Speaker 1: I said, there's no way, no way I could get
Speaker 1: without falling down that rap. All right, no way, but
Speaker 1: Donald singing. You may know if you're an avid listener
Speaker 1: of Fake Doctor's Real Friends, that Donald and I are
Speaker 1: big fans of a song of five moment um. We
Speaker 1: we sang, he's driving in your window, He's climbing in
Speaker 1: your window, Nas nat Janio, pull up? How did you kids?
Speaker 1: How'd you wife? Well, we are a sucker for a
Speaker 1: song of five moments? And I sent Donald what is
Speaker 1: probably the greatest song of the summer. Oh my gosh,
Speaker 1: it's it's it's my new bop. Dan. You're gonna have
Speaker 1: to edit this in sounding better than I have it,
Speaker 1: but I have to play this for you. And I
Speaker 1: gotta give a shout out to these guys. Oh they're
Speaker 1: called the Gregory Brothers. You guys. You can find them
Speaker 1: on on Twitter at Gregory Brothers and they ad I
Speaker 1: just want to say I didn't know. First of all,
Speaker 1: I had no idea that Donald Trump was a poet.
Speaker 1: Because he's a poet. He rhymes in his beaches. And
Speaker 1: I didn't even know. Listen, Donald and I have been
Speaker 1: talking about back and forth sometimes with you, sometimes privately
Speaker 1: on our phone about what are our favorite songs of summer.
Speaker 1: We've been talking about t Swift. We've been you know,
Speaker 1: we played you Toby Sebastian last episode. But listen, this
Speaker 1: is the song of the summer. You guys, and Donald
Speaker 1: and I haven't singing into each other. Okay, Now, for
Speaker 1: those who don't know, Donald Trump had trouble making it
Speaker 1: down a ramp. And you know, I don't fault the guy.
Speaker 1: I mean, I fought them for lots of things, but
Speaker 1: you know, he's in his seventies. There was no banister.
Speaker 1: But then he had to go brag about it. Okay,
Speaker 1: he had to go brag about it, and these guys
Speaker 1: song afide the bragging. So here you go. Here's the
Speaker 1: song of something. There's no yeah, hey, general, no wait
Speaker 1: for the hue. It was said there's no way fired,
Speaker 1: because no way fired. Whatever we get here we go.
Speaker 1: But I feet short I do. That's the five favorite
Speaker 1: i'd ram I've been. Oh my god, I love that song.
Speaker 1: I ran that's my favorite hook right there, I ran
Speaker 1: down the rip. I fucking fucking DJ Collie couldn't write
Speaker 1: that hook another one. He would, but he would, you know,
Speaker 1: he heard that like all of us did, and was like,
Speaker 1: damn that I never heard a song of five songs
Speaker 1: that I wanted a full song too. That's only a
Speaker 1: minute long. I want the whole fucking song. I'm dead
Speaker 1: do it. No way, no way, I could wait, I
Speaker 1: could get ram without falling on my ass. There's no way.
Speaker 1: And then he goes, I read, I've read down the ram.
Speaker 1: So congrats to those Gregory brothers. That's a that's a
Speaker 1: that's a bop. As the kids say, Bob, dude, that
Speaker 1: is a bob. How are you man? Oh man? I
Speaker 1: read everyone's gonna be singing that. You know what everybody's
Speaker 1: singing other than that song? What you're trying to get
Speaker 1: into a day shown? It is a ring tone. It's
Speaker 1: a ring tone, Joel, Is it officially available for everybody?
Speaker 1: It should be by the time this error is it
Speaker 1: should officially be available those of you who are clamoring,
Speaker 1: clamoring for the hottest ring tone of summer, the Adao
Speaker 1: Shoon song. Look at your beard? You that is a
Speaker 1: big beard. I committed to it. You look great. It
Speaker 1: looks thick and it's very Yeah, I got hair on
Speaker 1: my face, like to run her fingers through it. Me
Speaker 1: and Casey don't be you know, listen, man, we don't
Speaker 1: like to kiss and tell. Okay, so well you have
Speaker 1: to tell me what you did sexually, but you can
Speaker 1: tell me if she ran her fingers through it. I'm
Speaker 1: not asking you if she fucking lets you spanker, But
Speaker 1: did you appropriate? I'm read. No, we're family, Casey, Casey
Speaker 1: lets me know things. No she doesn't, she does, she does.
Speaker 1: My wife tells you shit word. No, no, you know
Speaker 1: she doesn't. But but you know, when we're together, when
Speaker 1: we're together as as as couples, we sometimes speak openly. Right.
Speaker 1: It's crazy, man, with this whole quarantine thing going. We
Speaker 1: see each other every day, right, all day, all day. Um,
Speaker 1: I love my wife tremendously. But once we put the
Speaker 1: kids down, we kind of separate a little bit it
Speaker 1: and we go on our own rooms and she watches
Speaker 1: her date Lines and you know, I watched my Uh,
Speaker 1: it's just like this episode that we're going to talk about. Well,
Speaker 1: this episode is you fall asleep. Judy wants romance, Carlo
Speaker 1: wants romance, and she wants some sex. You fall asleep
Speaker 1: during the Jefferson's theme song, Yeah but yeah, but that's
Speaker 1: after we have sex. Though, first of all, I don't know.
Speaker 1: So it's the joke that you only lasted the length
Speaker 1: of the theme song of the Jeffersons. No, he didn't
Speaker 1: even last the length of the theme song. It was like, well,
Speaker 1: here we're moving on. He probably got beans on Friday
Speaker 1: in the kitchen, the beans on, burn on the girl.
Speaker 1: He probably got to that, yeah, and then he finished.
Speaker 1: And he's like, took a whole lot of tree because
Speaker 1: you're right, because now we know you finished in the
Speaker 1: first couple of lyrics, because by the time we get
Speaker 1: to sky Hi, Hi, the camera til you're asleep, right,
Speaker 1: So you needed time to at least clean yourself up.
Speaker 1: Took a whole a lot of two. Right. Yeah, Now
Speaker 1: let's assume you finished the time. Now we up in
Speaker 1: the big Now you're cleaning yourself out, turn it back up.
Speaker 1: We living, it's you and the baby. No, No, I
Speaker 1: think he might have lasted longer. I think he might
Speaker 1: have lasted longer because if you back time it, you
Speaker 1: hadn't you only need about a few a few words
Speaker 1: to get cuddly and fall asleep. So it took a
Speaker 1: whole lot of two and find a later spot for
Speaker 1: your ejaculation. Now we up in the big mee. Get
Speaker 1: my turn at back. No, no, I think it came at.
Speaker 1: Ain't nothing wrong with that, get my turn it back alone.
Speaker 1: We living. It's you and me, baby, It ain't nothing
Speaker 1: wrong with that. We're moving. Oh no, that's probably how
Speaker 1: it timed out. Yeah, that's probably how it timed out. Well,
Speaker 1: welcome to fake Doctor's real friends. We have John he
Speaker 1: see McGinley here today for a very very very good episode.
Speaker 1: I just watched it. It's really good. Yeah, I watched
Speaker 1: it also just now, I watched it, and I don't
Speaker 1: think I need a first of all, before we get
Speaker 1: six seven eight stories about show we made about a
Speaker 1: bunch of docks and nervous, and Jan said, he's the stories.
Speaker 1: So get around you here, yeat around you here with
Speaker 1: oh hello there, bitch, thunderous applause, thunderous applause. Damn Donald,
Speaker 1: turn your key. I look at you, Look at how
Speaker 1: are you, sir? You're back in your echo room. You're
Speaker 1: back in your echoe room, Johnny. I know because Nicole
Speaker 1: has a migraine. She's upstairs and when she gets some
Speaker 1: their blackout and so oh no, that's yeah, it's the
Speaker 1: worst thing on the planet. But I am down here
Speaker 1: and I'm really sorry that that that we have the echo,
Speaker 1: but I can't go up there. Well, listen, the audience
Speaker 1: is so fucking excited whenever you come on. I think
Speaker 1: they will they will handle an echo because all we
Speaker 1: get on our on our social media is when is
Speaker 1: Johnny c McGinley coming back on your everybody's favorite guests.
Speaker 1: Everybody loves your story of your leeches attacking your your
Speaker 1: what do you call your your man power source? Power source? Johnny,
Speaker 1: I laugh on it's a latch store on to the
Speaker 1: power source. Yes, the leach is all over his power source.
Speaker 1: I thought the last couple of guests you've had on
Speaker 1: were fascinating. I thought Brendan was just so interesting, and
Speaker 1: it's always fun to listen to how geeked out you
Speaker 1: guys get whether it was with Heather, because Jack, you
Speaker 1: are clearly uncomfortable. Yeah, I understand that, complete dude. I
Speaker 1: want the audience to know that I tried my best,
Speaker 1: but I was I mean I grew up and she
Speaker 1: was like she probably was a poster on my wall.
Speaker 1: I mean she was had the fucking lock reader and
Speaker 1: I may be forty five years old, but I was
Speaker 1: just as giddy. Yeah, she's fine. I completely appreciate that
Speaker 1: because when she was on the set and I was
Speaker 1: very single, Um yeah I did. I no sooner even
Speaker 1: occurred to me to approach her that way because she's
Speaker 1: something else. Yeah, yeah, she's out of it. But there
Speaker 1: you were, dude, there you were having a sex scenes
Speaker 1: with with a goddess, with a living goddess. I was
Speaker 1: that was acting. That was I was too. That was
Speaker 1: out of my weight, class man. Totally kind of like
Speaker 1: kind of like JD hitting on gifts part of all,
Speaker 1: there's no I'm watching this fucking episode, and um, the
Speaker 1: idea of of JD getting Sarah Lancaster, a who plays
Speaker 1: gift shop girl, and then b not being able to
Speaker 1: be get a heart on for her, I just found
Speaker 1: unreal list television. I'm sorry. I'm sorry, but I call
Speaker 1: bullshit on this writing. First of all, it's written by
Speaker 1: Angela Nissel and directed by Gail Mancuso Angels. Yes, I
Speaker 1: have to, I have to. I have to stop before
Speaker 1: we go any further. I looked at two o nine.
Speaker 1: You look at the wrong episode. Yeah, okay, Well, Johnny,
Speaker 1: I think you guys should start over without me because
Speaker 1: I have no idea what two ten is. I have
Speaker 1: copious notes on two O nine, which one's two on nine?
Speaker 1: Two nine's when you and I have my favorite team
Speaker 1: we ever did together. When I tell you it wasn't
Speaker 1: a favorite, it was my job at the end of
Speaker 1: the episode, Oh I love that. Um, we how do
Speaker 1: we salvage this, Johnny, because we're so excited to have
Speaker 1: you on. Well, I know how we can salvage it
Speaker 1: because I had an overriding angle that I wanted to
Speaker 1: look at, and it's inspired by what you guys have
Speaker 1: told me an Uptown Girls and some of your adventures
Speaker 1: in New York City when you guys were in that apartment.
Speaker 1: What happened between season one and season two, since I
Speaker 1: haven't talked to you since the end of season one,
Speaker 1: for me was that I had a C plus comedy
Speaker 1: come out with Jason Lee and Tom Green called Stealing Harvard,
Speaker 1: and I spent the entire hiatus and Jackie, you came
Speaker 1: to visit me at Columbia doing Identity with James Mangel
Speaker 1: and it and I would suggest to you that what
Speaker 1: we do in our hiatuses informs what we do when
Speaker 1: we get back in front of the lens, and that
Speaker 1: you bring that either those asks, that's their liabilities with you,
Speaker 1: and it informs the way you grow in front of
Speaker 1: the lens. Yes, I agree, But how are you saying
Speaker 1: that this informed when we came back together for season two?
Speaker 1: Because what I've brought having spent those I don't know,
Speaker 1: nine weeks with Jim mangled, you know, I'm mister verb
Speaker 1: and my overwriting objective in season two was to contribute,
Speaker 1: and then this counterintuitive thing happened where I wanted to cox.
Speaker 1: I wanted to contribute by capitulating in front of the lens.
Speaker 1: And I'll tell you what I mean. I was starting
Speaker 1: to get too busy at the end of season one
Speaker 1: and intoxicated with the eccentricities of all the craziness. And
Speaker 1: what happened on Identity, which was the name of the
Speaker 1: film that Jim directed with Johnny and Ray and Amanda,
Speaker 1: was that everything just kept getting stripped down. Molina, all
Speaker 1: these people just kept stripping stuff down. And it occurred
Speaker 1: to me that I was bringing too much baggage in
Speaker 1: between action and cut, and so what it decided was
Speaker 1: that what the capitulation would be would would be that
Speaker 1: I was going to get out of the way. And
Speaker 1: at no point was it more on point than when
Speaker 1: you and I were in that doctor's lounge at the
Speaker 1: end of two oh nine, unfortunately, and you had been
Speaker 1: chesty that JD had been chesty the whole episode. And
Speaker 1: finally they get to come together and Cox lets him
Speaker 1: off the hook. But in letting him off the hook,
Speaker 1: there's a surrender, and that too, there's a capitulation, and
Speaker 1: it's just it's the cleanest scene I can remember that
Speaker 1: I can remember. I can't remember, you know, like Donald
Speaker 1: and I zac you have a better memory than us,
Speaker 1: but I can't remember all this stuff. But I agree, Johnny,
Speaker 1: because one of the things I said when we talked
Speaker 1: about that was the episode was so, you know, the
Speaker 1: show is so silly and can be and and can
Speaker 1: go all over the place and fantasies. But what I'm
Speaker 1: so proud of in this show when it worked was
Speaker 1: how we would just drop in and be straight and
Speaker 1: and that scene with you and I uh in in
Speaker 1: that room, to me is one of the best of
Speaker 1: the series. And it's so it's so simple. It's probably
Speaker 1: forty five second scene. But I think you and I
Speaker 1: was so vulnerable, and you were so vulnerable, and and
Speaker 1: and and up to this point there's been there's been
Speaker 1: almost no maybe once or twice you give in it
Speaker 1: Cox gives in and and and is willing to give
Speaker 1: him some some mentorship. But this was a real first time.
Speaker 1: I think that Cox is this vulnerable in front of him,
Speaker 1: telling him that it's this is my job. My job
Speaker 1: is to make sure you don't fuck up. But there's
Speaker 1: also the it's a it's a combination, and you as
Speaker 1: a filmmaker surely will appreciate this, and Donald as well.
Speaker 1: Is that the scene starts up with this great dolly
Speaker 1: over your shoulder and then we land on Cox and
Speaker 1: the fucking great music Q already started when Donald jumped
Speaker 1: off the couch to go put Rowdy on the fourth floor,
Speaker 1: and it's it's under pressure with Queen and Bowie and
Speaker 1: just everything and I can't remember. I think Larry Trilling
Speaker 1: shot it, and everything that could come together in a
Speaker 1: in a twenty four minute TV show came together. And
Speaker 1: that doesn't always happen. And when it does, and it
Speaker 1: shouldn't happen, it's impossible. The schedules impossible, and everything's is
Speaker 1: working against you, and when it does, yeah, it's magic. Yeah,
Speaker 1: it's so fun too when those moments happen in both Uh,
Speaker 1: you know, as an actor, you you just kind of
Speaker 1: go at it all the time, and sometimes magic happens
Speaker 1: and sometimes it doesn't. And then there's moments both as
Speaker 1: an actor and a director where you're watching something. I
Speaker 1: remember I was directing Wish I was here and there
Speaker 1: this great scene between Manny Patankon and Kate Hudson, and
Speaker 1: there were supposed to be this moment where they connected
Speaker 1: and all of a sudden that the monitors it just
Speaker 1: I was watching them, and it just magic happened, and
Speaker 1: Kate had a single tear just trickling down her eye,
Speaker 1: and then instead of stopping talking, she just ad libbed
Speaker 1: this extra line and she swiped her tear away kind
Speaker 1: of like nonchalantly, like she didn't want Manny Patakon to
Speaker 1: see the moment. And it was just one of those
Speaker 1: moments where you're like, holy shit, like something special just happened.
Speaker 1: That was way better than when was it? In my mind,
Speaker 1: I feel that way about a lot of things and
Speaker 1: scrubbs that we did, like where oftentimes it was about
Speaker 1: comedy we were all riffing together and there'd be some
Speaker 1: funny thing we'd all come up with. But then but
Speaker 1: this is one of those moments that you're talking about
Speaker 1: where it was like just just so much better than
Speaker 1: what we could even imagine was on the page. But
Speaker 1: I had to go away for the summer. And maybe Donald,
Speaker 1: you'll know what I'm talking about with because I heard
Speaker 1: you talk and a Heather about the film you guys did.
Speaker 1: When you when you go away, what happens is and Donald,
Speaker 1: you will appreciate this in kind of a a sports metaphor.
Speaker 1: If you if you shoot ten thousand free throws, you
Speaker 1: will get better at free throws. And if you stay
Speaker 1: in front of the lens, even when you're on hiatus,
Speaker 1: if you stay in front of the lens, you'll stop
Speaker 1: acting and start behaving. And it's not semantics. There're two
Speaker 1: different things. And especially if you have a taskmaster who's creative,
Speaker 1: like Jim Mangold, who's not only going to keep you
Speaker 1: in front of the lens, but it's just going to
Speaker 1: keep stripping stuff down. And what I mean by stripping
Speaker 1: stuff down is that actors always want to add an eccentricity.
Speaker 1: They want to they want to add a limp or
Speaker 1: a lisp or a or a tick or some some
Speaker 1: kind of eccentricity, and Jim wanted them all out out out.
Speaker 1: He went, a rain was a character in the story,
Speaker 1: deal with the rain. And I always like when actors
Speaker 1: have to deal with cold, dark and rain, because everything
Speaker 1: goes away and they just start behaving. If it's four
Speaker 1: o'clock in the morning, if you're shooting nights, the production
Speaker 1: is added rain, it's freezing out and it's four in
Speaker 1: the morning, everybody stops acting and they just start saying
Speaker 1: their lines and scenes start to click because people people
Speaker 1: want to get through the scene, like the people in
Speaker 1: the scene. Yeah, and I remember one of these times
Speaker 1: happened that I can't remember the episode up almost positive
Speaker 1: you were pulling the trigger zact when Molly Shannon came on. Yeah,
Speaker 1: that's Donald and I talked about that episode all the time.
Speaker 1: It's my favorite one because my first time directing, I'm
Speaker 1: standing across the room from her and she's lovely and
Speaker 1: all that, but she's a comedian and I don't know
Speaker 1: what kind of chops she has. And then she finally
Speaker 1: tells me why she's so kookie and we find about her,
Speaker 1: we find out about her loss and what the actor
Speaker 1: once she went in and dug out was the stuff
Speaker 1: that dreams are made of for the lens. And I
Speaker 1: was standing there watching her, and we didn't do that.
Speaker 1: It takes because she queshed it and she brought her
Speaker 1: She brought her off screen life into that that wasn't
Speaker 1: on the page. Where she went wasn't on the page.
Speaker 1: You know, Johnny, I definitely agree with you about working
Speaker 1: during your hiatus. It keeps you in a rhythm. I
Speaker 1: feel like, I feel like toward the end of every
Speaker 1: season when we were making the show, we would find
Speaker 1: our rhythm and we would be all of a sudden
Speaker 1: clicking and it was just like you said, it became
Speaker 1: it was no longer about let me act the shit
Speaker 1: out of it. Let me say to my lines, I
Speaker 1: don't want to be here until fucking you know, midnight tonight.
Speaker 1: Let me say my lines and let the work do
Speaker 1: its job. Let the work make it happen. And I
Speaker 1: think when you go away and you do another project
Speaker 1: and you get excited again, that same thing fuels you
Speaker 1: for when you go back to work the next year,
Speaker 1: and now you're in a rhythm and so that energy
Speaker 1: that you had at the end of the season where
Speaker 1: you're like efficient and you're trying to make it happen
Speaker 1: like in one take and right away because you're you know,
Speaker 1: you're you don't want to be there late, and you
Speaker 1: want to be looked at as a as a professional.
Speaker 1: And when you do that all summer long, when you
Speaker 1: come back in in the beginning, you don't have the rusties,
Speaker 1: you don't have the I'm nervous about what I've been doing,
Speaker 1: you know what I mean? You're training. It's like you
Speaker 1: were training all summer. Yeah, no, walk getting You're right.
Speaker 1: You walk in and you're like, look, check out my
Speaker 1: six pack, you know what I mean. I have a
Speaker 1: question for you guys, as both a actor and a director,
Speaker 1: I wish as an actor I would have had more
Speaker 1: directors push me to be better. I feel like I
Speaker 1: feel like throughout my career there's been a few, but
Speaker 1: mostly it's been about stand here, the camera's going to
Speaker 1: come here, do you want to go again? Because maybe
Speaker 1: you should be a little angrier as opposed to like
Speaker 1: taking me in the corner and being like here, I
Speaker 1: want to put a fucking thought in your head. And
Speaker 1: I wonder, Johnny, because you you can be an intimidating fellow.
Speaker 1: I wonder did Mangold was he able to to do
Speaker 1: that to you? Did he? I mean, Oliver Stone, you've
Speaker 1: worked with I mean, you've worked with Fincher, You've worked
Speaker 1: with the legends of the world. Had these guys been
Speaker 1: able to do that to you? Have they done that
Speaker 1: to you? And I want to know your answer too.
Speaker 1: But you know, we'll start with the Olivers Oliver school
Speaker 1: of directing. Uh comes with consequences, and so if you
Speaker 1: if you're doing something that's not is it necessarily what
Speaker 1: Oliver had in mind? He'll yell from video village, which
Speaker 1: is an area away from the set where the director
Speaker 1: and the and the and the people who are producing
Speaker 1: the film are watching it. He'll yell from video village, McGinley,
Speaker 1: walk with me, and that just means, uh, you're going
Speaker 1: to go for a walk. And then he tells you
Speaker 1: that you're already in my vision and you're fucking me. Really,
Speaker 1: You're like, oh god, he did it in the Philippines,
Speaker 1: he did it it down in on Wall Street, he
Speaker 1: did it, He does it everywhere. You're fucking me. You
Speaker 1: were better when you always read actors for him, and
Speaker 1: he goes, you were better when you were reading the actors,
Speaker 1: but now you're fucking me, and you're like, oh my god,
Speaker 1: oh horrifying. How do you not get it? How do
Speaker 1: you then not spiral Johnny? Because I feel like there's
Speaker 1: a fine line between taking you in the corner and
Speaker 1: being and being constructive and being like, you got this, man,
Speaker 1: but I want you to dig deep and do this
Speaker 1: and being like, you're fucking me. I can't imagine that
Speaker 1: I would be so spiraling in my head. I don't know.
Speaker 1: I guess it all started in the Philippines and I
Speaker 1: just wasn't gonna there was nowhere to go. We were
Speaker 1: ten thousand miles from home, and so I guess you
Speaker 1: got a rally. I don't fucking know. And the obviously
Speaker 1: didn't you tell me this? Sorry, sorry, go ahead again.
Speaker 1: The opposite of that is Catherine Bigelow on Point Break.
Speaker 1: You know we did that opening movie, Johnny, Johnny, remember
Speaker 1: when there was one of those steadicams they used to
Speaker 1: weigh about eighty pounds, and all the big Aussie guys
Speaker 1: used to be the operators. And in the beginning of
Speaker 1: that film, there's about a five or six minute walk
Speaker 1: and talk where Keano and I are doing all the
Speaker 1: expository who what, where? When? How? For the whole movie,
Speaker 1: we're just just stealing, stealing, I don't stop talking. And
Speaker 1: and we did it thirty six times. I think she
Speaker 1: printed like four, eighteen and thirty six, And of course
Speaker 1: four was the one that was in the movie. And
Speaker 1: it's just a one er and it's just scrubs. Made
Speaker 1: it look second nature because we did those. But at
Speaker 1: the time when we were doing it, it was a
Speaker 1: big deal. And you know, all the way through the
Speaker 1: bowels of the FBI with this steadicam and Catherine just
Speaker 1: come over and she's a single most supportive person in
Speaker 1: the history of the planet. But the bottom line was,
Speaker 1: we're going again. She would never say anything, she would
Speaker 1: never say anything. No, she's just the greatest. She's like,
Speaker 1: you're crushing us. You're crushing us. I'm like, who, But
Speaker 1: I always know when we have it. What about Weird
Speaker 1: of God? What about you Donald? Like when you worked
Speaker 1: with like Boas or or did did they give you
Speaker 1: did you ever get like tough direction? But also that
Speaker 1: like made you dig deeper? Um? Yeah, you know, uh.
Speaker 1: Boas was was very much we're gonna rehearse. Uh, And
Speaker 1: we would we would rehearse and he wouldn't necessarily be there,
Speaker 1: but he would come and check it out. But he
Speaker 1: would be like, you guys, go rehearse, you know, rehearse
Speaker 1: amongst yourselves and stuff. And then when we would do
Speaker 1: it the scene, he'd be like, Okay, yeah, that's great.
Speaker 1: Is there anything you want to add to it? Um,
Speaker 1: I'm trying to think of if they were. I've had directors.
Speaker 1: I don't want to say their names. I've had directors
Speaker 1: to be like, you know, uh, you stumbled on that line,
Speaker 1: there goes, you're close up. I've had shit like that
Speaker 1: before you. That's not gonna help anybody, No, it doesn't. Uh.
Speaker 1: And to find a way to to to I mean,
Speaker 1: my goal when I'm directing someone is all I want
Speaker 1: is for you to be great? How can I support that?
Speaker 1: Part of it for me is creating an environment on
Speaker 1: the set. You know, Scrubs is the ultimate example. We
Speaker 1: had an environment that was so safe to experiment and
Speaker 1: to and to fuck up. And it was you felt
Speaker 1: so safe, you felt the net under under the under
Speaker 1: the tight rope, if you will, um, so I when
Speaker 1: I'm making my products. I try and hate create that
Speaker 1: environment again where where you're safe, like there's no wrong answer,
Speaker 1: let's play, because I think that puts actors in a
Speaker 1: good headspace. Um. But I'm also making things so fast,
Speaker 1: you know, I'm every the three films I've made, I
Speaker 1: have to go so fast. There isn't a whole lot
Speaker 1: of time to do like what Oliver Stone can do
Speaker 1: in the Philippines and be like Johnny Let's Walk. If
Speaker 1: produces someone like Natalie Let's Walk, everyone looked at me like,
Speaker 1: what the fuck are you doing? We have a half
Speaker 1: hour left for the day. That truly is a luxury. Luxury.
Speaker 1: I hear stories about actors and directors going on like
Speaker 1: forty five minute walks while the crew waits, sometimes two
Speaker 1: hour walks while the crew waits, and then they come
Speaker 1: back in the scenes different. Now we're going to relight
Speaker 1: it a different way. I've heard crazy ass stories about how,
Speaker 1: you know, how ego gets in the way of making
Speaker 1: movies and stuff like I've had stories from that movie
Speaker 1: What's the Well. I should probably shouldn't call it what
Speaker 1: the movie is, but I heard stories of a movie
Speaker 1: star showing up. My friend was shooting the movie, and
Speaker 1: he said, you wouldn't believe what was going on. Like
Speaker 1: the movie star would show up and be like, all right, well,
Speaker 1: we're obviously not saying any of this, so should we
Speaker 1: go talk about it? And it's like what like? So
Speaker 1: they would then go on like long, like a like
Speaker 1: a like a minivan ride and like rewrite the day's work,
Speaker 1: and that's how the day would start. I mean that
Speaker 1: gives me anxiety even saying it. Have you guys ever
Speaker 1: like this? It's happened once in my life, Zach. I
Speaker 1: know when it's happened with you. Johnny, have you ever
Speaker 1: been so late in any way that you've caused a day? Well,
Speaker 1: not a day, but you caused a morning, I should say,
Speaker 1: the director like, like I've been, I've been so I've been.
Speaker 1: Not a fucking chance. We're not. Johnny's not late ever,
Speaker 1: Johnny's early. Johnny gets scared five in the morning and
Speaker 1: then goes back to sleep. That would never happen, right,
Speaker 1: never happened. That happened to me. That happened to me once, Zach,
Speaker 1: I remember when it happened to you, But it happened
Speaker 1: mine was an alarm clock malfunction. Ahead, bullshit. But anyway,
Speaker 1: I told the story in the podcast. Did I ever
Speaker 1: tell you to Henry Winkler's story? No? Please go on. Okay.
Speaker 1: So I was doing Clueless, the television show at the time, right,
Speaker 1: and Henry Winkler's directing the next day. It's Sunday night.
Speaker 1: He's directing on Monday, um, and I'm geeked about it.
Speaker 1: But I also I'm twenty something years old and I
Speaker 1: live with a bunch of dudes. Right, It's me, my buddies,
Speaker 1: me and literally three other dudes living in the house together.
Speaker 1: And on Sunday nights. I don't know where it was.
Speaker 1: I think freaking like uh Joseph's or or some shit
Speaker 1: like that was off. The club was going off, right,
Speaker 1: and so we went out and I didn't get home
Speaker 1: until like four in the morning, smashed and hammered, and
Speaker 1: I pass out my call times at six am. I'm
Speaker 1: doing Clueless at the time. I wake up and it's
Speaker 1: six thirty and I'm like, oh shit, Henry Winkler's directing.
Speaker 1: So I throw on clothes and I, you know, jet
Speaker 1: to work. I get there, I put on my customers
Speaker 1: all in my trailer and everything I throw on all
Speaker 1: my shit, and as I'm throwing it on, I can
Speaker 1: smell my breath and I still smell the booze on
Speaker 1: my breath, and I'm like, oh my god, Oh my god,
Speaker 1: this is gonna be horrible. This is gonna be horrible.
Speaker 1: So I run out of my trailer and I'm starting
Speaker 1: I'm jetting to set. And as I come around the corner,
Speaker 1: were filming on the Paramount lot, and so you have
Speaker 1: to pass through the big Paramount gates, right, So I
Speaker 1: come running through the gate towards the set, and Henry
Speaker 1: Winkler sees me, stands up and it looked like he
Speaker 1: said to whoever the producer was or the writer was,
Speaker 1: he was like, that's him. Yeah, that's him. Okay. He
Speaker 1: starts walking towards me, and I'm like, oh god, oh shit,
Speaker 1: holy shit you that was the first thing I'm thinking.
Speaker 1: Now the fuck forget forget the cast and the crew
Speaker 1: and everything like that. Fucking Henry Winkler, the legend that
Speaker 1: he is, is about to fucking give me the business.
Speaker 1: And I'm gonna and I'm gonna fucking eat it, right,
Speaker 1: And so he comes up to me and I take
Speaker 1: a deep breath to not breathe out so he can't
Speaker 1: smell this booze on me, right, and he goes, listen,
Speaker 1: we're not gonna do this. Okay, I don't want to.
Speaker 1: I don't want any ship from you. Okay, we're not
Speaker 1: gonna We're not gonna fucking do this. We're gonna do this.
Speaker 1: We're gonna go over there, We're gonna do the scene. Okay,
Speaker 1: we're gonna go over there. We're gonna do the scene.
Speaker 1: And I could tell he wanted to freak and give
Speaker 1: me the business, but he was like, I don't know you.
Speaker 1: I don't want to disrespect you, and I can I'm
Speaker 1: pretty sure you don't want to try and disrespect me
Speaker 1: or anything like that, but come over here and give
Speaker 1: me your best right, And it was it was just
Speaker 1: like when we did the dance scene on Scrubs where
Speaker 1: I where I'm doing um dance to poison and I
Speaker 1: hadn't rehearsed it or anything like that, and I just
Speaker 1: went in there and I did the dance because part
Speaker 1: of it was because I was afraid for my life
Speaker 1: that Bill was gonna be like, you know, that's it,
Speaker 1: You're fired. So it was almost the same thing, like
Speaker 1: I'm dancing on a table in the scene, and I
Speaker 1: jumped off the table into a split right in rehearsal.
Speaker 1: I do the shit because I'm so look. I the
Speaker 1: last thing I wanted was to let down, you know,
Speaker 1: the Fons. And then when I get over there and
Speaker 1: I see Stacy Dash and Alsa Donovan and my boy
Speaker 1: Sean Holland and the crew and all of these guys
Speaker 1: looking at me, uh and uh, you know, giving me
Speaker 1: the face like I can't believe you fucking let down
Speaker 1: the Fonds. And it was like, all right, well, I'm
Speaker 1: gonna give you guys a show. And I did. And
Speaker 1: you know, did he ever take you aside and never
Speaker 1: talk with you? That was talk. It was a quick
Speaker 1: It was one of those things where it was like,
Speaker 1: I'm gonna come off like the boss right now. And
Speaker 1: the humbling thing is is that I'm over here and
Speaker 1: I'm talking to you about this, but you know better
Speaker 1: than this. I shouldn't have to have this conversation with you. Ever.
Speaker 1: He didn't have to say to me, get your shit together,
Speaker 1: But it was all in the I'm not having this
Speaker 1: conversation with you. You're way smarter than this, you know
Speaker 1: better than this bullshit. Let's get over here, let's do
Speaker 1: the scene, and let's make it right. And then he
Speaker 1: fucking hit a jukebox. It didn't. Let's take a break.
Speaker 1: We'll be right back after these fine words. I lied.
Speaker 1: I was late one time, but it had it wasn't
Speaker 1: my fault. I was doing the Actor's the New York
Speaker 1: Actor's Dream of I was. I originated the play Talk
Speaker 1: Radio with Eric Begosian, who I brought on the scrubs
Speaker 1: as my shrine thunders applause, I'll turn my key for
Speaker 1: that down. And so we're down at the Public, which
Speaker 1: has read on Lattie up Street there and I was
Speaker 1: in it for almost two years because it was a
Speaker 1: good gig. And so during that run, Oliver wrote Wall
Speaker 1: Street and said, do you want to come down and
Speaker 1: do Wall Street for two and a half three weeks?
Speaker 1: And I said, well, yeah, of course, but I'm doing
Speaker 1: I'm doing this play. And he said, I'll have you
Speaker 1: wrapped in time and you can get up to the
Speaker 1: Public and everything will be fine. And so I had
Speaker 1: the language in my contract, but I had to be wrapped.
Speaker 1: At seven thirty. We're down towards the war warp building
Speaker 1: in southern the Southern Manhattan, and I had to be
Speaker 1: wrapped at seven thirty, and I just a straight shot
Speaker 1: up Lafayette, go in and make half hour a half hours.
Speaker 1: You have to be at a actor's equity, which is
Speaker 1: the actor's stage Union dictates it. You have to be
Speaker 1: at the theater a half hour before the curtain. And
Speaker 1: I like to be there. I like to do a
Speaker 1: vocal warm up and stretch and all the I like
Speaker 1: all that stuff. And so while we were down towards
Speaker 1: the World Worth Building, the days we're going longer and longer.
Speaker 1: And you know, Charlie and I we had already spent
Speaker 1: four months in the Philippines, and now we're with Oliver
Speaker 1: doing this big thing for I guess universal, and so
Speaker 1: the days are going longer and longer. And I have
Speaker 1: the superstition just like Blue Garrig and Wally Pip, because
Speaker 1: a couple of years earlier, I've been covering John Tatro
Speaker 1: and Danny Blue City. I was his understudy and the
Speaker 1: assistant stage manager and not John was a horse. He
Speaker 1: just never he thought it was bad luck to let
Speaker 1: your under study go on. And so I got that
Speaker 1: from John, and so I didn't want anybody going for me,
Speaker 1: and so no matter, the clock kept ticking and I
Speaker 1: started getting there at twenty of in quarter of and
Speaker 1: the stage managers come up to me, he goes, you
Speaker 1: can't do this. I'm like, listen, just look, I'm going on.
Speaker 1: So and then later and later, and so one time
Speaker 1: I got there at Places and I sprinted up to
Speaker 1: I forgot which theater we're in at the Public, but
Speaker 1: it was the New House or something, and I sprinted
Speaker 1: into the dressing room. I put on my wardrobe, and
Speaker 1: the stage managers like no, and I'm like, call the
Speaker 1: cops because I'm going to kick the shit out of
Speaker 1: you unless you get out of the way. And so
Speaker 1: I go on and Eric let me kind of write
Speaker 1: a piece with him where this character gets to he's
Speaker 1: in three quarters the whole place, so he's three quarter
Speaker 1: exposed to the audience in this precenium stage. And at
Speaker 1: about twenty minutes into the piece, he turns around in
Speaker 1: his chair, a pin spot hits him, and then he
Speaker 1: walks down the closest you can be to the audience.
Speaker 1: The light cue up on the board is called down
Speaker 1: in one. I walk down in one of pinspots on
Speaker 1: me and I do this seven minute monologue about my
Speaker 1: relationship with Eric's character Barry shamplaining, oh my god, I
Speaker 1: got chill, and about two minutes into it, I went up. Poof,
Speaker 1: I went up because of you don't give everyone the lingo.
Speaker 1: That means you forgot his lines. That's the actors saying.
Speaker 1: I went up. Oliver is just yelling at us all day,
Speaker 1: and Charlie and I have been out till I god
Speaker 1: knows how late we're up the night before, but I
Speaker 1: still I stood there with a pin spot on me
Speaker 1: looking at it was a pretty tiny house, maybe three
Speaker 1: fifty maybe three twenty five. I don't know how big
Speaker 1: it was, but it was packed because Eric was all
Speaker 1: the rage and the play was a massive hit, and
Speaker 1: you couldn't get in. And I'm there and I co
Speaker 1: wrote this motherfucking monologue and I can't remember anything, anything,
Speaker 1: and I'm looking out at them, and I was crying inside.
Speaker 1: I don't think I cried out here, but I looked
Speaker 1: up at the light booth. Even though you can't see anything,
Speaker 1: you can't see in front of you because the light's
Speaker 1: so bright. I looked up towards the light booth and
Speaker 1: I just nodded, and I went back to my chair,
Speaker 1: and they called the next like que and Eric started again.
Speaker 1: And then after the show, Eric's the biggest mention on
Speaker 1: the planet. He just came up and he goes, you
Speaker 1: can't don't do that anymore. Don't do that. I'm like, okay.
Speaker 1: And the next night I did not go on, and
Speaker 1: guess what, everything was fine. Yeah, it turns out that
Speaker 1: the understudy was he was fine. He went on and
Speaker 1: he was fine. So wait, Johnny, your monologue is roughly
Speaker 1: seven minutes. How deep did you get into it before
Speaker 1: you forgot your lives? Two minutes? Yeah, man, that is
Speaker 1: the I have this nightmare if you're an actor. They
Speaker 1: actually called the actor's nightmare. I have this dream where
Speaker 1: I'm supposed to go on and I don't know my
Speaker 1: lines at all. Or I'm supposed to go on as
Speaker 1: an understudy for someone and I don't know my lines
Speaker 1: at all. I have that dream all the time. It's
Speaker 1: fine too, and now I so over prepare. Ever since then,
Speaker 1: I so over prepare. Even if you shot me in
Speaker 1: the esophagus, I'd still be able to continue and do
Speaker 1: the lives. I don't give two ships. I don't care,
Speaker 1: I go I have that that nightmare Zachie too, and
Speaker 1: it just never again and it's never happened again ever.
Speaker 1: You know, my first play was at the same theater Johnny.
Speaker 1: First of all, I want to say quickly before I
Speaker 1: changed to that Talk Radio is an amazing film that
Speaker 1: you should all see with Johnny and Eric Wagozian and
Speaker 1: Alec Balwin's in it, right, Yeah, And I didn't get
Speaker 1: star fucked out of it. You know, usually if you've created,
Speaker 1: if it's called creating the play, if you originated to play,
Speaker 1: you're definitely not in the film, definitely. And I got
Speaker 1: to do that. That was Albert and I did Three
Speaker 1: in a Row because that was the film he did
Speaker 1: after Wall Street. Well, that's interesting that you were wait, sorry,
Speaker 1: that's interesting you were doing Wall Street with Oliver and
Speaker 1: then you're in simultaneously in the play, and then Oliver
Speaker 1: decides to direct the movie. So he must have seen
Speaker 1: them play because you're friends with him and he came
Speaker 1: to see you in it. Is that how it was
Speaker 1: the genesis of it? Now? I think it was so
Speaker 1: it was such a subvert, politically subversive about Alan Freed,
Speaker 1: a talk show host. I think in Denver and Eric
Speaker 1: had loosely based it on that that Oliver that was
Speaker 1: right rate in his sweet spot. And we went down
Speaker 1: to Lost Callinas, right outside of Dallas, and we shot
Speaker 1: the whole thing in five six day weeks, and so
Speaker 1: we're in Dallas and we didn't come up for air
Speaker 1: for five weeks. It was the best. Wow, that's a
Speaker 1: great film. I highly recommend it to everybody. But I
Speaker 1: wanted to say my very first part out of Northwestern
Speaker 1: was in a production to Macbeth at the Public Theater
Speaker 1: in one of the tiny spaces, and the cast was
Speaker 1: Alec Baldwin, Angela Bassett, Michael Shall actors. Yeah really hood
Speaker 1: there are other Jason Butler Harner, really amazing actors. And
Speaker 1: I was playing the two young roles, Fleance and young Seward,
Speaker 1: and I had to have a broadsword duel with Alec Baldwin.
Speaker 1: Now I had never done stage combat. I went to school,
Speaker 1: I studied acting in filmmaking, but we never got around
Speaker 1: to like, I never got around to taking a stage
Speaker 1: combat course. And George C. Wolf, the director, very fancy director,
Speaker 1: decides that my character is going to fight Alec Baldwin
Speaker 1: not only with one broad sword, but he thinks would
Speaker 1: be cool if I was an extra badass. And now
Speaker 1: I'm gonna fight Alec Baldwin with two broadswords. Yeah, now
Speaker 1: I've never done Alec is a scary motherfucker, and I've
Speaker 1: never done a single bit of stage combat, and now
Speaker 1: I'm going to do a dual broadsword stage fight with him.
Speaker 1: We get their day one and for the reading, and
Speaker 1: I've never I was fresh out of school. I think
Speaker 1: I never met a celebrity in my life before. And
Speaker 1: Alec Balwin sits down next to me and he goes,
Speaker 1: who are you who? I'm Alec, who are you playing?
Speaker 1: I go, oh, I'm playing on Fleance and I'm playing
Speaker 1: Young Seward and he goes, oh, so I kill you twice?
Speaker 1: And he did. He killed me twice. He shows a
Speaker 1: week and I got it down. It was like but
Speaker 1: it was scary as as fuck. And I I fought
Speaker 1: Alec on stage. Wash was bh Barry your your combat coach.
Speaker 1: I don't I don't recall who it was, but he
Speaker 1: taught me well. And I was just I never rehearsed
Speaker 1: something so much because I mean I couldn't really, I
Speaker 1: could have really hurt. I mean, they're there, they will
Speaker 1: fuck you up. They're not sharp, obviously, but they will
Speaker 1: fuck you up. And I was so afraid that I
Speaker 1: was gonna hurt Alec Baldwin with my tool, my two
Speaker 1: broad swords. Hell yeah, you know what I found really
Speaker 1: funny how quickly you forget the dialogue from shows that
Speaker 1: you rehearsed over and over and over and over and
Speaker 1: over and over and over and over again. Dude. It's like,
Speaker 1: within a month to two months, you couldn't go up
Speaker 1: and do that show again, you know what I mean?
Speaker 1: You could check, you know, but you rehearsed it like
Speaker 1: it was your life, dude life did you Donald? Did
Speaker 1: you ever almost forget your lines when you were doing
Speaker 1: that play you did recently? Yeah? Yeah, you know. I
Speaker 1: had one thing where it was like a bunch of
Speaker 1: math and stuff like that, and the math didn't have
Speaker 1: to make sense, but it had to be quick, and
Speaker 1: one night I did I didn't forget the line I misspoken.
Speaker 1: I said, oh, excuse me in it, and then I
Speaker 1: kept going. And then after I went, it kind of
Speaker 1: threw the rhythm off for the show for the whole
Speaker 1: night because I said one line, you know what I mean?
Speaker 1: And and it really is a lesson when you're doing
Speaker 1: a show, there's a rhythm to it all, you know
Speaker 1: what I mean. And if you stick to the rhythm
Speaker 1: every time, most likely you're gonna get a great performance.
Speaker 1: If you find a right formula and you stick to
Speaker 1: the rhythm every time, and you stick to the formula
Speaker 1: every time, it's gonna be a good show, you know
Speaker 1: what I mean. And just by me saying excuse me,
Speaker 1: it kind of fucked up the rhythm and cuse all
Speaker 1: of a sudden, we're a little bit late, and you
Speaker 1: know what I mean, And it was my fault, you
Speaker 1: know what I mean. And it was just because I
Speaker 1: said excuse me. I could always tell with when we
Speaker 1: were doing Scrubs, and especially after about twelve episodes in
Speaker 1: from twelve episodes on, I could always tell whether or
Speaker 1: not Billy had Billy Lawrence had done a pass on
Speaker 1: Cox because he had written and I had adopted this
Speaker 1: kind of Martinus scorsesey on Heroin syncopatient for Cox. And
Speaker 1: I also sometimes when I was bored, I would start
Speaker 1: to play with the language a little bit, which was irresponsible,
Speaker 1: but I get bored sometimes and if Billy hadn't done
Speaker 1: a pass, I couldn't memorize the lines because they were
Speaker 1: written out of rhythm and Donald, I'm just borrowing from
Speaker 1: what you said. But Billy would do a pass on Cox.
Speaker 1: I'd be down to my rehearsal space, killing myself trying
Speaker 1: to remember these disconnected fucking rants that somebody wrote, and
Speaker 1: then I couldn't get them. And then Billy would do
Speaker 1: a pass and something as much as Donald, you even saying,
Speaker 1: excuse me, that was out, and then film the flow
Speaker 1: and the rhythm and I could come in and I can.
Speaker 1: I can do it in Latin, but until Billy did
Speaker 1: a pass, because I get in there and I had
Speaker 1: to hissy fit, and I'd say, it's Billy done a
Speaker 1: fucking pass on this thing yet, and they're like, no,
Speaker 1: you hadn't seen it. I'm like, well don't. I can
Speaker 1: send it to me that happened. You'd get sent it
Speaker 1: and memorize it, and then it would all be changed.
Speaker 1: You must have gotten living every Monday morning. So you
Speaker 1: talked to me. You must have talked to Bill eventually
Speaker 1: even said dude, you gotta fuck you can't do that
Speaker 1: to me. Of course I did, but Billy was spinning
Speaker 1: as many plates as he you know, one character of
Speaker 1: an ensemble of badass, seven or eight of you, and
Speaker 1: you know you, you try to get Billy's attention and
Speaker 1: you can't. Can't always do it. I would go so not.
Speaker 1: I mean, for those of you who don't memorize for
Speaker 1: a living, it's easier for some than others. But these
Speaker 1: chunks that Johnny had to memorize in a short span
Speaker 1: of time is really hard because he has to say
Speaker 1: them so fast, as he did so well. But the
Speaker 1: idea of spending a weekend memorizing that and then work
Speaker 1: and there's a rewrite, that's shit. Yeah, that's my stomach.
Speaker 1: Even saying that, I get a not in my stomach.
Speaker 1: That's why you must have loved it when he had
Speaker 1: no when he had no choice but to go with
Speaker 1: what was written because we didn't have scripts, and so
Speaker 1: he'd be like, yeoh, look, here's here's what we're gonna
Speaker 1: say right now. And he would write it while we
Speaker 1: were doing rehearsals and shit, and then he would hand
Speaker 1: it to you and you'd be like, bet, no problem,
Speaker 1: because he wrote it. It was in Cox's rhythm, and
Speaker 1: that's whatever that syncopation Billy came up with. It was
Speaker 1: in that and I could groove into it memorizations like
Speaker 1: a muscle. Johnny, I think, and no question, and you
Speaker 1: really had yours developed? Well, I think, you know when
Speaker 1: I've when I've just finished a play like I did
Speaker 1: Romeo and Romeo and Juliet when I was fresh out
Speaker 1: of school and another one of my early roles. And
Speaker 1: I mean basically, the second you start talking, you don't
Speaker 1: stop talking for two and a half hours. And I
Speaker 1: even think thinking about it now, I get anxious. This
Speaker 1: many years later, this was probably too you know, nineteen
Speaker 1: ninety eight, but um, but by the time the play
Speaker 1: was over, that muscle was so developed I could rush it.
Speaker 1: And I feel like, as Cox, you had to do
Speaker 1: it so on the regular that you really just you
Speaker 1: must have had it so dialed. Like now, now that
Speaker 1: might be harder for you, because you're not memorizing monologues
Speaker 1: every week I was doing. When I was doing Bullets
Speaker 1: over Broadway, we were in previews. And when you're in
Speaker 1: previews that for those of you who aren't don't know
Speaker 1: that that means that the critics haven't come yet. You're
Speaker 1: still working out the play. You're still the writer and
Speaker 1: the rector that they're changing things all the time, and
Speaker 1: then after opening night, then then the show is locked,
Speaker 1: so we're in previews and Woody Allen, who wrote the plays,
Speaker 1: in the back of the audience, and he's there and
Speaker 1: he's when a joke doesn't work, he would he would
Speaker 1: give it come the next day and give us a
Speaker 1: new joke to try that night. But sometimes that was
Speaker 1: really hard because you had the whole play memorized, and
Speaker 1: he would just hand you a sup of paper and
Speaker 1: he'd be like, here, just just try this tonight. And
Speaker 1: you're like, try where where did And you're like reading
Speaker 1: the paper and like scribble the handwrit like try this,
Speaker 1: where where does it go? Like? And then he and
Speaker 1: you'd figure it out. And then sometimes in the heat
Speaker 1: of the adrenaline of doing a show in front of
Speaker 1: fifteen hundred people, you'd forget. And I there was one
Speaker 1: time I skipped the new joke you wanted me to do,
Speaker 1: and I saw him the next day and I said, Woodie,
Speaker 1: I'm really sorry. I got a little frazzled and I
Speaker 1: didn't even try the new joke you wanted me to try,
Speaker 1: and he goes, yeah, get you probably get a bigger
Speaker 1: laugh if you actually say it. On stage, Johnny, will
Speaker 1: you tell that story? Um, well that I love that
Speaker 1: You told me once about Platoon where you said you
Speaker 1: were all hanging by the pool when you realize that
Speaker 1: you weren't going to be in the movie. So, because
Speaker 1: the conditions in the Philippe were so tense and so fluid,
Speaker 1: and we were in something called a triple and they
Speaker 1: were fluid because they had just been a revolution. A
Speaker 1: guy named Ferdinand Marcos had lost an election to a
Speaker 1: woman named Korea Kino, and Marcos wouldn't leave until President Reagan,
Speaker 1: the president at the time, gave him political asylum in Hawaii.
Speaker 1: So that's why we were postponed. I left. I was
Speaker 1: doing Hamlet with Kevin Klein at the public and about
Speaker 1: a weekend of rehearsal, Oliver calls. After I'd been cast
Speaker 1: in the film a year and a half earlier, and
Speaker 1: then the money went away, and he called and he goes, McKinley,
Speaker 1: do you want to play the fourth lead? I'm like,
Speaker 1: who the fuck is this? It's Oliver Stone. Are you
Speaker 1: want to go to the Philippines? And I'm like, I
Speaker 1: would love to go to the Philippines, but I'm doing
Speaker 1: I'm playing third guy on the left in Hamlet with
Speaker 1: Kevin Klein over at the Public, and he goes tell
Speaker 1: Joe Path that it's me. I'm like, oh, shure, I'm
Speaker 1: to go talk to mister Pap and call him Joe.
Speaker 1: You know. It's like the Wizard of Fuckings. And so
Speaker 1: Rosemary Tishler, who was the casting person over at the
Speaker 1: Public at the time and a friend of mine from NYU,
Speaker 1: she came in and taught an audition class to us
Speaker 1: and she want a great great women ever. And I
Speaker 1: called Rosemary, I would to see her. And I said, uh,
Speaker 1: I got offered this movie. It's in the Philippines, and
Speaker 1: it would mean would mean me leaving rehearsal bit and
Speaker 1: just like anybody in New York, it'd be like crossing
Speaker 1: Johnny Friendly and on the waterfront. If she said if
Speaker 1: you go to this film, you'll never work here again,
Speaker 1: I would not have gone and done the film. Neither
Speaker 1: would at any anybody in New York, because once you
Speaker 1: get in that fraternity slash sat the Shakespeare Festival, that
Speaker 1: you stay, you keep doing plays. And Rosemary said, well,
Speaker 1: you're fine with me, but you can't have to go
Speaker 1: see Joe. And I'm like, everybody stopped calling him Joe.
Speaker 1: And so I go in and he was, you know,
Speaker 1: he had a bo and he was this guy. It
Speaker 1: was the way the back of this bucket smell. And
Speaker 1: so you know, I'm knocking like I'm going to see
Speaker 1: the Wizard and the Wizard of Oz and he goes
Speaker 1: coming back, come in and so I go to see
Speaker 1: mister pat and I told him my story. He goes, go,
Speaker 1: We'll do Hamlet again when you get back. I was
Speaker 1: just like, I'm crying even thinking about I'm so happy
Speaker 1: they didn't prevent you from going. I would have been horrible.
Speaker 1: And so I go back. I was living in the
Speaker 1: funeral parlor at the time, one the new ur only
Speaker 1: funeral parlor, and so I go up five stories and
Speaker 1: I'm there. And a week or so after I removed
Speaker 1: myself from Hamlet, there's a fucking revolution in the Philippines
Speaker 1: because this guy Marcos won't leave. And so we get
Speaker 1: postponed for months and months and months, and the play opens,
Speaker 1: and you know, Vincent Canny calls at the most important
Speaker 1: Hamlet on these shores. I'm sitting in the funeral parlor
Speaker 1: going like, oh my god, I hate my life. I
Speaker 1: hate my life. And finally we get the green light
Speaker 1: to go because the revolution had subsided a little bit,
Speaker 1: but not that much. And so and in the meantime,
Speaker 1: this language had come out. A bunch of actors in
Speaker 1: New York on five or six of them circulated this
Speaker 1: language because we were going to go through this two
Speaker 1: and a half three week boot camp, that if you
Speaker 1: got hurt in boot camp, you'd get to do the film.
Speaker 1: And Oliver was like, no, if you get hurt in
Speaker 1: boot camp, you get rotated out. You can't be a
Speaker 1: soldier with the broken arm. And so I didn't sign it,
Speaker 1: and the five people who did didn't go to the Philippines,
Speaker 1: and so I finally get there and only to come
Speaker 1: to find out that it's a very tricky place. We're
Speaker 1: shooting in this triple canopy jungle, which meant there was
Speaker 1: vegetation at ten feet, another vegetation at twenty feet, and
Speaker 1: these monstrous trees at fifty feet, so it's very dark
Speaker 1: and swampy underneath these these three canopies of flora, and
Speaker 1: we're shooting and there was no shot list because Oliver
Speaker 1: had to change things every day and on the fly,
Speaker 1: which he did brilliantly. But the whole there was three
Speaker 1: squads of eight, so there was twenty four of us,
Speaker 1: and every day but he was called to the set.
Speaker 1: And some days you just sat there all day because
Speaker 1: you're not the scene. You're not the scene, and so
Speaker 1: it was about two hour bus ride out to the
Speaker 1: place and then you'd sit and you weren't in the scene.
Speaker 1: There's two hours back. And so this happened for a
Speaker 1: couple of weeks, and so Forrest Whittaker and Johnny Depp
Speaker 1: and I asked Oliver that if we weren't in going
Speaker 1: to be shooting that day, could we stay at the
Speaker 1: hotel and he acquiesced, and so we're finally sitting by
Speaker 1: the pool and we got what we wanted and Forest,
Speaker 1: I don't do a good forest invitation, but Forrest comes
Speaker 1: over to Johnny and he goes. You would get the
Speaker 1: feeling that while we're here, we're not in the movie.
Speaker 1: We all started going back to the set every day
Speaker 1: and Oliver would put us. Oliver would put us on
Speaker 1: this mountain about a mile out of the rain, and
Speaker 1: we and you weren't even a spec and you'd be
Speaker 1: back there and we started calling it power background and
Speaker 1: so guys were doing their best brand though a mile
Speaker 1: up amount, and we called the Power Background. I just
Speaker 1: love it. I just I just love that you guys
Speaker 1: were like, all right, fuck this, We're not gonna sit
Speaker 1: in the jungle. We're gonna go sit by the pool.
Speaker 1: And then and then it's like you you, Forrest Whittaker
Speaker 1: and Johnny Depp sitting there on your lounge on your
Speaker 1: lounge chairs with with with a cocktail. And then all
Speaker 1: of a sudden, someone has the realization, you know, he's
Speaker 1: probably just improv improvising this movie, and we're sitting here
Speaker 1: at the pools, right, yeah, yeah, yeah, and Forest first,
Speaker 1: I wish I could do a first invitation, but he
Speaker 1: was like, if we're here, win in the movie, and
Speaker 1: he was right his rain And what a fucking amazing movie, dude.
Speaker 1: I think it's one of the greatest movies ever made.
Speaker 1: But I want to circle back to something that Donald
Speaker 1: said earlier that when you said when you said you
Speaker 1: can just trust the work and if when you stay
Speaker 1: in rhythm, when when you can let the work happen.
Speaker 1: For me, that was a big aha. When I was
Speaker 1: with Jim Angol for the for that hiatus, it was
Speaker 1: that I was watching all these I was watching ray
Speaker 1: Leoda and Johnny and all that and Johnny Hawks and
Speaker 1: all these great actors, and and I could see when
Speaker 1: Jim was directing them. Sometimes you can see a director
Speaker 1: work better when you're watching them direct nobody else. And
Speaker 1: I was impacted by just how clean and with that affectations.
Speaker 1: Jim wanted the style of this piece, and I was like,
Speaker 1: that's what I'm doing. I'm going there. But in order
Speaker 1: to do that, you have to acquiesce. You have to
Speaker 1: you have to, like you were saying, you have to
Speaker 1: trust it a little bit. And that's harder, I put
Speaker 1: if you're in rhythm, and you can and I the
Speaker 1: verb to capitulate kept coming up for me and in
Speaker 1: my in my Dope composition books and Tom Actually it's
Speaker 1: hard sometimes because somebody calls action and and the trap
Speaker 1: just to want to drive the scene and and and
Speaker 1: move the narrative forward. And like that scene with Zachi
Speaker 1: where where we're at the at the end of two
Speaker 1: oh nine, when when coction him at that scene, it
Speaker 1: just sits and the lens absolutely soaks it up because
Speaker 1: no one's trying to drive anything. You know, there's so
Speaker 1: much power in being able to just put a camera.
Speaker 1: It's interesting we're talking about going back and forth between
Speaker 1: theater and film, because when you're in a play, you
Speaker 1: have to give a performance to the person in the
Speaker 1: front row, and you have to give a performance to
Speaker 1: the person in the background, right, and and there's a
Speaker 1: really there's a dance in being able to do that
Speaker 1: when you're in a film and the camera can be
Speaker 1: as tight on our faces as it is in that
Speaker 1: scene an actor has to let go to in order
Speaker 1: to do nothing, do you know what I mean? Like,
Speaker 1: there's so much power in just trusting the words and
Speaker 1: trusting the camera to capture you doing I would say,
Speaker 1: if I was directing that scene Johnny that we both love,
Speaker 1: I would say we both did almost nothing. We were
Speaker 1: just that's hard, that's very hard. It's counterintuitive, but that's hard. Yeah, yeah, yeah, yeah, yeah,
Speaker 1: I agree, because we all want to go we all
Speaker 1: want to go do something and have a moment, and
Speaker 1: sometimes there's so much more power in, uh, in doing nothing.
Speaker 1: But the style of the piece was to go do something,
Speaker 1: and it was for Donald to just all of a
Speaker 1: sudden rip off a dance that was fresh and beautiful
Speaker 1: and It was for you to look off the thing
Speaker 1: and have a fantasy, and then in the fantasy, you're
Speaker 1: you're you're juggling you know stuff, you're juggling your father,
Speaker 1: and and the impetus of the piece was to drive it.
Speaker 1: Everyone was always for juniors, just driving stuff. Sarah was
Speaker 1: driving stuff. And then all of a sudden, it goes
Speaker 1: that's hard. Yeah, that's agile. You gotta be you gotta
Speaker 1: be in rhythm. Sorry, I keep stealing that from you, Donald,
Speaker 1: but you know it's true, because that's the safe place,
Speaker 1: you know what I mean, The rhythm of it all
Speaker 1: is the safe place. Comedy is funny when the rhythm's right.
Speaker 1: It's not necessarily funny if you're if your timing is
Speaker 1: off right. So the safe place to find everything in
Speaker 1: comedy is within the pace of the show. Right, So
Speaker 1: that that was one thing that would would always I
Speaker 1: always noticed that the show always got better towards the
Speaker 1: end of the season. Like we would come in hot
Speaker 1: and be so excited, and there would be so much
Speaker 1: stuff that we're doing in the beginning, right and all
Speaker 1: the yeah, I'm gonna show you what I got. But
Speaker 1: by the end of the season, that's when all of
Speaker 1: a sudden, we're doing really good episodes. We should probably
Speaker 1: go to break. Well, we didn't do any breaks because
Speaker 1: this conversation was so darn interesting, Dan, I'll have to
Speaker 1: put in fake breaks. I had a realization, we're gonna
Speaker 1: call this episode, if it's right with you, Donald, a
Speaker 1: conversation with Johnny c McGinley. I like that, and then
Speaker 1: we'll redo uh in the next episode. We'll we'll go
Speaker 1: do this episode because this was so interesting. I don't
Speaker 1: think we need to try and do anything else. I
Speaker 1: like that. I like that. I'm sorry I read I
Speaker 1: watched the wrong wrong. No, it's a miscommunication. But dude,
Speaker 1: I have a feeling everything we just talked about you
Speaker 1: listening to you tell old stories is more interesting than
Speaker 1: anything Donald and I were going to say about about
Speaker 1: this episode, other than the fact that it's completely unrealistic
Speaker 1: that j D would not be able to get stimulated
Speaker 1: for Gift Shop Girl. That is impossibly. It's not a
Speaker 1: believable thing for television. When that shit happened, I was like,
Speaker 1: this is a television listen. I don't want to minimize.
Speaker 1: I don't want to minimize. I don't want to minimize
Speaker 1: erectalitis function or losing one's libido from stress. I know
Speaker 1: that's a fact and exists. But one thing that is
Speaker 1: not a fact is that j D would not be
Speaker 1: able to a direction for Gift Shop Girl Sarah Lancaster,
Speaker 1: who played gift Shop Girl fabulous job. Not only not
Speaker 1: only is Sarah Lancaster very funny, but she's darn pretty.
Speaker 1: And uh, I just I had a lot of trouble
Speaker 1: with the scenes where JD is unable to kiss her.
Speaker 1: I gotta tell you, I gotta tell you. And I
Speaker 1: think Jerry Lewis always did this for himself as well
Speaker 1: when he was directing all his movies. JD and his
Speaker 1: the women that he hangs out with, Yeah, they're beautiful,
Speaker 1: only only on TV, Johnny. I mean he's talking, Johnny,
Speaker 1: Look who's talking? I know you just first two seasons
Speaker 1: of the show. All you're doing is making out with
Speaker 1: hot chicks. I know you're too, We're too love interest
Speaker 1: are so far? Oh? Actually, and what's her name? That girl?
Speaker 1: That woman who was wonderful, Ye, Kelly Williams, who was
Speaker 1: absolutely beautiful. No, was that the one who was um
Speaker 1: on the practice? What was her name? Yeah? Sort of
Speaker 1: that was sort of her name Joel, Well, you double check.
Speaker 1: We've spoken about her. She was really good and really pretty.
Speaker 1: She was great. Yeah, we always say JD did way
Speaker 1: better than that is realistic. I mean we have Amy
Speaker 1: Smart coming up as soon as a love interest. Oh
Speaker 1: my god, that's right. She was so she is so tasty,
Speaker 1: tasty como wife. But we talked about We talked about
Speaker 1: gift Shop Girl for like the rest of the knock out. Anyway, anyway, fine,
Speaker 1: the way we're gonna go, We're gonna do this episode
Speaker 1: in the separate podcast. But we have to say one
Speaker 1: of my favorite lines is she goes, is that a
Speaker 1: roller quarters in your pocket? Or are you just having
Speaker 1: a good time? And he go and I pulled out
Speaker 1: a roll of quarters, like, oh no, it's it's a
Speaker 1: roller quarters. It's actually laundry day. Okay, I just said,
Speaker 1: all right, there was one line. There was one line
Speaker 1: that made me laugh, and I'm just gonna throw this
Speaker 1: out there and then we can move on because we
Speaker 1: have our guests here. But Todd goes, when you're walking
Speaker 1: down the hall and Todd goes, hey, how's your penis?
Speaker 1: It made me go all the way back to that
Speaker 1: one episode where turk Uh where you think Turk is
Speaker 1: having a problem getting it up, and Todd goes, oh,
Speaker 1: so when I saw you this morning and I said
Speaker 1: how's your penis? And you didn't want to talk about it?
Speaker 1: I want to tell you a little trivia when when
Speaker 1: that in that moment, when when when Todd says to me,
Speaker 1: how's your penis? On the day he bangkoks me? I
Speaker 1: remember him doing that to you? Yeah, for those of
Speaker 1: you don't know, you guys did it to each other
Speaker 1: every once in a while. Yeah, there were two of me.
Speaker 1: We have to tell the audience who might not know
Speaker 1: what Bangkok is. It's a juvenile game that men will
Speaker 1: sometimes play with each other where they hit each other's
Speaker 1: balls and then run away. Watch it starts off like this,
Speaker 1: what's the capital of Thailand? That's right? Bangkok? Yes? And
Speaker 1: then your penis gets hit and you crumble over and
Speaker 1: the person runs away. So here's another one. Here's another one.
Speaker 1: This was back when Mits cup Check was the GM
Speaker 1: of the Lakers. Who's the gem of the Lakers? Mits
Speaker 1: cup Check? And you punch him in the dick? I
Speaker 1: wouldn't have been able to answer that anyway. But if
Speaker 1: you look at if you look on YouTube, I think
Speaker 1: it's the Sea. It would be the season two Gagriel
Speaker 1: or boot Blooper reel. I think they put that on
Speaker 1: there because it was on camera. He hit my hit
Speaker 1: my balls and ran away and then I come remember
Speaker 1: seeing that it was so painful. He really got me good.
Speaker 1: He bangcocks me. Well, all right, we wait, why don't
Speaker 1: we Why don't we go to break? Just to give
Speaker 1: Dan one reel? Break okay, and we'll be right back
Speaker 1: with all right, we're back. We have a guest, Michael
Speaker 1: rat La. I'm Michael. Welcome to Welcome to the show,
Speaker 1: ladies and gentlemen. Thunderous applause for Michael Cratchley. You a
Speaker 1: lot of thunderous applause out lately. I really am not
Speaker 1: going to turn the key. I'm not going to turn
Speaker 1: my key for that one. Dan, turn your key, sir. No, No,
Speaker 1: turn your key, sir, turn your key, sir, your key, sir.
Speaker 1: All right, I don't I Michael better be good. I'm
Speaker 1: gonna turn my key, all right. Thunder all right, Michael, welcome.
Speaker 1: You have you have a special uh Johnny c McGinley episode,
Speaker 1: So ask do you have a question for any of
Speaker 1: the three of us. Well, I definitely have a question.
Speaker 1: I can kind of be for all of you guys. Sure,
Speaker 1: so um, I'm a huge Scrubs fan. It's one of
Speaker 1: the reasons I'm actually a doctor. I went into medicine
Speaker 1: because of Scrubs. Oh my god, wown't thank you Page, Michael.
Speaker 1: I'm a family medicine practitioner. I actually just finished residency
Speaker 1: like a month ago, and then I just took my
Speaker 1: board exam like a week ago. So I'm a full
Speaker 1: pledge doctor at this congratulate. Congratulations. Man, that's incredible, and
Speaker 1: I just want to saund behalf underous applause, Dan thunder.
Speaker 1: I'm gonna turn my key. I'm gonna turn my key.
Speaker 1: But you're really abusing this Kindel. It's supposed to be
Speaker 1: sparingly that that is deservant, okay, is that even the
Speaker 1: right word? Deservant is not a word, but you know
Speaker 1: what it is, Joel not In said it was deservant.
Speaker 1: Be deserved with an ant is not a word. As
Speaker 1: to ask the newly fucking as the newly licensed doctor,
Speaker 1: he doesn't know he's a doctor. He's not a fucking
Speaker 1: really eating covered deservant On the fucking Latin Latin. It's Latin,
Speaker 1: all right, okay, Dan, Dan for for using deservant thunderous booze.
Speaker 1: Please thunderous booze. Turn, I'm not turning. I'm not You're
Speaker 1: gonna blow my brains out, Dan, mix this boom alright, alright, alright, Michael,
Speaker 1: what's your question? So in my life, things that happen
Speaker 1: in medicin or just in my general daily life kind
Speaker 1: of remind me of episodes or certain scenes or jokes
Speaker 1: or even fantasies from Scrubs, and they make me like
Speaker 1: almost laugh out loud at inappropriate times. Are there anythings
Speaker 1: from the show, whether they're jokes or fantasies or scenes
Speaker 1: that like you experience them in real life that kind
Speaker 1: of bring back memories and make you on the verge
Speaker 1: of laughing. So I got one, go ahead. Johnny Billy
Speaker 1: did an episode where I'll get the wrong but where
Speaker 1: when when somebody makes this sound that it's it's usually
Speaker 1: not appropriate because when you go see a doctor, all
Speaker 1: you want the doctor to do is shrub and go yeah,
Speaker 1: you know what, Let the in turn do it because
Speaker 1: it's no big deal. But when the doctor goes like
Speaker 1: this and So now when I go to the hardware
Speaker 1: store and I'll ask for as elbow cup billing joint
Speaker 1: for for some garden host thing, and I see the
Speaker 1: salesman go like this, I'm like, just don't fucking don't
Speaker 1: do that. Don't do that. Mask it. This is not
Speaker 1: fucking leukemia. This is not the fucking cancer. This is
Speaker 1: a host to host will enjoy it, Tuck, are you
Speaker 1: doing this for they can do that? Is he making
Speaker 1: a noise because he's not sure he has it? Yeah, No,
Speaker 1: it's just it seems like, well, I don't know if
Speaker 1: we have that in stock. It's like, well I can
Speaker 1: call Amazon and I have it in forty eight hours
Speaker 1: for free. You sound if your doctor doesn't, it usually
Speaker 1: means ship you don't want you doctor doing that. And
Speaker 1: Big Billy Billy wrote a whole Like Being r C
Speaker 1: story about that one episode. And whenever I see a
Speaker 1: waiter when I'll ask for crush red peppers on the
Speaker 1: side and the go, I'm like, don't do that. There's
Speaker 1: a jug of McCormick's crush red peppers this big back
Speaker 1: in the kitchen. Would you like me to go show
Speaker 1: you where it is? That's pretty good. Donald do you
Speaker 1: have anything like that? I don't, dude. All right, that's
Speaker 1: we're gonna go with Johnny's answer on that, Michael, do
Speaker 1: you got another one for us? Um? So, my brother
Speaker 1: is a huge fan as well, and he would be
Speaker 1: very angry at me, my brother Ben, UM if I
Speaker 1: didn't ask a question that he was trying to convince
Speaker 1: me to use as my question when he found out
Speaker 1: I was going to be on it. So he said
Speaker 1: he wanted to know specifically for you, Zach. My Way
Speaker 1: Home is his favorite episode, and he wanted to know
Speaker 1: how much different is it to direct people that you like,
Speaker 1: actually know compared to directing in a different situation. Um,
Speaker 1: that's a great question. Um. I was blessed that this
Speaker 1: cast was totally um supportive and embraced me to direct them.
Speaker 1: I think that, you know, it's always a tricky situation. UM.
Speaker 1: I imagine on a show when when someone finally goes, hey,
Speaker 1: I'd like to direct us all. I mean, we're all equals,
Speaker 1: we're all a team. And I imagine in sports playing, Uh,
Speaker 1: even though I don't know that world, it would be
Speaker 1: like if someone on the team was like, I'm now
Speaker 1: going to coach, you'd be like, fuck you, Stan, you're
Speaker 1: the forward middle or whatever that is? Um, is that
Speaker 1: a position? Forward middle? Yeah? Sure, I'm sure. I don't know.
Speaker 1: Maybe in high lie in like quibbit or something like
Speaker 1: yeah and qui quid. Yeah, all right, let me use
Speaker 1: the sports analogy further. No, Um, you know it is.
Speaker 1: It is tricky, but but it all but the cast
Speaker 1: if you're fucked, if if if you're cast and your
Speaker 1: friends are like, oh god, you don't know what you're doing.
Speaker 1: And I'm not just saying this because these two guys
Speaker 1: are here, they universally could not be more, couldn't have
Speaker 1: been more support if they were rooting me on. They were,
Speaker 1: they were It's so hard to do it in five days.
Speaker 1: And Donald, because he was being on his best behavior,
Speaker 1: he would like be there right away. But for other
Speaker 1: directors he would I would know my lines. He would
Speaker 1: be like, dude, there was maybe only one episode where
Speaker 1: I didn't know my lines and I realized I was like, look,
Speaker 1: I can't do my boy like this every yeah. Yeah,
Speaker 1: but from here I'm out. No matter what, I'm gonna
Speaker 1: have my shit together, especially when he's pretty much only
Speaker 1: when he's directing, who's recording. Oh we ain't going out
Speaker 1: this who's who shooting the show? I'm not going out
Speaker 1: this week. I'm gonna take my time and learning my
Speaker 1: lines for z being. I would text Donald and be like, um,
Speaker 1: bro um, I love you, Um this you have a
Speaker 1: monologue from No I'd be like I would, I'd be like,
Speaker 1: I'd be like, you know, I'd be planning the week,
Speaker 1: you know, because on Sunday night, you're like so nervous.
Speaker 1: It's you know, directing his hard period, but directing a
Speaker 1: single camera TV show in five days is like so advanced,
Speaker 1: this double block diamond. It's like you gotta do it
Speaker 1: and do it fast. And I remember being a Sunday
Speaker 1: night being like, oh shit, okay, are gonna warn Donald
Speaker 1: that he needs to learn that monologue? And so I
Speaker 1: would call him and be like our text him and
Speaker 1: be like, dude, big monologue for you on Wednesday. You
Speaker 1: want to start working on it now, And I'd be like,
Speaker 1: can you please come to set right away? Like none
Speaker 1: of this fucking bullshit. You're playing fucking whatever video game
Speaker 1: you're playing in your room and taking twenty minutes to
Speaker 1: come to set because remember yeah and uh, and he
Speaker 1: would and this is what he would come right away.
Speaker 1: But it was awesome because Johnny, you know, you know
Speaker 1: you ask the audience can tell from the conversation we
Speaker 1: just had. We both Donald and I look up to
Speaker 1: him so much as an actor, and he's the kind
Speaker 1: of person that I could go up to him and
Speaker 1: be like, john that was awesome. But do you want
Speaker 1: to try I had this idea, do you want to
Speaker 1: try one where it's a little more like this? And
Speaker 1: you know that's gonna go two ways. A guy with
Speaker 1: a huge ego and who's an asshole is gonna be like, no,
Speaker 1: that's good, move on, or Johnny the polar opposite, is like,
Speaker 1: oh my god, that's fucking awesome. Let's try it. Yeah,
Speaker 1: And that was the attitude everybody had when I directed
Speaker 1: the show. It was awesome. They were so supportive and
Speaker 1: uh and and I was I was so lucky. I
Speaker 1: was so lucky, especially since Donald was the one. Okay,
Speaker 1: I directed like seven episodes. It was like the only
Speaker 1: time Donald ever news lines. Um, all right, all right, Michael,
Speaker 1: thank you so much for coming on, and thank you
Speaker 1: for becoming a doctor. I want you to know that
Speaker 1: every life you save, we're gonna take credit for him.
Speaker 1: I am okay with that. You're welcome. Please please be safe, Michael,
Speaker 1: Please take care of yourself and don't make that noise
Speaker 1: that Johnny C doesn't like when someone you have to
Speaker 1: give somebody bad news, okay, very bad news, yes, okay,
Speaker 1: and um and um and and don't say you know
Speaker 1: when my doctor checks my prostate, uh he when he
Speaker 1: pulls his finger out, he says, was that was that
Speaker 1: as good for you as it was for me? And
Speaker 1: I appreciate it. If you wouldn't do that, dude, you
Speaker 1: you you know you could sue your doctor. No, I
Speaker 1: have a very I have a doctor who prized himself
Speaker 1: on being outrageous. And if you're not down for that,
Speaker 1: you just shouldn't go to this doctor. Um so he
Speaker 1: because I would. I would be a little upset if
Speaker 1: my doctors imagine your doctor was imagine no, never mind,
Speaker 1: there's a doctor. H never mind. Listen, I'm not We're good, Okay,
Speaker 1: Michael's not gonna be that kind of doctor. Michael, be
Speaker 1: safe and uh and thank you so much for coming
Speaker 1: on the show. All right, thanks by thanks, thank you
Speaker 1: brother Michael. Um. Wow, wow, what a show. I think
Speaker 1: this actually turned out to be a much better episode
Speaker 1: than it could have been because we had we had
Speaker 1: a we had what is gonna be called I wanted
Speaker 1: to be labeled Joel A chat with Johnny c McGinley.
Speaker 1: I think it's nice when we show the audience the
Speaker 1: seems a little bit, if you will, that hey, we
Speaker 1: fuck up, and you know what, in fuck ups come
Speaker 1: beautiful things sometimes, like like this episode. Well, yeah, you know,
Speaker 1: it's it's not always that you get to hear the
Speaker 1: adventures of John c McGinn By the way, I would
Speaker 1: listen to a podcast it was just called Johnny c
Speaker 1: McGinley tells anecdotes from his career. Yeah, because I'm gonna
Speaker 1: be honest with you. I didn't know that you did
Speaker 1: that you had done that many shows at the Public, man,
Speaker 1: I didn't know that you were a big Shakespearean actor.
Speaker 1: Uh in your younger years, have you ever thought about
Speaker 1: going back and doing stuff like that? Now? Well, Zachy
Speaker 1: came to see me. Thank you. Donald In uh Glengarry,
Speaker 1: we did a revival um a couple of years ago
Speaker 1: with Al Paccino and Bobby Convalli and Richard Schiff and
Speaker 1: amazing David Harbor, amazing band. It was. It was the
Speaker 1: single most exciting thing I've ever done, but by far.
Speaker 1: And I think that when when you guys what I'll
Speaker 1: pivot off of that for a second. What what you
Speaker 1: just said about mistakes spawning um nuggets? It makes me,
Speaker 1: it makes me go back to that when you're if
Speaker 1: there is such a thing, and I know Donald Zach,
Speaker 1: you'll know what I'm talking about if you can when
Speaker 1: you're in acting shape and and you're just nimble and
Speaker 1: you're agile cerebrally and your instincts, you're acting instincts, and
Speaker 1: you can't fake this stuff. You're you're in acting in
Speaker 1: shape or you're not. And the only way to be
Speaker 1: in acting shape is to just continue to spend time
Speaker 1: in front of the lens. That's the or continue to
Speaker 1: do performances of a play. And when mistakes happen when
Speaker 1: you're in acting shape, when you're just so agile, it
Speaker 1: spawns nuggets. And one time what makes me think of
Speaker 1: it was I decided before we went over to the
Speaker 1: Philippines that Sarde O'Neill, which is the name of the
Speaker 1: character I got to play, and then Tom Berenger's character Barnes,
Speaker 1: that I was just going to do everything I could
Speaker 1: like a like a pilot fish on a shark. I
Speaker 1: was going to do everything I could to help to
Speaker 1: have him facilitate me that character getting the fuck out
Speaker 1: of Southeast Asia, and so whatever it took, and it
Speaker 1: wasn't on the page, but I decided whatever it took,
Speaker 1: and so I told Oliver this. He's like, yeah, do
Speaker 1: that be a pilot fish. I love that. And so
Speaker 1: we're at this one night at this we're assigning a
Speaker 1: night operation, and Tony Todd's over there, and William's here,
Speaker 1: and Mark Moses is here, and Tom Barringer's next to me,
Speaker 1: and I got this zippo, and I because Tom's character
Speaker 1: smoked a lot, and I always was going to do
Speaker 1: this no no look Magic Johnson light of his cigarette
Speaker 1: and then act like it was no big fucking deal.
Speaker 1: I was just gonna throw a no look. And I
Speaker 1: saw out of my periphery, Tom was pulling a cigarette out,
Speaker 1: and I did a no look light and I snapped
Speaker 1: that zippo back and I put it back in my thing,
Speaker 1: and I could see everyone in the whole scene stopped
Speaker 1: and they were looking at me like I was the
Speaker 1: biggest dick on the planet. And I careful, got nervous
Speaker 1: telling the story. I carefully looked over at Tom and
Speaker 1: I missed the light and I took the thing like
Speaker 1: a full back out and I lit that cigarette and
Speaker 1: the scene continued. And that's what's in the movie, because
Speaker 1: it's there's no me horrified and William looking at me
Speaker 1: like that's such a dick, and Tony Todd looking at
Speaker 1: me like him and I love it all in the movie.
Speaker 1: That's fucking dope, dude, because that's but that's who that
Speaker 1: character was in that movie too. Yeah, but it's also
Speaker 1: my point is that I'll go third person that the
Speaker 1: actor playing Sardin O'Neil didn't all of a sudden call
Speaker 1: cat or walk out of the scene or fix it. Yeah,
Speaker 1: just fix it. Yeah, and then and then and then
Speaker 1: a great director like that's gonna go that's fucking real,
Speaker 1: I'm putting on the movie. Yeah, and it's it's maybe
Speaker 1: a thountains of a second. But but if if in
Speaker 1: when you ever watch it again, you'll you'll see it.
Speaker 1: It's a fuck up, and Oliver kept it in and
Speaker 1: it's genius. It probably gets big laughs in the movie
Speaker 1: too when it happens. It's probably yea, because it's exposes
Speaker 1: just what a pilot fish this guy is. Yeah, yeah,
Speaker 1: this has been awesome. I want to remind the audience
Speaker 1: that the play Johnny's talking about is a movie that
Speaker 1: is one of my favorite films. And if you haven't
Speaker 1: seen Glen Garry Glenn Ross, I think it's a masterclass
Speaker 1: in acting. And uh, we always recommend films to you
Speaker 1: on this podcast, but you should start with Glen Garry
Speaker 1: Glenn Ross. Very different than the play though. The film
Speaker 1: is very casual and it kind of unfolds on a
Speaker 1: rainy night. And the play David wrote the whole thing
Speaker 1: as a one act, he told me, but then he
Speaker 1: found out one act can't win Tony's. He split it
Speaker 1: up in the two act. But the first act is
Speaker 1: about thirty two minutes and you're out having a cigarette
Speaker 1: outside the show Feld. And then the second act obviously
Speaker 1: the realist, obviously the real estate gets office gets robbed,
Speaker 1: and that's the second act. But the first act is
Speaker 1: all of thirty two minutes. It's an incredible piece of right.
Speaker 1: I want to tell you my my only David Mammott experience.
Speaker 1: Actually there's been two. I'm gonna tell you both of
Speaker 1: them first time. First of all, I love the movies,
Speaker 1: one of my favorite films, and I'd never seen the
Speaker 1: play performed. Now, I did know the trivia that Alec
Speaker 1: Baldwin has a legendary monologue in the movie that, uh,
Speaker 1: that is fucking incredible, but it's not in the play.
Speaker 1: So I see David Mammott backstage somewhere, and I'm so nervous,
Speaker 1: and I go, oh my god, what am I gonna
Speaker 1: say to David? Ma'm I'm having a Donald phaze on
Speaker 1: him when we talked Johnny off And on the podcast
Speaker 1: about how Donald gets nervous around celebrities and always embarrassed himself.
Speaker 1: So I'm what am I gonna say to David Mammett?
Speaker 1: I don't know what to say to David Mammott and
Speaker 1: uh and I and I think, oh, okay, I got
Speaker 1: an idea. I got an idea. And um, I walk
Speaker 1: up to him. This is this is long before you're
Speaker 1: the revival you did. It was a different revival that
Speaker 1: was coming, it was coming up. This is how long
Speaker 1: ago it was. And I said, um, mister Mammott, I
Speaker 1: just wanted to know, um, and the revival you're doing?
Speaker 1: Are you gonna are you gonna put the monologue that
Speaker 1: you added for for Alec Baldwin into the play, And
Speaker 1: he looked at me like I just shit in his
Speaker 1: fucking coffee, like such distaste, and he's like, why would
Speaker 1: I do that. That's from the movie. I'm not gonna
Speaker 1: put that in my play. And I was like, oh, yeah, yeah, yep, yep, yep, yep.
Speaker 1: I agree. Good choice on that, mister Mammott. I'm gonna
Speaker 1: go away now. Um, do you want to know? You
Speaker 1: want to know? You want to know another layer to
Speaker 1: that story? Yeah, I asked. I didn't ask him. David
Speaker 1: told me that before they greenlit the movie, whoever produced it,
Speaker 1: whichever studio was, said, Uh, we need we need a
Speaker 1: special effect. We need something to happen, and you need
Speaker 1: a car crash, we need something in the first act,
Speaker 1: open it up, as they said, the special effect was
Speaker 1: Alex monologue. Yeah, that's how explosive, that's how great Alec was.
Speaker 1: And the writing was in that because in the play
Speaker 1: he's an unseen off stage fret, but we never see
Speaker 1: him or hear him. But I mean he's referenced constantly. Alex,
Speaker 1: in my opinion, very underrated actor. Are you people, I
Speaker 1: was about to say, listen, I agreed that I don't
Speaker 1: know that he's under I think he was underrated, dude,
Speaker 1: people think he's I think he's one of the best
Speaker 1: actors out there. I'm just saying that he's famous, and
Speaker 1: people's famous. He's famous, and he gets a lot of
Speaker 1: shit for his tabloid adventures and and and his politics whatever.
Speaker 1: But fucking the guy's a really good actor. And that
Speaker 1: monologue is one of the greatest moments every coffees for closers.
Speaker 1: Holy shit. And then my second my girlfriend and I
Speaker 1: were were staying in a hotel in London and and
Speaker 1: he came in. He was doing a play in London recently.
Speaker 1: Um for God Malkovich was the star of it, I believe,
Speaker 1: and uh right, And we were alone. It was late
Speaker 1: night and we were alone in this little bar lobby area.
Speaker 1: It was like it was like they called this thing,
Speaker 1: and they have this thing in England that that works
Speaker 1: there but would never work here, called an honor bar.
Speaker 1: So it's just an area of a hotel with the
Speaker 1: with the where you just take whatever and you write
Speaker 1: down on the pad what you're taking. I don't think
Speaker 1: that would work and at least it wouldn't work in
Speaker 1: la but would not it would not work at Joseph's.
Speaker 1: You're right, I don't think it would work anywhere. Can
Speaker 1: you imagine? But anyway in London you write down like
Speaker 1: I had one vodka soda and then they charged to
Speaker 1: your room. So we're sitting there, my girlfriend, I are
Speaker 1: alone in the Honor Bar, and in walks David Mammott
Speaker 1: and it's just the three of us. And I goes
Speaker 1: and then my head, I'm going in my head, I'm like,
Speaker 1: oh my god, don't fuck up this time. Don't fuck
Speaker 1: up this time. Don't mention Glen Garring Lyn Ross. Don't
Speaker 1: be an asshole and mentioned Glen Garing lyn Ross. The
Speaker 1: guy just wants to get a drink and go to
Speaker 1: his room. Well, I had had a few and and
Speaker 1: I see mister Pannett. Oh my god, I'm so glad
Speaker 1: to see you. My name is Zach, this is Florence.
Speaker 1: So you want to join us? And he goes, okay, okay, sure, sure.
Speaker 1: I could tell he was stressed. He'd had a night
Speaker 1: of probably rehearsals, a pre views, whatever. He makes himself
Speaker 1: a drink, he sits down. There's like a long pause,
Speaker 1: and I go, I just have to tell you and
Speaker 1: Glen Garry Glen Ross, and I started going off on
Speaker 1: this Glen Garry, Yeah, I'm Bean. Donald. I go off
Speaker 1: in this long Glen Garry Glen Ross spiel about how
Speaker 1: amazing it isn't dada dada da, And he just kind
Speaker 1: of nods his head. He goes, Okay, well, I'm gonna
Speaker 1: I'm gonna head to bed. It was nice talking to you, guys,
Speaker 1: said he left, Oh, and he left, he just left.
Speaker 1: Those are those moment. Those are one of those moments
Speaker 1: where you wish you could talk about sports. Sec. I
Speaker 1: know the guy didn't want to talk about Glen Gary.
Speaker 1: The guy can't leave his fucking room without talking about
Speaker 1: Glen Garry, Glen Ross. You think he wants that. He
Speaker 1: came in to have one drink, and I could have
Speaker 1: been like, you know, are you a Bears fan? Yeah?
Speaker 1: I could have said, do you play middle forward? Do
Speaker 1: you like Chelsea or United? Yeah? I could say. I
Speaker 1: could say, is deservant a word? You're a good writer, sir,
Speaker 1: Is deservant a word? He wasn't deservant of the attention.
Speaker 1: You know what? I agree with you? Donald, I agree
Speaker 1: with you that that that genius writer was not deservant
Speaker 1: of my affection. All right, we should end this fucking
Speaker 1: show because the audience is deservant of a break. Thank
Speaker 1: you for listening, everybody. This was so fun. We're gonna
Speaker 1: call it the Conversation with Johnny c McGinley, and we will.
Speaker 1: We will be back next week too, or we will
Speaker 1: be back. I don't know when it is. Next time
Speaker 1: to sum up the episode, and we will talk about
Speaker 1: Gift Shop Girl at length. Gift Shop Girl does a
Speaker 1: lip bite, by the way, made famous first by Elsa
Speaker 1: Silverstone and Clueless, and I'm a fan of the lip bite,
Speaker 1: I must say. But more on that next time. What Donald,
Speaker 1: do you have a comment on the lip bite? I
Speaker 1: was just gonna say I was. I was a huge
Speaker 1: fan of you being alone in a tub with Rowdy
Speaker 1: one of my favorite gifts. It's my favorite gift of myself.
Speaker 1: And then that turning into you alone in a tub
Speaker 1: with Gift Shop Girl and Rowdy. There is no better
Speaker 1: way to some express my my my my often inner
Speaker 1: monologue in life, in my true, real inner inner monologue
Speaker 1: in life, than me alone um sadly of washing a
Speaker 1: dead dog, Donald, will you count us into our beautiful
Speaker 1: theme song? Please? Thank you everybody for listening. Way, there's
Speaker 1: no way, Okay, okay, let's Go's a great idea. Do
Speaker 1: you want to do? You want to take a chance
Speaker 1: at atu at talking up into it, because I've been
Speaker 1: the one who's been lucky enough to do that thus far.
Speaker 1: Ladies and gentlemen, give it up for the President of
Speaker 1: the United States of America, Donald Trump, singing his summer Bob.
Speaker 1: There's no way I could get down off that ram.
Speaker 1: He said, there's no way. There's no way I can
Speaker 1: get down that m what I'm falling on my ass,
Speaker 1: There's no way, There's no way, general, And this was
Speaker 1: a really really steep, no hand girl, it was like
Speaker 1: an ice skating week. I said, there's no way, there's
Speaker 1: no way I can make it down that ramp. What
Speaker 1: I falling? My ask each my each I took me
Speaker 1: little use. When I turned meat short, I rammed down
Speaker 1: the left. I raged down ram very hands, ram down
Speaker 1: rag number one. And the ramp was probably ten yards long.