August 23, 2023 • 49 mins
*This episode was recorded prior to the start of the SAG-AFTRA strike.*
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 Ted Lasso himself, and the comic mind behind so many and so much - JASON SUDEIKIS! The second part!
We pick back up where we left off on the last episode which was a VERY powerful and potent cliffhanger, which took a lot of nerve but we appreciate your patience and resolve. All of your curiosities will now be addressed and the full circle of the Jason Sudeikis two part odyssey will now be unbroken! It's a perfect conclusion, covering many elements of past Ted Lasso goodness, as well as a bunch of goodies that you surely won't have known until now. Please enjoy - it's a lovely one and absolutely worth waiting for!
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Look help his only 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,
(00:20):
a director, a piano stall and I love films. As
Emily Dickinson once said, hope is the thing with feathers
that perches in the soul and sings the tune without
the words and never stops at all. Also, have you
ever seen the Meryl Street film Hope Springs. It's wildly underrated.
I think, oh I would agree with that. Actually, Emily,
thanks for bringing up. Every week I invite a special
(00:42):
guest over, I tell them they've died. Then I get
them to discuss their life through the films that meant
the most of them. Previous guests include Himesh Patel, Barry Jenkins,
Sharon Stone and even But this week it is part
two with the one and only the man himself, Jason Cudakiss.
Remember you can watch all of Ted last seasons one
to three on Apple. If you plus get all caught
up on them before you listen to this, head over
(01:04):
to the Patreon at patreon dot com Forward Slash Break
Golds team, where you get extra stuff for all the episodes.
You get secrets, we discuss beginnings and endings. You get
all the episodes uncut and ad free, and often as
a video. Check it out over at patreon dot com.
Forward slash breat Golds team. This week was a very
special treat. I've included the Patreon section for everyone because
it is filled with so much good stuff and I'm
(01:25):
a nice boy, but I have kept Jason's secret only
for the Patreons because rules are rules, and I think
you understand that. So this is part two with Jason Cudakis.
We picked this up right where we left off with
everyone's favorite question. So that's it for now. I very
much hope you enjoy episode two hundred and sixty two
of Films to be Buried With. Here's probably why everyone's listening.
(01:56):
What's the film you found the sexiest? Jason Seudakis. It's
funny because I mean, I think it's Leaving Las Vegas
or eyes white shirt. Okay, I'm those are fucking nuts, right,
I put them both. But I think I put them
both because on the question is like, no, what troubling bonus? Yeah, right,
which I would have the same two answers, So For
(02:18):
those who never listened to it, there's a sub category
traveling boner is worrying why I don't filmy fand arising, Yeah,
I'm sure you should. So you're putting both these and
flipping them around now. Firstly, Leaving Las Vegas, I'm a
huge fan of I listened to that soundtrack on repeat
for years.
Speaker 2 (02:33):
Amazing.
Speaker 1 (02:34):
I love it. I also think, can't tell you this
and I will. People versus Larry Flynn, Yeah, which I
also love years, but I remember loving it has a
similar thing that I that I really said at the
end of Leaving Las Vegas and the end of People vs.
Larry Flinn both has a kind of non judgmental sex
scene that is what's the word for it, Like, it's
(02:57):
about love, but it's disturbed. It's often disturbing, and in
Leaving Las Vegas he spoiler spoiler skip this if you
haven't seen.
Speaker 2 (03:07):
He's an alcoholic.
Speaker 1 (03:07):
And he achieves he finally has sex with her as
his goal was to kill himself. Yes, and he and
he says, he says, he says, I believe, He says,
Look how hard you made me? My angel is what
he says. As as they finally consummate their relationship. He's
not being able to because he's a alcoholic and it's
(03:28):
sort of disturbing and sad and beautiful and love and
complicated and people with as Larry Flynn Corney Love plays
a very difficult, tragic figure, drug addict, all sorts of problems,
and it's kind of destructive to everyone around her. But
Larry Flynn loves her, and no one else does. Everyone
(03:49):
in the film kind of hates her, and at the
very end of the film, after she's died, and it
ends with him watching a video of her sort of
doing his strip tease for him, and it's similar similar
vibe of like, from the outside, you could judge these people.
Speaker 2 (04:03):
You could say, there's.
Speaker 1 (04:04):
So many things wrong with this, but this love is
a love story that both complicate beautiful love stories.
Speaker 2 (04:10):
Yeah, probably loved her more as an object in the
last one, you know, Larry Flynn, I don't know. I'd
have to rewatch it all to sort of like, yeah,
download how my brain would handle it now, even the
leaving Las Vegas thing, like yeah, I mean sexiest versus
like romantic, and if they're like whatever, wherever those two
are intertwined is probably is probably more of the way
I view Leaving Las Vegas as romantic. I mean, the
(04:35):
sexiness of quote unquote eyes wide shut is pretty you know, obvious,
and I don't know even though if that's really I mean,
I wrote them here because I was kind of like, oh,
these feel I think it is weird. I can judge
myself for finding Leaving Las Vegas sexy because I'm not
talking about like obviously like the awful scenes with the
like the frat guys or even that final scene, but
(04:55):
like their relationship where they both are in their lives
and they're willingness to go to like fall into each other,
I find incredibly sexy and romantic, you know. And there's
tons of less I don't say controversial, but titillating versions
of that story you know, out there, like you know,
like before sunrises, before sunset, Like aren't those like versions
(05:16):
of that were strange? You know, Strangers, you know, strangers
meet and then they just have that that moment they fall.
I haven't seen either, I apologize, but but that's I know,
I know, I know, but I I just I just
love that that part of the in Las Vegas, and
that was another movie that was around that time was
was when I would if there was a book, I
would also read the book. And I remember reading the
(05:36):
book by John O'Brien, and there's passages from that book
that I think about all the time, Like there's a
line where where he writes about the unspoken anticipation of
conversations yet to be had, you know, and I think,
what what what? What is a better summation of like
chemistry like young early love, right, you know? And then
there's the other, like the other I don't have memorized,
(05:58):
but you know, there's there's quotes that I literally have
in my wallet right now from that book from your
our showed that to you. Yeah, yeah, that was fun.
But I remember, like we've talked about this because it
comes up all the time, especially with our show. So
much of it is is is rooted in these things,
and these things are like yeah, I mean three sheets
of paper, but this is yeah, this is my handwriting
from nineteen ninety five. Probably I want to go see
(06:22):
Leaving Las Vegas by myself on New Year's Eve from
ninety five and in ninety six. Well, it's probably like
the second or third time i'd seen the theories. I
don't know, because I wasn't I wasn't a girlfriend. I
didn't want to sit at home with my parents, didn't
want to be in the basement. They were going to
be out sisters and maybe were gonna have friends over.
So I want to go see Leaving Las Vegas at
the Art theater. But this is the This is the
This is from the book A slight elusive chemistry which
(06:44):
occurs only occasionally when two people meet, always a welcome surprise.
It is a sort of quick familiarity, implied permission to
conduct relations at a level which is a bit deeper
than the superficiality of introduction. And like last time I
pulled this out of my wallet and showed it to
people was when Hannah was shooting her scenes yea on
(07:05):
the boat. Because I believe in that it happens all
the time between men and women, between men, between women
and women, and I think that's sexy. I guess I
have it. I really did have it, yeah, because because
I mean, we're all built to be scared of each
other at this point, you know, like it's like more
than ever and when when that ship gets dropped, and
may you keep it dropped as long as possible? Because
(07:26):
I think at some point when you know, the first
person that puts a brick down and it's a little
concrete on top of them, puts another brick and go,
whoa putting bricks? No? No, no, this is just I know,
I'm just building making Okay, Okay, I need to sit
I'm tired. I just want to sit down, all right. Yeah.
And An eyes Waite show we've talked about now, so
(07:48):
I watched I've seen it once, Yeah, did not like it.
Speaker 1 (07:51):
I watched it yesterday in preparation for this as an
as an olderman, and I find it fascinating.
Speaker 2 (08:00):
Yeah, I just think it's I just think it is
a meditation a male jealousy for like hours, Like I
just I I I think it's all like the love
of your life that you've that you've taken for granted
then tells you that she's had fantasies and then how
that tears you up inside and like off he goes
and and and and is presented with you know, one
(08:24):
obstacle or angel or illusion or you know, possibility endeavor
after another indulgence, whatever you want to call it, and
he just has to and he just what's he gonna do?
What's he gonna do. What's he gonna do? I I
just think I haven't watched it in a while, but
it's yeah, but I you know, I I I felt
(08:44):
that that pain, that that that like that questioning of
my worth, my self worth, my value at the hands
of another person at a at a at a young
enough age that it that it rocked me in a
way that when I saw it, I was like, oh,
now that's sexy. No, but it's but I mean the
imagery is obviously, you know, sexy. I mean, I guess
(09:06):
if you to a certain degree, like you know, I
like people's faces, but I guess the mask there's lots
of that's a very nice boddies. Yeah, yeah, And I'm
sure all the guys, all the guys in mass probably
of great bodies. They probably do.
Speaker 1 (09:24):
These has so many thoughts. Have you seen bo Is
Afraid Afraid?
Speaker 2 (09:30):
The film?
Speaker 1 (09:31):
No, that's sort of like a three hour comedy, a
kind of extreme extreme comedy of paranoia and guilt. The
idea that you're sort of like that the world is
conspiring against or whatever.
Speaker 2 (09:43):
I read.
Speaker 1 (09:43):
Shat is a kind of two and a half hour
film about the world genuinely conspiring against Tom cruise ever
getting late, like it's the whole thing and it's and
it kind of is conceptually funny. It's not funny. It
didn't make me laugh ever, but it is kind of funny. Well,
(10:04):
the situations are funny. He guys to this person to
have sex and then guys to this person president any
of that sex. Then she's dead. This person headaches IV like,
it's kind of the whole to night event. He guys
and he goes to a mask bowl and gets found
out he's not going to be that even though he's
runing a mask Like, No.
Speaker 2 (10:22):
He could have he could have taken any of those
rooms and had sex with Alan Coming if that was
his if that was his preference. But down Coming incredible
in that movie. Yeah, really good, like just like three
minutes and just wait like that. That is an example
that I would give for for like a day player
any day of the week where it's just like or night,
like I'm just like watch this, Well, that's sound coming.
(10:42):
We didn't know that then, I mean people in New
York would have known in the theater world, but like
I didn't know was Alan coming. All I knew was
that that fucking dude is like it feels it feels
like so real and knows so much more about what's
going on than what's going on. And I loved it.
He said that players Curbity Family, He's probably there for
five exactly nice work if you can get it prettym alone,
(11:05):
you know.
Speaker 1 (11:06):
And what I find really interesting And I hadn't realized
because it's a weird film for Tom Cruise to mate,
because his character is essentially emasculated for two and a
half hours. Every scene he walks into he looks like
him Craiz and acts like Tom crazy.
Speaker 2 (11:22):
It's the scene yeah, emasculated in and the confession she
makes is about as emasculating as like one could become,
like through words, you know, like you know, she's just
in there in that reverie and she's she's living it
right in front of me, just like what And I
love the like like even when he thinks about it,
when they're going to his flashbacks and the guys still
(11:44):
in his uniform, she's completely naked and it's like that
blue light where everybody looks good and and it's just
like that's exactly what it would what it can feel like.
Speaker 1 (11:52):
You know the fact that he did Magnolia next, and like,
it's so interesting was that right after they came out
the same year. I always love that he did did
the most emasculated character and then played the most hyper masculine.
Speaker 2 (12:07):
Yeah, that's something else I love. I think that's a
good that for me was like, yeah, I think that
that guy would become that guy if they hadn't. I
always think about that what Tom hangs like in nineteen
eighty seven, I think it would have been. He did
both Punchline and Big. You know, they came out in
eighty eight, and you're just like, wow, that's like I
felt that, you know, I think I think right around
the same time, I did Mother's Day and Colossal, same beard,
(12:29):
and I think they overlapped. And part of the reason
I had to I wanted a beard for Colossal and
I did Mother's Day first and they wanted me to
be clean shave, and I was like, I can't because
I have to have a beard for this and this
is you know, and they it all got worked out.
But like that's like one of those weird It's certainly
something I know when choosing things to sketch, like sketch comedy,
like actor in me that doesn't want to play the
(12:50):
same characters, you know, in the scene right after I
just played that character. That's that's a part of me
that probably made you know, mixtapes. You know, you don't
you don't want to have you know, two public Enemy
songs right after each other, want to have you know,
want to open you up and want to close you
out or something like that, you know. But but yeah,
that's that's great. I don't know, I don't in the
same year, and.
Speaker 1 (13:08):
I know it's like it's like a film noir in
that he's this kind of guy who doesn't know as
much as he thinks he knows and is destroyed by
a fem fatale, except that it's all in his head. Yeah, yeah,
it's so and in fairness. Yeah, and like a film
has a happy ending, yeah yeah, yeah, yeah, has a
positive like similar ending.
Speaker 2 (13:29):
You know, it's like certainly when you're fuck, it's like
almost similar to what we need to do very soon?
What's that? Yeah? Okay, yeah good? And you know, not
to the similar from Le Las Vegas and Larry Flint
in a way, except you know they're both alives. Yeah,
very weird.
Speaker 1 (13:48):
Yeah, yeah, what is objectively objectively the greatest film of
all time might not be your favorite.
Speaker 2 (13:55):
I mean, but I spoke about earlier, but I mean
Citizen King, Yeah, correct, I I I know it's like
if I top one, it like sounds like such pretensions,
I answer, But when I every time I watch it,
I do have the tendency to put it in the
time and place of when it was made out it
was made you know, Yeah, because I don't know, I
honor that context, and it does it It comes back
(14:15):
for me, you know, time and time again, and people
much smarter than myself, you know, would concur. So I
feel pretty good about my answer.
Speaker 1 (14:24):
I think one of the under the text of this
question great, what is the film that you could or have?
Speaker 2 (14:33):
What's the mist? And every gain three came to mind
really quick and they're all still like and so I
sort of had them based on if anyone came up earlier.
But none of these ones come up. But I put
pulp fiction Color of Money in Beverly Hills Cop. Beverly
Hills Cop I've spoken about to a degree, but you know,
pulp fiction and Color of Money. I knew I like
the Color of Money growing up because one of those
(14:54):
movies I saw with my dad, and I love going
to play pool with my dad, which really was usually
me playing pool next to him and sort of what
the dart speech is based on, although it was billiards
and my dad would play with friends and I'd play
on the table next to him and just get plowed
on cherry cokes and potato skins, and he'd let me
have money for the jukebox. So it was great, you know,
and I just get to watch my dad play and
(15:15):
see him, see him in his Then they played doubles
and it'd be like, you know, Sunday afternoon, you know,
Saturday afternoon. It was great, We're going up to buddies.
You want to come? Yeah, you know, we get taco
bell afterwards.
Speaker 1 (15:23):
Blah.
Speaker 2 (15:24):
But that movie, I loved it. Then I loved the soundtrack.
That was a soundtrack I used to bring overder friends
when I had sleepover, especially a friend. A friend had
a pool table, which a couple people did you know,
they're and you know, doing better than my folks. So
they had pool table in their house and I'd put
on that thing and I try to do all the
moves and all the shots from the Color of Money,
and it was just from beginning to practice, you know,
(15:44):
once a week all the time with my dad, and
then Who's Still Alive and all that. That's I'm just
saying that darts replacement billions. But the impetus for that
monologue is in that time and space. And then as
I got older, remember going to see it. Ezra and
I went to go see it at the Metrograph. They
did they at all the Scorsese and like it feels
really really weird when people are talking about Scorsese and
(16:05):
they're going around, which fair Scorsese movie And I'm the
one that says color of Money. You know, he says
color of Money. We say it on the show, you know, like,
but that's that's it. I was recently, I was saw
Ed Norton, who's brilliant, like you know, like like legitimately
like like knows movies but also just flat out like brilliant, right,
And we were talking about something oddly enough, we were
talking about like Tom Cruise and and Magnolia and that character,
(16:26):
and he was saying how much, how much he loved it,
and that's got a thousand stories about and they're all like,
you know, fair you know fairly, you know recent too,
So It's like it's not like he's dipping back into
his bag of tricks of like you know, when I
met Walter Mathow, even though he probably knows Walter Mathow,
you know, or worked with him in some way. Anyway,
He's talking about Tom Cruise and and he goes, he
was that part that part by him was so incredible
and it's just like that, and I was, and I
(16:48):
was about to say, yeah, but my favorite he goes,
he goes, I mean between that, I mean not like
Color of Money. He says that. I go, Now, here's
a guy who's worked with the Niro you know, many
times over, like you know, it's like directed films, just
absolutely a cinophile. And I go, wait really he goes,
he goes, yeah, hees, Oh, Color Money's incredible. And I
felt like so seen and like like two kids that
(17:10):
you know, almost like that scene in Step Brothers where
they're like, oh, no way, no way. And then got
to geek out with him and just talk about that movie.
But yeah, that movie. When that, when that shows up,
I just love it to pieces. I can pick it
up anywhere I find so much, so much again similar
to searching Bobby Fisher of our show is rooted in
my love and lack of understanding, but like growing and
(17:32):
grown understanding of color, of money, that it's all about
just male mentoring, about you know, father and son relationship,
you know, and who he chooses and and and the
way we you know, treat and hurt people, whether accidentally
or you know, just by being ourselves or not realizing
that you're hurting people, both male and female, all the
on the way up or on the way over wherever
you're headed. And yeah, that that one knocks me out.
(17:53):
Great music, great performances to the all time greatest, like
great parts, roles of character actors as well to Turro
is incredible in it. And it's just I love it
to pieces. And then pulp fiction is similar thing. Pul fiction,
as I said earlier, was the first one I want
to go see by myself. But yeah, that's another one
that I've definitely ripped off, you know, accidentally and intentionally,
like dozens and dozens of times, whether it be taking
(18:16):
a couple of a phrase, a style choice and music choice,
like I find that to be just. But even I'm
just gonna call him boat guys. You never say his
name in the show, but boat guy you know on
the you know, talking about his foot massages. His technique
is sound. I don't be ticular or nothing. I saw
pulp fiction, you know, but yeah, put in at the
end in a lot of sketches too, and stuff we
(18:38):
do bits. I just think I just think it's it's
a uh yeah, I think it's a perfect complicated, you know,
fascinating movie. And it was one of those ones that
again that I watched that at that time it would
have been, you know, ninety ninety five that it was
like that obnoxious thing that they kids feel where it's like, oh,
if I would have written something, I would have written that,
like of course you would have yeah, yeah, sure you
would have. Perfiction is fucking incredible, and I did it.
(19:00):
I think I was the same. And sorry a million
times of cinema.
Speaker 1 (19:03):
But Color of Money, I love Scor's mainstream his ones
for them, Yeah, I think Color of Money cape fit
fit he makes a banging.
Speaker 2 (19:14):
That would would be considered a one for them, I believe. So.
I believe it was because he didn't want to.
Speaker 1 (19:17):
It's not like when most of his films he originates
and like Paul Newman asked him to do it, and
he didn't really want to.
Speaker 2 (19:25):
That's great.
Speaker 1 (19:25):
He was sort of dragged into it and then was
like yeah, and he never worked in his mind, he'd
never worked with a stub.
Speaker 2 (19:31):
Focus grown up with Yeah, yeah, yeah sure.
Speaker 1 (19:33):
So it was sort of like, I'll try and make
a mainstream filmy fucking bang.
Speaker 2 (19:38):
He makes really good. I love it. We want to
go see it on the big screen, And it was
because it was one of his favorite too, and he like, yeah,
we just geeked out the whole time. Yeah, I love it.
I mean, there's there's acting things in there that I've
definitely you know, cribbed again, whether it's what they were
doing or the intention I got from it, you know,
I just you know, went along, just just it's just
always sits there, just always sitting there in the back
(20:00):
of my head. I feel like I know five movies
really well, and that's definitely one of them. Yeah, you know,
and and even the way I remember it now, which
might not be exactly as it is if I already
go back, now, yeah, what is that? How does that go?
You know? And then I'd say, go, oh, you know,
you might want to hold on to the the teenage
cut in my head. That's funny. Yeah, it's be negative.
(20:22):
You love it? What's the West film? I don't. Yeah,
this was hard because I'm kind of like they all
had like they've got something. But but I remember being
outraged at Titanic because it also came out the same
year as like Magnoia, around around the same time as
Goodwill Hunting, not that Magnoia was I think Magnoia was
actually maybe ninety nine, excuse me. So it was definitely
(20:42):
definitely in the in the same time that I was
going to see movies in the theater by myself as
Good One Hunting and give me that movie a hundred times,
and then I'll watch Titanic, and then I'll watch that
one hundred more. I'll watch you know, Good One Hunting.
And it's just just the style of movie that I prefer. Now.
It doesn't mean visually, it's not you know, debating and
that the performance start aren't iconic. The song's badass there
(21:03):
you know you could you could you do that pose
and everybody knows what you're doing. I love the iconography
of it. But but for me, I I I just
was so much more engaged in the storm the Iceberg
that you know that Robin Williams made Matt Damon hit
in his heart. I want to see I want to
see someone drowning their own self esteem or or you know.
(21:27):
I just love that. And and it's silly to put them,
you know, neck and neck side by side, make them competitive.
But unfortunately that's what fucking award shows make you do
with art. That's like, okay, if I had to pick,
and so I remember being upset at that, but I don't.
I haven't watched in ages and I can sider here
and I know it's I know it's incredible filmmaking. I mean,
for God's sake, the guy knows what he's doing. He
doesn't need me to say otherwise. And so I feel again,
(21:48):
not even from like being a bad show businessman, you know,
talking shit about.
Speaker 1 (21:52):
He's very sincere. Yeah, because I didn't like but all
this stuff is very earnest. It makes very earnest. Yeah,
he really means there's not a lot of sachty in anything. Yeah,
but he really means it.
Speaker 2 (22:08):
And I probably was a big Yeah he means that,
I hope, so I'd be curious of people closest to
him and think that you know, yeah, I got that,
you know, so I mean, it's I at some point
in my life I could have you know, that wuld
have been I'd have, you know, forty answers for you.
But that's just me, just a prick. You know. At
some point once, especially once you have the opportunity to
(22:30):
do it and you've gone through it and it's good,
it's hard to like, you know, talk about anything I
unless there's a level of like hubers that involved, or
or some type of like behind the scenes shenanigans that
you're aware of that you're kind of like, oh, that sucks.
But even then, if the work of art like turns out,
it doesn't excuse any bullshit, but it does, you know,
(22:51):
temper it a little bit. You know. Again, I still
don't want Linda Blair, you know, getting strapped to it
and getting strapped to it a bed that really actually
moves like that, and her yelling, screaming, saying stop stop,
and she's not talking about the devil she's talking about
you know, if that's real, if that's a true story
in her back, I didn't know that. I love her. Yeah, yeah, what.
Speaker 1 (23:15):
Is You're in comedy, you're a comedian, You're very funny.
What's the film subjective that may laugh. Well, I said
it earlier, just invoked it.
Speaker 2 (23:23):
But like Step Brothers mcgroober, yeah, I mean like, I mean,
I do. I think I think those are both. I
remember seeing Step Brothers by myself in the theaters and
I just like, I just laughed my ass off at mcgroober.
I went to go see you know, I've seen many
times and that's always one. So you do a certain
age group that I grew up with, like movies like
Schwarzenegger and and uh, you know stallone type films are
(23:45):
Van Damn. I think mcgroober is so so great and
it really like I remember seeing The Jerk, you know,
and if you're going to see anything at the Hollywood
Cemetery yet, yes, okay, great, yeah, so yeah I would.
I would have hoped so. But I remember going to
see The Jerk there a few summers ago, and as
I'm watching it, I was just like, and I didn't
love the Jerk the first time I saw it, you know,
but in that same weird way that I think we've
(24:05):
talked about, like with me and money Python guys pressed
up like gals. And then I see it when I'm
like twenty five and I'm like this is everything I
fucking love, you know, and the movie is the same
I changed, but the Jerk I love Steve Martin and
like you know, three amigos I grew up with that.
I was just a little bit too young to know
him as like the comedy like you know, Eddie Murphy
was was more of my generation. And when I saw
(24:26):
The Jerk, I watched that I and I literally felt
like I had like nine year old Will Forte sitting
next to me and like and like I could see
it like I feel emotional about because it's like I
and it made me love the Jerk so much more.
But then I also realized that, you know, and I
don't know if Will or John Solomon or Yorma, who
directed the film, like would would own this or but
(24:48):
it feels to me like so much like what if
the Jerk was an action hero. There's there's so many
similar like kind of like and I don't mean he's
ripping them off, I just mean influenced by it. It's
just so it's so funny to me and so relentless
and everything that I love about Will's style of comedy,
it's just it's just one hundred percent original one hundred
(25:08):
percent confident, no holds barred, and for him to have
that sort of connection with his writing partner's good friend
John Solomon, who I worked with the snel and then
also our buddy Yrma Tacone who was one of the
on the island guys to the three of them, and
then also be able to harmonize, you know, with wigs
and then all the you know, Ryan Phillippie, and I'm
(25:30):
blanking on the fella's name who just passed away, who
plays like the General like the way that everybody no, no, no,
He passed away a couple years ago at this point,
I'm blanking on his name, but incredible character actor, but
he plays like the you know, the general, like he's
the heavy and it's one of those things that I
just it tickles me to no end, like it's just
I love it. I think it's hilarious. Do Do Do
(25:52):
Do Do Do Do Do Do Do Do to Do,
to Do, To Do to Do. Welcome to the Patriots section.
That's incredible and now do you have real music there?
And that was that was great. Keep pocket that money
(26:13):
for you. I mean it's gonna be how much.
Speaker 1 (26:20):
Welcome s the Patriots my patrons, what is the film
that changed your perspective on something?
Speaker 2 (26:27):
Okay, there were a couple and let's see in order
here at Beverly Hills Cop It was huge that and
I go to see it at nine years old in
the theater. But it was also like this fascination with
like the humanity of race. You know, only one person
says the N word, even though it's all about you know,
class and race, you know, and Seddie Murphy, you know, Like,
but I just loved how much how funny and how
(26:51):
smart he was and how kind he was to everybody,
even even the bad guy, you know, even the Victor
Maitland for a good and Jonathan Banks character for a
fair amount. And I think that movie is all about friendship,
you know, And like I didn't know that at the
time why I loved it, But looking back at it now,
it's like, oh, I just I just love the way
he's so it's very much very you know, last so
very much rooted in the way he looks towards you know,
(27:13):
Tagger and Rosewood, being like, you know, guys are super cops,
you know, like, and he doesn't get mad when they
caught when they rat him out. He's like it was working.
I don't know, I don't get you guys, but I'm
gonna figure it out. Like that's all there. But it
was like there was just a level of humanity to that,
and I love that it was in a black fellow,
you know, like growing in the suburbs, you know, like
we had a few people of color, like, you know,
(27:35):
but like not not many at all, you know, And
so it was lovely to just sort of be able
to view that as this, you know, white kid from
the suburbs and just he was just such a kick
ass character doing doing right by people. I love the
second one I brought up just a second ago, his
boys in the hood, and that was lovely to see
the music that I was listening to at that time.
(27:57):
I was listening to a lot of gangster rapt like
Iced T and NWA, and it was really really but
I was a poser, you know, as a tourist, you know,
I was just listened to it because you know, we
all were and weren't supposed to do and all that stuff.
I didn't really understand the stories behind these stories. It
just all was you know, cops and robbers, you know,
or you know, cowways and Indians back then, as we
would say, And so bloods and crips were like, you know,
(28:18):
different than sharks and jets from West Side Story. And
then you see this movie and now that it's a
documentary by any means, but the fact that it showed
these very human sides of the of this, of these
conflicts going on, and and and even a deeper understanding
of why maybe those conflicts are going on and and
why people gravitate towards those kinds of conflicts, and and
the importance of having mentors or figures in your life
(28:39):
or aspirations beyond those conflicts to help you like navigate
the world, but also maybe even like circumvent those those conflicts.
And so yeah, that that movie was a big one
for me because it helped me feel a little bit
more the again, like the humanity, the real side of this,
of this art that I was ingesting unknowingly and whatnot.
(29:00):
And then the other one that came to mind that
really got me was Dead Man Walking, Oh great with
you know, with with students rand And I remember watching that.
I think it might have been when I was working
a Blockbuster video and I remember watching it in my
home because I would get five free rentals a week.
My favorite thing was the five free rentals, and then
the employees picks a number of which I've already I've
mentioned and h but I remember watching Dead Man Walking
(29:23):
and feeling that way about the death penalty. Just when
she goes into her thing. It's just like so calculated,
so control, you know, Like I was just like I
was like, yeah, I was like, as bad as it
can be. I don't know if it's I don't know
if it's that bad. And I and I respect anybody
who's gone through a situation where they've had but I
am I am a believer in restorative justice. It's it's
(29:43):
it's again an underlying theme of our TV show, whether
we've ever spoken about or not. But I think some
of that is deeply rooted in that film in the
way I just you know sister, you know, preaging. I
forget I say her last name, But I just found
that to be very, very moving in a way that
I wasn't anticipating. Yeah, I just wanted to watch you know,
(30:03):
COOLi be a badass, Right, that's a great thing. Yeah, Yeah,
I haven't watched it in probably since it was pure
came out on video.
Speaker 1 (30:10):
Yeah, so you would. I'd love to know what your
employee picks.
Speaker 2 (30:14):
Right. Some were already so so pulp fiction would have
been in there. Probably die Hard, which I haven't mentioned
but I but absolutely I think it's brilliant and all
about fucking stupid guys are leaving Las Vegas would have
been there. I mean, Golden Child probably would have been
in there before Billy Hills Cop at that point, you
know what I mean, without me, without me knowing it,
just being like, oh, I'll pick the path let's traveled.
Extracist rope rope was in there. Yeah. Did you enjoy it? Yeah? Yeah?
(30:40):
Had you ever seen it?
Speaker 1 (30:40):
More? I was basically I think maybe the anw to
come from ahead and see, Yeah, it's the ultimate there's
a bum under the type.
Speaker 2 (30:48):
Yeah. H How film is tense? Yeahically it's great. It's
automatically tense. Again, that was when I started getting that movie,
when reading about how movies were made and the fact
it was done you know, in these big sh and
then people were moving furniture, and I love it again
that the notion that just translated to me as being
a former. At that point, just about the end of
my basketball playing career, but people all working together for
(31:10):
a common goal, even if they're on the bench. You know,
they're not, they're not on camera quote unquote on the
on the but the way they play, the way they practice,
the way they need cheer and encourage from the from
the sides, you know, I like, I found that fascinating
love you know, Jimmy Stewart obviously, and then and then
the fact that it was based on a real thing,
you know, like the Leopold and Lobe murders. Who are
you know, a couple you know, smarty pants that went
(31:31):
to University of Chicago in like the forties and then
you know, killed a guy for sport, you know, type
thing getting a little bit wrong. But I loved that
idea that you could take real life and then do
something else with it, like kind of like almost get
to replay it, you know, to a certain degree, you know.
I mean we've talked about that. The elements of of
(31:51):
our shows, like things that that through either my character
or other people's characters, got to replay things that I
that I you know, fucked up in my opinion, you know,
and so instead of having regrets or guilt, you know,
it's turning into our Color of Money would have been
in there. But yeah, I mean there's anything. Oh Sleepless
in Seattle would have definitely been there, I under saying,
Willie Wonka nice. What's the greatest? I think the first
(32:14):
one came to mind was The Hustler for me, oddly enough,
the prequel, if you will, Color of Money, which is
the way I love, I love sharing those movies with people. Now,
is that because Color of Money is such a as
you were saying, a banger, a hit, like the music
everything boom, we gets you into these characters whereas you
know a little more meditative, you know, a little more
deliberate and slow and again black and white and all those,
(32:36):
you know, things that some people estemily have issues with
to watch The Hustler, But if they love the Color
of Money, then you're okay. Now let's go back in
time and watch how the son of a Gun became
who he was, See where the fast that he came from.
But I just I just think it's a great I
love that scene because it's it sets it sets a tone.
It's I mean, same thing with these ones that you
say not to use, you know, Glorious Baster's raiders, you know,
(32:57):
like where it sets a tone. It's not that you're
taking care of of But then he's fucking great at
what he does, and he's like and you're like, boom,
you I know who the hustler is. I know what he's,
what his deal is. Let's let's let's let's see what happens.
But I think it was it Hitchcock or somebody that
said that, like, you know, if you make a person
good at their job, they're more likable, like that that's
inherently likable or something some version of that. It may
(33:18):
not be Hitchcock, that's interesting, but I think I like
Stephen King doesn't, or like, you know, some King has
the thing about how people in stories they love people
at what they love people's jobs, but with they're good
at it. I guess I feel like that there's someone
there's there's something in my head that I've put in
there a long time ago. I've attributed it to Hitchcock,
but but maybe that's just all actors are cattle, and
(33:39):
I'll just try to find the rosier side of it,
you know. But it's something about if you know someone's
good at their job, you know they're they're they're inherently interesting,
maybe more than likable, but interesting, and so like I
love that Martin Riggs and lethal Weapon is a fucking
like badass shot. Yeah, you know, like right, like like
the fact that he could take a dude out from
from that far away. It was great. It's like he's
(34:00):
not just crazy, he's also very good good yeah right,
but yeah, the Hustler is one that that that that
comes to mind. We use the end in episode we do. Yeah,
that was a fun day on set to like to
show all those those young fellas like me holding on
my iPad like Lloyd Dobbler in his boombox and saying anything,
(34:20):
I'm like holding up the November like this is what
we're doing. This is what we're doing.
Speaker 1 (34:24):
We tried to explain it. Then you're like coming here
and everyone and they just watched They're like, yo, that
movie looks so dope, and it's like, hey, the movie's great,
but everybody get what they're doing.
Speaker 2 (34:31):
Would we do that? Two takes? Three takes like whenever
we did those like those fucking dudes, I mean, but
that's what I love about working with former athletes and
theater folk is like like they understand blocking they understand,
like they understand running a play, they understand the purpose
of the play, like oh maybe I'm just here to
just have this little moment. Nobody makes it too much
about themselves. But I love that ending of that episode.
I mean that the Fear character most specifically, and the
(34:55):
song is perfect. But just watching everybody take their little
moment and knowing what we're doing. It's quickly specific handshake
for everyone yeah yeah, yeah, yeah, or tap hero tap
there and then and then you tap on the sign
and off we go onto the finale. What's the greatest ending?
Do you know? My answer? I've talked about a lot.
We watched it in the writer's room, not a bunch
(35:15):
of beliefs. I remember it being the thing even this
last season. I think third Man. Oh yeah, like yeah,
I mean we specifically was the ending? Yeah, we never
used that day right now? I forget. I remember why
we watched it. There's there's something, there's something in the
show that's that's rooted, isn't it visually?
Speaker 1 (35:35):
Like when bid comes up behind said, when the phone
talks about maybe, but it's obviously.
Speaker 2 (35:42):
That it's Yeah. I can't remember, I can't I can't remember.
Why may have been a storyline that we didn't actually
end up manifesting. But regardless of the end of that yeah,
the end of that movie, because I think it's real.
It doesn't mean that he doesn't chase her, it doesn't
mean that, you know, like whatever. But but for the
end of that of that specific story of that movie, yeah,
(36:04):
I just think it's badass. And it's so you got
the Anton kars score, you got the you know, like
the leading man leaning against his car and here she
comes walking down this beautiful tree line street and you
know what's gonna happen. You know what's gonna happen. And
then she did what happened, and it's it takes it
takes a while, and it's not but it's one of
those times that one of those things that we talked
(36:24):
about like in the in the writs room here and
there's like, yes, scene can take its time when it
has a good you know I would say punchline, like
even if it's not for a laugh, it's like, oh
but if you know what it is, like we could
take we could have James Tart like keep needling his
son from and make that slow walk across the room
because we know that Roy's gonna make that quick rock
(36:45):
across after after he gets escorted out, so it's gonna
be like this, and then you're then you don't even know.
We didn't have the George Harrison's on at that point,
but you knew. It's like it's one of those things
that you I know, it'll it'll present itself when it's
supposed to be. You know, It's just we didn't need
it there. It already had music to it. I had
you know, lifts and drops and falls, and you know
like it felt orchestrated in a way that was just
(37:05):
like working. I mean, we pretty much worked backwards from
that Hug if I remember correctly, like not or to
a degree, like I remember seeing the Hug very clearly,
and just feel like, Okay, what's your favorite film? I
don't know if I've seen it yet. You know, having
a dad who didn't necessarily or still having a dad
who doesn't necessarily know his role or or or didn't
have it to pull from whether what to do or
(37:27):
what not to do, just not there. And then being
an older brother. I feel like movies and certainly television
provided me with a bunch of examples of older brothers,
you know, uncles. It was always kind of funny to
have like a famous uncle when I also had all
these other people that almost maybe subconsciously considered uncles, whether
it be Tom Hanks and Michael Keaton and people that
I've actually like got to hang out with at this
(37:49):
point through we started out live or just you know,
one reason or another. Music was always that felt that
way too. That it's hard for me to say what
the favorite is because it changes. It changes all the time,
changes all all the time to day to day, the
day that you were assassinated. Yeah, I mean, I'm trying
to shake it, but it keeps like post society, which
(38:12):
I wouldn't haven't mentioned at all, but it's like it's
like human and Christmas.
Speaker 1 (38:16):
You did that as a play a play, and I
didn't know you or live in I see it.
Speaker 2 (38:23):
Probably the movie holds up. You'd probably better off. All
the fellas were great, and I you know.
Speaker 1 (38:29):
Did you do it knowing the film as well as
I'm assuming you did, like as in.
Speaker 2 (38:33):
It wasn't doing an impression. I did it my version.
Speaker 1 (38:35):
You were the things we like. I have to not
do that just because it's a bit like like was
it devid tricky that.
Speaker 2 (38:41):
No, it wasn't. It wasn't that it didn't feel that way,
and I certainly wasn't directed that way. And Tom Shulman
wrote the play, but it was like the first first
time it had been done so flowing John Doyle, who
was a lovely man, accomplished director in New York on Broadway,
et cetera. And then then a bunch of young fellas
you know, and one gal played knocks over streets, you know,
the woman he yearns for. But no, there were in
(39:04):
times going past, like like when I when I would
do like I didn't do plays in high school, I
would do like a speech and debate class, and we
would do scenes. We would do like scenes from like plays,
but sometimes from movies and like you know, a few
good men with the court room scene, you know you
can't handle it, tru I'd play the Tom Cruise part.
My buddy Ryan would play the Jack Nicholson parsity of
to like you know, seventeen year olds trying to do
(39:24):
you know, like heavy duty scene like I want the truth,
you know, did you order the code red? And we
would do it for like, you know, on Saturday mornings
at like competing high school, you know, for like whatever
for class credit and grades and whatnot. But I would
always try to do an impression straight up of like
trying to do Tom Cruise, like his cadence how when
he got mad? At how he and how he got mad,
And it was kind of interesting, and I sort of
(39:45):
took that same idea like the Second City when I
when I worked there, because when you first worked there,
if you get the chance, like in the touring companies,
you do archives scenes, you do scenes that you know
people had done before. And I would pick scenes based on,
you know, a couple of people that I really really aspired,
you know, to be, like a guy named Scott ad Said,
guy named Kevin Dorf. They were both like, you know,
(40:05):
heroes of mine, and Kevin even at that point, even
being like an older brother mentor to me when I
first got there, and I'd watch their scene and I
would just basically do impressions of them. But people didn't
know you're doing impressions of them because they weren't qute
unquote famous, like as if you were doing Humphrey Bogart
or something like that, Chris Farley, you know, And for me,
it was just all about trying to serve the peace,
trying to get the same laughs that the person who
created the role got right. So now I'm not trying
(40:28):
to like keep up with that tally board in my
head trying to get those lasts. So then it was
like when doing when saying yes, the Dead Post Society,
I'd already worked second city that had heroes or you
know standing above me started out live like heroes legends
like you know that just as ghosts standing and then
in some real life, you know, in the living legends
like you know, Wig and Bill and Andy and you
(40:49):
know friend et cetera, you know, like right next to
me at the same read through table. So I was
like used to like taking on something Robin had just
passed Robin and Robin Williams had just passed, you know,
with you know, just a little it prior. And I
just loved that role. I loved that role growing up.
I loved watching it. I would always answer the question
if you weren't doing what you're doing now, what would
you do? Is like, oh, I'd like to coach basketball
(41:09):
and teach you know, teach English or teach like you know,
theater or something like that. So I here I get
to pretend to be a teacher for a little bit
as a you know, as a new a new father.
I mean, I remember us performing that piece, that story
the night of the election in twenty sixteen, you know,
and it was very surreal to like and then and
then even more surreal to do it in the in
(41:29):
the nights following, you know, when they are like protests
in Union Square Park, like, you know, just two blocks
away from where we were, and yet when I go there.
I went by there in between after a rehearsal and
before our show, and I would I run into Josh Charles,
who played Knoxcover Street. I was like, hey, and I'd
known him because he'd come to see improv shows all
the time. I say, hey, I'm doing this thing. He goes, oh,
it's so great. He was, you know that in the
(41:51):
movie John Keating was dying and then and then uh,
Peter Weird told Tom to take that out. It's like,
don't don't have him die, And I haven't die because
that kind of takes away from the whole story. I mean,
I'm telling you this is probably like gonna be sixty
five percent correct based on the retaelling retelling, So you know,
someone might know the story better and I would defer,
but yeah, but just for him to share that, that
(42:13):
was like, he's just very human with it, and he's
you know, he's supportive of it, and like, you know,
but then I go back and there, hey, I'm met. Yeah,
you know, you know, I met, I saw and he said,
you know, good luck and break a leg and he's excited,
excited for us, and so asking the way those things change,
and just even even during production and process and and yeah,
Tom Shuman won the Oscar for that screenplayer. Would he
(42:34):
have if if if he'd been dying, I don't know,
or would people have been like that's too much. Just
have him, get him, have the have the romantic get
booted from the school because of bureaucracy, and we'll vote
for that.
Speaker 1 (42:44):
But if he's dying, that's a bridge too far, that's sacase.
You've been wonderful, Thank you exps much. However, yeah, you
when you were playing basketball, mind and you being very
good at basketball as you are, but from behind you
(43:05):
could be mistaken. It's certainly for him enough a window
for a former president and someone was trying to fascinate
that form president for various important political reasons, and they
pulled the trigger bank back of the head dead. I
remember when a sway can you replicate it with your web?
(43:28):
They had a silence around. I was walking along the court,
walking around to Brooklyn, right with my coffin, you know
what I'm like, and I see lot of people standing
around the court not playing. I'm like, play boat, what
are we doing? And everyone goes I think the former
president's been shot. I go, what former president?
Speaker 2 (43:49):
Play?
Speaker 1 (43:49):
I come on the court and there you are, dead,
splattered on the court everywhere.
Speaker 2 (43:55):
It's a mess.
Speaker 1 (43:56):
And because of the impact ability, your face has spread
out across the corn got like, oh, caught amongst thetomach.
Speaker 2 (44:05):
Yeah, I'm sure probably at that point would be just
concrete conc outside.
Speaker 1 (44:11):
So I'm like, oh god, guys, can anyone get a digger?
We get a digger, have to drill into the concrete
to get all the bits of your stuff, all of
you in this.
Speaker 2 (44:20):
Banks Yeah they have to do with banks. Yeah.
Speaker 1 (44:23):
Yeah, well it's exactly like you wear a banks. That
was the twist. Damn this guy, yeah or girl, I
don't know. I push everything in the coffin. But there's concrete.
There's more of you than I was expecting. Certainly visually,
I hadn't predicted this much heavy stuff heavy as well,
very heavy. But I'm strong. But it was difficult anyway.
(44:45):
I get everything in the coffin, but it's jammed. There's
no room in there. There's only enough room for me.
Just slip one DVD into the side for you to
take across to the other side. And on the other
side is maybe night every night, what film are you
taking to show? The tacos in Heaven? Is your maybe
Jason c Day case place.
Speaker 2 (45:02):
If possible, takes seasons one, two, and three of Ted
Lasso here. That is just to just you know, just
be like yeah, but then maybe that's lovely. I mean
that feels that feels technically a film. But it's one
big film. It's true. It's not the you know what
I said.
Speaker 1 (45:19):
It was one big film, one big three hour story,
you know, one big, one big, old, big old story.
Speaker 2 (45:25):
Because we definitely did more than three hours. M three acts,
three acts, three acts. Right, Yeah, you know what I'll do.
I'll take a sleepless in Seattle because it's you. I'm
gonna let you take. They have like a case logic,
like the slide playing take a couple. I mean, I
don't have to take Ted last season one through three.
They can, well they can probably if they go out.
(45:46):
Yeah that's where they're in the eye cloud, but they
just call it a cloud. Yeah, okay, you can have that,
and then take Sleepless in Seattle.
Speaker 1 (45:57):
Yeah, Jason, before we sign off, may I say in
public on here, thank you for everything. Thank you for
changing my life, thank you for having me on the boat,
thank you for all of it. If this is the
end of it, I will miss it. But it's been wonderful.
And if it isn't great.
Speaker 2 (46:15):
It's this conversation. This is if we're both assassinated on
the way out of here, Oh the irony? Does someone
have the code to get this podcast out if we
if we are assassinated before you get in there?
Speaker 1 (46:29):
And I think if we are assassinated on the way,
I sort of hope no one has the code, and
then that it becomes like a oh yeah sort of
thing that's talked about. I think there was a book
I heard they had just on a podcast. Yeah, but
no one has a code to get the recording. Yeah,
it'd be great, and I must prefer that. Yeah, let
me send a text. Let me just let me get
(46:50):
in touch to the kind of assassin if if you
find the right guy, Gallio, we need one.
Speaker 2 (46:56):
Yeah, and we could if we stand nice enough to
magic bullet, magic bullet side and just through right right
through your head, right through my heart, it go down. Yeah, something,
we're the MythBusters when you need them. Is that possible?
Fellas you have? I think it is. I've done it
(47:16):
in a in APERI Games. It must thank you and Bessie.
We almost didn't talk about Fortnite at all, did Yeah,
well we got it. And is that anything you would
like to tell people to look out for listen to
in the coming Yeah, those angels that we spoke about earlier, Yeah,
look out for those guys. Yeah, keep an eye out
(47:38):
for him or if you can't see one, it must
mean you are supposed to be that for someone else.
Like really like, if you.
Speaker 1 (47:47):
Talk long enough something interesting, people would take it is me,
that's the thing. If you need meaning, Yeah, it's always there. Yeah, exactly, Yeah, absolutely, leaning,
Thank you, Jason, thank you, bra thanks for having me,
thank you for doing good time. Take you ask me,
I don't know that. Good days and have a wonderful dear,
(48:13):
thank you, I love you. Good night. So that was
episode two hundred and sixty two. Head over to the
Patreon at patreon dot com. Forward slash Brett Goldstein for
the secret and the video with Jason. Remember to watch
all of Ted Lasso on Apple TV plus go to
Apple Podcast. Give us a five star writing but right
about the film. It means the most to you and
why it's a lovely thing to read. The Nabor Marian
(48:34):
loves it and it's all very appreciated. Thank you so
much for listening. Thank you to Jason for being so
good and giving me all his time and changing my life.
Thanks to Scrivius, Pip and the Distraction Pieces Network. Thanks
to Buddy Peace for producing it. Thanks to iHeartMedia and
Will Ferrell's Big Money Players Network for hosting it. Thanks
to Adam Richardson for the graphics and list A Laden
for the photography. Come and join me next week for
another brilliant guest. I hope you're all well. That is
(48:56):
it for now. In the meantime, have a lovely week
and please down more than ever, be excellent to each other.
(49:23):
Back back back back back
Look help his only 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,
(00:20):
a director, a piano stall and I love films. As
Emily Dickinson once said, hope is the thing with feathers
that perches in the soul and sings the tune without
the words and never stops at all. Also, have you
ever seen the Meryl Street film Hope Springs. It's wildly underrated.
I think, oh I would agree with that. Actually, Emily,
thanks for bringing up. Every week I invite a special
(00:42):
guest over, I tell them they've died. Then I get
them to discuss their life through the films that meant
the most of them. Previous guests include Himesh Patel, Barry Jenkins,
Sharon Stone and even But this week it is part
two with the one and only the man himself, Jason Cudakiss.
Remember you can watch all of Ted last seasons one
to three on Apple. If you plus get all caught
up on them before you listen to this, head over
(01:04):
to the Patreon at patreon dot com Forward Slash Break
Golds team, where you get extra stuff for all the episodes.
You get secrets, we discuss beginnings and endings. You get
all the episodes uncut and ad free, and often as
a video. Check it out over at patreon dot com.
Forward slash breat Golds team. This week was a very
special treat. I've included the Patreon section for everyone because
it is filled with so much good stuff and I'm
(01:25):
a nice boy, but I have kept Jason's secret only
for the Patreons because rules are rules, and I think
you understand that. So this is part two with Jason Cudakis.
We picked this up right where we left off with
everyone's favorite question. So that's it for now. I very
much hope you enjoy episode two hundred and sixty two
of Films to be Buried With. Here's probably why everyone's listening.
(01:56):
What's the film you found the sexiest? Jason Seudakis. It's
funny because I mean, I think it's Leaving Las Vegas
or eyes white shirt. Okay, I'm those are fucking nuts, right,
I put them both. But I think I put them
both because on the question is like, no, what troubling bonus? Yeah, right,
which I would have the same two answers, So For
(02:18):
those who never listened to it, there's a sub category
traveling boner is worrying why I don't filmy fand arising, Yeah,
I'm sure you should. So you're putting both these and
flipping them around now. Firstly, Leaving Las Vegas, I'm a
huge fan of I listened to that soundtrack on repeat
for years.
Speaker 2 (02:33):
Amazing.
Speaker 1 (02:34):
I love it. I also think, can't tell you this
and I will. People versus Larry Flynn, Yeah, which I
also love years, but I remember loving it has a
similar thing that I that I really said at the
end of Leaving Las Vegas and the end of People vs.
Larry Flinn both has a kind of non judgmental sex
scene that is what's the word for it, Like, it's
(02:57):
about love, but it's disturbed. It's often disturbing, and in
Leaving Las Vegas he spoiler spoiler skip this if you
haven't seen.
Speaker 2 (03:07):
He's an alcoholic.
Speaker 1 (03:07):
And he achieves he finally has sex with her as
his goal was to kill himself. Yes, and he and
he says, he says, he says, I believe, He says,
Look how hard you made me? My angel is what
he says. As as they finally consummate their relationship. He's
not being able to because he's a alcoholic and it's
(03:28):
sort of disturbing and sad and beautiful and love and
complicated and people with as Larry Flynn Corney Love plays
a very difficult, tragic figure, drug addict, all sorts of problems,
and it's kind of destructive to everyone around her. But
Larry Flynn loves her, and no one else does. Everyone
(03:49):
in the film kind of hates her, and at the
very end of the film, after she's died, and it
ends with him watching a video of her sort of
doing his strip tease for him, and it's similar similar
vibe of like, from the outside, you could judge these people.
Speaker 2 (04:03):
You could say, there's.
Speaker 1 (04:04):
So many things wrong with this, but this love is
a love story that both complicate beautiful love stories.
Speaker 2 (04:10):
Yeah, probably loved her more as an object in the
last one, you know, Larry Flynn, I don't know. I'd
have to rewatch it all to sort of like, yeah,
download how my brain would handle it now, even the
leaving Las Vegas thing, like yeah, I mean sexiest versus
like romantic, and if they're like whatever, wherever those two
are intertwined is probably is probably more of the way
I view Leaving Las Vegas as romantic. I mean, the
(04:35):
sexiness of quote unquote eyes wide shut is pretty you know, obvious,
and I don't know even though if that's really I mean,
I wrote them here because I was kind of like, oh,
these feel I think it is weird. I can judge
myself for finding Leaving Las Vegas sexy because I'm not
talking about like obviously like the awful scenes with the
like the frat guys or even that final scene, but
(04:55):
like their relationship where they both are in their lives
and they're willingness to go to like fall into each other,
I find incredibly sexy and romantic, you know. And there's
tons of less I don't say controversial, but titillating versions
of that story you know, out there, like you know,
like before sunrises, before sunset, Like aren't those like versions
(05:16):
of that were strange? You know, Strangers, you know, strangers
meet and then they just have that that moment they fall.
I haven't seen either, I apologize, but but that's I know,
I know, I know, but I I just I just
love that that part of the in Las Vegas, and
that was another movie that was around that time was
was when I would if there was a book, I
would also read the book. And I remember reading the
(05:36):
book by John O'Brien, and there's passages from that book
that I think about all the time, Like there's a
line where where he writes about the unspoken anticipation of
conversations yet to be had, you know, and I think,
what what what? What is a better summation of like
chemistry like young early love, right, you know? And then
there's the other, like the other I don't have memorized,
(05:58):
but you know, there's there's quotes that I literally have
in my wallet right now from that book from your
our showed that to you. Yeah, yeah, that was fun.
But I remember, like we've talked about this because it
comes up all the time, especially with our show. So
much of it is is is rooted in these things,
and these things are like yeah, I mean three sheets
of paper, but this is yeah, this is my handwriting
from nineteen ninety five. Probably I want to go see
(06:22):
Leaving Las Vegas by myself on New Year's Eve from
ninety five and in ninety six. Well, it's probably like
the second or third time i'd seen the theories. I
don't know, because I wasn't I wasn't a girlfriend. I
didn't want to sit at home with my parents, didn't
want to be in the basement. They were going to
be out sisters and maybe were gonna have friends over.
So I want to go see Leaving Las Vegas at
the Art theater. But this is the This is the
This is from the book A slight elusive chemistry which
(06:44):
occurs only occasionally when two people meet, always a welcome surprise.
It is a sort of quick familiarity, implied permission to
conduct relations at a level which is a bit deeper
than the superficiality of introduction. And like last time I
pulled this out of my wallet and showed it to
people was when Hannah was shooting her scenes yea on
(07:05):
the boat. Because I believe in that it happens all
the time between men and women, between men, between women
and women, and I think that's sexy. I guess I
have it. I really did have it, yeah, because because
I mean, we're all built to be scared of each
other at this point, you know, like it's like more
than ever and when when that ship gets dropped, and
may you keep it dropped as long as possible? Because
(07:26):
I think at some point when you know, the first
person that puts a brick down and it's a little
concrete on top of them, puts another brick and go,
whoa putting bricks? No? No, no, this is just I know,
I'm just building making Okay, Okay, I need to sit
I'm tired. I just want to sit down, all right. Yeah.
And An eyes Waite show we've talked about now, so
(07:48):
I watched I've seen it once, Yeah, did not like it.
Speaker 1 (07:51):
I watched it yesterday in preparation for this as an
as an olderman, and I find it fascinating.
Speaker 2 (08:00):
Yeah, I just think it's I just think it is
a meditation a male jealousy for like hours, Like I
just I I I think it's all like the love
of your life that you've that you've taken for granted
then tells you that she's had fantasies and then how
that tears you up inside and like off he goes
and and and and is presented with you know, one
(08:24):
obstacle or angel or illusion or you know, possibility endeavor
after another indulgence, whatever you want to call it, and
he just has to and he just what's he gonna do?
What's he gonna do. What's he gonna do? I I
just think I haven't watched it in a while, but
it's yeah, but I you know, I I I felt
(08:44):
that that pain, that that that like that questioning of
my worth, my self worth, my value at the hands
of another person at a at a at a young
enough age that it that it rocked me in a
way that when I saw it, I was like, oh,
now that's sexy. No, but it's but I mean the
imagery is obviously, you know, sexy. I mean, I guess
(09:06):
if you to a certain degree, like you know, I
like people's faces, but I guess the mask there's lots
of that's a very nice boddies. Yeah, yeah, And I'm
sure all the guys, all the guys in mass probably
of great bodies. They probably do.
Speaker 1 (09:24):
These has so many thoughts. Have you seen bo Is
Afraid Afraid?
Speaker 2 (09:30):
The film?
Speaker 1 (09:31):
No, that's sort of like a three hour comedy, a
kind of extreme extreme comedy of paranoia and guilt. The
idea that you're sort of like that the world is
conspiring against or whatever.
Speaker 2 (09:43):
I read.
Speaker 1 (09:43):
Shat is a kind of two and a half hour
film about the world genuinely conspiring against Tom cruise ever
getting late, like it's the whole thing and it's and
it kind of is conceptually funny. It's not funny. It
didn't make me laugh ever, but it is kind of funny. Well,
(10:04):
the situations are funny. He guys to this person to
have sex and then guys to this person president any
of that sex. Then she's dead. This person headaches IV like,
it's kind of the whole to night event. He guys
and he goes to a mask bowl and gets found
out he's not going to be that even though he's
runing a mask Like, No.
Speaker 2 (10:22):
He could have he could have taken any of those
rooms and had sex with Alan Coming if that was
his if that was his preference. But down Coming incredible
in that movie. Yeah, really good, like just like three
minutes and just wait like that. That is an example
that I would give for for like a day player
any day of the week where it's just like or night,
like I'm just like watch this, Well, that's sound coming.
(10:42):
We didn't know that then, I mean people in New
York would have known in the theater world, but like
I didn't know was Alan coming. All I knew was
that that fucking dude is like it feels it feels
like so real and knows so much more about what's
going on than what's going on. And I loved it.
He said that players Curbity Family, He's probably there for
five exactly nice work if you can get it prettym alone,
(11:05):
you know.
Speaker 1 (11:06):
And what I find really interesting And I hadn't realized
because it's a weird film for Tom Cruise to mate,
because his character is essentially emasculated for two and a
half hours. Every scene he walks into he looks like
him Craiz and acts like Tom crazy.
Speaker 2 (11:22):
It's the scene yeah, emasculated in and the confession she
makes is about as emasculating as like one could become,
like through words, you know, like you know, she's just
in there in that reverie and she's she's living it
right in front of me, just like what And I
love the like like even when he thinks about it,
when they're going to his flashbacks and the guys still
(11:44):
in his uniform, she's completely naked and it's like that
blue light where everybody looks good and and it's just
like that's exactly what it would what it can feel like.
Speaker 1 (11:52):
You know the fact that he did Magnolia next, and like,
it's so interesting was that right after they came out
the same year. I always love that he did did
the most emasculated character and then played the most hyper masculine.
Speaker 2 (12:07):
Yeah, that's something else I love. I think that's a
good that for me was like, yeah, I think that
that guy would become that guy if they hadn't. I
always think about that what Tom hangs like in nineteen
eighty seven, I think it would have been. He did
both Punchline and Big. You know, they came out in
eighty eight, and you're just like, wow, that's like I
felt that, you know, I think I think right around
the same time, I did Mother's Day and Colossal, same beard,
(12:29):
and I think they overlapped. And part of the reason
I had to I wanted a beard for Colossal and
I did Mother's Day first and they wanted me to
be clean shave, and I was like, I can't because
I have to have a beard for this and this
is you know, and they it all got worked out.
But like that's like one of those weird It's certainly
something I know when choosing things to sketch, like sketch comedy,
like actor in me that doesn't want to play the
(12:50):
same characters, you know, in the scene right after I
just played that character. That's that's a part of me
that probably made you know, mixtapes. You know, you don't
you don't want to have you know, two public Enemy
songs right after each other, want to have you know,
want to open you up and want to close you
out or something like that, you know. But but yeah,
that's that's great. I don't know, I don't in the
same year, and.
Speaker 1 (13:08):
I know it's like it's like a film noir in
that he's this kind of guy who doesn't know as
much as he thinks he knows and is destroyed by
a fem fatale, except that it's all in his head. Yeah, yeah,
it's so and in fairness. Yeah, and like a film
has a happy ending, yeah yeah, yeah, yeah, has a
positive like similar ending.
Speaker 2 (13:29):
You know, it's like certainly when you're fuck, it's like
almost similar to what we need to do very soon?
What's that? Yeah? Okay, yeah good? And you know, not
to the similar from Le Las Vegas and Larry Flint
in a way, except you know they're both alives. Yeah,
very weird.
Speaker 1 (13:48):
Yeah, yeah, what is objectively objectively the greatest film of
all time might not be your favorite.
Speaker 2 (13:55):
I mean, but I spoke about earlier, but I mean
Citizen King, Yeah, correct, I I I know it's like
if I top one, it like sounds like such pretensions,
I answer, But when I every time I watch it,
I do have the tendency to put it in the
time and place of when it was made out it
was made you know, Yeah, because I don't know, I
honor that context, and it does it It comes back
(14:15):
for me, you know, time and time again, and people
much smarter than myself, you know, would concur. So I
feel pretty good about my answer.
Speaker 1 (14:24):
I think one of the under the text of this
question great, what is the film that you could or have?
Speaker 2 (14:33):
What's the mist? And every gain three came to mind
really quick and they're all still like and so I
sort of had them based on if anyone came up earlier.
But none of these ones come up. But I put
pulp fiction Color of Money in Beverly Hills Cop. Beverly
Hills Cop I've spoken about to a degree, but you know,
pulp fiction and Color of Money. I knew I like
the Color of Money growing up because one of those
(14:54):
movies I saw with my dad, and I love going
to play pool with my dad, which really was usually
me playing pool next to him and sort of what
the dart speech is based on, although it was billiards
and my dad would play with friends and I'd play
on the table next to him and just get plowed
on cherry cokes and potato skins, and he'd let me
have money for the jukebox. So it was great, you know,
and I just get to watch my dad play and
(15:15):
see him, see him in his Then they played doubles
and it'd be like, you know, Sunday afternoon, you know,
Saturday afternoon. It was great, We're going up to buddies.
You want to come? Yeah, you know, we get taco
bell afterwards.
Speaker 1 (15:23):
Blah.
Speaker 2 (15:24):
But that movie, I loved it. Then I loved the soundtrack.
That was a soundtrack I used to bring overder friends
when I had sleepover, especially a friend. A friend had
a pool table, which a couple people did you know,
they're and you know, doing better than my folks. So
they had pool table in their house and I'd put
on that thing and I try to do all the
moves and all the shots from the Color of Money,
and it was just from beginning to practice, you know,
(15:44):
once a week all the time with my dad, and
then Who's Still Alive and all that. That's I'm just
saying that darts replacement billions. But the impetus for that
monologue is in that time and space. And then as
I got older, remember going to see it. Ezra and
I went to go see it at the Metrograph. They
did they at all the Scorsese and like it feels
really really weird when people are talking about Scorsese and
(16:05):
they're going around, which fair Scorsese movie And I'm the
one that says color of Money. You know, he says
color of Money. We say it on the show, you know, like,
but that's that's it. I was recently, I was saw
Ed Norton, who's brilliant, like you know, like like legitimately
like like knows movies but also just flat out like brilliant, right,
And we were talking about something oddly enough, we were
talking about like Tom Cruise and and Magnolia and that character,
(16:26):
and he was saying how much, how much he loved it,
and that's got a thousand stories about and they're all like,
you know, fair you know fairly, you know recent too,
So It's like it's not like he's dipping back into
his bag of tricks of like you know, when I
met Walter Mathow, even though he probably knows Walter Mathow,
you know, or worked with him in some way. Anyway,
He's talking about Tom Cruise and and he goes, he
was that part that part by him was so incredible
and it's just like that, and I was, and I
(16:48):
was about to say, yeah, but my favorite he goes,
he goes, I mean between that, I mean not like
Color of Money. He says that. I go, Now, here's
a guy who's worked with the Niro you know, many
times over, like you know, it's like directed films, just
absolutely a cinophile. And I go, wait really he goes,
he goes, yeah, hees, Oh, Color Money's incredible. And I
felt like so seen and like like two kids that
(17:10):
you know, almost like that scene in Step Brothers where
they're like, oh, no way, no way. And then got
to geek out with him and just talk about that movie.
But yeah, that movie. When that, when that shows up,
I just love it to pieces. I can pick it
up anywhere I find so much, so much again similar
to searching Bobby Fisher of our show is rooted in
my love and lack of understanding, but like growing and
(17:32):
grown understanding of color, of money, that it's all about
just male mentoring, about you know, father and son relationship,
you know, and who he chooses and and and the
way we you know, treat and hurt people, whether accidentally
or you know, just by being ourselves or not realizing
that you're hurting people, both male and female, all the
on the way up or on the way over wherever
you're headed. And yeah, that that one knocks me out.
(17:53):
Great music, great performances to the all time greatest, like
great parts, roles of character actors as well to Turro
is incredible in it. And it's just I love it
to pieces. And then pulp fiction is similar thing. Pul fiction,
as I said earlier, was the first one I want
to go see by myself. But yeah, that's another one
that I've definitely ripped off, you know, accidentally and intentionally,
like dozens and dozens of times, whether it be taking
(18:16):
a couple of a phrase, a style choice and music choice,
like I find that to be just. But even I'm
just gonna call him boat guys. You never say his
name in the show, but boat guy you know on
the you know, talking about his foot massages. His technique
is sound. I don't be ticular or nothing. I saw
pulp fiction, you know, but yeah, put in at the
end in a lot of sketches too, and stuff we
(18:38):
do bits. I just think I just think it's it's
a uh yeah, I think it's a perfect complicated, you know,
fascinating movie. And it was one of those ones that
again that I watched that at that time it would
have been, you know, ninety ninety five that it was
like that obnoxious thing that they kids feel where it's like, oh,
if I would have written something, I would have written that,
like of course you would have yeah, yeah, sure you
would have. Perfiction is fucking incredible, and I did it.
(19:00):
I think I was the same. And sorry a million
times of cinema.
Speaker 1 (19:03):
But Color of Money, I love Scor's mainstream his ones
for them, Yeah, I think Color of Money cape fit
fit he makes a banging.
Speaker 2 (19:14):
That would would be considered a one for them, I believe. So.
I believe it was because he didn't want to.
Speaker 1 (19:17):
It's not like when most of his films he originates
and like Paul Newman asked him to do it, and
he didn't really want to.
Speaker 2 (19:25):
That's great.
Speaker 1 (19:25):
He was sort of dragged into it and then was
like yeah, and he never worked in his mind, he'd
never worked with a stub.
Speaker 2 (19:31):
Focus grown up with Yeah, yeah, yeah sure.
Speaker 1 (19:33):
So it was sort of like, I'll try and make
a mainstream filmy fucking bang.
Speaker 2 (19:38):
He makes really good. I love it. We want to
go see it on the big screen, And it was
because it was one of his favorite too, and he like, yeah,
we just geeked out the whole time. Yeah, I love it.
I mean, there's there's acting things in there that I've
definitely you know, cribbed again, whether it's what they were
doing or the intention I got from it, you know,
I just you know, went along, just just it's just
always sits there, just always sitting there in the back
(20:00):
of my head. I feel like I know five movies
really well, and that's definitely one of them. Yeah, you know,
and and even the way I remember it now, which
might not be exactly as it is if I already
go back, now, yeah, what is that? How does that go?
You know? And then I'd say, go, oh, you know,
you might want to hold on to the the teenage
cut in my head. That's funny. Yeah, it's be negative.
(20:22):
You love it? What's the West film? I don't. Yeah,
this was hard because I'm kind of like they all
had like they've got something. But but I remember being
outraged at Titanic because it also came out the same
year as like Magnoia, around around the same time as
Goodwill Hunting, not that Magnoia was I think Magnoia was
actually maybe ninety nine, excuse me. So it was definitely
(20:42):
definitely in the in the same time that I was
going to see movies in the theater by myself as
Good One Hunting and give me that movie a hundred times,
and then I'll watch Titanic, and then I'll watch that
one hundred more. I'll watch you know, Good One Hunting.
And it's just just the style of movie that I prefer. Now.
It doesn't mean visually, it's not you know, debating and
that the performance start aren't iconic. The song's badass there
(21:03):
you know you could you could you do that pose
and everybody knows what you're doing. I love the iconography
of it. But but for me, I I I just
was so much more engaged in the storm the Iceberg
that you know that Robin Williams made Matt Damon hit
in his heart. I want to see I want to
see someone drowning their own self esteem or or you know.
(21:27):
I just love that. And and it's silly to put them,
you know, neck and neck side by side, make them competitive.
But unfortunately that's what fucking award shows make you do
with art. That's like, okay, if I had to pick,
and so I remember being upset at that, but I don't.
I haven't watched in ages and I can sider here
and I know it's I know it's incredible filmmaking. I mean,
for God's sake, the guy knows what he's doing. He
doesn't need me to say otherwise. And so I feel again,
(21:48):
not even from like being a bad show businessman, you know,
talking shit about.
Speaker 1 (21:52):
He's very sincere. Yeah, because I didn't like but all
this stuff is very earnest. It makes very earnest. Yeah,
he really means there's not a lot of sachty in anything. Yeah,
but he really means it.
Speaker 2 (22:08):
And I probably was a big Yeah he means that,
I hope, so I'd be curious of people closest to
him and think that you know, yeah, I got that,
you know, so I mean, it's I at some point
in my life I could have you know, that wuld
have been I'd have, you know, forty answers for you.
But that's just me, just a prick. You know. At
some point once, especially once you have the opportunity to
(22:30):
do it and you've gone through it and it's good,
it's hard to like, you know, talk about anything I
unless there's a level of like hubers that involved, or
or some type of like behind the scenes shenanigans that
you're aware of that you're kind of like, oh, that sucks.
But even then, if the work of art like turns out,
it doesn't excuse any bullshit, but it does, you know,
(22:51):
temper it a little bit. You know. Again, I still
don't want Linda Blair, you know, getting strapped to it
and getting strapped to it a bed that really actually
moves like that, and her yelling, screaming, saying stop stop,
and she's not talking about the devil she's talking about
you know, if that's real, if that's a true story
in her back, I didn't know that. I love her. Yeah, yeah, what.
Speaker 1 (23:15):
Is You're in comedy, you're a comedian, You're very funny.
What's the film subjective that may laugh. Well, I said
it earlier, just invoked it.
Speaker 2 (23:23):
But like Step Brothers mcgroober, yeah, I mean like, I mean,
I do. I think I think those are both. I
remember seeing Step Brothers by myself in the theaters and
I just like, I just laughed my ass off at mcgroober.
I went to go see you know, I've seen many
times and that's always one. So you do a certain
age group that I grew up with, like movies like
Schwarzenegger and and uh, you know stallone type films are
(23:45):
Van Damn. I think mcgroober is so so great and
it really like I remember seeing The Jerk, you know,
and if you're going to see anything at the Hollywood
Cemetery yet, yes, okay, great, yeah, so yeah I would.
I would have hoped so. But I remember going to
see The Jerk there a few summers ago, and as
I'm watching it, I was just like, and I didn't
love the Jerk the first time I saw it, you know,
but in that same weird way that I think we've
(24:05):
talked about, like with me and money Python guys pressed
up like gals. And then I see it when I'm
like twenty five and I'm like this is everything I
fucking love, you know, and the movie is the same
I changed, but the Jerk I love Steve Martin and
like you know, three amigos I grew up with that.
I was just a little bit too young to know
him as like the comedy like you know, Eddie Murphy
was was more of my generation. And when I saw
(24:26):
The Jerk, I watched that I and I literally felt
like I had like nine year old Will Forte sitting
next to me and like and like I could see
it like I feel emotional about because it's like I
and it made me love the Jerk so much more.
But then I also realized that, you know, and I
don't know if Will or John Solomon or Yorma, who
directed the film, like would would own this or but
(24:48):
it feels to me like so much like what if
the Jerk was an action hero. There's there's so many
similar like kind of like and I don't mean he's
ripping them off, I just mean influenced by it. It's
just so it's so funny to me and so relentless
and everything that I love about Will's style of comedy,
it's just it's just one hundred percent original one hundred
(25:08):
percent confident, no holds barred, and for him to have
that sort of connection with his writing partner's good friend
John Solomon, who I worked with the snel and then
also our buddy Yrma Tacone who was one of the
on the island guys to the three of them, and
then also be able to harmonize, you know, with wigs
and then all the you know, Ryan Phillippie, and I'm
(25:30):
blanking on the fella's name who just passed away, who
plays like the General like the way that everybody no, no, no,
He passed away a couple years ago at this point,
I'm blanking on his name, but incredible character actor, but
he plays like the you know, the general, like he's
the heavy and it's one of those things that I
just it tickles me to no end, like it's just
I love it. I think it's hilarious. Do Do Do
(25:52):
Do Do Do Do Do Do Do Do to Do,
to Do, To Do to Do. Welcome to the Patriots section.
That's incredible and now do you have real music there?
And that was that was great. Keep pocket that money
(26:13):
for you. I mean it's gonna be how much.
Speaker 1 (26:20):
Welcome s the Patriots my patrons, what is the film
that changed your perspective on something?
Speaker 2 (26:27):
Okay, there were a couple and let's see in order
here at Beverly Hills Cop It was huge that and
I go to see it at nine years old in
the theater. But it was also like this fascination with
like the humanity of race. You know, only one person
says the N word, even though it's all about you know,
class and race, you know, and Seddie Murphy, you know, Like,
but I just loved how much how funny and how
(26:51):
smart he was and how kind he was to everybody,
even even the bad guy, you know, even the Victor
Maitland for a good and Jonathan Banks character for a
fair amount. And I think that movie is all about friendship,
you know, And like I didn't know that at the
time why I loved it, But looking back at it now,
it's like, oh, I just I just love the way
he's so it's very much very you know, last so
very much rooted in the way he looks towards you know,
(27:13):
Tagger and Rosewood, being like, you know, guys are super cops,
you know, like, and he doesn't get mad when they
caught when they rat him out. He's like it was working.
I don't know, I don't get you guys, but I'm
gonna figure it out. Like that's all there. But it
was like there was just a level of humanity to that,
and I love that it was in a black fellow,
you know, like growing in the suburbs, you know, like
we had a few people of color, like, you know,
(27:35):
but like not not many at all, you know, And
so it was lovely to just sort of be able
to view that as this, you know, white kid from
the suburbs and just he was just such a kick
ass character doing doing right by people. I love the
second one I brought up just a second ago, his
boys in the hood, and that was lovely to see
the music that I was listening to at that time.
(27:57):
I was listening to a lot of gangster rapt like
Iced T and NWA, and it was really really but
I was a poser, you know, as a tourist, you know,
I was just listened to it because you know, we
all were and weren't supposed to do and all that stuff.
I didn't really understand the stories behind these stories. It
just all was you know, cops and robbers, you know,
or you know, cowways and Indians back then, as we
would say, And so bloods and crips were like, you know,
(28:18):
different than sharks and jets from West Side Story. And
then you see this movie and now that it's a
documentary by any means, but the fact that it showed
these very human sides of the of this, of these
conflicts going on, and and and even a deeper understanding
of why maybe those conflicts are going on and and
why people gravitate towards those kinds of conflicts, and and
the importance of having mentors or figures in your life
(28:39):
or aspirations beyond those conflicts to help you like navigate
the world, but also maybe even like circumvent those those conflicts.
And so yeah, that that movie was a big one
for me because it helped me feel a little bit
more the again, like the humanity, the real side of this,
of this art that I was ingesting unknowingly and whatnot.
(29:00):
And then the other one that came to mind that
really got me was Dead Man Walking, Oh great with
you know, with with students rand And I remember watching that.
I think it might have been when I was working
a Blockbuster video and I remember watching it in my
home because I would get five free rentals a week.
My favorite thing was the five free rentals, and then
the employees picks a number of which I've already I've
mentioned and h but I remember watching Dead Man Walking
(29:23):
and feeling that way about the death penalty. Just when
she goes into her thing. It's just like so calculated,
so control, you know, Like I was just like I
was like, yeah, I was like, as bad as it
can be. I don't know if it's I don't know
if it's that bad. And I and I respect anybody
who's gone through a situation where they've had but I
am I am a believer in restorative justice. It's it's
(29:43):
it's again an underlying theme of our TV show, whether
we've ever spoken about or not. But I think some
of that is deeply rooted in that film in the
way I just you know sister, you know, preaging. I
forget I say her last name, But I just found
that to be very, very moving in a way that
I wasn't anticipating. Yeah, I just wanted to watch you know,
(30:03):
COOLi be a badass, Right, that's a great thing. Yeah, Yeah,
I haven't watched it in probably since it was pure
came out on video.
Speaker 1 (30:10):
Yeah, so you would. I'd love to know what your
employee picks.
Speaker 2 (30:14):
Right. Some were already so so pulp fiction would have
been in there. Probably die Hard, which I haven't mentioned
but I but absolutely I think it's brilliant and all
about fucking stupid guys are leaving Las Vegas would have
been there. I mean, Golden Child probably would have been
in there before Billy Hills Cop at that point, you
know what I mean, without me, without me knowing it,
just being like, oh, I'll pick the path let's traveled.
Extracist rope rope was in there. Yeah. Did you enjoy it? Yeah? Yeah?
(30:40):
Had you ever seen it?
Speaker 1 (30:40):
More? I was basically I think maybe the anw to
come from ahead and see, Yeah, it's the ultimate there's
a bum under the type.
Speaker 2 (30:48):
Yeah. H How film is tense? Yeahically it's great. It's
automatically tense. Again, that was when I started getting that movie,
when reading about how movies were made and the fact
it was done you know, in these big sh and
then people were moving furniture, and I love it again
that the notion that just translated to me as being
a former. At that point, just about the end of
my basketball playing career, but people all working together for
(31:10):
a common goal, even if they're on the bench. You know,
they're not, they're not on camera quote unquote on the
on the but the way they play, the way they practice,
the way they need cheer and encourage from the from
the sides, you know, I like, I found that fascinating
love you know, Jimmy Stewart obviously, and then and then
the fact that it was based on a real thing,
you know, like the Leopold and Lobe murders. Who are
you know, a couple you know, smarty pants that went
(31:31):
to University of Chicago in like the forties and then
you know, killed a guy for sport, you know, type
thing getting a little bit wrong. But I loved that
idea that you could take real life and then do
something else with it, like kind of like almost get
to replay it, you know, to a certain degree, you know.
I mean we've talked about that. The elements of of
(31:51):
our shows, like things that that through either my character
or other people's characters, got to replay things that I
that I you know, fucked up in my opinion, you know,
and so instead of having regrets or guilt, you know,
it's turning into our Color of Money would have been
in there. But yeah, I mean there's anything. Oh Sleepless
in Seattle would have definitely been there, I under saying,
Willie Wonka nice. What's the greatest? I think the first
(32:14):
one came to mind was The Hustler for me, oddly enough,
the prequel, if you will, Color of Money, which is
the way I love, I love sharing those movies with people. Now,
is that because Color of Money is such a as
you were saying, a banger, a hit, like the music
everything boom, we gets you into these characters whereas you
know a little more meditative, you know, a little more
deliberate and slow and again black and white and all those,
(32:36):
you know, things that some people estemily have issues with
to watch The Hustler, But if they love the Color
of Money, then you're okay. Now let's go back in
time and watch how the son of a Gun became
who he was, See where the fast that he came from.
But I just I just think it's a great I
love that scene because it's it sets it sets a tone.
It's I mean, same thing with these ones that you
say not to use, you know, Glorious Baster's raiders, you know,
(32:57):
like where it sets a tone. It's not that you're
taking care of of But then he's fucking great at
what he does, and he's like and you're like, boom,
you I know who the hustler is. I know what he's,
what his deal is. Let's let's let's let's see what happens.
But I think it was it Hitchcock or somebody that
said that, like, you know, if you make a person
good at their job, they're more likable, like that that's
inherently likable or something some version of that. It may
(33:18):
not be Hitchcock, that's interesting, but I think I like
Stephen King doesn't, or like, you know, some King has
the thing about how people in stories they love people
at what they love people's jobs, but with they're good
at it. I guess I feel like that there's someone
there's there's something in my head that I've put in
there a long time ago. I've attributed it to Hitchcock,
but but maybe that's just all actors are cattle, and
(33:39):
I'll just try to find the rosier side of it,
you know. But it's something about if you know someone's
good at their job, you know they're they're they're inherently interesting,
maybe more than likable, but interesting, and so like I
love that Martin Riggs and lethal Weapon is a fucking
like badass shot. Yeah, you know, like right, like like
the fact that he could take a dude out from
from that far away. It was great. It's like he's
(34:00):
not just crazy, he's also very good good yeah right,
but yeah, the Hustler is one that that that that
comes to mind. We use the end in episode we do. Yeah,
that was a fun day on set to like to
show all those those young fellas like me holding on
my iPad like Lloyd Dobbler in his boombox and saying anything,
(34:20):
I'm like holding up the November like this is what
we're doing. This is what we're doing.
Speaker 1 (34:24):
We tried to explain it. Then you're like coming here
and everyone and they just watched They're like, yo, that
movie looks so dope, and it's like, hey, the movie's great,
but everybody get what they're doing.
Speaker 2 (34:31):
Would we do that? Two takes? Three takes like whenever
we did those like those fucking dudes, I mean, but
that's what I love about working with former athletes and
theater folk is like like they understand blocking they understand,
like they understand running a play, they understand the purpose
of the play, like oh maybe I'm just here to
just have this little moment. Nobody makes it too much
about themselves. But I love that ending of that episode.
I mean that the Fear character most specifically, and the
(34:55):
song is perfect. But just watching everybody take their little
moment and knowing what we're doing. It's quickly specific handshake
for everyone yeah yeah, yeah, yeah, or tap hero tap
there and then and then you tap on the sign
and off we go onto the finale. What's the greatest ending?
Do you know? My answer? I've talked about a lot.
We watched it in the writer's room, not a bunch
(35:15):
of beliefs. I remember it being the thing even this
last season. I think third Man. Oh yeah, like yeah,
I mean we specifically was the ending? Yeah, we never
used that day right now? I forget. I remember why
we watched it. There's there's something, there's something in the
show that's that's rooted, isn't it visually?
Speaker 1 (35:35):
Like when bid comes up behind said, when the phone
talks about maybe, but it's obviously.
Speaker 2 (35:42):
That it's Yeah. I can't remember, I can't I can't remember.
Why may have been a storyline that we didn't actually
end up manifesting. But regardless of the end of that yeah,
the end of that movie, because I think it's real.
It doesn't mean that he doesn't chase her, it doesn't
mean that, you know, like whatever. But but for the
end of that of that specific story of that movie, yeah,
(36:04):
I just think it's badass. And it's so you got
the Anton kars score, you got the you know, like
the leading man leaning against his car and here she
comes walking down this beautiful tree line street and you
know what's gonna happen. You know what's gonna happen. And
then she did what happened, and it's it takes it
takes a while, and it's not but it's one of
those times that one of those things that we talked
(36:24):
about like in the in the writs room here and
there's like, yes, scene can take its time when it
has a good you know I would say punchline, like
even if it's not for a laugh, it's like, oh
but if you know what it is, like we could
take we could have James Tart like keep needling his
son from and make that slow walk across the room
because we know that Roy's gonna make that quick rock
(36:45):
across after after he gets escorted out, so it's gonna
be like this, and then you're then you don't even know.
We didn't have the George Harrison's on at that point,
but you knew. It's like it's one of those things
that you I know, it'll it'll present itself when it's
supposed to be. You know, It's just we didn't need
it there. It already had music to it. I had
you know, lifts and drops and falls, and you know
like it felt orchestrated in a way that was just
(37:05):
like working. I mean, we pretty much worked backwards from
that Hug if I remember correctly, like not or to
a degree, like I remember seeing the Hug very clearly,
and just feel like, Okay, what's your favorite film? I
don't know if I've seen it yet. You know, having
a dad who didn't necessarily or still having a dad
who doesn't necessarily know his role or or or didn't
have it to pull from whether what to do or
(37:27):
what not to do, just not there. And then being
an older brother. I feel like movies and certainly television
provided me with a bunch of examples of older brothers,
you know, uncles. It was always kind of funny to
have like a famous uncle when I also had all
these other people that almost maybe subconsciously considered uncles, whether
it be Tom Hanks and Michael Keaton and people that
I've actually like got to hang out with at this
(37:49):
point through we started out live or just you know,
one reason or another. Music was always that felt that
way too. That it's hard for me to say what
the favorite is because it changes. It changes all the time,
changes all all the time to day to day, the
day that you were assassinated. Yeah, I mean, I'm trying
to shake it, but it keeps like post society, which
(38:12):
I wouldn't haven't mentioned at all, but it's like it's
like human and Christmas.
Speaker 1 (38:16):
You did that as a play a play, and I
didn't know you or live in I see it.
Speaker 2 (38:23):
Probably the movie holds up. You'd probably better off. All
the fellas were great, and I you know.
Speaker 1 (38:29):
Did you do it knowing the film as well as
I'm assuming you did, like as in.
Speaker 2 (38:33):
It wasn't doing an impression. I did it my version.
Speaker 1 (38:35):
You were the things we like. I have to not
do that just because it's a bit like like was
it devid tricky that.
Speaker 2 (38:41):
No, it wasn't. It wasn't that it didn't feel that way,
and I certainly wasn't directed that way. And Tom Shulman
wrote the play, but it was like the first first
time it had been done so flowing John Doyle, who
was a lovely man, accomplished director in New York on Broadway,
et cetera. And then then a bunch of young fellas
you know, and one gal played knocks over streets, you know,
the woman he yearns for. But no, there were in
(39:04):
times going past, like like when I when I would
do like I didn't do plays in high school, I
would do like a speech and debate class, and we
would do scenes. We would do like scenes from like plays,
but sometimes from movies and like you know, a few
good men with the court room scene, you know you
can't handle it, tru I'd play the Tom Cruise part.
My buddy Ryan would play the Jack Nicholson parsity of
to like you know, seventeen year olds trying to do
(39:24):
you know, like heavy duty scene like I want the truth,
you know, did you order the code red? And we
would do it for like, you know, on Saturday mornings
at like competing high school, you know, for like whatever
for class credit and grades and whatnot. But I would
always try to do an impression straight up of like
trying to do Tom Cruise, like his cadence how when
he got mad? At how he and how he got mad,
And it was kind of interesting, and I sort of
(39:45):
took that same idea like the Second City when I
when I worked there, because when you first worked there,
if you get the chance, like in the touring companies,
you do archives scenes, you do scenes that you know
people had done before. And I would pick scenes based on,
you know, a couple of people that I really really aspired,
you know, to be, like a guy named Scott ad Said,
guy named Kevin Dorf. They were both like, you know,
(40:05):
heroes of mine, and Kevin even at that point, even
being like an older brother mentor to me when I
first got there, and I'd watch their scene and I
would just basically do impressions of them. But people didn't
know you're doing impressions of them because they weren't qute
unquote famous, like as if you were doing Humphrey Bogart
or something like that, Chris Farley, you know, And for me,
it was just all about trying to serve the peace,
trying to get the same laughs that the person who
created the role got right. So now I'm not trying
(40:28):
to like keep up with that tally board in my
head trying to get those lasts. So then it was
like when doing when saying yes, the Dead Post Society,
I'd already worked second city that had heroes or you
know standing above me started out live like heroes legends
like you know that just as ghosts standing and then
in some real life, you know, in the living legends
like you know, Wig and Bill and Andy and you
(40:49):
know friend et cetera, you know, like right next to
me at the same read through table. So I was
like used to like taking on something Robin had just
passed Robin and Robin Williams had just passed, you know,
with you know, just a little it prior. And I
just loved that role. I loved that role growing up.
I loved watching it. I would always answer the question
if you weren't doing what you're doing now, what would
you do? Is like, oh, I'd like to coach basketball
(41:09):
and teach you know, teach English or teach like you know,
theater or something like that. So I here I get
to pretend to be a teacher for a little bit
as a you know, as a new a new father.
I mean, I remember us performing that piece, that story
the night of the election in twenty sixteen, you know,
and it was very surreal to like and then and
then even more surreal to do it in the in
(41:29):
the nights following, you know, when they are like protests
in Union Square Park, like, you know, just two blocks
away from where we were, and yet when I go there.
I went by there in between after a rehearsal and
before our show, and I would I run into Josh Charles,
who played Knoxcover Street. I was like, hey, and I'd
known him because he'd come to see improv shows all
the time. I say, hey, I'm doing this thing. He goes, oh,
it's so great. He was, you know that in the
(41:51):
movie John Keating was dying and then and then uh,
Peter Weird told Tom to take that out. It's like,
don't don't have him die, And I haven't die because
that kind of takes away from the whole story. I mean,
I'm telling you this is probably like gonna be sixty
five percent correct based on the retaelling retelling, So you know,
someone might know the story better and I would defer,
but yeah, but just for him to share that, that
(42:13):
was like, he's just very human with it, and he's
you know, he's supportive of it, and like, you know,
but then I go back and there, hey, I'm met. Yeah,
you know, you know, I met, I saw and he said,
you know, good luck and break a leg and he's excited,
excited for us, and so asking the way those things change,
and just even even during production and process and and yeah,
Tom Shuman won the Oscar for that screenplayer. Would he
(42:34):
have if if if he'd been dying, I don't know,
or would people have been like that's too much. Just
have him, get him, have the have the romantic get
booted from the school because of bureaucracy, and we'll vote
for that.
Speaker 1 (42:44):
But if he's dying, that's a bridge too far, that's sacase.
You've been wonderful, Thank you exps much. However, yeah, you
when you were playing basketball, mind and you being very
good at basketball as you are, but from behind you
(43:05):
could be mistaken. It's certainly for him enough a window
for a former president and someone was trying to fascinate
that form president for various important political reasons, and they
pulled the trigger bank back of the head dead. I
remember when a sway can you replicate it with your web?
(43:28):
They had a silence around. I was walking along the court,
walking around to Brooklyn, right with my coffin, you know
what I'm like, and I see lot of people standing
around the court not playing. I'm like, play boat, what
are we doing? And everyone goes I think the former
president's been shot. I go, what former president?
Speaker 2 (43:49):
Play?
Speaker 1 (43:49):
I come on the court and there you are, dead,
splattered on the court everywhere.
Speaker 2 (43:55):
It's a mess.
Speaker 1 (43:56):
And because of the impact ability, your face has spread
out across the corn got like, oh, caught amongst thetomach.
Speaker 2 (44:05):
Yeah, I'm sure probably at that point would be just
concrete conc outside.
Speaker 1 (44:11):
So I'm like, oh god, guys, can anyone get a digger?
We get a digger, have to drill into the concrete
to get all the bits of your stuff, all of
you in this.
Speaker 2 (44:20):
Banks Yeah they have to do with banks. Yeah.
Speaker 1 (44:23):
Yeah, well it's exactly like you wear a banks. That
was the twist. Damn this guy, yeah or girl, I
don't know. I push everything in the coffin. But there's concrete.
There's more of you than I was expecting. Certainly visually,
I hadn't predicted this much heavy stuff heavy as well,
very heavy. But I'm strong. But it was difficult anyway.
(44:45):
I get everything in the coffin, but it's jammed. There's
no room in there. There's only enough room for me.
Just slip one DVD into the side for you to
take across to the other side. And on the other
side is maybe night every night, what film are you
taking to show? The tacos in Heaven? Is your maybe
Jason c Day case place.
Speaker 2 (45:02):
If possible, takes seasons one, two, and three of Ted
Lasso here. That is just to just you know, just
be like yeah, but then maybe that's lovely. I mean
that feels that feels technically a film. But it's one
big film. It's true. It's not the you know what
I said.
Speaker 1 (45:19):
It was one big film, one big three hour story,
you know, one big, one big, old, big old story.
Speaker 2 (45:25):
Because we definitely did more than three hours. M three acts,
three acts, three acts. Right, Yeah, you know what I'll do.
I'll take a sleepless in Seattle because it's you. I'm
gonna let you take. They have like a case logic,
like the slide playing take a couple. I mean, I
don't have to take Ted last season one through three.
They can, well they can probably if they go out.
(45:46):
Yeah that's where they're in the eye cloud, but they
just call it a cloud. Yeah, okay, you can have that,
and then take Sleepless in Seattle.
Speaker 1 (45:57):
Yeah, Jason, before we sign off, may I say in
public on here, thank you for everything. Thank you for
changing my life, thank you for having me on the boat,
thank you for all of it. If this is the
end of it, I will miss it. But it's been wonderful.
And if it isn't great.
Speaker 2 (46:15):
It's this conversation. This is if we're both assassinated on
the way out of here, Oh the irony? Does someone
have the code to get this podcast out if we
if we are assassinated before you get in there?
Speaker 1 (46:29):
And I think if we are assassinated on the way,
I sort of hope no one has the code, and
then that it becomes like a oh yeah sort of
thing that's talked about. I think there was a book
I heard they had just on a podcast. Yeah, but
no one has a code to get the recording. Yeah,
it'd be great, and I must prefer that. Yeah, let
me send a text. Let me just let me get
(46:50):
in touch to the kind of assassin if if you
find the right guy, Gallio, we need one.
Speaker 2 (46:56):
Yeah, and we could if we stand nice enough to
magic bullet, magic bullet side and just through right right
through your head, right through my heart, it go down. Yeah, something,
we're the MythBusters when you need them. Is that possible?
Fellas you have? I think it is. I've done it
(47:16):
in a in APERI Games. It must thank you and Bessie.
We almost didn't talk about Fortnite at all, did Yeah,
well we got it. And is that anything you would
like to tell people to look out for listen to
in the coming Yeah, those angels that we spoke about earlier, Yeah,
look out for those guys. Yeah, keep an eye out
(47:38):
for him or if you can't see one, it must
mean you are supposed to be that for someone else.
Like really like, if you.
Speaker 1 (47:47):
Talk long enough something interesting, people would take it is me,
that's the thing. If you need meaning, Yeah, it's always there. Yeah, exactly, Yeah, absolutely, leaning,
Thank you, Jason, thank you, bra thanks for having me,
thank you for doing good time. Take you ask me,
I don't know that. Good days and have a wonderful dear,
(48:13):
thank you, I love you. Good night. So that was
episode two hundred and sixty two. Head over to the
Patreon at patreon dot com. Forward slash Brett Goldstein for
the secret and the video with Jason. Remember to watch
all of Ted Lasso on Apple TV plus go to
Apple Podcast. Give us a five star writing but right
about the film. It means the most to you and
why it's a lovely thing to read. The Nabor Marian
(48:34):
loves it and it's all very appreciated. Thank you so
much for listening. Thank you to Jason for being so
good and giving me all his time and changing my life.
Thanks to Scrivius, Pip and the Distraction Pieces Network. Thanks
to Buddy Peace for producing it. Thanks to iHeartMedia and
Will Ferrell's Big Money Players Network for hosting it. Thanks
to Adam Richardson for the graphics and list A Laden
for the photography. Come and join me next week for
another brilliant guest. I hope you're all well. That is
(48:56):
it for now. In the meantime, have a lovely week
and please down more than ever, be excellent to each other.
(49:23):
Back back back back back
Host
Brett Goldstein
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