Let’s talk about Season 4 Episode 6 with Showrunner and Co-Creator John Hoffman, Director Jessica Yu, actors Richard Kind and Michael Cyril Creighton, and even Production Designer Patrick Howe!
We'll hear about the process of piecing together all the different types of found footage in this episode, the inspiration for the Brothers Sisters short film The Desecration of Alice, and of course, the long-awaited reveal of Dudenoff!
Heads up, there are spoilers for episode six. So listeners, if you haven't watched yet, stream it now and come right back!
Send us your thoughts and theories (in a voice memo!?): onlymurders@strawhutmedia.com
Or chat with fellow fans on Reddit: https://www.reddit.com/r/OnlyMurdersHulu
The Giveaway
Want to win tickets to the Only Murders themed escape room!?
There are locations in both Los Angeles and New York. If you’re located around one of those two cities and you’d like to test your mystery solving chops with 3 of your best buds, here’s how you enter.
Leave this podcast a rating and review on Apple or Spotify — wherever you listen from — take a screenshot, and email it to us at onlymurders@strawhutmedia.com. Include which city you want to visit the Escape Room in — either NYC or LA.
We’ll pick 2 winners in LA and 2 in NYC. Each winner will get four tickets. We’ll choose the lucky detectives right before the season finale! Good luck!
We'll hear about the process of piecing together all the different types of found footage in this episode, the inspiration for the Brothers Sisters short film The Desecration of Alice, and of course, the long-awaited reveal of Dudenoff!
Heads up, there are spoilers for episode six. So listeners, if you haven't watched yet, stream it now and come right back!
Send us your thoughts and theories (in a voice memo!?): onlymurders@strawhutmedia.com
Or chat with fellow fans on Reddit: https://www.reddit.com/r/OnlyMurdersHulu
The Giveaway
Want to win tickets to the Only Murders themed escape room!?
There are locations in both Los Angeles and New York. If you’re located around one of those two cities and you’d like to test your mystery solving chops with 3 of your best buds, here’s how you enter.
Leave this podcast a rating and review on Apple or Spotify — wherever you listen from — take a screenshot, and email it to us at onlymurders@strawhutmedia.com. Include which city you want to visit the Escape Room in — either NYC or LA.
We’ll pick 2 winners in LA and 2 in NYC. Each winner will get four tickets. We’ll choose the lucky detectives right before the season finale! Good luck!
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
Straw media.
Speaker 2 (00:02):
Oh no, they were like look. Sometimes it would be
like where where's the camera?
Speaker 3 (00:06):
Right?
Speaker 4 (00:13):
Hello, Welcome to the Only Murders in the Building Podcast.
I'm Ryan Tillotson and.
Speaker 1 (00:17):
I'm Maggie Bowles, and we're looking behind the scenes and
money for clues as we meet the casting creators of
the Hulu original series Only Murders and the Building.
Speaker 4 (00:23):
Today on the show, we're talking all about season four
episode six.
Speaker 1 (00:27):
We'll hear from showrunner and co creator John Hoffman, director
Jessica Yu, actors Richard Cuinne and Michael Cyril Creighton, and
even production designer Patrick Howe.
Speaker 4 (00:35):
We'll talk about the process of piecing together all the
different types of footage in this episode, the inspiration for
the brothers, sister's short film, The Desecration of Alice, and
of course the reveal of Dude Enough.
Speaker 1 (00:46):
But first, a quick recap and listeners. There are spoilers
for episode six, so if you haven't watched it yet,
hit pause, go watch it, and then come right back.
Speaker 4 (01:03):
Episode six, blow Up.
Speaker 1 (01:05):
We open on Tawny brothers in an orange prison jumpsuit.
We learned that the brother sisters have always been weird
and artistic and their film teacher taught them to always
keep the camera rolling.
Speaker 4 (01:14):
We learned that someone was shot at the photoshoot. The
bullet hit the metal plate in Glenn Stubbin's head and
it bounced off and hit Zach Galifaynakis. Glenn is unconscious
and Zach is okay. The trio leave the photo shoot
with Howard and decide to go to Oliver's apartment because
it's the least murdery.
Speaker 1 (01:31):
Detective Williams shows up and tells the trio that Dudonof
is not in Portugal. He's been cashing his social Security
checks in a bodega uptown. Williams also brings Charles the
rest of Saz's remains.
Speaker 4 (01:41):
Bev Mellon calls an emergency production meeting the show must
go on. Mabel steps aside and talks to Marshall, and
they notice that the only people who don't seem freaked
out by the shooting are the brothers Sisters, and.
Speaker 1 (01:53):
The trio decides to watch the brother Sisters student film,
The Desecration of Alice, and they discover Vince Fish in
the movie. They go over with Howard to ask Vince
about it.
Speaker 4 (02:02):
Vince and Rudy are playing with a drone. We learned
that the brother sisters film teacher was dud Enough. Vince
and Rudy get weird when Charles tells him that dude
Enough is not actually in Portugal.
Speaker 1 (02:12):
Oliver decides to Colloretta and bear his soul, but she
responds with two grunts, and so he starts to spiral.
Gravy knocks over Saz his ashes, and they discover two
metal shoulder joints, but they're both left shoulders, which means
there was more than one body in the incinerator.
Speaker 4 (02:28):
They go up to the production office to confront the
brother sisters, and the brother sisters admit that they would
kill for Dudenof. Then Detective Williams identifies the extra shoulder.
It belonged to Dudenough. Dudenoff is dead. The brother sisters
are devastated.
Speaker 1 (02:42):
We learned that inside that big black case, it wasn't
a rifle. It was actually hidden cameras, and the brother's
sisters had them set up in everyone's apartment, except there's
another camera that they didn't set up. All three of
the trio get text messages showing each of them being filmed,
and then they all get a text that says, I'm
watching you.
Speaker 4 (03:01):
The trio decides to leave the Arconia.
Speaker 1 (03:04):
You gotta get out.
Speaker 3 (03:06):
Okay, okay, we are not safe in this building.
Speaker 1 (03:09):
Do you think Charles here right? We have to get
out of here. Now, all right, We're gonna be a
little bit vulnerable here for a second. And admit to
the one and only John Hoffman that we did not
catch on to what seems like a very obvious motif.
Speaker 4 (03:28):
Now this is the episode and I felt dumb after
it took this long, But this is the episode where
I realized that all the titles of the episodes of
the show are movie titles.
Speaker 1 (03:40):
Yeah, this is this is when we noticed.
Speaker 4 (03:44):
I'm a huge fan of blow Up.
Speaker 5 (03:45):
And I was like, well, I know it's a movie.
Speaker 4 (03:47):
I mean I've seen the movie many times. And I
was explaining to her the plot of the movie and
then I.
Speaker 1 (03:52):
Was like, wait, all the all of them are and
I was like, wait, is the stunt man a movie?
And then I looked it up. I was like, it
is a movie.
Speaker 3 (03:58):
They're all movies.
Speaker 1 (03:59):
We had this like aha moment.
Speaker 3 (04:01):
I'm not going to lie.
Speaker 6 (04:02):
You were a little slow to that.
Speaker 4 (04:04):
Guys, I know we were.
Speaker 1 (04:05):
We were slow to many things, but this was when
we figured it out, and we're okay with admitting that,
and we assume it's going to go through the rest
of the yeah, of the season.
Speaker 6 (04:16):
Yeah, yeah, you're right, You're right. If you don't know
the movies, that's for sure true that you know you
might miss it. The Stuntman adaptation.
Speaker 1 (04:23):
Yeah, I mean I knew at a essu all of
them except for the Stuntman was the one that threw me,
and so.
Speaker 4 (04:29):
I didn't think of it as anything, you know, and right,
And then I was trying to understand, like why you
call this episode bull up?
Speaker 6 (04:36):
It's inspired by the film, but also I tried to
like balance that throughout the season and shake up in
various reasons and ways in which we homage the titles
of movies. For the movie we're telling, Once upon Aheim
in the West is much more integrated into it than
Two for the Road, which is, you know, a title
that sort of hangs together, but that that movie is
(04:58):
a Stanley Donen film that has a very unique structure
to it dealing with flashback. So all of that felt
like a piece with our show, but this one felt
particularly tied into the inspiration from that film and obviously
photo shoots in photography, and then this is the episode
where everything has blown up.
Speaker 1 (05:20):
I'm also realizing now that when Ben Smith and Pete
Swanson told us the original title for episode two was
a Star Wars Episode two Attack of the Clones, I
still didn't make the connection. Jesus, Jesus, I need to
go back to college or something. My brain's operating very slowly.
Speaker 4 (05:38):
No, it was right there for me.
Speaker 6 (05:40):
You'll see when the episode eight we do another swing
with the titles.
Speaker 4 (05:44):
Okay, I think, okay. The production of this, I assume
it just must be. It must have been wild. There
were cameras. Everyone's holding a camera. There's cameras everywhere, all
found footage, footage. Can you tell us about that, the
decision to do.
Speaker 1 (06:00):
That as the concept and then also what it was
like to put it together.
Speaker 6 (06:04):
Yes, I'd love to talk about this, just because it's like,
you look at the season and you think what is
the season about? And so doing an episode through the
lens of any camera, multiple cameras, found footage cameras, felt like, Oh,
wouldn't that be exciting? Knowing where we were in the
story and the brothers sisters sitting in the Suspect Spotlight
(06:27):
at that moment felt like they're the directors. They would
be doing a behind the scenes thing. They would be
doing what directors do before their movie gets going in production,
and so all of that felt like exciting conceptually and
then terrifying once you got into production and thinking how
(06:47):
are they going to handle this? And luckily again we
had Jessica U and Kyle Wolschlegger leading the team on
the DP side, and they really dove so beautifully deep
along with their teams to both vary up the footage
to source cameras that made sense to land with iPhones,
(07:09):
and then how do we play it? This isn't a
typical thing, so you know, we're literally watching on the
monitors when you're using iPhones or anywhere, you know, the
Super eight, we couldn't see any of what we were
getting until you know, a week or two later.
Speaker 1 (07:25):
So those were real, real Super eights you're using. Okay,
so let me see if I can. Let me try
to list all the different cameras we had. We had
the Super eights, we had the hidden cameras, we had
cell phone footage.
Speaker 2 (07:38):
So what's inside your heads?
Speaker 7 (07:40):
You thinking?
Speaker 8 (07:40):
Tony took that shot you think it was then for Oliver.
Speaker 3 (07:43):
If it was, that means a shot that killed Says
could have been meant for me.
Speaker 2 (07:48):
And who knows, Maybel could be next.
Speaker 8 (07:54):
So you're all the target.
Speaker 1 (07:56):
Howard, why are you filming us?
Speaker 4 (07:58):
Was that Howard in the car? Was he using a
self phone? He was using his iPhone?
Speaker 1 (08:03):
Zach Galvinakis also does the iPhone in the hospital? H
that too?
Speaker 6 (08:08):
Yes, then we use a we use a VHS camera
in the drone and the drone camera exactly there were missed.
I think there were Weather's toos. Marty uses his VHS
one right when he goes upstairs. We had all of
them at play. The miracle was because of that, and
and what I loved about that was sort of this
(08:30):
new new approach to everything in the show just had
a feeling and a vibration about it that felt just
suddenly very different about the way we tell our stories.
And it also allowed the actors to do things like
they do on the office and address camera and feel
awkward in front of one. It just felt like it
(08:50):
started to multiply over and over again as we started
to make this episode. Some ways in which I had
planned and thought this will be exciting, and so many
ways in which it was like, wow, I didn't see
as many of these levels and interesting sort of takes
from And then it was really a dance of editing
and Matthew Barbado did a fantastic job. I should also
(09:14):
say Peyton Kotch at the end of four h five
and that whole photo shoot edited masterfully to get to that.
But also here Matthew Barbado really took the bull by
the horns with the footage that he got and started
to put this episode together and we found a lot
of it in the editing room and built and we
added some things in, we picked some things up clarifying
(09:38):
what we were watching. I think there's also I can't
remember if it's Super eight that they were using for
the early days of the Brothers Sisters, but it might
have been.
Speaker 4 (09:47):
It it looks like it, but yeah, I think so.
Speaker 1 (09:50):
Yeah, for the desecration of Alice you mean.
Speaker 6 (09:52):
Or well, there's the desecration of Alice camera. There's also
the footage of them as young kids, and that I
think VHS camera.
Speaker 3 (10:01):
That was.
Speaker 6 (10:02):
Yeah, we had many many versions of things that all
of that prep and preparation was so detailed before we
ever started shooting, and the shocker for us because we
always are trying to sort of know, oh, gosh, you know,
how many hours a day are we going to be
shooting to get all of these scenes and stuff, and
(10:23):
the way Jessica had planned with Kyle and everyone else
on that team, it turned out that because of the
limitation of those cameras, the days flew and we were
ending at one or two in the afternoon with what
would normally take us till seven o'clock that night to
finish shooting scenes. I don't know why we didn't foresee.
(10:47):
I didn't foresee the actual speed that that might bring,
but boy, it helped us, like it saved us a
lot of money. But I also felt bad because I'm like, oh,
everyone goes to go home now three than before lunch.
Speaker 4 (10:59):
Sometimes, Wow, that's crazy.
Speaker 1 (11:02):
I mean, it makes you don't have to reset, reset
again reset.
Speaker 6 (11:06):
You're more brief glow and you get what you get,
and you're like, well, I don't know what else differently
I would do because the camera isn't Howard's hands, there's
not a lot of variation of shots you can do,
and like, don't we want to get a close up.
Speaker 3 (11:18):
No, you have where you have?
Speaker 1 (11:19):
Does that mean that Howard Morris should get a camera
operator credit on IMDb? Did he shoot the whole episode?
Speaker 2 (11:24):
I did not shoot the episode.
Speaker 3 (11:26):
I did.
Speaker 2 (11:27):
I did shoot. I did pretend to shoot each scene.
Speaker 4 (11:30):
This is Michael Cyril Crichton. He plays Howard.
Speaker 8 (11:32):
There is one scene, and I won't say which one,
but there is one scene that I did shoot fully
because of how the space was that the camera had
to be like, I had to hold on.
Speaker 1 (11:44):
To the camera in the car in the cab.
Speaker 8 (11:47):
Well good guess yes, yes, I'm not going to tell you,
but it was a very small space and it looked
like it was yellow. Yes, and it turned out really
well if I do say so myself. But yeah, it
gave me this whole appreciation for our crew, who is
already I knew was amazing. But Dan, who was our
(12:09):
camera operator, and I were like doing a dance. At
certain points. He would follow me while I filmed fake filmed,
and then I would follow him. I'd always be behind
him during the scene. He has long hair too, and
I was always pretending that I want to breid it,
but I would stand behind him, so I was the
eye line and so I'd be in the scene and
you'd feel me in the scene. So I did those
(12:31):
scenes like so many times. But cameras are heavy, moving
around like that is a lot of work. It is
takes so much grace and so much discipline and so
much like control. So it really impressed me what Dan
is able to do.
Speaker 2 (12:48):
But it was fun. I loved doing it.
Speaker 8 (12:50):
It was really I can't believe how well it turned
out this season.
Speaker 4 (12:55):
The cast is insane. It's so crazy the amount of
stars in this Like, how is that Behind the scenes,
Like there are definitely scenes where like everyone is all there.
Speaker 8 (13:06):
You know, Yeah, it's is It is overwhelming and exciting
and fantastic because everybody is so nice on this set,
like there's never been a bad egg. And I know
everybody says that, and that's kind of boring when people were,
you know, interviewing us.
Speaker 2 (13:22):
That we're like, everybody's nice. I'm sorry.
Speaker 8 (13:24):
But you know what's great is all of the actors
are all fans of each other or have these great
histories together, so you get to watch, like Eugene Levy
and Steve Martin interact the way they've interacted for decades,
and then you know, people fanning out on each other
all over the place. And what's so cool, Like speaking
(13:47):
of Daphne, like you get all of these incredible, gigantic
A list names, and then all these other really incredible
working actors from New York all the same with Desmond
Borgies who plays her husband.
Speaker 2 (13:58):
I just love the whole cast.
Speaker 8 (14:00):
And then we have Cat Cohen, who is one of
the funniest comedians and a friend of mine.
Speaker 1 (14:03):
She's so funny.
Speaker 8 (14:04):
And Sienna, who is the other brothers sister, who was
just such a gem. And like we get to like
walk around and get snacks and be like this is crazy,
isn't it. You know, you have people to be compressed
with sometimes and be like we're watching Eedel and Korea
and Eugene Levy and Zach Alfanakz act with Selena Stephen Marty.
Speaker 3 (14:21):
It's a lot.
Speaker 8 (14:22):
It's it's a lot like there was that day when
it was there's a oh, I can't say forget it,
but yeah, sometimes we're all together and it's really exciting.
Speaker 5 (14:32):
What is this?
Speaker 3 (14:33):
Was it just pretend I'm not here yet that's not happened.
He shut that shit off.
Speaker 6 (14:38):
He never fails us, and yet I still can't believe
the way I feel we all feel comfortable handing him anything,
an iPhone, a pig, a dog, a cat, you know,
a Burt anything. I just lean in that way with him,
(14:59):
and he he always finds a new way to deal
with something. But clever, clever man he is. And that
whole thing like when you know you never knew what
you were going to get. But he was doing it
as Howard, so who he focused on was who he
wanted to focus on, including himself and making little faces
and himself and all of that was like him creating
(15:20):
all that stuff and it was like, that's a dream.
And the little ad r afterwards that he was doing narrated,
so you just hear him off camera, oh oh like
little noises and that was all later. But wow, it
was brilliant. There's never been a more facile comedic actor
I've worked with that just will take the challenge and
(15:41):
run with it and keep it all in the vein
of the show in that way.
Speaker 1 (15:44):
So he's yeah, yeah, he's the best. We love more
big fans.
Speaker 9 (15:47):
I love him Howard who's documenting the story from within,
And of course Michael Cyril Creighton actually became quite the
operator in there for some of that stuff. Oh, we
even had a like a dog doggie cam, so that
was also very amusing.
Speaker 4 (16:06):
What's a doggie cam?
Speaker 1 (16:07):
A doggie cam? Oh, I'm grave.
Speaker 3 (16:13):
Gravy's new collar.
Speaker 10 (16:16):
It's a doggie cam.
Speaker 2 (16:17):
She's a doggie spy. I'm a cadaver dog.
Speaker 4 (16:21):
No, no, no, no, Gravy, that's my friend.
Speaker 9 (16:25):
Oh shit.
Speaker 3 (16:26):
Oh she is not bad.
Speaker 8 (16:30):
She is doing her job and being a Cadaba dog
and being absolutely adorable.
Speaker 4 (16:34):
Yes, Jessica You, the director of this episode and episode five,
was excited for the challenge.
Speaker 9 (16:39):
It was such a great concept that John had, which
was that it was all going to be filmed with
you know anything that was just not a show camera.
Speaker 5 (16:48):
And I really love that.
Speaker 9 (16:50):
I love a good limitation, and I think in retrospect
he was thinking, oh, well, it's great because I started
in documentaries, so sometimes you know, you're cobbling together your
story through the footage that exists. So it was just
such a fun puzzle to figure out what to use.
Speaker 4 (17:07):
Like, were any of those cameras able to be monitored?
Speaker 3 (17:10):
Yes?
Speaker 9 (17:11):
Actually, well, so the really fun thing was being able
to set up all our quote spy camps, you know,
the cameras that were hidden and say in Oliver's apartment.
So it was a matter of going in there and
seeing like, what are the main angles that we need
to get, you know, what are the little moments of
punctuation where somebody looks at you know, the saz's ashes
(17:32):
in a box, right, So setting those up and then
we were able to monitor those and that was really
really fun. Yeah, and then when we were shooting, it
was like doing a play for the cast because they
were able to move around, and it was kind of
funny because I think that they also just after a while,
they weren't asking about where the cameras were.
Speaker 5 (17:51):
They were just going and doing it.
Speaker 9 (17:53):
And then seeing those guys just play against each other
and getting that in the moment timing and everything.
Speaker 5 (17:58):
It was such a pleasure.
Speaker 1 (18:00):
That is so cool.
Speaker 4 (18:01):
Did it scare Kyle the DP or was he excited
about this concept?
Speaker 5 (18:06):
Kyle was totally excited. He's game for everything. I mean,
everybody's game.
Speaker 9 (18:11):
That's the thing about the show is like everybody is
up for it, and so you know, you come out
with this kind of wild and risky premise and everybody's
i mean not everyone's thinking this is going to work great,
but everybody say, let's let's do it. So that part was,
you know, everybody was in. I don't think everyone completely
understood what we were doing, but that's fair, that's fair.
(18:34):
And then of course editing was was a lot of fun.
Speaker 1 (18:37):
Everyone was game for this high concept episode, but that
doesn't mean it wasn't challenging. Patrick Howe, the production designer,
had a lot to think about.
Speaker 10 (18:45):
He's been a whole career like studying, focusing on what
what the camera lens that you're used to working with
Canon is capable of, and then that's just all thrown
out the window when you add every you know, every
other camera that lens that's in you know, machines that's
been invented in the last few years.
Speaker 1 (19:06):
So I think they did cover all possible camera types.
Speaker 2 (19:10):
Yeah, completely ones.
Speaker 10 (19:12):
I you know, like you have to be fully geeked
out in that technology to know what that was. And
they and Jessica thankfully was she'd done a lot of
documentary stuff, so she was really up on what a
lot of the cameras could be.
Speaker 7 (19:25):
And you know, eight millimeters, sixteen milimeters, the iPhones that
like the peanut cams, all this stuff and so all
the news that you're gonna just we'd wind up seeing
anything in anywhere and.
Speaker 10 (19:38):
Then cross your fingers about, you know, in hope that
like somebody would get to us if they noticed something
that they're seeing something we shouldn't see.
Speaker 2 (19:46):
Or in someone flattering wire or whatever.
Speaker 10 (19:48):
But I mean it worked out and we were able
to have a monitor of a couple of them, but
but not you know a lot of times you just like,
I wonder what they're filming. And that's a very uncomfortable
position to be in totally, you know, so you just
we try to vet the spaces as much as possible.
Speaker 3 (20:08):
When he worked out.
Speaker 4 (20:14):
After the break, we learned that Richard Kind has done
his fair share of student films and small projects, and
how the desecration of Alice echoed beyond just episode.
Speaker 1 (20:24):
Six Welcome back. As we've heard multiple people mention a
few times now, Jessica you, the director of this episode,
got her start in documentaries, and in fact, she won
the Academy Award for Best Documentary Short Subject in nineteen
ninety seven for film called Breathing Lessons, The Life and
(20:45):
Work of Mark O'Brien.
Speaker 9 (20:46):
Here is Jessica, you know, I guess I just always
I like doing new things, so I probably just try
to meet each project on its own terms. But there's
always stuff that carries over. So certainly coming out of
independent documentaries, you know, you know, you know how to
be scrappy, you know how.
Speaker 5 (21:06):
To be agile.
Speaker 9 (21:07):
But these days I've really just been focusing more on
scripted and because there's just so much good stuff. And
that's why I was so excited about episode six, because
it was something very, very different, and you just know,
you know, oh, there's some way.
Speaker 5 (21:21):
To do this, we can we can make this work.
Speaker 9 (21:23):
And then whatever solution you come up with, like everybody,
just makes it funny and yeah and free and good.
Speaker 4 (21:32):
Was there like a particular like I mean, I feel
like I have that kind of in me too, where
it's like, I like the challenge. I guess you know,
was there something in particular that you're like, oh, I
can't wait to get to this part to see how
we tackle it.
Speaker 9 (21:43):
I think it was the first time we had set
up the surveillance cameras and set the cast free in there.
I think once you know, it's kind of like you
know when you when you I don't know, this is
probably a bad analogy, but like if you have an
indoor cat, right, you do, and they're just always used
to do and then all of a sudden you're like,
wait a minute, I'm going to let you through the
cat door go out in the yard.
Speaker 3 (22:04):
Right.
Speaker 5 (22:04):
So they were kind of like, wait a minute, we
could just move anywhere.
Speaker 9 (22:07):
And and a lot of times they didn't really necessarily move,
but it was just them feeling like, oh, you know this,
anything we do is valid in this because there's cameras everywhere.
Speaker 1 (22:18):
Do you have any highlight scenes from the episode where
you were like maybe like you were not sure how
it was going to work and then it worked really
well or you just thought it was very funny or
anything like that.
Speaker 9 (22:29):
Oh, I would say what we were playing with the
drone because it was kind of in and out, like
the drone was going to be a bigger part of it,
and then and then a lot of back and forth,
and I think part of it we were thinking like
how do we get a camera to look like it's
a drone because we weren't sure about being able to
control it, and our you know, drone team came in
(22:51):
and did a great job and we're like, oh my gosh,
we could just shoot with the drone.
Speaker 6 (22:54):
I did.
Speaker 3 (22:55):
Rudy and I were just playing with our new toy.
Got it at this estate sale for this old lady.
Speaker 4 (23:03):
She was at that stop of the transverse, minding her
own business.
Speaker 3 (23:07):
Dead Bam, decapitated by the side of the mirror of
the M eighty six Busam.
Speaker 4 (23:11):
The bus didn't even stop because it was pretty full,
and there was another one right behind.
Speaker 6 (23:14):
Oh my god.
Speaker 4 (23:15):
On the bright side, we got a drone. It's working
and it's the camera drone.
Speaker 5 (23:20):
So that was fun.
Speaker 9 (23:22):
And just seeing the drone drone fly around and you know,
smash into the window and that whole scene was just
just so so funny.
Speaker 4 (23:31):
Did you actually have a drone inside the.
Speaker 9 (23:33):
Yes, yeah, okay, yeah, So a lot of the stuff
turned out to be more the way that it's scripted.
Speaker 5 (23:39):
Then.
Speaker 9 (23:40):
You know, sometimes with that stuff, if you get too
worried about it, you can sort of overthink it and
try to control it more.
Speaker 5 (23:47):
But it's kind of amazing what you can do with drones.
Speaker 4 (23:50):
And Richard kind didn't actually operate the drone.
Speaker 9 (23:54):
He didn't, he didn't, but you know, I have no
doubt that Richard could could handle it.
Speaker 3 (23:59):
Your this is a reference you're not going to get.
But the Jetsons at Gizmo. You remember Gizmo, That's what
I think of as a drone. Gizmo had come in
from That was like the first time. So whenever I
think of the drone, I think of Gizmo, or certainly
these drones and they flew right in front of our
face and we're right there, you know, I am, I am,
(24:20):
and then they fly out. So that was cool.
Speaker 1 (24:22):
That's Richard Kind, obviously. Ryan, do you remember the Jetsons?
Of course, listeners, do you remember the Jetson's probably okay. Well,
we were also curious about the short film, that student
film that the brother sisters did, and we were wondering
if Richard Kind, the real Richard Kind, had done any
weird student films like that.
Speaker 3 (24:40):
Oh god, yes, oh I have, I have, Yes, I have.
I've done student films. I've done these independent shorts. I've
done YouTube series. Yeah, help kids, yeah help. Well, when
I first did it, I was there's a wonderful DP
and editor named Jim Hurst Letter wh who when I
(25:01):
was first starting out, put an ad in Showbiz magazine.
I mean I was a kid and a guy named
very wonderful writer and director, a guy named Tony Spiridacus
who recently came out with the movie Ezra. He wrote
the movie. He also wrote the movie Queen's Logic, if
you remember that movie. He actually wrote a part from
(25:22):
me in that movie that John Malcovich ended up doing.
I want to think that Tony maybe directed that movie.
In any case, I did all the works. And when
I say works, I we did readings at my house everything.
But I met Tony through that student film. So when
I was young, I did a student film. Now I'm
going to tell you something about the student film. Don't
(25:44):
ask me what I even look like in a student film,
because the person who does the acting or the talent
in that student film is the director who has a vision.
And I don't even know if I say anything in
the thing, So don't ask me what that student film is.
(26:05):
I just know that the brother sisters get to make
the film. I met them once. I don't even know
whether they were there on set, whether I ever worked
with them on set, but I met the two of them,
and they were lovely women. But I don't know what
that film is about. We don't I know that. Yeah,
(26:26):
I know that when I was there, I had fun
I don't want to say the word isn't well. I
had makeup on, and I had a weird clothes, and
I just got to overact. You know when you know,
when you're a kid and you make funny faces in
the mirror and you just go just what I did.
(26:46):
I had to throw away all self respect in front
of a crew and just make faces like I would
if I were standing alone in the bathroom when I
was twelve, making faces. That's what I I love it.
I overacted with purpose because number one, as Vince Fish,
I'm not an actor, and number two, it's a comedy.
(27:09):
So that's what I did. Yeah, yeah, And.
Speaker 4 (27:12):
I think that that shows we're making a lot of
strange faces.
Speaker 3 (27:14):
Yeah yeah, I made faces. That's what I did. That's
the perfect answer.
Speaker 4 (27:22):
We weren't able to get a lot of information from
Richard Kind about the desecration of Alice, so we tried
our luck with John Hoffman.
Speaker 6 (27:29):
I still can't believe I'm laughing so hard because in
the research for these characters, and as we were building
these girls, these sisters, I did say in the room,
you know, and they had made a movie called The
Desecration of.
Speaker 1 (27:44):
Alice, and there's some kind of anti sugar message. Yes, creator,
we wi will do your bidding. Say the word and
we will spoil our boys in the flesh of your enemies.
Speaker 11 (28:04):
Go spill some blood in my name girls, Vince Fish.
Speaker 3 (28:17):
And it just stuck.
Speaker 6 (28:18):
And I thought, I just came off the top of
my head really quickly, and I'm like, well, we're not
going to call it that. It'll be something else. And
you know, we have a character named Alice in season two.
We're not going to call it that. But it just
came around and then literally just to see it everywhere,
and because people kept on laughing, like it sounds exactly
what a pretentious pair of young college students would like
(28:38):
make their first film the Desecration of Vallice, and you know,
a horror bent and a body horror.
Speaker 3 (28:45):
You know, all of the.
Speaker 6 (28:46):
Descriptions that they say is what they're you know, specific
genres and inclinations towards that genre would be. But it
was so ridiculous because when we were making the actual
television show only murders in the building, it was used
as sort of like markers on lamp posts all over Manhattan.
If the next couple of days we'd be shooting on
(29:08):
location in Manhattan, the signs would say TDA, TDA, and
it was the way in which they didn't know it
was only murders in the building coming. So but TDA
was the desecration of Alice.
Speaker 4 (29:21):
Very clever.
Speaker 6 (29:22):
I turned multiplying out and I was like, everywhere I
look as the desecration of Alan. I thought they shot
that so magnificently, that black and white day with those
twins standing there against those I mean, Jessica and Kyle
really did beautiful work that you know, on that film.
Speaker 5 (29:39):
I didn't go to film school, and I feel like.
Speaker 1 (29:41):
Now I have again, this is Jessica you director.
Speaker 3 (29:44):
Yeah.
Speaker 9 (29:44):
So we were taking some cues from Metropolis right the class,
and so I had this idea of I just wanted to, like,
you know, there's a whole of course of the theme
with eyes with you know, with mister Fish. So I
wanted to make like a face with just separate features.
And so the camera were just like right in his
(30:06):
eye and he's trying not to blink.
Speaker 5 (30:08):
Maybe maybe that was a little much, but uh.
Speaker 4 (30:10):
No, I thought it was incredible.
Speaker 1 (30:12):
I thought it was I thought it was just the
right amount. Yeah, oh so good. Speaking of acting, there
is another moment from this episode that we loved, and
it's this one.
Speaker 4 (30:21):
I lost my head, I lost my bride.
Speaker 3 (30:25):
Johnny has his head, Johnny has his bride, and then
cher Bono says, slop of it.
Speaker 4 (30:34):
It's from Moonstruck, Maybell, you really should see it.
Speaker 1 (30:37):
Yeah, I think I've seen enough.
Speaker 4 (30:38):
I lost my and then they've been in Charles joins
In and even Koumail on the count. So funny. What
is going on there? Why Moonstruck?
Speaker 1 (30:50):
Why that moment of Moonstruck?
Speaker 6 (30:53):
And yeah, yeah, it's so random, right, but I just
did like that and they really went with it. I
wasn't predicting that they would go so big, but everyone
just dove in, Steve, Marty, Richard once Richard led it
and they yeah, and it's it's anyone who loves a
movie or anyone knows that line, and like, you know,
(31:14):
you've been in those conversations too, and then you're high
fiving someone if they knew the scene or they knew
that moment, and then that it's moons Truck is just ridiculous.
Marty said there may be three in this season references
to the Bonos Oh wow, whether it's so because he
was saying he rented Sonny Bono's house.
Speaker 1 (31:36):
Yeah, yeah, he's squatted. He squatted squatted, that's right. Hell
a love letter to the Bonos.
Speaker 6 (31:45):
And then he says, and then share Bono says, which
is another thing I love.
Speaker 1 (31:50):
I love that.
Speaker 3 (31:51):
Having not seen the movie in ages, I went back
and I looked at it with talk about overacting the
cage and so. But he's so brilliant and it was fun.
That was fun.
Speaker 1 (32:05):
Yeah, that was a.
Speaker 3 (32:06):
Lot of fun. I should have watched the whole movie again.
I just watched the scene. I remember it, but I
you know, I had to be reminded of it.
Speaker 1 (32:13):
But but you rewatched it.
Speaker 3 (32:15):
But the line is the line that famous to everybody.
Speaker 1 (32:20):
I don't know, Ryan didn't know it, but I remembered it.
And it's been a while since i'd seen Moonstruck, but
I did. I rewatched the scene because because.
Speaker 4 (32:30):
I wanted to see the I wanted to see the reference.
Speaker 3 (32:32):
I bet a lot of people go to YouTube to
watch the reference. I didn't know it. I don't know
why they didn't take some some other famous line, but
that obviously has something. Well, somebody who was really impacted
by Moonstruck took that line.
Speaker 4 (32:50):
Yeah, well thats go be my question if you knew why,
if you knew why it was referenced.
Speaker 3 (32:56):
No, you don't want to go into the mind of
the writers, don't. I don't think this. I don't think
that's anywhere you want to investigate.
Speaker 1 (33:03):
We do, though, we do. On this podcast we talked to.
Speaker 3 (33:06):
That I have no idea, never have the writer, never
asked anybody. I just accepted it. I'm a dancing monkey
on a string. That's what I do. I sew up.
I say the line as best I can and say,
is that what you want? They say yes, and I
go home. That's what I do. It sounds nice what
I do. It's a good time, Jamacy to show red
(33:26):
Oaks that I did. Now, well that's you two. Write
this down on Amazon is red Oaks. It is ten twenty,
It's twenty six episodes, two seasons of ten.
Speaker 4 (33:42):
When was When did you make it?
Speaker 3 (33:45):
It's about four years ago. It's wonderful me a lot
of young people. Paul Riser's in it. Jennifer Gray plays
my wife. It's wonderful. David Gordon Green, I'm sure is
a director that you know he produced and directed It's
Steven Soderberg produced it saved it. Oh cool, watch it,
(34:05):
So everybody on this podcast should watch it. It's a
not a good show. It's a great show, but it
takes place in the eighties and we did one episode,
I think it's the first season where my son and
I body switched, and that was sort of weird. It's
not the show is very realistic. This was a weird
(34:28):
addition to the ouvra. Yeah, watch the whole show. Don't
even think about that. But that was a weird thing too.
It's just was very different.
Speaker 4 (34:36):
One important thing we learn in this high concept episode
is that Dudenoff is a real person and that all
of the Westies knew him, and so did the brother sisters.
So we asked John Hoffman about it.
Speaker 1 (34:49):
Oh, we were wondering about Dudenoff, and this episode we
see Dudenoff is a real person, Milton, Milton Dudnoff, who
has a connection to many of the characters on the
show that we've met so far. Was that another Madeline
George or who who named Dudenoff?
Speaker 6 (35:04):
You know, it might have been Mateo in Madeline, but
that name when it came up. This is my own
obsession to in the room and it drives everyone crazy.
But like I heard the name and I'm like, well,
that's it. It's got it's got to be Dudenoff. But
that name became so central. And I remember pitching the
season to the studio and network actually, and we had
a whole card over the Zoom because we do that
(35:26):
on Zoom. And I walked them through the season and
I said it, an essential question to the season is
going to be who is Dudenoff? And so get ready
marketing team with any duden who is dudonof and and
Dudanoff is going to be brought up a lot by
these people and then it's going to have an answer
that twists a couple of times.
Speaker 8 (35:46):
M Oh geez.
Speaker 3 (35:47):
Interesting.
Speaker 1 (35:48):
Well yeah, I mean we learned his dead, we learn
who he is, and then we learn he's dead.
Speaker 4 (35:52):
So jeez, not just.
Speaker 3 (35:54):
Dad, Maggie, not just dead.
Speaker 6 (35:55):
Dudenoff is incinerated.
Speaker 4 (35:58):
Dusty Sas does not have two left shoulders.
Speaker 6 (36:03):
I love that bit, and he gave them. I will
say this that one little easter egg in that as
to why he had a prosthetic shoulder replacement joint shoulder.
We do tease that a little bit when he's giving
the girls his super eights because he can't. He says
something about my bones are too brittle to like lug
(36:26):
those around it.
Speaker 1 (36:27):
I didn't clock it either.
Speaker 6 (36:29):
Thing. We like to thread through and now I have
to tell everybody so because no one else.
Speaker 1 (36:34):
We love to hear those details.
Speaker 3 (36:37):
Like that stuff.
Speaker 6 (36:39):
There's the Reddit board than you guys that really go
deep on us.
Speaker 4 (36:44):
I mean, of course I love it.
Speaker 12 (36:50):
That's it for today, listeners, Thanks for tuning in. And
I have forgotten for the last I don't know four
weeks or so about the easter egg in the opening credits.
So by popular demand, let's go through and I'll try
my best to remember.
Speaker 1 (37:03):
To save them.
Speaker 12 (37:04):
Moving forward, So this episode there was a movie projector
last episode ryand you remember, No, I think there was
a reflection.
Speaker 1 (37:11):
It looked new. Does that sound right? Listeners?
Speaker 12 (37:13):
Was that was that the East dreg If it wasn't
tell me. Episode four we saw Howard walking.
Speaker 1 (37:18):
The pig for the first time.
Speaker 4 (37:20):
Yes.
Speaker 1 (37:20):
Episode three we saw two sets of three director's chairs,
I think, And in episode two there was that hanging hamleg.
Speaker 4 (37:26):
Yes, very good, well done.
Speaker 1 (37:28):
Okay, that's it for today. But on Friday, we're going
to talk to the Brothers sisters themselves.
Speaker 4 (37:34):
We will have both Sienna Werber and Kat Cohen on
the pod.
Speaker 1 (37:38):
They play Trina and Tawny or Toni and Trina respectively,
So we'll see you then. Also, we've had a lot
of entries for a New York escape room, but not
very many for the LA one.
Speaker 4 (37:48):
This is your chance, LA, if you want to go
to a pre escape room.
Speaker 1 (37:52):
Okay, that was aggressive, Ryan, I was just gonna say
that if you're near LA and you want to enter,
your chances will be very very good. So you got
higher chances to win for LA the New York right now,
just based on volume.
Speaker 4 (38:04):
Indeed. Okay, see you in a few days.
Speaker 1 (38:26):
Only Murders in the Building Podcast is a production of
straw Hut Media, hosted and produced by Ryan Tilton and
Maggie Bowles. Our associate producer is Stephen Markley. Original music
by Kyle Merritt and Only Murders in the Building theme
music by Siddartha COSLA. Assistant editor is Daniel Ferrara and
production assistant is Caroline Mendoza.
Speaker 4 (38:43):
We talked to so many people for this week's episode.
Thank you so much to Michael Cyril Crichton, to Richard
Kind and to Jessica You and big.
Speaker 1 (38:52):
Big thanks as always to John Hoffman and the entire
Hulu team.
Speaker 4 (39:03):
M hmm, Hello and welcome to the Only Winners in
the Building Podcast. I'm Ryan Tillotson and I'm Maggie Bowles.
Speaker 1 (39:14):
Hey, I need you to shut up, please, I love you,
Please be quiet. I'm Ryan Tillotson and I'm Maggie Bowles,
and we're looking behind the scenes and mining for clues
as we meet the cast and creators of the HULO
original series Only Murders in the Building. Do I have
to do Again?
Speaker 4 (39:29):
We're just gonna go with it. Today on the show,
we're talking all about season four episode.
Speaker 1 (39:40):
I want to take her on the other.
Speaker 2 (39:43):
We're recording.
Speaker 12 (39:46):
We're recording I love here.
Speaker 1 (39:48):
I'm gonna put you in a window so you can
look at the window on all the cats. Okay, see
you next week.
Speaker 12 (39:56):
Bye, No, not see you next week, see you.
Speaker 4 (40:04):
Later, see you later, see you in a few days.
I'm tired.
Speaker 1 (40:11):
I know you want me too.
Straw media.
Speaker 2 (00:02):
Oh no, they were like look. Sometimes it would be
like where where's the camera?
Speaker 3 (00:06):
Right?
Speaker 4 (00:13):
Hello, Welcome to the Only Murders in the Building Podcast.
I'm Ryan Tillotson and.
Speaker 1 (00:17):
I'm Maggie Bowles, and we're looking behind the scenes and
money for clues as we meet the casting creators of
the Hulu original series Only Murders and the Building.
Speaker 4 (00:23):
Today on the show, we're talking all about season four
episode six.
Speaker 1 (00:27):
We'll hear from showrunner and co creator John Hoffman, director
Jessica Yu, actors Richard Cuinne and Michael Cyril Creighton, and
even production designer Patrick Howe.
Speaker 4 (00:35):
We'll talk about the process of piecing together all the
different types of footage in this episode, the inspiration for
the brothers, sister's short film, The Desecration of Alice, and
of course the reveal of Dude Enough.
Speaker 1 (00:46):
But first, a quick recap and listeners. There are spoilers
for episode six, so if you haven't watched it yet,
hit pause, go watch it, and then come right back.
Speaker 4 (01:03):
Episode six, blow Up.
Speaker 1 (01:05):
We open on Tawny brothers in an orange prison jumpsuit.
We learned that the brother sisters have always been weird
and artistic and their film teacher taught them to always
keep the camera rolling.
Speaker 4 (01:14):
We learned that someone was shot at the photoshoot. The
bullet hit the metal plate in Glenn Stubbin's head and
it bounced off and hit Zach Galifaynakis. Glenn is unconscious
and Zach is okay. The trio leave the photo shoot
with Howard and decide to go to Oliver's apartment because
it's the least murdery.
Speaker 1 (01:31):
Detective Williams shows up and tells the trio that Dudonof
is not in Portugal. He's been cashing his social Security
checks in a bodega uptown. Williams also brings Charles the
rest of Saz's remains.
Speaker 4 (01:41):
Bev Mellon calls an emergency production meeting the show must
go on. Mabel steps aside and talks to Marshall, and
they notice that the only people who don't seem freaked
out by the shooting are the brothers Sisters, and.
Speaker 1 (01:53):
The trio decides to watch the brother Sisters student film,
The Desecration of Alice, and they discover Vince Fish in
the movie. They go over with Howard to ask Vince
about it.
Speaker 4 (02:02):
Vince and Rudy are playing with a drone. We learned
that the brother sisters film teacher was dud Enough. Vince
and Rudy get weird when Charles tells him that dude
Enough is not actually in Portugal.
Speaker 1 (02:12):
Oliver decides to Colloretta and bear his soul, but she
responds with two grunts, and so he starts to spiral.
Gravy knocks over Saz his ashes, and they discover two
metal shoulder joints, but they're both left shoulders, which means
there was more than one body in the incinerator.
Speaker 4 (02:28):
They go up to the production office to confront the
brother sisters, and the brother sisters admit that they would
kill for Dudenof. Then Detective Williams identifies the extra shoulder.
It belonged to Dudenough. Dudenoff is dead. The brother sisters
are devastated.
Speaker 1 (02:42):
We learned that inside that big black case, it wasn't
a rifle. It was actually hidden cameras, and the brother's
sisters had them set up in everyone's apartment, except there's
another camera that they didn't set up. All three of
the trio get text messages showing each of them being filmed,
and then they all get a text that says, I'm
watching you.
Speaker 4 (03:01):
The trio decides to leave the Arconia.
Speaker 1 (03:04):
You gotta get out.
Speaker 3 (03:06):
Okay, okay, we are not safe in this building.
Speaker 1 (03:09):
Do you think Charles here right? We have to get
out of here. Now, all right, We're gonna be a
little bit vulnerable here for a second. And admit to
the one and only John Hoffman that we did not
catch on to what seems like a very obvious motif.
Speaker 4 (03:28):
Now this is the episode and I felt dumb after
it took this long, But this is the episode where
I realized that all the titles of the episodes of
the show are movie titles.
Speaker 1 (03:40):
Yeah, this is this is when we noticed.
Speaker 4 (03:44):
I'm a huge fan of blow Up.
Speaker 5 (03:45):
And I was like, well, I know it's a movie.
Speaker 4 (03:47):
I mean I've seen the movie many times. And I
was explaining to her the plot of the movie and
then I.
Speaker 1 (03:52):
Was like, wait, all the all of them are and
I was like, wait, is the stunt man a movie?
And then I looked it up. I was like, it
is a movie.
Speaker 3 (03:58):
They're all movies.
Speaker 1 (03:59):
We had this like aha moment.
Speaker 3 (04:01):
I'm not going to lie.
Speaker 6 (04:02):
You were a little slow to that.
Speaker 4 (04:04):
Guys, I know we were.
Speaker 1 (04:05):
We were slow to many things, but this was when
we figured it out, and we're okay with admitting that,
and we assume it's going to go through the rest
of the yeah, of the season.
Speaker 6 (04:16):
Yeah, yeah, you're right, You're right. If you don't know
the movies, that's for sure true that you know you
might miss it. The Stuntman adaptation.
Speaker 1 (04:23):
Yeah, I mean I knew at a essu all of
them except for the Stuntman was the one that threw me,
and so.
Speaker 4 (04:29):
I didn't think of it as anything, you know, and right,
And then I was trying to understand, like why you
call this episode bull up?
Speaker 6 (04:36):
It's inspired by the film, but also I tried to
like balance that throughout the season and shake up in
various reasons and ways in which we homage the titles
of movies. For the movie we're telling, Once upon Aheim
in the West is much more integrated into it than
Two for the Road, which is, you know, a title
that sort of hangs together, but that that movie is
(04:58):
a Stanley Donen film that has a very unique structure
to it dealing with flashback. So all of that felt
like a piece with our show, but this one felt
particularly tied into the inspiration from that film and obviously
photo shoots in photography, and then this is the episode
where everything has blown up.
Speaker 1 (05:20):
I'm also realizing now that when Ben Smith and Pete
Swanson told us the original title for episode two was
a Star Wars Episode two Attack of the Clones, I
still didn't make the connection. Jesus, Jesus, I need to
go back to college or something. My brain's operating very slowly.
Speaker 4 (05:38):
No, it was right there for me.
Speaker 6 (05:40):
You'll see when the episode eight we do another swing
with the titles.
Speaker 4 (05:44):
Okay, I think, okay. The production of this, I assume
it just must be. It must have been wild. There
were cameras. Everyone's holding a camera. There's cameras everywhere, all
found footage, footage. Can you tell us about that, the
decision to do.
Speaker 1 (06:00):
That as the concept and then also what it was
like to put it together.
Speaker 6 (06:04):
Yes, I'd love to talk about this, just because it's like,
you look at the season and you think what is
the season about? And so doing an episode through the
lens of any camera, multiple cameras, found footage cameras, felt like, Oh,
wouldn't that be exciting? Knowing where we were in the
story and the brothers sisters sitting in the Suspect Spotlight
(06:27):
at that moment felt like they're the directors. They would
be doing a behind the scenes thing. They would be
doing what directors do before their movie gets going in production,
and so all of that felt like exciting conceptually and
then terrifying once you got into production and thinking how
(06:47):
are they going to handle this? And luckily again we
had Jessica U and Kyle Wolschlegger leading the team on
the DP side, and they really dove so beautifully deep
along with their teams to both vary up the footage
to source cameras that made sense to land with iPhones,
(07:09):
and then how do we play it? This isn't a
typical thing, so you know, we're literally watching on the
monitors when you're using iPhones or anywhere, you know, the
Super eight, we couldn't see any of what we were
getting until you know, a week or two later.
Speaker 1 (07:25):
So those were real, real Super eights you're using. Okay,
so let me see if I can. Let me try
to list all the different cameras we had. We had
the Super eights, we had the hidden cameras, we had
cell phone footage.
Speaker 2 (07:38):
So what's inside your heads?
Speaker 7 (07:40):
You thinking?
Speaker 8 (07:40):
Tony took that shot you think it was then for Oliver.
Speaker 3 (07:43):
If it was, that means a shot that killed Says
could have been meant for me.
Speaker 2 (07:48):
And who knows, Maybel could be next.
Speaker 8 (07:54):
So you're all the target.
Speaker 1 (07:56):
Howard, why are you filming us?
Speaker 4 (07:58):
Was that Howard in the car? Was he using a
self phone? He was using his iPhone?
Speaker 1 (08:03):
Zach Galvinakis also does the iPhone in the hospital? H
that too?
Speaker 6 (08:08):
Yes, then we use a we use a VHS camera
in the drone and the drone camera exactly there were missed.
I think there were Weather's toos. Marty uses his VHS
one right when he goes upstairs. We had all of
them at play. The miracle was because of that, and
and what I loved about that was sort of this
(08:30):
new new approach to everything in the show just had
a feeling and a vibration about it that felt just
suddenly very different about the way we tell our stories.
And it also allowed the actors to do things like
they do on the office and address camera and feel
awkward in front of one. It just felt like it
(08:50):
started to multiply over and over again as we started
to make this episode. Some ways in which I had
planned and thought this will be exciting, and so many
ways in which it was like, wow, I didn't see
as many of these levels and interesting sort of takes
from And then it was really a dance of editing
and Matthew Barbado did a fantastic job. I should also
(09:14):
say Peyton Kotch at the end of four h five
and that whole photo shoot edited masterfully to get to that.
But also here Matthew Barbado really took the bull by
the horns with the footage that he got and started
to put this episode together and we found a lot
of it in the editing room and built and we
added some things in, we picked some things up clarifying
(09:38):
what we were watching. I think there's also I can't
remember if it's Super eight that they were using for
the early days of the Brothers Sisters, but it might
have been.
Speaker 4 (09:47):
It it looks like it, but yeah, I think so.
Speaker 1 (09:50):
Yeah, for the desecration of Alice you mean.
Speaker 6 (09:52):
Or well, there's the desecration of Alice camera. There's also
the footage of them as young kids, and that I
think VHS camera.
Speaker 3 (10:01):
That was.
Speaker 6 (10:02):
Yeah, we had many many versions of things that all
of that prep and preparation was so detailed before we
ever started shooting, and the shocker for us because we
always are trying to sort of know, oh, gosh, you know,
how many hours a day are we going to be
shooting to get all of these scenes and stuff, and
(10:23):
the way Jessica had planned with Kyle and everyone else
on that team, it turned out that because of the
limitation of those cameras, the days flew and we were
ending at one or two in the afternoon with what
would normally take us till seven o'clock that night to
finish shooting scenes. I don't know why we didn't foresee.
(10:47):
I didn't foresee the actual speed that that might bring,
but boy, it helped us, like it saved us a
lot of money. But I also felt bad because I'm like, oh,
everyone goes to go home now three than before lunch.
Speaker 4 (10:59):
Sometimes, Wow, that's crazy.
Speaker 1 (11:02):
I mean, it makes you don't have to reset, reset
again reset.
Speaker 6 (11:06):
You're more brief glow and you get what you get,
and you're like, well, I don't know what else differently
I would do because the camera isn't Howard's hands, there's
not a lot of variation of shots you can do,
and like, don't we want to get a close up.
Speaker 3 (11:18):
No, you have where you have?
Speaker 1 (11:19):
Does that mean that Howard Morris should get a camera
operator credit on IMDb? Did he shoot the whole episode?
Speaker 2 (11:24):
I did not shoot the episode.
Speaker 3 (11:26):
I did.
Speaker 2 (11:27):
I did shoot. I did pretend to shoot each scene.
Speaker 4 (11:30):
This is Michael Cyril Crichton. He plays Howard.
Speaker 8 (11:32):
There is one scene, and I won't say which one,
but there is one scene that I did shoot fully
because of how the space was that the camera had
to be like, I had to hold on.
Speaker 1 (11:44):
To the camera in the car in the cab.
Speaker 8 (11:47):
Well good guess yes, yes, I'm not going to tell you,
but it was a very small space and it looked
like it was yellow. Yes, and it turned out really
well if I do say so myself. But yeah, it
gave me this whole appreciation for our crew, who is
already I knew was amazing. But Dan, who was our
(12:09):
camera operator, and I were like doing a dance. At
certain points. He would follow me while I filmed fake filmed,
and then I would follow him. I'd always be behind
him during the scene. He has long hair too, and
I was always pretending that I want to breid it,
but I would stand behind him, so I was the
eye line and so I'd be in the scene and
you'd feel me in the scene. So I did those
(12:31):
scenes like so many times. But cameras are heavy, moving
around like that is a lot of work. It is
takes so much grace and so much discipline and so
much like control. So it really impressed me what Dan
is able to do.
Speaker 2 (12:48):
But it was fun. I loved doing it.
Speaker 8 (12:50):
It was really I can't believe how well it turned
out this season.
Speaker 4 (12:55):
The cast is insane. It's so crazy the amount of
stars in this Like, how is that Behind the scenes,
Like there are definitely scenes where like everyone is all there.
Speaker 8 (13:06):
You know, Yeah, it's is It is overwhelming and exciting
and fantastic because everybody is so nice on this set,
like there's never been a bad egg. And I know
everybody says that, and that's kind of boring when people were,
you know, interviewing us.
Speaker 2 (13:22):
That we're like, everybody's nice. I'm sorry.
Speaker 8 (13:24):
But you know what's great is all of the actors
are all fans of each other or have these great
histories together, so you get to watch, like Eugene Levy
and Steve Martin interact the way they've interacted for decades,
and then you know, people fanning out on each other
all over the place. And what's so cool, Like speaking
(13:47):
of Daphne, like you get all of these incredible, gigantic
A list names, and then all these other really incredible
working actors from New York all the same with Desmond
Borgies who plays her husband.
Speaker 2 (13:58):
I just love the whole cast.
Speaker 8 (14:00):
And then we have Cat Cohen, who is one of
the funniest comedians and a friend of mine.
Speaker 1 (14:03):
She's so funny.
Speaker 8 (14:04):
And Sienna, who is the other brothers sister, who was
just such a gem. And like we get to like
walk around and get snacks and be like this is crazy,
isn't it. You know, you have people to be compressed
with sometimes and be like we're watching Eedel and Korea
and Eugene Levy and Zach Alfanakz act with Selena Stephen Marty.
Speaker 3 (14:21):
It's a lot.
Speaker 8 (14:22):
It's it's a lot like there was that day when
it was there's a oh, I can't say forget it,
but yeah, sometimes we're all together and it's really exciting.
Speaker 5 (14:32):
What is this?
Speaker 3 (14:33):
Was it just pretend I'm not here yet that's not happened.
He shut that shit off.
Speaker 6 (14:38):
He never fails us, and yet I still can't believe
the way I feel we all feel comfortable handing him anything,
an iPhone, a pig, a dog, a cat, you know,
a Burt anything. I just lean in that way with him,
(14:59):
and he he always finds a new way to deal
with something. But clever, clever man he is. And that
whole thing like when you know you never knew what
you were going to get. But he was doing it
as Howard, so who he focused on was who he
wanted to focus on, including himself and making little faces
and himself and all of that was like him creating
(15:20):
all that stuff and it was like, that's a dream.
And the little ad r afterwards that he was doing narrated,
so you just hear him off camera, oh oh like
little noises and that was all later. But wow, it
was brilliant. There's never been a more facile comedic actor
I've worked with that just will take the challenge and
(15:41):
run with it and keep it all in the vein
of the show in that way.
Speaker 1 (15:44):
So he's yeah, yeah, he's the best. We love more
big fans.
Speaker 9 (15:47):
I love him Howard who's documenting the story from within,
And of course Michael Cyril Creighton actually became quite the
operator in there for some of that stuff. Oh, we
even had a like a dog doggie cam, so that
was also very amusing.
Speaker 4 (16:06):
What's a doggie cam?
Speaker 1 (16:07):
A doggie cam? Oh, I'm grave.
Speaker 3 (16:13):
Gravy's new collar.
Speaker 10 (16:16):
It's a doggie cam.
Speaker 2 (16:17):
She's a doggie spy. I'm a cadaver dog.
Speaker 4 (16:21):
No, no, no, no, Gravy, that's my friend.
Speaker 9 (16:25):
Oh shit.
Speaker 3 (16:26):
Oh she is not bad.
Speaker 8 (16:30):
She is doing her job and being a Cadaba dog
and being absolutely adorable.
Speaker 4 (16:34):
Yes, Jessica You, the director of this episode and episode five,
was excited for the challenge.
Speaker 9 (16:39):
It was such a great concept that John had, which
was that it was all going to be filmed with
you know anything that was just not a show camera.
Speaker 5 (16:48):
And I really love that.
Speaker 9 (16:50):
I love a good limitation, and I think in retrospect
he was thinking, oh, well, it's great because I started
in documentaries, so sometimes you know, you're cobbling together your
story through the footage that exists. So it was just
such a fun puzzle to figure out what to use.
Speaker 4 (17:07):
Like, were any of those cameras able to be monitored?
Speaker 3 (17:10):
Yes?
Speaker 9 (17:11):
Actually, well, so the really fun thing was being able
to set up all our quote spy camps, you know,
the cameras that were hidden and say in Oliver's apartment.
So it was a matter of going in there and
seeing like, what are the main angles that we need
to get, you know, what are the little moments of
punctuation where somebody looks at you know, the saz's ashes
(17:32):
in a box, right, So setting those up and then
we were able to monitor those and that was really
really fun. Yeah, and then when we were shooting, it
was like doing a play for the cast because they
were able to move around, and it was kind of
funny because I think that they also just after a while,
they weren't asking about where the cameras were.
Speaker 5 (17:51):
They were just going and doing it.
Speaker 9 (17:53):
And then seeing those guys just play against each other
and getting that in the moment timing and everything.
Speaker 5 (17:58):
It was such a pleasure.
Speaker 1 (18:00):
That is so cool.
Speaker 4 (18:01):
Did it scare Kyle the DP or was he excited
about this concept?
Speaker 5 (18:06):
Kyle was totally excited. He's game for everything. I mean,
everybody's game.
Speaker 9 (18:11):
That's the thing about the show is like everybody is
up for it, and so you know, you come out
with this kind of wild and risky premise and everybody's
i mean not everyone's thinking this is going to work great,
but everybody say, let's let's do it. So that part was,
you know, everybody was in. I don't think everyone completely
understood what we were doing, but that's fair, that's fair.
(18:34):
And then of course editing was was a lot of fun.
Speaker 1 (18:37):
Everyone was game for this high concept episode, but that
doesn't mean it wasn't challenging. Patrick Howe, the production designer,
had a lot to think about.
Speaker 10 (18:45):
He's been a whole career like studying, focusing on what
what the camera lens that you're used to working with
Canon is capable of, and then that's just all thrown
out the window when you add every you know, every
other camera that lens that's in you know, machines that's
been invented in the last few years.
Speaker 1 (19:06):
So I think they did cover all possible camera types.
Speaker 2 (19:10):
Yeah, completely ones.
Speaker 10 (19:12):
I you know, like you have to be fully geeked
out in that technology to know what that was. And
they and Jessica thankfully was she'd done a lot of
documentary stuff, so she was really up on what a
lot of the cameras could be.
Speaker 7 (19:25):
And you know, eight millimeters, sixteen milimeters, the iPhones that
like the peanut cams, all this stuff and so all
the news that you're gonna just we'd wind up seeing
anything in anywhere and.
Speaker 10 (19:38):
Then cross your fingers about, you know, in hope that
like somebody would get to us if they noticed something
that they're seeing something we shouldn't see.
Speaker 2 (19:46):
Or in someone flattering wire or whatever.
Speaker 10 (19:48):
But I mean it worked out and we were able
to have a monitor of a couple of them, but
but not you know a lot of times you just like,
I wonder what they're filming. And that's a very uncomfortable
position to be in totally, you know, so you just
we try to vet the spaces as much as possible.
Speaker 3 (20:08):
When he worked out.
Speaker 4 (20:14):
After the break, we learned that Richard Kind has done
his fair share of student films and small projects, and
how the desecration of Alice echoed beyond just episode.
Speaker 1 (20:24):
Six Welcome back. As we've heard multiple people mention a
few times now, Jessica you, the director of this episode,
got her start in documentaries, and in fact, she won
the Academy Award for Best Documentary Short Subject in nineteen
ninety seven for film called Breathing Lessons, The Life and
(20:45):
Work of Mark O'Brien.
Speaker 9 (20:46):
Here is Jessica, you know, I guess I just always
I like doing new things, so I probably just try
to meet each project on its own terms. But there's
always stuff that carries over. So certainly coming out of
independent documentaries, you know, you know, you know how to
be scrappy, you know how.
Speaker 5 (21:06):
To be agile.
Speaker 9 (21:07):
But these days I've really just been focusing more on
scripted and because there's just so much good stuff. And
that's why I was so excited about episode six, because
it was something very, very different, and you just know,
you know, oh, there's some way.
Speaker 5 (21:21):
To do this, we can we can make this work.
Speaker 9 (21:23):
And then whatever solution you come up with, like everybody,
just makes it funny and yeah and free and good.
Speaker 4 (21:32):
Was there like a particular like I mean, I feel
like I have that kind of in me too, where
it's like, I like the challenge. I guess you know,
was there something in particular that you're like, oh, I
can't wait to get to this part to see how
we tackle it.
Speaker 9 (21:43):
I think it was the first time we had set
up the surveillance cameras and set the cast free in there.
I think once you know, it's kind of like you
know when you when you I don't know, this is
probably a bad analogy, but like if you have an
indoor cat, right, you do, and they're just always used
to do and then all of a sudden you're like,
wait a minute, I'm going to let you through the
cat door go out in the yard.
Speaker 3 (22:04):
Right.
Speaker 5 (22:04):
So they were kind of like, wait a minute, we
could just move anywhere.
Speaker 9 (22:07):
And and a lot of times they didn't really necessarily move,
but it was just them feeling like, oh, you know this,
anything we do is valid in this because there's cameras everywhere.
Speaker 1 (22:18):
Do you have any highlight scenes from the episode where
you were like maybe like you were not sure how
it was going to work and then it worked really
well or you just thought it was very funny or
anything like that.
Speaker 9 (22:29):
Oh, I would say what we were playing with the
drone because it was kind of in and out, like
the drone was going to be a bigger part of it,
and then and then a lot of back and forth,
and I think part of it we were thinking like
how do we get a camera to look like it's
a drone because we weren't sure about being able to
control it, and our you know, drone team came in
(22:51):
and did a great job and we're like, oh my gosh,
we could just shoot with the drone.
Speaker 6 (22:54):
I did.
Speaker 3 (22:55):
Rudy and I were just playing with our new toy.
Got it at this estate sale for this old lady.
Speaker 4 (23:03):
She was at that stop of the transverse, minding her
own business.
Speaker 3 (23:07):
Dead Bam, decapitated by the side of the mirror of
the M eighty six Busam.
Speaker 4 (23:11):
The bus didn't even stop because it was pretty full,
and there was another one right behind.
Speaker 6 (23:14):
Oh my god.
Speaker 4 (23:15):
On the bright side, we got a drone. It's working
and it's the camera drone.
Speaker 5 (23:20):
So that was fun.
Speaker 9 (23:22):
And just seeing the drone drone fly around and you know,
smash into the window and that whole scene was just
just so so funny.
Speaker 4 (23:31):
Did you actually have a drone inside the.
Speaker 9 (23:33):
Yes, yeah, okay, yeah, So a lot of the stuff
turned out to be more the way that it's scripted.
Speaker 5 (23:39):
Then.
Speaker 9 (23:40):
You know, sometimes with that stuff, if you get too
worried about it, you can sort of overthink it and
try to control it more.
Speaker 5 (23:47):
But it's kind of amazing what you can do with drones.
Speaker 4 (23:50):
And Richard kind didn't actually operate the drone.
Speaker 9 (23:54):
He didn't, he didn't, but you know, I have no
doubt that Richard could could handle it.
Speaker 3 (23:59):
Your this is a reference you're not going to get.
But the Jetsons at Gizmo. You remember Gizmo, That's what
I think of as a drone. Gizmo had come in
from That was like the first time. So whenever I
think of the drone, I think of Gizmo, or certainly
these drones and they flew right in front of our
face and we're right there, you know, I am, I am,
(24:20):
and then they fly out. So that was cool.
Speaker 1 (24:22):
That's Richard Kind, obviously. Ryan, do you remember the Jetsons?
Of course, listeners, do you remember the Jetson's probably okay. Well,
we were also curious about the short film, that student
film that the brother sisters did, and we were wondering
if Richard Kind, the real Richard Kind, had done any
weird student films like that.
Speaker 3 (24:40):
Oh god, yes, oh I have, I have, Yes, I have.
I've done student films. I've done these independent shorts. I've
done YouTube series. Yeah, help kids, yeah help. Well, when
I first did it, I was there's a wonderful DP
and editor named Jim Hurst Letter wh who when I
(25:01):
was first starting out, put an ad in Showbiz magazine.
I mean I was a kid and a guy named
very wonderful writer and director, a guy named Tony Spiridacus
who recently came out with the movie Ezra. He wrote
the movie. He also wrote the movie Queen's Logic, if
you remember that movie. He actually wrote a part from
(25:22):
me in that movie that John Malcovich ended up doing.
I want to think that Tony maybe directed that movie.
In any case, I did all the works. And when
I say works, I we did readings at my house everything.
But I met Tony through that student film. So when
I was young, I did a student film. Now I'm
going to tell you something about the student film. Don't
(25:44):
ask me what I even look like in a student film,
because the person who does the acting or the talent
in that student film is the director who has a vision.
And I don't even know if I say anything in
the thing, So don't ask me what that student film is.
(26:05):
I just know that the brother sisters get to make
the film. I met them once. I don't even know
whether they were there on set, whether I ever worked
with them on set, but I met the two of them,
and they were lovely women. But I don't know what
that film is about. We don't I know that. Yeah,
(26:26):
I know that when I was there, I had fun
I don't want to say the word isn't well. I
had makeup on, and I had a weird clothes, and
I just got to overact. You know when you know,
when you're a kid and you make funny faces in
the mirror and you just go just what I did.
(26:46):
I had to throw away all self respect in front
of a crew and just make faces like I would
if I were standing alone in the bathroom when I
was twelve, making faces. That's what I I love it.
I overacted with purpose because number one, as Vince Fish,
I'm not an actor, and number two, it's a comedy.
(27:09):
So that's what I did. Yeah, yeah, And.
Speaker 4 (27:12):
I think that that shows we're making a lot of
strange faces.
Speaker 3 (27:14):
Yeah yeah, I made faces. That's what I did. That's
the perfect answer.
Speaker 4 (27:22):
We weren't able to get a lot of information from
Richard Kind about the desecration of Alice, so we tried
our luck with John Hoffman.
Speaker 6 (27:29):
I still can't believe I'm laughing so hard because in
the research for these characters, and as we were building
these girls, these sisters, I did say in the room,
you know, and they had made a movie called The
Desecration of.
Speaker 1 (27:44):
Alice, and there's some kind of anti sugar message. Yes, creator,
we wi will do your bidding. Say the word and
we will spoil our boys in the flesh of your enemies.
Speaker 11 (28:04):
Go spill some blood in my name girls, Vince Fish.
Speaker 3 (28:17):
And it just stuck.
Speaker 6 (28:18):
And I thought, I just came off the top of
my head really quickly, and I'm like, well, we're not
going to call it that. It'll be something else. And
you know, we have a character named Alice in season two.
We're not going to call it that. But it just
came around and then literally just to see it everywhere,
and because people kept on laughing, like it sounds exactly
what a pretentious pair of young college students would like
(28:38):
make their first film the Desecration of Vallice, and you know,
a horror bent and a body horror.
Speaker 3 (28:45):
You know, all of the.
Speaker 6 (28:46):
Descriptions that they say is what they're you know, specific
genres and inclinations towards that genre would be. But it
was so ridiculous because when we were making the actual
television show only murders in the building, it was used
as sort of like markers on lamp posts all over Manhattan.
If the next couple of days we'd be shooting on
(29:08):
location in Manhattan, the signs would say TDA, TDA, and
it was the way in which they didn't know it
was only murders in the building coming. So but TDA
was the desecration of Alice.
Speaker 4 (29:21):
Very clever.
Speaker 6 (29:22):
I turned multiplying out and I was like, everywhere I
look as the desecration of Alan. I thought they shot
that so magnificently, that black and white day with those
twins standing there against those I mean, Jessica and Kyle
really did beautiful work that you know, on that film.
Speaker 5 (29:39):
I didn't go to film school, and I feel like.
Speaker 1 (29:41):
Now I have again, this is Jessica you director.
Speaker 3 (29:44):
Yeah.
Speaker 9 (29:44):
So we were taking some cues from Metropolis right the class,
and so I had this idea of I just wanted to, like,
you know, there's a whole of course of the theme
with eyes with you know, with mister Fish. So I
wanted to make like a face with just separate features.
And so the camera were just like right in his
(30:06):
eye and he's trying not to blink.
Speaker 5 (30:08):
Maybe maybe that was a little much, but uh.
Speaker 4 (30:10):
No, I thought it was incredible.
Speaker 1 (30:12):
I thought it was I thought it was just the
right amount. Yeah, oh so good. Speaking of acting, there
is another moment from this episode that we loved, and
it's this one.
Speaker 4 (30:21):
I lost my head, I lost my bride.
Speaker 3 (30:25):
Johnny has his head, Johnny has his bride, and then
cher Bono says, slop of it.
Speaker 4 (30:34):
It's from Moonstruck, Maybell, you really should see it.
Speaker 1 (30:37):
Yeah, I think I've seen enough.
Speaker 4 (30:38):
I lost my and then they've been in Charles joins
In and even Koumail on the count. So funny. What
is going on there? Why Moonstruck?
Speaker 1 (30:50):
Why that moment of Moonstruck?
Speaker 6 (30:53):
And yeah, yeah, it's so random, right, but I just
did like that and they really went with it. I
wasn't predicting that they would go so big, but everyone
just dove in, Steve, Marty, Richard once Richard led it
and they yeah, and it's it's anyone who loves a
movie or anyone knows that line, and like, you know,
(31:14):
you've been in those conversations too, and then you're high
fiving someone if they knew the scene or they knew
that moment, and then that it's moons Truck is just ridiculous.
Marty said there may be three in this season references
to the Bonos Oh wow, whether it's so because he
was saying he rented Sonny Bono's house.
Speaker 1 (31:36):
Yeah, yeah, he's squatted. He squatted squatted, that's right. Hell
a love letter to the Bonos.
Speaker 6 (31:45):
And then he says, and then share Bono says, which
is another thing I love.
Speaker 1 (31:50):
I love that.
Speaker 3 (31:51):
Having not seen the movie in ages, I went back
and I looked at it with talk about overacting the
cage and so. But he's so brilliant and it was fun.
That was fun.
Speaker 1 (32:05):
Yeah, that was a.
Speaker 3 (32:06):
Lot of fun. I should have watched the whole movie again.
I just watched the scene. I remember it, but I
you know, I had to be reminded of it.
Speaker 1 (32:13):
But but you rewatched it.
Speaker 3 (32:15):
But the line is the line that famous to everybody.
Speaker 1 (32:20):
I don't know, Ryan didn't know it, but I remembered it.
And it's been a while since i'd seen Moonstruck, but
I did. I rewatched the scene because because.
Speaker 4 (32:30):
I wanted to see the I wanted to see the reference.
Speaker 3 (32:32):
I bet a lot of people go to YouTube to
watch the reference. I didn't know it. I don't know
why they didn't take some some other famous line, but
that obviously has something. Well, somebody who was really impacted
by Moonstruck took that line.
Speaker 4 (32:50):
Yeah, well thats go be my question if you knew why,
if you knew why it was referenced.
Speaker 3 (32:56):
No, you don't want to go into the mind of
the writers, don't. I don't think this. I don't think
that's anywhere you want to investigate.
Speaker 1 (33:03):
We do, though, we do. On this podcast we talked to.
Speaker 3 (33:06):
That I have no idea, never have the writer, never
asked anybody. I just accepted it. I'm a dancing monkey
on a string. That's what I do. I sew up.
I say the line as best I can and say,
is that what you want? They say yes, and I
go home. That's what I do. It sounds nice what
I do. It's a good time, Jamacy to show red
(33:26):
Oaks that I did. Now, well that's you two. Write
this down on Amazon is red Oaks. It is ten twenty,
It's twenty six episodes, two seasons of ten.
Speaker 4 (33:42):
When was When did you make it?
Speaker 3 (33:45):
It's about four years ago. It's wonderful me a lot
of young people. Paul Riser's in it. Jennifer Gray plays
my wife. It's wonderful. David Gordon Green, I'm sure is
a director that you know he produced and directed It's
Steven Soderberg produced it saved it. Oh cool, watch it,
(34:05):
So everybody on this podcast should watch it. It's a
not a good show. It's a great show, but it
takes place in the eighties and we did one episode,
I think it's the first season where my son and
I body switched, and that was sort of weird. It's
not the show is very realistic. This was a weird
(34:28):
addition to the ouvra. Yeah, watch the whole show. Don't
even think about that. But that was a weird thing too.
It's just was very different.
Speaker 4 (34:36):
One important thing we learn in this high concept episode
is that Dudenoff is a real person and that all
of the Westies knew him, and so did the brother sisters.
So we asked John Hoffman about it.
Speaker 1 (34:49):
Oh, we were wondering about Dudenoff, and this episode we
see Dudenoff is a real person, Milton, Milton Dudnoff, who
has a connection to many of the characters on the
show that we've met so far. Was that another Madeline
George or who who named Dudenoff?
Speaker 6 (35:04):
You know, it might have been Mateo in Madeline, but
that name when it came up. This is my own
obsession to in the room and it drives everyone crazy.
But like I heard the name and I'm like, well,
that's it. It's got it's got to be Dudenoff. But
that name became so central. And I remember pitching the
season to the studio and network actually, and we had
a whole card over the Zoom because we do that
(35:26):
on Zoom. And I walked them through the season and
I said it, an essential question to the season is
going to be who is Dudenoff? And so get ready
marketing team with any duden who is dudonof and and
Dudanoff is going to be brought up a lot by
these people and then it's going to have an answer
that twists a couple of times.
Speaker 8 (35:46):
M Oh geez.
Speaker 3 (35:47):
Interesting.
Speaker 1 (35:48):
Well yeah, I mean we learned his dead, we learn
who he is, and then we learn he's dead.
Speaker 4 (35:52):
So jeez, not just.
Speaker 3 (35:54):
Dad, Maggie, not just dead.
Speaker 6 (35:55):
Dudenoff is incinerated.
Speaker 4 (35:58):
Dusty Sas does not have two left shoulders.
Speaker 6 (36:03):
I love that bit, and he gave them. I will
say this that one little easter egg in that as
to why he had a prosthetic shoulder replacement joint shoulder.
We do tease that a little bit when he's giving
the girls his super eights because he can't. He says
something about my bones are too brittle to like lug
(36:26):
those around it.
Speaker 1 (36:27):
I didn't clock it either.
Speaker 6 (36:29):
Thing. We like to thread through and now I have
to tell everybody so because no one else.
Speaker 1 (36:34):
We love to hear those details.
Speaker 3 (36:37):
Like that stuff.
Speaker 6 (36:39):
There's the Reddit board than you guys that really go
deep on us.
Speaker 4 (36:44):
I mean, of course I love it.
Speaker 12 (36:50):
That's it for today, listeners, Thanks for tuning in. And
I have forgotten for the last I don't know four
weeks or so about the easter egg in the opening credits.
So by popular demand, let's go through and I'll try
my best to remember.
Speaker 1 (37:03):
To save them.
Speaker 12 (37:04):
Moving forward, So this episode there was a movie projector
last episode ryand you remember, No, I think there was
a reflection.
Speaker 1 (37:11):
It looked new. Does that sound right? Listeners?
Speaker 12 (37:13):
Was that was that the East dreg If it wasn't
tell me. Episode four we saw Howard walking.
Speaker 1 (37:18):
The pig for the first time.
Speaker 4 (37:20):
Yes.
Speaker 1 (37:20):
Episode three we saw two sets of three director's chairs,
I think, And in episode two there was that hanging hamleg.
Speaker 4 (37:26):
Yes, very good, well done.
Speaker 1 (37:28):
Okay, that's it for today. But on Friday, we're going
to talk to the Brothers sisters themselves.
Speaker 4 (37:34):
We will have both Sienna Werber and Kat Cohen on
the pod.
Speaker 1 (37:38):
They play Trina and Tawny or Toni and Trina respectively,
So we'll see you then. Also, we've had a lot
of entries for a New York escape room, but not
very many for the LA one.
Speaker 4 (37:48):
This is your chance, LA, if you want to go
to a pre escape room.
Speaker 1 (37:52):
Okay, that was aggressive, Ryan, I was just gonna say
that if you're near LA and you want to enter,
your chances will be very very good. So you got
higher chances to win for LA the New York right now,
just based on volume.
Speaker 4 (38:04):
Indeed. Okay, see you in a few days.
Speaker 1 (38:26):
Only Murders in the Building Podcast is a production of
straw Hut Media, hosted and produced by Ryan Tilton and
Maggie Bowles. Our associate producer is Stephen Markley. Original music
by Kyle Merritt and Only Murders in the Building theme
music by Siddartha COSLA. Assistant editor is Daniel Ferrara and
production assistant is Caroline Mendoza.
Speaker 4 (38:43):
We talked to so many people for this week's episode.
Thank you so much to Michael Cyril Crichton, to Richard
Kind and to Jessica You and big.
Speaker 1 (38:52):
Big thanks as always to John Hoffman and the entire
Hulu team.
Speaker 4 (39:03):
M hmm, Hello and welcome to the Only Winners in
the Building Podcast. I'm Ryan Tillotson and I'm Maggie Bowles.
Speaker 1 (39:14):
Hey, I need you to shut up, please, I love you,
Please be quiet. I'm Ryan Tillotson and I'm Maggie Bowles,
and we're looking behind the scenes and mining for clues
as we meet the cast and creators of the HULO
original series Only Murders in the Building. Do I have
to do Again?
Speaker 4 (39:29):
We're just gonna go with it. Today on the show,
we're talking all about season four episode.
Speaker 1 (39:40):
I want to take her on the other.
Speaker 2 (39:43):
We're recording.
Speaker 12 (39:46):
We're recording I love here.
Speaker 1 (39:48):
I'm gonna put you in a window so you can
look at the window on all the cats. Okay, see
you next week.
Speaker 12 (39:56):
Bye, No, not see you next week, see you.
Speaker 4 (40:04):
Later, see you later, see you in a few days.
I'm tired.
Speaker 1 (40:11):
I know you want me too.
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