August 10, 2025 • 10 mins
Tony Hale and D'Arcy Carden are both prominent actors known for their comedic and dramatic work in television and film
.
Tony Hale
D'Arcy Carden
.
Tony Hale
- Best known for his roles as Buster Bluth in the Fox sitcom Arrested Development and Gary Walsh in the HBO political satire Veep.
- Won Primetime Emmy Awards for Outstanding Supporting Actor in a Comedy Series for his work on Veep in 2013 and 2015.
- Has also made appearances in numerous films and TV series, including playing Agent James Suggs in Alvin and the Chipmunks: The Road Chip.
- A prolific voice actor, his credits include Forky in Toy Story 4 and the short series Forky Asks a Question, as well as Fear in Inside Out 2.
- Has acted in Disney+ shows like The Mysterious Benedict Society and Hocus Pocus 2.
D'Arcy Carden
- Most recognized for her portrayal of Janet in the NBC sitcom The Good Place, earning an Emmy nomination for Outstanding Supporting Actress in a Comedy Series.
- Also played Greta Gill in the Prime series A League of Their Own and Gemma in Broad City.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Hey guys, Brad Gilmour here, want to give a big
shout out to our title sponsor, Walker Texas Lawyer. If
you are a love would have been injured in an accident,
whether that be a car, truck, motorcycle accident, or some
kind of other issue, hit up Walker Texas Lawyer at
seven one three five five to two one one one
seven or Walker Texas Lawyer dot com. Oh Broadcasting live
(00:25):
from Houston, Texas and around the world and are around
the world.
Speaker 2 (00:30):
TV host, best selling author and radio personality, Brad Gilmour
brings you a collection of conversations with stars from movies.
Speaker 1 (00:40):
Matthew McConaughey, Brad Gilmore, Mark wohlburg By, how are you
the legendary mister Christopher Lloyd Christopher, how.
Speaker 3 (00:47):
Are we doing?
Speaker 1 (00:48):
I'm doing good, Ray Inser, Jessica Alba and Lizzie Matthis ladies,
thank you so much for joining me.
Speaker 4 (00:53):
Thank you. Kevin Coster joins us, Thank you so much.
Speaker 2 (00:55):
Thank you Television.
Speaker 4 (00:57):
Jimmy Fallon joins us this morning.
Speaker 3 (00:59):
Jimmy, how you doing, my friend? Good morning.
Speaker 4 (01:00):
Thank you so much Brad for having me. I appreciate this. Bud,
Kelly ripperd thank you for having me. Comedy. Jay Leno
joins us, Jay, how you doing.
Speaker 2 (01:08):
Hey, Brad? What's going on?
Speaker 4 (01:09):
Chris Tucker is in the bill and Chris Tucker, good
morning to you.
Speaker 2 (01:12):
Hey you.
Speaker 4 (01:14):
George Lopez joins us right now, George.
Speaker 3 (01:16):
How are you doing so?
Speaker 4 (01:17):
Good morning music, Lola Man, thank you, thank you for
having me.
Speaker 1 (01:22):
The legendary front man of A C D C. Brian
Johnson joins us right now, Brian, how you doing?
Speaker 3 (01:28):
Good morning? Brock what look jo give me funny? Megan Trainer.
Speaker 4 (01:33):
Chloe Bailey joins us. I appreciate the time, appreciate.
Speaker 3 (01:36):
You and more and more.
Speaker 2 (01:39):
This is the collection now your host of the Boat, Brad.
Speaker 1 (01:52):
Gilmour, ESPN Radio CW thirty nine in Houston. Darcy Tony,
thanks so much taking time. Congrats on the movie.
Speaker 5 (01:58):
I want your hair. There's way too somehow ai that
hair on top of this head? It's great.
Speaker 1 (02:05):
Yeah, you know what, it's a It's actually a doodle
that's going to come to life later on.
Speaker 3 (02:09):
It's not real. I know it seems that way though. No.
Speaker 1 (02:13):
Congratulations on the movie, guys. This is such an inventive film.
And like to me, when I was a kid, I
was the one who was in class with all the
doodles and the strange drawings that maybe my parents look
twice at.
Speaker 4 (02:24):
And so I feel like I have something that represents.
Speaker 3 (02:26):
Me on a larger cinematic scale.
Speaker 1 (02:28):
Is that kind of what was the appeal and the
attraction to the two of you do or see if
we could start with you?
Speaker 6 (02:32):
Yeah, for sure, I love that. That's the kind of
kid you were. I was like that too. I was
definitely like in my own little world, whether it was
you know, drawing or like a lot of a lot
of like make believe in the mirror by myself, yeah,
solo play and I so, yeah, I think there there
is some sort of like child not exactly feeling like
(02:57):
a kid again, but just being able to tap into
that remember what that feeling was, and you know, yeah,
that was definitely a big part of the appeal of
this of the script.
Speaker 3 (03:06):
Yeah, Tony, you would agree?
Speaker 5 (03:09):
What if I was like, No, I would not.
Speaker 3 (03:12):
I don't like it any I wouldn't.
Speaker 6 (03:13):
I wouldn't agree.
Speaker 5 (03:14):
Okay, I'm gonna go the opposite direction. No, this whole
movie kind of there's a lot of things going on,
but just the fact that she felt the freedom to
express her emotions through her drawings and then obviously teaching
the adults in the world that we need to learn
how to process our feelings. And it's not just that
how Seth, the director, he the way she drew, like
(03:36):
if she drew them with chalk or mark or crayon.
You could see those textures in the monsters, and it's
like it's one of your favorite details. It's so great
and anytime I see it, I find something new. But
it's it's just this kind of cray it's just eye candy.
So much to look at. That's fun.
Speaker 4 (03:51):
Yeah, yeah, yeah.
Speaker 1 (03:52):
From a visual perspective, you're right, Like having the different
textures of whatever the instruments she used to do the
drawings is interesting. And to me, is that like is
that a conversation you need to have with Seth ahead
of time to be.
Speaker 4 (04:04):
Like, what do these things look like? So I know
what I'm reacting.
Speaker 6 (04:07):
That's such a good question. I think probably for you
that would be I mean, Tony was a producer on it,
so you guys probably discussed that stuff in great detail.
Speaker 5 (04:15):
Yeah, we've been working on this does has taken us
like eight years to get made, and so.
Speaker 6 (04:21):
You start crying, just like or just throw open my mouth.
Speaker 5 (04:25):
And so I had seen all the concept art and
all that kind of stuff, but nothing beats seeing it
on the big screen. And all because Seth Is he
had a history of visual effects. And then he had
all his friends who are rooting for him, who are
helping him with this, people just working way above their
pay grade, right, and you just you see the love
and the hard work in each of those monsters, and
(04:46):
it's very rewarding.
Speaker 6 (04:47):
And it is you know, you were saying, like do
you have to have that conversation? It is kind of
a scary thing to work with, like CGI or anything
that isn't there in the moment while as you're acting,
because it can be a little like embarrassing you're acting
with nothing, or you just this. It could it could
be a lot of different things. Scary, embarrassing, you don't
(05:08):
trust person, Yeah.
Speaker 5 (05:09):
There's a trust like are you gonna are you gonna deliver?
Speaker 3 (05:12):
Deliver?
Speaker 1 (05:12):
Yeah?
Speaker 6 (05:13):
Are you gonna make me look like a fool?
Speaker 5 (05:14):
Exactly?
Speaker 6 (05:15):
So there's Seth is so clear and and we you
know he knows what he's doing. He's so clear in
his vision.
Speaker 5 (05:24):
A lot of the artwork and he went above and
beyond it and exceeded our expectations.
Speaker 6 (05:28):
Really amazing to see it.
Speaker 3 (05:29):
Well, what's like the direction?
Speaker 1 (05:30):
What's his note of like Okay, here you have this
monster and like I don't know, like just how does
he find like.
Speaker 5 (05:36):
In a technical word for instance, like this guy Dave,
I knew what he looked on paper, but he had
to kind of explain size and kind of all right,
so where's our eyeline?
Speaker 3 (05:48):
Yeah?
Speaker 5 (05:49):
Or is I here? And like all the red ider
chopping like he's so you just because that obviously has
to match where the visual arts are. So that kind
of vision he had in his head. Being able to
communicate that to us was absolutely and he.
Speaker 6 (06:01):
Did, You're so right, Like it was very if you
would do something that you thought was right, he would know, okay,
you're you're hitting here, but actually they're going to already
be here whatever. Yeah, Yeah, he could see what it
was going to be. So he was able to explain
what we should be doing in the moment and that
was really helpful.
Speaker 1 (06:20):
So when you talk about the eye line, I'm just
kind of fascinating by the production aspect, Like, so is
there something that he visually has you look at that's
taking the place of this, or how do how do
y'all make sure it matches up?
Speaker 5 (06:31):
But the difference is with this is so for instance,
I did Cliff with the Big Red Dog. Not to brag, yes,
but they had an actual puppet that we would kind
of look at, so it kind of helped where to
look on our eye. When you're dealing with an indie
budget like this, which is way less budget, you obviously
don't have those resources. So in his mind he'd be like, Okay, guys,
(06:52):
it's probably going to be a route here, so if
everybody could look for you, so he had to he
had to know the vision to communicate it to us
to you know, so that they could match.
Speaker 6 (07:00):
And then like a little side note just about acting
is something we kind of have to do that all
the time. We're really good at this, you're phenomenal, you know.
But it's so funny how much eyeline is like a
huge for the camera because sometimes you're working with your
fellow scene partner.
Speaker 5 (07:16):
But many times you're not. Yeah, and many times you're
looking at a piece of tape on.
Speaker 6 (07:19):
The on the camera or a weird little like corner
or something like that. You know. Anyway, it's it's we
can talk about this later.
Speaker 3 (07:25):
Yeah, yeah, no, I find all that fascinating.
Speaker 6 (07:28):
Yeah, the eye line is sort.
Speaker 5 (07:29):
Of for instance, we're looking at you right now, right
thankfully because of that hair.
Speaker 2 (07:33):
That hair.
Speaker 5 (07:34):
But typically I mean, like if if, because if the
camera is here and someone is and you're talking to
someone's here, you can't go like this, like you have
to kind of go closer. So either they have to
get really close to camera, or they put a piece
of tape tape that you look at that you're you're
pretty much amoting to a piece of tape, or you
kind of know what, like we all do, yeah, thank you,
(07:55):
and no I do cry to tape.
Speaker 6 (07:57):
That's the only that's the only way I can cry.
Speaker 3 (07:59):
Really to tape. Cry on tape.
Speaker 1 (08:02):
All tape related emotions happen. So like what, but what's
the takeaway like for for the audiences when they see this,
Like I have this quote that I love that says,
take me away to where I had a kid's innocence,
because in a sense, that's what I've been missing ever
since the imagination of the mind.
Speaker 6 (08:17):
That's amazing.
Speaker 3 (08:18):
I love I love this quote. I think about it
all the time.
Speaker 6 (08:20):
What I'm talking one more time.
Speaker 1 (08:22):
Take me away to where I had a kid's innocence,
because in a sense, that's what I've been missing ever since.
Speaker 3 (08:28):
Right, that's good and it helps you, helps you put
in that creative mind.
Speaker 1 (08:32):
But anyway, when you when you have people watch this movie, like,
what's the one takeaway you want to have from an
adult perspective?
Speaker 5 (08:39):
I mean, I I hope that parents give themselves a
break because I'm a dad and I it's a learning curve.
And my character in the movie thought he was doing
best by compartmentalizing the emotion after his wife passed and
was like, let's move on. And then because of his
daughter and thankfully him being open to his daughter, he
(08:59):
learned like that was not the best direction. Okay, we
got to start processing these feelings. And every parent is
in process, every person is in process, and just to
kind of feel seen and give yourself a break.
Speaker 1 (09:11):
Agree, Yeah, well the move the movie is phenomenal. I
really appreciate the time. Again, congratulations on I'm glad people
get to see it and thank you again.
Speaker 6 (09:19):
Really sure to meet you.
Speaker 5 (09:21):
Nice to meet you, assass
Hey guys, Brad Gilmour here, want to give a big
shout out to our title sponsor, Walker Texas Lawyer. If
you are a love would have been injured in an accident,
whether that be a car, truck, motorcycle accident, or some
kind of other issue, hit up Walker Texas Lawyer at
seven one three five five to two one one one
seven or Walker Texas Lawyer dot com. Oh Broadcasting live
(00:25):
from Houston, Texas and around the world and are around
the world.
Speaker 2 (00:30):
TV host, best selling author and radio personality, Brad Gilmour
brings you a collection of conversations with stars from movies.
Speaker 1 (00:40):
Matthew McConaughey, Brad Gilmore, Mark wohlburg By, how are you
the legendary mister Christopher Lloyd Christopher, how.
Speaker 3 (00:47):
Are we doing?
Speaker 1 (00:48):
I'm doing good, Ray Inser, Jessica Alba and Lizzie Matthis ladies,
thank you so much for joining me.
Speaker 4 (00:53):
Thank you. Kevin Coster joins us, Thank you so much.
Speaker 2 (00:55):
Thank you Television.
Speaker 4 (00:57):
Jimmy Fallon joins us this morning.
Speaker 3 (00:59):
Jimmy, how you doing, my friend? Good morning.
Speaker 4 (01:00):
Thank you so much Brad for having me. I appreciate this. Bud,
Kelly ripperd thank you for having me. Comedy. Jay Leno
joins us, Jay, how you doing.
Speaker 2 (01:08):
Hey, Brad? What's going on?
Speaker 4 (01:09):
Chris Tucker is in the bill and Chris Tucker, good
morning to you.
Speaker 2 (01:12):
Hey you.
Speaker 4 (01:14):
George Lopez joins us right now, George.
Speaker 3 (01:16):
How are you doing so?
Speaker 4 (01:17):
Good morning music, Lola Man, thank you, thank you for
having me.
Speaker 1 (01:22):
The legendary front man of A C D C. Brian
Johnson joins us right now, Brian, how you doing?
Speaker 3 (01:28):
Good morning? Brock what look jo give me funny? Megan Trainer.
Speaker 4 (01:33):
Chloe Bailey joins us. I appreciate the time, appreciate.
Speaker 3 (01:36):
You and more and more.
Speaker 2 (01:39):
This is the collection now your host of the Boat, Brad.
Speaker 1 (01:52):
Gilmour, ESPN Radio CW thirty nine in Houston. Darcy Tony,
thanks so much taking time. Congrats on the movie.
Speaker 5 (01:58):
I want your hair. There's way too somehow ai that
hair on top of this head? It's great.
Speaker 1 (02:05):
Yeah, you know what, it's a It's actually a doodle
that's going to come to life later on.
Speaker 3 (02:09):
It's not real. I know it seems that way though. No.
Speaker 1 (02:13):
Congratulations on the movie, guys. This is such an inventive film.
And like to me, when I was a kid, I
was the one who was in class with all the
doodles and the strange drawings that maybe my parents look
twice at.
Speaker 4 (02:24):
And so I feel like I have something that represents.
Speaker 3 (02:26):
Me on a larger cinematic scale.
Speaker 1 (02:28):
Is that kind of what was the appeal and the
attraction to the two of you do or see if
we could start with you?
Speaker 6 (02:32):
Yeah, for sure, I love that. That's the kind of
kid you were. I was like that too. I was
definitely like in my own little world, whether it was
you know, drawing or like a lot of a lot
of like make believe in the mirror by myself, yeah,
solo play and I so, yeah, I think there there
is some sort of like child not exactly feeling like
(02:57):
a kid again, but just being able to tap into
that remember what that feeling was, and you know, yeah,
that was definitely a big part of the appeal of
this of the script.
Speaker 3 (03:06):
Yeah, Tony, you would agree?
Speaker 5 (03:09):
What if I was like, No, I would not.
Speaker 3 (03:12):
I don't like it any I wouldn't.
Speaker 6 (03:13):
I wouldn't agree.
Speaker 5 (03:14):
Okay, I'm gonna go the opposite direction. No, this whole
movie kind of there's a lot of things going on,
but just the fact that she felt the freedom to
express her emotions through her drawings and then obviously teaching
the adults in the world that we need to learn
how to process our feelings. And it's not just that
how Seth, the director, he the way she drew, like
(03:36):
if she drew them with chalk or mark or crayon.
You could see those textures in the monsters, and it's
like it's one of your favorite details. It's so great
and anytime I see it, I find something new. But
it's it's just this kind of cray it's just eye candy.
So much to look at. That's fun.
Speaker 4 (03:51):
Yeah, yeah, yeah.
Speaker 1 (03:52):
From a visual perspective, you're right, Like having the different
textures of whatever the instruments she used to do the
drawings is interesting. And to me, is that like is
that a conversation you need to have with Seth ahead
of time to be.
Speaker 4 (04:04):
Like, what do these things look like? So I know
what I'm reacting.
Speaker 6 (04:07):
That's such a good question. I think probably for you
that would be I mean, Tony was a producer on it,
so you guys probably discussed that stuff in great detail.
Speaker 5 (04:15):
Yeah, we've been working on this does has taken us
like eight years to get made, and so.
Speaker 6 (04:21):
You start crying, just like or just throw open my mouth.
Speaker 5 (04:25):
And so I had seen all the concept art and
all that kind of stuff, but nothing beats seeing it
on the big screen. And all because Seth Is he
had a history of visual effects. And then he had
all his friends who are rooting for him, who are
helping him with this, people just working way above their
pay grade, right, and you just you see the love
and the hard work in each of those monsters, and
(04:46):
it's very rewarding.
Speaker 6 (04:47):
And it is you know, you were saying, like do
you have to have that conversation? It is kind of
a scary thing to work with, like CGI or anything
that isn't there in the moment while as you're acting,
because it can be a little like embarrassing you're acting
with nothing, or you just this. It could it could
be a lot of different things. Scary, embarrassing, you don't
(05:08):
trust person, Yeah.
Speaker 5 (05:09):
There's a trust like are you gonna are you gonna deliver?
Speaker 3 (05:12):
Deliver?
Speaker 1 (05:12):
Yeah?
Speaker 6 (05:13):
Are you gonna make me look like a fool?
Speaker 5 (05:14):
Exactly?
Speaker 6 (05:15):
So there's Seth is so clear and and we you
know he knows what he's doing. He's so clear in
his vision.
Speaker 5 (05:24):
A lot of the artwork and he went above and
beyond it and exceeded our expectations.
Speaker 6 (05:28):
Really amazing to see it.
Speaker 3 (05:29):
Well, what's like the direction?
Speaker 1 (05:30):
What's his note of like Okay, here you have this
monster and like I don't know, like just how does
he find like.
Speaker 5 (05:36):
In a technical word for instance, like this guy Dave,
I knew what he looked on paper, but he had
to kind of explain size and kind of all right,
so where's our eyeline?
Speaker 3 (05:48):
Yeah?
Speaker 5 (05:49):
Or is I here? And like all the red ider
chopping like he's so you just because that obviously has
to match where the visual arts are. So that kind
of vision he had in his head. Being able to
communicate that to us was absolutely and he.
Speaker 6 (06:01):
Did, You're so right, Like it was very if you
would do something that you thought was right, he would know, okay,
you're you're hitting here, but actually they're going to already
be here whatever. Yeah, Yeah, he could see what it
was going to be. So he was able to explain
what we should be doing in the moment and that
was really helpful.
Speaker 1 (06:20):
So when you talk about the eye line, I'm just
kind of fascinating by the production aspect, Like, so is
there something that he visually has you look at that's
taking the place of this, or how do how do
y'all make sure it matches up?
Speaker 5 (06:31):
But the difference is with this is so for instance,
I did Cliff with the Big Red Dog. Not to brag, yes,
but they had an actual puppet that we would kind
of look at, so it kind of helped where to
look on our eye. When you're dealing with an indie
budget like this, which is way less budget, you obviously
don't have those resources. So in his mind he'd be like, Okay, guys,
(06:52):
it's probably going to be a route here, so if
everybody could look for you, so he had to he
had to know the vision to communicate it to us
to you know, so that they could match.
Speaker 6 (07:00):
And then like a little side note just about acting
is something we kind of have to do that all
the time. We're really good at this, you're phenomenal, you know.
But it's so funny how much eyeline is like a
huge for the camera because sometimes you're working with your
fellow scene partner.
Speaker 5 (07:16):
But many times you're not. Yeah, and many times you're
looking at a piece of tape on.
Speaker 6 (07:19):
The on the camera or a weird little like corner
or something like that. You know. Anyway, it's it's we
can talk about this later.
Speaker 3 (07:25):
Yeah, yeah, no, I find all that fascinating.
Speaker 6 (07:28):
Yeah, the eye line is sort.
Speaker 5 (07:29):
Of for instance, we're looking at you right now, right
thankfully because of that hair.
Speaker 2 (07:33):
That hair.
Speaker 5 (07:34):
But typically I mean, like if if, because if the
camera is here and someone is and you're talking to
someone's here, you can't go like this, like you have
to kind of go closer. So either they have to
get really close to camera, or they put a piece
of tape tape that you look at that you're you're
pretty much amoting to a piece of tape, or you
kind of know what, like we all do, yeah, thank you,
(07:55):
and no I do cry to tape.
Speaker 6 (07:57):
That's the only that's the only way I can cry.
Speaker 3 (07:59):
Really to tape. Cry on tape.
Speaker 1 (08:02):
All tape related emotions happen. So like what, but what's
the takeaway like for for the audiences when they see this,
Like I have this quote that I love that says,
take me away to where I had a kid's innocence,
because in a sense, that's what I've been missing ever
since the imagination of the mind.
Speaker 6 (08:17):
That's amazing.
Speaker 3 (08:18):
I love I love this quote. I think about it
all the time.
Speaker 6 (08:20):
What I'm talking one more time.
Speaker 1 (08:22):
Take me away to where I had a kid's innocence,
because in a sense, that's what I've been missing ever since.
Speaker 3 (08:28):
Right, that's good and it helps you, helps you put
in that creative mind.
Speaker 1 (08:32):
But anyway, when you when you have people watch this movie, like,
what's the one takeaway you want to have from an
adult perspective?
Speaker 5 (08:39):
I mean, I I hope that parents give themselves a
break because I'm a dad and I it's a learning curve.
And my character in the movie thought he was doing
best by compartmentalizing the emotion after his wife passed and
was like, let's move on. And then because of his
daughter and thankfully him being open to his daughter, he
(08:59):
learned like that was not the best direction. Okay, we
got to start processing these feelings. And every parent is
in process, every person is in process, and just to
kind of feel seen and give yourself a break.
Speaker 1 (09:11):
Agree, Yeah, well the move the movie is phenomenal. I
really appreciate the time. Again, congratulations on I'm glad people
get to see it and thank you again.
Speaker 6 (09:19):
Really sure to meet you.
Speaker 5 (09:21):
Nice to meet you, assass
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