Nov. 21, 2024 - The Joe Rogan Experience
02:32:40
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| Speaker | Time | Text |
|---|---|---|
|
unidentified
|
Hey, I Oh! | |
| Little Bo Peep. | ||
| She needed the money. | ||
|
unidentified
|
Oh! | |
| Oh! | ||
| Remember how great that was, man? | ||
| Oh, yeah. | ||
| When I first met him, it was like one of those weird things where, you know, you know, I mean, you've met a lot of famous people. | ||
| Some of them, you meet them, you're like, oh, fucking, really? | ||
|
unidentified
|
Bummer. | |
| It's weird. | ||
| Oh, there's a bummer too, yeah. | ||
| The bummer ones, that sucks. | ||
| When you meet someone, they suck. | ||
| You're like, oh no, you suck. | ||
| I know, exactly. | ||
| Some people just not talk. | ||
| They should only do what they do. | ||
| Act and sing. | ||
| But then you get to know them. | ||
| Like, I don't know, like, I'm pretty good at this now, where you don't, where you see people that you, like, looked up to. | ||
| Like Eddie Vedder, I had a pretty close relationship with Eddie Vedder. | ||
| Oh, really? | ||
| Yeah, but I was drinking and then I would grab his balls and do shit like that. | ||
| And then it was like, I don't want him around. | ||
| I don't want Josh around. | ||
| I don't like that anymore. | ||
| I don't want my... | ||
| And I think Sean Penn appreciated shit like that. | ||
| Like, wow, somebody has the balls. | ||
| It's not even a little chaos. | ||
| It's like somebody has the balls to call me on my shit. | ||
| Not everybody's afraid of me. | ||
| Oh, right. | ||
| Yeah, he's probably used to people constantly being afraid of him. | ||
| Yeah, like, oh, I can't fuck with him. | ||
| Right. | ||
| Well, he does wild shit. | ||
| Like, when he went down to fucking Mexico and met with El Chapo, like, Jesus Christ, dude. | ||
| That's a fucking wild, reckless thing to do. | ||
| And I do think that that's organic, but I think that that's also, you just have that thing where you just go, you know what? | ||
| Shit's getting boring. | ||
| Right. | ||
| The weather's just too fucking nice here. | ||
| Weather's too nice. | ||
| I'm too famous. | ||
| Let's go meet a mobster. | ||
| Yeah. | ||
| Let's go fuck some shit up. | ||
| Let's do something big. | ||
| Let's do something really reckless. | ||
| Let's do something that's going to resonate for at least a year. | ||
|
unidentified
|
Yeah. | |
| That whole El Chapo thing was so crazy, though, because that kind of is one of the things that got him caught. | ||
| It was, right? | ||
| Yeah. | ||
| Yeah, because they track your cell phone data. | ||
|
unidentified
|
Yeah. | |
| They know where you go. | ||
| And if you're bringing your fucking cell phone, you're basically bringing a tracking device to go find one of the most notorious gangsters alive today. | ||
| I mean, who was the guy with the football team back in the day? | ||
| Pablo Escobar? | ||
| Think about it. | ||
| It's our days. | ||
| This time's Pablo Escobar. | ||
| Yeah. | ||
| And Sean Penn. | ||
| Colton hangs out with him. | ||
| Spicoli. | ||
| Because, you know what, man? | ||
| Hey, who wants to come with me and find this motherfucker? | ||
| Did he go solo? | ||
| I think so. | ||
| I think he went solo. | ||
| Well, he knew that lady who was like a reporter. | ||
| You know, there was like this really hot Mexican reporter. | ||
| Oh, yeah, the Mexican girl. | ||
| Yeah. | ||
| Yeah, he knew her. | ||
| Was he dating her? | ||
| I don't know. | ||
| But I think she had a thing with El Chapo. | ||
| After that? | ||
| No. | ||
| Did Sean introduce them properly? | ||
| I don't know. | ||
| I think he knew her and she knew him. | ||
| She knew El Chapo. | ||
| Oh, right. | ||
| That's how he got, that was the connect. | ||
| And El Chapo was like, I like the meat. | ||
| Spicoli. | ||
| I love you. | ||
| I really enjoyed you in colors. | ||
| And then next thing you know. | ||
| What's the most dangerous thing that you do now? | ||
| What do you think? | ||
| Dangerous thing? | ||
| Yeah, like we're talking about Sean going out on a limb. | ||
| Do you find it necessary to go out and do things that challenge you in a way? | ||
| Yes. | ||
| Challenge your psyche? | ||
| Yes. | ||
| In what way? | ||
| Elk hunting is probably the most exciting. | ||
| What is? | ||
| Elk hunting. | ||
| Elk hunting. | ||
| Why? | ||
| Because it puts you in danger? | ||
| Well, no. | ||
| It's just really difficult. | ||
| You know, you're bow hunting in the mountains. | ||
|
unidentified
|
Right. | |
| And it's just you in the mountains and just fucking mountain. | ||
| Do you stay up there for days and days and days? | ||
| Yeah. | ||
| And do you quarter your kill? | ||
| Oh yeah, we pack it out. | ||
| Yeah. | ||
| See, that's a different thing. | ||
| Yeah. | ||
| You know, people say, I don't like hunting. | ||
| Personally, I grew up in a very red part of California. | ||
| Everybody hunts that I grew up with. | ||
| And I would shoot and I would hunt with my dad and I would like fucking think about it and dream about it for three weeks. | ||
| Oh, yeah, I love it. | ||
| I love eating it. | ||
| No, no, no, I'm saying that I would spiral. | ||
| Oh, you would get negative with it. | ||
| Yeah, I guess it would be negative, but it made me think of the kids that were going like, Mom! | ||
| Mom, are you there? | ||
| And I just killed the mother. | ||
| It's like the Bambi kind of thing. | ||
| Right. | ||
| But, I eat meat. | ||
| So that hypocritical thing of like, I don't want to kill anything, but I want you to kill it for me so I can eat it because I really like the way it tastes. | ||
| Well, that's the anthropomorphization of animals that Disney has kind of done a number on people with. | ||
| You know, like Bambi and Yogi Bear and all that kind of shit. | ||
| Cartoons and... | ||
| Teddy bears, and we have a very, you know, living in, when you live in urban areas and cities and people, you know, streets and concrete, people just get a very distorted idea of nature and our relationship with nature. | ||
| And when you're a kid and you're just, these are sweet, cute things, and then all of a sudden you're supposed to go murder one. | ||
| Like, it's all fucked up. | ||
| But it's, what's fucked up is the cartoons. | ||
| I mean, they're cute and everything. | ||
| Because they depict it in a way, how? | ||
| Well, it's just completely distorted. | ||
| You have these animals that are talking to each other, and the hunters are always assholes. | ||
| If it wasn't for hunters, there would be no humans. | ||
| We'd have never made it this far. | ||
| If we were all just eating fucking tubers and grapes and shit, we would have never made it. | ||
| Do you like garbanzo beans? | ||
| They're not bad. | ||
| I don't prefer that. | ||
| Have you ever hunted one? | ||
| No. | ||
| It's fucking wild, man. | ||
| How do you do that? | ||
| You take a bunch of acid. | ||
| You take a bunch of acid. | ||
| It's possible. | ||
| What about the sexual connotations of Disney? | ||
| Did you ever hear that thing that Walt Disney had the biggest porn collection of all time? | ||
|
unidentified
|
Really? | |
| That's what I heard. | ||
| I don't know how much of it is true. | ||
| Have you ever seen how... | ||
| There's like the Rod Stewart thing and there's the... | ||
| You know what I mean? | ||
| I don't know if it's what... | ||
| Right. | ||
| I don't know how much of it is. | ||
| Google it, Jamie. | ||
| Did Walt Disney have a gigantic porn collection? | ||
| I wouldn't be surprised. | ||
| A lot of people that are like really into kids stuff and like sweet, wholesome stuff, they need to flip. | ||
| Have that other kind of slant? | ||
| Yeah. | ||
| Or eventually flip? | ||
| Maybe. | ||
| Maybe it's a cover. | ||
| Or maybe it's like they're so cutesy with the fucking completely wholesome stuff that they have to balance it out with some bonded shit. | ||
| Some fucked up shit. | ||
| Some guys getting kicked in the nuts and ball gags. | ||
| Why is it that people feel that people in Hollywood, and Texans are like that. | ||
| Like, I know people that have moved to Texas and they've called me. | ||
| There was one guy that I used to work out with in Venice. | ||
| And he moved here and he called me and he'd be like, hey man, you know, the list is coming out. | ||
| And I'd go, what list? | ||
| And he goes, you know, the list. | ||
| And I go, am I on the list? | ||
| And he goes, no. | ||
| You're clean. | ||
| You're good. | ||
| But I know you know who's on the list. | ||
|
unidentified
|
I'm glad I know I didn't do anything wrong, even though I didn't do anything wrong. | |
| And I said, but why are you, like a two-fold thing, why are you under the impression that everybody in Hollywood lives under the same roof? | ||
| Like we all live in the same apartment complex. | ||
| It's they. | ||
| It's they. | ||
| Yeah, they. | ||
|
unidentified
|
It's they. | |
| They are out there. | ||
| They are out there doing that thing. | ||
| Yeah. | ||
| And then what would, how could you possibly think that a guy who's a trainer at Gold's in Venice would have the list? | ||
|
unidentified
|
Yeah. | |
| Why was he chosen? | ||
| Well, he goes on Reddit. | ||
| And that's how you get the list. | ||
| That's how you get the list. | ||
| I still am waiting for the list. | ||
| Yeah. | ||
| I think I'm going to see him when I'm here. | ||
| We started communicating again. | ||
| Well, we have things like the Epstein client list that doesn't get released. | ||
| Then it fuels these kind of conspiracy theories about there being a list. | ||
| So why is that list not released? | ||
| That's a very good question. | ||
| Who has that list? | ||
| Well, for sure someone has the list. | ||
| Ghislaine Maxwell's in jail, right? | ||
| So she must have talked. | ||
| Like, there must have been conversations. | ||
| And there must be a bunch of very powerful people that are on that list. | ||
| Are all the powerful people in cahoots? | ||
| No. | ||
| Something that I learned, like, when I played W. I played a senator. | ||
| I played W. What is it like playing a guy who's still alive? | ||
| Did you meet with him and hang out with him at all? | ||
| Scary. | ||
| I mean, I wanted to. | ||
| Did you ever meet him? | ||
| No. | ||
| God, that's weird, right? | ||
| I had the opportunity to meet him afterwards. | ||
| And there was something about him that was more, remember when he was like giving candy to Michelle Obama and all that? | ||
| It was like a really friendly kind of a mischievous thing and I was like, I would like to meet him. | ||
| And then I saw his paintings of his dogs and I said, I don't want to meet him. | ||
| I just don't. | ||
| It was something attractive for a moment. | ||
| What's it about the paintings that got you? | ||
| I don't know! | ||
| And I love paintings. | ||
| I don't know what it was. | ||
| You didn't like the paintings? | ||
| No, it's not that I didn't like the paintings. | ||
| There's something in the paintings. | ||
| I don't know what it was, man. | ||
| Something in the paintings is I killed a million people with fake weapons of mass destruction. | ||
| We had a fake story and I used that story to justify an invasion of a country and now a million people are dead. | ||
| So that's the question. | ||
| And I'm haunted every night. | ||
| Totally. | ||
| I just paint dogs. | ||
| That are staring like that. | ||
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| Like your face right now is exactly how every eye is in his dog's paintings. | ||
| It's so funny. | ||
| That guy must be medicated. | ||
| They must put him on some things so he could sleep. | ||
| Is that that look? | ||
| I think... | ||
| Does he put into his dog's eyes the look that he has always or at least that he feels that he has? | ||
| Like there's a haunted... | ||
| It's his lens. | ||
| His real look behind his eyes. | ||
| Yeah. | ||
| How he sees the world, how he's experiencing the world. | ||
| What is it like running around knowing that you did that? | ||
| Not just that you did that, but that there's no culpability. | ||
| No one went to jail for that. | ||
| No one even got brought up on charges for that. | ||
| Well, that's what I was bringing up because when I would meet these people, I went to the Senate floor and I met a lot of these people. | ||
| And then I met a lot of rich people, which is when I met Trump, actually, the 21 Club. | ||
| Back when I knew a lot about him, I was fascinated by the whole... | ||
| What's the 21 Club? | ||
| 21 Club is a place that he used to go a lot. | ||
| And it was like, you know, yeah, you have a chance to meet this billionaire, this billionaire, and then Trump... | ||
| Eyes wide shut type shit. | ||
| Yeah. | ||
| So he... | ||
| What was I going to say? | ||
| Is he... | ||
| Oh, meeting these people, especially getting them drunk, you know, where people get super honest. | ||
| Right. | ||
| You know, where they go, you know what, man? | ||
| I trust you. | ||
|
unidentified
|
Right. | |
| I trust you. | ||
| And you're like, here it comes. | ||
| Here it comes. | ||
| Whereas before that, they were like, you know, I'm not sure. | ||
| And I just did what I think is, you know, and then they finally go, I just fucked her. | ||
| I fucked her. | ||
| Or they tell you what's going on. | ||
| But the thing that I learned, and I'm really curious about. | ||
| Like what we were talking about Hollywood and the perception of them all being in it together is don't you think the rivalries and all that, not entirely, but that all politicians are basically under the same roof. | ||
| They all know what each other's doing and that there's more of an agenda of power to keep the public thinking a certain way. | ||
| Not brainwash. | ||
| There's certainly a benefit to that. | ||
| Of course there is. | ||
| Yeah, there's a benefit to that. | ||
| And then there's also – the underlying factor is money, of course. | ||
| Like there's so much money and influence. | ||
| There's so many special interest groups. | ||
| There's so many lobbyists. | ||
| That's what I mean. | ||
| So many massive corporations that are donating to campaigns. | ||
| Yeah. | ||
| So there's always going to be this desire to sort of – Satiate. | ||
| Pacify. | ||
| Yeah, for sure. | ||
| And then treat you like you're a baby so they can continue making insane amounts of money. | ||
| That's exactly right. | ||
| Like, if you're someone like Nancy Pelosi, and you're worth hundreds of millions of dollars, and you make $170,000 a year, and there's no fucking explanation. | ||
| Yeah. | ||
| Like, just that alone. | ||
| Just that alone. | ||
| Like, you have to kind of keep people in the dark. | ||
| You have to kind of, like, keep dancing. | ||
| Yeah. | ||
| Otherwise, you're going to jail. | ||
| Someone's going to start investigating, and they've got to go, what you did is not legal, and you're going to be in real trouble. | ||
| What's your relationship like with money? | ||
| In what way? | ||
| You've made a certain amount of money for a long time. | ||
| I don't think about it. | ||
| You don't think about it? | ||
| No, no. | ||
| What I like about money is to not think about it. | ||
| That's what I like. | ||
| Do you like spending it? | ||
| I like buying stuff. | ||
| Me too. | ||
| I have a nice car. | ||
| I drove here. | ||
| I drove a 69 Camaro. | ||
| See, but that's different. | ||
| Yeah, I like that. | ||
| That's fucking different. | ||
| That's character. | ||
| I like fun stuff, but for the most part, I'm not interested in it as a goal. | ||
| What I like about money is not having to think about it. | ||
| My friend Brian Callen said this to me once. | ||
| He said, he goes, real freedom is when you can go to a restaurant and not worry about what anything costs. | ||
| He's like, everything else is bullshit. | ||
| It is. | ||
| And it really is. | ||
| Everything else is bullshit. | ||
| When you just go to a restaurant, get a nice steak, you know, order a bottle of wine, have a good time, and not think about the bill. | ||
| What I think happens is, and be grateful for it, and to remind yourself that that exists to be grateful for and not be taken advantage of. | ||
| And I think that's one of the hardest things about money slash power, is you start treating things as if they're underneath you. | ||
| Ooh. | ||
| You know? | ||
| Yeah. | ||
| Where you go, God, I'm so glad I can go anywhere in the world right now and get a meal, and I don't have to think about how am I going to pay for this? | ||
| Yeah. | ||
| Am I going to be in debt on my credit card? | ||
| But when you start saying, excuse me, I said 204 degrees, not 190. Right. | ||
| Read my lip, you know, and you're like, oh, man. | ||
| That's just gross. | ||
| It is gross, but it happens. | ||
| That's just taking advantage of this relationship that everyone knows where service people have to be nicer than they really would be normally, like a regular person. | ||
| Hoping for a tip, hoping for one of your many hundreds of thousands or hundreds of millions of dollars. | ||
| It's disgusting. | ||
| It's a gross way to treat people. | ||
| But some people want to get rich so that they could do that to people. | ||
| Maybe someone did it to them when they were younger and they were like, I can't wait to do this to other people. | ||
| I mean, when you said nice car, and I thought you were going to say, I was like, oh, please, no. | ||
| Like Lamborghini or... | ||
| No, I don't have any of those. | ||
| And then... | ||
| No, I like muscle cars. | ||
| I like old muscle cars. | ||
| That's my favorite. | ||
| That's like me at 37 Knucklehead. | ||
| And people say, oh, is that an affectation? | ||
| I know you're friends with Momoa or whatever. | ||
| I go, no, man. | ||
| I've been riding motorcycles since I was three and a half years old. | ||
| They're fun. | ||
| They're not only fun, there's something on a... | ||
| If you read Zen and the Art of Motorcycle Maintenance, which is the only book that's ever been written that kind of gets close to the kind of spiritual place, if you're a true motorcyclist, motorcyclists, whether you're riding with your son or whether you're riding with a grid of guys or whatever, that beautiful thunderous hum, When you're in a group of guys who really know what they're doing and you're in absolute fucking sink. | ||
| Yes. | ||
| Yes, your arms are up here and your arms are pretty numb at that point. | ||
| But you're fucking soaring. | ||
| You're an eagle on a fucking jet stream. | ||
| You ever heard of Hunter S. Thompson? | ||
| You know that documentary they did, Gonzo? | ||
| Yeah. | ||
| Of course. | ||
| In the documentary, the very beginning, he talks about riding a motorcycle. | ||
| Oh, I don't remember that. | ||
| On the Pacific Coast Highway. | ||
| I don't remember that. | ||
| Oh, it's fucking great. | ||
| See if you can find that. | ||
| He talks about riding a motorcycle, about that the lines begin to blur. | ||
| Yeah, yeah, yeah. | ||
| And you're just on the edge. | ||
|
unidentified
|
That's it. | |
| And how alive you are. | ||
| It's a fucking fantastic speech. | ||
| We don't have to get into this book right away, but there was, I wrote, they came to me, it's the only story that I wrote that somebody asked me to write for the book. | ||
| And they were like, you're really into motorcycles, why don't you write a story about motorcycles? | ||
| And I tried, and it was just bad and bad, and everything I wrote was like so forced and bullshit. | ||
| And finally I said, I can't do it, I'm not going to write it. | ||
| And the minute I said I'm not going to do this, I started writing. | ||
| It just kind of started to come out, and it's good. | ||
| Do you write by hand? | ||
| I do. | ||
| Mostly. | ||
| Do you feel more of a connection when you write by hand? | ||
| No, that's not why I do it. | ||
| Because I write any which way, whether it's on the phone, whether, you know, I remember people saying, like, I write, you know, by hand, I handwrite because it's the way it used to be. | ||
| And I was like, yeah, it also used to be under candlelight, which fucked your eyes up. | ||
| It used to be people that had slaves. | ||
| You can only get around by horse. | ||
| Paint on caves and shit. | ||
| Why don't you go paint on a cave? | ||
| Tell me a story. | ||
| Try to get it published. | ||
| Yeah, get a witch doctor to take care of your broken leg. | ||
| I don't care how it comes out. | ||
| I think real writing is anywhere, anytime, however you can get it out. | ||
| I don't think there's a muse that's needed. | ||
| I think it's work, man. | ||
| It is work. | ||
| It's labor. | ||
| I think the muse is like... | ||
| It's a concept, right? | ||
| Have you ever read Pressfield's The War of Art? | ||
| Yeah, of course. | ||
| Great book. | ||
| Great book. | ||
| I think he's right, though, when he says you summon the muse when you sit down to work. | ||
| But that's also just like an intention thing. | ||
| Like, you have so much time and effort put on a thing, and when you do that, your mind gets more in sync with creativity. | ||
| But if you treat it like it's a muse, it actually does work. | ||
| Like if you show up every day and like say... | ||
| Click into that thing. | ||
| And pay respect to the muse. | ||
| I'm sitting here and I'm ready to write. | ||
| I'm a professional and I'm ready to go. | ||
| And treat it like you're summoning the muse. | ||
| It actually works. | ||
| There actually is... | ||
| An effect that happens. | ||
| I don't know if there's an actual muse, but you can understand why someone would think that there's a muse. | ||
| Yeah, but why do people chant? | ||
| Why do people meditate? | ||
| Why do people that? | ||
| That's the muse. | ||
| Whatever the muse is, it's like talking about God. | ||
| What's God? | ||
| I don't know. | ||
| It depends on who you're talking to. | ||
| God is a feeling. | ||
| God is something that fucking thing that keeps you inspired, that keeps the gasoline at a high octane. | ||
| That's how I see it. | ||
| It's something that gets you away from your ego, like with writing, something that gets you away from your ego and into your mind, into your consciousness, into your perceptions of things, your ability to express it. | ||
| And it's a focus thing. | ||
| And the more you focus on it, the more that muscle grows, the more you get adapted to it. | ||
| Because your ego is worried about how people are going to perceive you. | ||
| Right. | ||
| And that's not right. | ||
| Yeah, you want to look cool. | ||
| You want to look cool, people are like, Fuck. | ||
|
unidentified
|
Yeah, yeah, yeah. | |
| I read that book that you wrote, man. | ||
| Holy shit. | ||
| I had no idea. | ||
| You're amazing. | ||
| That's the grossest conversation ever. | ||
| Cocktail party in Hollywood. | ||
| Some guy comes up to you and tells you you're amazing. | ||
|
unidentified
|
Dude. | |
| You are a genius. | ||
| And it's always with those eyes. | ||
| You're so incredible. | ||
|
unidentified
|
I had no idea, dude. | |
| Meanwhile, that guy's trying to sell you on some multi-level marketing scheme or something. | ||
| There's something he's trying to tap into you with. | ||
| I want to buy that book. | ||
| I want to option your book. | ||
|
unidentified
|
Oh, here it comes. | |
| I want to turn it into a fucking movie. | ||
| I also have a script I'd love you to see. | ||
|
unidentified
|
Yeah. | |
| Is it a Disney? | ||
| Is it about animals talking? | ||
| That's the one thing I really love about living in Texas. | ||
| There's no Hollywood. | ||
| There's no show business. | ||
| I don't have to deal with any of these people with alternative agendas. | ||
| I want to go back to that, but we just moved to Santa Barbara. | ||
| Santa Barbara's awesome. | ||
| It's funny. | ||
| Why does everybody fucking think that? | ||
|
unidentified
|
It is awesome. | |
| Montecito. | ||
| I love it out there. | ||
| Why? | ||
| Because it's beautiful. | ||
| Because it's beautiful. | ||
| What about the people? | ||
| Oh... | ||
| They're a little elitist. | ||
| There's a lot of elitist people out there. | ||
| So that's a perfect place for me. | ||
| So I grew up in Santa Barbara. | ||
| I was in Paso Robles, which is ranch country, about two hours above Santa Barbara. | ||
| And then we moved to Santa Barbara when I was 11. And it was Montecito, but it was a very different Montecito. | ||
| Like, yes, there were a couple of rich people. | ||
| Yes, my dad was doing okay by then. | ||
| He had done Marcus Welby. | ||
| He did... | ||
| At that time, he did Amityville Horror. | ||
| So he had a little bit of money, but we bought what would now be a $35 million home in Montecito. | ||
| He bought for $600,000. | ||
| Same fucking house. | ||
| Do you know what I mean? | ||
| So it was a different Montecito. | ||
| And then whatever group I grew up with. | ||
| But the point is, I went to jail there a lot. | ||
|
unidentified
|
I just did. | |
| I just liked it. | ||
| Instead of the museum, I went to jail. | ||
| I was like, no, Mom, I'm going to go to jail today. | ||
| And then, so in LA, Venice Beach, I love Venice Beach, but Venice Beach has even changed. | ||
| You know, you used to know everybody and everybody kind of coexisted beautifully. | ||
| And then Venice Beach changed. | ||
| It got totally randomly violent. | ||
| Yeah, it became very dangerous. | ||
| Very dangerous. | ||
| Little kids. | ||
| Okay, so we moved to Malibu. | ||
| We were close to Laird. | ||
| I know Laird and Gabby and all that thing. | ||
| But it never landed. | ||
| So we were always talking about moving, even though we were kind of building a house and we're finalizing everything. | ||
| We're always talking. | ||
| We talk about Texas. | ||
| My mom's from Texas. | ||
| We were talking about East Coast. | ||
| We were talking about Europe, all these places, but never Santa Barbara. | ||
| I would never move back to Santa Barbara. | ||
|
unidentified
|
Really? | |
| Because by the way, honey, if we move to Santa Barbara, which you love so much and you think is so beautiful, our little girls will eventually for sure go to prison. | ||
| That was in my mind. | ||
| Why? | ||
| Because in your childhood? | ||
| Totally. | ||
| Huh. | ||
| Most of my friends who grew up in Montecito are dead. | ||
| Really? | ||
| 36 out of 50. Really? | ||
| Oh yeah. | ||
| From what? | ||
| Heroin epidemic, punk rock, driving accidents. | ||
| 36 out of 50? | ||
| Out of 50. Wow! | ||
| Best friend, Jason Sears, who was the lead singer of Rich Kids on LSD, RKL, which was a big punk band that influenced a bunch of people. | ||
| Nirvana, Pearl Jam, all these people. | ||
| Rich Kids on LSD is a great name for a band. | ||
| You should look it up. | ||
| Can you look it up? | ||
| Jason Sears, Rich Kids on LSD. We got a tattoo at the same time. | ||
| I got a tattoo from Freddie Negrete that's gone now because I removed it. | ||
| But it was a big Jesus with blood coming out of the hands. | ||
| And Jason, that same night, got eat shit on his ass. | ||
| See if you can find Jason's ass that says eat shit on it. | ||
| Wow. | ||
| You're going to put that in? | ||
| Jason Sears, eat shit. | ||
| Yeah. | ||
| Where is it? | ||
| Oh, you got to just keep looking. | ||
| Yeah, it'll be there. | ||
| So, why was I... Oh, so eventually... | ||
| When we finally said, look, we're not moving. | ||
| We should be grateful. | ||
| We're not grateful enough. | ||
| That's the problem. | ||
| We're not grateful enough. | ||
| But Malibu just didn't kind of sit. | ||
| What didn't you like about Malibu? | ||
| I love Malibu. | ||
| It's just remote. | ||
| We already are remote in Paso Robles. | ||
| We have a place in Paso Robles. | ||
| A place where I grew up. | ||
| Not the ranch I grew up. | ||
| It's about three miles down the road. | ||
| But that's remote. | ||
| And a remote that I love. | ||
| I love remote. | ||
| But I love extremes. | ||
| I don't want to be sort of next to Santa Monica, and it's 20 miles away and it takes two and a half hours to get there. | ||
| You and I were talking about that. | ||
| I don't want to sit in traffic for half my life. | ||
| I just don't want to. | ||
| If I want to be somewhere, I want to be somewhere. | ||
| So Santa Barbara represented a place where you kind of had your own piece of property, but everything was 10 minutes away. | ||
| You got dance class for the girls. | ||
| You got soccer. | ||
| You got this. | ||
|
unidentified
|
Right. | |
| You know what I mean? | ||
| Yeah, yeah. | ||
| So that was the thing. | ||
| But never was I going to go back to Santa Barbara. | ||
| I finally put on Zillow, Santa Barbara. | ||
| One house came up, and that's the house that we bought. | ||
| And it was Joe Walsh's old house. | ||
|
unidentified
|
Oh, wow! | |
| Which is amazing. | ||
| That's incredible. | ||
| Incredible. | ||
| That's incredible. | ||
|
unidentified
|
Which I was stoked. | |
| And I asked him... | ||
| Anyway, I have to finish the story. | ||
| I was so freaked out... | ||
| About moving up to Santa Barbara. | ||
| I still hadn't made the kind of transition that I contracted a mild case of Bell's palsy. | ||
|
unidentified
|
Really? | |
| Yeah. | ||
| Like, literally was stressing out. | ||
| My wife was like, you gotta... | ||
| And I'm not a stress guy. | ||
| And she was like, you gotta mellow the fuck out. | ||
|
unidentified
|
I'm like, yeah, but you don't know what's gonna happen when we move up here. | |
| It's like, it's gonna be... | ||
| So your face started like... | ||
| So literally, I'm washing my face. | ||
| I'm doing this. | ||
| And it just started going... | ||
|
unidentified
|
When was this? | |
| Four months ago. | ||
|
unidentified
|
Okay. | |
| That's a side effect of the vaccine, too. | ||
| That's one of the side effects of COVID-19 vaccines. | ||
| I've also heard that speech impediments. | ||
| I've heard a lot of things. | ||
| Kids taking vaccines and things happening. | ||
| Yeah. | ||
| Yeah. | ||
| That vaccine, in particular. | ||
| That one. | ||
| The mRNA one. | ||
| Yeah, yeah, yeah, yeah. | ||
| Yeah, I know quite a few people that develop Bell's palsy from them. | ||
| Well, whatever you want to call it. | ||
| Are you serious? | ||
|
unidentified
|
Yeah. | |
| Facial paralysis. | ||
| Yeah. | ||
| I know two people specifically that develop facial, like droopy face. | ||
| Because when my older kids... | ||
| They went away. | ||
| When my older kids were young, there were, what, 17 vaccinations? | ||
|
unidentified
|
And now that my younger kids are young, there's 56. 72. Yeah, it's a series of them, but it's ultimately 72 shots. | |
| Yeah. | ||
| It's a scary prospect, man. | ||
| Well, the fucked up thing is if you talk about it, you're an anti-vaxxer and you're a conspiracy theorist. | ||
| You talk about anything. | ||
| But that's a big one because they've done a really good job of demonizing anyone who questions a medicine that might be correlated with a bunch of fucking serious diseases. | ||
| Yeah, exactly. | ||
| And for whatever reason... | ||
| Profit. | ||
| Yeah, they've just done a great job of gaslighting people. | ||
| Yeah. | ||
| And scaring the shit out of people by labeling anybody. | ||
| Like, look what they did to Jenny McCarthy. | ||
| Do you remember when Jenny McCarthy had a kid and her kid had autism and she thought that autism had possibly come from vaccines? | ||
| And they basically ran her out of Hollywood. | ||
| But why would they do that? | ||
| What's the reason? | ||
|
unidentified
|
Money. | |
| What do they benefit? | ||
| Well, the thing is... | ||
| During the Reagan administration, the vaccine companies, pharmaceutical drug companies that are making vaccines, they said, we are unable to make these vaccines if we're liable. | ||
| Because if we're liable, there's too many lawsuits that are going to come our way because vaccines cannot be completely safe and effective just by virtue of the mechanism in which they work. | ||
| You know, you have an irritant, you have this virus, this dead virus, your body sees the aluminum or whatever it is, it reacts to that in a negative way and it finds the dead virus, it develops antibodies just by the way they work. | ||
| When you vaccinate an enormous amount of people, you're going to have a certain amount of people that have a negative reaction. | ||
| If we have lawsuits for every person that has a negative reaction, we're going to go out of business. | ||
| So they made them immune. | ||
| They made them immune. | ||
| And you know what happened? | ||
| Immediately, they're like, well, you need a vaccine for this. | ||
| And you need to go vaccinate for that. | ||
| Knowing that there was no drawback. | ||
| Hepatitis B vaccines. | ||
| Babies. | ||
| Right when you're born. | ||
| You know, there's also doctors that say it doesn't even really work for babies, but what you're doing is you're conditioning the parents to accept the fact that your child is going to get regularly vaccinated. | ||
| My doctor, fortunately, our pediatrician wanted to put the kids on a different schedule, a slower schedule, and he didn't want them to have any vaccines until they were two. | ||
| Your doctor in California? | ||
| Yes. | ||
| But it was not like a quack. | ||
| It was like, I think the way to do it... | ||
| I mean, there's a schedule of vaccines your kids have to get unless you have religious exemption. | ||
| But let's not assault... | ||
| You're children with a potential poison because everybody is different. | ||
| If I take a bong hit, I might end up under the table. | ||
| If you take a bong hit, you actually may feel smarter and clearer. | ||
| I remember Dean Potter who was a climber and he was like, I stopped smoking pot for four months. | ||
| But when I started smoking pot, I could feel the hold at 2,000 feet, sheer cliff, nothing underneath, no ropes, but I felt more confident. | ||
| And for me, I go, if I took a bong head up there, I could be four feet up and be freaking out. | ||
| Right. | ||
| It's different for everybody. | ||
| Because everybody has different brains. | ||
| It's like psychopharmaceuticals. | ||
| Let's just give them all lithium or let's give them all that. | ||
| You have to experiment. | ||
| The idea of experimenting with that shit is super scary. | ||
| It is. | ||
| It is super scary. | ||
| And it's also super scary when you're not liable for any of the repercussions. | ||
| And you're just pushing it on people because you're a corporation, and corporations just want to make money. | ||
| Their thing is just unlimited growth. | ||
| They have an obligation to their shareholders. | ||
| Every quarter they want to make more money, and they just keep ramping it up. | ||
| I remember Seinfeld talking about that. | ||
| He was like, I remember back in the 70s in comedy... | ||
| You know, green rooms and all that, and we'd all be fucking with each other, and it never had anything to do with money, because nobody was really making money. | ||
| Like, money, money. | ||
| Like, tons of money. | ||
| It was just about, what set are you going to do? | ||
| What are you trying out? | ||
| Are you going to fail, or are you not going to fail? | ||
| But it was this community, again, and I think that things have grown into, not that I wanted to talk about this, or that I even thought about it before, but... | ||
| The money thing is a very interesting thing to me. | ||
| And if you want to take it back to the book, which we can talk about later, it's like the anti-celebrity. | ||
| It's like, how do you stay grounded? | ||
| How do you stay accountable? | ||
| And why would you stay accountable? | ||
| Because I actually give a fuck about people instead of just being in it for myself. | ||
| And I think that's the difference. | ||
| Well, I think one of the things that happens to people with money is you didn't have money when you were young. | ||
| Now all of a sudden you have money and you get really scared about losing that money. | ||
| Somebody else is going to take it away. | ||
| Yeah. | ||
| You get scared it's going to go away because now you realize, oh my God, it's so much better to not have to worry about your bills and it's so much better to have some money to buy things. | ||
| Yeah, totally. | ||
| And then you start thinking only about money and you start making decisions only for money. | ||
| And then you go down the weird road. | ||
| And it really distorts artists. | ||
| It fucks a lot of people up. | ||
|
unidentified
|
Yeah. | |
| You know, you see it in a lot of bands. | ||
| They start making, like, poppy songs when they used to be, like, raw and gritty when they were younger. | ||
| They used to be, like, authentic. | ||
| And then all of a sudden they're making, like, theme songs for films. | ||
| It's, like, weird fucking romance songs. | ||
| For rom-coms. | ||
| Like, Aerosmith went through a bunch of that shit. | ||
| Totally. | ||
| Where, to me, as an Aerosmith, you know, lover as a kid, to see them, you know, go from, like, dream on to, like, the shit they were... | ||
| And I wonder with like drug addiction and all that, I wonder if it's like if the parallel is I went back to heroin at that point because I just couldn't fucking deal. | ||
| Do you know what I mean? | ||
| I think it's when they get off heroin and they start wanting to make money. | ||
| I need to make some money. | ||
| I spent all my fucking money. | ||
| But look, I wonder if there's any connection like with member Philip Seymour Hoffman, like one of the greatest actors that ever lived. | ||
| And I've known his mother since I was doing theater in Rochester, New York. | ||
| It was like a 20-year-old, 21-year-old. | ||
| And she would come up to me and she'd say, I think you're a fine actor. | ||
| And I go, oh, thank you very much. | ||
| And she goes, you know, my son just moved to New York. | ||
| He wants to be an actor. | ||
| And I said, oh, what's his name? | ||
| Phil. | ||
| Phil's his name. | ||
| Oh, well, Phil, good luck. | ||
| Good luck to Phil. | ||
| It's like anybody who wants to be an actor, just the odds of it happening is just not going to happen. | ||
| And then Phil became this guy, 22 years of sobriety, who had an inkling in the beginning and said, you know what? | ||
| I don't want this to control, like, my thing, so I'm not going to do it. | ||
| I'm going to give everything I am to acting, and I'm going to try to make the best career, theater career, movie career, whatever. | ||
| And then, you know, and again, I have it in the book, where I see him on the street, and I'm crazy, and I've Gotten into a fight with my wife and I'm walking down Columbus Avenue and I have cords on. | ||
| I have no shoes. | ||
| I have no shirt. | ||
| I'm out of my fucking head and I look to my left and I see Nick Nolte at a cafe. | ||
| And we lock eyes and I've never met Nick Nolte. | ||
| I've never seen him and it will happen that I actually will have a relationship with him later on. | ||
| But we lock eyes, and the moment is he's seeing in me what he used to be, or seeing in me what I'm to become. | ||
| I'm seeing in him what I'm to become later, right? | ||
| Then I see Philip Seymour Hoffman, who's standing there talking. | ||
| I go, hey, Phil! | ||
| It's Josh! | ||
| What's up? | ||
| You're doing so well, man. | ||
|
unidentified
|
Fuck. | |
| Good for you, dude. | ||
| No shirt. | ||
| No shirt, no shoes. | ||
| And he's standing there with one foot pointed toward me and another foot pointed in the direction that he wants to go. | ||
| You know how people stand there and they're like, good to see you, man. | ||
|
unidentified
|
Get the fuck out of here. | |
| Yeah, good. | ||
| Good. | ||
| Oh, no. | ||
| Now, how is that the guy that died of a heroin overdose? | ||
| Did he get injured? | ||
| No. | ||
|
unidentified
|
No. | |
| No? | ||
| He just got back on it? | ||
| Because sometimes what happens is people get injured. | ||
| I know. | ||
| And they have surgery, and then they have back, and then they get on, you know, Oxycontin. | ||
| Me too. | ||
| I know a lot of people. | ||
| That's kind of been the trajectory. | ||
| No back pain, nothing? | ||
| To me, there's another parallel, and the parallel is I just want to make money. | ||
| Finally, I'm sick of doing independence. | ||
| I'm sick of doing this and not making any money. | ||
| And then you start doing, you know, whatever he was, Hunger Games. | ||
| And then you feel hollow. | ||
| And then you want to fill yourself up. | ||
| That's what we were talking about before. | ||
|
unidentified
|
Right. | |
| You want to numb yourself up because you feel like a whore. | ||
| You feel like a whore. | ||
| Yeah. | ||
| There's one thing about actually finding solace and saying, hey, man, I'm older. | ||
| I'm going to do this movie. | ||
| I get it. | ||
| I got college coming up for my kids. | ||
| And you justify it in a way that's okay. | ||
| And then there's one thing about you've identified yourself so much as an artist. | ||
| To release yourself from that identity in other people's minds, again, going back to the ego, that it just fucks you up. | ||
|
unidentified
|
Right. | |
| You just can't deal. | ||
| And then you want to escape from your reality. | ||
| Exactly. | ||
| Yeah, you want to numb yourself. | ||
| Yeah. | ||
| Well, that is a real fucking thing, man. | ||
| And if you've ever done a project where it's like really... | ||
| I did a really bad sitcom once. | ||
| But you acted it? | ||
| Oh yeah, yeah, yeah. | ||
| It was terrible. | ||
| And I remember while I was doing it, I was just imagining, like, what if this is my life? | ||
| What if this stupid piece of shit sitcom goes for like 10 years? | ||
| 10 years, yeah. | ||
| Because there's sitcoms that inexplicably are very successful, or were in the 90s. | ||
| Yeah. | ||
| And very successful, and they were terrible. | ||
| Terrible. | ||
| They were terrible. | ||
| But people loved them. | ||
| Well, people want to be numb. | ||
| It's like eating ice cream. | ||
| They just want a slack jaw, sit in front of the computer or whatever, the TV, and eat SpaghettiOs, just fucking numb themselves to some mundane bullshit. | ||
| And if you're doing that kind of a thing, you live in hell. | ||
| And a lot of those people that do those things, they wind up doing drugs because they just feel very lost. | ||
| But if you do that, you live in hell. | ||
| Yeah, you live in hell. | ||
| Which it is, to me, to you. | ||
| It sounds crazy to a person listening. | ||
| Oh, you're making $50,000 a week. | ||
| How are you living? | ||
| You're living in hell. | ||
| Like, what are you talking about? | ||
| No, no, no. | ||
| That's not the point. | ||
| Most people would be like, that's great. | ||
| That would be amazing. | ||
| But if you want to do a thing, if like you want to be a great comic or you want to be a great actor and you're doing- You have to have incentive. | ||
|
unidentified
|
Right. | |
| You have to want to create something really good. | ||
|
unidentified
|
Right. | |
| And when you can't create something really good and you're just doing it for money, you feel trapped and you feel like shit. | ||
| And then you have to reward yourself for this stupid fucking thing you do. | ||
|
unidentified
|
Yeah. | |
| So what do you do? | ||
| You go out and buy a nice Mercedes. | ||
| You get a fucking house in Malibu. | ||
| Now you have a large monthly nut that you have to cover. | ||
| But when you take people over your house, like, look how I'm living. | ||
| Look at this ocean view. | ||
| Come on. | ||
| How much of this house do you use? | ||
| Nothing. | ||
| Almost nothing. | ||
| I always say to my friends, my young comic friends that are coming up, your house is just your house. | ||
| I remember when I first got a nice apartment when I moved to North Hollywood in 1994, I got a loft apartment and a pool table in it and a nice stereo, and I was like, this is incredible! | ||
| I have a nice apartment! | ||
| This is amazing! | ||
| And then after a while, it just became my house. | ||
| It became where I live. | ||
| And I realized at that moment, I'm like, oh! | ||
| It's all the same feeling. | ||
| All you need in a house is it to be comfortable. | ||
|
unidentified
|
You need a TV and a kitchen and a couch and a bed. | |
| It's the place that you sleep. | ||
| Yeah, it's a place where you relax. | ||
| It's not the place where you live the entirety of your life. | ||
| You can relax almost anywhere that's comfortable and safe. | ||
| That's all you need. | ||
| And then everything else is kind of bullshit. | ||
| Yeah. | ||
| It's kind of the things that you get for your money. | ||
| It's like there's a lot of things that people spend a lot of money on and they're not really worth it. | ||
| You don't really get anything out of it. | ||
| That's why it was interesting walking in here and, you know, man cave. | ||
| I hate that fucking term. | ||
| Man cave. | ||
| Man cave. | ||
| Mm-hmm. | ||
| It's a gay cave. | ||
| Well, it's a man cave because no woman would ever let me decorate this place this way. | ||
| But it's not that no woman wouldn't like it. | ||
| Well, my wife likes it when she comes here. | ||
| She just doesn't want to live in it. | ||
| Do you want to live in it? | ||
| No, I wouldn't want to live here. | ||
| But I might if I was like a single guy, I might decorate my house like this. | ||
| But the point is that there's things when I walked in here, it made me smile because I started seeing things that inspire. | ||
| And you like to surround yourself like if somebody comes in and does an interior design of your office. | ||
|
unidentified
|
Ugh. | |
| Ugh. | ||
| Yeah. | ||
|
unidentified
|
Ugh. | |
| And they go, we brought in this amazing fabric from Paris. | ||
| And you go, but I don't like it. | ||
| And I remember when we were doing our house, we were like... | ||
| I said, look, man, you can get things from Target. | ||
| I don't want to feel that people have to take... | ||
| I don't want anybody to feel that they have to take their shoes off. | ||
| That's what I don't. | ||
| I want them to feel that they can scuff up the floor because that's the mark that they made when they walked in my house. | ||
| And maybe I don't even like the scuff. | ||
| I don't like that they walked so heavy. | ||
| But it's their mark. | ||
| We are leaving our mark. | ||
| That's how I feel about this table. | ||
| That's why this table has all these stains on it. | ||
| Seriously, it's good. | ||
| It has character. | ||
| Yeah, it's alive. | ||
| And that's the thing. | ||
| When we built the ranch, I said, there were shelves. | ||
| I said, I want linoleum. | ||
| Or what is it? | ||
| Famica. | ||
| Linoleum on the shelves. | ||
| And we have 150-year-old barn wood, but along with linoleum. | ||
| Because linoleum reminds me of trailer parks and shit. | ||
| It just makes me fucking smile. | ||
| So I saw this thing when I walked in, because I have one. | ||
| And that is Ralph Steadman's print that you have. | ||
| Oh, okay. | ||
| And here's the story. | ||
| So Ralph Steadman, Johnny Depp gave me Ralph Steadman's number because he was close with Hunter. | ||
| And my son was graduating. | ||
| My son's an artist. | ||
| And he was obsessed with Steadman, right? | ||
| And I called Ralph Steadman. | ||
| He said, hello. | ||
| And I said, hey, I said, listen, you don't know me. | ||
| I'm a friend of Johnny's and this... | ||
| I said, you know, my son's graduating and like the greatest gift I could ever get him. | ||
| And this is not just to throw Stedman under the bus because it comes full circle. | ||
| But he says, I said, my son's graduating. | ||
| Can you do like a little thing? | ||
| I'll pay you for it. | ||
| Can you do just draw a little thing for him for his graduation? | ||
| There was a long, long pause and he goes, why the fuck would I do that? | ||
| And so that conversation went nowhere. | ||
| I was like, what the fuck? | ||
|
unidentified
|
What an asshole. | |
| And then 20 years went past, and my book is designed by one of his protégés. | ||
| Oh, wow. | ||
| And then, so Joey Feldman, he called me one day and he said... | ||
| He said, Ralph wants to send you a print. | ||
| And I said, no way. | ||
| Does he know that we have like a history? | ||
| And he said, no, I don't think so. | ||
| So I sent him a voice memo of the history. | ||
| And I said, I never held it against you. | ||
| I totally understand it. | ||
| So he sent me one for my son and one for me. | ||
| And I have it hanging up in my house. | ||
| That's cool. | ||
| I love having that thing, man. | ||
| He was an interesting artist. | ||
| Yeah. | ||
| He is an interesting artist. | ||
| Yeah, I should say, he is. | ||
| But I mean, the stuff that he did, it's like, that's also in that Gonzo documentary where it talks about how Hunter gave him acid and mushrooms and he just started fucking writing, drawing, like really crazy shit. | ||
| And like, the thing for, do you remember the thing he did for the Kentucky Derby is decadent and depraved? | ||
| Yeah, that was like the first thing, wasn't it? | ||
|
unidentified
|
Yeah. | |
| I think that was how they got together. | ||
| See, we can find that. | ||
| The Kentucky Derby is decadent and depraved. | ||
| Yeah. | ||
| It's a really good article, actually. | ||
| Whoa, that was fast, dude. | ||
| Yeah. | ||
| But look at that. | ||
| That article is fucking amazing. | ||
| It's an amazing article. | ||
| It's one of my favorite Hunter pieces. | ||
| And I don't think that they spent a lot of time together, but I think... | ||
| Hunter and him? | ||
| No, I don't. | ||
| There's a lot of it in the documentary where they're hanging out together. | ||
|
unidentified
|
Really? | |
| Yeah, he picks him up at the airport and his VW bug. | ||
| No, I know it exists, but I don't think that they spent the amount of time that you would think given that they collaborated so much. | ||
| Oh. | ||
| I think Ralph was back in Britain and Hunter was... | ||
| I know, look at that. | ||
|
unidentified
|
Look at that. | |
| See, that's the kind of shit... | ||
| Do you miss that? | ||
| Like, as part of driving your car and all that? | ||
| That's the thing from the... | ||
| Put your headphones on for a second. | ||
|
unidentified
|
Yeah. | |
| Take the thing out for an honest run down the coast. | ||
| I would start in Golden Gate Park, thinking only to run a few long curves to clear my head. | ||
| Ah, it's so good. | ||
| I love seeing the sand in the road. | ||
| Yeah! | ||
| Then into second gear, forgetting the cars and letting the beast wind out. | ||
| Thirty-five. | ||
|
unidentified
|
Forty-five. | |
| Then into third, not worried about green or red signals, but only some other werewolf loony. | ||
| Now there's no sound except the wind. | ||
| The needle leans down on a hundred. | ||
| The wind-burned eyeballs strain to see down the center line. | ||
| No room at all for mistakes. | ||
| That's when the strange music starts. | ||
|
unidentified
|
That's great. | |
| The Edge. | ||
| There is no honest way to explain it, because the only people who really know where it is are the ones who have gone over. | ||
| The others, the living, are those who pushed their control as far as they felt they could handle it, and then pulled back or slowed down. | ||
| But the edge is still out there. | ||
| That guy was fucking amazing. | ||
| It's great. | ||
| It was great. | ||
| It was fucking amazing. | ||
| What do you love about his writing? | ||
| And what type? | ||
| Like Fear and Loathing? | ||
| Well, I was just reading Hell's Angels recently actually. | ||
| That's the book that I go back to most. | ||
| Well, that's really him when he was starting, right? | ||
| That was the beginning of the sort of gonzo journalism stuff because he was kind of mixing in fiction with reality. | ||
| That's one of the things that pissed off the Hell's Angels is that he took a lot of liberties with the truth to try to like paint a picture. | ||
| Right. | ||
| Which was his deal, which was his style later on, is like exaggerating and kind of romancing his own life. | ||
| Well, he was out of his fucking mind. | ||
| Out of his mind, but he was also one of the most brilliant technical writers that ever was. | ||
| And that's what's forgotten. | ||
| Like, even people talk about Kerouac, and Kerouac was like, you know, he rode on the road, and he was on the road, and it was a Hunter S. Thompson type of thing. | ||
| And you're like, you know, he edited on the road for seven years. | ||
| Oh, wow. | ||
| And nobody knows that, because Kerouac kind of, like, you know, he put forth this thing of, like, first thought, best thought, don't edit, don't... | ||
| It was, again, a whole... | ||
| It's total horseshit. | ||
| It's bullshit. | ||
| Oh, wow. | ||
| Yeah. | ||
| That's why I say it goes back to writers. | ||
| It's a labor. | ||
| Yeah. | ||
| You sit down and you write all the fucking time. | ||
| My friend Ari, on his laptop, he's got a little piece of paper above the keyboard that says the first draft of everything is shit. | ||
| And it's true. | ||
| It's Hemingway. | ||
| Yeah, Hemingway wrote that. | ||
| You know, his first book, Hemingway's first book was lost by his wife. | ||
| What? | ||
| Yeah. | ||
| She lost it? | ||
| Yeah. | ||
| She grabbed it for him and was on a train, and then she went to the bathroom and actually left the satchel on the seat, and when she came out of the bathroom, it was gone. | ||
| Oh, my God. | ||
| Never to be found again. | ||
| Oh, my God. | ||
| Yeah, I know. | ||
| Can you imagine? | ||
| Oh, my God. | ||
| All that work. | ||
| Did that marriage work out? | ||
| I don't think so. | ||
| I bet you did it on purpose, that bitch. | ||
|
unidentified
|
Maybe. | |
| She did it on purpose, that bitch. | ||
| Yeah, man. | ||
| I love writing. | ||
| I love when someone's a really good writer because you just get these moments where you're like, yes. | ||
| Oh, yeah. | ||
| Oh, that's it. | ||
| Yeah. | ||
| And Hunter had a lot of those moments where you're like, goddammit, that's good. | ||
| You have so many people who were great young, and I know that there's a danger and a chaos within the vortex within which they lived, but it couldn't survive. | ||
| Do you know what I mean? | ||
|
unidentified
|
Most of them. | |
| When Hunter got... | ||
| He was just too fucking alcoholic. | ||
| Yeah. | ||
| And Dylan Thomas became too fucking alcoholic. | ||
| And it's one of those things that you go, you were literally riding... | ||
| Things that aren't possible. | ||
| You were putting together like wordsmithing things that are... | ||
| Magic. | ||
| Magic. | ||
| Yeah. | ||
|
unidentified
|
Magic. | |
| How he was describing. | ||
| It's that thing. | ||
| Whatever it is you're doing, how do you get to that place which most people can't touch? | ||
| Well, you can't neglect your physical health. | ||
| That's the problem is that in this chase for the muse, in this dance you do with the drugs and the alcohol and the wild riding and, you know, I'm sure you've seen Hunter S. Thompson's – there's a thing that a reporter, he hung out with Hunter S. Thompson and detailed what a day in the life of Hunter S. Thompson is. | ||
| Who was it? | ||
| There's a band called Beardy Man, and Beardy Man took me and Greg Fitzsimmons reading off Hunter S. Thompson's routine, his daily routine before he writes, and made a song out of it. | ||
| It's fucking incredible. | ||
| See if you can find that. | ||
| Because the routine was so insane. | ||
| And this was really what he would do. | ||
| He would wake up at 2 in the afternoon. | ||
|
unidentified
|
Like a discipline? | |
| No! | ||
| No. | ||
| Chaos! | ||
| Okay, great. | ||
| Full-on chaos. | ||
| Here, let's put the headphones back. | ||
|
unidentified
|
It started from the beginning. | |
| Beardy man. | ||
| 3 p.m. | ||
| Rise. | ||
| Shivas Regal with morning papers. | ||
| 3.45. | ||
| Cocaine. | ||
| Another glass of Shivas. | ||
| Another Dunhill. | ||
| 4.05 p.m. | ||
| By the way, first cup of coffee and a Dunhill. | ||
| 4.15. | ||
| Cocaine. Another Dunhill. | ||
|
unidentified
|
4.30. Cocaine. Cocaine. Cocaine. Coffee. Dunhill. Cocaine. | |
| 5.45. | ||
| 6 o'clock. | ||
| Smoking grass. | ||
| Take the edge off the day. | ||
| 7 p.m. | ||
|
unidentified
|
Today. | |
| Three hours into it. | ||
| Three hours in. | ||
| Lit. | ||
| 7 p.m. | ||
| Lunch. Margaritas. Lunch. Taco salad. | ||
|
unidentified
|
Dungeon drinks. Carrot cake. Bean fritter. Cocaine. Cocaine. Cocaine. | |
| Uh. | ||
| Okay. | ||
|
unidentified
|
9 p.m. | |
| Start snorting cocaine seriously. | ||
|
unidentified
|
Drops acid. | |
| Wow. | ||
| 11 p.m. | ||
| I don't know what that is. | ||
|
unidentified
|
Cocaine and grass. Cocaine, et cetera, et cetera. | |
| 12 midnight. | ||
| Hunter S. Thompson is ready to. | ||
| You're right. | ||
| 6 a.m. | ||
| In the hot tub with champagne. | ||
| 6 a.m. | ||
| In the hot tub with champagne. | ||
| 6 a.m. | ||
| In the hot tub with champagne. | ||
| So this is like an electronic dance music song that plays in clubs sometimes. - Um... | ||
| Super funny. | ||
| When did you do that? | ||
| Oh, it was a long time ago. | ||
| Many years ago. | ||
| Did you ever live like that? | ||
| No, no. | ||
| I've never even done coke. | ||
| Wow. | ||
| Yeah, I've never fucked around with coke. | ||
| I like psychedelics. | ||
| I like weed. | ||
| I like a little alcohol every now and then, but I don't fuck around with anything that's gonna kill me. | ||
| I'm not interested. | ||
| And I'm not interested in anything that helps my ego, that boosts it up, makes me fearless. | ||
| I'm not interested in any of that. | ||
| I like things that make me scared. | ||
| I like things that make me nervous. | ||
| That's what I was talking about early on. | ||
| I like to feel vulnerable. | ||
| I like it. | ||
| You like to challenge yourself. | ||
| Yeah. | ||
| Your perception and how you perceive certain things. | ||
| I think I like voluntary adversity, physical voluntary adversity, but also I think mental voluntary adversity. | ||
| And I think that's what I like about psychedelics. | ||
| I think you have to go on a journey, and you can't control it. | ||
| It takes you somewhere. | ||
| And then when you're back, you realize, like, you ain't shit. | ||
| Just get all that ego stuff out of your system. | ||
| Relax and just be appreciative and enjoy life and try to spread as much positivity as you can. | ||
| That's what you're here for. | ||
| Do your best at everything you do. | ||
| That's what you're here for. | ||
| And how do you find yourself doing that once you're not on it? | ||
| The incorporation of it into your life. | ||
| Just remember. | ||
| There's profound moments where I think it'll change you forever. | ||
| And those, if you can hold on to them. | ||
| Some people don't hold on to them. | ||
| But it's a matter of intention, right? | ||
| It's a matter of like, what are you trying to do? | ||
| Are you trying to be better at life? | ||
| Well, if you're trying to be better at life, you can hold on to it. | ||
| If you're not, if you're just trying to be the man or get all the accolades or win a fucking Grammy or whatever you're trying to do, if that's your real goal, you're going to get lost because it's a shitty goal. | ||
| How old were you when you took a hallucinogen for the first time? | ||
|
unidentified
|
30. I was 13. Whoa, son, that's a little too early. | |
| I wouldn't recommend that. | ||
| I wouldn't recommend it either, but it changed my life. | ||
| And I had, by the way, I took it twice in a 24-hour period. | ||
|
unidentified
|
Whoa. | |
| So I took it 13, had the greatest trip ever, like still affected by it. | ||
| Wow. | ||
| And then I took it again that night and went to hell. | ||
| Oh, no. | ||
| I don't know. | ||
| You got cocky. | ||
| No. | ||
| No. | ||
| Psychedelics want to bring you down a notch. | ||
| It just did what it did. | ||
| It did. | ||
| It did. | ||
| And I truly believe that psychedelics, I don't do psychedelics anymore, but I think I did... | ||
| But I do breath work. | ||
| I do shit like that. | ||
| And you go, can you get there? | ||
| And I go, yeah. | ||
| I've had some of the most amazing hallucinations I've ever had. | ||
| Most profound hallucinations I've ever had. | ||
| Holotropic breathing. | ||
| Breath work with Laird going off. | ||
| And if you do it long enough, you just reach a place. | ||
| Or if you're in a sauna at 240 degrees for an hour doing breath work. | ||
| Oh, yeah. | ||
| You're gonna go places. | ||
| Yeah, no doubt. | ||
| Sensory deprivation tank, you don't need anything. | ||
| Don't need anything. | ||
| You trip balls. | ||
| If they could give you in a pill form what the experience you get from a sensory deprivation tank, it would be a very popular drug. | ||
| Yeah. | ||
| And it's completely safe. | ||
| And a productive drug. | ||
| Yes, very productive. | ||
| So there's sensory, you say the sensory deprivation tank, but I just saw, you can see it online or whatever, where people literally put a thing, they go into a room and there's silence. | ||
| It's not like a, you know, where they don't talk, a meditation retreat or whatever. | ||
| But they literally go into a room by themselves. | ||
| They don't see anybody else. | ||
| They put a thick mask on, and they're in for four days. | ||
| Five days. | ||
| Have you seen that? | ||
| I have heard of people doing stuff like that. | ||
| Yeah. | ||
| What about that? | ||
| Well, I think being alone with your thoughts is uncomfortable for people, and I think a lot of people avoid that. | ||
| They avoid really thinking. | ||
| And you're forced to really think when you're in those sort of situations. | ||
| You're forced to be alone with your thoughts. | ||
| It's scary. | ||
| Well, we're always distracted. | ||
| Especially now. | ||
| We're distracted by people and devices and input and news and social media. | ||
| There's constantly stuff coming in. | ||
| And sometimes you don't... | ||
| How do I feel about everything? | ||
| Do I even know? | ||
| Have I ever really considered things? | ||
| You need time alone. | ||
| You need time to think. | ||
| That's what I really like about... | ||
| That's why I work out by myself. | ||
| That's why I like to... | ||
| You work out by yourself? | ||
| Yeah. | ||
| You don't like having a trainer. | ||
| I mean, I've had a lot of trainers. | ||
| I appreciate them for technical advice and stuff like that, but this is a meditative aspect of working out by myself that I think is very important. | ||
| It's also discipline. | ||
| It's easy to go somewhere and a guy tells you, okay, 10 reps, but I write my own workouts out. | ||
| Based on that day and how you feel. | ||
| Yeah, well, I know what I want to do. | ||
| I'm pretty good at it. | ||
| It's funny. | ||
| I haven't heard many people say that. | ||
| And it's not just some bullshit, like affectation, rebellious thing. | ||
| When I'm with it, and I appreciate trainers too, and I've worked with some great trainers, but they make me want to do less. | ||
| Why? | ||
| You know, they go, do 10. And I go, but why? | ||
| Oh no, you're one of those guys. | ||
| I'm one of those assholes. | ||
| I'm one of those assholes. | ||
| Why? | ||
| But I will actually push myself if, say, 12, just for a random word, a random number, 12 is my limit. | ||
| I'm good at pushing myself to 15. Or Jeff Cavallari, do you know who that is? | ||
|
unidentified
|
No. | |
| Athlean-X? Oh, yeah, I've heard of that guy, yeah. | ||
| Super smart guy. | ||
| Yeah. | ||
| And we would go back and forth and I'd be like, look, if I'm at my last three reps, why do we have to rest for two minutes? | ||
| Like, who said that? | ||
| Who made that up? | ||
| Is it really a recovery thing, two minutes before you can go back into 12 more reps? | ||
| What if we just rest 30 seconds and then you're right back into... | ||
| That thing almost immediately, and those are the things that are tearing the tissues and growing the muscle and all that kind of stuff. | ||
| So just experimenting with it all. | ||
| Again, this all goes back down to what we watched of like, what are we doing to just live a little more vividly? | ||
| How are we pushing ourselves? | ||
| How are we changing our perception? | ||
| How are we pushing our perception? | ||
| Well, it depends on what you're trying to do, right? | ||
| If you're just trying to get, like, conditioned, yeah, give yourself the minimal amount of rest and do it for as long as possible and then take time off afterwards for your body to heal and then get back after it. | ||
|
unidentified
|
As a base. | |
| As just a base. | ||
| But it depends on what you're trying to do. | ||
| If you're trying to get strong, I always recommend taking out, like, long periods of time in between sets. | ||
| I take like five minutes, maybe even more, in between sets. | ||
| To come back in at your strongest, to tell your body. | ||
| Yeah, but I have long workouts. | ||
| My workout's like two hours sometimes, two and a half hours, because I have these long breaks in between. | ||
| But because of that, you know who Pavel Tatsulini is? | ||
| No. | ||
| He's one of the godfathers of kettlebells. | ||
| He's one of the first people that introduced kettlebells to America, from Russia. | ||
| And their philosophy, his strong first philosophy, is that strength is a skill. | ||
| And you don't work on a skill when you're tired. | ||
| So it's all about how many repetitions you do, and that's what builds strength. | ||
| So it doesn't mean you have to do 10 in a row. | ||
| Like, say if 10 is your max, say if you pick up a weight, and you can do 10 cleans and presses, and on the 10th one you're like... | ||
| His philosophy is do five. | ||
| Do five, wait a long time, do another five. | ||
| So you've got the ten in, but you've got the ten in with perfect form. | ||
| Right. | ||
| And then you're still getting the same amount of repetitions, but you're not breaking yourself down to the point where you might get hurt or where you're doing it incorrectly or poor form. | ||
| So that's how I work out. | ||
| I talk to my wife a lot about that, my wife would say, because I'm all about form. | ||
| Yes. | ||
| Because otherwise you just get hurt and what's the fucking point? | ||
| Yeah. | ||
| I rarely get hurt from lifting weights. | ||
| Have you ever gotten hurt in jujitsu? | ||
| Oh, yeah. | ||
| A lot. | ||
| Everybody tears and pops. | ||
|
unidentified
|
Yeah. | |
| I've had surgeries and fucking bulging discs and torn this and torn that. | ||
| Yeah. | ||
| You have to. | ||
| I had sciatica. | ||
| It's a sport where you're trying to kill each other. | ||
|
unidentified
|
That's true. | |
| You try to get really good at killing people with your body. | ||
| So other people are doing that to you. | ||
| I had sciatica for a year and a half. | ||
| Bad sciatica. | ||
| Nine millimeter slip between L5 and S1. How'd you get rid of it? | ||
| And they wanted to do surgery. | ||
| And I had had surgery when I was really young because I had a slipped disc between C5 and C6. And they took out part of my hip and they went in through my neck. | ||
| They moved everything over and they replaced my disc with part of my hip back when they used to do that. | ||
| They used to replace your disc with part of your hip? | ||
| Yeah, they would chisel out a part of your hip. | ||
| Like a bone? | ||
| Yeah. | ||
| And that's what your disc was now? | ||
| A piece of bone? | ||
| It is now. | ||
| That doesn't even make sense. | ||
| Your disc is supposed to be spongy. | ||
| I know. | ||
| I don't understand why. | ||
| They put a piece of bone in there? | ||
| Yeah, and it worked. | ||
|
unidentified
|
Really? | |
| It actually worked. | ||
| Yeah. | ||
| Dr. Delamarder. | ||
| I'll never forget his name. | ||
| Jesus. | ||
| So, yeah. | ||
| And then they used cadaver bone for a while, and now they use what? | ||
| Well, it depends. | ||
| There's artificial discs. | ||
| I know a couple people that have artificial discs. | ||
| And it worked. | ||
| Yeah, my friend Eddie got it done in his lower back. | ||
| He was basically bone-on-bone, constant inflammation. | ||
| So he got a titanium-articulating disc that's in his back. | ||
| What is this? | ||
| Surgeon may take a small piece of bone from the hip called an autograft to use in a neck surgery called interior cervical disectomy and fusion. | ||
| The bone is placed between the space between the vertebrae to stimulate bone healing and promote fusion. | ||
| Oh, so you got your neck fused. | ||
| Yeah, they call it a Brolin graft. | ||
| Oh really? | ||
|
unidentified
|
No. | |
| So that's different. | ||
| You've got your neck fused. | ||
| Fused. | ||
| Which they probably don't even do fusion. | ||
| They do. | ||
| They still do fusions. | ||
| Well, if it's a massive break or something like that, maybe. | ||
| Yeah, I don't recommend it. | ||
| There's other ways you can heal bulging discs. | ||
| And one of them is there's a process called Regenikine. | ||
| And Regenikine is, I had that done in LA, in Santa Monica. | ||
| They used to do it in Germany. | ||
| They used to have to go to Germany to do it. | ||
| And Kobe Bryant went over there and Peyton Manning went over there. | ||
| And what they do is they take your blood out. | ||
| It's like platelet-rich plasma, but it's a more advanced version of it. | ||
| And they spin your blood in the centrifuge and they add some stuff to it and it turns it into one of the most potent anti-inflammatories. | ||
| And then what they do is you lie down there and they inject it in your back. | ||
| They have these little needles. | ||
| I think there's an Instagram post of me getting it done on my lower back. | ||
| Did you have a slip disc in your lower back? | ||
| Bulging. | ||
| It's essentially a bulging disc, but it can go back. | ||
| Bulging disc can go back. | ||
| That was my experience. | ||
| You also have to have traction, like decompression. | ||
| There it is. | ||
| So that's my back. | ||
| I had that done. | ||
| So they take that and they stick all that shit. | ||
| And they drill that, don't they? | ||
| They just put holes. | ||
| No, it's just needles. | ||
| I know it's needles, but it's not like acupuncture. | ||
| They actually drill that. | ||
| Then they put the needle in, don't they? | ||
| No. | ||
| No, they just shove that needle in place. | ||
| It's just like a syringe. | ||
| On each side of your spinal column, right? | ||
|
unidentified
|
Yeah. | |
| It's like a syringe. | ||
| And then inside the syringe, they pump in the Regenicane stuff. | ||
| Yeah. | ||
| And then it... | ||
| It fills those areas up with this platelet-rich plasma that's been enhanced, and it just heals everything. | ||
| And did you feel like it helped? | ||
| Oh yeah, absolutely. | ||
| It helped my neck so much. | ||
| My neck was so fucked. | ||
| Jacked. | ||
| My neck was so fucked I was getting numb fingers and pain in my elbow. | ||
| I have that now. | ||
| Do you really? | ||
| Yeah. | ||
| You should go to that place. | ||
| Yeah, and when I ride motorcycles also, I have my hands up like that. | ||
| I mean, I have shoulder issues. | ||
| But I have a, that slip disc was a 9mm slip. | ||
| Why do you like to do this? | ||
| Huh? | ||
| Why not do this? | ||
| Why this? | ||
| Because that looks cooler. | ||
| Does it? | ||
| Not to me. | ||
| It looks super cool when you're doing it right now. | ||
| This looks retarded. | ||
| This looks good. | ||
| This looks like you can avoid things. | ||
| Put it up super high. | ||
| You can move around. | ||
| Put it up super high. | ||
| This is like, when you have to turn. | ||
| Yeah. | ||
| Like, how are you going to turn like that? | ||
| You're not going to do a good job. | ||
| You look like a gorilla. | ||
| This is better. | ||
| This is better. | ||
| What about that? | ||
| This is better. | ||
| What about this? | ||
| Well, Ducatis. | ||
| I mean, that's like you're down like this, right? | ||
| That's when I finally crashed, was a Ducati. | ||
| Oh, really? | ||
| You went crazy? | ||
| No, I didn't go crazy. | ||
| I didn't do anything differently. | ||
| With parlies, you go slower. | ||
| Right. | ||
| You ride. | ||
| And it's loud, so people know you're there. | ||
| Thank you. | ||
| That's a big one. | ||
| It's huge. | ||
| They have electric bikes now. | ||
| I'm like, do you want to die? | ||
| They're fast. | ||
| They're so fast, but do you want to die? | ||
| They make no sound. | ||
| Nobody can hear you. | ||
|
unidentified
|
Nobody can hear you. | |
| If I'm riding in a grid of 16 guys, because everybody thinks Hell's Angels. | ||
| I go, there's nothing about it that's trying to emulate Hell's Angels, Mongols, any of that 1%er thing. | ||
| But when you hear that rumble coming down the road, you can't wait to get the fuck out of the way. | ||
| Yeah, oh yeah, yeah. | ||
| And that helps us. | ||
| That definitely helps you stay alive. | ||
|
unidentified
|
Yeah, man. | |
| Yeah, loud pipes save lives. | ||
| I've heard that many times. | ||
| So to finish that thought, what I did was is I went to... | ||
| I started... | ||
| Instead of resting, which is what doctors normally say, they say, do surgery, do surgery, rest, sleep, see if that helps. | ||
| If it doesn't help, do surgery. | ||
| And I did the opposite, which later, you know, Laird was like, anytime you get hurt, Laird will be like, movement, movement, movement, movement. | ||
| But this was before all that. | ||
| But I started working out, and it got worse, and it got worse, and it got worse. | ||
| But I continued to work out, and I started running, and I started doing pistol squats, and all this kind of shit. | ||
| And then one day it was gone. | ||
| And I never came back. | ||
| Really? | ||
| Never came back. | ||
| So you just beat it out of you? | ||
| I beat it out of me. | ||
|
unidentified
|
Wow. | |
| Yeah. | ||
| Yeah, movement is everything. | ||
| You need circulation. | ||
| You need blood in there, which is why they do PRP, which is why they do stem cell work or whatever. | ||
| Yeah. | ||
| And if you're just sitting there, the problem is you're also going to – your body is going to atrophy. | ||
| You're going to lose strength. | ||
| And then it's going to make whatever injured that area in the first place – But that was always promoted by doctors. | ||
| Why would that always be promoted by doctors? | ||
| Again, whether it's politicians or whether it's doctors or whether they're telling you this is – You got to eat from the four food groups, man. | ||
| You're going to die otherwise. | ||
| Well, you know, there's a lot to that stuff. | ||
| But, you know, the four food group shit is a lot of people just not knowing what the fuck they're talking about. | ||
| That's what I mean. | ||
| And also there's a different perception back then of like what was healthy versus now. | ||
| But it's also a lot of these doctors, they're not athletes, and they don't really understand what's possible with the body. | ||
| They just know how to fix things when they break. | ||
| And then for the average person, they say just rest. | ||
| Because the average person is not going to fucking do what you're doing anyway. | ||
| So it's like, why tell them? | ||
| What you really need to do is constant movement and just beat that injury into submission. | ||
| That's right. | ||
| And no one's going to tell you that. | ||
| How do I feel better? | ||
| Lose some weight. | ||
| Yeah. | ||
| Like, go do that uncomfortable thing. | ||
| Start walking. | ||
| Start slow. | ||
| Maybe jog a little bit. | ||
| Maybe lift a little something. | ||
| That's why when you see those videos of these guys that just, for whatever is in their personality, they've had fucking enough. | ||
| They're 400 pounds and they go, that's it. | ||
| Buck stops here. | ||
| I'm going to start doing my shit. | ||
| Yeah, they hit rock bottom. | ||
| They hit rock bottom. | ||
| And then you see this, again, what we were talking about before, incentive, where they just go, I don't give a shit. | ||
| Well, isn't that the same with everything? | ||
| Isn't that how you quit drinking? | ||
| You just hit rock bottom? | ||
| I was just about to say that. | ||
| Yeah, but you don't... | ||
| I hit rock bottom when I was 15. I was shooting coke at 15. Jeez. | ||
| So, yeah, the thing that you didn't want to try. | ||
| I did want to try. | ||
| But that was that group. | ||
| That's why so many of those guys died. | ||
| You know what I mean? | ||
| Yeah. | ||
| When I look at Hunter S. Thompson, who I love as a writer, when I look at Dylan Thomas, who I love as a writer, and all these guys that had this kind of amazing life, and I feel, too, paralleled. | ||
| I had an amazing life, except nobody cared about mine. | ||
| People really cared about theirs. | ||
| I was just Josh that you wanted to stay the fuck away from. | ||
| We're like, that motherfucker's great to spend like an hour with, and then once it hits 10 o'clock and the moon comes out and the clouds part, you don't want to be anywhere around. | ||
|
unidentified
|
Oh. | |
| Yeah. | ||
| But then you get to that point where you go, when did Hunter S. Thompson, when did these guys just become like some kind of clown mask of themselves? | ||
| Right. | ||
| Do you know what I mean? | ||
| Well, in the end, Hunter was definitely that. | ||
| Did you ever see when Hunter was on Conan O'Brien's show? | ||
| No. | ||
| It was horrible. | ||
| He could barely talk. | ||
| He barely could understand him. | ||
| Everything was mumbling. | ||
| It was real weird. | ||
| He got in a gunfight with his fucking neighbors. | ||
| He was shooting at his neighbors. | ||
| That's what I mean. | ||
| At what point does it turn? | ||
| He was a full-on drunk. | ||
| But it wasn't just that. | ||
| His body was rapidly deteriorating. | ||
| He had hip replacement surgery. | ||
| And he was only 67, I think. | ||
| That's not old, man. | ||
| No, not that old. | ||
| That's young. | ||
| Not that old for what? | ||
|
unidentified
|
How old are you? | |
| 57. I'm 56. Yeah. | ||
| Like, my mom died at 55. The whole thing this book became was my mom dying at 55 and me thinking back then, she lived a nice long life. | ||
| Isn't that crazy? | ||
| It's fucking crazy. | ||
| And then it turned out that I was 55 when I wrote the book, which had never even... | ||
|
unidentified
|
Oh, wow. | |
| The book kind of dictated itself. | ||
| And then I went, holy fuck, I'm 55. Wow. | ||
| I'm super young. | ||
| Fucking super young. | ||
| Like, yes, I have some joint issues, but I'm young for the most part. | ||
| For the most part. | ||
| Yeah, you're physically healthy. | ||
| You're not falling apart. | ||
| You just have a few issues, which is just wear and tear of life. | ||
| That's it. | ||
| Yeah, but there's some people that if you don't take care of yourself and you don't eat well, and there's also a lot of other factors, genetic factors, but you could fall apart pretty quick. | ||
| But if you're a guy like Hunter that's doing coke and drinking every night, You can't do that. | ||
| No, you can't. | ||
| And the writing was bad. | ||
| The only time he wrote anything good in later years was 2001, right after 9-11. | ||
| Right after 9-11, he wrote this great piece. | ||
| I want to say it was for Sports Illustrated. | ||
| I forget who he wrote it for. | ||
| He wrote this really great piece talking about what happens next after the Twin Towers fall. | ||
| He wrote this thing about waking up in the morning, seeing the Twin Towers fall, and then realizing what's ahead for us. | ||
| It was very prescient. | ||
| It was very good. | ||
| Was it accurate? | ||
| Yeah, it was dead on. | ||
| And it was vintage Hunter. | ||
| It's like he tapped back into it. | ||
|
unidentified
|
It's on ESPN. ESPN, that's it. | |
| ESPN, this is the article? | ||
| Yeah, this is the article. | ||
| Would you send me this article if it's an article, a long article? | ||
| I would love that. | ||
| Yeah, I'll send it to you. | ||
| Yeah. | ||
| This is the whole thing. | ||
| I mean, what's so great is when you go... | ||
| I mean, this is kind of popping all over the place, but when you go back and you look at all the politicians, whatever side... | ||
| Whatever red, blue they lean toward, it didn't matter because Hunter was there kind of looking for something different and it wasn't all about him. | ||
| When it came down, they all describe Hunter as just like crazy, it was so much fun to hang out with him, but there was never a lack of he was super intelligent and wanted the best for everybody. | ||
| He was a real patriot. | ||
| He was a true patriot. | ||
| Yeah. | ||
| Did you ever read Fear and Loathing on the Campaign Trail? | ||
|
unidentified
|
Yeah. | |
| That's one of the more interesting pieces, because you got this guy who's following around the campaign trail, and he knows he's only in it for this one time. | ||
| So he's not like any of these other reporters. | ||
| He's just writing a book. | ||
| Yeah, what are you going to do? | ||
| Fire him? | ||
| Yeah, exactly. | ||
| And not only that, you can't, because he's going to write a book. | ||
| Like, he's writing a book. | ||
| You can't fire him. | ||
| Whether you like it or not. | ||
| Yeah, whether you like it or not, he's writing that book. | ||
| But, you know, he's dropping acid. | ||
| He's talking to these guys into drinking. | ||
| Like, he's taking all these, like, fucking nerdy political reporters. | ||
| Yeah. | ||
| And he's introducing them to a perspective that they're not aware of. | ||
| They don't know anybody like that. | ||
| And the book is fucking incredible. | ||
| But when you see Gonzo, when you see, it's funny how much we're talking about Hunter Thompson, but when you see Gonzo, I don't know if it was in Gonzo or another documentary, you see how they're affected by it. | ||
| You see a humanity in them because of him that you don't normally get to see. | ||
|
unidentified
|
Right. | |
| Don't you agree? | ||
| Yes. | ||
| Yeah. | ||
| He made you question a lot of things. | ||
| Yeah. | ||
| And when people question things, they're like, what am I doing? | ||
| Yeah, why am I here? | ||
| What is my purpose? | ||
| Or did I have a purpose when I was young and I just fell into this political status quo? | ||
| And he even was questioning, like in the documentary, he was like, I don't even know what people want anymore. | ||
| Do they want Hunter S. Thompson or they want Gonzo? | ||
| It's not even me anymore. | ||
| It's like I'm a prisoner of this thing that I've created. | ||
| And that's the thing that happens to people where they develop this sort of image and persona. | ||
| And then you feel like you're trapped by it. | ||
| People have expectations when they meet you. | ||
| Kenison talked about that. | ||
| Did you know Kenison? | ||
| No, unfortunately. | ||
|
unidentified
|
I did. | |
| Did you? | ||
| I did. | ||
| No shit. | ||
| And not because of drugs, just because I was around. | ||
| What year was this? | ||
| When did he die? | ||
| A 90-ish, 92 maybe? | ||
| I was in New York, so it had to be pre-94. | ||
| Probably 90. Somewhere around then. | ||
| I would say 90. I knew him. | ||
| 90, 91. It was through a friend that I met him and then he liked me. | ||
| Wow. | ||
| And sweet, incredibly sweet guy. | ||
| He was a motherfucker, dude. | ||
| Motherfucker. | ||
| This guy does bottle cap art. | ||
| Go to my Instagram, Jamie, and see that photo. | ||
| This guy just made this insane bottle cap art piece of Kinnison for my comedy club, and we put it up last night. | ||
| Is he a hero of yours? | ||
| Oh, yeah. | ||
| He was one of the first... | ||
| There it is. | ||
| Ow, ow, ow! | ||
| That's all bottle caps. | ||
| Oh, no shit? | ||
| Yeah, those are bottle caps if you zoom in. | ||
| Wow, man. | ||
| Yeah. | ||
| That's like in prison when they use cigarette packs and do... | ||
| Patricia Arquette gave me a piece of art with a bunch of cigarette packs put together. | ||
|
unidentified
|
Oh, really? | |
| Yeah, they make frames. | ||
| That was it. | ||
| Oh, wow. | ||
| Same kind of thing. | ||
| Yeah, this guy, his name is Jam Bottle Cap Art, J-A-M Bottle Cap Art. | ||
| He does a bunch of different pieces of bottle cap art. | ||
| Yeah, he's really good. | ||
| It's really, really cool stuff. | ||
| You need my picture outside. | ||
| I saw all your mug shots. | ||
| I'd love to have a mug shot of you. | ||
| I'll send you one. | ||
| Is it good? | ||
| How fucked up do you look? | ||
|
unidentified
|
Pretty fucked up. | |
| I got a smile on my face. | ||
| When somebody smiles during a mug shot, I always find that really funny. | ||
| So when you met Kinison, was it at a show? | ||
| No. | ||
| Oh, it might have been the comedy club. | ||
| I'd only been a few times. | ||
| Sorry, comedy store. | ||
| Comedy store? | ||
| He was out of there by then. | ||
| He was out of there by 90. Well, what's the one down the road by where Greenblatt's used to be? | ||
| Laugh Factory. | ||
| Yeah. | ||
| Yeah, you like those? | ||
| I do. | ||
|
unidentified
|
I love those things. | |
| Very much. | ||
| The Laugh Factory. | ||
| The Laugh Factory. | ||
| It might have been that. | ||
| Yeah, he got kicked out of the comedy store, I think, in like 87 or 88. No, then it wasn't there. | ||
| Yeah, it was probably the Laugh Factory. | ||
| But that's not where I met him. | ||
| I met him at a house. | ||
| Okay. | ||
| I met him at a house and I never went to a lot of those parties. | ||
| I was just not part of that. | ||
| Sam wasn't invited. | ||
| But I met him and he was really sweet, man. | ||
| Mellow out. | ||
| It wasn't like a thing. | ||
| It wasn't an act all the time. | ||
| Right. | ||
| You know? | ||
| But he was a prisoner to that thing that he became. | ||
| For sure. | ||
| Yeah. | ||
| His brother wrote a great book. | ||
| It's called Brother Sam. | ||
| It's a really, really good book describing the ascent of his career and how it fucked him up and what happened to him. | ||
| And what do you think it was? | ||
| Drugs. | ||
| Drugs and partying and just... | ||
| And stratospheric fame. | ||
| Yeah, yeah, yeah. | ||
| Wasn't it instantaneous for him? | ||
| Pretty quick. | ||
| So in 1986, he's on Roddy Dangerfield's Young Comedian Special, and then he does an insane... | ||
| To this day, holds up HBO Hour. | ||
| And then those two things, and then an album that he made called Louder Than Hell... | ||
| And those things are the best things he ever does. | ||
| Everything after that becomes like a significant drop-off. | ||
| And in the end, he was basically a caricature of who he used to be. | ||
| Yeah, a caricature of himself. | ||
| Exactly. | ||
| And he just was captured. | ||
|
unidentified
|
Yeah. | |
| But it's also... | ||
| Imprisoned. | ||
| There wasn't anybody to tell you how to do it back then. | ||
| There was only a few, like, massively famous comedians back then. | ||
| There wasn't a lot of us. | ||
| It wasn't like today. | ||
| Today, there's like a giant community of comedians. | ||
| We all talk to each other and figure it out together. | ||
| And everybody's just about... | ||
| Making better stuff. | ||
| It's not about like getting hugely famous. | ||
| The ones that just want to get hugely famous, they're all mentally ill. | ||
| And usually their career drops off, their comedy starts to suck. | ||
| They're trying to do the wrong thing. | ||
| So in Kinison in the beginning, He just wanted to be the best he could be. | ||
| He just wanted to be really fucking good at comedy, and coming from this tent preacher, so he's like this revival tent preacher, and then he gets into stand-up comedy, and he has this charisma and this ability to deliver that's so different than everybody else. | ||
| And he's this short, fat guy, so when he talks about being married and living in hell, he kind of empathizes with it. | ||
| This fucking guy's amazing. | ||
| And revolutionized comedy. | ||
| Changed comedy. | ||
| He was the first guy that I ever saw that made me think I could do comedy. | ||
| Because before then, I loved comedy. | ||
| I always loved stand-up. | ||
| But I loved it because it was funny. | ||
| I would just like to watch, you know, Jerry Seinfeld on TV. Oh, these guys are so funny. | ||
| Isn't that funny because you're so different than he is, and yet he was the one that you paralleled with that, like, liberated you? | ||
| Yeah, well, he was wild. | ||
| That was the thing. | ||
| I never felt like I fit in. | ||
| I always felt like I didn't want to be around polite people. | ||
| I didn't want, like, you know, if a girl wanted me to go over to her house and have dinner with her parents, I was like, oh, Jesus. | ||
|
unidentified
|
I'm fucked. | |
| They're going to think I'm fucking crazy. | ||
| But I was a kickboxer. | ||
| You know, I was a kid who had, I went from, you know, when I was 15 years old, I got like deeply involved in martial arts. | ||
| My entire social life up until like 21, 22 was just traveling around the country fighting. | ||
| And so I was feral. | ||
| My mindset was just, I just didn't fit in. | ||
| I couldn't wear a suit jacket and pretend to be the guy. | ||
| Did you ever notice? | ||
| I wasn't that guy. | ||
| Hello, sir. | ||
| It's great to meet you. | ||
| Things that I thought were funny, other people would think were fucked up. | ||
| But my fucked up friends would think were funny. | ||
| And those are the ones who talked me into doing stand-up. | ||
| But they were equally fucked up. | ||
| Did you start stand-up back then? | ||
| In Boston, in 88. In 88? | ||
| Yeah. | ||
| And I went to see Kinison in 89. I got to see him live in 89. I got to see him three times. | ||
| One time when I was working, I was working at Great Woods Center for the Performing Arts, and he was performing there. | ||
| And I got to see him live. | ||
| I was a security guard. | ||
| It was this place in Mansfield. | ||
| Yeah, the whole Taekwondo team that I was a part of got jobs. | ||
| Is that what you did, Taekwondo? | ||
| Yeah. | ||
| That's what I used to compete in. | ||
| Oh, no kidding. | ||
| Where'd you compete out of? | ||
| Jun Chong. | ||
| Where was that? | ||
| LA. Okay. | ||
| Taekwondo. | ||
| Yeah. | ||
| I fought in L.A. when I lived in Boston. | ||
| I fought in Anaheim in the Nationals. | ||
| Right on. | ||
| I traveled all over the country competing. | ||
| That's all I did. | ||
| And one of the guys who worked with us, one of the guys who trained with us got a job as a security guard. | ||
| And the guy was like, hey, do you know any more guys who know how to fight? | ||
| We need more guys like that to work for us. | ||
| They just hired a bunch of us. | ||
| Right. | ||
| And so we got to see all these crazy concerts. | ||
| I got to see Bon Jovi. | ||
| I got to see Bill Cosby, which was kind of crazy. | ||
| No way. | ||
| Yeah. | ||
| I saw Rodney Dangerfield. | ||
| And Rodney Dangerfield was – there was this backstage area. | ||
| And Rodney Dangerfield was naked with a bathrobe on. | ||
| And that's how he would go on stage. | ||
| At the end of his career, Rodney would go, and by the way, murdered. | ||
| I mean, I was fucking crying, laughing. | ||
| He was probably, I don't know how old he was in 89, but he was old. | ||
| And this fucking guy was just on stage with a bathrobe on naked. | ||
| Killing it. | ||
| Giant hog hanging out of his fucking pants. | ||
| And he was just hanging out, smoking pot, and then he would go on stage with a bathrobe on and just kill. | ||
| Because he wanted to be comfortable. | ||
| How did other comedians feel about him? | ||
| Oh, they loved him. | ||
| They loved him. | ||
| Everybody loved Rodney. | ||
| Rodney was one of the most universally loved comedians ever, because he helped other comedians. | ||
| Like, Rodney Dangerfield He did these things, the Rodney Dangerfield specials, like Rodney and Friends. | ||
| And so he introduced the world to Dice Clay, Sam Kinison, Robert Schimmel, Lenny Clark, Dom Irera, like some of the greats. | ||
| And they all came out of his Rodney Dangerfield and Friends specials. | ||
| They were some of the greatest specials ever. | ||
| Because he would have all these guys that he thought were worth seeing, and he would put them out there to the world, and they all became superstars. | ||
| I mean, that's how Sam Kinison launched. | ||
| He launched from Rodney. | ||
| And so Bill Hicks, a lot of people, launched from Rodney. | ||
| So everybody loved Rodney. | ||
| He was just loved. | ||
| I know he's your buddy, because comedians, I used to listen, I used to have six albums, and one was a bloody red vinyl. | ||
| Remember the Red Albums? | ||
| Sure, yeah, yeah. | ||
| And I don't know where I got them. | ||
| I think I got them from like a flea market or something, but they were Lenny Bruce. | ||
| Oh, yeah. | ||
| And that was the beginning. | ||
| He was the first. | ||
| He was the first. | ||
| He was the first real modern stand-up comedian. | ||
| Everybody else just told jokes, like two guys walking to a bar, like that kind of shit. | ||
| Totally. | ||
| He was the first guy that was like, why do we do this? | ||
| And why is that? | ||
|
unidentified
|
Yeah. | |
| Where he questioned it. | ||
|
unidentified
|
Yeah. | |
| Questioned authority. | ||
| And people would come to see him because in the 60s, everybody was so confused at how to think. | ||
| Like, what? | ||
| Yeah. | ||
| What are we doing? | ||
| And this guy was like this. | ||
| And how do we treat each other? | ||
|
unidentified
|
Yes. | |
| And then he'd literally point people out and he'd go, Eve and Kike and there's a Mick. | ||
| And people would go, what the fuck is he doing? | ||
| Right, right, right, right, right. | ||
| At the most tense time. | ||
|
unidentified
|
Yes. | |
| And then he'd bring it around. | ||
| And that's why it reminds me of Chappelle. | ||
| Because Chappelle would get so seemingly or ostensibly inappropriate and then somehow bring it around and you go, fucking Jesus. | ||
| Dave's a master. | ||
| Master. | ||
| And he's a real artist. | ||
| That's a guy. | ||
| You know when I talk about people that only start thinking about money? | ||
| That's not him. | ||
| That dude lives in fucking Springfield, Ohio and just travels around and just does a lot of shows for no money. | ||
| He does a lot of shows for no money. | ||
| He just shows up and performs. | ||
| One time I was in Denver and I get off stage. | ||
| It's a second show Friday night. | ||
| So it's 10 o'clock show. | ||
| Show's over. | ||
| I get off stage. | ||
| I go into the green room. | ||
| Dave's there. | ||
| I go, Dave, what are you doing here, man? | ||
| He goes, I thought I'd come out and visit you. | ||
| Just hops on a fucking private jet and flies to Denver because he knew I was there. | ||
| Didn't even tell me. | ||
| Just shows up. | ||
| And then I go, do you want to go on stage? | ||
| He goes, oh, should I? I go, fuck yeah. | ||
| So I ran out while the people were leaving. | ||
| The show was already over. | ||
| I go, everybody, tell everybody on the stairs, come back. | ||
| Dave Chappelle's here. | ||
|
unidentified
|
Crazy. | |
| So they all come back in and sit down again. | ||
| And how long did they go out for? | ||
| And he does like 45 minutes. | ||
| And it was right around when Trump was doing, when he got caught saying, grab him by the pussy. | ||
|
unidentified
|
So he had like 10 minutes of a grab him by the pussy. | |
| It was fucking genius. | ||
| It was so good. | ||
| Off the top of his head, though? | ||
| Oh, no. | ||
| He, I mean... | ||
| I don't know exactly how Dave creates material. | ||
| I think what Dave does is spends a lot of time thinking and listening to music and coming up with ideas. | ||
| And he writes some stuff down, but a lot of what he does is just performs constantly. | ||
| He's constantly on stage working these things out. | ||
| You said it earlier, artist. | ||
| He's a real artist. | ||
| That's the difference between somebody who's just good at what they do and somebody who is an innate artist. | ||
| He's a real artist. | ||
| He's a hero of mine. | ||
| He's a hero of mine, too. | ||
| He's a good friend. | ||
| But he gets these giant deals with Netflix where he makes a lot of money. | ||
|
unidentified
|
Yeah. | |
| Which is great, but he doesn't do it for money. | ||
| He's doing it for art. | ||
| No, but what you can tell is he gets these like, oh, he turned down $50 million, went crazy, moved to Ohio, or whatever the fucking story is that you want to make up. | ||
| But then he comes back, he makes these $20 million deals with Netflix, but it's never in place of his agenda. | ||
| No, it's all about the art. | ||
| It's all about comedy. | ||
| This wins. | ||
| This is the priority. | ||
| That's why he left his show, because they were twisting it, distorting it. | ||
| I know why he left his show, because I've been in that position where you go, this is turning into some corporate version of what you like. | ||
| You love what I do. | ||
| Now you can't wait to put your fingerprint on it. | ||
| Exactly. | ||
| That's it. | ||
| That's exactly what it was. | ||
| So you can take, so you can go, you know, that was me. | ||
|
unidentified
|
And he gave up 50 million when no one was giving up 50 million. | |
| Nobody would fucking do that, man. | ||
| And then he quit doing comedy for 10 years. | ||
| And you know what he would do? | ||
| He would occasionally show up in a park with like a fucking speaker. | ||
|
unidentified
|
Right. | |
| And just show up and do stand-up. | ||
|
unidentified
|
No way. | |
| Yes, he did. | ||
| He did in Seattle. | ||
| I know he did in Seattle because a friend of mine was at the show. | ||
|
unidentified
|
Wow. | |
| He shows up. | ||
| He goes, Dave Chappelle just shows up in this fucking park and he gets a speaker with a microphone and he just starts talking and people just gather around. | ||
| Respect. | ||
| He was just doing these, like, shows. | ||
| These impromptu shows. | ||
| He would show up in a bar. | ||
| Can I go on stage? | ||
| And they would go, uh, okay. | ||
| And he would just start talking. | ||
| Knowing in his mind that he would eventually come back? | ||
| No. | ||
| That was just the present moment. | ||
| I think he's just being an artist. | ||
| Just being an artist for the pure sake of being an artist. | ||
| So he had the money that he did make off Chappelle's show. | ||
| And he decided to, like, live frugally and take that money. | ||
| And he didn't do anything for money. | ||
| For, like, ten fucking years. | ||
| He just raised his kids. | ||
| And then he started coming back. | ||
| And then when he started coming back, I remember him coming around the comedy store again, and we had some conversations about it. | ||
| And he just, you know, he just decided to start doing comedy again. | ||
| You see people getting canceled now, and it's devastating to them, and yet that's what that was. | ||
| He just did it himself. | ||
| Right. | ||
| He canceled himself. | ||
| He canceled himself. | ||
| Yeah. | ||
| He canceled the greatest sketch show of all time. | ||
| Of all time. | ||
| Yeah. | ||
| And it only did two seasons. | ||
| It's still the greatest. | ||
| But that's not something that you see very often of somebody who just fucking can't help but beat to their own drum. | ||
| Right. | ||
| But the art wins in the end. | ||
| The art wins. | ||
| Do you know what I mean? | ||
| Well, it's obviously when you see him. | ||
| He's so good. | ||
| He's not malicious. | ||
| No. | ||
| There are moments where you think he's malicious. | ||
| And again, he brings it around. | ||
| Well, the maliciousness is just to heighten the humor. | ||
| It all just like brings it in. | ||
| It also accentuates like some thoughts that you might have about whatever he's talking about. | ||
| But it's what everybody's thinking. | ||
| Yep, exactly. | ||
| And so fucking terrified to say. | ||
| Everybody's thinking. | ||
| Even me. | ||
| Yeah. | ||
| I'm watching it and I'm the inappropriate guy. | ||
| And my dad goes, how the fuck do you say what you say? | ||
| And I don't understand. | ||
| I go, you know, I said, honestly, do you want to know? | ||
| Because I'm not ultimately mean. | ||
| I don't want... | ||
| I don't want to fucking hurt... | ||
| I don't want people to feel less than I do. | ||
| Right. | ||
| But I watch Chappelle, and even me, I'm like... | ||
|
unidentified
|
Wow! | |
| Yeah, he watched that line. | ||
| He gets out there and walks that line, but he dances around it and he makes it beautiful comedy. | ||
| I appreciate it so much, because without him, we're all fucked. | ||
| And he's the way to find out if a comedian's a cunt. | ||
| Like, if a comedian doesn't like Chappelle, they start shitting on Chappelle, like, oh, okay. | ||
| Then you know he's a cunt. | ||
| You're a piece of shit. | ||
| You're a piece of shit. | ||
| You're just a garbage human. | ||
| Have you ever met anybody like that? | ||
| Oh, yeah, yeah, yeah, yeah. | ||
| A lot of these... | ||
| He's not a real comedian. | ||
| There's a lot of... | ||
| He's an asshole. | ||
| Yeah, there's a lot of, like, activist comedians. | ||
| And what they are is really not talented. | ||
| So they've glommed on to this idea of, like, being, like, socially conscious. | ||
| And that's more important than the humor itself. | ||
| But nobody wants to hear you preach. | ||
| Nobody thinks that your opinion is better than theirs. | ||
| This is what I always say. | ||
| Like, if you go on stage, you have an opinion. | ||
|
unidentified
|
Like... | |
| Other people have an opinion, too. | ||
| Like, if you go on stage and say, you know, I think Kamala Harris would be the greatest president of all time, a lot of people are like, well, I don't agree. | ||
| But you have to have a way to make it funny so that they laugh. | ||
| The people that disagree with you laugh. | ||
| Like, I don't even think this guy's correct. | ||
| Well, goddamn, that's funny. | ||
| And that's a way you can introduce an idea into someone's head that maybe would never accept that Idea, it was just opinions. | ||
| So if someone's on stage and they're just saying opinions, like you could you could disagree with that opinion, it'll frustrate you and you can't talk, you don't have your... | ||
| But if that guy can take that opinion and that perspective and make it funny, then you're forced to acknowledge that he has a point. | ||
| Yeah. | ||
| Like there's something in there like, I don't even agree with that, but fucker, goddamn, that was good! | ||
| Goddamn, that was good! | ||
| It liberates, man. | ||
| That's the real Chappelle art. | ||
| I mean, not that we'll stay on this forever, but remember Eddie Murphy when he did, not the first, not Raw, but... | ||
| Delirious. | ||
| Delirious. | ||
| Yeah. | ||
| Oh, yeah. | ||
| Well, he was a fucking powerhouse, man. | ||
|
unidentified
|
Powerhouse. | |
| To this day, that is the guy that I just wish I was friends with. | ||
| I was friends with his brother, Charlie. | ||
| Yeah. | ||
| But I wish that guy, I wish he would come back. | ||
| You know, I know he got, like, some weird stuff where he got arrested with transsexuals in his car. | ||
| Whatever. | ||
| So did other people. | ||
| Whatever. | ||
| They came back. | ||
| He's just too good. | ||
| He's too good. | ||
| He's too good. | ||
| Do you ever see when he gave a speech? | ||
| He got, like, I think it was, like, one of those Mark Twain awards or something like that. | ||
| And he did stand-up. | ||
| Like, where he hasn't done stand-up in forever, but he was talking about Bill Cosby having to give his awards back. | ||
| No. | ||
| Because, you know, he does an amazing Bill Cosby impression. | ||
| Yeah, no, I remember. | ||
| And so he did stand-up, and it was as sharp as ever. | ||
| And, like, goddamn, if this guy came back... | ||
| And it was just off the cuff? | ||
| Oh, I'm sure he prepared. | ||
| No, I'm sure he prepared, but nobody really knew he was going to do it, right? | ||
| Well, they knew he was going to give a speech, and his speech was essentially stand-up. | ||
| You know, his acceptance speech was... | ||
| Like 20 minutes or 15 minutes of stand-up. | ||
| Yeah, and it was fucking great. | ||
| And there was all these rumors that he was going to start doing it again. | ||
| I remember Charlie told me that Dave was thinking about doing it again. | ||
| Or that Eddie was thinking about doing again, but he never did it. | ||
| He never did it. | ||
| I think it's just too heavy. | ||
| We need comedians. | ||
| I mean, that's like the theme of this whole thing. | ||
| Whether you're talking about Hunter, whether you're talking about this, it's just too bad that they self-destruct, whether it be from drugs or fame or whatever. | ||
| And you know what I mean? | ||
| It's hard, man. | ||
| It's hard to maintain. | ||
| And then once you make it, there's these weird pressures. | ||
| But it breaks up the status quo of this contraction, especially that we're feeling. | ||
| I know that's why people move to Austin. | ||
| It's just like, I'm fucking sick of being told to think a certain way. | ||
| Well, that's why comedy in Austin works so well. | ||
| Because we all moved here at the same time. | ||
| We all moved here in 2020. I was here because... | ||
| Well, Ron White moved here first. | ||
| And Ron White is a dear friend of mine. | ||
| And he moved here before the pandemic. | ||
| And Ron was like, I don't want to live in LA anymore. | ||
| I fucking love it here. | ||
| There's no traffic. | ||
| Fucking food's great. | ||
| Fucking people are nice. | ||
| I can travel. | ||
| I fly. | ||
| I'm in the center of the country. | ||
| I can fly anywhere real quick. | ||
|
unidentified
|
Right. | |
| And I was like, damn, could I live in Texas? | ||
| I'm like, I don't know about that. | ||
| And then COVID came, and my wife was kind of interested a little bit, but then when the riots started happening in LA, then she got really scared. | ||
| There was a lot of home invasions. | ||
| There was a lot of crazy shit that was happening. | ||
| Where is she from originally? | ||
| She was from Colorado. | ||
| Okay, so not an L.A. born. | ||
| No, no, no. | ||
| And so she lived in L.A. with me for a while, and we were happy. | ||
| You know, we lived in Bell Canyon, which was like outside of L.A. It's nice, peaceful, had a little land, coyotes and hawks and shit. | ||
| Yeah, well, for me it was okay, because I had quiet where I lived, and then I could drive into the comedy store. | ||
| And I loved it. | ||
| But then when they shut the comedy store down, they shut everything down, and I was like, baby, they're not gonna let us go back. | ||
| This is like, these fucking cocksuckers have control now, and that's what they like. | ||
| That's why they became politicians in the first place. | ||
| They like telling people they can't work. | ||
| They have a grip on society, and they're gonna fucking keep this grip. | ||
| We gotta get the fuck out of here. | ||
| So did you move sight unseen? | ||
| Did you move just... | ||
| Did you just come? | ||
| Did you find a place? | ||
| You came and you hung out for a while? | ||
| I came looking to see if I could deal with it. | ||
| We took a few days off and we flew to Austin with some friends who were also thinking about doing it. | ||
| None of them wound up moving here. | ||
| A couple of them moved to Dallas. | ||
| But we came here and then one of the things that helped, my daughters were 10 and 12 at the time. | ||
| They were really young, and they were real confused about what was going on in LA. It was spooky. | ||
| You know, you had to wear a mask everywhere, and that freaks kids out. | ||
| It was just freaky. | ||
| We came to Texas, no masks. | ||
| You go to restaurants, and we had this great real estate lady. | ||
| She's a good friend now. | ||
| We wanted to see this house, and she took us on a ride on a boat. | ||
| She had a friend to take us on the lake. | ||
| We go on the lake, people are playing Leonard Skinner, they're jumping in the water, they're laughing and singing. | ||
| And in LA, everybody's thinking the world's going to end. | ||
| There's demons in the air. | ||
| No, man. | ||
| I was in New Mexico and I was out on a 100,000 acre ranch. | ||
| Whoa. | ||
| Right? | ||
| And we were doing Outer Range. | ||
| We were doing the first season of our show and we were tested every morning. | ||
| And when I was out in the middle of nowhere, I mean with good 15 mile an hour winds, you'd have somebody come up. | ||
| If I put my mask down to talk, you'd have somebody go... | ||
| Yeah. | ||
| Yeah. | ||
| And I'd be like, we're in the middle of nowhere. | ||
| Also, it doesn't even work. | ||
| It doesn't work. | ||
| It's stupid. | ||
| I'm not even saying that I have a certain belief system or anything, but in that moment. | ||
|
unidentified
|
Provable. | |
| Yeah. | ||
| Provable that they don't work. | ||
| Provable. | ||
| Yeah. | ||
| And people lost their fucking minds. | ||
| And it was a stress test. | ||
| And so we came out here. | ||
| I bought a house, like, quick. | ||
| And I was here. | ||
| Is it still the same house you have now? | ||
|
unidentified
|
Yep. | |
| Really? | ||
| Yeah. | ||
| We looked at the house in May. | ||
| I was living in it in August. | ||
| And we were here. | ||
| And then my kids started going to school out here. | ||
| They loved it. | ||
| I loved it right away. | ||
| We were performing. | ||
| And then we were doing shows inside where everybody's like, this is crazy. | ||
| You guys are doing shows indoors? | ||
| Because Texas didn't give a fuck. | ||
| They're like, do shows. | ||
| Like a couple months after COVID, they're like, eh, open it up. | ||
| So what are the numbers of people who got COVID? You know, I've never had COVID. You never got it at all? | ||
|
unidentified
|
No. | |
| That's crazy. | ||
| I never got it. | ||
| I don't know if that's a blood type. | ||
| I don't know. | ||
| What is that? | ||
| Maybe you're healthy. | ||
| Maybe I have it right now. | ||
| I have a bit of a cold right now. | ||
| Maybe you have it. | ||
|
unidentified
|
Sorry, dude. | |
| The new COVID is a joke. | ||
| We used to test every day. | ||
| Because I wanted to be compliant. | ||
| I wanted people to feel safe. | ||
| People were flying out here to do podcasts. | ||
| I wanted to make sure they're not a dick. | ||
| And so we tested everybody before every show. | ||
| And one time I came in and I had the sniffles. | ||
| And I was like, maybe it's COVID. Maybe it's COVID. And the nurse was like, actually, you have COVID. I was like, no way. | ||
| I'm like, this is the new COVID? But I had it once and famously got in trouble for saying that I didn't get vaccinated, but I got healthy. | ||
| And it was the CNN attacks and all that shit. | ||
| And then the second time I got COVID, it was literally sniffles. | ||
| And it was gone in like a day or two. | ||
| So were the numbers different in Texas than anywhere else? | ||
| I don't know. | ||
| I'm curious. | ||
| The numbers are all like the real people that got sick are the people with comorbidities. | ||
| That was the real issue. | ||
| What it exposed is metabolic health. | ||
| And it's not that it didn't exist. | ||
| It did because I have a brother-in-law who was in New Orleans in the epicenter of it and it was the beginning of his residency and all that and he was like, oh bro. | ||
| Oh, it fucking existed. | ||
| I mean, it was fucking gnarly. | ||
| Yeah, if you're really unhealthy, COVID fucked you up. | ||
| Fucked you up. | ||
| If you're really fat in particular. | ||
| There was something about the way it reacted to fat people. | ||
| African Americans too, he said. | ||
| That's a vitamin D thing. | ||
| That's a vitamin D thing. | ||
| Yeah, well, you know, African Americans, the reason why they're so dark, the melanin is to protect them from the sun. | ||
| And melanin in white people, the reason why they're so pale is because it acts as like a fucking solar panel for vitamin D. It's a sponge. | ||
| The melanin actually protects them from the sun's damage, but it also makes it more difficult for them to get vitamin D. So my friend did his residency in New York and he said during the winter time we would do blood panels on people and they would have undetectable levels of vitamin D. And this is the reason why people get sick in the winter. | ||
| You're covering up. | ||
| You're indoors most of the time. | ||
| You're not getting any vitamin D. You're not getting any sun. | ||
| If you're not supplementing, and not just with vitamin D, by the way, you have to mix vitamin D with K2 and magnesium. | ||
| That's the most effective way for your body to process it. | ||
| If you're not doing that, your immune system is shit. | ||
| It's not that you're giving, you're not a living petri dish and you're giving each other the thing because you would do that in the summer too, but the minute you go outside and you get that vitamin D and you get that sun, it's burning it away. | ||
| Yeah, well you're out in the sun, you're healthier. | ||
| You're supposed to be outside. | ||
| We're not designed to be locked up in fucking cubicles and fluorescent lights all day. | ||
| It's not normal. | ||
| So it's not healthy. | ||
| And if you don't do something to mitigate that, to counteract that, your metabolic health is going to suffer. | ||
| If you're not fit, if you're not healthy, if you're overweight, if you're not eating well, if you're not taking vitamins, all those things are a huge factor that was completely ignored. | ||
| And the narrative was like, no, you need this novel injection that we haven't tested on anybody. | ||
| We're gonna fucking shoot it in every baby, every kid, every pregnant woman. | ||
| Did you ever take one? | ||
| No! | ||
| I almost did. | ||
| I didn't think it was a bad thing. | ||
| This whole pandemic is... | ||
| Through education and talking to doctors and also through my experiences, it completely changed my concept and my thought about the medical system. | ||
| When the vaccine was first available, I was more than willing to get it. | ||
| In fact, the UFC allocated like 150 vaccines for other employees, and we were doing these COVID shows where there was no audience. | ||
| So we would do it at the Apex in Vegas, where the UFC has their own small arena, and we'd have the fights there, and you'd go and get tested. | ||
| I'd get tested in Austin, I'd fly to Vegas, and then they'd test me again, and you weren't supposed to go anywhere, you just stayed in your hotel, and then you showed up and did the fights. | ||
| And then they got the allocations for the vaccine. | ||
| And I called up the doctor and I said, hey, I'm here for the fights. | ||
| Can I get vaccinated? | ||
| They said, sure, come on in. | ||
| And then when I got there, I called the doctor and said, actually, you have to go to the clinic. | ||
| We have to do it at the clinic. | ||
| Can you go on Monday? | ||
| And I said, I can't. | ||
| I have to go back to Austin, but I'll be back in two weeks for the next fights and we'll do it then. | ||
| He said, great. | ||
| In that two weeks, they pulled the vaccine because people were getting blood clots. | ||
| And then also during that two weeks, two people that I knew had strokes. | ||
| Like one guy was in his 50s and one guy was in his 40s. | ||
| Immediately following the vaccination? | ||
| Within days of the vaccine. | ||
|
unidentified
|
Within days. | |
| Gut strokes. | ||
| And I had a bunch of friends that had complications. | ||
| One friend who has a pacemaker. | ||
| I have a second friend now that has a pacemaker. | ||
| And there was all these things that just kept happening. | ||
| A pacemaker that they'll have for the rest of their lives? | ||
| I don't know. | ||
| It depends on whether or not your heart heals, like how bad the damage is. | ||
| But his heart would stop beating for like nine seconds at a time. | ||
|
unidentified
|
Wow, man. | |
| And he would just faint. | ||
| And he was falling down. | ||
| Right. | ||
| And, you know, Dr. Drew's talked about this, about he believes that's what happened to a lot of people that got boosted. | ||
| A lot of people like after the booster, like there's something that would happen where your heart would just stop beating for a while and you'd black out and it would start up again. | ||
| Because it wasn't proven. | ||
| It wasn't a proven thing. | ||
| But then again, how many of them are proven? | ||
| Because you said, what, 72, 73 shots? | ||
| Well, that's a different kind of vaccine. | ||
| No, but I understand that. | ||
| But there's still vaccines. | ||
| And you go, why so much more now? | ||
| Is there that much more disease? | ||
| It's money. | ||
| It's all based on money. | ||
| I mean, I'm not an anti-vaccine person, but I subscribe to Robert F. Kennedy's perspective. | ||
| They should all be tested. | ||
| They should be safety tested, and they're not. | ||
| But it comes down to this thing, like we were talking about working out. | ||
| It comes down to this thing where you go, listen, the medical community I can use for certain things. | ||
| The holistic community I can use for certain things. | ||
| Why do I have to deny one just to be full in on the other? | ||
| Right. | ||
| Exactly. | ||
| Well, it's just a narrative that they put out there that medicine and pharmaceutical drugs are the most important thing and everything else is bullshit. | ||
| Everybody should take Oxycontin. | ||
|
unidentified
|
Everybody should be on at least 10 Oxycontin a day. | |
| Yeah, help you feel better. | ||
| You'll feel better. | ||
| You're just like, oh, I feel better. | ||
| Yeah, you don't have to do anything. | ||
| You don't have to feel bad about it. | ||
| So when we came here, that was the thing. | ||
| Everybody who came here was kind of like, fuck this. | ||
| And then there were so many of us that Ron talked me into opening up a comedy club. | ||
| You opened your own. | ||
| Yeah. | ||
| Ron went on stage for the first time in months. | ||
| I think it was eight months. | ||
| And he grabbed me by the shoulders right after he got... | ||
| I mean, he fucking crushed. | ||
| He goes on stage with this giant standing ovation. | ||
| He crushes, and he comes off stage. | ||
| He grabs me by my shoulder. | ||
|
unidentified
|
He goes, whatever the fuck we have to do, we're gonna keep doing this. | |
| He goes, you gotta open up a club. | ||
| I go, okay, I'm gonna open up a club. | ||
| Yes, sir. | ||
| And then I just started looking at club spots. | ||
| How often do you do it? | ||
| Almost, I mean, every week. | ||
| Every week you're up there. | ||
| I went on last night three times. | ||
| I did three sets last night. | ||
| Wow. | ||
| Yeah. | ||
| Constantly working. | ||
| Do you know Robert Rodriguez? | ||
| The director? | ||
| Yeah. | ||
| No, I don't know him personally. | ||
| That surprises me. | ||
| That's who I'm doing. | ||
| I'm at the Paramount Theater tonight. | ||
| I love that guy. | ||
| Yeah, I love him. | ||
| I've known him for 30 years. | ||
| Oh, I'd love to meet him. | ||
| Yeah. | ||
| But no, I love his work, though. | ||
| Yeah, super good guy. | ||
| Yeah. | ||
| And he plays at Antoine's a lot. | ||
| Oh, yeah, Antoine's. | ||
| Antoine's. | ||
| Yeah, yeah, yeah. | ||
| Which is still there, right? | ||
| That's Gary Clark Jr.'s place. | ||
| Is it? | ||
| Yeah, it's my friend Gary. | ||
| I didn't know it. | ||
| So my wife knows Gary's wife really well. | ||
| Oh, my wife knows Gary's wife really well. | ||
| Oh, shit, dude. | ||
| I met somebody on the plane who sat next to me, so I flew from New York. | ||
| They sent a picture to my wife. | ||
| No! | ||
| Yes! | ||
| Yes! | ||
|
unidentified
|
Today! | |
| Wait, wait, wait, wait, wait. | ||
| Bentley? | ||
| I don't know the guy's name. | ||
| I don't know the guy. | ||
| No, no, no, no. | ||
| The guy that I met on the plane today, he said, what are you here doing? | ||
| I said, oh, I'm going to see Brogan this afternoon. | ||
| I'm doing Paramount Theater tonight. | ||
| And he said, oh, that's so funny. | ||
| And he didn't talk to me the whole flight. | ||
| And he said, my son Bentley went out with Rosie. | ||
| Yes. | ||
| For a year. | ||
| Yes. | ||
| That's what it is. | ||
| So he sent a photograph to my wife. | ||
| Because I took a photograph of him. | ||
| So I saw it today, right when I was leaving. | ||
| My wife shows me the photograph. | ||
| That's fucking funny. | ||
| It's crazy. | ||
| Small world. | ||
| Really small world. | ||
| Super, super small world. | ||
| Gary's wife and my wife are good friends. | ||
| I've never met Gary, but man, I love him. | ||
| He's the best. | ||
| That's another real artist. | ||
| That's an artist. | ||
| I mean, he's an artist. | ||
| Another true artist. | ||
| I was just with him. | ||
| I did his video. | ||
| I was asked to do a lot of videos and I've never done a video because I've never wanted to do a video. | ||
| The idea of doing video seems weird to me. | ||
| You're like, you know, singing somebody else's song or something like that. | ||
| But Chris Stapleton, who's been a friend for a long time. | ||
|
unidentified
|
Oh, I love that guy. | |
| So we were in Marfa together. | ||
| Has he? | ||
| Yeah. | ||
| I love that guy. | ||
| One of the greatest fucking guys. | ||
| He and Morgan. | ||
| One of the greatest people. | ||
| So yeah, we were together over the weekend in Marfa, Texas. | ||
| Oh, that's fucking cool. | ||
| Yeah, it was awesome. | ||
| And Gary's another guy that I knew back in L.A. I met Gary at the Comedy Store. | ||
| Doesn't he still live in L.A.? No, he lives here. | ||
| Oh, he does full-time? | ||
| Yep, and that's the same thing. | ||
| When I talk to Gary about it, I go, why'd you move to Texas? | ||
| And this was back when I was still living in L.A. He goes, man, fuck that. | ||
| Fuck that place. | ||
| Fuck everything about that place. | ||
| I don't like it. | ||
| I told you, we haven't moved to Austin. | ||
| I've spent a lot of time here. | ||
| I love it here. | ||
| My mom's from Corpus Christi. | ||
| I've spent a lot of time in Texas. | ||
| I'm going to eat Whataburger while I'm here. | ||
| But, you know, we moved to Santa Barbara recently, and it's one of those things. | ||
| It's just like, the thing about L.A. when you don't need, because you can do so many things remotely, and you go, why am I here? | ||
| Right. | ||
| Right. | ||
| Why am I here? | ||
| Like, I embraced this staunch thing of, I'm a Californian, and I loved going to New York and seeing how proud people were in New York. | ||
| And I'd go back to California, and I'd say... | ||
| I want to be the one proud person that's in California. | ||
| There was proud people in LA for a while. | ||
| There were, for a while. | ||
| We were all proud that we were LA comics. | ||
| Yeah. | ||
| LA comics were like a different thing than New York comics. | ||
| Right. | ||
| Because New York comics were all like for themselves. | ||
| They were all kind of shitty and backstabby. | ||
| And at the Comedy Store we had a real community. | ||
| And that's the best thing. | ||
| And what you've done is recreate it. | ||
| Even when I talk about a Chopper community, that's what it is. | ||
| It's a community that you can rely on, regardless of belief system or anything like that. | ||
| You go, but that guy has my back. | ||
| That guy will walk through fire for me. | ||
| That guy wants me to do well. | ||
| That's your people. | ||
| That's my people. | ||
| Yeah. | ||
| And that's the same thing with that. | ||
| All my people moved out here. | ||
| They moved out here with me. | ||
| So we had like 16 top shelf comedians move out here in the first two years. | ||
|
unidentified
|
Wow. | |
| That many? | ||
| There's so many clubs out here. | ||
| There's five clubs on the street where my clubs are. | ||
| That's crazy. | ||
| I bought the old Ritz Theater. | ||
| Yeah. | ||
| So that's the comedy mothership now. | ||
| And down the street there's a Sunset Club that my friend Brian owns. | ||
| And that's a club that's like five doors down from me. | ||
| So all these are new clubs that's happened in the last four years. | ||
| The Vulcan was already there. | ||
| That was the club that we started working at when we came here. | ||
| That's down the street from me. | ||
| That's only like a block away. | ||
| And then there's the Creek in the Cave, another comedy club that's only like two blocks away. | ||
| There's a bunch of them just on this one street. | ||
| What if I move here and open a club and just do monologues? | ||
| Do you think people will come? | ||
| Sure. | ||
| If it's good. | ||
| Ladies and gentlemen, this one's from Sicario. | ||
| If it's good, people would go. | ||
| They might. | ||
| Look, man. | ||
| You really have a passion or something. | ||
| This is the weird artsy city, which I love. | ||
| It's a great artsy city. | ||
| It is. | ||
| There's a lot of fake artists. | ||
| I know, but there is everywhere. | ||
| Yeah, there's a lot of posers. | ||
| But that's all people that just like the idea of them being the one who decides what's real and what's not real. | ||
| Just goofs. | ||
| You're always going to have that. | ||
| There's a lot of that. | ||
| They hated us when we came here. | ||
| But really what they didn't like is that you couldn't just fuck around anymore. | ||
| The real killers were here now. | ||
| The real... | ||
| Top shelf national headliners, guys like Tom Segura and Tim Dillon and these animals moved into town. | ||
| So this is like a new hub? | ||
| Oh, it's the hub of the world for comedy. | ||
| The Comedy Mothership is the hub of comedy in the world. | ||
| That's wild. | ||
| I didn't know that. | ||
| It just opened two years ago. | ||
| That's cool. | ||
| It's packed every night. | ||
| It's awesome. | ||
| Dave came down opening week. | ||
| It was incredible and no one knew he was there. | ||
| So I did a set, and then after I did a set, I introduced him, and everybody just went fucking apeshit. | ||
| And we were like, it's up. | ||
| Like, the club's rolling now. | ||
| Now it's really happening. | ||
| And then all these people were coming in from all over the country. | ||
| A bunch of people moved here and there's people moving here constantly. | ||
| Shane Gillis moved here and all these guys moved here. | ||
| So it's still happening. | ||
| Oh yeah, it's still growing. | ||
| We're talking about opening up another club because we're so packed every night and we have so many comics. | ||
| We almost have too many comics and not enough room. | ||
| Has the place grown a lot in the last four years? | ||
| A city? | ||
| Yeah, but do you see a gentrification of it or just like things that you got? | ||
|
unidentified
|
No. | |
| You see a lot of tech bros have moved here because, you know, Google moved here and Facebook and Tesla. | ||
| I remember when Jesse James moved here, which was a while ago. | ||
| He moved here a long time ago, right? | ||
| A long time ago. | ||
| Yeah. | ||
| I remember when he moved from Long Beach. | ||
| Yeah. | ||
| And he called me and he was like, it's fucking great. | ||
| It's fucking great. | ||
| It's better. | ||
| I just never will live in a place that has traffic ever again. | ||
| I'll never live in a big city. | ||
| Austin's like a million people. | ||
| There's a million on the outside and a million in the city. | ||
| It's nothing. | ||
| It's easy. | ||
| It's easy to get around. | ||
| People are friendly. | ||
| They're just like real people. | ||
| There's no one here that's like connected to that machine that forced compliance. | ||
| Why do you think that feeds into your art? | ||
| To me, being in LA, when everybody's talking about what's your status right now? | ||
| The thing about here is, all people care about is, are you killing? | ||
| Are you going on stage and fucking killing? | ||
| Are you doing your best work? | ||
| Are you doing it? | ||
| Period. | ||
| Are you doing your best work? | ||
| Do you care? | ||
| Do you give a shit? | ||
|
unidentified
|
Yes, do you really care? | |
| Are you really working on it? | ||
| Are you just another affectation? | ||
| And if you're at that club, you have to be working on it because there's too many people that are working on it. | ||
| You can't just be lazy. | ||
| You won't survive. | ||
| There's too many killers. | ||
| I want to go to this club. | ||
| Anytime. | ||
| Go tonight. | ||
| Cool. | ||
| If you want to come tonight. | ||
| Well, I got this thing to do tonight. | ||
| When's your thing? | ||
| What time is it? | ||
| I don't know. | ||
| 8? | ||
| 7? | ||
| We have a 7 o'clock show and a 10 o'clock show. | ||
| Really? | ||
| Maybe I'll come afterwards. | ||
| Come after. | ||
| Come hang out. | ||
| Jelly Roll was there last night. | ||
| Really? | ||
| Was he really? | ||
| Yeah, yeah, yeah. | ||
| That's cool. | ||
| Jelly Roll's the man. | ||
| He's here all the time. | ||
| He's always hanging out here. | ||
| Do you have my book? | ||
| I do not. | ||
| You don't? | ||
| No, I do not. | ||
| No one sent it to me. | ||
| If they did, they probably went to a publicist or someone. | ||
| I was going to bring a book for you. | ||
| I'll buy it. | ||
| Josh Bowen. | ||
| From under the truck. | ||
| Why from under the truck? | ||
| What do you think? | ||
| Because that's where you were drunk, passed out? | ||
| That's where my mom's boyfriend was drunk and passed out. | ||
| But it has this, to me, I chose it because it has a double entendre that when you're under a truck, you're either fixing it or getting run over by it. | ||
| Hence my life. | ||
| I'm either getting run over by it or fixing it. | ||
| How did you sort it out? | ||
| Because you're so together now. | ||
| Am I? Yeah, I think you are. | ||
| Thank you. | ||
| You're fun. | ||
| Thanks, man. | ||
| Fun people are together. | ||
| If you can be fun, you're together. | ||
| I think I'm at that place. | ||
| I found a place that you have always been at that I didn't have. | ||
| I had the opposite. | ||
| Where you go, no, I didn't do cocaine because... | ||
| And forget the drugs. | ||
| It's the mentality. | ||
| I didn't do cocaine because it would kill me. | ||
| And I would go, oh, that stuff will kill you. | ||
| Yeah. | ||
| Let's just walk that line. | ||
| I always wanted to walk that line. | ||
| And I had a mother that walked that line. | ||
| The book is very mother-heavy. | ||
| Very, very mother-heavy. | ||
| And it wasn't intended to be. | ||
| It just turned out that... | ||
| That's why I wanted to... | ||
| Fuck, I wish I had a book. | ||
| No worries. | ||
| I wanted to read you... | ||
| A section of the LSD, 13-year-old LSD thing. | ||
| Because it's fun. | ||
| Yeah, it's juicy. | ||
| Yeah. | ||
| You like juicy stuff. | ||
| I do. | ||
| And I want to read you juicy stuff. | ||
| 13 LSD is so wild. | ||
| That's such a crazy, mind-blowing experience for a 13-year-old to have. | ||
| Yeah. | ||
| Can you imagine? | ||
| Because you look at... | ||
| I mean, I had kids when I had my first kid. | ||
| I was 20 years old. | ||
| And I was looking at 14 years in prison. | ||
| Oh my god. | ||
| Yeah. | ||
| Jesus Christ. | ||
| So that's why I missed my shot out there. | ||
| I was surprised. | ||
| It's Johnny Cash. | ||
| We'll get it. | ||
|
unidentified
|
There's Brolin. | |
| We're going to order it. | ||
| Find Josh Brolin's. | ||
| Oh yeah, see if it's in there. | ||
| I think there's a couple. | ||
| Get a big mental print of it. | ||
| Not that I'm proud of it. | ||
| Well, it's part of your life and it's why you're you today because you've gone through shitty experiences. | ||
| Yeah, but I don't know if they're shitty. | ||
| I haven't decided whether they're shitty or whether they're necessary for this person to get to this place. | ||
| And not everybody gets to that place. | ||
| So we're talking about all these people like Hunter S. Thompson. | ||
| Hunter S. Thompson is my mother, man. | ||
| Just that she wasn't a good writer. | ||
| But everything that you, the song, that was my mom. | ||
| My mom had a loaded 9mm at her bedside table all the time. | ||
| She was part of the, what was the scam that went on in the 80s? | ||
| The Pyramid Scam. | ||
| Remember that? | ||
| She was one of the top five winners of the Pyramid Scam. | ||
| She could talk anybody into anything. | ||
| So she would come home literally, man, with bags, with grocery bags full of cash. | ||
|
unidentified
|
Wow. | |
| And she'd dump it out and she'd say, count. | ||
| Jesus. | ||
| So I would sit there and count. | ||
| Wow. | ||
| You know what I mean? | ||
| And she'd put them and I finally found... | ||
| I think she had hidden some in her dresser and there was like a loose board that she took away and put money in there and I found it and bought some drums. | ||
| When my grandmother died we found stuff like that in her house because my grandmother went through the depression. | ||
| Oh yeah. | ||
| That mentality. | ||
| They all like stockpiled money so she had coffee cans filled with money that she had like tucked away in like different areas of the house that we found after she died. | ||
|
unidentified
|
Right, right. | |
| It's kind of great. | ||
|
unidentified
|
Yeah. | |
| The mentality of like Yeah, well, the mentality that you grow up or you literally might starve to death. | ||
| There's no food. | ||
| There's no way that can affect you and that's the whole point. | ||
| No way. | ||
| There's no way that somebody can have that mentality of every cent means something. | ||
| Right. | ||
| And we have to hide it unless somebody else takes it or whatever. | ||
| With my mother, it was always looking for the most vivid experience and I don't know why that was. | ||
| Her parents weren't like that. | ||
| It's just how she was. | ||
| And then you either have my brother. | ||
| I don't know if you have siblings or not, but my brother dealt with it totally different. | ||
| My brother imploded. | ||
| So he lives his life as simply as you can possibly live it. | ||
| Whereas me, my reaction was... | ||
| The other way. | ||
| Yeah. | ||
| So how now and why? | ||
| I don't know. | ||
| I don't know. | ||
| 45 years old. | ||
| It feels like a good age to go, okay, do I want to go Nick Nolte? | ||
| Right, right, right, right. | ||
| And I can do that. | ||
| Easy. | ||
| Nick used to date Vicki Lewis, who was on news radio with me. | ||
| No way! | ||
| I didn't know that. | ||
| Yeah. | ||
| I remember Vicki well. | ||
| Super talented. | ||
| Super talented. | ||
| Yeah, could sing, could act. | ||
| She was a firebrand. | ||
| Yeah. | ||
| And Nick, we used to hang around the set, and it was always so weird to me to be talking to Nick Nolte. | ||
| It was so strange. | ||
|
unidentified
|
Yeah. | |
| And I'm like, I'm mad. | ||
| I remember one time I went to Fry's Electronics because I used to make my own computers because I was really into computer games. | ||
| So I'd build my own computers. | ||
| And so I'm there looking at motherships and I see this fucking old guy with his glasses on and I go, I go, Nick. | ||
| He goes, oh, hey, Joe. | ||
| How are you, man? | ||
| Do you know anything about these things? | ||
| I was talking to him about computer stuff, but I just couldn't believe he knows my name. | ||
| He remembered me. | ||
| He saved my life, man. | ||
| He saved my life at 25. Bro, there's a terrible movie called Warrior. | ||
| It's a terrible movie. | ||
| Terrible movie. | ||
| You mean the UFC movie with Tom Hardy? | ||
| That movie sucks. | ||
| But he's fucking incredible in it. | ||
| He's amazing. | ||
| His one scene, this one scene when he breaks down, you know, he's the dad. | ||
| It's so fucking good. | ||
|
unidentified
|
I know it well. | |
| It's so good. | ||
| That one scene is worth sitting through the entire preposterous movie. | ||
| Yeah. | ||
| Why do you hate that movie so much? | ||
| Because it's fake. | ||
| You can't fight like two days in a row. | ||
| Wasn't the Tyson-Jake fight, wasn't that amazing? | ||
|
unidentified
|
Yeah. | |
| It's amazing they got paid so much money for that. | ||
| 25 million and 40 million? | ||
| I think 20 and 40. Yeah, I think that's what I'd heard. | ||
| You know, which I'm happy Mike got the money. | ||
| And I'm happy that he didn't get hurt. | ||
| That was my fear that it was going to be a real fight and he was going to get hurt. | ||
| You've known him for a long time. | ||
| I've known him for a long time. | ||
| I love that dude. | ||
| Me too. | ||
| And he was a larger-than-life figure in my childhood. | ||
| Truly, me too. | ||
| When I was a kid, when he was the champ, it was like, people don't understand what a champ he was. | ||
| He wasn't just the heavyweight champ of the world. | ||
| He was an executioner. | ||
| Every fight was just a matter of how long was it going to last. | ||
| I don't remember which fight it was that I went to go see a couple of fights. | ||
| And I actually went to go see Julio Cesar Chavez fight. | ||
| And that's when I met Tyson in the green room. | ||
| And I met, at the same time, Muhammad Ali in the green room. | ||
| Oh, wow. | ||
| That was a moment. | ||
|
unidentified
|
Wow. | |
| As a boxing fan, that was a real moment. | ||
| But I remember, and I don't know who it was, and I think it was a 90-second fight, and I went to go see this fight, and Tyson was fighting, and this guy was doing this stuff. | ||
| And he had built himself into confidence. | ||
| And Mike came out afterwards. | ||
| He was the first one, obviously. | ||
| And Mike came out afterwards. | ||
| And I watched his face. | ||
| I didn't watch Mike. | ||
| You would normally watch Mike because he's so charismatic and he's coming. | ||
| You want to see what he's going to do. | ||
| And I watched the guy's face. | ||
| And I watched that confidence bleed from his face instantaneously. | ||
| He had absolutely lost the fight long before Mike had ever gotten in the ring. | ||
| Yeah, I maintain that in a time where he was champion, like the two or three years where he was at his best, he's the greatest fighter of all time. | ||
| Of all time. | ||
| Of all time. | ||
| That's why it was so interesting to me as I was watching it, and I'm very verbal when it comes to that shit. | ||
| Come on! | ||
| What the fuck? | ||
| You know what I mean? | ||
| And he was, he's still quick. | ||
| Oh yeah. | ||
| He's still quick. | ||
| He's still very quick. | ||
| And he would do these things. | ||
| But you know, Mike had, like, he was walking with a cane just like a year and a half ago. | ||
| Yeah, but he was really out of shape. | ||
| He had bad sciatica. | ||
| Bad sciatica. | ||
| Yeah. | ||
| I didn't know that. | ||
| Yeah, real bad. | ||
| It wasn't that long ago that he was, you know, I mean, when I first met him, he was very, very heavy. | ||
| He was not working out at all. | ||
| And I asked him, how come you don't work out? | ||
|
unidentified
|
He goes, I don't want to ignite my ego. | |
| He goes, I don't want to ignite the gods of war. | ||
| The gods of war. | ||
| And then the second time he came in was when he was preparing for the Roy Jones Jr. fight. | ||
| He came in here? | ||
| Yeah. | ||
| And he was a totally different human being. | ||
| He was fucking jacked and in shape and he looked super intense. | ||
| And he was just like ready to go. | ||
| And it was terrifying. | ||
| It was like... | ||
| Jamie... | ||
| Wait, when was this? | ||
| A few years ago. | ||
| Four years ago? | ||
| four years ago and so when he came in the second time i was like this is jamie said it afterwards he's like that's a totally different human being than the first time we saw him he was one of the first guys like like i said with nick nolte he was like is that really nick nolte this is crazy i can't believe he's right there mike tyson is one of the first people that i met though | ||
| i can't believe he's really here because just like he was so iconic like you had to be alive and be a kid during the time where he was the champion to understand what he was because there was after muhammad ali larry holmes was a great fighter but no one liked him because he beat up muhammad ali so people always just wanted him to lose yeah but is that the only reason Yes. | ||
| Yes, but Larry Holmes never got his due. | ||
| He was an amazing fighter. | ||
| Amazing fighter, but still. | ||
| But when he retired, then there was just like a series of boring champions. | ||
| No one cared about the heavyweight division at all. | ||
| No one cared. | ||
| And then the cover of Sports Illustrated. | ||
| I have it framed in my office at home. | ||
| It said Kid Dynamite on it. | ||
| And he was 19 years old. | ||
| And I was like, who is this guy? | ||
| And then I started watching him fight. | ||
| And then he was fighting on like ABC Wide World of Sports. | ||
| You're like, Jesus Christ! | ||
| Do you find yourself going back and watching highlights just to do it? | ||
|
unidentified
|
Oh, yeah. | |
| I do it all the time. | ||
| I watch Tyson fights all the time. | ||
| Yeah. | ||
| Yeah, I just watched this fight with Frank Bruno just a couple of days ago. | ||
| Frank Bruno. | ||
| Oh my god. | ||
| Tyson was something... | ||
| I just don't think you can maintain that. | ||
| You can only do that for a few years. | ||
| The only fights that never worked out... | ||
| Do you remember the fight with him and Bone Crusher Smith? | ||
| Oh yeah. | ||
| Not a great fight. | ||
| No, it wasn't the best fight. | ||
| Because Bone Crusher Smith was not a great fighter. | ||
| Well, he was a good fighter. | ||
| But not a great fighter. | ||
| Tough guy. | ||
| But, you know, brutal knockout puncher. | ||
| It just wasn't at Mike's level. | ||
| Mike was at a level that no one was at. | ||
| It was an insane combination of discipline, talent, incredible coaching, psychology. | ||
| You know, when he was 13 years old, he was adopted by a guy who was a hypnotist. | ||
| Cuss used to hypnotize him. | ||
| Oh, I didn't know that. | ||
| Yeah, he hypnotized him by the time he was 13. Into being the greatest fighter? | ||
| Into being the greatest fighter. | ||
| Wow. | ||
| And he told him, you don't exist. | ||
| Only the task exists. | ||
| And the task was just destruction. | ||
| Did Mike tell you that? | ||
| Yeah. | ||
| I've never heard him say that. | ||
| Did he say that to other people? | ||
| Oh yeah, he said it publicly. | ||
|
unidentified
|
I've never said it. | |
| Yeah, he talked about the hypnosis. | ||
| He started doing it when he was 13 years old. | ||
| So what's the parallel between, and this is the last thing I'll interview you about, what's the thing between Tyson and Jon Jones, who I met once and I looked at him when I met him on a plane, and he didn't give me really the time of day, but I was like, I'm a huge fan, and I don't say that often to a lot of people. | ||
| He probably gets out all day long. | ||
| I'm sure he does, man. | ||
| There's no doubt. | ||
| Special fighter. | ||
| It's conquerors. | ||
| That's what it is. | ||
| They're both conquerors. | ||
| I had this thing that I put up on my Instagram the other day that somebody made. | ||
| It was me talking about trying to explain why John exists. | ||
| That there's people that are just different. | ||
| They're wired different. | ||
| And they... | ||
| They are uncommon amongst uncommon men. | ||
| They rise to the top of the top and they just dominate. | ||
| They just dominate. | ||
| And that's John. | ||
| He's just the greatest of all time. | ||
| It's exciting to watch. | ||
| He's 37 years old and he's still the greatest. | ||
| That's crazy. | ||
| Watching that fight, watching Tyson or Jake Paul or whatever, Jake Paul, I wouldn't even want to say Tyson, and then going the next day and watching that fight. | ||
| Watching those fights. | ||
| It wasn't the only fight. | ||
| The one before was... | ||
| What was his name? | ||
| The fight before Jon Jones. | ||
| Oh, Charles Oliveira and Michael Chandler. | ||
| Oliveira. | ||
| Incredible fight. | ||
| Incredible fight. | ||
| Amazing fight. | ||
| Yeah. | ||
| Yeah, Jon is a special dude. | ||
| When he's gone, we're all gonna miss him. | ||
| He's a different kind of guy. | ||
| I mean, he's been at the top for 14 fucking years. | ||
|
unidentified
|
Fucking years. | |
| He won the title as the youngest guy to ever win a UFC title. | ||
| 23. 23. And Mike was the youngest heavyweight champion of all time at 20, which is really crazy. | ||
| Crazy. | ||
| But when Jon Jones won that title at 23, it's just been destruction of everyone ever since. | ||
| Never ducked anybody, fought all the best, destroyed everybody, dominated his division, went up to heavyweight, dominates at heavyweight. | ||
| So why does somebody like that self-destruct? | ||
| Is that a self-destruction? | ||
| Because he's a wild motherfucker. | ||
| That's how you get to be that good. | ||
| Isn't that what we're talking about the whole time? | ||
| Whether it's Hunter S. Thompson and this, and how you walk that line. | ||
| Mike Tyson spending whatever, $350, $400 million, going to jail, whatever that is. | ||
| Wild. | ||
| But that's also what makes you so good, that wildness. | ||
| Jon Jones, when he fought Mauricio Shogun Hua for the light heavyweight title when he was 23 years old, he opens up the fight with a flying knee. | ||
| Nobody does that. | ||
| You're fighting a legend. | ||
| Shogun, at that time, when he was the light heavyweight champion, he was a legend. | ||
| And not just a legend from the UFC, but a legend from Pride. | ||
| Pride was this gigantic organization in Japan that Shogun really became famous. | ||
| So he was like a mythical creature almost in MMA circles. | ||
| That was Shogun Hua. | ||
| He was a beast. | ||
| Conor McGregor and Jon Jones. | ||
| John's in a different category. | ||
| It's a different thing. | ||
| Yeah. | ||
| Conor self-destructed, you know, in a lot of ways because of money. | ||
| You know, I mean, he took that fight with Floyd Mayweather, made a ton of money off that, and then took a long time before he came back to MMA, and it's just not been the same guy since. | ||
| And I think that's just... | ||
| It's money. | ||
| It's a lot of partying. | ||
| But it's the same kind of thing. | ||
| It's just a wild... | ||
| But in his prime, when Connor was in his prime, he was a fucking assassin. | ||
| Fucking amazing. | ||
| He was a fucking assassin. | ||
| But it's that thing, that through line of not being able to let go. | ||
| It's like what you were talking about, Chappelle. | ||
| Chappelle leaves for 10 years, but then he goes to the park and he does a thing. | ||
| There's a thing that's insatiable, that warrior mentality. | ||
| Yeah, but there's a difference because physically you can only fight for so long. | ||
| Yeah, that's true. | ||
| Comedy, you get better every year. | ||
| Dave's better now than he was a year ago. | ||
| He'd be better two years from now than he is now. | ||
| You can still be Rodney Dangerfield eventually. | ||
| Rodney Dangerfield, when I saw him, he was probably 70 years old and he was murdering in his fucking bathrobe, naked. | ||
| With his schlong hanging out. | ||
| Yeah, he was still amazing because it's not a physical thing. | ||
| Your body can only compete at the highest levels for so long, which is one of the things that's so extraordinary about John. | ||
| Because he's 37 and he still competes at the highest level. | ||
| It blew my mind the other night. | ||
| It was exciting. | ||
| It was nice to be excited about something. | ||
| Steve Bay's past is prime, unfortunately, and he's got a lot of wear on the tires, and it was kind of rough watching him get beat up like that. | ||
| But that's the game they play. | ||
| That's the sport. | ||
| Yeah. | ||
| And what's great about UFC that I never thought would last in the beginning, the great thing is anything can happen. | ||
| Anything can happen. | ||
|
unidentified
|
At any time. | |
| Yeah. | ||
| Frank Fertitta and Lorenzo Fertitta always said that every fight, every UFC, we sell holy shit moments. | ||
| That's what he said. | ||
|
unidentified
|
That's it. | |
| Like there's moments in the fight where you're like, holy shit. | ||
| You look around at each other and everybody like- Dude, nobody does it better than you when you do this. | ||
| You go back and you're thinking, you go, oh! | ||
|
unidentified
|
Oh! | |
| And your eyes are this big. | ||
| We always did that, but then they started putting cameras on us. | ||
| Right. | ||
| And I don't know why, when they started doing that. | ||
| You and Cormier? | ||
| Yeah. | ||
| We always did that. | ||
| Every time something would happen, we would throw our- Because it's organic. | ||
|
unidentified
|
Yes. | |
| It's like, you can't help it. | ||
| That's what I'm doing at home. | ||
| Yeah. | ||
| Yeah. | ||
| Holy shit. | ||
| Yeah, holy shit. | ||
| Holy shit. | ||
| Yeah, there's moments where you just like, you can't believe it's really happening. | ||
| Yeah. | ||
| That's the sport. | ||
| The sport is, it's the craziest sport. | ||
| It's the highest consequences of any sport. | ||
| It's just, it's so raw and dangerous and you can't look away. | ||
| It's so crazy. | ||
| And when someone can dominate it, like John Jones or George St. Pierre or Mighty Mouse or any of the greats. | ||
| George St. Pierre, another great one. | ||
| Great! | ||
| When they can do that, it's like, that's a different kind of human being. | ||
| I mean, to be the best of the best people, the best people in the world at fighting, and that he's the best of the best people. | ||
| And when George was in his prime, it was that same sort of thing. | ||
| You would see him standing there, like, this intense look in his eyes, just couldn't wait to get his fucking hands on that guy. | ||
| You're like, God damn! | ||
| I feel very, very, very, very fortunate that I've been able to witness personally so many of those moments and be there to watch greatness so many times. | ||
| I think it's great that you've continued. | ||
| It's surprising to me. | ||
| I love it. | ||
| I know you do, and that's why you continue to do it. | ||
| Well, I did the first, like, 13 of them for free. | ||
| First 13 ever? | ||
| Yeah, the first thing I did. | ||
| No, it was like UFC 37. Oh, when you got into it. | ||
| I started working at UFC 12. UFC 12 was the first event that I did in 1997. I was the post-fight interview guy. | ||
| And so I did that for a couple of years. | ||
| It was banned from cable. | ||
| That's why I said it kind of went like this and then it was going down. | ||
| Boxing did it to them. | ||
| Boxing in cahoots with Budweiser, which is funny because now Bud White sponsors the UFC. But they all wanted the MMA thing to go away because it was so exciting and crazy. | ||
| They thought of it as a threat. | ||
| And they essentially banished it. | ||
| It also just had this unsavory look to it. | ||
| You're fighting in a cage. | ||
| Back in those days it was bare knuckle. | ||
| It was bloody. | ||
| They would call it human cockfighting, which I always found disgusting. | ||
| But me, as a martial artist, the question was always, what would happen if you got a judo guy and he fought a wrestler? | ||
| What would happen if you got a boxer and you fought a karate guy? | ||
| And the UFC was like, let's find out. | ||
| You know, so Horry and Gracie came up with this concept. | ||
| That's what I was going to say. | ||
| Gracie was one of the first judo versus jujitsu, right? | ||
| Well, Hoyce, you know, Hoyce was the first champion of the UFC. And he was the first guy to introduce that, like, technique is more important than everything. | ||
| Technique is more important than being big, more important than being strong. | ||
| Because Hoist was like 175 pounds. | ||
| He was very slight and long and just a jiu-jitsu wizard. | ||
| And he would get guys on the ground and strangle the fuck out of him. | ||
| And we were like, what happened? | ||
| This is crazy. | ||
| That's another holy shit moment. | ||
| The big jack guy's tapping. | ||
| You're like, what?! | ||
| What happened? | ||
| And Hoist just opened up the world to Brazilian Jiu Jitsu and it made Brazilian Jiu Jitsu like the most popular martial art on earth. | ||
| Like his appearances in the UFC changed the entire course of martial arts. | ||
| His family, the Gracie family, particularly his father Elio, his brother Hickson, his brother Hoyler, and Horian of course because he created the UFC, they changed martial arts forever. | ||
| That more development and evolution of martial arts has taken place over the last 30 years than over the last 30,000 years. | ||
| Wow. | ||
| Yeah. | ||
| Really, that's accurate. | ||
| Fighting is different. | ||
| People really understand what works and what doesn't work now. | ||
| And watching him was balletic. | ||
| It was like a ballet. | ||
| Yes. | ||
| It was art. | ||
| It was art. | ||
| It's real martial arts. | ||
| No. | ||
| It wasn't that. | ||
| His dad told him, don't hurt these people. | ||
|
unidentified
|
Hmm. | |
| Don't hurt them. | ||
| You don't have to hurt them. | ||
| Show them the art. | ||
| Just submit them. | ||
| Show them the art, yeah. | ||
| So Hoist, when he got on top of people, he wasn't elbowing them, the eyeballs. | ||
| He was just strangling folks. | ||
| Just arm barring folks. | ||
| Making them tap. | ||
| Making them quit. | ||
|
unidentified
|
That's wild. | |
| And he did it to everybody. | ||
| And they were all like, what the fuck just happened? | ||
| And then everybody had to learn Jiu Jitsu. | ||
| It changed martial arts forever. | ||
| Do your kids do jiu-jitsu? | ||
| Yeah, my kids have done it. | ||
| Have done it? | ||
| Yeah, they don't do it anymore. | ||
| They do other stuff. | ||
| I don't push them. | ||
| If they wanted to do it tomorrow, they said, I'm thinking about doing some kickboxing. | ||
| Let's go. | ||
| Where do you want to go? | ||
| But I don't believe in... | ||
| Everybody's different. | ||
| I don't want them to... | ||
| Follow my footsteps or anything stupid like that. | ||
| I want you to be your own human being. | ||
| What are you interested in? | ||
| They're both interested in different things. | ||
| My youngest is an artist. | ||
| My other one is a phenomenal athlete. | ||
| It's like, I think that you should do what you want to do. | ||
| And if you want to do that, I'll bring you. | ||
| I'll show you. | ||
| I'll teach you. | ||
| I'll help you. | ||
| But if you don't want to do that, I don't want to push you. | ||
| Let me be a good parent and celebrate what my kid is, not what I want. | ||
| There's so many different kinds of things you could be interested in life. | ||
| And everyone has a different psychology, so everyone has different things they gravitate towards. | ||
| It's just like, what is the thing? | ||
| Is it music? | ||
| Is it art? | ||
| Is it your writing? | ||
| What do you like to do? | ||
| Find that thing, chase it down. | ||
| How many kids do you have? | ||
| I have three. | ||
| I have a grown, she's 28, and I have a 16 and a 14. I feel like you've got to do what compels you, what drives you. | ||
| And part of it as a parent is, like, there's so many stories of parents, particularly with, like, talented athletes, that were too hard on the kid and put too much discipline on the kid, and the kid's burned out. | ||
| I've seen so many cases of that, you know, with these sideline parents. | ||
| That Russian mentality or that Asian mentality. | ||
| Not here, but there. | ||
| He killed the joy. | ||
| You know what Horace Gracie's dad used to do? | ||
| If he lost a competition, he would buy him a present. | ||
| Because? | ||
| What was the psychology? | ||
| Because they're always going to want to win. | ||
| Meaning the effort? | ||
| He bought the effort? | ||
| He bought the present for the effort? | ||
|
unidentified
|
No, no. | |
| It's like, it doesn't matter. | ||
| It doesn't matter. | ||
| Like, here, you have a toy. | ||
| Here's a gift. | ||
| Here's a thing. | ||
| Like, this is just growth. | ||
| This is just development. | ||
| Hoyce's dad, Elio, felt like you live the same life over and over and over again until you get it right. | ||
| He subscribed to that ancient Eastern philosophy of reincarnation. | ||
| He really believed you will live the same life over and over until you get it right. | ||
| And so his philosophy is do 1% better a day. | ||
| Just do 1%. | ||
| It's not about going from here to here. | ||
| It's not living at 100% all the time. | ||
| It's the process. | ||
| It's the process. | ||
| It's the constant process of growth. | ||
| And through that constant process, I mean, what they did was even more crazy because Ilio, along with Carlos Gracie, they revolutionized a martial art. | ||
| Jiu-jitsu is brought over by these judokas from Japan, Maeda and Kimura, who came over to Brazil and trained with the Gracies. | ||
| And then they took those techniques and made them applicable to smaller people. | ||
| Because Ilio was only 145 pounds. | ||
| But he would have these no-rules fights in Brazil. | ||
| These fucking huge fights that would go for like an hour and a half. | ||
| Wow. | ||
| Yeah. | ||
| And he would just beat these guys with technique. | ||
| So they developed leverage. | ||
| They figured out a way to highlight the submissions and make things super technical. | ||
| And they would analyze moves and break them down. | ||
| And it became the philosophy of the entire family. | ||
| That one family created more fucking assassins than any other family in the history of martial arts. | ||
| And yet they're the nicest people. | ||
| The nicest people. | ||
| Yeah. | ||
| Yeah, I had Hoisin here a couple months ago. | ||
| He was awesome. | ||
| He's so fun. | ||
| Do you know Ceci? | ||
| No. | ||
| She's with Laird a lot. | ||
| She's with Laird's place a lot. | ||
| I mean, they have a clan, bro. | ||
| It's a clan, but it's a close clan. | ||
| Yes. | ||
| And it's a friendly, familial clan. | ||
| Yep. | ||
| Yeah, they're very nice people. | ||
| But that's the thing about jiu-jitsu. | ||
| It's like you get out all your aggression in the gym and it kills your ego. | ||
| And you can go be kind. | ||
| You can just be a nice person. | ||
| Be a nice person. | ||
| Jiu-jitsu people are some of the nicest people I've ever met. | ||
| Me too. | ||
| They're super friendly and warm and normal people. | ||
| They just are obsessed with this one thing. | ||
| Yeah. | ||
| And through that thing, it's like a vehicle for developing your human potential because it's so difficult. | ||
| Mm-hmm. | ||
| And when you do a difficult thing, it makes the rest of life a lot easier. | ||
| Because there's no way whatever you're experiencing during the day is going to be as difficult as someone on your back trying to strangle the blood out of your brain. | ||
| Like literally trying to fucking choke the blood out of your head. | ||
| There's no way. | ||
| There's no way life could be harder than that. | ||
| But that's the thing is the wildness. | ||
| You have to have something. | ||
| To be a champion. | ||
| To be a champion or to be a good person, I think. | ||
| You have wildness, which we've talked about throughout this whole thing. | ||
| If you don't have wildness, you're going to be boring. | ||
| Which if you bring it back, honestly, because I have to bring it back to the book, that's what the book is about. | ||
| Yeah. | ||
| Wildness unmitigated. | ||
| Right, but you eventually figured out a way to get a grip on it. | ||
| That eventually turns out on you. | ||
|
unidentified
|
Yeah. | |
| No, but most people, it turns around and it bites you in the ass. | ||
| And it's a sad ending. | ||
| Most people. | ||
| But I think those sad endings are a valuable lesson for the other people. | ||
| Power of example. | ||
| Yeah. | ||
| One of the reasons why I never did coke is when I was in high school, my friend's cousin became a coke head. | ||
| He was a coke dealer and became a coke head. | ||
| And him and his girlfriend would just do coke and hide. | ||
| They had an attic apartment. | ||
| They were in this fucking apartment and were just doing coke and selling coke and watching TV. And he like withered away. | ||
| He lost all this weight. | ||
| Like he got bit by a vampire. | ||
| Yeah. | ||
| And I remember thinking, Jesus Christ, stay the fuck away from Coke. | ||
|
unidentified
|
It was terrifying. | |
| Why would you want to do that? | ||
| What would be attractive about that? | ||
| Nothing. | ||
| I guess it's the – I mean, you've done it. | ||
| I haven't done it. | ||
| I guess it's the euphoria when you get that hit, that feeling, that feeling of elevation, that feeling of like you just know fear and you feel excited. | ||
| You want to start a business with people and – You got plans. | ||
| We're going to fucking take over. | ||
| I just love, like in the description of it, the eyes kind of get like this and the craziness. | ||
| And you go, yeah, it's bad for everybody else. | ||
| It may be good for you for like 15 minutes, but everybody else is fucking miserable around you. | ||
| The worst thing to me was when I would be high, like smoking weed, and I'd be like just chilled and silly, and I'd run into a coke head. | ||
| And you're like, oh no! | ||
| He's trying to talk to you like this? | ||
| You just get battered with, like, talk. | ||
| I gotta get out of here! | ||
| It's disgusting to me. | ||
| Yeah, it's a weird drug. | ||
| It's a weird drug, but it's obviously very popular. | ||
| Yeah. | ||
| And causes a lot of problems. | ||
| Yeah, no thanks anymore. | ||
| Yeah. | ||
| No thanks. | ||
| I'm good. | ||
| Not interested in that one. | ||
| You smoke your butt, I'll smoke my cigar. | ||
| Yeah, I like cigars too. | ||
| I'm good. | ||
| Cigars are conversational. | ||
|
unidentified
|
They are. | |
| They're tools for conversation. | ||
| Yeah. | ||
| They relax you, light your brain up a little bit, get you a little fired up. | ||
| Read this book when you can. | ||
| I will. | ||
| Seriously, I think you'll like it. | ||
| I know I'll like it. | ||
| I like talking to you. | ||
| Yeah, you'll laugh. | ||
| You'll laugh. | ||
| Not everybody will laugh when they read the book. | ||
| You will laugh. | ||
| Because I think you understand absurdity. | ||
| How long did it take you to put it together? | ||
| Two years. | ||
| It's non-linear. | ||
| It goes all over the place in all these years. | ||
| Did you have, when you sat down, did you have like a framework in mind of how you wanted to pursue it? | ||
| No. | ||
| No? | ||
| No, because I've written probably 90 journals in my life, 90 full journals, and I would go back and I kind of started to put... | ||
| Some of those together and I'd go oh that happened in 88 or that happened in 76 and that you know that kind of stands out as being a Milestone moment or whatever and I start to write those down they were really poorly written and then that started to instigate one thing and another thing and it kind of wrote itself. | ||
| I think it was 450 pages when I finished and then I knocked it down to like 240. What is that process like, the editing process? | ||
| That's a good process. | ||
| That's the hardest process I've ever gone through. | ||
| But you become a better writer. | ||
| Do you do it with an editor or do you do it by yourself? | ||
| No, I did it with an editor because I didn't sell the book right away. | ||
| First of all, most memoirs are not written by the people who they're about, which makes no sense to me. | ||
| Because you're writing about yourself, but you're hiring somebody else to do it, but you're taking the money. | ||
| I don't get it. | ||
| So I wrote it. | ||
| I wrote the entire book. | ||
| Then I sold it. | ||
| So I didn't sell it based on a celebrity. | ||
| I sold it based on the book because you could read the book. | ||
| And some people hated it. | ||
| Some people read it and they go, I don't get it. | ||
| It's too wild. | ||
| It's too whatever. | ||
| Well, everything is not for everybody. | ||
| Exactly. | ||
| And that's okay. | ||
| Yeah. | ||
| It's more than okay. | ||
| It's important. | ||
| What's wild is when I was in the middle, which I think you would like, when I was in the middle of doing the audible for the book, About halfway through, stumbling through the audible, I go, what the fuck did I do? | ||
| I should burn any evidence that this fucking was ever even thought about. | ||
| And then I spiraled for about a month. | ||
| And I don't spiral. | ||
| I just don't spiral about anything. | ||
| I'm pretty cool with anything that comes along. | ||
| And then people started reading the book. | ||
| And then I got this varied response that was always visceral. | ||
| It was never like, I really liked your book a lot. | ||
| I thought it was well written and all that. | ||
| Somebody would go, fuck! | ||
| Yeah. | ||
| And that's nice. | ||
| That means you nailed it. | ||
| I don't know. | ||
| Yeah. | ||
| I don't know. | ||
| But I do know that the responses are good. | ||
| Well, that's what's important. | ||
| Yeah. | ||
| It's working. | ||
| It had a desired effect. | ||
| You got out your thoughts. | ||
| You got out your experiences. | ||
| But that editing process is a good process because you refine and you clarify and you simplify. | ||
| Yeah. | ||
| That's cool. | ||
| You get to look at it with fresh eyes. | ||
| With fresh eyes. | ||
| Yeah. | ||
| You know, it's the arm bar. | ||
| You could just grab an arm and then try to bend it as much as you can. | ||
| Or you can fucking figure out how to get in there every time. | ||
| Did you... | ||
| And tap the guy out. | ||
| Did you always know that you were going to do this? | ||
| You're going to write this book? | ||
| No, I'd written two or three books and put them in a dark corner and let them accumulate dust. | ||
| I never thought I would do it publicly. | ||
| Because I was always into that thing of like, oh, you're an actor and get over it. | ||
| You want to be a writer. | ||
| You want to be a writer or you want to be a musician. | ||
| Every actor wants to be a musician. | ||
| Every actor wants to be a rock star. | ||
|
unidentified
|
Yeah, exactly. | |
| And I was like, nah. | ||
| And then this lady read this book, this lit agent. | ||
| I said it the third time. | ||
| And she said, you need to fucking stop. | ||
| Referencing yourself as an actor who's a writer. | ||
| You're a fucking writer and a really good writer. | ||
| Just write. | ||
| And she was tough on me. | ||
| So you feel like you had almost like a disclaimer? | ||
| Like I'm an actor. | ||
| Oh yeah, I did. | ||
| That's what you're doing, giving yourself like an escape? | ||
| I did because there was something about that profession anyway that I always looked at and I always thought, why do I do this? | ||
| This is dumb. | ||
| You know what I mean? | ||
| And where's the self-importance come from? | ||
| What happened to the wagon that just went down and people tried to shoot you? | ||
| Doesn't the self-importance just come from attention? | ||
| Period. | ||
| You get extraordinary amounts of attention and then people develop self-importance because of that. | ||
|
unidentified
|
Yes. | |
| Because they think they deserve that attention. | ||
| Because it's a false thing. | ||
| Yeah. | ||
| And then you start seeing people manifest it like, excuse me, I said... | ||
| Hot coffee. | ||
| I didn't say warm coffee. | ||
| I said, you know, and you go, I don't understand the mentality. | ||
| So for me, it's probably another attempt, which I think I've manifested in a bunch of different ways, of right-sizing. | ||
| There's nothing that will right-size you like a fucking book. | ||
| It puts you right back into why are you doing what you are doing? | ||
| Where do you come from? | ||
| How do you feel about your kids? | ||
| Where's your sensitivity? | ||
| Where are things that have become concrete that you need to break in order to feel again? | ||
| Where are you limiting yourself? | ||
| And I don't like the idea of limiting myself. | ||
| Did I love drinking? | ||
| Fuck yeah. | ||
| I had so much fun, dude. | ||
| And so did a lot of other people. | ||
| But I go, this is now limiting. | ||
| Well, don't you want to go out and take a drink? | ||
| I go, fuck no. | ||
| When you're out with a bunch of people having fun? | ||
| No, because I'm having fun. | ||
| Right. | ||
| You don't need to drink to have fun, but there's a thing when you're drinking a lot and having fun, you think this is the reason why I'm having fun. | ||
| This is the reason why I'm having fun. | ||
| Yeah, it's a trap. | ||
| That's the trap. | ||
| Yeah. | ||
| That's the trap. | ||
| Well, you know, you can have a drink or two and really enjoy yourself, or you could think that the only reason why you're enjoying yourself is because you're having a drink or two. | ||
| And that's usually why you have more drinks, because you think, this is the reason people are liking me right now. | ||
| This is the reason people think I'm funny. | ||
| And you keep chasing that dragon. | ||
| Imagine if you went on stage, and every time you went on stage, you had to have at least six drinks. | ||
| Because you go, this is what they want. | ||
| And then you'd wake up in the morning, and your kid goes and wakes you up, and you're like, ugh. | ||
| And you go, that's not worth it. | ||
| What's the fucking dude's name from Knight Rider? | ||
| You know who I'm talking about. | ||
| Oh, David Hasselhoff? | ||
| Yeah. | ||
| You ever see that video? | ||
| Of course I did. | ||
| The burger video. | ||
| Yeah. | ||
| It's the saddest fucking thing ever. | ||
| Yeah, it didn't look like a good burger. | ||
| Well, he's just hammered and his kid filmed it. | ||
| It's awful, man. | ||
| It's so awful. | ||
| It's so cringy. | ||
| Yeah. | ||
| That's what everybody's afraid of, becoming that pathetic example to your children. | ||
| And you wonder how much that exists and the video's not going. | ||
| That daughter videoed that. | ||
| Right. | ||
| Like, I want you to see what this looks like. | ||
| Right. | ||
| And supposedly that kind of threw him into sobriety or whatever. | ||
| I don't know if he's sober or not. | ||
| Did he? | ||
| I don't know. | ||
| I hope he is. | ||
| If anything would throw you into sobriety, your children filming you at the lowest moment possible would do it for you. | ||
| Yeah. | ||
| I didn't want to be filmed, so I stopped early. | ||
| You got off at the right time. | ||
| I did get filmed the last time. | ||
| Yeah? | ||
| Yeah, it was super lame. | ||
| I was at a, what do you call it, a Del Taco, and I tapped the cab in front of me accidentally when I was moving forward, and he got out and created a thing, and somebody filmed it from the back of the cab. | ||
| Oh, wow. | ||
| Yeah, and I looked stupid. | ||
| You can't fucking drive! | ||
| You don't have to fucking drive! | ||
|
unidentified
|
You're like, oh, dude, shh. | |
| Don't speak. | ||
| Don't speak. | ||
| There's nothing worse than being sober and seeing something. | ||
| Oh, there's nothing. | ||
| Oh, no, I'm so gross. | ||
| Because your perception of it while you were going, you were like, no, man, this is an honorable moment. | ||
| You're saying I did something that I didn't do. | ||
| Right. | ||
| And we need to hash this out. | ||
| When the reality is you're just kind of regurgitating bullshit. | ||
| Yeah. | ||
| Also, you know how to affect people with your words. | ||
| Yeah. | ||
| You know how to express yourself in a dramatic way and you think you're going to fucking get through this on top. | ||
| I'm an actor, motherfucker. | ||
| Yeah, motherfucker. | ||
| Watch this. | ||
| I'm going Shakespeare on you. | ||
| You know what my favorite movie of yours is? | ||
| What? | ||
| No Country for Old Men. | ||
| Why? | ||
| Because it's so fucked up. | ||
| Because it's so fucked up? | ||
| It's such a fucked up movie. | ||
| Even the end, the end when it ends, you're like, what happened? | ||
| That's the end? | ||
| Yeah. | ||
| It's like, that guy, what's his name? | ||
| Javier, what's his name? | ||
| Bardem. | ||
| God damn, that guy was a good psycho. | ||
| He was so good. | ||
| God damn. | ||
| That movie was so, it was just so unusual and intense when And there was no feeling, and people ask this all the time, there was no feeling that it was a special movie. | ||
|
unidentified
|
Really? | |
| Yeah. | ||
| I told you I went back to Marfa, Texas for the first time in 18 years with Stapleton. | ||
| And the guy running the bank is the first guy that Javier kills in the movie. | ||
| This is the guy running the bank right now, Chip. | ||
| Wow. | ||
| And I talked to Chip. | ||
| I have a picture of me and Chip. | ||
| And I talked to Chip and I said, Buck, you were the first guy. | ||
| Did you think that... | ||
| And he said, no, that was a friend of a friend who said that they were auditioning people. | ||
| And the reason I did it is because I figured nobody would ever see it. | ||
| It seemed like a small... | ||
| No, that's the proprietor. | ||
| It's the first guy that Javier killed outside. | ||
| That was a good scene though. | ||
| What is that dude like a person, Javier? | ||
| The best. | ||
| The sweetest human being. | ||
| One of my best friends. | ||
| That's crazy. | ||
| That's inside of him. | ||
| Well, that's the thing. | ||
| That's what makes him an artist. | ||
| Yes. | ||
| Because he's one of these guys that literally, he was so depressed during that thing. | ||
| Really? | ||
| Oh my god, dude. | ||
| Because he didn't like doing it? | ||
| No, he was like, look at my hair. | ||
| What the fuck? | ||
| You know what I mean? | ||
| That depressed him. | ||
| Look at him. | ||
| Oh my god. | ||
|
unidentified
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He played such a good psychopath. | |
| He wore SPF 100. He had an umbrella all the time to keep the sun off him. | ||
| You see how pale he looks? | ||
|
unidentified
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Yeah. | |
| But yeah, that's the guy. | ||
| The guy to the left. | ||
| That's Chip. | ||
| Can you stand there for a second, please? | ||
| So he was really depressed because of his hair? | ||
| Yeah, and me and Woody would take him out. | ||
| We would take him out to the Cowgirl, what was it called? | ||
| Cowgirl Cafe. | ||
| And we would have drinks with him. | ||
| We would make him, because he would stay in his apartment with the drapes drawn and all this kind of shit. | ||
| He just didn't want to go out. | ||
| He said, I don't like violence. | ||
| I don't drive. | ||
| I don't know why they hired me. | ||
| Why the fuck did they hire me? | ||
| Like, why am I here? | ||
| Well, how did he pull that out then? | ||
| And I'm from Spain. | ||
| Like, this guy's not from Spain. | ||
|
unidentified
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Right. | |
| I remember when we worked, we sat in a trailer, and he said, in that proprietor's scene, he has this great line, he goes, call it. | ||
| He takes the coin and goes like that, and he says, call it. | ||
| And the guy says, I don't want to call it. | ||
| And he says, you have to call it. | ||
| It's destiny calling for you. | ||
| And we were in his trailer, and Javier says, how do you say it? | ||
| And I said, call it. | ||
| And Javier kept saying, call it. | ||
| And I said, no, dude, call. | ||
| Can you hear it? | ||
| I'll put the half on there. | ||
| Sir? | ||
|
unidentified
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The most you ever lost in a coin toss. | |
| I don't know. | ||
| I couldn't say. | ||
| Call it. | ||
| Call it? | ||
| Yes. | ||
| For what? | ||
|
unidentified
|
Just call it. | |
| Well, we need to know what we're calling it for here. | ||
| You need to call it. | ||
| I can't call it for you. | ||
|
unidentified
|
It wouldn't be fair. | |
| I didn't put nothing up. | ||
| Yes, you did. | ||
| You've been putting it up your whole life. | ||
|
unidentified
|
You just didn't know it. | |
| You know what date is on this coin? | ||
| No. | ||
|
unidentified
|
1958. It's been traveling 22 years to get here. | |
| And now it's here. | ||
|
unidentified
|
And it's either heads or tails. | |
| And you have to say, call it. | ||
|
unidentified
|
Look, I need to know what I stand to win. | |
| Everything. | ||
| How's that? | ||
| You stand to win everything, call it. | ||
| All right. | ||
|
unidentified
|
Heads there. | |
| Well done. - Don't put it in your pocket, sir. | ||
| Don't put it in your pocket. | ||
| It's your lucky quarter. | ||
| Where do you want me to put it? | ||
| Anywhere, not in your pocket. | ||
| Well, it'll get mixed in with the others and become just a kind. | ||
| Which it is. | ||
| I mean, if you look at that from a different perspective, you say that scene could have been the worst scene ever. | ||
| However, It's because of the simplicity of the scene. | ||
| Plus the consequences. | ||
| It's the pause. | ||
| Loom in the air. | ||
| It just hangs. | ||
| And you know that this guy has some sort of weird morals. | ||
| It's so good. | ||
| Yeah, he's got some code that he lives by. | ||
| And he's about to impose this code on this guy. | ||
| And he has no problem putting that bolt through his brain. | ||
| No problem. | ||
| And the guy knows it. | ||
| And he doesn't even know why he knows it. | ||
| It's just something. | ||
| Right, he just knows it. | ||
| Yeah. | ||
| And you sit there and you just kind of... | ||
| It's a great fucking scene. | ||
| It's a great scene, man. | ||
| Yeah. | ||
| How did you not know that movie was great while you were doing it? | ||
| Because it was so... | ||
| We were just... | ||
| The Coen brothers are fucking amazing. | ||
| They're amazing, but you were just having... | ||
| They had done two movies that were sort of bigger than what they normally do. | ||
| One was with Clooney and one was with Tom Hanks and it didn't work. | ||
| Old Brother Horat Thou? | ||
| No, that fucking Old Brother Horat Thou. | ||
| I love that movie. | ||
| It was amazing. | ||
|
unidentified
|
Yeah. | |
| It was amazing. | ||
| What was the other one? | ||
| Was Lady Killers and what was the one with Clooney? | ||
|
unidentified
|
I've never heard of that. | |
| Well, there you go. | ||
| Yeah. | ||
| But, yeah, so I think that they just went back to this simple, like, Burn After Reading was after No Country, which was also really good. | ||
| Super good. | ||
| But, yeah, they just kind of went back to this very kind of feral, you know, base place and just said, let's just tell this simple story and let's let it happen. | ||
| Maybe, I don't know. | ||
| I don't think they're like this. | ||
| How did you not know why you were doing it, though? | ||
| It just didn't have that vibe. | ||
| It didn't have that vibe. | ||
| It was so simple. | ||
| Wild. | ||
| It was so simple. | ||
| But then when you saw it though. | ||
| Dude, I saw it with my kid, which was probably super irresponsible. | ||
| How old was your kid at the time? | ||
| He was 16. He was like, eh, that's on the cusp. | ||
| But I saw it with him in an editing room on a big screen. | ||
| And we left and we got in the car and we didn't talk for 15 minutes. | ||
| And that's never happened. | ||
|
unidentified
|
Wow. | |
| Like literally not one word. | ||
|
unidentified
|
Wow. | |
| And then I said, what do you think? | ||
| And he goes, fuck. | ||
| Which is a great response. | ||
|
unidentified
|
That's that movie. | |
| That is that movie. | ||
| That movie is fun. | ||
| You know, you want to tie it together, too, in the end, like a typical Hollywood ending, and Javier and my character go head-to-head at the end, and that doesn't happen, which is how it was written in the book, Cormac. | ||
| And I got to know Cormac really well. | ||
| I was with Cormac the night before he died. | ||
| Oh, no kidding. | ||
|
unidentified
|
Wow. | |
| Yeah. | ||
| So, and I asked him. | ||
| That guy could fucking write. | ||
| Fuck, dude. | ||
| Some of the greatest writing, American writing ever. | ||
| Yeah. | ||
| In the history of this country. | ||
| There was something about his writing. | ||
| It was like, Jesus Christ. | ||
| That's another one of those guys, artists, where you go, I would ask him about his writing. | ||
| He didn't want to talk about it, ever. | ||
| And then finally got mad at me one day and he was like, I don't fucking know, man. | ||
| I just sit down at the typewriter and it comes. | ||
| Like, what do you want me to tell you? | ||
|
unidentified
|
Wow. | |
| He was like, all right, man. | ||
| Fucking 87 years old. | ||
| Relax. | ||
| But he could write. | ||
| I mean, he had some, he was tapped into, and talk about a guy who just like, you were like the muse and do you have a special place and do you have this thing that, no. | ||
| Just sits down and writes. | ||
| The bed that he was on, it was me, his ex-wife, his son, and Cormac that last night. | ||
| Wow. | ||
| Always at the edge of his bed was that typewriter that he used for 25, 30 years to write all those novels. | ||
| And then he had one before that that was exactly the same. | ||
| But that typewriter was on an old piece of wood at the foot of his bed. | ||
|
unidentified
|
Wow. | |
| And even at the end, he would just grab that thing and... | ||
| Get it out. | ||
| It's cool. | ||
| Yeah, there's rare humans like that that have that thing. | ||
| Yeah. | ||
| Yeah. | ||
| They just tap into something. | ||
| And they tap into it and they just keep going. | ||
| They get on that path and they just keep going. | ||
| It just keeps getting better. | ||
| They just get better at it. | ||
| We've talked about a series of very special people. | ||
| You know, what's the difference of what makes somebody that special, that iconic? | ||
| Are they crazy? | ||
| They're definitely different. | ||
| They're different. | ||
| Yeah, I mean, it's a resistance to the norm. | ||
| It's the acceptance of reality. | ||
| It's a poetic understanding of our place in the universe. | ||
| There's so many different things that are all sort of coalescing into this expression. | ||
| But they see through a different lens, though. | ||
| They're just made up of a different cellular makeup. | ||
| That's probably why he didn't want to talk about it. | ||
| He didn't want to fuck it up. | ||
| He didn't want to fuck it up. | ||
| He didn't want to mitigate it. | ||
| He didn't want to lessen it. | ||
| He didn't want to... | ||
| What's the word? | ||
| Make it pedestrian. | ||
| Yes. | ||
| You know what I mean? | ||
| Yes. | ||
| He didn't want to try... | ||
| You know, sometimes magic is just magic. | ||
| You don't want to figure out how it's happening. | ||
| Yeah. | ||
| Just know that you can do it and just keep doing it. | ||
| Exactly. | ||
| You know, just be a craftsman. | ||
| Be a person who's dedicated to this thing. | ||
| Yeah. | ||
| You know? | ||
| Yeah. | ||
| He has to know. | ||
| He had to know it was really good. | ||
| I mean, enough people told him it was really good. | ||
| Yeah, but if you have even a guy like that who wrote the first up until All the Pretty Horses, none of his books sold. | ||
| That's pretty crazy. | ||
| Like 1,000 people bought it. | ||
| 1,500 people bought it. | ||
| And then it was made into a movie. | ||
| And then you go back and you're like, all these banned books that we know back in the day. | ||
| 1984, George Orwell. | ||
| Henry Miller. | ||
| All these fucking people. | ||
| People are like, ew. | ||
| And then Van Gogh. | ||
| Painting a painting. | ||
| And all those paintings being outside getting rained on. | ||
| And now they're selling for $100 million. | ||
| Yeah, all after he's dead. | ||
| All after he's dead. | ||
| Yeah. | ||
| He never knew. | ||
| He sold one painting in his lifetime, so he never got to, not even a little bit, experience what... | ||
| Right. | ||
| Wow, man. | ||
| Well, maybe that's why they're so good. | ||
| Because it's like a purity of expression. | ||
|
unidentified
|
Because they had to do it anyway. | |
| Whether people paid attention or not, it's who they were. | ||
| And they gave themselves to it a thousand percent. | ||
| He's an artist. | ||
| An artist. | ||
| A real artist. | ||
| Yeah. | ||
| Yeah. | ||
| Thanks, dude. | ||
| Thank you. | ||
| It was a lot of fun. | ||
| I really appreciate it. | ||
| I really appreciate it. | ||
| I'm going to read your book immediately. | ||
| I would like you to. | ||
| I will definitely. | ||
| You're one guy I would really like for you to read. | ||
| I'll get on it. | ||
| Okay. | ||
|
unidentified
|
All right. | |
| Thank you. | ||
| Thank you very much. | ||
| Bye, everybody. |
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