Latest / Podlandia: A-O Rewatch with Fred Armisen and Carrie Brownstein / 102: A Song for Portland

Transcript

102: A Song for Portland · Podlandia: A-O Rewatch with Fred Armisen and Carrie Brownstein

• 0:07
  Speaker 1: Watch me what you're watching PODLANDI.
• 0:34
  Speaker 2: I'm Carrie, I'm Fred AO rewatch.
• 0:38
  Speaker 3: It's a Portlandia rewatch podcast. We just watched the our
• 0:43
  Speaker 3: all our episodes and talk about them. That's right, that's
• 0:47
  Speaker 3: not a very great good description. Let me try it again.
• 0:51
  Speaker 3: I'll try one more time. Okay, I'm Carrie, I'm Fred.
• 0:57
  Speaker 2: This is AO rewatch.
• 0:59
  Speaker 3: It's a port Landia rewatch podcasts. We just watch our
• 1:03
  Speaker 3: episodes every sketch and talk about them.
• 1:07
  Speaker 2: Yeah, to look back on Portlandia and we have a
• 1:12
  Speaker 2: discussion about each episode. Today we are talking about a
• 1:16
  Speaker 2: song for Portland which is from season one.
• 1:19
  Speaker 3: So this episode, in a way, or I guess, technically
• 1:25
  Speaker 3: was the first episode.
• 1:26
  Speaker 2: This is the pilot. This is the pilot you shot.
• 1:28
  Speaker 2: This is what we when we pitched this and IFC
• 1:32
  Speaker 2: picked us up for a pilot, this is what we
• 1:34
  Speaker 2: worked on. This is what we wrote. We wrote this
• 1:36
  Speaker 2: in La at the Universal lot, in that dingy writer's
• 1:43
  Speaker 2: room with no desks, no just chairs arranged in a
• 1:48
  Speaker 2: little circle. It was me you. Jonathan Kreisel's our co creator,
• 1:56
  Speaker 2: producer and director for the first two seasons.
• 1:58
  Speaker 3: Yep.
• 1:58
  Speaker 2: This is Allison's overman who was from the Colbert Rapport
• 2:04
  Speaker 2: and a really funny writer. And we had also Jason
• 2:08
  Speaker 2: Manzukis in the writer's room with us. That's right, who's
• 2:11
  Speaker 2: a comedian actor writer. And yeah, it was pretty fast
• 2:19
  Speaker 2: and furious. I have remembered the writing for this. It
• 2:21
  Speaker 2: was and the whole shooting, the whole production was because
• 2:25
  Speaker 2: you were still in SNL and in fact you would
• 2:27
  Speaker 2: be for the first couple of seasons of Portlandia.
• 2:30
  Speaker 3: Also, we didn't even know what the show was. But
• 2:32
  Speaker 3: as we're writing it, no, we've had no idea, we
• 2:36
  Speaker 3: didn't have any reference point exactly.
• 2:39
  Speaker 2: And this was before we knew it was going to
• 2:41
  Speaker 2: be called Portlandia. When we were still figuring out what
• 2:44
  Speaker 2: the name would be, we sort of figured out that
• 2:48
  Speaker 2: it would definitely shoot in Portland, which was not a
• 2:52
  Speaker 2: given when we first pitched it. So by now we
• 2:54
  Speaker 2: know we're shooting in Portland, we're starting to assemble a
• 2:57
  Speaker 2: crew up there. We don't have a name, and you know,
• 3:01
  Speaker 2: we're batting a few ideas back and forth, getting I
• 3:04
  Speaker 2: remember trying to get permission from Dwayne Sorenson at Stumptown,
• 3:09
  Speaker 2: which is now everyone knows it as Stumptown Coffee. At
• 3:11
  Speaker 2: the time, it was still pretty much just in Portland,
• 3:13
  Speaker 2: maybe also in Brooklyn, and it's also a nickname of Portland.
• 3:19
  Speaker 2: And I remember asking Dwayne like, would this be cool
• 3:22
  Speaker 2: with you? And he was like yeah, I mean, he
• 3:24
  Speaker 2: wasn't opposed to it, but we.
• 3:26
  Speaker 3: Were also we knew so little that we were hopeful too, like, oh,
• 3:30
  Speaker 3: I hope, he says, yes, I know, this is our
• 3:32
  Speaker 3: ticket to doing the rest of the show.
• 3:34
  Speaker 2: I know. So it was yeah, everything felt very new,
• 3:39
  Speaker 2: and I felt, yeah, it was just all a mystery
• 3:42
  Speaker 2: to me, like it was just I was also, I
• 3:45
  Speaker 2: mean really suffering from major imposter syndrome. You know. I
• 3:49
  Speaker 2: had come from music, and my like experience with performance
• 3:55
  Speaker 2: was pretty limited to being on stage. I had done
• 3:59
  Speaker 2: a couple acting things like, but certainly not like improv.
• 4:05
  Speaker 2: Hadn't done sketch, you know, and here I was suddenly
• 4:08
  Speaker 2: with you and John and Jason and Allison. I was
• 4:12
  Speaker 2: very I remember feeling very nervous in the writer's room.
• 4:16
  Speaker 3: I forgot that that would ever be an element.
• 4:18
  Speaker 2: Oh my god. Yeah, it was shocking. And I still
• 4:22
  Speaker 2: credit Alison to this day she would So I wasn't
• 4:27
  Speaker 2: great at pitching. You like Fred, you are great. You're
• 4:30
  Speaker 2: great at pitching one because you often pitch as character,
• 4:34
  Speaker 2: you know, and in character. So you'll pitch a character
• 4:36
  Speaker 2: based idea and you'll deliver it already so we can
• 4:40
  Speaker 2: imagine it, we hear the character. Not everyone pitches like that.
• 4:44
  Speaker 2: You know, a lot of people just pitch.
• 4:46
  Speaker 3: Oh.
• 4:46
  Speaker 2: You know, I was thinking about this, or I saw this,
• 4:49
  Speaker 2: and this is when I pitch. An observation I have
• 4:54
  Speaker 2: about seeing that there were birds on a bunch of
• 4:58
  Speaker 2: different art everywhere, you know, I just thought, oh god,
• 5:01
  Speaker 2: it's like it's so ubiquitous, and it's this shorthand for art.
• 5:04
  Speaker 2: It's like if you don't, if you're unsure about what
• 5:08
  Speaker 2: constitutes art or craft, if you just put a bird
• 5:11
  Speaker 2: on it, that okay, we get it now, now it's art.
• 5:16
  Speaker 2: And I and Alison that idea sort of just came
• 5:20
  Speaker 2: and went. And I just remember that idea and then
• 5:23
  Speaker 2: we'll talk about another one later called did you read that?
• 5:25
  Speaker 2: Alison just she kept she would just say, hey, Carrie
• 5:29
  Speaker 2: had a good idea. I want to just go back
• 5:30
  Speaker 2: to that. And I just remember that so distinctly because
• 5:36
  Speaker 2: I think the way I presented it, you know, it
• 5:39
  Speaker 2: just didn't have that. It just wasn't sharp, it wasn't
• 5:42
  Speaker 2: like as coherent as it could have been. And she
• 5:45
  Speaker 2: really was like, I think you're onto something.
• 5:48
  Speaker 3: Wow, I had no idea that that was. You presented
• 5:52
  Speaker 3: it so easily, and by the way, it was our
• 5:56
  Speaker 3: first really our first sketch for Portland, India and really
• 6:00
  Speaker 3: stood the test of time. I've seen tattoos have put
• 6:04
  Speaker 3: a bird on it. People will sometimes ask me to
• 6:06
  Speaker 3: put birds on things, to draw something on it, and
• 6:10
  Speaker 3: the idea was very immediately understandable. And I remember you
• 6:16
  Speaker 3: came up with this idea put a bird on it,
• 6:18
  Speaker 3: and I thought, oh, yeah, that's right. People are such dummies.
• 6:21
  Speaker 3: They do that all the time. And then I went
• 6:22
  Speaker 3: home and my own doormat that I bought was a
• 6:29
  Speaker 3: crow like or whatever, you know, like a sort of
• 6:31
  Speaker 3: black bird, like a raven or something. And I was
• 6:37
  Speaker 3: just as much a fool as anybody. I'm like, oh,
• 6:40
  Speaker 3: I bought into this without even thinking about it, thinking hey,
• 6:42
  Speaker 3: this is a cool doormat, right.
• 6:44
  Speaker 2: It's classic, it's beautiful, it's timeless. It's a bird.
• 6:48
  Speaker 3: Yeah, you know, my own cool version of like, well,
• 6:51
  Speaker 3: this is a.
• 6:51
  Speaker 2: Blackbird wearing a little leather jacket, but.
• 6:58
  Speaker 3: So I was, you know, just as much, which kind
• 7:00
  Speaker 3: kind of like was the through line of the entire
• 7:03
  Speaker 3: series that like, all the things that we focus on
• 7:08
  Speaker 3: are actually things that we are guilty of that we
• 7:11
  Speaker 3: all do.
• 7:11
  Speaker 2: Of course, we're just exploring like our own like proclivities
• 7:16
  Speaker 2: and tendencies or habits. So yeah, I think that was
• 7:19
  Speaker 2: something from the beginning, like we and we quickly I
• 7:22
  Speaker 2: think as time went on we were better at this,
• 7:24
  Speaker 2: but it was always like, is this something that I understand?
• 7:28
  Speaker 2: Is this something where we're not just looking at someone
• 7:32
  Speaker 2: else and thinking you're silly or you're foolish. It's like,
• 7:36
  Speaker 2: how does this thing that I love or enjoy or
• 7:40
  Speaker 2: even think about make me a little silly? And how
• 7:42
  Speaker 2: can I explore that? So we were less making fun
• 7:46
  Speaker 2: of other people and more just poking fun at ourselves. Yeah.
• 7:51
  Speaker 2: So yeah, so this becomes the opening sketch, which until
• 7:56
  Speaker 2: you know, we talk about with in the first episode
• 7:59
  Speaker 2: of of the podcast, that Dream of the nineties sense
• 8:02
  Speaker 2: of being the pilot episode at the beginning, you know,
• 8:05
  Speaker 2: this would have been like the cold open of the pilot.
• 8:08
  Speaker 2: And when I watched this episode, I see it as
• 8:11
  Speaker 2: the pilot. There are things throughout and I'm like, oh
• 8:14
  Speaker 2: my gosh, we didn't have this yet. So we shot
• 8:17
  Speaker 2: this episode. We waited for IFC to decide whether they
• 8:20
  Speaker 2: would pick us up to series, which, by the way,
• 8:22
  Speaker 2: was a very expedited situation. This can often languish, but
• 8:26
  Speaker 2: because you were heading back to SNL, we needed them
• 8:30
  Speaker 2: to decide if they wanted us to shoot that summer
• 8:32
  Speaker 2: before you had to go back. It was a very
• 8:35
  Speaker 2: quick pickup. But in that time we made some adjustments.
• 8:38
  Speaker 2: So when I watched this episode again, originally the pilot
• 8:43
  Speaker 2: is a little confusing. I see, like Tony's glasses. We'll
• 8:45
  Speaker 2: get to that feminist bookstore glasses. They are terrible. You
• 8:49
  Speaker 2: can't even see my eyes. Like, the wigs are a
• 8:51
  Speaker 2: little different, Like I can see the pilot in this
• 8:54
  Speaker 2: show in this episode.
• 8:56
  Speaker 3: And I think our voices are a little different. Yeah,
• 9:00
  Speaker 3: we do, Nina and Lance, we'll talk about that. But
• 9:03
  Speaker 3: I could hear like how we made a It didn't
• 9:07
  Speaker 3: occur to us that they would be repeat characters. We
• 9:09
  Speaker 3: were just like, we'll just do these characters. We'll see
• 9:11
  Speaker 3: what happens.
• 9:11
  Speaker 2: Yeah, and the other thing, and we'll get to this too,
• 9:15
  Speaker 2: is like some of these ideas come from Sorry. The
• 9:23
  Speaker 2: other thing is that some of these ideas and characters
• 9:25
  Speaker 2: predate Porlandia. It's stuff that you and I were doing
• 9:28
  Speaker 2: in the project we called thunderand when we were just
• 9:31
  Speaker 2: making videos for each other for our friends. So yeah,
• 9:34
  Speaker 2: this is a real grab bag of like it's sort
• 9:36
  Speaker 2: of what we brought with us in terms of Portlandia
• 9:40
  Speaker 2: and then still figuring it out. And I would say,
• 9:43
  Speaker 2: you know, as we watched this whole first season, I
• 9:45
  Speaker 2: really see us figuring stuff out. I see us settling
• 9:48
  Speaker 2: on things that would become a fulcrum for like all
• 9:52
  Speaker 2: eight seasons, and I see us hashing out ideas that
• 9:55
  Speaker 2: we then discard. Yes, so yeah, so we we open
• 9:58
  Speaker 2: on put a burd on it, and I just remember
• 10:02
  Speaker 2: shooting on Mississippi Avenue with Katie Ogrady. She plays the
• 10:08
  Speaker 2: shop owner and we played Bryce and Lisa.
• 10:11
  Speaker 3: And I remember Jonathan christ Al, our director, explaining to
• 10:17
  Speaker 3: us how this was going to work. Because in a
• 10:19
  Speaker 3: way it is kind of abstract. There's not really in
• 10:23
  Speaker 3: the editing is a beginning, middle, and end, but this
• 10:25
  Speaker 3: is more like kind of an ad. It's presentational, it's presentational,
• 10:30
  Speaker 3: but you know, it's just there's something kind of it's
• 10:36
  Speaker 3: just there's no chronology to it.
• 10:39
  Speaker 2: Yes, it's not necessarily a little storyline, and he really
• 10:43
  Speaker 2: thought of it as more of a commercial or something that. Yeah,
• 10:47
  Speaker 2: it was a little more stylized and heightened, I think
• 10:49
  Speaker 2: than some of the other sketches, and we didn't really
• 10:52
  Speaker 2: realize that going in. I mean, you know, again, there's
• 10:55
  Speaker 2: the outline for the sketch, there's a little bit of dialogue.
• 10:58
  Speaker 2: This is when we were in full improv mode though,
• 11:01
  Speaker 2: and so it wasn't really until we show up on
• 11:03
  Speaker 2: set and we get a sense of like, oh my gosh,
• 11:05
  Speaker 2: this is what John has imagined for this.
• 11:08
  Speaker 3: But we never say like, there's no part of it
• 11:11
  Speaker 3: that is a remotely like an ad in that we
• 11:13
  Speaker 3: don't say we are a company, call this number, or
• 11:16
  Speaker 3: we'll do this on your boat. It is just it's
• 11:19
  Speaker 3: like in the middle.
• 11:20
  Speaker 2: Somewhere right, and it's but there's some two camera elements, yes, yeah,
• 11:24
  Speaker 2: And two things came out of this sketch that I
• 11:26
  Speaker 2: think informed how we were going forward. One is we
• 11:30
  Speaker 2: realize that we needed a dynamic between Bryce and Lisa
• 11:34
  Speaker 2: that it couldn't just be the same beat of us
• 11:38
  Speaker 2: talking about putting birds on things. And there's a moment
• 11:41
  Speaker 2: where Lisa my character, blows something like she's blowing something
• 11:46
  Speaker 2: off a bird and the dust gets in your eye,
• 11:49
  Speaker 2: and Bryce suddenly becomes this very finicky, like very sensitive,
• 11:55
  Speaker 2: but there's just a little tinge of anger there and
• 11:59
  Speaker 2: you can see suddenly it becomes about their dynamic, and
• 12:04
  Speaker 2: that was very important, Like before that, it just there
• 12:08
  Speaker 2: was no there there, like that just wasn't grounded in character,
• 12:12
  Speaker 2: which I think we realized very quickly that our best sketches,
• 12:16
  Speaker 2: the ones that would last, would be grounded in character
• 12:18
  Speaker 2: and in a dynamic that we could continue to play
• 12:21
  Speaker 2: on for the rest of the show. And I think
• 12:24
  Speaker 2: if we hadn't done that, I don't know how much
• 12:26
  Speaker 2: we would have come back to Bryce and Lisa. But
• 12:28
  Speaker 2: now I was like, oh, okay, I see who they are.
• 12:31
  Speaker 2: Like there's this way they connect. Obviously, they're like very fastidious,
• 12:36
  Speaker 2: you know, they have this sort of ideas about aesthetics,
• 12:40
  Speaker 2: and but there's ways that they differ and diverge from
• 12:44
  Speaker 2: each other and you can just see a little tension there,
• 12:46
  Speaker 2: and that conflict is good.
• 12:48
  Speaker 3: But I always had to be reminded it. It was
• 12:51
  Speaker 3: this thing that that happened to me on set all
• 12:55
  Speaker 3: the time. We need a dynamic, and I always forgot
• 12:59
  Speaker 3: I adhered to it. I was like, of course, absolutely,
• 13:02
  Speaker 3: but I always forgot, like, that's right, we're supposed to
• 13:05
  Speaker 3: actually engage in that way.
• 13:08
  Speaker 2: Yeah, And that was I think a It sounds small,
• 13:12
  Speaker 2: but it was kind of a revelation and something we
• 13:15
  Speaker 2: ye employed as best we could, and with all the
• 13:18
  Speaker 2: characters that were lasting and recurrent, we definitely built out
• 13:22
  Speaker 2: this dynamic, you know, starting with something really small. And
• 13:26
  Speaker 2: then for me, the thing that was really really scary
• 13:32
  Speaker 2: was this is the first moment. And I don't think
• 13:34
  Speaker 2: we shot this the first day, but all the sketches
• 13:38
  Speaker 2: so far had been you and I in every scene,
• 13:41
  Speaker 2: you know, so it's like, even though I felt a
• 13:43
  Speaker 2: little bit out of my element, I was like, Okay,
• 13:45
  Speaker 2: here we go. It's Fred and I. We've got each other.
• 13:47
  Speaker 2: I felt very supported and because of the presentational nature
• 13:53
  Speaker 2: of this sketch, there's a moment where I just had
• 13:56
  Speaker 2: to stand in front of this like card rack essentially,
• 14:02
  Speaker 2: like this like display rack of like cards, and it
• 14:05
  Speaker 2: was like my turn to go. It was like I'm
• 14:07
  Speaker 2: supposed to do a run of something, and I've like
• 14:11
  Speaker 2: seen you do that, like I know what they're talking about,
• 14:15
  Speaker 2: but it was the first time that it was like
• 14:17
  Speaker 2: you were not in the scene with me, and I
• 14:20
  Speaker 2: was just supposed to do a run like off the
• 14:21
  Speaker 2: top of my head, extemporizing, just riffing on this thing.
• 14:25
  Speaker 2: And I remember the development producer, the you know, the
• 14:28
  Speaker 2: guy at IFC who had sort of brought our show
• 14:31
  Speaker 2: in and like was championing us. I just remember him
• 14:34
  Speaker 2: standing right in front of me in my eyeline, you know,
• 14:38
  Speaker 2: along with Jonathan the director, and I just thought, I'm
• 14:41
  Speaker 2: not going to I'm going to fail, Like this is
• 14:43
  Speaker 2: when everybody's going to see that I can't do this,
• 14:47
  Speaker 2: Like I'm not meant to do this. And I was
• 14:50
  Speaker 2: horrified in the moment, and I pulled it off. I
• 14:53
  Speaker 2: did it, but there was just this moment where I
• 14:55
  Speaker 2: just thought, oh my gosh, I'm going to be exposed
• 14:58
  Speaker 2: as this absolute fraud and it was really really scary.
• 15:03
  Speaker 2: And then I feel like once I got through that,
• 15:06
  Speaker 2: I knew I was okay. But it was really when
• 15:09
  Speaker 2: I was just by myself that I thought, oh, sure,
• 15:12
  Speaker 2: when I'm with Fred I guess it's it's probably just fret.
• 15:16
  Speaker 2: And it took me, you know, this whole episode, I think,
• 15:19
  Speaker 2: to really feel like, you know, to find myself within
• 15:23
  Speaker 2: these characters within the show. There were just little moments
• 15:26
  Speaker 2: where I really felt vulnerable. I didn't know that I'm
• 15:31
  Speaker 2: letting you.
• 15:31
  Speaker 3: Know, now, what were the lines like, was it like
• 15:35
  Speaker 3: is it the when you're saying like, I'll put a bird,
• 15:39
  Speaker 3: Is it like I'm gonna put a bird on this
• 15:40
  Speaker 3: card or something like that, or is it specific?
• 15:43
  Speaker 2: Yeah, it's just that it's like I'm looking at the
• 15:45
  Speaker 2: little card and I'm you know, saying like I'm gonna, like,
• 15:49
  Speaker 2: look at this card. It's so blank. Oh look, you know,
• 15:53
  Speaker 2: and it's just it's not even like it's not for
• 15:55
  Speaker 2: big laughs. It's just it's literally just you know, fleshing
• 15:58
  Speaker 2: out the story. But it wasn't in the script, you know,
• 16:03
  Speaker 2: no one, I didn't have a series of lines to say, like.
• 16:06
  Speaker 2: It just had to be things off the top of
• 16:08
  Speaker 2: my head that had to be you know, clever and
• 16:11
  Speaker 2: funny and push the narrative forward. And I just thought,
• 16:14
  Speaker 2: I hope I'm capable of this.
• 16:17
  Speaker 3: I'll turned out you were that it.
• 16:20
  Speaker 2: Worked out and then the other crazy thing about this
• 16:23
  Speaker 2: sketch is that the button, which I do really love,
• 16:27
  Speaker 2: is that an actual bird flies into the store in
• 16:30
  Speaker 2: this case of pigeon. And of course these two people
• 16:33
  Speaker 2: who are obsessed with birds and as long as they
• 16:37
  Speaker 2: don't smell or move or basically as long as they're
• 16:40
  Speaker 2: not sentient once a real once like confronted with a
• 16:44
  Speaker 2: real life bird, are absolutely disgusted.
• 16:46
  Speaker 3: Yes, yeah, and there you saying, Yeah.
• 16:50
  Speaker 2: So this bird flies in and I mean we kill it,
• 16:52
  Speaker 2: and if we fake kill it.
• 16:54
  Speaker 3: But yeah, yeah, and Katie O. Grady goes on to
• 16:56
  Speaker 3: be in many sketches, yeah, the rest of the seasons
• 17:03
  Speaker 3: before we continue. Also, one thing we were talking about
• 17:06
  Speaker 3: before we started doing this is that we wanted to
• 17:09
  Speaker 3: wear uniforms or a version of a uniform.
• 17:12
  Speaker 2: How are we doing on that?
• 17:13
  Speaker 3: And the type of jacket that I have right now,
• 17:18
  Speaker 3: I have multiples of these in different colors, and so
• 17:22
  Speaker 3: I like, you know, it's a sort of coat.
• 17:25
  Speaker 2: That can something like that, the shop jacket.
• 17:29
  Speaker 3: Yeah, I've seen them called chore coats.
• 17:33
  Speaker 2: What chore coat? God, what a name. Yeah, there's all
• 17:36
  Speaker 2: those chores that the people wearing them are doing, Like if.
• 17:41
  Speaker 3: That was actually running chores. What chore needs this kind
• 17:45
  Speaker 3: of pocket and also this kind of button. I'm going
• 17:48
  Speaker 3: to run chores today. Yeah, but anyway, I feel like
• 17:52
  Speaker 3: we have sort of a beige palette.
• 17:58
  Speaker 2: Have a beige palette today. But yeah, I think it's
• 18:00
  Speaker 2: something to consider, and I just don't want anyone in
• 18:03
  Speaker 2: the audience to be shocked if we eventually settle on
• 18:06
  Speaker 2: a uniform. I don't want to be disappointed either, but
• 18:09
  Speaker 2: I don't want you to be shocked because it's really
• 18:11
  Speaker 2: kind of our dream. I like the idea of waking
• 18:14
  Speaker 2: up and not having to make a decision about what
• 18:16
  Speaker 2: I'm going to wear. When I'm at home. I often
• 18:19
  Speaker 2: wear the same thing every day. Yeah, if I'm just
• 18:22
  Speaker 2: like writing, I'm just like, get up. I mean clean
• 18:25
  Speaker 2: socks and underwear, don't get me wrong, Yeah, but everything
• 18:28
  Speaker 2: else same, Just put it on, get to work.
• 18:31
  Speaker 3: I went through a period of wearing jumpsuits. I do
• 18:35
  Speaker 3: like jumpsuits very well, and then I thought of them.
• 18:38
  Speaker 2: Like a flight suit kind of like.
• 18:39
  Speaker 3: Yeah, yeah, just kind of a onesie.
• 18:40
  Speaker 2: How do you feel about the bathroom with that? I
• 18:42
  Speaker 2: find it cumbersome. You are okay, at least if you're
• 18:47
  Speaker 2: sitting on the toilet, you are naked. It's down on them,
• 18:50
  Speaker 2: it's pooling on the ground. So if you're in a
• 18:52
  Speaker 2: public restroom, that thing, that thing is like a parachute. Yeah,
• 18:55
  Speaker 2: it's one with the floor. It's mopping the floor, and
• 18:57
  Speaker 2: then you put it back on your body, which I
• 18:59
  Speaker 2: find a little unsavory.
• 19:01
  Speaker 3: Well, my decision making with that is that I go
• 19:05
  Speaker 3: to the bathroom once once in the morning, and then
• 19:08
  Speaker 3: I wait till the next day. I just tell my body, like,
• 19:11
  Speaker 3: we're not this is today is not the day for
• 19:14
  Speaker 3: indulging this line.
• 19:15
  Speaker 2: I go a step further. I go and I stock
• 19:17
  Speaker 2: up on antibiotics at the doctor and I just say, uti,
• 19:20
  Speaker 2: come at me, and I just I let it happen,
• 19:22
  Speaker 2: and then I just pop those antibotics and then it's good.
• 19:25
  Speaker 3: It's worth it for the look.
• 19:27
  Speaker 2: It's worth it for the look anyway. That's the reason
• 19:30
  Speaker 2: I don't wear those.
• 19:30
  Speaker 3: But I remember thinking that like jumpsuits would be a
• 19:35
  Speaker 3: sort of good band uniform aside from like the you
• 19:41
  Speaker 3: know the bands that we know, like those Devo are
• 19:43
  Speaker 3: their versions of them. But I've been finding that it's
• 19:48
  Speaker 3: a move. I see it often enough that I'm like
• 19:52
  Speaker 3: it wouldn't be that original. I thought, like, for like
• 19:55
  Speaker 3: stand up, I should always wear a jumpsuit. And I
• 19:58
  Speaker 3: see it enough that i'm I think it's kind of
• 20:00
  Speaker 3: like there's something about it that no longer feels original.
• 20:04
  Speaker 2: Yeah, right, aside from yeah, the devo of it all,
• 20:08
  Speaker 2: I guess I sometimes will see a band, or if
• 20:11
  Speaker 2: if it's the kind of band where there's like an
• 20:12
  Speaker 2: obvious front person or even like the band is essentially
• 20:16
  Speaker 2: a front person or one person that has then like
• 20:19
  Speaker 2: backing players, they'll often put the backing band in a jumpsuit,
• 20:24
  Speaker 2: and yeah, that kind of I don't I don't love it.
• 20:27
  Speaker 2: I think it's also despite how it's sort of presented,
• 20:32
  Speaker 2: it's not the most flattering thing on everyone. Like, it's
• 20:37
  Speaker 2: just not it's a it's a strange shape to throw
• 20:41
  Speaker 2: on a body.
• 20:43
  Speaker 3: Maybe because of the way they're designed.
• 20:45
  Speaker 2: Yeah, they're designed with like it's yeah, utilitarian, it's very utilitarian.
• 20:49
  Speaker 2: But you know that's not that's not going to work
• 20:51
  Speaker 2: for everyone, you know, I liked I think it's better
• 20:54
  Speaker 2: if people have a little bit of or more individualized
• 20:57
  Speaker 2: with their clothing. Yeah, So if you're pitching, I'm shooting it.
• 21:01
  Speaker 3: Down it's shut down.
• 21:03
  Speaker 2: Okay, but I like the chore coat, but I hate.
• 21:08
  Speaker 3: Partial to them.
• 21:08
  Speaker 2: But we never use that. What a terrible chore coat.
• 21:14
  Speaker 2: It's condescending because it's like, what chort Literally, I want
• 21:18
  Speaker 2: to next time I see someone in that short coat
• 21:19
  Speaker 2: and I'm going to ask what kind of chores they've
• 21:21
  Speaker 2: been doing today?
• 21:21
  Speaker 3: Yeah? I mean, also, I'm sure that blue jeans are like,
• 21:25
  Speaker 3: excuse me, we're the chore clothing. Don't start applying it
• 21:29
  Speaker 3: to everything else. Yeah, Okay, it's rude. It's rude. It's
• 21:34
  Speaker 3: rude to other clothing. Yeah, to call it a chort coat.
• 21:38
  Speaker 2: Yeah, it's like, but cargo pants are back into that.
• 21:42
  Speaker 2: They have a lot of extra pockets. Yeah, but I mean,
• 21:45
  Speaker 2: do you ever carry a hammer when you're wearing those?
• 21:48
  Speaker 3: No? Right?
• 21:49
  Speaker 2: Okay, all right, So that's sketch number one one in
• 21:55
  Speaker 2: a really big way, in a big way, but it
• 21:57
  Speaker 2: is kind of it's a big It was a big deal.
• 22:00
  Speaker 2: It also because we thought it was the pilot. Like
• 22:03
  Speaker 2: it's hard to really separate how much we thought that
• 22:06
  Speaker 2: was the pilot. Yeah, okay, so this is an idea
• 22:13
  Speaker 2: the wrap around. So you know, as we talked about
• 22:17
  Speaker 2: in the first episode of the pilot. You know, there's
• 22:19
  Speaker 2: the cold open, and then there's the wrap around, which
• 22:22
  Speaker 2: is a three part sketch beginning middle end. They often
• 22:26
  Speaker 2: start grounded, get a little you know, elevated, a little weird,
• 22:30
  Speaker 2: and then sort of take a hopefully a surprising left turn,
• 22:34
  Speaker 2: get a little absurd or surreal at the end. That's
• 22:36
  Speaker 2: usually the trajectory. So this one is Song for Portland,
• 22:42
  Speaker 2: which is kind of an idea that you and I
• 22:44
  Speaker 2: did in one of our thunder Aunt things where we
• 22:45
  Speaker 2: are sending song ideas back and forth over the phone. Yes,
• 22:50
  Speaker 2: this is also the introduction of Kyle MacLachlan as the mayor.
• 22:57
  Speaker 3: I mean, a huge, huge, major part of the show.
• 23:02
  Speaker 2: I mean, and we would not necessary we would not
• 23:05
  Speaker 2: necessarily have known that. You know, Kyle comes in. I
• 23:09
  Speaker 2: remember Andrew Singer, our executive producer. I think he was
• 23:15
  Speaker 2: Did he pitch Kyle? Who pitched Kyle?
• 23:17
  Speaker 3: I thought John did? Because of twin Peaks.
• 23:20
  Speaker 2: Okay, oh you're right, you're right.
• 23:23
  Speaker 3: But you know how your memory gets clouded as to
• 23:27
  Speaker 3: what you're in, what you were intending. But I remember,
• 23:31
  Speaker 3: for some reason, I think of John saying we need
• 23:33
  Speaker 3: someone like.
• 23:35
  Speaker 2: Kyle right, Yeah, because I think once we realized we
• 23:38
  Speaker 2: were going to be shooting in Portland, and we were
• 23:40
  Speaker 2: thinking of how Portland and the Pacific Northwest has a
• 23:44
  Speaker 2: very specific look. It's verdant, there's so many iterations of green,
• 23:49
  Speaker 2: there's so many iterations of gray. It just it feels different,
• 23:53
  Speaker 2: it looks different. And there's no one like David Lynch
• 23:56
  Speaker 2: and what he did with Twin Peaks that you know,
• 23:58
  Speaker 2: has really I mean, he's just captured that palette in
• 24:02
  Speaker 2: a way that's it's very evocative and indelible. And Kyle
• 24:10
  Speaker 2: of course was not only the face of that show,
• 24:14
  Speaker 2: but he's from the Pacific Northwest, so he grew up
• 24:17
  Speaker 2: in Yakama, which is in central Washington. He went to
• 24:20
  Speaker 2: University of Washington Seattles, SOO, like, he just has all
• 24:23
  Speaker 2: these connections to the Northwest. So I think you're right
• 24:26
  Speaker 2: that we just thought like he's the right kind of person,
• 24:29
  Speaker 2: Like there's this sort of very similitude like of course
• 24:31
  Speaker 2: he exists, he already exists in this world. And I
• 24:34
  Speaker 2: think and John was so good at this as like
• 24:37
  Speaker 2: thinking about how associations that an audience makes, right, Like
• 24:42
  Speaker 2: if you're building out this world and you're thinking of
• 24:45
  Speaker 2: like a mythic virsion of Portland, like a Portland that's
• 24:48
  Speaker 2: not exactly Portland. It's a stand in. Then you can
• 24:51
  Speaker 2: kind of pull from all of this other Pacific Northwest
• 24:55
  Speaker 2: mythology and Twin Peaks would be like within that universe.
• 24:59
  Speaker 2: So we bring Kyle in a sort of like a
• 25:02
  Speaker 2: nod to that. But what was so amazing was that
• 25:05
  Speaker 2: he said yes, because he I mean, he definitely didn't
• 25:10
  Speaker 2: know me. He knew who you were because you are
• 25:12
  Speaker 2: an SNL. You know, everyone knew Lorne Michaels, who was
• 25:15
  Speaker 2: our executive producer, so he was curious enough to come in.
• 25:19
  Speaker 2: But I just remember we show up to that office again,
• 25:23
  Speaker 2: a very threadbare office. I feel like there wasn't even
• 25:27
  Speaker 2: art on the wall. Like it just felt so like
• 25:29
  Speaker 2: ad Hoc doesn't bring like an agent or entourage or assistant,
• 25:34
  Speaker 2: you know, it's just he's just sitting there and he
• 25:37
  Speaker 2: you know, and he's immediately like the most down to earth,
• 25:42
  Speaker 2: friendliest person and positive.
• 25:45
  Speaker 3: You know what you could tell someone was a positive person.
• 25:48
  Speaker 2: And I remember at the time him saying, you know,
• 25:50
  Speaker 2: he had obviously come from Lynch's world. You know, he
• 25:54
  Speaker 2: had done all these amazing films Blue Velvet, of course,
• 25:59
  Speaker 2: the Twin Peaks series, and then he had been on
• 26:04
  Speaker 2: Desperate Housewives and Sex in the City, both of which
• 26:07
  Speaker 2: he was proud of. But I think he was really
• 26:11
  Speaker 2: like longing to do something that was weirder, Like that
• 26:14
  Speaker 2: is definitely in Kyle's DNA, Like I mean, he was
• 26:18
  Speaker 2: so like, you know, the lyn Shears were so formative
• 26:22
  Speaker 2: for him. It's a you know, they continued to have
• 26:24
  Speaker 2: friendship up until David Lynch Sadley passed away, but like
• 26:28
  Speaker 2: this was like, you know, he sort of helped Kyle
• 26:32
  Speaker 2: like come into his like artistic you know own like
• 26:37
  Speaker 2: that's a that's who shaped him. And I just remember
• 26:40
  Speaker 2: Kyle really wanting to do something that just felt strange
• 26:44
  Speaker 2: again and sort of cool, and he just was willing
• 26:47
  Speaker 2: to take that risk, which we were just so grateful
• 26:51
  Speaker 2: for because I don't I can't think of anyone else
• 26:54
  Speaker 2: now that could have done this.
• 26:55
  Speaker 3: No, and the tone was exactly right. Yeah, it was weird,
• 27:00
  Speaker 3: but he at the same time really normal. He was
• 27:03
  Speaker 3: normal throughout.
• 27:05
  Speaker 2: Normal throughout as a person, collaborator, as a friend, performance,
• 27:10
  Speaker 2: but always had like was able to sort of inject
• 27:14
  Speaker 2: I think into scenes like something that just felt like
• 27:18
  Speaker 2: it was coming from somewhere a little like alien or
• 27:22
  Speaker 2: a little off, like he was willing to play with
• 27:26
  Speaker 2: reality in that way and to just kind of force
• 27:32
  Speaker 2: you to, you know, not be able to just exactly
• 27:35
  Speaker 2: you're like, Okay, this is just skewed, slightly, just veering
• 27:40
  Speaker 2: slightly off the track. There's just this vibration here that's
• 27:43
  Speaker 2: not just earthbound. Yeah, And I love that about him,
• 27:48
  Speaker 2: And in this first scene you kind of see that,
• 27:49
  Speaker 2: like how he portrays this is him his take on
• 27:53
  Speaker 2: the mayor, and he very much stuck with this. He
• 27:56
  Speaker 2: found this character right away and stuck with it. Yeah,
• 27:59
  Speaker 2: and only kind of got weirder, but he definitely it
• 28:02
  Speaker 2: was it was grounded. It was.
• 28:04
  Speaker 3: Yeah, it kind of stays the same from this Yeah, pilot,
• 28:07
  Speaker 3: that was the character, right.
• 28:09
  Speaker 2: Yeah, he's on that like ball instead of a chair.
• 28:13
  Speaker 2: I remember him asking for that. He has a weird
• 28:18
  Speaker 2: grudge against Seattle as Portland's mayor. He's always like sort
• 28:21
  Speaker 2: of disparaging Seattle, very competitive with them kind of for
• 28:24
  Speaker 2: no reason.
• 28:26
  Speaker 3: But I feel like cities do that all the time.
• 28:28
  Speaker 2: Oh no, cities do that. But like it was, you know,
• 28:30
  Speaker 2: he really In this scene he's like talking about he
• 28:33
  Speaker 2: keeps saying, don't make it like Seattle, to make it
• 28:35
  Speaker 2: like Seattle.
• 28:36
  Speaker 3: Yeah, and very much like a sort of pilot idea,
• 28:40
  Speaker 3: very simple of you know, us trying to come up
• 28:44
  Speaker 3: with music for the city.
• 28:46
  Speaker 2: But the characters of Fred and carry here we we
• 28:50
  Speaker 2: it's introduce that we actually don't know him. We're sort
• 28:52
  Speaker 2: of coming to meet him for the first time, Like
• 28:55
  Speaker 2: this is before we're friends. We're just like, yeah, you know,
• 29:00
  Speaker 2: we're very excited to meet him. Ostensibly he's a popular mayor.
• 29:04
  Speaker 2: We're eager to help out, and he's you know, he
• 29:08
  Speaker 2: sort of brings us into his world, which then of
• 29:11
  Speaker 2: course we kind of become like aids to the mayor,
• 29:14
  Speaker 2: like we're you know, but at this point it's just
• 29:18
  Speaker 2: sort of a new idea, and so he sends us
• 29:19
  Speaker 2: out to make a song for Portland.
• 29:22
  Speaker 3: Yeah, so that's the first part. Yeah, should we go
• 29:26
  Speaker 3: to the second sketch? So bicycle rights. This is the
• 29:35
  Speaker 3: bike messenger ish kind of you know, bike person who's
• 29:38
  Speaker 3: like almost there's like a military like fervor, so like
• 29:44
  Speaker 3: how he feels about being on a bike. I'm on
• 29:46
  Speaker 3: a bike bike. We all know this person. He is
• 29:52
  Speaker 3: based on someone I knew in Chicago named Todd, who
• 29:58
  Speaker 3: I worked at the Chicago Cultural Center and I'd take
• 30:01
  Speaker 3: the train and he would ride his bike and he
• 30:05
  Speaker 3: would tell stories about how horrible it was getting to
• 30:10
  Speaker 3: work and that even at the building they wouldn't let
• 30:14
  Speaker 3: him take take the bike up this one elevator and
• 30:17
  Speaker 3: when he came in he would always kind of throw
• 30:20
  Speaker 3: down his bike from how bad his trip was. And
• 30:24
  Speaker 3: so it's kind of based on that, and I think
• 30:25
  Speaker 3: over the years, and also a little based on this
• 30:28
  Speaker 3: other friend of mine, Craig. I know it's saying these
• 30:32
  Speaker 3: names is like me, almost feels meaningless, but to me
• 30:34
  Speaker 3: it's important and that I'm like, they are based on people.
• 30:38
  Speaker 3: And I remember shooting that was just all through the
• 30:41
  Speaker 3: streets and you know John's style of just we'll just
• 30:45
  Speaker 3: get a lot of footage and then we'll put it
• 30:47
  Speaker 3: all together and edit it in a way that has
• 30:50
  Speaker 3: momentum and speed. Yeah, but it was just a camera.
• 30:55
  Speaker 3: I think part of it was a camera and mic
• 30:58
  Speaker 3: on me. No crew, Yes, they set me off and
• 31:04
  Speaker 3: it was great because I hate cruise. You know these people,
• 31:12
  Speaker 3: you know what I mean. We'll talk about that later,
• 31:14
  Speaker 3: but now.
• 31:15
  Speaker 2: I do I do remember that. Well, one I'm barely
• 31:18
  Speaker 2: in this sketch, but I will say there one thing
• 31:22
  Speaker 2: that we established in this sketch are these little easter eggs.
• 31:26
  Speaker 2: So you pass Tony my family's bookstore, a character, you
• 31:29
  Speaker 2: get on the Portland light rail, Max your character Spike,
• 31:34
  Speaker 2: and I'm standing there. And then also you pass the
• 31:37
  Speaker 2: mayor and we have Kyle say something to you. So
• 31:41
  Speaker 2: that's something that we end up utilizing. A lot is
• 31:44
  Speaker 2: just trying to build connectivity, you know, and build this
• 31:47
  Speaker 2: connection between all the characters, so that it feels like
• 31:50
  Speaker 2: a place, you know that it's not all these just
• 31:53
  Speaker 2: everyone doesn't exist in a vacuum like no, this is
• 31:55
  Speaker 2: a city. We all there's a chance everything could cross over.
• 31:59
  Speaker 2: But I also want to bring out the gauges in
• 32:01
  Speaker 2: your ears, which that was the first time you've done that,
• 32:04
  Speaker 2: and a real arduous.
• 32:07
  Speaker 3: Process that I think we dropped after a while.
• 32:10
  Speaker 2: Oh you definitely did because it was just too much work.
• 32:14
  Speaker 2: I mean they have a specific I mean we need
• 32:18
  Speaker 2: them for the scene. The button of the scene is
• 32:20
  Speaker 2: that your gauge gets caught on the.
• 32:23
  Speaker 3: We threw it out, but that was a lot for you.
• 32:25
  Speaker 3: So it was like prosthetic ear lobes yep, you know,
• 32:29
  Speaker 3: blended into my ear so that it looks a certain way,
• 32:31
  Speaker 3: and it had they had to hold the weight of
• 32:33
  Speaker 3: these gauges. Yeah, so it just became you know, they
• 32:37
  Speaker 3: I think kind of fault. Also. Gluing them and blending
• 32:40
  Speaker 3: them just took a really long time. Nobody's fault. That's
• 32:43
  Speaker 3: just how prosthetics work. And it was just it just
• 32:48
  Speaker 3: took up so much of the day that eventually we
• 32:50
  Speaker 3: were like, let's just just miraculously, all of a sudden,
• 32:54
  Speaker 3: he just won't have these anymore. I think we did
• 32:55
  Speaker 3: it a couple more times and then just stopped.
• 32:58
  Speaker 2: Yeah, and I'll have examples of that as do this podcast,
• 33:01
  Speaker 2: Like yeah, we're you know, I think with Lance, well,
• 33:05
  Speaker 2: I guess we'll talk about him in a cup and
• 33:07
  Speaker 2: another episode again. But you know, used to do certain
• 33:10
  Speaker 2: things for my male character Lance that after a while
• 33:13
  Speaker 2: I was like, you know what, I think I can
• 33:14
  Speaker 2: do this exact character without all this other stuff that
• 33:18
  Speaker 2: we're doing at the meeting. And the other thing about
• 33:20
  Speaker 2: I think bicycle rights is it became one of a sketch.
• 33:24
  Speaker 2: It became one of those sketches that we repeated in
• 33:28
  Speaker 2: terms of the pacing again, just that really percussive editing,
• 33:32
  Speaker 2: lots of drums, lots of it, just you know, it's
• 33:34
  Speaker 2: it's a way of pacing something up. And I like
• 33:37
  Speaker 2: when I'm watching the show and you know, as we
• 33:39
  Speaker 2: go back, I'm like, oh, yeah, like coming out of
• 33:41
  Speaker 2: a more narrative, you know, song for Portland part one,
• 33:45
  Speaker 2: and then you get to this piece that just really
• 33:48
  Speaker 2: feels like it's music, you know, And I love that.
• 33:51
  Speaker 2: In short, I really like stuff like that.
• 33:54
  Speaker 3: Same And did we have a name for that? Didn't
• 33:57
  Speaker 3: we call them like energy piece?
• 34:00
  Speaker 2: Yeah pieces?
• 34:01
  Speaker 3: Yeah, some other thing that we knew it was that
• 34:04
  Speaker 3: real estate was covered.
• 34:05
  Speaker 2: Yeah, in the later writing, you know, sorry, in later
• 34:09
  Speaker 2: seasons when we were writing, we would put them under
• 34:12
  Speaker 2: these categories. It would be like wrap around Tony and
• 34:16
  Speaker 2: Candice sketches, Peter and Nance sketches, and it would be
• 34:19
  Speaker 2: like energy pieces because we knew like they always had
• 34:23
  Speaker 2: a place in the episode. All right, Next we get
• 34:28
  Speaker 2: to Feminist Bookstore again. This would have been the original
• 34:32
  Speaker 2: the pilot Feminist Bookstore, and this has Aubrey Plasea in it. Yeah,
• 34:39
  Speaker 2: like early she I mean she would have been on
• 34:42
  Speaker 2: Parks and rac Yeah, definitely.
• 34:44
  Speaker 3: She's very young here and I mean and also she
• 34:48
  Speaker 3: comes back a few times.
• 34:50
  Speaker 2: Yeah, and then we'll talk about her later in this season.
• 34:53
  Speaker 3: But perfect for the show.
• 34:54
  Speaker 2: So great. She plays a young college student.
• 34:57
  Speaker 3: Yeah, her reactions are great. Yeah, everything, and she's so
• 35:01
  Speaker 3: funny and feminist. Bookstore is something that we had been
• 35:05
  Speaker 3: doing on thunder Ant exactly.
• 35:08
  Speaker 2: So these were established characters for us, but this is
• 35:11
  Speaker 2: the first time that we're doing this, you know, first
• 35:15
  Speaker 2: of all, new location at in other words, in North Portland.
• 35:20
  Speaker 2: I think my glasses are definitely different for Tony. They
• 35:25
  Speaker 2: change after this, and maybe a wig, my wig might
• 35:30
  Speaker 2: might change too, maybe. Yeah, so things are still like
• 35:34
  Speaker 2: if you're watching Portlandia and you watch episode one, season one,
• 35:38
  Speaker 2: it has like a gene to it. Yeah, and then
• 35:41
  Speaker 2: the next episode, this episode episode two, to me something,
• 35:45
  Speaker 2: there's like, oh, okay, there's still figure.
• 35:46
  Speaker 3: Demo tape or something.
• 35:47
  Speaker 2: Yeah, it's the demo tape. But yes, I this this
• 35:54
  Speaker 2: sketch has one of my favorite things you do, which
• 35:56
  Speaker 2: is I'm at the full extension of my arm oh yeah,
• 36:00
  Speaker 2: which is like Aubrey's trying to get this book and
• 36:02
  Speaker 2: you're reaching for it and you're claiming that you can't
• 36:06
  Speaker 2: reach any further. Yeah, and it's insane.
• 36:10
  Speaker 3: Yeah, I feel like those two just want to make
• 36:14
  Speaker 3: it difficult. They just want to make people's visits to
• 36:17
  Speaker 3: the bookstore difficult.
• 36:19
  Speaker 2: They also get very mad about her shorts which are
• 36:23
  Speaker 2: too short. I actually I think I asked where her
• 36:26
  Speaker 2: pants are.
• 36:27
  Speaker 3: Yeah, I mean these are pretty improvised.
• 36:30
  Speaker 2: Oh, yes, I would say out of all of our.
• 36:33
  Speaker 3: Sketches, these are just made up as Yes, I.
• 36:36
  Speaker 2: Mean there's a little bit of an outline, and I
• 36:39
  Speaker 2: will say in this episode. You know, we PORTLANDA has
• 36:43
  Speaker 2: countless guest stars, and every guest star, whether it's a
• 36:47
  Speaker 2: local actor or someone we're flying in a special guest star,
• 36:52
  Speaker 2: has a different relationship to improv and their comfort with it.
• 36:58
  Speaker 2: But Aubrey uh is someone you know, very comfortable with it.
• 37:02
  Speaker 2: Kyle was surprisingly really comfortable with it. And that's always
• 37:08
  Speaker 2: really helpful because it allows us to play and you know,
• 37:12
  Speaker 2: we're not worried about like the length of a scene.
• 37:14
  Speaker 2: We know it can get cut down and we get
• 37:16
  Speaker 2: to explore. Sometimes we find the scene. Sometimes we'll have
• 37:19
  Speaker 2: an idea for a scene. Yeah, and it ends up
• 37:23
  Speaker 2: being something else, Like the tangent sort of becomes the
• 37:25
  Speaker 2: center because we go off on some you know, little
• 37:29
  Speaker 2: side road and we're like, oh, that's the sketch.
• 37:32
  Speaker 3: Yeah, but these took up some time. We would shoot
• 37:36
  Speaker 3: for a while on these, Yeah.
• 37:39
  Speaker 2: One because you know, unlike sort of bicycle rights where
• 37:42
  Speaker 2: you're all over the city, we're just in look, you know,
• 37:45
  Speaker 2: we're on location. We're just in the store. You know.
• 37:49
  Speaker 2: We always started the counter. Those that's a really long take,
• 37:52
  Speaker 2: you Sometimes those takes are thirty minutes, yeah, forty minutes, Yeah,
• 37:56
  Speaker 2: can be pretty long. We you know, always had three cameras.
• 37:59
  Speaker 2: We were always cross shooting with improv. You really need
• 38:03
  Speaker 2: to do that because what you never want to have
• 38:06
  Speaker 2: happen is to be shooting in one direction and getting
• 38:11
  Speaker 2: Fred and he's going off on all this improv and
• 38:13
  Speaker 2: then I someone like the script supervisor is like, oh
• 38:17
  Speaker 2: my god, he's saying all these things. There's on the
• 38:18
  Speaker 2: scup writting it down, and then the camera that turns
• 38:20
  Speaker 2: around to do my coverage and they're feeding you know,
• 38:23
  Speaker 2: a script supers divisor is saying, okay, Fred, you said,
• 38:26
  Speaker 2: and then I have to then make up a reaction
• 38:29
  Speaker 2: that is less authentic than my original one. So if
• 38:33
  Speaker 2: we're not capturing all of it when it happens, it's
• 38:37
  Speaker 2: sort of useless. You know, a lot of dps don't
• 38:41
  Speaker 2: like to cross shoot because you sacrifice a little bit
• 38:43
  Speaker 2: on the light. But like for us, it was all
• 38:45
  Speaker 2: about making sure we got everything in the moment. We
• 38:48
  Speaker 2: often had a third camera. We often had more cameras
• 38:51
  Speaker 2: if we needed to, but usually we were a three
• 38:55
  Speaker 2: camera set up cross shooting and then like a a
• 38:58
  Speaker 2: wider to shot her master.
• 39:01
  Speaker 3: Yeah, so she runs out of there, and then all
• 39:06
  Speaker 3: our endings were like that, someone just sort of running out.
• 39:09
  Speaker 2: Well, this is what would establish all the endings be
• 39:11
  Speaker 2: like that.
• 39:12
  Speaker 3: Yeah, yeah, there's someone getting fed up or whatever. And
• 39:16
  Speaker 3: then we're back to song for Portland.
• 39:19
  Speaker 2: Yeah, so now we're like off to the races, friend
• 39:21
  Speaker 2: and Carrie. We're like calling each other and again, this
• 39:24
  Speaker 2: is really what we had already done this exact part
• 39:28
  Speaker 2: in thunder Ant, in our little sketch thing that we
• 39:32
  Speaker 2: did for each other back in the day. We were
• 39:34
  Speaker 2: sort of recreating that.
• 39:35
  Speaker 3: Yeah. Yeah, you know, now when I watch it sometimes
• 39:42
  Speaker 3: I could feel that, like when we were shooting it,
• 39:47
  Speaker 3: I wanted to make the crew laugh, and I this
• 39:52
  Speaker 3: is just you know, there's no way to have known.
• 39:56
  Speaker 3: I just wish I had made a different musical choice,
• 40:01
  Speaker 3: although that would have might have been boring. Mm hmmm,
• 40:04
  Speaker 3: and it probably would have been boring. It's just that
• 40:06
  Speaker 3: now I'm like, I just wish it was something where
• 40:09
  Speaker 3: I was just playing one chord right right, or that
• 40:12
  Speaker 3: wasn't a joke on anything.
• 40:13
  Speaker 2: You know what. I have a similar feeling about wanting
• 40:20
  Speaker 2: the music part of it to be more interesting, but
• 40:22
  Speaker 2: I feel like I didn't have that same instinct in
• 40:25
  Speaker 2: terms of wanting to make the crew laugh. I just
• 40:29
  Speaker 2: wish that, like I could feel the songs trying, like
• 40:33
  Speaker 2: really trying. Yes, Like I could feel us trying here
• 40:39
  Speaker 2: in a way, or we're like we're writing funny music, right,
• 40:43
  Speaker 2: it's like just write like this, yeah, exactly, it's a
• 40:47
  Speaker 2: hat on a hat here it.
• 40:48
  Speaker 3: Was Yeah, I mean I don't know the way around it.
• 40:50
  Speaker 2: But yeah, it didn't need to be this. We could
• 40:53
  Speaker 2: have done we could have it could have been sincere.
• 40:56
  Speaker 3: I would have preferred it if it was just us
• 40:58
  Speaker 3: really just trying, because the idea is we are we
• 41:02
  Speaker 3: do want it to be a song for Portland, so
• 41:03
  Speaker 3: you don't it should.
• 41:04
  Speaker 2: Feel Yeah, I know, I know. Let's go to back
• 41:08
  Speaker 2: and redo it.
• 41:09
  Speaker 3: I guess we could overdub.
• 41:13
  Speaker 2: I will just point out that Ian Carmel plays my
• 41:16
  Speaker 2: boyfriend here and Ian is a stand up a very
• 41:19
  Speaker 2: successful writer here in Los Angeles now, but this is
• 41:24
  Speaker 2: when he still lived up in Portland, and he gets electrocuted.
• 41:28
  Speaker 2: He gets electrocuted, fake electrocuted. At the end of this bit. Oh,
• 41:39
  Speaker 2: here they come Katherin.
• 41:40
  Speaker 3: Dave, Cathy and Dave. I feel like when we do
• 41:46
  Speaker 3: oh by the way, just to highlight some voices, as
• 41:49
  Speaker 3: was pointed out, a lot of our characters, many of
• 41:53
  Speaker 3: our characters have slight alterations of our voices. I feel
• 41:57
  Speaker 3: like when I watch it, I'm like, what kind of
• 41:59
  Speaker 3: sounds like us? And for the Feminist Bookstore, Candace is
• 42:05
  Speaker 3: just like a version like this, just like a little ambier,
• 42:07
  Speaker 3: It's like and then with Kathy Dave, same thing like
• 42:12
  Speaker 3: or it's like a more male kind of anger. Yeah,
• 42:16
  Speaker 3: but that's like we address a whole room, we address
• 42:19
  Speaker 3: it like it's like a bigger space.
• 42:21
  Speaker 2: Yeah. I for me, Tony Feminist Bookstore is a little
• 42:25
  Speaker 2: bit quieter. Hey, Candace and then Kath. I think of
• 42:31
  Speaker 2: her as stentorian.
• 42:33
  Speaker 3: It's just.
• 42:35
  Speaker 2: Very I mean, I I hate to even do Cath indoors.
• 42:39
  Speaker 3: Because it's like it's as loud as can be.
• 42:41
  Speaker 2: It's ear shattering, but it's pretty loud.
• 42:46
  Speaker 3: It's funny that they're confrontational but still supportive of each other.
• 42:50
  Speaker 3: I don't think I've ever seen.
• 42:52
  Speaker 2: That.
• 42:52
  Speaker 3: I can remember in our sketches where they're trying to
• 42:55
  Speaker 3: calm you down.
• 42:56
  Speaker 2: They're so combative it with everything but each other. Yeah,
• 42:59
  Speaker 2: you know, like yelling is their love language.
• 43:02
  Speaker 3: Yeah for sure. Yeah.
• 43:04
  Speaker 2: Yeah, and again Kath, she's yeah, they put my hair
• 43:09
  Speaker 2: back in the pone and to me once the pone
• 43:13
  Speaker 2: is on, I'm just Cath.
• 43:14
  Speaker 3: Yeah. Yeah.
• 43:15
  Speaker 2: And just that active gear, you know, like a VAT
• 43:20
  Speaker 2: utility vest and like shorts and shoes.
• 43:25
  Speaker 3: Really prepared.
• 43:27
  Speaker 2: They're very prepared. Yeah, anyway, but they're always incensed. So
• 43:31
  Speaker 2: in this sketch, they're sitting at a restaurant outside they
• 43:36
  Speaker 2: and they see a dog that's tied up to a pole.
• 43:40
  Speaker 2: This ruins their lunch and so they are asking everyone
• 43:43
  Speaker 2: whose dog is this? Yeah, And I remember at the
• 43:46
  Speaker 2: time I was volunteering at the Humane Society in fact,
• 43:51
  Speaker 2: before Portlandy started, So it was kind of when my
• 43:54
  Speaker 2: band's later KINNI, had sort of gone on hiatus. We
• 43:57
  Speaker 2: were like sort of on this break. We had kind
• 43:59
  Speaker 2: of burned out. We've been touring for like ten years,
• 44:02
  Speaker 2: and in this hiatus period is when we pitched Portlandia.
• 44:06
  Speaker 2: But also when I was working first volunteering then working
• 44:10
  Speaker 2: at the organ Humane Society. I was so dedicated. I
• 44:14
  Speaker 2: was Volunteer of the Year and then I started working
• 44:18
  Speaker 2: as an assistant dog trainer, so I was like working
• 44:22
  Speaker 2: in their reactive dog classes, which are their dogs that
• 44:24
  Speaker 2: have you know, on leash reactivity. I mean, I was
• 44:27
  Speaker 2: very involved. So when this I remember when we were
• 44:32
  Speaker 2: asking people to be in this sketch, my friend Sue Lee,
• 44:36
  Speaker 2: it's her dog, Lucy plays Tucker the dog. I see
• 44:41
  Speaker 2: Sue if she's one of the women sitting outdoors in
• 44:44
  Speaker 2: the cafe day. There's Kyle Wilson from Team Dress. She's
• 44:49
  Speaker 2: a you know, guitarist, singer, songwriter. Yeah, I just it's
• 44:54
  Speaker 2: always fun to sort of look around these just how
• 44:58
  Speaker 2: much in not even just in early seasons, but particularly
• 45:02
  Speaker 2: in early seasons, it was just like, hey, calling a
• 45:05
  Speaker 2: friend texting a friend do you want to come do this?
• 45:07
  Speaker 2: And it was really fun. But anyway, so that dog
• 45:10
  Speaker 2: Lucy plays.
• 45:12
  Speaker 3: Tucker is Sarah Lund's baby, and.
• 45:15
  Speaker 2: Sarah Lend, who's a great drummer, drummer and unwound her
• 45:19
  Speaker 2: her son is the baby at the end who's tied up.
• 45:23
  Speaker 2: That's yeah, that's after all of us, all ourself righteous
• 45:27
  Speaker 2: yelling at everybody, we've actually had our son tied up
• 45:31
  Speaker 2: around the corner while we spoiler alert, spoiler alert, We're terrible. Yeah, yeah,
• 45:38
  Speaker 2: we're Yeah.
• 45:39
  Speaker 3: Everything is an issue.
• 45:40
  Speaker 2: Everything's an issue. Nina and Lance, this is another like okay,
• 45:46
  Speaker 2: I will say for episode two, put a bird on
• 45:51
  Speaker 2: it and Cacau became like signature again probably like two
• 45:56
  Speaker 2: things that Portlandy is known for, Like if someone was
• 45:59
  Speaker 2: just gonna, you know, name five to ten things, really, yeah,
• 46:04
  Speaker 2: Cacao for sure, and put a bird on it.
• 46:08
  Speaker 3: And the way that the way that this I interrupted,
• 46:13
  Speaker 3: the way that this sketch came about, is that we
• 46:16
  Speaker 3: were going to do something about wine, like wine tastings,
• 46:20
  Speaker 3: what about the world of wine. It's so pretentious and
• 46:22
  Speaker 3: we couldn't figure it out. We couldn't figure out what
• 46:24
  Speaker 3: the joke was, so we would have a card or
• 46:27
  Speaker 3: whatever this is wine tasting.
• 46:28
  Speaker 2: Or yeah, like little index card that you use as
• 46:31
  Speaker 2: in the writer show.
• 46:31
  Speaker 3: What are we going to do?
• 46:32
  Speaker 1: And then.
• 46:34
  Speaker 3: And then it became cacw, how about those people who
• 46:37
  Speaker 3: are really into chocolate and coco content? Still couldn't break it.
• 46:42
  Speaker 2: Still couln't figure out the story, so yeah, who cares?
• 46:46
  Speaker 3: And then it became well what if that's a safe word.
• 46:49
  Speaker 2: Yeah.
• 46:50
  Speaker 3: I don't know how that that jump happened. But and
• 46:54
  Speaker 3: then from there it was like what if the characters
• 46:58
  Speaker 3: we just reverse genders?
• 47:01
  Speaker 2: Yeah, and we went for it. This is like the
• 47:04
  Speaker 2: most we went for it with Nina and Lance.
• 47:07
  Speaker 3: I remember.
• 47:07
  Speaker 2: This is like, I mean, here we are making a
• 47:09
  Speaker 2: sketch show. And I just remember when we were doing
• 47:13
  Speaker 2: the bedroom scene and it was like a closed set.
• 47:18
  Speaker 2: It was I had put my character Lance is wearing boxers.
• 47:25
  Speaker 2: They had like stuffed like a sock or something. I mean,
• 47:27
  Speaker 2: I was like packing basically like I had put my
• 47:32
  Speaker 2: breasts were bound, so I was really like my breathing
• 47:36
  Speaker 2: felt kind of constrained. They had put armpit hair on me, sideburns,
• 47:46
  Speaker 2: a mustache. I mean, we we went for it like
• 47:48
  Speaker 2: we were like and I just I just remember it
• 47:53
  Speaker 2: was a little bit sexy up in this room, like
• 47:55
  Speaker 2: there was like yeahstairs, warm hattock, and like there was
• 48:01
  Speaker 2: like cigarette smoke and like a record player, and it
• 48:06
  Speaker 2: just I was like, what are we doing? Like why
• 48:08
  Speaker 2: are we shooting a sex scene right now? Like it
• 48:11
  Speaker 2: just felt it was a lot like you know, I've
• 48:14
  Speaker 2: just I couldn't predict on any given day how it
• 48:19
  Speaker 2: was going to feel where we're going to go, and
• 48:20
  Speaker 2: like this, I just remember feeling very surprised, like how
• 48:23
  Speaker 2: did we get here? Like, you know, a couple of
• 48:25
  Speaker 2: days ago, I'm like putting birds on things, and now
• 48:29
  Speaker 2: I'm like I've got you know, you're like fake junk
• 48:34
  Speaker 2: and I'm doing it to you.
• 48:35
  Speaker 3: Yeah. Yeah. And there was the other element of our voices.
• 48:39
  Speaker 3: So I don't know if we got there yet, but
• 48:41
  Speaker 3: you know, eventually the pitch our voices, you know, digitally
• 48:45
  Speaker 3: lower for you, higher for me, but shooting it, we
• 48:48
  Speaker 3: still we.
• 48:49
  Speaker 2: Still had a different voice, and you.
• 48:52
  Speaker 3: Know, I was kind of like this, like I don't know, Lance,
• 48:54
  Speaker 3: like it was like almost cartoony. Yeah, yeah, that's right.
• 48:59
  Speaker 2: It was like was like yeah, yeah, I was just slower.
• 49:06
  Speaker 2: I was like yeah, Henina, you know, like yeah, And
• 49:11
  Speaker 2: also what I said too was always like there's another
• 49:13
  Speaker 2: sketchule later and I'm just like, good girls. Wait, I'm like,
• 49:18
  Speaker 2: what where did that come from? Good girls? Wait for
• 49:21
  Speaker 2: what the bus? Like, I was like, I just yeah,
• 49:24
  Speaker 2: there was just the mustache came on and I just
• 49:27
  Speaker 2: was like a different person, Like I just was like
• 49:30
  Speaker 2: the sleeze factor like just went really through the roof.
• 49:36
  Speaker 2: So yeah, so we in order to establish the cocaw
• 49:40
  Speaker 2: is going to be our safe word, we had to
• 49:41
  Speaker 2: establish that we had a sex life.
• 49:43
  Speaker 3: So yes, so I would say the joke in the
• 49:45
  Speaker 3: sketches that I keep saying cacao.
• 49:46
  Speaker 2: Yeah, until it becomes less about you know, sex and
• 49:50
  Speaker 2: more just about you communicating boundaries and and eventually you
• 49:54
  Speaker 2: just pushing Lance away, like it's not even boundaries, it's
• 49:57
  Speaker 2: just like I don't want to talk to you, our
• 49:59
  Speaker 2: own time for you. And then Lance feels you know, alienated,
• 50:04
  Speaker 2: and leaves, and then it's to cacout, which is one
• 50:06
  Speaker 2: of which is a great line.
• 50:08
  Speaker 3: Yeah, it's a nice little ending to the sort of
• 50:10
  Speaker 3: like yeah, it's almost sitcoming.
• 50:12
  Speaker 2: But the ending is actually and I like these kinds
• 50:15
  Speaker 2: of endings where it deviates completely from Lanceanina and you're
• 50:20
  Speaker 2: playing at a little.
• 50:21
  Speaker 3: I forgot about that. That's okay little Brazilian music. Yeah,
• 50:27
  Speaker 3: and it's singing about cacape, which I love. I feel
• 50:31
  Speaker 3: like we didn't do that that much on the show.
• 50:33
  Speaker 3: Maybe we did. I don't know. I just when I
• 50:35
  Speaker 3: saw it, I.
• 50:36
  Speaker 2: Found it very satisfying. It's sort of just like it
• 50:38
  Speaker 2: goes someplice else it's sort of like zoom zooms out.
• 50:43
  Speaker 3: Another technical thing is we weren't allowed to talk over
• 50:46
  Speaker 3: each other. Yes, we had to take turns all the time,
• 50:49
  Speaker 3: right because.
• 50:50
  Speaker 2: Of the pitching they knew, Yeah, because of the pitching. Yeah.
• 50:53
  Speaker 2: Another I guess the thing that I remember John directing
• 50:57
  Speaker 2: me to do over and over again, there's we're we're
• 51:00
  Speaker 2: making love in front of the fire and you say
• 51:03
  Speaker 2: a cow. I'm like thrusting. And I remember every time
• 51:06
  Speaker 2: you ask to take a cow, I'm supposed to say something,
• 51:10
  Speaker 2: and I one time I just say, row your boat.
• 51:13
  Speaker 2: I don't know why, but I was like, I don't
• 51:16
  Speaker 2: know where that came from. But yeah, anyway, so that's
• 51:19
  Speaker 2: cacaw and I will just going back to put a
• 51:21
  Speaker 2: bird on it. These are two things. Like I remember
• 51:23
  Speaker 2: seeing both these phrases a lot like it just in
• 51:27
  Speaker 2: popular culture after this this show came out. I remember
• 51:31
  Speaker 2: I would see like in the New York Times, they
• 51:32
  Speaker 2: would do an article and they'd be like, put a
• 51:34
  Speaker 2: bow on it or put it you know, like it.
• 51:35
  Speaker 2: It became a put a blank on it. Just Yeah,
• 51:38
  Speaker 2: for a while it was like really a thing. And
• 51:39
  Speaker 2: then cacw I remember it kind of not that it
• 51:42
  Speaker 2: ruined that word, but like I feel like for people
• 51:45
  Speaker 2: who are fans of the show, Yeah, suddenly cacao, which
• 51:49
  Speaker 2: for so long had just meant one thing, now had
• 51:51
  Speaker 2: this other meaning. And I mean that's one of the
• 51:54
  Speaker 2: joys of doing this show, and something that's very unreal
• 51:57
  Speaker 2: about it that you know, it becomes part of of
• 52:00
  Speaker 2: like cultural parlance that things that you're just having fun
• 52:03
  Speaker 2: with and making up in a writer's room.
• 52:05
  Speaker 3: Kind of unexpected to see. By the way, we were
• 52:07
  Speaker 3: going to call this podcast, well, we had a number
• 52:11
  Speaker 3: of names, yeah, and one of them up there was
• 52:14
  Speaker 3: Kata cacout of cackow, but we thought it might be
• 52:18
  Speaker 3: confusing with the.
• 52:19
  Speaker 2: Other Cacao podcasts. Good okay, And finally we're at the
• 52:27
  Speaker 2: end of this episode Song for Portland part three, and
• 52:32
  Speaker 2: this again a classic way to end a three parter,
• 52:37
  Speaker 2: which is to take a sharp left and you're like, oh,
• 52:41
  Speaker 2: this is going to be the culmination of this song.
• 52:44
  Speaker 2: We're going to finally hear it. Nope, it's going to
• 52:48
  Speaker 2: become about something totally different. We are going to digress,
• 52:51
  Speaker 2: we are going to get in the weeds on something
• 52:54
  Speaker 2: very specific, and we do. We cannot play the song
• 52:58
  Speaker 2: for the Mayor because he doesn't have the right dongle.
• 53:01
  Speaker 3: And it might have even come from how much we
• 53:05
  Speaker 3: had to deal with that something won't play because it's
• 53:08
  Speaker 3: like the wrong format. I'll add to that that I
• 53:11
  Speaker 3: think is kind of still with us a little bit today,
• 53:13
  Speaker 3: maybe less so, but there is a lot of like,
• 53:16
  Speaker 3: don't send it as this kind of file, send it
• 53:18
  Speaker 3: as that kind of file. Yeah, And we really get
• 53:21
  Speaker 3: into it with cables and with the real Mayor of Portland,
• 53:26
  Speaker 3: Sam Adams, who's in this, Yeah, also helping with Wi
• 53:30
  Speaker 3: Fi passwords, with dongles, with all that stuff. I really
• 53:36
  Speaker 3: was happy with this ending of the sketch. This is
• 53:40
  Speaker 3: I just like where it went to.
• 53:42
  Speaker 2: Yeah, and they bring in my real guitar. I guess
• 53:46
  Speaker 2: I must have bought it to set my guilds one
• 53:48
  Speaker 2: hundred and then eventually they play over the credits. Yeah,
• 53:53
  Speaker 2: the song that we actually wrote and recorded for this episode,
• 53:58
  Speaker 2: which is a very earnest. It's actually none of the
• 54:00
  Speaker 2: silly lyrics that we put in part two. It's real
• 54:05
  Speaker 2: like sort of, it's the real song with sweet lyrics
• 54:08
  Speaker 2: about what we love about Portland.
• 54:10
  Speaker 3: Yeah, and I'm glad we recorded it. Yeah, that was
• 54:13
  Speaker 3: ready to go. I also liked at the end of
• 54:15
  Speaker 3: the sketch as I was watching it, you get a guitar,
• 54:20
  Speaker 3: and I remember thinking, oh, don't just bring in some
• 54:23
  Speaker 3: drum set and it was a marching drum. I was like, okay,
• 54:27
  Speaker 3: that makes sense in it.
• 54:28
  Speaker 2: Yeah.
• 54:28
  Speaker 3: I was happy that I wanted to go back in
• 54:31
  Speaker 3: time and just tell the art department like, thank you
• 54:34
  Speaker 3: for like making that realistic. Yeah, which I guess I
• 54:37
  Speaker 3: can do now, Art Department, thank you. That's a private
• 54:42
  Speaker 3: message that does not go out online. Just send it
• 54:45
  Speaker 3: to them please.
• 54:47
  Speaker 2: All right, Yeah, this was this Thanks for listening. This
• 54:49
  Speaker 2: was a big episode because again this is the original pilot,
• 54:52
  Speaker 2: so there was there's just a lot of feelings, a
• 54:54
  Speaker 2: lot of memories because essentially this is the first thing.
• 54:57
  Speaker 2: This this is the original Landia. This is us figuring
• 55:02
  Speaker 2: it out in song for Portland.
• 55:05
  Speaker 3: So thanks for watching and listening. Yeah, onto the next.
• 55:18
  Speaker 3: So sure about guys like between.
• 55:27
  Speaker 2: Oh no, I wish it was just more about it?
• 55:31
  Speaker 3: Which which one when when they are guitar it might
• 55:34
  Speaker 3: was it plugged in?
• 55:37
  Speaker 2: Was it? Did we know?
• 55:38
  Speaker 3: Were we prepared for it to be that we weren't
• 55:42
  Speaker 3: really playing.
• 55:43
  Speaker 2: I think we weren't going to really play, but we
• 55:48
  Speaker 2: could talk about it. But maybe Yeah, I mean my
• 55:52
  Speaker 2: Guilds one hundred. Uh. I love that guitar because Kim
• 55:56
  Speaker 2: Fail from Sound Garden played a gil S one hundred.
• 56:00
  Speaker 2: It basically looks exactly like a Gibson SG, which is
• 56:03
  Speaker 2: one of my favorite guitars. Some people don't like sg's because.
• 56:06
  Speaker 3: The weight on it.
• 56:07
  Speaker 2: It kind of tips. It has a kind of uneven
• 56:10
  Speaker 2: weight distribution. I find it to be very playable and
• 56:16
  Speaker 2: I can move with the Gibson SG very well, in fact,
• 56:19
  Speaker 2: because it has a tilt to it. To me, there's
• 56:22
  Speaker 2: a fluidity. I'm always already in motion when I put
• 56:26
  Speaker 2: that on, and that's how I like to play. It's
• 56:28
  Speaker 2: very physical. So the guild S one hundred is a
• 56:31
  Speaker 2: much heavier version of the SG and it has a
• 56:35
  Speaker 2: giant Bigsby whammy bars of a broader bar, but it
• 56:39
  Speaker 2: has a really heavy, dirty tone. So I really have
• 56:43
  Speaker 2: always loved that guitar and I will blend it into
• 56:48
  Speaker 2: like on a live show. I'll bring it out for
• 56:50
  Speaker 2: a couple songs when I really want like a dirty,
• 56:52
  Speaker 2: corrosive sound. But I would say very few guitars are
• 56:56
  Speaker 2: associated with that. I honestly, I think Kim El from
• 57:00
  Speaker 2: Soundgarden is one of the only people. Oh you mean,
• 57:03
  Speaker 2: not guilt, sorry, the guild S one hundred very Oh yeah,
• 57:07
  Speaker 2: the SG. Of course, many people associated with SG, but
• 57:09
  Speaker 2: the guild S one hundred, I can't think of too
• 57:12
  Speaker 2: many people besides Kim. And I should say Guild has
• 57:16
  Speaker 2: been really nice to me because they are like, yeah,
• 57:19
  Speaker 2: so few people are fans of this guitar, like historically,
• 57:23
  Speaker 2: and so they're they're always excited when I I play it.
• 57:27
  Speaker 2: But yeah, and you know what's weird, I am surprised
• 57:30
  Speaker 2: that's the guitar that I brought out for Portlandia because
• 57:33
  Speaker 2: it's very it's actually not great for that character. It
• 57:37
  Speaker 2: must have been the closest thing I had on hand. Like,
• 57:41
  Speaker 2: when I was watching this episode and I see the guitar,
• 57:44
  Speaker 2: I'm like that one, Like, I have guitars that look
• 57:47
  Speaker 2: less tough, and it seems like the character of Carrie
• 57:49
  Speaker 2: would have had a way different kind of guitar. So
• 57:52
  Speaker 2: I do wonder what was going on if that was
• 57:54
  Speaker 2: just like not in the Slayer kidney storage space or
• 57:58
  Speaker 2: conveniently at my house. But I really was something very
• 58:01
  Speaker 2: very rock and roll for that scene in the Mayor's office.
• 58:06
  Speaker 3: God, if there was a podcast of just you talking
• 58:11
  Speaker 3: about guitars or like like that, I would That's all
• 58:14
  Speaker 3: I would listen to. That's the best I want to
• 58:18
  Speaker 3: know about that. Thank you for prompting that, Mama Mia,
• 58:23
  Speaker 3: one time I'll add to that. I don't think I
• 58:25
  Speaker 3: ever told you this. You know, we did port landy
• 58:27
  Speaker 3: a live yeah, oh wait, or the first version of it.
• 58:31
  Speaker 3: Oh no, the most recent one. We would did a
• 58:33
  Speaker 3: couple of shows. Yeah, we're doing sound check and you
• 58:37
  Speaker 3: had two monitor speakers, we had a drum machine going
• 58:41
  Speaker 3: through and you were like to the you know, okay,
• 58:47
  Speaker 3: can I can you bring up the drum machine? But
• 58:50
  Speaker 3: not in both you were there's a you were like
• 58:52
  Speaker 3: just just in this one, not that one. There was
• 58:56
  Speaker 3: like a wisdom and authority that you had to Like,
• 59:00
  Speaker 3: I could see a person who's been through a lot
• 59:03
  Speaker 3: of monitor mixes in you. So I was so I
• 59:08
  Speaker 3: was like, I was like amazed at you. I was like, oh,
• 59:14
  Speaker 3: she really knows what she's talking about, because your tone
• 59:16
  Speaker 3: was very even the volumet which you spoke to the
• 59:20
  Speaker 3: sound person was just like but not not in this one,
• 59:22
  Speaker 3: just this one. Well, like you really know what you're doing.
• 59:26
  Speaker 2: Well, I think with monitor mixes what I like, and
• 59:28
  Speaker 2: it's it's even easier with inner monitors especially you wanted
• 59:32
  Speaker 2: to make sense so like to me, like I don't
• 59:35
  Speaker 2: need like if I'm playing with a guitarist, if I'm
• 59:37
  Speaker 2: stage right and their stage left, and I'm getting their
• 59:41
  Speaker 2: guitar in my monitor, I only wanted in my left ear,
• 59:43
  Speaker 2: you know, because that's how it is on stage. So like,
• 59:46
  Speaker 2: I just try to create this spatial reality and whether
• 59:50
  Speaker 2: it's in wedge monitors or inner monitors, and because it
• 59:54
  Speaker 2: was electronic drums, and I just couldn't have that be stereo,
• 1:00:00
  Speaker 2: like I really needed to make that smaller and not
• 1:00:04
  Speaker 2: like take up you know, both monitors you know what
• 1:00:07
  Speaker 2: I mean, meaning.
• 1:00:08
  Speaker 3: That it would just overwhelm everything else.
• 1:00:10
  Speaker 2: Yeah, yeah, I thought that some of the frequencies would
• 1:00:15
  Speaker 2: bump up against like vocals, because they're not acoustic drums.
• 1:00:19
  Speaker 2: It's just and plus it's just so unidirectional with wedge monitors.
• 1:00:24
  Speaker 2: These are like the monitors that are on the stage,
• 1:00:26
  Speaker 2: as opposed to like a lot of musicians you'll see
• 1:00:29
  Speaker 2: where basically inner monitors you see most most singers you
• 1:00:32
  Speaker 2: see on TV, you see these things that look like
• 1:00:34
  Speaker 2: earplugs in their ears. But those you can really shape,
• 1:00:38
  Speaker 2: really equ a lot like with your own mix or yeah, yeah,
• 1:00:42
  Speaker 2: with a lot more like subtlety and specificity. But yeah,
• 1:00:46
  Speaker 2: I mean, I think that stuff can really affect how
• 1:00:47
  Speaker 2: you play. We did not have any of that on
• 1:00:49
  Speaker 2: for Landy, and we were just yeah messing around.
• 1:00:53
  Speaker 3: Yeah yeah. Pete Townsend had this thing for his mix,
• 1:00:57
  Speaker 3: for his monitor mix, where he spaced out the monitors
• 1:01:01
  Speaker 3: on stage and for his mix he could walk towards
• 1:01:06
  Speaker 3: whatever he wanted louder. Oh jeez, it's more just a
• 1:01:10
  Speaker 3: physical immediate mixing.
• 1:01:13
  Speaker 2: That's interesting. Yeah, I mean I wonder if you must
• 1:01:16
  Speaker 2: be trying to recreate like the feeling of moving, yeah,
• 1:01:19
  Speaker 2: moving towards Yeah, an actual instrument or amp, you know, yeah,
• 1:01:26
  Speaker 2: because it is like there's a version of how you
• 1:01:28
  Speaker 2: hear music in like in your body. You know, you're like, oh,
• 1:01:33
  Speaker 2: this is how the music it's supposed to feel. And
• 1:01:36
  Speaker 2: then when you get on stage, it's very disorienting because
• 1:01:38
  Speaker 2: you're contending with the room and the acoustics and like
• 1:01:42
  Speaker 2: the sub sub speakers under the stage, Like there's just
• 1:01:46
  Speaker 2: all this. I mean, there's a lot, and so I
• 1:01:49
  Speaker 2: think that's what's hard about going into different spaces. You're like, oh,
• 1:01:53
  Speaker 2: this isn't how I thought this is going to sound,
• 1:01:56
  Speaker 2: and so you just spend all of sound check like
• 1:01:59
  Speaker 2: trying to recreate like no, I need it to sound
• 1:02:02
  Speaker 2: the way I imagine it like this is. And so
• 1:02:05
  Speaker 2: I bet for someone like him right particular, obviously had
• 1:02:09
  Speaker 2: a lot of resources, he probably just spent a lot
• 1:02:12
  Speaker 2: of time like trying to figure out like this is
• 1:02:15
  Speaker 2: how it sounds on my body in my head, like
• 1:02:17
  Speaker 2: how can I make a physical representation of that? Like now,
• 1:02:22
  Speaker 2: I'm sure like a really skilled, skilled inner monitor person
• 1:02:26
  Speaker 2: could do that for him. But actually a lot of
• 1:02:27
  Speaker 2: guitar players, including myself, I don't love inner monitors for guitar,
• 1:02:32
  Speaker 2: there's really that takes all the resonance out, you know,
• 1:02:36
  Speaker 2: Like I just it's really hard.
• 1:02:38
  Speaker 3: You can't if you're close enough to the amp, can
• 1:02:40
  Speaker 3: you feel the resonance of it?
• 1:02:41
  Speaker 2: Or is it just not insane? Not insane?
• 1:02:44
  Speaker 3: Man?
• 1:02:44
  Speaker 2: Yeah.
• 1:02:46
  Speaker 3: But also we should be clear for anyone listening. We
• 1:02:49
  Speaker 3: don't want to be disparaging about any ear monitors were
• 1:02:53
  Speaker 3: in ear monitor companies.
• 1:02:54
  Speaker 2: They are doing great.
• 1:02:56
  Speaker 3: Well, Oh my gosh, we support you guys, and we
• 1:02:59
  Speaker 3: know you worked out on your technology of this and
• 1:03:03
  Speaker 3: you know we respect what you do.
• 1:03:06
  Speaker 2: I have zero worries.
• 1:03:11
  Speaker 3: More. Oh great, Sure, So Fred, if.
• 1:03:29
  Speaker 2: Tony and Candace had a podcast, or do you what
• 1:03:33
  Speaker 2: do that?
• 1:03:34
  Speaker 3: So? Fred?
• 1:03:35
  Speaker 2: Do you think Tony and Candace would be into having
• 1:03:39
  Speaker 2: a podcast?
• 1:03:40
  Speaker 3: Well, lucky for the world or luckily for the world.
• 1:03:44
  Speaker 3: At the time, there weren't many podcasts. It wasn't around
• 1:03:48
  Speaker 3: as much.
• 1:03:49
  Speaker 2: You would have like a radio show.
• 1:03:51
  Speaker 3: Oh, it would be more of a radio show. But
• 1:03:54
  Speaker 3: I'm they would love nothing more than to be able
• 1:03:58
  Speaker 3: to talk in an official capacity with microphones. In a way,
• 1:04:04
  Speaker 3: the Bookstore was a sort of radio show. The way
• 1:04:07
  Speaker 3: they really just they made their opinions known all the time.
• 1:04:12
  Speaker 2: Yeah, I mean the bookstore was kind of a performance
• 1:04:14
  Speaker 2: space for them, you know. I meant, yeah, so many
• 1:04:18
  Speaker 2: of our characters, I think are performing at something. You know,
• 1:04:21
  Speaker 2: they're churning everything, like Katherin Dave. I mean, they're like, great,
• 1:04:26
  Speaker 2: here's our stage, here's our captive audience.
• 1:04:28
  Speaker 3: Yeah, everywhere they go, Yeah, everywhere they go. And yeah,
• 1:04:31
  Speaker 3: they would have loved it. They would have definitely a
• 1:04:37
  Speaker 3: radio show or a radios are couched in a podcast
• 1:04:41
  Speaker 3: or something. But yeah, and also I think they would
• 1:04:44
  Speaker 3: be good together, Kennice going off for a while and
• 1:04:48
  Speaker 3: then Tony going off for a while, and yeah, just
• 1:04:52
  Speaker 3: ranting with certainty, with certainty. And I think if they
• 1:04:57
  Speaker 3: had guests, they would barely let them speak.
• 1:05:00
  Speaker 2: Yeah.
• 1:05:02
  Speaker 3: In fact, their guests wouldn't have a microphone. Their guests
• 1:05:06
  Speaker 3: would just sit there and they would just talk at
• 1:05:09
  Speaker 3: the guests. What do you think you agree? Right? Yep,
• 1:05:13
  Speaker 3: they agree, That's what I think. That's nice work, everybody.
• 1:05:25
  Speaker 3: I didn't mean when I said about cruise, we're
• 1:05:30
  Speaker 2: Going to agree for