April 15, 2024 • 53 mins
Actor Michael Stoyanov appeared in one episode of T.J. Hooker and never looked back!But it was his role as Anthony in the Mayim Bialik show 'Blossom' that really stole our hearts. Find out the shocking number of people that watched his wedding episode, and how heartbroken David was about his breakup with Christine!
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Episode Transcript
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Speaker 1 (00:00):
Hey Dude the nineties called with Christine Taylor and David Lasher. Hey, everybody,
welcome back to Hey Dude the nineties called. I am
one of your co hosts. Christine.
Speaker 2 (00:11):
Hi, Christine, I'm your other co host.
Speaker 3 (00:13):
David.
Speaker 1 (00:14):
Hi, David on the East Coast, David in a new location.
Speaker 2 (00:19):
Goodness, a few days.
Speaker 1 (00:21):
We're not going to say anything why you're here?
Speaker 4 (00:26):
Yeah, I'm here for a very exciting, exciting reason. I
think our audience would be very psyched for what we're
doing here.
Speaker 1 (00:33):
But how about the day you got?
Speaker 4 (00:35):
I literally I walked from seventy second in Madison back
to eighty third and you know, East End. But like,
it is the most beautiful day in New York I
think I've ever seen.
Speaker 1 (00:48):
It's literally the most gorgeous day in the whole year.
So thank you for bringing us the beautiful weather.
Speaker 2 (00:55):
Mary, you've been what's going on with you? Hey?
Speaker 1 (00:58):
Listen? You know you were flying? Do I that cool eclipse?
I know there's a lot of people who are like,
is the eclipse that cool? Who cares? I got the glasses.
I stood outside and I was blown away by it.
It was so cool.
Speaker 2 (01:11):
Did it go dark here?
Speaker 1 (01:12):
I mean not as dark as every Ben said, he
was like, I kind of was hoping it would get darker.
It just went to that like twilight dark in the
middle of the day moment, and then it started to
come back around. But it was because it was a
beautiful sunny day. It was a little chilly, but little
teeny cloud cover. But I mean it was so cool.
Speaker 2 (01:31):
Did you wear the glasses?
Speaker 1 (01:32):
Yes, I put on the glasses and I bought them
for the family and everybody. We were all in different places,
so we were all just taking selfies and sending each
other selfie shots.
Speaker 4 (01:43):
You my son Casey, you know, Casey's in Austin, which
was supposedly the best place to see it, and he
sent us a video. It was like, you know, around midday,
completely dark, like it was nighttime.
Speaker 1 (01:55):
See that's where you get the real that's so crazy.
Speaker 2 (01:59):
It was. I couldn't believe what I was seeing.
Speaker 1 (02:02):
It was really cool. I mean, it's that thing that
you think you're like, okay, I'm going to get the glasses,
and then you just see it and it's just this,
like it's pretty awe inspiring. I thought it was pretty amazing.
And the next one isn't until twenty forty four.
Speaker 2 (02:14):
So right, so like you'll remember where you were, Yes,
went outside and saw it. Yeah, I was on a plane.
Speaker 4 (02:20):
I was on the plane and the captain came on
and said, listen, we're traveling past the eclipse right now.
You won't be able to see it, but we have
something special for you. And on all of everybody's you
know Wi Fi. Yeah, they played Total Eclipse of the Heart.
Speaker 1 (02:37):
Yes, exactly. Oh that's great. Yeah, I feel like that
song got the most play yeah, in the last couple
of days. But anyway, I want to thank you because
you have booked our guest today and do you want it?
And our audience has been asking for this guest to
be on for quite some time in the comments that
I've been looking at. So would you like to introduce him?
(02:58):
I know he's in the waiting room.
Speaker 4 (03:00):
Yeah, I will just tell our audience Michael Stoyanov, who
I worked on for three years on the show Blossom.
Speaker 2 (03:08):
He was on for the all five years.
Speaker 4 (03:09):
But he's not only one of my best friends, but
one of the funniest, coolest, wittiest.
Speaker 2 (03:16):
People that I know.
Speaker 4 (03:17):
And he is he's a writer, he's an actor, he's
a real estate investor. He's just one of the greatest guys.
So yeah, let's welcome in. Michael Stoyanov.
Speaker 3 (03:29):
Oh hey, you hadn't aged you mind?
Speaker 1 (03:33):
No, I swear to God that you look great.
Speaker 3 (03:36):
I bet you say that till all the nineties stars.
Speaker 2 (03:39):
Christine, I'll tell you this.
Speaker 4 (03:40):
Mike and I took a boxing class a couple of
days ago, and we were partners, and.
Speaker 2 (03:44):
He's in Chip took shape. He's like, you know, he.
Speaker 3 (03:48):
Is too kind, too kind. It was it was a
funny class. But I feel like I literally, you know
how like Google or whoever someone on the internet is like, hey,
here's some pictures of you from ten years ago. Oh boy,
me wh yesterday? And I'm like, you bastards, how dare you? No? No,
I'm depressed all day and have you found.
Speaker 1 (04:07):
And I was just talking about this with someone that back, like,
so let's say ten years. I mean for all of us,
we can go back thirty years. And there's lots of
documentation of that too, But like, even ten years ago,
it's like I remember feeling like I was always like
still a little like unsatisfied. I was like, ah, I
should be working on more. I should be then I
(04:29):
look now I look at those pictures and I'm like,
damn it. Why didn't I enjoy it then?
Speaker 3 (04:34):
Like I was saying, now, I was like, oh, so
I'll be able to do this forever. I was sort
of the upset. I was like pretty pleased. But again
I had that was a period of my life about
twenty years or so where I had nothing to do
but work out and like concentrate on it. So like, no,
I mean I don't have kids. I don't have you know, yeah,
I mean you guys are you know, in a different place.
So I could work really hard on it. So I
(04:55):
was like, oh, I can do And now it's like
I'm wondering, is it ever? And I'm only about eight
ten years older? But now I have to take you know,
certain medications every morning for things.
Speaker 1 (05:07):
Yes, yes, you.
Speaker 3 (05:09):
Know that makes it harder to take the weight off.
And it's like, well, I don't want that. I don't
want this. Where's the magic where I mean, I know
there is called ozembic At this point, apparently.
Speaker 1 (05:18):
Exactly, I was gonna say that is the magic.
Speaker 3 (05:21):
I can't get it. They're like, you're not diabetic enough
and you're not fat enough. It's like well, I will
work on both of them.
Speaker 1 (05:26):
You're not enough, Mike, You're not enough.
Speaker 3 (05:29):
I've never been enough. Yeah, at least I'm not enough
negative things now.
Speaker 1 (05:33):
Yeah, even your doctor is telling you that, right, I.
Speaker 2 (05:36):
Won't prescribe you because you're not heavy enough.
Speaker 3 (05:39):
That's I mean, I've heard. Yes, I and other like
close friends have had the situation.
Speaker 2 (05:45):
I mean I have.
Speaker 3 (05:46):
My dad was adult onset diabetes, and like, I definitely
can feel I have like if I eat too much sugar,
I like can feel like that's not like the old
days where I could just power it down, you know,
but I don't. I don't, so I have blood sugar
like regulation issues. But they're not going to give me
ozempic for that. So that's what I've heard.
Speaker 4 (06:08):
It's yeah, I don't know, I've heard. I've heard mixed
things about it. But let's talk about some more fun stuff.
Speaker 3 (06:16):
Listen. I'm not sure I have an hour's worth of
memories of the nineties frankly certainly not family friendly. But well,
let's let's see what happens. Let's start talking.
Speaker 2 (06:26):
And uh, by the.
Speaker 1 (06:27):
Way, that's like the nineties is where we start, but
that's we end up going off of every in every
different tansion.
Speaker 4 (06:34):
I'd like to start back in Chicago, because I know
you were talking about how you you were in a
theater company. Jeremy Pivens's parents had a theater company, and
John Cusack was with you and Second City.
Speaker 2 (06:45):
So to take us back to Chicago and how you start.
Speaker 3 (06:48):
Start up in Evanston. Evanston, Illinois where that's where John
Cusack and Jeremy Piven and Steve Pink who came up
with them and is now a director. He directed Hot
Tub Time Machine. And we were all the same class. Well,
Jeremy Fiven was one year older, but John and Steve
and I and some other people were the same class
class of eighty four, Oh my god, and yeah, and
the Jeremy's parents were sort of well, very well known
(07:11):
theater people in Chicago, Joyce and Burn Piven, and they
had a workshop, a like class and a little school
for young people, and like everyone sort of from my
era took classes there at the Piven Theater Workshop, and
then they had like a junior company for like middle schoolers,
and then a young people's company where they would do shows.
(07:33):
Like I sort of moved on to high school to
do plays. And didn't really go that much further, but
I did take classes in middle school there and I
feel like got a really good grounding on like improv
and just performance in general.
Speaker 4 (07:48):
And then Second City started when because we've had a
lot of guests. I mean, we just interviewed Richard Kinine,
we had Bonnie Hunt, brilliant, the greatest comedic minds came out.
Speaker 3 (07:59):
Of Like, yeah, if you were from my era, and
I think probably still to this day, if you were,
you know, a comic performer actor growing up in Chicago,
you wanted to train that was aspirational, like first of all,
like you know, the Lion's share of SNL cast for
a long time sort of came out of Second City.
(08:23):
So yeah, I took that training. When I got to college.
The dean of our theater department, Sheldon Patinkin, was a
former Second City performer from like the very like with
Alan Arkin in the fifties, and he got me a
scholarship to go to the classes for free. And then
you go through five eight week trade like sessions Level one,
(08:44):
level two, and so on. And in level five you
do a show like a comedy and improv review with
your class, and so you get to get up and
so yeah, that training was amazing and invaluable, and I
definitely feel like it set me up to to then
come out to LA and be like twenty two, but
like really like yeah, like I was reading to play
(09:07):
fourteen fifteen when my first year.
Speaker 1 (09:09):
Is that true?
Speaker 3 (09:10):
Yeah?
Speaker 2 (09:10):
You look, I mean I.
Speaker 3 (09:12):
Kind of like last.
Speaker 1 (09:13):
Week, no, no, no, but but that you were immediately
auditioning for the younger I forgot that's what we did too,
Like in our twenties, we were auditioning for teenagers.
Speaker 3 (09:22):
Well, I mean, and I felt like I had a
big I was auditioning against like, you know, for real
fourteen year olds who like maybe like the extent of
their training was like their parents had gotten them headshots
like I had. I've been training as an actor, I
had my equity card. I'd done a play, an equity
play in Chicago Theater, and I'd done all the second
city training and like a ton of plays and like everything,
(09:44):
like a TJ. Hooker came through Chicago and I was
in that.
Speaker 1 (09:47):
And there was oh, hell yeah, hell yeah, you got
a DJ Hooker.
Speaker 3 (09:51):
Yes Shatner, William Shatner, great performer. I'm sure, I'm told
I mean, I didn't, you didn't cross paths his lines.
He had this line like because we see and this
other kid who I went to high school with, we
played like drug addicts, like put like badly written, and
it was like like he finally catches us and he's like, uh,
(10:14):
my friend, I'm already dead. I get shot shot where
we try to rob a liquor store and I get
blasted in the back with a shotgun. Some you keep
running and then I die in the car and then
Shatner eventually pulls us over, and my friend's like he
needed to fix and Shatman's line was like you need
to fix He's fixed for good now, isn't he thirty?
(10:35):
It was hilarious and back then, no.
Speaker 1 (10:39):
Yes, that was the pright oh man, that must be.
Speaker 4 (10:43):
Your first acting role on camera. You get shot in
back and killed.
Speaker 3 (10:48):
One of the first I think i'd done Crime Story
before that, which was a Dennis Farina series about the
shot in Chicago. But yeah, it was one of the
first first jobs.
Speaker 1 (10:58):
Oh Man, do you have that? And somewhere exists somewhere.
Speaker 4 (11:03):
To find that we got Mike who was that second
city when you were there around that time?
Speaker 2 (11:10):
Because I mean any any given year like this.
Speaker 3 (11:12):
My gosh, I mean Bonnie Hunt was sort of around there.
She's a little older than me, but she was like
in the Richard Kyine was on the main stage at
that time, Joel Murray, I think. But there was also
there was there was there was Second City, and then
there was like improv Olympic or uh an and Annoyance Theater.
(11:32):
These three Annoyance Theater did the real life Brady Bunch,
which I realized Andy Richter came out of there, and
uh yes, a lot of people, uh, the Soloway sisters
were the ones who sort of created it.
Speaker 4 (11:46):
Uh.
Speaker 3 (11:46):
And then improve Olympic was Dell Close and Shanna Helper
and they they sort of perfected the herald form which
was like a little improvised one act play. And a
lot of a lot of really talented people were spread
out in these three, these three areas. But Farley, I
saw Farley on the main stage.
Speaker 2 (12:04):
My goodness, are you serious?
Speaker 3 (12:06):
He was. He was so mind blowingly like in a
and he's it's it's the top the best improvisers like
and comedic skets performers in Chicago. And he was still
like boom, like like o Tani, Like watching Tani played baseball,
It's like, Wow, this guy is so freaking good, Like.
Speaker 2 (12:24):
Everyone says that, Yeah, he's on another level. And he
did like the motivational speaker.
Speaker 3 (12:29):
Yeah, yeah, I don't take a whale boy, which was
really funny, but I didn't your motivational speaker existed yet.
I think that that came out of SNL.
Speaker 2 (12:40):
No, no, no, no.
Speaker 4 (12:43):
Bob Odenkirk wrote that for Farley at Second City and
they performed it on the main stage for a long
time and then yeah, then they Farley tried to pitch
it over and over and over again to to Lauren Michaels, right,
and they finally did got it on, And you know,
I think it's one of the greatest, greatest sketches.
Speaker 3 (13:03):
I think, what's Christine Applegate? Just so she was in
the first.
Speaker 1 (13:08):
Where they're busting up?
Speaker 3 (13:09):
Right, isn't that doctor something of her?
Speaker 4 (13:13):
Yes?
Speaker 3 (13:13):
I don't have any more information, but don't check that
out people.
Speaker 2 (13:16):
Just the way he pulls his pants up, is.
Speaker 3 (13:18):
It Matt Matt Foley, right, yes, yes, yes, the river exactly,
government cheese, the whole thing.
Speaker 1 (13:36):
Did you gravitate towards comedy naturally? Like were you a
fan of funny TV or films or was it natural
for you?
Speaker 3 (13:45):
Definitely think so, Like in terms of like what I liked,
like sensibility wise, entertainment wise, I liked comedy and action.
Like I also just a regular boy. I liked action
movies and comedy's you know, for the most part. And then,
like I found myself through high school, I had the
most success in comedies. I did Rosenkranz and Gildenstern Our Dad,
(14:05):
which is a very funny play by Tom Stoppard, and
got a lot of laughs. I had the part again,
I had the part. There's a part it's like a
traveling truth of It's it's hard to explain, but I
suffice it to say, I ended up. I was a
character who was in address for a certain amount of time,
and of course that was considered very funny back then,
no matter just the moment you put it on it
(14:26):
was like so, I got a lot of good response
from the comedy in that, and then I did Comedy
of Errors the next year, and I didn't have one
of the two twins roles, but I had a role
that like I made the most of it, and like, yeah,
I definitely think, and then you know, I'd done Piven,
which was generally gravitates like Lean's comedic, and then I
wanted to do Second City and then went on. So yeah,
(14:48):
I definitely and I always the dream one of the reasons,
and we'll get to this later. I'm sure I left
Blossom to ultimately go right for Conan was the well
I wanted to be like Monty Python. I wanted or
Kids in the Hall, and I just in the hall.
Speaker 2 (15:03):
You introduced me to Kids in the Hall.
Speaker 3 (15:05):
They're hilarious, Like I've always thought, like sketch comedy, like
being in a troupe where you write and perform your
own stuff was my calling and it didn't ever happen,
but like that was sort of the whole like from
eighteen or so on, like the focus was was on
that that idea.
Speaker 1 (15:25):
Like so, so, where where did Blossom fall into this?
What like along the way you come to la you
you get your te J Hooker, you started doing Union Cards.
Speaker 3 (15:38):
I had just an equity play at Wisdom Bridge Theater,
which at that time was sort of like one of
the one of the better UH theater companies in Chicago.
So I had all this confident I got very well reviewed,
you know, of fortunate in that respect. And I come
to to LA and it's like eighty nine nineties, someone
right at the very beginning of the nineties, and I'm there.
(15:59):
I already met with an agent like the year before,
and I was like, I'm going to do this play
and then I want to come and they're like okay.
And then so I get there and uh, I'm sitting
down on the headshots. Oh you need no headshots. They
say that to every single soul that ever, like the
first second. It's like when we wrote those out. So
she's going through everyone to go through that, and she
says to me, you know, now you might not get
(16:20):
a job your first year. I was just like, look,
have you never met anyone from Chicago. We think it's
the greatest city. Like we're like Paris, what what what
do they have? Like we if I'm not get a job,
like in a month, I'm I'm going back to Chicago,
Chicago and like do Second City and plays and stuff
and like come out of come out of there, so
(16:41):
that you know, And I ended up fortunate, like I
had a very good sort of first season. I got
there late, like February March late February March. So I've
been I still got myself to network on a few pilots,
and I did figure.
Speaker 4 (16:55):
For our listeners, is pilot season is January through April, basically.
Speaker 3 (16:58):
Right to be Yeah, an season existed, yes, yeah, So
I ended up going to network, which again for the
people that that's the very last step back then they
would they would, they would you get to the final
audition and it's like, you're going to network. We're going
to negotiate your contract. It says if you have the
freaking job, if you like, then you're all there that day.
Speaker 1 (17:25):
Like I'm looking at each other against.
Speaker 3 (17:27):
Brad Pitt like at one point, and I was like, anyway, So, yeah,
I had managed to go to network on a few things,
and I had nice uh guest star roles on uh
Quantum Leap and Empty Nest. So all things considered, especially
apparently for what my agent thought, I had a great
first year. And then at the very I got Empty Nest,
(17:50):
which was also a W. Thomas show, and they did
they did blossom. I got that early the next year,
like January, and so they they knew they were developing
this mind violic show, and they you know, let's face it,
you know I look a little bit like her. Let's
you know, between you, me and everyone else. Literally, we
want you to come and read for this, this pilot
we're doing with my Violic from Beaches. And I was like,
(18:11):
oh freak, I love her. That's great. I would love
to be a part of this. But so I ended
up getting that, like in the midst of shooting Empty Nest,
like by the tape day, I think I had the pilot.
So I know I didn't get to audition for any
other pilots that year, which but that's fine. But like
so I got a pilot like at the end of
my first year, and then that was sort of the story.
(18:34):
And then I didn't even like privileged, like like I
guess arrogant personally. I didn't even realize till years later.
Like man, that was like it went so freaking well
and I just took it for granted. Oh this is
the first of many series I will star and like,
(18:54):
you know, this is you know, I am a guy.
Speaker 1 (18:57):
I think I did. I say it all the time,
but I think I'm the of failed pilots, Like I
just am the kick. I'm a pilot, like I'm a
series Killer.
Speaker 3 (19:05):
Thirteen failed pilots, people like.
Speaker 1 (19:07):
Yes, that's yeah, people like me. I am in terrible.
All I wanted was to get a show on the air,
and it just never happened.
Speaker 3 (19:14):
I honestly only ended up in a few more pilots
after that, and then, like you know, I had a
lot of recurring roles that at nine two oh was
sort of the most significant.
Speaker 2 (19:25):
We'll stay with. We have way more to talk about
the book.
Speaker 3 (19:27):
Oh yeah, I'm just saying, but like I didn't. I didn't.
I did not end up being a series regular from
the get go on a lot more for whatever reason,
you know, I think happenstance the industry says, lack of talent.
Who who's the stop?
Speaker 1 (19:44):
Did you read with Maam when you got like, was
that your audition? Was it was her right away?
Speaker 3 (19:51):
I don't think I really I did not meet Maam
until the read through. Oh wow that that you know?
So yeah? But I know she uh and her and
her mom tell a story that they they saw me
on Empty Nest and they thought like, oh, he's he's great.
But I'm by the time that aired, I think I'm
(20:11):
pretty sure I was already cast. But it's still very
nice that like they saw me on and then we're like, oh,
he'd be great. I hope it's him, And you know
it was.
Speaker 4 (20:21):
You know what when I auditioned for Blossom at the
end of the first season, I had just done this
nine oh two one oh, my first episode on nine RL,
and I did read with Maam and she and Jenna
were like giggling and they were like huge nine oh
two one Oho fends And I'm pretty sure that I
got Blossomed because of my role on nine O two
(20:42):
one oh. But yeah, listen, Blossom and Don Rio, the creator,
who's I mean, honestly still to this day, one of
the classiest, most talented people we've ever worked with. He
creates a show about a teenage girl as the lead,
which really I mean maybe Punky Brewster, but it really
hadn't been done successfully.
Speaker 3 (21:03):
In the original pilot, it was just a much more
standard family. There was a mom and a dad. Richard
Masser and Bury young Fellow I think were the mom
and dad. But then they they tinkered with it well
it got picked up to be a mid season replacement. So, like,
you know, confidence was not like soaring like at the
network or amongst obviously the producers, but they did know
(21:27):
enough to like make it more unique and more more
its own show. So they brought ted Wasson to play
the single dad, which was a brilliant, a great move,
and like, yeah, they just they they made a lot
of smart decisions, and I think that, you know, the
first season, it was like we had an order of seven,
and it was like, you know, you might get on,
(21:48):
you know, and it's a mid season. They're like, we really,
you're just when one of these things, like just like craters,
we're going to have to put something in for a
couple of weeks. It's gonna be you congratulations, welcome to.
Speaker 1 (22:00):
We started working. The show's floating in limbo. You're like,
you know, we're doing all these episodes.
Speaker 3 (22:04):
Anyone's ever going to see it. But we had an
order of seven and then ordinarily it's like you know,
they're like, oh, we picked up your back, your back
to fill out the order of thirteen six more episodes.
But they picked us up for like two more, oh
just one more.
Speaker 1 (22:19):
They were like, we're really figuring this out.
Speaker 3 (22:22):
It's like at this point, like so it was really
slow to develop, but again, I think that served us
well and I think we benefited by being sort of
an underdog and like started attracting attention right away Joey,
you know, I mean, Miami is Miam is Miami, and
she's brilliant and like from the get go. But then
Joey started to sort of like break out, you know,
(22:46):
and I just think it really we you know, by
the time second season. We in the second season pretty early,
I think we did the was the Madonna documentary for it,
and we did the sort of parody of that that
was so good that really put us like started to
people started to take notice. I think at that point, I.
Speaker 4 (23:05):
Mean it was it was a blossom on Monday nights
at eight o'clock at Fresh Prince of bel Air at
eight thirty and that hour, I know it was.
Speaker 2 (23:13):
It was a top twenty show the whole time I
was there.
Speaker 3 (23:16):
Yeah, and back in those days, that was like an obscene,
like because there were only three or four networks, you know,
I guess four or five because Warner Brothers I think
was then becoming sort of a mini network. But there
was you know, now there's one hundred content creators like
you know, so that the numbers are all much smaller,
like you know my wedding episode like thirty million people watch,
(23:39):
which is like a crazy crazy same yea, they made
it like number nine on the week or something that week.
Speaker 1 (23:49):
Well, maam said, which I didn't realize because I think
of Blossom. I always thought of it as a hit
show because it was on and Miam's like, we were
never top ten. We were always lingering, We stuck around own.
We had our fan base, but we were we were
top like, we were somewhere from ten to twenty for
most of that.
Speaker 3 (24:06):
That's plenty good. But as far as the network and
the sponsors are concerned, that's right, especially if you're in
the fifteen to twenty five overall. But like the massive
majority of your audience is young, like you know, that's
what they care about, right, They want to make commercials
for so you.
Speaker 4 (24:24):
Know, Mike, I remember being absolutely terrified my first episode.
You know, Paul Witt and Tony Thomas were you know,
legendary producers. But I remember Paul was always in like
a three piece suit, yeah, roaming around and I was
just like every time he would pass me, my heart
would like palpitate.
Speaker 3 (24:43):
Yeah he was. He was a scary guy. I mean,
he was they were both they're both brilliant producers, and
but he was it was performing for him was intimidating
for sure, you know.
Speaker 4 (24:54):
Yeah, and the run throughs, you know, I mean, Christine
did it. Christine did a guest star. Christine tell Mike
about the episode.
Speaker 1 (25:06):
It was a small guest star role too, It was
it was. Yeah, it was one of my first jobs
when I moved to l A. Right after David and
I finished our show, and so yeah, it was like
maybe second or third was this.
Speaker 3 (25:18):
Guest started before Vinnie. So David wasn't David.
Speaker 4 (25:22):
I was there, but we were kind of in the
little feud between the two of us. I apologized for this.
Speaker 1 (25:27):
My running joke is David was horribly mean to me.
The heart being there, he just wouldn't speak to me.
Speaker 3 (25:33):
Fine, but I don't know that. I'm let's let's just
let's just we'll say he was. He was a little
bit heartbroken. I think I don't think we can leave
it there.
Speaker 1 (25:47):
But I've since apologized as well.
Speaker 3 (25:51):
Yeah, we're still be friends.
Speaker 1 (25:54):
We've made all.
Speaker 3 (25:57):
Was I'll start crying right now.
Speaker 1 (25:59):
Oh no, I was just thinking to myself, like, you
were probably so bummed when I got cast on that show.
You were probably like, God, damn it, can they cast
someone else?
Speaker 3 (26:13):
David's why. It's like.
Speaker 4 (26:19):
I think she did an episode where Ten and Joey
were like both Yes, it.
Speaker 1 (26:24):
Was all all of my stuff was with with It
was like a father's son they went. It was like
in a restaurant. There was a pool table, and I
was there wa waitress. You know, I was like Sally
the waitress, and they were both kind of flirting with
me and kind of like you know, I know.
Speaker 3 (26:41):
At this point I.
Speaker 1 (26:43):
Possibly possibly, but I think it was that they were
like in competition with each other and then ultimately like
just they both were off putting to me. I guess
it's some I don't remember the storyline, but I had
nothing to do with any of with you or Maam
or David. It was just all of our stuff was
in this one you know restaurant pool hall, as I remember,
(27:04):
I know there was a pool table involved right in it. Yes,
Like we've talked about this, being a guest star on
a show, there's nothing worse. I mean, you feel so
great to get it, but you're coming into like a
well oiled machine and you are just also a.
Speaker 3 (27:22):
Show with a live audience where you're doing basically a play.
Like if you're not if that's not where your training
is or you don't have a lot of experience with that,
that's a whole nother level.
Speaker 1 (27:32):
Oh yeah about like you know, for sure, I think
the I had done a Saved by the Bell prior,
so that was my first like a lot because our show,
Hey Dude, was multi camera but no audience, right, it
was out tours and no laugh nothing. Yeah, no, it is,
and you really you realize how much. And by the way,
(27:54):
when you're doing it multiple times, like eventually the audience
is not going to laugh anymore because they know the joke,
so you it's hard for you to even sort of
sell it. And but it's you're living in.
Speaker 3 (28:03):
Constant because they'd be like, you know that, we got
to write a new joke. Your joke's not working anymore.
It's like, that's not my fault I did the first
five times. We still always take it like personal like
I got and another thing coming from a place of
live theater, but not like on camera. The timing you
have to there's it's not just been natural organic. You
(28:26):
have to wait for the camera to get on you
there's like a hitch to the Oh, yes, you're right,
you're right for naturalistic. It's it's so it's a little
another thing you got to learn.
Speaker 4 (28:37):
And yeah, Mike, you know we just I told you
we had Richard Kind on last week and he said,
like he said, he worked with two legends, Carol Burnett
and Michael J.
Speaker 2 (28:45):
Fox.
Speaker 4 (28:45):
Right, he said, Carol Burnett could play the audience in
front of her and the camera.
Speaker 1 (28:51):
Michael J.
Speaker 2 (28:52):
Fox only played the camera.
Speaker 1 (28:54):
But he needed the audience for timing for the laughs. Yeah.
Speaker 4 (28:58):
Interesting, You when you're doing a sitcom, you have to
be aware of the few hundred people in front of you,
but then those four cameras, you.
Speaker 3 (29:06):
Know, that's going out to me, it's not the same timing.
If you were doing the twenty two minute episode as
like a one act play, just in a live theater,
the timing would be different, you wouldn't you.
Speaker 2 (29:16):
Know, And you could see that red light go on
the camera when.
Speaker 3 (29:20):
Exactly you get a feel for it anyway over, you know,
with a little experience.
Speaker 4 (29:25):
Yeah, dude, you were so you were so good and
so comfortable, and your timing was like you were like
a surgeon.
Speaker 2 (29:33):
I remember just being so in awe of you and
everybody on that show. Mom actually wanted.
Speaker 3 (29:38):
Me to be an actual surgeon, so happy to hear
this for a minute, like.
Speaker 1 (29:48):
A surgeon.
Speaker 4 (29:50):
Joey did become like a serious teen star and it
was mian show. And I know that like he tried
to he got his music video was on there, and
there were there were moments of tension between you know,
this is her show, but he's I don't know what
it was.
Speaker 3 (30:09):
I think that happens a lot, and not just amongst
younger people on shows, like you know, if someone breaks
like that. And then but the show was you know,
like we were just talking about Michael day Fox, like
Family Ties was supposed to be like Meredith Baxter Bernie's show,
and then like by episode two, they're like this kid's
(30:29):
gonna be a giant freaking star, like you know, but
she brilliantly actually in her contract was like I am
to be the highest paid person on this show always
and forever, which ended up being but they probably just
threw that in, but she should, I mean with the
show is it's her show right exactly? But I'm I
(30:51):
just I think it happens that, like a character becomes popular,
and yeah, let's admittedly there was. It caused some friction,
but it did. It wasn't like ruinous, and it wasn't like,
you know, like hell fire on the set like day
in and day out.
Speaker 2 (31:09):
Oh no, no, it was.
Speaker 3 (31:10):
It was at times a little uncomfortable, I would say,
but it wasn't like like, oh, this is a nightmare,
like I.
Speaker 4 (31:18):
Just remember, I remember, uh Joey wanted to shoot his
music video in a dream sequence on the show was
like time O days over.
Speaker 2 (31:28):
Everyone go home, We're.
Speaker 4 (31:30):
Going to figure this out, right, Just stuff like that,
I mean, and it's you know, Miam and Joey were kids, right,
so it was probably their their representatives dealing with this stuff.
Speaker 3 (31:40):
But exactly.
Speaker 4 (31:41):
Yeah.
Speaker 2 (31:43):
And then you know the Bill Bixby thing.
Speaker 4 (31:45):
You know, Christine that Don Rio's best friend was Bill Bixby,
and he directed.
Speaker 1 (31:50):
He directed the episode I did, yes, right, okay?
Speaker 3 (31:54):
In fact, yeah, a lot of them, the first couple yes, yeah,
we yes, principal directors.
Speaker 4 (32:00):
Bill Bixby played the incredible Hulk along with a legendary career,
but he was he was dying of cancer while he
was directing us, and and Don felt that he couldn't
let him go, uh you know, because it was like
his purpose and he was literally directing from from like
a bed, right Mike.
Speaker 3 (32:19):
He was really he was infirm. He was definitely in pain.
He was definitely sort of late stage and you know,
but I don't I don't call ever a bed, but
he was definitely had mobility issues. He couldn't get around
very well. Yeah, it was. It was it was I
understand why what don did and like, you know, uh,
(32:41):
it was definitely it was trying, and like I was
very young at the time and like really sort of
inexperienced with that sort of thing. So I you know,
I suppose looking back, I might not have I don't
know how I handled it, you know, well or not.
But uh, it was definitely it was sad. You know.
It was like the set would be tinged with some
(33:03):
sadness because someone was passing sort of before your eyes
while we were while we were in production. So and
he was a really really nice, nice man and truly
an actor's director, like he I mean, I don't know,
probably because he was like just get you do it,
(33:24):
just do it great like that those were my notes.
So I was like I love him, you know.
Speaker 1 (33:30):
Exactly.
Speaker 2 (33:31):
You know there were much lighter times.
Speaker 4 (33:34):
I will say also that Mike and I would go
back to his house in the Hollywood Hills after every
run through and chill out on his balcony, smoked, smoke
a joint and just kind of reflect on the day.
I mean almost every day for the three seasons I
was there.
Speaker 3 (33:50):
It's true, we could admit that. But also we spent
a lot of time at your house, your bachelor pad.
This kid was like Entourage come to life, like every
sort of like he had a ram, he had a turtle,
like all his friends.
Speaker 1 (34:05):
Only knew a couple of them, for sure.
Speaker 2 (34:06):
Yes, you know, funny me, Doug Ellen.
Speaker 3 (34:12):
Entourage, there's got to be I mean, I think he
drew right.
Speaker 2 (34:15):
Seriously, where did after I come from?
Speaker 3 (34:16):
That was like you a check, is what I'm listening
out there.
Speaker 2 (34:21):
I'll call Dog and ask him.
Speaker 3 (34:24):
That's going to be a hard no on that, I'm guessing.
Speaker 4 (34:37):
I just want to talk about the four weeks of Paris.
You know, Christine, we we got a call after hiatus,
We're gonna do a two hour movie for NBC, a
Blossom movie.
Speaker 2 (34:48):
You're going to Paris for four weeks.
Speaker 1 (34:50):
Yeah, amazing, just amazing, and it was.
Speaker 3 (34:53):
A lot of sitcoms did that that at the time,
Harris or London or somewhere.
Speaker 1 (34:57):
Yes, exotic locations, exotic look.
Speaker 3 (35:00):
I went to London, other people went to Paris. Laid
the groundwork very early by having the the our estranged mother.
She was like a lounge singer in Paris. So he
he wanted it to get us there. I think, all along. Yeah,
I actually we were in the lobby of the hotel
and he was like, don't ever, don't ever say I
(35:20):
never took you anywhere. I was like solid hotel in Paris.
Speaker 4 (35:30):
We filmed on the saying. I mean it was like
literally like a dream, like out of a novel or something.
Speaker 3 (35:36):
Was it was great. It was a great time, amazing.
Speaker 1 (35:42):
So so then so you're in season what when you
make a decision to take another job.
Speaker 3 (35:53):
Well, I mean, you know, traditionally after a few seasons,
after three seasons, I guess traditionally, if the show is
popular and a hit, people are afforded the opportunity to renegotiate.
And like, I'm some people were, I'm sure, but some
people weren't. And I was weren't people And like, so
(36:14):
I started to feel a little disenchanted and a little
like sort of like underappreciated. Uh, and I don't I
don't think I was alone in that, but that's other
people's story to tell. So and I knew, you know,
again this like sort of like I had some chops limited,
I would say, compared I think to my ability as
(36:35):
an actor as a writer, and like some friends of
mine had started to have some success. Actually, you know,
I was good friends with Andy Dick in college and
like by this time the Ben Steeler Show had already
been on and they won the Emmy, and like my
friend Dino was one of the writers, and like he
had gone on to write at Conan O'Brien. At the
(36:56):
very start, like they were like, you know, they've hired
We've hired this giant, redheaded unknown to.
Speaker 1 (37:02):
Replace I remember. I remember when everyone was like, oh,
he's a writer from the Simpsons.
Speaker 3 (37:10):
Really funny. I mean I could see him how he
could do it in the room like win over. But yeah,
so he was at the very beginning of that, and
like I was, they were writing promos and I was like,
can I try and write a few? And I wrote
a few and then he was like, oh, Smigel, Robert Schmeichel,
who was the first head writer and executive producer on
the show. Uh, they were like, well, they were going
(37:32):
to make a few of yours. One of them was
really hacky and about like amish people like homage people
jokes are like, you know, he did it, like I
was one of the first people to have produced material
for and I wasn't you know, but then my friend
you know got me, got my submission packet ideas seen
(37:52):
by Robert to the to the level where they were like, well,
do you want to come out on your hiatus and
like work for half a cycle. A cycle for writers
is generally thirteen weeks. You get hired for thirteen weeks
on shows generally. So I went out like and had
like summer school basically and worked on the show like
between seasons three and four. I think of Blossom and
(38:15):
like at the end of that, I mean, and it
went I would say mixed results. I had some spectacular failures,
and then I had did a few things that ended
up being smart, Like I created the like direct TV
was brand new at that point, and I was like,
Conan should have like a satellite dish and he goes
through his he looks at what's new on the on
his his satellite, and if we can just do a
(38:38):
bunch of bits like crazy channels and you know. So anyway,
that became a bit that got refilled.
Speaker 1 (38:43):
I remember that bit. I so funny.
Speaker 3 (38:47):
So that was sort of the one that I think
is what propelled Robert to be like, hey, you know,
if you want to come back, we will, we will
hire you.
Speaker 4 (38:56):
That's so cool, man, Which is a better feeling getting
a lab as a performer, getting a sketch on the air,
getting a.
Speaker 3 (39:02):
Laugh as a performer. Always be a performer art Like
that's something that you know, I feed off of in
that it's really great to like have written something, created
something with your mind and get it to a produced
point and see that it works and like, you know,
but again I always thought like and with kids in
(39:24):
the hall, Monty Python being sort of the goal the idea.
I was a stronger performer than I was a writer.
I was an adequate and like my talent in terms
of thinks shows like Conan O'Brien, I was very good
in the room like oh we got to do, we
gotta do, like creating jokes for bits that already existed,
like we're doing another year two thousand. Everyone write a
(39:44):
bunch of year two thousands, Like I was better at that,
like brying new bits, and like you know that I
would always I always would say to my friend Dino
and anyone else basically with a lot of like genuine
real writing talent. It's like I feel like Saliary around you,
like from Amadaeus from most read your stuff and I'm
(40:05):
like this, how can myself doesn't leap off the page
like this? Why am I? But I can't. I can
only see it. I can't create it. So that's how
I felt about writing, just generally, but I did. I
was fortunate then later to have get a screenplay credit
(40:25):
on something I was really proud of that. Actually, I
worked with Jennifer Earls Cox, a friend of yours.
Speaker 1 (40:31):
The Oh my god, oh amazing.
Speaker 3 (40:35):
Changed to seventy six.
Speaker 1 (40:36):
I don't he's one of the funniest. Oh she is hilarious, brilliant.
Speaker 3 (40:43):
Yes, yes, And we did at the very end of
the nineties early two thousands. I think we did it
as we impro We built this thing out of improv
and like me and her and Khali Roschet and Sam
Pancake and Jack Plotnick. We did the show at the
HBO Workspace, which was this great venue they had. Mister
Show used to do like stuff there to work up material.
(41:04):
H used to have this workspace where you could do
plays basically like want to and like sketch comedians and
like things like our thing Space Station seventy six would
like work there. And we performed it there and like
people loved it and like it was so fun.
Speaker 1 (41:18):
Where was the space? Was it in Hollywood?
Speaker 3 (41:20):
It was it was right over by Renmar like Koalanga
and like Willoughby like that.
Speaker 1 (41:25):
Yes, okay, yeah, yeah, yeah, yep.
Speaker 3 (41:27):
Wilcox or somewhere in that yes, yes, Vicinity. But it
was fun. It was a lot of fun. And then eventually, yeah,
Jack wrote it into a screenplay and they made the
movie with Patrick Wilson and Liv Tyler and a bunch
of other people, and yeah, amazing, Yeah for sure.
Speaker 4 (41:45):
Can we skip to The Dana Carvey Show because Michael
was a writer on a show called The Dana Carvey Show,
which is probably the most legendary group of comedic writers
ever assembled.
Speaker 2 (41:55):
There's there's a documentary on this.
Speaker 1 (41:57):
The documentary is incredible.
Speaker 3 (41:59):
Talent packed, spectacular failure of the time, probably like and
I'm not, I'm not. I just again, I'm I'm on
the outside looking in at this is just just to
bring around. Like so that season four, after season four blossom,
it really it felt like and again for no no
fault of anyone's, it's just how the business is run.
I just wasn't they weren't gonna do anything to alter
(42:22):
my original contract. And I was like, I don't, I don't,
I'm sorry, I just yeah, I would rather. I would
rather honestly go do this thing for way, way less money,
you know. And well like whether that was a smart
or regrettable move is to is who can say, But
like that's just how I felt. And I ended up
going to Conan. I left season five after half a
season and went to write permanently in New York at
(42:46):
thirty Rock with for Conan O'Brien. And so I did
that for about six or eight months. Then I think
I came back to LA and did nin to a Zero.
And then Robert Smigel had called him and like, Dana's
doing his own show, do you want to be a
writer on? And I was like yes, of course. So yeah,
so that's that's the sort of Progression and Dana Carvey Show.
We got so the we're looking I remember watching audition
(43:07):
tapes and we're like, here's this guy I never heard
of him named Steve Carell. What do you think? I
was like, hire him, like five minutes of stuff and
like his stuff. I was. He was the number one
the person who was like, I mean, we're we're literally
literally insane if we don't hire him. He's freaking great.
Speaker 2 (43:28):
Was he doing?
Speaker 3 (43:29):
The one thing I remember is he did this thing
where I won't be able to replicate it, but he
did this thing where he was like like do this,
Like you start to tell a story to him, and
he is like the guy who like jumps in on
the story and then finishes it for you and then
like I can't do it the way he did though,
He's like you're talking about going to this video gorilla
(43:51):
and it was like this guy great. So Correll and
Colbert are the two and then you know, they went
on the Daily Show and then I think they did
more stuff after the Daily Show. I'm not quite sure,
but they they're really really I mean, these we this
was the ensemble cast and then the writer's room was like, uh,
just a Slugger's row of like a brilliant brilliant writers.
(44:15):
I mean, Charles Louis was the head writer. Louis c
k was the head writer. Robert Smigel was of course
a writer and producer. You know, he wrote a lot
of stuff.
Speaker 2 (44:25):
Uh.
Speaker 3 (44:26):
Bob oden Kirk had mister Show at the time, but
he was good friends with Smigel from from their days
at SNL, so he came in and wrote some stuff
for several weeks. Uh. Charlie Kaufman was a staff writer.
He then was he was literally working on being John
Malkovich at the time on the side, Like, yeah, who
(44:48):
an Academy Award winning writer was there? Dino Samatopolos, who's
great in his own right. Uh, he had several shows
on the Yeah, I remember, I'll swim. He has a
lot of Christine.
Speaker 2 (45:00):
You know, Ben probably knows a lot of these people.
Speaker 1 (45:04):
Yeah, you know, Stein knows Robert Smigel, Bob all of them. Obviously.
You know Robert Smigel, we should say, is you know
famously Triumph.
Speaker 3 (45:13):
The insult comics, comic dog.
Speaker 1 (45:16):
Yes, just for just for our listeners.
Speaker 3 (45:18):
He created super Fans the Bears, Oh yes, yes.
Speaker 1 (45:25):
Yes, And Smigel is a good friend of that, Adam Sandler,
So he's kind of I did a scene with him
in The Wedding Singer and he kind of appears in
Adams movies too, and so yeah, he got.
Speaker 3 (45:37):
A little part in most of his movies.
Speaker 1 (45:39):
Almost all of them. But you so you were with
like literally the heaviest hitters the movie writers in all
of show business, and like how.
Speaker 3 (45:47):
They got it so right? Like on like Corell and
Colbert were not known entities, they were unknowns, Like so
like to get it that right, to like hit like
that's just unheard of. It's like the not like the
like a little bit like the Friends cast, but it's
like where like you get like Seinfeld might be a
good example, like just like wow, how did you get
or you know what's a great example Parks and rec
(46:10):
like with Aubrey Plaza and Chris Pratt. Yes, yes, yes, Offerman.
It's like you got it so right on at every
turn with these.
Speaker 1 (46:18):
Then every character, yes, exactly.
Speaker 3 (46:20):
Giant giant stars now like yeah yeah, like so yeah,
we had all those people even like the writers Robert Carlock,
who then went on to create Kimmy Schmidt with Ellie
Kemper and Liken Glazer, who's very very popular, very very funny,
very talented.
Speaker 1 (46:36):
So funny, so funny.
Speaker 3 (46:37):
Yes, yeah, just everyone on that show topic what went wrong?
Speaker 1 (46:43):
Like what what is the because I watched the documentary
and it's just like the it's the stories, I mean,
it's it's a fascinating study, right, and then.
Speaker 3 (46:54):
They paired it with like their most sort of like
milk toasty Midwest stern values like classic family sitcom and
you saw on the documentary. The funniest part is like
the promo, the twin promo ABC did where it's like
Tonight on Home Improvement and it's like Jonathan Taylor is
(47:15):
a brush with molestation or something, and it's super dramatic,
and then it's like and then on the Taco Bell
Dana Carvey Show, it's like exactly snimples like milking a
like breastfeeding a kitten. I was like, this is not
the best in the documentary is everyone's reaction like Colvert's
reaction to that, like and Smigle being like as soon
(47:35):
as I saw that, I knew we were over. We
were canceled like the media and we basically were we
basically we only aired two episodes and we made like.
Speaker 1 (47:43):
Six crazy, But what an experience. I mean amazing, It's
pretty epic. That is wild times.
Speaker 3 (47:54):
Point right now, tell us about the Dark Knight.
Speaker 2 (47:57):
I mean, working with Christopher Nolan.
Speaker 3 (47:59):
Dark Knight was amazing. I get a little we're past
the nineties at this point, but uh yeah, you read
I read for it, and you know they write you
a completely different scene where like, you know, you don't
have a clown mask on and you're not going to
die in one minute and ten seconds into the movie.
I mean, my friends were all like, dude, you're in
Dark Knight. Why who can why? You know? So we
(48:21):
do the scene for on tape. I was actually the
only person who got cast and never went in front
of Nolan to read it. They showed him my tape
and then they cast the rest because it shot in Chicago,
they cast the rest of the clown bank robbers like
in a live audition with him. So yeah, but that
was a great, great experience. I go back to my
(48:44):
hometown and shoot a Batman movie and like I love
you know, Batman Begins had already been out, and I
was like, that's the best Batman movie so far for
sure to be in the second one and then Keith
of course playing the Joker. Oh a sweet guy. I
just I didn't get to spend that much time with him,
but he was just like this sweet, introverted guy. He
(49:04):
was one of those people who, like you don't you
would never guess he was mind blowingly talented as an
actor if you spent a few minutes with him the person,
because he's just quiet and you.
Speaker 1 (49:15):
Would unassuming, right totaling.
Speaker 3 (49:18):
Performing is just atomic. So yeah, that was It was
just a real privilege to be in that in that
movie in any way, shape or form. So I love
that and you know, as it's one of the most
popular movies ever made, I still see a amount of
money from it.
Speaker 1 (49:33):
So like, very nice, very nice. Well, I hope to
see this reunion of YouTube together potentially back again.
Speaker 4 (49:46):
Yes, and well, she's talking about my game on our
show right nine months ago and said, Don and I
have a script for a new blog some show, and
she said, I wanted to come on your show, and
as a safe space, I ask you if you want
to be involved, we really have a great script. And
(50:08):
so just for our listeners, there might be some exciting
news we don't know.
Speaker 3 (50:12):
We've we've no obviously that would be. I auditioned for
a Jeff Garland something project like ten years ago or so,
and uh, it was in Chicago, and I just decided
at one point to be like, well listen, I don't
It was like for a series of regular and I
was like, well, I have to tell you I am
very interested and he burst out having we was like,
(50:34):
no one would get if you did that in LA
that would tank and I was like probably that. I
was like the same, same here. I have to say,
based on what I'm hearing, I am.
Speaker 1 (50:42):
Very very interesting.
Speaker 2 (50:44):
I will actually I said the same thing, right, Christine,
I'm like, I.
Speaker 3 (50:48):
Am very interesting. So you got me stowing in.
Speaker 1 (50:53):
I love it. Well, this was amazing this thank you
so much for coming. I yeah, were awesome and so
so funny for.
Speaker 3 (51:02):
Another hour of nineties in me So.
Speaker 1 (51:04):
Next Year Part two, Part two always.
Speaker 4 (51:07):
Anytime you guys want fast buddy, thank you so much.
Speaker 2 (51:11):
I love your next week. I get that. Thank you, Okay,
thank you.
Speaker 1 (51:17):
He was so terrific. David, what a treat.
Speaker 4 (51:20):
He's just he cracks me up, Like I love hanging
with him because he's so freaking funny.
Speaker 1 (51:26):
He I mean, you know, I feel like he always,
you know, said if he's a performer at heart, but
he's such a funny guy and clearly a talented writer.
But he you know, I I really mean it when
I want to see when I said, I want to
see him and more and more, like I I hope
the Blossom reunion happens, but I also hope to you know,
he's just such a talented guy. And you're right, he was.
(51:48):
He made it so effortless on Blossom. It was so real.
That's the thing I remember about Blossom is you really
bought that family, and you know it was just because
he and Miam had such a had such great chemistry,
and he's just so good and talented and I you know,
you never know, like he's such a solid uh training
in Chicago.
Speaker 4 (52:09):
Yeah, he's so quick.
Speaker 2 (52:11):
His timing is like I said, it's like a surgeon.
Speaker 4 (52:14):
And his sarcasm and yeah, it just worked with Miam
and Joey and then him just slicing through them.
Speaker 2 (52:22):
Yeah, I'm hopeful.
Speaker 4 (52:23):
I mean, I speak to Miam and to Don Rio
and they are very close. I can't make it an out,
but yeah, it's exciting. And yeah, I'll tell our audience
because in case they didn't hear at the beginning, but
we're in New York. I'm in New York for a
very exciting reason that people will we're.
Speaker 1 (52:43):
Not going to speak about so but you'll know soon enough.
And yeah, we're we. Thanks for everybody for listening today
because I'm going to cut David off there before he
gives away too much.
Speaker 4 (52:56):
I know I have such a big enough but yeah,
stay tuned, something really really coolest coming, and have a
great week, everybody.
Speaker 1 (53:02):
Thanks for listening. Make sure to subscribe and give us
five stars
Speaker 4 (53:05):
And please follow us on Instagram at Hey Dude the
nineties called see you next time.
Hey Dude the nineties called with Christine Taylor and David Lasher. Hey, everybody,
welcome back to Hey Dude the nineties called. I am
one of your co hosts. Christine.
Speaker 2 (00:11):
Hi, Christine, I'm your other co host.
Speaker 3 (00:13):
David.
Speaker 1 (00:14):
Hi, David on the East Coast, David in a new location.
Speaker 2 (00:19):
Goodness, a few days.
Speaker 1 (00:21):
We're not going to say anything why you're here?
Speaker 4 (00:26):
Yeah, I'm here for a very exciting, exciting reason. I
think our audience would be very psyched for what we're
doing here.
Speaker 1 (00:33):
But how about the day you got?
Speaker 4 (00:35):
I literally I walked from seventy second in Madison back
to eighty third and you know, East End. But like,
it is the most beautiful day in New York I
think I've ever seen.
Speaker 1 (00:48):
It's literally the most gorgeous day in the whole year.
So thank you for bringing us the beautiful weather.
Speaker 2 (00:55):
Mary, you've been what's going on with you? Hey?
Speaker 1 (00:58):
Listen? You know you were flying? Do I that cool eclipse?
I know there's a lot of people who are like,
is the eclipse that cool? Who cares? I got the glasses.
I stood outside and I was blown away by it.
It was so cool.
Speaker 2 (01:11):
Did it go dark here?
Speaker 1 (01:12):
I mean not as dark as every Ben said, he
was like, I kind of was hoping it would get darker.
It just went to that like twilight dark in the
middle of the day moment, and then it started to
come back around. But it was because it was a
beautiful sunny day. It was a little chilly, but little
teeny cloud cover. But I mean it was so cool.
Speaker 2 (01:31):
Did you wear the glasses?
Speaker 1 (01:32):
Yes, I put on the glasses and I bought them
for the family and everybody. We were all in different places,
so we were all just taking selfies and sending each
other selfie shots.
Speaker 4 (01:43):
You my son Casey, you know, Casey's in Austin, which
was supposedly the best place to see it, and he
sent us a video. It was like, you know, around midday,
completely dark, like it was nighttime.
Speaker 1 (01:55):
See that's where you get the real that's so crazy.
Speaker 2 (01:59):
It was. I couldn't believe what I was seeing.
Speaker 1 (02:02):
It was really cool. I mean, it's that thing that
you think you're like, okay, I'm going to get the glasses,
and then you just see it and it's just this,
like it's pretty awe inspiring. I thought it was pretty amazing.
And the next one isn't until twenty forty four.
Speaker 2 (02:14):
So right, so like you'll remember where you were, Yes,
went outside and saw it. Yeah, I was on a plane.
Speaker 4 (02:20):
I was on the plane and the captain came on
and said, listen, we're traveling past the eclipse right now.
You won't be able to see it, but we have
something special for you. And on all of everybody's you
know Wi Fi. Yeah, they played Total Eclipse of the Heart.
Speaker 1 (02:37):
Yes, exactly. Oh that's great. Yeah, I feel like that
song got the most play yeah, in the last couple
of days. But anyway, I want to thank you because
you have booked our guest today and do you want it?
And our audience has been asking for this guest to
be on for quite some time in the comments that
I've been looking at. So would you like to introduce him?
(02:58):
I know he's in the waiting room.
Speaker 4 (03:00):
Yeah, I will just tell our audience Michael Stoyanov, who
I worked on for three years on the show Blossom.
Speaker 2 (03:08):
He was on for the all five years.
Speaker 4 (03:09):
But he's not only one of my best friends, but
one of the funniest, coolest, wittiest.
Speaker 2 (03:16):
People that I know.
Speaker 4 (03:17):
And he is he's a writer, he's an actor, he's
a real estate investor. He's just one of the greatest guys.
So yeah, let's welcome in. Michael Stoyanov.
Speaker 3 (03:29):
Oh hey, you hadn't aged you mind?
Speaker 1 (03:33):
No, I swear to God that you look great.
Speaker 3 (03:36):
I bet you say that till all the nineties stars.
Speaker 2 (03:39):
Christine, I'll tell you this.
Speaker 4 (03:40):
Mike and I took a boxing class a couple of
days ago, and we were partners, and.
Speaker 2 (03:44):
He's in Chip took shape. He's like, you know, he.
Speaker 3 (03:48):
Is too kind, too kind. It was it was a
funny class. But I feel like I literally, you know
how like Google or whoever someone on the internet is like, hey,
here's some pictures of you from ten years ago. Oh boy,
me wh yesterday? And I'm like, you bastards, how dare you? No? No,
I'm depressed all day and have you found.
Speaker 1 (04:07):
And I was just talking about this with someone that back, like,
so let's say ten years. I mean for all of us,
we can go back thirty years. And there's lots of
documentation of that too, But like, even ten years ago,
it's like I remember feeling like I was always like
still a little like unsatisfied. I was like, ah, I
should be working on more. I should be then I
(04:29):
look now I look at those pictures and I'm like,
damn it. Why didn't I enjoy it then?
Speaker 3 (04:34):
Like I was saying, now, I was like, oh, so
I'll be able to do this forever. I was sort
of the upset. I was like pretty pleased. But again
I had that was a period of my life about
twenty years or so where I had nothing to do
but work out and like concentrate on it. So like, no,
I mean I don't have kids. I don't have you know, yeah,
I mean you guys are you know, in a different place.
So I could work really hard on it. So I
(04:55):
was like, oh, I can do And now it's like
I'm wondering, is it ever? And I'm only about eight
ten years older? But now I have to take you know,
certain medications every morning for things.
Speaker 1 (05:07):
Yes, yes, you.
Speaker 3 (05:09):
Know that makes it harder to take the weight off.
And it's like, well, I don't want that. I don't
want this. Where's the magic where I mean, I know
there is called ozembic At this point, apparently.
Speaker 1 (05:18):
Exactly, I was gonna say that is the magic.
Speaker 3 (05:21):
I can't get it. They're like, you're not diabetic enough
and you're not fat enough. It's like well, I will
work on both of them.
Speaker 1 (05:26):
You're not enough, Mike, You're not enough.
Speaker 3 (05:29):
I've never been enough. Yeah, at least I'm not enough
negative things now.
Speaker 1 (05:33):
Yeah, even your doctor is telling you that, right, I.
Speaker 2 (05:36):
Won't prescribe you because you're not heavy enough.
Speaker 3 (05:39):
That's I mean, I've heard. Yes, I and other like
close friends have had the situation.
Speaker 2 (05:45):
I mean I have.
Speaker 3 (05:46):
My dad was adult onset diabetes, and like, I definitely
can feel I have like if I eat too much sugar,
I like can feel like that's not like the old
days where I could just power it down, you know,
but I don't. I don't, so I have blood sugar
like regulation issues. But they're not going to give me
ozempic for that. So that's what I've heard.
Speaker 4 (06:08):
It's yeah, I don't know, I've heard. I've heard mixed
things about it. But let's talk about some more fun stuff.
Speaker 3 (06:16):
Listen. I'm not sure I have an hour's worth of
memories of the nineties frankly certainly not family friendly. But well,
let's let's see what happens. Let's start talking.
Speaker 2 (06:26):
And uh, by the.
Speaker 1 (06:27):
Way, that's like the nineties is where we start, but
that's we end up going off of every in every
different tansion.
Speaker 4 (06:34):
I'd like to start back in Chicago, because I know
you were talking about how you you were in a
theater company. Jeremy Pivens's parents had a theater company, and
John Cusack was with you and Second City.
Speaker 2 (06:45):
So to take us back to Chicago and how you start.
Speaker 3 (06:48):
Start up in Evanston. Evanston, Illinois where that's where John
Cusack and Jeremy Piven and Steve Pink who came up
with them and is now a director. He directed Hot
Tub Time Machine. And we were all the same class. Well,
Jeremy Fiven was one year older, but John and Steve
and I and some other people were the same class
class of eighty four, Oh my god, and yeah, and
the Jeremy's parents were sort of well, very well known
(07:11):
theater people in Chicago, Joyce and Burn Piven, and they
had a workshop, a like class and a little school
for young people, and like everyone sort of from my
era took classes there at the Piven Theater Workshop, and
then they had like a junior company for like middle schoolers,
and then a young people's company where they would do shows.
(07:33):
Like I sort of moved on to high school to
do plays. And didn't really go that much further, but
I did take classes in middle school there and I
feel like got a really good grounding on like improv
and just performance in general.
Speaker 4 (07:48):
And then Second City started when because we've had a
lot of guests. I mean, we just interviewed Richard Kinine,
we had Bonnie Hunt, brilliant, the greatest comedic minds came out.
Speaker 3 (07:59):
Of Like, yeah, if you were from my era, and
I think probably still to this day, if you were,
you know, a comic performer actor growing up in Chicago,
you wanted to train that was aspirational, like first of all,
like you know, the Lion's share of SNL cast for
a long time sort of came out of Second City.
(08:23):
So yeah, I took that training. When I got to college.
The dean of our theater department, Sheldon Patinkin, was a
former Second City performer from like the very like with
Alan Arkin in the fifties, and he got me a
scholarship to go to the classes for free. And then
you go through five eight week trade like sessions Level one,
(08:44):
level two, and so on. And in level five you
do a show like a comedy and improv review with
your class, and so you get to get up and
so yeah, that training was amazing and invaluable, and I
definitely feel like it set me up to to then
come out to LA and be like twenty two, but
like really like yeah, like I was reading to play
(09:07):
fourteen fifteen when my first year.
Speaker 1 (09:09):
Is that true?
Speaker 3 (09:10):
Yeah?
Speaker 2 (09:10):
You look, I mean I.
Speaker 3 (09:12):
Kind of like last.
Speaker 1 (09:13):
Week, no, no, no, but but that you were immediately
auditioning for the younger I forgot that's what we did too,
Like in our twenties, we were auditioning for teenagers.
Speaker 3 (09:22):
Well, I mean, and I felt like I had a
big I was auditioning against like, you know, for real
fourteen year olds who like maybe like the extent of
their training was like their parents had gotten them headshots
like I had. I've been training as an actor, I
had my equity card. I'd done a play, an equity
play in Chicago Theater, and I'd done all the second
city training and like a ton of plays and like everything,
(09:44):
like a TJ. Hooker came through Chicago and I was
in that.
Speaker 1 (09:47):
And there was oh, hell yeah, hell yeah, you got
a DJ Hooker.
Speaker 3 (09:51):
Yes Shatner, William Shatner, great performer. I'm sure, I'm told
I mean, I didn't, you didn't cross paths his lines.
He had this line like because we see and this
other kid who I went to high school with, we
played like drug addicts, like put like badly written, and
it was like like he finally catches us and he's like, uh,
(10:14):
my friend, I'm already dead. I get shot shot where
we try to rob a liquor store and I get
blasted in the back with a shotgun. Some you keep
running and then I die in the car and then
Shatner eventually pulls us over, and my friend's like he
needed to fix and Shatman's line was like you need
to fix He's fixed for good now, isn't he thirty?
(10:35):
It was hilarious and back then, no.
Speaker 1 (10:39):
Yes, that was the pright oh man, that must be.
Speaker 4 (10:43):
Your first acting role on camera. You get shot in
back and killed.
Speaker 3 (10:48):
One of the first I think i'd done Crime Story
before that, which was a Dennis Farina series about the
shot in Chicago. But yeah, it was one of the
first first jobs.
Speaker 1 (10:58):
Oh Man, do you have that? And somewhere exists somewhere.
Speaker 4 (11:03):
To find that we got Mike who was that second
city when you were there around that time?
Speaker 2 (11:10):
Because I mean any any given year like this.
Speaker 3 (11:12):
My gosh, I mean Bonnie Hunt was sort of around there.
She's a little older than me, but she was like
in the Richard Kyine was on the main stage at
that time, Joel Murray, I think. But there was also
there was there was there was Second City, and then
there was like improv Olympic or uh an and Annoyance Theater.
(11:32):
These three Annoyance Theater did the real life Brady Bunch,
which I realized Andy Richter came out of there, and
uh yes, a lot of people, uh, the Soloway sisters
were the ones who sort of created it.
Speaker 4 (11:46):
Uh.
Speaker 3 (11:46):
And then improve Olympic was Dell Close and Shanna Helper
and they they sort of perfected the herald form which
was like a little improvised one act play. And a
lot of a lot of really talented people were spread
out in these three, these three areas. But Farley, I
saw Farley on the main stage.
Speaker 2 (12:04):
My goodness, are you serious?
Speaker 3 (12:06):
He was. He was so mind blowingly like in a
and he's it's it's the top the best improvisers like
and comedic skets performers in Chicago. And he was still
like boom, like like o Tani, Like watching Tani played baseball,
It's like, Wow, this guy is so freaking good, Like.
Speaker 2 (12:24):
Everyone says that, Yeah, he's on another level. And he
did like the motivational speaker.
Speaker 3 (12:29):
Yeah, yeah, I don't take a whale boy, which was
really funny, but I didn't your motivational speaker existed yet.
I think that that came out of SNL.
Speaker 2 (12:40):
No, no, no, no.
Speaker 4 (12:43):
Bob Odenkirk wrote that for Farley at Second City and
they performed it on the main stage for a long
time and then yeah, then they Farley tried to pitch
it over and over and over again to to Lauren Michaels, right,
and they finally did got it on, And you know,
I think it's one of the greatest, greatest sketches.
Speaker 3 (13:03):
I think, what's Christine Applegate? Just so she was in
the first.
Speaker 1 (13:08):
Where they're busting up?
Speaker 3 (13:09):
Right, isn't that doctor something of her?
Speaker 4 (13:13):
Yes?
Speaker 3 (13:13):
I don't have any more information, but don't check that
out people.
Speaker 2 (13:16):
Just the way he pulls his pants up, is.
Speaker 3 (13:18):
It Matt Matt Foley, right, yes, yes, yes, the river exactly,
government cheese, the whole thing.
Speaker 1 (13:36):
Did you gravitate towards comedy naturally? Like were you a
fan of funny TV or films or was it natural
for you?
Speaker 3 (13:45):
Definitely think so, Like in terms of like what I liked,
like sensibility wise, entertainment wise, I liked comedy and action.
Like I also just a regular boy. I liked action
movies and comedy's you know, for the most part. And then,
like I found myself through high school, I had the
most success in comedies. I did Rosenkranz and Gildenstern Our Dad,
(14:05):
which is a very funny play by Tom Stoppard, and
got a lot of laughs. I had the part again,
I had the part. There's a part it's like a
traveling truth of It's it's hard to explain, but I
suffice it to say, I ended up. I was a
character who was in address for a certain amount of time,
and of course that was considered very funny back then,
no matter just the moment you put it on it
(14:26):
was like so, I got a lot of good response
from the comedy in that, and then I did Comedy
of Errors the next year, and I didn't have one
of the two twins roles, but I had a role
that like I made the most of it, and like, yeah,
I definitely think, and then you know, I'd done Piven,
which was generally gravitates like Lean's comedic, and then I
wanted to do Second City and then went on. So yeah,
(14:48):
I definitely and I always the dream one of the reasons,
and we'll get to this later. I'm sure I left
Blossom to ultimately go right for Conan was the well
I wanted to be like Monty Python. I wanted or
Kids in the Hall, and I just in the hall.
Speaker 2 (15:03):
You introduced me to Kids in the Hall.
Speaker 3 (15:05):
They're hilarious, Like I've always thought, like sketch comedy, like
being in a troupe where you write and perform your
own stuff was my calling and it didn't ever happen,
but like that was sort of the whole like from
eighteen or so on, like the focus was was on
that that idea.
Speaker 1 (15:25):
Like so, so, where where did Blossom fall into this?
What like along the way you come to la you
you get your te J Hooker, you started doing Union Cards.
Speaker 3 (15:38):
I had just an equity play at Wisdom Bridge Theater,
which at that time was sort of like one of
the one of the better UH theater companies in Chicago.
So I had all this confident I got very well reviewed,
you know, of fortunate in that respect. And I come
to to LA and it's like eighty nine nineties, someone
right at the very beginning of the nineties, and I'm there.
(15:59):
I already met with an agent like the year before,
and I was like, I'm going to do this play
and then I want to come and they're like okay.
And then so I get there and uh, I'm sitting
down on the headshots. Oh you need no headshots. They
say that to every single soul that ever, like the
first second. It's like when we wrote those out. So
she's going through everyone to go through that, and she
says to me, you know, now you might not get
(16:20):
a job your first year. I was just like, look,
have you never met anyone from Chicago. We think it's
the greatest city. Like we're like Paris, what what what
do they have? Like we if I'm not get a job,
like in a month, I'm I'm going back to Chicago,
Chicago and like do Second City and plays and stuff
and like come out of come out of there, so
(16:41):
that you know, And I ended up fortunate, like I
had a very good sort of first season. I got
there late, like February March late February March. So I've
been I still got myself to network on a few pilots,
and I did figure.
Speaker 4 (16:55):
For our listeners, is pilot season is January through April, basically.
Speaker 3 (16:58):
Right to be Yeah, an season existed, yes, yeah, So
I ended up going to network, which again for the
people that that's the very last step back then they
would they would, they would you get to the final
audition and it's like, you're going to network. We're going
to negotiate your contract. It says if you have the
freaking job, if you like, then you're all there that day.
Speaker 1 (17:25):
Like I'm looking at each other against.
Speaker 3 (17:27):
Brad Pitt like at one point, and I was like, anyway, So, yeah,
I had managed to go to network on a few things,
and I had nice uh guest star roles on uh
Quantum Leap and Empty Nest. So all things considered, especially
apparently for what my agent thought, I had a great
first year. And then at the very I got Empty Nest,
(17:50):
which was also a W. Thomas show, and they did
they did blossom. I got that early the next year,
like January, and so they they knew they were developing
this mind violic show, and they you know, let's face it,
you know I look a little bit like her. Let's
you know, between you, me and everyone else. Literally, we
want you to come and read for this, this pilot
we're doing with my Violic from Beaches. And I was like,
(18:11):
oh freak, I love her. That's great. I would love
to be a part of this. But so I ended
up getting that, like in the midst of shooting Empty Nest,
like by the tape day, I think I had the pilot.
So I know I didn't get to audition for any
other pilots that year, which but that's fine. But like
so I got a pilot like at the end of
my first year, and then that was sort of the story.
(18:34):
And then I didn't even like privileged, like like I
guess arrogant personally. I didn't even realize till years later.
Like man, that was like it went so freaking well
and I just took it for granted. Oh this is
the first of many series I will star and like,
(18:54):
you know, this is you know, I am a guy.
Speaker 1 (18:57):
I think I did. I say it all the time,
but I think I'm the of failed pilots, Like I
just am the kick. I'm a pilot, like I'm a
series Killer.
Speaker 3 (19:05):
Thirteen failed pilots, people like.
Speaker 1 (19:07):
Yes, that's yeah, people like me. I am in terrible.
All I wanted was to get a show on the air,
and it just never happened.
Speaker 3 (19:14):
I honestly only ended up in a few more pilots
after that, and then, like you know, I had a
lot of recurring roles that at nine two oh was
sort of the most significant.
Speaker 2 (19:25):
We'll stay with. We have way more to talk about
the book.
Speaker 3 (19:27):
Oh yeah, I'm just saying, but like I didn't. I didn't.
I did not end up being a series regular from
the get go on a lot more for whatever reason,
you know, I think happenstance the industry says, lack of talent.
Who who's the stop?
Speaker 1 (19:44):
Did you read with Maam when you got like, was
that your audition? Was it was her right away?
Speaker 3 (19:51):
I don't think I really I did not meet Maam
until the read through. Oh wow that that you know?
So yeah? But I know she uh and her and
her mom tell a story that they they saw me
on Empty Nest and they thought like, oh, he's he's great.
But I'm by the time that aired, I think I'm
(20:11):
pretty sure I was already cast. But it's still very
nice that like they saw me on and then we're like, oh,
he'd be great. I hope it's him, And you know
it was.
Speaker 4 (20:21):
You know what when I auditioned for Blossom at the
end of the first season, I had just done this
nine oh two one oh, my first episode on nine RL,
and I did read with Maam and she and Jenna
were like giggling and they were like huge nine oh
two one Oho fends And I'm pretty sure that I
got Blossomed because of my role on nine O two
(20:42):
one oh. But yeah, listen, Blossom and Don Rio, the creator,
who's I mean, honestly still to this day, one of
the classiest, most talented people we've ever worked with. He
creates a show about a teenage girl as the lead,
which really I mean maybe Punky Brewster, but it really
hadn't been done successfully.
Speaker 3 (21:03):
In the original pilot, it was just a much more
standard family. There was a mom and a dad. Richard
Masser and Bury young Fellow I think were the mom
and dad. But then they they tinkered with it well
it got picked up to be a mid season replacement. So, like,
you know, confidence was not like soaring like at the
network or amongst obviously the producers, but they did know
(21:27):
enough to like make it more unique and more more
its own show. So they brought ted Wasson to play
the single dad, which was a brilliant, a great move,
and like, yeah, they just they they made a lot
of smart decisions, and I think that, you know, the
first season, it was like we had an order of seven,
and it was like, you know, you might get on,
(21:48):
you know, and it's a mid season. They're like, we really,
you're just when one of these things, like just like craters,
we're going to have to put something in for a
couple of weeks. It's gonna be you congratulations, welcome to.
Speaker 1 (22:00):
We started working. The show's floating in limbo. You're like,
you know, we're doing all these episodes.
Speaker 3 (22:04):
Anyone's ever going to see it. But we had an
order of seven and then ordinarily it's like you know,
they're like, oh, we picked up your back, your back
to fill out the order of thirteen six more episodes.
But they picked us up for like two more, oh
just one more.
Speaker 1 (22:19):
They were like, we're really figuring this out.
Speaker 3 (22:22):
It's like at this point, like so it was really
slow to develop, but again, I think that served us
well and I think we benefited by being sort of
an underdog and like started attracting attention right away Joey,
you know, I mean, Miami is Miam is Miami, and
she's brilliant and like from the get go. But then
Joey started to sort of like break out, you know,
(22:46):
and I just think it really we you know, by
the time second season. We in the second season pretty early,
I think we did the was the Madonna documentary for it,
and we did the sort of parody of that that
was so good that really put us like started to
people started to take notice. I think at that point, I.
Speaker 4 (23:05):
Mean it was it was a blossom on Monday nights
at eight o'clock at Fresh Prince of bel Air at
eight thirty and that hour, I know it was.
Speaker 2 (23:13):
It was a top twenty show the whole time I
was there.
Speaker 3 (23:16):
Yeah, and back in those days, that was like an obscene,
like because there were only three or four networks, you know,
I guess four or five because Warner Brothers I think
was then becoming sort of a mini network. But there
was you know, now there's one hundred content creators like
you know, so that the numbers are all much smaller,
like you know my wedding episode like thirty million people watch,
(23:39):
which is like a crazy crazy same yea, they made
it like number nine on the week or something that week.
Speaker 1 (23:49):
Well, maam said, which I didn't realize because I think
of Blossom. I always thought of it as a hit
show because it was on and Miam's like, we were
never top ten. We were always lingering, We stuck around own.
We had our fan base, but we were we were
top like, we were somewhere from ten to twenty for
most of that.
Speaker 3 (24:06):
That's plenty good. But as far as the network and
the sponsors are concerned, that's right, especially if you're in
the fifteen to twenty five overall. But like the massive
majority of your audience is young, like you know, that's
what they care about, right, They want to make commercials
for so you.
Speaker 4 (24:24):
Know, Mike, I remember being absolutely terrified my first episode.
You know, Paul Witt and Tony Thomas were you know,
legendary producers. But I remember Paul was always in like
a three piece suit, yeah, roaming around and I was
just like every time he would pass me, my heart
would like palpitate.
Speaker 3 (24:43):
Yeah he was. He was a scary guy. I mean,
he was they were both they're both brilliant producers, and
but he was it was performing for him was intimidating
for sure, you know.
Speaker 4 (24:54):
Yeah, and the run throughs, you know, I mean, Christine
did it. Christine did a guest star. Christine tell Mike
about the episode.
Speaker 1 (25:06):
It was a small guest star role too, It was
it was. Yeah, it was one of my first jobs
when I moved to l A. Right after David and
I finished our show, and so yeah, it was like
maybe second or third was this.
Speaker 3 (25:18):
Guest started before Vinnie. So David wasn't David.
Speaker 4 (25:22):
I was there, but we were kind of in the
little feud between the two of us. I apologized for this.
Speaker 1 (25:27):
My running joke is David was horribly mean to me.
The heart being there, he just wouldn't speak to me.
Speaker 3 (25:33):
Fine, but I don't know that. I'm let's let's just
let's just we'll say he was. He was a little
bit heartbroken. I think I don't think we can leave
it there.
Speaker 1 (25:47):
But I've since apologized as well.
Speaker 3 (25:51):
Yeah, we're still be friends.
Speaker 1 (25:54):
We've made all.
Speaker 3 (25:57):
Was I'll start crying right now.
Speaker 1 (25:59):
Oh no, I was just thinking to myself, like, you
were probably so bummed when I got cast on that show.
You were probably like, God, damn it, can they cast
someone else?
Speaker 3 (26:13):
David's why. It's like.
Speaker 4 (26:19):
I think she did an episode where Ten and Joey
were like both Yes, it.
Speaker 1 (26:24):
Was all all of my stuff was with with It
was like a father's son they went. It was like
in a restaurant. There was a pool table, and I
was there wa waitress. You know, I was like Sally
the waitress, and they were both kind of flirting with
me and kind of like you know, I know.
Speaker 3 (26:41):
At this point I.
Speaker 1 (26:43):
Possibly possibly, but I think it was that they were
like in competition with each other and then ultimately like
just they both were off putting to me. I guess
it's some I don't remember the storyline, but I had
nothing to do with any of with you or Maam
or David. It was just all of our stuff was
in this one you know restaurant pool hall, as I remember,
(27:04):
I know there was a pool table involved right in it. Yes,
Like we've talked about this, being a guest star on
a show, there's nothing worse. I mean, you feel so
great to get it, but you're coming into like a
well oiled machine and you are just also a.
Speaker 3 (27:22):
Show with a live audience where you're doing basically a play.
Like if you're not if that's not where your training
is or you don't have a lot of experience with that,
that's a whole nother level.
Speaker 1 (27:32):
Oh yeah about like you know, for sure, I think
the I had done a Saved by the Bell prior,
so that was my first like a lot because our show,
Hey Dude, was multi camera but no audience, right, it
was out tours and no laugh nothing. Yeah, no, it is,
and you really you realize how much. And by the way,
(27:54):
when you're doing it multiple times, like eventually the audience
is not going to laugh anymore because they know the joke,
so you it's hard for you to even sort of
sell it. And but it's you're living in.
Speaker 3 (28:03):
Constant because they'd be like, you know that, we got
to write a new joke. Your joke's not working anymore.
It's like, that's not my fault I did the first
five times. We still always take it like personal like
I got and another thing coming from a place of
live theater, but not like on camera. The timing you
have to there's it's not just been natural organic. You
(28:26):
have to wait for the camera to get on you
there's like a hitch to the Oh, yes, you're right,
you're right for naturalistic. It's it's so it's a little
another thing you got to learn.
Speaker 4 (28:37):
And yeah, Mike, you know we just I told you
we had Richard Kind on last week and he said,
like he said, he worked with two legends, Carol Burnett
and Michael J.
Speaker 2 (28:45):
Fox.
Speaker 4 (28:45):
Right, he said, Carol Burnett could play the audience in
front of her and the camera.
Speaker 1 (28:51):
Michael J.
Speaker 2 (28:52):
Fox only played the camera.
Speaker 1 (28:54):
But he needed the audience for timing for the laughs. Yeah.
Speaker 4 (28:58):
Interesting, You when you're doing a sitcom, you have to
be aware of the few hundred people in front of you,
but then those four cameras, you.
Speaker 3 (29:06):
Know, that's going out to me, it's not the same timing.
If you were doing the twenty two minute episode as
like a one act play, just in a live theater,
the timing would be different, you wouldn't you.
Speaker 2 (29:16):
Know, And you could see that red light go on
the camera when.
Speaker 3 (29:20):
Exactly you get a feel for it anyway over, you know,
with a little experience.
Speaker 4 (29:25):
Yeah, dude, you were so you were so good and
so comfortable, and your timing was like you were like
a surgeon.
Speaker 2 (29:33):
I remember just being so in awe of you and
everybody on that show. Mom actually wanted.
Speaker 3 (29:38):
Me to be an actual surgeon, so happy to hear
this for a minute, like.
Speaker 1 (29:48):
A surgeon.
Speaker 4 (29:50):
Joey did become like a serious teen star and it
was mian show. And I know that like he tried
to he got his music video was on there, and
there were there were moments of tension between you know,
this is her show, but he's I don't know what
it was.
Speaker 3 (30:09):
I think that happens a lot, and not just amongst
younger people on shows, like you know, if someone breaks
like that. And then but the show was you know,
like we were just talking about Michael day Fox, like
Family Ties was supposed to be like Meredith Baxter Bernie's show,
and then like by episode two, they're like this kid's
(30:29):
gonna be a giant freaking star, like you know, but
she brilliantly actually in her contract was like I am
to be the highest paid person on this show always
and forever, which ended up being but they probably just
threw that in, but she should, I mean with the
show is it's her show right exactly? But I'm I
(30:51):
just I think it happens that, like a character becomes popular,
and yeah, let's admittedly there was. It caused some friction,
but it did. It wasn't like ruinous, and it wasn't like,
you know, like hell fire on the set like day
in and day out.
Speaker 2 (31:09):
Oh no, no, it was.
Speaker 3 (31:10):
It was at times a little uncomfortable, I would say,
but it wasn't like like, oh, this is a nightmare,
like I.
Speaker 4 (31:18):
Just remember, I remember, uh Joey wanted to shoot his
music video in a dream sequence on the show was
like time O days over.
Speaker 2 (31:28):
Everyone go home, We're.
Speaker 4 (31:30):
Going to figure this out, right, Just stuff like that,
I mean, and it's you know, Miam and Joey were kids, right,
so it was probably their their representatives dealing with this stuff.
Speaker 3 (31:40):
But exactly.
Speaker 4 (31:41):
Yeah.
Speaker 2 (31:43):
And then you know the Bill Bixby thing.
Speaker 4 (31:45):
You know, Christine that Don Rio's best friend was Bill Bixby,
and he directed.
Speaker 1 (31:50):
He directed the episode I did, yes, right, okay?
Speaker 3 (31:54):
In fact, yeah, a lot of them, the first couple yes, yeah,
we yes, principal directors.
Speaker 4 (32:00):
Bill Bixby played the incredible Hulk along with a legendary career,
but he was he was dying of cancer while he
was directing us, and and Don felt that he couldn't
let him go, uh you know, because it was like
his purpose and he was literally directing from from like
a bed, right Mike.
Speaker 3 (32:19):
He was really he was infirm. He was definitely in pain.
He was definitely sort of late stage and you know,
but I don't I don't call ever a bed, but
he was definitely had mobility issues. He couldn't get around
very well. Yeah, it was. It was it was I
understand why what don did and like, you know, uh,
(32:41):
it was definitely it was trying, and like I was
very young at the time and like really sort of
inexperienced with that sort of thing. So I you know,
I suppose looking back, I might not have I don't
know how I handled it, you know, well or not.
But uh, it was definitely it was sad. You know.
It was like the set would be tinged with some
(33:03):
sadness because someone was passing sort of before your eyes
while we were while we were in production. So and
he was a really really nice, nice man and truly
an actor's director, like he I mean, I don't know,
probably because he was like just get you do it,
(33:24):
just do it great like that those were my notes.
So I was like I love him, you know.
Speaker 1 (33:30):
Exactly.
Speaker 2 (33:31):
You know there were much lighter times.
Speaker 4 (33:34):
I will say also that Mike and I would go
back to his house in the Hollywood Hills after every
run through and chill out on his balcony, smoked, smoke
a joint and just kind of reflect on the day.
I mean almost every day for the three seasons I
was there.
Speaker 3 (33:50):
It's true, we could admit that. But also we spent
a lot of time at your house, your bachelor pad.
This kid was like Entourage come to life, like every
sort of like he had a ram, he had a turtle,
like all his friends.
Speaker 1 (34:05):
Only knew a couple of them, for sure.
Speaker 2 (34:06):
Yes, you know, funny me, Doug Ellen.
Speaker 3 (34:12):
Entourage, there's got to be I mean, I think he
drew right.
Speaker 2 (34:15):
Seriously, where did after I come from?
Speaker 3 (34:16):
That was like you a check, is what I'm listening
out there.
Speaker 2 (34:21):
I'll call Dog and ask him.
Speaker 3 (34:24):
That's going to be a hard no on that, I'm guessing.
Speaker 4 (34:37):
I just want to talk about the four weeks of Paris.
You know, Christine, we we got a call after hiatus,
We're gonna do a two hour movie for NBC, a
Blossom movie.
Speaker 2 (34:48):
You're going to Paris for four weeks.
Speaker 1 (34:50):
Yeah, amazing, just amazing, and it was.
Speaker 3 (34:53):
A lot of sitcoms did that that at the time,
Harris or London or somewhere.
Speaker 1 (34:57):
Yes, exotic locations, exotic look.
Speaker 3 (35:00):
I went to London, other people went to Paris. Laid
the groundwork very early by having the the our estranged mother.
She was like a lounge singer in Paris. So he
he wanted it to get us there. I think, all along. Yeah,
I actually we were in the lobby of the hotel
and he was like, don't ever, don't ever say I
(35:20):
never took you anywhere. I was like solid hotel in Paris.
Speaker 4 (35:30):
We filmed on the saying. I mean it was like
literally like a dream, like out of a novel or something.
Speaker 3 (35:36):
Was it was great. It was a great time, amazing.
Speaker 1 (35:42):
So so then so you're in season what when you
make a decision to take another job.
Speaker 3 (35:53):
Well, I mean, you know, traditionally after a few seasons,
after three seasons, I guess traditionally, if the show is
popular and a hit, people are afforded the opportunity to renegotiate.
And like, I'm some people were, I'm sure, but some
people weren't. And I was weren't people And like, so
(36:14):
I started to feel a little disenchanted and a little
like sort of like underappreciated. Uh, and I don't I
don't think I was alone in that, but that's other
people's story to tell. So and I knew, you know,
again this like sort of like I had some chops limited,
I would say, compared I think to my ability as
(36:35):
an actor as a writer, and like some friends of
mine had started to have some success. Actually, you know,
I was good friends with Andy Dick in college and
like by this time the Ben Steeler Show had already
been on and they won the Emmy, and like my
friend Dino was one of the writers, and like he
had gone on to write at Conan O'Brien. At the
(36:56):
very start, like they were like, you know, they've hired
We've hired this giant, redheaded unknown to.
Speaker 1 (37:02):
Replace I remember. I remember when everyone was like, oh,
he's a writer from the Simpsons.
Speaker 3 (37:10):
Really funny. I mean I could see him how he
could do it in the room like win over. But yeah,
so he was at the very beginning of that, and
like I was, they were writing promos and I was like,
can I try and write a few? And I wrote
a few and then he was like, oh, Smigel, Robert Schmeichel,
who was the first head writer and executive producer on
the show. Uh, they were like, well, they were going
(37:32):
to make a few of yours. One of them was
really hacky and about like amish people like homage people
jokes are like, you know, he did it, like I
was one of the first people to have produced material
for and I wasn't you know, but then my friend
you know got me, got my submission packet ideas seen
(37:52):
by Robert to the to the level where they were like, well,
do you want to come out on your hiatus and
like work for half a cycle. A cycle for writers
is generally thirteen weeks. You get hired for thirteen weeks
on shows generally. So I went out like and had
like summer school basically and worked on the show like
between seasons three and four. I think of Blossom and
(38:15):
like at the end of that, I mean, and it
went I would say mixed results. I had some spectacular failures,
and then I had did a few things that ended
up being smart, Like I created the like direct TV
was brand new at that point, and I was like,
Conan should have like a satellite dish and he goes
through his he looks at what's new on the on
his his satellite, and if we can just do a
(38:38):
bunch of bits like crazy channels and you know. So anyway,
that became a bit that got refilled.
Speaker 1 (38:43):
I remember that bit. I so funny.
Speaker 3 (38:47):
So that was sort of the one that I think
is what propelled Robert to be like, hey, you know,
if you want to come back, we will, we will
hire you.
Speaker 4 (38:56):
That's so cool, man, Which is a better feeling getting
a lab as a performer, getting a sketch on the air,
getting a.
Speaker 3 (39:02):
Laugh as a performer. Always be a performer art Like
that's something that you know, I feed off of in
that it's really great to like have written something, created
something with your mind and get it to a produced
point and see that it works and like, you know,
but again I always thought like and with kids in
(39:24):
the hall, Monty Python being sort of the goal the idea.
I was a stronger performer than I was a writer.
I was an adequate and like my talent in terms
of thinks shows like Conan O'Brien, I was very good
in the room like oh we got to do, we
gotta do, like creating jokes for bits that already existed,
like we're doing another year two thousand. Everyone write a
(39:44):
bunch of year two thousands, Like I was better at that,
like brying new bits, and like you know that I
would always I always would say to my friend Dino
and anyone else basically with a lot of like genuine
real writing talent. It's like I feel like Saliary around you,
like from Amadaeus from most read your stuff and I'm
(40:05):
like this, how can myself doesn't leap off the page
like this? Why am I? But I can't. I can
only see it. I can't create it. So that's how
I felt about writing, just generally, but I did. I
was fortunate then later to have get a screenplay credit
(40:25):
on something I was really proud of that. Actually, I
worked with Jennifer Earls Cox, a friend of yours.
Speaker 1 (40:31):
The Oh my god, oh amazing.
Speaker 3 (40:35):
Changed to seventy six.
Speaker 1 (40:36):
I don't he's one of the funniest. Oh she is hilarious, brilliant.
Speaker 3 (40:43):
Yes, yes, And we did at the very end of
the nineties early two thousands. I think we did it
as we impro We built this thing out of improv
and like me and her and Khali Roschet and Sam
Pancake and Jack Plotnick. We did the show at the
HBO Workspace, which was this great venue they had. Mister
Show used to do like stuff there to work up material.
(41:04):
H used to have this workspace where you could do
plays basically like want to and like sketch comedians and
like things like our thing Space Station seventy six would
like work there. And we performed it there and like
people loved it and like it was so fun.
Speaker 1 (41:18):
Where was the space? Was it in Hollywood?
Speaker 3 (41:20):
It was it was right over by Renmar like Koalanga
and like Willoughby like that.
Speaker 1 (41:25):
Yes, okay, yeah, yeah, yeah, yep.
Speaker 3 (41:27):
Wilcox or somewhere in that yes, yes, Vicinity. But it
was fun. It was a lot of fun. And then eventually, yeah,
Jack wrote it into a screenplay and they made the
movie with Patrick Wilson and Liv Tyler and a bunch
of other people, and yeah, amazing, Yeah for sure.
Speaker 4 (41:45):
Can we skip to The Dana Carvey Show because Michael
was a writer on a show called The Dana Carvey Show,
which is probably the most legendary group of comedic writers
ever assembled.
Speaker 2 (41:55):
There's there's a documentary on this.
Speaker 1 (41:57):
The documentary is incredible.
Speaker 3 (41:59):
Talent packed, spectacular failure of the time, probably like and
I'm not, I'm not. I just again, I'm I'm on
the outside looking in at this is just just to
bring around. Like so that season four, after season four blossom,
it really it felt like and again for no no
fault of anyone's, it's just how the business is run.
I just wasn't they weren't gonna do anything to alter
(42:22):
my original contract. And I was like, I don't, I don't,
I'm sorry, I just yeah, I would rather. I would
rather honestly go do this thing for way, way less money,
you know. And well like whether that was a smart
or regrettable move is to is who can say, But
like that's just how I felt. And I ended up
going to Conan. I left season five after half a
season and went to write permanently in New York at
(42:46):
thirty Rock with for Conan O'Brien. And so I did
that for about six or eight months. Then I think
I came back to LA and did nin to a Zero.
And then Robert Smigel had called him and like, Dana's
doing his own show, do you want to be a
writer on? And I was like yes, of course. So yeah,
so that's that's the sort of Progression and Dana Carvey Show.
We got so the we're looking I remember watching audition
(43:07):
tapes and we're like, here's this guy I never heard
of him named Steve Carell. What do you think? I
was like, hire him, like five minutes of stuff and
like his stuff. I was. He was the number one
the person who was like, I mean, we're we're literally
literally insane if we don't hire him. He's freaking great.
Speaker 2 (43:28):
Was he doing?
Speaker 3 (43:29):
The one thing I remember is he did this thing
where I won't be able to replicate it, but he
did this thing where he was like like do this,
Like you start to tell a story to him, and
he is like the guy who like jumps in on
the story and then finishes it for you and then
like I can't do it the way he did though,
He's like you're talking about going to this video gorilla
(43:51):
and it was like this guy great. So Correll and
Colbert are the two and then you know, they went
on the Daily Show and then I think they did
more stuff after the Daily Show. I'm not quite sure,
but they they're really really I mean, these we this
was the ensemble cast and then the writer's room was like, uh,
just a Slugger's row of like a brilliant brilliant writers.
(44:15):
I mean, Charles Louis was the head writer. Louis c
k was the head writer. Robert Smigel was of course
a writer and producer. You know, he wrote a lot
of stuff.
Speaker 2 (44:25):
Uh.
Speaker 3 (44:26):
Bob oden Kirk had mister Show at the time, but
he was good friends with Smigel from from their days
at SNL, so he came in and wrote some stuff
for several weeks. Uh. Charlie Kaufman was a staff writer.
He then was he was literally working on being John
Malkovich at the time on the side, Like, yeah, who
(44:48):
an Academy Award winning writer was there? Dino Samatopolos, who's
great in his own right. Uh, he had several shows
on the Yeah, I remember, I'll swim. He has a
lot of Christine.
Speaker 2 (45:00):
You know, Ben probably knows a lot of these people.
Speaker 1 (45:04):
Yeah, you know, Stein knows Robert Smigel, Bob all of them. Obviously.
You know Robert Smigel, we should say, is you know
famously Triumph.
Speaker 3 (45:13):
The insult comics, comic dog.
Speaker 1 (45:16):
Yes, just for just for our listeners.
Speaker 3 (45:18):
He created super Fans the Bears, Oh yes, yes.
Speaker 1 (45:25):
Yes, And Smigel is a good friend of that, Adam Sandler,
So he's kind of I did a scene with him
in The Wedding Singer and he kind of appears in
Adams movies too, and so yeah, he got.
Speaker 3 (45:37):
A little part in most of his movies.
Speaker 1 (45:39):
Almost all of them. But you so you were with
like literally the heaviest hitters the movie writers in all
of show business, and like how.
Speaker 3 (45:47):
They got it so right? Like on like Corell and
Colbert were not known entities, they were unknowns, Like so
like to get it that right, to like hit like
that's just unheard of. It's like the not like the
like a little bit like the Friends cast, but it's
like where like you get like Seinfeld might be a
good example, like just like wow, how did you get
or you know what's a great example Parks and rec
(46:10):
like with Aubrey Plaza and Chris Pratt. Yes, yes, yes, Offerman.
It's like you got it so right on at every
turn with these.
Speaker 1 (46:18):
Then every character, yes, exactly.
Speaker 3 (46:20):
Giant giant stars now like yeah yeah, like so yeah,
we had all those people even like the writers Robert Carlock,
who then went on to create Kimmy Schmidt with Ellie
Kemper and Liken Glazer, who's very very popular, very very funny,
very talented.
Speaker 1 (46:36):
So funny, so funny.
Speaker 3 (46:37):
Yes, yeah, just everyone on that show topic what went wrong?
Speaker 1 (46:43):
Like what what is the because I watched the documentary
and it's just like the it's the stories, I mean,
it's it's a fascinating study, right, and then.
Speaker 3 (46:54):
They paired it with like their most sort of like
milk toasty Midwest stern values like classic family sitcom and
you saw on the documentary. The funniest part is like
the promo, the twin promo ABC did where it's like
Tonight on Home Improvement and it's like Jonathan Taylor is
(47:15):
a brush with molestation or something, and it's super dramatic,
and then it's like and then on the Taco Bell
Dana Carvey Show, it's like exactly snimples like milking a
like breastfeeding a kitten. I was like, this is not
the best in the documentary is everyone's reaction like Colvert's
reaction to that, like and Smigle being like as soon
(47:35):
as I saw that, I knew we were over. We
were canceled like the media and we basically were we
basically we only aired two episodes and we made like.
Speaker 1 (47:43):
Six crazy, But what an experience. I mean amazing, It's
pretty epic. That is wild times.
Speaker 3 (47:54):
Point right now, tell us about the Dark Knight.
Speaker 2 (47:57):
I mean, working with Christopher Nolan.
Speaker 3 (47:59):
Dark Knight was amazing. I get a little we're past
the nineties at this point, but uh yeah, you read
I read for it, and you know they write you
a completely different scene where like, you know, you don't
have a clown mask on and you're not going to
die in one minute and ten seconds into the movie.
I mean, my friends were all like, dude, you're in
Dark Knight. Why who can why? You know? So we
(48:21):
do the scene for on tape. I was actually the
only person who got cast and never went in front
of Nolan to read it. They showed him my tape
and then they cast the rest because it shot in Chicago,
they cast the rest of the clown bank robbers like
in a live audition with him. So yeah, but that
was a great, great experience. I go back to my
(48:44):
hometown and shoot a Batman movie and like I love
you know, Batman Begins had already been out, and I
was like, that's the best Batman movie so far for
sure to be in the second one and then Keith
of course playing the Joker. Oh a sweet guy. I
just I didn't get to spend that much time with him,
but he was just like this sweet, introverted guy. He
(49:04):
was one of those people who, like you don't you
would never guess he was mind blowingly talented as an
actor if you spent a few minutes with him the person,
because he's just quiet and you.
Speaker 1 (49:15):
Would unassuming, right totaling.
Speaker 3 (49:18):
Performing is just atomic. So yeah, that was It was
just a real privilege to be in that in that
movie in any way, shape or form. So I love
that and you know, as it's one of the most
popular movies ever made, I still see a amount of
money from it.
Speaker 1 (49:33):
So like, very nice, very nice. Well, I hope to
see this reunion of YouTube together potentially back again.
Speaker 4 (49:46):
Yes, and well, she's talking about my game on our
show right nine months ago and said, Don and I
have a script for a new blog some show, and
she said, I wanted to come on your show, and
as a safe space, I ask you if you want
to be involved, we really have a great script. And
(50:08):
so just for our listeners, there might be some exciting
news we don't know.
Speaker 3 (50:12):
We've we've no obviously that would be. I auditioned for
a Jeff Garland something project like ten years ago or so,
and uh, it was in Chicago, and I just decided
at one point to be like, well listen, I don't
It was like for a series of regular and I
was like, well, I have to tell you I am
very interested and he burst out having we was like,
(50:34):
no one would get if you did that in LA
that would tank and I was like probably that. I
was like the same, same here. I have to say,
based on what I'm hearing, I am.
Speaker 1 (50:42):
Very very interesting.
Speaker 2 (50:44):
I will actually I said the same thing, right, Christine,
I'm like, I.
Speaker 3 (50:48):
Am very interesting. So you got me stowing in.
Speaker 1 (50:53):
I love it. Well, this was amazing this thank you
so much for coming. I yeah, were awesome and so
so funny for.
Speaker 3 (51:02):
Another hour of nineties in me So.
Speaker 1 (51:04):
Next Year Part two, Part two always.
Speaker 4 (51:07):
Anytime you guys want fast buddy, thank you so much.
Speaker 2 (51:11):
I love your next week. I get that. Thank you, Okay,
thank you.
Speaker 1 (51:17):
He was so terrific. David, what a treat.
Speaker 4 (51:20):
He's just he cracks me up, Like I love hanging
with him because he's so freaking funny.
Speaker 1 (51:26):
He I mean, you know, I feel like he always,
you know, said if he's a performer at heart, but
he's such a funny guy and clearly a talented writer.
But he you know, I I really mean it when
I want to see when I said, I want to
see him and more and more, like I I hope
the Blossom reunion happens, but I also hope to you know,
he's just such a talented guy. And you're right, he was.
(51:48):
He made it so effortless on Blossom. It was so real.
That's the thing I remember about Blossom is you really
bought that family, and you know it was just because
he and Miam had such a had such great chemistry,
and he's just so good and talented and I you know,
you never know, like he's such a solid uh training
in Chicago.
Speaker 4 (52:09):
Yeah, he's so quick.
Speaker 2 (52:11):
His timing is like I said, it's like a surgeon.
Speaker 4 (52:14):
And his sarcasm and yeah, it just worked with Miam
and Joey and then him just slicing through them.
Speaker 2 (52:22):
Yeah, I'm hopeful.
Speaker 4 (52:23):
I mean, I speak to Miam and to Don Rio
and they are very close. I can't make it an out,
but yeah, it's exciting. And yeah, I'll tell our audience
because in case they didn't hear at the beginning, but
we're in New York. I'm in New York for a
very exciting reason that people will we're.
Speaker 1 (52:43):
Not going to speak about so but you'll know soon enough.
And yeah, we're we. Thanks for everybody for listening today
because I'm going to cut David off there before he
gives away too much.
Speaker 4 (52:56):
I know I have such a big enough but yeah,
stay tuned, something really really coolest coming, and have a
great week, everybody.
Speaker 1 (53:02):
Thanks for listening. Make sure to subscribe and give us
five stars
Speaker 4 (53:05):
And please follow us on Instagram at Hey Dude the
nineties called see you next time.
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