transcript

Speaker 1:
[00:00] K-Pop Demon Hunters, Saja Boys Breakfast Meal and Huntrix Meal have just dropped at McDonald's. They're calling this a battle for the fans. What do you say to that, Rumi?

Speaker 2:
[00:09] It's not a battle. So glad the Saja Boys could take breakfast and give our meal the rest of the day.

Speaker 3:
[00:14] It is an honor to share.

Speaker 1:
[00:16] No, it's our honor.

Speaker 2:
[00:17] It is our larger honor.

Speaker 1:
[00:19] No, really, stop. You can really feel the respect in this battle. Pick a meal to pick a side.

Speaker 3:
[00:28] I participated in McDonald's while supplies last.

Speaker 4:
[00:37] Kiv, I'm so glad to finally get the riffraff off of this pod. You know what I mean? The pretty boy famous faces are finally fucking gone.

Speaker 5:
[00:45] Now we can get really real.

Speaker 6:
[00:47] Yeah, talking about our shit.

Speaker 5:
[00:49] Welcome to the new Lonely Island and Seth Meyers Podcast with just Jorm and me where we get real.

Speaker 6:
[00:53] Yeah, we're taking it to the streets.

Speaker 5:
[00:56] Yeah, not those weird elites. Andy and Seth are such Hollywood elites, not you and me, man.

Speaker 4:
[01:01] This is for flyover country, but we don't call it that.

Speaker 5:
[01:05] No, me and you are flyover country, me and you are.

Speaker 4:
[01:07] We're the Heartland.

Speaker 5:
[01:09] The Heartland of the pod, finally.

Speaker 4:
[01:11] Finally, not those coastal elite shitheads.

Speaker 5:
[01:15] Those fucking bastards. They signed their souls to the devil so they could get famous. Not you and me, man, we're pure.

Speaker 4:
[01:22] No, we're director, raised on Cornhusks and Alfalfa, the two of us.

Speaker 5:
[01:30] That's right. Now Jorma.

Speaker 4:
[01:32] Yes, Kiv.

Speaker 5:
[01:33] Before we get into it, we're here to talk about your movie.

Speaker 4:
[01:35] Yeah.

Speaker 5:
[01:36] Anybody who clicked in knows that because it's the title. But you did it for me with Naked Gun. So this is the week it's coming out.

Speaker 4:
[01:42] Tip for tat.

Speaker 5:
[01:43] It's coming out this Friday in theaters.

Speaker 4:
[01:45] It is, yeah, April 24th. Go get tickets, guys. It's actually genuinely very important because opening weekend, really matters. Also, this movie is so fun to see in theaters.

Speaker 5:
[01:57] Okay, we're going to get to that. But listen, does it come out internationally?

Speaker 4:
[02:03] I don't have any idea. I don't think so.

Speaker 5:
[02:06] You should know that. We should find out. You think this is just domestic this weekend?

Speaker 4:
[02:10] I think it is. I think it is just domestic. But it's going to go as wide as possible. So it will be around. It's going to be in at least 1500, possibly 2000 theaters.

Speaker 5:
[02:18] The pod will get back to, we were in the middle of the John Hamm episode. Dunshy, Ronnie too, Ronnie and Clyde. Then we wanted to hear from John Hamm. We wanted to talk about some of the other shorts, or sketches rather. So we'll get back to that. This week, I did the pop star screening and I was the only one because Andy is still shooting his movie and you had dates on either side of it on the East Coast, then New Orleans and stuff. So you couldn't-

Speaker 4:
[02:44] Super bummed not to go. How was it?

Speaker 5:
[02:46] It was wonderful. So thank you. There was a lot. I mean, when someone yelled Quaid Army, almost the entire place did it. So clearly, it was a bunch of people that will hear this.

Speaker 4:
[02:56] Dude, I've been going around the country now and it's been every screening and it's like, I wouldn't say it was everyone though. It was like maybe 40 percent or maybe half, but that makes it so you have to then be like, hey, for those of you who don't know, we have a podcast and I can't explain this.

Speaker 5:
[03:16] By one of the two Daniels, Daniel Scheinert, he's just the best for doing it. For people that don't know, the Daniels did like everything everywhere all at once, and the Turn Down for What video.

Speaker 4:
[03:28] They're pretty. I like that those are your two touchdowns.

Speaker 5:
[03:31] Those are my two.

Speaker 4:
[03:32] And the Turn Down for What.

Speaker 5:
[03:34] I mean, they did a lot of amazing things, but those are two of the standouts in my mind. They did their farting corpse movie as everyone calls it, of course, Swiss Army Man.

Speaker 4:
[03:43] Swiss Army Man is fantastic.

Speaker 5:
[03:45] Anyways, but he moderated, which was very sweet. And I would say it was 60 percent of the audience who had fell over 50, and then he was starting to try to explain Quaid Army, and I was like, just don't bother. Yeah, you can't. Enough of this people now. But it was so fun. And it was at this theater in LA called the Egyptian Theater that Netflix bought a few years ago and renovated for like $70 million. And it's a single screen like old Hollywood theater on Hollywood Boulevard that I had never been in before.

Speaker 4:
[04:13] They're definitely going to make their money back on that one for sure.

Speaker 5:
[04:16] For sure.

Speaker 4:
[04:16] I'm sure they've made $70 million now.

Speaker 5:
[04:18] But then there's a company or whatever you'd want to call it, called American Cinematheque that does the programming for the Arrow Theater in Santa Monica and the Los Feliz III, which are both very small theaters, kind of on either ends of parts of LA. And then this is kind of right in the middle and they do amazing. I'm just so glad that things like it still exist, because it's kind of like New Beverly and the Vista to the Tarantino ones where every day you can check and all of a sudden it's like, oh, they're playing the Fugitive today or some old Humphrey Bogart movie or whatever.

Speaker 4:
[04:46] Oh dude, I mean, you came to the RLA premiere at Vidiots for-

Speaker 5:
[04:50] Oh yeah, that's another one, Vidiots, that does amazing. They had just played Beaches.

Speaker 4:
[04:55] What is the slope like? What is the rake like at the Egyptian? Because it matters so much. Now having gone to so many different theaters around the country for See Over Your Dead Body coming out this Friday, April 24th, like the rake matters so much. It's almost like when Brian was telling us about low ceilings and how it really affects performance for when we were doing a live show. But like it's the same thing with theaters where like a low rake is so nice for theaters. It just like laughs, like it feels so punchy.

Speaker 5:
[05:25] You're talking about old school theaters.

Speaker 4:
[05:27] Oh my God, they're the best.

Speaker 5:
[05:28] The slope, you were just barely seeing over the head in front of you, if at all. And if a tall person sat in front of you, you were screwed. But what it did do is by having normal seats, not recliners and stuff like that, and having them right next to each other and with not a big slope in front of you, rake, what's another word for it? I don't know. Yeah, grade. Grade, yeah, exactly. Like it creates a sense of community between the audience way more.

Speaker 4:
[05:53] Is that what the Egyptians like too?

Speaker 5:
[05:55] Yeah, you hear your neighbors. So the Egyptian was somewhere right in between. It was actually really good because it wasn't like the theaters we grew up with where it's almost flat, where you really could get screwed with somebody tall in front of you, especially when we were kids.

Speaker 4:
[06:08] Yeah, that's right.

Speaker 5:
[06:08] It was a little steeper than that, but-

Speaker 4:
[06:11] I think that's what you want. You want a little bit so you're right over the person's head, but it still has that sense of community because you really feel it.

Speaker 5:
[06:18] With comedies, with movies that are asking for an audience to interact with it. Laughing or being scared or whatever, yeah, it makes a huge difference. The weekend Naked Gun came out and I went around to those theaters, it was not a bummer, but it was interesting going to the ones that were the most luxurious for the audience where everyone gets their own big recliner. Because you're in an auditorium that should fit 200 people and instead it's like 75 chairs. Even when it killed and everyone laughed, it didn't feel like the other theater down, just even in the same-

Speaker 4:
[06:52] It's because the sound is going in a straight line. So if it's going right over people's heads, you're actually not hearing the person behind you laughing and it really matters. It's so fun to see a comedy, especially with a movie like ours, like traveling around the country or pop star or anything that we've made. It's so fun to see the reactions. South By was amazing. We won the audience award with that. But the one in Chicago was so fantastic. I just went to one in Orlando. That was incredible. That was recliners, but it was more of that rake. It was almost like being in someone's living room, honestly, and that was, oh God, I'm really bummed I missed the pop star one.

Speaker 5:
[07:32] You know it was interesting just talking nerding out about theaters for one more second. So the Saturday night or Friday night, I can't remember when I did the little going around LA, looking at different theaters. I went to the Universal City Walk, and there was a screening that was like, let's say an 8 o'clock and an 8.30, right? And so I kind of peeked my head into it. I introed one and then I peeked my head into the other. And they were such a different experience. Like the people that were in one theater was like a 300 seat or 250. They were both sold out, but it felt sold out. Do you know what I mean? Like it felt like a giant energy because it was a lower rake and not the huge seats. They're still big padded seats, but not the ones that are like creating all this space around you. And the screen was huge and it was properly masked, meaning the movie is 240 and it was black all around it. So it felt really clean. Not like when you go into certain theaters and it's almost like when you're watching on TV and you can see the black like gray letterboxing around it because you can still see this.

Speaker 4:
[08:34] Projecting the map.

Speaker 5:
[08:37] Or you can just see the part of the screen is not being used essentially. This was not it. It was perfect and it was huge and it was loud. And it was like my dream way someone sees the movie. And then we had a bunch of friends, their whole family had gone and seen it in the neighboring theater. Like still the universe, they're in this AMC, the same complex. So they would think they're having the exact same experience. But theirs was the other way that I was talking about with like the recliners and the bad screen and the sound didn't look as good. And it's interesting because it's a different experience. But all those people would leave saying we saw it at the same theater, the same night, but they didn't really even have the same experience.

Speaker 4:
[09:11] Having said that, the movie comes out Friday and you should see it regardless of what the theater experience is like because here's the thing, it's not the same as streaming for any.

Speaker 5:
[09:22] You're not wrong. All right. But wait, one last thing and then we'll really get into it. This is a good segue actually. So I'm watching Popstar. It looked great by the way and sounded great because this theater has been redone. So it was playing off DCP. It's the first time I saw with an audience since the premiere. It was a real treat. I wish you guys had been there. And it gets towards the end and it's the scene where Andy has put on prosthetics and has gone to visit you at a nightclub. And people have been making fun of him. Sarah Serbin said he kind of looks like a Matthew Modine if he had like stung by bees or something, etc. Nazi promaganda. And then it gets to your part and it turns into Jason Segel.

Speaker 4:
[09:59] This is where you want to start with?

Speaker 5:
[10:01] Well, this is the transition. This is a segue. It's called a segue. So you say you kind of look like Jason Segel right now, and he goes, Oh my God, yeah, like Sarah Marshall. Like from Forgetting Sarah Marshall. And you're like, Oh my God, I love that movie. I love that movie too. And then he's kind of like, hey, and he starts doing an impression like Sarah Marshall. I'm going to forget her kind of. And he kind of does these kind of dopey little looks that actually do feel pretty Segel-esque in hindsight now, having just seen Segel a lot in your movie. And we worried about it after we did. We were like, God, it's really funny. We're saying we like him and we like his movie. We do like Segel in real life. We didn't know him that well, but we had all interacted with him at various times. And Judd Apatow, who produced Pop Star, of course produced Forgetting Sarah Marshall and made Freaks and Geeks.

Speaker 4:
[10:48] So he's worked with him since he was a child.

Speaker 5:
[10:50] Yes, he had discovered Jason and worked with him since he was a child. Exactly. Since he was a teenager. So we really just were like, Judd, what's going on here? Should we take this out? And he's like, no, I think Jason will be fine with this. And we were like, should we like show it to him? Like, what do we do? We don't want to make him mad for no reason.

Speaker 4:
[11:08] It's not even our style of joke really.

Speaker 5:
[11:11] No, we don't like making fun of people at anyone.

Speaker 4:
[11:15] Yeah.

Speaker 5:
[11:15] And he just kind of said, no, just roll with it, it's fine. And we just kind of went, okay. But it made us uncomfortable exactly for that reason because we're not usually-

Speaker 4:
[11:23] It still makes me uncomfortable. I mean, obviously more so now having worked with you. It's a little bit like your Pam joke from I think a couple of years ago.

Speaker 5:
[11:33] Yeah, from my hit song.

Speaker 4:
[11:35] Yeah, exactly. Yeah. Just years later, you're like, what did I do?

Speaker 5:
[11:38] Yeah. So when I played that for her, she was like, that's why I wanted to make Naked Gun because I love that joke so much.

Speaker 4:
[11:43] Well, to answer your question, me and Jason have never talked about it. Oh, hell yeah.

Speaker 5:
[11:48] Let's get a voice note right now. This is the time.

Speaker 4:
[11:51] He sent a voice note, but it's not about that. If I'm being honest, what I thought was going to happen was because I was so geeked that he was going to do the movie. It was such a perfect role for him. He's sympathetic, but obviously he can go dark. He's a great actor. He can also do comedy, obviously incredibly well. For all those reasons, I was like, fuck, this guy's perfect. I was like, he's going to say yes, and then right before the movie is about to shoot, he's going to be like, fuck you.

Speaker 2:
[12:20] This is for saying he looked like me.

Speaker 7:
[12:21] He didn't look like me.

Speaker 4:
[12:23] I'm bailing on your shit. Got you back. Bing bong.

Speaker 5:
[12:27] That would have been a great prank. But you know what? It's not too late for the second half of that prank. We don't know.

Speaker 4:
[12:31] Yeah, the other shoe could drop any day.

Speaker 5:
[12:33] He's probably doing some talk shows this week. Maybe he'll be like, you know what? Maybe he'll show up in prosthetics that look like you.

Speaker 4:
[12:39] Yeah. Well, here's the thing. He's in a lot of prosthetic makeup in this movie, and I will say he gets so fucked up. He wears his arc of his character on his face and body in this movie, and so there's a ton of crazy special effects makeup, and by the end, he's pretty up looking. He's a little swollen, no spoilers.

Speaker 5:
[13:00] This is a spoiler-free interview today.

Speaker 4:
[13:03] Yeah. But you can see from the trailer, he gets pretty torn.

Speaker 5:
[13:07] His face is a bit swollen.

Speaker 4:
[13:08] Yeah. We'll try to do no spoilers, but it is-

Speaker 5:
[13:10] There's some other things.

Speaker 4:
[13:11] Well, what's good about this movie, though, is that there's so many twists and turns, it's very hard to ruin everything, because this movie goes in way-

Speaker 5:
[13:19] Jorm, let me say the nice things. Oh, I'm sorry.

Speaker 4:
[13:21] I'm sorry. Yeah, you go.

Speaker 5:
[13:22] There's so many twists and turns in this. And it's really nice that-

Speaker 4:
[13:26] What if you don't like twists and turns, though? You know what I mean? Then I'm just like this-

Speaker 5:
[13:29] What if you're more like someone that wants to be on the Autobahn and just kind of- You like going fast, but straight.

Speaker 4:
[13:35] You like mundane, the mundane.

Speaker 5:
[13:37] No, no. Fast. It's fucking dangerous, but it's just a straightaway. I want my story points to be-

Speaker 4:
[13:42] To be exactly where I think they should go. There's a McDonald's. I've been to McDonald's before.

Speaker 5:
[13:47] Yeah. I'm trying to think of a good movie that just goes from A to B. That's it. B is the end, A is the beginning. It's a straight line.

Speaker 4:
[13:55] That's a good road trip movie.

Speaker 5:
[13:58] Yeah, exactly. Well, now they still always put twists and turns. These fuckers, these Hollywood elites. Not us. I don't like the twists and turns. That's why.

Speaker 4:
[14:07] Yeah, we're corn fed.

Speaker 8:
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Speaker 7:
[17:28] No one goes to Hank's for his spreadsheets. They go for a darn good pizza. Lately though, the shop's been quiet. So Hank decides to bring back the one dollar slice. He asks Copilot in Microsoft Excel to look at his sales and costs and help him see if he can afford it. Copilot shows Hank where the money's going and which little extras make the dollar slice work. Now Hank says, I'll line out the door. Hank makes the pizza. Copilot handles the spreadsheets. Learn more at m365copilot.com/work.

Speaker 5:
[17:58] All right. So let's go back to the beginning here, Jorm. We'll decide how detailed we want to get. But basically, how were you approached about this movie in the very first time it came? Did you have a general meeting? What did you do?

Speaker 4:
[18:11] No. You will appreciate this because this came about because Tommy, I'm going to say his last name is Wirkola because I want to really put some Norwegian stank on it. I hope that's how you actually say it. But Tommy, who did Violent Night, he's done a whole bunch of other movies. He was on set with my producer for this movie, Guy Donnella, and apparently every day he was quoting MacGruber and Popstar and Hot Rod over and over. Guy, who is a real go-getter of a producer, like I've never met anybody like this dude, was like, let's call him. Let's call that guy. Let's hit him up. He called me. We had an hour-long conversation. But out of the blue, hit me up. We vibed out for like an hour. The Venn diagram of what Tommy does and what I do is similar, in that Tommy's like an action comedy guy and I'm comedy action. So there's a bit of crossover there. So I was like, yeah, I love Tommy stuff and da-da-da. And so then a week later, Guy called me up and was like, hey, I don't know if you'd ever, would you ever want to do a remake? And I was like, no, absolutely not. I have no interest in that. And he was like, well, just watch this movie that Tommy did. He was a couple of years old. I think right before the pandemic, which is even crazier to do a recent remake. But he was like, it's on Netflix, it's called The Trip. I watched it and then he was like, and just read the script. And I couldn't get it on my head. The script is by Nick and Brian of Britannic, the sketch comedy troupe. They're really fucking funny dudes. And I couldn't get the movie out of my head just because of kind of what I was talking about with the, it doesn't move how you think the movie is going to move, which I really appreciated. The structure of it was really exciting for me.

Speaker 5:
[19:49] How different, these are genuine questions that I've never asked. How different is the script that you read from the original Finnish movie?

Speaker 4:
[19:58] It is very much the same movie, which was another part of it that I was like, oh man.

Speaker 5:
[20:02] Even the comedy is the same?

Speaker 4:
[20:03] The comedy, okay. This is the major difference between the two films. It's actually, I think, really fun to watch the difference. Obviously, I want everyone to go see ours first because it's coming out this weekend.

Speaker 5:
[20:16] But if you turn on Netflix, there's this cartoon actually that you could watch. It's called Digman.

Speaker 4:
[20:20] Yeah, Digman. Yeah, check that out.

Speaker 5:
[20:22] Yeah.

Speaker 4:
[20:22] You got anything else? I assume that Naked Gun is on. What's it on?

Speaker 5:
[20:26] Prime, Prime and Paramount.

Speaker 4:
[20:29] Yeah. Also, if you're on Prime, check out Last One Laughing. Fucking great show. Anyway, but this isn't actually in the theaters, guys, so you can't see it streaming. But the major difference though between the two movies is like the original, the comedy is sort of coming out of a very dark place. Like it's a very emotionally dark movie, which is exactly what Tommy wanted it to be. I love the original, but it's also like that's not me, and it's not really Nick and Brian. I wanted the characters to be more sympathetic than they are in the original. The original, they're going to murder each other. It goes hard in this version for sure. But I really wanted to earn, I don't want to ruin anything, but their relationship and the arc of their relationship in this version. That was very instrumental in hiring Jason and Sam, the chemistry between the two of them. There's a big shift in this movie in that the Juliette Lewis character is a major difference of the addition of her. It really creates a symmetry with the relationship stories in this movie, which I think is very different than the original. It's both very much the original structure.

Speaker 5:
[21:40] Nobody has seen it, but Tim Oliphant and Juliette Lewis are a different couple in the movie.

Speaker 4:
[21:46] Yeah. That's a major difference. Then I think that the other thing is just I'm pushing the comedy. Weirdly, in making a remake, I didn't want to make the American, like this is a softer version. So it's a more violent movie and I think actually weirdly gory. But I'm all pushing everything into a more comedic realm. Well, this movie was like a trick of keeping all of these different tones alive and then stitching it all together with the comedy and creating a cohesive tone, which I was like, it was like the challenge of the movie. That's why I wanted to do it. I'm very proud that I think that we actually achieved that. Honestly, one of the big things was like, can I make something that I think is as good as the original? I think we achieved that. So that was really the reason why I wanted to do it.

Speaker 5:
[22:32] I never watched the original because I'm on Team Jorma. You know what I mean?

Speaker 4:
[22:36] Yeah, thanks. I mean, you should. You should. It would be fun to watch the original.

Speaker 5:
[22:39] What if I like it more though? That would really fuck me up. Sure. Then the funny part to me is that, so it's a Finnish movie.

Speaker 4:
[22:50] Yes.

Speaker 5:
[22:51] Tommy is from Finland.

Speaker 4:
[22:53] No, Tommy is Norwegian.

Speaker 5:
[22:55] No, he's Norwegian.

Speaker 4:
[22:56] We shot it in Finland, yes.

Speaker 5:
[22:57] Well, your movie, no, but what about his? Is his movie Norwegian then?

Speaker 4:
[23:02] Yeah, it's shot in Norway, Norwegian actors in Norwegian, yes.

Speaker 5:
[23:06] Got it. It is a full sentimental value.

Speaker 4:
[23:08] Full Euro, yes, European production.

Speaker 5:
[23:11] Full sentimental value, just say that, that's clear. Okay. It's also about family drama. They're kind of like sister movies. Anyways, the Finland part of it, then where does Finland come into the picture at all?

Speaker 4:
[23:28] One of the production companies, XYZ, had done a movie with Karen Gillan, who's a producer on this film, executive producer on this film. And the way it came about, Nick, one of the writers, is married to Karen. They were shooting a movie for XYZ in Finland called Dual. And then it came about that the script was up, they had writes the script, and they asked Nick and his partner Brian to write the script. So they had a connection to Finland already. They loved shooting in Finland. And then when it came time to shoot this movie, my options, because it's a cabin on a lake, there's I think 17,000 lakes in Finland. And when it came time to shoot, my two options for budgetary reasons were Winnipeg and Finland.

Speaker 5:
[24:14] Well, we should say the movie takes place in upstate New York.

Speaker 4:
[24:17] Yes.

Speaker 5:
[24:17] The setting is like it starts like where's their house supposed to be when they're at home? Where neighborhood in New York? Where are they supposed to live?

Speaker 4:
[24:26] Oh, I mean, I was always thinking it was like Astoria in Queens.

Speaker 5:
[24:30] Right. So they live somewhere in the city and then they're driving up to a cabin in upstate New York somewhere. And so it had to look like that.

Speaker 4:
[24:38] Yeah. She's an actress. He's a sort of hacky director. She's like doing off-Broadway stuff and he's like there. It's about a couple who is on the outs in their relationship and has lost their way and they both decide to kill each other, unbeknownst to each other.

Speaker 5:
[24:53] Calling him hacky feels a little harsh because he's doing commercials and you do a lot of commercials.

Speaker 4:
[24:59] Well, okay, not hacky. His life is not done where he wanted to go directorially.

Speaker 5:
[25:05] But directing commercials is, for some people, that could be the whole dream and that would still be hard to achieve.

Speaker 4:
[25:13] That first scene, I wrote that first scene and it is verbatim.

Speaker 5:
[25:17] I could tell. It felt like you on a Pepsi ad being told to put the Pepsi on the screen.

Speaker 4:
[25:23] Pepsi ad was fine. Crucial.

Speaker 5:
[25:25] Whoa, whoa, whoa.

Speaker 4:
[25:27] Calling them out. We'll bleep them.

Speaker 5:
[25:30] All right. So, Finland looks a lot like upstate New York.

Speaker 4:
[25:34] By the way, when I was driving from Helsinki to where we shot, second biggest city in Finland called Tampere, which is like 200,000 people. Perfect location. We found this amazing cabin. It was so awesome. Cabins in Finland bizarrely don't have running water, a lot of them, or bathrooms, which I did not understand at all.

Speaker 5:
[25:58] So, where do people, is it like outhouses?

Speaker 4:
[25:59] I don't know. There was no outhouse built into this cabin either. So, I have no idea where-

Speaker 5:
[26:04] So, they're like camping, indoor camping. And then how do you get water? Is there like a pump thing outside?

Speaker 4:
[26:10] I don't know. They had a sink. I never really even tried it, but there was no bathroom in this cabin. We did a build on stage, so like the interiors are all on stage there. But yeah, it was fantastic.

Speaker 5:
[26:21] Are there proper sound stages in that little city in Finland?

Speaker 4:
[26:25] No, dude. And the options that we had for sound stages, we ended up in like a big warehouse that they would use to store boats in the winter.

Speaker 5:
[26:32] That makes more sense.

Speaker 4:
[26:33] And so there were some boats in our warehouse at one point. And then one of the options was we were going to be in a pickleball stadium. Like that was one of the places that we were. Yeah, it was like a huge, but like a really nice pickleball. It's like where they filmed the All-Star.

Speaker 5:
[26:51] Have you ever looked at any of the photos of when they shot Home Alone, where they built the stage?

Speaker 4:
[26:55] No, no. Where is that?

Speaker 5:
[26:56] It was in Chicago or out suburbs of Chicago. I love that you know that. I think it was a high school and it was in the gymnasium and in the swimming pool and stuff.

Speaker 4:
[27:07] Wow.

Speaker 5:
[27:07] It just like was random.

Speaker 4:
[27:09] That's like how much he wanted it to be in Chicago.

Speaker 5:
[27:11] I'm sure someone will correct me in the notes, but I just remember it.

Speaker 4:
[27:14] John Hughes just wanted to be right down the street from his house.

Speaker 5:
[27:17] Well, yeah, because the whole movie is in Chicago, right? And the house, the real house from the exteriors was, so they just had to find somewhere, but of course, there was no sound stages.

Speaker 4:
[27:26] I wonder if they did it right close to all their other locations.

Speaker 5:
[27:28] Yeah, I don't know.

Speaker 4:
[27:30] Everything was pretty close. It was very easy to get around. Honestly, everything in this movie just fell into place. And then, honestly, shooting in Finland was like, it became like Destination Wedding, like where it's like because we're all just stuck together, like it just super bonded the cast. I had way more time to be able to like actually rehearse things, which is great. And then we all spent Thanksgiving together.

Speaker 5:
[27:54] Yeah, no one has, it is the, I always am pushing to shoot in LA so that we can sleep in your own bed and see your family and stuff. But then that is the benefit of, it's the same as when we did Hot Rod in Vancouver, and you force everybody to go somewhere when nobody knows anybody, then it's summer camp and everybody just gets to know each other in a really different way because nobody has anything to do. So on Saturday afternoons, like, well, I'll have a barbecue at my house or let's all go see a movie.

Speaker 4:
[28:22] Dude, on a Sunday, I literally peeled Tim off and was like, hey, let's make this little music video. So I made like a 30 second music video with him. It was great.

Speaker 5:
[28:32] It's a perfect use of time.

Speaker 4:
[28:34] Guys, Jorm here. Special video message. I know we don't usually do that. The movie is coming out Friday. I'm so excited about it. I really, really hope you guys see it in the theaters. It would make me so happy. It's such a fun movie to see in the theaters. I've been traveling around the country showing it to audiences. It's been raucous. We won the audience award in South By. I'm just gonna keep saying that. It is really such a good time. The cast is awesome. So please see it. And IFC has sponsored our podcast this week. Thank you, IFC. So we're gonna show either the trailer or a scene or both. I'm not sure what we're showing, but take it away. Please go see it this Friday, April 24th, Over Your Dead Body. All right, love you guys.

Speaker 9:
[29:29] Listen, we're going up to the cabin this weekend. Did I tell you that?

Speaker 10:
[29:33] No. How are things with you, Lisa?

Speaker 4:
[29:37] Did you not crush the garlic?

Speaker 9:
[29:38] It needs to be sliced.

Speaker 10:
[29:40] Yes, chef!

Speaker 5:
[29:41] This could be a mess.

Speaker 9:
[29:43] Lisa's planning a big hike by herself up into the mountains. Okay. It's also supposed to snow up there, which feels even more dangerous.

Speaker 11:
[30:03] I think you were gonna cut me up and sink me to the bottom of the lake.

Speaker 9:
[30:10] You wouldn't have felt anything.

Speaker 11:
[30:11] Oh, okay.

Speaker 9:
[30:12] Because I am considerate.

Speaker 11:
[30:14] Yeah, you're real considerate. Should we renew our vows, do it on the table?

Speaker 7:
[30:25] Who are you? I had to overstep. It seems like you guys have some marital issues.

Speaker 11:
[30:33] I will give you one million dollars. Shoot him in the fucking face.

Speaker 9:
[30:36] Oh, fuck you.

Speaker 3:
[30:39] When I party, I like this.

Speaker 6:
[30:46] In a relationship, You dirty pig!

Speaker 5:
[30:49] The key is finding ways to keep things fresh.

Speaker 9:
[31:06] That is honestly so fucked up.

Speaker 6:
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Speaker 12:
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Speaker 5:
[32:13] Let's talk about Cassie if you've got some good voice notes. So Segel, we fans of, but we had met him over the years and then-

Speaker 4:
[32:22] I met him playing piano at Chateau Marmont. That was where I first saw and said hello to him. He would never remember that. But yeah, and I was like, that guy's really good at piano.

Speaker 5:
[32:33] I went to, if you recall, I went to the set of Knocked Up before shooting Harrod to just have seen a movie set, since I had never seen a real studio movie set.

Speaker 4:
[32:42] Just because you were like, oh, what's this going to be like?

Speaker 5:
[32:45] Yeah. We might have talked about it on the Harrod episode, so forgive me. The quids and quids. That's paying respect for across the pond quids.

Speaker 4:
[32:56] Yeah, I got you.

Speaker 5:
[32:57] For the quids and quids. Wait, let me just take a total detour. I texted you guys, I saw a comment on the YouTube video from last time, and I thought it was really worthwhile. This is an episode isn't going to be complete if it doesn't mention ALF, and I know the other guys aren't here, but I just would be remiss not to talk about.

Speaker 4:
[33:14] Sure.

Speaker 5:
[33:14] We were going off last week, Jorm, about what if it turned out he wasn't an alien, and that was just the dad's lie, because he had fucked an Aardvark and brought it home. I mean, everybody that's listening to this knows everything I'm saying already. It's obvious.

Speaker 4:
[33:27] I mean, I don't know.

Speaker 5:
[33:27] He brought it home, and he told him this is an alien to his family, but really it was just his bastard child who he wanted to raise now and have in the house, and he made up all the stuff. And then this was the comment. It was, if in the finale of ALF, the mom has a Kaiser Soze style scene where she sees Melmac plate in the cupboard and puts it all together, realizes it was all a lie that her husband had made up. She reads the back of the plate and goes, Melmac? Wait, maybe this thing wasn't an alien.

Speaker 4:
[33:59] I like thinking that the show ALF wasn't weird enough.

Speaker 5:
[34:03] Maybe my husband actually smoked. Maybe he smoked.

Speaker 4:
[34:07] A fever dream.

Speaker 5:
[34:09] Maybe he smoked and fucked an Aardvark. Maybe that's more realistic and brought home. Anyway.

Speaker 4:
[34:15] The 80s was a better decade. Maybe it was possible.

Speaker 5:
[34:18] Make sure you beep what I said, of course, as we do. That was a good little break. It felt important. So Samara Weaving. I've never met her. I saw her at Vidiots at the LA premiere from afar. She was nine months pregnant.

Speaker 4:
[34:35] She's the fucking jam.

Speaker 5:
[34:37] I've been a fan of hers. I'm sure I'd seen her in something else, but our friend Matt made Ready or Not and Ready or Not 2. When he made Ready or Not, I was like, whoa, where did this woman come from? She's so funny and likable and gorgeous. Obviously just the rarest find of a movie star. I know you talked to Matt before casting her and got the full-throated, oh yeah, she's amazing.

Speaker 4:
[35:03] I was genuinely nervous for how good looking she is, of if this is going to make sense and did that. Then couldn't have been more of a, you have to hire her from Matt. She's unbelievable. She's just such a fun person to be around, but does the work. She's a great actress and she really, really is. It was honestly, that was one of the other things that I really enjoyed about doing this movie, is that there are quite a few real sit in a moment acting scenes. I hate to say real quote unquote acting scenes, but there and to leave the camera on actors, not interrupt, let scenes play out, let people have facial movements and process things and blah, because there's a lot going on in this movie that's like backstory that if you watched the second time, then you'd be like, oh, this is a different, I don't want to ruin anything, but yeah, she was phenomenal. She's also so fun and nerdy. Like Sam was obsessed with and probably still is obsessed with Prince of Persia, the video game and her and Jimmy Warden who she is married to wrote Cocaine Bear. Really fucking funny dude. We've actually, for a party over here, we're trying to work with him on a show and his writing partner, but they both love Prince of Persia so much that they had to get two different video game systems because they couldn't share because they wanted to play at the same time. But I'm like, oh my God, these fucking wonderful nerds.

Speaker 5:
[36:28] Is there a new Prince of Persia? I used to play it on a computer at home.

Speaker 4:
[36:32] You did? Really?

Speaker 5:
[36:34] Like my parents' computer, like I'm talking about in high school. Yeah. Is there a new like-

Speaker 4:
[36:39] Dude, I think any of those brands that you're like, you can just keep making them better and better and better. I mean, as you know, me and my son got obsessed with Breath of the Wild, fantastic. Link has certainly changed over the years.

Speaker 5:
[36:51] Yeah. Oh yeah. Look at this. There's a Prince of Persia, The Lost Crown from January 2024. I wonder if that's the one. I mean, will you ask her which one she likes?

Speaker 4:
[37:00] Yeah, I will. Sam and I were in the same building, and she was down the hall from me. Occasionally, there's a bunch of songs in this movie, and occasionally, we would either rehearse at my apartment or her apartment, but it was always very funny to go over there and just hear the sounds of Prince of Persia in the background.

Speaker 5:
[37:15] Of course, the Jake Gyllenhaal film version is one of her favorites.

Speaker 4:
[37:20] Yeah, for sure. Let's just put that out there. Also, Sam, just talking about her work ethic, she, I don't want to put her on blast, but she like a psychopath prints out the entire script and then pastes it on her wall. So, the other thing about her apartment was that just all of the lines are everywhere. Like it's like Homeland. She's like Claire Danes in Homeland, like, this leads to this.

Speaker 5:
[37:46] She had the red string connecting all the moments.

Speaker 4:
[37:48] Well, and then talking about Jason Segel and his work ethic. So, Jason lived outside of town and he had this place that was in the middle of nowhere because he's a romantic. He loves being by himself, he likes to experience things by himself. And Jason would record, like a lot of actors do, like to learn their lines, he would record the whole script. So he had a version where he recorded him doing all of the whole script, doing everyone's parts, listen to that, and then he had a different version which was everyone's lines except his and he would do the entire script, walking around. And honestly, when he first got to Finland, he told me that he was like, he got up at like three o'clock in the morning, I don't know, he was on a time zone thing or whatever, but he walked from like three to six in the morning, just listening to the script. Like talk about dialed in, like it was amazing. That's such a kind of psychopath almost, you know what I mean?

Speaker 5:
[38:39] Yeah, but that's such a treat to have actors that are taking it that seriously and know all their stuff. So you can just turn the camera on and they do it.

Speaker 4:
[38:49] I mean, I think the only potential disadvantage is that they're so used to doing it a certain type of way, that occasionally you have to jar things a little bit because they're so dialed in with the lines, but they may have worn the grooves a little bit.

Speaker 5:
[39:03] That's interesting. You can feel that a choice that they made of how to say it has now become calcified. You do three takes, they're identical because they've already done it 40 times, a hundred times at home.

Speaker 4:
[39:14] I'm sure you've had this experience before, but there was one scene, there's a dining room scene that we did and it even happens with me watching a scene where it's like you do like five takes and you're like, those are all great and then you have to stop and think like, what would actually be happening in this situation? Like there's one where he wakes up and he's been tased, which is in the trailers, I'm not writing anything, but he wakes up and I hadn't really given him the note of like, play the grogginess of waking up more. Then that is the take that we use for the first half of the scene. I only got like one or two takes of that version. But it's like always having to-

Speaker 5:
[39:50] It's surprising when there's something that obvious, that because everyone's been sitting with this script for a while and everyone's in a rush, and you're like, all right, let's bring it up. Then what I noticed, even just shooting this pilot the other day with Jake Johnson and Keith David and everybody, they would do two quick takes and then look to me for a direction and I'd be like, yo, I need to process this in my brain for a second. Like I don't necessarily have immediate, like especially if you can tell something's not quite right, you don't necessarily know the answer immediately. Like sometimes I have to sit there because it can be as simple as like, oh, you're just doing it too fast. Like it's a groggier scene and sometimes you know it right away.

Speaker 4:
[40:30] Yeah.

Speaker 5:
[40:31] But sometimes-

Speaker 4:
[40:31] Well, and it's a testament to your actors, right? Because we're working with pretty highly calibrated actors who have done this for years and years and years. So you are like taken in with like, oh, you're doing this very well.

Speaker 5:
[40:41] Yeah, you can get tricked because they're too good.

Speaker 4:
[40:44] But honestly, like a big thing for me and I weirdly, I really noticed this on when I was doing the Pepsi commercial, the Super Bowl Pepsi commercial with Ben Stiller and Steve Martin, because we had so little time to work with them together. They had like half an hour. It was one of the moments that I was like, I was very proud of myself for being like, stop the cameras, let's talk, let's figure this out together and slow it down. Who gives a fuck about time if it's wrong? It was really like those moments where you're like, stop. Nobody stress out, we're going to get there, but sit there, figure out what feels wrong, what feels wrong to you because it's the other advantage that both of us have is that you're working with unbelievably professional people and they're great.

Speaker 5:
[41:24] Still there's always going to be happy to stop everything to figure it out.

Speaker 4:
[41:27] A hundred percent, but all these people like Segel, Julia Lewis, like Tim had great suggestions for things and you find a lot of things in rehearsal, but they're great storytellers.

Speaker 5:
[41:38] Those are for just killer professionals. Like you're never going to get bad takes out of them, you're just going to get different takes.

Speaker 4:
[41:46] No, but it's even beyond that to me because there's a moment, we haven't talked about this, but we were talking through the first, there's a flashback that happens and it was Tim's suggestion to be like, it would be neat if at the start of a flashback, there's something that's being said that's a mystery of what I'm talking about, that is resolved by the end of the flashback. I was like, that's such a fucking good note. Honestly, as a director, I feel like I'm constantly having to be like, listen to the good ideas. None of this should be about your ego. It's literally like, work with the people that have been doing this for fucking years and years and years. Those ideas that come up, it feels like such a blessing and you're so grateful when you're like, fuck, that's so much better. Thank you for that suggestion.

Speaker 5:
[42:31] Yeah, it is the best. When we did the Naked Gun one, we talk about the scene where the chargers for the electric car are all getting ripped out of the ground.

Speaker 4:
[42:40] I think we did, but tell it again.

Speaker 5:
[42:42] So in the script, all the chargers get ripped out and the cables are getting ripped out of the ground and then they go up the wall just like they do in the movie and then they rip a big hole in the wall. But in the script, it said police squad swimming pool on the wall, like recreation center and swimming pool. And when the wall ripped open, like 10,000 gallons of water would spill out with a bunch of-

Speaker 4:
[43:05] A little bit pricey. Joke.

Speaker 5:
[43:07] And with a bunch of cops, like big Chicago looking cops in little bathing suits that would spill out onto the ground like fishes and flop around like fish. We really went down the road, they had figured out how we could do a tank and how we could do it there. But then they were like, the stunt people can't all be in the water because they could drown while we're getting ready. So they'd have to jump, dive into the water as it's spilling out from the sides and we'd have to shoot from the side. We're just going through all this and it was going to be impossible to reset. Then we were like, God, what else could it be? We had spent a lot of time thinking about it, but very quickly, Bill Bretzky, the production designer was like, what if it's the prison? I was like, oh my God, that's so much better on so many levels.

Speaker 4:
[43:50] So much better.

Speaker 5:
[43:50] That's great. It's one of the rare, there aren't that many ideas that came from outside me or the writers. Sure. Dan Doug, but that's a huge joke.

Speaker 4:
[43:59] But they happen. They happen.

Speaker 5:
[44:00] Yes, and it was like, oh my God, and you just are so grateful for it too.

Speaker 4:
[44:06] There's all those moments that happen where somebody brings you a prop that you're like, oh fuck, that gives me an idea for this. Maybe it's not the idea that you're going to use, but it becomes another idea, which is great. I got a good question on that. So did you always know that for the credits, you were going to have the swim pool, because that would cannibalize that a little bit. Because at the end of your movie, you go to the retreat where it's like the, I wouldn't even call it, white collar present.

Speaker 5:
[44:32] Yeah.

Speaker 4:
[44:33] Because that would have cannibalized it a little bit. You would have already seen cops in bathing suits that are all-

Speaker 5:
[44:37] You know what? In the script of that, they were at a sandal style resort, but they were by the beach. You know what? I hadn't really visualized how the other cops would look there. So it would have. Yeah, you're right.

Speaker 4:
[44:49] It would have been like a similar thing. So better on that level too.

Speaker 5:
[44:52] Even better on that, but also just infinitely more repeatable. Obviously, we had to rebuild the wall and break the wall again. We did it twice. It's so much funnier, just like, of course, and it makes more sense.

Speaker 4:
[45:04] Makes more sense, but it also is with his character of like, you want Liam's character to always be causing more chaos and problems.

Speaker 5:
[45:13] Yeah, letting out criminals is so much like making cops fall out of things. It's just annoying. Letting out criminals is the complete opposite. Yeah, it just was better on.

Speaker 4:
[45:21] That's great.

Speaker 5:
[45:22] It made our other one just suck. I was like, oh, ours sucks. That's it. I felt dumb for not having thought of it.

Speaker 4:
[45:28] Yeah, it's the best when you're like, how did we not come up with that?

Speaker 5:
[45:32] That's what it was. It was such a no-brainer. We felt like idiots.

Speaker 4:
[45:35] Yeah, that's awesome.

Speaker 5:
[45:36] Yeah.

Speaker 8:
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Speaker 3:
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Speaker 2:
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Speaker 5:
[47:41] So obviously, you've got these great actors. Before we get to the release stuff, obviously, on a personal level, you've done all the comedy stuff that everybody has seen. You've done these commercials and then pilots and stuff, and this is a little bit different for you. I wouldn't say this is- people sometimes use the word horror, and as somebody who doesn't like horror movies, I wonder- Matt would really know all the talking about horror versus thriller. To me, like-

Speaker 4:
[48:11] I was just saying this was dark comedy with as horror elements, I guess, or horrific elements.

Speaker 5:
[48:17] It's a thriller comedy is what I would say, that the part it takes from horror is like it's a little gorier than you think it's going to be. It shows things a little more. But if you just didn't show those things, then it just becomes an action comedy. Because to me, and I might just be wrong, and so I'm sure the comments will do it, horror gets something a little supernatural. Even Silence of the Lambs is called a horror movie. But when I watch it, I'm like, it's trippy. I mean, it's definitely scary.

Speaker 4:
[48:46] Yeah, you're telling.

Speaker 5:
[48:48] It is scary.

Speaker 4:
[48:49] It's a pretty heightened world too.

Speaker 5:
[48:51] But it's still because it's in the real world, it feels more like a thriller.

Speaker 4:
[48:54] Well, the other thing about the word horror, because I'm right there with you. I'm squeamish about a lot of stuff. One of the things I was proud of because there are some gory moments in this movie is my mom and my mother-in-law have laughed at some of the most horrendous parts of this movie. I've had quite a few people be like, I'm not usually able to see gore and because this movie is so funny, it was totally palpable for people that were not super.

Speaker 5:
[49:20] It was shocking how big the laughs were on. I won't describe it here necessarily, but on something that if I just described it is just horrible. Just somebody being, let's say, stabbed in the head and the audience was like, ha ha ha, just fucking as if it was the funniest thing they've ever seen. But it has to do with how much you know those characters don't want to be doing that, and how they can't believe this is what it's come to.

Speaker 4:
[49:51] Well, that is, I will say, one of the tricks and one of the things that not surprisingly, because especially for people like you and I, who are always trying to sort of push the comedy, was like one of the things I had to watch was just like always sort of maintaining the reality, regardless of how crazy the reality gets, which is like this movie goes to crazy places. But it really was important for me to be like, if I was pushing the comedy too much and breaking the reality that I was like I had to pull back. Like there's even, as you saw, like a Lonely Island joke that I had to take out.

Speaker 5:
[50:24] Oh, right.

Speaker 4:
[50:25] Yeah.

Speaker 5:
[50:25] Wait, well, that's out. So does it ruin anything to say what it was?

Speaker 4:
[50:28] No, it's not. There was a moment where Timothy Oliphant is on a boat and then he's just singing to himself, I'm on a boat. I'm on a boat, Wait, whatever happened to those guys? They still do skits?

Speaker 5:
[50:42] Yeah. That would have felt self-indulgent. But also, are you putting together deleted things and stuff like for iTunes bonus features?

Speaker 4:
[50:51] Yeah. I'll say the thing I'm most excited about the bonus features is, but again, see you in theaters. I don't know when this shit's coming out and streaming.

Speaker 5:
[51:00] Maybe we'll never put it on streaming. Yeah.

Speaker 4:
[51:02] It could easily never come out, you guys. Go see it this weekend, Over Your Dead Body. But our mutual homie and guy you scooped many years ago doing the wash, David Neenoggle. David is our go-to VFX man. He did 300 shots for this movie and he did an awesome series of, there's a lot of pretty violent gags in the movie, and he does a plate version of how to do each of these things. I'm not going to say what is actually happening, but there's a series of this is the A plate, this is the B side, these are the blank plate that you need to make this gag work. Then hilariously, so we're going to put all of that on the extras when this eventually comes out, but maybe it never will, is that he's doing it with his daughters. So it's like his 13-year-old girl, like getting their head, like, well, I'm not.

Speaker 5:
[51:58] That's how he's always done it. We had videos of his daughter doing in Popstar when Andy's doing the quick change thing, where it's the cloth tube that goes over his body and when it comes down, he's wearing a cowboy outfit or whatever and then he's naked. Obviously not-

Speaker 4:
[52:13] He didn't do naked. He didn't do the naked.

Speaker 5:
[52:14] No, no. He didn't do it with any, well, he didn't have any of the wardrobe either. It was just with like, she's in a blue outfit, she's in a red outfit, it was a proof of concept. But even back then, it was videos of his daughter. We've seen those daughters grow up.

Speaker 4:
[52:24] Well, these ones are so much more violent.

Speaker 5:
[52:25] Yeah, because they're violent.

Speaker 4:
[52:28] It's super funny.

Speaker 5:
[52:29] That's hilarious.

Speaker 4:
[52:31] Doing all the action shit was this because for me, I was actually weirdly nervous of the real action stuff because this is like 87 North who did John Wick and bullet train.

Speaker 5:
[52:41] The producing team that came in, at least you knew you were with people that have done, you knew the comedy part but they've done all the action stuff before.

Speaker 4:
[52:48] You did this with Naked Gun going through the process and then I'm sure it was very similar in that you're adding comedy within that. You're getting all the benefits of these amazing fucking choreographers and they're mocking up stuff and then you're adding like, I want this too because you're trying to like, it's almost like the comedy is enhancing the action because it creates these breaks in it, where you're getting a real laugh, especially for your movie, obviously, but you're getting a real laugh and then you're going straight back into the action and like one's enhancing the other. So it was really fun for me to work with these super professional, in the same way it was, I'm sure, for you for Naked Gun. It was such a rad experience, so like one hand washing the other kind of thing.

Speaker 5:
[53:30] Yeah, but you guys also had so little time. How many days was the shoot?

Speaker 4:
[53:34] This is 32.

Speaker 5:
[53:35] Yeah.

Speaker 4:
[53:35] There's a lot of gags.

Speaker 5:
[53:36] It's just hard when it comes to action stuff because depending on the stunt, things can really slow down for safety reasons. And for effects reasons, I mean if you're spraying blood, then you take two, whereas is it a whole new change of clothes to get the blood off? And it can slow stuff down a lot too.

Speaker 4:
[53:54] Did you have any moments that you had to call actual audibles on set? We had a couple of moments where we were like a shit.

Speaker 5:
[54:00] It was hard because we're not trying to scare anybody. It was like, and it's just supposed to be so friendly. In general, we would just veer towards it's a cartoon. So it would be like, so should his shirt rip? And I'd be like, nope, he'll just be perfect again in the next shot because he's wearing that suit. I mean, you barely notice, but Liam's wearing the same suit the whole movie basically.

Speaker 4:
[54:21] That's hilarious. That's hilarious.

Speaker 5:
[54:22] He's just in that gray suit all the time like a cartoon character. Like that's what he looks like.

Speaker 4:
[54:27] Like Harrod or MacGurber.

Speaker 5:
[54:29] Exactly, that's just what he wears.

Speaker 4:
[54:30] Dude, that shit is big swing comedy, dude. That's awesome.

Speaker 5:
[54:33] He's in a blue suit at one point a little bit, but barely ever. And it was even him. He's like, why don't I just wear this the whole time? And you're like, I think we changed his shirt underneath, but barely. I mean, when they go on the date, when he gets home, then he's in like the sweater and stuff. But basically, but days are passing in the movie.

Speaker 4:
[54:51] In the montage, like when it's meant to convey days and-

Speaker 5:
[54:55] Yes, and he's in a cabin, so he's in snow clothes and cozy. But days are passing, then when the montage is over, he's back in that suit even though it's the next day. So did he get a dry clean?

Speaker 4:
[55:06] For this, because there's so much special effects makeup, and they're so good at being like, this injury, because it was always like the scene after, that you would actually see what had caused the injury in the previous scene.

Speaker 5:
[55:18] You're shooting out of order sometimes, so you're having to create the-

Speaker 4:
[55:21] Yes, so you prove that all in the beginning of like, this is caused, this is damage, this is what happens. But it was happening chronologically in terms of like, you see the fight and then in the next scene, you start to see the swelling from what happened. They have to be so on point with like how that other. And then the only thing we actually shot out of order really, because obviously like I wanted to shoot as much as you can in order, was it was so cold in Finland that we had to shoot some of the boat. There's like a bunch of boat stuff and Jason gets in the water for, it was freezing, like freezing and he was so game. But that was the only thing that we actually had to like do. And it was to the point where like he wanted to go again. We have a crane like zooming at him. We almost hit him with the crane. And like, and he was like, let's go again. I was like, dude, no, like I'm looking at this. We got this. Like you're good.

Speaker 5:
[56:11] He's wearing like a wetsuit under his clothes.

Speaker 4:
[56:13] Yeah, he's wearing, yeah, he's, I think they call it dry, dry suits or something or camera once called them. But yeah, I've never heard of a dry suit.

Speaker 5:
[56:19] That's cool.

Speaker 4:
[56:20] Maybe that's for the camera ops. I'm not sure. Anyway, but you know, he's still freezing when he gets out. I mean, it's, it's really, but we had to like do that early days because it was genuinely dangerous for the actors.

Speaker 5:
[56:31] All right. Well, now it's time for me to do the pitch of selling this that you keep trying to do. It just comes off crass.

Speaker 4:
[56:40] I'm not a classy, Kiv, I'm not a classy guy.

Speaker 5:
[56:45] But here's the reality of it is, you made the whole movie, it's going to come out. And the truth is people already like it, Jorma. And so we were texting the other day and it's already, you already did your job really well.

Speaker 4:
[56:58] Thanks, man.

Speaker 5:
[56:59] Anything else from my opinion in my pep talk to you is Gravy, because people love it. Those screenings were fantastic. This is a side note, but I always remember Sandler talking about the movie Spanglish. How in the theater, even though that movie is more drama than comedy, it's a James L. Brooks movie, he was talking about how it would just get these enormous laughs. And he was like, oh my God, like those are laughs that are bigger than the ones I get in my movies where I'm trying to be funny all the time. And it's that thing of like when you're in a movie where the story is working so well, it can get laughs that are actually, you know, like Pop Star or Naked Gun have to work so hard for every laugh because that's what it is promising you. Whereas this movie is getting just as big laughs the way that horror or drama can because you're being pulled into the story and then are so with the characters that the littlest thing. Like just the way she says something to him about the like, you know, way she's cutting garlic is a huge laugh, even though it's like just the littlest thing. It's not a written.

Speaker 4:
[57:59] It's awesome when it's like a visual joke too. Like there's a moment in the kitchen where she's like tiptoeing at one point and like it kills. And it is like just a visual thing.

Speaker 5:
[58:09] But they're not jokes, so to speak. They're just character moments, things blooming from character.

Speaker 4:
[58:15] Yeah.

Speaker 5:
[58:16] Anyways, that was a tangent, but it really was fun to see this in a big theater. I guess that's my pitch. And it's just would be great for Jorm to not be like super bummed after it comes out, even though like my-

Speaker 4:
[58:28] That's the real pitch.

Speaker 5:
[58:29] Guys. My pep talk to him is still true, which is I'm saying he already has won. He set out to make something and it came out good. And it doesn't matter truthfully when people see it. I mean, that's not what he wants me to say. But in 10 years, he'll be doing a screening of this the way that I was just that one for Popstar. And he should have been at that one too. But point being is it's already done. Like if he can jump forward in his head, it's already done. But that's still.

Speaker 4:
[58:56] Well, the reason I think it is really important to see it, though, is because whenever people talk about comedies, I'm like, you gotta go see them so that we can make more of them. You know what I mean? Like it helps everybody.

Speaker 5:
[59:10] And you just don't want to get sad.

Speaker 4:
[59:12] Oh, yeah. Like, OK. So that's the real pitch to the Quaids is that don't make me sad opening weekend.

Speaker 5:
[59:17] Yeah, helping me out cannot be sad. Because that's the thing. Ultimately, you know what I mean? It's like famous people go on talk shows every week and say, please go see my movie. It doesn't really mean anything. Because you're going to get to make another movie because it's already good. Like, in general, people can kind of say, like, I just hope it does well enough that they let me make another. But I can tell you, you can already make another because it's already good. And you're not going to make more money from it doing good because it's not how the deal is structured. So what's in it for you is to not get sad.

Speaker 4:
[59:47] Yeah.

Speaker 5:
[59:48] It's just your mental health.

Speaker 4:
[59:49] Well, and by the way, like, how sad did we get on all of the things?

Speaker 5:
[59:54] Well, that's what I'm saying. The heartbreak of Hot Rod. You don't want to feel that again.

Speaker 4:
[59:59] Oh, God. Hot Rod, fucking McGroover, fucking Propstar.

Speaker 5:
[60:02] Exactly.

Speaker 4:
[60:03] All things we were incredibly proud of.

Speaker 5:
[60:05] Exactly. So just my plea is just for Jorm to feel. He's been through a lot.

Speaker 4:
[60:11] I've been through a lot.

Speaker 5:
[60:12] He's been through a lot. He's already on every pill you can take. So he's not going to be able to mask it with drugs. He can't just take a bunch of sedatives. He's at max drugged out already. There's nowhere to go here.

Speaker 4:
[60:29] Yeah. This is all true. Thanks, Kiv, for that rousing endorsement.

Speaker 5:
[60:33] So everything else sounds, Pat, it sounds like what is somebody going to do? Go on and not tell you to see whatever it is? I mean, that's the whole job. But this is real.

Speaker 4:
[60:46] Well, go out there and see it before it sells out, guys, because this is hot off the hotcakes press.

Speaker 5:
[60:52] Yeah.

Speaker 4:
[60:53] This Friday, Over Your Dead Body, April 24th.

Speaker 5:
[60:55] If you want to get sad, I'm going to be so sad for him, guys.

Speaker 4:
[60:58] Can I play you Jason Segel's voice note?

Speaker 5:
[61:01] Yeah. What did you ask them for?

Speaker 4:
[61:03] Okay. So I got a voice note from Segel. I just said, hey, are there any remembrances that you had from that? I will say that I disagree with this voice note. All right. I have listened to it.

Speaker 5:
[61:14] Okay.

Speaker 4:
[61:14] Yeah. So I'll give you my response after we listen to it.

Speaker 5:
[61:17] All right. Let's roll it.

Speaker 9:
[61:18] Yeah. I guess the moment that stands out most to me from shooting is the trust that I had established with Jorma, my director, who I knew would never betray me in any way. We did a scene where Sam and I are laying unconscious on the ground having just fallen through the ceiling. We're about to roll and someone said, there would probably still be some wood falling. Jorma called out, do we have any wood? And someone said, yeah, here's a two by four. And then Jorma came up and said, I'm going to drop this on your head. And I whispered, I don't want that. And then Jorma said, okay. And then he called action and then quickly whispered, I'm going to do it anyway. And then dropped a solid piece of wood on my head with a clunk. And when they yelled cut, I had never seen Sam so appalled and shocked in my whole life. And then the guy did it again. Next take, but wouldn't change it for the world. Love you, Jorma. Bye.

Speaker 5:
[62:21] Ah, okay. Yeah, what do you-

Speaker 4:
[62:23] My rebuttal.

Speaker 5:
[62:24] Yeah.

Speaker 4:
[62:24] Okay, I'm just going to read you my rebuttal of what I said to Segel after he sent that, which was, I wrote back to him. I said, this is very funny. It was prop wood and very light. So you are entirely inaccurate and a liar, but this is a very funny retelling. He said, I haven't been able to write since from the brain damage. I said, it's good that you were paid so little that you can't afford a lawyer. Good for me at least. That made me laugh. I assume you laughed and then coughed up blood a little from your never healing internal injuries. Love you, pal. Love you, pal. That was our exchange.

Speaker 5:
[63:02] So it was a prop. It was not, jeez, guys.

Speaker 4:
[63:05] Prop wood.

Speaker 5:
[63:05] Really dramatic.

Speaker 4:
[63:06] What a little whiny.

Speaker 5:
[63:07] Yeah, and he probably told Sam it was real, and that's why her looking at Gast might have been true. Like, I can't believe he's doing that to him.

Speaker 4:
[63:14] Yeah. Okay.

Speaker 5:
[63:15] So he's trying to turn the rest of the crew against you is the point.

Speaker 4:
[63:19] I mean, I will say that Sam did seem kind of a guest.

Speaker 5:
[63:23] Yeah, she might have thought it was real.

Speaker 4:
[63:26] Because I did whisper that I'm just going to do it. Yeah. All right. Here's Sam's note.

Speaker 5:
[63:30] Okay.

Speaker 10:
[63:31] Hello, podcasting gang. Jorma asked me to tell a little tale from the incredible Over Your Dead Body shoot. I think one of the best and the silliest memories I have is the trailers that we had had very thin walls. So you could sort of hear everything anyone said if you were next to them. Jason's room was next to mine. At lunch, they would bring us these incredible meals. Shout out to the catering. I suddenly start hearing Jason in his trailer going, oh yeah, oh my God, oh shit, that is good. It was day one of shooting, so I really didn't know, I was in quite a predicament. I was laughing but also didn't know whether to say like, hey, it was a private moment. I can hear you when you eat and this happened every day. Every lunchtime, I'd be like trying to have a nap or something, and I'd just hear him having a whale of a time.

Speaker 5:
[64:51] A whale of a time.

Speaker 10:
[64:53] Yeah, it makes me giggle. Then eventually I had to be like, hey dude, I can fully hear you. Then instead of stopping, he ramped it up even more.

Speaker 5:
[65:04] Yeah.

Speaker 10:
[65:05] I'm sure Jason will tell you about the time that Jorma dropped wood on his head, without consent a few times.

Speaker 5:
[65:12] What the?

Speaker 10:
[65:13] I hope he tells that story. That's also a fave. Anyway, it was one of the best and most fun times I've had on a job, and yeah, love you Jorma. Let's do it again.

Speaker 4:
[65:25] My God, what a great human being.

Speaker 5:
[65:27] That was wonderful. Well, I had a follow-up question that I wish she was live. I wanted to ask, which is, well, I guess it's a question for Segel, which is, if she confronted him, I thought she was going to say he said, like, I've been doing that for you, as a bit. But instead, he just got louder, like as if he went, oh, that's funny. Now I'll do it even louder. But what was he doing it for before?

Speaker 4:
[65:44] No, he's doing it because he's in the moment. He's a man, he's a Zen man in the moment enjoying food. And like he told this story kind of on Kimmel, but he went to like a food court and was like eating a donut. And he was like doing the same like, yeah, like this is in fucking Finland.

Speaker 8:
[66:02] So he's buying himself, by himself taking bites.

Speaker 5:
[66:04] Oh, hell yeah. Oh, that's good. But just by yourself.

Speaker 4:
[66:07] Just to give you like some context, my first AD auntie, like my impression of him was, I am auntie, I'm doing a joke. No, I'm serious. No, I'm doing a joke. He was like a beautiful looking Navy seal, like tacked up like dude, like he was just like so stoic. Like that movie Sisu, like which is about like perseverance against all odds, no matter what, is like that's Finland, 100 percent. So to have a big dude just being like, oh yeah, this food is good. It's like that is not normal in Finland. So he got stopped after like eating at this place by like this woman who was like this security guard who was trying to take his car keys because she was like, you're clearly super high. And he had to be like, no, I'm American.

Speaker 5:
[66:48] No, I'm just, this is how we are, we're this dumb all the time.

Speaker 4:
[66:53] When we enjoy something, we're going to let you know.

Speaker 5:
[66:56] I just like him being alone, being like, oh, shit.

Speaker 4:
[67:01] By the way, catering was super good. And this was the first time I've ever had catering where there was no options. They just made you one thing.

Speaker 5:
[67:07] They just made you a meal.

Speaker 4:
[67:08] Oh, that's really so good.

Speaker 5:
[67:10] That sounds very good, honestly. Well, this was a treat.

Speaker 4:
[67:13] Yeah. Thanks for talking about my movie.

Speaker 5:
[67:15] Thank you for those voice notes. It made me want to go to a dinner with Samara and Jason and hear a ton of it. So invite me when you're in LA and wrangling them into a dinner, just be like, Akiva is tacking along.

Speaker 4:
[67:26] I will do.

Speaker 5:
[67:27] So I can hear it because they sound very funny. Her Australian accent is spot on. She's doing it so believably.

Speaker 4:
[67:36] She has a couple Australian isms that I really fucking like.

Speaker 5:
[67:39] Did she say fair do's a lot?

Speaker 4:
[67:41] Dude, they feel like they're straight out of our podcast, too, because she calls somebody a gronk. That sounds very much like this podcast.

Speaker 5:
[67:50] Not a gronk.

Speaker 4:
[67:51] Yeah.

Speaker 6:
[67:52] You fucking gronk.

Speaker 5:
[67:54] Not a gronk. A gronk. That is really good.

Speaker 4:
[67:57] Yeah. By the way, speaking of dinners, I love this moment was when we were in Finland, we were out to a very nice dinner, all the cast together and Timothy and Juliet were talking, and they were talking about, they were like, oh yeah, what did you do with Leo? I was like, oh, Leo DiCaprio, they both worked with Leo. I was like, wait, Juliet, what did you do with Leonardo? She was like, oh, this movie, What's Eating Gilbert Grape? And I was like, yeah, yeah, no, I know it. It's right, you are an amazing actor.

Speaker 5:
[68:26] He's been doing it for 40 years.

Speaker 4:
[68:29] Yep.

Speaker 5:
[68:30] All right, well Jorma, it's been a pleasure. I hope we talk some Quaids into a theatrical experience this coming weekend. And thank you in advance to them. And congratulations to you, Jorma. And it's nice to get real with you without the jokesters around.

Speaker 4:
[68:45] Oh my God, thank you for bringing that up. It's always a pleasure to talk to you. It's always a pleasure to talk to a real director, a real artist, like getting down to brass tacks.

Speaker 5:
[68:55] The sarcasm from those guys. You're like, are you being serious right now?

Speaker 8:
[68:58] I can't even tell you're being serious.

Speaker 4:
[69:00] Can't you just be real for a second? Oh my God.

Speaker 5:
[69:02] Exactly, exactly. What are they so afraid of? Yeah. They're running from something. Just like the Quaids are going to be running into the theater so that Jorm doesn't have to run from his emotions. All right.

Speaker 4:
[69:18] Don't make me depressed, guys.

Speaker 5:
[69:20] Love you, Jorm.

Speaker 4:
[69:21] Love you, Kiv.

Speaker 5:
[69:21] Later, Arnold. Later, Quaids.