February 16, 2025 • 35 mins
In this episode, we chat with Gil Junger, the legendary director behind hits like Ten Things I Hate About You, If Only, Black Knight, and the unforgettable Coming Out episode of Ellen. Gil takes us behind the scenes of his remarkable career, sharing the lessons he's learned and the magic that happens when you step into L.A. and embrace authenticity.
In this episode, you will learn:
- The magic that can unfold the minute you step into L.A.
- What “authenticity” truly means to a director.
- How to bring yourself into a role and make it unforgettable.
- How humor, humility, and passion can guide you through a successful acting career.
Tune in for an inspiring conversation with Gil about directing and his unique approach to working with actors. Did you know Gil even created an audition technique to help actors get into the room? Find out more about it on instagram - @breakthrucompany.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:11):
(Transcribed by TurboScribe.ai. Go Unlimited to remove this message.) Hi actor, here at Speak LA, the podcast, we teach actors how to move to LA and
thrive.
So if that sounds like you, be sure to get our weekly emails packed with the
latest news, tips, and insider advice.
Just head over to www.ispeakla.com and sign up now to get everything delivered
straight to your inbox.
(00:32):
Today we're very excited to have Gil Younger join us.
Gil is an esteemed director, writer, and producer, a prolific powerhouse of
creativity, perhaps best known for his feature debut, 10 Things I Hate About
You.
Gil's movie credits include Black Knight, If Only, and most recently, Think
(00:53):
Like a Dog.
As well as his work in features, Gil has directed over 250 episodes of TV and
four television movies and has been nominated for both Emmy and DGA awards.
How old were you when you first moved to LA?
21.
How much money did you have-ish?
(01:17):
Five, 600 bucks.
Did you know anyone in LA when you moved here?
My boss, who I had met once.
I had flown out about six months before and I met the man that hired me for a
few hours and that was that.
What was the job?
Was it a day job?
(01:38):
My first job?
Yeah.
She was an errand boy, a runner, a gopher.
Well now they call them PAs, but back then it was a slave.
How long did it take?
Oh no, seriously.
You would be stunned if you knew what I had to do for them, but anyway, go
ahead.
I look forward to hearing more about that.
(01:59):
How long did it take until LA felt like home to you?
One day.
Wow.
Wow.
That's amazing.
I knew that I had found where I'm supposed to be.
That's amazing.
Wow.
You're the only person who has answered that, so that is very cool.
Yeah, I can't wait to hear about that too.
(02:22):
If you had to sum up LA in one word, what would that word be?
Plethora.
Ooh.
You two are so cute.
We haven't heard that one either.
Well, because I think there's so much to offer.
(02:43):
There's so much to be had in LA.
I love it.
It's perfect.
It's everything.
Gil, oh my God.
We're so happy you're here.
Thank you.
Welcome.
Yes.
Yes.
I'm excited.
We are too.
I think what both of you are doing is incredibly useful and really helpful for
(03:06):
actors worldwide, and I'm very, very happy to be a part of it.
Oh my gosh.
Thank you for that.
Sure.
Well, let's start at the beginning.
I'd love to hear, one, just kind of about what drove you to this business and
this career, and two, I'd love to hear more about why LA felt like home the day
you arrived, because as Camille said, we have never heard that as an answer,
(03:30):
and I'm intrigued and moved and fascinated.
All right.
Tell us.
Well, what's the first question?
How did I become a director?
Did you know, as a kid, were you like, this is what I want to do?
Yeah.
Okay.
When I was entering my junior year in college, I had two career goals in mind.
(03:55):
One, to open a stereo store in Houston, Texas.
No joke.
Okay.
Two, come out to LA and see if I could find my way in the entertainment
business, because I've been fairly, let me just say it, because I'm funny.
(04:16):
You are funny.
Yeah, so I've always liked entertaining people and being the bad guy, and it
wasn't like I wanted to come out to be an actor.
I just wanted to be in the business because I was fascinated by it.
Simple as that.
And I chose to head west instead of to go to Houston, because I was at school
(04:40):
at UT.
I went to film school at UT.
I'm sorry, UT Austin.
And yeah, and then literally, I thought, you know what?
I can always open up a store.
But I didn't want to be 35 and look back and go, what would have happened if I
(05:00):
went out to that place?
Like, what would have happened?
So I thought, just go.
Do it.
See what happens.
And that was it.
And then you came, and then you had that magical first day because you knew
immediately.
So what was that?
Oh, well, I went home for the evening to Dallas.
(05:20):
My folks were living in Dallas at the time with my then girlfriend, Phyllis.
And then the next morning, my mom gave me her car, pretty sweet, which was a
1969 Pontiac Bonneville convertible.
It was about the size of an apartment building.
And I literally packed a few pair of jeans, a few T-shirts, sneakers.
(05:46):
That's about it.
And 2,500 albums.
Seriously.
That was what was important to me.
And so I had 2,500 albums and three days' worth of clothes.
And that's it.
So we got in the car, and we drove to LA.
And then when we got here, we thought we were in Beverly Hills, but we didn't
(06:12):
know where we were.
And it turns out we were in Bel Air, right?
And so I said to Phyllis, I said, let's drive around this place.
Look at these houses.
It was just a whole other world, right?
So we're driving around, driving around.
And then I see a line of cars, fancy, fancy cars.
And then I see a guy opening the door for people.
(06:34):
The people got out, and then this limo would drive them up this super long
driveway.
So I turned to Phyllis, and I said, we are going to this party.
And I was wearing blue jeans, a T-shirt, and I had a Jew fro.
I was not pleasant to look at, probably.
(06:54):
And anyway, no, I was just like, you know, I was a college kid.
And so I drive up after the Mercedes 6.0s, you know, and everything.
And there I am in my Bonneville, right?
And I drive up, and the valet, which I never even knew what a valet was, he
said, hi, hello.
And he said, name, please.
And I said, Gil Younger.
(07:16):
And he looked at me like, dude, come on.
Like, he wasn't even standing.
And he said, dude, you're not on the list.
I said, no, no, it's spelled J-U-N-G-E-R, but it's pronounced Younger.
Like I'm a lunatic.
And he said, go, go.
And I was like, ooh, OK.
(07:37):
But then, as soon as I drove off, I thought, I am fucking going to this party.
No, no joke.
So Phyllis and I went around the block, and we hid in the bushes.
And I waited until that guy, the valet, took a car away.
So I knew he wouldn't be back for two minutes, three minutes maybe.
(07:59):
So when he left, I bolted to the chair that he had that list on.
And I just looked at the list.
And I just picked whatever name hit my retina first.
And here's the crazy funny thing.
Well, I think it's funny.
Is the name that registered was Bob Evans.
(08:21):
At the time, this was 1978 or 1979.
At the time, Bob Evans was the president of Paramount and one of the youngest
presidents ever and one of the most successful ever.
Like a monster huge guy.
OK, but I don't know.
Then the next valet comes around.
I pull up.
Hello.
Name, please.
And I said, Bob Evans.
(08:42):
And he's, oh, Mr. Evans.
And he said, I don't, Bob Evans could be a gardener for all I know, right?
I don't know Bob Evans.
But anyway, oh, Mr. Evans.
Oh, right this way.
And I get out of the thing.
And I said, come on, dear.
I said, come on, dear.
Like I'm somebody.
And next thing I know, they put me in some Mercedes limousine and they whisked
(09:06):
me up this.
It felt like it was a mile long drive.
Who knows how long it was.
Right.
This enormously long driveway.
And they let me off at the top.
And I this is a mansion.
I've never seen a mansion like this.
And the next thing and all the people are off to the right where the party was
(09:26):
at tables by a pool.
And the front door was open to the house.
But nobody was going in the house.
But, you know, I didn't know decorum at that time, certainly.
But I wanted to see what this house was like.
So all I know is two minutes later, I'm calling my mom on his telephone from
the movie theater in his house.
(09:49):
Oh, my God.
Okay.
We got here.
We're safe.
We got to L.A. But I'm standing in some guy's house.
But listen to this.
He has a movie theater inside his house.
That's where I'm calling you from.
Gilbert, are you supposed to be in the house?
I don't know.
But I got to go.
But this is going to be some trip.
(10:09):
I hung up the phone.
Okay.
So watch this.
So then all true, by the way.
And then so then I go and I was going to go to the yard where all the tables
were.
Right.
You know, a big event.
But in the yard.
And so then there's another table where they get to tell them your name.
So hello.
(10:30):
You know, of course, the beautiful 25 year old girls.
Hello.
Hello.
Name, please.
Bob Evans.
Mr. Evans.
Like, oh, hello, Mr. Evans.
Yes.
And then they hand me this little card with my table number on the card.
Right.
And I said, so what do I do with this?
She said, your table number is on the card.
(10:53):
I said, oh, OK.
So I get the card and I turn to Phyllis and I go, table number one.
I guess that's good.
I swear to God, I swear to God.
So now we walk around looking for the little the number one right at the top of
the little bouquet, whatever it is.
I see table one.
And I said, if no one's sitting down yet, a bunch of people all dressed
(11:15):
beautifully.
So Phyllis and I go sit down.
OK, fine.
Then a couple of minutes later, Shelley Winters.
Don't forget, 79.
Shelley Winters sits across from me and Sid Caesar sits next to Shelley
Winters.
I'm like, holy shit, I know who that guy is.
(11:36):
And I said, she's she's in that Poseidon movie.
I was saying, I was whispering to Phyllis.
I said, these are real actors.
So then everyone kind of gets to their table.
And Olivia Newton-John sits to my left and John Travolta sits to Phyllis's
right.
(11:56):
Oh, my gosh.
It was I snuck into the cast party for Greece.
Oh, my God.
My first day in L.A. Oh, my God.
I was sitting at the number one table at the cast party for Greece.
(12:17):
I danced with Olivia Newton-John on the pool, by the way, which had a automated
wooden dance floor that came on.
I mean, I'd never seen nothing like this.
But I knew Olivia Newton-John.
I mean, of course, I knew Olivia Newton-John.
I didn't know the movie was out yet because it was the cast party.
But, of course, I knew John Travolta from Welcome Back Potter, I think.
(12:42):
Oh, my God.
So, yeah.
Wow.
The cast party for Greece.
Is that wild?
That is insane.
I told the people at the table the truth.
I told the people the truth because I'm not a liar.
But they were so charmed by it, I guess, that they didn't tell anybody.
(13:04):
So, we stayed there the whole party.
I got smashed, drunk.
I was dancing with Olivia Newton-John.
Oh, my God.
I still have pictures of me and Travolta from the party.
That is the most amazing story I've ever heard.
One of the things I love so much about it is such an example of chutzpah, for
sure.
(13:24):
I mean, that's like the definition of chutzpah, what you just said.
And confidence.
And, you know, kind of just following your passion, your gut.
I mean, would you say you held on to that as your career went on?
And would you also advise people, not to break into parties, but to move with
(13:51):
that kind of chutzpah and confidence?
Well, yes.
You have to stand out because there's 8,000 of you coming a day.
Yeah.
One other little thing, very quickly from the party.
I know we have limited time.
(14:12):
So, there's a man, there's some very attractive man, but I don't know who he
is.
I mean, I recognize Cesar, who offered me a writing job, by the way.
Oh, my God.
Literally right then and there at the table.
He said, would you like to be one of my writers?
I said, no, I have a job.
And he says, oh, what do you do?
I said, I'm an errand boy on some TV show.
He said, no, no, you don't understand.
(14:33):
I'm a successful comic.
I'm asking you to write for me.
Yeah, no, I got a job.
I have no idea what any of that meant.
They were looking at me like, oh, this kid is not very bright.
But then this handsome man says to me, he says, if I may, I know a thing or two
about this business.
(14:55):
He said, as a matter of fact, it's my livelihood.
And I'm going to tell you, Gil, you are going to make it.
I swear to God, I'm going to start crying when he said that.
And he just looked at me with so much confidence.
He said, you are going to make it.
You have what it takes to stand out in this business.
(15:16):
And I said, oh, my God, that's so sweet.
And I said, what is it that you do?
And he said, I'm the editor of The Hollywood Reporter.
And I said, oh, wow.
What is that?
I don't know.
Everyone at the table just burst out laughing.
(15:36):
And he said, it's a trade magazine, you know, like for the thing.
For the business.
And I said, oh, that's interesting.
And then he invited me to his birthday party the next night.
What?
The next night I went to a private birthday bash for the editor of The
Hollywood Reporter.
(15:58):
Oh, my God.
It was pretty nuts.
It was a hell of a start.
Let's just put it that way.
Anyway, I have never been afraid of people.
Okay?
I just have not.
I mean, I certainly have.
I was, you know, you would never know that that kid that snuck into a party and
(16:23):
somehow got invited to another party because of it was so insecure.
I mean, I really suffered from self-limiting thoughts.
And I was too young to have imposter syndrome because I didn't even know what I
was going to be doing for a job.
(16:43):
I mean, I can deliver coffee, and I did that very well, I think.
But it's a good question you asked, Jen, because for people that are going to
work their way up the ladder like I did, I mean, I started very much at the
bottom.
You know, I was hand-washing the producers' porches.
(17:06):
Straight A's in college, a week later, hand-washing their porches that they
would come to and point out a water spot.
Oh, I'm sorry.
Oh, yeah, yeah, yeah.
But you know what?
I don't know what it is, but I've always been kind of like a golden retriever.
Like, I want to make people happy.
(17:27):
So I never took it as condescending, like, I am straight A's.
You know, I was like, okay.
It never bothered me because all I lived for, and it's almost embarrassing, but
it's the truth, is that pat on the back.
Good job.
Because I never believed in myself.
(17:50):
Right?
So when someone, when a figure of authority would say to me, good job, oh, my
God, my heart would just race because I absolutely did not believe that there
was anything special about me.
And that, by the way, stayed with me when I was one of the top five sitcom
(18:11):
directors on the planet, you know, in my late 30s.
I mean, I worked every week on hundreds of shows and very good shows.
But even, I don't know how I veered into this, but even at that time when
networks were throwing Monopoly money at me, I mean, seriously, it was stupid
(18:33):
money back then.
I still would often go to work thinking that today is going to be the day.
Today is going to be the day the president of ABC, because I've done so many
shows for ABC, was going to say exactly these words to me.
I would hear this in my head when I'd be showering in the morning.
Gil, yeah, great job.
(18:56):
Great show.
Oh, thanks.
God, the actors love you.
It's fun.
Thank you so much.
It's very sweet.
And then he'd say, you know, you're a great director.
Thank you.
Thank you.
But we realize there's no substance to you.
Oh, wow.
(19:17):
And you're not actually that, you're not that smart.
And I'm sorry, but we're going to have to let you go.
Wow.
At the peak of my sitcom career, that was absolutely 100% almost daily a
thought.
Can you believe that?
Talk about imposter syndrome.
I mean, my picture should be in the dictionary.
(19:41):
And all your listeners are like, what's a dictionary?
What's a rotary phone and a dictionary?
But yeah, it was pretty brutal.
But, you know, for me, I think because of my insecurities, I recognized at a
very young age that I was never going to be able to compete with my brother.
(20:03):
Oh, your brother's so smart.
Oh, my God, your brother's so handsome.
Oh, my God, your brother's going to Cornell.
Oh, my God, your brother's going to Cornell graduate.
Oh, my God, your brother graduated magna cum laude from Cornell Business
Graduate School.
Oh, my God, he could be a model.
That's all I heard.
And I was like, the fuck up.
Right.
So but I did realize at a young age that I was funny and I knew that that's how
(20:29):
I could get attention.
So I kind of I guess I developed that.
I don't know if it's a skill or whatever you want to say, but I relied heavily
on that.
That outgoing personality as evidenced by, you know, sneaking into that party.
But it definitely has served me well.
(20:50):
You know, I remember back in the days.
The expression we act as if I don't know if they still say it, but act as if.
Yeah.
You belong.
Dress.
Dress for success.
All that kind of stuff.
But even though I was riddled with insecurity, I
(21:15):
genuinely enjoyed working my ass off in the hopes that someone's going to say,
wow, good job.
I know that's almost a little sad, but it's who I was.
It's who I was, you know, and that's it.
I'm sorry.
Go ahead.
Oh, I was just going to say something else about your story that actually
(21:37):
really stands out to me is that you were also honest.
You know, you honestly didn't know these people.
And I think that is a quality.
You know, when you talk about these limiting beliefs and these limiting
thoughts, I mean, there's also, there's a real authenticity in how you showed
(21:58):
up to that party, which I think is very intriguing.
It's true, though.
I mean, it's very true.
And I think that it's humbleness.
We talk a lot about this, actually, Jen, is, you know, that there's a quality
and confidence that's also just being humble, where it's like you're showing up
(22:18):
as yourself and you're just being honestly who you are.
And I can just imagine at this giant Hollywood party, it would be so charming
to have this kid that's like, I actually don't know who you guys are.
I mean, what a refreshing take.
Yeah.
You know what I mean?
And if that's how you approach your career, that to me is pretty incredible.
(22:42):
Yeah.
I remember once I, oh, my kid's finally home.
Kid, relax.
I remember once, you know who Barry Diller is, obviously.
I remember once I literally bumped into Barry Diller.
I mean, bumped into him.
(23:02):
And I turned around and I said, excuse me, sir, do you have any idea who I'm
going to be?
Just making a joke.
And my boss, who was a ginormous television producer at the time, was like,
what the fuck?
That's Barry Diller.
And I said, who's that?
Like, I don't give a fuck.
Yeah, that's awesome.
And I made a joke.
And he just looked at me like I was a lunatic.
But come on, man.
(23:24):
You're a better human being than me because you have a gazillion dollars.
I've never, I've never thought that way.
And I really appreciate what you just said, Camille, because what I teach, what
I currently teach and the gift I'm trying to share with the world is your
(23:46):
greatest asset is your authenticity.
Yeah.
That's really weird that you pick that word.
I mean, if you went to my website and you, you can't believe how much I talk
about the value of authenticity, in particular for actors.
That's what's going to get them hired.
But they don't know that yet because no one teaches that.
(24:08):
Well, it's, it's very hard.
I think the thing that actors get a lot, and I'd love to hear this.
Actually, I'd love to hear it from you in two directions.
Like, I'd love to hear it as a director, how you get this from actors on set.
Like, I'd love to hear that.
And then obviously, as a male model.
(24:29):
Yeah, of course.
How did you know?
I mean, of course, that's what I was going through.
No, you've been to Abercrombie.
You've seen me standing outside in front of Abercrombie with my shirt off.
I mean, I was so excited.
I was kind of nervous to talk to you because of that.
I was just so aware of what you're like with your shirt off.
Let me just say this.
(24:50):
Do not objectify me.
I have feelings.
We would not dream of it.
Actually, I wish you would.
I wish somebody would objectify.
I want to get whistled at for walking down the street.
Are you kidding me?
I'd go, aw.
Sick.
The man who's blind.
Okay.
So, phrase your question.
(25:10):
I'm sorry.
The reason why I ask you, and I'll ask the question again, is just because
something as an actor, and I'm sure, Jen, you got this a lot as well, is
something that you hear a lot is just be yourself.
Right?
Just bring yourself.
And then, like, what does that mean?
Right?
You're like, but I am me.
(25:31):
Like, how do I?
So, I like the word authenticity better.
I think that's a better way in which we're entering into that phrase.
But it is often I talk to my own students about it when I teach acting.
I teach acting, too.
I don't know if you knew that.
Oh, no kidding.
Yeah.
I mean, not as much anymore, but I was at USC.
(25:52):
We're competing.
No, no.
We're not even remotely competing.
No, no.
I'm kidding.
I hate it.
It actually makes me kind of annoyed when I hear famous acting schools and
famous acting teachers and acting coaches and casting directors all saying, oh,
just be yourself.
Yeah, it's infuriating.
Just be yourself.
(26:12):
But that's not how they teach actors.
They have, the way acting, okay.
Should I just get into this?
Well, no, no.
First, before we get there, can you?
Oh, I'm sorry.
I want to hear, no.
I just want to hear when an actor is on set with you when you're directing.
Yeah.
How do you help, I guess?
I mean, I guess it's going to go into how you teach, too, but how do you get
(26:34):
them into a place of bringing their authentic self into the role when they're
feeling a bit stuck or nervous?
Oh, well, look, okay.
Here is an interesting part of that question because I have never worked with
newer, rarely have I worked with people that aren't talented and rarely have I
(26:57):
worked with people that are absolute beginners.
Well, except for Heath Ledger, Julia Stiles, and Joseph Gordon-Levitt.
They were beginners.
But you have to understand that as a director, I am blessed with the
opportunity to cast.
So as a director, a big part of my job is knowing how to cast, right?
(27:23):
So it's not like I'm teaching anyone how to act, nor do I think I have the
ability or the patience for that.
And I have no desire to teach anyone how to act.
I can definitely, if someone has the basic chops of an actor, I can absolutely
help them find their best performance.
I do it professionally.
(27:45):
And a lot of that comes from the side.
It's a lot of what I do, and I think one of the reasons actors like me, I
guess, is I instill a tremendous amount of confidence in them.
I treat them the way I wished I was treated at that age.
(28:09):
If they do something right, they're going to know about it.
And it's not like that, you know, like when moms, their kid's two years old and
he pees.
I don't do that shit.
And I let actors know.
(28:30):
I think it's more subliminal than words.
I let them know that I want to see how they would play this part.
I want them to show me who the character is.
Wow.
Yeah, I don't have any preconceived notions about why aren't you yelling?
(28:51):
I thought you should be yelling on that one.
Never that word has ever come out of my mouth.
I just, well, first of all, I cast the person.
So there's a reason that they're in the first place.
And why do I cast them?
Because there's a quality of authenticity in them that I respond to.
What is authenticity?
I'll try to make this quick.
(29:11):
I hate that this is 28 minutes.
Here's what authenticity is that no acting school teaches, but I'll get to it.
Authenticity is, ladies, you go to a party.
Let's say I'm throwing a party, okay?
And Camille and Jen, you come to my party.
And I'm the only person you know, and there's 20 people there.
And let's say you're at my party for three hours, okay?
(29:33):
The first 15 minutes, you're going to be talking to me.
I'm going to introduce you to a few people.
But invariably, you'll spend two of those three hours talking to one person.
It's just, you gravitate towards someone, right?
And then you like her, whatever.
Okay, so, and then the last hour is socializing and coming back to me.
(Transcribed by TurboScribe.ai. Go Unlimited to remove this message.) Hi actor, here at Speak LA, the podcast, we teach actors how to move to LA and
thrive.
So if that sounds like you, be sure to get our weekly emails packed with the
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(00:32):
Today we're very excited to have Gil Younger join us.
Gil is an esteemed director, writer, and producer, a prolific powerhouse of
creativity, perhaps best known for his feature debut, 10 Things I Hate About
You.
Gil's movie credits include Black Knight, If Only, and most recently, Think
(00:53):
Like a Dog.
As well as his work in features, Gil has directed over 250 episodes of TV and
four television movies and has been nominated for both Emmy and DGA awards.
How old were you when you first moved to LA?
21.
How much money did you have-ish?
(01:17):
Five, 600 bucks.
Did you know anyone in LA when you moved here?
My boss, who I had met once.
I had flown out about six months before and I met the man that hired me for a
few hours and that was that.
What was the job?
Was it a day job?
(01:38):
My first job?
Yeah.
She was an errand boy, a runner, a gopher.
Well now they call them PAs, but back then it was a slave.
How long did it take?
Oh no, seriously.
You would be stunned if you knew what I had to do for them, but anyway, go
ahead.
I look forward to hearing more about that.
(01:59):
How long did it take until LA felt like home to you?
One day.
Wow.
Wow.
That's amazing.
I knew that I had found where I'm supposed to be.
That's amazing.
Wow.
You're the only person who has answered that, so that is very cool.
Yeah, I can't wait to hear about that too.
(02:22):
If you had to sum up LA in one word, what would that word be?
Plethora.
Ooh.
You two are so cute.
We haven't heard that one either.
Well, because I think there's so much to offer.
(02:43):
There's so much to be had in LA.
I love it.
It's perfect.
It's everything.
Gil, oh my God.
We're so happy you're here.
Thank you.
Welcome.
Yes.
Yes.
I'm excited.
We are too.
I think what both of you are doing is incredibly useful and really helpful for
(03:06):
actors worldwide, and I'm very, very happy to be a part of it.
Oh my gosh.
Thank you for that.
Sure.
Well, let's start at the beginning.
I'd love to hear, one, just kind of about what drove you to this business and
this career, and two, I'd love to hear more about why LA felt like home the day
you arrived, because as Camille said, we have never heard that as an answer,
(03:30):
and I'm intrigued and moved and fascinated.
All right.
Tell us.
Well, what's the first question?
How did I become a director?
Did you know, as a kid, were you like, this is what I want to do?
Yeah.
Okay.
When I was entering my junior year in college, I had two career goals in mind.
(03:55):
One, to open a stereo store in Houston, Texas.
No joke.
Okay.
Two, come out to LA and see if I could find my way in the entertainment
business, because I've been fairly, let me just say it, because I'm funny.
(04:16):
You are funny.
Yeah, so I've always liked entertaining people and being the bad guy, and it
wasn't like I wanted to come out to be an actor.
I just wanted to be in the business because I was fascinated by it.
Simple as that.
And I chose to head west instead of to go to Houston, because I was at school
(04:40):
at UT.
I went to film school at UT.
I'm sorry, UT Austin.
And yeah, and then literally, I thought, you know what?
I can always open up a store.
But I didn't want to be 35 and look back and go, what would have happened if I
(05:00):
went out to that place?
Like, what would have happened?
So I thought, just go.
Do it.
See what happens.
And that was it.
And then you came, and then you had that magical first day because you knew
immediately.
So what was that?
Oh, well, I went home for the evening to Dallas.
(05:20):
My folks were living in Dallas at the time with my then girlfriend, Phyllis.
And then the next morning, my mom gave me her car, pretty sweet, which was a
1969 Pontiac Bonneville convertible.
It was about the size of an apartment building.
And I literally packed a few pair of jeans, a few T-shirts, sneakers.
(05:46):
That's about it.
And 2,500 albums.
Seriously.
That was what was important to me.
And so I had 2,500 albums and three days' worth of clothes.
And that's it.
So we got in the car, and we drove to LA.
And then when we got here, we thought we were in Beverly Hills, but we didn't
(06:12):
know where we were.
And it turns out we were in Bel Air, right?
And so I said to Phyllis, I said, let's drive around this place.
Look at these houses.
It was just a whole other world, right?
So we're driving around, driving around.
And then I see a line of cars, fancy, fancy cars.
And then I see a guy opening the door for people.
(06:34):
The people got out, and then this limo would drive them up this super long
driveway.
So I turned to Phyllis, and I said, we are going to this party.
And I was wearing blue jeans, a T-shirt, and I had a Jew fro.
I was not pleasant to look at, probably.
(06:54):
And anyway, no, I was just like, you know, I was a college kid.
And so I drive up after the Mercedes 6.0s, you know, and everything.
And there I am in my Bonneville, right?
And I drive up, and the valet, which I never even knew what a valet was, he
said, hi, hello.
And he said, name, please.
And I said, Gil Younger.
(07:16):
And he looked at me like, dude, come on.
Like, he wasn't even standing.
And he said, dude, you're not on the list.
I said, no, no, it's spelled J-U-N-G-E-R, but it's pronounced Younger.
Like I'm a lunatic.
And he said, go, go.
And I was like, ooh, OK.
(07:37):
But then, as soon as I drove off, I thought, I am fucking going to this party.
No, no joke.
So Phyllis and I went around the block, and we hid in the bushes.
And I waited until that guy, the valet, took a car away.
So I knew he wouldn't be back for two minutes, three minutes maybe.
(07:59):
So when he left, I bolted to the chair that he had that list on.
And I just looked at the list.
And I just picked whatever name hit my retina first.
And here's the crazy funny thing.
Well, I think it's funny.
Is the name that registered was Bob Evans.
(08:21):
At the time, this was 1978 or 1979.
At the time, Bob Evans was the president of Paramount and one of the youngest
presidents ever and one of the most successful ever.
Like a monster huge guy.
OK, but I don't know.
Then the next valet comes around.
I pull up.
Hello.
Name, please.
And I said, Bob Evans.
(08:42):
And he's, oh, Mr. Evans.
And he said, I don't, Bob Evans could be a gardener for all I know, right?
I don't know Bob Evans.
But anyway, oh, Mr. Evans.
Oh, right this way.
And I get out of the thing.
And I said, come on, dear.
I said, come on, dear.
Like I'm somebody.
And next thing I know, they put me in some Mercedes limousine and they whisked
(09:06):
me up this.
It felt like it was a mile long drive.
Who knows how long it was.
Right.
This enormously long driveway.
And they let me off at the top.
And I this is a mansion.
I've never seen a mansion like this.
And the next thing and all the people are off to the right where the party was
(09:26):
at tables by a pool.
And the front door was open to the house.
But nobody was going in the house.
But, you know, I didn't know decorum at that time, certainly.
But I wanted to see what this house was like.
So all I know is two minutes later, I'm calling my mom on his telephone from
the movie theater in his house.
(09:49):
Oh, my God.
Okay.
We got here.
We're safe.
We got to L.A. But I'm standing in some guy's house.
But listen to this.
He has a movie theater inside his house.
That's where I'm calling you from.
Gilbert, are you supposed to be in the house?
I don't know.
But I got to go.
But this is going to be some trip.
(10:09):
I hung up the phone.
Okay.
So watch this.
So then all true, by the way.
And then so then I go and I was going to go to the yard where all the tables
were.
Right.
You know, a big event.
But in the yard.
And so then there's another table where they get to tell them your name.
So hello.
(10:30):
You know, of course, the beautiful 25 year old girls.
Hello.
Hello.
Name, please.
Bob Evans.
Mr. Evans.
Like, oh, hello, Mr. Evans.
Yes.
And then they hand me this little card with my table number on the card.
Right.
And I said, so what do I do with this?
She said, your table number is on the card.
(10:53):
I said, oh, OK.
So I get the card and I turn to Phyllis and I go, table number one.
I guess that's good.
I swear to God, I swear to God.
So now we walk around looking for the little the number one right at the top of
the little bouquet, whatever it is.
I see table one.
And I said, if no one's sitting down yet, a bunch of people all dressed
(11:15):
beautifully.
So Phyllis and I go sit down.
OK, fine.
Then a couple of minutes later, Shelley Winters.
Don't forget, 79.
Shelley Winters sits across from me and Sid Caesar sits next to Shelley
Winters.
I'm like, holy shit, I know who that guy is.
(11:36):
And I said, she's she's in that Poseidon movie.
I was saying, I was whispering to Phyllis.
I said, these are real actors.
So then everyone kind of gets to their table.
And Olivia Newton-John sits to my left and John Travolta sits to Phyllis's
right.
(11:56):
Oh, my gosh.
It was I snuck into the cast party for Greece.
Oh, my God.
My first day in L.A. Oh, my God.
I was sitting at the number one table at the cast party for Greece.
(12:17):
I danced with Olivia Newton-John on the pool, by the way, which had a automated
wooden dance floor that came on.
I mean, I'd never seen nothing like this.
But I knew Olivia Newton-John.
I mean, of course, I knew Olivia Newton-John.
I didn't know the movie was out yet because it was the cast party.
But, of course, I knew John Travolta from Welcome Back Potter, I think.
(12:42):
Oh, my God.
So, yeah.
Wow.
The cast party for Greece.
Is that wild?
That is insane.
I told the people at the table the truth.
I told the people the truth because I'm not a liar.
But they were so charmed by it, I guess, that they didn't tell anybody.
(13:04):
So, we stayed there the whole party.
I got smashed, drunk.
I was dancing with Olivia Newton-John.
Oh, my God.
I still have pictures of me and Travolta from the party.
That is the most amazing story I've ever heard.
One of the things I love so much about it is such an example of chutzpah, for
sure.
(13:24):
I mean, that's like the definition of chutzpah, what you just said.
And confidence.
And, you know, kind of just following your passion, your gut.
I mean, would you say you held on to that as your career went on?
And would you also advise people, not to break into parties, but to move with
(13:51):
that kind of chutzpah and confidence?
Well, yes.
You have to stand out because there's 8,000 of you coming a day.
Yeah.
One other little thing, very quickly from the party.
I know we have limited time.
(14:12):
So, there's a man, there's some very attractive man, but I don't know who he
is.
I mean, I recognize Cesar, who offered me a writing job, by the way.
Oh, my God.
Literally right then and there at the table.
He said, would you like to be one of my writers?
I said, no, I have a job.
And he says, oh, what do you do?
I said, I'm an errand boy on some TV show.
He said, no, no, you don't understand.
(14:33):
I'm a successful comic.
I'm asking you to write for me.
Yeah, no, I got a job.
I have no idea what any of that meant.
They were looking at me like, oh, this kid is not very bright.
But then this handsome man says to me, he says, if I may, I know a thing or two
about this business.
(14:55):
He said, as a matter of fact, it's my livelihood.
And I'm going to tell you, Gil, you are going to make it.
I swear to God, I'm going to start crying when he said that.
And he just looked at me with so much confidence.
He said, you are going to make it.
You have what it takes to stand out in this business.
(15:16):
And I said, oh, my God, that's so sweet.
And I said, what is it that you do?
And he said, I'm the editor of The Hollywood Reporter.
And I said, oh, wow.
What is that?
I don't know.
Everyone at the table just burst out laughing.
(15:36):
And he said, it's a trade magazine, you know, like for the thing.
For the business.
And I said, oh, that's interesting.
And then he invited me to his birthday party the next night.
What?
The next night I went to a private birthday bash for the editor of The
Hollywood Reporter.
(15:58):
Oh, my God.
It was pretty nuts.
It was a hell of a start.
Let's just put it that way.
Anyway, I have never been afraid of people.
Okay?
I just have not.
I mean, I certainly have.
I was, you know, you would never know that that kid that snuck into a party and
(16:23):
somehow got invited to another party because of it was so insecure.
I mean, I really suffered from self-limiting thoughts.
And I was too young to have imposter syndrome because I didn't even know what I
was going to be doing for a job.
(16:43):
I mean, I can deliver coffee, and I did that very well, I think.
But it's a good question you asked, Jen, because for people that are going to
work their way up the ladder like I did, I mean, I started very much at the
bottom.
You know, I was hand-washing the producers' porches.
(17:06):
Straight A's in college, a week later, hand-washing their porches that they
would come to and point out a water spot.
Oh, I'm sorry.
Oh, yeah, yeah, yeah.
But you know what?
I don't know what it is, but I've always been kind of like a golden retriever.
Like, I want to make people happy.
(17:27):
So I never took it as condescending, like, I am straight A's.
You know, I was like, okay.
It never bothered me because all I lived for, and it's almost embarrassing, but
it's the truth, is that pat on the back.
Good job.
Because I never believed in myself.
(17:50):
Right?
So when someone, when a figure of authority would say to me, good job, oh, my
God, my heart would just race because I absolutely did not believe that there
was anything special about me.
And that, by the way, stayed with me when I was one of the top five sitcom
(18:11):
directors on the planet, you know, in my late 30s.
I mean, I worked every week on hundreds of shows and very good shows.
But even, I don't know how I veered into this, but even at that time when
networks were throwing Monopoly money at me, I mean, seriously, it was stupid
(18:33):
money back then.
I still would often go to work thinking that today is going to be the day.
Today is going to be the day the president of ABC, because I've done so many
shows for ABC, was going to say exactly these words to me.
I would hear this in my head when I'd be showering in the morning.
Gil, yeah, great job.
(18:56):
Great show.
Oh, thanks.
God, the actors love you.
It's fun.
Thank you so much.
It's very sweet.
And then he'd say, you know, you're a great director.
Thank you.
Thank you.
But we realize there's no substance to you.
Oh, wow.
(19:17):
And you're not actually that, you're not that smart.
And I'm sorry, but we're going to have to let you go.
Wow.
At the peak of my sitcom career, that was absolutely 100% almost daily a
thought.
Can you believe that?
Talk about imposter syndrome.
I mean, my picture should be in the dictionary.
(19:41):
And all your listeners are like, what's a dictionary?
What's a rotary phone and a dictionary?
But yeah, it was pretty brutal.
But, you know, for me, I think because of my insecurities, I recognized at a
very young age that I was never going to be able to compete with my brother.
(20:03):
Oh, your brother's so smart.
Oh, my God, your brother's so handsome.
Oh, my God, your brother's going to Cornell.
Oh, my God, your brother's going to Cornell graduate.
Oh, my God, your brother graduated magna cum laude from Cornell Business
Graduate School.
Oh, my God, he could be a model.
That's all I heard.
And I was like, the fuck up.
Right.
So but I did realize at a young age that I was funny and I knew that that's how
(20:29):
I could get attention.
So I kind of I guess I developed that.
I don't know if it's a skill or whatever you want to say, but I relied heavily
on that.
That outgoing personality as evidenced by, you know, sneaking into that party.
But it definitely has served me well.
(20:50):
You know, I remember back in the days.
The expression we act as if I don't know if they still say it, but act as if.
Yeah.
You belong.
Dress.
Dress for success.
All that kind of stuff.
But even though I was riddled with insecurity, I
(21:15):
genuinely enjoyed working my ass off in the hopes that someone's going to say,
wow, good job.
I know that's almost a little sad, but it's who I was.
It's who I was, you know, and that's it.
I'm sorry.
Go ahead.
Oh, I was just going to say something else about your story that actually
(21:37):
really stands out to me is that you were also honest.
You know, you honestly didn't know these people.
And I think that is a quality.
You know, when you talk about these limiting beliefs and these limiting
thoughts, I mean, there's also, there's a real authenticity in how you showed
(21:58):
up to that party, which I think is very intriguing.
It's true, though.
I mean, it's very true.
And I think that it's humbleness.
We talk a lot about this, actually, Jen, is, you know, that there's a quality
and confidence that's also just being humble, where it's like you're showing up
(22:18):
as yourself and you're just being honestly who you are.
And I can just imagine at this giant Hollywood party, it would be so charming
to have this kid that's like, I actually don't know who you guys are.
I mean, what a refreshing take.
Yeah.
You know what I mean?
And if that's how you approach your career, that to me is pretty incredible.
(22:42):
Yeah.
I remember once I, oh, my kid's finally home.
Kid, relax.
I remember once, you know who Barry Diller is, obviously.
I remember once I literally bumped into Barry Diller.
I mean, bumped into him.
(23:02):
And I turned around and I said, excuse me, sir, do you have any idea who I'm
going to be?
Just making a joke.
And my boss, who was a ginormous television producer at the time, was like,
what the fuck?
That's Barry Diller.
And I said, who's that?
Like, I don't give a fuck.
Yeah, that's awesome.
And I made a joke.
And he just looked at me like I was a lunatic.
But come on, man.
(23:24):
You're a better human being than me because you have a gazillion dollars.
I've never, I've never thought that way.
And I really appreciate what you just said, Camille, because what I teach, what
I currently teach and the gift I'm trying to share with the world is your
(23:46):
greatest asset is your authenticity.
Yeah.
That's really weird that you pick that word.
I mean, if you went to my website and you, you can't believe how much I talk
about the value of authenticity, in particular for actors.
That's what's going to get them hired.
But they don't know that yet because no one teaches that.
(24:08):
Well, it's, it's very hard.
I think the thing that actors get a lot, and I'd love to hear this.
Actually, I'd love to hear it from you in two directions.
Like, I'd love to hear it as a director, how you get this from actors on set.
Like, I'd love to hear that.
And then obviously, as a male model.
(24:29):
Yeah, of course.
How did you know?
I mean, of course, that's what I was going through.
No, you've been to Abercrombie.
You've seen me standing outside in front of Abercrombie with my shirt off.
I mean, I was so excited.
I was kind of nervous to talk to you because of that.
I was just so aware of what you're like with your shirt off.
Let me just say this.
(24:50):
Do not objectify me.
I have feelings.
We would not dream of it.
Actually, I wish you would.
I wish somebody would objectify.
I want to get whistled at for walking down the street.
Are you kidding me?
I'd go, aw.
Sick.
The man who's blind.
Okay.
So, phrase your question.
(25:10):
I'm sorry.
The reason why I ask you, and I'll ask the question again, is just because
something as an actor, and I'm sure, Jen, you got this a lot as well, is
something that you hear a lot is just be yourself.
Right?
Just bring yourself.
And then, like, what does that mean?
Right?
You're like, but I am me.
(25:31):
Like, how do I?
So, I like the word authenticity better.
I think that's a better way in which we're entering into that phrase.
But it is often I talk to my own students about it when I teach acting.
I teach acting, too.
I don't know if you knew that.
Oh, no kidding.
Yeah.
I mean, not as much anymore, but I was at USC.
(25:52):
We're competing.
No, no.
We're not even remotely competing.
No, no.
I'm kidding.
I hate it.
It actually makes me kind of annoyed when I hear famous acting schools and
famous acting teachers and acting coaches and casting directors all saying, oh,
just be yourself.
Yeah, it's infuriating.
Just be yourself.
(26:12):
But that's not how they teach actors.
They have, the way acting, okay.
Should I just get into this?
Well, no, no.
First, before we get there, can you?
Oh, I'm sorry.
I want to hear, no.
I just want to hear when an actor is on set with you when you're directing.
Yeah.
How do you help, I guess?
I mean, I guess it's going to go into how you teach, too, but how do you get
(26:34):
them into a place of bringing their authentic self into the role when they're
feeling a bit stuck or nervous?
Oh, well, look, okay.
Here is an interesting part of that question because I have never worked with
newer, rarely have I worked with people that aren't talented and rarely have I
(26:57):
worked with people that are absolute beginners.
Well, except for Heath Ledger, Julia Stiles, and Joseph Gordon-Levitt.
They were beginners.
But you have to understand that as a director, I am blessed with the
opportunity to cast.
So as a director, a big part of my job is knowing how to cast, right?
(27:23):
So it's not like I'm teaching anyone how to act, nor do I think I have the
ability or the patience for that.
And I have no desire to teach anyone how to act.
I can definitely, if someone has the basic chops of an actor, I can absolutely
help them find their best performance.
I do it professionally.
(27:45):
And a lot of that comes from the side.
It's a lot of what I do, and I think one of the reasons actors like me, I
guess, is I instill a tremendous amount of confidence in them.
I treat them the way I wished I was treated at that age.
(28:09):
If they do something right, they're going to know about it.
And it's not like that, you know, like when moms, their kid's two years old and
he pees.
I don't do that shit.
And I let actors know.
(28:30):
I think it's more subliminal than words.
I let them know that I want to see how they would play this part.
I want them to show me who the character is.
Wow.
Yeah, I don't have any preconceived notions about why aren't you yelling?
(28:51):
I thought you should be yelling on that one.
Never that word has ever come out of my mouth.
I just, well, first of all, I cast the person.
So there's a reason that they're in the first place.
And why do I cast them?
Because there's a quality of authenticity in them that I respond to.
What is authenticity?
I'll try to make this quick.
(29:11):
I hate that this is 28 minutes.
Here's what authenticity is that no acting school teaches, but I'll get to it.
Authenticity is, ladies, you go to a party.
Let's say I'm throwing a party, okay?
And Camille and Jen, you come to my party.
And I'm the only person you know, and there's 20 people there.
And let's say you're at my party for three hours, okay?
(29:33):
The first 15 minutes, you're going to be talking to me.
I'm going to introduce you to a few people.
But invariably, you'll spend two of those three hours talking to one person.
It's just, you gravitate towards someone, right?
And then you like her, whatever.
Okay, so, and then the last hour is socializing and coming back to me.
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