Brendan Fraser on Eisenhower, The Mummy 4, and Chris Farley

I always feel like someone's gonna walk in the door and hand me a dish towel and say, Fraser, get back to the... Get out of here. You know, I... just... it's in me. Yeah, the third one, um... it's... it's... it's kind of... it's sort of the problem child. Um... Okay. Which had the strange elements that the audience were like, you know, you're giving me something that I don't... Only straight to the ground. You're telling me it's one thing and it's... You gotta wave, yeah. You know what people like. I hate that. We can't do that. We did it in the end of the movie. They want to see something new and then it's like... You can't reinvent the wheel. No, you want... if you want to... you need an Oreo, you want that cookie. Yeah. That's how it tastes like. You want... you want the band to get back together, which is what we are going to do. And the band is back together. Yes, we're getting the band back together. The fly-on-the-wall aspect of being in the room to see what they... they say something. Thanks for the pluck. That's the name of the podcast. Oh, excellent. That's right. So, Brendan Fraser, you say it wrong. I say it right, Brendan. A phrase you were... I say it funny because he did a cameo in Dickie Roberts and he knew the director because the director did. George of the Jungle was it? Not Tarzan, George of the Jungle. George of the Jungle, which was a parody of Tarzan. Yeah, and he was funny in it. And he was a big movie. Yeah. A hundred million dollar movie. And he had done the show before and he was nice enough to say, I have a movie coming out. Can I come on again? We had a good time. Movie is called Pressure. It's about D-Day. Pressure. He plays Dwight D. Eisenhower. Yeah, heavy movie. Who has to make a decision about the weather. I'm definitely seeing it because you know more about history than me, Dana, but I... Hearing about it made me want to see it. I like those kind of movies. So... Yeah, tense. A lot of tension. It's in the theater. And then on the night, coincidentally, I ran into Pauli Shore at the comedy store and he said, oh, I said, we had Brendan and I go, Brendan's very soft-spoken and very... Has a very sweet vibe to him. And I said, was he always like that on Encino Man, where he played like... Good question. And he said, he said he was. He even back then, he's very careful how he talks to and he's even on the podcast, very quiet and he's very... We talked after. So did you. Very nice to me, very nice to you after. So couldn't be a cooler dude. Yeah. A lot of talent packed in there. Oh, he tried on Farley's coat, by the way. Yeah. Oh, yeah. I'm gonna put a little dance in it. Because he saw Chris's coat up from... And he started doing some Chris Farley movies. Yeah, very sweet. Yeah. So... This one's interesting. We had him a couple of years ago and it was really about just his travails in show business. He had injuries and his wilderness years and how he came back and he did the whale. And then we talk about what's going on now and that and this new movie. And another surprise, if you listen to the end, a surprise to me anyway. Happy surprise. And his post Oscar life. Because before he hadn't won it, I think he was just up for the whale. Yeah. Yeah. Okay, here he is. Brennan Fraser. You got in... There's a rumor you got in yesterday. And Dana got in yesterday from New York. I did a one nighter in New York. Did you come in the morning? I came in. I left at 3.30 at Kennedy, heavy on American Airlines. And so we climbed south for a bit and then... Well, you don't need the details. But anyway, the guy came on and said, we just got our weather report. We're going to have two hours and it could get pretty rough. Yeah. You got it too? Choppy. Yeah. Yeah. I would calm down a little choppy then rough. I didn't think it was back because I was ready for rock and roll. I was ready for... Barrel rolls. Yeah, we will go in the counter free. Back full circle. There's a guy playing a harmonica. Or a violin. Or a violin. Remember when you dropped it? Dennis used to say, we got a little light chop or dirty air. Those are ways of saying it's going to get bad. But I'd rather hear it tamped down like that. A little bit of dirty air coming up. Dirty air. Peter Zinklage told me that... Pete? He said that he is a pilot in his family and he said that just to put your mind at ease, if something bad is going to happen, it's after take off. Once you're in the air, you're good. Landing it is a lot of... Comparing the risk. If you think of air chop as skipping a stone on water, it's not... That's not as bad. So you give yourself a mental image. Well, I heard two minutes. It's probably a million to one. When you take off, it's 10 million to one after two minutes. So I just count backwards and take deep breaths. We get to 120 seconds, which would be two minutes, right? Yeah. What about the landing? Metric minutes? Is the landing more dangerous than the take off? Oh, God. Depends on the weather. Depends on the weather. I don't know. Well, the take off proves the thesis that the thing's going to fly again. Okay. Yeah. Because... They do something like, are we only got one engine? You're like, yeah. Yeah. I don't like that. And A380 wants out of Paris. A380. A380. It's a shopping center with an engine. You know, it's just so fucking big. A bowling alley. So we go on up in the... My wife and I go out in our first class. Whoops. And we meet Marie Trevalier, if you know the reference. What? The pilot. We may not be taking off today. We have a little engine for our ROM. So anyway, so we did go. I was kind of nervous. The exact same flight, seven days later, lost the engine, landed in Greenland. Wow. They interviewed the French guy. It was a motherfucker. I'm so punchy. I can't even... It's Brandon's jet lag. It's Brandon. One thing I wanted to say to you, because I was looking at some of the comments on the trailer and someone said, I'm so down for this. Brenner Assance. Brenner Assance. Oh, you've seen this? Is it a meme? I've been... Is it a meme? Is it a meme? I think it's painted on someone's ceiling, Sistine Chapel. Yeah, it's been around. People are saying it. People told me the other day, I want to see you make a comeback. I go, oh, am I gone? I've always been here. Jesus. Yeah, you just never really know if you're in it. You don't really know where you are on the level. I heard probably 10 times this week because just casually, where are you going? What are you doing? Well, I'm doing this podcast. I'm going to interview Brendan Francher. Oh, I love that guy. Every single one. Every single one? Every single one. I love that guy. I don't know how they got the kind of memo or went to a meeting, but anyway, you know... I'm going to have to send him a G. He's an Oscar winner. It's very difficult. It's all intimidating. Is it intimidating? Come on. Not for you guys. I'm still a do-fist. It's definitely we don't have that many opportunities. But it's kind of... It's very cool. It's an affirmation that you don't really understand what the protocol is until it happens to you. And in the final analysis, I think it's just a way of me remembering how many people helped me get to that place where you are even considered. And then when it comes down to that envelope opening moment, it could be anyone. I mean, any other... We don't know. And there's relief because you said something. We know an answer. And among your new category, at least the year I was there, we'd been through a gauntlet of press and that's a lot of questioning. And award shows. All of that. That's your job. You should do that. But it takes a toll on what it does is just... It's an odd job. It's a weird job. I mean, you become like... You got a lot closer. You care for one another. And you're pulling for yourself. Who was in your cadre? Who was your... Who was your co-star? Not that they're losers, but they did lose. Bill Nye. Oh, Bill Nye. And who was the first one called? Oh, Bill Nye. Austin Butler. Okay. Yeah. I like him. Yeah. All great guys. And you smoked them. But now when you... Not true. No, not true. It could have been by 1%. You don't know. It could have been like this. How were you crawling up to the Oscars like Golden Globes, all the critics' choice? What was your batting ratio? Yeah. How are you doing? What are your stats? I'm just trying to remember. No, no, no, no. No, Colin was winning everything since Venice. Or Colin... Other Colin. The other Colin. Hey, Colin. The Banshees of Insurin. A men of work. You can say it. Oh, yeah, the Banshees of Insurin. I really committed. I just said it. I knew it was a lot of letters. No, I know you're Colin me. Or men... What? You think it's Colin Farrell? No. Colin Quinn. No. I just want to see how many Collins you know. I know. I don't know that many. Colin Quinn. But you're not the guy from Men at Work. I'm out. I'm going to tap out on Colin. No, Colin from England. Ireland. Come on, guys. That guy, you know that guy? First, well, Colin Farrell. No, was it Colin Farrell? Did we already do it and we kept guessing? I mean, I guess it's the first time you kept asking us. Listen, I saw that movie. We'll be right back. And I saw the whale. You did. Interesting. Yeah. The Banshees had no chance against the whale. No. The whale performance is like... Yeah. It's supernatural. I mean, it's historic. Thanks, guys. I mean, it was just like insane. It was a lot of real hardcore rehearsal with Darren Aronofsky is the first to tell you that he would have been a baseball umpire if he wasn't a director because he's kind of got to seize everything. He gets the last call. He knows the play. And he couldn't cast it, right? He saw you in some older movie and went, ah, that guy can do it. What he said, yeah. Yeah. And he had that intention to make the movie for a number of years, I guess. But when we met, I was, you know, I was his formidable director. And if you're, he's got eyes that are kind of like you, very kind behind, you know, formidable frames. Oh, okay. You're looking at Dana. Come on. I got to go to the stand where we go. Get your facts straight, Jack. Go straight or hormones. Joe Biden. There you go. Joe Biden. Someone had to. Someone had to. He goes in. He's Clark Kent and Joe Biden. Takes him off. But yeah, has he kind of considered, is he a taskmasker in a way, but brilliant? Darren? I mean, I don't know, but he's. He has high standards and he, he, he, the thing about him is that he does get the ideas from the best. He calls every, you know, he gets everyone's opinion. He's diplomatic. He is a very good leader. Like he, and he credits right away with whomever came up with whatever suggestion, answer, you know, what to submit. But he's also quick to say, no, that's not right. And he's always, he's always correct. Like he asked that from any department, boarder, makeup, all, but he knows the answer. And he has a real spontaneity and a confidence to him. Like if you see something, a scene is playing out, he'll change the order of the coverage to capture a performance from an actor from a different angle, just automatically because he saw it's working. Like, let's get it. He saw that. So he'll, you know, he'll turn the room around just to get that now. And he's, I think, I think he's one of the among the directors who we admire who have courage, who kind of fear no art in a way, you know, they, they, and had encouraged doesn't mean, you know, you're not challenged or you're fearless or something like that. But he, he, he does take risks. And I think that's where, you know, big rewards come from. You kind of work with less location. So he has that ability to kind of flip the camera. It's not like we're going to the beach now or you had a less location. In the case of that film, the whale, it was in one room, right? Literally in one room. Yeah. It was Charlie's apartment. And, you know, it was in 20. So it was almost like a stage play in that sense that you could really get intimate with the scene. The way it felt. Well, it was written by as, as a stage play. Yeah. And adapted for the screen. Yeah, Dana. Why, Sam. Let me look at my notes. I knew that. No, it's better to have like a director because you've had a lot of directors. We've all had a lot of directors. And I think it's better when, because there's ultimately a final say. So which makes the system work, you know, when everyone pitches in, you give your ideas. I'm in these movies, you give your ideas. But someone's going to make the final call. Sometimes they take your suggestion. But ultimately it's better when you think they're really good because it's easier to take when they make the final call. Because some movies you don't down deep think they're any good. And then you go, so this is what we're going with. Okay. And then you kind of go in knowing, I don't think this is right. And that's, that's a tricky situation. But luckily you got this guy. Can you probably work with better and better guys all the time? They're all good in their own way. There are some directors who, I don't understand their direction. I will smile and nod. And then I'll try to get what they said. You don't even know. And then after we'll do, yes, that was it. You're like, I had no idea what you told me about it. I did the same thing. I know. You try, you go, I think this is what they mean. I've done that where they go, nope, nope. And then yep. And you go, I don't know what happened. This episode is brought to you by Expedia and Visit Scotland. Start your story in Scotland. Experience the pool of wide untamed landscapes and fresh cuisine that feels rooted in place. 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I still think if you had this experience with a director where they're sort of allowing you to discover it while you're filming or you have those moments where you're doing it for the very first time, like Woody Allen or something or Clint Eastwood, they'll kind of huddle, you know, you could go to the end, you know, I mean, and then they just go in and they start doing it. You know, have you had an experience like that? You'll probably be good at that. I'll make a call. I think I'm a first take, best take kind of guy. Yeah. Okay, well there you go. I think, or early ones. Once I start doing too much, then I'm gilding the lily. So Kubrick would have been a nightmare for you. It would have been a long day. 200. Even Fincher. I would not envy being a hundred takes. Like some people brag, like Tom Cruise, we did a hundred takes to get it right and I go, how bad is everyone? You can't get it in 50? I mean, or what is it driving trees? Things are different now considering that it's digital, right? That's the difference. Because cameras are like flipping on a light switch, you know, you just leave them on all the time and then the kind of, we used to say, you know, we'll fix it in post or, you know, you can do it in the box right now, overnight, even. Yeah, digital was big. It's a longer and longer. There isn't a rhythm of change. Like, sorry, I'd interrupt, but I kind of like to do sometimes. If you're a comedian, you like to improvise. So digital was revolutionary for people like, well, Farrell, you know, Adam McCabe just put the camera on him for like 10 minutes and Will would just throw a line. He'd do what he does. And pick the best one. Right. And that can also be prohibitive in a sense that. Too much time. Too much time. Yeah. You feel like you are in almost, you know, a theatrical sort of venue when it's inherently work, you know, cinema for, you know, a smaller size performance. So, you know, we're not out there, you know, a whole place. But then sometimes there's pros and cons, of course. I mean, the physical act of taking magazines of film off the top of the camera and having the rhythm of, okay, well, they got to reload. That means I can breathe for a second. Yeah. I'm checking with whatever, have a chat about this talk. Okay. I'm going to take a look at the camera guy. Now, you know, the whole new generation, it's come of age in a period where it's ubiquitous and in constant and it gives you a sense of needing to be on all the time. Yeah. It's open-ended. It's not really. There's an interesting thing when this happens when you're shooting and then they're doing more and more takes. I mean, if you even feel like you're getting it right, maybe they're looking for something else and then I start changing my performance because I go, we're not moving on. So I'm going to try different things. And sometimes when they move on, I'm thinking the early ones were better. I don't, you know, I think maybe they're looking for someone else's covered. They go, oh, that was better. And I'm like, well, now I'm stuck in mind that I didn't love these things as an inside baseball. But you know what I mean? Like you go, I'm just changing because we're not moving on. So I'm tweaking and trying to try anything else to feel like it hit. And then sometimes the one, they go, got it. And you go, wait. And then you have your own inner critic going, you know, 10 minutes later, oh, I should have. I could have. That's the worst when you move on. And then you go, wait. And then you got to feel like you're going to run up the escalator and get to the top and get, I just want to do one. Yeah. Yeah. You know, big comedies, you know, and then you've done real drama. Do they scare you equally or, or, or it's like, what's the most frightening for, because I, I think just being very vulnerable on a set would be harder than comedy in some ways. I'm not, I'll shoot just straight. Dana, I always feel like someone's going to walk in the door and hand me a dish towel and say, Fraser, get back to the. Get out of here. You know, it just, it's in me. I'm not. So even after the Oscar, he didn't kind of affect you a little bit, not cocky, but a little bit. I must be doing something right. Well, I got the, yeah. I mean, like, well, for, in that case, I do know that with the whale, I, I did everything that I've humanly possibly could. It was 2022. We all thought we were going to die tomorrow anyway because code, it was existential threat for everyone. Yeah. Actors are, you know, ideally supposed to do this like it's the first and last time you ever will. So, you know, leave it everything, give it everything you got. That's right for the part. When, when I can remember feeling like I had everything to prove at that time in my career. And if the film didn't land with an audience or it was not received in a favorable way, you know, with everyone has best hopes for their work, then I would, I just would take it straight up. No, Chase, that okay, I really don't know what I'm doing because I was all out of moves. Yeah. I didn't have any other ones. So that, that, that really did exhaust what was in my repertoire at that time. And so it's nice that it was well received and that it was awarded and given all this recognition, but it is not because of anything that I specifically did. It was Hong Chao, it was Sadie Sink. It was Daria. Sadie Sink was good in that. I think it's also, you, you get in a place where you go, I hope this is the one that works because it feels like to get the elements to come together, forget, you know, you got the cast and the director and the script and then you go and the editing and the promotion, you're like, and the trailer. And you go, so far we're doing good. I've seen the final product. We just got to get people to see it. And a lot of movies that the wheels go off earlier and you're like, I don't think this is the one, I don't think this is going to hit it on all cylinders. And then there's that X factor of who knows what audiences, where they are culturally in their headspace. You hit it at the right time. What do they need to see? What do they want to feel more about? You know, we all go through these sort of trends of culture, right? What you think about the way they, that's true. Yeah. So it was comedy. It really, there was, you know, Tropic Thunder and the Hangover movies like that. Only till recently, there was an R rated comedy kind of felt like it was from the nineties. A brief, brief run at the box office. I was called Bus Boys. Now the David May. It was very cool. It's great. I did a movie. But it was low budget movie. It was post any kind of woe stuff. It's all politically incorrect. Yeah. Yeah. Which brings me to this question, Brett. Yeah. Is it too late for you to be in Bus Boys? No. Is it? No. When you did. I did answer the call back in the day. Oh, you came. I love it. That was Sam Weissman, right? Because he did Tarzan, right? George. George of the jungle. Yeah. What did you? George is a jungle. It was George of the jungle. You played Tarzan. Or George. You played George. Tarzan and Ferrell. Faced on Tarzan from the cartoon. So it's not quite a range, man. You do. Let's just say some comedies. Then you get really deep. All the way to the whale. You did a rental family, which was a very nice feel good movie. Now there's sort of serious. 88 on Rotten Tomatoes. Not bad, right? Yeah. And incredibly cool. I got 88 with all mine combined. I read a review. It was 86. Well, I'll cut. David. I read a review. It said Oscar worthy. This is for them. Oh, really? Yeah. Possibly if, you know, an audience's headspace was in a place where it needed to hear that kind of story or appreciate in the case of rental family. It's a movie about a guy who is in a country that is not his own and the country's not in is the United States. And he hasn't been there for about seven or eight years. I mean, you figure out why did he leave America? Who is this guy? Who is this guy? And what was it that he doesn't want to go back to? Well, you know, what's the temperature in America today? That's a whole other conversation, right? But he finds himself in a new place and he's extraordinarily lonely in one of the busiest cities of the world. Yeah. And is realizing that yeah, he's going to die a lonely man who with father issues of his own if he doesn't have some sort of sense of connection with people that he can't get through his acting career because let's face it, he's not a very good one. He's big egg was Mr. Clear Bright Man and the toothpaste commercial. And you know, and that's a trope. It is, you know, if you've ever been you've been talking to him, you see there's mascot cultures, huge. And. Ex-pats taking those jobs are plastered all over advertising everywhere in Japan. And it's still not enough. And once. He stops. Performing, you know, in this sort of Bufun, which clownish way and is able to make proper connections with people in a in a meaningful way when he's not performing for a camera, but instead he's working at a service industry to give companionship to people who are. In a word, desperate for authenticity. It's a good premise. And if. You know, that. Can help. It does. Sometimes it can't. And that's where this film really lives. What are those thorny questions about standing in as surrogates in people's lives? Well, is it kind of fun playing an actor who ends up acting like he's pretending to be the long lost father or whatever? He goes. He got your plane is also pretending. It's a performance of a performance. You're right. Until it because the logarithm gets a little bit too confusing. And he just realizes, I'm going to stop doing that and jump in with both feet and just be and then learn, of course, that he indeed is actually being. Is there anything like that in Japan? Yes, it's a business model that existed since the 80s. I did not know. Wow. That's why it's a great idea. And then. Yeah, I saw a scene with you and this young girl and she was. That's Shannon Gorman. She was nine years old, never acted before. She was nine. Oh, she was good. She's 12. Almost never acted before. No, she's nine years old. And she was a little kid. It was perfect. She was around the block by then. She was a little worn out by nine. Yeah. No, a couple sitcoms. That was. So she was really good, right? There is something about the purity of a kid. You know, maybe not over thinking. Well, when you're when you're casting a kid, you're also casting their parents. You know, how were they? Let's terrific. I mean, just terrific supportive. Her mother is Japanese. Her father is Irish. So I mean, she fit the bill to a T. She was naturally gregarious and interested in. Pleasing the grownups and performing on her own. So, you know, it fit the criteria perfectly. And we quickly learned we had to stop rehearsing with her because. She had because she hadn't acted before she was learning kids or sponges, right? You know, and we didn't want to play in her game in a locker room. So just get her on set. Shoot it. Yeah. Capture lightning in a bottle. You know, I liked it. This this Hikari was at the director. Yeah, that's right. And is Hikari someone who you knew something they did or you just the script is the part that got script was first. I did not know her. I met her, of course, but that was just before the strike. And then we had to wait for a year. She and her writing partner, Stephen Blahut, were in Tokyo, trapped there during the lockdown. And he's an American and he was looking for a job and he was going through like classifies and he saw an advertisement looking for, you know, rental boyfriend or rental, you know, that sounds a little hokey and a little dodgy in some ways. And those services exist. Sure. The whole other movie. But and he said, what's this? He asked her, she said, Japanese. I don't know what this is. And that's how they started researching and finding out. Interesting. Well, the fact that's real is even better. And what's this latest one? I'm sorry. It's called Pressure. Yes. I'm very excited to see. Are you really? I honest to God, I saw because it gave me vibes of the Churchill movie with Gary Oldman. Focus Features. Yeah, that's what they do. Yeah. And I love that movie. I've seen it probably five times. My wife and I visited every once in a while. But this one, knowing a little bit about it, you know, and how intense the weather thing was and how rudimentary our weather thing was. So how did this come to you? And I want to just know what what you. You know, you're going to play Dwight D Eisenhower. I mean, at first you kind of go, OK, and then right. And then what do you do? But yeah. And tell him I tell the crowd a little bit about what it's about. Sure. Yeah. Well, Pressure is the weekend before the D Day invasion, which was this history. Tells us Tuesday, June 6, 1944. I didn't know that the date originally was Monday, June 5, 1944. Or just amphibious attack. 300,000 troops in a morning. Ever. It's the biggest location detail. Logistical. Yeah. New equipment never been done in battle before. Early call sheet for extras. Exactly. We got to get there at 2 a.m. We got to start shooting at 6. Well, one of the most indelible moments of my cinematic life is seeing the longest day with my dad when I was like eight. And the Germans are like, shots, you know, like that, you know, they don't think there's any attack coming. Well, juicy fat day there. And then he goes, all right, like that. You see like a million ships. Yes. And as a kid, I was like, holy. That the that weekend, of course, they factored in everything that goes into an invasion and certainly. Meteorology and the weather plays a huge part. That's another combatant, essentially. And it was. For the efforts of meteorologists named Skag, who is. Courageous enough to stand up and tell everyone almost. Cassandra like. You need to heed the warning that there is an inbound storm. And. Delay this. Like a big. A big. Completely. Waves. Yeah. Air Force couldn't hit targets. Landing craft and the others were dodgy enough to begin with. Yeah. Many of them then make it under good circumstances. And he said, you have to take this seriously. And. They did. Delay, actually, it was going to be later. I think it was the 18th was the soonest they could do it considering the phases of the moon, the amount of reflected light to attack. All those. Times. Yeah, everything. And. You're the guy that decides. Pardon. You're the guy that decides. Well, I think it's. Well, he had the final word. You know, he was. Eisenhower of the Joint Jesus staff was the last word. And the final word and the responsibility was his and his alone. And he took it. He did. I mean, he's. As I studied and learned, he wrote a letter. In advance of. A response to whatever the outcome of the invasion would be. In. Victory. Victory and one that was in defeat. Wow. And the one in victory was the one that we know of, but he cared for the troops intensely. That's I mean, no secret. He he definitely. Didn't have. We will get boots on the beach no matter what. Mm hmm. They knew they were going to have a. Bare knuckle fight with a chainsaw as right. It was already. But he he didn't want. There to. Be the he wanted the fewest reasons for people for his soldiers to prevail knowing that. There is an estimated 75% casualty. Oof anticipation. That's on a good day like that under those circumstances. Whoa, whoa, whoa. Yeah, we can talk about it and you hear and you say that and seeing you get a little emotional. It is sort of like hard for us to fathom his responsibility. Sending people that task. Those young men there happen to be 18 or 19 or 20 or 21 on those landing craft. You know, it's just it's, you know, we all saw a saving private Ryan, which was sort of. It's and it's an anthem for, you know, the genre. Yes, there are battle sequences to put us in the right place that are in the film pressure. Because, you know, they're required, but also. Pressure takes advantage of archival. Footage documentary footage that we're all pretty familiar with. Watch the history channel growing up, but that imagery was actually a dupe of a dupe of a dupe of a dupe. And so Anthony Merris, director, went to the source and he uprezzed the originals. And, you know, whatever our feelings about, so, you know, guardrails around CG or AI, which was formerly CGI, you know, As you got some parking up res going. It does give you a feeling of authenticity when. It's also different eyes are seeing it because it's very real. It is Ken Burns film was on the first World War was inspiration for this. And, you know, and in that one, you can see soldiers breath. You can you can they brought in lip readers and to learn that somebody in the trench of is going, Oh, the sergeant, he's lost. We're going to, you know, or they're swearing at each other who took my boots or, you know, whatever it is, you can and it gives such reality to and and the way that we see the footage in the film pressure. It seriously looks like it was shot, you know, last week on a news broadcast. But it's the real thing. You probably wouldn't have used it if it wasn't looking up to snuff. Well, that too. And also, hey, let's get it saved a lot of money because a lot of that gets recreated and, you know, to various big, big levels of success. Yeah, right. Yeah, Charm Heston, Chuck, he told me once they couldn't make Ben her again and they tried maybe 15 years ago because of the real chariots. And if it's a thousand people, it's actually a thousand extras. Right. Two thousand extras. It's just so vast. But we'll see where AI goes. But it's it's you're trying to get it connected to you can't tell it. It's not a real guy on a horse running stuff. I guess it's when we don't see the construction lines around the images, our brains are satisfied. I mean, you know, we we gentlemen, we live in an age now where the next generation has had their lobe trained by digital imagery to recognize what smacks of authenticity and what does not. Just automatically by virtue of looking at phones in their hands since childhood. And I didn't we had something completely different. I mean, we can all remember looking at CGI heavy movies in the 90s and the 80s and, you know, giving a pass to really funny looking effects. But they all had their certain charm at that time, too. I can tell what's written on the first Jurassic Park. It was the best I saw first Jurassic Park. First Jurassic Park. First Jurassic Park is that. Well, Spielberg, the dinosaurs. Is it when he jumped at the raptor who jumped? I jumped when I saw that film, the one during the kitchen and the dinosaur. They're trying to climb out, think through a hatch in the ceiling. And the point of view is down and the raptor comes in, looks up and jumps and you go, ah, boo, scare. I remember they brought Spielberg. There's five of them now. A thing about the movie before they did it. And what convinced him was they showed him what the dinosaurs would look at and he watched and he goes, oh, shit, this is this is better than I thought. Let's do it. If they can look like this, we can do the movie around this, you know, which they did and it worked. I have some trivia for you. So anyway, so the film really centers on this incredible decision that lands on Dwight D. Eisenhower's head. Well, take into consideration in 1944 that meteorology was kind of just looking out the window. Yeah. Wasn't it known no literally, right? Yes. In the den of a person. It's actually raining out here in the North Sea and then you try to extrapolate. Yes. What made the gentleman in the meteorologist special? Well, the Americans, as depicted in the film, were reliant on analog. So they went off of records. If the farmer's almanac said in 1912 that it didn't rain, then it won't rain today. Wow. Farmer's almanac doesn't get enough props. I think they've been replaced. A million men are ready to go. Let's see what farmers out in America. When did the crops grow? They just really look out its cloudy like you do all growing up. You're like, oh, it's raining. This is very less nested from WKRP. Yeah, yeah, yeah. Or a perometer. Wouldn't he like go, he would give a report from the helicopter? Oh, that's right. Yeah. I think it was less nested. That was his big move. Well, you know, and using science is essential, which is the point of the film, to say, hey, we need the data. So weather balloons and barometric readings and all of that are the collision of ideology and which one will prevail and which is the tried and true method and which is the obvious difference. The North African campaign had pretty dry conditions. So it was safe to say, hey, it's not going to rain tomorrow. Yeah. But in Northern Europe, there's 10 different weather source systems that come through every hour. And we really take it for granted in a manner of speaking. You know, when our airplane starts chopping up and down. It says here. You know, yeah. I know weather boy comes in and starts saying, hey, I don't think you guys should go. I like that. I don't even listen to this guy. You know, that's to a certain extent. And that is dramatized. Because it's a movie, but he didn't show up really at the last minute and go, hold the phone. Yeah. He had been. There's some grumblings, I'm sure. There was dissent. And so that's the point of the film is what were the conversations in the 72 hours or so leading up to it and what really was at stake. And the weather was just, I mean, imagine the punch list of things to do. That was just one item. Right. And you're going to stop it for that. And that's, and you're like, this sounds crazy, but he's probably like, when you see in the trailer, it's like two storms coming. It's like the perfect storm with Tony. This is going to be worse than you guys think. Don't go. And then you go, I've been in storms. And you go, well, if it's this bad, that will make it go from 75% and effective 95. I did not know that. And I did not know this about the weather delay when D-Day was, you know, taught to us. What Stag did was he did accurately predict that there was a break in that storm. That was a big thing, right? 12, 14 hours, something like that. And if they were going to go, go then. Otherwise, they would have to wait until the 18th and the Germans would know whole other reasons why it would have been calamity. So if you think about it again now, okay, this thing is delayed. We're not going to go on Monday. We're going to go on Tuesday. All right? We're already at sea. 25 hours delay. You're going to wait for one storm to pass. Yeah. And a lot of them are already at sea. Yeah, it was waiting. And the law had to turn back, gas up again, you know. And it's not like you're rerouting your FedEx package delivery here. And that they did go during that narrow window of opportunity made the Germans think they'd be crazy to attack in weather like this. So they really did catch them on awareness in that regard. I mean, the Germans were rooted in, of course. There's some red herring like the Germans thought they were coming some other way. Oh, misinformation was used so many ways. But yeah, they were convinced that they would be attacking from Scherborg. But they had been misdirected with all kinds of, you know, operatives. Smart. Love that about World War II. And that's the fascination of fake planes from afar that are made of cardboard or whatever it takes. Inflatable tanks. Yeah. And the parachuting little men coming down. You'll see those in this film. Oh, good. I have them with the clickers. Just one of six. I don't know if you know this thing. One in six. One in six paratroopers landed in the right place. Just one of six. All right. This is trivia. Yeah. And I'm just going to take a couple of minutes. I just want to ask some questions about getting into Dwight D. Eisenhower and trying to get because like into forming whatever you're going to bring to it. Because I was reading about him today and he was, it's interesting in any kind of hierarchy how he's going around, going around, then he becomes the guy at a given point. He deals with Patton later on at the church show. And of course, Damien Lewis plays Monty. You know, that's a great, he's, I love seeing him in a movie. So what was your process? Were you got it? Were you terrified? You're like, I'm playing Dwight D. Eisenhower. No, no, I was daunted. Absolutely. And when Anthony said on a call that I got the offer, I said, me, like, I mean, why, well, you look just like, but do I, I don't know. I, I didn't, I didn't, it's not the first thing I would think of. But I'm like, okay, yeah, the hair. All right. Well, you know, I could probably, I just didn't, I didn't, and then he said, he sent me two photographs alongside myself and I went, oh, hang on. We're about the same age at the time. I'm 57 and he was, I think 54 when at that time in his life. And we did have similar features. I am taller than he was. I am, I have a much different build than he does. He was eating like everyone rations at that time. I knew that my body type as it is, is kind of what you see is what you get. So I couldn't will myself into looking like the shape of another human being that I'm not reductively on, you know, as opposed to what I did in the whale, which is the other way around. So I had to find a way, honestly, to just give myself a break and alleviate the, I have to give a facsimile performance. Not an imitation. I'm not the kind of actor who knows how to do that. I'm not, there are those who are great. Kerry Oldman, fantastic at that. Disappear, yeah. That was a church show. I don't know how many people really know what, how I talked. I know he's president in the 50s, but he didn't seem to have a big hook, you know, or a weird accent or like, you know. He was from Kansas. Yeah. He, Abelain, he, he graduated, you know, top of his class. He wanted to go into the first war, but the timing was he graduated and the war was over. So for the next 40 or so years of his career, he never fired a shot in anger, never was fired at in battle. He was an excellent strategist, excellent diplomat. He was a product of his time as everyone was. And I tried to dismiss the things that I, you know, ethically, more ethically didn't, don't concur with. However, that's not my job. Different time. But he was prescient in the sense that he really cared about partnering with an enemy rather than rubbing their nose in it. Hence, NATO. Hence, the beginnings of civil rights. NASA, you know, he. Yeah. He was part of a lot of things. Yes. He, he, he was a leader and, and he didn't demand respect. He commanded it because he earned it for the, you know, the sincerity and the truth that he brought to how he did his job. Everybody wanted to follow him. It is interesting, you know, a brain trust if it's a military one, even in Hollywood movies, you're around a table and you're discussing an idea and then you go person in person. So it was Dwight, the kind of mic drop guy, like people were going, we should do this, we should do that. Hey guys, this is what I think. My take is that he was kind of like Darren Aronofsky in that he heard everyone's opinion, whether he agreed with it or not. He went around the room and the good idea was the good idea that we all, because then he knew what it was, but he did hear from everyone and he gave credit right away for where it came from. So I mean, this is, you know, this is, this is, this is, this is not sitting around a table in Hollywood somewhere. This was, you know, the headquarters of the Supreme Court. So the, the fly on the wall aspect of being in the room to see what they, did I say something? Thanks for the pluck. That's the name of the podcast. Oh, excellent. That's right. The fly on the wall point of view. It's the first time anyone's seen it. Is, is, is what makes this movie because you get to see what really would they have had been talking about? Who are the people when, you know, we know, we know you're polite and everything. You're nice, but what do you really think? And that's how Anthony directed this movie. And it, you know, I was, I expressed a little bit of consternation about long takes and all that, but he definitely had a method where we did very long takes, repeated ones, reset, working in England with British actors. They all come from a grand tradition. Yes. And I'd be surprised how much you find yourself upping your game when you're surrounded by incredible actors. That also helps. So long takes like that. The camera's moving around and goes elsewhere and then, and you've got to stay in character. Yeah. Comes back around. Yeah. You don't want that like with movement or just even right. There were two, yeah, like two or three cameras, depending on the set. Are there cameras going at all times, like a couple? There was always at least triple or double. Whoa. You think that speeds it up? You think? You'd be surprised, right? Yeah. Okay, it goes slow. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Well, I have a trivia for you. Another one. Is it true four packs of camel cigarettes for eyes an hour every day? Filterless. Did you ever hear that? I did. Oh yeah. Not the prescient on the cancer. Kay Summersbee, his left arm, his right arm, his girl Friday would ration them to him. You could get four and six a day or something like that because yes, and he drank pots and pots of coffee. Did they ever talk about sports or anything that would be in the movie like they're trying to just get their mind off what's going on? Is anyone like what's going on at the time in the world or is it all just about the world? I like to talk about fishing. Oh, you did? Okay. That's what you talked about, fly fishing. So calm down, just talk about anything else. And you played bridge a lot. Yeah, of course. He organized baseball and football leagues and his youth. I mean, he was a team player. They were very famous photographs before the Airborne takeoff. And you look at these pictures and you think like three and five of these guys are not going to come back. Oh, that's so horrible. And you see him shaking hands with them and they're talking about fly fishing is what they're doing. He was just a regular guy and it wasn't an affectation. I mean, he was the boss definitely. He wore those four stars on his shoulder. And what's the quote? Like they weighed a ton of peace is what someone said to him. Yeah, I see. Yeah. Because you think of Montgomery and Patton as being theatrical. At least that's the way they're presented and really big egos. In Eisenhower, at least he was presented as kind of a steady hand that like you said, created all this respect. And there was, you know, East Coast, West Coast, you know, Americans. And the Yanks and the Brits, you know, you do it your way. We do it our way. We work together. And here come the Americans again. You know, that's all and that's appropriate. That's right. But there's no room for any kind of like, you know, sociopathic approach when the stakes are this high, you know, we'll get boots on the ground no matter what. It's a little bit to me was the off and account of Montgomery's approach to it. But he, of course, had been in battles many, many more. And he had, you know, a real ego about, you're the new guy here. Like, but you're also my boss. And yes, there was friction. I had to have fun. Was that fun? Did you have some, you know, blow ups with Damien Lewis playing Montgomery versus Eisenhower? Are scenes where you're arguing and yelling and... Oh, we butt heads, I think, when you can tell it's around the office, but the house that they were in kind of in a way, they'd been locked there for weeks. They weren't allowed to come and go for, you know, private secrecy reasons. And, you know, it must have been in one way, like, you know, some really weird summer camp for them. Right. And I consisted on sleeping out in a tent with the men. That was also because they didn't want him in the building in case it got bombed. But a target, you know. But yeah, there's, you know, that headbutting and who's in charge here and who's pulling rank is certainly an aspect of it. Montgomery was abadly anti-smoking and would, you know, at that time, would it was kind of like astonishing as someone, you would ask someone to put their cigarette out, right? Right. It was ubiquitous. And I think that I could, I would comply, but you know that it was like an issue around the office. Yeah, for sure. The balls of someone telling you to put your cigarette out. Yeah. Do you have a question? Of course I do. Because I like to ask. There's, you know, this movie, The Mummy, right? Sure. Now, did you... It's a wrap. Is there another movie? Is there maybe a Mummy 4? Yes. More than maybe. Did we get a banger here? No, I think I heard that. Has it been announced? Yeah. Oh, really? Try not to smile. You can smile. Did you do it? I mean, is that exciting to go back? Yes. That's great. Yeah. Now we hear it. I'm looking forward to it. Well, I've seen a smile. I can't even believe it. You're so... Holding this. Don't you get Yahoo News? I mean, my God. No, but I'm so happy. Everyone, you know... And when was the last Mummy that you did? The last one? Yeah. The third one was in China. It was the year that... 2007? That year of the red? 2009? 2008 or 2009? Dragon Emperor or something like that. Yeah. Yeah. NBC had the rights to broadcast the Olympics, and so they went, oh, I got it. Let's put the Mummy in China. Is Tom Cruise going to do a cameo in This Mummy? Not to my knowledge. Okay. Oh, did you do The Mummy? Yes. Did he do a Mummy or something? He did one kind of... Correct. He did do a Mummy. Yes, he did. Stay in your lane, Tom. Jesus, Louise. He flew in on a F-15 and attacked a Mummy, right? It was worth it, and he's got a 30-kind of looking thing. Oh. But... I like Tom Cruise because he hangs up things, he holds his breath for half an hour. I mean, you just got to go, I will watch this guy. He's risking his life to entertain me. He's risking his life to entertain me. Hold my breath. And how can I jump off the plane? Yeah. Is he really running that fast? That's a me, but yeah. Faster than me these days. He can run fast. So The Mummy, I'm so excited about that, you know? Me too. I was going to ask you a question because I asked Chris Rock the other day, it was interesting. Mailbox money, which thing that you've done, you know, checks, residuals or whatever, which thing that you've done pays you the most? The most? Yeah. The least is more interesting, isn't it? Well, that's how it works. I bet. What's the tiniest? Who's the cheapest? That's right. Rock likes to talk about what people earn and make a lot of money. What do you mean? Me too. Yeah, yeah. He's very, yeah. He's got a yacht. Yeah. I like boats. I like boats. He calls them or 500 feet long. He's been on everyone's boat, by the way. Space whoever loves it. So what's your tiniest residual check? My tiniest residual check. I still, I got one the other day from a film called Glory Days that Ben Affleck was in. It was in the 90s. Really young Ben Affleck? Yes. And I wrote a bus in it for one day, morning, and I talked to someone else. I will be honest to say, I never saw that movie, but I still get like a, you know, a 13 cent check. 13 cents. Go to residuals. Yeah. You've been to residuals? Hey man, it all adds up. They're stapled up on the wall, right? If they're under a dollar, you get a free drink and they're all under. I mean, the ones I get from whatever. But mommy, it's nice when you just get one out of the blue. I get stuff from just shoot me probably that old sitcom. Yeah, Mike. Let's talk to him a couple of months ago. We're doing two more Shrek. That's awesome. Oh, Jesus. That's my priority. I just think this is a full circle moment because when, last time you were on, we talked about, you know, the peak stardom and then injuries and all that, you know, dark side of the moon thing, then the whale. And now this, you know, in the other movie, these are kind of serious acting things. And now you're a full circle doing a mummy again. And you look great. Thank you. Mummies are fun. That's just kind of cool, right? I'm looking forward to this. I mean, because you got beat up. Hollywood beat the shit out of you for a while, you know, and I love. I beat it back, don't worry. But now it's, now it's not only the Oscar, it's also the tentpole billion dollar potential movie. People have been wanting another one for 20, what, five, four years. I've been hearing it. I go to fan conventions and I'm serious. People show up dressed in costume like Evelyn Carnahan, Rachel Vise's character. There's Rick O'Connell's and me that come through to get an autograph. I'm not going to, there are a lost count of the number of young women who I've met who have said, I'm an Egyptologist. I am an archaeologist. I am a historian. I have studied ancient languages because they saw the mummy and it gave them so much dopamine when they were young and they went, that's what I want to do. And they pursued it. There's a real catalyst of springboard. Right, and Rachel does a good job. I mean, so you guys go back and forth and that has to work and it worked. And so what was the problem for 20 years? I missed that part. What? Just the rights when somewhere else or what happened for the last 20 years, about not doing that. Oh, going back to 2007 actually. Well, I don't know if we break it down. Well, they made three. Usually things are trilogies. The third one, it's sort of the problem child. Which had the strange elements that the audience were like, you're giving me something that I don't, you're telling me it's one thing and it's not. You got to weigh in what people like. I hate that. We can't do that. We did it in the other movie. They want to see something new and then it's like, you can't reinvent the wheel. You know, you want it. You want to eat your Oreo. You want that cookie. Yeah. It's how it tastes like. You want the band to get back together, which is what we are going to do. And the band is back together. Yes. We're getting the band back together. Full tilt. Right. Look, everyone's been approached. I hope they're available. If I'm around, can you wrap me up and just have me come at you like that? If I'm just in town, I don't need to be seen. I mean, you know, JJ, you make me a form. But you got to make a movie. That's fine. You got to make a movie. It's fine. Universal and here in Hollywood. That's right. And it's a roller coaster ride of a movie, you know, and that's what people want. They want to get thrilled. They want to have a little boost scare. They don't really want to feel terrified. Like they didn't really just witness a homicide or something, you know, on screen, but. Right. And they want to come back and do it again. This is because some of the younger people who saw that movie then, now they have kids that they know that their kids, their mommy and the kids will be blown away and grow up to be archaeologists. But were you injured on one of those? What was the movie you got injured on? I'm just wondering about this one. Are you going to be the first one I got choked out on day three or four from a news. That's crazy. Oh, that's right. You told us. I've talked about this. I know. But I mean, I'm only using his context for this movie. Now are they going to choke you out again? Don't let him. That's not a bad idea, actually. We should. You need a good story. Brother in law. I had a good history joke. Let's joke. It looks like you. He's very athletic. If you need a stunt double, just cut. Brandon, go to your chair. Now we'll hang this guy. I'll be the first to say, bro, you're going to be great in this shot. You're going to be good. Well, are you going to have to run through tunnels and are you going to have to, are you going to really train for this or are you just finding that you are? You're looking at a work in progress right now. I'm doing my best. For my first point when I saw you is that you look fit. Oh, thanks. I'm trying to get my gear together here and I got some time. I'm going to be a little bit more creative. I'm going to be a little bit more creative. How long have you got? It's like 67, like 80 days or something like that. 80 days? You go around the world in that amount of time. I know. I tried to make that movie. That's another story. I think it's nice that you go to do some, because it's comedic. So it's good that, I was going to say earlier, you're doing these comedies, you do these dramas all the way to an Oscar. And these last two, I think it was lighter on rental family and then pressure. Now pressure. Another. It's a new slapper. But just to go back to, you're good at being light and funny. And I think the mummy has a lot of that. Let's be hopeful. I hope full. It has a tone of what it does, the mummy. It's not slapstick. It's funny, but it's also for kids of a certain age. It's kind of cool. Yeah, it's cool and it looks good. And it's nostalgia. It's a generation in its own right now too. With AI, Mike and I make another Wayne's World. Yes. Look, just take this out, this down, this here. Why bother? We should have Wayne's World come in and meet. Wayne's World meets the mummy. Will you play the Nemesis or if we do a Wayne's World. Wayne's World. Yeah. I'd be glad to. Cross over. Yeah. You're the ghost of Dwight D. Eisenhower. I said, hair brain. That was another movie I made that airheads is what I'm saying. Airheads. With Adam Sandler. Airbrains. Yeah. Yeah. You brought him to show business. I think it's the other way around. Come on. I'm so happy you're about the mummy. That's how I met Farley. I saw airheads there. I saw airheads at 60th Street, 1 over right Columbus Square. That theater where you're doing SNL. It was fun. Yeah. It was fun though. People were like, no, no, no, I don't get it. Because it was too contemporary. It was like, now it's nostalgia. Now at the fan conventions, people show up in Chas Darby outfits. Ah, yeah. I find a lot of. What was Farley's security guard? Yes, he was. Why you can't go here. Hey, back it up. He was one in Wayne's World. Huh? He was one in Wayne's World. Yeah, or two. Wayne's World two. He pulled the guy's nipple ring off in the airhead. I had an airhead too. How funny. He was, I think it was Christmas scene two where I was doing, I was just talking casually and then occasionally I was, the girls would walk by and shwing. So anyway, I don't know. We may go there on Saturday night, shwing, shwing. I think it was, sorry. Disgusting movie. It was comedy back then. Disgusting. Well, anyway, this feels like after talking to you last time in the whale, it just has all this beautiful kind of thing. Now this, it's blowing my mind. I had no idea. Yeah. So you have pressure and you get the mummy. And do you feel pressure by doing the mummy? Yes, but I do normally under any circumstances, whatever. But is that like putting on an old friend in a way when you get the gear on and there I am? Yeah, it's funny you say that because I was at a fitting for a Western thing that I did, a saga like, I don't know, like eight or nine years ago, it was about the Texas Rangers and at the fitting, someone pulled the boots from a deep freeze at Universal that I wore in the mummy and brought them to the fitting. And the sign or? No, no, they were the boots, the riding boots, the Ricocon boots. So from the mummy. Oh, and then you put them on? And I put them on, they still, your feet don't change, right? The rest of you does. And I did get a real, I could smell the camel spit. And you know, it was really, it was unique. Exactly. You know where you're going to do it? Yeah, in Tanger in North Africa. Oh, it's the nicest time of year. And the UK. Tanger. It's a coastal, it's a dry heat. Okay, good. Yeah, you know, it's the same and also locations that are, if not the then very similar ones from the first 10 seconds. So you're negotiated completely what you're going to get for mummy for? I haven't signed anything. I got a feeling about pressure and that's going to put pressure on the negotiating team at Universal. Is that where it's going? I think pressure is going to do really well. Hey, you know, let's be hopeful. It's a film that does show us what we need to remember about why. The number of people who lived and died at that time made the effort to stop fascism from becoming the scourge of the world. And it makes us compare ourselves today to that time. And I will leave the audience to make their own summary judgment. But my hope, my hope is that we will be reminded not just of the sacrifice, but of the reason why we were even fighting that war in the first place. Well, that's heavy. And I also thought you're going to fall back in the chair of the whole podcast. And that was my pressure. I was worried because every time he leaves back, no, he's a natural. That was a, that was a nimble fall. That was like Danny Kay. That seriously, dude. This is this. Look at how easy it is for him to fall back. And it's sort of inching up. We could get a chair. It was one of my favorite bits in auditions. I was running out of ideas. I would throw myself over. Oh, yeah. All the time. Oh, shit. That'd be so funny. Bring it back. Did you do that? That's a great one. How do you think I got hired for Encino Man? Oh, that's great. You just threw yourself off the floor. I was wrestling with the plants in the room. I was eating them. Yeah, really? He just went in and went crazy. There were no lines. I was a weird theater kid from Seattle, of course. Yeah. That was fun. Yeah. All right. Well, eating out is more than anything. Thank you for coming. That was a very nice view. Dan is going to look at this. May 29. May 29. I always like to get that out there. I don't know. I appreciate it. May 29. May 29. So it's in like, yeah, I don't know when this airs, 2028, I think early. Pressurist theater. Right? Yes, theaters. Do you remember theaters, everyone? theaters, big theater. See it in a theater. Bonne to go see it. It's a cinematic experience. It's British filmmaking in the sense that this is what they do. The detail, it's qualified. Right, it's extraordinary. Yes. You shall see it in the theaters. We'll see it in the lounges. Good night, Dan. We'll see it in the cineplexes. I don't know if I'm JFK or, no, Winston Church. I was doing JFK. Anyway, thanks for coming. I could chat with you guys all afternoon. I'm so grateful for your time. We appreciate it. We came on here a second time. We love having you. I saw your name on the dock. I go, of course, this is fantastic. Of course. It's very nice of you. Because I remember how much fun and interesting it was the first time I chatted with you. All right, so let's never do this again. Let's never do it again. Let's do it after the Mummy 5. Hey guys, if you're loving this podcast, which you are, be sure to click follow on your favorite podcast app. Give us a review, five star rating, and maybe even share an episode that you've loved with a friend. If you're watching this episode on YouTube, please subscribe. We're on video now. Fly on the Wall is presented by Audisene, executive produced by Danny Carvey and David Spade, Heather Santoro and Greg Holtzman, Mattie Sprung-Kaiser, and Leah Reese-Dennis of Audisene. Our senior producer is Greg Holtzman, and the show is produced and edited by Phil Sweet-Tek, booking by Cultivated Entertainment. So thanks to Patrick Fogarty, Evan Cox, Mora Curran, Melissa Wester, Hilary Schauff, Eric Donnelly, Colin Gaynor, Sean Cherry, Kurt Courtney, and Lauren Vieira. If you're chatting with us, any questions to be asked and answered on the show, you can email us at flyonthewall at audisene.com. That's A-U-D-A-C-Y.com.