Josh Brolin

Summary

Podcast Summary: "Where Everybody Knows Your Name with Ted Danson and Woody Harrelson (Sometimes)"

Episode: Josh Brolin
Release Date: September 11, 2024

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Introduction

In this heartfelt episode of "Where Everybody Knows Your Name," hosts Ted Danson and Woody Harrelson reconnect with actor Josh Brolin. The trio delves deep into Josh's multifaceted life, exploring his illustrious career, personal struggles, and enduring friendships. This conversation offers listeners an intimate look beyond the silver screen, highlighting the human stories that shape who we are.

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Career Highlights and Collaborations

Josh Brolin opens up about his extensive acting career, mentioning collaborations with renowned directors such as the Coen Brothers, Oliver Stone, Spike Lee, and Paul Thomas Anderson. He reflects on his role as Thanos in the Marvel Cinematic Universe, likening the character to Darth Vader in terms of iconic villainy.

Josh Brolin [02:30]: "His films have grossed over $6 billion worldwide. That's just irritating. No, sorry. I don't know why I said that. I'm not the jealous type."

He discusses his recent projects, including "Dune 2" and the Amazon Prime series "Outer Range," commending Josh's performance and encouraging listeners to watch the show.

Ted Danson [01:22]: "Mary and I were glued to the first season. It's an amazing, amazing show."

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Working with Directors and Crafting Characters

A significant portion of the discussion centers on Josh's experiences working with directors like Oliver Stone. He shares insights into the creative process, emphasizing the importance of exploring the humanity and complexity of characters.

Josh Brolin [07:02]: "I never understood that thing about, like, staying character and staying until that. And you're like, you don't want. You don't want to talk to anybody. You don't want to. You just want to stay in that zone."

Josh recounts the challenges of perfecting accents, highlighting his dedication to authenticity in roles such as Agent K in "Men in Black 3."

Josh Brolin [08:28]: "It's an impossible accent. It's literally the most insane, schizophrenic, Ly created and structured accent."

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Personal Stories and Family Influence

Josh shares heartfelt anecdotes about his upbringing, particularly the profound influence of his mother. He narrates a harrowing story where his mother intervenes during a dangerous encounter with a lion, showcasing her fearless and compassionate nature.

Josh Brolin [39:01]: "And then the lion slowly lifted his mouth or opened his mouth and then moved back to where he was. Get me out of here."

He also touches on his father's absence and the chaotic yet loving environment fostered by his mother's dedication to animal welfare.

Josh Brolin [42:34]: "There was one of those. When you get your kids, you know, you want them to like a normal, like you as a parent or you, you know, you get out in there and you're like, you know, pick up the hay or go feed the dog."

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Sobriety and Personal Growth

A poignant segment of the episode focuses on Josh's journey to sobriety. He reflects on the turning point that led him to reassess his life and make significant changes.

Josh Brolin [22:42]: "I said, if this woman could get through 99 years on her. On life's terms."

Josh discusses the challenges of maintaining sobriety, especially in social settings, and how this transformation has positively impacted his relationships and personal well-being.

Josh Brolin [23:43]: "I'm the guy when we're writing, when I'm with a group of guys or a group of new guys riding our choppers... that feeling to me is everything."

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Friendship with Ted Danson and Woody Harrelson

The camaraderie between Josh, Ted, and Woody is palpable throughout the conversation. They reminisce about their time together on "Cheers" and the enduring bond that has persisted despite their busy careers.

Ted Danson [46:28]: "We were... it'd be lovely. It was wonderful. But never really got to hang like this."

Josh emphasizes the importance of these relationships, highlighting how their shared experiences have fostered deep connections.

Josh Brolin [47:34]: "So this is a bleed over from working together in that thing that we talked about, about how you get so close with people."

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Reflections on the Past and Legacy

Josh reflects on his father's legacy, grappling with the shadow it cast over his own career. He shares experiences of overcoming initial rejections due to nepotism and carving out his unique path in the acting world.

Josh Brolin [33:43]: "I remember there were Cat. That was one time or two times it was a casting director that said, oh, you want it? I walked in and I had, you know, a couple monologues that I had learned. And she said, like, I don't remember who it was, but she said, so you want to be an actor, huh?"

He also pays tribute to mentors like Anthony Zerby, who played a pivotal role in his early development as an actor.

Josh Brolin [35:12]: "He was somebody who... was probably the best thing that ever happened to me."

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Creative Pursuits Beyond Acting

Beyond his acting career, Josh discusses his passion for writing. He mentions recently selling a book to Harper Collins, filled with stories and prose poems, many centered around his mother's impactful life.

Josh Brolin [37:01]: "I just sold this book. I just wrote this book. I just sold it to Harper Collins, and it's not published yet."

He credits his mother for instilling in him the ability to express himself openly, allowing him to channel his experiences into his writing.

Josh Brolin [37:01]: "She gave something to me that allows me to open the pores of whatever filters exist. And I'm really grateful to her for that."

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Closing Thoughts and Gratitude

As the episode draws to a close, Josh expresses his gratitude for the opportunity to reconnect with Ted and Woody. He highlights the joy of sharing stories and rekindling friendships that have stood the test of time.

Josh Brolin [54:52]: "But it, man, it is a crazy, fun life. And that's what was super interesting to me when you called or when you texted me and I said, there's no reason to do this. And I... I'm in."

Ted and Woody reciprocate this sentiment, celebrating the bond they share with Josh and the importance of maintaining these meaningful relationships.

Woody Harrelson [54:51]: "It fills me with joy to see you, man."

Ted Danson [54:51]: "Thank you for doing this."

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Conclusion

This episode serves as a profound exploration of Josh Brolin's life, intertwining his professional achievements with personal triumphs and tribulations. Through candid conversations and touching anecdotes, listeners gain a deeper appreciation for the man behind the roles, his resilience, and the enduring power of friendship.

Notable Quotes:

• Josh Brolin [22:42]: "I said, if this woman could get through 99 years on her. On life's terms."

• Woody Harrelson [54:51]: "It fills me with joy to see you, man."

• Ted Danson [54:51]: "Thank you for doing this."

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Key Takeaways:

1. Resilience and Personal Growth: Josh's journey to sobriety highlights the transformative power of self-awareness and the importance of confronting one's past to build a better future.

2. The Importance of Mentorship: Mentors like Anthony Zerby play a crucial role in shaping an actor's craft and fostering a love for the arts.

3. Enduring Friendships: The bond between Josh, Ted, and Woody underscores the significance of maintaining deep, meaningful relationships amidst the chaos of the entertainment industry.

4. Legacy and Identity: Navigating the shadow of a famous parent taught Josh the value of carving out his unique identity and the challenges that come with it.

5. Creative Expression: Josh's passion for writing serves as a therapeutic outlet, allowing him to process his experiences and share his stories with the world.

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For Listeners:
If you enjoyed this episode, be sure to subscribe to "Where Everybody Knows Your Name" on your preferred podcast platform. Share your thoughts and leave a review to support the show!

Transcript

[Ted Danson]

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[Josh Brolin]

I'm one of those guys that if I see somebody that I was with for a long time, I'm like the happiest. I go, oh, my God.

[Ted Danson]

Hey, yeah.

[Josh Brolin]

You know, and they're trying to hide behind a thing and their face hand is in front of their face. And I'm like, oh, my God. How's your life? It's me, Josh, my new baby. Isn't this crazy?

[Ted Danson]

Welcome back to where everybody knows your name with me, Ted Danson and Woody Harrelson. Sometimes. Today is a Woody day, and our guest is one of our favorite actors working today, Josh Brolin. His films have grossed over $6 billion worldwide. That's just irritating. No, sorry. I don't know why I said that. I'm not the jealous type. He's worked with many of our greatest living directors. The Coen brothers, Oliver Stone, Spike Lee, Paul Thomas Anderson. He was the voice of the most famous villain since Darth Vader Thanos. Recently, he was in Dune 2, and he stars in the fantastic sci fi series on Amazon prime called Outer Range. Outer Range is now in its second season. Please check it out. Mary and I were glued to the first season. It's an amazing, amazing show. Anyway, I can't wait to share with you this conversation with Josh Brolin. You worked with my wife, Mary Steenburgen, who we all know is a very honest person. So these stories will be true.

[Josh Brolin]

Yeah.

[Ted Danson]

My understanding is you guys were making a film in Austin and you, who are really good at impressions and doing other people's voices, called up as the second AD and told her that her call had been changed and sent her in the exact opposite direction of where.

[Josh Brolin]

The set was as far as possible.

[Ted Danson]

Yeah. So she then called the office and said, really? I thought this was my day off. And they went, it is. And then things fell into place for her. And your comeuppance. Can I tell the story? Do you remember your comeuppance? Probably not.

[Josh Brolin]

That's such a no, I do. You do?

[Ted Danson]

Here's Mary's comeuppance.

[Woody Harrelson]

Oh, I can't wait.

[Josh Brolin]

Which was, by the way, a genius.

[Ted Danson]

Genius. Yeah. She. Everyone was enjoying all the food in Austin, but going, oh, my God, we're going to gain weight and all of this stuff.

[Josh Brolin]

And I was supposed to be in shape.

[Ted Danson]

Yeah.

[Josh Brolin]

Which I was.

[Ted Danson]

And you were, and you were in shape and all of that. Mary goes to the wardrobe department and says, here was. I would love you to do once every two or three days, take his pants, his Levi's or whatever, the same pair that you kind of wore all the time as a character. Take it in about half inch every two or three days, but leave.

[Josh Brolin]

But make sure to leave the same number on there.

[Ted Danson]

Yeah.

[Josh Brolin]

Right. Don't. Don't it up and, like, get a different pair of pants and have a different number. So.

[Ted Danson]

So you would come.

[Josh Brolin]

This is a two and a half week long process.

[Ted Danson]

Yeah.

[Josh Brolin]

And I. And she knew somehow that I was, like, sneaking fried chit in Austin during that time.

[Ted Danson]

Oh, that's great. So you were concerned.

[Josh Brolin]

I was concerned because I started asking people, I go, do I look. Do I look bigger to you? No, no, you look good. You look good. I said, really? I don't look big? And then I was doing this Stretching. Yeah, I was doing this.

[Ted Danson]

I'd walk around and be, like, doing squats. Yeah.

[Josh Brolin]

Trying to stretch it out. Maybe they washed it too much. Don't wash my pants anymore.

[Ted Danson]

And everybody's really good about keeping the secret. We're dying. Laughing. Then finally, towards the end of that two and a half weeks and getting worse and worse for you, she said, okay, go the Full Monty. You know, just really take it in. And they could hear screams inside.

[Josh Brolin]

Yeah, dude. Because it only went up to my knees at that point. I literally. It was not. It was a night shoot. I'll never forget it. I went from a 32, and I think it was down to a 27 or something. And I got it to my knees, and I literally felt red rage at myself. You fat. Like, you undisciplined, you know, And I tried, and I was jumping, trying to pull it up and pull it up, and finally the door slams open and I scream, wardrobe. I have to take it out on somebody else because I'm an actor. And there was mary and like, 30 people right outside the door. What's wrong? Cracking up.

[Ted Danson]

What's wrong, Josh?

[Josh Brolin]

What could punch. No, they weren't even saying, what's wrong? They were cracking up. Pointing.

[Ted Danson]

Yeah. She did tell you to check your front pocket. And there was a note Inside the pocket was that.

[Josh Brolin]

I don't remember that part.

[Ted Danson]

Said, gotcha.

[Josh Brolin]

Oh, maybe. Maybe you're right. The gotcha was obvious.

[Ted Danson]

I was very proud of her.

[Woody Harrelson]

That's very good.

[Josh Brolin]

It's really good, actually, when you're a young actor who's looking up to other actors. And Woody was one of those actors, and here, Sean was one of those actors. Nick was, you know, one of those actors that you literally look and you go, God, if I could do. If I could do work, that's that dangerous. Yeah, that's that visceral and emotional and dangerous.

[Woody Harrelson]

You know, you did work with Sean and I believe, nominated in your work with Sean on Milk.

[Josh Brolin]

Yeah, I worked with him on Milk. Yeah. Part of that role came out of you and me and your wife and Eddie Vedder and Sean seeing into the Wild in. Or maybe no country in Toronto. And then we all had a night together, and I. And then Matt Damon was supposed to play my role in Milk, and Matt had a conflict, and then I. And then Sean said, what about Josh? And I think that came out of that night.

[Woody Harrelson]

Oh, okay.

[Josh Brolin]

Which was quite a night, by the way.

[Woody Harrelson]

You're so compelling and interesting to watch. Like, everything you've done, I just, like, I love watching. And, you know, you playing W. Like, I. I gotta admit, at first I'm like, how's Josh Roland playing?

[Josh Brolin]

You know, that's good.

[Ted Danson]

Bush.

[Woody Harrelson]

Like, it just couldn't seem more different. Yeah, but what a performance that was.

[Josh Brolin]

Thanks, man.

[Woody Harrelson]

What a fucking performance.

[Josh Brolin]

And Oliver, too, who you've worked with. Yeah, in a big way. You know, that was. At that point. You know, it was. It was. You trust somebody, you just trust that they're gonna. I remember he wanted to do something a much more like hammering. And I was like, why isn't it more interesting to look at this guy and have that. See the humanity in him and be even more confused about this guy who ended up. Who was the forever misfit, who ended up as president. What's that? And then look at what we're dealing with. The ultimate misfit. That's. You know, it's like. There's a. There's a parallel for sure. But it was fun to get into that. It was fun. I didn't leave my house. I literally left my house once. I went from my house to work to my house to work because I was so scared about not getting it right and just staying in it. Staying in it. I never understood that thing about, like, staying character and staying until that. And you're like, you don't want. You don't want to talk to anybody. You don't want to. You just want to stay in that zone.

[Ted Danson]

You are really good from my point of view. Impersonator, Mimic whatever dialects. Did you work on Bush a lot or was it forever?

[Josh Brolin]

Forever. I mean, that's. That.

[Woody Harrelson]

Well, you just like listening to his speeches.

[Josh Brolin]

Just listening to his speeches and trying. What was it? What's the. There's that thing on the computer. Garage band. And I would tape myself and then listen to myself. I did the same thing when I did Tommy Lee Jones and Men in Black 3. It's an impossible accent. It's literally the most insane, schizophrenic. Ly created and structured accent. Because you have this guy who's like, yeah, he's a cowboy, but then he also went to Harvard.

[Ted Danson]

Yeah.

[Josh Brolin]

And, you know, there's a confusion in there that is so personal to him.

[Ted Danson]

Yeah.

[Josh Brolin]

And contrast.

[Ted Danson]

Yeah.

[Josh Brolin]

So he has this lilt, this cadence that you couldn't figure out.

[Ted Danson]

Yeah.

[Josh Brolin]

And I literally, for like days, maybe even weeks, trying to get one sentence. And it's the same thing with. It wasn't as tortured with. Because when you got it, I remember I used to walk around and I'd go. There was a word. America. America, yeah. And I would do it all the time on the set. And Elizabeth Banks would follow me around. Go, America. America. Yeah.

[Woody Harrelson]

That's when I remember when Bush said his explanation for why, you know, they flew into the towers.

[Ted Danson]

They hate freedom.

[Josh Brolin]

They hate freedom. I look forward to a day where women and fish can coexist. You're like, what the fuck did he just say? What?

[Ted Danson]

As an ocean advocate, I appreciate it. And women's rights.

[Josh Brolin]

Yes, there you go.

[Woody Harrelson]

But.

[Josh Brolin]

But then, you know. And then Sam Rockwell also, he did it later in the movie that he did with Christian Bale. What was it called? Vice. And he was great. He was fantastic. Very different. Yeah, but fantastic. It's funny. That's the one thing about being a director that I got off. Because being an actor, you know, I'm not a very competitive guy. I think I am innately. But when you're with somebody and then you. So you're with actors, it's different. Like old school people, it's different. Then you got your new actors and there's always this kind of weird vibe. There's like a thick kind of viscous air. You know what I mean? And.

[Ted Danson]

Of competition.

[Josh Brolin]

Of competition or something. So anyway, my point is that I never really enjoyed working with actors. A few, but not a lot and when I was directing, it was so much fun to work with actors because I think I love celebrating people. And yet with actors, like now, they're waiting to be celebrated. They're waiting to be caressed. Do you know what I mean? And then when you're directing actors, they look like they're just shitting their pants, and they're. You know what I mean? There's insecurities and all this that you're seeing, and they don't even. They're not even conscious of it, and you're coming up and hopefully being able to facilitate them being more comfortable with being naked and exposed. And that was really, really fun.

[Ted Danson]

That's so cool. I'm so happy for you, man.

[Josh Brolin]

Can't do that as an actor, you know? Hey, man, you know what you should do?

[Ted Danson]

You look a little like you're being insecure. Can I help in any way?

[Josh Brolin]

You seem really secure in this scene that you're doing with me. It must be demeaning for you.

[Woody Harrelson]

Oh, what about. You know, you've worked with a lot of great directors, but what about working with Oliver? I just specifically got to know what. I don't think I've talked with you about it. Maybe I have.

[Josh Brolin]

No, I don't think we have.

[Woody Harrelson]

Yeah. Like, that's very unique person. Very brilliant person.

[Josh Brolin]

Brilliant person.

[Woody Harrelson]

Breakdown.

[Ted Danson]

Unique. You're laughing.

[Josh Brolin]

Yeah.

[Ted Danson]

What is unique?

[Woody Harrelson]

One time, you know, when I was doing Natural Born Killers, and we had this scene where it's like, inside a pharmacy, and the cops come and they're like, you know, and they shoot out all this glass, and I'm, like, running as. As they're shooting out all this glass. These giant windows. Huge. Like three huge fucking windows. As big as this hole.

[Josh Brolin]

Yeah.

[Woody Harrelson]

Wall here. And. And so. And I'm supposed to be running, and then I, you know, jump behind something. And. And. And Oliver says. Because of the glass and everything, he goes, this is an hour and a half reset. Don't fuck it up. Rolling. I'm like, motherfucker. That's my pep talk.

[Josh Brolin]

That's the. That's the opposite of what I'm talking about. Literally, there's no support.

[Woody Harrelson]

I can't imagine you that kind of direct. But. But what was it like? I mean, to be directed by. Did you guys ever butt head? You must have butted heads.

[Josh Brolin]

We did in the beginning. There's something about. And this is. I'm saying this objectively. There's no ego in this, I don't think. I think that there's something about me or that I'VE learned through the years that scares people. Do you know what I mean? There's like, oh, he's really fun and funny, but if he wasn't, it would probably not be good. And I think Oliver picked up on that. He's like, yeah, definitely, definitely Woody's.

[Ted Danson]

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[Nick Liao]

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[Ted Danson]

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[Nick Liao]

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[Ted Danson]

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[Nick Liao]

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[Ted Danson]

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[Nick Liao]

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[Ted Danson]

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[Nick Liao]

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[Josh Brolin]

I know there's, I won't say who they are, but there's certain directors of movies that, you know, there's, I don't know how you guys feel, but there's like, you know, you'll hear this is a really important movie for you to do, which I don't, I don't understand. I don't think, you know, you choose to do whatever you do and you don't know where your career is going to go or what you know is going to, you know, the most important movie. And then nobody sees it. And you go, so apparently you didn't really know and I thought you knew. So I usually go back to me and go, you know, is this appropriate for me to do right now? Do I want to do it? Am I into doing it? But I did say no, and it wasn't entirely based on that. Maybe I had some other things going on, but it's okay. To say no. And I think ultimately, when I look back, I think it's maybe because of those no's that people went, why did he say no? I want to work with him and see if he'll say no.

[Ted Danson]

Can I take you back to here? You've talked about drinking or sobriety. Was there a. Oh, my gosh, what will my creative process be like now that I'm sober? Was there ever a. Maybe some of this great stuff I'm doing is because I'm drinking, you know?

[Josh Brolin]

No. No. Socially. Yeah. I think I got a lot of jobs because of what. Or at least that's what I think. It's probably not true because of how I was socially when I drank. It was fun until it wasn't fun.

[Ted Danson]

Yeah.

[Josh Brolin]

And then. So, no, it was more socially. I mean, even men in black 3. And I know you run tapes in your head to try and justify the continuing of your. Whatever you're doing that's quote unquote working, but I remember, you know, Barry Sonnenfeld saying, I heard you do. I heard you do a Tommy Lee impression when we. When me and him and the Cohens were out and all. I didn't even remember doing it. Which turned into me doing that movie which the studio didn't want me. They wanted Wahlberg. But, you know, and then I kind of auditioned for it after I had gotten it. I saw this little setup, and I didn't really understand what was happening. They said, we would love to hear some of the words like, we're rewriting. And I realized it was like a second. Not even a second, a first audition, even though I had already signed the contract. So there was this mistrust or distrust or whatever it is. But I think, yeah, it was socially, it was never. No, I knew that my. That I was on perpetual LSD anyway. Just in life.

[Ted Danson]

Yeah.

[Josh Brolin]

And that. And that it was socially that I didn't know how to. I'm like, okay, so when you're sober, like, I've heard my dad say it. He's like, if you get like, what do you talk about? I heard Will Patton say that. He goes, you know, he was working with Kevin Costner, and they asked him if he wanted to go out in Gene Hackman. And he goes, but what would we talk about? And you see the fear in his eyes, like, real fear. Like, do you go, like, do you get through a minute of like, ah. And then we did that. And now what? There's the rest of the dinner.

[Ted Danson]

Yeah, yeah.

[Josh Brolin]

And I think I've gotten beyond That I think.

[Ted Danson]

Yeah.

[Josh Brolin]

Yeah. You know, they talk about hitting bottom, you know, and I was. I was doing shit at 15 that was bottom far worse than.

[Ted Danson]

Yeah, what.

[Josh Brolin]

You know, so that last night that I. That I drank, there was a hit and run at Del Taco. There was. That. There was. I woke up on the sidewalk. I didn't know where my car was. And it wasn't that. That was rare. That was just, you know, the 400th time that it happened. It was so normal when I woke up. But my grandmother. I was supposed to be at my. My grandmother was on her deathbed. I was supposed to be with my. I was supposed to have picked up my brother and taken them because I was the kind of. I was the fam. I was. I was the one in the family that put everything together and structured everything and controlled everything. Anyway, woke up on the sidewalk, went inside. My brother called me, where are you? Picked him up, walked into that hospital eventually. And my grandmother, who was 99 at the time, picked her head up. Everybody knew when I walked into the. To the room, picked her head up and looked at me and smiled, and that was it. I was done.

[Ted Danson]

Wow.

[Josh Brolin]

I said, if this woman could get through 99 years on her. On life's terms.

[Ted Danson]

Yes.

[Josh Brolin]

How dare me.

[Ted Danson]

That's a great phrase. On life's terms.

[Josh Brolin]

On life's terms, I said, how dare me?

[Ted Danson]

Yeah.

[Josh Brolin]

And I'd gotten away with. I was 45 years old, and I had done. I'd done. You know, I gotten away with a lot. Been in jail nine times, you know, done a little bit of stuff, you know, whatever.

[Ted Danson]

Yeah. Yeah.

[Josh Brolin]

So I thought, I wonder if I could do that half of life like that, and then do this half of life like this. Then I get to live two lives and not just one.

[Ted Danson]

Well done, bud.

[Josh Brolin]

That's cool.

[Woody Harrelson]

And do you ever, like, when you go out and you're hanging with people and they're having some wine or whatever, do you ever say to yourself, never. Not that you're gonna drink it, but do you?

[Josh Brolin]

No. No. No. You don't ever feel like, I gotta leave right now?

[Woody Harrelson]

No. No. But you start convulsing, huh?

[Josh Brolin]

Or I start convulsing?

[Woody Harrelson]

No. Can I ever feel like.

[Josh Brolin]

Can I smell your glass?

[Woody Harrelson]

Yeah, right.

[Josh Brolin]

Can I smell your mouth?

[Woody Harrelson]

Stick your nose in there.

[Ted Danson]

Different. Different story.

[Woody Harrelson]

The bouquet. But do you ever feel like, Jesus Christ, man, like, I am dying to have a drink?

[Josh Brolin]

No.

[Woody Harrelson]

You don't?

[Josh Brolin]

No.

[Woody Harrelson]

Because the decision's made, and it's just.

[Josh Brolin]

No. It's not even the Decision. I feel like something's been cultivated in me that I helped cult that my life now is better than my greatest romance of any drink I could have. Yeah, I actually like my life. Not that I didn't before, because I loved it before. Except when I would write indecipherable texts.

[Ted Danson]

I didn't like that in sobriety, everything is possible.

[Josh Brolin]

Without it. It's that. And I remember about four years, and I wasn't looking for it, and I wasn't trying to cultivate it. Four years into sobriety. I remember when my older kids, my kids who are 35 and 30 now, trusted me and I saw it in their eyes. Something. So before that, it was always like, you know, dad. You know, dad, he's crazy. You know, everybody talks about Josh being crazy. Josh is on edge. Josh is this, Josh is that. And I lived off that. I loved that stuff because otherwise, if the people aren't talking about you, you're invisible. You don't exist. You have no character. You have no. You don't exist.

[Ted Danson]

I've gotten used to it. That's awful.

[Josh Brolin]

Don't say that. But then you. Then you get to a point where you get like, fuck it. I'm interested in walking through this, Walking this labyrinth. I want to see what I can create out of this cauldron.

[Ted Danson]

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[Woody Harrelson]

And can I go back too? Because I wanted these Sito Rats. Is that Monte?

[Josh Brolin]

You guys did your research?

[Woody Harrelson]

Oh, Montecito Rats was Montecito.

[Josh Brolin]

Montecito. Which is perceived. Which I think it was then too, like some rich kind of. But it wasn't like that then. But there was a group of guys. So I don't know if you ever heard of the Bra Boys in Maruba. It's a. It's. It's a kind of a. It's not a club, but it's a group of guys. And it was a time around the same time. And they all. They all had tattoos. My brother's keeper. And they're. And you can see a documentary on them. And it's kind of an amazing. And I know all those guys. I know all those guys from those different surf cultures. So there's Dahui in the North Shore, which Eddie, you know, Rothman I know really well. I know Kala really well. I know you know all those guys. So there was to Hui, there was Wolf Pack, and then there was Seato Rats, which was. Which was our guys and Santa Barbara. And.

[Woody Harrelson]

But you like saying you just. You just. There was kind of an amazing mix, like rich, poor. There was famous parents. Yes.

[Josh Brolin]

Yeah, there's only a couple of those. But then there were other, you know, like Jason Sears, who was the singer of Rich Kids on lsd. That was a punk band, a hardcore band that ended up doing really well. And that was our group that was from the C Rats. And then there was, you know, like a dad who owned a restaurant in the area. And there were just different economically. They were all over the place. A mechanic. There was the. The Odonnels. The dad was the mechanic in the area. And it was just. I think because it was the 80s, there was a lot of. And I don't say this from, like a victim point of view, but there were a lot of parents that were kind of Just doing their own thing. There was a lot of partying going on, so kids were just kind of left to their own, you know, demise, at least in our, in our, you know. So how old were you banded together? Probably 11. When I met those guys, there wasn't the Cito Rats yet, but it was me and Jason and Mike Herbert and a few other guys and Will Moeller and. And then that around 13 or 14 turned into a thing. And that went on until it didn't exist.

[Woody Harrelson]

And you guys would all go surf together?

[Josh Brolin]

We would hang out at Butterfly beach all day, every day. We would get up when we had school, at least in the beginning. We'd get up probably 4:30 in the morning, ride our bikes down to the beach with our boards, surf whether there were waves or not. End up in school, sleep in school, get out of school, go right back to the ocean, surf like it was every day and then all weekends.

[Woody Harrelson]

But yeah, sounds kind of idyllic.

[Josh Brolin]

It's kind of amazing if you think about it. And now it's. Now it's some. And there's always this kind of tragic ending, which is horrible. But you know, a lot of those 36 of those guys, probably out of 50 guys, died during the heroin epidemic and during some other things, car wrecks and drinking and, and all that. But amazing human beings, man. I mean like literally a family that you would hope for true loyalty. And I think that's something that's like bled into my life and I, I get off on that, you know, rallying people up. And I mean, we were like that on no country. You know, Javier was sitting in his, with his haircut and his whatever in his one bedroom apartment with the shades drawn and, you know, dark. And you just like, bro, you gotta get out of your fucking head. I'm never going to get laid again. And you're like, come on, it's going to be fun. And we go, me and him and Woody would go out and we'd have a blast. I like that whole communal thing. I've always liked that.

[Woody Harrelson]

It's one of the great things about this business, like when you do a project and you come together and it's so tight. But then the worst part of it is it ends. You're like, I'm going to see you and we're all going to get together and then suddenly, where is everybody?

[Josh Brolin]

It's the weirdest. It's. And I think my daughter going back to. My daughter becoming an actress would call me after a movie or something and saying, what is this Feeling. And I was like, ah, that's that. That's that thing. Because you get so close to people, it's so intimate, and you kind. You. You don't. Especially if you're doing projects that are good, then you're. You're more exposed than I think you would be. If it was some, you know, not to put like, some series or some cosmetic whatever that you were doing, and it didn't have any kind of creative, you know, possibilities or outlet. You get super close. Yeah, I got super close with him, super close with Javier, you know, super close with Kelly McDonald when I did Dune recently. I mean, this is like some of my closest friends. Yeah, it's wild, though. I think it's really wild with Javier. When was no country, like 18 years ago or something. And then you get older, and then you do another movie together. Like, the idea of a director saying, what if we got Josh and Javier in the same movie again? You're like, that's really cool. And then these old guys show up, you know, and it's not as. I think the mentality toward the work is different. You know, I think back then it was like, not that it's not now, but all in. And now it's like, this is what we do. This is what we've done for 39 years, and this is what we do. Then we go home.

[Woody Harrelson]

Was it. Was it an odd thing for you? I'm sorry. No, no, Teddy. But is, you know, like having James Brolin as a father, being this incredible actor. And as a kid, you were like. I know you kind of grew up a little away from that and, you know, the Hollywood Five. But what was it like?

[Josh Brolin]

Or like. Definitely like a shadow. You know, shadow where you want to. And I think it was a good thing for me because he's. We're very. You know, our trajectories are very different. But I think in the beginning, it was always like, oh, you're. You're Jim's son. I mean, I remember there were Cat. That was one time or two times it was a casting director that said, oh, you want it? I walked in and I had, you know, a couple monologues that I had learned. And she said, like, I don't remember who it was, but she said, so you want to be an actor, huh? When I go, yeah. And she goes, aren't you Jim son? I go, yeah, yeah, it's my dad. And she said, oh, okay. Well, act. I go, she goes, act. And I said, well, I have a couple of monologues and all that. And she goes, that's what I thought. Thanks for coming in. And I was like, what? And that's the flip side of, like, I'm not going to help you because of this nepotistic thing that we know happens and. Which is impossible. Like, we all know it can get you in the door in the beginning, and then if you don't prove yourself, you're boom, that's it.

[Ted Danson]

Yeah.

[Josh Brolin]

And nobody knows that. Nobody cares. So I think that that idea, because of things like that happening, you have this blanket that you think exists, and you. And there's a couple of different, you know, proofs that it does exist. So you're like, okay, I'm going to go do theater. And I met this guy, Anthony Zerby, which was probably the best thing that ever happened to me, who's my. My best friend, who I just saw. He's 87 now. I just saw him.

[Ted Danson]

I love him.

[Josh Brolin]

We just had breakfast together. And he was somebody who. We did this series called Young Riders, which was a Western. And every kid on that series, when the. After you do 22 episodes. What is it called? The hiatus, Everybody, you know, you want to do a movie, got to get a movie. Like, this is all. This is all building this thing. You have to build this structure. And Zerby came up to me and he said, come to me. Come with me to Rochester, New York, and do a play. And I was like, no, man, I gotta do a movie. I'm like, I'm gonna fall way behind in the race. You know what I mean? And I did. And I ended up doing. He had this thing of three plays and rotating rep. Three new plays and rotating rep. I did two of the three, and I did that for five years every summer. Every. Every summer. And then I started doing other theater beyond that.

[Ted Danson]

He was kind of a mentor, wasn't.

[Josh Brolin]

I mean, he was just a. I never looked at it as a. I think now it's like, of course he was a mentor, but, you know, he was just one of those guys that, like, I. I'd get up to go to work, and I'd open my front door, and there'd be 17 plays or books.

[Ted Danson]

Yeah.

[Josh Brolin]

And he'd go, check this, you know, And I'd read every one. And he go, there's William Blake, and here's this. And read these poets. And then read the. Read these plays. Read Mammoth. Read this. Read this. So I got this kind of great education in my early 20s that I don't think would have happened had it not been for him.

[Ted Danson]

That's fantastic.

[Josh Brolin]

Great person, amazing human being. Yeah.

[Ted Danson]

Yeah, I agree.

[Josh Brolin]

Yeah.

[Ted Danson]

Do you talk about your mom?

[Josh Brolin]

Yeah, all the time.

[Ted Danson]

Wasn't she an animal activist? Mary. Mary's prodding this story about somebody. Who was it a reporter or somebody came. She had big cats. Tell me, talk to me.

[Josh Brolin]

All right, so I just sold this book. I just wrote this book. I just sold it to Harper Collins, and it's not published yet. It'll be published in like a year. And I wrote a bunch of stories, and then some of it's like prose poems, some of it's, you know. And you. I remember reading you poetry back in the day. And then they're just stories. But as we got to Kimberly Witherspoon, who's at Inkwell Management, who's my lit agent, and she. She said, you know, there's a lot of stories in here about your mom. And I go, yeah, she's big personality, had a big impact. And then she goes, what do you want? Like, maybe there's there. Maybe we need to focus on other people. And I would try anyway. I totally, at the whole point, before I get into my mom, was, people have an impact on your life, and people have an impact on your life when they're bold enough to say what is on their mind. You know, other people won't. People will say, no, I don't want to create a thing. I don't want to make it feel insecure. My mother was the opposite. My mother had zero filter. So as crazy as she was, and she was absolutely fucking nuts. She was. She gave something to me that allows me to open the pores of whatever filters exist. And I'm really grateful to her for that. So she was animal obsessed. And she ended up working with Fish and Game. And she was a way station for all animals that had been illegally taken out of the wild and they tried to domesticate them. She'd find those people, have them jailed, nurse them back to health, and either re. Release them or find the most habitable zoo. So we had a lot of animals growing up.

[Ted Danson]

Big cats.

[Josh Brolin]

Big cats, wolves, bears, all kinds of. Yeah, stuff. I mean, there's one. There's like. There was a guy who was working on our ranch up in Paso Robles, California, Bud Applehands. And My mother was 5 foot 2, from Texas, from Corpus Christi, Texas. And had a voice like, as deep and severe as any man's voice you've ever heard in your life. And so Bud, Apple hand, she got this tiger in. Was it a tiger? Yeah, it was a lion. It was a lion with a big mane. And she got. And it was only for like a week or something. And she told him, she said, look, he's not eating. You have to go in there and show him how to eat. You have to sit next to him and show him. Put your face in the bowl and show him how to. He needs help. And. And my dad was like. My dad just walked away. And Bud goes, you just want me to get in the thing and just sit down? I mean, he didn't know any better, poor guy. And she. So he goes in there and she goes, well, sit next to him. And he's like. Like this. And the thing's just sitting there with the face on the paws. And she goes, now put the bowl up to your face and then just lower your head like you're eating. So he's like, this is a tough, tough dude, country guy. Like that. And then he gets up and the line goes. You know how they look up like a dog? And they just go, one eye, the other eye, the other eye. And then he moves forward. And she goes, oh, good, he's moving, he's moving. And he moves toward his thigh. And the lion opens his mouth. He's four or five inch, you know, long fangs. And then slowly closes the mouth around the guy's thigh.

[Woody Harrelson]

Around what?

[Josh Brolin]

The guy's thigh. And you hear the rip of the jeans. And you hear. And Bud's going. His teeth are going into my leg. His teeth are going into my leg. And my mom, when she would get nervous, she had this thing. It's like a condition where she would laugh hysterically. So you hear, the teeth are going into my leg. The teeth are going into my leg. And she's trying to talk, but she can't because there's just wheezing with this laugh. And she's got a cool king in one hand and a Dr. Pepper in the other hand, which is always what she had. And she's trying to say, don't move, don't move. But she can't because she's laughing so hard. And the lion just kept its teeth in there for a while. Looked up a couple of other times, he didn't move. And the lion slowly lifted his mouth or opened his mouth and then moved back to where he was. Get me the out of here. And that was in a nutshell. And I've been told that story a lot, but that was.

[Ted Danson]

That's Mary's favorite.

[Josh Brolin]

My brother got 60 stitches in his leg from animals. Fell in with the animal because we had to do it, you know, it was one. One of those. When you get your kids, you know, you want them to like a normal, like you as a parent or you, you know, you get out in there and you're like, you know, pick up the hay or go feed the dog. We had to feed the wolf. You know, it's a different deal, man. Go clean Lefty's cage. But I'm eight, you know, and you're raking and you're looking, and you go, if I look too directly in the eye, it's a challenge. But if I look away too much and if I don't make any eye eye contact, then I'm like that cartoon with the, you know, steaming chicken.

[Ted Danson]

Yeah.

[Josh Brolin]

Yeah, man. And then you go out into life and you become an actor and it's all good. It's all good.

[Woody Harrelson]

All those skills.

[Josh Brolin]

All those skills. So, yeah, she was. She was. She was really. She was something else. She was something else. She went out with a truck driver for six or seven years. Looked very much like my dad. He used to truck for Union 76. Spent a lot of time with him. I spent a lot of time in truck stops. And my mother didn't fly. She only drove. And she wanted to go constantly. She was constantly moving. So it was like 50, 60,000 miles a year. But she'd wake us up at 2 in the morning, which was not uncommon because she was from Texas. And she'd wake us up at 2 in the morning. My brother and I. My poor brother, you know, I could deal with it. Like, I was easy at the war thing. And he was like, why? Like, you know, tears kind of like welling up in his eyes. And she'd go, let's go to Whataburger. It's like fucking 2:00 in the morning. Like, we have school. She'd go, I need a Whataburger now. Let's go. And my dad. I'd hear my dad upstairs, like, oh, you know, like putting. Like trying to hide behind a dresser or something. And we'd go. And that's not bullshit. We spend four or five days on the road and we'd go get a water burger and we'd come home. Then I get a note and Josh was sick or whatever. I miss her, man. I miss her because she was a big. It was crazy while it was going on, but it was. You know, there's still people who come up to me and they go, God, your mom. I miss your mom. I missed that in life.

[Ted Danson]

Yeah.

[Josh Brolin]

There's not many people Especially in this day and age of extreme fear and uncertainty of how to act. It was nice to have somebody who just didn't. It's not that she didn't care. She just couldn't help it. How about that?

[Ted Danson]

She couldn't help it.

[Josh Brolin]

Yeah.

[Ted Danson]

I love you, buddy. I. I've missed you. I missed you. It's really nice. Really nice to catch up a little bit and see your face. Are you still writing poetry and.

[Josh Brolin]

I'm just writing all the time.

[Ted Danson]

Do you sing? Do you. Do you. Does it go to song ever or.

[Josh Brolin]

No, like, my daughter writes really well and it goes to song. Really. She has a beautiful voice. I had a band when I was, like, 24, but it was more like a, you know, scratchy voice. Blues band.

[Ted Danson]

Yeah.

[Josh Brolin]

But, no, it never trans. I don't need it to translate.

[Ted Danson]

Yeah.

[Josh Brolin]

You know, somebody said something about, I've always taken pictures and do you want to do a photography exhibit? And I was like, no. Writing is what I do. Writing is my thing. Writing is the number one love. Always has been. Or no, yeah, yes, I have. But that's never the point, you know.

[Woody Harrelson]

Just probably more pros or whatever.

[Josh Brolin]

Prose, stories, poems. It used to be more poems. Not so much anymore. More prose poems and stories. Yeah. And I think the writing's getting better. And I think doing this book was the best thing that ever happened to me because you're not just writing for yourself, but you're writing for somebody else, which has a totally different. You know, and I. And I've become a better writer because of it. I become a better technician because of it. And it's fun to. To. To write in the way that I do and actually understand the grammar around it and how I can best utilize what. You know what I mean?

[Ted Danson]

Yeah.

[Josh Brolin]

So it's been a good. It's been a fun road, learning how to be a better writer. But. Yeah. Wow. Will you tell me something really quick? Because my first instinct when. When. When you reached out to me was that you guys have always been really close.

[Ted Danson]

We were. Well, you know, we'd make each other laugh for whatever it was. Eight years together on Cheers, nine months out of that year. You're showing up every day and playing and having fun and. Yeah. Woody, for me, because I didn't have that older brother, younger brother thing. Woody was my older brother, younger brother thing.

[Josh Brolin]

It was all the brothers where, you.

[Ted Danson]

Know, that kind of. If you don't have a younger brother, older brother thing, you don't know how to compete.

[Josh Brolin]

Yeah.

[Ted Danson]

You know, and he kind of Taught me how to compete and yet know that there was. He probably wouldn't kill me, but he might because of the brotherly thing. It's. You know, I got to taste that with Woody, which I love. But then we would see each other in a smoky haze once or twice a year, you know, and it was lovely. It was wonderful. But never really got to hang like this. And I mean, I hear stories from you, Woody, now, that I had no idea. And it's just a joy to hang around.

[Josh Brolin]

So this is a bleed over from working together in that thing that we talked about, about how you get so close with people.

[Ted Danson]

Yeah.

[Josh Brolin]

The intimacy level is so high.

[Ted Danson]

Yeah.

[Josh Brolin]

And then afterwards you go, what happened?

[Ted Danson]

Yeah.

[Josh Brolin]

And that's not something you always felt like it was a major, major loss not staying that connected with him. Not that you could have, but not having that day after day after day.

[Ted Danson]

Yeah, I think so. And also, I mean, loving somebody or whatever needs to be fed.

[Josh Brolin]

Totally.

[Ted Danson]

You know?

[Josh Brolin]

Totally.

[Ted Danson]

So it's.

[Josh Brolin]

Yeah.

[Ted Danson]

I love Woody. Well, not as much as I love you now. Having spent whatever it is talking and this kind of setup.

[Josh Brolin]

Yeah.

[Woody Harrelson]

It's been a real gift for me. I will say Teddy me.

[Ted Danson]

Good.

[Woody Harrelson]

And you know, and now we get to hang with Josh. Like, you know, I. I hardly ever see him, you know, it's. Yeah. We got to spend more time together, dude.

[Josh Brolin]

I know, man.

[Woody Harrelson]

It really makes me so happy just hearing you, you know, your stories and talking and I got miss that.

[Josh Brolin]

I know, I know. Last time we saw each other was at the Academy Awards. That was the last time. Me, you and Javier, which was a nice moment. That's that moment where you go, yeah, 18 years ago or 17 years ago, this thing that was inseparable.

[Ted Danson]

Oh, it wasn't because of that. It was 18 years later. You were all.

[Josh Brolin]

We just all were there and we saw each other and it was like.

[Ted Danson]

Yeah.

[Josh Brolin]

You know.

[Ted Danson]

Yeah.

[Josh Brolin]

Yeah.

[Ted Danson]

It's an amazing thing for those who aren't actors to be in this tribe and acting and doing a job together. It is so intensely intimate.

[Josh Brolin]

It is.

[Ted Danson]

Even if it's fleeting. Sometimes it is. If you're doing your job, you're opening yourself up as honestly as you can to the other person to let them in.

[Josh Brolin]

And I love the idea. I think now especially and is a 55 year old guy especially. And is somebody who has older kids and a four year old and a two year old. I love this idea. I don't know where this comes from, but of like, why does it have to only be on A set. So, like, I'm the guy when we're writing, when I'm with a group of guys or a group of new guys riding our choppers or whatever in this old vintage, which looks like an affectation but is quite not. And then it's usually the biggest guy who looks like he's spent half of his life in prison. That's the first guy I'll go and give a big hug to and maybe a kiss on the cheek. I go, where are we going to take it from there. I think that's the part of my mom that came through because I'm like, why does it always. Because I work less because of the kids. I've cut my workload probably in half. But that feeling to me is everything. You know?

[Ted Danson]

I'm nodding my head. When you say choppers, you got to tell me what you're talking about.

[Josh Brolin]

Choppers.

[Woody Harrelson]

Motorcycles.

[Josh Brolin]

Motorcycles, but real choppers. Old, vintage.

[Ted Danson]

Oh, I had you hanging out of a Bell helicopter.

[Josh Brolin]

No, no, no, no choppers.

[Ted Danson]

So much happier. Like.

[Josh Brolin]

Yeah. 1937 knucklehead. 1968 shovel had. 1956.

[Woody Harrelson]

Oh, really?

[Josh Brolin]

Yeah.

[Woody Harrelson]

Wow.

[Josh Brolin]

Like old. Old and amazing. They break down always. We're going to go to Virginia City at the end of the month. It's like a thousand mile ride. We'll break down 17 times before we get there, but it doesn't matter.

[Ted Danson]

The one time I had a motorcycle was like a 1947 Canadian army bike with a sidecar.

[Josh Brolin]

How great is that?

[Ted Danson]

Yeah, it is cool.

[Josh Brolin]

It is.

[Ted Danson]

Except I was never allowed to ride a bike ever. And the only time I did because of my parents was in this movie, Cousins, where my character rides that thing around. And little did I know that it was a Harley too. And you need to be a ace, ace mechanic to have that old a bike. And so it became a flower pot in our backyard.

[Josh Brolin]

No, it did it really. Just a bunch. Bunch of parts everywhere. Right.

[Ted Danson]

And flowers growing out of the sidecar.

[Josh Brolin]

Yeah. Yeah.

[Woody Harrelson]

Hey, can I ask you a question? I just wondered about this. You married two actresses.

[Josh Brolin]

I did.

[Woody Harrelson]

Why would you marry two actresses?

[Josh Brolin]

Oh, God.

[Woody Harrelson]

When you think after the first time, I'm not gonna marry another act.

[Josh Brolin]

But then it happens.

[Woody Harrelson]

I mean, I love Diane.

[Josh Brolin]

No, I'm just saying it's.

[Woody Harrelson]

It's kind of wild.

[Josh Brolin]

That's a good question. You.

[Woody Harrelson]

You married an actress? This is not a popular question. Can I throw it?

[Josh Brolin]

No, no. I like it because we talk about this. Not often, but we talk about it because not only that, I was. I was on top of That I was engaged to an actress, and then I had a couple of actress girlfriends before that. I'm one of those guys that if I see somebody that I was with for a long time, I'm like the happiest. I go, oh, my God. Hey. You know? And they're trying to hide behind a thing and hand is in front of their face, and I'm like, oh, my God. How's your life? Are you joining kid? It's me, Josh. My new baby. Isn't this crazy? Remember you and me and the sex? How was crazy was that I'm doing that with her now. Life is so much fucking fun, isn't it? That's really how I see it. And I. And I realize that not other people, people, most people don't see it that way. And they're like, please go away, please. About face.

[Ted Danson]

That's great.

[Josh Brolin]

But it, man, it is a crazy, fun life. And that's what was super interesting to me when you called or when you texted me and I said, there's no reason to do this. And I. And I listed all the ways, and at the end of it, I said, I'm in. Because it sounds to me like you guys together, I'm all in this bubble at the beach right now. We're not doing anything. It sounds perfect.

[Ted Danson]

Yeah, it sounds perfect on my end. What happened was I felt awkward.

[Josh Brolin]

I know you. I know you said it.

[Ted Danson]

You called me out on it in this great, great, no, wonderful, poetic, late at night, voice message memo. And I didn't. I didn't. At one point you said, and yeah, sure, I think was the word or something. And I went. And kids, we were surrounded by grandkids and would come screaming through right at that point. So I went back and listened to it two or three times, and every time I couldn't tell if you said sure or not. And so. And then the fucking thing disappears. I didn't know. Voice memos disappear.

[Josh Brolin]

That's great about the voice memo is you leave it and if you don't save it, if it goes to the end, and if you don't save it, it just disappears and it fucks everybody up.

[Ted Danson]

So these guys, I asked these guys, yeah, maybe ask them, but I don't know.

[Josh Brolin]

I don't know if he said yes.

[Ted Danson]

Or no, but ask them.

[Josh Brolin]

Of course I would say yes.

[Ted Danson]

Of course I would say yes.

[Woody Harrelson]

Thank you for doing this.

[Josh Brolin]

Thank you, guys.

[Woody Harrelson]

You really mean so much. It fills me with joy to see you, man.

[Josh Brolin]

Me too. I'm the same. It's nice to See you both again. Thanks for this, Josh. Thank you.

[Ted Danson]

Thank you for many things, of course. Well, there you are. Josh Brolin, thank you so much for being with us today. Be sure to check him out in outer range on Amazon Prime. It is amazing. I've seen the first season and was riveted. He gives a brilliant performance. That's it for this week's show. Special thanks to Woody and to our friends at Team Coco. Tell a friend if you like the show and give us a great rating and review on Apple podcasts. If you feel up to it, we will see you next time on where everybody knows your name. Take care.

[Nick Liao]

You've been listening to where everybody knows your name with Ted Danson, Woody Harrelson, sometimes. The show is produced by me, Nick Liao. Executive producers are Adam Sacks, Colin Anderson, Jeff Ross and myself. Sarah Fedorovich is our supervising producer. Our senior producer is Matt Apodaca. Engineering and mixing by Joanna Samuel with support from Eduardo Perez. Research by Alyssa Grohl. Talent booking by Paula Davis and Gina Batista. Our theme music is by Woody Harrelson, Anthony Gen, Mary Steenburchen and John. Special thanks to Willie Navarret. We'll have more for you next time. Where everybody knows your name.

[Ted Danson]

Consumer cellular offers the same fast, reliable nationwide coverage without the big wireless cost freedom calls. Sign up with consumer [e-mail] TED50 and use promo code TED50 to save $50. Terms and conditions applied. Every day, our world gets a little more connected, but a little further apart. But then there are moments that remind us to be more human.

[Josh Brolin]

Thank you for calling Amica Insurance. Hey, I was just in an accident. Don't worry, we'll get you taken care of.

[Ted Danson]

At Amica, we understand that looking out for each other isn't new or groundbreaking.

[Nick Liao]

It's human.

[Ted Danson]

Amica empathy is our best policy.