0:00
Now, when you have to hit your beats in that precise, where's the room for spontaneity and riffing?
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0:03
I would tell people very plainly, feel free to do whatever you want.
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Just know if it's bad, you've ruined everything.
0:15
Yeah, we're going to fall for that. Epic.
0:17
And so, I would leave it up to them. [Music] Kind of crazy.
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I think you're the only person that I've ever met who's played Mike D. I played Mike D. You played Mike D. The lady's choice. Exactly.
0:33
That's kind of a I mean, it's there's not many people Yeah.
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There's only There's only one person who could say they played Mike D. Exactly. Except for Mike D. Exactly. It sure did.
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It's kind of It's kind of a unique thing to be to be put into a situation where you get to kind of um uh play that role of a band that I'm sure changed your life like they changed my life.
0:52
I mean, it just it's kind of a great call to get, right? Oh my god.
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It was like one of the greatest things that ever happened to me.
0:57
And uh me and uh Danny McBride and Elijah Wood who got to be the Beasty Boys in the video and Jack Black and Will Frell and Johny Riley who are the older versions.
1:08
It was like but we were in we we shot that video for like 3 days and it was like the greatest three days of our lives.
1:14
Like we were just the whole time could not believe what we were doing and that we got to do it and that we were like rapping into the fisheye lens getting to live that dream we wanted to be.
1:28
All you want to do is rap into the fisheye lens walking down the street.
1:32
That's like that's all that's all.
1:32
As a little Jewish kid who loves rap, that's the pinnacle.
1:36
That's the height of all you could hope for.
1:38
It's nice to finally meet you, man.
1:40
And um and congrats on everything.
1:42
and and and I mean that I mean what an amazing life you've been able to to build for yourself in a journey through what you love, you know, starting out with comedy and then now getting to sort of touch all of these different aspects of the process um right down to creating this this show which is such an incredible watch the studio dude. Thank you.
1:58
What a lovely way to start this.
2:01
Must be really nice to see the way this is rolling out cuz you put so much love into it.
2:04
You know you've got something on set.
2:06
You know you've got something in the yet at bay but you cannot guarantee how people are going to take it, right? Yeah, for sure.
2:13
I'm always very nervous when releasing a thing.
2:15
Um, and especially like the more involved I am in it, the more invested I am in it and the more nervous I get leading up to its uh like release into the world.
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the world. Um, and I used to describe like I used to say it's like it's like it's like giving birth in a way and that is like it's ultimately a painful experience and like you hopefully something great comes out of it but the act itself of putting it out at times can be very painful and I think I've
2:41
gotten much better with it and I hope I've put more focus on the process and try to extract more uh joy out of like my daytoday you know experience making the things I'm rather than solely focusing on its like reception is the thing that is my barometer for whether or not I should be happy or not. Yeah. Cuz when Yeah.
3:03
Cuz when you're younger and you get this opportunity, I'm sure there's so much to your point wrapped up in in what you're doing and how it's perceived and everything else.
3:10
The joy is probably quite low on the ladder of experiences at times. Yeah.
3:14
I mean, when I first started, honestly, I look back and like I've had a very lucky uh career in many ways in that, you know, the first things I did were very good.
3:24
I did were very good. So like uh like and and it's like I look back and I was lucky enough that like my first job I was on like one of the best TV shows of all time, you know, which is like not and at the time you when you're young you're just like oh yeah like you get it
3:38
a thing and it's great and it's like and it's amazing and everyone loves it but then it gets cancelled and so you're like okay it's like a good lesson but I think in a way it gave me like a good chip on my shoulder where it's like we do great work and like maybe it's not
3:51
always appreciated and then we started making movies and we had like a completely unprecedented run of hits that again I look back and at the time I like completely took it for granted and I just thought like yeah you make a good movie it comes out and it's a success huge success yeah that's just what
4:10
happens and then over like the following decade of my life I think is when I really learned like oh that's not what happens every time and you can make something you're very proud of and just people don't respond to it or yeah like those are like the three boxes is you're trying to tick. I guess in some ways
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I guess in some ways it's like do you like it?
4:26
Is it like viewed as good? And is it successful? Do you like it though?
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Is the most important one, isn't it?
4:32
I mean, that's the thing.
4:34
I think that's I've spoken to a lot of of of musicians in my in my life and and actually had a chance to spend some time with Brianino who's like music Yoda. Oh, yeah. He's like art Yoda. Yeah.
4:42
He designs nice uh things as well. Great light boxes. Yeah, light boxes. His stages are lovely. Yeah.
4:49
coming into his studio is like, "Oh, this is this is kind of how this is a great way to age into the next next lifetime.
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Just be just create all the time."
4:56
And he was just saying like, you know, the first question you have to ask yourself is, you know, what do I like? Yeah.
5:01
Like what do I want to see?
5:01
Which I think some sometimes in the arts people get a little bit nervous about acknowledging that.
5:05
It's like, well, hang on, man.
5:07
Is that a little self-indulgent?
5:08
But it's kind of step number one, isn't it? Oh, yeah.
5:09
And I think like the dance between like self-indulgence and like just like creative creatively doing something you're excited about is like a very fine line.
5:20
And I think we've been we've made things that are incredibly self-indulgent.
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But I don't think that's necessarily a bad thing if it also is resonating with the audience. You know what I mean?
5:31
And I think like I think the word indulgenc is but maybe like I think it could be self reflective and and and very and and and you are your audience I think in a lot of ways.
5:40
audience I think in a lot of ways. So I'm also always like making like whatever it is I would want to watch in a singularity like that where you're focused on storytelling like in this but like and and also you you cover a lot of interesting um tales and stories and
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scenarios on the studio but it is done in this very sort of linear here are the characters almost like a play at times which I really love and I love the fact that it moves like a play it's paced like a play it's almost like you got the orchestra and the pit playing the entire time the whole thing feels very theatrical in a lot of ways. It's funny
6:08
It's funny because it's a thing not a lot of people notice about the show, but to me was almost one of the most like uh like the thing that I thought made it feel different than a lot of things on television is there's only one story line per episode.
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And pretty much all shows have several story lines you're cutting between and you you and and you're serving these kind of arcs that go throughout the season often.
6:33
go throughout the season often. So it's like and even comedically like Seinfeld is a huge inspiration to me but they did a thing where they would have like three story lines and they would kind of converge in the end call like things that happen in episode two would sometimes come back they would come all the way back and and so we thought like what if there's one thing you're following and you're not cutting between
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these things and it's more like a movie in my head because I think when you write movies to me it is more like that usually they're you're sometimes cutting between things but they're often more singularly focused and so it does give
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it this drive that is a a little more like a play cuz plays often don't cut between a lot of different story lines and they kind of have one singular drive and one singular focus that hope hopefully is like propulsive from scene to scene. But yeah, a lot of plays don't
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But yeah, a lot of plays don't have like an A story and a B story and a C story. It would be a lot.
7:19
It was just it's a lot of lot of sets.
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Now we can just go over to this theater.
7:23
We'll conduct the other story. Wait, where am I going?
7:27
Um no, it's incredible, dude.
7:29
And and from the very beginning when it when it begins, it's very clear that you're going to walk this line between comedy and anxiety, which is often where that some of the best comedy exists.
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This idea of like, oh man, the uncomfortability, you got to sit in it to get the laugh.
7:40
And you know, that's a really fine line to walk though, right?
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And and great comedies have done that.
7:46
And I and I wonder sort of like what the process was between trying to build out these characters that are ultimately there's a punchline in here waiting to be told but the process to get to that get to that as at times like you got your head in your hands like oh my god Max shut the up.
8:02
Yeah, it's uh we like that it's like an inherently I think I mean again I think it's reflective of my life which it which I generally feel is uncomfortable and is excruciating at times from a social standpoint.
8:14
I'm constantly interacting with people where I don't know what to say or I feel like I've said the wrong thing or you speak for all of us.
8:20
I'm constantly in situations where there's so much more pressure on me to do or say the right thing than I would have ever wanted there to be.
8:28
I've been in a bathroom with my friends looking at really good friends of ours having amazing conversation with strangers and three of us are like, "Look at this guy. How does he do it? What are they saying? What are these people?
8:38
Look at his body language.
8:40
My god, I'm uncomfortable with my best friends watching him." I know. I totally agree.
8:44
I marvel at other people's ability to just speak to one another in a comfortable way. I do. Oh, look at at a party.
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I'm like, what are they talking about?
8:51
Um, and uh, so yeah, I think that is reflective of my own awkwardness navigating Hollywood, you know what I mean?
9:00
And and and we really to us a funny thing is like stakes.
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Like we like there to be like intense stakes to that that that build throughout things.
9:07
And me and Evan always talk about like I think a lot of story structures are like an arc which they teach you, but we like ours to be like a ramp, like a sort of like something that really starts low and then shoots up spiraling off out of space. Exactly.
9:21
And and that to us has always been like a structure that we understand and sort of like like to pursue is like it just keeps upping and upping and upping up and up and upping, you know?
9:33
And so I'm just thinking of like the most recent episode for those people who haven't seen it, too bad.
9:36
Uh the missing reel, man.
9:38
the missing reel, man. when you when it ramps up to you actually physically be tackling Olivia Wild down a hill which by the way an epic roll that lasts about 10 seconds very long hill roll during which time you think like someone's getting seriously injured until Olivia Wild says you man you piece you no it just keeps going
9:58
and that's not even where it gets it gets bigger from there so let's talk about what the let's talk about the pitch let's let's break it down and get a bit modular about it right because I've got a chance to talk to you about process because the studio is all about process Let's talk a little bit about process, right? And the idea of
10:10
And the idea of pitching, you know, a movie like Pineapple Express or these these films when you go in there and and and you know, you're laughing as you say it, but equally, you've got to convince people to invest real money in these things and and to some degree, you know, it's like what is the pitch really?
10:22
Like people want to know what is it like to go pitch a film like that?
10:25
Well, we did for Pineapple for our first few movies, we did not pitch them. We just wrote them.
10:30
We wrote them on spec they call it, which is on speculation or a speculative screenplay.
10:35
Um, and that's when you just write it and then try to sell the finished product.
10:39
And so, I mean, with Super Bad, we were young when we started writing it.
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And so, we didn't know there was a thing as called pitching or anything like that.
10:47
We just we wrote we wanted to write a movie and so we wrote a movie.
10:50
And then by the time we wrote Pineapple Express, it was a similar thing where we just saw it was such a great we would tell our friends even the idea and we would get this look where they were just like that's not a good idea.
11:00
Like, and we would be like, "Oh, it's like a weed action comedy.
11:03
It's sort of like in that like 48 hours like Beverly Hulk's cop vibe, but it's like two stoners and and what you picture is this is the stupidest movie of all time.
11:15
And we were like, "No, but it's like we want it to be good and we want it to like have real heart and real emotion.
11:20
We want the action to kind of be like well executed and and and there to be real stakes and and and but even, you know, as you're saying this to your friends, if you were to say this to a studio executive and you had it written speculatively, you know, you're failing immediately fully and that we saw that in real time.
11:33
We were like, "We just need to write this movie."
11:34
And then by the time we got to This is the End. Um, no.
11:39
I actually even think we wrote This Is the End uh on Spec.
11:42
Like we've Neighbors is like we pitched Neighbors cuz Neighbors was like so easy to wrap your head around and it was like we had Zack Efron there and it was like me and Zack Efron are neighbors.
11:54
I'm a dad with a new baby. He's the head of a frat.
11:55
we live next to each other and we go to war with each other and you could that was basically that's what you have to say and we pitched it out.
12:02
and we pitched it out. You you you need to the big thing in a pitch is you're basically pitching like the set comedy pieces that bring the story you're telling to life giving a bit of if the promise is me and Zack Efron are going to war and we're living with each other then yeah what you would I think the
12:18
things we had going into it were like we try to be friends at first and so we get up and we do shrooms and stuff like that and then we realize it's not going to work and so we start you know I I start calling the cops on him and he realizes I'm calling the cops on him so they start getting revenge on us. And I
12:32
And I think we have this idea that our baby finds a condom in the yard.
12:35
I think that was a part of the pitch. That's in the pitch. That's in the pitch. That feels like a joke. That's in the pitch.
12:39
We got to give them the worst and the easiest, right?
12:43
Start with the easiest, but then we got to see what their appetite is. See what they want.
12:45
So, if they're down with the baby in the condom in the yard, I think we're off to the races. Oh, they know. They know.
12:49
Everyone know studios like baby in the condom.
12:51
That's money in the bank. Yeah. Yeah.
12:54
That was a much more easy to pitch thing.
12:57
Um, and it's different, you know, like we've there's no correlation also between like how easy a thing is to, you know, like we went out with the show The Boys and like no one wanted it at first.
13:10
Like it was like it was like so hard to sell.
13:12
Do people give you honest feedback when they reject things or is is that No, never ever ever.
13:15
It's exactly like as much as you believe my character would be honest to someone about why they didn't like something, that's as exactly as it's placehold of kindness, right?
13:25
It's just like, "Hey man, we'll get back to you. calculated.
13:29
It's like, how do I say a thing that won't make me look like an And maybe if this person does something I like, I I can kind of make my way back in there, but I don't like it's it's all very calculated, but you walk away with Evan or whatever or your friends and you go, that ain't it. Oh, yeah. Well, no.
13:44
Well, often Sausage Party was the funniest one.
13:46
Like we we actually pitched Sausage Party cuz and we made It will go down as your piece of resistance, by the way. Exactly.
13:51
And what's funny is we we were so confident in it that we almost wore hot dog outfits to the pitch.
14:01
Evan was like, "We got to."
14:01
And I was like, "No, like we can't do it."
14:04
And thank God we did it because the first round of pitches, we pitched to every studio and no one bought up on it.
14:10
And I just remember like being in the parking lot like walking to like walking like from the offices of Paramount like to our car and getting the phone call from our agents being like, "Nope, they're not doing it." within a minute.
14:21
Yes, I just remember turning to Evan and being like, "As much as this sucks, thank God we're not dressed as hot dogs right now.
14:29
The the only thing that can make his We want to be known on the sixth floor watching you like an walking across your massive car park just filming you in hot dogs like they're getting the call right now.
14:42
They're shaking their heads." Yeah.
14:44
They're like this, "Hey guys, listen.
14:46
We'll give us some thought."
14:46
You walk out, there's no way.
14:47
Literally, that's exactly what it is. Let us think about it.
14:51
No, call the call call their agents.
14:53
I'm obsessed with straightfaced comedy.
14:54
I And I think you're someone, like you said, who's analyzed comedy and all these different elements of comedy and I and let's talk about Zack Efron as somebody in in the in the fourth episode and also in the other areas you've done.
15:05
He is a great straightfaced comedian.
15:05
He almost plays it like a drama. Oh yes.
15:09
And and some but it makes it funnier.
15:11
His ability makes it funnier.
15:11
Rose Burn, the same thing.
15:13
We've seen her in incredible dramatic roles.
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And Matt Damon is another one who can hold down a very dramatic role and then show up and almost not really put a comedy spin on thing, but somehow you find him hilarious.
15:23
So, what is the trick behind that?
15:25
What is What is the trick behind straight face comedy?
15:26
How do you get a good How do you Let's put it into casting.
15:30
How do you know that someone's going to be able to pull that off?
15:32
I never would have thought Zack Efron was a comedy hero until I saw Neighbors.
15:37
Yeah, I think sometimes you just meet someone in real life or you see them in enough things and this has happened to me and you're just as a writer or director you're just like I know how to make that person funny like I understand what that person does and I can use it
15:57
and and it's usually because they are funny like like the I I don't I worked with many dramatic actors who I would never put in a comedy and and these and some some great dramatic actions some of the best in the world I would not put in
16:12
a comedy like I think just cuz you're a good actor maybe I would in a small role and I like define people in three categories which is like people who kill comedy people who can do comedy and people who can create comedy and I mean
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that in like a performance level like there are people who just you can give them something funny and they won't make it they'll make it not funny there are people who you give them something funny and they'll make it exact exactly as funny as you hoped it would be. And
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And there's people you can give them something funny and they'll find a way to make it even funnier than you ever thought it.
16:43
And is that third category almost people who don't quite realize they're funny?
16:47
No, I think the third category is almost explicitly reserved for people who have an incredible mastery of what it is that they're doing.
16:54
And most of the other people fall into the second category, which is people and I think Zach and Rose though fall into the third category cuz they're genuinely hilarious and they would always do things that you know are plusing the stakes of the comedy.
17:09
They would improvise things that like like and that was the thing with Zach is I almost think I like saw him really like I don't want to say learn how to do it but like develop the muscle the one muscle that in his body but developed Yes. Exactly.
17:24
And it was pretty developed going into Neighbors, but I think by the time we were done, the second one especially, he like was firing on all comedic cylinders and he fully understood.
17:34
He's just so smart like how to how to improvise exactly what was like actually additive to the scene and the story and the plot.
17:41
That scene when he's sitting in the living room in the dark having run when he's running and and he comes back and he's like, I ran 25 a long way.
17:48
I didn't have any shoes on.
17:51
that scene is like that's when I was like, "Oh he's arrived for me as like one of the great comedic actors."
17:55
He knows how to use his intensity to comedic effect.
17:57
And I think there are people who are just intense and good directors and writers know how to apply that intensity, but I don't think the actor always understands like what it is that is funny about it, but but they do.
18:12
I'd say like Zach and Rose and PE and and they actually fully understand what it is that they're doing.
18:18
So, as a fan of comedy and this and this this is to put you on the spot like if you asked me what's your favorite song right now, I'd just have a I'd end up in the fetal position and cry for an hour because this are not my friend, but I'm trying to buy some time and have a think about it cuz cuz like let's talk about a Tom Cruz in Tropic Thunder, right?
18:32
That moment when he showed up on screen and all of a sudden you're like, "Holy Les Gman is like that is Tom Cruz showing a side of his ability as an actor which I never expected and full prosthetics, funny as totally unhinged and completely nailed and everybody nailed that film." Yes.
18:46
Um and and so like for you as a fan of comedy, have there been moments on when you've been watching things on your, you know, on your sofa at home or whatever and someone's shown up in a film and you just as a viewer gone, "Holy like that you've really blown me away."
18:59
Like I didn't expect you to be funny.
19:01
I mean, honestly, like Robert Dairo, like I remember meeting the parents came out like when I was uh when we were doing like Freaks and Geeks, I feel like and and I was a huge Ben Stiller fan and I remember seeing him and being like, "Oh my god, like he actually is as funny as anybody and and and and totally gets it like like gets how to use his persona to like the intensity of the perfect comedic effect, you know what I mean?" Yeah.
19:28
And then they and then he started just doing comedies basically for many many many years, you know.
19:33
Even someone like John Cena, man, I I see him as a wrestler.
19:34
I know it's all theatrical and everything else, but dude, the guy's got great comic in train wreck.
19:39
Him and Train Wreck and and we put him in blockers after that.
19:42
But like, yeah, I think seeing him in train wreck, I was like, "Oh, he's legitimately funny." Like, he's so funny.
19:47
And that um he's in that Ricky Staniki movie with Zack Efron, and he's so funny in that movie.
19:55
It's like a It's insane how funny he is in that movie.
19:57
Um, so yeah, Cena's for sure one that uh yeah, like I I knew he was good, but I didn't know he had like a true mastery of of comedy to the degree that uh he he does.
20:08
I think you summed it up beautifully when you said people who can use the intensity to which they're known in a way to to make you laugh as well to to to cross the floor and do that.
20:18
I mean, in a lot of ways, the way that you've you've built out your sort of career in comedy has been to embrace, as you said before, some of those awkward things that we all experience as human beings, those those kind of inadequacies that we feel in ourselves, others may not recognize, but you amplify them and you make them funny. Yeah.
20:34
How has No, it's incredible, man.
20:38
And in the same way that artists take a lot of pain sometimes and internal turmoil and turn it into music music artists and they learn something about themselves and we get the benefit of watching it not feeling quite so alone.
20:48
Great comedians do the same thing. Yeah. Right.
20:50
And but you had to have learned something about yourself as you've done that. Right.
20:54
How has it helped your life going through these various situations either on stage in standup comedy situations or or writing them in script or acting them out?
21:03
Has it been beneficial to you and not just us?
21:05
Yeah, I think I think it's made me I think just acknowledging your own you know kind of neurosis and the things that frustrate you and um you know get you you know the things that like keep you up at night like you know like for me I think just acknowledging them and working them into your work for me just sort of like it's not even like a conscious process.
21:26
I feel like it like naturally helps you address them in some internal you know what I mean? Yeah.
21:32
and and and like when we were making Superb bad, like I think like thank God by the time we made it, we were like, you know, people who had found ways to have meaningful relationships with women, but at the time we were writing it, it was like deeply personal about how like I was a virgin for most of the time I was writing that movie.
21:50
And and and and I was at that age where I was like, is this is it ever going to happen? Am I am I defective?
21:56
Am I someone that is un unlovable?
21:59
unlovable? am my friends the only people that I'll ever have deep relationships with and even they are going to go their own separate ways at some point and so it really was yeah and and I think just also like when you make a movie about something it it makes it that you do stuff like this where you have to talk about it all the time which I think also
22:17
makes it it kind of demystifies it so like when we were in our teens we wrote Super Bad and then we were in our 20s we wrote Pineapple Express which was really largely about like how the early part of our 20s we were unemployed and just sat around and smoked weed all day and did nothing except kind of gripe about why weren't we more successful? Why weren't
22:33
Why weren't we the people whose movies were getting made and and and why are we kind of such losers and everyone else is getting to do the they want to do?
22:42
And and we kind of took that frustration and kind of put it into these characters who kind of, you know, are are are sort of losers and and not their lives aren't what they want them to be and they sort of like haven't done any like introspection as to as to see why.
22:57
Maybe that is, you know what I mean?
22:59
And then in our 30s, we made this at the end, which was about like kind of fame and about successful people and about whether or not we were good people or not and whether or not the friends we most exactly whether or not our priorities were in order. Mostly no. Exactly.
23:17
And so I like we've always tried to do it for whatever like decade we're in in our lives, I think.
23:22
And that's how like the pitch for the studio started.
23:26
Like actually was us explaining like we made Super Bad in our teens, Pineapple Express in our 20s, this is the end in our 30s, now we're in our 40s, and this feels like it could be like our definitive expression of this era of our lives.
23:42
And and it really is about how I now run like a uh one of the people who run like a pretty big production company.
23:50
We make I think we have six or seven TV shows on the air right now.
23:53
We make several theatrical films a year.
23:58
You know, I work with my friends a lot. I am their boss often.
24:01
I I I work with people I've looked up to my whole life.
24:06
I don't want to disappoint them.
24:06
I don't want to have bad dynamics with the people I care about that I'm also working with.
24:12
I don't want to make the things I'm working on worse.
24:14
I want to make them better.
24:16
I don't want to let the company down cuz 15 people work at it and I don't want it to collapse and and I also don't want to walk down the street and feel like I'm making garbage that I'm not proud of.
24:26
You're describing an emotional drama and somehow you've taken it and turn it into a smashing comedy.
24:32
Well, to me and again like what we talked a lot about was actually like how do you give the character an inherently funny conundrum?
24:39
That's what we realize for the character could be a a conflict that inherently will always lead to comedy is that he genuinely loves movies but actually is in a position where he has to serve commerce or he will lose his job.
24:55
And he also wants to be a desperately wants to be a serious or but ultimately you can't be an orur and want to be liked at the same time. No. Exactly.
25:03
and he wants to be liked by the exact people who he has to disappoint constantly, which again is a comedic idea.
25:09
And and and that to us like giving the character actual like building blocks that we could describe as as comedic building blocks was something we talked a lot about because that's not always how these things are.
25:27
Even with my own writing, that's not always how we approach something.
25:28
You know, I had Marty Scorsese in here literally sitting there at one point.
25:32
Um, and and it was scary, right? Yeah, it really is.
25:35
It took me 10 minutes to calm down and actually have the courage to ask a question that wasn't just a compliment.
25:40
Uh, you know, he's like 10 minutes in.
25:42
He's like, "You going to ask me something or you just going to tell me how great Raging Bull is."
25:44
Uh, but, uh, you get to, you know, you get to obviously in episode one, for those people who are getting ready to watch this, um, you know, he makes an incredible appearance playing himself and and and really ultimately plays Gary Martin Scorsesei as well as insecure Martin Scorses.
25:58
sad mask says something to cry at the end.
26:00
Um, how important was was was him saying yes to the ultimate roll out of other people saying yes. It was very helpful.
26:08
Like we shot that very early on in the show and and it was and it's the first episode, you know, and so and we and we pretty much shot the show in order basically.
26:20
And you hadn't worked with him, correct?
26:21
I'd never I I literally shook his hand one time once for two seconds.
26:26
Holy Like uh this is you and Evan sitting around in your living room writing this going, "Wouldn't it be great?" Yes, exactly.
26:33
And and it was a very like we started, you know, it needed to be someone who my character would like be dying to work with, who would they would bend over backwards to work with and and someone who you believed would make a Jonestown's movie, a big huge and someone who you believed would make an incredibly expensive Jonestown movie, who would want 200 plus million dollars to make their Jonestown movie.
26:56
and and someone who, you know, I think it's because of Larry Sanders, like we always just love this idea and and this is the end was like a really fun exercise in it of like we like it when the when our work really exists in the same world that the audience lives in.
27:12
Even if we're adding to that world or modifying a little bit even if we're doing that, it's almost even more important in some ways to really create like the touchstones that the viewer has for the things we're talking about.
27:25
Chandling was like I mean we're of the generation to remember when we watched that for the first time.
27:29
Chandling was the one of the most groundbreaking creatives ever.
27:31
It was amazing and that show was like huge to me in Evan.
27:36
We were obsessed with it and and and it really like was the first thing where it you were like this feels real like these are the people who are on these talk shows. I watched them.
27:45
I was obsessed with them and I'm seeing it was the most famous people of of their time, you know, and and and it made it that there was like no suspension and disbelief when it came to that part of the show, you know what I mean?
27:58
And and there's some suspension in disbelief cuz you're like, "Oh, he's we're saying he's a talk show host in a network that doesn't exist."
28:05
And and they were doing the exact same thing as us, which we talked about, which there was like Letterman and Leno and and and Larry Sanders.
28:12
But we al but we we'd already had this experience with Gary as the Gary Chandling show.
28:16
So it was like the transition to Larry Sanders we took a little bit of that with us for sure.
28:19
little bit of that with us for sure. So it was like, oh yeah, he's playing a character, but it's still kind of Gary still kind of Gary and the names are very similar and and so that to us was very important was and and it was the
28:30
same with this at the end where we were like, okay, like you know, I always have a hard time gauging exactly how famous me and my friends are, but we were like, it feels like if we were having a big Hollywood party that seemed aspirational, you would occupy it with this type of person. And and and so it
28:42
And and and so it was very important to get those actual types of people because we didn't want to seem fake in that way.
28:47
And so for the show again, yeah, that was hugely important.
28:52
And so we basically like we were just like it has to be Martin Scorsese.
28:59
We were like I mean there's maybe like a two or three other people on the planet that it could be potentially that kind of tick those boxes, but no one as much as him.
29:08
Like he's he's the he's the living, you know, greatest, you know, he he's he is cinema.
29:15
He's exactly who you would want.
29:17
He's in the rarest of air.
29:17
Yes, he's he's exactly who especially if you were like a cophile who you would want to work with. It's like McCartney. Yeah. Scorsese.
29:27
It's like there is it's a full a small group of of people.
29:30
like Steven Steen Spielberg and Martini are like the two guys who if you were my character and and Spielberg you don't quite get maybe would don't quite buy would maybe do like a really violent R-rated Jonestown massacre movie in the the same way you buy Scorsesei would the trick is that he's saying this and you're kind of kind of interested in seeing it.
29:52
Oh yeah, it's a good movie.
29:52
I mean, we worked honestly really hard on the fake movies on the show and just like we actually reference I I really like the bear and something we referenced was like I'm not a I don't work in the food industry, but I go to a lot of nice restaurants and I I project that the food they're serving on that show is representative of of what the food you would actually be getting.
30:16
They've done a good job whether it's true or not that that they have exactly as much care and attention into the food as an actual chef would.
30:26
And we table element is really important to us. Exactly.
30:29
And and we were like the the movies in the show have to feel the same.
30:33
Like we can't do like the stupid version of the movie.
30:38
Like if we're coming if if you're hearing the pitch for a movie, it has to be exactly as good as what you would assume is getting pitched in these rooms and and if it's a idea that we get excited about, you have to believe it's actually an idea that that we would be excited about.
30:53
Thinking of the motel scene, I'm just thinking of the motel scene and it's just like this just watching the whole thing fall apart in the screening room is just one of the great funniest things.
31:02
It's like you are like well actually this is pretty arty. Where's this going?
31:06
And then by the end of just like oh my god no it's bad so many reflections and like we worked so hard on Alphabet City like that's a movie I actually think we can make like that's a cool cuz we were also like you're seeing the like it's such a good opening such a good opening to a movie.
31:22
We were like we were like what is the best opening to a movie?
31:28
He comes and he's amazing and it's just like you get the whole story as well like you fully get the entire that was those were funny.
31:35
those were funny. The fake movies were really fun to shoot cuz often we worked them out like 80% but we didn't always have every answer to every question and like there were times where like Dave Franco and Anthony Mackey would come to us and be like we'd be like we just needed to be a little more emotional
31:49
like you're directing a movie for a TV show and Dave would be like what are we talking about and we're like honestly I'm not 100% sure I just know it needs to be more emotional and he's like you want me to act more emotional than a fake movie for your TV show about fake Hollywood everyone got into it. everyone
32:03
everyone like really wanted to sell it.
32:05
But but yeah, we got to answer your question finally like yes, we got Scorsese very early on and from from that point on telling people these are the types of people who are in the show.
32:15
We had Sarah Paulie very early on that was very exciting.
32:18
Katherine O'Hare honestly was is a huge draw to people like like having her be a part of the show honestly people were really excited to work with her.
32:26
Like I was I couldn't believe we got her on the show.
32:28
Like she's one of my idols.
32:30
Like I truly think she's one of the funniest living humans and so for decades decades. Yes. Exactly.
32:37
And like I think that's why she was so impactful to the cast is like she's made movies since I was a kid and and so like like almost every and she's in she's in after hours.
32:45
Like it's like almost everyone has like a a movie of hers that they absolutely are are obsessed with. You know what I mean? She's so good.
32:52
She's so good at that kind of like dismissive like I don't think so.
32:56
She's so funny and and so I'd say yeah.
32:58
like Scorsesei and O'Hara were actually the people that really I think made a lot of the cameos sign on to the show.
33:04
And I think also because we had made this at the end, people could we we had something we could point to where we were like, "Yeah, we can do this. We can do this."
33:12
Like we we've had people trust us with both representing kind of an accurate version of how you would think they are and like a totally off the wall like Michael Sarah version of how um we portray them that that could not be more different.
33:27
And and people were generally so people were generally pretty excited to do it honestly. Yeah.
33:33
You know people are obsessed with Michael Sarah, right? Oh, he's the best.
33:35
The internet are completely obsessed with Michael Sarah. They should be.
33:38
He could disappear for 15 years and everyone's still going to be like every birthday people going to celebrate him like he deserves it.
33:43
I was just watching Top Chef Canada and he was in it. He popped up. I got so excited.
33:47
Why do you think that Michael Sarah and this you may not be able to answer this, but just because we brought him up and and I'm as obsessed as anybody else.
33:53
How do you think his mind works in terms of what he chooses to do and not do because he's he's so loved and yet he chooses so carefully.
34:00
He doesn't show up in a lot of I don't know.
34:02
He said stuff to yes to stuff that we've done that I'm shocked.
34:07
Like um yeah, he's currently on our sausage party TV show on Amazon. He's so funny in it.
34:12
Like um he but then he he he kind of recedes. I I don't know.
34:15
I honestly think he's kind of unique in his selection process. Like it's noticeable. I think in a cool way.
34:21
I think he truly does stuff that he thinks is funny and that he would be excited to to watch and and to and to ingest.
34:26
And I think he does things that like speak to his taste or stuff that he just thinks is fun to do.
34:33
But honestly, I'm not I I'm I'm grateful he's been a part of anything I've ever done cuz like I truly think he's one of the funniest people ever. Yeah.
34:40
Let's talk about the how the the commitment that you make in in in the studio that people may or may not recognize first time around.
34:45
Episode three, the wer is a wer. Yes. And it's a legit wer.
34:50
There is it is not a legit wer.
34:52
I mean it's four because it is it is four things broken up like because it's not only a wer.
34:58
It's shot at magic hour and so it was I and because there's so many logistical things happening.
35:06
It had to be broken up into essentially would have been a miracle to pull that off.
35:11
I mean I just it would have been impossible.
35:12
We actually saw like adolescence does it and I think it's I think with comedy it's impossible to nail every one of these.
35:19
Of course adolescence is amazing but there's moments where they're like literally shuffling papers for 30 seconds and it it adds to the drama and the pace of it's a remarkable show but you can't do that when the jazz band's playing behind. No, exactly.
35:30
We we have a hyper dynamic uh style and and and and the timing of comedy is like so important and so if something was off even you know so for that episode for example it's like it starts in a car we go you know just resetting that car took 15 or 20 minutes it's only the whole thing is shot between like 5:30 and 6:30 basically that was like the only window of time that we could actually film for the light properly.
36:01
So, so we would only we would have only been able to do like two takes or something like that if if we had tried to do it all as one continuous thing because of how long it is and how long the reset is, which is very much part of the narrative of the entire episode. Exactly.
36:14
So what we did was we basically broke it up into four 10 chunk things and and would shoot 10 pages during magic hour in one shot a day and then there was like four like key stitches basing.
36:29
I mean you know it's unbelievably hard. It's unbelievably hard.
36:32
So, let's talk about the pressure you're under as an actor, not just as a director and a writer and a creator, but as an actor to know that, you know, it's different when you realize that if you make a mistake or you're not comfortable with your performance, you're going to have a much harder time convincing everybody to go again. Yeah. I mean, yeah.
36:48
And we do it through and every scene of the whole show is a winner.
36:49
Oh, that episode, that episode was hard, but honestly, there there are shots and scenes in other episodes that were even harder than the chunks than the than the 10-minute chunks in that episode.
37:00
But it really was it was so fun, honestly.
37:06
Like, it it was it was a it was an idea that came up very early on, which was like, what if we do every scene in one shot?
37:14
It just it was someone just we were writing the Warner episode and we were like this is going to be the best episode and I think because of the style it's going to really add to the whole tone and comedy of the show and we were like well the whole show does have this kind of tone and comedy.
37:28
So we were like oh maybe this is telling us we should try to do every as much of it like this as we humanly can and only cut if we're changing locations or or there's a time jump or something.
37:41
And this is during the writing of that episode.
37:42
So, you haven't cast everybody at this point? No.
37:45
So, now that that must change the casting process cuz all of a sudden you're not just thinking about who's going to play each role really well, but who's going to actually have the chops to be able to keep up with that fully.
37:53
And and honestly like that is why assembling like the core team of me, Ike, Chase, Kathern Han, and Katherine O'Hara um was like I I really viewed it like like making like putting a like a jazz orchestra like it was there is a very prescriptive element to it and also a very free element to it and but also like the timing.
38:20
It was an exercise in timing more than anything because timing is the thing you manipulate most editorially is you take air out of things, you add air to things.
38:29
That's where the comedy nuances, right?
38:31
That's where that's where a lot of comedy directors will tell you you really find the comedy is in editing.
38:37
And we were like, what if we took that away from ourselves?
38:40
But but again to serve the style and we knew we knew that would be the biggest thing we were we were losing by shooting this way was the opportunity to comedically tweak things in in editorial.
38:52
And so we were like, we need people who can just do it, who understand rhythm and timing enough and and are and are flexible enough to change in the moment, but also technically proficient enough to nail these incredibly precise rhythms.
39:09
I was going to ask you about improv in the moment, right?
39:13
about riffing because because at the end of the day, right, when you when you've got multiple takes, we've all seen the out takes of of Jud's films, of Adam's films, of your films, and when everyone's like, okay, you know, at the very end, the credits roll, and here's Will and John, and it's like, hey, man, you know, get the jack knife hot 30,000, you know, and you just you're laughing at the outtakes, right?
39:29
And you realize, oh this is how they get their best jokes.
39:31
You just go and go and go and go.
39:32
Now, when you have to hit your beats and that precise, where's the room for spontaneity and riffing?
39:38
I would tell people very plainly, feel free to do whatever you want.
39:43
Just know if it's bad, you've ruined everything.
39:49
Yeah, we can fall for that. That's epic. Oh my god. Calm down, Matt. Calm down, Matt.
39:57
I would leave it up to them.
39:57
And I would and I would and I knew these people are a good gauge, J.
40:02
And because also when you're improving, you know, like you're James Brown.
40:07
You're like, "You can rip if you want, but if it sucks, I'm charging you $100 for your mistake." Yeah.
40:12
I mean, you know, I I would think about that James Brown movie a lot where he was like, "What instrument do you play?" The saxophone.
40:19
He's like, "No, you play the drums."
40:19
And and that honestly like that really stuck with me.
40:23
And it was it was a very similar thing where it was like your job more importantly than to say the right words is to keep the right rhythm.
40:29
and and so as long as the timing wasn't affected and and was tight still you I I would say like I don't want it to be rigid.
40:40
If you think of a funny joke please but but the stakes are very very high and the first few takes they're less high than the later takes because inherently a million other things are going to go wrong the first few takes the camera's pointed at the wrong place the cues are not exactly worked out.
40:59
This person's entering a second later than they should.
41:00
kind of shifting them because it's like, you know what, everyone's on their game right now and someone else is going to make an error.
41:09
So, maybe I try some stuff.
41:10
Maybe I'll try some stuff.
41:10
And we like do that again.
41:11
But people would still, and I think that's what's great about these people is like they they're almost incapable of not trying an idea that they genuinely think is good.
41:21
So, it's a mentality you're looking for to some degree. We know Ike has that.
41:25
We know um Katherine has that.
41:26
Um, I didn't realize Chase We Wonders had that because she was encouraged.
41:31
She's so funny and she is a writer and she wrote for uh Harvard Lampoon, you know, like she she's someone and that's part of the reason we hired her is what's funny is like the the the cameo she was most excited about was Nick Stler.
41:44
She she was cuz he also wrote for the Harvard Lampoon and she was like Nick Stler's on the show. Oh my god.
41:50
Like it was it was so funny and there would be times where we would be like let's just do the same thing again this take and but people still wouldn't people would still they they are literally incapable of not who's most incapable is like Katherine Holl by the I was going to say because she is without a doubt she's off the scale on this show. Yeah.
42:10
And and her scenes are like crackling with life in a way that feels unwritten. Like it feels unwieldy.
42:18
Well, she's such a confused human.
42:20
If I if I met that person in the street, I'd be like, "Man, I cannot figure you out." Yes. Exactly.
42:23
I think that is like you're like ' 90s bad '90s hip hop mixed with like super powerful, super hype beast and also like incredibly powerful.
42:32
There's like a desperation to it, but also a confidence to it.
42:36
Uh yeah, like what we would see is very early on actually is like with these long takes what happens is it becomes kind of rigid like and it loses that like crackle.
42:45
It must be demoralizing when you know you're two/3s into a take and somehow it's just I would just stop. Yeah.
42:50
Depending on when sometimes you just had to get through it cuz even if you were like the performance is not we are never going to use this take but sometimes in my head I would be like we should just finish it so the camera people everyone gets a sense of what the second half of the take is like just and I would say other things all the time.
43:08
So like I was also like like you know by example showing like I'm not I'm not going to say the same every time.
43:14
I'm like, if I think of something funnier, I'm going to do something funnier.
43:16
Like, I'm going to try to keep it loose and try to wobble it a little bit always because I don't want it to just get stuck in this rhythm. You know what I mean?
43:25
Is the moment when you and I are talking about therapy, is there some improv and that when you guys are talking about the voice notes in therapy?
43:30
Yeah, there's I mean, yeah.
43:32
I mean, like almost every scene was exclusive. you.
43:33
That's that's my Yeah, there was like and and me the less again always the less people there are, the easier it is to do that kind of thing.
43:41
So like the twoperson scenes are always a little bit easier to add like looseness to.
43:46
How the do you not crack up laughing when I or Katherine are on one?
43:50
I mean some I would laugh all the time.
43:52
Like I'm very I'm bad at it.
43:54
I'm honestly cuz I'm always like especially when I'm directing as well.
43:58
Like I'm I'm observing the scene as well as being in the scene.
44:01
And so in a way that I don't like when something very funny happens like the director part of my brain starts to just get excited and like enjoy it.
44:11
it often will ruin it because I just am like, "Oh, that was great." You know?
44:15
Um, and so I I think in a good way I I probably ruined more takes than anybody.
44:20
Um, which also I think reduces the pressure of of ruining the take.
44:23
And I genuinely would not get mad at people for ruining the takes.
44:29
Like there was a few moments where I had to tell people please like if you're going to if you're going to go off or if you're going to do this thing like just say this one like any like it cuz it's like so tight that like any like a few extraneous words like derail the whole rhythm of the whole scene.
44:47
And so there were times I would be like if you're going to say it just say these exact words.
44:52
That's a light touch though.
44:53
I mean that sounds like you were giving everybody a lot of freedom and space to do what they're doing.
44:56
And that's why it comes across so funny is because it is literally like you are on the ride with the characters. Yeah.
45:00
And we wanted it to be this.
45:02
We wanted it to feel kind of unhinged and unwieldy and experiential in a very kind of like almost like reckless way.
45:11
But in order to do that, yeah, like it was one of the most technically specific things we've ever like ventured to attempt.
45:19
And that to us was also like a really fun challenge.
45:25
Like it was really fun cuz to what you're saying like all the first movies we did also were like two cameras and and we were like what if we it was a real exercise in like completely reimagining our process but with all the experience of what you know you're capable of in the process.
45:40
I actually think if I wasn't the actor and director and one of the writers and the producer, it would have been impossible.
45:46
Like which we also like the idea of is that like we are doing something that is so specific to to what we are doing and the fact that I'm in the scene and could manipulate the timing and if I saw it was going too fast I could slow down.
46:02
And if I thought it was going too slow, I could speed up and and from within the scene, I could adjust the rhythms and and I knew where the camera was so I could see like, oh, the camera's going to get to the thing before we get there, so I should slow down a little bit, you know, and and all that.
46:14
Or this person's talking too long, I should interrupt them, and that will cue the camera person to pan back to me, you know, like it would have been so much harder to do if I wasn't if my role in the show wasn't what it was.
46:26
And so that was also exciting to us, but it's also so hard to do. So it's like fun to do. It's fun, but yeah.
46:34
I mean, this it's just this just um it was challenging in a fun and engaging way, though.
46:38
Like it it was to me it's harder to do something that you don't feel excited about.
46:43
I I didn't want my own desire to shoot the show this way to be to the detriment of the tone of the show.
46:50
And I could intellectually indulge.
46:52
We talked about the very beginning.
46:54
I could intellectually justify how this style was ultimately serving the tone of the show.
46:59
I could say to myself and say to the people working on the show, we're shooting with one camera. It's experiential. It's more stressful. It's unrelenting.
47:06
It's tonally will keep things as as exciting and engaging and and and and kind of anxietyinducing as we want it to.
47:13
And I and I would say those words, but in the back of my head I was always afraid like am I just doing this cuz I want to?
47:19
this cuz I want to? like am I just am I just who you cuz I think it's cool and I think it'll be fun and and and what I learned is those two things not always but in this instance were could coexist but yeah that was the fear was but it was a fear but also something I it's
47:36
funny like I do pottery you know and and for that it's like a very just like a hobby for the most part and and at first I would try to make everything and then I started to realize like you know these things are very nice and I'm good at making them, but I don't actually enjoy making them as I enjoy making some other things. And that was something I thought
47:54
And that was something I thought with this was like, what if we also make it in a way that process-wise speaks to how I want to be spending my time?
48:02
And we've just been doing this for 25 years.
48:08
We've been we've been pointing two cameras at actors and telling them to improvise since I was 16 years old. I've been doing that.
48:14
And so we thought just what if it was different?
48:16
What if we spent and and what if we spent our days doing it in a way that felt so much more exciting?
48:24
And and there's never an insert shot and you're never there's never an establishing shot.
48:27
It's always the scene and and I as an actor don't like shooting those scenes where I'm like walking in a room and sitting down and turning on the light and like it's just like part of a little montage or something like that.
48:39
It's just not fun for me.
48:41
Like I want to do scenes.
48:41
Like I want to do actual real scenes with conflict and and and and turns and twists and choices and and and and jokes and and a progression and unexpected things arising and tension and stakes, you know, like that's what I want to be like playing in a in a day-to-day basis.
49:01
And so we really con wrote the show to be like that and then shot the show in a way where you never were like sitting on an apple box off camera.
49:10
Like there's you're never off camera.
49:12
Every scene you're on camera.
49:14
So with that with that in mind, let me ask you this.
49:16
Has it has it stirred anything in you to want to go back on the stage to want to go back where it really is? No. Yeah.
49:21
I kind of knew that be the answer, but it felt like a decent question. Not at all.
49:26
And that's just a world I don't know or understand that well. You know what I mean?
49:30
Like I I I fully feel like I understand like filmed comedy and live comedy is a thing that I I don't understand as as much.
49:42
You know, I don't quite I look at other people and they're amazing at it and I think like I I couldn't do that necessarily. You know what I mean?
49:51
You you know, you have have had so many incredible experiences that all culminate in this in this show.
49:56
all and all the things you talked about, the way that you're maneuvering as a director and writer and a producer and as an actor and as an ensemble cast member and all of these things that are kind of moving at the same time and you think about your life and and and how all these kind of skills sort of develop over the course of your career.
50:10
It's not like you were like, "Hey, one day I'm going to do all of it." No, not at all.
50:16
It just it just ends up landing that way.
50:17
way. But but but along the way you've had some people who saw in you things and and obviously recognize that and and Jud's got to feel like all right I was right on like that kid that I met that I met early on who really I just bought in
50:31
cuz he was a great writer and maybe there was something he could do on screen but look how far he's come and I think that's one of the great things when you get to watch the people you really believe in kind of grow with you and ultimately become your peer. Oh for Oh for sure.
50:40
And so that that must be a really nice thing for your friendship to realize that like the bet for both of you has paid off. Oh yeah. It's so nice.
50:47
And he was one of the first people we sent the show to and and um and him liking it was like hugely meaningful, you know, because you know Jud worked on the Larry Sanders show like like it was and and when I first moved to LA like Gary was sort of like the like the kind
51:06
of patriarchal figure of like the group I fell in because Jud had worked on Larry Sanders show and knew him and and so yeah, like to me and Evan that like that show was sort of like our our like beacon and when we were young, we were obsessed with it. And then I got to move
51:18
And then I got to move to LA and work with Jud and that he saw something in me that he was in the same group of these people that you know um were the people who like made us want to do comedy in the first place in a lot of ways and then that he believed in us so much and then that we specifically have made a show that that that really is trying to kind of capture the magic that we found in that show.
51:38
Um, yeah, it's it's so it feels very full circle and and yeah, it must be nice for him as well to watch that and be like, "Oh, man."
51:46
You know, that that spirit that we had with Chandling is kind of alive. I hope so. Yeah.
51:49
I I I I hope he feels that way.
51:51
What was Gary what was Gary Chandling like as a person any time you got to spend with him?
51:54
Oh, he was just like the funniest and the best and like was so kind of, you know, he would come to our table reads and just be so like generous and instructive and and was so like happy to sit around a table of writers who, you know, like had been doing it for two years.
52:12
and he was just like seemed to really enjoy being a part of the process and and he would kind of instill his wisdom, but he also didn't act like he he knew everything and was excited by new ideas and new people, you know, and I was like 17.
52:28
I look back and I'm like, these people were so much nicer to me than I probably would be to to myself.
52:34
Like I was 17, 18 years old and they would role models.
52:37
They would let me write jokes for them.
52:38
They would allow me to, you know, heo, I think Gary hosted the Emmys in in 2000 or 2001, and they would let me come to the pre-taped bits and I would I would pitch jokes and I would be on set and I would just see how how they worked and and and it was like again it was it was like it was so kind of them, especially cuz I was like a child to to invite me into these like very adult work environments.
53:02
Isn't it great when the adults don't let you down? Yeah, it's so nice. It's very nice.
53:07
And I've been very generous and or lucky, I think, in having a lot of generous adults, very kind adults around me.
53:13
Well, I'm sure generous as well.
53:13
I mean, good people pay it forward, right, at the end of the day.
53:16
And that must be like the spirit of of of why of how you move that you've kept in terms of how the kind of set you want to create and the experience you want to create and also the breaks you want to provide people as they come in.
53:28
people as they come in. Do you have moments like that where you realize the table has turned now in the most positive way where I am Jud and I am seeing young talent come through and I believe in in people like this for sure and again that was part of the inspiration for the show was like I've
53:40
become one of the people who in some ways can decide what to support and what not to support and and and and yeah I mean and and I feel I feel guilt and joy over over those decisions but yeah and we try to do it we try with the show to cast people who like a combination of people who are kind of people I just
54:03
think are funny and and are, you know, improvisational comedians I've worked with or people who, you know, I've just seen and um, you know, the the the Golden Globes episode, there's a very funny guy named Dan Black who I just done some comedy shows with, a woman named Lisa Gilroy, who's incredibly funny, who I done a few
54:20
improv shows with, and and for wherever there was an opportunity to populate the show with people who weren't like big name celebrities, I would look for people just like, you know, the the pediatric oncologist episode which is coming which is one of my favorite episodes. Um, you got this pitch thing
54:35
Um, you got this pitch thing down, man. You said I'm laughing. Exly. I'm dating.
54:39
The whole joke is I'm dating a pediatric oncologist and I go to a medical gala and and find myself like a fish out of water in in in the world of doctors basically.
54:47
And yeah, there's Rebecca Hall is is is the pediatric oncologist, but the other um people What a great casting that is.
54:54
Oh, she's so good and so funny.
54:56
And um but yeah, there's people like a guy Derrick Wilson and a woman named Sugarlin Beard who are and just like actors I'm big fans of that I think are really funny and and I try to let put them in things that let other people see they're funny.
55:07
You know, I've had a really really good time getting to know you and uh through the through the filter of this.
55:12
And thank you for for being so uh so so forthcoming and answering my questions.
55:16
And I've had a really good time hanging out, man.
55:18
I I can't wait to see all the episodes of the series as it unfolds.
55:21
And and I genuinely and I can't speak on behalf of the company.
55:23
This is where it gets awkward.
55:24
But I can say as a fan of the show, I'm looking forward to all the seasons to come in the future. Thank you.
55:28
I I I I'm feeling good about it. Good It's a smash.
55:31
It's great to see you, Seth. Great to see you. This was so fun. Thanks. [Music]