Nov. 12, 2018 - The Joe Rogan Experience
01:55:10
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| Speaker | Time | Text |
|---|---|---|
| God, I didn't realize how good your hair is. | ||
|
unidentified
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Thanks. | |
| I'm losing it, but what's left of it is still working. | ||
|
unidentified
|
Boom! | |
| And we're live. | ||
| Gentlemen. | ||
| Hello, Sean. | ||
| Hey, how are you? | ||
| Hello, Tom. | ||
| Hello, Joseph. | ||
| You guys did a movie? | ||
|
unidentified
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Did you make a movie? | |
| We made a movie. | ||
|
unidentified
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We did. | |
| You guys do movies? | ||
| We do. | ||
| We're movie guys. | ||
| How many movies have you made? | ||
| One. | ||
| How many have you made before? | ||
| Like six, but we've made one. | ||
| We've made one. | ||
| What's your favorite one other than the one that's right now, which is definitely your favorite? | ||
| Because you're promoting it right now. | ||
| Sex Drive. | ||
| Sex Drive? | ||
| Which one was that? | ||
| It's the one nobody knows about. | ||
| Yeah, it's his first one. | ||
| Nobody knows about it? | ||
| I mean, it was one of those movies that just opened and nobody knew about it, but it was a really, really fun movie. | ||
| Maybe we can change that. | ||
| Is it on iTunes or Netflix? | ||
| Yeah, yeah. | ||
| James Marsden's in it. | ||
| Is this the one that when you made it, you're like... | ||
| And maybe I'll go back to work in fucking construction or whatever. | ||
| Yeah, yeah, yeah. | ||
| So I thought it was over after that. | ||
| Did you finance it or anything? | ||
| No, no. | ||
| We made it with Summit Pictures, and it was amazing. | ||
| We were in town trying to get a career going, trying to make things happen. | ||
| We were making a TV pilot at the time, which was a living hell. | ||
| And... | ||
| And we had gone out and pitched this idea to a bunch of places and nobody bought it. | ||
| So then in the middle of our editing our pilot, Summit Pictures called and said, we keep thinking about that pitch. | ||
| Would you guys be willing to write it? | ||
| And I said, you know what? | ||
| I was really busy. | ||
| I said, tell them we'll write it if I can direct it. | ||
| But I figured that would make them go away. | ||
| And they said, all right. | ||
| And so we went in and we wrote it and we turned it in and they greenlit it. | ||
| It was just this crazy process where we got this movie greenlit and I think we wrote the draft in like a month and we turned it in and they loved it. | ||
| What's it about? | ||
| It's a teen road trip movie. | ||
| It's about these kids. | ||
| It was kind of in the early days of Facebook and all that stuff. | ||
| It might have even been, I don't know, I can never track the... | ||
| It might have even been, like, sort of MySpace into Facebook, that era, you know? | ||
| But it was about a kid who meets a girl online and goes to lose his virginity on a road trip. | ||
| Oh, shit. | ||
| It is funny, yeah. | ||
| Marsden's in it. | ||
| James Marsden, he's really funny. | ||
| Clark Duke and... | ||
| Yeah, I had a good cast. | ||
| There it is. | ||
| Yeah, wow, good. | ||
| But it was a really great experience. | ||
| It was really fun. | ||
| And then we tested it, we did the test screenings, and it just murdered. | ||
| And the studio got really excited, and I thought, oh my god, I'm going to have a huge career. | ||
| And the movie came out, and it didn't do any business at all. | ||
| It was like, okay, I'm going to go back to Wisconsin and not have a career at all. | ||
| Yeah. | ||
| Is it true that Instant Family, you hired Tom because Bert Kreischer wasn't available? | ||
| Yes. | ||
| God damn it. | ||
| Don't tell me that, man. | ||
| That's what I had heard. | ||
| Well, and he was asking for a lot of money, a lot more than... | ||
| Well, you know how Bert is. | ||
| It gets lofty with its expectations. | ||
| He's like, whatever Mark gets, I want double. | ||
|
unidentified
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I want double! | |
| And then they were like, we can't do it. | ||
| So, this movie is based in no small part on your own life experiences. | ||
| It is, yeah. | ||
| Of adopting an actual, you adopted like a full family. | ||
| Three human children, yeah. | ||
|
unidentified
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Wow. | |
| That's wild. | ||
| That's a bold maneuver, sir. | ||
| Yeah. | ||
| What were the ages? | ||
| Six, three, and a year and a half. | ||
| Wow. | ||
| Yeah. | ||
| What was the process? | ||
| Well, it starts, and this is how it starts in the movie as well. | ||
| My wife and I, for years, I wasn't making any money, including after I made Sex Drive. | ||
| So I didn't really feel like I could afford to have kids. | ||
| So whenever we'd talk about it, I'd just be like... | ||
| You know, not there yet. | ||
| And then finally, when I felt like I was doing better, I was starting to get a career together, I just started to feel like I was going to be one of those old dads, you know? | ||
| Like by the time the kid was a teenager, I wasn't going to be able to play with him. | ||
| How old are you now? | ||
| I'm 49 now. | ||
| I was 41 at the time. | ||
| And so, God, is that right? | ||
| Oh, man, it's depressing. | ||
| Anyway, so I made this dumb joke to my wife. | ||
| I said, look, why don't we just adopt a five-year-old? | ||
| It'll be like I got started five years ago, and I'm right back in the game. | ||
| And she was like, you know, that's actually a really interesting idea. | ||
| And I was like, no, I'm I was totally kidding. | ||
| Didn't mean anything about that at all. | ||
| And then she went to a website, and she showed me the website. | ||
| And then when I saw the website, I was like, oh, wow, you see these kids, you see their faces, you start to learn a little bit more about it. | ||
| And we just started having conversations, and it went from there. | ||
| Now I've got three kids and a movie. | ||
| And they're all siblings? | ||
| Yes. | ||
| So they all came from one mom, and what is... | ||
| How did they get separated from the family? | ||
| I don't have a lot of details about that. | ||
| They don't really tell you. | ||
| You know a little bit, but not much. | ||
| I mean, I know that there were issues with drugs, and I think there was some kind of a fire at some point, but it's all pretty sketchy as far as what you hear. | ||
| So you learn a lot about the kids themselves, but not that much about the situation. | ||
|
unidentified
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Right. | |
| And what made you want to turn this into a film? | ||
| I would imagine that's a very personal experience. | ||
| Yeah. | ||
| It was actually my writing partner, John Morris, because I had been about three years into it at that point. | ||
| And the beginning of it was a nightmare, like epic, bad decision. | ||
| Why did we ever do this? | ||
|
unidentified
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Really? | |
| Yeah. | ||
| It was really a nightmare for a short time. | ||
| And then when it came online and we became a family, it really became the best thing that ever happened to me. | ||
| And, you know, when John and I get together every day, we just talk about our lives a little bit. | ||
| That's how we get started. | ||
| So John had been hearing all these stories and one day he just said, I don't know why we're not doing a movie about this because nobody really knows how this works when you go into foster care and adopt kids. | ||
| So we started talking about it. | ||
| And then there was the conversation of whether it could be a comedy or not, because that's what we do. | ||
| We make comedies. | ||
| And John, again, was like, most of the stuff you've told me is really funny. | ||
| So not all of it, of course. | ||
| But that's and then we thought, wow, you know, we could approach this as a comedy. | ||
| And we might be able to get, you know, a more general audience to get their interest in it that way, because it'll feel less scary. | ||
| Because that's the problem is that most movies that are made on this topic just frighten people and people think that these kids are all are all damaged and reachable. | ||
| Right. | ||
| Do you worry that it would be like that movie 101 Dalmatians that a bunch of people start getting foster kids now and just screw them up? | ||
| We were talking about Top Gun. | ||
| Remember when Top Gun came out and everybody joined the Navy thinking they were going to fly the planes? | ||
| When The Color of Money came out, pool halls boomed across the country. | ||
| It made a giant impact on pool halls. | ||
| From that one Tom Cruise movie. | ||
| A lot of people just got scammed out of their fucking pocket money. | ||
| I'm sure there was some of that going on. | ||
| I think the crazy thing about this too was that on the set you realize, when we're doing this, you go like, Oh yeah, I always thought of people who do that, like you know they exist, but you're like, those are nameless, faceless angels. | ||
| They're not real people. | ||
| If you're like, do you have any of your friends at the top? | ||
| I'd be like, no, I don't have friends like that. | ||
| Those are other people. | ||
| And then you start, like on the set, there was... | ||
| You know, people visiting or consulting and there would be like, oh, you know, they adopted or they run some foster care thing. | ||
| And then you're like, oh, this is actually something that people really do. | ||
| Well, even like dudes on the crew that somebody would come up, you know, who's in the electrical department and be like, oh, hey, bro, I got I adopted two kids, by the way. | ||
| You'd be like, really? | ||
|
unidentified
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Wow! | |
| Or, hey, I got adopted when I was four years old. | ||
| Now you see it now everywhere. | ||
| People are hitting me up. | ||
| Someone hit me up yesterday. | ||
| They're like, my sister is adopting four siblings this week. | ||
| Wow. | ||
| It's nuts. | ||
| It's almost like when your friend gets a car and then you start seeing it everywhere. | ||
| It's exactly like that, though. | ||
| We talked about that video that went around online of this little girl that realized that she's opening up a box and there's something in it that tells her that she's been adopted by these two people that are with her. | ||
| It's really, yeah. | ||
| It's impossible to not cry. | ||
| Yeah. | ||
| I mean, if you have any heart at all and you watch that little girl freak out. | ||
| It breaks you up. | ||
| I think that's almost a test as far as what you were talking about. | ||
| Because believe me, I was not... | ||
| A test if you're a piece of shit or not when you watch that? | ||
| Yeah. | ||
|
unidentified
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Yeah, we should show that to a lot of people. | |
| What's your reaction? | ||
| Oh, you're a piece of shit. | ||
| You're a sociopath. | ||
| But no, I mean, there's what you were just getting at as far as, believe me, I'm not that guy that I didn't feel special or like any one of those sort of heart of gold angels. | ||
| We have the line that's in the movie where Mark just says that's for the kind of people that volunteer when it's not even a holiday and we don't do that. | ||
| Yeah, you should probably tell the audience that I'm not starring in this movie right now. | ||
| Oh, you're starring in it? | ||
| No, those people are like, so Tom stars? | ||
| No, it's Mark Wahlberg. | ||
| You're starring in the movie for like four and a half minutes. | ||
| There you go. | ||
| And then everyone else is. | ||
| And then Mark Wahlberg stars in the rest of it. | ||
| That's true. | ||
| That's a good way of breaking it down. | ||
| Well, the movie's only probably like 90 minutes. | ||
| Yeah. | ||
| So that's pretty good. | ||
| That's not bad. | ||
| We'll have probably like seven scenes. | ||
| That's good scenes, though. | ||
| Yeah, they're good scenes. | ||
| Now you've got a solid presence. | ||
| You didn't make the poster. | ||
| Didn't make the poster. | ||
| Didn't make the poster. | ||
| No. | ||
| You know, you made the standee, though. | ||
| Did you know that? | ||
| The what? | ||
| There's a standee in movie theaters, and you're in that. | ||
| Oh, really? | ||
| Yeah. | ||
|
unidentified
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All right. | |
| I'll take that. | ||
| I can steal one. | ||
| I've never heard that word, standee. | ||
| Standee. | ||
| Those are the big cardboard things. | ||
|
unidentified
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Yeah. | |
| I never know what those things were called. | ||
| I didn't know that either. | ||
| I just called it a cardboard cutout thing. | ||
| That's what I always call it, cardboard cutout. | ||
| Standy is the real term. | ||
| Is that the term in the industry? | ||
| Oh yeah, that's an industry term. | ||
| That's a real industry term. | ||
| You learned something today. | ||
| Yeah. | ||
| Wait, so you, because you were telling me this, and I was like, he was about to tell me before you came in. | ||
| I was like, this sounds like this could be pretty good. | ||
| Don't tell me. | ||
| Save it for the podcast. | ||
| Because he's done, this is the most press Sean's done for a film that he's put out. | ||
| Did you go under, they were like, let's give you some advice on media? | ||
|
unidentified
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Yeah. | |
| Yeah, well, first of all, I'm terrible at it. | ||
| So there's that. | ||
| Because I don't do, this is the thing, when you direct a movie, especially movies like the kind of movies that I make, comedies and, you know, big, broad comedies, people don't really care who directed those movies. | ||
| And I'm good with that. | ||
| Like, I'm totally good with that. | ||
| But what usually happens is the studio, the director usually wants to be kind of a part of the campaign. | ||
| So the studio will find, they'll sort of throw bones at you of, like, press that you can do. | ||
| And I always tell them, look, if I can be helpful in Anyway, let me know. | ||
| I'll do whatever you need me to do. | ||
| But don't throw me any bones because I don't care. | ||
| I don't need to do this. | ||
| So they do that to kind of just pump up the ego of the director that certain directors just really want to be the next Quentin Tarantino. | ||
| Yeah, I can't imagine there's some directors they really have to do it for. | ||
| Well, I mean, I get it. | ||
| They don't want you to feel left out or whatever. | ||
| But on my first couple movies, I thought, oh, I have to do this stuff. | ||
| And then I realized, I actually had this experience where I was in this red carpet thing, and they brought me up to this reporter, and they said, this is Sean Anders. | ||
| He directed the movie, and she had this big look on her face, and then she went like, oh, God. | ||
| And I was like, no, no, no, it's cool. | ||
| You don't have to. | ||
| She was so disappointed. | ||
| She was so disappointed. | ||
| And that's when it sunk into me where I was just like, oh, they don't care. | ||
| So that's fine with me. | ||
| I'm good there. | ||
| Well, they're such fame whores. | ||
| They are. | ||
| Those red carpet things, they're so weird. | ||
| Yeah. | ||
| Those things are so weird. | ||
| And some people, that is the highlight of their life. | ||
| Walking that carpet. | ||
|
unidentified
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Over here, Tom. | |
| Get your pose down right. | ||
| It's a really weird thing. | ||
| Also, paparazzi at the airport. | ||
| You have that where I've seen them where I'm at baggage and they're looking around and then they're like, hey, Tom. | ||
| And they'll ask me like one thing and they're like, they're obviously not there for me, but they're like, they're like, we got time till fucking whatever. | ||
| Seth Rogen gets off the plane. | ||
| So let me ask you something. | ||
| And then they're like, all right, never mind. | ||
| Here's everybody. | ||
| Like just blow you off. | ||
| I had it happen only one One time, because this obviously doesn't happen to me, that I was flying into LAX and I was getting off a red eye and I was so just tired. | ||
| I looked like shit. | ||
| And this guy, these two guys come up and they just were so nice. | ||
| They were like, hey, you're Sean Anders, right? | ||
| And I was like, yeah, yes, I am Sean Anders. | ||
| Nobody ever, you know. | ||
| And so it takes me a second to realize. | ||
| And I thought it was so weird because they were, it was right after, it was shortly after Daddy's Home and that was like the biggest hit. | ||
| And they were asking me about Horrible Bosses 2 and I was like, wow. | ||
| Why are they asking me about, of all things, horror? | ||
| And I thought, oh, because Jennifer Aniston's in it. | ||
| So they want me to say something about Jennifer Aniston and just see if they can catch me saying something crazy. | ||
| Right. | ||
| Looking for a soundbite slip or something. | ||
| That's all they try to do. | ||
| Yeah. | ||
| It's the worst. | ||
| It's weird. | ||
| And my wife is like, what was that? | ||
| I'm like, it took me like an hour to sort of unpack it. | ||
| They were trying to make you clickbait. | ||
| It's nuts. | ||
| Well, what's interesting, too, is it's like sort of an impromptu Interview that you have to do, right? | ||
| Like if someone said, hey, this guy's name is Mike, he lives in Studio City, he wants you to go to his house and he's gonna film you, he's gonna ask you wacky questions. | ||
| You're like, no. | ||
| But if Mike just shows up at the baggage claim and puts that camera in your face, hey Sean, Jennifer Aniston, man, what's up with the Botox? | ||
| And then you're like, what? | ||
| What the fuck? | ||
| You wouldn't do an interview with them under any other circumstances. | ||
| Which is one of the weird things that happened during the Roseanne Barr thing. | ||
| Roseanne Barr, when her show was cancelled and all the controversy was going on, she was supposed to do the podcast. | ||
| And it became a big news thing. | ||
| Because she put it on her Twitter that I'm going to do it, and we talked about it, and then they tried to show up at the podcast studio. | ||
| So they had all these news people standing outside the podcast studio with their microphones. | ||
| We're out in front of where Joe Rogan does his podcast, and they thought for some reason, just because they're there, people have to talk to them. | ||
| I'm here. | ||
| Talk to me. | ||
| They're made out of milk. | ||
| They're barely human. | ||
| The way they talk is the most boring version of an interview you'd ever get ever. | ||
| It's a tiny, quick little sound bite, but they feel it because they're there. | ||
| The camera's on. | ||
| I've got the microphone. | ||
| Come on. | ||
| Do it. | ||
| If they said, hey, you know, KW Fuck Yourself wants you to come in and sit down for an interview, you'd be like, no, I don't want to talk to them. | ||
| I don't have anything to say. | ||
| I'll do all my talking on the podcast. | ||
|
unidentified
|
Yeah. | |
| Well, but, and also, if you're, I mean, I'm in the business, but again, I'm not somebody that does a tremendous amount of press, or at least not until a couple of weeks ago. | ||
| And if you're not accustomed to that, it's terrifying. | ||
| It's weird. | ||
| Because somebody puts a camera in your face, because immediately you're thinking, like, well, if I just go, you know what, man, fuck you, like, I don't have time for that. | ||
| That'd be worse. | ||
| Yeah, then you're going to, so you just think, like, I can't even walk away from this. | ||
| So you just feel like you're all of a sudden somebody threw a cage over you. | ||
| And they're not even asking you, can I do this? | ||
|
unidentified
|
No. | |
| They're just doing it. | ||
| They're just, hey, Sean. | ||
| Let me ask you a question, Sean. | ||
| It's forced. | ||
| It's forced on you. | ||
| It puts you in a weird spot. | ||
| It's like all of a sudden you're on your heels. | ||
| Yeah, because your instinct is to be defensive. | ||
| Your instinct is not going to be, I'll give the most thoughtful... | ||
| Answer to this because it's in the moment. | ||
| Someone just dropped it on you. | ||
| So now you're like, okay, and your emotions might be kind of all over the place and you're not stopping to like having a conversation. | ||
| You're just sort of trying to figure your way out of it. | ||
| And how many people have ruined their careers or lives on those things? | ||
| Just said, Just fucked up and said, one, they're just trying to be funny or just... | ||
| That's the thing, because they'll misquote you. | ||
| Irritated, and then they get you. | ||
| And then they put it up, and you're like, fuck, why didn't I think through that? | ||
| I was coming home from the airport, I was tired, I was jet-lagged. | ||
| Bourdain got a shitload of death threats. | ||
| Because he said, they asked him, if you had to serve dinner to Kim Jong-un and Donald Trump, what would you serve? | ||
| He said, hemlock. | ||
| He's trying to be funny. | ||
| Yeah. | ||
| And then all these MAGA fucking morons, protesters, they were all sending these tweets like, POTUS, you know, he's threatening POTUS. It was so strange. | ||
| Like, where is the secret service? | ||
| They should lock this motherfucker up. | ||
| You guys are crazy. | ||
| It's a joke. | ||
| And that's the thing right there is that clickbait articles are – they all make it – it will say like so-and-so said this and they make it sound like somebody like called a press conference to say something ridiculous. | ||
| And really it was like – like you said, it will be some offhand remark and then people out there that are judging – They never have anybody walk up and put a camera in their face and they just think, well, I would never say anything like that. | ||
| It's like, you don't know what you would say. | ||
| You're never in that situation. | ||
| It's bizarre. | ||
| It's very bizarre. | ||
| Yeah, it's super bizarre. | ||
| So how many of these things did you have to do to promote this film? | ||
| Because this film is based in a large part of it on your actual life experiences of adopting these kids. | ||
| How many of these things did you have to wind up doing? | ||
| A lot, because we did our press junket in New York, and I've done junkets, and usually I do like 6 or 7 or 15 or whatever. | ||
| I did, in two days, I did like 90, 95. So do the same questions keep coming at you over and over again, and you start developing these canned... | ||
| Well, that's the thing. | ||
| You have to, and this is a mistake, and this gets back to what you were getting at before, is that when I would do press on my movies in the past, I'd go to the junket, and people would come in, and they'd ask you more or less the same questions. | ||
| And I always felt weird, because I just felt like, no, I just want to have a conversation with you. | ||
| I don't want to be like this disingenuous guy. | ||
| And then I would be sort of changing up my answers and trying to kind of... | ||
| And it just essentially just made it boring, and I wasn't really making any kind of a point whatsoever. | ||
| So... | ||
| On this one, they were like, look, you've got a message with this movie. | ||
| You've got things you want to get out with this movie. | ||
| You've got to learn how to do this. | ||
| So I went to like a day of media training and it was... | ||
| No, you didn't. | ||
| I did. | ||
|
unidentified
|
I did. | |
| And the worst part was... | ||
| I've done interviews and I've been fine before, but I got this guy sitting across from me who's interviewing me doing this mock interview and then I've got the publicist and my writing partner and they're just staring at me and now all of a sudden I can't do it at all. | ||
| The pressure's there. | ||
| Who's teaching you? | ||
| Who's teaching this media training? | ||
| Were they right away like, you kind of suck at this show? | ||
| Yeah, they were. | ||
| They absolutely were. | ||
| I mean, they were really nice about it. | ||
| They were like, okay, alright, well there's some room for proof of it. | ||
| Oh, my God. | ||
|
unidentified
|
Really? | |
| Oh, yeah. | ||
| No, it was the worst. | ||
|
unidentified
|
You seem like a natural – I mean, what is there to teach you? | |
| Well, no. | ||
| Well, this is the thing. | ||
| I'm really comfortable with this, with us just hanging out here talking. | ||
| Sure. | ||
| But this is what I do is I yammer. | ||
| I'm a nervous talker. | ||
| So you ask me a question. | ||
| If I'm nervous, I just kind of go and go and go. | ||
| And people are like, Jesus, you know? | ||
|
unidentified
|
And so – Man, that guy can talk, man. | |
| So the thing is, I got this guy sitting across from me, really nice guy, and he's the guy who's coaching me, but I know I'm going to get in trouble. | ||
| So does he give you like fake interviews? | ||
| Is that how they coach you? | ||
| First, he gave me a lot of really good insights. | ||
| And the funny thing is, every rule that he's saying, as he's saying it, I'm going, oh yeah, I do that. | ||
| Oh yeah. | ||
| Like everything he's saying that I shouldn't be doing, I'm like, oh yeah, that's, I always do. | ||
| Like what is he saying you shouldn't be doing? | ||
| I mean that the main thing – it's kind of like what we were getting at before that when somebody is setting a trap for you. | ||
| Because so much of right now media training is just about don't go out and get yourself into trouble by going in and just talking about some ridiculous area. | ||
| Because that's what people – that's what everybody is trying to do now. | ||
| Like just as a – for example, I did a Time Magazine interview about adoption about a year before we even made the movie. | ||
| Really? | ||
| Yeah. | ||
| And it was just because I was in the process of working on the movie. | ||
| And anyway, so the whole thing was just about adoption in my family and whatever. | ||
| And it was right when the Harvey Weinstein stuff was blowing up. | ||
| So the lady's really nice interviewing. | ||
| And then at the end she says, hey, you know, since I'm talking to a Hollywood director, I'd be remiss if I didn't ask, did you know about that Harvey Weinstein stuff? | ||
| And I was like, no. | ||
| And I didn't even think about my answer because I don't. | ||
| You know, I didn't know the guy. | ||
| I was never around any of it. | ||
| That's sort of more like fancy movies. | ||
| And I was like, yeah, no, I don't know. | ||
| I never met the guy or whatever. | ||
| I didn't think anything of it. | ||
| I got off the phone and then I thought, oh, she didn't say, what do you think about this stuff? | ||
| She said, did you know about that stuff? | ||
| And it was like... | ||
| Yeah, I knew, but I kept it a secret. | ||
| Fuck those people. | ||
| And I just thought right away. | ||
| I just, you know. | ||
| Wow. | ||
| Yeah, it's sneaky. | ||
| That's a sneaky way of asking. | ||
| It's a sneaky way to get you, too. | ||
| Yeah. | ||
| Did you know? | ||
| Yeah. | ||
| Yeah. | ||
| Did you know? | ||
| Sean Enders kept his Weinstein secret for years. | ||
| And I'm such a dumb shit. | ||
| I would have, like you said before, I think a year or two ago, I might have made a joke, you know, and been like, oh, yeah, I was there, you know? | ||
| I would have said something stupid, just kidding. | ||
|
unidentified
|
Yeah. | |
| Sean Enders was there. | ||
|
unidentified
|
Yeah. | |
| And then I'd be like, what? | ||
| So a lot of it is just to kind of teach you how to just sort of stay on point so that you don't get dragged down these weird roads into these things that people are looking to get you in on clickbait. | ||
| So did you bring up that instance when you went through the training? | ||
| Oh, yeah. | ||
| Did you say, what should I have said? | ||
|
unidentified
|
Yeah. | |
| I think I did. | ||
| I think, and really what they teach you, it was funny, because believe it or not, he said, I'm going to show you some clips of, you know, sort of doing it right and doing it wrong. | ||
| Oh, they have disaster clips they saved? | ||
|
unidentified
|
They do. | |
| And one of them, the funny thing is... | ||
| Do you have a file that you sent to Jamie before the show? | ||
| Well, you guys will probably all know this one. | ||
| They showed me a clip of Quentin Tarantino sort of like getting really angry with this reporter. | ||
| I remember that. | ||
| Was that the violent thing? | ||
| Yeah. | ||
| I thought it was kind of great. | ||
| Didn't he try to kick some guy's ass? | ||
| That lady was like, your films are disgusting and violent. | ||
| And he was like, yeah, they're fucking movies, dummy. | ||
| Like, he gets really upset about it. | ||
| Where was this? | ||
| Actually, I don't know if it's the same one, because the one that I saw was a guy. | ||
| Oh, I saw one with a lady. | ||
| But that was via satellite. | ||
| Oh, okay. | ||
| So this is a different one, then. | ||
| There was one with a guy who was threatening to kick the guy's ass. | ||
| The one that I saw didn't go that far, but I actually kind of liked what he did, because he was like, no, I'm not playing that game with you. | ||
| I'm not doing it. | ||
| And he got all pissed off. | ||
| But I was sort of like, eh. | ||
| You know, I like that he does that. | ||
| Yeah, I mean, I like the one with the lady. | ||
| The lady is like, your movies are so violent and awful. | ||
| And he's like, a movie? | ||
| A make-believe thing? | ||
| It's not real violence. | ||
| Like, he really sasses her. | ||
| It's funny as shit. | ||
| And then I also... | ||
| Where is she? | ||
| Where was she? | ||
| It was like, he was doing, you know, she was like, Good Morning Pittsburgh, like the entertainment reporter. | ||
| And then he was actually probably doing, like, satellite stuff everywhere. | ||
| And he was just like, you're dumb. | ||
|
unidentified
|
So... | |
| But I also saw, there's that guy, he's a gotcha guy too, did Robert Downey Jr. It was like promoting a movie too. | ||
| I don't know if they showed you that one. | ||
| Oh, I saw that one. | ||
| Right? | ||
| And the guy's like, no, you're drug addiction. | ||
| He was like, wait, what? | ||
| It was totally to try to get him to, you know, in a moment. | ||
| And Robert Downey Jr. is not having it. | ||
|
unidentified
|
He's like, I'm here to promote a movie. | |
| This has nothing to do with that. | ||
| Totally. | ||
| Is that what he said? | ||
| But let's get into your drug addiction. | ||
|
unidentified
|
Yeah. | |
| During your darkest times. | ||
| What are you talking about, man? | ||
| Iron Man's out. | ||
| I'm not here for that. | ||
| He ends it, too. | ||
| They're so selfish. | ||
| Doing shit like that is so selfish. | ||
| It's such a sneaky little thing to do. | ||
| What do they teach you, though, in that moment of Quentin? | ||
| They're just like, don't get emotional? | ||
| Well, it's like, don't take the bait. | ||
| And more than anything for me, because I'm from Wisconsin, and I still have that kind of everybody's nice, everybody has good intentions kind of vibe, you know? | ||
| And I had this experience on my very first movie where I talked to this reporter, because it was a movie about, it was a road trip, you It's just a silly road trip comedy. | ||
| And I talked to this reporter and he says – and he was just being – he was being really cool. | ||
| We were just kind of hanging out after this thing talking and he's like – and gas prices were really high. | ||
| And he goes, so you – he's like, you feel weird about making a road trip movie when gas prices are so high? | ||
| And I said like, I don't know. | ||
| Maybe if the movie tanks, I can just blame it on that. | ||
| No one could afford to go to the theater because the prices were so high. | ||
| And I don't think, and then this article comes out that just, the guy literally said I was swarthy looking and it just, he just painted me like an absolute piece of shit. | ||
| Wow. | ||
| And I was like, that guy was so cool. | ||
| Like he was, like we were having a good time talking and then he just destroyed me. | ||
| I've been there. | ||
| Yeah, I'm sure you guys have. | ||
| It's all new to me. | ||
| I remember one, too, who did it to me. | ||
| When I was just doing a phone interview for press before I was selling any tickets, and the guy was just a really nice guy and totally twisted things and made it seem like... | ||
| Just, like, he knows what I was saying, and he purposely twisted things around. | ||
| And it had real no impact, but I remember reading that and being like, oh, fuck this guy. | ||
| And be careful when you talk to these people, because he totally, he knows what I was trying to say, and I read this article, and I was like, he misrepresented everything. | ||
| Yeah. | ||
| Well, that's the only way they can have fun. | ||
| If you're just a normal guy and you give normal answers and you're thoughtful and considerate, that's not as good for them. | ||
| It's boring to them. | ||
| So they'll twist it around. | ||
| Well, it's not as profitable. | ||
| It's more profitable, especially if it's an online thing. | ||
| With an online thing, you need a clickbait title. | ||
| You need a bunch of people clicking on that thing because otherwise you're not going to get any ad revenue for it. | ||
| It's a very bizarre model. | ||
| Where it's encouraging people to be deceptive and to make these things inflammatory. | ||
| And I gotta say, I mean, look, I did, like I said, I did 90, 95 interviews in the course of two days. | ||
| And virtually everybody was really cool, really asking really thoughtful, interesting questions. | ||
| So I don't want to make it sound like I'm ripping on the whole press over this. | ||
| But yeah, there are these people. | ||
| And that's the thing is that if it was every single person that came along, it would almost be easier because you could just kind of be like, okay, here we go. | ||
|
unidentified
|
Right, right, right. | |
| But you get like 30 really good reporters with integrity and good people and then somebody jumps in and you're like, oh, and then they catch you not looking because you're not looking for that guy. | ||
| They also get super jaded. | ||
| It's almost like cops that have arrested too many people. | ||
| Everyone's a crook. | ||
| They just think that everybody they're interviewing is a piece of shit. | ||
| It's also like they're interviewing these Hollywood people. | ||
| They're thinking of you. | ||
| You had a big mansion, driving a Mercedes. | ||
| You got all this money. | ||
| Fuck this guy. | ||
| It's like this instant take on it. | ||
| Oh, Hollywood director. | ||
| How's your casting couch, you piece of shit? | ||
| Yeah, it's true. | ||
| It's true. | ||
| And it becomes the game, I think, too, for them. | ||
| The game is like... | ||
| Let's see if I can get one. | ||
| And we should be real clear. | ||
| This is not most people. | ||
| Most people are nice. | ||
| But it's just like one, even if it's only one out of ten, you run into that one, you're like, fuck these things. | ||
| I don't want to do these things anymore. | ||
| It's terrifying because you think about your family, your friends, like anybody who's going to, because now there is this, and I know you guys talk about this a lot, there is this culture out there where people are completely reduced to like one moment or one statement or whatever it is, and that's all you are. | ||
| Yeah. | ||
| Whatever that thing that happened in that one moment. | ||
| And, you know, you see it happening to people all the time. | ||
| And you think about – so when you're there and you feel like you're just a regular guy, you don't feel like, you know, that it's really scary because you think about your kids and you think, you know, so it's a scary situation. | ||
| Yeah. | ||
| Yeah, well, it's a weird time for these publications, too. | ||
| There's nothing to take into consideration. | ||
| No one's really buying magazines and newspapers like they used to. | ||
| It's hard to sell. | ||
| And so they're reduced to these online publications, and they have to compete with a bunch of These clickbaity bullshit things, and that's where the money is. | ||
| I mean, even in New York Times, man. | ||
| The New York Times is resulting to a lot of clickbaity shit now, and you're like, wow. | ||
| Well, do you guys have that feeling, like, when you're online, that you're on, like, a clickbait diet where you see things where you're like, oh, man, I totally want to eat that right now, but I'm not going to do that. | ||
|
unidentified
|
I'm better than that. | |
| Let me look at the ingredients. | ||
| Open it up. | ||
| Oh, it's so sweet. | ||
| Yeah. | ||
| You learn to navigate it now. | ||
| You read that title and you're like, I know this will have no substance. | ||
| This is just the headline. | ||
| I'm fascinated to see where this goes because this didn't exist. | ||
| These online click-baity things didn't exist 20 years ago. | ||
| And now they're everywhere. | ||
| It's like, what's going to happen in 10 years? | ||
| Where is it going to be? | ||
| Where is this going? | ||
| I'm very fascinated. | ||
| You know, very, very fascinating to see. | ||
| Because it feels like a transitional time. | ||
| It doesn't feel like it can hold out like this forever. | ||
| That's true. | ||
| Yeah, yeah, I agree. | ||
| Because it hurts. | ||
| I mean, and this is the reason why I think podcast culture is coming on strong, because it's a place where people just talk and have a conversation. | ||
| And I think that fear of slipping up and people always like out there trying to get you to slip up or whatever, has people not having as much of a free exchange of ideas. | ||
| Yeah. | ||
| Yeah, but through these podcasts, one thing that does happen is people will take a very small clip out of context and then write a whole article about that small clip with a big click-baity headline like Tom Segura shits all over people in Somalia. | ||
| And then, you know, whatever it is. | ||
| Did you do that? | ||
| No. | ||
| I mean, it was a different city. | ||
| I just made something up. | ||
| But then, you know, it could be... | ||
| It's completely out of context. | ||
| Yeah. | ||
| And a giant overall discussion of a topic that took place over 45 minutes, and they'll take 30 seconds of that and put a YouTube clip up, and then you get a bunch of angry people tweeting at you. | ||
| That's true. | ||
| But the flip side of it is that I feel like in this time, we're developing more of an audience that is quick to call that shit out. | ||
| So while there are going to be people that take the bait and be like, what is it, and get angry, there's a bunch of people who are really quick to recognize that that's taken out of context. | ||
| Well, it's because people like you and I and a lot of other people that do podcasts talk about that all the time. | ||
| So people hear it all the time and they see the examples of it and they go, wow, that's crazy. | ||
| Some of it is so egregious. | ||
| You're a piece of shit. | ||
| Someone should pull your license. | ||
| If you were a doctor, they'd pull your fucking license. | ||
| As a journalist, there's a lot of wiggle room with being a piece of shit. | ||
| Yeah, there is. | ||
| I use the word journalist, air quotes. | ||
| Podcasts, this medium is just going to grow and people are embracing more of this long-form conversation and understanding things by talking about it for a while. | ||
| Well, and the other part of it that I think, Pete, that gets lost sometimes is that, you know, like right now we're talking about like journalists, but the great journalists are just as hurt by this stuff as everyone because the people that are really out there being thoughtful, really researching their material, | ||
| really talking to people, getting to the bottom of things, that whole journalistic work ethic that we all grew up hearing about, those people are just as threatened by this cheap, The sort of attack journalism that happens because they can't even compete with it with a really thoughtful, well-researched story. | ||
| And then somebody's like, he touched a boob. | ||
| And then there's like, they get all the clicks. | ||
| I was talking to Matt Taibbi, who's a real journalist. | ||
| And Matt Taibbi was discussing the pieces that he wrote on Wall Street. | ||
| And the crash of 2008 and all of the fucking shenanigans that went on with that and how much just crazy shit they're allowed to do and what they can't... | ||
| What a Ponzi scheme a lot of that 2008 crash was. | ||
| And you... | ||
| When I was talking to him, I realized he had put a year into research, learning. | ||
| He did not come from a background in finance. | ||
| So he put a year into researching all the aspects of the savings and loan crisis, all the aspects of this mortgage crisis and how it took place and how they were making money off of this and how they were betting on things falling apart and moving money all the aspects of this mortgage crisis and how it took and how fucking chaotic it is and how crazy it is. | ||
| And then you think of how much time put on that and then in proportion how few people actually read that and how little it affected the actual economy itself. | ||
| Like how little things changed and how little people were outraged. | ||
| Like his article, I don't know if you ever read the Rolling Stone piece on it? | ||
|
unidentified
|
Mm-mm. | |
| Fucking amazing. | ||
| He worked on that for... | ||
| Forever! | ||
| Yeah. | ||
| Yeah. | ||
| But you don't care that much about it. | ||
| Right. | ||
| You know what I mean? | ||
| It's like, those people never went to jail. | ||
| Billions of dollars just disappeared. | ||
| It all got moved around and everybody abracadabra and they moved the cape. | ||
|
unidentified
|
Ha! | |
| Ta-da! | ||
| And then it moves on. | ||
| And he details it in this amazing way. | ||
| And you realize, wow, how many of those guys are left? | ||
| How many of those real journalists are left? | ||
| Right. | ||
| And this is a... | ||
| You have to invest in something like that. | ||
| I mean, he's putting a year into just researching what this is all about. | ||
| It's fucking insane. | ||
| I mean, and then instead, you know, it's like Kim Kardashian got her butt done again. | ||
| Boom. | ||
| Boom. | ||
| 50 times more people are paying attention to that. | ||
| Well, let me ask you this, because I think in a weird way, this weird time that we're in right now could actually be the rebirth of that kind of journalism that you're talking about. | ||
| Because I know that when everything was getting kind of crazy and people were talking about all this, I did subscribe to the online version of some papers because I thought, I do want to support people that are actually... | ||
| People with integrity that are out there chasing stories and informing the world and helping us out. | ||
| Also, they fuck you over if you don't do it. | ||
| You can't read like 10 New York Times articles and they cut you off. | ||
| You're like, oh, you bitch. | ||
| No, you have to subscribe. | ||
| Good for you, though. | ||
| I wish it was a little easier to do, though. | ||
| They set it up with Apple OneClick or some shit. | ||
| Yeah, I think it is now. | ||
| Yeah, it's kind of a pain. | ||
| I don't get that why. | ||
| I subscribe to a few of them, and if I go to the app, obviously everything's fine, but if I try to read it through another link, it's like, ah, you already... | ||
| I'm like, but I'm a subscriber. | ||
| I don't know. | ||
| It's kind of annoying. | ||
| Yeah, yeah, because then you've got to jump into the app and then find the story again and that kind of stuff. | ||
| It's annoying. | ||
| But I get it. | ||
| I mean, they have to figure out some way to generate a revenue. | ||
| And this whole, these last two years have been huge for the subscriptions on those. | ||
| I mean, like, grown by millions. | ||
| You know, as print paper has gone down, those online subscriptions have gone way, way up. | ||
| Really? | ||
| Oh, yeah. | ||
| Oh, yeah. | ||
|
unidentified
|
So they're profitable. | |
| Yeah. | ||
| Definitely. | ||
| Definitely. | ||
| I mean, I just saw that whoever the editor-in-chief of New York Times doing an interview about their recent subscription model, it was impressive. | ||
| I mean, it really went high. | ||
| Well, if you do good work – I mean there's people out there that have a hunger for actual real journalism. | ||
| Yeah. | ||
| And also in-depth, intelligent, comprehensive understandings of what is happening. | ||
|
unidentified
|
Yeah. | |
| A real – a well-researched take on a particular situation. | ||
| When somebody does it like that guy did about like the subprime mortgage – You know, and they spent all that time, and they write that story. | ||
| I mean, it's like reading, like, a good book. | ||
| You just can't stop reading it. | ||
| I mean, did you read that Dirty John story in the L.A. Times? | ||
| What is that? | ||
| Man, and now they're making a—they have, like, a miniseries coming out about it. | ||
| I remember reading it and not being able to stop reading it, and it was, like, an eight-part series in the L.A. Times about— This guy who was a sociopath who would go on to dating sites and basically bait women who were, like, divorcees, who had some money. | ||
| He was posturing as a doctor and, like, would pretend to have this really successful life and just be a pariah that would, like, suck onto these people. | ||
| And this story went... | ||
| Really deep about how this guy found this woman. | ||
| Her daughters were like grown daughters. | ||
| Immediately suspected things were wrong. | ||
| She didn't see it. | ||
| But the story unravels the way like a good book or like a thriller would, you know, would unravel in the theater. | ||
| So you're just like, like the guy, you know, he researched it. | ||
| I forget his name. | ||
| They turned it into a podcast. | ||
| And then now it's coming out as a short series. | ||
| That's the guy? | ||
| That's the guy. | ||
| That's the real guy. | ||
| Wow. | ||
| Christopher Gofford. | ||
| And man, so it would be like part one in this series. | ||
| You'd read this and you're like, all right, all right. | ||
| You're like scrambling to read the next part. | ||
| That's freaking me out because he's moving. | ||
| Like his image is moving slowly. | ||
| Oh, yeah. | ||
| Slowly pulling away. | ||
| That's the real guy. | ||
| It's a fascinating read. | ||
| Wow. | ||
| And I recommend reading it, man. | ||
| I mean, it is really good. | ||
| So was this guy a career criminal? | ||
| He was a career criminal that hit it well, but it's interesting. | ||
| I remember reading it and you're kind of fascinated how the daughters know. | ||
| They just know. | ||
| They keep going back to like, this doesn't add up. | ||
| But she's kind of lost in the love and attention and excitement of this relationship. | ||
| And he's just preying on her. | ||
| He is preying on her. | ||
| And he empties her account. | ||
| I don't want to give it away, man. | ||
| It's so good. | ||
| It's so good. | ||
| You can get it right now? | ||
| Do you have a subscription? | ||
| There's a bunch of articles about how big it got released and podcasts in LA Times. | ||
| There's all sorts of stories about it. | ||
| Yeah. | ||
| Well, there's still – I mean for all the people that are into just short attention span, clickbait nonsense, there's still – and there's some sort of a market for actually real stories and real journalism. | ||
| I wouldn't say that that's what most of it is out there. | ||
| It's just that we get so much of... | ||
| I mean, there's such a stockpile of that stuff every day, but when it comes to the actual stories that you're reading, I don't know, maybe I'm Pollyanna about it, but I feel like there's a lot of great stuff out there. | ||
| I think there's plenty of great stuff. | ||
| Can you think about the actual amount of content versus how much time you actually have to read? | ||
| There is great stuff. | ||
| But if you looked at the overwhelming appetite that people have for media, It's for nonsense. | ||
| I was watching the Wendy Williams show. | ||
| I never watched that show before. | ||
| Jesus Christ, I was watching that show. | ||
| First of all, there was a girl in the audience that had a crown on. | ||
| It was hilarious. | ||
| The audience alone, like, they should have one half of the screen. | ||
| Was she marrying herself? | ||
| She wasn't! | ||
| Tom and I were at a restaurant last night and a lady had just gotten married to herself. | ||
| We were both keeping it together. | ||
| We found out. | ||
| We were like, what's going on over there? | ||
| And then someone was like, she's marrying herself. | ||
| This is her ceremony. | ||
| Jesus Christ. | ||
| You never see guys doing that. | ||
| I'll tell you this much. | ||
| Yeah, and my oldest daughter went over and hugged her. | ||
| My oldest daughter is the sweetest person in the world. | ||
| Yeah, yeah. | ||
| She's so sweet that the lady who married herself was like, your daughter's very sweet. | ||
|
unidentified
|
She wanted to marry her. | |
| She's like, listen, I'm married to myself, but I'll marry you too. | ||
| Let's marry everybody. | ||
| Yeah, but what were we just talking about? | ||
| Oh, you said Wendy Williams. | ||
| Oh, Wendy Williams show. | ||
| Oh, my goodness. | ||
| Oh, is that when she fell down? | ||
| Yeah. | ||
| She had a moment in the show where she fainted and fell down. | ||
| Have you seen, I saw when Aretha died, that Aretha had done an interview with Wendy Williams one time, and it was fucking hilarious. | ||
| Why was it hilarious? | ||
| Because Aretha Franklin was sassing her a bunch. | ||
| Oh, really? | ||
| Like an OG sassing. | ||
| It was really, really funny, man. | ||
| I don't know if you've seen it, but she's just like, Wendy's like, I have an idea for this project or whatever, and Aretha's like, mm-hmm. | ||
| And she was like, so you want to go in on it? | ||
| And Aretha's like, you're going to write a check? | ||
| And she's like, I was thinking Yuko. | ||
| She's like, oh, you ain't got it, huh? | ||
| You ain't got the money? | ||
| That's what I thought. | ||
| She just turns around on her. | ||
| It's so funny, man. | ||
| It's hilarious. | ||
| Aretha Franklin just so, just owns it, you know? | ||
| She's been around. | ||
| She was like not having it at all. | ||
| Well, all the show is is Wendy Williams talking shit about people. | ||
| And all the girls in the audience going, mm, mm, mm, mm. | ||
| They're talking about people getting custody and, oh, she's breaking up with her. | ||
| And it's like, wow, that's what – there's a lot of people out there that have an appetite for this stuff. | ||
| For that, for sure. | ||
| Including me, obviously. | ||
| I fucking sat there. | ||
|
unidentified
|
I'm pet-marshall watching it like, oh, what's going to happen with the kids? | |
| Look how long Jerry Springer stayed on there. | ||
| Yeah. | ||
| Right? | ||
| Yeah. | ||
| That was a fucking 30-plus year run or something? | ||
| You know what's fucked up about that? | ||
| Jerry Springer's a smart guy. | ||
| Yeah. | ||
| He's a smart guy. | ||
| I used to listen to him on the Opie and Anthony show. | ||
| I was like, whoa, wait a minute. | ||
| He was the mayor of Cincinnati. | ||
| Mayor of Cincinnati got busted paying for a prostitute with a check! | ||
| So we all slip up from time to time. | ||
| That's how he got caught. | ||
| Yeah. | ||
| Which is hilarious. | ||
| Like, checking his accounting. | ||
| Can I write you a check? | ||
| Lexus. | ||
| Who's Lexus? | ||
| Yeah, that's pretty crazy, man. | ||
| I don't know. | ||
| I think there's plenty. | ||
| What is that? | ||
| Is that him? | ||
|
unidentified
|
Wow. | |
| Wow. | ||
| That's when he was the mayor? | ||
| A young fella. | ||
| Looks like he's like 40 years old back then. | ||
| But it's bizarre how prevalent that stuff is online. | ||
| I mean, there's just so much. | ||
| There's so much click-baity nonsense. | ||
| It's hard. | ||
| But there's plenty of good journalism. | ||
| There's plenty of good writing. | ||
| Yeah. | ||
| Well, I mean, again, like I said, when I was doing my limited experience in doing this, the vast, vast, vast majority of the people that I've been talking to have been really interested in just talking about adoption and really interested in foster care and all that kind of stuff. | ||
| And it's been great. | ||
| It's been great talking to everybody. | ||
| And I think that when you have a topic like that, too, it helps because... | ||
| They're not really trying to crush you as much when you're talking to them about kids who need families and homes and that kind of thing. | ||
| Right, right, right. | ||
| Yeah, they have to be careful with letting their piece of shit claws out. | ||
| Now you said that your experience with adopting three kids started out as a nightmare. | ||
| Yeah. | ||
| How did it start out as a nightmare? | ||
| Well, it goes into it... | ||
| You know, you have friends that join the military, and when they're in high school, they think they're really tough, and they're like, yeah, yeah, it's going to be awesome, and then they go to boot camp, and then they're like, oh, shit, this is really hard. | ||
| And then they get on top of it, and then they're good again. | ||
| But they have to go through that transition of like, oh, man, maybe I'm not as tough as I thought I was, and then they get tough. | ||
| So you never had any kids... | ||
| I never had any kids. | ||
| Had dog. | ||
| You've done the dog thing. | ||
| Did the dog thing. | ||
| So you know how to take care of in a very small way. | ||
| I had a friend who said that to me. | ||
| He's like, well, I've had a dog. | ||
|
unidentified
|
Oh, yeah. | |
| He's talking about having a kid. | ||
| I've heard that a lot. | ||
| I'll fucking kill you with a rock. | ||
| You better not compare the two. | ||
| That's so stupid. | ||
| Yeah, and we went from zero kids, and you kind of think, well, I babysat my sister's kids and that kind of thing. | ||
|
unidentified
|
For how long? | |
| Yeah, that's the question. | ||
| A movie. | ||
| They went to a whole movie. | ||
|
unidentified
|
Yeah. | |
| Two-hour movie. | ||
| And even what happens is you go – so for us, we had a really interesting experience where we went to an adoption fair, and that's in the movie. | ||
| It's a real thing where they – because they – You know, their budgets are stretched so tight that they'll have these outdoor events. | ||
| Not every county has them, but LA County has them, where they'll bring a bunch of kids that are in the system and a bunch of prospective parents, and they'll just have, like, games and stuff going on. | ||
| It's a really bizarre event. | ||
| And we went, you know, and you're there to meet kids, you know, to meet your kids. | ||
| And so we went there and we didn't want to have anything to do with teenagers because, you know, just because we were scared. | ||
| We thought we're not ready for that. | ||
| We just want to find like some cute little kid. | ||
| And then the teenagers are all off to the side because everybody's afraid of them. | ||
| And it's the most heartbreaking thing you've ever seen because they know why they're there. | ||
| Like they chose to be there and they know that everybody's scared of them. | ||
| So I was there and I was like, oh my god, this is the worst thing I've ever seen. | ||
| And we ended up sort of inadvertently meeting this teenage girl and her brother and sister. | ||
| And they just seemed cool and they just seemed like really good kids and just scared, scared, scared. | ||
| But we wrote them down on our sheet and just, again, not what we had planned on when we did this, but we wrote them down on our sheet and we went home knowing they were going to match us with them because no one else was going to put them down. | ||
| And we get home. | ||
| And we find out, yes, you've been matched with these kids. | ||
| And we're like, okay, here we go. | ||
| We're going to have a teenager. | ||
| They were 16, 13, and 11. Boom. | ||
| Yeah. | ||
|
unidentified
|
Whoa. | |
| So we're kind of wrapping our heads around this over the next couple weeks. | ||
| And we got to a place where we were like, okay. | ||
| You know, we can do this. | ||
| And then we got a call from the social worker and she said, you know, it's not going to work out with them. | ||
| They've been in the system for four years. | ||
| The girl, she's really holding out hope that her mom is coming for her. | ||
| So she's refusing the placement. | ||
| And so we tried to – and I was like – I was – when you hear that, it's so – just the same reaction you guys just had. | ||
| So my wife and I wrote a letter to send through the social workers just saying, hey, look, we get it. | ||
| If you – maybe you guys just want to come and just do the foster thing or however you want to do it. | ||
| And we just sort of sent the letter off. | ||
| We didn't hear anything. | ||
| And then she came back and she just said, yeah, it's not going to happen. | ||
| And then she very matter-of-factly just said, but there's these other three kids. | ||
| And those kids are my kids now, who I love more than anything in the world. | ||
| And that's how it started. | ||
| There's these other three kids. | ||
| And we were like, oh, all right. | ||
| And you want there to be, or I shouldn't say, I mean, I wanted there to be a certain amount of randomness, like when you have, You know, biological kids, you don't know what you're going to get. | ||
| Yeah. | ||
| And go into that event where you're sort of like meeting kids and it feels weird. | ||
| And so when she said there's these other three kids, we said, okay. | ||
| And then they turned out to be younger, you know, 6, 3, and 18 months. | ||
| But I never forgot meeting that girl and her brother and sister. | ||
| So when the time came that we were going to make a movie about it, that was the genesis of the Lizzie character. | ||
| I wanted to make sure there was a teenager in this movie because they're so misunderstood. | ||
| And in the process, I went out and met with a bunch of families that had adopted teen girls and then met with a lot of those girls, some of whom are grown up and some of whom are still with their families. | ||
| And this is the thing, you know, the scariness that we're all talking about. | ||
| Every one of these families that I met with, just great stories, like amazing great stories, like hard times, you know, trying to make that connection and whatever, but everybody with the same story wouldn't have it any other way, changed our life for the better, met these incredible kids, and... | ||
| Yeah, and now I'm yammering. | ||
| No, you're not yammering at all. | ||
| How old are they now? | ||
| How many years have you had them? | ||
| Almost seven years. | ||
| So my son Johnny just turned 13. My daughter's nine and my other son is eight. | ||
| How long was it between the phone calls, like, I had these other three kids and you actually getting them in your house? | ||
| God, what was it? | ||
| It was a couple of weeks because there was... | ||
| A couple of weeks? | ||
| That's it? | ||
| Yeah, no, it wasn't long at all. | ||
| Whoa. | ||
| But yeah, because they called and they said, we have these other three kids, and then there was going to be a meeting because they... | ||
| They won't tell you much about the kids until they really sit down with you. | ||
| And then they kind of walk through, like, here's, you know, whatever trauma, here's whatever, you know, kind of... | ||
| And again, in our case, they don't have all the information, obviously, on their past. | ||
| So they can kind of tell you, like, here's how they came into the system and that kind of thing. | ||
| So I wasn't able to go because I was at a work thing. | ||
| And so my wife went to the meeting and I was, like, listening to it, you know, and I was on speakerphone in the meeting. | ||
| And... | ||
| And there was this one moment, you know, and she's telling us everything, and there's this one moment where she slides the picture across to my wife and says, here's a picture of them. | ||
|
unidentified
|
And there's this long pause, and my wife goes, oh. | |
| They're cute. | ||
| They didn't sound cute by the inflection in their voice. | ||
| And, you know, you're trying not to be that guy, you know, that you're like, wait, what do they look like? | ||
| But, you know, you don't want to be shallow about it. | ||
| I mean, kids are kids, and you know you're going to fall in love with them regardless. | ||
| But, you know, like, everybody wants to think their own kids are cute, whatever. | ||
| So it was funny. | ||
| And then when I saw the picture, the picture was just a weird, bad picture of the kids. | ||
| Like, my son, who was six at the time, looked like he was 11, and he looked like this... | ||
| It was just the look on his face and whatever. | ||
| Yeah, he looks hard. | ||
| And we go over to the house and these kids are adorable. | ||
| Oh, so this is, sorry, I'm getting ahead of myself. | ||
| So we have the meeting and we go, okay, we're going to go meet with them. | ||
| And just to be clear, we didn't say okay because of the picture. | ||
| Because the picture was kind of like neither here nor there, you know? | ||
| We were just like, all right, let's go meet these kids. | ||
| So we go to the house and these kids are adorable. | ||
| And it's the weirdest thing ever because you go to this foster home where they live. | ||
|
unidentified
|
Thank you. | |
| And you play with them for like two hours. | ||
| And when do you ever play with any kids for two straight hours? | ||
| Like actually actively play with kids, especially kids you've never met before. | ||
| So it's exhausting and it's weird. | ||
| And we touch on this in the movie that I was really scared when we were getting there because I wanted so much to walk in, see these kids well up with tears, know it's for real, know these are my kids and just have that like cosmic connection moment. | ||
| And that didn't happen at all. | ||
| It's more weird, right? | ||
| It's so weird. | ||
| I'm going to live with you. | ||
| Yeah. | ||
| And the little kids are just kind of like, it's actually weird in the other direction. | ||
| They're so used to kind of being passed around that they're just kind of like, oh, okay, who are these people now? | ||
| And so we get in there. | ||
| And then the foster mom in our case was like, go to your mom and dad. | ||
| And I was like, oh, don't do that. | ||
|
unidentified
|
Don't do that. | |
| Don't say that. | ||
| Slow your roll, lady. | ||
| Because it just felt so obtrusive to the kids, you know? | ||
| And so we would go there every day for five straight days. | ||
| We would go there when the kids were off school and we'd go and play with them first in the backyard and then you'd take them to the park and then you'd take them to the park and you'd take them out for ice cream and you're just kind of like getting to know these kids. | ||
| Kids that are strangers. | ||
| Did you try to change their names? | ||
| Yeah, first day. | ||
| As soon as we walked in, I was like, you're... | ||
| You're Mike now! | ||
| No, we didn't do that. | ||
| The little one wouldn't even know, though, dude. | ||
| Yeah, that's true. | ||
| That is true. | ||
| That is true. | ||
| No memory. | ||
| You know what? | ||
| A lot of people do. | ||
| In fact, a lot of kids, a lot of older kids that sort of have that will want to change their name, not just their last name. | ||
| For a new, fresh start? | ||
| Yeah, that they'll just want to... | ||
| Really? | ||
| Yeah. | ||
| I don't have any experience with that, but I've heard that, that sometimes kids will choose to... | ||
| There was a young lady that was at the screening last night who was... | ||
| Her picture is at the end of the movie. | ||
| She's in Ireland getting her PhD right now, this girl that these people adopted out of foster care. | ||
| Wow. | ||
| She's amazing. | ||
| Yeah. | ||
| And she had chosen to change her name. | ||
| Yeah, I mean, that seems like it would mean something. | ||
| Yeah, now that I think about it, it just seems, you know, changing a name. | ||
| Yeah. | ||
| Especially as a teen. | ||
| But, I mean, I get it if you're saying, like, I want to put everything in the past. | ||
| Yeah, you want a fresh start. | ||
| Really lock it down. | ||
| This is the new me. | ||
| This is my new life. | ||
| I'm Kobe Bryant. | ||
| I used to be number eight. | ||
| I'm 24 now. | ||
|
unidentified
|
Yeah. | |
| Well, and that touches on something that is really difficult when you're doing this as an adoptive parent is that you're trying to walk this line all the time where you need to claim these kids for your own. | ||
| You need to be the person who's like, you're with us. | ||
| We're with you. | ||
| We got your back. | ||
| We're behind you. | ||
| You need to do that. | ||
| That's what these kids don't have. | ||
| This thing that we all take for granted. | ||
| We have these parents that love us no matter what knucklehead things we do. | ||
| So you're trying to do that, but at the same time, you're trying not to impose your world on them because they're coming into it with their own personality and their own culture or whatever it is behind them. | ||
| So you're always trying to kind of be careful and walk this line between just completely bringing them in but not trying to change them into who you are. | ||
| Did the six-year-old already have things he was really into or sports or activities? | ||
| Yeah. | ||
| Yeah. | ||
| Well, the funny thing is, my son is really athletic, and I'm really not. | ||
| So I know you guys are, but I'm so not. | ||
| Tom is. | ||
| Me especially. | ||
| He's an acrobat. | ||
| You saw what I was doing yesterday. | ||
| The guy's an animal. | ||
| But no, he's really athletic and he's just always been good with all of that stuff. | ||
| And it's funny for me because I wasn't that kid at all. | ||
| But it's great for me because I'm like, he's able to do the stuff that I wanted to do so badly when I was little. | ||
| I sucked at sports and I so wanted to be good at sports. | ||
| And he's really good at it. | ||
| What does he play? | ||
| Well, I mean, whatever he plays, he just tends to be pretty good at it. | ||
| So he played flag football for a while, and he's playing lacrosse now, and he's playing soccer. | ||
| Dude, keep him away from lacrosse and football. | ||
| We were just playing it with Brennan Schaub the other day. | ||
| I had no idea how many people get knocked the fuck out playing lacrosse. | ||
| Really? | ||
| Oh, lacrosse is fucking violent, man. | ||
| Violent! | ||
| We were saying, like, there's a difference between this even in football in that they're striking each other. | ||
| You're allowed to. | ||
| They're allowed to hit each other with a stick, but they're also striking each other with elbows. | ||
| They're running in, and they have the stick in their hand, and they're elbowing each other in their face as they're running. | ||
| I mean, whoa, it's a crazy amount of force that they generate. | ||
| And these kids are getting flatlined. | ||
| And I'm like, that's because I had Dale Earnhardt Jr. here the other day on. | ||
| Really nice guy. | ||
| Great guy. | ||
| Suffered 12 concussions over a period of four years. | ||
| Racing? | ||
| Yes. | ||
| And has some significant brain damage because of it that he had to go through. | ||
| Therapy for, to help him, to the point where he was walking and he had to hold onto things because his balance was so fucked up. | ||
| He couldn't just walk. | ||
| Couldn't get off the couch and walk to the bathroom. | ||
| He had to hold onto a table and a chair and make his way through. | ||
| All of this from concussions. | ||
| And, you know, what they're getting in lacrosse or they're getting in football, it's all the same shit. | ||
| It's all head trauma. | ||
| It's head trauma, yeah. | ||
| So I'm a terrible parent? | ||
| No! | ||
| My kids go to a very nice school. | ||
| It's a great school. | ||
| And we went to a football game the other day where the older kids are playing football. | ||
| And I'm just sitting there. | ||
| All the other parents are having a good time, and I'm like, brain damage. | ||
| Brain damage. | ||
| There's some brain damage. | ||
| I'm like, Jesus fucking Christ. | ||
| These are kids. | ||
| They're kids running at each other full clip, smashing and falling to the ground. | ||
| They see the kid get up slow and put his hands on the ground. | ||
| He's all fucked up. | ||
| I'm like, this is crazy. | ||
| You guys are teaching people. | ||
| I always felt like lacrosse, because my high school had lacrosse too, and I always felt like it was way crazier. | ||
| Because I didn't know about it, and then I'm at this school and they have it, and I'm like, this shit is nuts. | ||
| It's nuts, and there's no career in it. | ||
| Yeah, and they're just, oh yeah, of course, yeah. | ||
| At least if you're a football player, you can become some Herschel Walker type character and become a huge baller. | ||
| Yeah, that's true. | ||
| But you got no shot if you're a lacrosse player. | ||
| I love when they interview all the guys in the NFL. They're like, the young guys, they're like, You know, all this evidence is that your lifespan is going to be way shorter and it's going to be probably horrific at some point because of the impact of what you're going through playing football. | ||
| You know, what do you think about that? | ||
| They're like, shit's worth it, man. | ||
| This is an awesome lifestyle. | ||
| Nobody is like, yeah. | ||
| I mean, you're getting some guys that you see retire early, which was unheard of 10 years ago. | ||
| Guys, one guy came out, played his rookie year and retired. | ||
| You know, you're getting guys early retirement. | ||
| Some guys play, finish out a contract, they're up for a big contract, and they're out. | ||
| Yeah, that's happening. | ||
| But there's still, you know, there's no shortage of guys who are like, I'll take the guarantee, whatever my signing bonus is, and take some brain damage. | ||
| I mean, look, that's how our brains work. | ||
| Our brains are designed to not have that kind of foresight until you get much older. | ||
| Of course. | ||
| You're like, satisfy me now. | ||
| And I don't know what that is, but you can tell people, hey, whatever it is you're doing right now, this is really going to cause you irreparable harm. | ||
| When? | ||
| Like today? | ||
| No. | ||
| Well, fuck it. | ||
| Well, that's the same way we deal with climate change. | ||
| It's literally the same thing. | ||
| People are driving around with cars blowing smoke out, like, eh, one day, let me fix it. | ||
| It's going to be a real problem. | ||
| You tell someone it's going to be a real problem here on Earth in like 300 years, and they're like, that sucks. | ||
| Whatever. | ||
| I won't be here, bro. | ||
| Or even 40 years, sadly. | ||
| People will be like, all right. | ||
| There's also the issue with people that get a lot of head trauma. | ||
| They get very impulsive. | ||
| And they don't make good decisions anyway. | ||
| So even if they could have the foresight, they probably wouldn't make good decisions. | ||
| They're not thinking rationally. | ||
| And they did some study. | ||
| What was that study, Jamie? | ||
| We've referenced this before, where they... | ||
| They looked at kids that play football literally from Pop Warner all the way through college, and how many of them have CTE? Really? | ||
| Oh, Jesus Christ. | ||
| It's stunning. | ||
| See, I always felt like, my point of view on it was always like, I played football fourth grade through high school, right? | ||
| And I always was like, man... | ||
| That's why you're so fucked up, bro. | ||
| I know, I know. | ||
|
unidentified
|
That's why I'm fucked up. | |
| But I just feel like, you know, you have definitely some big, in an amateur career, you have some, you can think back, like, man, I got my bell rung there. | ||
| How many times did you get your bell rung? | ||
| I don't know. | ||
| I mean, here's the thing. | ||
| In fourth grade and fifth grade, you're like, that doesn't happen, really. | ||
| I mean, kids are walking up and wrapping up slowly. | ||
| You're playing with kids who will eventually not play football even in sixth grade. | ||
| So it starts to be... | ||
| You might have a stud on a team in middle school and still a bunch of guys that won't play in high school. | ||
| And then in high school, yeah, there's definitely some... | ||
| Athletes that stand out, for sure. | ||
| I mean, those are the kids that will eventually go on. | ||
| But you play teams and there's weeks where you're just like, no one is really good on this team, you know? | ||
| And you'll have a game where you'll feel like, yeah, I mean, there's a couple, I got a couple good hits and there was nothing really of impact. | ||
| And then something will stand out. | ||
| Like, you'll play a school that has, like, An All-State or All-American player. | ||
| You're like, holy shit. | ||
| That guy fucking fucked me up bad. | ||
| And you remember it. | ||
| I mean, I remember it to this day. | ||
| Some of those, like, really standout guys. | ||
| And you're like, that hit stuck with me. | ||
| But that's once a year that you play that guy, right? | ||
| Or that you remember a school that good. | ||
| And then if you don't go on to play in college... | ||
| Really feels like kind of a, I don't know, a risk assessment where you're like, I didn't feel like that was, you know, do I have damage? | ||
| I don't know. | ||
| But I mean, once you get into college football is where I feel like that's where you're really playing with really good athletes. | ||
| A friend of mine, a guy in his neighborhood, a kid who was 21, committed suicide. | ||
| And he was a college player who was about to go into the pros. | ||
| He was 21 years old. | ||
| Really? | ||
| Yeah. | ||
| And the significant CTE. Like, just really ravaged. | ||
| Every year, a player played tackle football under the age-predicted... | ||
| The early onset of cognitive problems by 2.4 years and behavioral and mood problems by 2.5 years. | ||
| Yeah, but there's a study. | ||
| Wow. | ||
| Okay, the average study found that 211 players who were diagnosed with CTE after death who played tackle football before age 12 suffered from cognitive, behavioral, and mood symptoms earlier than those players who didn't start to play until after age 12. Wow. | ||
| They're saying that... | ||
| Okay, study included 246 former players, 211 of whom were diagnosed with CTE after death. | ||
| That's insane. | ||
| Well, in college, there's definitely no such thing as getting around real high-impact hits. | ||
| That's it. | ||
| Those are all people that know how to play. | ||
| They're all athletes. | ||
| You're going to get rocked. | ||
| What they're realizing now is that sub-concussive trauma is what's responsible for the majority of brain damage. | ||
| What's sub-concussive? | ||
| You're not getting a concussion. | ||
| Oh. | ||
| Yeah, you're just getting rattled. | ||
|
unidentified
|
Yeah. | |
| So getting rattled where it's not even fucking you up, but over time. | ||
| Over time, that over and over. | ||
| You have multiple hits that are just not, they're not knocking you out, they're just jostling you. | ||
| Those happen a lot. | ||
| Yeah, you even get it from getting hit to the body. | ||
| Right. | ||
| You get hit to the body and your head snaps back and you don't even get hit in the head. | ||
| And you're like throwing up and your head's all fucked up and you're trying to figure out what's going on. | ||
| It's because your brain's been moshing around inside your head. | ||
| Yeah, the thing that I remember too, the thing that stands out is when you, because such thing is like bracing for a hit and then feeling it and you're like, fuck. | ||
| But when you don't see someone coming. | ||
| Oh yeah, man. | ||
| It's like a fight where you don't see a punch coming. | ||
| Oh yeah, 100%. | ||
| Yeah. | ||
| Yeah, it's dangerous. | ||
| You guys are saving my child's life right now. | ||
| I'm telling you, right now. | ||
| He's good, dude. | ||
| It's funny, because I don't know that much about lacrosse. | ||
| I had to actually YouTube lacrosse to be like, how do you play this? | ||
| Jamie, pull up the video. | ||
| Because there's some videos of some fucking hits that we were watching the other day, and Brendan played lacrosse in college. | ||
| He played lacrosse in college? | ||
| And football. | ||
| Jesus Christ. | ||
| And then he fought in the UFC. Yeah. | ||
| So his brain looks like a walnut. | ||
| It's got to be, man. | ||
|
unidentified
|
It's got to be all fucked up. | |
| And you talk to him, you kind of know. | ||
| Yeah, it's a crazy fucking sport. | ||
|
unidentified
|
Look at this. | |
| Boom! | ||
| Watch these guys. | ||
| Just over and over again, these guys getting KO'd. | ||
| Boom! | ||
| Boom! | ||
| See that? | ||
| I mean, they're smashing each other. | ||
| The impact is horrific. | ||
| Look at that. | ||
| Boom! | ||
| These are strikes. | ||
| This is like me kicking somebody in the head. | ||
| This is not much different than a kick in the head. | ||
| You're just hitting them with an elbow. | ||
| But the amount of force... | ||
| So these guys are getting kicked in the head with these helmets on. | ||
| And if you think the helmet's protecting your head, that shit ain't protecting anything. | ||
| Boom! | ||
| Look at that. | ||
| Boom! | ||
| Alright, look, I don't know anything about this stuff, but I've thought for a long time, hard helmets gotta just make it worse, right? | ||
| Well, it makes you more confident that you could slam your head into somebody, and then you don't realize how bad you're getting fucked up from that. | ||
| It's your head, when you get hit in the head, even though you have a helmet on, it's not going to crack your skull, your brain's still substantially... | ||
| It's hitting the sides of your skull. | ||
| You get serious punishment, smashing around in there, all the connective tissue. | ||
| It's awful. | ||
| It's awful. | ||
| Boom! | ||
| And this is coming from a guy who's probably seen... | ||
| I've probably seen more people get fucked up than 99.9% of the people that have ever lived. | ||
| Right. | ||
| In terms of being there live when someone got the fuck beaten out of them, I've probably seen more people get the fuck beaten out of them than almost anyone that's ever lived in history. | ||
| Yeah. | ||
| There's probably a small handful of people that have seen more. | ||
| Sure. | ||
| How many fights have you called? | ||
| Hundreds. | ||
| Thousands. | ||
| Thousands. | ||
| At least more than a thousand, probably two thousand. | ||
| But then I've seen more. | ||
| I mean, I've seen a bunch live. | ||
| And when I was competing, I saw a bunch of people get fucked up. | ||
| I mean, it's just... | ||
| I've seen it a lot. | ||
| When you can avoid that, avoid it. | ||
| Especially something like lacrosse. | ||
| You can't make a career out of it. | ||
| Get out of there. | ||
| Because it actually just started. | ||
| Because right now I'm used to kids' soccer where they're just running around chasing the ball. | ||
| It's cute. | ||
| It's fun. | ||
| Soccer's great. | ||
| It's actually really fun to watch. | ||
| And yeah, my son just got into lacrosse, and we play catch with the lacrosse stick, and it's great. | ||
| We have a good time playing catch with it, but no, I haven't seen him get... | ||
| What about tennis, man? | ||
| Even soccer. | ||
| Even soccer, which you think, you know, who's getting hurt in soccer? | ||
| Soccer from heading the ball. | ||
| Just heading the ball. | ||
| The ball flying out, you hit it with your head. | ||
| Soccer players are suffering from CTE to the point where they're starting to minimize the amount of heading they do in practices. | ||
| Really? | ||
| Yes. | ||
| This is what we're finding out about brains. | ||
| There's a good friend of mine, Dr. Mark Gordon, who specializes in CTE. He deals with a lot of soldiers coming back, and a lot of them that are, like my friend Andrew Marr, where they would blow open doors. | ||
| So they'd set up a charge on a door and step back, and boom, the door would blow. | ||
| These guys, I mean, he didn't even get hit with anything, or maybe IEDs that are nearby. | ||
| Those guys suffer significant brain damage. | ||
| It's just from the impact of just getting shook by an explosion. | ||
| Not even anything actually hitting them in the head. | ||
| Which high school sport has the most concussions? | ||
| Is it soccer? | ||
| Girls soccer. | ||
| Girls soccer. | ||
| Isn't it cheerleading? | ||
| Had rates exceeded boys football by 2015. Wow. | ||
| I know. | ||
| When you stop and you look at those, like when they're going to commercial on a college game, and they throw that girl up in the air, and you're like, man, to get that right. | ||
| I saw a documentary about it. | ||
| It's one of the most dangerous sports in the world is high school cheerleading. | ||
| These girls fall on a gym floor and just smack their heads on the floor. | ||
| It's crazy. | ||
| There's a breakdancing Instagram page called Stance Elements. | ||
| Jamie, pull up Stance Elements. | ||
| There's a guy who looks like he's about 300 pounds and he breakdances. | ||
| He leaps forward and lands on the top of his head and keeps his feet up in the air. | ||
| I don't know how the fuck this guy did this. | ||
| This guy's bigger than Burt. | ||
|
unidentified
|
Really? | |
| Yeah. | ||
| Maybe not as big as Bert. | ||
| Yeah, come on. | ||
| He's pretty big. | ||
| And he leaps forward and he lands on his head. | ||
| No hands. | ||
| Lands on his head with his feet up in the air and holds the position for like a solid second. | ||
| It's preposterous. | ||
| And when you can do that trick, you do it a lot. | ||
|
unidentified
|
Watch this. | |
| Look at this guy. | ||
| Whoa! | ||
| Yeah. | ||
| Look at the size of him. | ||
| Watch this. | ||
| Give me some volume. | ||
| That guy will need a disc replacement within the next month. | ||
| That is so much weight on your fucking head. | ||
| He's probably so dizzy and he's playing it off. | ||
| That ain't shit, bro. | ||
| Look at that. | ||
| I gotta tell you, you guys are making me feel so good about my mostly sedentary lifestyle that I've led my whole life. | ||
| I have not been hitting my head at all. | ||
| It's safer. | ||
| You're definitely safe. | ||
| Don't hit your head. | ||
| This is coming from somebody who watches people get their head hit for a living. | ||
| I'm feeling really good now. | ||
| Usually I feel more ashamed for the way that I've been conducting myself. | ||
| It's just when you can avoid it. | ||
| I mean, look, it's not a bad way to make a living if you want to be a fighter and you really want to do it and that's your drive. | ||
| that you should do it, but you should really learn how to defend yourself correctly and learn the right technique. | ||
| But when you're doing it for recreation and you're doing something like lacrosse where you're running at each other full clip and smashing into each other, and that's within the rules, I think we're operating on ancient information. | ||
| That's what I think. | ||
| I think most of these systems that they're setting up, most of these sports... | ||
| Rules and a lot of the organizations, they're all operating on these old ideas of brain damage. | ||
| That's why I'm freaking out when I'm going to this school football game. | ||
| And I'm watching this, I'm like, this is just brain damage. | ||
| I'm watching brain damage. | ||
| And I'm watching it that's promoted by a school. | ||
| And school pride, yay, everybody go. | ||
| Yeah, yeah, yeah, we're playing another team, let's hope we beat them. | ||
| How are you going to beat them? | ||
| You're going to fucking slam into them and give them concussions. | ||
| And they're going to go to school and they can't count. | ||
| Do you get blowback for talking about that stuff from fans and that kind of thing? | ||
| No. | ||
| Because it's true. | ||
| I'm sure there must be some blowback. | ||
| I don't read it anyway. | ||
| But it's got to be true. | ||
| I mean, there's just too much evidence. | ||
| I just think... | ||
| Choose wisely. | ||
| Don't not take risks. | ||
| I mean, if you really want to be a BMX rider or a professional skateboarder, you're going to take some knocks. | ||
| It's just part of the program. | ||
| Just don't do it if you don't have to. | ||
| Because it piles up and there's no coming back. | ||
| When you go and you have significant brain damage, you can get therapy that can help you, but there's a road you're going down. | ||
| It's your brain. | ||
| I know. | ||
| HBO's actually tapped into it a lot with that Real Sports show for years now. | ||
| They've been doing follow-up pieces on... | ||
| CTE, and man, it is devastating to see some of those guys. | ||
| Those guys are like in their 50s, you know, 60s, and they're not there at all. | ||
| Dude, I put a video up on Instagram or on Twitter. | ||
| I retweeted it, and it's Boxers, where it shows the boxers when they're young, and they're talking, and then it shows them at the end of their career. | ||
| They're retiring, and then they interview them, and you see them just completely gone, like a shell. | ||
| Yeah, I saw an interview with Riddick Bowe a while ago. | ||
| Really bad. | ||
| Oh, it's awful. | ||
| And I remember even, this one was actually kind of funny, was James Toney. | ||
| Wow. | ||
| It was towards the end of his fighting, and he was definitely at least 40 pounds overweight. | ||
| Like really out of shape, but still throwing bombs. | ||
| And he was sparring, and it was like that piece that they air right before the fighters go to the ring on fight night. | ||
| And he's definitely taking some shots and giving some shots. | ||
| But he was sparring and they were throwing in fresh bodies for him to spar against. | ||
| So it was like, you know, two minutes with this guy and then boom, fresh body. | ||
| And as he's like, he is like really hyperventilating, sweating, spitting. | ||
| He's still talking shit like at... | ||
| As he's fighting, he's like... | ||
| And then they bring in the next guy. | ||
| He's like, you piece of shit. | ||
| He's a mess. | ||
| He looks like a total mess. | ||
| But he's just talking shit, calling guys faggots and shit. | ||
| As he's... | ||
| Barely making it through these these sparring sessions and you know, I mean he would he need these guys he had to fight, you know Yeah, he had to fight well, especially towards the end of his career. | ||
| He took a fight in the UFC. He did yeah Yeah, he's the only like real world champion boxer that ever fought in mixed martial arts in the UFC Randy Couture ankle-picked him took him down strangled him right away. | ||
| Yeah, it was easy. | ||
| Yeah, I mean this just I don't even think he really bothered learning. | ||
| I think he just took a paycheck. | ||
| I think he just put the gloves on and got in there and just had no idea what to do when Randy got a hold of him. | ||
| He was clearly untrained when he came to the ground. | ||
| Look at this. | ||
| Low ankle, low single. | ||
| I mean, this is the beginning of the fight. | ||
| Randy just immediately mounts him, punches him in the head a bunch of times, and then strangles him. | ||
| Randy was just honestly being nice. | ||
| Really? | ||
| Yeah, he could have punished him a lot longer if he wanted to. | ||
| He just wanted to finish him up. | ||
| It was sad. | ||
| Because it was just, you know, he was talking about how these guys just don't know how to handle his hands and every fight starts standing up, which is true, but Randy Couture will take you down all day, anytime he wants. | ||
| And then he got him in an arm triangle and just smushed him. | ||
| I mean, even when he's punching him, he's not even hitting him that hard here. | ||
| He's just trying to force him to give something up. | ||
| That's what he wants. | ||
| He wants his head tied down against the side of his arm. | ||
| Then he's going to squish him. | ||
| That's it. | ||
| It's a wrap. | ||
| Didn't take a punch. | ||
| That was pretty quick. | ||
| That was pretty fast. | ||
| And James Toney's one of the best that ever did it. | ||
| He's a phenomenal boxer. | ||
| And talked a lot of shit. | ||
| He was a great shit talker. | ||
| A lot of shit. | ||
| Yeah. | ||
| So, I don't want to discourage you, but show your son some of these videos. | ||
| Like I said, we're out in the backyard playing catch. | ||
| It's just like a slice of America out there. | ||
| I'm not even thinking about this. | ||
| Well, people operate not totally aware of consequences, and they make choices that will affect them for the rest of their lives. | ||
| Yeah, and I mean, I love my kids. | ||
| I mean, you guys are kind of, like, I'm having that feeling right now, because I love my kids so much, and I just think, oh, wow, okay. | ||
| Is it like basketball? | ||
| He does, yeah. | ||
| Basketball's a great sport. | ||
| Yeah. | ||
| There's no contact. | ||
| And guaranteed contracts, man, if he makes it to the league, bro. | ||
| Yeah. | ||
| It's the best. | ||
| How tall is he? | ||
| Not tall. | ||
|
unidentified
|
No, that's not tall. | |
| Yeah. | ||
| Okay. | ||
| What about baseball? | ||
| That's another one. | ||
|
unidentified
|
Baseball's great. | |
| That's the best. | ||
| Baseball's a bomb diggity. | ||
| As long as you don't hit a bit of a pitch, you get hit with a pitch. | ||
| Yeah, that sucks. | ||
| But other than that, that's the lifestyle, man. | ||
| Yeah. | ||
| That's the best. | ||
| You know, I don't know if I'm allowed to do this here, but while we're here, I really wanted to talk about how Tom got into this movie. | ||
| Can we talk about that? | ||
| Yeah. | ||
| What do you mean, allowed? | ||
| I mean, allowed to just totally jump tracks like that and just throw in. | ||
|
unidentified
|
Of course. | |
| We're talking about brain damage. | ||
| I don't want to get in trouble. | ||
| I don't want to get in podcast trouble. | ||
| There's no rules. | ||
| Podcasts have no rules. | ||
| Yeah, how did he get in this? | ||
| Yeah, how did I get in this? | ||
| So I saw his stand-up and I thought it was really funny. | ||
| And we had already written a draft of the script and I was like, oh man, this guy would be a great Russ. | ||
| And I didn't really think too much about it because we were making another movie at the time. | ||
| And then when it came back around, we were talking about different people that you're going to cast and you get these boards up and stuff. | ||
| So your picture was actually on a board for a while. | ||
|
unidentified
|
Wow. | |
| I don't think you even knew that. | ||
| I didn't know that. | ||
| Your picture was on a board. | ||
| I did not know that. | ||
| So tell it from your angle when you got the call, though. | ||
| I'll tell you this. | ||
| I don't even know if you know this, that I passed on the audition. | ||
| I do. | ||
| Yeah, you told me this one. | ||
| - It's a good start. - So when they, you know, for people, like when you're, if you're a star, you get calls that like you have an offer, right? | ||
| Like, do you want this offer? | ||
| Do you want to do this movie? | ||
| But if you're just like working, and trying to get booked, you get these emails. | ||
| Usually it's an email followed by a call that says, like, for your consideration, movies called "The Instant Family," Sean Andrews, John Morse wrote it. | ||
| It's, you know, the part is Russ, and it has like all the, you know, Mark Wahlberg's agreed to play this, and Rose Byrne is attached to play this, and then here's the sides. | ||
| And it was like one of those things where it'll say, you know, so Thursday at 11.15 a.m. | ||
| you are confirmed for the audition. | ||
| And I get that email like on a Monday. | ||
| And I was like, I just got back from the road. | ||
| I was like, I got a podcast today. | ||
| I was like, whatever. | ||
| And then I just don't even read any of it. | ||
| So then it's like, you know, Tuesday and then something happens and we're busy at the house. | ||
| And then they go, here we're just following up. | ||
| That you're good for the audition tomorrow. | ||
| I get that like on Wednesday, you know, just confirming that you'll be there. | ||
| And I were like, nah, like, that's a pass. | ||
| Like, I'm not going to be there. | ||
| And that was it. | ||
| I just sent that off. | ||
| Like, I'm just not doing that this week. | ||
| And then I get a call right away. | ||
| And it's my agent. | ||
| He's like, hey, I noticed that you're... | ||
| I'm trying to make money off you. | ||
| I noticed that you're not going to... | ||
| You said no? | ||
| Is there a reason? | ||
| Did the... | ||
| What did they say? | ||
| There's always that phrase. | ||
| You didn't respond to the sides? | ||
| Yeah, did you not respond to the material? | ||
| Did you not respond to the material? | ||
| And I go, oh, I haven't even read it. | ||
| And they go, well, why aren't you reading it? | ||
| I was like, because... | ||
| And I just kind of lay out my week. | ||
| I'm like, I've had this. | ||
| I've had this with my kid. | ||
| I traveled. | ||
| I'm doing this. | ||
| I just got a lot going on. | ||
| And he's like, okay. | ||
| I go, so it's not personal. | ||
| I think he's taking it personal. | ||
| I go, I'm not saying no to upset you. | ||
| I just have these things. | ||
| And he's like, okay, well, the director specifically requested... | ||
| That you audition and like, as you know, that doesn't happen a lot with you. | ||
| So like, do you want to reconsider? | ||
| And I was like, yeah, hold on a second. | ||
| I go, he asked me, he's asking for me to like, yeah. | ||
| And I go, no, wait, did you believe him or did you think he was manipulating you? | ||
| I did. | ||
| I did believe him because I mean, he's never said that. | ||
| And, you know, a lot of times I've done things with like the producers are in the room on this session or that stuff. | ||
| And I go, okay, well, here's the deal, man. | ||
| I'm not going to go in unprepared. | ||
| Because now the audition's in 24 hours. | ||
| So I go, I'll do it, but you have to buy me a couple more days. | ||
| Because I have this the rest of today. | ||
| I'm not going to do it tomorrow morning. | ||
| And he was like, okay, I'll see what I can do. | ||
| And then he called me back. | ||
| He's like, they said they're good for Monday or whatever. | ||
| And I was like, great. | ||
| And then I tried to prepare for that... | ||
| Because they told me, the director, I was like, I can't go into this thing half-assed. | ||
| So then I'm like, really trying to prepare for that. | ||
| And then I go in there and it was, you're on Skype. | ||
| Well, okay, so here's what happened from my end. | ||
| Because you didn't show up... | ||
| Show up. | ||
| I had to go back to Atlanta. | ||
| And so then we had to do the audition via Skype. | ||
| Oh, I didn't know that either. | ||
| That's brutal for everybody else. | ||
| Because you didn't show up. | ||
| Well, who organized it? | ||
| What kind of nonsense agency are you with that they booked you something and don't tell you that they booked you? | ||
| Well, they always do that. | ||
| They just book it? | ||
| No, they'll set up on a time, right? | ||
| It's very common where they'll go... | ||
| 11 a.m. | ||
|
unidentified
|
Thursday. | |
| This is your agency? | ||
| Yes. | ||
| Now, they must have nothing to do with your podcast then. | ||
| Nothing. | ||
| That's the problem, right? | ||
| Yeah. | ||
| So they don't know what you're booking. | ||
| So they'll just think that that takes precedent. | ||
| They also will be like, hey, you have an audition Friday. | ||
| And I'm like, when I'm in Philadelphia? | ||
| And they're like, you're in Philadelphia? | ||
| Oh, so this is a different agency for your stand-up as well? | ||
| Yes. | ||
| Oh, Christ. | ||
| Is there any way you can move that? | ||
| They really fucking say that? | ||
| Oh, yeah. | ||
| Holy shit. | ||
| I had an agent tell me... | ||
| Oh, yeah, let me call these 5,000 people that are waiting for me. | ||
| I had an agent go like, why don't you just... | ||
| Oh, it was about booking something. | ||
| And I was like, when does it shoot, though? | ||
| Like, if I book this, when does it shoot? | ||
| And it was like this, you know, October 3rd or whatever. | ||
| I'm like, oh, but I'm in Sacramento. | ||
| He's like, just move that. | ||
| And I was like, yeah, but it's two theater shows. | ||
| It's like 5,000 people. | ||
| And he was like, oh, really? | ||
| I'm like, yeah. | ||
| Like, you think I was just going to just move it aside? | ||
| And he's like, I'm like, why don't you know that? | ||
| My calendar's public. | ||
| Just look it up, man. | ||
| But, yeah, they'll give you answers like that. | ||
| You should quit acting. | ||
| You should make this movie. | ||
| I'm sure this movie's going to be awesome. | ||
| Make it your swan song, bro. | ||
| A lot of people are saying it's the breakout performance of the year. | ||
| I don't know if you've heard that yet. | ||
| Those four minutes crackle. | ||
| They resonate. | ||
| They do. | ||
| That's what I've heard. | ||
| They do. | ||
| Well, so I'm in Atlanta. | ||
| Thank you. | ||
| And he auditions via Skype. | ||
| And when I saw his stand-up, I was like, this guy's perfect because we want this guy to just have this kind of swagger and this confidence, but he can kind of say these jackass-y things, but just sort of own them. | ||
| And I'm like, this guy's perfect for this. | ||
| I keep saying this guy because I didn't know him at the time. | ||
| And so Tom comes in and I watch the Skype audition. | ||
| Now, I'm going to shit-talk you a little bit here. | ||
| And he was not good. | ||
| He was so not, like, who he is. | ||
| Like, he came in and he kind of was, like, sort of putting his back into it a little bit. | ||
| Like, he was kind of, like, really just trying to be kind of, like, really sort of extra funny. | ||
| And it was just not at all what I had in mind. | ||
| But I just was like... | ||
| So I'm watching at Skype and I'm just... | ||
| So I'm trying to give, you know, some direction. | ||
| How do you feel about this? | ||
| I had no idea what, here's the thing, every audition, this is actually fascinating if you audition, because you literally leave auditions and you go, sometimes you go, that was great, and you'll never hear anything again. | ||
| Sometimes you go, I bombed, and you get a call, hey, guess what, they want to see you again, or you booked, you're like, what? | ||
| You don't know what they want. | ||
| You have no idea. | ||
| You have no idea. | ||
| You don't really know what they want when you're going in. | ||
| I did not know that it sucked that bad. | ||
| I didn't know that. | ||
| No, it wasn't that it sucked that bad. | ||
| It might have been. | ||
| No, no, it wasn't. | ||
| No, it was just that you have this very specific thing that you do that I wanted to bring in and be a part of this character, and you left that out. | ||
| See, but I don't think... | ||
| What's that thing? | ||
| It's like he's got this in his delivery, this kind of devil-may-care kind of like... | ||
| Like a deadpan sort of... | ||
| Yeah, but it's like a big part of your persona is this whole like, all right, Whatever. | ||
| I just said that. | ||
| Okay. | ||
| And I wanted Russ to have that thing. | ||
| And when you came into audition, you left that thing out. | ||
| Do you think I did that in the movie? | ||
| Not at all. | ||
| No, you were great in the movie. | ||
| No, I'm saying I feel like I did the movie exactly how I auditioned. | ||
| No, you didn't at all. | ||
|
unidentified
|
Really? | |
| No, it was like night and day. | ||
| Really? | ||
|
unidentified
|
It was like night and day. | |
| In my mind, if someone were to ask me, I'd be like, 100% they're the same. | ||
| The second audition, you did just like the movie. | ||
| Really? | ||
| Yeah. | ||
| Because basically, so then what happened is we got together and I thought, and I was like, God, I don't want to- Did you meet him for the second audition? | ||
| Well, we got together because I called him because I really wanted him to be in the movie. | ||
| And I called him and I said, would you be willing to just come over to my house and we can just talk through it and work through it a little bit? | ||
| That's some Harvey Weinstein shit. | ||
|
unidentified
|
Yes. | |
| I made jokes about that. | ||
| I made jokes about that immediately to him on the phone. | ||
| I was like, am I going to give you a bath? | ||
| And he was like, all right. | ||
| But can I tell you, I got to go back. | ||
| This is more embarrassing. | ||
| I remember leaving that audition, that now you're telling me this, the first one, and telling my agent, like, There's no way I could have done better. | ||
|
unidentified
|
I did. | |
| I did tell him that. | ||
| I was like, I could not. | ||
| I can't imagine that this was... | ||
| Dude, I nailed it. | ||
| I'm serious. | ||
| And this is the thing. | ||
| I understand that because you had energy and you were funny, but you just didn't have that thing that I wanted so badly to be a part of this character. | ||
| And so there was this one thing that was missing, and then you came over and we talked about it, and then you did it. | ||
| And then also we got the chance to, because when he read it, he's just reading dialogue that we wrote for anybody. | ||
| But then once you have somebody's voice in your head a little bit, you can adjust it and make it a little more comfortable. | ||
| Oh, that's right. | ||
| So we made some adjustments to the dialogue and everything, which made it more conducive to your just style of speaking. | ||
| That's true. | ||
| It's your cadence. | ||
|
unidentified
|
Yeah, yeah. | |
| That was fun. | ||
| And yeah, it was. | ||
| And so then he comes back and he does it again and he crushed it and he was really funny. | ||
| And we sent that to the studio and they were like, oh my God, this guy's great. | ||
| And it was like such a great thing. | ||
|
unidentified
|
I have no idea, dude. | |
| I have no idea. | ||
| That's funny. | ||
| That's kind of why I wanted to talk about this on the podcast because I knew you didn't know all that. | ||
| I definitely didn't know that. | ||
| I definitely didn't know that. | ||
| It's actually, like, it's the thing, though, like, that's the big bummer about, in general, auditioning, is you walk out and you go, sometimes you follow up with your agent, and you're like, so what's the feedback? | ||
| And they're like, they always tell you, they loved you. | ||
| And you're like... | ||
| Is there anything else? | ||
| And you don't know, like, was it good? | ||
| Was it bad? | ||
| And you also don't know what they're looking for. | ||
| And I don't know. | ||
| I mean, going to your place, going over, like, you know, in detail more is also... | ||
| Like, I actually felt like I won a contest. | ||
| Because, you know, you audition. | ||
| Now I know I tanked. | ||
| And then the director's like, do you want to come work on it so that, like, possibly you can do it better? | ||
| And I was like, sure, man. | ||
| So I'm working with him on this thing. | ||
| And I don't know. | ||
| We spent a lot of time working on it, and then when I found out I booked the role, then I go there, and I feel like it's a second part of a contest, because he has all great actors in the movie, for all the parts. | ||
| I mean, you know the stars, but like, Margot Martindale from The American... | ||
| Did you watch The Americans? | ||
| No. | ||
| Oh, that show is... | ||
| You've seen her, though. | ||
| She's amazing. | ||
| Yeah. | ||
| I heard that show's awesome. | ||
| That show is so good. | ||
| I mean, it just ended, but, like, if you ever want to go on a binge weekend, now you have, like, six seasons, I think, to go through. | ||
| And I became a big fan of hers on that, and then Julie Haggerty. | ||
| And you have, like, just all these great actors. | ||
| So every time... | ||
| Yeah, Octavia Spencer, we had Tig Notaro, we had, like, really good people. | ||
| Every time we're, like, shooting a scene with one of them, I end up just watching them. | ||
| Like, I'm in the scene, and I'm just like... | ||
| Wow, she's a really good actor. | ||
| That's weird, isn't it? | ||
| Yeah, it totally is. | ||
| I did a scene with Maura Tierney once when I was on news radio. | ||
| Maura Tierney is definitely one of the best actors I ever worked with. | ||
| But she was so good that she did the line. | ||
| You know, we're rehearsing, doing all those things. | ||
| She did the line in the scene, and I didn't realize that it was the line from the scene. | ||
| I realized she was just talking. | ||
| I thought she was just talking. | ||
| Because of how, like... | ||
| Because she's so natural. | ||
| Yeah. | ||
| I was like, that kind of creeped me out. | ||
| Yeah. | ||
| I was like, oh... | ||
| Oh, that's the line! | ||
|
unidentified
|
Whoa! | |
| I was like, that was weird! | ||
| Like, you were just totally normal! | ||
| Right. | ||
| Because otherwise people are like, Tom, where are we going to find a guy that's going to fix that? | ||
| Right. | ||
| It's so forced. | ||
| She had none of that. | ||
| Because she was really an actor before she was... | ||
| Some of them don't like to be called actresses, right? | ||
| Yeah. | ||
| So it's safer to say actor. | ||
|
unidentified
|
Mm-hmm. | |
| But at comics, who the fuck uses Comedienne? | ||
| Remember that? | ||
| That went away. | ||
| I didn't know that... | ||
| It doesn't exist anymore. | ||
| Do you know about the Latinx thing? | ||
| I didn't know that was a thing. | ||
| You didn't know about that? | ||
| What do you mean? | ||
| I was reading this article and... | ||
| Yeah, it's Latino and Latina are male and female gender specific. | ||
| Right. | ||
|
unidentified
|
So... | |
| And the word Latin... | ||
| Also gets it done as far as... | ||
| Yeah, I don't know. | ||
| Yeah, so it's supposed to be... | ||
| Like, that's how you... | ||
| Latinx? | ||
| You should say that? | ||
| You're supposed to say Latinx. | ||
| Because... | ||
| Is this new? | ||
| I'm not doing it. | ||
| It's a couple years in the making. | ||
| They can fuck off. | ||
| Well, see, in Spanish, the masculinized version of these words is considered gender neutral, but that obviously doesn't work for some of us, like myself. | ||
| And so I think it's appropriate to assign masculinity as gender neutral when it isn't. | ||
| So I'm Latinx. | ||
| Well, it's interesting because my kids are Latin, and this is another one of the things that we touch on. | ||
| Latinx. | ||
| Yeah, there it is. | ||
| Oh, sorry, go ahead. | ||
| No, go ahead, please. | ||
| Well, we touch on this, not this pronunciation, but we touch on that a little bit in the movie of there is that feeling. | ||
| When we went in to adopt our kids, we were just open. | ||
| We were like, look, we're pretty general age-wise. | ||
| We didn't go in expecting three kids. | ||
| We thought one, and it sort of turned into that. | ||
| But you're open to it, and they ask you, well, what about ethnicity? | ||
| You know, and you just go, yeah, you know, whatever, you know, wherever the need is, you know, whoever needs parents, you know, let us know. | ||
| But then when it happens and your kids, in my case, my kids turned out to be Latin, then you have the, you know, you start to kind of think about, like, oh, well, you know, is that okay? | ||
| Is that going to look like the white savior thing? | ||
| Is that going to look weird? | ||
| Am I saying things right? | ||
| And whatever. | ||
| And what ends up happening... | ||
| It's this really wonderful thing where your family becomes this melting pot. | ||
| Where, you know, at first, because of the times that we live in right now, it's a little scary jumping into that. | ||
| That's so weird. | ||
| But you ultimately are just going to think about who the kids are, what their need is, and how obviously wonderful they are. | ||
| But all of those things come up, and that's the kind of thing that wouldn't even be, you know, why would the Latinx thing have anything to do with my house? | ||
| Well, now it does. | ||
| So I've got all that all the time, and I actually find it really interesting. | ||
| The Latinx thing? | ||
| No, no, not that specifically, but just that my family is now this little melting pot. | ||
| Yeah, that part's cool. | ||
| And it's cool. | ||
| I reject Latinx completely. | ||
| Well, it is cool, but it's also very strange that that is, and it would be, a real point of concern. | ||
| Like, you would worry about, you know, how do I handle this culture without cultural appropriation? | ||
| How do I bring my kid and embrace the Latino or Latinx culture? | ||
| Like, how do I handle that? | ||
| Yeah. | ||
| Yeah. | ||
| And how do I do without getting called a racist? | ||
| Well, and it gets back to what I was talking about before, where you're trying to just put your kids' needs first and just deal with them as children, as individuals, as human beings, you know? | ||
|
unidentified
|
Right. | |
| But at the same time, you're also – you're with other parents and there's – in the adoption community – and really in every direction, there's mixed-race families in the adoption community – Sure. | ||
| Sure. | ||
| and just the movies you watch, the foods you eat sometimes. | ||
| And I think it's great. | ||
| No, it's great. | ||
| I think it's really, you know. | ||
| The language thing for me, it stands out more because my whole life I've said Latino, like my mother's Latina. | ||
| And it's just funny to me to... | ||
| Yeah. | ||
| And you speak Spanish. | ||
| Yeah, yeah, yeah. | ||
| He speaks fluently, which is hilarious because Tom has some great stories about people not thinking he speaks Spanish. | ||
| Because when you look at him, you're like, oh, look at this fucking American guy. | ||
| Yeah. | ||
| He looks like a regular American guy. | ||
| But he speaks perfect fluently. | ||
| Like, I've been around him before when he asks people questions. | ||
| He's like, whoa, I forgot you could do that. | ||
| Yeah, yeah. | ||
| It's like someone who you know that could do backflips. | ||
|
unidentified
|
Right. | |
| You know, they just do a backflip. | ||
| You're like, oh, I forgot you could do that. | ||
| Yeah, it's true. | ||
| And it throws people off. | ||
| Yeah, because you look so American. | ||
| Yeah. | ||
| And you look like a guy who loves football. | ||
|
unidentified
|
Yeah. | |
| Just a fucking American, a regular American. | ||
| But he speaks perfect. | ||
| He rolls the R's. | ||
| Even when I travel abroad to Spanish-speaking countries, even there, even though Spanish-speaking countries are also melting pots, they still look at you like, oh shit. | ||
| Yeah. | ||
| Look at this motherfucker. | ||
| Yeah, it really throws people... | ||
| The craziest one wasn't even with me. | ||
| My sister, one of my sisters who also speaks Spanish, went to the Naval Academy's Linguistics Center in the Navy. | ||
| And she was in the Navy for a while, and she learned Mandarin. | ||
| Whoa! | ||
| And it was really intense, you know? | ||
| It was really intense. | ||
| And we went to a restaurant together, and the guy... | ||
| It was one of those restaurants, like a Benihana type, where they chop stuff up. | ||
| And the guy was... | ||
| Someone asked where he's from, and he said somewhere in China. | ||
| And she starts speaking Mandarin, and he dropped the thing, and he was like... | ||
| Like he saw a ghost. | ||
| And she's spitting back to him in pretty fluent Mandarin. | ||
|
unidentified
|
Wow. | |
| And he stops and he was like, I've never seen this before. | ||
| And he's like, I've never seen a white person do this. | ||
| And we were like, yeah, pretty wild. | ||
| And then he turned to us, he goes, I don't think you understand how hard it is to speak this language. | ||
| I was like, I have a pretty good idea. | ||
| I can't do it. | ||
| He couldn't even start cooking. | ||
|
unidentified
|
How long did it take your sister to learn? | |
| When you get into that Naval Institute program, they have you going, I think it was something like eight hours a day, five or six days a week. | ||
| So it's really, it's super intense. | ||
| It's almost like... | ||
| Oh, just learning Mandarin? | ||
| Yeah, yeah. | ||
| And it overwhelms people. | ||
| People drop out, almost like in a physical stress way, you know? | ||
|
unidentified
|
Right. | |
| So people just can't handle it. | ||
| Like boot camp. | ||
| Like boot camp. | ||
| And I forget how long she was in it. | ||
| And, you know, she didn't reach the level of super, you know, fluent, like we're speaking English, but she was able to communicate in Mandarin. | ||
| Can she read it? | ||
| She was reading and writing. | ||
| That's the thing is, she was telling me one time about... | ||
| How many characters and, you know, it was just unbelievable. | ||
| And, like, there's sounds for expressions. | ||
| Like, I'm going to screw up because I don't remember it, but she was like, you can do something like, oh, and that means, like, means an actual phrase, you know? | ||
|
unidentified
|
Oh, wow. | |
| Like, there's so many... | ||
| And that there's characters that mean entire expressions as well. | ||
| Our brains are so married to our alphabet and way of speaking that it's a real jump to learn that, you know? | ||
| It's just, it really is fascinating when you travel and you listen to people speaking their native tongue and you realize how strangely different languages are across the entire planet. | ||
| Yeah. | ||
| I mean, just unbelievable. | ||
| Like, I was in Thailand this summer and you listen to people talk Thai and everything, everything stretches. | ||
| It's got like a stretch to it. | ||
| You know, it's like a weird, it's a very odd language. | ||
| I'm like, compare that to like German. | ||
| Or Dutch. | ||
| Yeah. | ||
| You know, like the Germans got those hard sounding. | ||
| Really hard, yeah. | ||
| It's like this weird difference. | ||
| Yeah, and the Latin one, the Latin root word, like languages, all do have a flowy, singy, songy. | ||
| They're kind of nice to listen to. | ||
| It's a beautiful language. | ||
| It's really nice to listen to. | ||
| I mean, I like listening. | ||
| I don't speak Portuguese. | ||
| I like listening to it. | ||
| Yeah, Brazilian Portuguese is amazing. | ||
| Yeah. | ||
| It sounds so cool. | ||
| And we listen to French music sometimes at home, just in the kitchen. | ||
| Yeah, yeah, like cooking or something. | ||
| I don't know what the hell they're saying. | ||
| I like it. | ||
| I like that when I write. | ||
| I listen to Spanish music when I write, because I have no idea what they're saying. | ||
| I do that too, where you listen to music in a foreign language so that it doesn't impede your... | ||
|
unidentified
|
It doesn't distract you. | |
| Yeah, yeah. | ||
| It's like, it sounds good. | ||
| It gives me a little something-something, but I can still think about the exact things that I'm thinking about. | ||
| Well, I recently had this interesting experience. | ||
| I sent you one of them that, you know, the trailers for the movie get... | ||
| Oh, yeah. | ||
| The movie itself and the trailers get dubbed into all kinds of different languages. | ||
| So you have this dialogue that I wrote, you know, or me and John wrote or whatever, and you get to hear it in these different languages. | ||
| And I sent you the Spain-Spanish version. | ||
| Because that's different. | ||
| Yeah. | ||
| And I don't really... | ||
| I'm not going to pretend that I understand that much what the difference between it is. | ||
| But that's predominantly what you speak, right? | ||
| No. | ||
| Oh, it isn't? | ||
| No. | ||
| What I speak predominantly is just like specifically South American and more specifically Peruvian dialect. | ||
| Oh, okay. | ||
| All right. | ||
| Great. | ||
| But I mean, I did study. | ||
| I studied in Madrid for six months. | ||
| And once your ears are trained to it, you can listen to someone say a sentence and know that it's, oh, that's from Spain. | ||
| Oh, that's really interesting. | ||
| Then there's the Cuban version of it, which is crazy. | ||
| Yeah. | ||
| It's a wild version of the way they... | ||
| All the island dialects sound dramatically different, you know? | ||
| Like, if you listen to somebody from Cuba, Puerto Rico... | ||
| Is it a comparison, like, English speakers from America versus English speakers from Ireland? | ||
| It is, yeah. | ||
| And I would say, you know, I always think of Spain as like our Britain, you know, in a way. | ||
| Like the language, probably English is from England. | ||
| That is how you speak it. | ||
| Spanish and Castilian, you know, that comes from Spain. | ||
| They're speaking OG Spanish. | ||
| And then it all kind of came over here and it's influenced. | ||
| And every country has... | ||
| Different ways of saying things. | ||
| Obviously different slang. | ||
| All different curses. | ||
| All different expressions. | ||
| Completely different. | ||
| Even words as simple as to pick up. | ||
| Coger. | ||
| Pick something up. | ||
| You say that in Mexico or Argentina. | ||
| It literally means to fuck. | ||
| Really? | ||
| Yeah. | ||
| So if you're like, quiero coger esta agua. | ||
| You're saying, I want to fuck this water. | ||
| But... | ||
| I'm going to fuck this bottle. | ||
| Yeah. | ||
| My mom told me that she was in Argentina when her youth traveled there and was with a bellhop, and she was like, cogeme la maleta, which is like, pick up that suitcase. | ||
| But he was like, okay, because she was basically in slang saying, fuck my suitcase, you know. | ||
| So, it's just... | ||
| But, like, there's, like... | ||
| And there's also, like, severity of words. | ||
| Like, joder is the word... | ||
| Like, there's so many ways to say fuck, of course, in every language. | ||
| But joder in Spain is, like, is saying fuck. | ||
| It's, like, going like, oh, fuck. | ||
| But, like, when you say it in Peru, no me jodes, it's a softer... | ||
| It's not taken as severely. | ||
| So, it's not read the same way. | ||
| You're not saying... | ||
| You're saying, like, you're complaining, but you're like, I don't... | ||
| It's taken as, like, oh, don't mess with me. | ||
|
unidentified
|
Wow. | |
| You know? | ||
| So, like, even when I would say, when I would go to Spain, like, they were like, damn, you curse a lot. | ||
| I was like, really? | ||
| And then, you know, we went over that one. | ||
| And then, like, six months later, they were like, you actually do curse a lot all the time. | ||
| And I was like, yeah, that's probably right. | ||
| Do you do stand-up in Spanish when you... | ||
| I've done bits and stories where I involve both English and Spanish, but I haven't done... | ||
| There's a show now here in L.A. that they're doing... | ||
| I think even at the stores had it once where some of the Spanish-speaking comics here have done a full show in Spanish here in L.A. Francisco Ramos, Felipe did it, Esparza. | ||
| What's the other guy? | ||
| Torres... | ||
| Didn't Joey do it? | ||
| I don't know if Joey did it. | ||
| Joey used to do Spanglish in Miami. | ||
| He would do Cuban, Spanish, plus English, and it was impossible to follow. | ||
| Yeah. | ||
| It's like, because the audiences were, there's so many Cuban people in the audience, and he would hit punchlines in Spanish. | ||
| And people would literally just throw chairs through windows. | ||
| He would just jump through the ceiling. | ||
| He would crush so hard. | ||
| It's so great. | ||
| I middled once in Miami and used every trick to get through the set because it's such a chaotic club. | ||
| The club was insane. | ||
| It was totally insane. | ||
| And I was doing stuff and talking to this lady, I would hit a punchline in Spanish and then say something back to this guy in Spanish, then go back to English. | ||
| Do, like, your best bit and then something else in Spanish. | ||
| And it was so crazy for me at the time. | ||
| Like, I never experienced a 20-minute set like that, that the guy, the headliner after me, did 35 minutes and split. | ||
| Like, he was just like, good night. | ||
| Because it was, he was a white guy, and it was, like, not... | ||
| No, it wasn't happening. | ||
| Once they got that flavor. | ||
|
unidentified
|
Yeah. | |
| Because it was like, it's the most, I mean, that room that didn't hold that many people. | ||
| No. | ||
|
unidentified
|
How many? | |
| Like 300 max? | ||
| I think less. | ||
| I think probably less. | ||
| Maybe like 275 or something. | ||
| And it had like, you know, there were Haitians in there, Colombians, Cubans, Puerto Ricans. | ||
| I mean, it was such a mix of people. | ||
| Yeah. | ||
| And if you start giving them a little bit of flavor, yeah. | ||
| And they let people in there that were like 18, too. | ||
| 18? | ||
|
unidentified
|
Yeah. | |
| They let people in with guns. | ||
| They let all kinds of people in. | ||
| It was the Miami Improv. | ||
| It was the worst club to work. | ||
| They're reopening in a new location. | ||
| Good luck. | ||
| Yeah. | ||
| It's too late. | ||
| I don't know. | ||
|
unidentified
|
I hope it works out. | |
| They ruined that area. | ||
| I don't know. | ||
| That was, what was that? | ||
| That was Coconut Grove? | ||
| Yeah. | ||
| And now they're opening, I think, in Doral, I think. | ||
| Miami's just so crazy. | ||
| It's such an interesting place. | ||
| It's so different than any other place. | ||
| I did Miami right before I did my Netflix special, and they were using those yonder bags. | ||
| You had to put your cell phone in a yonder bag. | ||
|
unidentified
|
Yeah. | |
| So you couldn't use it while you were inside the store. | ||
| Sure. | ||
| So you know what they did? | ||
| You could leave the room and use the yonder bag. | ||
| Yeah. | ||
| Right? | ||
| So the entire set, it was the only place where the entire set, people just kept coming and going. | ||
| They just kept leaving and coming back. | ||
| They had to be on their phones. | ||
| There was so many people doing it. | ||
| There might have been dozens of people at any point in time walking around, coming and going, going outside to use their phone and then coming back in. | ||
| It was chaos. | ||
| Yeah. | ||
| The phone thing, I don't know that there's a real good solution yet. | ||
| I did the Yonder thing in New Orleans, and that place wasn't too big, but it was still, you could tell, like... | ||
| It's inconvenient for them. | ||
| It's a long thing to go through. | ||
| But then you have people coming and going in and out of the showroom because they want to use their phone. | ||
| It's a fucking nightmare, man. | ||
| But if they don't, if they just sit there and just tune into the show, it's better. | ||
| It's like 10% better. | ||
| I think so, too. | ||
| But it's hard to impose that on people, too. | ||
| I know. | ||
| When people don't know, they're like, I'm doing what with my phone? | ||
| You're going to put it in a bag. | ||
| It's still going to be on you. | ||
| And you can use it as long as you leave this room. | ||
| They're like, I don't know, man. | ||
| I need to check my phone every 18 seconds. | ||
| Yeah, I had to let people know. | ||
| But there's some people that just want to film everything, too. | ||
| You know, when you get on stage and you see people just standing there while you're doing your set and they're holding a phone up, filming you, and you're like... | ||
| You're making this whole thing so much weirder. | ||
| Do you understand what you're doing? | ||
| You're basically like a TMZ guy at the airport. | ||
| They're watching a show like this. | ||
| Holding it up in front of them. | ||
| They're not even looking at you. | ||
| Especially for comedy, too. | ||
| I went to, of all things, a daddy-daughter dance with my daughter. | ||
| And it was the weirdest thing. | ||
| Every guy was dancing with their little kids like this. | ||
| And I realized though why they were doing it. | ||
| It wasn't about... | ||
| The moment. | ||
| I mean, a little bit. | ||
| But it was more about that if you have that phone out and you're looking at that screen and you're doing that, it sort of keeps everything else out. | ||
| It makes you feel like you're having this little moment instead of having to be this awkward thing of like you're dancing in front of these other grown men. | ||
| I don't think it's that, honestly. | ||
| I think you're just trying to capture these moments. | ||
| You're painfully aware that they're only going to be six for a year. | ||
| Yeah, but not all night. | ||
| You know what I mean? | ||
| Because that's the problem. | ||
| As a parent, you wind up with all this video that you're never going to watch. | ||
| But you're thinking logically. | ||
| Yeah, maybe. | ||
| They're just collecting video. | ||
| They're just collecting. | ||
| They're like hoarders. | ||
| Well, the thing that made me think of it, though, is that I was more comfortable when I had the phone on. | ||
| I was like, oh, yeah, because I feel like I'm doing something. | ||
| Like I'm not just dancing. | ||
| I feel like I'm just doing this thing. | ||
| I'm doing like a parental kind of thing. | ||
| I'm just documenting my cute kid. | ||
| But then when I put the phone away, I felt a lot more exposed. | ||
| Awkward white guy dancing. | ||
| Yeah. | ||
| It was painful for everybody. | ||
| Doing your dad dance. | ||
| It's terrible. | ||
| And every guy there had the same feeling, I'm sure. | ||
| But I was just like, nope, I'm not going to do it. | ||
| I'm putting my phone away. | ||
| This is stupid. | ||
| Tell you what, though, man. | ||
| You go back and look at those videos from when your kid was really little, and it does freak you out. | ||
| They're really valuable, powerful videos. | ||
| Videos of your kids when they're really young. | ||
| There's a video of my daughter when she was... | ||
| She was wearing a diaper. | ||
| I think she was probably just a little over one. | ||
| And we're walking through the airport, and I'm pulling one of those little roller bags, and she's behind it, pushing it, because she liked to push it. | ||
| And her legs are like that tall, and she's a little diaper butt, and she's pushing this thing, and we tell her, hey, we're going to go to a toy store. | ||
| And she's like... | ||
| And she puts her hands together and she pushes the bag again. | ||
| But it's like the most adorable. | ||
| I've watched that video a hundred times easily. | ||
| It's like that video will forever be stained in my brain. | ||
| It's just such a crazy moment. | ||
| We've got these videos too. | ||
| There's a really interesting thing. | ||
| We were starting to get there earlier in our conversation. | ||
| But there's an interesting thing that happens when you adopt kids, particularly kids that are already walking and talking when they come into your life. | ||
| You go through this really chaotic adjustment period because nobody knows each other. | ||
| And it's just so awkward for everybody involved. | ||
| And there's so much to it. | ||
| But it's a really difficult time for everybody. | ||
| But then when you have that, when you get on the other side of it and you're really falling in love with your kids and you can feel that they're falling in love with you and you're becoming this family. | ||
| We have these videos. | ||
| We went on this trip back to Wisconsin where I'm from. | ||
| And when we were just, things were really starting to come together before this trip and And then when we went on the trip, the kids, like you're describing, the kid pushing the suitcase, they have to stay a little tighter with you because you're in airports and you're driving and you're going to a cabin and doing these things. | ||
| And by the time we got back, we were a family. | ||
| We knew, my wife and I were like, wow, we're like a A real family now. | ||
| We love these kids so much, and we can tell they love us, and it's an amazing thing. | ||
| So we have videos from that trip, and those videos, like you're saying, are just like gold. | ||
| It's so amazing to see this moment. | ||
| Yeah, do you remember that bonding? | ||
| Yeah. | ||
| That's got to be such an intense feeling to realize that these kids could have gone in some terrible direction. | ||
| I mean, when you're six years old, you're so... | ||
| Anything can happen. | ||
| Yeah. | ||
| Anything go wrong. | ||
| And instead they got so lucky and they found you. | ||
| I mean, it's like what an incredibly positive thing that is that you've done and an incredibly positive thing for their lives that they came in contact with you and so fortunate. | ||
| I mean, it's amazing. | ||
| But for our lives, too. | ||
| And we didn't know it for a while. | ||
| We had that period where we were like, you really feel like for a while there, like, okay, we've done a good thing here and we're going to suffer for it for the rest of our lives. | ||
| But then as it comes online, I had this one moment. | ||
| I think I told you this, but I had this one moment that... | ||
| And I'm not this kind of guy. | ||
| I don't think of myself as this kind of guy. | ||
| But after all of this... | ||
| Just frustration and craziness. | ||
| And the kids would wake up really early every morning and they would be out in the hallway throwing things at each other and arguing and whatever. | ||
| And you're so sleep deprived and you're just so like, you know, over it. | ||
| And one morning I woke up, I think it was a Sunday and it was quiet in the room. | ||
| My wife was still asleep and it was like around the time where the kids are normally up. | ||
| And I woke up and I thought, oh wow, it's quiet in here. | ||
| And then I had this just overwhelming feeling that I couldn't even identify at first. | ||
| And then I thought, oh shit, I miss them right now. | ||
| Like I'm actually waiting for them to come in the room and wake us up. | ||
| And that was really a big moment for me where I was like, wow, I've turned a big corner here. | ||
| And what you get from them and those kinds of feelings is pretty incredible. | ||
| Is it strange seeing the movie? | ||
| Like thinking that this is based on not just your life experience, but also based on your interaction with some kids that you never wound up adopting. | ||
| Yeah. | ||
| And also, like I said, I met a bunch of families along the way. | ||
| And there's this young girl named Maureen Green who became a consultant on the movie because she grew up in foster care. | ||
| She was adopted as a teenager. | ||
| She's an amazing kid. | ||
| She goes to UCLA right now. | ||
| And so I know either my own stories or other people's stories. | ||
| I can associate them with really specific kids. | ||
| So the thing that's embarrassing is that I'm taking the movie all over the country. | ||
| I've seen the movie like a thousand times now. | ||
| And anytime I watch it with an audience, I get emotional watching the movie. | ||
| I mean, the movie is really funny, but it's got some really emotional moments. | ||
| And it's embarrassing because it looks like, oh, I'm getting so broken up by my own movie. | ||
| But it's really because I'm thinking about my own kids or I'm thinking about these real kids that I've met along the way. | ||
| I've got to tell you this, and I know I'm in it and I'm amazing in it, but I'm saying we went to the screening like a month or two ago. | ||
| And Christina and I get there, and we run into Mark right away. | ||
| So he's like, you haven't seen this? | ||
| And I go, no. | ||
| He's like, it's really... | ||
| Man, it's really good. | ||
| And I was like, yeah, I keep hearing it's good. | ||
| And he's like, no. | ||
| He was prepping me for how emotional he gets in it. | ||
| He's like, I'm in some violent stuff that's awesome, but this I'm in. | ||
| And he's like, I couldn't help but... | ||
| Get emotional about it. | ||
| And I was like, okay. | ||
| I'm like, alright. | ||
| And then I sit there and watch it. | ||
| And then I look over. | ||
| Christina's crying in parts of the movie. | ||
| I start getting emotional in parts of the movie. | ||
| I mean, it's like, he actually... | ||
|
unidentified
|
I'll say this. | |
| You did a really good job of balancing those emotional moments with the comedy. | ||
| So, I mean, I don't know how you do it, but, like, the back and forth of it was, like, a perfect balance. | ||
| And I think it's a great movie. | ||
| I mean, everybody... | ||
| Who's seen it that has said anything to me is just blown away by the movie. | ||
| Yeah, well, and that balance of comedy and drama was what we worked on. | ||
| That was the number one thing we worked on through every draft and everything. | ||
| It's great, man. | ||
| It is really fun to watch with an audience because they do get emotionally caught up in it, but we're always coming back and giving them a laugh where they need it, you know? | ||
| Exactly. | ||
| If this is a hit, do you think they're going to want to dig down to other aspects of your personal life and try to pull out? | ||
| This is all I got. | ||
| This is Blue Star Airlines for me. | ||
| What is Blue Star Airlines? | ||
| You know in Wall Street when Charlie Sheen couldn't sell anything to Gordon Gekko? | ||
| And then he's like, well, what about Blue Star Airlines? | ||
| Because he had the tip from his dad because his dad was like a mechanic at Blue Star Airlines. | ||
| That's been kind of the running joke that this is the only interesting thing in my life. | ||
| So I've already gone there. | ||
| And it's just, you know, when this happens, you know, and you become part of that adoption community as well, so it really becomes a big part of who you are and who your family is and that kind of thing. | ||
| So, you know... | ||
| This is all I got. | ||
| I got this and then making movies. | ||
| This must be a different movie for you, though. | ||
| I mean, I'm sure you love your other movies, but this one's got to be a really different feel. | ||
| It's really different. | ||
| Because, you know, I was talking about Sex Drive before, and the reason why that one always has a special place in my heart is because it was my first real Hollywood movie, and I was just... | ||
| It was just such an amazing experience to just be this bumpkin from out of nowhere making this movie with all this budget, and it was great. | ||
| But I've had great experiences on all the movies that I've made, but this one's totally different. | ||
| It's a different tone. | ||
| It has more drama. | ||
| It has more gravity to it. | ||
| It's about something that is really, really important to me. | ||
| And it's really funny. | ||
| And we have people like Tom in the movie. | ||
| And Tom is, I mean, you know, we're joking, but he is really funny in the movie. | ||
| I believe you. | ||
| I think he's a funny guy. | ||
| Yeah, he's a funny guy. | ||
| I really do. | ||
| Thanks, man. | ||
| I mean, I've been telling people that for years, but I haven't been lying. | ||
| It was fun to do, man. | ||
| It was really a thrill. | ||
|
unidentified
|
We just became one of those morning shows. | |
| No, but I'll tell you this, though. | ||
| The camaraderie on that thing was another thing that was really fun. | ||
| We went to Atlanta, and we have this great group every day. | ||
| You have the big stars, but then... | ||
| People I mentioned, like Margot and them, and Julie, Michael, Alan, Britt, Jody, and we would just like, it was like, it is kind of like being in a camp or something, you know? | ||
| Which, for me, was the first experience. | ||
| Well, and what you don't know is that, and what a lot of people who work in movies a lot of times, that so much of the... | ||
| The camaraderie of the set is set by kind of number one, number two on the call sheet. | ||
| Whoever the big movie stars are in your movie, sometimes you hear these stories, a lot of stories about people. | ||
| Steven Seagal. | ||
| Oh, dude. | ||
| But just people walking on eggshells around, you know, whoever the... | ||
| And when you have people like Mark and Rose who are really cool and just really easy to deal with, everybody just is so much more relaxed and having a really good time. | ||
| And then, I mean, I'll take some credit for it myself, too, because John and I try to run a really happy set and we just try to have... | ||
| Definitely, man. | ||
| Definitely. | ||
| You guys are so... | ||
| You guys are low-maintenance types, you know? | ||
| You're like... | ||
| The type of people, it feels... | ||
| I took you, just to show you how unpretentious he is, when I got the part, I was like... | ||
| We'd been speaking about the part and other things, and then I'll get an email about rehearsal at Paramount, and I would just call Sean, the director. | ||
| I'm like, hey, is rehearsal at 10? | ||
| And he's like, yeah. | ||
| I'm like, where do I park? | ||
| He's like... | ||
| I think there's a lot that they'll tell you where to go. | ||
| And I'm like, okay. | ||
| And I'd hang up and I'd be like, I'm just calling the director of a major picture. | ||
| Like, where do I park? | ||
| And he was never like, fucking figure it out. | ||
| He was just like, yeah, it's fine. | ||
| Just call me if you need parking directions. | ||
| It's probably fine. | ||
| When is this? | ||
| Is it out right now? | ||
| It comes out Friday. | ||
| It comes out November 16th. | ||
| Beautiful. | ||
| I think we can wrap this. | ||
|
unidentified
|
All right. | |
| That was great. | ||
| Yeah. | ||
| Thank you, man. | ||
| Thank you. | ||
| Thanks for doing this. | ||
| Thanks for making the movie. | ||
| Thanks for everything. | ||
| Thanks for hiring my friend. | ||
|
unidentified
|
Yeah, thanks for hiring. | |
| By the way, I wanted to tell you before we cut out, that video that you did share that you were talking about before. | ||
| Of the little girl got adopted. | ||
| The little girl. | ||
| When that went out, we were in this process of discussing the movie and how to kind of get the message out on the movie. | ||
| And I got that video. | ||
| I saw it on your thing. | ||
| And I immediately sent it to everybody associated with the movie. | ||
| And I was like, you guys, this is our movie. | ||
| It's right here in this video. | ||
| It's right here in that girl's face. | ||
| That's it. | ||
| That's our movie. | ||
| Wow. | ||
| That was really helpful. | ||
| I'm glad you had sent that out. | ||
| Oh, I could not. | ||
| When I got a hold of that, that video was so intense. | ||
| It was so amazing. | ||
|
unidentified
|
Anyway, sorry. | |
| I know you were trying to wrap it up. | ||
| No worries, man. | ||
| No, this is it. | ||
| Instant Family, out Friday. | ||
| Go see it, you fucks. | ||
|
unidentified
|
Go see it. | |
| Bye, everybody. | ||
|
unidentified
|
Thanks. | |
| That was awesome. |
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