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

Transcript

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

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