March 3, 2025 • 49 mins
Oliver’s new BFF, Emily Hampshire joins the revelry all the way from Canada! The “Schitt’s Creek” star tells us how the Emmy-winning show ALMOST never happened!
Plus, we get the scoop on her love life! Is she really ‘up the creek’ when it comes to relationships? And why does Oliver think she won’t be single for long?
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:05):
Hi am Kate Hudson, and my name is Oliver Hudson.
We wanted to do something that highlighted our relationship and
what it's like to be siblings. We are a sibling. Raivalry. No, no, sibling.
Speaker 2 (00:24):
You don't do that with your mouth.
Speaker 1 (00:30):
Revelry. That's good. Holla. Hudson here reporting live from Toronto, Canada,
where a couple of days ago a plane flipped over
at Pearson Miraculously eighty people survived. Pretty crazy shit. Ah,
(00:52):
but that's not what I really want to talk about.
I want to talk about my domesticity because I'm here
in my house in Toronto, and yeah, you know, I
know to do my laundry and I need to do
all that shit. But today my wife is coming and
so I had to clean clean. There's so much salt
(01:15):
on the streets of Toronto right now that when you
track it in, it's like white splotches everywhere. So I
got the vacuum mount, I grew out the thing, I'm mopping,
I'm doing everything else, and then I go to do
the dishes and I guess, for some reason, I don't know,
I put I put the wrong soap in. I think
it was like fucking dish soap not detergent. So I
(01:39):
go download the dishwasher and it's a fucking sud sudfest
like pouring out. And now I don't know what the
fuck to do. I don't know how to get the
SuDS out, you know, I was there was this like
a rinse button. I don't know. I'm trying to make
it sexy. I'm trying to make it clear. I you know,
(02:01):
sheets are in the dryer. I have to put the
duvet on, which is like the worst part, trying of
like stuff the actual sort of comforter into the in
the duvet. But yeah, making it sexy anyway.
Speaker 2 (02:15):
Uh.
Speaker 1 (02:16):
In the waiting room, and I was Emily Hampshire and
she's an actress you probably know from Shit's Creek, but
she's I think lives half in Toronto, half in LA.
I don't even know if she's in La or in Toronto.
Maybe we're even right next to each other and we
have no fucking idea. Well, let's bring her in, let's
(02:37):
have it. Let's have a chat. You have the headphones
and you have the mic because you have a podcast. Correct, No,
I know, it's it's the new ship. Everyone's doing it.
Speaker 2 (02:54):
I mean it's kind of old shit like.
Speaker 1 (02:56):
People, No, No, that's I'm making I'm joking. I mean
it's crazy. You know. It's funny. When when I started
doing this, I think it was like four or five
years ago, and I remember there were six hundred thousand
podcasts and my sister and I were like, holy fuck that.
I mean, how what that's so many? And of course
now I think there's what like nine million or something.
Speaker 2 (03:15):
Oh yeah, because if you started so I just just
literally started this. I'm very late to the party. I'm like,
the party is so over and I just walked in.
But if you've been doing it for like four was
it before the pandemic?
Speaker 1 (03:28):
Yeah, yeah, it was before. It was before COVID.
Speaker 2 (03:31):
Oh wow, that's ahead of the game.
Speaker 1 (03:34):
They were doing it in person and it was really
fun and then you know, bang, everything shuts down, moved
to zoom, and now everything stayed on zoom. I mean,
I'm in actually I'm in Toronto right now.
Speaker 2 (03:44):
Oh, I'm in Toronto right now.
Speaker 1 (03:46):
Are you in Toronto right now? This is what I
wanted to discuss with you, because I know you live
between what La and Toronto.
Speaker 2 (03:54):
Yeah, yeah, okay, where are you? In Toronto.
Speaker 1 (03:56):
I am. I'm doing a movie here. There's like four
or five of these kind of townhousey things, you know.
Speaker 2 (04:02):
Oh yeah, yeah, yeah, okay. You know Jamila Jamil.
Speaker 1 (04:06):
Do you know her? Because she she's I'm working with her.
She's playing my girlfriend. Oh my god, yeah, oh my god.
Speaker 2 (04:15):
Yes, I sorry.
Speaker 1 (04:17):
She's the greatest.
Speaker 2 (04:18):
I mean we you know, she doesn't have food poisoning.
Speaker 1 (04:21):
No, I know, and I'm not sure it was even
food poisoning because it was like an eight day situation.
Only yesterday on set she started to come back to
life a little bit. But whatever it was, I think
has finally gone through her system. I'm pretty sure she's good. Now.
Speaker 2 (04:36):
In the movie, you guys are playing a cup So
did you kiss her?
Speaker 1 (04:39):
We did not?
Speaker 2 (04:40):
Oh okay, because I was going to say it's you obviously.
Speaker 1 (04:43):
Yeah, I mean, yes, exactly. I eliminated myself from that. No,
we did not kiss. Because the idea is is that
I'm kind of or divorced, but she's my girlfriend who
I kind of bring back to my small town and
all hell kind of breaks loose, you know. Oh okay,
(05:04):
and then of course, you know the Mary the divorce couple,
they get back together and so ill. You know, yeah, yeah,
so sweet and so cute.
Speaker 2 (05:16):
So you are in the snow.
Speaker 1 (05:19):
It's crazy. It's crazy. I mean it is nutty. I
mean it really really is. I like it, you know.
I mean I grew up sort of in Colorado as well.
I love the snow and the city snow too is
fun because I don't experience it much. I don't mind
bundling up and walking out in the cold and you know,
hitting my face. The other night, you know, my son's
(05:41):
here with me, by the way, because he's actually in
the movie, which is a whole other story, and it's
all so sweet and so fun great. But the other night,
I go to the Four Seasons and I have dinner,
you know, by myself, and I have a couple of martinis.
And then I go to this play the Hazelton Bar,
(06:03):
which was actually really fun and it was kind of popping.
It was going crazy and everything was and I ended
up talking to people and hanging out and having fun.
And these like four serbian dudes are like, let's go
to this like club, and I'm like, oh man, I
don't want to go to like you know. And then
but this is my problem. I'm always getting myself into
weird shit. And I get in their car and I
(06:26):
go to like this weird club and I get there,
I'm like, all right, I'm gonna have one beer to
be nice. I got to get out of here, you
know what I mean. And I get out of there,
and now I don't know where I am. My phone
has died, so now I'm walking the streets at like
one thirty am, and it is freezing and windy and snowy,
(06:48):
and every car that I'm trying to flag down to
ask where the fuck I am thinks I'm a crazy person.
Doesn't want to have anything to do with me.
Speaker 2 (06:56):
Yeah, yeah, ray there in Canada because usually the stop
but uh no, I know.
Speaker 1 (07:02):
And I finally made it home, only to realize later
it was right above Mimi's, that Chinese restaurant. That's where
I came out of. And I could have made a
right and been home in three and a half minutes,
but I made a left and it was like an
hour and a half.
Speaker 2 (07:17):
Oh my god. Well I'm surprised though. When you said
you got into their car, my reaction was like, oh
my god, are you crazy to get into someone's car?
Realized I do this every day. I uber all the time.
I did get into some string's car. It's not that
I guess, no, I know.
Speaker 1 (07:36):
I mean, in hindsight, I probably shouldn't have, but they
seem nice enough. And I and You're like, I made it.
Speaker 2 (07:43):
You can help, you can like handle yourself.
Speaker 1 (07:46):
Well not against four you know, I mean, yeah, but
it was, it all worked out. But I don't think
I'm gonna do that again.
Speaker 2 (07:55):
Yeah, yeah, maybe lesson maybe not when it's cold.
Speaker 1 (07:59):
Yes, yeah, I too like the snow.
Speaker 2 (08:01):
I grew up in Montreal and school like literally we
may see earra.
Speaker 1 (08:15):
So you grew up in Montreal, you're between LA and Toronto,
and then basically you go where work takes you or
why are you split between the two?
Speaker 2 (08:25):
I go where work takes me. And recently work has
been in the UK, so it's just a better flight
and better time zone situation. And I'm feeling really grateful
to be a Canadian right now. So I've been spend
a lot of time here.
Speaker 1 (08:44):
Yeah.
Speaker 2 (08:45):
Also I left like right when the fires happened, so
this has been feels nice to be in the snow.
Speaker 1 (08:53):
Yeah no, I bet, I bet. And so you grew
up in Montreal, and you, how did you have siblings?
Did you where did you grow up in Montreal? Was
it a creative family? Is this something you've always wanted
to do?
Speaker 2 (09:11):
So I do have a sibling. I have an older brother,
and grew up in Poinclair, which is in the West
Island of Montreal, which is a suburb of the suburb
of the suburb, and so really small neighborhood, and nobody
(09:32):
I knew was an actor. I just when I for
my grade six graduation, my mom took me got me
tickets to see Le Miss and time I remember there
was like it was like really cool. It wasn't Cornado.
It was some cool guy having a pool party from class,
(09:54):
and I really wanted to go to a pool party.
And I had to leave early though to go to
La Miss and it changed my life. I watched it,
I felt like I left the earth. I never I
wanted to be in musicals, which is why any show
I do I always kind of asked the show runner,
I'm like, can we do a musical episode? Because I'm not, like,
(10:16):
I'm not a good enough singer or dancer or anything
to be in actual professional musicals. But when I can
force people to make let me do it.
Speaker 1 (10:27):
No, I know, so you saw that and that changed
it was it was just like I need, I need
to be up there.
Speaker 2 (10:33):
Oh yeah. Well from that point on, I was like,
I'm going to be an actor. And I made a
contract with myself that I believe my mother has in
some drawer that said, like, I will only do non
acting activities for one hour a day. Eight hours must
(10:54):
be spent on learning. I would highlight entire acting books
like uh, the the on audition, the Michael shirt when
you highlight the entire book, and I would make these
notes and so yeah, I just really kind of went
(11:17):
really myopic on it. And I think the thing that
really pushed it was I did my first play in
high school and my high school vice principal came up
to me after and I had like a really small part.
I remember, I was like a stoner and I just
said like whoa or something, I don't know. My high
(11:39):
school rest principal came up to me after and she
was like you were really good. You were really funny
and done.
Speaker 1 (11:46):
Like that affirmation was like I have got it.
Speaker 2 (11:51):
Well, just like that I was paid attention to for
something and like she I'm solicited He came up to
me and said something like, that's all it really takes
when you're that sad.
Speaker 1 (12:05):
Yeah, Well, it's so funny because there are certain people
who can take compliments and then certain people who deflect.
And I am such a deflector of compliments that I
have to and within my own sort of psychology and
you know, the journey of self, have had to understand
why and then learn how to take in a compliment
(12:27):
and just say, hey, you know what, thank you, because
I just deflect it. I don't like the feeling. You
feel sort of fraudulent in a way. You know, it's
it's it's it's interesting.
Speaker 2 (12:42):
I totally get that though, because I actually like it's weird.
I never I didn't. I guess I never saw it
really as a compliment. It was just like someone believed
I could do something. But that thing about learning how
to take a compliment, like if somebody I like, have
had many a therapy that should be like if you
(13:03):
were giving the compliment, do you want the person to
be like, Oh no, I don't I like your hair
like doing that and it's a nightmare, right, And so
that's what got me to start thinking of like, you
just want someone to say thank you and like take it, which.
Speaker 1 (13:20):
Was hard especially No, maybe I was Canadian in a
past life. No, I know, I I it's weird, but
it's it's important to try to, you know, take in
those that positive energy and not just let it bounce
off of you. You know. It's fucking hard, man.
Speaker 2 (13:40):
And it is. The more anything that I find difficult
like that, the more I try to think of like
if I was the other person, what would I want
in that? And that's the only way I can kind
of trick my brain into being like, oh, I don't
want you to not take that.
Speaker 1 (14:00):
No, I know. And my thing is is like it's like, oh,
they're they're just trying to make me feel good. They're
not telling the truth. Yeah. You know, when you're doing
something funny, you can kind of feel it, you know
what I mean. Like you did Shit's Creak, right, were
you on for the whole run of it?
Speaker 2 (14:19):
Yeah?
Speaker 1 (14:19):
Okay, you know, And you're working with Eugene, who's fucking amazing.
I've known him for a long time because you know,
Marty Short has been best friends with our family. We
had a place up in Muskoka for twenty years.
Speaker 2 (14:31):
Oh yeah, the cottagers.
Speaker 1 (14:32):
Yeah, the cottage. And so we'd go to Marty's place
and Eugene would be there and he's just he's just
the greatest person. First of all, it's so funny. They're
all amazing, right, and Catherine, I mean, oh my gosh,
so you're working with like fuck man, this is, by
the way, the improv the improv Royalty as well, you know,
(14:53):
and so you know, when it's funny, you don't even
have to have anyone tell you. You know, you're like,
all right, I know that, I know that work. I
know that was good.
Speaker 2 (15:04):
Yeah. Well I would say there's something that maybe I've
just heard this or something, but like I've heard people
say like when it's really funny on set, it's not
funny on the screen or something like when the cruise laughing.
I don't know, yeah, but like, yes, what I do
love about comedy is it's a real truth teller. Like
(15:25):
you know, if somebody's fake laughing or not, like you
just know it's horrible. It's like the worst. But with
Catherine and Eugene, what was so great about them? You
know them, so you know they're just like the most humble, nicest,
no ego people. If anything to a fault, like if
(15:48):
somebody offered us a coffee on set, if you didn't
go and get that person who offered you a coffee
and everyone else a coffee, you look like an asshole,
because Katherine and Eugene would do that. Yes, So it's like,
but we actually didn't improve a lot on that show
at all though, And most people think, because.
Speaker 1 (16:08):
You know, they do that, but you did not.
Speaker 2 (16:11):
Not really, we'd add like a button here or there.
Speaker 1 (16:14):
That's that's exactly exactly. I mean, you're guests, right, no, no,
but you're playing within the structure of the scene. But
then that it always sort of happens as a button,
right or maybe maybe in the middle of the scene
some ship comes out or whatever, but not that, not
the entire thing. Yeah, yeah, yeah, yeah. Yeah. It's so
(16:43):
funny because I ran into Eugene years ago and I
had directed a pilot presentation and and I was then
you know, took that and was trying to sell it
and actually ended up selling it to HBO. It did
nothing happened with it, you know, I didn't go but whatever.
So yeah, and I had done it with my dad
(17:07):
and he was in he was in it, and just
for just for the presentation. I ran into Eugene and
he goes, that's so funny. You know I was doing
I did the same thing with my son, you know
you do and he did it, and so he had
shot a presentation with his son, the same thing, same thing.
And I was like, that's fucking crazy, and he goes, yeah,
(17:28):
we've struck out at we struck out everywhere, this and
this and this, and meanwhile i had just sold my
show to HBO, and I'm like, oh wow. I was like,
oh man, I'm feeling kind of cool, like you know
that your your ego takes over just a little bit.
You's like, oh yeah, like you know, I love you, buddy.
I'm like yeah, And of course this fucking blows up
in this massive show. But we had done it at
(17:50):
the same exact time, and I think it was originally
on Freeform? Was it?
Speaker 2 (17:55):
I was on something called pop so you you had
not heard of.
Speaker 1 (18:00):
Got Pop, right?
Speaker 2 (18:02):
But this is so this is such a great story
because and it's so present in my life right now.
I'm constantly because I've started pitching my own stuff and
doing my own show stuff, and I always kind of
bring up that shit's Creek went out to everybody with
Catherine Era and yeah, and no one wanted it. And
(18:24):
then when they they had to do it with the CBC,
which is our Canadian broadcast, our government dollars. And had
they not done that, we never would have gotten a
second season, let alone a six because no one was
watching the show, like until they were forced to in
the pandemic. And then when we were over, we got
(18:46):
nominated for awards.
Speaker 1 (18:48):
Isn't it unbelievable how shit happens?
Speaker 2 (18:52):
Yeah, But that thing about selling a thing like I
did this. I wanted to make this remake of this
old show called Mary Hartman, Mary Hartman, and it was
a Norman lear show. Do you know Norman Leary's And
I got this meeting to pitch him my show. I'd
never pitched anything in my.
Speaker 1 (19:12):
Life, and you were going to pitch Norman.
Speaker 2 (19:14):
Yeah, yeah, yeah, I went pitched Norman the show. He
was one of the most traumatic things like.
Speaker 1 (19:20):
That, I bet I guys icon. Yeah.
Speaker 2 (19:23):
However, they ended up wanting to do it, and I thought,
oh my god, I've sold it, and then I had
to pitch Sony to see if they wanted to do it,
and they wanted to do it. I'm like, I sold it,
and then I had to go up to networks and
is this all like new to me, this whole thing
(19:44):
of like the steps? And then we sold it to TVs.
I'm like, we sold it, and then TVs got rid
of all their scripted and turned into Discovery and that's
very Hartman.
Speaker 1 (20:01):
Very harm and they and they and so they purchased it.
So they they hired a writer to write the script.
You never got to shoot the pilot.
Speaker 2 (20:10):
So I wrote the script.
Speaker 1 (20:12):
You wrote it. I got it. Write the pilot.
Speaker 2 (20:15):
Yeah, stuff, And we had the pilot and a lot
of people who were with TBS at that time. The
only thing that made me feel better about it was
that people had shows that were day one of production
and we shut down and like and then nobody wanted
to buy those shows because they were already like I
don't know, yea by somebody else.
Speaker 1 (20:37):
Yeah, yeah, yeah, no, I know the kind of burned.
You know, it's like burned around town. Yeah. Can you
get that back though? And turn around? Or no, we
did get it back, you did, okay.
Speaker 2 (20:50):
And then a series of things happened, like Norman passed
away and the strike happened there was just a series
of things that it ran its core. But it was
the greatest lesson to me. It got me another job,
but it was that lesson of like I as an actor,
(21:10):
I always thought, you know, if anything, things move so
fast because you get cast and you have to shoot
and there's no time to prep. And but on the
other side of it, like how slow and maybe never
going to happen it is, and how much work you
put into it for no money. Yeah, the pitching process then.
Speaker 1 (21:34):
Yeah, yeah, no, I know, we have I have a deal.
I have a producing deal at Fox and so it's
I'm in the second year of the deal. And it's
been so fun because, as you know, as just an actor,
you're sort of limiting your creative experience, you know, because
you're kind of at the mercy of other people. You know,
a lot of the things that we get or have
(21:56):
to audition for, they're not really what we want to do,
but we have to make a living. So it's nice
to have something that you are in control of. And
it's been so much fun. We've sold a bunch of shows.
But I understand what you're saying. The process is just molasses,
you know, and you put so much work into it.
You get the writers paid, which I'm very happy about.
I love to you know, provide work through an idea
(22:18):
that I might have. But as a producer, you know,
we don't get paid shit until that thing gets on
the air.
Speaker 2 (22:26):
Yeah, that's what I learned too. That also made me
feel better about the thing because I started to feel
really bad for writers who are just writers. You can
work two years on a pitch and a thing and
if the show doesn't.
Speaker 1 (22:38):
Go, yeah, that's it.
Speaker 2 (22:40):
I have a side job. But like, yeah, it was.
It's a real lesson in that. Also, I remember just
them doing my contract. I've got to do a whole
other series while they did.
Speaker 1 (22:57):
I know, I know, it's crazy, it is crazy. Are
you still creating and producing other than being an actor?
Speaker 2 (23:04):
Well yeah, so actually fortunately this Mary Hartman thing, uh,
this Elliott Page's company and page Boy script and hired
me to do this thing for him, which I'm doing
now and love so much. But it is a lesson
in how for me, how spoiled we are as actors
(23:26):
and how now I'm like maybe I just want to
act because like, really, you get treated so well, you
get paid so well.
Speaker 1 (23:35):
I know, less work, Yes, no, I know. And now
you're commissioned, you're hired to write a script, and you're like, okay,
here we go, blank page page one, here we go.
Speaker 2 (23:47):
Yeah, except I do love the thing of like no. Like,
to me, writing is the best parts of acting without
any of the bad stuff of like there's nobody watching,
there's nob and you can do it like you just
can play all the parts, which that's the greatest.
Speaker 1 (24:07):
Yeah. No, I see. I love writing, But I like
writing when I have to fix No, yes, of course,
but I like writing when I have to fix fix something.
Like if I have a script in front of me
and they're like, all right, cut it up, do what
you want to it, make it your own, I'm like, okay, great,
(24:28):
I'm very good at that. And I know I can
be great, a great writer if I can just regurgitate,
just vomit everything out and then go back and take
a scalpel to it. I have issues. I mean, I
have many issues that we can get into if you want.
But my writing issue is that I get overwhelmed by
the process and I get I just hit a fucking
(24:50):
brick wall, and then I don't know whether I have
eighty eight or not. I mean probably do it. I
don't know. I think we all do, but like, you know,
I think I cannot push pasted it and I get
frustrated and I.
Speaker 2 (25:02):
Stop, Yeah, are you a perfectionist?
Speaker 1 (25:05):
Strangely I didn't think I was, but but but after
some self analysis, not even in therapy, just yes, because
if you're going to break down, why I stop it
is that it's like, oh wait, it's not right, it's
not right. Okay, you got to go back rather than
just fucking barreling through it. And then I'm like, okay,
I got the first act, but holy shit, here comes
(25:27):
a big second act, like now what know?
Speaker 2 (25:30):
I realized this thing that And again I'm so new
to this, so it's not like advice, but this thing
happened to me when I was pitching. And you know,
you say you're pilot and the pitch, but I hadn't
written the pilot yet, and I was like, I need
to just write this pilot to know how to pitch
this better. And so I wrote the pilot, not having
(25:53):
to write, like nobody was waiting for it. I did
it over the holidays, and I did the bad draft
of like the whatever draft of it, and the fastest
thing that's ever come. I think the best thing that
because there was no expectations were just find out what
(26:14):
this is, find it out while you write it. And
then the best like writing advice I ever read was this.
Have you ever read Stephen King's book on writing?
Speaker 1 (26:26):
No, it's really great, But.
Speaker 2 (26:29):
The best thing in it to me is write something
and then put it away for like a two weeks
at least, and then you read it again and it's
like reading something. It's like what you're talking about. When
something else you can edit it and you can you
know what the animal is. But when you're close to it,
it's possible. Yeah.
Speaker 1 (26:49):
Yeah, no, it's so true. And it's just about barreling
through it.
Speaker 2 (26:52):
You know.
Speaker 1 (26:52):
It's saying, you know what, it's that no pressure? Who
gives a shit? Draft?
Speaker 2 (26:57):
Yeah, which is easier to do when there's no pressure.
Speaker 1 (27:00):
Yeah, no, for sure. But the thing is that again,
for me, it's putting that pressure on myself yourself, rather
than saying, who gives a shit? You're not showing this?
Then it was just for fucking you, who cares? You know?
Speaker 2 (27:12):
I used to have that with like auditions, put I
you know, I still have to fight with myself for it,
but just even putting myself on tape alone whatever, starting,
I couldn't start because I wasn't going to be great
out of the gate. And I was just like, if
I didn't start, then I didn't fail. Yeah, but the
(27:33):
minute I started, then it's like, oh, but I feel
like this new thing of like do it badly? Do
the world do the worst draft? Yeah?
Speaker 1 (27:43):
Yeah, well it's funny. I mean, coming back to Jamila,
That's what I love about her so much is you know,
she just doesn't give a fuck and that allows her
to have like real freedom in her in her acting.
She's just so you know, I've.
Speaker 2 (28:02):
Worked with her. I admire her work. I think she's amazing,
but I didn't know that about her, which is the
dream to just give a shit about what I think.
Speaker 1 (28:13):
Oh, I know, that's the goal, that's the true goal.
Well when did you sort of have that moment where
it was, oh, okay, wait a minute, I uh, I
can do this for a living, Like I'm now making
money and this is my job.
Speaker 2 (28:32):
I mean, it was when I I got my when
I got my first job. I did my first audition
for this show called Are You Afraid of the Dark?
And I was so excited to get an audition, which
is something I try to remember today when like if
(28:52):
my manager agent calls, I love them, but like I'm like,
why are you calling? You know, But like back then,
to get an audition, I was it was success already
and and I knew I wanted it to be a job,
like then when I got that, Like in the audition,
(29:13):
I looked right into the camera and did but I
got the job of girlfriend number one, And in retrospect,
I really look back and think I had it good.
How my career did go, Like started out in that part.
Then I got like an episode of something where I
(29:35):
had five lines, and then because I wanted it to
be like by the time I was sixteen, if I
hadn't worked with Leonardo DiCaprio, I.
Speaker 1 (29:43):
Was you failed?
Speaker 2 (29:45):
Done? Yeah, And I did feel like I failed. But
now I look back and I'm like, god, that was
so good because I had things. Especially being in Canada,
you can star in like ten movies they go to
tiff and no one knows about them, so you have
that experience. And like I remember I was in this
(30:08):
Cronenberg movie with Rob Pattinson and we went to cat
and it was gonna be the biggest thing ever it wasn't,
and which was kind of great. When Shit's Creek happened.
I was signing on to a show with Catherine O'Hara
Eugene Levy. I was like, this is gonna be big
and it wasn't. It wasn't. And then when we were done,
(30:32):
when me and Annie were to Annie and plays a
Lexus on the show, anding each other like any offers,
any auditions only did nothing crickets and uh, and then
the other the sag Awards happened and all that and crazy.
It just helps you know that, yeah, this happens, and then.
Speaker 1 (30:53):
That does happen. Yeah, I was working with Cronenberg. That's
pretty cool though, I mean, aside from maybe not blowing
not blowing up, but like.
Speaker 2 (31:10):
Yeah, that's what you realized.
Speaker 1 (31:14):
Holy shit, that's so rad. Yeah.
Speaker 2 (31:16):
Yeah, he's amazing and for me, nothing like I would
have thought because he's just so nice. Yeah, and he
doesn't give thankfully. My friend Jay Barshall was in the
same movie and he was shooting before me, and I'm like, so,
(31:36):
what's he like, what's the direction like? And He's like,
just be prepared that he doesn't if he doesn't say anything.
He likes it, like if he doesn't give you direction.
And thank god he said that to me because me
and Rob were in this limo and so he was
giving direction as like the voice of God. And all
he would do was go like again, hey, thank you
(32:01):
and then moving on and like But then I got
to know him, and I'm like, oh, if he if
he didn't like it, you'd say something and whatever.
Speaker 1 (32:09):
But so he would when he when he wanted something else,
he would just say it.
Speaker 2 (32:15):
Yeah, totally. But he his belief is that he casting
is the big thing for him, and he believes that
he's cast you in the park. They know what you're doing.
Speaker 1 (32:26):
Yeah, oh you've got it wrong.
Speaker 2 (32:33):
Even I remember. So Rob had to get it was
a Pronenberg movie, so this will make sense to you.
He had to get a prostate exam in the limo
and Rob never had a prostate exam, and so that
was he was like, ah, I'm not sure how you do.
And David came in and bent over and showed demonstrated
(32:55):
how one gets a prostate exam and that's the kind
of directory is y notes or he'll do it for.
Speaker 1 (33:01):
You, right. That is amazing. Oh my God, that's so funny.
Speaker 2 (33:05):
Yeah, but like the nicest guy.
Speaker 1 (33:07):
Yeah. Yeah, So that's the that's the experience you take
from that's what you get from it. Maybe it didn't
blow up the way that you wanted to, but you
got to work with David Cronenberg.
Speaker 2 (33:15):
I totally And you know, had that blown up, Like
I look back at where I was in my life, Like,
had that blown up, then it would not have been
great for me. It would like things happened, And I
remember like auditioning for things I really wanted and I
didn't get it, And had I gotten that, I wouldn't
(33:35):
have gotten Shoots Creak and that. Like it's just all
these things kind of really work out, I think, I mean, don't.
Speaker 1 (33:44):
I know, Well, that is so true. I mean I
think there's you know, there's always doors closing and other
ones opening, and who knows if there's a reason behind
it or if it's just cool. I don't know, that's
a bigger question. But yes, you know, when you look
back at it, it always kind of seems to work out,
(34:04):
you know what I mean. Uh, you know, I don't
know if that's just because we don't know the sliding
door element of it. We don't know what would have happened.
So it's just our reality. So it's all worked out
because it's our reality exactly.
Speaker 2 (34:19):
There is that core or something where it's like life
is lived moving forward but understood backwards and like right
to understand it when I can connect to these dots.
Speaker 1 (34:29):
Yeah yeah, yeah yeah. So with your career, you know,
were there hang ups? You know what I mean? Were
there depressions, were their devastations? Were their relationships that got
in the way of things?
Speaker 2 (34:43):
You know?
Speaker 1 (34:43):
What about what about the woman of Emily? You know
what I'm saying?
Speaker 2 (34:46):
But how long is this podcast? I mean one of
the most I guess significant things was when I moved
from Canada to LA In Canada, at that time, I
knew the casting directors. I didn't necessarily have to audition
(35:07):
all the type people would I'd work with the same
people again, they'd write me stuff and then I go
to LA and it's like very hard to get an
audition and very and if I did get an audition,
it would be like those pre read things where you're
in a casting director's office there's no camera and no
and that was a real goal to me, Like I
(35:31):
didn't know, I felt like I didn't know how to
act in a room and stuffing, like if I'm playing
I don't know an alien in something. I feel like
I could do that if there's like a camera or something,
but just in your office and you're just sitting there
and I'm just at your desk, I don't know how
to go full alien.
Speaker 1 (35:52):
Yeah, don't.
Speaker 2 (35:54):
And so I started breaking out in literal hives like
full body tis every time I went into an audition,
and so I told my agent at the time, my
US agent, I was like, so I can't audition anymore.
I'll just put myself on tape, and he was and
then he dropped me, which was totally fair. I'm friends
(36:16):
with to this day. Fair. But then the audition for
Shit's Creak came along, and my Canadian agent, who has
been my agent since I was started, since I was thirteen,
I lived in her house and so she was like,
they're in La go in. They're Canadian, they're nice, and
she like really pushed me to go in the room.
Speaker 1 (36:37):
So you actually kind of quit audition. You're like, I
can't do this, Oh, yes, very much.
Speaker 2 (36:43):
So Actually the Kronenberg thing came from a tape which
was quite fortunate because nothing else came.
Speaker 1 (36:52):
From a dape.
Speaker 2 (36:54):
So yeah, but that Shit's Creak audition, like my Canadian
agent really pushed and I knew the cast director from
Canada and he'd come in and she was like, Daniel
Descento was reading with you. She like set up the
scene and I went in and I didn't break out
in hives. Dan has a story about what I did
(37:15):
that I have no recollection of, but like I don't know.
But anyways, but like I went in and had I not,
I didn't change my life and so.
Speaker 1 (37:26):
Yeah, wow wow, And then so through that, so after that,
you know, Shit's Creek ends, and then are you sort
of on your way or was there like kind of
a lull where you're like, wait a minute, what the fuck? Yeah?
Speaker 2 (37:41):
Yeah, not just the normal because so also when I
got Shit's Creak, it was there was no streaming at
the time, right like that first year. So my Canadian
agent was like ay, and I didn't I thought I
was just the girl in front giving David towells like
I didn't know where this part was going to go,
but I wanted to people, and my Canadian age it
(38:03):
was like if you're just gonna be giving towels on
a show in Canada that's not gonna go anywhere else
if you get an American series. She put in my
contract that if I got an American series that didn't conflict,
I could do it. Lo and behold. I got this
show called twelve Monkeys that was an American series at
the same time as Shits, and it didn't conflict at first,
(38:28):
and then they went for a second season, and then
it was I was doing Shits during the day and
twelve Monkeys at night, and it was the greatest time
of my life.
Speaker 1 (38:40):
Yeah.
Speaker 2 (38:41):
Yeah, And everybody was so nice to me, Like the
ads would be like, you got fifteen minutes, just I'll
tuck you win, bring you something. I mean it just
like what I love to do is like NonStop work.
But then they both.
Speaker 1 (38:55):
Ended, Oh my god.
Speaker 2 (38:57):
So it was also it wasn't just like that. It
wasn't just that they both ended. They were both the
greatest parts of all time in completely different ways. Like
twelve Monkeys. I don't know if you know the movie.
Speaker 1 (39:12):
Yeah, the movie. Yeah, I didn't see the show. I
didn't see your show, but I know the movie.
Speaker 2 (39:15):
That's okay. I played the Brad Pitt Park. So it's
a great part, right, I got to do everything, and
it was time travel, so like as an actor, everything,
and then I got to do Stevie, who just the
easiest job in the world, right, so all at the
same time. And then that ended, and not only did
(39:36):
I not have a job, I didn't think i'd ever
get as good a job, like I would never get
both satisfying both those things ever, And that's actually when
I started kind of creating my own stuff. And because
what I saw Dan do, Dan Levy, who his hands
(40:01):
were in everything like the size of the menus, the costumes,
the creating a world of it was what I realized, like, Oh,
when I do a part, what I love the most
more than the acting, it's like with the ideas and
what I'm gonna wear, what I'm gonna look like, what
all that coming up with a character that I love.
(40:24):
And I even sometimes like I love working with people
I've worked with before, so like on Twelve Monkeys, I
get to have an idea and be like, oh, what
if we did this, then then it happens, And so
I was like, that is the only way I'm gonna
get everything I want, right, And then I did that
and I've got nothing nothing nothing, no money.
Speaker 1 (40:52):
Either, not yet. I mean, you're that does the thing
is it's all Oh, it's just always a hustle. It's
always a hustle. At whatever level you get to, you're
still hustling. No, true. You know Tom Cruise is still
hustling to be Tom Cruise.
Speaker 2 (41:11):
Yeah, and I can see him working at it too
when he's.
Speaker 1 (41:15):
Being Tom Cruise. Yeah. Never hard, right, it never ends.
It never ends.
Speaker 2 (41:21):
But you're right about that. It's at every every level
because I think back in like when I got my
first audition, that was huge to me. Right now, fuck
do I ever not want an audition?
Speaker 1 (41:33):
I know?
Speaker 2 (41:35):
But then now I'm doing Like my manager just actually
had this talk with me yesterday because I was like, oh,
I didn't sell this thing, and I was sad, and
he's like, but you did sell it. You just didn't
sell it to the like I did sell it. But
I sold it in the first thing, and I wanted
(41:57):
you know, that was overlooked because I'm like, more, it
has to be better and better it does.
Speaker 1 (42:06):
Yeah, well that's what drives us. But at the same
time we have to, you know, find that gratitude. Obviously,
you know.
Speaker 2 (42:13):
That's what Jamila Jambill has. She knows what the fuck's up.
Speaker 1 (42:16):
Yeah, she was a quitch like I don't want to
be an astrohnt. I hate it. And then now she
wanted to spend time with her dogs.
Speaker 2 (42:23):
Yeah.
Speaker 1 (42:23):
No, now she's done this and she's having a blast
because a couple of gigs she was not having, you know,
whatever it was, it wasn't great. And now she's kind
of like, this is so fun. I think I want
to be an actor again, you know, but I just
love the conviction. She's like, fuck it, I don't give
a shit. It's so great.
Speaker 2 (42:41):
I aspire to be that way. And then I'm like,
if I was like I think I always see this
and they're like, that's not what it means independently wealthy
or just just not have to worry about money things
ever again, then I could be yeah, no, I know,
(43:02):
but maybe I couldn't, you.
Speaker 1 (43:03):
Know, I know, I know, I get that. I mean
there's practicalities in life, you know, there's certain things. I mean,
I have three kids, I've got school, I've got this,
I got my wife. She doesn't work, you know, she
just wants to be a mom, which is I fucking love.
But now it's like okay, Papa Bay. You know. So
there's a.
Speaker 2 (43:19):
Lot and it's at every level too, because like, you know,
I think people have this idea of actors and like
even with the fires and stuff, you know, Liker Levey
lost her house and and a lot of people are like, oh,
these people are rich, they can for their new that's
not like you know, I mean it's yes, it's easier
(43:44):
on certain levels to be able to start over and stuff,
but like it comes with its different issues and we
you know, doing shit's creek people. I get these d
ms all the time, like can you pay for my
hospital treatment and stuff? Because I'm like, we we need
Anadian dolt, the equivalent of seashells. That's right, like under actra,
(44:09):
Like no, what is this idea that you're you know,
and but the is I'm fine, I'm not. I'm very happy.
But it's this you got to be good in your
head if at all, Like.
Speaker 1 (44:23):
Yeah, you're not married right now, are you?
Speaker 2 (44:26):
No?
Speaker 1 (44:26):
I'm you're divorced. Okay, so I want to get into
your love life for a second, but sort of how
you balance or create space for someone or even if
you fucking want to. I don't know. But career, love marriage,
you know, is this? Has it affected your love life?
(44:49):
Has your career affected your love life?
Speaker 2 (44:52):
Oh yeah, oh yeah. So I've done it all and
I'll try to get it in two minutes a minute.
So I was married for like eight years. It's great
marriage and stuff, but I would go away for like
a year, and then it wouldn't be and then I
would think it would just be three months, and then
it would keep going, and you know, uh, I, if
(45:13):
I was on the other side of that, I wouldn't
want to be in a relationship with somebody like that.
So it was very difficult. But then then I was
engaged and that and then I realized.
Speaker 1 (45:26):
That that happened.
Speaker 2 (45:31):
So I've done all that. But then I realized, like
I am married to my work. I am. It's not
lost on me that I'm a total workaholic. It is
what I will choose it over everything. And so I
decided I don't want to say I'm gonna be with
(45:54):
somebody when at the end of the day, I'm gonna
choose work. And so I don't ever want I don't
want love or relationships or none of that. I am
great friends and yeah people and yeah, oh my god,
I'm done with love not forever, oh yeah, no, but
(46:17):
I'm I love working you and even like making something.
It feels like that's your baby.
Speaker 1 (46:23):
I don't know not I get it. I get it,
I for sure, But like, you can't it's impossible to
say you're done with love forever. That sounds you know
what I mean. It sounds like scorned in a way
you can't because you can't. You can't control. I mean,
what if someone walks into your life and you're like,
holy fuck, oh my god, Wait a minute.
Speaker 2 (46:43):
See, I don't think I think I've kind of like,
I don't think I it because I'll be like I'm
writing my bad draft.
Speaker 1 (46:53):
I predict that that it's not that. It is that
that you are not going to be married to your
work for the rest of your life.
Speaker 2 (47:01):
Well, I love people in my life.
Speaker 1 (47:03):
Oh no, for sure. For sure. You're fun and you're funny,
and you're pretty, and you're all of these things, and
you're great energy, and you're going to meet someone and
all of a sudden you're going to be friends, and
then it's going to be oh my god, this is cool.
And then before you know it. It's like, oh my god,
you're kind of making out. And then it's like you're like,
wait a minute, this is more than just a night. Okay,
oh shut okay, what's happening here? And then in five
(47:24):
years bang.
Speaker 2 (47:25):
Yeah, are we working together? Yes? Well, but what do
you take that compliment? Thank you cause things about me?
Speaker 1 (47:36):
That's right, that's right, so right, so take it. You
know you're so welcome, You're so welcome. Well, let's let's
the three of us like, go to dinner, get to
get a drink or something.
Speaker 2 (47:49):
I mean, you're here, yes, I want to get together.
Speaker 1 (47:52):
Let's let's figure that out. Let's figure that out. Well,
so fun. I appreciate it, and I have I'm here
for another food three weeks, so we'll hang out. I
think we should. I think that'll be fun. It's too
much like.
Speaker 2 (48:04):
It's one in the morning. I'll see you, like trying
to flag down, like.
Speaker 1 (48:10):
Exactly knocking on the head. I'm lost again.
Speaker 2 (48:18):
Alight.
Speaker 1 (48:19):
It was great talking to you, all right, see you soon?
Bye bye. Cool. I made a new friend. She's so sweet,
she's funny. God, I haven't watched ships creak. I'm like
the only person who kind of hasn't, I guess, but
I'm gonna check it out because she's so quirky and quirky.
Not quirky quirky like c O r k Y. No,
(48:43):
it's quirky quirky Oliver q U I r k y.
She's quirky and she's right so funny. Yeah, very cool.
All right, we're gonna hang out. I'm gonna leave because
I don't feel like talking anymore. Like no,
Hi am Kate Hudson, and my name is Oliver Hudson.
We wanted to do something that highlighted our relationship and
what it's like to be siblings. We are a sibling. Raivalry. No, no, sibling.
Speaker 2 (00:24):
You don't do that with your mouth.
Speaker 1 (00:30):
Revelry. That's good. Holla. Hudson here reporting live from Toronto, Canada,
where a couple of days ago a plane flipped over
at Pearson Miraculously eighty people survived. Pretty crazy shit. Ah,
(00:52):
but that's not what I really want to talk about.
I want to talk about my domesticity because I'm here
in my house in Toronto, and yeah, you know, I
know to do my laundry and I need to do
all that shit. But today my wife is coming and
so I had to clean clean. There's so much salt
(01:15):
on the streets of Toronto right now that when you
track it in, it's like white splotches everywhere. So I
got the vacuum mount, I grew out the thing, I'm mopping,
I'm doing everything else, and then I go to do
the dishes and I guess, for some reason, I don't know,
I put I put the wrong soap in. I think
it was like fucking dish soap not detergent. So I
(01:39):
go download the dishwasher and it's a fucking sud sudfest
like pouring out. And now I don't know what the
fuck to do. I don't know how to get the
SuDS out, you know, I was there was this like
a rinse button. I don't know. I'm trying to make
it sexy. I'm trying to make it clear. I you know,
(02:01):
sheets are in the dryer. I have to put the
duvet on, which is like the worst part, trying of
like stuff the actual sort of comforter into the in
the duvet. But yeah, making it sexy anyway.
Speaker 2 (02:15):
Uh.
Speaker 1 (02:16):
In the waiting room, and I was Emily Hampshire and
she's an actress you probably know from Shit's Creek, but
she's I think lives half in Toronto, half in LA.
I don't even know if she's in La or in Toronto.
Maybe we're even right next to each other and we
have no fucking idea. Well, let's bring her in, let's
(02:37):
have it. Let's have a chat. You have the headphones
and you have the mic because you have a podcast. Correct, No,
I know, it's it's the new ship. Everyone's doing it.
Speaker 2 (02:54):
I mean it's kind of old shit like.
Speaker 1 (02:56):
People, No, No, that's I'm making I'm joking. I mean
it's crazy. You know. It's funny. When when I started
doing this, I think it was like four or five
years ago, and I remember there were six hundred thousand
podcasts and my sister and I were like, holy fuck that.
I mean, how what that's so many? And of course
now I think there's what like nine million or something.
Speaker 2 (03:15):
Oh yeah, because if you started so I just just
literally started this. I'm very late to the party. I'm like,
the party is so over and I just walked in.
But if you've been doing it for like four was
it before the pandemic?
Speaker 1 (03:28):
Yeah, yeah, it was before. It was before COVID.
Speaker 2 (03:31):
Oh wow, that's ahead of the game.
Speaker 1 (03:34):
They were doing it in person and it was really
fun and then you know, bang, everything shuts down, moved
to zoom, and now everything stayed on zoom. I mean,
I'm in actually I'm in Toronto right now.
Speaker 2 (03:44):
Oh, I'm in Toronto right now.
Speaker 1 (03:46):
Are you in Toronto right now? This is what I
wanted to discuss with you, because I know you live
between what La and Toronto.
Speaker 2 (03:54):
Yeah, yeah, okay, where are you? In Toronto.
Speaker 1 (03:56):
I am. I'm doing a movie here. There's like four
or five of these kind of townhousey things, you know.
Speaker 2 (04:02):
Oh yeah, yeah, yeah, okay. You know Jamila Jamil.
Speaker 1 (04:06):
Do you know her? Because she she's I'm working with her.
She's playing my girlfriend. Oh my god, yeah, oh my god.
Speaker 2 (04:15):
Yes, I sorry.
Speaker 1 (04:17):
She's the greatest.
Speaker 2 (04:18):
I mean we you know, she doesn't have food poisoning.
Speaker 1 (04:21):
No, I know, and I'm not sure it was even
food poisoning because it was like an eight day situation.
Only yesterday on set she started to come back to
life a little bit. But whatever it was, I think
has finally gone through her system. I'm pretty sure she's good. Now.
Speaker 2 (04:36):
In the movie, you guys are playing a cup So
did you kiss her?
Speaker 1 (04:39):
We did not?
Speaker 2 (04:40):
Oh okay, because I was going to say it's you obviously.
Speaker 1 (04:43):
Yeah, I mean, yes, exactly. I eliminated myself from that. No,
we did not kiss. Because the idea is is that
I'm kind of or divorced, but she's my girlfriend who
I kind of bring back to my small town and
all hell kind of breaks loose, you know. Oh okay,
(05:04):
and then of course, you know the Mary the divorce couple,
they get back together and so ill. You know, yeah, yeah,
so sweet and so cute.
Speaker 2 (05:16):
So you are in the snow.
Speaker 1 (05:19):
It's crazy. It's crazy. I mean it is nutty. I
mean it really really is. I like it, you know.
I mean I grew up sort of in Colorado as well.
I love the snow and the city snow too is
fun because I don't experience it much. I don't mind
bundling up and walking out in the cold and you know,
hitting my face. The other night, you know, my son's
(05:41):
here with me, by the way, because he's actually in
the movie, which is a whole other story, and it's
all so sweet and so fun great. But the other night,
I go to the Four Seasons and I have dinner,
you know, by myself, and I have a couple of martinis.
And then I go to this play the Hazelton Bar,
(06:03):
which was actually really fun and it was kind of popping.
It was going crazy and everything was and I ended
up talking to people and hanging out and having fun.
And these like four serbian dudes are like, let's go
to this like club, and I'm like, oh man, I
don't want to go to like you know. And then
but this is my problem. I'm always getting myself into
weird shit. And I get in their car and I
(06:26):
go to like this weird club and I get there,
I'm like, all right, I'm gonna have one beer to
be nice. I got to get out of here, you
know what I mean. And I get out of there,
and now I don't know where I am. My phone
has died, so now I'm walking the streets at like
one thirty am, and it is freezing and windy and snowy,
(06:48):
and every car that I'm trying to flag down to
ask where the fuck I am thinks I'm a crazy person.
Doesn't want to have anything to do with me.
Speaker 2 (06:56):
Yeah, yeah, ray there in Canada because usually the stop
but uh no, I know.
Speaker 1 (07:02):
And I finally made it home, only to realize later
it was right above Mimi's, that Chinese restaurant. That's where
I came out of. And I could have made a
right and been home in three and a half minutes,
but I made a left and it was like an
hour and a half.
Speaker 2 (07:17):
Oh my god. Well I'm surprised though. When you said
you got into their car, my reaction was like, oh
my god, are you crazy to get into someone's car?
Realized I do this every day. I uber all the time.
I did get into some string's car. It's not that
I guess, no, I know.
Speaker 1 (07:36):
I mean, in hindsight, I probably shouldn't have, but they
seem nice enough. And I and You're like, I made it.
Speaker 2 (07:43):
You can help, you can like handle yourself.
Speaker 1 (07:46):
Well not against four you know, I mean, yeah, but
it was, it all worked out. But I don't think
I'm gonna do that again.
Speaker 2 (07:55):
Yeah, yeah, maybe lesson maybe not when it's cold.
Speaker 1 (07:59):
Yes, yeah, I too like the snow.
Speaker 2 (08:01):
I grew up in Montreal and school like literally we
may see earra.
Speaker 1 (08:15):
So you grew up in Montreal, you're between LA and Toronto,
and then basically you go where work takes you or
why are you split between the two?
Speaker 2 (08:25):
I go where work takes me. And recently work has
been in the UK, so it's just a better flight
and better time zone situation. And I'm feeling really grateful
to be a Canadian right now. So I've been spend
a lot of time here.
Speaker 1 (08:44):
Yeah.
Speaker 2 (08:45):
Also I left like right when the fires happened, so
this has been feels nice to be in the snow.
Speaker 1 (08:53):
Yeah no, I bet, I bet. And so you grew
up in Montreal, and you, how did you have siblings?
Did you where did you grow up in Montreal? Was
it a creative family? Is this something you've always wanted
to do?
Speaker 2 (09:11):
So I do have a sibling. I have an older brother,
and grew up in Poinclair, which is in the West
Island of Montreal, which is a suburb of the suburb
of the suburb, and so really small neighborhood, and nobody
(09:32):
I knew was an actor. I just when I for
my grade six graduation, my mom took me got me
tickets to see Le Miss and time I remember there
was like it was like really cool. It wasn't Cornado.
It was some cool guy having a pool party from class,
(09:54):
and I really wanted to go to a pool party.
And I had to leave early though to go to
La Miss and it changed my life. I watched it,
I felt like I left the earth. I never I
wanted to be in musicals, which is why any show
I do I always kind of asked the show runner,
I'm like, can we do a musical episode? Because I'm not, like,
(10:16):
I'm not a good enough singer or dancer or anything
to be in actual professional musicals. But when I can
force people to make let me do it.
Speaker 1 (10:27):
No, I know, so you saw that and that changed
it was it was just like I need, I need
to be up there.
Speaker 2 (10:33):
Oh yeah. Well from that point on, I was like,
I'm going to be an actor. And I made a
contract with myself that I believe my mother has in
some drawer that said, like, I will only do non
acting activities for one hour a day. Eight hours must
(10:54):
be spent on learning. I would highlight entire acting books
like uh, the the on audition, the Michael shirt when
you highlight the entire book, and I would make these
notes and so yeah, I just really kind of went
(11:17):
really myopic on it. And I think the thing that
really pushed it was I did my first play in
high school and my high school vice principal came up
to me after and I had like a really small part.
I remember, I was like a stoner and I just
said like whoa or something, I don't know. My high
(11:39):
school rest principal came up to me after and she
was like you were really good. You were really funny
and done.
Speaker 1 (11:46):
Like that affirmation was like I have got it.
Speaker 2 (11:51):
Well, just like that I was paid attention to for
something and like she I'm solicited He came up to
me and said something like, that's all it really takes
when you're that sad.
Speaker 1 (12:05):
Yeah, Well, it's so funny because there are certain people
who can take compliments and then certain people who deflect.
And I am such a deflector of compliments that I
have to and within my own sort of psychology and
you know, the journey of self, have had to understand
why and then learn how to take in a compliment
(12:27):
and just say, hey, you know what, thank you, because
I just deflect it. I don't like the feeling. You
feel sort of fraudulent in a way. You know, it's
it's it's it's interesting.
Speaker 2 (12:42):
I totally get that though, because I actually like it's weird.
I never I didn't. I guess I never saw it
really as a compliment. It was just like someone believed
I could do something. But that thing about learning how
to take a compliment, like if somebody I like, have
had many a therapy that should be like if you
(13:03):
were giving the compliment, do you want the person to
be like, Oh no, I don't I like your hair
like doing that and it's a nightmare, right, And so
that's what got me to start thinking of like, you
just want someone to say thank you and like take it, which.
Speaker 1 (13:20):
Was hard especially No, maybe I was Canadian in a
past life. No, I know, I I it's weird, but
it's it's important to try to, you know, take in
those that positive energy and not just let it bounce
off of you. You know. It's fucking hard, man.
Speaker 2 (13:40):
And it is. The more anything that I find difficult
like that, the more I try to think of like
if I was the other person, what would I want
in that? And that's the only way I can kind
of trick my brain into being like, oh, I don't
want you to not take that.
Speaker 1 (14:00):
No, I know. And my thing is is like it's like, oh,
they're they're just trying to make me feel good. They're
not telling the truth. Yeah. You know, when you're doing
something funny, you can kind of feel it, you know
what I mean. Like you did Shit's Creak, right, were
you on for the whole run of it?
Speaker 2 (14:19):
Yeah?
Speaker 1 (14:19):
Okay, you know, And you're working with Eugene, who's fucking amazing.
I've known him for a long time because you know,
Marty Short has been best friends with our family. We
had a place up in Muskoka for twenty years.
Speaker 2 (14:31):
Oh yeah, the cottagers.
Speaker 1 (14:32):
Yeah, the cottage. And so we'd go to Marty's place
and Eugene would be there and he's just he's just
the greatest person. First of all, it's so funny. They're
all amazing, right, and Catherine, I mean, oh my gosh,
so you're working with like fuck man, this is, by
the way, the improv the improv Royalty as well, you know,
(14:53):
and so you know, when it's funny, you don't even
have to have anyone tell you. You know, you're like,
all right, I know that, I know that work. I
know that was good.
Speaker 2 (15:04):
Yeah. Well I would say there's something that maybe I've
just heard this or something, but like I've heard people
say like when it's really funny on set, it's not
funny on the screen or something like when the cruise laughing.
I don't know, yeah, but like, yes, what I do
love about comedy is it's a real truth teller. Like
(15:25):
you know, if somebody's fake laughing or not, like you
just know it's horrible. It's like the worst. But with
Catherine and Eugene, what was so great about them? You
know them, so you know they're just like the most humble, nicest,
no ego people. If anything to a fault, like if
(15:48):
somebody offered us a coffee on set, if you didn't
go and get that person who offered you a coffee
and everyone else a coffee, you look like an asshole,
because Katherine and Eugene would do that. Yes, So it's like,
but we actually didn't improve a lot on that show
at all though, And most people think, because.
Speaker 1 (16:08):
You know, they do that, but you did not.
Speaker 2 (16:11):
Not really, we'd add like a button here or there.
Speaker 1 (16:14):
That's that's exactly exactly. I mean, you're guests, right, no, no,
but you're playing within the structure of the scene. But
then that it always sort of happens as a button,
right or maybe maybe in the middle of the scene
some ship comes out or whatever, but not that, not
the entire thing. Yeah, yeah, yeah, yeah. Yeah. It's so
(16:43):
funny because I ran into Eugene years ago and I
had directed a pilot presentation and and I was then
you know, took that and was trying to sell it
and actually ended up selling it to HBO. It did
nothing happened with it, you know, I didn't go but whatever.
So yeah, and I had done it with my dad
(17:07):
and he was in he was in it, and just
for just for the presentation. I ran into Eugene and
he goes, that's so funny. You know I was doing
I did the same thing with my son, you know
you do and he did it, and so he had
shot a presentation with his son, the same thing, same thing.
And I was like, that's fucking crazy, and he goes, yeah,
(17:28):
we've struck out at we struck out everywhere, this and
this and this, and meanwhile i had just sold my
show to HBO, and I'm like, oh wow. I was like,
oh man, I'm feeling kind of cool, like you know
that your your ego takes over just a little bit.
You's like, oh yeah, like you know, I love you, buddy.
I'm like yeah, And of course this fucking blows up
in this massive show. But we had done it at
(17:50):
the same exact time, and I think it was originally
on Freeform? Was it?
Speaker 2 (17:55):
I was on something called pop so you you had
not heard of.
Speaker 1 (18:00):
Got Pop, right?
Speaker 2 (18:02):
But this is so this is such a great story
because and it's so present in my life right now.
I'm constantly because I've started pitching my own stuff and
doing my own show stuff, and I always kind of
bring up that shit's Creek went out to everybody with
Catherine Era and yeah, and no one wanted it. And
(18:24):
then when they they had to do it with the CBC,
which is our Canadian broadcast, our government dollars. And had
they not done that, we never would have gotten a
second season, let alone a six because no one was
watching the show, like until they were forced to in
the pandemic. And then when we were over, we got
(18:46):
nominated for awards.
Speaker 1 (18:48):
Isn't it unbelievable how shit happens?
Speaker 2 (18:52):
Yeah, But that thing about selling a thing like I
did this. I wanted to make this remake of this
old show called Mary Hartman, Mary Hartman, and it was
a Norman lear show. Do you know Norman Leary's And
I got this meeting to pitch him my show. I'd
never pitched anything in my.
Speaker 1 (19:12):
Life, and you were going to pitch Norman.
Speaker 2 (19:14):
Yeah, yeah, yeah, I went pitched Norman the show. He
was one of the most traumatic things like.
Speaker 1 (19:20):
That, I bet I guys icon. Yeah.
Speaker 2 (19:23):
However, they ended up wanting to do it, and I thought,
oh my god, I've sold it, and then I had
to pitch Sony to see if they wanted to do it,
and they wanted to do it. I'm like, I sold it,
and then I had to go up to networks and
is this all like new to me, this whole thing
(19:44):
of like the steps? And then we sold it to TVs.
I'm like, we sold it, and then TVs got rid
of all their scripted and turned into Discovery and that's
very Hartman.
Speaker 1 (20:01):
Very harm and they and they and so they purchased it.
So they they hired a writer to write the script.
You never got to shoot the pilot.
Speaker 2 (20:10):
So I wrote the script.
Speaker 1 (20:12):
You wrote it. I got it. Write the pilot.
Speaker 2 (20:15):
Yeah, stuff, And we had the pilot and a lot
of people who were with TBS at that time. The
only thing that made me feel better about it was
that people had shows that were day one of production
and we shut down and like and then nobody wanted
to buy those shows because they were already like I
don't know, yea by somebody else.
Speaker 1 (20:37):
Yeah, yeah, yeah, no, I know the kind of burned.
You know, it's like burned around town. Yeah. Can you
get that back though? And turn around? Or no, we
did get it back, you did, okay.
Speaker 2 (20:50):
And then a series of things happened, like Norman passed
away and the strike happened there was just a series
of things that it ran its core. But it was
the greatest lesson to me. It got me another job,
but it was that lesson of like I as an actor,
(21:10):
I always thought, you know, if anything, things move so
fast because you get cast and you have to shoot
and there's no time to prep. And but on the
other side of it, like how slow and maybe never
going to happen it is, and how much work you
put into it for no money. Yeah, the pitching process then.
Speaker 1 (21:34):
Yeah, yeah, no, I know, we have I have a deal.
I have a producing deal at Fox and so it's
I'm in the second year of the deal. And it's
been so fun because, as you know, as just an actor,
you're sort of limiting your creative experience, you know, because
you're kind of at the mercy of other people. You know,
a lot of the things that we get or have
(21:56):
to audition for, they're not really what we want to do,
but we have to make a living. So it's nice
to have something that you are in control of. And
it's been so much fun. We've sold a bunch of shows.
But I understand what you're saying. The process is just molasses,
you know, and you put so much work into it.
You get the writers paid, which I'm very happy about.
I love to you know, provide work through an idea
(22:18):
that I might have. But as a producer, you know,
we don't get paid shit until that thing gets on
the air.
Speaker 2 (22:26):
Yeah, that's what I learned too. That also made me
feel better about the thing because I started to feel
really bad for writers who are just writers. You can
work two years on a pitch and a thing and
if the show doesn't.
Speaker 1 (22:38):
Go, yeah, that's it.
Speaker 2 (22:40):
I have a side job. But like, yeah, it was.
It's a real lesson in that. Also, I remember just
them doing my contract. I've got to do a whole
other series while they did.
Speaker 1 (22:57):
I know, I know, it's crazy, it is crazy. Are
you still creating and producing other than being an actor?
Speaker 2 (23:04):
Well yeah, so actually fortunately this Mary Hartman thing, uh,
this Elliott Page's company and page Boy script and hired
me to do this thing for him, which I'm doing
now and love so much. But it is a lesson
in how for me, how spoiled we are as actors
(23:26):
and how now I'm like maybe I just want to
act because like, really, you get treated so well, you
get paid so well.
Speaker 1 (23:35):
I know, less work, Yes, no, I know. And now
you're commissioned, you're hired to write a script, and you're like, okay,
here we go, blank page page one, here we go.
Speaker 2 (23:47):
Yeah, except I do love the thing of like no. Like,
to me, writing is the best parts of acting without
any of the bad stuff of like there's nobody watching,
there's nob and you can do it like you just
can play all the parts, which that's the greatest.
Speaker 1 (24:07):
Yeah. No, I see. I love writing, But I like
writing when I have to fix No, yes, of course,
but I like writing when I have to fix fix something.
Like if I have a script in front of me
and they're like, all right, cut it up, do what
you want to it, make it your own, I'm like, okay, great,
(24:28):
I'm very good at that. And I know I can
be great, a great writer if I can just regurgitate,
just vomit everything out and then go back and take
a scalpel to it. I have issues. I mean, I
have many issues that we can get into if you want.
But my writing issue is that I get overwhelmed by
the process and I get I just hit a fucking
(24:50):
brick wall, and then I don't know whether I have
eighty eight or not. I mean probably do it. I
don't know. I think we all do, but like, you know,
I think I cannot push pasted it and I get
frustrated and I.
Speaker 2 (25:02):
Stop, Yeah, are you a perfectionist?
Speaker 1 (25:05):
Strangely I didn't think I was, but but but after
some self analysis, not even in therapy, just yes, because
if you're going to break down, why I stop it
is that it's like, oh wait, it's not right, it's
not right. Okay, you got to go back rather than
just fucking barreling through it. And then I'm like, okay,
I got the first act, but holy shit, here comes
(25:27):
a big second act, like now what know?
Speaker 2 (25:30):
I realized this thing that And again I'm so new
to this, so it's not like advice, but this thing
happened to me when I was pitching. And you know,
you say you're pilot and the pitch, but I hadn't
written the pilot yet, and I was like, I need
to just write this pilot to know how to pitch
this better. And so I wrote the pilot, not having
(25:53):
to write, like nobody was waiting for it. I did
it over the holidays, and I did the bad draft
of like the whatever draft of it, and the fastest
thing that's ever come. I think the best thing that
because there was no expectations were just find out what
(26:14):
this is, find it out while you write it. And
then the best like writing advice I ever read was this.
Have you ever read Stephen King's book on writing?
Speaker 1 (26:26):
No, it's really great, But.
Speaker 2 (26:29):
The best thing in it to me is write something
and then put it away for like a two weeks
at least, and then you read it again and it's
like reading something. It's like what you're talking about. When
something else you can edit it and you can you
know what the animal is. But when you're close to it,
it's possible. Yeah.
Speaker 1 (26:49):
Yeah, no, it's so true. And it's just about barreling
through it.
Speaker 2 (26:52):
You know.
Speaker 1 (26:52):
It's saying, you know what, it's that no pressure? Who
gives a shit? Draft?
Speaker 2 (26:57):
Yeah, which is easier to do when there's no pressure.
Speaker 1 (27:00):
Yeah, no, for sure. But the thing is that again,
for me, it's putting that pressure on myself yourself, rather
than saying, who gives a shit? You're not showing this?
Then it was just for fucking you, who cares? You know?
Speaker 2 (27:12):
I used to have that with like auditions, put I
you know, I still have to fight with myself for it,
but just even putting myself on tape alone whatever, starting,
I couldn't start because I wasn't going to be great
out of the gate. And I was just like, if
I didn't start, then I didn't fail. Yeah, but the
(27:33):
minute I started, then it's like, oh, but I feel
like this new thing of like do it badly? Do
the world do the worst draft? Yeah?
Speaker 1 (27:43):
Yeah, well it's funny. I mean, coming back to Jamila,
That's what I love about her so much is you know,
she just doesn't give a fuck and that allows her
to have like real freedom in her in her acting.
She's just so you know, I've.
Speaker 2 (28:02):
Worked with her. I admire her work. I think she's amazing,
but I didn't know that about her, which is the
dream to just give a shit about what I think.
Speaker 1 (28:13):
Oh, I know, that's the goal, that's the true goal.
Well when did you sort of have that moment where
it was, oh, okay, wait a minute, I uh, I
can do this for a living, Like I'm now making
money and this is my job.
Speaker 2 (28:32):
I mean, it was when I I got my when
I got my first job. I did my first audition
for this show called Are You Afraid of the Dark?
And I was so excited to get an audition, which
is something I try to remember today when like if
(28:52):
my manager agent calls, I love them, but like I'm like,
why are you calling? You know, But like back then,
to get an audition, I was it was success already
and and I knew I wanted it to be a job,
like then when I got that, Like in the audition,
(29:13):
I looked right into the camera and did but I
got the job of girlfriend number one, And in retrospect,
I really look back and think I had it good.
How my career did go, Like started out in that part.
Then I got like an episode of something where I
(29:35):
had five lines, and then because I wanted it to
be like by the time I was sixteen, if I
hadn't worked with Leonardo DiCaprio, I.
Speaker 1 (29:43):
Was you failed?
Speaker 2 (29:45):
Done? Yeah, And I did feel like I failed. But
now I look back and I'm like, god, that was
so good because I had things. Especially being in Canada,
you can star in like ten movies they go to
tiff and no one knows about them, so you have
that experience. And like I remember I was in this
(30:08):
Cronenberg movie with Rob Pattinson and we went to cat
and it was gonna be the biggest thing ever it wasn't,
and which was kind of great. When Shit's Creek happened.
I was signing on to a show with Catherine O'Hara
Eugene Levy. I was like, this is gonna be big
and it wasn't. It wasn't. And then when we were done,
(30:32):
when me and Annie were to Annie and plays a
Lexus on the show, anding each other like any offers,
any auditions only did nothing crickets and uh, and then
the other the sag Awards happened and all that and crazy.
It just helps you know that, yeah, this happens, and then.
Speaker 1 (30:53):
That does happen. Yeah, I was working with Cronenberg. That's
pretty cool though, I mean, aside from maybe not blowing
not blowing up, but like.
Speaker 2 (31:10):
Yeah, that's what you realized.
Speaker 1 (31:14):
Holy shit, that's so rad. Yeah.
Speaker 2 (31:16):
Yeah, he's amazing and for me, nothing like I would
have thought because he's just so nice. Yeah, and he
doesn't give thankfully. My friend Jay Barshall was in the
same movie and he was shooting before me, and I'm like, so,
(31:36):
what's he like, what's the direction like? And He's like,
just be prepared that he doesn't if he doesn't say anything.
He likes it, like if he doesn't give you direction.
And thank god he said that to me because me
and Rob were in this limo and so he was
giving direction as like the voice of God. And all
he would do was go like again, hey, thank you
(32:01):
and then moving on and like But then I got
to know him, and I'm like, oh, if he if
he didn't like it, you'd say something and whatever.
Speaker 1 (32:09):
But so he would when he when he wanted something else,
he would just say it.
Speaker 2 (32:15):
Yeah, totally. But he his belief is that he casting
is the big thing for him, and he believes that
he's cast you in the park. They know what you're doing.
Speaker 1 (32:26):
Yeah, oh you've got it wrong.
Speaker 2 (32:33):
Even I remember. So Rob had to get it was
a Pronenberg movie, so this will make sense to you.
He had to get a prostate exam in the limo
and Rob never had a prostate exam, and so that
was he was like, ah, I'm not sure how you do.
And David came in and bent over and showed demonstrated
(32:55):
how one gets a prostate exam and that's the kind
of directory is y notes or he'll do it for.
Speaker 1 (33:01):
You, right. That is amazing. Oh my God, that's so funny.
Speaker 2 (33:05):
Yeah, but like the nicest guy.
Speaker 1 (33:07):
Yeah. Yeah, So that's the that's the experience you take
from that's what you get from it. Maybe it didn't
blow up the way that you wanted to, but you
got to work with David Cronenberg.
Speaker 2 (33:15):
I totally And you know, had that blown up, Like
I look back at where I was in my life, Like,
had that blown up, then it would not have been
great for me. It would like things happened, And I
remember like auditioning for things I really wanted and I
didn't get it, And had I gotten that, I wouldn't
(33:35):
have gotten Shoots Creak and that. Like it's just all
these things kind of really work out, I think, I mean, don't.
Speaker 1 (33:44):
I know, Well, that is so true. I mean I
think there's you know, there's always doors closing and other
ones opening, and who knows if there's a reason behind
it or if it's just cool. I don't know, that's
a bigger question. But yes, you know, when you look
back at it, it always kind of seems to work out,
(34:04):
you know what I mean. Uh, you know, I don't
know if that's just because we don't know the sliding
door element of it. We don't know what would have happened.
So it's just our reality. So it's all worked out
because it's our reality exactly.
Speaker 2 (34:19):
There is that core or something where it's like life
is lived moving forward but understood backwards and like right
to understand it when I can connect to these dots.
Speaker 1 (34:29):
Yeah yeah, yeah yeah. So with your career, you know,
were there hang ups? You know what I mean? Were
there depressions, were their devastations? Were their relationships that got
in the way of things?
Speaker 2 (34:43):
You know?
Speaker 1 (34:43):
What about what about the woman of Emily? You know
what I'm saying?
Speaker 2 (34:46):
But how long is this podcast? I mean one of
the most I guess significant things was when I moved
from Canada to LA In Canada, at that time, I
knew the casting directors. I didn't necessarily have to audition
(35:07):
all the type people would I'd work with the same
people again, they'd write me stuff and then I go
to LA and it's like very hard to get an
audition and very and if I did get an audition,
it would be like those pre read things where you're
in a casting director's office there's no camera and no
and that was a real goal to me, Like I
(35:31):
didn't know, I felt like I didn't know how to
act in a room and stuffing, like if I'm playing
I don't know an alien in something. I feel like
I could do that if there's like a camera or something,
but just in your office and you're just sitting there
and I'm just at your desk, I don't know how
to go full alien.
Speaker 1 (35:52):
Yeah, don't.
Speaker 2 (35:54):
And so I started breaking out in literal hives like
full body tis every time I went into an audition,
and so I told my agent at the time, my
US agent, I was like, so I can't audition anymore.
I'll just put myself on tape, and he was and
then he dropped me, which was totally fair. I'm friends
(36:16):
with to this day. Fair. But then the audition for
Shit's Creak came along, and my Canadian agent, who has
been my agent since I was started, since I was thirteen,
I lived in her house and so she was like,
they're in La go in. They're Canadian, they're nice, and
she like really pushed me to go in the room.
Speaker 1 (36:37):
So you actually kind of quit audition. You're like, I
can't do this, Oh, yes, very much.
Speaker 2 (36:43):
So Actually the Kronenberg thing came from a tape which
was quite fortunate because nothing else came.
Speaker 1 (36:52):
From a dape.
Speaker 2 (36:54):
So yeah, but that Shit's Creak audition, like my Canadian
agent really pushed and I knew the cast director from
Canada and he'd come in and she was like, Daniel
Descento was reading with you. She like set up the
scene and I went in and I didn't break out
in hives. Dan has a story about what I did
(37:15):
that I have no recollection of, but like I don't know.
But anyways, but like I went in and had I not,
I didn't change my life and so.
Speaker 1 (37:26):
Yeah, wow wow, And then so through that, so after that,
you know, Shit's Creek ends, and then are you sort
of on your way or was there like kind of
a lull where you're like, wait a minute, what the fuck? Yeah?
Speaker 2 (37:41):
Yeah, not just the normal because so also when I
got Shit's Creak, it was there was no streaming at
the time, right like that first year. So my Canadian
agent was like ay, and I didn't I thought I
was just the girl in front giving David towells like
I didn't know where this part was going to go,
but I wanted to people, and my Canadian age it
(38:03):
was like if you're just gonna be giving towels on
a show in Canada that's not gonna go anywhere else
if you get an American series. She put in my
contract that if I got an American series that didn't conflict,
I could do it. Lo and behold. I got this
show called twelve Monkeys that was an American series at
the same time as Shits, and it didn't conflict at first,
(38:28):
and then they went for a second season, and then
it was I was doing Shits during the day and
twelve Monkeys at night, and it was the greatest time
of my life.
Speaker 1 (38:40):
Yeah.
Speaker 2 (38:41):
Yeah, And everybody was so nice to me, Like the
ads would be like, you got fifteen minutes, just I'll
tuck you win, bring you something. I mean it just
like what I love to do is like NonStop work.
But then they both.
Speaker 1 (38:55):
Ended, Oh my god.
Speaker 2 (38:57):
So it was also it wasn't just like that. It
wasn't just that they both ended. They were both the
greatest parts of all time in completely different ways. Like
twelve Monkeys. I don't know if you know the movie.
Speaker 1 (39:12):
Yeah, the movie. Yeah, I didn't see the show. I
didn't see your show, but I know the movie.
Speaker 2 (39:15):
That's okay. I played the Brad Pitt Park. So it's
a great part, right, I got to do everything, and
it was time travel, so like as an actor, everything,
and then I got to do Stevie, who just the
easiest job in the world, right, so all at the
same time. And then that ended, and not only did
(39:36):
I not have a job, I didn't think i'd ever
get as good a job, like I would never get
both satisfying both those things ever, And that's actually when
I started kind of creating my own stuff. And because
what I saw Dan do, Dan Levy, who his hands
(40:01):
were in everything like the size of the menus, the costumes,
the creating a world of it was what I realized, like, Oh,
when I do a part, what I love the most
more than the acting, it's like with the ideas and
what I'm gonna wear, what I'm gonna look like, what
all that coming up with a character that I love.
(40:24):
And I even sometimes like I love working with people
I've worked with before, so like on Twelve Monkeys, I
get to have an idea and be like, oh, what
if we did this, then then it happens, And so
I was like, that is the only way I'm gonna
get everything I want, right, And then I did that
and I've got nothing nothing nothing, no money.
Speaker 1 (40:52):
Either, not yet. I mean, you're that does the thing
is it's all Oh, it's just always a hustle. It's
always a hustle. At whatever level you get to, you're
still hustling. No, true. You know Tom Cruise is still
hustling to be Tom Cruise.
Speaker 2 (41:11):
Yeah, and I can see him working at it too
when he's.
Speaker 1 (41:15):
Being Tom Cruise. Yeah. Never hard, right, it never ends.
It never ends.
Speaker 2 (41:21):
But you're right about that. It's at every every level
because I think back in like when I got my
first audition, that was huge to me. Right now, fuck
do I ever not want an audition?
Speaker 1 (41:33):
I know?
Speaker 2 (41:35):
But then now I'm doing Like my manager just actually
had this talk with me yesterday because I was like, oh,
I didn't sell this thing, and I was sad, and
he's like, but you did sell it. You just didn't
sell it to the like I did sell it. But
I sold it in the first thing, and I wanted
(41:57):
you know, that was overlooked because I'm like, more, it
has to be better and better it does.
Speaker 1 (42:06):
Yeah, well that's what drives us. But at the same
time we have to, you know, find that gratitude. Obviously,
you know.
Speaker 2 (42:13):
That's what Jamila Jambill has. She knows what the fuck's up.
Speaker 1 (42:16):
Yeah, she was a quitch like I don't want to
be an astrohnt. I hate it. And then now she
wanted to spend time with her dogs.
Speaker 2 (42:23):
Yeah.
Speaker 1 (42:23):
No, now she's done this and she's having a blast
because a couple of gigs she was not having, you know,
whatever it was, it wasn't great. And now she's kind
of like, this is so fun. I think I want
to be an actor again, you know, but I just
love the conviction. She's like, fuck it, I don't give
a shit. It's so great.
Speaker 2 (42:41):
I aspire to be that way. And then I'm like,
if I was like I think I always see this
and they're like, that's not what it means independently wealthy
or just just not have to worry about money things
ever again, then I could be yeah, no, I know,
(43:02):
but maybe I couldn't, you.
Speaker 1 (43:03):
Know, I know, I know, I get that. I mean
there's practicalities in life, you know, there's certain things. I mean,
I have three kids, I've got school, I've got this,
I got my wife. She doesn't work, you know, she
just wants to be a mom, which is I fucking love.
But now it's like okay, Papa Bay. You know. So
there's a.
Speaker 2 (43:19):
Lot and it's at every level too, because like, you know,
I think people have this idea of actors and like
even with the fires and stuff, you know, Liker Levey
lost her house and and a lot of people are like, oh,
these people are rich, they can for their new that's
not like you know, I mean it's yes, it's easier
(43:44):
on certain levels to be able to start over and stuff,
but like it comes with its different issues and we
you know, doing shit's creek people. I get these d
ms all the time, like can you pay for my
hospital treatment and stuff? Because I'm like, we we need
Anadian dolt, the equivalent of seashells. That's right, like under actra,
(44:09):
Like no, what is this idea that you're you know,
and but the is I'm fine, I'm not. I'm very happy.
But it's this you got to be good in your
head if at all, Like.
Speaker 1 (44:23):
Yeah, you're not married right now, are you?
Speaker 2 (44:26):
No?
Speaker 1 (44:26):
I'm you're divorced. Okay, so I want to get into
your love life for a second, but sort of how
you balance or create space for someone or even if
you fucking want to. I don't know. But career, love marriage,
you know, is this? Has it affected your love life?
(44:49):
Has your career affected your love life?
Speaker 2 (44:52):
Oh yeah, oh yeah. So I've done it all and
I'll try to get it in two minutes a minute.
So I was married for like eight years. It's great
marriage and stuff, but I would go away for like
a year, and then it wouldn't be and then I
would think it would just be three months, and then
it would keep going, and you know, uh, I, if
(45:13):
I was on the other side of that, I wouldn't
want to be in a relationship with somebody like that.
So it was very difficult. But then then I was
engaged and that and then I realized.
Speaker 1 (45:26):
That that happened.
Speaker 2 (45:31):
So I've done all that. But then I realized, like
I am married to my work. I am. It's not
lost on me that I'm a total workaholic. It is
what I will choose it over everything. And so I
decided I don't want to say I'm gonna be with
(45:54):
somebody when at the end of the day, I'm gonna
choose work. And so I don't ever want I don't
want love or relationships or none of that. I am
great friends and yeah people and yeah, oh my god,
I'm done with love not forever, oh yeah, no, but
(46:17):
I'm I love working you and even like making something.
It feels like that's your baby.
Speaker 1 (46:23):
I don't know not I get it. I get it,
I for sure, But like, you can't it's impossible to
say you're done with love forever. That sounds you know
what I mean. It sounds like scorned in a way
you can't because you can't. You can't control. I mean,
what if someone walks into your life and you're like,
holy fuck, oh my god, Wait a minute.
Speaker 2 (46:43):
See, I don't think I think I've kind of like,
I don't think I it because I'll be like I'm
writing my bad draft.
Speaker 1 (46:53):
I predict that that it's not that. It is that
that you are not going to be married to your
work for the rest of your life.
Speaker 2 (47:01):
Well, I love people in my life.
Speaker 1 (47:03):
Oh no, for sure. For sure. You're fun and you're funny,
and you're pretty, and you're all of these things, and
you're great energy, and you're going to meet someone and
all of a sudden you're going to be friends, and
then it's going to be oh my god, this is cool.
And then before you know it. It's like, oh my god,
you're kind of making out. And then it's like you're like,
wait a minute, this is more than just a night. Okay,
oh shut okay, what's happening here? And then in five
(47:24):
years bang.
Speaker 2 (47:25):
Yeah, are we working together? Yes? Well, but what do
you take that compliment? Thank you cause things about me?
Speaker 1 (47:36):
That's right, that's right, so right, so take it. You
know you're so welcome, You're so welcome. Well, let's let's
the three of us like, go to dinner, get to
get a drink or something.
Speaker 2 (47:49):
I mean, you're here, yes, I want to get together.
Speaker 1 (47:52):
Let's let's figure that out. Let's figure that out. Well,
so fun. I appreciate it, and I have I'm here
for another food three weeks, so we'll hang out. I
think we should. I think that'll be fun. It's too
much like.
Speaker 2 (48:04):
It's one in the morning. I'll see you, like trying
to flag down, like.
Speaker 1 (48:10):
Exactly knocking on the head. I'm lost again.
Speaker 2 (48:18):
Alight.
Speaker 1 (48:19):
It was great talking to you, all right, see you soon?
Bye bye. Cool. I made a new friend. She's so sweet,
she's funny. God, I haven't watched ships creak. I'm like
the only person who kind of hasn't, I guess, but
I'm gonna check it out because she's so quirky and quirky.
Not quirky quirky like c O r k Y. No,
(48:43):
it's quirky quirky Oliver q U I r k y.
She's quirky and she's right so funny. Yeah, very cool.
All right, we're gonna hang out. I'm gonna leave because
I don't feel like talking anymore. Like no,
Hosts And Creators
Oliver Hudson
Kate Hudson
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