Inside of You with Michael Rosenbaum - MADS MIKKELSEN & BRYAN FULLER: Finding Humanity in Darkness & Dust Bunny Creative Trust

Episode Date: January 27, 2026

Mads Mikkelsen (Hannibal, Casino Royale) and Bryan Fuller (Dust Bunny, Hannibal) join us for a wide ranging and deeply personal conversation about their creative partnership, trust between actor and director, and the strange beauty found inside dark stories. Mads reflects on his unconventional path into acting, his background as a dancer, and the emotional discipline required to disappear into complex roles without carrying them home. Bryan opens up about his childhood influences, his love of horror, and how Dust Bunny became a love letter to Amblin era storytelling with a darker edge. Together they unpack Hannibal, vulnerability in performance, working with icons like Sigourney Weaver, and why curiosity and humanity are the foundation of great storytelling. Thank you to our sponsors: 🚀 Rocket Money: https://rocketmoney.com/inside ❤️ This episode is sponsored by BetterHelp. Give online therapy a try at https://betterhelp.com/inside and get on your way to being your best self __________________________________________________ 💖 Patreon: ⁠⁠https://www.patreon.com/insideofyou⁠⁠ 👕 Inside Of You Merch: ⁠⁠https://store.insideofyoupodcast.com/⁠⁠ __________________________________________________ Watch or listen to more episodes! 📺 ⁠⁠https://www.insideofyoupodcast.com/show⁠⁠ __________________________________________________ Follow us online! 📸 Instagram: ⁠⁠https://instagram.com/insideofyoupodcast/⁠⁠ 🤣 TikTok: ⁠⁠https://www.tiktok.com/@insideofyou_podcast⁠⁠ 📘 Facebook: ⁠⁠https://www.facebook.com/insideofyoupodcast/⁠⁠ 🐦 Twitter: ⁠⁠https://twitter.com/insideofyoupod⁠⁠ 🌐 Website: ⁠⁠https://www.insideofyoupodcast.com/⁠ Learn more about your ad choices. Visit podcastchoices.com/adchoices

The most iconic story is my assistant scoutmaster was a serial killer. And there was a serial killer on the loose in my hometown. What? I think we have a phrase in Danish expression. It's like the butterfly dust. It needs to be there just sufficiently enough for you to be on your toes. There was this surreal disconnect of being in a horror movie, but being BG. If I had carried him home, I would have been happy.

He's probably one of the happiest characters I've ever played. I mean, the dark side, the darkness. that is in with him and he's he's turned it around right never had a dream of being an actor never never had a dream of being a dancer i just as brian said it was kind of out of my reach do you ever lose your shit did you have any reservations about the role do you think immediately in your head i'm never going to hire this person again how do they make your eye bleed when did you realize i'm pretty good you're listening to inside of you with michael rosenbaum thank you for uh joining me Ryan, always a pleasure.

Thank you for having me still. Yes. If you're not around, I probably won't be around. Oh, I don't like to hear that. Well, I mean, it's a team here. It is a team here. It's a team, you know. And good news, it looks like for the Smallville Cruise we're doing,

cruisville.com, Ryan might be a joining. What percentage do we say we're at with that? I'd say it's a 70% chance. Okay. I'm working it. All right. Working all the angles. Thank you.

Great show for you. You want to listen in. We have a few things to say, but Maz, Mikkelson and Brian Fuller are here. Brian, a friend of mine who directed Dust Bunny, which I think you'll absolutely love. And Maz was, well, one of the leads in the movie with Sigourney Weaver. Really freaking cool movie. So you have to check it out. We'll get into all that.

This is really a fun podcast. And everybody loves this guy. if you haven't seen, if you don't know the name, just look online. He's riveting to watch. He is absolutely riveting. Yeah, I started going down this rabbit hole of Mickelson rolls and films and not to be confused with Nicholson, but I guess he's the Danish Nicholson, isn't he? He's Mickleson.

Yeah, I was going to do it. Is that a, do you have a Nicholas Cage in your, oh, I was thinking Jack? Yeah. I was thinking, I was doing Nicholas Cage. Yeah, I don't really do Nicholas Cage. I should try. I think that's in your real house. Well, I don't even know what you're saying. It's almost like, I got to work on that shit. We're working on this. We just had our 400th guest on and it was so much fun. Tom Wilson, who was Biff and back to the future and done some other stuff. That's awesome. But a lot of good response that thing's gone viral. So you might want to check that out. Also, the Allison Mack episode aired. You know, about Colts and all that stuff.

Some great guests coming up. We're really excited about this. A few things. Go to the inside of you online store if you want inside of you merch, Tumblers, which are, you know, coffee cups that are unbelievable. Keep your stuff hot. Hats. Tons of small of those stuff.

Lunchboxes, small of lunchboxes and scripts and signed by me, pilot episode, Lexmas, along with Funko pops that you can't really get any. are anymore but they're here and they're mine and I'm signing them for you I'll go to the inside of you online store go to my Instagram at the Michael Rosenbaum for all the information on my link tree cameos where I'm what cons I'm going to a lot of cons get yourself a talented fart or the talented farter my book on Amazon it's all in the link tree along with Rosie's puppy fresh breath for your dog's breath just drop it in your dog's bowl and add water or you just put in their water that's it's it's it's it's

odorless and tasteless and they'll love it and their breath will be better. Anyway, that's all I got for you. Thanks for listening. Make sure you join patron. This podcast can't survive without our patrons. There's tons of perks, tons of tears that you could be and get gifts for me and zooms and get to be on the show, get to be on this show, get to ask questions for this show and much more. inside of you, Patreon.com slash inside of you. So why don't we, without further ado, let's just do this. Let's get inside of Maz Mikkelson and Brian Fuller.

It's my point of you. You're listening to Inside of You with Michael Rosenbaum. Inside of You with Michael Rosenbaum was not recorded in front of a live studio audience. Are you in Copenhagen or are you in Mayorka? Yeah, six o'clock in the evening, Copenhagen. All right, so you're ready to be done with the day, and we're the last thing. I'm going to start my day now. Is that right?

Yeah. Well, look, I'm excited to have you here. I'm a big fan. I don't know who isn't, but, and I got Brian here with me. So this is very exciting. I have a lot to say, and probably little time. We have an hour to talk to both of you, and normally I don't talk to people who are in person and in Zoom at the same time. but we're going to do this because I can.

We're digital physical, Mads. By the way, Mads, are you a horror movie, Sam? Yeah. Yeah, I'm a kid from, I mean, I'm a kid from the 60s, you know, 70s and 80s. It was all about sneaking into the movie theater and get to see some R-rated stuff that you are not allowed to see, which was doable in Denver. Really? They didn't care. You just go in? They didn't care. No, they didn't care. I think I was very little when I was the first.

like 11 or 12, I snuck into a theater with some friends. Yeah. Do you remember the movie? No, it was always like a double feature with some karate stuff, Karate King, Karate Queen, and then soft porn sometimes. Eventually, I got to see Halloween, the first Halloween. And that was a game-changer for me. Was Halloween a double feature with Deep Throat?

That was the one, yeah. I saw that together. Why did you know that, Brian? Because we've discussed both. We talked about that, yeah. Really? Yeah, it was interesting. We were like these four kids who always went and stored double features.

And we all always had a little extra money on our pockets to go and, you know, play on the flip-flop machines or whatever. And that specific day after Halloween and deep throat, we all had homework. We had to get home. Well, look, Brian, you created Dead Like Me, pushing daisies. Star Trek Discovery, Hannibal, the new movie you directed and wrote Dust Bunny, which we'll get into, starring this man here, Mads Mickleson, Mads Casino Royale, The Hunt, Dr. Strange, Rogue One, Hannibal, one of my favorite movies ever, another round. I didn't have any idea that movie was going to hit me like it did.

And it was so original. And when you start dancing at the end of the movie, I thought it was going to be just like a three, second dance and you just kept going. And I freaking lost it. I absolutely lost it and loved it. And I had no idea that you were a professional dancer for years, right? Yeah, well, neither did my body. It was all gone.

I was very rusty. And it was fun doing it. We did it for full day. But I needed a couple of weeks to recover because we wanted me to be rusty. So I couldn't really get in shape for it. Yeah, it was a, it was just. It was a beautiful film for a lot of reasons. It caught traction.

The shutdown, I guess, is one of them. Everybody was sitting back home and trying to remember what the life was about. And then all of a sudden, this tribute to life came on that TV screens. And I think that had a major impact for people who was isolated. Yeah. Did you improv any of the dance? Was it all you or was it choreographed by you and someone else?

Yeah, someone else and me did it together. together and then we had to adapt the little ones we got out there because it was on cobblestones so we couldn't do any of the stuff we planned. So we had to change you on the spot. I want to know if you could break dance. No.

I mean, as I said, I was a kid of the 80s. I had some friends who did breakdance. They taught me some moves. And I was an old gymnast so I could do some crazy stuff. But break dance, break dance, no. It was beneath you, Matt. Yeah, it was a little beneath me.

Yeah, it was beneath you. All right, Brian, look, I met you around town. many times and I just love your energy. Thank you. Well, you have a way of making people feel really comfortable. What do you think it is about you that people, that attracts people to you or your projects? You make me sound like human poppers. Like everybody just sort of vaso-dilates.

Well, it's true. It's just like, you know, you came up to me at a party once and you made me feel so comfortable and warm. I like people. I genuinely really like. people. And I think that's probably a big part of it. And I was going to ask why you were talking to Maz about another round. Did you see Writers of Justice, which came out the very same year? No. Okay. Go see Writers of Justice. Because those movies came out the same year and another round,

which is a wonderful movie, got a lot of attention. But my favorite of that year was Writers of justice. Really? Yeah. What's your favorite, Mads? Oh, I can't tell. I've got to. I A lot of people wants to kill me. I love them both. I think they're very, very different films. I mean,

writers of justice is a dark, dark comedy, but also very poetic. These are two of my favorite directors, including the one you're sitting on the sit now.

I covered all the bases, I've never. No, it was a fantastic year for me to make those two, in my opinion, great, great films. Yeah.

What is it about Brian then? Brian just said, but he loves people. And you were like, you love working with Brian. What is it about him as a director, as a person? Well, yeah, Brian loves people. Brian is very, very curious. He wants to. There's not a lot of people like him who can have people tell their life story

within five minutes of meeting him. He's got a very open mind. Nobody directs, nobody writes like him. It's a complete different universe. It's his own universe and nobody is like him. And it always surprises you. You can turn a page. You have an idea where it's going, but it's not going there.

It's going somewhere else. And it's wonderful. It is that there is absolutely nobody like Brian. Yeah, Brian, you were, I know you're blushing. You're blushing hearing Mad say that. But weren't you doing like working on a Friday the 13th project and then, you know, creative differences, something happened and it got you. to focus on dust bunny well dust bunny came first oh it came first yes and then uh crystal lake is a

whole other story that we should probably discuss closer to uh that coming out okay there's a few open cases at the wGA against the studio oh no wonder you can't really yeah you can't really talk about i mean but where did dust bunny come from dust bunny came from amazing stories so this was a story that was originally going to be an episode of amazing stories. So we got to develop this with Steven Spielberg. It has a bit of that Amblin moon dust sprinkled on it. And it was designed to be an episode of the show that was Valentine to Amblin movies of the 80s. So all of those kind of gateway horrors of E.T. Indiana Jones Temple Doom, Goonies, Gremlins, that was what we were amaging. It makes perfect sense when you watch it.

And I, you know, I watched this and I watched it in the middle of the day because I had to watch it fast because I was going to watch it double speed. No, no, I swear to God, I did not watch it in double speed. But I just, it was so charming. It was scary at times. It was funny. It was a fun ride. The acting I honestly thought it was great. I thought those scenes with Mads with you and Sigourney were just, they're hilarious and very.

subtle. You know, one of the lines that just killed me. It's not even a big thing, but you're like, who's trying to kill me? Everyone. Everyone is trying to kill you. It just doesn't matter of fact. You know, with that dialogue, when you're reading it, did you know exactly what this is, mads, or did you try different things? Did you know the pacing was going to be as it was, or were you surprised to see it after? No, I worked with Brian for three years. So I kind of know he's universe, even though this one is aimed, quote-unquote, at kids. Did we get an R-rating, Brian? Yes, we got an R-rating.

All right. You brought it back into your hands, I guess. We're naughty boys. No, I know that the tone of Brian, and I also think he's very good at picking people who understand his tone. If you don't get it, it's going to fall apart. You know, there's a certain tonality to the whole thing. Obviously, she's going, he knows what she's doing and everybody else.

The big deal was like, what about the kid? The kid doesn't know irony. She doesn't know that little offbeat. But she did. She nailed it from the get-go. A million percent. I was just going to say what a delight Aurora was. And I love that your character can't pronounce her name.

Yeah. It just keeps up. It's not my character. It's me. Was that kind of improvised? When a master read the script, he, said love the script but you're going to have to change the name because I can't pronounce it and then I was like well let's make it a bit and we did but when we were filming it he was

pronouncing it correctly so we had to loop all the mispronounce pronunciation right because he just got used to it and started saying it right right I love to be honest I mean that little Sophie she hadn't she just didn't understand what I was saying when I said it she was just looking at me like so We came up with the ideas that she should just correct me every single time. And the visuals are just crazy in this. I mean, you had no idea a lot of times, Mad, you're doing this. And just the work you did on the visuals was just like amazing. Even from the first shot with the dust ball gathering dust and like, you know, coming together.

It was just, it was, it was, it was suspenseful. And you didn't know what was happening. Is this a kids movie? No. No, no, it's not. It's sort of... It would like it to be. It's sort of for everybody, really, in a way.

Because Goonies was dark in a way, if you look at it. Goonies is a full-on horror movie. It really is. Those kids are in danger. There's mafiososos murdering people left and right, and they're running for their lives. Yeah. It had a little... I don't know, maybe you'll be insulted by this, but I hope not.

But like, that world of, like, City of Lost Children. I mean, that was definitely a touchstone for us. We talked a lot about the Jean-A Caro Collaborative. What? What? of City of Lost Children, Delicateson, and Jonez Amelie. So those kind of French maximalist movies were part of our vocabulary as we were building this movie. This show is sponsored by BetterHelp. The new year doesn't demand a whole new you, maybe just less burden to you.

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Take control of your well-being and book an assessment today. Medcan. Live well for life. Visit medcan.com slash moments to get started. Mads, were you like whatever you want to do, Brian, I'm in kind of thing. Because you did Hannibal. Was it one of those things where you were going to do it anyway? Yeah. Yes, for sure.

And also when you talk about the visuals, that was one of the things that stood out to us after we did the first episode or maybe the first two episodes, then Brian showed it to us. I mean, on paper it's crazy what we're doing, but we're so occupied. I'm trying to nail the characters were in the middle of the beginning of trading this. But once we saw it, everything was lifted, you know, just the opening sequence,

the colors, the density of the light. I was never in doubt who was going to do something spectacular with the visuals here as well. This is something you can't read. You can't read it from a script. You just have to trust you direct doing that. And for that reason, yes.

As I said, I love the story. I love the script. There was a simplicity in the story that was so beautiful and a tone but then I come and then I see okay I'm going to do this crazy nine minutes battle with a guy

and I'm in an oriental pajamas okay why am I in a pajamas what's going on and I have to feel those questions I went like yeah okay it's the universe it's the universe that he's creating and then I'm very picky with what I'm wearing

as a character and this one I was just like surprised me keep throwing it at me. Are you all, you seem like you're so calm and collected. Like nothing phases you, you go with the flow, you're fun to work with.

Do you ever lose your shit? I'd love to see you. You do. Yeah, for sure. I mean, I mean, there are certain things where you go to the floor.

As I said, I can be very, very picky. You can be very stubborn with certain things. That just doesn't make sense. And if they haven't persuaded me yet, they need to try once more. You know,

But in a world like this, it's a different thing because there's a lot of things that doesn't make sense for the characters as well. And then I have no, when I trust people, I have no fear of leaning in and just go with the flow. Yeah, you know, I saw this outtake of Gary Oldman preparing for Dracula and he was auditioning with Francis for a couple. Maybe you've seen this, Brian. And he was like, you know, Francis is like, Like, you know, I want you to do this. He's like, no, I'm a 10-foot bat. I don't, I'm sorry, but I don't, I don't feel it.

I don't, you know, and he starts going on. And it's like, you can see his intensity. It's like, I don't, I can't be this character right now in a way. I got to see that. That's good. He also said there was an interview and he goes, so you were a little combative with Francis Ford Coppola, Gary? And he says, when you're in an industry like this, you've got to have a great ego.

and Francis Ford Coppola has an ego the size of San Francisco and I've got a pretty big one too I just was like oh man the guy's a dream have you worked with bad directors and what differentiates Brian from that I've been lucky I've worked with a few

that really didn't know what was going on anywhere and not even on the paper that's a nightmare it's a nightmare and normally only you would have spotted that long time ago, so that would be a thing that you would turn down, but sometimes you don't spot it,

because it might be something else that persuasion you were. But it's been very few times. And you're working with a director that knows what they want is a dream. That doesn't mean you can't discuss things. It doesn't mean that you can't be not on the same page, but a good director will always take that discussion. And even better, they might do two versions. listen, just do what I'm telling you, shut the fuck up.

And I'll give you your version as well. And we'll see that. We'll look at it later, right? Yeah. That I enjoy. I have a feeling Brian is one of those directors that maybe I'm wrong because I'd love to work with you and I told you that. But, you know, it's cut. Great.

I love like a really vocal human being director. Or are you not? We're like, okay. Well, it's, it's, I think when I was working with, uh, Mass and Sigourney in particular, they're both such icons of cinema and you have to maintain a certain level of modicum. Or a modicum of professionalism. Yeah. And so I have no idea how I was coming off as much as I was just trying not to seem like an asshole in front of these two professional people that I respected.

Makes perfect sense. What was Sigourney like, Mads, had you had met Sigourney before working on this movie? I have not met her, no. I work with a few icons in my life, some Danish ones that I was, you know, I watched when I was a kid. She's someone I grew up with. And then there's always a risk that you can't get rid of your fan boy hat. You need to get rid of it, right? Because at the end of the day, you need to make a steam, right?

And if you're wearing a fan boy hat, it's not working. And so she made that job very easy because she's so down to us. She's obviously fantastic actress, but she's also so funny. She's really funny in private as well. So she made it easy, I think, for both me and Brian to take the fanball ass off. Yeah, because that's happened to me before we're like, you know, I'm working with some huge actor. And I'm like, all right, all right. And then I get it out of my system.

And it's like, okay, now I have to listen. I have to listen to the actor. I have to listen with what I'm saying. Have you ever been starstruck? Were you a little starstruck with Sigourney? Yes, but I am not super star-struck when it comes to people from my business. I tend to be star-struck when I need people

from the world of sports. So, you know, met Roger Federer. I can start stutter. You said bold. I started stuttering there. I haven't met messy, but I'm sure I'm going to stutter a lot if I meet it. It's the world that I look up to. I understand this world.

I understand people who are stars and people are not stars. So it's a little easy for me to be less starstruck. One thing about starstruck, being starstruck. Yeah. Sigourney was very starstruck with Mass. And was so... What? Really? Of course. I should be cute. I know, but I thought Sigourney was like she's worked with like, you know, all these, you know, so I think she'd be starstruck.

She was so enamored with Mass. And every time we would do a rehearsal and one of them, Mass got up to go to wardrobe, she would fan herself very ladylike and say, I am very enamored with our DNA and it was so cute. Did she say that in front of Mads? No, no. She didn't say like Maz would leave. And then she would say, I'm very enamored with our leading man and fan herself. And then if she left, Maz would express similar enthusiasm and appreciation of Sigourney, but less ladylike. Did you tell him other than right now that she was not until afterwards?

Afterwards. And he was funny. He wanted her for himself. Yeah, yeah, yeah. Oh, and when I told her, she was like, well, you just made my day. and was on helium heels the rest of the day. You know, Hannibal, how did you find your Hannibal? I mean, how did you audition people?

The casting process was frustrating as you probably know, from experience and a lot of the executives weren't familiar with Mass's work. And I tried to educate them, and it was one of those situations where everybody wanted mass and the executives were like, who? Because they just weren't aware of world cinema in a way that they should be. So it was a challenge and mass was incredibly helpful in the process and was like,

whatever you need to convince these people. And it was a long, arduous process. Was there an audition? Yeah. Tell me about that. that mass. I can't remember how many we did, though. I mean, did I do a few. I did it with you, Dan. Luckily, I knew you really well from my very first job abroad, King Arthur. Years ago, we were sitting on a horse, no, two different horses for six months. And I loved the few, and we stayed in touch

ever since. And then this came up. And she was also a supporter of it being me that was playing Hannibal. So I had Brian and I had Hugh. and I don't know who else I had, but... David's Laid was definitely... David's late, yeah. And then there was obviously the whole idea of... They've already pictured that Hannibal is... If he's not British, for sure he's from Wales, right?

He's got to... And not to spoil anything, but I am not British, and I cannot put it on a British action. So, but he's from Lithuania in the books, right? So I kind of did my best Lithuanian accent, as I call it. And I was crossing my fingers. I think they had to get used to that it was not, you know. We spent the first couple of weeks, you know, working on one single line.

What was that? A fragile little teacup. That became like the big topic behind the scenes like, no, no, it's a fragile little teacop. Yeah, a fragile little teacob. No, no, it's a fragile little. get their fuck you know so that was that topic for some of the people behind the scenes but but once we got that settled it was it was one of the things I'm most proud of in my life it's been it was a fantastic journey yeah incredible did you have any reservations about the role being you know

that obviously the OG Anthony Hopkins were you like oh my god I'm going to get like compared I put this one first I didn't read it for a while because I was like oh and not a sword and sandal film. I thought it was Hannibal the guy with the elephants. And then, oh, it's a bad handibor. And then I was a little reluctant reading. It was like, how, how are you going to wear those shoes? That's just, that's insane, right? But then I met

with Brian and he pitched the first 88 seasons, I believe, of what he had in mind. And I realize it's a completely different animal. This is Cheevy. We're building it up slowly, slowly. We can get with something that they never had the chance to do on the film. So for that reason, we took the chance. But it's scary to try to.

And we didn't try to. We stayed away from copying anything Anthony did because he did it to perfection. No reason to commit creative suicide there. Yeah. I feel like is that a role where are you able to shut off, like turn off that role? You know, the switch is I go home or they say cut and I'm Mazgan. like I'm okay? Or is it something that you brought home

and your wife was like you're creepy? I know, I don't, I never bring home characters at all. I mean, I'm not that kind of an actor. I, I get colored a little by the mannerism of a character. He,

his manners are very different than mine. I'm a straightforward working class kid. And having that refined taste in my, in my movements, in my language, in my taste of music, it kind of rubbed off a little. And so that was fun.

I didn't mind that at all. But I don't carry him home. If I had carried him home, I would have been happy. He's probably one of the happiest characters I've ever played. I mean, the dark side, the darkness that is in with him, and he's turned it around, right? He sees beauty on the threshold of death, the opposite of what we do. So he's probably one of the most positive characters I've ever played.

I want to know who runs lines with you. Everyone I can get my hands on. Anyone who came and visited me in my son, he picked up English, just running my lines, my friends coming over, you know. And I had to also direct them in like, you've got to keep an eye and an ear on the teeth and the edge. You've got to lean on the British. So they were, there would be my cultures, everyone. American Skyjacker tells the story of D.B. Cooper Copycat Martin McNally, who hijacked a plane and jumped out with $500,000.

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From people like Alan Richon, Kenna Reeves, Kristen Ritter, and a lot of others along the way. So if you're newer here or if you've missed some episodes, there's a ton of great conversations in the archives worth checking out. And if you're enjoying the show, make sure you're subscribed wherever you're listening. It really helps support the podcast and make sure these episodes show up for you every week.

And before we get back into it, Here's a quick preview of what we've got coming up next week. Did you ever think there was a way out or you thought this is how I'm going to keep living? I knew there's a way out. I didn't want to take it. By that, I have evidence of that. I didn't really fully understand it at the time. When I finally got so bad, I had the DTs and I just didn't know where to turn.

I went, oh, yeah, that thing I put in the back of my wallet. In the back of my wallet, Michael, I had taped a little piece of paper the size of a fortune cookie. I'd cut it out of the daily variety of the Hollywood reported one of those trade papers that just said, Alcoholics Anonymous, 2 and 3, 8, 5, 2,600, or whatever the number was back then, of central office.

I cut it out and pasted it into my wallet with a piece of tape. Why did I do that, Michael? We both know why I did it. I wanted to have, as I have in a hallway of a school or many office buildings in case of fire break glass. Pull the lever hard and the alarm will sound.

All right. Let's jump back in. Now, Brian, you were raised in Idaho, right? Yeah, Washington and Idaho. Washington, Idaho, and Maz, Denmark, two completely different landscapes, cultures. What was, Brian, what was like, you know, childhood for you, where you, you seem like you've always been pretty eccentric? Yes.

It was, it was fascinating. I mean, growing up in the Pacific Northwest, I guess the most iconic story is my assistant scoutmaster was a serial killer. and there was a serial killer on the loose in my hometown. What? From like 8 to 15. So it was very lynchy and it's very ear in the field except the body parts were bigger that they found. Wow.

Yeah. That's dark. Yeah, it's dark, but it was also strangely removed because by that time I had seen Black Christmas. I think I saw Black Christmas when I was like five or six years old. The one with Margottaire and Olivia, the classic. And I loved horror movies. So there was this surreal disconnect of being in a horror movie, but being BG. And, you know, not being in the main cast and just peddling my bike around town looking for bloodstains from where bodies were dropped.

You were like a stranger kids thing? Yes. Yes. I mean, were your parents supportive and who got you in, who influenced you in the heart? movies five years old uh my cousin started me on cronenberg uh wow and with shivers so very very young they're like you got to see this movie and people kiss and then they go crazy and it's an STD and then like children are going to be on leashes and everybody's screwing and it's crazy and i was like great how do i find this film were people were you popular in high school

uh i was uh uh uh i guess popular to the extent that I, people knew who I was, I was fairly well liked. I was, I've always been like a good kid. Like, I was a really good kid. I got good grades. I had great friends. We all had jobs. Nobody was into drugs. It was, uh, it was a very sort of Americana, Gooney's kind of childhood in adventures, but with serial killers. But Goonies had serial killers as well with the Fertellis. Did you know you were going to, from a young age, I'm going to get into theater or cinema or. No, I wanted to.

It felt like it was something that other people had access to that I didn't have access to. And I went to school to be a psychiatrist and I was studying psychology. And one of the instructors said, go to film school because I had the experimental psychology course that I was taking. I used alien as a case study in whether people enjoy a movie for the popcorn thrills or if they actually get something out of the Freudian-Yungian symbols of the psychological experience of seeing a movie. Because an alien, you have mother, mother, the M-U-T-H-U-R, betraying her children for a giant cock. And you have male rape and forced pregnancy and vagina-shaped doors and fallopian tubes. shapeships and biology. I am never going to watch Alien the same way.

Ever again, Mads. It's a big dick-headed monster. Don't make him pitch singing in the rain. I mean, it's not rain. Exactly. Oh, we went there. Yeah, I want you to stay afterwards and kind of dissect me. I'm sure you can.

I'm sure I have a feel like I'm that. When I meet someone, I could, I feel like their energy. I feel, do you feel like you could sort of get to the bottom of someone quicker than most people? If they're willing to go there, and I'm always willing to go there, I don't believe in TMI. Because even if it's traumatic in the moment where you're like, oh, Jesus, you're like, this is an anecdote or this is character research or this is something that, like, no parts of the buffalo will go wasted in a conversation with a human being. How well does Brian know you, Mass? Pretty well, I would say. I think there's still stuff that can surprise each other.

I think he knows not all the stories, but I think he knows who I am. Yeah, I have a hunch. I feel like I, I have, you have, you have exposed your heart to me in many of different fashions that I feel like I can extrapolate a deep, deep appreciation for your, you humanity. But I also think that you just, you see people not only by being next to me and talking to me, but also through the stuff I do. You're very good at analyzing with whatever comes up on the screen, I guess.

What was your childhood like? Great. Yeah, working class background. I loved films. We went, as I said, we went to the movies. and then later on the DVD, it was, not the DVD VHS, and we could rent, you know, like a big movie box for the weekend. And just, I love watching film.

We have quite a few things in common with that. Buster Keaton, Bruce Lee, big heroes. I watched everything, everything they ever did. And I can see today how inspired I am from their physicality. Never had a dream of being an actor, never had a dream of being a dancer. I just, as Brian said, it was kind of out of my real. I thought it was, I thought actors had acting parents. I thought that's how it worked like royalties.

But I had no idea. And then later in life, I realized, that was a school. It was a drama school you could apply to. And then late in life, I got in and I graduated when I was 30. So a little detour. Well, what were you thinking of doing before all that? Nothing. I was living in the moment of life.

I mean, I remember I was jumping up and down, to be frank. I was hyper energetic. I couldn't walk to school. I had to climb to school. I would climb between buildings every day and new route to get to school. And I would always get mixed up and like, what's behind that window? And I would crawl in somewhere. And it was just, I was a very curious kid.

Like the little, what's a little curious George? Curious George. Yeah. That's what it was like. I think at one point I wanted to be not Indiana Jones, but because that was before Indiana Jones were archaeologists. I've seen a documentary about Tutank Amon, and I wanted to go to Egypt and do that.

But I didn't have the grades, so I ended up being an answer. Wow. Were you popular in school? With some people, I guess. We all have our little groups, right? I was small because I was a gymnast, so I didn't grow until I was 17. So I was very small as a kid.

I had to compensate for that. So I had a big mouth, I guess. I also had to, that's why I learned how to, you know, to climb really fast to get out of reach from the big boys. So yeah, big mouth fast feet. Did you get picked on it all? Not like that. I was actually, I didn't like injustices. I would stand up for people, even though I, once in a while you were on the wrong side of history, I guess.

But I didn't like injustice. But I wasn't picked on in that sense. I was pretty fast thinking. So they did deal with that if they tried to pick on me. But my mouth was too big. So I had to run once in a while, for sure. Yeah, that's me. I had a big mouth.

Somebody would say, I have a big mouth. I mean, I don't like to be picked on. I don't like to, you know, when you say you stand up for injustice, I've always been that if someone's getting, you know, picked on or something. I stand up and I get in trouble. Yeah, I was getting trouble because that one you were defending was all of a sudden on the other side. Yeah. Yeah.

How did you, when did you realize I'm pretty good? I don't know. Everything is just, I've never thought about the future of what I was doing. I was always, it sounds so pretentious in a way that I've always been in the situation. I mean, dancing came around because it was a gym mask. They needed some acrobatts in the show. And we did some gymnastics in the background. We did some dance moves as well.

And the choreographer asked me if I wanted to learn the craft because I had a certain talent for that. And then I was like, got nothing else to do. So I stayed around doing that for nine years and got pretty good at it. But I was always in love with the drama of dancing more than I was in the aesthetic of dancing. And then I saw the chance of like, my don't just try to do drama full time. And so I applied for the drama school. and then it was just a day at a day at a time and I did one film that was called Pusher

that when I graduated that came out that same year so in a strange funny way it just became smooth because it wasn't a big, big film but it was quite a revolutionary film in the Danish scene so people knew immediately who I was and then one step at a time

so being good we always doubt ourselves but I like being with friends that were equal-minded and same age and had the same energy. And we loved, everybody loved taxi driver. How come we never did taxi driver in Denmark? What's wrong with this country? So we had that kind of energy of like changing everything. I don't know if we thought about whether we're good or not.

We just thought we were doing the right thing, on the right track. What about role models? Like, were there people? Because like I know that there were certain, whether it's a casting director or or an acting teacher, somebody that said, hey, you got something special

and go with it. That gave you that. Yeah, sure. We had a drama teacher. There's quite a few. I didn't like that didn't do anything for me. But we had one that I think he saw us all through his uni guys. He saw something in all of us.

And his job was to make that grow and make us feel comfortable about that. There was a tendency when you got to drama school that everything you were good at, they wanted to break it down and start over from scratch. He wasn't like that. He was like, let's thrive it. Just let's milk it until you're fed up with that. And then you might want to open a different door.

And now you're comfortable enough to open the door. And he did that. And that made us more brave, I think, to open up the doors. And I loved him. What was his name? Victor Markinson. Yep. I could tell just by the passion, you could see him talking about that,

how he meant to you. Yeah, but the thing is that we all loved him. It was not just an experience for me. We all had that experience with him. What about you, Brian? Instructors. Mentors, somebody who gave you the confidence. Or maybe you just had the fucking confidence.

I think there were, there's always important people and they're usually teachers. And sometimes they're, you know, parents of friends who see you in a capacity that you're not necessarily where that's who you are, but you're, they give you a goalpost of who you could be. And, uh, I remember the first time a teacher took me aside and said, you're better than this. Uh, it was in seventh grade. I was just sort of like cruising through. I was fairly smart. And so I wasn't really trying. And she just stopped and said, you also have to try. Like I know, like so much is easy for you. but you also have to try and you can do better than what you're doing now.

And it was the first time an adult had sort of like looked at me and said, uh, yes and do more and be better and. And you took that. Yeah, I tried. I was like, oh, like I didn't, I didn't realize trying was something that you had to work at. And somebody remind me. And then Mrs. Johansson,

in high school was incredible in terms of just treating me like a peer in a way that also encouraged a playful dynamic. We used to steal the remote control for the TV, and she was old enough that she didn't understand how remote controls worked. So we would always shut the TV off and turn it on and had a lot of fun with just someone who was an adult, but it was also treating us like kids who were intelligent enough to be on their level. So it's always usually a teacher. Yeah. Because you don't find those things in home.

Yeah. Like you're, you're not always going to find the support mechanisms or the inspiration. No, not with me. Yeah. You weren't going to find it at home. You weren't going to find it at home. So that for me was everything when, you know, my, you know,

acting teacher would say, hey, you definitely have something. You just, you have to do the work. Like yours said to you, you know, it's, you know, you could have this ability and this energy about you, but if you don't sort of shape it, um, you know, yeah, exactly. Maz, can you watch yourself? Do you like watching movies when you're in them? Can you watch them? I can watch myself.

I don't have an issue with that. I don't. It's not something I do every weekend. I sit down and gather the family and watch them. I don't have that. There's a lot of actors who have like hot time watching what they're doing. Either for vanity reasons or because they thought they might have done something differently and it doesn't come across and stuff.

I'm vain. I'm vain when I watch myself. on behalf of the character and behalf of the story. I get very, very frustrated if that bit is not there because that was exactly what was telling that important bit of information and now it's gone and now this doesn't make sense. In that way, I can get furious and vain.

I'm not vain looking at my face and going, yeah, 50 years old, yeah, 60 now, here we go. I'm not vain when it comes to that. If they keep filming from a weird angle, I might say, guys, maybe, maybe up there now. Yeah. But it's something that happened really reasoned because I've never had that issue, but I am getting older. And I live with it. In all fairness, if my character is 60, it's got to be 60.

We can't run around it. I remember they were filming me from below looking up a lot. And I go, do we always have to go? From that angle, and they're like, it's a power. It shows power. And I'm like, okay, whatever you want to do. I did that in a film where I had this very tight color. It was a historical piece and some fluffy stuff here.

It was not my skin necessarily, but it didn't help. I was 50 something. So when that went in and they just lifted everything up in every frame, it was just like that, my skin. But didn't anyone notice that we could just maybe untitened it a little? But yes, if anything can come up, but I really try not to be vain in that manner. I really try. It's not that difficult me.

My favorite response that you have mass when people ask you if they've seen a movie is, am I in it? Do you see Sean of the Dead? Am I in it? Then probably not. Probably not. It's become a thing now. Because all my friends in this business are very, very, very much into films.

I am as well. I used to be a lot more when I was a kid. I'm not so much more in these days. I watch sports. So I think it's a nice coach you answer when they ask me, am I in it? It's back. Hey, it's Dan Bongino. I've got some big news for you starting February 2nd.

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Follow and listen on your favorite platform. Brian, what about like watching? Because you know, you're editing, you're directing, you're constantly and it's your work. I mean, does it go, do your emotions sort of go from like, oh, fuck. What did I do to, okay, there's something here to, how does that evolve? I mean, how hard are you on yourself? Very. I think what's interesting about, you know, directing for the first time is that I feel like it's a hundred percent learning curve.

So there are things where I look at the film now. And that's what's so important about the audience experience is, you know, we had a lot of screenings over the weekend at big theater venues. And it's great when the audience is in it. Oh, yeah. And that distracts me from my brain hypercriticism of myself. And Friday, I went to friends of mine from Phil's school, we all went and saw a matinee of it, empty theater in Northridge. And I was like, oh, fuck, I'm just going to go to sleep because this is like, nobody's laughing at any of, like, there's nobody in theater to laugh.

You need the energy. Yeah. And so I got into a habit of, because we've seen the movie so many times, I knew when, like, those pivotal moments that are going to be indicators of whether the audience is engaged, like whether they laugh at a certain moment or react to a certain moment. And if they don't, my defense mechanism is like, okay, I'm just going to nap. Do you actually nap? Yes, yes. But what I love, so I had that experience at an empty theater at a Friday matinee. And then we had a sold out crowd at the emcee.

And the audience was into it. And then I'm engaged. I get engaged when the audience is engaged because, you know, you're with it so much. And all I see are my mistakes and things that I wish I had done better. And that's my curse. Uh, so it all depends on the audience. The audience can make me forget that I had anything to do with the movie because I'm enjoying their enjoyment.

Yeah. I mean, I don't see how people can't enjoy this one though. Dust Bunny is just, it's full of so many different things that you go through so many emotions and like feeling for this little girl and then trying to understand this, this weird, you know, monster killer over here. And, you know, it's just the dialogue, the, the way it looks, the pacing. I just, I thought it was creepy. I thought it was scary at times.

I thought it was funny at times. It just gave you all those moments. So, yeah, I was intrigued. And I watched by myself, dude. And I usually hate things. Ask anybody. I have a horror movie night group, Maz. And we watch horror movies.

And it was like, God. What was the last thing that you watched that you hated? Oh, I can't, I can't say that. I'll tell you something I liked. The coffee table. Oh, yes. That was disturbing. Is it called the coffee table?

Yes. Okay. Yeah, yeah. I haven't seen it. I was told what it was about. And I was like, I don't know. Oh, they shouldn't have told you what it's about. They told me everything.

Oh, forget it. Would you like to know, man? Mass. No, no, no, no. Just watch the coffee table knowing nothing. And about 20 minutes in, you're going to go, oh, fuck. Oh, fuck. Good.

Mad, do you ever get nervous? You ever get anxiety? Any of those things? In terms of like when I'm on set, when I'm working. Real life, work? Yeah, I'm sure. I'm sure I get nervous. Yeah, for sure.

But the things about getting nervous is that you need something, you need a little. I think we have a phrase in Danish expression with like the butterfly dust. It needs to be there just sufficiently enough for you to be on your toes and open up your senses. but if it gets too much and it starts becoming crippling this is why we don't want to go I've tried that a few times so I was like

God I've got to find a new job this is not for me where you completely ruin it for yourself because you're nervous and that was very early in my career and I was like you've got to find a way out of that I mean what are you fearing

what is it what is and just try to figure out how to get around it because that's not a good spot to be in But the little butterfly does, it's fine. It's supposed to be there. But it's been a while I've been crazy nervous, but that will probably be situations. In real life, I'm much more nervous in real life

because there's so much more that is valuable for me. There's obviously my family. That can make me nervous when they're not sleeping right next to me 24-7. You know, that's just part of life. I got to ask you this because my friend Ethan's been dying to know. How do they make your eye bleed in Casino Royale, the torture scene with Daniel Craig? It was tough to watch.

Tell me about shooting that. Yeah, he's going to hate this answer. CGI. All CGI. We ended up on CGI. Listen, we have, we had a, the lenses of giant, a really big lens that covers complete apple of the eye. It was so painful to have.

But then they tried some fake blood. And that, there's some chemistry in that that absorbed the lens and they were so painful. They tried something else. Didn't work. And the end of the day, they just CGI did. And it's kind of, it's well done for, in an old film. What is it from 2008? Yeah, yeah.

That's why they kept trying to pour stuff in my eye because they were not that good at the CGI yet. But we did that. Brian, what do you do in a scene when you're starting to work and you're realizing, wow, I cast this person and they're, I don't really like, I don't really like, I don't like working with them. They're not taking good direction. They're not whatever. Do you think immediately in your head, I'm never going to hire this person again? And how do you deal with them? He gets grumpy. Like, there's only been, I think part of the, the responsibility of either being a showrunner or director is to also be a good parent of sorts for cast.

and crew. Yeah. And most of the time, I think that, okay, they need to either get through this or work it out. Let's see what it looks like in the editing room. There's so much that you can do in the editing room. You can slow down a performance. You can speed it up. You can remove moments that make you cringe.

But there is, I guess in your job, Brian, as well, if you made that mistake, this is also an opportunity for you to put on your working gloves because it's kind of easy enough if you, you're agreeing with an actor all the time. But if there's someone you can't make doing what you imagined, this is where your skills come in, right? And you can shape it now. You can. And so you have that extra opportunity.

That's also what I'm saying. That that becomes, I guess it can become a goal of yours to say, okay, I made a mistake, but that's made the best out of this, right? Yeah. Yeah. And I think what there are always opportunities to, forgive and move forward. Yeah.

And if somebody feels like they're willing to do the work or rise to the occasion in some fashion, but it's because we're artists, we're all feeling things at different levels of intensity. That's not always a reflection of our true self. So I try to give grace for as much as possible unless I'm dealing with somebody who has no grace for others. It could just really weigh you down. It could really weigh you down.

And it's like, you know, do I let this guy or gal or whatever, you know, beat me down, make me feel like shit? Or do I just find a way to work through this? Like, I've been very lucky. I've worked with so many wonderful actors. And I love actors. There's something about the magic that they bring to a reality and a moment that is transcelling. and inspiring and there's I'll never lose the admiration for that and it's also something that I don't feel super ego invested in my inability to do what an actor does in terms of maintaining that

level of of alternate reality so I'm from a place of you know I did the groundlings courses yeah that's important you know four years of the improvisation school at the Groundlings had learned more about writing and directing than I did from any other class I've taken from the Groundlings. And I highly recommend anybody who's a writer or director to take the Grounds and Grownlings courses. And what was great about the very basics of improvisation is it's about team building and listening and also reacting to moments and recognizing when something doesn't work and pivoting. and being elastic in your approach. That is it's the wax on, wax off of you think you're learning one skill to do one specific thing, but then you realize the applications that that skill provides you in many different circumstances that are outside of washing a window. That was well articulated.

I will say that. No, it makes perfect sense. Maz, we're almost done here. Are you a take one person or a take three person? What's your favorite take usually? You usually nail it on the first take. Then I'll let Brian answer that. Depending on what we're doing.

But if we're talking about emotional stuff, something that's quite emotional, and then I don't want to rehearse it too much. I don't want to talk about it too much. Just want to make it like a slight schedule of kind of what we're going to do here. And if that works, I am a take one person. That because we will never, ever do anything like that again. And then, of course, we'll have to do quite a few times because, oh, the camera wasn't there, or we forgot a word, or we forgot. And then our job is to recreate it, and sometimes we can do it.

Sometimes we can't. Then they still have version one. When it comes to stunts, yeah, of course, if we nail it, I get really pissed if we don't get it the first time. But sometimes we also have to, you know, find the choreography together. And then it's the fifth time where it's like, it's, it's a really. right there. Everybody was dancing together. The camera, the stunt guys, the actors, everything was immaculate. So that might be a little later in the process. But emotional stuff, take one, move on. Let's go. Tell me what the audience can expect in terms of like, if you were describing it,

you were pitching Dust Bunny to me to go see it. You know, the one liner is a little girl hires a hitman to kill the monster under her bed. And, you know, one of the things, as Mazers was talking about, his take preference. I wasn't disassociating from the conversation, but I was going to like the experience watching Mass on a massive screen over the weekend and seeing things that I just haven't seen before because I'm usually looking at it on smaller screens or like a 60 seat projection as opposed to a massive extra large AMC screen. screen and what was so beautiful to see in a large projection, which is why we all need to go to

cinemas, was so much of the nuance that is brought to these individual moments. And I think one of my favorite times on the set, we were doing the elevator, outside the elevator scene with mass and Sigourney. And we, we... were talking about complexities in the relationship to the backstory and what things were sort of not said. And there was one moment, there were multiple moments where Maz was, you could feel his heartbreak, but he was trying to hide his heartbreak in a moment. And it was so beautiful and nuanced and finally realized and watching just the, it's

strange, but the tissue under your eye is such a revealing, honest place that you can't hide a lot of things. It's where, like, if we get nervous, we'll have that little twitch or, you know, there's, there's always the, the under eye tissue that draws me into an emotional experience. And I was watching it at the, at the big screen on Saturday night. And, the articulation of being present, also the technical control of welling of tears. And there's a lot of moments that you see in the big screen with Mass's performance when he's in circumstances, particularly with Sigourney and that scene as well, where his eyes well with tears, but just a little bit that you can't see until it's a big screen

experience. And as Mazz was talking just now, I went to how beautifully articulated that was and our conversations on set about what was happening between those two people and their backstory as related to our own childhoods and our experiences growing up. And that was, I think probably my favorite moment because, Maz, I don't know if you remember, but you kind of walked up, pulled me aside and you're like, I didn't realize that this was also happening in the scene until we started performing it. And that's true. Yeah, I think it was only one or two takes. Yeah. Yeah. Yeah. You surprise yourself sometimes. It's not always. Sometimes you plan too much and then you don't surprise yourself, but sometimes it happens. Especially when you got a great co-actor

that does something surprising, then you can react. Right. And that was, that was, uh, part of why I love actors is are those moments that are captured that surprise you that are just what they're so authentic and they're so honest uh that it it's inspiring yeah yeah i love that about you that mass inspires me you know what's funny is he's getting a little emotional were you it was yeah it was i love that it was a great experience no i love that it just i see how much you care about the project how much you care about, Maz, how much you care about filmmaking. And it, it means a lot. Um, lastly, I will say this since we're talking about this, Maz, when I, I was watching, I was watching, I was looking at your face. And I said to my girlfriend, I'd hit that. Well, you know what? I said this. I said,

man, I just, you can't stop watching him. He's got the perfect face. Look, can I bring my wife in here, though? Can you come and hear. yeah sure uh no but i i said that and i go god man if i had a face like that i was just like i was lost in my own like i was just it was just i was just like guys you just your expressions the everything's just inside you could see it's like you don't even need to say anything that's what i love about your performance in almost everything you do is is like you don't have to say anything and that's a difficult thing you speak with your eyes, with your, with your face. It's, it's a beautiful thing. And that's, I think,

nonverbal gesturing or whatever is a lot of times the most important rather than saying anything. Sometimes you don't need to say anything. I think that I would draw that line directly to Buster Keaton. Like when, uh, Mads was talking about Buster Keaton earlier and we've talked about Buster Keaton before at length. And I think about also when you were talking about how your physical performance of Hannibal of being so different than who you are. But I think of very specific moments in Hannibal where you are standing with the physical acuity of Buster Keaton in a stillness that's very controlled but also agile and elastic that the front of the house could topple around you and you would

land between the door and there would be no kind of reflection of the turmoil around you because we're all feeling the turmoil inside you that I think goes to how well you've interpreted your influences into your career.

I think we should end on this with Matt talking about something negative about him. Yeah, he's got those ugly space. Look at that. It's character. It's careful. Now you turn that into a positive. What are we going to do? There you go. This has been an absolute joy. I don't want to keep you any longer. This is a real success. I loved the movie. I love you, Brian. Mazz. I love you now. You just, I love you now as well. Thank you. You're awesome. I could see just hanging out with you. Like you said, a guy's guy. And it was an absolute joy. I wish you both the best on this movie. Everyone should go see Dust Bunny.

This is really quickly, Madas, what's coming out? Anything else that you want to just tell that you're doing now? I am not doing anything but this right now. Good. And the last Viking, which is. That Viking that will come out later. But I tend to focus on one thing when I talk about it. So it does, but it is.

All right. Maybe I'll see you again on the last Viking when we start talking about that. I would love that. Let's do that. Yeah. All right. Yeah. I'm in.

Brian, anything? You're always working on shit. I know you have so much. going on? Doing a fun new project with Clive Barker right now and writing a new movie. You're living the dream, man. Trying. I love it. Thank you guys both for being here. Thank you. Thanks for having us. Fantastic. Thank you. Good to see you, Mass. See ya. On game day, pain can hit hard and fast, like the headache you get when your favorite team and your fantasy team both lose. When pain comes to play, call an audible with Advil plus acetaminopin

and get long-lasting dual-action pain relief for up to eight hours. Tackle your tough pain two ways with Advil plus acetaminop. Advil, the official pain relief partner of the NFL. Ask your pharmacist at this product's rate for you. Always read and follow the label. You know, I thought it was going to be difficult to, because we've done it, but not a ton where someone's on Zoom and the other person's here. And it worked nicely.

This worked really, and I'll say, Matt Mickelson is so cool. Wasn't he the coolest? He was so fun and engaging and just off the cuff and just surprise me. Surprised me how cool he was. I thought he'd be like, ah, you know, I got to do another one of these. Or like an actor with a process, but he seems like a very down-to-earth person. Yeah, I thought every answer would be like, well, you know, but no, it was just like whatever he was thinking he was saying. And Brian is just a genius.

I love that guy. He's so super talented. He's got some great stuff in the future that he's working. on hopefully i'll be a part of something in his life god's sakes brian um and stuff that he's already done you know hannibal and there's there's so many great shows that i love that he's done so thanks guys for doing the show go see dust bunny um at this point it's streamers it's streaming see it i think you'll really enjoy it and uh i couldn't do this without you guys so thanks for being here thanks for supporting the podcast um patreon. patreon.com slash inside

of you if you want to join patron and become a patron of the podcast and give back. Give back something. Keeps the show going if you really dig this show. And, you know, we pay for people like Ryan and Bryce and Tim. And it's just how it goes. So we need you at patreon.com slash inside of you. All right. We're going to read out the top tier.

I forgot that. That's another perk. Another perk is you get your name read off by me and that guy. This guy. That's me. He's pointing. I'm pointing to Ryan if you're listening. on audio and yeah just you know thanks this has been a it's been a crazy ride I can't believe

I've been doing this over seven years it's become a big part of my life I mean yeah and I didn't expect it sometimes fate takes you in directions that you weren't anticipating I'm lucky I feel blessed it's not easy nothing's easy you know getting guests getting you guys not all of you to listen to every episode um getting sponsors to stick around but the uh the patrons have stuck around and here are some of those amazing people in the top tier and the how deep is your love tier as well we go nancy d i think we owe you a uh concert a zoom concert for my band sunspin by the way you go to sunspin and uh listen to get the new music and uh the musical the whole It might be online already.

Little Least, Ukeko, Brian H. Nico P. Rob B. the 4th. Jason, Dreamweaver, Raj C. Stacey L. Jamal F. Janelle B. Mike Eldon Supremo. 99 more.

Haven't heard from El Dan Supremo in a while. Hope he's all right. 99 more. Santiago M. Kendrick F. Belinda N. Dave Hull. Brad D. Ray.

Tab of the T, Tom and Talia M. David G. Betsy D. Riannon C. Michelle A. Jeremy C. Mr. Milski. He's here to see you now. Mr. Melski. I talk to Mr. Melski. He's a nice guy. Nice guy. He sounds like a contact in a spy movie.

Have you talked to Mr. Melsky about this? You go to the bar, you find Melski. Well, what would you like to talk to me about? You're shorter than I expected. Eugene R. Monica T, Mel S. Eric H. Amanda R. Kevin E. Jam and J. And by the way, Kevin E is a delight.

My band Sunspin. He got the whole package to buy the album and all the stuff and also included a concert. I think an executive producer on the album. And he gave his concert to Little Lisa, another patron. And that's a beautiful thing. So Kevin, I'm giving you a shout out because you're amazing. And that's what patron's all about. It's not only support for the show, but it's support for each other and something that you have in common.

And I don't know. A lot of patrons are friends and I love it. Jam and Jay, Leanne, J. Luna, J. Jules M., Jessica B, Frank B. Frank B. John T. John T. Talk to me. Randy S. Claudia, Rachel D. Nick W. Stephanie and Evan. Stefan. Charlene A. Don G. Jenny B. 76. N.G. Tracy. Keith B. Heather and Greather. Just saw you guys. Thank you.

Food on Foot.org. You're amazing. Ben, Bejammin, Bajaman, PRC, Sultan, Dave T, Brian B, T, Paul, Gary F, Jackie J, Reitzel, Bitesl, Benjamin R, other brother, Daryl, Ivan G.

Hi, Ivan G. John A and Michaela L. I think it's Michaela L. There's someone else that, oh, where's David, is there David G? David G's there. David G. Well, that's David Glickman.

I had a Zoom with him. You can get a Zoom on the inside of you online store. We had a nice Zoom. And he took pictures of my grandma's old house in Long Island because he lives in Long Island. And so he took some pictures for me. And he was a really sweet guy, really nice fella. So thank you. And I love you all from the Hollywood Hills in Hollywood, California. I'm Michael Rosenbaum. I'm Ryan Tayas. I'm here as well. He is always. And a little wave to the camera. We love you. And most importantly, please be good to yourself. Give yourself a break and be kind. We'll see you next week.

The United States Soccer Federation presents the U.S. Soccer Podcast. My name is David Goss, and I'm joined by my co-host, Megan Klinemberg. Everything up until this point has been an outside look at the World Cup. And now we're giving people an inside look. It is just total pressure cooker. Watching flags come out of little plastic balls is like the epitome of everything that I love. And the World Cup is everything. It's why I became a soccer fan.

The U.S. Soccer Podcast. Follow and listen on your favorite platform.