Aug. 7, 2020 - The Joe Rogan Experience
02:51:59
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| Speaker | Time | Text |
|---|---|---|
| Rob Lowe, here we go. | ||
| Here we are. | ||
| What's up, man? | ||
| It's good to be, I was just saying, it's good to be in like a proper studio. | ||
| Have you been completely locked down the entire time? | ||
| Completely. | ||
| It's outrageous. | ||
| We're five months in now. | ||
| Who would have ever thought this? | ||
| And if you'd have said, this is what 2020 is going to have, I mean, you wouldn't have left the New Year's party. | ||
| You would have never believed it. | ||
| How does this happen? | ||
| Like, is there a war? | ||
| Like, what happens? | ||
| What takes place? | ||
| And it's funny how easily, not easily, but like, it's just, yeah, no, this is what we're dealing with. | ||
| I mean, I guess everybody, one has to adapt, so that's the good news, I guess. | ||
| Have you been going to restaurants at all? | ||
| I've been to probably, I've gone out to a restaurant maybe three times. | ||
| Have you gone to the ones where they wear the mask and then the shield over their face as well? | ||
| Yeah, it's like they're going to do welding in the kitchen. | ||
| It's so strange! | ||
| But it's better than nothing, so you just sort of adapt. | ||
| I know. | ||
| I mean, who knows when it'll... | ||
| I mean, at least some people feel like they're going back to work. | ||
| I mean, I think we're going to go back on my show on 9-1-1 Lone Star pre-production on the 17th. | ||
| Now, how will they do that? | ||
| Well, that's the thing. | ||
| That's a big show. | ||
| I mean, it's not a game show. | ||
| It's adventures and rescues and... | ||
| Pyrotechnics and stunt people, it's just huge in scope. | ||
| So it really is the thing. | ||
| If we can pull that off, that'll be good. | ||
| But I think the plan is... | ||
| Well, one thing that's interesting is just how you run a set is going to change, they tell me. | ||
| So you'll come in in the morning. | ||
| Everybody will get tested. | ||
| And then everybody's segregated. | ||
| So you go to the set and the director and the actors will rehearse. | ||
| That's it. | ||
| Nobody else there. | ||
| Then they leave, have to leave. | ||
| And then the lighting crew will come in and they light alone, just the lighting crew. | ||
| And then they leave. | ||
| And then all the production teams get their moment to do what they need to do, but they're doing it alone. | ||
| Well, they have a test now that the White House is using, and it takes 20 minutes. | ||
| It's an actual test. | ||
| You go there, so you could find instantaneously. | ||
| See, we're doing one here. | ||
| The one that you got is an antibody test. | ||
| That takes 10 minutes, and it shows active antibodies, which means you got the disease five, six days ago or whatever, and your body's fighting it off. | ||
| It's currently in your system, and it also shows another indicator whether or not you fought it off a long time ago. | ||
| And then there's the swab. | ||
| The swab takes 24 to 48 hours, depending on the lab. | ||
| And then there's real worry and concern, like, are you contagious during that time? | ||
| Like, if you just got it today, can you give it to someone today? | ||
| They don't know. | ||
| So, until this thing happens with the White House, the 20-minute one that they have, until that's, like, nationwide, we're fucked. | ||
| You know, we're in a weird situation where everybody has to be really careful. | ||
|
unidentified
|
Yeah. | |
| And, you know, it's funny. | ||
| I have no issue wearing masks. | ||
| I don't really get that thing that people... | ||
| I mean, I get the freedom. | ||
| It's definitely better than not going out. | ||
| Yeah. | ||
| And listen, I mean, I feel way safer wearing it. | ||
| Way safer. | ||
| And, you know, celebrities should be thrilled to wear masks. | ||
|
unidentified
|
Yeah. | |
| Yeah, right? | ||
| I mean, you know, listen, now Leonardo DiCaprio can go out completely, you know, with even better disguises. | ||
| You'd be amazed at how much people recognize you, though, even with a mask on. | ||
| Especially as soon as you start talking, they'll recognize you. | ||
| Well, and particularly for you, your voice. | ||
| Everybody knows your voice. | ||
| So you can't get in an elevator, you know. | ||
| But I'm a fan of the bandana. | ||
| I like feeling like a bandit. | ||
| But doesn't all the bad shit come underneath the bandana? | ||
| I don't think... | ||
| You have to be sealed at the bottom? | ||
| A bandana I do not think is for you. | ||
| I think it's for other people. | ||
| And then the droplets, if you're getting droplets, I don't think you're swooping them under. | ||
| I think you are breathing it through. | ||
| What am I, a doctor? | ||
| I know, but you're sounding good. | ||
| You're the Fauci of the ring. | ||
| Thank you. | ||
| The Fauci of the octagon. | ||
| I don't have one of those N95 masks, though. | ||
| I have hundreds of them. | ||
| Do you? | ||
|
unidentified
|
Hundreds. | |
| Are they the best? | ||
| You know, I'll tell you what, they're the hardest to breathe in. | ||
| Like, they are the ones that when you put on your... | ||
| I mean, you definitely notice that you're sucking wind. | ||
| But, yeah, my wife was all over the... | ||
| Like, if there's anything to be bought on Amazon at any time for any excuse... | ||
| She's the fucking maven. | ||
| So the minute this happens, she's bought every M95 mask to stockpile. | ||
| One click is very addictive. | ||
| It is. | ||
| It's like, maybe I do need 50 boxes of toothpaste. | ||
| It's right there. | ||
| It's right there. | ||
| Why wouldn't I do it? | ||
| I'll find a place to put it. | ||
| I'll take that. | ||
| So when your show comes back, people will still be allowed to go home, though, and go places. | ||
| Yeah, I haven't heard any talk of, you know, sort of quarantining or 14 days. | ||
| I haven't heard any of that stuff. | ||
| Although I have friends who have gone to Europe to do big movies, and they've had to do that. | ||
| Yeah, I've heard that. | ||
| Like, they keep you in a hotel. | ||
| You can't leave the hotel. | ||
| Everybody who works in the thing has to only hang out with everybody that's on the project. | ||
| I don't understand. | ||
| So the NBA is doing the bubble thing, right? | ||
| Where they all live like a commune, right? | ||
| A glorified Disney-esque commune. | ||
| But the NFL isn't going to do it, apparently. | ||
| Yeah, it's too hard to get the hoes in there. | ||
| I was thinking, you know, chicken wing. | ||
| It's hard to... | ||
| When you want those chicken wings, you've got to go out to get them. | ||
| Yes. | ||
| What are you going to do? | ||
| Yeah, you've got to... | ||
| Whatever you want. | ||
| If you need something, it's very difficult. | ||
| Are you a fan of the baseball with the crowd noise? | ||
|
unidentified
|
Yes. | |
| Piped in crowd noise? | ||
| No. | ||
| I'm not a fan of fake noise. | ||
| I hate that some cars do that. | ||
| You know, some cars with turbocharged engines, they put fake engine noise through the speakers. | ||
| Oh, Jesus. | ||
| Exactly. | ||
| I never knew that. | ||
| All my illusions are shattered. | ||
| I think BMW does it. | ||
|
unidentified
|
What? | |
| Yeah. | ||
| I'm sorry to say. | ||
| No. | ||
| Are the speakers on the outside of the car or are they on the inside? | ||
| It's through the stereo speakers. | ||
| Even if the speaker's turned off? | ||
| Yeah, it's an option that you have to turn off. | ||
| You have to go into the settings and turn off. | ||
| See if you can find that. | ||
| Oh, no. | ||
|
unidentified
|
I have a BMW. It's outside. | |
| It's enhanced sound. | ||
| Maybe it's not for your model. | ||
| I'm pretty sure they do it for the M4, though. | ||
| Yeah, it's one of the primary complaints of legitimate automo journalists. | ||
| The real automobile enthusiasts hate it. | ||
| Of course they fucking hate it. | ||
| This is like you told me that Santa Claus doesn't exist. | ||
| It's not necessary either. | ||
| Like, I have a Tesla and it doesn't make any sound. | ||
| It's still awesome. | ||
|
unidentified
|
Yeah. | |
| Oh, that thing is... | ||
| The only problem with the Tesla is I feel like I'm every television development executive. | ||
| Right. | ||
| You know what I mean? | ||
| It's like what the Armani suit was in the 80s. | ||
| Yeah. | ||
| It means, I'm in show business. | ||
| Yeah, it's definitely a signal. | ||
| You're letting everybody know you're also really concerned about the environment. | ||
| You're a really good person. | ||
| But on the other side of this, you also have one of the most badass pieces of equipment. | ||
| Would it kill them, though, to do luxurious interior? | ||
| Would it kill them? | ||
| Is that about weight? | ||
| What is that about? | ||
| That's a good question. | ||
| I think it's just... | ||
| First of all, it's an American-made company. | ||
| Everything's made here. | ||
| And I think that scaling everything up has been a real problem. | ||
| It's been a real problem meeting the demand. | ||
| And I think they just kind of came out with a reasonable interior and put it together. | ||
| But there's a company called... | ||
| What is that company called? | ||
| Again, they make a car called the Apex. | ||
| Essentially, they're right next to the Tesla factory in California, and they'll take your Tesla, they bring it over there, and they soup it up. | ||
| They put a wider track, they widen the fenders, they put better suspension, that's it right there, S-Apex. | ||
| So they take it... | ||
| And they completely redo... | ||
| Jeez, look at that. | ||
| Yeah, dope. | ||
| Carbon fiber. | ||
|
unidentified
|
What? | |
| Oh, okay, there's an interior. | ||
| That's right. | ||
| That's a car interior. | ||
|
unidentified
|
Yes, yes, yes. | |
| I love that you love cars. | ||
| It's one of my favorite subjects. | ||
| I mean, I love them and I know nothing about them. | ||
| It's like I also kind of like watches, but I don't know any... | ||
| I just know what I like. | ||
| Like the movements and all that stuff. | ||
|
unidentified
|
I don't know about that shit. | |
| Those dorks. | ||
|
unidentified
|
No, fuck that. | |
| Is it the H65 movement? | ||
| Yes. | ||
| Is the bezel infused with... | ||
| Whatever the fuck. | ||
| I'm thrilled I know the word bezel. | ||
| What's the name of the company again? | ||
| Unplugged Performance. | ||
| So they'll do anything in the interior you want. | ||
| They'll do diamond-stitched leather. | ||
| They'll do carbon fiber. | ||
| They'll replace all the plastic with carbon fiber. | ||
| You're a car guy. | ||
| I was impressed with the car collection. | ||
| I love cars. | ||
| Were you ever tempted to get one of those tricked-out Escalade? | ||
| The factory's right around the corner from here. | ||
| The Escalades was like a living room. | ||
| I went in there and saw the one they were making for Tom Brady. | ||
| And it's like the interior of a private plane, but in an Escalade. | ||
| Oh, okay. | ||
| So they gut it and then just redo it like some very swank interior. | ||
| Yeah, it's like a living room. | ||
| It's literally a living room. | ||
| What I've been looking at lately is earth roamers. | ||
| Do you know what an earth roamer is? | ||
| Earth Roamer. | ||
| Yes. | ||
| I have been an apocalypse guy for quite a while. | ||
| So you're in all your glory. | ||
| I have a- This year I told you so moment. | ||
| Well, not necessarily. | ||
| I'm not like a prepper or anything like that, but I'm like, if the shit is the fan- Wait, what's the difference between a prepper- I don't have enough food. | ||
| Okay, got it. | ||
| I have freezers filled with elk meat and stuff like that, so I kind of have enough food, but if the power goes out, I'm kind of fucked. | ||
| That's an earth roamer. | ||
| Those motherfuckers you can live in, and they can drive like a thousand miles plus. | ||
| Why? | ||
| Look at that. | ||
| And they do the interior. | ||
| Well, there's different scales, but some of them go up to like $1.5 million, and the interior is insanity. | ||
| An Earthroamer. | ||
| Yes. | ||
|
unidentified
|
Earthroamer. | |
| Okay, I'm taking notes. | ||
| The thing about these is- I'm literally taking notes. | ||
| You can go anywhere with these. | ||
| They also have an air suspension that will automatically level your vehicle. | ||
| So, like, say if you're on some fucked up, like, kind of terrain that's not level, it'll level it out so you can sleep well. | ||
| The interior is like the interior of a really nice tour bus. | ||
| Televisions, satellite radio, audio, internet. | ||
| Who makes... | ||
|
unidentified
|
I mean... | |
| It's a company. | ||
| It's literally just Earth Roamer. | ||
| They make the whole thing. | ||
| The base is a very large Ford pickup truck. | ||
| They take like a huge diesel pickup truck. | ||
| And then they put this insane cabin in the back of it and there's a bunch of different levels that they do it. | ||
| You know, you have like a reasonable level for like one person if you like camping and then you could literally bring your whole family and you're living like you're in a private jet. | ||
| Wow. | ||
| And it can drive over everything. | ||
| That's the other thing. | ||
| It's like a legitimate off-road vehicle. | ||
| You can go over a fucking mountain in that thing. | ||
| Well, you know, in Santa Barbara, where I live, we had these terrible fires and floods. | ||
| Mudslides, too. | ||
| Yeah, the mudslides killed 23 people. | ||
| I knew someone who died. | ||
|
unidentified
|
Yeah, as did I. It's crazy. | |
| Crazy. | ||
| She's in her house. | ||
| Yeah, these people, so imagine you go to sleep at night. | ||
| You know that there's going to be rain, whatever, and you go to sleep at night, and next thing you know, your house is obliterated. | ||
| Yeah, instantly. | ||
| The sheriffs came to us to tell us about different evacuation zones, and I said, and I know all these guys really well, so just level with me. | ||
| What's like the worst thing that's going to happen? | ||
| Like the absolute doomsday scenario you guys were worried about, and they're like, well, we're worried about the entire mountain going all the way to the freeway. | ||
| I went, pfft. | ||
| Great. | ||
| Thanks for sharing. | ||
| We're going to be fine. | ||
| And that's exactly what happened. | ||
| And what it taught me was you truly cannot comprehend like the power of Of nature. | ||
| Like when people used to say, California could fall off into the ocean. | ||
| You go, that's not good. | ||
| I'm telling you, it could. | ||
| We could wake up one day and be like, you know Lincoln Boulevard in Santa Monica? | ||
| Yeah, that's the ocean now. | ||
| You'd be like, oh, bullshit. | ||
| That's nothing. | ||
| I'm telling you, based on what I lived through, the mind, like it's an intersection I try by every day. | ||
| Every day. | ||
| If you said, okay, tomorrow night at midnight, there's going to be a 45-foot wall right here of debris, of homes, of boulders the size of a semi-truck cab, you'd be like, bullshit, that's fucking impossible. | ||
| From where? | ||
| Where are the boulders coming from? | ||
| That's what happened. | ||
| You can't imagine it. | ||
| Now, were you in your house when that happened? | ||
| I was in Vegas with my wife. | ||
| My son Matthew was home. | ||
| He thought he heard the most radical thunder he'd ever heard in his life. | ||
| How old was your son? | ||
| He was 22 at the time. | ||
| And he's like a prepping, like he's an outdoorsman. | ||
| So if there was any one of the family to be home, it would have been Matthew. | ||
| That's what I would have wanted there. | ||
| And also he thought it was daylight. | ||
| He woke up and thought it was already, he'd overslept. | ||
| Because the fires from all of the propane explosions had lit the sky up so it looked like daylight. | ||
| Whoa. | ||
| And then he called me and I got on the scanner, the police scanner and the stuff that you could hear. | ||
| It was just unbelievable. | ||
| I mean it was pandemonium. | ||
| Yeah, it's such a beautiful area, Santa Barbara and Montecito. | ||
| It's so gorgeous because of those mountains, but that's also what makes it vulnerable if there's a fire, right? | ||
|
unidentified
|
Yeah. | |
| Because all the stuff that kind of holds the mountain together and keeps the erosion from happening all gets burnt up and then a strong rain. | ||
| That was the problem. | ||
| We had a once in at least a hundred year fire. | ||
| The area behind our house hadn't burned in over a hundred years. | ||
| And a once in probably, maybe they think a thousand year rain event. | ||
| All within six weeks of each other. | ||
| So one of the things that was fascinating to me was the amount of ash. | ||
| Because I went on a hike afterwards and there was at least six inches of ash. | ||
| You know, like when you see the astronauts' footprints on the moon? | ||
| That's what it looked like. | ||
| All up, all as far as you could see in the mountains around Santa Barbara. | ||
| And then when we got that rain with the ash, it created like a viscous lubricant that just pried these boulders out. | ||
|
unidentified
|
Yeah. | |
| So that's one of the reasons why these massive, massive, massive boulders that you would think would be soldered into the Earth's core were just like, boop, and just washed out. | ||
| It's so hard to imagine because if you drive up the 101 and you see those beautiful hills, you just see beautiful hills. | ||
| But what that is is evidence that the Earth is moving. | ||
| That's what those hills are. | ||
| You're safer in Kansas, but then again, you're not because then there's tornadoes. | ||
| There's no free lunch, man. | ||
| Oh, look at this. | ||
| Yeah, I know that house. | ||
| Yeah, it's crazy when you see that like six feet of mud literally poured into people's homes. | ||
| So just like the people that were on the bottom floor of the house were just destroyed immediately. | ||
| Yeah. | ||
| I mean, you just... | ||
| How many people died in this? | ||
| 23. What a crazy way to go, too. | ||
| Yeah. | ||
| I mean, in the stories, you know, everybody's story is more tragic than, look at that. | ||
| Well, one thing that this pandemic taught a lot of people is that what you think of as being static and unchanging and that the world that we live in is basically pretty stable. | ||
| It's not. | ||
| A small event, and it's not small, but a virus that kills less than 1% of the population can completely obliterate the world as you know it. | ||
| And that's minor. | ||
| In comparison to a solar flare or an asteroid impact or a super volcano, like if Yellowstone goes, that's the real concern. | ||
| And that's another thing. | ||
| I used to think, ah, that's the stuff I watch at night by the fireplace. | ||
| It's my ancient alien shit. | ||
| That's not really happening. | ||
| And now, based on what I've experienced, anything could happen. | ||
| Well, Yellowstone definitely could go. | ||
| They say it goes every 600,000 to 800,000 years, and the last time it went was more than 600,000 years ago. | ||
| Can you imagine? | ||
| They would obliterate everybody in the continent. | ||
| There'd be no one left. | ||
| The people in, like, maybe Africa, some in New Zealand, some people would survive, but they would experience nuclear winter. | ||
| So crops would die off, the temperature would radically reduce, the entire sky would be filled with ash. | ||
| It's a supervolcano. | ||
| Those caldera supervolcanoes, they've exploded throughout history and killed massive, massive numbers of human beings. | ||
| They think that there was one in Indonesia somewhere around 60,000 to 70,000 years ago that killed off most of the population of the world and left as few as 7,000 human beings. | ||
| Really? | ||
| Yeah. | ||
| That's just 70,000 years ago. | ||
| Well, you've had like Graham Hitchcock and people on it. | ||
| Graham Hancock. | ||
| Hancock, right? | ||
| Yeah, and Randall Carlson. | ||
| Is that part of that narrative too? | ||
| Well, they've concentrated on asteroid impacts and particularly the asteroid impacts that are proven now that they believe ended the Ice Age. | ||
| And they also believe restarted civilizations. | ||
| Right. | ||
| Because they think that there was some incredibly complex civilizations that we're not totally aware of other than some of the structures they left behind, like Gobekli Tepe and some of the ancient Egyptian structures. | ||
| But there's a clear indication that something happened both from an archaeological perspective and also from a geologist's perspective. | ||
| When they do these core samples, they find that Somewhere around between, you know, somewhere in the 12,000 years ago range, there was a massive impact, and all over the world, because they find this tritonite, which is this nuclear glass everywhere. | ||
| They also find iridium, which is really common in space, but not very common. | ||
| And it's a level they see in the core samples. | ||
| It's a very consistent level. | ||
| And they find that nuclear glass. | ||
| That's the same glass like when the Trinity Project, when they first blew up the first nuclear bomb. | ||
| That's one of the things that they found was this nuclear glass. | ||
| And it's just this incredible force that causes the sand to turn into glass. | ||
| And they find this all over the world at around 12,000 years. | ||
| And there's also a lot of awareness today of all the near-Earth objects and when Earth in its orbit comes in contact with these consistent near-Earth objects. | ||
| Something probably hit Earth in multiple places, like more than one object, somewhere in that range, and ended the Ice Age. | ||
| I think it happened twice. | ||
| The speculation is it happened somewhere around 12,000 and maybe again somewhere around 10,000 years ago. | ||
| It's crazy. | ||
| It is crazy. | ||
| I love all that stuff. | ||
| I live for that shit. | ||
| I love it too. | ||
| I live for it, but I don't. | ||
| Because I don't want it to happen again. | ||
|
unidentified
|
No! | |
| So it's like I get excited, but then I don't ever... | ||
| The worst is if I listen to Graham Hancock and Randall Carlson, and then I smoke pot and go to sleep. | ||
| Oh, then the head. | ||
| You should record those dreams. | ||
| Oh, yeah, if you could. | ||
| You should write them as teleplays. | ||
| Yeah, that's terrifying. | ||
| It's just... | ||
| We're so vulnerable. | ||
| I mean, we're vulnerable, period, right? | ||
| I mean, I'm 52. How old do you know? | ||
| 56? | ||
| You'll look great. | ||
|
unidentified
|
Thank you. | |
| You too, sir. | ||
| You look great. | ||
| But we're almost dead, let's be honest. | ||
| I mean, how much time we got left? | ||
| If everything goes great? | ||
| No, no, we're going to live forever. | ||
| We're going to have that pill that's going to be announced next week. | ||
| That might be the worst thing that could happen. | ||
| Like, you might want to go quietly in your sleep rather than live for 500 years and see the horrors that humanity turns into. | ||
| That too. | ||
| And I don't want to like if my body breaks down. | ||
| I'm so physical. | ||
| I love doing my stuff. | ||
| I don't think I'd be one of those people like, you know what? | ||
| His mind is so sharp though. | ||
| It's like, well, fuck. | ||
| That's great. | ||
| Meanwhile, the guy can't fucking walk. | ||
| It's like, I want to be able to do my thing. | ||
| Yes, yes. | ||
| Listen, I want a sharp mind. | ||
| Let's stipulate that. | ||
| What do you do to maintain yourself? | ||
| What do you do to keep the machine working? | ||
| Well, the number one thing was I stopped drinking years and years and years ago. | ||
| How many years? | ||
| 30. Oh, so you got way ahead of the game. | ||
| I'm way ahead. | ||
| So I don't do any of that. | ||
| Wow, that's a lot of discipline. | ||
| But it's not, though. | ||
| Because the minute you realize your discipline has nothing to do with it, that's the only way you can do it. | ||
| Oh, okay. | ||
| Because the whole point is, like, I can't... | ||
| If I had one... | ||
| Let's say you broke out that... | ||
| Because I was like, beer. | ||
| Beer was good. | ||
| Well, there it is. | ||
| What do you got there? | ||
|
unidentified
|
Whiskey. | |
| Whiskey was never my thing. | ||
| I'd be okay. | ||
| If it were tequila, that'd be a different thing. | ||
| If you... | ||
| And also, it was the 80s. | ||
| So if you had a kamikaze... | ||
| Remember those drinks? | ||
| Oh, yeah. | ||
| I do remember those. | ||
| Like, it would go... | ||
| Then I'd be like, you know what would be really good to get would be some coke. | ||
| That would be great. | ||
| To balance it out. | ||
| Yeah, just to balance out. | ||
| It's no big deal. | ||
| It's no big deal, and it's good for you. | ||
| If you get the rock star coke, that stuff's not even bad for you. | ||
| That's what I'm saying. | ||
| It's not even bad for you. | ||
| Mick Jagger does it, okay? | ||
| Look at Keith Richards. | ||
| He's fine. | ||
| Keith Richards. | ||
| Look at Jack Nicholson. | ||
| Those guys are doing great. | ||
| They're the biggest stars in the world. | ||
| Jack Nicholson is fat, too. | ||
| How bad could it be? | ||
| How bad could it be? | ||
| It's good for your memory. | ||
| Probably. | ||
| And it's really good if you want to talk a lot. | ||
| And successful people do it. | ||
| A lot of successful people do it. | ||
| And it's not addicting. | ||
|
unidentified
|
No! | |
| They just enjoy it. | ||
| Yes! | ||
| So that was what we thought. | ||
| You know, that's the Gordon Gekko era. | ||
| And then the Hounds of Hell will be released. | ||
| Once I got that good little concoction going... | ||
| That good little mixy-mixerson. | ||
| Well, it had to be hard to be a young, really famous, really good-looking guy during the age of no internet. | ||
| And, you know, the world was a wild place. | ||
| I mean, you were really famous in the 80s. | ||
| I wouldn't trade it. | ||
| For anything. | ||
| I mean, you know, all of the mistakes that I made, all the things that I learned got me to where I am today and I could not be happier and I needed some fucking comeuppance and I needed some of that humbling and stuff. | ||
| On the other side of it is like, what's the point of being fucking famous today? | ||
| Really? | ||
| I don't know if there's a point. | ||
| It's not dangerous! | ||
| I know, right? | ||
| I don't know. | ||
| I mean, forget the lack of privacy, the lack of, like, crazy fun, which you can't have. | ||
| Right. | ||
| Everybody's lying in wait. | ||
| I saw an article written about Leonardo DiCaprio, and it was just about how he dates young girls and how gross it is that he's dating a girl at 25. Like, 25 is a woman, you fuck. | ||
| What is wrong? | ||
| He's a good-looking man. | ||
| He's wealthy and happy and successful. | ||
| Oh my god, he dates someone who's young and vibrant. | ||
| There must be something wrong with him. | ||
| Meanwhile, if a woman does it, Nobody gives a shit. | ||
| They celebrate her. | ||
| You go, Kate Beckinsdale. | ||
| You go take those 21-year-olds down. | ||
| That's right. | ||
| Rope them, wrangle them, ride them. | ||
| Rope them and go. | ||
| And then send them off. | ||
| Kick them in the ass and pack their lunch and send them off. | ||
| It should be equal opportunity everywhere. | ||
| That's not, though. | ||
| When it's a woman, they look at it like she's just doing her thing. | ||
| She's having a good time. | ||
| But a man, it's like he's abusing his power. | ||
| Leonardo has power over those young ladies. | ||
| I figure if you're Leo or Bieber or any of those young... | ||
| This is part of the coming of age. | ||
| Yes. | ||
| It's figuring out what you want in life. | ||
| And when you do that, you're going to do weird shit, good shit, bad shit. | ||
| Well, if anybody would try to judge someone like that, like Bieber in particular, right? | ||
| Because he was really, really young when he got famous. | ||
| I mean, it's insane. | ||
| And you know that whole thing, that theory that however old you are when you get famous, that freezes you in carbonite emotionally and intellectually. | ||
| Well, that makes sense with child stars, right? | ||
| Anybody. | ||
| Yes, but anyway, it's also that thing of like, have you ever noticed that before like you get famous, the people who were famous to you then... | ||
| Fast forward a hundred years or whatever, and maybe they haven't done as much, and you have, but when you meet them, you think they're the most famous, crazy, successful person. | ||
| It's the same type of thing. | ||
| If I were to meet Dr. Smith from Lost in Space, I'd be like, no fucking way, doctors. | ||
| Do you know what I mean? | ||
| So it's funny how time- I met Lee Majors. | ||
| That's what I'm saying! | ||
| I was like, it's a $6 million man. | ||
| I can't believe it. | ||
| He's real. | ||
| Right? | ||
| Yeah. | ||
| Yeah, Cheech and Chong, when I met those guys, I was like, I can't believe they're real. | ||
| I can't believe I'm meeting them. | ||
| Yeah. | ||
| You get frozen in your own perspective. | ||
| Well, when you get older and you become famous, very few people can have this conversation, right? | ||
| But when you get famous and you meet famous people, to me, it's still weird. | ||
| Like, when I met you today, I was like, huh, hello, Rob Lowe. | ||
| I've seen you in movies. | ||
| But I'm more normal with it than when I was young. | ||
| When I was young and I would meet, like, I remember the first time I was on the set of News Radio and I met Phil Hartman. | ||
|
unidentified
|
Wow. | |
| I was so weirded out. | ||
| And I was like, he's right there. | ||
| This is great. | ||
| Because I hadn't met a lot of famous people back then. | ||
| Only like a small handful. | ||
| And so to be like working with him and he's sitting there, I'm like, I've seen you on TV. By the way, how great was Phil? | ||
| He was amazing. | ||
| He was... | ||
| I had my scariest... | ||
| One of my scariest professional moments involved Phil Hartman. | ||
| I was hosting the show on Saturday Night Live. | ||
| And Phil had a character called Mace. | ||
| That he did, reoccurring character, and Mace was a hard-bitten convict, and he lived in it. | ||
| He obviously was serving life. | ||
| So whenever they had pretty boy hosts, they would throw, of course, me into a cell with Mace. | ||
| Hey, turn around there, chicken legs. | ||
| So that was like the predicate. | ||
| And I just remember, apropos of nothing, it was the week that the Lombada dance was a big deal. | ||
| Oh, Jesus. | ||
| That tells you how long ago it was. | ||
| I forgot about that. | ||
| Yeah, so Mace and I were doing the lumbata in a prison cell. | ||
| And the whole sketch built towards a punchline. | ||
| And for whatever reason, I blew the setup line. | ||
| Like, blew blew it. | ||
| Like, there's now no end. | ||
| There you go. | ||
| There we go. | ||
| Look at him. | ||
| Hey, look at you chicken legs. | ||
| And so there was no – so I had to ad-lib something really, really, really, really quickly. | ||
| It felt like time stretched out and his eyes got huge and I ad-libbed something and it worked and it got a really big laugh. | ||
| And I think that that's what sort of sealed my relationship with Lorne Michaels because I was able to – I came back backstage and was like, hmm, you're really Houdini, aren't you? | ||
|
unidentified
|
Yeah. | |
| That's gotta be terrifying to do that show. | ||
| To do it live. | ||
| It's the best. | ||
| If I could have been a not ready for Primetime Player, I would have. | ||
| I mean, that would have been the dream. | ||
| I think that's the dream. | ||
| How much preparation do you have to do for that show? | ||
| Like, how many times do you rehearse one of those sketches? | ||
| Well, what people don't really realize about being a host is it's the host show. | ||
| Like, you can take as much control over it as you want, and most people don't. | ||
| I, just being stupid and naive, did, and always did, and sat in on the writers all night, write all night with all the different writers, going from room to room. | ||
| It was fucking heaven. | ||
| Oh, wow. | ||
| But I was an SNL nerd, so it was like... | ||
| That's cool. | ||
| And then you do the dress rehearsal, of course, right before air. | ||
| And it's a full show. | ||
| It's exactly the same show. | ||
| Full audience. | ||
| It's the whole thing. | ||
| And then they cut things or not. | ||
| One of my favorite things that got cut and Will Ferrell and I played oncologists who would deliver the bad news that people had stage four cancer, but only with our mouths full of food. | ||
|
unidentified
|
So he'd be like, oh yeah, I'm sorry, I'm eating chili. | |
| This is hot, spreading the root of my mouth. | ||
|
unidentified
|
Sorry, so sorry. | |
| You have stage four cancer. | ||
| Oh, ow, so hot and spicy. | ||
| That was the total predicate of the sketch. | ||
| That is a weird sketch. | ||
| It was like so weird and so dark. | ||
| Who pitched that one? | ||
| And it made it to air. | ||
| I mean, to dress. | ||
|
unidentified
|
Wow. | |
| Really crazy. | ||
| It must have been a rough week. | ||
| It was a rough week. | ||
|
unidentified
|
I don't think cancer's funny. | |
| Yeah, I guess you got a point there. | ||
| Phil hated the competitive aspect of the show because he said that people were just mean to each other. | ||
| That's one of the things that he enjoyed about sitcoms is that everybody was kind of working together. | ||
| He said one of the things about when you do SNL, everyone's battling to get their sketch on. | ||
| So they would sort of sabotage each other and there was a lot of backstabby shit going on and he didn't like it. | ||
| He was really hesitant to be friendly with people on the set. | ||
| When he first got on the sitcom, it took a while for him to loosen up and realize this is a different thing because that environment was every man for himself. | ||
| Yeah, it's funny. | ||
| Ensembles are funny that way. | ||
| Like, there is an element of teamwork. | ||
| It's like any team. | ||
| There's an element of teamwork that's intrinsic and you want and it's great and hopefully it's there. | ||
| But then there's that element of, you know, competitiveness even with your sort of band of brothers. | ||
| But, you know, that gets toxic in a hurry with the right – With the wrong culture and and maybe the wrong people in a bit but SNL it's like it is what it is there's only so many slots for sketches and there are only so many people writing and The best is when people try to tank them in the read through like you read all of them on Wednesday a big huge stack of them and People will like laugh really really hard at their own stuff or like roll their eyes It's it's fun to watch Yeah, | ||
| that's basically what he's talking about. | ||
| That always made me really uncomfortable, the fake producer laugh. | ||
|
unidentified
|
Oh. | |
| Like, when you'd be doing, like, the third run-through, and they're like... | ||
|
unidentified
|
You're dead. | |
| But people don't even know what we're talking about. | ||
| So, like, when you do a table read... | ||
| We've done the most unrelatable podcast ever. | ||
| Ever. | ||
| Just now. | ||
| It's been great. | ||
| What's it like to be famous and young and good looking? | ||
| Oh, everybody knows. | ||
| And Doomsday Prepping and... | ||
| Earth Roamers, it cost a million bucks. | ||
| Earth Roamers, yes. | ||
| This is great. | ||
| There's nobody quite like a Man of the People, Joe Rogan and Rothwell podcast. | ||
| Let's face it. | ||
| When you do a run-through, folks, if you do a sitcom, you act out the show. | ||
| And they want the actors to feel like what they're doing is funny. | ||
| Because there's nothing weirder than doing something with no audience and not hearing any laughter at all. | ||
| So the producers would laugh, but they would do this fake laugh, and it would throw you off so hard, because it's jarring. | ||
| It's just so phony. | ||
| I did a sitcom when I was little, when I was 15. It was... | ||
| It was so long ago that there were only 62 shows on television, period. | ||
| Holy shit. | ||
| 62. So this is like pre-Fox. | ||
| Not 62 channels. | ||
| 62 shows. | ||
| 62 shows. | ||
| By the way, how do you think I remember that there were... | ||
| Because we were number 62. We were literally the lowest rated show on television. | ||
| What was it called? | ||
| A new kind of family. | ||
| Might add something to do with that exciting title. | ||
| I just sit up and take notice, don't you? | ||
| What kind of family is it? | ||
| It's a new kind. | ||
| Oh, well, I'm going to watch then. | ||
| What did they mean by a new kind? | ||
| It was... | ||
| A revolutionary concept at the time that it was two divorced women pooling their resources. | ||
| There you go. | ||
| Look at you. | ||
| And I'm sprouting a wonderful Karen Carpenter look. | ||
| Look at that hair, bro. | ||
| Karen Carpenter. | ||
| Look at the wings. | ||
| I know. | ||
| Was this your first acting project on television? | ||
| Yeah, I was 15. Wow. | ||
| So you never had a normal life? | ||
| Not really. | ||
| So the new kind of family is bad. | ||
| It was bad. | ||
| And it was opposite 60 Minutes, which was the number one show. | ||
| And by the way, it was so horribly rated, we would get 19 million people watching. | ||
| That's crazy. | ||
| And it was a disaster. | ||
| Isn't that crazy? | ||
| Isn't that insane? | ||
| Wow! | ||
| That's amazing. | ||
| 19 million. | ||
| That would be the number one show on television today. | ||
| Oh, there's nothing that even comes close. | ||
|
unidentified
|
That's so crazy! | |
| Isn't that amazing? | ||
| That was a huge disaster. | ||
| 19 million people. | ||
|
unidentified
|
Wow! | |
| I'm the king of the new normal. | ||
| Like, I'm on shows that get... | ||
| Bad ratings that then become the new normal. | ||
| I can't believe it! | ||
| I'm just right there at those thresholds year in and year out. | ||
| You could say that to someone and not say what ranking it was and say, when I was 15, I was on a show that had 19 million people watching it. | ||
| They'd be like, holy shit! | ||
| What was it? | ||
| I know! | ||
| That's the biggest show ever! | ||
| What is a number one show today? | ||
| What is the top show? | ||
| Modern Family, is that number one? | ||
| What's the number one sitcom today? | ||
| Yeah, it would have been... | ||
| Well, Big Bang has been off for, what, a year? | ||
| Yeah. | ||
| Or two years? | ||
| It would definitely be Big Bang. | ||
|
unidentified
|
Something like that. | |
| And they'd get, like, I think, eight million. | ||
| I think was what it was in this show. | ||
| It's shocking though. | ||
| Somewhere on Netflix are popping up now. | ||
| Right, that's the problem. | ||
| Netflix won't tell you shit. | ||
| They don't tell you nothing. | ||
| They say, well, you're doing great. | ||
| Yeah, or they don't tell you. | ||
| They don't tell you. | ||
| Yeah, and then they cancel you. | ||
| Yeah. | ||
| But if they like you, they say, we're really happy. | ||
| Like, what does that mean? | ||
| We're really, really happy. | ||
| We're really happy. | ||
| And, like, how happy? | ||
| Yeah, no one knows. | ||
| We're just really happy. | ||
| There's a lot of guesswork involved. | ||
| That's insane, though. | ||
| That's so many people, and it was the last rated show. | ||
| Crazy! | ||
| The last rated show. | ||
| And then they shut us down to rejigger it because they figured they could make it better somehow and stop the audience slide. | ||
| And we came back and the other family had been replaced. | ||
| What? | ||
| Yeah, they replaced it without saying anything. | ||
| And made it an African-American family, figuring that would be more interesting for the storytelling or what have you. | ||
| Same name? | ||
| No, they at least played different people. | ||
| NCIS. And it gets 15 million. | ||
| Wow, and that's number one. | ||
| That's the number one show. | ||
| Number one, by a long shot. | ||
|
unidentified
|
Wow. | |
| Wow. | ||
| That's crazy. | ||
| So when we came back and had the new cast member, the daughter was Janet Jackson, which was fun. | ||
| Okay, so you were still on it? | ||
| I was still on it, yeah. | ||
| And Janet was all of like 12 or 13 and acting. | ||
| And so she was your sister? | ||
| She played the other, she was in the other family. | ||
| The other family. | ||
| Yeah. | ||
| Okay. | ||
| So there was two families, and one was African American, and one was your family. | ||
| Yeah. | ||
|
unidentified
|
That's what it was. | |
| That was the change that the network made over a week. | ||
| And they didn't tell anybody? | ||
|
unidentified
|
No. | |
| You just turned it on one week. | ||
| No. | ||
| Why did they do that? | ||
| Oh, I love network executives. | ||
| There are people that are making creative decisions that have never been creative in their fucking life, and it's amazing. | ||
| And they're out there pushing buttons and pulling strings. | ||
| Aaron Sorkin tells a great story about the pilot of the West Wing, which is sort of – I mean, he wrote a great script, so it's one of the great pilots. | ||
| And there's a through line of refugees from Cuba braving – All odds on rickety boats to come to America for America's promise. | ||
| And that's sort of a thread that's playing through it. | ||
| And so in the White House, we're talking about it. | ||
| And President Bartlett talks about it in a way to inspire people. | ||
| And it's really, really beautiful. | ||
| And the network was like, listen, we love it. | ||
| We think the script is great. | ||
| But we think at the end that the characters need to get into a boat and go to Cuba and pull them out of the water. | ||
|
unidentified
|
Don't you just know that's true with your networkers? | |
| Don't you just know they're like... | ||
| Oh my god. | ||
| Because really all you guys are doing is talking about it. | ||
| I mean, don't you think it's more dramatic if it's actually on the wall? | ||
|
unidentified
|
And, you know, you want to see those people pulled out. | |
| You know, we think the script's pretty good the way it is. | ||
| And what did Sorkin say to this? | ||
| He didn't do it, thank god. | ||
| He'd take deep breaths. | ||
| He never took a network note. | ||
| Not once. | ||
|
unidentified
|
Wow! | |
| That's why it was good. | ||
| There was never a representative for the network ever on the set, ever, not once. | ||
| Ever. | ||
| That's very fortunate. | ||
| News Radio, the show that I was on with Phil, wasn't successful. | ||
| It was a great show, though. | ||
| We were number 88th in the ratings. | ||
| And my friend Lou Morton, he was one of the writers, and every week he would come in with a new t-shirt on where he would write the number on the shirt. | ||
| Because we moved around like nine times. | ||
| And this was pre-internet, so you had to look at TV Guide to find out when News Radio was on. | ||
|
unidentified
|
Jesus. | |
| You know, it's like one night we're Tuesday, then we're Sunday, and so he shows up with a t-shirt on that said 88. I'm like, fucking 88? | ||
| He's like, 88? | ||
| I'm like, 88. We're the 88th show. | ||
| Jesus. | ||
| I was 62. Yeah, but 88 was like a million people watching back then. | ||
| It was not good. | ||
| It's not 19 million. | ||
| And see, but look, it led you to where you are today. | ||
| That's the thing, is all that stuff leads somebody, if they're paying attention to where you want to be. | ||
| If you keep moving. | ||
| Yeah. | ||
| You can't be stuck and you can't be scared. | ||
| Yes. | ||
| You cannot be stuck and scared. | ||
| That's the thing about show business, right? | ||
| It's like this weird world of, I wonder how this is going to be received. | ||
| I wonder how this is going to work. | ||
| Then you're fucked. | ||
| You're done, though. | ||
| Once you get into that head, you're done. | ||
| Yeah. | ||
| Do your best, and if it doesn't work, shrug your shoulders. | ||
| Move on. | ||
| Keep moving. | ||
| Yeah. | ||
| If they let you. | ||
| Yeah, if they let you. | ||
| That's the weird one, right? | ||
| When you watch a movie and you're like, oh, where the fuck did that guy go? | ||
| Who's the guy from The Mummy? | ||
| What the fuck's his name? | ||
| Brendan Fraser. | ||
| Yes, that guy. | ||
| Fucking guy was huge. | ||
| Brendan Fraser crashed my Saturday Night Live closing. | ||
| You know, at the end they go, goodnight everybody, this has been great, thanks for watching, and everybody's there. | ||
| He showed up and was screaming the name of his movie that was opening that weekend. | ||
| Bedazzled! | ||
| No! | ||
|
unidentified
|
Bedazzled! | |
| No. | ||
| I was like, what the fuck? | ||
| What's happening? | ||
| Who are you? | ||
| Why are you? | ||
| Brendan Fraser? | ||
| What are you doing here? | ||
| Bedazzled! | ||
|
unidentified
|
Whoa. | |
| Don't know. | ||
| To this day, I don't know what it was about. | ||
| Maybe that's what sunk him. | ||
|
unidentified
|
Bedazzled! | |
| Maybe that's what did it to him. | ||
| Could have been. | ||
| That mentality. | ||
| Like, that's not a healthy mindset. | ||
| I think what happened, probably, is they were going to work him into a sketch that got cut. | ||
| To promote Bedazzled. | ||
| Probably some studio shit. | ||
| Some backroom, smoke-filled room shit. | ||
| And then he was like, well, I'm going to go out there. | ||
| And he's probably a little drunk. | ||
| I'm going to yell Bedazzled anyway. | ||
| Damn. | ||
|
unidentified
|
Dazzled. | |
| But that guy was a giant movie star. | ||
| He was huge. | ||
| Massive. | ||
| Huge. | ||
| And The Mummy was massive. | ||
|
unidentified
|
Massive. | |
| Massive. | ||
| I just watched it. | ||
| I told you, me and my family watched Tommy Boy. | ||
|
unidentified
|
No! | |
| See, we did. | ||
| We went on, we were doing family movie night because of the quarantine. | ||
| We watched, like, almost every night, we watched a new movie. | ||
| I watched all the Adam Sandler movies, watched a shitload of Eddie Murphy movies. | ||
| We watched The Mummy, watched a couple of The Mummies, and we watched Tommy Boy. | ||
| How did Tommy Boy stand up? | ||
| Fucking holds up. | ||
| Does it? | ||
| Holds up. | ||
| Funny movie, man. | ||
| Funny movie. | ||
| Oh, that's awesome. | ||
| Goddamn Chris Farley was good. | ||
| Oh, bro. | ||
| He was, and a great actor. | ||
| Among all my regrets about Chris's passing was where he would have gone as an actor. | ||
| Because he was cute. | ||
| As Spade. | ||
| Spade's the same. | ||
| They're acting in that movie. | ||
| Forget the funny, which is great. | ||
| But, like, they're, like, legitimate acting moments in that movie. | ||
| Yes. | ||
| Yeah. | ||
| And I think that's why it has the staying power. | ||
| But Chris was really going to develop into a real serious actor. | ||
| A good one, I think. | ||
| He was such a fucking powerhouse. | ||
| When he would go ape shit. | ||
| Look at you guys. | ||
| Those two idiots. | ||
| Ha ha ha! | ||
| I like the part of the movie where Spade looks at me and goes, hey, Lee Harvey, because my hair does look like Lee Harvey Oswald. | ||
| He was awesome, man. | ||
| That's the cow tipping scene, which I pitched to the writers. | ||
| They had never heard of it, and it made it into the movie. | ||
| Who was your mom slash girlfriend again? | ||
| Bo Derek. | ||
| That's right. | ||
| Well, that was a great thing because we – you know, she's Bo Derek and her husband John, famous John Derek, was very protective of her and she hadn't worked in a long time. | ||
| And he made her cut all her hair off the day before she showed up on the set of Tommy Boy. | ||
| What? | ||
| We thought we were getting Bo Derek from 10 with the hair and she showed up with hair that's basically my length now. | ||
| Because John made her do it. | ||
| Why did he make her do it? | ||
| I mean, you can do the math. | ||
| He was like, I want to keep you up in San Yonez riding horses with me. | ||
| Don't need you to be a movie star again. | ||
| But she was so lovely. | ||
| She's the best. | ||
| She's a really smart... | ||
| Really smart. | ||
| Just great woman. | ||
| I mean, I got to kiss Bo Derek. | ||
| I know. | ||
| For people who don't know, like... | ||
| What she was in 10? | ||
| Oh, my God. | ||
| She was the original white girl with cornrows when it was okay. | ||
| You couldn't get canceled for that back then. | ||
|
unidentified
|
Yeah. | |
| She would have been canceled in a heartbeat. | ||
| She was the original... | ||
| Gigi Hadid. | ||
| How about that as a reference? | ||
| Am I cool and young now? | ||
| I missed it. | ||
| I've heard that name before, but all I know is her dad got sued because he built a house that's too big. | ||
| With no permits. | ||
| Yeah. | ||
| No, no. | ||
| I know. | ||
| Absolutely no permits. | ||
| It's way too big and the neighbors are worried it's going to fall on them. | ||
| Yeah, exactly. | ||
| It looks like a UFO. It's still there. | ||
| Oh, yeah, of course. | ||
| They haven't even figured out what to do with it yet. | ||
| No. | ||
| I think there's lawsuits. | ||
| Oh, look at Bo. | ||
| Back in the day. | ||
| Woo! | ||
| How about the one on the left? | ||
| Go to that one. | ||
| Can't. | ||
| Nips. | ||
| Bam. | ||
| Kapow, Google. | ||
| Kapow. | ||
| I'm going to go back and do a deeper dive on this. | ||
|
unidentified
|
Whew. | |
| She was hot as fuck. | ||
| Perfect bone structure, right? | ||
| Yeah, she was amazing. | ||
| And Tommy, you know, the thing about Farley was he and Spade used to fight over me like I was the girl. | ||
| Probably because, let's face it, I kind of look like a girl in certain lighting. | ||
| And they'd be like, I heard you were in the Jacuzzi of the Rob last night. | ||
|
unidentified
|
Yeah. | |
| Yeah. | ||
| Oh, he didn't call me. | ||
| Well, and they would like fight. | ||
| It was very funny and sweet. | ||
| One night I took the gang out to Barbarian Steakhouse in Toronto. | ||
| Great steak. | ||
| I don't know if they're still there. | ||
| Chris ordered two bone-in, two bone-in steak, porterhouse steaks. | ||
| Ate both of them. | ||
| But on top of each bite, he put a cube of butter. | ||
| And when I looked at him like, what the fuck are you doing? | ||
| He was like, it needs a hat. | ||
| So if you want to put a hat on your steak. | ||
| Some people just genuinely don't give a fuck. | ||
| No fucks given. | ||
| Yeah, obviously. | ||
| Yeah, he's a wild man. | ||
| I met him once on the set of news radio. | ||
| He's partying with Andy Dick. | ||
|
unidentified
|
Oh, boy. | |
| He showed up gray like wet cardboard. | ||
| He looked gray. | ||
| And I'm like, hey, man. | ||
| He was gone. | ||
| It was sad. | ||
| It was weird. | ||
| He had gray skin. | ||
| And I remember thinking, Jesus Christ, Chris Farley has gray skin. | ||
| Like, what's going on? | ||
| Like, he was sweaty and just all fucked up. | ||
| Yeah, he had major, major demons. | ||
| And a lot of us really worked hard. | ||
| You know, we're worked out for you know, but you know, it's some people can't They can't make that leap man. | ||
| The thing about him though is the fucking I always wonder about guys like that that are so powerful Like is it the demons that made him so good? | ||
| He was so good so good. | ||
| He would go apeshit I mean he had the fucking horsepower. | ||
| He had it was so stunning You have these scenes where he would just go fucking crazy. | ||
| It was so fun Would wonder like what is is that same thing what makes him I mean because it was so real Is that what made him just go crazy with coke and go crazy with everything else? | ||
| I mean, I think I think like normal people Like I don't see a lot of normal people drawn but why would any normal person want to be? | ||
| in entertainment, right? | ||
| Why would they so I think just by default Damaged people, or more articulately, people with a hole to fill, are drawn to entertainment to fill the hole. | ||
| And some of the people have other damage too, rage, anger, whatever it is. | ||
| But without a question, the more normal someone is, I know. | ||
| Like, unfortunately, less entertaining. | ||
| Yeah, right? | ||
| Do you ever find that, though? | ||
| Yes! | ||
| Like, you're at dinner or whatever, and they're like, I'm this, and they're like, really, really nice and really, really decent, and I go, I wish you were crazy and damaged like me, because then you'd be really... | ||
| Then we could have a fun conversation. | ||
|
unidentified
|
Really funny, yeah. | |
| Well, that's absolutely the case with comedians. | ||
| Like, my favorite people are all completely fucked up. | ||
| Have you ever met, can you think of a normal, decent, well-rounded, unfucked up person who's hilarious? | ||
| No. | ||
| I'll tell you real quick. | ||
| Right? | ||
|
unidentified
|
No. | |
| No. | ||
| Humor is... | ||
| A big part of humor is saying things that are radically inappropriate. | ||
| Right. | ||
| But maybe accurate. | ||
| Do you think... | ||
| Do you think that the culture where everybody is so sensitive today is... | ||
| It's got to be hard to be... | ||
| I think it's harder to be funny. | ||
| Like you can make blazing sound. | ||
| There's so many movies you couldn't make now. | ||
| Right. | ||
| Or jokes you couldn't tell. | ||
| Sure. | ||
| I mean, most of Monty Python's movies... | ||
| I mean, so many. | ||
| We were watching some old Eddie Murphy movies. | ||
| Just movies from the 2000s you couldn't make today. | ||
| Eddie Murphy is still. | ||
| I mean, what a stud. | ||
| Oh my god, he's amazing. | ||
| We were talking about Norbit. | ||
| I'm like, Norbit is a massively underrated movie. | ||
| That is a hilarious movie. | ||
| And if I looked on Rotten Tomatoes, I think it got like fucking 13% or something like that. | ||
| I'm like... | ||
| I don't get it. | ||
| How did you miss this? | ||
| I was crying laughing. | ||
| Like wheezing at certain scenes. | ||
| Nutty Professor? | ||
| Nutty Professor 2 is fucking terrible. | ||
| And also, The Clumps? | ||
| The Clumps? | ||
| That's 2. That's the second one. | ||
| Okay, I'm sorry. | ||
| Yeah, yeah. | ||
| Nutty Professor is insane. | ||
| Nutty Professor is insane. | ||
| The Nutty Professor 2 is terrible. | ||
| All those, he plays all those characters? | ||
| Yeah, well, he's amazing. | ||
| It's just the script doesn't work in Nutty Professor 2. And then they got rid of Jada Pickett-Smith and replaced her with someone else, too. | ||
| It's like, what happened? | ||
| Yeah, yeah. | ||
| That was a big part of the first movie. | ||
| He's so good. | ||
| The Nutty Professor 1 is excellent. | ||
| But he's just boring. | ||
| Have you revisited the stand-up specials of Eddie's in the leather suits? | ||
| I mean, I've seen them all multiple times. | ||
| I haven't revisited them in the last few years. | ||
| They're worth having a look again. | ||
| He's one of the greatest of all time. | ||
| It's crazy that he hasn't done stand-up in 30 years. | ||
| As long as you've not been drinking, he hasn't been doing stand-up. | ||
|
unidentified
|
Jesus. | |
| Well, they were related. | ||
| I used to run with Eddie. | ||
| Back in the day a little bit. | ||
| It was pretty fun. | ||
| He's amazing. | ||
| I mean, it's really... | ||
| Every comic that I know wants him to do Stand Up Again. | ||
| Every comic. | ||
| Like, there was a thing... | ||
| We've talked about it on the podcast before, but there was a thing that he did where he was accepting some award and he was on stage and he did this piece about Bill Cosby. | ||
| Because him and Bill Cosby always had feuds. | ||
| Like, it was on one of his older specials. | ||
| I think it was on Raw. | ||
|
unidentified
|
Yeah. | |
| Where him and Richard Pryor had a conversation, because Bill Cosby called him and chastised him about delirious, about using bad words. | ||
| And so he did this whole thing where Bill Cosby, you know, called him and told him, and then he called Richard Pryor. | ||
| Richard Pryor was like, do the people laugh? | ||
| Do you get paid? | ||
|
unidentified
|
We'll tell Bill to have a coconut smile and shut the fuck up! | |
| Yes, exactly! | ||
| Have a coconut smile and shut the fuck up! | ||
| I remember that. | ||
| For him, that was painful because, look, every comic was a Bill Cosby fan. | ||
|
unidentified
|
Sure. | |
| They found out what the fuck he was really all about, but... | ||
| So for him to get a phone call from Bill Cosby, instead of saying, you're amazing, I fucking love what you're doing, I'm in your corner, congratulations, go get him. | ||
| Instead, he gets, you should stop saying bad words. | ||
| So anyway, years later, he hasn't done stand-up in forever, and he accepts this award, and talks about, because they took back Bill Cosby's honorary doctorate, and all these different, they took awards away from him. | ||
| And he does this whole routine about Bill getting his awards taken away. | ||
| And it's fucking brilliant. | ||
| And he hasn't done stand-up in 30 years. | ||
| And you look at him like, Jesus Christ, if that guy did stand-up right now, he'd have the biggest Netflix special on earth. | ||
| And it would probably be an hour of fucking gold. | ||
| Just straight gold. | ||
| He just isn't, I mean... | ||
| He's talking about doing it. | ||
| He's talked about doing it. | ||
| I bet pre-COVID, he was talking about doing it. | ||
| I mean, obviously COVID fucked it up for everything. | ||
| It's really hard to do a show now. | ||
| Right. | ||
| And, you know, I don't know where it's going to go. | ||
| I hope he does it, though. | ||
| But he's a special talent, a very unique talent. | ||
| Yeah, and a wonderful enigma. | ||
| Yeah. | ||
| You know, he's so nice. | ||
| He's one of those people, like... | ||
| That people have all of these... | ||
| Like, people project things on Eddie. | ||
| Do you know what I mean? | ||
| Like, what he's like, what he is, what he isn't. | ||
| Because he's just one of those guys. | ||
| And he's kind of an enigma. | ||
| He's kind of unknowable. | ||
| But he's such a good dude. | ||
| Well, he's so talented. | ||
| I mean, we all grew up with him. | ||
| You know, 48 hours. | ||
| Dude, 48 hours is the shit. | ||
| The shit. | ||
| Him and Nick Nolte? | ||
| Nick Nolte is so... | ||
| I mean, that movie, I mean, that's the ultimate- Buddy cop movie. | ||
| There's the Danny Glover one with Mel, but to me, it's all about 48 hours. | ||
| I wonder if you can make a buddy cop movie anymore, now that everybody hates cops. | ||
| There they are. | ||
| Look at them. | ||
| Could you make a buddy cop movie today? | ||
| Would people- They don't want you to. | ||
| They wouldn't want you to. | ||
| No, they don't want you to, for sure. | ||
| Like, cop movies. | ||
| That's one of the biggest genres. | ||
| Right? | ||
| There's a screening of kindergarten cop that was supposed to be in Portland or somewhere this weekend that was canceled because people said that it was showing cops in a good light or something like that. | ||
| I hope they get robbed. | ||
| I hope everybody says they get robbed. | ||
| Can you imagine? | ||
| Fucks. | ||
| You've got to watch. | ||
| You ever see Nolte and... | ||
| I don't really hope they get robbed, by the way. | ||
| These are just jokes. | ||
| You ever seen Nolte in Q&A? The movie Q&A? Yes, yes. | ||
| Now that I remember that, yeah. | ||
| Where he plays a racist cop? | ||
| Yes. | ||
| Oh, he's amazing, man. | ||
| You know, there's a fucking movie that's not that good. | ||
| It's called Warrior. | ||
| It's like this martial arts movie. | ||
| That was a few years ago. | ||
| And Nick Nolte plays this guy who is a trainer of one of the fighters. | ||
| And he's the father of one of the fighters as well. | ||
| And he's this alcoholic and he's all fucked up. | ||
| And he has this scene where he breaks down and he's crying and weeping. | ||
| And you just go, God damn. | ||
| If you forget, this is it right here. | ||
| He's so good. | ||
| He's so good. | ||
| That's the outfit he wears to go to the market in Malibu. | ||
| Oh, yeah, man. | ||
| I ran into him at Fry's... | ||
| Look at him right there. | ||
| I mean, this scene, man... | ||
| That's also how he orders at McDonald's. | ||
| Screaming red-faced. | ||
| I ran into him at Fry's Electronics. | ||
| He was... | ||
|
unidentified
|
Oh, hey, Joe! | |
| He was buying some motherboard or some shit for his kid. | ||
| He's just amazing. | ||
| Yeah, he's amazing. | ||
| So, I gotta tell you how much I'm loving your podcast. | ||
| I love it. | ||
| It's great. | ||
| Thank you. | ||
| I'm a big fan. | ||
|
unidentified
|
Thank you. | |
| - Thank you. - And one of the things I love about, 'cause I'm doing my own now and I'm learning from the best and the best would be you, is it's just literally anything and everything that makes you like you're curious about and I love that so I know it's been paying attention I know Chris about space let's talk for a minute because this week Elon Musk yeah you And it was fun to watch. | ||
| But isn't it funny how excited we all are that we just replicated something we did 50 years ago? | ||
| Well, even better, though. | ||
| They replicated something in a much more improved way where it can actually come back and land and it's reusable. | ||
| That's the difference. | ||
| Don't you think, though, there has to be a secret space program. | ||
| There has to be. | ||
| Do you think so? | ||
| Okay, let's just go through the logic of it. | ||
| Okay. | ||
| This is what happens at nighttime when I have a cigar. | ||
| You sure you don't do drugs? | ||
| I know. | ||
| Do you want a cigar? | ||
| Do you smoke cigars? | ||
| I do smoke cigars. | ||
| You want one? | ||
| I was going to bring one and I forgot, but hell yeah. | ||
| Here we go. | ||
| Beautiful. | ||
| At least we can get some kind of drugs. | ||
| I know. | ||
| Let's go. | ||
| Let's fucking go. | ||
| By the way, I enjoy watching people take drugs. | ||
| I do. | ||
| Do you? | ||
| Yeah, because... | ||
| What do you enjoy about it? | ||
| I have a very expensive wine cellar. | ||
| I don't drink. | ||
| You don't drink at all? | ||
| You just have the wine for other folks? | ||
| For guests. | ||
| Wow. | ||
|
unidentified
|
Yeah. | |
| But could you have, like, a glass of wine, or are you just a deep-end kind of guy? | ||
|
unidentified
|
Nope. | |
| Every single person I know who... | ||
| Either you have the ism of alcoholism, or you don't. | ||
| And if you have come to terms with the fact that you have it... | ||
| The day where you go, you know what? | ||
| I'm going to live in Europe for a while. | ||
| And gosh, I mean, a glass of red wine at my birthday is not going to come. | ||
| I'm not going to do heroin anymore. | ||
| That's what brought me to my knees. | ||
| But a glass of red wine. | ||
| Literally, you can put a fucking stopwatch on it. | ||
| And it might not be in a week. | ||
| And it might not be in a month. | ||
| And it might not even be in a year. | ||
| But I assure you. | ||
| You'll read about them in the paper, like biting a cop in their stomach and jumping off of a roof. | ||
| 100%. | ||
| I've been in this game 30 years. | ||
| I've never seen it go any way other than that. | ||
| Never. | ||
| I like to believe there's someone out there that can do it. | ||
| Just like I like to believe some people can walk tightrobes between two buildings. | ||
| Yeah, nor people who aren't alcoholics. | ||
| They can't do it. | ||
| Fuck yeah. | ||
| What do we got here, bro? | ||
| This is good. | ||
| Okay, why can I not open this? | ||
| There we go. | ||
| Got it. | ||
| Hell, I would have brought my own. | ||
| I don't know. | ||
| Well, I just have this box here from my friend Mike Binder. | ||
| I love Mike. | ||
| Oh, you know Mike? | ||
|
unidentified
|
Yep. | |
| He's doing this comedy store documentary, and he bought me a box of cigars. | ||
| What company is this? | ||
| Do you know this company? | ||
| They're great. | ||
|
unidentified
|
Mm. | |
| Mm-mm. | ||
| Mm-mm. | ||
| There's nothing better than a cigar when you're fasting because you're good and fucked up. | ||
| Are you fasting right now? | ||
|
unidentified
|
Yeah. | |
| What do you do, the intermittent thing? | ||
| I do intermittent and then I do every other day a 24-hour. | ||
| Really? | ||
| Which I got from Kimmel. | ||
| Remember that moment where all of a sudden Kimmel didn't look like Kimmel anymore? | ||
| Lost like 80 pounds. | ||
| Yeah, and I was like, and I did, and like, you know, in the commercial breaks, the band's playing and people were screaming, you know, Hey, why do you look so good? | ||
| And he's like, I don't eat every other day! | ||
| I was like, that's gotta be more! | ||
| And the board went right back! | ||
| And I never got to, like, finish the conversation with him, but I've since learned about it, and I've done it, and it's been great. | ||
| What's the benefits? | ||
| Honestly, I think at the end of the day, the benefit is just, it's just an easy way to keep the calories down, but I find I'm more focused, and I actually have more energy. | ||
| That's crazy. | ||
| If you think about taking a whole day off of eating every other day. | ||
| But here's the thing. | ||
| It sounds worse than it is because you eat dinner. | ||
| So the day goes from dinner to dinner. | ||
| Right. | ||
| So there's not an active day that I'm not eating. | ||
| Oh, okay. | ||
| Right? | ||
| But it's still 24 hours. | ||
| Yeah, it's a meal. | ||
| That's what Jack Dorsey does. | ||
| Jack Dorsey, the CEO of Twitter, he eats one meal a day. | ||
| And he said he realizes that a lot of... | ||
| That lighter sucks, unfortunately. | ||
| Do we have another liner? | ||
| No, I'm good, right? | ||
| No, I'm good. | ||
| We're good to go. | ||
| I like this. | ||
| They're good, right? | ||
| Yeah, really good. | ||
| Yeah, I do intermittent. | ||
| I do either 14 or 16 hours. | ||
| And then you're like, you know, low carb, low sugar? | ||
| Mostly meat. | ||
| Mostly what I eat is meat. | ||
| Like almost entirely meat. | ||
| Veggies? | ||
| I eat some fruit. | ||
| Veggies? | ||
| This whole month, I'm not eating, I'm barely eating any vegetables. | ||
|
unidentified
|
What? | |
| This is animal-based August. | ||
| Animal-based August? | ||
| Yeah, you know, plant-based. | ||
| I'm plant-based. | ||
| Well, there's animal-based August. | ||
|
unidentified
|
Mostly what I'm eating is meat. | |
| Do the vegan army come for you? | ||
| Oh, they've come. | ||
| They've come for me. | ||
| I give them hugs. | ||
| Look, those animals are going to die. | ||
| I'll send them videos of wolves eating elk alive. | ||
| You know, if you want to see that. | ||
| It's better if I kill them. | ||
| Trust me. | ||
| They don't live forever. | ||
| And do you fish at all? | ||
| Yeah, I love fishing. | ||
| Yeah, my son, Matthew Lowe, is a world-class fisherman. | ||
| Do you fly fishing? | ||
| No, it's all deep sea stuff, yeah. | ||
| And we have a boat and we go out and we, I mean, it's like the sashimi fish tacos. | ||
| He has a commercial fisherman's license. | ||
| Really? | ||
| He's got a law degree and a commercial fisherman's license. | ||
| That's fucking balanced. | ||
| It's a well-rounded young man. | ||
| You did a good job. | ||
| Congratulations. | ||
| Yeah, that's good shit. | ||
| And then my other son is a writer on 9-1-1 Lone Star. | ||
| No kidding. | ||
| Yeah. | ||
| Wow. | ||
|
unidentified
|
I know. | |
| Dude, you pulled it off. | ||
| I did. | ||
| You got kids. | ||
| Being a dad is... | ||
| It's a full-time job, but I love it. | ||
| I'm one of those people that, like, for whatever reason, I knew it was what I was born to do immediately, and I devoted every fucking minute to it and loved it, and it paid off. | ||
| My boys are, you know, Cheryl's a great wife and great partner for me, but I love seeing, like, that kind of time investment. | ||
| Pay off. | ||
| Yeah. | ||
| No, it's beautiful because then they become these sustainable, fascinating human beings. | ||
| How old are your kids? | ||
| I have a 23-year-old. | ||
| I have a 10-year-old and a 12-year-old. | ||
| That's kind of good. | ||
| You love going through this because mine are 24 and 26. So the notion of going back and having another crack at it kind of sounds kind of cool. | ||
| It is kind of cool. | ||
| What's weird about babies and just humans, they're so different right out of the box. | ||
| There's so much study on what makes a personality, what makes a human being, whether it's nature or nurture. | ||
| And people who are parents can tell you. | ||
| There's certain aspects of a kid's personality that they're just born with. | ||
| You see them with it as a baby, like right out of the box. | ||
| One year in, they're different. | ||
| They're so different. | ||
| Sometimes my daughters will say something to me, and I just get so stunned just talking to them. | ||
| I remember when you were this tiny little thing, and now you and I are sitting here, and we're having a conversation about space. | ||
| Or about mortality. | ||
| Or about what I think God is. | ||
| Or about, you know, why do people act mean? | ||
| You know, I was having this conversation with my daughter, with my 12-year-old, about mean people. | ||
| And I'm like, believe me, it seems like they're just mean. | ||
| But they're only mean because they're hurting. | ||
| That's why people are mean. | ||
| They feel terrible, so they want you to feel terrible. | ||
| And we were just having this weird conversation about... | ||
| Emotions and about where it comes from and you know and how some people their you know their families broken up and because of that they wish that things were normal so they make up lies or they when other people are doing well they get angry at other people like and we were just just talking through this and in the middle of it I'm talking to her and I'm thinking I remember when You're so small. | ||
|
unidentified
|
I know. | |
| You're this tiny little thing. | ||
| And now here you are, this 12-year-old who's like, we're having this intense conversation about emotions and the development of human beings and how to be more compassionate and how there's this instinct to go, fuck her. | ||
| And I'm like, I know you have that feeling, but you've got to fight that feeling. | ||
| Nobody has that feeling more than me. | ||
| That fuck you feeling, I've got a lot of that. | ||
| But you've got to keep it locked up. | ||
| It's not good for you. | ||
| It doesn't do you any good either. | ||
| When you're like, fuck you, you're really saying fuck yourself. | ||
| It's not helping you. | ||
| Because you're developing anger instead of developing forgiveness. | ||
| Like you develop this anger towards a person where it's better, it's hard, but it's better to try to understand why they're that way and why they're lashing out at you. | ||
| And when you do that, what I was explaining to her is like, it'll be ineffective. | ||
| Like their mean stuff to you will be ineffective. | ||
| It doesn't work anymore because you know who you are. | ||
| So if you know who you are, it'll bother you that they're trying to do it, but it won't You won't change your feelings about yourself. | ||
| If you don't have a good sense of personal sovereignty, someone can change your feelings about yourself. | ||
| You know, I remember when I was young, someone could insult me and I would think that they were right. | ||
| I'd be like, oh God, I am a loser. | ||
| You know what I mean? | ||
| Like, fuck, I'm a loser. | ||
|
unidentified
|
Shit. | |
| And I'd go home and I'd feel terrible and I'd feel like a loser. | ||
| But if someone does it to you when you have sovereignty, you're like, ah, that feels gross that this person is trying to make me feel bad. | ||
| But it doesn't change who I am. | ||
| I know who I am. | ||
| You gain an understanding through struggle. | ||
| And we were having this conversation. | ||
| I remember thinking, God, it's so weird that people just sort of pop out of vaginas. | ||
| You know, you have sex. | ||
| Person gets developed. | ||
| They pop out of a vagina. | ||
| Next thing you know, they're 12 and they're sitting across the dinner table. | ||
| Just you and her just chit-chatting. | ||
| God, so it's amazing. | ||
| It's amazing. | ||
| It's true. | ||
| I always tell my kids that great phrase about bitterness and anger and bitterness is like drinking poison and expecting the other person to drop dead. | ||
| Yes, yes, yes. | ||
| I love that statement. | ||
| It's a great one, isn't it? | ||
| Yeah, yeah. | ||
| You know, worldview, right? | ||
| Optimism, positivity, rejection of victimhood, all that stuff is so important, I think, in development. | ||
|
unidentified
|
Yeah. | |
| They're tools, too. | ||
| They're tools for success because there's so many people that contain—they hold on to that stuff. | ||
| What's that other expression that anger is a poison that kills the vessel that holds it? | ||
|
unidentified
|
Mm-hmm. | |
| Yeah, that's great. | ||
| Yeah, but they do. | ||
| You can you could use them as tools to understand people, you know like that feeling that you get It's a tool and that the understanding of like how to manage that is a tool You can you can use it and you could understand people better and then you'll recognize it in yourself better and it'll prevent you from making some catastrophic mistakes and One of the things about angry, bitter, spiteful people is that they rarely get anything done. | ||
| They rarely accomplish anything good. | ||
| They always have this bitter, horrible feeling that they're carrying around with them. | ||
| I'm a big believer in therapy and personal digging and growth and stuff like that. | ||
| I mean, it's part and parcel with my recovery. | ||
| Recovery is not for everybody, nor should it be, but I think therapy could and should be. | ||
| I think it should be like going and get your oil checked. | ||
| Do you do like AA meetings and the whole deal? | ||
| You know, it's an anonymous program, Joe. | ||
| Oh, you can't even say it? | ||
| The AA Gestapo will come and get me. | ||
| Were they really? | ||
| If you say you go to AA? Here's why. | ||
| It's in what they call the traditions, right? | ||
| It's like the constitution of AA. It's in the constitution. | ||
| Because the theory is, if I were to say, AA works, I go to AA. And then, God forbid, I slip. | ||
| Then the person who might have been on the fence about going to AA will go, well, I know that's bullshit. | ||
| That guy was in AA and he slipped. | ||
| That's the theory about it. | ||
| That's a weird theory because exercise works, right? | ||
| You get in shape and then you can just decide to eat Twinkies and you get out of shape. | ||
| It doesn't mean that exercise doesn't work. | ||
| Listen, I... There are people that, you know, true traditionalists don't even like people talking with the amount that I talk about recovery publicly for that reason. | ||
| But my thing is, in this world, addiction is such a fucking killer. | ||
| And there are so many families suffering from it. | ||
| And every teenager is going to have to figure out their relationship with drugs and alcohol. | ||
| There isn't one who isn't going to have to. | ||
| And a lot of people are going to fuck that up and some aren't. | ||
| But the more that conversation is out there and that people can… Can talk about it openly is better. | ||
| So I kind of am more public about it just because it's changed my life, saved my life. | ||
| I don't have alcoholism in my family nor personally, but I admire people who talk about recovery. | ||
| I think it's important because I think, especially someone like you, because you're a very famous public figure. | ||
| And when you talk about addiction and your own struggles, people say, well, fucking Rob Lowe? | ||
| How's a problem with booze? | ||
| Like, okay. | ||
| This is like a thing. | ||
| It's part of being a person. | ||
| Yeah, for sure. | ||
| I think it's very valuable. | ||
| I think you talking about it is very valuable. | ||
| I think it's honorable. | ||
| Well, thanks. | ||
| I mean, I get a lot out of it because inevitably, you know, I meet people who are earlier on their journey and it reminds me of how bad it can be if you don't keep an eye on it. | ||
| You know what I mean? | ||
| Oh, yeah. | ||
| Because I'm just one of those people. | ||
| It's like, you know, If it says, take two aspirin, then I immediately think, well, then five's got to be fucking great. | ||
| I mean, that is the way my brain works. | ||
| Do you think that that's from becoming famous when you're very young? | ||
| What is the earliest big thing that you did? | ||
| What was the earliest big project that you did? | ||
| I mean, it was probably that Karen Carpenter lookalike look thing I had going on. | ||
| But like a big... | ||
| Well, that was sort of... | ||
| But I mean, you said that was not... | ||
| Oh, the big knockout... | ||
| That put me on the teen magazines, though. | ||
| And that's... | ||
| I went from like a theater geek who couldn't... | ||
| Like none of the cool girls gave a shit about... | ||
| Really? | ||
| Yeah, because I was a theater geek. | ||
| But you're such a good looking fellow. | ||
| No, I was pretty. | ||
| I didn't look like the fucking football playing... | ||
| They all wanted the football players and the beach volleyball players. | ||
| And in that culture... | ||
| Like, youth entertainment wasn't a thing. | ||
| There was no MTV. There was no Us Magazine. | ||
| There was no Nickelodeon. | ||
| There was none of it. | ||
| So, like, it was kind of this, like, thing that... | ||
| Stars to watch in 87. Look at you. | ||
| 87's late, though. | ||
| I mean, you can roll that thing back to 79 and get some good shit. | ||
| Duran Duran. | ||
| Look at Michael J. Fox. | ||
| Look at him. | ||
| The monkeys were still around. | ||
|
unidentified
|
What? | |
| Duran Duran. | ||
| You know, it's funny how in Europe, things that are almost campy here are still cool. | ||
| Like, Mirko Krokop is one of the baddest motherfuckers of all time. | ||
| He's this kickboxer. | ||
| He used to come out to Duran Duran. | ||
| That was his walkout song. | ||
| Come out to Wild Boys. | ||
| Wild Boys! | ||
|
unidentified
|
Wild Boys! | |
| I mean, he's a fucking straight-up killer. | ||
| He's a terrifying human being. | ||
| I didn't even come out to Duran Duran. | ||
| That's unbelievable. | ||
| That's awesome. | ||
| I loved it. | ||
| I was like, that is the scariest human being on earth. | ||
| That's a fucking Duran Duran fan. | ||
| This is going to be like, who's the baseball player? | ||
| And you're like, Babe Ruth? | ||
| Yeah, that's him. | ||
| But who's the fucking gnarly motherfucker from Hawaii? | ||
| BJ Penn. | ||
| Oh, yeah. | ||
| BJ. So BJ, when I met BJ, and I don't know anything really much about the sport, he was like, you know that before every match I watch Youngblood. | ||
| Get the fuck out of here. | ||
|
unidentified
|
What? | |
| Are you kidding me? | ||
| BJ's crazy. | ||
| He's crazy. | ||
| He's so crazy. | ||
| So fucking nuts. | ||
| That's funny. | ||
| Yeah, but that... | ||
| I don't think... | ||
| So you don't think they're connected? | ||
| Becoming very famous at an early age sort of exacerbates... | ||
| Because I would imagine... | ||
| It blows it up, but you've got to have it in you. | ||
| Okay. | ||
| Is it a family thing? | ||
| Is it genetic? | ||
| It's partially genetics. | ||
| It's in the family for sure, 100%. | ||
| It's in my family, both sides of the family. | ||
| But some people don't have it. | ||
| Some people do. | ||
| And what exacerbates it is the access, all the stuff that you'd think. | ||
| It's like fame and money and all that is jet fuel for addiction. | ||
| And then on the other side of it is there's always in the back of your mind... | ||
| That if it works out, if I get this movie or I get this part or whatever, then I'll feel better about myself. | ||
| And then you get it, and you don't. | ||
| And then you're really fucked. | ||
| So that's why when people go, he had it all! | ||
| I don't understand! | ||
| I go, I understand. | ||
| I understand perfectly. | ||
| Yeah. | ||
| His dreams came true, and they didn't fucking change who he was. | ||
| Yeah. | ||
| Did you ever have imposter syndrome? | ||
| Oh, yeah, right. | ||
| I have a lot of syndromes. | ||
| But I'm not sure I've had that one. | ||
| You think you didn't have it because you were famous early on? | ||
|
unidentified
|
Maybe. | |
| I mean... | ||
| It was like a normal thing to be famous? | ||
| No, because I also had a vision when I was a kid that I was going to do what I was going to do. | ||
| Really? | ||
| Oh, yeah. | ||
| It was like... | ||
| I knew it. | ||
| I knew it. | ||
| As sure as I'm sitting here smoking a cigar with you, I knew it. | ||
| I knew I was going to be an actor. | ||
| I knew I was going to be successful. | ||
| And I knew it was going to happen. | ||
| And here's the thing. | ||
| I was too young and too stupid. | ||
| To know otherwise. | ||
| And no one told me different. | ||
| I'm so grateful that I didn't have someone telling me that 99% of the people in the Screen Actors Guild... | ||
| These are people who are acting, who've made it. | ||
| They're in Hollywood and they're acting. | ||
| 99% of them can't support themselves as an actor. | ||
|
unidentified
|
Really? | |
| That's a true statistic. | ||
| That's a crazy number. | ||
| Now, if somebody had told me that... | ||
| It might have fucked me up and maybe my vision would have weakened. | ||
| Yeah. | ||
| Yeah, that's interesting, right? | ||
| Like, if someone gives you, like, someone made it, you made it, people are, obviously there's movies, people are making it. | ||
| Like I said to my kids, I said, listen, I don't know what the odds are, but somebody's got to do it. | ||
| Why not you? | ||
| Yes, that's a good way to look at it. | ||
| Yeah. | ||
| Yeah. | ||
| I mean, that was the thing. | ||
| So I had that, which is both a curse and a blessing, because I knew I didn't have to go through the thing that so many people do where they don't really know where they fit in the world and don't know what their gift is. | ||
| I don't know what they want to do with their lives. | ||
| So you never wavered. | ||
| You had this idea. | ||
| How old were you when you figured it out? | ||
|
unidentified
|
Eight. | |
| Jesus. | ||
| I saw a local theater production in Dayton, Ohio of Oliver, of all things. | ||
| My parents must have known one of the actors. | ||
| And there were kids in it. | ||
| And it was literally like out of a movie, like the light hit me and the skies parted. | ||
| And I went, I want to do that. | ||
| And there was a sign-up sheet for summer kid acting camp or whatever. | ||
| And I go, I want to do that. | ||
| And my parents are like, yeah, yeah, sure. | ||
| And I'm sure they thought it was like... | ||
| Just camp or Little League or any other thing that a kid would, but I knew it was the beginning of a step of what I wanted to do. | ||
| I was deadly serious about it. | ||
|
unidentified
|
Wow. | |
| That's incredible. | ||
| That's very fortunate. | ||
| Because then you just have to work towards your path. | ||
| Like so many people are like 30 and they don't know what they want to do with their life. | ||
| They're doing something they don't enjoy and they're like, I want to find something that I enjoy. | ||
| And they don't know what that is. | ||
| That's a tech. | ||
| Those conversations are terrifying to me. | ||
| I've had conversations with people like I just got to find what what my thing is my fuck man. | ||
| It's hard. | ||
| And that's and that's you know, my biggest fear for my sons is, you know, as a parent, you know, the goals and issues change with age and where they're now. | ||
| It's all about, you know, jobs. | ||
| Yeah. | ||
| And, you know, we've had those. | ||
| My favorite is. | ||
| So my youngest son, John Owen, was the youngest intern at the Eli Broad Stem Cell Laboratory in the University of San Francisco. | ||
| During his summers in high school and, in fact, was next to one of the scientists that won the Nobel Prize that year. | ||
| So he gets into Stanford, goes to Stanford, graduates with straight A's. | ||
| And I'm thinking, I've done it as a parent. | ||
| He's done it. | ||
| And then he comes back and goes, I want to be in show business. | ||
| And I wanted to kill myself. | ||
|
unidentified
|
Yeah. | |
| I was like, it was actually worse than I want to be in show business. | ||
| It was worse. | ||
| Because it was, I want to be an actor. | ||
| And I wanted to publicly disembowel myself. | ||
| Isn't that crazy? | ||
| You are a successful actor. | ||
| You love doing it. | ||
| But yet... | ||
| You didn't want your kid to do it. | ||
| Isn't it amazing? | ||
|
unidentified
|
It's weird. | |
| It is really weird, and there's so much to sort of unpack underneath that. | ||
| Yeah. | ||
| Well, I don't think you want your kids to be in pain, right? | ||
| The uncertainty of it. | ||
| Yeah. | ||
| It's like, you... | ||
| I always used to read about this quote about Henry Fonda, that to the day he died, and he died with the Oscar for fucking... | ||
| On Golden Pond? | ||
| On Golden Pond next to him. | ||
| He thought he would never work again. | ||
| Whoa! | ||
| And I was like, that has to be bullshit. | ||
| Guess what? | ||
| It's not. | ||
| It's not. | ||
| But then the other thing I would get, and this is the other really weird thing, is I'd wake up in the middle of the night and go, oh, my instinct to beat every creative fucking instinct out of my children is now indicted them and sentenced them to a life of a drone in a cubicle. | ||
| Ooh, way worse. | ||
| Do you know what I'm saying? | ||
| Yeah, yeah, yeah. | ||
| Like your instinct to protect them from uncertainty has led them to the certainty of doom. | ||
|
unidentified
|
Mm-hmm. | |
| Ugh. | ||
| And then you realize, you know what, they're going to be who they are. | ||
| And Johnny is a really talented writer and he's found his niche and ironically went right to work, right out of Stanford. | ||
| So it all kind of works out. | ||
| It really does. | ||
| But we do as dads put our own fears and our own shit on our kids. | ||
| Oh, yeah. | ||
| There's no doubt. | ||
| You know, if one of my kids told me they wanted to be a comic, I'd be terrified. | ||
| Right? | ||
| Plus, also, it's like... | ||
|
unidentified
|
I don't... | |
| There's certain parts of comedy that are so painful, like the bombing. | ||
| Like, I don't think I could be there if my kid was bombing. | ||
| I would feel it as much as them. | ||
| Do you remember... | ||
| A joke that you told once that bombed? | ||
| Oh, yeah. | ||
| Really? | ||
| Oh, my God. | ||
| You remember the joke or a joke? | ||
| Dude, I've bombed a lot. | ||
| I just can't believe that. | ||
| I had George Lopez on my podcast two days ago, and he was talking about bombing, but you're a fucking Fred Rogan. | ||
| You're a Joe Rogan. | ||
| He's fucking George Lopez. | ||
| What the fuck? | ||
| You guys don't bomb. | ||
| You have to come up with new material, and if you're going to come up with new material, some of them are going to be duds. | ||
| That's just how it is. | ||
| Yeah. | ||
| And also, you have to take chances if you want to expand. | ||
| Like, comedy is, there's a bunch of things going on, right? | ||
| There's you relating to the audience, there's them liking you, there's these concepts you're trying to flesh out. | ||
| Especially in a workout room like the Comedy Store, you have to take chances. | ||
| There's no way around it. | ||
| And sometimes those chances fall flat on their face. | ||
| The good thing is through those painful failures, those are like the biggest springboards to improvement and growth. | ||
| Every time I've ever had a bad set, my next set has been amazing. | ||
| Because you just feel the sting and you prepare better. | ||
| And also, I think my past bombings have prepared me to not bomb again because of the fact that I know what it feels like to suck. | ||
| It's so... | ||
| I always explain it that it's like, if someone says, what's bombing like? | ||
| It's like sucking a thousand dicks in front of your mother. | ||
| Except there's probably someone out there that likes sucking a thousand dicks in front of their mother. | ||
| No one likes bombing. | ||
| You know, there's probably some guy who's just really into humiliation, but I don't think there's no one out there who's into bombing. | ||
| Oh, man. | ||
| I just... | ||
| Yeah. | ||
| But because it's like... | ||
| Oh, well, listen, listen. | ||
| What am I... I will bet you that no one has bombed harder than me. | ||
| Bro, that's not possible. | ||
| You need to come to the comments to him and open mic mic. | ||
| Bro. | ||
| How is it possible that no one's bombed? | ||
| By the way, your trusty savant next to us... | ||
| Young Jamie? | ||
| Will pull up... | ||
| Did you do stand-up? | ||
| He can pull up me bombing... | ||
| In front of a billion people. | ||
| What did you do? | ||
| The Academy Awards. | ||
| Ooh, you hosted it? | ||
| Well, here's the thing. | ||
| You talk about bombing. | ||
|
unidentified
|
My dick's bigger than your dick about bombing. | |
| I'm 24? | ||
| 24 years old. | ||
| I'm doing my movies. | ||
| The Academy Awards ask me to do a big opening number for them. | ||
| I'm like, holy fucking shit. | ||
| Can we play it? | ||
| Yeah. | ||
| We'll get pulled off of YouTube? | ||
| God damn it. | ||
| I'll play it for us. | ||
| Before you play it, I need to get a little context. | ||
| Oh, stop! | ||
| Stop! | ||
| Or I'll bomb again. | ||
| I'll bomb right now. | ||
| Again. | ||
| So, they say to me... | ||
| They go, we want you to do... | ||
| And I'm like... | ||
| What year is this? | ||
| High Honor. | ||
| 86. Okay. | ||
| High Honor. | ||
| Fucking Academy Awards. | ||
| Sure. | ||
| And... | ||
| I should have, like, probably thought it through. | ||
| Because the idea didn't sound great to me. | ||
| But it's the Academy Awards. | ||
| You know, they know better than I do. | ||
| It's their show. | ||
|
unidentified
|
Right. | |
| And the idea is it's going to be an homage to old-time Hollywood. | ||
| And one of the earliest stars in Hollywood was Snow White, the animated figure. | ||
| So we're going to have a girl obviously playing Snow White, and we're going to do a duet because it's a big opening musical number. | ||
| The Oscars always used to open with musical numbers before there were monologues. | ||
| Really? | ||
| Yeah. | ||
| Oh, yeah. | ||
| Yes. | ||
| This ended it. | ||
| It's ended it. | ||
| So I'm like, okay. | ||
| Okay. | ||
| Great. | ||
| Okay. | ||
| And anyway, Marvin Hamlisch is going to write it. | ||
| Marvin Hamlisch. | ||
| I'm like, I know Marvin Hamlisch as he wrote The Sting. | ||
| Well, Scott Joplin wrote The Sting. | ||
| But Marvin Hamlisch won the Academy Award for that. | ||
| He's a double Oscar. | ||
| He's a genius. | ||
| And, you know, I'm not going to tell Marvin Hamlisch that I think that the lyrics are cheesy. | ||
| I'm not going to do that. | ||
| So when they get Ike and Tina Turner's Proud Mary and change the lyrics to, Did a lot of work for Walt Disney. | ||
| Yeah, oh no. | ||
| Like I'm saying, it's a bomb. | ||
| You and I are going to watch this, and we're going to pause for the people at home. | ||
| If you need to watch this, YouTube, Jamie, what is it? | ||
| It's on the Hollywood Reporter's website. | ||
| I don't know why it's there. | ||
| What is the title of the actual video? | ||
| Rob Lowe Bombs? | ||
| Is that the title? | ||
| Yeah, something like that. | ||
| Disasterous Open. | ||
| I don't know. | ||
| Rob Lowe and Snow White's disastrous Oscar opening February 20th, 2013. That's actually the title for the people. | ||
| It literally says disastrous. | ||
| Okay. | ||
| Folks at home, Google this, watch it, and then we're going to pick this up after Rob and I watch this. | ||
| Is that Lily Tomlin at the end? | ||
| No, that's a truncated version. | ||
| They didn't give you much of it. | ||
| But can I tell you something? | ||
| We're bad. | ||
| That was the year that Barry Levinson... | ||
| I could tell just from the first bar that it was going to be bad when you were singing. | ||
| Did you take singing lessons? | ||
| No. | ||
| I actually found the whole thing. | ||
| What's that? | ||
| You found the whole thing? | ||
| It's 11 minutes long. | ||
| No, it's 11 minutes of sheer terror. | ||
| That's on YouTube if you want. | ||
| Oh, okay. | ||
| Of 11 minutes that ruined Hollywood producer Alan Carr's career forever. | ||
| Hold on. | ||
| We'll be right back. | ||
| He's like, wait. | ||
| Just hang on. | ||
| Hang on, folks. | ||
| I need to see... | ||
| I get it. | ||
| I get it. | ||
| Okay, we're back. | ||
| Okay, so I look out in the middle of... | ||
| I look out in the middle of the audience, and I see Barry Levinson. | ||
| On this Oscars, he's about to win literally 11 Academy Awards. | ||
| As an actor, there's no one you would want to impress more than Barry Levinson. | ||
| It's the year of Rain Man. | ||
| And I look out, Joe, in the middle of this, and I see his face. | ||
| I'm not kidding, and this is what he literally was going. | ||
| He went like this... | ||
| What the fuck? | ||
| You see him actually make those... | ||
| I see him mouth the words, what the fuck? | ||
| And so... | ||
| Talk about bombing. | ||
| And I'm like, but you know, we have to have our actor's denial. | ||
| Like, we can't get through a career without a healthy dose of denial. | ||
| So I'm like, you know what? | ||
| Fuck Barry Levinson. | ||
| What does he know anyway? | ||
| Fuck that guy. | ||
| And I go backstage... | ||
| And it's in the green room and it's early in the show and there's an older lady in the corner with flaming red hair and I'm kind of looking at her and she sees me and she goes, Young man, I didn't know you were such a good singer. | ||
| Come sit down. | ||
| It was Lucille Ball. | ||
| And I went over and we sat down and she held my hand and we watched the Oscars together and you know what? | ||
| It made it all almost worthwhile. | ||
| Almost. | ||
|
unidentified
|
Oof. | |
| Here's why that's not as bad as bombing doing stand-up. | ||
| How is that not as bad? | ||
| It's not as bad. | ||
| Because even though a billion people watched it, A, you didn't write it, and B, you knew where you were going. | ||
| You could just sing the stupid song and get it over with. | ||
| It's terrible. | ||
| It's bombing. | ||
| It's bad. | ||
| But when you're bombing doing stand-up... | ||
| You are the writer. | ||
| You are the creator. | ||
| You are the performer. | ||
| You put it together. | ||
| You edited it. | ||
| You prepared it. | ||
| You got it ready. | ||
| And then you're just up there eating shit. | ||
| And people are angry at you. | ||
| They're angry. | ||
| They're angry because they can talk. | ||
| Oh, they were angry. | ||
| Oh, I'm sure. | ||
| They were angry. | ||
| Here's the other thing they did. | ||
| It never occurred to the Academy that they needed to license the likeness of Snow White. | ||
| What? | ||
| Oh, yeah. | ||
| Oh, no. | ||
| Oh, yeah. | ||
| And you know how Disney is about likenesses. | ||
| They're so easygoing. | ||
| Yeah, they're so generous. | ||
| So generous. | ||
|
unidentified
|
So... | |
| See, I think I would have gotten away with it a little bit in terms of history had there not been massive lawsuits the next day over the likeness thing. | ||
| Oh, so then people thought about it again. | ||
| When people went back and went, wait a minute, that fucking sucked way worse than I thought it did. | ||
| What was the next thing you did after that? | ||
| I think, let's see, would it have been... | ||
| I feel like it might have been Bad Influence with James Spader and Kurt. | ||
| One of my favorite movies I got to do. | ||
| That's a great movie. | ||
| I love that movie. | ||
| That's a good way to bounce back. | ||
| That was a good one. | ||
| Let's look at the bright side. | ||
| Yeah. | ||
| No, listen. | ||
| And it is a... | ||
| Did you consider saying no? | ||
| No. | ||
| A people-pleasing Midwesterner at 24 does not say no to the Academy of Motion Picture Arts and Sciences. | ||
| They don't. | ||
| And every year, every year I am treated to the honor, the high honor, of being on the list of most embarrassing Oscar moments every fucking year. | ||
| And my thing is this, is I go, hey, wait, guys. | ||
| You couldn't figure out how to announce the best picture two years ago, and I'm the problem! | ||
| Still? | ||
| Well, it wasn't your fault. | ||
| I mean, no one would have saved that. | ||
| No one. | ||
| No one. | ||
| Not a fucking human being could have jumped up there and sang that and had it made any sense. | ||
| Maybe Jim Carrey. | ||
| Yes, maybe Jim Carrey. | ||
| Maybe Jim Carrey could have done it. | ||
| But he would have gone full Ace Ventura over the top and people would have been just laughing hysterically at how crazy he is. | ||
| It's one of my great career lowlights slash highlights. | ||
| It actually kind of makes me laugh with the onset of perspective in history. | ||
| That's the beautiful thing about failures. | ||
| They eventually become funny and they can look back at them. | ||
| It only took 30 years. | ||
| It's great. | ||
| Like there's some movies, man, that are terrible, terrible movies, but they're really funny to revisit, right? | ||
| Like Showgirls. | ||
| Things along those lines. | ||
|
unidentified
|
Oh, sure. | |
| I'm a big Showgirls fan. | ||
| It's a fucking great movie. | ||
| I think they might have offered me Showgirls. | ||
|
unidentified
|
Oh, yeah. | |
| I think they might offer me the Kyle McLaughlin. | ||
| Really? | ||
| Oh, yeah. | ||
| I'm pretty sure. | ||
| Well, you would have had sex with Elizabeth Berkley in the water. | ||
| That crazy scene where she's spazzing out while he's having sex with her. | ||
| Do you remember that? | ||
| She's spazzing. | ||
| Oh, my God. | ||
| It's one of the craziest scenes ever. | ||
| It didn't make any sense. | ||
| Why is she spazzing? | ||
| It doesn't make any sense. | ||
| It's like they were on coke when they were doing the movie, writing the movie, performing the movie, and their connection with what's realistic or even entertaining or even possible doesn't make any sense. | ||
| Like if you were having sex with a woman and she was flailing around like that and you kept going, you'd be a criminal. | ||
| Like she's having a seizure. | ||
| There's something wrong. | ||
| They were in a pool, and for whatever reason, she starts flopping. | ||
| I mean, they're making out, he's got his arm around her, and she's throwing her body, slapping it against the water in this insane way. | ||
| I just want to know, who was filming that and was like, cut! | ||
| We got it! | ||
| We fucking got it! | ||
| We got it! | ||
| You got that one! | ||
| We got it! | ||
| You could hear the fucking jackhammer heart rate of everyone who's filming it because they're all coked up. | ||
| Have you seen that scene? | ||
| I'm trying to find the non-porn site that has it posted so we can watch it. | ||
|
unidentified
|
YouTube doesn't have it? | |
| Porn sites have it? | ||
| Is she topless in it? | ||
| Is that what it is? | ||
| I think so, probably. | ||
| I don't even remember the topless part. | ||
| It was so ridiculous. | ||
| I mean, there's no nudity in movies anymore, but in the 80s, I had the page 73 rule, because that's always the page the nude seeds were on. | ||
| They were always on page 73. Why? | ||
| Because that's the middle of the set. | ||
| Here it is. | ||
| So they're making out. | ||
| Yeah, he's pouring. | ||
| Oh, there you go. | ||
| Naked. | ||
| Not on YouTube stuff. | ||
| Yeah, ex-videos. | ||
| So, they start fooling around, and she gets on top of them, and then once they start doing it, she starts flailing. | ||
| I mean, you see it here, it looks almost normal. | ||
| What is she doing? | ||
| This looks almost normal. | ||
|
unidentified
|
Almost. | |
| She's just crazy. | ||
| But then she gets really spastic, and she starts throwing herself on the fucking water. | ||
| Look at this, look at this. | ||
| Come on, man, what's happening here? | ||
| What is that? | ||
| Is that for real? | ||
| Yes, it is for real! | ||
| That was in the movie! | ||
| And people have to remember, she's the sweetheart from Saved by the Bell, right? | ||
| And this was going to be her break from Saved by the Bell. | ||
| This beautiful girl. | ||
| And he's the guy from fucking Blue Velvet. | ||
| I had forgotten. | ||
| Can you imagine making that movie today? | ||
| No. | ||
| Yeah, no, page 73, because it's the middle of act two, and any writer out there knows that the middle of the second act is the Sahara of creativity. | ||
| That's when you're alone with your thoughts, and you're like, fuck, we've got to get to the ending. | ||
| Someone's got to get naked. | ||
| Someone's got to get naked, and usually it would have been me. | ||
| How many times did you show your butt in a movie? | ||
| Too many. | ||
| How many, if you get a guess? | ||
| It was the 80s. | ||
| That's what we did. | ||
| That's what we did. | ||
| It was my job. | ||
| This was 90s. | ||
| That movie was like 90s. | ||
| It was right at the end, yeah. | ||
| I was in Hollywood. | ||
| I was living here, so I moved here in 94, so that had to be like 95, right? | ||
| I think 97. 97. Oh, there you go. | ||
| This was also the era where Coke was openly sold on sets. | ||
| Really? | ||
| Oh, yeah. | ||
| Wow. | ||
| Sure. | ||
|
unidentified
|
Wow. | |
| It was either the camera department or the prop department. | ||
| Makes more sense to be the prop department, and their job is to go and get shit for you, right? | ||
| Yeah, makes sense. | ||
| You know, when we did Outsiders, we were kids, you know, Cruz and me and Matt Dillon and everybody, we were young. | ||
| I was 17. Whoa! | ||
| 17 turning 18, and see Thomas Howell, who played Ponyboy, the lead in the movie, was 15. And when we would finish shooting, we'd get in the vans to get driven back to the hotel, and there would be as much beer as you wanted. | ||
| He's 15. Wow! | ||
| As much beer as you wanted. | ||
| And that was a studio movie. | ||
| Look at you guys. | ||
| Look at Tom Cruise for you. | ||
| Can you pull that photo up to see our feet? | ||
| Is that possible? | ||
| Because... | ||
| There it is. | ||
| It's down there. | ||
| Okay, look at Swayze. | ||
| He's standing on bricks. | ||
| Lose feet. | ||
| He wanted to be taller. | ||
| Isn't that great? | ||
| Swayze's standing on bricks in the back of that. | ||
| Oh, that's hilarious. | ||
| Isn't that great? | ||
| That's my favorite. | ||
| That's my favorite thing. | ||
| Speaking of Swayze, Roadhouse, that's another horrible movie that's amazing. | ||
| But people, yeah, people love that movie. | ||
| Oh, it's great. | ||
| It's fucking great. | ||
| It's great. | ||
| He's a bouncer? | ||
| Yeah. | ||
| Yeah, he's the baddest bouncer. | ||
| And that's part of the thing. | ||
| He's like, I thought you were going to be bigger. | ||
| Remember that? | ||
| That's like one of the lines in the movie. | ||
| Because he's a legendary bouncer that they bring in to fix really bad honky-tonks. | ||
| The bad problems at the door. | ||
| Yeah. | ||
| It's a pandemic of people trying to get in. | ||
| The VIPs. | ||
| He grabs someone's neck and pulls their throat out in the movie. | ||
| I mean... | ||
|
unidentified
|
It's so good. | |
| Pain don't hurt. | ||
| That's the actual line in the movie. | ||
| Pain don't hurt. | ||
| Those 80s lines are so good. | ||
| Oh, so good. | ||
| That's such a great one because he's so beautiful. | ||
| Such a beautiful man. | ||
| Swayze was an Adonis. | ||
| He was an Adonis. | ||
| He's gorgeous. | ||
| He tried to get us to put that godforsaken song, She's Like the Wind, in Youngblood. | ||
| We were like... | ||
| There it is. | ||
| He pulls the throat out. | ||
| Oh, he pulls the guy's throat out. | ||
| And then he hits him with the worst spinning back kick ever in the butt. | ||
| Watch. | ||
| He pulls his throat out and look at this. | ||
| It's so bad. | ||
| It's such a bad kick. | ||
| He probably blew his ACL out doing that. | ||
| It's so stupid. | ||
| He was the best, man. | ||
| He might be the most intense guy I ever worked with. | ||
| Really? | ||
| Yeah, yeah. | ||
| He'd be up all night writing and doing body weight push-ups with his feet up against a wall all night long. | ||
|
unidentified
|
Really? | |
| And then show up at this set having not slept and wanting you to hear his new demo. | ||
| He was like a lot. | ||
| It was great. | ||
| It was great. | ||
| But no, I remember she's like the wind, and I was like, I don't know how that fits in a... | ||
| We're making a hockey movie, bro. | ||
|
unidentified
|
I don't know how that... | |
| That fits in the hockey movie. | ||
| Why did he want that in there? | ||
| And then, sure enough, Dirty Dancing comes out, and that movie's in it and goes to number one. | ||
| Oh, well, yeah. | ||
| But that movie. | ||
| Okay, that was a good movie. | ||
| Dirty Dancing? | ||
| It's a great movie. | ||
| That was a great movie. | ||
| Ghost is his best movie. | ||
| Yeah. | ||
| Ghost is a great movie. | ||
| That's a great movie. | ||
| Great movie. | ||
| Point Break was a great movie. | ||
| Great movie. | ||
| He did some great movies. | ||
| Yeah, he's... | ||
| Keanu was in Youngblood, but I thought he was a French-Canadian goalie. | ||
| Really? | ||
| Yeah, I didn't know he was an actor. | ||
| I literally thought he was... | ||
| We hired this amazing French-Canadian goalie. | ||
| I can't believe how young you guys were. | ||
| I know. | ||
| That's so crazy that they were giving you booze. | ||
| Look at Keanu's face. | ||
| It's exactly the same as it is now. | ||
| That's John Wick. | ||
| Here he is. | ||
| That's John fucking Wick. | ||
| Look at him. | ||
| How great is John Wick? | ||
| I love those movies. | ||
| We love those movies, right? | ||
| Love those movies. | ||
| Love them. | ||
| I love those movies. | ||
| What's all the crazy gun training that people do? | ||
| Tarant Tactical. | ||
| I go there. | ||
| Dude, it's badass, right? | ||
| You want to go? | ||
| I do. | ||
| I'll bring you. | ||
| I would love to do that. | ||
| Okay, let's go. | ||
| I go there all the time. | ||
| Really? | ||
| Yeah, I go there like once a week. | ||
| Really? | ||
| Yeah. | ||
| Yeah. | ||
| Oh, I'm in. | ||
| Yeah, well, it's good to learn how to shoot a gun properly if you're going to own guns, but, I mean, Taron, he's the best. | ||
| Well, I shoot regularly, but you can't do any of that tactical stuff unless you're on a tactical range, obviously. | ||
| Right, and you really want to do it with someone like Taron who can actually show you how to do it. | ||
| Really correctly. | ||
| Yeah. | ||
| So, I mean, I'm on the range all the time, but I'm never – it's very, very hard. | ||
| I'd love to get the tactical. | ||
| That's the great thing about – here's the thing I learned about guns that was hilarious is that when I was learning how to shoot properly, I was shooting like an actor because you have to supply the kick. | ||
| Oh, right, right, right. | ||
| Because it's a blank. | ||
| Right, right. | ||
| So all my experience with guns is playing guys who have guns. | ||
| But blanks have a kick. | ||
| But it's not like a real gun. | ||
| So you want to make it look good in the movies. | ||
| You want to give it that little thing. | ||
| So I would get out of the range and I would be doing all my acting. | ||
| It'd be like getting in a fight and purposely missing you by three inches. | ||
| I know how to movie fight. | ||
| Right, right, right. | ||
| Like, I'd fight you, but I'd miss you on purpose. | ||
| It's the same with weapons training. | ||
| Oh, yeah. | ||
| Well, you'd have to get that out of your system. | ||
| Ah, yeah. | ||
| He would get that out of you quick. | ||
| Keanu goes there. | ||
| He's there all the time. | ||
| I mean, you'd have to, I would think, if you're John Wick, you better stay facile. | ||
| Yes. | ||
| Well, that's where he learned. | ||
| Yeah. | ||
| Yeah, I see those, they're on YouTube, those famous videos where there's the timer. | ||
| Yeah. | ||
| Yeah, I'll show you one. | ||
| And you got to get through all of the... | ||
|
unidentified
|
Mm-hmm. | |
| Yeah. | ||
| I mean... | ||
| Oh, fuck it. | ||
| Dude. | ||
| Look at him, look at him, look at him, look at him. | ||
| There it is. | ||
| Dude, he's such a badass. | ||
| He's a beast, man. | ||
|
unidentified
|
Fucking beast. | |
| He's really good at that shit. | ||
| Look at him. | ||
| I have an entire section in my phone that just says guns. | ||
| Look at him. | ||
| Oh, that shoulder hurts. | ||
| That shotgun. | ||
| It doesn't. | ||
| It's not that bad. | ||
| It's not that bad at all. | ||
| How about that tactical one they have? | ||
| Oh, boy. | ||
| He's shooting dummies from like two inches away. | ||
| Is that Laura Croft behind him? | ||
| No, there's a bunch of really hot girls that Taron has that he teaches. | ||
| That's Halle Berry right there. | ||
| What's she got behind her? | ||
| That's Halle Berry, bro. | ||
|
unidentified
|
Jeez. | |
| What's that, Jamie? | ||
| It's a new one? | ||
| I just clicked on a different one. | ||
| Yeah, because she's in... | ||
| I just sent you one. | ||
| Because she's in John Wick 2. Or 3. She's in 3. She's in 4 as well. | ||
| Is 2 the best one? | ||
| I like 1. 1's my favorite. | ||
| Yeah, because first of all, I love 3, but there's no muscle cars, Chad. | ||
| Hey, Chad. | ||
| Put the fucking muscle cars back in, bro. | ||
| Yeah, exactly. | ||
| Doink, doink. | ||
| It's fun. | ||
| See? | ||
| See, he teaches you how to do it. | ||
| It teaches you correct form and all the... | ||
| Look at this. | ||
| Yeah. | ||
| It's fun. | ||
| Me and my buddy Tom Segura, we go there all the time. | ||
| Dude, I'm in. | ||
| It'll be so fun. | ||
| It's fun to learn and it's, you know, it's a valuable education. | ||
| And the fact that he's right here, that he's in California, it's amazing. | ||
| And you can shoot rifles there. | ||
| He's got ranges for long-range stuff. | ||
| He's got all kinds of stuff there. | ||
| Anything active, I'm in. | ||
| I mean, I'm the guy that always says yes to everything, hence the Oscars. | ||
| My default answer is yes. | ||
| But that's also, by the way, why I think that I've managed to navigate so many changing currents in the industry. | ||
| Because I don't get stuck. | ||
| Right. | ||
| In one place. | ||
| When I went on the West Wing, it's hard to think now, but in those days, TV was still considered a lesser medium. | ||
| It really was. | ||
| Really? | ||
| Oh, yeah. | ||
| Oh, that's right. | ||
| Yeah, people would get upset if they had to do TV. Well, he's a TV star. | ||
| I don't do TV. Yeah. | ||
| All that stuff. | ||
| Yeah. | ||
| I remember a girl I dated said that to me when I was on a TV show. | ||
| She's like, I want to do film. | ||
| I'm like, hmm, okay. | ||
| I mean, it was a real thing. | ||
| It was a real perception. | ||
| And now it's, you know, obviously everybody wants to do it. | ||
| Well, now Netflix is actually better than film because now you could be on a show like Ozark. | ||
| That show's great. | ||
|
unidentified
|
Fuck! | |
| So great. | ||
| But it's like a film every week and it's concurrent. | ||
| It keeps going. | ||
| Jason's a stud, man. | ||
| He's so good. | ||
| He's such a stud. | ||
| He's so good as an actor, but he's so good as a writer and a director. | ||
| That show is so goddamn good. | ||
| I knew him when he was on Little House on the Prairie. | ||
| Oh, Jesus, I forgot about that. | ||
| Oh, my God, he was on that. | ||
| He was on Little House on the Prairie. | ||
| He's so good. | ||
| Which just goes to show you, you never know. | ||
| No, you never know. | ||
| You don't know. | ||
| No, you never do. | ||
| You never... | ||
| I mean... | ||
| Well, humans are versatile, right? | ||
| Like, just because someone does want... | ||
| You know, like, there's so many people that you think, like, oh, that guy's of this, and then he winds up being this amazing musician. | ||
| You're like, how? | ||
| What? | ||
| Like, well, humans are versatile, you know? | ||
| And it takes people sometimes to... | ||
| Even within their... | ||
| Lane. | ||
| It takes them sometimes a while to find what they're really, really special at. | ||
| Right. | ||
| Yeah. | ||
| Yeah. | ||
| He's really, really special at that. | ||
| For me, as I've tried to do it, look at him. | ||
| Whoa! | ||
| Look at how cute he is. | ||
| That's him? | ||
| Look at that little button. | ||
| Look at him. | ||
| Could he be any cuter? | ||
| Couldn't. | ||
| Still got the same hair. | ||
| Basically does. | ||
| Man, you're talking about a guy who's been around a long fucking time. | ||
| Yeah, he knows what's what. | ||
| Goddamn Jesus. | ||
| He knows the lay of the land. | ||
| We're fucking Michael Landon, come on. | ||
| Yeah. | ||
| Was Michael Landon Aquaman? | ||
| Patrick Duffy. | ||
| Patrick Duffy was Aquaman. | ||
| Man from Atlantis. | ||
| Man from Atlantis, that's right. | ||
| I saw the first thing, dude, the first time I ever saw something being filmed in California. | ||
| I had just come out from Ohio. | ||
| It was 1976. And traffic was all blocked off at the Malibu pier. | ||
| And I got out of my and I saw the lights. | ||
| It was so long ago they still had lights for daytime shooting. | ||
| And they were about to do a stunt where Patrick Duffy, as the man from Atlantis, was going to jump off the Malibu pier. | ||
| And I was so fucking excited. | ||
| I used to try to swim like him. | ||
| Because remember the man from Atlantis? | ||
| He would swim like a porpoise. | ||
| He would swim like a porpoise. | ||
| And my favorite thing was, what made him from Atlantis was this part of his body had a web. | ||
| Yes. | ||
|
unidentified
|
That's it. | |
| This was it. | ||
| Right here. | ||
| That was all I had. | ||
| And couldn't he breathe underwater? | ||
| He could breathe underwater, but this made... | ||
| That was all they could afford were the special effects. | ||
| A webbing between his thumb and four fingers. | ||
| I'm so into Atlanta. | ||
| I'm not a big Atlantis guy anyway. | ||
| Are you really? | ||
| Oh, yeah. | ||
| Fuck, I love it. | ||
| I'm trying to figure out where it was. | ||
| They think they found it. | ||
| They think they found something that represents exactly what the depictions of Atlantis were, like these rings, concentric rings. | ||
| They think that there's some place... | ||
| Oh, God. | ||
| I want to say off Spain, off the coast of Spain. | ||
| But isn't the... | ||
| Our guy Graham saying that basically Atlantis was the pre-existing civilization and it was not an island or one place. | ||
| It was all of it. | ||
| Yeah. | ||
| Yeah, that's what they think. | ||
| But, you know, it's all speculation. | ||
| But whatever it was, you know, there's so many different versions of that, so many different versions of this, like, spectacular seaport civilization that was destroyed in the flood. | ||
| Like, the flood of the Bible, like Noah's Ark, there's also an ancient story called the Epic of Gilgamesh. | ||
| Yes, of course. | ||
| Yeah, and that story is a very similar story about a flood. | ||
| And this is one of the things that Graham Hancock points to, that there's all these civilizations that talk about It had no interaction with each other in theory, and yet they all have the same oral histories. | ||
| I did a show with my boys called The Low Files, and it was basically an excuse for my boys and I to run around in a souped-up raptor around the country and explore urban legends. | ||
| Oh, wow. | ||
| And it was Anthony Bourdain meets Scooby-Doo. | ||
|
unidentified
|
Yeah. | |
| It's what it was. | ||
| It was a fucking dream come true. | ||
| That sounds awesome. | ||
| It was a dream come true. | ||
| What network was this for? | ||
| A&E. They were great that they let us do it, but it couldn't have been a worse fit. | ||
| When they put us with ancient aliens for one night, we blew the roof off the place. | ||
| Really? | ||
| And we got to look for the wood ape. | ||
| We got to look for Bigfoot. | ||
| We did poltergeists. | ||
| The low files. | ||
| See if you can find the opening credits for The Low Files. | ||
| It's one of my proudest moments. | ||
| What year is this? | ||
| Like four years ago. | ||
| Let's see if they have it. | ||
| Give me some volume on this. | ||
| Are we going to get in trouble for using Blue Arso Cult? | ||
| Wait, Joe didn't see my homage, the very, very end, my homage to Hawaii Five-0. | ||
| It's the very last 30 seconds of the clip. | ||
| You have to see it, because I'm sure you remember this great shot from Jack Lord's credits in the end of Hawaii Five-0. | ||
| It's right at the end. | ||
| Go over here, right here, watch. | ||
| Here it comes. | ||
| Do you remember that shot on the balcony? | ||
| Yes, I do. | ||
| I did that. | ||
| You did it? | ||
|
unidentified
|
Yes. | |
| That's hilarious. | ||
| I designed that whole credit sequence. | ||
| I got the song. | ||
| I did the whole... | ||
| It's one of my favorite things I've done. | ||
| Blue Oyster Cult. | ||
| Don't Fear the Reaper. | ||
| It's the best. | ||
| It's a great fucking song. | ||
| So, what are the subjects? | ||
| You went for Bigfoot? | ||
| We did Bigfoot twice. | ||
| We did Bigfoot up in Northern California in Walnut Creek. | ||
| Oh, wow. | ||
| The Patterson-Giblin film was shot. | ||
| We did, turns out, the wood ape of Arkansas, Oklahoma. | ||
| Is the most active place. | ||
| And that was where we had some really radical experiences. | ||
| Where I heard stuff. | ||
| You heard stuff? | ||
| Oh yeah, I heard lip popping. | ||
| And chest beating. | ||
| Really? | ||
| You really think it was real? | ||
| I heard chest beating. | ||
| You know who made a great fucking Bigfoot movie? | ||
| Bobcat Goldthwait. | ||
|
unidentified
|
What? | |
| Yup. | ||
| He made a great Bigfoot movie. | ||
| A scary Bigfoot movie. | ||
| What was it called again? | ||
| Do you remember him? | ||
| Willow Creek. | ||
| Oh, yeah. | ||
| Yeah. | ||
| Did you remember, um, ever seen, um, um, um, um, um, okay, what is this? | ||
| He did it like, uh, Blair Witch style. | ||
| I'm writing that down. | ||
| I love that. | ||
| It's fucking good, man. | ||
| We had, we had a great time and it's all these, we went with all these guys who are like real legit people. | ||
| They're like regular people and they spend their time out in the woods and they know how many are out there and it's fucking, it was crazy. | ||
| Matthew, my youngest son's through the thermal imaging, saw him hiding by, like doing the thing with a high behind the tree. | ||
| So you really think that Bigfoot's real? | ||
| I don't know. | ||
| I mean, here's the thing. | ||
| Like, the slogan for the low files was, it's more fun to believe. | ||
| It definitely is more fun to believe. | ||
| And that's really where I come down on it. | ||
| It's like, I don't have a dog in the fight, but it's way more fucking fun. | ||
| For sure. | ||
| Way more fun. | ||
| I want Bigfoot to be real. | ||
| I've always wanted to be real. | ||
| The problem is the people looking at it also want it to be real. | ||
| Yes. | ||
| They're trying so hard. | ||
| They see shadows they think that are Bigfoot. | ||
| There's some interesting things. | ||
| There's some interesting things in terms of like dermal ridges they found on footprints. | ||
| And there's a lot of hair samples and shit that come back and they don't know what they got them from. | ||
| Not really. | ||
| Really? | ||
| See, yeah, I looked into that. | ||
| Oh, tell me everything. | ||
| I did a show called Joe Rogan Questions Everything for SyFy. | ||
| And me and my buddy Duncan went up to the Pacific Northwest. | ||
| We brought stuff to real biologists and we actually had samples analyzed. | ||
| They're all bare. | ||
| And then when they say that there's some human or primate DNA, it's always contaminated. | ||
| It's like the chain of custody between the actual piece of hair and getting into the lab is always contaminated. | ||
| Right, yeah. | ||
| No one just stops. | ||
| No, it's next to their granola bars and their backpacks. | ||
|
unidentified
|
People touch it. | |
| They're hiking out, yeah. | ||
| If you touch something, you get your sweat on it and it could show up as human DNA or animal DNA mixed with human DNA. The problem is the people that are into it, the real problem is they want to believe so fucking bad that they just have this crazy confirmation bias and they only look at the good things. | ||
| My favorite episodes of the Low Files were the ones where we didn't find shit. | ||
| They were my favorite. | ||
| Just having fun. | ||
| Because it's just a dad and two idiot kids, you know, having a blast. | ||
| The thing about Bigfoot that's interesting is Native Americans had more than a hundred different names for that animal. | ||
| Yes. | ||
| And they don't have names for other mythical creatures. | ||
| And then on top of that, there was an actual animal called the Gigantopithecus, and it was a huge ape-like creature that stood on two legs and walked upright and was probably some sort of... | ||
| looked like orangutan-like. | ||
| It probably looked exactly like what we think of as Bigfoot. | ||
| It was an actual real animal. | ||
| Have you ever seen the images of that? | ||
| I have, and it's funny. | ||
| The deep connection between Native Americans and that legend is really, really profound. | ||
| Like, I've had... | ||
| In one of the episodes that we did, we talked with some of the elders, and they would say, no, one reached through the window and touched my chest. | ||
| And it's like, you're like, this guy's not crazy. | ||
| I'm not talking to a crazy person. | ||
| Right, but they also have peyote. | ||
| Well, that's true. | ||
| Native Americans have other shit. | ||
| That's true. | ||
| Would let you see Bigfoot. | ||
| Maybe that's the thing. | ||
| Like, you only see Bigfoot. | ||
| Bigfoot's real, but he's interdimensional. | ||
| You only see him when you're on drugs. | ||
| That could happen. | ||
| That absolutely could be real. | ||
| Like, if you get on the right psychedelics, you'll meet aliens. | ||
| Well, it's funny. | ||
| As a sober guy, there's part of me that wishes... | ||
| Because I liked mushrooms, but only like once or twice a year because it's so fucking fun and you get, like you said, you get all that stuff going. | ||
| Yeah. | ||
| I did them last week. | ||
| Did you laugh a lot? | ||
| Because all I did was laugh. | ||
| Post Malone and I did a podcast. | ||
| We did mushrooms. | ||
| Oh my God. | ||
| Yeah, we had a good old time. | ||
| How long were you tripping? | ||
| Well, the podcast is four hours long and we were drinking too. | ||
| So it was like just madness. | ||
| It was all just like mushrooms. | ||
| I could feel the mushrooms and I was getting high too. | ||
| He wasn't smoking pot, but then we were drinking Bud Lights and it was a lot of chaos. | ||
| This is like exactly what my 80s were like. | ||
| But I think about people go and do ayahuasca and do those. | ||
| That really appeals to me. | ||
| That's different in that, you know, you could call it a drug, but DMT, which is what ayahuasca brings up, it's the active ingredient, you're still you. | ||
| You're not drunk. | ||
| That's what's weird about it. | ||
| I don't know what it is, but if you wanted to get real woo-woo, you would call it some sort of a chemical gateway into another dimension. | ||
| Or to another realm that you can't access without it. | ||
| It doesn't seem like a drug. | ||
| But how is it not any different than, I got stoned and I saw crazy shit? | ||
| Well, first of all, it's endogenous, right? | ||
| So your brain actually has this chemical inside of it. | ||
| It's one of the more interesting things about this drug is that your body knows how to process it so well. | ||
| Like, if you do coke, right? | ||
| Like, I'm sure you're coked up for a long time, right? | ||
| Your body's all fucked up for a long time. | ||
| Dimethyltryptamine only lasts like 15 minutes. | ||
| What? | ||
| Yeah, your body recognizes what it is, so it brings you back to baseline very, very quickly. | ||
| So if you do this, it's a 15 minute experience? | ||
| Yeah, the ayahuasca takes longer because ayahuasca is an orally active version of it. | ||
| So what ayahuasca is, is the roots of one plant and the leaves of the other. | ||
| So you have DMT in one plant and in the other plant you have something called an MAO inhibitor. | ||
| MAO is monoamine oxidase, and that's produced by your gut to break down dimethyltryptamine and a bunch of other chemicals. | ||
| But it breaks down dimethyltryptamine because dimethyltryptamine is in a bunch of different plants. | ||
| So you could trip just eating phalaris grass if you didn't have monoamine oxidase in your gut. | ||
| So if you ate the grass, nothing would happen because your body would break it down. | ||
| But if you had an MAO inhibitor, then you would trip balls. | ||
| And then the other thing that people talk about is like, I vomited for five hours! | ||
| Yeah, that's the problem with ayahuasca. | ||
| You're going to blow your asshole out. | ||
| You're going to diarrhea, throw up. | ||
| It's disgusting stuff. | ||
| I don't want to do that. | ||
| It's also because you're getting the plant... | ||
| You're getting the stuff that's not the active ingredient from these roots and these leaves, too. | ||
| And then all of a sudden, your body's freaking out. | ||
| Have you ever had any... | ||
| Awakening or vision or I've had a lot of visions on dimethyltryptamine. | ||
| Yeah, it's anything that you could that you once you got Once you were done tripping that didn't seem like the ramblings of a madman or was it something you're like, oh wow I had a I had a revelation. | ||
| It's hard to say They all seem impossible to describe to anybody else other than people that have experienced it But what it does make you realize is that how... | ||
| The thing that I always felt when I came back is like, how is this possible that you could go to a place like this where you could see something that's way more vivid and way more powerful than regular life? | ||
| Like whatever it is, it's not... | ||
| It's not like it's dull and confusing and you feel drugged and you feel less. | ||
| You know, you feel more. | ||
| You see more. | ||
| It's more vibrant. | ||
| It's more powerful. | ||
| And whatever is over there seems to know you. | ||
| It seems to be you're communicating with something, something that's far more intelligent than you, far more advanced and not hindered by all of the things that we're hindered by, like our egos and our nonsense and our insecurities and our civilization and culture. | ||
| It's some sort of other kind of consciousness. | ||
| They joke about things. | ||
| They make fun of you. | ||
| Like, one time I did it, and all these jesters, like this, like a... | ||
| A geometric pattern of gestures, like a fractal, like infinite gestures were giving me the finger like this. | ||
| Fuck you! | ||
| Like mocking me. | ||
| And the message that I got was that I was taking myself too seriously. | ||
| Like maybe even like while my intentions going into the trip, I was taking myself too seriously. | ||
|
unidentified
|
Wow. | |
| And I remember relaxing, going, oh, okay. | ||
| And they're like, that's right. | ||
| Like they're nodding their head. | ||
| Like, yes. | ||
| Like, it was a message. | ||
| Like, hey, stupid. | ||
| You know, you take yourself too seriously. | ||
|
unidentified
|
Fuck you. | |
| Fuck you. | ||
| I like, fuck you. | ||
| And it was gestures, like, with a hat and everything. | ||
| So, in your life now, like, let's say you are stressing out about something that's very serious. | ||
| So you do the fractal gestures. | ||
| Do you remember them? | ||
| And go, oh, yeah. | ||
| I had this. | ||
| Very, very, very. | ||
| But you know what I mean? | ||
| Like, you bring something back that you can practically use in this dimension, this time? | ||
| Humility. | ||
| There's a humility that comes from real psychedelic experiences that just because you know that they are possible, it makes you second guess the significance of regular existence. | ||
| Because it seems like that might be where you go when you die. | ||
| Okay. | ||
| I was waiting for the moment. | ||
| I don't know if that's what it is. | ||
| I don't do drugs, but I've been meditating a bunch, and that's one of the things that people have been telling me for years to do. | ||
| All the people that I admire, meditation is a part of their lives, and every time I do it, I just go to sleep. | ||
| Or I start thinking about shit that I can't control. | ||
| But I've recently started doing it. | ||
| It's really been amazing. | ||
| And I've definitely noticed some changes. | ||
| And it's also affected the quality of my dreams. | ||
| And you're familiar with vivid dreaming. | ||
| Sure. | ||
| Lucid? | ||
| Lucid dreaming. | ||
| So I've had a number of them. | ||
| And I had done some meditating on... | ||
| I don't mean to overstate it, but like, what is it all about? | ||
|
unidentified
|
Right. | |
| Sure, everybody wants to know that. | ||
| It sounds cliche. | ||
| Yeah. | ||
| And so I did that, and then I had a lucid dream that night. | ||
| And in a lucid dream, I went to that place. | ||
| And it looked like Avatar, you know, like the James Cameron. | ||
| Or a fern gully. | ||
| Or like Kauai, with the waterfalls and the rainbows. | ||
| And I was flying. | ||
| I was me, but I wasn't me. | ||
| I didn't have a body, but I could think. | ||
| And I was definitely me. | ||
| And the surroundings were so, and the feeling was so full of euphoria and love. | ||
| Like I started weep-sobbing of happiness. | ||
| Yeah. | ||
| And then all of a sudden the voice went, oh, but what about my family? | ||
| I'm here now and they're not here yet because it was sort of the theory was that I had gone to heaven or whatever the fuck it was. | ||
| And here's the freaky part is I realized, no, no, they're already there because time is not linear. | ||
| So my takeaway from this dream, my ramblings of a madman, were we're already there. | ||
| Well, your brain does produce psychedelic chemicals while you're sleeping. | ||
| That's one of the things about DMT that's so closely related to dreams, is that it's really hard to remember after it's over, but so vivid when it's happening. | ||
| This I remembered like, and I remember it now, like I witnessed it. | ||
| And that's what made it different and special. | ||
| Maybe the improvement in the way your brain was working because of the meditation, that you had gotten yourself into a state where you could access it. | ||
| And I physically asked for it before I went to bed. | ||
| I actively... | ||
| Have you done it again since? | ||
| I have and I haven't had... | ||
| I've had smaller fleeting versions of this, but this was like starring in a movie. | ||
| It was like it was happening. | ||
| I think James Cameron nailed something in that Avatar film that resonates with people in a very strange way. | ||
| Not just that it was an awesome movie, and it was a fucking awesome movie, but... | ||
| That he nailed something that made people want to live like that. | ||
| You know, there was a thing that we're talking about after that movie called Avatar Depression, where people were leaving the film and they were depressed that their life was nothing like Avatar, like Pandora, like living like the Na'vi. | ||
| Pandora, that's it. | ||
| Yeah, that there was something about what he nailed He nailed something in that movie where it's like this spiritual connection. | ||
| It was very ayahuasca-like, too. | ||
| There's this connection to Mother Earth and the nature and spirits and the connection of all of them. | ||
| There's something about that film. | ||
| He hit some nerve with people. | ||
| I've never heard of another film generating depression that, you know, there's no Star Wars depression. | ||
| Other than when you see some of the ones that have recently come out. | ||
| Yeah, that's depressing. | ||
| That's what happens when the executives get a hold of it and they go, hey, you got to go to Cuba and grab the people and put them in the boat. | ||
| That's right. | ||
| And then they listen. | ||
| That's right. | ||
| That's exactly right. | ||
| That's exactly what happens. | ||
| But, you know, James Cameron's such a force of nature. | ||
| You can't really do that to him. | ||
| He figured something out in those movies. | ||
| He figured out how to tap into some sort of elemental area of the psyche that it just resonated with people. | ||
| Sort of the same way, I think. | ||
| People that talk about folks that live a subsistence life, people that have gone to the woods and they just live off the land, they talk about this deep connection to nature that they get from that and how it makes them feel fulfilled. | ||
| They don't feel depressed. | ||
| They feel very engaged. | ||
| There's a guy named... | ||
| He lives in the Arctic and Vice did this whole series on him called the Heine Moe's Arctic Adventure and One of the things that he was saying is he came out there like in the 1970s to work for the forestry department They just lived there for the rest of his life. | ||
| He's up there right now with his family like he's married to this indigenous woman and they live off the land He eats caribou and fish and his whole life is like hunting and gathering But he's like, this is how people are supposed to live. | ||
| And he's a very intelligent man, very articulate. | ||
| So when you hear him talk, he's not some weirdo that lives in the woods. | ||
| He's a guy who recognizes there's something about this that resonates with humans, this life. | ||
| You're connected in the way that you're supposed to be. | ||
| And he thinks that what we've done by creating cities and electricity and electronics and You know social media and all the bullshit that we deal with today that we've disconnected ourselves from the things that that really make us human and that I believe that his his life is more connected to it But there's even a deeper connection and that's how the Navi lived and you know if you read about There's there's many stories about Native Americans where they would especially the Comanche would kidnap People | ||
| they would kidnap like young children. | ||
| Oh that great book Which one? | ||
| Under the Harvest Moon. | ||
| Oh, okay. | ||
| Yeah. | ||
| Do yourself a favor. | ||
| I will. | ||
| I will. | ||
| Empire of the Summer Moon was one that I'm talking about. | ||
| That's the one. | ||
| Sorry. | ||
| Oh, okay. | ||
|
unidentified
|
Yeah. | |
| Same one. | ||
| Yeah. | ||
| About Cynthia Ann Parker. | ||
|
unidentified
|
Yeah. | |
| It's one of my favorite books. | ||
| There's a photo of her out there in the lobby. | ||
| That's who that is. | ||
| That's Cynthia Ann Parker with a child. | ||
| I knew I knew it from somewhere. | ||
| Yeah. | ||
| That's Quanah Parker. | ||
| That's her son. | ||
| That guy over there on the one that's made out of bullet shells. | ||
| That's one of my favorite books ever. | ||
| It's a fucking amazing book. | ||
| Amazing book. | ||
| It's amazing. | ||
| And that's one of the things they said was that she did not want to go back to Western civilization. | ||
| She's like, you guys live like idiots. | ||
| Like, this is a bullshit way to live. | ||
| There's something about that movie that tapped into that, but also tapped into this, like, spiritual realm that exists in psychedelics. | ||
| Cameron fucking nailed it, man. | ||
|
unidentified
|
He nailed it. | |
| And a lot of people are like, oh, that movie is just... | ||
| Have you ever had him on? | ||
| No. | ||
| No, I'd love to. | ||
| First of all, he's the most humble... | ||
| I've never worked with him, but my dear, dear, dear, dear friend who passed away a few years ago, Bill Paxton. | ||
| I love that guy. | ||
| He's the best. | ||
| He's one of my best friends. | ||
| And he and Jim were in Roger Corman's production mill together. | ||
| They were both like standby painters. | ||
| So he's been in every Jim Cameron movie ever, ever made. | ||
| And he introduced me to Jim and there was a minute where I was going to play the Billy Zane part in Titanic. | ||
| And Jim is like, there's no one like him. | ||
| There's literally nobody like him. | ||
| The fucking guy went to the bottom of the ocean. | ||
| So Bill and he went to – Bill's like, God damn, Jim's taking me down to the Titanic. | ||
| I'm going next Thursday. | ||
| And they went down to the Titanic. | ||
| They had lunch on the deck of the fucking Titanic. | ||
|
unidentified
|
What? | |
| Yeah. | ||
| Oh my God. | ||
| And then Bill came up and everybody was like ashen faced and freaking out and 9-11 had happened. | ||
| Whoa! | ||
| Bill Paxton was on the deck of the Titanic when 9-11 happened. | ||
|
unidentified
|
Holy shit! | |
| With Jim Cameron. | ||
| Is that crazy? | ||
| Oh my God. | ||
| That's insane. | ||
| Insane. | ||
| That's insane. | ||
| But I'm dying to see these new Avatar movies. | ||
| I know. | ||
| When are they supposed to happen? | ||
| I mean, everything's all fucked up now because of COVID, right? | ||
| Yeah, I heard they keep getting pushed and pushed and pushed, but he's bet the farm on them. | ||
| I mean, he's the one guy. | ||
| He's the guy. | ||
| There are very few people that could get me to go to a movie theater anymore. | ||
| Yeah, I'd do anything for that guy's movie. | ||
| Maybe Chris Nolan. | ||
| Maybe. | ||
| Yeah, another one. | ||
| But for sure, James Cameron. | ||
| Bill Paxton was in one of the most underrated vampire movies of all time. | ||
|
unidentified
|
Yeah. | |
| After Dark. | ||
| After Dark. | ||
| Remember that? | ||
| He's great in it. | ||
| That's a movie, no, people don't, they don't remember that. | ||
| That was a fucking great vampire movie. | ||
| He's a... | ||
| Budget, $1 billion. | ||
|
unidentified
|
Only James Cameron. | |
| But that's for three movies, too. | ||
| But still. | ||
| By the way, it'll make a billion dollars within six months. | ||
| The first one. | ||
| And maybe even streaming, it might make a billion dollars. | ||
| Like, even if it came out today. | ||
| Best deal in the world. | ||
| Yeah. | ||
| I love, I hate to say this because I love movies, and I do love going to the movie theater, but the fucking consequences of going to the movie theater are dealing with people. | ||
| Like, people that are texting or talking. | ||
| I won't do it. | ||
| That's what drove me out of the movie theaters, was the glow of people's phones. | ||
| When that started, I was out. | ||
| Well, people talking, too, is so annoying. | ||
| But when people are not annoying, like, you know, nine out of ten times, it's fucking amazing because you feel the energy of all the other people, especially at comedy. | ||
| Oh, yeah. | ||
| Like, I remember I went to see Team America World Police. | ||
| Oh, my God. | ||
| With me, my friend Eddie Bravo, and a bunch of other friends. | ||
| We were baked out of our fucking mind. | ||
| And we went to see that in a crowded theater. | ||
| And we were dying. | ||
| And everyone was dying. | ||
| There were so many people laughing. | ||
| It was like being in a comedy club. | ||
| The energy of all the other people in the film. | ||
| Borat. | ||
| In the theater. | ||
| Borat was the last one for me that was like that. | ||
| Where the minute the credits start out with a... | ||
| I ate music in it. | ||
| It was one of my favorites. | ||
| But Team America? | ||
| Come on. | ||
| Oh my god. | ||
| Those guys are national treasures. | ||
| They're national treasures. | ||
| They're one of the one groups of people that can avoid cancel culture. | ||
| Because their creations are these things that aren't even people. | ||
| These weird little cartoons. | ||
| You can kill them. | ||
| They can say outrageous shit. | ||
| They can do everything they want. | ||
| It's like the perfect vehicle for mocking culture. | ||
| I've seen that great YouTube clip where they're in the recording booth. | ||
| Yes, yes. | ||
| And they're doing the... | ||
| What is it called? | ||
| Like six days or something like that? | ||
| It's so good. | ||
| I've never met them. | ||
| I haven't either. | ||
| They're awesome, though. | ||
| What I love is having people still at this point in my life that I'm a huge fan of that I haven't met. | ||
| Probably better that way. | ||
| Well, you know where it's really like that for me is people I don't like. | ||
| Because as a sports fan, you've got to have villains. | ||
| Right. | ||
| So I remember not wanting to meet Larry Bird because I'm a Lakers fan. | ||
| And I never wanted to meet. | ||
| Really, who I really didn't want to meet was Danny Ainge. | ||
| And, of course, I met him. | ||
| And he was fucking awesome. | ||
| And I'm like, fuck. | ||
| Like, who am I going to hate now? | ||
| As a comic, it's a real problem. | ||
| Because if you meet someone, you really like them, you can't make fun of them anymore. | ||
| I met Jenny McCarthy once, and she was so nice, I had to cut her out of my act. | ||
| Oh, no! | ||
| I had a bit about her where they said she was going to take her breast implants out. | ||
| And I said, that's like Tiger Woods chopping his fucking arms off. | ||
| I go, put him back in and make him bigger and no talking. | ||
| It was so mean. | ||
| But then I met her and she was so nice. | ||
| She was so friendly and pretty. | ||
| You know that great story Spade tells about... | ||
| He did that, you know, he used to do the Hollywood Minute on Weekend Update. | ||
| It was the meanest, funniest thing we'd make fun of celebrities. | ||
| And at one point, you know, we all have down times in our career. | ||
| It's an honor to have a fallow time in your career because it means you've been around. | ||
| Yeah, sure. | ||
| Yeah, yeah. | ||
| And Eddie Murphy had been in a fallow time and Spade in the middle of Update had Eddie Murphy's picture come up on the screen. | ||
| He went, oh, look, kids, a falling star. | ||
| And within five minutes, the phone was ringing on Studio 8H, and it was Eddie. | ||
| Oh my god. | ||
| For Spade. | ||
| Oh my god. | ||
| Yeah, I mean, I'm telling a story only because Spade publicly tells it, and it's amazing, but like... | ||
| What did Eddie Murphy say to him? | ||
| He went fucking nuts. | ||
| But Spade tells a great story of trying to avoid the call and running and ducking. | ||
| Spade is like a tiny little will-o'-the-wisp. | ||
| He's so small. | ||
| That's the thing. | ||
| It's good to keep some people at a distance so you can continue to root against them, let's face it. | ||
|
unidentified
|
Yeah. | |
| Well, my friend Bill Burr was talking about that the other day. | ||
| He was on this podcast he does with Bert Kreischer. | ||
| And they were talking about meeting a president. | ||
| He goes, I don't want to meet a president. | ||
| He goes, why? | ||
| He goes, because then he can't make fun of him. | ||
| He was talking about his bit about Michelle Obama. | ||
| And he has this amazing bit about Michelle Obama. | ||
| And he's like, if I met her, I couldn't do that bit. | ||
| Yeah. | ||
| It's right. | ||
| You couldn't. | ||
| You'd feel bad. | ||
| You'd feel like, oh, I'm throwing her under the bus. | ||
| She's a nice lady. | ||
| That's why Spade stopped doing Hollywood Minute. | ||
| You just couldn't do it anymore. | ||
| And it was like a big, big deal. | ||
| Big, big franchise of Weekend Update. | ||
| Yeah. | ||
| Yeah, that's part of the problem. | ||
| But it's, you know, it is what it is. | ||
| That's right. | ||
| And also, somebody was telling me that we're with emoji culture and text culture, that our language has changed forever, for sure, because now no one cares about punctuation. | ||
| I mean, it's just not— No one cares. | ||
| It's not looked down upon. | ||
| It isn't a sign of lack of education anymore. | ||
| It has no pejorative attached to it. | ||
| And I was sort of— No, no, no. | ||
| The point of language is for it to evolve and to become... | ||
| For lack of a better, better. | ||
| And what, if you read the letters from the Civil War, right, those great, like, flowery, beautiful, that like the most, you know, like a private in the army would write. | ||
| Right. | ||
| Now today, the private in the army is sending a three-second text, but that's progress because it actually requires less time. | ||
| You get the same information. | ||
|
unidentified
|
Right. | |
| And you haven't had to go through the time and effort of the other. | ||
| At least that was the theory that somebody was telling you that made me feel better about it. | ||
| I don't know if that theory is correct. | ||
| That's like saying that people who read texts all day and they read tweets and bullshit nonsense on social media, that's better than reading books. | ||
| Because I don't think it's true. | ||
| But it's probably not. | ||
| It's just easier. | ||
| It's probably not. | ||
| I'm just trying to feel better about the culture today. | ||
| I'm hopeful about the culture today, but there's more challenges. | ||
| There's more information, more things, so there's more challenges. | ||
| But I don't think that's necessarily bad. | ||
| You still have brilliant people. | ||
| It's easier to be a moron today and survive. | ||
| Back in the Civil War days, You know, if you're writing a letter back home, I mean, I wonder what education was like back then, too, right? | ||
| I mean, it was probably... | ||
| It couldn't have been great! | ||
| Yeah. | ||
| No, it couldn't have been. | ||
| But, you know, that famous letter of Sullivan Ballou that ends the first episode of Ken Burns' documentary, The Civil War, that's famous, and they put that beautiful song underneath it. | ||
| It's like... | ||
| I know. | ||
| It's crazy to read the way they wrote. | ||
| So flowery. | ||
| Yeah. | ||
| So eloquent. | ||
| So eloquent. | ||
| So moving. | ||
| And it was like a piece of art. | ||
| And that was just a regular dude writing home to his wife. | ||
| Yeah. | ||
| If someone wrote like that home to their wife, their friends would read and go, I think your husband's gay. | ||
| What was the name? | ||
| Sullivan Ballou. | ||
| It wasn't Jim. | ||
| What is Sullivan into? | ||
| Musicals? | ||
| Bye Bye Birdie fan? | ||
| What's his thing? | ||
| Nothing wrong with it. | ||
| No judgment. | ||
| I think it's just more challenges today because there is more information coming in. | ||
| You can get lost in junk food information. | ||
| What's your current YouTube wormhole you're into? | ||
| Because that's all I do at night. | ||
| People wonder why viewership is down. | ||
| And listen, I'm in the TV business. | ||
| I should be watching TV. I don't watch TV. I go to YouTube and I go down whatever wormhole I'm interested in. | ||
| I go to YouTube almost entirely for escape. | ||
| So I watch pool, like professional pool matches on YouTube. | ||
| I do a lot of that. | ||
| I watch car videos. | ||
| I watch dumb shit. | ||
| I watch things that don't require that much thinking. | ||
| But then, every now and then, I'll watch a lot of space documentaries. | ||
| If there's one thing that I watch a lot, it's documentaries on space, things about space, space travel, exploration, new things they're learning. | ||
| I was reading something today about NASA. They're going to change some of their wording to be more inclusive. | ||
| I'm like, please say they're not going to get rid of black holes. | ||
| Because if NASA decides that black holes are racist, I'm going to give up. | ||
| You know, anything's possible. | ||
| Today, everything is possible. | ||
| I've been into, my new thing is, of all things, Simon and Garfunkel. | ||
| Oh, wow. | ||
| Yeah, those harmonies and stuff. | ||
| But I'm a huge Yacht Rock guy. | ||
| Before Yacht Rock was a thing, I didn't know that was a genre, an official genre. | ||
| Yacht Rock? | ||
| Yeah, oh, so this is a new phrase for you, too? | ||
|
unidentified
|
Yes. | |
| Is it? | ||
| Yes. | ||
| Oh, well, then I don't feel I was behind. | ||
| There's an actual channel on SiriusXM for Yacht Rock. | ||
| No! | ||
|
unidentified
|
Yes! | |
| No! | ||
| What does that mean? | ||
| So Yacht Rock is like... | ||
| The Eagles? | ||
| The Eagles, Boz Skaggs. | ||
| Here it goes. | ||
| Al Stewart's Year of the Cat. | ||
| Okay, look at this. | ||
| The term yacht rock does not exist contemporaneously with the music the term describes. | ||
| From about 1975 to 1984, it refers to adult-oriented rock or West Coast sound, which became identified with yacht rock in 2005 when the term was coined in a J.D. Reisner et al.'s online video series of the same name. | ||
| Oh, so one guy came up with the name. | ||
| So who are the bands of Yacht Rock? | ||
| Let's see what this is. | ||
| Michael McDonald. | ||
| For sure. | ||
| Christopher Cross. | ||
| I'm a big Yacht Rock fan. | ||
| Kenny Loggins. | ||
| Toto. | ||
| Steely Dan! | ||
| Yes. | ||
| I love my... | ||
| I love Steely Dan. | ||
| They might be my favorite band. | ||
| So Yacht Rock is like older dudes. | ||
| Another thing I'm into is Donald Fagan talking music theory. | ||
| It's really, really amazing. | ||
| Talking about chord progressions and stuff. | ||
| Do you play? | ||
| I wish I did. | ||
| I know five chords on a guitar. | ||
| Oh, I don't know one. | ||
| I don't know anything. | ||
| Yeah, I know like five open chords. | ||
| When I get to bar chords, my little fingers were too weak, and I had to move on. | ||
| I think music is one of those things where I'm scared to learn, because if I start getting into it, I'll be obsessed, and then I'll lose all the time that I have. | ||
| Then you're going to start a band. | ||
| You'll be like every actor with their band. | ||
| I wonder who has the best actor band. | ||
| That's Jared Leto, right? | ||
| Oh, for sure. | ||
| 100%. | ||
| But that's a legit... | ||
| I was in a teen magazine with him. | ||
| Were you? | ||
| Yeah, in like 1993, I think. | ||
| Wow. | ||
|
unidentified
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Yeah. | |
| The Bacon Brothers, they're great. | ||
| 94 maybe? | ||
| Kevin Bacon? | ||
| Oh, right. | ||
| That's right. | ||
| He's got a legit band. | ||
| You know who's legit? | ||
| Juliette Lewis. | ||
| Juliette Lewis can sing her fucking ass off. | ||
| Bill Burr told me about her. | ||
| He calls me up. | ||
| He goes, dude, he goes, let me tell you something. | ||
| She's a fucking rock star. | ||
| He goes, a legit rock star. | ||
| I'm like, come on. | ||
| And then he sent me a video. | ||
| I was like, holy fuck. | ||
| I've always been a huge fan of hers. | ||
| She's a beast. | ||
| She's so good. | ||
| She pours it out, man. | ||
| There she is. | ||
| Look at her. | ||
| Look at her. | ||
| She's wearing Evel Knievels out there. | ||
| Yes. | ||
| She's fucking good, man. | ||
| That's some Snake River Canyon shit she's got on. | ||
| Her and I have talked about doing a podcast, but we never really got to do it. | ||
| I love her. | ||
| I don't know her at all. | ||
| Love her, though. | ||
| She's a fucking amazing actress, man. | ||
| Her and... | ||
| Cape Fear? | ||
| Oh yeah, dude. | ||
| That was a movie you couldn't make today. | ||
| Couldn't make that movie today. | ||
| No chance. | ||
| Nope. | ||
| No chance. | ||
| When she sucked on Robert De Niro's thumb. | ||
| Thumb in a playhouse? | ||
| She sucked on his thumb in a child's playhouse. | ||
| And she was like, what, 15 at the time or something? | ||
| Yeah, he couldn't do that today. | ||
| There's so many films you couldn't do today. | ||
| That movie's great. | ||
| How about when De Niro smokes that cigar in the theater? | ||
|
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He's like, ah, ha, ha, ha, ha. | |
| He was terrifying. | ||
| Such an actor. | ||
| Oh, my God. | ||
| He's amazing. | ||
| He's a beast. | ||
| But the other thing, it was the one with Woody Harrelson when there were serial killers. | ||
| Yeah, yeah, yeah. | ||
| Natural Born Killers. | ||
| Thank you. | ||
| Yeah. | ||
| Goddamn, she was good in that. | ||
| Woo! | ||
| So good. | ||
| Yeah. | ||
| Yeah. | ||
| That's Oliver Stone, isn't it? | ||
| Yep. | ||
| That's Oliver Stone. | ||
| I got to meet him. | ||
| I did a podcast with him a couple weeks ago. | ||
| Oh, I saw it. | ||
| He's amazing. | ||
| He's great. | ||
| He's an interesting cat. | ||
| There was a minute where he was going to make the Noriega, Manuel Noriega story. | ||
| It was going to be Al Pacino was going to play Noriega, and I was going to play Oliver North. | ||
| Whoa. | ||
| And it never happened. | ||
| The script was good, but not great. | ||
| And we did a big table reading of it at Oliver's place. | ||
| And Oliver's known to be really tough on actors, and I'd never worked with him. | ||
| But we take a break halfway through, and I go to the water fountain, and Oliver's at the water fountain. | ||
| And I turn to him and go, what do you think? | ||
| How's it going? | ||
| He went, I don't know. | ||
| What do you mean you don't know? | ||
| He goes, I don't know, Rob. | ||
| I just was just a little surprised. | ||
| What do you mean? | ||
| He goes, I just thought you'd have a little more energy. | ||
| He turned away and walked away. | ||
| Whoa. | ||
| So when we came back, the next line I had, I was doing it like this with so much motherfucking energy. | ||
| It was unbelievable. | ||
| And Oliver just kind of like laughed and smiled to himself. | ||
|
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|
Oh. | |
| Talking to him was so fascinating because he's one of the few guys that's made films about combat, who's actually experienced real combat. | ||
| And, you know, talking about his experiences in Vietnam and then coming back home and making Platoon and how difficult it was to make Platoon. | ||
| What a fucking masterpiece it was. | ||
| People forget Salvador's great, too. | ||
| Oh, my God. | ||
| Jim Belushi? | ||
| Yeah. | ||
| People forget how good Jimmy Belushi is in Salvador. | ||
| And James Woods. | ||
| And that Express. | ||
| Midnight Express. | ||
| Dude, that guy made some fucking wicked movies. | ||
| Alan Parker, who directed it, died this week, you know. | ||
| Oh, did he? | ||
| Yeah, he's one of my favorite directors. | ||
| Did Pink Floyd the Wall, Bugsy Malone. | ||
|
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|
Wow. | |
| Stone is so weird, too, because he wrote so many great movies, like Scarface. | ||
| He wrote great movies and produced and directed. | ||
| He did so much, man. | ||
| So much. | ||
| JFK. He's such an iconoclast. | ||
| I mean, I don't know if a guy like him could make it through the corporation. | ||
| Well, also the way he partied, too. | ||
| Oh, believe me. | ||
| I was doing a movie called Masquerade in New York City when they were making Wall Street. | ||
| And we would always be like, our set would be like three blocks from their set. | ||
| And Charlie and I, of course, grew up together and it would be, it was just, it was Michael Douglas. | ||
| Oh boy. | ||
| Those days. | ||
| Jesus. | ||
|
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|
The dark days. | |
| Yeah. | ||
| The darkness. | ||
| It was accepted. | ||
| Yeah. | ||
| What was a part of the culture, right? | ||
| It was 100% a part of it. | ||
| It's what you did. | ||
| We did. | ||
| Isn't it weird now that that's so demonized? | ||
| You're not doing any of it. | ||
| Yeah. | ||
| Any of it. | ||
| And look, it's obviously for the better. | ||
| It's definitely for the better for the victims. | ||
| But is it for the better for the creators? | ||
| I don't know. | ||
| Here's my thing. | ||
| I really believe that the notion that getting high makes you a better artist or gives you better access into your art, I think is bullshit. | ||
| I do. | ||
| You might be right, but you might not be right. | ||
| I know I might not. | ||
| There's some art that's made by people that are fucked up that's insanely good. | ||
|
unidentified
|
I know, I know. | |
| Some of Stephen King's writings, when he was fucked up. | ||
|
unidentified
|
Drinking? | |
| When he was drinking? | ||
| The Shining? | ||
| Yeah. | ||
| Shining, Cujo, Cary. | ||
| I think it was Cujo or Cary. | ||
| He doesn't even remember writing. | ||
| He was so fucked up, just doing coke and drinking cases of beer. | ||
| The Beatles, you know, in their acid phase. | ||
| Yeah. | ||
| Hendrix? | ||
| You can't deny it. | ||
| I think that you just don't. | ||
| They would have made something else. | ||
| It would have been different, but I think it would have been as good. | ||
| I think people who treat it as a prerequisite. | ||
| I think that's a mistake. | ||
| I agree. | ||
| I agree with that. | ||
| Well, I know brilliant people that are completely sober, so I 100% agree. | ||
| But I don't think you can deny the impact that some drugs have on some creativity. | ||
| For sure. | ||
| Yeah. | ||
| I mean, you know, what if Crosby, Stills, and Nash never smoked dope? | ||
| What if the Grateful Dead never smoked dope? | ||
| Or did acid. | ||
| Or did acid. | ||
| Maybe the music would be good. | ||
| Sorry. | ||
| I'm with you on that. | ||
| I don't get it. | ||
| There's a lot of people that love the dead. | ||
| What about Fish? | ||
| Isn't Fish like that? | ||
| It's basically the same band. | ||
| Right? | ||
|
unidentified
|
I don't know. | |
| To me, I don't have that gene. | ||
| There's this white person gene that I don't possess. | ||
| The Fish gene. | ||
| Yeah. | ||
| There's like Dirty Feet gene where you just want to dance around in a field with your friends while you wear beads. | ||
| I have a cousin who followed the dead. | ||
| She followed the dead all over the country. | ||
| She like lived... | ||
| With the dead, in terms of the fans, they made food and sold it to people that would go to the concerts. | ||
| They'd scramble eggs and shit. | ||
| I don't... | ||
| Do you ever go to Burning Man? | ||
| No. | ||
| Any Desire? | ||
| Maybe. | ||
| Maybe now that you can wear a mask and hide from people. | ||
| It's an excuse to take drugs and kind of be sexually provocative, right? | ||
| Am I missing something? | ||
| There's definitely that. | ||
| I think there's also like this freedom of this alternative civilization that they develop in this wasteland. | ||
| You know, I have friends that love it. | ||
| Love it. | ||
| People, by the way, who are really, like you go, really? | ||
| Really successful people. | ||
| Oh, I know. | ||
| A lot of the tech dorks. | ||
| They love it. | ||
| Yeah. | ||
|
unidentified
|
Yeah. | |
| I just feel like it's a lot of dust. | ||
| I have genius friends that love it. | ||
| A lot of dust. | ||
| A lot of dirtiness. | ||
| Yeah. | ||
| I'm good. | ||
| I mean, people are like, you have to go. | ||
| I'm like, I don't know if I do. | ||
| What are the other things that people tell you you have to do that you don't want? | ||
| Like, do you want it? | ||
| Like, it's like, you have to go to India. | ||
| It's so moving. | ||
| I'm like, I don't know. | ||
| Is it? | ||
| I feel like I'm getting sick already. | ||
| I feel like my stomach hurts now. | ||
| Yeah, I can feel the diarrhea brewing before I get on the plane. | ||
| I mean, I don't know. | ||
| I mean, I've heard people say India was amazing, and I've heard people say they wanted to leave the moment they got off the plane. | ||
| I know people who've done both. | ||
| Yeah. | ||
| Yeah. | ||
| I want to go to Egypt. | ||
|
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|
Me, too. | |
| I would really like to see the pyramids. | ||
| Me too. | ||
| I'm desperate to do that whole thing, but I want to go with someone. | ||
| I want to find the person who's the expert on all of it. | ||
| I had the expert, and he just died. | ||
| No! | ||
| John Anthony West. | ||
| He and I had talked a couple times about even getting together with a group of my friends and going over there, and he was going to guide us. | ||
| He's a guy that inspired a lot of Graham Hancock's work, collaborated together on some stuff. | ||
| That's why I know the name. | ||
| Yeah, he's amazing. | ||
| That's my dream trip. | ||
| Yeah. | ||
| 100%. | ||
| It's a mindfuck, I'm sure. | ||
| I mean, the closest I've been is Chichen Itza. | ||
| I've seen the Mayan pyramids, and that was a mindfuck. | ||
| Have you been to Machu Picchu? | ||
| No, I haven't. | ||
| So I went two years ago, and I thought it would be like that great scene in National Lampoon's Vacation when Chevy Chase sees the Grand Canyon. | ||
| Mm-hmm. | ||
| Where he goes, he goes... | ||
| And leaves. | ||
| Do you know what I mean? | ||
| Like, I saw it. | ||
| That was great. | ||
| I'm done. | ||
| I really thought that's what it would be, and it was fucking amazing. | ||
| Yeah? | ||
|
unidentified
|
Amazing. | |
| It's pretty crazy. | ||
| First of all, you have to walk there. | ||
| You can take a train to the base of it and then walk up. | ||
| And by the way, people say, I walked it. | ||
| Sometimes they're talking about walking from the train. | ||
| Yeah. | ||
| You've got to take the Inca Trail. | ||
| We didn't do the four-day version. | ||
| That's too much. | ||
| There's no reason to do it. | ||
| But we did like the eight-hour, and it makes all the difference. | ||
| Look at that place. | ||
| And we caught it with that type of weather, too. | ||
| Goddamn, that's beautiful. | ||
| And they don't really understand the civilization that built that. | ||
| No, and what you realize when you get there is there's two civilizations. | ||
| There's that, and then there are parts of that that are even older that look completely different. | ||
| Completely different, like any idiot can tell that that's from a different time. | ||
| Yeah, that's one of the things that Graham Hancock talks about, is that there's a bunch of these spots like there where archaeologists have sort of determined that, well, this is what happened. | ||
| And then upon further examination, other people have said, but wait, I don't know if this is right. | ||
| And I don't know why they did this. | ||
| Who were these people? | ||
| You see, even in that photo we're looking at, you see the kind of looks like little stone brick area, which is like 80% of what we're seeing. | ||
| That's really what it looks like. | ||
| But then you get in there and there's other areas that look nothing like it with that crazy right angle, seamless stones that you see all over the rest of the world. | ||
| That this was clearly built on top of. | ||
| I mean, you just... | ||
| It obviously was. | ||
| Yeah. | ||
| Well, that's the argument. | ||
|
unidentified
|
There you go. | |
| See that wall? | ||
| That's the argument. | ||
| See how it's different than the wall over there? | ||
| Totally different. | ||
| Look at the steps. | ||
| Jesus Christ. | ||
| Look at those green-covered steps all the way up to the hill. | ||
| So those were where the crops were. | ||
| That's where they grew the crops. | ||
| God. | ||
| It's fucking great. | ||
| It's so beautiful. | ||
| You worry about going all the way there and being like, I slept all the way there for this. | ||
| It's totally rewarding. | ||
| On the other side of it, I went to the Galapagos, and that was, I would recommend, just go to Catalina. | ||
| Really. | ||
|
unidentified
|
Really. | |
| Yeah. | ||
| Really? | ||
| Yeah. | ||
| It's fucking Catalina, dude. | ||
| Really? | ||
| Yes. | ||
| Is this an island? | ||
| It's the Channel Island. | ||
| Well, they call the Channel Islands the Galapagos of North America. | ||
| Do they? | ||
| They do, for good reason. | ||
| When you go to the Galapagos, you're like, wait, I'm sorry. | ||
| This is San Miguel Island off of Santa Barbara. | ||
| That's hilarious. | ||
| But if you're into the blue-footed boobie, you've got to go there. | ||
| You're one of those guys. | ||
| And if you want to swim with those gnarly lizards that... | ||
| Are under, like, gigantic monitor lizards that are underwater, like, eh, when you're snorkeling. | ||
| You're not getting that at Catalina. | ||
| Right. | ||
| You gotta go to Galapagos. | ||
| You gotta go to Galapagos. | ||
| There they are. | ||
| Those fuckers are underwater. | ||
| How big is that thing? | ||
| You swim with them. | ||
| How big are they? | ||
| It's this table from me to you. | ||
| Jesus Christ. | ||
| Oh, my God. | ||
| Look at the size of those fuckers. | ||
| They're great. | ||
| What a weird-looking creature. | ||
| It's really something. | ||
| Oh, my God. | ||
| That part was way worth it. | ||
| Whoa. | ||
| Look at that guy. | ||
| And then obviously the Galapagos tortoises, you're only going to get there. | ||
| They don't even know how old they are. | ||
| Look at those fuckers. | ||
| Yeah. | ||
| It's a long way to go though. | ||
| Yeah. | ||
| How long did it take you to get there? | ||
| It's a full day and a half of travel. | ||
|
unidentified
|
Wow. | |
| There's something about going places, I mean, I'm sure that's fascinating, but there's something about going places where people lived a long time ago that's very eerie. | ||
| Like if you go to, like, Pompeii was weird for me, because you're looking around and you realize, like, this is this civilization that, what was it, a thousand years ago or whatever? | ||
|
unidentified
|
Yeah. | |
| That Mount Vesuvius erupted? | ||
|
unidentified
|
Yep. | |
| That just instantaneously vanished. | ||
|
unidentified
|
Okay. | |
| I never got to Pompeii. | ||
| I know people who just had the same experience. | ||
| It's a trip. | ||
| Because, you know, you're looking at, like, this... | ||
| Like, Rome is like that as well. | ||
| Like, just being around the Vatican and seeing just the... | ||
| How much would you love to have free reign of the Vatican? | ||
| Like, take me to the Indiana Jones vault. | ||
| You know, where everything's stored? | ||
| What do you think they have that they don't show us? | ||
| The Ark. | ||
| The thing I really want is the library of Alexandria that burned, you know, that had all of the knowledge of the world. | ||
| People say that a lot of it got moved out in the Vatican. | ||
| The Vatican's a weird place, man. | ||
| I went with a guy who was a scholar. | ||
| He was a professor. | ||
| He was a great guide. | ||
| He was one of those professional guides that you hire. | ||
| He and I hit it off big time because we were out in this courtyard area and there was this giant pine cone. | ||
| And I said, the pine cone. | ||
| And he looked at me and I go, is that representative of the pineal gland? | ||
| And his eyes lit up. | ||
| He's like, yes. | ||
| And the next thing you know, me and him are talking about drugs. | ||
| And we're talking about, you know, the understanding of the pineal gland, the seat of the soul. | ||
| Like, that thing is supposed to represent the pineal gland. | ||
| That's not just a pine cone. | ||
| It's supposed to represent the gland in your brain that produces dimethyltryptamine. | ||
| And so there's a lot of that weird shit in ancient Christian art, like mushroom imagery, and a lot of weird stuff that you find. | ||
| In fact, there's a book by this guy, John Marco Allegro, who was a biblical scholar and a linguist, and he was also one of the only people in the Dead Sea Scrolls, the translation commission, the translation group that was... | ||
| That was a sign to try to figure out this Dead Sea Scrolls and translate it back. | ||
| He was an ordained minister, but he was also agnostic. | ||
| Because through his studies of religion, he sort of decided along the way, like, hey, this is all, it seems like there's too many similarities to these things. | ||
| It's not in all these different cultures. | ||
| And he started breaking down the etymology of the languages. | ||
| And he came out with a book called The Sacred Mushroom and the Cross that was bought out by the Catholic Church. | ||
| And the book essentially said the entire religion of Christianity is a giant misunderstanding. | ||
| And what it really was about was about the consumption of psychedelic mushrooms and fertility rituals. | ||
| And that they had all these stories that they hid in parables and all this ancient knowledge that they hid in these tales, but that it all goes back to the consumption of psychedelic drugs. | ||
| And in fact, one of the weirder connections to that was in Israel. | ||
| I mean, this is like very recently. | ||
| These scholars at the University of Jerusalem had determined that what Moses was talking about when he saw the burning bush was actually the acacia bush, the acacia tree, which is rich in DMT. And that when we're talking about the burning bush and that it was God appeared to him in the burning bush, he was probably tripping. | ||
| And that this was why he came down with these commandments for how to live life and how to govern yourself, that he was in communication with God, but what it really was, most likely, was him having a psychedelic experience. | ||
| Wow. | ||
| That is all through ancient Christian religion. | ||
| You know, there was a guy named Jack Herr, who was like one of the early Proponents of marijuana. | ||
| He was like a Goldwater Republican who got high with a girlfriend of his. | ||
| Went through a divorce, got high with a girlfriend of his and had this idea of like marijuana being this terrible thing. | ||
| These fucking hippies are all lazy. | ||
| But he meets this cool girl and he starts smoking pot and then became a pot activist. | ||
| And wrote a book called The Emperor Has No Clothes, and it's all about the origins of marijuana criminalization, and what it really was all about, and that it actually was about industry, and that the real people that started marijuana propaganda, like those movies like Reefer Madness, that was Harry Anslinger and William Randolph Hearst. | ||
| And William Randolph Hearst decided that he was going to demonize marijuana to stop the hemp industry. | ||
| That was the original reason why he did it. | ||
| Because the Popular Science magazine had a cover in like 1937 or something like that called Hemp, the New Billion Dollar Crop. | ||
| And it was all because they had come up with a new machine called the decorticator. | ||
| And a decorticator was a new machine that allowed them to effectively process hemp fiber. | ||
| Because before they used to use slaves. | ||
| And then when slavery was outlawed and then Eli Whitney came up with the cotton gin, they switched all their clothing from hemp-based clothing to cotton. | ||
| And so they had done this for years, and then they had switched their paper from canvas, like original canvas, like even the Mona Lisa, was printed on hemp. | ||
| All that stuff was hemp. | ||
| Hemp is a far more durable paper, and it's a far more durable cloth. | ||
| And so people's clothes, like old, really durable clothing, was made out of hemp. | ||
| And so William Randolph Hearst decided the best way to combat this new industry, instead of turning over his gigantic forests and converting them to hemp forests and converting his paper mills to hemp paper, he decided what he was going to do was kill the business. | ||
| And so the way he killed the business was printing these stories about black people and Mexicans raping white women because they were on this new drug called marijuana. | ||
| And what marijuana, the word, was actually a slang for a Mexican wild tobacco. | ||
| Didn't even have anything to do with cannabis. | ||
| So when they made marijuana illegal, Congress didn't even understand that they were making cannabis and hemp illegal. | ||
| They thought it was a new drug. | ||
| And so he tricked them. | ||
| He tricked them because he earned Hearst Publications. | ||
| I mean, that was one of the things that Orson Welles, like, when he made Rosebud, he made that movie. | ||
| He made Citizen Kane about William Randolph Hearst. | ||
| Yes. | ||
| Because he was this insanely powerful guy that was just this fucking tyrant. | ||
| Is Rosebud a bud? | ||
| I don't know. | ||
| Like, hey, good buds. | ||
| But that movie was about William Randolph Hearst. | ||
| William Randolph Hearst is the reason why marijuana is still federally illegal in 2020. And this is in the 1930s. | ||
| Like, almost 100 years later, his propaganda still works. | ||
| It is amazing. | ||
| You ever been to Hearst Castle? | ||
| That's cool. | ||
| Yeah, I was there when I was a kid. | ||
|
unidentified
|
It's crazy. | |
| Here's the reason why this whole fucking state is filled with wild pigs. | ||
| That crazy asshole had wild pigs on his mansion. | ||
| He had them roaming around, brought wild boars over from Europe. | ||
| And so California, like San Jose, is infested with wild pigs. | ||
| People who live in San Jose, they go out and wild pigs are fucking knocking over their trash and eating their lawn. | ||
| That's William Randolph Hearst did that shit. | ||
| I had no idea. | ||
| That's amazing. | ||
| That crazy fuck was responsible for a lot of problems that we're still facing today. | ||
| I had no idea, man. | ||
| I mean, I know it... | ||
| My knowledge is... | ||
| I know the yellow journalism of it all and the... | ||
| He's a bad guy. | ||
| He was a fucking bad guy. | ||
| He had too much power. | ||
| I mean, there was... | ||
|
unidentified
|
He... | |
| Hearst Publications was... | ||
| You know, he had this insane amount of power to just print lies. | ||
| And he could shift the course of public perception. | ||
| To fit his own needs and to fit his businesses. | ||
|
unidentified
|
I wonder if that happened today in the media, what that would be like. | |
| Like fake news or something? | ||
| I can't imagine. | ||
| You can't do that today. | ||
| People are too smart. | ||
| No, you can never do that today. | ||
| It would never happen. | ||
| Yeah. | ||
| It's... | ||
| It's amazing when you find out the history of why things are legal and illegal and what happened and where they went wrong. | ||
| It's weird how long some things, like some propaganda, can sink in and last for. | ||
| It's crazy. | ||
| Yeah. | ||
| I mean, entertainment is the ultimate form of it. | ||
| Oh, yeah. | ||
| The ultimate. | ||
| And also the ultimate form of combating it, which is what Orson Welles tried to do with Citizen Kane, kind of show. | ||
| Obviously, he didn't name the guy William Randolph Hearst, but everybody knew what it was about. | ||
| That movie is great. | ||
| It's one of those movies that you hear as... | ||
| What's up, Jamie? | ||
| I started looking something up about the pigs and this article from the San Francisco Gate says it's a different guy named George Gordon Moore who brought them in the 1920s for hunting. | ||
| I'm sure he did, but William Randolph Hearst most certainly had them at his castle. | ||
| Maybe some of the ones around that area came from William Randolph Hearst's castle. | ||
| Maybe that's where he got them from, that guy. | ||
| But Hearst most certainly had them at his place. | ||
| In fact, Hunter S. Thompson used to hunt William Randolph Hearst's wild pigs. | ||
| The ones that are around Big Sur, apparently. | ||
| That's what people think. | ||
| That's another gnarly place. | ||
| That's a gnarly place. | ||
| That's a place that also, did you see the fucking landslide they got? | ||
| Yes! | ||
| Shut down the 101 or the one for like... | ||
| I just drove the one... | ||
| The PCH? I just drove the one two weeks ago up there, and you cannot believe how much new construction they needed to do. | ||
| It's open now. | ||
| It's open now? | ||
|
unidentified
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Yeah. | |
| But it was closed for like a year. | ||
| Yeah. | ||
|
unidentified
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Right? | |
| I mean, when you look at the construction, you go, well, I can see why this took a year. | ||
| Dude, I drove up there with my family once, and I was so terrified. | ||
| I was like, to the left is death. | ||
| Yeah, it's amazing. | ||
| It's crazy that you could just drive it. | ||
| It's crazy. | ||
| It is one of the great, it's one of the great drives. | ||
| It's a cliff! | ||
| You're on the edge of a cliff and if you're on the right side and someone just decides to turn into you, you're done. | ||
| You're dead. | ||
| But you're like, you're like 1,500 feet up. | ||
| Yeah, and people die there. | ||
| All the time. | ||
| All the time. | ||
| Yeah, all the time. | ||
| You fall asleep at the wheel, you're fucked. | ||
| Yeah. | ||
| Turning around to get that selfie. | ||
| It's a crazy way to die. | ||
| Someone died like that in Malibu not that long ago. | ||
| It was like Paris Hilton's photographer or something like that. | ||
| It was a photographer. | ||
| The guy in the Jeep? | ||
| Was this this guy in the Jeep? | ||
| I don't remember. | ||
| But there was someone who he posted something on social media and he was dead right afterwards. | ||
| And their speculation was that he was looking at his phone when he went off the side. | ||
| Yeah, I remember hearing this. | ||
| I know that. | ||
| There are a couple turns right there in Malibu. | ||
|
unidentified
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Yeah, sketchy as fuck. | |
| California, that ride up to San Francisco on the PCH is fucking magnificent, though. | ||
| It's so incredible. | ||
| It is. | ||
| It's not magnificent if you're in the backseat. | ||
| It is not. | ||
|
unidentified
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You will get the car sickness of a lifetime. | |
| Yeah, there's a lot of turning. | ||
| I drove a Winnebago once, and you know the famous bridge that's in every car commercial on the one? | ||
| Yeah. | ||
| I didn't realize that all the bikes that I had on the back were, like, too wide, I guess, and I just destroyed every bike we had just gotten the family for Christmas on that thing. | ||
| I was like Clark Griswold, vacation driving that fucking thing. | ||
| It was not good. | ||
| Yeah, people have that idea, right? | ||
| We're going to take an RV and go across America. | ||
| There's good things to that, but there's also, you know, your kids have to have a high tolerance for boredom. | ||
| I remember when my family would drive me across the country, I'd have my book and Mad Libs, and that was it. | ||
| That's it. | ||
| That's it? | ||
| Yeah. | ||
| You didn't have anything else. | ||
| I wasn't watching a movie on my iPad. | ||
| I wasn't watching Mulan. | ||
| My kids have a different kind of traveling now. | ||
| And people let them do it. | ||
| I've let my kids do it just to shut them up. | ||
| Just so they get some peace. | ||
| They wear you down. | ||
| Yeah. | ||
|
unidentified
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They beat you down. | |
| They wear you down. | ||
| There's no way. | ||
| Can you imagine, hey, read a book and do some Mad Libs from here to Pocatello, Idaho. | ||
|
unidentified
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How long? | |
| When are we going to be there? | ||
| I have to pee. | ||
| I'm hungry. | ||
| Oh, brutal. | ||
| Yeah. | ||
| Brutal. | ||
| But you've got to kind of force them to have some boredom. | ||
| Just so they have those experiences. | ||
| I remember when my parents took me to Yosemite when I was a kid. | ||
| And to this day, I remember those experiences. | ||
| I remember our cooler got broken into by a bear. | ||
| I remember hearing the bear outside the tent and waking up and there was footprints on the hood of the car. | ||
| So good. | ||
| That's my big worry is that... | ||
| As a culture, we don't know what to do with boredom, you know, because we're never without the world at our fingertips. | ||
| Yes. | ||
| You know, so like I remember my mom, I have such vivid memories of, parents would never do this today, but like, we'd go to the market and she would leave me in the car. | ||
| And she would go to the market and it felt like she was gone for five days. | ||
| She was probably, looking back on it, she was probably gone for 20 minutes. | ||
| But it felt like forever. | ||
| And I'm in that car as a little boy. | ||
| I can remember it vividly. | ||
| And all I have is my mind and my imagination to kill the time. | ||
| That's it. | ||
| And, you know, I think it served me very well, but I don't know how many of us are getting that experience today. | ||
| Not too many. | ||
| I mean, grown adults are very rarely bored these days. | ||
| And I think that leads to a real problem with creativity and imagination. | ||
| And also, social media anxiety and all the nonsense that comes with just reading people's anger and just the way we... | ||
| I'm off Twitter. | ||
| I still have a presence on it. | ||
| And I still use it from here to there. | ||
| Good for you. | ||
| And I didn't do the thing that makes me crazy. | ||
|
unidentified
|
It's like, I'm leaving Twitter, everyone. | |
| It's like, shut the fuck up. | ||
| Exactly. | ||
| Just go. | ||
| Just go, stupid. | ||
| Do you know what I mean? | ||
| And then you check to see how people are reacting to you leaving Twitter? | ||
| Yeah. | ||
| Let me see what kind of interest that post generated. | ||
| Yeah. | ||
| And I'm way happier. | ||
| Yeah. | ||
| There's so many people that are just so addicted to saying something and seeing how people react to it. | ||
| Oh, what's trending? | ||
| I loved it. | ||
| I love checking what's trending on Twitter. | ||
| It's fucking best. | ||
| In this time and age, too, with Trump, it's just a terrible time because everyone's so angry. | ||
| You go on Twitter and people are so furious. | ||
| You can't have an opinion about anything. | ||
| Everybody's mad. | ||
| If you do have an opinion, there's a million people that disagree and a million people that do agree and they're fighting it out to the death of Yeah. | ||
| It used to be that consensus building or being in the middle of the road was accepted by the warring camps. | ||
| Right. | ||
| And now silence is complicit. | ||
| Yes, yes. | ||
| So that's really the problem. | ||
| That's where there's no middle anymore. | ||
| Right. | ||
| Right. | ||
| People are angry at you if you don't post an opinion that agrees with them. | ||
| You can't even not post an opinion. | ||
| They'll get mad at you. | ||
| I've heard people say, you know, hey, history will not be kind to the people that did not talk about this. | ||
| I'm like, really? | ||
| What? | ||
| You can't tell people that they have to comment on things. | ||
| That's ridiculous. | ||
| You're forcing people to express opinions that they might not have even formed? | ||
| Yeah, it's a... | ||
| I mean, I have these talks with my boys because they're right in the thick of it. | ||
| It's a new generation, obviously, and they have a totally different perspective on it. | ||
| They're growing up with it. | ||
| They don't even know what it's like to have no internet. | ||
| No, it's amazing. | ||
| That's what's crazy. | ||
| Isn't it? | ||
| It's crazy. | ||
| I remember vividly when it all happened. | ||
| I remember I was on the West Wing and all of a sudden we went from pagers to BlackBerrys. | ||
| I remember the first person who ever showed me an iPhone was David Crosby, of all people. | ||
| Oh, wow. | ||
| Yeah, and I was like, what is that thing you've got there? | ||
| And he had one of the first iPhones. | ||
| I was a late adopter because I was like, that's bullshit. | ||
| I want buttons. | ||
| I was late at the same. | ||
| I wanted buttons and I thought that it was somehow an iPhone was less serious than a Blackberry. | ||
| Right. | ||
| You're a business person. | ||
| I'm a serious person. | ||
| Yes. | ||
| I'm not, you know, and then I obviously succumbed. | ||
| Everybody that I worked with on news radio had the BlackBerry that was the wide one that you did, the two-finger one. | ||
| Yes. | ||
| You know, everyone's doing their email off of it. | ||
| It's very important to have a BlackBerry. | ||
| Very. | ||
|
unidentified
|
BlackBerry. | |
| Yes. | ||
| And then they were called something else in the East Coast. | ||
| Really? | ||
| Yeah, it was like a RIM. RIM was the company. | ||
| And that's one of those great, I would love to do an anthropological look at how they got their clock cleaned. | ||
| They had it. | ||
| Oh yeah, they had it all. | ||
| They had it all. | ||
| Yeah. | ||
| Maybe they're going to say that about iPhones someday. | ||
| Yeah, somebody will come up, but like, what, how do you, how does, it's like via VHS Betamax. | ||
| Yeah. | ||
| It's like, this Darwinism of the corporations is so interesting to me. | ||
| Well, we remember Blockbuster Video. | ||
| Oh, yeah. | ||
| Who would have ever thought there'd be no video stores? | ||
| Who would have ever thought that? | ||
| I thought it was a novelty, the idea you're going to have things on a hard drive. | ||
| Like, what? | ||
| I know. | ||
| It's ridiculous. | ||
| I remember the first person telling me, I have my music on my computer. | ||
| I said, what do you mean you have music on the computer? | ||
| He said, yeah, I don't have any CDs. | ||
| They're all here. | ||
| But where are your CDs? | ||
| I don't have any. | ||
| Like, it shows you why, this is why we need ayahuasca, because we can't understand simple shit like that. | ||
| Well, the real question is what's next? | ||
| That's the real question. | ||
| Like, what are we blind to that our children are going to go, remember back then when people streamed their music and streamed their movies? | ||
| Like my dad, I'm like, Dad, have you heard my podcast? | ||
| No. | ||
| Where do I get them? | ||
| What do you mean? | ||
| My dad literally... | ||
| And then he finally... | ||
| His wife... | ||
| Found my podcast. | ||
| And he goes, and then, this is my favorite, he goes, and then somebody called me, but I didn't know how to shut it off, and now I can't find it again. | ||
| I'm like, Jesus Christ. | ||
| I wish my parents didn't know about my podcast. | ||
| It'd be awesome. | ||
| Do you get people... | ||
| Joe, I can't believe you said that. | ||
| Yeah, my wife listens now. | ||
| That's a problem. | ||
| My wife could care fucking less about anything I do, so it's great. | ||
| That's fucking perfect. | ||
| My wife's like, I like that one you did with them. | ||
| I'm like, ooh, what did I say? | ||
| I know. | ||
| Well, that's the problem with doing podcasts is you... | ||
| It's a conversation, it's not an interview, so you forget. | ||
| The point is to forget. | ||
| Yeah, you talk a lot of shit. | ||
| You talk a lot of shit. | ||
| Yeah. | ||
| Especially, you get loose, and then you're having fun, and you talk like you would. | ||
| You're basically, like, I don't really have a private voice and a public voice. | ||
| Right. | ||
| I just talk. | ||
| If you and I were hanging out, and there was no one around, I would have the same conversation with you. | ||
| 100%. | ||
| That's the problem. | ||
| It's the problem, but that's the point. | ||
| That's why people like it. | ||
| That's the point. | ||
| Yeah, that's why people like podcasts. | ||
| Give me one piece of advice I need to know. | ||
| I'm eight episodes in. | ||
| Do exactly what you did right here. | ||
| You're going to be great. | ||
| You're awesome at it. | ||
| You think? | ||
| Just talk. | ||
| Yeah, you're a genuine person. | ||
| You're an honest, genuine person. | ||
| That's what resonates with people. | ||
| It's like someone expressing their real feelings and thoughts about stuff. | ||
| Right. | ||
| Yeah, that's what we're missing. | ||
| You know, what's missing in overproduced stuff that executives and a team of people come up with, that you're missing the thing that resonates with people. | ||
| There's a lot of podcasts that I love that are produced, like Radiolab or Wondery. | ||
| I love Wondery. | ||
| I love the stuff they put out. | ||
| And it's very produced, but it's different. | ||
| It's different between what people feel. | ||
| Listen to us right now. | ||
| They probably feel like they're in the room They're having this conversation too like they're agreeing or they're disagreeing or they're yelling shut the fuck up while they're driving You know that's that's that's what the appeal is is that it's not in like this is a small Crew of people that produces this is basically a Jamie and myself and the video editors. | ||
| I mean, that's it There's no one else so because of that it's not it's not fucked with And I know a lot of people that have podcasts on networks, you know, and then they have to, they have meetings, and I go, you have fucking meetings? | ||
| And then they tell me the nightmare meetings they have, where people are like, well, they tune out when you say this, and they do this, like, here's the stats, you can't talk about that, because if you do, I go, oh my god, no! | ||
| Really? | ||
| Like, you look at that stuff? | ||
| Like, you can't look at that stuff. | ||
| How do you know if it's not good? | ||
| I fucking hate everything I do. | ||
| I know if it's not good because I don't like it. | ||
| So then I just do better. | ||
| You don't want to be looking at the stats. | ||
| It's gonna fuck you up. | ||
| That's really good. | ||
| That's a good piece of advice. | ||
| Yeah, just do it. | ||
| You're doing great. | ||
| You're great at this. | ||
| You're a natural. | ||
| Oh, thanks. | ||
| I will say that I'm having the fucking time of my life. | ||
| There you go. | ||
| Perfect. | ||
| I'm having so much fun doing it. | ||
| That alone will make it great. | ||
| Yeah, I thought it was something that I... Like, it was a natural offshoot from... | ||
| The two memoirs I wrote, and then I built a one-man show off of it, which is really a way of me doing stand-up without calling it stand-up, really. | ||
| And I did a lot of touring, and it was fun, and I loved it. | ||
| And I was thinking, what's the next iteration of it? | ||
| What was the subject of the one-man show? | ||
| It was called Stories I Only Tell My Friends Live, which is the title of my first book. | ||
| But it was me talking about my life. | ||
| That was it. | ||
| And by the way, the Oscar thing that we talked about, that's the big closer. | ||
| That's the big closer. | ||
| Do you play it for people? | ||
| I play it for people and I go into my... | ||
| It just becomes a very long, shaggy dog story. | ||
| And people love it. | ||
| And then I do questions and I realize that, you know... | ||
| There are a lot of actors. | ||
| There are a lot of actors that are better than me. | ||
| And you try to find out what your special sauce is. | ||
| Like what is it that I think maybe I can do that maybe others can't? | ||
| And I think between the books and the one-man show and the podcast, I think that there's something about – Sharing my experience and then bringing other people into it that people have responded to in now three different mediums. | ||
| Then you've got it. | ||
| Being yourself... | ||
| And just being able to express your own unique perspective on life is what's interesting to people. | ||
| If you can honestly express... | ||
| When people listen to you, particularly if they listen to you over and over and over again for long periods of time, they know if you're full of shit or if you're just being yourself. | ||
| And if you're just being yourself, they can kind of relax with you. | ||
| They can get into you. | ||
| And then you tell them about things that you're interested in and tell them about things that stimulated you or made you curious or... | ||
| Affected you and inspired you. | ||
| You know, Springsteen says a great thing. | ||
| He says, the audience expects two things of you. | ||
| They expect you to make them feel at home at the same time you're surprising them. | ||
| Dude, let's end with that. | ||
| That's perfect. | ||
| Rob Lowe, I appreciate the fuck out of you. | ||
| This was great, man. | ||
| Thank you very much. | ||
| Thank you so much. | ||
| I really enjoyed this, man. | ||
| I really enjoyed it. | ||
| Tell people the name of your podcast, how to get it. | ||
| It's called Literally with Rob Lowe, and you can get it on Apple or Stitcher or Spotify or anywhere you get your podcasts. | ||
| That was really fun. | ||
| Thank you very much, man. | ||
|
unidentified
|
Thank you. |
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