"Peter Berg"

"Peter Berg"

Released Monday, 13th January 2025
Good episode? Give it some love!
"Peter Berg"

"Peter Berg"

"Peter Berg"

"Peter Berg"

Monday, 13th January 2025
Good episode? Give it some love!
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Episode Transcript

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and to support those

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wildfires, go to smartless.com/

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wildfires. Hey guys, I

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just want to say welcome

2:11

to all our fans overseas. I

2:13

don't think there are any. I

2:15

don't think, well, hang on a

2:17

second, I don't think we've ever

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done a welcome to our overseas

2:22

fans, wherever you are, I know,

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we get a lot of listeners,

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this is not a bit, we

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get a lot of listeners in

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Iran, and I will say, we

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do have a huge listenership there,

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we have some listeners in Germany,

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we have some French listeners, Saint-Jean-Gois,

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UK, Canada, Australia, not over

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any C, but look at

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a minute, okay, okay, sorry.

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Our friends down in Australia,

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down under, we have a

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lot of fans down there.

2:53

How are you? A lot

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of fans in Brazil,

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the home of

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the Brazilian. And

3:02

so just to

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all of our

3:07

fans, welcome to

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Smartless. Smart. Smart.

3:14

Yeah, God that was... Yeah, he's barely with

3:16

us. Stupid Sean didn't know we had

3:18

to record today. What did we interrupt

3:20

Sean? Were you in the middle of

3:22

toasting Poptart? No, I wish. I saw

3:24

my things and my trays and... Is

3:26

that your trays? Is that invisible line?

3:28

Is it just a bite? Is it

3:30

like a bite stick? No, I have

3:32

one more tray to go. And then

3:35

what are you working towards perfect teeth

3:37

when they lay you in the coffin?

3:39

Is that what it is? Why did

3:41

you choose to do it in the

3:43

last third of your life? They were

3:45

pretty, they were pretty jacked. They were

3:47

getting real jacked. No, they really weren't.

3:49

You're just running out of shit to

3:51

fuck with. Well, this is true. This is

3:53

true. This is true. No, I panicked. I had

3:55

a whole other thing and then I just got

3:58

the text. I was like, oh my, there's. It's

4:00

like getting a text saying, sleeping

4:02

through your alarm clock. Absolutely, or getting

4:04

a text that says, where are you

4:06

at? You're on your way? Yeah, like,

4:09

oh my God. What do you guys do? How

4:11

do you guys not miss appointments on a

4:13

day? I usually don't. Do you, but do

4:15

you, but why? Why do you not miss

4:18

them? Is it because you look at your

4:20

calendar calendar at the night before or morning

4:22

of? Night before. Night before, yeah. Night before.

4:24

And I do a, I get an

4:26

email the night before as well from

4:29

people I work with that say, here's

4:31

what you got coming up tomorrow. I

4:33

do a week. Whoa, whoa, whoa, whoa.

4:35

You're getting an email from people you

4:37

work with. Yeah. Yeah. That they send,

4:39

so this is from your executive assistance?

4:41

From Sweet, from Sweet Liz. And she

4:43

sends me. Hey boss, boss man, here's

4:46

what's coming up for you tomorrow. Doesn't,

4:48

I don't make her talk to me

4:50

like that. I'm not like you. She

4:52

sends me an email Sunday, Sunday night,

4:54

I get week at a glance. Oh

4:56

nice, and she does. Like it's a

4:58

TV show. Yeah, we get a glance

5:01

and she sort of says, this is

5:03

what's coming up in the next week.

5:05

And sometimes even if it's a busy

5:07

month, she'll be like, this is what's

5:09

coming up. Yeah, but you can't do

5:12

that yourself. I kind of do that

5:14

too. Hashtag relatable. I could do it

5:16

myself. By the way, you're the call

5:18

my assistant guy. She'll put stuff on

5:20

my calendar, but I will give myself

5:23

a week at a glance. You'll say

5:25

talk to the assistants. You say that

5:27

I've heard you say it a million

5:29

times. Listen, I love you. There are

5:31

very few people who love you more

5:33

than I do. I love you a

5:35

lot. Sean, but you're made up of

5:37

your nothing but blind spots. Sean, do

5:39

you have an... Sean laughed at the

5:41

two. Do you have an assistant, Sean?

5:43

I do, yes. It helps my life.

5:45

Do you not know his assistant? Do

5:47

you, hang on, Jamie? No, I don't.

5:49

How do you not? Why do I

5:51

not? Because I know this, and I

5:53

know Bloom. Yeah, I know Bloom. What's

5:55

his name? Nick. Nick. Nick. Why have

5:57

I never met Nick or ever heard

5:59

of Nick? Because you're not, this

6:01

is what I'm saying, because

6:04

you're living in a blind

6:06

spot, bro. Hey, Wayne, keep

6:08

your voice down. I'd love

6:10

it if your name was

6:12

Wayne. I know, Wade. Only

6:14

thing better would be Wade,

6:16

if my name was Wade. If

6:18

my name was Wade. I

6:20

had a buddy named Wade,

6:22

Wade, Wade Wilson. Wait. Wait,

6:24

what's been, Sean, how you been

6:27

doing? Are you, I'm still

6:29

fraled. Why something? No, I couldn't

6:31

tell the other night like I just

6:33

I feel like it's a very Nothing

6:35

to do with what's going on in

6:37

the I don't mean like sort of

6:40

no like in general. It's a weird

6:42

time I for me. It's kind of

6:44

a weird time I woke up yesterday

6:46

with and I don't get this a

6:48

lot I had like general anxiety

6:50

About I don't know I couldn't explain

6:52

it no grade yeah kind of low

6:54

grade and I couldn't I couldn't shake

6:56

it and I don't know and I'm

6:58

not really Made that way in the

7:00

sense that like I'm I feel really

7:02

lucky that I think I've mentioned this

7:05

before Downey once said nobody wakes up

7:07

in the morning morning happier to be

7:09

themselves than you and it's sort of

7:11

true that's kind of true yeah but

7:13

but I do you're not bright enough

7:15

to be concerned about things I think

7:17

so I think that's probably true it's

7:19

a lot of intelligence to really see

7:21

all the problems that could come your

7:23

way I think that's true or or

7:25

it's just that everything's worked out but

7:28

it's one of the two but we

7:30

had a we had a wonderful conversation

7:32

on Saturday around the table I love

7:34

that we had a really great conversation

7:36

with Dan friend Danny D's whom we

7:39

all love in a door but I

7:41

but you know sometimes so I think

7:43

that the the contrast when I'm not

7:45

feeling great is so is I really

7:48

feel it because usually you're 72 and

7:50

breezy yeah and it was weird man

7:52

and I kind of took all day

7:54

and I was like and I'm just

7:56

trying to I don't know I

7:58

was looking to reader All day I

8:00

was like, what am I going to

8:02

do? And how about today? Did you

8:04

wake up back to it today? Yeah,

8:06

a little bit better today. Little bit

8:09

better today. Can I tell you what

8:11

it was? Yeah. Because I had

8:13

the same thing yesterday. Yeah. It

8:15

was the sugar. You think so?

8:17

It's sugar. Oh, that's interesting. It's

8:19

fucking. We had that big fat

8:21

fucking carrot cake. Yeah. And God,

8:23

was it good. And I was

8:25

a disaster yesterday yesterday. Not cheap

8:27

meal, cheap meal, sorry. And everybody

8:29

had served a little piece of

8:31

cake and will got served to

8:33

like two pieces of cake and

8:35

five things of ice cream. And

8:37

I said, I said, I said,

8:39

how many people are you cheating

8:41

for? Exactly. Well, how many people

8:43

are you cheating on? You did,

8:45

but did you notice this week

8:47

that I ate mine? I only

8:49

had one piece of cake and

8:51

then I had a few, few scoops

8:54

of ice cream, which I brought with

8:56

me. pregnant people as well, I guess.

8:58

It's not just, you know. But do

9:00

you remember two weeks ago when our

9:02

friend, when I went to have a

9:04

second piece and she looked at me

9:06

and she was like, honey, do you

9:08

really want to do that? She shamed

9:10

me? Yeah, yeah. This week, you guys

9:12

should just need to get married and

9:15

get it over with. I know this

9:17

week, she. She saw me look at

9:19

her, like she'd had like three bites,

9:21

tiny bites of her cake, and she

9:23

pushed it towards me. And I thought it was

9:25

a really kind of, I saw that. And then I

9:27

kind of got sad. I was like, why didn't she

9:29

push it toward me? Because you don't look as

9:31

much like a trash can, a little bit. Well,

9:33

I think that Shawnee, this is my vision of

9:35

you, is that you're like, I'm only having one

9:38

piece, and then you kept going into the the

9:40

kitchen, stuff. That is correct. That is correct. That

9:42

is correct. And silence and silence and shame. Yeah.

9:44

Yeah. Anyway, so yeah, so we're feeling good today

9:46

though, right? We're all back to it. That's interesting

9:48

about the sugar thing though, Jay. I want to

9:50

talk about that. I think the sugar thing is

9:52

true, good. And you know what the other thing

9:55

is? My new hack, and maybe I've talked about

9:57

this, I just, I tried to call a few

9:59

people and talked. a few people and

10:01

ask them how they were doing

10:03

and that was really helpful. Oh,

10:05

that's good. Yeah, that really really

10:07

helped. Get out of your own

10:09

head a little bit. Do you

10:11

not have my right number? You

10:13

might have my right number. I

10:15

knew how you were doing, okay?

10:17

Which I just seen you nine

10:19

hours before. We all know how

10:21

you were doing, okay? I'm cold

10:23

this morning. We love you. We

10:25

love you. I love you. And

10:27

I love our next guest. Guys,

10:29

guys, today, we have a fellow

10:31

who's been a... part of our

10:33

lives for a long time. He's

10:35

been delivering films and TV shows

10:37

as a director and as an

10:39

actor for about 35 years. He's

10:41

a huge part of the entertainment

10:43

business, but keeps well out of

10:45

the spotlight. As a director, he

10:47

can deliver some of the most

10:49

hilarious moments on screen or the

10:51

most brutal and disturbing. As an

10:53

actor, he can do the same.

10:55

He loves football, his son, and

10:57

Ari Emanuel. Not necessarily in that

11:00

order. I love him, his movies

11:02

and his ability to send hilarious

11:04

gifts. In that order. It's America's

11:06

Pete Berg. Come on out, Pete.

11:08

Wow! Wowie! Did I get that

11:10

right? Is that the order? Is

11:12

your love for football, Emmett, and

11:14

Ari, is that the bright order?

11:16

It's my son, Ari, football, I

11:18

would have to say. But they're

11:20

all up there, dude. They're all

11:22

up there. That's cool. It's so

11:24

nice to meet you. It's a

11:26

pleasure to meet you. Well, sorry

11:28

to hear about the anxiety. I

11:30

agree with Bateman. It's definitely the

11:32

sugar is not helping. So no,

11:34

and you're very smart about that

11:36

stuff, right? Pete, you should know

11:38

I've been off the sugar for

11:40

a few months, but I have

11:42

one cheap meal every seven days

11:44

as per my... That's why it's

11:46

affecting you a lot. Probably because

11:48

your body's so cleaned out. But

11:50

does sugar have to be part

11:52

of the cheap meal? pizza or

11:54

something like bacon. Yeah, have bacon.

11:56

I think it's I think it's

11:58

that and everything else I probably

12:00

should I think that it's just

12:02

well, but like like any of

12:04

us sort of folks in recovery

12:06

We miss the sweet. We miss

12:08

the sugar of alcohol. And I

12:10

think it's, you know, for a

12:12

long time, for some reason, cigarettes

12:14

curved that, curbed it for me

12:16

for a while. And then when

12:18

that went away, like now, yeah,

12:20

then the Coke, because it looks

12:22

like sugar. No. Stavia helps me

12:24

out. Steve, you help me out.

12:27

Pete, you're good with, you're good

12:29

with, you're good with, look at

12:31

you, God. You look trim, man.

12:33

You look crazy. So good. If

12:35

you took that tarp off right

12:37

now, you'd see someone that could

12:39

beat your ass, Arnett. Pretty handle.

12:41

I know he could. Runs a

12:43

boxing gym. I do. I've known,

12:45

I've known Pete, Pete, you and

12:47

I have known each other very

12:49

loosely for years. I've said hi

12:51

to you many times and I

12:53

wish it was more than just

12:55

a high. It's always been in

12:57

passing. And Sean, I don't believe

12:59

we've met, but it's a pleasure

13:01

to meet you also. This is

13:03

correct. We have not met and

13:05

it is a pleasure to meet

13:07

you too, Peter. I'm a big

13:09

fan. Pete, tell me about the

13:11

boxing while we're here. This is,

13:13

it's, it's, it's been a steady...

13:15

escalation of commitment from you, not

13:17

just in training, but then like

13:19

now you're, now you're co-owning a

13:21

gym. Help. Yeah, so. About 15

13:23

years ago I was thinking about

13:25

maybe a side hobby and people

13:27

were asking me if I wanted

13:29

to go in on a restaurant

13:31

or maybe a bar and and

13:33

to me that just seemed like

13:35

a horrible idea for many reasons

13:37

just like one talk about like

13:39

all blind spot I had I

13:41

had enough of because I'm like

13:43

you I have a lot of

13:45

blind spots but there was I

13:47

I sensed that that would be

13:49

a bad move for me to

13:51

open a bar be part of

13:54

that yeah and at the time

13:56

I would was boxing at a

13:58

club that Bob Dylan owns in

14:00

Santa Monica. And the trainer of

14:02

the gym got into a beef

14:04

with Bob, which is a whole

14:06

great story in itself. Getting into

14:08

beefs with Bob Dylan, which, like

14:10

there's a whole side of Bob

14:12

Dylan around a boxing gym. You

14:14

know, you're really annoying me today.

14:16

And if you don't do something,

14:18

I'm going to get physical on

14:20

you. But we used to spar

14:22

Bob. But you could never hit.

14:24

You weren't really allowed to hit

14:26

him back. And he would pop

14:28

you. Bob Dylan had a sharp

14:30

jab. And it was supposed to

14:32

be like, you couldn't hit him

14:34

back. So I took a few

14:36

shots from Bob. But Dylan got

14:38

in a fight with the then

14:40

head trainer and fired him. And

14:42

Gary Shandling, who's a good friend

14:44

of mine, was also training at

14:46

that gym. And Gary came to

14:48

me and said, Pete, why don't

14:50

we take this trainer and start

14:52

our own gym? And I said,

14:54

okay, it seemed like a better,

14:56

more interesting experience than opening a

14:58

bar. And so Gary and I

15:00

backed this gentleman, started our own

15:02

gym, and the gentleman who we

15:04

hired ended up leaving, we had

15:06

some problems with him, and then

15:08

Gary died, RIP, Gary Shandling, who

15:10

I loved so much, and left

15:12

me alone with a boxing gym,

15:14

and it has... been one of

15:16

the stupidest things that I've ever

15:18

done in my life what's the

15:20

next fucking none what what's the

15:23

do not open sounds like such

15:25

an easy thing to run low

15:27

overhead there's no maintenance is no

15:29

clean these towels you know what

15:31

you know what you know two

15:33

things two things actually technically three

15:35

things one thing is people people

15:37

say that I got a lot

15:39

of blind spots but I don't

15:41

see them the other thing is

15:43

this is my son who 16

15:45

the last year and a half

15:47

he's gotten into boxing and he's

15:49

boxing at another gym that I'm

15:51

not gonna name but he's going

15:53

twice and now he just said

15:55

to me last night dead can

15:57

I start going three times a

15:59

week and he boxes with this

16:01

guy which is really cool and

16:03

I was thinking like I'd love

16:05

to get him out to your

16:07

gym maybe and get him in

16:09

there get another. Church Hill Boxing

16:11

Club in Santa Monica come on

16:13

down it's it's a great gym.

16:15

We're gonna get a nice boon

16:17

but here's what I want to

16:19

say is a little sideline because

16:21

I do want to finish the

16:23

boxing theme is we haven't spent

16:25

enough time I feel like we've

16:27

been delinquent on this podcast we

16:29

haven't spent enough time talking about

16:31

and giving credence to Gary Shandley

16:33

because he was one of talk

16:35

about a heavyweight to use the

16:37

analogy this guy was an unbelievable

16:39

he's the reason I got HBO

16:41

because P you knew him I

16:43

didn't know the guy but what

16:45

an influence he had on on

16:47

what we consider to be comedy

16:50

now in a lot of ways

16:52

Gary Shandling actors writers format sure

16:54

what was he like what was

16:56

he like so I mean I

16:58

got to to see both sides

17:00

of Gary and I saw him

17:02

as you know a comic Titan

17:04

and a very entrenched member of

17:06

our industry. And that's how most

17:08

people knew Gary. The boxing gym

17:10

is actually a fascinating culture. Our

17:12

gym is meant to be a

17:14

pretty traditional boxing gym with pro

17:16

fighters. So we would have a

17:18

lot of Russians, South Americans. We

17:20

had folks from Japan, we had

17:22

Chinese fighters, and these were young

17:24

men who would come to LA,

17:26

rarely spoke much English, were not

17:28

at all connected. and Gary took

17:30

a deep interest in their lives.

17:32

And I would come into the

17:34

gym and Gary would be sitting

17:36

with, you know, a couple of

17:38

kids from Argentina talking about boxing

17:40

and. talking about life and had

17:42

this incredible connection. And when Gary

17:44

passed away, there was a huge

17:46

memorial. I don't know if any

17:48

of you guys went to it,

17:50

you know, a couple thousand people,

17:52

you know, everyone in Hollywood went

17:54

to Gary's memorial service. And then

17:56

the next day we had a

17:58

service for him at the gym

18:00

and there were, you know, a

18:02

couple of hundred people who knew

18:04

Gary only as G from the

18:06

gym. And they had no idea

18:08

that he had this other life.

18:10

They just thought he was a

18:12

really sweet guy who cared about

18:14

them and he really did. And

18:17

so that was... side of Gary,

18:19

he absolutely loved boxing. He loved

18:21

Bob Dylan and love fighting with

18:23

Bob Dylan. I'd love to see

18:25

that paper. That's such a funny

18:27

image. Gary tried to do a

18:29

talk show where he would he

18:31

would he would fight you three

18:33

rounds in the ring and as

18:35

soon as those three rounds were

18:37

over you would collapse and and

18:39

he'd do an interview. He would

18:41

do the interview. and he only

18:43

did one with Alec with Alec

18:45

Baldwin. And I was there for

18:47

it and they both I think

18:49

had heart attacks literally many heart

18:51

attacks and And at the end

18:53

of the third round Baldwin was

18:55

laying on his side and Gary

18:57

was laying on his stomach and

18:59

they were wheezing there was like

19:01

And Gary was trying to ask

19:03

him questions had to get started

19:05

Alec and Baldwin was just like

19:07

I think I really need some

19:09

water And I'm like, I'm like,

19:11

guys, you're both. You're both, I,

19:13

it never erred. Did you shoot

19:15

it? We did. I've seen it

19:17

being, and it got kind of

19:19

real too when they were fighting

19:21

too, right? They were getting the

19:23

shit out of each other. Both

19:25

were tough and Gary was deceptively,

19:27

you know, effective as a boxer.

19:29

And I think Alec didn't quite

19:31

know what he was in for.

19:33

So it started, over and over

19:35

and over. Yeah, it got weirdly.

19:37

and like it was uncomfortable. Pete

19:39

you got to show us this

19:41

you shot it? I Gary shot

19:43

it so we could maybe dig

19:46

it up but it was it

19:48

was priceless but I was literally

19:50

concerned that they were both having

19:52

heart attacks and I got them

19:54

to stop and drink water and

19:56

then you know it was one

19:58

of those it was a deep

20:00

level of exhaustion it just wasn't

20:02

going away. It's just like an

20:04

ice breaker before an interview, like.

20:06

Yeah, just to support everybody at

20:08

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FedEx 1 right, two-day retail shipping, one

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flat rate. And now, back to the

23:17

show. Pete I

23:19

do want to go back there. I

23:21

want to get back into how you

23:24

became who you are which is a

23:26

like Jason said in the intro I

23:28

mean you're incredible filmmaker and and actor

23:30

and you haven't acted as much in

23:33

the last few years as you used

23:35

to But you started as an actor

23:37

and Jason you probably feel a lot

23:39

of Connection to what Pete does because

23:42

he was able to kind of go

23:44

from an actor who was in a

23:46

lot of stuff and people wanted and

23:48

become a director yourself Which I know

23:51

is a trajectory that you're that you're

23:53

sort of on Pete talk a little

23:55

bit about that like about being an

23:58

actor who's auditioning for jobs than an

24:00

actor who's in demand and then turning

24:02

that into or having the vision or

24:04

having what? Talk about what it was

24:07

that inspired you to become a director,

24:09

etc. So I think one of the

24:11

light bulb moments for me that got

24:13

me really starting to think about directing,

24:16

which is something I'd always thought about,

24:18

and I think Jason always had to,

24:20

and it was something we used to

24:22

talk about when we were working together.

24:25

I remember on the set of Hancock

24:27

in particular, you talking about filmmaking, kind

24:29

of sensing that you were going to

24:32

move in this direction. But for me,

24:34

I was in action. on Chicago Hope,

24:36

which was a pretty successful medical drama

24:38

and we went up against ER every

24:41

Thursday night at 10 o'clock and they

24:43

beat us every Thursday night, but we

24:45

were still getting, you know, 23 million

24:47

people watching us, which we thought was

24:50

just horrible because we were coming in

24:52

second and that was horrible, but in

24:54

looking back on it, obviously it wasn't.

24:57

But I was getting kind of famous

24:59

as this doctor, Dr. Billy Cronk on

25:01

Chicago Hope. And you know, thank you.

25:03

And you know, when you back then

25:06

in particular got TV famous, you were

25:08

pretty famous. So wherever I went, people

25:10

were like, hey Billy, how you doing

25:12

Billy? How's Diane? My wife on the

25:15

show. And hey Billy, how's the... And

25:17

I'm like, okay, I'm not fucking Billy.

25:19

My name's Pete. And at a certain

25:21

point I started... sensing that if I

25:24

wasn't careful, my legacy was going to

25:26

be Dr. Billy Cronk, the TV doctor,

25:28

and I was on a plane flying

25:31

from LA to JFK, and I was

25:33

sitting in my seat, and people were

25:35

walking by me, and a man stopped,

25:37

and he said, hey Billy. And I

25:40

said, my name's not Billy. He goes,

25:42

hey Billy, my wife has this rash.

25:44

What do you think? Show them the

25:46

rash. And she pulled up her shirt

25:49

and stuck her elbow, which had a

25:51

really bad rash on it, in my

25:53

face. And I'm just sitting there staring

25:56

at this rash. And they're smiling. I

25:58

mean, all other people on the plane

26:00

are all kind of like, hey Billy,

26:02

what do you think the rash is?

26:05

And I'm like, that's it. I'm not

26:07

doing this anymore. And I started, you

26:09

know, writing and I wrote a movie,

26:11

Very Bad Things, which was my first

26:14

film. And that, you know, was something

26:16

that once I got a taste of

26:18

that and figured out that I could

26:20

do it, I never really look back.

26:23

And I do love acting, but I

26:25

was not going to be Billy Cronk

26:27

for the rest of my career. But

26:30

what was that thing that made you,

26:32

were you scared? I'm going to try

26:34

to do this. Like, how did you

26:36

get over the fear of... Because you

26:39

had a real career as an actor,

26:41

like, so you got to make a

26:43

leap a little bit and go, like,

26:45

all right, I'm going to do this.

26:48

So I was flying to New York

26:50

to act when the... The same guy

26:52

was on the plane and said, I

26:54

have a different rap. And the reason

26:57

I was on that plane where I

26:59

was... Presented with the rash was I

27:01

was flying to New York to be

27:04

in a movie called Copland. I was

27:06

gonna act in it And that was

27:08

Stallone and DeNiro and Stallone had put

27:10

weight on and was gonna You know

27:13

try and win an Oscar and this

27:15

was Harvey Weinstein producing it in the

27:17

height of his power and and Ray

27:19

Leo and Harvey Kaitan all these big

27:22

stars were in the film and I

27:24

I had a small part in it

27:26

and and I had a small part

27:29

in it and I directed that too

27:31

right and directed it I was one

27:33

of the cops and most of my

27:35

scenes were in this like bar and

27:38

I would just sit around waiting for

27:40

my one line. So Stallone would talk

27:42

and DeNiro would talk and then finally

27:44

would be my line and I'd be

27:47

like, yeah for sure. And then, and

27:49

anyway. Sounds like me and kingdom. You

27:51

had a great, you were phenomenal. Turn

27:53

left. No, no, no. Jason, by the

27:56

way, Sidebar, Sidebar, Jason and I have

27:58

one of my favorite lines ever delivery

28:00

in the film, and you know what

28:03

it is. He was like, hey, Driver,

28:05

are you late for something? Remember that?

28:07

You guys are cruising along the desert?

28:09

Fuck, I love that. of Copland just

28:12

watching everything happen and there was this

28:14

young director James Mangold and I was

28:16

watching him and he was arguing with

28:18

Stallone and getting into all this creative

28:21

stuff with DeNiro and Ray Leo and

28:23

he was just like he was alive

28:25

he had this energy coming out of

28:27

him and I was sitting there waiting

28:30

for my line and I'm like yeah

28:32

and I finally at lunch I walked

28:34

up to him I didn't really know

28:37

him I said hey man can I

28:39

ask you a question. I said, yeah,

28:41

what's up? He said, how do I

28:43

get your job? Yeah. Yeah. How do

28:46

I get your job? You want to

28:48

work 60 minutes an hour, not just

28:50

10. And he said, you got to

28:52

write. And I said, okay, well, how

28:55

do you do that? He goes, well,

28:57

do you know how to write? I

28:59

go, well, do you have an idea?

29:02

I said, kind of. He said, well,

29:04

what I do is I use milk

29:06

cards. And so I went back to

29:08

my hotel and I was staying in

29:11

the Essex house in New York You

29:13

know that hotel sure has a big

29:15

sense of parks out the big beautiful

29:17

park views, right? Yeah, I had the

29:20

shittiest room in the hotel I had

29:22

the back tiny little room in the

29:24

back of the hotel that looked out

29:26

over an alley and I went home

29:29

and I went to the drugstore I

29:31

got no cards I got pen and

29:33

I started note I started write in

29:36

the note cards and outline in the

29:38

script. But I had a really small

29:40

room and I had the note cards

29:42

kind of all over the room and

29:45

I'd go to work and come back

29:47

and more note cards and I had

29:49

this whole crazy system and one day

29:51

I came back and the note cards

29:54

had all been moved and cleaned up

29:56

and I'm like, who did this? And

29:58

they told me it was Manuela, the

30:00

housekeeper. So I found Manuela, I'm Manuela,

30:03

you can't do this. I'm writing a

30:05

movie. And she's like, what? And I

30:07

told her about these guys who go

30:10

to Vegas and accidentally kill a hooker

30:12

and then have to chop her up.

30:14

And she's like, oh my God, then

30:16

what happens? And Manuela helped me write

30:19

the script. I would bounce it all

30:21

off of her. That's so good. I

30:23

had to script up all throughout the

30:25

room. It was on all the walls.

30:28

I was like living in it. One

30:30

day I came back and I went

30:32

to go in the room and the

30:35

key didn't work and I went down

30:37

and they said Mr. Burwe have probably

30:39

had to move your room. And I'm

30:41

like, holy shit, they took me up

30:44

to the top floor. I went to

30:46

turn to where the shitty rooms were.

30:48

They go, no, you're this way. To

30:50

where the good rooms were. Walk me

30:53

down into the park suite. And I

30:55

walk in this beautiful suite and the

30:57

staff at the Essex house had cleared

30:59

out the walls and put my script

31:02

up on the walls. No way. Man,

31:04

well had told us what you're doing.

31:06

We wish you the best of luck.

31:09

Come on. That's amazing. moment really changed

31:11

everything for me. That's incredible. I never

31:13

knew that. Jesus. That's incredible. What a

31:15

great story about humanity, people and belief

31:18

and all that kind of. Also, I

31:20

think like to think that Manuela, before

31:22

she knew it was a screenplay, she

31:24

was nervous because she had all these

31:27

cards about going to Vegas and killing

31:29

the hooker. She's like, I got a

31:31

serial killer here. This guy. your, you

31:34

know, you're very, you've got a very,

31:36

your taste, your sensibility, your personality is

31:38

very, you know, seasoned and no bullshit

31:40

and, you know, there's no real artifice

31:43

to you, which I just fucking love,

31:45

and yet, and you've somehow managed to

31:47

take that. and mold it into an

31:49

actual visual aesthetic too. Where did that

31:52

come from? Like the style of your

31:54

films, the way in which they're shot,

31:56

the way in which they're cut, the

31:58

actors you hire, the things you ask

32:01

them to do and not to do?

32:03

Like, how is that shaped? I mean,

32:05

the things that I think that I

32:08

do that tend to work the best,

32:10

like if it's Friday Night Lights for

32:12

the kingdom or Deepwater. Horizon or Patriot's

32:14

Day. These are films that I do

32:17

a tremendous amount of research on. You

32:19

know, I'm kind of a cycle about

32:21

that. I'm in Tel Aviv right now.

32:23

And last night we had a missile

32:26

attack that was pretty amazing. And somewhat

32:28

terrifying. And I've always been someone who

32:30

likes to see things for myself. And

32:32

that generally translates to my writing. And

32:35

I try to have his deep about.

32:37

almost anthropological or almost journalistic understanding of

32:39

my world. So, you know, I went

32:42

to Saudi Arabia a long time ago

32:44

before we did the kingdom and, you

32:46

know, lived there for three weeks and

32:48

got as much of an understanding as

32:51

I could about of that culture. And

32:53

once I kind of feel like I've

32:55

done that work and I understand the

32:57

world, when I did Lone Survivor, I

33:00

went to Iraq and embedded with the

33:02

Navy SEAL platoon for a month on

33:04

the border of Syria. And that helped

33:07

me make a... better film. And that

33:09

helps me in theory communicate with, you

33:11

know, someone, you know, like when we

33:13

were doing the scene in the kingdom

33:16

where they, you know, we're gonna cut

33:18

your head off. You know, I've had

33:20

a, I've tried to have a proximity

33:22

certainly never to that kind of level

33:25

of violence, but to at least understand

33:27

as best as I can, you know,

33:29

what these, you know, executions were looking

33:31

like and how they might have. gone

33:34

down and that I think could help

33:36

me help you reach an appropriate level

33:38

of terror and a willingness to fight,

33:41

which you did so well in that,

33:43

which I found fascinating. And I've had

33:45

so many people talk about that scene

33:47

and how Jason Bateman, this sweet funny

33:50

guy, went fucking psycho to save himself.

33:52

And that really comes from the research.

33:54

So then you're looking for a level

33:56

of authenticity that then just naturally lends

33:59

itself to, let's say, a handheld camera.

34:01

saturated color blah blah blah like so

34:03

all of these things you're you're you're

34:05

engineering it from a very organic place

34:08

you're not kind of going backwards into

34:10

an aesthetic correct you're just going yeah

34:12

and you know when I was acting

34:15

on Chicago Hope back in those days

34:17

I learned so much because we were

34:19

doing 28 episodes a season and we

34:21

would have 28 different directors coming in

34:24

and I learned so much and a

34:26

lot of these directors were you know

34:28

they tried to have feature careers and

34:30

they were a bit and they were

34:33

angry and they were trying to prove

34:35

that they were tarantino or scorsese and

34:37

they would just spend so much time

34:40

setting up shops and doing all this

34:42

stuff and we as actors would sit

34:44

around waiting for all this equipment and

34:46

I'm like what the fuck are we

34:49

doing here like I want to act

34:51

I want to I want to be

34:53

feel free to to you know not

34:55

be beholden to the you guys have

34:58

all seen it. and lighting and making

35:00

and makeup and every it seems like

35:02

it it impacts everything other than the

35:04

actual acting. All right. Yeah and so

35:07

Pete's stylus have a yeah multiple cameras

35:09

handheld cameras going at the same time

35:11

and when they run out shooting on

35:14

film and they run out of film

35:16

the AC we just put the camera

35:18

on the ground reload to put another

35:20

magazine a film on top of the

35:23

camera while the other two are still

35:25

rolling and while we're resetting back to

35:27

the top of the scene like multiple

35:29

takes over and over and over and

35:32

over again without ever cutting. reloading the

35:34

cameras quietly. I remember when we were

35:36

rehearsing. Hancock. Remember we'd have all those

35:38

crazy rehearsals with Will and Shirley. Like

35:41

Soundstage, with the Kiva? Yeah, yeah. And

35:43

when I first met Charlotte, she came

35:45

up to me because Jason and I

35:48

had worked together and I knew Will

35:50

and I think Will had heard a

35:52

little bit about my style of work

35:54

and Charlie said, you know, Pete, I

35:57

understand, I've talked to Jason, I know

35:59

how you'd like to do this kind

36:01

of wild thing and move around lots

36:03

of cameras. I don't know, I don't

36:06

work that way. I need a certain

36:08

amount of organization and there has to

36:10

be a system where I can, and

36:13

I'm like, Charlise, no problem, I got

36:15

you, we'll do it, we'll cut and

36:17

we'll reset and do it. And then

36:19

like the first day I was working

36:22

with Jason and we were just going

36:24

off and Will was into it, and

36:26

I would come for Charlies. And then

36:28

about an hour she came up to

36:31

me and she came up to me

36:33

and she said, you know that that

36:35

thing you're doing you're doing with Jason,

36:37

do that to me. And I want

36:40

that too. Peter, I was thinking about

36:42

you the other day, I was down

36:44

in Fort Worth, Texas, not a bit.

36:47

And I was truly, I was doing

36:49

this thing, I was working with Taylor,

36:51

Sheridan, and it was a great guy.

36:53

And so I was standing at this

36:56

hotel and, you know, it was the

36:58

fall. And I hear, I'm in my

37:00

hotel room and I'm trying to go

37:02

over my shit that I'm working. I

37:05

keep hearing this like, Like what the

37:07

fuck is like is my phone on

37:09

and I keep looking around the room

37:11

the TV is not on I go

37:14

out and the thing and I look

37:16

out and I can just see over

37:18

the treetops in the distance this stadium

37:21

and I fucking look at him on

37:23

my phone and it's a fucking Texas

37:25

high school football game yeah a lot

37:27

and the stadium is packed and I

37:30

can hear the fans and I can

37:32

hear the announcement I was like Holy

37:34

shit, it was Friday fucking nightlights, man,

37:36

like it was incredible. Yeah, how did

37:39

that, how did that, how did, so

37:41

for the listener, yeah, Pete brought us,

37:43

Friday Night Lights, the film, and then

37:46

shepherded the television series to us as

37:48

well by doing what the, the pilot,

37:50

probably the first couple, and he peed

37:52

the whole thing, right? Yeah. your the

37:55

writer your second cousin to the writer

37:57

perhaps yes I was passengers my second

37:59

cousin was that helpful in it finding

38:01

its way to you or what or

38:04

did it happen without that it was

38:06

you know I had I had I

38:08

had followed the the book and read

38:10

the book and Buzz used to, you

38:13

know, push me to try and make

38:15

it. At the time I actually didn't

38:17

really have the juice. There were a

38:20

lot of filmmakers that wanted it and

38:22

Brian Grazier controlled it. And I would

38:24

call Brian and just sort of check

38:26

in with him. And I knew they

38:29

were going through a list of, you

38:31

know, some pretty top-tier directors. And Brian

38:33

was always nice and he was pretty

38:35

honest saying, you know, you know, maybe

38:38

we'll get... get to you. And two

38:40

directors, one fell out and one Brian

38:42

got annoyed with and fired. And he

38:45

called me and he said, okay dear,

38:47

it's yours. And that was an incredible

38:49

experience. And you know, when I was

38:51

doing Friday Night Lights, I went and

38:54

I was, I think I was 41

38:56

at the time, flew down to Texas.

38:58

and moved into a high school, this

39:00

school, Austin Westlake, and I stayed with

39:03

a football player's family, let me live

39:05

in his house, and I lived on

39:07

a futon in Koyani, who was a

39:09

wide receiver for us, like an 18-year-old.

39:12

I was probably saying there's 17 or

39:14

18 at the time. And I went

39:16

to high school with him every day.

39:19

And I went to football practice and

39:21

lived with this team. And it was

39:23

really an amazing experience. And that's why

39:25

it feels so real and authentic and

39:28

just just the way in which you

39:30

just shot the the sport as well.

39:32

What was your, did you play a

39:34

lot of football growing up? I played

39:37

high school football, but I tried, I

39:39

wanted to be a quarterback. My ego

39:41

was like, yeah, I'm gonna be a

39:43

quarterback and I was horrible. So for

39:46

three years I tried to play quarterback

39:48

very unsuccessfully. And my senior year in

39:50

high school, my coach moved me to

39:53

a defensive end. And I really realized

39:55

I should have done that all along

39:57

because I liked hitting people and I

39:59

didn't have the. I would get too

40:02

anxious and couldn't remember the plays and

40:04

just had some horrible disasters as quarterback.

40:06

When I finally moved to defense, you

40:08

know, I developed a real love. for

40:11

the game, but you know, the book

40:13

is about so much more than football

40:15

and I think that's why the show

40:18

works so well. It's really just, you

40:20

know, you're a huge sports fan, Jason.

40:22

I know how much baseball means to

40:24

you, right? I remember when I was

40:27

a kid, I played football when I

40:29

was really young and I remember my

40:31

mom telling me to go to this

40:33

guy's house to get fitted for the

40:36

equipment. And so I... and he gave

40:38

me the mouthguard to fit my mouth.

40:40

And the only good thing from the

40:42

whole experience was that it tasted like

40:45

mint. It was like a really deep

40:47

flavored. And it's like, oh, maybe I

40:49

could do this because it tastes so

40:52

good. That was the extent of my

40:54

happiness. Go ahead, Will. Well, I just,

40:56

I don't know where to start. Honestly,

40:58

that's so funny. I mean so much

41:01

I was like oh maybe there's a

41:03

silver lining here part of it's funny

41:05

part of it's funny and then part

41:07

of it's just a nothing story that

41:10

is a nothing disturbing and and you

41:12

know a Pete I'm sure that all

41:14

your films have you mentioned a few

41:16

of them like have Have a place

41:19

in your heart or in your in

41:21

your life where you look back and

41:23

they represent a thing or and I'm

41:26

sure you learned a lot from them

41:28

was there Was there one of your

41:30

films that that really for you? Transported

41:32

you and kind of Not not like

41:35

hey, I figured it out, but more

41:37

like And again, not even necessarily your

41:39

favorite, but something you just like you

41:41

learned a lot from that was like

41:44

a turning point film for you. I

41:46

mean, there was a moment when I

41:48

was, you know, sometimes I answer that

41:51

question and I mean it by saying,

41:53

you never set out to make a

41:55

shitty movie, no filmmaker does. And we

41:57

all understand how hard it is to

42:00

make a good film and sometimes they

42:02

absolutely suck. But so hard to just

42:04

make a movie that doesn't suck. one

42:06

that doesn't sell. That's so hard. I

42:09

don't think people appreciate that. No. to

42:11

be honest. You know, and people don't.

42:13

It's not their responsibility to appreciate it.

42:15

It's on us. You know, I've had

42:18

people just say, God, your movies, that

42:20

movie sucked. And I'm like, okay, fair

42:22

enough. I mean, yeah, I think we'll

42:25

do that. Appreciate that. Didn't, that wasn't

42:27

my goal. I assure you so much.

42:29

It's usually in the Boston area, by

42:31

the way, that you get that. For

42:34

real. And they don't, but yeah, Boston's

42:36

very direct. But you, you know, I

42:38

do love everything I've done and I

42:40

find, you know, that these are things

42:43

that I try as hard as I

42:45

can and hopefully the result is good.

42:47

So I do, I do have connections

42:49

to every film I've done. There was

42:52

a moment when I was making Friday

42:54

Night Lights, the movie. Where we were

42:56

going to film a scene, there's a

42:59

coin toss scene, that's a big dramatic

43:01

scene where all these schools have to

43:03

decide who's going to be in the

43:05

playoffs. And we'd been, but we scheduled

43:08

for three nights to film this scene.

43:10

It was a big scene, you know,

43:12

100 extras, Billy Bob Thornton, all the

43:14

principals were there, and it was a

43:17

complicated scene. And this was when I

43:19

was starting to find a style with

43:21

multiple cameras and what Jason was talking

43:24

about. Just keep moving and don't cut

43:26

and shoot and do a... So we

43:28

had three nights scheduled to shoot it.

43:30

And we got up there and rehearsed

43:33

it for a couple of hours and

43:35

I had the cameras going and we

43:37

shot it in about two hours. And

43:39

we cut. And I'm like looking at

43:42

Eric Hefron, who was my first idea

43:44

and you've worked with him Jason. And

43:46

he's looking at me and I'm like...

43:48

What do we have this scene? And

43:51

he's like, I think we do. And

43:53

this was two hours. We had three

43:55

nights to shoot this scene. And we're

43:58

standing there and the DP comes over.

44:00

He's like, what just happened? I go,

44:02

I'm not sure. I think the script

44:04

supervisor was all confused because he couldn't

44:07

make sense of any of it. And

44:09

I go, I think we've got it.

44:11

And then the producer came over. He's

44:13

like, you can't do this. I'm going

44:16

to get in so much trouble. and

44:18

that I was able to work in

44:20

a way that I didn't realize was

44:22

possible. And the actors loved it, and

44:25

it came out great, and I loved

44:27

it, and the studio saved a shitload

44:29

of money, and that became for me

44:32

kind of a personal sort of realization

44:34

that there are. not as many rules

44:36

as we think there should be. Interesting.

44:38

You know, I think I think the

44:41

Success of your guys podcast is another

44:43

example of that. You know, like really,

44:45

that's what happened. You just did it

44:47

and you followed no rules and you

44:50

followed your hearts and you have this

44:52

incredible relationship with each other and people

44:54

responded to it. And I think that

44:57

those are the kinds of signals or

44:59

signs that I look for as I

45:01

kind of. chug through my life. Yeah,

45:03

you know what else is great about

45:06

about that that that particular specific style

45:08

too is that it's super reliant on

45:10

the team. You know, those camera operators

45:12

and focus pullers, you can't get to

45:15

them in between action and cut. And

45:17

they've got to be making decisions in

45:19

the moment, watching and listening to the

45:21

scene, making composition work, etc., etc., etc.,

45:24

tagging certain things that they didn't get

45:26

in the last take. And it's all

45:28

that sort of teamwork that maybe is

45:31

an exciting comparison. for you to sports

45:33

and to what you appreciate with your

45:35

fellow line men as opposed to perhaps

45:37

the quarterback route you could have taken

45:40

where it's just like, oh, I'm the

45:42

star and who cares who's blocking for

45:44

me? I just need to, you know,

45:46

you got more in the trenches and

45:49

you potentially became more of a crew

45:51

guy than a cast guy that you

45:53

may have stayed had you gone the

45:56

quarterback route or maybe just stayed, you

45:58

know, as an actor. I'm just such

46:00

a big. I just love it. Well,

46:02

I think also everybody's probably really present,

46:05

right? Like everybody's saying, just say, Jason,

46:07

everybody's in it. There's no chance to

46:09

fuck off. and get on your phone

46:11

or whatever, you gotta be. It becomes

46:14

kind of like a bit like theater

46:16

or a live experience. I've had a

46:18

lot of actors say, like they've gone

46:20

into some sort of creative blackout while

46:23

we're doing it and they don't remember

46:25

exactly what happened and they were able,

46:27

and I've experienced that. I used to

46:30

do theater and I loved it. And

46:32

I'm sure you guys have felt that

46:34

before where, you know, it's, I'm one

46:36

to Tony last year. Good by Oscar.

46:39

Did you ever find that? That's a

46:41

good night. You must have gotten into

46:43

that flow state on stage where you're

46:45

just in it and you don't necessarily

46:48

remember it. You're not thinking. That's so

46:50

true. From the second you start pacing

46:52

backstage waiting for your entrance, right? You're

46:54

somewhere else a little bit and then

46:57

the second you step on, you're like.

46:59

Oh, there's just a couple shows here

47:01

and there where you have your mark

47:04

markers, where as you're talking in like

47:06

a monologue or something, you go, from

47:08

this point out, I have about 25

47:10

more minutes. Then I get to go

47:13

home and eat pizza. And so you

47:15

start having those those markers. But most

47:17

of the time you're in it. Yeah,

47:19

most of the time you have, you

47:22

don't have a choice but to be

47:24

in it, right? Yeah. We'll be right

47:26

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one flat rate. And back to

50:35

the show. Now Pete, I want

50:37

to talk to you about potentially on

50:39

the most challenging periods in your

50:41

career, going through the work experience

50:44

with Justin Thoreau on leftovers. How

50:46

did you manage to just keep

50:48

your head up? Go forward and

50:51

say, they're not all gonna be

50:53

like this. I did see that

50:55

he managed to work in a

50:58

shirt, like he went tarps off

51:00

in a running scene in the

51:02

pilot, which probably was his call.

51:05

Well, and I, and fucking thorough

51:07

stole your sleeveless look, you know,

51:09

Pete's got a great war cry,

51:11

basically, physical work, war cry. He'll

51:13

take, he'll grab, he'll grab his

51:15

short sleeves, he'll pull him up

51:17

over the top of his shoulder

51:19

cap and turn. move there that

51:21

creates the sleeveless look and it

51:24

gets gets everyone fired up. You

51:26

know when when we were getting

51:28

ready to cast left left, who

51:30

is a genius, you know, was

51:32

telling me, you know, I was

51:34

drunk in the pilot and he wanted,

51:36

you know, me to do kind of

51:38

what I wanted to do and he

51:40

certainly wasn't giving me mandates, but he

51:42

really was encouraging me to meet with

51:45

Justin Thoreau and I met with him.

51:47

And I couldn't figure him out. I'd

51:49

never seen anything like that. It was

51:51

a bit. You thought Damon was having

51:53

a laugh. He can't figure himself out.

51:55

So I mean, you keep going. And

51:57

you know, the tattoos and I've never.

52:00

I've never seen someone with less

52:02

body fat. There's just no one.

52:04

He's so ripped and so intense.

52:06

And I was like, I didn't

52:08

get it. And then I met

52:10

in, and Dan's like, he wants

52:12

to meet you again and we

52:14

met again. And I still didn't

52:16

totally get it, but he covered

52:18

his sleeves. He wore a shirt.

52:20

So I didn't have the tattoos.

52:22

And then we met a third time. And

52:25

I guess I. He wore me down

52:27

a little bit and he was so

52:29

determined to play this role and I

52:31

have to say once he showed up

52:34

on set, that guy is legit. He

52:36

did such a great job. He covered

52:38

the tattoos. He got his haircut looking

52:40

like because I didn't buy him as

52:43

a Midwestern cop, you know. I was

52:45

having trouble seeing that and he really...

52:47

transformed himself. And that show is so

52:49

fucking good. He looks like a West

52:52

Village. Like he's just kind of like

52:54

a downtown New York dandy that guy. So

52:56

he doesn't, you know what I mean? Like

52:58

you can't even, you know, he doesn't, you

53:00

can't even see him above 23rd Street. So

53:02

forget, he's a job guy for sure, but

53:04

he's a real actor and you know, he

53:06

is really is and that show, such a

53:09

good writer. Pete, Pete, that show is so

53:11

good. You and Damon and Damon and then

53:13

and then and then, and then, and what

53:15

Mimi leader did after. Mimi leader did after.

53:17

Mimi leader did after. Mimi leader did after.

53:19

New York did a great job. Like it's

53:21

just fucking beautiful, you know, Max Richter's music.

53:23

I mean, it's just, Max, and you

53:25

make, you, but you made all those

53:27

decisions setting that show up with the

53:30

way it looked, the way it sounded,

53:32

who's in it, where we're shooting it,

53:34

what the crew is. etc, etc, etc.

53:36

etc. And so thank you for that,

53:38

among all the other things you set

53:40

up. I just love your taste. I

53:42

was thinking about what you were saying,

53:44

I'm kind of going back a little

53:46

bit, but you know, I've had this

53:48

same frustration about, and I

53:50

love hearing about your style, Pete, because

53:52

there is nothing, I think it's even,

53:54

the hardest thing to do is to

53:56

make a funny film, because there's generally

53:58

no flow on on Saturday. you're turning

54:00

around and you're doing this

54:03

kind of shit. And there's

54:05

nothing less fun than trying

54:07

to make a comedy film.

54:09

they're really fucking tough to do.

54:11

And because the system is set up,

54:13

it's set against you. And that's why

54:15

often really funny films that break out

54:17

are films that are small films. They

54:19

come out of nowhere because they don't

54:21

have the budget to fuck around and

54:24

to have a big company move and

54:26

all this shit. It's just young people

54:28

who are like just grabbing, throwing cameras

54:30

on their shoulders and getting it. Two

54:32

or three, you know, two cameras, handheld,

54:34

blah, blah, blah. And that immediacy is

54:36

what you need in comedy. And it

54:38

just doesn't exist in a bigger format. Would

54:41

you agree with that? I saw Sean Baker's

54:43

film, his new film, Anora, is incredible. No,

54:45

I haven't seen it. That's the hardest I've

54:47

laughed in a movie in quite a while.

54:49

That's great. Did you see it, Sean? Yeah,

54:52

I saw it, yeah. What's the film? Anora.

54:54

Oh, yeah, we were just talking about

54:56

it. I haven't seen it. Yeah,

54:58

yeah, yeah, yeah. You gotta check

55:00

that out. It's fantastic. I mean.

55:02

When that dude is in the

55:04

courtroom and the judge throws him

55:06

out and he tries to start

55:08

objecting, like he's part of the

55:10

legal defense team, I just haven't

55:12

laughed that hard. And to your

55:14

point, well, it's just, you know,

55:16

I'm a big fan of Sean

55:18

Baker and it's just loose, wild.

55:20

You don't know what. who these

55:22

people are that are in the

55:24

cast. Yeah, I remember seeing, I

55:26

remember seeing Rushmore in the

55:28

theater when it first came

55:30

out and feeling like, fuck,

55:32

this is fucking great. Right.

55:34

Because there wasn't any, well,

55:36

there's no, yeah, and there

55:38

was no, yeah, and there

55:40

was no, there was no,

55:42

there was no, there was

55:44

no, there's no, there's no

55:46

pretense, it was just, they

55:48

weren't part of the system

55:50

yet. How does your, you

55:52

have more patients or

55:55

less patients with actors

55:57

as a director? You know,

55:59

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