Fake Doctors, Real Friends with Zach and Donald - Real Friends Classic: 113 - My Balancing Act with Michael Spiller

Episode Date: April 1, 2025

On this week's episode, JD tries to balance his new girlfriend, and his job as a medical intern. In real life, Zach and Donald speak with Michael Spiller about directing episodes of Scrubs, and how he made the move from cinematographer on Sex and the City to directing his first episode of television.See omnystudio.com/listener for privacy information.

Man do we have an exciting show today Donald faze on we do have an exciting show You know we promised the people we promised the listeners that we wouldn't just have stars of the show on that we would bring On crew members you're totally about to geek out about this you brought our director I am a geek as a fellow director. You're like yo, I'm gonna ask him about this shot I'm gonna ask him about this shot. Well, I am gonna talk to him I think people if I I sometimes think when I'm preparing for this and you know, I am going to talk to him. I think people, if I, I sometimes think when I'm preparing for this, and you know I do a lot of homework, I have, you should see my desk.

It looks like I'm about to write a novel. I was thinking about, if I was a listener, I'd want to know some behind it, like what's it like to be a director of a TV show. Michael Spiller, who we're talking about, is a very big television director, one of the biggest. In fact, he recently won the Emmy for directing Modern Family, and he's a very big television director, one of the biggest. In fact, he recently won the Emmy for directing Modern Family, and he's a very talented guy.

Wait, wait, hold up. Which, for the final season, he won the Emmy? I don't have the exact Emmy. I want to ask him about some of this stuff. How many shows have you directed now? Is it like, have you lost? Can you keep count of the amount of shows you directed? We'll save your spill-er questions.

Have them pent up inside you you and just have them ready to explode when he comes in the room. Okay. Well I got, I only got a couple. I'm great. How are you man? I'm good. I'm good. Did you work out, are we gonna have a post Peloton Donald today? I didn't want to talk about it because I did work out today and I finished the workout but I'm now disappointed with the, with said instructor that we talked about. Why? Well, he was different today. He talked too much. Started singing. And then also singing off beat. Right.

I don't do Peloton to be talked to off beat. I don't appreciate that. Was it still the... You know what I love about, you know, I still, well the thing I liked about spinning was when you could get in the groove. I'm not, na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na na So he or she should be riding with the beat. So the music's going and then you need to be going with the music also. Does he say stuff? I like it when they go like, they just make noises like, hey, hip, ho. When they diddy that shit. I love that shit.

Yeah. It's like Diddy. Diddy used to be like, eh, hey. And you know what's so embarrassing? I find myself, it's so fucking embarrassing, but I find myself on the treadmill not even spinning And I'm listening to a good song and I'm like hey And I'm doing the fucking Diddy spin instructor thing uh-huh uh-huh Take that take that uh-huh uh-huh

Before I knew Diddy was like a big producer and I was watching those I'd be like so this dude Just makes a living going Uh-huh. Uh-huh. Yeah Uh-huh. Uh-huh. I couldn't take it. It was like just too much talking not enough motivation Like when you talk you're supposed to motivate you're not supposed to talk about how dope the song is and stuff like I don't want To hear all of that. I already know the song is good You know, I mean, I chose the class because I saw the playlist. You know what I mean?

Oh, that playlist, right, the playlist looks dope. I can ride through this. Isn't it amazing, and I know this is the stupidest thing, everybody knows this, but I was realizing it today, if the fucking music is good and you love it, you can do so much more of a workout. Absolutely, absolutely. Because I've gone to so many spin classes

because I do like spinning, and the music is just so not my thing. I mean, it's other people's thing. I'm not, you know, to each their own. But I'm like, and then today I had made this like awesome mix that I was fucking grooving out to. And I was like, I could really work out a long time to this amazing mix I made. But I don't worry, you work out, you like to work out to rap, right? I do like to work out. Wait, what do you work out to? You don you work out you like to work out to rap right? I do like to work Wait, what do you work out to you don't work out to like? Wait, hold on. I didn't realize there was other music you could work out to yes Donald. Yes

It's not easy in this country. You don't have to just work out. I can understand house music, but no What do you wait? Hold up? What do you work out to I like to work out to pop like but like up tempo pop well like what do you consider? I'm opening up the fucking playlist right now because there were some fire songs on here. Here we go here we go recommendations from Zach Braff Avicii has this song it's like his most popular song It's wake me up And it's just like up tempo and it makes me think of this time because when you're in this time and you're working out You're like wake me up from this fucking horrible nightmare

So I like that I had you know I had Michelle Branch on here because you know, I love my girl Michelle Branch. I had, oh, Asea, I love Sia. What song? Ed Sheeran. Sia, unstoppable, unstoppable today. And I had Ed Sheeran with Chance the Rapper. You cross me, you cross me. the rapper you cross me you grab me that on a d-na-dan joel's jam and she knows that song oh and also Fleetwood Mac this is an old school one I don't want to know it by then then so I worked out to ten crack commandments notorious big okay we're on a very different plane right now you don't know know that song. I know who the most Torius big is

No, that's song. No sir crack commandments. Give us a sample. It's the ten commandments of selling drugs Yeah, I'm not I don't know. I'm dancing and working out to Michelle branch and you're listening to a song about crack You know, we grew up differently I guess we grew up differently. We did, buddy. Hey, should we get into the show? Let's invite in our special guest. Five, six, seven, eight! What a song. Lots of talk about the song.

I got to tell you something about those numbers. My whole timeline is people laughing at Bill and saying the numbers and just writing them nonstop in my timeline. That's becoming, unfortunately to me, but of course Bill will love it. He's become a huge hit with his whole bit about saying. Five, six, seven, eight. Yeah.

He's like the PC, well he's not PC, but he's like Todd. He's like the Todd of our show. He comes in and he delivers every time, dude. He's an assassin. He delivers every time. He's like UPS. Always delivers? He always delivers. All right, let's bring in our guest. Let's bring in our very special guest. Turn him on, bring him in. Ladies and gentlemen. Oh my God, I haven't seen him in years. Yay! Michael Spiller! Ladies and gentlemen, Michael Spiller.

Listen, Michael, you are the very first guest we're having on the show who is a member of the crew, not an actor or a writer. And we're so thrilled you're here. It's really awesome. Thrilled to be here. I would say you're our first director, but Zach has directed an episode and Bill has directed an episode, right? But not not before Michael Spiller Michaels are our first director from season one

Well, he is also directed season. No, no, he wrote it. That's right. No, I want to sorry that Michael I would say I think maybe directed the most Spiller. do you know that trivia? Is that true? It is true I often how many episodes 20 20 episodes 20 episodes you know as I go and I work on other shows and stuff, I always meet scrubs fans and Without fail I say I've directed more episodes than any other human I say, I've directed more episodes than any other human, leaving the possibility that someone from another species has directed more than me. Right, but I can confirm.

I can confirm they haven't. I would also confirm, Michael, that you are one of our favorites. If you look at IMDb, you'll see there's lots of directors of Scrubs. Some came in for one episode and then never came back for either Bill's reasons or their reasons, mostly Bill's probably. And then there's people like you that everybody loves so much and you did

20. Yeah, I guess go back to how it all began for you, at least with the Scrubs connection, how you got this. I know that back in the day, Michael was a cinematographer. He was shooting the show Sex and the City. I don't know if you've ever heard of that show were, Michael was a cinematographer, he was shooting the show Sex and the City, I don't know if you've ever heard of that show, but Michael was the cinematographer on that show and then began to direct that show. And then Michael, just talk a little bit about how you got it, how you transitioned from shooting into directing TV. Well, I mean, I went to film school, I went to SUNY Purchase, upstate New York. New York, New York, New York!

That's right. And I started making my own films when I was a kid in Brooklyn. Saved up money for my paper route, bought a Super 8 camera and went to film school and I wanted to be a cinematographer. I didn't want to be a director because actors were crazy, as facing. They are. They are. They are. It was mainly, I shot a lot of indie movies, music videos, documentaries, and traveled all over the place.

Then I got married and wanted to start a family and TV sounded like, well, maybe that would provide a little more stable lifestyle. I was shooting out Sex and the City and at the end of the first season, my agent said, if the show gets picked up, I'm gonna ask for an episode for you to direct, season two. And I'm like, nope, I'm good, I'm good, I'm happy where I am. I don't need it. He said, no, you're gonna do it.

And I did, and then I did, went really well. I also DP'd that episode. Wow, that's tricky. I don't recommend doing that for your first episode of TV. That seems like a lot of work. It's a huge amount of work. And then the third season I did two more and the fourth season I did four episodes. And by that time we moved to LA, bought a house, moved back for the fourth season, and then moved to LA finally

right after 9-11, but not because of it. And I had already signed with my current agent, who after three episodes, seeing what I did, said, I want to rep this the sky and he was at the same agency where Bill Lawrence was represented. Oh see it is all about connections in Hollywood everybody. It's true. No rep, no nepotism. So Scrubs was your was Scrubs your first non-Sex and the City gig? It was meant to be. So you know my agent sight unseen you know convinced Bill he did a great job presenting me to bill and it was meant to be my first episode after sex in the city. I wound up doing an episode of Greg, the bunny. Oh wow. Remember that show? God. It was that who was, who was that? Who was the star of that show? Sarah Silverman, Levy, Seth Green. So there we go.

All right. That's what I'm looking for. It was it was a great cast, but it was like, but, you know, huge puppet sets and all this other stuff like I had. It's like why these like I've never done a puppet show. You know, you had to build sets that were all like four feet off the ground so people could stick their hands up through and manipulate. Anyway, Steve Levitan was the executive producer on that. So I met Steve on my first episode, who I later did Modern Family and a bunch of other

shows with, and then Bill Lawrence on my second show. So very, very good agenting. By the way, if you're going to meet two showrunners when you get to Hollywood, it's pretty darn good that it's Steve Levitan and Bill Lawrence. Yeah, right. Your agent's pretty good. He's Sean Frieden, ICM. Hey, wow, shout out.

How many episodes of Modern Family did you direct? Did you direct the most Modern Family episodes also? No, I didn't, but I did 22 episodes. 22 episodes and won the Emmy. Won the Emmy. That's right. I wish we could have given you an Emmy, Spiller. You deserved it.

We tried, we tried. I know, we were shunned. I know you did. Now, Michael, I just wanna say, you know, again, season one, we're meeting all these directors. For those of you who don't know, again, season one, we're meeting all these directors. For those of you who don't know, it's usually a different director every week because they have to prep.

They have about a week's prep before they shoot the episode. And so you're always alternating. And some can't come in and, you know, Donald and I would like some more than others. Some were really good with comedy and others were good with moving the camera. One of the things I think we loved about you, Michael, is that because you were a cinematographer first, you really were amazing with moving the camera and doing interesting things with the camera,

but also you did know how to talk to actors and make jokes funnier. And I thought maybe you could just talk to that about how you approach something, how you approach a script, and your experience with what it's like having the DP background. Also we should go over the process of what it takes to, since we have a television director on right now, we should go through the process of what it takes to, I mean directing is like the end of the journey.

I mean that's not even close to the end. It's the middle of the journey really. There's prep, there even close to the end. Well, it's the middle of the journey, really. There's prep, there's all of pre-production, and then there's post-production. We should also talk about that. Our listeners might be interested in that. Well, yeah, they will. So Michael, we just gave you a lot.

Answer all of that. Yes. Go. No, talk first about having a DP background and then how that affected the way you work. Well, I think there's no question that having the background as a DP was extremely helpful. I mean, first of all, it meant that when I came on the set,

I could usually bond with the crew very quickly because I spoke their language. I sort of got it. You know, I would stage scenes in such a way that worked first and foremost for the story, yet also kept the logistics in mind and the practical aspect of it. And I was flexible enough that I encouraged

and I loved to collaborate. I want the DP's input. Obviously the cast would give input too. The show runners give input as well. But the nuts and bolts of it, I understood. I've also been a grip, an electrician. I've pushed Dolly. I've pulled focus.

I've operated camera for other people. So I love the crew. These are my people. And I think most people I've worked with can pick up on that. So I have a deep respect for them. And that's half the battle. up on that. I have a deep respect for them. That's half the battle. When I was shooting Sex and the City, if we had a new director and if Sarah Jessica Parker

wasn't in the first scene that that director was shooting, when she would first come on to set, she would look at me and like gauging like, how is this person? If I gave her like the, I don't know look then that person had to work You know, it's an uphill battle just to get back to you know zero, right? So, you know, it's enormously important because I mean you guys know it's like you love your crew and it's like it's one big family so a director walking on to a TV show has to be both a leader, right?

And they're not the ultimate top of the pyramid, but they still gotta lead the crew. They've gotta get the crew behind. They've gotta work with all the elements that are already in place. And you have to respect that family that you're walking into. That's what's so bizarre about it. That's what's so bizarre about it is, and I've only done it I

think once or twice, Michael, that is come on to a show that is an entity and say hey everybody I'm the leader for the week. And you know it's one thing when you come back and like you came back you know 19 more times but on the first on the first one, it's like, hey, everybody, I know that you guys are all friends and have inside jokes and have a way that you do things. Well, I'm the boss for the week. And it's really tricky, right? It's sort of like I liken it sometimes to. You're going to be a conductor on a train.

You're going to take it from this station to the next station. The track has already been laid, everywhere the train already was is established. We have a very good idea where the train's gonna keep going. And yet you can slow down around this corner because you like that view, or you can speed up at this section,

or you can lean a little left or a little right, but you can only go so far or a little right, but you can only go so far because the train's got to stay on those tracks. You can't suddenly say, we're going to make a left here at Des Moines and go somewhere else. That's a really great analogy, Michael, because I think that- You were just talking about this actually the last episode we did. Well, I was talking about how it's so tricky.

Again, just to remember, Bill spoke a little bit about this, but to remind people who aren't in the business, the pilot director and the show runner will create sort of the look of the show. How does the camera move? What's sort of the language of the show? In our show, we had fantasies and we had big camera moves. The camera was sort of a character. And then other directors that come on, they need to use that language.

They can, like Michael just said in his train analogy, they can slow down, they can look at this view, but they can't, you have to use the language of the show. If you look at The Office, for example, it's shot like a mockumentary. Modern Family, I believe, was as well. Whereas Scrubs is crane shots and dolly moves and steady cam shots, so you have to use that language, but then somehow find a way to make it your own.

And I'm glad we're going to watch the episode with you because I think there's a lot of cool stuff in here that you found a way to make your own. I like that. I do like the train analogy. You know what I mean? It's the same route every time. It's the same track every time. How you can bend it and move it to make it your own. So like if a different

conductor, you know what I mean? I don't know. I love that analogy. That's really awesome. And in season one, I would say, you know, even on episode whatever this is, 113, you're still finding that. You're still shaping it. Now I noticed, Michael, you did some things in here like going into blacks and coming back that I don't think we had done too much of yet that became part of the lexicon. So as an early director in the show, I noticed, Michael, you did some things in here like going into Blacks and coming back that I don't think we had done too much of yet that became part of the lexicon. So as an early director in the show, I just directed episode two of one of Bill's new shows. I still felt like, okay, it's early on.

I'm still contributing to what the look of the show is. For sure. When you're lucky enough to direct early in a show's run, there's still a lot of discovery going on. Yeah. The actors are really finding their characters, so they're still open to someone else's input. The writers are discovering what the actors are good at, and they're tailoring the writing to help those words fit better in their mouths, and find the comedy if you're doing a comedy.

And similarly for a director it's like yes you've been given the overall template the framework but it's a jumping off point it's not like this is meant to just box you in you're allowed to to push things a little bit further. John Wells I think is credited as saying to Paris Barkley, I want you to make an episode of ER only better. Yeah, it's like it still has to feel like an episode of the show that you're already watching. Right.

You've grown accustomed to, but push it a little bit. Get your thumb prints on it and in consultation. You know, that's the thing. It's like I could have what I think is a great bit, get your thumb prints on it, and in consultation. That's the thing. I could have what I think is a great idea, but if that's the case, I have to run it past the showrunner. Right. And make sure that I'm presenting it. If you have something, let's say you're in prep, you had a five-day prep beforehand, and you go, ooh, I have an awesome idea. If it's a little outside the box, you would run it by the

showrunner and say, hey, what do you think if I do this? And I imagine Bill usually said, ooh, I have an awesome idea. If it's a little outside the box, you would run it by the showrunner and say, hey, what do you think if I do this? And I imagine Bill usually said, yeah, go for it, right? Bill was so amazing that, I mean, he was such a great guy to work with so early in my career as a freelance director. I think this episode has a good example of the end where we have a music montage

Yeah, it's like and they kept the song on hulu. I was so psyched. Yeah, that was pretty cool, right? They didn't they didn't swap it out. Yeah, and You know I can't remember how many There were leading up to this but this felt like it was one of the sort of bigger ones like we're getting to this song It was in the script early, you know It was like it wasn't just like there'll be a rock song here and, you know, do some cool shots. And it may not have been on this episode, but early in the run with with you guys,

Bill said to me, because I was like enthusiastically pitching this, you know, montage I want to do and all these transitions. And he's like, dude, I will cut story if you give me a beautiful piece of cinema. Oh, great. And that's just insane. I mean, writers never say that. And so I really felt empowered and encouraged by Bill.

And he also, there's no bullshit with him. If he doesn't like it, he just tells you. Well, there's plenty of times he would come to rehearsal. I'm sure this never happened on one of your episodes, Michael, but there's plenty of times the way it would work is the director would sort of block out where everyone's going to go, where the camera's going to go. And there were definitely times, and then Bill would come to the rehearsal, arrive at the rehearsal and be like, yeah, that makes it not funny at all. We're not doing that. And then you watch some directors be like, even for Bill, he was tactful about it sometimes. But he's like, no, I'm not doing that.

If you put him over there and her over there, it's not funny anymore. So we got to do this. And you have to be a little bit humble about it as a director because you're like, oh, you know, I didn't I now I see, you know, I think that most of the time when, when writers have clear ideas about that, they're generally right, you know, if they're if they're if they're people, you know, of the Steve Levitan, Bill Lawrence, Mindy Kaling caliber, like they they get it and Bill Lawrence, Mindy Kaling, Calibur, like they get it and you know you listen to them. You don't fight them and they're generally right. I did see that happen you know with other directors when I'd be there prepping. Didn't happen very often with me. Yeah, it's not with Michael Spiller.

No sir, not with Michael, not with, sorry, Emmy award winning Michael Spiller. I mean what I do remember happening a lot lot is we'd be waiting for Bill to come up from the writer's room and you know, must have been in the middle of a very fancy paragraph or something and dial, we had to wait, but you know, the clock is ticking, we're losing a light. So generally we wait for him to arrive, but sometimes I would rehearse without him. Yeah. And inevitably, inevitably, as soon as we finished the rehearsal, Bill would come walking through the doors and I'd have to scramble back, okay, so for this shot, it's like fake

like we're starting the rehearsal from the top and not just finished it. Right. Well, yeah, another thing that people might not know is that the onus to deliver the show in five days is all on the director's hands. I mean, obviously working with his or her assistant directors. So you not only come on to this set where you don't work every day to lead a crew of people that are all friends, but it's your job to be like, guys, we got to go.

We got to go. We got to get out of here. So that's another thing is that you have to, you've signed on to deliver this episode of television in five 12-hour days. You have a ton of support though. You have, you know, if you have a good first, you're golden. We had some pretty cool first ADs on our show,

Franklin Gottbetter and Scott Harris. And Richard Wells, who was an incredible first AD. Paul Pedrera. We had a few of them, you know what I mean? And you worked with all four of them, right? Yes, I worked with them all. Yeah. Which one was your favorite?

No, you don't have to answer that. You don't have to answer that, filler. Should we get into the episode? Because I think it'd be fun to just... Sure. So, Michael, the way we do this is there's really no order. We just start to talk about the episodes. Well, you've heard it. You listen to your new favorite podcast. Exactly.

The first thing I noticed, first of all, we have to say that Elizabeth Bogush is not only beautiful, obviously, but she's really funny. She's a very good actress. I thought she did a fantastic job. She has great moments in this episode. And it's also, this is big. She's the first love interest for JD. And so, you know, this really set the tone

for all of the other actresses that would come on to play your love interest on the show. And she did such a phenomenal job. You're right, she is very funny and it made it so that whoever else came on had to be like, all right, well, let me step up and crush this. Yeah, they couldn't just be a pretty face. They had to really be good actresses and be funny. And I think that Liz was all those things. She had really good timing. I thought she was good in her dramatic moments. And I think that, you know, Liz was all those things. She had really good timing. I thought she was good in her dramatic moments. And, yeah. And of course,

Spiller, when you do that beauty shot of her at the end, arriving with the picnic basket, it's so romantic and pretty. Yeah. All my Sex in the City training came in. Yeah. I was thinking about that. All your Sex in the City lighting women things all came together in this episode. Did you have anything to do with casting on that? Like I know that some directors sit down and help out with casting on television shows or bring in their own Typically typically we are you know, we're Contractually, we're meant to be involved in all the casting decisions I mean every creative decision on the episode that we're directing, we're supposed to be involved

in. Sometimes an actor will span several episodes, so it's sort of a bigger decision, or maybe an actor's availability is being challenged and you need to book them before the director has technically begun their prep. I can't recall what the situation was with Liz. She was fantastic. I Hard to imagine anyone who I would have rather seen in the role, right? But she did have a technically a three episode span although I directed two of her episodes

Yeah, it's the two the second two right not the first one where she's in the direction, right? Right, right All right But have you have you gone on to do other shows and be like, you know what? I got the perfect person and gone back to use actors that you've had from Oh sure I'm scrubs or from or from Sex and the City or whatever Yeah, I mean whenever I can I try to recommend people who I know are cool and they're gonna deliver and because we've all worked with people who are super funny on screen and really difficult to work with.

And some even with a toxic personality that could poison the set. Because it only takes one person to poison a workplace. That's a lesson to all you young aspiring actors out there, that everybody talks. Everybody. Such a small town. Everybody talks. So you might everybody. Such a small town. Everybody talks. So you might have been a jerk one day.

And Michael Spiller was the director on Sex and the City. And you think you went home and went, all right, well, I had a bad day. And then later, and then later, Michael's directing another show where your name is suggested and he goes, no, no. So you have to be. My wife always says this town's way too small to be an asshole. Exactly. That's perfectly putting it. And I mean, the fact is, you know, my wife used to be a costume supervisor, a wardrobe supervisor. And often it's the people behind the scenes that get the brunt of an actor's wrath, you know, or bad behavior.

And it's like if you're making, you know, your hair and makeup people or the people who are adjusting your clothing, if you're making those people cry, you're not a good person or you need some therapy or you got to work some shit out. But she told me there are a couple of people that made her cry, you know, back in the day. And I have had the pleasure of passing on some of that. Oh, sweet revenge. And you ran home and told your wife, didn't you? You're like, guess who I passed on today, baby. You're not going to believe who they tried to push on me today, but I said no.

And his name was Donald Faison. So Michael, my first note for you is at 24 seconds, why does my character have a giant entire piece, it's a whole chicken on my date plate. I would never order such a large meal. I had to stop and pause. I'm on this date with this beautiful woman, I'm just staring at her and I have a full roasted chicken on my plate. You know, all I recall about that is that it was part of, because it was the sequences that you can't take your eyes off her, you're so fixated on her that you almost forgot to eat.

I didn't eat. Having a vertical, a large meal that would read in this shot because there's a lot of people to look at in this shot. I see. So you really wanted to... Most people are looking at you, but... Yeah, so you, I see. So your rationalization or real genuine rationalization is that you wanted it to quickly read that I hadn't touched my plate. Yes. It looks like Thanksgiving dinner has been served and no one has carved... You know, we were on location for that and, you know, we didn't do that very often on scrubs and certainly my first episode, I hadn't done it before with you guys. And you know, that may have been what the place had to offer, what Hugo's had to offer.

Oh yeah, it was Hugo's in. I think it was. I was going to ask that. Is that Hugo's? That's Hugo's in where? Is it Riverside in the valley? Yeah, it was right next to the hospital just down the street The photo booth in the middle of the supermarket. Yeah, that a pharmacy. Yeah, what was the deal with that? Who would put a photo booth who put a photo booth in the middle of an aisle of the supermarket? Michael you can reach through the photo booth to get items off the shelves Well, maybe they're handy props.

You know, this is this is before the days of like giant hats and oversized sunglasses and big foam pointy fingers. Was this a set or do you remember? I think it was a set and it was just like, yeah, what do you got? I'm gonna say, because I remember photo booths being in like bowling alleys or I miss miss by the way, I miss photo booths Let's keep I love photo right now. That was like the set offer that is a Because I guess cuz of the movies too. It's such a romantic set I know especially when they're black and white not this not this modern bullshit

The old school black and white neon light that freaking yeah surrounds the camera and shoots in your face I totally miss photo booths. I got some good photo booth pictures of me and my wife when we first started dating and you know. It's so romantic when you look at them and you feel like you're old school and I love them. A little four strip photo. I mean, it's great. For those of you out here who are doing photo booths at like parties and stuff like that,

it's not the same if it's not in an actual booth. If you're in Manhattan, okay, there's a restaurant called The Smith on Fourth Street and like, what is it, like fourth and 10th-ish, you just Google it. And in the basement of The Smith, which is a good restaurant, there's an old school black and white photo booth. So there you go, I just hooked you up. Next time you're on a trip with your loved one, go take a romantic picture there.

When we're allowed to travel again. Yeah, when you're allowed to travel again in August. And yeah, so Michael, I don't know how they do it on Sex and the City, but we certainly don't put photo booths in the center of supermarket aisles here on Scrubs. Well, apparently you do. Yeah, we do. We do. I want to say, this is very vain, but I looked very skinny in this photo booth. Yeah, but what was up with your hair, dude?

Your hair was a little different in these episodes, man. They were very spiky. I was probably, you know what I was probably, the truth is I was probably- You were doing a lot of this, the spinning of the hair on the top of the head. In the photo booth, I looked like I have more makeup on than usual.

I can only rationalize that I was probably nervous in front of this beautiful actress, and I was probably like, more makeup, more hair. Okay, now, is this your first love interest in projects that you've been... That's a very good question. Because you hadn't worked that much. That's a very good question. Had you dated on camera before? Very good question.

No, I had done an afterschool special called My Summer as a Girl. And basically it was an after school special where they just stole the whole plot of Tootsie and in order to get the job I had to dress up like a woman. And then I fell in love. But I remember, it's interesting remembering that, that I remember that there was supposed to be a scene where I kind of got like too aggressive with trying to make out with her. And I remember the director was disappointed because I was, I couldn't, I was too nervous to do it.

I wasn't doing it enough, being aggressive enough with her. Why are all afterschool specials, why do the guys have to be so aggressive? Well, the lesson, they always taught a lesson, right? Well, this one was, I was kind of a guy and I was kind of a play, not a playboy, but like I was a of a guy and I was kind of a playboy, but like I was a cocky guy. And then in order to go after the girl,

I dressed up like a girl because she had gotten the last job as a chambermaid on the island and I wanted to do that too. So I dressed up like a girl, like a la totally the plot of Tootsie, except a chambermaid on an island. And then I fall in love with the girl and then I'm too, as one of my man, I'm too aggressive with her, and she's like, get away, you're moving too fast.

And then there's a guy who's in love with me when I'm dressed as a woman, and he starts doing it to me. And I'm like kicking her in the nuts, and the lesson was like, how do you fucking like it? Treat a woman with respect. Shoes on the other foot now, isn't it? So you can all go Google my summer as a girl

and watch that bit of artistry. But that's a good point you brought up, Donald. I don't think that I had really had a pretty love interest other than Sarah Chalk, but we hadn't really delved into that yet. Not on the show. You guys hit the show. We're about to.

We're in a few episodes. I think after Liz's the first time that it comes up. So yeah, I bet I was very nervous around her. I do seem to me to look like I have a little bit too much makeup on in this photo booth. Like I was trying to look like... It was important for you to look good. Do you want to... I wanted to look the best I could for Liz. That's great.

Well, yeah. I mean, it is so funny. And it's getting a lot of attention these days because people in this business are evolving somewhat. But when you have two actors, or more depending on the show, who have to have a love scene or be intimate, physically intimate with each other, I mean it's awkward, it's weird. And it can be really uncomfortable for people. So I mean I totally get it, even as sort of PG as this was right

Well, this was pretty big, you know when we get into some of the Sarah stuff I I can't even believe that we were doing what we were doing for network TV and I remember being like awkward Like this is so bizarre. I remember feeling like Are we on like HBO? Like how are we doing this for NBC? You know, it's pretty that was that was pretty risque stuff. This stuff with Liz was was was pretty tame But you know, you're still lying in bed with a beautiful stranger. Sure, I was about to say, at the end of the episode, I'm on top of Judy, and we're simulating sex, dude.

Right. This was a sexy episode. There's a lot of talk of orgasms and Sarah masturbating on a washing machine. I couldn't believe it. I wonder if this works. Does that work? I couldn't believe it. Is a washing machine that powerful? Yeah, right. Does that work? Does it wash? Is a washing machine that powerful?

Yeah, like that. Because I can't I don't I don't I don't apparently I don't I definitely don't produce like the washing machine can produce. Obviously, listen, first of all, first of all, be honest with everyone. I don't know what the washing machine is that good to wear at the end of it. You fall off the motherfucking washing machine. I can't compete with a washing machine. What am I useful for, honey?

I've been helping you raise these kids. What am I useful for? What? Hey, Donald, the washing machine can't- And the crazy shit is, my wife's always like, I'm gonna go put another load in. Yeah, yeah she is. She's definitely gonna.

Hey Donald, that washing machine cannot provide for those children. Only you can. Only I I can that's what's well I don't know whether or not I you know we three men have no idea obviously if a washing machine can can do that to a Woman, but I gotta say Sarah it worked for Elliot. It really worked for Elliot. It definitely works Well, and it worked for Carla too, cuz she's the one that suggested it. Yes. She said when are you doing laundry? Carla too because she's the one that suggested it. Yes, she said when are you doing laundry next? Right. Now we had a lot of female writers on this show I can only imagine that they had a conversation in the writers room like y'all have a

rondo washing machine? We'll never know. Let's move on from there. Or you could ask Bill. Could be an ask Bill moment. No no no no no no hey listen I don't have anything do you guys have anything before Sarah shitting a brick because I laughed out loud at that I laughed out loud at that I was funny especially Sarah first of all who when they did think I'd ever get to see Sarah chalk you know pooing face and there right she's really but that's that's great that's the one thing usually somebody makes a pooing face on television they get real big with it it was pretty it was pretty subtle

You didn't know that you didn't know this I closed thing. I closed thing Yeah, right. She closed one eye and and there had to be just enough just enough push Yeah, I'm gonna break all that brick. Oh, it's funny What's funny about it spill there is that she she just does a little bit of a push, but then a giant brick falls I that she just does a little bit of a push, but then a giant brick falls down. Right. I just realized that in one episode of... I'm sure we got levels. In one episode of Brilliant Television,

in 22 minutes, we have Sarah's poo face and her orgasm face. That's right. It's pretty much the whole gamut. We open the show with her poo face and close the show with her orgasm face. What art we made? What art? From O to poo.

O to O. Okay, so I think the yeah was imprompt. When Carla pushes me down. I remember that. Yeah! I think that was imprompt. I don't remember if that was in the script or not. It wasn't because who the hell would ever guess that your t-shirt would say yeah on it.

Right, that my t-shirt would say yeah on it. It didn't say in the script, Turk wearing a yeah t-shirt. Yeah! Points to said phrase. Yeah, but that was funny, Donald. I wanted to point out a little trivia that I saw on the Scrubs Wiki at 3.05, right before your yeah thing,

that Dr. Cox knows Doug's name. And the Scrubs Wiki was pointing out it might be the only time he ever says Doug's name, because he goes, Doug! And I don't think he ever. Doug's name because he goes Doug and Well, he uses it he also uses it as like he's gonna pick on Doug Yeah, but I'm saying Cox never you know, his whole thing was he doesn't know people's names He calls them all these nicknames, but he randomly knew Doug's name But you two are jamming in this episode also you two have developed like a camaraderie in her. Yeah, you know

You're his go-to now. This is the first episode. I know we established it in the last episode, but yeah, now you two are, it doesn't seem like you're a fresh newbie, even though he calls you newbie and everything like that. We're starting to see your relationship as colleagues form. That's true. And I think I wrote down, this is the first episode, to me it seems like he genuinely likes JD. Like he's usually good at hiding it. But in this episode, I felt like Cox was really bonding with JD and liked him,

even though he was still trying to hide it, but he couldn't hide it. And then in the end, he really bonded with him and said, don't be me, don't be me, go have a life, which I thought was moving. I thought that was a side of Dr. Cox we don't always see. Yes, Biller. Since we're, that's a nice segue into what it's like working with Johnny C for the first time as a director. Yeah, was he scary?

Yeah, let's go. Well, I mean, first of all, he's so damn good. He's so damn funny, but he is a very, very intense guy, particularly when he's in character, on set, because as a prepping director, you go and you're doing all the work in the various meetings and location scouting and stuff that you do to prep your own episode,

but you also try and spend as much time as you can on set so that you're getting to know the cast in a more informal way, you're starting to connect with the crew, learn people's names, all these things that are essential to you know when you're handed the baton the next week that you'll have a good episode right? So you know you'd hang out and observe and try not to be in the way and I'd watch another you know like Mark Buckland work with Johnny C or something. And Johnny is intense. You say cut, and he stands there, his jaw is like clamp shut,

his cheek muscles are like fluctuating, and like he's ripped, you know? He's like so awe-inspiring, right? It's like, okay. And you have to give that person a note. So the very first time I did it, I said cut, went up to him. And it's like, you got the sense that if you said the wrong thing, he might actually hit you. Because he appears to be that tightly wound, right?

So I can't remember what the note was, but I said, Johnny, can you try this? I have an idea blah blah blah He looks at me for a sec cheek muscle still, you know Rippling away and he says fuck. Yeah, let's do it That was your test in one day in one or two, he decided if he liked you or not forever. Exactly. Thankfully. Well, I think Johnny has so much experience.

I've worked with so many directors at that point. If you gave him a good note, he was down to do it. Like all of us, we sometimes got notes from directors and we were like, I'm not doing that. And so I think that in that moment, he decided that he liked you and respected you. Well, I mean, listen, from an actor's standpoint, I completely get it because it's like, okay, he's a new director every week

and some of them are not gonna be great or some of them you're just not gonna get along with and some are gonna ask you things that may not even be their note, maybe a writer's note and you know you can't you can't go up to an actor say oh well the writer asked me to say this you know that's not a good thing to do that it's like well then you're just the messenger person. Yeah and then it just shows that you're weak I think you have to be like you have to be like you know what I try to be like is I do you

want to do you want to try, you know, if it's my thing, then I'm like, let's try this. But if I'm coming onto a show like this, I would say, I was thinking this, do you want to maybe try this? Because, you know, you don't know if the actor is going to say, oh, we, we, my character would never do that, you know, that kind of thing. Hey, we need to go to a break. Hold that thought, Donald. Donald, we're going to a break. Hold that thought. Don't you forget it. My thought's going to be irrelevant after the break. Don't you forget it, Donald, because I know that you've tried some of God's lettuce and that affects memory.

Hold on to that thought. I haven't tried some of God's lettuce in a few hours. Let's go to break. Okay, we're back from break. Donald, did you remember? Did you hold on to the thought? I forgot. Oh, fuck!

And you kids say weed doesn't cause memory loss. Wow. Back from break, Donald, did you remember? Did you hold onto the thought? I forgot. Oh, fuck! And you kids say weed doesn't cause memory loss. Wow. It's like a case study. Yeah, yeah, like a case study. So Donald, we're doing a podcast about the show, Scrum. I had to remind him after each break, Spiller. I understand.

Hi, my name's Mike Spiller. This is Mike Spiller, he directed you. We worked together a few times. 20 episodes. I don't remember, I don't remember. I don't remember So I'm hanging out with you outside of scrubs to Spiller me This is it this is for everyone out there that's sitting there and they're like wow This is you know a director on the show with the two actors

Hi, and and he directed 20 so that makes him special. That's not all that makes Spiller special We've all gone out and hung out and eaten together and stuff like that. So, you know, it's also it's very cool to catch up with you. I'll give you a pool before I swam in your pool, Spiller. You still live in the same house, Spiller? No, we moved. You have to come see the new crib. I had. Yeah, now you got right now that you got that Emmy.

Now he's got one of those Emmy houses. One of those Emmy houses. It's like three levels. Now listen, the house is shaped like an Emmy. If he wasn't responsible, there'd be a water slide from his bed to the pool. Yeah. When we met him, he had a DP on sex in the city house. Now he's got a modern family Emmy house. Spiller, I have a great memory of you too in that you came over and helped me install a

doorknob. Do you remember that? I remember that. I remember that. I remember that. I remember that. I remember that. I remember that.

I remember that. I remember that. I remember that. I remember that. I remember that. sex in the city house now he's got a modern family Emmy house. Spiller I have a great memory of you too and that you came over and helped me install a doorknob do you remember that? Wait what? I mean that totally sounds like me it's completely on brand. Wait I need to understand this. You have questions. Yes I do remember. Here's what happened. Here's what happened. Spiller. You don't know how to put a door? No let me explain it's a very sweet Michael Spiller story I was talking to Here's what happened. I have questions. Here's what happened. How did you know? You don't know how to put a door? No. Let me explain.

It's a very sweet Michael Spiller story. I was talking to him on set. Now, Spiller, you could say this never happened and I dreamed it, but I haven't done hallucinogenics since college. I remember that I was talking to Michael. Michael's handy. Aren't you a handy around the house guy like you can fix? I'm very handy.

I love building things. And I was saying, God, I wish I knew how to build stuff. I have to put a doorknob on a door and I I have a door without a doorknob, and I've got to go hire someone to do it. I wish that I knew how to buy the right drill bit and install this doorknob. And Michael said, I could teach you. And I said, really? And he said, yeah, I'll come over and show you how to do it.

And I said, that would be so awesome, because I don't know anything like that, and I'd love to actually learn. And Michael came over and helped me install a new doorknob on a door. Isn't that true Michael? That is true. I don't like to blow my own horn. But yes, that is true. And you remember this Michael. Yeah, I Don't yeah, but I do remember he charged me 35 an hour So we just finished the the screening of Garden State. Zach invited a bunch. Good film.

Good film. Great film. Zach invited a bunch of people. I got special thanks on it. Yeah. Zach invited a bunch of people over to the screening room. Danny DeVito was there. Rhea Pearlman was there.

Bunch of people were there. Mike Spiller, myself, we were there also. And I remember the movie ends, and we're all like, wow, the movie was really good. I had notes though. And I wanted to figure out a way to tell Zach, all right, I've got a couple of notes about the movie. And I remember I see Spiller, and we're, I don't know if we're drinking or we're eating, it's after the movie's over. Probably drinking. And we're talking, and you're like, wow,

that was pretty good. And I was like, I was, right? I was like, I've got some notes. And you said to me, yeah, you know, now might not be the best time to deliver said notes. Oh, god. Oh, god. Said notes.

To Zach. And I was like, oh, yeah, yeah, yeah, yeah, no, of course. I'll figure out a way to tell him. Flash cut to Danny DeVito doing a Q&A after the movie. And he was like, does anyone have notes? One hand shoots up. One beautiful brown hand. No, and then what happened was this. So then Donald goes off on his notes and I'm looking at him like, dude, not fucking now.

Like tell me these, like Danny DeVito was my producer. Why do you listen to Spiller? Danny DeVito was my producer. I was like, dude, tell me privately, what the fuck are you doing? And then, so then Danny's like doing- Well, I just wanted to be heard. I wanted to be heard. I didn't want to be heard because I wasn't allowed to be in the movie because I gave

the part to Method Man. Now listen, Danny DeVito, at the time, the movie had too many endings. It was going on a few beats too long, and we all knew that, but I was in denial about it, and Danny DeVito said, how many of you felt like the film had too many endings?

Donald's hand shoots up. I'm like, fucking Donald, put your fucking hand down down you're supposed to be my man on the inside but you changed it we changed it we did hey you know what this many years later I'm glad that you're never a yes man you always tell it like it is I just remember that I'm really being like yeah you know we yeah, you know, we should, yeah, you know, I'm sure we all have notes, but I would wait for my own moment. So you didn't, the lesson of this story is that you should have listened to Spiller. Yes. That's usually, that's the end of most stories, actually.

So I want to say at 415, I don't remember the episode. So I thought that it was you who couldn't, who had lost your erection. And it was a very good misdirect by both Spiller and Bill because it was, it was Judy. I don't think I've ever seen a story of a woman. Yeah, right. I remember that. But I knew right away, I remember this episode and I remember this episode because Rob's line in this, in this show.

So when I saw you in the hall today and I asked you how's your penis and you didn't want to talk about it. So Rob still tracks, it still tracks, it's all part of the mislead. Because I was proud of that. I don't remember, I don't think that was in the script specifically, is like she's holding a piece of bacon in a really odd, upright manner that nobody would ever do. But I thought, OK, this will be a fun visual transition.

And it does it does lead you to believe it's more evidence as a viewer that, yes, Donald is the one who's had the problem. The classic situation. Yeah, you misled. I just wanted to do one little director thing that Spiller kind of introduced, I believe, to the show. I don't know that we were doing this too much beforehand, but at 412, sorry, it's a little bit before that, so they have sex and then the camera pans and goes into the back of the TV and we use that as a transition, you know, a transition time passage, a little time passage.

And then we come back to see the bra on Rowdy's head. And then we cut to Liz Bogush holding a bacon in sort of an erect way. Spill it, you naughty, naughty boy. Sometimes bacon is just bacon. Yeah, sometimes bacon is just bacon. But yeah, so I was tricked the whole episode because I generally, until obviously she says it, it's funny, Judy. episode, because I genuinely, until obviously she says it. It's funny, Judy, oh wait, I'm jumping ahead. There's a waste of a gift certificate?

Oh yeah, there's a waste of a gift certificate. Cancel the Cobbler. Now that's 1128. I think Neil Improv'd cancel the Cobbler, definitely, right, Spiller? I think so. But I mean, the only draft of the script that I could find Although it has notes and diagrams all over it says it's like a pre table draft of the script I have almost all my scrub scripts. I couldn't find anyway Yeah, that that whole bit wasn't in the version I had but I mean I I loved the bit with Neil that starts that runner

You know where you we reveal him next year You can't you know, someone walks away and just happen to look at him, right? He's like, what if I told you guys, you know, look at me when I'm eating I don't like it. Okay, what am I doing eating and what are you doing? Staring yeah, I would listen to a whole podcast. I would just a whole podcast It's called Michael Spiller acts out all the parts of scrubs. I would I would listen to a whole podcast that's called Michael Spiller Acts Out All the Parts of Scrubs. I would totally listen to it.

It's coming to Spotify, so. I'll use that as an endorsement. What about Carrot Top? Should we get out of Carrot Top? Oh my God. Yeah, we got to talk about Carrot Top. Who was? Okay, first of all, shut up.

I remember the story. Go ahead. You should tell it then. No, I don't want to take it. You got it. No, you got it. I'm just worried you're going to fuck up the story because it's a great story. I, I don't want to take it. You got it. No, you got it. I'm just worried you're going to fuck up the story because it's a great story. I'm not going to fuck up the story.

So what's Carrot Top's real name? Joelle, can you look up whatever? Scott Thompson. Scott Thompson. Is it Scott Thompson? Joelle, never mind. Scott Thompson came on the show and I always found Scott Thompson very funny. I know that this was sort of like making fun of Carrot Top, but I always thought he was

a funny guy. And the only thing we had heard about Scott Thompson just via, you know, sometimes when you have a guest star, there'd be a couple things like, hey, don't, you know, sometimes like, I remember someone was allergic to nuts and they were like, don't eat nuts around them. But with Scott, it was like, hey guys, don't call him Carrot Top. He prefers that you call him Scott. Like don't, don't call him Carrot Top. And so the crew was told that,

the cast was told that, and we had this old prop man at the time who walked right up to him and was like, Hey, how you doing Carrot Head? And I remember, we all, remember Donald we were all flinching like, don't call him Carrot. You're not even supposed to call him Carrot Top, let alone Carrot Head. Hey, how you doing flinching like, don't call him Carrot. You're not even supposed to call him Carrot Todd, let alone Carrot Head. Hey, how you doing, Carrot Head? Hey, how you doing, Carrot Head? Now, is this the same guy that allegedly hit Rowdy or no?

Yes, same guy. Same dude. So another strike. Yeah. The case was building. His first strike was calling Scott Carrot Head. Yeah. Yeah.

Yeah. But I thought it was funny. I thought Scott did a very funny job. And I laughed at every single one of his jokes. So fuck off if you don't like Carrot Top. Right on. I've worked with Scott since then. You have? Yeah. If he's still doing it, he's ripped, right? That's one thing I know about. Now we play basketball together, all types of things. In the celebrity circuit.

He is ripped. He's and he's ripped like, he's ripped like diesel ripped like rock ripped, you know, he's not just like, he's not just tall as the rock, but he's ripped like, you know, at least back then, at least, you know, ten years ago the last time I saw him He was freaking diesel dude, you know as you get older you try to figure out ways to stay young and yeah well, I'm sure I'm staying I'm trying to stay in shape, but I don't have muscles like that but I guess I could take it more seriously and eat a lot of calories does he have muscles like Johnny's he's a John Fiddle. Did I give you that John? See I think you did I went on soon Does he have muscles like Johnny C's action figure?

Did I give you that? You got the John C action figure. I think you did. I went on. So he's holding up guys. There's a Johnny C who played Red in Platoon. There's a beautiful doll. I don't know what you call that.

It's like a Ken doll. It's like an action figure thing. An action, but it's Ken doll size. It's big. It's yes. Ken doll size. It's a 12 inch. it's Ken Doll size. Yeah, it's a 12 inch. And when I saw them, I... It's 1 sixth scale. By the way, its accessory is a cigarette, which I always thought was funny.

And yeah, when those came out, I bought one for Johnny and for, I guess I bought one for you, Spiller. God, I must have really loved you. You did. Those are the days. Yo, so, I Love You definitely changes everything. It does? Yeah, well, and when you say it, apparently in this story, when you say I love you,

shit gets weird for a little bit. Yeah. Yes, for Judy. Yeah, with, at least with, uh, uh, Turk and Carla. I think it's weird for both of you. I don't think either of you has ever really said it before. Right. I just don't. I mean, I've said it a couple of times in my life. But I don't know that it's changed. I mean, you know, I guess it just makes the breakup harder. I don't know. I just found that I found that as an interesting story for these guys that I love you made them have cold feet in

The in the bedroom. Well, she did right and you didn't have cold well He had cold feet too. He did too. It was a blow to his ego also, right? I got in his head. He got in his head, right? But and even and and the fact that Turk is like, you know, it's never happened that you know I've always been able to pleasure a woman to the point of orgasm. Yeah, that's what Turk thinks. I found that very odd. I was like, right. I was like, yeah, whatever.

Yeah, I don't think that- The stakes are high. The stakes are high. That's a weird plot line for me. I love you, and because of that, you can't come now. Well, I don't know if you're supposed to say the C-U-M word. I mean, we can say orgasm comes a little aggressive for a family podcast. Are we a family podcast?

I didn't know we had established rules. No, we're explicit. Hold on. I didn't know we had... No, dude. We're explicit, but we stay away... I didn't know you had established... We had established rules on what type of podcast we are as far as...

No, no. We're definitely explicit, but you could have said ejaculate. I wasn't PC enough. You don't have to say come. It's so graphic, right, Joelle? Joelle's cracking up at you right now. She could have climaxed she couldn't climax. Joelle as our producer should we be using the CUM word I don't know I

talked to I heart call I heart on the red phone. I don't know Donald said it no my heart skipped a beat. It's fucking staying it's staying. It's fucking staying. It's staying. Listen, you know, listen, to that point, I noticed, see, Judy didn't say orgasm in the first scene that it comes up. And I was like, oh, it must be like a TV thing, NBC, we had to tiptoe around the word. And then everyone starts saying it. You say it, Sarah says it.

I'm like, oh, it's just a Judy's character. Carla is like uncomfortable saying the word in public. Which is odd to me, because as you saw, I just said a different word and all of you guys got. Oh, now you're ashamed. Now you're now you're shy about saying the word. You guys kind of shamed me. That was no judgment.

We're not shaming you. There is no judgment. There was a little bit of judgment. I'm going to keep it. No, no way. No, there's no judgment. And anybody out there listening, I felt your judgment, too. No, there's no judgment and anybody out there listening I felt your judgment to no they weren't judge your judgment I think we were all just a little taken aback that you came at us aggressively. No pun intended I'm gonna keep us on topic, but maybe get us out of this or are you gonna direct us filler direct? I'm just gonna say that you guys this is what a director does

It's a little redirect here that moment at 1155 where Carla catches herself after Eliot's made her confession that she's never been able to climax ever, even by herself. That moment after she says it, Judy's like, oh, I'm sorry, I should be more surprised. It's like the pause and her realization, it's a silent beat. It's so funny and so definitely executed and yeah And I have no can take no credit for of course. That's all the actor. Just Elliot is so self-deprecating in this episode It's so funny every scene Sarah's in she's like She's just like taking digs at herself over and over and over again

Let's talk about the legendary Sam Lloyd at 1530 saying walk off bitch. I laughed out loud. Now Spiller, I noticed he's not sweating. I don't know if you recall because it was so long ago, but I wondered if there was a conscious decision like no you found your courage. You're not going to be flop sweating in this scene. Yeah I don't remember actually saying the words, but I'd like to think that that is why, you know, with his newfound, you know, since Kelso's lost his mojo, Ted has this newfound confidence that he wasn't sweating. Yeah. And then he goes, you're a wonderful person. Don't you know what you did? Yeah, so good.

Spillard, do you want to share any Sammy thoughts? I thought just, you know, because you worked with him a bunch of times and and and we, you know, Donald and I shared some thoughts, but I thought you might want to say anything that you remember about him. Yeah, I mean gosh, it's. Taken too soon. I mean, such a great guy, such an amazing talent. I'm so pleased to have worked with him a bunch and gotten to know him a little bit.

But I often, I mean, when I heard the news, I kept thinking back to one episode that I haven't seen in a while, but this moment has always stuck with me where Ted the lawyer winds up falling off the roof. And we shot a pretty elaborate sequence for it and see him falling away and he says, oh, sweet relief. Like he's finally going to be out of this torturous life. And years ago, I just would think about that moment because it was so funny and so on character. And the past couple of weeks,

I've just been thinking about it as like, well, I hope that he has found peace and he's not in pain and it's just heartbreaking. What an amazing guy. Yeah, he really was. I've been thinking about him a lot lately and I know all the fans of the show have, and now of course when he comes up in an episode,

I'm like extra leaning forward because I just know it's gonna be funny. And I have this thing when I write my notes down for the episode, I write LOL just to remind myself to say that that's something that made me laugh out loud. And Sammy has like two lines in this episode. I laughed out loud at both of them. that was just him just delivered always yeah he definitely uh Johnny C at 1927 uh puts in his own five good ones you know that's what yeah I noticed that what's up with that

well you know he was that that was his expression I think he I don't know if the writers put it in the script or not good ones right here for you, Bob. I like that whole storyline too. That was very funny of Kelso losing his mojo and the way Ken played it was great. Like a wounded little puppy. Ken was so funny, right? When you ever see Kelso play that like humbled puppy, that was so funny. And even, and, and, and John, and you know, and him realizing, wait a second, how did I lose my mojo?

And John see rolling by on the wheelchair waving at him. Hilarious, dude. That's a, that's a shot I've seen like in every scrubs clip reel that's ever shown or like, you know, gifts and stuff. You just, you always, that's a, it's one of those shots you always see Johnny on the wheelchair rolling by waving like that. Yeah, I think I'm owed someIFs and stuff. You just, that's one of those shots you always see, Johnny on the wheelchair, rolling by, waving like that.

Yeah, I think I'm owed some residuals or something. Yeah, some GIF, those GIF residuals are amazing. They don't pay, they don't pay. Yeah, I just wrote, I wrote down the same thing, though. Ken is so good being humbled. I mean, it's not something he ever really saw in Scrubs, but he was like, he played it so well. It just, he, that guy is such amazing range. Yeah, but and then also also his his comeback was great

and The way Cox tricks him or you know revives him by saying you know what guys From here on out you just ask me the question and I'll answer everything for you. And you realize, oh, wait a second. You realize right then and there, Kelso is trying to teach. He gets a kick out of being the most evil person on the planet, but he is the chief of medicine at a teaching hospital. And he fulfills his job in every episode, regardless of how evil he might be or how

angry he might seem. I talked about this earlier. He, in earlier podcasts, he's always teaching. He's always a part of the solution and not necessarily the problem. Even if it's like, well, look, here, this is how we run things. The lessons always somehow revolve around how mean he is, but he's freaking so, he's always teaching the kids. He's always teaching, or the students, or the- And when it was taken away from him this time, he's totally like lost his mojo.

He, you know, he- Well, not only has he lost his mojo, he's lost his purpose in the hospital also. What do I do here? I can't freaking get Ted to do his job. I can't get the med students or the interns to do their job. What is my purpose here? And it's only until Cox says, you guys ask me the question where he's like, wait

a second, that's not how we run things. And it's all right if I scare the shit out of them. That's a fine way to teach people fear. We're in a hospital. If this shit hits code red, these people need to be ready to, you know, push their nerves aside and answer questions and save lives and everything like that. And you get another glimpse of inside Dr. C, that there's more than meets the eye there.

He's not just a scary, intimidating figure in the hospital. It's like, no, he's got heart, he's got compassion and understands how things work here. And he's the one who's instrumental in restoring the order. Yeah. Yeah, and I thought that was a really nice

just moment into Dr. Cox's mind, seeing that he's a lonesome guy who's dedicated his life to this. And I just thought that was a nice sort of reveal as we get to know the character more in episode 13 of the whole series that, how dedicated he is to being a doctor, even in sacrificing relationships with people. And, you know, Joelle brought up a good point that, you know, when you do a TV show, granted we're not doing something noble like Saving Lives, but, you know, we had something analogous going on

in that we were just at this hospital 16 hours a day. And it definitely hurt relationships with family and friends. And Donald had children and was gone. And I lost touch with a lot of old friends. And it was a bit analogous to what was happening in our lives. You know, it's interesting, when Scrubs ended,

I have this feeling that I was delayed in a sense in that I hadn't had nine years of building friendships outside of the hospital. Yeah. I had built the best friendships of my life, you especially, and Spiller. Thank you. Spiller, Spiller, you're a close like 10 down. But no, I built some great friendships. And actually, that's one of the reasons so many of these wonderful people including Bill and others are so in my life. And of course, I fostered other relationships. But we didn't have much time over those nine years to build and develop other relationships.

And I don't know if you noticed that, Don, when we were finally done and kind of had our normal lives back, I felt that. I was like, I have small circles of friends that I love so much, but I'm not one of these people that really knew a ton of people outside of my job. Right, and because of that, it's a little awkward now when I do, well, we're on lockdown,

but when I do meet people, I'm a little awkward about, you know, when you make a bunch of really good friends and it all ends, and you only see them occasionally. Well, you and I are a bit different. It's like, well, you know, I spent 10 years getting to know a lot of people and as much as I respect and cherished all the time that we spent together, it's weird not having these people in my life. It's weird not seeing Chris or Ethan or Calvin or... Patrick Bolton.

Patrick Bolton. It's weird not seeing this. So, Vaughn, it's weird not seeing these people anymore. You know, one thing you could do, it would be to ask Spiller to come put a doorknob on your house. That's one trick that I've sometimes used. I don't want Spiller anywhere near my house

during quarantine right now. He could mask up and come put a doorknob on. I totally understand that. Full PPE. I totally understand that, but I'm trying to. Listen, he was 35 an hour. It was worth every penny You know when they now the rates have changed that the race is DGA scale plus fringes

Yeah, but you know, let's talk for a second about new slang, which is the song that ends the show Rumor has it it was chosen by Neil Goldman who unfortunately he keeps getting mentioned because he loves getting mentioned on this podcast but he was a contributor He was a What are you saying? I said he was a contributor. He contributed big time to the show I think he was a PA on the show Because of that on this show because of that he gets spoken of all the time Neil Goldman, I didn't know that Neil Goldman picked this song. Neil Goldman, well let me tell you something.

Neil Goldman is very into music, was and is very into music, and he picked this song. Now this song I so fell in love with. Yeah, I know, you used to sing this shit all the time. Gold teeth and a curse in my mouth. And a curse for this town, and I put it into Garden State. I thought it was a curse in my mouth. All in this town.

Do you know that it's in Garden State? It is? It's the song that when I say to Natalie. There ain't no black people in Garden State. I've never seen Garden State. Well, when they do like, when we do like the Wiz version, maybe you'll check it out. Will you be me in the-

That's fucked up. Are you gonna do the Wiz version? Yeah, we're gonna do the Wiz version. And if you are doing the Wiz version, who's gonna play your character? Who's playing Lars? You are, you are, of course. It better be me, that's all I play your character? Who's playing Lars? You are, of course. It better be me.

That's all I know. Because when people say your name, they better say my name next. That's all I motherfucking know, goddamn it. You didn't know that we've already started casting the Wiz version of Garden State and you're the star? I love it. Except when you say, you tell me now, instead of new slang, when the Natalie character says, you got to hear this song, it'll change your life, in the Wiz version that you're in, what's the song

going to be? It goes right foot up, left foot slide, left foot up, right foot slide, anyway we're going to be about to slide, all we do is slide, slide. What is that song? That's Drake. Oh? That's Drake. Oh, it's Drake. I can dance like Michael Jackson. Son, I can give you the passion.

Aren't the lyrics like, yeah, I saw it briefly on somebody's video, but isn't it like, good slav, less slav, pretty much anything you're gonna do a slide. That's right. That would be a dumb moment. And then I think we should, listen, I'm not gonna knock the idea of doing an all black garden state. Listen, I will license you.

It'll be a different story. I mean, it's the same story, but it's a different, it's a different, it's a different movie though. Listen, I will give you the license. You and someone- Instead of going to Method Man, and I'm not going to choose you to play motherfucking the character at the hotel. I'm going to choose-

Are you going to choose Topher Grace? I'm going to choose Dax Shepard. Dax Shepard. Dax Shepard or Ray Romano. I'm going to have Ray Romano. This is so fucked up. My feelings are hurt. Hey everybody, while Donald cools down and writes his Wiz musical version of Garden State, we're gonna take a break. No, it's not a musical. It's not a musical.

It is. The Wiz was a musical. So was the Wizard of Oz, though. Okay, stop yelling. I'm not yelling. Listen, I'm calm. I'm so calm. Okay, we'll be right back. And we're back! And we're back! We have Michael Spiller with us. We have director Michael Spiller, Emmy award-winning director Michael Spiller,

who not only is a fantastic filmmaker, but also can throw a doorknob on a door in 30 minutes flat. Joelle, introduce us to Whitney and Dustin. Whitney and Dustin! Hi guys, thanks so much for coming on this show and for being little TV with you. Oh, thank you for having us. Hey guys. You all got a baby. And a baby.

Yes, we brought a baby. And a He does have on his baby bear shirt. OK, there he is. He's so cute. He's such a cute. We figured since he was going to meet vanilla and chocolate bear, he needed to rock the baby bear shirt. Yeah, he did. Where are you guys from?

We are from Leeton, Alabama. It's a tiny little town in the sort of like in the Shoals area. I don't know. It's probably something you've never heard of. I've been to Alabama, but not in that area. I've been to Birmingham, Alabama. Yeah. We're a little bit north of Birmingham. OK. Well, we're so glad you guys are here and you're we're joined not only by by is it me and Donald, but Michael Spiller, who was one of the best directors of

Scrubs and several episodes of 2020 episodes. He directed some other shows, too, but we don't care about them on this podcast. I mean, they might care though. Yeah, they might show called Sex in the City. He directed a little show called Modern Family. Do you guys have a question? Go ahead. If we had a couple.

Okay, let's get into it. It was one extra. I guess it was an extra background character. It was a bond doctor in the episode where Janitor got married. She was milk doctor. She seems to be in almost every episode in the background. I like just about every episode. We have like, we've noticed her and everyone on these rewatches. We've watched over and over again.

And every time she's in the background, we said, there she is. She's in like every episode. What does she look like? She's, she's blonde. She's probably close to like, you know, would have been like Dr. Cox's age. She wasn't one of the younger interns or anything, but you know, when we've looked before, you know, if you try to search for Scrubs, Milk Doctor, you get a lot of really racy results. That's a different... Yeah, it's a different...

I'll bet. I'll bet. It probably has nothing to do with the show. Not at all. Not at all. Not at all. Oh. I will tell you this. I will tell you this, that what we tried to do is have it feel like the same people work there. There would be the same group of like 30 to 40 background people that would all sort of rotate in and out. And then each day there'd be some people we'd never seen before, but she must have been,

I can't think of who it is. Give me a second. But maybe Joelle can do some recon. Give me a second, I think I got it. I think I got it, hold on. Do you remember, what was the episode you said? Arlene Grace, I think that's who they're talking about. Is this her?

Yes. Yes. Yes. Arlene Grace. Yep. Arlene. Arlene was one of our regular background folks. And so that's why you see her all the time.

She was probably there every day, right, Donald? Yeah. She was there every day. Her, Snoop Dogg, Mick Head. I haven't seen Mick Head yet. I guess he came a lot later. But Snoop has a lot of screen time in the episode that we're talking about today. Yeah, Spiller, you had Kelso bangs a pot right in Snoop's face in this episode.

Yeah, and he held it perfectly. Didn't even flinch. I can't remember if he put earplugs in or anything. That's crazy that you guys recognized Arlene. She was on the show from pretty much the beginning I can't remember if he put earplugs in or anything. That's crazy that you guys recognized Arlene. She was on the show from pretty much the beginning all the way till the end. I don't know if everybody did season nine.

And you do refer to her when you talk to all of the other background. I do? Yeah, yeah, yeah, yeah. Okay, wow, how did you find that so quickly, by the way? I'm very impressed with you right now. Because I remember her. I knew exactly who they were talking about And you know Facebook is a is one of those things where everybody

Keeps in touch. So once they said that I was like, are you still using Facebook? You're friends with her on Facebook Yeah, are you just need to look her page up? No. No, I'm friends with her on Facebook I'm friends with everybody with everybody that we work. I didn't you see I don't even go on Facebook anymore, but Donald you're still on there getting in getting in arguments with everybody No, I try to stay away from all of the political That's why when I turn on and I turn on Facebook these days and see everyone battling each other. I'm like, I'm out Good night Facebook in the south and with all your you know know, conservative friends and stuff that's on there, that's a whole different, you know,

I'll bet that's tricky. Yeah, I'm in LA, the most liberal place in the world. And I'm like, nope, I'm out. All right, guys, you have another question? Well, we were talking earlier and, you know, we were kind of both racking our brains. Like we really wanted to come up with some profound, you know, like deep question to ask, but really all I could to come up with some profound, you know, like deep question to ask.

But really all I could think of to ask would be, you know, obviously Scrubs is one of our favorite shows, but what do you guys consider to be your favorite TV shows? Like of all time? That's a great question. I, wow. Let's make Spiller start since he's the guest. Yeah, Spiller, you go first.

Michael's a very, very fancy director. Let's see what are his TV shows favorite, Spiller start since he's the guest. Yeah, Spiller, you go first. Michael's a very, very fancy director. Let's see what are his TV shows favorite, Spiller. And you can't say anything you've directed because we know Scrubs is number one. That's correct. Well, slightly different genre. The Wire. Yeah, a lot of people.

Absolutely. I've watched that all the way through twice. Also, Narcos. I've watched that all the way through twice. Also Narcos, I've watched that all the way through twice. Really? I just watched Narcos Mexico, which was really well done, but I didn't watch the original Narcos. I'm writing down this list, by the way, because the Wire, sure, but I haven't watched Narcos, the first one. Narcos is great. Currently, I love Ozark. Okay. When the current season ended for me when I got I got through and I was really really bummed out just wanted more He hasn't watched yet

Now you're covering his Now, now. I'm really trying to protect him from the sport. He's a lip reader. Now, you're covering his eyes and ears. But do you guys not watch shows together? Because I find if my girlfriend and I get off of sync in watching a show together, it's all hell breaks loose. In fact, I'm currently re-watching a show I've already seen because I want Dead to Me, which is really good. And we want to watch season two. But now, in order to watch that,

I have to rewatch all of season one with her. With the newborn baby and her own maternity leave, she watches a lot more TV during the day while I'm at work. So sometimes I try to catch up, but I haven't had time to catch up on those or. I really want him to go back and watch it. I would totally not mind going back and watching it again with him because it is so good.

But normally, yeah, when we we actually it's pretty good for us because we have very similar taste in television shows. So yeah, works out. So what's your TV show, Zach? Well, I'm going to recommend one that I can't believe is this underrated because I never hear anyone talk about it. And it's called Patriot. And it's on Amazon Amazon and there's a few seasons. Spiller you ever watch that? No, I haven't. It's amazing. You're gonna love it. Steve Conrad is the showrunner and really really amazing. That's like the best last show I saw. I really really love that. What about you Donald? I'm embarrassed because my shows are

Nothing about the shows your embarrassed. So my favorite shows are Shows like the Clone Wars and Star Wars rebels and recently Mandalorian the Mandalorian. Yeah, yeah like Mandalorian a lot that that I don't know those are those are the type of shows that I enjoy watching I don't watch a lot of television but when I do watch television I prefer to watch Star Wars related things related documentaries do you find that now that sports isn't on Donald that you have a lot more time on your hands because you normally like to watch a lot of sports. So I've been doing a lot of animating as of late because sports isn't on.

I'm a stop motion animator by hobby. And because sports isn't on and I'm not sitting in front of the TV at night, after the kids go down, I find myself in my animation room animating. So it's making you more productive, actually. You're getting really good at it. Well, I don't know if it's productive. I mean, it's a hobby. It's not like I'm making things

that are gonna get put on television and are gonna be. Well, you never know. You could do a robot chicken type thing and make your own TV show. Absolutely know, you meant we mentioned Seth Green earlier and how Spiller worked with Seth Green. It wasn't for Seth Green. I wouldn't be animating like I was looking for an outlet like most actors do when they move to Hollywood that hasn't that isn't just acting. I realized I didn't want to be a director. No offense, Mike. And I realized I didn't want to be a director no offense Mike and I realized you know I don't necessarily I don't I don't necessarily like hanging out on

set all the time which directors do you know they arrive before actors and you know they leave after all the actors I realized okay that's not for me way more stress with way less money makes no sense yeah I realized, okay, that's not for me. Way more stress with way less money, makes no sense. Yeah, I realized I need something to do though that's gonna fulfill my creative itch other than acting. And I remember doing, taking a stop motion class when I was a kid and my buddy, Seth Green, had me do voiceover work for this little project he was doing called Sweet Jay and it was stop motion

animation. I was like, dude, I'm totally into this. I'd love to come and check out where you film this. And he brought me down to the studio and introduced me to a bunch of animators and the rest is history. And now I do stop motion animation as a hobby now that my television at night, if there ain't no Mandalorian and or if there ain't no Star Wars, something that needs something to do. And you're getting really good at it. I've seen him on Instagram. Yeah, I'm working at it. Check out Donald's Instagram. You can see his progress.

Or go on YouTube and watch his old Lego ones called Black Storm Trooper. Yeah! But I think you've gotten a lot better since Black Storm Trooper. Yeah, absolutely. But yeah, that's that's so my favorite. My favorite television has always been like cartoons and stuff like that. I enjoy animation very much. So the Clone Wars rebels.

Yeah. Just to bring it closer. I will be checking out your Instagram, Tom. Yes. Not now. After the show. Give me a your Instagram, Donald. Yes. Not now, after the show. Give me a follow back though. I think I do follow you, bud. Damn. Okay, give me a shout out or something. All right, Whitney and Justin, thank you guys so much.

Good luck with the new baby with the beautiful baby. Thank you. Thank y'all. This has been awesome. Nice meeting you guys. We really appreciate you joining us and And stay safe stay inside stay safe What do you have we're getting to the end I just wanted to say that yeah

so I I heard this song new slang and then I just loved it so much that I years later put it into Garden State and I want to credit Neil Goldman for being the first person to introduce me to that song. Amazing. Finally, he's getting his props. Finally. And Spiller, you I think were the very first to do a very cool crane shot out of the window. That was a really cool shot you did where you started inside the window and then craned out. I thought that was clever.

Thank you. Signature move of mine. We ended up using that a bunch, but you brought that to the table. Well, the table was ready for it. Well, that's a question that I have for you, Zack, because I know that you used crane shots in your stuff. Yeah. If Spiller's the first one to do it, that made it so that other directors when they came on, they were like, so I saw the crane shot in episode 113. What are the chances that I get to use a crane on this? Yeah, I think, you know, the crane

was always a pricey thing and both time, you know, obviously the rental of the crane, but also the labor of sending it up and practicing it and rehearsing it. So I think within an episode, usually you could say, hey, to the line producer, you'd say, hey, can I get a, I'd like to use a crane for this scene. And I don't think, it was very rare that they ever said no, particularly to the directors they liked. But yeah, I think that crane shots are really cool and they give the show scope and scale and can be really beautiful.

In that end montage that Michael created here, which was beautifully done, it was the most perfect way to end it, coming out. I believe you had to build that crane on the rooftop in order to get it. There was a lower roof. Yeah. Then he came out through the window and then tilted up to the sky. So yeah, I mean, I think cranes were introduced as part of the sort of the language of the show.

And then he ended up. By Spiller. He said it was his signature move. Well, what I was saying specifically, I don't know, this isn't the first crane shot on the show, but the idea of the camera was within the room and then came out the window and then went up to the sky.

And I think Spiller was the first person to do that. And I think we copied that many, many times more. Have you gone on to use that on other shows? Yes, I've done versions of that shot on other shows too. Is that what it is? It's always cool where you sort of like, especially especially we didn't have a techno crane or anything, I don't believe, but there's a type of crane where, you know, the arm itself extends. It's like a telescope. Yeah. So I mean, you can really like, you know, it can actually physically be inside the window. I think we probably

hit a zoom in the shot as well to sort of make it appear as if we were in there in a close-up. So you can do shots that appear to actually travel through the glass somehow. And nowadays, in fact, I did a really cool shot in going in style where you can camera or pull back through the window and then in post now add, we added a taxi cab door. I had the shot of Michael Caine where he's in the cab and the camera's in the cab with him. And we took the back door off the cab and we pull out and out of the cab and the cab drives off. And then in post, we added the cab door. It looks so cool. And most people who aren't filmmakers wouldn't even know

how hard that was to do. Exactly. And I think with any of the bells and whistles that we pull out and the tricks that we use, it's part of the fun of being a director, it's part of the fun of telling the story. But sometimes, and this is often true with directors who are former cinematographers, you can get caught up in the gadgetry and the toy of it all and Forget that you're telling the story. So it's first and foremost It's like yeah cranes are great all these devices are great if they're supporting the story or if they're underlying the comedy or they're making a dramatic moment more dramatic or whatever because they do take a lot of time take a lot of money and

often Can be misapplied. Yeah, and I think the job as a director is to go, when am I going to spend, when can I afford to spend time and money during these five days? So the way I would shoot Scrubs when I directed it was you'd go, okay, in order to save time to do that elaborate shot I wanna do,

I need to really get through this dialogue scene quickly. Now, I don't want to rush it because it's important, but if I just shoot this one really simply, then I'm banking time for later I can do that elaborate one or later I can do that tricky crane shot. But you have to pick and choose because you have to fit it into 12 hours. They used to let us go longer, but nowadays, I don't know if you find this on your other shows, no one wants you to go over 12 hours. And frankly I don't want to either. I mean

Scrubs was unique, M.Sex and City was the same way, our hours were really really long but it was a similar energy on set where it's like everyone just enjoyed each other so much you know you never as much. The work was was high quality and you know Then no one was telling you to stop spending money. So, you know, you just kept going till you got it But it's you know, frankly, it's unsafe these days. I feel maybe some a tiny bit older that You know my work doesn't tend to improve after 12 hours. Yeah, and everyone gets cranky and it is unsafe. There's been plenty of instances of crew members who have to be there longer hours, whether

it's teamsters or transport guys or camera ACs who've gotten in accidents or even died from just being in preposterous hours. So it is a safety thing. But we used to go, I mean, we'd have 16, 17 hour days on Scrubs. When you guys on one of the earlier shows were talking about like favorite cameos and all that sort of stuff, and like the sort of fantasy cameos. Rerun, I got a picture of you. I know there's the rerun one, which I love that photo. But there's also Dick Van Dyke.

Yeah. Did you direct that episode? Yes, and I mean when you sung with him in that moment when we were all just hanging out, I mean it's like I get choked up, have you ever seen? It's not habits. Have you ever seen the grass so green or a bluer sky? Okay, so that's beautiful story. It's a jolly holiday. Yeah, Dick Van Dyke was on the show and I got to sing Jolly Holiday. Well, I didn't sing, he sang it and I played the guitar while he sang it. There's a tape, there's a recording of it out there somewhere. I don't know where it is. I know I shot it.

Yeah. On something, but I was like, did phones have video cameras then? I mean, I can't remember, but I know I shot it. It's out there somewhere, somewhere, somehow it could be found. I don't know who't remember, but I know I shot it. It's out there somewhere, somewhere, somehow. It could be found. I don't know who has it, but yeah. Well, Spiller, you've been a fantastic guest. This is the longest we've ever had a guest on the show.

We're gonna have to cut this fucking way down. We gotta cut this down. No one wants to listen to 147. No, I wanna be sincere for a second and say, not only are you a fantastic guy, but I, as a filmmaker, learned a lot from watching you to listen to 147. No, I want to be sincere for a second and say, not only are you a fantastic guy, but I, as a filmmaker, learned a lot from watching you because you are talented and you not only direct

a beautiful episode, but you're so charming and everybody loves you on set and you are a great leader and I'm not surprised that you are successful and have an Emmy and I hope I get to work with you again soon. Thank you, Zach. That's so kind. I hope I'm one of those actors that you're like, you know what?

I got a guy. Don't worry about it. Yeah. You know what I mean? Bring Donald Trump. I really enjoyed our time together. You know, it shows by how long this podcast episode was too. Very long.

Hey, just keep going because I directed the next episode too. It could be like a twofer. You'll be ahead of schedule. I didn't watch the next episode. Yeah. Yeah, he will. We promise. Well, I'm available if you ever want to bring me back. We're going to have you back. You've already gotten a callback. Ladies and gentlemen, thank you so much for tuning in to Fake Doctors, Real Friends. I'm your cohost, Zach Braff with, what's your name again?

Black Scrubs, Donald Faison. AKA Tay Diggs. We love him so much. AKA Brown Bear. AKA Turk, Turkelton. AKA five, six, seven, eight. Here's some stories about a show we made about a bunch of docs and nurses Five, six, seven, eight.