: Yeah.
• 45:10
  Speaker 2: Definitely did. So, okay, so that's that part of it. Oh,
• 45:14
  Speaker 2: and this ends, the episode ends with, by the way,
• 45:18
  Speaker 2: you do two characters that I don't think you ever
• 45:23
  Speaker 2: really did again. And they were really good. One is
• 45:27
  Speaker 2: you're sort of a backstage person, curly hair, really obnoxious.
• 45:33
  Speaker 1: Yeah, like a little bit of an accent and attitude.
• 45:35
  Speaker 2: Yeah.
• 45:36
  Speaker 1: Like East Coast a little. Really good.
• 45:38
  Speaker 3: And very real.
• 45:39
  Speaker 2: And I'm like, oh, I totally talk to people like that.
• 45:43
  Speaker 2: Who think it's funny to be rude. They think it's
• 45:48
  Speaker 2: like charming to say something kind of mean to somebody.
• 45:51
  Speaker 2: And your outfit matched it. I think it might have
• 45:55
  Speaker 2: been like gold pants or something. Just obnoxious backstage to
• 46:01
  Speaker 2: Sparkle Pony. Very insulting. And then this other, Sparkle Pony
• 46:05
  Speaker 2: goes up to this sort of podium. And there's like
• 46:09
  Speaker 2: a hippie.
• 46:10
  Speaker 3: Yes.
• 46:11
  Speaker 2: Person that you're doing or neo hippie.
• 46:13
  Speaker 3: Yeah. Yeah.
• 46:14
  Speaker 2: Who's very nice. And then you send her on a
• 46:16
  Speaker 2: bus to Alaska.
• 46:17
  Speaker 1: Yeah.
• 46:19
  Speaker 2: And so she gets on this bus. So those are
• 46:21
  Speaker 2: great characters. She goes on this bus to Alaska, stops
• 46:24
  Speaker 2: at a hotel, a motel on the way. And our
• 46:28
  Speaker 2: characters are there. Yeah.
• 46:30
  Speaker 1: And she plays.
• 46:31
  Speaker 2: She plays.
• 46:32
  Speaker 3: Yeah.
• 46:32
  Speaker 2: And she starts to play and there's like a family there. Yeah.
• 46:35
  Speaker 2: And then it cuts to the credits, which I think
• 46:37
  Speaker 2: is the device we used a couple times where it
• 46:39
  Speaker 2: goes right to the credits.
• 46:40
  Speaker 1: Yeah. I remember. And then there's a family at the hotel, right,
• 46:44
  Speaker 1: that are checking in with their son. Yeah. Yeah.
• 46:47
  Speaker 4: I mean, the other thing that I was thinking about
• 46:50
  Speaker 4: as watching this was just how ambitious we were location-wise.
• 46:54
  Speaker 4: I mean, considering this is a wraparound, there are so
• 46:56
  Speaker 4: many locations for this one section.
• 46:59
  Speaker 3: Oh, yeah.
• 47:00
  Speaker 2: She's walking along.
• 47:01
  Speaker 3: Yeah.
• 47:02
  Speaker 4: And that it's weird because we talk about like, did
• 47:06
  Speaker 4: you feel tired doing it? No, but watching it, I
• 47:08
  Speaker 4: almost feel tired just thinking like, oh my God, the
• 47:12
  Speaker 4: amount of moves, company moves, you know, meaning how many
• 47:15
  Speaker 4: times we picked up and drove to another location. You know,
• 47:22
  Speaker 4: it was really intense, like how much we were able
• 47:26
  Speaker 4: to do, but that we never like thought, okay, well,
• 47:29
  Speaker 4: we should just do this. like this whole sketch in
• 47:32
  Speaker 4: one place, which we did to be fair. Like we
• 47:34
  Speaker 4: talked about the massage band sketch, but so many of
• 47:39
  Speaker 4: our sketches, we didn't really have anyone saying, because again,
• 47:44
  Speaker 4: it was David Kress, like people, you know, in, in
• 47:46
  Speaker 4: the UPM who this year was Melissa Wiley this first year, like,
• 47:51
  Speaker 4: it was like, okay, I think we can do it. Yeah.
• 47:53
  Speaker 1: Like there was so much optimism.
• 47:55
  Speaker 2: I know.
• 47:55
  Speaker 1: You know, it wasn't like, well, we should probably do this.
• 47:58
  Speaker 4: I mean, we did a lot of mini moves, which
• 47:59
  Speaker 4: obviously helped, you know, and that's essentially like, let's go
• 48:03
  Speaker 4: from one shop to the next door, like location, you know,
• 48:08
  Speaker 4: which is just the adjacent shop, like instead of moving
• 48:10
  Speaker 4: like three blocks. So it was like, you're, you know,
• 48:12
  Speaker 4: you're able to sort of cheat and have a whole
• 48:14
  Speaker 4: other location, but it's still a lot different than, you know, they, they,
• 48:19
  Speaker 4: sometimes to me, I guess what I'm saying is they
• 48:20
  Speaker 4: felt like mini movies.
• 48:22
  Speaker 2: Yeah.
• 48:23
  Speaker 1: Just because of how vast.
• 48:25
  Speaker 4: They were and that we were outdoors a lot, you know,
• 48:28
  Speaker 4: a lot of like, I think of when I work
• 48:30
  Speaker 4: on shows, especially when I direct stuff now, like there's
• 48:32
  Speaker 4: so much, so much interiority. Like I'm just like, Oh,
• 48:36
  Speaker 4: we're never, we never see the outside world. Like in,
• 48:39
  Speaker 4: in this episode and in so many others, like we
• 48:42
  Speaker 4: are so in Portland, we.
• 48:44
  Speaker 2: Are all over the city.
• 48:45
  Speaker 3: Yeah. Yeah.
• 48:46
  Speaker 4: So it feels bigger than I think what certainly what
• 48:50
  Speaker 4: the budget was. You know, we got a lot of bang.
• 48:54
  Speaker 1: For our buck.
• 48:54
  Speaker 2: Yeah, that's a lot of exteriors.
• 48:56
  Speaker 1: A lot of exteriors.
• 48:57
  Speaker 4: Yeah, and at the mercy of, I mean, it's the summer,
• 48:59
  Speaker 4: so it's like obviously nicer, but, you know, always at
• 49:02
  Speaker 4: the mercy of the weather.
• 49:04
  Speaker 2: And trains. I think we heard train sounds a lot.
• 49:08
  Speaker 1: A lot, yeah. Trains, planes. But yeah, a lot of trains.
• 49:11
  Speaker 4: Yeah, it was, it's, that's I think what strikes me
• 49:14
  Speaker 4: a lot when I watch. It's just like, oh my God.
• 49:17
  Speaker 2: Yeah.
• 49:17
  Speaker 1: Like we are very much, on location constantly.
• 49:22
  Speaker 3: Yep. Yeah.
• 49:23
  Speaker 2: I had a sketch idea. Okay. And I think of
• 49:27
  Speaker 2: it once in a while whenever I check into a
• 49:29
  Speaker 2: very normal hotel. Okay. Like a motel. Whenever I go
• 49:33
  Speaker 2: and there's, like, a breakfast buffet and stuff, there's– it's
• 49:37
  Speaker 2: very normal. Mm-hmm. And I always feel like I'm the
• 49:39
  Speaker 2: only person in this whole building who knows about Sonic
• 49:42
  Speaker 2: Youth or whatever. Or whatever, Lou Reed. And so I'm like,
• 49:45
  Speaker 2: everyone's so normal. And I wish we had done a
• 49:50
  Speaker 2: sketch where we both go to a motel and I
• 49:55
  Speaker 2: complain about how normal everybody is. And then I have
• 49:59
  Speaker 2: a dream where I wake up in this motel, same place,
• 50:04
  Speaker 2: where everyone is super normal. in quotes, cool. Like everyone,
• 50:09
  Speaker 2: all like the pancakes are like Lou Reed pancakes and
• 50:12
  Speaker 2: et cetera.
• 50:14
  Speaker 1: Right.
• 50:14
  Speaker 2: And then that's the whole sketch. It's just that it
• 50:17
  Speaker 2: actually becomes a nightmare that I wouldn't want it that way.
• 50:20
  Speaker 1: Right.
• 50:20
  Speaker 2: But that, you know, all the breakfast specials are based
• 50:24
  Speaker 2: on bands and, you know, not like an Ace Hotel,
• 50:28
  Speaker 2: just that everyone normal is like fully into all the
• 50:30
  Speaker 2: same stuff.
• 50:31
  Speaker 4: So I was going to, I was about to say like,
• 50:33
  Speaker 4: it's sort of full circle to the beginning of our conversation.
• 50:35
  Speaker 4: Like we actually wouldn't want everywhere to be like, because
• 50:38
  Speaker 4: we would just be yeah you would be begging for
• 50:42
  Speaker 4: normalcy yes you'd be please yes like stop talking about
• 50:46
  Speaker 4: gang of four yeah like give me some Bachman Turner
• 50:50
  Speaker 4: overdrive play that eagle song again yeah like I do
• 50:54
  Speaker 4: not need to hear Husker do no yeah.
• 50:56
  Speaker 2: It's um yeah anyway that would have been the sketch.
• 50:59
  Speaker 4: Yeah I that reminds me of um when I was
• 51:02
  Speaker 4: in my senior year so 12th grade um my English teacher, Armie, Mr. Armstrong,
• 51:09
  Speaker 4: but we call him Armie, we were reading James Joyce,
• 51:12
  Speaker 4: and so he was talking about.
• 51:15
  Speaker 1: Ireland and Irish poets.
• 51:17
  Speaker 4: And then he brought up the band Stiff Little Fingers,
• 51:22
  Speaker 4: which is an Irish punk band, except he called them,
• 51:26
  Speaker 4: and in the moment, I was like, oh boy, but
• 51:29
  Speaker 4: partly because he called them Sticky Fingers.
• 51:31
  Speaker 1: No.
• 51:32
  Speaker 4: No.
• 51:32
  Speaker 1: Yeah, and I was like, okay.
• 51:33
  Speaker 4: Like, I didn't, my brain, I was so split in
• 51:35
  Speaker 4: that moment because I was like, points for bringing up
• 51:39
  Speaker 4: a pretty obscure Irish punk band. But negative points for
• 51:45
  Speaker 4: getting their name wrong.
• 51:46
  Speaker 2: Yeah, a major thing, I think.
• 51:47
  Speaker 1: A major thing, but they really, no one in the class,
• 51:51
  Speaker 1: I think, but me knew them. So I, you know,
• 51:53
  Speaker 1: I let it slide.
• 51:54
  Speaker 2: Yeah.
• 51:58
  Speaker 1: All right, well.
• 52:00
  Speaker 2: That was, Episode five of season one.
• 52:03
  Speaker 1: Blunderbuss.
• 52:04
  Speaker 2: Thank you for listening and watching.
• 52:06
  Speaker 1: Yeah, thank you. We'll see you next time.
• 52:09
  Speaker 2: See you next time.