Rob Morrow Talks Mushroom Parties, Paul Newman, and How To Make Timeless Television

Summary

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Podcast Summary: Adam Carolla Show

Episode: Rob Morrow Talks Mushroom Parties, Paul Newman, and How To Make Timeless Television
Date: April 6, 2026

Episode Overview

This episode of the Adam Carolla Show features guest Rob Morrow—actor, director, producer, musician—digging into his career journey, the shifting landscape of television, memorable mushroom-fueled parties, working with icons like Paul Newman, Albert Brooks, and Robert Redford, and the pursuit of creative passion. The conversation oscillates between industry banter, philosophical takes on fame and narcissism, nostalgic reflections, and critiques of contemporary society and culture. The latter half of the podcast branches off into lively news commentary with Rudy Pavich.

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Main Discussion Points & Insights

The Changing Landscape of Television and Fame

• Nostalgia for Big Network TV Eras

  • Adam and Rob reflect on the ‘90s, when shows like Northern Exposure were considered only "modest hits" at 18-20 million viewers, compared to today’s fragmented TV universe (02:18–03:10).
  • Adam observes:

    “When I was a kid ... I knew every human being that was on television. … Now, I get a lot of like, 'Oh, that's the one from Top Chef. European. She’s huge.' And I’m like, I don’t know who that is.” (02:49)

• Fragmentation and Endless Content

  • Rob:

    "It's a huge kind of universe … so many. How many people come up to you and say, have you seen this show? And you've never heard of it?" (03:10)

• What Makes TV Timeless?

  • Rob points out that Northern Exposure is finding new life with younger audiences streaming it now, crediting "universal themes" and non-dated visuals for its continued appeal (09:06–09:36).

• Transcending Fads in Pop Culture

  • Adam pokes fun at the cheesiness of shows like Miami Vice, sharing how he always felt able to spot "lame shit in real time." (10:13–11:17)

Mushroom Parties, Youth, and Creative Life

• The Theater Company “It Crowd” & Mushroom Parties

  • Rob recounts throwing after-show mushroom parties in New York's thriving ‘80s theater scene:

    "We would throw these parties that would be after every show when it closed. We would have these kind of mushroom parties and just taste it, really. And just have these great dance parties and it was a lot of fun." (15:41)

  • Reflects on a more innocent era—“if you were throwing those parties now, people would be filming.”

• Changing Social Norms: Then vs. Now

  • Adam and Rob reminisce about when people casually smoked at parties or restaurants, no questions asked—contrasted to today’s strict attitudes (16:36–17:13).
  • Rob:

    "Did you smoke?"
    Adam: "If I was drinking, I would smoke."
    Rob admits he was a "two pack a day guy," but now envies social smokers (17:13–17:36).

• Maturity and Moving Past Party Life

  • Both men discuss how youthful possibility gives way to a more cautious, protective mindset as you age (20:13–21:04).
  • Rob:

    “It was a great time … but I guess you grow out of it.”

Working with Legends: Brooks, Redford, Newman

• Albert Brooks & “Mother”

  • Rob shares a cherished memory of auditioning for and working with Albert Brooks on the movie Mother—praising Brooks’ genius, his love for improvisation, and the creative freedom on set (21:49–24:08).
  • Notable quote:

    "All I wanted to do was improvise with him. … As long as we got what he needed, he would let us play around. And he's amazing." (22:40–23:23)

• The Art of Understated Movie Details

  • Adam and Rob geek out over a small detail in Brooks’ Defending Your Life—the unnecessary but hilarious classroom paint math scene (25:41–43:48).
    • Adam:

      "I love stuff in movies that doesn’t need to be there. … It's not even a gag. But it's just there." (26:38)

• Paul Newman: Racing and Hollywood

  • Adam discusses his documentary about Paul Newman’s life as a race car driver and how Newman’s true passion was racing, not acting (29:34–38:06).

    • Adam:

      “He wanted to be looked at as a driver, not as an Academy Award winner. … His essence was racing … and [Ethan Hawke’s documentary] didn’t cover it because you’re not interested in cars.” (37:59–40:25)

  • Rob shares a story about Newman lending him his house—“But he didn’t give us the keys to the Porsche!” (30:27–31:00)

  • On Redford & mentorship:

    "I grew up watching him before I had any thought I’d be doing this. And then all of a sudden, I’m going to his house … he was a bit of a mentor for a while for me." (28:33)

Creative Purpose, Growth, and Late-in-Life Passions

• Music and Transcendence

  • Rob describes turning to songwriting late in life and finding a new passion and fulfillment:

    "When I'm in that pocket, as they say, it's irrefutable. You can't deny when a note is on pitch and it hits you … it just hits you in a way that … words don't work." (55:21)

  • Both men draw parallels between the focus of playing music, racing, and the transcendence of orgasm—pursuits that force you into the present, free from life’s usual noise (56:12–59:09).

    • Rob:

      "It's a sense of awe of existence … What an amazing thing about being alive, you know, and sitting here with you and laughing, it's amazing." (56:28)

• Creativity and Change in Later Life

  • Rob credits Conan O’Brien with sparking his songwriting:

    "I thank Conan for that, but it … changed my life. It was a gift for that moment." (59:49–61:00)

  • They reflect on how people live longer, more creatively, and can reinvent themselves well past “retirement age”—which was unheard of in their youth (61:00–62:18).

Societal Critique & Cultural Rants

• Narcissism in the Modern Age

  • Deep dive into the nature of narcissism and how it has become normalized and rewarded in today’s culture—including thoughts on everyone “having their own network” and a society that refuses to judge (06:22–08:44).

• Diminishing Standards and Societal Decay

  • Adam humorously rants about changes in public behavior, referencing people wearing pajamas at the airport as a sign of declining social standards (08:12–08:44).

• Hollywood, Authenticity, and the Problem of Biased Biopics

  • Frustration at tokenistic treatment of subjects in documentaries and the ways passions get overlooked because the filmmaker doesn’t relate (Ethan Hawke’s Newman doc, for instance) (38:46–40:26).

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Notable Quotes & Memorable Moments

• On Paring Down People to Caricatures:
  Adam:

  “Everyone becomes a cartoon version of themselves for everyone who’s consuming it. … Like Elvis, fat guy died on the toilet. … Mama Cass Elliot, what’d she do? She was eating a ham sandwich and she died because she’s a big fatty. ... That’s not fair to her.” (05:17–06:02)

• On Mushroom Parties and Lost Innocence:
  Rob:

  “If you were throwing those parties now, people would be filming, you know, shooting with their phones. There was a kind of innocence, for sure.” (16:22)

• On Timeless TV:
  Rob:

  “There’s something weirdly not dated about it [Northern Exposure]. The themes tend to be universal …” (09:06)

• On Creating Music:
  Rob:

  “What I play is what we call ... soulful rock, funky pop. … When I’m in that pocket … it just hits you in a way that you can’t deny, that words don’t work.” (55:21)

• On Late-Blooming Creativity:
  Rob:

  “At 50 or 48, I became a songwriter and a musician. And I’m super dedicated to it now, but it was late in life.” (59:09)

• On the Present Moment and Transcendence:
  Adam:

  “You could be watching the Paul McCartney doc but also kind of glancing at your phone or thinking about shit you gotta do tomorrow. … Going down that ski slope at 40 miles an hour … there’s nothing but what’s in front of you.” (57:52)

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Timestamps for Key Segments

• Introduction & Industry Landscape: 01:58–09:36
• Miami Vice & Cheese Television: 10:13–13:25
• Mushroom Parties & Smoking Reflections: 15:41–18:27
• Reflections on Youth & Industry Possibility: 20:07–21:19
• Albert Brooks, “Mother,” and Creative Collaboration: 21:49–24:08
• Defending Your Life: The Power of Movie Details: 25:41–43:52
• Paul Newman: Racing, Redford, Documentary Issues: 29:33–40:25
• The Creative Present: Music and Transcendence: 55:18–62:18

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News & Social Commentary Highlights

(Selected for relevance and continuity)

• Marriage, Gender Roles, and Social Decay

  • Adam rants on the decline of traditional roles, the tension in modern family life, and the holes in arguments against “trad wives” (82:34–92:19).

• Catalytic Converter & Copper Wire Theft in L.A.

  • Extended segment on organized crime stealing Catalytic converters and copper wire in LA, and the strange status of urban theft where "we're not stealing diamonds, we're stealing minerals." (93:00–101:08)

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Final Thoughts

• Rob Morrow shares genuine gratitude for a creative life that’s continually evolving, for working with his idols, and for discovering music as a new source of fulfillment.
• Adam Carolla balances humor and nostalgia with his sharp, often confrontational social critiques, turning the conversation into both a masterclass on showbiz evolution and a freewheeling roast of modern culture.

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For More:

• Rob Morrow’s projects are available on Prime (The Gray House, Billions, Numbers, Northern Exposure)
• Check out Adam Carolla’s podcast, merch, and live shows at AdamCarolla.com
• Follow Rob at RobMorrow.com and on social media for latest updates.

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End of summary.

Transcript

[A]

Well, in this episode, actor director Rob Morrow joins me also. Rudy has got the news and we'll do that right after this. This is Adam Carolla from the Adam Carolla Show. If you care about soccer, you care about moments. And the road to the 2026 World cup starts here this week as test matches get on their way as we host some some of the biggest names in the sport. Betonline is where real soccer betting lives. Global markets, sharp odds and player props built for fans who follow more than just the headlines. Betonline gives you live betting and in game odds that shift with every goal, every card, every turning point as teams fight for their place on the world stage. Bet Online keeps you locked into the action from early qualification drama to final spots being claimed. It doesn't stop on the pitch. BetOnline casino and VIP rewards keeps the momentum going long after the final whistle. The road is long. And this is where the story starts. Bet Online. The game starts here. Thanks for tuning in to the Adam Carolla Show. You can watch the full show on YouTube just search Adam Carolla show and and hit subscribe so you never miss an episode. You can also get the podcast wherever you like to listen. And for extra content, ad free episodes and more, you can head over to our substack and sign up today.

[B]

From Corolla One studios in Glendale, California, this is the Adam Carolla Show. Adam's guest today, actor Rob Morrow. And the news with Rudy Pavage. And now, Adam Carolla.

[A]

Rob Morrow is in. Let's see, actor, director. I don't know if he writes.

[C]

I write, I produce, I make music, I cook a little bit.

[A]

Rob has been around for quite a while. I guess Northern Exposure is probably where people first sort of saw you consistently.

[C]

That kind of put me on the map. Yeah, for sure. That was 1990.

[A]

It was a big hit. And it was also back when we could have big hits on network television.

[C]

It's true. We were considered, I think, a modest hit at 18, 20 million a week.

[A]

I know the Oscars is not gonna do anything near that in terms of viewership. Dukes of Hazzard was 37 million Americans watching.

[C]

Crazy.

[A]

Yeah, it's kind of interesting. I don't know if it's better or worse. When I was a kid and we're roughly the same age, I knew every human being that was on television. Right now I get a lot of like, oh, that's the one from Top Chef. European. She's a huge. And I'm like, I don't know who that is.

[C]

It's a huge kind of universe.

[A]

Right.

[C]

There's so many. How many people come up to you and say, have you seen this show? And you've never heard of it? And it's a huge hit.

[A]

Right.

[C]

And there's a movie star involved, like, wait, I didn't know they were doing it.

[A]

Well, I know the Gray House, which is on prime right now. I was watching it last night. It's really good. And I just saw Costner's name on there as a producer, and I thought, oh, of course. Anything historical, it's gotta have his name on there.

[C]

He loves historical stuff, and he was really instrumental in getting it made. Him and Morgan Freeman.

[A]

Morgan was doing the V.O.

[C]

morgan did the first and the last episode.

[A]

V.O.

[C]

but he was involved as a producer.

[A]

Yeah, yeah. Costner's just a constant. He loves the west, but he loves history, but he loves stories.

[C]

Yeah. And this is a unique story. I mean, it's one that I've never heard. I don't know if you did, but about this female spy ring in the Civil War. And they were, you know, it's based on facts, and it was pretty. Well, you know, they also have John Sayles as one of the writers, and he's great with history. He's a real history buff.

[A]

Yeah, it's great because we're not gonna have anyone sit down and read textbooks anymore. But if you can do accurate portrayals of this, then it can be very consumable and educational as well.

[C]

And just, you know, I mean, what's amazing is that there's these. You know, I was just talking to someone about. There's all these documentaries on now about, say, I just saw the new Elvis documentary, and then I just watched last night, the one on Paul McCartney, you know, and there's. There's these aspects of these times that we think we know everything about, you know, and then you see a new perspective on it, and it's like, oh, in regards to the Elvis one, I thought I knew everything about Elvis, but I knew nothing, like who the man really was. This one seems to capture it, at least in the positives. Not with all the drug addled, you

[A]

know, every sadly and it'll happen to us, or it already has. Everyone becomes a cartoon version of themselves for everyone who's consuming it. You know what I mean?

[C]

I guess so.

[A]

And it's kind of sad that that's our default setting.

[C]

Right.

[A]

You know what I mean? And it's also nonsensical. Like, even when you disagree with somebody, you go. You start thinking about it and it's like, why is Trump doing what he's doing at the border? Cuz he likes pain. It's like, well, he's doing it for other reasons that you disagree with. But like we do this thing where this person's. They become caricatures. It's reductive and it's really sad. Like Elvis, fat guy died on the toilet. You know, Mama Cass Elliot, what'd she do? She's eating a ham sandwich and she died because she's a big fatty.

[C]

You know what I mean?

[A]

It's like, that's not fair to her.

[C]

You're right.

[A]

She's a great artist and I'm sure people loved her very much. And we just had to do this really sad thing where she died eating a ham sandwich. It's like, it's. So we do it with everybody. Maybe we do it because we're narcissists. Like it makes us feel better somehow.

[C]

We're all narcissists.

[A]

Well, here's what I'm starting to realize.

[C]

I do say this is the narcissist age we live in, but I don't know if everyone's narcissist.

[A]

Well, no, I'm not saying clinically diagnosable, but what I'm saying is every kid starts off a narcissist. You know what I mean? Sure. Like a sort of just, you know, that basic thing where you go, like, here's 10M&MS. Share them with your sister and it's like, I'll just keep the 10, you know what I mean? Like, you don't go, here's five, I'll take five.

[C]

Right.

[A]

We have to kind of train you out.

[C]

We have to learn to be socialized is what you're saying.

[A]

Yeah. And we have to sort of learn to. Well, you found a wallet on the ground. Your impulse is to take the 50 bucks out of it and throw it in the dumpster. But what if that was your wallet? Wouldn't you want the person to do the right thing? You know, kind of thing. And so that takes a little training, right?

[C]

No. Like I distinctly remember making a decision when I was, I don't know, 20 or something that if I drop something, you know, you're walking on the street and you're eating something, the wrapper, and something falls on the street and you just keep going. But I remember thinking, no, I'm never going to do that. I'm always going to pick it up. And so now wherever I am, like, I pick up the thing that I did, you know, because that's maybe that was the beginning, but they never got over being a narcissist, so it didn't really help me.

[A]

Well, listen everybody, no one is grossed out by their own spit. But you're disgusted if someone spits on your face. Yes, that's their spit that they don't mind. So we're all kind of wired to like our own spit, you know, and that's fine. Take care of yourself, take care of your family, you know, look out for your kids, you know, that kind of thing. That's fine. It's more the part when it starts getting like applied to society. That's the part that we're sort of entering now.

[C]

Right. And that's where you're saying that the narcissism extends further.

[A]

I think it's a thing that was supposed to be tamped down and sort of kept in check.

[C]

Right.

[A]

And we've decided that everyone's just got to do their own thing now and there's no more judgment going on. So now people wear pajamas to the airport, right? Because everyone always wanted to wear pajamas at the airport because it was more comfortable, but they were dissuaded from doing it cuz society sort of said, hey, nah, nah.

[C]

It's like that Warhol thing was everyone's gonna be famous for 15 minutes. And then I updated that to be everyone's gonna be a director for 15 minutes. And then I updated that to everyone's gonna have their own network for 15 minutes.

[A]

It is an interesting time we're living in where Back to Northern Exposure with the Moderate hit at 18 million viewers

[C]

a week, by the way, now on Amazon prime as well. And it's finding a whole new generation of friends, which is so interesting. There's something weirdly not dated about it. Doesn't feel dated when you watch that show. And I can't quite put my finger on what that is, except the themes tend to be universal, you know, and the visuals are, you know, it's like you and I could walk down the street right now and pick up trucks and jeans, you know, and you know,

[A]

well, you know, my kids watched the Office 10 years after it was off the air, Friends 10 years after it was off the air, I watched I Love Lucy Forever. You know, I just watch whatever was on. And like, I knew I Love Lucy was dated, but it was funny and I didn't mind and there was nothing else on. And you know, I think historically, and it's true, some shows are better with. Not better with age, but the date. They don't feel dated Right.

[C]

Like, you watch Miami Vice now. It's kind of hard to watch. Right. Nothing against any of those people.

[A]

No, everything against. I literally. Now, Andrew, you gotta find it. Because I was going to interview Ted Nugent in Texas a few weeks ago, and on the way in, I was driving in, and the person I was driving with said, you saw him on Miami Vice. Right. And I was like, no, I wasn't. My kind of thing, even as a younger person, is. I kind of looked at Miami Vice as kind of cheeseball even back then. Like, you can't find pictures of me wearing stonewashed denim and with long hair or anything. Cause I was. My only gift is being able to spot out lame shit in real time.

[C]

Right.

[A]

Like, history's not gonna be kind to this look or this vibe or whatever it is. And so I was from North Hollywood, California. The Miami Vice thing seemed like bullshit to me.

[C]

Yeah. I just wanted to be on it, so. Because everyone in my. You know, I was in the 80s in New York, and we all getting flown to. Not only was it a. A gig on tv, but you get flown to Florida for a week.

[A]

Oh, my God.

[C]

You know.

[A]

But I was so. I never really watched it, but I wasn't an actor, so I didn't. You know, you had a little more. Your thoughts, your aspirations were more practical than mine. Mine was like, this is a goofball TV show people will make fun of

[B]

in a few years.

[A]

But someone. When I was going to interview Ted

[C]

Nugent, oh, there he is.

[A]

Somebody explained to me, did you see his arc on Miami Vice? And I said, no, I absolutely didn't. And they said, you better watch it on your phone.

[C]

So it was more than one episode.

[A]

It was. I think he starred. It's hard for me to tell if it was more than one episode, but he played the heavy, and it was awesome, right? Cause Ted can't act.

[C]

Yeah, but he looks like a good heavy.

[A]

Oh, yeah. Lots of hair. I'll play the clips,

[D]

Charlie.

[A]

Even the music. Ted Pageant.

[C]

Look at the graphics, the pastel graphics.

[A]

Oh, it's all great. The music is great. All right. Don Johnson is with his woman. Ted's beating up Don Johnson.

[C]

Come on, come on.

[A]

Ah, the stomach, the gut punch. Get the hell up. Gotta shoot him with a crossbow. I love the decor. I love the music.

[C]

But you know what's interesting is the lighting is kind of really good. I mean, that's not like. That's better than tv.

[A]

See the hair come out from under the fedora? Now, here's Ted. Here's Ted. The thespian. There's dialogue here, by the way. Good look. Good looking. Chicks just sat around and threw. Thought about stuff back then, you know. Great.

[C]

That's good lighting. I'm here to tell you, Adam, that's like not. That's not bad lighting.

[A]

Whoever gaffed that did a great job. Dad just smacked his lady friend shirt off. Hair flowing, definitely Miami.

[C]

How's the eye?

[E]

Hardly shows now.

[A]

That's back when women did not complain about getting beaten by Ted Nugent.

[D]

No, he wouldn't.

[C]

She didn't make it with him.

[D]

Old fashioned. Don't shoot him in the face. Okay,

[C]

sure. All right.

[A]

That's new. Oh, wait, just. It's so funny. I think this. The first scene I saw was the one that back five seconds.

[C]

He was on multiple episodes. Did you say.

[A]

I don't. I'm watching it on my phone. Driving through Texas, trying to figure out what's going on. He's changing outfits. There's a lot of storyline going on. There's a lot of bad clothes. But if you do this one. The first one I saw was this Burnett.

[E]

So we meet again.

[A]

I watch that and I'm like, I don't believe him. Ted Nugent said Burnett for me.

[C]

We meet again.

[A]

I was like, I don't believe him as an actor.

[C]

Yeah. I'm not sure, but Don Johnson, man, that guy still looks amazing. You see him around town? Oh, yeah, he looks amazing.

[A]

Yeah.

[C]

And he was a big party boy, so he figured something out.

[A]

Yeah. So did you ever get on Miami Vice?

[C]

Never got on it, but all my friends did. I mean, every single one I must audition for.

[A]

Who'd you come up with?

[C]

Well, I'm not in terms of who did this show, but, you know, Fisher Stevens and Matthew Broderick and

[A]

are these like Sheffer, New York actor.

[C]

Yeah.

[A]

Guys you came up with? Yeah, yeah.

[C]

We were all in the theater, right. And we even started a theater company that actually is still around 40 years later. And that was kind of our home place to have some kind of autonomy. The big parties we were known as. We were actually known like Vanity Fair covered us and stuff. We were like the IT company. And we would throw these parties that would be after every show when it closed. We would have these kind of mushroom parties and just taste it, really. And just have these great dance parties and it was a lot of fun.

[A]

Yeah, it was. I don't know. I don't know what to call it. Innocent time or something. But people could just sort of do

[C]

what they wanted compared to now. Right. You wouldn't have to watch your back. Like now if those parties. If you were throwing those parties now, people would be filming, you know, shooting with their phones.

[A]

Yeah, yeah, yeah.

[C]

There was a kind of innocence, for sure.

[A]

Yeah, it was sort of what. Basically it's what smoking was like. If you want to smoke a cigarette at a mushroom party, you just light a cigarette. You didn't go, now you've got to go hide behind the dumpster in the alley, smoke half a cigarette, put it out, hit a little bacca, and come back into the party. It's like people just kind of. If you felt like smoking, you would smoke. And like, it's not like people who didn't smoke liked secondhand smoke. It was just. Yeah, we're at a party, right? People smoke, right? You don't like it, just go in the kitchen.

[C]

Restaurants, you know, just rooms where you'd be inhaling secondhand smoke and not even thinking about it.

[A]

No, it was.

[C]

Did you smoke?

[A]

I smoked like I was a. If I was drinking, I would smoke guy.

[C]

I wish I could be someone like that, you know, I was a two pack a day guy by the time I gave it up, really. But I'm so envious of people that can just have a couple cigarettes with a drink.

[A]

It's a wiring that I've realized is very unique. And it's also a wiring that many people don't have, which redundant. But it's also a thing where doctors will never believe you.

[C]

Right.

[A]

You know, so if you go, they go, do you smoke? I'll go, eh, on the weekend, if I'm having a cocktail, they'll go, okay, you're smoking, right? And I go, no, no, I'm not telling you. And they go, no, no, nobody's. They don't say you're a liar. What they're saying is, this is bullshit. This guy smoked before he came to this office. Gonna have a cigarette when he leaves. Like, they don't. There's. I've never really found a person who smoked like I smoked, which is just sort of catch as catch can.

[C]

There's a lot of you out there. I'm sorry, are they. Oh, yeah.

[A]

Oh, I never run into those people.

[C]

I think my wife.

[A]

I do think women at a party,

[C]

they'll have a cigarette.

[A]

Women have the weird chip cigarette with the glass of wine thing that guys don't seem to have.

[C]

I want that.

[A]

Yeah. No, I mean, it is a thing. And I don't know how you feel, but I feel the same way about drinking as I do about smoking, which Is like, I like it. And I don't want it to ever get to a point where we go, hey, man,

[C]

I stopped and I like. I like not drinking, but I was never a big drinker, but I was a big stoner. Like, that was my thing. I gave up both. And I like it. Like, I don't. I didn't have to. It wasn't like I got in trouble or anything. So I made the choice. And I could at any point not. Or have. But I just feel better. I just feel better, you know, without

[A]

the pot, without the booze.

[C]

Yeah. Like, when I wake up.

[A]

Yeah.

[C]

I feel like I'm getting. I just feel clearer headed, you know, I spent so many years doing all that stuff. I mean, 30 years at least was, you know, that was a regular thing for me. So, like, all of a sudden it's like a new person. It's like I'm this guy.

[A]

Yeah.

[C]

I'm not like stone guy or drinking guy, but. But it was fun, but I enjoyed it. Like, I don't. I don't regret it and I don't begrudge anyone doing it, you know?

[A]

Yeah. The actor, young actor. Starting off parties are just some of the best memories I've had. Like with the improv troupe, after the show wraps or whatever. Going over to Mark Drotman's apartment and everyone just having a good time, just sort of on a budget, but just sort of. Everything was. Everyone was funny, you know, everyone had a great personality.

[C]

Yeah. Yeah. It's a real. It's a. It's a great time and you know, but I guess. I guess you grow out of it.

[A]

Right?

[C]

I mean, there's people. You see the people that are still trying to do it, and they're just. It's sad.

[A]

Well, it's, It's. It's interesting when you're at a phase where everything is sort of a possibility.

[C]

Yeah.

[A]

Versus been there, done that. And it's also a kind of.

[C]

That's a great distinction. It's. Everything's a possibility. That's. That's at that time.

[B]

Right.

[A]

Good and bad, but up for grabs. What's the future hold? A lot of that. It's a different mindset also, versus a kind of a protect the lead kind of thing where you're sort of trying to hang on to what you have or what you had versus what's next. You know what I mean? And it was all so new and all sorts of full of potential.

[C]

Yeah.

[A]

You know, and you'd hear little bits and pieces of so and so. Got A job riding on Animaniacs, right? He's making $2,200 a week, right?

[D]

Whoa.

[C]

Yeah.

[A]

You know, like, that kind of stuff. And it was like, oh, my God, Potential.

[C]

But that gave you that. At least for me, anyway. That gave me, like. When my friends. When Fisher, you know, got his first movie, and I was right there, I was like, oh, man. Because I didn't come from showbiz, so I didn't. You know, it wasn't, like, easy getting into it. And when a friend of mine, a pal, broke in with a movie, you're just like, oh, my God, it's possible. You can do this. One can do this.

[A]

Well, I mean, was the big. What was your big. I know you did Mother with Albert Brooks, one of my favorites.

[C]

Oh, yeah, man. That was like. I'll tell you, that had to be a thrill. I'll tell you about the audition for that. It was so genius because. So they call and they say, albert want is interested in you for this movie. And I'm like, I'm in. You know, without having such a fan. So he said, but he wants to. You know, at that point, I was getting offers, and only. So. But he said, he needs to read. You need to read for it. And I was like, no problem. When and where? So he said, they're gonna fly you out. I was in New York. They fly me out here to la. I go to Paramount on a Sunday, I think it was. And Albert. I get led into Albert's office. He's got a little teeny office with a secretary outside, you know, and nothing. And, you know, he doesn't look like he spends a lot of time there. And I come in, I got my sides, the seed, you know, the pages for the two scenes he wants me to.

[A]

You were going for the role of his brother.

[C]

His brother and mother. And Debbie Reynolds was already cast. And I come in, I put my sides on the desk in front of me, and he's on the other side of the desk. It's just he and I, and we're gonna read together. And the sides are there, so I can see them, but I know them. And I say my first or second line, and he goes, I want you to do the movie. I was like, all right. And that was it. And I didn't have to read anymore. And all I wanted to do was improvise with him. So, like, every day I'd be like, come on, Albert, let's just fuck around. And he let. As long as we got what he needed, he would let us Play around. And he's amazing. I mean, what a. What a gift that was to be able to.

[A]

And.

[C]

And he had the Cush's deal. He had some. It was. It was David Geffen, I think, was. Was his producer. And they got. He got like, you know, $25 million to make this movie that was just the three of us, basically. And. And we would shoot seven, eight hours a day. That would be the whole day. One scene, which was like, you know, to me, that was just utter luxury. I was used to coming out of, like, nine pages a day.

[A]

Right.

[C]

And so. So to get to go to that kind of environment was just so relaxed and we could do what we wanted and take our time. And then Albert was just a great. You know, he just was really. He's so funny. And improvising with him was. Was. Was such a joy.

[A]

He's, you know, he's funny, but he also makes important movies.

[C]

Yeah.

[A]

That really take a good look at sort of the human condition. And, you know, I.

[C]

He's super smart.

[A]

I mean, I was telling my son.

[C]

Albert Einstein, right.

[A]

Yeah, he is. That's his name. I told my son the other day, I go, what? Watch Defending youg Life again, would you, please? I said. He said, oh, I saw it with you. And I was like, nine. I go, I know, but now you're 19, and you're gonna have a different perspective.

[C]

Such a great movie.

[A]

There's a scene. I love that movie because it's super funny, but it's also really smart. But it's also, like, a pretty interesting perspective on how you should live your life.

[C]

Absolutely.

[A]

And the scene. I don't know why. There's one scene that makes me laugh the hardest in that movie, and I can't figure it out. I probably talked to Albert Brooks about it when I was interviewing him a million years ago. Now, Andrew, you gotta find it. But the scene where they go back to young Albert Brooks and he gets accused of stealing paint, back when anyone beginning. Right. Right.

[C]

Oh, no. When he's looking back at his life,

[A]

he's looking back at his life. It's in the middle of the film, and they're going back and they're examining his life. And it's really kind of an interesting thought. It's like you're in court and you have a lawyer and there's also a prosecutor, and we're trying to figure out what kind of life you live.

[C]

Well, that's what we hear.

[A]

Right.

[C]

You're going to have to deal with that at the, you know, your day of reckoning.

[A]

Right, Right. So who are you? The person that picks up the wrapper with Rob or leaves it on the ground. You get points.

[C]

I'm building points.

[A]

So there's that great scene where he stole the paint, but the teacher, who's perfect, they're like a weird comb. Over goes, class, how much is the paint? And half the class goes, $3, but the other class half goes 350. And then he goes, how much are the brushes? $8. And what is that combined? And then half the class says $11, and the other half says 11:50. And I don't know why. I love stuff in movies that doesn't need to be there. Like, nobody would. I don't know why you would even write that. You know, it's not even really.

[C]

I don't remember it to tell you

[A]

that it's not even a gag.

[C]

Right.

[A]

But it's just there.

[C]

Right.

[A]

Like it's a little Easter egg.

[C]

You know, he's got these ideas that sometimes that don't track, but they work. You know, their texture, you know, they're not. It's not all gags. Everything is in gags with him. By the way, he wrote a novel that was really cool called 2023. 22 or 23. Yes, it was really interesting.

[A]

Yes, I agree. So I don't know if underappreciated is how we should say it, but in a world full of, like, funny people, he deserves his own rest stop.

[C]

Absolutely.

[A]

With his name on it.

[C]

Absolutely. Yeah.

[A]

That had to be just a thrill.

[C]

It was the coolest. And I hung out with him a bit, and I just. Yeah, it was a gift. You know, it's such a blessing to get to work with people like that, to spend time with them, you know, really, it really feels. I feel grateful for. For, like, hanging out with him or Redford or, you know, all the different. Even in Roland Joffe, who directed the Gray House. I don't know if you know his work, but he's a ma. He's one of the great. I've worked with him three times now. He's a master filmmaker. He made a movie called the Mission, and he made the Killing Fields.

[A]

And, yeah, he's been around.

[C]

Spending time with that guy was just such a gift. I mean, he just rare people Then

[A]

also, you know, Robert Redford, you know, these people aren't around forever. You know, it's really incredible that you got to spend time with people like that. I mean, especially as you get older, you just start thinking about, you know, sometimes I don't Know why? But someone will go, hey, Norm MacDonald this or that. I'm like, yeah, he's gone. But I got to hang out with him and do stuff with him, and.

[C]

And it's even wilder when you, like. For someone like Redford. For me, you know, I grew up watching him before I had any thought I'd be doing this. And then all of a sudden, I'm going to his house, you know, and it's like. And then I'm working with him, and then I'm. You know, he was a bit of a mentor for a while for me, and, you know, that. That. That. I always think it's a kind of like a synchronicity of something, you know, that, like, that kid in me knew something when I was watching because I was so intrigued by him. Right. But somewhere I knew, you know, if you look at time being not linear and all that kind of nonsense, you know, somewhere I knew something and it was true that I was gonna be involved with this guy.

[A]

Yeah. I know him as a good dude. I don't know him personally. There is a kind of a yardstick you can kind of measure people by, which is when you make a documentary, if they agree to be in it, they're always cool. If they disagree, then they're kind of douchey.

[C]

Wait, wait, I'm lost. What?

[A]

I made a documentary about Paul Newman.

[C]

Oh, you did?

[A]

Yeah, I did.

[C]

Which one?

[A]

I made it about his racing life, his automobile racing life.

[C]

What's it called?

[A]

It's called winning. The racing life of Paul newman was based somewhat on a book that I'd received.

[C]

Oh, cool. I didn't know that. I love Paul Newman.

[A]

Yeah. We'll find the trailer for it at some point, but it's a good doc. But it's really only Paul Newman, the race car driver.

[C]

And you interviewed Bob.

[A]

Yeah, and many, many people in his life. It's a sort of a doc that has Robert Redford and Mario Andretti in it, which I don't know if those guys share docs too often, because it's a different group. But you have to talk to Robert Redford, and you have to talk to Mario Andretti.

[C]

Well, Bob liked his Porsches. I remember we were staying. Fisher and I actually were staying in a house he lent us in outside of Santa Fe. And he had this gray, beautiful, vintage Porsche in the garage, and we kept. But he didn't give us the keys to that.

[A]

It was an old one. Yeah, that was a 904, I think. It was like a race car.

[C]

Yeah.

[A]

Yes.

[C]

It Was beautiful. And we kept all week.

[A]

Very expensive, by the way. Now.

[C]

Right. But he wouldn't. He never left us the key. He left us the house, but not the keys. So all week we were looking around. Where's the key to the garage? Because we weren't gonna drive it, but we wanted to. Just sitting it.

[A]

I'll play the. I'll play the trailer for it.

[C]

Do you have the clip with Bob? No.

[A]

It may be in the trailer.

[C]

Yeah. I would think when you get out

[A]

to that track, you sit down in that car, Whatever it is that's roiling

[B]

around your head, it just goes right out the window.

[A]

You could tell that this was a big, big thing.

[C]

He made the movie winning and kind of fallen in love with racing.

[A]

He was 48 years old when he started.

[C]

The only thing that I ever found

[A]

any grace in was an automobile. He wanted to be looked at as a driver, not as an academy award winner.

[C]

He wasn't so much divided between the two. It was that film would come second to racing.

[A]

There he is.

[C]

He was terrible at first.

[A]

The studios didn't want him doing that. I mean, they think about, Jesus, what is he doing in a race car?

[C]

Is he crazy?

[A]

Oh, Newman and bowman have gone off. The only way that you're ever gonna

[C]

win a race is just to be

[A]

right on the edge of it all the time.

[D]

His whole career looked as though it were gonna go down the drain because all he wanted to do was race.

[C]

I think everybody wanted him to quit racing except him. They'll have to strap me down before

[A]

they keep up out of these things. There was a tendency to write him off as an actor. It's very, very difficult with celebrities. They're used to being a winner. And in racing you got to pay your dues.

[C]

You're always competing with yourself. You're trying to bring a little extra to your performance.

[A]

I think he liked the camaraderie, the fellowship of that relationship with a fellow driver. There's nothing like it. It's not anything you can have in Hollywood at all.

[C]

He was really a good driver.

[F]

It's Newman's fourth national championship.

[C]

Pressure to win grew as he did win and people expected him to win again.

[A]

People didn't even think of him as

[C]

being a movie star racer. He was just a racer.

[A]

He is that classic red blooded American boy.

[D]

Paul has a saying. I'm sure you've heard races. Winning isn't everything. It's just all there is.

[C]

You see it with the Oscars.

[A]

People vote. They say, him or her in this,

[C]

you either Cross the finish line first,

[A]

and it's either him or her.

[C]

Cool.

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[C]

So when did you make this?

[A]

Ten years ago, maybe.

[C]

And were you? You were. Obviously, I know you're into cars, but you were a fan of Newman's or just the idea of him being like, how did that.

[A]

I own 14 of his race cars.

[C]

Oh, wow.

[A]

So the cars you see in that trailer, most of them I own.

[C]

Oh, no way.

[A]

Cool. Yeah. So then I race them. So then I was like, somebody's gotta make a movie about, oh, what would happen?

[C]

Haven't been one. There must've been some.

[A]

No, what would happen to me is I would be racing Paul Newman's cars. And then people like Paul Newman, what? And I'd be like, race his race cars. And I go, the popcorn guy? I'd go, no, he raced cars. And they'd go, I don't know any. So then I talked to enough people who had no idea that he raced cars that I was motivated to go, well, somebody. Somebody's got to come out with a doc that shows. Because I knew everything about his car racing career because I had the cars. And I would talk to his own. Did you talk to guys? No. He was dead by the time I made this.

[C]

I often think of that phrase that he said, which is when it came before he even said it here, I knew it was going to be in there was. It's the only thing I've ever done with any grace, which is so interesting, because if you were looking for a way to describe his film Persona, you would say graceful.

[A]

Right.

[C]

And yet he didn't see it that way. And also, there's something interesting in that footage where he seemed so much more himself, you know, in those environments than he did as a movie star, you know, he just seems like a different guy, like a regular guy, you know?

[A]

Yeah. The story that would keep being repeated from Bob Sharp, who's his team owner, with him and all the other people that were in his galaxy of racing, they would all say the same thing. They'd go, if you wanted to talk cars or racing or anything with Paul, he'll sit with you for an hour. If you want to start bringing up Hollywood. He had to leave. And they all sort of said, I mean, it sort of. It became apparent that he was a little bit prickly. If you wanted to come up to him and ask him to sign your autograph or talk Hollywood or gossip or anything like that. But he'd be at the track all weekend. And you go to Road Atlanta, you gotta live at Road Atlanta because Road Atlanta's way outside of Atlanta. And you have to set up a trailer and that's where all the salad dressing came from. Stuff he'd barbecue for the crew. It's like a small army has to move in for the weekend with the mechanics and the backups.

[C]

And it's like a movie company, basically.

[A]

Yeah, yeah. Trailers start pulling in and qualifying on, you know, practice on Thursday and qualifying on Friday, race on Saturday, like the whole world. And he would live there and you'd live amongst the drivers and the mechanics and everybody who was there. But. But they didn't bother him with movie stuff. They were talking car stuff and he liked that. And yes, he seemed like he was very relaxed in that environment. But he lived in Connecticut. He didn't live in Encino.

[C]

Right, In Connecticut. New York.

[A]

He didn't want to be part of it.

[C]

I guess not. You know. Yeah, he definitely. But he loved it too, you know, he loved acting, he loved stories, he loved moviemaking. I mean, he may have gotten sick of the pomp and circumstances around it.

[A]

Yeah, oh, yeah, I definitely. I mean, in a way, going back to.

[C]

Did you see Ethan Hawke's documentary about

[A]

him, the Gray House? Yeah. Except for. I'll tell you, I have a problem with that. I'll tell you why. He's kind of Costner esque and Costner loves the story. He just doesn't want to live in Hollywood and deal with the.

[F]

That.

[A]

The mess. You know what I mean?

[C]

Which is understandable.

[A]

Yes. Ethan Hawke. All right, now I'm looking at Poor Andrew. That paint thing, it's probably. It's five, eight into the movie. I would Say, I'd say if the movie is hour and 45, it's an hour in, as I would say. But this is the problem with Hollywood. Ethan Hawke made a whole thing about Newman and there was like 21 seconds of oh, and he liked to drive cars. Now let's go on to the time he did this Shakespearean play and I'm like, his number one thing was driving cars and Ethan Hawke's number one thing is acting. So now it's an interesting thing. Now you're going to make a documentary about a guy whose number one thing was car driving.

[C]

Right.

[A]

He had a 40 year car racing career and that's all he wanted to do. But all you want to do is act.

[C]

I can forgive him that because that's his. You can't.

[A]

Well, he made like a three part doc. He should have given him three minutes of racing. Look, here's what I'm saying. I don't know. What is your passion outside of acting?

[C]

Music.

[A]

Music, okay, music. Creating music and music.

[C]

Yeah.

[A]

All right, so if I made a three part doc about you and didn't touch on your love of music, then I wouldn't have. Douche.

[C]

You wouldn't have understood me.

[A]

Right. You did a big long doc about Paul Newman and didn't get what his raison debt was like. His essence was racing and you didn't cover it because you're not interested in cars.

[C]

Yeah, yeah, yeah.

[A]

That's what I'm saying.

[C]

I mean, I get your point. It's a valid point.

[A]

Thank you, douche. All right,

[C]

who's a douche?

[A]

Ethan Hawke for not covering his racing. All right, here it is. This is the scene. Sorry.

[C]

Oh, this is the Albert.

[A]

Yeah. Enjoy. I don't know why. Now everybody can say to me, pause it. Why is this funny to me? I don't know. It's funny because it doesn't need to be in the movie.

[D]

All right, I'm on probation for stealing those books. Now they're gonna think I stole. I'm gonna be expelled. You won't be expelled. Of course I will. I'm already on probation. I'm in big trouble.

[A]

I love the teacher.

[E]

Good afternoon, class.

[D]

Good afternoon, Sister Wadsworth.

[E]

Continue working on the assignments you started last Tuesday.

[D]

Here, take these. Really? I'll say I lost mine, but you'll get in trouble. Just do it.

[A]

This guy's great.

[E]

Daniel, where are your supplies?

[D]

I left them at home.

[E]

You left them?

[D]

I lost them.

[E]

What did you do? Lose them or leave them?

[D]

Well, both. I left them and I lost them.

[E]

Where are your supplies? Daniel? What's going on? Do you know how much these things cost? Class, tell Daniel how much the paints cost.

[D]

$10.

[A]

And the brushes, $3.

[E]

What's the total?

[D]

$13.

[E]

You don't have any paint?

[A]

Totally.

[C]

I don't know if I'm laughing because

[A]

you primed me for it or I'm doing this. It's totally unnecessary.

[C]

It's very funny, though. I don't know if I would have picked up on it.

[A]

It's those kinds of details. That's why a Ferrari is great. You're right. The little stuff.

[C]

It's very funny. It's very funny.

[A]

I want to hear him do it one more time. Just the number. It was $10. And 3 and 3 50. And by the way, he had to coach these kids, you know, to go.

[C]

You see, because, you know, he probably was written as one. And then as he was doing, he says, no, no. You guys say 350.

[A]

And then when you add them, the same people that said 350 are going to make a 13.50. And then the other ones, we didn't

[C]

get to that part.

[A]

Oh, yeah, they do it. Here it is.

[D]

Here, take these.

[A]

Really?

[D]

Well, see, I lost mine, but you'll get in trouble. Just do it.

[C]

He looks just like Albert.

[A]

He does.

[E]

Daniel, where are your supplies?

[D]

I left them at home.

[E]

You left them?

[D]

I lost them.

[E]

What did you do? Lose them or leave them?

[D]

Well, both. I left them and I lost them.

[E]

Where are your supplies? Daniel, what's going on? Do you know how much these things cost? Class, tell Daniel how much the paints cost.

[D]

$10.

[E]

And the brushes?

[D]

$3.

[E]

What's the total?

[D]

$13.

[E]

If you don't have any paint, you can't be an artist, Daniel.

[A]

All right, listen.

[C]

It's funny, but I swear, I really don't know if I would have laughed if you hadn't. That's funny. That's into itself, is that I didn't pick up on it.

[A]

Well, there's so many great jokes in it.

[C]

Right?

[A]

But all movies, at least try for those jokes. It's the little ones that.

[C]

But it's not a joke.

[A]

No, it's not.

[C]

It's funny because it's just real. Like, it' like that the kids are all, you know, somehow they got the information wrong.

[A]

And that the class got split between the $3 and the 350 group.

[C]

You know, somewhere there is an outtake of the teacher going, now, okay, who said 350?

[A]

Right? But that's. That's what makes someone a gen. A Genius. It's the little. It's the little stuff.

[C]

You know, he is a genius. And then.

[A]

So Quiz show, which is an amazing

[C]

film, which Paul Newman almost was in.

[A]

Oh, really? Yeah.

[C]

Bob wanted to cast him for a while in the Paul Schofield part, which is Rafe's father to Van Doren, Mark Van Doren. And I don't think Paul wanted to do it, but he wouldn't have been as well cast as Scofield, ultimately, was.

[A]

What, let's see, what year was that

[C]

we shot it in? I think 93.

[A]

I wonder if he was running in the Trans am series in 93.

[C]

That could have been a reason, too. But that's when I met him, was at the opening, and I remember he walked by. I didn't want to bother him because I would only talk about movies, probably not race cars. So I kind of sensed that. But he came walking by me and squeezed my elbow, which was like the highlight of my night.

[A]

Oh, Newman, really? So he came to the opening. God, that had to be a thrill.

[C]

It was. So. I mean, yeah, everyone's at that opening, but the set was constantly being visited by people and, you know, everyone just wanted to be around Bob.

[A]

Like Redford.

[C]

Yeah.

[A]

Was that movie was nominated, right?

[C]

It was nominated for best pictures, I think screenplay. Scofield was nominated.

[F]

Who.

[A]

Who won everything that year.

[C]

I think it might have been a pulp fiction year.

[A]

94.

[C]

Yeah.

[A]

Yeah, I think that was a Pulp Fiction year.

[C]

Yeah, I think it was 90, which is understandable. I mean, that was such a seminal movie, Pulp Fiction. It really was radical.

[A]

Well, they're. They're. They're good movies. And then they're sort of game changer movies that sort of change the format of movies.

[C]

Right. Quiz Shows. A good classic. I mean, it still holds up. I've seen it, you know, recently. It's very. It's a solid movie movie. And especially in retrospect, you know, because Even in the 90s, when it came out, to think, like, wait, that was. You know, people really believe that a quiz show wasn't rigged, you know. But now with all this time, it still holds up. But Pulp Fiction is, as you say, a game changer.

[A]

You know, it's a good sign when your filmmaker, like Tarantino, I will toggle back and forth, like, I'll be like, oh, Inglourious Basterds. Yeah. Oh, no. Django. Oh, Once upon a Time. And, oh, no, Pulp Fiction was. So I'll just keep going back and forth.

[C]

You mean in terms of what you think is the hierarchy?

[F]

Yes.

[A]

It's like the Coen Brothers, you know, with some of their films. It's like, geez, I don't know where to. I don't know that I could pick a definitive number one.

[C]

Doesn't he say Once Upon a Time in Hollywood? I think, is what he thinks his best film, I think. Or Inglourious Basterds. I can't remember which one.

[A]

I don't know what he personally says. I was looking. I was in Texas doing some shows a few weeks ago, and somehow the Coen brothers came up and they did one of those top 10 ranked Coen brothers. I'm convinced, though, they just do that to piss me off.

[C]

Piss you off?

[A]

Yeah. Personally.

[C]

Right?

[A]

Yeah. Rolling Stone will do that. You know, they'll go, joan Jett, best guitar, rock guitar. I'll go, get the fuck out of here.

[C]

Right.

[A]

They're doing it to anger me.

[C]

Right, right. Well, they engage you. That's half the battle.

[A]

Yeah, but it was the Coen brothers, like, top ten, which was great, but Fargo was not number one or whatever. No, no, something. There was quite a few films that were above Raising Arizona. And I'm like, Raising Arizona is another game changer film.

[C]

Yeah, yeah.

[A]

And it's a different. Oh, you know what happened? Here's weird. Inglourious Basterds, Tarantino considers his best the Coen Brothers top 10. Okay, here's what happened. I was thinking the other day, like, on movies that you like, you think back on certain scenes, right? Yeah. And I love that whole Arizona thing. The guy who owned the unpainted furniture store who changed his name to Arizona. And so there was a scene where they go, wait a minute. Is your last name Arizona or your kid's name's Arizona? He goes, no, my name's not real Arizona. He goes, well, why don't you. The. I think the furniture store was called, like, Unpainted Arizona. And he goes, would you buy furniture from a place called Unpainted Huffheinz? I was like, that's funny. And then I was driving through Texas and there was a big billboard like, nominate John Huffheinz.

[C]

Wait, now?

[A]

Now, like two weeks ago. And I started looking at it. I was like, there is a guy named Huff Hines. Like, I didn't know. Well, I thought. I was thinking about it.

[C]

Nominate him for what?

[A]

They want him for city council or Congress.

[C]

But there's a completely not. He's not related. Just coincidental. That's a real name is what you're saying?

[F]

Yes.

[A]

And I was thinking, is that a name Right, right. And I was thinking about when I was back in la, and then three days later, I was in Texas seeing a big sign that said, vote for Steve Huffhuffs.

[C]

Yeah, and you should be betting on

[A]

the stock market or something. No, readers poll. Dawson, who is running for Texas Senate? Huff Hines. Like, what's the dude?

[B]

Corwin is one of them, right?

[A]

No Huffines. Okay, yeah, that's what I'm saying. Not ask about Corwin. All right, so wait a minute. Raising Arizona is number six. Which Miller's Crossing number five. Oh, brother. We're out there. But more than raising Arizona, you idiots. Sorry, I get angry. No. Country Roll Men should be number one. Fargo should be number one.

[C]

This must have to do with popularity, I'll bet you. What? The box office? Really? Oh, the big bowser.

[A]

Sorry.

[C]

Yeah, but that's such a favorite.

[A]

I get it. But my God, no Country for Old Men. I mean, what a.

[C]

What a masterpiece.

[A]

What a masterpiece.

[C]

Texas needs.

[B]

Paxton. I'm looking to see where Huff Hines is.

[A]

Well, just put his name in. Like, put Huff Hines in Texas.

[C]

It's so funny, right?

[A]

It's like you buy furniture from places.

[C]

Did you elect Huff Hines?

[A]

The dude's name is Huff Hines. And I. It was so weird that I was just sitting in my condo going, is that a name? Is that a real name? Is there anyone? And then I started thinking, I've never heard of anyone named Huff Hines. I didn't go to high school then. And then I pass a big, big billboard, Right? Donald Huffhein's conservative Tea Party Republican. Own. Owns a restaurant, owns a real estate company. Well, let's see. Running. I don't know. But what's he running for? He's running for whatever in Texas. Right.

[B]

He was in the Texas Senate from 2015 to 2019.

[C]

Wow. You know, it's funny because when you come up with these names in the scripts, there's such a vetting process with the business affairs people that it's like. That's why I think so many names are so bizarre. You know, they have to make. You have to make names that aren't real. Because if there's a possibility that there is an actual Huffheims out there, you know, with the same first name, they're worried they're gonna get sued.

[A]

Yeah. So what they do is, you know, if you make your character a name, they go see if there are other people that have that name, and so you won't get sued, which is an insane process.

[C]

Yeah.

[A]

And then.

[C]

But also the five, five, five thing, which it Just drives me crazy.

[A]

It drives me nuts right out of the film.

[C]

But sometimes I've noticed lately I'm not seeing it as much.

[A]

No.

[C]

But I don't know how they're getting around it.

[A]

The part that drives me nuts is I did it. So first off, you can fix it. Like, first off, a lot of it is unnecessary. Like, the person's in the phone booth, you know, in the movie, and they're like, all right, you need to call me back. And then they go, you can reach me at 5, 5, 5. And then they cut. It's like, just say you need to call me back and hang up the phone. Like, you don't. I'll go along with you on this. When you yell 555, it takes you right out. Or when the guy goes. He's picking up the chick. And then she goes, well, here's my number. They do tight on her writing it down. How about just hand him a piece of paper? There's a number. Yeah. You did the 555, right?

[C]

Why do I need to see the number?

[A]

I did a. I did a pilot where my guy was a driving instructor as a driving academy or whatever. And we needed one of those, like, magnetic signs on the thing that said Z. Best driving academy or whatever. And they were going, all right, five, five, five. And I go, no, I don't want the five, five, five.

[C]

How'd you get around it?

[A]

I took a regular phone number, right? I said, just take a Regular phone number. 818763. Like a valid phone number. And then the last number, there'll be a dent in the side of the car. It'll be, like, taken out, right? So we'll just have this. My guy's a loser, and it'll vandalize his own crappy stuff.

[C]

I just don't understand why it's a big deal anyway. So what? Like, because what? So how many people are gonna call the number? You know, like, really, like, it just seems maybe now.

[A]

I don't know. We should ask Tommy two Tone how that works. He made that up. He made up that number?

[C]

Yeah.

[B]

The name, Jenny, the numbers, they just came to his head. He was just trying to write.

[A]

Sounds good, but isn't it somebody's number?

[B]

If you.

[A]

If you enter that number in any

[B]

grocery store, you will get the grocery store discount because someone has always registered it with any area code.

[A]

Oh, really?

[C]

And I learned something new here. That's great.

[B]

But, yeah, no, he.

[A]

That could probably apply to a lot

[C]

of things where you have to put your Phone number first.

[A]

I never thought about it.

[C]

I didn't either. That's useful information.

[A]

I'm heading to the Ralphs right after we get off the air. All right. You got to unplug maybe the computer or something. Yeah. Anyway, Huff Hines is an actual name.

[C]

Huff Hines.

[A]

And he ran. It's also Weird Life where you're sitting around contemplating this name for some reason and then four days later, you're driving through Texas and you look up at a. That's what I mean.

[C]

That's why you're kind of hooked into the universe right now.

[A]

I think I am, but it's only good for Coen Brothers movies.

[C]

There's gotta be some other.

[F]

You have to.

[A]

I gotta take it to the track. You're right. You're right. Music.

[C]

Yeah.

[A]

You love music.

[C]

Love it.

[A]

Who are some of the people you love in music?

[C]

Oh, man. You know, it's all over the map. It's from the classic rock guys to before to the jazz guys, to Miles, that whole thing, to before to Tommy Dorsey, to Up now, to, you know, I'm listening to Bruno Mars put out something new that I'm just listening to. And, I mean, I like everything. I'm all over the map.

[A]

What music do you play?

[C]

What I play is what we call it. You know, I've written a lot of music. I had a band for a while, and we call it soulful rock, funky pop. So it was, you know, it was melodic, it was familiar melody. You know, it was comfortable melodies with lyrics that meant something. And I love. I just. It's the most immediate, you know, I wouldn't go as far as to say what Paul said is the only thing I do that's graceful. But, like, there's something that. When I'm in that pocket, as they say, it's irrefutable. You can't deny when a note is on pitch and it hits you. You know, it just hits you in a way that you can't deny that words don't work. And so it connects me to something bigger than myself, and there's real joy there.

[A]

Well, I think what we're looking for, and it's why people do drugs and, like, get addicted to sex, you know, we're looking for sort of a freedom. I don't wanna sound corny. I mean, like.

[C]

No, it's a transcendence and it's a sense. And I think what we're talking about, and I think this is what Newman was getting at. This is certainly what I'm getting at is this sense of Awe, you know, of this. Of this awe of existence, which is, you know, aside from all the shit that we have to wade through on this planet, the amazing thing about being alive, you know, and sitting here with you and laughing, it's like, what a. It's amazing.

[A]

I think we have a yearning to sort of escape what is always with us. It's a kind of a gravity, like big picture. It's death, you know, it's just. We're all gonna die. Everyone knows it. Okay, then secondly, you get into unpaid bills. Or there's this guy, there's an issue. Or I have to, you know, the unfinished business. Ten, two, whatever. Whatever the fuck we're talking about. Right. But we all want this sort of freedom. And you have to kind of simulate it now, in a sense that when you're on stage and you're playing and you're in that pocket, in that groove and in that zone and everything is flowing, that's just where you are. You're present. That's not. When you're behind the wheel of a race car, you think of nothing.

[C]

Skiing for me, mountain biking for me.

[A]

Right. Something. Stuff coming at you fast and some danger.

[C]

It forces you to be present 100%.

[A]

And it's the only time in a world where you could be watching the Paul McCartney doc but also kind of glancing at your phone or writing, thinking about shit you gotta do tomorrow. You could be having a conversation. But also a little party is a little over here somewhere else. Thinking about a little something else. Going down that ski slope at 40 miles an hour. There's nothing but what's the ultimate. But what's in front of you?

[C]

What's the ultimate one? What's the top of the cake of all of these? Sex.

[A]

Well, that's.

[C]

Or not just sex, but orgasm.

[A]

Yes, it's orgasm. Because sometimes you'll wander a little sexually. The brain. But that's why people want.

[C]

Right. But you don't tend to be thinking about your accounting bill when you're orgasming?

[A]

No, not so much.

[C]

I don't think so.

[A]

I mean, unless you really love deductions. But no, it's true. So. So I have hypervigilance. I'm always sort of thinking about this and thinking about that.

[C]

Me too. It's adhd, is it not? Because I've been thinking about it a lot lately.

[A]

I don't know. But I can tell you when I get out of the race car. If you ask me what I was thinking, the answer would be I have no idea.

[C]

That's why you Love it.

[A]

There's nothing but. So he wanted that. But you can do it musically. And I think it takes.

[C]

By the way, it takes a lot of work for me because I only started writing music, you know, 15 years ago. Right. And so this became. I'd strummed for most of my life, but it became. It's a fascinating thing. It happened. It just. I never thought I'd write a song. And then I wrote this song, and all of a sudden it was like, oh, this is what I want. You know, it was like, Newman. That's why I kind of. When he said, at 48, he became a race car driver. At 50 or 48, I became a songwriter and a musician. And I'm super dedicated to it now, but it was late in life.

[A]

Yeah. Well, that's a kind of a gift, you know, that didn't seem to exist in the past.

[C]

You know how that gift came from Conan?

[A]

Hmm.

[C]

Right. So I'm on the Warner's lot. Yeah. We're doing a show called the whole truth. It's seven. No, 10, 12 episodes on ABC. It's not doing, well, Jerry Bruckheimer thing. It's a law show. And Conan just came to the lot at Warner's for his TNT TBS show. Right. And they said, anyone on the lot, could. They set up a camera in his waiting room. And you could. Any shows could come, get 10 minutes, and they'll put it on their site. And the PR people from ABC came and said, you gotta do something. And I said, well, what should I do? They said, well, they saw me with a guitar all the time. They say, so sing a song. I was like, okay. You know, and they were like, you have to do it in two hours. And so I took, like, a blues progression. I took. I could write words, so I wrote lyrics, and I had my assistant with the cue cards, and I went in there and I sang it. And you can get it on YouTube. And it's not good or anything, but it was like, oh, shit. I wrote a song and I performed it, and it wasn't terrible, and so I thank Conan for that, but it was. It changed my life. It was a gift for that moment.

[A]

You know, it's so interesting because when I was young, old people were old and they acted old, and they didn't do anything any different than they did 20 years before that. They're just older, and that was it. They're just kind of locked off, you know? And now you start thinking about possibilities and what's the next chapter hold and what I want to do. And it's like, kind of nuts. Cause, like, listen, you're old, I'm old. And historically, it was time to just sort of put your feet up and put a cardigan sweater on and light a pipe and figure out the team you rooted for and just sit and keep box scores.

[C]

Because you hear. I mean, every time someone tells me about their parent who's 92 or 93, it's like, you never heard that. When I was a kid, nobody was 92 or 93. Now everyone's 92 or 93. And the idea of being 100 is not unusual. 103 is not unusual. That was like science fiction when we were young. So you do have this potential. And I really advocate people to find irregardless of whether it becomes a career or an avocation or anything. Find things you love at any point in life and embrace them. Because the joy I get from music is irreplaceable.

[A]

Yeah, well, it's. And by the way, regardless of whether you make it in your 90s or not, go ahead and do it.

[C]

Absolutely.

[A]

Because you and I, you know, I could get hit by a truck leaving this place in an hour.

[C]

But what I'm saying is, if, you know, in theory, I could be playing if I live that long.

[A]

You're right.

[C]

I mean, who knows? But if I did, I could have music as a part of my. You know, that could be the third of my life was about music.

[A]

Yeah. Well, this is an interesting conversation. You're in town, right? I mean, you should come back. You know, I'd love to do it a little more consistently.

[C]

Cool. Thanks.

[A]

I could show you some more doc trailers.

[C]

Yeah, good. I want to see your doc.

[A]

I think as a guy who's worked with a lot of the people that are in it and a fan of Newman and Redford, for sure.

[C]

I remember my favorite Newman story was, you know, that Westport Playhouse, which is near his house? I did a play up there, and they helped finance it, I think. And my friend was in a play there that Joanne Woodward directed. And Newman came. You know, everyone was waiting. When's Paul gonna come? And they had the opening night, and Paul shows up and he's got a Bud in his hand and he's wearing an orange windbreaker and, you know, probably came from the track. And my friend said. Went up to him and said, hi, Mr. Woodward. Nice to meet you.

[A]

Joanne Woodward, still alive, by the way.

[C]

Yeah, but kind of gone, right?

[A]

Alzheimer's, but, like, literally contracted it 15 years ago and is still alive, like Kind of crazy. I talked to his kids, his daughters, and they're over there every day, like, live next door. And so kind of crazy.

[C]

I can't even get my head around what that's like, you know, to her. Like, what is that Existence with not. I mean, maybe it's bliss. Maybe it's what we're talking about. Maybe it's just pure bliss because you have no, you know, anxiety. You probably don't have. Well, you have anxiety, I think, but you don't have any.

[A]

I know. Maybe that feeling of orgasm or behind the race car wheel or up on stage playing a lick. I don't know. Maybe it's a constant state of that. Look, I'd wish that for anyone who felt that way, but it's insane that she's still with us.

[C]

Yeah, I didn't even realize that, I guess.

[A]

I mean, you can look it up, Dawson, but, I mean, is Joanne Woodward. Is she, you know, 95? I mean, she was so talented.

[C]

She's so talented, too, man. I mean, you get that from Ethan's doc. You get how much. You forget how amazing she was.

[A]

You know, you also forget how Paul liked to drive race cars.

[C]

I know. I know.

[A]

96. She's 90. Yeah, she was real substantial. 96 years old. Got Alzheimer's when she was, you know, 79. That's wild or whatever.

[C]

That's wild.

[A]

All right. The plug. By the way, the Gray House. It's out on prime as we speak. Very good. I was watching it last night. Where else can people go, Rob? They want to follow you.

[C]

Well, I'm all over social media, so I've got stuff up there, and I'm on. I'm on so many shows that actually on Amazon Prime, Billions is on there. Numbers is on there. Northern Exposures on there. What else I got, you know.

[A]

Well, go to robmorrow.com.

[C]

sure.

[A]

For anything you want.

[C]

Sure. Good.

[A]

See you, Rob.

[C]

Yeah, man. Thanks for having me.

[A]

My pleasure. O'Reilly Auto Parts. You're in the business of keeping a car on the road. That's what business they're in. There are not many car issues I have that I can't figure out. But if I'm ever stumped, I call O'Reilly immediately. I've got thousands. Or I should say they've got. Well, I got thousands of parts, too, but they got thousands more parts. And it's in stock, either in store or online. Never have to worry if you're in a jam. They'll also test your battery for free. And if it needs to be replaced. They'll help you find the right one. Whether you're a car aficionado or an auto novice, you'll see the employees at O'Reilly Auto Parts are helpful and friendly. O'Reilly is your one stop shop for all things auto. Do it yourself. That's O'Reilly Auto Parts. Right? Dawson?

[B]

Stop by O'Reilly Auto Parts today or visit us at O'ReillyAuto.com Adam that's O'ReillyAuto.com

[A]

Adam Shopify jumping into podcasting was risky when I did it, but it was the best decision I ever made. If you have an idea, you're ready to act on it. Well, you need the right tools and that's where Shopify is here to help. They account for 10% of all E commerce in the US and will get you started with your own design studio. Now you can easily create email and social media campaigns all with Shopify. And if you get stuck, they have award winning 24. 7 customer support as well. It is Shopify, right Dawson?

[B]

It's time to turn those what ifs into with Shopify today. Sign up for your $1 per month trial today at shopify.com corolla go to shopify.com corolla that's shopify.com corolla foreign. To check Adam's voicemail.

[A]

Hey, Adam Allen. Hey, I'm listening to your latest podcast with Bill O'Reilly. You use the word bucolic. Are you sure? You, you barely graduated high school. Your vocabulary, I don't know, I had to look that word up. Later.

[B]

You can leave us a message at 888-634-1744.

[A]

Please don't be so troll. Of course I swung a hammer on a construction site.

[F]

How pedantic of him.

[A]

Yes. Yeah, well, listen, I knew I was uneducated and I knew that when I got into comedy that I was at a deficit because I was uneducated and I did not know what a lot of things meant and wasn't familiar with things. And I could remember being on stage with Groundlings people and Acme people and those are educated people. There were no blue collar guys at the improv troupe sketch. They were all sort of college smart. They wrote, they spelled, they wrote, they read. Now looking back on it, I can't think of one blue collary dude. And so they would say things on stage like, oh, I'm working on my topiary, you know, like that. And I didn't know what a topiary was. And they remember doing a scene where there were, I think we're at a bris. And I was like, I don't know what being. I don't know what that is.

[F]

I love that ice tea.

[A]

Yeah. So I didn't. And so I realized like pretty quickly, if I didn't catch myself up with some of the vocabulary and just things in general, I'm gonna be left behind out on stage. Cause I'm gonna get caught not knowing things. So I made an effort to try to teach myself things so I wouldn't. So they didn't really discover who I was, which is basically an uneducated blue collar guy. So I sort of over, you know, overcompensated.

[F]

Yeah. There's some situations out there. Like I always think of days of thunder, Cole Trickle, when he's like, I don't know what you're talking about. I don't know what carburetors do. I don't know what any of this stuff is. I don't know brake manifolds or whatever it is. Obviously that's not correct. But at some point he goes, I could just get in the car and I could drive.

[C]

Yeah.

[F]

And I like guys like that who don't know the inner workings of what they're doing. They can just go out there and they can do it.

[A]

Intake manifold exhaust.

[F]

There you go. Yes. Thank you, Master Cell kind of thing.

[A]

Yeah. And still, still to this day. Master and slave cylinder, everybody. The master tells the slave what to do. The master tells the slave to engage or disengage the clutch. All right, Speaking of that, I was thinking as we are recently going back to the moon and just sort of how pedestrian it is now to take off, you know, spaceship. And then I started thinking about everything is just kind of safe now. And the thrilling part of it is, you know, it's a spectacle, but it's not thrilling anymore because the danger part of it has been removed, ostensibly. And then I thought going to the moon, which we first went to, or we first started launching, I don't know, an Apollo, I don't know, 67, 68, 69. Maybe we go to the moon in 69. Anyway, I was thinking like in terms of the danger and where it is when we started, like in 69, let's say 68, 69. And then where it is now, which is pretty pedestrian. And you know, it's always dangerous, but it's much safer. The course that that followed is. The trajectory is exactly the same as F1. F1 was hairy in 68, 69. Lots of deaths, fires. Safety wasn't really a priority going Fast was a priority, and it was a super scary, dicey, dangerous sport in 69. And now it's safe, Completely safe. There's accidents, there's bad accidents, but it's totally safe. These guys roll over and they come over the barrier, they climb out of the car. There are no fires. You know what I mean? And it's the same thing. It's thrilling. But it is missing that you could die element, which really takes it to the next level.

[F]

Yeah, yeah. And a lot of technology and science, we've kind of already hit the ceiling on a lot of things. Like, I know it's apples and oranges, but camera lenses, camera bodies will continue to change and they'll continue to move. But we kind of hit the threshold of camera lens technology. You could buy a camera lens and sell it for the same exact amount five years from now. Because the technology doesn't move. Camera lenses will always be the same. But the bodies, on the other hand, those will depreciate over time. And it's kind of the same with what you're saying, with, like, racing and space travel.

[A]

Yeah, that's the gay version of what I just said.

[F]

Absolutely. Yeah, absolutely. But I don't know shit about space travel or cars, so I got to relate.

[A]

I know it's your brake manifold, so I don't know. I'm amazed. I don't know. I'm kind of amazed. Whatever. You know, I hate Gavin Newsom, but I think I hate his wife more. And she makes all her fucking shitty films. The he. She confused about sexuality films. And then they all waltz into Sundance, and then I make all my films, and nothing gets into Sundance. That's how it's played. But she's a ditz. And also, I'm kind of. It's interesting. Maybe I'm just seeing it through my lens, but you can definitely. You, Rudy, you, me, you will know exactly what I'm talking about. I see all these couples out there and, like, families out there, and it's like, Gavin Newsom's up there, and he's like, you know, we're not gonna have true freedom until the trans community is recognized and they get their own month. And she's standing next to him going, not only that, I wish it was a year. I wish we had a year's recognition of transmutation. All right? That's what they do. And then I'm sure everyone's on board. Myself, my mom, my dad, my grandma. Any woman I've ever been with has always been like, fuck that guy. He don't speak for me. That guy. I don't. Whatever he says. That ain't what I'm thinking, I'll tell you that. I don't care if it's Covid. I don't care if it's trans rights. I don't care if it's the fucking border. Whatever that guy's saying, not that. That's him.

[F]

Yeah.

[A]

Just because we're married, or just because he's my son, or just because. Whatever.

[F]

Just because he's Sergeant Slaughter.

[A]

Do not think for five minutes I share any of that bullshit with that guy. Yeah, right. Where they get all these fucking people that are just. First off, they're both dopes, but they're lockstep. And they're doping us.

[F]

Yeah.

[A]

Is it all an actual.

[F]

It's gotta be, because I remember taking road trips. Three hours from St. Cloud, Minnesota, back to Hibbing, Minnesota, and all I did was watch my parents argue about everything. Didn't matter what it was.

[A]

That was.

[F]

It wasn't like they got out of the car and went, hey, remember, Chris, we're on some potico on this thing. No, no. All they did was argue. We went in the house, they argued. Everybody was completely 180 from everything. And it showed in our relationships and the way that we handle each other as you get older. And I don't know what it is. I don't agree with anything that my girlfriend says. I don't know why you'd want to.

[A]

Yeah, well, you certainly wouldn't get the ringing endorsement that Jennifer. We'll watch the clip of her, but it's also. I really wonder. She's at wisdom 2.0, the conference, giving, talking. By the way, you know the sad part about these things? Crowds gather to hear what she has to say. All right, let's hear what she has to say.

[D]

My sons are really into sports, or so are my girls. But my sons will watch their favorite athletes on YouTube, and then all of a sudden, you'll find this sort of alt, right, extreme Jordan Peterson type speaking to my sons. It's insane. Connected to the sports culture. That's not healthy. Are you kidding? So then our boys are learning hate, bigotry, misogyny, Rac. So it's very dangerous, and I think we have to take responsibility.

[A]

Jordan Peterson type. Like a Canadian professor who does nothing

[F]

but just spew out, I don't know, Correct.

[A]

Well, correct information. He talks about the Bible and history and stuff like that. That's what you're worried about your son finding out about David and Josiah and what and that's when. Here's what I realized. But it drives me nuts. But it's that thing. It's that, that. It's all back to that Rob Reiner clip I always play for you guys on Bill Maher. It's like, well, come on, Rob, you don't know that. Hunter Biden's laptop. I don't know. Do you know? I don't know. You know, But, Rob, you gotta go out and get information, and I get information other places. You didn't know this. I watched. You have no idea who Jordan Peterson is, bitch. You have no fucking idea. First off, he's intellectually, he would be a zeppelin. He would be the Hindenburg. And you would be a little Mylar balloon that says get well Nana on it that's stuck in power wires. That's who you are. Intellectually. He is so much greater than you intellectually. But also just basically saying, hate merchant misogynist. You have no fucking idea who this guy is. And it's also weird that you do this, because I would never do that to somebody on the left. Yeah, I don't get up. Like, I would go. When you think about people you disagree with, let's just say you take somebody like John Legazamo, very hard left. Okay? I would go, I don't agree with the guy's politics. Is he a misogynist? Is he racist? I don't know. I'm sure he isn't. Why would he be? I don't know. I disagree with his politics. I'm just disagreeing with him. I don't know. He probably treats his wife very well and he loves his kids, and I don't think he's racist. But why doesn't anyone get to know? And I'll tell you, for me, the reason I sound this way is because I get to know these people. I know the. Sorry, the Dennis Pragers well. Or the Jordan Petersons or the Ben Shapiro's. I get to know these people, and they're nothing of the sort. There's nothing even close to this.

[F]

Yeah.

[A]

And also the fucking balls of you just going out there and just yelling the shit into a microphone like you're slandering people. You're calling them the worst thing you can call them, and you have no history with them and you've never seen one of their videos.

[F]

Also, Jordan Peterson, when that guy first started making the rounds, everybody was on board with it. But then the right started sharing a few of his clips, and people on the right started having him on their podcast and now all of a sudden, he becomes this mouthpiece for hatred. How he's never wavered. And even stuff that doesn't line up with right values, he still goes, yeah, but these are the facts.

[A]

He's a Canadian professor who was basically told to use pronouns. And he was like, fuck that. And then because it's Canada, Canada's basically California in five years. They wanted to punish him because of his thoughts. Okay, anyway, Jesus Christ, she is fucking worse than he is. All right, what's in the news?

[F]

All right, so former Saturday Night Live star Leslie Jones was slammed off.

[A]

You can't say star. You cannot.

[F]

What do you think is the correct. What shall we call her? What is her pronoun here? When it comes to snl alum.

[A]

Even that's lofty for her because she did nothing on SNL except for butcher short bits of dialogue.

[B]

You once called her the unfunny black dude on Saturday night.

[A]

No, I was doing. Sorry. I was doing a roast. I think it was a Baldwin roast. And it was. Was it Chris Redd?

[F]

Oh, sure, yeah. Former snl.

[A]

Yeah. And this is Leslie Jones. Right. So I said Chris Redd was on the dais with us. And I said, when I heard the unfunny black dude got fired from snl, I thought it was Leslie Jones. I didn't know it was you, Chris. So that was crazy. I love that one. That is a kind of funny joke, right? Because it's always good to roast other people up there.

[F]

Yeah, yeah. There's a little bit of like, you know, friendly fire.

[A]

Well, the best is when you can roast. I made fun of both of them in one. One joke.

[F]

Yeah.

[A]

She is not. I don't know if it's a di. Hire. Whatever she is. No, her stand up comedy is wash my ass, basically. And then her st. I don't know. You find the best. That she was good on on snl. But anyway. All right, we'll play the clip. I think marriages legalized slavery.

[D]

You do?

[A]

Yes, I do.

[E]

Say more.

[D]

Because if I'm thinking about slavery and I'm thinking about marriage, there are two

[C]

different images that come. Absolutely not. I don't think. I don't know how. You don't.

[A]

Man is. Especially if he expects you to be a trad wife. He might as well pull out a whip in a chain.

[F]

Jesus.

[A]

All right, she's fucking dumb. I mean, she's dumb. She's a dumb person. Now, what is trag? And I know it's a new one,

[F]

so it's trad, which is traditional.

[C]

Wife.

[A]

A trad wife. Okay. Oh, okay. First things first. Do we need to shorten everything? No, I got time for you to say all of traditional. Okay. Traditional wives. I would argue, percentage wise, traditional wives are happier than whatever version we're trying to shit out. Now. We're telling them they don't need kids and they need to work and someone else can cook the meals and they should call grubhub and all women are fucking going nuts. I don't know if you noticed it lately because we've taken them away from tradition. I don't get this thing. It used to happen to me in my marriage. I would sort of be open, which is, look, I'm going to work all the time and provide you with tons of money, but you gotta go shopping and then you gotta cook the whatever. And it was always like, I don't get why we have a full time nanny and a cleaning crew. Why do we have a cleaning crew? Just, you don't have a job. You can clean your. And if you said any of that shit out loud, it's like, oh, caveman Carolla's coming in here with his club and it's like, like, fuck you, number one. You go on the fucking road every weekend. How about that? You fucking fly southwest. You go make a shitload of money and then I'll stay home and kick ass. But you're not capable of doing that. Well, I am. And by the way, the reason you're miserable is because you're fucking sitting around all day. Get fucking busy. Do the things. And I'm fine with traditional roles, but if you'd like to flip the. The roles and then you can work your fucking ass off and make a ton of money, I will happily stay home and take care of business.

[F]

Any guy would be totally cool. With two incomes, one household, and everything be split down the middle. Now in some cases, you have guys and girls who can go out there and make a ton of dough and then come back. I mean, I look at Kelly Clarkson and her husband. He basically took her to the cleaners

[A]

because good for him. Although I hate to say it, he's a piece of shit. But yes, it's not nice having it swing back the other way. Yeah, Chime Chime is changing the way people bank because it's built for you, not the 1%. They have products like MyPay giving you access to up to 500 bucks of your paycheck anytime. And you can get paid up to two days early. They also help you build credit history and earn up to 3% APY on savings. It's the new way to build credit history with your own money and get rewarded every single day. I join and my banking is as easy as it's ever been and I know it's going to help you too.

[B]

It's Chime, right Dawson Chime is not just smarter banking. It is the most rewarding way to bank. Join the millions who are already banking fee free today. Takes just a few minutes to sign up. Head to Chime.com Adam that is Chime.com

[D]

Adam Chime is a financial technology company, not a bank. Banking services A secured Chime Visa credit card and my paid line of credit provided by the Bancor Bank NA or Stride Bank NA. MyPay eligibility requirements apply and credit limit ranges $20 to $500. Optional services and products may have fees or charges. See chime.com feesinfo advertised annual percentage yield with Chime+status only. Otherwise 1.0% APY applies. No min balance required. Chime card on time payment history may have a positive impact on your credit score. Results may vary. See chime.com for details and applicable terms. Pluto TV has thousands of free movies and TV shows.

[A]

We're coming at you with everything we got.

[D]

This is the mindset. Free. This is the mantra. Free. This is the mindset. With movies like Pineapple Express, the entire Star Trek film franchise and Gladiator, and TV shows like Survivor, SpongeBob SquarePants, the fairly odd Parents and Ghosts, Pluto TV is always free.

[A]

Huzzah.

[D]

Pluto TV stream now pay Never.

[A]

But listen, I'm sensitive to this because the only working couple I ever experienced was my grandparents. My grandmother worked full time. My grandfather stayed at home and he dutifully cooked and cleaned and like fixed sprinklers and there's no such thing as takeout. And there would been no such thing as him calling my grandma and going on the way home, could you pick up some Thai food? I'm in the mood for Thai didn't fucking exist. Here's what I'm saying. If everyone wants to work, then everyone should work and we'll have our dual income and then we'll get a maid and we'll bring home fast food or takeout because we're both at work all day. Fine, we can do it that way. Or you can go out and be a super successful lawyer. I'll fucking sit around the house all day. But then it'll be on me to make the food and clean the shit. We shouldn't be spending your money on cleaning services or take out food or any of that shit. I'll handle that. Or I'll go out and you can fucking do that. There is no version where you go out and you're a super successful lawyer and I hang around all day and talk shit about you to my fucking friends where I'm not considered a lazy piece of shit. Why are you not a lazy piece of shit when you do this? And then why am I a piece of shit if I get to bring it up?

[F]

Yeah, yeah. It's amazing how many times you go to a couple's therapist. And one of the biggest gripes that men will have when it comes to their wives is, I go out, I make the money, I come home, everything is still a mess, Nothing is taken care of. Can we please try to figure it out? And there's always a little bit of pushback from the therapist who goes, well, maybe there's a compromise in the middle. No, there is no compromise. The compromise is I bring home all the money, get some shit done. So I come home at 5 o', clock, everybody is able to just enjoy the rest of our evening together. That would be a perfect world, would it not?

[A]

I had a therapist once when I was begging my ex wife to buy healthy food and protein and stop with the pizzas and the pastas and all the. And I just kept saying, just, you know, make them eggs in the morning and stop with Vinnie Tortorich. Be like, you gotta get on the protein you got. They're eating too much junk and frozen food and stuff. And then at some point, and I was like, spend all the money you want. Just get the good stuff, get the good meats, get the good cheese, get the good protein or whatever. And then at some point the therapist said, well, you know, if Adam wants this so bad, then he should take the kids out shopping. And I'm like, or you could just fucking get the shit Vinny told you to buy with my money and come home. Why do I got. I'm fucking working.

[F]

Yeah.

[A]

I'll tell you what it is. It's cheese. Don't get the hot Pockets, don't get the toaster pastry. It's super straightforward. So we are fucking nuts. This is why our society's falling apart. And here's the deal. For anybody, if one person is working and providing all of the money, they are allowed to have requests and ask for things. Listen, Daphne's in the next room, I pay her, I get to leave this studio and I get to walk over there and I get to go, daphne, we're going to write an email to so and so or I need you to pick something up. Pick up my dry clean. I'm allowed to do it. If I don't pay her, then I'm not allowed to tell her what to do. We have a relationship. I fucking pay her. So for this period of time, she listens and does what I ask her to do. That's our relationship. If she was paying me, then no, I couldn't tell her what to do. And if I paid her nothing, I still couldn't tell her what to do. So if you're going out and you're busting your hump and you're working, then you should expect X amount of work while we're gone. And like I said, my grandfather honored that code. He said, she's contributing, I must contribute. And I'm not gonna contribute by spending her money on a cleaning crew. I'll clean myself.

[F]

Yeah.

[A]

And it was understood. And all you have to do is flip the script and have the guy be the one who stays home with the full time nanny. And then you'll realize that guy's a piece of shit. Yeah, that's the math. Yeah, that's how it works.

[F]

Ask any dad who ever pays for their kid's car when he pays a monthly stipend every single month he makes that payment when he hangs that over their kid's head saying, hey, I need you to get this done or there's no more car. How many times does the wife come back and say, you can't do that to them. That's not fair. No, I am. I'm the guy paying for it. Of course I can. That's why I do it.

[A]

By the way, there's no woman who would ever put up with that relationship. You fucking go out work all day and weekends and stuff, and then you just come home and go make shelf dinner. I didn't do it or I didn't feel like it. Are you fucking nuts? Yeah, they wouldn't put up with it.

[F]

There's a great scene in Mad Men with John Ham where I think it's his secretary has given him some heat and says something like, you know, I do all this stuff for you. And he goes, and then I pay you money. And she says, well, you never say thank you. And his response is, that's what the money is, right? It's my thank you for doing the thing I asked you to do.

[A]

So anyway, Leslie Jones, unfunny dumb, and who knows? And about black people, everything's slavery. I know for you guys, but That's a weird. A weird one. And there's. It worked for time Memorial about wife cooks and cleans and the wives are happier and the kids are fucking happier. It's a better life, everyone so sorry, tough shit. But now fucking go out, don't have kids and work your ass to death.

[C]

Fine.

[F]

Four suspects were busted after Baldwin park police uncovered a staggering half a million dollar plus cache of stolen catalytic converters and a massive Norwalk takedown. Capping a month long probe launched amid a surge of the across Los Angeles. Look at that thing, huh?

[A]

I will. If there was, I'm gonna say this 500,000 worth of thing. If there is one Japanese guy, Jewish guy or white guy involved with this operation, I will apologize to every single community. Cause I can tell you it is literally impossible. I don't care if they busted 200,000 people. There would not be one Japanese guy, there would not be one Jew. And we're not even gonna find a black guy in this crew or a white guy.

[F]

Well, did you see the picture right there? Andrew, can you put that back up? Did you see the photo of the lady in the top? Yeah. So you got the blonde lady of a certain stature.

[A]

You say blonde, but I'm gonna go Hispanic. With the dyed blonde.

[F]

With the dyed blonde.

[A]

Okay. I'm gonna say you go top left. I know Hispanic ladies with dyed hair,

[F]

the tight yoga pants and flat shoes.

[A]

That ain't Morgan Fairchild.

[F]

Okay.

[A]

All right, so I'm gonna go. I don't know if you can blow it up, but it's gonna be one big Alvara street. Cause this is their turf.

[F]

Yeah.

[A]

Yeah. Wow.

[F]

So I'm so confused with the catalytic converter stuff because I come from a land where this doesn't happen all the time. But what do these guys do with this? They steal the catalytic converter and they turn it in.

[A]

I mean, how they have. Well, first off, L.A. is one big black market. Now we let it turn into a black market because we just opened the borders and this is what they do in Mexico. So it's all cartel y stuff and it's all the heavy metals that are in there in the catalytic converters. And I don't think they resell the catalytic converters. They sell the metals in them. So you do realize that Los Angeles, we steal copper from the wires.

[F]

I got a story about that. Yes. Yep.

[A]

You got another story about telecom wire. We're pulling. And you can look it up, Dawson, but we're pulling the metals out of there. We are stealing elements. Now we're at the point where we're not stealing car stereos or big panel TVs, we're stealing things on periodic charts. Rare earth black market. Yeah, it's rare earth black market stage. I don't know why it's a stage on there, but anyway. That's right. All right, so you do realize in LA we're stealing minerals now. And once in a while. Oh, we're at that stage. Sorry, print it out. Once in a while we break it up by stealing someone's pet. We're stealing dogs.

[F]

Yeah. Lady guy has dogs.

[A]

We're stealing cable and dogs, like, used to be wallets, jewels.

[F]

You're right.

[A]

Jewels.

[F]

Car stereos, hubcaps.

[A]

Hubcaps. We'd be jewel thieves. There'd be guys who rob banks. We're stealing shit that's on the street. Materials and dogs.

[F]

Yeah. I liked a time when we just stole identities on the Internet. Now we're back to physically stealing things again. And I don't know if I'm all about it.

[A]

I liked when people stole diamonds. And then every good copper movie, every one of those Friday police shows, you know what I mean? They have the bad guy and go, starsky and Hutch or something, they go, where are we going to move the ice? They love saying ice. They loved saying ice for diamonds.

[F]

Yeah, yeah.

[A]

We got to fence this ice. Yeah. I don't know why, for like a seven year period from like 1977 to 1984, we just said ice and they fucking loved it.

[F]

There's always the end when the guy shows up, the dude who stole it, and then he comes to the guy's giant palatial place, this billionaire who wanted the diamonds. And he's sitting on his back patio and he takes the. That black bag and he throws it onto the table and he goes, I'm out, I'm out, I'm out. My last one. Yeah, I'm out. No more.

[A]

Yeah. What is the story? You got.

[F]

The story is that they've been stealing. This goes back to your rich man, poor man, by the way, because rich man, poor man, you know the going price of copper. Which, by the way, do you know the going price of copper?

[A]

I have no idea.

[F]

$5.60 per pound right now.

[A]

Okay.

[F]

But one of the things this came out in the New York Post that, that Los Angeles Mayor Karen Bass believes that solar powered streetlights will make it harder for thieves to swoop in and steal the copper. That is her solution.

[A]

But let me. We'll play the clip, but let me explain something to Karen. Bass and all the fucking fruitcakes on the left. Criminals make money stealing shit, so. All right, you make pot legal, all right? They don't bring in pot. They bring in fentanyl. Okay? You stop fentanyl. Oh, we'll do human trafficking. They're super fucking versatile. They didn't steal copper because they're copper enthusiasts. They fucking sell it. They'll be stealing your solar panels. You understand? You don't get it. They'll steal whatever. Now you can go ahead and try to figure out why they're doing this or who they are or who's shitting them out or what they're doing. Our town. That'll stop the part where you're just going to keep. Take all the batteries and lock them in a cage. Good. They'll start stealing deodorant. That's how they work.

[F]

Yes.

[A]

Okay, here we go.

[G]

Well, Christine, a lot of time these crooks go after street lights like this one. Joab will show you. They broke in here and knocked out power to this light in much of the neighborhood. But this time, the crooks went after Internet cables underground. And it was all caught on camera.

[A]

Three in the morning, working on the screen.

[G]

3am in Van Nuys. One man wearing a hoodie, the other shirtless, with a medical mask, surgically removing wires.

[A]

It was loud.

[D]

And then I was like, hold on. People have been stealing copper because I walk these streets.

[G]

Candace Cervantes heard the action and started recording. Her video shows the shirtless suspect pulling Internet cables from underground while his partner stands watch near the getaway car.

[A]

And then he even took a long time, black cable tied it to his car.

[D]

And they were trying to.

[A]

Like, this is the middle of the night in the middle of Van Nuys. Oh, by the way, hold on. The police station is in Van Nuys. If anyone bid out the Van Nuys. The courthouse. If you want to go down to the courthouse or you want to pull a permit, building permits, or the police station, they're all in Van Nuys Right off of Van Nuys in the fucking middle of Van Nuys. So. So Van Nuys isn't that big.

[F]

Yeah.

[A]

Anyway, go ahead.

[D]

Good.

[G]

This section of Van Nuys plagued by thieves targeting copper wire, also above ground, block after block, ripped lines connecting to street lights left in the dark. The thieves didn't seem worried about getting caught.

[D]

Oh, no, no, no.

[G]

This problem's so rampant right now. AT&T has crews from Northern California here trying to restore service.

[F]

Is that happening a lot? Oh, yeah, yeah.

[G]

Across LA. The numbers are staggering. Roughly 32, 000 streetlight repair requests now active, mostly tied to copper theft. Mayor Karen Bass last week approved plans to replace those lights with solar ones.

[D]

Like, what's the point of stealing that?

[A]

To make money.

[G]

So they go and sell it.

[A]

But it.

[G]

It gets you guys without street lights and wi fi. Oh, some unaware, worried that the thieves on.

[A]

Wait, there's still a little more.

[G]

I think their block haven't been caught.

[A]

I'm so angry.

[G]

Well, major portions of the neighborhood are now dark and without Internet.

[D]

It's annoying, it's frustrating. They make the environment here.

[A]

I mean, it's not the prettiest, but they don't make it any better. For sure. Yeah, she. She said that.

[G]

Oh, she estimates that the crooks were here about 50 minutes while it took police an hour to get here. So far, no arrests have been made.

[A]

Yeah, there's no arrest. We have no appetite for it. By the way, that's Karen Bass constituency. The people steal all the copper wire, the ones that vote her into fucking office. All right, LA, listen to me. LA. I told everyone this the first day, and this is 30 years ago. The first time I saw him putting barbed wire around the freeway signs. I said, that's a problem. We gotta figure out where this city's going. We're going the wrong direction. Stop. Gut check time. If you gotta do this, you're going the wrong direction. As a city now, we're only days away from people stealing the barbed wire that they put around the sign. Yeah, they're stealing fucking dogs and minerals. Everybody reverse course. Figure out a different direction. I don't know what else to tell you. That's why this thing is like. You know when Gavin Newsom and Karen Bass are like, oh. He's like, what are these people talking about? It's great out here. No, it isn't. No one's making this up. It's either Catalytic converters.

[F]

Yeah. And now we're gonna have one of those storage units filled with solar panels here in the next eight months.

[A]

That's right. All right, so you can go to. Oh, that's right. Remember Nithya Raman who's running? She's in the lead. Is she in the lead? Yeah. Nithya Raman is then the lead to be the next mayor. Socialist Nithya Raman is going to lead to be the next mayor. She's the one who was angry at Toyota for making it so easy for them to steal the catalytic Converse. So I don't think she's going to be impactful if all her attention is spent on Toyota.

[F]

Yeah.

[A]

Yeah. All right. This Friday and Saturday, Salt Lake City, Utah, wise guys comedy club. Rudy, are you out there?

[F]

I'm not gonna be out there with you, but I will be with you in Phoenix.

[A]

In Phoenix. And then that's this week. And then Sunday night, San Diego, Solano Beach, Belly up, great club there. A couple shows there. And then Phoenix, where Rudy is Desert Ridge Improv. Five shows there, man. So check it out and go to the merch store. Cause I got a T shirt that you guys are gonna like. Just go check out over at the merch store. Rudy, what do you got?

[F]

Well, I'll be with you, you in San Diego, end in Phoenix. And then I got a bunch of dates on my own coming up here in May. So please check out rudypavichcomedy.com so till

[A]

next time, I'm Corolla for Rudy Povich and Lucan Hemsworth. That's right. Oh, no, wait, sorry. Screw that up. So until next time, Adam Corolla for Rudy Pavich and Rob Morrow saying, mahalo. Pick up your phone and leave us

[B]

a voicemail at 888-634-1744 and get tickets to see Adam Corolla at AdamCorola.com.

[D]

Pluto TV has thousands of free movies and TV shows.

[A]

We're coming at you with everything we got.

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This is the mindset free. This is the mantra free. This is the. With movies like Pineapple Express, the entire Star Trek film franchise and Gladiator and TV shows like Survivor, SpongeBob SquarePants, the fairly odd Parents and Ghosts, Pluto TV is always free. Pluto TV stream now pay never. Pluto TV has thousands of free movies and TV shows.

[A]

We're coming at you with everything we got.

[D]

This is the mindset free. This is the mantra free. This is the. With movies like Pineapple Express, the entire Star Trek film franchise and Gladiator, and TV shows like Survivor, SpongeBob SquarePants, the fairly odd Parents and Ghosts, Pluto TV is always free.

[A]

Huzzah.

[D]

Pluto TV stream now pay never.