Bryan Cranston

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All right, Dana, you know, I'm always dragging around and

I always got a five-hour energy on me.

I know that

you're, yeah, they're either in my sock, in the car, they're somewhere.

You keep them everywhere.

I give them a little slurp.

I don't really shoot the whole thing like some people do on an empty stomach.

I think I eat a little bit, a couple sips, just like coffee.

Just keep, just keep something going every day.

Chug it.

I don't.

I'm actually,

I don't want that much.

energy at once.

It's five hours, so I kind of, you know, that's what most people do, but I sip it overall.

There's a lot of different flavors.

Yeah, there's one called Confetti Craze that tastes like a good birthday cake, which they're all pretty good.

But this tastes a hot and buttery flavor here to let you be unapologetically extra and unstoppably energized, actually.

Big birthday energy, wherever you go.

The shots are...

are reasonable.

You don't have to chug a full bottle or anything.

You just run around with that big birthday energy.

Yeah.

And

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Yeah, and I'm not like a a coffee guy so this is kind of better for me you're a five hour energy confetti craze guy five hour energy confetti craze flavor is available online head to www.5houenergy.com or amazon to order yours today brian cranston dana uh brian cranston i'm a big fan of brian cranston and you know i don't really run into him out there in the world and uh most of these people usually kind of bump into here and there but uh maybe they were doing malcolm in the Middle on CBS Radford a lot when I was doing Just Shoot Me.

It feels like it's synced up around the same time.

Super cool, super light on his feet, always

is laughing.

Doesn't take it too seriously for being a really good dramatic actor and comedic actor.

No, he doesn't take it seriously at all.

And you try to pay him a compliment.

He's very, very humble about it.

I'm not sure he can really grasp how great he is, but it's hard to not gush a little bit because he was so brilliant in Breaking Bad.

And I think it's a quintessential show.

Just someone really fun to hang out with, had a great sense of humor, told us all about his adventure trying to be a stand-up comedian for a full year.

And that's a very interesting story and where he came from and how he started in a soap opera in New York.

When he felt like he made it.

Yeah.

Oh, Malcolm in the Middle was huge.

And he got,

was it Breaking Bad within a year?

It's so weird how those timeframes, because Malcolm in the Middle seems like forever ago.

Breaking Bad does not seem like that long ago, but I guess within a year he got it.

Yeah.

And then it just goes to the idea of, I call it whimsy or luck in show business.

And he kind of talks about these pieces of his career.

There's this sort of like just planets lined up for him.

And of course, the Phoenician.

It's out right now with Wes Anderson.

The Phoenician scheme, was it?

Sorry about that.

With Benicio Del Toro, who I love.

Yeah.

And Tommy, Tommy Hanks, or Tom Hanks to you.

Tombo.

Tombo Hanks.

Yeah.

So

great chat.

We all cracked up, as always, and hope you like it.

And here's the guy.

Here is Mr.

Brian Cranston.

that dude's here already oh brian cranston god damn it

say anything he can't hear us yet he can't hear us yet i can't hear anything

not one thing

this guy brian cranston brian cransta is a name you want to say it feels good to say it you're

right

Brian Cranston.

Our whole goal is not to bore you.

So how's it going going so far?

I think we're bored.

You know, I just watched your monologue of Brian Cranston.

Oh, Brian Cranberry.

The SNL mono.

God.

Oh, God.

Thanks for coming on.

You're a, you know, you're, you're, you're Brian Cranston.

When did you first realize that?

Like, I'm fucking Brian Cranston.

Yeah.

When do you put fucking in it?

When did you kind of go, hey, I'm Brian Cranston.

I'm Brian Cranston.

I'm Brian fucking Cranston.

Yeah.

I want to know the moment because we don't have a real structure here.

I'm assuming sometime during Breaking Bad, it must have hit you at some point.

This is fantastic.

This show's great.

And I'm, I think I'm really killing it here.

This is, this is fucking, you know what I mean?

You must have had a moment, or maybe it was a gradual series of moments.

When I got an SNL, it worked out for me.

I was sort of like, oh, wow, I'm actually on SNL and it's doing pretty well for me.

So the same kind of thing.

Was it there or was it Malcolm in the middle?

Was it Seinfeld?

Or I assume breaking bad.

I'll let you talk.

There you go.

Yeah, you know, I mean, those

elevations along the way when you're hoping that you have opportunity.

I think I started to talk to some young actors a while ago and also

those of us who have been around a while.

And I said, I think I realized what it was.

When you first start out, you have

tremendous ambition, but low opportunity.

And

you want to conquer everything, but it's like you're struggling to find an audition.

And then if you get really lucky, as we all have,

I think the opportunities grow sometimes larger than the ambition.

And that's where I find myself now is putting out the same amount of energy, but going, oh my God, okay, yes, I will read that script.

I will get to that at some point.

You know, I instruct my agents now, I said, listen, please don't send me anything that you don't really love.

So, you know, let them do that work to be able to say, oh, this script is really, really great.

So you should take a look at it.

But I think, and it's a question I actually had for you,

for both of you thank you can i do that can i

we love we love that we like it better yeah it's better for us

you know the interesting thing of of when you feel like you've you've made it when i was 25 years old i got a job on a soap opera here in new york

and uh

you know it's churn man you're just one script you do the script you throw it out read so hard and the next day next day next day next day, it's a lot of churn that you're going through.

But there was something about feeling like, oh man, I could do this.

I feel like I can do this.

And it was from that moment on at 25 that I've only worked as an actor since.

And so I wanted to find out from you guys if that's the way you felt when you got on SNL.

Did something click?

Did you cross over a threshold that you went, holy shit, this is it for me?

David

my answer would be it was such a slow grind I think Dana popped quicker on SNL but I I was doing stand-up then I got on an HVO young comedians then I got on SNL then I was a writer first and so it took me to getting through SNL and having to make one more jump to something that worked because I wasn't quite solidified yet.

Like you can always make one misstep off SNL and you get one like free pass.

Hey, we'll give you a movie.

We'll give you a TV show or something.

And if that doesn't work, to generate that heat again is so fucking hard.

And so I got to a sitcom.

And then when the sitcom started to work, that one old one, just shoot me, it was probably on around when yours was on.

But when that got to like year three, I started to breathe again and go, okay, this might be what I do.

You know, I don't think I'm going back now.

But when was yours, Daniel?

Because that was, that was, it took that long, to be honest.

I bombed a lot.

You know, I just started doing stand-up.

There wasn't ground lanes or theater groups up in San Francisco in those days.

So I was doing stand-up, but I didn't find out until 10 years later, literally almost from my first set to getting SNL, like, oh, this is where I belong.

So when I got on SNL

and I'd done these characters as a stand-up, and then I put the wig on and the dress with church lane stuff, it was like,

this is really fun.

We'll talk about when you host it.

And also your LBJ, which is, I think is extraordinary.

i was watching you do one of the best lbjs out there well the only one where you you fred travelina and uh

well he was doing it as an actor i i mean i know i know hollywood wanted to use me i i screen tested for amadeus

you know um for real yeah yeah yeah i did a sitcom with mickey rooney nathan lane in new york city when I was 25 years of age at

studio 6A in Rockefeller center and then eight years later i got on the there so to answer your question shortly it's like once i got in sl i felt like a fish in water like i really belong here you know and so that was uh that was it for me you know how old were you then dana i was 51.

um no i

i was i was 31 in my first set in a shitbox comedy club where these comedians came up and i i thought well they're not that great it was a no it was in berkeley Berkeley.

And I, and I, I scrolled on a napkin.

And I do a Howard Kosell, I do John Wayne, you know.

And then a guy came up and levitated the room, and it was Rob Williams.

And then I crumpled the paper or the napkin, put it back in my pocket because I didn't know there was only one of him.

But basically, it was the classic 10 years of this.

But the stand-ups always have a baseline, like a band.

You just go back to the clubs, go to the theaters, do stand-ups.

So it's a nice little side job.

It is.

It's foundational foundational for you.

I did stand-up for about nine months

back in 1980,

81.

And

I did it only because it scared the shit out of me.

Yeah.

What you guys do was something that terrified me.

So I thought, wow, the only way I'm ever going to get over this.

fear of it is to dive in.

So I rose from being terrible to being mediocre in those.

That's a big jump.

Yeah, that's a big jump.

It is in stand-up here.

It is fish.

I'm just walking everyone.

Do the job, get a

consistent laughs.

Was it New York?

It was in LA.

Oh, in L.A.

back in 81 when they had,

there were places like the Playboy Club was there in Century City, the Laugh Stop.

Of course, the comedy store of improv.

Is Laugh Stop in Newport?

There was

one.

There was one in Newport, right?

Then there was one in the Valley where I had a great night.

My best night was in the Valley.

I did,

you know, about eight minutes or something and killed.

I got in my car.

I drove to the improv.

I begged the guy, you've got to get me on.

I'm on fire.

I'm on fire.

And he says, well, I could, you know, you stick around because someone may not show up.

Come on, you're blowing it.

I know.

So he says,

I think, what's his name?

He's not going to show up.

So in about 45 minutes, you can go on.

Okay, okay, 45 minutes, 45 minutes.

I walked around the block in that neighborhood.

I walked around the block in that neighborhood doing my set, just trying to recall it exactly as I did it that got such a great reaction.

And I felt great.

And I got up.

It wasn't the same.

Not the same.

Yuck.

It's so weird.

Crowds are like fingerprints.

They just, they're all a little bit different.

And then you go, I just was on the road and I'm like, one night, these three jokes work the best.

The next thing, these three.

So overall, it's about the same, but you go, why?

Why didn't they bite on that?

Did I say it wrong?

Is a different attitude?

Different something about it.

It just didn't work.

And you could, you could drive yourself crazy trying to figure it out.

Oh,

anyway.

And I started,

I started turning down auditions because I was drinking too much.

You know, I was in the clubs.

And if I had a good night, someone would offer me a drink.

If I had a bad night, someone would offer me a drink.

Oh, yeah.

And they're all free, which is great.

Yeah.

And you're just going and then sleeping until noon or one and turning down auditions.

And finally, I just went, wait a minute, wait a minute.

What am I doing?

And I realized that what you guys had innately was not me.

It was not in my being.

I was trying to overcome a fear.

And all of a sudden, I realized, wait a minute, I did that.

Oh,

let me go back to it.

That was the point.

Yeah, you did that, which is a huge thing.

I remember, does it scare you with acting?

Does it scare you, or is it the fact you have a few takes, so it's a little easier?

Well, it's just a different muscle, right?

You, you, and you, you're attracted to certain types of performing and you find something that you do well

and it's

inspiring.

I didn't wake up thinking, oh, I've got to get on stage and try to tell this joke.

I love being

different people and getting into their skin and doing the research and figuring out.

what made that guy tick and why was he important and all that.

So what are the police coming to your house right now?

Yeah, we've that's usually a, that's from our parent company it's just saying pick up the podcast a little bit it's a little bit of

siren it's a little bit like

i i'm just curious for a second because um you become one of our great actors uh it sort of maybe happened secretly or whatever but i know you would never put yourself probably with your your nature into

the the people you watch growing up you know and then you realize you must realize at some point you're doing work as good or or better than a lot of your heroes.

Right.

I'm talking, I know what age group we're in.

You know, there's you're the people

who

have loved you.

Jimmy Stewart, I just, so that's kind of surreal, isn't it?

To realize that.

I still don't feel that.

I don't know.

Maybe it's just the way I was raised.

But

there is that imposter syndrome that I think many people go through that you go, wait a minute, I don't always know what what i'm doing but people think i do

you can get away with a lot

oh my god your acting choices are like so genius you know i i forgot my line just throwing a dart yeah that stutter you did i was searching for the word yeah i didn't remember oh when you spaced out and you looked off you know so real

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Hello, it's Lena Dunham.

I host a podcast called The Sea Word with my dearest friend and historian of bad behavior, Alyssa Bennett.

What is up?

It's a chat show about women whose society is called crazy.

We're going to be rediscovering the stories of women society dismissed by calling them mad, sad, or just plain bad.

Listen to and follow the C-Word with Lena Dunham and Alyssa Bennett.

Available now, wherever you get your podcasts.

When did Bob Odenkirk first come to you and go, oh, that was a great take.

You're so bright.

Brian, you're killing it.

Oh, my God.

That's so great.

People are going to love it.

God,

yeah.

That's funny.

That's so funny.

When he was hired for Breaking Bad, he hadn't seen the show yet.

And I just ribbed him about that.

I go, so he got hired to be on a show and the episodes were readily available to you, but you chose.

Readily.

You chose not to be.

But

he learned quickly.

And

boy, what a lovely.

thing that's happened to him, you know?

And I, you know, when he, when he was offered uh better call saw he asked if if he can go out to lunch with me and i said sure and he said i'm not that guy i'm not the hey follow me i'll lead you to the promised land kind of guy and i said you know i didn't know that i was that either but there is the need for that person to kind of take care to kind of be the dad of a of a company.

Of a show.

Of a show.

You're number one on a call sheet.

It's kind of saying, there it is for you to take.

It's like quarterback.

They'll look up to you even whether you don't know it or not.

Exactly.

So I said, there's going to be a vacuum.

If you don't take it, someone else will, or it'll be taken up by someone who you don't necessarily think is the right person.

When I first started getting some comments of my work, I used to push back.

Hey, you're really good.

No, no, no.

I used to say that.

Oh, you're a, you're a, really becoming a television star.

Oh, no, no, no, no, no, no.

I'm just an actor.

And I found it did terrible things.

First of all, it made the person wrong, which is not a good movie.

Feel bad, yeah.

And feel bad.

It forced them to then continue the fight.

More compliments.

I'm being serious.

So, what do you say now?

Thank you.

Yeah.

Yeah.

Thank you.

That's it.

You don't want to go on a set and be run by number nine on the call sheet.

Let me ask you a question about the, and I don't know exactly, I know the Malcolm in the middle of this and that, but was

you were the lead lead in Breaking Bad and you were in the flow all day long.

I mean, the pacing of yourself, but also when you're someone who comes in and does a guest spot or has one line, you're waiting all day.

That's, I mean, you get into a flow, right?

Where you're just that character

for so many hours.

Is it harder, better?

Obviously, it's how do you handle, how do you handle the sheer exhaustion?

And do you get almost hypnotized even deeper into the, into the world because you're just doing so much of it?

Well, as you guys know this,

so for the listeners, it's, it's basically you, you find your rhythm.

when you're needed, when you can rest, you, you develop a system of how and when you're going to rise to an occasion and when you can shut down a little bit.

But I always thought,

and we've all been on shows where you have the person coming on the show who has one line

and they know nobody and they have to come in and nail that line.

And that's one of the hardest things to do.

Yes.

So I would always try to greet every

co-star, sabotage them.

No, go ahead.

And just try to make them feel at ease because, number one, it's the right thing to do to help this person.

But number two, it also helps your show.

Yeah, they're very important.

Those people that come in.

It's so important to get it right and they're in a vibe that they don't know.

They're just getting in the current, going, Are we playing everything like this?

And you're like, no, no, no, no, no, no, no, we're all down here.

Yeah.

Like, but they don't know.

And then you're like, okay, let's make it all clear.

It's late in the day.

All the makeup's kind of wearing down.

And the people have been filming filming all day long the crew looks wasted they're exhausted they're coming in to land that line yeah it's it's yeah they bring them in you're up it's like oh right before we wrap now just relax

okay never thought of

that hey great yeah

but so you so how old were you when you really made it made it in your mind

Because you struggled for a while.

No, but you know,

I expected to struggle.

So I guess I didn't feel like like I was struggling.

Um, so but after the soap opera, were you saying like that?

That was 25.

So you kind of consistently worked after that.

So that's really making it right very consistent after that.

I've never had to do anything but act after that point.

And that kind of confidence going into whatever you're doing next is

brilliant.

And it was a savior.

And then about 30,

I guess 35 years ago or so, I stumbled upon a philosophy that I realized, oh, I was doing everything wrong.

I was thinking that an audition was a job interview.

And that because I'm an actor and they're casting for a movie or a TV show or something, that's a job.

I'm going to go in to try to get something.

And I realized by doing that,

you're giving up your energy and

you're sending it away from you.

And so I thought, oh, whenever anybody wants or needs something, they don't have control.

They're giving up control because they need something.

They need a job.

They need validation.

They need something.

So I thought, oh, I'm just going to hold on to that.

And I'm not going to want something.

I'm going to give them something.

I worked on this scene.

I think I can do it.

But, you know, it's their option.

Here, here's an idea.

You take it.

If that works for you, fantastic.

If it doesn't, we'll see you later.

Oh, like we're 50-50.

I'm going in.

This is good.

You want my product?

Take it.

Exactly.

Goodbye.

And in the modern era, I like that.

You can audition with your phone or with a friend, which is kind of nice.

Like, here's how I'd play it.

You can see me.

You know, a lot of people get roles that way as well.

You can tweak it a little bit.

Yeah, that helps.

I hated going to those rooms and I always bombed and it was horrible.

I bombed in front of Paul Newman terribly and Joanne Woodward.

What did you do?

Holy shit.

Well, I had Paul Newman, the superstar.

Take a shit in front of them or something.

Were you there?

I think Robbie Benson got the part.

I had

no training.

I, I, you know, at all.

I was just a stand-up.

And so acting terrified me.

So I went in.

They put us off in pairs.

They auditioned.

So I went with a lovely young woman.

We read the scene.

I was all over the place.

I knew I was bombing.

Joanne Wood was there with the dog.

Paul Newman with red socks, really tall red socks.

Red socks.

And then Paul newman was so sweet we just bombed and then he he spent 10 minutes saying well i appreciated that he was just so nice about it but the air was thick and so i walked out with my partner i just i just met and i said well that didn't go well and she was like yeah yeah it didn't go well did it you know i mean i really ruined her audition yeah so anyway What you just said,

I hope young actors listen to that, that you're just showing them something.

You're not really trying to get a job.

It's the The difference is

do not go in there to get a job.

Go in there to do a job.

Yeah.

That's it.

If you can just say, this is my job, I'm going to create something.

It's either funny or that's appropriate to this character.

Here's my idea.

There it is.

Yeah.

If you like it, great.

If you don't, that's a fun thing.

I like that.

You don't look so desperate.

Narrow desperation.

That's my angle is desperate and thirsty because when I would go in, I would try to joke them.

I didn't know what I was doing.

So this is Dana probably does too.

We spend eight minutes talking about the 405 and how the crazy drive.

And then they're laughing.

And then I read it.

And then when it stops laughing, it goes, oh, forget it.

Oh, that happened to him.

I'm trying to win him over with the meeting.

I made Suzanne Plichette laugh so hard.

I had 15 minutes.

I'm doing, boy, I'm doing everything.

And well, let's, oh, I'm excited to hear you read.

And then it was just dead silence.

And, you know, I mean, so I'm just curious.

I thought again, I'm curious about our guest today.

I think I heard you say at one point that I'm just going to do this, show business.

This is, you made a decision wherever it goes, I'm just going to do this.

And what was that after the soap opera?

You went back to.

No,

I was actually going to a junior college in L.A.

I had no money.

So I was studying police science.

I was going to become a cop.

And

you look like you could play a detective.

You look pretty cool.

We'll get to that.

You must have played a cop or detective.

I played, yeah, I played lots of cops.

And

I didn't know what to do.

So I was going to become a cop and transfer to a university to finish before I went into the LAPD.

That was a general plan.

But my second year of this junior college, I took an acting class.

And in the class, my job was to kiss this really pretty girl.

I am making out with this pretty girl.

And I'm thinking, oh my God,

this is amazing.

And so

after that semester, now I'm 19 and I went, I have no idea what I want to do.

That just spun me out of control.

And so I hopped on a motorcycle and traveled around the country for a couple years.

getting jobs and

celebrating the kiss.

Yeah, just well, no, I was so so confused.

So in a way, at the time, I felt like I was running away.

And I suppose I was because I didn't know what it was I wanted to put all my energy in.

And it wasn't until I was on the Blue Ridge Parkway of Virginia, waiting out a rainstorm on my motorcycle underneath

a picnic covered picnic bench.

with a slab of cement and me.

And I stayed there for like five days because it just never stopped raining.

And it was at that time I had this epiphany that, okay,

I am going to go after something that I really feel I can be in love with, but I wasn't necessarily good at yet,

as opposed to something I was good at, which was police work, but I didn't love it.

And so that was the distinction to me.

And I thought, okay, here it goes.

I'm going all in.

There's no.

God, that's ballsy.

One of them is like a set job and the other one is iffy, very, very iffy.

And we always remain that way.

When did you first get a, without giving numbers, a check where you kind of went, holy shit, you know,

compared to regular, you know, I was a waiter, a busboy, dishwasher, all the, all the rest, but, you know, like, wow, that's amazing.

They're actually, I love this

and they're paying me a lot of money to do it.

It's a very heady thing.

Well,

I was doing some community theater and some summer stock and dinner theater and stuff like that.

But it was in 1979 is when I got my SAG card and started working and making a living.

And I did commercials and I did industrial films and whatever would pay the rent and all that stuff.

So that's, you know, it was fun.

When did you get paid too much money?

When did you want to give some of it back?

Because clearly this is wrong.

There are some of those jobs now

that you say, no, no, no.

Wait, what?

Wait, what did you get for godzilla 2017

what did you get we don't ask no we don't we you know you don't answer that question i'm sorry i do know that you know i i did when i was coming up i i worked uh did voices for the um power rangers i did so many voices for the power rangers that they renamed when they changed all the names from a Japanese name to Americanized sounding names.

They said, Uh, why don't we name the blue power ranger Cranston, Billy Cranston, not Brian, Billy Cranston?

Do you mind?

I said, I don't mind.

We didn't think it was going to go anywhere, and it goes anywhere.

So the Blue Power Ranger Billy Cranston is named after me because we did, I did so many of those voices.

Let's go, team!

Let's go!

Oh, I love that show.

Defeat me, I will kill you.

Oh, I love it.

You've kind of done everything, haven't you?

Voiceovers, sitcoms, movies, theater.

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Well, I think you're in this new Phoenician, is that correct?

Phoenician scheme.

Phoenician.

Phoenician scheme, which is

very interesting

movies, which I will see this one because you're in it and we're buddies now, but also because it's just those are so cool, those movies that he does.

He is

Wes Anderson is probably the most un-Texan-like Texan you've ever met.

Yeah, he's very nataly dressed, he's very, he's very erudite and polite and

worldly.

And

he, he, it's not to say, let me clarify, it's not to say that Texans can't also be that, but sure,

the sensibility.

Send all your letters to

Zana and David.

But, you know, so I've done, this is the third project I've done with Wes Anderson.

And he's, it's brilliant.

He's such an auteur.

You cannot go into it thinking, oh, I know where he's going to twist this or turn that.

It's like he blows your mind with where bananas.

He goes with stuff.

Yeah, it's crazy.

I think I saw that last one, maybe Astro something with Scarlett Johansen.

Asteroid City.

Yeah, yeah, Asteroid City.

And went and saw it at theater.

It was so fun and so cool.

And it just like wakes you up.

Like, okay, here's a movie.

Okay, pay attention.

I was in that everything.

Thanks.

Set dressings, everything.

Very good.

You did a great job.

And I love Benicio also.

Bonicio in this one.

He's cool.

What a cool guy.

I've run into him along the way here and there.

But what are your

co-star?

Yeah.

So give us some Benicio.

So Tom Hanks and I played brothers.

We play brothers in the Phoenician scheme.

And we are shooting this in Germany.

And so we go over to Germany and we're in every scene together.

So we're rehearsing together and stuff.

And

we had basically in this movie, Phoenician scheme, it's kind of light lift for us, but Benicio has a shit ton of dialogue, very specific, very Wes Anderson.

y you know the way it's carved and moved it's like wow And so we're, I was just saying, if there's anything I could do for you, man, you let me know because you're carrying the load here.

And he would just nod and look and he would cram.

And so it's challenging work because of the fact that he is so specific and is in his shooting style and the symmetry of his of his camera angles and everything.

It's amazing.

But the film works.

Phoenician Scheme really does work.

Those things I've already heard people that have seen it immediately, of course.

Yeah, you can tell it's

one person is making the movie.

I mean, I know that he's, it just sort of hit me researching that sometimes he collaborates with Roman Coppola.

Yeah.

And I did a commercial with Chevy Chase and Molly Channel, whatever, for a phone company.

And Roman was directing it.

And he had an immaculate suit on.

And he was such a gentleman, it was just very interesting to watch him do that.

And so when I saw him connected to Wes Anderson, there is an eloquence about them.

That is a type of director out there.

Also, it's nice to be in a movie, Brian, where they're not just like, who do we get to direct this?

You know, because it's going to look so

specific to a director when he does it.

You just watch the trailer and you go, oh, that's Wes.

Okay, that's what that is.

You know, and that pulls people right in, I think.

And to be an actor, to be in it would be what a blast.

it's cool i mean there is some pressure brian like when we were shooting asteroid city in spain

uh oh that was spain he was shot in spain for the california desert yeah the california nevada desert uh but i believed it he worked he

wes lives in paris most of the time so and he doesn't like to fly so he takes his his big bus coach that he has all decked out and he travels that way.

So he usually stays on the the con.

God, what a what a life.

He's in Paris with a bus, and he has complete control over his work, and he gets like 10 superstars.

Yeah, so the budget for the acting, I heard that Hank's got 20 million for this one, or is that what?

Is that

interesting?

But how does he manage?

Because you're doing it for the love of the art.

I mean, right?

And he gets just the greatest Bill Murray and you guys.

Yeah, we all make the same amount of money.

and I honestly can't even tell you what that is, but I know it's not much.

Yeah, it's like

I believe it.

It's just more like if he wants you and you do it.

That's such a great thing that he has.

It obviously must be just a hell of a nice person to want to be around.

And it's a great hang because there are no trailers.

You all go and you're in

one like really souped up kind of tent with the rugs and

nice, comfortable chairs and speaking lamps and

everybody just kind of hangs out together and you go in.

You only work usually about eight hours or nine hours a day.

That's it.

Within reason.

And then at night, every night, there is a long rectangular table and all the actors and all the department heads and the writers and producers and Wes, we all have dinner together every single night.

with wine and all kinds of things.

And so where do you watch porn?

That's my point.

Yeah, where?

How?

Why not?

Where?

How?

Who has to ask someone?

It's so embarrassing.

Can we do it at dinner?

Do we have to wait?

I do anyway.

I thought.

Yeah.

You know what?

You'll figure it out.

How do you personally, or I guess it's Project

like to be directed?

You know, do you like a soft touch?

You like someone in your face?

Cranston, I don't believe a word you're saying.

I don't get it.

Or does Wes Anderson kind of just sort of wander around and sort of give you subtle notes or do you like it all?

I mean,

the first first day i worked on asteroid city i had a quite a large uh speech to give and um and i got through it in his tricky dialogue and i thought i did pretty well and he did too he came to me and he said yes brian that was that was very very good now i just need it much much much much faster And it was like, oh,

to hear that.

Like, oh, my God.

So you're going so fast, you don't even hear yourself.

You don't even think you're thinking.

And you're

and getting it out.

So the work is, the work is changing.

It's hard with dialogue.

People forget you're memorizing.

It's so hard to get every word right, especially if you're working for a writer or director.

And you go, I've had one where you came back and he said, you were great.

You missed this one word here.

Let's go again.

And I go.

One word, it was like one word that didn't change anything.

Yeah.

But that's the way I wrote it.

I go, got it.

You said

instead of bumping.

Exactly.

Oh, I hate that.

That's why I hated movies because you go in the morning for the master shot and then you're in your close-up eight hours later and the script supervisor says, no, your elbow was on top of the chair.

Oh, really?

I mean, that's why have you done movies where it's like a moving master, minimal shooting,

that kind of freedom?

Yeah.

Yeah.

And that's kind of fun.

You know, I don't know if you remember this, Dana, but we worked together.

Why?

Whoa.

I remember running into at Letterman, right?

No, we've done that, but no, like Dave said.

Was I first on the call sheet?

Where was I?

Yes, sir, you were.

Was I nice?

Wayne's Opportunity Knox?

Yeah, kind of.

No, it wasn't that.

Clean slate?

Clean slate.

Whoa.

You were in that.

That movie?

That's your, probably your lowest grossing movie.

Oh, that's crazy.

I'm so sorry.

If I could write you a check, Axe, I'm into a Venmo.

Where are you?

I played the very pivotal role of club official.

Yeah.

Dana, what would that be?

Do you remember?

We were in Santa Monica on the beach.

Yes, I remember that.

Right.

And

I don't remember anything else.

Not a thing.

Tana doesn't even remember Santa Monica.

I don't remember a thing.

So I play a character with amnesia.

It was terrible.

I went to his acting coach and his theory was

you don't have amnesia.

Your character is pretending to have amnesia, but you don't, your character does not have amnesia.

Was that real?

This is Roy London.

God rest his soul.

He's this great actor.

So that was his way of getting you out of your own way.

So then there was a guy

playing a blind person.

We were filming at the beach and he had the stick and he's playing a blind person.

And I say, I said to him,

You know, I don't really have amnesia.

I'm just pretending.

And he goes, I'm not really blind.

He gone to the same acting coach.

You know, whatever.

I just figured.

But

yeah,

that was ridiculous.

That was me making a foolish choice right off of SNL.

I had way too much heat, no experience.

And

I wish I could take it back.

If we could have switched in that you became the lead and I was guard number one, it might have had a chance.

No, I was club official.

Oh, club official.

God, Wikipedia sucks sometimes.

Oh, my God.

That was written by Robert King.

Yeah.

Robert King.

He's great.

I've worked with since.

Yeah, I was partners with him on a series called Your Honor.

And he's terrific.

Oh, yeah.

That's a great show.

I've never seen you bad.

I don't know if you like.

Oh, you were kind of bad.

Let's see.

What was

that?

What was the one we circled?

No, but by the way,

when I heard

Amalcolm in the Middle Reboot, is it?

That's right.

What is it on?

What is on?

Disney Plus?

It's going to be on Disney.

Yeah.

Since they bought out Fox, we were originally owned by Fox.

Oh, yeah.

How do they do that?

And so now we're

owned by Disney.

And they bought four episodes of this reboot.

I didn't think it reboot.

It's something I was trying, I was pushing for for the last 10 years because I thought that that audience.

It was that hard?

Wow.

Well, fun.

No, Linwood Boomer, who is the creator of the show, when I first pitched it to him, he said, no, I'm not interested.

No.

About a year and a half later, I said, what about it?

He goes, no, I really don't think it's something I want to do.

And I went, really?

It's starting to improve.

And then

the third time, three years after that, it was like, well, you know, if someone else wrote it, maybe I'll look at it.

And I just started wearing him down until he said, I've got an idea.

And I said, good.

Love it.

Go get it.

So we just finished it.

We shot that a month ago.

And it's amazing how these boys who were my boys on that show.

are now around the same age I was when we first started.

Oh, no, really?

They've got children of their own.

There's a kid on their name, Eric, is there?

Yeah, Eric.

Per Sullivan?

Yeah, Eric Per Sullivan.

Played

Little Joe Dirt in an old movie.

That's right.

He played me as a kid.

Now, David, did you remember that?

Or

now that you were doing the research?

I didn't.

I remembered he was on it back then.

He's really cute and funny.

And he walked on little cowboy boots and

in the movie.

But now that you say it again, I'm like, oh, that's right.

He's probably, you know, older now.

But he is the only one who's not, who didn't come back to act in the show.

Oh, for real?

Yeah.

I talked to Eric and I said, hey, we got the show.

It's going to come back.

He goes, oh, that's fantastic.

And I go, yeah, so we're looking forward to having you back.

He goes, oh, no, no, I don't want to do it, but it's fantastic.

Oh, really?

Yeah, because he's...

He's actually going to Harvard.

And he's a normal person now.

Well, I don't think he's not normal because he's really

not in my circle, normal.

He's he's really, really smart.

And he's getting, I think he's getting his master's at Harvard right now.

He said, oh, God, no, I haven't acted since I was nine or something.

So I'm not into it.

Yeah.

Wow, because he's like, it just makes us all feel so dumb that we're actors.

He's like, I don't want to go do that stupid shit again.

I'm like, no, it's pretty smart what we do.

And And you're like, no,

not really.

It's not that hard.

Oh, cool, though.

All right, pick a topic.

Okay.

SNL, you hosted.

Oh, God.

And

just because it was all over the place a couple years ago during the strike, just the idea of AI

and robots integrating with our industry and where it seems to be going is fascinating to me because we keep seeing these digital short films by Alphabet Google, where you're like, you know, what the hell?

I mean, it's getting surreal.

We are actually digital copies right now.

I just want to be full disclosure, but it is kind of bizarre, isn't it?

Just to watch the future arrive.

It is.

It just feels like something a little impersonal, but

I remember it so fondly and being invited to host at that time when Breaking Bad was at its, you know,

peak and uh i immediately said yes and it's such a rush i mean i know you guys have talked about this on the podcast before and everyone's experience but it was it was incredible and how

how

deep dive involved you are in every moment of that and that you know from that from the first time i'm sitting in in lauren's office in that chair in the middle and everybody, all the writers are on the floor and behind the curtains and things.

And

I thought the pitches that were going on that first day, that Monday, were actually supposed to be sincere.

It was like, not some of them are, some, but most are fake pitches.

Yeah, most they go.

I just want to say this because it'll be rejected and let it die.

A cold blood.

Someone said, okay, so

you're a barista at Starbucks, and you finish your drink and you call out, Trevor,

Trevor,

I smoke,

latte, Trevor,

Trevor.

And no one ever shows up.

That was his pitch.

That's the whole pitch.

That was the whole pitch.

I went, huh?

I thought this is going to be a long week.

Yeah.

People think of that at Starbucks on the way to the meeting.

They're like, because they have, I think the problem is you end the show Saturday.

You don't wake up until Sunday at three in the afternoon.

You do your laundry and then you're in front of Brian Cranston.

You're like, I haven't, I will think of something for him.

I just have not.

I would say a guy walks up and says his name is Trevu.

Trevu?

No, not Trevor.

Trevor.

And then another guy walks up, Taneev.

Nope, Trevor.

Trevor.

I'm Tevor.

Trevu.

I'm just trying to completely.

We can write it.

We'll write it.

Lauren will be listening to this.

We'll have him back, you know, after

the Wes Anderson kick.

We'll get good numbers with the Malcolm Peatle.

Do they have nicknames for Malcolm in the middle of fanatics like malconites or middlers they probably do but i i don't not aware i don't know i'm not aware of that stuff yet i don't

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Listen, you know, you're always talking about Quincy, the old show you watch, but there's also Quince.

I love the reference.

You're always talking about

the

grouchy mortician or whatever Quincy was.

Well, you always, when you hear it, you always think it's Quint and you think of the guy in John.

John Jaws, that's right.

Yeah, but that is not what we're hearing.

I always want to talk about Quince with a C at the end.

Why drop a fortune on basics when you don't have to?

Quince is high quality, great stuff.

Clothing.

Oh, yeah.

Quince has good stuff, high-quality fabrics, classic fits, lightweight layers for warm weather, all at prices that make sense.

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Yeah, I like the cashmere.

I like some stuff just for around the house for right now.

It's great.

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so what were you what what was your monologue like uh did you when you were coming out there i mean did you have a strong one i have

i did have some ideas and john mulaney is wrote it i remember that guy.

Did he do that barbershop kind of quartet one or whatever you did?

Yes.

The singer.

That's right, the barbershop kind of thing.

And he said,

you know, what if we take the point of view that

people kind of know you, but they don't really know you?

And I said, yeah, okay.

He's like, because I was getting that, oh, you're the guy from Malcolm and the Middle.

You're the dad.

You're the guy.

You're the guy.

It wasn't.

associating name with face

breaking bad was on at that time right yeah but but then still kind of going up.

You're kind of that guy.

Oh, you're a wall.

You're the guy from Breaking Bad.

Right.

Yeah.

And it's not until someone actually knows your name connected to your face that you go, okay, things have changed.

Which goes back to your original question, Dan.

Is that that's when you go, oh, things have changed.

But we did, yeah, we did the monologue, and I just wanted to do anything.

I had a couple pitches for them, which I pitched ideas, which were almost immediately shut down.

I had a great pitch, which I think is.

I'm a circus clown.

And do you remember the pitch?

I do remember the pitch.

But let's hear it and let's see if it's really that bad.

We'll grade it.

Okay, so one to ten.

So

myself and a date and another couple,

we can't believe we got reservations for this restaurant.

It's supposed to be amazing.

It's called

in the sauce.

And it's like, wow.

And this very snooty waiter comes in and says, are you ready?

Can we see a menu?

No, we don't give menus.

We serve you food.

You eat the food.

You leave.

You know, it's like, oh, okay, yes, yes, yes.

And he said, it's all about the sauce.

So he puts down a crude d'eté and we dip it in the sauce.

And it's like, oh my God, just amazing.

Crude de is taken away.

Here comes the entree.

You're eating the entree.

We're eating.

Oh my God, this sauce is absolutely insane we're overeating we eat too much we throw up we dip the barf in the sauce oh my god

it's all about the sauce it's like no matter no matter what you're eating as long as

we know no i like it's in the sauce it's in the sauce what if it's soil and green at the end it's got it's like you you know you have a severed finger and you dip it in the sauce and whatever i i got you yeah still good still good

that didn't get past monday meeting Yeah, it didn't get past Monday meeting.

I truncated that pitch now.

It goes much longer.

I can do a longer version.

Sauteed pig snout to take a bite.

Oh, this is horrible.

Oh, yeah.

Dippin' sauce.

Yeah, get everyone to come in with a funny accent.

You're halfway there.

Did you get to play big, big broad accents, Italian?

Get that out of your system and just, because you have a great ear.

I mean,

you know, it's like that.

your your listeners know the system now so i mean tuesday is the big writing overnight right and then wednesday the binder the binder of 60 sketches terrifying and each writer is can i talk to you a second okay now you're a pirate you're a pirate and you're you know there's absolutely no system they just grab you on the way they just grab you

you know and and so you're you're just making big choices you know okay i'm going to do a new york accent a southern accent an english accent I'm a pirate.

I'm a baseball player.

And so I don't know what I was doing.

It was just one after another after another.

And it's dizzying, as you know.

And then, but, you know, he's weighing, Lauren kind of knows what he wants already.

And then, and then I'm shuttled into the room.

Shuttled.

Seth.

Yeah, kind of.

Yeah, Lauren's office, powered ground.

Seth and Steve came in.

Steve Higgins, Seth Myers, Steve Higgins, yeah, and Seth.

seth and we're we're looking at the board and he's and lauren said well is there any particular

sketch that you felt connected to and i said yeah that uh this other one this lawnyermette one yeah that's not as strong as this one though you know

he hoped you agree and then you're like no actually you're on what you just picked uh would never work um here's one that's better oh you're a novice it's not your fault but we'll take care of it is there anyone you don't like that'll be the bar seek any more popcorn no problem

brian he's starving help him he's so funny but yeah i mean it is uh there's nothing like it we've it's been called an athletic event on the show by some people like a sporting event it's tactile it's it's uh

high risk i don't know i mean

We got to get you back on.

I want to co-host with you and David.

Yeah.

I would love to go back on because it is, you know, Steve Higgins said,

there's two things,

two pieces of advice I can give you.

And I, and I had known Steve before because I worked with his brothers, Al Higgins and David Higgins, who were connected to Malcolm.

Al was one of the writers of Malcolm.

Dave Higgins was one of the actors on the show.

So Steve says, Two things.

First and foremost, trust the cards.

Don't think you can go off the cards and I got this.

I know what it is because they're constantly changing.

Cues are changing.

Lines are changing.

Trust the cards.

And second,

don't try to be perfect.

Allow it to not be perfect.

Allow it to be wherever it's going to go.

Part of the fun.

Yeah.

Yeah.

And so I took that advice.

And I think by doing so, I mean, I had a blast.

And man, that 90 minutes was over in it felt like two seconds.

It felt like, you know, 85 minutes.

It was amazing.

Yeah, the energy that comes because

when you host that show, you're pretty wiped out by the time the dress and all the stuff.

And you're coming out and you're like, damn.

And then, of course, it just comes.

It's easy.

It just comes when you need it.

As soon as you hear that, it's adrenaline.

Yeah.

And then to hear

for the first time, I'm backstage at that door with the facade, and people are scribbling their names on the thing.

And you're waiting behind the door.

And I'm standing there going, oh my God, I'm about to host Saturday Night Live.

Oh, my God.

And

I just took a couple of deep breaths.

And then I hear Don Pardo's voice going, and host Brian Quincelon.

You know, and I went,

that freaked me out.

And the door opens and out we go.

And it was

like shot out of a cannon.

Yeah.

Well, Brian, before you go, I definitely want to tell you, it's great.

First of all, great to have you.

And second of all, to have a line like, I won't get it exactly right, but that scene when you say, I am the danger, everyone knows it.

Everyone talks about it.

It's great to have a show.

It's already, everyone's all over it.

But then to have such a cool thing, what a blast.

It possessed me.

I was completely possessed by that show and the acting and Aaron Paul.

All of it was just so new and different.

I try to think because I was talking to someone, I go sopranos breaking bad.

You know, when they say television's better than movies, you know, like to be up in that category, I thought Ozarks was really good.

There's been a lot of other shows, but I can for sure say Sopranos Breaking Bad.

Like, if you have people who haven't seen Sopranos, you got to watch that.

Haven't seen Breaking Bad, you got to watch that.

And I think they're seminal.

I think they're

the wire also as a wire is another one.

There are others where it's like not arguable.

People are like, okay, okay.

It almost didn't happen for me either.

We were finishing Malcolm in the Middle seventh season, and Fox said, keep all the sets up.

We might pick it up for an eighth season.

Then they turned around and a month later said in May of 06, no, we had a good pilot season, so we're done with Malcolm.

Thank you very much.

We're all a little disappointed.

We would have been, it would have been fun.

But later that year is when Vince Gilligan wanted to see me for Breaking Bad.

And we shot the pilot for Breaking Bad in February and March of 07.

Had Malcolm in the Middle gone that eighth year, I'm not doing Breaking Bad.

Someone else is.

Wow.

So it's right.

I try to tell that to young actors all the time to say, luck has a weird way of working.

So just when something happens that you think is bad luck, it may be putting you in a position to have better luck.

You don't know.

Yeah, that's, I love Paul Newman for a lot of reasons, you know, his charitable work, but he always, people would try to go, how great, cool and Luke, and how great you are.

He goes, it comes down to one thing, dumb luck, you know, whether that's completely true or not, but, you know, there is whimsy, whimsy to this life and whimsical things happen in show business.

You'd never know.

But you still should not have taken a shit on his Red Sox.

No, that's crazy.

That was

a mistake.

I know, but I did have a dream last last night.

I'll leave you with this.

I had a dream last night because I thought of you as, in a way, like archetypal, like you could have been an actor from the 40s and 50s or whatever, just because of

how you looked.

You're timeless in a way.

And Henry Fonda came to me in the dream.

And I said, well, what do you think of these young actors, Brian Cranston?

He said, well, he's as good as anybody's ever been.

He sure knows his way around a camera.

Would have loved to have done a movie with Brian Cranston.

and then i woke up you know i said to my wife i i just heard henry fonda talking about brian cranston so i just wanted to do that for you thank you no woman asked me to do henry fonda anymore now that's a perfect henry fonda unfortunately you got to be 60 to to to know who he is they only remember jimmy stewart they don't remember spencer tracy carrie grant it's jimmy stewart because of the christmas movie it's a wonderful life brian looks like a little bit like springsteen today yeah

Don't you think a little bit?

He does look a little bit.

There's an underbud there.

He has a good underbut.

Yeah.

I like that.

He's cool.

We were all.

Brian.

Thank you, buddy.

All right.

Thank you.

Brian.

It's such a pleasure.

And good luck and everything.

And I'm going to go see this Wes Anderson pitcher.

I'm going to see the Phoenician Scheme.

The Phoenician Scheme.

The Station Scheme.

And we got Malcolm coming out soon.

I'll come at all.

Yep.

Thanks, Brian.

Okay, bud.

Have a good day.

Be well.

You too.

This has been a presentation of Odyssey.

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Fly in the Wall is executive and produced by Dana Carvey and David Spade, Jenna Weiss-Berman of Odyssey, and Heather Santoro.

The show's lead producer is Greg Holtzman.