March 18, 2024 • 39 mins
He’s a DCOM veteran… Paul Kiernan joins Will and Sabrina to talk about “The Luck of the Irish”!
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Speaker 1 (00:15):
All right, hey everybody, thanks so much for joining us
on our park Hopper episode, as we've just watched the incredible, insane,
amazing acid trip that was the Luck of the Irish
and we are so lucky. Yes, I'm going to say
it to be joined today by not only one of
the stars of the film, but one of the stars
of many d coms, and we want to talk to
(00:35):
him about yeah, a bunch of the dcoms that he did.
We are not going to hold out any longer. Let's
bring in Paul Kiernan.
Speaker 2 (00:44):
All right, hello, there you are. How are you. I'm
doing Wow, how are you?
Speaker 3 (00:49):
I'm good? Thanks, thank you so much for joining us
this morning.
Speaker 2 (00:52):
Thanks for having me. This is quite a surprise.
Speaker 3 (00:55):
No, this is amazing. We just did our rewatch of
the Luck of the Irish.
Speaker 1 (00:59):
Okay, we are both coming down from our acid trip
of this film.
Speaker 3 (01:06):
We had fun, we did. We had fun with Luck
of the Irish all the way around.
Speaker 1 (01:09):
But you are our first ever guest who did multiple dcoms.
Speaker 3 (01:16):
Really, yeah? What four correct?
Speaker 4 (01:19):
Four d cooms?
Speaker 2 (01:21):
I have no idea, just.
Speaker 4 (01:23):
Too much on the resume to even continue to count.
Speaker 2 (01:28):
It's not that at all. I just I with film.
I don't even watch them. Oh really, yeah, yeah, I don't.
Speaker 3 (01:36):
Have you seen any of them?
Speaker 2 (01:38):
No?
Speaker 3 (01:39):
Oh my gosh, you've never seen any of them? That
is so funny.
Speaker 5 (01:44):
Well, don't worry, because we're probably going to end up
watching all of them literally. So yes, we are looking
up all the different ones that we're going to rewatch,
kind of putting them in order as we go along
with our scheduling. And we noticed that your name is
in four of them.
Speaker 3 (02:04):
Yes, you're not.
Speaker 5 (02:04):
You don't watch them at all from the beginning, which
is I love, because I have a hard time watching myself.
I get too picky. I don't really enjoy the movie
a lot of times. But regardless, there is like a
resurgence of all of the dcom movies from this era,
you know, the the late nineties, the early two thousands
and a little bit on. Have you heard anything about
(02:27):
people starting to really rewatch those and and you know,
finding their love for the movies that have been around
for a while now.
Speaker 2 (02:35):
No, I've heard nothing, nothing. I really I'm amazed I'm
even here. I can't believe anybody. No, I'm I don't.
I haven't heard anything. You know, So there's a resurgence.
Oh it's that sweet sweet three dollar residual check any day.
Speaker 5 (02:52):
Now, Well, since you did four me, I think you
might be lucky enough to get up to five.
Speaker 3 (02:59):
So no, you did.
Speaker 1 (02:59):
We've got we've got the Lucky of the Irish, We've
got Go Figure in two thousand and five, we've got
Cloud nine, and then there was.
Speaker 3 (03:06):
A there's a fourth one as well. Oh the double Team,
Double Teams, Double Team.
Speaker 4 (03:11):
Double teams.
Speaker 5 (03:12):
So what you need to do though, if you go
and even search, so you know, we watch all of
these on Disney Plus. And Go Figure just came up
because I watched Luck of the Irish and it's probably
because you're in it, and now it's like pushy Meat
and now watch that one as well, So I.
Speaker 4 (03:29):
Bet you you would really be surprised.
Speaker 5 (03:31):
I'm sure most all of those ones are on Disney
Plus most likely. Yeah, And people are refinding these awesome
movies from them that always have such a fun message.
You know, it's usually a great storyline and with the
Disney Channel just mega machine that it is at the
(03:52):
people that were around like that was my era. That's
when I watched I watched them live. They came out
every month almost and now you know, the next generation
is starting to find them and they're loving them and
falling even more in love with their parents now.
Speaker 4 (04:05):
So it's a it's a huge, like full.
Speaker 5 (04:07):
Circle moment for so many families with these Yeah, is.
Speaker 1 (04:12):
There any chance that you would, now, knowing about the resurgence,
maybe go back and watch a film or two that
you're in or nose. It's kind of like, Nope, I
just don't do it.
Speaker 3 (04:22):
No, no, no, let me be here.
Speaker 2 (04:25):
It's not that I remember all of them working on
them and they were fun and it was great. I
worked for Disney for eight years before I did any
films with them. I was working at the parks. So
I'm a big Disney fan. But I just I'm predominantly
a stage actor. So film to me is once I'm done,
(04:47):
I just you walk up to the point. I can't
teach it. Yeah, I can't, you know, tweak the performance.
So it's done.
Speaker 1 (04:54):
So you mentioned something about we want we actually want
to talk about before we dug into the dcom work
and what it's like to do a Disney Channel original movie.
Speaker 3 (05:02):
What did you do? Did you work at the park
itself for eight years?
Speaker 2 (05:07):
Yeah? I started, I was at the MGM studio down
in Florida. I did street theater. I worked with some
of the most amazing improvisational actors you could ever meet.
And then I was a writer and a director on
the Cruise Line.
Speaker 4 (05:20):
Oh wow, Okay, then I kind.
Speaker 2 (05:21):
Of left and did the whole auditioning actor thing.
Speaker 5 (05:25):
So nice, I will say, though, because I'm I'm here
in California, so I am at the parks all the time,
and I take my daughter most of the time with me.
But I will tell you every time we get to
the street performers are the ones that are doing the
live stage work. I love it, and I'm looking at
their faces knowing that there's like a huge chance that
(05:46):
I'm going to see them at some point. Disney the
parks really do hire such incredible high level of talent
and like you said, improv as well as the singers
that are out there. I mean they're ride double and
you know, the ones that are in the parades know
how to really put in work because those parades are
(06:06):
a lot of work. So I love that. And I
was so excited to find out that's where you did
a lot of your career was at the parks because
that's like such a huge part for me.
Speaker 2 (06:17):
Oh cool. Yeah, yeah, it was great. Right out of
grad school, they pulled me in.
Speaker 1 (06:21):
Now, did you start acting before that? But was Disney
was working at the parks kind of your first acting
gig or did you find acting as a much younger person.
Speaker 2 (06:31):
I was in college and in grad school. Right out
of grad school, I worked with Disney, but I was
also doing a lot of stage work. And my first thing, Gosh,
my career is so good. My first thing was a
bit on Oh what was that? It was an old
TV cops, not a like a murder not a murder show.
(06:52):
It was a crime show. I had a role on
some crime show that was pretty bad.
Speaker 3 (07:00):
Was this in the eighties? Was this in the eighties?
Speaker 2 (07:03):
It was?
Speaker 1 (07:04):
Yeah.
Speaker 2 (07:04):
I was in grad school when I was on that.
It was okay, remember.
Speaker 3 (07:07):
The name who not mash was it? But was it
like a Hill Street Blues kind of show something like that?
Speaker 2 (07:14):
It was like it was a reenactment of actual crimes.
Speaker 1 (07:18):
Oh cool, Oh, like a those like an Unsolved Mysteries
or something like that.
Speaker 4 (07:24):
It's so fun to wat.
Speaker 2 (07:26):
I can't remember the name of it, but it was awesome. Yeah,
it was pretty horrible.
Speaker 4 (07:33):
That was awesome.
Speaker 5 (07:34):
Just before we move off the park stuff, do you
have any favorite things or insider tips as far as
people that go to the park, because I'm all about that.
Speaker 2 (07:43):
The thing that I noticed over the years working there
is the less you carry, the happier you are. Couples
come in with backpacks and camera bags and the whole thing,
and the less you have that, the more you are
free to just explore. And also the people who walk
around with the camera on their face so that they
(08:04):
can go home and watch their vacation later, don't do that.
Just and enjoy it.
Speaker 1 (08:10):
It's now the phone in front of your face the
entire time, and it's like, you're there. What's the craziest
thing you ever saw while you're at the park. You
must see some nutty stuff while you're there.
Speaker 2 (08:20):
Really nothing that stands out is really bad or I
mean no, they're great places and they're very disarming. I
had never been growing up, and then when I got
hired there, my friend, you know, and I'm older, I'm
out of grad school, and I'm I'm not going to
buy into that whole thing. But my first day off,
I got my ID and I went to the Magic
(08:41):
Kingdom and I'm telling you, I was just awestruck and
all of that. I used to watch The Wonderful World
of Disney on Sundays and it was there or stepping
into that and it was it was so lovely and
just exciting, and you know, you do you feel like
a kid again. And then you know, Goofy walks up
to me and I know there's a college.
Speaker 3 (09:03):
And I'm like, Hi, Goofy High High.
Speaker 2 (09:06):
It's wonderful. It's really Yeah. I just love the place.
It was really great to work there too. You know,
there's a thing about performing in part of on the
streets five days a week. You really gotta you gotta work,
and you've got audiences that are foreign, so you've got
to find that kind of humor as well. There's a
lot that goes into it, and it was a great challenge.
(09:27):
I really loved it. I was very quick. I got
very quick, which was nice.
Speaker 4 (09:32):
Awesome.
Speaker 5 (09:33):
Do you still keep in touch with anyone that you
worked with at the part?
Speaker 2 (09:36):
Yeah? I do. We we there's the people that when
I was working there, they're still there, you know. There's Yeah,
it's great. I mean it's a great place, particularly for
dancers because once you're done on the knees and the
hips go, you can move into management and choreography. So
it's as an entertainer, it's a really great place to be.
You have opportunities to do everything, and then you can
(10:00):
you can stay with the company, you know. So yeah,
it was kind of wonderful.
Speaker 3 (10:04):
I mean, was that one of your goals was to
work for Disney?
Speaker 1 (10:06):
Is that something that you wanted to do or was
this just kind of a gig you locked into.
Speaker 2 (10:10):
It was a gig I looked into. Honestly. I was
doing a Renaissance fair and upstate New York and the
guy who directed the Renaissance Fair, he was a director
of what we called Streetmosphere down in Florida, and he
invited the Disney casting people up and they saw me
in a show and they said you want to come
work for us? And I said, sure, Yeah, that'd be fun.
(10:32):
So yeah, Gary Izzo was the guy's name. He was
a great, great director and very smart. You know, he
created that whole street program down in Florida.
Speaker 4 (10:41):
Yeah. Nice.
Speaker 3 (10:42):
Oh that's amazing, my gosh.
Speaker 1 (10:44):
So just curious, then, did you you said, then you
went from Disney to then decide he did the cruise
and then you decided to go to do the actor thing,
the audition, all that kind of funn Do you remember
your audition for Luck of the Irish.
Speaker 2 (10:57):
Yeah, I do. It was in Utah. I was living
in Utah when in casting director's name was Jeff Johnson.
It was I think it was my second audition for him. Okay, yeah,
and did the pre screen and then I met Paul Hoane,
the director, and did some sides and that was it.
It was the next day my agent called me and said, hey,
you got this, and oh, that's great.
Speaker 3 (11:19):
You know, Okay, that's great.
Speaker 1 (11:22):
When you read the script, was there any part of
you that was like, it's this is this is can
be it's a little bit bonkers.
Speaker 3 (11:29):
I mean at the end of the day.
Speaker 2 (11:30):
Oh, I read it and I was so I was.
I was excited about it because one reason, I thought
the idea was really fun and I wanted to see
how we were going to do the incredible shrinking wife.
But the other thing was I got to work with
Henry Gibson. And you're both probably a little too young
to know.
Speaker 1 (11:50):
I know, I'm I'm a television junkie, film junkie, So
I knew exactly.
Speaker 2 (11:55):
Yeah, I had hours and hours on set to sit
with this guy and talk about laughing and he was
so kind and generous and god, it was so lovely
to work with him. Yeah.
Speaker 5 (12:09):
Yeah, that's incredible to hear because he I mean, he's
a legend and that would be so great. I mean,
you guys had you two and your your characters had
a pretty funny relationship.
Speaker 4 (12:21):
You know, I wouldn't want to say typical.
Speaker 5 (12:23):
Your father in law type thing, but it had its
it's it's obstacle and you both played off of each
other so well.
Speaker 4 (12:31):
It was really funny to watch you guys.
Speaker 2 (12:33):
It's a testimony to him. He's such a brilliant He
was a brilliant comedian.
Speaker 3 (12:38):
Absolutely, Oh so funny.
Speaker 1 (12:40):
Now you mentioned how you were going to do the
incredible shrinking wife. How did they do it? I mean,
especially back in the day. Nowadays you've got old CGI
and you could do everything. But back in the day,
was it all green screen? And then they digitized during
later like what happened that.
Speaker 2 (12:54):
It was green screen? That was all green screen. So
there's never any shots where where really right next to
her or you know, we're not reframed together One of
the things I do remember was there's a part in
the film. I don't know if it made it in
or not, but she's I think she's in my pocket
and we're riding somewhere and she's in a shirt pocket.
(13:17):
And I was there on the day of shooting, and
so she was literally in a kind of a wooden
frame in a gigantic pocket on a giant rubber tire,
and myself and the young man who played my son,
we were behind it, moving it to make it look
like she was bouncing around it. It was just one
(13:38):
of those things where, well, we need.
Speaker 4 (13:40):
The punch turned up.
Speaker 5 (13:41):
I know you didn't watch it, but it was a
laugh out last moment for me.
Speaker 4 (13:46):
I watched it four or five times.
Speaker 3 (13:48):
It was so she loved it.
Speaker 4 (13:50):
I came out of nowhere.
Speaker 5 (13:51):
I was not expecting this little baby thing to just
punch someone real life size.
Speaker 4 (13:57):
It was pretty good. It was pretty good good.
Speaker 1 (14:00):
The basketball scenes we love to talk about, so Disney
tends to do these kind of grand sports scenes. Yes,
and there's always usually the culmination of the dcom comes
to the big final game, the big final rollerblade match,
the big final hockey game, something like that.
Speaker 3 (14:17):
As you're shooting this.
Speaker 1 (14:18):
First of all, is Henry Gibson actually on the top
like of the basketball hoop the entire time?
Speaker 3 (14:25):
Did they put this poor man up there? And then
just this scene?
Speaker 5 (14:29):
No, no, that was also green screen, green screen, yep, okay.
Speaker 3 (14:33):
Making sure that this poor man but it wasn't. They
weren't throwing him up his craft service.
Speaker 4 (14:37):
And a big comfortable that could not have been comfortable.
Speaker 1 (14:41):
And then my other question was how uh in depth
were the scenes to shoot? I mean, you've got hundreds
of extras I would imagine or were they were they
faking it?
Speaker 3 (14:49):
Was there?
Speaker 1 (14:50):
Was there kind of ten or fifteen that they just
funny that they keep they came around, Yeah, it was funny.
Speaker 2 (14:55):
When we started, we had the whole gym was full.
And I think the thing with extras is we had
a lot of young kids in there, so they were
they came with their parents or family. I don't think
they understand that if you're an extra in a film,
that's a long day's work. Yes, And as we kept filming,
(15:16):
the number of people we had just kind of started
getting less and less and less, like we're done here.
So we had enough people that covered, so there was no,
but we just had to keep moving people into bunches.
But we did have a pretty full auditorium for that. Yeah,
it was exciting.
Speaker 3 (15:35):
Yeah.
Speaker 5 (15:43):
Are there any other scenes that you vividly remember shooting?
Was the cars chasing scene?
Speaker 4 (15:49):
One at all?
Speaker 5 (15:51):
That one was like felt like it was just absolute
crazy energy as you guys were filming that.
Speaker 2 (15:57):
Yeah, that was great. It's not a scene in the
but we were waiting to shoot and we were in
the car and it was raining like crazy, oh wow.
And the kids jumped out and they ran for their trailers.
But Henry and I sat in the car with an
umbrella and we just hot stage fo Yeah. Yeah, it
was really.
Speaker 4 (16:16):
Lovely with the convertible top down. You guys just chilled
in the car because.
Speaker 2 (16:20):
We were shooting, you know, and we were just sitting
there with umbrellas, just talking about what was going on.
And it was a lot of me just peppering him
with questions about working on Laughing and his whole career
was just wonderful.
Speaker 3 (16:33):
That's what I would have done, Yeah, just kind of
fanning all over.
Speaker 2 (16:36):
I mean, I've worked on some sets in some films
that it's a nightmare. Everybody's yelling at each other, and
it's Paul Hoane, the director is just so calm and
so prepared. Yeah, that it just makes everything. It was
really so lovely to work with him. There were no
big clashes, nobody hated anybody, there were no fights. I'm sorry,
(16:59):
it's boring. I wish I could to tell you.
Speaker 3 (17:01):
No, No, it's great.
Speaker 2 (17:01):
Are you can I get drunk punching each other.
Speaker 3 (17:05):
No, that's what makes a good dcom.
Speaker 1 (17:07):
We love hearing because I mean, all the film films
where they're oh, you know, and they fought for three
Disney captures this magic and we like hearing that. It's
also it lends itself to being on the set too,
because I've done Disney Channel movies or Wonderful Old of Disney's,
and Sabrina's done Disney Channel movies and one of four
of the Disney's, and we all none of us have
those stories like, oh it was the most miserable experience.
(17:29):
They're fun, they're fun to shoot, and people are enjoying
being there. It's usually light on the set. It's having
a great time.
Speaker 5 (17:36):
So Yeah, the crew is always super easy to work
with and able to fix any issues coming up. Nothing
seems crazy what's awesome is you do get you know,
Paul Hoan, you get these great directors that come in
and they they don't treat it as if it's not
something that's important. They take it very seriously. They come prepared.
They make it easy, which is great because when you
(17:58):
are working with younger act or is you know that
might not have as much experience and stuff.
Speaker 4 (18:02):
If if things.
Speaker 5 (18:03):
Start feeling chaotic, they're gonna there's a possibility that you're
gonna lose you know, their focus and things like that.
So as an adult working with kids, I'm sure that
like helped that as well, you know, so that it's.
Speaker 4 (18:15):
Awesome to hear. So that's what we love doing the
interviews for No.
Speaker 2 (18:19):
It was it was a It's one of the best
sets I've ever worked on, you know, I've done with Disney.
I've just been calm and you know, even you know,
the stuff beforehand of what your call time and all
that stuff. Everything was just there was no panic, nothing
like that happened. It was just well run and well executed.
(18:40):
So really nothing but enjoyable being on set like that.
Speaker 3 (18:45):
Well, I know you said that you haven't seen the movies,
but is there one of the four that you had
the most fun working on.
Speaker 2 (18:52):
I was lucky of the Irish.
Speaker 3 (18:54):
Was it really nice?
Speaker 2 (18:55):
I think I have a pretty good sized role in
the hockey one, but the other too, I think they're
very small roles.
Speaker 5 (19:02):
Okay, moving into the next one, the double Teams, the
classic Tween Caper twin Caper.
Speaker 4 (19:08):
What was it.
Speaker 5 (19:11):
At that point now that you're you know, because Disney's
really known for the synergy of their actors at that point,
did you just get called in or were you still,
you know, having to really push for auditions or were
they just they just you know, calling you, Hey, we
loved you in this.
Speaker 2 (19:23):
No, God, I wish that was the That would be
great audition. You know. Uh, that's fine. I think it's
important as an actor to audition for stuff. You know,
it's so much part of our job to stay on
top of it. So Nope, never never had that whole
We'll just hire Paul Thing.
Speaker 4 (19:42):
Oh wow, Well that's incredible.
Speaker 5 (19:44):
Since you ended up been four, I don't know any
actor that has or of you know, the ones we've
talked at all about that has been in that many dcons.
Speaker 4 (19:52):
I mean, that is so incredible.
Speaker 1 (19:55):
Yeah, you're in rarefied space. When you're you do four
Disney Channel original movies. Somebody else who did more than
one was your co star who played your son, Ryan Merriman.
Speaker 3 (20:03):
Yes, what was it like working with Ryan? Another dcom legend.
Speaker 2 (20:07):
It was interesting. I didn't know him, but there was
talk about, oh, he's an up and coming star type thing,
and I'm always a little wary of that, because sure,
you get somebody young and they're being told you're brilliant,
you're going to be a superstar. Ryan was. He was
exciting to work with. He was funny, prepared, really just
(20:31):
professional and I really had a good energy with him.
I enjoyed working with him, not a diva and not
thinking he's special, just part of the team and really
great to work with. And to stress that again, he
was prepared. You guys know what that's like.
Speaker 3 (20:46):
It's hugely important.
Speaker 2 (20:47):
Yeah. Yeah, so but now, we never had any issues
with him. I had a great time with him. Yeah,
he was a great kid. I don't I've lost track
of him. I don't know.
Speaker 1 (20:57):
I mean, it's you can see in the relationship between
the two, actually between all the parents, that the entire
family union in the film really worked well together.
Speaker 2 (21:05):
Isn't that weird? You get on a set or you
get on stage and Hi, I just met you, but
I have to be in love with you or yet whatever.
Speaker 3 (21:12):
We're family now.
Speaker 2 (21:13):
It's so much easier when the people you're playing with
are with you, you know, when there's a great give
and take like there was on this point.
Speaker 1 (21:20):
Yeah, yeah, you know, so to go to just a
slightly different place because this is one of my favorite
things in the research we were doing about you, because
it's such a specialized kind of niche in the entertainment
industry and one that when you're good at it shows
and when you're bad at it shows.
Speaker 3 (21:39):
Do you teach stage combat?
Speaker 2 (21:42):
Yeah?
Speaker 3 (21:43):
Can you talk about that a little bit?
Speaker 1 (21:44):
What stage combat is and kind of what it entails
because it's such a specialized part of the industry, but
it's so cool and one of my favorite things ever.
Speaker 3 (21:52):
So what is that like?
Speaker 2 (21:53):
Yeah? I was a fight director still am, and it's
very exciting. You have to tell your story physically. You
get to work with some interesting weapons. I'm really good
with swords and daggers. And the idea for me is
it's when I'm a fight director, it's serving the director's vision.
(22:18):
It's making sure that the lineal story doesn't stop. So
it's not like, here's the story. Now we're gonna have
this fight and we're gonna bring it back in to
the story. And the other thing is making actors feel
as comfortable as possible. Not everybody grows up playing with swords,
and not everybody feels comfortable under them. So my thing is,
(22:39):
if if I find an actor who can do just
one move, well, that fight is gonna be about that
one move, and they're gonna look fantastic, and they're gonna
feel safe, and they're gonna look like whatever, you know,
the superhero they need to look like. So I teach it.
I teach a lot of it is spatial awareness too,
(23:00):
so particularly you see this on stage, actors not knowing
where they are in reference to other people. It's about safety.
It's also about history, learning the history of why these
weapons were used and the difference between There's a book
called on Killing and it's written by a guy who
teaches psychology at West Point, and he talks about what
(23:25):
it costs us to take a life and he's teaching soldiers.
And it's interesting because I keep that on the back
of my mind. There's a difference between if I'm on
stage and we're going to shoot somebody as opposed to
I'm going to kill you with a dagger. That means
you're this close. Yeah, I'm looking in your eyes, I'm
feeling this knife go into your body, and all that
(23:48):
stuff I talk about with the actors because it layers
the performance and it costs you something. You know, you
stab somebody, you kill somebody, that costs you something as
a human being. And the more you take that seriously,
first of all, the less anybody gets injured. And the
more you realize that it's not just oh, you know,
(24:11):
I've stuck a knife in you. Now I'm moving on.
It's going You're going to take that into the next scene.
You're going to take that into the next relationship, and
how does that feed you. So there's a lot of history,
there's a lot of just physical activity and safety and
making sure that actors, you know, we like to feel
good in what we're doing. Sure, And I never want
an actor to be in a scene and then moving
(24:31):
into a fight and they have to literally stop and
think about it. I want it in their bodies moving
forward with that, And so, yeah, I had a great
teacher myself a gentleman named Rick Sorderley. So if you
look at anything on Broadway, Rick has got his hand
and he's a phenomenal director and teacher and a fight director.
I worked with him. I was doing I think a
(24:54):
Romeo and Juliet back in the early eighties, and that
was the first time I met him, and he said,
you seem natural with the sword, and I kind of
apprenticed myself to him and learned from him, and then
I joined the Society of American Fight Directors and wow,
that's yeah.
Speaker 5 (25:10):
Wow.
Speaker 1 (25:10):
So did you grow up? I mean I grew up
loving swords. I have a sword collection, swords, knives. I
threw knives, swords, I threw axes. Is this something did
you grow up with bladed weapons? Is that why you
were comfortable? Is this something you just found you were
good at? As an actor?
Speaker 2 (25:25):
I just found I was good at it. I've always been,
you know, I'm not a leading man. I always play
on a character roles. And then in Shakespeare's particularly when
you start when you're right out of college and you're
you're doing an internship, it's you're going to carry furniture,
and then you're going to be in these fights. So
I took that opportunity to really take the time to
(25:45):
understand the weapons and how they work, and how I
work with a weapon, you know, because I'm a heavy guy,
and if you look at me, people don't expect you
to move well. But I always looked at zero mostelle
and the way that giant man could gracefully move up
and down a flight is stairs. This guy's got angel wings,
you know.
Speaker 4 (26:04):
Yeah.
Speaker 2 (26:04):
Well, I took all that time I was just being
a guy in the fight to learn how to do it,
and it felt it worked out white. So yeah, it's
just another thing on the resume. When the acting isn't there,
I can choreograph fights for a show or whatever.
Speaker 3 (26:18):
Ye are you Are you still teaching?
Speaker 5 (26:20):
Yeah, I mean you've taught at Yale, Boston College, Harvard,
I mean your alma mony.
Speaker 4 (26:27):
Yes, I've got all this stuff. Of course, there's just
so many places.
Speaker 5 (26:31):
I mean, you have been you, I'm sure have really
been able to reach a lot of the next generation
of incredible actors. Is there something that you kind of
help try to inspire that next generation as you're teaching,
Is there something you lean towards.
Speaker 2 (26:45):
Shut up and listen. It's not about you. You are
one bar of the spectrum of this play or this film.
And do your job well and don't make anybody worry
about you. You know, and age actors make choices, make
them big. Come with choices in your head. There's nothing
(27:05):
directors hate more than an actor's just standing there waiting
to be told to move, to say a line this way.
You know, do your homework, Be prepared what we get
to do. I mean I love doing it, you know,
and I don't get to do it enough. I have
a day job. But when you get to do it,
be there, be present, Listen to the people. I always
(27:30):
take older when I was younger, I would take older
actors out for a drink and say, hey, how did
you and just listen. Really, everybody has a different way
to approach it. You know, we're hearing a lot more
now about the method, and you know that can be
good or bad. But for young actors, be present and listen. Really,
(27:52):
it's the best advice I can give.
Speaker 4 (27:54):
Nice.
Speaker 3 (27:55):
Oh, I love that so much.
Speaker 2 (27:57):
I mean, I think, why do you love that so much?
Speaker 1 (28:00):
I just because it's well, it's it's funny.
Speaker 3 (28:02):
Because I do this podcast obviously, with Sabrina.
Speaker 1 (28:05):
But I do another podcast called Popmeet's World about a
show that I was on for seven years in the
nineties growing up, and my co hosts and I talk
about how as child actors there were times where they
just wanted to put the words in your mouth. It
was just about stand here, look cute, open your mouth,
say the words, get to laugh, walk off, And how
(28:28):
as we grew then and grew up as actors, how
that turned out to be very detrimental to I mean,
my one of my best friends in the world, right Strong,
who I host the podcast with, it literally killed his
love of acting. He just he stopped acting. He became
a writer director. And it was because he just said,
I spent the first part of my career with people's
(28:51):
hands on my shoulders saying, stand on this tee, now
say the line like this, and say the line like that.
And he said, we, you know, we weren't given the
choice to make a choice.
Speaker 3 (29:01):
I was a little different. I was.
Speaker 1 (29:02):
I was a few years older, and it came to
a point where I just kind of said, I'm going
to do.
Speaker 3 (29:06):
It my way.
Speaker 1 (29:07):
But that when you're seventeen on a set, and when
you're twelve on a set.
Speaker 3 (29:12):
That's a huge difference.
Speaker 1 (29:14):
So hearing somebody out there talking to the next generation
saying things like come with your own choices. It's not
especially in this day and age where everything is you
pick up your phone and you pointed at yourself, it's TikTok,
it's Instagram hearing. It's not about you. You're just a
member of the company. Do your job well, come with choices.
(29:36):
These are things where I know a lot of child actors,
especially growing up, would.
Speaker 3 (29:40):
Have loved to have heard words like that.
Speaker 1 (29:43):
And we were lucky, like you were saying, you'd love
to take older actors out for a drink and pick
their brain. Our older actor, our mentor on the set
was William Daniels, who was on the show with us
for seven years. So we had Bill with us, and
who's still ninety six years old. We talked to him
every week. So we had Bill with us, who was
the actor's actor saying.
Speaker 3 (30:04):
And there were times where he would say like, don't
don't listen to what you just heard. Listen just listen
to what's going on around you.
Speaker 1 (30:10):
Listen to yourself, listen to me, listen to you know,
you know, listen to your fellow actors, right, he'd say,
the same thing. Acting is reacting, it's listening to what
is coming in. And so we did. We had the
balance on our set because we had that. But hearing
that and knowing that you're a teacher and knowing that
there are going to be younger actors listening to you
as you're saying these things, that's what I love.
Speaker 3 (30:31):
I just love stuff like that. And you see it
in performances like Ryan in Luck.
Speaker 1 (30:35):
To bring it back to Luck of the Irish, I mean,
you know, it's you could tell he was making choices,
and I'm sure a lot of that is because he
was looking up at the older actors on the set
and you guys all got along, and he saw you
all doing that, and he.
Speaker 3 (30:47):
Felt comfortable to.
Speaker 1 (30:49):
To be an actor, which some young actors are not
allowed to do on a set.
Speaker 5 (31:01):
These sound like you're because there was a teacher on
the movie that was a horrific teacher. He told Ryan's
character that you don't guess. If you guess on a
quiz and get it wrong, you get points deducted. Like
it was this the worst teaching moment? What's that so insane?
I just had to keep it just so you know
(31:23):
that there was a teacher on the movie that should
have been fired from that district that he worked at.
Speaker 2 (31:30):
I was very lucky because I came to this through
theater and I had I don't know, twenty fifteen, twenty
years of stage work before I did that film. I
think actors who do stage have a little bit of
an advantage because we have to be autonomous on stage,
(31:51):
and I think film is more of a director's medium anyway.
But you learn all that stuff on stage. And it's
a tough transition for actors coming out of school because
even in rehearsal, their teachers are there helping them all along.
And then there it becomes that moment of you know,
you're in a company of equity actors and it's you're
lying and people are looking at you, and you just
(32:13):
I've got to be present. There's no teacher there telling
me what to do. And the thing a lot of
young actors don't understand is if you're an equity actor,
you've got three days to produce something. If the director
doesn't like you, then you can be let go, you know,
without problems from the union. So you know, you have
to take a job really it's fun in school. It's
(32:33):
so great because you can take three four months to
do a show and tear it apart, and then you
get out in the real world. I did. I played
Sierra O at the Hangar Theater in the Upstate New York.
I had two weeks of rehearsal. That's the repelliting. You
go from these six months and okay, go rehearsal too.
(32:55):
You got two weeks to do it. So it is
a lot about with confidence, making choices and doing it strong,
you know, and I don't. I don't know if you
get that. I think Ryan had a lot of great
instincts which made him so good.
Speaker 3 (33:09):
You know.
Speaker 2 (33:09):
I don't remember any time where Paul was like that's wrong,
or try this. He was really He brought stuff to
the table, so that's why he was so nice to
work with, you know.
Speaker 5 (33:20):
Was there anyone on set who you had who was
the hardest to understand with their Irish accents?
Speaker 4 (33:29):
They were a little bit of different levels.
Speaker 5 (33:31):
It sound like they were from different parts of Ireland,
but who was probably the hardest to actually understand once
they got going in their real thick Irish accent.
Speaker 2 (33:40):
I think Henry had one he was great. His was strong.
But I can understand it. You know, you deal with
dialects as an actor, so you click into that what
you're hearing. So there was no one who was I
can't remember of anyone who had. I had a problem understanding.
Everybody did nice work on dialects. I think, I guess,
I don't know, I said, I don't know. It could
(34:01):
beat No.
Speaker 1 (34:03):
We talked about it because it's a Disney, Because it's
a dcom, Disney has to do things a little more
cartoonyan than another film out there.
Speaker 3 (34:10):
So it was it was irish in that it was me,
which is what they were supposed to do.
Speaker 1 (34:16):
Yeah, that's the point of the film. But thank you
so much for joining us. This has been amazing. I'm
so glad you can come. Hopefully you'll come back for
one of your other films and maybe maybe you'll be like,
you know what, I watched this one. This has been
really fun so much.
Speaker 2 (34:33):
I really appreciate you guys. We're very kind. Thank you
so much, love and thank you you.
Speaker 4 (34:38):
Thank you for what you're doing.
Speaker 5 (34:39):
It sounds like you're out there really just molding such
an incredible new.
Speaker 4 (34:44):
Set of amazing actors.
Speaker 5 (34:46):
That are gonna come with that, that preparation, and that
that's love for acting.
Speaker 4 (34:50):
So that's amazing. Thank you.
Speaker 2 (34:52):
I get worried when I hear these stories about actors
misbehaving on set, and I just think, I don't know,
I don't think the artists a place for that, And
it's so much excitement we do, and we get to
put the mirror up to society, we get to tell stories.
Let's not make our lives horrible doing it as well.
Speaker 1 (35:10):
Man, I could not agree more. Well, thank you so
much for joining us. Thank you guys, and we are
we're going to have you back again.
Speaker 2 (35:17):
Okay, bye, thankank you.
Speaker 1 (35:19):
Bye Byeugh just hearing that somebody who I mean, I
love obviously hearing luck of the Irish stuff and hearing
all the Disney Channel stories. But when you hear about
somebody who's teaching other actors to listen to themselves, listen
everybody else, shut up, do the work. It's great because
(35:41):
there is some selfishness out there in the world nowadays.
Speaker 5 (35:44):
I think, like you said you mentioning TikTok, and in
all the social media streams, it starts to feel like
people are only interested in the fame of it and
the notoriety, and it's awesome to have someone bring you
back to the core of where your love for the
art comes from and continuing to use your passion, not
(36:07):
your desire for you know. And I mean, let's be honest, though,
Hollywood has always been about that. There's always that aspect
and when when it gets lost, it can it can
go somewhere where it's not going to have these great
moments of time, you know, And we're getting a chance
to see so much of that. I think that's what's
so awesome about the Disney Channel movies is it's in
(36:28):
its pure form, it's about the messaging. It's about you know,
finding new new talent out there and everything.
Speaker 4 (36:35):
It's just wonderful.
Speaker 3 (36:36):
And he no, it's great.
Speaker 4 (36:37):
You could tell you could sit through his lectures. I could.
Speaker 5 (36:40):
I'm not a big lecture person back in college, I
will be honest, but I could definitely sit through his
lecture and just know I was learning so much.
Speaker 1 (36:49):
Oh, I want to take his stage combat class. That
just sounds like, I mean, that's like right up my
alley that stuff.
Speaker 4 (36:54):
Yes, I've always wanted to do that.
Speaker 5 (36:56):
And I love that I found out that you have
love for swords and knives and a collection.
Speaker 3 (37:03):
Oh, I do have got my own collection. I do.
I do since I was a kid.
Speaker 4 (37:06):
I love that.
Speaker 3 (37:07):
That's so cool. It's one of my favorite things.
Speaker 4 (37:10):
It's the most amount of money you've spent on one.
Speaker 3 (37:14):
Oh. We don't need to get into that.
Speaker 1 (37:16):
But I have, like you know, I have a beautiful
original Italian Civil War sword. I mean, I've got some
I've got like a collection. I've got some nice stuff.
And I started throwing knives and stuff like that.
Speaker 3 (37:25):
When I was a kid.
Speaker 1 (37:26):
So it was throwing knives and shooting and you know,
it's a boy scout and so all that kind of hunting,
fishing stuff.
Speaker 3 (37:31):
I did all that.
Speaker 1 (37:32):
But one of the coolest things he said, you know
when it comes to combat is something I'd never really
thought about, which is the idea that as a character,
when you have a fight scene, if you kill somebody,
you take what you did, what that does to you
as a person, into the rest of the piece.
Speaker 4 (37:46):
Yes, doesn't that make it?
Speaker 3 (37:48):
Changes? Change the football game?
Speaker 1 (37:49):
And you hear little things like that, little nuggets Bill
Daniels did that. He would he would give you little
little nuggets of wisdom, little things that he would just
drop that were innate to him, but once you'd heard it,
you would kind of go, that changes everything. What you
just said changes how I'm going to move forward as
an actor from this moment. And that's what a real
teacher does. So that's that was cool. That was a
(38:10):
cool conversation. Well, we hope you all enjoyed joining us.
For Paul Kiernan who came out and again he hasn't
seen his movies.
Speaker 4 (38:19):
I can't even handle that.
Speaker 1 (38:20):
We're gonna have to tell him about all of his
films when he comes here.
Speaker 5 (38:23):
Makes me want to put them somehow on DVD and
mail it to him.
Speaker 4 (38:27):
You'd sit down, you have got to watch these.
Speaker 1 (38:30):
We're gonna do the clockwork orange thing where we take
him to a chair and open up as they make
him watch all of his movies.
Speaker 3 (38:35):
And you've gotta see her film gotta.
Speaker 1 (38:38):
Well, thank you Paul for joining us, and thank you
all for joining us once again on this park Hopper episode.
Speaker 4 (38:43):
Yes, now I'm.
Speaker 5 (38:43):
Gonna go enjoy my corn beef cabbage, which Jordan laughed
at me and said, you know, that's like the americanized version.
Speaker 3 (38:51):
I was like, oh, oh, oh, sorry.
Speaker 5 (38:55):
Oh, Regardless, I love it and I have it every
year on Saint Patrick's Day, So I'm going to go
enjoy my good St.
Speaker 4 (39:01):
Pattie's fine, I will take it.
Speaker 3 (39:03):
Oh.
Speaker 1 (39:04):
Our next film is going to be Pixel Perfect, Yes,
so we are going to see what Disney How Disney
essentially invented AI twenty years before whatever happened, but we're
we're there known for that stuff, so.
Speaker 4 (39:17):
It's gonna be awesome to watch.
Speaker 3 (39:18):
I can't wait. I can either.
Speaker 1 (39:20):
Thanks everybody for joining us and we'll see you next time.
Bye bye
All right, hey everybody, thanks so much for joining us
on our park Hopper episode, as we've just watched the incredible, insane,
amazing acid trip that was the Luck of the Irish
and we are so lucky. Yes, I'm going to say
it to be joined today by not only one of
the stars of the film, but one of the stars
of many d coms, and we want to talk to
(00:35):
him about yeah, a bunch of the dcoms that he did.
We are not going to hold out any longer. Let's
bring in Paul Kiernan.
Speaker 2 (00:44):
All right, hello, there you are. How are you. I'm
doing Wow, how are you?
Speaker 3 (00:49):
I'm good? Thanks, thank you so much for joining us
this morning.
Speaker 2 (00:52):
Thanks for having me. This is quite a surprise.
Speaker 3 (00:55):
No, this is amazing. We just did our rewatch of
the Luck of the Irish.
Speaker 1 (00:59):
Okay, we are both coming down from our acid trip
of this film.
Speaker 3 (01:06):
We had fun, we did. We had fun with Luck
of the Irish all the way around.
Speaker 1 (01:09):
But you are our first ever guest who did multiple dcoms.
Speaker 3 (01:16):
Really, yeah? What four correct?
Speaker 4 (01:19):
Four d cooms?
Speaker 2 (01:21):
I have no idea, just.
Speaker 4 (01:23):
Too much on the resume to even continue to count.
Speaker 2 (01:28):
It's not that at all. I just I with film.
I don't even watch them. Oh really, yeah, yeah, I don't.
Speaker 3 (01:36):
Have you seen any of them?
Speaker 2 (01:38):
No?
Speaker 3 (01:39):
Oh my gosh, you've never seen any of them? That
is so funny.
Speaker 5 (01:44):
Well, don't worry, because we're probably going to end up
watching all of them literally. So yes, we are looking
up all the different ones that we're going to rewatch,
kind of putting them in order as we go along
with our scheduling. And we noticed that your name is
in four of them.
Speaker 3 (02:04):
Yes, you're not.
Speaker 5 (02:04):
You don't watch them at all from the beginning, which
is I love, because I have a hard time watching myself.
I get too picky. I don't really enjoy the movie
a lot of times. But regardless, there is like a
resurgence of all of the dcom movies from this era,
you know, the the late nineties, the early two thousands
and a little bit on. Have you heard anything about
(02:27):
people starting to really rewatch those and and you know,
finding their love for the movies that have been around
for a while now.
Speaker 2 (02:35):
No, I've heard nothing, nothing. I really I'm amazed I'm
even here. I can't believe anybody. No, I'm I don't.
I haven't heard anything. You know, So there's a resurgence.
Oh it's that sweet sweet three dollar residual check any day.
Speaker 5 (02:52):
Now, Well, since you did four me, I think you
might be lucky enough to get up to five.
Speaker 3 (02:59):
So no, you did.
Speaker 1 (02:59):
We've got we've got the Lucky of the Irish, We've
got Go Figure in two thousand and five, we've got
Cloud nine, and then there was.
Speaker 3 (03:06):
A there's a fourth one as well. Oh the double Team,
Double Teams, Double Team.
Speaker 4 (03:11):
Double teams.
Speaker 5 (03:12):
So what you need to do though, if you go
and even search, so you know, we watch all of
these on Disney Plus. And Go Figure just came up
because I watched Luck of the Irish and it's probably
because you're in it, and now it's like pushy Meat
and now watch that one as well, So I.
Speaker 4 (03:29):
Bet you you would really be surprised.
Speaker 5 (03:31):
I'm sure most all of those ones are on Disney
Plus most likely. Yeah, And people are refinding these awesome
movies from them that always have such a fun message.
You know, it's usually a great storyline and with the
Disney Channel just mega machine that it is at the
(03:52):
people that were around like that was my era. That's
when I watched I watched them live. They came out
every month almost and now you know, the next generation
is starting to find them and they're loving them and
falling even more in love with their parents now.
Speaker 4 (04:05):
So it's a it's a huge, like full.
Speaker 5 (04:07):
Circle moment for so many families with these Yeah, is.
Speaker 1 (04:12):
There any chance that you would, now, knowing about the resurgence,
maybe go back and watch a film or two that
you're in or nose. It's kind of like, Nope, I
just don't do it.
Speaker 3 (04:22):
No, no, no, let me be here.
Speaker 2 (04:25):
It's not that I remember all of them working on
them and they were fun and it was great. I
worked for Disney for eight years before I did any
films with them. I was working at the parks. So
I'm a big Disney fan. But I just I'm predominantly
a stage actor. So film to me is once I'm done,
(04:47):
I just you walk up to the point. I can't
teach it. Yeah, I can't, you know, tweak the performance.
So it's done.
Speaker 1 (04:54):
So you mentioned something about we want we actually want
to talk about before we dug into the dcom work
and what it's like to do a Disney Channel original movie.
Speaker 3 (05:02):
What did you do? Did you work at the park
itself for eight years?
Speaker 2 (05:07):
Yeah? I started, I was at the MGM studio down
in Florida. I did street theater. I worked with some
of the most amazing improvisational actors you could ever meet.
And then I was a writer and a director on
the Cruise Line.
Speaker 4 (05:20):
Oh wow, Okay, then I kind.
Speaker 2 (05:21):
Of left and did the whole auditioning actor thing.
Speaker 5 (05:25):
So nice, I will say, though, because I'm I'm here
in California, so I am at the parks all the time,
and I take my daughter most of the time with me.
But I will tell you every time we get to
the street performers are the ones that are doing the
live stage work. I love it, and I'm looking at
their faces knowing that there's like a huge chance that
(05:46):
I'm going to see them at some point. Disney the
parks really do hire such incredible high level of talent
and like you said, improv as well as the singers
that are out there. I mean they're ride double and
you know, the ones that are in the parades know
how to really put in work because those parades are
(06:06):
a lot of work. So I love that. And I
was so excited to find out that's where you did
a lot of your career was at the parks because
that's like such a huge part for me.
Speaker 2 (06:17):
Oh cool. Yeah, yeah, it was great. Right out of
grad school, they pulled me in.
Speaker 1 (06:21):
Now, did you start acting before that? But was Disney
was working at the parks kind of your first acting
gig or did you find acting as a much younger person.
Speaker 2 (06:31):
I was in college and in grad school. Right out
of grad school, I worked with Disney, but I was
also doing a lot of stage work. And my first thing, Gosh,
my career is so good. My first thing was a
bit on Oh what was that? It was an old
TV cops, not a like a murder not a murder show.
(06:52):
It was a crime show. I had a role on
some crime show that was pretty bad.
Speaker 3 (07:00):
Was this in the eighties? Was this in the eighties?
Speaker 2 (07:03):
It was?
Speaker 1 (07:04):
Yeah.
Speaker 2 (07:04):
I was in grad school when I was on that.
It was okay, remember.
Speaker 3 (07:07):
The name who not mash was it? But was it
like a Hill Street Blues kind of show something like that?
Speaker 2 (07:14):
It was like it was a reenactment of actual crimes.
Speaker 1 (07:18):
Oh cool, Oh, like a those like an Unsolved Mysteries
or something like that.
Speaker 4 (07:24):
It's so fun to wat.
Speaker 2 (07:26):
I can't remember the name of it, but it was awesome. Yeah,
it was pretty horrible.
Speaker 4 (07:33):
That was awesome.
Speaker 5 (07:34):
Just before we move off the park stuff, do you
have any favorite things or insider tips as far as
people that go to the park, because I'm all about that.
Speaker 2 (07:43):
The thing that I noticed over the years working there
is the less you carry, the happier you are. Couples
come in with backpacks and camera bags and the whole thing,
and the less you have that, the more you are
free to just explore. And also the people who walk
around with the camera on their face so that they
(08:04):
can go home and watch their vacation later, don't do that.
Just and enjoy it.
Speaker 1 (08:10):
It's now the phone in front of your face the
entire time, and it's like, you're there. What's the craziest
thing you ever saw while you're at the park. You
must see some nutty stuff while you're there.
Speaker 2 (08:20):
Really nothing that stands out is really bad or I
mean no, they're great places and they're very disarming. I
had never been growing up, and then when I got
hired there, my friend, you know, and I'm older, I'm
out of grad school, and I'm I'm not going to
buy into that whole thing. But my first day off,
I got my ID and I went to the Magic
(08:41):
Kingdom and I'm telling you, I was just awestruck and
all of that. I used to watch The Wonderful World
of Disney on Sundays and it was there or stepping
into that and it was it was so lovely and
just exciting, and you know, you do you feel like
a kid again. And then you know, Goofy walks up
to me and I know there's a college.
Speaker 3 (09:03):
And I'm like, Hi, Goofy High High.
Speaker 2 (09:06):
It's wonderful. It's really Yeah. I just love the place.
It was really great to work there too. You know,
there's a thing about performing in part of on the
streets five days a week. You really gotta you gotta work,
and you've got audiences that are foreign, so you've got
to find that kind of humor as well. There's a
lot that goes into it, and it was a great challenge.
(09:27):
I really loved it. I was very quick. I got
very quick, which was nice.
Speaker 4 (09:32):
Awesome.
Speaker 5 (09:33):
Do you still keep in touch with anyone that you
worked with at the part?
Speaker 2 (09:36):
Yeah? I do. We we there's the people that when
I was working there, they're still there, you know. There's Yeah,
it's great. I mean it's a great place, particularly for
dancers because once you're done on the knees and the
hips go, you can move into management and choreography. So
it's as an entertainer, it's a really great place to be.
You have opportunities to do everything, and then you can
(10:00):
you can stay with the company, you know. So yeah,
it was kind of wonderful.
Speaker 3 (10:04):
I mean, was that one of your goals was to
work for Disney?
Speaker 1 (10:06):
Is that something that you wanted to do or was
this just kind of a gig you locked into.
Speaker 2 (10:10):
It was a gig I looked into. Honestly. I was
doing a Renaissance fair and upstate New York and the
guy who directed the Renaissance Fair, he was a director
of what we called Streetmosphere down in Florida, and he
invited the Disney casting people up and they saw me
in a show and they said you want to come
work for us? And I said, sure, Yeah, that'd be fun.
(10:32):
So yeah, Gary Izzo was the guy's name. He was
a great, great director and very smart. You know, he
created that whole street program down in Florida.
Speaker 4 (10:41):
Yeah. Nice.
Speaker 3 (10:42):
Oh that's amazing, my gosh.
Speaker 1 (10:44):
So just curious, then, did you you said, then you
went from Disney to then decide he did the cruise
and then you decided to go to do the actor thing,
the audition, all that kind of funn Do you remember
your audition for Luck of the Irish.
Speaker 2 (10:57):
Yeah, I do. It was in Utah. I was living
in Utah when in casting director's name was Jeff Johnson.
It was I think it was my second audition for him. Okay, yeah,
and did the pre screen and then I met Paul Hoane,
the director, and did some sides and that was it.
It was the next day my agent called me and said, hey,
you got this, and oh, that's great.
Speaker 3 (11:19):
You know, Okay, that's great.
Speaker 1 (11:22):
When you read the script, was there any part of
you that was like, it's this is this is can
be it's a little bit bonkers.
Speaker 3 (11:29):
I mean at the end of the day.
Speaker 2 (11:30):
Oh, I read it and I was so I was.
I was excited about it because one reason, I thought
the idea was really fun and I wanted to see
how we were going to do the incredible shrinking wife.
But the other thing was I got to work with
Henry Gibson. And you're both probably a little too young
to know.
Speaker 1 (11:50):
I know, I'm I'm a television junkie, film junkie, So
I knew exactly.
Speaker 2 (11:55):
Yeah, I had hours and hours on set to sit
with this guy and talk about laughing and he was
so kind and generous and god, it was so lovely
to work with him. Yeah.
Speaker 5 (12:09):
Yeah, that's incredible to hear because he I mean, he's
a legend and that would be so great. I mean,
you guys had you two and your your characters had
a pretty funny relationship.
Speaker 4 (12:21):
You know, I wouldn't want to say typical.
Speaker 5 (12:23):
Your father in law type thing, but it had its
it's it's obstacle and you both played off of each
other so well.
Speaker 4 (12:31):
It was really funny to watch you guys.
Speaker 2 (12:33):
It's a testimony to him. He's such a brilliant He
was a brilliant comedian.
Speaker 3 (12:38):
Absolutely, Oh so funny.
Speaker 1 (12:40):
Now you mentioned how you were going to do the
incredible shrinking wife. How did they do it? I mean,
especially back in the day. Nowadays you've got old CGI
and you could do everything. But back in the day,
was it all green screen? And then they digitized during
later like what happened that.
Speaker 2 (12:54):
It was green screen? That was all green screen. So
there's never any shots where where really right next to
her or you know, we're not reframed together One of
the things I do remember was there's a part in
the film. I don't know if it made it in
or not, but she's I think she's in my pocket
and we're riding somewhere and she's in a shirt pocket.
(13:17):
And I was there on the day of shooting, and
so she was literally in a kind of a wooden
frame in a gigantic pocket on a giant rubber tire,
and myself and the young man who played my son,
we were behind it, moving it to make it look
like she was bouncing around it. It was just one
(13:38):
of those things where, well, we need.
Speaker 4 (13:40):
The punch turned up.
Speaker 5 (13:41):
I know you didn't watch it, but it was a
laugh out last moment for me.
Speaker 4 (13:46):
I watched it four or five times.
Speaker 3 (13:48):
It was so she loved it.
Speaker 4 (13:50):
I came out of nowhere.
Speaker 5 (13:51):
I was not expecting this little baby thing to just
punch someone real life size.
Speaker 4 (13:57):
It was pretty good. It was pretty good good.
Speaker 1 (14:00):
The basketball scenes we love to talk about, so Disney
tends to do these kind of grand sports scenes. Yes,
and there's always usually the culmination of the dcom comes
to the big final game, the big final rollerblade match,
the big final hockey game, something like that.
Speaker 3 (14:17):
As you're shooting this.
Speaker 1 (14:18):
First of all, is Henry Gibson actually on the top
like of the basketball hoop the entire time?
Speaker 3 (14:25):
Did they put this poor man up there? And then
just this scene?
Speaker 5 (14:29):
No, no, that was also green screen, green screen, yep, okay.
Speaker 3 (14:33):
Making sure that this poor man but it wasn't. They
weren't throwing him up his craft service.
Speaker 4 (14:37):
And a big comfortable that could not have been comfortable.
Speaker 1 (14:41):
And then my other question was how uh in depth
were the scenes to shoot? I mean, you've got hundreds
of extras I would imagine or were they were they
faking it?
Speaker 3 (14:49):
Was there?
Speaker 1 (14:50):
Was there kind of ten or fifteen that they just
funny that they keep they came around, Yeah, it was funny.
Speaker 2 (14:55):
When we started, we had the whole gym was full.
And I think the thing with extras is we had
a lot of young kids in there, so they were
they came with their parents or family. I don't think
they understand that if you're an extra in a film,
that's a long day's work. Yes, And as we kept filming,
(15:16):
the number of people we had just kind of started
getting less and less and less, like we're done here.
So we had enough people that covered, so there was no,
but we just had to keep moving people into bunches.
But we did have a pretty full auditorium for that. Yeah,
it was exciting.
Speaker 3 (15:35):
Yeah.
Speaker 5 (15:43):
Are there any other scenes that you vividly remember shooting?
Was the cars chasing scene?
Speaker 4 (15:49):
One at all?
Speaker 5 (15:51):
That one was like felt like it was just absolute
crazy energy as you guys were filming that.
Speaker 2 (15:57):
Yeah, that was great. It's not a scene in the
but we were waiting to shoot and we were in
the car and it was raining like crazy, oh wow.
And the kids jumped out and they ran for their trailers.
But Henry and I sat in the car with an
umbrella and we just hot stage fo Yeah. Yeah, it
was really.
Speaker 4 (16:16):
Lovely with the convertible top down. You guys just chilled
in the car because.
Speaker 2 (16:20):
We were shooting, you know, and we were just sitting
there with umbrellas, just talking about what was going on.
And it was a lot of me just peppering him
with questions about working on Laughing and his whole career
was just wonderful.
Speaker 3 (16:33):
That's what I would have done, Yeah, just kind of
fanning all over.
Speaker 2 (16:36):
I mean, I've worked on some sets in some films
that it's a nightmare. Everybody's yelling at each other, and
it's Paul Hoane, the director is just so calm and
so prepared. Yeah, that it just makes everything. It was
really so lovely to work with him. There were no
big clashes, nobody hated anybody, there were no fights. I'm sorry,
(16:59):
it's boring. I wish I could to tell you.
Speaker 3 (17:01):
No, No, it's great.
Speaker 2 (17:01):
Are you can I get drunk punching each other.
Speaker 3 (17:05):
No, that's what makes a good dcom.
Speaker 1 (17:07):
We love hearing because I mean, all the film films
where they're oh, you know, and they fought for three
Disney captures this magic and we like hearing that. It's
also it lends itself to being on the set too,
because I've done Disney Channel movies or Wonderful Old of Disney's,
and Sabrina's done Disney Channel movies and one of four
of the Disney's, and we all none of us have
those stories like, oh it was the most miserable experience.
(17:29):
They're fun, they're fun to shoot, and people are enjoying
being there. It's usually light on the set. It's having
a great time.
Speaker 5 (17:36):
So Yeah, the crew is always super easy to work
with and able to fix any issues coming up. Nothing
seems crazy what's awesome is you do get you know,
Paul Hoan, you get these great directors that come in
and they they don't treat it as if it's not
something that's important. They take it very seriously. They come prepared.
They make it easy, which is great because when you
(17:58):
are working with younger act or is you know that
might not have as much experience and stuff.
Speaker 4 (18:02):
If if things.
Speaker 5 (18:03):
Start feeling chaotic, they're gonna there's a possibility that you're
gonna lose you know, their focus and things like that.
So as an adult working with kids, I'm sure that
like helped that as well, you know, so that it's.
Speaker 4 (18:15):
Awesome to hear. So that's what we love doing the
interviews for No.
Speaker 2 (18:19):
It was it was a It's one of the best
sets I've ever worked on, you know, I've done with Disney.
I've just been calm and you know, even you know,
the stuff beforehand of what your call time and all
that stuff. Everything was just there was no panic, nothing
like that happened. It was just well run and well executed.
(18:40):
So really nothing but enjoyable being on set like that.
Speaker 3 (18:45):
Well, I know you said that you haven't seen the movies,
but is there one of the four that you had
the most fun working on.
Speaker 2 (18:52):
I was lucky of the Irish.
Speaker 3 (18:54):
Was it really nice?
Speaker 2 (18:55):
I think I have a pretty good sized role in
the hockey one, but the other too, I think they're
very small roles.
Speaker 5 (19:02):
Okay, moving into the next one, the double Teams, the
classic Tween Caper twin Caper.
Speaker 4 (19:08):
What was it.
Speaker 5 (19:11):
At that point now that you're you know, because Disney's
really known for the synergy of their actors at that point,
did you just get called in or were you still,
you know, having to really push for auditions or were
they just they just you know, calling you, Hey, we
loved you in this.
Speaker 2 (19:23):
No, God, I wish that was the That would be
great audition. You know. Uh, that's fine. I think it's
important as an actor to audition for stuff. You know,
it's so much part of our job to stay on
top of it. So Nope, never never had that whole
We'll just hire Paul Thing.
Speaker 4 (19:42):
Oh wow, Well that's incredible.
Speaker 5 (19:44):
Since you ended up been four, I don't know any
actor that has or of you know, the ones we've
talked at all about that has been in that many dcons.
Speaker 4 (19:52):
I mean, that is so incredible.
Speaker 1 (19:55):
Yeah, you're in rarefied space. When you're you do four
Disney Channel original movies. Somebody else who did more than
one was your co star who played your son, Ryan Merriman.
Speaker 3 (20:03):
Yes, what was it like working with Ryan? Another dcom legend.
Speaker 2 (20:07):
It was interesting. I didn't know him, but there was
talk about, oh, he's an up and coming star type thing,
and I'm always a little wary of that, because sure,
you get somebody young and they're being told you're brilliant,
you're going to be a superstar. Ryan was. He was
exciting to work with. He was funny, prepared, really just
(20:31):
professional and I really had a good energy with him.
I enjoyed working with him, not a diva and not
thinking he's special, just part of the team and really
great to work with. And to stress that again, he
was prepared. You guys know what that's like.
Speaker 3 (20:46):
It's hugely important.
Speaker 2 (20:47):
Yeah. Yeah, so but now, we never had any issues
with him. I had a great time with him. Yeah,
he was a great kid. I don't I've lost track
of him. I don't know.
Speaker 1 (20:57):
I mean, it's you can see in the relationship between
the two, actually between all the parents, that the entire
family union in the film really worked well together.
Speaker 2 (21:05):
Isn't that weird? You get on a set or you
get on stage and Hi, I just met you, but
I have to be in love with you or yet whatever.
Speaker 3 (21:12):
We're family now.
Speaker 2 (21:13):
It's so much easier when the people you're playing with
are with you, you know, when there's a great give
and take like there was on this point.
Speaker 1 (21:20):
Yeah, yeah, you know, so to go to just a
slightly different place because this is one of my favorite
things in the research we were doing about you, because
it's such a specialized kind of niche in the entertainment
industry and one that when you're good at it shows
and when you're bad at it shows.
Speaker 3 (21:39):
Do you teach stage combat?
Speaker 2 (21:42):
Yeah?
Speaker 3 (21:43):
Can you talk about that a little bit?
Speaker 1 (21:44):
What stage combat is and kind of what it entails
because it's such a specialized part of the industry, but
it's so cool and one of my favorite things ever.
Speaker 3 (21:52):
So what is that like?
Speaker 2 (21:53):
Yeah? I was a fight director still am, and it's
very exciting. You have to tell your story physically. You
get to work with some interesting weapons. I'm really good
with swords and daggers. And the idea for me is
it's when I'm a fight director, it's serving the director's vision.
(22:18):
It's making sure that the lineal story doesn't stop. So
it's not like, here's the story. Now we're gonna have
this fight and we're gonna bring it back in to
the story. And the other thing is making actors feel
as comfortable as possible. Not everybody grows up playing with swords,
and not everybody feels comfortable under them. So my thing is,
(22:39):
if if I find an actor who can do just
one move, well, that fight is gonna be about that
one move, and they're gonna look fantastic, and they're gonna
feel safe, and they're gonna look like whatever, you know,
the superhero they need to look like. So I teach it.
I teach a lot of it is spatial awareness too,
(23:00):
so particularly you see this on stage, actors not knowing
where they are in reference to other people. It's about safety.
It's also about history, learning the history of why these
weapons were used and the difference between There's a book
called on Killing and it's written by a guy who
teaches psychology at West Point, and he talks about what
(23:25):
it costs us to take a life and he's teaching soldiers.
And it's interesting because I keep that on the back
of my mind. There's a difference between if I'm on
stage and we're going to shoot somebody as opposed to
I'm going to kill you with a dagger. That means
you're this close. Yeah, I'm looking in your eyes, I'm
feeling this knife go into your body, and all that
(23:48):
stuff I talk about with the actors because it layers
the performance and it costs you something. You know, you
stab somebody, you kill somebody, that costs you something as
a human being. And the more you take that seriously,
first of all, the less anybody gets injured. And the
more you realize that it's not just oh, you know,
(24:11):
I've stuck a knife in you. Now I'm moving on.
It's going You're going to take that into the next scene.
You're going to take that into the next relationship, and
how does that feed you. So there's a lot of history,
there's a lot of just physical activity and safety and
making sure that actors, you know, we like to feel
good in what we're doing. Sure, And I never want
an actor to be in a scene and then moving
(24:31):
into a fight and they have to literally stop and
think about it. I want it in their bodies moving
forward with that, And so, yeah, I had a great
teacher myself a gentleman named Rick Sorderley. So if you
look at anything on Broadway, Rick has got his hand
and he's a phenomenal director and teacher and a fight director.
I worked with him. I was doing I think a
(24:54):
Romeo and Juliet back in the early eighties, and that
was the first time I met him, and he said,
you seem natural with the sword, and I kind of
apprenticed myself to him and learned from him, and then
I joined the Society of American Fight Directors and wow,
that's yeah.
Speaker 5 (25:10):
Wow.
Speaker 1 (25:10):
So did you grow up? I mean I grew up
loving swords. I have a sword collection, swords, knives. I
threw knives, swords, I threw axes. Is this something did
you grow up with bladed weapons? Is that why you
were comfortable? Is this something you just found you were
good at? As an actor?
Speaker 2 (25:25):
I just found I was good at it. I've always been,
you know, I'm not a leading man. I always play
on a character roles. And then in Shakespeare's particularly when
you start when you're right out of college and you're
you're doing an internship, it's you're going to carry furniture,
and then you're going to be in these fights. So
I took that opportunity to really take the time to
(25:45):
understand the weapons and how they work, and how I
work with a weapon, you know, because I'm a heavy guy,
and if you look at me, people don't expect you
to move well. But I always looked at zero mostelle
and the way that giant man could gracefully move up
and down a flight is stairs. This guy's got angel wings,
you know.
Speaker 4 (26:04):
Yeah.
Speaker 2 (26:04):
Well, I took all that time I was just being
a guy in the fight to learn how to do it,
and it felt it worked out white. So yeah, it's
just another thing on the resume. When the acting isn't there,
I can choreograph fights for a show or whatever.
Speaker 3 (26:18):
Ye are you Are you still teaching?
Speaker 5 (26:20):
Yeah, I mean you've taught at Yale, Boston College, Harvard,
I mean your alma mony.
Speaker 4 (26:27):
Yes, I've got all this stuff. Of course, there's just
so many places.
Speaker 5 (26:31):
I mean, you have been you, I'm sure have really
been able to reach a lot of the next generation
of incredible actors. Is there something that you kind of
help try to inspire that next generation as you're teaching,
Is there something you lean towards.
Speaker 2 (26:45):
Shut up and listen. It's not about you. You are
one bar of the spectrum of this play or this film.
And do your job well and don't make anybody worry
about you. You know, and age actors make choices, make
them big. Come with choices in your head. There's nothing
(27:05):
directors hate more than an actor's just standing there waiting
to be told to move, to say a line this way.
You know, do your homework, Be prepared what we get
to do. I mean I love doing it, you know,
and I don't get to do it enough. I have
a day job. But when you get to do it,
be there, be present, Listen to the people. I always
(27:30):
take older when I was younger, I would take older
actors out for a drink and say, hey, how did
you and just listen. Really, everybody has a different way
to approach it. You know, we're hearing a lot more
now about the method, and you know that can be
good or bad. But for young actors, be present and listen. Really,
(27:52):
it's the best advice I can give.
Speaker 4 (27:54):
Nice.
Speaker 3 (27:55):
Oh, I love that so much.
Speaker 2 (27:57):
I mean, I think, why do you love that so much?
Speaker 1 (28:00):
I just because it's well, it's it's funny.
Speaker 3 (28:02):
Because I do this podcast obviously, with Sabrina.
Speaker 1 (28:05):
But I do another podcast called Popmeet's World about a
show that I was on for seven years in the
nineties growing up, and my co hosts and I talk
about how as child actors there were times where they
just wanted to put the words in your mouth. It
was just about stand here, look cute, open your mouth,
say the words, get to laugh, walk off, And how
(28:28):
as we grew then and grew up as actors, how
that turned out to be very detrimental to I mean,
my one of my best friends in the world, right Strong,
who I host the podcast with, it literally killed his
love of acting. He just he stopped acting. He became
a writer director. And it was because he just said,
I spent the first part of my career with people's
(28:51):
hands on my shoulders saying, stand on this tee, now
say the line like this, and say the line like that.
And he said, we, you know, we weren't given the
choice to make a choice.
Speaker 3 (29:01):
I was a little different. I was.
Speaker 1 (29:02):
I was a few years older, and it came to
a point where I just kind of said, I'm going
to do.
Speaker 3 (29:06):
It my way.
Speaker 1 (29:07):
But that when you're seventeen on a set, and when
you're twelve on a set.
Speaker 3 (29:12):
That's a huge difference.
Speaker 1 (29:14):
So hearing somebody out there talking to the next generation
saying things like come with your own choices. It's not
especially in this day and age where everything is you
pick up your phone and you pointed at yourself, it's TikTok,
it's Instagram hearing. It's not about you. You're just a
member of the company. Do your job well, come with choices.
(29:36):
These are things where I know a lot of child actors,
especially growing up, would.
Speaker 3 (29:40):
Have loved to have heard words like that.
Speaker 1 (29:43):
And we were lucky, like you were saying, you'd love
to take older actors out for a drink and pick
their brain. Our older actor, our mentor on the set
was William Daniels, who was on the show with us
for seven years. So we had Bill with us, and
who's still ninety six years old. We talked to him
every week. So we had Bill with us, who was
the actor's actor saying.
Speaker 3 (30:04):
And there were times where he would say like, don't
don't listen to what you just heard. Listen just listen
to what's going on around you.
Speaker 1 (30:10):
Listen to yourself, listen to me, listen to you know,
you know, listen to your fellow actors, right, he'd say,
the same thing. Acting is reacting, it's listening to what
is coming in. And so we did. We had the
balance on our set because we had that. But hearing
that and knowing that you're a teacher and knowing that
there are going to be younger actors listening to you
as you're saying these things, that's what I love.
Speaker 3 (30:31):
I just love stuff like that. And you see it
in performances like Ryan in Luck.
Speaker 1 (30:35):
To bring it back to Luck of the Irish, I mean,
you know, it's you could tell he was making choices,
and I'm sure a lot of that is because he
was looking up at the older actors on the set
and you guys all got along, and he saw you
all doing that, and he.
Speaker 3 (30:47):
Felt comfortable to.
Speaker 1 (30:49):
To be an actor, which some young actors are not
allowed to do on a set.
Speaker 5 (31:01):
These sound like you're because there was a teacher on
the movie that was a horrific teacher. He told Ryan's
character that you don't guess. If you guess on a
quiz and get it wrong, you get points deducted. Like
it was this the worst teaching moment? What's that so insane?
I just had to keep it just so you know
(31:23):
that there was a teacher on the movie that should
have been fired from that district that he worked at.
Speaker 2 (31:30):
I was very lucky because I came to this through
theater and I had I don't know, twenty fifteen, twenty
years of stage work before I did that film. I
think actors who do stage have a little bit of
an advantage because we have to be autonomous on stage,
(31:51):
and I think film is more of a director's medium anyway.
But you learn all that stuff on stage. And it's
a tough transition for actors coming out of school because
even in rehearsal, their teachers are there helping them all along.
And then there it becomes that moment of you know,
you're in a company of equity actors and it's you're
lying and people are looking at you, and you just
(32:13):
I've got to be present. There's no teacher there telling
me what to do. And the thing a lot of
young actors don't understand is if you're an equity actor,
you've got three days to produce something. If the director
doesn't like you, then you can be let go, you know,
without problems from the union. So you know, you have
to take a job really it's fun in school. It's
(32:33):
so great because you can take three four months to
do a show and tear it apart, and then you
get out in the real world. I did. I played
Sierra O at the Hangar Theater in the Upstate New York.
I had two weeks of rehearsal. That's the repelliting. You
go from these six months and okay, go rehearsal too.
(32:55):
You got two weeks to do it. So it is
a lot about with confidence, making choices and doing it strong,
you know, and I don't. I don't know if you
get that. I think Ryan had a lot of great
instincts which made him so good.
Speaker 3 (33:09):
You know.
Speaker 2 (33:09):
I don't remember any time where Paul was like that's wrong,
or try this. He was really He brought stuff to
the table, so that's why he was so nice to
work with, you know.
Speaker 5 (33:20):
Was there anyone on set who you had who was
the hardest to understand with their Irish accents?
Speaker 4 (33:29):
They were a little bit of different levels.
Speaker 5 (33:31):
It sound like they were from different parts of Ireland,
but who was probably the hardest to actually understand once
they got going in their real thick Irish accent.
Speaker 2 (33:40):
I think Henry had one he was great. His was strong.
But I can understand it. You know, you deal with
dialects as an actor, so you click into that what
you're hearing. So there was no one who was I
can't remember of anyone who had. I had a problem understanding.
Everybody did nice work on dialects. I think, I guess,
I don't know, I said, I don't know. It could
(34:01):
beat No.
Speaker 1 (34:03):
We talked about it because it's a Disney, Because it's
a dcom, Disney has to do things a little more
cartoonyan than another film out there.
Speaker 3 (34:10):
So it was it was irish in that it was me,
which is what they were supposed to do.
Speaker 1 (34:16):
Yeah, that's the point of the film. But thank you
so much for joining us. This has been amazing. I'm
so glad you can come. Hopefully you'll come back for
one of your other films and maybe maybe you'll be like,
you know what, I watched this one. This has been
really fun so much.
Speaker 2 (34:33):
I really appreciate you guys. We're very kind. Thank you
so much, love and thank you you.
Speaker 4 (34:38):
Thank you for what you're doing.
Speaker 5 (34:39):
It sounds like you're out there really just molding such
an incredible new.
Speaker 4 (34:44):
Set of amazing actors.
Speaker 5 (34:46):
That are gonna come with that, that preparation, and that
that's love for acting.
Speaker 4 (34:50):
So that's amazing. Thank you.
Speaker 2 (34:52):
I get worried when I hear these stories about actors
misbehaving on set, and I just think, I don't know,
I don't think the artists a place for that, And
it's so much excitement we do, and we get to
put the mirror up to society, we get to tell stories.
Let's not make our lives horrible doing it as well.
Speaker 1 (35:10):
Man, I could not agree more. Well, thank you so
much for joining us. Thank you guys, and we are
we're going to have you back again.
Speaker 2 (35:17):
Okay, bye, thankank you.
Speaker 1 (35:19):
Bye Byeugh just hearing that somebody who I mean, I
love obviously hearing luck of the Irish stuff and hearing
all the Disney Channel stories. But when you hear about
somebody who's teaching other actors to listen to themselves, listen
everybody else, shut up, do the work. It's great because
(35:41):
there is some selfishness out there in the world nowadays.
Speaker 5 (35:44):
I think, like you said you mentioning TikTok, and in
all the social media streams, it starts to feel like
people are only interested in the fame of it and
the notoriety, and it's awesome to have someone bring you
back to the core of where your love for the
art comes from and continuing to use your passion, not
(36:07):
your desire for you know. And I mean, let's be honest, though,
Hollywood has always been about that. There's always that aspect
and when when it gets lost, it can it can
go somewhere where it's not going to have these great
moments of time, you know, And we're getting a chance
to see so much of that. I think that's what's
so awesome about the Disney Channel movies is it's in
(36:28):
its pure form, it's about the messaging. It's about you know,
finding new new talent out there and everything.
Speaker 4 (36:35):
It's just wonderful.
Speaker 3 (36:36):
And he no, it's great.
Speaker 4 (36:37):
You could tell you could sit through his lectures. I could.
Speaker 5 (36:40):
I'm not a big lecture person back in college, I
will be honest, but I could definitely sit through his
lecture and just know I was learning so much.
Speaker 1 (36:49):
Oh, I want to take his stage combat class. That
just sounds like, I mean, that's like right up my
alley that stuff.
Speaker 4 (36:54):
Yes, I've always wanted to do that.
Speaker 5 (36:56):
And I love that I found out that you have
love for swords and knives and a collection.
Speaker 3 (37:03):
Oh, I do have got my own collection. I do.
I do since I was a kid.
Speaker 4 (37:06):
I love that.
Speaker 3 (37:07):
That's so cool. It's one of my favorite things.
Speaker 4 (37:10):
It's the most amount of money you've spent on one.
Speaker 3 (37:14):
Oh. We don't need to get into that.
Speaker 1 (37:16):
But I have, like you know, I have a beautiful
original Italian Civil War sword. I mean, I've got some
I've got like a collection. I've got some nice stuff.
And I started throwing knives and stuff like that.
Speaker 3 (37:25):
When I was a kid.
Speaker 1 (37:26):
So it was throwing knives and shooting and you know,
it's a boy scout and so all that kind of hunting,
fishing stuff.
Speaker 3 (37:31):
I did all that.
Speaker 1 (37:32):
But one of the coolest things he said, you know
when it comes to combat is something I'd never really
thought about, which is the idea that as a character,
when you have a fight scene, if you kill somebody,
you take what you did, what that does to you
as a person, into the rest of the piece.
Speaker 4 (37:46):
Yes, doesn't that make it?
Speaker 3 (37:48):
Changes? Change the football game?
Speaker 1 (37:49):
And you hear little things like that, little nuggets Bill
Daniels did that. He would he would give you little
little nuggets of wisdom, little things that he would just
drop that were innate to him, but once you'd heard it,
you would kind of go, that changes everything. What you
just said changes how I'm going to move forward as
an actor from this moment. And that's what a real
teacher does. So that's that was cool. That was a
(38:10):
cool conversation. Well, we hope you all enjoyed joining us.
For Paul Kiernan who came out and again he hasn't
seen his movies.
Speaker 4 (38:19):
I can't even handle that.
Speaker 1 (38:20):
We're gonna have to tell him about all of his
films when he comes here.
Speaker 5 (38:23):
Makes me want to put them somehow on DVD and
mail it to him.
Speaker 4 (38:27):
You'd sit down, you have got to watch these.
Speaker 1 (38:30):
We're gonna do the clockwork orange thing where we take
him to a chair and open up as they make
him watch all of his movies.
Speaker 3 (38:35):
And you've gotta see her film gotta.
Speaker 1 (38:38):
Well, thank you Paul for joining us, and thank you
all for joining us once again on this park Hopper episode.
Speaker 4 (38:43):
Yes, now I'm.
Speaker 5 (38:43):
Gonna go enjoy my corn beef cabbage, which Jordan laughed
at me and said, you know, that's like the americanized version.
Speaker 3 (38:51):
I was like, oh, oh, oh, sorry.
Speaker 5 (38:55):
Oh, Regardless, I love it and I have it every
year on Saint Patrick's Day, So I'm going to go
enjoy my good St.
Speaker 4 (39:01):
Pattie's fine, I will take it.
Speaker 3 (39:03):
Oh.
Speaker 1 (39:04):
Our next film is going to be Pixel Perfect, Yes,
so we are going to see what Disney How Disney
essentially invented AI twenty years before whatever happened, but we're
we're there known for that stuff, so.
Speaker 4 (39:17):
It's gonna be awesome to watch.
Speaker 3 (39:18):
I can't wait. I can either.
Speaker 1 (39:20):
Thanks everybody for joining us and we'll see you next time.
Bye bye
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