August 20, 2025 • 49 mins
LOOK OUT! It’s only Films To Be Buried With!
Join your host Brett Goldstein as he talks life, death, love and the universe with the fabulous actor and writer CHARLIE DAY!
If you're even feintly versed in the world of 'It's Always Sunny In Philadelphia', you'll be very well acquainted with the work of Charlie. But in the event that you are not, you must trust that this episode will delight you and fill you with joy, as Charlie is a wonderful time indeed. He and Brett connect straight off, and among other things you'll get to hear about the hearty recommendation that comes directly from Jason Sudeikis (Ted Lasso himself), being an SNL host, working with his heroes by way of the Coens, and the occasional situation where he finds himself forgetting to act. We've all been there. ENJOY - it's a lovely one!
Video and extra audio available on Brett's Patreon!
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THE SECOND BEST NIGHT OF YOUR LIFE
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 el is that any films to be buried with? Hello,
and welcome to films to be buried with. My name
is Brett Goldstein. I'm a comedian, an actor, a writer,
a director, a ficus and I love film. As George
(00:22):
Bernard Shure once said, we don't stop playing because we
grow old. We grow old because we stopped playing, which
is why Steven Spielberg is wrong about Hook. It is
one of his greatest films. Every week I invite a
special guest over. I tell them they've died. Then I
get them to discuss their lives through the films that
meant the most of them. The previous guests include Barry Jenkins,
Kevin Smith, Sharon Stone, and even But this week we
(00:43):
have the brilliant actor, writer, producer, comedian and director mister
Charlie Day. My comedy special, The Second Best Night of
Your Life is streaming now on HBO, Max and Sky.
Give it a watch, you'll very much enjoy it. My
new film All of You is coming out September twenty sixth.
I believe that trailer is dropping this week, so keep
your eyes out for that. Head over to the Patreon
(01:04):
at Patreon dot com. Forward slashret Goldsteing, where you get
next to twenty minutes with Charlie. We talk secrets, we
get beginnings and endings, we talk about all kinds of stuff.
You also get it ad free and as a video.
Check it out over at patreon dot com. Forward slash
Brett Goldstein. So Charlie Day. You might remember him from
It's Always Sunny in Philadelphia. You might remember him from
Marble Bosses. You might remember him from his directorial debut
(01:26):
Fool's Paradise. He's in the new film Honey Don't, which
is in cinemas this Friday, August twenty second. Check it out.
We recorded this on Zoom the other day and we
had a ride old time. I love Charlie Day, and
I think you're very much going to enjoy this one.
Thank you all for listening. That's it for now. I
very much hope you enjoy episode three hundred and sixty
four of Films to be Buried With. Hello, and welcome
(01:59):
to Films to be Buried With. It is I Brett Goldstein,
and I am joined today by an actor, a comedian,
a writer, an improvisor, a producer, a director, a legend,
a animation always study in Philadelphia, A Horrible Bosses, A
(02:23):
fight fist fight, A amateur practologist. He's an amateur proctologist.
I can't believe he's here. I've wanted to have him
here for so long. He's finally here. Can you believe it?
Speaker 2 (02:36):
It's really here? But I have a look.
Speaker 1 (02:37):
Please welcome to the show. It's the brilliant. It's Charlie Day.
Speaker 3 (02:41):
Than happy to be here. So I need to talk
about movies that I love.
Speaker 2 (02:44):
At a door, love me to see Charlie Day.
Speaker 1 (02:46):
Yesterday I was with Jason Cudakiss and I told him
that I was doing this with you today, and he
was so nice about you. He was so excited that
we were doing this, and he said that you're one
of the best men and that he has great, great
love for you.
Speaker 2 (03:02):
An he thinks that your absolutely.
Speaker 3 (03:04):
That love is a two way road.
Speaker 4 (03:05):
And you know, Jason and I were in a movie
called Going the Distance together and it was both of
our first studio films, and then I've worked with him
in almost everything that I've had any sort of control
over since. So I think we worked together six times
or something like that. But yeah, I just I adore him.
Speaker 1 (03:24):
And he's really funny in your film, the film you directed,
He's really funny in it.
Speaker 3 (03:27):
Oh, thank you. Yeah.
Speaker 4 (03:28):
And yet somehow I don't think I've been on you guys' show,
so I don't know.
Speaker 3 (03:33):
It's not so.
Speaker 2 (03:35):
H it does seem something's amiss.
Speaker 4 (03:40):
I do think Jason was very helpful in getting me
on on sn AL And I remember when I hosted.
We were in Australia promoting the first Horrible Bosses movie,
and I guess he got an email or something and
he turned to me and he showed me and it
was an email from Louren and it was saying Lauren
asking Jason, do you think Charlie would be a good host?
Speaker 3 (03:58):
And I almost like threw up, you know, just out
of the you know what, what do you think? Would
you want to do it?
Speaker 4 (04:07):
And my wife was with me at the time, and
I hesitated for a second and she was like, of
course he'd wanted to do it.
Speaker 3 (04:12):
Was like, yes, yes, I want to do it.
Speaker 1 (04:14):
But he sent me last night the sketch you did
where you're a police detective in an apartment that looks
like Seinfeld's apartment, and he said it's one of his favorites. Yeah,
one of his time favorite sketch is the John Kelly right,
you know.
Speaker 4 (04:27):
It's funny, and I think he was telling me they
had a hard time getting that on the on the show.
And when we did it, we were rehearsing it in
his uh dressing room, a redit room, and I was
playing his part and he was playing my part, and
I suggested to him, I said, I said, you know, Jason,
I think it's really.
Speaker 3 (04:44):
Funny when you react to something ridiculous.
Speaker 4 (04:48):
I say, you know that dynamic works really well, so
let's try flopping it. And then we flopped it and
it felt the grade of the table read and then
it was on the It was on the chopping black
at the end of the show and Lauren asked me,
there was I think two sketches off. He said, do
you want to do the pre taped sketch that we
did or do you want to do the one with Sadaikas.
I said, please, let's do the one with Sadaikas. And
(05:09):
so just barely made the show.
Speaker 2 (05:12):
Wow, you've only done it once, have you? I said it.
Speaker 4 (05:14):
Yeah, I hosted once and then one time I did
a cameo and a skit that Jason had written called
Maine Justice where everyone is a trial.
Speaker 3 (05:24):
In Maine, but everyone has a Louisiana accident.
Speaker 2 (05:29):
Did you love doing it? Was it terrifying?
Speaker 4 (05:31):
I loved doing it. You know, it was, of course
a little terrifying. But I really kind of trained my
brain like an athlete going into a you know, a
championship match or something that I said, uh, I'm really
going to prepare, and you know, I rehearsed the hell
out of the sketches even before we did the table reads.
Speaker 3 (05:50):
I asked Paula pell if I could get all.
Speaker 4 (05:52):
The sketches ahead of time, and I locked myself in
a room and I read everyone's sketch even before we
read it, because I wanted to give everything the don't
want to cold read anything, you know. And then you know,
it's a big party over there at SNL two, but
I didn't. I didn't like, have a single beer until
after we did the show. I was like, I just
want to be in tip top shape and sharp as
(06:13):
could be. But then as soon as it happens, you're
shot out of the cannon, and.
Speaker 3 (06:17):
I felt great.
Speaker 4 (06:18):
I was a piece of me was like, oh, I
should have tried to have been on this show years
ago because it was just felt so comfortable.
Speaker 3 (06:24):
But I'm happy with the path they took.
Speaker 1 (06:26):
The other thing I want to ask you is I
had your friend Glenn Howardton on here are you doing? Yeah,
I did, and I asked him this question, and he
also spoke very very highly of you, and I asked
him the same person I'm going to ask you, which
is you've done it's always done in Philadelphia for fifty
nine years now? And did you find like where the
(06:47):
phases where you were like, I've had enough of this?
Speaker 2 (06:50):
We frustrated? Did you?
Speaker 1 (06:53):
I can imagine it being a thing that you sometimes
got sick of and then missed and then now love
with all your heart. I don't don't let me.
Speaker 4 (07:01):
You're right, it's all things right.
Speaker 3 (07:06):
Certainly. The active doing of the show is great.
Speaker 4 (07:09):
And I think once we all have the scripts done
and we're on set, I don't think there's anyone of
us that has not thoroughly enjoyed being on set and
making each other laugh and doing the bigger head trips.
Are feeling as though, oh have we oversteen or welcome?
Speaker 3 (07:25):
And should we still be doing this?
Speaker 4 (07:27):
I know, certainly for me, you know, getting my foot
in the door of big budget studio comedy movies. It
was a little bit of like a balancing act of like, well,
am I supposed to walk away.
Speaker 3 (07:39):
From this now and only do movies?
Speaker 4 (07:41):
But I don't want to walk away from it because
I love it and it also keeps me in town
and my son, who's thirteen. Now we have a great relationship.
I'm just not a guy who's always been on the
road and then those big comedy movies start to go
away anyway, So I'm glad that we kind of kept
Sunny alive.
Speaker 3 (07:58):
But I think even.
Speaker 4 (07:59):
Without that, the only thing that ever makes me hesitate
doing the show is the feeling as though we can't
do it as well as we used to. Right, That's
the one thing where I'm like, well, if I'm trying
to throw a fastball and it comes in at fifty
miles an hour, maybe it's time to, you know, go
somewhere else and become a knuckleball pitcher. But this most
(08:20):
recent season, season seventeen, I feel like, is one of
the best to be done in ages.
Speaker 3 (08:24):
So yeah, right when we think we might be slipping, we.
Speaker 4 (08:27):
Get a boost of creative energy and then it reaps itself.
Speaker 2 (08:31):
I mean I love it.
Speaker 4 (08:33):
At the end of every season, I'm like, I don't
want to do anymore right right, And then I, you know,
take a little time off and I go do another project,
and then I miss it and I get excited to
do it again.
Speaker 2 (08:43):
I think it's I don't know.
Speaker 1 (08:45):
I think that part of the appeal for fans and
everything is that it's really it's really aspirational. Not you
as characters, because obviously you're awful, but you as friends
doing this thing forever is really like you want that.
I want that, like people want to believe that that
is a real thing, you know what I mean, that
(09:05):
it can last that long and still be fun.
Speaker 2 (09:08):
And I think it's kind of beautiful. In theory.
Speaker 4 (09:11):
It mostly is, to be honest, it mostly is, you know,
like like anything else, there's obviously the pressures and concerns
and forces of nature pulling us in different directions.
Speaker 3 (09:21):
But but then when we do.
Speaker 4 (09:22):
Come together and make it happen, and not just me,
Rob and Glenn, you know, this last year we had
Dave and John Churnan back in the writer's room, and
Rob Roselle and David Hornsby has been with us the
whole time, and that group of people feels like a
little bit of a band, and so's.
Speaker 3 (09:38):
It really is this family where we get it together.
Speaker 4 (09:40):
And we said, oh wow, there's a there's a chemistry here,
which is you know, it doesn't happen every time.
Speaker 1 (09:45):
That's very so nice, osa Glen said, he said that
you were and I don't know how you'll feel about this.
He was basically like, you were the kind of breakout
early on. He was like, it was obvious that Charlie
was the star, was the big star. And I I
asked him, I was was that difficult for you if
that's how you felt like and he was like, not really,
(10:05):
because I just love it. I was just happy for him,
And I wonder if you felt that or if in
your head everyone else was the stuff.
Speaker 4 (10:13):
Well, to their credit, they never made me feel that way.
I never got a sense from them that they were
mad or jealous that I was getting some of these opportunities.
Speaker 3 (10:24):
And I think there's some truth to that.
Speaker 4 (10:26):
You know, I think I got some good breaks in
the beginning, but you know, in terms of on the show,
no one ever felt like the star of the show.
And you know, I always really love what Glenn was doing,
and so much so that I often neglect myself in
the writer's room, or certainly have, I think the last decade,
and focus so much on Clinton's character or Danny's character
(10:49):
because I just.
Speaker 3 (10:50):
Love what they do.
Speaker 4 (10:51):
But no, fortunately, the ecosystem of the show has stayed
pretty healthy, and no one has ever pulled away so
much so that we can't continue to exist.
Speaker 2 (11:00):
Have it.
Speaker 1 (11:00):
Now? You've just done a film called Honey Done. I
should be honest with you. I've watched half of it
only because I ran out because I thought I had
another hour and I didn't.
Speaker 2 (11:12):
I will be watching the other half of it after
this podcast. I'm enjoying it very much.
Speaker 3 (11:17):
Yeah, I would encourage you to finish it.
Speaker 2 (11:19):
Yeah. And you're really funny and great in it. Oh,
thank you.
Speaker 1 (11:22):
And it's really like I like how it's shot so
much as well. It's a really cool looking film. Yeah,
it's really stylish. I really like the I mean, this
is a weird company. I love the opening creditszing.
Speaker 3 (11:35):
Yeah, yeah really yeah.
Speaker 4 (11:37):
I didn't know what they were going to do with that,
so I didn't. I saw screening of it kind of
early on, and I was pleasantly surprised by those opening credits,
But yeah, you know, this was for me a dream
to get to work with Ethan and Trish too, you
know who is credited on a lot of the Coen
Brothers movies, And when you get to set, there's a
(11:59):
handful of people that have been with them from early
early on, so you're really sort of tapping into that engine.
And for me, as a person who spent a lot
of time behind the camera as well, I was really
interested in scooping up whatever knowledge I could because to me,
Joel and Nathan are the high water mark of filmmaking.
(12:20):
There's just so many of their films that I've seen
multiple times. There's very few misses considering how many they've made,
and there's a handful of them that you know, are
considered all time greats, just all time greats.
Speaker 3 (12:36):
So they're absolute.
Speaker 4 (12:38):
Heroes of mine, so much so that not only have
I seen all the movies, I've watched every interview they've
ever given. I have scoured the Internet and I would
spend days just on YouTube when I had spare time,
just watching those guys give interviews. I find them hilarious, both,
you know, in their writing and just in the way
they answer questions. One of the great joys of this
(13:01):
whole experience for me has been getting to spend the
time with Ethan, or even just to make Ethan laugh
and be like, well, I it feels so nice to
pay forward something that I've gotten so much from so
much from him as a filmmaker. So for me, this
has been really just a dream just to be to
plug in it all into their universe.
Speaker 1 (13:20):
Yeah, what's he like with you? As an exit? What's
he how does he direct access?
Speaker 3 (13:26):
Well?
Speaker 4 (13:27):
That was another interesting thing. So I was looking for
like the sort of magic trick, right, like, well, what
is the magic trick that they do?
Speaker 3 (13:34):
But then you get the set and you're like, oh,
it's the same exact thing we're doing.
Speaker 4 (13:37):
They sit the camera up here and then they shoot
the scene, and then they turn around to the other side.
They shoot the other side of the scene, you know,
and maybe this one take here is all in a
one shot. But like I will say, it was more
more specific than certainly what we do in Sunny right
and what I've done in some other movies, where I
think down to the ums and the ands and the
oz you're hitting the musicality of their writing, and I
(14:01):
think that can be a trap for people because you
you can lose the humanity in that, I think, but
I you know, I started in the theater and that
is what you do in plays, and so for me
it was it was nice tapping back into that and saying, oh, right, right,
I just have to find the truth in these words
exactly as they are right, and I actually fouind. I
find that refreshing when I get a job like that,
(14:24):
because most of them are most of them are like, yeah,
let's say this, but if you have a different way
you want to do it. I think the most I
contributed in terms of something that wasn't on the page
was as simple as one scene where I simply clap
when the character walks in the room. I remember asking Ethan,
and you know, it feels sort of right that Marty
would sort of be applauding this entrance.
Speaker 3 (14:44):
What do you think? And I thought about it, pause,
let's try.
Speaker 4 (14:49):
One, And I was happy it made the movie.
Speaker 3 (14:52):
You know, that's my sole contribution is a clap.
Speaker 1 (14:56):
Well, and then the last thing I want to ask
you then, is how you found I assume you want
to direct tomorrow.
Speaker 3 (15:01):
Oh yeah, I enjoyed it. That's kind well.
Speaker 4 (15:04):
I know.
Speaker 1 (15:04):
So I'm always impressed when anyone directs and they're in it. Oh, sure,
I just don't know how you do it. Well, how
did you find how did you find that experience?
Speaker 3 (15:12):
Well, the experience of the film was hillacious, but.
Speaker 4 (15:17):
Only because I think I had well, I think I
had an overly ambitious movie idea, but I had written
a different movie and then it was a very almost
blazing saddles ish comedy. And then George Floyd died right
when I was trying to sell the movie, and my
timing was sort of historically bad, and then I wound
up having to change a lot of the movie.
Speaker 3 (15:39):
So that was a rough.
Speaker 4 (15:39):
Experience, right, Okay, But in terms of acting in something
that I am somewhat control of what's happening behind the camera,
that's not too different from what we do. And it's
always sunny, you know. I'm sure you're familiar with. When
you're writing and show running a show, you're making a
lot of those decisions. Even if you have a director
that's been in you're still the one who's doing the
(16:02):
final edit, and you're still picking the props, and you're
still saying yes or no to the location.
Speaker 3 (16:07):
So there's a lot of overlapping things.
Speaker 4 (16:10):
But the real childe for me in that movie was
because I was playing a silent character and because I
had this sort of wild idea about a character who
literally has nothing to offer.
Speaker 3 (16:22):
I would sometimes, which I wouldn't recommend anyone.
Speaker 4 (16:26):
I sometimes we forget to act and I would do
a you know, I would just be in there and
i'd be watching Ken or Cage or whoever Adrian do
their thing and making sure they're, you know, I'm getting
what I'm looking for. And then i'd have to remember, oh,
just because you're not saying something doesn't mean you have
to not be doing something.
Speaker 3 (16:45):
And so there were several takes.
Speaker 4 (16:47):
I was like, well, we just can't use that one
because there's just I'm directing in not acting. But if
i'm but you know, if there's dialogue, it's once you
set up the shot, then it's just the same thing
that is always Charlie Day, I've forgotten to tell you something.
Speaker 2 (17:03):
It's it's awful.
Speaker 1 (17:04):
I've forgotten to tell this because I should have said
it earlier. All Right, I'll just jump in, Well you've died,
you're dead.
Speaker 4 (17:13):
Oh, yes, Well I had a good I had a
good run.
Speaker 3 (17:18):
You had a very good I had a good run.
Speaker 2 (17:21):
Thank you. How did you die?
Speaker 3 (17:23):
I'm coffee?
Speaker 4 (17:25):
I think you know, I'd had so much coffee that
I just got I just sort of exploded.
Speaker 3 (17:32):
Uh, you know, I was buzz and buzzing, buzzing, and
then I popped.
Speaker 5 (17:36):
And you got too high on caffeine, too high on caffeine,
and my inside go ahead and my head popped clean off.
It was a good way to go too. It's pretty cool. Yeah,
do you worry about death?
Speaker 4 (17:50):
It's not at the forefront of my thoughts. I don't
go through my life with a gloomy sort of outlook.
But at the same time, I have a healthy respect
for death. So you know, I don't skydive and I
don't scale any buildings, and I don't do I don't
want to.
Speaker 3 (18:09):
Die saying shit, I knew this was a dumb idea.
Speaker 1 (18:12):
You know.
Speaker 3 (18:12):
That's the one way.
Speaker 4 (18:13):
I don't want to go. I mean, I didn't want
to go. The caffeine was the best way to go.
But so, yeah, it's in there. I'm aware of it,
but I don't dwell on it too much. What do
you think happens at AFTDI?
Speaker 3 (18:24):
Well?
Speaker 4 (18:25):
I think the real beauty in getting to live is
that we don't know the answer to that question. I
think that's why movies work. I think that's why music works.
I think that's why no algorithm is able to crack
this nut, as much as they want to try to
do it with an algorithm. It's because a great movie
or a great piece of work touches something that feels
(18:46):
just outside of a tangible thing, and it says it
gets right up to the edge of something we acknowledge
and goes just past it where you say, well, that
made me feel something really familiar, and I don't quite
know how it got to that.
Speaker 3 (18:59):
You know, that song or that movie got so close
to something.
Speaker 4 (19:03):
And that's unfamiliar intangible thing that everyone's striving for when
they make a piece of art is like trying to
answer the question of what happens after we die, And
it's in that intangibility.
Speaker 3 (19:17):
I think that we have beauty in our lives.
Speaker 4 (19:20):
So I don't spend a ton of time worrying about
what's going to happen when I die, because I know
I'll never know. And I think the fact that I
don't know is why this life.
Speaker 3 (19:31):
Is so beautiful.
Speaker 4 (19:31):
I mean if you think if you knew exactly hey, actually,
when you die, you just start over again the same
life with a five percent more knowledge of what happened
last time, then this life just becomes a little bit
less beautiful and less interesting.
Speaker 3 (19:45):
So I don't know. I wish I knew, but I
don't know.
Speaker 1 (19:47):
Charlie, Charlie Day, That's one of the most beautiful answers
I've had to that question. And now I'm scared to
tell you that I do know what happens, and I
don't want it to ruin your.
Speaker 4 (19:56):
Ah, all right, well, what is it?
Speaker 3 (19:59):
What a I guess I do want.
Speaker 2 (20:02):
To know, but I don't want to stop your art.
Speaker 3 (20:04):
I don't want to be like everyone's aren't stopped. At
some point.
Speaker 2 (20:09):
There's a heaven. There's a heaven. You're going huge fans.
Speaker 3 (20:13):
I can't believe I got in.
Speaker 1 (20:15):
Yeah, and it's filled with your favorite thing. What's your
favorite thing?
Speaker 3 (20:19):
Coffee?
Speaker 2 (20:20):
Yeah?
Speaker 1 (20:20):
Well, the thing that killed you, Yeah, is the right
there waiting to greet you. There's coffee beans, mountains of
coffee beans. Everything smells of coffee, toilets everywhere, there's ice coffee.
There's all the coffees you could want. It's beautiful everywhere.
But they alsoy. They also everyone. They're so excited to
(20:41):
see you there, huge fans. They want to talk to
you about your life, but they want to talk about
it through the medium of film.
Speaker 3 (20:46):
Great.
Speaker 2 (20:47):
First thing they ask you, what's the first film you
remember seeing? Charlie Day, I.
Speaker 4 (20:51):
Have a very vague memory of I grew up in
Rhode Island and there was a theater called the Opera House,
which was a nice name for in downtown Newport. I
vaguely remember going and seeing snow White. Seeing the animated
snow White.
Speaker 2 (21:08):
Wow, well you'll much out of the night though.
Speaker 4 (21:11):
Yeah, I sure came out well before my time, so
it must have been like a released Yeah.
Speaker 3 (21:17):
After that.
Speaker 4 (21:18):
If I had to do another sort of core memory
of movie going, it would probably be Et. And We're
sitting in the theater watching Et with with my folks,
And what I remember most is just the room getting
dark and the noise is being loud, and just the
sensations of what it was to be in a theater.
I'll say I have a third early memory, and the
(21:39):
third one was the first time I remember being in
a theater without my parents, And I have an older sister,
and I think she had been allowed to go with
her friends and I've been allowed to tag along.
Speaker 3 (21:49):
And we saw Never Cry Wolf.
Speaker 4 (21:51):
That's a movie about a wolf, and I think like
or like a husky dot maybe like a snow dogs
or something. Those are my first three core like theatrical
movie memories. I have other great ones of like seeing
Three Amigos in the theater, you know, you know movies
that I just adored, But those are the first three ones.
(22:14):
They're like blurry little pieces of memories, you know.
Speaker 1 (22:17):
Yeah, do you remember being like, oh shit, I went
in on this.
Speaker 4 (22:22):
Yeah, I think immediately. Yeah, it must have somehow touched me.
And I spent a good chunk of my life trying
to be a professional baseball player, which in hindsight, I
think I was only doing because I'd seen The Natural.
You know, yeah, I think movies really influenced me.
Speaker 1 (22:41):
What is the film that scared you the most? Do
you like being scared? Charlie Day?
Speaker 3 (22:46):
I do, Yeah, I do. I like it.
Speaker 4 (22:49):
In fact, I once on a plane watched The Shining
on a flight with so much turbulence, and I said,
that's a great way.
Speaker 3 (22:55):
To watch the movie.
Speaker 2 (22:56):
That's good.
Speaker 4 (22:57):
I feel like it's like you're going to drop out
of the sky. Well, there were two movies that really
frightened me. One that I actually saw and one that
I think I only saw commercials for Nightmare on Elm
Street when I was a kid. I think i'd seen
like the commercials for it. There were enough conversations about
this creepy man showing up in your dreams and killing
you that I feel like I couldn't sleep for a
(23:21):
few weeks.
Speaker 3 (23:22):
And I don't think at that time.
Speaker 4 (23:24):
I think I didn't see the movie until it was much,
much older, but I was young when it came out.
Speaker 3 (23:28):
The one that I.
Speaker 4 (23:29):
Saw that messed me up for a while when I
first saw it was Silence of the Lamps.
Speaker 3 (23:34):
Silence of the Lamp.
Speaker 4 (23:35):
Yeah, and not so much the movie, but just the
depiction of Buffalo Bill and how he kept a woman
in a pit, and I'd never seen anything like that, Like, wait,
we're keeping people in pits? Like what is this? We
want to wear people's skin?
Speaker 2 (23:49):
We're keeping people in pits? Now?
Speaker 3 (23:52):
Could that happen to me? I can? Oh, man, this
is New Fear Unlocked, you know.
Speaker 2 (24:01):
Do you know this?
Speaker 1 (24:02):
I'm fucking obsessed with this the guy that played Buffalo
Bill ended up dating the woman in the pit.
Speaker 3 (24:10):
That is that's mad dark.
Speaker 1 (24:15):
I mean they're hanging out and set I guess they're
falling in love.
Speaker 2 (24:19):
Is hanging around.
Speaker 4 (24:21):
He gives her a lotion as a gift for.
Speaker 2 (24:25):
Every every Valentine's.
Speaker 3 (24:28):
Basketball of lotion.
Speaker 2 (24:30):
How you tell us how you two met?
Speaker 3 (24:34):
Story?
Speaker 1 (24:39):
What is What is the film that made you cry
the most? Are you a crier?
Speaker 4 (24:44):
Oh? Yeah, I'm such a crier and I'm more of
a crier now than ever before.
Speaker 3 (24:50):
Do you have kids?
Speaker 2 (24:51):
I don't. Is that why you're a crying Yeah?
Speaker 4 (24:54):
I think that something changing me and and I'm so soft,
especially with any story is about like children.
Speaker 3 (25:01):
But well, uh, this one I'm sure comes up a
lot for you. But Tokyo story, it does not come
up enough.
Speaker 2 (25:09):
Ready, that's a great one.
Speaker 4 (25:12):
Just rip me to shreds. Just the sort of the
family and just the you know, coming back and seeing
the parents and how the kids don't really have time
for the parents. And there's so much tragedy in something
that feels so real, you know, Yeah, such a such
a real sort of look at life in the way
our patterns play out, and you raise these kids and
(25:33):
they go off and they come back, but they kind
of come back. That one just wrecks me every time
I see it. And then I was just coming back
from New York promoting Honey Don't and I was watching
some movies and I rewatched Field of Dreams, which I
get it, it didn't make me cry a lot when
it first came out, but it was killing me the
(25:53):
whole time, and not even just like the father son moments,
but like even just James Earld Jones's speeches, like where
he's saying people will comray, you know, And I was like,
I know this movie so well, and it's so over
the top, sort of romantic in terms of like talk
about like trying to put your finger on a pulse
of why you know what happens after you die and
(26:15):
not knowing yeah, and then not knowing of it is
what's so interesting about that scene and he's they've chosen
him to go out in the cornfield, and oh my god,
it was crushing me. I was like, just well, I
was really fighting back my tears on that one because
I didn't want to be seen as just blubbering in
my airplane seat.
Speaker 2 (26:32):
That's a fucking kid. Yeah, gond me good.
Speaker 1 (26:35):
I've got a center a thing about Field of Dreams
that the director chose Kevin Costner for it because I
think it was Tom Hanks originally was who was being
offered or discussed by the studio. And he was like,
but I think Tom Hanks would believe there are voices
in the in the cornfield. Like, it's not a surprise
that Tom Hanks gets voices in the confield. You know,
(26:57):
he's a sentimental guy. He goes, Kevin Costner is not
going to believe there are voices in the cornfield. And
that's why I want Kevin smart.
Speaker 3 (27:05):
That is smart.
Speaker 4 (27:06):
Although I will say watching it, you know, with my
writer's hat on a little bit, I was like, oh,
they get right into it. I mean there's a little
bit of a cold open where he's describing his father's
desire to play baseball, and then his relationship is dad,
and then the.
Speaker 3 (27:22):
Next scene he's in the cornfield, here's a voice. You're like, oh,
here we go.
Speaker 2 (27:27):
Yeah.
Speaker 3 (27:29):
Yeah.
Speaker 4 (27:30):
And that's even funnier too about them not thinking that
because there's only one scene of him not buying it.
Speaker 3 (27:35):
He pretty much buys it pretty quickly.
Speaker 4 (27:39):
I'm sure Tom Mans would have also been great, but
it's it's a good Kevin Costner performance.
Speaker 3 (27:44):
He's really great in it.
Speaker 2 (27:45):
Yeah, he's great. What is the film you love?
Speaker 1 (27:50):
It is not critically acclaimed, but you love it unconditionally.
Speaker 4 (27:54):
Well, that's a funny one. I'm trying to think about that.
Where because I don't know what's critically acclaimed and not.
Speaker 3 (28:01):
You know, I don't.
Speaker 1 (28:02):
Doesn't mean necessarily generally you get the impression people don't
like this film.
Speaker 3 (28:06):
Yeah, I I only know it when I'm involved with it.
Speaker 4 (28:10):
But like I don't like you know, which I try
to remember where I'm like, people don't remember. I mean, okay,
uh pee Wee's Big Adventure. That's probably not considered at
all time great movie, is it?
Speaker 3 (28:21):
Because I think that movie is thin?
Speaker 4 (28:22):
It is?
Speaker 3 (28:23):
Oh is it?
Speaker 1 (28:23):
Well that's one thing, but you can have it. But
it doesn't really answer to that question because I think
it's considered the classic.
Speaker 3 (28:29):
Tommy Boys Tommy Boy.
Speaker 2 (28:31):
Yeah, I'll give you Tommy Boy.
Speaker 1 (28:32):
I think nowadays people love but they didn't love it
when it came out at the Craigs.
Speaker 2 (28:36):
Tommy Boy is a great one.
Speaker 4 (28:38):
Yeah, Tommy Boy's a great one. Yeah, stuff, I don't
know what's a flopping.
Speaker 2 (28:43):
What's not You can have Tommy boy.
Speaker 4 (28:45):
But yeah, I mean, I yeah, it's usually comedies, right
that people are a little bit tougher critically on comedies always.
Speaker 2 (28:52):
Why is it?
Speaker 3 (28:53):
Well, there's a.
Speaker 4 (28:53):
Lack of seriousness that a comedy requires, and uh, you know,
I think the act of analyzing and critiquing films is
a sort of inherently self serious thing, right, so they
just maybe they did Those two things clash a little bit. Also,
I think comedy is not as universal. You know, what's
(29:16):
funny to someone is not necessarily always funny to someone else.
Speaker 1 (29:20):
That's true, But then I get mad about it. I
saw The Naked Gun the other day, which I really
really enjoyed, and I laughed so much to me too,
And I've read lots of good reviews of it, and
I'm happy and I'm glad it's doing very well. But
then there's a critic that I like respect, and he
gave it a terrible review and was really like, I
didn't laugh once, and I thought, yeah, you don't have
a sense of humor, so you shouldn't be reviewing this
(29:42):
film like you're wrong, You're actually wrong. He kept saying
it's not funny, it's not funny. I'm like, it is funny.
It's really really funny.
Speaker 3 (29:49):
Did you ever read the article.
Speaker 4 (29:50):
There was a great article about the people who reviewed
The Big Lebowski. That was a movie that didn't open
well and didn't wasn't reviewed all that well.
Speaker 3 (29:56):
And then they went back and they asked.
Speaker 4 (30:00):
All those critics again, and almost all, I say ninety
percent of them were like, you know what, I was wrong.
I didn't sort of get it at the time, and
you know, it's these things that I wasn't understanding. In hindsight,
I think are great. But there was like one critic
or maybe two that were like, no, I was right,
it's not a good film where you're like, some.
Speaker 3 (30:17):
People are just dug in. You know, what are you
gonna do? What are you gonna do? You can't please everybody.
Speaker 1 (30:23):
Well, on the other end of this count, what is
the film that you used to love that you've watched
recently and you thought, oh, I did not like this anymore.
Speaker 2 (30:29):
Perhaps you've changed.
Speaker 3 (30:31):
This is a funny one. So I had a friend over.
Speaker 4 (30:34):
He was staying with me, and he loves movies, and
we were talking about Kubrick and we were talking about
Eyes White Shut, and he said, oh, I've never seen it.
Speaker 3 (30:44):
I was like, oh, we should, we should watch it. Well,
I was watching.
Speaker 4 (30:48):
It again having not seen it in years, and the
whole sequence where Tom Cruise goes to the sex palace.
Speaker 2 (30:56):
You know, yeah, it's great.
Speaker 4 (30:57):
It's only about sixteen maybe twenty minutes of the film
tops of a like.
Speaker 3 (31:02):
Three hour movie.
Speaker 2 (31:03):
Yeah.
Speaker 3 (31:04):
All the other stuff to.
Speaker 4 (31:05):
Me was upon watching it again, was not holding up
at all, even his entire motivation for his story.
Speaker 3 (31:12):
I was like, wait, wait, wait.
Speaker 4 (31:13):
His wife said that she was somewhere once and she
was attracted to a guy and she thought about sleeping
with him, and that's like, yeah, not even like actively thought,
not like she was gonna like she said she had
a fantasy about another guy, and it throws him into
such a rage that he goes. He's like, well, I'm
gonna go sleep with prostitutes.
Speaker 3 (31:31):
And yeah, it was funny.
Speaker 4 (31:33):
I was like, well, the stakes of this don't hold
up to me now maybe as an adult.
Speaker 2 (31:39):
It's such a fucking weird film.
Speaker 1 (31:41):
I don't like Icewead Shut, and I think it's an
interesting Tom Cruise, who I love.
Speaker 2 (31:46):
What is interesting?
Speaker 1 (31:47):
I think I talked about this when Jason was on
the podcast, but he did Magnolia right after eyeswead Shut,
which is very interesting because I weet shut. It's three
hours of Tom Cruise being emasculated. It's three hours of
him not getting laid, of him being sort of cuckouded,
and yeah, you know what I mean, Like, it's it's
him being not a hero for three hours, not a man.
(32:08):
He's being very sort of undermined and caustrated all the
way through the film in a really like he's a
dickhead in the film, and he's constantly he can't even
get he can't even get laid in all of New
York City. That's kind of three hours of him failing
to have sex. And then he made Magdoli where he's
like the ultimate chavinist. Fucking yeah. Well, I think he
(32:29):
was like, I need to balance this out.
Speaker 3 (32:31):
I don't you know.
Speaker 4 (32:33):
I don't think that's what bothers me about it, that
he's not being the hero or whatever. And I think
his performance is great in both movies. Yeah, I think
all the act is great. It's more like what those
scenes are, you know, Like there's the Russian guy that
he needs to buy the costume with and then the
the daughter and then she's sleeping with like these two
(32:54):
like older like businessman or something, the odd sequence.
Speaker 3 (32:57):
And yeah, so yeah, yeah, that.
Speaker 4 (33:00):
Was a really interesting one where just and just the
I don't know if this was intentional or not, but
like the city doesn't feel real, So yeah, why why
do that?
Speaker 1 (33:12):
It's an odd one. It's really odd, but good luck
to film. It's very specific. I mean when I said
I don't like it, I admire it, and I don't
object to anyone thinking it's good.
Speaker 4 (33:22):
Yeah, I don't even know that I don't like it
so much as to the question, like it doesn't hold
up as much as the first time I saw it.
First time I saw it, I think I was like, Wow,
that's crazy, And the second time I thought, I was like,
that's not that crazy.
Speaker 3 (33:35):
It's like just.
Speaker 1 (33:37):
Clunky. What is the film that means the most to you?
Not necessarily the film itself is good, but the experience
you had around seeing the film will always make it
important to you.
Speaker 3 (33:49):
Charlie Day, Well, that for me was The Deer Hunter.
Speaker 4 (33:53):
When I saw The Deer Hunter, I think I was
in college and I was starting to get a little
bit serious about wanting to be an actor. And I
saw The Deer Hunter, and the performances that I saw
in The Deer Hunter changed me and changed my opinion
on acting and as a craft and filmmaking. And I
was so blown away by some of the performances and
(34:17):
some of the filmmaking that you know, I think I
grew up like most kids grow up watching Jaws and
Ghostbusters or you know, a funny movie or big blockbusters,
And yeah, I'd been exposed to some smaller movies early on,
but like, I think that was the first time that
(34:38):
I was like, oh my gosh, the craft of acting
in the movie can go so far, you can do
so much.
Speaker 3 (34:45):
And it was just inspirational in a way where it was.
Speaker 4 (34:46):
Like, oh, it's funny too, because I really didn't wind
up doing those kind of movies at all, but like
it certainly was a good motivator to be like, oh,
go take this really seriously and get really into it
and get as good as you can get, and maybe
one day you'll make something that you know, uh, we'll
touch someone as much as that touched me when I
(35:07):
first saw it.
Speaker 3 (35:08):
Yeah, just it rocked me. It really did. It really did.
I think Christopher Walking in that.
Speaker 4 (35:14):
Movie just blew me away, and John Savage is his name,
DeNiro of course, and Jonathan Gazzal was amazing and everything
he ever did.
Speaker 3 (35:23):
That and well, you know, I saw that end Dog Day.
Speaker 4 (35:26):
Afternoon around the same time, and both those movies, both
of those movies, two great Jonathanannzell performances, just really kind
of threw me in terms of like, Okay, Wow, there's
some good acting out here that can be achieved, and
let's try to go get that.
Speaker 1 (35:40):
What's your favorite film that you've done, that you've been in.
What's your favorite your films?
Speaker 3 (35:47):
Oh, that's a good question.
Speaker 4 (35:50):
Well, I really loved getting to be in Pacific Rim
and getting to work with Camera Delturo.
Speaker 3 (35:56):
Oh yeah, that was huge and a great experience.
Speaker 4 (36:00):
And there was a real magic to that first Horrible
Bosses film where it just was so fun and funny
and we had the sense that it was working while
we were making it. But I did a small little
rom com too, Jenny Slake called I Want You Back
that was on Amazon, also a great experience. So I've
had a handful of like ones that I'm really happy
(36:20):
with the experience of making it and how they turned
out like that.
Speaker 2 (36:24):
What's the film you most relate to? Charlie Day?
Speaker 4 (36:29):
So many of them, there's so many of them, you know,
probably going back to the Coin Brothers, there's probably The
Big Lebowski.
Speaker 3 (36:35):
You know, there's I think.
Speaker 4 (36:36):
Because of the two things, an idiosyncratic sense of humor,
which I was like, oh great, we can. We can
make comedy however we want. It doesn't have to be
the sort of commercial, squeaky clean version of comedy, like
you can lean in or have to watch something two
or three times to get the jokes.
Speaker 2 (36:55):
Yeah, I love.
Speaker 4 (36:57):
That, and you can really kind of see when you
watch it's always sonny how much it's influenced by sort
of that style of comedy. But then in addition to
that that it also can feel like high art where
the cinematography is extraordinary and you know it's based on
a like a Raymond Chandler novel, and so that movie
(37:18):
is it speaks to a lot of people. My wife too,
Merly was saying the other day how she might feel
like it's her favorite movie as well.
Speaker 3 (37:24):
Maybe that's why we're married. But like, just that movie
really it touched.
Speaker 4 (37:29):
A nerve for me and and more so the more
times I watched it, it did nice.
Speaker 1 (37:34):
Can I ask you a question, Per's no question. You
don't have to answer that. Sure, you and you and
your wife Mary Elizabeth. Were you together before you met
always Sonny? Or did you meet on away Sonny?
Speaker 4 (37:44):
No, we were together before. Yeah, I met her in
New York.
Speaker 2 (37:49):
It wasn't a Buffalo bill situation.
Speaker 3 (37:51):
Nah, I did a Buffalo biller that would have been good.
Speaker 2 (37:59):
That's kay. Yeah, that's a good one today.
Speaker 3 (38:02):
Thank you, boring old just regular meeting at the bar.
Speaker 2 (38:05):
When did you meet her?
Speaker 3 (38:06):
December two thousand and one.
Speaker 4 (38:08):
Wow, we started making a show in our apartments in
two thousand and four. We sold it in two thousand
and five. So, well, you've been together forever. Yeah, I've
been together forever a long time. The most successful relationship
early with discuss I mean.
Speaker 3 (38:24):
It's pretty good. Yeah, I mean we're hanging on, but
you know, it takes work like anything else.
Speaker 4 (38:30):
She's but she hasn't left me yet, so but she's
allowed to be.
Speaker 3 (38:37):
You know, I don't want her to have I don't.
Speaker 2 (38:39):
Let it go, you really know, Buffalo villain.
Speaker 4 (38:41):
No, I don't want her to have to live up
to the most successful relationship at Hollywood.
Speaker 3 (38:45):
That's too much pressure. She's take off.
Speaker 4 (38:48):
You know, I can find someone else to put the
lotion in the basket.
Speaker 1 (38:54):
What is speaking of lending basket? What's the sexiest film?
Speaker 2 (38:59):
Event?
Speaker 3 (39:02):
Oh? Man, the sexiest one I've ever seen. There's a
lot of them, you know what this is?
Speaker 4 (39:08):
Well, maybe because I was like a teenager and going
through puberty, but total recall used to always get me.
There was like a fight scene with Sharon Stone and.
Speaker 2 (39:17):
She was very peaceful in it.
Speaker 3 (39:20):
Yeah, so hot and that like that movie got me
pretty good.
Speaker 1 (39:23):
I did also have to bring this up. When Glenn
Howardson was on this show, he told me that he
didn't have an answer to sexiest film. He said he
didn't find film sexy as the maddest answer I've ever heard. Well,
I don't believe him to this day.
Speaker 2 (39:37):
No.
Speaker 4 (39:38):
I mean, Glenn is so crazy that makes you would
get a crazy answer like that.
Speaker 3 (39:43):
Yeah, that's he said.
Speaker 2 (39:44):
I don't get understand the question. I'm like, what do
we do? Nothing?
Speaker 4 (39:48):
He didn't find any movie sexy? I find like, said,
no movie is sexy. Oh my god, they're also sexy,
so many of them? Right, Yeah, Well, I guess that's
not his kink. Well, I don't know what he's into it.
Guess I don't know what he's into it.
Speaker 2 (40:02):
Not movies?
Speaker 4 (40:04):
Yeah, does he find t TV? Sexy books, anything TV?
It's all over commercials, commercials, love, love options, subways and stuff.
Speaker 1 (40:16):
There's a sub category traveling by this, worrying why ones
a film you found arousing you weren't sure you should
what you got there?
Speaker 4 (40:23):
Well, probably Boogie Knights, right, Like Boogie Nights was so sexy,
but also like their lives are horrible and so like
you're like, maybe I'm not supposed to be enjoying.
Speaker 3 (40:32):
This, Like it's you know, it's.
Speaker 4 (40:35):
The sex that they're having is like, you know, their
lives are falling apart constantly. So that was that was
one that I found super sexy watching it. But also
it was like, is it okay?
Speaker 2 (40:49):
Love it is?
Speaker 3 (40:50):
Yeah?
Speaker 2 (40:50):
That's a good one. Yeah, a really good answer.
Speaker 1 (40:53):
What about what is objectively the greatest film of all time?
Might not be your favorite, but it's the pinnacle of cinema.
Speaker 3 (41:01):
Wow, God, that's that's such a hard one. I'm sure
everyone struggles with this.
Speaker 2 (41:06):
No, everyone says to go father, and it annoys me.
Speaker 4 (41:08):
Yeah, and The Godfather is great, but well, do you
ever get four hundred Blows the True Fau movie?
Speaker 2 (41:14):
No, thank you, Johnny Day. I do know, I would
love to.
Speaker 4 (41:18):
That movie is extraordinary because you know, have you seen it?
Speaker 3 (41:22):
Yeah?
Speaker 1 (41:23):
Yeah, so fast frame phrase fright fright, frisee frem.
Speaker 3 (41:27):
Freese fraam Yeah yeah. Is it the first one ever?
N that's great edity, that's an iconic one, that's for sure.
Speaker 4 (41:33):
But you know, I think about that movie a lot
because it feels so alive and real and I don't
know how I'm not watching a documentary. I'm like, how
did how did you get these classroom scenes and these
kids and these scenes on the street to feel like
you were actually capturing this kid's life? And then and
then what the movie is, how it's you know, not
(41:56):
typical narrative plotting like like a Hitchcock film or something.
Really are just watching this boy live. So then you're like, well, again,
going back to that thing of like I don't exactly
know what the magic trick is here, but it feels
familiar to something that's familiar in my life.
Speaker 3 (42:12):
And I'm not a little.
Speaker 4 (42:13):
Boy in France in the fifties, so like, you know,
but that movie is extraordinary. I think that one needs
to be saved and remembered.
Speaker 2 (42:23):
Great. Un So you're gonna get ten points for that.
Speaker 3 (42:25):
Oh good.
Speaker 1 (42:26):
What's the film you could or have? What's the mice
Ivan Ivory again?
Speaker 4 (42:30):
Oh well, there's a lot of them. Well, you know,
I'll just throw out I just love Fargo. I can
watch Fargo so many times. I never get tired of Fargo.
Speaker 2 (42:42):
You really didn't like the Cummins, you didn't lie?
Speaker 4 (42:44):
I love the co I love them so much. I
mean that movie is so funny. But also, you know,
just Attorney Thrially, the cinematography is great.
Speaker 3 (42:54):
I know every line. I love Fargo. Go watch it forever.
Speaker 1 (42:58):
I'm so happy you go to it. Of Ethan, then
that's fantastic.
Speaker 4 (43:01):
Oh yeah, thanks, No, that's what it is for me.
It's like those guys are absolute heroes.
Speaker 2 (43:06):
Yeah.
Speaker 1 (43:07):
What is the West film You've ever seen? Charlie Day
to be negative?
Speaker 4 (43:13):
Oh well, that's easy because I'm in it. Rob mclanny
and I both actually were a Rob mac changed his
name and I were both in a movie. Although Rob
mack wasn't in the movie, Rob mclanny was in the
movie and the movie it was called Campfire Stories. It
was like a like a horror movie, and it was
(43:35):
so bad that it wasn't even fun bad, you know,
like like sometimes like something's fun bad. It was so
hard to watch, unenjoyable, and it was such a letdown,
probably because it was one of our first things for
both of us. And you know, it's the kind of
thing that like your listener might say, oh, that's fun
I'm gonna go look that up, but like it's not
(43:55):
even it's not even fun, it's not even fun bad.
Speaker 1 (43:59):
It's that you're in comedy, you're very funny. What's the
film that made you love the most, mister Charlie.
Speaker 4 (44:05):
Day Oh, easily, Waiting for Goffman, Ah, Waiting for Government
was extraordinary, just top to bottom funny, and every line
and every performance funny, and what's happening in the movie funny,
and how the movie resolves and ends funny, like great.
And I remember I was actually I was in college
(44:27):
and there was no theater program, but there's one theater
teacher who taught theater one and two, which I had exhausted.
Speaker 3 (44:35):
I think my freshman or sophomore year just burned right
through them.
Speaker 4 (44:39):
But I would hang out with him a lot, and
he was very encouraging to me, which was great.
Speaker 3 (44:44):
And he told me about that movie.
Speaker 4 (44:45):
He said it was a movie it came out about
a year ago called Waiting for Guffman and you should
go rent it. And really, I think it's a comedic
high water mark.
Speaker 3 (44:54):
It's it's it's hard to find a funnier movie than that.
Speaker 1 (44:57):
Charlie Day, you have been an absolutely delight, exactly as
I imagined. However, you had a lot of coffee when
you were drinking so much coffee, and you were with
Mary Elizabeth and you said, I'll just gonna have one
more coffee and she said, babe, I don't want to
tell you how to leave your life, but I think
you might have had too many coffees there. And you go,
(45:17):
what are you talking about. I'm fine, I just one
more coffee you get. She says, but you've seen jittery
and you go, I'm always jittery. I just need another
coffee and then I won't be so jitry. And she goes, okay,
and she says, but I don't want to be responsible
for it, so you have to make your own. You're like, fine,
I make your own coffee. You make, the coffee, you
drink it. The caffeine goes straight through your bloodstream so powerfully.
(45:39):
You've you've gone past the point of caffeine and your
brain explodes and your head pops right off, Your neck
smashes into the ceiling, falls on the skitchen floor, blood
spurting everywhere. Poor Mary Elizabeth is just standing there. Oh Jesus,
you're just spinning around like one of them things outside
of garage, you know what I mean. And I'm walking
(46:00):
past with the coffin, you know what I'm like, And
I hear her screaming. I go, hey, Mary Liza, with
what's going on? Guys, Charlie's edge just popped off. He's
had too much caffeine. And I go, oh, fucking hell,
it's always the way in it fucking will come on,
help me out, so I'll put you. Tried to put
you in the coffin, but because of all the coffee
spilling out of your neck, there's too much of you.
The news spectr and I said, I go, Mary, Liz,
(46:21):
but give me an ax. You get to that start
chopping you up, trying to get you into smaller pieces
and end up me and I just stuffing you in
in the coffin. Stuff managed to get you all in,
but it's rammed in there. There is really not enough room.
There's only enough room in that coffin for me to
put one DVD into the side for you to take
across to the other side. And when you get there,
it's movie night every night. What film are you taking
(46:43):
to show all the coffee beans in heaven when it
is your movie night, Charlie Day, what movie from movie
night in Heaven?
Speaker 3 (46:49):
Go?
Speaker 4 (46:50):
Please, than any chance I can bring the complete box
set of It's Always Starting Philadelphia.
Speaker 2 (46:57):
You do not have room for that.
Speaker 3 (46:58):
Oh okay, it's very.
Speaker 2 (47:00):
Sweet, very sweet answer. But this company isn't big enough
for five, right.
Speaker 3 (47:05):
It's just gonna be one one movie. Huh oh man.
Speaker 1 (47:09):
It's a really sweet answer, and I'd love to give
it to you. But just the size of the amount
of Yeah.
Speaker 3 (47:13):
It's a big right, it's too many.
Speaker 2 (47:15):
It's too many, too many, lovely idea.
Speaker 3 (47:18):
Yeah, we're gonna watch the Three Amigos.
Speaker 2 (47:20):
What a great answer. They could be so happy in heaven.
Speaker 1 (47:23):
Yeah, Charlie Day, tell the people what to look out
for and watch and listen to with you coming up
in the coming months.
Speaker 4 (47:31):
Well, you know, there's one more episode of It's Always
Sunny in Philadelphia coming out so for this season, for
season seventeen. So I don't know when you're gonna air this,
but otherwise, you know, you can catch up on Sunny
on Hulu. But most importantly, you can go see Honey
Don't in theaters August twenty second.
Speaker 3 (47:50):
And I think it's a great movie.
Speaker 4 (47:52):
And I'm really happy to be working with a filmmaker
that's made me happy so many times. And this movie
has a lot of that Coen brother DNA in it, So.
Speaker 1 (48:03):
I think I think fans will enjoy it. Charlie Day,
well enjoy Thank you for doing this. I hope you
have a wonderful death and I will hope to see
you soon.
Speaker 2 (48:12):
Good day to you.
Speaker 3 (48:13):
Goodbye.
Speaker 1 (48:17):
So that was episode three hundred and sixty four. Head
over to the patroont Patreon dot com forwards. That'spect Goldsteam
for the next to twenty minutes of chat, sequels and
video with Charlie Day.
Speaker 2 (48:25):
Guys.
Speaker 1 (48:25):
Apple Podcasts give us a fine star rating and right
about the film, it means a nice to you and
it's a love thing to read. Really helps me numbers
and everyone's very happy about it. Mind every morning really
appreciates it. Thank you very much, Thank you all for listening.
Thank you to Charlie forgiving me his time. I hope
you're all well. Thanks to Scruby's pipping the distraction pieces
of network. Thanks to Buddy Peace for producing it, Thanks
to iHeartMedia and Wilfero's Big Money Players Network for hosting it.
Thanks to Admission for the graphics and least leading to photography.
Come and join me next week for another amazing episode
(48:49):
coming up. That's it for now. I hope you're all well.
Thank you for listening. In the meantime, have a lovely week,
and please, now more than ever, be excellent to each others.
Speaker 2 (49:19):
Back back back backs, a sack by
Speaker 3 (49:24):
Contact by backs back fast back back by bus backs
and conta by back back back back
Look el is that any films to be buried with? Hello,
and welcome to films to be buried with. My name
is Brett Goldstein. I'm a comedian, an actor, a writer,
a director, a ficus and I love film. As George
(00:22):
Bernard Shure once said, we don't stop playing because we
grow old. We grow old because we stopped playing, which
is why Steven Spielberg is wrong about Hook. It is
one of his greatest films. Every week I invite a
special guest over. I tell them they've died. Then I
get them to discuss their lives through the films that
meant the most of them. The previous guests include Barry Jenkins,
Kevin Smith, Sharon Stone, and even But this week we
(00:43):
have the brilliant actor, writer, producer, comedian and director mister
Charlie Day. My comedy special, The Second Best Night of
Your Life is streaming now on HBO, Max and Sky.
Give it a watch, you'll very much enjoy it. My
new film All of You is coming out September twenty sixth.
I believe that trailer is dropping this week, so keep
your eyes out for that. Head over to the Patreon
(01:04):
at Patreon dot com. Forward slashret Goldsteing, where you get
next to twenty minutes with Charlie. We talk secrets, we
get beginnings and endings, we talk about all kinds of stuff.
You also get it ad free and as a video.
Check it out over at patreon dot com. Forward slash
Brett Goldstein. So Charlie Day. You might remember him from
It's Always Sunny in Philadelphia. You might remember him from
Marble Bosses. You might remember him from his directorial debut
(01:26):
Fool's Paradise. He's in the new film Honey Don't, which
is in cinemas this Friday, August twenty second. Check it out.
We recorded this on Zoom the other day and we
had a ride old time. I love Charlie Day, and
I think you're very much going to enjoy this one.
Thank you all for listening. That's it for now. I
very much hope you enjoy episode three hundred and sixty
four of Films to be Buried With. Hello, and welcome
(01:59):
to Films to be Buried With. It is I Brett Goldstein,
and I am joined today by an actor, a comedian,
a writer, an improvisor, a producer, a director, a legend,
a animation always study in Philadelphia, A Horrible Bosses, A
(02:23):
fight fist fight, A amateur practologist. He's an amateur proctologist.
I can't believe he's here. I've wanted to have him
here for so long. He's finally here. Can you believe it?
Speaker 2 (02:36):
It's really here? But I have a look.
Speaker 1 (02:37):
Please welcome to the show. It's the brilliant. It's Charlie Day.
Speaker 3 (02:41):
Than happy to be here. So I need to talk
about movies that I love.
Speaker 2 (02:44):
At a door, love me to see Charlie Day.
Speaker 1 (02:46):
Yesterday I was with Jason Cudakiss and I told him
that I was doing this with you today, and he
was so nice about you. He was so excited that
we were doing this, and he said that you're one
of the best men and that he has great, great
love for you.
Speaker 2 (03:02):
An he thinks that your absolutely.
Speaker 3 (03:04):
That love is a two way road.
Speaker 4 (03:05):
And you know, Jason and I were in a movie
called Going the Distance together and it was both of
our first studio films, and then I've worked with him
in almost everything that I've had any sort of control
over since. So I think we worked together six times
or something like that. But yeah, I just I adore him.
Speaker 1 (03:24):
And he's really funny in your film, the film you directed,
He's really funny in it.
Speaker 3 (03:27):
Oh, thank you. Yeah.
Speaker 4 (03:28):
And yet somehow I don't think I've been on you guys' show,
so I don't know.
Speaker 3 (03:33):
It's not so.
Speaker 2 (03:35):
H it does seem something's amiss.
Speaker 4 (03:40):
I do think Jason was very helpful in getting me
on on sn AL And I remember when I hosted.
We were in Australia promoting the first Horrible Bosses movie,
and I guess he got an email or something and
he turned to me and he showed me and it
was an email from Louren and it was saying Lauren
asking Jason, do you think Charlie would be a good host?
Speaker 3 (03:58):
And I almost like threw up, you know, just out
of the you know what, what do you think? Would
you want to do it?
Speaker 4 (04:07):
And my wife was with me at the time, and
I hesitated for a second and she was like, of
course he'd wanted to do it.
Speaker 3 (04:12):
Was like, yes, yes, I want to do it.
Speaker 1 (04:14):
But he sent me last night the sketch you did
where you're a police detective in an apartment that looks
like Seinfeld's apartment, and he said it's one of his favorites. Yeah,
one of his time favorite sketch is the John Kelly right,
you know.
Speaker 4 (04:27):
It's funny, and I think he was telling me they
had a hard time getting that on the on the show.
And when we did it, we were rehearsing it in
his uh dressing room, a redit room, and I was
playing his part and he was playing my part, and
I suggested to him, I said, I said, you know, Jason,
I think it's really.
Speaker 3 (04:44):
Funny when you react to something ridiculous.
Speaker 4 (04:48):
I say, you know that dynamic works really well, so
let's try flopping it. And then we flopped it and
it felt the grade of the table read and then
it was on the It was on the chopping black
at the end of the show and Lauren asked me,
there was I think two sketches off. He said, do
you want to do the pre taped sketch that we
did or do you want to do the one with Sadaikas.
I said, please, let's do the one with Sadaikas. And
(05:09):
so just barely made the show.
Speaker 2 (05:12):
Wow, you've only done it once, have you? I said it.
Speaker 4 (05:14):
Yeah, I hosted once and then one time I did
a cameo and a skit that Jason had written called
Maine Justice where everyone is a trial.
Speaker 3 (05:24):
In Maine, but everyone has a Louisiana accident.
Speaker 2 (05:29):
Did you love doing it? Was it terrifying?
Speaker 4 (05:31):
I loved doing it. You know, it was, of course
a little terrifying. But I really kind of trained my
brain like an athlete going into a you know, a
championship match or something that I said, uh, I'm really
going to prepare, and you know, I rehearsed the hell
out of the sketches even before we did the table reads.
Speaker 3 (05:50):
I asked Paula pell if I could get all.
Speaker 4 (05:52):
The sketches ahead of time, and I locked myself in
a room and I read everyone's sketch even before we
read it, because I wanted to give everything the don't
want to cold read anything, you know. And then you know,
it's a big party over there at SNL two, but
I didn't. I didn't like, have a single beer until
after we did the show. I was like, I just
want to be in tip top shape and sharp as
(06:13):
could be. But then as soon as it happens, you're
shot out of the cannon, and.
Speaker 3 (06:17):
I felt great.
Speaker 4 (06:18):
I was a piece of me was like, oh, I
should have tried to have been on this show years
ago because it was just felt so comfortable.
Speaker 3 (06:24):
But I'm happy with the path they took.
Speaker 1 (06:26):
The other thing I want to ask you is I
had your friend Glenn Howardton on here are you doing? Yeah,
I did, and I asked him this question, and he
also spoke very very highly of you, and I asked
him the same person I'm going to ask you, which
is you've done it's always done in Philadelphia for fifty
nine years now? And did you find like where the
(06:47):
phases where you were like, I've had enough of this?
Speaker 2 (06:50):
We frustrated? Did you?
Speaker 1 (06:53):
I can imagine it being a thing that you sometimes
got sick of and then missed and then now love
with all your heart. I don't don't let me.
Speaker 4 (07:01):
You're right, it's all things right.
Speaker 3 (07:06):
Certainly. The active doing of the show is great.
Speaker 4 (07:09):
And I think once we all have the scripts done
and we're on set, I don't think there's anyone of
us that has not thoroughly enjoyed being on set and
making each other laugh and doing the bigger head trips.
Are feeling as though, oh have we oversteen or welcome?
Speaker 3 (07:25):
And should we still be doing this?
Speaker 4 (07:27):
I know, certainly for me, you know, getting my foot
in the door of big budget studio comedy movies. It
was a little bit of like a balancing act of like, well,
am I supposed to walk away.
Speaker 3 (07:39):
From this now and only do movies?
Speaker 4 (07:41):
But I don't want to walk away from it because
I love it and it also keeps me in town
and my son, who's thirteen. Now we have a great relationship.
I'm just not a guy who's always been on the
road and then those big comedy movies start to go
away anyway, So I'm glad that we kind of kept
Sunny alive.
Speaker 3 (07:58):
But I think even.
Speaker 4 (07:59):
Without that, the only thing that ever makes me hesitate
doing the show is the feeling as though we can't
do it as well as we used to. Right, That's
the one thing where I'm like, well, if I'm trying
to throw a fastball and it comes in at fifty
miles an hour, maybe it's time to, you know, go
somewhere else and become a knuckleball pitcher. But this most
(08:20):
recent season, season seventeen, I feel like, is one of
the best to be done in ages.
Speaker 3 (08:24):
So yeah, right when we think we might be slipping, we.
Speaker 4 (08:27):
Get a boost of creative energy and then it reaps itself.
Speaker 2 (08:31):
I mean I love it.
Speaker 4 (08:33):
At the end of every season, I'm like, I don't
want to do anymore right right, And then I, you know,
take a little time off and I go do another project,
and then I miss it and I get excited to
do it again.
Speaker 2 (08:43):
I think it's I don't know.
Speaker 1 (08:45):
I think that part of the appeal for fans and
everything is that it's really it's really aspirational. Not you
as characters, because obviously you're awful, but you as friends
doing this thing forever is really like you want that.
I want that, like people want to believe that that
is a real thing, you know what I mean, that
(09:05):
it can last that long and still be fun.
Speaker 2 (09:08):
And I think it's kind of beautiful. In theory.
Speaker 4 (09:11):
It mostly is, to be honest, it mostly is, you know,
like like anything else, there's obviously the pressures and concerns
and forces of nature pulling us in different directions.
Speaker 3 (09:21):
But but then when we do.
Speaker 4 (09:22):
Come together and make it happen, and not just me,
Rob and Glenn, you know, this last year we had
Dave and John Churnan back in the writer's room, and
Rob Roselle and David Hornsby has been with us the
whole time, and that group of people feels like a
little bit of a band, and so's.
Speaker 3 (09:38):
It really is this family where we get it together.
Speaker 4 (09:40):
And we said, oh wow, there's a there's a chemistry here,
which is you know, it doesn't happen every time.
Speaker 1 (09:45):
That's very so nice, osa Glen said, he said that
you were and I don't know how you'll feel about this.
He was basically like, you were the kind of breakout
early on. He was like, it was obvious that Charlie
was the star, was the big star. And I I
asked him, I was was that difficult for you if
that's how you felt like and he was like, not really,
(10:05):
because I just love it. I was just happy for him,
And I wonder if you felt that or if in
your head everyone else was the stuff.
Speaker 4 (10:13):
Well, to their credit, they never made me feel that way.
I never got a sense from them that they were
mad or jealous that I was getting some of these opportunities.
Speaker 3 (10:24):
And I think there's some truth to that.
Speaker 4 (10:26):
You know, I think I got some good breaks in
the beginning, but you know, in terms of on the show,
no one ever felt like the star of the show.
And you know, I always really love what Glenn was doing,
and so much so that I often neglect myself in
the writer's room, or certainly have, I think the last decade,
and focus so much on Clinton's character or Danny's character
(10:49):
because I just.
Speaker 3 (10:50):
Love what they do.
Speaker 4 (10:51):
But no, fortunately, the ecosystem of the show has stayed
pretty healthy, and no one has ever pulled away so
much so that we can't continue to exist.
Speaker 2 (11:00):
Have it.
Speaker 1 (11:00):
Now? You've just done a film called Honey Done. I
should be honest with you. I've watched half of it
only because I ran out because I thought I had
another hour and I didn't.
Speaker 2 (11:12):
I will be watching the other half of it after
this podcast. I'm enjoying it very much.
Speaker 3 (11:17):
Yeah, I would encourage you to finish it.
Speaker 2 (11:19):
Yeah. And you're really funny and great in it. Oh,
thank you.
Speaker 1 (11:22):
And it's really like I like how it's shot so
much as well. It's a really cool looking film. Yeah,
it's really stylish. I really like the I mean, this
is a weird company. I love the opening creditszing.
Speaker 3 (11:35):
Yeah, yeah really yeah.
Speaker 4 (11:37):
I didn't know what they were going to do with that,
so I didn't. I saw screening of it kind of
early on, and I was pleasantly surprised by those opening credits,
But yeah, you know, this was for me a dream
to get to work with Ethan and Trish too, you
know who is credited on a lot of the Coen
Brothers movies, And when you get to set, there's a
(11:59):
handful of people that have been with them from early
early on, so you're really sort of tapping into that engine.
And for me, as a person who spent a lot
of time behind the camera as well, I was really
interested in scooping up whatever knowledge I could because to me,
Joel and Nathan are the high water mark of filmmaking.
(12:20):
There's just so many of their films that I've seen
multiple times. There's very few misses considering how many they've made,
and there's a handful of them that you know, are
considered all time greats, just all time greats.
Speaker 3 (12:36):
So they're absolute.
Speaker 4 (12:38):
Heroes of mine, so much so that not only have
I seen all the movies, I've watched every interview they've
ever given. I have scoured the Internet and I would
spend days just on YouTube when I had spare time,
just watching those guys give interviews. I find them hilarious, both,
you know, in their writing and just in the way
they answer questions. One of the great joys of this
(13:01):
whole experience for me has been getting to spend the
time with Ethan, or even just to make Ethan laugh
and be like, well, I it feels so nice to
pay forward something that I've gotten so much from so
much from him as a filmmaker. So for me, this
has been really just a dream just to be to
plug in it all into their universe.
Speaker 1 (13:20):
Yeah, what's he like with you? As an exit? What's
he how does he direct access?
Speaker 3 (13:26):
Well?
Speaker 4 (13:27):
That was another interesting thing. So I was looking for
like the sort of magic trick, right, like, well, what
is the magic trick that they do?
Speaker 3 (13:34):
But then you get the set and you're like, oh,
it's the same exact thing we're doing.
Speaker 4 (13:37):
They sit the camera up here and then they shoot
the scene, and then they turn around to the other side.
They shoot the other side of the scene, you know,
and maybe this one take here is all in a
one shot. But like I will say, it was more
more specific than certainly what we do in Sunny right
and what I've done in some other movies, where I
think down to the ums and the ands and the
oz you're hitting the musicality of their writing, and I
(14:01):
think that can be a trap for people because you
you can lose the humanity in that, I think, but
I you know, I started in the theater and that
is what you do in plays, and so for me
it was it was nice tapping back into that and saying, oh, right, right,
I just have to find the truth in these words
exactly as they are right, and I actually fouind. I
find that refreshing when I get a job like that,
(14:24):
because most of them are most of them are like, yeah,
let's say this, but if you have a different way
you want to do it. I think the most I
contributed in terms of something that wasn't on the page
was as simple as one scene where I simply clap
when the character walks in the room. I remember asking Ethan,
and you know, it feels sort of right that Marty
would sort of be applauding this entrance.
Speaker 3 (14:44):
What do you think? And I thought about it, pause,
let's try.
Speaker 4 (14:49):
One, And I was happy it made the movie.
Speaker 3 (14:52):
You know, that's my sole contribution is a clap.
Speaker 1 (14:56):
Well, and then the last thing I want to ask
you then, is how you found I assume you want
to direct tomorrow.
Speaker 3 (15:01):
Oh yeah, I enjoyed it. That's kind well.
Speaker 4 (15:04):
I know.
Speaker 1 (15:04):
So I'm always impressed when anyone directs and they're in it. Oh, sure,
I just don't know how you do it. Well, how
did you find how did you find that experience?
Speaker 3 (15:12):
Well, the experience of the film was hillacious, but.
Speaker 4 (15:17):
Only because I think I had well, I think I
had an overly ambitious movie idea, but I had written
a different movie and then it was a very almost
blazing saddles ish comedy. And then George Floyd died right
when I was trying to sell the movie, and my
timing was sort of historically bad, and then I wound
up having to change a lot of the movie.
Speaker 3 (15:39):
So that was a rough.
Speaker 4 (15:39):
Experience, right, Okay, But in terms of acting in something
that I am somewhat control of what's happening behind the camera,
that's not too different from what we do. And it's
always sunny, you know. I'm sure you're familiar with. When
you're writing and show running a show, you're making a
lot of those decisions. Even if you have a director
that's been in you're still the one who's doing the
(16:02):
final edit, and you're still picking the props, and you're
still saying yes or no to the location.
Speaker 3 (16:07):
So there's a lot of overlapping things.
Speaker 4 (16:10):
But the real childe for me in that movie was
because I was playing a silent character and because I
had this sort of wild idea about a character who
literally has nothing to offer.
Speaker 3 (16:22):
I would sometimes, which I wouldn't recommend anyone.
Speaker 4 (16:26):
I sometimes we forget to act and I would do
a you know, I would just be in there and
i'd be watching Ken or Cage or whoever Adrian do
their thing and making sure they're, you know, I'm getting
what I'm looking for. And then i'd have to remember, oh,
just because you're not saying something doesn't mean you have
to not be doing something.
Speaker 3 (16:45):
And so there were several takes.
Speaker 4 (16:47):
I was like, well, we just can't use that one
because there's just I'm directing in not acting. But if
i'm but you know, if there's dialogue, it's once you
set up the shot, then it's just the same thing
that is always Charlie Day, I've forgotten to tell you something.
Speaker 2 (17:03):
It's it's awful.
Speaker 1 (17:04):
I've forgotten to tell this because I should have said
it earlier. All Right, I'll just jump in, Well you've died,
you're dead.
Speaker 4 (17:13):
Oh, yes, Well I had a good I had a
good run.
Speaker 3 (17:18):
You had a very good I had a good run.
Speaker 2 (17:21):
Thank you. How did you die?
Speaker 3 (17:23):
I'm coffee?
Speaker 4 (17:25):
I think you know, I'd had so much coffee that
I just got I just sort of exploded.
Speaker 3 (17:32):
Uh, you know, I was buzz and buzzing, buzzing, and
then I popped.
Speaker 5 (17:36):
And you got too high on caffeine, too high on caffeine,
and my inside go ahead and my head popped clean off.
It was a good way to go too. It's pretty cool. Yeah,
do you worry about death?
Speaker 4 (17:50):
It's not at the forefront of my thoughts. I don't
go through my life with a gloomy sort of outlook.
But at the same time, I have a healthy respect
for death. So you know, I don't skydive and I
don't scale any buildings, and I don't do I don't
want to.
Speaker 3 (18:09):
Die saying shit, I knew this was a dumb idea.
Speaker 1 (18:12):
You know.
Speaker 3 (18:12):
That's the one way.
Speaker 4 (18:13):
I don't want to go. I mean, I didn't want
to go. The caffeine was the best way to go.
But so, yeah, it's in there. I'm aware of it,
but I don't dwell on it too much. What do
you think happens at AFTDI?
Speaker 3 (18:24):
Well?
Speaker 4 (18:25):
I think the real beauty in getting to live is
that we don't know the answer to that question. I
think that's why movies work. I think that's why music works.
I think that's why no algorithm is able to crack
this nut, as much as they want to try to
do it with an algorithm. It's because a great movie
or a great piece of work touches something that feels
(18:46):
just outside of a tangible thing, and it says it
gets right up to the edge of something we acknowledge
and goes just past it where you say, well, that
made me feel something really familiar, and I don't quite
know how it got to that.
Speaker 3 (18:59):
You know, that song or that movie got so close
to something.
Speaker 4 (19:03):
And that's unfamiliar intangible thing that everyone's striving for when
they make a piece of art is like trying to
answer the question of what happens after we die, And
it's in that intangibility.
Speaker 3 (19:17):
I think that we have beauty in our lives.
Speaker 4 (19:20):
So I don't spend a ton of time worrying about
what's going to happen when I die, because I know
I'll never know. And I think the fact that I
don't know is why this life.
Speaker 3 (19:31):
Is so beautiful.
Speaker 4 (19:31):
I mean if you think if you knew exactly hey, actually,
when you die, you just start over again the same
life with a five percent more knowledge of what happened
last time, then this life just becomes a little bit
less beautiful and less interesting.
Speaker 3 (19:45):
So I don't know. I wish I knew, but I
don't know.
Speaker 1 (19:47):
Charlie, Charlie Day, That's one of the most beautiful answers
I've had to that question. And now I'm scared to
tell you that I do know what happens, and I
don't want it to ruin your.
Speaker 4 (19:56):
Ah, all right, well, what is it?
Speaker 3 (19:59):
What a I guess I do want.
Speaker 2 (20:02):
To know, but I don't want to stop your art.
Speaker 3 (20:04):
I don't want to be like everyone's aren't stopped. At
some point.
Speaker 2 (20:09):
There's a heaven. There's a heaven. You're going huge fans.
Speaker 3 (20:13):
I can't believe I got in.
Speaker 1 (20:15):
Yeah, and it's filled with your favorite thing. What's your
favorite thing?
Speaker 3 (20:19):
Coffee?
Speaker 2 (20:20):
Yeah?
Speaker 1 (20:20):
Well, the thing that killed you, Yeah, is the right
there waiting to greet you. There's coffee beans, mountains of
coffee beans. Everything smells of coffee, toilets everywhere, there's ice coffee.
There's all the coffees you could want. It's beautiful everywhere.
But they alsoy. They also everyone. They're so excited to
(20:41):
see you there, huge fans. They want to talk to
you about your life, but they want to talk about
it through the medium of film.
Speaker 3 (20:46):
Great.
Speaker 2 (20:47):
First thing they ask you, what's the first film you
remember seeing? Charlie Day, I.
Speaker 4 (20:51):
Have a very vague memory of I grew up in
Rhode Island and there was a theater called the Opera House,
which was a nice name for in downtown Newport. I
vaguely remember going and seeing snow White. Seeing the animated
snow White.
Speaker 2 (21:08):
Wow, well you'll much out of the night though.
Speaker 4 (21:11):
Yeah, I sure came out well before my time, so
it must have been like a released Yeah.
Speaker 3 (21:17):
After that.
Speaker 4 (21:18):
If I had to do another sort of core memory
of movie going, it would probably be Et. And We're
sitting in the theater watching Et with with my folks,
And what I remember most is just the room getting
dark and the noise is being loud, and just the
sensations of what it was to be in a theater.
I'll say I have a third early memory, and the
(21:39):
third one was the first time I remember being in
a theater without my parents, And I have an older sister,
and I think she had been allowed to go with
her friends and I've been allowed to tag along.
Speaker 3 (21:49):
And we saw Never Cry Wolf.
Speaker 4 (21:51):
That's a movie about a wolf, and I think like
or like a husky dot maybe like a snow dogs
or something. Those are my first three core like theatrical
movie memories. I have other great ones of like seeing
Three Amigos in the theater, you know, you know movies
that I just adored, But those are the first three ones.
(22:14):
They're like blurry little pieces of memories, you know.
Speaker 1 (22:17):
Yeah, do you remember being like, oh shit, I went
in on this.
Speaker 4 (22:22):
Yeah, I think immediately. Yeah, it must have somehow touched me.
And I spent a good chunk of my life trying
to be a professional baseball player, which in hindsight, I
think I was only doing because I'd seen The Natural.
You know, yeah, I think movies really influenced me.
Speaker 1 (22:41):
What is the film that scared you the most? Do
you like being scared? Charlie Day?
Speaker 3 (22:46):
I do, Yeah, I do. I like it.
Speaker 4 (22:49):
In fact, I once on a plane watched The Shining
on a flight with so much turbulence, and I said,
that's a great way.
Speaker 3 (22:55):
To watch the movie.
Speaker 2 (22:56):
That's good.
Speaker 4 (22:57):
I feel like it's like you're going to drop out
of the sky. Well, there were two movies that really
frightened me. One that I actually saw and one that
I think I only saw commercials for Nightmare on Elm
Street when I was a kid. I think i'd seen
like the commercials for it. There were enough conversations about
this creepy man showing up in your dreams and killing
you that I feel like I couldn't sleep for a
(23:21):
few weeks.
Speaker 3 (23:22):
And I don't think at that time.
Speaker 4 (23:24):
I think I didn't see the movie until it was much,
much older, but I was young when it came out.
Speaker 3 (23:28):
The one that I.
Speaker 4 (23:29):
Saw that messed me up for a while when I
first saw it was Silence of the Lamps.
Speaker 3 (23:34):
Silence of the Lamp.
Speaker 4 (23:35):
Yeah, and not so much the movie, but just the
depiction of Buffalo Bill and how he kept a woman
in a pit, and I'd never seen anything like that, Like, wait,
we're keeping people in pits? Like what is this? We
want to wear people's skin?
Speaker 2 (23:49):
We're keeping people in pits? Now?
Speaker 3 (23:52):
Could that happen to me? I can? Oh, man, this
is New Fear Unlocked, you know.
Speaker 2 (24:01):
Do you know this?
Speaker 1 (24:02):
I'm fucking obsessed with this the guy that played Buffalo
Bill ended up dating the woman in the pit.
Speaker 3 (24:10):
That is that's mad dark.
Speaker 1 (24:15):
I mean they're hanging out and set I guess they're
falling in love.
Speaker 2 (24:19):
Is hanging around.
Speaker 4 (24:21):
He gives her a lotion as a gift for.
Speaker 2 (24:25):
Every every Valentine's.
Speaker 3 (24:28):
Basketball of lotion.
Speaker 2 (24:30):
How you tell us how you two met?
Speaker 3 (24:34):
Story?
Speaker 1 (24:39):
What is What is the film that made you cry
the most? Are you a crier?
Speaker 4 (24:44):
Oh? Yeah, I'm such a crier and I'm more of
a crier now than ever before.
Speaker 3 (24:50):
Do you have kids?
Speaker 2 (24:51):
I don't. Is that why you're a crying Yeah?
Speaker 4 (24:54):
I think that something changing me and and I'm so soft,
especially with any story is about like children.
Speaker 3 (25:01):
But well, uh, this one I'm sure comes up a
lot for you. But Tokyo story, it does not come
up enough.
Speaker 2 (25:09):
Ready, that's a great one.
Speaker 4 (25:12):
Just rip me to shreds. Just the sort of the
family and just the you know, coming back and seeing
the parents and how the kids don't really have time
for the parents. And there's so much tragedy in something
that feels so real, you know, Yeah, such a such
a real sort of look at life in the way
our patterns play out, and you raise these kids and
(25:33):
they go off and they come back, but they kind
of come back. That one just wrecks me every time
I see it. And then I was just coming back
from New York promoting Honey Don't and I was watching
some movies and I rewatched Field of Dreams, which I
get it, it didn't make me cry a lot when
it first came out, but it was killing me the
(25:53):
whole time, and not even just like the father son moments,
but like even just James Earld Jones's speeches, like where
he's saying people will comray, you know, And I was like,
I know this movie so well, and it's so over
the top, sort of romantic in terms of like talk
about like trying to put your finger on a pulse
of why you know what happens after you die and
(26:15):
not knowing yeah, and then not knowing of it is
what's so interesting about that scene and he's they've chosen
him to go out in the cornfield, and oh my god,
it was crushing me. I was like, just well, I
was really fighting back my tears on that one because
I didn't want to be seen as just blubbering in
my airplane seat.
Speaker 2 (26:32):
That's a fucking kid. Yeah, gond me good.
Speaker 1 (26:35):
I've got a center a thing about Field of Dreams
that the director chose Kevin Costner for it because I
think it was Tom Hanks originally was who was being
offered or discussed by the studio. And he was like,
but I think Tom Hanks would believe there are voices
in the in the cornfield. Like, it's not a surprise
that Tom Hanks gets voices in the confield. You know,
(26:57):
he's a sentimental guy. He goes, Kevin Costner is not
going to believe there are voices in the cornfield. And
that's why I want Kevin smart.
Speaker 3 (27:05):
That is smart.
Speaker 4 (27:06):
Although I will say watching it, you know, with my
writer's hat on a little bit, I was like, oh,
they get right into it. I mean there's a little
bit of a cold open where he's describing his father's
desire to play baseball, and then his relationship is dad,
and then the.
Speaker 3 (27:22):
Next scene he's in the cornfield, here's a voice. You're like, oh,
here we go.
Speaker 2 (27:27):
Yeah.
Speaker 3 (27:29):
Yeah.
Speaker 4 (27:30):
And that's even funnier too about them not thinking that
because there's only one scene of him not buying it.
Speaker 3 (27:35):
He pretty much buys it pretty quickly.
Speaker 4 (27:39):
I'm sure Tom Mans would have also been great, but
it's it's a good Kevin Costner performance.
Speaker 3 (27:44):
He's really great in it.
Speaker 2 (27:45):
Yeah, he's great. What is the film you love?
Speaker 1 (27:50):
It is not critically acclaimed, but you love it unconditionally.
Speaker 4 (27:54):
Well, that's a funny one. I'm trying to think about that.
Where because I don't know what's critically acclaimed and not.
Speaker 3 (28:01):
You know, I don't.
Speaker 1 (28:02):
Doesn't mean necessarily generally you get the impression people don't
like this film.
Speaker 3 (28:06):
Yeah, I I only know it when I'm involved with it.
Speaker 4 (28:10):
But like I don't like you know, which I try
to remember where I'm like, people don't remember. I mean, okay,
uh pee Wee's Big Adventure. That's probably not considered at
all time great movie, is it?
Speaker 3 (28:21):
Because I think that movie is thin?
Speaker 4 (28:22):
It is?
Speaker 3 (28:23):
Oh is it?
Speaker 1 (28:23):
Well that's one thing, but you can have it. But
it doesn't really answer to that question because I think
it's considered the classic.
Speaker 3 (28:29):
Tommy Boys Tommy Boy.
Speaker 2 (28:31):
Yeah, I'll give you Tommy Boy.
Speaker 1 (28:32):
I think nowadays people love but they didn't love it
when it came out at the Craigs.
Speaker 2 (28:36):
Tommy Boy is a great one.
Speaker 4 (28:38):
Yeah, Tommy Boy's a great one. Yeah, stuff, I don't
know what's a flopping.
Speaker 2 (28:43):
What's not You can have Tommy boy.
Speaker 4 (28:45):
But yeah, I mean, I yeah, it's usually comedies, right
that people are a little bit tougher critically on comedies always.
Speaker 2 (28:52):
Why is it?
Speaker 3 (28:53):
Well, there's a.
Speaker 4 (28:53):
Lack of seriousness that a comedy requires, and uh, you know,
I think the act of analyzing and critiquing films is
a sort of inherently self serious thing, right, so they
just maybe they did Those two things clash a little bit. Also,
I think comedy is not as universal. You know, what's
(29:16):
funny to someone is not necessarily always funny to someone else.
Speaker 1 (29:20):
That's true, But then I get mad about it. I
saw The Naked Gun the other day, which I really
really enjoyed, and I laughed so much to me too,
And I've read lots of good reviews of it, and
I'm happy and I'm glad it's doing very well. But
then there's a critic that I like respect, and he
gave it a terrible review and was really like, I
didn't laugh once, and I thought, yeah, you don't have
a sense of humor, so you shouldn't be reviewing this
(29:42):
film like you're wrong, You're actually wrong. He kept saying
it's not funny, it's not funny. I'm like, it is funny.
It's really really funny.
Speaker 3 (29:49):
Did you ever read the article.
Speaker 4 (29:50):
There was a great article about the people who reviewed
The Big Lebowski. That was a movie that didn't open
well and didn't wasn't reviewed all that well.
Speaker 3 (29:56):
And then they went back and they asked.
Speaker 4 (30:00):
All those critics again, and almost all, I say ninety
percent of them were like, you know what, I was wrong.
I didn't sort of get it at the time, and
you know, it's these things that I wasn't understanding. In hindsight,
I think are great. But there was like one critic
or maybe two that were like, no, I was right,
it's not a good film where you're like, some.
Speaker 3 (30:17):
People are just dug in. You know, what are you
gonna do? What are you gonna do? You can't please everybody.
Speaker 1 (30:23):
Well, on the other end of this count, what is
the film that you used to love that you've watched
recently and you thought, oh, I did not like this anymore.
Speaker 2 (30:29):
Perhaps you've changed.
Speaker 3 (30:31):
This is a funny one. So I had a friend over.
Speaker 4 (30:34):
He was staying with me, and he loves movies, and
we were talking about Kubrick and we were talking about
Eyes White Shut, and he said, oh, I've never seen it.
Speaker 3 (30:44):
I was like, oh, we should, we should watch it. Well,
I was watching.
Speaker 4 (30:48):
It again having not seen it in years, and the
whole sequence where Tom Cruise goes to the sex palace.
Speaker 2 (30:56):
You know, yeah, it's great.
Speaker 4 (30:57):
It's only about sixteen maybe twenty minutes of the film
tops of a like.
Speaker 3 (31:02):
Three hour movie.
Speaker 2 (31:03):
Yeah.
Speaker 3 (31:04):
All the other stuff to.
Speaker 4 (31:05):
Me was upon watching it again, was not holding up
at all, even his entire motivation for his story.
Speaker 3 (31:12):
I was like, wait, wait, wait.
Speaker 4 (31:13):
His wife said that she was somewhere once and she
was attracted to a guy and she thought about sleeping
with him, and that's like, yeah, not even like actively thought,
not like she was gonna like she said she had
a fantasy about another guy, and it throws him into
such a rage that he goes. He's like, well, I'm
gonna go sleep with prostitutes.
Speaker 3 (31:31):
And yeah, it was funny.
Speaker 4 (31:33):
I was like, well, the stakes of this don't hold
up to me now maybe as an adult.
Speaker 2 (31:39):
It's such a fucking weird film.
Speaker 1 (31:41):
I don't like Icewead Shut, and I think it's an
interesting Tom Cruise, who I love.
Speaker 2 (31:46):
What is interesting?
Speaker 1 (31:47):
I think I talked about this when Jason was on
the podcast, but he did Magnolia right after eyeswead Shut,
which is very interesting because I weet shut. It's three
hours of Tom Cruise being emasculated. It's three hours of
him not getting laid, of him being sort of cuckouded,
and yeah, you know what I mean, Like, it's it's
him being not a hero for three hours, not a man.
(32:08):
He's being very sort of undermined and caustrated all the
way through the film in a really like he's a
dickhead in the film, and he's constantly he can't even
get he can't even get laid in all of New
York City. That's kind of three hours of him failing
to have sex. And then he made Magdoli where he's
like the ultimate chavinist. Fucking yeah. Well, I think he
(32:29):
was like, I need to balance this out.
Speaker 3 (32:31):
I don't you know.
Speaker 4 (32:33):
I don't think that's what bothers me about it, that
he's not being the hero or whatever. And I think
his performance is great in both movies. Yeah, I think
all the act is great. It's more like what those
scenes are, you know, Like there's the Russian guy that
he needs to buy the costume with and then the
the daughter and then she's sleeping with like these two
(32:54):
like older like businessman or something, the odd sequence.
Speaker 3 (32:57):
And yeah, so yeah, yeah, that.
Speaker 4 (33:00):
Was a really interesting one where just and just the
I don't know if this was intentional or not, but
like the city doesn't feel real, So yeah, why why
do that?
Speaker 1 (33:12):
It's an odd one. It's really odd, but good luck
to film. It's very specific. I mean when I said
I don't like it, I admire it, and I don't
object to anyone thinking it's good.
Speaker 4 (33:22):
Yeah, I don't even know that I don't like it
so much as to the question, like it doesn't hold
up as much as the first time I saw it.
First time I saw it, I think I was like, Wow,
that's crazy, And the second time I thought, I was like,
that's not that crazy.
Speaker 3 (33:35):
It's like just.
Speaker 1 (33:37):
Clunky. What is the film that means the most to you?
Not necessarily the film itself is good, but the experience
you had around seeing the film will always make it
important to you.
Speaker 3 (33:49):
Charlie Day, Well, that for me was The Deer Hunter.
Speaker 4 (33:53):
When I saw The Deer Hunter, I think I was
in college and I was starting to get a little
bit serious about wanting to be an actor. And I
saw The Deer Hunter, and the performances that I saw
in The Deer Hunter changed me and changed my opinion
on acting and as a craft and filmmaking. And I
was so blown away by some of the performances and
(34:17):
some of the filmmaking that you know, I think I
grew up like most kids grow up watching Jaws and
Ghostbusters or you know, a funny movie or big blockbusters,
And yeah, I'd been exposed to some smaller movies early on,
but like, I think that was the first time that
(34:38):
I was like, oh my gosh, the craft of acting
in the movie can go so far, you can do
so much.
Speaker 3 (34:45):
And it was just inspirational in a way where it was.
Speaker 4 (34:46):
Like, oh, it's funny too, because I really didn't wind
up doing those kind of movies at all, but like
it certainly was a good motivator to be like, oh,
go take this really seriously and get really into it
and get as good as you can get, and maybe
one day you'll make something that you know, uh, we'll
touch someone as much as that touched me when I
(35:07):
first saw it.
Speaker 3 (35:08):
Yeah, just it rocked me. It really did. It really did.
I think Christopher Walking in that.
Speaker 4 (35:14):
Movie just blew me away, and John Savage is his name,
DeNiro of course, and Jonathan Gazzal was amazing and everything
he ever did.
Speaker 3 (35:23):
That and well, you know, I saw that end Dog Day.
Speaker 4 (35:26):
Afternoon around the same time, and both those movies, both
of those movies, two great Jonathanannzell performances, just really kind
of threw me in terms of like, Okay, Wow, there's
some good acting out here that can be achieved, and
let's try to go get that.
Speaker 1 (35:40):
What's your favorite film that you've done, that you've been in.
What's your favorite your films?
Speaker 3 (35:47):
Oh, that's a good question.
Speaker 4 (35:50):
Well, I really loved getting to be in Pacific Rim
and getting to work with Camera Delturo.
Speaker 3 (35:56):
Oh yeah, that was huge and a great experience.
Speaker 4 (36:00):
And there was a real magic to that first Horrible
Bosses film where it just was so fun and funny
and we had the sense that it was working while
we were making it. But I did a small little
rom com too, Jenny Slake called I Want You Back
that was on Amazon, also a great experience. So I've
had a handful of like ones that I'm really happy
(36:20):
with the experience of making it and how they turned
out like that.
Speaker 2 (36:24):
What's the film you most relate to? Charlie Day?
Speaker 4 (36:29):
So many of them, there's so many of them, you know,
probably going back to the Coin Brothers, there's probably The
Big Lebowski.
Speaker 3 (36:35):
You know, there's I think.
Speaker 4 (36:36):
Because of the two things, an idiosyncratic sense of humor,
which I was like, oh great, we can. We can
make comedy however we want. It doesn't have to be
the sort of commercial, squeaky clean version of comedy, like
you can lean in or have to watch something two
or three times to get the jokes.
Speaker 2 (36:55):
Yeah, I love.
Speaker 4 (36:57):
That, and you can really kind of see when you
watch it's always sonny how much it's influenced by sort
of that style of comedy. But then in addition to
that that it also can feel like high art where
the cinematography is extraordinary and you know it's based on
a like a Raymond Chandler novel, and so that movie
(37:18):
is it speaks to a lot of people. My wife too,
Merly was saying the other day how she might feel
like it's her favorite movie as well.
Speaker 3 (37:24):
Maybe that's why we're married. But like, just that movie
really it touched.
Speaker 4 (37:29):
A nerve for me and and more so the more
times I watched it, it did nice.
Speaker 1 (37:34):
Can I ask you a question, Per's no question. You
don't have to answer that. Sure, you and you and
your wife Mary Elizabeth. Were you together before you met
always Sonny? Or did you meet on away Sonny?
Speaker 4 (37:44):
No, we were together before. Yeah, I met her in
New York.
Speaker 2 (37:49):
It wasn't a Buffalo bill situation.
Speaker 3 (37:51):
Nah, I did a Buffalo biller that would have been good.
Speaker 2 (37:59):
That's kay. Yeah, that's a good one today.
Speaker 3 (38:02):
Thank you, boring old just regular meeting at the bar.
Speaker 2 (38:05):
When did you meet her?
Speaker 3 (38:06):
December two thousand and one.
Speaker 4 (38:08):
Wow, we started making a show in our apartments in
two thousand and four. We sold it in two thousand
and five. So, well, you've been together forever. Yeah, I've
been together forever a long time. The most successful relationship
early with discuss I mean.
Speaker 3 (38:24):
It's pretty good. Yeah, I mean we're hanging on, but
you know, it takes work like anything else.
Speaker 4 (38:30):
She's but she hasn't left me yet, so but she's
allowed to be.
Speaker 3 (38:37):
You know, I don't want her to have I don't.
Speaker 2 (38:39):
Let it go, you really know, Buffalo villain.
Speaker 4 (38:41):
No, I don't want her to have to live up
to the most successful relationship at Hollywood.
Speaker 3 (38:45):
That's too much pressure. She's take off.
Speaker 4 (38:48):
You know, I can find someone else to put the
lotion in the basket.
Speaker 1 (38:54):
What is speaking of lending basket? What's the sexiest film?
Speaker 2 (38:59):
Event?
Speaker 3 (39:02):
Oh? Man, the sexiest one I've ever seen. There's a
lot of them, you know what this is?
Speaker 4 (39:08):
Well, maybe because I was like a teenager and going
through puberty, but total recall used to always get me.
There was like a fight scene with Sharon Stone and.
Speaker 2 (39:17):
She was very peaceful in it.
Speaker 3 (39:20):
Yeah, so hot and that like that movie got me
pretty good.
Speaker 1 (39:23):
I did also have to bring this up. When Glenn
Howardson was on this show, he told me that he
didn't have an answer to sexiest film. He said he
didn't find film sexy as the maddest answer I've ever heard. Well,
I don't believe him to this day.
Speaker 2 (39:37):
No.
Speaker 4 (39:38):
I mean, Glenn is so crazy that makes you would
get a crazy answer like that.
Speaker 3 (39:43):
Yeah, that's he said.
Speaker 2 (39:44):
I don't get understand the question. I'm like, what do
we do? Nothing?
Speaker 4 (39:48):
He didn't find any movie sexy? I find like, said,
no movie is sexy. Oh my god, they're also sexy,
so many of them? Right, Yeah, Well, I guess that's
not his kink. Well, I don't know what he's into it.
Guess I don't know what he's into it.
Speaker 2 (40:02):
Not movies?
Speaker 4 (40:04):
Yeah, does he find t TV? Sexy books, anything TV?
It's all over commercials, commercials, love, love options, subways and stuff.
Speaker 1 (40:16):
There's a sub category traveling by this, worrying why ones
a film you found arousing you weren't sure you should
what you got there?
Speaker 4 (40:23):
Well, probably Boogie Knights, right, Like Boogie Nights was so sexy,
but also like their lives are horrible and so like
you're like, maybe I'm not supposed to be enjoying.
Speaker 3 (40:32):
This, Like it's you know, it's.
Speaker 4 (40:35):
The sex that they're having is like, you know, their
lives are falling apart constantly. So that was that was
one that I found super sexy watching it. But also
it was like, is it okay?
Speaker 2 (40:49):
Love it is?
Speaker 3 (40:50):
Yeah?
Speaker 2 (40:50):
That's a good one. Yeah, a really good answer.
Speaker 1 (40:53):
What about what is objectively the greatest film of all time?
Might not be your favorite, but it's the pinnacle of cinema.
Speaker 3 (41:01):
Wow, God, that's that's such a hard one. I'm sure
everyone struggles with this.
Speaker 2 (41:06):
No, everyone says to go father, and it annoys me.
Speaker 4 (41:08):
Yeah, and The Godfather is great, but well, do you
ever get four hundred Blows the True Fau movie?
Speaker 2 (41:14):
No, thank you, Johnny Day. I do know, I would
love to.
Speaker 4 (41:18):
That movie is extraordinary because you know, have you seen it?
Speaker 3 (41:22):
Yeah?
Speaker 1 (41:23):
Yeah, so fast frame phrase fright fright, frisee frem.
Speaker 3 (41:27):
Freese fraam Yeah yeah. Is it the first one ever?
N that's great edity, that's an iconic one, that's for sure.
Speaker 4 (41:33):
But you know, I think about that movie a lot
because it feels so alive and real and I don't
know how I'm not watching a documentary. I'm like, how
did how did you get these classroom scenes and these
kids and these scenes on the street to feel like
you were actually capturing this kid's life? And then and
then what the movie is, how it's you know, not
(41:56):
typical narrative plotting like like a Hitchcock film or something.
Really are just watching this boy live. So then you're like, well, again,
going back to that thing of like I don't exactly
know what the magic trick is here, but it feels
familiar to something that's familiar in my life.
Speaker 3 (42:12):
And I'm not a little.
Speaker 4 (42:13):
Boy in France in the fifties, so like, you know,
but that movie is extraordinary. I think that one needs
to be saved and remembered.
Speaker 2 (42:23):
Great. Un So you're gonna get ten points for that.
Speaker 3 (42:25):
Oh good.
Speaker 1 (42:26):
What's the film you could or have? What's the mice
Ivan Ivory again?
Speaker 4 (42:30):
Oh well, there's a lot of them. Well, you know,
I'll just throw out I just love Fargo. I can
watch Fargo so many times. I never get tired of Fargo.
Speaker 2 (42:42):
You really didn't like the Cummins, you didn't lie?
Speaker 4 (42:44):
I love the co I love them so much. I
mean that movie is so funny. But also, you know,
just Attorney Thrially, the cinematography is great.
Speaker 3 (42:54):
I know every line. I love Fargo. Go watch it forever.
Speaker 1 (42:58):
I'm so happy you go to it. Of Ethan, then
that's fantastic.
Speaker 4 (43:01):
Oh yeah, thanks, No, that's what it is for me.
It's like those guys are absolute heroes.
Speaker 2 (43:06):
Yeah.
Speaker 1 (43:07):
What is the West film You've ever seen? Charlie Day
to be negative?
Speaker 4 (43:13):
Oh well, that's easy because I'm in it. Rob mclanny
and I both actually were a Rob mac changed his
name and I were both in a movie. Although Rob
mack wasn't in the movie, Rob mclanny was in the
movie and the movie it was called Campfire Stories. It
was like a like a horror movie, and it was
(43:35):
so bad that it wasn't even fun bad, you know,
like like sometimes like something's fun bad. It was so
hard to watch, unenjoyable, and it was such a letdown,
probably because it was one of our first things for
both of us. And you know, it's the kind of
thing that like your listener might say, oh, that's fun
I'm gonna go look that up, but like it's not
(43:55):
even it's not even fun, it's not even fun bad.
Speaker 1 (43:59):
It's that you're in comedy, you're very funny. What's the
film that made you love the most, mister Charlie.
Speaker 4 (44:05):
Day Oh, easily, Waiting for Goffman, Ah, Waiting for Government
was extraordinary, just top to bottom funny, and every line
and every performance funny, and what's happening in the movie funny,
and how the movie resolves and ends funny, like great.
And I remember I was actually I was in college
(44:27):
and there was no theater program, but there's one theater
teacher who taught theater one and two, which I had exhausted.
Speaker 3 (44:35):
I think my freshman or sophomore year just burned right
through them.
Speaker 4 (44:39):
But I would hang out with him a lot, and
he was very encouraging to me, which was great.
Speaker 3 (44:44):
And he told me about that movie.
Speaker 4 (44:45):
He said it was a movie it came out about
a year ago called Waiting for Guffman and you should
go rent it. And really, I think it's a comedic
high water mark.
Speaker 3 (44:54):
It's it's it's hard to find a funnier movie than that.
Speaker 1 (44:57):
Charlie Day, you have been an absolutely delight, exactly as
I imagined. However, you had a lot of coffee when
you were drinking so much coffee, and you were with
Mary Elizabeth and you said, I'll just gonna have one
more coffee and she said, babe, I don't want to
tell you how to leave your life, but I think
you might have had too many coffees there. And you go,
(45:17):
what are you talking about. I'm fine, I just one
more coffee you get. She says, but you've seen jittery
and you go, I'm always jittery. I just need another
coffee and then I won't be so jitry. And she goes, okay,
and she says, but I don't want to be responsible
for it, so you have to make your own. You're like, fine,
I make your own coffee. You make, the coffee, you
drink it. The caffeine goes straight through your bloodstream so powerfully.
(45:39):
You've you've gone past the point of caffeine and your
brain explodes and your head pops right off, Your neck
smashes into the ceiling, falls on the skitchen floor, blood
spurting everywhere. Poor Mary Elizabeth is just standing there. Oh Jesus,
you're just spinning around like one of them things outside
of garage, you know what I mean. And I'm walking
(46:00):
past with the coffin, you know what I'm like, And
I hear her screaming. I go, hey, Mary Liza, with
what's going on? Guys, Charlie's edge just popped off. He's
had too much caffeine. And I go, oh, fucking hell,
it's always the way in it fucking will come on,
help me out, so I'll put you. Tried to put
you in the coffin, but because of all the coffee
spilling out of your neck, there's too much of you.
The news spectr and I said, I go, Mary, Liz,
(46:21):
but give me an ax. You get to that start
chopping you up, trying to get you into smaller pieces
and end up me and I just stuffing you in
in the coffin. Stuff managed to get you all in,
but it's rammed in there. There is really not enough room.
There's only enough room in that coffin for me to
put one DVD into the side for you to take
across to the other side. And when you get there,
it's movie night every night. What film are you taking
(46:43):
to show all the coffee beans in heaven when it
is your movie night, Charlie Day, what movie from movie
night in Heaven?
Speaker 3 (46:49):
Go?
Speaker 4 (46:50):
Please, than any chance I can bring the complete box
set of It's Always Starting Philadelphia.
Speaker 2 (46:57):
You do not have room for that.
Speaker 3 (46:58):
Oh okay, it's very.
Speaker 2 (47:00):
Sweet, very sweet answer. But this company isn't big enough
for five, right.
Speaker 3 (47:05):
It's just gonna be one one movie. Huh oh man.
Speaker 1 (47:09):
It's a really sweet answer, and I'd love to give
it to you. But just the size of the amount
of Yeah.
Speaker 3 (47:13):
It's a big right, it's too many.
Speaker 2 (47:15):
It's too many, too many, lovely idea.
Speaker 3 (47:18):
Yeah, we're gonna watch the Three Amigos.
Speaker 2 (47:20):
What a great answer. They could be so happy in heaven.
Speaker 1 (47:23):
Yeah, Charlie Day, tell the people what to look out
for and watch and listen to with you coming up
in the coming months.
Speaker 4 (47:31):
Well, you know, there's one more episode of It's Always
Sunny in Philadelphia coming out so for this season, for
season seventeen. So I don't know when you're gonna air this,
but otherwise, you know, you can catch up on Sunny
on Hulu. But most importantly, you can go see Honey
Don't in theaters August twenty second.
Speaker 3 (47:50):
And I think it's a great movie.
Speaker 4 (47:52):
And I'm really happy to be working with a filmmaker
that's made me happy so many times. And this movie
has a lot of that Coen brother DNA in it, So.
Speaker 1 (48:03):
I think I think fans will enjoy it. Charlie Day,
well enjoy Thank you for doing this. I hope you
have a wonderful death and I will hope to see
you soon.
Speaker 2 (48:12):
Good day to you.
Speaker 3 (48:13):
Goodbye.
Speaker 1 (48:17):
So that was episode three hundred and sixty four. Head
over to the patroont Patreon dot com forwards. That'spect Goldsteam
for the next to twenty minutes of chat, sequels and
video with Charlie Day.
Speaker 2 (48:25):
Guys.
Speaker 1 (48:25):
Apple Podcasts give us a fine star rating and right
about the film, it means a nice to you and
it's a love thing to read. Really helps me numbers
and everyone's very happy about it. Mind every morning really
appreciates it. Thank you very much, Thank you all for listening.
Thank you to Charlie forgiving me his time. I hope
you're all well. Thanks to Scruby's pipping the distraction pieces
of network. Thanks to Buddy Peace for producing it, Thanks
to iHeartMedia and Wilfero's Big Money Players Network for hosting it.
Thanks to Admission for the graphics and least leading to photography.
Come and join me next week for another amazing episode
(48:49):
coming up. That's it for now. I hope you're all well.
Thank you for listening. In the meantime, have a lovely week,
and please, now more than ever, be excellent to each others.
Speaker 2 (49:19):
Back back back backs, a sack by
Speaker 3 (49:24):
Contact by backs back fast back back by bus backs
and conta by back back back back
Host
Brett Goldstein
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