- 11 minutes ago
Though never sharing screen time together, Bryan Cranston and Rhea Seehorn both have history working on shows created by Vince Gilligan. They detail his meticulous process of filming ‘Pluribus,’ Cranston’s return to the world of ‘Malcolm in the Middle’ and how their ‘Breaking Bad’ and ‘Better Call Saul’ characters almost met.
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00:00You mean you'd rather be in academia than show business?
00:03What a loser!
00:04Now, when I left, they probably were like,
00:05that show's not gonna go.
00:06She's a fucking loser.
00:07She's a lunatic.
00:09The next episode came a few days later,
00:11and I'm reading it, and I go, oh, I did do it.
00:15My bad.
00:26Oh, hey, Bryan Cranston.
00:28Hi, Ray Seahorn.
00:30How are you?
00:31I'm good.
00:31I'm good.
00:32We're both promoting the stuff and everything,
00:34but I was so happy they brought me here,
00:36so I get to ask you some questions
00:37that I actually really want to ask you.
00:38Well, that's why I wanted to be here, too.
00:39Okay, good.
00:40Because we know each other,
00:41but in truth, we don't know each other.
00:45Right, right.
00:46I mean...
00:46You mean biblically?
00:48Biblically.
00:48We don't know each other that way for sure.
00:50We don't want to be clear about that.
00:52Very clear.
00:52Both happily married.
00:53Yes.
00:54How long have you been married?
00:54Yeah, your wife's awesome.
00:57We've been engaged for 11 years
01:00and together for 13.
01:01So you're not quite sure if it's going to happen?
01:03Yeah, we're sort of just working it out.
01:05No, it's literally the planning.
01:08It gives me hype.
01:09It just...
01:10You've been together for 11 and a half?
01:12We've been together for 13
01:13and engaged for, like, 11 and a half.
01:15I find that funny.
01:17It is funny.
01:17It is funny.
01:18It is funny.
01:18So what's holding that up?
01:21What's the...
01:22It's like, do we really need to do this?
01:24Do we need a paper?
01:25No, I mean, I do.
01:25He's been married before,
01:27so he doesn't need a big wedding.
01:28Yeah.
01:29I would just like a small celebration, though,
01:31like, with friends,
01:32but we don't need to do it.
01:34We're going to do it right here.
01:36Graham's going to come out.
01:37I want to invite everyone
01:39that means something to me,
01:40and that includes, like,
01:41a lot of people I've worked with.
01:43Especially Vince Gilligan.
01:44And mostly just Vince Gilligan.
01:47I'm just waiting on his schedule.
01:48It's all that I'm waiting on.
01:50When did you guys get married?
01:51Good segue.
01:52Yeah.
01:52Robin and I have been married
01:53for 37 years,
01:56soon, this summer.
01:58Congrats!
01:58Yeah, it's good.
01:59That's awesome.
02:00She's so great.
02:01I've only met her a couple times,
02:02but I just think she's awesome.
02:04Marry up.
02:04Yeah.
02:05Yeah, I'm trying.
02:06She's one of the loveliest
02:08human beings I know.
02:10That's awesome.
02:11Very emotionally driven.
02:12So, I mean,
02:13but tying into this
02:15is that without
02:17a supportive partner,
02:19how could we do what we do?
02:21Impossible.
02:22It's impossible, isn't it?
02:23I mean, I know people do.
02:24Obviously, they must.
02:25But, yeah, it's everything to me.
02:27I mean, like,
02:28my step-sons,
02:30Graham, my partner,
02:31my friend group,
02:32Mary Alice, the boy's
02:33biological mother,
02:34like all of these people
02:36make it possible
02:36for me to do
02:37what I love
02:39and still have a family,
02:40still have some home base.
02:42Yeah.
02:43Which is amazing
02:43because otherwise,
02:44I feel like at some point
02:45I'm just drawing art from art.
02:48Like, I don't have a life
02:49to also observe
02:50and draw from, you know?
02:52Yeah.
02:52And you have Taylor
02:53in the business now.
02:54She's brilliant on the pit.
02:55Yeah.
02:56And she was just starting high school
02:59when Breaking Bad got its order
03:02to start our show.
03:03And so it was an interesting conversation
03:05because when I first read
03:07the pilot of Breaking Bad,
03:09I knew that it was special.
03:11And I also knew that it shot
03:13in New Mexico.
03:15Right.
03:15We live in Southern California.
03:17So I thought,
03:18oh, man.
03:19So I gave it to Robin to read
03:21and I said,
03:23just so you know,
03:24this was offered to me
03:26and it shoots in New Mexico.
03:30There you go.
03:31And she started
03:33with a cynicism behind her.
03:36I'm not going to like this.
03:37Yeah.
03:38And she's,
03:39and I'm watching her read it
03:42and she's going through
03:44and I keep peeking around
03:46the corner to see her
03:47and she gets down
03:48into the last page.
03:49She closes it,
03:51throws it on the end
03:52of the bed and goes,
03:53shit.
03:55Because she knew
03:56it was great
03:57and I had to do it.
03:59But it required me
04:00to be in New Mexico,
04:02away from the family
04:04for six years.
04:05Yeah.
04:06And so I would fly home
04:08Friday nights,
04:09sometimes not Friday nights,
04:11Saturday mornings sometimes,
04:12spend one night,
04:13come back Sunday
04:14and start again.
04:15And luckily it is
04:16an easy flight,
04:17Albuquerque to Los Angeles.
04:19Like, you know,
04:20I thought over those years
04:21like, wow,
04:23as many friends,
04:24like, if you're lucky enough
04:25to have a series
04:26regular on a show,
04:26but if it had been Atlanta,
04:28I couldn't get home
04:29as much as I did.
04:29Yeah, that would be tough.
04:30You know,
04:31or London or,
04:32you know, whatever.
04:33But, yeah,
04:34you have to,
04:35you have to make it work.
04:36Yeah, make it work.
04:37When I got Pluribus,
04:39I did sit down
04:39with the family
04:40and say like,
04:41now we know,
04:42now we know what this is.
04:43When, you know,
04:45they call me their bonus mom
04:46or their second mom,
04:47like when I'm away
04:48for these periods of time.
04:49And the boys were great about it.
04:51And the thing is,
04:51it's like,
04:52same thing.
04:53Like, I know the brilliance
04:54of Vince's writing
04:56and the stable of writers
04:57that he hires with them,
04:58but also the environment
04:59that you know very well
05:01that he gives you
05:01to, you know,
05:03push yourself,
05:03challenge yourself,
05:04get better.
05:05You're surrounded
05:05by the best
05:06in all of their crafts
05:07and all of that.
05:08But I just wanted them
05:09to feel,
05:10it was all fake,
05:10but I wanted them
05:11to feel like
05:11they had a say.
05:14No, I just was like,
05:15how do you guys feel
05:15about this?
05:16Because it was a longer shoot.
05:18We will figure out
05:19what makes you different.
05:21Figure it out, why?
05:23So we can fix it.
05:25So you can join us.
05:28How long do you shoot Pluribus?
05:30We shoot,
05:30I don't,
05:31I don't know if we're allowed,
05:33have they said?
05:34You're not allowed to say?
05:35I say you're allowed to say.
05:38And we'll cut it
05:39if you're not allowed to say.
05:40We will cut it
05:41if you're not allowed to say.
05:42Okay.
05:42We,
05:43we shoot
05:44for 10 to 11 months.
05:46Oof.
05:47Yes.
05:48How many days
05:49per episode
05:49do you have then?
05:50It,
05:51it,
05:51it varied.
05:52We should,
05:53we should skip this.
05:54See,
05:54it's gonna,
05:55I do want that cut.
05:56No.
05:56I do,
05:57it just makes Vince
05:58sound like he's,
05:59people don't understand that.
06:00Every single show
06:02or movie
06:02that I have ever done
06:04that was great
06:06was the hardest thing to do.
06:08Yeah.
06:09It's so hard
06:10because the showrunners
06:11or the,
06:12the writer directors,
06:15good enough
06:15is just not good enough.
06:17Yeah.
06:17And let's do it again.
06:18Let's do it again.
06:19Let's improve it.
06:20You know,
06:20just 2%.
06:21We can make it a little better,
06:22a little better,
06:23a little better.
06:23Oh,
06:23we're running out of time.
06:24Yeah.
06:25Yeah.
06:25And you get down to the wire
06:27and you keep trying to stretch it
06:29and keep trying to do so much.
06:31And Pluribus is like that too
06:32because Vince Gilligan runs that show
06:35and I know him so well.
06:36Every frame is a painting.
06:38Every single frame.
06:39Yes.
06:40And,
06:40and the attention to performance,
06:42which I appreciate.
06:43Like,
06:43just fine tuning
06:44and modulating performances
06:45where you really get to try it,
06:48you know,
06:48myriad ways
06:49and,
06:50and experiment.
06:51But there is,
06:52I wanted to ask you
06:53because quite a few actors
06:55that,
06:56that work a lot
06:57that are,
06:58are,
06:58are peers that I've spoken to.
06:59They're very mesmerized
07:01by the fact that
07:01we only get our scripts
07:02one at a time
07:03on his shows
07:04and you don't generally
07:05even get told an outline
07:07of what the whole season will be.
07:08Right.
07:09And a lot of people are like,
07:10how,
07:10how are you doing that?
07:11Like,
07:12so you have no idea
07:12like what the character's going to do.
07:13And I will say
07:14it was a new way to work.
07:15Wasn't for you?
07:16Cause I'm assuming
07:16it was the same on Breaking Bad.
07:18It was the same on Breaking Bad,
07:19but the characters
07:20and like your character of Carol,
07:22you're going through
07:23so many twists and turns
07:25that are hard to fathom.
07:27You can't possibly plan ahead.
07:30And I just thought,
07:32no,
07:32this is kind of good
07:33for Walter White
07:34just to,
07:34to step into
07:37what's next for him
07:38because it was
07:39such foreign territory
07:40just like it is for you.
07:42Yeah.
07:42For Carol Sterka
07:43and Pluribus
07:44and then even for
07:44Kim Wexler
07:45and Better Call Saul.
07:46I have to say
07:47there was a lot of freedom
07:48and a new set of like
07:50techniques
07:51and different things
07:52to try.
07:52I mean,
07:53we try not to pre-plan
07:53or like be result
07:54oriented anyway,
07:55but people would ask me like,
07:56but don't you want to know
07:57like if you're lying
07:58or don't you want to know
07:59if you're going to find out
08:00three episodes later
08:01that actually
08:02you,
08:03you do want that job
08:04or whatever.
08:05And there's such
08:06rich and complex
08:07life happening
08:09in just the one episode
08:10you have
08:11that I'm like,
08:11my ramp space is full.
08:13Like I'm just doing,
08:14like,
08:15you know,
08:16I,
08:16I actually found
08:17quite a bit of freedom in it.
08:18That,
08:19that being said,
08:20we've all been in positions
08:21or know people
08:22that have been in positions
08:23where they're worried
08:24if what's been promised
08:26to them
08:26that the character
08:27is going to end up
08:27having anything to do
08:28is actually going to
08:29materialize.
08:30But I trust Vince Gilligan
08:32and all of his writers.
08:34I trust him implicitly.
08:35Yeah.
08:35And I get surprised
08:36by scripts.
08:37I'm like,
08:38really?
08:38But it never feels
08:39like shock value.
08:40That always makes sense.
08:42It makes sense.
08:42Okay.
08:43All right.
08:43So I knit.
08:44But you didn't see it coming.
08:44Yes, exactly.
08:45It's like,
08:45wow,
08:46how does he do that?
08:47It's amazing.
08:48I don't know.
08:48I remember shooting
08:49an episode of Breaking Bad
08:51where Aaron Paul's character,
08:53Jesse,
08:54comes at me with a gun
08:56because he thinks
08:56I poisoned the little boy
08:58in the show.
09:00Right, right.
09:01And I'm going,
09:01why would I do that?
09:02Why would I do that?
09:03And I point the finger
09:06in the direction
09:06of Giancarlo Esposito's character.
09:09Gus Fring,
09:10he's the one
09:10who would stand again
09:11by this.
09:12And this is,
09:13you know,
09:14Joe,
09:14you think I did it?
09:15Then kill me.
09:15Then shoot me right now
09:16if you think I did it.
09:17Yeah.
09:18And then the next episode
09:20came a few days later
09:21and I'm reading it
09:22and I go,
09:22oh, I did do it.
09:25My bad.
09:27I didn't realize
09:28that I did poison the kid
09:29until I read it.
09:31But it's interesting
09:32that you wouldn't have changed
09:34how you did that scene, right?
09:35No,
09:35because he has to be believable.
09:38He has to be believable.
09:38But maybe,
09:40maybe I really thought
09:41that it was Gus Fring
09:42that did it,
09:43but it wasn't.
09:44People mistakenly,
09:46I think,
09:46or erroneously think
09:47that Vince Gilligan
09:49and Peter Gould,
09:49who was co-showrunning
09:50and then showrunning
09:51by himself
09:51on Better Call Saul,
09:52that they're doing it
09:53to manipulate us.
09:54Right.
09:55They're doing it
09:55to withhold information
09:56and get you to do it.
09:57No, no, no.
09:57It's not that.
09:58And they also like
09:59the room to plant
10:01a lot of seeds
10:02and see which things
10:03are blooming.
10:04And Vince,
10:05he said,
10:06oh yeah,
10:06we love to paint
10:07ourselves into a corner
10:07and then freak out
10:08trying to figure out
10:09how to get out.
10:09Every season.
10:11Every season of every show
10:12he's done does that.
10:14Your show,
10:15your other show,
10:16Breaking Bad,
10:17it's always,
10:18I don't see how he's going
10:20to get out of this.
10:21Yep.
10:22Even episode by episode
10:23is like,
10:24oh,
10:24which makes the viewer
10:25want to see more.
10:27And what I found interesting
10:29of watching Pluribus
10:30was that you take
10:32the tropes
10:33of every science fiction
10:35alien invasion story
10:37you've ever heard
10:38and it's completely
10:40the opposite.
10:41Yep.
10:41Like they're always ugly.
10:43Right.
10:44They want to kill you.
10:46They never reveal
10:47themselves truthfully.
10:49You're sure you don't
10:50want to be them.
10:51You're sure you don't
10:51want to be them.
10:52They are invincible.
10:53They cannot be killed.
10:54They cannot be a damn,
10:56and everything,
10:57you go down the list
10:58and he flipped it
10:59upside down.
11:00So it's fascinating
11:02watching Pluribus
11:03and going,
11:04I don't know
11:06where this is going.
11:07It's so,
11:08it's so.
11:09And where the comedy
11:10comes from.
11:11Yeah.
11:11Real,
11:12real Wiley tone
11:13within the scenes
11:14that we had
11:15a lot of doing.
11:15Wiley Coyote tone
11:17sometimes.
11:18It is.
11:19Yeah,
11:19we had a lot.
11:20All right.
11:22Warm up my plane.
11:23I'm going home.
11:25Good riddance.
11:31I just watched
11:32the four new
11:33Malcolm and the Mills.
11:34Oh, yeah.
11:34It's hilarious.
11:36It's so fun.
11:37I got to work with
11:37Jane once too,
11:39Jane Kesmerich.
11:39She played Whitney's mom
11:41on the sitcom.
11:41Oh, yes, that's right.
11:42She was so great.
11:42But it's so funny,
11:44and all this physical
11:46comedy that you got to do,
11:47but I just saw you
11:48also in the studio,
11:49so clearly you're
11:49a gifted physical comedian.
11:52Well, I find that
11:53coming up,
11:54when you were doing
11:55a dramatic role,
11:57like I'm sure right now
11:58they're going,
11:59ooh, let's give her
12:00some more dramatic roles,
12:01and you're going,
12:02hang on,
12:03let me pivot a little bit
12:04and do some more comedy.
12:06Right.
12:07I think it's really
12:08up to the actor,
12:09if they get fortunate,
12:10as we have,
12:11to be able to guide
12:13your own career.
12:14And prior to that,
12:15hats off to the
12:16casting directors
12:17that helped me
12:18fight those pigeonholes,
12:19because I came from
12:21theater,
12:21and I was doing
12:21drama and comedy,
12:23then came out here
12:23with a sitcom,
12:24so then I was
12:25not just a comedy actor,
12:26but a sitcom actor.
12:27Yeah.
12:27That's it.
12:27And then you do
12:28Better Call Saul,
12:29and I remember going in
12:30and Sharon Bialy
12:32from Bialy Thomas
12:33apologizing to me
12:34that there was somebody
12:35that wanted to see me
12:35for a comedy,
12:36but they weren't sure
12:36if I could do comedy,
12:37and I needed to come in
12:38and read,
12:39and I was like,
12:40what?
12:40Yeah.
12:42That's so true.
12:43It's the same thing
12:44going from Malcolm in the Middle
12:45to Breaking Bad.
12:47There was only one year
12:49in between,
12:50and Vin,
12:51Gilligan was my champion
12:52to get that role.
12:54But coming from X-Files,
12:56that's where he met you,
12:57right?
12:57Yeah, X-Files 10 years before.
12:59Yeah, wow.
13:00And now Malcolm in the Middle
13:01finishes seven seasons,
13:03and now I was available,
13:05and I knew I wanted
13:06to do a drama,
13:08and he was there,
13:10and he said,
13:10he's the guy.
13:11And the execs at Sony
13:14and at AMC were like,
13:16ooh, wait, no,
13:17the goofy dad from Malcolm,
13:19not to play Walter White,
13:20no, no, no, no,
13:21come on, we can listen.
13:22He's going,
13:22trust me, trust me, trust me,
13:24and without his championing me,
13:28I wouldn't be sitting here now
13:29talking to you.
13:30Yeah, same.
13:31It really is that way.
13:33Yeah.
13:33Yeah.
13:34In your book,
13:35I loved your autobiography.
13:36It was great.
13:37I tell everybody to read it,
13:38I'm like,
13:38you don't even have to be
13:39in this business.
13:40The work ethic,
13:42the perseverance,
13:43the sort of macro look at life
13:45while having an artistic endeavor
13:48that you want to feed that to,
13:49but you still have to make
13:50a whole life.
13:51The whole book is just very,
13:52I think it's a great guide
13:54in the world.
13:55Oh, thank you.
13:56But you at one point
13:57talk about your Malcolm
13:57in the Middle auditions
13:59and that there was very little
14:00information about the character.
14:02And so you thought about it
14:03and I do this,
14:05our mutual friend,
14:05Bob Odenkirk,
14:06he'll sometimes wonder like
14:07how far I'm getting away
14:08from organic instincts
14:09if I am so interested
14:11in what the cog in the wheel
14:12of the storytelling is,
14:13which I'm not sure
14:14why he's giving me shit about that
14:15because he'll never take
14:16his writer's hat off either.
14:18But at any rate,
14:18I'm not a writer,
14:19but I remember you saying
14:21in your book that you thought,
14:22well, the best storytelling here
14:25would be that he's the things
14:26the wife is not.
14:27So that's how you started
14:29to make a list of like,
14:31what am I going to hang
14:32this character on?
14:33You know, the architecture of that.
14:34And it's like,
14:34not competent,
14:36not capable.
14:37Exactly.
14:38I wrote down everything
14:39that the character,
14:41Jane Gassmerich's character
14:43of Lois and all the things.
14:45She was strong, powerful,
14:46fearless, intimidated others,
14:49a sergeant of arms,
14:51disciplinarian,
14:51you know, all these things.
14:52And I just wrote the opposite
14:53of everything he was.
14:55And I realized,
14:56oh, I'm creating a list
14:58of characteristics
14:59of what became Hal.
15:01Yeah.
15:02Because I really
15:02didn't know what to do.
15:03I had five lines
15:04in the Malcolm pilot.
15:06The only thing I knew,
15:07because he was constantly
15:09reading the paper,
15:10you know,
15:11and I realized
15:11I had to make the distinction
15:13between disinterest,
15:15which would never play,
15:17and distraction.
15:19So I played distraction,
15:21but he was not disinterested
15:23in his family,
15:24you know,
15:24so that was the thing
15:26I was trying to thread
15:27the needle on.
15:27Yeah.
15:28These things have lasted
15:29for six months.
15:30You know,
15:30I can call back later.
15:31Come on, Dewey,
15:32you've seen this
15:32like a thousand times.
15:33It's just a normal human body
15:35doing normal human behavior.
15:38Undergrowth.
15:40With Kim Wexler,
15:41I had one and a half lines
15:44for the pilot.
15:45Oh, yeah.
15:46You were right.
15:46I say something like,
15:47we got it, Brenda.
15:48I can't remember
15:48what that one was.
15:49But then in the parking garage,
15:51he and I share a line
15:53with a cigarette.
15:54He says,
15:54couldn't you just?
15:55And I say,
15:55you know I can't.
15:57And it said,
15:58he takes a cigarette
15:59out of my mouth,
16:00takes a puff,
16:02puts it back in my mouth.
16:03It didn't say that I flinched,
16:05but it didn't say
16:06that I didn't.
16:07But I was like,
16:07let's just go with what's there
16:08because as you know,
16:09the scripts are written beautifully.
16:10There's a point of view
16:11even in the action lines.
16:12And then it said,
16:13she walks away
16:14and writes the trash can
16:16that he has kicked in
16:17without looking.
16:19So we know he's done it
16:20more than once.
16:21And we also know
16:21that she cleans up his messes
16:22without even thinking.
16:23Right.
16:24But I was like,
16:25but she has boundaries.
16:26And we know there's an intimacy
16:27because there's an intimacy.
16:29Yeah, it was all there.
16:31And when he says,
16:32couldn't you just?
16:33He means like,
16:34help me out upstairs.
16:35Yeah.
16:35And I say,
16:35you know I can't,
16:36which I was like,
16:37so they've had
16:37this conversation before,
16:38but there seems to be
16:39a distinct boundary
16:40that's about
16:41don't fuck with my work.
16:42Yeah.
16:43Don't bring this
16:44into my work.
16:45No.
16:45And so I was like,
16:46huh.
16:47And then I also had
16:48like very few contractions
16:51later in other episodes
16:52where other people
16:53have don't.
16:53I had do not
16:54a lot of times.
16:55I was like,
16:55I could ask
16:57to Eli that,
16:58but let me see
16:59what were your contractions.
17:02Good one.
17:04But I just mean
17:05to a great extent
17:07what you're talking about too.
17:08The economy
17:09of what was there
17:10also had answers
17:12that I found
17:12very interesting
17:13to create a character
17:15out of that,
17:16including,
17:16it wasn't
17:18distraction
17:18versus
17:20disinterest,
17:20but I was often
17:22in scenes
17:23and I was like,
17:24doesn't say exit,
17:25but I'm not talking.
17:26Who is this person?
17:27And I was like,
17:28well,
17:28not speaking can be
17:29a position of weakness,
17:30but it can also be
17:31a great position of power
17:32to just let people
17:33hang themselves
17:33in a room.
17:34And so that's where
17:36I started working with that.
17:37Not a skill that I have.
17:38No, no, no.
17:40There's no silence
17:41in your world?
17:42I like silence,
17:43but I can't stop
17:46trying to...
17:47I freak...
17:48Feel the silence?
17:49No.
17:50Yes, as I'm doing.
17:51Well, you just did.
17:52You wouldn't even
17:53let me look for it.
17:54No, but it's also like...
17:56If I think somebody
17:57is being left out
17:57of a conversation.
17:58That's nice, though.
17:59That's just kindness.
18:01It's...
18:02But that's also an ego.
18:03I had a therapist
18:04explain to me.
18:05Yeah, why can't you
18:06let this person
18:07be in their discomfort?
18:09Maybe they're fine.
18:10Yeah.
18:11You're uncomfortable
18:11with them being quiet.
18:13Yes.
18:14So, I don't know.
18:15Carol, she can show
18:17levels of kindness,
18:19but she's really uptight
18:21and really angry.
18:22At least that's the way
18:23it's coming across
18:24as a foundational.
18:26Emotion.
18:26How do you play that?
18:27How do you...
18:28I mean, I know that
18:29she's freaked out
18:32about what's just happened.
18:33And so, as just a viewer,
18:36and I've always...
18:37Every time I got together
18:38with Vince,
18:39I would say,
18:39don't tell me.
18:40Don't tell me anything.
18:41Don't tell me anything.
18:42I want to see it cold.
18:43I want to see...
18:43Oh, about Pluribus?
18:44About Pluribus.
18:45And so, I just,
18:47like any fan,
18:48watched it cold.
18:50And I go,
18:51I don't know that
18:52I would be generous
18:55and kind and soft
18:56and I would be freaked out.
18:58Yeah.
18:58And, I mean,
19:00your whole world
19:00is upside down.
19:01But there seems to be
19:03some chatter
19:03about people saying,
19:05oh, she's the angriest
19:07person on the planet.
19:08And it's like,
19:09I don't know.
19:10Vince has said,
19:11what if the most miserable
19:12person on Earth
19:13had to save the world
19:13from happiness?
19:14And we had a couple
19:14people say,
19:15like, is she the most,
19:16I don't think she's
19:16the most miserable.
19:17And he said,
19:18relatively speaking
19:18in this new world,
19:19yes, there's very few
19:21people with any misery.
19:22Certainly the brilliant
19:22Carlos Manuel Vesca's
19:24portrayal of Manusos
19:25is pretty angry.
19:26Yeah.
19:26But Vince has said
19:27this on panels.
19:29Nobody asked that
19:30about Walter White.
19:31Nobody asked that
19:31about, you know,
19:32Jimmy McGill of like,
19:33what's up with them
19:33being so unlikable?
19:35They were behaving
19:35in an honest way
19:37to the situation
19:37they were in.
19:38You think it's
19:39a gender issue?
19:39I don't know.
19:41I'm just referring
19:42to the part,
19:43you didn't,
19:43but I'm referring
19:44to the part
19:44when people are like,
19:45she's so unlikable.
19:47And I'm like,
19:48her wife's dead.
19:49They killed her.
19:51The most important
19:52person to her
19:52and also,
19:54obviously,
19:54a buffer
19:55to the entire world
19:56for her
19:57for this misanthrope.
19:59Career's done.
20:00Might not ever be back.
20:01You may very well
20:02die alone
20:02and never speak
20:03to anybody again
20:04on a couch
20:06eating a frozen meal
20:07watching Golden Girls.
20:07There are no friends
20:08anymore.
20:09There are no,
20:09there's no family
20:10and the world is saying
20:11we're just waiting around
20:12until we can
20:13take your brain away.
20:13And she's not polite
20:15about it.
20:16On the other hand,
20:17that Bea Arthur
20:17is funny.
20:18She is funny.
20:21She is.
20:22But so,
20:22yeah,
20:22my way into it
20:23was just
20:24the beginning
20:25conversations with Vince
20:26of him saying,
20:27you know,
20:27in this very fantastical
20:30circumstance,
20:31I want her to be
20:34utterly realistic,
20:36completely honest.
20:37Like,
20:37if this really
20:37happened to you
20:38or I,
20:38you know,
20:39when you start
20:39getting into that
20:40actory as if stuff,
20:42it's like,
20:42clearly,
20:42this has never
20:43happened to me.
20:45But it's those
20:46questions we try
20:47to ask ourselves.
20:48Like,
20:48I don't know.
20:49If,
20:49you know,
20:51if there was a car wreck
20:52on the side of the road,
20:53like,
20:53do you jump out
20:55right away?
20:56And then you add to it
20:57the incredible obstacle
20:59of massive grief.
21:00We talked about the fact
21:01that,
21:01like,
21:02even getting up
21:02off the floor
21:03the next morning
21:04is a heroic measure.
21:06Most of us
21:07would drink a hell of a lot
21:09and just lay there.
21:11I view Carol's anger
21:14as a manifestation
21:15of her fear.
21:17That's fair.
21:17And apprehension
21:19and trepidation
21:20about her world
21:21has collapsed.
21:22And its armor.
21:23Oh, yes.
21:24All of it.
21:24And I'm,
21:25am I next?
21:26And she's got to fight.
21:28So I never took it
21:29as she's an angry person.
21:32Yeah,
21:32I didn't think you did.
21:33But when you said
21:33it has come up,
21:34yeah, yeah, yeah.
21:35No.
21:35And also,
21:36when something happens
21:37where everybody starts
21:38being nice to you
21:39and saying yes to you
21:40and being afraid of,
21:41like,
21:41what do they really want?
21:42And I think Carol's
21:43in a position,
21:44like,
21:44she can't take it
21:45at face value,
21:46anybody's act of niceness,
21:48any gesture of niceness.
21:49Everything is like,
21:50what do you want?
21:50What do you want?
21:51What do you want?
21:52Yeah.
21:52I just tried to be honest
21:53in those things,
21:54which was really,
21:56fun in that
21:56it's also how
21:57we found the comedy.
21:58Any of the comedy stuff
21:59that was not on the page
22:00of, you know,
22:01shooing the kids away,
22:02trying to talk
22:02to the television,
22:04like,
22:04was just,
22:06were very weird,
22:07weird little animals
22:08when left alone.
22:09Yeah.
22:09Yeah, we are.
22:10And he wanted
22:11to film that.
22:12Yeah.
22:12And so that's often
22:13where the comedy came from.
22:14And then Carolina Widra,
22:16my just amazing co-star,
22:17playing such a deceptively
22:19difficult role.
22:20Yes.
22:20No actor tools
22:21at your disposal.
22:23Can't mimic the emotion.
22:25Can't, like,
22:26listen and respond,
22:27all of this stuff.
22:28She's great.
22:28She's great,
22:29but we knew instinctively
22:31there is something
22:32comedic going on
22:33with this almost like
22:33Laurel and Hardy.
22:34There's a very straight man
22:36and, like,
22:36I'm just a whirling dervish.
22:38And no matter how justified
22:40Carol is in her anger,
22:41she looks like a toddler
22:43having a fit
22:44next to a bunch of people
22:45that are just like,
22:46okay, we hear you.
22:48You want to calm down?
22:48She's like,
22:49how can we help you, Carol?
22:51Yes.
22:51Yeah, it's like,
22:52oh my God.
22:52That's good stuff.
22:54Carol,
22:56once you understand
22:57how wonderful this is,
23:02Carol.
23:04You're going into
23:05the second season.
23:07Yes, we are.
23:08They're in the writer's room
23:08right now.
23:08In the writer's room.
23:09And do you have any idea
23:11of where it's going?
23:12No.
23:13None.
23:13I don't even know
23:14what she does with Adam Baum
23:15in the driveway.
23:16I don't even know
23:16if it's in there.
23:17I think it is
23:18because he doesn't really
23:19like to be a tease.
23:21Yeah.
23:21Like, I don't think
23:21he would lie to the fans.
23:22No, it's there.
23:24No, I don't know.
23:24I don't know.
23:25I mean, she's come back
23:26and asked Manusos
23:27if he would help,
23:28but that's a tricky relationship.
23:31He just wants to kill everybody.
23:32I don't think she wants
23:33to go gun everybody down,
23:34so I don't know
23:35what her plan is.
23:36I'd like to think
23:37that if she told Diabate,
23:39who's Sambaschuta
23:40is so amazing.
23:41I lucked out with the cast
23:43as all of Vince's cast
23:45have been great.
23:47I would like to think
23:48that when he finds out
23:49that they plan on
23:49deceptively trying to figure out
23:50how to change you,
23:51whether you like it or not,
23:52that he might help,
23:53but I don't know.
23:54He's having a really good time
23:54with those women.
23:55I don't know
23:56if he's going to come
23:56and help me at all.
23:58Oh, I think he's in heaven.
23:59He doesn't want to change.
24:01Yeah.
24:01But there was an interesting
24:02turn for your character too
24:04in the middle
24:04where she realized,
24:07I'm lonely.
24:08Yeah.
24:09I'm, please come back.
24:10Yeah.
24:10I needed a lot of help
24:12with that one
24:12because when you're filming it,
24:14the time passage happening
24:16off screen
24:18was something Vince
24:19really needed to like
24:20kind of poke at me
24:21and make sure I layered in there
24:24and then to more and more
24:25of an extreme,
24:26this 40 days of isolation
24:28and how much he wanted
24:29that to affect her
24:30almost as though
24:31she had been in isolation,
24:32you know?
24:33I mean, like,
24:34like with nothing,
24:36you know?
24:36But I was like,
24:36she can watch TV.
24:37She can walk around.
24:38Right.
24:39But it's the larger
24:40existential thought
24:42of this may never end.
24:43If you don't decide
24:45to at least live
24:46semi-delusionally,
24:48Right.
24:48you are just going
24:49to die alone
24:50and you're never
24:50speaking to anybody again.
24:51Yeah.
24:52You're just going to sit here
24:53and wait until you turn to Ash
24:54and watch every episode
24:55of Golden Girls.
24:5660 times.
24:57Yes.
24:57Many times over.
24:58Right.
24:58Yeah.
24:59Right.
24:59Yeah, so.
25:00Does it hold up?
25:02It does.
25:03It does.
25:03We had a good time laughing.
25:06We did.
25:07So.
25:07We did.
25:08Wait, can you tell me
25:09why I don't get to see
25:11all my sons here?
25:12Oh.
25:13You just did it?
25:14And you did that play,
25:15I did.
25:16I played Anne at
25:17You did play Anne.
25:17the arena stage
25:185,000 years ago.
25:20Nice.
25:21But you just did it in London.
25:22Yeah.
25:24Four months in London.
25:25And it's not going to come here?
25:26Am I allowed to ask her?
25:27Um, you know,
25:27we're discussing it.
25:29Okay.
25:29It's a possibility.
25:31But it's, you know,
25:32there's all kinds of
25:33financial considerations.
25:34Not for me,
25:35because I actually lose money
25:37when I do theater.
25:38Oh, yeah?
25:38Oh, yeah.
25:39I'm, there's,
25:41there's just...
25:41So it's the same
25:42as when I left it.
25:43It's the same.
25:44That's the same.
25:45It's just how,
25:46how exhausted you get.
25:48Yeah.
25:48And as you know,
25:50I think doing theater
25:52is far more exhausting
25:53than doing television or film.
25:55Always?
25:55Well,
25:56for the roles that I select,
26:01I'm only attracted
26:02to very damaged characters.
26:04I do,
26:05I really,
26:06it's like,
26:06eh,
26:07he's too nice,
26:08he's too sweet.
26:08I don't,
26:09I'm not interested in that.
26:11I want to see the gut punch.
26:13I want to see where...
26:14How is sweet?
26:15I know,
26:16and that's why
26:17I wanted to go back.
26:17But a ton of obstacles.
26:19Yes.
26:19Oh,
26:19and he puts all of them
26:21Like, I wouldn't say damage,
26:22but the severe obstacle list.
26:25Well,
26:25the fear of everything.
26:27Yeah.
26:27You know,
26:27spiders, heights,
26:29someone's presence.
26:30Planning.
26:31Planning.
26:32Planning seems to be a big one.
26:33And he's got ADHD.
26:35Yeah.
26:35He's got all kinds of problems.
26:37But he's sweet.
26:38Yeah.
26:40Your biggest problem
26:41is that we exist?
26:49But you're saying
26:50that still is not
26:51as exhausting
26:51as like eight shows a week?
26:53Theater?
26:54Yeah.
26:54Well,
26:55I don't do eight shows
26:56a week anymore.
26:57I can't do that.
26:58I got to have
26:59those connecting days off.
27:00Okay.
27:01So I want it to be
27:01a standard
27:02when doing the West End
27:04or Broadway.
27:05Okay.
27:05Is to do
27:06seven shows a week
27:07with two days off.
27:09Oh, nice.
27:09Oh, yeah.
27:10A lot of people are having
27:11Sunday and Monday off now,
27:12right?
27:12You got to go.
27:13You got to do it.
27:14That's smart.
27:14Or Monday, Tuesday.
27:15In theater once,
27:16I did return to a play
27:17that we had done.
27:19It was called
27:19The Big Slam.
27:20And we returned
27:20to the characters.
27:21But it was only,
27:22I would say,
27:23like two years later.
27:24So I am curious
27:26what it was like
27:26returning to Malcolm
27:28in the Middle.
27:28What was the gap?
27:3020 years.
27:3120?
27:3120.
27:32We said goodbye
27:3320 years ago.
27:35And then we said
27:36hello again.
27:37Who first was like,
27:38let's do more,
27:39and then you?
27:40Yeah, I thought maybe
27:4212, 13 years ago,
27:44I approached Lin Woodboomer,
27:46who created the show,
27:48and I said,
27:48it's kind of interesting
27:49that coming up
27:51would be our 10-year
27:52anniversary since
27:53we said goodbye.
27:54Wouldn't it be interesting
27:55to do a, you know,
27:56reunion movie or something?
27:58What happened to Malcolm?
27:59What happened?
27:59And when we left the series,
28:02Hal and Lois were pregnant again.
28:04So I would be kind of curious,
28:06did they finally get
28:07the girl they wanted
28:08or whatever?
28:09And he goes,
28:10nah, nah, I don't want
28:11to do it.
28:11I don't want to do it.
28:12No, no, no, no.
28:13And I said, okay.
28:15I secretly met with,
28:17secretly with his wife,
28:18Tracy Katzke,
28:19and Gail Berman,
28:21our executive producer,
28:22at a restaurant
28:24in West LA,
28:26and we kind of plotted
28:29a scenario of how
28:30to start chipping away at him.
28:33Did you go to, like,
28:33Jane or other cast members
28:34to also, and Frankie,
28:36to say, like,
28:36hey, let's do this,
28:37let's ambush him?
28:38No, no, because I think
28:39he would, he's very smart.
28:40He would have been wise to that.
28:42So we kind of had an idea,
28:44and I kept saying,
28:45well, I started it already.
28:46I'll just keep chipping away.
28:47And like a year and a half later,
28:49he said, I don't think so.
28:51I don't think so.
28:52It would have to be
28:54a great idea that comes up.
28:56And I took that as a progress,
28:58because the first time
28:59he said, absolutely not.
29:00That is door ajar.
29:01And now, I don't think so.
29:03Ooh, so you're saying
29:05there's a chance.
29:07It would have to be a great idea.
29:08It's definitely an invitation.
29:09I think it was,
29:09I think it was that character
29:11and those people
29:12that I was with
29:13for seven and a half,
29:15eight years,
29:16including the pilot,
29:18to say,
29:19we had a great time.
29:21It was a family,
29:23and we really cared
29:25for each other.
29:26We loved to see each other.
29:27Loved to work together again.
29:28Why not?
29:29Yeah.
29:29So when it finally came about,
29:31we shot it,
29:32and it was amazing.
29:34And you got everybody back, right?
29:36Everybody except Eric Per Sullivan,
29:38who played Little Louie,
29:39the littlest boy.
29:39Oh, okay.
29:40When I told him
29:41we were doing it,
29:42he goes, oh, great.
29:43And I go, oh,
29:43so you're interested,
29:44you want to do it?
29:45Oh, no.
29:46Oh, really?
29:47Yeah.
29:48He's getting a master's
29:50at Harvard, you know?
29:51Whatever.
29:51Like, yeah.
29:52So, you mean you'd rather
29:54be in academia
29:55than show business?
29:56What a loser.
29:59Go have a career.
30:00No, he was very excited,
30:03but no,
30:04because when he left,
30:05he was a child actor.
30:06Yeah.
30:07And now he's a full-grown adult
30:08in his 30s,
30:10studying literature.
30:11Okay.
30:12You know,
30:12and it's like,
30:13no, that's his life now.
30:15Yeah.
30:15So he said,
30:16no, I really,
30:17I really have no desire
30:18to do it.
30:19Anyway,
30:20but it was amazing
30:21at our table read
30:22how everybody,
30:24like,
30:25put your feet in
30:27slippers that were
30:28comfortable.
30:29Oh, wow.
30:30there it is.
30:30Yeah, it was really fun.
30:32The actual anniversary day
30:33is mine.
30:34You promise.
30:35Under duress,
30:36I'll promise anything
30:37when you do that thing.
30:41Obviously,
30:41I still see these characters,
30:42these characters I came
30:43to know and love,
30:44and like,
30:44it's like,
30:44oh,
30:45it feels like wonderful
30:46that they're back
30:47in your lives.
30:48But everybody
30:49had a little bit
30:49of evolving as well.
30:51Hal,
30:52not a lot.
30:52I'm just kidding.
30:54No,
30:54but like,
30:55do you know what I mean?
30:55Like,
30:55was there a big discussion
30:57about like,
30:57well,
30:57what's different
30:58about this relationship
30:59or this relationship?
31:00I think what was great
31:02about Hal and Lois
31:03is that they didn't change.
31:05They just got older.
31:06Yeah.
31:07But he's still
31:08madly in love with her.
31:09I know.
31:10And that was a wonderful
31:11little thing to play
31:12because usually at the time
31:13when the original series aired,
31:15it was a period of time
31:18when there was
31:19the husband
31:20who was always
31:21making the wisecracks
31:22and the wife
31:23who was like,
31:24you know,
31:27to him.
31:28And we played it
31:30where we were
31:30crazy about each other
31:32and in a way
31:33needed each other
31:34to function
31:35in any way manageable.
31:38That's what we looked for.
31:39I loved that part.
31:39The kids were enough
31:40to handle.
31:41Right.
31:41And it was so
31:42we made sure
31:43that we siloed
31:44our relationship
31:46that was separate
31:47from the relationship
31:48we had with the kids
31:50so that you can play
31:51at two different
31:52kind of beats.
31:53And I loved
31:53the young woman
31:54that you got to play
31:55now the new daughter
31:57who prefers they.
31:59Yeah.
31:59Correct.
32:00Non-binary.
32:01Yeah.
32:01Their name is Vaughn.
32:02Wonderful actor.
32:04And the cast we have
32:06is so great.
32:07It was so much fun
32:07to get involved
32:08and do it again.
32:09Were the sets different
32:10or did they have to rebuild
32:11the house?
32:11They had to rebuild the house.
32:13And it's done
32:13to replicate the first one
32:15because I didn't go back
32:15and compare.
32:16I was like
32:16is that the same house?
32:17It's the same house
32:18but for some reason
32:20there were no blueprints
32:21of the original house.
32:24Really?
32:24Yeah.
32:25So they had to
32:25you know how they rebuilt it
32:27is by watching the episodes
32:29freeze frame
32:30take a picture
32:31freeze frame
32:32take a picture
32:33of that angle
32:33as people walk through
32:35one room or another
32:37Wow.
32:37And they put all the pieces together
32:39and then they redesigned
32:40in the house
32:40from that.
32:41It was amazing.
32:42Do you want to do Marvel?
32:43I don't know.
32:45I don't like to do anything
32:46as a stepping stone
32:48to something else.
32:49Okay.
32:49I like to do it.
32:50This is the reason.
32:52I used to
32:54chastise young actors
32:55who would say
32:56I did a play
32:58and I didn't get an agent
33:00or a job out of it.
33:02Right.
33:02I didn't get the
33:03it's like
33:04that's not why
33:04you're supposed to do a play.
33:06Yes.
33:06You do the play
33:07to tell that story
33:08and to be able to act.
33:11Yeah.
33:11Just do that.
33:12If you're doing something
33:13with an expectation
33:15of something else
33:17you know
33:17you're going to
33:18just set yourself up
33:20for disappointment.
33:21So everything I try to do
33:22is like
33:23right here
33:23right now
33:24it helps me stay present
33:25too
33:26it's like
33:26this is it
33:27and I finished the play
33:29in London
33:30and that's it
33:31and if I
33:32we do it again
33:34then it'll be
33:35a brand new experience
33:36and start
33:37with that conversation.
33:39Do you have
33:39particular
33:41techniques
33:42like
33:43like
33:43you're Meisner
33:44or you're the
33:44like do you
33:45or is it a grab bag
33:46or what
33:46how are you
33:47approaching your work
33:48and is it different now
33:49than it used to be?
33:50It's a grab bag
33:50because I've
33:51I've gone to about
33:52eight different
33:54acting teachers
33:55and stayed with them
33:56for a couple years
33:57and
33:59being able to pull
34:00from each one
34:01because I don't think
34:02it is not
34:03a one size fits all
34:05I bet
34:06there are some
34:07things that
34:08that I do
34:09that might work
34:10for you
34:10there's some things
34:11that you do
34:12that might work
34:12for me
34:13and oh
34:13that's interesting
34:14I think I'll try that
34:15but it's
34:16it's not so rigid
34:18it's not
34:19and whenever I got
34:20into an acting class
34:22and the acting coach
34:24or the teacher
34:25said
34:25this is the way
34:26you play that scene
34:28it was like
34:29morning play
34:29you know
34:30it's like
34:32there's a couple ways
34:33you can play that scene
34:34this is the only way
34:35to the truth of this
34:35I'm just kind of like
34:37I try very hard
34:38to go to set
34:40before my first day
34:42if I'm not the first scene
34:43just because
34:45I need to make
34:46some adjustments
34:47if I see
34:48oh we're only doing
34:49two takes
34:50that's how fast
34:50we're shooting
34:51do you know what I mean
34:52versus like
34:52we're doing 26 takes
34:53that is a different
34:54kind of prep
34:55for what's repeatable
34:57how much experimentation
34:58am I going to be able to do
34:59or do you need to like
35:00come with a solid A game
35:02and then one risk
35:03because that's it
35:04yeah
35:05like you know
35:06true
35:06I am the same
35:07I feel like I have to have
35:09other things at my disposal
35:10because the circumstances
35:12are different
35:12whether it's my scene partner
35:13or the way I'm shooting
35:14that's exactly right
35:15whatever
35:16the writing of any performance art
35:19is all theoretical
35:21the writer is there thinking
35:23I think it should look like this
35:25I think the house should be this way
35:27I think this should be decorated
35:29I think
35:30I think
35:30I think
35:31and you could put it all down
35:32and the way it's interpreted
35:35by the actor
35:36like Carol's house
35:37Pluribus
35:38it's like
35:38but without you
35:40going to visit that set
35:42it's like
35:43oh wait
35:44that's where the bed is
35:45and this is
35:46oh I have to recalibrate
35:49in order to figure out
35:50because
35:51and I do the same thing
35:53I want to go into that set early
35:55so that I can get familiar with it
35:57because nothing bugs me more
35:58than if I saw you walk into Carol's bedroom
36:02and look for the light switch
36:04I go
36:05oh she's never been in that room
36:06yeah yeah yeah
36:07you got to know where those things are
36:09because we don't
36:10you know
36:11I got to see the set for the Carol's house
36:13really early
36:15like studs and concrete floor
36:17and they let me write
36:19in that cul-de-sac on the backlight we built
36:21they let me write in the wet concrete
36:23under her foyer
36:25that I was there
36:26and the date
36:27and that I was so happy
36:28and I mistakenly thought
36:30that the crew that's building that cul-de-sac
36:34were probably people that have worked
36:35are working on the show
36:37or maybe worked on another show
36:38or worked on Better Call Saul
36:39because we use a lot of the same crews
36:41we have a lot of Breaking Bad people
36:42but it was not
36:43they were a construction crew
36:44that was not working
36:46a regular construction crew
36:47not even sure they have ever seen
36:49or heard of anything
36:50I've ever done
36:51and that's okay
36:51and that's fine
36:53except that I was running up to that
36:55I started crying
36:56because I had gone out to see the sets
36:58and Vince was doing Scout
36:59and walking me around
37:00I just couldn't believe
37:01they were building
37:03a whole cul-de-sac
37:04you know it was my first lead part too
37:06and I'm just like
37:07what
37:08and so I'm just crying
37:09and I'm running around
37:10and I was like
37:10which one's Carol's house
37:11and they're like
37:11that one's Carol's house
37:12I'm running up
37:13and the guys are
37:14you know they're framing
37:15and taping
37:16and drywalling
37:17and I was like
37:18guys this one's Carol's house
37:19and they were like
37:20yes
37:21okay
37:21yes
37:22and I was like
37:22I'm Carol
37:23I'm Carol
37:24and they were like
37:24can you not be here
37:26yeah
37:26and then I could not stop myself
37:28I was just like
37:29no you don't get it
37:29you don't get it
37:30and I was like
37:30I'd better call Saul
37:31this other shit
37:31I was like
37:32this is my first lead
37:33and blah blah blah
37:34and by the end
37:35they were all like
37:36high-fiving me
37:37now when I left
37:38they probably were like
37:39that show's not gonna go
37:40she's a fucking lunatic
37:41she's lunatic
37:43you are traitors
37:44to the human race
37:55I'm very excited
37:56for season two
37:57of the studio
37:57oh my god
37:58those people are so great
37:59I love all the producers
38:00and writers on that
38:01I got to sit with them
38:02at some award shows
38:03they're all so funny
38:04so great
38:04lunatics
38:05lunatics in the best way
38:06in the best possible way
38:07so when you went back
38:09for season two
38:10wait where were you guys
38:11shooting
38:11Venice
38:12Venice
38:12yeah
38:13as one does
38:14right
38:15yeah
38:15and we shot two episodes
38:17in Venice
38:17okay
38:18recreating the Venice Film Festival
38:20the Venice Film Festival
38:21that's what it was
38:21it was so much fun
38:22did you see any
38:23famous people
38:24other than the ones people
38:25I saw a lot of some Venetians
38:27did you see any gondolas
38:28gondoliers
38:29that's all I wanted to know about
38:30yeah we were in the gondola
38:32I met a gondolier
38:33oh really
38:34Roberto
38:34yeah he's fantastic
38:37so famous people
38:38playing famous people
38:39in it again
38:39yes
38:40can you tell us
38:41any of those people
38:42Lady Madonna
38:43really
38:44children at your feet
38:46what was she like
38:47Madonna's great
38:48yeah
38:48I gotta say
38:49her work ethic
38:50is really impressive
38:51you know she's this
38:52international icon
38:54yeah
38:54you can have a conversation
38:55and you sense a lull
39:00or a quietness
39:01in the room
39:02something has entered the room
39:02someone just entered the room
39:03and here comes Madonna
39:05yeah
39:06and she comes in
39:07and she is Madonna
39:10yeah
39:11and there's Elvis
39:13and Michael
39:14and Madonna
39:14and it's amazing
39:17and the paparazzi
39:18are everywhere
39:19trying to get a picture
39:21oh sure
39:21but I was really impressed
39:23with how much she prepared
39:25how much she was
39:26because we didn't know
39:28what's she like now
39:29what's she gonna do
39:30it's been a while
39:31since she acted
39:33oh I guess that's true
39:34and so
39:34you know
39:35no one really knew
39:36and
39:37but she was
39:38she was terrific
39:39and she's very funny
39:40I was gonna say
39:41does she have a sense of humor
39:42she's very funny
39:44and we had Michael Keaton
39:45and Donald Glover
39:47wow
39:47and Julia Garner
39:49and it was really
39:49a lot of fun
39:50and you know
39:51so that show
39:52is just bonkers
39:54okay
39:54are you on drugs again
39:55oh yes
39:56are you
39:57oh yes
39:58oh
39:59Ray
40:00yeah
40:01there is a scene
40:02in the episode
40:06dealing with the Oscars
40:08okay
40:08that's all I'll say
40:09okay
40:10you will not believe
40:12people will not believe
40:14what happens
40:15really
40:16and it's
40:18and it's your fault
40:18I either
40:22propelled my career
40:23to a different level
40:24or completely
40:26destroyed it
40:28that's
40:29that's the option
40:30it's like
40:30completely obliterated
40:32it like
40:33what was he thinking
40:34yeah
40:34or
40:35oh
40:35did you see that
40:37but it will be talked about
40:38okay
40:39there will be mean
40:39it will be up there
40:40with body hair shaving
40:42which you opened
40:42Malcolm in the Middle with
40:44my dear
40:45that's very tame
40:47really
40:47okay
40:48all right
40:49I gotta stop these
40:51fake cigarettes
40:53terrible for you
40:54uh
40:54okay
40:55I will definitely watch
40:56crazy fun
40:57when you get asked to do it
40:59I hope you do
41:00I would love to do it
41:00jump in
41:01okay
41:02it's like
41:02it's
41:03it's like
41:04trying
41:04trying to get on
41:06a moving train
41:06because
41:07they shoot fast
41:08right
41:09we shoot fast
41:09but we shoot like
41:1012
41:1114
41:1216
41:12takes
41:13and that's it
41:13there's no coverage
41:14it's like
41:15whip camera
41:16it's here
41:16it's here
41:17it's here
41:17and so
41:18and you get
41:19and you can
41:20you know
41:20add stuff
41:21write your lines
41:22and go
41:22yeah
41:23yeah
41:23it's a lot of fun
41:24oh fun
41:25and
41:25hard
41:26it's hard
41:28comedy's hard
41:29it's hard
41:31you're pounding
41:31it and pounding
41:32it and
41:33oh it's just a little
41:34yeah
41:35the timing of that
41:36was just a little
41:36off
41:37you know
41:37yeah
41:39so
41:39but thank you
41:40that was
41:40that was
41:41it was great
41:42that was great
41:42I can't wait to see it
41:43that was fun
41:44and I love Catherine Haunt
41:45I know her a little bit
41:47she's a hoot
41:47she's a hoot
41:48and of course the brilliant
41:49Catherine O'Hara
41:51it's sad to see
41:51I miss her so much
41:52of course
41:53of course
41:53she was
41:54I played
41:55Catherine O'Hara's husband
41:57did you?
41:58in three different productions
41:59who were they?
42:01the last one
42:02was Argyle
42:03okay
42:04the movie Argyle
42:05I didn't see it
42:06where we played
42:06husband and wife
42:07okay
42:07and before
42:08we played husband and wife
42:09in an episode of 30 Rock
42:11and then now
42:12she was my nemesis
42:13in the studio
42:15I miss her so much
42:16she was such a
42:17a joy to be with
42:20Catherine O'Hara
42:21was a person like
42:22you not only marveled
42:24at her comedic chops
42:26but when it's cut
42:27sit down
42:28I want to sit next
42:29to Catherine
42:30and she's that way
42:31she was just that way
42:32it was just
42:33and just heartbreaking
42:34to lose her
42:35I'm sorry about that
42:36well I hope I get
42:37to be your scene partner
42:38one day
42:38because we never did
42:40actually be innocent
42:41we haven't worked for you
42:42the storylines
42:43sort of crossed paths
42:44I mean in
42:45Better Call Saul
42:45you know in a way
42:47and you did
42:47and you were there
42:48when Aaron Paul
42:49when I meet Jesse
42:50do you remember that
42:51and you gave him a note
42:52you told him to punch
42:53the rain
42:55do you remember that
42:56it's like
42:57the fake rain coming out
42:58and he goes
43:01I thought it was cool
43:02it was great
43:03it was a cool little moment
43:04it was really cool
43:05thank you
43:05what was so fun
43:06is that shooting
43:07Better Call Saul
43:09we were kept
43:10in complete secret
43:12sequestered totally
43:12we were sequestered
43:13we went to this Airbnb
43:15he had a top floor
43:17at the bottom
43:17and we couldn't leave
43:18they said
43:19you can't leave
43:20you can't go out
43:21for a walk
43:22you can't do anything
43:23and it's like
43:24oh my god
43:24this is kind of exciting
43:25like we were spies
43:26or something
43:27and they brought food to us
43:29and we had to wear shrouds
43:31and we wore these
43:32big things
43:34shrouds coming in
43:35oh
43:36I pitched something
43:37for Better Call Saul
43:38early on
43:39I said Vince
43:39what if
43:41I'm in the
43:43I see a man
43:44I'm going into
43:45a grocery store
43:46I see a man
43:47or pharmacy
43:48or something
43:49and I'm picking up
43:50something to do
43:51with cooking
43:52like some chemical
43:54or something
43:54and
43:55and you could feel
43:58the person there
43:59and
43:59he suggests
44:01I forget what it was
44:02but it's meeting Saul
44:04yeah
44:04but because it was
44:06much earlier
44:07right
44:07it was before
44:08and I was going
44:09to meet him earlier
44:10but to become
44:11you know
44:11when Walter White
44:13died
44:13I thought
44:14well that's it
44:14it was great
44:15good run
44:16but then I did him
44:17I came back
44:18like three times
44:20so you know
44:21who knows
44:22you might be asked
44:24to do Kim Wexler again
44:25yeah
44:26yeah
44:27or I'll come do
44:28apparently what's
44:29just some grotesque
44:30scenes with you
44:31on the studio
44:34you have the courage
44:35I know you're
44:35the type of actor
44:36you just
44:37I think I could
44:38whatever it is
44:38I think I could
44:39let's go
44:39if I get to do it
44:40with you
44:40I'll do it
44:40let's do it
44:41okay
44:41it was so good
44:42to talk to you
44:43it was so good
44:43to see you
44:43thank you for this
44:45thank you
44:45thank you
44:45thank you
44:46thank you
44:47thank you
44:48thank you
44:49thank you
44:50thank you
44:51thank you
44:51thank you
44:52thank you
44:52thank you
44:53thank you
44:53thank you
44:53thank you
44:54thank you
44:55thank you
44:59thank you
45:00thank you
45:00thank you
45:02thank you
45:02thank you
45:04thank you
45:12thank you
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