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
2:09
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,
2:24
we get a lot of listeners,
2:26
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,
2:34
we have some listeners in Germany,
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we have some French listeners, Saint-Jean-Gois,
2:39
UK, Canada, Australia, not over
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any C, but look at
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a minute, okay, okay, sorry.
2:46
Our friends down in Australia,
2:48
down under, we have a
2:50
lot of fans down there.
2:53
How are you? A lot
2:55
of fans in Brazil,
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the home of
3:00
the Brazilian. And
3:02
so just to
3:04
all of our
3:07
fans, welcome to
3:09
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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20:10
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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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