May 14, 2025 • 54 mins
LOOK OUT! It’s only Films To Be Buried With! A REWIND CLASSIC!
Join your host Brett Goldstein as he talks life, death, love and the universe with the always awesome and funny writer, comic and actor BILL HADER!
Below will be the original writeup for this episode which originally aired on 30th June 2022. It's me on the intro/outro (your producer Buddy Peace), so don't be alarmed. I mean you no shock or surprise. A great episode on all counts! Have fun.
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You may have been newly acquainted to Bill via his incredible show 'Barry' (link below), which will surely be drawing more and more people in as word spreads. But you may be very well acquainted with Bill already through his hugely varied and awesome career involving tons of films, shows, and Saturday Night Live among more bits and pieces. So it's a treat to hear he and Brett kick it on the subject of everything up to now, including career highlights, process, his 'life sizzle-reel', wisdom, films that you may not have heard of, and so much more besides. It's a great one, folks.
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SUPERBOB (Brett's 2015 feature film)
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Look out.
Speaker 2 (00:01):
It's only Films to be Buried with It's rewind classic season. Hello,
(00:50):
dearest films to be Buried with Crewe. My name is
Buddy Peace. I am a producer and editor, a DJ
and music maker. A farewell transmission and for intro and
outro per is I'm temporarily standing in for your regular
host and proud creator of this podcast, mister Brett Goldstein.
As Tom Waits once said, what does it matter a
dream of love or a dream of liars? We're all
(01:12):
going to be the same place when we die. Interesting idea, Tom,
But as this podcast proves, we all end up in
very different places when we die, and some of us
join some very severe environments. Indeed. Oh, also, quick note,
we need to talk about the rename of your album
Bone Machine to Troubling Bone Machine. I will hit you later.
Just got a record disc give mes sick. Every week
(01:32):
Brett invites a guest on, he tells them they've died,
and then he talks to them about their life through
the medium of film. However, this week, we are revisiting
an earlier episode of the podcast while Brett recharges the
podcast batteries and retreats to the Fortress of Solitude for
a moment or two in this bridge between seasons. This
particular rewind is from June thirtieth, twenty twenty two, originally
(01:53):
episode two hundred and two, featuring Saturday Night Live regular
and writer actor director Bill Hayder. Folks in the US
might be more familiar with the Saturday Night Live component
of Bill's illustrious career, but certainly many listeners will have
seen the hit series Barry, which at the time of
recording this episode, Bill was busy working one a lovely
one from not so far back in the past, but
(02:15):
a great chance to catch up if you missed it.
I will take this opportunity to also remind you that
Brett has a Patreon page for the podcast, upon which
you get a bonus section every episode with a secret
from each guest, more questions, and a video of each
episode which looks all nice and fresh and it's just
nice to see faces talking. So if you're a supporting
nature and feel like some extras from this show, you
(02:37):
will find them all there. So that is it for now.
Let's get you settled in for a wonderful episode with
the brilliant Bill Hayder. Catch you at the end for
a quick sign off, but for now, please enjoy this
flashback to episode two hundred and two for films to
be buried with.
Speaker 1 (02:58):
Hello, and welcome to who films to be buried with?
It is I Brett Goldstein, and I'm joined today by
an actor, a writer, a comedian, a skeptic, an inside out,
a Simpson, a South Parker, a skeleton twin, a creator,
a showrunner, a hero, a legend, and a human in
(03:23):
his own right. Please welcome to the show. Can't believe
he's here. It's the one and Ily, it's mister bier. Oh.
Speaker 3 (03:30):
That was very sweet. Thank you, glad to be here,
lovely to have you.
Speaker 1 (03:35):
How are you. How's it going? I'm good now. You
told me just while we were setting up, But I
think the listeners would want to know you are currently
mid writing Barry season four.
Speaker 3 (03:46):
Yeah, we're writing Berry season four. That's what I was
just doing before I hopped on here. So if I'm
a bit tired, I apologize.
Speaker 1 (03:56):
I wanted to ask you about Barry because I think
I'd forgotten until I went back and looked. You directed
so many of them, so many of the episodes, including
that in the first lot. How was it having this
much control? This is the first thing you've had this
much control over, I guess, is that true? Yeah?
Speaker 3 (04:17):
Yeah, definitely. Nothing is as hard as Saturday Night Live.
So everything after that was quite easy. And I think
that's why so many of us now have these TV shows,
because it's a bit like, oh yeah, I know how
to do that, you know. But the one thing I
didn't know how to do and I always have wanted
to do since I was very young, was direct you know.
It was always making short films with friends and my
(04:39):
sisters and things like that. So that was one thing
I wasn't able to do on Saturday Live. And then
so directing when we pitched to HBO Berry and then
you know, I said I like to direct the pilot,
they kind of went huh okay, and then alec Berg
thankfully said I vouched for him. He had no idea
(05:01):
if I could do it or not. That for him,
I think it's going to be great, yeah, you know, and.
Speaker 1 (05:04):
It seems like yeah, yeah, yeah.
Speaker 3 (05:07):
He's like he looks like, look at him, you.
Speaker 1 (05:09):
Know, he's wearing a cap and it's meeting directors wear caps.
He must be a director.
Speaker 3 (05:14):
Well, he's got a black blazer and a black T
shirt with like you know, and he's fine. You know.
Speaker 1 (05:21):
Okay. Two things. One is you are not the first
person i've heard say nothing's harder than the SNL. And
I know how hard it is making and running a
TV show. Can you, in a short way maybe explain
why SNL is hard?
Speaker 3 (05:37):
Well, just because it's you're figuring the whole show out
in a week and then it's on live television. It's
you know, it's live all over the nation, so it's
just a lot of pressure, and then it's constantly changing.
So if you're like me and you like films that
you love to home things and get them just right,
(05:57):
and SNL, that's almost impossible. You had to just kind
of go out there with something that you Some of
it work, some of it didn't. I feel like that's
why stand ups and people with a really strong in
the state sketch background, you know, people from Second City
or UCB or the ground lanes thrive there in a
(06:19):
really great way because they can handle that and going like, oh,
this isn't working somewhat move on to the next thing,
where I would I would get pretty crushed even if
I was you know, Customer number two in my straight
line didn't land, I would be like, oh you know.
Speaker 1 (06:38):
Yeah, yeah, tell me this on Saturday nights. Now, this
is genuine serious question. Do you get butterflies on a
Saturday night.
Speaker 3 (06:46):
I don't get butterflies on a Saturday night. But if
I hear certain songs, I will get butterflies. If I
hear Train in Vain by the Clash, because that would
be the warm up song right before we would go
on that. If I heard Train in Vain and Keenan
Thompson would sing and Fred Armison would sing it for
the audience to warm up the audience. If I hear that,
I do have a bit of a because that means, oh,
(07:08):
after that song's done, we're live.
Speaker 1 (07:11):
I'm customer number two.
Speaker 3 (07:15):
It's like, I don't know. I just hear that, and
I'm like.
Speaker 1 (07:24):
Fast they can I ask you a kind of practical
question that I'm always interested in, And I don't know,
And I'm sure everyone is different. When you're directing Barry,
you are alsoide Barry. So when you are acting in
a scene, do you film it then guy watched the monitor?
Do you trust someone that you've got it? Do you
feel you had it, right, I trust somebody.
Speaker 3 (07:43):
I also, you know, I have you know, Alec Berg there,
or this guy Duffy Boudreau who I grew up with
was one of my oldest friends who's a writer on
the show and actually the first a d this guy
Gavin Klentop was just brilliant. You know, they really get
what the show is, so I can kind of go
(08:04):
over to them. Or sometimes it's the people I'm acting with,
the other actors will be like, what do you think
of that? You know, just seem to work, you know,
or you just know it. But I'm also because I'm directing,
I'm incredibly impatient, so I you know, I just want
to keep going. And I think that you know, you've
been on sets, you know, it's you like to get
(08:25):
that momentum going, and the momentum just crushes where they go, oh,
let's go look at it, you know, and you watch
it and everybody goes m you know, here I'm going
to try something. I just feel like everything kind of
dies down. I like to keep it. Let's go again,
Let's go again, let me try this, let me try this,
and then then maybe I'll sometimes you should watch it
because I don't know what you're doing is pretty weird.
Speaker 1 (08:50):
Did it feel good? It felt good because it looked
really weird.
Speaker 3 (08:53):
Yeah, if it felt good, then you should watch it.
Speaker 1 (09:00):
Whatever. Question, if I may about the Barry stuff, is
your own season four, which is a lot, does it
live in you in your head? Like is it exciting
to you that you can keep building this thing? Or
is every season do you think that's it for me?
Do you write it like this is it? And then
you get given another season you're like, fuck a whole
new world?
Speaker 3 (09:19):
Or yeah, I mean it started out that, you know,
you do the first season and you go, well, maybe
that's it, and you kind of ideas, hey, if we
got a season two, this is what I'd like to do,
and then we got a season two, and then during
season two it was kind of yeah, you're gonna get
a season three because this seems to be working. So
while we're doing season two, we're kind of going, oh,
(09:41):
you know, this could be in season three, that could
be in season three. The weird thing about season four
is that it was during the pandemic. You know that
we were supposed to be shooting season three and then
because of the pandemic, nothing, and so we said well,
can we write season four? And HBO said yeah, sure,
and they paid us to write season four, And so
(10:03):
that helps season three because we got to go back
and rewrite a bunch of stuff and kind of set
them some things up for what a season four would
look like.
Speaker 1 (10:13):
Cool. Would you be happy to do it for many
more years? Or is that not a question?
Speaker 3 (10:18):
I mean yeah, one day, yes, another day I'm like, no,
I can't do this. You know you can't. If you
call me when I'm driving out to the you know,
the desert at three am to get you know, a
shot at dawn or you know or whatever, I'm like,
I can't do this anymore.
Speaker 1 (10:38):
I mean, it's an insane just watching you know what
Jason has to man take on. You know, it's it's
an inhumid amount of pressure.
Speaker 3 (10:48):
Conor O'Brien has this this analogy of the white suit.
You know, you put on a white suit and people go,
you know that means you know this, you have a
suit on it something, it's really white and nice, and
you just don't It's like, I don't want to get
it dirty, you know, and you go, oh jeez, the
white suit. You know, I don't know if Sadeika's goes
through that. But I know there was a moment in
(11:10):
writing season two a Berry that was a bit of
that white suit feeling. Fuck it, let's just throwing spaghetti.
Let's just see what happened. And I'm friends with the guys.
You know, hear on your eye over Atlanta and he said, oh,
we had a very similar feeling where i'ment. Oh. Man,
it's a hard thing to explain to people the pressure
that comes when the thing works, you know, and because
(11:32):
people go, oh, that must be really hard.
Speaker 1 (11:35):
Yeah, And the longer the thing guy's done the more
the more you're like, don't want to in the suit
would come this.
Speaker 3 (11:41):
Far, like, yeah, this suit's been this far. Why are
you still don't get on that motorcycle and drive through puddles?
Speaker 1 (11:47):
What the fuck are you doing?
Speaker 3 (11:49):
Yeah, especially critics will say that, like please stop now.
I've done interviews with critics, so they go, please tell
me this is it, And you go, ah, well, I
mean we got one more.
Speaker 1 (12:08):
You know, are you ever able to switch it off?
Or is it full time in your head? It's full
time in my head.
Speaker 3 (12:16):
But that's fun, you know, It's it's never a I mean,
the pressure of it definitely gets to you, you know,
at times. And and I'm directing all the episodes next season,
so that's another aspect of it.
Speaker 1 (12:29):
That's a lot.
Speaker 3 (12:30):
But it's but it again, it's not as hard as
starn it live. And I don't know, Jason say the
same thing, but it's not. Yeah, it's still not as
hard as starn alive. It's like, oh, but I you know,
we get to edit it.
Speaker 1 (12:43):
You know.
Speaker 3 (12:44):
Yeah, I get to go home and sleep, I get
like little breaks. You know. You just never got that.
Speaker 1 (12:51):
Really, Oh, Bill, I've forgotten to tell you something, and
I should have told you in the beginning. Oh fuck,
And I don't know if you've got it in your email.
I don't know. I don't know how much it is
the first time we've met. This is awkward. I'll just
fucking say it and then we'll deal with it. Okay,
(13:13):
you've died.
Speaker 3 (13:14):
Oh dang it. I knew something was up.
Speaker 1 (13:19):
It was such a good mood, so much going on.
How did you die?
Speaker 3 (13:23):
Well, I went skydiving and then the parachute opened and
I landed, but then I had a heart attack. I
don't think I had anything to do with the sky diving.
Speaker 1 (13:39):
That was just a lovely activity.
Speaker 3 (13:40):
I feel like it was just a lovely activity, and
then it was just my time. I think if I
had jumped a couple of minutes later, I would have
had a heart attack on the.
Speaker 1 (13:49):
Plane, right right, So when your friends and family tried
to see the skydiving company, I'm going to be a
witness and court. So I actually think just to be clear,
I think because all.
Speaker 3 (14:04):
And you check his heart?
Speaker 1 (14:06):
Yeah, how old were you? How old would you like
to be when when this happens?
Speaker 3 (14:12):
Oh I was eighty three?
Speaker 1 (14:14):
Okay, do you worry about death?
Speaker 3 (14:17):
You know what I used to when I was very young?
And then you know, you see people close to you go,
and it focused me more on Oh this is all
very finite, you know, so I should try to do
what I want to do with every day, you know.
Speaker 1 (14:36):
Well as in and stop worrying about the deathbit because
it stopped me getting on my shit.
Speaker 3 (14:41):
Yeah yeah, well you see people go and then you
go like, oh okay, that's where we're all headed. So
you know, Sadeikas could probably tell you this that you
know delk closed you know he is or what Yeah?
Speaker 1 (14:53):
Yeah, he was the improv king had.
Speaker 3 (14:56):
Problems, yeah, and he had. He would tell the story
of the sky Dancer, and the sky dancer jumped out
an airplane and did all these beautiful dances and pulled
their parachute, and the parachute didn't open, and instead of panicking,
the sky dancer just kept dancing and all the way
around and died. And that was the analogy of life,
(15:17):
which is like this, we're all headed to the ground,
so you might as well dance, you know, and like
make something or do something or express yourself, you know.
And I thought that was nice. But I'm also from
the Midwest, like Jason, so we're we cry a lot.
Speaker 1 (15:38):
Did you have a work with that place?
Speaker 3 (15:40):
No, you know, I think he passed away before I
was even He was such a legend by the time
I started doing improv. I know. I remember going into
Bob oden Kirk's office and there's a picture of him
and Deul Close and Chris Farley, and I was like, oh,
my gosh, there's still closely shit. But yeah, he's the
kind of father of improv, and you know, came up
(16:02):
with Mike Nichols and Elaine May and all those people.
Speaker 1 (16:05):
If you don't mind, because I don't know how much
you Maybe you've talked about this leaves, but I was
reading enough on you far as I understand. Correct me
if I'm wrong. You wanted to make film, and you
were you were being an assistant and production assistant, and
you were on the job for stuff at very low level,
just trying to learn stuff. And then at some point
you started doing improv. But it didn't seem like there
was any comedy stuff before this. Can I ask you
(16:29):
what made you go to the improv? You know?
Speaker 3 (16:32):
It was two things. One the girl I've been dating
for seven years and I broke up.
Speaker 1 (16:38):
Ever I got it, you know what I mean.
Speaker 3 (16:41):
So we had broken up and she had moved out
of Los Angeles. You know, you know when you go
through a massive breakup, And it was my first massive breakup.
The first reel like we were in love, we broke
up and so I so I got to do something different.
And then my friend Eric philip Kowski and I were
Boss Pias on this reality TV show. He said, oh,
(17:03):
do you want to come to Second City Theater and
see a show that you know, my show? And then
there's another show after it. And I went and saw
a show. It was called haha. Fresh. And then that
show was a guy named Derek Waters who ended up
doing Drunk History, a guy named Simon Hildeberg who was
on The Big Bang Theory and some other things. Yeah
he's in a net. Yeah, he's great Internet.
Speaker 1 (17:24):
Yeah.
Speaker 3 (17:25):
And they were in that show, and I was embarrassed
because they were my age, you know, and they were
performing and I went, woll, well, I could you know,
we can do that, you know. And so I has
been embarrassed, and so I kind of went over to
Eric and said, how do I get in on this?
And he's like, you got to take classes. So that
(17:47):
was the winter of two thousand and three. Wow, And
so I went and I took classes starting to March.
And that was purely just a way to start being
creative because I was trying to make short films but
needed money and it wasn't like now or you can
make stuff on your phone and stuff. It was like
too expensive. And well, at least every Saturday I do
(18:09):
something creative. So that was my creative outlet.
Speaker 1 (18:12):
I love that. I love it. Tell me this, what
do you think happens when you die? Do you think
there's enoughter life?
Speaker 3 (18:17):
No? I think it's just a white lake. Switch goes
off and it's just complete darkness.
Speaker 1 (18:23):
You Sky, don't you land? You have a heart attack? Blackout,
blackout hard, blackout, hard, blackout. Well, I got news for you,
buddy boy. Heaven. You're wrong, you got it. You're not right.
There's a heaven and it's brilliant, and it's filled with
(18:43):
your favorite thing. What's your favorite thing?
Speaker 3 (18:45):
Movies.
Speaker 1 (18:46):
It's filled with movies. It's like a Blockbuster video. There's
isles and isles of movies. There are people made of celluloid,
there's screening rooms, there's beds filled with cans of film.
Everyone it's really happy to see you. They want to
talk to you about your life, but through the medium
(19:06):
of film, and the first thing they ask you is
what Bill Hayder is. The first film you remember seeing.
Speaker 3 (19:12):
In the theater was Empire Strikes Back. Specifically, the scene
I remember was of Hans Solo falling in carbonite. The
close up of it comes in the frame and you
see him in carbonite, and I started crying, and my
dad took me out of the theater and I remember that.
And then on television was a late night movie called
(19:34):
The Children. There was a horror film and I remember
it had an image of a bunch of kids in
a school bus and the school bus goes into a
giant cloud, like a cloud of smoke on a street
and it turns them all into zombies. But that image
of the school bus going into the smoke really freaked
(19:55):
me out again and told my parents, and I remember
it was very young, and then when YouTube happened. I
remember being at home and I was thinking about that,
just know, and I went, I wonder what that was,
and so I typed in school bus, cloud of smoke,
and then this trailer for this movie came up, and
there it was this image that I was like, maybe
(20:18):
I just dreamed that, you know, And there it was
that image of the children. I go, this is it.
This is one hundred percent of what I saw.
Speaker 1 (20:24):
You know. Did it scare you? No, were like, oh
this looks silly.
Speaker 3 (20:28):
Oh yeah, that looks kind of I was like, oh wow, yeah,
it's a bunch of just smoke bombs going off in
the middle of the street, like just the But it's
very very cheap horror film called The Children that I
think I wasn't supposed to be seen. I think it
was just it was on television I.
Speaker 1 (20:45):
Wandered into a room when you saw m Bus strikes back?
Was that just you and your dad? That?
Speaker 3 (20:48):
Were you with my members? Were just me and my dad?
Speaker 1 (20:52):
Yeah, that's sweet. And he took you out because he
would crying right before the end.
Speaker 3 (20:56):
Yeah, I was quite young. I was very young. Yeah,
like three or four or something, and I just started
freaking out. And that was the first one I can remember.
He said he snuck me into other movies before that
when I was a baby, because they couldn't find a babysitter,
so they would have me, you know, and they'd be
bouncing me while they're watching you know whatever Cramer versus
(21:18):
Kramer or whatever late seventies movie they were watching.
Speaker 1 (21:23):
What is the film that made you cry the most?
You're from the Midwest, you cry? What's the film that
might you cry the vice?
Speaker 3 (21:29):
It's actually a movie from Kess, the kim Loach movie Kess.
Speaker 1 (21:34):
Okes the fucking Yeah, I mean yeah, Kes is the
maddest is the West Children's It's such a horror film.
Speaker 3 (21:45):
The scene in Cash when he's in front of the
class and the teachers like tell them about how you
train kestrels, And I just find that so moving. How
they at first they make fun of It just feels
so real and that kid is so good. I just
find that scene of acceptance. There's nothing sentimental or syrupy
about it. It just feels very real, you know, and
(22:08):
it's just beautiful, beautiful scene.
Speaker 1 (22:10):
Doesn't it make you think the difference between British films
and American films is children's films in America and on
a positive note of British films, And with the bird
stuffed in a bin?
Speaker 3 (22:27):
Is that British? Is that just that region was a
Yorkshire Horrific dreams are what you wake up from the end.
Speaker 1 (22:42):
The message of that film should be, don't fucking bother
it's a horrible film.
Speaker 3 (22:48):
Don't train your birds around your older brother.
Speaker 1 (22:52):
You'll get well jealous what you're in. Inside Out? Correct.
We did a best Films in the decade edition of
this podcast and I said the Inside that was the
greatest film of the love.
Speaker 3 (23:05):
Oh oh, I'll tell Pete and those guys that's nice.
Speaker 1 (23:09):
Yeah, I think it truly is profound. I mean, we
could talk about but we'll get you will get back
to what choices, but shout out to inside Out?
Speaker 3 (23:19):
I think, yeah, thank you? Oh yeah, I'll tell Pete.
Those guys I really appreciate it. They're really sweet.
Speaker 1 (23:24):
It's sucking something. What is the film that scared you
the most? Do you like being scared?
Speaker 3 (23:29):
Oh? Yeah, I love I love the horror films. I
still love horror films. There's the horror films like I
remember watching on late night television when I was twelve
or thirteen, the same Raimi's Evil Dead. And there's a
scene in that film where this woman is looking out
a window and she's guessing the cards that her friends
(23:50):
are playing and they don't understand how she's doing it.
And then she turns around her eyes are white, and
that scared the hell out of me. And then the
irony is is that dress Ellen Sandwise. Her daughter is
an actress named Jesse Hodges, and she's in Barry. She
plays Sally's agent. And so when I met her and
we were talking, my mom was in a little horror
(24:12):
movie called Evil Dead, and I was like, way, who
is your mom and Evil Dead? And she was like,
you know, and that was her and that was that
and I go, oh my gosh, that was a profound
experience in my childhood. You know, her adolescence was seeing
that film, and that film also was a film I think.
I think for a lot of filmmakers, it was the
(24:33):
one that kind of made you. It was like listening
to punk rock music or something where you went, oh,
I see how I can I see how they're doing it.
It's really effective, but I think I can do this.
You know, picked up your camera and you would chase
your my sisters around or you would try to do
all these kind of evil, dead things. So yeah, I
would say that. And then another scene that scared me
(24:53):
was in the film Marathon Man with Dustin Hoffman. There's
a scene where I don't know if you remember this
scene where he's in a bathtub and he's he has
a washcloth on his face and he's just kind of
decompressing from all the stressful stuff that's happening to him
and is very quiet, and then very very subtly you
hear people whispering, and it's done so well that you think,
(25:16):
still when I'm watching it, if I'm watching that with
like other people, I kind of go, oh, someone's whispering
in the room, and you kind of look over your shoulder,
and then Dustin Hoffin goes and sits up and you go, oh,
my gosh, that's in his apartment. And then he's in
the bathtub and the door is just cracked open a
bit and he runs over and when he slams the
door shut, suddenly people are heading on the other side
(25:37):
and you realize, oh, there's two men in his apartment.
Oh my gosh, just terrifying.
Speaker 1 (25:42):
Is good?
Speaker 3 (25:43):
I love that moment.
Speaker 1 (25:44):
Can I ask you an acting question. I think the
two hardest things to do as an actor. One is
laughing and the other is jumping scared, being starts over.
You've got an amazing laughing scene in the film that
I really really like Skeleton Twins. Oh, really good, and
it seems completely genuine, And I wonder if it is
(26:06):
a kind of captured moment where you and customer pissing
yourself laughing, or whether that.
Speaker 3 (26:12):
Was Yeah, that's Kristin and I just being good, you know,
friends and making each other laugh. And she's improvising stuff
and we're improvising together. But that's her just she was
being just saying really funny things. I think she was
saying stuff about someone's name or we were just's just
real captured, very real, yes, yes.
Speaker 1 (26:33):
Yeah, and then doing it chapter two where you are
having to be scared? Is that hard as in the
reality of filming?
Speaker 3 (26:42):
That not really, you know, because Andy Machetti, who directed
that movie, was very good at kind of getting you
in a headspace and you know, being like all right,
and he'd be on this big microphone okay, you guys
are coming screaming. You would go, okay, it was really scariness. Yeah, yeah,
(27:03):
and then you walk in and then.
Speaker 1 (27:07):
Oh my god, that's brilliant. That south it. For me?
That really just shouting the access. What is the film
that you love? It is not critically acclaimed, most people
don't even like it, but you think it's amazing and
you don't care what they say.
Speaker 3 (27:27):
Well, there's movies that I've walked out of, like after
the movies ended and I go, man, that was great,
and everyone else is like, what that was terrible? You
know that feeling when you're the outlier. Yeah, I met
that and eyes White shut.
Speaker 1 (27:45):
Was that for me?
Speaker 3 (27:46):
I walked out and went that was great, and everybody
went that was the most pretentious piece of shit. Really, Oh,
I thought it mad it really. I thought it was
kind of funny, like interesting things about relationships, and and
then the other one was that Jennifer Lawrence movie Mother.
I remember walking out of that going that was really terrible.
(28:07):
That was terrifying. I thought that was great, and yeah,
oh my god. The people I was with were so
the terror part of baby, and I go, but it's
a dream. It's like a it's her nightmare of everything
she wants. I don't know. I thought that was kind
of interesting. I that was one when I said I
liked it. My friend's girlfriend said, what's wrong with you?
Speaker 1 (28:29):
Had? I had the same thing. I really liked that
film a little, but I did that many people they day,
so that's all right, It's fucking great.
Speaker 3 (28:35):
I think it's brilliant, and people very very It was
one of those things where I just said, as I've
gotten older, I used to my twenties argue with people
about movies, and now I'm just like, I just don't
have the energy. So I just went, oh, okay, okay, okay.
I think I just said okay about fifty times as
we walked to my car. I was going, okay, okay, okay,
you're right, you're right, Okay.
Speaker 1 (28:58):
It's such a weird thing. I had this ugly with
a friend the other day about a film that I
just think it's amazing, and she hated it, and then
she was like relentlessly kind of breaking down why it
was terrible. And I suddenly was so like, what do
you want at the end of this? Do you want
the thing that has made me happy to not make
me happy anymore?
Speaker 3 (29:16):
Yeah, And I've experienced that with films that I like,
where people get really riled up about it, and then
and then sometimes I'll have like I love the film
Clockwork Orange. That was a movie was very formidable for me.
I understand that that movie is not easy to watch,
but I can have a conversation of why that movie
(29:36):
struck me so much and my views of like, you know,
violence and you know, and the human condition and all
these things whatever. And I did have a conversation that
was the only really time where it was the opposite
you were describing, because usually it's what you're describing where
I go, I don't know what you want to do.
But I had have friends say But what bothers me
about that film was that it became pop culture and
(29:57):
that people would dress up like rugs. And I remember
seeing the Blur video and they're dressed up like drugs
and all these other things. Part Simpson was dressed up
like a drug and they're rapists, you know, like they're monsters.
And I went, you know what, that's a very good point.
You're right, that is a very good point. I mean
that I could understand if you go and watch that
(30:17):
film and you go, I hate that when people are
posters of Alex on their wall and shit, and it's
like that shouldn't be, you know. And I said, I
can understand why you wouldn't like that film based on that,
But I think that's the unfortunate byproduct of the thing.
You know. But I said, I hear you. I think
(30:38):
that movie is very important, But that is a very
true thing that is important.
Speaker 1 (30:42):
Yeah. Yeah. Interesting. On the other hand, what is a
film that you used to love that you've watched recently
and you've got but whatever rason that might be.
Speaker 3 (30:53):
There is a film that was on HBO when I
was growing up and I watched all the time called
The Race. Try Out the Race. It was like an
updated fifties like hot Rod movie, but it was set
in the eighties. Chryl Flynn was in it. Nick Cassavetti's
was in it. He was the bad guy and Charlie
Sheen is a good kid who races these guys and
(31:14):
then he's killed and then he comes back as this
kind of ghost, you know, this almost this alien guy,
not an actual alien, but it's a guy all in
leather with like the helmet I kind of looks like
Daft punk, but drives this really cool car. And the
car somehow just reeks revenge against all these bad kids.
(31:38):
And it was on HB all the time, and I
was I just thought it was great. And then I
was in a Seattle and I went into a video
store and I found a DVD of it, and I
went nuts. And it was really expensive and I bought
it and I went, oh my god, this and oh
my god, I went crazy. And it was very expensive DVD.
(32:02):
And I got home and watched it, and the minute
ten minutes in, I went, this isn't good.
Speaker 1 (32:08):
That's so said.
Speaker 3 (32:11):
And I called my sister because we used to watch
all the time. I go, I found a copy of
The Wraith and she went, oh my gosh, I you know,
it might be on Amazon primal for all I know,
but she, oh my gosh, I it was, and I go,
it's terrible. What you know, it just didn't hold up.
Speaker 1 (32:28):
That's up right. What is the film that means the
most to you? Not necessarily the film is any good,
but the experience you had around seeing the film will
always make it meaningful to you. Bill Hayda, please.
Speaker 3 (32:40):
So do they have SATs. They don't have a say
you know es.
Speaker 1 (32:44):
No, but but they're like examine when you're sixteen.
Speaker 3 (32:47):
Yeah, this would be when we were Yeah, when your
senior year of high school. So when you're seventeen, eighteen
years old, you have to take, yeah, that test to
get into college.
Speaker 1 (32:58):
Yeah.
Speaker 3 (32:58):
So the SAT. He's the thing that you study hard on.
You know, kids, real rich kids would get you know,
families would get them tutors for SAT. And your whole
life for four years is you got to take this SAT.
And how you do on this depends on what school
you go to. And I went in to take my
SAT and I was so overwhelmed and kind of defeated
(33:22):
because I just didn't feel prepared that I put my
name on it and I turned it in. I didn't
do anything. So it was complete suicide. Wow. And you
know an SAT test you have to go to another facility.
You don't take it. I didn't take it at my school.
It's like, you go to this place, your parents have
to pay all this money. It's a real thing. And
(33:45):
then I just put my name on it and I
turned it in. I got my car and I drove
the movie theater and I went and saw Mars Attacks.
And while I was watching Mars Attacks, I was just
watching this film where these aliens are destroying earth, going
my life is over. I've completely blown up my life.
(34:07):
And I was alone at the Promenace Theater in tuls Oklahoma,
watching Mars Attacks and just thinking I'm gonna have to
go home. I'm gonna have to tell my parents. I'm
gonna have to do this. But for right now, I'm
in Tim Burton's Perfect Little Flying Saucer World. And yeah,
(34:28):
that was that movie forever. If I see a poster
for it, or if I come across it on television,
I go, oh my gosh. I just I don't think
i'd really have seen that film because I just wasn't
there the whole time. It was it was like I
committed a murder.
Speaker 1 (34:44):
Yeah, well you've met that. You you met that, your
educa I still fix.
Speaker 3 (34:48):
Yeah, I murdered my educational Yeah, my future.
Speaker 1 (34:53):
So did you Did you go home and say what
you did though? Did you wait too? You go zero?
I said, I.
Speaker 3 (34:59):
Don't think I did very well, So I didn't really
cop to it. I said, I don't think I did well.
How would you define bad? I mean, I think I've
got to get quite like that. I mean, if you
don't answer, it doesn't mean you really don't know it.
Speaker 1 (35:16):
Yeah, you have to be in it to get either bad. Yeah.
Speaker 3 (35:21):
I didn't really try. But I remember like a month
later my mother saying, you didn't get into state school,
which is I mean a given. So it was kind
of like, oh man, you really blew it. And where
I grew up, you would have to go to a
junior college, which is is kind of like high school
but you can smoke. And so I went out of
state to a junior college with Jimmy Kimmel thinks it's
(35:43):
the funniest thing of the planet. He went, Wait, you
went out of state to a junior college, which really
makes zero point zero sense. It makes no sense. And
I went out of state and then ended up just
moving to Los Angeles, you know, but you know, it
(36:06):
doesn't matter. A lot of people went to junior college
did great I could be talking out of school you,
but I think Sadeikas might have gone to a junior
college in Kansas. I feel like when he and I,
because he and I shared an office to go at SNL,
and I feel like we both were like you round
at a cent live, you around all these like Harvard people,
and I feel really inadequate. And I remember got named
Charlie Granty and I went you went to Harvard. I
(36:28):
was such a hillbilly. I was like, are you serious?
You mean Harvard in Massachusetts? You went to Harvard? And uh,
But I feel like Sadeka's was like, no, no, I
went to a junior college and oh really okay.
Speaker 1 (36:42):
So I don't feel as did you write anything on
your sit you?
Speaker 3 (36:46):
Did you actually do yourcity?
Speaker 1 (36:51):
Did you actually do your s A T?
Speaker 3 (36:53):
Please tell me you didn't. You know.
Speaker 1 (36:56):
That's incredible, but both of you and now having to
do my intense, hardworking amount of work possible like that, Yeah,
that's interesting. What it's what it said around?
Speaker 3 (37:08):
Yeah?
Speaker 1 (37:08):
I do you know what was going on in your
head when you did that? We just like I can't
kite with this.
Speaker 3 (37:13):
I just can't cope with it. You know, I've always
had really bad anxiety, and I think I just panicked
and just went, I can't handle that. So there's so
much pressure being put on you right now and I
just can't do it, and did that and then, you know,
just dealt with the consequences. But it was definitely, up
to that time of life, the most insane thing I
(37:33):
had ever done. Yeah, all my friends were just going,
what is wrong? Why did you do that?
Speaker 1 (37:42):
It's fast today? Bill?
Speaker 3 (37:43):
Why did what? What happened? Man?
Speaker 1 (37:47):
You're like, I just really wanted to see Bus attacks
and it was out at one.
Speaker 3 (37:51):
I really wanted to see Mars Attacks.
Speaker 1 (37:53):
Man, What is the film you must relate to?
Speaker 3 (38:00):
When I was a kid, the movie that I went
I related to the main character the most, honestly, was
a Christmas story.
Speaker 1 (38:06):
I remember that kid.
Speaker 3 (38:07):
I remember that kid, just thinking like, oh, I relate
to that, you know, like wanting a thing and not
knowing how to get it and having a bully and
you know the scene where he fights that kid and
then he cries. You know, I think it was very,
very moving because I'm like, oh, I remember having a
moment like that kid hit my sister with a tether
ball and I tackled him, and I didn't know how
(38:30):
to hit anybody, but I was just kind of hit,
you know, slapping the top of his head. But it
was you start crying because your emotions are all up
and all that. So I just think that that movie.
I think it was very moving. I got to watch
it with my children, and it was kind of special
because I was like, oh, man, I used to watch
this all the time when I was a kid because
(38:51):
I related to Ralphie.
Speaker 1 (38:53):
Did it work for your kids? Yeah?
Speaker 3 (38:55):
Yeah, they liked it. They got really involved. I have
three daughters, but they were really involved with it. But
they also are you know, raised now, so they went,
he wants a gun a gun, you know, and you go, yeah,
I know, yeah, yeah, no, it's true.
Speaker 1 (39:11):
You know.
Speaker 3 (39:12):
It's like when I watched The Goonies with them and
they were like this is fun, but like when do
the girls get to do something? And I go, but
the girl got to play piano.
Speaker 1 (39:23):
She played piano and she saved the day.
Speaker 3 (39:25):
And they were like, that's bullshit.
Speaker 1 (39:30):
Okay, you're not wrong.
Speaker 3 (39:31):
It was like everything back then was made and geared
towards me.
Speaker 1 (39:39):
Is the one paper interested in what is the sexiest
film you've ever seen.
Speaker 3 (39:43):
Bill, that would have to be YouTube Mama Tembion. I
would say is the sexiest film I've ever seen. I
think all three of them are so incredibly sexy in
that movie. Yeah, Mary Belle, if I ever saw her,
I would I wouldn't be able to like, I would
just like turn around and just like she is so
insanely gorgeous and just a phenomenal actress. I mean, what's
(40:07):
sexy about it isn't just like with a bit the
acting in it. You know, her performance in that is
just unbelievable. And both of them, Gale and oh my god, Diego,
oh my god, they're so good in that film, and
they're all really hot. It is. It is just such
(40:30):
a fantastic film. But also and it's fine because I've
become friendly with Alfonso Corone. When I talk to him
about that one, it's like, weird, you can't really tell
him like that is the sexiest film I've ever seen.
Speaker 1 (40:45):
It's so say, I think it's one of my favorite
endings to a film. That film. Yeah, I think he
look is really Yeah, it's really.
Speaker 3 (40:54):
I think that movie is just also a kind of
like just guys at that age. And because I am
I was the age of those guys when they moved.
I mean they're in their early twenties and then as
old I was when that film came out, some around
their age and just masculinity and they're trying to be
you know, the's just these morons and if she comes
(41:14):
in and they just again, it wasn't messaging, it wasn't
too on the nose. It was just a feeling and
a vibe of the whole thing that was just so
emotional and incredibly sexy. I mean, the end of that
film when she's dancing into the camera is just that
is just so unbelievably sexy. But also like works for
(41:35):
the character and wife. They're all getting drunk together and
all this tension, the tension in that movie. There's so
much sexual tension in that movie, but also what's happening
with the characters, like really tragic.
Speaker 1 (41:46):
Weren't they given I believe that they were given basically
given money to make a sex film, Like it was
a low budget thing. There were like three sex films
being made by by company, so it was sort of like,
here's some money, go make a sex film. And then
it's and then this incredibly profound Beautiful, which is also
a sex film, but it's signed much more than that.
Speaker 3 (42:06):
Yeah, it really is. I think it's really something. Yeah,
I think he's one of the great filmmakers for sure.
Speaker 1 (42:13):
Yeah. There's a sub category to this question. Bill Haida
traveling by is worrying why then the film we found
arousing that you went or he should? I don't know.
Speaker 3 (42:24):
Yeah, I couldn't figure that one out if I have one,
but I don't know. I'm not trying to be modesty
or anything, but I can't think of one. But I mean,
I do think I was of the era of the
Princess Leia slave outfit, which, again, watching it with my
kids makes zero sense. That's why my daughters are out
(42:44):
there like why is she in that outfit? And I'm like, again,
this movie is geared towards me and Meal like boys,
this thing is geared towards boys because it made it
makes no sense that she's suddenly in that outfit.
Speaker 1 (43:01):
You know, really, well, hasn't he made the address like that?
I mean, I'm not saying it's right, but has put
this why?
Speaker 3 (43:10):
I guess My thing is like, if she's in an outfit,
why aren't Luke and Han in different outfits because they're
all being taken prisoner.
Speaker 1 (43:17):
Because listen, he's frozen. I mean he's clearly no into voice.
He's made that fun. He's put one of them on
I said, the other one, Yeah.
Speaker 3 (43:34):
The other one's on ice, and the other one he
doesn't want to see the other one had to sneak in. Yeah.
Yeah he's pissed. But yeah, I guess that would be
the closest one that you know.
Speaker 1 (43:41):
That's fair. That's fair, Bill Hayde. What is objectively the
greatest film of all type might not be your favorite,
but it's the greatest.
Speaker 3 (43:50):
If you're going by storytelling, acting, cinematography, editing. You know,
I am everything. The Godfather, the First god Father would
probably be pound for pound. That's like when I watched
that film, I go, well, everything is working in this
thing into like a perfect level. Is it my favorite movie? No,
(44:10):
which also says something like you're saying, you know, but
I would probably say The Godfather When I watch that,
I just go, yeah, this is like if I had
to teach a class, you would just show The Godfather
and go there it is. There's all the I mean
another one, I think I would say another one that's
close for me is The Third Man is another one.
(44:31):
When I watched that one, I go, well, this one
just this just works. This just works on every level.
This thing just works.
Speaker 1 (44:39):
Yeah, tell me this. What is the film you could
all have watched? The miced Ivan iver Get.
Speaker 3 (44:47):
I mean it runs a gambit of but loving death,
which is a Woody Allen movie. I really like the
last detail with Jack Nicholson. Yeah, Taxi Driver one of
my favorite films. Knights of Kabiri, a Fellini movie, is
one of my favorite films. I watched that a lot,
a movie called a Kiiru but Chris Sawa, I watched
that a lot. Rosemary's Baby Airplane. You know, these are
(45:11):
the movies that if they're on I just sit and watch.
I just I have to watch the whole thing.
Speaker 1 (45:16):
You know, A lord that Rosemary Baby and Taxi Driver
are both quite funny. I think, yeah, they quite. It
took me as I got older, I found them funny
as in I'm not saying they're funny all the way
for but they're like Roseby Baby is like a sort
of social I think it's like a film about manners.
Speaker 3 (45:36):
It's like the whole Yeah, that movie just wouldn't happen
if she wasn't if she said get out of my house.
Speaker 1 (45:42):
Yeah, always has to say no, but yes after you sure, okay, Yeah.
Speaker 3 (45:49):
And I was trying it. What's so great about that
is the role of that woman is that she's so
nice and trying to make everyone happy and then the
fear of childbirth and she's doing everything right, you know,
and she just gets taken advantage of. I just thought
it was.
Speaker 1 (46:05):
And there's the moment in text Drive but it always
thinks funny where he meets the guy in the hotel
room to buy guns and the guy then offers him
drugs and he's so offended, like, yeah, I'm not invested
in stuff. Yeah you think I am.
Speaker 3 (46:19):
Yeah, Stephen Prince, Yeah, that guy Stephen Printley goes nicross
ox Side not just like I gave you a Cadillac
Cadillac what the thing? Yeah, I would say. Even the
scene that is an awful, awful scene. And that's what
Scorsese is so good at. It was taking really terrible
scenes like when he's going to Harvey kit tell about
Jody Foster and Harvey Kite tells like the lowest scumbag
(46:40):
on the planet, And even that scene has like Scorsese's like, yeah,
but that guy's not not funny. You know, he's a
immoral piece of shit. But he has to be charming
on some dumb level or he couldn't get these moments.
So even that scene where he's like, I had a
horse got hit by a car, I'm like, I have
no idea what he talking about. You know, he's just
(47:02):
so strange in that scene that you're like and watching him.
And I love watching that scene because I remember liking
mean streets and how the roles were reversed where it
was Harvey Kitel was a straight guy and de Niro
was the crazy guy, and it was just so cool
seeing that, And then watching Taxi Driver when I was,
you know, thirteen or fourteen and kind of really obsessed
(47:24):
with those films.
Speaker 1 (47:25):
You know, we don't like to be negative. I don't
know if you j but we'll do it quickly. What's
the worst film you ever seen?
Speaker 3 (47:36):
I will say the first film that I was very
disappointed in as a kid was teen Wolf two. Okay,
that was the film because I loved Teen Wolf one
so much that I went in the theater to see
Team Wolf two and it was an abomination.
Speaker 1 (47:57):
I forget what's the daily Teabul takes a different sport.
He's boxing. He's a boxing Wolf. He's a boxer.
Speaker 3 (48:05):
And it's Jason Bateman, who I'm friendly with, who's one
of the loveliest human beings on the planet, and he's
just kind of in this situation where he's got to be. Basically,
they couldn't get Michael J. Fox, so they got Jason
Bateman to do the Michael J. Fox bit. And then
there's some guys from the first movie in the second movie.
(48:25):
But yeah, he's a boxer and it's the exact same story,
but at college and he's a boxer.
Speaker 1 (48:30):
Is he meant to be the same team Wolf? Is
he meant to be meth Day Fox? Or is he
he's cousin?
Speaker 3 (48:34):
I know, No, it's his cousin, I think, is what
it was.
Speaker 1 (48:38):
You know.
Speaker 3 (48:38):
I only saw it that one time, and I was
nine or ten, you know, and just went, this is.
Speaker 1 (48:44):
The same movie.
Speaker 3 (48:46):
So I was just like that was awful, you know,
the first time as a kid, I felt disappointed in
the film. I was so excited and I worked on
this film. Paul was Simon Peg and Nick Frost. Jason
Bateman was in that film and as a rap gift,
they gave him a Team Wolf two poster signed by
(49:06):
all of us. And I might have written, this was
the first film to disappoint me. And Jason is one
of the greatest guys and a really phenomenal actor and
director and just a great guy. But I felt bad. Yeah,
that was my introduction to Jay.
Speaker 1 (49:30):
What's your incomed that you're combleted? What's the film that
made you laugh the mice?
Speaker 3 (49:36):
I mean, definitely Love and Death was one that I
loved that made me laugh really hard. Those Zucker Brothers
movies like Airplane and Naked Gun still make me laugh.
I mean, clearly, I'm a big Coen Brothers fan. If
you watch Barry, I mean it was a Coen Brothers
type stuff in that. A serious Man especially is the
one lately that really makes me laugh. That movie is
(49:58):
very funny, and I got to work with no one
mad who's in that movie. And so yeah, I would
those stand that really those ones really get me, that
would do Yeah.
Speaker 1 (50:07):
Yeah, Bill Hayder, what's an absolute pleasure you have been? However,
when you sky dove at eighty three and you were
sky dancing and unlike del close, your parachute did open,
and it opened, and you sky danced very slowly down.
Everyone was like, wow, you know, he's pretty nimble for
an eighty three year old, look at him. Go. Everyone
(50:27):
was standing around, well done, well done, Bill Hayden. And
you were like, hey, guys. As you floated down, Hey guys,
and you landed, you said hey, and you had a
heart attack and you died. And I'm walking past because
I heard you were doing this sky dance show, and
I'm bringing the coffee with me, you know, I'm like,
and I see loads of people gathered around and they're
(50:49):
shouting at the sky, at the skydiving company. People. They're going,
you kill Bill Hayden, and I get the way. Guys,
get the way, and I go listen bread. But they didn't.
They didn't kill Bill Hayden. He had a heart attack.
It just happened to happen exactly the moment he landed
and the skydobed. People got exactly, we're really safe, We're good.
(51:09):
I don't worry, guys, it's not gonna be a lawsuit.
Off you go. Everyone clears and there you are, smashed
dead in the ground. And unfortunately, in all the commotion,
people were stomping on you, trying to get killed the
sky of people. Your body's a mess. So I'm scraping
you off the roads, the grass, bits of concrete. I'm
having to chop up bits of you just to get
you into some stuff. You in the coffin. I stuff
(51:33):
you in. But there's more of you than I was expecting.
There's bits of the parachute. We couldn't get it alled
off anyway. The coffin is now rammed. It is full.
There is barely any room in it. There is just
enough room to slide one DVD in for you to
take across to the other side. And on the other
side it's movie night every night. What film were you
taking to show the people of heaven when it is
(51:55):
your movie night? Bill Hayden, Naked gun? And they will
love you for it. You will be very welcim Bill Hayder,
What joy, what tree? I'm so grateful you did this.
Speaker 3 (52:09):
Oh man, this is fun, man, Oh this is a
lot of fun.
Speaker 1 (52:13):
Is there anything you would like to tell people to watch,
look out for, or listen to in the coming times.
Speaker 3 (52:20):
Oh? I liked this movie called You Were Not My Mother.
I enjoyed that it was a horror film from Ireland.
I thought was pretty good.
Speaker 1 (52:27):
This is very generous of you, but I'm talking about
your right stuff.
Speaker 3 (52:30):
Oh oh oh oh oh, well Berry, that's the only
thing I work on. Yeah, watch Berry if you can.
My whole life right now is doing that show. But yeah,
you should see You and Have a Mother is a
great film. Yeah, I thought Kay Morgan the director's name,
(52:50):
did a great job.
Speaker 1 (52:51):
So you and my Mother and then three seasons of
Berry is what you would recommend. Yeah, Bill Hayden, thank
you for your time and for your excellent work.
Speaker 3 (53:00):
Thank you.
Speaker 1 (53:01):
Good day to you. I hope you have a wonderful debt,
good night and good day.
Speaker 2 (53:13):
So that was a rewind classic with Bill Hayder. Be
sure to check out the Patreon page at patreon dot
com slash Brett Goldstein, where you'll get extra chat and
video of various tiers or otherwise if you fancy leaving
a note on Apple podcasts, that would be lovely too,
But to make it a review of your favorite film
much more fun and more interesting to read for everyone involved.
(53:35):
Thank you so much to Bill for greatness and presence
on the podcast. Thanks to Scrubius, Pip and the Distraction
Pieces Network. Thanks to and this is where Brett thanks
me for editing and producing the podcast, and so I
say it is a pleasure. Thanks to iHeartMedia and Will
Ferrell's Big Money Players Network for hosting it. Thanks to
Adam Richardson for the graphics and Lisa Linen for the photography.
(53:56):
We'll be back next week with another rewind classic. But
that is it for now. Britt and I and all
of us are films to be buried with. I hope
you're all very well in the meantime, have a lovely week,
take some deep breaths, and now more than ever, be
excellent to each other.
Speaker 1 (54:48):
M
Look out.
Speaker 2 (00:01):
It's only Films to be Buried with It's rewind classic season. Hello,
(00:50):
dearest films to be Buried with Crewe. My name is
Buddy Peace. I am a producer and editor, a DJ
and music maker. A farewell transmission and for intro and
outro per is I'm temporarily standing in for your regular
host and proud creator of this podcast, mister Brett Goldstein.
As Tom Waits once said, what does it matter a
dream of love or a dream of liars? We're all
(01:12):
going to be the same place when we die. Interesting idea, Tom,
But as this podcast proves, we all end up in
very different places when we die, and some of us
join some very severe environments. Indeed. Oh, also, quick note,
we need to talk about the rename of your album
Bone Machine to Troubling Bone Machine. I will hit you later.
Just got a record disc give mes sick. Every week
(01:32):
Brett invites a guest on, he tells them they've died,
and then he talks to them about their life through
the medium of film. However, this week, we are revisiting
an earlier episode of the podcast while Brett recharges the
podcast batteries and retreats to the Fortress of Solitude for
a moment or two in this bridge between seasons. This
particular rewind is from June thirtieth, twenty twenty two, originally
(01:53):
episode two hundred and two, featuring Saturday Night Live regular
and writer actor director Bill Hayder. Folks in the US
might be more familiar with the Saturday Night Live component
of Bill's illustrious career, but certainly many listeners will have
seen the hit series Barry, which at the time of
recording this episode, Bill was busy working one a lovely
one from not so far back in the past, but
(02:15):
a great chance to catch up if you missed it.
I will take this opportunity to also remind you that
Brett has a Patreon page for the podcast, upon which
you get a bonus section every episode with a secret
from each guest, more questions, and a video of each
episode which looks all nice and fresh and it's just
nice to see faces talking. So if you're a supporting
nature and feel like some extras from this show, you
(02:37):
will find them all there. So that is it for now.
Let's get you settled in for a wonderful episode with
the brilliant Bill Hayder. Catch you at the end for
a quick sign off, but for now, please enjoy this
flashback to episode two hundred and two for films to
be buried with.
Speaker 1 (02:58):
Hello, and welcome to who films to be buried with?
It is I Brett Goldstein, and I'm joined today by
an actor, a writer, a comedian, a skeptic, an inside out,
a Simpson, a South Parker, a skeleton twin, a creator,
a showrunner, a hero, a legend, and a human in
(03:23):
his own right. Please welcome to the show. Can't believe
he's here. It's the one and Ily, it's mister bier. Oh.
Speaker 3 (03:30):
That was very sweet. Thank you, glad to be here,
lovely to have you.
Speaker 1 (03:35):
How are you. How's it going? I'm good now. You
told me just while we were setting up, But I
think the listeners would want to know you are currently
mid writing Barry season four.
Speaker 3 (03:46):
Yeah, we're writing Berry season four. That's what I was
just doing before I hopped on here. So if I'm
a bit tired, I apologize.
Speaker 1 (03:56):
I wanted to ask you about Barry because I think
I'd forgotten until I went back and looked. You directed
so many of them, so many of the episodes, including
that in the first lot. How was it having this
much control? This is the first thing you've had this
much control over, I guess, is that true? Yeah?
Speaker 3 (04:17):
Yeah, definitely. Nothing is as hard as Saturday Night Live.
So everything after that was quite easy. And I think
that's why so many of us now have these TV shows,
because it's a bit like, oh yeah, I know how
to do that, you know. But the one thing I
didn't know how to do and I always have wanted
to do since I was very young, was direct you know.
It was always making short films with friends and my
(04:39):
sisters and things like that. So that was one thing
I wasn't able to do on Saturday Live. And then
so directing when we pitched to HBO Berry and then
you know, I said I like to direct the pilot,
they kind of went huh okay, and then alec Berg
thankfully said I vouched for him. He had no idea
(05:01):
if I could do it or not. That for him,
I think it's going to be great, yeah, you know, and.
Speaker 1 (05:04):
It seems like yeah, yeah, yeah.
Speaker 3 (05:07):
He's like he looks like, look at him, you.
Speaker 1 (05:09):
Know, he's wearing a cap and it's meeting directors wear caps.
He must be a director.
Speaker 3 (05:14):
Well, he's got a black blazer and a black T
shirt with like you know, and he's fine. You know.
Speaker 1 (05:21):
Okay. Two things. One is you are not the first
person i've heard say nothing's harder than the SNL. And
I know how hard it is making and running a
TV show. Can you, in a short way maybe explain
why SNL is hard?
Speaker 3 (05:37):
Well, just because it's you're figuring the whole show out
in a week and then it's on live television. It's
you know, it's live all over the nation, so it's
just a lot of pressure, and then it's constantly changing.
So if you're like me and you like films that
you love to home things and get them just right,
(05:57):
and SNL, that's almost impossible. You had to just kind
of go out there with something that you Some of
it work, some of it didn't. I feel like that's
why stand ups and people with a really strong in
the state sketch background, you know, people from Second City
or UCB or the ground lanes thrive there in a
(06:19):
really great way because they can handle that and going like, oh,
this isn't working somewhat move on to the next thing,
where I would I would get pretty crushed even if
I was you know, Customer number two in my straight
line didn't land, I would be like, oh you know.
Speaker 1 (06:38):
Yeah, yeah, tell me this on Saturday nights. Now, this
is genuine serious question. Do you get butterflies on a
Saturday night.
Speaker 3 (06:46):
I don't get butterflies on a Saturday night. But if
I hear certain songs, I will get butterflies. If I
hear Train in Vain by the Clash, because that would
be the warm up song right before we would go
on that. If I heard Train in Vain and Keenan
Thompson would sing and Fred Armison would sing it for
the audience to warm up the audience. If I hear that,
I do have a bit of a because that means, oh,
(07:08):
after that song's done, we're live.
Speaker 1 (07:11):
I'm customer number two.
Speaker 3 (07:15):
It's like, I don't know. I just hear that, and
I'm like.
Speaker 1 (07:24):
Fast they can I ask you a kind of practical
question that I'm always interested in, And I don't know,
And I'm sure everyone is different. When you're directing Barry,
you are alsoide Barry. So when you are acting in
a scene, do you film it then guy watched the monitor?
Do you trust someone that you've got it? Do you
feel you had it, right, I trust somebody.
Speaker 3 (07:43):
I also, you know, I have you know, Alec Berg there,
or this guy Duffy Boudreau who I grew up with
was one of my oldest friends who's a writer on
the show and actually the first a d this guy
Gavin Klentop was just brilliant. You know, they really get
what the show is, so I can kind of go
(08:04):
over to them. Or sometimes it's the people I'm acting with,
the other actors will be like, what do you think
of that? You know, just seem to work, you know,
or you just know it. But I'm also because I'm directing,
I'm incredibly impatient, so I you know, I just want
to keep going. And I think that you know, you've
been on sets, you know, it's you like to get
(08:25):
that momentum going, and the momentum just crushes where they go, oh,
let's go look at it, you know, and you watch
it and everybody goes m you know, here I'm going
to try something. I just feel like everything kind of
dies down. I like to keep it. Let's go again,
Let's go again, let me try this, let me try this,
and then then maybe I'll sometimes you should watch it
because I don't know what you're doing is pretty weird.
Speaker 1 (08:50):
Did it feel good? It felt good because it looked
really weird.
Speaker 3 (08:53):
Yeah, if it felt good, then you should watch it.
Speaker 1 (09:00):
Whatever. Question, if I may about the Barry stuff, is
your own season four, which is a lot, does it
live in you in your head? Like is it exciting
to you that you can keep building this thing? Or
is every season do you think that's it for me?
Do you write it like this is it? And then
you get given another season you're like, fuck a whole
new world?
Speaker 3 (09:19):
Or yeah, I mean it started out that, you know,
you do the first season and you go, well, maybe
that's it, and you kind of ideas, hey, if we
got a season two, this is what I'd like to do,
and then we got a season two, and then during
season two it was kind of yeah, you're gonna get
a season three because this seems to be working. So
while we're doing season two, we're kind of going, oh,
(09:41):
you know, this could be in season three, that could
be in season three. The weird thing about season four
is that it was during the pandemic. You know that
we were supposed to be shooting season three and then
because of the pandemic, nothing, and so we said well,
can we write season four? And HBO said yeah, sure,
and they paid us to write season four, And so
(10:03):
that helps season three because we got to go back
and rewrite a bunch of stuff and kind of set
them some things up for what a season four would
look like.
Speaker 1 (10:13):
Cool. Would you be happy to do it for many
more years? Or is that not a question?
Speaker 3 (10:18):
I mean yeah, one day, yes, another day I'm like, no,
I can't do this. You know you can't. If you
call me when I'm driving out to the you know,
the desert at three am to get you know, a
shot at dawn or you know or whatever, I'm like,
I can't do this anymore.
Speaker 1 (10:38):
I mean, it's an insane just watching you know what
Jason has to man take on. You know, it's it's
an inhumid amount of pressure.
Speaker 3 (10:48):
Conor O'Brien has this this analogy of the white suit.
You know, you put on a white suit and people go,
you know that means you know this, you have a
suit on it something, it's really white and nice, and
you just don't It's like, I don't want to get
it dirty, you know, and you go, oh jeez, the
white suit. You know, I don't know if Sadeika's goes
through that. But I know there was a moment in
(11:10):
writing season two a Berry that was a bit of
that white suit feeling. Fuck it, let's just throwing spaghetti.
Let's just see what happened. And I'm friends with the guys.
You know, hear on your eye over Atlanta and he said, oh,
we had a very similar feeling where i'ment. Oh. Man,
it's a hard thing to explain to people the pressure
that comes when the thing works, you know, and because
(11:32):
people go, oh, that must be really hard.
Speaker 1 (11:35):
Yeah, And the longer the thing guy's done the more
the more you're like, don't want to in the suit
would come this.
Speaker 3 (11:41):
Far, like, yeah, this suit's been this far. Why are
you still don't get on that motorcycle and drive through puddles?
Speaker 1 (11:47):
What the fuck are you doing?
Speaker 3 (11:49):
Yeah, especially critics will say that, like please stop now.
I've done interviews with critics, so they go, please tell
me this is it, And you go, ah, well, I
mean we got one more.
Speaker 1 (12:08):
You know, are you ever able to switch it off?
Or is it full time in your head? It's full
time in my head.
Speaker 3 (12:16):
But that's fun, you know, It's it's never a I mean,
the pressure of it definitely gets to you, you know,
at times. And and I'm directing all the episodes next season,
so that's another aspect of it.
Speaker 1 (12:29):
That's a lot.
Speaker 3 (12:30):
But it's but it again, it's not as hard as
starn it live. And I don't know, Jason say the
same thing, but it's not. Yeah, it's still not as
hard as starn alive. It's like, oh, but I you know,
we get to edit it.
Speaker 1 (12:43):
You know.
Speaker 3 (12:44):
Yeah, I get to go home and sleep, I get
like little breaks. You know. You just never got that.
Speaker 1 (12:51):
Really, Oh, Bill, I've forgotten to tell you something, and
I should have told you in the beginning. Oh fuck,
And I don't know if you've got it in your email.
I don't know. I don't know how much it is
the first time we've met. This is awkward. I'll just
fucking say it and then we'll deal with it. Okay,
(13:13):
you've died.
Speaker 3 (13:14):
Oh dang it. I knew something was up.
Speaker 1 (13:19):
It was such a good mood, so much going on.
How did you die?
Speaker 3 (13:23):
Well, I went skydiving and then the parachute opened and
I landed, but then I had a heart attack. I
don't think I had anything to do with the sky diving.
Speaker 1 (13:39):
That was just a lovely activity.
Speaker 3 (13:40):
I feel like it was just a lovely activity, and
then it was just my time. I think if I
had jumped a couple of minutes later, I would have
had a heart attack on the.
Speaker 1 (13:49):
Plane, right right, So when your friends and family tried
to see the skydiving company, I'm going to be a
witness and court. So I actually think just to be clear,
I think because all.
Speaker 3 (14:04):
And you check his heart?
Speaker 1 (14:06):
Yeah, how old were you? How old would you like
to be when when this happens?
Speaker 3 (14:12):
Oh I was eighty three?
Speaker 1 (14:14):
Okay, do you worry about death?
Speaker 3 (14:17):
You know what I used to when I was very young?
And then you know, you see people close to you go,
and it focused me more on Oh this is all
very finite, you know, so I should try to do
what I want to do with every day, you know.
Speaker 1 (14:36):
Well as in and stop worrying about the deathbit because
it stopped me getting on my shit.
Speaker 3 (14:41):
Yeah yeah, well you see people go and then you
go like, oh okay, that's where we're all headed. So
you know, Sadeikas could probably tell you this that you
know delk closed you know he is or what Yeah?
Speaker 1 (14:53):
Yeah, he was the improv king had.
Speaker 3 (14:56):
Problems, yeah, and he had. He would tell the story
of the sky Dancer, and the sky dancer jumped out
an airplane and did all these beautiful dances and pulled
their parachute, and the parachute didn't open, and instead of panicking,
the sky dancer just kept dancing and all the way
around and died. And that was the analogy of life,
(15:17):
which is like this, we're all headed to the ground,
so you might as well dance, you know, and like
make something or do something or express yourself, you know.
And I thought that was nice. But I'm also from
the Midwest, like Jason, so we're we cry a lot.
Speaker 1 (15:38):
Did you have a work with that place?
Speaker 3 (15:40):
No, you know, I think he passed away before I
was even He was such a legend by the time
I started doing improv. I know. I remember going into
Bob oden Kirk's office and there's a picture of him
and Deul Close and Chris Farley, and I was like, oh,
my gosh, there's still closely shit. But yeah, he's the
kind of father of improv, and you know, came up
(16:02):
with Mike Nichols and Elaine May and all those people.
Speaker 1 (16:05):
If you don't mind, because I don't know how much
you Maybe you've talked about this leaves, but I was
reading enough on you far as I understand. Correct me
if I'm wrong. You wanted to make film, and you
were you were being an assistant and production assistant, and
you were on the job for stuff at very low level,
just trying to learn stuff. And then at some point
you started doing improv. But it didn't seem like there
was any comedy stuff before this. Can I ask you
(16:29):
what made you go to the improv? You know?
Speaker 3 (16:32):
It was two things. One the girl I've been dating
for seven years and I broke up.
Speaker 1 (16:38):
Ever I got it, you know what I mean.
Speaker 3 (16:41):
So we had broken up and she had moved out
of Los Angeles. You know, you know when you go
through a massive breakup, And it was my first massive breakup.
The first reel like we were in love, we broke
up and so I so I got to do something different.
And then my friend Eric philip Kowski and I were
Boss Pias on this reality TV show. He said, oh,
(17:03):
do you want to come to Second City Theater and
see a show that you know, my show? And then
there's another show after it. And I went and saw
a show. It was called haha. Fresh. And then that
show was a guy named Derek Waters who ended up
doing Drunk History, a guy named Simon Hildeberg who was
on The Big Bang Theory and some other things. Yeah
he's in a net. Yeah, he's great Internet.
Speaker 1 (17:24):
Yeah.
Speaker 3 (17:25):
And they were in that show, and I was embarrassed
because they were my age, you know, and they were
performing and I went, woll, well, I could you know,
we can do that, you know. And so I has
been embarrassed, and so I kind of went over to
Eric and said, how do I get in on this?
And he's like, you got to take classes. So that
(17:47):
was the winter of two thousand and three. Wow, And
so I went and I took classes starting to March.
And that was purely just a way to start being
creative because I was trying to make short films but
needed money and it wasn't like now or you can
make stuff on your phone and stuff. It was like
too expensive. And well, at least every Saturday I do
(18:09):
something creative. So that was my creative outlet.
Speaker 1 (18:12):
I love that. I love it. Tell me this, what
do you think happens when you die? Do you think
there's enoughter life?
Speaker 3 (18:17):
No? I think it's just a white lake. Switch goes
off and it's just complete darkness.
Speaker 1 (18:23):
You Sky, don't you land? You have a heart attack? Blackout,
blackout hard, blackout, hard, blackout. Well, I got news for you,
buddy boy. Heaven. You're wrong, you got it. You're not right.
There's a heaven and it's brilliant, and it's filled with
(18:43):
your favorite thing. What's your favorite thing?
Speaker 3 (18:45):
Movies.
Speaker 1 (18:46):
It's filled with movies. It's like a Blockbuster video. There's
isles and isles of movies. There are people made of celluloid,
there's screening rooms, there's beds filled with cans of film.
Everyone it's really happy to see you. They want to
talk to you about your life, but through the medium
(19:06):
of film, and the first thing they ask you is
what Bill Hayder is. The first film you remember seeing.
Speaker 3 (19:12):
In the theater was Empire Strikes Back. Specifically, the scene
I remember was of Hans Solo falling in carbonite. The
close up of it comes in the frame and you
see him in carbonite, and I started crying, and my
dad took me out of the theater and I remember that.
And then on television was a late night movie called
(19:34):
The Children. There was a horror film and I remember
it had an image of a bunch of kids in
a school bus and the school bus goes into a
giant cloud, like a cloud of smoke on a street
and it turns them all into zombies. But that image
of the school bus going into the smoke really freaked
(19:55):
me out again and told my parents, and I remember
it was very young, and then when YouTube happened. I
remember being at home and I was thinking about that,
just know, and I went, I wonder what that was,
and so I typed in school bus, cloud of smoke,
and then this trailer for this movie came up, and
there it was this image that I was like, maybe
(20:18):
I just dreamed that, you know, And there it was
that image of the children. I go, this is it.
This is one hundred percent of what I saw.
Speaker 1 (20:24):
You know. Did it scare you? No, were like, oh
this looks silly.
Speaker 3 (20:28):
Oh yeah, that looks kind of I was like, oh wow, yeah,
it's a bunch of just smoke bombs going off in
the middle of the street, like just the But it's
very very cheap horror film called The Children that I
think I wasn't supposed to be seen. I think it
was just it was on television I.
Speaker 1 (20:45):
Wandered into a room when you saw m Bus strikes back?
Was that just you and your dad? That?
Speaker 3 (20:48):
Were you with my members? Were just me and my dad?
Speaker 1 (20:52):
Yeah, that's sweet. And he took you out because he
would crying right before the end.
Speaker 3 (20:56):
Yeah, I was quite young. I was very young. Yeah,
like three or four or something, and I just started
freaking out. And that was the first one I can remember.
He said he snuck me into other movies before that
when I was a baby, because they couldn't find a babysitter,
so they would have me, you know, and they'd be
bouncing me while they're watching you know whatever Cramer versus
(21:18):
Kramer or whatever late seventies movie they were watching.
Speaker 1 (21:23):
What is the film that made you cry the most?
You're from the Midwest, you cry? What's the film that
might you cry the vice?
Speaker 3 (21:29):
It's actually a movie from Kess, the kim Loach movie Kess.
Speaker 1 (21:34):
Okes the fucking Yeah, I mean yeah, Kes is the
maddest is the West Children's It's such a horror film.
Speaker 3 (21:45):
The scene in Cash when he's in front of the
class and the teachers like tell them about how you
train kestrels, And I just find that so moving. How
they at first they make fun of It just feels
so real and that kid is so good. I just
find that scene of acceptance. There's nothing sentimental or syrupy
about it. It just feels very real, you know, and
(22:08):
it's just beautiful, beautiful scene.
Speaker 1 (22:10):
Doesn't it make you think the difference between British films
and American films is children's films in America and on
a positive note of British films, And with the bird
stuffed in a bin?
Speaker 3 (22:27):
Is that British? Is that just that region was a
Yorkshire Horrific dreams are what you wake up from the end.
Speaker 1 (22:42):
The message of that film should be, don't fucking bother
it's a horrible film.
Speaker 3 (22:48):
Don't train your birds around your older brother.
Speaker 1 (22:52):
You'll get well jealous what you're in. Inside Out? Correct.
We did a best Films in the decade edition of
this podcast and I said the Inside that was the
greatest film of the love.
Speaker 3 (23:05):
Oh oh, I'll tell Pete and those guys that's nice.
Speaker 1 (23:09):
Yeah, I think it truly is profound. I mean, we
could talk about but we'll get you will get back
to what choices, but shout out to inside Out?
Speaker 3 (23:19):
I think, yeah, thank you? Oh yeah, I'll tell Pete.
Those guys I really appreciate it. They're really sweet.
Speaker 1 (23:24):
It's sucking something. What is the film that scared you
the most? Do you like being scared?
Speaker 3 (23:29):
Oh? Yeah, I love I love the horror films. I
still love horror films. There's the horror films like I
remember watching on late night television when I was twelve
or thirteen, the same Raimi's Evil Dead. And there's a
scene in that film where this woman is looking out
a window and she's guessing the cards that her friends
(23:50):
are playing and they don't understand how she's doing it.
And then she turns around her eyes are white, and
that scared the hell out of me. And then the
irony is is that dress Ellen Sandwise. Her daughter is
an actress named Jesse Hodges, and she's in Barry. She
plays Sally's agent. And so when I met her and
we were talking, my mom was in a little horror
(24:12):
movie called Evil Dead, and I was like, way, who
is your mom and Evil Dead? And she was like,
you know, and that was her and that was that
and I go, oh my gosh, that was a profound
experience in my childhood. You know, her adolescence was seeing
that film, and that film also was a film I think.
I think for a lot of filmmakers, it was the
(24:33):
one that kind of made you. It was like listening
to punk rock music or something where you went, oh,
I see how I can I see how they're doing it.
It's really effective, but I think I can do this.
You know, picked up your camera and you would chase
your my sisters around or you would try to do
all these kind of evil, dead things. So yeah, I
would say that. And then another scene that scared me
(24:53):
was in the film Marathon Man with Dustin Hoffman. There's
a scene where I don't know if you remember this
scene where he's in a bathtub and he's he has
a washcloth on his face and he's just kind of
decompressing from all the stressful stuff that's happening to him
and is very quiet, and then very very subtly you
hear people whispering, and it's done so well that you think,
(25:16):
still when I'm watching it, if I'm watching that with
like other people, I kind of go, oh, someone's whispering
in the room, and you kind of look over your shoulder,
and then Dustin Hoffin goes and sits up and you go, oh,
my gosh, that's in his apartment. And then he's in
the bathtub and the door is just cracked open a
bit and he runs over and when he slams the
door shut, suddenly people are heading on the other side
(25:37):
and you realize, oh, there's two men in his apartment.
Oh my gosh, just terrifying.
Speaker 1 (25:42):
Is good?
Speaker 3 (25:43):
I love that moment.
Speaker 1 (25:44):
Can I ask you an acting question. I think the
two hardest things to do as an actor. One is
laughing and the other is jumping scared, being starts over.
You've got an amazing laughing scene in the film that
I really really like Skeleton Twins. Oh, really good, and
it seems completely genuine, And I wonder if it is
(26:06):
a kind of captured moment where you and customer pissing
yourself laughing, or whether that.
Speaker 3 (26:12):
Was Yeah, that's Kristin and I just being good, you know,
friends and making each other laugh. And she's improvising stuff
and we're improvising together. But that's her just she was
being just saying really funny things. I think she was
saying stuff about someone's name or we were just's just
real captured, very real, yes, yes.
Speaker 1 (26:33):
Yeah, and then doing it chapter two where you are
having to be scared? Is that hard as in the
reality of filming?
Speaker 3 (26:42):
That not really, you know, because Andy Machetti, who directed
that movie, was very good at kind of getting you
in a headspace and you know, being like all right,
and he'd be on this big microphone okay, you guys
are coming screaming. You would go, okay, it was really scariness. Yeah, yeah,
(27:03):
and then you walk in and then.
Speaker 1 (27:07):
Oh my god, that's brilliant. That south it. For me?
That really just shouting the access. What is the film
that you love? It is not critically acclaimed, most people
don't even like it, but you think it's amazing and
you don't care what they say.
Speaker 3 (27:27):
Well, there's movies that I've walked out of, like after
the movies ended and I go, man, that was great,
and everyone else is like, what that was terrible? You
know that feeling when you're the outlier. Yeah, I met
that and eyes White shut.
Speaker 1 (27:45):
Was that for me?
Speaker 3 (27:46):
I walked out and went that was great, and everybody
went that was the most pretentious piece of shit. Really, Oh,
I thought it mad it really. I thought it was
kind of funny, like interesting things about relationships, and and
then the other one was that Jennifer Lawrence movie Mother.
I remember walking out of that going that was really terrible.
(28:07):
That was terrifying. I thought that was great, and yeah,
oh my god. The people I was with were so
the terror part of baby, and I go, but it's
a dream. It's like a it's her nightmare of everything
she wants. I don't know. I thought that was kind
of interesting. I that was one when I said I
liked it. My friend's girlfriend said, what's wrong with you?
Speaker 1 (28:29):
Had? I had the same thing. I really liked that
film a little, but I did that many people they day,
so that's all right, It's fucking great.
Speaker 3 (28:35):
I think it's brilliant, and people very very It was
one of those things where I just said, as I've
gotten older, I used to my twenties argue with people
about movies, and now I'm just like, I just don't
have the energy. So I just went, oh, okay, okay, okay.
I think I just said okay about fifty times as
we walked to my car. I was going, okay, okay, okay,
you're right, you're right, Okay.
Speaker 1 (28:58):
It's such a weird thing. I had this ugly with
a friend the other day about a film that I
just think it's amazing, and she hated it, and then
she was like relentlessly kind of breaking down why it
was terrible. And I suddenly was so like, what do
you want at the end of this? Do you want
the thing that has made me happy to not make
me happy anymore?
Speaker 3 (29:16):
Yeah, And I've experienced that with films that I like,
where people get really riled up about it, and then
and then sometimes I'll have like I love the film
Clockwork Orange. That was a movie was very formidable for me.
I understand that that movie is not easy to watch,
but I can have a conversation of why that movie
(29:36):
struck me so much and my views of like, you know,
violence and you know, and the human condition and all
these things whatever. And I did have a conversation that
was the only really time where it was the opposite
you were describing, because usually it's what you're describing where
I go, I don't know what you want to do.
But I had have friends say But what bothers me
about that film was that it became pop culture and
(29:57):
that people would dress up like rugs. And I remember
seeing the Blur video and they're dressed up like drugs
and all these other things. Part Simpson was dressed up
like a drug and they're rapists, you know, like they're monsters.
And I went, you know what, that's a very good point.
You're right, that is a very good point. I mean
that I could understand if you go and watch that
(30:17):
film and you go, I hate that when people are
posters of Alex on their wall and shit, and it's
like that shouldn't be, you know. And I said, I
can understand why you wouldn't like that film based on that,
But I think that's the unfortunate byproduct of the thing.
You know. But I said, I hear you. I think
(30:38):
that movie is very important, But that is a very
true thing that is important.
Speaker 1 (30:42):
Yeah. Yeah. Interesting. On the other hand, what is a
film that you used to love that you've watched recently
and you've got but whatever rason that might be.
Speaker 3 (30:53):
There is a film that was on HBO when I
was growing up and I watched all the time called
The Race. Try Out the Race. It was like an
updated fifties like hot Rod movie, but it was set
in the eighties. Chryl Flynn was in it. Nick Cassavetti's
was in it. He was the bad guy and Charlie
Sheen is a good kid who races these guys and
(31:14):
then he's killed and then he comes back as this
kind of ghost, you know, this almost this alien guy,
not an actual alien, but it's a guy all in
leather with like the helmet I kind of looks like
Daft punk, but drives this really cool car. And the
car somehow just reeks revenge against all these bad kids.
(31:38):
And it was on HB all the time, and I
was I just thought it was great. And then I
was in a Seattle and I went into a video
store and I found a DVD of it, and I
went nuts. And it was really expensive and I bought
it and I went, oh my god, this and oh
my god, I went crazy. And it was very expensive DVD.
(32:02):
And I got home and watched it, and the minute
ten minutes in, I went, this isn't good.
Speaker 1 (32:08):
That's so said.
Speaker 3 (32:11):
And I called my sister because we used to watch
all the time. I go, I found a copy of
The Wraith and she went, oh my gosh, I you know,
it might be on Amazon primal for all I know,
but she, oh my gosh, I it was, and I go,
it's terrible. What you know, it just didn't hold up.
Speaker 1 (32:28):
That's up right. What is the film that means the
most to you? Not necessarily the film is any good,
but the experience you had around seeing the film will
always make it meaningful to you. Bill Hayda, please.
Speaker 3 (32:40):
So do they have SATs. They don't have a say
you know es.
Speaker 1 (32:44):
No, but but they're like examine when you're sixteen.
Speaker 3 (32:47):
Yeah, this would be when we were Yeah, when your
senior year of high school. So when you're seventeen, eighteen
years old, you have to take, yeah, that test to
get into college.
Speaker 1 (32:58):
Yeah.
Speaker 3 (32:58):
So the SAT. He's the thing that you study hard on.
You know, kids, real rich kids would get you know,
families would get them tutors for SAT. And your whole
life for four years is you got to take this SAT.
And how you do on this depends on what school
you go to. And I went in to take my
SAT and I was so overwhelmed and kind of defeated
(33:22):
because I just didn't feel prepared that I put my
name on it and I turned it in. I didn't
do anything. So it was complete suicide. Wow. And you
know an SAT test you have to go to another facility.
You don't take it. I didn't take it at my school.
It's like, you go to this place, your parents have
to pay all this money. It's a real thing. And
(33:45):
then I just put my name on it and I
turned it in. I got my car and I drove
the movie theater and I went and saw Mars Attacks.
And while I was watching Mars Attacks, I was just
watching this film where these aliens are destroying earth, going
my life is over. I've completely blown up my life.
(34:07):
And I was alone at the Promenace Theater in tuls Oklahoma,
watching Mars Attacks and just thinking I'm gonna have to
go home. I'm gonna have to tell my parents. I'm
gonna have to do this. But for right now, I'm
in Tim Burton's Perfect Little Flying Saucer World. And yeah,
(34:28):
that was that movie forever. If I see a poster
for it, or if I come across it on television,
I go, oh my gosh. I just I don't think
i'd really have seen that film because I just wasn't
there the whole time. It was it was like I
committed a murder.
Speaker 1 (34:44):
Yeah, well you've met that. You you met that, your
educa I still fix.
Speaker 3 (34:48):
Yeah, I murdered my educational Yeah, my future.
Speaker 1 (34:53):
So did you Did you go home and say what
you did though? Did you wait too? You go zero?
I said, I.
Speaker 3 (34:59):
Don't think I did very well, So I didn't really
cop to it. I said, I don't think I did well.
How would you define bad? I mean, I think I've
got to get quite like that. I mean, if you
don't answer, it doesn't mean you really don't know it.
Speaker 1 (35:16):
Yeah, you have to be in it to get either bad. Yeah.
Speaker 3 (35:21):
I didn't really try. But I remember like a month
later my mother saying, you didn't get into state school,
which is I mean a given. So it was kind
of like, oh man, you really blew it. And where
I grew up, you would have to go to a
junior college, which is is kind of like high school
but you can smoke. And so I went out of
state to a junior college with Jimmy Kimmel thinks it's
(35:43):
the funniest thing of the planet. He went, Wait, you
went out of state to a junior college, which really
makes zero point zero sense. It makes no sense. And
I went out of state and then ended up just
moving to Los Angeles, you know, but you know, it
(36:06):
doesn't matter. A lot of people went to junior college
did great I could be talking out of school you,
but I think Sadeikas might have gone to a junior
college in Kansas. I feel like when he and I,
because he and I shared an office to go at SNL,
and I feel like we both were like you round
at a cent live, you around all these like Harvard people,
and I feel really inadequate. And I remember got named
Charlie Granty and I went you went to Harvard. I
(36:28):
was such a hillbilly. I was like, are you serious?
You mean Harvard in Massachusetts? You went to Harvard? And uh,
But I feel like Sadeka's was like, no, no, I
went to a junior college and oh really okay.
Speaker 1 (36:42):
So I don't feel as did you write anything on
your sit you?
Speaker 3 (36:46):
Did you actually do yourcity?
Speaker 1 (36:51):
Did you actually do your s A T?
Speaker 3 (36:53):
Please tell me you didn't. You know.
Speaker 1 (36:56):
That's incredible, but both of you and now having to
do my intense, hardworking amount of work possible like that, Yeah,
that's interesting. What it's what it said around?
Speaker 3 (37:08):
Yeah?
Speaker 1 (37:08):
I do you know what was going on in your
head when you did that? We just like I can't
kite with this.
Speaker 3 (37:13):
I just can't cope with it. You know, I've always
had really bad anxiety, and I think I just panicked
and just went, I can't handle that. So there's so
much pressure being put on you right now and I
just can't do it, and did that and then, you know,
just dealt with the consequences. But it was definitely, up
to that time of life, the most insane thing I
(37:33):
had ever done. Yeah, all my friends were just going,
what is wrong? Why did you do that?
Speaker 1 (37:42):
It's fast today? Bill?
Speaker 3 (37:43):
Why did what? What happened? Man?
Speaker 1 (37:47):
You're like, I just really wanted to see Bus attacks
and it was out at one.
Speaker 3 (37:51):
I really wanted to see Mars Attacks.
Speaker 1 (37:53):
Man, What is the film you must relate to?
Speaker 3 (38:00):
When I was a kid, the movie that I went
I related to the main character the most, honestly, was
a Christmas story.
Speaker 1 (38:06):
I remember that kid.
Speaker 3 (38:07):
I remember that kid, just thinking like, oh, I relate
to that, you know, like wanting a thing and not
knowing how to get it and having a bully and
you know the scene where he fights that kid and
then he cries. You know, I think it was very,
very moving because I'm like, oh, I remember having a
moment like that kid hit my sister with a tether
ball and I tackled him, and I didn't know how
(38:30):
to hit anybody, but I was just kind of hit,
you know, slapping the top of his head. But it
was you start crying because your emotions are all up
and all that. So I just think that that movie.
I think it was very moving. I got to watch
it with my children, and it was kind of special
because I was like, oh, man, I used to watch
this all the time when I was a kid because
(38:51):
I related to Ralphie.
Speaker 1 (38:53):
Did it work for your kids? Yeah?
Speaker 3 (38:55):
Yeah, they liked it. They got really involved. I have
three daughters, but they were really involved with it. But
they also are you know, raised now, so they went,
he wants a gun a gun, you know, and you go, yeah,
I know, yeah, yeah, no, it's true.
Speaker 1 (39:11):
You know.
Speaker 3 (39:12):
It's like when I watched The Goonies with them and
they were like this is fun, but like when do
the girls get to do something? And I go, but
the girl got to play piano.
Speaker 1 (39:23):
She played piano and she saved the day.
Speaker 3 (39:25):
And they were like, that's bullshit.
Speaker 1 (39:30):
Okay, you're not wrong.
Speaker 3 (39:31):
It was like everything back then was made and geared
towards me.
Speaker 1 (39:39):
Is the one paper interested in what is the sexiest
film you've ever seen.
Speaker 3 (39:43):
Bill, that would have to be YouTube Mama Tembion. I
would say is the sexiest film I've ever seen. I
think all three of them are so incredibly sexy in
that movie. Yeah, Mary Belle, if I ever saw her,
I would I wouldn't be able to like, I would
just like turn around and just like she is so
insanely gorgeous and just a phenomenal actress. I mean, what's
(40:07):
sexy about it isn't just like with a bit the
acting in it. You know, her performance in that is
just unbelievable. And both of them, Gale and oh my god, Diego,
oh my god, they're so good in that film, and
they're all really hot. It is. It is just such
(40:30):
a fantastic film. But also and it's fine because I've
become friendly with Alfonso Corone. When I talk to him
about that one, it's like, weird, you can't really tell
him like that is the sexiest film I've ever seen.
Speaker 1 (40:45):
It's so say, I think it's one of my favorite
endings to a film. That film. Yeah, I think he
look is really Yeah, it's really.
Speaker 3 (40:54):
I think that movie is just also a kind of
like just guys at that age. And because I am
I was the age of those guys when they moved.
I mean they're in their early twenties and then as
old I was when that film came out, some around
their age and just masculinity and they're trying to be
you know, the's just these morons and if she comes
(41:14):
in and they just again, it wasn't messaging, it wasn't
too on the nose. It was just a feeling and
a vibe of the whole thing that was just so
emotional and incredibly sexy. I mean, the end of that
film when she's dancing into the camera is just that
is just so unbelievably sexy. But also like works for
(41:35):
the character and wife. They're all getting drunk together and
all this tension, the tension in that movie. There's so
much sexual tension in that movie, but also what's happening
with the characters, like really tragic.
Speaker 1 (41:46):
Weren't they given I believe that they were given basically
given money to make a sex film, Like it was
a low budget thing. There were like three sex films
being made by by company, so it was sort of like,
here's some money, go make a sex film. And then
it's and then this incredibly profound Beautiful, which is also
a sex film, but it's signed much more than that.
Speaker 3 (42:06):
Yeah, it really is. I think it's really something. Yeah,
I think he's one of the great filmmakers for sure.
Speaker 1 (42:13):
Yeah. There's a sub category to this question. Bill Haida
traveling by is worrying why then the film we found
arousing that you went or he should? I don't know.
Speaker 3 (42:24):
Yeah, I couldn't figure that one out if I have one,
but I don't know. I'm not trying to be modesty
or anything, but I can't think of one. But I mean,
I do think I was of the era of the
Princess Leia slave outfit, which, again, watching it with my
kids makes zero sense. That's why my daughters are out
(42:44):
there like why is she in that outfit? And I'm like, again,
this movie is geared towards me and Meal like boys,
this thing is geared towards boys because it made it
makes no sense that she's suddenly in that outfit.
Speaker 1 (43:01):
You know, really, well, hasn't he made the address like that?
I mean, I'm not saying it's right, but has put
this why?
Speaker 3 (43:10):
I guess My thing is like, if she's in an outfit,
why aren't Luke and Han in different outfits because they're
all being taken prisoner.
Speaker 1 (43:17):
Because listen, he's frozen. I mean he's clearly no into voice.
He's made that fun. He's put one of them on
I said, the other one, Yeah.
Speaker 3 (43:34):
The other one's on ice, and the other one he
doesn't want to see the other one had to sneak in. Yeah.
Yeah he's pissed. But yeah, I guess that would be
the closest one that you know.
Speaker 1 (43:41):
That's fair. That's fair, Bill Hayde. What is objectively the
greatest film of all type might not be your favorite,
but it's the greatest.
Speaker 3 (43:50):
If you're going by storytelling, acting, cinematography, editing. You know,
I am everything. The Godfather, the First god Father would
probably be pound for pound. That's like when I watched
that film, I go, well, everything is working in this
thing into like a perfect level. Is it my favorite movie? No,
(44:10):
which also says something like you're saying, you know, but
I would probably say The Godfather When I watch that,
I just go, yeah, this is like if I had
to teach a class, you would just show The Godfather
and go there it is. There's all the I mean
another one, I think I would say another one that's
close for me is The Third Man is another one.
(44:31):
When I watched that one, I go, well, this one
just this just works. This just works on every level.
This thing just works.
Speaker 1 (44:39):
Yeah, tell me this. What is the film you could
all have watched? The miced Ivan iver Get.
Speaker 3 (44:47):
I mean it runs a gambit of but loving death,
which is a Woody Allen movie. I really like the
last detail with Jack Nicholson. Yeah, Taxi Driver one of
my favorite films. Knights of Kabiri, a Fellini movie, is
one of my favorite films. I watched that a lot,
a movie called a Kiiru but Chris Sawa, I watched
that a lot. Rosemary's Baby Airplane. You know, these are
(45:11):
the movies that if they're on I just sit and watch.
I just I have to watch the whole thing.
Speaker 1 (45:16):
You know, A lord that Rosemary Baby and Taxi Driver
are both quite funny. I think, yeah, they quite. It
took me as I got older, I found them funny
as in I'm not saying they're funny all the way
for but they're like Roseby Baby is like a sort
of social I think it's like a film about manners.
Speaker 3 (45:36):
It's like the whole Yeah, that movie just wouldn't happen
if she wasn't if she said get out of my house.
Speaker 1 (45:42):
Yeah, always has to say no, but yes after you sure, okay, Yeah.
Speaker 3 (45:49):
And I was trying it. What's so great about that
is the role of that woman is that she's so
nice and trying to make everyone happy and then the
fear of childbirth and she's doing everything right, you know,
and she just gets taken advantage of. I just thought
it was.
Speaker 1 (46:05):
And there's the moment in text Drive but it always
thinks funny where he meets the guy in the hotel
room to buy guns and the guy then offers him
drugs and he's so offended, like, yeah, I'm not invested
in stuff. Yeah you think I am.
Speaker 3 (46:19):
Yeah, Stephen Prince, Yeah, that guy Stephen Printley goes nicross
ox Side not just like I gave you a Cadillac
Cadillac what the thing? Yeah, I would say. Even the
scene that is an awful, awful scene. And that's what
Scorsese is so good at. It was taking really terrible
scenes like when he's going to Harvey kit tell about
Jody Foster and Harvey Kite tells like the lowest scumbag
(46:40):
on the planet, And even that scene has like Scorsese's like, yeah,
but that guy's not not funny. You know, he's a
immoral piece of shit. But he has to be charming
on some dumb level or he couldn't get these moments.
So even that scene where he's like, I had a
horse got hit by a car, I'm like, I have
no idea what he talking about. You know, he's just
(47:02):
so strange in that scene that you're like and watching him.
And I love watching that scene because I remember liking
mean streets and how the roles were reversed where it
was Harvey Kitel was a straight guy and de Niro
was the crazy guy, and it was just so cool
seeing that, And then watching Taxi Driver when I was,
you know, thirteen or fourteen and kind of really obsessed
(47:24):
with those films.
Speaker 1 (47:25):
You know, we don't like to be negative. I don't
know if you j but we'll do it quickly. What's
the worst film you ever seen?
Speaker 3 (47:36):
I will say the first film that I was very
disappointed in as a kid was teen Wolf two. Okay,
that was the film because I loved Teen Wolf one
so much that I went in the theater to see
Team Wolf two and it was an abomination.
Speaker 1 (47:57):
I forget what's the daily Teabul takes a different sport.
He's boxing. He's a boxing Wolf. He's a boxer.
Speaker 3 (48:05):
And it's Jason Bateman, who I'm friendly with, who's one
of the loveliest human beings on the planet, and he's
just kind of in this situation where he's got to be. Basically,
they couldn't get Michael J. Fox, so they got Jason
Bateman to do the Michael J. Fox bit. And then
there's some guys from the first movie in the second movie.
(48:25):
But yeah, he's a boxer and it's the exact same story,
but at college and he's a boxer.
Speaker 1 (48:30):
Is he meant to be the same team Wolf? Is
he meant to be meth Day Fox? Or is he
he's cousin?
Speaker 3 (48:34):
I know, No, it's his cousin, I think, is what
it was.
Speaker 1 (48:38):
You know.
Speaker 3 (48:38):
I only saw it that one time, and I was
nine or ten, you know, and just went, this is.
Speaker 1 (48:44):
The same movie.
Speaker 3 (48:46):
So I was just like that was awful, you know,
the first time as a kid, I felt disappointed in
the film. I was so excited and I worked on
this film. Paul was Simon Peg and Nick Frost. Jason
Bateman was in that film and as a rap gift,
they gave him a Team Wolf two poster signed by
(49:06):
all of us. And I might have written, this was
the first film to disappoint me. And Jason is one
of the greatest guys and a really phenomenal actor and
director and just a great guy. But I felt bad. Yeah,
that was my introduction to Jay.
Speaker 1 (49:30):
What's your incomed that you're combleted? What's the film that
made you laugh the mice?
Speaker 3 (49:36):
I mean, definitely Love and Death was one that I
loved that made me laugh really hard. Those Zucker Brothers
movies like Airplane and Naked Gun still make me laugh.
I mean, clearly, I'm a big Coen Brothers fan. If
you watch Barry, I mean it was a Coen Brothers
type stuff in that. A serious Man especially is the
one lately that really makes me laugh. That movie is
(49:58):
very funny, and I got to work with no one
mad who's in that movie. And so yeah, I would
those stand that really those ones really get me, that
would do Yeah.
Speaker 1 (50:07):
Yeah, Bill Hayder, what's an absolute pleasure you have been? However,
when you sky dove at eighty three and you were
sky dancing and unlike del close, your parachute did open,
and it opened, and you sky danced very slowly down.
Everyone was like, wow, you know, he's pretty nimble for
an eighty three year old, look at him. Go. Everyone
(50:27):
was standing around, well done, well done, Bill Hayden. And
you were like, hey, guys. As you floated down, Hey guys,
and you landed, you said hey, and you had a
heart attack and you died. And I'm walking past because
I heard you were doing this sky dance show, and
I'm bringing the coffee with me, you know, I'm like,
and I see loads of people gathered around and they're
(50:49):
shouting at the sky, at the skydiving company. People. They're going,
you kill Bill Hayden, and I get the way. Guys,
get the way, and I go listen bread. But they didn't.
They didn't kill Bill Hayden. He had a heart attack.
It just happened to happen exactly the moment he landed
and the skydobed. People got exactly, we're really safe, We're good.
(51:09):
I don't worry, guys, it's not gonna be a lawsuit.
Off you go. Everyone clears and there you are, smashed
dead in the ground. And unfortunately, in all the commotion,
people were stomping on you, trying to get killed the
sky of people. Your body's a mess. So I'm scraping
you off the roads, the grass, bits of concrete. I'm
having to chop up bits of you just to get
you into some stuff. You in the coffin. I stuff
(51:33):
you in. But there's more of you than I was expecting.
There's bits of the parachute. We couldn't get it alled
off anyway. The coffin is now rammed. It is full.
There is barely any room in it. There is just
enough room to slide one DVD in for you to
take across to the other side. And on the other
side it's movie night every night. What film were you
taking to show the people of heaven when it is
(51:55):
your movie night? Bill Hayden, Naked gun? And they will
love you for it. You will be very welcim Bill Hayder,
What joy, what tree? I'm so grateful you did this.
Speaker 3 (52:09):
Oh man, this is fun, man, Oh this is a
lot of fun.
Speaker 1 (52:13):
Is there anything you would like to tell people to watch,
look out for, or listen to in the coming times.
Speaker 3 (52:20):
Oh? I liked this movie called You Were Not My Mother.
I enjoyed that it was a horror film from Ireland.
I thought was pretty good.
Speaker 1 (52:27):
This is very generous of you, but I'm talking about
your right stuff.
Speaker 3 (52:30):
Oh oh oh oh oh, well Berry, that's the only
thing I work on. Yeah, watch Berry if you can.
My whole life right now is doing that show. But yeah,
you should see You and Have a Mother is a
great film. Yeah, I thought Kay Morgan the director's name,
(52:50):
did a great job.
Speaker 1 (52:51):
So you and my Mother and then three seasons of
Berry is what you would recommend. Yeah, Bill Hayden, thank
you for your time and for your excellent work.
Speaker 3 (53:00):
Thank you.
Speaker 1 (53:01):
Good day to you. I hope you have a wonderful debt,
good night and good day.
Speaker 2 (53:13):
So that was a rewind classic with Bill Hayder. Be
sure to check out the Patreon page at patreon dot
com slash Brett Goldstein, where you'll get extra chat and
video of various tiers or otherwise if you fancy leaving
a note on Apple podcasts, that would be lovely too,
But to make it a review of your favorite film
much more fun and more interesting to read for everyone involved.
(53:35):
Thank you so much to Bill for greatness and presence
on the podcast. Thanks to Scrubius, Pip and the Distraction
Pieces Network. Thanks to and this is where Brett thanks
me for editing and producing the podcast, and so I
say it is a pleasure. Thanks to iHeartMedia and Will
Ferrell's Big Money Players Network for hosting it. Thanks to
Adam Richardson for the graphics and Lisa Linen for the photography.
(53:56):
We'll be back next week with another rewind classic. But
that is it for now. Britt and I and all
of us are films to be buried with. I hope
you're all very well in the meantime, have a lovely week,
take some deep breaths, and now more than ever, be
excellent to each other.
Speaker 1 (54:48):
M
Host
Brett Goldstein
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