A (2:56)

It sounds like an aperol spritz. The first time I Had an aperol spritz. I said, oh, is this one of those girl drinks? And Mary had to carry me to the elevator.

B (3:04)

Oh, that's fun.

A (3:05)

Yeah. Okay. Hi, Kate.

B (3:07)

Hi.

A (3:09)

There's so many little connections.

B (3:11)

Big.

A (3:12)

I have to. I can't just start talking like, I don't know you and I haven't seen.

B (3:17)

You forever, and your daughter was my doula for two of my three children. I can't. There's so many crazy connections. I know.

A (3:25)

Two of your three.

B (3:27)

Yeah. Well, because my oldest, I didn't birth because he's my stepson.

A (3:30)

Right.

B (3:30)

But for my two little ones, yeah. Kate was my doula, and she's the best.

A (3:35)

She told me that. Yeah.

B (3:37)

Yeah. So it runs deep, your family. Charlie. You know, I'm obsessed with Charlie.

A (3:42)

Charlie McDowell. I'm obsessed with Charlie.

B (3:46)

He's the best. Who's not obsessed with him?

A (3:48)

I'm also obsessed with his wife, Lily.

B (3:50)

I love Lily. But, yeah, we met. The first time you and I met was for. Was it for the open road?

A (4:00)

I think that. I mean, I heard of you because I think you knew Charlie.

B (4:04)

No, I met Charlie on. When we were. We were rehearsing for the film the Open Road, and we, for whatever reason, took over your Ojai house.

A (4:13)

Yes. Jeff stayed nearby, but, yeah, we all took over Timberlake. You and Mary were in the film.

B (4:21)

And we were rehearsing there. Do you remember everyone was singing every night before.

A (4:25)

Yes.

B (4:26)

Oh, it was so cool to just, like, be around that many musicians and everyone would just randomly pick up their.

A (4:33)

Guitars and Bill Paxton was living nearby and came that one night where everyone.

B (4:37)

Was singing and we played running charades with everyone. Really fun. What a fun time. But that's where I met you and Mary for the first time. And Charlie and I became, like, best friends because of that.

A (4:49)

Yeah.

B (4:49)

Very cool. I know.

A (4:51)

Then we have to put in your sister, who goes by a different last name. I understand. It's Mara, not Mara.

B (4:58)

Yeah, we got a she. And I just did a movie. Rooney and I just did a movie together.

A (5:02)

Have you completed that? My research said you were about to.

B (5:05)

We just. We finished. We finished it a month ago. Are we talking about it now or. No?

A (5:12)

Yeah, no, we jump around because that's my brain. So, please, you.

B (5:17)

I thought maybe we would clear up the last name thing while we were working together, but it never came up.

A (5:25)

So who changed the pronunciation from, let's say, your grandparents? She changed it.

B (5:28)

Of course she did, because my grandparents are New Yorkers, so they kind of said it like, Mara you know, but it sounds much better as Mara. And it probably really is Mara. Cause it's Irish, right? You know, Omara Mara. So that's how Rooney likes to say it. But I always say it's Mara. But, yes, we just made a movie together and we'd never worked together before.

A (6:01)

It's called.

B (6:02)

It's called Bucking Fastered.

A (6:04)

Bucking Fastered, which is the greatest title of all time. It's very good place where you fork yourself, you know, so good. Bastards.

B (6:15)

Werner Herzog wrote it and directed it. And we play sisters who are so close that they speak in unison.

A (6:25)

Always.

B (6:25)

Always. Oh, yeah. So it was the most bonding experience of our lives, truly.

A (6:34)

I mean, that's like a score, a musical score. Cause you had to rehearse that alone.

B (6:41)

You know, what was interesting is we really. We thought it would be. We really didn't know how we were gonna do the in unison thing. And I really. I thought we were gonna have to just practice the lines over and over again in order to figure out how we were gonna say it together. And. But I think that the thing that got us so. I think what we did in preparation that helped us the most was really just spend time together. And we just sort of talked about the characters in the movie and all that. And then everything else fell into place, like, way easier. But we did have little things that we would do. We would say this, you know, we would say like a prayer together in unison in the trailer. But we were sharing a trailer. We were eating the same things when we weren't on camera. We were dressing the same even when we weren't on camera, just to really do it, you know.

A (7:36)

How long do you think from rehearsal to the end of shoot, you were doing this?

B (7:43)

Well, we had a few weeks of rehearsal time, which was amazing. You don't always have that. And we would just. At first, we would plan out our outfits. We would text each other in the morning and say, this is what we'll wear today. And then we would just start dressing the same accidentally on purpose, which was so funny to us. And then, you know, when we weren't saying our dialogue in the film, we would just start responding in unison accidentally. And just. It was just very, very connecting.

A (8:12)

But help me understand. So if you. You're two characters, if you're talking to each other, how does one do that without doing them?

B (8:22)

Occasionally. Occasionally we do say a word or two that's not in unison. But then we basically always finish each other's sentences, right? We share the same thought. Like they Dream the same dreams. It's very interesting, Very unique, Very Werner Herzog, you know.

A (8:38)

Okay, you're throwing that around, you know.

B (8:40)

Who, Werner Herzogen.

A (8:41)

Yes, but it's like genuflect time.

B (8:44)

I know.

A (8:45)

So what was that like?

B (8:47)

Well, a dream. I mean, my sister and I have been offered other things to possibly do together over the years. We've always wanted to work together, but there's always been something that wasn't quite right. You know, we both have to want to do the project. There have to be. The roles have to be sort of both equally amazing. We both have to want to be really excited about the director, all of these things. And we got a letter from him, from Werner that was so beautiful. And regardless, when I heard that he wanted us to be in his film, I. I've. My reaction was instantly, yes, Because I just think he's one of the greats and nobody is like him. Which is, in fact, true. After working with him, there will never be anybody like him.

A (9:41)

Can you describe a little bit what that feels like as an actor being directed by him?

B (9:47)

Yeah, at first I was. Well, what's interesting about Werner is, you know, I think you. He can be quite intimidating because he's very opinionated and very specific about what he likes and what he doesn't like. And he is not afraid to say it. I mean, if you watch any interview with him, you'll see what I mean.

A (10:15)

But.

B (10:16)

But he's so collaborative and trusts. I mean, he trusted us so much with these characters. And so it was actually, in the end, quite freeing for me and Rooney. Cause, you know, when you're speaking in unison, you can feel quite trapped because you've got. If you're supposed to be similar, you kind of have to do. Maybe you'd think, oh, I gotta do what the other person is doing, or whatever. But I don't know. He created a. A set that was so special. And so. I mean, he's so specific. He doesn't want anybody speaking ever. He doesn't like sound in between takes. If he hears the smallest sound, he. It really messes with his thought process and the way he works. He's the one that says action. He's the. He's the clapper. He's the clapper. He's literally. He doesn't look at a monitor. He's right there next to the camera at all times.

A (11:17)

Wow. But that must be so intensely good for you because what you're hoping to be usually is witnessed and observed by the director.

B (11:27)

Yeah.

A (11:28)

And you were so Intensely getting that?

B (11:31)

Yes, very much so.

A (11:34)

Yes.

B (11:35)

No, at first it was a little bit. It was jarring. It was jarring. But he's so. He cares so much about. He really wants you as an actor to feel free and to take ownership of your, you know, character and all of that. So he really wants. Because he's so honest, he. I think he expects other people to be as honest but most people are not. Or most people are scared to be. But by the end, I felt very, very at ease with him directing us and very, very comfortable. But, yeah, he's just. There's just no one like him. I think it's the honesty. It can be quite brutal at times.

A (12:21)

That sucked. Do it again. Funny version of.

B (12:24)

We thought it was funny. Yeah. Oh, just end it. He would say. Just like, you know, stop. You know, make it stop. That kind of thing. But so me and Rooney found it really, really funny.

A (12:39)

Did you receive notes like your twins, you know, who speak.

B (12:43)

The sisters? He would call us. Yes.

A (12:45)

But did you receive notes the same way you and Rooney, or would you be divergent?

B (12:51)

Usually the note was for both of us. Yes. Thank God.

A (12:55)

Yes. Rooney. Great job, Kate.

B (12:58)

Exactly. Exactly. Really? The notes normally would be sort of okay. If one of you is looking in that direction the other one's looking in the other direction. We have to find a way to make it. Make even your looks in unison because it can be distracting if one of you is looking that way. So it was more logistics. Like that.

A (13:19)

Wow.

B (13:20)

Yeah. Anyway, it was a total dream. And the other thing about his sets which is so unique in my experience anyway is that the crew was so small. It was so intimate and, again, so quiet, like you could hear a pin drop. He doesn't allow phones on set either. Very, very strict about that.

A (13:46)

Where'd you shoot?

B (13:47)

We shot in Ireland.

A (13:48)

In Dublin, soundstage, or all over?

B (13:51)

No, all over. We also shot in Slovenia in these caves, which was also incredible.

A (14:01)

God, what an experience.

B (14:02)

I know. It was a very special experience. But then I went from that to this Apple show that I'm finishing right now. And to go from this really intimate experience to a more sort of normal experience it just was so jarring to go, oh, right. This is what the atmosphere usually is on a set. You have to be really focused because there's a thousand and people doing other jobs. Anyway, it was quite dreamlike, the whole thing.

A (14:31)

Wow.

B (14:31)

Yeah.

A (14:33)

Did you. Were you able to take your kids with you?

B (14:35)

Yeah, we had all the kids again. He was. Werner was so. Because my sister has a baby, this was A couple months ago now. But you know, she was. The baby was with us on set all the time or at the trailer and so. But did not make a feeding the baby? No. Very quiet baby. Yeah, it was very. Well, he was very warm about that. He always wanted us to. Well, the other thing is that he raps so quickly because he only gets coverage of what he knows he needs. He would never ever shoot something that he even questioned. It would be like, no, I know I need it or I don't need it. So there was a day once where we wrapped at 2pm just because, you know, the crew was just like, how is this real? We finished a week early. Have you ever finished a week early on any job ever?

A (15:29)

I got Covid. That was the only time. Wait, what was I gonna ask you? Shoot.

B (15:35)

How many takes? Yeah, not many. Yeah, it was more. It was like a four take, a.

A (15:42)

Two week rehearsal where you literally rehearsed the scenes or not.

B (15:47)

We did. We went through the script with him, but it was more like we been planning to make this film with him for a year. So we had, you know, dinners and teas and we, we spent time with him so that by the time we filmed we were quite.

A (16:01)

What an creative experience.

B (16:03)

I know.

A (16:04)

Wow, that's delicious.

B (16:06)

It was.

A (16:10)

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B (19:07)

Yes. In the middle of it right now. It's called Imperfect Women.

A (19:12)

Oh, wait, is that. Who's that with. Is that with more? No.

B (19:16)

Kerry Washington and Elizabeth Moss.

A (19:18)

Oh, how wonderful.

B (19:20)

What did you think it was?

A (19:21)

No, there was something you did that. I'm just dined with Morgan Freeman.

B (19:25)

Oh, no, I worked with Morgan forever ago. But also we were meant to. Maybe you're looking at no friendship.

A (19:32)

No friendship. I want to see. I'm dying to see.

B (19:35)

Oh, yeah. I want to know what you think of it. Friendship was so much fun.

A (19:40)

Is it out already and I missed it? Oh, I'm sorry.

B (19:42)

No, no, it's quite all right. Yeah, that was a really fun movie to do. I've never done a comedy before and it's, you know, it's.

A (19:52)

Who's in it again? Tell me.

B (19:53)

Tim Robinson and Paul Rudd.

A (19:55)

Yeah. And you in the notes, I heard you talking about it, that it was shot as if it were a drama.

B (20:02)

Yeah. Our director, Andy, when he was sort of pitching it to me, he said like, he, I think he said something like, I want to shoot it. Like it's like it's the master, you know, like the movie the master. And I, I've said, oh, okay, so I don't have to worry about, like Being in a com, like, do I do something different in a comedy than you do in a drama? And he was like, no, I want you to do it like you're doing a drama, and I want to prep it, like, for me anyway. Like, it's like, it's a drama, and.

A (20:34)

The script could hold that point of view.

B (20:36)

Yeah. And for my character and, yeah. I think for the others as well. I think a lot of it works because it's.

A (20:42)

I'm dying to see it.

B (20:44)

It's wild. Yeah, it's wild. Have you guys seen it over there? Okay, shoot. Yeah. Yeah. It's very funny and so fun. I'm like, oh, why don't I do. Why? I mean, the comedies. Well, that one, anyway, was just, like, the nicest. You know, everyone's laughing, trying not to laugh all day. Like, that's the vibe on set. I've never had that before.

A (21:08)

Mary's impossible. She ruins more takes.

B (21:10)

Does she?

A (21:11)

She wants on stepbrothers.

B (21:15)

Uhhuh.

A (21:16)

Which was just hilarious. But she said, came to the director, Adam, later after she saw a screening, and went, why did you use the take where I was laughing? Or you can see me start to laugh? Mary, there's no take. That's your answer. She's a terrible giggler.

B (21:36)

It's so fun, though. That's the best feeling when you're like, I actually don't know how to stop laughing at. This scenario.

A (21:43)

Has your choice of film, since you have kids, your kind of film. Would you rather be doing something that doesn't take you down these dark tunnels of exploration and do something lighter? Or are you okay still with whatever it is you're doing?

B (21:58)

Yeah, not really, but I would. It does make me want to do something that they can actually see.

A (22:06)

Right.

B (22:06)

I mean, I don't think they can see any of the work that I've done, period.

A (22:11)

Right.

B (22:13)

So it does make me want to do at least, like, one, you know, God, put me in a animated movie or something.

A (22:20)

Something with anything.

B (22:24)

But no, I still love. I love going because I don't have a hard time switching off. No.

A (22:32)

Now you're a wonderful actor. This sounds like I'm wrapping up. I'm not. I have loved watching you over the years since I saw you in person last.

B (22:41)

Thank you.

A (22:42)

Yeah. You're really good. And you get to work with these amazing people.

B (22:46)

I do. I've gotten so lucky. You know, Mary and I have been in two movies together, but never have worked together.

A (22:52)

I know. The last one was with Vince Vaughn in Vegas. Right.

B (22:56)

It was eazy's Waltz, but we didn't have any scenes together. And then in the other one, the Open Road, back in the day, we didn't have any scenes together either, but.

A (23:07)

We got to bunk out together all at our house for a couple of days. That's a great way to rehearse a film, think over a house and build.

B (23:15)

Yeah, Yeah. I know you don't always have the luxury of doing that, but that was a nice way to begin.

A (23:21)

I rewatched your scene with Heath.

B (23:24)

Oh.

A (23:25)

In Brokeback Mountain. That was really good. What was that like, working with him? I mean, in hindsight. It's not just in hindsight that he was a very special actor. He was. As you were watching everything he did, you're going, oh, this guy's really special.

B (23:44)

I know. Yeah. It was so long ago, but I do remember it pretty well. I mean, Ang Lee, who I just adore so much, he is such, like, such a beautiful person. He is very specific about. In his direction. Very, very specific. And I was 19. I started acting when I was 14, but it felt very much like one of my first jobs, even though it wasn't. And so I was just convinced because I'd never worked with a director like that before who was so. You know, he would say, like, don't blink or don't do this. Just very specific details about your. Your movements. And I just thought he was.

A (24:32)

For.

B (24:32)

Gonna fire me for sure on day one. And Heath was so sweet. You know, he was like, I didn't say that out loud, but internally I was thinking, oh, this is it. He's definitely gonna replace me if this is how he's directing me. And Heath just was sort of like, this is how he is with everybody, and don't worry about it. Just, you know, just do your thing. But, yeah, he was very, very sweet. And I just. I just remember thinking, like, how easy it was for him, or seemingly so, to snap into character, because in between takes, he was very, you know, not that way, very casual and. And going to look at the monitor and, like, you know, just. It just wasn't in this, like, zone. Yeah, yeah. I was very impressed by all of that. And it really stayed with me how sweet and easy he was with the crew and everybody.

A (25:26)

Yeah, yeah. You really do have to kind of host, I think, the crew.

B (25:30)

I mean, you should.

A (25:32)

Yeah. Because these people are spending way more time there than you are. It's their life.

B (25:36)

And it makes the experience. Exactly.

A (25:39)

It's horrible.

B (25:40)

And it just makes you more of a family rather than, you know, they are your audience. Absolutely.

A (25:46)

Literally.

B (25:47)

Yeah.

A (25:48)

In the moment.

B (25:50)

Yeah. That's so true.

A (25:52)

What was your first film then? Shortly before that. Right. Or.

B (25:57)

I. Well, no, I was 14. I mean, the first thing I ever did was a movie called Joe the King that Frank Whaley. Do you know Frank Whaley, the actor? Also direct. I bet you would know him if you. If you saw him. He also directed it. Maybe he even wrote it. But Val Kilmer was in it, and. But it was about. I think it was sort of based on Frank's childhood. So I had a small part in that. That was my first ever job. But then.

A (26:27)

First ever, including, like.

B (26:30)

I think that was before tv. Yeah. Yeah.

A (26:33)

And how'd you get that?

B (26:36)

Well, I got you at Tisch by then, or. No, I never went to Tisch.

A (26:41)

Well, I thought you did.

B (26:42)

I was supposed to. I was supposed to, but I was very determined to not go to college.

A (26:48)

Right.

B (26:49)

Because I was already acting. I didn't feel like that made sense, but my parents thought otherwise, so I just kept deferring.

A (26:57)

I'm sorry. You said you were 14, so clearly you weren't a tissue. Sorry.

B (27:01)

No, but I. So when I was 14 is when I started acting. But then I graduated high school because I loved it so much and wanted to do it full time. And I didn't want, you know, to be again, to be, like, stuck in college. I thought my parents were gonna force me to go to college, so I. So I said to them, well, okay, I've got a great plan. I'm gonna skip a year. I'll graduate a year early from high school so that I can go to college and get that over with so my acting career can really start. And they were like, okay, well, I don't know if that's possible, but sure. So I managed to somehow. And I was not a great student, so I don't know how I did it. I think it was more convincing rather than grades. But I did graduate high school a year early and then got into Tisch and sort of my. I was supposed to go to Cap 21, the musical theater program. But I managed to get a job, like, right before the school year, the college school year was gonna start. And I said, I'll just defer a year. But I knew I would just keep deferring until they realized that I was gonna be okay and, like, survive as an actor. So that's kind of what happened. I never ended up going.

A (28:16)

And how'd you get the first job?

B (28:18)

Well, I got a manager when I was 14 and an agent, because I was doing. Our neighbor at the time was her. She was Carol. So her name is Sherry Condor. She's Carole King's daughter. And she was making a children's album called the Sugar beats. And it's 40 50s and 60s music, but sung by children. And so I auditioned. I think I was 9 or 10, I auditioned to be on this album. And. And I got. You know, I was one of the kids in the album. We made, I think, like, three or four albums. And so we would. We would sing these songs and then we would perform occasionally. And one of the other girls in the. In the, you know, quote unquote band with me was a Broadway kid. She was on Broadway and Les Miserables and all these other things. And at some point, like, down the line, I think I was about 13 at this point, we asked her, can you give us your. I think, your manager's address, like, mailing address? And we just, like, mailed in the regular mail, you know, not email or anything like that. Just like a cassette tape of me singing some jingles and a headshot and my resume, which didn't include really anything. I hadn't done anything. And by. I don't know, she saw my picture and thought they were casting something. At the time, I think it was. I think it was Great Expectations, the film. They were looking for a. And I look nothing like her. But I think, for whatever reason, the picture made her think, oh, you could play a young Gwyneth Paltrow. I cannot play a young Gwyneth Paltrow. But she thought maybe that would work. So she brought me in based on this headshot and based on maybe I could get her to audition for this movie. And that's how I got a manager. At the time, it was just like, you know, a friend and an address. And that's how it all started, really.

A (30:21)

I won't ask you if you still have your same manager.

B (30:23)

No, but you know what? We are still friends in the show that. She is also Kerry Washington's manager. So she's one of the. She's involved in the show that I'm doing right now. It's so wild. I just saw her the other day.

A (30:35)

That's so great.

B (30:36)

It's pretty beautiful. Yeah, it's kind of an incredible.

A (30:40)

I was one of those people that when Cheers kind of landed, I left my agent of many years. I'm that guy and that asshole.

B (30:48)

No.

A (30:53)

He died shortly after.

B (30:54)

Oh, my gosh.

A (30:56)

Richard Bauman. He was a wonderful gentleman. Anyway, I owe him a lot.

B (31:01)

Brutal. Wow.

A (31:03)

How Are your folks. I'm backing all the way up because you do have an interesting background. But I was fortunate because of the two football dynasty families that your grandparents both started. Right.

B (31:18)

Great grandparents.

A (31:19)

Great grandparents. And so you grew up really going to the Giants games all the time. I saw you sing an anthem.

B (31:27)

Did you?

A (31:28)

This morning. This morning I was watching.

B (31:30)

I was like, were you there? Okay, that was a long time ago. Yeah.

A (31:33)

Right. But we did go when Rooney and Charlie were hanging out to a game and your grandmother, I think your grandfather had passed away, your grandmother was there, and we were in the box, and everyone is very sweet to us, but when I'm a football dilettante, I mean, when it comes to a playoff, yeah, I'll watch it.

B (31:55)

Yeah.

A (31:56)

Otherwise, I'm totally ignorant.

B (31:59)

Football.

A (32:00)

Enjoy it. But, you know. Anyway, so we're sitting there and I thought, oh, this would be lovely. And I. I think I tried to chat up your grandmother being the charming Ted, you know, and I don't think that went very well or anywhere. She wasn't anything. But then they started to play and got a little behind and she was ferocious. Yeah, she was, you know, giving. They couldn't hear her, but what for? To the player or the coach or the moment or the play or whatever. She was so into the game with such passion and ferocity. I just kind of sat very quietly for the rest of the game. But, yeah, she's amazing.

B (32:41)

She was. Yes, she was amazing. She had a lot of opinions about anything going on during a football game. She always kind of sat in the same spot in the box. I never sat anywhere near her because it was too scary.

A (32:56)

Right.

B (32:57)

But, yeah, she was very passionate, so.

A (33:00)

I wasn't making that up in my little mind. No, it was scary.

B (33:03)

Oh, my God.

A (33:04)

Thank you. I didn't want to say scary.

B (33:05)

It was terrifying. I wouldn't. I wouldn't sit near her. I don't think any of us really would. It was really intense. I mean, my grandfather, when he was alive, did not sit in the box with us or her.

A (33:16)

Oh, really?

B (33:16)

Yeah. And my dad still doesn't. He sits. Him and his brother, his two. Two of his brothers sit in a box literally on the other side of the stadium.

A (33:27)

Yeah.

B (33:29)

But also they have seven sisters, so multiply my grandma by seven. I mean, can you imagine that with. But times seven. It's a lot of emotions. Yeah. But also, the experience of us going to games as kids was so specific and so different than it is now. Well, also. Cause our families just, you know, exploded. Everybody has kids and Kids and kids. There's so many of us. But when I was younger, there was a box, the owner's box that we would all go in. It was much smaller.

A (34:05)

This is after having gone to church on Sunday.

B (34:08)

Always we would go to church before the Giants game. But also we, you know, the game really felt like church as well. You weren't allowed in that box if you were dressed in jeans. Like, that was not allowed. You had to be dressed like you were going to church. Like it was a business. And it was very. We were all very quiet and very focused on the game. Now it's very casual, and, you know, you can show up in a Giants jersey, but I don't think I even owned a Giants jersey in the whole. Both my grandparents passed.

A (34:42)

That's what I like, though. I mean, it's like going to the theater. When I was growing up, you wore a suit in the city, but you wore a dark suit to go to the theater at night. I mean, it was that specific. And it wasn't just wealthy folks. People showed up in their finery to go to the theater, and I kind of miss that. I understand.

B (35:03)

Yeah. It's very romantic.

A (35:04)

Yeah. Thank you.

B (35:05)

Yeah, that's what it is. I agree. Yeah. And it's our family's business, so it makes total sense that they would want. They wanted us to be, you know, to treat it with respect.

A (35:16)

Right. Were you all treated differently as kids, or is it. I mean, the stadium is so huge. It'd be easy for you to only see a little bit of it or be seen by only a little bit of the organization. Or were you treated very differently being the owners?

B (35:32)

We didn't. The thing that we would do that obviously is very special to that experience or unique to that is when the games would finish, we never left right away. We would wait probably an hour before we would drive home, but we were allowed to sort of climb out of the box and just walk through the empty stands and find, like, whatever cool knickknacks people would leave behind. Oh, my entire life.

A (36:01)

Oh, you would go look around.

B (36:02)

Yeah. Yeah, we would. Me and my older brother and my younger siblings would just go. Walk through the stands, all through the stadium.

A (36:09)

Yeah.

B (36:10)

Picking up change. Sometimes they'd leave other things that were more exciting, and then we would go. A lot of times we would go down to the field and just run around, get energy out. So obviously, those. Those experiences are very special and unique, but that was kind of it. Otherwise, we would just. We would literally go from the car to the box. My Brothers, of course, would go into. They both worked for the team. They were ball boys, so they. Their whole lives. They grew up going into the locker rooms and they were working for the team.

A (36:39)

Right.

B (36:39)

But my sister and I, our experience was quite limited to the box and the stands.

A (36:46)

Right.

B (36:47)

But I have such good memories of that.

A (36:49)

You know, did your grandparents both. They both lived long enough to see you.

B (36:54)

Mm. Become an actress? Yeah. Oh, yes. And they were very opinionated about what work I did. Very.

A (37:05)

They sound like my parents a little bit.

B (37:07)

Really?

A (37:07)

Well, not. Yeah. I mean, probably looser. Not quite as strict, but this is how my mother watched Body Heat. The entire film. The entire film. Even the parts where I'm in which were not particularly sexy. She had her hand over her face.

B (37:23)

I mean, the fact that she watched it at all would be more if she heard it. Yeah, yeah. No, my grandparents would. I don't know what they would have seen of mine, but they. If a character that I was playing did something that they do not approve of, they were mad that I played that character.

A (37:44)

Right.

B (37:44)

Very mad. And I'd then hear about it and it would be a whole drama in the family.

A (37:50)

See Lady Macbeth played by you.

B (37:52)

Oh, no, no. And, yeah. So it was a little. It was much more stressful for my father than it was for me because I, you know, I. I was kind of okay with getting a dirty look at a football game, you know, here and there. But. But yeah, my poor father had to hear about it all the time. And again, I really didn't make that many things that they would have been excited about. There was always something. Something like risque.

A (38:21)

I'm always slightly surprised when civilians, if you will, you know, people who are not in show business. Something like my parents would sometimes offer, like, it would hit hard. It'd be like, yeah, I don't think that was very good.

B (38:40)

Yeah.

A (38:41)

You know, and they think they're talking to me like, oh, yeah, you know something, you're right. I think I can improve. Thank you. Thank you for that. I appreciate that. As opposed to the. Ow.

B (38:51)

I know, it's horrible.

A (38:53)

My father's one comment after one play was your kiss was too loud?

B (38:57)

Oh, my God. Yeah, it was too wet for him.

A (39:00)

Yeah. Thank you. Kay.

B (39:04)

That was like a wet kiss. So did you then start kissing the person differently after that note from your father?

A (39:11)

I think it was a one or two evening play performance. Yeah, that was it. I did not invite him again.

B (39:20)

Yeah. My, my, my. I do remember there were a few times, maybe two times where, you know, when the when the Giants would play somewhere else on the team playing, there would always be a movie playing. I think now it's probably different because there's, there's anyone you can choose whatever you want to watch. But at the time it was only one movie playing on the whole plane. So everyone was watching whatever that was. And a couple times it was a movie that I was in. And that's hard.

A (39:51)

Nowhere to run.

B (39:52)

Brutal. I mean, luckily I wasn't on the plane, but my poor father and brothers and yeah, yeah, I definitely got a lot of crap for those, yeah, those moments.

A (40:06)

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C (41:06)

And I'm John Gabris. We're a couple actors and best friends who you may know as the host of the TV show 101 Places to Party before you die. Now we're bringing you a comedic look at health and wellness with our new show, staying Alive. We'll have guests like our friend, actor Jerry O', Connell, ketamine therapist Dr. Stephen Radowitz, Paul Scheer, Ego Wodem, Jillian Bell, Dr. Dolittle. Staying alive with John Gabris and Adam Pally is out right now. Get them a week early and ad free with Sirius XM podcast plus on Apple podcasts.

A (41:39)

When did you first notice walking on the street? People would go, oh, hey, you know.

B (41:45)

I don't get it. I don't get that a lot people don't. I people don't recognize me a lot or when they think they do, they think I'm somebody else. Which is funny.

A (41:56)

I think it's easier for women because you will have a totally different hair color for a part or you'll be different.

B (42:05)

You're so tall as well. Yeah, you can't. I'm so little, and I have a.

A (42:10)

Recognizable bald spot where people have literally. I know this for a fact. People have walked by, and you can hear because everyone thinks celebrities are death. But, you know, that's so true. I think that's him. And then I walk past them, so I know they're looking at the back of me and go, yep, that's him.

B (42:31)

Oh, my gosh. Wow. Thanks. That's funny.

A (42:35)

Is it a fame or celebrity? Come on. It must have. You must have to live with it in some fashion.

B (42:41)

Really? Not often. Really? No. Not often at all. Again, I do credit my height. I think I just sort of like. Also, I have a bunch of kids. It's like, no one's really. Although I swear I get stopped more for my children because they have. Two of my kids have this really bright orange hair. And so more people are stopping me to go, oh, my gosh, your kid's hair is so. And then they'll kind of go, oh, you kind of did. I go, they always think I went to high school with them. Yeah, that's usually what ends up happening. But no, I really don't get recognized for.

A (43:15)

That's kind of cool. Yes. Great.

B (43:16)

It's great. It makes me feel like a chameleon, you know, I'm like, oh, maybe it's because I can change.

A (43:23)

Well, you are a smidge. You know, you really are. You really are a wonderful character actor. And that doesn't mean you're not a leading lady. It means you're.

B (43:30)

I'd rather be a character actor.

A (43:31)

Me, too. Me too. I feel like I'm a tall character actor, and that's the closest I'll get to. And that's where the goodies are. And that's what allows you to work now for the rest of your life into whatever age you want to work, because you're a character actor, I think.

B (43:49)

Yeah. I think. I mean. Yeah, that's the hope. I still feel so. Like, I love it. So I love my job so much that it still feels like not a job, you know? I mean, with kids, it does change your perspective because it takes you away from your kids a lot of. But. But still, like, on the show I'm working on now, just, like, I feel so silly and lucky that I get to go and play, because that's what we do. We just get to play all day and try and convince people that we're these other people and that we're living in these other houses. And I just Love it so much that I hope that I get to do it. I hope that I feel that way forever, because I'd love to do it forever, but only if I feel this euphoric about it, you know?

A (44:40)

You will, I bet. But you're right. That would be the key. I love writers, I love Cruise, I love all of it. And I'm married to somebody who feels the exact same way. Mary Steenburgen, as you know. I didn't have to say her last name for you, but, yeah, Humble Brag. Yeah, Humble Brag.

B (44:57)

Yeah. I'm married to an actor as well, Jamie Bell. Humble Bragg.

A (45:01)

Yeah. Who's a wonderful actor.

B (45:03)

He's so good. He's so good. Yeah. I can't imagine not having a partner who's not in the industry just because it's so. It's such a weird job to have in so many ways. But, yeah, he and I are so. I mean, we're so different, though, in the way we think about it all. He's just so in his head about everything, and I'm absolutely not.

A (45:29)

Would that be true if he weren't an actor? He'd still be in his head.

B (45:31)

Yes, absolutely. Yes.

A (45:32)

Me, too. Mary and I are so different about certain things.

B (45:35)

So you're in your head. Is she not?

A (45:36)

Well, I'm mostly into worrying about my body, but that's just because I'm a. She calls me a hypochondriac. I like to think I'm fascinated by my body.

B (45:47)

I like that. Yeah.

A (45:47)

A little ache, a little pain here. I want to know what it is and why.

B (45:52)

Oh, God, that must be tiring for her.

A (45:55)

Hey, shut up. Shut up.

B (45:56)

I'm gonna call her after this.

A (45:58)

Yes, it is tiring.

B (46:00)

Oh, interesting.

A (46:01)

But it's easy for her to mock, which is part of a great joy.

B (46:04)

Is making fun of people. Exactly. Yes. We do that, too. Well, I make fun of him.

A (46:09)

Yeah.

B (46:10)

He doesn't make fun of me.

A (46:11)

It's the safest bet.

B (46:12)

Yeah, he's very smart. It's the smartest thing he does. Yeah. But it's so fun. And I also. I'm just fascinated by. Well, you can. I'm sure you can relate to this because all of the parents in your sort of, like, pod are all actors. So for me and my husband and my sister and her partner and even my stepson's mother, everybody is act. We're all actors. I did not grow up like that. I was the first actor of my family. So to me, it was such a new thing. And it was. I Had nobody to talk to about it or anything. Until my sister became an actress, I didn't have anybody to talk to about it. And now for my children, who knows if they'll even be interested in it? But it's so funny to me because they. Everywhere they turn in my family, there are actors, all of their aunts and uncles. It's just they're surrounded by it. So I'm so curious to see what, you know, who will go follow that route and who won't.

A (47:11)

And Charlie laughs about having grown up because his daddy is Malcolm McDowell. I'm his stepfather, and Mary. Right. His mother. He's grown up, he said, looking at my parents in another room, mumbling to themselves and making gestures into the mirror. Yes. Well, no. None of us would do something like that. I do spend a lot of mirror time, but that's for health reasons.

B (47:35)

Other reasons.

A (47:38)

If you look in the mirror long enough, like I'm talking three, four hours a day, you can retard aging.

B (47:44)

Oh, is that what's happening?

A (47:46)

Because look in the mirror, you never see yourself get a wrinkle on the spot. So that's what I'm thinking.

B (47:51)

Oh, I love that. Okay, hot tip.

A (47:54)

Yeah. So tell me, how do you juggle? Who's working when you and Jamie. Is that a cool.

B (48:02)

I don't know how to juggle, actually. I was in the juggling club when I was in high school, but I never learned how to juggle. That's a real story. I had a crush on my teacher who was the. He was in charge of the juggling club. I thought, oh, well, I'll go learn how to juggle, and that'll make me feel good about myself. And I never learned, but. So that's still a mystery to me, how you juggle, actually.

A (48:27)

Anything.

B (48:28)

Anything. But then also our work lives so far, we've just sort of gotten lucky for the most part. And we've been together for 10 years.

A (48:37)

And, hey, congratulations.

B (48:40)

Yeah, thanks.

A (48:41)

Very cool.

B (48:42)

Yeah, it's a long time, but also not. But in the 10 years we've been together and both acting here and there, we've only really had a couple incidents where we were both overlapping with work. And it was tricky, and we haven't figured it out yet.

A (49:01)

I mean, Mary and I are just lucky, too.

B (49:04)

You are. You don't have. Because I don't. For us, anyway, we. There haven't. There hasn't been a. This is the rule that we can follow. That works because we're just not in that place of. We just don't know what we're going to get when. And.

A (49:19)

And you trust each other creatively, that you're not going to take something dumb and leave the nest.

B (49:24)

Yeah. Jinx.

A (49:26)

Damn. No, not jinx. You, me and Rooney. Maybe next time you'll include me in your Werner movie. Cause I can do this shit.

B (49:33)

Wow, that was good.

A (49:35)

Thank you.

B (49:37)

Yeah. No, it's a constant puzzle that you're trying to work out, but I'm much less stressed about it now. At the beginning of our relationship, I would worry about it more. But now.

A (49:53)

Were you a shipboard romance? Did you meet on a film?

B (49:58)

No, we met. Well, I guess we did. We met really long time ago on a screen test for a film that neither of us got. Which, by the way, I have the screen test.

A (50:10)

Nice.

B (50:11)

Yes. And we had to kiss in it. And I have the picture blown up because we didn't end up dating for, I don't know, maybe like 15 years or something.

A (50:20)

Oh, you're kidding. Oh, wow. What a kiss, right? Yeah.

B (50:23)

Yeah.

A (50:24)

Memorable.

B (50:26)

And then we did end up make. We made a movie together. We knew each other, we were friends, but not. We didn't really know each other. And then we made the Fantastic Four movie together, which was a really interesting experience.

A (50:41)

How so?

B (50:43)

Rough. Not a great experience. It was a mess. Yeah. Just a messy, messy experience. But we got to know each other on it. And I thought, oh, he's so great. Like, I just kept. I just thought he was the best. And he was single. And I was trying to set him up with all these people. Cause I thought, how I gotta set him up with someone? He's the biggest catch. How does he not. How is he not with someone amazing? I just didn't know that I was the person I was looking for. It took me a year to figure that out. A year later, we.

A (51:18)

Did he know it was you?

B (51:20)

I don't think so. No, I think we were. Cause we were friends for so long that we were both just in our minds, like, this is the relationship. And. But then, yeah, we fell in love on the press tour of that movie because it was sort of like, you know, trauma bonding.

A (51:37)

And how do you know you fell in love? Who made the first. What? Who said what? Wait, who blinked first?

B (51:43)

Jamie. Jamie did. He did. Yeah. And that was it. We're like, oh, I guess we're getting married.

A (51:49)

Oh, really?

B (51:50)

Like. Like instantly. Because we knew each other forever. We just thought, oh, right, this is gonna be forever.

A (51:56)

Ah, wonderful.

B (51:57)

And here we are, a bunch of kids later, and it's the best yeah.

A (52:01)

It is the best.

B (52:02)

Yeah, it is. It's a lot. Like, I just. I feel like. I said, it's been 10 years, which for a lot of people is not a long time. You know, if you. My parents have been married forever, so that is a long time. But I guess in this world, 10 years sounds like a long time. And I just. Yeah, I feel. I don't feel like we've been together that long, but I also feel like we've never not been together. It's.

A (52:28)

You know, and it's divine, or it should be treated as such.

B (52:32)

Yeah, I agree. It's pretty cool. It is cool.

A (52:37)

I'm very happy for you, Kate Marrow.

B (52:40)

Aw, thank you.

A (52:41)

See how I went in between? I panicked. I started saying that.

B (52:43)

You sort of. Yeah, that was kind of an in between. Maybe that's how we should say it.

A (52:50)

Mara, is he working now or.

B (52:55)

He just finished. He just finished a show. Yeah.

A (52:59)

So right now, shooting. You shooting here right now. That's nice. Shooting in town. What a luxury.

B (53:04)

I know.

A (53:05)

I've spent my entire career shooting in town.

B (53:08)

You're, like, the only person I know well, tv, you.

A (53:12)

It's hard to do in film, but in tv it's like. Or in half hour especially.

B (53:18)

It's a nice schedule, huh?

A (53:19)

Oh, yeah.

B (53:21)

Yeah, it's pretty great. I have not experienced it much at all in my career, so it's really. Yeah, it feels like a luxury.

A (53:30)

Do you ever think you could live anywhere? Not just in la.

B (53:33)

We're moving to New York.

A (53:35)

Are you as in city?

B (53:37)

No, upstate.

A (53:38)

Upstate. Up near the Hudson someplace or something like that?

B (53:42)

Something like that.

A (53:43)

Near your family?

B (53:44)

Yeah, I mean, we wanna. I've been here 22 years, I think, now, and all of a sudden we realized we should be near my family, and the kids should have their grandparents and all their cousins around. So we're doing it. Yeah. I'm really excited. Really?

A (54:06)

You can work anywhere.

B (54:08)

Yeah.

A (54:08)

It won't affect our relationship. Seeing how you've been in town and I haven't seen you for 20 years.

B (54:12)

I haven't seen you in 20 years. Yeah. We'll probably see each other more now that I'm gonna move. Yeah. I'm excited about it. And we get to go to all the games now. All the Giants games.

A (54:23)

That'll be exciting. I remember when Charlie was hanging out with Rooney. I don't know how to say it.

B (54:31)

I think you can say that.

A (54:32)

Yeah. Hanging out with Rooney. And I wouldn't be following football or something like that, but then it was the Super Bowl. And we turned it on and all of a sudden I go, is that Charlie on the 50 yard line? Standing on the 50 yard line after we won?

B (54:49)

Yeah, yeah.

A (54:50)

And then wait a minute. At the Academy Awards, we're watching it. Is that Charlie sitting next to Brad Pitt? He's like our Zelig.

B (55:01)

Did he actually sit next to Brad.

A (55:02)

Pitt or behind somewhere next to me. He was with Rooney, but somewhere.

B (55:06)

Lucky spot.

A (55:07)

Yeah, lucky spot.

B (55:09)

That's funny.

A (55:10)

Have you seen any of his films? He's quite.

B (55:13)

Charlie McDowell. Yes, absolutely. He's so talented.

A (55:17)

He is talented.

B (55:18)

Yeah.

A (55:19)

And his latest film.

B (55:20)

I wish he would hire me something.

A (55:22)

Well, how about his mother and me first? That'll never happen, by the way.

B (55:28)

Oh my gosh. Why not? Well, because.

A (55:32)

Yeah, no, it's more fun working with people who aren't your parents.

B (55:35)

Yeah, totally. Although, I don't know. Working with my sibling was the best co star of mine.

A (55:40)

I can't wait to see Truly.

B (55:41)

Yeah.

A (55:42)

Have you seen it?

B (55:44)

I've seen like 20 minutes of it. And I mean, it's hard for us to judge because. But we were in hysterics watching it. It's very. It's a very funny. There's a lot of. It's very funny.

A (55:54)

Well, that's huge. If you could laugh.

B (55:56)

Who knows? We might just be laughing at each other because we're like, what are we doing?

A (56:01)

Well, if you're laughing at her, you're laughing at yourself.

B (56:03)

Because it was like. I was like, who do I look at? Her or me?

A (56:06)

Who cares?

B (56:07)

Who are you looking at?

A (56:10)

How are you about looking at your work? Can you do that? Are you.

B (56:13)

Yeah, I think when I. When I started producing. I don't produce that much.

A (56:21)

Yes. But let us talk later about your pig farm documentary. You have a pig farm?

B (56:28)

Didn't you produce? I did. Yeah.

A (56:30)

Okay.

B (56:30)

But we'll talk about that later. I produced the series that I was in, called the Teacher. And it was one of my first. One of my first experiences in producing. And so I was watching dailies constantly and it really just made me. It just made it so much easier for me to look at it in a totally different way.

A (56:52)

The one time I produced something and really produced it, meaning it didn't get done if I didn't say something. Producing. I mean, I have had my name appear every once in a while. I don't like having my name as an executive producer.

B (57:05)

If you haven't done something.

A (57:06)

Yeah. Because then it's like, eh. But it does make a difference because you have a vote and an interest, and you should be part of the decision making. If you're not, then I don't know.

B (57:19)

Yeah, what's the point? I agree. But also, if you are really doing the job and trying to make the show work or whatever, you have to look at yourself as not yourself. It takes the vanity out of it. For me, it did. Anyway.

A (57:33)

Run that by me again. I'm not sure I can understand the Take the vanity part. You'd think with age it would get less. No.

B (57:41)

Isn't that sweet?

A (57:43)

Yeah. Isn't that sweet?

B (57:45)

So brutal.

A (57:46)

Here's my process. I. First time I watch it, I'm in tears.

B (57:50)

Because you hate what you did.

A (57:51)

So much hate. I didn't even get to what I did. I hated my chin, my. This line. I'm not. And I'm 77. I was pretending to be 77. I really am. Look at that. I'm 77. And then I watch it again and go, well, I'm not that bad. You know, Stifle my tears. Second time. Third time, I noticed there are other actors in the scene, which is, you know, makes it way better by the end.

B (58:17)

God, you have to watch it so many times.

A (58:19)

Yeah. No, four. Because the fourth time I can see it totally for what it is, and I love it. Usually.

B (58:27)

Usually, yeah. Wow.

A (58:31)

Why did you emphasize. When I said usually about my work, do you repeated usually? It sounded like you were voting. Like what?

B (58:39)

Like I was voting.

A (58:41)

You liked your work. I mean, usually. Because I've seen some of it.

B (58:45)

No, no, no. I don't know why I said usually. I think I was going, do I feel that way about my own. Do I have to? Like, do I usually like my work? Because I do watch everything. Even if I know it's going to be bad. I kind of. I kind of want to watch the stuff that's bad even more.

A (59:05)

I do, too. I'm full of shit. I do, too, want to watch everything I've done. But it's also the thing that saves me is it's also none of my business.

B (59:13)

Yeah, totally.

A (59:14)

Because when I'm acting, I'm whoever. I'm Brando, I'm Olivier, I'm whoever. I'm Joyful, I am judgmentalist. I'm having the single best time in my life when I watch it. I'm a judgmental dick, and. And so I try not to. But it's also none of your business. You did your. Unless you're the producer or, you know, or a writer or something. If your job goes on, then, yes, of course.

B (59:39)

Watch It.

A (59:39)

But otherwise it's not my thing anymore.

B (59:42)

Yeah. Jamie won't watch anything he does, which I feel sad for him for that. Cause I.

A (59:47)

Cause he's so good.

B (59:48)

Yeah. I'm like, oh, you're missing out on so many great.

A (59:51)

Why do you think he does it?

B (59:53)

Cause he's a tortured actor.

A (59:56)

I wish I were tortured. I'm so simple.

B (59:59)

I do. I don't think so. Yeah. No. He's just one of those brilliant actors who can't watch anything. That maybe it'll change one day. I'm hoping for his sake, just because. Yeah. I'm like, oh, you're really missing out on the experience of watching this piece of art that you're in that really is moving. But, yeah, it's just fun again. We're just so different.

A (60:25)

Yeah. Which is great.

B (60:27)

Yeah.

A (60:28)

Mary and I are very similar in many ways and then very different than others. That whole body hypochondria thing is a mystery to me why she. I mean, seriously, if you ask her, which bone is this? She has no idea.

B (60:42)

Yeah. Oh, you do?

A (60:44)

Yes, of course. I can name your molars. No. Yeah, I do.

B (60:52)

Wow.

A (60:53)

Okay, tell me. What. Tell me about this just for a second, because I was. I guess I'm slightly. Not slightly. I'm very interested right now in how people are doing with. And we don't have to get political or partisan. We certainly don't have to do that. But we are living in this world that is full of a lot of pain, suffering and fear and surprise and all that stuff. To me, I was going to ask you how you're doing with all of that, but then I also noticed that you had produced this documentary about pig farms.

B (61:29)

Factory farming.

A (61:30)

Factory farming, yeah. When was that? A long time ago.

B (61:36)

No, not a long time ago now. I don't know if it was. I don't know what the year was now. Was it like two years ago? We can look that up very easily. Time is confusing to me. But.

A (61:46)

But recently.

B (61:46)

Oh, yeah. Yes, recently.

A (61:48)

And can I ask why you picked that or. And what.

B (61:51)

Yeah, well, a friend of mine, my. One of my best friends, Michelle Cho, she is an incredible animal activist and. And also just activist in general. She is the reason that I've become involved in a lot of different. Really all of the organizations that I've been involved with is because of my friend Michelle, who's taught me so much about what's going on in our world and what we can do to help the environment. And then as. As well as animals and humans and all of It. So when I met her, I don't know how many years ago, 11 years ago or so, I became really involved in different. Just different things that spoke to me at the time. It was Blackfish. So the documentary Blackfish had come out. I don't know if you saw that it was about SeaWorld. That really moved me. And I wanted to be a part of helping get that story out there so that people like me who had been to SeaWorld, you know, I'd been to SeaWorld as a child and thought it was amazing. And I think I did all the things. I swam with dolphins and wherever that was, thinking that was okay as well. And then once I learned about all of the things that are true and the reality of the situation there, I just wanted to get to spread the word and just make people aware of what our actions are actually doing and how it affects so many other things. So that's when it sort of started. I met the director of the Smell of Money through my friend Michelle, and he just sort of. He sent it to me just as a friend. He said, I'm making this documentary. I'm curious what your thoughts are, your notes. You know, I'm just trying to, whatever, edit it. And I was just so blown away by it. And the fact that human beings.

A (64:01)

It's stunning what happened.

B (64:02)

I mean, the fact that human beings are actually having to live next to these factory farms in their homes that they've owned forever and there's nothing they can do about it, and they're getting sick and dying, and again, there's nothing that they can do about. I just was so horrified by it. And so I told him I'd love to help in whatever way that I could, whatever that means. And so that's why I chose to be a part of it. I just. It was kind of like it was impossible to ignore after I saw it. And I could not stop thinking about it. And I think that was pre Covid when I saw it for the first time. So it feels like a while ago, but then eventually the film did. It did come out and. And a lot of people have seen it and it has, I think, affected a lot of people. And again, I still. I just think using your voice for. For anything that you can that is meaningful to you, that especially I think things like this, where people just are unaware of where their food comes from. I'm. I'm vegan, but I. I'm not saying everybody has to be vegan, nor do I judge people for eating meat and, you know, and everyone has different beliefs and different lifestyles. And, I mean, my husband was not vegan for quite some time. Right now. He's. He mostly is. But again, like you, I don't judge that. I just think it's really important for all of us to know where we're putting our money and how it's affecting our neighbors and our animals and our.

A (65:42)

Environment, no matter how. I grew up in Arizona, and the history of Arizona is if somebody was poisoning your source of water upstream from you, they would come after you. They would try to kill you to stop doing that the Old west kind of way. And you are. We now poison people downstream without even thinking about it, and poison the air, you know, upwind or downwind from people, and don't even think about it. And that's what you're. Besides the inhumanity of how you treat the animals, I mean, they're packed in so. So they're not even packed in tightly there. You can't see any space in between these animals.

B (66:24)

No. And again, like, for me, the animal aspect of it is enough. Like, when I was learning about all of these. When I was learning about these facts, that, to me was enough to go like, well, why would I ever eat that again? Or support that system again? But not everybody feels that way or maybe connects that quickly. But there is a list of things that maybe you would connect with support.

A (66:50)

That money should not trump people's lives, literally, that they should be ill because they can't afford to move away from something that was put in front of you.

B (67:01)

Mm. Yeah.

A (67:03)

Good for you. I think as actors, we do have a role to play. Even if you're not an expert, you don't have to claim to be the expert. You can claim that this is something I'm learning about and I care about. Take a look at it and make up your own mind.

B (67:20)

Well, I mean, I hate it when people say, like, we're storytellers, because it sounds like. I don't know, it sounds cheesy or something. But sharing stories is part of our jobs. It's part of our livelihood. And that is what. What this. What that is. Being involved in a film, like a documentary like that. To me, it is. It's just, can we share this? This is what's happening to human beings a couple hours away. Can we share it so that, you know, they're not alone and that maybe we can find a way to end it?

A (67:51)

And you're not telling people how to believe. You're telling people, you should take a look at this. I think you'll care about it kind of thing.

B (67:58)

Yeah.

A (67:59)

I can't thank you enough for coming.

B (68:02)

Oh, my gosh. It's so. My pleasure.

A (68:03)

She's like, oh, great. We got to catch up a little bit. Not that we, you know, I know. Hung out, but because of that experience of you rehearsing that show, you know, at our house. I followed you and it's like, ah, ah, Kate.

B (68:17)

And oh God, you scream every time.

A (68:19)

I do.

B (68:19)

Yeah.

A (68:19)

Kate, put your clothes back on.

B (68:21)

No, I can't watch.

A (68:22)

I can't watch.

B (68:24)

Yeah, you guys are family forever. That'll be that for me.

A (68:27)

Really appreciate it.

B (68:29)

You didn't even drink your watermelon juice.

A (68:30)

I know. It's too fascinating. That was so much fun. Catching up with Kate felt like a little bit like a family reunion. That's our show for this week. Special thanks to all our friends at Team Coco. If you enjoyed this episode, send it to someone you love. Subscribe on your favorite podcast app and give us a nice 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 their.

B (69:23)

You'Ve been listening.

C (69:24)

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 Gina Batista. Our theme music is by Woody Harrelson, Anthony Gend, Mary Steenbergen and John Osborne. Adam Pally here and I'm John Gabris. We're a couple actors and best friends who you may know as the host of the TV show 101 Places to Party before you die. Now we're bringing you a comedic look at health and wellness with our new show staying alive. We'll have guests like our friend, actor Jerry O', Connell, ketamine therapist, Dr. Stephen Radowitz, Paul Scheer, Ego Wodom, Gillian Bell, Dr. Dolittle. Staying alive with John Gabrison. Adam Pally is out right now. Get them a week early and ad free with SiriusXM podcast plus on Apple Podcasts.

A (70:30)

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C (70:58)

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