March 18, 2025 • 53 mins
Daniel reunites with his former television show’s long-time cinematographer, Andrew Huebscher, for a chat about growing up in Minnesota, USC film school, and how he would fix the podcast’s lighting setup.
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Episode Transcript
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Speaker 1 (00:00):
What do you think the lighting in here?
Speaker 2 (00:02):
I have notes.
Speaker 1 (00:03):
You want to tinker, don't you? Yeah, every party you
wants to tinker. Pashash Welcome to Tosh Show. I am
your host, Daniel Tosh, and with me is Eddie Gosling. Eddie, Hello,
Daniel Tosh, welcome to the show.
Speaker 3 (00:24):
Thank you, thanks for having me.
Speaker 1 (00:26):
Well, it's good to have you. I don't want to
start uh this podcast with a fart joke, but here
goes all right. My son the other day was running
and I was chasing him, and while I was chasing him,
he farted. He gets excited sometimes and it comes out.
It doesn't matter. By the way, my son can't fart
(00:48):
without my wife's screaming, go to the bathroom. You need
to go to the bathroom. I'm like, and I'm always like,
one doesn't mean the other. I agree with you. She's like, no, no,
if you'r farting, you have to go poop. I'm like, okay, anyway,
sorry about that. So he farts and then he said
we're laughing about it because because he's a kid. He's
a five year old. Five year olds are allowed to
laugh at farts. I know, fifty year olds are allowed
(01:09):
to laugh at farts anyway. He says to me, Hey, Dad,
do you think that while I was running when I
farted that the fart made me run faster? And then
before I even got to say anything, my wife just
chimes in, yes, that's your noss button. I'm like, well,
(01:31):
they don't even need me anymore for comedy. But both
of them got it all figured out. I thought it
was the funniest exchange ever. I just sat there and
I was like, well, you guys did it. That's hysterical.
He's running farting, says does that make me go faster?
And she said, gets your noss button? You don't. You
don't want to press it too soon in a race. Perfect,
pretty good stuff. All right, What are we doing today, Eddie?
(01:53):
Dear to Show? This is quickly becoming one of my
favorite segments. Dear TOAs Show is where I take a
question or a thought from one of our subscribers, or
a family member or someone that I just randomly heard
on the street, and I solve their problems. All right,
(02:13):
here we go.
Speaker 3 (02:14):
People that listen to music watch videos? Are you speakerphone
without using headphones around other people? How do you solve
that problem?
Speaker 1 (02:21):
Thank you, Alan, Alan. That is a real problem, and
I have a real solution that's also fun for almost
everyone within earshot. Okay, it's very simple. I just stand up,
walk as close as you can to them, and pretend
(02:41):
you have Tourette's shit. Fuck pussy cut shit, fuck cut pussy,
and throw on a twitch hit pussy chit, pussy pussy,
pussy chit. Okay, they're going to wrap up a call
the call no one. No one's explaining that on a
business conversation. That's immediately that they're gonna quickly oh oh shoot.
Speaker 3 (03:04):
Hey, I gotta go. I'll call you back.
Speaker 1 (03:06):
And then if they approach you like, what's wrong, man,
what are you doing? I have tretts. This is a disease.
Imagine shit shit Mexicans treats is fine if it's just
swear words, it's it's when the racist term start flying,
you're like, oh, okay, this guy's gonna get himself beat
up or elected president. Hey, all right, speaking of big
(03:33):
orange orangutangs. Uh did you see the New Planet of
the Eighth movie?
Speaker 3 (03:37):
I did not see it.
Speaker 1 (03:38):
By the way, new is relative. I think it's a
few years old. Whatever the latest one. Now I loved
the semi new installment of the trilogy that they did.
I thought that was Those were great with Caesar, but
I recently watched the new one, which is set many
(03:59):
general into the future, and and the monkeys have won
and the humans don't talk anymore, okay, whatever that here,
I just want to get to that.
Speaker 3 (04:08):
Hey, I could listen to you talk about movies like this.
The monkeys have won.
Speaker 1 (04:12):
The monkeys won there there the the top of the
pecking order. Although that and there was a disease or
something that went around and people can't talk, all right, whatever,
and monkeys talk, but there's no they have figured out
a lot of shit. Who cares about the movie? This
is This was my problem with the movie, and possibly
(04:33):
uh a problem with Hollywood in general. That you might
not think that I have this take on. But when
we let like anyone be a model, not just the
pretty people, you get where I'm going this movie. I
didn't think the star monkey was attractive. He didn't seem cool.
(04:53):
He looked, you know, like little little little doufiss, like
a character, like a like an idiot. I don't know, Yeah,
he didn't seem like he didn't have the star power
that Caesar had Caesar like was such a good looking monkey, Like,
holy cow, I would I would follow this monkey. I
would have been the first human to fall in line
(05:15):
and be like, no, no, this is my king, this
is my prophet. But anyway, this new one, I just
was like kept looking at this monkey, and I'm like, Hollywood,
come on, can you make the star of the movie
a little sexier. It was just hard to believe that
this would be like the one that everyone would would
turn to. He just didn't seem like a leader, and
(05:37):
I guess that was kind of part of it, Like, oh,
I just feel like he could have got beat up
by like a ton of other monkeys. He didn't have.
He didn't have that it factor as far as monkeys go.
The whole time, I'm just watching this movie going I
don't I'm not attracted this monkey in anyway. This isn't
a Brad Pitt. This is like, what's his name, who's
the guy from the Brutalist Adrian Brody. This is an
(05:59):
Adrian Brody. He's won an Oscar. I know, I'm not
saying that this monkey is not talented. I'm just saying
that he's not He's not like popcorn Yeah, this is
the Messiah. This looks like something you come home from
the fair with. You know, he looks he looked more
(06:20):
like the rally monkey at a Dodgers game where you
get the little velcrow hands and you hook it around
your head. You know, you know, kind of remind me
of what's that TV show with the Sniper Day of
the Jackal. That that guy he's like, he's such a
He's like a little doufist looking guy. And then his
wife in there is just so beautiful and I'm like, oh, man, snipers,
(06:43):
get all the hot chicks. I could do this conversation
all day though, but I'll tell you one more problem
about this monkey movie. Very dark and just not tonally.
Just actually I get a night I can't see anything
that's going on. You know, Gonna love this talk is
today's guest my cameraman. Oh nobody, nobody can bore me
(07:06):
more about lighting and talking about film than today's guest.
Enjoy Pasha, my guest today lit some of the most
beautiful sets you ever saw in Tosh point zero. For
over a decade, this man tried to turn my comedy
(07:26):
Gold into cinematic art, but unfortunately for him, it was
a low budget show when everyone else just wanted to
finish and go home. Please welcome my former director of
photography and the only member of the crew I wasn't
scared to talk to, Andrew.
Speaker 2 (07:41):
Good to see you, Daniel.
Speaker 1 (07:42):
Andrew, thank you for being here. By the way, do
I have a good side all sides?
Speaker 2 (07:49):
Eh?
Speaker 1 (07:50):
That is true, Andrew. Do you believe in ghost Absolutely?
Speaker 2 (07:55):
I have a friend who worked on UFO Hunters and
the ghost equivalent of it, and he said absolutely, Like
ghosts are real, UFOs not so much.
Speaker 1 (08:06):
Oh so, he doesn't believe in any alien life form,
but he does believe in ghost.
Speaker 2 (08:10):
This was as of like ten years ago.
Speaker 1 (08:12):
But yeah, well the evidence now, yeah, yeah, no, I
would you could? You could maybe get me to go
the other direction, but not that way. All right. Did
you like growing up in Minnesota?
Speaker 2 (08:23):
Well, Minnesota's a beautiful place.
Speaker 1 (08:24):
It's wonderful.
Speaker 2 (08:25):
But as somebody who was closeted like it was tough.
Speaker 1 (08:30):
I just thought it was always such a blue wall
up there. No, I'm wrong.
Speaker 2 (08:34):
Yeah, I think the blue wall kind of is around
parts of like downtown and some of the suburbs.
Speaker 1 (08:39):
But I'm doing two shows in your hometown of Minneapolis. Okay,
the Twin Cities. How come we call the Twin Cities?
But yet Saint Paul gets no love ever.
Speaker 2 (08:47):
Well, I think in Saint Paul things tend to close earlier.
It's more like government cultural, whereas Minneapolis is where, like
you know, the stadiums are, It's where the nightclubs are,
It's where probably the best restaurants are.
Speaker 1 (08:59):
Where's the big spoon with a cherry on it? I
like that?
Speaker 2 (09:01):
That's the Walker Arts Center.
Speaker 1 (09:03):
Oh man, I love seeing that big spoon. Yeah, you
ever go walk that, Eddie, I haven't seen the spoon.
You've never seen them. See you've gone to Minneapolis for
thirty years, I know, and you've never walked by the
Big Spoon. No, that is bonkers to me. I got
so many photos of me on dates with comedy club
waitresses in front of the big Spoon. Big spoon. Ah.
(09:24):
By the way, you also lived in Florida, that's right,
for two years as a child.
Speaker 2 (09:30):
Yeah. So I grew up in a suburb of Minneapolis
called Hedna. I lived there until I was about eleven,
and then my dad got transferred for work to Florida.
We lived in a suburb of Orlando. Called Lake Mary
for a year and a half two years.
Speaker 1 (09:43):
Did you love Orlando area or no?
Speaker 2 (09:46):
It was a culture shock for me, kind of coming
from suburban like conservative, you know, Minneapolis suburbs to you know,
central Florida.
Speaker 1 (09:56):
When I moved to Florida as a twelve year old,
I just I hated it. I grew to love it,
but I didn't know that you were supposed to be
embarrassed to live there. But immediately when I moved there, though,
I hated it, and everyone would ask me. I know,
they asked you something similar. They asked you, are you
(10:17):
a redneck or a surfer? Those were the two things
a white kid could be.
Speaker 2 (10:21):
They always wanted to know if I was a surfer
or a skater and answer that was the first question.
I remember the first time I heard it. I didn't
know how to respond. And so because you liked to
roller skate, I'm sure, why would you say that.
Speaker 1 (10:32):
I don't know.
Speaker 2 (10:35):
I was a terrible skater. So actually I was just
uncoordinated altogether. So I fell into the yearbook like team,
you know, I was in the group that wrote the yearbook,
that took all the photos.
Speaker 1 (10:47):
And then you put so many photos yourself.
Speaker 2 (10:49):
In there, not many of me. I was behind the camera.
Speaker 1 (10:52):
What was your dad doing at the time? What job
was he getting? Transfer around it?
Speaker 2 (10:55):
My dad had his own business. He sold construction materials,
so like PBC piping, That's what thing. And what happened
was there was a recession in the late eighties that
caused his business to shift around a little bit, and
so he chased some clients in Florida and then eventually
that fizzled away and work went to overseas markets and whatever,
and my dad's business kind of like imploded. So things
(11:19):
got really tough, and my mom came in and ended
up taking care of us.
Speaker 1 (11:23):
By the way, your father recently passed away.
Speaker 2 (11:25):
He did.
Speaker 1 (11:26):
Yeah, I'm very sorry to hear that. He came out
to you when you were eighteen years old. Yeah.
Speaker 2 (11:31):
By this point I knew that I was gay and
I wanted to tell my parents about it, but my
dad beat me to it, like he sat me down.
I didn't see this coming at all.
Speaker 1 (11:41):
I mean, did this shatter your world?
Speaker 2 (11:43):
It kind of pushed me back in the closet in
the sense that, like I was just I just didn't
know how to respond to it. And it was like
there was too many emotions that were coming up. You know,
when you're closeted, you compartmentalize it. You learned to hide it,
and so I kind of went back into the closet.
And then it was two years after that that I
came out to them.
Speaker 1 (12:01):
I remember some details that you may have purposely left out.
Your dad once came to you before he came out
and asked you if you were gay.
Speaker 2 (12:13):
He told me that he asked me that when he
came out.
Speaker 1 (12:15):
To me, because he knew his son and had probably
a pretty good read. I think he probably he was
giving you the easy coming out, and you said, nope,
I'm not going to fall for this.
Speaker 2 (12:27):
Because I knew I wasn't fully ready to do it yet.
And you couldn't be in the middle. You can't sort
of half come out, because that would just create too
much skepticism.
Speaker 1 (12:34):
That's bisexuals that half come out.
Speaker 2 (12:37):
No. Well, my dad at the time actually said he
was by okay. He said, he says, I'm by. I
have a preference towards men. And I was confused by
that because that doesn't really define being by. But I
just I didn't ask him any more questions about it
because I was still processing.
Speaker 1 (12:53):
It looking back on that moment, did you react the
way that you wanted to react?
Speaker 2 (12:58):
I mean, in hindsight, I would have I would have
come out to him. Then, oh, because why wait?
Speaker 1 (13:02):
Well no, I know I have always felt when any
you know, the handful of times I've been fortunate enough
for a friend to come out to me, I've always
been the only thing that's ever bothered me is like, oh,
I hate that you had to like not you know,
keep something or that's always the thing that you do.
And then when is your parents? That's such a weird thing.
(13:23):
Did you like side? I mean, how'd your mom handle this?
Speaker 2 (13:25):
First of all, well, she had already known for some time,
several years. I think I think it was difficult for her,
but she had she had started to move on. They
had already been separated for several years at this point,
even though they still had, you know, relationship in the
sense that they were taking care of us together.
Speaker 1 (13:41):
And did the relationship get stronger over the years.
Speaker 2 (13:44):
After this between them?
Speaker 1 (13:45):
Yeah? I mean as far as a friendship, did it
ever turn back into a.
Speaker 2 (13:49):
Friendship or no, it was a friendship.
Speaker 1 (13:50):
By the way, did your father have many female relationships
in his life or no.
Speaker 2 (13:55):
No, I mean I think they met when she was
right out of nursing school. You know, they were in
their early mid twenties actually, yeah, mid twenties, and and
got hitched right away.
Speaker 1 (14:06):
You have twin brothers.
Speaker 2 (14:08):
Twin older brothers and a younger sister.
Speaker 1 (14:10):
And all of them are gay. No, no, no, no.
How did they handle this?
Speaker 2 (14:17):
They were accepting of it, my sister even when I
came out to her.
Speaker 1 (14:21):
Well, I just I mean, accepting of you seems easy.
It was the father one that seems like it'd be
the tougher pill to swallow for kids.
Speaker 2 (14:29):
Ye, I mean it would have been more difficult for
them not understanding it, you know, not knowing what it's
like to live with the secret and how you could have,
you know, a life that's that's in a sense, not
being totally honest to your your true self.
Speaker 1 (14:41):
I've thought multiple times, how would I react if my
father came out to me just because of your situation?
And I was like, I am, this really makes sense.
I could piece it all together. Where'd you? Where did
you come out to them? At? Where were you guys?
Speaker 2 (14:57):
I told my parents I wanted to take them to dinner.
Speaker 1 (15:00):
Both of them together. Yeah, public place?
Speaker 2 (15:02):
No, No, actually my dad's house.
Speaker 1 (15:04):
Okay did it?
Speaker 2 (15:05):
And I just point blank told them because I didn't want.
Speaker 1 (15:08):
Any beginning to the meal. At the end of the meal,
it was after the meal, what would you guys eat?
I have no idea. You don't remember what you ate
that night.
Speaker 2 (15:14):
This was like thirty years ago.
Speaker 1 (15:17):
I don't care. What was your dad's reaction when you
actually finally came out to him.
Speaker 2 (15:21):
The first thing he said was I need a drink,
but kind of tongue in cheek.
Speaker 1 (15:25):
More like a cocktail. He's like, let's party, kid, No like.
Speaker 2 (15:31):
I think he just appreciated the irony or coincidence of
this situation and probably enjoyed that he would have somebody,
you know, close that he could relate to.
Speaker 1 (15:43):
Listen. I have always said that I think a gay
man would make the best father and husband to a woman.
Speaker 2 (15:52):
When I was I don't know, in my late twenties,
he came out to visit and he helped me move
into a new apartment in West Hollywood as my first
Hollywood apartment. And it was like a Sunday night and
we had finished moving and I had some friends over.
We ate dinner, and I thought that was going to
be the end of it. And as we were I
was saying good night to everybody, he turned to me
and he said, well, wait, we haven't gone out yet,
(16:12):
And so everybody had surprise looks on their face, like
they knew about my dad. But he wanted to go
out for a night on the town. So we did
a bar crawl along Santa Monica Boulevard.
Speaker 1 (16:23):
Rage, Did you go to Rage?
Speaker 2 (16:24):
We didn't go to Rage. We went to Trunks. We
went to Mickey's. I think we went by a place
called the Normandy Room, which was a lesbian bar back then.
He got kicked out of there for trying to smoke inside.
Speaker 1 (16:42):
Damn. He's yeah, the coolest dad in the world. You
didn't even know it. Talk about how you know, as
a young child you got into wanting to be a
cinematographer filming all of it.
Speaker 2 (16:53):
I would say from a very early age, before we
had any cameras, I'd walk around the house and I
would like make a little frame like I was I
was composing shots. Mm hmm. For a while I thought
I wanted to be a meteorologist.
Speaker 1 (17:05):
That doesn't make sense.
Speaker 2 (17:07):
Yeah, I mean I can attribute some of it to
admiring the light.
Speaker 1 (17:10):
But I.
Speaker 2 (17:12):
I love thunderstorms, I love snowstorms. I love weather events
like I liked the drama of you'd be watching a
TV show and there'd be that little baby, the weather
call would come at the bottom of the street and
an issue, you know, tornado warning. I would also say
that I noticed light, Like growing up in Midwest was beautiful.
You get four seasons, you know, the light is very
(17:34):
dramatic at different different times a day.
Speaker 1 (17:35):
All right, So as a child you were into it.
Speaker 2 (17:38):
Yeah, So I made super eight films. I made like
videos with my brothers, Like we got a hold of
a camcorder, like a friend's family friend lent us one
and so give a high eight. It was a VHS.
Speaker 1 (17:48):
Oh man, that's real cool.
Speaker 2 (17:50):
We'd set it up and we you know, discovered quickly
that if you put it on a tripod and you
start and stop it, you could make like objects move
around if you didn't move the camera.
Speaker 1 (17:57):
How old were you when you took your first dick pic?
And do you set it up before you take it? Right?
Speaker 3 (18:05):
Light the area?
Speaker 1 (18:06):
Sure filters? You don't have to answer that you went
to USC film school. How competitive an environment was that.
Speaker 2 (18:15):
I mean I at the time, I think they said
they accept like twenty or thirty applicants out of one
or two thousand, So you know, I was surrounded by
people who wanted to be writers and directors. There weren't
as many people that were, you know, into editing, cinematography,
production design.
Speaker 1 (18:32):
Were you super smart? No?
Speaker 2 (18:33):
I wasn't really book smart, but I was. I had
drive and I was creative, and you know, it took
me five applications to get into the film school, and
ultimately I think they were they were looking for somebody
who could, you know, express themselves creatively. And I remember
I ended up writing a letter in my final application.
This was that the last time I was trying to
(18:54):
apply to the school before I pursued a different tack.
I came out. You know, I described my coming out
story to my best friend at the time.
Speaker 1 (19:03):
You played the gay card hard, didn't you. Yeah.
Speaker 2 (19:05):
I mean I had been told I had met all
these these graduate students who were who were telling me
that they wanted to see some kind of personal statement,
and I didn't have the you know, I came from you.
Speaker 1 (19:15):
You had a pastern statement. You just didn't want to
share it at the moment by the US the crazy
expensive Yeah, how did you did you?
Speaker 2 (19:22):
Do?
Speaker 1 (19:23):
You force the parents just to like deal with it?
Speaker 2 (19:25):
We weren't able to do that, so okay, I got grants,
a lot of financial aid and some help from other
family members.
Speaker 1 (19:33):
Were you in debt after you graduated? I was, ah,
that's good, but you stayed out in LA. Did you
ever give up on the dream? And do you care
about USC? Sure? Do you go to the football games ever?
Speaker 3 (19:43):
Now?
Speaker 1 (19:44):
Did you ever go to a.
Speaker 2 (19:44):
I have gone to the football games. I went, but
the seats at the coliseum were really uncomfortable.
Speaker 1 (19:49):
They're not good. I always liked going. When I went
to the coliseum, I was excited because they had like
big old sausages that were like chicken based or something. Well,
because I can't I don't need beef, so I was
always like, oh there was something fun to eat there.
Speaker 2 (20:02):
I don't eat beef. I don't need pork.
Speaker 1 (20:04):
I used to not eat pork, and then I have children.
Speaker 2 (20:06):
But you have a pig, I know, and I kick
around it.
Speaker 1 (20:10):
Well, I don't. I don't like go ha ha, look
what I'm eating. Yeah, I eat here's the thing I
don't order it. But my children, we let them eat
what they want to eat right now. And if they're
eating something that has bacon in and then they don't
finish it. I have this weird thing where I don't
let food go to waste, so I just end up
(20:30):
eating it. Okay, I'm not proud of myself. By the way,
the American Society of Cinematographers gave the Greg Tolan Heritage
Award to the best up and coming cinematographer, and you
won that in nineteen ninety nine. Who the fuck is
Greg Toland?
Speaker 2 (20:47):
Greg Toland is a cinematographer who most famously is known
for having shot Orson Wells's Citizen Kane, and he was
a pioneer. He actually shared a title card with or
and Wells in the film, which was considered a big
deal at the time. But he designed lenses. He built
lenses like he was one of those like craftsmen that
(21:08):
just knew, like when there was a need for something,
he would design it. He would figure out how to
build it.
Speaker 1 (21:13):
All right, So you got this award in nineteen ninety nine, Yeah,
that's pretty great. That was right out of the gate.
Speaker 2 (21:18):
It was basically a big deal.
Speaker 1 (21:20):
And then you ended up on Tosh Point. Oh that
seems not like the normal trajectory of somebody. Do you
hate green screen?
Speaker 2 (21:29):
No, but I don't think I can see the color
green anymore because I was around it so much during
the time I worked on the show that Do.
Speaker 1 (21:35):
People realize how much stuff you shot because they always
just think of the show like, oh, doesn't need to
stand in front of a green screen the whole time.
I don't think they realized how many other things were
shot for that show.
Speaker 2 (21:46):
Yeah, I mean there was the Selena Gomez music video
parody we did.
Speaker 1 (21:50):
Kartof still talks to me about that dumb thing. He's like,
that was great. He couldn't memorize a word. Talk about
what a good time working on Tosh Point zero was
and how easy I am to work with.
Speaker 2 (22:10):
The hours were great.
Speaker 1 (22:13):
Yeah, that's something I'll take it.
Speaker 2 (22:16):
We had summer hours. We'd come in at I think
four am to light a set, to be rolling by
six or seven o'clock, and then wrapped at eight am.
Heading home mid morning rush hour.
Speaker 1 (22:30):
Is bonker.
Speaker 2 (22:30):
You'll get breakfast at the end of the day.
Speaker 1 (22:32):
Yeah, well, listen, what are you talking about. We always
had those nice little breakfast breeders.
Speaker 2 (22:36):
That's true, all right.
Speaker 1 (22:37):
So you didn't have a good time, and I wasn't
easy to work with. That's fair, No, you were.
Speaker 2 (22:42):
We didn't always know that, Daniel, we were going to
get but it was always exciting.
Speaker 1 (22:46):
What does that even mean?
Speaker 2 (22:48):
Whatever the script was, we knew that it could change
in a moment's notice, because you could, you could work
with something, you could you would respond in the moment,
and we had to light the show in such a
way that that anything could change at any moment, And
so we were always thinking on our feet, like there
was never a point where we felt, you know, comfortable.
Speaker 4 (23:09):
Over thirteen years, there was never a point in like
an a creative sense, and so everybody was kind of
ready to dance and think on their feet if needed.
Speaker 1 (23:20):
But they also got to go home at nine o'clock
in the morning. So yeah, well that was only toward
the end that I forced everybody to start working at
crazy early hours. That's such a silly idea that we had. Well, here,
you know what I liked about working with you. I'll
tell you what I liked now. All the things you think, oh, gay, no,
that's a that's a plus, but not what you're good
(23:40):
at your job. No, couldn't, couldn't care less. I think
it comes down to it's like you're also quiet. That's
a huge plus, but like you just like did your shit.
But the real thing is probably just being from Minnesota.
There's just something about people from Minnesota that I've always liked.
Speaker 2 (23:57):
Minnesota and Ice they call it, oh Man.
Speaker 1 (23:59):
What a name. Yeah, they're just nice folks there. When
movies were predominantly shot on film, everyone talked about how
fantastic digital would be. Now which is better?
Speaker 2 (24:10):
It's subjective, but it also depends on what you're doing,
you know. I think there are some shows that will
always work better some movies having been shot in film.
But ultimately it comes down to budget and what you
want it to look like. You know, you can look
at digital, it's just like a different film stock choice.
So like you can choose to shoot on film, it's
a different process. It has a more natural look to it.
(24:33):
I think the way the tones interact with each other,
the grain, there's a dimensionality to it.
Speaker 1 (24:38):
I hate what you're saying. I hate what you're saying well,
because anytime you would set stuff up, it's I knew
always I understood that you knew what you were doing,
but I always would just need to walk away because
I just know that like setting up shots, it just
takes so long. And if you're not into that then
especially if you're like doing comedy where it's like, who
(24:59):
can I'm just telling a joke. Oh, it's painful? How long?
Speaker 2 (25:04):
I think you have to be passionate about it in
order to survive because the hours can be long, the
pay can be crap, the food can be worse, and
it can be it can be difficult in a slog.
But if you love it like you don't think about that,
that kind of disappears.
Speaker 1 (25:19):
We gotta get you on. You need to be working
on Showgun. That's that seems like that was the project
for you.
Speaker 2 (25:24):
You got a hook up?
Speaker 1 (25:25):
I don't know, no, But if we do find a hookup,
then I need to find a way for you to
let me meet that star. Oh man, she is pretty.
You were on the set of the one where Alec
Baldwin shot someone.
Speaker 2 (25:44):
I was un rust No, okay, that is.
Speaker 1 (25:48):
Sorry about that, Eddie. That's Eddie's fault. Eddie. You got me?
You ever shot a gun?
Speaker 2 (25:54):
I have? I went to the shooting range with Scott Sibilski.
Speaker 1 (25:58):
He was Scott's abili was a producer on On Tosh
point zero and he's the one that introduced us to you.
Which is weird because Scott is if you were to
draw a photo of a heterosexual man, it would be
Scott Zabielski, like just his hair's a cop for fun.
That's the weirdest thing in the world. How did you
(26:21):
guys know each other?
Speaker 2 (26:23):
We met at USC Okay, yeah, Usc.
Speaker 1 (26:26):
You guys just all take care of each other. You're
kind of like Harvard, a bunch of assholes, aren't you.
Probably for somebody that has worked in film and television.
As long as you have, you never got fat and disgusting.
You've always you always were in perfect shape. I'll be
honest with you. Sometimes I felt like you you became
a cameraman just to show off your arms and hold
(26:47):
a camera carry stuff around. Yeah, you always he always
just like just the tightest shirts too, am I is
that changed? Ers? Are you still wearing skin tight shirt?
I can see that shirt's pretty tight.
Speaker 2 (26:57):
I mean, you know, I'm a homosexual, so.
Speaker 1 (27:00):
Now that I know tons of homeosexuals that are physically
not in good shape.
Speaker 2 (27:05):
I just never liked the way, you know, bag your
shirts looked on me. But I didn't know how to
dress like up until I don't know, in my early
thirties or late twenties. I think I wore mostly flannels
and baggy clothes.
Speaker 1 (27:16):
You did. I've never seen you in a baggy outfit
in my life. I'd love to give you a photo
of you in a baggy shirt. That's what i's out.
You work out every day just about what's what's what's
the process? What do you do well?
Speaker 2 (27:26):
It's changed because I used to be more into like
weightlifting for strength training, but now it's really just I
like high intensity, So I do like a boot camp
style workout. Work out at home.
Speaker 1 (27:38):
You're carrying a sand bag around like an idiot.
Speaker 2 (27:40):
No, no, just like some dumbbells, a matte kind of thing.
Speaker 1 (27:43):
Uh huh. Yeah.
Speaker 2 (27:44):
I like the I get a mental high from it.
Not everybody gets that, No, I know, I never had one. Yeah,
I don't work out clear my head.
Speaker 1 (27:50):
And you do it early in the morning or late
at night.
Speaker 2 (27:52):
You try to do it early in the morning, like
what time today was six am?
Speaker 1 (27:56):
And that's earlier than normal.
Speaker 2 (27:58):
It's about that time Okay.
Speaker 1 (28:00):
So six am every day you're sweating.
Speaker 2 (28:03):
Oh yeah, how many total days in your life would
you say you've gone into a gym?
Speaker 3 (28:07):
Oh?
Speaker 1 (28:08):
Not for shoot, that's a stare. Two five maybe and
never as an adult. I can remember in college going
into a gym. I guess I just think it's dumb.
I'm never gonna look good. I'm never gonna get like
a body that's.
Speaker 2 (28:26):
Like rich Piana.
Speaker 1 (28:27):
Just you know, I'm never gonna have arms, and I
should do it. You care about what you eat too, though? Yeah?
Speaker 2 (28:33):
But I cheat? Okay, you know I'm not super rigid desserts.
Speaker 1 (28:37):
Do you like desserts?
Speaker 2 (28:38):
Have a sweet tooth?
Speaker 1 (28:39):
I just ate old cheesecake that was in the refrigerator.
I don't even know where it came from. It was
like mushed into a tupperware bowl, and I just was
just Carly was thrown away, Like wait, wit give me that.
I wouldn't eat a lot of the meals that the
crew would eat. But when you found out that Panda
Express was being a you would get emotional, visibly upset.
Speaker 2 (29:05):
Yeah, and one of your staffers over there, like you know,
relished in the opportunity to serve Panda Express.
Speaker 1 (29:12):
Well, yeah, I've changed Pete as much as I can.
We call him life Hack Pete. Guys got a shortcut
for everything. But but yeah, his taste in foods is
always a little bit questionable.
Speaker 2 (29:29):
There was somebody who worked on the show whose wife
worked I don't know, something to do with food safety,
and she said that the chicken that they used in
Panda Express is like grade K chicken, or it was
a low grade chicken.
Speaker 1 (29:45):
But if it goes to Z that's fine. Let me
tell you some Panda Express. If you're a sponsor to
the show, and I know you should be, grade K
is fine with me. By the way, do you have
to be strong to be in your business? No? I
mean camera? I mean you carry a camera. Yeah, you're
lugging stuff around all day long?
Speaker 2 (30:06):
Sure? Sure, I mean you know you have assistance, you
have a team that can help you. And and if
you're if you're on a union job as a cinematographer,
you know technically you won't have to touch any equipment
if you have if you hire camera operators.
Speaker 1 (30:20):
Are you always doing union jobs or do you ever
get to do none union work anymore?
Speaker 2 (30:25):
A mix? I would say, you ever sit on that
train track on the on the Dolly.
Speaker 1 (30:29):
Yeah, is that fun?
Speaker 2 (30:30):
It's a lot of fun.
Speaker 1 (30:31):
I love the train. You ever say choo choo? Or
when you're when you're getting pushed around.
Speaker 2 (30:35):
I remember being told by a producer on this show
that we were never allowed to have a Dolly track.
Why just because it would take too much time.
Speaker 1 (30:43):
Okay, I like it. Then, Eh, the thing was this
show people? What people don't understand, they may understand, it's
pretty simple. The reason that the show worked is is
the way I understood it. You know, you can do
shows a million different ways, and they can work and
be successful or they can fail for a million different reasons.
But the way I went about it was, Okay, if
(31:05):
I have a show that cost way less than every
other show they're doing, it won't have to do as
well for them to say it makes financial sense to
keep the show. That was just my thinking. And then
it got to a point where, oh, the show was
doing well but it costs less. Well, now I want
(31:28):
to just make all that money, So give me all
the extra money you would be spending on an expensive show.
That was my thinking, and so let's keep the show cheap.
I probably should admit that, right, that's bad, but whatever.
That was my.
Speaker 2 (31:42):
Thinking, simple economics.
Speaker 1 (31:45):
What projects of yours are you the most proud of?
Besides Tosh point.
Speaker 2 (31:49):
Zero, there's a film I shot called Big Time Adolescence,
Uh huh that went to Sundance and did well, and
it's a dark comedy. I love the writing and it
very well directed. It was first time director writer named
Jason Orley, and I liked my work in it and
the experience of making it.
Speaker 1 (32:07):
In terms of cinematography, name your top five favorite films
and I will bet you all the money in the
world that I haven't heard of any of them.
Speaker 2 (32:16):
Top five films. Favorite films for cinematography.
Speaker 1 (32:18):
Yeah for you? Yeah, the Godfather didn't see it?
Speaker 2 (32:22):
No Country for Old Men?
Speaker 1 (32:23):
Oh, I saw it, loved it.
Speaker 2 (32:25):
It's a beautiful masterpiece Western.
Speaker 1 (32:28):
You like westerns? Yeah? Why, I didn't mean it like anything.
Guys are like, why would he.
Speaker 2 (32:38):
Not like that're just amazing classic stories and in there
they're not quite fantasy, but they're not quite reality.
Speaker 1 (32:44):
Whenever I see those that world am I thank the
Lord that I wasn't born during that time. I wouldn't
have survived in that world at all. It's not the
Western world. Is not is not cut out for a
man with ibs.
Speaker 2 (33:00):
No Citizen Kane all right, And it's not just because
of the Greg Poland thing, but it's it's inventive, it's beautiful.
Speaker 3 (33:09):
It's black and white.
Speaker 1 (33:11):
Like that Silence.
Speaker 2 (33:15):
Number four American Beauty shot by Conrad Hall.
Speaker 1 (33:18):
Do you always know who shot a film?
Speaker 2 (33:21):
A lot of times I do. I mean, I'll research
it in advance.
Speaker 1 (33:24):
Or that must be funny one of the movies.
Speaker 2 (33:26):
I'll go and read about the cinematography after a film
Natural Born Killers. I'm just thinking about when that came out.
That movie was so the cinematography was explosive, it was
so inventive and creative. Shot like super a chop video
shot by Robert Richardson. It was just, you know, amazing,
does beautiful work. Did a lot of work with Oliver Stone,
now works with quinton.
Speaker 1 (33:48):
Is Quintin done.
Speaker 2 (33:50):
I mean he said that I think he was going
to do one more, but I don't. You know. It's
like share where she says farewell, but really she means hello.
Speaker 1 (34:02):
Do do you rush out? Every time Cher says this
is the last time everybody's on the show gets gifts.
All it's just stuff from around my house. But anyway, first,
first I want to give you is these chomps protein bars.
They're turkey chomps. You're supposed to send me some free shit.
You haven't sent me anything. I don't like these jalapeno ones.
(34:24):
They just don't taste as good. So I don't want
any of the halopeno ones. Dorm by that hair. Anyway,
you'll get some snack on your way home.
Speaker 2 (34:31):
There's there's some of those thank you.
Speaker 1 (34:34):
Get that off the desk. This is a little a
board that my brother in law and his wife gave
me this year. They're like, oh, did you did you
like that? It's like a wave because I like the ocean.
I'm like, no, yeah, it's fine, but this little it's dumb.
First of all, who am I serving this to? Like
I'm having one person come over. I put a lunch
(34:56):
able on here, like, ah, look at this. Anyway, you'll
like that. Thank you. Here, we have these sea stank stands.
Is that what they're called? That is sea stands. We've
got three of these. We want it for this this
podcast and we don't use them, so I don't want
them and I want you to take don't let this
touch my desk. I swear to God, if you drop
(35:18):
a sea stand.
Speaker 3 (35:19):
He's got the strength.
Speaker 1 (35:20):
Will you need these for anything? I will?
Speaker 2 (35:23):
Actually?
Speaker 1 (35:23):
Okay, well guess what. Well, you're welcome. You're welcome for
tax purposes for myself to write this off? What did
I How much of these worth?
Speaker 2 (35:31):
Seventy bucks each? I'm just guessing them.
Speaker 1 (35:33):
Okay, Okay, that's not a bad gift. Then no, that's great.
That's not a bad that's not that's not hold on,
I won't last gift.
Speaker 2 (35:39):
It's worth the drive.
Speaker 1 (35:41):
This you you probably won't. Why am I giving you
a printer? Thing? Okay?
Speaker 2 (35:49):
That was That was a good move. You just sit
there shoulder workouts.
Speaker 1 (35:54):
Okay, this printer okay, see that's why I don't have
to work out, because I give heavy gifts. Way, this
printer is brand new. I got it for when COVID
hit and the show was temporarily shut down for a bit,
and I was in Tahoe and they're like, oh, we're
gonna shoot you know up in Tahoe. I'm gonna put
a green scream up in my garage. Anyway, I needed
(36:15):
to get a printer. That was way long story. Never
could get it to work, and then Pete tried to
get it to work and he couldn't get where. He goes, oh,
I think the ink dried up. And I'm like, how's
the ink gonna dry up? Just sitting in a house
for three years? Whatever? And then he put change the
ink cartridge and it would only print blue. I'm like,
I go, that can't be right, and he's like no,
(36:38):
he goes, and then he said something that I'm not
gonna repeat, but then it just he goes, it doesn't
work anymore. I go, there's no way a brand new
printer that has sat in my house for three years
only printed in blue ink for two weeks. So anyway,
I'm He's like, well it doesn't work. I'm giving this
(37:00):
to you, and then I want you to fix it
and print something, and then I will fire Pete.
Speaker 2 (37:08):
Thank you, okay, can take.
Speaker 1 (37:10):
Yeah, please take that off. Don't drag it straight up.
Look at that show how strong you are. Wall. You
have a gift for me. I don't want to.
Speaker 2 (37:18):
I did bring something.
Speaker 1 (37:19):
What did you bring for me?
Speaker 2 (37:20):
A book that my mother wrote that is based on
me as a boy and my childhood imaginary friend.
Speaker 1 (37:31):
Well, I don't first of all, it's why the blonde hair.
Speaker 2 (37:35):
Because I was blonde, really blond, straight, long hair as
a kid.
Speaker 1 (37:38):
Nothing straight about you.
Speaker 2 (37:42):
Also holding a jerbil is a hamster?
Speaker 1 (37:45):
Oh my bad? Sorry?
Speaker 2 (37:47):
The Adventures it's and there's book. I know you got kids,
I do, I'll read it.
Speaker 1 (37:51):
I'll read it today. Did you go by Andy? Yeah?
Do people still call you Andy?
Speaker 3 (37:55):
No?
Speaker 1 (37:55):
I didn't think so. I get mad when other people
that like know you better have a different name. I'm
always like, well that's not you don't call me Andrew. No,
his real friends call me Andy. Congratulations on getting married.
You just got married this past year.
Speaker 2 (38:11):
Two years ago?
Speaker 1 (38:12):
You got married two years? How long together were you?
Guys together? Before this?
Speaker 2 (38:15):
My husband and I actually met at USC. We were
randomly assigned as roommates, like literally into the same bedroom.
It was for summer housing.
Speaker 1 (38:24):
Hottest thing I've ever heard.
Speaker 2 (38:25):
Yeah, and so there was another roommate there too, and
or got me.
Speaker 1 (38:31):
Before guy gets to go. But I was at USC
and the other two rooms are just banging each other constantly?
Speaker 2 (38:36):
Is that?
Speaker 1 (38:37):
God? Damn it?
Speaker 2 (38:37):
He would tell the story better than I, But I
was starting to come out. I had only just come
out to one friend. At SC and not even to
my parents yet. So there was a closet full of flannels.
This was like the older me, and I had a
book that had a kind of topic of homosexuality and
the spine was turned around. I don't know why I
did this. I was closeted. So I had all these
(38:58):
books and then there was one that was turned the
other direction, and he saw that and saw what it
was and started to you know.
Speaker 1 (39:05):
Oh, good for him.
Speaker 5 (39:06):
Did you guys ever hook up in college? We were
boyfriends for how long? Like about a year I think, okay,
and then we actually broke up. I dumped him, and
then we were apart for seventeen years. I think, whoa, Yeah,
we were in and out of relationships.
Speaker 1 (39:22):
Captain touched the whole seventeen years.
Speaker 2 (39:24):
Not and touched the whole time.
Speaker 1 (39:25):
Okay.
Speaker 2 (39:26):
No, we went off and lived separate lives.
Speaker 1 (39:29):
Huh.
Speaker 2 (39:29):
Then we got back together about ten years ago.
Speaker 1 (39:33):
One year in college, seventeen years off and then he
calls you up, and you, guys are like, right back,
this is gonna work. This is a relationship.
Speaker 2 (39:41):
It was uncertain in the beginning, but it turns out
when you're in your late thirties, you're a bit different
than being twenty one.
Speaker 1 (39:48):
What does your husband do?
Speaker 2 (39:49):
He works in finance.
Speaker 1 (39:51):
Wait a second, your husband works is like a has
a family office.
Speaker 2 (39:57):
He's a family office manager right.
Speaker 1 (40:00):
Worth of one of his big, big, big clients.
Speaker 2 (40:03):
He doesn't talk numbers.
Speaker 1 (40:04):
What you think he embezzles from them? Do you ever
think he was gonna knock on the door and like
all of a sudden, you're both in handcuffs.
Speaker 2 (40:13):
I don't see that.
Speaker 1 (40:14):
I would be terrified because my business manager, I love
them more than anyone, and I know for a fact
if I found out they'd been stealing from me for
twenty five years, I'd be like, Oh, They're like, well
haven't you looked at your statements in twenty five years?
I'm like, nope, I haven't. I sure hope they're not. Okay,
(40:35):
so he doesn't steal?
Speaker 3 (40:36):
No?
Speaker 1 (40:36):
Are you and your husband faithful to each other?
Speaker 2 (40:39):
Yeah?
Speaker 1 (40:40):
You guys don't. You guys don't allow some like bullshit
like oh, hall past thing.
Speaker 2 (40:45):
We're very honest.
Speaker 1 (40:47):
Okay, but does that mean that you occasionally do stuff
like that? Then god damn it, you do all right?
Speaker 2 (40:56):
You gotta put everything on the table.
Speaker 1 (40:57):
Uh huh? I get it, just get it off my table.
Do you think you'll live in LA for the rest
of your professional career?
Speaker 2 (41:07):
Possible, But there's a lot of uncertainty right now in
the business, and so I don't know where my career
is going to take me. You know, I think I'll
always travel wherever I'm based, but I think it's you know,
increasingly that I can be based anywhere and still do
what I do.
Speaker 1 (41:22):
What advice do you have for some kid that wants
to move out to LA wants to be a cameraman someday?
What all do they have to do?
Speaker 2 (41:29):
I think the industry is shifting. I think filmmaking is changing,
and there's very much been a shift from away from
like traditional films, movies, TV shows and towards smaller, creator
driven projects. You know, when I was starting out, I
had a couple of options. I could try the studio
(41:51):
system where I work as an assistant and eventually work
my way up to you know, camera operator, maybe shoot
second unit. Or I could just start making my own
projects and meeting other filmmakers. And that's the route that
I took, and I wouldn't have made a different decision today.
The downside of that is you don't get to work
alongside other people and kind of learn from mentors as much.
(42:13):
But I think shoot as much as you can make
what you're passionate about, find like minded people and break
the rules. I think it's important to learn filmmaking, learn
the basics and then try stuff out and play.
Speaker 1 (42:29):
Do you have to go to film school?
Speaker 2 (42:31):
Absolutely not. You don't know now, particularly now you can
learn so much on YouTube.
Speaker 1 (42:35):
You said you wouldn't do anything different if you it
came out today with creating your own content, et cetera.
But would you do the whole USC thing again.
Speaker 2 (42:43):
If it were today?
Speaker 1 (42:44):
Yeah?
Speaker 2 (42:44):
Probably? Oh, And I think it's because it's a great
environment to meet other, you know, like minded people.
Speaker 1 (42:52):
Financially, is it is? Are you struggling for a long time?
If this is the path that you choose.
Speaker 2 (42:59):
That can be the case.
Speaker 1 (43:00):
I mean, is there work out there? It seems like
there's so many platforms that are making content now, but
yet it seems like no one's working.
Speaker 2 (43:07):
Yeah, I mean I think there's more because I think
the economy is different now you're you're producing for for
this medium as opposed to I mean, you might get
lucky and develop a following and find a brand. But
it's also very competitive. The barrier to entry is lower
(43:28):
than it's ever been. You know, technology has has is everywhere.
I mean there's new cameras coming out like every day,
and people are shooting movies on iPhones.
Speaker 1 (43:37):
I heard the new iPhone seventeen camera is going to
be a game changer. Oh, I can't wait to shoot
on that.
Speaker 2 (43:43):
Yeah, are you going to see what is it? Twenty
eight months later? That's coming out twenty eight years later.
Speaker 1 (43:47):
I haven't seen any of this stuff.
Speaker 2 (43:49):
Danny Boyle direct that you shot that on an iPhone?
You've seen tangerine?
Speaker 1 (43:52):
Tangerine? Yeah, sounds like something I might have seen. But no.
Speaker 2 (43:57):
That was the film about let's just say life around
Santa Monica and Highland, and it was directed by Sean Baker,
shot on an iPhone. It's it's beautiful, it's a lot
of fun.
Speaker 1 (44:06):
I'm not gonna watch it. I don't like movies, No
I do. I just don't like that. I don't I
don't know how to ask.
Speaker 2 (44:14):
Not four hour movies.
Speaker 1 (44:16):
Oh God, don't even know. There's no world where I'm
watching four hour movies. Do you see wicked?
Speaker 2 (44:21):
I did?
Speaker 1 (44:22):
Did you like it. Yeah, I thought it was really good.
Yeah I didn't. I didn't want to like it. I
was like, please don't like this, Please don't like them
My god, damn it. I love it. I loved Wicked
the whole way through it.
Speaker 2 (44:31):
I thought it was fabulous.
Speaker 1 (44:32):
Does it make you angry that John replaced three cameramen
with two poles in a tripod for this podcast?
Speaker 2 (44:40):
Well, I think you're just doing what you have to
do and the economics of a podcast.
Speaker 1 (44:45):
What do you think the lighting in here?
Speaker 2 (44:47):
I have notes.
Speaker 1 (44:48):
You want to tinker, don't you. Yeah, every party you
wants to tinker. Yeah, what's the problem?
Speaker 2 (44:53):
Well, that light source there, it's a bit harsh, like
it could be it could be a little softer. I
can tell the type of diffuse material being used. I mean,
I don't know how it looks on me, but I've
I've watched some of your other podcasts, and you know,
at like, I think you could go softer with it.
Speaker 1 (45:11):
Uh huh.
Speaker 2 (45:11):
I think that there you could. You could. That's probably
working as an eyelight, but it might be giving some
double shadows.
Speaker 1 (45:20):
So good.
Speaker 2 (45:21):
We always had an eyelight for you on the show,
so we would set something low you could put back here.
You know, I always wanted to have it right here,
but I couldn't because the center camera would see it.
So because your eyes kind of are are are sunken
back a little bit, so you want to see them.
Speaker 1 (45:35):
Oh god, I didn't highlight.
Speaker 2 (45:38):
You could do the Anderson Cooper thing and like cut
into the desk and then put a piece of glass
and then they would just have a light like an
eyelight that would fill you in.
Speaker 1 (45:46):
Anderson Cooper has children, Okay, why don't you have kids? Jerk?
All right? Andrew, thank you everyboding on the show. Thanks Daniel, Jesus.
Andrew so aggressive. No, it wasn't sweat. It was just
the violent class. So strong. Yes, strong hand, big hands too,
don't you? Yeah you do? Casha, Oh the thing Andrew
(46:10):
for being on the podcast. I'd also like to file
a complaint from the Straits. I just think, okay, I
just thought about this a little more, the idea that
he went off to college and his roommate became his
husband one day, right, just saying that's not fair for
(46:37):
the Straits. How much better would college be if you
knew that you might get paired up with someone that
you got to have sex with. Oh wouldn't that be great?
I mean, how exciting would it be to walk into
a room. Oh my goodness, this could be my wife.
(46:59):
I think it would actually help college enrollment. Certainly, it
would increase people wanting to live in the dorms. Because
here's the thing. If you knew that you could potentially
be signed up with a girl in your dorm and
that you guys might have sex, that's awesome because it's
gonna make way more guys want to live in the dorms.
(47:22):
And it's also you're gonna say, well, it's gonna make
less girls want to true, But the girls that do
want to, you know that they're ready to go. They're
gonna be that. Those are the horny girls something. Yeah,
they literally signed up for it. Okay, that's not fair.
(47:44):
Just because they signed up to live with the man
doesn't mean that they want any hanky panky. But Carl,
head up, you're gonna want to hear this. It also
makes the ra's job that much more exciting. You know. Oh, no,
some dude's not taking the hint. She's not into them.
I gotta get in there and see if she's interested
(48:05):
in me. Yeah, Okay, it's just gonna be fun. It
sounds like a new acronym. It's my point. You always
have this perception of what college is going to be, right,
You're like, oh, I'm gonna get to college just be
girls and have sex. And it never is that. It's like, oh,
I have classes and it's hard and I was a
(48:28):
study all day. This stinks, but I think this, uh
you know, co ed dorms rooms, that's where it's at. Anyway.
All right, we got some plugs. We have the tossshowstore
dot com, get yourself some merch. We got our tours
Eddie Goosling dot com and Daniel Tosh dot com. We're
(48:51):
going all over the beautiful Midwest, heading over to New York.
Where else are we going? Jersey, Philly, Jersey and Philly. Yeah, oh,
it doesn't get any better than that. All right, Well
it's time for our free plug. Go ahead, band, crank
it up. Do you like classical music? All right? The
(49:22):
free plug? You guys know I love heavy metal. Well,
why wouldn't you play it heavy metal? Why did you
do classical music? If the plug is for heavy metal?
All right, I don't need to tell you that if
I were to be in Wisconsin Dell's on April fourth,
you would find me at the Legacy Dinner Theater to
watch the number one Metallic a tribute band working today, Hardwired. Oh, man,
(49:47):
are you kidding me? Hardwired? Those are the guys from Tampa, Florida. Yep, yep,
says it right there, Tampa, Florida. Yeah, if ever there
was a job, it's like, Oh, I'm in a Metallica
tribute band. I would be worrying you from Tampa. It
seems like one hundred percent, there's nothing more nail on
(50:09):
head than a Metallica tribute band from Tampa, Florida. All Right,
They've perforred hundreds of performances all over the US pretending
to be Metallica. It's no wonder they have become a
household name in the tribute world. I wonder how Lars
feels about tribute bands. Remember back in the day, Lars
was the big napster killer, just couldn't handle anybody listening
(50:31):
to music for free. But I wonder how he feels
about a tribute He might actually be playing in the
band for all I know. By the way, is he
or is he not the worst drummer out of all
the big successful bands. Pete says, yes, Pete's are drum experts.
He says, yes. Wow, man, why does he get such
a voice in the band for all these years? It's like,
(50:55):
why do I know his name? You shouldn't. You shouldn't
know a drummer's name, period, let alone a shitty drummer.
Come at me Metallica fans. If I'm wrong now, don't
give me wrong. I love Metallica. Oh. I used to
have in my Honda Civic when I was sixteen.
Speaker 4 (51:13):
Uh.
Speaker 1 (51:14):
I used to add the six by nine s. They
were in individual boxes with a bass cannon and I had.
I used to love to play that one slow song.
What was it? Unforgiven?
Speaker 2 (51:25):
Yeah?
Speaker 1 (51:25):
Unforgiven? Oh that had some bass that came in toward
the end of it. I liked it all right. Anyway,
what were we talking about? This Metallica band? The show
kicks off at seven with doors opening up five thirty
general admission. It's forty nine dollars ninety five cents plus
a nine hour processing fee. Holy cow, that's more than
what it costed to see Metallica. There's no refunds after purchase, However,
(51:48):
tickets maybe exchange for another performance to provide. The box
office is notified in a minimum of forty eight hours
prior to showtime. For those with mobility issues, contact the
box office so they can find in you a seat
near a ramp or a plug for your medical device
keeping you alive. Nobody wants to die watching not Metallica. UH.
(52:12):
The Legacy Dinner Theater is located at five six four
Wisconsin Dell's Parkway, south across from the Wilderness Resort. It's
right next to UH Pirate Cove's Adventure Golf. That's where
it is. You know. The other day I heard a
band warming up at this little rock venue and I
took my daughter and son into to watch soundcheck and
(52:35):
they didn't kick me out. They was like yeah, and
it was a female singer and she was letting it
rip and my son was just like whoa. And I'm like, yeah, man,
you just.
Speaker 3 (52:46):
Came home with something new.
Speaker 1 (52:47):
What's that?
Speaker 3 (52:47):
It's a new hack. Just go to sound checks. You
don't have to go to the show. You're gett to
see them kind of like warm up, get the pipes,
tune it in, and then.
Speaker 1 (52:54):
Yeah, leave. You have to have children with you at
all the time, like you gotta have children. Maybe if
you don't have cute kids, you're not You're gonna they're
gonna ask you to leave sound check. You know you gotta.
You got a fugly daughter and they're like, nah, beat it, buddy,
go buy a ticket. Okay, you got a cute daughter
that's got her hair and little little buns. They're like,
come on in, you want to sit down. I'm like, nah,
(53:16):
we don't want to sit down. We're at a rock show.
We're gonna stand. My daughter pulled out a lighter, my
son was vaping. What are we talking about? See you
next week
What do you think the lighting in here?
Speaker 2 (00:02):
I have notes.
Speaker 1 (00:03):
You want to tinker, don't you? Yeah, every party you
wants to tinker. Pashash Welcome to Tosh Show. I am
your host, Daniel Tosh, and with me is Eddie Gosling. Eddie, Hello,
Daniel Tosh, welcome to the show.
Speaker 3 (00:24):
Thank you, thanks for having me.
Speaker 1 (00:26):
Well, it's good to have you. I don't want to
start uh this podcast with a fart joke, but here
goes all right. My son the other day was running
and I was chasing him, and while I was chasing him,
he farted. He gets excited sometimes and it comes out.
It doesn't matter. By the way, my son can't fart
(00:48):
without my wife's screaming, go to the bathroom. You need
to go to the bathroom. I'm like, and I'm always like,
one doesn't mean the other. I agree with you. She's like, no, no,
if you'r farting, you have to go poop. I'm like, okay, anyway,
sorry about that. So he farts and then he said
we're laughing about it because because he's a kid. He's
a five year old. Five year olds are allowed to
laugh at farts. I know, fifty year olds are allowed
(01:09):
to laugh at farts anyway. He says to me, Hey, Dad,
do you think that while I was running when I
farted that the fart made me run faster? And then
before I even got to say anything, my wife just
chimes in, yes, that's your noss button. I'm like, well,
(01:31):
they don't even need me anymore for comedy. But both
of them got it all figured out. I thought it
was the funniest exchange ever. I just sat there and
I was like, well, you guys did it. That's hysterical.
He's running farting, says does that make me go faster?
And she said, gets your noss button? You don't. You
don't want to press it too soon in a race. Perfect,
pretty good stuff. All right, What are we doing today, Eddie?
(01:53):
Dear to Show? This is quickly becoming one of my
favorite segments. Dear TOAs Show is where I take a
question or a thought from one of our subscribers, or
a family member or someone that I just randomly heard
on the street, and I solve their problems. All right,
(02:13):
here we go.
Speaker 3 (02:14):
People that listen to music watch videos? Are you speakerphone
without using headphones around other people? How do you solve
that problem?
Speaker 1 (02:21):
Thank you, Alan, Alan. That is a real problem, and
I have a real solution that's also fun for almost
everyone within earshot. Okay, it's very simple. I just stand up,
walk as close as you can to them, and pretend
(02:41):
you have Tourette's shit. Fuck pussy cut shit, fuck cut pussy,
and throw on a twitch hit pussy chit, pussy pussy,
pussy chit. Okay, they're going to wrap up a call
the call no one. No one's explaining that on a
business conversation. That's immediately that they're gonna quickly oh oh shoot.
Speaker 3 (03:04):
Hey, I gotta go. I'll call you back.
Speaker 1 (03:06):
And then if they approach you like, what's wrong, man,
what are you doing? I have tretts. This is a disease.
Imagine shit shit Mexicans treats is fine if it's just
swear words, it's it's when the racist term start flying,
you're like, oh, okay, this guy's gonna get himself beat
up or elected president. Hey, all right, speaking of big
(03:33):
orange orangutangs. Uh did you see the New Planet of
the Eighth movie?
Speaker 3 (03:37):
I did not see it.
Speaker 1 (03:38):
By the way, new is relative. I think it's a
few years old. Whatever the latest one. Now I loved
the semi new installment of the trilogy that they did.
I thought that was Those were great with Caesar, but
I recently watched the new one, which is set many
(03:59):
general into the future, and and the monkeys have won
and the humans don't talk anymore, okay, whatever that here,
I just want to get to that.
Speaker 3 (04:08):
Hey, I could listen to you talk about movies like this.
The monkeys have won.
Speaker 1 (04:12):
The monkeys won there there the the top of the
pecking order. Although that and there was a disease or
something that went around and people can't talk, all right, whatever,
and monkeys talk, but there's no they have figured out
a lot of shit. Who cares about the movie? This
is This was my problem with the movie, and possibly
(04:33):
uh a problem with Hollywood in general. That you might
not think that I have this take on. But when
we let like anyone be a model, not just the
pretty people, you get where I'm going this movie. I
didn't think the star monkey was attractive. He didn't seem cool.
(04:53):
He looked, you know, like little little little doufiss, like
a character, like a like an idiot. I don't know, Yeah,
he didn't seem like he didn't have the star power
that Caesar had Caesar like was such a good looking monkey, Like,
holy cow, I would I would follow this monkey. I
would have been the first human to fall in line
(05:15):
and be like, no, no, this is my king, this
is my prophet. But anyway, this new one, I just
was like kept looking at this monkey, and I'm like, Hollywood,
come on, can you make the star of the movie
a little sexier. It was just hard to believe that
this would be like the one that everyone would would
turn to. He just didn't seem like a leader, and
(05:37):
I guess that was kind of part of it, Like, oh,
I just feel like he could have got beat up
by like a ton of other monkeys. He didn't have.
He didn't have that it factor as far as monkeys go.
The whole time, I'm just watching this movie going I
don't I'm not attracted this monkey in anyway. This isn't
a Brad Pitt. This is like, what's his name, who's
the guy from the Brutalist Adrian Brody. This is an
(05:59):
Adrian Brody. He's won an Oscar. I know, I'm not
saying that this monkey is not talented. I'm just saying
that he's not He's not like popcorn Yeah, this is
the Messiah. This looks like something you come home from
the fair with. You know, he looks he looked more
(06:20):
like the rally monkey at a Dodgers game where you
get the little velcrow hands and you hook it around
your head. You know, you know, kind of remind me
of what's that TV show with the Sniper Day of
the Jackal. That that guy he's like, he's such a
He's like a little doufist looking guy. And then his
wife in there is just so beautiful and I'm like, oh, man, snipers,
(06:43):
get all the hot chicks. I could do this conversation
all day though, but I'll tell you one more problem
about this monkey movie. Very dark and just not tonally.
Just actually I get a night I can't see anything
that's going on. You know, Gonna love this talk is
today's guest my cameraman. Oh nobody, nobody can bore me
(07:06):
more about lighting and talking about film than today's guest.
Enjoy Pasha, my guest today lit some of the most
beautiful sets you ever saw in Tosh point zero. For
over a decade, this man tried to turn my comedy
(07:26):
Gold into cinematic art, but unfortunately for him, it was
a low budget show when everyone else just wanted to
finish and go home. Please welcome my former director of
photography and the only member of the crew I wasn't
scared to talk to, Andrew.
Speaker 2 (07:41):
Good to see you, Daniel.
Speaker 1 (07:42):
Andrew, thank you for being here. By the way, do
I have a good side all sides?
Speaker 2 (07:49):
Eh?
Speaker 1 (07:50):
That is true, Andrew. Do you believe in ghost Absolutely?
Speaker 2 (07:55):
I have a friend who worked on UFO Hunters and
the ghost equivalent of it, and he said absolutely, Like
ghosts are real, UFOs not so much.
Speaker 1 (08:06):
Oh so, he doesn't believe in any alien life form,
but he does believe in ghost.
Speaker 2 (08:10):
This was as of like ten years ago.
Speaker 1 (08:12):
But yeah, well the evidence now, yeah, yeah, no, I
would you could? You could maybe get me to go
the other direction, but not that way. All right. Did
you like growing up in Minnesota?
Speaker 2 (08:23):
Well, Minnesota's a beautiful place.
Speaker 1 (08:24):
It's wonderful.
Speaker 2 (08:25):
But as somebody who was closeted like it was tough.
Speaker 1 (08:30):
I just thought it was always such a blue wall
up there. No, I'm wrong.
Speaker 2 (08:34):
Yeah, I think the blue wall kind of is around
parts of like downtown and some of the suburbs.
Speaker 1 (08:39):
But I'm doing two shows in your hometown of Minneapolis. Okay,
the Twin Cities. How come we call the Twin Cities?
But yet Saint Paul gets no love ever.
Speaker 2 (08:47):
Well, I think in Saint Paul things tend to close earlier.
It's more like government cultural, whereas Minneapolis is where, like
you know, the stadiums are, It's where the nightclubs are,
It's where probably the best restaurants are.
Speaker 1 (08:59):
Where's the big spoon with a cherry on it? I
like that?
Speaker 2 (09:01):
That's the Walker Arts Center.
Speaker 1 (09:03):
Oh man, I love seeing that big spoon. Yeah, you
ever go walk that, Eddie, I haven't seen the spoon.
You've never seen them. See you've gone to Minneapolis for
thirty years, I know, and you've never walked by the
Big Spoon. No, that is bonkers to me. I got
so many photos of me on dates with comedy club
waitresses in front of the big Spoon. Big spoon. Ah.
(09:24):
By the way, you also lived in Florida, that's right,
for two years as a child.
Speaker 2 (09:30):
Yeah. So I grew up in a suburb of Minneapolis
called Hedna. I lived there until I was about eleven,
and then my dad got transferred for work to Florida.
We lived in a suburb of Orlando. Called Lake Mary
for a year and a half two years.
Speaker 1 (09:43):
Did you love Orlando area or no?
Speaker 2 (09:46):
It was a culture shock for me, kind of coming
from suburban like conservative, you know, Minneapolis suburbs to you know,
central Florida.
Speaker 1 (09:56):
When I moved to Florida as a twelve year old,
I just I hated it. I grew to love it,
but I didn't know that you were supposed to be
embarrassed to live there. But immediately when I moved there, though,
I hated it, and everyone would ask me. I know,
they asked you something similar. They asked you, are you
(10:17):
a redneck or a surfer? Those were the two things
a white kid could be.
Speaker 2 (10:21):
They always wanted to know if I was a surfer
or a skater and answer that was the first question.
I remember the first time I heard it. I didn't
know how to respond. And so because you liked to
roller skate, I'm sure, why would you say that.
Speaker 1 (10:32):
I don't know.
Speaker 2 (10:35):
I was a terrible skater. So actually I was just
uncoordinated altogether. So I fell into the yearbook like team,
you know, I was in the group that wrote the yearbook,
that took all the photos.
Speaker 1 (10:47):
And then you put so many photos yourself.
Speaker 2 (10:49):
In there, not many of me. I was behind the camera.
Speaker 1 (10:52):
What was your dad doing at the time? What job
was he getting? Transfer around it?
Speaker 2 (10:55):
My dad had his own business. He sold construction materials,
so like PBC piping, That's what thing. And what happened
was there was a recession in the late eighties that
caused his business to shift around a little bit, and
so he chased some clients in Florida and then eventually
that fizzled away and work went to overseas markets and whatever,
and my dad's business kind of like imploded. So things
(11:19):
got really tough, and my mom came in and ended
up taking care of us.
Speaker 1 (11:23):
By the way, your father recently passed away.
Speaker 2 (11:25):
He did.
Speaker 1 (11:26):
Yeah, I'm very sorry to hear that. He came out
to you when you were eighteen years old. Yeah.
Speaker 2 (11:31):
By this point I knew that I was gay and
I wanted to tell my parents about it, but my
dad beat me to it, like he sat me down.
I didn't see this coming at all.
Speaker 1 (11:41):
I mean, did this shatter your world?
Speaker 2 (11:43):
It kind of pushed me back in the closet in
the sense that, like I was just I just didn't
know how to respond to it. And it was like
there was too many emotions that were coming up. You know,
when you're closeted, you compartmentalize it. You learned to hide it,
and so I kind of went back into the closet.
And then it was two years after that that I
came out to them.
Speaker 1 (12:01):
I remember some details that you may have purposely left out.
Your dad once came to you before he came out
and asked you if you were gay.
Speaker 2 (12:13):
He told me that he asked me that when he
came out.
Speaker 1 (12:15):
To me, because he knew his son and had probably
a pretty good read. I think he probably he was
giving you the easy coming out, and you said, nope,
I'm not going to fall for this.
Speaker 2 (12:27):
Because I knew I wasn't fully ready to do it yet.
And you couldn't be in the middle. You can't sort
of half come out, because that would just create too
much skepticism.
Speaker 1 (12:34):
That's bisexuals that half come out.
Speaker 2 (12:37):
No. Well, my dad at the time actually said he
was by okay. He said, he says, I'm by. I
have a preference towards men. And I was confused by
that because that doesn't really define being by. But I
just I didn't ask him any more questions about it
because I was still processing.
Speaker 1 (12:53):
It looking back on that moment, did you react the
way that you wanted to react?
Speaker 2 (12:58):
I mean, in hindsight, I would have I would have
come out to him. Then, oh, because why wait?
Speaker 1 (13:02):
Well no, I know I have always felt when any
you know, the handful of times I've been fortunate enough
for a friend to come out to me, I've always
been the only thing that's ever bothered me is like, oh,
I hate that you had to like not you know,
keep something or that's always the thing that you do.
And then when is your parents? That's such a weird thing.
(13:23):
Did you like side? I mean, how'd your mom handle this?
Speaker 2 (13:25):
First of all, well, she had already known for some time,
several years. I think I think it was difficult for her,
but she had she had started to move on. They
had already been separated for several years at this point,
even though they still had, you know, relationship in the
sense that they were taking care of us together.
Speaker 1 (13:41):
And did the relationship get stronger over the years.
Speaker 2 (13:44):
After this between them?
Speaker 1 (13:45):
Yeah? I mean as far as a friendship, did it
ever turn back into a.
Speaker 2 (13:49):
Friendship or no, it was a friendship.
Speaker 1 (13:50):
By the way, did your father have many female relationships
in his life or no.
Speaker 2 (13:55):
No, I mean I think they met when she was
right out of nursing school. You know, they were in
their early mid twenties actually, yeah, mid twenties, and and
got hitched right away.
Speaker 1 (14:06):
You have twin brothers.
Speaker 2 (14:08):
Twin older brothers and a younger sister.
Speaker 1 (14:10):
And all of them are gay. No, no, no, no.
How did they handle this?
Speaker 2 (14:17):
They were accepting of it, my sister even when I
came out to her.
Speaker 1 (14:21):
Well, I just I mean, accepting of you seems easy.
It was the father one that seems like it'd be
the tougher pill to swallow for kids.
Speaker 2 (14:29):
Ye, I mean it would have been more difficult for
them not understanding it, you know, not knowing what it's
like to live with the secret and how you could have,
you know, a life that's that's in a sense, not
being totally honest to your your true self.
Speaker 1 (14:41):
I've thought multiple times, how would I react if my
father came out to me just because of your situation?
And I was like, I am, this really makes sense.
I could piece it all together. Where'd you? Where did
you come out to them? At? Where were you guys?
Speaker 2 (14:57):
I told my parents I wanted to take them to dinner.
Speaker 1 (15:00):
Both of them together. Yeah, public place?
Speaker 2 (15:02):
No, No, actually my dad's house.
Speaker 1 (15:04):
Okay did it?
Speaker 2 (15:05):
And I just point blank told them because I didn't want.
Speaker 1 (15:08):
Any beginning to the meal. At the end of the meal,
it was after the meal, what would you guys eat?
I have no idea. You don't remember what you ate
that night.
Speaker 2 (15:14):
This was like thirty years ago.
Speaker 1 (15:17):
I don't care. What was your dad's reaction when you
actually finally came out to him.
Speaker 2 (15:21):
The first thing he said was I need a drink,
but kind of tongue in cheek.
Speaker 1 (15:25):
More like a cocktail. He's like, let's party, kid, No like.
Speaker 2 (15:31):
I think he just appreciated the irony or coincidence of
this situation and probably enjoyed that he would have somebody,
you know, close that he could relate to.
Speaker 1 (15:43):
Listen. I have always said that I think a gay
man would make the best father and husband to a woman.
Speaker 2 (15:52):
When I was I don't know, in my late twenties,
he came out to visit and he helped me move
into a new apartment in West Hollywood as my first
Hollywood apartment. And it was like a Sunday night and
we had finished moving and I had some friends over.
We ate dinner, and I thought that was going to
be the end of it. And as we were I
was saying good night to everybody, he turned to me
and he said, well, wait, we haven't gone out yet,
(16:12):
And so everybody had surprise looks on their face, like
they knew about my dad. But he wanted to go
out for a night on the town. So we did
a bar crawl along Santa Monica Boulevard.
Speaker 1 (16:23):
Rage, Did you go to Rage?
Speaker 2 (16:24):
We didn't go to Rage. We went to Trunks. We
went to Mickey's. I think we went by a place
called the Normandy Room, which was a lesbian bar back then.
He got kicked out of there for trying to smoke inside.
Speaker 1 (16:42):
Damn. He's yeah, the coolest dad in the world. You
didn't even know it. Talk about how you know, as
a young child you got into wanting to be a
cinematographer filming all of it.
Speaker 2 (16:53):
I would say from a very early age, before we
had any cameras, I'd walk around the house and I
would like make a little frame like I was I
was composing shots. Mm hmm. For a while I thought
I wanted to be a meteorologist.
Speaker 1 (17:05):
That doesn't make sense.
Speaker 2 (17:07):
Yeah, I mean I can attribute some of it to
admiring the light.
Speaker 1 (17:10):
But I.
Speaker 2 (17:12):
I love thunderstorms, I love snowstorms. I love weather events
like I liked the drama of you'd be watching a
TV show and there'd be that little baby, the weather
call would come at the bottom of the street and
an issue, you know, tornado warning. I would also say
that I noticed light, Like growing up in Midwest was beautiful.
You get four seasons, you know, the light is very
(17:34):
dramatic at different different times a day.
Speaker 1 (17:35):
All right, So as a child you were into it.
Speaker 2 (17:38):
Yeah, So I made super eight films. I made like
videos with my brothers, Like we got a hold of
a camcorder, like a friend's family friend lent us one
and so give a high eight. It was a VHS.
Speaker 1 (17:48):
Oh man, that's real cool.
Speaker 2 (17:50):
We'd set it up and we you know, discovered quickly
that if you put it on a tripod and you
start and stop it, you could make like objects move
around if you didn't move the camera.
Speaker 1 (17:57):
How old were you when you took your first dick pic?
And do you set it up before you take it? Right?
Speaker 3 (18:05):
Light the area?
Speaker 1 (18:06):
Sure filters? You don't have to answer that you went
to USC film school. How competitive an environment was that.
Speaker 2 (18:15):
I mean I at the time, I think they said
they accept like twenty or thirty applicants out of one
or two thousand, So you know, I was surrounded by
people who wanted to be writers and directors. There weren't
as many people that were, you know, into editing, cinematography,
production design.
Speaker 1 (18:32):
Were you super smart? No?
Speaker 2 (18:33):
I wasn't really book smart, but I was. I had
drive and I was creative, and you know, it took
me five applications to get into the film school, and
ultimately I think they were they were looking for somebody
who could, you know, express themselves creatively. And I remember
I ended up writing a letter in my final application.
This was that the last time I was trying to
(18:54):
apply to the school before I pursued a different tack.
I came out. You know, I described my coming out
story to my best friend at the time.
Speaker 1 (19:03):
You played the gay card hard, didn't you. Yeah.
Speaker 2 (19:05):
I mean I had been told I had met all
these these graduate students who were who were telling me
that they wanted to see some kind of personal statement,
and I didn't have the you know, I came from you.
Speaker 1 (19:15):
You had a pastern statement. You just didn't want to
share it at the moment by the US the crazy
expensive Yeah, how did you did you?
Speaker 2 (19:22):
Do?
Speaker 1 (19:23):
You force the parents just to like deal with it?
Speaker 2 (19:25):
We weren't able to do that, so okay, I got grants,
a lot of financial aid and some help from other
family members.
Speaker 1 (19:33):
Were you in debt after you graduated? I was, ah,
that's good, but you stayed out in LA. Did you
ever give up on the dream? And do you care
about USC? Sure? Do you go to the football games ever?
Speaker 3 (19:43):
Now?
Speaker 1 (19:44):
Did you ever go to a.
Speaker 2 (19:44):
I have gone to the football games. I went, but
the seats at the coliseum were really uncomfortable.
Speaker 1 (19:49):
They're not good. I always liked going. When I went
to the coliseum, I was excited because they had like
big old sausages that were like chicken based or something. Well,
because I can't I don't need beef, so I was
always like, oh there was something fun to eat there.
Speaker 2 (20:02):
I don't eat beef. I don't need pork.
Speaker 1 (20:04):
I used to not eat pork, and then I have children.
Speaker 2 (20:06):
But you have a pig, I know, and I kick
around it.
Speaker 1 (20:10):
Well, I don't. I don't like go ha ha, look
what I'm eating. Yeah, I eat here's the thing I
don't order it. But my children, we let them eat
what they want to eat right now. And if they're
eating something that has bacon in and then they don't
finish it. I have this weird thing where I don't
let food go to waste, so I just end up
(20:30):
eating it. Okay, I'm not proud of myself. By the way,
the American Society of Cinematographers gave the Greg Tolan Heritage
Award to the best up and coming cinematographer, and you
won that in nineteen ninety nine. Who the fuck is
Greg Toland?
Speaker 2 (20:47):
Greg Toland is a cinematographer who most famously is known
for having shot Orson Wells's Citizen Kane, and he was
a pioneer. He actually shared a title card with or
and Wells in the film, which was considered a big
deal at the time. But he designed lenses. He built
lenses like he was one of those like craftsmen that
(21:08):
just knew, like when there was a need for something,
he would design it. He would figure out how to
build it.
Speaker 1 (21:13):
All right, So you got this award in nineteen ninety nine, Yeah,
that's pretty great. That was right out of the gate.
Speaker 2 (21:18):
It was basically a big deal.
Speaker 1 (21:20):
And then you ended up on Tosh Point. Oh that
seems not like the normal trajectory of somebody. Do you
hate green screen?
Speaker 2 (21:29):
No, but I don't think I can see the color
green anymore because I was around it so much during
the time I worked on the show that Do.
Speaker 1 (21:35):
People realize how much stuff you shot because they always
just think of the show like, oh, doesn't need to
stand in front of a green screen the whole time.
I don't think they realized how many other things were
shot for that show.
Speaker 2 (21:46):
Yeah, I mean there was the Selena Gomez music video
parody we did.
Speaker 1 (21:50):
Kartof still talks to me about that dumb thing. He's like,
that was great. He couldn't memorize a word. Talk about
what a good time working on Tosh Point zero was
and how easy I am to work with.
Speaker 2 (22:10):
The hours were great.
Speaker 1 (22:13):
Yeah, that's something I'll take it.
Speaker 2 (22:16):
We had summer hours. We'd come in at I think
four am to light a set, to be rolling by
six or seven o'clock, and then wrapped at eight am.
Heading home mid morning rush hour.
Speaker 1 (22:30):
Is bonker.
Speaker 2 (22:30):
You'll get breakfast at the end of the day.
Speaker 1 (22:32):
Yeah, well, listen, what are you talking about. We always
had those nice little breakfast breeders.
Speaker 2 (22:36):
That's true, all right.
Speaker 1 (22:37):
So you didn't have a good time, and I wasn't
easy to work with. That's fair, No, you were.
Speaker 2 (22:42):
We didn't always know that, Daniel, we were going to
get but it was always exciting.
Speaker 1 (22:46):
What does that even mean?
Speaker 2 (22:48):
Whatever the script was, we knew that it could change
in a moment's notice, because you could, you could work
with something, you could you would respond in the moment,
and we had to light the show in such a
way that that anything could change at any moment, And
so we were always thinking on our feet, like there
was never a point where we felt, you know, comfortable.
Speaker 4 (23:09):
Over thirteen years, there was never a point in like
an a creative sense, and so everybody was kind of
ready to dance and think on their feet if needed.
Speaker 1 (23:20):
But they also got to go home at nine o'clock
in the morning. So yeah, well that was only toward
the end that I forced everybody to start working at
crazy early hours. That's such a silly idea that we had. Well, here,
you know what I liked about working with you. I'll
tell you what I liked now. All the things you think, oh, gay, no,
that's a that's a plus, but not what you're good
(23:40):
at your job. No, couldn't, couldn't care less. I think
it comes down to it's like you're also quiet. That's
a huge plus, but like you just like did your shit.
But the real thing is probably just being from Minnesota.
There's just something about people from Minnesota that I've always liked.
Speaker 2 (23:57):
Minnesota and Ice they call it, oh Man.
Speaker 1 (23:59):
What a name. Yeah, they're just nice folks there. When
movies were predominantly shot on film, everyone talked about how
fantastic digital would be. Now which is better?
Speaker 2 (24:10):
It's subjective, but it also depends on what you're doing,
you know. I think there are some shows that will
always work better some movies having been shot in film.
But ultimately it comes down to budget and what you
want it to look like. You know, you can look
at digital, it's just like a different film stock choice.
So like you can choose to shoot on film, it's
a different process. It has a more natural look to it.
(24:33):
I think the way the tones interact with each other,
the grain, there's a dimensionality to it.
Speaker 1 (24:38):
I hate what you're saying. I hate what you're saying well,
because anytime you would set stuff up, it's I knew
always I understood that you knew what you were doing,
but I always would just need to walk away because
I just know that like setting up shots, it just
takes so long. And if you're not into that then
especially if you're like doing comedy where it's like, who
(24:59):
can I'm just telling a joke. Oh, it's painful? How long?
Speaker 2 (25:04):
I think you have to be passionate about it in
order to survive because the hours can be long, the
pay can be crap, the food can be worse, and
it can be it can be difficult in a slog.
But if you love it like you don't think about that,
that kind of disappears.
Speaker 1 (25:19):
We gotta get you on. You need to be working
on Showgun. That's that seems like that was the project
for you.
Speaker 2 (25:24):
You got a hook up?
Speaker 1 (25:25):
I don't know, no, But if we do find a hookup,
then I need to find a way for you to
let me meet that star. Oh man, she is pretty.
You were on the set of the one where Alec
Baldwin shot someone.
Speaker 2 (25:44):
I was un rust No, okay, that is.
Speaker 1 (25:48):
Sorry about that, Eddie. That's Eddie's fault. Eddie. You got me?
You ever shot a gun?
Speaker 2 (25:54):
I have? I went to the shooting range with Scott Sibilski.
Speaker 1 (25:58):
He was Scott's abili was a producer on On Tosh
point zero and he's the one that introduced us to you.
Which is weird because Scott is if you were to
draw a photo of a heterosexual man, it would be
Scott Zabielski, like just his hair's a cop for fun.
That's the weirdest thing in the world. How did you
(26:21):
guys know each other?
Speaker 2 (26:23):
We met at USC Okay, yeah, Usc.
Speaker 1 (26:26):
You guys just all take care of each other. You're
kind of like Harvard, a bunch of assholes, aren't you.
Probably for somebody that has worked in film and television.
As long as you have, you never got fat and disgusting.
You've always you always were in perfect shape. I'll be
honest with you. Sometimes I felt like you you became
a cameraman just to show off your arms and hold
(26:47):
a camera carry stuff around. Yeah, you always he always
just like just the tightest shirts too, am I is
that changed? Ers? Are you still wearing skin tight shirt?
I can see that shirt's pretty tight.
Speaker 2 (26:57):
I mean, you know, I'm a homosexual, so.
Speaker 1 (27:00):
Now that I know tons of homeosexuals that are physically
not in good shape.
Speaker 2 (27:05):
I just never liked the way, you know, bag your
shirts looked on me. But I didn't know how to
dress like up until I don't know, in my early
thirties or late twenties. I think I wore mostly flannels
and baggy clothes.
Speaker 1 (27:16):
You did. I've never seen you in a baggy outfit
in my life. I'd love to give you a photo
of you in a baggy shirt. That's what i's out.
You work out every day just about what's what's what's
the process? What do you do well?
Speaker 2 (27:26):
It's changed because I used to be more into like
weightlifting for strength training, but now it's really just I
like high intensity, So I do like a boot camp
style workout. Work out at home.
Speaker 1 (27:38):
You're carrying a sand bag around like an idiot.
Speaker 2 (27:40):
No, no, just like some dumbbells, a matte kind of thing.
Speaker 1 (27:43):
Uh huh. Yeah.
Speaker 2 (27:44):
I like the I get a mental high from it.
Not everybody gets that, No, I know, I never had one. Yeah,
I don't work out clear my head.
Speaker 1 (27:50):
And you do it early in the morning or late
at night.
Speaker 2 (27:52):
You try to do it early in the morning, like
what time today was six am?
Speaker 1 (27:56):
And that's earlier than normal.
Speaker 2 (27:58):
It's about that time Okay.
Speaker 1 (28:00):
So six am every day you're sweating.
Speaker 2 (28:03):
Oh yeah, how many total days in your life would
you say you've gone into a gym?
Speaker 3 (28:07):
Oh?
Speaker 1 (28:08):
Not for shoot, that's a stare. Two five maybe and
never as an adult. I can remember in college going
into a gym. I guess I just think it's dumb.
I'm never gonna look good. I'm never gonna get like
a body that's.
Speaker 2 (28:26):
Like rich Piana.
Speaker 1 (28:27):
Just you know, I'm never gonna have arms, and I
should do it. You care about what you eat too, though? Yeah?
Speaker 2 (28:33):
But I cheat? Okay, you know I'm not super rigid desserts.
Speaker 1 (28:37):
Do you like desserts?
Speaker 2 (28:38):
Have a sweet tooth?
Speaker 1 (28:39):
I just ate old cheesecake that was in the refrigerator.
I don't even know where it came from. It was
like mushed into a tupperware bowl, and I just was
just Carly was thrown away, Like wait, wit give me that.
I wouldn't eat a lot of the meals that the
crew would eat. But when you found out that Panda
Express was being a you would get emotional, visibly upset.
Speaker 2 (29:05):
Yeah, and one of your staffers over there, like you know,
relished in the opportunity to serve Panda Express.
Speaker 1 (29:12):
Well, yeah, I've changed Pete as much as I can.
We call him life Hack Pete. Guys got a shortcut
for everything. But but yeah, his taste in foods is
always a little bit questionable.
Speaker 2 (29:29):
There was somebody who worked on the show whose wife
worked I don't know, something to do with food safety,
and she said that the chicken that they used in
Panda Express is like grade K chicken, or it was
a low grade chicken.
Speaker 1 (29:45):
But if it goes to Z that's fine. Let me
tell you some Panda Express. If you're a sponsor to
the show, and I know you should be, grade K
is fine with me. By the way, do you have
to be strong to be in your business? No? I
mean camera? I mean you carry a camera. Yeah, you're
lugging stuff around all day long?
Speaker 2 (30:06):
Sure? Sure, I mean you know you have assistance, you
have a team that can help you. And and if
you're if you're on a union job as a cinematographer,
you know technically you won't have to touch any equipment
if you have if you hire camera operators.
Speaker 1 (30:20):
Are you always doing union jobs or do you ever
get to do none union work anymore?
Speaker 2 (30:25):
A mix? I would say, you ever sit on that
train track on the on the Dolly.
Speaker 1 (30:29):
Yeah, is that fun?
Speaker 2 (30:30):
It's a lot of fun.
Speaker 1 (30:31):
I love the train. You ever say choo choo? Or
when you're when you're getting pushed around.
Speaker 2 (30:35):
I remember being told by a producer on this show
that we were never allowed to have a Dolly track.
Why just because it would take too much time.
Speaker 1 (30:43):
Okay, I like it. Then, Eh, the thing was this
show people? What people don't understand, they may understand, it's
pretty simple. The reason that the show worked is is
the way I understood it. You know, you can do
shows a million different ways, and they can work and
be successful or they can fail for a million different reasons.
But the way I went about it was, Okay, if
(31:05):
I have a show that cost way less than every
other show they're doing, it won't have to do as
well for them to say it makes financial sense to
keep the show. That was just my thinking. And then
it got to a point where, oh, the show was
doing well but it costs less. Well, now I want
(31:28):
to just make all that money, So give me all
the extra money you would be spending on an expensive show.
That was my thinking, and so let's keep the show cheap.
I probably should admit that, right, that's bad, but whatever.
That was my.
Speaker 2 (31:42):
Thinking, simple economics.
Speaker 1 (31:45):
What projects of yours are you the most proud of?
Besides Tosh point.
Speaker 2 (31:49):
Zero, there's a film I shot called Big Time Adolescence,
Uh huh that went to Sundance and did well, and
it's a dark comedy. I love the writing and it
very well directed. It was first time director writer named
Jason Orley, and I liked my work in it and
the experience of making it.
Speaker 1 (32:07):
In terms of cinematography, name your top five favorite films
and I will bet you all the money in the
world that I haven't heard of any of them.
Speaker 2 (32:16):
Top five films. Favorite films for cinematography.
Speaker 1 (32:18):
Yeah for you? Yeah, the Godfather didn't see it?
Speaker 2 (32:22):
No Country for Old Men?
Speaker 1 (32:23):
Oh, I saw it, loved it.
Speaker 2 (32:25):
It's a beautiful masterpiece Western.
Speaker 1 (32:28):
You like westerns? Yeah? Why, I didn't mean it like anything.
Guys are like, why would he.
Speaker 2 (32:38):
Not like that're just amazing classic stories and in there
they're not quite fantasy, but they're not quite reality.
Speaker 1 (32:44):
Whenever I see those that world am I thank the
Lord that I wasn't born during that time. I wouldn't
have survived in that world at all. It's not the
Western world. Is not is not cut out for a
man with ibs.
Speaker 2 (33:00):
No Citizen Kane all right, And it's not just because
of the Greg Poland thing, but it's it's inventive, it's beautiful.
Speaker 3 (33:09):
It's black and white.
Speaker 1 (33:11):
Like that Silence.
Speaker 2 (33:15):
Number four American Beauty shot by Conrad Hall.
Speaker 1 (33:18):
Do you always know who shot a film?
Speaker 2 (33:21):
A lot of times I do. I mean, I'll research
it in advance.
Speaker 1 (33:24):
Or that must be funny one of the movies.
Speaker 2 (33:26):
I'll go and read about the cinematography after a film
Natural Born Killers. I'm just thinking about when that came out.
That movie was so the cinematography was explosive, it was
so inventive and creative. Shot like super a chop video
shot by Robert Richardson. It was just, you know, amazing,
does beautiful work. Did a lot of work with Oliver Stone,
now works with quinton.
Speaker 1 (33:48):
Is Quintin done.
Speaker 2 (33:50):
I mean he said that I think he was going
to do one more, but I don't. You know. It's
like share where she says farewell, but really she means hello.
Speaker 1 (34:02):
Do do you rush out? Every time Cher says this
is the last time everybody's on the show gets gifts.
All it's just stuff from around my house. But anyway, first,
first I want to give you is these chomps protein bars.
They're turkey chomps. You're supposed to send me some free shit.
You haven't sent me anything. I don't like these jalapeno ones.
(34:24):
They just don't taste as good. So I don't want
any of the halopeno ones. Dorm by that hair. Anyway,
you'll get some snack on your way home.
Speaker 2 (34:31):
There's there's some of those thank you.
Speaker 1 (34:34):
Get that off the desk. This is a little a
board that my brother in law and his wife gave
me this year. They're like, oh, did you did you
like that? It's like a wave because I like the ocean.
I'm like, no, yeah, it's fine, but this little it's dumb.
First of all, who am I serving this to? Like
I'm having one person come over. I put a lunch
(34:56):
able on here, like, ah, look at this. Anyway, you'll
like that. Thank you. Here, we have these sea stank stands.
Is that what they're called? That is sea stands. We've
got three of these. We want it for this this
podcast and we don't use them, so I don't want
them and I want you to take don't let this
touch my desk. I swear to God, if you drop
(35:18):
a sea stand.
Speaker 3 (35:19):
He's got the strength.
Speaker 1 (35:20):
Will you need these for anything? I will?
Speaker 2 (35:23):
Actually?
Speaker 1 (35:23):
Okay, well guess what. Well, you're welcome. You're welcome for
tax purposes for myself to write this off? What did
I How much of these worth?
Speaker 2 (35:31):
Seventy bucks each? I'm just guessing them.
Speaker 1 (35:33):
Okay, Okay, that's not a bad gift. Then no, that's great.
That's not a bad that's not that's not hold on,
I won't last gift.
Speaker 2 (35:39):
It's worth the drive.
Speaker 1 (35:41):
This you you probably won't. Why am I giving you
a printer? Thing? Okay?
Speaker 2 (35:49):
That was That was a good move. You just sit
there shoulder workouts.
Speaker 1 (35:54):
Okay, this printer okay, see that's why I don't have
to work out, because I give heavy gifts. Way, this
printer is brand new. I got it for when COVID
hit and the show was temporarily shut down for a bit,
and I was in Tahoe and they're like, oh, we're
gonna shoot you know up in Tahoe. I'm gonna put
a green scream up in my garage. Anyway, I needed
(36:15):
to get a printer. That was way long story. Never
could get it to work, and then Pete tried to
get it to work and he couldn't get where. He goes, oh,
I think the ink dried up. And I'm like, how's
the ink gonna dry up? Just sitting in a house
for three years? Whatever? And then he put change the
ink cartridge and it would only print blue. I'm like,
I go, that can't be right, and he's like no,
(36:38):
he goes, and then he said something that I'm not
gonna repeat, but then it just he goes, it doesn't
work anymore. I go, there's no way a brand new
printer that has sat in my house for three years
only printed in blue ink for two weeks. So anyway,
I'm He's like, well it doesn't work. I'm giving this
(37:00):
to you, and then I want you to fix it
and print something, and then I will fire Pete.
Speaker 2 (37:08):
Thank you, okay, can take.
Speaker 1 (37:10):
Yeah, please take that off. Don't drag it straight up.
Look at that show how strong you are. Wall. You
have a gift for me. I don't want to.
Speaker 2 (37:18):
I did bring something.
Speaker 1 (37:19):
What did you bring for me?
Speaker 2 (37:20):
A book that my mother wrote that is based on
me as a boy and my childhood imaginary friend.
Speaker 1 (37:31):
Well, I don't first of all, it's why the blonde hair.
Speaker 2 (37:35):
Because I was blonde, really blond, straight, long hair as
a kid.
Speaker 1 (37:38):
Nothing straight about you.
Speaker 2 (37:42):
Also holding a jerbil is a hamster?
Speaker 1 (37:45):
Oh my bad? Sorry?
Speaker 2 (37:47):
The Adventures it's and there's book. I know you got kids,
I do, I'll read it.
Speaker 1 (37:51):
I'll read it today. Did you go by Andy? Yeah?
Do people still call you Andy?
Speaker 3 (37:55):
No?
Speaker 1 (37:55):
I didn't think so. I get mad when other people
that like know you better have a different name. I'm
always like, well that's not you don't call me Andrew. No,
his real friends call me Andy. Congratulations on getting married.
You just got married this past year.
Speaker 2 (38:11):
Two years ago?
Speaker 1 (38:12):
You got married two years? How long together were you?
Guys together? Before this?
Speaker 2 (38:15):
My husband and I actually met at USC. We were
randomly assigned as roommates, like literally into the same bedroom.
It was for summer housing.
Speaker 1 (38:24):
Hottest thing I've ever heard.
Speaker 2 (38:25):
Yeah, and so there was another roommate there too, and
or got me.
Speaker 1 (38:31):
Before guy gets to go. But I was at USC
and the other two rooms are just banging each other constantly?
Speaker 2 (38:36):
Is that?
Speaker 1 (38:37):
God? Damn it?
Speaker 2 (38:37):
He would tell the story better than I, But I
was starting to come out. I had only just come
out to one friend. At SC and not even to
my parents yet. So there was a closet full of flannels.
This was like the older me, and I had a
book that had a kind of topic of homosexuality and
the spine was turned around. I don't know why I
did this. I was closeted. So I had all these
(38:58):
books and then there was one that was turned the
other direction, and he saw that and saw what it
was and started to you know.
Speaker 1 (39:05):
Oh, good for him.
Speaker 5 (39:06):
Did you guys ever hook up in college? We were
boyfriends for how long? Like about a year I think, okay,
and then we actually broke up. I dumped him, and
then we were apart for seventeen years. I think, whoa, Yeah,
we were in and out of relationships.
Speaker 1 (39:22):
Captain touched the whole seventeen years.
Speaker 2 (39:24):
Not and touched the whole time.
Speaker 1 (39:25):
Okay.
Speaker 2 (39:26):
No, we went off and lived separate lives.
Speaker 1 (39:29):
Huh.
Speaker 2 (39:29):
Then we got back together about ten years ago.
Speaker 1 (39:33):
One year in college, seventeen years off and then he
calls you up, and you, guys are like, right back,
this is gonna work. This is a relationship.
Speaker 2 (39:41):
It was uncertain in the beginning, but it turns out
when you're in your late thirties, you're a bit different
than being twenty one.
Speaker 1 (39:48):
What does your husband do?
Speaker 2 (39:49):
He works in finance.
Speaker 1 (39:51):
Wait a second, your husband works is like a has
a family office.
Speaker 2 (39:57):
He's a family office manager right.
Speaker 1 (40:00):
Worth of one of his big, big, big clients.
Speaker 2 (40:03):
He doesn't talk numbers.
Speaker 1 (40:04):
What you think he embezzles from them? Do you ever
think he was gonna knock on the door and like
all of a sudden, you're both in handcuffs.
Speaker 2 (40:13):
I don't see that.
Speaker 1 (40:14):
I would be terrified because my business manager, I love
them more than anyone, and I know for a fact
if I found out they'd been stealing from me for
twenty five years, I'd be like, Oh, They're like, well
haven't you looked at your statements in twenty five years?
I'm like, nope, I haven't. I sure hope they're not. Okay,
(40:35):
so he doesn't steal?
Speaker 3 (40:36):
No?
Speaker 1 (40:36):
Are you and your husband faithful to each other?
Speaker 2 (40:39):
Yeah?
Speaker 1 (40:40):
You guys don't. You guys don't allow some like bullshit
like oh, hall past thing.
Speaker 2 (40:45):
We're very honest.
Speaker 1 (40:47):
Okay, but does that mean that you occasionally do stuff
like that? Then god damn it, you do all right?
Speaker 2 (40:56):
You gotta put everything on the table.
Speaker 1 (40:57):
Uh huh? I get it, just get it off my table.
Do you think you'll live in LA for the rest
of your professional career?
Speaker 2 (41:07):
Possible, But there's a lot of uncertainty right now in
the business, and so I don't know where my career
is going to take me. You know, I think I'll
always travel wherever I'm based, but I think it's you know,
increasingly that I can be based anywhere and still do
what I do.
Speaker 1 (41:22):
What advice do you have for some kid that wants
to move out to LA wants to be a cameraman someday?
What all do they have to do?
Speaker 2 (41:29):
I think the industry is shifting. I think filmmaking is changing,
and there's very much been a shift from away from
like traditional films, movies, TV shows and towards smaller, creator
driven projects. You know, when I was starting out, I
had a couple of options. I could try the studio
(41:51):
system where I work as an assistant and eventually work
my way up to you know, camera operator, maybe shoot
second unit. Or I could just start making my own
projects and meeting other filmmakers. And that's the route that
I took, and I wouldn't have made a different decision today.
The downside of that is you don't get to work
alongside other people and kind of learn from mentors as much.
(42:13):
But I think shoot as much as you can make
what you're passionate about, find like minded people and break
the rules. I think it's important to learn filmmaking, learn
the basics and then try stuff out and play.
Speaker 1 (42:29):
Do you have to go to film school?
Speaker 2 (42:31):
Absolutely not. You don't know now, particularly now you can
learn so much on YouTube.
Speaker 1 (42:35):
You said you wouldn't do anything different if you it
came out today with creating your own content, et cetera.
But would you do the whole USC thing again.
Speaker 2 (42:43):
If it were today?
Speaker 1 (42:44):
Yeah?
Speaker 2 (42:44):
Probably? Oh, And I think it's because it's a great
environment to meet other, you know, like minded people.
Speaker 1 (42:52):
Financially, is it is? Are you struggling for a long time?
If this is the path that you choose.
Speaker 2 (42:59):
That can be the case.
Speaker 1 (43:00):
I mean, is there work out there? It seems like
there's so many platforms that are making content now, but
yet it seems like no one's working.
Speaker 2 (43:07):
Yeah, I mean I think there's more because I think
the economy is different now you're you're producing for for
this medium as opposed to I mean, you might get
lucky and develop a following and find a brand. But
it's also very competitive. The barrier to entry is lower
(43:28):
than it's ever been. You know, technology has has is everywhere.
I mean there's new cameras coming out like every day,
and people are shooting movies on iPhones.
Speaker 1 (43:37):
I heard the new iPhone seventeen camera is going to
be a game changer. Oh, I can't wait to shoot
on that.
Speaker 2 (43:43):
Yeah, are you going to see what is it? Twenty
eight months later? That's coming out twenty eight years later.
Speaker 1 (43:47):
I haven't seen any of this stuff.
Speaker 2 (43:49):
Danny Boyle direct that you shot that on an iPhone?
You've seen tangerine?
Speaker 1 (43:52):
Tangerine? Yeah, sounds like something I might have seen. But no.
Speaker 2 (43:57):
That was the film about let's just say life around
Santa Monica and Highland, and it was directed by Sean Baker,
shot on an iPhone. It's it's beautiful, it's a lot
of fun.
Speaker 1 (44:06):
I'm not gonna watch it. I don't like movies, No
I do. I just don't like that. I don't I
don't know how to ask.
Speaker 2 (44:14):
Not four hour movies.
Speaker 1 (44:16):
Oh God, don't even know. There's no world where I'm
watching four hour movies. Do you see wicked?
Speaker 2 (44:21):
I did?
Speaker 1 (44:22):
Did you like it. Yeah, I thought it was really good.
Yeah I didn't. I didn't want to like it. I
was like, please don't like this, Please don't like them
My god, damn it. I love it. I loved Wicked
the whole way through it.
Speaker 2 (44:31):
I thought it was fabulous.
Speaker 1 (44:32):
Does it make you angry that John replaced three cameramen
with two poles in a tripod for this podcast?
Speaker 2 (44:40):
Well, I think you're just doing what you have to
do and the economics of a podcast.
Speaker 1 (44:45):
What do you think the lighting in here?
Speaker 2 (44:47):
I have notes.
Speaker 1 (44:48):
You want to tinker, don't you. Yeah, every party you
wants to tinker. Yeah, what's the problem?
Speaker 2 (44:53):
Well, that light source there, it's a bit harsh, like
it could be it could be a little softer. I
can tell the type of diffuse material being used. I mean,
I don't know how it looks on me, but I've
I've watched some of your other podcasts, and you know,
at like, I think you could go softer with it.
Speaker 1 (45:11):
Uh huh.
Speaker 2 (45:11):
I think that there you could. You could. That's probably
working as an eyelight, but it might be giving some
double shadows.
Speaker 1 (45:20):
So good.
Speaker 2 (45:21):
We always had an eyelight for you on the show,
so we would set something low you could put back here.
You know, I always wanted to have it right here,
but I couldn't because the center camera would see it.
So because your eyes kind of are are are sunken
back a little bit, so you want to see them.
Speaker 1 (45:35):
Oh god, I didn't highlight.
Speaker 2 (45:38):
You could do the Anderson Cooper thing and like cut
into the desk and then put a piece of glass
and then they would just have a light like an
eyelight that would fill you in.
Speaker 1 (45:46):
Anderson Cooper has children, Okay, why don't you have kids? Jerk?
All right? Andrew, thank you everyboding on the show. Thanks Daniel, Jesus.
Andrew so aggressive. No, it wasn't sweat. It was just
the violent class. So strong. Yes, strong hand, big hands too,
don't you? Yeah you do? Casha, Oh the thing Andrew
(46:10):
for being on the podcast. I'd also like to file
a complaint from the Straits. I just think, okay, I
just thought about this a little more, the idea that
he went off to college and his roommate became his
husband one day, right, just saying that's not fair for
(46:37):
the Straits. How much better would college be if you
knew that you might get paired up with someone that
you got to have sex with. Oh wouldn't that be great?
I mean, how exciting would it be to walk into
a room. Oh my goodness, this could be my wife.
(46:59):
I think it would actually help college enrollment. Certainly, it
would increase people wanting to live in the dorms. Because
here's the thing. If you knew that you could potentially
be signed up with a girl in your dorm and
that you guys might have sex, that's awesome because it's
gonna make way more guys want to live in the dorms.
(47:22):
And it's also you're gonna say, well, it's gonna make
less girls want to true, But the girls that do
want to, you know that they're ready to go. They're
gonna be that. Those are the horny girls something. Yeah,
they literally signed up for it. Okay, that's not fair.
(47:44):
Just because they signed up to live with the man
doesn't mean that they want any hanky panky. But Carl,
head up, you're gonna want to hear this. It also
makes the ra's job that much more exciting. You know. Oh, no,
some dude's not taking the hint. She's not into them.
I gotta get in there and see if she's interested
(48:05):
in me. Yeah, Okay, it's just gonna be fun. It
sounds like a new acronym. It's my point. You always
have this perception of what college is going to be, right,
You're like, oh, I'm gonna get to college just be
girls and have sex. And it never is that. It's like, oh,
I have classes and it's hard and I was a
(48:28):
study all day. This stinks, but I think this, uh
you know, co ed dorms rooms, that's where it's at. Anyway.
All right, we got some plugs. We have the tossshowstore
dot com, get yourself some merch. We got our tours
Eddie Goosling dot com and Daniel Tosh dot com. We're
(48:51):
going all over the beautiful Midwest, heading over to New York.
Where else are we going? Jersey, Philly, Jersey and Philly. Yeah, oh,
it doesn't get any better than that. All right, Well
it's time for our free plug. Go ahead, band, crank
it up. Do you like classical music? All right? The
(49:22):
free plug? You guys know I love heavy metal. Well,
why wouldn't you play it heavy metal? Why did you
do classical music? If the plug is for heavy metal?
All right, I don't need to tell you that if
I were to be in Wisconsin Dell's on April fourth,
you would find me at the Legacy Dinner Theater to
watch the number one Metallic a tribute band working today, Hardwired. Oh, man,
(49:47):
are you kidding me? Hardwired? Those are the guys from Tampa, Florida. Yep, yep,
says it right there, Tampa, Florida. Yeah, if ever there
was a job, it's like, Oh, I'm in a Metallica
tribute band. I would be worrying you from Tampa. It
seems like one hundred percent, there's nothing more nail on
(50:09):
head than a Metallica tribute band from Tampa, Florida. All Right,
They've perforred hundreds of performances all over the US pretending
to be Metallica. It's no wonder they have become a
household name in the tribute world. I wonder how Lars
feels about tribute bands. Remember back in the day, Lars
was the big napster killer, just couldn't handle anybody listening
(50:31):
to music for free. But I wonder how he feels
about a tribute He might actually be playing in the
band for all I know. By the way, is he
or is he not the worst drummer out of all
the big successful bands. Pete says, yes, Pete's are drum experts.
He says, yes. Wow, man, why does he get such
a voice in the band for all these years? It's like,
(50:55):
why do I know his name? You shouldn't. You shouldn't
know a drummer's name, period, let alone a shitty drummer.
Come at me Metallica fans. If I'm wrong now, don't
give me wrong. I love Metallica. Oh. I used to
have in my Honda Civic when I was sixteen.
Speaker 4 (51:13):
Uh.
Speaker 1 (51:14):
I used to add the six by nine s. They
were in individual boxes with a bass cannon and I had.
I used to love to play that one slow song.
What was it? Unforgiven?
Speaker 2 (51:25):
Yeah?
Speaker 1 (51:25):
Unforgiven? Oh that had some bass that came in toward
the end of it. I liked it all right. Anyway,
what were we talking about? This Metallica band? The show
kicks off at seven with doors opening up five thirty
general admission. It's forty nine dollars ninety five cents plus
a nine hour processing fee. Holy cow, that's more than
what it costed to see Metallica. There's no refunds after purchase, However,
(51:48):
tickets maybe exchange for another performance to provide. The box
office is notified in a minimum of forty eight hours
prior to showtime. For those with mobility issues, contact the
box office so they can find in you a seat
near a ramp or a plug for your medical device
keeping you alive. Nobody wants to die watching not Metallica. UH.
(52:12):
The Legacy Dinner Theater is located at five six four
Wisconsin Dell's Parkway, south across from the Wilderness Resort. It's
right next to UH Pirate Cove's Adventure Golf. That's where
it is. You know. The other day I heard a
band warming up at this little rock venue and I
took my daughter and son into to watch soundcheck and
(52:35):
they didn't kick me out. They was like yeah, and
it was a female singer and she was letting it
rip and my son was just like whoa. And I'm like, yeah, man,
you just.
Speaker 3 (52:46):
Came home with something new.
Speaker 1 (52:47):
What's that?
Speaker 3 (52:47):
It's a new hack. Just go to sound checks. You
don't have to go to the show. You're gett to
see them kind of like warm up, get the pipes,
tune it in, and then.
Speaker 1 (52:54):
Yeah, leave. You have to have children with you at
all the time, like you gotta have children. Maybe if
you don't have cute kids, you're not You're gonna they're
gonna ask you to leave sound check. You know you gotta.
You got a fugly daughter and they're like, nah, beat it, buddy,
go buy a ticket. Okay, you got a cute daughter
that's got her hair and little little buns. They're like,
come on in, you want to sit down. I'm like, nah,
(53:16):
we don't want to sit down. We're at a rock show.
We're gonna stand. My daughter pulled out a lighter, my
son was vaping. What are we talking about? See you
next week
Host
Daniel Tosh
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