Speaker 1: Man, do we have an exciting show today? Donald Phazon,
Speaker 1: We do have an exciting show. You know, we promised
Speaker 1: the people, we promised the listeners that we wouldn't just
Speaker 1: have stars of the show on, that we would bring
Speaker 1: on crew members. You're totally about to geek out about this.
Speaker 1: You brought up director as a fellow director. You're like, Yo,
Speaker 1: I'm gonna ask him about this shot. I'm gonna ask
Speaker 1: him about this shot. Well, I am going to talk
Speaker 1: to him. I think people if I sometimes think when
Speaker 1: I'm preparing for this, and you know, I do a
Speaker 1: lot of homework. You should see my desk. It looks
Speaker 1: like I'm about to write a novel I was thinking about.
Speaker 1: If I was a listener, I'd want to know some
Speaker 1: behind it, like what's it like to be a director
Speaker 1: of a TV show. Michael Spielder, who we're talking about,
Speaker 1: is is a very big television director, one of the biggest.
Speaker 1: In fact, he recently won the Emmy for directing Modern
Speaker 1: Family and he's a very talented guy. Wait, wait, hold on,
Speaker 1: which for the like the final season he won the Emmy.
Speaker 1: I don't have the exact Emmy. Well, I want to
Speaker 1: ask him about some of this stuff like how many
Speaker 1: shows have you directed? Now? Is it like you know,
Speaker 1: have you lost? Can you keep count of the amount
Speaker 1: of showing? Will save your spiller questions? Have them, have
Speaker 1: them pent up inside you and just have them ready
Speaker 1: to explode when he comes in the room. Okay, well
Speaker 1: I got I only got a couple. I'm great. How
Speaker 1: are you men? I'm good, I'm good. Did you work out?
Speaker 1: Are We're gonna have a post peloton donald today? I
Speaker 1: didn't want to talk about it because I did work
Speaker 1: out today and I finished the workout. But I'm now
Speaker 1: disappointed with with said instructor that we talked about. Why
Speaker 1: what he was different today? He talked too much? Uh
Speaker 1: huh started singing hold on and then also singing off beat? Right,
Speaker 1: I don't I don't do peloton to be talked to
Speaker 1: off beat? Was it still the you know what I
Speaker 1: love about you know what I still well? The thing
Speaker 1: I liked about spinning was when you could get in
Speaker 1: the groove. I'm nang right, and so it's important that
Speaker 1: your your uh your spin instructor is like a DJ,
Speaker 1: you know what I mean? So right, he or she
Speaker 1: should be riding with the beat, so the music's going
Speaker 1: and and and then you need to be going with
Speaker 1: the music. Also, does he say stuff? You know? I
Speaker 1: like it when they go like they just make noises,
Speaker 1: like hey, when they did that shit, I love that.
Speaker 1: Ja Yeah, it's like did he did? He used to
Speaker 1: be like hey, And you know, it's so embarrassing. I
Speaker 1: find myself it's so fucking embarrassing. But I find myself
Speaker 1: on the treadmill not even spinning, and I'm listening to
Speaker 1: a good song and I'm like, hey, oh okay, and
Speaker 1: I'm doing the fucking didd he spin instructured thing? Take that?
Speaker 1: Take that ahead. Before I knew did he was like
Speaker 1: a big producer and I was watching those, I'd be like,
Speaker 1: so this dude just makes a living. Yeah. I couldn't
Speaker 1: take it. It was like just too much talking, not
Speaker 1: enough motivation, Like when you talk, you're supposed to motivate,
Speaker 1: You're not supposed to talk about how dope the song
Speaker 1: is and stuff like I don't want to hear all
Speaker 1: of that. I already know the song is good, you
Speaker 1: know what I mean? You chose the class because I
Speaker 1: saw the playlist right, and you like the music playlist right.
Speaker 1: The playlist looks dope isn't an amazing And I know
Speaker 1: this is the stupidest thing. Everybody knows this, but I
Speaker 1: was realizing today, if the fucking music is good and
Speaker 1: you love it, you can do so much more of
Speaker 1: a workout. Absolutely, because I've got I've gone to so
Speaker 1: many spin classes because I do like spinning, and the
Speaker 1: music is just so not my thing. I mean, it's
Speaker 1: other people's thing. I'm not, you know, to each their own,
Speaker 1: but I'm like, And then today I had made this
Speaker 1: like awesome mix that I was fucking grooving out to,
Speaker 1: and I was like, I could really work out a
Speaker 1: long time to this amazing mix I made. But I
Speaker 1: don't know where you work out? Do you like to
Speaker 1: work out to? Rap? Right? I do like to work out? Wait?
Speaker 1: What do you work out too? You don't work out
Speaker 1: to like? Wait? Wait, hold on. I didn't realize there
Speaker 1: was other music you could work out to. Style. Yes,
Speaker 1: in this country, you don't have to just work out.
Speaker 1: I can understand how some music, but no, what do you? Wait?
Speaker 1: Hold up? What do you work I like to work
Speaker 1: out to pop like, but like up tempo pop, like,
Speaker 1: what do you like? I'm opening up the fucking playlist
Speaker 1: right now, because there were some fire songs on Here
Speaker 1: we Go, Here we Go recommendations from Zach braff Avici
Speaker 1: has this song. It's like his most popular song. It's
Speaker 1: Waked Me Up and it's just like up tempo, and
Speaker 1: it makes me think of this time, because when you're
Speaker 1: in this time and you're working out, you're like, wake
Speaker 1: me up from this fucking horrible nightmare. So I like that.
Speaker 1: I had, you know, I had Michelle branch On here
Speaker 1: because you know, I love my girl Michelle brand I
Speaker 1: had Ohia, I love Sia, ed sheer Um Sia Unstoppable,
Speaker 1: Unstoppable today, and I had ed Sheering with Chance to
Speaker 1: wrap her, You cross Me, You grab Me. That a
Speaker 1: thing done Joel's jam and she knows that song. Oh
Speaker 1: and also Fleetwood Mac this is an old school one.
Speaker 1: I don't want to know. BAP then none None, So
Speaker 1: I worked out too. Ten Crack Commandments. No, okay, we're
Speaker 1: on a very different plane right now. You don't know
Speaker 1: that song. I know who the nurse Storious Big is
Speaker 1: that song? No Crack Commandments. Give us a sample. It's
Speaker 1: the ten Commandments of Selling Drugs. Yeah, I'm not I
Speaker 1: don't know. I'm dancing and working out to Michelle Branch
Speaker 1: and you're listening to a song about crack. You know
Speaker 1: we grew up differently. Yes, I guess we grew up differently.
Speaker 1: We did. Hey, should we get into the show. Let's
Speaker 1: invite in our about six seven eight stories about show
Speaker 1: we made about a bunch of the nurses stories. Yet
Speaker 1: around here, yeado, around here what a song? Lots of
Speaker 1: talk about the song, the song. I gotta tell you
Speaker 1: something about those numbers. My whole timeline is people laughing
Speaker 1: at and saying the numbers and just writing them nonstopped
Speaker 1: in my timeline. Right, that's becoming unfortunately to me. But
Speaker 1: of course Bill will love it. He's become a huge
Speaker 1: hit with his whole bit about saying five six seven eight. Yeah,
Speaker 1: he's like the PC. Well he's not PC, but he's
Speaker 1: like Todd. He's like the Todd of our show. He
Speaker 1: comes in and he delivers every time. Dude, he's an
Speaker 1: assass every time. He's like ups, always delivers, He always delivers.
Speaker 1: All right, let's bring in our guests. Let's bring in
Speaker 1: our very special guest. Turn him on, bring him in,
Speaker 1: ladies and gentlemen. Oh my god, I haven't seen him
Speaker 1: in years. Yay, Michael. Still listen, Michael, you are the
Speaker 1: very first guest we're having on the show who he's
Speaker 1: a member of the crew, not an actor or a writer.
Speaker 1: And I'm just We're so you're here. It's really awesome,
Speaker 1: thrilled to be here. You're I would say you're our
Speaker 1: first director. But Zach has directed an episode and Bill
Speaker 1: has directed an episode, right, but not not before Michael Spiller.
Speaker 1: Michael's are our first director of from season one has
Speaker 1: also directed Sea. No, he wrote it, that's right. No,
Speaker 1: I want to say that, Michael. I would say I
Speaker 1: think maybe directed the most. Spiller do you know that
Speaker 1: the trivia is that true? It is true? How many episodes?
Speaker 1: Twenty twenty episodes? Twenty episodes? Ye know. As I go
Speaker 1: and I work on other shows and stuff, I always
Speaker 1: meet Scrubs fans, and without fail, I say I've directed
Speaker 1: more episodes than any other human, leaving the possibility that
Speaker 1: another someone from another species has directed more than me. Right,
Speaker 1: but I can confirm it. I can confirm they haven't.
Speaker 1: I would also confirm, Michael, that you are one of
Speaker 1: our favorites. If you look at IMDb, you'll see there's
Speaker 1: lots of directors of sc Some came in from one
Speaker 1: episode and then never came back for either Bills reasons
Speaker 1: or their reasons, mostly Bills probably, And then there's people
Speaker 1: like you that everybody loved so much and you did
Speaker 1: twenty Yeah, I guess go back to how it all
Speaker 1: began for you, at least with the Scrubs connection. How
Speaker 1: you how you got this? I know that back in
Speaker 1: the day you were, Michael was a cinematographer. He was
Speaker 1: shooting the show Sex in the City. I don't know
Speaker 1: if you've ever heard of that show, but Michael was
Speaker 1: the cinematographer on the show and then began to direct
Speaker 1: that show. And then Michael just talked a little bit
Speaker 1: about how you got it, how you transition from from
Speaker 1: shooting into directing TV. Well, I mean I went to
Speaker 1: film school. I went to Sunny Purchase of State, New York,
Speaker 1: New York, New York, New York, that's right. And I
Speaker 1: started making my own films when when I was a
Speaker 1: kid in Brooklyn, UH saved up my paper route, bought
Speaker 1: a Super eight camera and went went to film school.
Speaker 1: And I wanted to be a cinematographer. I didn't want
Speaker 1: to be a director because actors were crazy, let's face it,
Speaker 1: and you know it was mainly I shot a lot
Speaker 1: of indie movies and music videos and documentaries and travel
Speaker 1: all over the place. And then I got married and
Speaker 1: wanted to start a family, and TV sounded like, well,
Speaker 1: maybe that would provide a little more stable lifestyle. And
Speaker 1: I was shooting out sex in the City. And at
Speaker 1: the end of the first season, my agent said, if
Speaker 1: the show gets picked up, I'm gonna ask for an
Speaker 1: episode for you to direct season two. And I'm like, nope,
Speaker 1: I'm good, I'm good, I'm happy where I am. I
Speaker 1: don't need it. He said, no, you're gonna do it,
Speaker 1: and I did, and then I did went really well.
Speaker 1: I also dped that episode. Wow, I don't think. I
Speaker 1: don't recommend doing that for your first episode of TV.
Speaker 1: Seems like a lot of work. It's a huge matter.
Speaker 1: And then the third season I did two more, and
Speaker 1: the fourth season I did four episodes, and by that
Speaker 1: time we had moved to La bought a house, moved
Speaker 1: back for the fourth season, and then moved to LA
Speaker 1: finally right after nine to eleven, but not because of it,
Speaker 1: and I had already signed with my current agent who
Speaker 1: after three episodes, you know, seeing what I did, said
Speaker 1: I want to rep the Sky and he was at
Speaker 1: the same agency where Bill Lawrence was represented. Oh see,
Speaker 1: it is all about connections in Hollywood, everybody. It's true.
Speaker 1: So Scrubs was your was Scrubs your first non Sex
Speaker 1: in the City gig? It was meant to be, so,
Speaker 1: you know, my agent sight unseen, you know, convinced Bill.
Speaker 1: He did a great job presenting me to Bill, and
Speaker 1: it was meant to be my first episode after Sex
Speaker 1: in the City. I wounded up doing an episode of
Speaker 1: Greg the Bunny. Remember that show? Was that? Who was
Speaker 1: Who was that? Who was the star of that show?
Speaker 1: Sarah Silverman, Levy um Seth Greeneth. Yeah, here we go,
Speaker 1: that's somebody looking for it was. It was a great cast,
Speaker 1: but it was like, you know, huge puppet sets and
Speaker 1: all this other stuff like I had. It's like, why
Speaker 1: these Like I've never done a puppet show. You know,
Speaker 1: you had to build sets. They are all like four
Speaker 1: feet off the ground. People could stick their hands up
Speaker 1: through manipulate anyway. Steve Levitan was the executive producer on that,
Speaker 1: so I met Steve on my first episode. I later
Speaker 1: did Modern Family and a bunch of Father shows with
Speaker 1: and then Bill Lawrence on my second show. So very
Speaker 1: very good agent thing. By the way, if you're gonna
Speaker 1: meet two showrunners when you get to Hollywood, um, it's
Speaker 1: pretty down good that it's Steve Levitan and Bill Lawrence.
Speaker 1: Yeah right, your agents. Pretty good. He's Sean Freedene. Hey
Speaker 1: how many? Wow? Shout out? How many? How many? How
Speaker 1: many episodes of Modern Family did you direct? Did you
Speaker 1: direct the most Modern Family episodes? Also? No, I didn't,
Speaker 1: but I did twenty two episodes. Twenty two episodes and
Speaker 1: one the Emmy one, the Emma. I wish we could
Speaker 1: have given you an Emmy spiller. You deserve Tride. We tried.
Speaker 1: I know we all were shot. I know you did now, Michael,
Speaker 1: I just want to say, you know again season one,
Speaker 1: we're meeting all these directors. For those of you who
Speaker 1: don't know, it's usually a different director every week because
Speaker 1: they have to prep um. They have about a week's
Speaker 1: prep before they shoot the episode, and so you're always alternating,
Speaker 1: and some can't come in, and you know, you know,
Speaker 1: Donald and I would would like some more than others.
Speaker 1: Some were really good with comedy and others were good
Speaker 1: with moving the camera. One of the things I think
Speaker 1: we loved about you, Michael, is that because you were
Speaker 1: a cinematographer first, you really were amazing with moving the
Speaker 1: camera and doing interesting things with the camera. But also
Speaker 1: you did know how to talk to actors and make
Speaker 1: jokes funnier and and I thought maybe you could just
Speaker 1: talk to that about about about how how you approach something,
Speaker 1: how you approach a scriptum and and and your experience
Speaker 1: with what it's like being you know, having the DP background. Also,
Speaker 1: we should go over the process of what it takes too.
Speaker 1: Since we have a television director on right now, we
Speaker 1: should go through the process of what it takes too.
Speaker 1: I mean, directing is like the end of the journey,
Speaker 1: you know. I mean that's not even close to the end.
Speaker 1: It's the middle of the journey. Really. There's prep, there's
Speaker 1: you know, all of pre production, and then there's post production.
Speaker 1: We should also talk about that. Our listeners might be
Speaker 1: interested in that. Yeah they will. So, Michael, we just
Speaker 1: gave you a lot answer all of that. Go now
Speaker 1: talk talk first about you know, being having a DP background,
Speaker 1: and then how that affected the way you work. Well,
Speaker 1: I think there's no question that having the background as
Speaker 1: a DP was extremely helpful. I mean, first of all,
Speaker 1: bent that when I came on the set I could
Speaker 1: usually bond with the crew very quickly because I spoke
Speaker 1: their language. I sort of got it. You know. I
Speaker 1: would stay see in such a way that worked first
Speaker 1: and foremost for the story, yet also kept the logistics
Speaker 1: in mind and the practical aspect of it. And you know,
Speaker 1: and and I was flexible enough that you know, I
Speaker 1: encouraged and I love to collaborate. I want the DPS input.
Speaker 1: You know, obviously the cast would give input, two showrunners
Speaker 1: give input as well, but the nuts and bolts of it,
Speaker 1: you know, I understood. I've also been a grip and electrician.
Speaker 1: You know, I've pushed dollie, I've I've pulled focus, I've
Speaker 1: operated camera for other people. So you know, I love
Speaker 1: the crew. I mean, these are my people, and I
Speaker 1: think most people I've worked with can pick up on that.
Speaker 1: So and I have a deep respect for them, and
Speaker 1: that that's half the battle. You know, when I was
Speaker 1: shooting Sex in the City, if we had a new director,
Speaker 1: and if you know, Sarah Jessica Parker wasn't in the
Speaker 1: first scene you know that that director was shooting. When
Speaker 1: she would first come on to set, she would look
Speaker 1: at me and like gauging, like cow is person. And
Speaker 1: if if I gave her like that, I don't know, look,
Speaker 1: then that person had to work. You know, it's an
Speaker 1: uphill battle just to get back to you know zero, right,
Speaker 1: So you know it's enormously important because I mean, you
Speaker 1: guys know it's like you love your crew and it's
Speaker 1: like it's one big family. So a director walking onto
Speaker 1: a TV show has to be both a leader, right,
Speaker 1: and you know they're not the ultimate top of the pyramid,
Speaker 1: but they still got to lead the crew. They've got
Speaker 1: to get the crew behind, they've got to work with
Speaker 1: all the you know, the elements that are already in place,
Speaker 1: and you have to respect that that family that you're
Speaker 1: walking into. That's what's so bizarre about it. That's what's
Speaker 1: so bizarre about it is and I've only done it,
Speaker 1: I think once or twice, Michael that has come onto
Speaker 1: a show that is an entity and say hey everybody,
Speaker 1: I'm the leader for the week. And you know, it's
Speaker 1: one thing when you come back like you came back
Speaker 1: you know, nineteen more times. But on the first one.
Speaker 1: It's like, hey, everybody, I know that you guys are
Speaker 1: all friends and have inside jokes and have a way
Speaker 1: that you do things well. Um the boss for the week.
Speaker 1: And it's really tricky, right, It's sort of like I
Speaker 1: like in it sometimes too. You're going to be a
Speaker 1: conductor on a train. You're gonna take it from this
Speaker 1: station to the next station. The track has already been laid.
Speaker 1: You know, everywhere the train already was is established. We
Speaker 1: have a very good idea where the train's gonna keep going.
Speaker 1: And yeah, you can slow down around this corner because
Speaker 1: you like that view, or you can speed up at
Speaker 1: this section, or you know, you can lean a little
Speaker 1: left or a little right, but you can only go
Speaker 1: so far because the train's got to stay on those tracks, right.
Speaker 1: I can't suddenly say yeah, we're gonna make a left
Speaker 1: here at the Moine and go somewhere else. That's really
Speaker 1: that's a really good, great analogy, Michael, because I think
Speaker 1: that you were just talking about this actually the last
Speaker 1: episode we did well, I was talking about how it's
Speaker 1: so tricky, and you know, again, just to remember, Build
Speaker 1: spoke a little about this, but to remind people who
Speaker 1: aren't in the business, you know, you know, the the
Speaker 1: the pilot director and the showrunner will create sort of
Speaker 1: the look of the show. How does the camera move,
Speaker 1: what's the what's sort of the language of the show.
Speaker 1: In our show, we had fantasies and we had you know,
Speaker 1: big camera move, the camera sort of a character. And
Speaker 1: then other directors that come on they need to use
Speaker 1: that language. They can, they can, like Michael just said
Speaker 1: in his train analogy, they can slow down, they can
Speaker 1: look at this view, but they can't. You have to
Speaker 1: use the language of the show. If you look at
Speaker 1: the office, for example, it's shot like a mockumentary modern
Speaker 1: family I believe was as well, yes, whereas Scrubs is
Speaker 1: crane shots and Dolly moves and um and steady cam shots.
Speaker 1: So you have to use that language. But then somehow
Speaker 1: find a way to make it your own. And I'm
Speaker 1: glad we're going to watch the episode with you, because
Speaker 1: I think there's a lot of cool stuff in here
Speaker 1: that you that you found a way to make your own.
Speaker 1: I like that. I do like the train analogy, you
Speaker 1: know what I mean. It's the same route every time,
Speaker 1: it's the same track every time time. How you can
Speaker 1: bend it and move it, you know, to make it
Speaker 1: your own. So like if a different conductor, you know
Speaker 1: what I mean, something I don't know. I love that analogy.
Speaker 1: That's really and in season one I would say, you know,
Speaker 1: even an episode whatever this is UM one thirteen, you're
Speaker 1: still you're still finding that, you're still shaping it now.
Speaker 1: I noticed, Michael, you did some things in here, like
Speaker 1: going into blacks and coming back that I don't think
Speaker 1: we've done too much of yet. That became part of
Speaker 1: the lexicon. So is an early director in the show.
Speaker 1: I just directed episode two of one of Bill's new shows.
Speaker 1: I still felt like, oh, yeah, it's early on. I
Speaker 1: can I'm still contributing to what the look of the
Speaker 1: show is, you know, right for sure, when you're you're
Speaker 1: lucky enough to direct early in the show's run, there's
Speaker 1: still a lot of discovery going on. Yeah, the actors
Speaker 1: are really fine like their characters, so they're still open to,
Speaker 1: you know, someone else's input. Uh. The writers are discovering
Speaker 1: what the actors are good at, and they're tailoring the
Speaker 1: writing to you know, help those words fit better in
Speaker 1: their mouths. And you find the comedy if you're doing
Speaker 1: a comedy, and similarly for a director, it's like, yes,
Speaker 1: you've you've been given the overall template, the framework, but
Speaker 1: it's a jumping off point. It's not like this is
Speaker 1: meant to just box you in. You're allowed to to
Speaker 1: push things a little bit further. John Wells, I think
Speaker 1: as credited as saying, uh to Paris Barkley, I want
Speaker 1: you to make an episode of Er only better. Yes,
Speaker 1: it's like it still has to feel like an episode
Speaker 1: of the show that you're already watching, right, you know
Speaker 1: you've grown accustomed to, but push you a little bit,
Speaker 1: get your thumb prints on it, and in consultation, you know.
Speaker 1: That's the thing. It's like, I could have what I
Speaker 1: think is a great idea, but I neither. If that's
Speaker 1: the case, you know, I have to run it past
Speaker 1: the showrunner, right, and you not presenting it. If you
Speaker 1: have something, let's say you're in prep, you had like
Speaker 1: a five day prep beforehand, and you go, oh, I
Speaker 1: have an awesome idea. If it's a little outside the box,
Speaker 1: you would you would run it by the showrunner and say, hey,
Speaker 1: what do you think if I do this? And I
Speaker 1: imagine Bill usually said yeah, go for it, right, Bill
Speaker 1: was so amazing that. I mean, it was such a
Speaker 1: great guy to work with so early in my career,
Speaker 1: you know, as a freelance director, because I mean, he
Speaker 1: I think this episode is a has a good example
Speaker 1: at the end where we we have a music montage.
Speaker 1: You know, it's like and they kept the song on Hulu.
Speaker 1: I so say, yeah, that was pretty cool, right, they
Speaker 1: didn't swap it out. And you know, I can't remember
Speaker 1: how many there were leading up to this, but this
Speaker 1: felt like it was one of the sort of bigger ones,
Speaker 1: like we're committing to this song. It was in the
Speaker 1: script early. You know, It's like it wasn't just like
Speaker 1: there'll be a rock song here and you know, do
Speaker 1: some cool shots. And it may not have been on
Speaker 1: this episode, but early in the run with you guys,
Speaker 1: Bill said to me, because I was like enthusiastfully pitching
Speaker 1: this you know montage I want to do and all
Speaker 1: these transitions, and he's like, dude, if I will cut story,
Speaker 1: if you give me a beautiful piece of cinema, oh great,
Speaker 1: And that's just insane. I mean writers never say that,
Speaker 1: you know, And so I really felt empowered and encouraged
Speaker 1: by Bill, and he also, you know, there's no bullshit
Speaker 1: with him. If he doesn't like, he just tells you. Well,
Speaker 1: there's plenty of times he would come to rehearsal. I'm
Speaker 1: sure this never happened on one of your episodes, Michael,
Speaker 1: but there's plenty of times. You know. The way the
Speaker 1: way it would work is the director would sort of
Speaker 1: block out where everyone's gonna go, where the camera's gonna go.
Speaker 1: And there were definitely times and then Bill would come
Speaker 1: to the rehearsal, arrive at the rehearsal and be like, yeah,
Speaker 1: that that makes it not funny at all. We're not
Speaker 1: doing it. And then you know, you watch some directors
Speaker 1: be like it was you know, he was even for Bill.
Speaker 1: He was tactful about it sometimes, but you know it
Speaker 1: was like he's like, no, I'm not not doing that.
Speaker 1: If you put him over there and her over there,
Speaker 1: it does it's not funny anymore. So we got to
Speaker 1: do this, and you know, you have to be a
Speaker 1: little bit humbled about as a director because you're like, oh,
Speaker 1: you know, I didn't now I see. You know, I
Speaker 1: think that most of the time, when when writers have
Speaker 1: clear ideas about that, they're generally right, you know, if
Speaker 1: they're if they're if they're people you know of the
Speaker 1: Steve love It to and Bill Lawrence, Mindy Kale and caliber,
Speaker 1: like they get it and you know, you listen to them,
Speaker 1: you don't fight them, and and they're generally right now.
Speaker 1: I did see that happen, you know, with other directors
Speaker 1: when I'd be there prepping. Didn't happen very often with
Speaker 1: me with Michael Spiller, No, sir, not with Michael. Now
Speaker 1: with sorry, Ammy Award winning Michael Spiller. I mean what
Speaker 1: I what I do remember happening a lot is um
Speaker 1: like we'd be waiting for Bill to come up from
Speaker 1: the writer's room and you know, must have been in
Speaker 1: the middle of a very fancy paragraph or something, and
Speaker 1: you know, dial we had to wait, but you know,
Speaker 1: the clock is ticking, we're losing a light. So generally
Speaker 1: we eight frame to arrive. But sometimes I would rehearse
Speaker 1: without him. Yeah, and inevitably, inevitably, as soon as we
Speaker 1: finished the rehearsal, Bill come walking through the doors and
Speaker 1: I'd have to scramb and be like, okay, so for
Speaker 1: this shot, like fake, like we're starting the rehearsal from
Speaker 1: the time, not just finished it, right, well, yeah, you know.
Speaker 1: You know. Another thing that people might not know is
Speaker 1: that the onus to deliver the show in five days
Speaker 1: is all on the director's hands. I mean obviously working
Speaker 1: with his assistant, his or her assistant directors. So you
Speaker 1: are you not only come on to this set where
Speaker 1: you where you don't work every day, to lead a
Speaker 1: crew of people that are all friends, but it's your
Speaker 1: job to be like, guys, we gotta go, we gotta go,
Speaker 1: we gotta we gotta get out of here. So that's
Speaker 1: that's another thing is that you have to well, you
Speaker 1: have you've you've signed on to deliver this episode of
Speaker 1: television in five twelve hour days. You have a ton
Speaker 1: of support, though you have you know, if you have
Speaker 1: a good first you're you're golden. We have some pretty
Speaker 1: cool first ads our show. Franklin Got Better and Scott
Speaker 1: Harris and Richard Wells, who was an incredible first ad.
Speaker 1: Paul Padrera, we had a we had a we had
Speaker 1: a few of them, you know what I mean. And
Speaker 1: you worked with all four of them, right, yes, I
Speaker 1: worked for them all. Yeah, which one was your favorite?
Speaker 1: Now you don't have to answer that. You don't have
Speaker 1: to answer that siller. Um, should we get into the episode,
Speaker 1: because I think it'd be fun to just really think so, So, Michael,
Speaker 1: the way we do this is um. But there's really
Speaker 1: no order. We just started to talk about the episodes. Uh,
Speaker 1: well you've heard it. You listen to that your your
Speaker 1: favorite podcast, exactly. The first thing I noticed. First of all,
Speaker 1: we have to say that Elizabeth Bogis is not only beautiful, obviously,
Speaker 1: but she's really funny. She's a very good actress. I
Speaker 1: thought she did a fantastic gest grey moment in this episode.
Speaker 1: And it's also it's also, uh, this is big. She's
Speaker 1: the first, she's the first love interest for JD. And
Speaker 1: so that, you know, this really set the tone for
Speaker 1: all of the other actresses that would come on to
Speaker 1: play your love interest on the show. And she did
Speaker 1: such a she did such a phenomenal job, and you know,
Speaker 1: you're right, she is very funny, and it made it
Speaker 1: so that whoever else came on had to be like,
Speaker 1: all right, well let me let me let me see what,
Speaker 1: let me let me let me step up. And yeah,
Speaker 1: they couldn't just be they couldn't just be a pretty face.
Speaker 1: They had to really be good actresses and be funny,
Speaker 1: and I think that you know, Liz was all those things.
Speaker 1: She had really good timing. She I thought she was
Speaker 1: good in her dramatic moments. And yeah, and of course Spiller,
Speaker 1: when you do that beauty shot of her at the
Speaker 1: end arriving with the picnic basket, it's so romantic and pretty. Yeah,
Speaker 1: did you have anything in the city training came in? Yeah?
Speaker 1: I was thinking about that. All your sex in the city,
Speaker 1: lighting women, things all came together in this episode. Did
Speaker 1: you have anything to do with casting on that? Like?
Speaker 1: I know that some directors sit down and help out
Speaker 1: with casting on television shows or bring in their own. Typically,
Speaker 1: typically we're you know, we're contractually we're meant to be
Speaker 1: involved than all the casting decisions. I mean, every creative
Speaker 1: decision on the episode that we're directing, we're supposed to
Speaker 1: be involved in. Sometimes an actual span several episodes, it's
Speaker 1: sort of a bigger decision. And or maybe an actor's
Speaker 1: availabilities being challenged and you need to book them before
Speaker 1: the director has technically begun their prep. I can't recall
Speaker 1: what the situation was with Liz. I mean, she was fantastic.
Speaker 1: Hard to imagine anyone who I would have rather seen
Speaker 1: in the role, right, But she did have a technically
Speaker 1: a three episode span, although I directed two of her episodes.
Speaker 1: Yeah to the second two, right, not the first one
Speaker 1: where she's in the m action, right, right, all right?
Speaker 1: But have you have you gone on to do other
Speaker 1: shows and be like, you know what, I got the
Speaker 1: perfect person and gone back to use actors that you've
Speaker 1: had from oh sure, from Scrubs or from or from
Speaker 1: Sex in the City or whatever. Yeah, I mean, whenever
Speaker 1: I can, I try to recommend people who I know
Speaker 1: are cool and they're going to deliver. And because we've
Speaker 1: all worked with people who are super funny on screen
Speaker 1: and really difficult to work with, and some some even
Speaker 1: you know, with like a toxic personality that could kind
Speaker 1: of poison a set because it only takes one person
Speaker 1: to poison a workplace. That's a lesson to all you
Speaker 1: young aspiring actors out there that everybody talks. Everybody, everybody talks.
Speaker 1: So you might have been a jerk one day and
Speaker 1: Michael Spiller was the director on Sex in the City,
Speaker 1: and you think that you went home and went all right, well,
Speaker 1: I had a bad day, and then later and then
Speaker 1: later Michael's directing another show where your name is suggested
Speaker 1: and he goes, no, no, Um, so you have to
Speaker 1: be here. My wife always says this sounds way too
Speaker 1: small to be an asshole exactly that that's perfect put in.
Speaker 1: And I mean the fact is, you know, my wife
Speaker 1: used to be a costume supervisor, a wardrobe supervisor and off.
Speaker 1: And it's the people behind the scenes that get the
Speaker 1: brunt of an actor's wrath, you know, or bad behavior.
Speaker 1: It's like, if you're making you know, your hair and
Speaker 1: makeup people, or the people who are adjusting her clothing,
Speaker 1: if you're making those people cry, you're not a good person,
Speaker 1: or you need some therapy, or you got to work
Speaker 1: some shit out. But she told me there are a
Speaker 1: couple of people that made her cry, you know, back
Speaker 1: in the day. And I have had the pleasure of
Speaker 1: passing on some of the sweet revenge. And you ran
Speaker 1: home and told your wife, didn't you guess? I passed
Speaker 1: on the believe who they tried to push on me
Speaker 1: today but I said no. And his name was Donald
Speaker 1: fais On. So Michael, my first my first note for
Speaker 1: you is it twenty four seconds? Why does my character
Speaker 1: have a giant entire piece. It's a whole chicken on
Speaker 1: my date plate. I would never order such a large meal.
Speaker 1: I had to stop and pause. I'm on this date
Speaker 1: with this beautiful woman. I'm just stand at her, and
Speaker 1: I have a full roasted chicken on my plate. You know,
Speaker 1: all I recall about that is that it was part
Speaker 1: of because it was this The sequence is that you
Speaker 1: can't take your eyes off her, were so fixated on
Speaker 1: her that you almost forgot to eat. So I didn't eat.
Speaker 1: Having a having a vertical, you know, a large meal
Speaker 1: that would read in this shot because there's a lot
Speaker 1: to look at, so you really want to looking at you.
Speaker 1: But yeah, so you icye. So your rationalization or or
Speaker 1: real genuine rain, you wanted it to quickly read that
Speaker 1: I hadn't touched my plate. Yes, it looks like Thanksgiving
Speaker 1: dinner has been served and no one has carved. You know,
Speaker 1: we were on location for that, and you know we
Speaker 1: didn't do that very often on Scrubs, and certainly my
Speaker 1: first episode. I hadn't done it before with you guys,
Speaker 1: and you know that may have been with the place
Speaker 1: had to offer what Hugos had to offer. It was Hugos.
Speaker 1: I was gonna ask that is that Hugoes And where's
Speaker 1: the riverside and in the valley? Yeah, it was right
Speaker 1: next to the hospital, just down the street. The photo
Speaker 1: booth in the middle of the supermarket or is that
Speaker 1: a pharmacy? Yeah, what was the deal with that? Michael?
Speaker 1: Who would who would put a photo booth? Who would
Speaker 1: put a photo booth in the middle of an aisle
Speaker 1: of the supermarket? Michael, you can reach through the photo
Speaker 1: booth to get items off the shelves. Well, maybe they're
Speaker 1: handy props. You know. This is this is before the
Speaker 1: days of like giant hats and oversized sunglasses and big
Speaker 1: foam pointing. Is this a set or do you remember?
Speaker 1: I think it was a set, and it was just like, yeah,
Speaker 1: I remember photo booths like in like bowling alleys or
Speaker 1: I missed, by the way, I missed photo booths. Let's
Speaker 1: keep love photo right now. That was like the set
Speaker 1: off for that is because I guess because of the
Speaker 1: movies too. It's such a romantic setting, I know, especially
Speaker 1: when they're black and white, not this not this modern
Speaker 1: bullshit ol black and white neon light that freaking yeah,
Speaker 1: it surrounds the camera and shoots in your face. I
Speaker 1: totally miss photo booths. I got some good photo booth
Speaker 1: pictures of me and my wife when we first started dating.
Speaker 1: And you know, it's so romantic when you look at
Speaker 1: them and you feel like your old school and fourth
Speaker 1: strip photo. I mean, yea, for those of you out
Speaker 1: here who like photo booths at like parties and stuff
Speaker 1: like that, it doesn't it's not the same if it's
Speaker 1: not in an actual booth. If you're in Manhattan, Okay,
Speaker 1: there's the a restaurant called the Smith on Fourth Street,
Speaker 1: and like, what is it like fourth and tenth ish
Speaker 1: you just google it, And in the basement of the Smith,
Speaker 1: which is a good restaurant, there's an old school black
Speaker 1: and white photo booth. So there you go. I just
Speaker 1: took you up. Next time you're on a on a
Speaker 1: trip with your loved one, go take a romantic picture there.
Speaker 1: When we're allowed to travel again, you know, when you're
Speaker 1: allowed to travel again in August And yes, so, Michael,
Speaker 1: I don't know how they do it on sex in
Speaker 1: the city, but we certainly don't put photo booths in
Speaker 1: the center of a supermarket. I here on scrubs. I
Speaker 1: want to say that this is very vain. But I
Speaker 1: looked very skinny in this photo booth and I yeah,
Speaker 1: but what was up with your hair? Dude? Your hair
Speaker 1: was a little different in these episodes, man, they were
Speaker 1: very spiky. I was probably you know what I was
Speaker 1: probably truth the spinning of the hair on the top
Speaker 1: and the photobooth that looked like I have more makeup
Speaker 1: on than usual. I can only rationalize that I was
Speaker 1: probably nervous in front of this beautiful actress and I
Speaker 1: was probably like, more makeup, it's more hair, Okay. Now,
Speaker 1: is this your first love interest in projects that you've
Speaker 1: been because you hadn't worked that much. That's a I
Speaker 1: think dated on camera before. Very good question. No. I
Speaker 1: had done an after school special called My Summer as
Speaker 1: a Girl, and basically it was an aprical special where
Speaker 1: they just stole the whole plot of Tutsie and you know,
Speaker 1: in order to get the job, I had to dress
Speaker 1: up like a woman. Got it, and then I fell.
Speaker 1: But I remember it's interesting remembering that that. I remember
Speaker 1: that there was supposed to be a scene where I
Speaker 1: kind and got like too aggressive with trying to make
Speaker 1: out with her, and I remember the director was disappointed
Speaker 1: because I was I couldn't do I was too nervous
Speaker 1: to do it. I wasn't doing it enough, being aggressive
Speaker 1: enough with her. Why why why are all after school specials?
Speaker 1: Why did the guys have to be so aggressive? Well?
Speaker 1: The lesson they always taught a lesson, right, Well, this
Speaker 1: one was I was kind of a guy, and I
Speaker 1: was kind of a play not a playboy, but like
Speaker 1: I was a cocky guy, and uh. And then I
Speaker 1: in order to get in order to go after the girl,
Speaker 1: I dressed up like a girl because she had gotten
Speaker 1: the lost last job as a chambermaid on the island,
Speaker 1: and I wanted to do that too, So I dressed
Speaker 1: up like a girl, like a lot Toli's the Platatotzi,
Speaker 1: except you know, a chambermaid on an island. And then
Speaker 1: I fall in love with the girl, and then i'm
Speaker 1: too as when I'm a man, I'm too aggressive with her,
Speaker 1: and she's like, get away, you're you're moving too fast.
Speaker 1: And then there's a guy who's in love with me
Speaker 1: when I'm dressed as a woman, and he starts doing
Speaker 1: it to me, and I'm like kicking her in the nuts.
Speaker 1: And the lesson was like, how do you fucking like it?
Speaker 1: Treat a woman with respect. Yeah, shoes on the other foot. Now, Yes,
Speaker 1: so you can all go google my summer as a
Speaker 1: girl and watch that bit of artistry. But that's a
Speaker 1: good point you brought up, Donald. I don't think that
Speaker 1: I had really had a pretty love interest other than
Speaker 1: Sarah Chop. But we hadn't really you know, delved into
Speaker 1: that yet. Not on the show, you guys. Yeah, we're
Speaker 1: about to were in a few episodes we're about I
Speaker 1: think after Liz is the first time that it comes up.
Speaker 1: So yeah, I bet I was very nervous around her.
Speaker 1: I do seem to me to look like I have
Speaker 1: a little bit too much makeup on in this photo booth,
Speaker 1: Like I was like, I was trying to look like
Speaker 1: you know, it's important for you to look. I wanted
Speaker 1: to look. I wanted to look the best I could
Speaker 1: for a Liz. Well. Yeah, I mean it is so funny.
Speaker 1: It's like it's it's and scanning a lot of attention
Speaker 1: these days because people are, you know, in this business
Speaker 1: are evolving somewhat. But you know, when you have two
Speaker 1: actors or more depending on the show, you know, who
Speaker 1: have to have a love scene or be intimate physically
Speaker 1: intimate with each other. I mean it's awkward, it's weird,
Speaker 1: and it can it can be really uncomfortable for for people.
Speaker 1: So I mean I totally get it, even as sort
Speaker 1: of PG as this was right, Well, this was pretty big.
Speaker 1: You know, when we get into some of the Sarah stuff,
Speaker 1: I can't even believe that we were doing what we
Speaker 1: were doing for network TV, and I remember it being
Speaker 1: like awkward, like this is so bizarre. I remember feeling
Speaker 1: like are we on like HBO, Like how are we
Speaker 1: doing this for NBC? You know, it's pretty That was
Speaker 1: that was pretty risque stuff. This stuff with Liz was
Speaker 1: was was pretty tame. But years you know, you're still
Speaker 1: lying in bed with a with a beautiful stranger. To say,
Speaker 1: at the end of the episode, I'm on top of
Speaker 1: h Judy and it's we're simulating sex, dude. Yeah, this
Speaker 1: was a sexy episode. There's a lot of taco orgasms
Speaker 1: and yeah, and Sarah masturbating on a washing machine that
Speaker 1: even works? Does that work? Is a washing machine that powerful? Yeah?
Speaker 1: The head because I can't. I don't, I don't, I
Speaker 1: don't apparently I don't. I definitely don't produce like the
Speaker 1: washing machine can produce. Obviously, honest with everyone, is that good?
Speaker 1: Aware at the end of it, you fall off the
Speaker 1: motherfucking washing machine. I can't compete with a washing machine.
Speaker 1: What am I useful for? Honey? I've been helping you
Speaker 1: raise these kids? What am I useful? Hey? Donald? The
Speaker 1: washing machine and the crazy shit is My wife's always like,
Speaker 1: I'm gonna go put another load in? Yeah, yeah she is.
Speaker 1: She's definitely, hey Donald, that washing machine cannot provide for
Speaker 1: those children. Only you can. Only I can. That's what's well.
Speaker 1: I don't know whether or not, you know, we three
Speaker 1: men have no idea obviously if a washing machine can
Speaker 1: can do that to a woman. But I gotta say, Sarah,
Speaker 1: it worked for Elliott, it really, it definitely works well.
Speaker 1: And it worked for Carla two because she's the one
Speaker 1: that suggested it. Yes, she said, when are you doing laundry? Now?
Speaker 1: Right now? We had a lot of female writers on
Speaker 1: this show. I can only imagine that they had a
Speaker 1: conversation in the writer's room, like, y'all have a rund
Speaker 1: a washing machine. Well, I know, let's move on, or
Speaker 1: you could ask could be an ask bill moment. No no, no, no, no, no.
Speaker 1: I don't want to. Hey, listen, I don't have anything.
Speaker 1: Do you guys have anything before Sarah shitting a brick?
Speaker 1: Because I laughed out loud at that. I laughed out
Speaker 1: loud at that. That was funny, especially Sarah first of all.
Speaker 1: Who when you think I'd ever get to see Sarah chalks,
Speaker 1: you know, pooing face, And there we saw it. But
Speaker 1: that's that's right, that's what they usually somebody makes a
Speaker 1: pooing face on television, they get real big with it.
Speaker 1: It was pretty it was pretty subtle. You didn't know that,
Speaker 1: you know, this eye closed thing. She did an eye
Speaker 1: closed thing. You're right, she closed one eye and they
Speaker 1: had to be just enough, just enough push brought that.
Speaker 1: Oh what's funny. What's funny about it, it, spiller, is
Speaker 1: that she she just does a little bit of a push,
Speaker 1: but then a giant brick fulls I just realized that
Speaker 1: in one episode level, in one episode of brilliant television,
Speaker 1: in twenty two minutes, we have Sarah's poof face and
Speaker 1: her orgasm face. That's right. We opened the whole damn it.
Speaker 1: We we opened the show with her poof face and
Speaker 1: closed the show their orgasm face. What aren't we made what? Okay?
Speaker 1: So I think the yeah was improved. When Carla pushes
Speaker 1: me down, I remember that yeah. I think that was improved.
Speaker 1: I don't remember if that was in the script or not.
Speaker 1: It wasn't because who the hell would ever guess that
Speaker 1: your T shirt would say yeah on it right, that
Speaker 1: my T shirt would say yeah. It didn't say on
Speaker 1: the script. Turk wearing a yeah T shirt points two
Speaker 1: said freeze Yeah. But that was funny to Doddle. I
Speaker 1: wanted to point out a little trivia that I saw
Speaker 1: on the Scrubs Wiki at three h five right before
Speaker 1: your yeah thing that doctor Cox knows Doug's name, and um,
Speaker 1: the Scrubs Wiki was pointing out it might be the
Speaker 1: only time he ever says Doug's name because he goes
Speaker 1: Doug and uh, well he uses it. He also uses
Speaker 1: it as like he's gonna pick on Doug. Yeah, but
Speaker 1: I'm saying Cox never you know. His whole thing was
Speaker 1: he doesn't know people's names. He calls him all these nicknames,
Speaker 1: but he randomly knew Doug's name. But you two a
Speaker 1: jam in in this episode. Also, you too like a
Speaker 1: camaraderie in her Yeah, you know, you're his go to.
Speaker 1: Now this is the first. We established it in the
Speaker 1: last episode, but yeah, now you two are it doesn't
Speaker 1: seem like you're fresh Nubi, even though he calls you
Speaker 1: Nubie and everything like that. We're starting to see your
Speaker 1: your relationship as colleagues form. That's true, and I think
Speaker 1: I wrote down this is the first episode to me
Speaker 1: it seems like he genuinely likes JD. Like he's usually
Speaker 1: good at hiding it, but in this episode, I felt
Speaker 1: like Cox was really bonding with Jad and liked him
Speaker 1: even though he was, you know, still trying to hide it,
Speaker 1: but he couldn't hide it. And then in the end
Speaker 1: he really bonded with him and said, you know, don't
Speaker 1: be me, don't be me, go have a life, which
Speaker 1: I thought was was moving. I thought that was good,
Speaker 1: you know, a side of doctor Cox we don't always see, Yes, spiller,
Speaker 1: since we're that's a nice segue into what it's like
Speaker 1: working with Johnny c for the first time as a director. Yeah,
Speaker 1: was he scary? Yeah, let's go. Well, I mean, first
Speaker 1: of all, he's so damn good, he's so damn funny,
Speaker 1: but he is a very very intense sky, particularly when
Speaker 1: you know he's in character. You know on set because
Speaker 1: you know he's a prepping director. You go and you're
Speaker 1: you're doing all the work in the various meetings and
Speaker 1: location scouting and stuff that you do to prep your
Speaker 1: own episode, but you also try and spend as much
Speaker 1: time as you can on set so that you're getting
Speaker 1: to know the cast in a more informal way. You're
Speaker 1: starting to connect with the crew, learn people's names, all
Speaker 1: these things that are essential to you know when you're
Speaker 1: handed the baton the next week that you'll have a
Speaker 1: good episode. Right, So you know, you'd hang out and
Speaker 1: observe and try not to be in the way, and
Speaker 1: I'd watch another you know, like Mark Buckland worked with
Speaker 1: Johnny c or something, and Johnny is intense. You say cut,
Speaker 1: and he stands there, his jaws like clamp shut, his
Speaker 1: cheek muscles are like fluctuating and like he's he's ripped.
Speaker 1: You know, he's like so on sparring. Right. It's like, Okay,
Speaker 1: I knew you thinking of that person a note. So
Speaker 1: the very first time I did it, I said cut,
Speaker 1: went up to him and it's like you got the
Speaker 1: sense if you said the wrong thing, he might actually
Speaker 1: hit you because he's tight. He's he appears to be
Speaker 1: that tightly wound right right. So I can't remember who
Speaker 1: the note was, but you know, I said, Johnny, can't
Speaker 1: try that. You know, I have an idea. Blah blah
Speaker 1: blah blah. He looks at me for a sect cheek
Speaker 1: muscle still, you know, rippling away, and he says, fuck, yeah,
Speaker 1: let's do it, and we just we went. It's like, okay,
Speaker 1: I made it. That was your first hurdle, that was
Speaker 1: your test in one in one or two sentences, he
Speaker 1: has decided if he liked you or not forever exactly thankfully. Well,
Speaker 1: I think Johnny Johnny, Johnny Johnny has so much had
Speaker 1: so much experience, you know, and I've worked with so
Speaker 1: many directors at that point, and I think he he
Speaker 1: you know, if you gave him a good note, he
Speaker 1: was he was down to do it. And uh and
Speaker 1: then he you know, like all of us, we sometimes
Speaker 1: got notes from directors. We were like, I'm not doing that,
Speaker 1: and you know, so I think that he in that moment,
Speaker 1: he decided that he liked you in respected you. Well.
Speaker 1: I mean, listen, from from an actor's standpoint, I completely
Speaker 1: get it because It's like, okay, is a new director
Speaker 1: every week, and some of them are not going to
Speaker 1: be great or something you're just not going to get
Speaker 1: along with. And some are going to ask you things
Speaker 1: that may not even be their note, maybe a writer's note,
Speaker 1: and you know you can't you can't go up to
Speaker 1: an actor say oh, well the writer asked me to
Speaker 1: say this. You know that's not a good thing to
Speaker 1: do that. It's like, well, then you're just the messenger person. Yeah,
Speaker 1: and then and then it just shows that you're weak.
Speaker 1: I think you have to be like you have to
Speaker 1: be like, um, you know what I try to be
Speaker 1: like is do you want to do you want to try?
Speaker 1: You know, if it's my thing, then I'm like, let's
Speaker 1: try this. But if I'm coming on to a show
Speaker 1: like this, I would say I was thinking this, do
Speaker 1: you want to maybe try this? Because you know, you
Speaker 1: don't know if the actor's gonna say, oh, my character
Speaker 1: would never do that, you know that kind of thing. Hey,
Speaker 1: we need to go to break that thought. Donal Donald,
Speaker 1: We're gonna break hold that thought. Don't you get it
Speaker 1: to be irrelevant? Act? Don't you forget it, Donald? Because
Speaker 1: I know that you've tried some of God's let us,
Speaker 1: and that affects memory. Hold on some of God's let us.
Speaker 1: In a few hours, let's go to break. Okay, we're
Speaker 1: back from breake. Donald, did you remember did you hold
Speaker 1: on to the thought? I forgot? Oh? Fuck? And you
Speaker 1: kids say we doesn't cause memory laws. Wow, it's like
Speaker 1: a case study. Yeah, yeah, like a case study. So Donald,
Speaker 1: we're doing a podcast about the show scrub. I had
Speaker 1: to remind him after each break. Spiller. Mike Spiller, this
Speaker 1: is Mike Spire. He directed you twenty episodes. I don't remember.
Speaker 1: I don't remember. I don't remember. So are you start
Speaker 1: hanging out with you outside of Scrubs two? Spiller, this
Speaker 1: isn't This is for everyone out there that's sitting there
Speaker 1: and they're like, wow, this is you know, a director
Speaker 1: on the show with the two actors, and and he
Speaker 1: directed twenty so that makes him special. That's not all
Speaker 1: them makes Spiller special. We've all gone out and hung
Speaker 1: out and eaten together and stuff like that, so you know,
Speaker 1: it's also it's very cool to catch up with your
Speaker 1: pool before I've swimming pool, Spiller, you still live in
Speaker 1: the same house, Spiller, No, we moved I have to
Speaker 1: come see the new crib. Yeah. Now right now that
Speaker 1: you got that Emmy. Now he's done with those Emmy houses.
Speaker 1: One of those Emmy houses. It's like three levels. Listen,
Speaker 1: it's shaped houses, shaped like an Emmy. If he wasn't responsible,
Speaker 1: there'd be a water slide from his bed to the pool. Yeah.
Speaker 1: When we met him, he had a DP on sex
Speaker 1: in the city house. Now he's got a modern family
Speaker 1: Emmy house. Spiller. Um, I have a great memory of
Speaker 1: you too, and that you came over and helped me
Speaker 1: in store a door knob? Do you remember that? Wait?
Speaker 1: What I mean? It's totally sounds like me. It's completely
Speaker 1: on Branda. I need to understand this. You have remember,
Speaker 1: here's what happened. Questions, Here's what happened, Spiller. No, you
Speaker 1: don't know how to put a door. No, let me explain.
Speaker 1: It's a very sweet Michael Spiller's story. I was talking
Speaker 1: him on set. Now, Spiller, you could say this has
Speaker 1: never happened and I dreamed it. But I haven't done
Speaker 1: hallucinogenic since college. So, um, I remember that I was
Speaker 1: talking to Michael. Michael's handy. Aren't you a handy around
Speaker 1: the house guy? Like you can building. And I was saying, God,
Speaker 1: I wish I knew how to build stuff like I
Speaker 1: have to put a door knob on a door, and
Speaker 1: I gotta I have a door without a door knob,
Speaker 1: and I gotta go hire someone to do it. I
Speaker 1: wish that I knew how to buy the right drill
Speaker 1: bit and install this doorknob. And Michael said I could
Speaker 1: teach you, and I said really, And he said, yeah,
Speaker 1: I'll come over and show you how to do it.
Speaker 1: And I said that would be so awesome because I
Speaker 1: don't know anything like that and I'd love to actually learn.
Speaker 1: And Michael came over and helped me install a new
Speaker 1: doorknob on a door. Isn't that true? Michael? That is true.
Speaker 1: I don't like to blow my own horn, but yes,
Speaker 1: that is true. And you remember this, Michael, Yeah, I
Speaker 1: don't think, but I do remember it. He charged me
Speaker 1: thirty five. I got a great story too. So we
Speaker 1: just finished the screening of Garden State. Zach invited film
Speaker 1: great film. Za. Zach invited a bunch of people over
Speaker 1: to the screening room. Danny de Vito was there, Uh
Speaker 1: problem was there? A bunch of people were there? Mike
Speaker 1: Spiller myself. We were there also, and I remember the
Speaker 1: movie ends and we're all like, wow, the movie was
Speaker 1: really good. I had notes, though, and I wanted to
Speaker 1: and I wor, yeah, dude, and I wanted to figure
Speaker 1: out a way to tell Zach all right, I've got
Speaker 1: a couple of notes about the movie. And I remember
Speaker 1: I see Spiller and we're I don't know if we're
Speaker 1: drinking or we're eating. It's after the movie's over. Probably drink,
Speaker 1: and we talked. We're talking and You're like, wow, that
Speaker 1: was pretty good. And I was like, I was right.
Speaker 1: I was like, I've got some notes and you said
Speaker 1: to me, yeah, you know, now might not be the
Speaker 1: best time to deliver, or said Zach. And I was like,
Speaker 1: oh oh yeah, yeah, yeah, yeah, no, of course I'll
Speaker 1: figure out a way too, you know, to tell him.
Speaker 1: Flash cut to Danny DeVito doing a Q and A
Speaker 1: after the movie and he was like, does anyone have notes?
Speaker 1: One hand shoots up, one beautiful brown hand and then
Speaker 1: and then what happened? Then what happened was this? So
Speaker 1: then Donald goes off on his notes and I'm looking
Speaker 1: at him like, dude, not fucking now, Like tell me
Speaker 1: these like Danny DeVito was Danny DeVito was my producer.
Speaker 1: I was like, dude, tell me privately, what the fuck
Speaker 1: are you doing? And then so then Danny's like, Janny
Speaker 1: wanted to be heard. I wanted to be hurt. I
Speaker 1: didn't want to be heard because I wasn't allowed to
Speaker 1: be in the movie because because I gave them part
Speaker 1: to method man. Now listen, um, Danny DeVito. You know
Speaker 1: at the time the movie had had too many endings.
Speaker 1: It was like it was it was going on a
Speaker 1: few beats too long, and we all knew that, but
Speaker 1: I was in denial about him and and Danny DeVito said,
Speaker 1: how many of you felt like them had too many endings?
Speaker 1: Donald's hand shoots up. I'm like, fucking Donald, put your
Speaker 1: fucking hand down. I'm supposed to be my man on
Speaker 1: the inside. But you changed it. We changed it. We did. Hey,
Speaker 1: you know what, this many years later, I'm glad that
Speaker 1: you're never a yes man. You always tell it like
Speaker 1: it is. But I just remember that being like, yeah,
Speaker 1: you know, we should, Yeah, you know, I'm sure we
Speaker 1: all have notes, but I would wait for my own
Speaker 1: moment so you didn't. The lesson of this story is
Speaker 1: that you shouldn't listened to Spiller. Yes, it's usually that's
Speaker 1: the end of most stories, right, So I want to
Speaker 1: say at four or fifteen, I I don't remember the episode,
Speaker 1: so I thought that it was you who couldn't who
Speaker 1: had lost your erection. And it was a very good
Speaker 1: misdirect by both Spiller and Bill because it was it
Speaker 1: was Judy. I don't think I've ever seen it. You
Speaker 1: have a woman wait where? Yeah? Right, I remember that.
Speaker 1: But this I knew right away. I remember this episode,
Speaker 1: and I remember this episode because Rob's line in this show.
Speaker 1: So when I saw you in the hall today and
Speaker 1: I asked you, how is your penis? Yeah, and you
Speaker 1: didn't want to talk about it. Yeah, So Rob still tracks,
Speaker 1: It's still tracks. It's all part of the mislead because
Speaker 1: I was I was proud of that. I don't remember.
Speaker 1: I don't think that was in the script specifically, is
Speaker 1: like she's holding a piece of bacon in a really odd,
Speaker 1: upright manner that nobody would ever do. But I thought, Okay,
Speaker 1: this will be a fun visual transition, and it does.
Speaker 1: It does lead you to it's more evidence as a
Speaker 1: viewer that yes, Donald is the one who's had the problem,
Speaker 1: the classic situation. Yeah, you misled. No, I just want
Speaker 1: to do one little director thing, and that you spill
Speaker 1: are kind of introduced, I believe, to the show. I
Speaker 1: don't know that we were doing this too much beforehand,
Speaker 1: but at four twelve, sorry, it's a little bit before that.
Speaker 1: So they have sex, and then the camera pans and
Speaker 1: goes into the back of the TV, and we use
Speaker 1: that as a transition, you know, a transition, time passage,
Speaker 1: a little time passage. Um, and then we come back
Speaker 1: to see the bra and Rowdy's head, and then we
Speaker 1: cut to Liz Bogish holding a bacon in sort of
Speaker 1: an erect way. Spiller you naughty, naughty boy. Sometimes bacon
Speaker 1: is just bacon. Yeah, sometimes bacon is just bacon. But um, yeah,
Speaker 1: so I was. I was tricked the whole episode because
Speaker 1: I generally until until obviously she says it. It's funny, Judy.
Speaker 1: Oh wait, I want I'm jumping ahead. Um, there's a waste.
Speaker 1: Oh there's a waste of a gift certificate. Oh yeah,
Speaker 1: there's a canceled the Cobblo. Now that's eleven twenty eight.
Speaker 1: I think Neil improv canceled the Cobbler definitely right, Spiller,
Speaker 1: I think so. But I mean the only draft of
Speaker 1: the script that I could find, although it has notes
Speaker 1: and diagrams all over, it says it's like a pre
Speaker 1: table draft of the script. I have almost all my
Speaker 1: Scrub scripts I couldn't find anyway. Yeah, that that whole
Speaker 1: bit wasn't in the version I had, But I mean,
Speaker 1: I love the bit with Neil that starts that runner
Speaker 1: you know where you we reveal him next year? You
Speaker 1: can you know? Someone walks away and just happened to
Speaker 1: look at him? Right, He's like, what if I told
Speaker 1: you about you know, look at me when I'm eating?
Speaker 1: I don't like it? Okay, what am I doing eating?
Speaker 1: And what are you doing staring? I mean I would
Speaker 1: listen to a whole podcast that I would have the
Speaker 1: whole focus. It's called Michael Spiller acts out all the
Speaker 1: parts of Scrub. I would listen to it. It's coming
Speaker 1: to Spotify. So Michael's Alison endorsement carot top Oh my god, yeah,
Speaker 1: we gotta talk about art. Okay, first of all, I
Speaker 1: remember this story, shout out, go ahead, you should tell
Speaker 1: it them. No, I don't want to take it. You
Speaker 1: got it? No, you got I'm just worried you're gonna
Speaker 1: fuck up the story, because I'm not gonna up the story.
Speaker 1: So what's karat Top's real name, Joel? Can you look
Speaker 1: up whatever? Scott Thompson, Scott Thompson, Joel, never mind. Scott
Speaker 1: Thompson came on the show, and I always found Scott
Speaker 1: Thompson very funny. I know that this was sort of
Speaker 1: like making fun of Carrot Top, but I always thought
Speaker 1: he was a funny guy. And the only thing we
Speaker 1: had heard about Scott Thompson just by you know, sometimes
Speaker 1: when we have a guest star, there'd be a couple
Speaker 1: of things like, hey, don't you know sometimes like I
Speaker 1: remember someone was allergic to nuts and they were like,
Speaker 1: don't eat nuts around him. What was Scott? It was like, hey, guys,
Speaker 1: don't call him carrot topp. He prefers that you call
Speaker 1: him Scott, Like, don't don't call him carrot Top. And
Speaker 1: so the crew was told that, the cast was told out,
Speaker 1: and we had this old prop man at the time
Speaker 1: who walks right up to him was like, hey, how
Speaker 1: you doing, carrot Head, And I remember we all still
Speaker 1: be all flinching, like, don't call him carrot you guys
Speaker 1: would call him carrot, toddling him on carrot head. Hey,
Speaker 1: how you doing, carrot? How are you doing? Carrot head? Now?
Speaker 1: Is this the same guy that allegedly hit rowdy or now? Yes,
Speaker 1: same guy, so another strike. Yeah, I think his first building,
Speaker 1: his first strike was calling Scott carrot. But I know
Speaker 1: it was funny. I thought Scott did a very funny job,
Speaker 1: and I laughed at every single one of his jokes.
Speaker 1: So fuck off if you don't like carrot top right on,
Speaker 1: I've worked with I've worked with Scott since then. So yeah,
Speaker 1: we did it. He's still doing. He's ripped, right, that's
Speaker 1: one thing. Now, we played basketball together, all types of things. Uh,
Speaker 1: in the celebrity circuit. Uh, he is ripped. He's and
Speaker 1: he's ripped like he's ripped like diesel, ripped, like rock ripped.
Speaker 1: You know, he's not just like he's not he's not
Speaker 1: as tall as the rock, but he's ripped like you know,
Speaker 1: at least back then, at least you know, ten years ago,
Speaker 1: the last time I saw him, he was freaking diesel. Dude.
Speaker 1: You know, as you get older, you try to figure
Speaker 1: out ways to stay young, and yeah, well I'm trying
Speaker 1: to stay I'm trying to stay in shape, but I
Speaker 1: don't have muscles like that. But I guess I could
Speaker 1: take it more seriously and eat a lot of calories.
Speaker 1: You have muscles like Johnny, did I give you that?
Speaker 1: I think I went on he's holding up guys. There's
Speaker 1: a there's a Johnny c who played Red and Platoon.
Speaker 1: There's a there's a there's a beautiful uh doll. I
Speaker 1: don't know what you call that. It's like a Kendall.
Speaker 1: It's like an action figure, an action but it's but
Speaker 1: it's Kendall si Ken And when I when I saw
Speaker 1: them when sixth Scale, by the way, it's it's it's
Speaker 1: it's accessory as a cigarette, which I always thought was funny.
Speaker 1: And I, uh yeah when those came out, I bought
Speaker 1: one for Johnny and for I guess I bought one
Speaker 1: for use Biller. God, I must have really loved you,
Speaker 1: he did. Those are the days, Yoh, So I love
Speaker 1: you definitely changes everything. It does. Yeah, well, and when
Speaker 1: you say it, apparently in this story, when you say
Speaker 1: I love you, shit gets weird for a little bit. Yeah. Yes,
Speaker 1: for Judy with at least with the Turk and Carla
Speaker 1: I think it's weird for both of you. I don't
Speaker 1: think either of you has ever really said it before, right,
Speaker 1: I just don't. I mean I've said it a couple
Speaker 1: of times in my life. Uh, but I don't know
Speaker 1: that it's changed. I mean, you know, I guess it
Speaker 1: just makes the breakup harder. I don't know. I just
Speaker 1: found that. I found that as an interesting story for
Speaker 1: these guys that I love. You made them have cold
Speaker 1: feet in the in the bedroom, well she did, right,
Speaker 1: you didn't have cold well he had cold feet, he
Speaker 1: did too. It was a blow to his ego also
Speaker 1: right out in his head. He got in his head, right.
Speaker 1: But and even and the fact that Turk is like,
Speaker 1: you know, it's never happened that, you know, I've always
Speaker 1: been able to pleasure a woman to the point of orgasm,
Speaker 1: marry out. I was like, right, I was like, yeah, whatever, Yeah,
Speaker 1: I don't think the stakes are high. The stakes are high.
Speaker 1: That's a weird plot line for me. I love you,
Speaker 1: and because of that, you can't come now. Well, I
Speaker 1: don't know if you're supposed to say the cu M word.
Speaker 1: I mean, we can say orgasm comes a little aggressive
Speaker 1: for a family podcast, you know, are we a family podcast?
Speaker 1: We're explicit. We're explicit, but we stay aware. We had
Speaker 1: established on what type of podcast. No, No, we're definitely explicit.
Speaker 1: But you could have said ejaculate. I wasn't PC enough.
Speaker 1: You don't have to say come. It's so graphic, right
Speaker 1: Joel crashing up at you right now? She could climax.
Speaker 1: She couldn't clash Joel as our producer. Should we be
Speaker 1: using the c M word? I don't know, And I'll
Speaker 1: talk to her call I heart on the red phone.
Speaker 1: I don't think it'll it'll matter much, guys, whatever you're coaching,
Speaker 1: I don't know. Donald said it. No, my heart skipped
Speaker 1: a beat this episode. I know it's fucking staying it.
Speaker 1: Stay listen, you know, listen to that point. I noticed
Speaker 1: see Judy didn't say orgasm in the first scene that
Speaker 1: it comes up, and I was like, oh, it must
Speaker 1: be like a TV thing NBC. We had a tiptoe
Speaker 1: around the word, and then everyone starts saying it. You
Speaker 1: say it, Sat says it, and I'm like, oh, it's
Speaker 1: just a Judy's character. Carla is like uncomfortable saying the
Speaker 1: word in public, which is odd to me because as
Speaker 1: you saw, I just said a different word, and all
Speaker 1: of you guys got, oh, now you're ashamed. Now you
Speaker 1: guys kind of shamed me. That was no judge, not
Speaker 1: shaming you. There's no judge. There was a little bit
Speaker 1: of judgment. I'm gonna keep no way. No, there's no judgment.
Speaker 1: And anybody out there listening, I felt your judgment too. No,
Speaker 1: they weren't judging your judgment too. I think we were
Speaker 1: all just a little taken aback that you came out
Speaker 1: as aggressively, no pun intended. I'm going to keep us
Speaker 1: on topic, but maybe get us out of this offer,
Speaker 1: or are you gonna direct us? Biller direct us. I'm
Speaker 1: just gonna say that, you guys, this is what a
Speaker 1: director does. It's a little redirect here. That that moment
Speaker 1: at eleven fifty five where Carla catches herself after Elliott's
Speaker 1: made her confession that she's never been able to climax ever,
Speaker 1: even by herself, That that moment after she says it,
Speaker 1: Judy's like, oh, I'm sorry, I should be more surprised.
Speaker 1: It's just like that, the the pause and her like
Speaker 1: her realization. It's it's a silent be It's so funny
Speaker 1: and so definitely executed. And yeah, and that was something
Speaker 1: that I have No, he can't take no credit for.
Speaker 1: Of course, that's all the actor Elliott is so self
Speaker 1: deprecating in this episode. It's so funny. Every scene Star
Speaker 1: is in, she's like she's just like taking digs at
Speaker 1: herself over and over and over again. Let's talk about
Speaker 1: the legendary Sam Lloyd at fifteen thirty saying walk off, bitch.
Speaker 1: I laughed a lot of it. Yes, now it's spiller.
Speaker 1: I noticed he's not sweating. I don't know if you
Speaker 1: recall because it was so long ago, but I wondered
Speaker 1: if there was a conscious decision like, no, you found
Speaker 1: your courage, You're not going to be flop sweating in
Speaker 1: this scene. Yeah. I don't remember actually saying the words,
Speaker 1: but I'd like to think that that is why, you know,
Speaker 1: with his newfound you know, since since Kelso's lost his mojo,
Speaker 1: at Ted has this newfound confidence that he wasn't sweating. Yeah,
Speaker 1: and then and then he goes, you're a wonderful person.
Speaker 1: You don't know what you did? Yeah, so good s blurre.
Speaker 1: Do you want to share any Sammy thoughts? I thought,
Speaker 1: just you know, because you worked with him a bunch
Speaker 1: of times, and uh, and we you know, Donald and
Speaker 1: I shared some thoughts, but I thought you might want
Speaker 1: to say anything that you remember about him. Yeah, I mean, gosh,
Speaker 1: it's take him too soon. I mean, such a great guy,
Speaker 1: such an amazing talent. Um. I'm so pleased to have
Speaker 1: worked with him a bunch and and gotten to know
Speaker 1: him a little bit. And I often, I mean, when
Speaker 1: I heard the news, I kept thinking back to one
Speaker 1: episode that I haven't seen in a while, but this
Speaker 1: moment is all I stuck with me where Ted the
Speaker 1: lawyer winds up falling off the roof. Yeah, and I
Speaker 1: mean we shot like a pretty elaborate sequence for it,
Speaker 1: and you know, see him falling away and he says,
Speaker 1: oh sweet relief. Yeah, you know, like he's finally, you know,
Speaker 1: gonna be out of this torturous life. And you know,
Speaker 1: years ago, I just would think about the moment because
Speaker 1: it was so funny and so on character. And you know,
Speaker 1: the past couple of weeks I've just been thinking about
Speaker 1: It's like, well, I hope that he has found peace
Speaker 1: and you know it's not in pain and it's just heartbreaking.
Speaker 1: But an amazing guy. Yeah, he really was. I've been
Speaker 1: thinking about him a lot lately, and I know, I
Speaker 1: know all the fans of the show have, but and now,
Speaker 1: of course when he comes up in an episode, I'm
Speaker 1: like extra leaning forward because I know I just know
Speaker 1: what's going to be funny and and you know, I
Speaker 1: have this thing when I write my notes down for
Speaker 1: the episode, I write l ol just to remind myself
Speaker 1: to say that that's something that made me laugh out loud.
Speaker 1: And Sammy has like two lines in this episode. I
Speaker 1: laughed out lot of both of them. Um, that was
Speaker 1: just him, just delivered always. Yeah, he definitely delivered. Johnny
Speaker 1: c At nineteen twenty seven puts in his own five
Speaker 1: good ones. You know that's what. Yeah, I noticed that.
Speaker 1: What's up with that? Well? You know that that was
Speaker 1: his expression. I think I don't know if the writers
Speaker 1: put it in the script or not. Right here for you, Bob.
Speaker 1: I like that whole storyline too. That was very funny
Speaker 1: of Kelso losing his mojo, and the way Ken played
Speaker 1: it was great, like a wounded little like a wounded
Speaker 1: little puppy. Ken was so funny. Right when you ever
Speaker 1: see Kelso play that like humbled puppy, That was so funny,
Speaker 1: and and even and uh and and John and you know,
Speaker 1: and him realizing, wait a second, how did I lose
Speaker 1: my mojo? And John c rolling by, Yeah, on the
Speaker 1: wheelchair waving at him. Hilarious, dude, that's a that's a
Speaker 1: shot I've seen like in every Scrubs clip reel that's
Speaker 1: ever shown, or like, you know, gifts and stuff. You
Speaker 1: just that's that's one of those shots. You always see
Speaker 1: Johnny on the wheelchair rolling by, waving like that. Yeah.
Speaker 1: I think I'm ote some residuals or something. Yeah, some gift,
Speaker 1: those gift residuals or yeah, they don't pay, they don't pay. Um, yeah,
Speaker 1: I just wrote I wrote down the same thing. Now, Ken,
Speaker 1: Ken is so good being humbled. I mean, it's not
Speaker 1: something you ever really saw in Scrubs, but he was,
Speaker 1: like he played it so well. Just he that guy's
Speaker 1: such amazing range. Yeah. But and then also also his
Speaker 1: comeback was great. Um, and the way Cox tricks him
Speaker 1: or you know, revives him by saying, you know what, guys,
Speaker 1: from here on out, you just ask me the question
Speaker 1: and I'll answer everything for you. And you and you realize, oh,
Speaker 1: wait a second, you realize right then and there, Kelso
Speaker 1: is trying to teach. He gets a kick out of
Speaker 1: being the most evil person on the planet. But he
Speaker 1: is the chief of medicine at a teaching hospital, and
Speaker 1: he fulfills his job in every episode, regardless of how
Speaker 1: evil he might be or how angry he might seem.
Speaker 1: You know, I talked about this earlier. He an older,
Speaker 1: an earlier podcast. Uh, he's always teaching. He's always he's
Speaker 1: always a part of the solution and not necessarily the problem,
Speaker 1: even if it's like, well, look here, this is how
Speaker 1: we run things. He the lessons always somehow revolve around
Speaker 1: how mean he is. But he's freaking so he's always teaching.
Speaker 1: The kids, he's always teaching, or the students or the
Speaker 1: always taken away from him. This time, he's totally like
Speaker 1: lost his mojo. He you know, he not only has
Speaker 1: he lost his mojo, he's lost his purpose in the hospital. Also,
Speaker 1: what do I do here? I can't freaking get ted
Speaker 1: to do his job. I can't get you know, I
Speaker 1: can't get the the med students or the interns to
Speaker 1: do their job? What? What? What? What? What? How do
Speaker 1: you know? How do what is my purpose here? And
Speaker 1: it's only until it's only until Cox says, you know,
Speaker 1: you guys ask me the question where he's like, wait
Speaker 1: a second, that's not how we run things. And it's
Speaker 1: all right. If I scare the shit out of them,
Speaker 1: that's a fine way to teach people fear. We're in
Speaker 1: a hospital. If this shit hits code read, these people
Speaker 1: need to be ready to you know, push their nerves
Speaker 1: aside and answer questions and save lives and everything like that.
Speaker 1: Oppression and you got another glimpse of, you know, inside
Speaker 1: doctor c that you know, there's more than meets e there.
Speaker 1: He's not just you know, a scary, intimidating figure in
Speaker 1: the hospital. It's like, no, he's got heart, he's got compassion,
Speaker 1: and you know, understands how things work here, and he's
Speaker 1: the one who's instrumental and restoring the order. Yeah. Yeah,
Speaker 1: And I thought that was a really nice, um just
Speaker 1: moment into doctor Cox's mind, seeing that he's a lonesome
Speaker 1: guy who's who's who's dedicated his life to this. Uh
Speaker 1: And And I thought, you know, I just thought that
Speaker 1: was a nice sort of reveal as we get to
Speaker 1: know the character more in episode thirteen of the whole
Speaker 1: series that you know how dedicated he is to being
Speaker 1: a doctor, even even in sacrificing relationships with with with people.
Speaker 1: And um, you know, Joel brought up a good point
Speaker 1: that you know, when you do a TV show, granted
Speaker 1: we're not doing something noble like saving lives, but you know,
Speaker 1: when you we had something analogous going on in that
Speaker 1: we were just at this hospital sixteen hours a day. Um,
Speaker 1: and it definitely hurt relationships with with family and friends.
Speaker 1: And you know, Donald had children and and and and
Speaker 1: was gone, and I lost touch with a lot of
Speaker 1: old friends, and it was it was a bit analogous
Speaker 1: to what was happening in our lives. You know. It's
Speaker 1: interesting when Scrubs ended, I have this feeling that I
Speaker 1: was delayed in a sense in that I hadn't had
Speaker 1: nine years of building friendships outside of the hospital. Yeah.
Speaker 1: I had built the best friendships of my life, you
Speaker 1: especially and Spiller, Spiller, Spiller, you're close like ten down.
Speaker 1: But um no, I had built some great friendships. And uh.
Speaker 1: And actually that's that's one of the reasons so many
Speaker 1: of these wonderful people, including a Bill and others, are
Speaker 1: so in my life. And of course I had fostered
Speaker 1: other relationships. But but you know, we didn't have much
Speaker 1: time over those nine years to to to to build
Speaker 1: and develop other relationships. And I don't know, I don't
Speaker 1: know if you if you noticed that, Don when we
Speaker 1: were when we were finally done and kind of had
Speaker 1: our normal lives back, I felt that I was like,
Speaker 1: I don't. I have small circles of friends that I
Speaker 1: love so much, but I'm not one of these people
Speaker 1: that really knew a ton of people outside of my
Speaker 1: job right And because of that, it's a little awkward
Speaker 1: now when I do well, we're on lockdown. But when
Speaker 1: I do meet people, I'm a little awkward about you know,
Speaker 1: when you make a bunch of really good friends and
Speaker 1: it all ends and you only see them occasionally, Well,
Speaker 1: you and I are a bit different. It's like, well,
Speaker 1: you know, I spent ten years getting to know a
Speaker 1: lot of people, and as much as as much as
Speaker 1: I respect and cherished all the time that we spent together,
Speaker 1: it's weird not having these people in my life. It's
Speaker 1: weird not seeing Chris or or or you know, or
Speaker 1: Ethan or Calvin or both and Patrick Bolton. It's weird
Speaker 1: not seeing that Sylvon it's weird not seeing these people.
Speaker 1: You know, one thing you could do, it would be
Speaker 1: to ask Spiller to come put a door knob on
Speaker 1: your house. Um. That's one trick that I've sometimes used
Speaker 1: when I don't want Spiller anywhere near my house in quarantine. Oh,
Speaker 1: he could mask up and come put a door knob.
Speaker 1: I totally understand. I totally understand that. But I'm I'm
Speaker 1: trying to listen. He was thirty five an hour. It
Speaker 1: was worth every apparent you know, the rates of change
Speaker 1: DGA scale plus fringes. Yeah, but you know, let's talk
Speaker 1: for a second about new slang. Which is the song
Speaker 1: that ends the show. Um, rumor has it it was
Speaker 1: chosen by Neil Goldman, who unfortunately he keeps getting mentioned
Speaker 1: because he loves getting mentioned on this podcast. But he
Speaker 1: was the writer, contributor, He was a what are you saying?
Speaker 1: I said he was a contributor. He contributed a show.
Speaker 1: I think because of that on this show, because of that,
Speaker 1: he gets spoken of all the time. Neil Godman. I
Speaker 1: didn't know that Neil Goldman picked this song. Neil Goldman.
Speaker 1: Let me tell you. Neil Goldman, UM is very in
Speaker 1: new music, was and is very new music, and he
Speaker 1: picked the song. Now, this song I so fell in
Speaker 1: love with. Yeah, I know you used to sing this
Speaker 1: ship all the time, gold teeth and a curse in
Speaker 1: my mouth and a curse for this town. And I
Speaker 1: put it into I thought it was a curse in
Speaker 1: my mouth. You know that in this town? Do you
Speaker 1: know that it's in Gardens State? It is. It's the
Speaker 1: song that when I say it to no black people
Speaker 1: in Gardens State, I've never seen garden State. Well when
Speaker 1: they do, like when we do, like the Whiz version,
Speaker 1: maybe you'll check it out. Will you be me and
Speaker 1: the stuff? What are you gonna do the Whiz version? Yeah,
Speaker 1: a Whiz version. Who's gonna play your character? Who's playing you?
Speaker 1: Are you are? Of course it better be me. That's
Speaker 1: all I know. Because when people say your name, they
Speaker 1: better say my name next. That's all I motherfuck got.
Speaker 1: You didn't know that We've already started casting the Whizz
Speaker 1: version of garden Steed and You're the star. I love
Speaker 1: it except when you say you tell me now instead
Speaker 1: of new slang. When when when Natalie, when the Natalie
Speaker 1: character says, you got to hear this song, You'll change
Speaker 1: your life and you're in the whiz version of that.
Speaker 1: You're in what's the song gonna be? It goes right
Speaker 1: foot up, left foot slide, left foot up, right foot
Speaker 1: slide anyway about to slide? All we do it? Slide slide?
Speaker 1: What is that song? It's just like Michael jack Son,
Speaker 1: I could give you the path son, aren't the lyrics? Like? Yeah,
Speaker 1: I saw it briefly on somebody's video, But isn't it
Speaker 1: like good slide? Uh? Pretty much anything? You're gonna do it? Slide?
Speaker 1: That's right, that dumb moment. And then I think we
Speaker 1: should listen. I'm not gonna knock the idea. I'm doing
Speaker 1: an all black garden state. Listen. I will license I
Speaker 1: will license you. It'll be a different story. I mean,
Speaker 1: it's the same story, but it's a different it's a
Speaker 1: different it's a different movie, though. Listen, I will give
Speaker 1: you the license. You and you and you and um someone.
Speaker 1: And instead of going a method man, and now, I'm
Speaker 1: not gonna choose you to play motherfucking the character at
Speaker 1: the hotel. You're gonna choose Jack Shepherd, Daks Shepherd, Dak
Speaker 1: Shepherd or Ray Romano. I'm gonna have Ray Romano. So
Speaker 1: fucked up. My feelings are hurt. Hey, everybody, while Donald
Speaker 1: cools down and writes his Whiz musical version of Garden State.
Speaker 1: It's not a musical, it is. The Whiz was a musical.
Speaker 1: So is The Wizard of Oz. Though. Okay, stop yelling.
Speaker 1: I'm not yelling. I listen, I'm calm, I'm okay. Well,
Speaker 1: we'll be right now. And we're bad. We're bad. Michael
Speaker 1: Spiller with us. We have director Michael Spiller, Emmy Award
Speaker 1: winning director Michael Spiller, who not only is a fantastic filmmaker,
Speaker 1: but also can throw a door knob on a door
Speaker 1: in thirty minutes flat. Joel introduce us to Whitney and Dustin.
Speaker 1: Whitney and Dustin, Hi, guys, thanks so much for coming
Speaker 1: on this show and for being look with you. Thank
Speaker 1: you for having us. And yes, we brought the baby
Speaker 1: along because we wanted to introduce you guys to Atticus Dorian. Oh,
Speaker 1: totally named after Jaddus Turk. I thought you were gonna say,
Speaker 1: Addicus Dorian's a beautiful name. Thank you. He does have
Speaker 1: on his baby bear shirt. He's so cute. He's such
Speaker 1: a cute. We figured since he was gonna meet Vanilla
Speaker 1: and Chocolate Bear. He needed to rock the baby Bear shirt. Yeah,
Speaker 1: where you guys, We're from Layton, Alabama. It's a tiny
Speaker 1: little town in the sort of like in the Shoals area.
Speaker 1: I don't know, probably something you've never heard of. I've
Speaker 1: been to Alabama, but not in that area. I've been
Speaker 1: to Birmingham, Alabama. Yeah, we're a little bit north of
Speaker 1: Birmingham's Okay. Well, um, we're so glad you guys are here.
Speaker 1: And we're joined not only by by is it me
Speaker 1: and Donald but Michael Spiller, who was one of the
Speaker 1: best directors of Scrubs and directed several episodes of twenty
Speaker 1: twenty episodes. He directed some other shows too, but we
Speaker 1: don't care about them on this podcast. I mean they
Speaker 1: might care though, Yeah, show called Sex in the City.
Speaker 1: He directed a little show called Modern Family. Do you
Speaker 1: guys have a question? Go ahead, Okay, let's get into it.
Speaker 1: It was one extra that or I guess it fictus
Speaker 1: of background character. It was a bond doctor. In the
Speaker 1: episode where Janitor got married, she was milk doctor. She
Speaker 1: seems to be in almost every episode in the background alike,
Speaker 1: just about every episode we have like we've we've noticed
Speaker 1: her and every know on these rewatches, we've you know,
Speaker 1: watched over and over again, and every time, you know,
Speaker 1: she's in the background. There she is, she's she's in
Speaker 1: like every episode. What what what does she look like?
Speaker 1: She's she's blond. Um, she's probably close to like you know,
Speaker 1: would have been like doctor Cox's age. She wasn't one
Speaker 1: of the younger interns or anything. But you know when
Speaker 1: we've looked before. You know, if you try to search
Speaker 1: for scrubs milf doctor, you get a lot of really
Speaker 1: racy results, different different I'll bet I'll bet it probably
Speaker 1: have nothing to do with the show there, not at all.
Speaker 1: I will tell you this. I will tell you this that, um,
Speaker 1: you know this. What we tried to do is have
Speaker 1: the same to have it feel like the same people
Speaker 1: work there. There would be the same group of like
Speaker 1: thirty to forty background people that would all sort of
Speaker 1: rotate in and out, and then each day there'd be
Speaker 1: some people we'd never seen before. But she must have been.
Speaker 1: I can't think of who it is, um a second,
Speaker 1: but maybe Joelle can do some recond I think I
Speaker 1: got it, I got it. Hold on, do you remember
Speaker 1: what was the episode Arlene Grace. I think that's who
Speaker 1: they're talking about. Is this her? Yes, yes, yes, yes, Arlene.
Speaker 1: Arlene was one of our regular background folks, and so
Speaker 1: that's why you see her all the time. She was
Speaker 1: probably there every day, right Donald, Yeah, she was there
Speaker 1: every day. Her Snoop Dog, mick Head. I haven't seen
Speaker 1: Mickhead yes yet. I guess he came a lot later,
Speaker 1: but Snoop has a lot of screen time in the
Speaker 1: episode that we're talking about today. Yeah, Spiller, you had him,
Speaker 1: you had you had Kelso bangs a pot right in
Speaker 1: Snoop's face in this episode. Yeah, and he held it perfectly,
Speaker 1: didn't even flinch. I can't remember if we put earplugs
Speaker 1: in or anything. That's crazy that you guys recognized Arlene
Speaker 1: she was. Yeah, she was on the show from pretty
Speaker 1: much the beginning all the way till the end. I
Speaker 1: don't know. I don't know if everybody did season nine.
Speaker 1: And you do refer to her when you talk to
Speaker 1: all of the other background I do, yeah, yeah, yeah,
Speaker 1: yea okay, wow, how did you find that so quickly?
Speaker 1: By the way, I'm very impressed with you right now
Speaker 1: because I remember her. I remember I knew exactly who
Speaker 1: they were talking about. Uh. And you know, Facebook is
Speaker 1: a is one of those things where everybody still keeps
Speaker 1: in touch. So once they said that, I was like,
Speaker 1: are you still using Facebook? Are your friends with her
Speaker 1: on Facebook? Yeah? Or you just need to look her
Speaker 1: page up? No? No, I'm friends with her on Facebook.
Speaker 1: I'm friends with everybody that we worked I didn't see.
Speaker 1: I don't even go on Facebook anymore, but Donald, You're
Speaker 1: still on there, getting in getting in arguments with everybody. No.
Speaker 1: I try to stay away from all of the political
Speaker 1: That's why when I turned on and when I turn
Speaker 1: on Facebook these days and see everyone battling in each other,
Speaker 1: I'm like, I'm out. Yeah. Yeah. I imagine Facebook in
Speaker 1: the South and with all your you know, conservative friends
Speaker 1: and stuff that's on there. That's a whole different you know.
Speaker 1: I'll bet that's tricky. Yeah. I'm I'm in LA, the
Speaker 1: most liberal place in the world, and I'm like, nope,
Speaker 1: I'm out. Um, all right, guys, you have another question. Well,
Speaker 1: we were talking earlier, and you know, we were kind
Speaker 1: of both racking our brains, like we wanted really wanted
Speaker 1: to come up with some profound you know, like deep
Speaker 1: question to ask, but really, all I could think of
Speaker 1: to ask would be, you know, obviously Scrubs is one
Speaker 1: of our favorite shows, but what do you guys consider
Speaker 1: to be your favorite TV shows, like of all time?
Speaker 1: That's a great question. I wow, let's make Spiller start.
Speaker 1: Since he's first, very very fancy director, Let's see what
Speaker 1: are his TV shows? Favorite? Spiller, and you can't say
Speaker 1: anything you've directed, because we know Scrubs is number one.
Speaker 1: That's correct. Well, slightly different genre. The Wire. Yeah, a
Speaker 1: lot of people say absolutely, I've watched that all the
Speaker 1: way through twice. Also Narcos, I've watched that all the
Speaker 1: way through twice. Really, I just watched Narcos Mexico, which
Speaker 1: was really well done, but I didn't watch the original Narcos. Spiller,
Speaker 1: I'm making I'm writing down this list, by the way,
Speaker 1: because you know the Wire, sure, but I haven't watched
Speaker 1: Narcos the first one. I love them currently, I love Ozark. Okay,
Speaker 1: when current season ended? What ended? Free? When I got
Speaker 1: through and I was really really bummed out, just wanted more.
Speaker 1: He hasn't watched yet. I won't say anything everything. No, wait,
Speaker 1: you're covering to protect a little breezer, Now you're covering
Speaker 1: his eyes and ears. But do you guys not watch
Speaker 1: shows together? Because I find if if if my girlfriend
Speaker 1: and I get off of sync and watching a show together,
Speaker 1: that's all all hell breaks loose. Well, in fact, I'm
Speaker 1: currently rewatching a show I've already seen because I want
Speaker 1: it dead to me, which is really good, and we
Speaker 1: want to watch season two. But now in order to
Speaker 1: watch that, I have to rewatch all season one with
Speaker 1: her with the newborn baby in her own maternity to leave,
Speaker 1: she watches a lot more TV during the day while
Speaker 1: I'm at work, so right, sometimes I try to catch up,
Speaker 1: but I haven't had time to catch up on I
Speaker 1: really want him to go back and watch. I would
Speaker 1: totally not mind going back and watching it again with
Speaker 1: him because it is so good. But normally, yeah, when
Speaker 1: we actually it's pretty good for us because we have
Speaker 1: very similar taste in television shows. So yeah, it works out.
Speaker 1: So what's your Well, I'm gonna recommend one that that
Speaker 1: I can't believe is this underrated because I never hear
Speaker 1: anyone talk about it, and it's called Patriot and it's
Speaker 1: on Amazon and there's a few seasons. Spiller, you ever
Speaker 1: watched that. No, at it. It's amazing. You're gonna love it.
Speaker 1: Steve Conrad h is the showrunner, and um really really
Speaker 1: amazingly None, That's like the best last show I saw.
Speaker 1: I really really love that. What about you, Donald? I'm
Speaker 1: embarrassed because my shows are shows Europe be embarrassed. So
Speaker 1: my favorite shows are shows like the Clone Wars and uh,
Speaker 1: Star Wars, Rebel and recently the Mandalorian. The Mandalorian. Yeah,
Speaker 1: like Mandalorian A lot that I don't know, those are
Speaker 1: those are the type of shows that I enjoy watching.
Speaker 1: I don't watch a lot of television, but when I
Speaker 1: do watch television, I prefer to watch Star Wars documentaries.
Speaker 1: Do you find that now that sports isn't on, Donald,
Speaker 1: that you have a lot more time on your hands
Speaker 1: because you normally like to watch a lot of sports.
Speaker 1: So I've been doing a lot of animating as of
Speaker 1: late because uh, sports isn't on. I'm a stop motion
Speaker 1: animator by hobby, and because sports isn't on and I'm
Speaker 1: not sitting in front of the TV at at night
Speaker 1: after the kids go down, I find myself in my
Speaker 1: animation room animating. So it's making you more productive. Actually,
Speaker 1: you're I don't know if it's productive. I mean it's
Speaker 1: a hobby. It's not like I'm making things that are
Speaker 1: going to get put on television and are going to
Speaker 1: to be well. You never know. You could do a
Speaker 1: robot Chicken type thing and make your own. Absolutely, you
Speaker 1: know you meant. We mentioned Seth Green earlier and how
Speaker 1: Spiller worked with Seth Green. If it wasn't for Seth Green,
Speaker 1: I wouldn't be animating like I was looking for an
Speaker 1: outlet like most actors do when they moved to Hollywood.
Speaker 1: That hasn't that isn't just acting. I realized I didn't
Speaker 1: want to be a director, no offense, Mike, and I realized,
Speaker 1: you know, I don't necessarily I don't. I don't necessarily
Speaker 1: like hanging out on set all the time. Which directors
Speaker 1: do you know they arrived before actors, and you know
Speaker 1: they leave after all the actors. I realized, Okay, that's
Speaker 1: not for me. Way more stressed with way less money,
Speaker 1: makes no sense. Yeah, I realized that I need something
Speaker 1: to do though that's gonna fulfill my creative itch other
Speaker 1: than acting. And I remember doing taking a stop motion
Speaker 1: class when I was a kid and my buddy Seth
Speaker 1: Green had me do voiceover work for this little project
Speaker 1: he was doing called Sweet j and it was stop
Speaker 1: motion animation. I was like, oh, dude, I'm totally into this.
Speaker 1: I'd love to come and check out where you filmed this.
Speaker 1: And he brought me down to the studio and introduced
Speaker 1: me to a bunch of animators and the rest is history.
Speaker 1: And now now I do stop motion animation as a hobby.
Speaker 1: Now that my television at night if there ain't no
Speaker 1: Mandalorian and you're getting Star Wars and you're getting really
Speaker 1: good at it. And seen him on the Instagram. Yeah,
Speaker 1: Donald working at it. Check out Donald's Instagram you can
Speaker 1: see his progress, or go on YouTube and watch his
Speaker 1: old lego ones called Black Stormtrooper. But I think you've
Speaker 1: gotten a lot. I think you've gotten a lot better
Speaker 1: since Black Stormtrooper. Yeah, oh yeah absolutely. But yeah, that's
Speaker 1: that's so my favorite. My favorite television has always been
Speaker 1: like cartoons and stuff like that. I enjoy animation very much.
Speaker 1: So the Clone Wars Rebels. Yeah, just to bring post there,
Speaker 1: I will be checking out your instagram titled not Now
Speaker 1: after the show. Give me a followback though, I think
Speaker 1: I do follow you, Bud damn, Okay, give me a
Speaker 1: shout out or something. All right, Whitney and Dustin, thank
Speaker 1: you guys so much. Good luck with the new baby,
Speaker 1: with the beautiful Thank you guys. We really appreciate you
Speaker 1: joining us. And UH and uh and stay safe, stay inside,
Speaker 1: stay safe. We're getting to the end. I just wanted
Speaker 1: to say that. Yeah, so I I I heard this
Speaker 1: song new Slang, and then I just loved it so
Speaker 1: much that I years later put it into Garden State.
Speaker 1: And I want to credit Neil Goldman for being the
Speaker 1: first person to uh to introduce me to that song. Amazing.
Speaker 1: Finally he's getting this prop finally, And Spiller, you were
Speaker 1: I think we're the very first to do a very
Speaker 1: cool crane shot out of the window. That was a
Speaker 1: really cool shot you did where you started inside the
Speaker 1: window and then craned out. I thought that was clever.
Speaker 1: Thank your signature move of mine. We ended up using
Speaker 1: that a bunch. But you you brought that to the
Speaker 1: You brought that to the table. Well, the table, the
Speaker 1: table was ready for it. Well that's that's a question.
Speaker 1: That's a question that I that I have for you, Zach,
Speaker 1: because I know that you used crane shots and your stuff. Yeah,
Speaker 1: if Spiller's the first one to do it, that made
Speaker 1: it so that other directors when they came on, they
Speaker 1: were like, so I saw the crane shot an episode
Speaker 1: one thirteen. What are the chances that I get to
Speaker 1: use a crane on it? Yeah? I think, you know,
Speaker 1: the crane was always um uh pricey thing and both time,
Speaker 1: you know, obviously the rental of the crane, but also
Speaker 1: the labor of of of sending it up and practicing
Speaker 1: and rehearsing it. So you know, I think within an
Speaker 1: episode usually you could say hey, to the line producer,
Speaker 1: you'd say, hey, can I get a I'd like to
Speaker 1: use a crane for this scene. And you know, I
Speaker 1: don't think it was very rare that they ever said no,
Speaker 1: particularly to the directors they liked. Um but yeah, I
Speaker 1: think that, you know, crane shots are really cool and
Speaker 1: they give the show scope and scale and m and
Speaker 1: can be really beautiful. And in that end montage that
Speaker 1: that that Michael created here, which was beautifully done, it
Speaker 1: was sort of the beautiful It was like the most
Speaker 1: perfect way to end it coming out and I believe
Speaker 1: you had to mount that build that crane on the
Speaker 1: rooftop in order to get it, there was a lower
Speaker 1: roof and then he came out through the window and
Speaker 1: then tilted up to the sky. And so yeah, I
Speaker 1: mean I think cranes were introduced as part of the
Speaker 1: sort of the language of the show. Um, and then
Speaker 1: he said he said it was it was his signature move. Well,
Speaker 1: what I was saying specifically, I was, I don't know this,
Speaker 1: this isn't the first crane shot on the show, but
Speaker 1: the idea of the camera was within the was within
Speaker 1: the room and then came out the window and then
Speaker 1: went up to the sky. And I think Spiller was
Speaker 1: the first person to do that. And um, you know,
Speaker 1: I think we copied that many many times more. Well
Speaker 1: have you gone on to use that on other shows? Yes,
Speaker 1: I've done versions of that shot on other shows too.
Speaker 1: Is that what's cool? You sort of like, you know,
Speaker 1: especially we didn't have a techno crane or anything. I
Speaker 1: don't believe, but there's a type of crane where you know,
Speaker 1: the arm itself extends, it's like a tunnel from the base. Yeah,
Speaker 1: so I mean you can really like you know, it
Speaker 1: can actually physically be inside the window. I think we
Speaker 1: probably hit a zoom in the shot as well to
Speaker 1: sort of make it appear as if we were in
Speaker 1: there in a close up. So you can do shots
Speaker 1: that that appear to actually travel through the glass somehow,
Speaker 1: and nowadays later I did a really cool shot in
Speaker 1: Going in style where you can camera or pull back
Speaker 1: through the window. And then in post now add we
Speaker 1: added a taxi cab door. I had the shot of
Speaker 1: Michael Caine where he's in the cab and the and
Speaker 1: the cameras in the cab with him, and then and
Speaker 1: we took the back door off the cab and we
Speaker 1: we pull out and then out of the cab and
Speaker 1: the cab drives off, and then in post we added
Speaker 1: the cab door. It looks so cool and most people
Speaker 1: who aren't filmakers wouldn't even know how hard that was
Speaker 1: to do exactly. And I think, like with any of
Speaker 1: the sort of bells and whistles that we pull out
Speaker 1: and the tricks that we use them as part the
Speaker 1: fun of being a director is part the fun of
Speaker 1: telling the story. But sometimes, and this is often true
Speaker 1: with directors who who are former cinematographers, you can get
Speaker 1: caught up in the gadgetry and the toy of it
Speaker 1: all and forget that you're telling the story. So first
Speaker 1: and foremost, it's like, yeah, cranes are great. All these
Speaker 1: devices are great if they're supporting the story, or if
Speaker 1: they're underlying the comedy, or they're making a dramatic moment
Speaker 1: more dramatic or whatever, because they do take a lot
Speaker 1: of time, take a lot of money, and often can
Speaker 1: be missupplied. Yeah, and I think your job as a
Speaker 1: director is to go, when am I going to spend
Speaker 1: When can I afford to spend time and money during
Speaker 1: these five days? So you the way I would shoot
Speaker 1: Scrubs when I directed it was you'd go, okay, in
Speaker 1: order to save time to do that elaborate shot I
Speaker 1: want to do. I need to really get through this
Speaker 1: dialogue seemed quickly. Now. I don't want to rush it
Speaker 1: because it's important. But if I just shoot this one
Speaker 1: really simply, then I'm banking time for later. I can
Speaker 1: do that elaborate onener or later I can do that
Speaker 1: tricky crane shot. But you have to you have to
Speaker 1: pick and choose because you just you have to fit
Speaker 1: it into twelve hours. They used to let us go longer,
Speaker 1: but nowadays I don't know if you find this on
Speaker 1: your other shows, blur. No one wants you to go
Speaker 1: over twelve hours, and frankly I don't want to either.
Speaker 1: I mean, Scrubs was unique. M Sexton City was the
Speaker 1: same way. Our hours were really really long, but it
Speaker 1: was a similar energy on set, where it's like everyone
Speaker 1: just enjoyed each other so much. You know, you never
Speaker 1: laughed as much. The work was high quality, and you know,
Speaker 1: and no one was telling you to stop spending money,
Speaker 1: so you know, you just kept going to you you
Speaker 1: got it. But it's you know, frankly, it's it's unsafe
Speaker 1: these days. I feel, maybe because I'm a tiny bit
Speaker 1: older that you know, my work doesn't tend to improve
Speaker 1: after twelve hours. Yeah, and everyone gets cranky, and it
Speaker 1: is unsafe. You know. There's been plenty of instances of
Speaker 1: crew members who have to be there longer hours, whether
Speaker 1: it's teamsters or transport guys or or camera acs, and
Speaker 1: who've gotten in accidents or even died from just being
Speaker 1: in preposterous hours. So it is a safety thing. But
Speaker 1: we used to go, I mean, we'd have sixteen seventeen
Speaker 1: hour days on Scrubs. When you guys on one of
Speaker 1: the earlier shows we're talking about, like favorite cameos and
Speaker 1: all that sort of stuff, and like the sort of
Speaker 1: fantasy came run. I got a picture of you. I know,
Speaker 1: there's the rerun rerun one which I love that photo.
Speaker 1: But there's also Dick Van Dyke. Yeah, did you direct
Speaker 1: that episode? Yes? And I mean when you sung with
Speaker 1: him in that moment when we were all just hanging out.
Speaker 1: I mean it's like I get choked up thinking about
Speaker 1: I mean, give us a little, give us a little
Speaker 1: of that magic. I need it. Glorious day ahead, right
Speaker 1: is the morning in may Hey. I feel like I
Speaker 1: could he Have you ever seen it's not habits? Have
Speaker 1: you ever seen the grass so green? Or a blue guy? Okay,
Speaker 1: so that's beautiful story. The Jolly Holiday. Yeah, Dick Van
Speaker 1: Dyke was on the show and I got to sing
Speaker 1: Jolly Holiday. Well I didn't sing, he sang it, and
Speaker 1: I played the guitar while he sang it. Uh, there's
Speaker 1: a tape. There's there's a recording of it out there somewhere.
Speaker 1: I don't know where. I know I shot it, yeah,
Speaker 1: on on something. But I was like, did phones have
Speaker 1: video cameras? Then? I mean I can't remember, but I
Speaker 1: know I shot it. It's out there somewhere, somewhere, somewhere,
Speaker 1: somehow it could be found. I don't know who has it.
Speaker 1: But yeah, yeah, well, Spiller, you've been a fantastic guest.
Speaker 1: This is the longest. This is the longest we've ever
Speaker 1: had a guest on it, You've ever We were gonna
Speaker 1: have to cut this fucking way down. We got down
Speaker 1: one to listen to one seven. No, I I want
Speaker 1: to be sincere for a second and say, not only
Speaker 1: are you a fantastic guy, but I, as a filmmaker,
Speaker 1: learned a lot from watching you, because you are talented
Speaker 1: and you not only direct the beautiful episode, but you're
Speaker 1: so charming and everybody loves you on set and you're
Speaker 1: a great leader. And I'm not surprised that you are
Speaker 1: successful and have an Emmy and uh and I hope
Speaker 1: I get to work with you again soon. Oh, thank you, Zach.
Speaker 1: That's so kind. I hope I'm one of those actors
Speaker 1: that you like. You know what, I got a guy,
Speaker 1: don't worry about it. Yeah, Joy, I really enjoyed our
Speaker 1: time together. You know, it shows, it shows by how
Speaker 1: long this podcast episode was too. But Hey, just just
Speaker 1: keep going because I directed the next episode two. It
Speaker 1: could be like a two for you'll be. I didn't
Speaker 1: watch it. I didn't watch I didn't watch the next episode. Yeah, yeah,
Speaker 1: he will. Well, I'm available if you everyone to bring
Speaker 1: me back. We're gonna have you back. You've he definitely
Speaker 1: a callback. Ladies and gentlemen, thank you so much for
Speaker 1: tuning in to fake doctors, real friends. I'm your co
Speaker 1: host Zach Brath with what's your Name Again? Black Scrubs,
Speaker 1: Donald Faison aka Ta Digs, We love KK brown Bear,
Speaker 1: a k A Turk Turtle, Chips a kabout chick chip Nick,
Speaker 1: Stories about show we made, about a bunch of doctor
Speaker 1: nurses and Jannita who loved me. I said, here's the
Speaker 1: stories never should know. So yeadoo around you, Here are
Speaker 1: yadoo around you, Here are free mm hmm