Robert Zemeckis | Club Random with Bill Maher

This podcast is brought to you by Aura. Imagine waking up to find your bank account drained, bills for loans you never took out, a warrant for your arrest, all because someone committed a crime in your name.
It sounds like a nightmare, but for millions of people each year, it's reality. And here's the scariest part.
By the time companies tell you your data was stolen, it's already been nearly a year. 277 days.
That's how long, on average, hackers have to use your social security number, open accounts, take out loans, and destroy your credit. Before you even know you've been exposed.
By the time you get that breach notification email, the damage is done. Your identity stolen, your financial future at risk, and the company that lost your data, they'll just apologize and move on.
Hackers aren't waiting. Why are you? This can all sound really scary, which is why I'm so glad we're partnering with Aura.
Hackers don't wait, so why should you? Aura monitors the dark web 24-7 for your phone number, email, and social security number.

Because the moment they show up for sale, criminals are ready to use them.

If Aura detects your info, you'll get an instant alert so you can act before the damage is done.

What if your identity is already stolen?

Criminals can take out loans, max out credit cards, and vanish. That's why Aura provides up to $5 million in identity theft insurance and a US-based fraud resolution team that works around the clock to shut down fraud fast and get your life back on track.
Your personal data is a goldmine for hackers and Aura helps lock it down. With a VPN for private browsing, data broker opt out to stop companies from selling your info and a password manager to help secure your accounts, Aura gives you the tools to fight back.
For a limited time, Aura is offering our listeners a 14-day trial plus a check of your data to see if your personal information has been leaked online. All for free when you visit Aura.com slash defense.
That's Aura.com slash defense to sign up for a 14-day free trial and start protecting you and your loved ones. That's A-U-R-A dot com slash defense.
Certain terms apply, so be sure to check the restrictions and details. This episode is brought to you by Progressive Insurance.
Fiscally responsible. Financial geniuses.
Monetary magicians. These are things people say about drivers who switch their car insurance to Progressive and save hundreds.
Visit Progressive.com to see if you could save. Progressive Casualty Insurance Company and affiliates.
Potential savings will vary. Not available in all states or situations.
And by the way, I love your movie. You know I do.
You know I love that movie. I know because you called me.
Bill, you just stated the premise of my movie. I meant to.
Everything, everything, everything, everything changes. Robert, there you are.
Bill, please call me Bob. How are you? If I have to.
You don't have to. You can call me.
If you don't want to, you can call me Robert. You ever see that book on the name Bob, all the Bobs in the world? No, never did.
Oh, like Bob Newhart, Bob Dylan. There was just something they found commonality because it's a very common name.
In case you never got my book. I did, but you will sign one for me, please.
Thank you. Hollywood royalty for a reason.
Oh, God, I love that. Thank you.
This means a lot. Thank you.
It's great, by the way. I'm glad you did this.
It's fantastic. And I certainly mean that inscription.
I appreciate that. Thank you.
Well, it's undeniable if you just go down the list of all the big ones. I mean, my friend and I were talking the other day.
We're driving back from the airport, and songs come on the radio. And we were saying, like, how tough it must be to be a one-hit wonder.
There's lots of one-hit wonders in music. You do it once, and it's like the greatest six months of your life.
You got a number one hit, you're on the top of the charts, and it never happens again. That happens a lot in music.
I guess in your business, too, but to have the number of biggies that you've had, there's not a lot of people in that company. You know what the closest to this was is back in the day, the Charlie Rose show.
Oh, well, but that's TV. Yes.
Right, but there was you, all the cameras were remote control. Is that right? Oh, yeah.
You were in that black void. I did it.
I remember. And there was nobody there.
Those cameras were all operated on servos. Right.
And you couldn't see anybody. And it was just a table.
Yeah. That's how he ran his personal life, too.
You couldn't see anybody. You couldn't see anybody.
Which is why he came out in a bathrobe. Exactly.
It's amazing the way the number of guys in that first Me Too wave, you know, like around our age, who were just doing things that I just wanted to go, you know, it's not all of us. Yeah.
Ugh, like, don't you just hate yourself that this is how you get laid? I mean, everybody's got a way to get laid. Cops pull you over.
I mean, everybody's got a scam. Right, right, right.
But it's just how elegant they are. Yeah.
And this was like the least elegant. I emerge from my bedroom in a robe.
Like the 28-year-old's going to go, oh, my dream has come true. I get to see Charlie Rose naked.
Thank you,esus exactly exactly i know i know i mean you must have seen some shit on movie sets i had this well i i've always i i've never i actually i never back no actually no actually um actually i'm getting nervous now. No, no, no.

There was one time where nothing could happen, but it was a scene in Forrest Gump where Robin is in the dorm room with Tom. I'm sure you remember that.
Yeah, yeah, yeah. And my, Joanna Johnson, my longtime costume designer, you know, she's very English, very proper.
And she kept coming up to me with showing me what I, if I approved what she was going to be wearing as her underwear. It was all this period stuff.
And I'm looking at it and I'm going, this looks like, you know, something a grandmother would wear. This doesn't, I don't, you know, and she kept showing me the stuff I said, and I finally, I got upset and I said, you know what? Get a model who, get a model who has the same dimension, same body as Robin and put the stuff on her and take a picture so I can see what it's going to look like.
So a day later, I hear, you know, Joanna says, or the AD comes and says, Joanna wants to see you in your trailer. So I go in my trailer, and there's this model with a robe on in my trailer.
And Joanna's there, and she says, well, show them the underwear. So she opens up her robe.
I said, that looks great. And then the model said, you want me to take them off? Really? Yeah.
I'm looking at Joanna. I'm saying, no, that's OK.
I wasn't even asking about you. I just meant that you're in show business.
If you're in show business, I'm in it too. You're going to be around some sleazy people.
That's important. I guess.
Especially in the music industry. I always found that the ones that were the most talented were not the sleaziest.
I mean, obviously there were. But in my...
I mean, Michael Jackson was very talented and he was fucking little boys. That's true.
No, it's true.

It's hard to – I know what you mean.

Like, the bigger they are, the nicer they are.

That's, you know, often true.

It takes all kinds.

I mean, I've never thought you could, like, pigeonhole show business people.

It's a spectrum.

Are they smart?

Some are brilliant.

Right.

And many are not.

Same as humanity.

Are they good?

Some are awesome.

Yeah, you're right.

Yeah.

I mean, I don't think we'd want it any other way.

We want to recruit from the full panoply of the human race, right?

I think you're probably right.

Yeah, absolutely. Absolutely.
And everybody's flawed. I mean, I don't know what your casting process is, but I'm sure you know.
They once asked John Huston what's his secret to directing. Do you remember that? No.
And he said, I drew most of my directing in the casting process. Which means, you know.
Yeah, I don't know what that means. i know what it means but i know what he uh but yeah but you could look at it i guess you could think of it two ways because you know it's like you know it's the old it's the old adage what's uh you know what makes a good movie you know good writing and good casting you know that you know so we might have been we're alluding to that you know well i think he look i mean i don't know i'm not a movie maker like you are but just as a fan i know there's so many things that can go wrong in a movie i mean there's so many elements right you can have good writing and good casting and it could get fucked up by half a dozen other things oh yeah editing and you Editing and timing and lots of stuff.
But I think what he meant by that was, if Humphrey Brogard is on my team and I write his name in the lineup card, we've got a good chance to win this game. That's exactly right.
Yeah. That's it.
Yeah. He's getting guys up there who are going to show up.
I mean, you use, obviously, some of the same people because, as most directors do, you work with somebody, you have a good time, they fulfill your vision, and you're like, you just solved my biggest problem in this next project. Can I, right? And it's like a shorthand.
I mean, made a i made a bunch of movies with tom hanks right and he'll and he says he says i can hear in your voice when you say cut that we're doing another take you know so it's kind of like that shorthand has gotten gotten to that he knows exactly what i'm thinking he knows when you're not quite satisfied yeah just from the way he hears me say the word, cut. That's what he claims anyway.
But that's the great thing. I mean, I've worked for, I've made over 20 movies with Alan Silvestri, my composer.
And it's just great having a shorthand where you kind of finish each other's sentences. Of course.
And when people are delivering and you can have that shorthand, it great but i've been very fortunate i've worked with i mean some of the absolute greatest actors that you know of our generation say the same about you i mean the people in any industry but we know at nars they want to you know you're not doing them any favors. They want to work with someone who's going to make them successful too, who's going to provide the material, provide the direction.
You know, I'm sure you're friends with a lot of these people, but maybe they'll do one movie for you out of friendship, but that's it. You know, like they want to work on what they want to work on, you know.
Yeah. But, you know, you come to them with good stuff.
I mean, you know, especially like Tom Hanks, was Forrest Gump the first one you did with him? That was the first one, yeah. Okay, but then Cast Away, how many years later was that? Cast Away was like four years later, and then we did the Polar Express.
I never get tired of that plane going down. In Castaway.
I mean, the whole movie is great. But that is, I don't feel like I'd ever seen that quite on camera.
I mean, it's so, a lot of stuff that's super action-y and CGI and all that kind of stuff is stuff that would never really happen to me. I mean, I'm not worried about some monster shooting rays out of the end of his fingers at me.
Right, of course. But a plane crash.
I mean, it's very gripping because you could be exactly in that scenario. Yeah.
And I guess that's what it would look like. Yeah, and I think the trick, and I think the thing that makes it the most terrifying, and it was a decision that I made early on, was you only see any of it from Tom's point of view.
So we never cut to what the pilots are seeing. We never cut to outside the plane, God's point of view.
We never, the whole plane crash happens just from his vision. Well, until it hits the water, then we see.
Well. We saw the plane, all the shit in the water when the plane hits the water.
No, he's there no you see you know you see it only from him so it's like he he's he comes up on that on that raft and then you see the big tail of the plane coming at him right it's all it's and but then at the very end when he starts floating away then the camera pulls back up you know like way up into the sky as as you just see him in that in that black ocean how do you make these decisions like what to do you i mean like you're a little like people like kubrick who you know made a bunch of great movies and none of them are like the other ones you know i mean there's no like like scors would say, well, it's mostly a certain style. Obviously, he's done other movies that aren't mob movies, but he'll always be, first thing in his obituary, you know, master of mob movies, you know? But you seem to be all, I mean, Back to the Future is not really anything like Cast Away.
No. Just what you strike your face.
I've been very fortunate. Actually, I'm too restless, or maybe it's a madness.
I don't know what it is, but I just... It's an artist.
I just didn't want to do the same movie again. It would be boring.
I feel like that's the key to art, is that the person doesn't want to be bored. Exactly.

I just have no interest in doing a teen time travel movie. I just would have absolutely no interest in doing that.
You already did it. I did it.
Right. Exactly.
Exactly. By the way, it so holds up.
and of course, like any movie from the past, there's things in it you absolutely couldn't do today. Or they would just jump on you.
Oh, yeah. I mean, Biff is a rapist.
I mean, it's flat-out rape, which even if he's the bad guy, they would go nuts. Yeah.
Right? Yeah, I know. I know.
And it's just like, yeah, the bad guy in town, he rapes. That's just like a thing that he, you know, he rapes.
Yeah. But, I mean, well, people don't approve.
People don't approve, and it doesn't really, it doesn't really, well, but you know what the intention is. Obviously, yes.
Oh, no, no, no. He's in that car.
Oh, yeah. And her feet are in the air.
He's plainly raping. Oh, yeah.
Oh, yeah. And both of them, and Tom and Leah are so great doing that scene.
And it was, yeah, it gets pretty scary. By the way, we have a sort of weird tangential connection, which you'll never guess this.
But in 19, were you making the movie in 85? I know what you're going to say. Gary Goldberg.
You're right. Now, you know how come I know you're going to say that? This is great because I was having dinner with Michael J.
on Monday night. Really? Yeah.
He was in town, and I was having dinner with him, and we were talking about, because I think he's thinking of doing a memoir about his life when he was, I mean, literally doing the movie at night and the show during the day and getting two hours of sleep for eight weeks. So what is my connection to this, do you think? I was asking him this.
I was saying, so what, you know, was Gary, like, was he, like, concerned about if you were getting enough rest or anything? He was, no, no, no, because he was too busy doing another show. He was doing another show with Bill Maher called Sarah.
Correct gina davis was sarah davis right alfrey woodard yep and bronson pinchow we were four lawyers in san francisco um i was the office prick and bronson was gay and alfrey was black and sarah the lead. And that's who we were.

And that was, yeah, Gary Goldberg, the producer, writer.

He had Family Ties with Michael J. Fox, which was the hugest hit.

So we were thrilled to be on a show with TV's biggest producer.

And we had a pretty good time slot.

You know, it was NBC when they were kind of like the king of the hill.

So I don't think we followed directly family ties, but we were doing fine.

I think we were against Dynasty, which was not easy, but, you know, come on.

It's 1985.

But I do remember Gary Goldberg talking a lot about how Michael J. Fox was, he had to, or he did, him to you yeah to do this movie while he was still filming family time yeah which is crazy it's crazy and it was crazy and it was and he couldn't have been there you know until he finished like blocking and whatever the sitcom shit that he was doing right well i yeah so i think if you well i think the way the way i i the heavy the heavy days in the sitcom shit that he was doing, right? Well, yeah.
So I think if you, well, I think the way, the heavy days in the sitcom were always the Thursday and then the taping on the Friday, right? Those were the heavy days. And those were the days where he had to work absolutely the most.
There was no wiggle room. But on Monday, I think they kind of wrote him a little lighter in the show and you didn't have to sit through too many read-throughs and things like that to get a little bit more sleep well he was so good i mean he was such a natural um that and sitcoms you know i did three or four of them it's gentleman's work right you know it's not heavy lifting and if you're smart and a real pro like him i'm sure he could you know jackie gleason used to do it with zero rehearsal live right he'd have the stand-in do it with the other cast members and they hadn't even seen him do and he memorized it like sitting in the chair drunk before the show like memorized the whole script and then just when that, that's, like, baller.
Like, I can't even tell you. Exactly.
Exactly. But, yeah, it really holds up.
It's the Calvin Klein joke is one of the all-time classics. Yep, that's a good one.
That she thinks his name is. And the line that Michael wrote, and he is, is he came up to me and we're in, and he goes, you know, he gets up and he's like, you know, where are my pants? And the script said, over there.
She, you know, Leah says over there. And he says, you know what? She should say, they're on my hope chest.
And I said, that's great. That's going in the movie right now.
now you know i got those great gems from michael just kept doing that the other thing he taught me so many things about um just comedy timing you know he would come up to me and say you know what um i should take three steps and say this line stuff like that and i go okay that makes oh that's great that That's better. Let's change the marks.
You know, so it was great having someone who just understood the, I'll call it, I guess, the mechanics of comedy. It's funny to watch a movie about time travel when you are now 40 years past when the movie was made.
How about that? So the jokes that are funny in 1985 about when they go back to 1955, you know, oh, if you know everything about the future, who's president in 1985? Ronald Reagan. Oh, right.
I'll bet Jerry Lewis is vice president. You know, made sense in 1980.
Now looking from 2024, it's funny in a different way. It's like a double time travel.
You know the story of when Reagan watched the movie in the White House? And? Well, so we heard this, Bob Gale heard this because his speech writers who put one of our lines in the State of the Union address that he said that year, were big fans of the movie. And they were there on the night that he ran it at the White House.
And the story they told was that when that scene came on, where Chris Lloyd says, Ronald Reagan, the actor, Reagan said, stop, stop, back it up. Back it up.
I got to see it again. They shut the movie down, rewound the reel.
Wow. And he wanted to watch that part over again.
Isn't that wild? Because they had it reel to reel then. Well, it was a film.
It was film. Right.
It was projectors. Yeah.
There was no video. Yeah, you had to rewind the movie.
rewind the movie, rewind the reel. Something about Canadian...
This podcast is brought to you by Aura. By the time you hear about a data breach, your information has already been exposed for months.
On average, companies take 277 days to report a breach. That's nine months where hackers have access to your personal data, your name, address, phone number, even your social security number, before you even know it's out there.
Think about it. Nine months is enough time for criminals to open accounts in your name, rack up debt, and disappear.
All while you're left dealing with the mess. And when the company finally tells you, it's too late.
The damage is already done. Data breaches aren't slowing down.
They're getting bigger. And the delays in reporting them aren't helping.
Right now, your personal information could already be on the dark web, and you wouldn't even know it. How long do you want to wait before taking action? That's why we're thrilled to partner with Aura.
Aura monitors the dark web for users' phone numbers, emails, and social security numbers, delivering real-time alerts if any suspicious activity is detected. Additionally, Aura provides up to $5 million in identity theft insurance, offering a robust safety net in the event of a worst-case scenario.
Aura goes the extra mile by scanning the dark web for your sensitive info and alerting you instantly if anything is found. And if ID theft strikes, no need to panic.
Aura's US-based 24-7 broad resolution team works around the clock to fix it fast and get you back on track. Aura is a complete online safety toolkit, which includes a variety of other features to keep you safe online, including a VPN for secure browsing, data broker opt-out to stop companies from selling your personal information, a password manager to help you create and store strong passwords, and more.
For a limited time, Aura is offering our listeners a 14-day trial plus a check of your data to see if your personal information has been leaked online. All for free when you visit aura.com slash defense.
That's aura.com slash defense to sign up for a 14-day free trial and start protecting you and your loved ones. That's aura.com slash defense.
Certain terms apply, so be sure to check the site for details. Comedians, you know, like Michael's comedian.
Yeah, Dan Aykroyd. Matthew Perry.
Right. You know, there's something about them that, like, they get us.
They're part of us, but not completely, you know. Mm-hmm.
Yeah. And they, I don't know.
I don't know. I don't know what it is, but I think there's something about being able to look at it with a little bit of distance.
So what's the new one about? The new one? Well, the new one is really interesting. The new one is, again, me being on my restlessness.
It's called Here. And it's based on a graphic novel by Richard Maguire.
And the camera is only positioned in one view of the universe. the camera never moves ever and then but the universe moves around the camera or the view i don't want to say the view the audience is seeing which is obviously a camera recording and that and it goes through many many uh centuries and It's not like a time-lapse movie or anything like that, but at some many, many centuries.

And it's not like a time-lapse movie or anything like that.

But at some point very early on, a house is built and a room is built around the camera. And it's a living room in New Jersey.
and across the street is a colonial mansion, which used to be the mansion that Benjamin Franklin's illegitimate son lived in.

This is all in the graphic novel, and it's in the movie.

And our family now inhabits this room,

and we watch their lives through two generations. So we see Tom and Robin from 18 to 80 in the movie.
How's that sound? Tom and Robin? Robin Wright. And Tom Hanks are back together in this.
And they're together yeah tom hanks robin wright and uh the

other the other reunion is um uh eric roth wrote the script with me he wrote forrest gump

so why do i mean but you said the you we the camera sees the universe well i say universe i

mean not well whatever i mean the world the world what part of the world is it focused on what what

are we seeing we're just seeing this house no. No, you're seeing the earth before the house is built.
The earth? The world. The whole earth? No, just what you can see.
Just like if you were looking at that wall, and then your view of that wall never changed, but time changed around you. But what is the camera trained on that the people who are watching the movie see? Exactly what's there.
Whatever is there. So to give you an example, the camera is looking at the mansion, the colonial mansion, before the house is built.
And the colonial mansion is always

in one place after it's built.

But the trees around it

now disappear because they were cut down.

And then walls are constructed

in frame.

And then suddenly

a room is constructed and then

a window is there, but you can still see the mansion.

Do the actors age?

Yes. And you see them age?

Oh, yeah.

And so you de-age them?

Yes.

I hear that technology's gotten better since the Irishman.

Oh, this is, in this movie, it's perfect.

So you can make them any age you want?

Mm-hmm.

Is this a union issue?

I feel like... Yeah, yeah, no, is no no no no but it's no but it's

like makeup it's digital i call it digital makeup right which i would assume would upset the makeup

union well i mean whenever yeah whenever whenever things change somebody usually gets hurt yeah and

then that person is going to cry and moan sometimes justifiably sometimes not i my view is that

Thank you. change, somebody usually gets hurt, and then that person is going to cry and moan.
Sometimes justifiably, sometimes not. My view is that you can't bitch and moan too much about when things

change because they just are going to, so what the fuck is the use of crying? 20 years ago,

Barry Sanders was like the highest paid player in football or close to it. Now, no running back is even in the top 100.
Why? Because things change. Why did it change and become a passing game? It just did.
So why fucking obsessive? That's just the reality. Music became a producer's industry.
They get all the money. Songwriters are dying.
They don't get paid anymore. Making a hit record, you don't get paid because of fucking Spotify.
Streaming is basically where serious movies went. People are not going to go to the theater.
Look what happened to Megalopolis. I mean, I don't

know if it's good or bad, but

in the old days, there'd be

more curiosity just to see it.

Yeah. Bill, you just stated the premise

of my movie.

I meant to. Everything

changes.

I'm going to pretend I meant to do that, but

it's a great theme.

It's a great theme.

That's what fascinated me about it no but it's a great theme it's a great it's a it is that's what fascinated me about it because it just it's a meditation on i hate to use that word because the movie is wildly entertaining and but you know so i don't want it to sound like it's like right but it's it's about the fact that everything changes nothing stays the same and And that's, and, and and and well let's hope that some reviewer says wildly entertaining because then you can put that in the ad and that always gets to me because when i watch anything i want to be wildly entertained well that's it so you were talking about back to the future and i was having this this, you know, so back in Santa Barbara over the summer, they have an old, beautiful theater called the Granada.

and it's having its 100-year anniversary.

And they wanted to remind people that movies are all –

back in the 20s and 30s, they used to run movies here.

So they did a movie program,

but they only wanted to use movies from filmmakers who lived in Santa Barbara. So they ran my movies.
And people who I knew who aren't in the movie business, who are in their 30s and 40s, they came up to me and said, oh, oh my god we took the kids to the granada and we

watched back to the future and they said and you know what people were laughing and and people were cheering and they would burst into applause at certain moments in the movie and i was sitting there thinking yep that's that's why we use that's what that's what movies that's what we did when That's the reason they're going to the movies.

There's something about a communal experience that makes it better. Or not always, but it can.
It definitely has that, I mean, concerts. I mean, yeah, they're just things that people, there's some sort of like that we get from, oh, I'm among all these other people who feel the same way about this as I do.
Maybe it makes you feel not so alone in the world. Church is the same thing.
We all think Jesus Christ is God. We all think that.
It's just something comforting about that. I'm not in that group.
No, I'm not in that group either. And by the way, I love your movie.
You know I do. You know I love that movie.
I know because you because you called me and i always appreciate it i'm so glad you reminded me of that yes when religious came out in 2008 you tracked me down and called me and it meant the world to me i'm a director of my stature well i'm so i was i just love that you made that movie yeah oh i loved it too yeah and that too. Yeah, but it's about so much, but it's so entertaining.
It's wildly entertaining. It's wildly entertaining.
It really is. And half the credit goes to Larry Charles, who directed it and did such a great job.
Did a great job. Put it together.
But, I mean, it was a labor of love, even though a labor, I mean, traipsing around the Middle East. Yeah, of course.
I wouldn't do it again. Well, but you had to get all that great stuff.
But here's the thing, though. I mean, the art form, though, was designed.
It was always supposed to be this communal thing, I think, because the idea of seeing, well, you know what? Maybe I'm wrong. No, flickers.
No, those things. Flickers were individual.
It started with those little machines where you watched something. So you watched it in isolation.
You're completely right. Right.
So everything changes. But that didn't mean it was better.
People then liked it better. Of course, obviously, then we could sit down and watch it.
And then Silent Days, wasn't there a guy in the theater playing the piano? Yep, during the Silent Days. That was the soundtrack.
And then this thing started to happen, I guess, which is- Sound. Well, sound.
And then, of course, then people were getting- I just remember the first time that I was emotionally moved in a movie. And that was the moment when I said, I got to do this.
What was that? It was Bonnie and Clyde. Bonnie and Clyde, yeah.
Okay, so there's a great scene in there where Gene Hackman was shot in the head, and he's in this field, and he's dying. I remember, yeah.
And I remember being a kid in, I guess I was a freshman in high school or something, I don't know what, thinking, well, I am feeling really bad. I feel so sad for this.
And I remember having this clear thought thinking, this is some strange power. I think this is, I got to figure out.
and that's when I started to learn that, oh, wait, there's a director, and then there's a writer, and then there's, and this is, and it's not just, you know, because I only went to movies to see special effects. But Bob, you know that the Clyde Barrow gang were not really good people, don't you? Oh, God, of course I do.
I'm just fucking with you. Of course you are.
I know you are, but I mean, that was the the experience of the movie. I mean, absolutely.
I fell in love with these people because they were just so— Oh, how could you not? How could you not? First of all, Faye Dunaway was so cock-erific in that movie. Absolutely.
I mean, she was super hot. When they're in that diner and, you know, she's in this hot chick in a small town waiting for someone like him to show up.
And she just wants to get out of there so bad. And she's got this curlicue of her hair by her ear that comes down a little sideburn, a little woman's sideburn.
I thought it was kind of sexy. But he goes, change that.
Yeah. And she immediately puts down her hamburger and wipes off the grease off her hands with a napkin and does something with it.
And it was just, oh, I'm sure people will say, well, that's you, Bill Moore. You like to see women dominated.
No, it wasn't Matt. No, but it was.
It was just hot. And it was a great moment.
It was a great moment. And sexy is not politically correct and it.
No, it will. They are at loggerheads.

Mm-hmm.

You know, William Hurt throwing that chair through the window in body heat.

Mm-hmm.

Yeah.

By the way, that plot, I just saw this movie.

I watched movies that I never heard of.

I very often, like, scroll through the list to when I'm in the kitchen,

making food and things I don't really have to pay attention

that closely to.

But I see everything.

This one came on.

I think the title, I could be wrong,

was Be Careful What You Wish For.

I'd never heard of it.

It's with the Jonas.

Right.

One of the Jonas's.

Nick, I guess.

Right. Who's fine.
Yeah. You know, again, proving my point I've made many times, acting, not that difficult.
Lots of people could do it. Wrestlers, bodybuilders, dogs do it.
Children do it. I did it.
It's just not. I said this to Sidney Pollack once.
I interviewed him, and he was like, you have no idea how right you are. And he proved it because he was a fine actor.
Yeah, I worked with him. Yeah.
On what? He does what the, he does a, in Death Becomes Her. He plays the doctor that examines Meryl and realizes she's a zombie.
And he is spectacular in it.

Yeah.

Tootsie.

Yeah.

Eyes Wide Shut.

Yeah.

He just stepped in the Woody Allen movie.

Yeah.

Husbands and Wives.

Yeah.

You know?

And he just looks like he's doing it effortlessly.

Like, as the director for so long, he knows what the deal is.

He's like, you know, don't over-fucking-think this. Just fucking hit your mark and bark.
You know, it's not rocket science here. I mean, it is for some roles.
Yeah. You know, if you're playing Sophie's Choice, yes, it's a level of acting.
But most of it is just a version of you in a situation.

Right. And knowing, I think, the thing that I appreciate the most about the really great actors I've had a chance to work with is they understand the medium.
They know how movies are made. Right.
And that is critical. Where the camera is.
And when you talk about an actor like Tom Hanks, and he's so generous as an actor because he knows, this isn't my scene. You know, this is, I'm here to just say this one line.
Right. And that's what I'm supposed to do here.
And completely get it. And it's not like.
Sometimes you hit a sacrifice fly. Absolutely.
And it brings in the run. Absolutely.
Yeah. And you did your job.
Right. Absolutely.
I mean, I'm sure a lot of who you choose to work with, especially as you get older and you have the esteem to be able to demand it, is, you know, just the life is too short list. Life is too short.
Well, it's like that. To work with people who are assholes, who try your patience, who just a lot of lateral motion when we could be moving forward on something because of your issues or whatever, you know, the older you get.
Life is too short. Right? Life is too short.
No, we all have that. Obviously, I'm not going to mention anybody, but we all have the life is too short list.
And it's that way in the whole thing. It's like life is too short to work at this studio.
Life is too short to work. It's like life is too short all the way down the line.
You it's like you get to the point where you say no it's and yet in that book i gave you um in the chapter on show business there's a good one about how i mean the point of it is if people in hollywood can work together when they absolutely despise each other which has happened in in a zillion movies. Why can't government? Couldn't government be as efficient as the movie Chinatown, where Roman Polanski and Faye Dunaway hated each other so much that she once peed in a bottle and threw it in his face? Yeah, I heard that story.
But no, no, no. But you're right.
And you're right. And I don't know why that is.
I mean, that never happened to Ted Cruz. Well, maybe the difference is that there's not a finished product.
See, one of the things I love about movies is they end. See, I think, I mean.
Well, good ones do. Yeah.
But I mean, my process ends. And we are at some point, it's going to be a wrap.
and we're all going to go home. I've said this to many people perhaps here before.
Like, everyone has a great idea for a movie, and some of them are. Very few have the ending.
The ending is the key. If you don't stick the landing, don't start down the road road and it looks like so many people um my mother used to say it like she'd how was that movie she's like yeah it was okay but he didn't know how to get out of it yeah well that's well you know how to get out of it well 100% right I mean that's my mantra whenever I whenever I'm working with writers and kicking around ideas and things.
It's like, well, I'll say to writers that I'm working with, I can't start writing this until I know what the ending is. I don't even know, if I don't know where the ending is.
And the tone. Well, the tone is a critical thing.
Yeah. The tone is a secret sauce.
But you also see people who never really made a decision about the tone because it's more than one tone. The tone of Back to the Future is one level.
It's very different from, like I said, Cast Away or even Forrest Gump. I mean, it's just, there's a different tone.
Like, are we taking this super seriously? No. We're not taking a DeLorean that time travels seriously.
It's like, it's one of the, they used to say in comedy, buy the premise, buy the bit. Absolutely.
And it's okay. You know, we're on here for the ride.
We're not, we're not, we're not gonna,

anyone who picks it apart,

like picks the sides apart,

it's like, you're just an asshole.

Okay, no one really thinks this could happen.

It's, we bought the premise.

No, you bought your ticket, go on the ride.

Right.

You know, it's a roller coaster.

No, it's not real.

If it was, you'd die. And, and, and, and I guess that's one of the hard things

about doing what I love. You know know audiences seem to have a hard time with black comedy and i mean dark comedy oh no no you know what i mean you know i mean not you know what i mean you are canceled i don't even know what you meant but you're still no no no no you know what we don't have to apologize for saying something that other people who are ignorant don't know what that means.
It has nothing to do with race. Black comedy.
No, no, no. Great black comedy is great.
The social justice warriors out there. Black comedy means like Apocalypse Now is a black comedy.
Dr. Strangelove.
Yes. It's about a subject that is very dark and very serious, but we're still doing comedy about it right and that's but it's always been a

difficult tonal thing i found because i you know because i made a few movies that um death becomes her by the way which is in a in a wonderfully is having a it's caught up to its time in an interesting way um where you know the tone that that comedy tone with a dark theme like that is just hard. It's hard for audiences to really tap in, connect with.
American audiences. It's probably having a resurgence because there is a starvation for it now, because they don't make those anymore, because they don't trust the audience enough.
Partly because the audience is dumber, probably. But there's still a sizable number of people that keep proving it.
Look at Oppenheimer. I mean, would you ever think a movie like that would have pulled in that kind of money at the box office? I wouldn't.
I wouldn't. It's very encouraging.
It is. It really is.
It's very encouraging that the people are out there. And if you just service them, but.
But, well, yeah, there's a whole shift going on now. How did Fablemans do? What's that? The Fablemans.
How did that do? I don't think it was as successful as every as as you would expect but but for like for him like not as successful is still like i mean lincoln was a really serious more successful very successful right you know it's another one like oppenheimer like if you really give it to them right and it wildly entertaining, they will eat the dog food.

I completely agree.

I think we're in this strange world now of, well, we'll see.

I mean, I made this movie which flies in the face of everything that's going on.

I mean, it's completely original, both in its style and its premise. And it has, it's not a pre-sold title.
It's not a sequel. When is it out? November 1st.
Well, I want to see it, not just because it's your name on it and there's a lot of credibility there, but I'm just so curious now, the way you describe it. Yeah.
It's like it kind of has to be seen.

Well, it has to be seen, and it's going to be—

Because I can't care.

Well, it's going to be difficult.

It's going to be difficult.

Even after you see the movie, it's going to be difficult to describe

what the actual story is, but that can be okay.

That can be okay.

You know what's interesting about Back to the Future?

This is from back in the day.

You remember Blockbuster?

Here we go. be okay.
That can be okay. You know what's interesting about Back to the Future? This is back in the day.
You remember Blockbuster? Of course you do. I lived across the street in West Hollywood.
They never knew what shelf to put Back to the Future on. Really? Yeah.
They didn't know if it was a science fiction shelf, should be a comedy shelf. Is it an adventure shelf? They didn't know where to put Back to the Future.
It's a comedy. Isn't that interesting? It is.
It's a comedy, but it uses as its fodder futuristic stuff. But again, it's not really in that category.
Again, because we don't really take seriously the science in it. Whereas in Contact, that is taken seriously.
That's the whole point of it, is that it's serious. It's not that hard to stock the shelves at Blockbuster.
Well, and I got my greatest compliment from Carl Sagan. When I was working on it, he said, Back to the Future is the best time travel, best time travel, I guess you said, scientific theory that I've ever seen in a movie.
And I didn't tell him, well, I took it from H.G. Wells.
But that's where I guess. If I was putting the other little film festival and Back to the Future was one night, i would feel like a great couple of companion movies would be um groundhog day which is also great and also fucks with time right and did you ever see pleasantville yeah yeah so good yeah toby mcguire and reese witherspoon and yeah but it'd be a good yeah well that'd be a good

that'd be a good like Tobey Maguire and Reese Witherspoon and, yeah.

But it would be a good, yeah, well, that'd be a good,

like, little movie retrospective thing to do.

I was just on, I was very proud to be on TCM, you know, the.

Yeah, I know, but, yeah.

Wasn't that it, TCM?

I think so.

Oh, Jesus.

TCM.

Yeah, I'm.

Oh, wait, the.

The channel that shows the movies.

The movie channel.

Yeah, it's part of.

The movie channel.

Thank you. it TCM I think so oh Jesus yeah I'm oh wait the movie channel yeah it's part of Time Warner and uh you know they do these little interviews before the show Maureen Dowd just did three days of the condor I watched that that's a great movie that's a great movie and she did a great interview about it and i did reds uh-huh with uh ben mankowitz who sat here and that's one of my all-time yeah i really like that movie yeah that's good oh i was able to recite word for word jack nicholson's scene and i thought they would use it and they didn't where he's where he's uh he goes to diane keaton you know and because she was this you feminist from 1920.
And he's like, Jack leaves you alone a lot, doesn't he? It must hurt. Remember that? Yeah, yeah, yeah.
He's got his things and I've got mine. Right.
And he goes, what are they? What are what? These things of yours. What are they? And then you go, well, he has my work and I do my work and I do my thing.
And he's like like are you making this up as you go along and I did the whole thing but it was still really good and it is a great movie and who's your like when you want advice from your peers do you like show them stuff I know some directors do that they will show like who's your kitchen cabinet that you well i say am i on the right track here or not don't you care yeah i well i have my you know i have bob gale who wrote back to the future with me and he's my he's my long and he'll and he'll tell me i mean he doesn't you know he doesn't blow any smoke i I mean, he'll say, yeah, you're in trouble with this movie. Yeah, so yeah.
But yeah, and then Alan, my composer. He's generally, when we do a rough cut cut or I do a rough cut, my editor, um, and it's not really a rough cut.
Cause I don't believe in rough cuts, uh, where I make the movie five hours longer. So I never do anything like that.
Good. Um, I've always, I always kind of, I can't stand watching it.
So I always, you know, cut it down to where I was. I want it.
I do the best that I can. And that's what I call my rough cut, my very first cut.
And I always bring Alan in and, uh, I can just, I can just tell from his vibe what scenes are working, what scenes aren't. And it's just like, just the, uh, you know, him and my editor, they're the ones that I'll feel first.
But no other like? I know you're close with Spielberg, aren't you? Yeah, no, I haven't brought Steven in. I haven't brought Steven in in the rough cut thing.
Not for any reason other than it's never been something where I think I've ever said, I really need somebody to tell me what to do here, like if I was in any trouble. It's kind of like, it's sort of like when the movie is finished or in the rough, in the finish stage, it'll be like, okay, is this working? And if there's anything you can suggest to do that I can help, that can help it.
Oh. I just remembered what I was talking about.
The Jonas Brothers movie. I mean, the Jonas Brother movie.
If it's not a direct remake, I guess it's just a ripoff like they do. Double Indemnity.
You remember from- Yeah, I remember Double Indemnity. What movie is it? Jonas Brothers movie? Which one he did? I'm telling you.
Oh, okay. Okay.
It's also Body Heat. Okay.
And now they've redone it again. Either they really- I guess they just take the plot and it's fine.
Right. And the plot is great.
When Fred McMurray did it with- Mm-hmm. Who was that? With Barbara Stanwyck? Yeah.
But it's a hot chick who's unhappily married. It usually is some older guy who's mean to her, and she wants to fucking kill him.
Right. And she picks as an instrument of her vengeance some young guy.
Right. And because she's hot, she gets him to either kill the husband because she loves him so much and they're going to go away together.
And then after he does the deed, she's like, see ya, wouldn't want to be ya. And she actually frames him, you know, because that's what she for.
Perfect crime. Right.
So I think that's so interesting that they've done that now through all these different generations. I mean, that was exactly what Body Heat was.
That was Double Indemnity. And somebody from the new generation saw those movies and went, oh, okay, we can do that.
We can do that. And why not? Because there's only so many stories.
Yeah. I mean, there are, yeah, somebody said that.
I don't remember who said that. Somebody said there's only like seven stories or something.
I remember hearing that back in the day. I forget who said that.
But yeah. And then Bob Galen, I always thought that every story, every movie story has always been in an episode of Leave it to Beaver.
Really? Yeah. I mean, really.
Like what? Well, like, you know, just, you know, whatever Beaver's character arc has to be, the lesson that he has to learn, the moral of the story, it's all there. You'll find an episode where it's there, where his father has to do something, or Gus the fireman has to give him words of wisdom.
And you'll find these little gems in there that are always sort of like premises that you'll find in most movie stories. I think that's actually more apropos for Andy Griffith's show.
And that too, probably, yeah. That was more, I mean, maybe I don't remember Beaver too well, but I do remember Andy Griffith when I was home sick as a kid and the reruns would be on.
There was always like a good lesson there. Like one time Opie killed a bird with his slingshot, and the baby birds were crying and crying.
And Opie said, can you do something about that? And Andy was like, no, I'm going to let you listen to them cry for their mother so you know what you did.

We could use a little more of that today.

Exactly.

And there was one episode where the beaver got swindled

by sending in a coupon from a box of cereal or something

and had to learn the lesson of, you know, understanding false advertising, all this great stuff. It blows my mind the difference in life, just life in America.
I don't know about other countries. I only lived in this one.
Just from when I was alive, which is I was not really aware of life, but mid-50s. I was born in 1956.
You were born in the 50s. I mean, that's where you go back to and back to the future, 1950.
55. Okay.
So that world, now from 1985, when you go back 30 years, it was recognizable but weird. But from 2024, kids today who, that's like the Civil War era to them.
Right. Or if they even knew what that is.
Or the Revolutionary. Or cavemen times.
It's just like, it's alien. Yeah.
And yet we spam the whole time. Right.
I always have, I have a theory about why World War II movies have such longevity. Because it was a time when, obviously, the whole world was at war.
And we knew who the good guys were and the bad guys were. And there was this incredible conflict going on.
But the world was familiar. In other words, it wasn't like the Civil War or the Revolutionary War.
The world was familiar. You had telephones.
You had cars. You had newspapers.
You had movies, radios. So there was enough that was still going on where the modern audience can relate to the life that the people were in, and they could then say, oh yeah, and they're in this tremendous conflict.
I think that that's why there's so many of them keep getting made, and why it's so powerful. That's my own theory.
It's also because Nazi uniforms were sharp. Well, but the whole Nazi thing was so diabolical.
It was so fantastic. Well, of course that's- dramatic.
Of course, that's true, too. But the uniforms.
Oh, they were. It's just awesome.
Yeah. I mean, the cut.
I mean, am I wrong? No, no, no. Can we have nuance in life? I mean, they were diabolic and evil.
But yeah, the wardrobe was fantastic, especially like the genitals. I mean, those full-length leather coats, the lapels.
And then the generals had the red stripe on the leg. I mean, it was all just very well thought out.
Hugo Boss, I believe. Well, yeah, I think I've heard that, but I don't know if it was him or his company or what the real truth.
I don't know what the real truth about that is. I've heard that, though.
Well, a number of companies that we still have today started out supplying the Mitsubishi, I believe, in Japan. Made a few planes that flew into the decks of aircraft carriers.
Certainly the Volkswagen. Yep.
And Bayer Chemical.

What?

Bayer Chemical?

What's that?

Well, the Bayer Chemical.

The Bayer Chemical Company.

Oh, Bayer.

Bayer.

What did I say?

Bayer.

Yeah, Bayer Chemical.

They built the.

Bayer Aspirin, yes.

They built the.

Right.

The Bergen-Belsen, you know.

They probably also. Yeah.
I'm just guessing here, so don't sue me, Nazis. I'm just guessing, but they may have made the speed that they gave to the German troops.
Oh, yeah. There's a book about that.
Oh, yeah. That would be a great movie.
Not that I need to give you any ideas, but there's a book. You could take the book and make the book into a movie, and it's about how the Wehrmacht, the soldiers, were given speed.
Speed. To go into battle.
And like, how did they get to Paris in three days? That's how. Exactly.
It was like Paris. They would have been in the Atlantic Ocean if they didn't stop them.
They just jacked them up. And that's, exactly it was like powers they would have been in the atlantic ocean if they didn't stop them they just jacked them up and that's you could do an interesting thing through history because it's there are we gave our officers like before there was a push coffee i don't think we gave them speed but you know the nazis were efficient like that.
There are certainly tribes and more primitive peoples who would chew on certain plants that would give them cocaine, you know, the coca plant. Or in Africa, something called GATT.
I think it's K-H-A-T. Yeah, I don't know.
It's like their cocaine that you just chew on it. I don't know.
I don't want to get in any trouble, but I think maybe we gave our guys, certainly maybe some of our bomber crew, you know, some amphetamines. Yeah.
Doing those bombing runs. Yeah, maybe.
Right. Right.
There was amphetamines back then. Right, yeah.
I mean, certainly the Beatles took them in Hamburg. Right.
Well, I allude to that in a scene I did in Allied where he said, you know, he was saying, take this before the mission, that after the mission. So I don't know if it's true or not.
Did you watch that series on, I think it was on Apple. I think it was Hank's.
Yeah, the one about the Masters of the Sky. Masters of the Sky.
I thought it was, you know what I loved about that? So great. I loved there were so many little moments.
I loved all the little minutiae they put in there. Like the little things like, just when they're coming back from the mission, they're standing there with a tray of whiskey for everybody.
I just thought that was like great. I mean, they did um band of brothers also same tone i mean it's just like nobody does world war ii like spielberg no you know and yeah and that's one of his greatest movies well in private ryan my favorite movie of all time and that's partly because it's personal because i mean the guy who plays Ryan, the movie opened with him as an older man, was exactly my father who was in World War II, practically in that campaign.

Right.

So when I saw it in the theater, I mean, to say I was like a puddle was, you know, it was only about four years after my father died.

And it was like, you know, I've never had that experience in a movie theater. But, you know, he looked, Spielberg put him in like the exact sort of shirt my father would have worn in 1990, whatever, when that movie was, you know, goes back in time.
And then we see him as a kid. But, you know, that generation just is, I'm sure the kids are tired of hearing that they're the greatest generation.
But they kind of were. I mean, fighting what Hitler and Tojo represented and how close they were to achieving it was not something people today can relate to.
We're just not in that kind of dire situation where, yeah, they could have won. For a while, they looked like they were winning.
Yeah. I mean, we were on the ropes.
There were some close calls. You read the history of that thing.
There were some— Well, if Hitler hadn't been nuts, they would have done it because like there's no people in the world as efficient as the germans and when you put efficiency in league with evil it's not a good combination they were very efficient at everything they did but he but the guy at the top this is their achilles the guy at the top was this is their Achilles, the guy at the top was insane.

So he thought he was invincible.

If he had just not turned against Russia,

I mean, they took Europe and North Africa all in a year.

And if he had invaded England instead of go to Moscow,

it would have been game over. Instead of trying to do both at the same time, which was never going to work.
Right. Yeah.
We dodged a bullet with that one. Yep.
100%. But we were not really ready to fight a war.
I mean, for four years, this country made no cars. I know.
They just shut down the car factories and said, no, you're making planes and tanks now. And nobody said, boo.
I mean, that is just a different fucking universe. Yeah.
And everybody did do their bit. Everybody just said, okay, we got to do this.
Yeah, it really- I mean, that's the spirit that Hanks and Spielberg are always after in those World War II things, and that they do capture. Yeah, that great scene in Private Ryan where Hanks goes, what's the pool on me now? What's the pool on me now? Yeah, yeah.
He said, I'm a school teacher. All these guys just dropped their, you know.
And the fact that he saved it for that moment when he needed something to defuse. I also loved in that movie, I mean, there was many firsts that they did, like the first beat scene, showing the true carnage of war looks like.
Oh, yeah. That had not happened before.
Oh, that was, no, that was, or just the, you know, just the camera going up and down out of the water. Also, until then, like everything I'd ever seen about World War II, I was a huge combat fan.
Oh, God, I've seen every episode. Me too.
Loved them all. Right.
But all the movies, all the TV shows kind of presented it like, yeah, where's hell? But the thing you can count on is that when the superior officer says something, the other guys just do it. And Private Ryan, it's not quite like that.
No. It's not like that in the field.
It's a lot of, Captain, we shouldn't do this. It's like, that's not how combat did it.
It was like, whatever Sergeant Saunders said, they just did. Exactly.
And of course, under the heat of battle and, you know, and when they let the German guy go, which they didn't agree with, and then he comes back to kill the i mean it's just

uh it's the great i always say saving private ryan is simply the greatest combat episode ever it is it's a combat episode it's just a really and that was what it was it was it was every every great moment in combat was in that movie it's just fantastic yeah it's really good. It's funny, when the Cold War ended,

we had World War II as the great enemies.

There was all the great World War II movies.

And then we had the Russians.

And then in the 90s, people were just lost for an enemy.

James Bond was fighting drug dealers.

It's like, it just doesn't.

Come on.

We didn't have anybody.

James Bond doesn't fight drug dealers.

James Bond isn't a deal.

I want to go. James Bond was fighting drug dealers.
It just doesn't. Come on.

We didn't have anybody.

James Bond doesn't fight drug dealers.

James Bond isn't a D.

I want you to get him a fucking jacket with the letters on it.

He fights crime in a tuxedo and fucks three hot chicks every movie.

That's who James. By the way, in the last one, he dies.

Right.

Talk about a generational change.

James Bond dies? Mm-hmm. What? No, James Bond wins.
Yeah. In Back to the Future, we got a lot of pushback when we made the villains the Libyan terrorists.
Oh, right. You know, because— In a van.
In a van, you know, with a rocket launcher. Yes, a grenade launcher.
Yeah, a grenade launcher. But we, you know, and we would get these notes from the studio and say, can it be the mob? I said, why would the mob want plutonium? You know, it makes no sense.
It's got to be a terrorist organization who wants to

build a bomb.

You know, so.

Yeah.

There you go.

And of course, that's almost 20 years before 9-11.

So, terrorists.

No, it's longer than that.

It was way longer.

No.

It was.

85 to 2001.

That's about 20 years.

That's 16 years. Oh, yeah.
That's 16. Oh,'re right.
So, but, I mean, terrorism certainly was something people were aware of, but it just moved to that completely different level. It was like something you put in a movie.
Exactly. Exactly.
It's like, we're not really afraid of Libyans with rocket launchers. So we could put this in the movie.
Right. I mean, at a certain point, they did start to bitch and moan.
When I say they, I mean the usual suspects who are looking for something to bitch about. Whenever the terrorist was of any sort of Islam or Arab, it's like, okay, but then who did do 9-11? We're not saying all Arabs or Muslims or terrorists.
We're saying when that kind of shit happens, it has often been Iranians or Saudi Arabians. There is just a battle going on.
Yeah, yeah. I mean, don't get me started on the kids today and their protests.
Oh, no, well, listen, I agree with you. Yeah, I say, anyone says, what do you think about any subject, Bob? I say, well, you know, just watch Bill Maher.
Oh, thank you. That is the right thing to say.
Yeah, I agree with him on all subjects, you know, but you're 100% right about that. Exactly.
What is your ethnicity? What is your background? Okay. You're not something that was Jew, right? Okay.
No, this is – no, no, no. My name is Lithuanian.
Okay, come on. My father is first-generation Lithuanian.
My mother was born in Italy. Oh, wow.
And the only time you're going to get an Italian-Lithuanian combo is going to be in Chicago. Right.
And I grew up on the far south side of Chicago. Oh, it's great you don't have the accent.
Yeah, I don't think I have too much of one. You don't, because I always don't like it.
I don't like that Chicago accent. You mean I didn't say, he's up on the roof? Roof is something.
He's up on the roof. No, it's more in Da Bears, you know, that kind of.
Oh, Da Bears. I mean, they're just a certain, I'm sorry, Chicago people.
Yeah, no, it's true. There's a certain accent that I just find grating.
Yeah, yeah, yeah. But I find the.
He's on a motorcycle. I can't understand a Guy Ritchie movie without subtitles.
I'm like, speak English, you fucks. Yeah.
Speak American, for Christ's sake. I don't know what you're talking about.
Exactly. So yeah, no, so I grew up in, and, you know, and, you know, that's why I love religion so much, because I got to, like, be, you know, go through the Catholic school thing.
Oh, I was raised Catholicolic also oh yeah and what was your experience loved it i bet oh uh isn't it a joy i i always think about you know i i think that the when i think about why do i have an image of death in every single movie i make it's because that's what eight years of catholic school will do to you you You know, come for the fear. Come for the fear.
Stay for the shitting in your pants. Exactly.
I make. It's because that's what eight years of Catholic school will do to you.

Come for the fear.

Come for the fear. Stay for the shitting in your pants.

Exactly.

No, it was scarring.

Scarring is the exact word.

Yeah.

Not that I've been scarred for life, but I bet you I've been changed for life.

Oh, yeah.

How can you not, when we're talking about something at such a formative age, an age where you

I don't know anything, so you're just at the mercy of any sort of authority figure who tells you anything. So if they are scaring the shit out of you and filling your head with bullshit ideas, that can't help but be scarring.
I mean, sometimes people have accused me because I made religious and made a career of making fun of religion all the time. You know, are you bitter? I'm like, yeah.
I'm very bitter. So what? Yeah.
Yeah. Aren't you bitter about certain things? Well, yeah.
I mean, I'm, you know. If someone raped your mind when you were a child, wouldn't you be bitter about it? I was mind raped.
Well, I think it was the fear and the shame, the indoctrination of the fear and the shame, which I think is the, I don't know, I guess it's the- Were you still a Catholic in your mind when you started masturbating?

Oh, God, no, no, no.

Well, I don't think I'm not sure when I was ever. I don't think I was ever really.
No, I didn't have any hangups like that, thank God. But it was just that under, like, low thing of, um, you're unworthy because you exist, you know, the shame, the shame that, you know, there's nothing, there's nothing.
I, there's nothing worse that you can do to someone than shame them, especially a kid. And that's the number one controlling thing of that cult, in my opinion, is you're a sinner because you exist.
And you felt shamed because of specific sins you thought you were committing that you then were announcing in confession? Did you go? No, it's a feeling of, it's just a feeling of, of, um, not being, um, not being, uh, uh, just thinking that you're all, you're always, um, you're not measuring up. You're always falling short.
You know, you're, you're, you're always, you're, you're always not. Yeah.
Pleasing God. Pleasing God.
Or, or, yeah, just, you're not measuring up. You're not getting across the finish line.
It's so psychotic, religion, to purposely create this being who you are always going to disappoint. Aren't you disappointing enough people in your real life? I mean, you've got your wife.
You've got your family, you've got your kids. I mean, you're disappointing all of them all the time.
Is there a need to create this one more person who you're constantly, oh, I'm so sorry, God, I fucked up again. Please forgive me.
You're the greatest. You're all merciful.
Thank God, because I'm such shithead and it's like it's all in your head absolutely things that go on just in your head and it and it's just you know it i you know it's just completely completely diabolical and all the rituals and the and the i actually liked i think i really i i i was really i really was you know like the drama of the violence and the scourging of the pillar and the nailing to the cross and all that stuff. I was kind of digging that.
But, you know, it's just really endless, endless, endless, you know, blood and death, blood and death. You want to team up with Mel Gibson and make a Christy movie.
I mean, you know. Yeah.
I mean, there you go. I mean, that was, you know.
You can't deny him as a filmmaker. No, he was great.
I gave him. I presented him his Academy Award.
Good for you. No, I was there on the day when he won it for.
Was this after he. No, no, this was for—this was after I won back in those days.
Oh, Braveheart. Braveheart, yeah.
Back in those days. Well, he wasn't controversial.
No, that—and, you know, but no, so yeah. I think he's awesome.
I mean— Braveheart has got good stuff in it. And, you know, like, I just have little patience with the perfect people in the world who, like, as he said, some really fucked up things.
He has, but, you know, and is drinking an excuse? No, because drinking actually makes you more honest. So you can't use that as an excuse like, oh, I was drunk.
I didn't know what I was saying. Yeah, exactly.
You said what you – but, you know, I would love to just talk to him because I just don't think he's a bad guy. I don't know him personally, but yeah.
Yeah. And I think he understands where he went off.
And also, he's got that super duper, literally more Catholic than the Pope father. And we are all sort of like at the mercy of who brung us into the world.
That's the theme of the Godfather.

Right.

Right.

I think I was lucky.

I really didn't want to be in the mafia, but when my father needed me, I had to join.

I had to.

Yeah, I had to.

I had to.

I think I was lucky in that my parents weren't really fanatical.

They weren't.

But that thing about if the nuns were saying you did something and you didn't do it, the nun was right. It was that kind of thing.
They held that power over... The parents couldn't believe that the nuns would say something that wasn't something that obviously they must be telling the truth.
I remember going to confession. They started us going to confession.

I remember making my first communion.

That's the one you do at 7.

Right.

And there's another one you do at 13.

That's confirmation.

I never quite got to that one.

But at first communion, which was a lot of days after school, practicing for whatever, practicing.

You stood there for a minute while the priest gave you, I don't know, confession. But that's when you started confession.
And I had such anxiety because I was like, I'm seven. What fucking sin could I have committed? Yeah, I killed a hooker in Vegas.
Right, right, right. Your holiness.
Please forgive me. So I would like to make it up.
I remember the difference between the mortal sin and the venial sin. Yes, of course.
Okay, the mortal sin and the venial sin. And of course, the venial sin, if you died with a venial sin on your soul, you would go to purgatory.
You have to work it off. Mortal sin, straight to hell.
Straight to hell. Straight to hell.
No get out of jail. Nothing.
You go straight to hell straight to hell no no no get out of jail nothing you go straight to hell and and we're and they were and i remember me i remember this and being in this i must have been the first grade second grade talking about um stealing stealing money and how much you know it's just how much money is what's a venial sin and what's a mortal sin? And she broke it down. Anything under a dollar is a venial sin.
And anything over is a mortal sin. Adjusted for inflation.
Of course. Well, it was like folding money straight to hell, loose change.
You only went to purgatory. Did you used to put money in the basket when they came around with that? We had a thing.
Oh, yeah. Well, you did on Sunday.
I had to go to mass every single morning in the crazy school. Every morning? Every morning.
Oh, you had it worse than me. For some reason in my Irish Catholic.
I would have killed myself. But we used to do a thing where you had to buy pagan babies.

What?

Yeah.

So in other words, you would buy a pagan baby.

Buy?

Yes.

The money was used to save them.

And the missionaries would use the money to go, and you would go buy a pagan baby in Africa or something. And the point was, instead of buying your candy bar after lunch, you're supposed to put the money in this thing to...
Talk about colonizers, huh? Oh, man. I'll never forget that.
Paying to buy some pagan babies so we could convert them, you know? I don't know what the— But you know what? It wasn't that long ago. That's what I keep thinking.
What I keep saying is what's so amazing is like, I think it was Bill Gates who once said, like, if you look back over two years in your life, it's like, Jesus, nothing ever changes. But when you look back over 10, it's like it's a whole different world.
And it's like in the country, too. It's like, you know, how did we get so different from 1985? You know, he's got that vest on in the beginning.
It's a funny running gag. In 1955, they think he's a, you know,

some sort of sailor because that's who, who else would also wear that vest that we

call it. Well, in the script, it says that he's wearing a light preserver.

Right. Light preserver.
That's what it looked like to them. Right.
But it,

but here now in 2024, it also looks weird. It's so funny because in that space of

time in, in 1985, it was what people wore. It was not what they were now or then.

But here's a question I have for you, because I think about this a lot.

I'm thinking that there's been a, I think one of the things that is stagnated is the culture.

Something, I don't know if it's because of the internet or social media or, you know, technology just being the most dominant thing. But cars look the same.
I mean, you know, I mean. Pretty much, yeah.
Music is the same. if somebody came back if somebody walked in here

if a kid walked in here from 1994, which is 20 years ago, we wouldn't look twice at him if he came through a time warp. Yeah, it's 30 years.
30 years, excuse my math. But we wouldn't look twice at him.

And why is that, I wonder?

I don't know.

It's like because of- Well, I mean, there were things they were doing in 1994.

Some of them they brought back, like those really ugly mom jeans.

Right.

Everything bad comes back.

Yeah, maybe.

I don't know.

There's only so many things.

There were so many ways you can wear clothes.

Right.

But, you know, I mean, in 1994, yeah, there was a grunge look.

I'm sorry. There's only so many things.
There was so many ways you can wear clothes. Right.
But, you know, I mean, in 1994, yeah, there was a grunge look that I don't think we're doing massively now. If you were, yes, you're serious.
You know. Right.
But if you walk, but if somebody walked in, you know, in here from. Well, you're definitely right that.
Blackboard jungle. If somebody walked in from the Blackboard you know you go i know where you're from right very different you are from the past right no it's true and music i mean rap certainly was a completely different music form that that is obviously pre preeminent now but like but that was 25 30 years ago 50 years ago R 50 50 yeah rap celebrated its 50th anniversary yeah yeah 1979 i like was the first rap hit um cypress hill i think or maybe yeah sugar hill gang i think um so i mean yeah it's been a definitely was around in the 80s it was it grew and got better just like I always say 80s rap is very much like 50s rock and roll.
I don't like either. It needed a decade to grow up.
Right. But the music I listened to as a kid in the late 60s, if you go back 25 years, was so different from what my father was listening to in the 40s, which is not the case with 1969 plus 25 years or 50 years, except for rap, which is big.
Right. But like all other kinds of pop music, there are songs that are put out now that could have been hits in 1969 or 79 or 89.
Whereas the sound my father listened to,

the big band sound, that was completely different.

Completely different.

And I didn't have anything to do with that.

When I was a kid, I didn't listen to that.

I learned to appreciate that when I got older.

And my father and my uncle, they hated it. Oh, I still don't appreciate it.
Yeah. I mean, it's just not my kind of, I mean, Benny Goodman, I'm sure, was great, and Glenn Miller.
Yeah, some good. But I would never listen to it.
I know what it sounds like. Exactly.
Maybe, I mean, Bette Midler did Boogie Woogie Bugle Boy of Company, which was a World War II song. And she updated it great.
And it made it like a pop rock sound. But basically, it's just, first of all, it's very clarinet driven.
OK, well, that's not, to me, as good as electric guitars. That's just me.
But that's what I grew up with. I mean, we're all products of what they put in our heads when we're helpless but that's religion my kids my younger kids who are in their 20s early 20s now they listen to my stuff being what's your well well the the the the they love the rock and i don't it's not because of anything we know we need.
I'll be in the car with them.

That's because it's good.

Exactly.

And I'll say, why are you listening to that Led Zeppelin?

Like, how did you find that?

And they go, why did you see it?

Yeah, because they have not improved upon it.

Exactly.

I mean, they've done other great stuff.

I mean, there's great artists now.

But they haven't quite improved on that and that particular sound.

And yeah.

But I mean, there are songs that come out now that I think, oh,

Thank you. But they haven't quite improved on that and that particular sound.

Yeah.

But I mean, there are songs that come out now that I think, oh, that could be a hit in any decade.

Those are my kind of songs.

And I'm certainly not a music snob.

I'm the opposite.

Like, I just want to be entertained.

I have no music ability.

So I have no dog in this fight.

Entertain me. I don't care about important music yep what a great way to have a shitty record collection let me get the most important songs right no no no yeah i'm just uh and when though and you know and then when the and then you know when the beatles arrived it was like how old were you in 64? Well, it's like I was 64.
I was 12, 13, something like that, I think. Where were you born? Wait, 51.
So what was I? So you were 13. 13, yeah.
And it was like life-changing, life-changing. 13 is like the exact age you'd want to be when the Beatles arrived.
I mean, I was eight, so I was not really into music yet. And I just knew there was a hubbub going on.
No, when the Beatles showed up, it was like, you know. And then when the Beatles showed up, it was like, you know, okay, wait a minute.

You know, it kind of like, you know, gave you that feeling that it did for me anyway that, you know, maybe I could do something. No, and I'm sure the kids, if anyone listening to this, are like, okay, Boomer, the Beatles.

Yeah, yeah, yeah, yeah, yeah.

And it's like what we said about some shit our parents were talking about.

Like, certain things you had to be there. Yeah.
And if you weren't, it just sounds like two old farts who were, like, getting all gaga about something that probably wasn't that great. Right.
But it was. But it wasn't, you know, completely unique in history either.
Right. I mean, there have been other pop phenomenons.
I mean, Taylor Swift, obviously now yep is on a level that we rarely see in show business um i had nikki glazer here i listened to that yeah oh thank you i've not listened to it and then and then i'm going to take her advice and listen to the taylor swift uh album that she recommended well she recommended the movie i'm going to see that the one on disney plus okay i'm halfway halfway through it. And? And I must report.
Yes. My opinion has not changed.
I gave it a shot though. I mean, as I always say when Taylor Swift comes up, I have the greatest admiration simply for success.
I also have great admiration for the way she conducts herself. You know, she never misses a show.
She's not late. You know, she's a class act.
Right. But I don't get the music.
I really don't. I mean, Nikki was here and sang that.
I said, what is the key? And she's like, well, the music is just amazing musicianship and the lyrics. And I'm like, okay, great.
I'm going to give this a shot. Now, maybe the second half of the show will blow me away.
I mean, it's three hours long. I don't watch anything, hardly anything in full increments.
I watch things like I read a book. I don't read the whole book at once, and especially something like this.
But halfway through, but again, I mean, I'm looking in the audience and it's, you know, 20-year-old women. I'm almost a 70-year-old man.
I mean, that is just apparently a bridge too far for this particular phenomenon. Other things we do share.
But, yeah, I just, you know, and they are certainly into it. And it also says maybe this is a great indication of the span of time and how much things change.
I mean, Ray Kurzweil talks about the singularity. That's his great book about when we will meld almost fully with machines.
We're certainly halfway there. I mean, there are people who have artificial lots of stuff.
And Elon Musk is working on people who can move things with their mind when they don't have the use of their arms and stuff like that. But to see everyone in the audience not watching the concert, but watching through the phone.
They're watching their phone, not the thing that they are purposely putting a filter between something that they know must be filmed and they could see

somewhere other than their own phone. That to me is a difference of kind, not just a difference

of degree, a difference of kind that my generation would never want to do. To purposely put this

filter, and they're all doing it throughout the show. You see, whenever they cut to the audience,

it's all fun. But are they doing that so they can zoom in, or are they recording it so they can keep it? I think both, but I think a lot of it is recording it, which makes no sense.
First of all, you have a mind. You can remember it, and sometimes that's better.
And she's recording it. You can always see it it's like you ever see people at the where the mona lisa is i mean they're all taking pictures of the mona lisa it's in the gift shop you could get a beautiful eight by ten version exactly could hang it on your wall exactly no i know no it's but it's odd but it's about but isn't it about that thing that everyone just has in their hand now? Isn't that just like this thing where we have to take pictures of everything I eat? I mean, people taking pictures of their food.
I mean, oh, look at this presentation. Yeah, they actually stopped doing that more than they used to.
But the point of, like, Nikki was saying it when she was here, like, she sometimes feels if some event in her life has passed without her recording it, that she missed an opportunity, which is a mindset I can't even get into. I mean, I understand it.
And I think the people who are even younger than her, because she's late 30s, the kids who are like 18 or 15, they don't even have this quandary.

They know you always record it. I remember, I think Bill Gates did an experiment once where he had somebody walk around with a, it wasn't an, I'll use an iPhone because, but it wasn't invented yet, but like a device that every minute took a picture.
So wherever this guy went his whole life, so his whole memory was kept.

And the theory behind that is so we can use our brain for other things.

So we don't have to have wasted mental space for our memories because we can always go back into this database and see,

where was I on this day?

Let me just scroll over here and then—

And that is what we're moving toward. It is, isn't it? Kind of.
Well, the cloud is kind of that. Yeah.
I don't want to be divorced from my brain. No, but I mean, but it is interesting when I've got one of those, I've got one of those digital photo things on my desk loaded with all the digital pictures from all my kids and everything.
And, you know, someone will pop up and go, oh, I remember that. It's kind of like a thing scrolling by, you know, but I wouldn't have just remembered it.
But, I mean, I assume as AI becomes more prevalent and everyone has it on their phone and everyone uses it more for more things.

I assume it will slowly be doing this, just taking over different parts of our brain. I mean, isn't that what AI is ultimately is a colonizer of our brain? Probably.
I think it is. And we're inviting it in.
And we're not really interested in putting the brakes on because now it's a race not only between different countries like us and China to have the upper hand, but also between companies to make the most money. Of course.
I mean, you see even the people who started out as, we don't want to be in the profit business with this. Wait, what did I say? What I meant was we want to be in the profit business.
I mean, come on. This is America.
We make profits. So, yeah.
I kind of agree with you, but isn't all technology a tradeoff ultimately? Totally. Absolutely.
And isn't it always feared when it first shows up? Yes. Always.
It is feared. That doesn't mean this time couldn't be the one.
It could be the one, but this is the whole thing that could cure cancer too. Exactly.
I don't even give a shit if they become our robot overlords. Because, I mean, the odds are I will certainly be dead within 30 years.
That's true. We got to think about that.
Unless AI. Stops that.
Comes in and Rudolph the Red-Nosed Reindeer's way into my heart by saving us at the last minute with his glowy nose. Because that is definitely possible.
I mean, AI in 30 years could keep people alive forever. Now, the next question is, do we want to be alive forever? Well, there you go.
That's the big, that is. I mean, if I can be alive like I am now, yes.
Yeah, but then, you know, the thing, of course, because I did, I made a movie about that, which was, you know, Death Becomes Her, which is, well, you want to sit around and watch everybody you know die. Right.
I mean, or maybe, well, but then if nobody dies, then what? That's a whole, you know, that could be a really interesting movie. Yeah.
I mean, do we want to sit around and have conversations like this for like the next 100 years and never stop? I could sit around and do this, which is, I mean, it's one reason why I love starting this podcast. This is what I would be doing anyway probably on a Wednesday night, taking a little break from my work week, my real job.
But now I get to do it with you. Or, you know, Cheech and Chong were here last week.

Oh, really?

Yes. That's great.

I mean, people come to screen me like this.

Of course.

It's just, how could I ask for anything more in life?

I mean, to sit here and just be able to,

and you haven't had even a drink.

I have some water.

You don't drink?

No, I did back in the day, but I don't drink anymore.

A lot?

Enough that it got to the point where I needed to stop. Like Flight.
Oh, yeah. No, yeah.
No, that's an awesome one. Really.
That's a great one. So great.
That was a great performance. Yes.
Again, John Houston. Yeah.
No, right. Exactly.
But it's also also like is he the best one to do that probably but you know it's not like no one else could have done that part it's a great idea no it's a great idea you know beautiful screenplay yes so good yeah who wrote that you no uh john gatens wrote that oh so good i mean again totally stuck the landing you know the great end i mean again you gotta have a good ending yeah and him at the first of all with with the hotel room door and the fucking mini bar do you know how many mini bars i've been in i mean i yeah. I mean, I've been on the road my whole life.
Mini bar, that rang true to me. Not that I've ever fished through the whole bar and gotten shit-faced drunk in a hotel room, but I get it.
And then, you know, the switch at the end and flying the plane upside down. He's just a bad...
I mean, I said this to somebody who was here recently. He is my alltime favorite like denzel as far as i think i i mean i like a lot of people but he just knocks it out of the park every time oh he shows up with the goods he he really does he really does i mean i i mean i mean he shows up and he's and he's ready to he's ready oh you can tell oh yeah i mean joy just absolute joy to work with yeah he looks like no nonsense but still he's not warm and fuzzy he's not warm and fuzzy no no no and he explains it to the crew yeah and he'll sit there and say look you guys have to understand something either am i well yeah he says you don't have to be he says you guys set up the shot right and now you want to let your hair down and relax.
Right. Now I got to come on, and I got to do it.
Yes. So I don't have time to make small talk with you.
Yeah, I mean, that's not what makes a good boss. I think I've always been a pretty good boss at my shop.
And I'm not the pat everybody on the back and learn everyone's name and all the things, you know you know what people do ask about your wife and but i'm also not mean and i don't yell and i don't you know i think people appreciate it when the boss just isn't in your life at all i think you're right about that i mean it's not like you have to like know what everybody's personal life is you need your little kitchen cabinet yeah who you and then everybody else just do their job. And I'm respectful, but, you know, yeah, I can't be friends with everybody.
But I don't have a problem coming in and saying good morning to everybody. Of course not.
Of course not. It's like I don't want to come in and say, why is that cable over there? Right.
You know, I try not to do that. Right.
Right. I mean, you hear lots of horror stories about sets.

And, I mean, there's hardly ever a movie set you hear about where there wasn't some.

And I've been on some back in the 80s when I did acting.

It wasn't uncommon that there is some blow up.

I mean, there's just a lot of tension.

You're mixing dangerous chemicals. People are just fucking tense.
And it's a lot of money and you're always under the clock. And you're actually doing pretty insane things.
I mean, you're always making it rain when it's sunny. You're making it night when it's day.
And it's like, it just it's and the actors are on this you know hairpin because their instrument is having you know spook is going around in their gut that's what their fuel is right so they're on this kind of like edge anyway so like one guy who crosses and gets in your eye line when you're trying to concentrate and it's like, can everybody fucking, you know, right. That is not uncommon.
If people want to be in show business, no, that's going to happen a lot. Yeah.
And you, and it does happen. And you gotta be respectful, you know, because they're, they're under a lot of stress and they have to do it.
And then by the way, it's like, um, now, you know, when you walk into a set situation like that and you know, cause you know, even though no one says it and you're going, I know that they got to get out of here in 30 minutes, you know, and, and, and, and, and you can just see it in the director's face that, you know, he's going to like, I can't go over. I can't come back here another day.
They're going to fire me. All that stuff that goes on in your brain.
And the poor actor's got to step on his mark and just do a great performance. And I got no time.
You know, it's just, it's a horrible situation to be in. But we do it for whatever reason.
No, I mean, movies, I've always said it.

Movie stars, people who make movies, directors, all you guys, I mean, they're paid a lot and they deserve a lot.

It's really grueling.

The hardest time for me is when you're doing a movie and, well, this is why I say, this is why they pay me the big bucks is when you're doing a movie and you you hire a you know really solid actor who's a day player and he's one of the first people you cast and then you go off for six weeks and you're in with the key cast and you're in a groove and everybody's in a rhythm and everything and and and and this guy's been working on his scene for six weeks all by himself and it's kind of okay come on come on in and action and he's in a different movie he's in a completely different movie right and then and then a hundred people turn and look at me, right? The whole crew.

Because the crew and everybody goes, this isn't the movie we're making.

It's so interesting.

This isn't the movie we're making.

And the guy just was doing his best.

He was doing his best, but he wasn't in with the – wasn't with – Tone.

And then I've got to go and I've got to then fix it, right?

And then you've got to like, okay.

And that's where – that's the toughest part. Is there an example of that i can't give i can't give out there's a few but i can't i can't but there's a few but there's sometimes there are actors in movies who are at such different levels that they're almost in two different movies sometimes yeah they're just you, and it's obvious.
I mean, it's just like two people in a band playing different characters. Yeah, and that's really rough.
I don't think I've had that. That doesn't happen in, no.
I don't think I've had that, but you can see it in movies. I can see it in movies, and in really good movies, and you sit there and you say, those are really interesting choices that actresses make it's an age thing you think so i know so like actors just like people generally get better smarter wiser they've seen the pattern go around before so actors who are like in their 50s 60s they're great like they just.
They just, and when you're in your 20s, they're doing the best they can, but they're just not on that level. Just like you're not in life.
I wasn't, you know, I was an idiot in my 20s. I mean, just as far as maturity level, and it shows.
So if there's a guy who's 25, and he's in a scene with a guy who's 60, they're kind of in a different movie. I would say that the toughest to work with is the 20-year-old actor.
Of course. That's the toughest because they're just 20 years old.
And there's a lot of pressure on them There's a lot of, and even when they're, and, but then again, then there was somebody I was working with, Michael J., and he was only 20, and he was just great. And that whole cast I had in that movie, they were all great.
But they're the ones that are, they're the ones that are tough. I have a funny story you could tell you.
Like when I was, I just remember I was listening to Jack Warden on, i was fortunate enough to work with him on my second movie used cars and he gathered all the young actors and he was telling them he said you know i was listening to this he was dropping on this story he said you know when i was i always thought when i was starting out that the best way to get more screen time is to slow my performance down. Right? Who said this? Jack Wharton.
He said, he said, that's what he said. And so I was doing, and then I went to the movie that I was in, and I was cut out.
I wasn't in it. Yeah, because you drank.
So now I just say everything so fast that they can't get the scissors in there. Funny't that funny? Because that's what you're always saying to the novice actor.
Pick it up. Pick it up.
Take the air out. Take the air out.
You know what I'm saying? Right. Just get on with it.
Just entertain us. Exactly.
Well, you have entertained me so many times. And I am a giant fan.
I know. I appreciate that.
But, you know, you are Hollywood royalty for a reason. And it meant a lot to me that you would come by my crazy little rat's killer.
This has been an absolute joy. It's been great.
Don't be a stranger. Keep making movies.
Thank you. Thank you so much.
Thank you. Really appreciate it.
Thank you.

It's fun.

It's really fun.

Like I said, I had never done one of these before. So I've done the bullshit junket where you just keep getting the same question asked over and over and over again.

God bless you. This podcast is brought to you by Aura.

Imagine waking up to find your bank account drained, bills for loans you never took out, a warrant for your arrest, all because someone committed a crime in your name. It sounds like a nightmare, but for millions of people each year, it's reality.
And here's the scariest part. By the time companies tell you your data was stolen, it's already been nearly a year.
277 days. That's how long, on average, hackers have to use your social security number, open accounts, take out loans, and destroy your credit.
Before you even know you've been exposed. By the time you get that breach notification email, the damage is done.
Your identity stolen. Your financial future at risk.
And the company that lost your data, they'll just apologize and move on. Hackers aren't waiting.
Why are you? This can all sound really scary, which is why I'm so glad we're partnering with Aura. Hackers don't wait, so why should you? Aura monitors the dark web 24-7 for your phone number, email, and social security number.
Because the moment they show up for sale, criminals are ready to use them. If Aura detects your info, you'll get an instant alert, so you can act before the damage is done.
What if your identity is already stolen? Criminals can take out loans, max out credit cards, and vanish. That's why Aura provides up to $5 million in identity theft insurance and a US-based fraud resolution team that works around the clock to shut down fraud fast and get your life back on track.
Your personal data is a goldmine for hackers and Aura helps lock it down. With a VPN for private browsing, data broker opt out to stop companies from selling your info, and a password manager to help secure your accounts, Aura gives you the tools to fight back.
For a limited time, Aura is offering our listeners a 14-day trial, plus a check of your data to see if your personal information has been leaked online. All for free when you visit aura.com slash defense.
That's aura.com slash defense to sign up for a 14-day free trial and start protecting you and your loved ones. That's aura.com slash defense.
Certain terms apply, so be sure to check the site for details. L-E-G-E-N-D-Z.
Legends is revolutionizing the Vegas experience wherever you are. If you love winning, then you'll love playing at legendz.com.

Legends is a free-to-play social casino void.

We're prohibited to play responsibly.

Visit legends.com for more information.

Legends with a Z.com is legendary fun.

L-E-G-E-N-D-Z.

Legends, the greatest social casino and sportsbook experience, has arrived at legends.com.

With thousands of the best free-to-play casino-style games, chances to earn millions of bonus coins and win real money.

Legends is revolutionizing the Vegas experience wherever you are.

If you love winning, then you'll love playing at legendz.com.

Legends is a free-to-play social casino void.

We're prohibited to play responsibly.

Visit Legends.com for more information.