March 1, 2025 - The Joe Rogan Experience
02:20:33
| 
| Speaker | Time | Text |
|---|---|---|
| The Joe Rogan experience train by day Joe Rogan podcast by night all day Thank you for doing this This is a huge honor for me. | ||
| I'm a giant fan. | ||
| Forever. | ||
| Like, since I was a kid. | ||
| Well, are we going? | ||
| Yeah, we're live. | ||
| So for me, there's certain people I meet where it's like, whoa, okay. | ||
| And you're one of those. | ||
| I have a very different experience. | ||
| I only know about you what I've heard. | ||
| I've never heard your show. | ||
| I had to ask you, are you Joe? | ||
| Because somehow I knew you were like in the fitness and everyone out there seems to be a weightlifter. | ||
| Even Danielle seems like she did lower body today. | ||
| So it's nice to meet you. | ||
| Some people are very, very excited that I've gotten to come down here to be on your show. | ||
| Well, you're an interesting guy. | ||
| Other people are concerned for me. | ||
| Oh, really? | ||
| Are they? | ||
| Legitimately? | ||
| I don't know. | ||
| I don't know why it's the weightlifter thing because I have no predisposed. | ||
| I have no premonitions. | ||
| But when I walk in here and I see... | ||
| I've got to look at that. | ||
| What is that green neon? | ||
| Oh, that's the... | ||
| Local racetrack. | ||
| That's the Circuit of the Americas where Formula One races. | ||
| It's my friend's place, so he gave me that. | ||
| Yeah, I walked in and I saw these Hunter Thompson things. | ||
| I felt automatically like, okay, well this guy can't be a complete disaster. | ||
| And then I walked down the hall and there's Hunter wearing a hat that I gave him. | ||
| Oh, that hat with the gun? | ||
| Yeah, the one where he's in a cockpit it looks like. | ||
| That's a dog hair hat. | ||
| That's dog hair. | ||
| It's made out of dog hair? | ||
|
unidentified
|
Yeah. | |
| And he got such a kick out of it because when it rains on you or snows on you like it would in Woody Creek, you come in the house and you smell like a wet dog. | ||
| And he loved doing that to people. | ||
| The people were like, what in the hell? | ||
| Oh, my dog. | ||
| That's the dog right there. | ||
| Yeah. | ||
| Are you filming this too? | ||
| This is whatever you do? | ||
| Yeah. | ||
| Yeah, so. | ||
| Yeah, there he is. | ||
| There's that dog. | ||
| It had big tie things. | ||
| You could tie it under your chin. | ||
| What year was this? | ||
| This is... | ||
|
unidentified
|
Wow, look at that one. | |
| Lawyers, guns, and money? | ||
|
unidentified
|
Yes. | |
| Those are later ones. | ||
|
unidentified
|
He didn't have scopes for a long time. | |
| He had hearing protection then, too. | ||
| He was learning. | ||
|
unidentified
|
86? | |
| No. | ||
| Really? | ||
| Maybe. | ||
| What, that one there? | ||
| Is it 86? | ||
| With the dog? | ||
| Yeah. | ||
| Yeah, that's probably... | ||
| Yeah, it was earlier. | ||
| Blind Bat. | ||
| Blind Bat. | ||
| Where's that? | ||
| That's funny. | ||
| It's a historic piece, I guess. | ||
| When did you meet him? | ||
| I met him... | ||
| Let me drink your magic coffee here. | ||
| Whose coffee is this? | ||
| Laird Hamilton's. | ||
| Laird Hamilton's Superfoods. | ||
| I met him... | ||
| It was one of those years... | ||
| Maybe it was after my first... | ||
| Real year on Saturday Night Live, maybe it was 1977, like the spring, summer of 77. I was asked by Lorne Michaels, the producer of Saturday Night Live, if I would, I had to go to, our season was head-ended, I'd gone to California. | ||
| And he asked if I would drive his Volkswagen convertible bug back cross-country for him. | ||
| Yeah, sure. | ||
| Well, you know, a week or two later, I was like, where's my car? | ||
| I'm like, you didn't give me a time limit. | ||
| So I visited people on the way. | ||
| So I made some stops. | ||
| I visited my friend John Thompson in Reno, biggest little city in the world, and we threw our cups out the roof and stuff like that. | ||
| I had a really nice time there. | ||
| And then I wanted to go to Aspen. | ||
| I'd never been to Aspen before. | ||
| And so I went to Aspen and stayed at the Jerome Hotel. | ||
| I can talk like this because this show is like endless. | ||
|
unidentified
|
Yeah, yeah, yeah. | |
| So, went to the Jerome Hotel, which was like the place to go back then. | ||
| And it was off-season, which is the best time of year to go to any resort town. | ||
| It's like when all the tourists are gone and the citizens regain control of their town for a while. | ||
| Yeah. | ||
| So, the Jerome Hotel, which would have been full of like... | ||
| Knucklehead skiers from anywhere was only full of like the people that worked the town and lived in the town and they took over the bar and they took over the swimming pool which was outside so that's I was there and it was just I remember being there and they were like beautiful girls and this really funny guy and I didn't know who he was and we just had the most fun you know making girls laugh that's kind of what It may or may not have been the reason I was brought here. | ||
| So we just had the most fun doing it. | ||
| And then we had this sort of episode where we did an escape act and it had consequences. | ||
| We started talking about an escape act, underwater escape act, and I felt like I could do it. | ||
| You really think you could escape underwater? | ||
| Oh, no. | ||
| And I said, yeah, I think I could do it. | ||
| I think I could do it because you just – so. | ||
| I agreed to be a subject. | ||
| And you have to know, I did not know who this guy was. | ||
| I just thought he was like a funny guy. | ||
| And we were like showing off for girls and stuff and being stupid. | ||
| And it was fun. | ||
| We were just having fun. | ||
| So I was tied with socks to a lawn chair and lowered into the pool. | ||
| But just before I went, I said, hey, just in case I want to take a breath while I'm untying my sock knots. | ||
| Move me over here to where it's like six feet, you know. | ||
| So if I have to stand up, you know, I can take a breath and go back down and continue by untying, you know. | ||
| So I went in and, you know, I was untying and a guy could tie some knots, you know, even with socks. | ||
| So after a little bit, I thought earlier, you know, maybe I'll just take a quick breath and go back down. | ||
| Well, I stood up. | ||
| Try it, Joe. | ||
| Lash yourself to a chair and try to stand up. | ||
| Yeah, it's hard. | ||
| Well, I'm a little over six feet, but if you're tied to a chair, you don't get to fully extend your calves any more than that. | ||
| So tied to a chair, I'm only like 5'8 or something like that. | ||
| It was funny to see that camera shot of there are people up there and I can't reach them or speak to them because I'm still underwater. | ||
| That's when I started to work more feverishly on the knots. | ||
| And I kind of was going, hey, hey. | ||
| I'm kind of leaning with my head, like push me down to five feet instead of six feet. | ||
| But he was strong enough. | ||
| And because I was buoyant in the water, he just picked up the chair out of the water. | ||
| So I lived through it. | ||
| But it was... | ||
| It was a funny way to meet someone. | ||
| And the next day I found out that this was Hunter S. Thompson. | ||
| He never asked him his name? | ||
| No. | ||
| He never asked me my name. | ||
| I don't know that he knew who I was either. | ||
| I think he thought I was just a funny guy and we were kind of like holding court and being funny. | ||
| Everything starts with good health. | ||
| That's why AG1 is a great addition to any morning routine and why I've partnered with them for so long. | ||
| One scoop, once a day, simple, research-backed and designed to support your whole body health. | ||
| And it actually tastes great. | ||
| You can forget juggling multiple pills and supplements. | ||
| AG1 is a more in-one solution that... | ||
| Combines a multivitamin, superior B-complex, a blend of superfoods, and more. | ||
| And more importantly, AG1 prioritizes using nutrients that are already in their bioactive form so your body can use them easily. | ||
| Just mix it with cold water and you're set. | ||
| No hassle, no guesswork. | ||
| It's never too late to create a new healthy habit for 2025. So try AG1 for yourself. | ||
| And right now, AG1 is offering new customers a free $76 gift when you subscribe. | ||
| You'll get a welcome... | ||
| Well, that must be fun for you, though. | ||
| Like, I enjoy when people don't know who I am. | ||
| Like, it's very rare for you. | ||
| Yeah, it's preferable. | ||
| Yeah, but you have figured out this way of navigating life where... | ||
| Like, you're not a cell phone guy. | ||
| You probably don't even have email, do you? | ||
| No, I have these things now. | ||
| But if you have children, you have to get a cell phone. | ||
| Right. | ||
| Because they will not answer a telephone, but they will answer a text. | ||
| So that's... | ||
| I had a breakdown. | ||
| Yeah. | ||
| But you've managed to stay blissfully detached in some sort of way. | ||
| Yeah, my email is AOL.com. | ||
|
unidentified
|
Is it really? | |
| Yeah. | ||
| So, that's... | ||
| That was my concession to it. | ||
| One of my favorite things you did with Hunter was when it was a filming of some sort of a documentary or something. | ||
| Or it was in a documentary, the footage is. | ||
| And you're going around trying to convince people that Nixon got a bad rap? | ||
| Yeah, yeah. | ||
| That was good. | ||
| We were trying to write something funny. | ||
| I was with my friend Dick Blasucci on that one. | ||
| And I can't remember. | ||
| There were like two or three of us that were trying to write this thing. | ||
| And we rented like a Klieg light. | ||
| You know, like a big Hollywood premiere, kind of one of those giant lights that they flash up in the sky. | ||
| You know, you don't even see them very much anymore. | ||
| And we were just outside the Chateau Montmartre where Hunter had a room at that moment. | ||
| And we were doing, we were excited because Nixon's back, you know. | ||
| And we were interviewing alleged people on the street, men on the street, saying, what do you think about this? | ||
| Because it was after Watergate and Nixon had basically burrowed down. | ||
| Hunter had a powerful hatred of Nixon. | ||
| I really didn't like Nixon, of course. | ||
| I just remember Dick Blesucci saying, I'm excited. | ||
| He's tanned, he's rested, and he's ready. | ||
| I still say it all the time. | ||
| I say it about myself all the time because I think it's funny. | ||
| How are you, Bill? | ||
| I'm tanned, I'm rested, and I'm ready. | ||
| But saying it about Richard Nixon, I thought, was a really... | ||
| Brilliant thing to say. | ||
| Well, after that, it became a common phrase. | ||
| Yeah. | ||
| People use it all the time to this day, probably not even knowing the origin. | ||
| That's right. | ||
| Yeah. | ||
| And it's Dick Blasucci who did it. | ||
| And we weren't there for like 45 minutes before like... | ||
|
unidentified
|
I work in the industry, and I know you have to have a permit to have that light on. | |
| I mean, there were people. | ||
| They came at us. | ||
| We were a going concern for about... | ||
| One hour tops. | ||
| And that was with, like, professional argumentative people like Hunter, myself, going, that is a fabulous watch you're wearing. | ||
| Where'd you get that? | ||
| You know, just anything to keep this thing going and to keep the cameras rolling on our super stuff. | ||
| But, and demands. | ||
| But, yeah, that was one of the things. | ||
| I had a lot of fun with the guy. | ||
| He really was a lot of fun. | ||
| He really could make a lot of fun. | ||
| I really wish I met him. | ||
| He's one of those people that just really wish I met him. | ||
| Well, you can still read it. | ||
|
unidentified
|
Oh, yeah. | |
| There's still so much more stuff that I hadn't even read then. | ||
| It just keeps appearing. | ||
| There are things that are so beautiful that he wrote that are good. | ||
| And, you know, people text me things and say about what's going on, how sort of prescient he was about things a long time ago. | ||
| Yeah, dead on about so many things. | ||
| I mean, you could take a lot of his commentary on politics from 1976 and apply it easily to today. | ||
| You know, Fear and Loathing on the Campaign Trail is one of the best books ever on the American political system, just like what it's like when people are running for office. | ||
| Yeah, to me it's a better book than Fear and Loathing in Las Vegas, which is really fun. | ||
| But the Campaign Trail book is so insightful about America and about... | ||
| Americans. | ||
| It's great reading. | ||
| The movie was fun. | ||
| Fear and Loathing was fun. | ||
| It was a great introduction to a lot of people, maybe, that weren't aware of Hunter. | ||
| Maybe then you'll start reading his stuff. | ||
| It wasn't all chaos and acid and seeing lizard people in the bar. | ||
| There's moments in Fear and Loathing the movie where there's this one thing where Johnny Depp is at the typewriter. | ||
| Is that in the movie or is that in the documentary? | ||
| Where he's at the typewriter, he's talking about how the 1960s, there was this great wave of change. | ||
| Yeah, the high water market. | ||
| You can see it on the mountains. | ||
| It's a beautiful piece of writing. | ||
| Oh, my God. | ||
| It's amazing. | ||
| And when Johnny Depp is saying it, the way he's saying it, it's so beautiful and melodic. | ||
| Jamie, why don't you see it? | ||
| It's about the most famous line in the world. | ||
|
unidentified
|
Let's take this in. | |
| Grab the headphones. | ||
|
unidentified
|
Let's take this in. | |
| Strange memories on this nervous night in Las Vegas. | ||
| Has it been five years? | ||
|
unidentified
|
Six? | |
| It seems like a lifetime. | ||
| The kind of peak that never comes again. | ||
| San Francisco in the middle 60s was a very special time and place to be a part of. | ||
| But no explanation, no mix of words or music or memories can touch that sense of knowing that you were there and alive in that corner of time in the world. | ||
| Whatever it meant. | ||
| There was madness in any direction. | ||
| At any hour. | ||
|
unidentified
|
You could strike sparks anywhere. | |
| There was a fantastic universal sense that whatever we were doing was right. | ||
| That we were winning. | ||
| And that, I think, was the handle. | ||
| That sense of inevitable victory over the forces of old and evil. | ||
| Not in any mean or military sense. | ||
| We didn't need that. | ||
| Our energy would simply prevail. | ||
| We had all the momentum. | ||
| We were riding the crest of a high and beautiful wave. | ||
| So now, less than five years later, you can go up on a steep hill in Las Vegas and look west. | ||
| And with the right kind of eyes, you can almost see the high watermark. | ||
| That place where the wave finally broke and rolled back. | ||
|
unidentified
|
God damn, that's good. | |
| That is just an amazing piece of writing that so perfectly captured that very strange moment in time where the anti-war, the peace-love movement just got drowned out by the Nixon administration. | ||
| It's a beautiful piece. | ||
| It glistens your eyes to see it. | ||
| Thinking of Hunter and the words that he said, but seeing Johnny and how close Johnny and Hunter became, how much they loved each other and how much they shared with each other. | ||
| It's really a beautiful piece. | ||
| Thank you. | ||
| Yeah, it is a beautiful piece. | ||
| And it's just so fucking perfect. | ||
| It just perfectly... | ||
| Yeah, he got it. | ||
| He really got it. | ||
| Yeah. | ||
| It just encapsulates that time. | ||
| You know, and it's just, thank God there was a guy like him around to document it from that perspective, to give you this, like, insight, and that the way he did it with Gonzo journalism, where he just would have real facts mixed in with fiction, and you couldn't tell what was what, and you had to be in on it to understand what he was doing. | ||
| Yeah, you had to enter the event to comment on it. | ||
| You had to be a part of it. | ||
| Yeah. | ||
| You played him. | ||
| I did play him. | ||
| Yeah, we were talking about it before. | ||
| I loved it. | ||
| We're in the Buffalo Room? | ||
| Yeah, we're in the Buffalo Room. | ||
| Was that weird to play your friend? | ||
| It was a lot of responsibility. | ||
| Yeah. | ||
| It was any actor that has to play either a living person, especially a living person, or a famous person has a real responsibility to... | ||
| To that person, you know, you can't just be that person for 90 minutes. | ||
| You have to realize that person was that person for 60-some-odd years or 70 or however many years the person was. | ||
| You've got to try to get all that into your... | ||
| Hour and a half or two hours. | ||
| You've got to try to take in as much as you can so you're not lying. | ||
| At least you're giving the best you can to say, this is who I think he was. | ||
| This is who I think that person was. | ||
| She was. | ||
| He was. | ||
| Did you run any of it by him? | ||
| Did you try to talk to him as him? | ||
| Well, he was living in the guest house. | ||
| So you were around him all the time? | ||
| Yeah. | ||
| So I would go to work and I would come home and then we would stay up and sort of just an hour or so before, maybe an hour and a half before, two hours before dawn, he'd have a NyQuil and scotch in the hot tub and then go to sleep. | ||
| And then I had to get about 90 minutes and then... | ||
| The teamster was knocking on the window saying, Bill! | ||
| Billy! | ||
| And I'd have to go to work. | ||
| So that's what it was like while we were shooting the movie. | ||
| Wow. | ||
| And he appears in the movie briefly. | ||
| He appears in the movie briefly. | ||
| I can't remember all of it, but he appears in the movie briefly. | ||
| And we did, together we wrote a scene. | ||
| I was always constantly changing. | ||
| John K. wrote the script, but I was always playing with it because I was always being informed more, you know. | ||
| And that's what I did anyway. | ||
| I just pretty much, you know, I felt the freedom to change anything. | ||
| But we did write a scene. | ||
| Hunter and I wrote a scene that was late in the movie. | ||
| Pardon me. | ||
| They gave me these beautiful, massive things. | ||
| Cough drops? | ||
|
unidentified
|
Yeah. | |
| Want one? | ||
| No, thank you. | ||
| Yeah, so he was in on a lot of it and the editing of it, you know, we can secretly say that too. | ||
| and And the, you know, it was a lot of, he was really involved. | ||
| Very nice. | ||
|
unidentified
|
So... | |
| Good shot. | ||
| So you're saying he wrote a scene? | ||
| You guys wrote a scene together? | ||
| Yeah, we wrote a scene together, yeah. | ||
| Which was encountering Nixon in a urinal. | ||
| Because he did have a moment with Nixon. | ||
| Yes. | ||
| In the limo. | ||
| Remember, yeah. | ||
| Yeah. | ||
| And he was told he could not speak politics. | ||
| They could only talk NFL football. | ||
| Yeah. | ||
| Which Nixon was rather, you know, knowledgeable about. | ||
|
unidentified
|
Yeah. | |
| And Hunter Copter was like, yeah, the guy really studied it. | ||
| And George Allen, it's in the book, you know. | ||
| Yeah. | ||
| Nixon even wrote, designed a play that he gave to George Allen, who was the coach of the Washington Redskins back then. | ||
| And... | ||
| They lost like 10 yards or something on the play, but Allen actually ran the play. | ||
| Wow. | ||
| That's crazy. | ||
| It's just also insane that they would let Hunter get in a limousine with the president. | ||
| Just that alone. | ||
| You know, who greenlit that? | ||
| Who thought that was a good idea? | ||
| I mean, he was on the campaign trail. | ||
| He also, for whatever he was, the people who knew, and you know, like Secret Service guys, you ever run into them, they like read people for a living. | ||
| This is what they do, you know? | ||
| They read people. | ||
| And they can really burn a hole through your head and your body just looking at you. | ||
| And they'll give you this one, you know? | ||
| They'll just really burn you. | ||
| And, you know, he'd been on the tour, the tour. | ||
| He'd been on the road with them. | ||
| They knew who he was. | ||
| They knew what he was after hours and they knew what he was during hours where the people who were really smart knew this guy's really smart. | ||
| This guy's really smart. | ||
| He knows politics. | ||
| And you can't try to dumb down. | ||
| You can't try to, like, big time him because he'll kill you. | ||
| He'll chop you. | ||
| He's got the words to answer and he has the intelligence. | ||
| So he was... | ||
| He was a force. | ||
| People knew who he was. | ||
| To get information, you've got to go into the people who work for the guy. | ||
| So the people that work for the guy know who he is, and they've already established that they have a relationship with him. | ||
| They can speak with him. | ||
| He's talking a certain way. | ||
| There's a reality check. | ||
| If you're running someone's political campaign, you have the best jokes about the campaign. | ||
| You know, not Hunter Thompson, maybe. | ||
| You have the best jokes because you've seen it all. | ||
| You know how stupid things get. | ||
| And, you know, if you can be realistic and savvy about those things, then people trust you. | ||
| Well, it's still pretty extraordinary that they also got him to agree, or at least thought he would agree, that he would only talk about football. | ||
| Well, he knew if he blew it, that was it. | ||
| And that was going to be the end of it. | ||
| And it was only, you know, I don't know what month it was. | ||
| There's more coffee in this, I feel like. | ||
| Oh, is that your stuff? | ||
| No, that's everybody's. | ||
| Okay, well, we'll try to finish it all off. | ||
| I just feel like yours is probably just sitting there for a while. | ||
| It doesn't have to be super. | ||
| I keep coffee for days. | ||
| At least two days. | ||
| If it's not hot, it's got ice in it. | ||
| You just keep drinking? | ||
| I just keep drinking it. | ||
| Yeah. | ||
| That smells good. | ||
| What kind is that? | ||
| Black Rifle Coffee. | ||
| Where does that come from? | ||
| It's an American company, veteran-owned company, made by Real Coffee Nuts. | ||
| Travel around the world and find different blends and different... | ||
| It smells good. | ||
| There's a lot of coffee you can't even smell. | ||
|
unidentified
|
It's excellent. | |
| It's very good coffee. | ||
| Yeah. | ||
| It's just that meeting in the limousine is like one of my favorite meetings because it just... | ||
| You could feel how weird it must have been for Hunter to be sitting in a limo getting a ride with Nixon and they're just talking about football and then they can find common ground. | ||
| Well, it's very much like this is happening... | ||
| This has been happening in my life anyway, and I'm sure it's happening in everyone's life for the last, got to be 10 years, where you meet people, we have something in common, we've got something we've got to get done, you know. | ||
| But if we talk politics, we're leaving the rails, you know. | ||
| All hell's going to, you know, we're not going to get anything done. | ||
| We're never going to be friends. | ||
| And, you know, it could be worse than that. | ||
| We could be adversaries or even enemies or, you know, so that, I mean, it's, you mentioned it, it's like, I go places where, and I'm sure you do too, where you just can't talk, you just don't want to talk politics with people because there are people that are, | ||
| you know, whose politics can be the exact opposite of yours, completely 12 to 6. And yet there are people that have lived lives that are so extraordinary and so enormous in terms of what they give to the world and the planet. | ||
| And you think, why would I ever want to get... | ||
| It's a mystery. | ||
| It's kind of a mystery. | ||
| But if you don't value that first instead of your kind of political... | ||
| You know, handkerchief. | ||
| You know, you're making more of a mess, you know. | ||
| That's kind of what's, you know, that's what I feel a lot about what's going on anywhere, everywhere, you know, that people are leading with their handkerchief and not with their whole self, you know, what they understand about what living is. | ||
| I agree 100%. | ||
| I think that we're just too tribally divided, and people look at it like it's us versus them. | ||
| They enjoy the comfort of being a part of a tribe. | ||
| They lock on to whatever ideologies the tribe support, and then anybody who opposes that is somehow or another the enemy. | ||
| And it's just a division tactic that's been used by the people that actually run the government, the actual world itself. | ||
| People of this world, especially the people of this country, mostly share the same common core needs. | ||
| You want to be healthy. | ||
| You want to have a good family. | ||
| You want to be able to make a living. | ||
| You want to live in a safe place. | ||
| You want your kids to be able to go to a good school. | ||
| You want everybody to prosper and have a good time. | ||
| That's most of what life is. | ||
| All this other shit that people get so goddamn caught up in, most of it has very little to do with you. | ||
| And you get locked into it like it's 100% of your identity, and the next thing you know, anybody who opposes you is Hitler. | ||
| And it just gets... | ||
| That's true. | ||
| It gets so toxic. | ||
| His name gets bandied about a lot lately, doesn't it? | ||
| Yeah, it's a good one. | ||
| But you sort of started it by saying, by bringing up that quotation of hunters, which is so... | ||
| And I think about that all the time. | ||
| I can not... | ||
| But I think about it regularly. | ||
| Like, what was that force? | ||
| That that movement had, that anti-war movement, whatever that was, you know, it wasn't perfect. | ||
| You know, it wasn't perfect. | ||
| I think the thing that if I had to regret anything or anyone regrets anything about it was the sort of hostility that was shown towards the actual servicemen, most of whom were drafted, you know, to fight, you know. | ||
| So those service people had an experience that I will never have. | ||
| I was in a military movie. | ||
| That's as good as it ever got for me. | ||
| But the thing about being in war together with people is everybody hates war. | ||
| And who could hate it more than someone that was there? | ||
| But the sort of camaraderie that you had is an experience. | ||
| I'll never have that. | ||
| I'll never have that thing that Rambo had. | ||
| I'll never have that thing. | ||
| And I don't think that – I think that the sort of – there could have been more vision about who we're talking to or who we're talking to about whatever kind of change you want to make. | ||
| And so that the agents of it are not necessarily the architects like you say. | ||
| The people who are making this tribal thing. | ||
| They're not the agents of it. | ||
| They're the architects of it. | ||
| And how do you jump over or how do you excuse or not excuse isn't the word but how do you Unite? | ||
| Miss the people that are the agents who are just people that have a job or whatever it is. | ||
| They're doing their work to survive and live, whatever it is. | ||
| How do you get to the architects with whatever you feel is what could be a shared experience and get them to sort of dissolve the creation of the tribal world? | ||
| I think you ask a great question. | ||
| You have people on here, I guess, that... | ||
| Know, you know, or think about those things and have the ability to do something about it. | ||
| I don't think I have the ability to do anything more than something for myself mostly. | ||
| But you do because you have the ability to express yourself and you're an example. | ||
| And a lot of times when someone is a very reasonable, intelligent person like you and you express yourself, other people get inspired to maybe re-examine the way they're looking at things. | ||
| Well, that's a nice hope. | ||
| I hope that maybe that'll happen. | ||
| I think that's maybe one of the only things. | ||
| Well, right back at you then. | ||
|
unidentified
|
Okay. | |
| Thank you. | ||
| Because part of our problem in this country is that we're in competition every two years. | ||
| Every two years you have midterms. | ||
| It is crazy, isn't it? | ||
| Elections every four years. | ||
| We don't get a break. | ||
| No, we don't get a break. | ||
| We don't get a break from these people. | ||
| No, we don't get a break. | ||
| We don't get a break from division. | ||
|
unidentified
|
We don't get a break. | |
| We don't get a break from propaganda. | ||
| We don't get a break from new threats. | ||
| We don't get a break. | ||
| It's like every day it's a new thing. | ||
| And it keeps us completely in this... | ||
| It's a constant state of stress and anxiety and also this fear of being overcome, like your side's going to lose. | ||
| Yeah, if I fall asleep too early tonight, I'm supposed to be on watch or something. | ||
| Yeah, it's a very... | ||
| Very stressful, and it's not healthy for human beings to be constantly in this state of competition and stress. | ||
| It's bad for... | ||
| And then on top of that, you have... | ||
| Most people are addicted to social media, so you're constantly getting inundated with the worst fucking things in the world all day long, and you're freaking out. | ||
| It's terrible for you. | ||
| It's fucking terrible for you. | ||
| I mean, that footage made me cry. | ||
| Now you're going to make me cry. | ||
| Okay, no, it's... | ||
| But it's true. | ||
| It's... | ||
| Someone's got a... | ||
| There has to be some sort of a new, I don't know if it has to be a club, but there's got to be some sort of new music. | ||
| You know, it used to be music. | ||
| I think music played such a big part of whatever that movement was, whatever you call the peace movement or the hippies or, you know, whatever it was. | ||
| It was an extraordinary moment in time. | ||
| And the music was part of the experience and part of the, it brought the message. | ||
| It crashed through everybody's brain. | ||
| There wasn't a side to it. | ||
| It's like, what were the soldiers listening to in Vietnam? | ||
| Jimi Hendrix. | ||
| We were all listening to the same stuff no matter where you were. | ||
| No matter where you were, you were listening to the same music, no matter what your politic thing was. | ||
| The music sort of told a story and sort of suggested a possibility. | ||
| And the music was so much different than the music of the past. | ||
| Yeah. | ||
| And it was like, you go from 1959 to 1969, you're dealing with a completely different dimension. | ||
| And it's because it was all psychedelically inspired. | ||
| And that was another thing that the Nixon administration did. | ||
| They passed that sweeping Schedule I Psychedelics Act, made everything illegal, and just threw water on the whole movement. | ||
| And then everything changes. | ||
| Then you have the 70s, music starts getting weird. | ||
| The 80s, it completely falls apart. | ||
| Cars start looking like shit. | ||
| People start dressing stupid. | ||
| Now you're talking. | ||
| It's a real language. | ||
| I never tied it all to that sweeping thing, but when you revisit that, you realize how much harm that did, that kind of lawmaking. | ||
| Let's all agree that the cars don't look as good as they used to. | ||
| Who are those people that say they're the really good problem solvers? | ||
| I see them every once in a while, and they go like, how does he do it? | ||
| He says, well, first I say, what can we agree on? | ||
| Okay, so we can agree that cars don't look so good no more. | ||
| Well, they look good now. | ||
| It used to be that every single year, every single car looked different. | ||
|
unidentified
|
Yes. | |
| Than it looked the year before. | ||
| Yes. | ||
| And that's mind-boggling nowadays to think about that. | ||
| And even now, the cars are made of, I don't know, plastic? | ||
| What are they made of? | ||
| Yeah, they're made of shit. | ||
| They're made of nothing. | ||
| They're not made of steel. | ||
| They did it with steel back then. | ||
| Right. | ||
| And now they're made with, I don't know, some sort of carbon something or other. | ||
| And you would think they would be able to, like, I don't know what a 3D printer is. | ||
| I have to confess. | ||
| I have no idea. | ||
| We actually talked about it yesterday. | ||
| I have no idea. | ||
| The biggest one's four feet long. | ||
| The biggest one is four feet long? | ||
| Yeah, that's what Elon was saying. | ||
| So can you make a table out of this? | ||
| You can't make anything bigger than four feet? | ||
| I don't think so. | ||
| I mean, maybe there's some super... | ||
| Car parts now are... | ||
| I mean, if you have a car, if you have a fender bender, there's like seven parts that you have to replace now. | ||
| Panels and panels and panels. | ||
| But that's also because they're better structurally to withstand impact. | ||
| They have these crumpled layers and they're designed in a way that makes it safer for you. | ||
| They're a lot safer than old cars. | ||
| I fucking love old cars. | ||
| And the sound systems are better. | ||
| Yeah. | ||
| But new cars look great. | ||
| New cars are awesome. | ||
| There's a lot of really good-looking American cars, a lot of really good-looking German cars. | ||
| What happened in the 1970s and the 1980s was a drop-off, a significant drop-off from the 60s. | ||
| The 60s cars were some of the best-looking cars. | ||
| I think a lot of that had to do with just the way creativity was... | ||
| Encouraged in the 1960s. | ||
| It was more free-flowing. | ||
| The music was completely radical and different. | ||
| Politics was radical and different. | ||
| And that's why they passed those laws. | ||
| They passed those laws to stop the anti-war movement. | ||
| It was the civil rights movement and the anti-war movement. | ||
| And the guy they put in charge was a man who had absolutely no qualifications. | ||
| Who had no qualifications to do any of it. | ||
| No. | ||
| I've got someone, a friend, that's been trying to get me to... | ||
| Do a movie about it, but the person responsible for making all the laws was someone who had absolutely no background in any of the fields, no knowledge whatsoever, just a total huckster that got himself out in front. | ||
| Well, they probably had a mandate. | ||
| They gave him a mandate. | ||
| This is what we're going to do. | ||
| This is the plan. | ||
| We're going to lock up all these hippies. | ||
| I'll carry the flag. | ||
| I'll carry the flag, whatever it is. | ||
| I'll run up the hill. | ||
| Exactly. | ||
|
unidentified
|
Yeah. | |
| Well, I heard... | ||
| That Buick is going to make a car, and this could be wrong, but I heard they're going to make a car next year that's not going to look like any car, ever. | ||
| It's going to be like a brand new, whatever the hell, 25 or 26 Buick. | ||
| And it's not going to look like the 24 or 5. It's going to look like its own individual thing, that they're going to try to re... | ||
| To recommence the idea of making a new car every year. | ||
| You didn't hear this? | ||
| No, like a completely new kind of model? | ||
| Yeah, like the idea that you would make a car that didn't look like every... | ||
| I mean, you can look at a car and go like, that's a Volvo, but that part of it looks like a Mercedes. | ||
| That part of it looks like an Infiniti. | ||
| That part of the car looks like, you know, a Toyota. | ||
| You've heard probably the story about the... | ||
| What's that car called? | ||
| The Ford that's got a... | ||
| Animal name? | ||
| Mustang? | ||
| Taurus. | ||
| Taurus. | ||
| Now, there's a story. | ||
| Now, it could be apocryphal. | ||
| That the Ford Taurus. | ||
| You never heard this one? | ||
| No. | ||
| I thought you were like this guy. | ||
| Taurus is a piece of shit. | ||
| I don't care about Tauruses. | ||
| Well, the Taurus, yeah. | ||
| The Taurus is like, it's not the most beautiful car in the world. | ||
| But it was a huge seller for Ford. | ||
| They sold a lot of them. | ||
| And the story is that these guys at Ford designed a car and they took, The rear quarter panel from this automobile, the fender from this, the back fender from this, the rear windows from this, and just did a composite of all these different cars. | ||
| And the car was, this car's bullshit. | ||
| And we'll call it the Taurus. | ||
| And they presented it to Ford, who went, we love it. | ||
| And then proceeded to sell hundreds of thousands of them. | ||
| And this is a story. | ||
| Where's your phone calls here? | ||
| Faye, caller number one, you heard about this? | ||
| No one's ever heard this story? | ||
| You've never heard this one? | ||
| No, I've never heard that, no. | ||
| But I believe it. | ||
| It makes sense. | ||
| You can believe it if you look at the cars that are built now, that they are absolutely like, look at that damn Volvo. | ||
| It looks exactly like a three-year-ago Mercedes or something like that. | ||
| They just really just steal. | ||
| Jamie, pull up 2024 Shelby Mustang Super Snake. | ||
| So there's still some cars. | ||
| Roll it in here. | ||
| Just check out what this looks like. | ||
| There's cars that they make today that are unique-looking and look badass. | ||
| I wish I'd bought a Shelby back when I first had a paycheck. | ||
| Oh, yeah. | ||
| They're such beautiful cars. | ||
| Look at that. | ||
| Come on. | ||
| Well, that's kind of funny. | ||
| When I first look at it, it looks a little Chevy to me. | ||
| It does a little bit. | ||
| It could be like a Camaro. | ||
| I mean, look at that. | ||
| That looks like Chevy. | ||
| I mean, that's a beautiful car, though, right? | ||
| Well... | ||
| You know, you could photograph either of us from a certain angle. | ||
| No, no, I've seen that one in real life. | ||
| That's a beautiful car. | ||
| That's a beautiful car. | ||
| That's better. | ||
| Oh, and it sounds amazing. | ||
| But I'd hate to hit anything with that thing. | ||
| In what way? | ||
| I would hate to bump into anything. | ||
| It looks like I'd have to... | ||
| Yeah, you'd have to replace a lot of shit. | ||
| That's true. | ||
| Can you pick up that picture there? | ||
| What's the rear look like? | ||
| Oh, it's got a spoiler? | ||
| Yeah. | ||
| Come on. | ||
| How do you feel about spoilers? | ||
| Fucking badass. | ||
| That thing looks awesome. | ||
| That looks amazing. | ||
| Well, I think the original one is like the super coolest car in all. | ||
|
unidentified
|
Oh, yeah. | |
| Oh, no doubt. | ||
| I mean, if you go back and look at, like, pull up a Boss 429, 1969, Boss 429. This, to me, is the pinnacle of muscle car design, is the Boss 429. Like, that is just spectacular. | ||
| That's pretty good. | ||
| Look at that. | ||
| Well, that's pretty close. | ||
| Well, that's got that scoop in the front. | ||
| That's pretty close to the bullet year, right? | ||
| The bullet card? | ||
| 68. Yeah, bullet was 68. I actually have a recreation of that. | ||
| I was watching it. | ||
| They found the original bullet card. | ||
| Did you know that? | ||
| Yes. | ||
| I was reading about that this week. | ||
| It was on TV last week. | ||
| And I've watched it a lot of times, that movie, because I think Steve McQueen's pretty damn good. | ||
| But when you watch the movie, it's... | ||
| It's obviously the roaring through San Francisco and all that sort of stuff it's famous for. | ||
| And then there's the ending where there's – the sort of story ends with kind of a flaming crash. | ||
| It's kind of – not really kind of an ending in a way. | ||
| But watching it this particular time, it was all the moments in between all that that really make the movie. | ||
| Yes. | ||
| All the quiet in between where he's in the grocery store, he's with the groceries, the mailbox. | ||
| He's seeing these people and these people. | ||
| And he has this very quiet inner self that's dealing with people very respectfully. | ||
| And his blood pressure only moves, the needle only starts to move when he gets with the bad guy, Chalmers, who's obviously a fraud of some sort. | ||
| And he's got him like, you see him like, not just as a... | ||
| with like a person he knows is trying to use him. | ||
| And just watching that part of the performance and that part of the story was much more interesting. | ||
| The first time I saw all that as its own weave through it. - Yes. - That the car stuff had very little to do with what I was getting from the people. | ||
| The car stuff was nothing. | ||
| And his boss was a great actor, Simon Oakland, I think his name is. | ||
| He was great as his boss who said, I'm going to hold this till Monday morning. | ||
| You know, that kind of guy. | ||
| There was some great acting in that. | ||
| It's a really beautiful American movie like that. | ||
| I'm so glad you brought that up because it's one of the things that I love about that movie and Le Mans, another great Steve McQueen movie, is that he had these Moments, and you could do that in a movie back then, where no one was talking for minutes and minutes at a time. | ||
| There's a lot of quiet in Bullet. | ||
| A lot of quiet music. | ||
| It's just, you're taking in this story, but it's very compelling. | ||
| And sometimes there's not even any music, right? | ||
| Like in Le Mans, the whole first part of it, there's no talking at all for quite a while. | ||
| It's just like you're getting the sounds and the feeling of being this race car driver and he's driving his 911 down this country road. | ||
| Yeah, and it engrosses you in a different way. | ||
| It pulls you into the story. | ||
| Is that bullet where he's writing... | ||
| What movie is he driving like a dune buggy? | ||
| Is that bullet too? | ||
| No, that's the other one. | ||
| The one in Boston. | ||
| That's a pretty good movie, too. | ||
| Which one's that? | ||
| Oh, come on. | ||
| They remade it. | ||
| Thomas Crown Affair? | ||
| Thomas Crown Affair. | ||
| Yeah. | ||
| And obviously he's having time. | ||
| You know, it's like, how about we shoot some stuff in a dune buggy? | ||
| And basically they had like a whole day. | ||
| Yeah, this. | ||
| Yeah. | ||
| And he's having a time. | ||
| And meanwhile, he's got Faye Dunaway in there going, I hope that's Faye Dunaway anyway. | ||
| Roaring around. | ||
| And he could really drive, right? | ||
| Oh, yeah. | ||
| Like, really drive. | ||
| Like, you could really flip one of these fucking things if you're driving like him and you don't know what you're doing. | ||
| For sure. | ||
| Yeah, he's going sideways. | ||
| And she is having the time of her life. | ||
| Look at that. | ||
| Spinning it out in the water. | ||
| With a movie star who doesn't even have a seatbelt on, probably. | ||
| No, they didn't have seatbelts back then. | ||
| Jesus Christ. | ||
| Well, she might have a seatbelt. | ||
| She looks like she's belted. | ||
| But that was cool. | ||
| He was like the archetypal movie star. | ||
| He was a movie star. | ||
| That guy was a movie star. | ||
| There was something about him that was compelling. | ||
| He lived his life in this sort of wild, renegade way and drove race cars and he was a man's man. | ||
| And when you saw him in a movie, you believed it. | ||
| Well, I've been watching... | ||
| I've come to be watching all the old cowboy shows on a satellite. | ||
| I watch all the old cowboy shows. | ||
| And Wanted Dead or Alive was always a super cool show. | ||
| And I've been watching it just to say, what the hell is he up to? | ||
| Man, he is just... | ||
| No one was getting away with that. | ||
| No one was doing what he was doing, which was so small and so slight. | ||
| He was really preparing himself to be a movie actor. | ||
| Because his performances... | ||
| He's so controlled. | ||
| He's so in his skin. | ||
| And he's always got a piece of business to do. | ||
| He always had a piece of business to do. | ||
| Like something to do. | ||
| Like the way he strapped on his goofy sawed-off rifle and stuff. | ||
| You keep thinking it's a sawed-off shotgun. | ||
| It's a sawed-off rifle. | ||
| All his moves were very little. | ||
| His face gave very, very little away. | ||
| He would pout and do a half pout. | ||
| Kind of stuff. | ||
| And it's just fun to watch him see how little he could do and get it done. | ||
|
unidentified
|
Yeah. | |
| Get it across. | ||
| I like that about him. | ||
| But he always had, like, he kind of challenged himself to do something physical. | ||
| Like, so if he'd be talking to you, he'd have just, even that, even something like that to be like, you know, come in here. | ||
| You know, he would just, the way he did it was a guy who had a real natural way with his body. | ||
| It was fun. | ||
| Yeah, well, he would just draw you in. | ||
| In all of his films. | ||
| In a way, it was just different. | ||
| It was a different presence on screen. | ||
| There's that guy. | ||
| Sawed-off rifle. | ||
| See, it's a sawed-off. | ||
| It's not a shotgun. | ||
| It's a rifle. | ||
| See that little shtick? | ||
| He's got it so it locks in and then swings back. | ||
| So he could actually, if he wished to, you better hope he better not wish to against you two. | ||
| He could just sort of swivel it and fire it while it's still attached to his waistband. | ||
| I never saw this show. | ||
| I didn't even know it existed. | ||
|
unidentified
|
You never saw this show? | |
| I didn't know it existed until right now. | ||
| What kind of a citizen are you? | ||
| I'm a little younger. | ||
| That's all it is. | ||
| That's all it is. | ||
| Well, you can find this. | ||
| There's these new cowboy shows channels. | ||
| There's like four channels. | ||
| I have DirecTV, and so you can go and watch. | ||
| God, that's a famous guy. | ||
| Oh, God. | ||
| Oh, who's that? | ||
|
unidentified
|
Oh. | |
| Oh, that's killing me. | ||
| I know who this guy is. | ||
| Well, I don't know who he is, but I recognize him. | ||
| Help me, somebody. | ||
| Who's that guy? | ||
| Jamie will find it. | ||
| Anyway, there's a few channels. | ||
| There's one called INSP. There's also the Cowboy Channel. | ||
| There's also channel 364, 304, 323, 81. Is this DirecTV? | ||
| What is this? | ||
| DirecTV. | ||
| And they're all, and you can, and I just go through going like, what have I got to find? | ||
| So I can see the rifleman. | ||
| Oh, yeah. | ||
| I remember that. | ||
|
unidentified
|
That was a great show. | |
| Also a rifle guy, but he had a full-length rifle. | ||
| And that was Chuck Connors, who once upon a time was a Chicago Cub. | ||
| He was a baseball player. | ||
| Oh, really? | ||
|
unidentified
|
Yes. | |
| And allegedly did some art films. | ||
| But also, he was good, too. | ||
| Chuck Connors was good. | ||
| The Lone Ranger. | ||
| Oh, yeah. | ||
| Sure. | ||
| And that was... | ||
| God, come on. | ||
| Why can't I not remember his name? | ||
| But there were some Lone Rangers. | ||
| The Lone Ranger came on and then the guy... | ||
| I didn't realize it because there's some Lone Rangers where it's not our Lone Ranger being the Lone Ranger. | ||
| And who wasn't as good as our Lone Ranger. | ||
| And then our Lone Ranger comes back. | ||
| And it turns out, I finally figured out that he sort of went on strike. | ||
| He said he wanted a contract raise after the first season or something. | ||
| And they, like, said no. | ||
| They went ahead and made a season with this other guy. | ||
| And people went, when are you going to kill off the Lone Ranger? | ||
| No offense to that man's family. | ||
| I'm sure it paid for somebody's college. | ||
|
unidentified
|
But, oh, come on. | |
| I almost had it. | ||
| The guy's name? | ||
| Yeah, yeah, yeah. | ||
| Jamie will find it. | ||
| Jamie, you've got a lot on your plate. | ||
| I switched over to the Lone Ranger. | ||
| I was looking at people that were listed here. | ||
|
unidentified
|
I'll give you this one that are a lot. | |
| There's a few people listed here as guest cards. | ||
| I actually saw him someplace. | ||
| Is he one of these names? | ||
| Michael Landon? | ||
|
unidentified
|
Landon, Warren Oates. | |
| Warren Oates. | ||
| It's definitely not Coburn. | ||
| No, it's none of those guys. | ||
| Lon Chaney's misspelled. | ||
| But it's not those guys. | ||
| Coburn's in there twice. | ||
| Lone Ranger here. | ||
|
unidentified
|
One of these guys, maybe? | |
| No. | ||
| See, it started on radio first. | ||
| That's what you're getting. | ||
| You're pulling up radio. | ||
| That's how fair back you're going. | ||
|
unidentified
|
Clayton Moore? | |
| Clayton Moore, thank you. | ||
| I saw Clayton Moore. | ||
| He came to a jewel food store near us. | ||
| The Lone Ranger was going to appear. | ||
| But he was not allowed to wear the mask for, like, contraction, whatever the hell. | ||
| So there he was, and I'm like... | ||
| Mom, that's not the Lone Ranger. | ||
| You know, whatever the hell it was. | ||
| It was funny to see Clayton wear without a mask on. | ||
| Imagine a contract saying you can't do personal appearances. | ||
| Well, no, it was like he was, the Lone Ranger was copyrighted, you know, nine days from Sundays, you know, so he could go and be right on an elephant. | ||
| I think I may have seen him riding on an elephant in a parade once, but also without the mask on. | ||
| But I should talk about movies because I'm supposed to be talking about movies. | ||
| Yes. | ||
| Since we started talking about movies. | ||
| Tell me about your movie. | ||
| I got two movies. | ||
| I have three movies. | ||
| I'll work backwards from the one which is least, which is farthest away. | ||
| I did one with Wes Anderson called The Phoenician something. | ||
| That's the title. | ||
| You know, I'm sorry, Wes. | ||
| The Phoenician, you know what it is? | ||
| The Phoenician Scheme. | ||
| And I have a lot of trouble with names nowadays. | ||
| But the guy who did the set design, can you figure that out? | ||
| This guy is the most famous. | ||
| He's the best there is now. | ||
| These are the most beautiful sets I've ever seen in any movie. | ||
| Come on. | ||
| It's coming. | ||
| I'm sorry, everybody, but I just haven't been getting enough sleep. | ||
| No worries. | ||
| Anyway, that's a great movie. | ||
| We shot that in Berlin, and there's great people in it. | ||
| It's got, I want to say Toshiro Mifune, but it's not. | ||
| It's the guy who played Che. | ||
|
unidentified
|
Come on. | |
| Come on, help me out here. | ||
| All right, you look it up, Jim. | ||
| You get back to us with this. | ||
| Anyway, that movie's coming in a bit. | ||
|
unidentified
|
Who? | |
| Benito. | ||
| Yeah. | ||
| Benito's really good. | ||
| He's really good and he's really cool. | ||
| And Michael Cera, right? | ||
| Is he the third? | ||
| Did you say Benicio? | ||
| Benicio Del Toro. | ||
|
unidentified
|
Benicio Del Toro. | |
| Yeah. | ||
| I said Benito. | ||
| You said Benito. | ||
| He's great. | ||
| Fear and Loathing as well. | ||
| He was awesome in that. | ||
| He's great. | ||
| He's great in everything. | ||
| We get on good. | ||
| And then the daughter, whose name is Kate Winslet, who is really wonderful. | ||
| So the three of them are extraordinary in the movie together. | ||
| And her name is like Cupid or Eve or something that's crazy. | ||
| What's it about? | ||
| I have no idea. | ||
|
unidentified
|
Huh? | |
| What's her name? | ||
| Mia. | ||
| Thank you. | ||
| See, I told you. | ||
| Cupid. | ||
| Something. | ||
| Mia. | ||
| I have no idea what it's about. | ||
| You're going to have to pay the money. | ||
| There she is, right there. | ||
| A dark tale of espionage followed a strained father-daughter relationship with a family business. | ||
| Yeah, Willem's got a good part, but it's really those... | ||
| Keep going, keep going. | ||
| Benedict Cumberbatch? | ||
| Yeah, they're all swell and fine. | ||
| Michael Cera. | ||
| Michael Cera is huge in it. | ||
| He's fantastic. | ||
| Yeah, he's a really good guy. | ||
| Michael Cera, Benicio, and Mia are really the muscles. | ||
| Brian Cranston? | ||
| And they're great. | ||
| Anyway, that's going to be... | ||
| Really good. | ||
| All his movies are like they are. | ||
| They're all great. | ||
| That one's going to be very good. | ||
| That one's going to be funny, too. | ||
| Then I made a movie called The Friend, which stars Naomi Watts and a dog. | ||
| There's a huge dog. | ||
| Are you a dog guy? | ||
| I love dogs. | ||
| Okay, so there's a massive, really big dog. | ||
| I mean, it's pretty much as big. | ||
| There it is. | ||
| There's Naomi. | ||
| And there's the dog. | ||
| The dog is that big. | ||
| See how big it is? | ||
| It's fucking huge. | ||
| Yeah, that's the words for it. | ||
| Yeah, that's a Great Dane. | ||
|
unidentified
|
Isn't it? | |
| It's an amazing dog. | ||
| And the script is great. | ||
| It's from a book written by a woman named Sigrid Nunez. | ||
| And can you pop up on the titles there, maybe? | ||
| No, the other thing. | ||
| Yeah, these guys directed it. | ||
| These guys. | ||
| Scott McGehee and David Siegel. | ||
| And they wrote the script from this book. | ||
| And it's a great script. | ||
| Nobody can hear you over there, unfortunately. | ||
| Nobody can hear you over there. | ||
| We're going to have to come back. | ||
| Scott McGehee and David Siegel wrote the script and directed it. | ||
| And they're great. | ||
| I love those guys. | ||
| They made a few good movies. | ||
| And this one's really good. | ||
| And this Sigrid Nunez is kind of a big deal author. | ||
| People know who she is that read lots of books. | ||
| And what is The Friend? | ||
| What is it about? | ||
| The friend. | ||
| Well, yeah, there you go. | ||
| So that's the question. | ||
| Well, that's sort of the puzzle, a little bit of the puzzle of it. | ||
| So who is the friend? | ||
| Is the friend the friend or is the friend the dog? | ||
| The dog represents something. | ||
| So it's a little deeper than a lot of the ones we get to. | ||
| But it's really good. | ||
| It's really good. | ||
| I like it. | ||
| It's been to film festivals and people laugh and cry and the whole thing. | ||
| How do you pick? | ||
| Things to do now. | ||
| Like, you've done so much. | ||
| You've had this insane career. | ||
| I'm going to tell you that, but let me finish the last one, because today... | ||
| Now, is your show live? | ||
| No. | ||
| No, it comes out tomorrow. | ||
| Tomorrow. | ||
| Okay, so that's why I wanted to ask, because this movie, the third movie, opens today, which is yesterday, and it's called Riff Raff, and this is a movie that you have to see. | ||
| You have to see this. | ||
| This is really something. | ||
| This is a movie you should take. | ||
| Ten of your friends, too, and go see Riff Raff. | ||
| It will be, I guarantee you, this one's a party. | ||
| Tell me what it is. | ||
| Um, well, there's a trailer for it up there. | ||
| See, there's... | ||
| Let's play the trailer. | ||
|
unidentified
|
Okay, you can do it. | |
| Put the headphones on. | ||
| We'll play the trailer. | ||
| I wasn't... | ||
| There you go. | ||
| Slap some headphones on. | ||
| Oh. | ||
| No Slim Jims. | ||
|
unidentified
|
Past two hours, you've been passing gas like a very sick infant. | |
| I gotta breathe all day. | ||
|
unidentified
|
Sorry, Lefty. | |
| I had a lot of coffee, okay? | ||
| Sorry. | ||
| And then you use my name? | ||
| Jesus Christ, Lonnie. | ||
| He just said my name. | ||
| You catch our names by any chance? | ||
| Yeah, he called you Lefty and you called him Lonnie. | ||
| Well, I overreacted. | ||
|
unidentified
|
Okay. | |
| Son, we gotta talk about Lefty. | ||
|
unidentified
|
What did you do? | |
| Logan! | ||
| Logan! | ||
| You killed his son. | ||
|
unidentified
|
You're gonna kill us. | |
| What are you doing? | ||
| I get horny when I'm scared. | ||
| I'm married. | ||
| Who cares? | ||
| It's just us and the shitty wildlife, you know? | ||
| This is our son. | ||
|
unidentified
|
We're too young to be grandparents. | |
| All because your son couldn't pull out in time. | ||
| We've got house guests. | ||
| I would categorize these as a must kill. | ||
| What are we? | ||
| Family. | ||
| Oh my god. | ||
| Can I get you anything? | ||
| I'd sell my left tit for an Advil and a cup of coffee. | ||
| You said what? | ||
| Who was first? | ||
| There was this food incident. | ||
| Rocco put pubes in my wonton soup. | ||
|
unidentified
|
If it's okay, I would just really like to torture him a little bit if it's okay. | |
| Shouldn't have done that, Rocco. | ||
| Yeah, knock yourself out. | ||
|
unidentified
|
Oh my god. | |
| We're all gonna die. | ||
| You don't have all night? | ||
|
unidentified
|
Wait for me before you two start hitting each other. | |
| You know, once you start killing it, it sort of becomes your de facto solution for every problem. | ||
| What? | ||
| Get off of me. | ||
| I'm not gonna. | ||
| I'm not gonna, Ruth. | ||
|
unidentified
|
What's that? | |
| Shame! | ||
| We're gonna put something that hard to waste. | ||
| Huh? | ||
| That looks fun. | ||
| Uh, yeah. | ||
|
unidentified
|
Well... | |
| Yeah, that's... | ||
| They gave you too much, as far as I'm concerned, but, um... | ||
| They always do, though, right? | ||
| I don't know. | ||
|
unidentified
|
Sometimes... | |
| Not always. | ||
| Not always. | ||
| But it's... | ||
| It's common. | ||
| It's kind of nicer to see as a surprise, so... | ||
| Oh, should we not have seen the trailer? | ||
| It's okay. | ||
| I mean, what are you going to do? | ||
| But some people will think, I must see that. | ||
| But I guarantee you this movie is really, really funny. | ||
| I love a movie where I don't get to see the trailer. | ||
| I really do. | ||
| I have no idea how it goes down. | ||
| Yeah, you could not show the trailer. | ||
| That would be okay. | ||
| I saw one that was just the first part of that. | ||
| And I was hoping that was what it was. | ||
| This kind of makes it seem like a little bit... | ||
| You know, it's just a little bit too much stuff in it. | ||
| A little bit too much stuff for me. | ||
| Maybe. | ||
| Let's think about it. | ||
| But anyway, it's good. | ||
| It looks great. | ||
| Yeah. | ||
| So Jennifer Coolidge has got some unbelievable things to say in the movie. | ||
| She's got some amazing things to say. | ||
| And Ed Harris is really, really good in the movie. | ||
| Pete Davidson, who I had no idea about. | ||
| We were sidekicks in the movie, and we had a very good time. | ||
| Did some good stuff. | ||
| This Louis Pullman, who's Bill Pullman's son, is really good. | ||
| I mean, and Emanuela, she got an Italian, Pustakini, like that. | ||
| She's just wonderful and beautiful. | ||
| And Gabby Union, I call her Gabby, Gabrielle Union. | ||
| And Miles, whose last name I can't remember because I just want to call him Miles Davis, but that little kid in there. | ||
| He plays the voice of the Electric Junior Bunny show or something like that on Nickelodeon or something like that. | ||
| He does weird cartoon voices. | ||
| Oh, yeah? | ||
| So, if you watch a lot of Nickelodeon cartoons... | ||
| I don't anymore. | ||
| My kids are teenagers now. | ||
| Oh, really? | ||
| I used to. | ||
| I used to. | ||
| I could tell you all about Ni Hao Kai Lan. | ||
| Oh, see, I don't know that one. | ||
| I guess I... I guess Spongebob. | ||
| My brother plays the Flying Dutchman on Spongebob. | ||
|
unidentified
|
Oh, wow. | |
| So I watched a lot of that, but that's about it. | ||
|
unidentified
|
I don't know. | |
| I'm way behind. | ||
| How do you decide what projects to pick? | ||
| It's really just what, well, there are certain people, like with people that I've worked with before, there's some, like Wes Anderson is one, and Jim Jarmusch. | ||
| And Sofia Coppola are others. | ||
| And those three people call and say, I got something. | ||
| I just say, okay, when? | ||
| Because I know that they're... | ||
| I know they know what I can do, and they know they look out for me, and they treat people well. | ||
| I love them as people, and I love them as artists. | ||
| So that's just a thing. | ||
| But the other ones are more like... | ||
| You have to read the script, because people, you know, the script is pretty much, if the script's not there, I mean, you know, I can always help improve a script, but if the basic thing isn't there, it's like, I was scratching at one the other day, and I'm writing, and I'm going, what the hell am I doing this for? | ||
| This is just terrible. | ||
| Every page is like, so, but if it's not good, and usually, you know, you know in like five pages. | ||
| Whether or not to even continue reading the script at all. | ||
| So a lot of it's based on relationships and people that you trust and know. | ||
| Those are very few. | ||
| There's only very few people that I have those kinds of relationships with. | ||
| And I've done multiple jobs with them. | ||
| And they kill every time. | ||
| They're good. | ||
| They're really good. | ||
| So when they call, it's like, you don't have to waste my time telling me the story. | ||
| Just send me the thing, you know? | ||
|
unidentified
|
Right. | |
| You don't have to waste any time I'm in. | ||
| You can count on me. | ||
| That's awesome. | ||
| So that's it. | ||
| I love that. | ||
| Yeah, I do too. | ||
| God, that's such a great feeling when you trust someone that much and you're so enthusiastic about working with them. | ||
| Yeah, it means, like, great. | ||
| And, you know, like, people make the living, the making of a movie part of their living, you know? | ||
| Like, Wes is probably the... | ||
| The most extreme example in that, like, we all live in a quasi-dormitory. | ||
| You know, we take over a small hotel in some city, and all the actors and, like, the key crew live in the hotel. | ||
| And you come down for breakfast in the morning, and people pad down in their slippers and their jammies, and they have coffee and stuff, and they look at the newspaper and say, what are we doing today? | ||
| And then they, like, pad back up the stairs and get on their clothes, and they go to work. | ||
| That's cool. | ||
| It's really nice. | ||
| It really is like what you always thought it would be. | ||
| Like in the old days, like, what if we all lived in a dorm and we were just being funny all day? | ||
| You know, like that. | ||
| Yeah. | ||
| What was it like working on Kingpin? | ||
| Well, those guys have more fun making movies than anyone. | ||
| They really make it fun. | ||
| Like, I remember, like, in between shots on Kingpin, we'd be on the side of a road somewhere. | ||
| And it would be like, everybody's got to pick up a rock and we got to throw it at that telephone pole. | ||
| You know, who's going to hit the telephone pole with a rock? | ||
| So we would sit there and like, I don't know, a dollar, ten dollars, a hundred dollars, whatever it was, we're throwing and somebody's got to hit the rock. | ||
| You know, and then people like pull out cash and pay. | ||
| Because it's just like, we just got to keep this thing going. | ||
| You know, we're not going to let the energy of this thing drop. | ||
| Just fun. | ||
| Keep the fun rolling. | ||
| Fun, yeah. | ||
| And just creativity and always... | ||
| Being loose and always being physical, always being connected, attached, not just attached but connected, and entertaining, entertaining each other, really making this fun. | ||
| God damn it, we are going to have fun or else. | ||
| If you don't have fun making a comedy, you've just made a bad movie that's not funny. | ||
| Yeah. | ||
| Well, it comes off in the film. | ||
| The film is so fucking funny. | ||
| It's so good. | ||
| And it's one of those films, like, if you tried making that today, it would be an uphill trudge. | ||
| Well, you know, and that's, like, one of those things. | ||
| They had a moment on Saturday Night Live, an in-memoriam thing. | ||
| They said, oh, I was there the week of the thing, and they said, yeah, so-and-so's working on the in-memoriam, and I'm thinking, well, who's gone? | ||
| Which reminds me. | ||
| Who's gone, you know? | ||
| And, no, it's not. | ||
| Who's passed away? | ||
| It's what we can't do anymore to be funny. | ||
| So it was like all these kinds of jokes. | ||
| And so it was just a whole clip. | ||
| I didn't even see it, but I saw a little bit of it being assembled, but it could be 40 minutes long. | ||
| Just all the sketches that people would get, like, you know, internet responses like, we're going to burn down the city in New York. | ||
| It could be hours long today. | ||
| Yeah. | ||
| Hours long. | ||
| Yeah, I'm sure it was 45. But some of the funniest things ever done, you know. | ||
| Yes. | ||
| Like Head Wound Harry, you know, which was one that not many people think about. | ||
| But how, you know, like somebody would object to a dog eating a brain wound, you know, like licking the blood coming out of someone's skeletal wound, you know. | ||
| But someone told me on the way here, a friend of mine, a musician named Mike Zito. | ||
| Who said he listens to your show. | ||
| He said that you knew Phil Hartman. | ||
| Yeah, very well. | ||
| What did you do with Phil Hartman? | ||
| Newsradio. | ||
| It was a sitcom we did together. | ||
|
unidentified
|
Okay. | |
| I didn't really watch much in newsradio. | ||
| It was 94 to 99. I played the maintenance guy in this radio station and Phil was the lead anchor. | ||
| Did you resent him because you were doing maintenance and he was the lead anchor? | ||
| What do you mean? | ||
| No, I'm just joking. | ||
| And where was it? | ||
| Was it on CBS? NBC. NBC, of course. | ||
| Yeah. | ||
| In the 90s. | ||
| And he was the news anchor. | ||
| Yes. | ||
| Well, he's got that crazy voice, right? | ||
| Oh, he was great. | ||
| Yeah. | ||
| We became really good friends. | ||
| He was a wonderful guy. | ||
| We actually played one of his clips the other day. | ||
| We had to take it out of the show, but it was a clip from SNL that you could never play today about a doctor who decided that every child was female and he had to do operations on all of them. | ||
| And we were like, holy shit! | ||
| Holy shit! | ||
| And it's like, you know, 90% of his births involved an operation that turned into a girl. | ||
| They were all girls. | ||
| That's funny. | ||
| It was insane. | ||
| He was great. | ||
| Yeah, he was really good. | ||
| I worked with him. | ||
| I mean, I did Saturday Night Live, I guess, when he was there. | ||
| But he was in the movie we made called Quick Change. | ||
| And he was like sterling silver. | ||
| It was like every single take was just like... | ||
| Perfect. | ||
|
unidentified
|
Yeah. | |
| And it was so much fun. | ||
| And you just go, Phil, that was so great. | ||
| And you go like, he was so kind of modestly proud of like, yeah, I felt pretty good about that too. | ||
|
unidentified
|
Yeah. | |
| It was really nice. | ||
| He had real, real modesty. | ||
| Yes, he did. | ||
| Well, he was a guy who made it late in his career, you know, late in his life. | ||
| So he was, before he was an artist, we have one of his albums out there in the other room. | ||
| He was a musician? | ||
| No, an artist artist. | ||
| Oh, I'm sorry. | ||
| Well, he was a musician as well. | ||
| He did music as well. | ||
| Why did I say musician? | ||
| Oh, you said one of his albums. | ||
| Yes. | ||
| I was looking at vinyl today, so that's why it went into my head. | ||
| It was a cover of an album that he drew. | ||
| Oh. | ||
| Yeah. | ||
| He was an illustrator. | ||
| He was brilliant. | ||
| Like, really, really good. | ||
| Oh, I'd love to see that. | ||
| And then he was on Pee Wee's Playhouse. | ||
| Yeah. | ||
| May he rest in peace. | ||
| May he rest in peace. | ||
| That guy was fucking great, too. | ||
| And the lady, I didn't really watch a lot of Pee-wee's Playhouse, but he was a funny guy, that guy. | ||
| And his lady sidekick died this week or something. | ||
| Who was his lady sidekick? | ||
| I don't know. | ||
| On Pee-wee's Playhouse? | ||
|
unidentified
|
I'm not up to date on anything. | |
| Oh, I didn't see that. | ||
| Who? | ||
| Yeah. | ||
| All right. | ||
| Lynn Murray Stewart. | ||
| Lynn Marie Stewart. | ||
| Lynn Marie. | ||
| See, I didn't... | ||
| Oh, I guess I'd recognize her if her face were a bigger head. | ||
| So I think Phil, because of the fact that he made it late in life, like, he was just so happy to be there. | ||
| He had perspective. | ||
| Yeah. | ||
| He had... | ||
| I mean, I think he was like 37 or something when he got SNL. You know? | ||
| So it's like... | ||
| It's the point where a lot of people start thinking, hey, this is never going to happen for me. | ||
| And then he was, you know, he was a hero. | ||
| He could do a lot of things. | ||
| He had a lot of chops. | ||
| He had a great voice and he could play straight and, you know, playing, doing comedy is the ability to play straight and he could really do it. | ||
| He could really do it. | ||
| Yeah. | ||
| Well, I miss that guy. | ||
| He was good. | ||
| He was a good guy. | ||
| Yeah, I miss him terribly. | ||
| That was a crazy one because I knew the whole family. | ||
| I knew the wife. | ||
| I knew the whole situation. | ||
| He had tried to divorce her a few times. | ||
| He tried to leave a few times and always went back. | ||
| Yeah, and that's also the guy. | ||
| He would go back and keep trying to make things work. | ||
| Yeah. | ||
| I mean, he was a very unusual guy. | ||
| And what a fucking professional. | ||
| Like, he would make me feel like I wasn't doing enough. | ||
| Like, he'd have, like, all of his scripts would have tabs for all the scenes that he was in, and then he'd have notes underneath each thing, and everything would be organized. | ||
| He had a three-ring binder he would put the script in. | ||
| Well, that's going too far. | ||
| He would hole-punch the moment he got the script. | ||
| What? | ||
| Put it in the three-ring binder. | ||
| Oh, yeah. | ||
| See, I didn't have that much faith in the scripts. | ||
| I knew they were going to change a lot from Wednesday to Friday. | ||
| If it was a big scene, I knew they would rewrite it the next two days. | ||
| No, there was a lot. | ||
| Because it's hard to unlearn. | ||
| Yes. | ||
| So I would not learn. | ||
| Yeah. | ||
| Because unlearning is really hard. | ||
| Yeah. | ||
| Like if you have a sketch that's this long and all of a sudden it's this long, you've got problems. | ||
| Have you ever met Dave Foley? | ||
| I think so. | ||
| He was one of the guys from... | ||
| Yeah, I saw him. | ||
| He goes out with my brother, Joel. | ||
| And he sings, they do like an improv thing called Whose Line Is It Anyway? | ||
| Oh, okay. | ||
| So I only met him recently. | ||
| I met him recently. | ||
| I finally saw my brother's show that he goes out with Whose Line Is It Anyway? | ||
| Right. | ||
| With Greg Proops and all those guys. | ||
| And they kill. | ||
| Yeah. | ||
| I mean, there's, you know, I knew they were going to kill because I know how good my brother is who's an improviser. | ||
| He can, you know, if you get good at it, and my brother is really good at it, far better than I. I ever was or could hope to be. | ||
| Because he's really kept at it. | ||
| And so he really goes and goes hard at it. | ||
| He's really good at it. | ||
| I knew that they would kill it. | ||
| I didn't realize how much fun the show would be from an audience perspective. | ||
| Like, they drag a lot of people up on the stage. | ||
| And I think, well, that can go any way at all. | ||
| And they managed to get... | ||
| I mean, the show I saw, they had people in the audience that probably should have... | ||
| And hired. | ||
| That was funny. | ||
| But there's something about the uncertainty of bringing up someone from the audience that raises the energy level and the expectation and the possibility. | ||
| Yeah. | ||
| And the crowd goes crazy for it. | ||
| Actors, the performers go crazy, too, because it's like, God damn, they just killed us. | ||
| They just came up here and murdered us. | ||
| And that's where the real fun is. | ||
| So they're enjoying themselves. | ||
| Well, it's a tight show. | ||
| They've been doing that show for so long. | ||
| Their muscles are very developed. | ||
| They're comedy improvisation muscles. | ||
| They're just so sharp. | ||
| When you do a show like that on the road constantly, you develop a sort of feel for how to improvise and how things can go. | ||
| Well, you're fearless, and, you know, you're certainly—anyone that's ever been in that racket knows you can't be afraid of dying. | ||
| Right. | ||
| So if you're not afraid of dying, let's go. | ||
| Here we go. | ||
| And anything—and there's a handful of you, so it's like the Magnificent Seven. | ||
| If I don't kill you, he will. | ||
| Right, right, right, right, right. | ||
| So if I don't kill you, he will. | ||
| Yeah. | ||
| So it's fun to watch. | ||
| It was really fun to watch, finally see it live. | ||
| I'd only seen it on television. | ||
| To see the live show was cool. | ||
| I recommend it, too. | ||
| They're coming to a town near you if you're living in the United States of America. | ||
| It's a great show. | ||
| You should definitely go see it if they're coming to you. | ||
| Dave Foley, who was on Kids in the Hall, he was also on NewsRadio. | ||
|
unidentified
|
Oh! | |
| Okay. | ||
| He played the manager of the station who was in charge of reigning in film. | ||
| Stephen Root from Office Space and a million other things. | ||
| Andy Dick, Maura Tierney, Vicki Lewis, Candy Alexander. | ||
| I know a lot of those people. | ||
| Yeah. | ||
| So that was the show. | ||
| So it ran five years. | ||
| Yeah. | ||
| Well, around four years, and then Phil got killed. | ||
| Oh, that's what ended it? | ||
| John Lovitz, who was a good friend of his, took his place. | ||
| Well, not take it over, necessarily. | ||
| It was a real ensemble. | ||
| I mean, Dave was really the main star, Dave Foley was. | ||
| But it was... | ||
| It just, you know, for whatever reason, I think the John Lovitz ones were really funny. | ||
| They were really good, but it was just... | ||
| It's just different and funny. | ||
| It was just the end of the line. | ||
| The show was over, and it got canceled after the fifth year. | ||
| Yeah, there's something about... | ||
| It was like that. | ||
| It was Saturday Night Live. | ||
| The fifth year, it's like, wait a second. | ||
| High school is only five years. | ||
| Why should this show be? | ||
| Five years is a long time. | ||
| It's a long time. | ||
| I know. | ||
| It's amazing to think. | ||
| We thought, like, five years, this is it. | ||
| We're done. | ||
| Goodbye, everybody. | ||
| That was 45 years ago? | ||
| Who the hell thought that would happen? | ||
| Is it the longest-running show ever on television? | ||
| I think the Today Show is the longest-running show. | ||
| Oh, is it really? | ||
| Well, if I had to guess. | ||
| Certainly the longest-running show that's actually entertaining. | ||
| I mean, SNL's been around for so long. | ||
|
unidentified
|
Don't tell Al Roker that, buddy. | |
| Can I take a break for a second? | ||
| Yeah. | ||
| I'll be right back. | ||
| Take a leak. | ||
| Be right back. | ||
| You're in charge. | ||
| Okay. | ||
| I'll do a little bit. | ||
| See you in a bit. | ||
| You have so much cool stuff on the walls. | ||
| A lot of art. | ||
| Do you do shows where you walk around and show all the stuff? | ||
| No, no. | ||
| Really? | ||
| No, no, no, no. | ||
| It's personal. | ||
| For us and the guests. | ||
| Well, there is a photograph in the men's room. | ||
| Which one? | ||
| It's Presley. | ||
| And it looks like it's a mugshot. | ||
| It's a fake mugshot. | ||
| So what it is is he went to the White House and he met with Nixon. | ||
| Okay, the gun thing where Nixon gives him a revolver. | ||
| He gives him an automatic pistol. | ||
| Yeah, what did he give him? | ||
| And Nixon gives him a drug badge to be a drug agent. | ||
| You don't know that part? | ||
| That's right, I forgot about that part. | ||
| He gave Presley a gun badge. | ||
| Because Presley would talk shit about all these guys who were doing drugs. | ||
| Meanwhile, he was high as fuck. | ||
| Well... | ||
| He was in pain, you know? | ||
| Yes. | ||
| He was in pain. | ||
| He had physical pain. | ||
| What was the physical pain? | ||
| What was wrong with him? | ||
| I think he did the splits a lot of times. | ||
| You know, like Chevy's, you know, Chevy hurt himself falling, you know? | ||
| Oh, yeah. | ||
| People have pain. | ||
| Presley had, I don't know, I don't remember all the facts, but Presley had physical pain. | ||
| I don't know what his back or something like this, sacchiliac or whatever the hell. | ||
| And they got him hooked. | ||
| And so he had like painkillers. | ||
| Right, but it's just hilarious that he was the drug guy. | ||
| It is hilarious. | ||
| Yeah, it's like good fun. | ||
| It's like a great American story. | ||
| And like, you just see the picture. | ||
| There's a photograph that exists of Nixon handing him the badge. | ||
| And, you know, you can laugh looking at it going, right. | ||
| That's exactly right. | ||
| Yeah. | ||
| But yeah, there it is. | ||
| And there's the damn badge. | ||
| Special assistant. | ||
| Special assistant. | ||
| You know what I did see the other night? | ||
| Did you ever see Frost and Nixon? | ||
| No. | ||
| It's a movie that was made. | ||
| And back in the day, after Watergate... | ||
| Is his name David Frost? | ||
| He was a British interviewer cat. | ||
| And he staged... | ||
| He had this idea to, he was trying to like, he sort of lost his place in the universe of England anyway, or the world. | ||
| And he came up with this idea somehow to, if he could somehow get an interview with Richard Nixon. | ||
| And it's a pretty well-made movie. | ||
| It's a very well-made movie about it. | ||
| And they paint Frost pretty much as like... | ||
| Maybe what he was like, sort of what the perception, my perception is kind of what he was like. | ||
| Not a perfect person, but certainly not, you know, but certainly got some juice, certainly has some sort of idea of something going on. | ||
| That sounds very small, but he was a little complicated. | ||
| That's the cheating word. | ||
| And Nixon too. | ||
| And I just want to say that Frank Langella, who I only know from like doing – he was kind of like a Broadway guy and he did some horror movies. | ||
| He's really good as Nixon. | ||
| Very, very, very, very good as Nixon. | ||
| And it's just a really well-made movie. | ||
| And I was up in New York and I thought, you know, I'm going to find Frank Langella. | ||
| There it is right there. | ||
| And tell him so. | ||
| There's the guy. | ||
| I don't know what this man's name is who plays for us. | ||
| I can't recall anything. | ||
| But he's good. | ||
| And there's Langella playing Nixon. | ||
| And Langella is really good as Nixon. | ||
| And Nixon's not easy to do. | ||
| Does he do the voice well? | ||
| He does them well. | ||
| And, you know, when you try too hard... | ||
| Let me hear those. | ||
|
unidentified
|
Your personal lawyer came to Washington. | |
| Yeah. | ||
| There you go. | ||
| Yeah. | ||
| Pretty fucking good. | ||
| It's good. | ||
| Yeah, he's really good. | ||
| So I never got around to finding out where Frank Langell lived in New York or calling him up. | ||
| But maybe someone who knows him, listens to your show, will say, hey, Frank, you got a shout out today in Texas. | ||
| That guy's great. | ||
| He was great as Dracula, too. | ||
| Yeah. | ||
| That whole Nixon Watergate story, I used to think about it very differently until Tucker Carlson broke it down for me. | ||
| Bob Woodward was an intelligence agent, and the first time he ever gets a job as a journalist, he's covering Watergate. | ||
| All the people that were involved in the break-in, FBI people, it was a complete intelligence operation. | ||
| Nixon definitely did the things they accused him of, but the whole thing was sort of coordinated by the intelligence agents to get Nixon out of office. | ||
| Apparently, what the story was, according to—I can play you the Tucker thing if you'd like to see it. | ||
|
unidentified
|
But apparently what the story was, it sounds crazy. | |
| But the story was that Nixon was digging into who killed JFK. One of the things that they wanted to set up when he was running for president is to make sure that Gerald Ford was his vice president. | ||
| Gerald Ford was also on the Warren Commission. | ||
| He was digging into it, and they wanted to remove him from office. | ||
| They set this up. | ||
| They framed him. | ||
| He did it. | ||
| They got him out of office. | ||
| Gerald Ford gets in. | ||
| Okay, I got a shorter version. | ||
| Okay. | ||
| You're going to take me down to the Kennedy Road. | ||
| Where are we going there with that one? | ||
| I got Richard Belzer tapes I can play for you. | ||
| Oh, I'm a fan of Belzer. | ||
| I've met Belzer. | ||
| Belzer and I talked UFOs. | ||
| The new guy is going to bring out all the warrant commission stuff. | ||
| Supposedly release all this stuff. | ||
|
unidentified
|
Allegedly. | |
| But my question is, what the fuck is going to be in there? | ||
| Good call on allegedly. | ||
| I like that. | ||
| It's not going to be, hey, this guy did it. | ||
| Here it is. | ||
| No. | ||
| Here's the way I see the Bob Woodward story. | ||
| See, you said, I don't know, what did you say first about Nixon, about your way of looking at Nixon? | ||
| The way I look at Nixon, and part of it is, seeing this, I like this way that, I love the way Langella did this. | ||
| I thought it was really well done and made a character of him, you know, a person of him. | ||
| But to me, I feel, here's what I feel about Nixon. | ||
| It's like, you know, he was hard to care for. | ||
| He ran against JFK, who was everybody's, you know, my hero. | ||
| And my father actually pushed me into John F. Kennedy in 1960. You know, just pushed me into the crowd and just pushed me up so I'd bounce up against him. | ||
| Now I'd have been wrestled to the ground. | ||
| But back then, you could do that. | ||
| Anyway, I felt like Nixon was – and certainly knowing Hunter and knowing all of the history of Nixon and whatever, Nixon wasn't my guy. | ||
| Oh, agreed. | ||
| He was not my guy. | ||
| No, I'm not defending Nixon in any way, shape, or form. | ||
| In fact, I talked about Nixon before that I think he's the problem with the whole psychedelics, drug, legalization act of 1970. But however, when I read Wired, the book written by, what's his name, Woodward, About Belushi. | ||
| I read like five pages of Wired and I went, oh my God. | ||
| They framed Nixon. | ||
| All of a sudden I went, oh my God, if this is what he writes about my friend that I've known for half of my adult life, which is completely inaccurate, talking to the people of the outer, outer circle getting the story, what the hell could they have done to Nixon? | ||
| I just felt like If he did this to my friend like this, and I acknowledge I only read five pages, but the five pages I read made me want to set fire to the whole thing. | ||
| Those five pages, I went... | ||
| If he did this to Belushi, what he did to Nixon is probably soiled for me, too. | ||
| I can't take it. | ||
| And I know you say, well, you could have two sources and everything like that. | ||
| But the two sources that he had, if he had them for the Wired book... | ||
| We're so far outside the inner circle that it was criminal, cruel. | ||
| And the reasoning for it is that the most famous person ever to come from Wheaton, Illinois, is John Belushi. | ||
| The second most famous person to come from Wheaton, Illinois, is Harold Red Grange, the football player. | ||
| And the third most famous person to come from Wheaton, Illinois. | ||
| It's Bob Woodward. | ||
|
unidentified
|
Really? | |
| Wow. | ||
| So, there's all my controversy for today. | ||
| That's all I got. | ||
| I got a bone about that one. | ||
| You know, I got a bone for Woodward ever since I read that. | ||
| Well, once you see it from something that you know, you know, once you see propaganda or bullshit from someone that you know, and you see a distorted perception, it really, it opens your eyes to the fact that a lot of the things you read are horseshit. | ||
| I mean, Belushi made people's careers possible. | ||
| He made people's careers possible. | ||
| Mine would be one of them. | ||
| All the people that he dragged to New York. | ||
| He went to New York first. | ||
| He broke into New York. | ||
| He took over New York. | ||
| And he dragged all of us from the second city to New York. | ||
| He's the one that got everyone there. | ||
| And there are musicians and lots of them. | ||
| That will thank Belushi for the creation of, you know, the revivification of the blues. | ||
| And for, like, the fact that there's, like, a House of Blues chain that blues players can go and play. | ||
| And there are all these venues that wouldn't have existed without Belushi. | ||
| Yeah. | ||
| You know, he did a lot of things for people. | ||
| He did a lot of... | ||
| There's a lot of people that slept on John Belushi's couch. | ||
| There's a lot of people that stayed for free at his house until they made it in New York. | ||
| And I'm one, and... | ||
| And any, you know, he died in an unfortunate way. | ||
| But the man, when he was, he was still the best stage actor I ever saw. | ||
| He was absolutely magnetic. | ||
| You couldn't take your eyes off him. | ||
| And he did a lot of wonderful things for each other. | ||
| He was a short hitter. | ||
| Guy could only drink like four beers and he was drunk. | ||
| So the idea that he died of an overdose is hilarious. | ||
| Like, that's what my brother said. | ||
| He said, what, do you have four beers? | ||
| You know, he's John Stead. | ||
| What, do you have four beers? | ||
| He was not really much of a drinker, but... | ||
| But it was drugs, right? | ||
| It was drugs, yeah. | ||
| It was a speedball. | ||
| Yeah. | ||
| And it was this, I believe, to my knowledge, it was like the first speedball he ever had. | ||
| Jesus Christ. | ||
| So what was the Woodward interpretation? | ||
| What was his version? | ||
| Oh, it was just, he was talking to people like, wait a minute, you're telling me that that guy over there... | ||
| That guy who's that far away from the center of things is telling you the facts about John Belushi? | ||
| That guy way the fuck over there is telling you who John Belushi is? | ||
| It's like, wait a minute. | ||
| And he didn't contact any of you guys? | ||
| I didn't want to have anything to do with it. | ||
| I would have nothing to do with it. | ||
| It smelled funny from day one. | ||
| Judy wanted people to talk. | ||
| I was like, sorry. | ||
| I know where this is going. | ||
| And it wasn't exactly where I thought it was going. | ||
| Even worse than where I thought it was going. | ||
| Even just the title alone. | ||
| It was cold. | ||
| So it was just exploitation of his death. | ||
| You know, you'd have to hold me down and burn my feet to make me read more of it. | ||
| So I couldn't say that it's exploitation of his death. | ||
| But, you know, guys that write books come up with, you know. | ||
| Bob Woodward's got a new title every 45 minutes for another book. | ||
| Yeah. | ||
| So, you know. | ||
|
unidentified
|
It's a very disturbing thing. | |
| It's just tough. | ||
| In those five pages I read, he tore down my friend. | ||
| I didn't see any. | ||
| There was no compensation. | ||
| There was no balance in the five I read. | ||
| And maybe I was unlucky, but... | ||
| If that much was, to me, was disturbingly ugly and, like, irresponsible to report, then I can't imagine that I got so that I only found five. | ||
| Yeah. | ||
| You know, and I'm sure he's done, Wilbert does other things. | ||
| I've seen him on TV, and he can be smart and everything, but, you know, he's going to have to answer for that sometime for something, you know, I think. | ||
| Yeah. | ||
| You know, it's just like you don't get a free ride for, not with my friend. | ||
| No. | ||
| Well, you can get away with things a lot more back then when he wrote that book as well, you know, so. | ||
| There's no other venues for people to express themselves. | ||
| Back then, it was like he writes the book. | ||
| He does the interviews for the book. | ||
| This is the narrative. | ||
| Yeah. | ||
| And Bob Woodward, like one of the squarest guys in the world, gets to tell the story of what it was like to live in New York City in the 70s. | ||
| Yeah. | ||
|
unidentified
|
Really? | |
| In the late 70s and 80s? | ||
| Like he knew what the story was? | ||
| Come on. | ||
|
unidentified
|
Yeah. | |
| That must have been a magical time. | ||
| It was cool. | ||
| It was really fun. | ||
| You know, it was a smaller city in a funny way. | ||
| There was a lot more freedom. | ||
| And it was, when I got there, you know, the town was broke, you know. | ||
| You know, the town was falling apart and, you know, the subways were rough and, you know, people, you know, to me it was exciting. | ||
| I didn't, what the hell, I know I came from Illinois, from Chicago, from the suburbs of the city in Chicago. | ||
| Chicago was pretty, It was a city, and it had its own hazards. | ||
| You know, there was some more hazard. | ||
| Where I lived in Chicago was more dangerous than where I lived in New York ever. | ||
| But the city was, you know, the economic part of it and the infrastructure was, you know, like the subways were, you know, people complain about the subways now. | ||
| I was like, wait a second. | ||
| These subways are air-conditioned and the windows close. | ||
| Those windows were open. | ||
| Summer and winter, and you either froze or you had, like, metal shavings dust flying through in the summer with no heat, with no air conditioning. | ||
| And, you know, if it's 97 degrees out, it's even hotter inside a crowded subway car, you know? | ||
| That was also back when Times Square was Times Square. | ||
| And it was cool. | ||
| Yeah, Times Square is just as weird now, but it's just a different weird. | ||
| They sort of tried to sanitize it, you know, and it's... | ||
| It's kind of stupid. | ||
| I mean, now there's a lot more lights and everything. | ||
| There's more signs. | ||
| But the signs were always cool. | ||
| When they were neon, they were cool. | ||
| Now there's just these glow lights and they just keep moving and dancing. | ||
| And, you know, people with, like, vision problems shouldn't be out. | ||
| And people, you know, who are the people that are supposed to watch out for strobe lights? | ||
| Yeah, epileptics. | ||
| Yeah, epileptics. | ||
| Can't walk through Times Square. | ||
| And 42nd Street is blah. | ||
| It's, like, dull, you know? | ||
| It's an Applebee's. | ||
| Back then it was like, wow. | ||
| It's a giant Applebee's. | ||
| It's a giant Applebee's with huge ads. | ||
| Giant LCD ads. | ||
| But it was cool back then. | ||
| You could see stuff. | ||
| There was real stuff to see. | ||
| Not that it's still real, but it's just a different real. | ||
| There's a lot more... | ||
| It's a whole international world now, which it wasn't back then. | ||
| Back then it was just like the street survivors of the city at the very physical center of it. | ||
| You saw some amazing things. | ||
| And it was alive, certainly alive. | ||
| Now there's, you know, you're crashing into, not exactly debutante, or not exactly like bridesmaid parties, but like, you know, there's people with flags and dragging people around and stuff. | ||
| Well, there's always a lot. | ||
| There's a lot to see. | ||
| There's still a lot to see. | ||
| It's still New York City, New York. | ||
| But back then, having that experience, being in that wild New York of the 1970s, and then getting on SNL, how old were you? | ||
| 26. Wow. | ||
| That had to have been a fucking bizarre experience. | ||
| Yes, it was. | ||
| It was a great experience for sure. | ||
| And, you know, you saw, you know, your life just changed dramatically from being, you know, unable to – barely able to pay your rent or afford, you know, a car, a telephone, anything unable to – barely able to pay your rent or afford, you know, a to having a credit card. | ||
| Like, that was a big thing, you know, a credit card and a credit card. | ||
| You know, we had to, because they wanted a safe, we had this sort of cab account with a thing called Skulls Angels. | ||
| There was a sort of company within the Yellow Cab Company called Skulls Angels. | ||
| And you could call them, and they would pick you up anywhere in the city and take you wherever. | ||
| And it was just, you just signed your name. | ||
| You didn't have to have any money. | ||
| And I had a credit card and that account, and that's all. | ||
| And I just went, lived for... | ||
| A couple of years like that. | ||
| Basically, all you were doing was going to work and going to sleep. | ||
| And then in between, when you'd have 12 or 15 hours where you didn't have to do anything, you'd go like, okay, let's go. | ||
| And then you'd go like, anything could happen. | ||
| Anything could happen. | ||
| And you could go anywhere in the city and you sort of had a sort of a thumbprint of okay. | ||
| You could go into any place and people would be like... | ||
| Come on in, you know. | ||
| And you got to, you know, really, you know, I mean, I probably could have done, you know, gotten more out of it, but I certainly got a lot, I put a lot into it, you know. | ||
| I got a lot, an amazing kind of education, you know. | ||
| I got an amazing education, but I guess that gets back to, you know. | ||
| I got to put my education to use, is what I should say. | ||
| I mean, in this kind of new challenging environment, I got to put what my education to that point had been to use. | ||
| What was the adjustment like going from being broke to all of a sudden having money, being famous, living in New York City, trying to make sense of this new reality that you live in? | ||
| Well, I'll try to do them in order. | ||
| Well, being broke was, oh, I should tell you. | ||
| I'm here in Austin, Texas. | ||
| This is a William Murray golf shirt I brought you. | ||
| Somehow I got involved with these clothes. | ||
| The clothes got involved with me. | ||
| And that's me. | ||
| That is I and that person right there. | ||
| And I brought you a pair of shorts. | ||
| Oh, thank you. | ||
| I also brought licorice, which you don't want. | ||
| He's a licorice dealer. | ||
| I don't know what to make of you. | ||
| You don't want licorice. | ||
| Anyway. | ||
| So anyway, the shorts are very... | ||
| You're not too chubby, but the shorts are very forgiving. | ||
| Are these golf shorts? | ||
| I've been traveling. | ||
| Yeah, they're kind of golf. | ||
| So are you gray? | ||
| Are you a gray guy? | ||
| I can wear gray. | ||
| Yeah, sure, I'll wear that. | ||
| That's what I thought. | ||
| I thought you'd be a gray guy. | ||
| Those are for you. | ||
| Thank you very much. | ||
| I've got my name on them, so if they get lost, they'll be returned to me. | ||
| Nice. | ||
| Thank you very much. | ||
| I'm excited. | ||
| And wait, I got your shirt. | ||
| I thought you might like this shirt because this kind of has the range of possibility on it. | ||
| Oh, yeah. | ||
| That kind of has sort of a studious look for you. | ||
| There's a lot going on in that. | ||
| There's a lot going on. | ||
| Thank you. | ||
| There you go. | ||
| Thank you very much. | ||
| Yeah, you're welcome. | ||
| I have long pants, too, if you want some long pants. | ||
|
unidentified
|
No, I'm good. | |
| But I think you're more of a shorts guy. | ||
| Yeah, I'm good. | ||
| Thank you, though. | ||
| Jamie's a gigantic golfer. | ||
| Oh, yeah? | ||
| Are you a long... | ||
| You're tall. | ||
| How tall are you? | ||
|
unidentified
|
6'1"? | |
| Well, it's not that tall. | ||
| Let's see. | ||
| So we're the same, sort of. | ||
| And so you like white? | ||
| Blue? | ||
| Sure. | ||
| Or black? | ||
| Those are shorts. | ||
| Hold on. | ||
| Are you a shorts guy or a long pants guy? | ||
| I like it all. | ||
|
unidentified
|
It's usually hot in Texas. | |
| You love it all, huh? | ||
| It's hot out here to play golf in Texas. | ||
| It's hot? | ||
| Texas gets hot when you're playing golf. | ||
| Usually. | ||
| I bet. | ||
| Well... | ||
|
unidentified
|
But you can play all year here. | |
| How chubby are you? | ||
|
unidentified
|
I'm not. | |
| I don't think it is. | ||
| Okay, well the pants are pretty good. | ||
| You want the shorts? | ||
| Yeah, give them the shorts. | ||
| These are black. | ||
| Nice. | ||
| And that's the Murray Tartan right there. | ||
| That's the family Tartan there. | ||
| There you go. | ||
| Is that like from your family seal? | ||
| Huh? | ||
| The Tartan is a special to your family? | ||
| Yeah, that's the Murray Tartan. | ||
| Really? | ||
| Yeah. | ||
| Nice. | ||
| Yeah. | ||
| Okay. | ||
| And then so here. | ||
| And then so you want a shirt? | ||
| Sure. | ||
| I should show off this shirt. | ||
| This is a shirt because my brother has something to do with this one. | ||
| This has got all this stuff from Chicago on it. | ||
| Oh, nice. | ||
| I haven't even looked at this yet. | ||
| Guitars. | ||
| Looks like a pizza place. | ||
| I don't know why there's tambourines and stuff on it. | ||
| I have no idea. | ||
| There's always a glass of beer for some reason. | ||
| There's a drum. | ||
| But there's a bunch of references to people we know and things we did in Chicago. | ||
| I see there's, like, the names of some character in a movie I played. | ||
| And then there's Slew's Place. | ||
| That's my friend Jeff Slewman, who's a golfer. | ||
| I think you're going to like this shirt here, Jamie. | ||
| How's that for you? | ||
| Oh, that's perfect. | ||
| That's Jamie. | ||
| Okay. | ||
| What color pants did I throw at you? | ||
| Well, I got some black shorts over here. | ||
| Perfect. | ||
| Black shorts, dark blue shirt. | ||
| You're in. | ||
| You can pull that off. | ||
| There you go. | ||
| Way to go high for that one. | ||
|
unidentified
|
Thanks. | |
| When you stomp Tony Hinchcliffe in this inevitable match, you'll wear that. | ||
| It'll be perfect. | ||
| There's that. | ||
| How long have you been golfing for? | ||
| Well, the question is how long have I been caddying for? | ||
| So I started caddying when I was very young. | ||
| Our eldest brother, Edward, started caddying. | ||
| So Caddyshack must have been a lot of fun for you then. | ||
| Yeah, well, Caddyshack came, you know, my brother Brian was the, wrote the, Brian wrote it with Doug Kenny, one of the really great funny guys from National Lampoon, and Harold Ramis, who ended up directing the movie. | ||
| But all the golf stuff is all Brian's memories of caddying. | ||
| The whole golf story comes from Brian, sort of. | ||
| I mean, they all write jokes, but... | ||
| Doug was in charge of all the fancy lad stuff. | ||
| His dad was some sort of tennis pro sometime or other in Ohio. | ||
| And Harold wrote the jokes that were left and shaped it and directed it. | ||
| So you started off caddying? | ||
| Yeah, yeah. | ||
| I started as a shag boy, which doesn't even exist anymore. | ||
|
unidentified
|
What is that? | |
| There's a thing called a jam boy, which I don't know if it really exists. | ||
| My friend Duff insists that back in the day there was a thing called a jam boy who walked around, I think it was a slave or something like it, who walked around covered with jam to draw the insects away from the golfers. | ||
| Now, I don't know if that's true or not. | ||
| We should ask your listeners. | ||
| But I didn't have it that bad, of course, but a shag boy was... | ||
| Golfers had what they called a shag bag, which was like a small bag of golf balls, like 100 golf balls or something like that. | ||
| And they would dump them out on the practice tee, and you would run out there with the bag, and you would be the target. | ||
| Okay, go out about 70 yards, 60 yards, you know, and then they'd start hitting... | ||
| See? | ||
| No, but see, that would be safer than what I was wearing. | ||
| We didn't have that. | ||
| But I was just out there. | ||
| But I was definitely out there, and they would aim at you. | ||
| And the thing was, it would last for an hour or so. | ||
| And, you know, I was 10 when I started doing this. | ||
| So your mind would wander, and occasionally you'd hear like a ball land next to you or really close. | ||
| I never got conked exactly on the head, but I definitely got hit on one bounce any number of times. | ||
| You were just a target. | ||
| And then he'd wave in the next club and you'd go like, seven iron. | ||
| So he'd have to back up a little farther and then farther. | ||
| And the bigger the club, the wider the dispersion of the ball. | ||
| So you had to run back. | ||
| You really had to run to catch up to where this bad golfer was hitting the golf balls. | ||
| So that was when I was 10. And then like a year or so later, I became like a caddy. | ||
| And then I caddied all the way through high school. | ||
| Paid my way through high school. | ||
| When did you start playing? | ||
| Well, if you showed up to Caddy on Sunday, you were allowed to play golf on Monday morning. | ||
| So probably I didn't really play golf-golf like that until really 12 maybe. | ||
| Maybe a little sooner. | ||
| But we used to play golf across the street from our house. | ||
| There was like a line of telephone poles planted in grass, you know. | ||
| And we would play from phone pole to phone pole. | ||
| And that was the pin. | ||
| So that's it. | ||
| And then I didn't really play. | ||
| I mean, once I sort of, you know, made it through high school, I didn't play for a long time until I made some money. | ||
| And then all of a sudden you can play golf again. | ||
| Because golf, if you're not catting, it takes money to play. | ||
| You've got to at least play and be organized and have a set of clubs and stuff. | ||
| So I picked it up then. | ||
| And now I like it, you know. | ||
| I was going to give it up a few years ago, but then... | ||
| You know, all of a sudden my son started playing golf. | ||
| I was like, well, that's what you got to do, you know. | ||
| So now I'm having more fun playing, and I've gotten smarter. | ||
| Do you ever play golf? | ||
| No. | ||
| Never? | ||
| No, never. | ||
| No, I'm scared of it. | ||
| Because I think it'll eat up all my time. | ||
| Because I get addicted to games. | ||
| Oh. | ||
| Yeah. | ||
| I play pool a lot. | ||
| Do you have a pool table here? | ||
| I got a couple pool tables here. | ||
|
unidentified
|
Oh. | |
| I got one at home. | ||
| Yeah. | ||
| And what games do you play? | ||
| Do you play, like, straight pool? | ||
| Nine ball, ten ball. | ||
| You know, I should work on nine ball. | ||
| I have a pool table. | ||
| I mostly play with... | ||
| The thing about it is I know everybody who plays golf gets fully addicted to it and loves it to death. | ||
| And I just don't have the time to get fully addicted to another thing. | ||
| And, you know, just being friends with Jamie and seeing Jamie's addiction... | ||
| See what's happened to him. | ||
| ...over the last few years. | ||
| He's become a maniac. | ||
| He's got a golfing simulator in the back and... | ||
| Really? | ||
| ...drives balls and... | ||
| Oh, yeah. | ||
| A trackman? | ||
| It's in here? | ||
| Yeah. | ||
| Wow. | ||
| Yeah, it's set up in the garage. | ||
| Do you live here? | ||
| Do you guys live in this building? | ||
| No, it's a big building, but we don't live here. | ||
| We could. | ||
| We definitely could. | ||
| Maybe that's the next one. | ||
| Maybe the next one will set up dorms. | ||
| Maybe. | ||
| Yeah, because there's always the rooftop. | ||
| Yeah. | ||
| Well, I don't want you to get addicted. | ||
| I've heard you're a very good golfer. | ||
| That's why I'm asking. | ||
| Well, just keep that light going. | ||
| But I can play okay. | ||
| I've hit a lot of golf shots. | ||
| What's your handicap? | ||
| Jamie will know what that means. | ||
| Now it's about 12. The lowest I ever was was about 7. It means I can play a little bit. | ||
| And now it's actually, what's the word? | ||
| Diminishing? | ||
| It's going lower. | ||
| Because I've figured something out. | ||
| There's a great book, these ladies. | ||
| Pia Nielsen and Lynn. | ||
| Pia Nilsson is an easy one to remember, but Linz, whatever Linz last time, they wrote a great book called Every Shot Must Have a Purpose. | ||
| Did you ever read that one? | ||
| Well, I should talk about them because they really are on to something, and it's about quieting your brain when you play, which I always thought I'd get better as my brain softened. | ||
| It seemed to be happening. | ||
| My brain was softening. | ||
| It was maybe getting better, but not fast enough for me. | ||
| And then I started following what these ladies had to write. | ||
| They were Annika's teachers at one time. | ||
| Annika Sorenstam. | ||
| She's a famous golfer. | ||
| Okay. | ||
| Swedish. | ||
| Every shot must have a purpose. | ||
|
unidentified
|
There it is. | |
| And there's the forward by Annika. | ||
| Anyway, Lynn Marriott. | ||
| How can... | ||
| See, I'm blocking that because it's a hotel name. | ||
| And I... I didn't used to be a member of the Marriott Club, but okay, so that's a great book, and they've written a bunch of stuff. | ||
| They know some stuff. | ||
| You should try that one, Jamie. | ||
| What does it change? | ||
| It made me enjoy. | ||
| I enjoy golf. | ||
| I've always had a lot of fun, but that made me enjoy golf even more. | ||
| How so? | ||
| Like, what is it? | ||
| You know, it just, it's decluttering, you know? | ||
| It's like when you do it in your life, and you... | ||
| You know, you mentioned distractions at the very beginning. | ||
| You know, you think about all the things that can catch you, you know, to distract you. | ||
| And if you're trying to do something that's pretty straightforward, whether it's stir grits or sew a line whether it's stir grits or sew a line of something or... | ||
| Or play a game of golf, which ideally you only have to swing, hit the ball like 75 times. | ||
| Everything that distracts you from that is a problem. | ||
| So it's the ability to sort of just pull the weeds out of your head, as I read a Japanese man say once, and attend to it when you attend to it. | ||
| You know, it's a few hours to play a round of golf. | ||
| Like you say, it takes a whole time. | ||
| But the actual playing of the game is only minutes. | ||
| The actual hitting of the ball is only minutes. | ||
| Like an NFL game can take like three hours on TV, but it's like 20 minutes of action. | ||
| Right, right. | ||
| So it's similar to that in golf or anything that you have to sort of return to yourself to hit the ball. | ||
| You've got to come back. | ||
| Get it back together to hit the ball or do anything. | ||
| And so you have the freedom in between the shots to move and to speak and tell jokes and smoke cigars and whatever you want to do. | ||
| But when you want to hit the ball, this is about you're going to think, make a little plan, and you separate that. | ||
| You sort of inculcate that. | ||
| You take it in and then... | ||
| You separate that and you step up and you hit the thing. | ||
| And hitting the thing is only hitting the thing. | ||
| And if you can do that, then you start having real success with the actual hitting. | ||
| And the sort of joy of the sort of mind-body connection and all this sort of aesthetic, all the kind of like, you know, almost spiritual things about a mind-body exercise, a game, come to you, you know? | ||
| You know, when you hear great athletes say they're in a zone, they're not in a zone. | ||
| They're really conscious. | ||
| They're really connected. | ||
| They're really aware. | ||
| It's more than a zone. | ||
| It's like the ideal place to be. | ||
| Right, right. | ||
| And what is it about their writing that helped you? | ||
| Like, what is their philosophy that helped, like, steer you more towards being able to do that? | ||
| Well, for an example, it's like something that can keep you in your body because you have to stay in your body. | ||
| I believe that anyway. | ||
| I'd already believe that. | ||
| So you've got this dreidel here, right? | ||
| So imagine it's a golf ball. | ||
| One thing that they sort of say was like you would just, in between shots, you would just take your golf ball, if you're on a putting green or if you have a spear in your pocket, and you just toss it up and catch it. | ||
| Toss it up and catch it. | ||
| That keeps you physically aware of, I've got to do this. | ||
| And this and that. | ||
| I've got to do these two things, so I've got to have my attention in my body. | ||
| I've got to stay home, you know? | ||
| So if you can stay in your body, it all begins in the body. | ||
| Everything we are, everything we hope to be, everything we dream about, it's all within the skin. | ||
| So you've got to stay within the skin. | ||
| So if you can make yourself come back, if you can get yourself back inside, you don't have so far to go. | ||
| To achieve your intended goal. | ||
|
unidentified
|
Right. | |
| You don't have to drag yourself back from outer space. | ||
| You're not dreaming over there. | ||
| I'm in my body already. | ||
| So I'm close. | ||
| Does that make sense, Jamie? | ||
| Yes. | ||
| So, and, you know, I've had some discussions with Pia, and she says, well, that's what the great golfers are doing. | ||
| They are pulling themselves back into this thing. | ||
| That's why they hit so many good shots. | ||
| It's because they're home. | ||
| You know, they're home. | ||
| So that's sort of what I got out of her. | ||
| And I sort of learned and believed that from other venues. | ||
| But I never had it put in with practical applications like she gives, they give, for golf. | ||
| You know, you think of golf as like, oh, I can be willy-nilly out here. | ||
| I can be fun or I can be aggressive or I can be competitive or whatever the hell. | ||
| All that stuff is... | ||
| It's real. | ||
| That's emotion kind of thing. | ||
| But if you're not in the body, good luck. | ||
| Right. | ||
| And it's only luck then. | ||
| Well, there's... | ||
| There's a great joy in things that take you away from the rest of the world because they require so much of your attention. | ||
| That's what I get out of pool, and that's what I get out of archery too. | ||
| I practice archery, but there's things that require so much focus while you're doing them, and you have to be in your body. | ||
| You have to be synchronized. | ||
| I would imagine archery would be one of the more challenging ones. | ||
| Very challenging. | ||
| It's very challenging because... | ||
| You're supposed to have as little movement as possible upon the execution of the shot. | ||
| So there's all these strategies. | ||
| They started televising it lately. | ||
| It's really cool to watch. | ||
| It's very cool to watch. | ||
| Cameras are right on their face and just the torso, just like this. | ||
| And you're like... | ||
| God dang, that's beautiful. | ||
| That's as good a close-up as any Robin Hood movie ever had. | ||
| It's just great. | ||
| No, I love watching it. | ||
| I watch it on YouTube all the time. | ||
| There's these Las Vegas shootouts where they have three targets, and they have 30 different shots. | ||
| So they're trying to get an X 30 different times, and they're standing next to the best archers in the world. | ||
| Everyone's at probably like 20 meters, and they're all just focusing, like dead still, completely. | ||
| Really calm, focusing, focusing. | ||
| What's that? | ||
| Where do you find that? | ||
| Oh, you can find it. | ||
| Like, go to Lancaster Archery, Vegas. | ||
| And they have what they call a Vegas face. | ||
| So a Vegas face is three targets. | ||
|
unidentified
|
Do people watch that live? | |
| Oh, yeah, yeah, yeah. | ||
| But they've got to have like big screens because you can't see the faces from a distance, right? | ||
| No. | ||
| And you don't want to get between the arrows, of course. | ||
| No, you definitely don't. | ||
| People bring binoculars. | ||
| Oh, yeah, yeah, yeah. | ||
| All the archers have binoculars and they all pull them up after each shot because they're looking for precise distances and then they'll make slight adjustments on their scope and their sight and move and then they'll take a breath. | ||
| But it's... | ||
| So do you have one of those Massivo? | ||
| Yes, this is exactly what it's like. | ||
| Yeah, those things don't even look fair. | ||
| So these guys are all on this line and they're all firing and the amount of pressure is insane. | ||
| Because, really, the guy who makes money out of this thing is the guy who wins first place. | ||
| Everything else is not so good. | ||
| There's not a lot of money in archery. | ||
| Look at the audience. | ||
| That is like about 60 guys. | ||
| Yeah, not a lot of audience, right? | ||
| Yeah, it's not a crowd-pleasing. | ||
| So this is just for real, complete archery fanatics who are absolutely lost in this connection between your mind, your body, and the flight of the arrow. | ||
| The mystical flight of the arrow. | ||
| That's interesting. | ||
| Can you go back and freeze that? | ||
| There. | ||
| Can you lose the line on the bottom? | ||
| So that's just interesting to me to look at their weight balance. | ||
| Just to look at who's on half his front foot. | ||
| Mm-hmm. | ||
| So it's interesting. | ||
| They have a little bit more weight on their back foot. | ||
| Is that right? | ||
| Well, we're catching this in mid-draw. | ||
| So he might settle. | ||
| Yeah, see that guy that you were looking at who was like that? | ||
| That's got Brazier on his back. | ||
| Watch. | ||
| He'll settle. | ||
| So he'll draw. | ||
| And as he draws, he arches back. | ||
| And now watch. | ||
| He'll settle forward. | ||
| See, he was settling as the angle changed of the camera shot. | ||
| But they want to ideally be about 50-50. | ||
| And you're just staying calm. | ||
| Keeping it as steady as possible. | ||
| Is that guy in the wheelchair shooting too? | ||
| Yes, yes. | ||
| There's a guy that shoots with just his feet. | ||
| The guy who doesn't have arms. | ||
| And he's unbelievably accurate. | ||
| I think I've seen that guy. | ||
| Yeah, he shoots with his toes. | ||
| So what these guys are doing is it's just a perfect balance of technique and focus and attention. | ||
| And they're actually trying to get what's called a surprise shot. | ||
| They're not... | ||
| executing the shot like you would like a rifle trigger most of these guys use what's called a hinge and so that's what they're going for they're looking for it so with a hinge you don't you don't You don't make the release go off like with a button, where you press a button. | ||
| It's just a rotation of the handle, and you don't know when it's going to go off. | ||
| So you draw it back like this. | ||
| So you're not letting go with your fingers? | ||
|
unidentified
|
No. | |
| No. | ||
| You have a metal release in your hand that has a hook, and the hook is attached to a sear. | ||
| By just twerking your wrist? | ||
|
unidentified
|
By rotating it? | |
| It breaks. | ||
| And so the hook breaks. | ||
| Or some of them use a thumb, like that guy with the yellow and black, that guy. | ||
| So he's got a thumb trigger. | ||
| So what he's doing is he's setting the trigger. | ||
| The barrel, the trigger, right where his thumb is, and he's just using the pulling of his arm to make it go off. | ||
| He's not executing it with his thumb. | ||
| Now, there's a small select group. | ||
| So that's why they all look different on the release. | ||
| Yes, but their arms all fly backwards. | ||
| If you see how their arm moves backwards, that's indicative of a surprise shot. | ||
| That means they're executing it perfectly. | ||
| So the surprise is that they don't know when it's going to go. | ||
| Exactly. | ||
| They're just executing the test. | ||
| Technique, which is the pull with the back muscles. | ||
| You're pulling with your rhomboids. | ||
| And then it slowly goes off. | ||
| See, like that guy with the hat, the black hat. | ||
| Watch. | ||
| See his fingers? | ||
| How it's curling? | ||
| See how it goes off? | ||
| So that's just from his hand curling that's making the shot go off. | ||
| But they get it to the position or the area where it's going to go. | ||
| Yes. | ||
| And they've got to be right. | ||
| They've got to be... | ||
| Yes. | ||
| Poised forward. | ||
| But the idea is if you think about it going off and you make it go off, there's some sort of a recoil. | ||
| So there's some sort of an anticipation of that recoil. | ||
| And when you're shooting that precisely, that anticipation of that recoil might make a difference of an inch or two left or right. | ||
| Yes, that tension. | ||
| So you try to not anticipate. | ||
| Yes. | ||
| When you are doing that, you do not think about anything else. | ||
| It clears your mind. | ||
| When you are just concentrating on that target, you cannot think about your bills. | ||
| And so you do it. | ||
| Yes. | ||
| And when a thought does come into your head, you don't hit the target. | ||
| Yes, but it doesn't come in your head. | ||
| It can't. | ||
| It's too hard. | ||
| The process of aiming is so engrossing when you lock in place and you're aiming and then you're pulling back with the shot. | ||
| Like, you're all in. | ||
| You're all there. | ||
| Especially if you're good. | ||
| If you're good, that is the only thing you're thinking of. | ||
| And there's a moving meditation aspect to it, a cleansing of your mind. | ||
| Your worries go away. | ||
| Your thoughts, the things that are bugging you, and I've got to do this, and I've got to call that guy back, and all of it goes away. | ||
| Because it's so engrossing. | ||
| It requires so much of you. | ||
| So how do you affect that yourself? | ||
| How do you move that away from the incidental? | ||
| Thoughts that pop in. | ||
| Well, it's just the difficulty of it. | ||
| Yeah. | ||
| Yeah, it's the difficulty of it actually sort of facilitates your meditative mindset. | ||
| Because if you're going to do it right, there's no other way to do it. | ||
| You literally can't be thinking about other things while you're doing it. | ||
| Well, it's not like golf. | ||
| Like if you're thinking about what you're going to pick up on the way home. | ||
| Exactly. | ||
| You're not going to hit a good golf. | ||
| Same as pool. | ||
| When, you know, I play pool at a pretty high level, like, I bet that book would be very beneficial to me. | ||
| I bet there's some techniques and strategies of how to focus yourself and completely remove yourself from the rest of the world and just think about this mind-body connection and the execution of this thing that you're trying to do. | ||
|
unidentified
|
Alright, I'm going to try to do that. | |
| I know I, you know, I don't play enough pool. | ||
| But I had to shoot some pools in Groundhog Day, so I got with a guy who's a pool expert, and he just gave me drills to do. | ||
| Do you remember his name? | ||
| No. | ||
| But if he remembers, he should say hi. | ||
| Anyway, he taught me a bunch of things, and I'm still very disappointed because when we actually shot the scene, I think I made... | ||
| I think I sank... | ||
| I think I shot... | ||
| I think I sank like nine balls, seven balls, eight balls, and three shots. | ||
| And I went, we got that? | ||
| And the center of tower was like, let's set it up. | ||
| I'll set up a different shot. | ||
| I said, what are you talking about? | ||
| He had half of the table. | ||
| Oh, no. | ||
| All right. | ||
| I'm going to take a leak again. | ||
| Okay. | ||
| You want to wrap it up? | ||
| We can wrap it up. | ||
| No, that's okay. | ||
| Okay. | ||
| All right. | ||
| Take a leak and come back. | ||
|
unidentified
|
All right. | |
| I keep asking them any suggestions. | ||
| They say, well, tell some stories. | ||
| You should never ask for suggestions. | ||
| So where do you come from? | ||
| I was born in New Jersey. | ||
| Went to high school in Boston. | ||
| Lived all over the country. | ||
| Lived in San Francisco for a while when I was a kid. | ||
| Florida. | ||
| Were you in the military or something? | ||
| No. | ||
| Mother got divorced. | ||
| Married my stepfather. | ||
| He was going to school. | ||
| Went to San Francisco for that. | ||
| Then Florida. | ||
| And then eventually Boston. | ||
| Well, that's pretty good. | ||
| I mean, I think I always wanted to live in San Francisco. | ||
| Well, I was in San Francisco during the Vietnam War in the height of the hippie days when I was a little kid. | ||
| It was pretty wild. | ||
| It was a very interesting time to be there, you know? | ||
| It was a crazy place. | ||
| Yeah, well, that's what Hunter was talking about, I think. | ||
| Yeah. | ||
| Yeah, my brother was there, too. | ||
| He went to school out there at St. Mary's in Moraga. | ||
| Oh, okay. | ||
| But it turned out he was spending a lot of time in Berkeley. | ||
| Yeah. | ||
| He wasn't doing that much studying. | ||
| But what a life he had out there. | ||
| What a fantastic time to have been there. | ||
| And my other friend went to high school at that time, somewhere around there, and I envied that. | ||
| And I really like San Francisco, and I was there recently. | ||
| I saw Father Guido Sarducci. | ||
| Oh, wow. | ||
| And had dinner with him and Roman Coppola, and we went to an old place called... | ||
| Like macaroni or something like that? | ||
| Old Italian place. | ||
| And it was really delightful. | ||
| I just love San Francisco. | ||
| And I have friends who were like, and we started talking about politics a long time ago. | ||
| Like, for political reasons, they say, oh, San Francisco, they've ruined San Francisco. | ||
| And so I was there. | ||
| And I know there's homeless people in San Francisco now, lots of them. | ||
| And there's homeless people in Los Angeles and Santa Monica and anywhere that is warm. | ||
| Yeah. | ||
| And California is the most popular state, but I don't think it's a political choice. | ||
| I mean, I think, isn't it, I don't know the stats, but these people don't, it's more of a mental health thing, I think. | ||
| It's definitely a mental health issue. | ||
| So it's not anybody's politics that are making people crazy. | ||
| Well, it's... | ||
| But it's not making people live on the street. | ||
| I'm sticking up for San Francisco. | ||
| San Francisco survived the beatniks. | ||
| It survived the hippies. | ||
| It survived the earthquake. | ||
| It survived AIDS. It survived everything. | ||
| It's like a resilient, extraordinary place. | ||
| It's still got a lot of extraordinary aspects to it. | ||
| The problem is they kind of encourage people to sleep on the streets and shit anywhere they want and they didn't do anything about it. | ||
| Do you really think they encourage people? | ||
| Well, they definitely make it financially viable for them to do it. | ||
| They give them money to do it. | ||
| Well, that sounds like they're paying them the shit on the street. | ||
| No, they're paying them so that they don't have to be poor or homeless. | ||
| I mean, they have a tent and they'll help them. | ||
| They'll subsidize this existence. | ||
| What they need is more mental health care. | ||
| It's a mental health issue. | ||
| It's drug addiction and mental health. | ||
| That's the real problem. | ||
| And when you don't address it and then you just allow people to camp any way that you want, you're almost sort of encouraging mental health. | ||
| Problems to be everywhere all throughout and just be throughout the entire city. | ||
| It's just a lack of empathy for the people. | ||
| If you're empathetic for them, you don't let them just camp out and shit on the street. | ||
| What you do is you try to say, obviously, a real problem. | ||
| This needs to be addressed for the greater good of the city and for these people. | ||
| They need mental health care. | ||
| They need addiction care. | ||
| It's a real problem that needs to be addressed. | ||
| You can't just... | ||
| Leave them out in the street and let them do whatever they want and become a hazard for everybody else, then it makes the city kind of fucked up. | ||
| Well, I don't know what the... | ||
| I mean, you know, when you talk, when you speak, it sounds like more of a political choice. | ||
| No. | ||
| Someone's saying, well, it sounds like you're saying they're being... | ||
| You know, paid to shit on the streets and become mentally ill. | ||
| No, I'm not saying they're being paid to shit on the streets. | ||
| They are mentally ill. | ||
| I always felt like mental illness happened first before living on the street. | ||
| Unquestionably. | ||
| It's all during the Reagan administration when they opened up the mental health institutes and just let people out in the streets. | ||
| Well, it started before that in New York. | ||
| And that was my experience in New York was like Rockefeller, way back when, and I could be wrong, but this is how it was attributed, sort of opened up the mental, closed up the mental health hospitals and pushed These many, many, many people out on the streets that had nowhere to go. | ||
| And it wasn't a poverty situation, although it looks like it when you look at it. | ||
| It's really a mental health situation. | ||
| And a great number of these people have no interest in going into a place. | ||
| They would just as soon live on the street. | ||
| Their life is like an interior monologue that they can't control. | ||
| And living in a home is no different than living on the street. | ||
| The thing is still going on. | ||
| The conversation is still going on inside the brain. | ||
| But there has to be a solution for it. | ||
| Well, okay. | ||
| So I don't disagree that there has to be a solution. | ||
| But I don't think that people are... | ||
| This is sort of like where, you know, I'd like to think about, let's not talk politics. | ||
| Let's agree with what we can agree on. | ||
| So that solution is like, this is where the great minds... | ||
| Of California or the United States need to come together and say, okay, these are, why don't we solve these problems that are common to every state has a city that has X number of people living on the street, whether it's Yankton, you know, whether it's, you know, Minneapolis, whether it's, you know, Louisville, whatever. | ||
| Everyone's got like a street scene situation that's rough like that. | ||
| And it's hard to say let's – you know, you say there's got to be a solution. | ||
| Where is that going to come from and who's going to believe it if it comes from this direction or that direction or this side or that side? | ||
| How do you like evaporate the walls of separation and say like how do we get the right people with the right minds to solve these? | ||
| Questions. | ||
| You know, these are real things. | ||
| And people argue about them. | ||
| I mean, you and I are arguing, but we're talking about it. | ||
| Yeah. | ||
| And neither one of us is sleeping on the street. | ||
| Right. | ||
| We both feel compassion for it, you know, empathy for it. | ||
| But how do you get people that are far removed, and we could say we're far removed from it, to, like, allow... | ||
| The solution to take place. | ||
| From one side or the other. | ||
| From one side, any side. | ||
| Who gives it to him? | ||
| Who's got it right? | ||
| Well, it has to be a completely bipartisan thing. | ||
| We have to look at it in terms of the health of human beings in our community. | ||
| This country is supposed to be our community. | ||
| These people that are on the street, they are sad, sick people in our community. | ||
| And some real effort has to be taken to try to change that instead of just enable them to keep doing it. | ||
| That's all I'm saying. | ||
| I just don't think that the solution is let them camp wherever they want. | ||
| Let them shit in the streets. | ||
| There's no argument to what you're saying. | ||
| There's no argument. | ||
| So you were in this situation. | ||
| You had this, people call it a platform or a place where you invite people to come here that can speak to lots of people. | ||
| How many people watch your show? | ||
| A lot. | ||
| So there's lots of people watching your show. | ||
| When there's people that make sense, you hear it. | ||
| It rings a bell. | ||
| It sounds like that. | ||
| I wish I knew the answer to solving these things. | ||
| And occasionally, like I say, you see people who are these problem solvers. | ||
| And the problem solvers come. | ||
| But people want to choose their own problem solver. | ||
| There's also money in being a problem solver. | ||
| That's the problem. | ||
| One of the big parts of the problem in... | ||
| California in particular is that there's an enormous budget to deal with the homeless. | ||
| So you have these people that work in these departments that are making quarter million dollars a year that are... | ||
| Just working on the homeless problem, which keeps getting worse every year. | ||
| There's no incentive to fix anything or change anything, and it's a bunch of bureaucracy. | ||
| There's a lot of bullshit that gets involved in the business. | ||
| A buddy of mine is a lawyer who went to San Francisco, and he was disturbed by it all. | ||
| He was like, this is so crazy. | ||
| What is missing? | ||
| Do we need more funding? | ||
| And they're like, no. | ||
| This guy explained to him, no. | ||
| They literally have an incentive to keep the homeless problem. | ||
| There's an enormous number of people that are making a fantastic living in dealing with the homeless issue. | ||
| Who's making money on the homeless? | ||
| There's a giant list of people. | ||
| We could pull it up if you want to see. | ||
| We don't need to call them out, but there's a bunch of people. | ||
| Just tell me, who makes money on the homeless? | ||
| The people that are involved in these organizations that are dealing with the homeless, whether it's in Los Angeles or in San Francisco. | ||
| You mean, are they... | ||
| Like government? | ||
| Yes. | ||
| It's government jobs, yes. | ||
| It's all funded by the state. | ||
| And there's real jobs, like real money. | ||
| And nothing gets done, nothing changes. | ||
| In fact, it gets worse every year. | ||
| Something needs to be done that shows results. | ||
| What is that? | ||
| I think it's got to be compassionate. | ||
| It's got to be something that both the left and the right can agree to. | ||
| So I'm trying to follow you. | ||
| God knows I'm trying. | ||
| Are you having a hard time? | ||
| No, I think we were talking earlier about... | ||
| The agents versus the architects or something like that used a word that explained the people who are coming up with this sort of thing. | ||
| I was watching something, and I've really tried to avoid watching the news lately, but I saw someone talking about, and it was someone that works. | ||
| You say the word bureaucracy, and it's a loaded word. | ||
| We all hate bureaucracy. | ||
| There's just a word of it. | ||
| It gives you a creepy feeling. | ||
| Frustrating word. | ||
| Yeah. | ||
| And so, you know, it's like being on hold for Amtrak or whatever the hell it is, you know? | ||
| You know, there's someone, you know... | ||
| Oh, please, God, come back. | ||
| Okay, so... | ||
| Please, God, come back. | ||
| So the idea that... | ||
| And so this person was talking about the cuts that are going to come and the talk about eliminating a bureaucracy. | ||
| And I don't know what... | ||
| No, that's not what this person was talking about. | ||
| Oh, you're talking about a different person. | ||
| It's a different person. | ||
| I don't know what your person is. | ||
| This is my person. | ||
| My person is saying the bureaucracy gets sort of like fed from above somehow or other. | ||
| It's fed by these people that are the architects of one side or the other. | ||
| But the actual bureaucracy includes the people that can solve the problem. | ||
| Like, encased in this bureaucracy are people that can solve the problems. | ||
| And that if you just sort of – I'm not saying this is the case, but if you sort of just like zip a bunch of the bureaucracy out, you run the risk of zipping out some of the people that actually have the brains to do the solutions. | ||
| And what this person said was the solution to the bureaucracy is within the bureaucracy that is finding the people that know what can be done because they really do have the data. | ||
| They really do work. | ||
| They actually do show up for work. | ||
| And they actually have the data on how to do this thing. | ||
| But because it keeps being fed from above all the time, there's just all this extra debris and noise that keeps coming down that causes more clutter and more splitting and more something. | ||
| Yeah. | ||
| So, you know, I'm not going to suggest that I could solve the question of bureaucracy today, but I think there's something about what we have. | ||
| We have the people. | ||
| You know, I'm going to go off on tangents now, but I always kind of had an objection to Tom Brokaw's book, The Greatest Generation, because I thought, damn it, that's not my generation. | ||
| How do they get that? | ||
| You know, but I did start reading some of it recently. | ||
| His credit, he's finding people that are very singular in that generation. | ||
| Which generation is he referring to? | ||
| Well, he's talking about the generation that won World War II. Okay. | ||
| And that generation was formed by the Great Depression. | ||
| That was part of what they had. | ||
| And then they had a world war that lasted five years. | ||
| And it's really hard for people of a certain age to understand. | ||
| You think you have problems with your relationship. | ||
| Have your lover go away for five years and see how well you're doing upon that person's return. | ||
| See what the hell that's like for five years. | ||
| And like, you didn't answer my letter? | ||
| You know, my letter? | ||
| Your letter? | ||
| What letter? | ||
| You know, your letter never came. | ||
| I was under fire. | ||
| Whatever it was. | ||
| And then they come back shell-shocked. | ||
| And then you come back with shell-shocked on top of it. | ||
| And then back then, the sort of, kind of, I don't want to say a macho thing, but... | ||
| Back then, people just didn't want to talk about it, which to me is part of what created the hippie generation, was kids couldn't get their parents to talk about anything that they thought mattered. | ||
| What their parents were talking about was like, huh? | ||
| Wait, what's so wrong about peace, love, and understanding? | ||
|
unidentified
|
Right. | |
| So and they couldn't get to that because even the idea of peace was a completely different concept to someone that lived through a world war. | ||
|
unidentified
|
Yeah. | |
| Or lived through a depression. | ||
| So these kids were like, I don't even understand who these people are. | ||
| I know I'm their flesh and blood, but I don't know that. | ||
| I don't know what the hell they know and why they're this way. | ||
| But he chose people that lived a very intentional purpose during that very, very difficult, challenging time where they just went, I don't know what I don't know. | ||
| I don't know what all this is, but I do what I do know. | ||
| I do know what I do know and stay through that. | ||
| And that's, I guess that, I don't know how this relates me to this idea of bureaucracy, but people that do know the facts have got to stay with the facts, even in the face of, like, all the blunderbussing above about, you know, there's this and there's that. | ||
| You've got to be really dedicated to what you do know. | ||
| And realize that there's lots that you don't know. | ||
| But if you give up what you know in the name of jostling over here, then there's even more lost. | ||
| Yeah. | ||
| No, I agree. | ||
| And I think most people who get involved, particularly if they get involved in something like Homeless or any charitable organization, most of the people who get involved aren't doing it cynically. | ||
| They're not doing it to get that big paycheck. | ||
| Their initial reason for being involved in something like that is to help. | ||
| The problem is sometimes when they realize it's just a big clog and you're not going to be able to do any meaningful good, then things get weird. | ||
| And then you just sort of exist off of this system that's not doing anybody any good. | ||
| This is his argument about why so many people are working on this and nothing's getting better. | ||
| So who's this one? | ||
| My friend Coleon Noir. | ||
| This is my friend who's a lawyer who went to San Francisco and saw this. | ||
| And had a conversation with someone who's actually in government in San Francisco and was explaining what the problem actually is. | ||
| And the government, people say it's the government? | ||
| No, they just say there's no incentive. | ||
| There's no incentive for them to do a better job. | ||
| And there's a very compassionate perspective in the city. | ||
| They're very kind people, and they don't want to take these homeless people and remove them. | ||
| That sort of suicidal empathy that they have for the people in their city is causing this rash of tents everywhere and crime and, you know, you have to leave your fucking car unlocked otherwise they're going to smash your windows. | ||
| That's what his perspective is. | ||
| There's no real incentive to do anything different. | ||
| Because these people are still getting paid to keep it the way it is. | ||
| The amount of money they make is not based on how much good they do. | ||
| So if they're financially, if they're incentivized to, like, you get paid more if more people clean up, seek treatment, get on medication, get to a mental health institution, if you can show some sort of progress, it'll affect how much money you get. | ||
| And vice-a-verse. | ||
| If you have no progress and nothing gets done and the problem actually gets worse, perhaps you're not doing a good job. | ||
| Well, that sort of makes sense, doesn't it? | ||
| It does. | ||
| You get results. | ||
| Yes. | ||
| You get encouraged by getting more money. | ||
| Yeah. | ||
| So does this remind you of anything? | ||
| It reminds me of everything. | ||
| It reminds me of the government itself. | ||
| What does it remind you of? | ||
| Well, I feel like there's something hanging over our heads here that's like this situation, and maybe it's just a continuous situation of like a world that gets more and more people all the time, and more people want to have a voice, and there's just more people shouting all at once, and there's not quite the same kind of agreement. | ||
| We don't have like an ideal that we're all working for. | ||
| You know, I guess, not to like cheat, but... | ||
| You know, the greatest generation, they had to fight a war to maybe save the sort of structure of Western civilization. | ||
| Right. | ||
| There is that argument, you know. | ||
|
unidentified
|
Right. | |
| That if the Nazi Party had defeated England, you know, life would be different. | ||
| Life would have been different, you know. | ||
| And if that kind of dictatorship kind of world had gone further, you know. | ||
| It would have been a different world. | ||
| It wouldn't have grown the way it is. | ||
| But now it's grown. | ||
| There's this freedom. | ||
| The war was fought. | ||
| I believe there was a great quote in one of those books like there's no such thing as a bad piece or something like that. | ||
| There's all kinds of different. | ||
| But I feel like there's no sort of idea that people can agree on that's The source of like a reason for our being. | ||
| Well, it's a very uniting thing to be all together against a common enemy that is real, like World War II. Like there's a real purpose to life. | ||
| People understand that this is a very important mission. | ||
| This is something that, unfortunately, it's one of the best ways to unite people. | ||
| Is a threat from the outside. | ||
| That's all we've come up with. | ||
| Well, that's what happened after 9-11. | ||
| Do you remember 9-11? | ||
| Everywhere in L.A., people were driving around with American flags on their car. | ||
| I'll never forget 9-11. | ||
| What it was like to walk down the streets of New York after 9-11. | ||
| There was nothing like I've ever experienced in my whole life. | ||
| Right. | ||
| It was bizarre. | ||
| But it was also very united. | ||
| Like, people were together. | ||
|
unidentified
|
It was. | |
| People looked. | ||
| Into each other's eyes. | ||
| You walk by someone on the street, and every person on the street looked right in your eyes. | ||
| And that lasted for weeks. | ||
| I mean, people in New York walk with their head down, they look like, they're reading a paper. | ||
| But people just looking by like, okay, we're in this. | ||
| Yeah, together. | ||
| And I think... | ||
| Some people actually obviously hated the act of what happened, but loved the way people reacted and how people felt with each other. | ||
| It did feel different. | ||
| New York City felt friendly. | ||
| It felt united. | ||
| It felt like people were proud to be American. | ||
| We were all together. | ||
| There's bad people out there. | ||
| They did this to us, but we're all together. | ||
| Well, OK, so what we have here with the situation of like just using San Francisco as the idea is like it's just a gentler. | ||
| Version of something that we could all say, this is something that we have to go to war about. | ||
| Yeah, or it's a task. | ||
| Any kind of a problem that we have as a group that we all are affected by or care about. | ||
| Well, it's too easy to ignore. | ||
| It's too easy to just say, oh, there's the tents, let's go this way. | ||
| The reality is the health of the community, it's dependent upon the health of the lowest members of the community on the social rung. | ||
| The lowest members are the people that are sick. | ||
| And if you don't take care of them, if you don't take care of the people that are mentally ill, that are homeless, that are addicted to drugs, that are on the street, that are desolate, that don't have friends, don't have love, don't have structure, don't have anything that they can call upon, horrible childhood, the whole deal. | ||
| If you don't... | ||
| If you don't look at them, then your society's sick. | ||
| Because the foundation of the society is the people. | ||
| If you've got a group of people that are part of your community and you're completely ignoring their plight, that's not good for anybody. | ||
| That's not good for big business. | ||
| That's not good for common folk. | ||
| That's not good for people in the neighborhood. | ||
| It's not good for anybody. | ||
| And it's gotten so far. | ||
| Because it's so big now, the problem is so enormous, it's almost too big to tackle. | ||
| It's almost like, okay, you're dealing with LA, you're dealing with 100,000 people living on the street. | ||
| That's so many fucking people. | ||
| That's the entire population of Boulder. | ||
| That's Boulder, Colorado, in tents on the street in LA. That's crazy. | ||
| It's almost too big. | ||
| And I talked to Mayor Adler, who was the mayor of Austin at the time when I first moved here, and he was... | ||
| He had a bunch of plans in place to help the homeless people, and they did an amazing job, because it got pretty bad here during the pandemic. | ||
| I remember there being homeless here, yeah. | ||
| They got hotels, they put people up, they put together programs, they got people jobs. | ||
| There's a company that we've had, what is his name? | ||
| Alan, that we had in here? | ||
| Alan Graham? | ||
| From Loaves and Fishes, I went and visited his community that he set up. | ||
| He has this community where they build houses for these people. | ||
| They bought an enormous piece of land outside of Austin, and he sets up work programs for these people, gives them a sense of purpose. | ||
| It's an amazing place to be. | ||
| They're doing art and selling art. | ||
| It's working? | ||
| Yes, it's working. | ||
| Yeah, I mean, it doesn't work with everybody, but it works with a lot of them. | ||
| And these people, they have a sense of community. | ||
| They all live in a safe area. | ||
| And we walked around. | ||
| I brought my kids. | ||
| We walked around there. | ||
| It was like the whole thing was really nice. | ||
| It was really wonderful. | ||
| It was really cool what he's doing. | ||
| So that guy, his plan, his way of working needs to obviously get out there. | ||
| It's got to get around. | ||
| He lives there. | ||
| And this is a guy who has money. | ||
| He lives in the community with those people. | ||
| This man must be deputized. | ||
| Well, he's a Christian, like a real Christian, like in the greatest sense of the word. | ||
| Like he's a guy who really believes in reaching out to people and helping people. | ||
| Yeah, this is Alan right here. | ||
| He's just a wonderful guy, like a really beautiful person, and lives with these people. | ||
| They're his neighbors, and they're constantly bringing people in, and he has all these different programs that people can sign up for to learn arts and crafts and learn how to sell things that you've made, and it's really cool. | ||
| And, you know, I mean, he's doing his part. | ||
| It's small in relation to, like, the problem of San Francisco. | ||
| But you need people like that that really dedicate themselves to it. | ||
| I've heard of Loaves and Fishes. | ||
| I didn't know all of this about it. | ||
| It's pretty amazing. | ||
| It's a pretty amazing place that he's got. | ||
| And he's expanding it. | ||
| They're building new ones right now. | ||
| So there's these small houses that these people live in and they all have like a community kitchen where they can go and barbecue and grill outside. | ||
| And there's an arts and crafts center. | ||
| These people, they make cool chess pieces and they sell them. | ||
| They make paintings and they sell them jewelry. | ||
| They're doing all these different things and it gives them a sense of purpose. | ||
| You've got to get this guy to San Francisco. | ||
| Yes. | ||
| Well, you need more people like him is what it is. | ||
| It's just he's a very unique guy. | ||
| There must be people like him. | ||
| But, I mean, it's a lot. | ||
| I mean, he lives with them. | ||
| I mean, he's in the community. | ||
| He has one of those little houses in this, you know, giant area filled with people. | ||
| And he's with them for encouragement. | ||
| And, you know, it's a beautiful thing. | ||
| It sounds really amazing. | ||
| Yeah. | ||
| It's beautiful. | ||
| Okay. | ||
| Should we wrap it up, Bill Murray? | ||
| Yeah, okay. | ||
| Sorry I'll keep you so long. | ||
| No! | ||
| It was amazing. | ||
| It's an honor to meet you. | ||
| I've really enjoyed it very much. | ||
| I appreciate talking to you. | ||
| Thank you, and thanks for the shirt, and thanks for the shorts. | ||
| Yeah, well... | ||
| I'm going to wear those. | ||
| Okay. | ||
| But, you know, I will just say that those shorts are very... | ||
| They're forgiving shorts. | ||
| So if you've had a big meal... | ||
| Good. | ||
|
unidentified
|
Beautiful. | |
| Yeah, they still fit you. | ||
| I like that. | ||
| They're good. | ||
| Can people buy these? | ||
| Can they? | ||
| Are they available for sale? | ||
| Yeah, yeah, they sell them. | ||
| Where do they go? | ||
| It's called William Murray Golf. | ||
| They sell them online a lot, and I know they sell them in golf shops some places and some stores. | ||
| That's it. | ||
| Beautiful. | ||
| That's it. | ||
| Look at that guy. | ||
| Look at that. | ||
| Look at that handsome fucking model. | ||
| Yeah, that's a model. | ||
| That's a good-looking fella. | ||
| Let's get loud. | ||
| All right. | ||
| That may be a model, too. | ||
| Yeah, he's definitely a model. | ||
| He's beautiful. | ||
| Well, thank you very much. | ||
| I really enjoyed it. | ||
| Same here. | ||
|
unidentified
|
Thank you. | |
| Enjoyed it. | ||
| Thanks for having me. | ||
| Bye, everybody. |
Export Selection