"Jeff Goldblum"
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Hi, guys.
We're about to do the show.
How do you feel today?
All right.
I feel pretty good.
I feel pretty good.
You're great.
You sound like it.
Oh, welcome to Smart List.
Give us a chance to catch our breath.
Smart.
Smart.
Oh, Willie's like really sensitive and kind of like, he's like delicate today.
He's like very delicate.
I am.
You're picking up on a vibe.
Yeah, I am.
Yeah, super delicate.
We know who you are.
Backwards hat kind of vibe.
Like, it's great.
Took it off.
Hair getting a little long.
He's an artist.
Little.
He's an artist, and he didn't get much sleep last night.
It's like Crystal Gale over there.
Dude, right?
I don't know what you're doing, but you are dialed.
You are dialed, dude.
Here comes JJ's back.
You're picking up on a fire.
Oh, there you are.
There he is.
Belissima.
Okay.
Will is sensitive today and tired today.
He's a sensitive, tired little boy.
Will it Sunday morning?
Well, no, it's Sunday afternoon.
It's lunchtime where you are, Willie.
Yeah.
Great week.
Long.
Late late nights.
Shawnee was there.
Do some nights.
Yeah, Shawnee was there.
A few nights in a row.
Oh, yeah.
Sean, you did a little work this week, too, with Will.
That was fun, though.
It was really fun.
Some really good stuff.
Good laughing.
It was really fun, wasn't it?
Yeah.
Oh, my God.
Oh, did you guys really work the scenes?
Huh?
No, we didn't.
Was it magic?
I mean, yes.
Yes.
First of all, yes.
That was it.
It was good.
Yeah.
Was it?
Yeah.
And then
we had a couple moments.
We had, we were sitting around this table that's all done up, you know, the props to put the food out and stuff.
And
Sean picks up these noodles and goes, somebody says something and goes, that's really low, man.
Come on.
So dumb.
We're all trying to think of like Chinese food puns.
And he was so dumb.
Was it on camera or was it just in between setups?
Just in between setups.
And we were just laughing because it's so dumb.
Everybody's giddy because it's, you know, one in the morning or whatever.
Yeah.
And then
painting.
Sean said, oh, we got dinner.
He goes, I got a meal with somebody this week, tomorrow.
And I go, oh, at dinner?
He goes, no, at lunch i try to keep my keep my dinners free and i said free of what vegetables
did you get any of this on camera or is it just for your own
but that was pretty funny
um
that was funny uh well you want to say something about pete the great pete thorella oh yeah pete thorell's an absolute all-star he's the best i love that guy yeah he's incredible a total so fast he's the first idea he's the for tracy that's the guy who basically just keeps everything on track and running and for everybody on this guy who runs the show yeah and so it was like one in the morning and i don't know everybody's so tired and not in the mood for any jokes and i and pete was just talking about the how the scenes goes and i said hey pete he goes yeah i go can you keep your process inside because we can all hear it
and we have enough to think about did he laugh
yeah he laughed but for a second
he thought i was serious he thought he was serious and i could see that pete's like is this guy really saying this to me?
Yeah.
He's complicated when he was running.
Sean just did it in front of everybody.
Hey, Pete, like across the set.
Can you just keep your vocalizing outside your process?
Pete Thorell, one of the all-time greats.
He came from you.
He was a recommend from you.
Yeah.
Yeah, that's because you've worked with him.
And he's just a ton.
Yeah, Pete and I have done a ton of stuff together.
It's my Sadie and things that I've directed.
He's just like.
He's so great.
He's so great.
So you guys have worked together a lot.
We've done, we did Family Fang together.
We did three or four seasons of Ozark together.
We did the episode.
He was the first AD every episode of Ozark, those first three, four?
No, no, no.
He alternated with
you rotate.
There's two of them.
Oh, right.
But I get Pete on everything I direct if he's available.
But he's very fancy now.
He's working with a bunch of
directors that make me look like a little punk, which I am.
Which is weird.
He worked together a lot because he said I'm his his favorite.
He's ever.
Anyway, it doesn't matter.
I literally take work just so I could work with Pete.
Like, I really don't care what I get.
Yeah, he, he's, I now get it.
He's, he's incredible.
He's an incredible dude.
Anyway, the great Pete's.
So wait, so Willie, I wanted to wait to share this with you today because I already told Jason last Sunday that this is one of the craziest things that happened to me.
So Scotty and I were looking at real estate in Brooklyn and we go see this new townhouse.
Not that we can afford it.
We just were like, let's see what's around.
And my broker was like, you you should see what's anyways.
It's a beautiful townhouse.
It was crazy.
It was like five floors.
And so we're walking, we're walking upstairs, walking all the way upstairs.
We get to the top of the stairs, totally out of breath.
And I'm like, okay, great.
Let's just move on to things that are real.
And
because writing five, walking up five flights of stairs is just, it's not going to happen in the real world.
No, no, not five flights of stairs.
No.
So Scotty goes, let's ride the elevator down.
I'm like, okay.
So we got me and Scotty got on the elevator with one of our realtors and Linda is her name.
She's great.
And so it's like shoulder to shoulder.
This like post is
out there, apparently you're great.
Good for you, Linda.
You're part of the team.
One of our realtors.
Go ahead.
So you're in the fucking elevator in a townhouse.
This is a hashtag relatable.
Keep going.
But wait.
So, Willie,
the doors closed, the gates close.
I press the button and it doesn't move.
Open the door, won't open.
Press the button again.
We're shoulder to shoulder.
And now, even 10 seconds in, I'm like, this isn't, I was freaking out.
And
30 seconds, one minute, five minutes, she's calling the realtor.
Scotty's blood sugar is dropping like crazy.
That die because they're double arrows.
I was like, okay, so he's going to die in here.
I'm going to, like, it was crazy.
And so I yell through the door.
I'm like, call 911.
So they call 911.
They call 911 and the firefighters.
So the firefighters come and just now we're like, 30 seconds is a long time to be stuck in something with that.
So now you got a boner.
Right.
Makes it even worse.
That would have fixed it.
So, wait,
so you think 30 seconds is long
or a minute.
We were in there for like 10, 15 minutes.
It was great.
had to, I had to squat down and like breathe.
I was going crazy.
So, of course, hey, Will, is the gum good?
Does it taste good?
Because it sounds awesome.
Look at me.
It's just a podcast, you know.
Sorry, keep going, Sean.
I'm at the end of the story.
So, the fire, as the firefighters pull up, there is a latch in the door.
I pushed it, the door open.
I got out.
That's it.
And you're out.
And
Scotty made it okay.
We're not too sure.
He's still in the box.
Look back.
Jason, look back.
Jason feigned interest.
Is Scotty always okay?
Is Scotty got?
Okay, let's get to the game.
How's Linda's data plan?
And so you passed on this one
back in the SUV.
Could you ask if you could put it in an escalator?
Oh, God, is that funny?
All right.
Let's get to our guests.
Jesus Christ.
You guys,
we're all big, big fans of this guy.
He's amazing.
I'm not committing to that yet.
I promise you.
I don't know who it is.
And it was such an honor when he was a guest of ours on Will and Grace.
Before becoming the beloved Hollywood treasure that we know today, he used to write affirmations in the shower asking God to let him be an actor.
Spoiler alert, God delivered.
But before that, he was peddling office supplies to correction facilities in between auditions.
Today, when he's not recording amazing jazz albums, you can see him being wizardly.
And one of the hottest blockbusters this year is the incredibly talented and utterly delightful Jeff Goldblum.
Oh, yes, I am a fan of Jeff Goldblum.
Yes, I am a fan as well.
Yes.
Sava.
Oh, the best.
The best.
Hi, Jeff.
I'm so sorry.
I'm literally crying.
Oh, shit.
John, I'm so happy to be here.
I'm so happy to be here.
I love you all.
By the way, where are you?
You know where I am in my, in our apartment in Florence, M.
Oh, wow.
So
another hashtag relatable.
Jeffrey's doing very well.
You don't have an elevator in there, do you?
Yes.
You do?
We do.
Yes, we do.
It's a couple of floors.
It's very, very nice.
But
I want to be relatable.
No, we've been living here for know the last couple of years a few years our two kids seven and nine two boys are going to school here Lisa Francaise
My wife is from Toronto.
She speaks French to them.
They speak now three languages because they speak English from Toronto.
I know he is.
I have much to ask.
I'm so interested in you guys.
I adore you.
I adore this show.
And just your little tete tete tete before I came on.
Your coffee chat.
Yeah, your coffee chat.
I love so much.
And I I love this show.
But you know what I love?
It reminded me, is people making each other laugh.
If I have my drothers, I oftentimes, if I really need a lift, I'll go on YouTube and see the blooper reels for, you know, I have my favorites, you know, Julie Louis Dreyfus
on Seinfeld.
I love the way she laughs.
Larry David, I love the way he laughs.
Ricky Gervais, all these people have been on your show, of course.
When Larry David laughs, his jaw becomes unhinged.
So great.
I love it.
It is true.
The bloopers, the bloopers from things, it is really fun to watch because you know it's coming.
And so you watch the people as it like it surprises them.
It sneaks up on them and then they try to hold it together and then it's full release.
It's always funny.
Better phrase than that.
I love it.
Hey, how about, and then I sometimes, because my algorithm knows I like it, I guess, I see bloopers from 1930s.
And so you see, you know, Barbara Stanwick and Humphrey Bogart, you know, forgetting Betty Davis forgetting their lines
and swearing.
Isn't that interesting?
Doesn't that make them current?
I don't think I've ever seen anybody.
I've never seen that.
No.
Yeah.
It's kind of interesting.
I mean, I love behind the scenes of all kinds.
One of my little obsessions is to go on now, the device, and you can see interviews with everybody about the craft and directors and actors and these podcasts.
We have to talk about that.
If we were really at dinner and we could talk for a few hours, you know, I feel like I have so much to talk to you guys about that we need to be pithy on all these issues.
But,
you know, I would like to talk about the history of talk shows and the new podcast phenomenon, of which you guys are now the kings of the hill,
and the form, which allows us to know you and to know all your guests.
So thank you for that.
And because I know there are people I like particularly on your show that I now know better than ever.
I just saw a a play.
We just came back.
Sorry if I'm too self-starting and chatty, but I'm excited.
We just came back from a little weekend trip, leaving the kids here with their helper, with good people.
And we saw two plays, and we went to
in London,
a gallery and saw
a couple of good people.
God helpers, yeah, I know.
No, they're good, and they did a very good job.
But my point is
that Kate Blanchett, we saw in The Seagull.
Oh, how is that?
I'm doing The Barbican right after her.
Oh, I want to hear all about that.
And I want to talk about theater.
I want to talk about Oscar Levant.
But The Barbican, I'd never heard of.
I'd never been in.
It's a very beautiful theater.
Yeah.
And it was one of the, I mean, The Seagull.
I'd seen my parents.
I want to see that.
Well, my parents who took us to see art films when I was a teenager, in the mid-60s, et cetera, I then remember, only this last weekend remembered that I saw a movie made by Sidney LeMette of the Seagull with Vanessa Redgrave and et cetera, and
a lot of people that I want to go and revisit.
Anyway, we saw this play.
I was going to be with you.
Oh, my gosh.
Emma Corin was Nina in it.
She was the mother, if you know the play.
At the end, we went back to see the actors, all of whom.
It's a lovely cast.
And
I'm always, it's one of my favorite things about a theater experience going back, even though I love this three-hour show.
But I went back, everybody was lovely.
I met Emma Carr and da da da da.
And then Kate herself allowed us to come back.
She couldn't have been lovelier.
I've crossed paths with her.
We've been in a couple of movies, never had scenes together, but I saw her in another play.
Anyway, for the second time, I went back.
The first time was after she did Blanche Dubois in Streetcar Named Desired.
Wish I Saw It Bam.
But I went back this time and I just burst, I blubbered I burst into
deep the deepest tears I do I do that too when I see something great I really get moved yeah or some low mane or some low mane
about you guys about food to you guys too I love low mane I love all manner of food we have to talk about that but and then my other the point that I was really getting at is that we went tuned into your show because I'm doing all my research I
heard about your show but it's mostly since since I've had this assignment in the last couple of weeks that I've been immersed in it.
I've seen, I've heard many, many things,
hours and hours and hours, including her thing.
And so the point is, I learned more about her, and I felt like it was the best interview.
And the way you guys do it, it allows us not only to know you, but your guests in a very beautiful way.
We can't wait to get to know you today, Jeff Goldman.
Here comes Sean's podcast character.
Every time time I hear like the seagull, I'm reminded of that line from Whitnell and I.
And he says, I loathe those Russian plays.
They're always filled with women staring out of windows, whining about ducks going to Moscow.
Anyway,
that's true.
That's funny.
It's a brilliant line, isn't it?
It's brilliant.
How do you know that verbatim?
Bruce Robinson.
I've seen that film thousands of times.
Withnell and I, I think it's the most perfect film of all time.
Do you know?
For years I have heard about that film, and
I saw it
the first 15 minutes.
It wasn't because of the movie.
I took an exit ramp and I haven't gone in, so I've never seen it, really.
And I know people highly esteem that like you do.
I know.
I went down the same ramp.
I haven't been back yet.
I'd like to.
So you and I will do a double feature.
We'll see the Lehmet piece and with Nail and I.
When are you back in the country?
Me and you?
Yo, yo, yo.
I'd love my.
Boy, what a reaction.
What?
Me and you.
I thought you were talking to your conference.
No, I don't know.
No, I'm looking at my schedule now, and it's really tight right through Christmas.
Let's go to the movies.
Let's do many things.
You know, you're my favorite.
You're my best friends now, you know.
Uh-huh.
We'll be right back.
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And now back to the show.
Now, Jeff, I want to talk about this, this, this thing about, about,
I poll anyone who will answer, this thing about going backstage when you go see the play
on Broadway.
And And apologies to the listener.
This is hashtag not relatable again.
I'm going.
So there's this thing where Sean did it the other night, Jason.
By the way, Sean did it the other night at Glen Gary.
Yeah, well, okay, so now I didn't.
Okay.
I went, I saw Glenn Gary last week as well.
And now I don't know those actors except for the fact that they have been on this show.
Right.
No, and you know, you know Bob.
You know Bob Odor.
I've talked to Bob at a couple of parties, but I don't think that counts in order to what I think is disruptive and potentially annoying to an actor that's just finished a two-hour performance.
I know you can't tell.
Fine line.
Now they have to like meet and greet and like play host to a bunch of people backstage they don't know, except for the fact that they are also famous.
But are you planning on being a handful?
Is that what it is?
What are you going to come back?
You're going to hear like, oh, you were so great.
Yeah, you can't.
Thank you so much.
Right.
You You can't tell if it's work for them and they want that or they don't want that and they want to go home.
But, Sean, as you pointed out, as you pointed out, you are made, generally, you're made aware.
The stage manager will come and say, so-and-so and, so-and-so-and-so-and-so is in the house.
And what happens is, Jason, so a lot of those people,
they are fans of yours and they respect you and what you've done for some reason.
And then they say, he's out there tonight.
And then they go, and then they're backstage.
And they're like, because it's become dirigue to do that, if you don't do it, also the opposite is true.
And they go, this guy, big shot Bateman, as he's known, he rolls in, puts his eyeballs on us.
We pour it out for hours with our snappy dialogue, mammoth dialogue, and
our wonderful blocking that we're doing and everything.
It's like this orchestra.
And this guy's, he's in an Uber
back to the Greenwich Hotel.
Now,
now,
but now, really,
Jeff,
and Sean, and
I'm with you, Jay.
I'm 50-50.
Like,
when I did Oscar, I went straight home only because I couldn't do it.
It was just too much and shaking hands.
I didn't want to get sick.
You know what I mean?
I instructed the stage manager, no guests.
Yeah.
Well, guests, like if they were friends that I knew, could come back stage, but I didn't want to go out to the crowd after.
Jeff, what do you think?
I'm glad we're talking about this.
Because things always change.
And it was an issue the other night.
I'm 50-50 with you.
I know exactly what both of you are saying.
I want to be sensitive.
It's It's very true what you're saying, Jason, but it's also true what you're saying, Will.
And I always think, oh boy, they know I'm here.
You know, I got to,
I should go back.
But oftentimes I want to go back.
But the other night, and this is a three-hour version of The Seagull, and they do eight shows a week.
And, you know, and yes, I can well imagine they don't.
And so when I, as I,
I guess is the way to do it, you know, contacted the nearest person with a bag who looked like, you know, an usher, or da-da-da-da-da or
the house manager comes up.
I said, is it okay?
How can we?
Will it be okay if?
Would it be, you know, I don't want to bother anybody, but what if we want to go back, et cetera, et cetera.
At first, there seemed to be, in this case, and it was uncommon, I hadn't encountered it before, they said,
Here's what they did.
They were like, hmm, already making hmm faces, et cetera, et cetera.
So I made it clear right away.
I got the picture and I said, okay, I get it.
Well,
whatever works,
you know, if it would be nice for us to go back, we're available, but please, I don't want to bother anybody.
Or if that's not cool, that I want to help serve them, et cetera, et cetera, et cetera.
Anyway, by the end, she said yes, sent him back.
And she was very nice.
I was very aware of the time.
I went, oh my gosh, I was blubbering, but also excusing myself quickly.
I said, here, this is Emily, my wife, and all so great.
And goodbye.
Goodbye.
Go home.
And that was it.
But so it was a whole, yeah.
So I'm glad we're having this conversation.
Because it is a thing.
Ultimately, I think it's better to err on the side of going back because it's a nice thing to do.
And it's a nice, and people, what actor doesn't like to get like, hey, great job.
Well, what about, should I do a follow-up then with our, with, because, because Kieran and Bill and Bob,
I guess it would be appropriate for me to potentially text them.
Should I text them?
I would definitely do what you always do, which is have Amanda write something up and then you send it.
But, Sean, how was it going back?
Were they receptive?
Oh, my God.
It was so fun and easy, and they loved it, and they loved people to come back there.
And I was hanging out with Karen, and Karen poured me a glass of whiskey to share with him.
And
they did say something like, so we heard Bateman was here last week.
What's his problem?
Your name was not brought up any once.
They all love the show so much.
Nobody wants to bring your name up.
They're all so hurt.
Because, see, I think it's presumptuous for me to think that they know I'm in the audience.
And or that they want to see you.
Right.
I know.
It's tricky.
It's tricky.
Listen, listen, listen.
We're not going to solve it today.
But what I want to get to, because we mentioned Toronto, your wife being from Toronto and French and stuff.
But what I want to get to, and I've always, I've never been able to talk to you about it.
We've only sort of run into each other a handful of times.
We don't know each other, Jeff.
I'm a massive fan of yours, like everybody else.
I just think that you are just incredible.
Thank you.
Me, you, me, you.
You also worked with
a very prominent and prolific and talented, genius Canadian director by the name of David Cronenberg when you made the fly.
Yes, sir.
What a film.
Oh, I love that film.
Can you now
talk a little bit about that process of working with David Cronenberg, if you might?
Yes, I might, and I will.
And here I go.
I love him.
Here's what happened.
What happened?
It was 1986-ish, I think.
This script came
to me.
I was immediately struck by it.
Did I?
There wasn't a reason.
I met him.
Oh, was there a reading?
I don't think so.
We met and da da da da, and they offered it to me.
And then,
yeah, and then, and it was great.
He was wonderful.
It was the most proactive I'd been creatively at that point.
I had, I worked on it like I always do conscientiously, but I had, I was very passionate about it.
I, I, I, I, I wanted to make it work.
I had a big feeling about it.
And, and he, as you've probably heard, is a, even though he makes those, you know, wild movies, is a very buttoned-up, kind of sweet, Canadian,
civil, polite, delightful, smart,
intellectual
artist who marches to his own drum, of course.
And that movie, I'd seen all his other movies.
The one prior to that was the one with Chris Walk and Dead Zone, which I like a lot.
I used to always do this.
I wanted to do a remake of Dead Zone, but when the guy, you know, he grabs the arm and he can see the future, right?
He touches people and you can kind of see their future.
I wanted to do a remake when he grabs people, but all he can see is he can give you traffic updates.
So he grabs you and he goes, don't take the 405.
You know what I mean?
That's good.
I'd like to say that.
So it was great.
So we rehearsed and then, and, you know, Chris Wales, who won the Oscar for the special effects makeup, had, and David and I got together and did these camera, these elaborate camera tests for which they had
designs and da da da da.
And it was five hours finally in makeup.
But he was great and we went from scene to scene.
And actually, I had a kind, we were, I had a vigorous conversation with him about the ending.
There was an ending
which had
me,
painted me retros retroactively,
in a kind of villainous,
even though I try to kill her at the end and meld all three of us.
And then she goes with this guy, John Getz.
She kind of goes, gets with him finally.
And by that time, I had so kind kind of, I was such an advocate and a passionate protector of my character, I was possessive and I didn't want her to wind up with him.
Wow.
And I said, you know, wait a minute, wait a minute.
Couldn't it be that, et cetera, et cetera.
We had some, I had some dumb idiot conversations.
Who was I to talk to him about that?
But as it turns out,
it kind of wound up ending kind of like that with her, you know, killing me.
And we don't want to have that aftermath where, you know, the bad guy's gone and she's now with this other guy.
So I was happy about that.
But it was a very, you know, arduous but lovely, passionate experience, et cetera, et cetera.
I could tell you much about it.
It's a great film.
It's really lovely.
It's a great film.
Do you think that was the one that kind of really, like, I mean, you've done tons of work before then.
Was that the movie that put you over the top?
Or Invasion of the Body Snatchers?
Or what was the one that kind of like was big chill was before that, right?
Oh, Big Chill, right.
Yes, yes.
It was stepping stone to one thing led to another.
And luckily, because I was, like my teacher, Sandy Meisner said, takes 20 years to even call yourself an actor.
And luckily, I had right away miraculously good, some parts, but small parts that led to bigger parts.
And I felt like I was learning.
And, you know, I guess career-wise, even though that hasn't been my focus, you know, from the start, one thing did lead to another.
So, yeah, there was, well, Nashville.
I worked with Altman and I did that movie Nashville, very little.
Yeah.
That was nice to be in and California Split.
But then Invasion of the Body Snatchers, Philip Kaufman, fantastic.
And that was, I did a movie in 76 before that with Joan Micklin Silver that
I got some attention for, and that led to some other things.
Actually, Lawrence Keston saw that, and I think that's what led him to be attracted to putting me in the big chill, which led to, yeah, now we're up to the fly and, you know, et cetera, et cetera, et cetera.
We're up to.
But wait truth to you doing the prequel, The Maggot.
No?
Yeah.
Jesus.
Thank you.
Nice, Jason.
Yeah, Jason.
Good for you, dude.
You give me a little bit of time.
I will work on some stuff.
No, but you know,
you have played, you have done so, you've been very prolific and you've made a lot of films.
And so I always want to know, we always sort of ask, what was the first thing?
You talked about your parents taking you to see film when you were a teenager, which is great.
So I'm sure that that maybe you tell us inspired you.
But what was the first, what was your first professional gig where you went, I'm going do this
And then you actually went out and did it and and and and worked and did a job
Good question.
It was a wild You know adventure of the heart when I was 10 years old it the seed was sort of planted.
I got the bug.
I was in this camp guy guy I was part of this drama show and my dad had already said if you find something you love to do that might be a vocational lighthouse and compass something clicked in me after this kind of thing at and in in when I was 10 I And I thought to myself and kept a secret to myself, this is what I want to do.
I had a
this was a theater camp?
No.
You know, it was a
Chatham in Pittsburgh where I'm from, music day camp, it was called.
It wasn't sleepover.
It was six weeks.
And they had, I loved this group of people that was different and more
my family than the kids I'd gone to school with.
And I seemed to excel at art and piano and badminton and softball and arts and crafts.
And they had this acting
moment in the day.
And at the end of the six weeks, they cast me in this Gilbert and Sullivan takeoff thing where I sang and I was the lead in that.
And I kind of rehearsed, you know, with my mom and da da da da.
And, you know, and I leapt on stage, which was my first entrance, and that was it.
And I got some laughs, and it was fun, it was exhilarating.
And it was after that that they said, hey, how'd you like that?
And I went,
I like that.
I like that.
But I kept that drug.
Did that inform high school choices and college choices?
And no?
Well, here's what happened briefly.
Between 9th and 10th and 10th and 11th grades in Pittsburgh, there was a six-week offering at Carnegie Mellon University in art.
And
it had some flair for that and then music, da-da-da-da.
And my mom was taking me through the brochure, and she said, you want to to go to this thing?
I said, yes.
She said, well, they have this acting thing.
I said,
maybe,
maybe this, the acting thing, maybe I'll do that.
Really?
Yes.
Well, I did that.
And I was, by the end of that, and I did it for two years running.
I was deeply in love with that campus and acting.
And, you know, just, and that's when I started to write on the shower door every morning, please God, let me be an actor.
And then I tried out for that school.
They turned me down.
I had to, I gave a couple of bad, you know, I gave a bad audition to get into the school.
It's very competitive.
But one of the teachers there, Mordecai Lawner, said, Oh,
I used to teach with Sandy Meisner.
I took with him, then I taught with him.
You know, I'll help you on, you know, on audition if you want to go to New York and audition for NYU, and then just check in with Sandy Meisner.
I did.
Sandy Meisner, I lied about my age.
We weren't supposed to be 17, but I said I was a year older than I was.
I got in, and that's what happened.
I went to the neighborhood playhouse in 1970 when I graduated high school and at 17, just turning 18 that fall, started that course.
I love you.
You always hear stories about people lying about their age to get in the Army, never to get into theater school.
But no college, Jeff?
No college.
Being in that college for six weeks,
that was it.
Jason and I respect that.
Well, that's good.
But this was a fancy two-year program if you really wanted to be an actor.
And I think, and they used to, Sandy Meisner and other people that imitated him,
has
a jaundiced eye
make kind of comments about the college programs.
He did at the time, going,
that's not where you learn to act.
We from the group theater know what we're doing, and they require you to be a little more cerebral and academic.
And this is about, this is a real studio, and I'm going to teach you the real thing.
And
he was that real thing.
And I was imbued with that.
That's so cool.
Talk to me about, is this true?
One of your survival jobs was the office to do office supplies for prisoners, like to get them office supplies?
How in the world did that?
You got to get pencils and things like that?
Yeah, like
how in the world did they get it?
You had to blunt them.
You had to blunt them.
Here's what happened.
That's a nice red drink you're drinking there, Jason.
Thank you.
It's just red wine that's spoiled.
Really?
Really?
No, it's electrolytes.
I like a nice, oh, I see.
It's like a Gatorade.
I like a nice mocktail these days.
You know,
I've enjoyed a couple of those recently.
I think they're starting to get that down there.
All these restaurants have on the menu, you know, ooh, they're good.
I did.
They're really good.
Yeah.
But
the answer to any question, oh, yes.
So I lucked into, like I say, a couple of jobs, two gentlemen of Verona.
The first thing I did on stage
at the Delacourt was a big hit.
Raul Julia was in it.
Dalt McDermott wrote the music.
I was in the chorus.
I just kind of lucked into that.
And then it went to Broadway.
I stopped the second year with Sandy Meisner.
Did this year on Broadway as one of the chorus members and understudied one of the bigger parts, and then went back and finished that second year work with Bill Esper, who people may know.
So
I did that and then auditioned for a play, I'll grunted to Coca-Cola, got that, and then Altman saw me in that, and I auditioned for my first movie, which was Deathwish, and I started to work right away.
In other words, and I was even
supporting myself and all that, except when I came to California four years later after doing Nashville and a couple other things,
and kind of moved out here and got an agent,
Abby Greshler.
There was a moment when I was paying rent, and
my money was getting low, and I thought, geez, I looked in the trade papers and they said, hey, are you an out-of-work actor?
You want to make
a little money?
Come and do this thing.
So I joined this boiler room operation, which I guess is illegal.
At five, six in the morning, you go to Hollywood and you go to this place and you call correction institutions on the East Coast and you say, hi, hi i'm bob and we have
a surplus a government surplus program just went bust and we have a surplus of magic markers and pens and pencils can i send you do you use the green or the red or the or the or the blue can i send you a gross over the you know and you get them to commit to that is my my least favorite thing and maybe not coincidentally after a week of that was only my straight job ever After a week of that, I got this illness.
I wound up in the hospital.
I'm just too sensitive for that kind of
regular work.
And after that, I went back to supporting myself luckily.
And ever since, with acting.
That's amazing.
Well, Jeff, so you're saying that selling the markers wasn't a highlight of your career.
Wow.
I didn't get that at first.
Wow, that's very good.
You guys are
sharp as tacks.
Gosh.
It was awesome.
It's a tick.
By the way, remember Cats and Dogs?
We did that movie together, although we weren't on screen together.
Remember that movie?
I I have, look, I know.
I have, these are all the things I want to talk to you about, but I wrote down several things.
Well, I were several things that overlap with us, connections that we have.
And I have not only Will and Grace, but cats and dogs.
And so, really?
Okay.
Watch this.
So here it is.
I have Sean Hayes.
Hey, I like that.
I like just free associating anyway.
Anyway, now here's our connections.
Oh, my God.
Well, Will and Grace, cats and dogs.
Hey, well, of course, you portrayed Jerry Lewis, and I was supposed to
play his son in that last movie he did, Max Rose, which Kevin Pollack finally did because I had a scheduling
thing.
But Jerry and I hung out in order to bond
at his office in Las Vegas for a day.
And that was fascinating because I had grown up with his, I kind of adored him early on.
Yeah, yeah.
Wait, Sean, when did you play Jerry Lewis?
2000?
And in what?
What can I see this in?
A movie.
I don't know where it is.
It was Jeremy
Jeremy Northam.
Northam.
Okay.
Okay.
He played Dean Martin.
So it was about the duo, and they're getting together and they're breaking up.
I'm so fascinated.
I've read a lot about this.
What film is this, Sean?
Why are you trying to bury it?
It's called Dean and Jerry.
I don't know.
And where is it streaming?
Is it on Tubi?
Because Because Jason doesn't get Tubi.
He's not sure.
Well, hang on.
I don't know.
Do I have Tubi?
Oh, my God.
He does.
What's that?
Oh, Martin Lewis, it's called.
Martin Lewis.
Was this a TV film?
Yeah, it was TV.
Yeah.
Oh, it was a CBS TV film.
Well, that's why you're being cagey about it.
Okay.
So listen.
I love that.
So it on and on.
No, I didn't remember that until he just told me.
Scotty just told me.
I want to talk about, though, that comedy do.
I want to talk about Jerry.
I want to talk about Dean.
But how about talking about you guys?
How about the trios?
How about, which brings me to the three Stooges, of course.
And there's the Marx Brothers.
And how about applause?
I loved it.
I loved it.
Commitment.
What gave me a feeling?
But Avo.
I believed it.
I believed every moment of that game.
I was transported.
Oh, my God.
Now, wait, the Three Stooges, I loved when I was a kid.
I saw all of their things on television.
But listen to this.
I saw them live.
They came to a place called the Holiday House in 1960.
It must have been, you know, do two or five or something.
And I saw Mo and Larry and Carly Joe at that time.
Yes.
And they came into the audience, I remember, and my sister, two years younger than me, was like five or six or something.
Mo, who had big bags at that point, did something to her kind of aggressively.
She burst into tears and kind of retreated.
He later got his eyes done and didn't have that problem anymore.
Wow.
Different mo.
mode.
Different mode.
Different mode.
Hey, promises, promises.
Jerry Arbott was the original.
I love Le Levant.
Oh.
And by the way, James.
I went three times.
And you came backstage.
And I appreciated that.
So thank you.
Oh, now we're full circle.
Now we're full circle.
All right, let's move on to Jason and Will, or I have a bunch of questions for you.
Well, Oscar Levant, listen to this, though.
My grandmother, Anna Katz, claims she dated Oscar Levantz, who's also in Pittsburgh, on one occasion.
Now, I don't know if that meant he flirted with her, if they had some encounter.
I don't know what that means.
But anyway, Sean, you did not discover that during your extensive research?
I didn't, but I'll use it.
Okay.
Will Arnett.
Arrested.
Well, I love it.
I saw every episode of Arrested Development.
By the way,
Sean.
And she's like, Sean's character goes, What channel was it on?
Yeah, exactly.
Put him five minutes.
So, but I saw, but I loved all your every character in it, of course, Eliza Minnelli, I knew a little bit.
And Charlie's their own fantastic.
But the magician, the magic in that, and I know you've talked about magic before.
I did magic in that, in that movie Nashville, and I had in Wicked, I do a little magic.
So
we could talk about it.
You are magic.
You are magic.
You are too.
I bet you you strike me, Jeff, as the kind of guy who knows like a few card tricks and and a few sleight of hand things.
Do you?
Yeah.
I know.
Well, Robert Almond told me to learn something.
I had this guy in New York taught me a bag full of tricks.
I brought it to Nashville and we used a bunch of them.
The only thing that I've kept up my sleeve are these rope tricks.
Yes, which I've pulled out too many times,
and I know that, and then I know one card trick.
That's all I know.
But the rope tricks I can do.
The rope tricks.
The trick.
The rope tricks.
That's always tough.
You got to make sure you're in a big group for that.
So, Jeff,
I'm pitching that as a halftime show at the Super Bowl.
I think that was your close-up magic would go over well.
Sure.
We'll be right back.
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I want to talk about the famous Jeff Goldblum delivery, which is like you're known for.
It's brilliant.
It's made you.
Don't break it down.
Don't break it down.
Don't break it down.
What do you mean?
Don't talk about a magic tree.
No, I want to.
I thought this was interesting.
I read that in Invasion of the Body Snatchers, kind of when you kind of discovered this thing, and it was the line, I never thought they would come in metal ships.
Is that right?
Yes.
And now I would say it.
I would have never thought they'd come in metal ships, but you would say it.
I never thought they'd come in metal ships.
I don't know.
I'm not making that up.
I have no idea.
That's really good.
By the way, that's really fun foot.
I'm doing a caricature of my own, you know, fun footery.
I don't know.
I don't know what I did.
I love that.
But it was at that moment that Phil Kaufman said, oh, yeah, that's good.
I like the way he did that.
And I kind of thought to myself, hmm, check note to self.
I think
that's something.
That's something I can build upon.
It's something.
Something like that.
Anyway, so there we go.
Horton, here's a who.
Oh, yes.
I love it.
Legos.
My kids and Legos.
Now,
Ozark, wait a minute.
Wait a minute.
You know,
I did this series recently, Chaos.
I played Zeus.
And you know who played my wife?
Janet McTeer.
Oh, boy.
She's a beast.
She's wonderful.
She's incredible.
She's incredible.
And you know who I know a little bit, have not seen her since.
When she was like, oh, what, 12, 13, 14, something like that, I think, or 15,
this girl came backstage.
I think this is how it happened to see me in the Pillow Man.
I did this thing at the booth theater.
With people you know, it was, I enjoyed doing that.
So she came back, I think then said, oh, I like what you do.
You know, I want to be an actress.
Maybe could we talk sometime?
And you'll tell, you know, I have a script.
We could, you you know, read something or, or, and you'll tell me.
I said, sure.
She seemed like an interesting and smart girl.
That was Julie Garner.
Oh, wow.
Wow.
Really?
And I have not seen her since.
I haven't seen her to congratulate her on everything that's gone on.
She's interesting, isn't she?
Oh, yeah.
So what a sweet, sweet person and just a monster talent.
Yeah.
Oh, my gosh.
Well, you know, and then, of course, hey, Will Spencer, hey, we did the Switch, you and I, Doc.
We played best friends, yeah.
Best friends.
In the Switch with Miss Jennifer Aniston, directed by the great...
Miss Jennifer Aniston.
Yeah.
Will Speck, Josh Gordon.
And Will Speck and Josh Gordon, who directed me in some of these apartments.com commercials.
I adore that.
That's right.
No kidding.
By the way, I love those commercials.
Will Speck and Josh Gordon, who directed Blades of Glory that
was called the Degrees of Separation.
That's right.
Jeff, who were your...
You know, you hear these stories about actors like these, like, you know, the great Gene Hackman just passed away, and you hear, like, he was roommates with robert duvall and and dustin hoffman and then you hear these different people who came up who were sort of your gang did you have like a gang of actor friends that we didn't know about or like people that who worked a lot and you guys were all coming up at the same time or was it a more solitary existence for you meaning did you have no friends
um
you know
uh I fit into the more solitary category.
Yeah, really?
Are you an introvert or an extrovert?
Do you mind your business and
stay in a in a in a dark room by yourself, like me?
Well, I like time a lot.
I have my homework.
I'm kind I'm a good boy and I'm conscientious and I play the piano for an hour every morning and I work out and I I like to work on my things.
I'd rather not I don't go to d I don't stay up late in order to hang out or all of that stuff.
So, you know, there there's that.
But you can be friends with us by self-sight.
Yeah, you're hard workers, obviously.
But I adore people, and I, you know,
like I said, you know, I can imagine being pals with you.
And I have a good friend, Gary, and Ed Begley Jr.
is a good friend of mine.
We love from Arrested the Vetta.
We love Ed Begley so much.
We love Ed Bell.
Now, are you a concert pianist like our friend Sean Hayes?
He's an incredibly accomplished jazz pianist.
I don't know.
I'm a humble student, but I do like the jazz.
I started off getting the chops playing Cherny and John.
Oh, Cherny stuff,
and this and that, and then discovered the fake books and are now called the Real Books and jazz.
And I fell in love with that, and that's what happened.
And then 30 years ago, no, I put it in some movies.
The fly character plays the piano, and in our school series, yeah,
that's right.
And in plays, I put it in a couple of plays.
And then 30 years ago, Peter Weller said, hey,
we did this movie Bucker Bunza.
He said, let's get together and play a little bit.
And a couple of people told Miles Davis, who he knows, and said, Oh, Jeff, you and Jeff should go out and play a gig, and you'll get better and enjoy it.
And that's what we started to do.
So, 30 years ago, I've had this group.
Peter Weller kind of went off and did wonderful things, but I've kept this group.
Peter Weller, who also worked with David Cronenberg on Naked Lunch and who is also first cousin of Fred Weller, my good friend, theater actor.
Love Fred Weller.
I saw him in a play.
I saw him on stage, but how about speaking of the movie game?
So, the Naked Lunch takes us to Judy Davis.
I've never had her, but I've got a lot of-she's great, yeah.
Which takes us to husbands and wives, which takes us to Sidney Pollack or many other people.
You had a role in Annie Hall as well.
So that takes us.
We're going where you're doing a little bit.
So wait, Jeff,
has jazz music, like playing jazz music, have you ever had to make a decision about doing acting work over
your music?
Or do you always kind of make sure everything's separate?
Separate.
They went on parallel tracks.
Like I said, at 10, I had my heart set on being an actor in my life as a career.
Like, have you ever turned down like a big movie because you're like, I can't.
I have a gig.
Nope.
Nope.
No.
I have not.
As a matter of fact, I have gigs coming up.
We have our fourth album on Deck and Verve coming out April 25th.
And around that, and so in support of that, we're going to these places to play.
We're going to play the Palladium
in London.
We're going to be in Toronto at Massey Hall, et cetera.
Give us some dates on those.
Do you have dates on those, Jeff?
Listen to me.
Here we go.
April 25th.
This may, by the time people hear this, may be too late, but we will have been at the palladium.
And my two boys, who play the piano and I work with them, where they have a great teacher, but I work with them, are going to come on stage.
It's a surprise.
Nobody knows yet.
They're going to come on stage with me and play something.
I hope that's not abusive.
I hope they have a good experience.
Yes.
And that's
what it's for.
Anyway, we'll be there.
Then Luxembourg, we go, and then on the 26th, April, then May 25th, Atlanta, Symphony Hall.
May 27th to the 31st, we'll be at the Carlisle, the Cafe Carlisle in New York City.
Louis Carlisle.
Of course.
I've played there before.
I saw you play at the Troubadour, I think, a long, long time ago.
You're mixing me up with
Bob Dylan or something.
I don't know.
No, no, no.
I've never played the Troubadour.
Then it was somewhere else in L.A.
It was like...
I just, anyway, it was.
I've been all over the L.A., yes.
And I did a play at the Whiskey Agogo down the block from Ecuador.
Really?
Believe it or not.
El Granite Dagoco, yes, it was a cabaret theater.
Any good theater stories from the Whiskey Go-Go?
Anything happened there that was Sean started to cut into your mind?
Jeff, I always ask people if you have any crazy mishaps.
All right.
I know you do.
Well, I did the Mooney Shapiro songbook, which there were five of us, Judy.
Gary Beach was in it.
You know, from
Beach, of course.
He was just five of us, singing and dancing.
We were at the Morosco Theater, and
we were rehearsed for four weeks.
We previewed for two weeks.
Opening night seemed to go well.
The reviews came out.
They weren't so great for the play.
I got nice reviews.
And then Stuart Ostro called me up and said, so we're not going to be doing it anymore.
What?
What do you mean?
Well, Tuesday, Tuesday, this coming Tuesday, we're off tomorrow, Monday.
No, no, no.
That's all.
We didn't sell enough advanced tickets and the reviews didn't.
So
it closed opening night.
So that's the kind of.
I don't know how funny that story is.
So wait.
So Jurassic Park, I just want to talk for two seconds because I was so jealous when you
can't, you, I've seen you on a talk show and you had your own lyrics to the melody.
And I had my own lyrics that I was singing for years and years.
And it was
going to put a wallet in his mouth.
Sorry.
And can you remember yours?
Mine went like this.
Kill the dinosaurs, kill the dinosaurs, kill them all before they eat you.
And that was all I had.
And then you came on and I I was because it was.
And you had years to work on that yourself?
It begs for lyrics, doesn't it?
Fuck.
Yeah.
I don't know if it begs for it, but here's mine.
Here's all I know.
In Jurassic Park, scary in the dark.
I'm so scared that I'll be eaten.
Yeah, that's we got it.
That's good.
That's good.
That's good.
This is a lyric.
Now, Jeff, Jeff, with all of the films that you've done, all the projects that you've done,
you've done it all.
Does the way that you choose what job to do, has it changed over the years since you've checked so many boxes?
What gets you to work?
What gets you to say yes nowadays?
Good question.
Well, it's always fluid, as you know, and that's always clarifying itself as the days and the weeks go on.
But now, as I have this family, which
I adore, and these two little boys, you know, it's not just for any reason that I'm going to go off to, you know,
the ends of the earth for a year
or do a, you know, to do all sorts of things.
So, so, so it has to be special.
And my own criteria, you know, when I was, when Sandy, I took to heart what Sandy Meisner said, and
it takes 20 years of constant work and then a lifetime of continual work if you get opportunities to keep growing.
And that's a good, worthwhile way to spend your life.
I took that to heart.
But
I went through a couple of decades where I worked a lot and wanted to work and wanted to work more and exercise myself and find and test myself and find out what I had in me and et cetera, et cetera, et cetera.
Now,
yes, I have as big an appetite as ever for creative,
the creative experience, so-called.
But But I don't have to do it.
I don't have to work every day.
I don't feel
ashamed if I'm not working every day.
That's okay.
And so I want to do special things,
special, special things, whatever that means.
But talk about that, what I thought you were about to say about you went through a period where it was all about testing yourself.
So that was kind of what drove your decisions.
And now are you feeling like,
I don't want to put words in your mouth, but it's not like you don't have things to prove to yourself anymore.
But is is it less of
an urgency?
Like, yeah?
Yes, it's less urgent, although in another way, more urgent, because as we know, time is running out.
And
I still feel, I feel like I'm doing my best work.
I feel at the top of my form.
I'm injury-free, and I feel like I'm enjoying it more than ever.
I'm freer than ever, and can do my best work.
So I feel like grand things could be ahead.
And you've satisfied whatever sort of personal doubt might be the wrong word, that whatever you were working through there and sort of having fun exploring, now you've sort of found this place of
not satisfaction, but just sort of like, I feel
content.
Thank you.
And now work takes on a different role.
Perhaps I'm asking all this because I feel like I'm playing with it myself.
Well, you're intuitive.
You're a good therapist.
You're a good friend.
Well, we talk about it all the time, don't we?
Like the balance and what is the things that, what are the things that truly make us happy, right?
And the way that we measure our happiness, our joy,
it evolves over time, especially when you add sort of kids and family and
experience and age and all those things.
Work represents a different thing in different decades.
Yeah.
Yeah.
All of that.
We could talk about all of that at length.
But yeah,
I'm in the same ballpark.
That's right.
And moving forward.
Well, we could talk about it over on Smartless After Hours, our new podcast that we're launching.
That's a follow-up.
Well, I like this long form.
This long form is great to me.
I mean, I like the six, seven minutes you spend on these talk shows.
And, you know, that's another kind of thing which would be fun to talk about.
But I like these.
I like listening to them.
I love the conversation.
Yeah, I love it too.
I do too.
And then we're going to end on, by the way, thanks for being in Italy and talking to us for an hour.
I mean, this is incredible.
I mean, I can't.
What time is it there?
It is, you know,
oh, a quarter of eight.
Oh, that's it.
The kids are already, I know.
I said hello, but they're now in.
So it's two.
No, no, no.
No.
Oh, sorry, two, but sorry, I was thinking two is a quarter of eight.
All right.
Oh.
Oh, yeah.
A quarter of eight.
A quarter of eight.
Yeah, look at that.
Wow.
Sorry.
Anyway, hey, you know who sings on our new album is
Scarlett Johansson and Ariana Grande and Ariana Grande and Cynthia Rivo.
They have
songs.
Half are instrumentals and half are songs, singers, and they sing.
How about that?
Now, Wicked was probably as successful as everyone thought it might be, thank God, and deservedly so.
There is a second one coming that you've already shot or that
you're going to shoot?
No, no, we've already shot it.
We shot them all at once, but they're
editing it and scoring it and special effectsing it.
And a fun process, I'll bet, despite all the special effects and the wardrobes and all those things.
Oh, wardrobe
was fantastic.
You know, he won an Oscar for that.
Yeah, that was great.
But John M.
Chu
is a delightful director and a very, very masterful director.
And those, that cast and Jonathan Bailey, whom I saw here in Richard II the night before, the Seagull show, by the way, he was terrific.
And
Ariana and Cynthia DeFent.
It was a magical and great, great experience.
I loved that show when I first saw it with Adina Menzel and Kristen Chenoweth, and I cried my eyes out at that.
And so I loved playing that.
Joel Gray played the part originally on stage.
Oh, yeah.
Yeah.
It's great.
Yeah.
Yeah.
Well, just great, great congratulations.
Yeah, big congratulations.
That's amazing.
You're a type.
It's always so fun to see you in anything.
When you just pop on the screen, you're like, oh, I'm going to be taking it.
Truly, truly, you elevate,
you raise all boats, my friend.
You raise all boats.
Well, you are so fun.
This is a great honor.
I hope we see each other often and immediately.
Get back to this country.
But I know.
Now comes the part of the show.
I'll say my farewells.
And now,
nobody's sung this song because you always say nice things afterwards.
You have a little recap and a debriefing.
But you know that song?
Please don't talk about me when I'm gone.
Yeah, you know that song?
Please don't talk about me when I'm gone.
Yeah, that's a good thing.
And then, of course, do you know that song from Oliver?
You know any songs from Oliver, Sean?
Well,
who will
this glory?
No, I know, I know, as long as he needs me.
Yeah, but who will hide this wonderful thing?
Who will hide this wonderful thing?
I don't know.
I don't know.
What is it?
Who will buy?
Oh!
Wait, what are the words?
Who will buy what?
Who will buy this glory?
Something, something, something.
Who will buy this drop, da-da-da-da.
Okay.
Thank you.
I guess has never given us an out.
Well, now you've given us so good.
I love you.
He's given us an out.
And, of course, I sung on one of those albums.
I sang Little Man, You're Crying, I Know Why You're Blue, which is a version of A, what you sing to your kids when they go to bed, a lawyer.
Save it, save it, save it, save it, save it, save it.
He's waving goodbye.
All right, Jeffy, thank you.
We love you.
I love you so, so much.
Goodbye.
I'll see you soon.
Bravo, Bravo, Bravo.
Hell, yeah.
That was amazing.
Yeah, he's great.
Jeff Golden,
we didn't even get to Wes Sanders.
He's worked with all the greatest directors, Wes Anderson.
He's still amazing.
Something like 80 films or something.
It's like, it's insane.
And like almost no bad ones.
No, almost no bad ones.
And always happy.
Always happy.
Always happy.
And again, another one of those, never a bad performance.
Yeah, you never catch him acting.
He's just always doing, he's got his own rhythm.
And you know what?
I think
you were right not to sort of dissect his thing.
And not that I would know how, but if I were to guess.
Well, no, I only did it because I read that he likes to talk about it.
Well, but it's like
he's, you can see the next thought coming into his head.
And so he races through the old thought to get to the new thing.
Like there's, he's always like, that's it.
I don't know.
I try to do.
I try to think about what I'm going to say before I say it, which is how the brain works.
But in acting, you have to, you have the line in front of you.
You know what's coming.
And
that's the missing point.
You have to sort of like get the thought.
But sometimes don't you feel like I didn't want him to share it?
Like you don't want to know too much how the sausage is made.
And Sean, correct me if I'm wrong.
You just want to enjoy the sausage.
Sausage, that is correct.
Right, yeah, just the sausage.
Correct.
Yeah, that's right.
That is correct.
Enjoy the sausage.
You can keep the casing on it or cut the casing.
It doesn't matter.
You can be cut or uncut.
Massage the casing and make sure it's all evenly.
Oh, boy.
Boy, that took a real turn, man.
I tell you.
That took a real turn.
What about the, what's that song from Oliver you said?
What was that?
Who will?
No.
Bye.
Bye.
Oh, no.
You know, I think what the better image is just sort of like a nice, peaceful
house there
in the Italian countryside.
Yeah, and the families going to bed.
Yeah, the kids,
the kids go, you go to sleep, you go to sleep.
And then you might sing them something, right, Sean?
How would that song go?
You know?
La la bi and good night.
Oh my god.
You got somewhere you got to go?
Yeah, that's lazy.
I mean,
smart
smart
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