Episode Transcript
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Speaker 1 (00:00):
Nineteen thirty two dot org. Coming to you from the
City of Brotherly Love. It's the scene with.
Speaker 2 (00:15):
Dorene going behind the scenes with the biggest stars and
getting to know the person behind the personality.
Speaker 1 (00:26):
I'm Shadow of Stevens and.
Speaker 2 (00:28):
No, here's your host, billboard charning recording artist and reigning
queen on the scene, do Rene Taylor.
Speaker 3 (00:39):
Oh my god, thank you. Wow, that's wow. What a
new intro. Oh my god, that's the first time I've
heard it like played in the show. Amazing. Oh my god.
Welcome to the scene with Doreene. Of course, I'm your
billboard charting whatever queen on the Saint Jauren Taylor, and
I'm here with my incredible producer, Matt Monark. And we
are celebrating today. What are we celebrating that one hundred episodes,
(01:04):
one hundred episodes today? Baby, Oh my god, it's a
celebration here in the studio today that we got here,
We finally got We were talking about it for a while,
We're like, okay, two weeks ago, three weeks ago, here
we are one hundred.
Speaker 4 (01:16):
Yes, I love it, one hundred episodes, one hundred and
thirty five guests. I love stats, I love sports stats.
Speaker 3 (01:24):
I didn't even know that one hundred.
Speaker 4 (01:25):
And thirty five guests. Wow, John is the guest with
the most name. Five John's, four Michaels, one, four Pauls,
and one Grotius.
Speaker 3 (01:35):
Only one Grotius. There is only one Grotius Maximus in
the entire planet for it.
Speaker 4 (01:40):
Yeah, one hundred and thirty five guests.
Speaker 3 (01:42):
That's amazing. You actually sat there and did the stats.
Speaker 1 (01:45):
Yeah.
Speaker 4 (01:45):
I like doing stats. And I also did something, okay,
because there's one hundred thirty five guests ninety nine shows,
and I practiced something, and I wanted to see if
I could get in every guest in a minute. Okay,
So all right, my voice might sound a little different,
all right, but I've been I've been practicing, and all right,
just just bear with me.
Speaker 3 (02:06):
I've never heard what I am. We're gonna do. This
is news to me.
Speaker 4 (02:08):
I hear we got let me let me okay, alright ready.
Speaker 5 (02:11):
Olayas Mackeline, Perry, Mineuo, pau Grats, Launce, Groobladed Muscat, Brunetes,
tayl Dan Cherry, Mcracken, Dinah Ango Abe Shonnerdate Testo, kit Winger,
Mary said call Leland Skaalarer, Mellie Smith and Lee, Burray Schwartz,
Bob Gaudio, che Duvalis Papali, Gloria Lauren, John On Rascik,
Scott Schwarz, the Rents, Wit, Donat, Tony Tyronees, Martino Cartier,
Jacky gos Nyer, Emily Robins, John Davison, Josee Ket Sarah
sush On, Carlois Penny Ggre, David Smith, Krats Sky, Larry Laser,
Yeah Galant, Michael Carbonardo, Michael good Plan, Pierro Mame and
mar Johnson, Hooey Ars, John mcain, Lacy Fulton, William the
(02:31):
Golden t graand Brown, Joey Nyan, Je Sheperjo Gheto, Dan
Dash Freeway, John Flee, Iverson, ton Yo Nadodglas, Katrin, yes Key,
tayl Jo Nasborn, Scot mcary, Kenzi fips Aa, Basons Lood.
This is American Madison r John Barr Ortisile, John mckuan, Stevedor,
Jay Way, shepperder Stad now Terresa Caputo, Zio xl Rod,
while the agerwal Steve Vy, Joe Bonnamassa, Lisa Lisa, Michael Luson,
Willie Shatner, Rocky Land Howl Jones, Captains, Scott Coast Timerralis
I Endorshock, JOm Bayle Jet j jhonn O Rasick Again,
Andrew Ferris, Richie Serman Film, Regie, Steven Toblowski, Christine Amber Keller,
Herdrews Films, and Ra Johnson, Palacastello, Right, sid Fred Brene,
(02:53):
Graziono klin Hey, Carlahal who he Day, Dook gehe Ron,
vincent Erman, Bridechael Reeve, paulzemos Ki, Person, Tonyavoloney, Brati Wisky,
joy Love, Bob Grewen, will Moseley, Abdel Pietra bil Vera,
the Biggest brontn take Gret's next missic War, John Be'sy Jimason,
Jim Kelly, tuk a shot, what the w wash a
j Crochecy Rush Warn't fry by the rights and Lynch
dz woard Way Funds and it is Chris Brown, pul
Okay for Vin mcain, Kazami, Terry Fader, Rocky Diller, Cambridgway,
Rene Vicor Dixon, j tmbercont Je just seven Glen Phillips,
that's twist.
Speaker 3 (03:11):
Walk man, Oh my god, I never heard that. Ninety
nine shows My head is literally blown. Oh my god,
that was amazing.
Speaker 4 (03:22):
One breath.
Speaker 3 (03:24):
Wow, get this man of drink, celebrate early, Holy moly,
and you know what I was going through it on
I actually I can remember kind of the succession of
them all going and I was like, oh yeah, and
it was pronounced beautifully, every one of them. Because there's
some weird names in there.
Speaker 4 (03:39):
Yeah, it's so beast too to get into a minute.
So one hundred and thirty five guests in a minute.
Speaker 3 (03:44):
You are that guy back in the eighties that used
to do like all the commercial super machines. Yes, you're
better than that man. Oh wow, amazing. Oh that is
that's kind of when you listen to it that way.
That really puts everything in perspective of what's going on here. Yeah.
A lot of people, a lot of people, a lot
of good people. I mean everybody. Everybody brought something amazing
(04:06):
to the show. And it's all different. Everything is so different.
A lot of musicians, I mean that seems ore be
our big thing, but other things too.
Speaker 4 (04:12):
And oh yeah, actors, I mean authors, people, actors that
wrote books. Musicians that wrote books.
Speaker 3 (04:18):
Yeah, like today an actor that actually is a musician.
And I mean we have a lot of people that
cross all different boundaries.
Speaker 4 (04:24):
Yeah, And what's funny is some of the actors that
are musicians that you've talked to, when their eyes light
up and there there, you know, they get more excited
when you talk about their music more than their acting,
even though if they're they're known more for their acting.
Their love is the music.
Speaker 3 (04:41):
It's true. They I've seen it several times now, and
the passion just lights up when you start talking about
something that they maybe isn't their thing, but they want
it to be their thing, or it's just the thing
that they find that makes them happy in life. And
it's kind of we just we explore that and we
find out what makes them tick.
Speaker 4 (04:57):
Yeah, and then some are really good at it. It's
like maybe acting just came along and asked what they
were good at, but you know that their music they're
good at as well.
Speaker 6 (05:06):
Yeah.
Speaker 3 (05:06):
Yeah, it's incredible. But I just think that it's you
know what, I'm gonna have to celebrate God drinking tonight,
I do. I haven't been drinking a lot lately, so
I think I'm due. But yeah, I think we got
to celebrate and this next hundred who knows, I never know.
What's gonna happen from week to week. I don't know
who we're gonna have in here. I just don't know.
But I have a feeling that we're gonna the next
(05:30):
one hundred are going to really even top the first.
I don't know if that's possible, but I'm gonna work
my little butt off to try to do it.
Speaker 4 (05:35):
Yeah, I'm sure it could well.
Speaker 3 (05:38):
So I got to say, though, for our hundredth I did.
I've been teasing it for a while now on social
media and of course on last week's show, But let's
just say that today we have one of the one
of the more well known actors who has been around
multiple decades, the incredible Jeff Daniels, is joining us today.
This is a hundredth yes, and we're gonna talk about
his acting, We're gonna talk about his passions, but we're
also going to talk about his music, and we're gonna
(05:59):
just get to the heart of the matter and celebrating
style with the incredible Jeff Daniels.
Speaker 4 (06:04):
Yeah, this is the perfect person to do it with.
Speaker 7 (06:06):
So let's just get to it.
Speaker 3 (06:07):
Oh yeah, my guest today on the Scene with Doreen
has appeared in over seventy movies, numerous television shows, and
has graced the Broadway stage again and again. Almost fifty
years ago, multiple Emmy Award winning actor Jeff Daniels loaded
a guitar into his old Buick and headed out to
New York City to take a chance on a dream.
Through hard work and perseverance, Jeff became one of the
(06:29):
most recognizable actors of our time, starring movies like a Rachnophobia, Pleasantville, Speed,
Terms of Endearment, Something Wild, Purple Rose of Cairo, and
of course no one will ever forget him as the loving,
dim witted Harry Dunn in the nineteen ninety four hit
comedy Dumb and Dumber. Take a listen, I love dogs too.
(06:50):
Oh so, how are you involved with him?
Speaker 6 (06:52):
Oh?
Speaker 1 (06:53):
I've trained them, you know, bathe them, clipped them. I've
even bred them. Oh really, any unusual breeding, No, just
doggy style. One time we successfully made it a bulldog
with a shit suit.
Speaker 3 (07:07):
Really, that's weird.
Speaker 6 (07:11):
Yeah, we called it a bullshit.
Speaker 8 (07:20):
Oh.
Speaker 3 (07:20):
Yes, there's very little that Actor Jeff Daniels hasn't been
able to accomplish. From his critically acclaimed movie and TV
roles to multiple runs on and off Broadway. Jeff is
now throwing his very talented hat into the singer songwriter world,
touring across the country in a select cities with his
live acoustic show, proving that nothing is impossible when chasing
(07:42):
your dreams. It is an honor and a privilege to
have the one, the only Jeff Daniels on the show today.
Welcome to the scene with Doreen.
Speaker 1 (07:50):
Jeff, Thanks, Terraye. Nice to be here.
Speaker 3 (07:53):
Wonderful. You know, I want to make sure that you're
comfortable right off the bat, So how about we take
our pants off in chat?
Speaker 1 (08:02):
Yeah, that's that's the title of one of my songs.
Speaker 3 (08:05):
Oh really, I had no idea. I always asked that,
of all my guests, what are you talking about?
Speaker 1 (08:09):
Well, good, I'm plagiarizing someone.
Speaker 6 (08:14):
No.
Speaker 3 (08:14):
I wanted to start right out of there, because you know,
you do have a song that you came up with
that was inspired by what Ryan Ryan Reynolds.
Speaker 1 (08:22):
Yeah, we were making a movie in New Jersey, an
independent movie, and uh this was before Ryan was a
huge star and uh so he was a supporting character
in the In the thing anyway, we were walking passing
each other in a hallway of this house and usually
you stay to the right and you know, you pass
each other. But we did that thing where we kind
(08:44):
of bumped into each other and we're you know, did
a little that that little awkward dance, and without missing
a beat, he looked at me right in the eye
and said, how about we take our pants off and relax?
I just said, that's just I mean, that's a song.
I'm in my head, I'm going, that's a song. That's
a song.
Speaker 3 (09:00):
And it was you actually wrote it. I heard what
six steps passed? You had it already written in your head.
Speaker 1 (09:05):
Yeah about you know, six feet behind him, I'm going, Okay,
there's the first verse. Here, here comes the core. Uh yeah.
But and it's a big hit. Whenever I play it,
people are so stunned. And then uh and then I
usually place it later in the set and that becomes
the obligatory sing along, which cracks the audience up as well,
because now they're they're all singing, how about we take
(09:26):
our pants off and relax, which is something most of
them have never said in public before.
Speaker 3 (09:32):
Do any of them do it?
Speaker 1 (09:34):
Uh No, I've never had anybody do that, but I
usually everybody does it. Then I have the guys do it,
and then I go, all right, gals, And then when
the girls do it, they drown out the guys like
twice as much.
Speaker 3 (09:50):
Isn't that the story of life? I think the girl's
always drawn out the guys. I mean that's sort of
like life right there.
Speaker 1 (09:56):
Yeah, and they it's it's yeah, it's always it always worked.
It's one of those songs you drop in the set.
Could you know it's going to work?
Speaker 3 (10:05):
That's why I opened our set in a way with that,
because I knew it would work. See I can read
your mind.
Speaker 1 (10:11):
Yep.
Speaker 3 (10:12):
Well, before we dive headfirst into your life as a troubadour,
let's go way back to a sophomore in high school.
Acting career was actually launched by music, a little Rogers
and Hammerstein musical called South Pacific. You played radio operator
Bob McCaffrey.
Speaker 1 (10:27):
Yes, yes, I did.
Speaker 6 (10:29):
I was.
Speaker 1 (10:29):
You know. I grew up in a small town in Michigan,
and I had a teacher in junior high who recognized
that I could I just something was going on. She
did some skits in sixth grade in chorus class. She
knew I could sing, and she had me pretend I
was a politician. Giving a speech with his pants, falling
(10:52):
down again with the pants, again with the pants, and
I turned it into like two or three minutes of
comedy that you know, I'm a sixth grader. I don't
know what I'm doing, but I you know, you start
by pretending you're giving me a speech, and then you
tug at your belt a little bit, maybe the belt
loop in the back, and you know, a minute a
(11:12):
half later, you're holding up your pants like the weigh
four hundred pounds. And she went to my parents and
she said, pay attention to this one. There's something going on.
And then five years later, I'm in high school and
playing sports and she needed guys as sailors in South
Pacific because now she's the high school musical director. And
(11:34):
she literally watched me walk past the auditorium, dead tired
from basketball practice and said, Jeff, get in here. Oh god.
So I went in and auditioned, and I did this
crazy little dance during I think it's there, ain't nothing
like a dame.
Speaker 3 (11:51):
Probably probably wasn't.
Speaker 1 (11:54):
It wasn't, you know, slapping my knees and thighs and
you know, being funny. And she put me in the show.
And that's That's when i'm you know, now you're doing
even though I had only had a couple of lines.
That's where you're kind of going, Okay, what is this?
And she stayed on me. I had a teacher who
stayed on me. And then next thing you know, she's
(12:15):
doing musicals the following year and in the summer, and
I was playing leading roles in these musicals. And that's
where I learned how to kind of refine how to
be in an audience as an actor. I had no
idea what I was doing, but it was working, and
it was because of her.
Speaker 3 (12:32):
Amazing how much a teacher can inspire and how sometimes
we want to cut the budget of arts and entertainment
and that should be the last thing we ever cut
from the budget.
Speaker 1 (12:41):
Is your proof of that, Well, my argument on that
is it's shortsighted because most people who are in musicals
in school, or pick up a guitar or are in
the band, they're not going to end up doing it,
you know, nationally, you know that the odds are against them.
(13:03):
But what they get out of the arts is how
to use their imagination, amen and their creativity and how
to see things that other people can't. Yes, and how
to either put it on paper or into an instrument
or into an expression of something, so that maybe if
you end up in some corporate cubicle or something, and
(13:24):
you know, unless you're just going to be tapping keys
and not using your brain. I mean there is some
of the best business people in the world are very creative,
imaginative people, and so I think the arts fuels that.
But you know, you can't get people to believe that.
Speaker 3 (13:42):
Well. To be fair, how many of the sports people
are playing football in high school or hockey or any
of them basketball go on for a pro career either.
I mean you can say the same thing, like, you know,
musicians are going to make a living out of it. No,
they're not also going to star on the Yankees or
the Dodgers. You know, they're not always going to go
forward either.
Speaker 1 (13:59):
So you have to take everyone you get out of it,
and if you athlete, you got out of it discipline,
team work, you know, holding up your rand, all that stuff.
I remember high school sports was very valuable actor auditioning,
and that's that the preparation beforehand was what you learn
in sports, and that transferred easily to what do I
(14:23):
have to do to get the job, I have to prepare,
I have to outwork the other guys.
Speaker 3 (14:28):
Well, so yeah, it all. You know.
Speaker 1 (14:30):
It's there are things in the arts that I wish
this country supported them, and right now that doesn't seem
to be the case.
Speaker 3 (14:37):
No, unfortunately not. And being from Michigan, though I know
you are probably a huge Red Wings fan, I would think, yeah.
Speaker 1 (14:47):
Sure, Tigers, Lions, red Wings.
Speaker 3 (14:49):
Yeah, yeah, you almost missed your big break going off
probably that big audition because you wanted to go with
your friends to a Red Wings game.
Speaker 1 (14:57):
Yeah. I had an opportunity to audition in front of
someone that, little did I know, was a director from
New York who was just out in Michigan to pick
up a check to direction some college kids, basically, and
I auditioned for him and then wanted to skip the
callback so I could go down to Detroit with my
college buddies and go to the Red Wings game. And
I got talked into staying for the callback by thankfully
(15:20):
a smarter person than me from our college. He said,
you're not going anywhere. You're staying here, you idiot. You
and I stayed, did the callback, got the role, and
ended up being a guy named Marshall W. Mason, who
was the artistic director of Circle Repertory Company off Broadway
in New York, And then four months later I was
(15:41):
in New York.
Speaker 3 (15:43):
Do you send him a thank you note every year
for kicking your button.
Speaker 1 (15:46):
Making you go? He was, has been, and still is
an important person in my life. That's for sure.
Speaker 3 (15:53):
A nice You never forget those that help you along
the way, And that's beautiful. And you know you're not
just a hockey fan, though I also are a little
already told me that you once wrestled an elderly lady
for a George Brett fly ball.
Speaker 1 (16:07):
Yes, we were at Tiger Stadium and the old Tiger Stadium,
and I had gotten hot dogs for the ten people
or so that were with me, and I was coming
up that little runway into the upper deck where you
can look down and see the lower deck below you,
and everybody at the opening of the upper deck where
(16:30):
I was headed suddenly jumped up, and all of a sudden,
here comes this baseball and it went right down between
my legs, and I'm holding ten hot dogs, and I
see this little old lady. It's heading for her. So
I dove with the hot dogs dove for the ball,
grabbed it before she could. I don't care. I don't care.
(16:53):
I had to have it. It's Georgie dogs mustard everywhere.
But I got the ball and later found out it
was George Brett that hit it.
Speaker 3 (17:01):
Do you still have it? Did you keep that ball?
Do you worked for it? You should keep that frame
prominent position in your home. Well, a happy anniversary. Forty
years ago this year the movie Purple Rose of Cairo
it was released. That was groundbreaking for your career.
Speaker 1 (17:21):
Yeah, that was a huge break.
Speaker 7 (17:22):
You know.
Speaker 1 (17:23):
At the time, Woody Allen was premier American filmmaker, Scorsese, Spielberg,
Woody and to get a role for a New York
actor or any actor, to get a role in a
Woody Allen movie was one something you wanted. And I
ended up getting not one, but two leading roles in
(17:45):
the same movie because I had played two different parts.
And you're on the set with Woody and and Mia
Farrow and a lot of great actors, ed Herman John
Wood's just people that I knew from New York and
all of a sudden, here we are, and it was
(18:07):
I loved it. I just loved it. It was I
was thirty years old. And when I was done with that,
Woody was happy and with what I did. And that's
when I said to myself, Okay, okay, I can do this.
I can make a living at this business. Because if
I'm good enough for Woody, then I'm good enough for anybody.
And you know, three months later, I met Mike Nichols
(18:31):
on a film called Heartburn, and I said, do you
want me to read you know, a scene or something.
He goes, good enough for Woody, good enough for me.
Speaker 3 (18:40):
That's a nice thing. Yeah, okay, yeah, but.
Speaker 1 (18:43):
It really was kind of a you know, yeah, that
movie kicked me, you know, up several levels.
Speaker 3 (18:49):
Oh yeah, and it almost didn't happen. Michael Keaton Batman himself,
he shot for like about ten days or something, and
wood he didn't think he had the old Hollywood look,
and here you came in and stuff.
Speaker 1 (19:00):
Then, yeah, I think it was mutual. I didn't ask
too many questions about it. I don't know that Michael
was comfortable. There might have been a young child at
home that he missed or something. But I think it
was kind of mutual, and that that was kind of
what happened with Woody too. It wasn't just Michael, there
were some other people. It was the same thing with me.
(19:21):
I mean, you're shooting and you're waiting to okay, I
got through this week, and then you got through the month,
and there were there were there were people that had
shot for six weeks and then would he cut them
together and just said, no, it didn't work, I'm going
to reshoot their scenes. And so that's just the way
he was working. He didn't really know until he saw
(19:42):
what they were doing on screen cut together. So yeah,
I mean I thought about three months into the form
five months shoot that I'm going, okay, he can't fire
me now.
Speaker 3 (19:53):
So yeah, you know, at thirty years old, had to
feel pretty good when he said to you that he
thought you were good. I mean, that's about, like you said,
the greatest compliment that you could probably get as a
young actor.
Speaker 1 (20:05):
Yeah. That came through one of his crew people, a
costume designer named Jeffrey Kurland. He said, what he wanted
me to tell you that he thinks you're good.
Speaker 3 (20:15):
Very nice. And Jack Nicholson, you know, years later, same
thing in terms of endearment, where you got to see
him on what on Broadway he came backstage and he
let you know the kind of the same thing years later.
Speaker 1 (20:27):
Yeah, those are those are the awards, you know, those
are the ones that matter. I mean, it's always nice
to win a gold trophy of some kind, but it's
when people that you respect and you admire, who have
been doing it a lot longer than you take the
time to turn around and tell you that you're doing it.
(20:47):
You're doing it. You know, you're good, You're good. I mean,
it's such a stamp of approval, and it truly means
more than getting your name called on television and giving
a speed I mean, that's nice, it's terrific when it happens.
But I'll never forget what Jack said or what what
he said. Those those matter, Yeah, we do.
Speaker 3 (21:13):
And after Purple Rose of Cairo, you didn't want to
raise your family in la You decided to go back
to Michigan, and I do not disagree with you to
do that. And it inspired you so much that movie
that you opened your own theater, the Purple Rose Theater,
And that's pretty that's a testament to that role for
you and what that meant to you.
Speaker 1 (21:34):
Yeah, it's Kathleen and I had a two year old
boy at the time, and we had been coming back
to Michigan for summers, and I was, you know, my
career was was perfectly fine. The movies were starting to happen,
and we didn't have to New York was expensive. I
didn't think the career would last. They never do, and
(21:58):
and I just didn't know how to live in LA.
I didn't know how I'd been ten years in New York.
I didn't know how to do LA. I would visit
it and go shoot there, but I didn't you know.
It wasn't until decades later that I kind of, oh, oh,
this isn't so bad, you know, But at the time
it was too much. So I we moved to Michigan
(22:18):
at a time when nobody did that, and my agent said, well,
as long as you're willing to get on a plane
in Detroit and fly to LA for a meeting at
your own expense, we're going to act like you're living
in La okay. And it worked for about ten years.
It worked, and then the career kind of slowed down,
and then I had to hustle a little bit. But
(22:38):
then I got dumb and Dummer, which you know, gave
me new life.
Speaker 3 (22:43):
Well, you know, I heard a little Birdie told me
this too, that you got it. You went up to
what was Breckenridge or wherever they were taping. It was
supposed to be Avail, and you were taping all your scenes,
but you didn't really have it yet. Supposedly that you
thought you had it, but you didn't have it yet.
Speaker 1 (23:01):
Well I didn't really. They had seen a lot of
actors for this. They had gone to stars. You know,
I was well down the list of people that were
being considered. But I think at the end it was
just people. They were either afraid to work with Jim
or they thought it was just just too stupid, you know,
(23:23):
a movie that really was earmarked for twelve year old boys.
And I said, I want to do it. I want
to work with Jim. I want to do something different,
and I think I can be funny. I know I
can be funny in this, and so I've got several
scenes where I know I can score. And so we
started shooting, and it dawned on me about four days
(23:45):
into the first week that Jim wasn't working. And he
was there and supportive, as were the Fairly brothers. But
we were shooting all my stuff. We were shooting the
snowball in the head, the tongue on the poles in
the ski lodge.
Speaker 6 (24:02):
You know.
Speaker 1 (24:02):
It was by Thursday. I'm going, oh, I get it,
I get it. And nobody said anything to me because
they all had their fingers crossed. They wanted me to work,
but the studio wasn't quite sure, as I understand it.
And then I got into that first weekend waiting to
get the phone call. Thanks, but we're going to send
(24:22):
you home, and it never came, and I'm going, well,
maybe I'm just being paranoid here. So I'm Monday morning,
I get a call makeup hair tree. Okay, here I come.
So in I went, and Jim came in and as
I was sitting in the makeup chair, he walked by
and just patted me on the shoulder and said, just
(24:44):
keep doing what you're doing. They love you. And they
had cut together the scenes from that first week and
showed them to the studio and that's when the studio said, okay,
he can stay.
Speaker 3 (24:56):
Well, thank god that happened that way. What do you
say those people back in the day, when they would
give you that advice, don't do it, don't do dumb
and dumber. You're serious actor, you know this is going
to ruin your career. What do you say to those people?
Speaker 1 (25:08):
Now? Well, I've always believed in taking chances and gambling,
risking something. I'm a lot. I'm still the same way
I now I'm to the point where I will take
something because I don't know how to do it, which
(25:28):
is different than playing the same character basically six seven,
eight movies in a row, basically playing a version of yourself,
and you're branding yourself as an actor, which has been
done forever. I mean, Clark Gable was Clark Gable, and
that's that's okay. But I always wanted to be somebody
(25:51):
different each time I did it, even if it was
subtle and dumb and dummer. Was a chance to do that.
I knew if I could pull off that and then
put it next to what I did in Gettysburg or
Purple Roles in the of Cairo, then I would have
a range that went from way over there to way
(26:12):
over there and in between. Those two things are jobs, yes,
And Clint told me that when I did a movie
with Clinton two thousand and two. I think Clint said,
if you can do dumb and dumber, and you can
do two days in the valley, which is a drama
I did. If you can do that, you can do that,
you can do this.
Speaker 3 (26:32):
Yeah, you are extremely versatile and I want to talk though,
I want to take a break because I want to
come back. I'm Duri Taylor. You're listening to the Sema Duram.
When we come back, we're going to talk more with
award winning actor Jeff Daniels, but we're going to dive
headfirst into his latest exciting achievement is music. Stay right there.
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Speaker 3 (28:51):
Hey guys, are you loving the show? Do you want
to see more of the scene? Well, guess what you can,
because The Scene with Dorian is now a weekly segment
on the nationally syndicated television show The Daily Flash. The
Daily Flash is your daily destination for trending stories, celebrity updates,
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(29:13):
watch every Wednesday across the country. Check your local times
and listenings at the Scene with Doreen dot com. My Ma, Ma,
my Ma, Ma, my ma ma.
Speaker 8 (29:39):
Yeah, we were my Mama.
Speaker 1 (29:47):
Inner there, Ebo, I know's going when you leave the driver.
Speaker 3 (29:56):
Agree. Welcome back to the Scene with Doreen Proud part
(30:19):
of the Beasley Media Family. I'm your host Storyan Taylor
and coming out of break. You just heard my guest today,
the incomparable actor and singer songwriter Jeff Daniels. That was
a short clip of his beautiful song road Signs. Jeff,
I know that you've been asked many times if you
will ever write an autobiography, and I love your answer,
you've already you've written that biography many times. Your life
(30:42):
story is in your songs.
Speaker 1 (30:45):
Yeah, I have written a lot of them. And from
when I bought the guitar and knew two and a
half chords in the seventies, I just and I was
around playwrights off Broadway in the late seventies, so I
was around writers who were writing, and I just started
(31:06):
writing my own stuff and not for anyone to hear,
because I'm there to be an actor, and you know,
leave your guitar in the apartment. You can't do two things.
But I just stayed at it, and a lot of
them were really personal, and some of them never see
the light of day. But that kind of became the journal,
the diary. And it wasn't until twenty five years later
(31:30):
when I got talked into playing in front of people
that I started pulling up some of the ones that
I could actually share with people, and that, yeah, that
really it's a great thing to do. It for those
who have a guitar and maybe they do open mics,
(31:50):
or maybe they do just they headline their back porch,
you know, great, don't just play covers, write your own stuff,
you know, just write your own stuff. You got to
write five of them to get a good one, and
you'll get it's that's That's always been the thing that
interested me the most, was you know, the next new song.
Speaker 3 (32:15):
I love that people are amazed that you, that you're
musically inclined, but you've been doing it all along, starting
out your sophomore South Pacific, you were Tavia Fiddler on
the Roof. At eighteen, you were even in Purple Rows
of Cairo. You sang in that in that movie. So
it's not necessarily surprising that this is in you, and
it's been in you all along.
Speaker 1 (32:37):
I was never a Broadway singer. I was I had
auditioned for a couple of shows on Broadway, and you
know those people who are trained and have those voices,
and I was never that. But I was fascinated by
the acoustic guitar that the whole orchestra is in that
in those six strings, you got the low, you got
(32:58):
the middle, you got the hun and when you start fingerpicking,
then it gets even more orchestral. And then I discovered
the blues, the acoustic blues, you know, the Robert Johnson's,
the Charlie Pattens, the Skip James, those folks and was like, oh,
(33:19):
what's that? And then John Prine and Steve Goodman and
Arlo Guthrie and Lyle Lovett and Christine Lavin and Cheryl
Wheeler kept mo. Stefan Grossman was a huge help to me.
He was a He's an incredible acoustic player, and he's
the guy that people like Clapton go to and go, hey, Stephan,
(33:42):
how does lightnin Hopkins play this riff? What tuning is
he in? And Stephan will know? And I met him
at the Martin Guitar factory in Nazareth, Pennsylvania. I was
just on a little solo tour with my son Ben,
who's now a musician, and we stopped it Azareth to
make the pilgrimage to see where they made the Martin guitars.
(34:03):
And they asked me, you know, Hi, when'd you start playing, Jeff? Well,
you know Stefan Grossman tablature books in the eighties. That's
where I learned how to do the Travis picking and
that alternating thumb. And they go, have you ever met Stephan?
I go, no, God no, he goes, well, he's sitting
right over there. Oh so met him. Couldn't have been
(34:24):
nicer spent the afternoon with him, and then later on
I he said, come on out to my house. I'll
give you a lesson. And he really worked with me.
He knew exactly where I was and what my next
level that he was going to push me to was.
He could judge what I knew, what I didn't know,
(34:45):
what I was doing, and how I could improve what
I was doing where you know, I'm acoustic players. You know,
we don't have drummers in an upright bass usually to
tell us where the beat is right the pocket. Yeah, yeah,
gotta sustain it. And kep Mo told me the same thing.
He goes, you know, we all tend to speed up
(35:07):
when we do our little lead break. You can't lose
the beat. And Stephan was the guy who said, it's
on the two and the four. That's where you keep
it steady right there, and if you can feel that,
then you'll stay in time. And you know you won't
(35:29):
get ahead because you want the audience to tap their foot,
but if you speed up, they're gonna stop tapping their
foot and they don't know why. And so that was,
you know, it's just technical stuff that Stephan gave me,
Like that was just invaluable.
Speaker 3 (35:45):
Now did you study all along? I mean, you picked
up the guitar, you loaded it into your buick, you
drove out to New York City. But along the way,
did you actually formally study the guitar? Because you're very
really you play it well.
Speaker 1 (35:56):
So no, it's all self taught. It's all how about
your books? Wow, I knew that I wanted. The fingerpicking
really started Road Signs. Was that song that Lanford Wilson,
who was a Pulletzer Prize winning playwright, handed me a
poem in nineteen seventy eight and I fingerpick on that
(36:18):
and I said, he just put some music to this,
and it's you know, the guy ended up a Pulletzer.
So of course I put music to it. But I
was fingerpicking in the late seventies because how I play
it now is how I played it then. And then
Stephen got me more technical, and then you learn the blues.
Now you're into the blues scale, and now all of
(36:39):
a sudden, the acoustic guitar gets fun. And then you
find out about Christine Lavin and Steve Goodman and Arlo Guthrie,
and they gave me permission to be funny. You don't
have to try to write the next big hit or
to try to write something somebody in Nashville might record
if you're lucky, ignore that. Write stuff for your own set.
(37:02):
And that's where you know, the sense of humor and
the comedy that I have is you know that I
go to as an actor on occasion, I can get
that into the set and it's it's it's invaluable. If
you have a sense of humor and you can write
to it. You can write smart funny like Christine and
Arlo and Stevie. Did you know That's that's you're pulling
(37:23):
the audience in and when they laugh, they relax, Yes,
they physically relax, same thing in the theater. And then
that's when you hit them with the road signs. That's
when you hit them with the one that's going to
break them. But you've softened them up with the humor,
with the ones that are you know, funny and entertaining,
(37:44):
and then bang and then you get them and you know,
make them laugh, make them cry, you know, good night,
drive safely.
Speaker 3 (37:51):
When you can touch them on a level, you reach
into their soul and you get them and you connect
with them on that level, you have them forever they
are in your hand.
Speaker 1 (38:00):
Yeah, thing that that songs do. Theater can do it,
movies can do it, I guess. But if you're in
a room and you get that song, that that just
stops you. You know, I I really enjoy singer songwriters.
And I don't, you know, scour the internet like most
(38:21):
some people. But you know, I came on this guy
named Stephen Wilson Junior and he's got a song called
I'm a Song and it was just on YouTube and
I took a chance because you know, the algorithms or
you know, I'm going to singer songwriters. So here pops
up a kid named Stephen Wilson Junior. Never heard of him,
(38:42):
and it's stunning, stunning, And that's that's I've been in
those rooms where you know, road Signs is one of
those songs that you know, I played fifty four below
about a month ago in New York City and nobody moved, right,
he moved. And the power of a well written song,
(39:04):
well executed, well played, well sung, can hold up with anything.
Speaker 3 (39:10):
It's true. It's a language that everyone can understand and comprehend.
It's so it's one of those things it's universal.
Speaker 1 (39:19):
Yeah, and I think that's that's the tricky thing when
you're writing something that happened to you, you know, Like
I got a song called Grandfather's Hat. I used to
I didn't know how to go out on stage as
a musician with a guitar and a chair. I didn't.
(39:39):
I was terribly nervous. And I can walk on a
movie set or a Broadway stage, no problem. This terrified
and I couldn't what is the problem, And I didn't.
I didn't. I needed a character. I needed to play someone,
and it's I came up with, Oh, I know who
(40:00):
it is. It's me in a good mood. That's the character.
And so I would get this fedora because I just
love those old hats. They're timeless and far as I'm concerned.
And so I as soon as I put the hat
on and I walk out Jeff in a good mood,
you know, and I hit the chair, there's the character.
And now all of a sudden, all the fear went
(40:21):
away and I'm entertaining. And then I get into a
song called Grandfather's Hat. Where And this just came from
somebody who walked up to me one day when I
was wearing the fedora and he goes that your grandfather's hat. No, no,
it's not. It's just something that I like. And I'm
realizing as I'm saying it that this is a song
(40:42):
and it ends up I play it and it's just
about remembering him or my father. It's really about my father.
But that didn't scan. You know, my father's hat is
not as good as my grandfather's. And then people have
hearing it, would come up and say my mother's necklace, yeah,
(41:05):
my father's pocket watch, my uncle's you know, wristwatch, whatever.
They all have mementos of someone they miss, and then
it becomes universal. Then it's not yours, it's theirs. And
when that happens as you're doing the song, that's when
you've struck gold. You can't go up there and sing
(41:25):
into your navel. You can't write a journal full of
songs and then sing one of them that you're the
only one who can relate to it. And I've really
worked hard, and I think being an actor and a
playwright and being around all those playwrights off Broadway, they're storytellers.
Speaker 3 (41:45):
You know.
Speaker 1 (41:45):
John Prime is a storyteller, and you usually have beginnings,
middles and ends and a lot of songs you write
and it's just capturing a moment and then spinning around
that moment and songs over and that's those are too.
But I've liked those songs that go somewhere and then
(42:06):
end up somewhere that you didn't expect. And it's a
little bit like story structure when you're writing a play
or a movie or a novel. There's a beginning, of
middle and an end. And I like those and I
like those guys. Guy Clark was another one that would
write those songs that went somewhere, arrived somewhere, and so
you're literally singing them a story. Yes, and I like
(42:29):
those too.
Speaker 3 (42:31):
You take the listener on a journey wherever that journey
may go, wherever they're going to take it, but you
are there to be the trans you know, the vehicle
to get them from point A to point B.
Speaker 1 (42:41):
Yeah, And I think spending my life as an artist,
whether actor, a musician, writer, you got to assume you
got to get past the point you got to get past.
You know, if you're playing one hundred and fifty people
in a club, one hundred and fifty people can play
guitar better than you. You got to get past that.
You've got to assume that there are one hundred and
(43:02):
fifty people here who can't do what you do, and
they are there so that you can take them somewhere
else a journey.
Speaker 9 (43:12):
You know.
Speaker 1 (43:12):
I've always said that art is what gives us wings,
and a good song well played can do that, and
that's what they're looking for. They don't know how to
do that. Most of them don't know how to play
the guitar, or can't tell a story well, or don't
know how to time a joke, or don't have the
(43:32):
imagination to think of a hat like grand you know,
Fedora and turn it into grandfather's hat. They don't know
how to do that, but they love listening to people
who do. And if you can get around your head
that you're one of those people, your shows get a
lot more fun to do.
Speaker 3 (43:48):
Oh yeah, And they want to escape. They go to
the theater to escape, they go to see you to escape.
They want to be entertained for whatever amount of time.
That is. Especially now, I was going to say that
because of everything going on, we need more and more
of that. And you're funny. You actually were at Sellers
were right outside of Philadelphia, and you were at Sellersville
Theater not too long ago, and I watched that entire
(44:10):
concert that you did, and you're funny. The stories you
tell in between, that's worth it's weight in gold right there.
You paint. You set it up so beautifully that when
you do play the song, you've already been on that
journey for ten minutes while you're telling that story ahead
of time.
Speaker 1 (44:25):
Yeah, if the stories are good, and those are all
pretty much most of them were road tested, so it's
almost scripted. I remember there's a club in Michigan called
The Arc in ann Arbor, and my agent said, you
know there's somebody playing the Arc Saturday night. You should
see him. I said, who is it? Utah Phillips. Well, okay, whatever,
(44:49):
So I went and Utah's first song, the Great Railroad Divide,
was twenty minutes long. He kept stopping it to tell
a story, and then he would go back into the song,
and then he would stop it and then tell another story,
and then he would on and on and not, coming
back to the Great Railroad, over and over and over.
(45:09):
At the break, I said to the agent, I said,
that's some of the best improv I've ever seen. He
goes it's not improv it's scripted. He does it the
same way every night, and I go, I know how
to do that. I know how to do that. And
so that he was a great influence as well. And
so you know, Sellersville, which is a great venue. They
(45:30):
streamed it, and you gotta it's it's you're, you're, you're
holding them. It's just you. It's there's just me and
a guitar and a chair and there there there is
no band. Nobody's gonna come out dancing. The rockets aren't
going to back me up. Nothing. It's just me. And
so if it's about if you if it's the stories
(45:50):
and the songs and the timing and the humor, uh,
and if you build your set right so that it
goes somewhere and then you'll let him go at the end.
There's an art to that, and I really enjoyed trying
to continuing to try to master it, because to hold
an audience for ninety minutes with just you and a guitar,
(46:13):
it's easy.
Speaker 3 (46:15):
No, it is not. People think it. They just take
it for granted. They think that's what you do. Just
sit there and you know, you're just it's just part
of you, and they don't realize that there's so much
work that goes involved in all of it, be before
the show, during the show, after the show. The performance
is the easy part, honestly, it's it's everything else too,
that the build up and the marketing and the promotion
and all of that. People have no idea what it
(46:36):
takes to do what you do well.
Speaker 1 (46:39):
You want to get it so that when you get
up you want to do all the It just wraps
the same thing with athletes. You know, the quarterback throws
to the tight end one hundred times so that he
can do it once in the game. It's the same thing.
It's practiced. It's getting that guitar in your hand when
you're home and practicing that song that you sort of
know and sort of no, doesn't make the set list.
(47:04):
You got to know it and know how to play
it well before you get to the venue otherwise cut
it true.
Speaker 4 (47:12):
Yeah, yeah.
Speaker 3 (47:13):
Being able to read your audience and know what's flying
and what's not with your audience and knowing how to
gauge them. That's also a talent. Like a DJ can
do that and they go out there and they know, okay, well,
they're still dancing. I'm not going to go to a
slow song now, And you have sort of a feeling.
By doing it and by you doing theater and all
of that, I'm sure that you're able to read an
audience easier than some of these musicians that could just
come out there and don't maybe have that experience.
Speaker 1 (47:35):
Yeah, there's a structure to it. You've got to win them.
You've got to grab them. The first song has to
grab them, the second one has to keep them paying attention.
The third one really needs to be oh, this is
going to be good. You've got by the third song,
you've got to have them now. You can drop in
Grandfather's hat and then and then you pick them back
(47:59):
up again. Some of it's just tempo and changing keys,
making sure you aren't playing three in a row in
the key of the eight. That's true, but it's just
subtle stuff like that you learn over time and you
know and save your best ones for last. But it's
a lot of it with me. Is I need them
(48:20):
laughing here? Laughing there, there's a serious one laugh there.
This is funnier than anything that's come before.
Speaker 6 (48:28):
It.
Speaker 1 (48:29):
Great. I'll put that sixty percent of the way through
and then build from there. I mean, it's just like
writing a play.
Speaker 3 (48:35):
It is true. And after all this time, I know
you had the butterflies in the beginning. You still get them.
Speaker 1 (48:43):
Only when well, not really. No, I think when there's
somebody in the audience that I as a guitar player,
that I know they're there, I focus even more less
on the audience and more on, you know, keeping in
(49:05):
time or playing well. It just makes me focus more. No,
nerves are something I used to get.
Speaker 3 (49:17):
Yeah, do you ever worry that all the practice and
all of the perfection that you're creating that you have
a beautiful organic feel to your music? And you can
even hear in the song I played coming out of
the break there's this realness, there's this authenticity of your
music and your voice. Do you ever worry you'll ever
lose that little bit of an organic edge?
Speaker 6 (49:41):
No?
Speaker 1 (49:42):
Uh no, because I'm not in Nashville. I'm not writing
so someone else can do it. I'm writing it because
I'm on my porch and I've got a new chord
progression And okay, this one makes sense. Okay, let's find
some good words this time, Jeff and put to this
(50:02):
and you kind of wait, for the right lyrics to come.
And my goal is the set list. It's either going
to make the set list or just go into the notebook.
There is no kind of sending anything to Nashville and
hoping someone else likes it. It's I don't. I write
(50:23):
for me, And it's all part of trying to make
the show I do unique. And and I think, you know,
all these decades later, I've got the set lists and
the songwriting and the stories to you know, do what
I do. And while there are of others, you know,
(50:43):
Utah and Stevie Goodman and Christine people like that who
have done this and do this, this is what I do,
and you try to make it unique. You try to
make it so that it's the same thing with being
in a movie or a play. You want people to
see it, and then when they're done seeing it, the
(51:06):
best compliment I can get is I can't imagine anyone
else playing that part. And it's the same thing with
a song. Yeah, you know the way Prine sings Hello
in there. You know others can do it, but not
(51:30):
like him. Yeah, And that's you're always searching for that.
You're always hoping that that, And there are very few
of those, whether they're acting roles or movies or plays
or songs, they don't come around very often.
Speaker 3 (51:46):
Now you've written hundreds and hundreds of songs over your
you've been writing for years. Do you have a favorite?
I know it's like children, but do you do you
look back and say, you know what, if I could
only keep one one of these songs, and this is
the one I want to present me as the singer
songwriter that I am. Do you have one that you
would like, you know, played for you.
Speaker 1 (52:09):
I've been ending my the last I did I went
out and did about two weeks in April, and I
ended the set with a song I wrote called start
at the End. I don't have favorites. I've got maybe
ten that you know are equally enjoyable. Yeah, but that
one was based on something that Lanford Wilson, the playwright,
(52:36):
would say. And he was the one who told me,
if you want to be a playwright, if you want
to be a songwriter, you need to open your eyes
and your ears and pay attention to everything around you
because something will be said, you'll see something or hear something.
And if you aren't, if you don't have your writer's
radar on you'll miss it right, and that could be
(52:58):
a play, a novel, a poem, a song, whatever it
might be. And he used to do things where he
would just sit in a dirty diner in New York
City at two in the morning, and he'd be eating
this cheeseburger and he would just look up and say,
this is the best cheeseburger I've ever eaten. Any meant it,
(53:19):
and so I was. Years later, I wrote a song
called the first line is the best dampicket bline I
ever heard, was by some guy in a bar south
of Harrisburg. And then I go on to do this
elaborate where he sits next to this woman at a
(53:41):
bar and just and it's not vulgar, it's beautiful. It's
just this gorgeous kind of pick up that ends with hope,
that ends with you know, at the risk of seeing
a grown man cry, you know, he'd love to live
in a place that there are no castles, there are
(54:02):
no thrones, where everyone's got everyone and no one's alone.
There no hatred, there ain't no greed. The only thing
you wants, the only thing you need, Miracles happen and
dreams come true, and where a man like me can
love a woman like you. And I'm just going, okay,
well that's yeah, you know, and it ends on such hope. Yeah,
(54:24):
that's how I would end the set. And it worked.
Speaker 3 (54:28):
Oh yeah, I'm getting a little for clumped over here too.
I mean, yeah, I could see you got me, and
I mean there's no music even behind that, just your
spoken word. I said that that's beautiful. That really is
a beautiful testament to everything. I don't think we can
top that, So I think I probably have to end
it here because I think that was this the beautiful
(54:48):
cheering on the Sunday. But everyone should visit Jeff daniels
dot com, check out his music, his touring schedule, keep
up to date with everything that is the amazing Jeff Daniels.
I know you're returning, you all. You're being added to
the cast of the Apple TV show Shrinking for season three. Congratulations.
I know that's your next projects.
Speaker 1 (55:06):
Great bunch of people.
Speaker 3 (55:07):
Yeah, so congratulations. You are a busy, busy man, and
I am thrilled and honored that you took some time
today to talk to us over here. It's just incredible.
I grew up watching you, and I hope to continue
watching you for many, many, many years to come.
Speaker 1 (55:23):
Thanks doin appreciate it.
Speaker 3 (55:24):
Thank you, you have a wonderful day, you too. Bye bye,
Hey guys, that's all the time we have for today.
Thank you to my guest, the incredible Jeff Daniels and
celebrating our one hundredth episode today. For more interviews, visit
the Scene with Doreen dot Com. I'm Dorian Taylor and
on behalf of Matt myself and the rest of the
Scene with Dorian crew. See you next week.
Speaker 10 (56:00):
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Speaker 11 (57:09):
Org, NBC News Radio. I'm Jim Forbes. President Trump says
Israel and Iran have agreed to a ceasefire. Vice President
j D Vance confirmed the news late Monday on Fox News.
Speaker 2 (57:26):
Well, we were actually working on that just as I
left the White House to come over here.
Speaker 1 (57:29):
So that's good news that the President was able to
get that across the finish line.
Speaker 11 (57:32):
On social media, Trump posted quote, there will be a
complete and total ceasefire. Trump adds this is an official
end of the twelve day war and it will be
saluted by the world. The NATO summit at the Hague
in the Netherlands on Tuesday will have a different agenda.
The meeting comes right on the heels of the ceasefire
between Iran and Israel that was announced by President Trump.
(57:55):
NATO leaders will now discuss the US and perhaps NATO's
involvement in the peace process. President Trump is scheduled to
arrive Tuesday in the Netherlands for the summit. Researchers in
Seattle have found a possible link between a gene mutation
and sudden infant death syndrome. Brad Ford has the very
latest baron.
Speaker 2 (58:15):
Matthew Sidds Research Guild includes researchers from Seattle Children's Research
Institute and data scientists from Microsoft. Examined genes from one
hundred and forty four children who died sudden, unexplained deaths.
The gene variant was also found in people who suffered
sudden deaths for other reasons, including cardiac arrest. The gene
variant does not mean a child will die from SIDS,
only that they might be prone to a sudden death.
Speaker 11 (58:38):
I'm brad Ford and US abortion rates are on the rise.
According to data from the Society of Family Planning. In
twenty twenty four, abortions totaled one point fourteen million, despite
years of bands and restrictions on reproductive care. The report
found abortions delivered via telehealth have jumped significantly since Roe v.
(58:59):
Wade is overturned, but the majority of abortions still happened
in person. Abortions delivered via telehealth are covered by shield laws,
which provide legal protections. I'm Jim Forbes.
Speaker 6 (59:12):
Located in the heart of San Bernardino, California, the Teamsters
Local nineteen thirty two Training Center is designed to train
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To enroll today.
Speaker 6 (59:38):
That's nineteen thirty two Trainingcenter.
Speaker 8 (59:40):
Dot org.
Speaker 7 (59:45):
Ten fifty AM. Don't forget that number. And for you
young people who got here by accidentally fat fingering your
FM band selector, We're an AM radio station and AM
refers to more than just the time of day.
Speaker 3 (01:00:00):
M hmm.
Speaker 1 (01:00:03):
Welcome listening to a radio station where it's controlled
Nineteen thirty two dot org. Coming to you from the
City of Brotherly Love. It's the scene with.
Speaker 2 (00:15):
Dorene going behind the scenes with the biggest stars and
getting to know the person behind the personality.
Speaker 1 (00:26):
I'm Shadow of Stevens and.
Speaker 2 (00:28):
No, here's your host, billboard charning recording artist and reigning
queen on the scene, do Rene Taylor.
Speaker 3 (00:39):
Oh my god, thank you. Wow, that's wow. What a
new intro. Oh my god, that's the first time I've
heard it like played in the show. Amazing. Oh my god.
Welcome to the scene with Doreene. Of course, I'm your
billboard charting whatever queen on the Saint Jauren Taylor, and
I'm here with my incredible producer, Matt Monark. And we
are celebrating today. What are we celebrating that one hundred episodes,
(01:04):
one hundred episodes today? Baby, Oh my god, it's a
celebration here in the studio today that we got here,
We finally got We were talking about it for a while,
We're like, okay, two weeks ago, three weeks ago, here
we are one hundred.
Speaker 4 (01:16):
Yes, I love it, one hundred episodes, one hundred and
thirty five guests. I love stats, I love sports stats.
Speaker 3 (01:24):
I didn't even know that one hundred.
Speaker 4 (01:25):
And thirty five guests. Wow, John is the guest with
the most name. Five John's, four Michaels, one, four Pauls,
and one Grotius.
Speaker 3 (01:35):
Only one Grotius. There is only one Grotius Maximus in
the entire planet for it.
Speaker 4 (01:40):
Yeah, one hundred and thirty five guests.
Speaker 3 (01:42):
That's amazing. You actually sat there and did the stats.
Speaker 1 (01:45):
Yeah.
Speaker 4 (01:45):
I like doing stats. And I also did something, okay,
because there's one hundred thirty five guests ninety nine shows,
and I practiced something, and I wanted to see if
I could get in every guest in a minute. Okay,
So all right, my voice might sound a little different,
all right, but I've been I've been practicing, and all right,
just just bear with me.
Speaker 3 (02:06):
I've never heard what I am. We're gonna do. This
is news to me.
Speaker 4 (02:08):
I hear we got let me let me okay, alright ready.
Speaker 5 (02:11):
Olayas Mackeline, Perry, Mineuo, pau Grats, Launce, Groobladed Muscat, Brunetes,
tayl Dan Cherry, Mcracken, Dinah Ango Abe Shonnerdate Testo, kit Winger,
Mary said call Leland Skaalarer, Mellie Smith and Lee, Burray Schwartz,
Bob Gaudio, che Duvalis Papali, Gloria Lauren, John On Rascik,
Scott Schwarz, the Rents, Wit, Donat, Tony Tyronees, Martino Cartier,
Jacky gos Nyer, Emily Robins, John Davison, Josee Ket Sarah
sush On, Carlois Penny Ggre, David Smith, Krats Sky, Larry Laser,
Yeah Galant, Michael Carbonardo, Michael good Plan, Pierro Mame and
mar Johnson, Hooey Ars, John mcain, Lacy Fulton, William the
(02:31):
Golden t graand Brown, Joey Nyan, Je Sheperjo Gheto, Dan
Dash Freeway, John Flee, Iverson, ton Yo Nadodglas, Katrin, yes Key,
tayl Jo Nasborn, Scot mcary, Kenzi fips Aa, Basons Lood.
This is American Madison r John Barr Ortisile, John mckuan, Stevedor,
Jay Way, shepperder Stad now Terresa Caputo, Zio xl Rod,
while the agerwal Steve Vy, Joe Bonnamassa, Lisa Lisa, Michael Luson,
Willie Shatner, Rocky Land Howl Jones, Captains, Scott Coast Timerralis
I Endorshock, JOm Bayle Jet j jhonn O Rasick Again,
Andrew Ferris, Richie Serman Film, Regie, Steven Toblowski, Christine Amber Keller,
Herdrews Films, and Ra Johnson, Palacastello, Right, sid Fred Brene,
(02:53):
Graziono klin Hey, Carlahal who he Day, Dook gehe Ron,
vincent Erman, Bridechael Reeve, paulzemos Ki, Person, Tonyavoloney, Brati Wisky,
joy Love, Bob Grewen, will Moseley, Abdel Pietra bil Vera,
the Biggest brontn take Gret's next missic War, John Be'sy Jimason,
Jim Kelly, tuk a shot, what the w wash a
j Crochecy Rush Warn't fry by the rights and Lynch
dz woard Way Funds and it is Chris Brown, pul
Okay for Vin mcain, Kazami, Terry Fader, Rocky Diller, Cambridgway,
Rene Vicor Dixon, j tmbercont Je just seven Glen Phillips,
that's twist.
Speaker 3 (03:11):
Walk man, Oh my god, I never heard that. Ninety
nine shows My head is literally blown. Oh my god,
that was amazing.
Speaker 4 (03:22):
One breath.
Speaker 3 (03:24):
Wow, get this man of drink, celebrate early, Holy moly,
and you know what I was going through it on
I actually I can remember kind of the succession of
them all going and I was like, oh yeah, and
it was pronounced beautifully, every one of them. Because there's
some weird names in there.
Speaker 4 (03:39):
Yeah, it's so beast too to get into a minute.
So one hundred and thirty five guests in a minute.
Speaker 3 (03:44):
You are that guy back in the eighties that used
to do like all the commercial super machines. Yes, you're
better than that man. Oh wow, amazing. Oh that is
that's kind of when you listen to it that way.
That really puts everything in perspective of what's going on here. Yeah.
A lot of people, a lot of people, a lot
of good people. I mean everybody. Everybody brought something amazing
(04:06):
to the show. And it's all different. Everything is so different.
A lot of musicians, I mean that seems ore be
our big thing, but other things too.
Speaker 4 (04:12):
And oh yeah, actors, I mean authors, people, actors that
wrote books. Musicians that wrote books.
Speaker 3 (04:18):
Yeah, like today an actor that actually is a musician.
And I mean we have a lot of people that
cross all different boundaries.
Speaker 4 (04:24):
Yeah, And what's funny is some of the actors that
are musicians that you've talked to, when their eyes light
up and there there, you know, they get more excited
when you talk about their music more than their acting,
even though if they're they're known more for their acting.
Their love is the music.
Speaker 3 (04:41):
It's true. They I've seen it several times now, and
the passion just lights up when you start talking about
something that they maybe isn't their thing, but they want
it to be their thing, or it's just the thing
that they find that makes them happy in life. And
it's kind of we just we explore that and we
find out what makes them tick.
Speaker 4 (04:57):
Yeah, and then some are really good at it. It's
like maybe acting just came along and asked what they
were good at, but you know that their music they're
good at as well.
Speaker 6 (05:06):
Yeah.
Speaker 3 (05:06):
Yeah, it's incredible. But I just think that it's you
know what, I'm gonna have to celebrate God drinking tonight,
I do. I haven't been drinking a lot lately, so
I think I'm due. But yeah, I think we got
to celebrate and this next hundred who knows, I never know.
What's gonna happen from week to week. I don't know
who we're gonna have in here. I just don't know.
But I have a feeling that we're gonna the next
(05:30):
one hundred are going to really even top the first.
I don't know if that's possible, but I'm gonna work
my little butt off to try to do it.
Speaker 4 (05:35):
Yeah, I'm sure it could well.
Speaker 3 (05:38):
So I got to say, though, for our hundredth I did.
I've been teasing it for a while now on social
media and of course on last week's show, But let's
just say that today we have one of the one
of the more well known actors who has been around
multiple decades, the incredible Jeff Daniels, is joining us today.
This is a hundredth yes, and we're gonna talk about
his acting, We're gonna talk about his passions, but we're
also going to talk about his music, and we're gonna
(05:59):
just get to the heart of the matter and celebrating
style with the incredible Jeff Daniels.
Speaker 4 (06:04):
Yeah, this is the perfect person to do it with.
Speaker 7 (06:06):
So let's just get to it.
Speaker 3 (06:07):
Oh yeah, my guest today on the Scene with Doreen
has appeared in over seventy movies, numerous television shows, and
has graced the Broadway stage again and again. Almost fifty
years ago, multiple Emmy Award winning actor Jeff Daniels loaded
a guitar into his old Buick and headed out to
New York City to take a chance on a dream.
Through hard work and perseverance, Jeff became one of the
(06:29):
most recognizable actors of our time, starring movies like a Rachnophobia, Pleasantville, Speed,
Terms of Endearment, Something Wild, Purple Rose of Cairo, and
of course no one will ever forget him as the loving,
dim witted Harry Dunn in the nineteen ninety four hit
comedy Dumb and Dumber. Take a listen, I love dogs too.
(06:50):
Oh so, how are you involved with him?
Speaker 6 (06:52):
Oh?
Speaker 1 (06:53):
I've trained them, you know, bathe them, clipped them. I've
even bred them. Oh really, any unusual breeding, No, just
doggy style. One time we successfully made it a bulldog
with a shit suit.
Speaker 3 (07:07):
Really, that's weird.
Speaker 6 (07:11):
Yeah, we called it a bullshit.
Speaker 8 (07:20):
Oh.
Speaker 3 (07:20):
Yes, there's very little that Actor Jeff Daniels hasn't been
able to accomplish. From his critically acclaimed movie and TV
roles to multiple runs on and off Broadway. Jeff is
now throwing his very talented hat into the singer songwriter world,
touring across the country in a select cities with his
live acoustic show, proving that nothing is impossible when chasing
(07:42):
your dreams. It is an honor and a privilege to
have the one, the only Jeff Daniels on the show today.
Welcome to the scene with Doreen.
Speaker 1 (07:50):
Jeff, Thanks, Terraye. Nice to be here.
Speaker 3 (07:53):
Wonderful. You know, I want to make sure that you're
comfortable right off the bat, So how about we take
our pants off in chat?
Speaker 1 (08:02):
Yeah, that's that's the title of one of my songs.
Speaker 3 (08:05):
Oh really, I had no idea. I always asked that,
of all my guests, what are you talking about?
Speaker 1 (08:09):
Well, good, I'm plagiarizing someone.
Speaker 6 (08:14):
No.
Speaker 3 (08:14):
I wanted to start right out of there, because you know,
you do have a song that you came up with
that was inspired by what Ryan Ryan Reynolds.
Speaker 1 (08:22):
Yeah, we were making a movie in New Jersey, an
independent movie, and uh this was before Ryan was a
huge star and uh so he was a supporting character
in the In the thing anyway, we were walking passing
each other in a hallway of this house and usually
you stay to the right and you know, you pass
each other. But we did that thing where we kind
(08:44):
of bumped into each other and we're you know, did
a little that that little awkward dance, and without missing
a beat, he looked at me right in the eye
and said, how about we take our pants off and relax?
I just said, that's just I mean, that's a song.
I'm in my head, I'm going, that's a song. That's
a song.
Speaker 3 (09:00):
And it was you actually wrote it. I heard what
six steps passed? You had it already written in your head.
Speaker 1 (09:05):
Yeah about you know, six feet behind him, I'm going, Okay,
there's the first verse. Here, here comes the core. Uh yeah.
But and it's a big hit. Whenever I play it,
people are so stunned. And then uh and then I
usually place it later in the set and that becomes
the obligatory sing along, which cracks the audience up as well,
because now they're they're all singing, how about we take
(09:26):
our pants off and relax, which is something most of
them have never said in public before.
Speaker 3 (09:32):
Do any of them do it?
Speaker 1 (09:34):
Uh No, I've never had anybody do that, but I
usually everybody does it. Then I have the guys do it,
and then I go, all right, gals, And then when
the girls do it, they drown out the guys like
twice as much.
Speaker 3 (09:50):
Isn't that the story of life? I think the girl's
always drawn out the guys. I mean that's sort of
like life right there.
Speaker 1 (09:56):
Yeah, and they it's it's yeah, it's always it always worked.
It's one of those songs you drop in the set.
Could you know it's going to work?
Speaker 3 (10:05):
That's why I opened our set in a way with that,
because I knew it would work. See I can read
your mind.
Speaker 1 (10:11):
Yep.
Speaker 3 (10:12):
Well, before we dive headfirst into your life as a troubadour,
let's go way back to a sophomore in high school.
Acting career was actually launched by music, a little Rogers
and Hammerstein musical called South Pacific. You played radio operator
Bob McCaffrey.
Speaker 1 (10:27):
Yes, yes, I did.
Speaker 6 (10:29):
I was.
Speaker 1 (10:29):
You know. I grew up in a small town in Michigan,
and I had a teacher in junior high who recognized
that I could I just something was going on. She
did some skits in sixth grade in chorus class. She
knew I could sing, and she had me pretend I
was a politician. Giving a speech with his pants, falling
(10:52):
down again with the pants, again with the pants, and
I turned it into like two or three minutes of
comedy that you know, I'm a sixth grader. I don't
know what I'm doing, but I you know, you start
by pretending you're giving me a speech, and then you
tug at your belt a little bit, maybe the belt
loop in the back, and you know, a minute a
(11:12):
half later, you're holding up your pants like the weigh
four hundred pounds. And she went to my parents and
she said, pay attention to this one. There's something going on.
And then five years later, I'm in high school and
playing sports and she needed guys as sailors in South
Pacific because now she's the high school musical director. And
(11:34):
she literally watched me walk past the auditorium, dead tired
from basketball practice and said, Jeff, get in here. Oh god.
So I went in and auditioned, and I did this
crazy little dance during I think it's there, ain't nothing
like a dame.
Speaker 3 (11:51):
Probably probably wasn't.
Speaker 1 (11:54):
It wasn't, you know, slapping my knees and thighs and
you know, being funny. And she put me in the show.
And that's That's when i'm you know, now you're doing
even though I had only had a couple of lines.
That's where you're kind of going, Okay, what is this?
And she stayed on me. I had a teacher who
stayed on me. And then next thing you know, she's
(12:15):
doing musicals the following year and in the summer, and
I was playing leading roles in these musicals. And that's
where I learned how to kind of refine how to
be in an audience as an actor. I had no
idea what I was doing, but it was working, and
it was because of her.
Speaker 3 (12:32):
Amazing how much a teacher can inspire and how sometimes
we want to cut the budget of arts and entertainment
and that should be the last thing we ever cut
from the budget.
Speaker 1 (12:41):
Is your proof of that, Well, my argument on that
is it's shortsighted because most people who are in musicals
in school, or pick up a guitar or are in
the band, they're not going to end up doing it,
you know, nationally, you know that the odds are against them.
(13:03):
But what they get out of the arts is how
to use their imagination, amen and their creativity and how
to see things that other people can't. Yes, and how
to either put it on paper or into an instrument
or into an expression of something, so that maybe if
you end up in some corporate cubicle or something, and
(13:24):
you know, unless you're just going to be tapping keys
and not using your brain. I mean there is some
of the best business people in the world are very creative,
imaginative people, and so I think the arts fuels that.
But you know, you can't get people to believe that.
Speaker 3 (13:42):
Well. To be fair, how many of the sports people
are playing football in high school or hockey or any
of them basketball go on for a pro career either.
I mean you can say the same thing, like, you know,
musicians are going to make a living out of it. No,
they're not also going to star on the Yankees or
the Dodgers. You know, they're not always going to go
forward either.
Speaker 1 (13:59):
So you have to take everyone you get out of it,
and if you athlete, you got out of it discipline,
team work, you know, holding up your rand, all that stuff.
I remember high school sports was very valuable actor auditioning,
and that's that the preparation beforehand was what you learn
in sports, and that transferred easily to what do I
(14:23):
have to do to get the job, I have to prepare,
I have to outwork the other guys.
Speaker 3 (14:28):
Well, so yeah, it all. You know.
Speaker 1 (14:30):
It's there are things in the arts that I wish
this country supported them, and right now that doesn't seem
to be the case.
Speaker 3 (14:37):
No, unfortunately not. And being from Michigan, though I know
you are probably a huge Red Wings fan, I would think, yeah.
Speaker 1 (14:47):
Sure, Tigers, Lions, red Wings.
Speaker 3 (14:49):
Yeah, yeah, you almost missed your big break going off
probably that big audition because you wanted to go with
your friends to a Red Wings game.
Speaker 1 (14:57):
Yeah. I had an opportunity to audition in front of
someone that, little did I know, was a director from
New York who was just out in Michigan to pick
up a check to direction some college kids, basically, and
I auditioned for him and then wanted to skip the
callback so I could go down to Detroit with my
college buddies and go to the Red Wings game. And
I got talked into staying for the callback by thankfully
(15:20):
a smarter person than me from our college. He said,
you're not going anywhere. You're staying here, you idiot. You
and I stayed, did the callback, got the role, and
ended up being a guy named Marshall W. Mason, who
was the artistic director of Circle Repertory Company off Broadway
in New York, And then four months later I was
(15:41):
in New York.
Speaker 3 (15:43):
Do you send him a thank you note every year
for kicking your button.
Speaker 1 (15:46):
Making you go? He was, has been, and still is
an important person in my life. That's for sure.
Speaker 3 (15:53):
A nice You never forget those that help you along
the way, And that's beautiful. And you know you're not
just a hockey fan, though I also are a little
already told me that you once wrestled an elderly lady
for a George Brett fly ball.
Speaker 1 (16:07):
Yes, we were at Tiger Stadium and the old Tiger Stadium,
and I had gotten hot dogs for the ten people
or so that were with me, and I was coming
up that little runway into the upper deck where you
can look down and see the lower deck below you,
and everybody at the opening of the upper deck where
(16:30):
I was headed suddenly jumped up, and all of a sudden,
here comes this baseball and it went right down between
my legs, and I'm holding ten hot dogs, and I
see this little old lady. It's heading for her. So
I dove with the hot dogs dove for the ball,
grabbed it before she could. I don't care. I don't care.
(16:53):
I had to have it. It's Georgie dogs mustard everywhere.
But I got the ball and later found out it
was George Brett that hit it.
Speaker 3 (17:01):
Do you still have it? Did you keep that ball?
Do you worked for it? You should keep that frame
prominent position in your home. Well, a happy anniversary. Forty
years ago this year the movie Purple Rose of Cairo
it was released. That was groundbreaking for your career.
Speaker 1 (17:21):
Yeah, that was a huge break.
Speaker 7 (17:22):
You know.
Speaker 1 (17:23):
At the time, Woody Allen was premier American filmmaker, Scorsese, Spielberg,
Woody and to get a role for a New York
actor or any actor, to get a role in a
Woody Allen movie was one something you wanted. And I
ended up getting not one, but two leading roles in
(17:45):
the same movie because I had played two different parts.
And you're on the set with Woody and and Mia
Farrow and a lot of great actors, ed Herman John
Wood's just people that I knew from New York and
all of a sudden, here we are, and it was
(18:07):
I loved it. I just loved it. It was I
was thirty years old. And when I was done with that,
Woody was happy and with what I did. And that's
when I said to myself, Okay, okay, I can do this.
I can make a living at this business. Because if
I'm good enough for Woody, then I'm good enough for anybody.
And you know, three months later, I met Mike Nichols
(18:31):
on a film called Heartburn, and I said, do you
want me to read you know, a scene or something.
He goes, good enough for Woody, good enough for me.
Speaker 3 (18:40):
That's a nice thing. Yeah, okay, yeah, but.
Speaker 1 (18:43):
It really was kind of a you know, yeah, that
movie kicked me, you know, up several levels.
Speaker 3 (18:49):
Oh yeah, and it almost didn't happen. Michael Keaton Batman himself,
he shot for like about ten days or something, and
wood he didn't think he had the old Hollywood look,
and here you came in and stuff.
Speaker 1 (19:00):
Then, yeah, I think it was mutual. I didn't ask
too many questions about it. I don't know that Michael
was comfortable. There might have been a young child at
home that he missed or something. But I think it
was kind of mutual, and that that was kind of
what happened with Woody too. It wasn't just Michael, there
were some other people. It was the same thing with me.
(19:21):
I mean, you're shooting and you're waiting to okay, I
got through this week, and then you got through the month,
and there were there were there were people that had
shot for six weeks and then would he cut them
together and just said, no, it didn't work, I'm going
to reshoot their scenes. And so that's just the way
he was working. He didn't really know until he saw
(19:42):
what they were doing on screen cut together. So yeah,
I mean I thought about three months into the form
five months shoot that I'm going, okay, he can't fire
me now.
Speaker 3 (19:53):
So yeah, you know, at thirty years old, had to
feel pretty good when he said to you that he
thought you were good. I mean, that's about, like you said,
the greatest compliment that you could probably get as a
young actor.
Speaker 1 (20:05):
Yeah. That came through one of his crew people, a
costume designer named Jeffrey Kurland. He said, what he wanted
me to tell you that he thinks you're good.
Speaker 3 (20:15):
Very nice. And Jack Nicholson, you know, years later, same
thing in terms of endearment, where you got to see
him on what on Broadway he came backstage and he
let you know the kind of the same thing years later.
Speaker 1 (20:27):
Yeah, those are those are the awards, you know, those
are the ones that matter. I mean, it's always nice
to win a gold trophy of some kind, but it's
when people that you respect and you admire, who have
been doing it a lot longer than you take the
time to turn around and tell you that you're doing it.
(20:47):
You're doing it. You know, you're good, You're good. I mean,
it's such a stamp of approval, and it truly means
more than getting your name called on television and giving
a speed I mean, that's nice, it's terrific when it happens.
But I'll never forget what Jack said or what what
he said. Those those matter, Yeah, we do.
Speaker 3 (21:13):
And after Purple Rose of Cairo, you didn't want to
raise your family in la You decided to go back
to Michigan, and I do not disagree with you to
do that. And it inspired you so much that movie
that you opened your own theater, the Purple Rose Theater,
And that's pretty that's a testament to that role for
you and what that meant to you.
Speaker 1 (21:34):
Yeah, it's Kathleen and I had a two year old
boy at the time, and we had been coming back
to Michigan for summers, and I was, you know, my
career was was perfectly fine. The movies were starting to happen,
and we didn't have to New York was expensive. I
didn't think the career would last. They never do, and
(21:58):
and I just didn't know how to live in LA.
I didn't know how I'd been ten years in New York.
I didn't know how to do LA. I would visit
it and go shoot there, but I didn't you know.
It wasn't until decades later that I kind of, oh, oh,
this isn't so bad, you know, But at the time
it was too much. So I we moved to Michigan
(22:18):
at a time when nobody did that, and my agent said, well,
as long as you're willing to get on a plane
in Detroit and fly to LA for a meeting at
your own expense, we're going to act like you're living
in La okay. And it worked for about ten years.
It worked, and then the career kind of slowed down,
and then I had to hustle a little bit. But
(22:38):
then I got dumb and Dummer, which you know, gave
me new life.
Speaker 3 (22:43):
Well, you know, I heard a little Birdie told me
this too, that you got it. You went up to
what was Breckenridge or wherever they were taping. It was
supposed to be Avail, and you were taping all your scenes,
but you didn't really have it yet. Supposedly that you
thought you had it, but you didn't have it yet.
Speaker 1 (23:01):
Well I didn't really. They had seen a lot of
actors for this. They had gone to stars. You know,
I was well down the list of people that were
being considered. But I think at the end it was
just people. They were either afraid to work with Jim
or they thought it was just just too stupid, you know,
(23:23):
a movie that really was earmarked for twelve year old boys.
And I said, I want to do it. I want
to work with Jim. I want to do something different,
and I think I can be funny. I know I
can be funny in this, and so I've got several
scenes where I know I can score. And so we
started shooting, and it dawned on me about four days
(23:45):
into the first week that Jim wasn't working. And he
was there and supportive, as were the Fairly brothers. But
we were shooting all my stuff. We were shooting the
snowball in the head, the tongue on the poles in
the ski lodge.
Speaker 6 (24:02):
You know.
Speaker 1 (24:02):
It was by Thursday. I'm going, oh, I get it,
I get it. And nobody said anything to me because
they all had their fingers crossed. They wanted me to work,
but the studio wasn't quite sure, as I understand it.
And then I got into that first weekend waiting to
get the phone call. Thanks, but we're going to send
(24:22):
you home, and it never came, and I'm going, well,
maybe I'm just being paranoid here. So I'm Monday morning,
I get a call makeup hair tree. Okay, here I come.
So in I went, and Jim came in and as
I was sitting in the makeup chair, he walked by
and just patted me on the shoulder and said, just
(24:44):
keep doing what you're doing. They love you. And they
had cut together the scenes from that first week and
showed them to the studio and that's when the studio said, okay,
he can stay.
Speaker 3 (24:56):
Well, thank god that happened that way. What do you
say those people back in the day, when they would
give you that advice, don't do it, don't do dumb
and dumber. You're serious actor, you know this is going
to ruin your career. What do you say to those people?
Speaker 1 (25:08):
Now? Well, I've always believed in taking chances and gambling,
risking something. I'm a lot. I'm still the same way
I now I'm to the point where I will take
something because I don't know how to do it, which
(25:28):
is different than playing the same character basically six seven,
eight movies in a row, basically playing a version of yourself,
and you're branding yourself as an actor, which has been
done forever. I mean, Clark Gable was Clark Gable, and
that's that's okay. But I always wanted to be somebody
(25:51):
different each time I did it, even if it was
subtle and dumb and dummer. Was a chance to do that.
I knew if I could pull off that and then
put it next to what I did in Gettysburg or
Purple Roles in the of Cairo, then I would have
a range that went from way over there to way
(26:12):
over there and in between. Those two things are jobs, yes,
And Clint told me that when I did a movie
with Clinton two thousand and two. I think Clint said,
if you can do dumb and dumber, and you can
do two days in the valley, which is a drama
I did. If you can do that, you can do that,
you can do this.
Speaker 3 (26:32):
Yeah, you are extremely versatile and I want to talk though,
I want to take a break because I want to
come back. I'm Duri Taylor. You're listening to the Sema Duram.
When we come back, we're going to talk more with
award winning actor Jeff Daniels, but we're going to dive
headfirst into his latest exciting achievement is music. Stay right there.
Speaker 8 (26:51):
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Speaker 3 (28:51):
Hey guys, are you loving the show? Do you want
to see more of the scene? Well, guess what you can,
because The Scene with Dorian is now a weekly segment
on the nationally syndicated television show The Daily Flash. The
Daily Flash is your daily destination for trending stories, celebrity updates,
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(29:13):
watch every Wednesday across the country. Check your local times
and listenings at the Scene with Doreen dot com. My Ma, Ma,
my Ma, Ma, my ma ma.
Speaker 8 (29:39):
Yeah, we were my Mama.
Speaker 1 (29:47):
Inner there, Ebo, I know's going when you leave the driver.
Speaker 3 (29:56):
Agree. Welcome back to the Scene with Doreen Proud part
(30:19):
of the Beasley Media Family. I'm your host Storyan Taylor
and coming out of break. You just heard my guest today,
the incomparable actor and singer songwriter Jeff Daniels. That was
a short clip of his beautiful song road Signs. Jeff,
I know that you've been asked many times if you
will ever write an autobiography, and I love your answer,
you've already you've written that biography many times. Your life
(30:42):
story is in your songs.
Speaker 1 (30:45):
Yeah, I have written a lot of them. And from
when I bought the guitar and knew two and a
half chords in the seventies, I just and I was
around playwrights off Broadway in the late seventies, so I
was around writers who were writing, and I just started
(31:06):
writing my own stuff and not for anyone to hear,
because I'm there to be an actor, and you know,
leave your guitar in the apartment. You can't do two things.
But I just stayed at it, and a lot of
them were really personal, and some of them never see
the light of day. But that kind of became the journal,
the diary. And it wasn't until twenty five years later
(31:30):
when I got talked into playing in front of people
that I started pulling up some of the ones that
I could actually share with people, and that, yeah, that
really it's a great thing to do. It for those
who have a guitar and maybe they do open mics,
(31:50):
or maybe they do just they headline their back porch,
you know, great, don't just play covers, write your own stuff,
you know, just write your own stuff. You got to
write five of them to get a good one, and
you'll get it's that's That's always been the thing that
interested me the most, was you know, the next new song.
Speaker 3 (32:15):
I love that people are amazed that you, that you're
musically inclined, but you've been doing it all along, starting
out your sophomore South Pacific, you were Tavia Fiddler on
the Roof. At eighteen, you were even in Purple Rows
of Cairo. You sang in that in that movie. So
it's not necessarily surprising that this is in you, and
it's been in you all along.
Speaker 1 (32:37):
I was never a Broadway singer. I was I had
auditioned for a couple of shows on Broadway, and you
know those people who are trained and have those voices,
and I was never that. But I was fascinated by
the acoustic guitar that the whole orchestra is in that
in those six strings, you got the low, you got
(32:58):
the middle, you got the hun and when you start fingerpicking,
then it gets even more orchestral. And then I discovered
the blues, the acoustic blues, you know, the Robert Johnson's,
the Charlie Pattens, the Skip James, those folks and was like, oh,
(33:19):
what's that? And then John Prine and Steve Goodman and
Arlo Guthrie and Lyle Lovett and Christine Lavin and Cheryl
Wheeler kept mo. Stefan Grossman was a huge help to me.
He was a He's an incredible acoustic player, and he's
the guy that people like Clapton go to and go, hey, Stephan,
(33:42):
how does lightnin Hopkins play this riff? What tuning is
he in? And Stephan will know? And I met him
at the Martin Guitar factory in Nazareth, Pennsylvania. I was
just on a little solo tour with my son Ben,
who's now a musician, and we stopped it Azareth to
make the pilgrimage to see where they made the Martin guitars.
(34:03):
And they asked me, you know, Hi, when'd you start playing, Jeff? Well,
you know Stefan Grossman tablature books in the eighties. That's
where I learned how to do the Travis picking and
that alternating thumb. And they go, have you ever met Stephan?
I go, no, God no, he goes, well, he's sitting
right over there. Oh so met him. Couldn't have been
(34:24):
nicer spent the afternoon with him, and then later on
I he said, come on out to my house. I'll
give you a lesson. And he really worked with me.
He knew exactly where I was and what my next
level that he was going to push me to was.
He could judge what I knew, what I didn't know,
(34:45):
what I was doing, and how I could improve what
I was doing where you know, I'm acoustic players. You know,
we don't have drummers in an upright bass usually to
tell us where the beat is right the pocket. Yeah, yeah,
gotta sustain it. And kep Mo told me the same thing.
He goes, you know, we all tend to speed up
(35:07):
when we do our little lead break. You can't lose
the beat. And Stephan was the guy who said, it's
on the two and the four. That's where you keep
it steady right there, and if you can feel that,
then you'll stay in time. And you know you won't
(35:29):
get ahead because you want the audience to tap their foot,
but if you speed up, they're gonna stop tapping their
foot and they don't know why. And so that was,
you know, it's just technical stuff that Stephan gave me,
Like that was just invaluable.
Speaker 3 (35:45):
Now did you study all along? I mean, you picked
up the guitar, you loaded it into your buick, you
drove out to New York City. But along the way,
did you actually formally study the guitar? Because you're very
really you play it well.
Speaker 1 (35:56):
So no, it's all self taught. It's all how about
your books? Wow, I knew that I wanted. The fingerpicking
really started Road Signs. Was that song that Lanford Wilson,
who was a Pulletzer Prize winning playwright, handed me a
poem in nineteen seventy eight and I fingerpick on that
(36:18):
and I said, he just put some music to this,
and it's you know, the guy ended up a Pulletzer.
So of course I put music to it. But I
was fingerpicking in the late seventies because how I play
it now is how I played it then. And then
Stephen got me more technical, and then you learn the blues.
Now you're into the blues scale, and now all of
(36:39):
a sudden, the acoustic guitar gets fun. And then you
find out about Christine Lavin and Steve Goodman and Arlo Guthrie,
and they gave me permission to be funny. You don't
have to try to write the next big hit or
to try to write something somebody in Nashville might record
if you're lucky, ignore that. Write stuff for your own set.
(37:02):
And that's where you know, the sense of humor and
the comedy that I have is you know that I
go to as an actor on occasion, I can get
that into the set and it's it's it's invaluable. If
you have a sense of humor and you can write
to it. You can write smart funny like Christine and
Arlo and Stevie. Did you know That's that's you're pulling
(37:23):
the audience in and when they laugh, they relax, Yes,
they physically relax, same thing in the theater. And then
that's when you hit them with the road signs. That's
when you hit them with the one that's going to
break them. But you've softened them up with the humor,
with the ones that are you know, funny and entertaining,
(37:44):
and then bang and then you get them and you know,
make them laugh, make them cry, you know, good night,
drive safely.
Speaker 3 (37:51):
When you can touch them on a level, you reach
into their soul and you get them and you connect
with them on that level, you have them forever they
are in your hand.
Speaker 1 (38:00):
Yeah, thing that that songs do. Theater can do it,
movies can do it, I guess. But if you're in
a room and you get that song, that that just
stops you. You know, I I really enjoy singer songwriters.
And I don't, you know, scour the internet like most
(38:21):
some people. But you know, I came on this guy
named Stephen Wilson Junior and he's got a song called
I'm a Song and it was just on YouTube and
I took a chance because you know, the algorithms or
you know, I'm going to singer songwriters. So here pops
up a kid named Stephen Wilson Junior. Never heard of him,
(38:42):
and it's stunning, stunning, And that's that's I've been in
those rooms where you know, road Signs is one of
those songs that you know, I played fifty four below
about a month ago in New York City and nobody moved, right,
he moved. And the power of a well written song,
(39:04):
well executed, well played, well sung, can hold up with anything.
Speaker 3 (39:10):
It's true. It's a language that everyone can understand and comprehend.
It's so it's one of those things it's universal.
Speaker 1 (39:19):
Yeah, and I think that's that's the tricky thing when
you're writing something that happened to you, you know, Like
I got a song called Grandfather's Hat. I used to
I didn't know how to go out on stage as
a musician with a guitar and a chair. I didn't.
(39:39):
I was terribly nervous. And I can walk on a
movie set or a Broadway stage, no problem. This terrified
and I couldn't what is the problem, And I didn't.
I didn't. I needed a character. I needed to play someone,
and it's I came up with, Oh, I know who
(40:00):
it is. It's me in a good mood. That's the character.
And so I would get this fedora because I just
love those old hats. They're timeless and far as I'm concerned.
And so I as soon as I put the hat
on and I walk out Jeff in a good mood,
you know, and I hit the chair, there's the character.
And now all of a sudden, all the fear went
(40:21):
away and I'm entertaining. And then I get into a
song called Grandfather's Hat. Where And this just came from
somebody who walked up to me one day when I
was wearing the fedora and he goes that your grandfather's hat. No, no,
it's not. It's just something that I like. And I'm
realizing as I'm saying it that this is a song
(40:42):
and it ends up I play it and it's just
about remembering him or my father. It's really about my father.
But that didn't scan. You know, my father's hat is
not as good as my grandfather's. And then people have
hearing it, would come up and say my mother's necklace, yeah,
(41:05):
my father's pocket watch, my uncle's you know, wristwatch, whatever.
They all have mementos of someone they miss, and then
it becomes universal. Then it's not yours, it's theirs. And
when that happens as you're doing the song, that's when
you've struck gold. You can't go up there and sing
(41:25):
into your navel. You can't write a journal full of
songs and then sing one of them that you're the
only one who can relate to it. And I've really
worked hard, and I think being an actor and a
playwright and being around all those playwrights off Broadway, they're storytellers.
Speaker 3 (41:45):
You know.
Speaker 1 (41:45):
John Prime is a storyteller, and you usually have beginnings,
middles and ends and a lot of songs you write
and it's just capturing a moment and then spinning around
that moment and songs over and that's those are too.
But I've liked those songs that go somewhere and then
(42:06):
end up somewhere that you didn't expect. And it's a
little bit like story structure when you're writing a play
or a movie or a novel. There's a beginning, of
middle and an end. And I like those and I
like those guys. Guy Clark was another one that would
write those songs that went somewhere, arrived somewhere, and so
you're literally singing them a story. Yes, and I like
(42:29):
those too.
Speaker 3 (42:31):
You take the listener on a journey wherever that journey
may go, wherever they're going to take it, but you
are there to be the trans you know, the vehicle
to get them from point A to point B.
Speaker 1 (42:41):
Yeah, And I think spending my life as an artist,
whether actor, a musician, writer, you got to assume you
got to get past the point you got to get past.
You know, if you're playing one hundred and fifty people
in a club, one hundred and fifty people can play
guitar better than you. You got to get past that.
You've got to assume that there are one hundred and
(43:02):
fifty people here who can't do what you do, and
they are there so that you can take them somewhere
else a journey.
Speaker 9 (43:12):
You know.
Speaker 1 (43:12):
I've always said that art is what gives us wings,
and a good song well played can do that, and
that's what they're looking for. They don't know how to
do that. Most of them don't know how to play
the guitar, or can't tell a story well, or don't
know how to time a joke, or don't have the
(43:32):
imagination to think of a hat like grand you know,
Fedora and turn it into grandfather's hat. They don't know
how to do that, but they love listening to people
who do. And if you can get around your head
that you're one of those people, your shows get a
lot more fun to do.
Speaker 3 (43:48):
Oh yeah, And they want to escape. They go to
the theater to escape, they go to see you to escape.
They want to be entertained for whatever amount of time.
That is. Especially now, I was going to say that
because of everything going on, we need more and more
of that. And you're funny. You actually were at Sellers
were right outside of Philadelphia, and you were at Sellersville
Theater not too long ago, and I watched that entire
(44:10):
concert that you did, and you're funny. The stories you
tell in between, that's worth it's weight in gold right there.
You paint. You set it up so beautifully that when
you do play the song, you've already been on that
journey for ten minutes while you're telling that story ahead
of time.
Speaker 1 (44:25):
Yeah, if the stories are good, and those are all
pretty much most of them were road tested, so it's
almost scripted. I remember there's a club in Michigan called
The Arc in ann Arbor, and my agent said, you
know there's somebody playing the Arc Saturday night. You should
see him. I said, who is it? Utah Phillips. Well, okay, whatever,
(44:49):
So I went and Utah's first song, the Great Railroad Divide,
was twenty minutes long. He kept stopping it to tell
a story, and then he would go back into the song,
and then he would stop it and then tell another story,
and then he would on and on and not, coming
back to the Great Railroad, over and over and over.
(45:09):
At the break, I said to the agent, I said,
that's some of the best improv I've ever seen. He
goes it's not improv it's scripted. He does it the
same way every night, and I go, I know how
to do that. I know how to do that. And
so that he was a great influence as well. And
so you know, Sellersville, which is a great venue. They
(45:30):
streamed it, and you gotta it's it's you're, you're, you're
holding them. It's just you. It's there's just me and
a guitar and a chair and there there there is
no band. Nobody's gonna come out dancing. The rockets aren't
going to back me up. Nothing. It's just me. And
so if it's about if you if it's the stories
(45:50):
and the songs and the timing and the humor, uh,
and if you build your set right so that it
goes somewhere and then you'll let him go at the end.
There's an art to that, and I really enjoyed trying
to continuing to try to master it, because to hold
an audience for ninety minutes with just you and a guitar,
(46:13):
it's easy.
Speaker 3 (46:15):
No, it is not. People think it. They just take
it for granted. They think that's what you do. Just
sit there and you know, you're just it's just part
of you, and they don't realize that there's so much
work that goes involved in all of it, be before
the show, during the show, after the show. The performance
is the easy part, honestly, it's it's everything else too,
that the build up and the marketing and the promotion
and all of that. People have no idea what it
(46:36):
takes to do what you do well.
Speaker 1 (46:39):
You want to get it so that when you get
up you want to do all the It just wraps
the same thing with athletes. You know, the quarterback throws
to the tight end one hundred times so that he
can do it once in the game. It's the same thing.
It's practiced. It's getting that guitar in your hand when
you're home and practicing that song that you sort of
know and sort of no, doesn't make the set list.
(47:04):
You got to know it and know how to play
it well before you get to the venue otherwise cut
it true.
Speaker 4 (47:12):
Yeah, yeah.
Speaker 3 (47:13):
Being able to read your audience and know what's flying
and what's not with your audience and knowing how to
gauge them. That's also a talent. Like a DJ can
do that and they go out there and they know, okay, well,
they're still dancing. I'm not going to go to a
slow song now, And you have sort of a feeling.
By doing it and by you doing theater and all
of that, I'm sure that you're able to read an
audience easier than some of these musicians that could just
come out there and don't maybe have that experience.
Speaker 1 (47:35):
Yeah, there's a structure to it. You've got to win them.
You've got to grab them. The first song has to
grab them, the second one has to keep them paying attention.
The third one really needs to be oh, this is
going to be good. You've got by the third song,
you've got to have them now. You can drop in
Grandfather's hat and then and then you pick them back
(47:59):
up again. Some of it's just tempo and changing keys,
making sure you aren't playing three in a row in
the key of the eight. That's true, but it's just
subtle stuff like that you learn over time and you
know and save your best ones for last. But it's
a lot of it with me. Is I need them
(48:20):
laughing here? Laughing there, there's a serious one laugh there.
This is funnier than anything that's come before.
Speaker 6 (48:28):
It.
Speaker 1 (48:29):
Great. I'll put that sixty percent of the way through
and then build from there. I mean, it's just like
writing a play.
Speaker 3 (48:35):
It is true. And after all this time, I know
you had the butterflies in the beginning. You still get them.
Speaker 1 (48:43):
Only when well, not really. No, I think when there's
somebody in the audience that I as a guitar player,
that I know they're there, I focus even more less
on the audience and more on, you know, keeping in
(49:05):
time or playing well. It just makes me focus more. No,
nerves are something I used to get.
Speaker 3 (49:17):
Yeah, do you ever worry that all the practice and
all of the perfection that you're creating that you have
a beautiful organic feel to your music? And you can
even hear in the song I played coming out of
the break there's this realness, there's this authenticity of your
music and your voice. Do you ever worry you'll ever
lose that little bit of an organic edge?
Speaker 6 (49:41):
No?
Speaker 1 (49:42):
Uh no, because I'm not in Nashville. I'm not writing
so someone else can do it. I'm writing it because
I'm on my porch and I've got a new chord
progression And okay, this one makes sense. Okay, let's find
some good words this time, Jeff and put to this
(50:02):
and you kind of wait, for the right lyrics to come.
And my goal is the set list. It's either going
to make the set list or just go into the notebook.
There is no kind of sending anything to Nashville and
hoping someone else likes it. It's I don't. I write
(50:23):
for me, And it's all part of trying to make
the show I do unique. And and I think, you know,
all these decades later, I've got the set lists and
the songwriting and the stories to you know, do what
I do. And while there are of others, you know,
(50:43):
Utah and Stevie Goodman and Christine people like that who
have done this and do this, this is what I do,
and you try to make it unique. You try to
make it so that it's the same thing with being
in a movie or a play. You want people to
see it, and then when they're done seeing it, the
(51:06):
best compliment I can get is I can't imagine anyone
else playing that part. And it's the same thing with
a song. Yeah, you know the way Prine sings Hello
in there. You know others can do it, but not
(51:30):
like him. Yeah, And that's you're always searching for that.
You're always hoping that that, And there are very few
of those, whether they're acting roles or movies or plays
or songs, they don't come around very often.
Speaker 3 (51:46):
Now you've written hundreds and hundreds of songs over your
you've been writing for years. Do you have a favorite?
I know it's like children, but do you do you
look back and say, you know what, if I could
only keep one one of these songs, and this is
the one I want to present me as the singer
songwriter that I am. Do you have one that you
would like, you know, played for you.
Speaker 1 (52:09):
I've been ending my the last I did I went
out and did about two weeks in April, and I
ended the set with a song I wrote called start
at the End. I don't have favorites. I've got maybe
ten that you know are equally enjoyable. Yeah, but that
one was based on something that Lanford Wilson, the playwright,
(52:36):
would say. And he was the one who told me,
if you want to be a playwright, if you want
to be a songwriter, you need to open your eyes
and your ears and pay attention to everything around you
because something will be said, you'll see something or hear something.
And if you aren't, if you don't have your writer's
radar on you'll miss it right, and that could be
(52:58):
a play, a novel, a poem, a song, whatever it
might be. And he used to do things where he
would just sit in a dirty diner in New York
City at two in the morning, and he'd be eating
this cheeseburger and he would just look up and say,
this is the best cheeseburger I've ever eaten. Any meant it,
(53:19):
and so I was. Years later, I wrote a song
called the first line is the best dampicket bline I
ever heard, was by some guy in a bar south
of Harrisburg. And then I go on to do this
elaborate where he sits next to this woman at a
(53:41):
bar and just and it's not vulgar, it's beautiful. It's
just this gorgeous kind of pick up that ends with hope,
that ends with you know, at the risk of seeing
a grown man cry, you know, he'd love to live
in a place that there are no castles, there are
(54:02):
no thrones, where everyone's got everyone and no one's alone.
There no hatred, there ain't no greed. The only thing
you wants, the only thing you need, Miracles happen and
dreams come true, and where a man like me can
love a woman like you. And I'm just going, okay,
well that's yeah, you know, and it ends on such hope. Yeah,
(54:24):
that's how I would end the set. And it worked.
Speaker 3 (54:28):
Oh yeah, I'm getting a little for clumped over here too.
I mean, yeah, I could see you got me, and
I mean there's no music even behind that, just your
spoken word. I said that that's beautiful. That really is
a beautiful testament to everything. I don't think we can
top that, So I think I probably have to end
it here because I think that was this the beautiful
(54:48):
cheering on the Sunday. But everyone should visit Jeff daniels
dot com, check out his music, his touring schedule, keep
up to date with everything that is the amazing Jeff Daniels.
I know you're returning, you all. You're being added to
the cast of the Apple TV show Shrinking for season three. Congratulations.
I know that's your next projects.
Speaker 1 (55:06):
Great bunch of people.
Speaker 3 (55:07):
Yeah, so congratulations. You are a busy, busy man, and
I am thrilled and honored that you took some time
today to talk to us over here. It's just incredible.
I grew up watching you, and I hope to continue
watching you for many, many, many years to come.
Speaker 1 (55:23):
Thanks doin appreciate it.
Speaker 3 (55:24):
Thank you, you have a wonderful day, you too. Bye bye,
Hey guys, that's all the time we have for today.
Thank you to my guest, the incredible Jeff Daniels and
celebrating our one hundredth episode today. For more interviews, visit
the Scene with Doreen dot Com. I'm Dorian Taylor and
on behalf of Matt myself and the rest of the
Scene with Dorian crew. See you next week.
Speaker 10 (56:00):
Sponsored by our radio listening post in Ukaipa, Ukaipa Farm
Fresh Produce where you can get healthy in the heart
of Ukaipa. You'll find locally sourced fresh fruit, vegetables, farm eggs, honey,
fresh bread, nuts, and for your sweet tooth, delicious ice
cream and locally produced candy from liquorice to chocolates, all
to your heart's content. It's Ukaipa Farm Fresh Produce, just
(56:23):
down the street from Tuscano's Pizza between thirteenth and fourteenth
on Ukaipa Boulevard. Open every day weekdays from eight am
to six pm and on weekends to five pm. For
more info, you can call nine O nine seven nine
zero sixty one oh six. That's nine o nine seven
nine zero six one zero six. Shop Local with Ukaipa
(56:45):
Farm Fresh Produce. Tell them you heard it on this
radio station and saw it on the DNA advertising screen
inside the store. It's Ukaipa Farm Fresh produced news on
CACAA Lowland sponsored by Teamsters Local nineteen thirty two, Protecting
(57:05):
the Future of Working Families, Teamsters nineteen thirty two, dot.
Speaker 11 (57:09):
Org, NBC News Radio. I'm Jim Forbes. President Trump says
Israel and Iran have agreed to a ceasefire. Vice President
j D Vance confirmed the news late Monday on Fox News.
Speaker 2 (57:26):
Well, we were actually working on that just as I
left the White House to come over here.
Speaker 1 (57:29):
So that's good news that the President was able to
get that across the finish line.
Speaker 11 (57:32):
On social media, Trump posted quote, there will be a
complete and total ceasefire. Trump adds this is an official
end of the twelve day war and it will be
saluted by the world. The NATO summit at the Hague
in the Netherlands on Tuesday will have a different agenda.
The meeting comes right on the heels of the ceasefire
between Iran and Israel that was announced by President Trump.
(57:55):
NATO leaders will now discuss the US and perhaps NATO's
involvement in the peace process. President Trump is scheduled to
arrive Tuesday in the Netherlands for the summit. Researchers in
Seattle have found a possible link between a gene mutation
and sudden infant death syndrome. Brad Ford has the very
latest baron.
Speaker 2 (58:15):
Matthew Sidds Research Guild includes researchers from Seattle Children's Research
Institute and data scientists from Microsoft. Examined genes from one
hundred and forty four children who died sudden, unexplained deaths.
The gene variant was also found in people who suffered
sudden deaths for other reasons, including cardiac arrest. The gene
variant does not mean a child will die from SIDS,
only that they might be prone to a sudden death.
Speaker 11 (58:38):
I'm brad Ford and US abortion rates are on the rise.
According to data from the Society of Family Planning. In
twenty twenty four, abortions totaled one point fourteen million, despite
years of bands and restrictions on reproductive care. The report
found abortions delivered via telehealth have jumped significantly since Roe v.
(58:59):
Wade is overturned, but the majority of abortions still happened
in person. Abortions delivered via telehealth are covered by shield laws,
which provide legal protections. I'm Jim Forbes.
Speaker 6 (59:12):
Located in the heart of San Bernardino, California, the Teamsters
Local nineteen thirty two Training Center is designed to train
workers for high demand, good paying jobs and various industries
throughout the Inland Empire. If you want a pathway to
a high paying job and the respect that comes with
a union contract, visit nineteen thirty two Training Center dot org.
Speaker 1 (59:36):
To enroll today.
Speaker 6 (59:38):
That's nineteen thirty two Trainingcenter.
Speaker 8 (59:40):
Dot org.
Speaker 7 (59:45):
Ten fifty AM. Don't forget that number. And for you
young people who got here by accidentally fat fingering your
FM band selector, We're an AM radio station and AM
refers to more than just the time of day.
Speaker 3 (01:00:00):
M hmm.
Speaker 1 (01:00:03):
Welcome listening to a radio station where it's controlled
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