"Steve Buscemi"

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Okay, guys, we're going to do it.

We're going to do one more episode.

That's it.

This is our last episode.

Listeners, this is our final episode ever of Smartless before the next one.

Right before we do the next one.

That's right.

This is it.

This is the last one.

This is it for

this one.

Goodbye until the next one.

When does it start?

It's going to start right now.

So hello.

And goodbye.

And oh, hello.

Until the next one.

It's an all-new Smartless.

Until the next one.

Smartless.

Smart.

Smart.

lettuce.

Smart.

Lettuce.

What time is it there, Sean?

It's

5.30 p.m.

5.30.

I just ate.

I had a piece of cod and I had some potatoes and some asparagus.

So cod, that's British.

That's what they do the fish and chips with, right?

That's right.

I had cod.

But before that, I had a cinnamon roll.

I'll bet.

Yeah, of course.

That's British for American food.

Hey, do you, um, are you just moving dinner earlier and earlier into the day?

What's happening?

Well, yeah, well, I do have, it's funny because my day kind of starts now because LA is just waking up.

So

meanwhile, you've done a full day of rehearsal already.

Yeah.

Yeah.

And some interviews in the morning and radio, like photo shoot.

But aren't you.

When you say your day starts, what are you doing?

Yeah.

So after this, then I go, I'm writing something for something.

Wait, then what do you do?

I want to say it.

so are you trying your hand at screenwriting or writing a play or no I'm just we're kind of talking out and writing what the characters are the development like the outline and all that stuff

okay yeah Will does it taste good

how does it sound

fuck sorry sorry I forgot the gum

it was an audio show I know who was it who was the person who said somebody said somebody said to me once hey man can you turn your gum down

That's a good one.

That is so good.

Oh, my God.

Sorry, I forgot.

And Will, so, and Will, you're just getting started over there.

Well, actually, you're in your midday right now.

I'm midday.

I was up this morning at 5.45.

No need to brag.

Isn't that wild?

L.A., New York,

London.

So, Will, what's wild?

Tell me what's wild about it.

Different time zones.

Talked about how wild.

Let's talk about it wild.

Wait, Sean, no, sorry.

What is it?

Oh, it's Will.

What did you do

since 5.30 that you're seven hours into your day?

So I woke up this morning.

I did my octurtal wordle quirdle that used to be a part of with our old buddies.

And you're still doing that.

I'm still doing it every morning.

I love it.

And then I did a hot cold.

I did a sauna.

And then I did a cold plunge for a few minutes.

Then I went to my

morning meeting.

Gathering.

Meeting.

Very good.

With all my peeps.

Had a little coffee, came back, drove able to work, came back, worked out, and now I'm here.

I had quickly something to eat, and now I'm here.

So I've had a shower.

full day.

When did you shower?

Oh, fuck.

I knew there was something.

Yeah.

I'm going to do it after because it's just me in this sticky little booth.

No, but you have, you have to do it.

I didn't have time.

I didn't have time.

I literally just finished.

I went upstairs.

I had some leftover

chicken salad.

All I'm figuring out from this is that the workout was light.

It was not.

It was not light.

Again, then why haven't you showered?

You weren't a sweaty fucking mess.

Of course I was.

I didn't have time.

I didn't want to be late because we have a great guest.

All right.

But wait.

Yes, go ahead.

Oh, no, no, no.

Let's do it then.

No, no, Camino.

I do have a great guest.

I do have a great guest.

You guys are going to be really thrilled.

And so is, I mean, our audience already knows because they looked at the thing when they logged on.

Sardino's an episode.

Our audience already knows.

Sardino.

Is your hearing going with your hair?

What's happening?

That's what happens.

And the knees and the hips.

Our guest today, he has built a career out of portraying some of the most unique and unforgettable characters in recent cinema.

I mean, he's one of these people who has.

Al Pacino.

Burt Reynolds is still around.

McConaughey has come back.

McConaughey.

He literally just said one song.

All better.

All better.

I think our guest is laughing at how absurd that is.

Al Pacino out of the blue.

Haven't even named him.

He's been nominated for Golden Globes.

He's been Spirit Awards,

Critics Awards.

Oh, my God.

You know him.

You know him.

And he's done it all in television and film.

Some of the great Boardwalk Empire.

Steve Buchanan.

Get him out here.

Steve Sopranos.

Reservoir Dogs.

Pulpit.

Steve Buchanan.

God, you guys wouldn't let me finish for fuck's sake.

You've got to bury.

You should have started with.

You can't name his stuff because once you start naming everything he's done, you're like, oh, yeah, yeah.

You should start with some of the voiceover stuff.

You would have kept us in the dark.

Well, if I'd started with the animated movies, you're right.

One of the greatest voiceover artists next to Will Arnett.

That's right.

That's saying something.

Thank you.

That's saying very

Monsters University.

There you go.

I know.

I know.

Right.

He knows.

What about Igor?

Oh, Igor, right?

Igor.

Come on.

We've worked together a lot and never really.

What was Igor?

No, I don't know if I knew Igor.

It was an animated film from 17,000 years ago.

Okay.

John Cusack.

Yeah.

Oh.

Igor.

Jennifer Coolidge.

Molly Shannon.

Yeah.

And Sean, you played.

What a cast.

Brian.

You were the brain, but you spelled it wrong.

No, that's fine.

My name is Brian.

Oh, boy.

If he was the brain, you guys were in trouble.

I always challenge myself on that.

Yeah.

Steve Waschemi, welcome to Smartless.

God, it's good to have you here.

This is great.

God,

I'm such a massive have-been like everybody else of what you do because you do so much different stuff.

You are

such a, it's amazing.

And so just to have you out here is, I got to say, kind of a thrill.

I'm thrilled to be here.

Not bigger than me.

I'm really aghast right now.

This is fantastic.

I know.

I'm a little.

But I'm not al Puccino.

Oh,

you're not talking a week.

So sorry, Sean.

Jesus.

Look, I was a shot in the dark.

It was a shot in the dark.

Steve, where do we find you?

Where's that beautiful orange room you're in?

I'm in the Netflix building in New York.

Okay.

Oh, hence the red background.

Yeah.

Yeah.

I'm orange.

A gesture.

Sort of a soundproof room.

Yeah, either that or the set of squid games.

I was going to get to this, but we can mention it early on.

You're working on it.

Your Netflix show is coming out soon, right?

Wednesday.

Wednesday.

It's the name of the show.

It's not coming out.

That's the name of the, the name of the, it's the second season of

the Addams Family Show, Wednesday.

That's right.

That's right.

Which has been a huge success.

Huge, huge, huge success.

I loved the first season, and I'm really excited that they cast me

in the second season.

I played the new principal of Nevermore.

That's the boarding school that Wednesday attends.

Ah, I see.

Nice.

Well, you'd make a great principal.

I don't know.

I think I do, I guess.

Steve,

so we always ask people how they got started, whatever.

I've always wanted to know what was a young Steve Buscemi like?

When you were a kid, were you like seven years old, you wanted to be an actor?

Kind of.

Because I know that you started with a different career professionally before you started acting.

What was it?

Can you walk us through that a little bit?

Well, I mean, when I was a kid, you know, like all of us, I watched a lot of TV and

it was everything.

You know, it was like the three Stooges, which, Sean, I have, again, I have to say, man, you played.

I can't believe you got to play.

Talk about a Stooge!

This guy was a perfect Stoog.

Die for casting.

Three Stooges were big in my house, in my house, in my apartment in East, not my apartment, in the apartment I lived in in East New York, Brooklyn.

Yeah, the little rascals, you know, and shows like that.

And then,

but also, you know, like the afternoon movie that was on at like 4 o'clock, you know, like that would show all these gangster films, you know.

So I was a big fan of Cagney and Bogart and all those films, too.

But did you see yourself doing this?

Because, like I, like I alluded to, you kind of started in a different career.

And Jason's not aware of this, but

some people are.

And so, when was the moment that you allowed yourself, and just walk us through what that career was briefly, if you don't mind, if it's okay.

I mean, I was a firefighter in the early 80s.

Wow, really?

But I had been, but yeah, but I had been trying to be an actor, and actually, I tried my hand at stand-up.

So it's not like I was a firefighter who then decided to become an actor.

I was already

kind of

a flailing stand-up and wannabe actor

who had taken the fire department test when I was 18.

And they didn't get to my name.

My name was on a list.

And they called me when I was like,

I was 22, I think, when I was called.

And then I was like, I'm going nowhere with this show biz stuff.

So

I joined the fire department.

And you fought fires for four or five years.

Yeah, I was at Engine 55 in Manhattan.

In New York.

Yeah.

In New York.

Oh, my goodness.

And it should be noted that you also rejoined briefly after 9-11.

Is that true?

I heard that.

Well, I didn't rejoin.

I just, I went down to my old firehouse on Broome Street because I knew that they were there, that they had been at the site, and I couldn't get any information.

So

on the 12th,

I went there and I brought my turnout gear, my coat and helmet and

boots and gloves.

And I was brought into the site by another firefighter and

he told me about the guys that were missing in the company, and one was a good friend of mine.

And

anyway, I went down to the site and I was able to find my company there.

Because they had lost members,

they had access to like the main pile that was still burning.

Right.

And

I got to work with them for the rest of the week.

This was on a...

Wow, man.

And

were these guys you kept in touch with?

And

were they still in the same place?

No, I mean, there were some that, yeah, I mean, there were some guys that I recognized who I used to work with, but by and large, it was all new, new guys, and I didn't know them, but I got to know them during the week.

And since then, I've stayed in touch.

And now every year on 9-11,

I attend the breakfast at the firehouse with the families, and then there's a mass service, and then there's a lunch.

There's also bar time

in there too.

Sure, sure.

They are firefighters.

So there is a fair amount of

drinking at Tony's bar.

Yeah.

That's incredible.

I mean, that's, and Sean, you've, you've supported, too.

You bought a calendar every year, right?

Yeah.

So.

Steve.

Steve, we love him.

I never miss the air.

Yeah, yeah, yeah, yeah.

I do what I can.

I do what I can.

Steve,

how did firefighting find you at a young age?

Was your dad involved with any of that stuff?

My dad was a sanitation worker.

He worked

in Brooklyn and he did that for 30 years.

And so

he just knew the civil service, you know, like what like what that job meant, the benefits.

The whole apparatus that keeps that city moving.

Yeah.

And, you know, the pay is good and you get good benefits.

And he always, I mean, he knew I wanted to become an actor.

But he would tell me, you know, just put in your 20 years and then you can do all the acting you want.

It doesn't really work that way, but I tried it.

Put in your 20.

Just put in your 20, retire at half pay and then do all the acting you want.

Right, right.

He was noticing that

you were leaning towards acting.

Is that because you were taking classes as a young kid?

Were you doing it at school?

I mean, I think he kind of knew it that I had it in me since I was a little kid because when I was really little, I used to just

make up stories and tell jokes.

If we were at a cousin's wedding, I would like stand up on a table and just do like a stand-up routine.

That's funny.

I'm sure it was like stupid, but I was like five or six.

And then

I talk about this.

I've talked about this before.

When I was in fourth grade, my teacher, Mr.

Riccobono, he cast me in a production of The Wizard of Oz.

I got to play The Cowardly Lion, and I thought, this is it.

If I never do anything else after this, I have, I was so happy.

And when I was on stage, I just, it was that feeling of, wow, people are enjoying this and they're laughing.

And I'm, you know.

That'd be a good role for you, JB.

You're a cowardly lion.

Yeah.

I could do it.

I could do it.

He's got the hair for it.

Wait, so he does have the meme.

Who was who was mom or dad

somebody who was outgoing and sort of a who was who who was leading for you at that moment?

Like, who's your North Star?

Was it mom or dad?

You know,

in their own ways, both.

I mean, my mom was the one when we were young who used to take us to the movies and see musicals and comedies.

And

then when I was a teenager, you know, a little bit even younger, my dad would take us to the movies and we'd see things like Across 110th Street and Cotton Comes to Harlem and movies I just shouldn't have been seeing like that.

But it was great.

And my dad,

he had a good friend growing up in East New York named Peter Miller who became an actor.

And he went to the neighborhood playhouse and he was in movies with Cassavettes and he was in

Robert Altman's first film, The Delinquents.

And then he, you know, but he did it for a few years and then

he left and he became an investment banker so by the time i you know was uh old enough to talk to him he had left acting but i still you know it was like oh uncle pete and he lives in kenton california and i was like someday i'm gonna make it to california and uncle pete's gonna show me the ropes right um and uh so there was that you know so there was that but

But really, you know, in junior high and high school, I didn't do any theater.

I kind of became a jock and did sports.

What were you playing?

I played soccer and

a little bit of track, but wrestling was my

big sport that I really loved.

And then it wasn't until my senior year that I started to do the plays in high school.

And I had another great teacher, Lynn Lappen.

He was the English teacher, but he started the first acting class.

And so I got to be in Fiddler on the Roof and

just,

it was really fun.

That's cool.

was it what was that first trip out to LA like was there one

yeah I

my so Uncle Pete and uh Charlene his wife they lived in Van Nuys yeah and beautiful

I stayed with them but I didn't have a car

I didn't have a car and he would go off to work and and I'd just be like I want to I want to like see LA I didn't know but I didn't know how to do it well you like 115 degrees with no trees?

So no car in Van Euy.

So you just started hoofing it and enjoying, you know,

the fruits.

Beautiful.

Woodman Avenue and

Woodman.

Sherman Way.

Sherman Way.

But

I think it was on that trip because I had done a film called Parting Glances in New York.

I went out to L.A.

to try and meet casting people.

And my friend Kathy Kinney,

who was in that film,

she was taking meetings and she would just bring me along.

Like she would pick me up and bring me along to these meetings.

And some people were okay, like, oh, you brought a friend.

She'd say, but he's a really good actor.

You know, you should see him too.

But mostly, I think they were like, well, who is this guy?

Like, why did you bring him?

Yeah, that rarely goes down well in the lucky.

Oh, well, of course, let's meet your friend.

And then, so, those first few experiences, were they, were you kind of freestyling, or did you, were you coming with a certain amount of

training that you were leaning on?

Or were you more of an instinctual kind of guy?

Yeah, I had no idea what I was doing.

Really, I just, I just did not know.

I remember when I first got a manager and I was going out on meetings and the feedback that he was getting was,

you know, he's kind of so deadpan and he's like, he doesn't seem like he wants to be here.

He just like is so quiet and like cool.

So then I went to.

I remember the first time I met Bonnie Timmerman, you know, big casting

agent.

I went in and I went in smiling.

And the first thing she said to me is,

what are you smiling for?

I was like, well, now I don't know what to do.

Like, right.

Right.

She thought I was like laughing at something.

I was like, no,

I was told to smile.

So I'm

in there looking crazy.

That's funny.

And we will be right back.

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And now back to the show.

So you kind of figure it out, though.

Like you do a bunch of different parts.

I mean, you do sort of like eight, 10 movies maybe before

Reservoir Dogs.

Yeah, yeah.

And you do it.

You do a bunch of different, varying degree,

bigger roles and et cetera.

What was, that must have been kind of a seminal moment,

if I'm guessing right.

And talk a little bit about how that came into your world and what it was like first meeting Quentin Tarantino.

So the script came to me

from one of my early agents, Nancy Green, who has since passed away, but she was really great.

And I have to back up the story because like a year before that, or maybe six months before that, she convinced me to go on an audition

for,

it was a Neil Simon comedy, and I don't remember, I don't even remember what film it was for, but I really didn't want to go.

And she said, no, just go.

You can meet the casting director, Ronnie Eskol, and just, you know, I went, okay.

I went, and there were other actors there, and they put us in like a group scene.

We were improvising, and it was fun.

And then, but, you know, I left and I didn't get the, you know, whatever part that I was auditioning for and forgot about it.

And then I got the script for Reservoir Dogs from Nancy and I loved it.

And

I, for the first, I didn't, you know, the first time I met Quentin was on the phone.

And hearing his voice, I was just shocked because I thought I was going to be talking to like.

an ex-convict who was like in his 50s or something.

And instead it was like, hey man, thanks for reading my script.

Thanks a bunch.

I'm really excited.

And I was like, wait, is this, are you Quentin Tarantino?

Yeah, yeah, man.

You know, I was like, it just, it didn't match up.

And but he was so excited and so, and, and so enthused.

And I auditioned for it twice.

And then I did the workshop for it in Sundance.

And it was Quentin and I.

And this is, I guess, typical Quentin fashion.

He tells me I got the part of Mr.

Pink as we were in the bathroom.

You know, we're in the bathroom together.

He's like, oh, by the way, I cast you as Mr.

Pink.

I went, oh, what, what?

Oh, really?

He says, yeah.

Wow.

And

he says, yeah, and it wasn't really based on your audition.

You know, he says, but Ronnie Eskol showed me a tape of when you auditioned for that Niels Simon movie.

I go, but that was a comedy.

Like, what did you see in me that you thought?

He goes, well, because you had on like a vintage shirt and your hair was slicked back and you looked like a criminal.

And that was just how I dressed.

That was just me.

Just rolling out a bed.

Yeah.

No way.

And so thank God I went on that audition.

Yeah, cool.

Isn't that amazing how those things kind of worked?

Like that you just never know.

And was that, was that,

would you, um, would you say that that film or any of the films around that started to solidify for you

what you were confident in doing?

And I guess the question is, at what point did you start to really kind of just dig into your

style, quote unquote, or what your confidence was?

What I have is going to work.

What I have is going to take me into something that I can make a living and also can be creatively fulfilled.

Like when did you get that feeling of,

I've got

what I think it takes and I like that they're hiring me for this type of thing?

I mean, that film, Reservoir Dogs, had a lot to do with opening doors for sure.

And it did a lot for my confidence.

Just being cast.

Being cast in a movie with Harvey Keitel and having scenes with Harvey was, you know, that was like a dream.

I never thought that that would be possible.

And then getting to meet, you know, and work with actors like Tim Roth.

and Michael Mattson,

who we sadly lost,

and meeting Eddie Bunker, who was an ex-convict and, you know,

wrote the movie

Straight Time, that was based on his book and Runaway Train.

And so

it was just exciting to be with these people and Chris Penn and

the whole cast.

So just having done the movie was a huge

confidence boost.

And then

Quentin did us all a big favor by that credit sequence of having us walk in the parking lot and our names were underneath our faces, like as we're walking.

Because before that, it was like,

who's this guy?

Like if my name was mentioned,

you couldn't put a face to the name.

Sure.

Now, at least people could.

And I had something to show.

If I was up for something and they wanted to see what I did, that was the film.

And so that opened doors.

But as far as what my style is or anything,

I never know.

I feel like I've done so many different kinds of things.

And depending on like who I meet, you know, like on the street, if I get recognized, I never know what they, you know, is it from a Cohen Brothers?

Is it from Tarantino?

Or is it from Adam?

Yeah.

Sandler.

Right.

You know, so some people only kind of know me in that.

comedic vein and other people know me from other things.

Well, that's a tribute to your career.

Like, I mean, you're able to do so many different things so well.

It must be, you must have

a great number of choices in front of you at times.

And

how do you decide which way you're going to go?

Is it based on the people involved?

Is it based on the kind of character?

That being maybe different than the last one you just played?

How are you making your decisions?

I guess it's different each time.

Sometimes it's just such a wonderful script.

And if it's an independent film and it's a young filmmaker that's starting to come up and you know and

I love doing that type of work

and

and then other times it is you know it's the people who are involved but it it really is the material.

I mean, I try and go for the material first.

The script as a whole or your particular character?

As a whole.

As a whole.

I mean, it used to be when I would, there was a time when I would read a script and they'd say what character, and I would just flip the pages to see when the character would be killed.

I swear, it was a flip-flop.

Oh, I made it to page 39.

Okay, I think I'll be able to get it.

Would it be like where the character was killed, or would it also be like where the character can really score?

Would you look at that and go like, oh, this is a good scene?

This is, you know, well, yeah.

If I, it was a, yeah, I mean, there's that stuff where, like, if it's a good dramatic part, or there was like a, like a good scene, but but yeah, mainly I would either get I would either get beat up or I would be chasing somebody with a knife

and then eventually get killed.

And

yeah, it went that way for a while.

And we touched on it, Jason, you just said, too.

You did so many different, not just so many different characters, but so many different kinds of

size of films.

You've done these huge Hollywood films and you've done these really small.

In fact, you made the seminal independent film Living in Oblivion with our mutual friend Tom DiCillo.

Yes.

Which is about making an independent film, which is one of my favorites.

And then you just said that you like working with young up-and-coming directors.

Is it that you like

the feeling of being part of that vibe of somebody who's just finding their way and exploring?

Is that exciting to you?

Is that what it is?

Yeah.

Yeah.

I really love that.

And I'm so happy that I was part of Quentin's first film.

That was, was, I think, really exciting for all of us to see somebody like him.

And he had such confidence in what he was doing that that's what I think blew all of us away.

It was such a clear point of view.

So that kind of energy is contagious.

It just makes you feel good about being in this business.

Yeah, you know, and not knowing you very well, Steve, is like, I get a sense from you that you're, and you correct me if I'm wrong, you're filled with gratitude and appreciation for working and where you are in life as an as an actor.

Like, I can't ever see you being a problem on any set ever or having an issue.

Like, there's certain, you know, there's many, many types of actors, and a lot of them can't wait to share all of their ideas

and come to set,

you know, there's those types, and then there's other types that are just like, yes, I've studied my role, I have a few ideas, but you're in charge.

Like, where do you fall?

I think, yeah, I think I fall into,

I mean,

I've worked with so many different directors, and I like to see what their style is and how I can be accommodating.

And since I've been directing, I'm even more so because now I know what directors go through.

You know,

a lot of the times they're just trying to make the day, right?

Just like, you don't want to.

Yeah, we talk with Jason about it all the time.

I always ask Jason about the difference between being on either side.

So you have that too now.

Yeah.

I mean, you know, it's like, well, why would I come through this door?

Like, don't you think I should, it's like, okay, where do you want me to come through?

Okay, good.

Like, I can figure out my own motivation.

Like, if you want me, or if you want me to do this.

And it's only when something really doesn't

feel right.

Like if I can't find my way around like organically why I'm doing something or if the blocking feels off, yeah, then I'll say something.

But generally, yeah, I just like to show up and kind of do it.

As a director,

as a director, have you had those moments where you've had to say, just come through the fucking door, man?

Yeah.

Why the door?

Because it's the only door that we have.

And you need to come into the scene.

So we need you in here to do the scene.

That's right.

Right.

Have you had those moments?

I really can't think of anybody who was like that way with me.

And, you know,

I've, I mean, I've had moments, but I, i and you know being an actor i always like to see what the actor will come up with uh you know if i have time to like rehearse something properly which you don't always

I like to see what the actors do naturally and then try and, you know, and then

block the scene.

Sometimes you don't have that luxury, you know, you just want to get in there and say,

okay, the actors aren't here yet.

Let's see if we can get them to be, you know, this one here, this one here, and then we can shoot it.

Right.

So you're like, we're already set up for this.

So this is how it's going to go.

But jb have you ever had that where you've had to kind of like just go

you know i'm just yeah i mean a thousand times because i i i really i i yeah because i i personally i'm such a fan of what the camera can do to help the audience understand what the scene is about so oftentimes i'll have a huge plan already worked out about what the coverage is going to be and that's that means that people have to be in certain spots and so i'll try to encourage the actors to make a friend of that blocking but if they if they don't if they aren't comfortable with it, I can pivot for sure.

But Steve, with all the

incredible set experience that you have and the number of fantastic directors that you've worked with,

it's interesting to me to hear you say that

you gravitate towards new directors at times

because it seems like

you'd often be in a situation where

that director might be drowning in in the the the the unforeseen complications of any day and and you might get frustrated with like oh my god this is you know

it it's frustrating for you to have been on so many sets that work so well

to then be sort of extending your patience and your experience to help out a young director I find that just so generous of you and is it taxing?

But I don't really find the frustration that

I do sometimes feel with the person who is directing.

I sometimes I've I've just been on so many sets over the years.

I get frustrated with maybe like

why did they bring me in this early or why did why are they shooting

you're yelling at why are they you know and so yeah and especially on

you know Boardwalk Empire was the first time I had played a character like, you know repeatedly and for

however many seasons that we did, five.

And towards the end, I think I did start to, you know, be the guy that wouldn't, you know, like they'd call me to set

and I would just go, all right, I'm just going to sit here for another 10 minutes until they really need me.

But then that kind of like, then they're like, well, he's not coming out.

So now they would call me even earlier, you know, like the next time.

It just, yeah, it just, yeah.

Yeah.

But I love doing that show.

Yeah.

Well, that must, then you must really, you must love.

Well, you tell me, do you love directing?

I'll bet you do.

In theory,

it makes me the most most anxious.

Like when I direct, I get so anxious that I'm beside myself.

I don't do it enough.

I just feel like I'm, you know, I'm insecure.

I'm not really, I don't really know what I'm doing.

I don't know about camera stuff.

See, that's my weakness is that.

I'll come on set and I'll say, you know what, and I'll say to the DP, I'm thinking, how about if we do this and that, blah, blah, blah, and the DP will say,

oh, well, you know, the light's coming in this way, and this is, and I would go, oh, oh, yeah, right, right.

Okay, yeah, yeah, you're right.

Let's

now I just

look to the DP and go, what do we do?

Like, what do we do?

Yeah, yeah, yeah, yeah, yeah.

And I find eight out of ten directors work like that.

Don't you find that?

A lot of directors would just sort of punt all the camera stuff to the DP and the operator, and then they go and they work with the actors, which is a great way to do it as well.

There's so many different ways to do it.

Yeah, there are, but I get so jealous of directors when they say to the DP, so what do you think, a 40?

Are you thinking of 35?

And I'm like, what are they talking about?

Like, why don't I know this?

Why don't I know this?

Whatever you're doing, you're doing it just right.

Yeah, you already keep going.

Of all the genres you've done, is there any genre?

Well,

is there a genre that you haven't done that you want to do, or is there a genre that you have done and that you will never do again?

Yeah, yeah.

I mean, I really haven't done horror.

I've done like a little bit.

There's some TV shows back in the day, like Tales from the Crypt, and there was a show called Monsters.

But I've never done like a horror movie.

But I don't know if I could.

I'm pretty squeamish.

And I don't like

prosthetic makeup.

Like, I've done that in the past.

Like sitting in the chair for five hours.

Sitting in the chair.

Yeah.

Yeah.

But

your ability to

ground violence is

awesome.

That's awesome.

I just love watching you deal with

the

unsettling unpredictability of violence coming on

someone.

that is just normal.

There's a bit eccentric, but like living in our world.

Like you, you just ground violence very well to a point where, oh my God, that's really shocking because it seems like it's really happening to someone in our real world.

I mean,

Fargo's top three films I've ever seen in my life.

I've seen it more than any other film.

And just your way, just not only just

the violence that you deal with in that film, but even just your line of work in that film too,

that

there's a grounded sense of here's a guy who's dealing with

the underbelly of society, but he's not super comfortable with it, but he's just, he's got to make a living and here we go.

And I think that's a good thing.

It's kind of matter of fact, almost.

Oh, it's so exciting to

follow somebody like you through an eccentric storyline

because you just ground it all.

You know who we are.

I love that.

Well, thank you.

And that film was, yeah, that was another seminal one for me because I had, you know, worked with the Cohen brothers a few times before that.

But then in that film,

they really gave me a part that was throughout the film, and I loved it.

And I loved that character, you know, kind of,

yeah, you know, thinking he's, you know, smarter than he really is, but, you know, but he had a certain kind of confidence, you know, that he gets so funny.

You know, especially the way you interrelate with your, with your cohort there, Peter Stromar.

Peter Stromar, yeah.

Stromar, yeah.

I just love that sort of alpha beta thing you guys had going where you're just you're the smartest guy in the world when it's just the two of you guys.

Then you get thrown out amongst the other characters and you're in trouble.

Yeah, you with a bloody face getting angry at everybody around you just told you.

How many films did you do with the Cohen brothers?

I mean, yeah, you mentioned it.

You've worked with them before.

You worked with them.

You did Big Globowski.

It was after that.

Was after Fargo, yeah.

Yeah, which is weird.

I always think of it as being before.

No, that was their follow-up to Fargo, which was kind of amazing because they had finally

broken into the mainstream because

Fargo was nominated, right?

So now

everybody was seeing this film and we're starting to really

get to know the Cohen brothers in a mainstream way.

And then they follow up with this film that I remember when it came out, people really didn't know what to make of it.

It took a good five years

for people to catch on.

Could it have a bigger cult following?

I don't don't know if a film could have a bigger cult following than Big Lebowski.

Yeah.

We'll be right back.

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And now back to the show.

And now, actors are lucky enough if you're in one hit anything, one hit play, TV, show.

And you've had all of these things that you've been a part of that are like hit after hit after hit, like just kind of extraordinary.

Do you, are you able to allow yourself to appreciate that and be like, I'm kind of proud of, like, I'm proud of what I've done?

I mean, of course you are.

You don't have to say it out loud, but, but, or are you one of the people that kind of deflects?

Say it out loud.

I mean, or can you absorb that?

Because it's very rare for somebody to be in that many hit things.

Yeah, I mean,

I'm very proud of it, and I feel very grateful for it.

And at the same time, I feel like I haven't been in,

you know, like I've, I've never done like a Marvel movie.

I've never done, like, I've, I haven't done, you know, popcorn things, yeah.

Yeah, I mean, I did, you know, like I, like Armageddon and Conair were my two like, like big movies that i did in the 90s but i really haven't done stuff like that so much since um yeah but i'm i don't care i mean i'm very happy with yeah that's kind of what i'm saying

you know you lend you lend you lend so much credibility and artistic rigor to those films.

Like that was a that was a very nice thing you did for those couple of films.

And I'll bet you could do that a ton more if you wanted to.

I bet Marvel would have you in a second.

Yeah, yeah.

But you are, you're just such actor and director,

you know, catnip.

I hope you're as proud as you deserve to be about, you know, the position that you hold in this community.

It's so well earned, Steve.

Well, thank you.

And coming from you and all you guys, it just means so much to me because I really.

You've had some pretty memorable deaths on screen.

Yeah, true.

Do you have a favorite?

Is there a favorite Steve Boucheville Manor of Bank?

My favorite was in the big Lebowski, just literally being scared to death.

Yes.

It made no sense.

Like when I read the script, I was like, I think I'm going to make it through this one.

I think I know.

It's like, what?

He's dead?

You also, that's so good.

You also mentioned

that you improvised

in that audition that Quentin saw you in.

And I'm sure you've improvised a lot of movies.

And I know

you've had the opportunity of working with so many great writers who've written, and you've mentioned so many great pieces of material.

But has there ever been an improvised line?

I've always wanted to know: is there something in the movie somewhere that you're

proud of that you improvised and that made it in the movie?

And you're like, oh, yeah, that's it.

Yeah, well, actually, in Armageddon, I mean, Michael Bay let us, you know, improvise a lot.

You know, like, you know, I mean, we would, we would do the scene, but then

the one thing I remember when I was sitting on the

nuclear weapon and I just, and I said, I was like, no nukes, no nukes.

Like, that was just from me.

And it made it into the movie.

God, that movie was so huge then.

It was

such a massive hit.

Yeah.

Oh, my God.

So, Steve, what do, with, again, with all of the stuff that you've done and all the directors that you've worked with and the parts that you've played,

aside from Marvel, is there something

that you hope to

do sometime soon?

And that can be as an actor or as a director.

Are you looking to maybe direct

one of those big sort of popcorn, big pieces of business things

or act in one of those?

You know, I've never really had a plan for,

you know, and and and i've been you know i mean we all get asked like what's your dream role

and or if you're what you're doing or to work with somebody a director or to work with somebody and i i get superstitious about well i've never worked with so-and-so and i feel like if i say it out loud sure sure that makes sense although sometimes you say it out loud and it happens that's true because they hear it

what about theater have you have you i i apologize for not knowing but have you taken sean and apologize for taking sean's question but go ahead

sean will have the follow-up about anything funny that happened on stage.

Do you enjoy doing that or does it take too much time off of your availability?

Yeah, you know, I mean, I used to do, in the 80s when I lived in the East Village, which was like an amazing place and time to live, I had a partner, Mark Boone Jr., who you guys may know.

He's done a lot of great work.

And a lot of people know him from Sons of Anarchy.

He played the character of Bobby.

Oh, yeah, yeah, I know Mark.

Didn't you work with Boone?

Yeah, I did.

I did work with him.

Yeah, he did Flaked.

He did our show Flaked.

Yes, he's terrific.

God, what a great actor.

We used to write and perform our own

short sketches and

some plays.

And

that was, you know, I think.

I never felt more creative as when I was doing that, you know, working with him and then working with other.

I worked a little bit with the Wooster Group,

another playwright director, John Gezerin.

And I did a lot of that stuff then.

And then when I sort of transitioned into film, I just felt like I was spoiled by like

all the great people and fun that I had doing that in the 80s.

It was hard for me to make a transition into like, they want me to do what?

How many how many shows a week?

I think the eight shows a week thing is like the dumbest thing in the world.

Yeah.

It's brutal.

And

then I was just, yeah, I just, I guess I just sort of kept myself open, you know, for like film and TV stuff.

The last play that I did was over 20 years ago, but it was amazing.

It was Simon McBurney directed it, and it was

Arturo Ui.

And Al Pacino played Arturo Ui.

Sean.

And it was an amazing cast.

And it was a yeah, it was a star-studded cast.

And you were supposed to do something with Oscar Isaac, right?

Around the pandemic?

We were going to do, yeah, we were going to do,

it was three sisters, yeah.

Oh, three sisters.

And

the pandemic.

That was going to be the original title of our podcast.

Yeah.

It was taken.

It was taken.

The pandemic put that on hold, and then

it sort of, it just kind of fell apart.

But I've tried to do some things over the years, but it just never worked out.

So we mentioned that how much you work, and again, like how many roles you've done, and it's a, you know, it's obviously you're busy a lot.

You just, you work a lot.

You must, I don't know if it feels like you work a lot, but you do.

Yeah.

No, it does.

Yeah.

So what is, what do you do?

Are you East Coast-based?

Are you West Coast-based most of the time?

I'm East Coast.

Yeah.

Yeah.

East Coast.

New York.

Yeah.

And then

what's a day?

What's if you're not on set, you're not working on something, what's an average day for Steve Boucemi?

You wake wake up and you have a

coffee, tea, matcha, what are you doing?

Definitely coffee, black coffee in the morning.

Black coffee.

Just read like, you know, the Times or whatever news feed is on my phone and do that.

And then

the Post.

I don't do, you know, like, I do yoga.

We do yoga on the weekends.

Nice.

For a little while, I was working out, but I'm not, yeah.

But are you walking around?

Are you going to lunch?

Are you going to read books?

Are you going to museums?

Are you watching

reality

No, I don't watch reality TV.

I mean, I catch up on shows and movies, and I like doing that.

And I like hanging out with friends

and visiting my mom, who's 92 now, and she lives now like a block away from me.

Oh, me.

But it's a pretty sort of, you know, uneventful.

life that I lead.

It sounds pretty good.

No, but that sounds like a power down.

Like you need to have some kind of like quiet time where you kind of do nothing a little bit.

What's your drink of choice?

My

wine.

Yeah.

Oh, wine.

Red, white?

Red wine.

Red wine.

Red wine.

There you go.

All right.

Yes.

It's pretty classy.

It's good to know.

Hey, well, I have to ask you this.

Yeah, please.

Do you remember when we were both nominated for 30 Rock?

Yes.

Do you remember we were sitting next to each other at the Emmys?

It was the Emmys that happened like before the Creative Emmys.

Yeah, the Creative Emmys.

Yeah, the Creative Emmys.

Because we were both nominated for 30 Rock.

And we were sitting next to each other and so was Tim Conway.

Oh, wow.

Wait a second.

Do you remember this?

And we didn't say a word to each other.

I think we were both kind of like nervous to talk to each other.

I was nervous to talk to you.

I was nervous to talk to you.

And I had just, I had, right before that, I had introduced myself to Betty White, who was there.

And as I was walking away from her, I heard her say to a friend, who was that?

Then I was like, I'm all right.

I'm not going to say hi to anybody.

And we sat there.

And so when they got to our category,

it's Tim Conway.

I mean, we're up, you know, I think we both knew.

Before they announced his name, he ran up on stage,

which I thought was such a brilliant move because win or lose, it was great.

It was, it was so, you know.

He did that.

You know, it's funny, Steve, I do remember that.

That's so crazy.

I totally blanked on on that.

Did he end up winning?

He did win.

He did win.

He did win.

Of course he did.

He did win.

But what he had done was, if you remember, in the 70s, he originated that bit that

they tried to copy years later

for

Actress in a Comedy.

He originated the bit in 1975.

I know it was that year because his year Chevy Chase was nominated for SNL.

So it was like 75, 76.

And they started listing off the nominees and they go, best supporting actor in a comedy, Tim Conway.

And he walked up.

And then each nominee walked up as if they had won.

That's really just when they do the list of nominees and then they stood there and then Chevy Chase ended up winning, but they were all standing on stage.

So I love that he years later extended that bit.

And of course I remember that.

It was so fucking crazy.

And then when he when he took his, like he kind of like bowed and then pretended that he stabbed himself with the award and like kind of walked off holding his heart.

I mean,

was there anybody anybody funnier than Tim Conway?

No, I know.

It was just, yeah, I was so excited to meet him.

He one time, I saw a bit one time where he in Harvey Cormann.

Harvey Corman gets announced, he either won or was announced to come to the stage.

And Tim Conway, he was wearing tails.

And Tim Conway went and jumped on his tails and literally rode his coattails down the aisle.

It was such a brilliant, just working on so many different levels.

Oh, God.

30 Rock.

30

30 Rock.

Every rock.

Wow, I missed that show.

Yeah, that was so much fun to work on.

So your new show is coming out

next

soon.

I should know this.

This is my notion.

August 6th.

August 6th, which is my son's birthday.

So now I really remember.

It's one of my son's birthdays.

And then, so, what do we got in store for the rest of the summer, Steve?

What are we working with?

Well, right now I'm working with

Adam.

Sandler is producing a movie.

He's producing two movies that his daughters are in.

So Sonny is in one film that I'm doing

called Don't Say Good Luck.

And Sadie is doing a film called Roommates.

And last night was the premiere for Happy Gilmore 2.

Happy Gilmore 2.

That's right.

I'm in that as well.

And that was so much fun

seeing that film.

And

we watched it again.

Like I I watched the first one in the afternoon yesterday, just so I would be up on all the references.

And they did it.

It was just so satisfying and so funny.

Yeah, I'm sure.

And I think that people maybe, and you can testify to this, and we all can.

There's almost not a nicer guy or better dude in the world than William Sandler.

See, I differ.

This monster,

he's got everybody fooled.

I mean, he is, he is the nicest man.

He's the sweetest guy.

And on top of being so funny and everything, so talented, he's such a good dude.

He really is.

And he's so smart.

So smart.

I mean, I've worked with him since Airheads, right?

Like, that was the first thing that we did.

Oh, my gosh, that's right.

And then he, you know, he's, you know, he was talking to us on set about how he wanted to like, like, do his own film.

And Robert Simons, who was one of the producers on Airheads you know took him up on it and produced Billy Madison and Adam asked me to do like a

small thing in that and it was so much fun but to watch Adam over the years

because his friends used to show up on set you know and just hang out and then each movie I've done with him I notice, oh, those friends are now in the movies.

Those friends are his writers.

Those friends are his producers.

And he's so, not only is he loyal to them, but that's what I mean by smart.

He knows what brings out the best in him, and he knows that they will bring, you know, like

gold.

And so, and he makes movies that he wants to see.

I don't think Adam ever makes something that he's trying to, you know, find an audience for.

It's stuff that he really like wants, that he wants to see.

Yeah.

That he thinks is funny.

Yeah, he really does.

He champions people.

And also, like you,

he's so diverse and can do so.

He has so many different gears.

Oh, yeah.

It's unbelievable.

I was so happy for him that when he started doing dramatic roles, and I was so pissed off at myself that I hadn't

written something dramatic for him, you know, first, you know, because I could see it in him.

And I used to tell him that.

What was it first?

Punchstrung?

He's an amazing musician.

Yeah, Punchstrunk Club was the first one, I think, that really kind of, you know, where people started to see him in a different light.

And then, then, of course, with, I mean, uncut gems.

I mean, come on.

Yeah, I forgot.

It's incredible.

Yeah.

Yeah.

Well, Steve, what an absolute delight.

I'm sorry that we never, that you and I didn't speak to each other at the end of all those

today.

We did exchange a few words.

It was

a few words.

But we didn't really go deep, but we were both losers.

We were just losers that night.

But what a thrill to have you, man.

It just honestly is just such an absolute.

I'm so excited to have met you, Steve.

Thank you so much.

Thank you for having me.

It's an honor for me to be with you guys.

And Wednesday, Wednesday on Netflix, August 6th.

We're looking forward to it.

Season two of Wednesday.

Steve, just sending you lots of love and all the best of luck and

continued success.

You're just the greatest.

Thank you.

And sending love and all the success to you guys, too.

Thank you.

I love what you do.

So thank you.

Thank you.

Thank you.

Thank you.

Enjoy the rest of your season.

Great Steve Buscemi.

Thank you, Steve.

Bye-bye.

Thank you.

Bye-bye.

How about that guy?

Talking about a guy who's done it all.

Yeah.

Yeah, that was that.

I'm still a little, a little kind of in shock there.

That's what I did.

I was just like such an enormous fan of his.

And I just, for some reason, he just seems like a guy I always thought I would never, ever be able to meet.

You know, just like one of those guys that like zero circles I know or that I'm in.

He just lives like in a cool zone.

Yeah, he's not out there fucking cutting ribbons at markets and premieres and shit like that.

Like it's just like,

you know, if I got lucky enough to maybe be in a project with him, but,

you know, what are the odds?

Wait, are you spending time with a lot of ribbon cutters?

Oh, yeah.

I'd bring my own scissors.

You know, I don't, I'm not germaphobe.

So.

Yeah, it's good.

Willie, when you, when you announced him on, when you, when you were revealing and Jason guessed it, I was like right away.

And I was like, oh, yeah.

And he came on.

It's one of those people, like Jay just, you're like, oh, my God, it would be so cool to hang out with him.

And, oh, we're hanging out with him.

I I know, I know.

Yeah.

I know.

It's just a thrill.

What a fucking talent.

And talk about, yeah, what he lends each project.

And you know, he's in the cast list.

I agree.

Oh, okay.

So they're not fucking around on this film, right?

Raises all boats.

I didn't just.

And I didn't know he did stand-up, like, you know, like I did.

You should have tried some of your stand-ups.

Oh, I have some.

Oh, do you?

Oh, oh, shit.

Sean, do you want anything you're work shopping?

Yeah, let's see.

What did the sushi say to the bee?

Huh?

Give me a second here.

Oh, Shay.

Wasabi.

You really got JP with that one.

Oh, because, you know, there's a lot in there that is close to my heart.

You know,

the mock bro talk.

Right.

And the pun.

And the underused sushi mustard, you know, I just don't think gets a fair shake in this world.

Um, and then bees, of course, you know, they're my archmen at Nemesis.

Bees, bees, bees, do you want one more?

Do you want one more?

Of course we do.

Okay,

what does an Irishman call 66% of a piece of poo?

Huh?

Well, that's two-thirds of something.

Two-thirds.

That's right.

Oh, that's good.

Here we go.

Nice, JB.

Thanks.

Two-thirds.

Yeah, two-thearts.

Titan.

Well,

that's like a combination.

That's like a hybrid of a...

Here we go.

Hybrid.

Wait, what's the opposite of a hybrid?

I can't even think of it.

Gas burning?

No, that would be a hybrid.

That would be a

hybrid?

No.

Not at all.

No.

Yeah, but that's...

No.

What are you fucking talking about?

It's like a hybrid joke of two.

Well, how about

maybe you were going towards like, you know, well, you know, you got those airplanes with the jets, and then the other planes planes that don't have the jets.

Those are...

These are like...

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