Brett Goldstein

Summary

Where Everybody Knows Your Name with Ted Danson and Woody Harrelson (sometimes)
Episode: Brett Goldstein
Release Date: June 11, 2025

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Introduction

Ted Danson welcomes listeners to the podcast and introduces the episode's guest, Brett Goldstein, a multifaceted talent known for his role as Roy Kent in "Ted Lasso", as well as his work as a stand-up comedian, podcaster, and playwright. Ted expresses his excitement about Brett's new HBO Max stand-up special, "The Second Best Night of Your Life".

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Tribute to George Wendt

Early in the conversation, the hosts pay tribute to the late George Wendt, a beloved actor from "Cheers".

• Brett Goldstein [03:04]: "I'm very sorry for your loss. He was, I know, from Jason, all wonderful stories, but he was also individually so lovely to all of us at Ted Lasso."

• Ted Danson [03:57]: "I have a big old hole, and I haven't started to process it. I feel totally complete with George, so I don't have any regrets."

They reminisce about George's kindness and his impact on both their lives and careers, highlighting his generosity and the joy he brought to those around him.

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Brett Goldstein's Career and Stand-Up

Brett shares insights into his career trajectory, emphasizing his journey from acting to writing and stand-up comedy.

• Brett Goldstein [26:33]: "Before any kind of performance, acting, writing, what were you doing? How old were you when you went, oh, wait a minute?"

He discusses his early passion for storytelling, influenced by his parents, and his initial forays into acting with roles like a suspected pedophile in "The Bill". Brett highlights how stand-up comedy transformed his career, allowing him to break away from stereotypical roles based on his appearance.

• Brett Goldstein [28:10]: "I started stand up, and everything changed. Before that, I was always getting auditions for terrorists because of my face."

Ted praises Brett's stand-up, expressing his desire to watch it together.

• Ted Danson [06:12]: "My dream would be to sit next to you, literally, and watch it together and do a running commentary on it. It is just wonderful."

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Discussion on Fame and Public Perception

The conversation delves into the complexities of fame, especially transitioning from a cult classic like "Cheers" to contemporary success with "Ted Lasso".

• Brett Goldstein [13:52]: "It was very surreal. Our whole world changed kind of overnight because it was like the last time I went outside, people didn't stare."

They discuss how sudden recognition can be overwhelming and the challenges of maintaining one's identity amidst public perception.

• Brett Goldstein [15:16]: "People are just looking because they see the thing. It isn't because they want to fight."

Ted shares his struggles with processing fame and emphasizes the importance of staying grounded.

• Ted Danson [03:57]: "I feel totally complete with George, so I don't have any regrets... I actually may tear up, but the truth is, I am."

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Writing vs. Acting

A significant portion of the episode explores the distinction between writing and acting, with Brett advocating for the intimate connection between the two.

• Brett Goldstein [30:07]: "Writing is just like a private version of acting with acting. It's like an act of empathy."

Ted contrasts this with his own experience, focusing on his role as an actor and his lack of interest in storytelling.

• Ted Danson [31:56]: "I don't have to tell a story. I have to fill that moment in your story."

They discuss the collaborative nature of a writer's room and the creative dynamics involved in crafting a television series like "Ted Lasso".

• Brett Goldstein [35:17]: "It's like group therapy... keep the ball going."

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Relationship with Mary Steenburgen

Ted opens up about his relationship with Mary Steenburgen, discussing the dynamics of working together as a couple in the entertainment industry.

• Ted Danson [40:38]: "We met on a film... You check your ego at the door."

• Brett Goldstein [42:42]: "I love it. You can tell a story."

They share anecdotes about their on-screen chemistry and the challenges of maintaining a personal relationship while collaborating professionally.

• Ted Danson [43:48]: "We consider it divine. We have angels that are putting us together."

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Favorite Films

The hosts exchange their favorite films, highlighting the impact of storytelling and cinematic craftsmanship.

• Brett Goldstein [55:06]: "I think the Muppet Christmas Carol is the best film. It's the story of therapy... it's a great story."

• Ted Danson [57:57]: "Lawrence of Arabia. I had to work with Peter O'Toole."

Brett praises the depth and emotional resonance of "The Muppet Christmas Carol", while Ted reminisces about his experiences working on "Lawrence of Arabia", sharing a memorable story about Peter O'Toole and Omar Sharif performing the twist dance in a wine cellar.

• Ted Danson [60:36]: "Peter O'Toole and Omar Sharif... doing their version of the twist."

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Closing Remarks

As the episode winds down, Brett and Ted share heartfelt moments, expressing mutual admiration and gratitude for their friendship and professional collaborations.

• Brett Goldstein [61:06]: "This is a huge honor to meet you, and I've had a lovely time."

• Ted Danson [61:10]: "Brett Goldstein just gave me a hug and left the room, and I had the best time."

Ted wraps up the episode by promoting Brett's stand-up special, encouraging listeners to watch "The Second Best Night of Your Life" on HBO Max.

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Notable Quotes

• Brett Goldstein [03:04]: "George was so very, very kind. And we saw him a few times over the years, and he was nothing but lovely."

• Ted Danson [07:18]: "You don't mind being told that you are loved... I find it very calming."

• Brett Goldstein [16:35]: "When writing is good, you're seeing if it works or not. Whereas with acting, it's so ephemeral and captured."

• Ted Danson [43:30]: "We both came from other marriages... we both realized we were not capable of being in a relationship."

• Brett Goldstein [51:03]: "A Christmas Carol is the greatest story ever told... it's the story of therapy."

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Conclusion

This episode offers an intimate glimpse into Brett Goldstein's journey in the entertainment industry, his experiences with fame, and his creative processes. Ted Danson's reflections on legacy, relationships, and storytelling provide depth to the conversation, making it a rich and engaging listen for fans and newcomers alike.

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Note: This summary excludes advertisement segments and non-content sections to focus solely on the meaningful discussions between Ted Danson and Brett Goldstein.

Transcript

[Ted Danson]

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[Brett Goldstein]

It's okay. There's a lot going on at the moment.

[Ted Danson]

No, I'm an airhead. Welcome back to where everybody knows your name. Today's guest is a magnificently talented actor, stand up comedian, podcaster and playwright. Much, much more. Brett Goldstein is his name. And if you're a huge fan of the other Ted and I mean Ted Lasso, you know Brett for playing the footballer Roy Kentucky. He also has written on that show and others, including Shrinking on Apple TV and Soulmates on amc, both of which he co created. Brett has a new stand up special on hbo, Max. It's called the Second Best Night of youf Life. And I cannot wait to talk to him about it. So let's get into it. Please meet Brett Goldstein. Hi. Hi, Brett.

[Brett Goldstein]

Ted dancing.

[Ted Danson]

Can we not pretend that we didn't just start a conversation about George Wendt?

[Brett Goldstein]

Yeah, you would. Just for a while.

[Ted Danson]

We don't. Yeah, I would. Just for my sake. And I know that you know and work with Jason Sudeikis.

[Brett Goldstein]

I was. We could tell the listeners. I was with Jason in the Ted Lasso writers room when the news came in of George's death, and Jason and the writers sat and watched, like, compilations of the best of Norm and told stories. And, I mean, I'm very sorry for your loss. He was, I know, from Jason, all wonderful stories, but he was also individually so lovely to all of us at TED Lasso because he came to the premiere and he'd be like, he did.

[Ted Danson]

Oh.

[Brett Goldstein]

And he'd be like, you'd get a thing saying, george wants to meet you. And he'd be like, what, George? And you'd go over and he was so generous with all of us. Is so, like, complimentary and lovely. And you're just like, I can't believe. I can't believe I'm talking to him. You know, he was so very, very kind. And we saw him a few times over the years, and he was nothing but lovely. So I'm very sorry. How are you doing?

[Ted Danson]

Sorry, I think I'm fine. And I have a big old hole, and I haven't started to process it. I feel totally complete with George, so I don't have any, like, regrets. And we were able to. Woody and I were able to sit down and have this great conversation with him early on with his podcast. Some of it's private, but I had just seen Bernadette recently. So anyway, I was in the middle of working and I had to kind of squelch, had a little cry and then had to, like, move on. So I haven't really caught up with it, but I actually. So when you ask me something, I may tear up, but the truth is, I am. Oh, my God. What an amazing man. What a funny, unbelievable actor. You know, I could sit there and watch and laugh and will continue to for a very long time. So celebratory is called for as well. Even though I will miss him and I can't imagine what it's like for Bernadette and his kids that I can't touch in my imagination. But there's so much love.

[Brett Goldstein]

It is quite a lovely thing to. I mean, to have as good a reputation as him as well, aside from all the work and all the joy that he brought people. No one has a bad word. There's no, like, he brought joy to people on screen, on stage, and in meeting. You know what I mean? It's quite something.

[Ted Danson]

Very much so. So I guess not to wrap it up like we have to, but is I'm gonna go watch him and let him make me laugh like he always has and always did. But thank you. Thank you for at least, you know, Getting that, because I'm. I've been working a lot, kind of tired, and my skills for being full of shit are less than.

[Brett Goldstein]

That's good. That's all right. Yeah, I prefer that.

[Ted Danson]

Okay, here's.

[Brett Goldstein]

Yeah, yeah, you could.

[Ted Danson]

Here's a stupid thing, because, you know, obviously, I know you from your work, Ted Lasso, which just took this country and the world by storm, and read a little bit about you and all that. But then today, because you're coming, I. You know, I got to get clips and things, and I thought, well, I'll just look at his. Stand up, Brett. Stand up for. So I can be intelligent about it. The entire thing. I just turned it off a few minutes ago, and my dream would be to sit next to you, literally, and watch it together and do a running commentary on it. It is just wonderful.

[Brett Goldstein]

Just brilliant dancing. What a thing to say.

[Ted Danson]

And the number of times I went, oh, that's a little bold. And I totally agree with them. You know, silly things like musicals, they're wonderful plays, fun to do, boring as batshit to watch. And I'm going, yes, but too guilty to admit it, you know?

[Brett Goldstein]

Yeah. You're not allowed to say that, especially if you do them. I really appreciate you watching it, Ted. That means an awful lot to me. I told you at the beginning, I don't know. I have listened to your podcast. I've listened to every episode, so I think I can.

[Ted Danson]

No, sorry.

[Brett Goldstein]

Seriously. But I also. What I have learned about you is you don't mind being told that you are loved. Like I said, I was sort of like, is he gonna be bored hearing what a fan I am? But I have listened enough to know that you actually like it.

[Ted Danson]

I find it very calming.

[Brett Goldstein]

Yeah. So we could do a bit of that, if you'd like. Cause I'm very happy to, but, I mean, you're a. I kind of am. I'm curious what it is like to be for the many years that you have, like cheers. I was 6, 4, but we watched every Friday in England. There was Cheers and the Cosby Show. Yeah.

[Ted Danson]

Yeah. We've reversed it here. I know we're trying not to talk about it, but. Brilliant. Brilliant. And the reason why cheers became top 10 was Bill Cosby in his show and all the actors.

[Brett Goldstein]

Yeah, yeah. And so you. Cheers was part of my life as a child. Then when I went to university, we watched it again. And, you know, my dad is. Is not in the greatest of health. And one of the. He still watches Cheers. Like, it makes him so happy, and he'll call me sometimes. He'll be like, I just watched the episode when. Da, da, da, da. And it's like this huge. Like, I don't. Sometimes when I talk about myself and acting stuff, I think it's like embarrassing, it's, you know, sort of shameful thing to do. And then when I think about you and what you have done over the years, I sort of go like, it's a service. Like you have. You have been a huge part of my childhood. My dad's mental health, our family sort of frame of reference, what brought us together every Friday night. Like, it's such a huge, huge deal. And I wonder what that is like to be the inside of. You know what I mean?

[Ted Danson]

Like, as in, well, it's an amazing kind of water to swim in in life. It's rare, it's privileged, it's misleading, it's all of that stuff.

[Brett Goldstein]

Does the mantle of it ever.

[Ted Danson]

Well, the mantle feels like, oh, oh, Mr. Danson, here, let us put the mantle on. As long as you go sit over in the corner and say goodbye sweetly and pass the baton and the ego in me is going, no, no, no, no, I haven't done it yet. Please don't give me mantles. Or, you know, can I just check.

[Brett Goldstein]

What does mantle mean? Because I said it and thought. I actually don't know what that means.

[Ted Danson]

It means I'm not looking for the joke, sorry, I'm not going to try to banter with you. You're so fucking smart. Mantle meaning, oh, look at all the work you've done. You get mantles when you're 70 plus and you're still working.

[Brett Goldstein]

Oh, I didn't mean it like that.

[Ted Danson]

What I meant was a yoke.

[Brett Goldstein]

What I meant was the like in some ways. And again, it's fucking silly. I mean, this real, but it sounds like you are an icon, as in, the image of you means a lot to a lot of people. Regardless of what you are like as a person, you seem to be a lovely person. But even if you weren't.

[Ted Danson]

Yes.

[Brett Goldstein]

The you as a person, the iconography of you makes people happy, makes them think of their family, makes them think of life. You know what I mean? What is it like to be inside the icon? And maybe on a bad day, what is that like?

[Ted Danson]

First off, I live with Mary Steenburgen, who is the most remarkable, wonderful human being in the world, and we're ridiculously in love and happy, but nothing makes her happier than to poke my balloon of ego and watch it pop and explode. And nothing makes Me laugh harder when she does it. So we're very. I'm with a very real person. So there's that.

[Brett Goldstein]

Yes.

[Ted Danson]

Then there's. I was raised to have false humility.

[Brett Goldstein]

Right.

[Ted Danson]

You know, I have British in me in the background.

[Brett Goldstein]

You've got some embarrassment of existence.

[Ted Danson]

Yeah, yeah. And. Oh, sorry. This is great. Here's my mom talking to my nephew when he first got a little video recorder and Cheers was just starting to become rock and roll. And he said, so, Jessica, my mom, how do you feel about Ted's, your son's success? He was, you know, the interviewer kind of guy at the moment, at age 11. And she said, well, I'm happy for him, but I've always been raised to believe in the nobility of quiet failure.

[Brett Goldstein]

Correct. Yes.

[Ted Danson]

Very Scottish.

[Brett Goldstein]

Very.

[Ted Danson]

Something very Celtic. Somewhere down there, I get that we're talking about an image that you have of me because you had a laugh, because I was in some funny moment that somebody wrote.

[Brett Goldstein]

Yeah.

[Ted Danson]

So I think once you're clear about what that fame is and enjoy it and make use of it, then it's all good. How about you? Because that must have been an explosion from writing and doing parts. But then Ted Lasso was just an explosion.

[Brett Goldstein]

Well, we had. I think we had a particularly sort of surreal experience because we went, other than Jason, everyone else in the cast were unknown, basically. And we made this show that we didn't think anyone would watch for many reasons. And one of them was it was on Apple tv, which was new. And every single person I knew, including myself, said, how do you watch Apple tv? So it's like, no one's going to watch this thing that we made. We made it. It came out while we were in lockdown. So, like, the world shut down. And then when we came out again, we were suddenly recognized in the street. So it was like something had happened. Our whole world changed kind of overnight because it was like the last time I went outside, people didn't stare, and you know what I mean? It was very surreal.

[Ted Danson]

It was really strange.

[Brett Goldstein]

Yeah.

[Ted Danson]

Pleasant. No. False humility. No.

[Brett Goldstein]

Well, it sort of freaks you out.

[Ted Danson]

Yeah, it does.

[Brett Goldstein]

I remember a story, and maybe this is wrong. Forgive me if I am misquoting this story. I believe that Marky Mark Wahlberg used to get in fights when he was first famous because people were looking at him and he'd be like, what the fuck are you looking at? But they were going, we're looking at Marky Mark. I felt a bit of that. I'd be like, in a scale, like what the fuck are you like? Because really, truly, truly. Because I'm still the same person. Nothing had changed for me, but the way that I was being perceived in the world was changing and it took a while to realize, oh, it's because they've seen the thing. It isn't because they want to fight. You know what I mean?

[Ted Danson]

John Krasinski is really good. If somebody fucks with them, he won't necessarily get in a fistfight, but he's more than capable of. But he will stop them dead in the tracks by being really smart.

[Brett Goldstein]

Right.

[Ted Danson]

And. But confront it.

[Brett Goldstein]

Yeah.

[Ted Danson]

And trying to clarify what that meant before I knock you out.

[Brett Goldstein]

Yeah. Yeah.

[Ted Danson]

Kind of thing. Do you have that energy? Did you grow up with that?

[Brett Goldstein]

I'm not saying that any of these people are trying to start a fight. I'm saying that these people are just looking because they go, oh, it's.

[Ted Danson]

But your reaction was, what the are you looking at?

[Brett Goldstein]

Yeah, because.

[Ted Danson]

Because you came from that.

[Brett Goldstein]

No, just because I guess I'm like, maybe that's my default. My default is, what the fuck do you want? I guess it's probably my default, but now I'm like, oh, I guess you.

[Ted Danson]

Just really liked it. Yeah.

[Brett Goldstein]

Yeah. You have to change your perspective on. It's. Usually they're excited to see you rather than they're horrified.

[Ted Danson]

Do you have that? I could be wrong, but my impression of the British Isles and fame and acterness is I vomit my life out on people. I am tilting so far forward. I am just so huggy. This and that.

[Brett Goldstein]

Yeah. I love it.

[Ted Danson]

Yeah.

[Brett Goldstein]

But I don't.

[Ted Danson]

It's not big in England. I was once in a play and some famous English actor was sitting in front of me and I was just hooting and hollering in delight and she turned around and went, oh, Ted, like, really rein it in.

[Brett Goldstein]

It is a genuine difference between English and American. And the thing of your mum is, right, like, we don't really like success in England. You're not really allowed to be. I think I'm still embarrassed now to say that I like acting. You know what I mean? I feel ashamed. Like, it's like so gross to think that you know what I mean? And I think in America you're taught to celebrate and be proud and go for stuff.

[Ted Danson]

What about. Because your writing is astounding.

[Brett Goldstein]

Thanks, Ted.

[Ted Danson]

And you've been involved with so many amazing projects as a writer. How is your. Is at a different ego? Can you accept acknowledgment about the writing easier?

[Brett Goldstein]

Yeah.

[Ted Danson]

Are you More happy being a writer famous than a actor famous.

[Brett Goldstein]

That is a very interesting question. And I think I am more. That is weird. I think I am more comfortable accepting writing because I think you maybe you know when writing is good because you're. You're seeing if it works or not. Whereas with acting, it's so ephemeral and captured and you make something you still don't know until the edit. And the edit can change everything. And there's so much that can affect it, whereas the writing is the writing. So I wouldn't want to hand it in if I thought it was shit. So maybe there is some somewhere along the line is enough esteem to go, yeah, I think this is good. Good enough to hand it.

[Ted Danson]

You're also the creator. I mean, as a writer, you are the blank page that all of a sudden becomes this amazing film or amazing. Whatever. Not play in your case, but maybe music play. Oh, you have.

[Brett Goldstein]

Yeah, yeah.

[Ted Danson]

I love that in your stand up.

[Brett Goldstein]

You just go off on plays, plays a cyborg. But I have, I have written.

[Ted Danson]

But you're the creator. I mean, I have no desire to be a writer, director, producer, anything. I just. I'm an actor and that's just who I am. Cause I'm not a storyteller.

[Brett Goldstein]

But you must. What was my other question for you? You've done enough. Like as in Cheers. If all you'd done was Cheers, you'd go, okay, maybe you got lucky. But you've done a hundred very, very good things and you've picked really good projects and you've done very good work in them. You must be a writer inside. There must be something. You must. You don't even talk about story with the writer, the showrunner. You're not with Mike's show going, what if?

[Ted Danson]

No, my job. And I was trained by these wonderful lesson. Glenn Charles and Jimmy Burrows, who wrote and created Cheers the way I was trained. Because that was really the first thing. I mean, I did done some stuff, but that was the first intense creative relationship I had. And I. They didn't want you to come in and pitch ideas. Yeah, the actors. But as soon as we said the words, as soon as we got up on our feet and had a rehearsal and they could see their words, then they were very interested in how it made you. I always thought my job was as an actor was to go, okay, I've just said your words and this is how they made me feel. Are we on the same page? Because we need to be on the same page. You're saying that you know what you created is not generating what you thought it was. What it generated is what you saw in me. And they were so good about that. And that's my. I get my jollies doing that. And I don't. I. And I'm not a good storyteller. I just don't take a vote to cross the street. So a director. No, no, really, I don't.

[Brett Goldstein]

I just don't believe you. Because you must. Okay. What happens if. Have you ever had the experience? You have, to be fair, seemingly worked with the best writers of all time, by the way, I have to say, for the record, because I would never want to take credit for something I didn't. When you say I'm a creator. I did not create Ted Lasso. That was.

[Ted Danson]

No, I understand. You are.

[Brett Goldstein]

I co created Shrinking, but I just wanted it on record.

[Ted Danson]

Unbelievable.

[Brett Goldstein]

Oh, thanks very much.

[Ted Danson]

Yeah, wow. Well done.

[Brett Goldstein]

Oh, thanks.

[Ted Danson]

And I didn't know that I knew about drinking and I didn't know your connection.

[Brett Goldstein]

Me, Ben and Jason.

[Ted Danson]

You need an American to jump up in front of and walk going, this is Brett. This is astounding. You're very nice, but no, none of that for me.

[Brett Goldstein]

But my question is then, if you've ever been in a position and maybe you haven't, to be fair, you're making a show, you're making a long running show and you get a script and for the first time you're like, I don't think this is good. I think there are problems with this script. I don't like this script. Then what happens?

[Ted Danson]

I don't have a solution. I don't have a better idea that doesn't pop into my mind that, you know, maybe she should come in the other door.

[Brett Goldstein]

Right.

[Ted Danson]

I don't. I will.

[Brett Goldstein]

You just do your job.

[Ted Danson]

I will turn and look at these people who I trust and go, ah, boy, I'm having trouble. And I've never worked with people maybe once or twice that said, no, no, it's funny. Just say the words. That to me is the death knell of comedy, of funny. If I can't make it, if the joke is great on the page, genuinely great, and I can't make it funny. Me, Ted, then I've been blessed with people going, okay, we'll change the joke and make you Ted funny.

[Brett Goldstein]

Right?

[Ted Danson]

Yeah.

[Brett Goldstein]

Can we talk about your.

[Ted Danson]

You do have a podcast, don't you? So you're used to taking over conversations.

[Brett Goldstein]

I also don't like talking about myself, so this is very English.

[Ted Danson]

That's good.

[Brett Goldstein]

Can we talk about we'll trade.

[Ted Danson]

Go ahead. You're up next.

[Brett Goldstein]

Can we talk about your dramatic skills? Can we talk about that a bit?

[Ted Danson]

Yeah, let's do it. But not for long.

[Brett Goldstein]

There's a bit in. I think it's the first episode of man on the Inside, where you get to the neighborhood, the memory unit, and you don't say anything, and you do acting with your face. And it's my favorite kind of acting. My favorite kind of acting is face acting, where we are just. We are reading your. It's really, really good shit. We learn everything about you and your past and the history and what you've been through, and you don't say anything. And I love that shit.

[Ted Danson]

And I. I do, too. But for me, it's like I turn to the DP and say, now, this is camera acting. Right? You're gonna do something, the camera. So I don't have to do anything, but the camera will do it. Yeah, you know, but you know, your.

[Brett Goldstein]

You know, your. How aware it. Because if you're not a producer, writer, you know the camera, you know the angles, you know. You know stuff. Yeah.

[Ted Danson]

I mean, you just know when things aren't working. I'm just not the guy who can tell you how to fix it, which is fine. And writers who are confident, good, bright people are happy to see that it's not working and have that reflected to them. And I think they're even happier when I don't suggest the fix.

[Brett Goldstein]

Right. Yeah. You know, so the brilliant, like Mike Sher, who seems to be some kind of. Unbelievable.

[Ted Danson]

Unbelievable.

[Brett Goldstein]

He never comes to you and goes, I've been thinking. What do you think of this? He just goes, this is it.

[Ted Danson]

Yeah. No, I mean, actually, yes. Yes. To be honest. Yes. And I also am really smart enough to know this person is right next door, if not pure on genius, and he's thought about everything so that when I come up and I do have the. I'm not sure he will explain what his thinking was. And invariably he will have thought my question. He had examined that and went, well, I think this is better. And he's able to, with ease and confidence, say that to me because he's really a thoughtful, thoughtful man.

[Brett Goldstein]

Yeah.

[Ted Danson]

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[Brett Goldstein]

Okay, go and then go.

[Ted Danson]

My turn. Go and then. Okay. So before any kind of performance, acting, writing, what were you doing? How old were you when you went, oh, wait a minute, three?

[Brett Goldstein]

I think really it is weird because I always knew I wanted to. Like, I loved film, I loved tv, I liked, I always liked making stuff. And I think me and my sister would like, put on plays. Like not boring plays, like we do. We just make stuff. Always making stuff. And I never had any other interest. And I think the reason I learned to, my mum told me the reason I learned to read, like, I was quite stubborn. I didn't learn to read, but I would ask her what's on tv, the TV listings. And eventually she was like, I'm not telling you, you have to learn how to read. So that's how I learned why I learned to read, because I wanted to know what was on TV or whatever. And then, and I will credit my dad with this, I think like my parents are not in the industry or any of that but when. When I was 6, I did a like, creative at school, wrote a short story about, like a shipwreck. And my dad read it and he was like, this is really good. And he said, you know, this is a job. Like, writer is a job. You could. Oh, wow, that is a thing you can do. And I got a D for that story. So he was wrong. But I do remember that. And I sort of go like, yeah, I guess little things like that I think really do matter because I think it must have put in my head, like, oh, yeah, okay, then this is the thing you can do your first.

[Ted Danson]

Professional whatever, being paid, writing or acting or whatever. When was that?

[Brett Goldstein]

My very first one was proper TV show was the Bill, which is like a police show that ran forever. That was like NYPD blue if the budget was £20. And I think I played a suspected pedophile, but I didn't do it, so just suspected. But looking back, I go, weird that I came in for audition. They went, he's our guy. Yeah, he's got the look. And it was many years before. I was always writing. And I did write plays and put them on and take them to the Edinburgh Festival. Yes, I was doing that for years. So I was acting and writing.

[Ted Danson]

When did you come to America to study? You studied acting?

[Brett Goldstein]

Oh, I just did a brief summer course at the American Academy of Dramatic.

[Ted Danson]

Art and then went back.

[Brett Goldstein]

Then I went back to England and then. And then I started stand up. And once I started stand up, everything changed. Because before I did stand up, all I ever got offered was terrorists. All I got auditions for was terrorists because of my face. And I kept being like, I don't think I'm a terrorist type. But that was all that would come in was like, oh, there's another terrorist show they'd love to see you for. Once I started stand up, I think it was because my face is this. And I think if you see my face in a headshot, I look like a psychopath. But then when I did stand up, I think people were like, oh, he's like that. And then once I did stand up, everything kind of changed because then I did Ricky Gervais's show, Derek, and that was the first sort of big break.

[Ted Danson]

Would you say you have a Persona or a character or an attitude for your stand up? Do you adopt something that's not.

[Brett Goldstein]

You want a serious answer?

[Ted Danson]

Yeah, yeah.

[Brett Goldstein]

I think there's.

[Ted Danson]

This won't play in England. You can be real.

[Brett Goldstein]

Okay. I think there's modes. That's why I see it like there's switches in your head. Like, I know a switch I can turn on that is like the funny. And I also know the sincere. And that it's like a different mode of communicating, I suppose. And the stand up is just that one. It is me plus one. It's the me without the stuff in the way, I guess.

[Ted Danson]

And it's like you do set things up really well when you decide to be sincere with the audience, when you're actually setting them up for the next joke or something. It is very real and sincere.

[Brett Goldstein]

Yeah, yeah, yeah. But I think you must. I think everyone has it. It's like, you know, you're different at a party, you're different in a meeting. It's all. And there's like a writing. I think the only thing I don't think is different and why I don't believe you on the writing thing is that I think acting and writing is the same mode.

[Ted Danson]

How so?

[Brett Goldstein]

Because writing is just like a private version of acting with acting. Right. It's like an act of empathy. Right. You're, you're, yeah, you're imagining. You're in imagined circumstances. You are imagining. You are putting yourself in the position of this, what is the obstacle? What's in my way? What's. And the writing is exactly the same. It's like you're writing, you're imagining this person. You're, you're, you're imagining their obstacles, you're imagining. It's, it's the same, but you're also telling a story.

[Ted Danson]

I don't have to tell a story. I have to fill that moment in your story. I don't have to know what the next thing that should happen in the story. That is different. Right?

[Brett Goldstein]

Yeah. You can tell a story, though. I've heard you.

[Ted Danson]

No, I swear to God, I cannot tell a story. I myself get bored halfway through.

[Brett Goldstein]

Okay.

[Ted Danson]

Yeah. Anyway, that's, that's, that's my thought about it.

[Brett Goldstein]

But I do think they're similar, like buttons. But one of them is you do that, you do it on your own. And one of them, you do it in front of people.

[Ted Danson]

Yeah.

[Brett Goldstein]

The same game.

[Ted Danson]

Yeah.

[Brett Goldstein]

I'm going to force you to write something.

[Ted Danson]

No, I swear.

[Brett Goldstein]

For you, Ted.

[Ted Danson]

Oh, now who is that? Which brand is that?

[Brett Goldstein]

I'm going to fucking make you write something by the end of this podcast.

[Ted Danson]

Can I, can we go to the ever popular Ted Lasso? You are brought on as a writer. Through who?

[Brett Goldstein]

Through Bill Lawrence. So it's created by Jason Sudeikis, Bill Lawrence, Brendan, Joe Kelly, Bill I had done pilot season in America. I'd done an HBO pilot, didn't get picked up, and did a pilot the next year for Bill.

[Ted Danson]

As an actor.

[Brett Goldstein]

As an actor. And then I did one for Bill Lawrence, who made Scrubs and everything else. Yeah. And we did this pilot. It was really good. And it was such a good pilot that when we finished Rapping, I remember the producer saying to me, see you in August. And like, I was like, I guess I pack up my life and I'm moving to la. Maybe it didn't get picked up. And we were like, what? But me and Bill Lawrence had got on in the making of this and he knew I was a writer and we stayed in touch and then he just. When people always ask me for advice, I'm always like, make stuff. There is no magic. There is no magic phone call. Waiting for the magical phone call doesn't exist. You gotta make short films, make plays. All of it is self generated. And then one day I did get the magic phone call, which is out of nowhere. I got a call from Bill Lawrence saying, we're making this show. It's about football. We need an English writer to come and sort of help. Do you want to come out on Monday? And I had a standup show booked. And I was like, I can't. I'm not. I can't. Sorry, I've got a show booked. And he was like, cancel the fucking show. And I was like, yeah, but 40 people have bought tickets. Like, I mustn't. These poor 40 people, they need to hear my dick jokes. And I spoke. Where are you, in London? Yeah.

[Ted Danson]

Great.

[Brett Goldstein]

And then I spoke to a friend of mine, Nish, and I was like, well, what do you think about this? And he was like, are you insane, Kyle? Immediately go cancel. And thank God I did. And I. And it was my first experience of a writer's room. Cause in England we don't have them. Yeah, it was in LA at Warner Brothers.

[Ted Danson]

Oh. So usually it's a single writer or two who sit in a room by themselves and hammer out all the scripts for the season. What did you think of a writer's room? That's a whole different.

[Brett Goldstein]

Yeah, it was a real. It took me a while to sort of figure it out. And then it's like. It is like group therapy. It sort of is. And it's a very strange. You sit around a table like this with between 8 and 14 people and you stare at each other for hours. It's hours of just. And it's all, just keep the ball Going, Keep the ball going. If there's a silence, someone better feel it. You gotta, like, generate. Generate stuff. But you're also just sharing if you.

[Ted Danson]

Feel it and people don't say anything and kind of look off. You need to shake that off too. When you fill it with something that didn't maybe work for other people, it's.

[Brett Goldstein]

A real, like, energy thing. It's.

[Ted Danson]

You're almost an improvisation in a way.

[Brett Goldstein]

In a way for hours, hours and hours. And the day goes like that always. And when you suddenly hit it, you feel it. That is what is kind of magical about it, is, you know when it's right, because suddenly it'll be like, yeah, and then. And then, and then.

[Ted Danson]

And who ran the room in the first season?

[Brett Goldstein]

It was Bill. Yeah, yeah.

[Ted Danson]

And was Jason part of that?

[Brett Goldstein]

Yes, Jason. Yeah. Yeah, it was Bill and Jason. Yeah. It was amazing because it genuinely was a thing we didn't. There was like a small thing we were making in private that no one would ever see.

[Ted Danson]

Let me fan out a little bit. But it's like the show. Doing a sports is tough because your brain goes, okay, they couldn't hire people who are really athletes. So it'll be a drawing room, comedy, sports show kind of thing. And, you know, you were out there and you. I don't know. Please explain, did you hire athletes, then? Actors or actor athletes? Because it felt really good. Really real.

[Brett Goldstein]

Well, I don't like to admit this, but I am absolutely dogshit at football. But the rest of the cast are really, really good. And it was originally like in the sort of early days of the Ratchet Room, it was kind of like, this isn't a show about football. It's about relationships and blah, blah, blah. But then the more it went on, it was like, it is a little bit about football. It is. It's kind of about football as well. And the team in the first place was like, most of the people who don't really have lines in season one, they were semi professional footballers, someone who had played professionally. And then the cast, amazingly. Phil Dunster, Sam Taheeb, Jimmo and Mohas. These are three. They are excellent at football. And then most of the cast were really excellent. And then there was me going, oh, boy, what have I done?

[Ted Danson]

But it worked. It totally worked. Yeah.

[Brett Goldstein]

We got away with it.

[Ted Danson]

Yeah.

[Brett Goldstein]

Yeah.

[Ted Danson]

So much fun, really. And so nice to know that a show that's. I don't know, I shouldn't put my own adjectives, but it was about decency, amongst many other things, and how nice that the world just went. Yes. And gobbled that up.

[Brett Goldstein]

I think it was a sign of things that. That felt so revolutionary.

[Ted Danson]

Yeah.

[Brett Goldstein]

You know, I mean, like, in a way, it should.

[Ted Danson]

You did. I mean, it was. I think it made the way for a lot, including some of Mike Shure's stuff, you know.

[Brett Goldstein]

That's very nice.

[Ted Danson]

Yeah. Are you doing a fourth? That I read you're doing a fourth. Have you written it? I just shot it.

[Brett Goldstein]

Just came from the writer's room or.

[Ted Danson]

You said that.

[Brett Goldstein]

Yes. And Jason sends his love. It's okay. There's a lot going on at the moment.

[Ted Danson]

No, I'm an airhead.

[Brett Goldstein]

Yeah.

[Ted Danson]

How far along are you?

[Brett Goldstein]

Halfway. Yeah, halfway. In the scripts.

[Ted Danson]

Where do you shoot it? Do you have the shooter?

[Brett Goldstein]

We shoot it in London. No. You would be fucking amazed by the special effects on that show. That is a special effect. That is a science fiction show. Like, where we shoot the football stuff is bad. Like it's a high school. Yeah. Essentially. And we just have curtains, green curtains around it, and we have a small stand with, like, I don't know, 50 people in. Is really quite impressive.

[Ted Danson]

We all scream about AI, but every once in a while. Thank you, AI. Thank you.

[Brett Goldstein]

Oh, thank God. We can't ever have afforded this. Yeah.

[Ted Danson]

That's pretty cool.

[Brett Goldstein]

Yeah.

[Ted Danson]

Are you part of the cast thing now?

[Brett Goldstein]

We see the tapes.

[Ted Danson]

Do you like that part?

[Brett Goldstein]

It's so ephemeral. It really is. And it. And it's look, it's vibe and, you know, always know instantly. I'd say you rarely. You rarely watch, you rarely see someone and go, not them. Oh, maybe them. That almost never happens. It's like immediate and brilliant. People go through, and it's like, not them. And so the thing of.

[Ted Danson]

So not them. Not a good actor, but not them for the part.

[Brett Goldstein]

Yeah, not them. They're brilliant material. They're the wrong vibe, they're the wrong fit. And so knowing that there is that thing as an actor going into auditions, it's like you truly have to do your version of the thing and then fucking forget you ever came in because it's so out of your hands. It really is nothing to do with anything other than a vague feeling that you just know when you know. You know what I mean?

[Ted Danson]

My real truth is I want a really good actor to make me look good.

[Brett Goldstein]

Yeah.

[Ted Danson]

There are certain actors. I'm working with so many right now, but I'm also working with my wife, Mary.

[Brett Goldstein]

How is that? This is what I want to ask you about.

[Ted Danson]

Delicious.

[Brett Goldstein]

Explain this to me. I am Freaked out by the idea of couples who act together. How does it work? And how do you leave your house? Do you leave? You go to work together in the car and then what happens? Did you act together before you got together?

[Ted Danson]

Yeah, we met on a film. But you check your ego at the door. You and I realize part of my job is to host my wife. I was here last year. I am this man on the inside.

[Brett Goldstein]

Okay, this is for this for season two?

[Ted Danson]

Yeah.

[Brett Goldstein]

Okay, great.

[Ted Danson]

This is season two. And if she doesn't have a wonderful time, I'm an asshole. And that's on me. So make sure. And that's just attitude. But then make sure it's just written. He's really good at having an idea for a character, then finding the person that he wants to play that character, and then writing full out for that actor or actress. He knows what I can do well and what I can't do well. And he very kindly writes to what I can do well. And the same for Mary. So. And we're. Oh, it's just magical. We're falling in love. The story evolves, but I'm just head over heels, my character in love with her. And to sit there on camera and look into your wife's eyes and we're nauseatingly in love and private life and just disappear into her eyes in front of a camera. It's pretty astounding.

[Brett Goldstein]

That's so nice. Yeah. What is?

[Ted Danson]

You know, by the way, if we suck, it's her fault. Just. I just want to go on the record.

[Brett Goldstein]

What is. What? I've heard you talk about Mary a lot and you seem very, very in love. And it is unusual your relationship appears to me who is. You don't see people this in love this far in. And I don't know what's wrong with you.

[Ted Danson]

We both came from other marriages, right. So there was an awareness. And we both realized shortly before we met each other, we both had the same thought. Well, obviously I'm not capable of being in a relationship. I will fuck up anything was mine. Hers was. I know I look like I'd be good at a relationship, but clearly I'm not. Here's the route we go.

[Brett Goldstein]

Yeah.

[Ted Danson]

You know, and.

[Brett Goldstein]

Yeah.

[Ted Danson]

Anyway, this is me being embarrassed, but.

[Brett Goldstein]

No, please.

[Ted Danson]

We consider it divine. I think we have angels that are, you know, putting us together. There's no reason I was such a hot mess when she met me. There's no reason she should have taken a second look. And somehow, you know, here we are and we work at it. You know.

[Brett Goldstein]

That's nice. Okay.

[Ted Danson]

Anyway, I'm very lucky.

[Brett Goldstein]

Do you think this? I am interested in seeing you two together because I always thought if people are together, it's difficult for them to have chemistry on screen if they're together in real life.

[Ted Danson]

I agree. But that's also a story. There was a long time where we couldn't work together because where's the surprise kind of thing. And yeah, you're right. But this story is perfect. It's about kind of second chances. And yeah, somehow it works or it doesn't. It feels like it's working and I'm too old to be superstitious. Fuck it. It's great.

[Brett Goldstein]

I love it. That's very nice.

[Ted Danson]

Yeah. Some things become instant classics like, oh, I don't know, certain TV shows about Boston bars and the Starbucks summer beverage lineup. The strawberry acai lemonade refresher is so iconic it's available year round. There's nothing better than sitting outside a Starbucks, having a coffee, reading a book and watching the world go by. And if it's particularly hot, I might be tempted to have a strawberry acai lemonade refresher. The strawberry passion fruit and acai flavors are perfectly balanced with the zing of lemonade. And the freeze dried strawberry pieces are legendary. Your summer favorites are ready at Starbucks. Eating the same meals daily but too exhausted to find, shop for or cook new recipes. Home Chef gets it. Users of leading meal kits have rated Home Chef number one in quality, convenience, value, taste and recipe ease. Here to talk to you about Home Chef and her experience is our engineer, Joe. Hi. My favorite thing that I've had so.

[Brett Goldstein]

Far is the one pot turkey lasagna.

[Ted Danson]

Skillet and the jumpin jambalaya with sausage.

[Brett Goldstein]

Did I say that right?

[Ted Danson]

Yeah, you don't have to say it right. But you cooked it right. I did cook it right. I tasted great. For a limited time, Home Chef is offering my listeners 50% off and free shipping for your first box. Plus free dessert for life. Go to homechef.com Ted and Woody that's homechef.com Ted and woody for 50% off your first box and free dessert for life. Homechef.com Ted and Woody must be an active subscriber to receive free dessert. I'm sure you don't want to talk about relationships or no relationship.

[Brett Goldstein]

No, you crazy text.

[Ted Danson]

I saw your stand up. I got it. Thank you.

[Brett Goldstein]

You get the gist.

[Ted Danson]

It is just delightful.

[Brett Goldstein]

Thank you.

[Ted Danson]

Tough on those people who haven't seen it. But you know, well, you can you.

[Brett Goldstein]

Go To Max on hbo. Yeah, HBO Max.

[Ted Danson]

It's really, really, really wonderful.

[Brett Goldstein]

HBO Max. Now.

[Ted Danson]

Now will that start? HBO Max. Thank you. Or just Max?

[Brett Goldstein]

No, it's now HBO Max.

[Ted Danson]

Oh, it's back to HBO Max.

[Brett Goldstein]

There's been a lot of meetings and.

[Ted Danson]

Well, I'm Netflix, so I don't know.

[Brett Goldstein]

You don't care about them, these animals?

[Ted Danson]

They haven't hired me for years. Who cares? Could you take that basic. The premise is not the premise, but you do a lot of fish out of water here. I am from England and let's talk about America a little bit. Have you done stand up and could this play? Well, it couldn't play in England because of that conceit that you are.

[Brett Goldstein]

Oh, I just cut that stuff out.

[Ted Danson]

I've got to do.

[Brett Goldstein]

Yeah.

[Ted Danson]

And have you done. And does it play in England as well?

[Brett Goldstein]

Yes, Touchwood. Yes.

[Ted Danson]

Oh, that's wonderful.

[Brett Goldstein]

Yeah. Yeah. I developed it in London, but I toured the show that is the spelling. A longer version of it. I toured it for 14 months in America. I went everywhere.

[Ted Danson]

Oh, I didn't know that.

[Brett Goldstein]

Yeah, me and my Welch went all over.

[Ted Danson]

And did you. And did you. That goes this.

[Brett Goldstein]

Yeah, yeah, yeah. It like grew and grew and grew. And I always do a thing in my live shows where I have a bucket in the lobby where you can put any question in. And so after the sort of show, I then do a sort of improvised.

[Ted Danson]

Whatever's in there on the stage.

[Brett Goldstein]

Yeah, yeah. That I don't know what's in the box.

[Ted Danson]

And that's fun.

[Brett Goldstein]

Yeah, really fun. That's the most fun.

[Ted Danson]

That's funny. Different Q and A. Yeah, yeah. Which is always much more fun than.

[Brett Goldstein]

So much more fun than this show.

[Ted Danson]

Yeah. No, than giving a speech, you know, then doing the prepared. Well, you know, it's easier than it.

[Brett Goldstein]

Is more fun and it makes it live and special that night and all that shit.

[Ted Danson]

People must because of Ted Lasso.

[Brett Goldstein]

Yes.

[Ted Danson]

Must hang out afterwards and want to talk and have photos and all that stuff.

[Brett Goldstein]

Yes. And I try and leave through an underground exit.

[Ted Danson]

Do you realize, gosh, I just go through the front door.

[Brett Goldstein]

But I think you're. Are you an extrovert? Is that a thing? Do you believe you are not in real life?

[Ted Danson]

No. I am a bit of a wallflower. The reason why it's as you a little embarrassing that you. I don't know how you said it. It was so sweetly at the very beginning. It's like I have noticed that you don't mind a compliment or some converted, you know. Like, I understand I'm supposed to compliment you. If this is going to go well.

[Brett Goldstein]

That'S. No, I meant.

[Ted Danson]

But. But it does because I'm going. What the. Would Brett want to come talk to me? I. That is my knee jerk reaction. It is the same at a party when I am.

[Brett Goldstein]

Because you're a fucking legend.

[Ted Danson]

It's my false humility. It's a pain in the ass. It's making other people work hard. You had to work a little extra hard when you sat down to reassure me that I'm wonderful. You know, and it's bullshit, but it's. Fuck. It's how I grew up and it's a pain in the ass.

[Brett Goldstein]

Can I tell you something? And this is nothing, but no, no.

[Ted Danson]

If it's about me, it is about you.

[Brett Goldstein]

And it's about you and Mary is. I was in, I guess, around the corner from here, I'm realizing now, and I was with a friend having lunch, and you and Mary came in to have lunch, and we'd never met. And I saw you, and it is a very. It is strange because you mean so much and because of the history I have with you and your work and all of that, and Mary and seeing you, it is a strange thing where you sort of go, fucking hell. There's. Fuck this, Fuck. It's a weird sort of feeling. And I know that everyone in that place felt the same. And not weirdly or weirdly. You two sat right in the middle. You were taking the table right in the middle. So you were in the center of everyone. And everyone's lunch was affected because they were all like, oh, wow, Like. And I know that then all their conversations were like, you know, it's this and that and da, da, da. Like, love, love, love. You were in this kind of circle of love. And I glanced over a couple of times, and you two just were locked in each other's eyes and having. It was like in the Little Mermaid when it's kiss the girl and Prince Eric's about to kiss Ariel and all the sea creatures are around and making a love thing. That's what that lunch was like. It was a very nice image.

[Ted Danson]

He nauseated a lot of people in that moment. Yeah. I'm sorry. That is.

[Brett Goldstein]

That's your life.

[Ted Danson]

Yeah. Unless we're. Unless I pissed her off.

[Brett Goldstein]

Yeah.

[Ted Danson]

You know, I notice I only get mad at Mary when I am dead wrong. Yeah, that makes sense, because I don't want to be left with that image of myself that you just correctly pointed out to me. But now, if she's wrong. Oh, that's so sweet. You know? Yeah, that's funny.

[Brett Goldstein]

That makes sense. That might be the secret.

[Ted Danson]

Yeah. Can we do your podcast? The movie thing?

[Brett Goldstein]

Yeah.

[Ted Danson]

What movie would you be buried with? What film?

[Brett Goldstein]

Films to be buried with you. I tell you you've died, you get to choose how you died. Then I ask always the same questions. What's the film that made you cry the most, made you laugh the most, scared you the most, etc. We talk about all that, and then at the end, you pick a film to be buried with. And I've seen most of your films. I've seen Loch Ness.

[Ted Danson]

Oh, wow.

[Brett Goldstein]

I've seen.

[Ted Danson]

I got to be in Loch Ness in the water. I don't know if it was any good. I loved making it Loch Ness.

[Brett Goldstein]

I think the tagline is, you have to see it to believe it, or. No, the tagline is the opposite. And it always confused me. You have to believe it to see it.

[Ted Danson]

Oh, that's good.

[Brett Goldstein]

And I was always like, what? Okay. And then I figured it out.

[Ted Danson]

I like the idea of the film was, you don't want to prove or disprove Loch Ness. That would be a crime. Either way, you want the mystery.

[Brett Goldstein]

Spoiler alert. There is. Yeah, you do see? It is real. But I guess that's because I believed.

[Ted Danson]

Just one quick thing. The Loch Ness bumps into our boat, and we go flying into the water. And we were on Loch Ness, which is the deepest, coldest body of inland water, period.

[Brett Goldstein]

Yeah.

[Ted Danson]

So they give us a big jar of Vaseline. They say, put this all over your body, then put on this wetsuit, and then put on your costume, and we'll get you out of the water very quickly. And I'm going, okay.

[C]

Okay.

[Ted Danson]

Yeah, yeah. You know, this is kind of like, I can. You know, I'm. I'm young. I can do my own stuff. This is great. And I'm gonna hit the water, I'm gonna spin around. I'm gonna look at the boat. You know, I hit the water, and it's just like, all the air went out of my body. It was unbelievably cold.

[Brett Goldstein]

I went. Me and I was writing a film, and we went to the edge of Scotland somewhere to, like, for a weekend in this, like, cabin to do work on this film. And it was winter, and we went in the sea, like, get in. It'll be fun. And we went in, like, so cold. It's so cold. So I then swam, swam, swam, swam, swam to warm myself up, and I swam out, and then and the others went in and I just swam around, swam around, swam around. And then I was like, I've warmed up. I've warmed up now. And they were at the shore going, come in, come in. I was like, nice, good. And I started to feel like it feels like a hot tub. Like it's hot. I feel really, really hot. And it turned out I was dying.

[Ted Danson]

It was like, oh my go.

[Brett Goldstein]

All my organs were shutting down and so my, it was like hyper. Yeah, Yeah. I was like, so what? It's like I was like having a lovely time.

[Ted Danson]

They say. I mean you have like two, three, four minutes.

[Brett Goldstein]

Yeah.

[Ted Danson]

It wasn't long before it starts to have that.

[Brett Goldstein]

What did they do?

[Ted Danson]

Cover you in blankets and goose. Did they really?

[Brett Goldstein]

No, no, sorry.

[Ted Danson]

Because the next time I'll be out with my kids.

[Brett Goldstein]

Goose fat.

[Ted Danson]

Get goose fat quickly.

[Brett Goldstein]

Brett said. He seems to know what he's talking about anyway. Film that I would be buried with.

[Ted Danson]

Yeah.

[Brett Goldstein]

I, I, there's so, there's so many obviously, blah, blah, blah. But I think, I do think that the, I think the Muppet Christmas Carol is the best film.

[Ted Danson]

Okay.

[Brett Goldstein]

Are you angry about that?

[Ted Danson]

No, I'm not. I'm guilty that I haven't seen it because if you who are incredibly bright and well, everythinged.

[Brett Goldstein]

It's amazing.

[Ted Danson]

I have to watch it now. Why though? Tell me.

[Brett Goldstein]

Well, because I think A Christmas Carol I think is the greatest story ever told.

[Ted Danson]

Right.

[Brett Goldstein]

Like as a story, like it's the story of therapy. It's like he has to see his past to deal with his present and his future. He has to see his past, present and future to change himself and become a better person. Which is like a great story. And it's, and ghosts and regrets and all of the stuff that it is. So I think it's a great story anyway. Any version of Chris McCarrow I'm going to love. But then the Muppets, it's like it's a very serious adaptation of the story that they don't fuck around.

[Ted Danson]

No tongue in cheek.

[Brett Goldstein]

No tongue in cheek. Is, it's. But they're being very funny. There's lots of very, very funny one liners and slapstick and fun, fun, fun. But they're taking the story very, very seriously. And Michael Caine is playing Scrooge and he ain't fucking a rat.

[Ted Danson]

Oh, wow.

[Brett Goldstein]

Michael Caine is playing it like he's in the Royal Shakespeare Company. He is not. There's no twink. He's not like, oh, I'm with my fucking.

[Ted Danson]

Oh, wow.

[Brett Goldstein]

I'm being fucking Scrooge. And it's like heavy. And it's. The craft of it is beautiful. It's beautifully directed and it's moving as fuck. It will really kill you.

[Ted Danson]

I really appreciate. I will find a way to let you know that I've seen it because.

[Brett Goldstein]

I was watching it's properly, like, I've watched it in England, they have sing along screenings at Christmas. And I always go, like every year, like Midnight Mass is what I do is go and see that. And genuinely, I'm not being ironic, like, as a piece of craft. Every year I watch that, I go. I find something new in it. The writing, the acting of my gay and the muffet was wonderful. It was just after Jim Henson had died and I think. And I can't speak to this, but it feels like that infuses it. There's a certain melancholy to the whole film that I think is. And Brian Henson, his son, directed it. There's a sadness to it as well. It's a really.

[Ted Danson]

Thank you for that.

[Brett Goldstein]

Fantastic, amazing work.

[Ted Danson]

I will indeed watch it.

[Brett Goldstein]

Yeah. Yeah. What's your film to be buried with? You can take your time.

[Ted Danson]

I asked myself that when I read what you do. And I don't know why I say this, because it's so. Not that.

[Brett Goldstein]

Yeah, go on.

[Ted Danson]

Lawrence of Arabia.

[Brett Goldstein]

It's a fucking great film. Yeah, it's a great film. Yeah. But why do you think?

[Ted Danson]

I don't know. I got to work with Peter o' Toole.

[Brett Goldstein]

Oh, yes.

[Ted Danson]

I mean, he was tiny and I was huge. So basically, my acting, I was on a step ladder. It was down there. But I was just enchanted. And I got to work with Omar Sharif in that. It was Gulliver's Travels. It was a BBC production.

[Brett Goldstein]

I saw it. Mary's in it.

[Ted Danson]

Yeah. Can I just tell my quick one little theater thing about.

[Brett Goldstein]

You can tell me everything you want.

[Ted Danson]

Peter o' Toole and Omar Sharif hadn't seen. Seen each other for some years and they spent all that time in the desert in the, what, 60s, I think, early 60s, making Lawrence of Arabia. And they were both in this thing. I was in Gulliver's Travels and Omar. Peter o' Toole did his part for a month and then Omar Sharif came in and was doing his part. And to say hello to each other, they threw a big party and we were in this wine cellar, St. James Hotel, or some of these stables that used to go past. Anyway, this wine cellar was older than Jonathan Swift's Gulliver's Travels. And there they were reminiscing, and they started to talk about their time in the desert. And they heard because they were out in the middle of nowhere. And they said, this won't work. Because they said, well, we'll give you your weekend off. Who cares if you're sit your tent? And so they said, no, we'll work 12, 15 days in a row. Then you fly us to the nearest town that has a hotel and a bar and all that. They got to there, and there was this. They saw a magazine about the twist that was just raging across the world. What is this? The twist? They said, you must bring us the next time the plane comes and you have to bring us the music. Chubby Checker, the twist. And they had no idea, because they hadn't seen it, what it looked like. So they. In the desert, Omar Sharif, Peter o' Toole made up what the twist looked like and did this dance. And they got up in this wine cellar, and it basically looked like a couple of, you know, chorus boys doing a soft shoe. But they were doing their version of the twist.

[Brett Goldstein]

That's great.

[Ted Danson]

In this wine cellar that was older than Jonathan. You know, it was like I was just in heaven.

[Brett Goldstein]

We're very, very, very, very lucky.

[Ted Danson]

Very.

[Brett Goldstein]

Yeah, we're very lucky, Ted Danson. And you can tell a story.

[Ted Danson]

It's the one story. I've told it 150 times on this podcast. Hey, I can't thank you enough. You just made me so happy. I am chuffed that I know you. Me, I'm gonna boast about knowing you. Yeah.

[Brett Goldstein]

Thank you, Ted Danson. It really means a lot. This is a huge honor to meet you, and I've had a lovely time.

[Ted Danson]

Jason, a hug for me, will you?

[Brett Goldstein]

I will do. I really will do.

[Ted Danson]

Thank you.

[Brett Goldstein]

That will mean a lot. And. And I'm gonna give you a hug when this ends, so thank you very much.

[Ted Danson]

It'll be on camera.

[Brett Goldstein]

Oh, okay.

[Ted Danson]

Okay. Brett Goldstein just gave me a hug and left the room, and I had the best time. I cannot sing the praises of his. Stand up enough. Be sure and watch it. The second best night of your life on HBO Max now. And yes, it is HBO Max. Look it up. That's all for our show this week. Special thanks to our friends at Team Coco. If you enjoyed this episode, definitely send it to someone you love who likes to laugh. Subscribe on your favorite podcast app and maybe give us a great rating and a review on Apple Podcasts if you're in the mood. If you like watching your podcasts, all our full length episodes are on YouTube. Visit YouTube.comteamcoco See you next time. Where everybody knows your name.

[C]

You've been listening to where everybody knows your name with Ted Danson and Woody Harrelson sometimes. The show is produced by me, Nick Leow. Our executive producers are Adam Sachs, Jeff Ross and myself. Sarah Fedorovich is our supervising producer. Engineering and mixing by Joanna Samuel with support from Eduardo Perez research by Alyssa Grohl talent booking by Paula Davis and Jeannie Bautista. Our theme music is by Woody Harrelson, Antony Yen, Mary Steenbergen and John Osborne. Hey, I'm Paul Scheer.

[Brett Goldstein]

I'm June Diane Rayfield.

[C]

And I'm Jason Mantzoukas.

[Brett Goldstein]

And we're the hosts of how did this get Made? A comedy podcast where we deconstruct, make.

[C]

Fun of and celebrate the best of worst movies ever made. Have you ever seen a movie that's so bad that it's actually good? That's what we're talking about.

[Brett Goldstein]

From blockbuster franchises and made for TV.

[C]

Romances to bonkers 80s action flicks and.

[Brett Goldstein]

Obscure sci fi musicals, we cover it all.

[C]

You can find. How did this get made? Wherever you get your podcasts and don't forget to follow the show so you never miss an episode. Idiot. This season, let your shoes do the talking. Designer Shoe warehouse is packed with fresh styles that speak to your whole vibe without saying a word. From cool sneakers that look good with everything to easy sandals you'll want to wear on repeat, DSW has you covered. Find a shoe for every u from the brands you love like Birkenstock, Nike, Adidas, New Balance and more. Head to your DSW store or visit dsw.com today.