209.5: My Happy Accident With John C. McGinley

In this episode - record scratch. So, remember how Zach thought Johnny C. would be on episode 209? Well, turns out, so did Johnny. He took notes and everything! So, instead of asking Johnny to come back later, we decided to have a conversation about one of his best performances and what it's like working with Oliver Stone.

See omnystudio.com/listener for privacy information.

Episode Transcript

Speaker 1 (00:00):
I said, there's no way, no way I could get
it down down there without falling down that ramp.

Speaker 2 (00:09):
All right now, but Donald's singing. You may know if
you're an avid listener of Fake Doctor's Real Friends, that
Donald and I are big fans of a song of
five moment. We sang, he's driving in your window, he's
climbing in your window. That's nat gien yeo, po bull
up A howd your kid is? HODJ? You wife? Well,
we are a sucker for song of five moments, And

(00:30):
I sent Donald's what is probably the greatest song of
the summer.

Speaker 1 (00:34):
Oh my gosh, it's it's it's my new bop.

Speaker 2 (00:37):
Dan. You're gonna have to edit this in sounding better
than I have it, but I have to play this
for you. And I gotta give a shout out to
these guys. Oh they're called the Gregory Brothers. You guys.
You can find them on on Twitter at Gregory Brothers.
And then I saw, yeah, go ahead, Donald.

Speaker 1 (00:50):
I just want to say I didn't know. First of all,
I had no idea that Donald Trump was a poet.

Speaker 2 (00:57):
Because he's a poet, he.

Speaker 1 (00:59):
Rhymes in his and I didn't even know.

Speaker 2 (01:01):
Listen, Donald and I have been talking about back and forth,
sometimes with you, sometimes privately on our phone, about what
are our favorite songs of summer. We've been talking about
t Swift. We've been you know, we played you, uh,
Toby Sebastian last episode. But listen, this is the song
of the summer. You guys, and Donald and I haven't
singing to each other. Okay. Now, for those who don't know,
Donald Trump had trouble making it down a ramp. And

(01:24):
you know, I don't fault the guy. I mean I
fault him for lots of things, but you know, he's
in his sevenies. There was no banister. But then he
had to go brag about it. Okay, he had to
go brag about it, and these guys songified the bragging.
So here you go. Here's the song.

Speaker 3 (01:36):
And so.

Speaker 1 (01:38):
There's no way.

Speaker 4 (01:44):
Yeah, hey, oh my god, no wait for the hook.

Speaker 1 (01:51):
You up.

Speaker 2 (01:59):
It was wet said.

Speaker 3 (02:01):
There's no way, fire, no way, fire can wait?

Speaker 1 (02:07):
Wait here we go, get here we go.

Speaker 2 (02:11):
He's ten feet sure.

Speaker 3 (02:15):
I read.

Speaker 2 (02:20):
God, that's the part favorite.

Speaker 1 (02:23):
I read somebody goes down the Red.

Speaker 2 (02:31):
Oh my god, I love that song.

Speaker 4 (02:34):
My red.

Speaker 2 (02:36):
That's my favorite hook. Right there, I read down the rips.
Fucking fucking DJ Collin couldn't write that hook another one.

Speaker 1 (02:46):
He would, but he would, you know, he heard that
like all of us did, and was like, damn that listen.

Speaker 2 (02:52):
I never heard a song of five song that I
wanted a full song to. That's only a minute long.
I want the whole fucking song.

Speaker 1 (02:58):
ID does No way, No way. I could wait, I
could without falling on my ass. There's no way. And
then he goes, I read, I've read down the ram.

Speaker 2 (03:19):
So congrats to those Gregory brothers. That's a that's a
that's a bop. As the kids said, bop.

Speaker 1 (03:24):
Dude, that is a bop. How are you man?

Speaker 2 (03:26):
Oh man? I read everyone's gonna be singing that. You
know what everybody's singing other than that song?

Speaker 1 (03:32):
What you're trying to get into a dal shown It
is a ring tone.

Speaker 2 (03:40):
It's a ringtone, Joelle. Is it officially available for everybody?
It should be by the time this airs. It should
officially be available. Those of you who are clamoring, clamoring
for the hottest ring tone of summer, the a Daishun song.
Look at your beard? You that is a big beard.

Speaker 1 (03:59):
I committed to it.

Speaker 2 (04:01):
You look great, it looks thick and.

Speaker 1 (04:03):
It's very Yeah, I got hair on my face.

Speaker 2 (04:05):
Does Casey like to run her fingers through it?

Speaker 1 (04:08):
Me and Casey don't be you know, listen, man, we
don't like to kiss and tell.

Speaker 2 (04:11):
Okay, so well you have to tell me what you
did sexually, But you can tell me if she ran
her fingers through it. I'm not asking you if she
fucking lets you spank her? But did you.

Speaker 1 (04:23):
Appropriate? I read?

Speaker 2 (04:30):
No, we're family, Casey, Casey lets me know things.

Speaker 1 (04:34):
No, she doesn't, she does, she does. My wife tells
you shit work.

Speaker 2 (04:38):
No, no, you know she doesn't. But but you know,
when we're together, when we're together as as as couples,
we sometimes speak openly. Right.

Speaker 1 (04:46):
It's crazy, man, with this whole quarantine thing going. We
see each other every day, all day, all day. I
love my wife tremendously. But once we put the kids down,
we kind of separate a little bit, and we go
in our own rooms and she watches her date lines,
and you know, I watch my.

Speaker 2 (05:05):
It's just like this episode that we're gonna talk about.

Speaker 1 (05:08):
Well, this episode is you fall asleep.

Speaker 2 (05:10):
Judy wants romance, Carla wants romance, and she wants some sex.
You fall asleep during the Jefferson's theme song.

Speaker 1 (05:17):
But yeah, but that's after we have sex though. First
of all, I.

Speaker 2 (05:21):
Don't know, so is the joke that you only lasted
the length of the theme song of the Jeffersons.

Speaker 1 (05:26):
No, he didn't even last the length of the theme song.
It was like, well, we're moving on. He probably got
beans on Friday in the kitchen, beans on, burn on
the girl.

Speaker 2 (05:35):
He probably got to that, yeah, and then he finished, and.

Speaker 1 (05:38):
He's like, took a whole lot of trees.

Speaker 2 (05:45):
Because you're right, because now we know you finished in
the first couple of lyrics, because by the time we
get to sky Hi the camera till he's out and
you're asleep, right, so you needed time to at least
clean yourself up.

Speaker 1 (05:58):
Let's a lot of too, right.

Speaker 2 (06:01):
Yeah, let's assume you finished the giant.

Speaker 1 (06:04):
Now we up into big.

Speaker 2 (06:06):
Now you're cleaning yourself. My turn at bet coming up too.

Speaker 1 (06:09):
We living it's you and me, baby, ain't.

Speaker 3 (06:14):
No.

Speaker 2 (06:16):
I think he might have lasted longer. I think he
might have lasted longer because if you're back time it,
you had you only need about a few few words
to get cuddly and fall.

Speaker 1 (06:25):
Asleep, so to go ho lot of too and find a.

Speaker 2 (06:28):
Later spot for your ejaculation.

Speaker 1 (06:31):
We up in the big lead.

Speaker 2 (06:33):
Get my turn at bat No, I think it came out.
Ain't nothing wrong with that.

Speaker 1 (06:41):
Get my turn at bet and Lord we living. It's
you and me baby. It ain't nothing wrong with that, said,
We're moving on now.

Speaker 2 (06:54):
That's probably how it timed out. Yeah, that's probably how
it timed out. Well, welcome to Fake Doctor's real friends.
We have John see McGinley here today for a very
very very good episode. I just watched it. It's really good.

Speaker 1 (07:04):
Yeah, I watched it also just now. I watched it,
and I don't think I need a first of all,
before we get a movie from six seven eight stories
I'm not show.

Speaker 5 (07:14):
We made about a bunch of times and nurses and.

Speaker 1 (07:20):
Said here's the stories. Netl no so ganda around here,
YadA round here? No, oh, hello there.

Speaker 2 (07:38):
Thunderous applause, thunderous applause. Damn Donald, turn your key, look
at you, Look at how are you, sir? You're back
in your aqui room. You're back in your aquee room, Johnny.

Speaker 3 (07:53):
I know because Nicole has a migraine and she's upstairs
and when she gets some their blackout and so.

Speaker 2 (07:59):
Oh no, that's horrible.

Speaker 3 (08:01):
Yeah, it's the worst thing on the platform. But I
am down here and I'm really sorry that that that
we have the echo, but I can't go up there.

Speaker 2 (08:10):
Well, listen, the audience is so fucking excited whenever you
come on. I think they will they will handle an
echo because all we get on our on our social
media is when is Johnny c McGinley coming back on?
You're everybody's favorite guests. Everybody loves your story of your
leeches attacking your your what do you call it, your
your man power power source, Johnny, I laugh on.

Speaker 1 (08:35):
It's a lad storm to the power source.

Speaker 2 (08:38):
Yes, the releaches all over his power source.

Speaker 3 (08:40):
I thought the last couple of guests you've had on
were fascinating, and I thought Brendan was just so interesting.
And it's always fun to listen to how geeked out
you guys get. Whether it was with Heather, because Jack,
you are clearly uncomfortable. Yeah, I understand that, complete dude.

Speaker 2 (08:58):
I want the audience to know that I tried my best,
but I was I mean, I grew up and she
was like she probably was a poster on my wall.
I mean, she was had the fucking lock rear, and
I may be forty five years old, but I was
just as giddy.

Speaker 1 (09:12):
Yes, she's fine.

Speaker 3 (09:14):
I completely appreciate that because when she was on the
set and I was very single, Yeah I did. I
no sooner even occurred to me to approach her that
way because she's something else.

Speaker 2 (09:29):
Yeah, but there you were, dude, there you were having
a sex scenes with a goddess, with a living goddess.

Speaker 3 (09:36):
I was that was acting. That was I was too.
That was out of my weight, class man. Totally.

Speaker 2 (09:42):
Kind of like kind of like JD hitting on gifts Portfolio.

Speaker 1 (09:45):
There's I'm watching.

Speaker 2 (09:47):
This fucking episode and the idea of JD getting Sarah
Lancaster a who plays gift shop girl, and then b
not being able to get a hard on for her.
I just found unreal stic television. I'm sorry. I'm sorry,
but I call bullshit on this writing. First of all,

(10:09):
it's written by Angela Nissel and directed by Gail Mancuso.

Speaker 3 (10:15):
Angela, I have to, I have to, I have to
stop before we go any further. I looked at two nine.

Speaker 2 (10:26):
You looked at the wrong episode.

Speaker 3 (10:28):
Yeah, that.

Speaker 2 (10:31):
Okay, Well, Johnny I.

Speaker 3 (10:33):
Think you guys should start over without me, because I
have no idea what two ten is. I have copious
notes on two O.

Speaker 2 (10:42):
Nine which one's two on nine?

Speaker 3 (10:46):
Two nine's when you you and I have my favorite
scene we ever did together. When I tell you it
wasn't a favorite, it was my job the end of
the episode.

Speaker 2 (10:53):
Oh, I love that. We how do we salvage this, Johnny,
because we're so excited to have you on?

Speaker 3 (10:59):
Well, I know how we can salvage it because I
had an overriding angle that I wanted to look at,
and it's inspired by what you guys have told me
and Uptown Girls and some of your adventures in New
York City when you guys were in that apartment. What
happened between season one and season two, since I haven't

(11:23):
talked to you since the end of season one, for
me was that I had a C plus comedy come
out with Jason Lee and Tom Green called Stealing Harvard,
and I spent the entire hiatus, and Jackie you came
to visit me at Columbia doing identity with James mangle it,

(11:48):
and I would suggest to you that what we do
in our hiatuses informs what we do when we get
back in front of the lens, and that you bring
that either those ass that's their liabilities with you, and
it informs the way you grow in front of the lens.

Speaker 2 (12:08):
Yes, I agree, but wait, how are you saying that
this informed when we came back together for season two?

Speaker 3 (12:16):
Because what I brought having spent those I don't know,
nine weeks with Jim mangled, you know, I'm mister verb
and my overriding objective in season two was to contribute.
And then this counterintuitive thing happened where I wanted to
I want to cox. I wanted to contribute by capitulating

(12:39):
in front of the lens. And I'll tell you what
I mean. I was starting to get too busy at
the end of season one and intoxicated with the eccentricities
of all the craziness. And what happened on Identity, which
was the name of the film that Jim directed with
Johnny and Ray and Amanda, was that everything just kept

(13:02):
getting stripped down. Molina, all these people, he just kept
stripping stuff down. And it occurred to me that I
was bringing too much baggage in between action and cut.
And so what it decided was that what the capitulation
would be would would be that I was going to
get out of the way. And at no point was

(13:22):
it more on point than when you and I were
in that doctor's lounge at the end of two nine unfortunately,
and you you had been chesty that JD had been
chesty the whole episode, and finally they they get to
come together and Cox lets him off the hook. But

(13:44):
in letting him off the hook, there's a surrender in
that too, there's a capitulation, and it's just it's the
cleanest scene I can remember that that I can remember.
I can't remember, you know, like Donald and I. Zach,
you have a better memory than us, but I can't
remember all this stuff.

Speaker 2 (14:01):
But I agree, Johnny, because one of the things I
said when we talked about that was the episode was so,
you know, the show is so silly and can be
and and and can go all over the place in fantasies.
But what I'm so proud of in this show when
it worked was how we would just drop in and
be straight and and that scene with you and I
in that room, to me is one of the best

(14:23):
of the series. And it's so it's so simple. It's
probably forty five second scene. But I think you and I.
I was so vulnerable, and you were so vulnerable, and
and and and up to this point there's been there's
been almost no maybe once or twice you give in,
the Cox gives in, and and and is willing to
give him some some mentorship. But this was a real

(14:44):
first time. I think that Cox is this vulnerable in
front of him telling him that it's this is my job.
My job is to make sure you don't fuck up.

Speaker 3 (14:53):
But there's also that it's a it's a combination, and
you as a filmmaker surely will appreciate this, and Donald
as well. Is that the scene starts up with this
great dolly over your shoulder and then we land on
cocks and that fucking great music cue already started when
Donald jumped off the couch to go put Rowdy on
the fourth floor. And it's under pressure with Queen and

(15:16):
Bowie and just everything, and I can't remember. I think
Larry Trillian shot it, and everything that could come together
in a twenty four minute TV show came together. And
that doesn't always happen, and when it does, and it
shouldn't happen, it's impossible. The schedule is impossible and everything

(15:37):
is working against you, and when it does, yeah, it's magic.

Speaker 2 (15:43):
Yeah, it's so fun too when those moments happen in
both You know, as an actor, you just kind of
go out it all the time, and sometimes magic happens
and sometimes it doesn't. And then there's moments both as
an actor and a director where you're watching something. I
remember I was directing Wish I was here and this
great scene between Manny Patankin and Kate Hudson, and there

(16:04):
was supposed to be this moment where they connected and
all of a sudden, the monitors it just I was
watching them, and it just magic happened, and Kate had
a single tear just trickling down her eye, and then
instead of stopping talking, she just ad libbed this extra
line and she swiped her tear away kind of like nonchalantly,

(16:25):
like she didn't want Manny Patankin to see the moment.
And it was just one of those moments where you're like,
holy shit, like something special just happened. That was way
better than what was it in my mind. I feel
that way about a lot of things in Scrubs that
we did, Like we're oftentimes it was about comedy. We
were all riffing together and there'd be some funny thing
we'd all come up with then. But this is one

(16:47):
of those moments that you're talking about where it was
like just so much better than what we could even
imagine was on the page.

Speaker 3 (16:54):
But I had to go away for the summer. And
maybe Donald you'll know what I'm talking about with because
I heard you talk in the heather about the film
you guys did. When you when you go away, what
happens is and Donald you'll appreciate this in kind of
a sports metaphor. If you if you shoot ten thousand
free throws, you will get better at free throws. And

(17:17):
if you stay in front of a lens, even when
you're on hiatus, if you stay in front of the lens,
you'll stop acting and start behaving. And it's not semantics.
They're two different things. And especially if you have a
task master who's creative, like Jim Engel, who's not only
going to keep you in front of the lens, it's
just going to keep stripping stuff down. And what I

(17:38):
mean by stripping stuff down is that actors always want
to add in eccentricity. They want to they want to
add a limp or a lisp or a or a
tick or some some kind of eccentricity, and Jim wanted
them all out out out. He went A rain was
a character in the story deal with the rain. And

(17:59):
I always like when actors have to deal with cold,
dark and rain, because everything goes away and they just
start behaving. If it's four o'clock in the morning, if
you're shooting nights, the production is added rain, it's freezing
out and it's four in the morning, everybody stops acting

(18:20):
and they just start saying their lines and scenes start
to click because people want to get through the scene
like the people in the scene. And I remember one
of these times happened that I can't remember the episode.
I'm almost positive you were pulling the Triggers act when
Molly Shannon came on.

Speaker 2 (18:39):
Yeah, that's what we donald and I talk about that
episode all the time. It's my favorite one because my
first time directing.

Speaker 3 (18:44):
I'm standing across the room from her and she's lovely
and all that, but she's a comedian and I don't
know what kind of chop she has. And then she
finally tells me why she's so kooky and we find
about her, we find out about her loss, and what
the actor once she went in and dug out was

(19:04):
the stuff that dreams are made of for the lens.
And I was standing there watching her, and we didn't
do that many takes because she crushed it and she
brought her she brought her off screen life into that
that wasn't on the page. That where she went wasn't
on the page.

Speaker 1 (19:24):
You know, Johnny, I definitely agree with you about working
during your hiatus. It keeps you in a rhythm. I
feel like, I feel like toward the end of every
season when we were making the show, we would find
our rhythm and we would be all of a sudden clicking,
and it, just like you said, it became it was
no longer about let me act the shit out of it.

(19:45):
Let me say to my lines, I don't want to
be here until fucking you know, midnight tonight. Let me
say my lines and let the work do its job.
Let the work make it happen. And I think when
you go away and you do another project and you
get excited again, that same thing fuels you for when
you go back to work the next year, and now
you're in a rhythm and so that energy that you
had at the end of the season where you're like

(20:06):
efficient and you're trying to make it happen like in
one take and right away because you're you know, you're
you don't want to be there late, and you want
to be looked at as a as a professional. And
when you do that all summer long, when you come
back in the beginning, you don't have the rusties, you
don't have the I'm nervous about what I've been doing,

(20:26):
you know what I mean.

Speaker 2 (20:27):
It's like you were training all summer.

Speaker 1 (20:28):
Yeah, No, walk in and you're like, right, you walk
in and you're like, look, check out my six pack,
you know what I mean.

Speaker 2 (20:33):
I have a question for you guys, as both a
actor and a director, I wish as an actor I
would have had more directors push me to be better.
I feel like I feel like throughout my career there's
been a few, but mostly it's been about stand here,
the camera's gonna come here, do you want to go again?
Because maybe you should be a little angrier as opposed

(20:56):
to like taking me in the corner and being like here,
I want to put a fucking thought in your head.
And I wonder, Johnny, because you you can be an
intimidating fellow. I wonder did Mangold was he able to
to do that to you? Did he? I mean, Oliver Stone,
you've worked with I mean, you've worked with Fincher, You've
worked with the legends of the world. Have these guys
been able to do that to you? Have they done

(21:18):
that to you? And I want to know your answer too.

Speaker 3 (21:21):
But you know, we'll start with Oliver's Oliver's school of directing. Uh,
it comes with consequences, and so if you if you're
doing something that's not is it necessarily what Oliver had
in mind? He'll yell from video village, which is an
area away from the set where the director and the

(21:43):
and the and the people who are producing the film
or watching it. He'll yell from video village, mgin me
walk with me. And that just means, uh, you're going
to go for a walk. And then he tells you
that you're sure in my vision, and you're fucking me. Really,

(22:03):
You're like, oh god, he did it in the Philippines,
he did it down in on Wall Street, he did it,
he does it everywhere. You're fucking me. You were better
when you I always read actors for him, and he goes,
you were better when you were reading the actors, but
now you're fucking me, and you're like, oh my god,
oh my, it's horrifying.

Speaker 2 (22:25):
How do you not get it? How do you then
not spiral Johnny? Because I feel like there's a fine
line between taking you in the corner and being and
being constructive and being like, you got this, man, but
I want you to dig deep and do this and
being like, you're fucking me. I can't imagine that I
would be so spiraling in my head.

Speaker 3 (22:41):
I don't know. I guess it all started in the
Philippines and I just wasn't gonna there was nowhere to go.
We were ten thousand miles from home, and so I
guess you got a rally. I don't fucking know.

Speaker 2 (22:52):
And the objection didn't you tell me this? Sorry? Sorry,
go ahead.

Speaker 3 (22:55):
The opposite of that is Catherine Bigelow on point break.
You know we did that opening fucking great, Johnny, great
seven minutes. Remember when I was the those one of
those steady cams they used to weigh about eighty pounds,
and all the big aussy guys used to be the
operators and In the beginning of that film, there's about
a five or six minute walking talk where Keanu and

(23:16):
I are doing all the expository who what, Where? When? How?
For the whole movie, we're just just stealing, stealing, I
don't stop talking. And we did it thirty six times.
I think she printed like four eighteen and thirty six,
And of course four was the one who was in
the movie. And it's just a wonner and it's just scrubs.

(23:38):
Made it look second nature because we did those. But
at the time when we were doing it, it was
a big deal. And you know, all the way through
the bowels of the FBI with this, with this steady
cam and Catherine just come over and she's the single
most supportive person in the history of the planet. But
the bottom line was we're going again.

Speaker 2 (24:00):
She would never say anything, she would never say anything.

Speaker 3 (24:03):
No, she's just the greatest. She's like, you're crushing this,
you're crushing us. I'm like, whoa, And I always know
when we have it. What about where to God?

Speaker 2 (24:10):
What about you? Donald? Like when you worked with like
Boaz or or did did did they give you did
you ever get like tough direction? But also that like
made you dig deeper.

Speaker 1 (24:20):
Yeah, you know, Uh, bo As was was very much. Uh,
we're going to rehearse, and we would we would rehearse
and he wouldn't necessarily be there, but he would come
and check it out. But he would be like, you guys,
go rehearse, you know, rehearse amongst yourselves and stuff. And
then when we would do it the scene, he'd be like, Okay, yeah,
that's great. Is there anything you want to add to it?
I'm trying to think of if they were. I've had directors,

(24:42):
I don't want to say their names. I've had directors
be like, you know, you stumbled on that line, there
goes your close up. I've had ship like that before.

Speaker 2 (24:51):
That's not gonna help anybody.

Speaker 1 (24:52):
No, no, it doesn't.

Speaker 2 (24:54):
And to find a way to to to I mean,
my goal when I'm directing someone is all I want
is for you to be great? How can I support that?
Part of it for me is creating an environment on
the set. You know, Scrubs is the ultimate example. We
had an environment that was so safe to experiment and
to and to fuck up. And it was you felt

(25:15):
so safe, you felt the net under under the under
the tightrope. If you will so I when I'm making
my products, I try and create that environment again where
where you're safe, like there's no wrong answer, let's play,
because I think that puts actors in a good headspace.
But I'm also making things so fast, you know, I'm

(25:36):
every the three films I've made, I have to go
so fast. There isn't a whole lot of time to
do like what Oliver Stone can do in the Philippines
and be like Johnny Let's walk. If my producers, if
I ever said someone like Natalie Let's walk, everyone looking
at me like, what the fuck are you doing? We
have a half hour left for the day.

Speaker 1 (25:55):
That it is a luxury. I hear stories about actors
and director's going on like forty five minute walks while
the crew waits, sometimes two hour walks while the crew waits,
and then they come back and the scenes different, and
now we're gonna relight it a different way. I've heard
crazy ass stories about how, you know, how ego gets

(26:15):
in the way of making movies and stuff.

Speaker 2 (26:17):
Like I've heard stories from that movie what's the Well
I should probably shouldn't call what the movie is, But
I heard stories of a movie star showing up my
friend was shooting the movie and he said, you wouldn't
believe what was going on. Like the movie star would
show up and be like, all right, well, we're obviously
not saying any of this, so should we go talk
about it? And it's like what?

Speaker 3 (26:38):
Like?

Speaker 2 (26:39):
So they would then go on like long, like a
like a mini van ride and like rewrite the day's work,
and that's how the day would start. I mean that
gives me anxiety even saying it.

Speaker 1 (26:50):
Have you guys ever like this? It's happened once in
my life, Zach. I know when it's happened with you. Johnny,
have you ever been so late in any way that
you've caused a day? Well, not a day, but you
caused a morning, I should say, the director like, like
I've been, I've been so, I've been ch not a
fucking chant.

Speaker 2 (27:10):
We're not where. Johnny's not late ever, Johnny's early. Johnny
gets here five in the morning and then goes back
to sleep.

Speaker 1 (27:15):
That would never happen, right, never happened. That happened to me.
That happened to me once, Zach, I remember when it
happened to you, But it.

Speaker 2 (27:22):
Happened Mine was an alarm clock malfunction.

Speaker 1 (27:24):
But go ahead, bullshit. But anyway, I told this story
in the podcast. Did I ever tell you to Henry
Winkler's story?

Speaker 3 (27:31):
No?

Speaker 2 (27:32):
Please go on.

Speaker 1 (27:33):
Okay. So I was doing Clueless, the television show at
the time, right, and Henry Winklers directing the next day.
It's Sunday night. He's directing on Monday, and I'm geeked
about it. But I also, I'm twenty something years old
and I live with a bunch of dudes. Right, It's me,
my buddies. It's me and literally three other dudes living

(27:54):
in the house together. And on Sunday nights. I don't
know where it was. I think freaking like uh Joseph's
or or some shit like that was going off. The
club was going off, right, And so we went out
and I didn't get home until like four in the morning,
smashed and hammered and h I pass out my call

(28:16):
times at six am. I'm doing Clueless at the time.
I wake up and it's six thirty and I'm like,
oh shit, Henry Winkler's directing. So I throw on clothes
and I, you know, jet to work. I get there,
I put on my costumes all in my trailer and everything.
I throw on all my shit, and as I'm throwing

(28:36):
it on, I can smell my breath and I still
smell the booze on my breath, and I'm like, oh
my god, Oh my god, this is gonna be horrible.
This is gonna be horrible. So I run out of
my trailer and I'm I'm jetting to set. And as
I come around the corner, we were filming on the
Paramount lot, and so you have to pass through the
big Paramount gates, right, So I come running through the
gate toward the set, and Henry Winkler sees me, stands

(28:59):
up and it looked like he said to whoever the
producer was, what the writer was, he was like, that's him, Yeah,
that's him. Okay. He starts walking towards me, and I'm like,
oh god, oh shit, holy shit, you got that was
the first thing I'm thinking. Now forget, forget the cast
and the crew and everything like that. Fucking Henry Winkler,
the legend that he is, is about to fucking give

(29:21):
me the business. And I'm gonna and I'm gonna fucking
eat it, right, And so he comes up to me
and I take a deep breath to not breathe out
so he can't smell this booze on you, right, and
he goes, listen, we're not gonna do this. Okay, I
don't want to. I don't want any shit from you. Okay,
We're not gonna We're not gonna fucking do this. We're

(29:42):
gonna do this. We're gonna go over there, We're gonna
do the scene. Okay, we're gonna go over there. We're
gonna do the scene. And I could tell he wanted
to freaking give me the business, but he was like,
I don't know you. I don't want to disrespect you,
and I could I'm pretty sure you don't want to
try and disrespect me or anything like that, but come
over here and give me your best right, And it
was it was just like when we did the dance

(30:02):
scene on Scrubs where where I'm doing the dance to
poison and I hadn't rehearsed it or anything like that,
and I just went in there and I did the
dance because part of it was because I was afraid
for my life that Bill was gonna be like, you know,
that's it, You're fired. So it was almost the same thing,
like I'm dancing on a table in the scene and

(30:24):
I jump off the table into a split right in rehearsal,
I do the shit because I'm so look. I the
last thing I wanted was to let down, you know,
the Fonds. And then when I get over there and
I see Stacy Dash and Elisa Donovan and my boy
Sean Holland and the crew and all of these guys
looking at me, uh and and you know, giving me

(30:47):
the face like I can't believe you fucking let down
the Fonds. And it was like, all right, well, I'm
gonna give you guys a show. And I did. And
you know my point?

Speaker 2 (30:57):
Did he ever take you aside and have a talk
with you?

Speaker 1 (30:59):
That was to talk? It was a quick It was
one of those things where it was like, I'm gonna
come off like the boss right now. And the humbling
thing is is that I'm over here and I'm talking
to you about this. But you know better than this.
I shouldn't have to have this conversation with you. Ever.
He didn't have to say to me, get your shit together.
But it was all in the I'm not having this

(31:20):
conversation with you. You're way smarter than this. You know
better than this bullshit. Let's get over here, let's do
the scene, and let's make it right.

Speaker 2 (31:27):
And then he fucking hit a juke box.

Speaker 1 (31:32):
Let's take a break.

Speaker 2 (31:33):
We'll be right back after these fine words.

Speaker 3 (31:42):
I lied. I was late one time, but it had
it wasn't my fault. I was doing the Actors, the
New York Actors Dream of I was. I originated the
play Talk Radio with Eric Biosian, who I brought on
the scrubs as my shrein.

Speaker 2 (32:02):
Unders applause, I'll turn my key for that dam.

Speaker 3 (32:04):
And so we're down to Public, which is right on
Lafayette Street there, and I was in it for almost
two years because it was a good gig. And so
during that run, Oliver wrote Wall Street and said, do
you want to come down uh and do Wall Street
for two and a half three weeks And I said, well, yeah,

(32:25):
of course, but I'm doing I'm doing this play.

Speaker 6 (32:27):
And he said, I'll have you wrapped in time and
you can get up to the Public and everything will
be fine. And so I had the language in my contract,
but I had to be wrapped at seven thirty.

Speaker 3 (32:38):
We're down towards the Woolwork building in southern the Southern Manhattan,
and I had to be wrapped at seven thirty, and
I just a straight shot up Lafayette. I go in
and make half hour half hours. You have to be
at a actor's equity, which is the Actor Stage Union
dictates that you have to be at the theater a
half hour before the curtain. And I like to be there.

(33:00):
I like to do a vocal warm up and stretch
and all the I like all that stuff. And so
while we were down towards the Woolworth Building, the days
were going longer and longer. And you know, Charlie and
I we had already spent four months in the Philippines,
and now we're with Oliver doing this big thing for
I guess universal, and so the days are going longer

(33:21):
and longer. And I have the superstition just like Blu
Gerrigan Wally Pip, because a couple of years earlier, I've
been covering John tutorro and Danny de Blue City. I
was his understudy and the assistant stage manager. And John
was a horse. He just never he thought it was
bad luck to let your understudy go on. And so
I got that from John, and so I didn't want

(33:43):
anybody going for me, and so no matter, the clock
kept ticking and I started getting there at twenty of
in quarter of and the stage managers come up to me.
He goes, you can't do this. I'm like, listen, just look,
I'm going on. So and then later and later and
so it one time I got there at Places and

(34:05):
I sprinted up to I forgot which theater we're in
at the Public, but it was the New House or something,
and I sprint it into the dressing room. I put
on my wardrobe and the stage manager's like no, and
I'm like, call the cops because I'm going to kick
the shit out of you unless you get out of
the way. And so I go on and Eric let

(34:25):
me kind of write a piece with him where this
character gets to he's in three quarters the whole place,
so he's three quarter ex exposed to the audience in
this proscenium stage. And at about twenty minutes into the piece,
he turns around in his chair, a pin spot hits him,
and then he walks down the closest you can be

(34:47):
to the audience. The light cube up on the board
is called down in one. I walk down in one.
A pin spot's on me and I do this seven
minute monologue about my relationship with Eric's character Parry Champlain,
Oh my god, I got you, and about two minutes
into it, I went up oof.

Speaker 2 (35:09):
I went up because of you don't give everyone the lingo.
That means you forgot his lines. That's the actors say.
I went out.

Speaker 3 (35:15):
Oliver was just yelling at us all day, and Charli
and I had been out till god knows how late
we were up the night before. But I stood there
with a pin spot on me looking at it was
a pretty tiny house, maybe three fifty maybe three twenty five.
I don't know how big it was, but it was
packed because Eric was all the rage and the play
was a massive hit, and you couldn't get in. And

(35:37):
I'm there and I co wrote this motherfucking monologue and
I can't remember anything everything, and I'm looking out at them,
and I was crying inside. I don't think I cried
out here, but I looked up at the light booth.
Even though you can't see anything, you can't see in
front of you because the light's so bright. I looked
up towards the light booth and I just nodded, and

(35:59):
I went back to my chair and they called the
next leg queue and Eric started again. And then after
the show, Eric's the biggest mention on the planet. He
just came up and he goes, you can't. You don't
do that anymore, don't do that. I'm like, okay. And
the next night I did not go on, and guess what,
everything was fine. It turns out that the understudy was

(36:20):
he was fine. He went on and he was fine.

Speaker 2 (36:22):
So wait, Johnny, your monologue is roughly seven minutes. How
deep did you get into it before you forgot your line?

Speaker 3 (36:27):
Two minutes? Yeah?

Speaker 2 (36:30):
Man, that is the I have this nightmare if you're
an actor, they actually call it the actor's nightmare. I
have this dream where I'm supposed to go on and
I don't know my lines at all. Or I'm supposed
to go on as an understudy for someone and I
don't know my lines at all. I have that dream
all the time, too. And now I so over prepare
ever since then.

Speaker 3 (36:51):
I so over prepare the even if you shot me
in the esophagus, I'd still be able to continue and
do the lives. I don't give two shit, I don't care.
I go I have that that nightmare. Zachi too, and
it just never again, and it's never happened again ever.

Speaker 2 (37:10):
You know, my first play was at the same theater.

Speaker 3 (37:13):
Johnny.

Speaker 2 (37:13):
First of all, I want to say quickly before I
changed this to that Talk Radio is an amazing film
that you should all see with Johnny and Eric Wagozian
and Alec Balwin's.

Speaker 3 (37:24):
In it, right, Yeah, And I didn't get star fucked
out of the You know, usually if you created, if
it's called creating the play, if you originated the play,
you're definitely not in the film, definitely. And I got
to do that. That was Albert and I did Three
in a Row because that was the film he did
after Wall Street.

Speaker 2 (37:40):
Well, that's interesting that you were wait, sorry, that's interesting.
You were doing wall Street with Oliver and then you're
in simultaneously in the play, and then Oliver decides to
direct the movie. So he must have seen the play
because you're friends with him and he came to see
you in it. Is that how it was the genesis
of it?

Speaker 3 (37:54):
No, I think it was so it was such a subvert,
politically subversive piece about Alan Freed, a talk show host
I think in Denver and Eric had loosely based it
on that that Oliver that was right right in his
sweet spot. And we went down to Las Colinas, right
outside of Dallas, and we shot the whole thing in

(38:17):
five six day weeks, and so we're in Dallas and
we didn't come up for air for five weeks. It
was the best.

Speaker 2 (38:24):
Wow, that's a great film. I highly recommend it to everybody.
But I want to say my very first part out
of Northwestern was in a production of Macbeth at the
Public Theater in one of the tiny spaces, and the
cast was Alec Baldwin, Angela Bassett, Michael c Haile just yeah,
really a hood or other, Jason Butler Harner, really amazing actors.

(38:48):
And I was playing the two young roles, Fleance and
young Seward, and I had to have a broad sword
duel with Alec Baldwin. Now I had never done stage combat.
I went to school, I studied acting in filmmaking, but
we never got around to, like, I never got around
to taking a stage combat course. And George S. Wolf,
the director, very fancy director, decides that my character is

(39:11):
going to fight Alec Baldwin not only with one broadsword,
but he thinks it'd be cool if I was an
extra badass, and now I'm going to fight Alec Baldwin
with two broad swords.

Speaker 3 (39:20):
Yeah.

Speaker 2 (39:23):
Now I've never done Alec is a scary motherfucker, and
I've never done a single bit of stage combat, and
now I'm going to do a dual broad sword stage
fight with him. We get there day one and for
the reading, and I've never I was fresh out of school.
I think I never met a celebrity in my life before.
And Alec Baldwin sits down next to me and he goes,
who I'm Alec, who are you playing? I go, oh,

(39:45):
I'm playing on Fleance and I'm playing Young Seward and
he goes, oh, so I kill you twice? And he did.
He killed me twice eight shows a week, and I
got it down. It was like but it was scary
as as fuck. And uh I I fought Alec on stage?

Speaker 3 (40:06):
Was was bh Barry your your combat coach?

Speaker 2 (40:10):
I don't I don't recall who it was, but he
taught me well, and I was just I never rehearsed
something so much, because I mean I could have really,
I could have really hurt. I mean, they're they're there,
they will fuck you up. They're not sharp, obviously, but
they will fuck you up. And I was so afraid
that I was gonna hurt Alec Baldwin with my too,
my two broad swords.

Speaker 1 (40:30):
Hell yeah, you know what I found really funny how
quickly you forget the dialogue from shows that you rehearsed
over and over and over and over and over and
over and over and over and over again.

Speaker 2 (40:42):
Dude.

Speaker 1 (40:42):
It's like, within a month to two months, you couldn't
go up and do that show again, you know.

Speaker 3 (40:47):
What I mean?

Speaker 1 (40:48):
You know, but you've rehearsed it like it was your life, dude,
for life?

Speaker 2 (40:55):
Did you Donald? Did you ever almost forget your lines
when you were doing that play you did? Recently?

Speaker 1 (41:00):
Yeah, you know, I had one thing where it was
like a bunch of math and stuff like that, and
the math didn't have to make sense, but it had
to be quick. And one night I did I didn't
forget the line. I misspoke and I said, oh, excuse me,
and then I kept going, and then after I went,
it kind of threw the rhythm off for the show

(41:20):
for the whole night because I said one line, you
know what I mean? And it really is a lesson
that when you're doing a show, there's a rhythm to
it all, you know what I mean. And if you
stick to the rhythm every time, most likely you're gonna
get a great performance. If you find the right formula
and you stick to the rhythm every time, and you
stick to the formula every time, it's gonna be a

(41:42):
good show, you know what I mean. Yeah, And just
by me saying excuse me, it kind of fucked up
the rhythm and cues all of a sudden, we're a
little bit late, and you know what I mean, And
it was my fault, you know what I mean. And
it was just because I said excuse me.

Speaker 3 (41:55):
I could always tell with when we were doing Scrubs,
and especially after about twelve episodes in. From twelve episodes on,
I could always tell whether or not Billy Billy Lawrence
had done a pass on Cox because he had written
and I had adopted this kind of Martinus Scorcese on

(42:20):
Heroin syncopation for Cox. And I also sometimes when I
was bored, I would start to play with the language
a little bit, which was irresponsible, but I get bored sometimes,
and if Billy hadn't done a pass, I couldn't memorize
the lines because they were written out of rhythm and Donald,
I'm just borrowing from what you said. But Billy would

(42:41):
do a pass on Cox. I'd be down in my
rehearsal space, killing myself trying to remember these disconnected fucking
rants that somebody wrote then and I couldn't get them.
And then Billy would do a pass and something as
much as Donald, do you even saying excuse me, that
was out and then film the flow and the rhythm,

(43:02):
and I could come in and I can I can
do it in Latin. But I until Billy did a pass,
because I get in there and I had to hissy fit,
and I'd say, is Billy done a fucking pass on
this thing yet? And they're like, no, you haven't seen it.
I'm like, well, don't send it to me.

Speaker 2 (43:19):
Did that happened? You'd get sented and memorize it and
then it would all be changed. You must have fucking gotten.

Speaker 3 (43:23):
Lived every Monday morning. So he talked to me.

Speaker 2 (43:29):
You must have talked to Bill. Eventually even said dude,
you gotta fuck you can't do that to me.

Speaker 3 (43:33):
Of course I did, but Billy was spinning as many
places as he You know, one character of an ensemble
of badass seven or eight of you, and you know you,
you try to get Billy's attention and you can't, can't
always do it.

Speaker 2 (43:47):
I would go so not. I mean, for those of
you who don't memorize for a living, it's easier for
some than others. But these chunks that Johnny had to
memorize in a short span of time is really hard
because he has to see them so fast, as he
did so well. But the idea of spending a weekend
memorizing that and then work and there's a rewrite, that's yeah,

(44:07):
that's why my.

Speaker 3 (44:09):
Stomach even saying that, I get a not in my stomach.

Speaker 1 (44:11):
That's why you must have loved it when he had
no when he had no choice but to go with
what was written because we didn't have scripts, and so
he'd be like, yo, look here's here's what we're going
to say right now. And he would write it while
we were doing rehearsals and shit, and then he would
hand it to you and you'd be like, bet, no problem.

Speaker 3 (44:29):
Because he wrote it. It was in Cox's rhythm, and
that's whatever that syncopation Billy came up with. It was
in that and I could groove into it.

Speaker 2 (44:38):
Memorizations like a muscle, Johnny, I think, and no question,
and you really had yours developed? Well, I think, you
know when I've when I've just finished a play like
I did Romeo and romy and Juliet when I was
fresh out of school and another one of my early roles.
And I mean basically, the second you start talking, you
don't stop talking for two and a half hours. And
I even think thinking about it now, I get anxious.

(45:00):
This many years later, this was probably to you know,
nineteen ninety eight, but by the time the play was over,
that muscle was so developed I could rush it. And
I feel like, as Cox, you had to do it
so on the regular that you really just you must
have had it so dialed. Like now that might be
harder for you because you're not memorizing monologues every week.

Speaker 3 (45:21):
One hundred percent, one hundred percent.

Speaker 2 (45:24):
I was when I was doing Bullets over Broadway. We
were in previews. And when you're in previews that for
those of you who aren't don't know that that means
that the critics haven't come yet. You're still working out
the play. You're still the writer and the rector. They're
changing things all the time, and then after opening night,
then then the show is locked. So we're in previews
and Woody Allen, who wrote the play, is in the

(45:45):
back of the audience and he's there and he's when
a joke doesn't work, he would he would give it
come the next day and give us a new joke
to try that night. But sometimes that was really hard
because you had the whole play memorized and he would
just hand you a step of paper and he'd be like, here,
just just try this tonight. And you're like, try where
where did it? And you're like reading the paper and
like scribbled handra and like try this, where where does
it go? Like? And then he and you'd figure it out.

(46:07):
And then sometimes in the heat of the adrenaline, I'm
doing a show in front of fifteen hundred people, you'd
forget and I there was one time I skipped the
new joke you wanted me to do, and I saw
him the next day and I said, Woody, I'm really sorry.
I got a little frazzled and I didn't even try
the new joke you wanted me to try, and he goes, yeah,
probably get a bigger laugh if you'll actually say it

(46:30):
on stage. Johnny, will you tell that story that I

(46:51):
love that you told me once about Platoon where you
said you were all hanging by the pool when you
realize that you weren't going to be in the movie.

Speaker 3 (46:57):
So, because the conditions in the Philippe were so tense
and so fluid, and we were in something called a
triple and they were fluid because they're just been a revolution.
A guy named Ferdinand Marcos had lost an election to
a woman named Coria Kino, and Marcos wouldn't leave until
President Reagan, the president at the time, gave him political

(47:20):
asylum in Hawaii. So that's why we were postponed. I left.
I was doing Hamlet with Kevin Klein at the public
and about a week into rehearsal, Oliver calls after the
I'd been cast in the film a year and a
half earlier, and then the money went away, and he
called and he goes, McKinley, do you want to play
the fourth lead? I'm like, who the fuck is this?

(47:45):
It's Oliver Stone. You want to go to Philippines. And
I'm like, I would love to go to the Philippines,
but I'm doing I'm playing third guy on the left in.

Speaker 6 (47:52):
Hamlet with Kevin Klein over at the Public and he
goes tell Joe Path that it's me.

Speaker 3 (47:59):
I'm like, oh sure, I'm to go talk to mister
Pap and call him. You know. It's like a wizard
of fucking oss. And so Rosemary Tishler, who was the
casting person over at the Public at the time and
a friend of mine from n YU, she came in
and taught an audition class to us and she's wont
the great great women ever. And I called Rosemary. I
went to see her, and I said, uh, I got

(48:21):
offered this movie. It's in the Philippines, and it would
mean would mean me leaving rehearsal. But and just like
anybody in New York, it'd be like crossing Johnny Friendly
and on the waterfront. If she said, if you go
through this film, you'll never work here again, I would
not have gone and done the film. Neither would any
anybody in New York. Because once you get in that
fraternity slash sorority the Shakespeare Festival, you stay, you keep

(48:45):
doing plays. And Rosemary said, well, uh, you're fine with me,
but you can have to go see Joe. And I'm like,
everybody stop calling him Joe, and so I go in
and he was, you know, he had to burn it,
and he was this guy, you know, it was the
way to the back of his bucket smell. And so
you know, I'm knocking like I'm going to see the
Wizard and the Wizard of ours and he goes, come in, back,

(49:05):
come in. And so I go to see mister Path
and I told him my story and he goes, go,
we'll do Hamlet again when you get back. I was
just like crying even thinking about this.

Speaker 2 (49:17):
I'm so happy they didn't prevent you from going. That
would have been horrible.

Speaker 1 (49:21):
And so I go back.

Speaker 3 (49:22):
I was living in the funeral parlor at the time,
one at the new Jerny funeral Parlor, and so I
go up five stories and I'm there. And a week
or so after I removed myself from Hamlet, there's a
fucking revolution in the Philippines because this guy Marcos won't leave.
And so we get postponed for months and months and months,

(49:43):
and the play opens, and you know, Vincent can Be
calls it the most important Hamlet on these shores. I'm
sitting in the funeral parlot going like, oh my god,
I hate my life. I hate my life. And finally
we get the green light to go because the revolution
had subsided a little bit, but not that much. And so,

(50:04):
and in the meantime this language had come out. A
bunch of actors in New York on five or six
of them circulated this language because we were going to
go through this two and a half three week boot camp,
that if you got hurt in boot camp, you'd get
to do the film. And Oliver was like, no, if
you get hurt in boot camp, you get rotated out.
You can't be a soldier with a book.

Speaker 1 (50:24):
At arm No.

Speaker 3 (50:26):
And so I didn't sign it, and the five people
who did didn't go to the Philippines, and so I
finally get there and only come to find out that
it's a very tricky place. We're shooting in this triple
canopy jungle, which meant there was vegetation at ten feet,
another vegetation at twenty feet, and these monstrous trees at

(50:47):
fifty feet, so it was very dark and swampy underneath
these these three canopies of flora, and we're shooting and
there was no shot list because Oliver had to change
every day and on the fly, which he did brilliantly.
But the whole there was three squads of eight, so
there was twenty four of us, and every day everybody

(51:08):
was called to the set, and some days you just
sat there all day because if you're not in the scene,
you're not in the scene. And so it was about
two hour bus ride out to the place, and then
you'd sit and you weren't the scene. Then there's two
hours back. And so this happened for a couple of weeks.
And so Forrest Whitaker and Johnny Depp and I asked

(51:29):
Oliver that if we weren't in it's going to be
shooting that day, could we stay at the hotel? And
he acquiesced, and so we're finally sitting by the pool
and we got what we wanted and Forrest, I don't
do a good forest imitation, but Forrest comes over to
Johnny on he goes. You would get the feeling that
while we're here, we're not in the movie. We all

(51:51):
started coming back to the set every day and Oliver
would put us. Oliver would put us on this mountain
about a mile out of the frame, and we and
you weren't even a speck, and you'd be back there
and we started calling it power background. And so guys
were doing their best brando a mile up a mountain

(52:15):
and we called it power background.

Speaker 2 (52:17):
I just love it. I just I just love that
you guys were like, all right, fuck this, We're not
gonna sit in the jungle. We're gonna go sit by
the pool. And then and then it's like you you,
Forest Whitaker and Johnny Depp sitting there on your lounge
on your lounge chairs with a with a with a cocktail.
And then all of a sudden, someone has the realization,
you know, he's probably just improva improvising this movie.

Speaker 1 (52:36):
And we're sitting here at the pool wall right, Yeah.

Speaker 3 (52:42):
And Forrest, Forrest, I wish I could do a forest invitation.
But he was like, if we're here when in the movies?

Speaker 2 (52:51):
And he was right his rain And what a fucking
amazing movie, dude. I think it's one of the greatest
movies ever made.

Speaker 3 (52:58):
But I want to circle back to something that Donald
said earlier that when you said when you said you
could just trust the work and if when you stay
in rhythm, when when you can let the work happen.
For me, that was a big aha. When I was
with Jim Mangle for the for that hiatus. It was
that I was watching all these I was watching ray
Leoda and Johnny and All and Johnny Hawks and all

(53:19):
these great actors, and and I could see when Jim
was directing them. Sometimes you can see a director work
better when you're watching them direct somebody else. And I
was impacted by just how clean and with that affectations.
Jim wanted the style of this piece, and I was like,
That's what I'm doing. I'm going there. But in order

(53:40):
to do that, you have to acquiesce. You have to
you have to, like you were saying, you have to
trust it a little bit. And that's hard. But if
you're in rhythm and and you can and I the
verb to capitulate kept coming up for me and in
my in my dope uh composition books, and and to
is hard sometimes because somebody calls action and and the

(54:04):
trap just to want to drive the scene and and
and move the narrative forward. And like that scene with
Zachi where at the at the end of two oh nine,
when when Cox and him have that scene, it just
sits and the lens absolutely soaks it up because no

(54:26):
one's trying to drive anything.

Speaker 2 (54:28):
You know, there's so much power in being able to
just put a camera. It's interesting we're talking about going
back and forth between theater and film, because when you're
in a play, you have to give a performance to
the person in the front row, and you have to
give a performance to the person in the back row, right,
and and there's a really there's a dance in being
able to do that. When you're in a film and

(54:48):
the camera can be as tight on our faces as
it is in that scene, an actor has to let
go in order to do nothing, you know what I mean, Like,
there's so much power in just trusting the words and
trusting the camera to capture you doing I would say,
if I was directing that scene Johnny that we both love,

(55:09):
I would say we both did almost nothing. We were
just that's hard, that's very hard.

Speaker 3 (55:15):
It's counterintuitive, but that's hard.

Speaker 2 (55:17):
Yeah, yeah, yeah, yeah, yeah, I agree. Because we all
want to go, we all want to go do something
and have a moment, and sometimes there's so much more
power in doing nothing.

Speaker 3 (55:27):
But the style of the piece was to go do something,
and it was for Donald to just all of a
sudden riff off a dance that was fresh and beautiful,
and it was for you to look off the thing
and have a fantasy. And then in the fantasy, you're
you're juggling, you know, stuff, you're juggling your father, and
and the impetus of the piece was to drive it.

(55:49):
Everyone was always to Junior's just driving stuff, Sarah was
driving stuff. And then all of a sudden, it goes
that's hard. Yeah, that's agile. You gotta be you gotta
be in rhythm. Sorry, I keep stealing that from you, Donald,
but you.

Speaker 1 (56:03):
Know it's true, because that's the safe place, you know
what I mean. The rhythm of it all is the
safe place. Comedy is funny when the rhythm's right. It's
not necessarily funny if you're if your timing is off right.
So the safe place to find everything in comedy is
within the pace of the show, right. So that was

(56:28):
one thing that would would always I always noticed that
the show always got better towards the end of the season.
Like we would come in hot and be so excited,
and there would be so much stuff that we're doing
in the beginning, new tricks and all of these, Yeah
I'm gonna show you what I got. But by the

(56:50):
end of the season. That's when all of a sudden,
we're doing really good episodes. We should probably go to break.

Speaker 2 (56:55):
Well, we didn't do any breaks because this conversation was
so don interesting. Dan will have to put in fake breaks.
I had a realization, we're going to call this episode,
if it's right with you, Donald, a conversation with Johnny
c McGinley. I like that, and then we'll redo uh
in the next episode, We'll We'll go do this episode
because this was so interesting. I don't think we need
to try and do anything else.

Speaker 1 (57:15):
I like that.

Speaker 2 (57:17):
I'm sorry I read I watched the No it's a miscommunication,
but dude, I have a feeling everything we just talked
about you listening to you tell old stories is more
interesting than anything Donald and I were going to say
about about this episode, other than the fact that it's
completely unrealistic that JD would not be able to get
stimulated for Gift Shop Girl.

Speaker 1 (57:37):
That is impossibly not a believable thing for televisions when
that should happen. I was like, this is a television listen.

Speaker 2 (57:47):
I don't want to minimize. I don't want to minimize.
I don't want to minimize a rectalitysfunction or losing one's
libido from stress. I know that's a fact and exists.
But one thing that is not a fact is that
JD would not be able to an erection for Gift
Shop Girl.

Speaker 1 (58:02):
Sarah Lancaster, who played Gift Shop Girl, did a fabulous
job by it.

Speaker 2 (58:07):
Not only not only is Sarah Lancaster very funny, but
she's darn pretty. And uh, I just I had a
lot of trouble with the scenes where jad is unable
to kiss her.

Speaker 3 (58:20):
I gotta tell you, I gotta tell you. And I
think Jerry Lewis always did this for himself as well
when he was directing all his movies. JD and his
the women that he hangs out with, they're beautiful.

Speaker 2 (58:38):
Only only on TV.

Speaker 1 (58:39):
Johnny, I mean he's talking, Johnny, Look who's talking?

Speaker 2 (58:45):
Heather locked there and Cristal.

Speaker 1 (58:46):
The first two seasons of the show, all you're doing
is making out with hot chicks.

Speaker 2 (58:52):
I know your too, your too, love interest are so far?

Speaker 3 (58:55):
Oh?

Speaker 2 (58:56):
Actually, and what's her name? That girl? That woman who
was wonderful.

Speaker 3 (58:58):
Kylie Kelly, Kyler Williams, who was absolutely beautiful.

Speaker 2 (59:03):
No, is that the one who was on the practice.
What was her name?

Speaker 1 (59:06):
Yeah?

Speaker 3 (59:07):
I sort of that was sort of her name Joell.

Speaker 2 (59:09):
Well, you double check. We've spoken about her. She was
really good and really pretty.

Speaker 3 (59:12):
She was great.

Speaker 2 (59:14):
Yeah, we always say JD did way better than that
is realistic. I mean we have Amy Smart coming up
as soon as a love entry.

Speaker 3 (59:21):
Oh my god, that's right. She was so I'm sure
she is.

Speaker 2 (59:25):
So tasty, coma wife tasty.

Speaker 1 (59:29):
But we talked about we talked about Gift Shop Girl
for like the rest of the.

Speaker 2 (59:35):
Rockout way by way, by the way, We're gonna go,
We're gonna do this episode in a separate podcast, but
we have to say. One of my favorite lines is
she goes, is that a roller quarters in your pocket?
Or are you just having a good time? And I
pulled out a roller quarters. I go, no, it's it's
roller quarter. It's actually laundry day. Okay.

Speaker 1 (59:54):
I decided, all right, there was one line. There was
one line that made me laugh, and I'm just gonna
throw this out there and then we can move on
because we have our guest here. But Todd goes, when
you're walking down the hall and Todd goes, hey, how's
your penis? It made me go all the way back
to that one episode where Turk where you think Turk

(01:00:15):
is having a problem getting it up, and Todd goes, oh,
so when I saw you this morning and I said
how's your penis? And you didn't want to talk about it.

Speaker 2 (01:00:29):
I want to tell you a little trivia when when
that in that moment, when when when Todd says to me,
how's your penis? On the day he Bangkok?

Speaker 3 (01:00:40):
I remember him doing that to you.

Speaker 2 (01:00:42):
Yeah, for those of you who don't know, you guys
did it.

Speaker 3 (01:00:44):
To each other every once in a while.

Speaker 1 (01:00:46):
Yeah, there were two of me.

Speaker 2 (01:00:47):
We have to tell um for audience who might not
know what bangkok is. It's a juvenile game that men
will sometimes play with each other where they hit each
other's balls and then run away.

Speaker 1 (01:00:59):
It starts. It starts off like this, what's the capital
of Thailand?

Speaker 2 (01:01:03):
That's right, Bangkok? Yes, And then your penis gets hit
and you crumble over and the person runs away.

Speaker 1 (01:01:09):
So here's another one. Here's another one. This was back
when Mitch cup Check was the GM of the Lakers.
Who's the GM of the Lakers? Mitch cup Check and
you punch him in the dick chi.

Speaker 2 (01:01:20):
I wouldn't have been able to answer that anyway. But
if you look at if you look on YouTube, I
think it's the sea. It would be the season two
gag reel or boot blooper reel. I think they put
that on there. He was on camera. He hit my
hit my balls and ran away, and then I remember
seeing that it was so painful. He really got me good.
He bangcocked me. Well, all right, we have a collar. Wait,

(01:01:40):
why don't we Why don't we go to break? Just
to give Dan one reel?

Speaker 3 (01:01:42):
Break?

Speaker 2 (01:01:43):
Okay, and we'll be right back. All right, we're back.
We have a guest, Michael. I'm Michael. Welcome to Welcome
to the show.

Speaker 1 (01:02:03):
Ladies and gentlemen. Thunderous applause for Michael Crutch.

Speaker 2 (01:02:09):
A lot of thunderous applause out lately.

Speaker 1 (01:02:10):
I I really, I'm not going to turn the key.

Speaker 2 (01:02:13):
I'm not gonna turn my key for that one. Dan,
turn your key, sir, No, no, turn your keyser, turn
your key, sir, turn your key, sir. All right, I
don't Michael better be good. I'm gonna turn my key,
all right, thunder all right, Michael, welcome. You have you
have a special uh Johnny c McGinley episode, So ask
do you have a question for any of the three
of us.

Speaker 5 (01:02:34):
Well, I I definitely have a question. I can kind
of be for all of you guys.

Speaker 3 (01:02:37):
Sure.

Speaker 5 (01:02:38):
So, I'm a huge Scrubs fan. It's one of the
reasons I'm actually a doctor. I went into medicine because
of Scrubs.

Speaker 3 (01:02:44):
Oh my god, Wow, thank you Page, Michael.

Speaker 5 (01:02:50):
I'm a family medicine practitioner. I actually just finished residency
like a month ago, and then I just took my
board exam like a week ago, So I'm a full
fledge doctor at this congradually.

Speaker 1 (01:03:00):
Congratulations, man, that's incredible.

Speaker 2 (01:03:02):
Man, I just want to say on behalf.

Speaker 1 (01:03:03):
Of thunderous applause, Dannerous.

Speaker 2 (01:03:05):
I'm gonna turn my key. I'm gonna turn my key.
But you're really abusing this knled it's.

Speaker 1 (01:03:09):
Supposed to be do sparically that that is deservant.

Speaker 2 (01:03:12):
Okay, deservant is not a word, but you know what.

Speaker 1 (01:03:15):
It is, Joel not in the said it was deservant.

Speaker 2 (01:03:19):
Deserved with a N T is not a word. As
the newly fucking that's the newly licensed doctor.

Speaker 1 (01:03:26):
No, he's a doctor, he's not a fucking well.

Speaker 2 (01:03:29):
Really getting covered deservant on the fucking Latin Latin.

Speaker 1 (01:03:33):
It's Latin, all right, okay.

Speaker 2 (01:03:37):
Dan, Dan for for using deservant thunderous booze. Please thunderous booze,
turn your turn.

Speaker 1 (01:03:44):
I'm not turning key.

Speaker 2 (01:03:46):
I'm not turning my key.

Speaker 1 (01:03:47):
You're gonna blow my brains out.

Speaker 2 (01:03:49):
No way, Dan mixed this boom. All right, all right,
all right, Michael, what's your question?

Speaker 5 (01:03:56):
So in my life, things that happen in medicine, in
or just in my general daily life kind of remind
me of episodes or certain scenes or jokes or even
fantasies from Scrubs and they make me like almost laugh
out loud at inappropriate times. Are there any things from
the show, whether they're jokes or fantasies or scenes that
like you experience them in real life that kind of

(01:04:20):
bring back memories and make you on the verge of laughing.

Speaker 3 (01:04:24):
So I got one, go ahead. Johnny Billy did an
episode where I'll get this wrong, but where when when
somebody makes this sound that it's it's usually not appropriate
because when you go see a doctor, all you want
the doctor to do is shrub and go yeah, you

(01:04:45):
know what, let the end turn do it because it's
no big deal. But when the doctor goes like this.
And so now when I go to the hardware store
and I'll ask for a hose to hose elbow cup
joint for for some garden hose thing, and I see
the salesman go like this, I'm like, just don't fucking

(01:05:08):
don't do that. Don't do that. Ask you this is
not fucking lukemia. This is not fucking that cancer. This
is a hose the hose. Well, go enjoy it. What
are you doing this for? You do that?

Speaker 2 (01:05:23):
Is he making the noise because he's not sure he
has it?

Speaker 3 (01:05:25):
Yeah, Well, it's just things like well, I don't know
if we have that in stock. It's like, well, when
I can pull Amazon and have it in forty eight hours.

Speaker 1 (01:05:33):
For free year, I get that sound. If your doctor doesn't,
it usually means ship you know, want your doctor doing that.

Speaker 3 (01:05:41):
Yeah, And Big Billy Billy wrote a whole like being
Your c story about that one episode. And whenever I
see a waiter when I'll ask for a crush red
peppers on the side and to go, I'm like, don't
fucking do that. There's a jug of McCormick's crush red peppers.
This big back in the kitchen. Would you like me
to go show you where it is?

Speaker 1 (01:06:03):
That's pretty good.

Speaker 2 (01:06:07):
Donald, do you have anything like that? I dude, all right,
that's where we're gonna go with Johnny's answer on that, Michael,
do you got another one for us?

Speaker 5 (01:06:17):
I so my brother is a huge fan as well,
and he would be very angry at me, my brother,
Ben if I didn't ask a question that he was
trying to convince me to use as my question when
he found out I was going to be on it.
So he said he wanted to know specifically for you, Zach,
My Way Home is his favorite episode, and he wanted
to know how much different is it to direct people

(01:06:39):
that you like, actually know compared to directing in a
different situation.

Speaker 2 (01:06:48):
That's a great question. I was blessed that this cast
was totally supportive and embraced me to direct them. I
think that, you know, it's always a tricky situation. I
imagine on a show when when someone finally goes, hey,
I'd like to direct us all. I mean, we're all equals,

(01:07:10):
we're all a team, and I imagine in sports playing, uh,
even though I don't know that world, it would be
like if someone on the team was like, I'm now
going to coach. He'd be like, fuck you, Stan, You're
the forward middle or whatever that is. Is that a
position forward middle?

Speaker 3 (01:07:28):
Yeah?

Speaker 1 (01:07:29):
Sure, I'm sure a forward middle.

Speaker 2 (01:07:32):
I don't know, maybe in highlight.

Speaker 1 (01:07:35):
In like quivit or something like yeah, yeah, all right,
let me.

Speaker 2 (01:07:43):
Use the sports analogy further.

Speaker 1 (01:07:44):
No, you know it is.

Speaker 2 (01:07:46):
It's tricky, but but it all but the cast if
you're fucked, if if your cast and your friends are like,
oh God, you didn't know what you're doing. And I'm
not just saying this because these two guys are here,
they universally could not be more, couldn't have been more
support if they were rooting me on. They were, they
were it's so hard to do it in five days.
And Donald, because he was on his best behavior, he

(01:08:08):
would like be there right away. But for other directors
he would do.

Speaker 1 (01:08:11):
I would know my lines. He would be like, dude,
there was maybe only one episode where I didn't know
my lines and I realized I was like, look, I
can't do my boy like this every Yeah. Yeah, from
here on out, no matter what, I'm gonna have my
shit together, especially when he's pretty much only when he's directing,
who's recording or we ain't going out this who's who'shooting
the show? I'm not going out this week. I'm gonna

(01:08:33):
take my time and my lines for ZB.

Speaker 2 (01:08:36):
I would text Donald and be like, bro, I love you.

Speaker 1 (01:08:40):
You have a monologue tomorrow.

Speaker 2 (01:08:42):
No, I'd I would. I'd be like, I'd be like,
you know, I'd be planning the week, you know, because
on Sunday night, you're like so nervous. It's you know,
directing his hard period. But directing a single camera TV
show in five days is like so advanced, this double
black diamond. It's like you got to do it and
do it fast. And I remember being a Sunday night
being like, oh shit, okay, I got a warned Donald
that he needs to learn that monologue. And I'd be

(01:09:03):
so I would call him and be like text and
be like, dude, big monologue for you on Wednesday. I
want to start working on it now. And I'd be like,
can you please come to set right away? Like none
of this fucking bullshit. You're playing fucking whatever video game
you're playing in your room and taking twenty minutes to
come to set because remember no, yeah, and uh, And
he would and this is what he would come right away.
But it was awesome because Johnny, you know, you know,

(01:09:24):
you guys can the audience can tell from the conversation
we just had. We both Donald and I look up
to him so much as an actor, and he's the
kind of person that I could go up to him
and be like, john that was awesome. But do you
want to try I had this idea, do you want
to try one where it's a little more like this?
And you know he that's gonna go two ways. A
guy with a huge ego and who's an asshole is
gonna be like, no, that's good, move on, or Johnny

(01:09:47):
the polar opposite, is like, oh my god, that's fucking awesome.
Let's try it.

Speaker 3 (01:09:50):
Hell yeah.

Speaker 2 (01:09:51):
And that was the attitude everybody had when I directed
the show. It was awesome. They were so supportive and
uh and and I was I was so lucky. I
was so lucky, especially since Donald was the one case
I directed like seven episodes. It was like the only
time don'll ever news lines. All right, all right, Michael,

(01:10:12):
thank you so much for coming on, and thank you
for becoming a doctor. I want you to know that
every life you save, we're gonna take credit for him.
I am okay with that. You're welcome.

Speaker 3 (01:10:22):
Please please be safe, Michael, please.

Speaker 1 (01:10:25):
Be saying take care of yourself.

Speaker 2 (01:10:26):
Man, don't make that noise that Johnny C doesn't like
when someone will have to give somebody bad news.

Speaker 3 (01:10:30):
Okay, very very bad news.

Speaker 2 (01:10:33):
Yes, okay, and and and and don't say you know
when my doctor checks my prostate, he when he pulls
his finger out, he says, was that was that as
good for you as it was for me? I appreciate it.

Speaker 1 (01:10:45):
If you wouldn't do that, dude, you you know you
could sue your doctor.

Speaker 2 (01:10:52):
No, I have a very I have a doctor who
prides himself on being outrageous. And if you're not down
for that, you just shouldn't go to this doctor.

Speaker 3 (01:10:58):
I see.

Speaker 1 (01:11:00):
So he because I would. I would be a little
upset if my doctors imagine your doctor was Madden.

Speaker 2 (01:11:06):
No, never mind, there's a doctor.

Speaker 1 (01:11:07):
Uh, never mind, listen, I'm not We're good.

Speaker 2 (01:11:10):
Okay, Michael's not gonna be that kind of doctor. Michael,
be safe and uh, and thank you so much for
coming on the show. All right, thank you, brother, I'm Michael.

Speaker 3 (01:11:20):
Wow.

Speaker 2 (01:11:21):
Wow, what a show. I think this actually would turn
out to be a much better episode than it could
have been because, uh, we had we had a we
had This is gonna be called I wanted to be
labeled Joelle. A chat with Johnny c McGinley noted, I
think it's nice when we show the audience the seems
a little bit if you will, that hey, we fuck up,
and you know what, in fuck ups come beautiful things sometimes,

(01:11:41):
like like this episode.

Speaker 1 (01:11:43):
Well, yeah, you know it's it's not always that you
get to hear the adventures of John c McGinn By.

Speaker 2 (01:11:49):
The way, I would listen to a podcast that was
just called Johnny c McGinley tells anecdotes from his career.

Speaker 1 (01:11:54):
Yeah, I'm gonna be honest with you. I didn't know
that you did that you had done that many shows
at the Public, man, I didn't know that you were
a big Shakespearean actor. Uh in your younger years, have
you ever thought about going back and doing stuff like that?

Speaker 3 (01:12:07):
Now? Well, Zachi came to see me. Thank you. Donald
In Uh Glengarry, we did a revival a couple of
years ago with Al Pacino and Bobby kan Valley and
Richard Schiff.

Speaker 2 (01:12:18):
And amazing David Harber, amazing.

Speaker 3 (01:12:21):
It was it was the single most exciting thing I've
ever done, but by far. And I think that when
when you guys, would I'll pivot off of that for
a second. What what you just said about mistakes spawning nuggets?
It makes me, It makes me go back to that

(01:12:42):
when you're if there is such a thing, and I know,
Donald Zach, you'll know what I'm talking about. If you
can when you're in acting shape and and and you're
just nimble, and you're agile cerebrally, and and your instincts,
your acting instincts, and you can't fake this stuff. You're
either in acting shape or you're not. And the only
way to be in acting shape is to just continue

(01:13:05):
to spend time in front of the lens. That's the
org continue to do performances of a play. And when
mistakes happened, when you're in acting shape, when you're just
so agile, it spawns nuggets. And one time what makes
me think of it was I decided before we went
over to the Philippines that Sargean O'Neil, which is the

(01:13:26):
name of the character I got to play, and then
Tom Beinger's character Barnes, that I was just going to
do everything I could like a like a pilotfish on
a shark. I was going to do everything I could
to help to have him facilitate me that character getting
the fuck out of Southeast Asia, and so whatever it took,

(01:13:49):
and it wasn't on the page, but I decided whatever
it took, and so I told Oliver this. He's like, yeah,
do that, it'd be a pilot fish. I love that.
And so we're at this one night where this we're
assigning a night operation, and Tony Todd's over there, and
William's here, and Mark Moses is here, and Tom Bearinger

(01:14:10):
is next to me, and I got this zippo and
because Tom was character smoke a lot, and I always
was going to do this no no look Magic Johnson
light of his cigarette and then act like it was
no big fucking deal. I was just going to throw
a no look. And I saw out of my periphery
Tom was pulling a cigarette out, and I did a

(01:14:33):
no look light and I snapped that zippo back and
I put it back in my in my thing, and
I could see everyone in the whole scene stopped and
they're looking at me like I was the biggest dick
on the planet. And I careful, gud nervous telling me
the story. I carefully looked over Tom and I missed
the light and I took the thing like a fun
back out and I lit that cigarette and the scene continued.

(01:14:54):
And that's what's in the movie, because it's there's no
me qualified and Willim looking at me like such a dick,
and Tony Todd looking at me.

Speaker 2 (01:15:05):
Like I love it all over in a movie.

Speaker 1 (01:15:08):
That's fucking dope, dude, because that's but that's who that
character was in that movie too.

Speaker 3 (01:15:14):
Yeah, but it's also my point is that I'll go
third person that the actor playing sargint O'Neil didn't all
of a sudden call cut or walk out of the
scene or you fix it.

Speaker 2 (01:15:24):
Yeah, he's fixed it. Yeah, and then and then and
then a great director like that's gonna go, that's fucking real,
I'm putting on the movie.

Speaker 3 (01:15:31):
Yeah, and it's it's maybe a thousands of a second.
But but if and when you ever watch it again,
you'll you'll see it. It's a fuck up, and Oliver
kept it in and it's genius.

Speaker 1 (01:15:42):
It probably gets big laughs in the movie too. When
it happens.

Speaker 2 (01:15:45):
It's probably laughs.

Speaker 3 (01:15:47):
Because I'm it exposes just what a pilot fish this
guy is.

Speaker 2 (01:15:52):
Yeah, this has been awesome. I want to remind the
audience that the play Johnny's talking about is a movie
that is one of my favorite films. And if you
haven't seen Glen Gary Glenn Ross, I think it's a
masterclass in acting. And we always recommend films to you
on this podcast, but you should start with Glen Gary
Glenn Ross.

Speaker 3 (01:16:15):
Very different than the play, though. The film is very
casual and it kind of unfolds on a rainy night.
And the play, David wrote, the whole thing is a
what act he told me, but then he found out
one acts can't win Tony's. He split it up in
the two act. But the first act is about thirty
two minutes and you're out having a cigarette outside the Showfeld.

(01:16:36):
And then the second act obviously the obviously the real
estate gets the office gets robbed, and that's the second act.
But the first act is all of thirty two minutes.

Speaker 2 (01:16:44):
It's an incredible piece of ry Fourth Street. I want
to tell you my only David Mammon experience. Actually there's
been two. I'm going to tell you both of them
first time. First of I loved the movie is one
of my favorite films, and i'd never seen the play performed. Now,
I did know the trivia that Alec Baldwin has a
legendary monologue in the movie that that is fucking incredible,

(01:17:07):
but it's not in the play. So I see David
Mammott backstage somewhere, and I'm so nervous, and I go,
oh my god, what am I gonna say to David Mama,
I'm having a Donald faise on when we talked Johnny
off And on the podcast about how Donald gets nervous
around celebrities and always embarrassed himself.

Speaker 1 (01:17:21):
So I can't help it, Johnny, I can't help what am.

Speaker 2 (01:17:25):
I gonna say to David MAMMONTT I don't know what
to say to David Mammott and uh and I and
I think, oh, okay, I got an idea, got an idea.
And I walk up to him. This is this is
long before you're the revival you did. It was a
different revival that was that was coming up. This is
how long ago it was. And I said, mister Mammott,
I just wanted to know. And the revival you're doing,
are you gonna are you gonna put the the monologue

(01:17:47):
that you added for for Alec Baldwin into the play.
And he looked at me like I just shit in
his fucking coffee, like such distaste. And he's like, why
would I do that. That's from the movie. I'm not
gonna put that in my play. And I was like, oh, yeah, yeah, yep, yep, yep, yep.

Speaker 3 (01:18:08):
I agree.

Speaker 2 (01:18:09):
Good choice on that, mister Mammott. I'm gonna go away.

Speaker 3 (01:18:13):
Now. Do you wanna know? You wanna know? You want
to know another layer to that story? Yeah, I asked.
I didn't ask him. David told me that before they
green lit the movie, whoever produced it, whichever studio was,
said we need we need a special effect. We need

(01:18:34):
something to happen, and you need a car crash, we
need something. In the first act, they say the special
effect was Alex monologue. Yeah, that's how explosive, that's how
great Alec was in the writing. Was in that because
in the play he's an unseen off stage threat, but
we never see him or hear him. But I mean

(01:18:57):
he's referenced constantly.

Speaker 2 (01:18:59):
Alex, in my opinion, a very underrated actor.

Speaker 1 (01:19:02):
I was about to say, listen, I I agreed that
I don't know that he's under I think he was underrated, dude,
think people think he's I think he's one of the
best actors out there.

Speaker 2 (01:19:12):
I'm just saying that he's famous, and people's famous. He's famous,
and he gets a lot of ship for his tabloid
adventures and and and his politics whatever. But fucking the
guy is a really good actor and that monologue is
one of the fucking greatest moments.

Speaker 3 (01:19:26):
Ever, no question.

Speaker 1 (01:19:29):
Coffees for Closers, Holy ship.

Speaker 2 (01:19:31):
And then my second my girlfriend and I were were
staying in a hotel in London and and he came in.
He was doing a play in London recently for God
Malcolvich was the star that I believe, and uh, and
we were alone. It was late night and we were
alone in this little bar lobby area. There's like it
was like they called this thing and they have this

(01:19:52):
thing in England that works there but would never work here,
called an honor bar. So it's just an area of
a hotel with the where you just take whatever and
you write down on the pad what you're taking. I
don't think that would work in at least it wouldn't
work in la.

Speaker 1 (01:20:07):
But would not It would not work at Joseph's.

Speaker 2 (01:20:10):
I don't think it would work anywhere. Can you imagine?
But anyway in London, you write down like I had
one vodka soda and then they charged your room. So
we're sitting there, my girlfriend and I are alone in
the Honor Bar, and in walks David Mammott and it's
just the three of us. And I go and then
my head, I'm going, in my head, I'm going, oh
my god, don't fuck up this time. Don't fuck up

(01:20:31):
this time. Don't mention Glengarry gun Ross. Don't be an
asshole and mentioned Glengarry glen Ross. The guy just wants
to get a drink and go to his room. Well,
I had had a few and U and I see
mister Pannett. Oh my god, I'm so glad to see you.
My name is Zach, this is Florence. So do you

(01:20:53):
want to join us? And he goes, okay, okay, sure, sure.
I could tell he was stressed. He'd had a night
of probably rehearsals, a pre views, whatever. He makes himself
a drink, he sits down. There's like a long pause,
and I go, I just have to tell you and
Glengary Glenn Ross, and I started going off on this Glengary. Yeah,
I'm being Donald. I go off in this long Glenn
Gary Glenn Ross spiel about how amazing it is, and

(01:21:14):
he just kind of nods his head. He goes, Okay, well,
I'm gonna I'm gonna head to bed. It was nice
talking to you, said, he left, and he left, He
just left.

Speaker 1 (01:21:24):
Those are those moments. Those are one of those moments
where you wish you could talk about sports, sex and.

Speaker 2 (01:21:28):
I know the guy didn't want to talk about Glen Gary.
The guy can't leave his fucking room without talking about
Glen Garry, goln Ross. You think he wants to. He
came in to have one drink.

Speaker 1 (01:21:35):
And if you could have been like, you know, are
you a Bears fan?

Speaker 3 (01:21:40):
Yeah?

Speaker 2 (01:21:40):
I could have said do you play middle forward?

Speaker 1 (01:21:42):
Do you like Chelsea or United?

Speaker 3 (01:21:45):
Yeah?

Speaker 2 (01:21:45):
I could say. I could say, is deservant a word?
You're a good writer, sir? Is deservant a word?

Speaker 1 (01:21:54):
He wasn't deservant of the attention.

Speaker 3 (01:21:56):
You know what?

Speaker 2 (01:21:57):
I agree with you, Donald, I agree with you that
that that genius writer was not deservant of my affection.
All Right, we should end this fucking show because the
audience is deservant of a break. Thank you for listening, everybody.
This was so fun. We're gonna call it the Conversation
with Johnny c McGinley, and we will uh. We will

(01:22:19):
be back next week to uh or we will be back.
I don't know when it is. Next time to sum
up the episode and we will talk about Gift Shop
Girl at length. Gift Shop Girl does a lip bite,
by the way, made famous first by Alisa Silverstone and Clueless,
and I am I'm a fan of the lip bite,
I must say, but more on that next time. What Donald,

(01:22:41):
do you have a comment on the lip bite?

Speaker 1 (01:22:42):
I was just gonna say I was. I was a
huge fan of you being alone in a tub with Rowdy.

Speaker 2 (01:22:48):
One of my favorite gifts. It's my favorite gift of myself.

Speaker 1 (01:22:51):
And then that turning into you alone in a tub
with Gift Shop Girl and Rowdy.

Speaker 2 (01:22:55):
There is no better way to some express my my, my,
my often inner monologue in life, in my true, real
inner inner monologue life. Then me alone sadly washing a
dead dog. Donald, will you count us in to our
beautiful theme song? Please? Thank you everybody for listening.

Speaker 1 (01:23:15):
I want to play. There's no way.

Speaker 2 (01:23:18):
Okay, okay, let's a great idea. Do you want to
do you want to take a chance at h at
talking up into it, because I've been the one who's
been lucky enough to do that thus far.

Speaker 1 (01:23:27):
Ladies and gentlemen, give it up for the President of
the United States of America, Donald Trump singing his summer bop.
There's no way I could get down off that rama.
There's no way.

Speaker 3 (01:23:43):
There's no way.

Speaker 1 (01:23:45):
How can you make it down that ram? What I'm
holding on my ass, There's no way.

Speaker 3 (01:23:51):
There's no way.

Speaker 1 (01:23:53):
General, I don't want that.

Speaker 3 (01:23:58):
And this was new ram, really reallything, no hand, No,
it was like an icy gay.

Speaker 1 (01:24:05):
Anyway, I said, there's no way, there's no way, how
can take it down that ramp?

Speaker 3 (01:24:12):
What I'm rolling on.

Speaker 4 (01:24:13):
My ass beaks by inch.

Speaker 1 (01:24:16):
I didn't mean little offense, but I'm ten feet short.
I ran down the mast, I ran down ramp.

Speaker 3 (01:24:29):
I look, Curry has something.

Speaker 1 (01:24:31):
Ran down ramp. Then they under line and the ramp
was probably ten yards long.