Dinner’s on Me with Jesse Tyler Ferguson - NATHAN LANE — on doing R-rated ‘Golden Girls’ in new Hulu show and being a Broadway icon
Episode Date: January 28, 2025Tony-award winning actor Nathan Lane joins the show. Over spicy yellowtail sashimi and coconut prawns, Nathan tells me about his new sitcom ‘Midcentury Modern,’ how he almost didn’t do ‘The Bi...rdcage’ and the iconic audition that led to him being Timon in ‘The Lion King.’ This episode was recorded at Crustacean in Beverly Hills, CA. Learn more about your ad choices. Visit podcastchoices.com/adchoices
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Hi, it's Jesse. Today on the show,
you know him from the hit film The Birdcage,
on stage and the producers and his upcoming TV show from
the creators of Will and Grace, Mid-Century Modern,
it's Nathan Lane.
This is barely a podcast.
This is just, we're having dinner.
Yeah, but we're going to talk about so many things.
Okay.
All right.
This is Dinners on mine, and my love
affair with him and his immense talent began long before he played Pepper
Saltzman on Modern Family, a role which earned him three Emmy nominations, mind you.
His breakout performance as Nathan Detroit in the 1990s revival of Guys and Dolls was
one of the first Broadway shows I ever saw.
And as I started a career in New York City, I was always in close orbit with Nathan.
Having friends who worked with him on stage in A Funny Thing Happened on the way to the Forum, or the producers.
I would often see him across the room at fancy after-show hangouts like Bar Central or Joe
Allen's after one of his performances. He was always sitting with some Illuminary, Liza
Minnelli or Elaine Stritch, Terrence McNally or Matthew Broderick. He was a Broadway star and the greatest sense of the word, and my early years in New York
City were filled with deep admiration for him as an artist.
A career like his was one I dreamed of, and I was so excited to be working on stages at
the same time as him in New York City.
Never with him, but always adjacent.
In modern family, Mitch and Cam, played by Eric Stone Street myself, often referred
to their good friend Pepper Saltzman.
And in the early days of the series, we always wondered with great anticipation when we would
actually get to meet this character.
Now our casting director, Jeff Freenberg, told us one day that he had cast Nathan Lane
in the role and I could not
believe how fortunate I was. At long last, I was going to be working with one of my favorite
actors, Nathan Lane, on a television series. Now listen, I never really let Nathan know
just how much of an inspiration he was to me. I've since let all of that creep out,
but in the moment when I first was working with him, I really needed to stay cool and professional.
The friendship I got to develop with him
over the 11 years of Modern Family
is one of the greatest things
to come out of that experience for me.
And seeing him continue to grow as an actor
in more dramatic roles in both film and on stage
has been so gratifying.
It might seem like after getting to know Nathan,
the allure of him may have worn off, but it has been quite gratifying. It might seem like after getting to know Nathan, the allure of him may have worn off,
but it has been quite the opposite.
I'm constantly in awe of the way he has navigated his career
and I am so honored to call him a friend.
And yes, I still do dream of a career just like his.
Now, right before we sat down for this meal,
I was able to drop by Will and Grace creator,
Max Muchnick's home to watch the pilot of his new series called Mid-Century Modern that Nathan stars
in.
And I left Max's home after watching the episode with a surprise offer to do a guest spot on
the following week's episode.
And of course I said yes.
It was such a joy to be on set with Nathan Lane again. One of my scenes was with Linda Lavin who plays Nathan Lane's mother in the series.
A few weeks after we shot my episode, Linda passed away very suddenly at the age of 87.
This episode of my conversation with Nathan Lane was recorded right before her passing, so it's not discussed here.
But I really I would love to just dedicate this episode
of Dinners on Me with Nathan Lane
to the memory of Linda Lavin.
God, I was so lucky to work with her.
I love you, Linda.
And here we are with Nathan Lane.
Well, this is proof that everyone in America
has a podcast that kept me.
I know, truly, truly.
I brought Nathan to Crustacean, which has been an iconic force
in Beverly Hills for decades.
Helene Ahn, the matriarch of the Ahn family,
opened the restaurant in 1995
and became a national pioneer in Vietnamese fusion.
She and her family moved to San Francisco in 1975
as refugees where her mother-in-law
purchased her first family restaurant in what was an old Italian deli.
60 years later, Helene's five daughters would also join the business, opening five
more restaurants and building on 60 years of tradition.
Hard work and good taste are at the heart of crustacean, and I couldn't wait to share
a meal with Nathan here.
Okay, let's get to the conversation.
I just came from Max's. From Max Munchnick. Yeah. Look what I left. My new best friend,
Max Munchnick. Do you know this? Do you know this? I left with a job. It's a very funny part. It's a
very funny part. It's been one of the happiest experiences
I've ever had in show business.
Yeah, I'll just say, because I've just launched right in.
But Mid-Century Modern.
Mid-Century Modern.
Which is a multi-camera sitcom, which has not been done,
really a new one hasn't been done
quite some time, I don't think.
I guess it's like.
I don't know, well, there's the Reba McIntyre.
Right, I guess there's a few of them.
Would disagree, but we're on Hulu.
We're doing sort of an R-rated.
It's very R-rated.
Longer form.
So Max Muchnick.
Multi-cam, Max Muchnick.
And David Cohan, who created Will and Grace.
That's right.
Have created this.
It's the same wit and like, smart humor is Will and Grace,
but like all the, they're off the reins,
the horse is off the reins.
And he's able to do all of the stuff
that they probably wish they could have done
with Will and Grace.
Yes, yeah.
It's sort of wonderfully nostalgic
because it reminds me of the kind of situation comedies
you grew up on.
And then it's just really outrageous and R rated
and sort of what...
Well, yeah, and in many ways,
and I think this was their template,
but it reminds me a lot of Golden Girls.
It's kind of like a gay Golden Girls.
Well, that's how it was pitched to me.
But it's an easy way of saying it because the similarity
is that my character, Bunny Schneiderman, who is a very successful and wealthy manufacturer
of women's bras and has a chain of 53 stores nationwide called the Bunny Hutch. He lives in Palm Springs in a huge house with his mother,
Sybil played by the great Linda Lavin.
And he has this core group of friends,
and one of them in the pilot has died.
His name was George.
And George had dated Matt Bomer's character, Jerry.
And so when we met Jerry, he was very young,
which explains why he's a little young.
Why he's so young still.
And then Nathan Lee Graham, who plays Arthur,
the wonderful Nathan Lee Graham, and Matt Bomer.
I think Matt Bomer's gonna be the revelation for people
because he's so funny in this,
as this kind of dim-witted sex pot airline steward.
You know where I first met Matt Bomer, just a side story?
I had a friend who had just done a workshop
of the musical Spring Awakening with him
and was like, oh, I just worked with this guy.
He's such a dreamboat.
He's working his last shift at this restaurant
on Avenue A and like 13th Street.
He's like, we're gonna go and like send him off
and like one of his last tables.
So that's how I met Matt.
He was my waiter at the very last restaurant
he worked at before going off to do his first soap opera.
But then I sent him a message when he won an Emmy for,
what was it that he won for?
For The Normal Heart, I think.
I don't know.
He won The Golden Globe.
The Golden Globe for The Normal Heart.
Yes. Right, yes.
Yes.
Well, yeah, when he won for Normal Heart,
I sent him a message, like, I'm just so proud of you,
I can't believe I've known you since your last day.
You used to tell me your specials.
Yeah, exactly, exactly, no, he's great.
Oh, he's wonderful.
The whole show's wonderful,
and it's directed by James Burroughs,
who's, you know, directed Cheers,
and Taxi, and Will and Grace and started Friends and it's it's just so
good how do you like being on a multi-camera show again with an audience?
I forgot or... Was the last time Encore's Encore's? It was Encore, Encore. There was only one
Encore baby no one wanted to. Encore's Encore's. Encore's Encore baby. No one wanted two. Encores, encores.
Encores, encores.
No, it was just one encore both times.
And no, the last one I did was with Jeff Richmond,
our beloved Jeff Richmond,
that with Lori Metcalf and T.R. Knight.
I remember the show.
And it was called Charlie Lawrence.
That's right.
It was briefly on CBS.
I played a newly elected congressman
who's a former actor who for years had starred
in a show like Touched by an Angel,
and it was very successful, but no one would ever hire him again after being typecast.
Yeah, yeah.
How are you doing tonight?
I'm good.
Great, how are you?
Good, welcome to the presentation.
Thank you.
This is Archery Blessed here.
I might have a Spiritless cocktail.
I also have a dinner after this dinner.
Are you kidding me? No I'm not.
I'm with the legendary two-time Oscar winner Anne Roth. Oh the costume designer. She's a very
close friend of mine and her daughter Hannah and Max Muchnick. Oh well look at that. Well then eat
light but have a drink. Do you make anything like a Moscow mule? Absolutely. We have our own version.
Yeah.
It's an American mule. It's fantastic.
Sure. I'll try that.
Thank you.
Like literally, I had Kathy Bates on yesterday.
We were talking a little bit about Terrence McNally,
and she really credited him to starting her career.
And I know you've always kind of done the same.
You know, lips together, teeth apart,
and obviously Lisbon Traviata. Oh, that was the one. That was the one. you know, lips together, teeth apart, and obviously there's been Traviata.
Oh, that was the one.
That was the one.
It wasn't lips together.
That was after, but yeah.
That was after.
Yeah.
Don't second-guess me.
About my own career?
About the things I've lived through?
I know the chronological order of it.
I don't think so.
I think I do.
I just was talking about the one that I preferred.
Oh, well, excuse me.
Well, you played my part.
I did play your part.
During COVID on the Zoom.
During COVID on the Zoom, I did.
But Kathy was talking about how important
Terrence McNally was to her with Frankie and Johnny.
And she mentioned she had a big falling out with him.
She didn't stop speaking for like 18 years and then saw him at his 80th birthday and it was a big falling out with him, but she didn't stop speaking for like 18 years,
and then saw him at his 80th birthday,
and there was a big celebration.
You were there as well.
Anyway, they had a falling out and came back together.
I can tell you about all of this.
Yeah, yeah.
But she said that you also,
she's like, you should ask Nathan about this as well.
Oh sure, I've been through it too.
Yeah, yeah.
He was not unlike some of the characters he wrote.
He was a passionate man,
and he was possessive of his actors.
And yeah, if he could have kept us in a warehouse
in Times Square,
Yeah, yeah, yeah.
and just brought us out to do his plays alone,
he probably wouldn't have objected. But that was Terrence. He was so
great. But yeah, he was possessive of the certain actors. He used to refer to them as
there are McDally actors.
So, to Noi, cheers.
Oh, thank you very much.
Thank you so much. These are pretty gay drinks.
Couldn't get any gayer.
Cheers.
Cheers.
Here's to being gay.
It is so good to see you.
And on a podcast.
Oh, yeah.
I haven't looked.
No, I'll let you gentlemen know about our specials this evening.
Oh, okay.
Yes, please.
So at the top of the menu, the big blue box, we have our Anson family tree.
Now Anson is our play on dimsum or smaller bites.
So it's a tree that comes out the table with five small plates.
Tonight it's going to have chicken sacks and a little bit of a drink.
So we're going to have a little bit of a drink.
So we're going to have a little bit of a drink.
So we're going to have a little bit of a drink.
So we're going to have a little bit of a drink.
So we're going to have a little bit of a drink. So we're going to have a little bit of a drink. So we're going to have a little bit of a drink. So we're going to have a little bit of a drink. So Ansem is our play on dim sum or smaller bites.
So it's a tree that comes out the table
with five small plates.
Tonight it's gonna have chicken satay, crab puffs,
coconut prawns, spicy yellowtail sashimi,
and a mushroom ravioli topped with a sesame
burp lung sauce and a garlic lime foam.
So it'll be one piece of each of those for the two of you.
Our other various hot and cold starters
will be directly underneath there.
Nathan, do you wanna, what about this tree thing?
The what?
The tree thing, it's five pieces.
Would that be, because I know you don't wanna overeat.
All right, good.
Does that sound okay?
Yeah.
And then you can bring me out the,
what's like the entree that you feel like
I should definitely try?
The working salmon is gonna be right here in the middle.
I'll do that. That's great. Thank you.
This is this is barely a podcast. This is this is this is just we're having dinner.
Yeah but we're going to talk about so many things.
Okay all right.
Now for a quick break but don't go away. When we come back, Nathan tells me why they hesitated to cast him in Guys and Dolls and
working with the magical Robin Williams in the 1996 film The Bird Cage.
Okay, be right back.
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And we're back with more dinners on me.
I remember you getting angry at me because you said it.
I was making you feel old, but one of the first probably shows I ever saw was Guys and Dolls.
How old were you?
I was a junior in high school,
so I was probably like 17 or 18.
17. Yeah.
Well, I'll accept that.
It's when they say I was 12.
Oh, no.
And I just...
It was right before I moved to New York.
Really?
And it changed my life.
It was, I think I saw Falsettos first
and Geissendals second, so.
That's a good combo.
Yeah, yeah.
Yeah.
It was so fantastic.
I mean, you and Faith Prince together, incredible.
I didn't realize that you actually named yourself
after Nathan Detroit,
because there was already a Joseph Lane in the.
That is correct.
I had played Nathan Detroit.
I had done Geissendals in a community theater as a kid and then I had played Nathan Detroit in a non-equity
Dinner theater production the Meadowbrook dinner theater in Cedar Grove, New Jersey
When I was 21 and then and then when there was a Joe Lane and actors equity
The woman said take you take time, go think about it.
And I said, no, just give me a few minutes.
And I sat on a little bench right across from
where she was behind a window.
And I had played Nathan Detroit, which I loved,
and I had played Benjamin Franklin in 1776 in a summer,
summer stock in Chatham, New York at the Mack Hayden Theater where you did
eight musicals in eight weeks. Yeah. Yeah. And I played Benjamin Franklin, of course.
I was a kid. And I said, do I want to be Nathan Lane or Benjamin Lane?
They're both great names actually.
And I said, I'll be Nathan, Nathan Lane.
I mean, do you consider guys and dolls to sort of be
the thing that sort of launched your musical theater career?
Well, I had done a lot of musicals before,
but it was such a,
yeah, it was something.
And it's such a great New York show.
I mean, it's my favorite.
Did you audition for it?
Oh, sure, yeah, yeah.
And he was trying to find age-wise,
and put it together, the two couples,
and I think there was some resistance
because I'm not Jewish.
And now, you know, I became an honorary Jew because I've played so many Jewish characters.
So I pass, I guess.
But then finally Jerry Zaks was like, I don't care.
We'll send him to Hebrew school.
I don't know what, I think he's the funniest actor who came in for the part.
That's who I think should do it.
So that was, I owe Jerry Zaks a great deal.
And yeah, it was just magical.
It was within Faith Prince, you know, that thing you can't predict, that kind of chemistry.
And we were just on the same wavelength.
I mean, you both were incredible.
She was great.
Yeah, you're both incredible.
It's one of those theater experiences
that's so vividly ensconced in my brain.
Like, I would love to go to Lincoln Center
and watch it, actually.
Well, I mean, and that Tony Walton,
the great Tony Walton. Oh, I remember how Center and watch it, actually. Well, I mean, and that Tony Walton, the great Tony Walton.
Oh, remember how candy colored it all was.
Oh, the colors in the end.
Gorgeous.
Yeah.
And it was like, I did that revival of On the Town
shortly after, and I think they were
hoping to embody sort of that same spirit.
Oh, yeah.
That old 1940s, 1950s Broadway musical,
and with the color and just the...
You and Leia DeLaria.
I mean, we oftentimes said if we could be half as good as Nathan and Faith were, like we've
succeeded.
No, I think was that maybe the first time I saw you?
Probably. It was the first thing I did in New York, yeah.
Just a little thing.
And I remember, I think the first time I met you was when you were doing Forum.
Funny thing happened on the way to the Forum because Mary Testa, who is your co-star in that,
was in On the Town with me in the park when I did it.
And I think that you came to see her
and that's the first time I got to meet you.
And I had seen Forum, obviously,
that was also such an incredible performance.
I mean, there was a point in your life
where it was like every big musical on Broadway
seemed to have you attached to it.
Like Guys and Dolls, Forum, the producers.
I mean, it was just like, it was Nathan Lane everywhere.
I mean, did it feel that way?
Did it feel like you were just going from like, crazy hit to crazy hit?
No.
It didn't?
Not at all.
That's what it seemed like to me.
No.
I mean, you know, you get a handful of those.
Yeah.
I mean, if you look at at least my, just the Broadway career, you know,
of the 25 shows I've done on Broadway,
seven were musicals.
Yeah.
The ones that were hits, there were like three
with the producers, Forum, and Forum was a success,
but it wasn't like a gigantic success.
It was, you know-
You won a Tony, your first Tony for it.
Yes, and it was right after the bird cage had opened, and so that helped a little bit.
But the producers is really the one that was like, that was a phenomenon.
It really was, yeah.
So that's really, so if you want to, we could narrow it down to that.
That's it.
Thank you.
Thank you.
Thank you so much.
Thanks.
I had heard, is this true,
when you were doing the birdcage,
I heard that Mike Nichols,
let me see how I put that,
made a deal with Stephen Sondheim
because he really wanted you to do the birdcage.
Is this right?
And like basically got Stephen Sondheim to delay
the production of Funny Thing Happened on the Way of the Forum
so that you could.
No, I'll tell the story.
Fine, tell it, I'm just telling you what I heard.
Well, you're just, this is like we're on all that chat.
Oh my God, I hate you.
And you've I'll tell you what happened.
No. What happened is.
OK, gentlemen, I have a treat for you.
Oh, oh, oh.
This is our king crab.
Say that again.
King crab bonkot.
OK, I have a crispy rice flour shell.
It's going to be topped with Alaskan king crab,
coconut best chameleon cream, and royal Kaluga caviar.
My goodness. Wow.
So it's best to just eat it with your fingers
down the hatch so you can enjoy it.
Oh, thank you.
It sounded like the name of a corn film.
Mm.
That's a souvenir.
That's really good. It's good. It's really good.
Wow.
I'll...
I'll try to do this quickly. Okay.
Although maybe I don't have to.
It's up to you.
You have a dinner.
I mean, you're obviously gonna be cutting a lot of this.
Yeah.
People are stopping by.
We haven't even started recording.
Oh, it's just us?
No, no, no, no, no.
These are just, oh, these aren't real.
I'm so sorry.
This is the pre-interview
to see if we want to do a podcast with you.
I am so sorry.
Here's a coconut shrimp bite.
Oh, good.
I'll have one, yeah, I'll have that.
Take the sauce.
Take the whole thing?
The story is, while I was doing laughter
on the 23rd floor, Neil Simon play, one night,
Mike Nichols and Diane Sawyer came to the show.
And it was like, I can't believe I'm being introduced
to Mike Nichols, you know, it was like God.
And he came back.
He had come, he had seen me in other plays,
but he had never come backstage before.
So that was highly unusual.
And he said, I'd like to talk to you about a movie.
And I said, oh, okay.
He said, can I call you tomorrow?
I said, yes. Yes, you can.
I really wish you would.
So he and Elaine May had wanted to do this for a long time,
and finally the rights were available.
Steve Martin couldn't get out of this other obligation
Robin decided that he had already he'd done mrs. Doubtfire. He didn't want to be in a dress again
So he the other part would be the more challenging how interesting so
Pardon, you know, he included me in the process of its
coming together in a way that I was just thrilled to be even considered and to be talking to them.
And then we did kind of a screen test so they wanted to see what I would look like made up as a woman.
And I had to sing and it was the whole thing.
You had to sing? Yeah, I had to sing in this, you know, it was a whole thing. And then- You had to sing?
Yeah, I had to sing in this sort of screen test I did.
Oh, okay.
It wasn't like a singing audition to see if you could sing.
No, no, no.
No, it's just they wanted me to just sing
you know, parade around in evening gowns.
So I would run into Mike and he would say,
oh, maybe Robin wasn't going to do it.
So he said, what do you think of Billy Crystal? And I would say, oh, maybe Robin wasn't going to do it. So he said, what do you think of Billy Crystal?
And I would say, well, I love Billy Crystal.
And then one, I was, we were at a benefit and he,
he came over to me, this is Mike, and he said,
Robert Redford.
I said, what about him?
Is he here?
As your husband.
And I said, well, if you can work that,
all my dreams will become true.
You know, all very interesting ideas,
but fortunately, you know, Robin agreed to do it.
But then I got a call from Scott Rudin saying,
you know, he's never gonna make that movie. Then I got a call from Scott Rudin saying,
you know, he's never gonna make that movie. He's been talking about that a long time.
That's not gonna happen.
And he said, you know, when you're,
we're building this show around you and here's, you know,
on the schedule, a funny thing happened
on the way to the forum.
It was gonna be a conflict.
So I had to turn it down.
Turn down the birdcage.
Yeah. Imagine? Wow. I had to turn it down. Turn down the birdcage? Yeah.
Imagine?
Wow.
I had to turn it down.
Wow.
I had to say no.
Oh my God.
I said I can't leave these people in the lurch.
They've been building this whole thing around me.
So I have to say I can't do it.
I can't believe this when I tell this story even.
I still don't believe this happened. So again, I'm still doing laughter on the 23rd floor
And um I get a call in the dressing room one night and it's from he's in Ireland
Mike Nichols and he says
Nathan I
Um, Nathan, I keep seeing people, I met with Kevin Klein and I talked to this one and that one, and I just feel you're the guy to play this part.
I said, Mike, I have no power.
You're Mike Nichols.
Perhaps if you called Scott Rudin, an agreement could be had,
and we could try to work all this out.
And then the next day, I had a call from Scott Rudin,
and he said, you really wanna do this movie?
And I said, well, why wouldn't I wanna do this movie?
I said, of course, it's a leading role,
and it's all of the best people in the world.
And he said, you realize we'll have to postpone for a year.
I said, I do realize that, that's a huge thing
and I don't take that lightly.
And I said, I did turn it down.
I mean, I really did. So, and he said, I did turn it down. I mean, I really did.
So, and he said, okay.
So I'm also incredibly grateful to him
because that's why it all happened.
You consider that your kind of big break
in the film, right?
In film world?
Sure, yeah.
I think you were on set with us doing an episode
of Modern Family when the news of Robin Williams
passing came in.
I feel like I was with you.
Really?
I think so.
I remember talking to you about it and foolishly asking if you'd ever worked with him or if
you'd ever gotten...
And you're like, well, I did play...
I was in the Bird Cave.
I was like, of course you were.
I mean, what was it like?
I mean, obviously I was in the Bird Cave. I was like, of course you were. I mean, what was it like, you know,
I mean, obviously I got to meet him briefly.
You know, he was a movie star.
You know, he could have said, I want Billy Crystal
or somebody, another big movie name to do it,
to do the film.
I know they showed him like the screen test,
or, you know, and he didn't know who the hell I was.
And he was like, yeah, absolutely.
But, you know, he was just, as you've heard,
incredibly generous and sensitive and kind soul
and very, you know, and we were sort of kindred spirits
in a way, there was, He was just so wildly funny and brilliant
and comic genius and a wonderful actor.
And, you know, we always had that bond from that film.
It was, you know, I hadn't,
I did a thing for the New Yorker Festival
and they showed a scene from it.
And I hadn't seen it in a while
and I hadn't seen it since he had died,
and I just, you know, I just started crying.
You know, that scene at the bus stop
where he, you know, gives you the Palimony.
Yeah, yeah.
See, I'm getting emotional.
He has the Palimony agreement,
and it's my favorite scene in the film.
And it's so sort of Robin
just being so simple and true. And just, I remember, there was a musical number I had
to do in the nightclub of the Sondheim song. Sondheim had written songs for it and then Mike didn't use any of them. But I sang in the club, Ken That Boy Foxtrot.
I did the whole number with the crowd in the club.
So he had a day off while I was doing that.
And he came in for the day to be there.
I said, why are you here at your day off?
He said, I want to be here for you.
I want to support you in this. Wow. You know, he was just, um, it was very special. It was a very happy
time for everybody. Now for a quick break, but don't go away. When we come back,
Nathan talks to me about the pressure of coming out publicly as gay, becoming a Ryan Murphy darling, and developing the voice of Timon in The Lion King.
Okay, be right back.
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What was it?
I mean, did it feel...
I'm asking this as someone who's obviously played a gay character in
a different time, but did it feel being gay yourself at that moment?
But not necessarily being out, because you weren't going to come out publicly until a
few years later, but you were out to your friends and family and did it feel, I don't
know, scary to play a part like that on film?
No, no, no, no, it was a great part.
Yeah, fantastic role.
Just a great part.
No, I didn't think about that.
I didn't think, honestly, because I've been out
since I was 21 to my family and everybody,
but being out and then being a public figure and coming out, it's a whole
other thing.
Yeah.
I didn't, I literally didn't really think about it and I, you know, I was, you know,
the movie, I had a, I got a publicist, Simon Hall, and he said to me, what do you want
to do, this is just before this junket, where the junket is about to start, he said to me, what do you want to do?
This is just before this junket.
The junket is about to start.
He said, what do you want to do about your sexuality?
I said, nothing, it's too late.
He said, no, you know, it's going to come up.
And what are you going to say?
And I was like, oh, I don't want it to be about that.
I want it to be about this part.
And I want it to be about the. I want it to be about this part. And I want it to be about the acting
and not a coming out story.
And for better or worse.
And I said, no, I'm just going to,
I'll just say I'd rather not talk about my personal life
if it comes up, which, you know.
It's code.
Which is, you know, you might as well say,
and by the way, I love the cock.
Yeah, yeah. It's like said, and by the way, I love the cock. Yeah, yeah, yeah.
It's like bringing your mother to the Oscars
and saying I'd rather not talk about my personal life.
Yeah, it's both kind of two things.
It was sort of pointless,
but it was all overwhelming anyway.
I'd never been in that position, so I don't.
I mean, I think people still think about it.
Well, now it's like, but everyone's fluid now.
Right. Everyone's, you know. Thanks. it's like, but everyone's fluid now. Right.
Everyone's, you know, it doesn't matter.
We can be fluid.
What?
Well, I carry a lot of water weight.
I don't know if you know this.
So I've always been fluid.
Oh, yeah.
I'm 90% fluid.
But I did say to Us Magazine said, you know,
are you gay?
And I said, this is how long ago it was, I said,
I'm 40, I'm single, and I work a lot in the musical theater,
you do the math.
What do you need, flashcards?
So, but for some people, that wasn't good enough.
I had to be in the swimsuit competition as well.
A notarizer, yeah, absolutely.
What did you just say?
You need a notarizer there.
I need a notary public.
Yeah, notary public, yeah.
Yeah, yeah.
Witnesses sign here and here.
Yeah, I know.
Nobody had cared before,
but that was that part, the nature of that part
and the success of the film and then, you know.
Yeah, yeah, yeah.
Or a King's Salmon.
Thank you, appreciate it, thank you so much.
Are you doing okay, sirs?
I'm great, no, I'm perfect, thank you.
You still working on these?
Yes. Okay, absolutely.
When you were doing Modern Family,
which you were nominated for three Emmy awards for,
is it true that you are the most nominated
comedy guest actor in the history of the Emmys?
Nathan, that's really cool.
Yeah. That's really cool.
I mean, there were certainly people
with more nominations than me, but in that category, yeah.
Eight nominations in the guest. That's in that category, yeah. Eight nominations in the guest.
That's unbelievable.
Well, yeah.
Well, technically it's seven nominations
in the comedy category and one in the drama.
Right, right, right.
But in the guest actor category, yeah.
It's incredible.
Yeah.
When you were doing Stuff With Us on Modern Family,
you were also doing Angels in America at the same time.
Was I?
Uh-huh.
I remember you were so exhausted.
I just remember, yeah, going out the first time
to do the first one.
Uh-huh, I remember that.
The earthquake.
The earthquake.
Yeah, I have a photo of us from that
because I didn't know if you would decide to come back
or not, I was like, I'm getting my photo
with Nathan Lane now.
Yeah, I have a picture of you, me, and Eric,
and I think Chris Lloyd all together.
It was so sad, really really the writers on that show,
they maintained the quality of that writing.
It was always so funny and smart.
We knew her incredible on it.
So I'm in the middle of monsters.
I mean, it's so well done.
Yeah.
It's interesting when you're talking about Terrence McNally,
talking about a group of actors who he really holds dear
and would lock them into a warehouse
and use them all the time if he could.
Ryan Murphy's very much the same way.
You were definitely in that camp with Ryan Murphy.
Well, now, sure, I had when we did,
I love doing People vs. OJ,
but then I wasn't asked to be in anything else after that,
so I thought, oh well, I didn't make the cut.
And then this past year, he, you know,
with Monsters and now Mid-Century Modern,
which he's also a producer of,
you know, I feel like he's,
well, he's become my guardian angel.
No, I'll just stick with a lot of it.
Thank you.
Good.
You know, for my third act.
So, yeah, I'm very grateful to him.
You also have this incredible career as a voiceover actor with, that's a terrible way
to say it, a voice actor.
I happen to be in one really successful one.
One of the most successful movies of all time.
It created a franchise.
We just did at the Hollywood Bowl, we did the 30th anniversary concert with Jennifer
Hudson and Jeremy Irons.
I love the stories of you and Ernie Sabella in the recording booth together because you had time you were doing guys and dolls.
Yeah.
And...
It was an accident.
Right.
You know, I don't know what Ernie says.
Ernie played Pumba, by the way.
Yeah, played Pumba.
Yeah, yeah, but you can't believe anything Ernie says.
But what happened was I, we were on a, I was on a break.
Anyway, to audition.
We auditioned.
He had gone in and he was auditioning
and then he came out and he said,
you know, was saying like, you want to get lunch?
I'll wait.
And I said to them, you know, I have to,
I'm reading for three hyenas.
So I said, why don't I read with Ernie? They said that'll make it more
fun and more interesting and I'll have something, you know, and because he was about, he was
going to leave. They said, okay. So we went in and then we improvised and carried on and
then we left. And I thought, well, you know, that's not gonna happen. And then they said, we're writing these characters,
it's a meerkat and a warthog,
and we're writing these for you, two guys.
So they hadn't even, they hadn't written these characters yet.
I think they might've been talking about it,
but now we're gonna-
They had a prototype.
Yeah.
And they're kind of the comic relief, and you'll, you know.
My God.
So great.
And then when we showed up up and they showed us the drawings
and I said, well, how do you,
what do you want them to sound like?
And they said, well, you're doing guys and dolls right now.
They should be like that, like Damon Runyon characters.
And you know, they said, you should be more higher pitched
and Ernie can be a little lower.
So, you know, I higher pitched and Ernie can be a little lower.
So I became a New York Jewish Brooklyn meerkat.
And he was doing, Ernie did a really interesting,
because he kinda, it was a combination of
the character actor Wallace Beery,
who used to talk like this,
so Ernie kinda does that thing. It's Wallace Beery.
And then the character actor, Michael Gotso,
when he gets really, hey, raspy, hype, you know, yeah.
Um, and then when we would go in,
so we were doing Guys and Dolls, doing eight shows a week,
and we'd go in to record at, you know,
nine, 10 in the morning.
And I was tired, I'd be drinking coffee and cranky, eight shows a week and we go in to record at nine, ten in the morning.
I was tired.
I would drink coffee and cranky.
And Ernie would just, we start to do the dialogue and he would just make fart noises.
Just a lot of fart noises and I would laugh.
And then they put it in the movie.
They put it in, yeah.
It was a very gassy war hog.
That's why Pumbo is flatulent.
So good. in the movie. They put it in, yeah. It was a very gassy warhawk. That's why Pumbaa is flatulent.
So good.
And now then you get to do another animated film out on Netflix right now, Spellbound.
Titus Burgess and I are oracles.
He's the oracle of the sun and I'm the oracle of the moon.
He's Sunny and I'm Luno.
And we're very small, round creatures.
And for some reason, you know, so it's written, my character was written with like a German
dialect and Alan Menken on the demo tape sang it in an accent.
I said, is there a reason why is he German or what's happening here?
And I said, no, we just wanted to differentiate between the two. So that's why I'm talking
like Ludwig von Drake. So yeah, they're like a, they seem to be a couple. Yeah, they are the oracles
They live together in the forest and a burning Ernie in a mushroom house. Yeah, it's like the Burton Ernie of the art
That's right. Yeah
something's going on
they make garlic bread and lasagna and
Giggle a lot. Yeah
Listen
Even in your animated shows, you're gonna be this would be a little bit gay in there
I'm so happy you did this.
Is that it? Is it over?
Pretty soon. Yeah.
Well, you seem to be gathering your things.
I just picked up my glasses.
Okay. Well, I'm just checking.
I'm not.
This episode was recorded at Crestation in Beverly Hills
and is lovingly dedicated to the memory of Linda Lavin.
Next week on Dinners On Me, you know them from Broad City, Babes, and their new special, Human Magic on Hulu, It's Alana Glazer.
We talk about the crazy ride that is giving birth, how their friendship with Abbi Jacobson has changed after a successful show together,
and how pregnancy helped them understand
their relationship to gender.
And if you don't wanna wait until next week to listen,
you can download that episode right now
by subscribing to Dinners on Me Plus.
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Just click Try Free at the top of the Dinners On Me show page on
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Dinners On Me is a production of Sony Music Entertainment and a kid named Beckett Productions.
It's hosted by me, Jesse Tyler Ferguson. It's executive produced by me and Jonathan Hirsch.
Our showrunner is Joanna Clay. Our associate producer is Angela Vang.
Sam Baer engineered this episode.
Hans-Dyl She composed our theme music.
Our head of production is Sammy Allison.
Special thanks to Tamika Balanz-Kolassny and Justin Makita.
I'm Jesse Tyler Ferguson.
Join me next week.