The Always Sunny Podcast - Randall Einhorn

Episode Date: July 10, 2023

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All right, we have the whole. Okay, just get all your pepees out this time. I got a lot of pepees out there. There's gonna be more pepee. Okay, I definitely, I bet that's why I went. I know. I'm over-gadrating in the mornings. Is that what it is?

You guys have big peers? Yeah, yeah, yeah, yeah. No, but I think as we age, it's, uh, Oh, no. I know. It's a coffee that gets me because it's a coffee. As soon as you have the coffee, That's the only time I feel my age is like a three in the morning

when you get up for the stumble to To the toilet then I've heard about I've heard about that age. Oh, oh That's not that happened that doesn't happen for me. You're getting through the night I'm gonna do the night. Yeah, really I am too, but not always but Well if I wake up in the middle of the night It's the terror and the anxiety and all that stuff, but it's not the Terrible creepy. It's not the terror creeps in. The terror creeps. It's not the peepee. You can't pee that out.

I can't pee that out. I tried. I tried. I tried. Go ahead and make it get out of it. But you can be it out. Oh yeah. Yeah, you have to really concentrate.

It's a penis thing. Yeah, it's a different tool. Yeah, it's really focused though. It's not easy. It's really gotta squeeze it. Yeah. Yeah. Yeah. Well, guys, here we are.

Randall, I'm with Randall. Randall, I'm with Randall. We've been watching episodes from season five and every single one of them. I've been directed by you. Yeah, and they're all fantastic. They're really arm-man. And we thought we'd better get ran on the pod so the fans can hear directly from him. How brilliant we are.

Yeah, mostly we wanted you here to talk about brain force out. Just be a greatness and tell it across the lands. I think the secret is just standing out of your way. to speak for a greatness and tell it across the lands. I think the secret is just standing out of your way. No, not at all. You know, that is what we thought the secret was to, for some time, and then you kind of came in and you really kind of pushed us a little bit. It's something we've been talking about.

You know, you pushed us to be a little bit more ambitious and you would push back in a way that didn't get our hairs up and got us like listening to you. You got us to do some kind of bigger stuff, which I think was really helpful and good. And that's a huge more of that. We were discussing how when you came in, we, I think it was a combination of UN, Shaqman, but around that time, the two of you guys took what we were doing and pushed it into, just pushed the limits of what we could do.

And episodes could be bigger and we could get out of the sort of bar and apartments and we could have a World Series defense episode or we could shoot a hockey puck on a rink and have some, you know, create a stadium that we couldn't afford to or be allowed to be in yeah, and so anyways Yeah, we talk you do that Over the years we found that bringing in adults adults to the room have have gone a great results Meg's ranks one of them to the room have have garnered great results. Meg's, Meg's one of them. Randall's one of them. Matt Shackman was one of them. In some ways, Martin Rosel, even though they're basically children, but they were able to give that we've given them too much into something a little bit more cohesive

on a consistent basis. They were more professional in some in some ways. Yes, in some ways, they had more experience in other rooms, whereas we had not had not yes to go on and on and on before we allow you speak You know, I think Nice. I'm just sitting here not I think it is like the like the business this particular business is one of collaborations and you know oftentimes someone will come to you. I was just watching a like a Because I'm obsessed watching a thing about like the making of like a, there will be blood and you know, Daniel

DeLos, like sending a voice memos to Paul Thomas Anderson and be like, oh, you want to do that with voice and then warming up to the same thing with Phil Hoffman and Boogie Knight's words, I'll talk like this, you know, and he was like, I'm not sure, but I, I like to collaborate with people. There's a reason I'm working with this person. And I think you were the first person that we worked with who really was coming at us from sometimes from an angle that we weren't seeing. And then we trusted you. We said, well, let's try a few sort of random ways. Yeah, and you sort of taught us a new way to shoot

and cover the show. And I remember him saying things like, you can be doing more with this and not spend more money and more time. Like you had an ambition that allowed you to within the constraints of the budget of the show and the number of days that we had to shoot, where you were able to get big things in the same amount of time. I think we also, it was wouldn't,

I'm not sure if you were using three cameras at that time before I came in. I think we were definitely using three cameras at some times. Yeah. Whereas now I feel like we have three cameras like that. Yeah, I believe when you came in, you said you should be shooting three cameras all the time. All the time, yeah,

cause why lose anything? You know, everybody's doing great stuff and if you have coverage coverage in a master, or a way to hand off to another location, why not do that? So, yeah. Are we starting from the beginning? Let's go.

I wanna talk about your path in, because I remember the very first time I met you you You had just come back from you were a white Water riverboat guide. Yeah, that's correct. Yeah, we can talk about I was I was I was a rafting though. Yeah, riverboat, right? Rath guy. Yeah, rath guy This is a pretty normal path into the industry so It's a pretty normal, this is a pretty normal path into the industry. So it's pretty, yeah, yeah. It's pretty how they should go learn out of white water. So you can direct Hollywood?

Yeah, no, it's a well-worn path from white water kayaking to directing. I mean, Paul Thomas Anderson, like just talking about the right color. I'm the waters of the LA River. Stanley Kubrick was also a very well known whitewater enthusiast. I was doing, I was a whitewater raft guide and I started filming expeditions and I started filming our, remember the raft trips. Yeah. This was an Australia.

It was an Australia, yeah. But also I could pop a New Guinea in other places. And then I went and did, so I was filming those from a kayak, a kayak down the rapids, hop out, film the rafters come through and sell them a really... Did you have an interest, sorry, in shooting, you know, being a director before, so you learned how to use cameras

because you wanted to record your expeditions. Yeah, I learned how to use, that's exactly right. The company I was doing it for, I was leading these expeditions, so why don't you start filming it? I'm like, I mean, like with a camera or something. Yeah, okay.

Can we even go back even further? Because now I think it's interesting. People love to hear people's journeys from the beginning. And so how old were you when you started doing that? Like, what would happen before that? You're interested in adventurous sports? Yeah, and really in white water. And all outdoor extreme sports, skiing, hiking, sea kayaking, mountain biking, I think.

Where did you grow up? I grew up in Ohio. I grew up in Ohio. Yeah, we're lots of great white water there as well. But yeah, I just took off traveling when I was 18 years old, stayed away for really 23 years and kind of figured out who I was going to be. I got kicked out of high school, which is also the... You get kicked out of high school for it's also. That's a good story.

Yeah, that's not. No, nothing I'm proud of. It was an accumulation of things. Yeah, so you were a rascal and a poor student and so you wanted to be outside. You needed to be in a classroom and he needed to be outside. But no, no visions of being a Hollywood director. I still don't know if I really wanted to, no I do. No, I had never had any designs on this. I never even wanted to be a photographer or a videographer. It just happened.

And so I started filming it, and I'm like, I started really enjoying it. And then Mark Burnett came through, and I ended up getting like some sponsorship for kayaking because I would go do stupid things, and people could take photos of me doing stupid things. So this guy's crazy enough to go over that waterfall with a camera.

So I sell Mountain Dew. So yeah, I was doing that, and I got a call from a buddy of his location manager, and stupid things. This guy's crazy enough to go over that waterfall with a camera. Take a look. I sell Mountain Dew. I was doing that and I got a call from a buddy of his location manager who said, look, I need to find some river areas. We could do for this thing called Eco Challenge, which is a 500 mile wilderness adventure race. That was Mark Burnett's thing before he did Survivor. I took him on all these different rivers and showed him, you know, some river sections because he needed him for the race. And I said, you know, you could just hire me to film it. And he did. And that's how I started filming. Wow.

Now what year was that? 1997. 1997. 1997. So when eco challenge. and I did seven of those and then all over the world great great gig You know you just off on your own carrying a heavy camera trying to keep up with these hardcore adventure racers So I did that for seven years and then I I could by the way was it film like in 97? Were you shooting on film no shooting are really really heavy beta camps? Oh the really heavy. Yeah, yeah I convinced Bernetti should hire me on on survivor. Uh-huh. And I DP the first survivor. And uh, then that's a big deal. Yeah, huge. Yeah, you were that. I don't know that I knew that. You were the DP on the first season of survivor. Yeah. And for our fans, you don't know that's the director of photography. So that means you're basically in charge of the cameras and the lighting and there will be a director with you but you have a lot to say and a lot of input on the look and

the style of glass. Yeah, well actually there was no director out there. We were just shooting what happened. So the DP essentially was the director. Yeah, we were just like you had producers who were logging with the conversations so they could build stories. Uh-huh. But in terms of what we were filming, nobody was telling what to film. We just shot what happened, you know, in a kind of veritable style. Like documentary style. Yeah, very much. Like running gun and just capture as much reality as you can. And do you feel like the experience of following around a bunch of maniacs in an island helped

you in some way when? It was very familiar Less asses and elbows I could get them to face me. Yeah, that's good. That was my key directing like face me face the camera My research it was your time on survivor that was the reason that you were Pulled into the office because they wanted that feel, that real reality documentary feel. I was in Jackson Hole. So people always hired me to go to stupid things with cameras.

And I was filming Sean White and Jeremy Jones. And I was skiing with him and filming them. And Ben Silverman, who was in the video village, says, that's the guy who should be the DP of the office. Like, I don't know why. He thought that because I can ski with a camera. And I have, we know that. And he's just a very enthusiastic and enthusiastic.

Impulsive, but that sometimes it takes that, right? For someone to have that kind of vision to say. Yeah, to be like but that sometimes it takes that right for someone to have that that kind of vision to say Yeah, to be like why not this guy? Yeah, I'm I you know why you would think you'd take that guy and put him in a fluorescent lit Office, I don't know but Ben saw something I Kind of radical guy we need filming people Yeah, yeah, he said he saw you skiing while while camera operating and thought I could get this guy to do anything. Yeah, yeah, yeah, he's the same. Same.

Well, so now when he when you get that call and they say, Hey, we'd like you to direct how many episodes do they offer you? Oh, so I got I was the DP on the office. Oh, first DP. I was first the DP on the office and IDP'd like over a hundred episodes and I met with Greg Daniels and Greg and I got along really great and really enjoyed each other's humor and blah blah. So we be we in film in that show Greg said you're telling jokes to the camera and I'm like yeah I'm trying to do it as well. You should direct some like okay so everything really has just happened to me. But wait until the designs of my own.

There's a big learning curve there because I imagine when you're deeping survivor, the lighting is practical, right? You go into a building and it's lit. Like when you're deeping the office, you have a gaffer and a best boy and you're hanging Kino flows or whatever they're using at the time and you're in charge of how that looks.

So what was the learning curve there in terms of? That was big. Yeah, it was a big learning curve. Who were you? I remember the first time I started filming something, my key, my grip was, he grabbed me by the belt. I'm like, what are you doing man? I mean, he's like, oh, I'm just making you safe. I'm like, you don't.

I can't see where I'm going when I'm going backwards that you're there. And it just, it's just freaking out. It's like, yeah, you're holding me. I'm like, I'm like, I'm like, I'm just like, you can't touch certain things that other people can touch. You can't pick up a C stand. You probably didn't know what a C stand was. I have many, what is that called? Many, many offenses of doing that. Okay. I just, I just, what you're looting to there is it's very common practice that if a camera operator is moving backwards, there'll be a grip behind them, making sure they don't fall down or step over something.

But what you're saying is that's the first time anybody had looked out for your safety. You were just before that, you were just walking backwards in the jungle. In the jungle. So, did you do any sort of book learning to try to figure out these things? Or did you just, it was all onset experience? It was all onset experience. I kind of think that my greatest asset

is not knowing any better. Yeah, yeah, absolutely. Because you can actually, there are no rules, furs, I don't know. It looks cool when I put them in, doing the interviews on Survivor. I thought it looked interesting for it to be a ninths, rather than make the environment a character. Or even maybe bigger with that means. Yeah, so explain that.

Those thirds and ninths. Well, you know, there's this rule of thirds and framing. Yeah. That it's really nice to put split the fame into thirds. That's a very conventional way of thinking about framing. But on Survivor, I thought that the environment was much a character as the person sitting there being interviewed. So I played with heavy foreground elements of ants crawling across a log in the foreground

of a person talking. So I think stuff like that was not knowing any better. It was a very liberating. Well, you're nervous about like matching high lines or anything like that, but you know, you're going to cross cover so those things would sort of tie in automatically. You know, from filming observation or documentaries and reality, the eye line is never in question. You never think about it. You know, I mean, you're on survivor, and there's five people in a conversation.

And you have two cameras there, plus the boom operators. And all of a sudden, somebody over here starts talking and the line gets crazy. So one of the operators knows that they need to duck out of the frame, go and get on the other right side of the frame. So you're constantly adjusting the frame line so that it doesn't look like people are talking away from each other. Yeah, yeah. Because if you want both people looking like they're talking to each other, and if you're

on the wrong side of the line, it'll appear that it does look goofy. So that was a really good skills. I didn't need to learn that book because I had to learn it every single day with all these camera operators and the boom operators. And thinking about that, survivor was boomed. There's no laws on people, right? And there's eight people on a tribe

who are all having a conversation. You never know who's gonna talk. And the whole show is boomed. They're not wearing anything. Where's the gun? Yeah, they're like naked skinned. They're like naked in the air. And you... Are they wearing t-shirts and shit? Like, no. like, they're like, they're like, they're like, they're

wearing t-shirts and shit. Like, no, they're free to take it off and do whatever. So they're, yeah, I didn't watch a lot of survivors. Yeah, I mean, neither. Apparently, a lot of people did and continue to. I believe it's still on. It's still on. It's surviving.

I have never seen one episode of survivor. I have no any other season. I have nothing against it. I just didn't, I just never came across my radar. I remember on for 30 years. Yeah, Burnett pitched it to me and this buddy of mine is location manager like he pitched the show to us. I mean, that is the dumbest idea ever.

Nobody's going to watch that. Anyway, he was right. I was wrong. I was thinking, yeah, yeah, yeah. Did you think the same about the office when you heard it boring, wire people? I really love the British office. Yeah. Well, for us, that was the show that I think made us think we could make our own show because of the way it was shot and lit.

The British office. Yeah, the British office. Because the lighting was so practical and because the cameras were so handheld, we thought, well, we can go into a room with tiny cameras and practical lighting that we can do. So we can make something that looks like that. So I think it was a natural evolution for us. Also trying to capture the improvisational quality of like curb your enthusiasm and it just felt like the coverage was far let the coverage and the lighting were way less important than capturing performances in the moment,

capturing, you know, real conversations, moments that can only happen once because if you try to turn around on it, you're never going to remember and it's never going to be the same. You know, and so that was a big inspiration for us, like the British office and curb. That's a big reason for me to wanna shoot three cameras. Yeah, right. Is that you're never losing any of that. Yeah.

And it also, I think when you're shooting with three cameras, it affects the actors, tell me, absolutely. In a way that then you know you're on. It is the absolute best to not have to do your side and then turn around and do the other side. Well, it's like you said, you know, you're, if you're on at the same time as I'm on, we're both on camera, then I'm going to get a better performance, you know, he's going to get a better performance for

me because I'm on camera. I'm not just going to be off camera like reading my lines or, you know, however, there are limitations to that aesthetic, right? And I'm sure you've now moved on to shooting all sorts of different ways. So I'm sure you've worked on shows where you've had to like set the camera and then turn around and do a whole very different fargo. Yeah, yeah, yeah, really even one camera. Well, the Cohen's always from within, right? So not always. But like most of their scenes, you'll see that camera is in between the actors instead of,

you know, that sort of run and gun documentary over the shoulder style. So yeah, they're in the show. They're in the show. Yeah, it's all very inside. But you have a favorite of those, like ways, would you rather be out in the jungle again? Do you like the mockumentary style? Oh, I do like the mockumentary style. I do like being outdoors.

I would love to shoot something outdoors again. I remember the other operator who became the DP on the office, Matt Sone and I, we met on Eco Challenge and Survivor. I remember there was one episode where we were going to film out in the woods. We're both looking through our adventure gear, you know, putting, figure out what password. And they were all packed away in the, all back in the cupboard, but dusting it all off. Yeah. You always put this granola bar for me. You know, you said that.

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Yes. Yeah, Charlie, I think of a cash register because I'm not up on my wall street mother goose or whatever. No, I was just saying money, money, money, money, making now. a cash register because I'm not up on my Wall Street mother goose or whatever. No, I was just saying money me, money me, money me I'm making now. It's fine, it's fine. Well, that I get, that I get. Listen, both of you are right.

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[♪ OUTRO MUSIC PLAYING [♪ You've got a lot of the office on your belt and you get a call to try this other show. What do you do? Do you see a few episodes before you come in? Yeah. And then you can see, sorry, you had only, in terms of scripted television, I think, if I what, sorry, you had only, in terms of scripted

television, I think, if I'm not mistaken, you had only done the office before you came and did, yep, sunny with us. But I directed, I think at that point, I probably would have directed, right? Don't like 16 of them. Like at that point, I would have been like, you know, six of them. Yeah. And remember, like, I, I, I, I knew I wanted to move away from D.P.ing and start directing more. And Greg Daniels, let me go, do other shows and still come back and be the D.P. That's cool. I got, I didn't have to, well, who the hell does that? I remember in our first meeting, one of the things that struck me about you was there was this, there was a confidence one of the things that struck me about you was there was a confidence and an ambition that was there that I found.

I was faking that. Yeah, it might have been. We're all faking that. We're all faking that. Well, everybody's faking it. That's what you're trying to say. Yeah. You don't strike me as someone who is faking it.

You strike me as a genuinely confident person that comes to your work. I am confident. Yeah. Yeah, whether it's foolhardy or not, I am. But I think that's what it is, right? Quite confident. For no apparent reason. Maybe that's the adventure background, right?

Like there's a little bit of light. You need a bear in the woods. You gotta act like you're the bigger bear. Even if you're not. Yeah, yeah, yeah. Or when you're skiing down a mountain and you're going at a speed where you're just maintaining control, but you're also right on the edge of catastrophic failure.

And you just sort of learn a little bit that you can do it. Sometimes you gotta, sometimes you can't, but you don't need to always overthink it first. You need to jump into it, thrust yourself into it, figure it out, have fun, and then just trust that it'll be there when you need it. So my only real formal training is raft guiding and river rescue. Like I, and I think that, you know,

guiding a raft down a river, and forward paddle, you don't really want to call forward paddle like a question. You want to, you want to, you want to go with confidence and you need to be confident and direct and to call that type of thing out. So I think I had that type of training of trying to get people to do things that they weren't necessarily comfortable with. Yeah, yeah, yeah. That is a skill, I suppose, I still. Yeah, yeah, I mean, you certainly possessed it at the time.

I mean, like I said, I think you pushed us in ways that other directors hadn't quite pushed us. And you did it with a certain confidence and enthusiasm that was, you know, seductive to us, I said, I think you pushed us in ways that other directors hadn't quite pushed us. And you did it with a certain confidence and enthusiasm that was seductive to us, I think. Did we have a meeting before, or do we just hire you? No, we had a meeting. We had a meeting. Yeah, it was the first season that we had shot

on the Fox lot. And I believe in the three of us shared that corner office on the third floor. Third floor. Yeah, back on the alleyway. Yeah, yeah. And we met in that office, I think. Is that, do you guys, do you remember? Yes, I do.

I do. I remember the conversation. And it was a lot of exactly what you led with, which is I think what you guys are doing is really interesting, but you can go further. And we were so used to meeting with directors, especially early on who would say, you can't really do that, that blocking won't work, you won't hit the light. And you would always say,

why? The show looks like shit, so who cares? And we're just trying to capture what the actors are doing. And you came in and said, yeah, yeah, forget all the stuff. You didn't care about any of that. You didn't care about any of the stuff that we didn't care about. And I think we really liked them. No, now remembering the same thing. You and said, yeah, you forget all the stuff. You didn't care about any of that. You didn't care about it. You didn't care about any of the stuff that we didn't care about. And I think we really liked them.

No, now remembering the stuff. You're late. Yeah, that's right. That's right. People get caught up on this and then, and you were on the same page as us. You were like, I'm not touching it. It was a refreshing take because no one had spoken

to us like that about the show. Yeah. It's interviewing 101. You come into the room where the bosses are and you're like, everything you guys are doing is great. And you're right about everything. And what I'm gonna do is I'm gonna come in and I'm gonna make you better versions

of what you already are, which is great to be clear. And we're like, wow, this guy is really smart. This guy's a really good director. Wow. There's something about this guy that I like. I don't know what it is. I remember Shaqman's interview and it was totally different, right? Like, you know, he was like, nah, I like to work this way

and I would probably do things my way. You know, we're like, well, that's interesting too. Yeah, yeah, you know. But also with the same degree of confidence in himself that allowed us to kind of give over to that. But that's the big thing. Like, do you have a vision? Do you have a vision that is your own

and does it gel with ours? You know, because you could come in and be like, the whole thing is gonna be lit brighter and, you know, done. I mean, to me, it's like, as a director, form follows function. That's why the office looks like the office. And, you know, Fargo looked like Fargo and Wilfred looked like Wilfred. It's, it wants looks like the office. And, you know, Fargo looked like Fargo, and Wilfred looked like Wilfred.

It's, it wants to serve the material. And the material was you all. It was all these characters. And it didn't matter if it was lit. It just had to be funny. And everybody, you know, I think there's so much preciousness to filmmaking, that filmmaking often gets in the way of filmmaking.

Yeah. I think that's true. Certainly on a show like this. Yeah. And also, you came in and we liked you. And people disregard that sometimes when they think about how to prepare for an interview or to come into a new position, well, I just have to be technically good. But the truth is, you're spending a lot of time with the people that you're working with.

And you just seem fun, and affable, and game, and the kind of person we want to spend time with and that goes a long way. We knew we would have fun with you and we did. It's true though, it's like going to shoot a show, I'm going to spend more time with the actors than I am awake with my wife. Right, you know, during that short. It intense period. Yeah.

What was your impression of us? Were you like, these guys were younger than I thought or were you like, during that short, it intense period. What was your impression of us? Were you like, these guys were younger than I thought, or were you like, were you thinking like, God, they're, yeah, I mean, I'm not sure if they're handsome, they're handsome, they're handsome. No, I mean, what was it like? What, did you sort of feel like these guys know what they want?

And I'm gonna say, out of the way, or was it like, oh, these guys are lost, they need some guidance or something? No, these guys definitely know what they want. I should be here to make it even better than what they want. I mean, that's why I think a director's job is, is to make it better than, you know, the way that it's written or the way,

make it as best as it can, you know, be performed. I think the director's job is just serving the material. So coming in and I'm in charge, it's like, yeah, you're not really. It's part of a bigger thing. You've got something going on. But our meeting, remember meeting you all, it's like there's three of you. So like just four or five of you and you're all on all the time and it's really, really

fun. But it's also, it's kind of challenging when you're a new person, you're coming in to talk to the three people who have been there through all of it. You just need to make sure that what you think is right, and that you have a way of backing it up because, you know, just the numbers of it, I need to convince three people that this is the way to do it. I remember there's one shot I was doing on wrestling for the troops that was coming out of a mirror. So many conversations about that. And I remember we did. I just Yeah, we're not going to cost you a museum. In the bird cost. Yeah.

There's very, very, very cool bird costems with a stenciled abs as well. Yeah. Nice touch. Just coming out of the mirror and you all weren't certain you wanted to do it. Yeah. And so I shot it and I showed it to you, you go, yeah, let's go do that. That's cool. Yeah, yeah, yeah.

You would pitch stuff, but you were never precious about it. You know, you would pitch things that you felt like would work and would maybe make the scene funnier or whatever. And sometimes we would say no. We were like, no, that's, I think this is funnier. And it never, it never sapped you of your confidence. It never stopped you from continuing to pitch stuff. You know, I cried the whole way.

I'm sure, sure, sure. From that. Now, it was Danny Ruffani in the beginning. Danny can sometimes test a new director. I don't know. I think he can smell the people that he can do that with. And he doesn't know. It's like a whole school Hollywood thing. I don't know. I think he can smell the people that he can do that with. Yeah, he doesn't. It's like a whole school Hollywood thing. I think he's like, he's like, I'm gonna see, you know, if you're like, if you're worth, if you're worth my trouble, you're like, and if you need to be able to take some shit, like, can you take my shit? Yeah, not in a, not in a mean way, but like, he's playing. Yeah, he's playing. Yeah, maybe, maybe his Frank Rounds thing, but like, if you say you say, Dan, I think maybe you'd be in this chair and like, oh really?

You know, yeah, yeah, yeah, yeah. You push it. Yeah, but he didn't give in any of the business. I mean, maybe a little bit, but I think he gets to do that. He's Danny DeFito. Oh, sure. Oh, yeah.

So it's like he's doing it all good fun. Yeah. But I think you'd be an intimidating thing coming to the show. I'm like, oh, it's Danny DeFito. I need to tell him to stand over here. Well, I mean, we saw that way, you know, when we first hired Danny and, you know, we would be like, I gotta go give Danny DeVito a note.

Yeah. That's crazy. That's insane. Like, I can't, you know, yeah, that is kind of crazy. Yeah, how do you give Danny DeVito an acting note? Yeah. Like, not Danny, I, because he's such a legend, it is kind of intimidating doing that. But often, oftentimes, I always find that the best note is the note you don't give.

You just go again and they give themselves the note. So by the time I'm coming with a note, I really believe it. The best notes I ever gave Edie Falco were the ones I never gave her. Remember, I remember this is Lauren, he just shut up, ran. Just let her feel it. The best notes I ever gave Edie Falco were the ones I never gave her. You know, I remember I just learned, he just shut up, ran, just let her, she'll feel it. I just thought, juggling of personalities, right? It's as crazy as it is. I think every actor needs something different.

And that's recognizing what everybody needs is part of the, you know, you should figure that out really, really quickly before you start working with people. Well, I think the good thing is, like, the three of us, we like to get in and get out. So my feeling, if I don't have to be there all day, if you're like, turn the light on with your left hand, I'll be like, I'm going to figure out a turn on with my left hand. Because I don't have a whole fucking conversation about it. Otherwise, this is a 10 minute conversation about whether I should turn on with this hand on.

But it's not because you don't care. When we're there, we give 100%. We'll just have done this long enough to know that giving 100% for five hours versus you turn on with this hand. But it's not because you don't care. Or like when we're there, we give 100%. We'll just have done this long enough to know that giving 100% for five hours versus eight hours is not going to yield a tremendous amount of difference. So let's do it for five hours instead of you. Well, you learn to pick your battles, right?

You're like, this is not something, like I can figure this out. Like I don't need to turn and make it into a whole thing or a 10 minute conversation about something, you know, simple. But then every once in a while, you do. You're like, I work with Donald Sutherland one time and he was incredible. He's one of my favorite actors of the 70s and 80s.

And he was one of those guys that comes from the old school and he just had to deliver a very simple line. And the director came in and gave him, it was Shaqman actually, that gave him a note and Donald wanted to talk about it for, I mean, 45 minutes. And it was just a simple thing and Matt realized, okay, he stepped in it. Now he's going to go and we shut down everything and Donald talked about it for 45 minutes. Then he came back and he said, okay, I feel good.

And he did the line. It was exactly the same. Exactly the same. And we looked at it in post, the same line delivered the same way, but Donald felt differently about it. And Shaq went and I talked about it. And we realized like, what's important here is not that we, yes, we could go back and prove and act are wrong and say, look, don't you see it's the same guy.

But the fact that he felt better made him better throughout the rest of the day. And sometimes catering to the emotional needs on an individual basis of somebody who's supposed to come in and emote and be vulnerable and just by nature be artistic and somewhat difficult is part of the gig. I mean, what you all do is putting yourself out there in a very, very open way. You're fully exposed. So no matter what it takes, you need to make that actor feel comfortable, that they're not standing there with a egg on their face,

or doing something that's not true to their character, or it just feels unnatural. Everybody needs something different. This good, you're a problem solver, I think. Also, I think you approach things from the standpoint of like, I think it's easy to get stuck in like, this is what I want, this is what I wanna do. And if you can't get somebody to do it,

you could get frustrated about it. But I never sensed you getting frustrated with us. Even when we did get into conversations about things where we were battling it out, about how a certain thing should be shot. And we disagreed with you. You are quite unflappable. And we are very frustrating.

Yeah, very frustrating. Very frustrating. When you pitch these things to them like coming out of a mirror, is that something that you think about in prep or do you shop on the day and you see a mirror and you go, hey, I think we could do something. No, we placed that mirror there. Okay. Because I knew I wanted to do that shot. I have every single shot worked out. Well in advance, I do these overhead schematics that shows where people's nose is going to be pointed. Wow. So it's just a circle with a round thing on it. Oh, I remember you did these. I remember looking at these. Yeah. And you might have a red circle with a nose, red nose, and you might green. So all the characters I can I know where they're looking, who they're talking to, and where the cameras are. I'm not very smart, so I have

to have a plan. And by doing that, by the time I get there, I'm going to have the meat and potatoes. It's just everything we've else figured out on the days, gravy. But sometimes people that get really locked into those things, and then they come in the actors go, I don't want to stand there, I don't want to do it. They freak out because they have their whole plan for the day. But it must be your reality, background too that lets you be pretty adaptable even with your plans. Yeah, I mean, I call it, I usually say, I have a theory about people standing at houses and saying things. That's great. And it's only a theory about people standing high so you're saying saying things.

That's great. And it's only a theory until you put it on its feet and then it could have been, you know, you discover whether it's just a stupid idea or not. Really? Guys, I got a pee. See, I told this is. Look at that.

I'm sorry. What they need to feel safe is the ability to go pee whenever they want to and that's. I think it's important. I think it's they can do a court study and and male aging We are all familiar with economic uncertainty these days, right? Yeah, yeah, our stock's going up, but they are they going down. What are they doing? You know, are we all good again? Or are we headed right back into a major collapse? Yeah, and that uncertainty, it bleeds into every aspect of business, especially trying to find people. You mean,

like trying to find people to take over a timeshare? Find people to get got? No, I just, I'm talking about like hiring people. I can try to hire people. Oh, shit. That's what I'm saying, right? And I'm also what I'm saying is, and it's more important than ever to hire the right people faster and more efficiently to keep costs down. That's where zippercrooter comes in. It's a platform that streamlines hiring and helps you find the most qualified candidates. From pricing to technology, everything that zippercrooter does is for you and what works best for you. And right now you can try them for free at zippercrooter.com slash sunny. Yeah, we used it to hire an ad salesperson for our team. And what I really liked is how straightforward the pricing was.

So you always know what you're paying before you post. It helped us stick to our budget. Yeah, also, I know that zippercrooter is also known for their own smart technology, which sends your post to over a hundred job sites and identifies the best matches for your position. Yeah, I'm telling you, it's the only way to find the right people for the job. Right now, Ken Zippercruder find people

to buy our time share. No, you're never gonna sell it. Ken Zippercruder buy our time share. No, okay, you guys got scammed, just deal with it, except it. Okay. Hire the best with the help of a partner who's all about you. Zip Recruiter, four out of five employers who post on Zip Recruiter, get a quality candidate within the first day.

Just go to this exclusive web address to try Zip Recruiter for free. Zip Recruiter.com slash sunny. Again, that's ziprecruiter.com slash SUNNY. Zip Recruiter, the smartest way to hire. ["Zippercrooter"] Beking to your unflappable nature. You know, to this business and succeeding in this business is so much just putting yourself out there

and it's mostly rejection. Every now and then, you get a breakthrough, every now and then you get a show that is a hit and you hang on for dear life and do 16 seasons of it. Or every now and then, you break through, but mostly, it's a lot of lumps. You don't strike me as someone who gets affected by the lumps. And if you have had the lumps, I'm curious what they even are. Like, have you had the ups and downs with this

business, or are you just going down the river? And I am, I am going down the river. And, you know, I think it's, it's, I have had, definitely had had lumps. And you just can't let that lump make you unhappy. I mean, what is a lump for you though, like getting, have you been like fired off working on a show or have you been like, yeah, yeah, that's a lump. You know, you really start doubting yourself and questioning yourself and it was something I did, how I could have done it differently. And of course the answer is no, I was perfect,

they were all wrong. Well, that's actually right. The answer is they wanted something, you were offering something else and that's what, and then you move on to the next. But it's like, you know, I mean, at the end of the day, it's just television, nobody's gonna die. I think that is also something that comes

from expedition work, is that, oh, a light fell down. Television nobody's gonna die. I think that is also something that comes from Expedition work is that oh a light fell down. Oh, it's raining. Oh, it's too windy. We can't shoot It's like nobody's gonna die and everybody's gonna eat Yeah, it's okay. We're gonna have sleep in a bed Mm-hmm, which is dry. Have you ever been in a situation while shooting where you're like somebody might die right now Like when you were skiing or like doing these adventure tricks, is it ever gotten hairy? Yeah. Yeah, for sure.

I must have been scared to be like, am I gonna film my own death right now? Yeah, no, usually. I don't think it's gonna, I have this thing where I never think it's gonna be me. It's never gonna be me until, yeah, I'm playing there in a crumpled mess. Oh wow. Now what about advice for young aspiring directors?

Like someone who wants to be the next Rana Lineheart? You know, I think like directing television is going around and being an episodic director, understanding that it's not your show is the biggest thing and the most liberating thing that when you get there, if you don't wanna do it the way that I saw it, that's cool, I'm just a guest. So I think really having the confidence to know what you want, but also be happy in not necessarily getting what you want

but getting what the show needs. I've heard it described as, you're like the babysitter, you're not the parent. So if the parents have decided that this child is being raised vegetarian, it's not your job to come in and serve the kid burgers, you know? Usually on TV shows, there's always somebody there behind you, which is why I tend to not do much episodic guest directing anymore,

because I'm happy to collaborate, I really enjoy it. But it's also really nice for me to know when I've got it, and I just got it, and I'm done. Yeah. You know, there's- What is your direct to the pilot of the MIC, and many episodes as well. Yeah of the mick. So you were you were there to establish the local deal. So talk about that for a second because that's

a different situation because you if you if you're going into a pilot of the episode. Yeah. You have a lot more agency over how this show is produced, how it shot, how it looks. Can you talk about that process a little bit? Yeah. Yeah. Yeah. episodic, direct. Yeah, episodic, I mean, you're serving the pre-established material and directing a pilot, you're actually establishing what that pilot, the tone will be, the look of it, the, you know, how it finds its humor or its, you know, pathos, whatever. And so I love directing pilots because it's such a ground up building situation that you are creating a foundation for the show to go for hopefully many, many seasons. You know, I'm an Elearminerary, right?

You directed the pilot of that. I did. You directed the pilot of that? Yes. Oh, I didn't know you directed the pilot. Now, so that means you've done three different shows that are supposed to take place in Pennsylvania, right? The office,

Abit Elementary and this fund. Yeah, we went back to for the finale of Abit. We went to Philly and I was great. I went out there scouting it on my own and I just go hopped on a bike and just rode everywhere. Yeah, that's funny. It was really cool. Riding over to West Philly and all the sudden the streets get really, really shitty. Did you do that? Yeah, I would advise against the riding of the bike. Did you hop on a raft and get down a school? No, I think. Because that would be a good white water rafting.

So you were trying to remember, oh yeah. Well, we shot the World Series defense and we shot the stuff with the Philly Frinetic with him getting in the fight with the Philly Frinetic. Yeah. You know, and me bruised and battered and then we do the red with the Philly Frinetic, with him getting in the fight with the Philly Frinetic. You know, and me bruised and battered, and then we do the red eye bit,

or whatever, it was right before we go the Allity in. And in the background, there is an actual game being played. And we were trying to figure out if the stadium was full because we put in some CGI to make it look like it was full, or if there was an actual... Well, here's the big mystery, too, because the first scene, the stadium's clearly empty, and it says, if we're, we've gotten there early.

And the later scenes is now full, and we're talking, you know, as scripted, that the game has begun. But knowing our shooting schedule, we'd be like, we wouldn't have been there for hours and hours and hours and hours and hours, like, 15 hours at that location. So, what do we do?

I think we shot that over a couple of days. I think we wanted it to be empty. So we, and then we wanted it to be full. So we actually came back and made it full. Are you sure we did that or did we time it in such a way? I think either we split up over a couple of days, but either way, this was not CGI. This was, no, that was not CGI. Nice. And we just timed it that way. It was

either we timed it that way by splitting it up over a couple days and just scheduling it that way. This looks like a show that would use CGI. But we did with you, we did a big CGI thing with the gang, Ryd and I, reignites the rivalry with the writing and fire. Also the war, remember? That was like one of the biggest CGI things we had ever done. And also the...

The fires, the... Hockey. The hockey, yeah. Oh, well, yeah, no, that was probably even, that was much bigger, much bigger. That was crazy. That's stupid trench coat. Yeah.

Should we watch some Randall? Yeah, I got tons of Randall clips. So maybe the question is, do you have a specific scene you are? You remember really loving how it turned out from the show or anywhere you'd like to start? I mean, you know, gang rest, you know, for the troops, I thought was a really good episode. Yeah. gang rest for the troops, I thought was a really good episode. And I remember that we finished the fight scene where Danny crashes the chair over Sweet D. And I think I did the most setups I've ever done on- And one day you did like 50 something-

I think it was 90. Yeah, you know what? I think it was like 90 cents a one day. I remember this and it was like 90 cents a one day. I remember I remember this and it was like A lot of pages too. I think the amount of pages We I think you also the record for pages in a day Yeah, we had one day or we shot like 12 pages See my my my greatest asset is not knowing any better my greatest motivator is really wanting to go home

Yeah, it's my big motivator. I remember the boat episode the P. Diddy boat dance being oh my god Caitlin dancing with the and didn't did we actually like that boat on fire like I know that was a CGI But you remember we also we'd that boat we took an old old old crummy boat Which is exactly what we wanted yeah, and then they made it look older and it just they look more like a set yeah made it look yeah we were upset we're like the boat look oh my boat you already know oh why did you have to make it look old long beach right so we're down a long beach right and I actually swim in there, that filthy water. This is boat music.

Yeah, this is the kind of thing. We had to hide Caitlin's pregnancy for the first half to see. We had to take a boat out to the boat. This guy. Yeah. And where were you, like, did you guys also have a boat that you're filming from? I think we were filming from a barge that was like a flat pontoon boat.

Yeah, yeah. And you can taste that sort of endangered tang. That's it. I do. That was like a flat pontoon buzz. Yeah, yeah Endangered species are delicious You guys ever find those keys while they're danger In the orange ruffian for instance Frank and Dean and get the hell out of there because we're gonna be bringing back a couple of tasty treats if you know what I'm saying. Hey man yeah absolutely I'll get right on that. That's how you patronize someone right there. Dan is speeded dick don't worry about him. Hey, the school of equipment is broken.

It's useless. What the hell with it? Let's get back to stripping. I'm a tossing shit. It's crap anyway. That was not sagey. That was real. Yeah, yeah, yeah. Yeah, the flame bars. The boat is on fire. Wait a minute.

The boat is on fire. Now where we shoot that? We shot that. Fire shot on the lot, right? I think so. Yeah, I think we shot that on the lot. So what I'm. And then we just have a lighting effect in the window there.

Yeah, I think we had to shoot that actually Outside and take some of that set outside. Really. Yeah, I think so because you can't you can't like something on fire in set That's right So much more romantic in the middle of nowhere where we can be completely alone Grash decisions based on fear rash decisions based on fear right Dennis Magnum understanding the location quite Understanding

No more daddy boat How The swam Charlie where's the boat what? What the hell happened? How the hell was William? Charlie, where's the boat? What happened to the boat? It's right there. Wait, how would we not see that? Now that is CG. You know, it's pretty good.

It's not. Yeah. How do we see the thing lighting on fire? Yeah, yeah, yeah. How do we see? How do we make it see? Yeah. Yeah The thing lighting on fire How do we make it sing? Yeah CG some guy some computer, you know Well You're did having Randall on the season five inspire you to be like oh, maybe we could do a whole thing on a boat Like just in terms of you they talk about how you brought scale to the show and like, kind of, they do think you could.

Right things. Assuming that we were going to find the way to shoot them where you were actually like, so we would have written the hockey thing assuming, wow, we won't actually like see the stadium. Or we would have written that being like, well, you might not actually see like the boat sank. You might see, you know, so you were the one, I think, like, well, you might not actually see the boat sank. You might see, you know? So you were the one, I think, saying, no, the world has changed,

we can't just take now. There's ways to do this. Yeah, and that you don't have to spend a billion dollars to do it. Yeah, I mean, I don't remember how we sunk the boat, but I think it was just took a plate of it and just shot it so that it was a thing that you could manipulate on its own. Explain a plate to the generalize.

Sometimes you're shooting something on a green screen where you can isolate the character or the element that you want to isolate and lift it off the background and put it onto another background, another plate. So that's what I'm sure we did is we just shot that as a plate, shot 15 seconds of it, and then it was isolated and manipulated and this is own layer. Now here we weren't allowed to like go to a game and film at a game, which was our first request. But we were allowed to film a game. We weren't allowed to get on the ice and do the whole thing. Didn't we take?

Seeing what you've taken a lot of time. But so that shot, these are stunt guys in Philly. That's us. That's us. Pumped. Yeah. Yeah. That's obviously yeah, you can kind of tell we're just kind of tell there. Yeah, you can certainly see green now that's real And that was real that that's all come I Remember not feeling like I remember feeling upset that the stunt guys were doing The stunt guy for me was like doing bad skating I'm like hey man

Charlie guys skates good Yeah, this all was so much great. That looks great. No, yeah But you kind of also can't tell it means pretty dark Yeah, the choice to explode that was a lot of fun. That's cemented himself as a Philly sports legend. I remember this shot at pans over to a tight shot, right? Right here. Mac, Mac, Mac.

So that's the state, so you must have sent the machot list. Yeah. Yeah. Mac, Mac, Mac, Mac, Mac. We got Mac, Mac, Mac, Mac, Mac. Mac, Mac, Mac, Mac. Oh. That's a rink somewhere in Burbank.

Yeah. Must have gone there and shot that Mac. Mac. You, you, you went to Philly. Yeah. You went to Philly. I went to Philly. Yeah. That's stuff.

I mean, I remember, okay, so that wasn't just a second unit director. I think I thought I remember. Yes. That stuff because I remember the board moving in the background. Yeah, so you must have gone. Yeah. With, with a unit. Uh-huh. Did we shoot in

Philly in season six? There's some seasons we have shot there in some we haven't. Well, I think it wasn't hockey season by the time we were filming. So you must have gone earlier, like while we were, I don't know. I just wait. I just stood up. I'm sure you'd get on the you'd be able to go there now, right? Now we could. Yeah, now I bet we could work it out, but you know, they're not like, hey, it's a game, there's a team. We're not gonna make, you know,

the fans are there for a game, not for you guys to film a scene for eight hours on the ice. I went and shot basketball for it's always sunny, for Abitale Elementary. And you know, I had four minutes and you know, it's it's your part of a much much bigger thing and it's it's clear how little you matter to them it's like okay you're off you're not you got your four minutes I was I need one more no

yeah you done man about you. Running a two billion dollar franchise. Nobody cares about your show. It's like whenever you shoot on the universal, you shoot on one of the lots, and all of a sudden you just hear like a ding, ding, ding, ding, and you hear like some like, turn that over here, they're shooting,

and then you look up and it's a tram car that's coming through. You know, we're shooting, we're shooting here, and they're like, yeah, no, we don't care. You know what I'm gonna show? We make more money off the park than we do. The park, it makes way more money. Get out of the way.

We're gonna run you the fuck over here. I don't even shit. They do not care. The people in the car would love to see that actually. They would be telling you that. First of all, they're like, what show is this? We've never heard of, we've never heard of this. Another thing you shot was the Kitten Mittens commercial.

Oh yeah. Do you have any memories of? Shining at. It's a talk. It's a talk. Kitten Mittens. Yeah, I remember, you know, remember to get the cat walk funky. of shenanop.com. A detective, a kid's name, episode. Yeah, I remember, you know, I remember

to get the cat walk funky, we, you know, trained with a cat, put some, like corn or something in the mittens or the cat, oh, so that it was uncomfortable. It was like walking really, really fun here. Oh, really? I thought I was just doing that because the mittens were on.

I was like, I gotta get this off. There was something in there. I don't remember what it was, right? It was really fun. I like the idea of was just doing that because the mittens were on. I was like, I gotta get these off. There was something in there. I don't remember what it was, right? He's really fun. I like the idea of it being corn. Let's go with that. I don't know why, but cut that, cut that. You gotta call from PETA.

Yeah, that's a sudden rindle. Yeah, you meant this to have a corn? Yeah. Yeah. Yeah, there you go. We got to eat the corn afterwards. I'm sure. Sure.

And then we got to eat the cat. It's all in the natural. Cycle all natural. That's what I'm saying. Cycle of, you know, it's totally humane. So are you still directing Abit Elementary? I will be. Yes. Okay. So I stayed on, I stayed on, I did the pilot and I directed the first. Are you E.P.ing? Is that? Yeah. Okay. So I E.P. that. So you're heavily involved in that one. Heavily involved in that one. It's big hit. Yeah. Now, what if we said we wanted to have you back to direct more episodes of it's always sunny and so it's healthy at some point?

Can we afford you? I'd love to. We can't get too much. We can at this point, but we can try. I'd be, we take scale. We take scale. Will you still allow us to? Yes, scale.

You know, completely steamroll you. Yeah. Yeah, when you come in. I, you know, completely steamroll you? Yeah. Yeah, when you come in, that's my forte. Okay. Lay down. Okay, give up with what you want. Cry on the way home, process it later. We haven't talked about your house at all.

Wait, we have to talk about your house for a second, because you were one of the true first like California hippies that I, who's compounds I'd ever been to. Yeah. I don't know if you still live there But he lives he lived up in the hills of Pangak Canyon and any stalkers out there just know if you try to find him to Pangak Canyon He's massive. Yeah, and you'll never find you will die out in the way It's this old Oshrom where Buddhist monks used to live yeah back in 60s and 70s, so some weird shit was going there.

Because the transition from Buddhism to Mansonism possibly. Mansonism, yeah. Yeah, a little bit of overlap. A little bit of overlap. Yeah, sure. A lot of meditation, but a lot of drugs. A lot of drugs.

A lot of, yeah. Peace and love, peace and love. Or murder, some murder. Yes, I've had somebody say, I was in an orgy your house. Yeah, right. That's cool somebody say, I was in an orgy your house. Yeah, that's cool. Yeah, that's very cool. But you also had lots of animals.

Yeah. And the very first time I had ever been on a horse. So he, he, I don't know if you still keep horses, but you had horses up there. And you're like, let's just go right on a horse. I was like, okay, I've never been on a horse before. And you're like, it's fine, it's easy, it's easy. So I go, okay, so, and I horse before and you're like it's fine. It's easy. It's easy. So I go okay

So and I'm just following you oh shit And all of so we're just going on this trail. I'm like what the fuck okay, this is fun. This is fun. I'm having fun and then a deer comes out and the horse gets spooked and bucks and chucks me Into next week off the horse in the like these like grass slash wheat fields off the horse in like these like grass slash wheat fields. And I ran away and Ranna was far away and I was just on the ground like I got possible. Yeah, scary dude. Yeah, that's that's no joke.

I was laughing hysterically the entire time. I remember like I'm calling out Rob you good? Yep, yep. What are you doing man? I'm just bush. I remember you didn't tell me. I was looking for the horse. Yeah, we find this horse and get back on it.

So I can catch up with him and the horse was not having it. Yeah, get the fuck away with it. Horse! Sorry about that. Horse! Scared horse. Yeah. Scared horse, can I get back on?

Scared 2,000 pound beast? I'm going to come up. Yeah. Hop back on. Do you remember that? Yeah. Yeah. Are you still in that place? Yeah. Well, still riding horses? Still riding horses. Hmm. Nice. Um, yeah, still in that place. The place is very, very different. It was in Ashram. I bought off an 80 year old monk who was living there with 11 disciples. And he was a renunciist. And the first thing he certainly renounced was maintenance. And there was this shit everywhere, the whole place, not like the Julian incense. But that place is no longer, we started remodeling it and it was like, yeah, it was, we ended

up lowering the whole thing, it was like six inches and just building a new house. Oh, you did, yeah. Okay. I remember you, first of all, there's maybe some spirits in there that you wanna cleanse. Yeah, you know, but actually, it's fun ones.

Yeah, it's fun ones, yeah. There was a guy who came, a kid came, you know, a week ago, I'm down, muck in the horses and this kid came out and he says, hey, do you live here? I said, yeah, I do. He says, I was born in that bedroom. I'm like, really?

You better come in, man. Come check it out. And this kid who grew up in that house, walked him through the property. And he had all these memories of, yeah. It was really cool. Yeah, that is cool. That's awesome.

I watched my parents fuck there. Yeah, I watched my parents fuck other people there. You could watch show and that's murder somebody over there. California was a strange place. Super strange. I still have a buck naked, Peter Bogdanovich, still wearing his ass-got right here and there. And I'll never forget that. This came up on the podcast when your name was mentioned, were you aware that your last name means unicorn in German?

Yes. You are. Yes, I brought this up. It's, it's unicorn sounds better than ironhorn. I don't even like saying it. Yeah. You know, it's kind of, doesn't, doesn't have a ironhorn. But like, German.

That's really have an elegance to it. So ironhorn? Ironhorn, yeah. I don't know. It's pretty cool. It's a good, it's a good memorable name as he has magical is unicorn though. No, it's not it's my family crest You know is a unicorn But my company name my company name is sad unicorn Because there's nothing funnier than a sad unicorn

Is there such a thing is a sad unicorn? They're all sad because they're all one horn Most have to most other beasts have to yeah Well, this has been anything other than sad we've loved having you on it's been wonderful So good to just see you can afford. We definitely can't afford you anymore But we love I would love to come play great. Oh, yeah, it was absolutely always a giggle I would love to have you back, you know, yeah, I always had a giggle. It was always fun. Yeah remember sweet D Stuck to the floor in the movie

We just talking about it. Yeah, miserable that was talking about it and how miserable that was. She was fine. She was like, she was like, she was going missing. Literally glued to the floor with you. Yeah. Well, thanks, Randall. Thank you, Randall.

To see you. To see you. To see you. And that's it. That's it. Cut off. you