June Squibb

Summary

Good Hang with Amy Poehler

Guest: June Squibb

Date: November 11, 2025

Podcast by The Ringer

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Episode Overview

In this charming and insightful episode, Amy Poehler welcomes legendary actress June Squibb for a relaxed, laughter-filled conversation. The two discuss June’s extraordinary career—from her days in 1950s New York theater, to winning roles in film, to her recent performance in Inside Out 2—as well as her views on age, resilience, and the importance of friendship and humor. Guest questions and memorable stories add layers of warmth, making this a must-listen for fans of show business history, creative longevity, and good company.

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Key Discussion Points & Insights

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1. Will Forte’s Tribute and Question for June (02:34–09:26)

• Will Forte’s Guest Call-In: Will joins from a trailer in Georgia, sharing stories from filming Nebraska with June, and noting her professionalism and warmth.
  • Memorable Quote:
    Will Forte: "June had the entire script memorized before we even started. I was just blown away by that." (04:46)
• The Duality of June: Both Amy and Will discuss how older actors are often either treated as delicate or as gurus, but June strikes the perfect balance—wise, current, and fun.
  • Memorable Quote:
    Amy Poehler: "June does not... she's so together with it and in the moment, like, she's not interested in being, like, this wise person who's learned all these lessons." (06:16)
• Will’s Question for June: "What is your favorite food, and will you please tell me in song?" (08:05)

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2. Enter June Squibb: Early Career and Theater Life (10:04–17:29)

• Recalling Old Acquaintances: June and Amy reminisce about crossing paths at award events and June’s work with Scarlett Johansson.
• Working with First-Time Directors: June says she enjoys it, as good directors are good regardless of experience—enthusiasm and a willingness to learn matter most.
• Meticulous Preparation:
  June Squibb: "I learn by just going over and over and over. But in doing that, I'm studying the script. So I know that script backwards and forward by the time I get on set." (11:41)
• The New York Theater Scene of the 1950s: June describes moving to NY as "breathing fully for the first time," and living in affordable, now-historic apartments.
  • Saw original productions of My Fair Lady, West Side Story, loved the bustling energy and opportunity of postwar NYC (14:25–15:21).

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3. Musical Comedy, Cabaret, and Showbiz Grit (15:21–20:25)

• Musical Comedy and Writing: Acted, sang, and wrote for cabaret; once performed in an ape head and blue dress long before Cabaret made such acts famous (15:36).
• On Risk and Resilience: Amy and June discuss the uncertainties of being an actor then versus now—and how persistence (and luck) are critical.
  • Memorable Quote:
    June Squibb: "It's a very difficult career to want." (20:17)
• Longevity and Hanging In: Both women agree that survival in show business often comes down to "just kind of getting rejected a lot and just kind of hanging in and believing in yourself." (20:25)

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4. Growing Up in the Midwest; Family and Roots (26:23–28:58)

• Mother’s Unique Job: June’s mom played piano for silent films, giving June early musical exposure (17:43).
• Midwest Influence: Forthrightness and "stick-to-it-iveness" from her Vandalia, Illinois upbringing shaped her work ethic.
  • Memorable Quote:
    June Squibb: “It's like you've got a job, so you do it. And no matter what that job is, if it's yours, then you have to do it.” (27:32)

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5. Accents, Voice Lessons, and Favorite Dancers (28:35–30:49)

• Losing (and Finding) an Accent: Voice lessons helped neutralize her Southern-Midwestern drawl for stage and film roles.
• Favorite Dancers and Inspirations: Admires Jacques d’Ambois and Gene Kelly, as well as Donald O’Connor’s underrated artistry (23:50–26:04).

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6. Perspectives on Age, Friendship, and Generational Wisdom (32:21–35:08)

• Intergenerational Friendship: June enjoys friendships regardless of age and learns from younger people, rather than feeling obliged to dispense ‘wisdom.’
  • Memorable Quote:
    June Squibb: "If I like someone, I don't think I ever think in terms of how old they are." (32:57)
• How Old Do You Feel?: "35. I always feel I'm 35… as I got older, I kept referring back to 35." (34:02)
• On Longevity: Both discuss the cultural curiosity about nonagenarians and how long lives both invite projection and yield perspective.

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7. Career Highlights, Working Styles, and Scene Partners (39:09–44:33)

• Character Acting Philosophy:
  • Memorable Quote:
    June Squibb: "If I'm doing it, it's the most important thing in the film. I've always felt that." (39:09)
  • She prepares thoroughly but lets a character develop “in the moment” on set (40:14–40:35).
• Favorite Collaborators: Remembers working with Richard Roundtree, Jack Nicholson (“He always made me feel like a peer”), and Fred in Thelma.

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8. Behind the Scenes on Landmark Films (45:08–48:01)

• Connections Through Friendship: Margo Martindale tipped June off to the role in Nebraska and was her neighbor.
• Persistence Pays Off: June’s agents had to convince directors like Alexander Payne twice—once for About Schmidt, again for Nebraska—to give her a shot via audition tapes.
  • Memorable Anecdote:
    Alexander Payne told June, "I saw that tape and knew you had to do it." (46:34)

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9. Will Forte’s Song Request Answered (48:21–49:09)

• June’s Favorite Food: Pupusas—her cook’s homemade version is her favorite.
• Sings About It (lightheartedly):
  June Squibb (singing): "Pupusas, pupusas, I love you." (48:55)

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10. On Family, Mentorship, and Loss (49:39–53:02)

• Working Motherhood: June describes her son, a director/writer, and being a small, close family in NYC.
• Her Husband as Mentor: Late husband Charles, an acting teacher, reshaped her approach, gave tough love, then stepped back before his passing to make her independent:
  June Squibb: “He said, you know what you’re doing, you do it.” (52:14–52:33)

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11. Friendship, Hobbies, and Joy (54:07–57:49)

• Friendships: Deep, decades-long female friendships are a source of mental excitement and support.
• What Makes Her Laugh: She watches Saturday Night Live (loves Colin Jost and Michael Che), The Neighborhood (Max Greenfield and Cedric the Entertainer), and sketch comedy in general.
• Old Friends in Comedy: Ruth Buzzi was a significant friend and collaborator from New York days (55:24–55:42).
• Seeing Lenny Bruce Live:
  Amy Poehler: "Let's play this game… Lenny Bruce!"
  June Squibb: "I didn't see him in Chicago." (57:13–57:25)
• Life Cycles and Change: June reflects on how, despite worry in turbulent times, “it passed” and hopes the present climate will, too (57:49–58:06).

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Notable Quotes & Memorable Moments

• On Preparation: "I know that script backwards and forward by the time I get on set." — June (11:41)
• On Diversity in Showbiz: "Half the battle is hanging in there, just kind of getting rejected… believing in yourself." — Amy (20:25)
• On Friendship Across Ages: "If I like someone, I don’t think I ever think in terms of how old they are." — June (32:57)
• On Her Approach to Roles: "If I’m doing it, it’s the most important thing in the film." — June (39:09)
• On letting characters develop: “I have none. So what happens is, what happens hits me, and then that’s how I react.” — June (40:29)
• On Living to 100: “My agents say I’ll still be working, so…” — June (25:27)
• Will Forte’s Song Request:
  June (singing, on pupusas): "Pupusas, pupusas, I love you." (48:55)

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Timestamps for Major Segments

• Will Forte Tribute & Guest Q: 02:34–09:26
• June on Early Theater & Family: 10:04–17:29
• NYC Theater Stories & Cabaret: 15:21–20:25
• Midwest Upbringing: 26:23–28:58
• Accent Training & Dance Heroes: 28:35–30:49
• Views on Age & Friendship: 32:21–35:08
• On Acting and Collaborators: 39:09–44:33
• Film Breaks & Margo Martindale: 45:08–48:01
• Favorite Food (Song): 48:21–49:09
• Family, Mentorship, Loss: 49:39–53:02
• Female Friendship, Comedy: 54:07–57:49
• Final Reflections: 57:49–end

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Tone and Language

Throughout, the tone is candid, witty, and warm—true to Amy’s comedic roots and June’s engaging storytelling. The podcast maintains a relaxed, conversational flow, punctuated by nostalgia, laughter, and genuine admiration.

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Final Moments

Amy and June vow to become friends ("I’d love for us to be new friends!"—Amy, 58:45), sip their (now-cold) mochas, and Amy ends with heartfelt thanks:
"Amazing artist and person. Thank you so much for coming in." (58:28)

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For Listeners New and Old

This episode is a joyous celebration of artistic resilience, female friendship, intergenerational creative sparks, and the power of staying curious—at any age. Whether you’re an aspiring performer, longtime fan, or just in need of a good hang, you’ll find this hour with Amy Poehler and June Squibb as delightful and inspiring as it is funny.

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Transcript

[A]

This episode is brought to you by Apple Watch Real Talk. Think you're a sleep champ? Eight hours. Boom. Nailed it. But then Apple Watch Series 11 will tell you that you actually woke up five times and never hit deep sleep. Rude but helpful. Apple Watch Series 11 tracks your sleep, helping you understand your total sleep time, bedtime consistency and interruptions. It's like getting a behind the scenes play by play look at your sleep so you can tweak your bedtime routine and help yourself to wake up refreshed. I didn't know sleep could be so fascinating. Apple Watch tracks your sleep so you can stop guessing and just maybe start waking up like a well rested woodland creature. Highly recommend. Try it. Find out [e-mail] AppleWatchSeries 11 iPhone 11 or later required. Hello everyone, this is Amy Poehler. Welcome to another episode of Good Hang. I'm in a different studio today, but don't worry, I have my fake food with me, so no need to panic. But I have the great June Squibb here today. June is a legend. She is an incredible, incredible artist and wonderful person and we talked about a lot of things today. We're gonna talk about Eleanor the Great, her new movie that premiered at Cannes. We're gonna talk about what it was like being an actor in New York in the 1950s, her love of sketch comedy, the fact that we were both an inside out. And we're gonna just talk about her incredible career and what it's like being 95, which June makes it look real good. So I always like to do this at the beginning of every episode. We talk well behind our guests back. And we have someone who has worked with June in a great film called Nebraska. He is SNL alum and incredible actor and dear friend Will Forte joining us from a trailer somewhere on the set of something. Hi, Will. This episode is presented to you by Walmart. I'd like to say that I'm a pretty good gift giver and for me it's about making the extra effort to find the perfect gift. Walmart has the top brands we all love in one place. Nespresso, Nintendo, Apple, you name it. That's why it has to be Walmart. For all my gifts this year, guess best gift giver award goes to yours truly. Get the brands everyone loves at prices you'll love at Walmart. Who Knew? Go to walmart.com or download the app to get all your gifts this season. Hello. How are you? Will Forte. It looks like you're in a trailer.

[B]

I am in a trailer.

[A]

Where are we talking to you from.

[B]

I don't even know. I'm outside of Atlanta somewhere. I'm, like, an hour south. McDonough, I think it's called McDonough, Georgia.

[A]

We are talking to June Squibb today.

[B]

Oh, get ready. Very excited for you.

[A]

I'm very excited.

[B]

You've met her before, right?

[A]

You know what? We only met once, briefly, at a Pixar event, because we were both there for Inside. Wait, you came.

[B]

Didn't you come to the Nebraska screening in New York?

[A]

Will, I don't remember. I don't. I don't remember things. If you say I was there, sure, but I don't have any memory of that.

[B]

I think you might have been there, but it doesn't mean you ever met her. Like. Like, in fact, she might not have even been there.

[C]

I.

[B]

In fact, I think she wasn't there.

[A]

If someone tells me something happened, I have to believe them because I. If someone could come up to me at this point and say, like, we were roommates in New York, and I would say, okay, yeah, because I cannot remember.

[B]

Somebody asked me the other day if I met Oprah Winfrey. I couldn't answer. I'm like, I love Oprah. You would think that I would know if I met her.

[A]

Do you remember meeting June?

[B]

I met June for the first time about a week before we started shooting Nebraska. We got together to do some little rehearsals, and she was just very instantly charming and made me put me right at ease because I was very nervous about the experience. She was just so. So wonderful.

[A]

What were you nervous about? At the time, I just had never.

[B]

Really done a, you know, something that was more on the dramatic side, even though it's kind of a comedy and a drama, but, you know, to do it on that scale with, you know, with the director Alexander Payne, and then, you know, Bruce Dern and June Squibb, it was daunting.

[A]

And do you. How would you say June works? How does she like to work? Does she like to rehearse? Is she loose? Is she.

[B]

From what I remember, June had the entire script memorized before we even started. You can ask her if that's true, but I'm pretty sure that she had memorized every one of her lines before we even started.

[C]

Wow.

[A]

That's so pretty.

[B]

Like, I'm somebody who really, like. I try hard to make sure that everything is memorized. I don't want to be the person who screws that up, but, I mean, I was just blown away by that. Like, I. That was way over the top.

[A]

That's I mean, when I've been doing research on her, she's such a formidable actress and started out in the theater and just has, like, a ton of experience and training, so it's not surprising to me. But that is a. That's a lot to memorize.

[B]

Yeah. And she just was amazing. It's such a pro. And at the same time, so warm and just. You just love being around her. You'll see.

[A]

You know what I'm finding is so many people. I bet you've seen this, too. Like, people 90 and over, nonagenarians or whatever. People tend to either speak to them like they're little kids, like, say, like, how are you? Like, are you having a nice day? Or they assume that they've got a ton of wisdom that they want to share. Like, they assume, like, they're, you know, tell us your secrets. Like. And what I've noticed about when I've done some research on June is June does not, you know, she's so together with it and in the moment, like, she's not interested in being, like, this wise person who's learned all these lessons. She seems very current, I guess is the best way to put it.

[B]

Yeah, I mean, she has that wisdom for sure, but isn't. Like, she doesn't hit you in the face with it. She's just like. She's just. She's. She's like the perfect person because she's, like, super sweet, but got a little. A little spice to her also. It's. It's. It's just a perfect combination.

[A]

Did she ever, like. Does she ever give you.

[B]

Some times. Few times. Did she ever.

[A]

What? Did she ever give you any wisdom or. Did she ever give you. Or did she ever, like, have a little sharp tongue, like, little spice that you saw while you were working together?

[B]

Well, that's the thing is, like, she's so sweet, but then she. The part that she plays in the movie is, you know, she's defending the family and she gets really spicy.

[A]

Okay, so do you have a question you think we should ask, June? Anything you think you'd want to hear on this podcast, June?

[B]

My question is, what is your favorite food and why? And will you please tell me in song? Answer the question in song. An existing or made up song?

[A]

Well, I mean, hopefully we can get the rights to whatever thing she sings, but that's a perfect question, Will.

[B]

Okay.

[C]

Okay, let's.

[A]

You want to take it one more time? Yeah.

[C]

And.

[A]

And. And just play around with it? Have fun.

[B]

What is the. Oh, my God. Okay.

[A]

And no, Pressure. But we are. We are getting ready to break for lunch, so let's. Whenever you're ready.

[B]

Oh, this was going to happen. June, hello. I love you and I miss you. You are one of the most wonderful people I've ever gotten to work with. My question to you is this. What is your favorite food and why? And please answer this question in song. And that song must be in the public domain. Thank you.

[A]

Perfect question. Forte. Do you think you're Gonna Live to 95? And do you want to.

[B]

I know that I have. The Ouija board has said I will be dead at 73 by stabbing, but I think I'm gonna figure out a way, like, whoever makes it through those Final Destination movies, I'm going to be that guy. And I will make it to 95.

[A]

I believe it.

[B]

How about you?

[A]

I hope so. I definitely won. I want to make it to 100. And June is aspirational to me. I want to be like June at 95, working, occasionally, having fun, having fun with my friends, like, being really sharp.

[B]

She is an amazing role model, and I'm with you.

[A]

Yeah, I can't wait to have her. All right. I love you so much. Thank you so much for getting on and doing this in the middle of your workday.

[B]

Have fun with her. I'm jealousy. Get to talk to her for so long.

[A]

Thanks, buddy.

[B]

But tell her hi for me.

[A]

Talk to you soon.

[C]

Love you. Bye. Love you. Bye.

[A]

This episode is brought to you by Uber Eats. Big news. Aldi is now on Uber Eats, and you get 40% off your first order with code NEWALDI25. So whether your fridge is empty and you're too tired to shop or you just ran out of essential ingredients in the middle of meal prep, don't worry. Fill your fridge in just a few taps and get 40% off your first Aldi order on Uber Eats. For orders over $30, you can to $25. Ends December 31st. See app for details. June, I'm so happy to have you here.

[C]

Well, I'm thrilled to be here.

[A]

You know, someone asked me today, they said, have you met June? And I said, well, we've met in that, like, Hollywood way where we've just, like, seen each other at events, but we haven't really been able to chat.

[C]

I remember Scarlet and I saw you at the rehearsal for the Oscar presenters.

[A]

That's right. That's right. Scarlett Johansson.

[C]

Yeah. That's the last time I think I saw you.

[A]

And a lot of people don't know that you have to kind of show up for Those events and rehearse them.

[C]

Rehearse them, yeah.

[A]

Which is kind of good because you have to see where to walk and.

[C]

Oh, I would have been, you know, I had never done it before. I'm sure she has, but I hadn't. And so it was all completely, you know, new to me about where you go, what you do, everything.

[A]

You are in a new movie right now that Scarlett directed.

[C]

It's Scarlett directed. Yes. That was another great.

[A]

Her directing debut.

[C]

Yes. Feature.

[A]

Feature. Excuse me. Do you like working with first time directors?

[C]

I do and I've worked with quite a few. I really have.

[A]

What do you like about it?

[C]

I find if they're good, they're good, you know, if they know what they're doing and first time directors so often do. And I think that many of them work hard at finding out what to do, you know, if they're confused or not. Sure. They try to make sure they find out the answers.

[A]

Do you have a style or a way that you like to be directed? Do you like more thoughts right away? Do you like rehearsal? Do you like. Do you like. Do you have a way to prep in a way that you like?

[C]

I certainly prep in a certain way. Yeah. I learn by just going over and over and over. But in doing that, I'm studying the script. So I know that script backwards and forward by the time I get on set. I really do. I just feel, you know, I know everything about it.

[A]

Do you think it comes from your training?

[C]

Yeah, I think I was in theater for so many years and the learning process is different because there you usually learn as you rehearse. And of course with film we learn and then go do it.

[A]

Yeah.

[C]

So it is. There's a difference. But basically with theater, God, did we ever learn the on time thing, you know, which is so everybody preaches in film all the time too.

[A]

Yeah, I feel like, I mean, I don't think enough people know your extensive theater background and where you started. And, you know, you were also married to an acting teacher and you studied a lot and you did a lot of things. And can you tell me a little bit about what it was like in the 1950s to move to New York as an actor? I mean, I have a.

[C]

It was wonderful. Oh, I loved it. I loved it. I felt I breathed really fully for the first time in my life. And I had had five years at the Cleveland Playhouse, so that prepared me in so many ways for New York. But there was nothing like New York and being young in New York, being in the theater. And I Was one of the lucky ones that fairly soon.

[A]

Where were you living when you first moved to New York?

[C]

We lived. There were three of us, my first husband and a very dear friend, Jack Lee, who was a Broadway conductor before his career ended. And we lived in a funny apartment that they took down for Lincoln Center.

[A]

Oh, wow.

[C]

Yes, we lived there for two or three years and then they sort of bought us out. And then we moved, though, to a very. A duplex in the Village. And it. Oh, Alby moved in after we did.

[A]

Edward Albee.

[C]

Edward Albee, the playwright? Yes. It was a wonderful apartment. Had a garden and everything.

[A]

Do you remember what the rent was back then?

[C]

I think it was about $200. And that was humongous to us, of course, at the time. It was like, we can't afford this, three of us, you know.

[A]

What was the vibe in being in New York in that time? Because, like, what was, you know, the post war boomy vibe of the 50s in New York? What did it feel like?

[C]

I think it was very up. I remember that. And of course, we were seeing a lot of theater and we saw all the big music. We saw the original Fair lady, the original music man. We saw west side Story in its second or third week of playing.

[A]

Who was on stage then? Do you remember?

[C]

Well, was it Cheetah? Cheetah. And I knew a lot of the dancers at the time and I don't remember their names.

[A]

Wow, that's so cool.

[C]

But it was a wonderful time in musical theater and many people don't know this. My first 20 years in New York was spent in musical theater.

[A]

That's right.

[C]

I did either musical theater, cabaret, reviews, you know, some nightclub. I had an act with another comic actor. You did?

[A]

Yes, a comic actor. What was your. What kind of stuff would you guys do?

[C]

Well, we wrote everything. And I remember we wrote. I wore an ape head and a beautiful blue dress, just a real frothy dress. And he sang about loving his girlfriend no matter what. Well, and then Cabaret did the same thing afterwards, you know, and this was before Cabaret when we did it in our act.

[A]

What happened to that partner? Do you.

[C]

Barry Denon? Well, we actually broke up the act because he was offered cabaret in London as the emcee and I was offered happy time for Broadway. So we both felt we wanted to keep working singly, so we broke up the act.

[A]

Wow.

[C]

But we did very. We did some television. We did little.

[A]

Yeah. What did you do? What television did you do back in the day? Your IMDb June is incredible. I feel like I Could shout out a million shows. You'd be like, maybe I was on.

[C]

It, maybe I wasn't.

[A]

But what television did you do?

[C]

It was some review thing. I don't even remember what it was. I think it was local. Yeah, but we also. We did some of the small clubs in New York.

[A]

Wow. I just feel like it would be so cool to time travel back to that time.

[C]

It was wonderful. I mean, and I think that everybody was, like, eager to be there. I mean, it was, like, the place to be in the world to all of us, you know.

[A]

It still feels that way, though, I have to say. You know, I moved to New York in 96, and it still felt like when you arrived there, at least for me, it felt like some version of your life was beginning. Yeah, basically.

[C]

Yeah. I felt. Well, I lived there for 65 years before moving out here.

[A]

Yeah. Wow. Your family. Your mom had a job that is. It's such a great job because it just doesn't exist anymore, which is your mother. What was your mother's job?

[C]

My mother played piano for silent films.

[A]

How did she start doing that?

[C]

Well, she was a piano player, and my grandfather owned a music store, so they were sort of into all the music that was happening in the area. He had a store in. I grew up in Vandalia, Illinois, and there was another store in Centralia, Illinois, that he owned, so they were big in the music, and I'm sure that's how it happened.

[A]

So was your mom teaching you how to sing and play from an early age?

[C]

Oh, no. She played the piano and she taught piano. And because she taught piano, played piano, I didn't want to have anything to do with the piano. And she tried to teach me, and it didn't work out. So she sent me to another teacher in Vandalia, and that didn't work out. And so the teacher said, I think June maybe should give up on the piano. So she sent me back to my mother. So my mother said, well, I'm going to try again. So she was giving me a lesson, and she went outside. For some reason, she came back and I was playing the piano with my feet. I never had to touch a piano again. I got out of it. She saw me and she said, this is it. This is it.

[A]

I mean, isn't it funny that it's kind of like the last thing you want to do often is the thing your parents are doing? And what did they think about you being an actor moving in? Like, were they supportive? Were they.

[C]

They were not supportive. My father was somewhat supportive My mother, she saw me on Broadway doing a supporting role in a big musical and said, well, do you think you'll come home now? I don't think so. And I was married again. I mean, you know, it was ridiculous, but in her mind, I was. I might decide to come home again.

[A]

Well, I don't think people remember that, you know, now in this world where everybody is, like, you know, creating content and being, you know, famous and trying to be like. I don't think people remember. During that time, acting was a very treacherous, uneven profession, and so many people didn't make it.

[C]

I mean, I have been lucky with my career, and I would think you feel the same way.

[A]

Absolutely, yes. And so many really talented people.

[C]

I mean, it's a very difficult, you know, it's a difficult career to want.

[A]

What I see you do that I feel like I relate to is like, I've always wanted, you know, kind of diversity and longevity in my career. And half the battle is hanging in there, like, just kind of getting rejected a lot and just kind of hanging in and believing in yourself. Cause it's. It is. It can be a really long Runway before you feel. Yeah. Who was someone that you worked with when you were young and you thought, I feel like I'm in the right place.

[C]

I think with Ethel Merman, with Gypsy. And I was with that show eight months on Broadway, and then eight months on the road with her. And she was an amazing woman. An amazing woman. And everybody loved her that was in the company. She was very much a haus frau. She loved gossip. She loved to hear everything she could about anybody in the show. And she used to tell me dirty jokes all the time. We were getting ready. I was behind a scrim. I was Electra. So I was doing my light bulbs, and she was getting ready to come on. And she would sidle up behind me.

[A]

June.

[B]

June.

[C]

And then she would tell me a dirty joke right before your queen.

[A]

What do you mean, doing your light bulbs?

[C]

Well, I had a costume.

[A]

And you had to do your own light bulbs.

[C]

Yeah.

[A]

Oh, wow.

[C]

And they. On the. On the front and in the rear and the crotch, I had bulbs that lit up.

[A]

And you did the buttons.

[C]

I did the buttons like this. I'm sure they do it entirely differently now because it's running on Broadway right now, but then that's what. And these long wires went all the way up. And it was heavy because I had this huge battery in my behind.

[A]

I mean, that term doing my light bulbs sounds like it could be an old Broadway term, like he was fired for trying to do my light bulbs.

[C]

Light bulbs. Well, I had that a few times, too.

[A]

I mean, I bet you did. I mean, Judy, you have. I mean, you could probably write a book about how the. How so much has changed in the industry, and I can only imagine that you had to deal with a lot of, you know, inappropriate behavior. It was a completely different time than.

[C]

Right. Well, you know, it's funny because I have friends and we were both dancers. I mean, I danced a lot, and we used it. When the me too thing started, we looked at each other, said, me too.

[A]

I know.

[C]

And then we talked about it and, you know, we both said, oh, my God, if we'd had this when we were coming up, you know, but we both said the same thing. We both knew when to say no. I knew when it was going to be not good for me. So that was it, you know?

[A]

But I feel you when my generation kind of looks at the generations below and notices the things that they don't put up with anymore, and it really makes you take stock of the stuff that you put up with that you.

[C]

Did put up with.

[A]

Yeah, yeah. Yeah. Who's your favorite dancer?

[C]

Jacques d'. Ambois.

[A]

Oh.

[C]

And I've seen him dance up close. I mean, you know, real. Not just television and film.

[A]

You have.

[C]

I saw him. He was a guest at a theater in. I guess it was Kansas City or. No, Dallas, too. All these big theaters. I worked a lot in those, and he was doing a leading role in one of them, and I saw the rehearsal of it.

[A]

Wow.

[C]

But I just think his career. I mean. And he's still going. He is. He has.

[A]

How old is he now?

[C]

A group. Well, I'm sure He's in his 80s or 90s now.

[A]

Everybody's in their 90s now, right?

[C]

Yes, they are. I'm glad you said that.

[A]

It is really true. So many people in there, nonagenarians, they're.

[C]

All living so much. I mean, you can't get rid of it.

[A]

It's fantastic.

[C]

I mean, it's.

[A]

I mean, there are. There's so many people in their 90s now. It's fantastic. I mean, you know, my. My dear friend who passed, Norman Lear. Oh, yes, yes. He made it to 101. And he. And Carl Reiner and who passed. And Mel Brooks, who's still. Like, there's just a lot of.

[C]

I mean, it's almost like. To 100. Okay.

[A]

I mean, do you want to make it to 100?

[C]

Oh, sure. Yeah.

[A]

Yeah. That's a great number to make it.

[C]

To my agents say I'll still be working, so. I don't know about that.

[A]

I know you love Singing in the Rain. You also love Gene Kelly, too, right? I know.

[C]

I loved his dance.

[A]

Me too. I loved him as a dancer.

[C]

I think it's some of the best dancing. And I love Donald o'. Connor. I thought he was. His dancing was rather underrated, really. I think he was so much better than many people realized. And Debbie was good. Debbie was very good in it. Yeah, they all were. And that wonderful woman who was so funny, who played the actress.

[A]

I have a laptop. I can find out who it is.

[C]

Look, I can't remember her name.

[A]

I mean, I can't. June. I can't remember anybody's name. So Singing in the Rain, she played.

[C]

I can't remember her character name, but.

[A]

It was the actor Jean Hagen.

[C]

Jean Hagan, Yes. She was so funny.

[A]

You grew up in the Midwest and people think. I grew up in the Midwest. Cause I did a show that took place in a fictional town in Indiana. But what I love about people from the Midwest is a real sense of community and forthrightness. Do you think that that is true? Do you find that to be true?

[C]

Yeah, I think the forthrightness is. I think, because everybody just sort of always says what they say. Yeah, I think it's true. Yeah, I think they do. Even to the detriment of perhaps the person listening. But they say it.

[A]

Yeah, I think that there's a straightforwardness that is. That's very nice to be. I find it very nice to be around. Do you find, like, as. Like in your life, did any of that Midwest stuff travel in any of.

[C]

Your work or the. Oh, very much so, yeah. I think it did very much. I think there's a stick to itousness, and I think that that's very Midwestern.

[A]

Agree.

[C]

I mean, it's like you've got a job, so you do it. And no matter what that job is, if it's yours, then you have to do it.

[A]

I spent some years in Chicago. I just feel like. Yeah, there was a sense there of. Of exactly what you just said. One foot in front of the other. There wasn't a ton of, I don't know, complaining.

[C]

You don't complain. You just do what you're supposed to be doing.

[A]

Do you feel you do that?

[C]

I think I do. Yeah. I think that's something that has been a part of me. And we were very far south. We were on a line with St. Louis, Missouri, which is considered a Southern city, really. And and my accent, I still had a Southern. I probably still do have a Southern sound. And they tried to take. I remember when I went to the Cleveland Playhouse, one actor went out of his way to take the Midwest Southern out of my voice, and he did, for the most part.

[A]

Interesting.

[C]

So by the time I went into New York, it was more, you know, it wasn't as Southern.

[A]

It was like voice. Voice lessons to flatten that out. Yeah. Or not flatten it out. Maybe take.

[C]

Not flatten it out.

[A]

Yeah.

[C]

Lehman. Which one? Lehman. That's lemon. Gotcha. Lehman.

[A]

Lehman Brothers.

[C]

I had lemon in my tea. Lemon.

[A]

Lemon.

[C]

Lemon.

[A]

Oh, that's a good one. Do you remember any other ones, Lehman.

[C]

Let's see.

[A]

I know with my Boston accent, I had a hard time when I would do. When I would. And I had to say it a lot on Parks and Rec where I had to say the word I still have to swallow before I say it. Government.

[B]

Government.

[A]

Something about my Boston accent makes me want to say government.

[C]

Oh, yes. I get rid of that.

[A]

But it's government.

[C]

Government, government.

[A]

That was a hard one for me. And when you get. Does your accent come back at all when you're with people?

[C]

If I get tired, it does, too. I get very Southern if I get tired. Picture, picture, picture. Yeah, that's another one.

[A]

Do you like doing accents? Are you good at that?

[C]

I don't. I'm not great at accents. And supposedly, if you have a Southern accent, it's harder for you to do accents. Ooh. I don't know why. I think it's the slowness that you're. I don't know, but I've been told that or read that or something.

[A]

Have you ever had to do an accent in a film or a part that was challenging?

[C]

Yeah, I do. I can do Irish fairly well. I've done that on stage and in film, but I'm just not. I don't have that kind of ear.

[A]

I really don't know what you mean. I think you either have it or you don't. It's amazing to watch. Like, real mimics, people who can pick it up fast.

[C]

And I mean, you know, it amazes some people could just read and do it. I mean, you know. Oh, what do you want? Polish? Okay. I mean, I can't do that. I mean, I can't do it if I work at it a long time, but you can't just throw something like that at me or. I can't.

[A]

I won't. I'm not gonna throw it at you.

[C]

Oh, good.

[A]

We're Gonna do the rest of this interview, and we're gonna pretend we're French.

[C]

French. Okay.

[A]

Having come from musicals, are you hoping to do more musical stuff? Like, do you wa. Have you been able to do anything musical lately?

[C]

I did a Glee, and I think I did three numbers in it.

[A]

What did you sing?

[C]

Do you remember Memories from Cats? Chris Colfer and I sang that.

[A]

You guys are buddies?

[C]

Yes, we are. Heavy duty buddies. And we did another. I can't even remember what numbers it was, but Memories was the big one that we had.

[A]

What's so great about Chris? What do you love about Chris Colfer? He seems like a peach.

[C]

Well, I met him on Glee, and he had written the script and was doing the lead, and it was Peter Pan, and I was playing Wendy. It's a whole story. But anyway, so we worked together so closely, and I think we were shooting. It was big scenes, and I think we shot like a week and a half or two weeks. It was a long shoot. And I just sort of got to know him and liked him a lot. And so we started then having dinner together. And he has a great partner, Will Sherrod, who I adore, too. So it was just, you know, great fun.

[A]

What do you get. What do you learn from and get out of people who are younger than you? Because, I mean, as an older person, I feel like what happens is people want to ask you for a lot of wisdom.

[C]

Oh, no, no. They know they're not going to get it, so they don't ask that at all for me in any way.

[A]

Yeah. And I feel like people really project on that, on people that are older, that they have something they want to share. When in my experience, younger people teach me stuff all the time. Like, I learn a lot from them. What do you learn from people like Chris and your other. I know you have a lot of younger friends.

[C]

Yeah. I don't know. I mean, I just. If I like someone, I don't think I ever think in terms of how old they are, you know, if I feel an affinity, you know, that there's something here that I want to be more a part of, you know?

[A]

Yeah.

[C]

I mean, why would I tell anyone what to do?

[A]

Well, because I think people in their 90s are treated like astronauts. I think people are like, you've got to go somewhere. You're there, and what are you bringing back? I think people really. I mean, people were all afraid to die. Mortality is the thing we're obsessed with. And when people are in their 90s, I think there's some people Wanna know the secret? They think you've got something in your pocket.

[C]

Well, I don't think any of my friends feel that. Let's just put it that way. We're sort of on an even keel, you know, keep me happy or forget it.

[A]

What age do you feel you are?

[C]

35. I always feel I'm 35. I don't know what I felt when I was younger than 35, but as I got older, I kept referring back to 35. I don't know why.

[A]

I deeply remember my 35th birthday too.

[C]

Do you? Yeah, maybe.

[A]

Where were you when you were 35? What year was that? Where were you?

[C]

Well, I was in New York. I don't know. I don't remember why 35 is so important. I think it's because I remember my mother at 35. There was something very grand about her at 35, which I did not always find as she got older or even younger than that. But somehow my mother at 35 was.

[A]

I agree with you that when we meet people, I feel like we meet them and we meet very old, wise 25 year olds and we meet really like all over the place, hectic 95 year olds. We meet all of those people. Like age doesn't have a lot to do with where you're at.

[C]

No, it really doesn't.

[A]

Yeah. This episode is brought to you by Uber eats. Big news. Aldi is now on Uber Eats and you get 40% off your first order with code NEWALDI25. So whether your fridge is empty and you're too tired to shop or you just ran out of essential ingredients in the middle of meal prep, don't worry. Fill your fridge in just a few taps and get 40% off your first Aldi order on Uber Eats. For orders over $30, you can save up to $25. Ends December 31st. See app for details. This episode is brought to you by Happy Egg. A happy hen makes a happy egg. And what makes a hen happy? Well, Happy Egg partners with family farms across the midw. Happy hens outdoors so they can run, stretch and flap their wings in the sunshine. And I know what you're all thinking. You're thinking, where's the proof, Amy? Well, the proof is inside the shell. A tasty orange yolk. It's the difference you can see and taste. Visit happyegg.com amy to find Happy Egg near you and crack open happy. This episode is brought to you by Cars.com. your car can say a lot about you. Are you urban or outdoorsy? Flashy or sleek? Always moving Occasionally cruising. Let your wheels do the talking. And when you're ready for something new, there's a car that's you, too, on cars.com with up to 50,000 cars added daily and over 2 million cars to choose from, find your Next possibility on cars.com where to next? It makes me think about what we're talking about. Kind of makes me think about what we worked on together. This film, Inside Out. Inside out, too, because it's kind of. There's some themes in there, too, about the idea of time passing and for people who haven't recognized June's voice yet as they've been listening to it. But you played nostalgia.

[C]

Nostalgia.

[A]

What I loved about nostalgia, when she comes in and she's drinking her tea, is that it's kind of Buddhist, what nostalgia does. Because nostalgia kind of says, remember, remember. Basically, remember when we were all getting along. But she keeps coming in during chaos to kick everybody back to, let's just take a minute and remember. Which is like. It feels very like. I don't know.

[C]

But they keep pushing her out all the time.

[A]

I know. It's kind of interesting why they don't want to get nostalgic in that moment. What is your relationship? Are you a nostalgic person?

[C]

Not terribly.

[A]

Yeah.

[C]

I'm really not.

[A]

Yeah.

[C]

I've always been like, what's gonna happen? Even as a young person, I was like that.

[A]

Yeah. What's next?

[C]

Yeah.

[A]

Yeah. And do you think that's one of the reasons why you've worked so much and had such a long career as you've been thinking about it, I think.

[C]

It probably has a lot to do with a career. Yeah.

[A]

Yeah.

[C]

And the working so much. I mean, you know, when I started out, I wouldn't have done anything. And I think you have to. I think when you're just starting, you know, either out here in Hollywood or in New York, wherever you are, or Chicago, because there's a big group there, you have to do everything. You can't say no to anything because it's working, keeping that thing going that is gonna save you.

[A]

Well, I know you describe yourself as a character actor, and I love the way you talk about how you approach. You're obviously done these amazing films in which you've led them and been number one on the call sheet and been nominated for awards, and you've done so much work where you have been part of an ensemble, part of a. Like. And you talk a lot about how you treat them the same.

[C]

I do, yeah. Why? Well, I. To be honest with you, I Feel if I'm doing it, it's the most important thing in the film. I've always felt that. And that just carries through. I mean, you know, and I think, too, you know, you've seen films where somebody comes in and does one scene and you, wow, who's that? I mean, you just don't know.

[A]

Yeah.

[C]

And I just. I like the work. I enjoy doing what you do to get it up there on the screen.

[A]

When you worked on. Your performances in About Schmidt and Nebraska are so good. Your Thelma is so great. You and Fred are so great in that together. And then Eleanor the Great. When you work on films like that, with directors like. And you've got. You've memorized your script, do you like to come in feeling like you know who you are already, or are you hoping that that gets kind of shaped as you're working?

[C]

I think it's more shaped as it goes on. You know, I think I know a lot, but I also work with no idea of what I'm gonna do. I have none.

[A]

Yeah.

[C]

So what happens is. What happens hits me, and then that's how I react.

[A]

Who are some of your favorite scene partners? People where you felt like you were in the scene with them and there was a vibe that was really working.

[C]

Well. Richard Rowntree and Fred in Thelma, I think they were both kind of amazing.

[A]

Yeah.

[C]

And Eleanor, Erin as the young girl. We have so much together, and, well, Jack Nicholson, I mean, he was so great and so wonderful to work with, and he always made me feel like a peer. He never once.

[A]

Well, he better. You are a peer.

[C]

Yeah, well. But, you know, I came in and he could so easily have been, I'm Jack Nicholson, and you're not, you know, one of those. And he never, ever. I appreciate that so much with him.

[A]

Love to hear that. Did you ever have a young actor in their first role or film and you thought, oh, they're very good, and then see them, you know, ascend over? Like, does anyone come to mind?

[C]

I did Scent of a Woman and. Oh, God, what is his name?

[A]

We can look it up. We've got Al Pacino, Chris o', Donnell, Philip Seymour Hoffman.

[C]

Philip.

[B]

Wow.

[C]

It was so funny because I had a scene with both Chris and Philip, and I came home and I said, boy, I just worked with this young kid, and he is gonna be so big. I said, this kid's gonna be a star. I knew it immediately. And I really don't do that very often. I mean, I don't.

[A]

What did you see? What did you Remember seeing in him.

[C]

I don't know what it was. There was something about him. And he was never, like, standing out. He was always a part of. He and Chris, he and the other boys. You know this. I mean, he did push anything. He was amazing. But you knew. I knew just the minute I worked with him.

[A]

He was such a talented actor. Did you get to work with him again?

[C]

No, I never did. They used to tease me because my character's name was Hunsacker, so they called me the Hun. And they would tease me all the time. And we lived in this motel, all of us, because we were shooting outside of New York, and he and Chris constantly were trying to get me to go have booze and beer in the bar downstairs. And I would go once or twice, but I was a big Knicks fan, and so I would sit there watching the Knicks, and they'd be up at the bar drinking.

[A]

Yeah. Are you a basketball fan?

[C]

I am.

[A]

You're a big sports fan in general?

[C]

No, not hugely. I played basketball in high school and I loved it, and I started watching the Knicks when I lived in New York.

[A]

Were you a guard? I mean, you don't have the height.

[C]

I was a guard. I was a guard. I could have stopped anything. I was really good at it.

[A]

That's cool. Wow. And were you a sporty kid?

[C]

Were you? Yeah, I ran. I was pretty good runner. And the tumbling, you know, that you do in the gym? I was a cheerleader. You had to be sort of sporty for that. Yeah. And a drum majorette.

[A]

Yeah.

[C]

And they're all sort of sporty, more or less.

[A]

And like in your, you know, 70s, 80s and 90s. What are you? How do you stay? I mean, you're very physically fit. What do you do?

[C]

I do Pilates once a week for.

[A]

An hour on the Reformer.

[C]

Or on the floor. Yeah, some on that, but some just stretching and weight stuff.

[A]

Yeah.

[C]

I have two different massagers, masseuses. And I try to walk. I try not to just sit all the time.

[A]

Now, you have a. We spoke a little bit about your late husband, who was an acting teacher and who taught. I thought this was really wonderful. Taught, worked with Margo Martindale's husband. And you and Margo were neighbors.

[C]

Neighbors.

[A]

And still remain very good friends. And Margot is such a terrific actress.

[C]

She's heaven.

[A]

And is this a true story that she got the script for Nebraska Nebraska?

[C]

Yes, it is true.

[A]

What's that story?

[C]

I was coming out of my apartment and she was coming out of hers, and she said, hey. She said, have you heard about this new film, Nebraska? And I said, no. And she said, you've got to tell your agents about it. She said, you should be doing this role. And she said, they sent it to me, but she said, I'm too young. She said, I really am too young. And she said, it's a wonderful role. So that sort of started it. And so I talked to my agents about it, and they kept up. And since I had already done About Schmidt with Alexander, and the thing was that they didn't. Alexander and the casting director both thought I was wrong for Nebraska. And I said, they think I'm that little lady from About Schmidt. And that's exactly what it was. And my agents kept at them to the point where they finally said, have her send. You know, we'll send the script or send some scenes and have her send a tape in. So that's what happened.

[A]

Wow.

[C]

And Alexander again said, the minute I saw it, I knew you should do it. But he said it was so funny because for About Schmidt, he had cast it from somebody out here. And I was in New York, and my agents kept pushing me, pushing, pushing me. Finally, they again said, just tell or to send a tape in. I'm sure they thought that would be the. And Alexander told me, he said, I saw that tape and knew you had to do it.

[A]

Well, we do this thing on this podcast where we have people talk to me before I talk to the guest and give me a question to ask. And we kind of try to talk well behind people's back. So I was talking with Will Forte earlier. Isn't he a greatest? I adore him and he adores you.

[C]

Yes.

[A]

And he was on set of a new movie and a trailer, and we got him on zoom to tell us what it was like working with you. And then just to give you a question. To give me a question to ask you. What was it like working with Will?

[C]

Oh, he's great. And he was so scared because, you know, he kept saying, I. I'm a comic. I'm a comic. And we all know you're an actor now. Will just shut up and do it, you know, and so that, you know, he was wonderful.

[A]

He was so great.

[C]

Oh, God. And then he was. He went to Cannes the first time I went. He and I and Bruce Dern. Yeah.

[A]

What was it like working with Bruce?

[C]

Oh, Bruce is great. This is one hell of an actor. He really is a great actor.

[A]

Yeah, you guys were great together.

[C]

Yeah.

[A]

So Will wanted me to ask you. This was his question for you, and he wanted Me to tell you, June, I love you. I love everything about you.

[C]

You.

[A]

What is your favorite food? And could you tell us about it in song?

[C]

So.

[A]

No. No pressure, Jean.

[C]

Well, my favorite food are papusas. I have a. I have a cook who's from one of the islands that her mother makes papusas for me all the time.

[A]

Sounds like a good title of a song. Let me see.

[C]

Papooses. Papusas. Papooses. I love you. Yes. There will forte one of the lost.

[A]

Songs from South Pacific. Oh, that's beautiful. That's like the new Peaches song that Jack Black sang. So the other thing wanted to ask you about is I'm the mother of boys. You have a son and he is in the business too, right? Writer, director. What was it like? You know, you were a working mother in the 70s? What was it like being a working mother in the 70s? It's much different.

[C]

Well, he was born in 70s.

[A]

He was born in 70s.

[C]

So you.

[A]

Yeah. So 80s, I guess the 80s. What was it like?

[C]

Well, by then he was, I think, at high school, so. So he was pretty, you know, in New York, he was pretty loose. Oh, yeah?

[A]

You guys were in New York? Yeah. Do you ever work together? Do you?

[C]

Yes, I did some films for him. I did in New York and out here, both. And, gosh, he was. I don't know, it was just a little family of three, you know, and I went off, but he had his dad there always and.

[A]

And your ex husband, Charles was an acting teacher. Did you work with him on your stuff? That must have been really interesting. What did you learn from him?

[C]

Well, everything, truly, because my work as a performer really in musicals, I mean, I considered myself pretty realistic, and I was considered one of the more realistic actors doing musical theater. But Charlie, when I met him and we met doing a musical in stock, and he said, you could be a really fine actress if you really knew what you were doing. And he was right. I mean. And I remember going into his class and it was hard because, I mean, it was like tearing down everything that I believed or thought I was doing, you know, and to put something else in there and. And I was crying and he was yelling at me, and all the kids in the class were laughing. They thought, oh, this is pretty funny. So we went through this awful screaming and yelling and everything. But, I mean, truly, I wouldn't be doing what I'm doing if it were not for him.

[A]

Well, honestly, it seems very passionate.

[C]

It was. I mean, he was determined, almost more determined than I was to do It. He was determined I was going to do it.

[A]

That must have been nice to have someone in your corner like that.

[C]

And it was interesting because we worked together then for years, and I was auditioning for a regional theater, a script that I liked a lot and wanted to do, and he always helped me at home. And I said, you know, I have this audition. He said, I'm not going to help you. And I said, no, I need help. And he said, no, you know what you're doing, you do it.

[A]

This is a very exciting foreplay that you're talking about.

[C]

No, it wasn't. It was like, you know. But we kept. And then I got the role, and I said, you've got to help me. He refused again. He died about six months later. Wow.

[A]

Do you think he knew?

[C]

I think he knew somehow that he had to, like, push me out of the nest is what he did in June.

[A]

That's wild. He sensed something.

[C]

I think so.

[A]

So do you feel like in the early days you were kind of dependent on his.

[C]

Oh, very much so, yeah. I couldn't. I felt, you know, I couldn't do it if he didn't help me set me straight.

[A]

Yeah.

[C]

And he just. And that was. He just refused, and he never once helped me after that.

[A]

And how old were you when he passed?

[C]

99. 1999.

[A]

Right. So how old?

[C]

I have no idea.

[A]

I mean, I can't do that much.

[C]

We'd have to do that.

[A]

I mean, let's not do it. Let's not even try. That's outrageous. And did your. You ever consider dating or did you date after that?

[C]

I did date a little bit, but I dated a little bit in New York, and I dated some out here.

[A]

What's dating like in your 80s?

[C]

Not very interesting. It really wasn't. Yeah. You know, nobody came along. That really excited me, and I was working all the time, you know, so it just sort of went by the wayside.

[A]

Well, you know, and I mean, do you feel like what. Like, I ask a lot of my guests this, but you have friendships now, especially female friendships that probably, you know, they span many decades. What do they continue to do for you, even, you know, into your 90s?

[C]

Well, I think mentally, I think without them, I would, you know, I need that, I think, the mental push, the mental excitement.

[A]

Yeah, yeah. And someone who kind of knows your story. Yeah, yeah, yeah.

[C]

And we still. I mean, I have two female friends that I'm very, very close to, and I see them all the time, so it's great.

[A]

Yeah. What are you doing right now, what do you listen to? Watch. Read. That makes you laugh, you know, when you want to laugh, when you want to check out.

[C]

Well, I watch Saturday Night Live or what do you. Oh, yes.

[A]

Every week.

[C]

Not every week, but a lot.

[A]

So good. Who are some of your fave performers on that show right now?

[C]

I love Colin. I mean, I just think he and Michael Che together just knocked me out, but.

[A]

So you like sketch comedy?

[C]

Yeah, yeah, yeah. And I did it, you know, so I really sort of. I have a thing. I understand it, you know.

[A]

Were you a big, like. What kind of shows did you like in the comedy? Were you like a Monty Python fan? Were you.

[C]

I love Monty Python.

[A]

Laughing.

[C]

I liked laughing.

[A]

Yep.

[C]

Buzzy was a really good friend of mine.

[A]

Ruth Buzzi was a friend of mine.

[C]

We worked together in reviews in New York. Actually, in Provincetown.

[A]

Tell me about that. What was Ruth Buzzy like?

[C]

Well, she and I worked in the same little group.

[A]

I love that you called her Buzzy. Yeah, yeah. Sorry.

[C]

That's what everybody calls.

[A]

I didn't know that. I always called her Ruth Buzzy.

[C]

Ruth, Ruth. Oh, Buzzy. Buzzy. And so we worked together. We did a ship. We did a cruise ship together, and we did some nightclubs in New York together. And then she had gone to Provincetown the year before and they needed someone the summer coming. It was a summer job. And she suggested me. So they talked to me and then they hired me. So we had the whole summer together.

[A]

Oh, that's fun.

[C]

Yeah. Do you ever watch the Neighborhood? That to me is with Max Greenfield. Yes.

[A]

And Cedric.

[C]

Yes, yes.

[A]

So funny.

[C]

They are funny.

[A]

They are really funny. Max is so funny. And I used to watch Cedric the Entertainer. He used to be part of those, like, comedy def jam where there'd be like a bunch of standups together. And he was so funny. That's a good thing.

[C]

I'm amazed at him. I watch him on the show because of how he. He knows he's going to do it and it's comedy, but he's just sort of of like. I don't know. He's wonderful.

[A]

Did you ever see that Got arrested on stage.

[C]

Oh, I know who you mean.

[A]

Okay, let's play this game. Let's see how long. Okay, I heard that for memory. You shouldn't look things up. You should try to visualize putting. Okay, we're going to do it putting the Lenny Bruce.

[C]

Lenny Bruce.

[A]

Got it, dude. Lenny Bruce.

[C]

Oh, I didn't see him in Chicago.

[A]

I knew you would see him. What was that like? Do you remember Seeing him.

[C]

Yes. I remember that. Everybody. Oh, you know, because he would say these things. Yeah.

[A]

He was an interesting guy and that. And, I mean, I think that's going back to where we started our conversation. There's something about. I would have loved to have been. And it must have been so cool to have been in the city during that time in the 50s and 60s, when everything was just starting to unravel in an interesting way.

[C]

You know, I keep this thinking. I can remember being worried about things, and again, it passed. And I hope that's what happens with us now. It, too, will pass, but I don't know. I don't know.

[A]

Well, I think that is the one thing that a long life gives you, is you get to see.

[C]

I've seen a lot pass. Let's just say this.

[A]

Yeah. Yeah. I love our time together. June, thank you for coming and doing this. Thank you. It's been so great. I mean, I just. I think you're such an incredible talent.

[C]

Thank you.

[A]

And I'd love to be your friend. And I know this is awkward, but I tend to bully people into being my friend.

[C]

So you don't have to bully me.

[A]

Okay. So if you would accept the invite.

[C]

I would to, like, love it.

[A]

I would love to be considerate. I'd love for us to be new friends.

[C]

Yeah.

[A]

And I know it's awkward. I'm asking you on this podcast. I mean, what are you going to do? Say no? What? June just hands me. June hands me her card, and it's just 555. 555.

[C]

I'll call you next week.

[A]

Thank you so much for doing this. Dude. This has been the best. I hope you had a good time.

[C]

I did. I had a great time.

[A]

Okay, great.

[C]

And I got a mocha.

[A]

Oh, gosh, your mocha. We didn't even sip it. Sip some of that mocha. It's gonna be watery now.

[C]

It's still good.

[A]

Thank you so much. June Squibb, my new best friend. You heard it here. She can't take it back. We recorded it. June, you're the best. So such a great artist and person. Thank you so much for coming in. And June talked about a lot of exciting musical theater. So for today's polar plunge, I just want to. Want to just take a moment to say that west side Story was so important to me as a young person and that being able to even picture the original musical and seeing it on stage in its first week or two that June talked about, I just. I don't know if you haven't seen the film. Watch it. I'm sure there are productions, local productions happening right now. The original film with with from the 60s is so beautiful and the music is so beautiful. And I'm sure we can't afford to sing this, but I would like to.

[C]

Say and everything is. I am too.

[A]

Anyway, thank you for listening and see you soon. You've been listening to Good Hair. The executive producers for this show are Bill Simmons, Jenna Weiss Berman and me, Amy Poehler. The show is produced by the Ringer and Paper Kite. For the Ringer, production by Jack Wilson, cat Spillane, Kaia McMullen and Alaya Zaneris. For Paper Kite, production by Sam Green, Joel Lovell and Jenna Weiss Berman. Original music by Amy Miles.