wellRED podcast - #339 - How Rednecks Should Act On The Red Carpet w/ W. Earl Brown!

Episode Date: September 27, 2023

Long time friend of the show, and honorary WellRED Uncle W. Earl Brown joins the show!   Earl is probably best known for his roles in Deadwood, The Mandalorian, There’s Something About Mary etc, but to us he’s simply the best damn story teller we know!   Earl and Trae dive in on some Hollywood talk, his performance as Warren in There’s Something About Mary, and of course…. How Earl thinks rednecks should behave on the red carpet!   Have you grabbed Corey and Trae’s new book Round Here and Over Yonder yet? Well you ourt! Its available wherever you get your books, or at…..   TraeCrowder.com where you can also grab tickets to see Trae perform in a city near you   Go to DrewMorganComedy.com to see where Drew is gonna be after the baby   Sign up for Corey’s Substack at PartTimeFunnyMan.com to get all the new audio dramedies he’s doing along with much more!

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round here and over yonder wherever you get you books do it at an indie bookstore hey look who it is everybody esteemed character actor w earl brown also honorary uncle to the well-read fellows uncle big brother wherever the case may be you've done the show before but it's been a while it's been a few years yeah how you been well we've had a pandemic since then yeah damn it's been that long i've been uh things have been great man since since the world righted to some degree i worked constantly up until, you know, we've been on strike for five months. Yeah. So I've done a bunch of really good stuff that nobody watches.

Right. Yeah. Well, you know, sometimes it'd be like that. But you've done good stuff that people do watch too. I want to talk about your, how the strike's been and stuff later. But first, before I forget, I want to ask your advice. I'm going to this, like, a pretty Hollywoody thing tonight. It's like a fundraiser thing.

It's good. It's through my close personal friend, Al Gore, who we were talking about. talking about before, you know, me and him real tight. So he invited me to this thing and being Kayer going to and it's in like Beverly Hills and whatnot and it's going to be, it's going to be fancy and swanky and I always feel out of place. You're from Kentucky. You've been out here a long time. Like, I want any advice you have for those scenarios, but also if you've got any patented Earl Brown anecdotes about, you know, big Hollywood parties or soirees or something in your time, run-ins you've had, any of that. Well, I don't, you know, I don't really make the party circuit

all that much. When I first came out here, I cared. And I did go to the clubs and stuff like that. I've always found if I have a purpose for being at some swaray, like if it's around a show I've done, if it's a premiere or something, I'm fine. I have a purpose for being there. I'm not really good at just shameless self-promotion for no reason, for no specific target. Like I'm here to work the room. So I don't have that. I did learn something about Hollywood. And that's funny. We were talking early. I've spent the last four days with you and Corey because I've been listening to the book around here. Round here and over yonder. I've been walking, running. And I just finished the LA section only about an hour ago.

You were talking about those events. And as a kid, you have in this image of Hollywood. And I had the same thing. Yeah. And the first time that I worked away from home was on Scream. And we shot in Central California. and we it was it was like summer camp man movies are like that you know you go away you meet a new group of people you have a shared common experience you make these bonds and then you you know you go back home you go on to the next one or you know summer's over we go back to school yeah that is kind of standard out like people don't i think like regular you know just the movie going public or whatever they see people that co-star in something they got great chemistry or especially tv shows and and they think that like you know y'all like hang out and stuff after that and you know stay

Right, but that's not usually the case, right? It's rare when it is the case. Right, which means it's something special. Well, I learned it on Scream. We had the big red carpet premiere, and there was the buzz on the film because they had tested it and they knew they had a potential hit on their hands. Oh, yeah. So we were the hot ticket in town, and I was so excited. Like, I'm going to get back and hang with my buddies and see my friends, you know, we'll have some beers.

Because we hung out. We partied on Scream because we were all young. I was the oldest and I was 32. And, you know, Courtney is like six months younger than me and the rest of them were in their mid-20s. And when I got to that premiere, it was like the most Hollywood sycophantic ass kissing because it was the hot ticket. And I couldn't even get, I couldn't even say hello to most of the, you know, to Matt or Skeet or Courtney. Right. Because there was such this cacophony around them.

And it was so disappointing to me because I'm thinking, I'm going to go with hang with my buds, you know. It's been six months since we all hung out, man. We'll do shots. And then I realized, no, it's a promotion for the film. And it's all ephemeral. It all goes away. And so that's what you just have to take it with a grain of salt. Have fun in the moment when you can.

Those people, man, you'll see them sometimes out here that just like have absolutely zero shame about like going up to somebody, like some whatever, power broker, gatekeeper, just someone with like a career. And this person, they'll just go right up to him be like, hey, hey. I got this script I've been working on. Let me tell you about this project. I got all this stuff. I've been called into meetings with people for that purpose, and I still feel weird doing it, you know what I mean? Like, let alone just randomly going up to somebody at a coffee shop or something.

Like, that's crazy to me. Well, I found that the greatest way to get something that you want is to ask for it. But the clue, the key, is knowing when to ask, who to ask, and what exactly to ask for. If you go up to somebody that you don't fucking know, right, party way, I got a script. That shit happens all the time. And it's in one ear and out the other.

And they're used to that, you know. Of course. Now, when you're called in because somebody knows your work, that's a different circumstance. Yeah, right. That's like being at a party at a function that, you know, it's celebrating a show that you're a part of. Like I said, when I've got to walk the red carpet for something like that,

I'm fine. As long as long as ask me questions about, the thing that we've created. But just to walk the, hey, look at me, I don't like that. But when somebody calls you in, you know, they have an interest in something you've created and they want to see if they can create something else with you and make some money from it. Sure. Yeah, and I pull it together and do it.

I'm just, you know, I'm saying even in that scenario, I feel weird about like, like, I don't know, trying to sell a concept, like a show idea or something is one thing, but it's always like, oh, you got to sell yourself too. And I'm like, I don't know that I believe in the product. You know what I mean? But now it's hard for me to, you know, act like I hit. But do you still feel that way after the degree of success that you've had? Oh, yeah.

I get it when you. Mad imposter syndrome, man, for sure. You don't ever have that anymore? I mean, you're, I mean, you shouldn't. But I thought that, see, I had in my head, I was like, most people feel that, you know, like, it's not like it's perpetual, but like, yeah, do I still get it absolutely all time? You know, a lot of people do feel that way. Very successful people. You know, do I have imposter syndrome as an actor?

No. Right. There was a moment. I had something early in my career, a play that I did, where all the pieces of the puzzle fit together. And I kind of had that transcendental experience prior, but I didn't really understand it. I didn't realize how it happened, you know. But in that circumstance, I did.

And all the pieces fit. And it not only helped me in my family, you know, deal with family trauma because I was basically interpreting it on stage. I didn't consciously realize it when we started. But in that moment, I realized, you know, the power of art, the power of creativity. So not only in my career, but in my own personal life. and since that point, like, I'm pretty good at this. I mean, yeah. Now, I've had moments.

I've had a moment, like on Seinfeld. I was convinced Larry David was going to fire me, you know. So, you know, there was sweating bullets there. So every now and then, a circumstance will arise where, you know, I step to the plate and I whiff. But I got an actory question for you, or a question about actors. I feel like there's like two schools of thought with actors when it comes to like, you know, Some of them real hardcore, real method, really like, I am that person when I'm doing this. I am that person versus the ones that are like, well, I mean, no, you're not, you're an actor playing that person.

But, you know, if you have the, right, so where are you at on that? Me personally or dealing with people like that? Both. Well, one circumstance I read of of an actor who worked that way, which I could get it. I could see. When Phil Hoffman did Capote, Philip Seymour Hoffman. And he said, you know, I've never worked that immersive, you know, method way. But he said, I found that the physicality, he was so physically different from me because I'm a big guy kind of tall.

He was small. And he said, I found it really hard every morning to kind of find that again. So it was easier for me to go home with that mind. That's the one circumstance. I'm like, oh, I could see that. I could see that. There are things that you, like, for example, when I, I'm not. I did there's something about Mary.

Yeah. We had this bit of, I had longer hair and they were cutting my hair. And I was in costume. I was in wardrobe. But I would walk to the set so that Pete and Bobby, the Fairley brothers, could look at my hair and decide how they were going to do it. So I still wasn't 100% like I couldn't immediately flip that switch off and on with that character yet. Yeah, Warren, by the way.

Yeah, Warren. I was going to bring that up anyway. I know you talked about it a million times, but I still wanted to. so glad you brought it up. But there were things walking down the sidewalk because our base camp was two or three blocks away from where we were shooting. And I wasn't shooting that day.

I was just there for confabs, for wardrobe and makeup and hair and stuff. But I would walk to set as Warren with that center of balance, with that two times people crossed the street so they wouldn't pass by me. It made them uncomfortable. And that was something like I'd never thought of,

you know that like that people would be but so i did learn something in that circumstance um but then once i had it dialed in like i could flip it on and off um so no i i don't work that way there's sometimes you emotionally take shit home with you that you can't wash off right not consciously something that really psychologically bothers you like i did that show american crime in texel Texas and I was living by myself and there was no one else in the apartment complex working on the show and it was really fucking depressing. Yeah. And I played guitar and painted for hours on end because it just messed with me so much. So that was hard to wash off.

How do I deal with others who behave that way? The end result is the performance. However you got to get there, whatever. I have dealt with like Joaquin Phoenix on the master. Now, he didn't say call him, call me by my character name. None of that. He introduced himself as Joaquin. But he stayed in that mindset and that physicality all day.

Right. So there's no denying that that scene between him and Phil Hoffman is one of the greatest scenes on film in that movie. Yeah. And of course, you know, I heard the story. I don't know if this is true. You might have heard the story too. But like, so Daniel Day Lewis, like a lot of people,

are greatest living actor or whatever. He also does that sort of thing. Yes, yes. I heard someone, I can't remember who it was, someone who was like worked behind the scenes on Lincoln, I think. So he's playing President Lincoln. And they like, they texted him something like, yeah, Daniel, call time or whatever tomorrow, right?

And he texted back and was like, you will refer to me as President Lincoln or whatever, which is funny because it's like, okay, I don't think Abe was with Verizon or whatever. You know what I mean? And like, so if you care, if he cared enough about that, like getting up and finding her and, you know, being all presidential with his top at and being like, how dare you refer to me with such, you know. But Tim Nelson told the story. He was on that film?

Well, first of all, I asked, when they finished it, I asked John Hawks. I said, oh, was it like working with Daniel? He goes, I don't know. I never met Daniel. I met President Lincoln. Right. But not long ago, when Tim was promoting his novel a year or so ago, he, I was doing on a podcast. and he told the story of when Hal Holbrook joined the cast,

and he sees Daniels at craft service. And he goes, Holbrook makes a beeline over to him. Hey, Daniel, Daniel, and Halilbrook's, what, 90 at that time or something? Like, been around forever, legend of the gang. He said Spielberg cut him off, and he goes, the president is having a snack for the moment, and President Lincoln, and he goes, you see it kind of sink into Howell's face, like, oh, I get it.

Yeah. Oh, okay, okay. and as he turns to walk away he leans around he goes still want to tell you Danny you were great in that wheelchair picture I worked with a young actor on this indie film who he's I've seen him other films he's really good he was good in our film but me and and this I'm not going to name names because I don't know you to start that shit but me and another actor who was a friend we had been out rehearsing and we get back in the van this young actor had just joined us now we're all living together in this monastery up in northern Maine, you know, the whole cast of crew, we're all in the same place because we're in the middle of nowhere, right? And my friend goes, oh, hey, so I heard you were joining, hey, welcome. And the actor goes, that's not my name.

My name is Dave, whatever his character name was. And I started laughing. And he was like 20 years old. And I went, pipe down Francis, you know, which is from stripes. Yeah. Is that a specific type of training? Like when you made it act like that, you're like, oh, I know exactly what kind of training. It's just something that some of them find along the way and they're like, that's what I'm going to do?

It's a bastardization of Stanislavski's method. Yeah, right. You know, the Moscow art theater at the turn of the century. Because theater had always been this presentational thing, you know. And that was the first time. They did Gorky's The Lower Depths. And the story was, people were. afraid they were afraid to go to the theater, afraid they were going to get lice because it was

homeless people, you know, like living in a sewer. And they created that environment and they played everything realistically. It wasn't like I'm performing. They wanted to create truth, you know. Right. And that was, that was weird for theater, especially that far back, right? Because like you said, theater was all very, holding a skull on stage, projecting, doing soliloquies, all that stuff, as opposed to like immersive reality. So that was, Stan Foski wrote, there were three books. And he talks about that method. Well, then a group in New York, the actors studio and Lee Strasberg, it was kind of a bastardization of that where it became this, they think they have to totally immerse. And again, all techniques are tools and whatever tool it takes for you to complete the job you use.

When a plumber comes to my house, he doesn't unload every tool off his truck and bring it in. He comes in and sees what the problem is, figure out what tools he needs. So that kind of way of working, it's a tool. You just don't have to be a tool. Right. Because sometimes it can become a little insufferable. Sure. Well, I remember my whole thing, like, I've always, you know, I'm not an actor.

I'm a comedian and I've always thought it was, you know, I've always sort of rolled my eyes at it when I've heard about it. And then, like, in particular, I watched, you know, Jim and Andy, right, Jim Carrey's documentary that he put out himself about him doing this to play Andy Kaufman, right? and which I thought was a wild choice in retrospect because I didn't think it made him look that great but I guess, you know, kudos to him for, you know, totally owning it. But in that documentary, they also talked to Jerry the King Lawler, right?

Who had had that old rivalry with Andy Kaufman in real life went on Letterman, bitch slapped him. I was watching that live. I watched it when it happened. Yeah, that was wild. I completely brought in, bought into the cave. Right, yeah. They did this whole thing.

And so that's in the movie, Man on the Moon, in which Jim Carrey's playing Andy Kaufman and Jerry Lawler was involved with the movie as well as being there in real life and when he was on the movie set Jim Carrey as Andy Kaufman was like screaming at him trying to attack him having to be held back get the fuck off my set

Lawler you know all this stuff whatever and in the documentary in that interview Jerry Lawler he's like I try to tell him like Andy was in on him and he was like we were friends he was like we came up the whole thing together like I knew the real I was there when it all really happened.

He wasn't like that. Like, we were buddies, you know. And to me, that right there, like, that just sort of like summed the whole thing up for me in terms of like, so it's at least a little bit of bullshit, you know, at least taking it to that extreme. Because his whole thing was that he wasn't even doing a method. Yeah. He was literally inhabited by the spirit of Andy Kaufman when he did that role is what he had said. Kaufman's one that, I mean, I was of that age, you know, I'm your mom's age. And what turned me on to comedy was I had George Carlin's class clown, and I had Richard Pryor's greatest hits.

And then I went back and bought all these other because Pryor and they blew my mind because they said things and thought of things in a way that was so outside of my experience, you know, being a 12-year-old kid growing up in rural Kentucky. Oh, right. And so I became a big comedy nerd. I still have this triple album, 25 years of recorded comedy, which were bits from. You know, Avery Schreiber, people all over the course of comedy, including Prior and Carlin. And then when Kaufman came along, I was in, I would have been 14 or so right when I was really getting into it. And Andy was just so fucking weird. Oh, yeah.

And I read this, there was this Rolling Stone article, an interview with him. And he said, I don't care if I make people laugh. I'm like, what? You're a comedian. That's the purpose of a clown is to make people laugh. You're a comedian. And he said, I just, I want people to have an experience that they're not going to forget. So I may enrage them.

I may piss them off to no end and they may storm out, but they're not going to forget it. Yeah. I don't know how you do that, man. Yeah. It's so wild to me having the balls, I guess, to do that. Because I want them to laugh. If they don't laugh, I take that pretty hard. Yeah.

You know, it's the whole thing for me. There's no death. I did stand up when I was in college and stuff, you know, there's no death. worst and standing up there to crickets. Indeed. Do you have moments like that as an actor? Is there anything comparable? And I guess not in a theater, like in film or TV production.

Like, do you ever, I don't know, you ever have moments where you're like, oh, man, this, this ain't good? Oh, yeah. Or this ain't playing or whatever, yeah. The thing with. What are you doing that? You just buckle down, be a professional and do your thing. TV film, you got another take. Yeah.

You know, and you try something different. You try. Yeah, I did one. I may have told this story before, but I was guest. Again, I'm not going to name any names. The guest starring on this show, it was a murder mystery show of sorts that was quite popular in the 80s and early 90s. And I was a guest star on it.

And there was this co-star whose family was connected and she could not act to save her life. And she had mapped out her facial expressions, like literally mapped them out. What do you mean? Like, she, every, every take, she did the same. Oh, oh, okay. Every single take. Her face, exactly the same is making faces, right?

And I'm like, you're not even listening to me. Yeah. I'm telling her her fiance has been murdered, right? That's the big scene. So I think, well, this is terrible. So I'm going to get one genuine response. So I threw the script out the window. I mean, I've still got to tell her, you know,

I changed the blocking. I just knew to find the lens, so the camera still sees me, you know, sees the shot that it needs. And it threw her for a loop. She didn't know how to respond. Right. And like, you might actually respond that way if somebody came up and told you out of the blue that somebody you love has been murdered.

Right. And the director, old school TV guy, he pulls me aside. He says, Earl, I see. I see what you're doing. Don't worry about it. Just, you know, just hit the mark, say the line, we'll fix it in editing. And I thought, so you know that this is shit, right? This is terrible.

You don't care. We just got to make our day. Now, that show doesn't exactly, it's not exactly Deadwood. It wasn't that demanding of its audience of both intellectually and spiritually. It was an easygoing murder mystery show. but that was the first time in my career where I've just kind of felt dirty, you know. There have been others. There have been others come along.

And I've gotten to the point that I won't do things like that anymore, you know, the shows themselves. Just pass. Right. Yeah. It's all about the choices you make, right? Yeah. Well, it's nice to have choices. Right.

Yeah, right. Yeah. Yeah. And, you know, my wife went back to work full-time five years ago now, and she does quite well, so I don't have to worry. I'm a kept man. There you go. That's what's up. I said earlier I was going to bring up something about Mary.

Again, I know you've talked about all this before. We've talked about it before, like not on microphones, but like there's something about Mary. You played Warren, right? Like, have you personally gotten any, like, grief for that since then? Like, if people, as someone remembered, like, oh, shit. shit, we need to go after that guy for doing that? Or is everybody like, because I felt like that was very much a no harm, no foul type of situation to me that, like, everybody's hearts were in the rap. Like the Fairley brothers, you know, I know the story.

There was a real Warren who, like, they loved that guy. He was their neighbor growing up. And it's all, like, it's all love. And you can tell that in the movie. He's not like a punching bag. He plays Freddy in the film. Right, that's right. And so, like, you know, to me, that one should be treated pretty differently, I would think.

but like have you have people like taking you to task for that or anything no one was mentally handicapped surely y'all know that when we did the movie again i i i'm the only person that played it straight out of the hundred or so people that were auditioned for that they were seeing comics and everybody's trying to goof it up yeah right you know and make it this farcical thing and i just knew instinctively a if you do that you're commenting on the character and you're you're making fun of the character and people are going to fucking hate you can i say that on the air you say whatever the fuck you won't. And then secondly, it's not going to be funny. If you're trying to make it, the only way to make this funny is to make it human and make those moments real, which is pretty much how

I approach doing comedy, doing anything that I do. So it worked. The flip to it is everyone thought I actually was that. Absolutely. Well, I thought, like, that's such a testament to how good of a job you did. Because, like, I was like 14 or whatever. When that movie came out, we loved it, obsessed with it. And I think that's another reason why everybody loved that performance so much, everything, is because, like, none of us questioned it for a second. None of it was like, that's a comedian acting like this. It's like, we thought you were ahead to toe legit.

But that's why it worked, you know, I had an experience in, what were we, 03 or 04. I was doing a movie with Robin Williams, and we were talking about the things, circumstances within the film we were making. and Holly Hunter playing his wife, a character had Tourette syndrome. We're talking about Tourette syndrome. And Robbins, this is sometimes a tactile that touched something before you look at it.

He goes, no, no. Some people with Asperger's or with, I did recently did a movie with David Duchovny and I played a character. I said, oh, yeah, I understand because I did the same thing in Mary that if I didn't trust somebody, I would touch them before I would look at them.

And he went, what? I said, I did something about Mary? Did you? That's you? Oh my God, I called people. So I'm sitting there like, this is one of my heroes. You know, I expected when that movie exploded, I really thought, all right, my bags are packed for the gravy train, baby. Right. But, you know, because Scream had happened two years before. And I was under no, I mean, I got billing on Scream and I'm a pretty, you know, it's a main supporting role. I got killed by Ghostface. But I was under no false illusion. Like, I don't bring anything special. I'm good in the part and fine. But the success of that movie got nothing to do with me. Well, Mary, I'm surely not the, the, the. There's a multitude of reasons why that movie was extraordinary.

You're totally one of them. Yeah, but I was part of it. So my bags are packed for the gravy train thinking, all right, baby, here we go. Here we go. And the gravy train just blows right by me. Because people didn't know. They wouldn't even looking for the actor who did that because they didn't think it was an actor. But you ask if anyone's come after me.

Yes, there was an attempt at it on Twitter. A couple of years ago when Sia, the singer, made that film that received, you know, pretty bad response. Somebody was trying to bait me on Twitter. And it was either somebody working PR for that film trying to divert attention away from the portrayal that was in that movie. Or I had a stalker fan who, you know, a stalker fan. And it was one of those two. I tend to think it was the stalker trying to bait me into something.

I just ignored it. Like I never responded at all because there's no winning that. Yeah, no, you're right. As soon as you walk into it, you've lost. So that one time, and it was an attempt to divert public attention away from that. So what do you think about that whole larger discussion, that representation and everything? Well, using Mary as an example. This was four or five years afterwards.

I was at the Roxy and this girl recognized me and she goes, I hear you W. Earl Brown. Yeah, and we chatted. And she was telling me a story. She said, I have two brothers and they both have Down syndrome. And said, my mom was wanting, she wanted to see that movie. And I told her, Mom, I'm not sure. Because she said, this was so out of my mother with an R-rated,

so much of the comedy in that. So she said, she wanted me to bring over the tape or DVD. I forget what it was. And she said, so I put it on. She goes, that first scene. She goes, my youngest brother, he gets up and he goes walking right to the TV and he points right at the screen at Warren. And he goes, he's special. He just like me.

And he came back and he sat down. And I said, everybody deserves to see their story told. Everybody. Right. You know, I got part of the courage to do what I do because Leo Burmister went to Western Kentucky University. Leo was like 10 years older than me. He was an actor on Broadway and in movies. If you saw the abyss, he was catfish.

But I always knew like, oh, that's like a big burly country dude. It kind of looks like maybe. So everybody deserves that to have their story told and to be told in an authentic and genuine way. On the flip to that is everybody thinks acting is just easy. Anybody can do it. It's easy. If it's really, really good, it does appear easy. It appears seamless.

You don't see people acting. I believe the best actor to best tell what story needs to be told is always the best choice to make. Right. Yeah. Yeah, yeah. So, you know, and I get where somebody, Peter Dinklage, Peter Dinklage is not a great dwarf actor. Peter Denglidge is a great actor, period. You can put him in any part, and he's extraordinary.

I've worked with him. He's an extraordinary actor. So, you know, he's not cornered by that, by his condition, because his talent transcends it. Right. And I think that's what we, the best actor is always my choice. Well, and I do get, and I mean, I'm totally with you on that, I think there should be a line to it.

I'm doing a bit about this on stage right now, kind of making fun of the whole thing. Because I, like, but I do get kind of why people would be annoyed because, Anytime I'll see like, and I never even saw this movie, but like that movie on Netflix, The Devil all the time, I think is what it was called, which is like a, it's like an Appalachian movie. It's like, you know, white trash hillbilly stuff. I think it's South Eastern Ohio. I think is where it's set. And or in like Logan Lucky and all these, which I actually like that movie, but all these other movies where it's like, all the rednecks are played by like classically trained Shakespeare and Brits. They're played by James Bond or Spider-Man or whoever.

And they're doing these like, you know, ridiculous accents and whatnot. I mean, you're like one of the You and a handful of, you know, your compatriots and buddies are like, some of the few guys are like have a legitimate, you know, redneck or southern roots or whatever. You're from. Bonifides. Bonifides. That are bona fides that actually get those roles sometimes, you know, so I got a bit making fun of that.

But it's like, you know. Well, you know, I'm. But I'm not like, I'm not blogging about it or nothing. I do just, I want to make fun of it, you know. Well, I kind of feel the exact same way. Yeah. And nothing's worse than a bad accent. Right.

And my ear is pretty well attuned to dialects. And then, like, my first gig ever on a movie set was coaching Chicago dialect to the backdraft. I had auditioned for the film. And I heard Ron, he was wanting this very specific Chicago, you know, it's outsider kind of dialect. And so I walk in a room. I do the whole thing, like as I'm talking to him, you know. And Ron goes, well, obviously, you're from here. I went, actually, no, I'm from Kentucky.

So I got hired to coach dialect. That is wild. Yeah. That is awesome. You just have an ear for it or whatever? My uncle. I do with some of them. Like, I'm real good at some of them.

But like, and if you give me some time, I could probably get there with most of the, like, white people ones, you know? Like that. But are you just one of those people you just hear it? You can just do it? My uncle moved to Chicago in 1970. 70 or 71 and we'd go up and visit. He lived up there for three or four years. He was a steel worker on the Sears Tower.

So that was the first time I'd heard it. And he married a woman from up there who was very Chicago. And then I went to school there. And we, DePaul University, had bought the Blackstone Theater. And I was one of three students who were on the renovation crew, you know, doing blue collar work, mostly pushing a fucking broom. But all the plumbers and the electricians who were like, you know, local Chicago, hey, actor boy.

Yeah. So they would mock me. And then so I started mocking them. So that's where I really picked up that. But what it was leading to is that was pretty easy for me. You know, and New York, you get to burrow a specificity, you know, and there's still things to work on, but a generalized New York thing. And then I was cast in Black Mass. And Boston was not easy for me.

Yeah. Because it's kind of this cross between those two. And we had a dialect coach. and I worked with her as we all did and I start now there's an example circling back around to a question you asked and I can't really slip into it easily right now the Boston dialect I would sit in my hotel room read books out loud and read them in that tongue sure yeah and when I would go out I'd find myself speaking that because it had to be second nature to me I couldn't stop and think about oh what's the rhythm of this sentence how should this foul come out with it it had to

second nature. And that's what happens oftentimes. And because our ears are so attuned to Southernisms. Yeah, right. When you hear somebody fagging it, when you hear that bad fog horn, leghorn, which still exists to a

small degree in certain corners of the South. It is wild. Like, it makes me appreciate, I mean, I'm assuming people from any region can do that because it's like, you can't, you can just tell. Like, if you're actually from the South, you could tell immediately, like,

Okay, this is bullshit. Or like, if you see somebody doing one that's actually pretty good, I'll, like, look them up, but where are they from? And then usually they're from Kentucky or Texas or somewhere originally, you know, like, because you can just tell. I want to, there's something about Mary. Will you tell the anecdote about the movie awards or whatever? Oh.

If you know. Thanks for bringing that up. Yeah. I break into this booze over here. I can tell them my woe is me. No, it was just a... Because our buddy, Corey, co-hosts here. By the way, I didn't even tell you all.

Corey's at the dentist and Drew's having a baby, or his wife's having a baby. So that's Earl. Earl's here with Just Me. But anyway, Corey, he did a thing on the movie awards. He was getting ready for it. And you were like, I got that story about the movie awards. Well, yeah, I mentioned earlier the thing with Mary, with the success of the film, because I thought, all right, here we go, baby.

You know, it's here, we've cracked the code, and then nothing happened. Like nothing. I think eventually is, now, I'll preface all of this by saying I was belly-haking about it. And this was in, oh, 2008 or so, 2007. I was belly-ache and I was broke and needing a job. And my wife, you know my wife, well, Carrie, she comes in, I'm sitting at the table eating breakfast. And she comes in and she goes, what are you proud of stuff? I said, huh?

She goes, in your career, what's the thing you're most honored to have been a part of? I was it, Deadwood? She went, all right, when did you do Deadwood? What the fuck says? I did the pilot in 2002 when Series No, 3 came out in 04. It lasted three years. She goes, yeah, if Mary had taken off the way you think it should have and it should have, you'd be the fat, goofy guy in broad comedies.

You never would have played Dan Doherty in Deadwood. Yeah. And it's probably true. And no, it's absolutely true. And that was a real come-to-Jesus moment for me because she was right. You know, I wouldn't trade that experience. It's those three years, three and a half years working with David Milch and that group of people. And wouldn't trade it for anything.

Yeah. It was transcendent in every which way. I came away a different person from it. But back to Mary. Yeah, the movie awards, I'd always heard when you come in the industry, you know, there were two award shows that were fun. It was the Golden Globes and the MTVs because there were open bar. They were parties. And, you know, especially when I was younger, I love.

I loved a party. I never did cocaine because I didn't need cocaine. I didn't need nothing to get me up, baby. Yeah. Any excuse to have a good time. Also, the 90s, like when Mary comes out to late 90s, the movie awards were also, like, they were huge. Oh, yeah, big, big deal.

Hugely culturally relevant. Mike Myers, I mean, I, like, looked forward to it all year long every year. Big numbers, like huge moments you still remember, you know. Like, so it's a big thing. Big thing, big movie, big moment, all that. This was a big life lesson, a big showbiz lesson. I mentioned earlier about this being ephemeral or just being, you know, it's smoke that just wasps and dissipates into the air. Such as success and fame and all of that shit.

So don't put any stock and trade into it. But with Mary, you know, because the kids would vote on the movies. And Mary was nominated for everything, every award. Well, the best movie segment. Now for best movie, something about Mary. And they'd show 30 seconds of clips from the film. they were pretty much all scenes of Warren. Yeah.

Because Ben and Cam Cameron, they were all nominated, best actress cameras. So they showed Cameron Diaz and that. And then Ben Stiller and this, and this, that, and the other. So there wasn't a whole lot left for Best Picture. So it was mostly clips of Warren. Well, I didn't get invited. And it was here in L.A. So I have a friend that used to work at MTV.

She used to work for the head of talent. So Jane, she says, well, here's the number. Call them. That's got to be an oversight. So I call New York. I get her new assistant. and I said, hey, oh, that's got to be a mistake. I'll take care of it.

I'll get back to you. What's your number? She calls me back about 30 minutes later. Completely different tone of voice. Earl, yeah. Look, I spoke with my, there's a really long waiting list. It's very popular. And so I'm going to put your name on the list.

You'll be on the waiting list. But it's, I said, so hang on a second. So you're telling me I'm not going to get it. No, no. Well, you'll be. on the waiting list but you're also telling me it's a really really long I'm not going to get to go well well you know and I said so I'm good enough to be the whole best picture clips all 30 seconds are clips of Warren but I'm not good enough to go to your fucking party I just want to go to the

party is one of well well I'm a bunch of a list well so I didn't get to go then I and um the dog was there yeah yeah you know I'm watching it right And there's all the people from the movie. There's everybody, except me. Yeah. And the fucking dog was there. Yeah. Didn't they give the dog like a bit or something?

Oh, the dog did have a bit. Yeah. Absolutely. So I was the only person cut out. So funny, man. Yeah. So that was a huge blow to my ego, man. Yeah.

You know, it still sort of hurts my fucking feelings. Sorry. I just remember when you told us that, like, you told us that night and you got to the end, you sort of paused for a minute. And you were like, fucking dog was. there. Dog had a bit. You know, just, I brought that up this weekend.

My buddy Travis, because he was with me in Ohio, and he was there hanging out that night. And he remembered that, too. Like, as soon as I said it, I was like, dog was there. He was like, dog had a bit. Like, like, so anyway. Yeah. Yep, yep.

Holy shit. Why? So people, like, how many monsters are there in this industry? And I don't mean like, I don't mean like Weinstein, really. I mean like onset monsters. because I feel like it's a huge stereotype. These people are all divas. They're so hard to deal with or whatever.

But the few people that I've actually had run-ins with or been around are usually pretty lovely in my experience, but I know that they do exist, right? Does that become less of a thing now that it's social media? And now people know you're a huge dick or like... They're few and far between. Yeah. Even through the course of, you know, I've done 150-some odd different shows and movies.

You know, different titles, not just a number of episodes on a show, but I've been doing this for 32 years now that I've been a full-time actor. So I've done a lot of stuff. Luckily, you know a few of them. I'm not going to name them on this. I'm running into some real dicks, some real divas who are every Hollywood stereotype,

but they're few and far between. How do you pull that off? You have to be like, you know, preternaturally talented to pull that off. Or really beautiful. Yeah, right. You know, if you're really beautiful, the degree of talent required lowers. It's like a sky.

Yeah, right. Yeah. And, you know, for every horrible person, I've worked with Robin Williams, who was an absolute delight, who was one of my heroes, who I spent time with, you know, chatting one-on-one. And, you know, Robin was one of those. He wore the mask 90% of the time. He was always performing, always trying to make people laugh, make people feel comfortable. But every now and again, the mask would drop and you'd meet the real person, you know. You know, it became really close with Chris Christofferson, somebody that my mother and my sister and my wife and my daughter have all had crushes on it in various points.

So that was one of those pinch me moments. We did the film. We did a Western together before, and then we did the movie Bloodward. Which you wrote. I adapted the book, Provinces of Night, but William Gay. Highly recommend William Gay to any readers. Did you read this book and then you were like, this would make a great movie and then you went and secured the rights to the book yourself and all that, like on spec? Like you...

The kid was my Holden Caulfield. I remember reading Holden Caulfield and, you know, Catcher in the Rye in college and, first of all, didn't get the sat higher part that he was intending on the way he grew up. I just thought, what a fucking dick. This character is such an asshole. Because, oh, I see myself. I didn't see myself in it. And then when I read Provinces of Night, like, nope, that character, that's my Holden Caulfield, because that was me at that age.

So Shane Taylor, my friend, he had made one small movie that won a bunch of awards. And I gave him the book. And he's the same thing. He was still working for ESPN then. and he was flying between gigs and he read about half of it on a soon as he landed he called me and can we get the rights to this

so that was the beginning and we got that in 05 so you know it was a four year journey and then six years from the time it actually got released see that's what I mean I've talked about it before on here we probably talked about the last time you were on but like people don't realize like how like the crap shoot that getting anything

made is and like how most the vast majority of things just never ever get made. And then even a lot of the things that do, they take years, years and years, and people don't know that. And it was like, especially I'm from middle of nowhere, you know, like I sold some of those pilots and it's in like, it's in the trades and stuff, ABC orders, try a crowd or pilot or whatever. And so people see that and they're like, trade's going to have a show on ABC or Fox or whatever. And they have it multiple times. And they seem it like whatever happened with that. And I'm like, the same thing that happens

with almost all of them, man. Like, because people, I mean, but how would they know? They wouldn't know, but it's like, it's mostly failure, moves at a glacial pace, and it's like a demoralizing slog in a lot of way, trying to get anything made. I was asked something years ago. I was doing this Q&A for a group of college kids. They were recent graduates in North Carolina School for the Arts. Most of them budding behind the camera folks. And the one kid on the front row, and he was dressed in a suit and tie, like he was on point. And he said, Mr. Brown, how?

can I best prepare myself for a career here at Hollywood? And thought came to me full form. I've repeated it dozens of times since and still great wisdom to be passed along to future generations. But as I said to this enterprising young men, I said, well, you really want a career and show business. Absolutely all my life have loved movies. That's all I've wanted to do.

I said, okay, well, a career is an artist. You'll need some help to prepare yourself. You'll need like 10 or 12 of your buddies. Ask them to come over and help you out. And then you line all 10 of them up. And then you stand facing them with your back to the wall. Spread your legs ever so slightly and have each of them kick you in the nuts as hard as they can. If you get through all 10 or 12 of them without being in a ball of tears on the floor crying for mercy, you're ready to get started.

Right. But that's what it is. You know, you pour your heart and soul into creating something. and then you put it out there to the universe and I mean I still find myself living by this it's got to satisfy your soul it's got to satisfy your spirit because that can't be taken away from you all the rest of it it's about ego you know and if your ego's on the line and and you live solely by your ego you're going to really get fucking tromped on and and what I can't because you know I've I've read some of the stuff that you've wrote that you've written and

And what gets me about this industry, and I've run into this in projects I've been involved in, oh, man, you've got such a distinct point of view. You are so funny. I'm watching those videos. You're so smart. I mean, you're smart, smart. Like, so look, we want to develop a show with you. And then they take everything that makes you distinct.

Yeah. And they want to sand those rough edges off. Yeah, right. Yeah. You know, and then they want to make it as mainstream. And, you know, I did a pilot years ago. I know I've told this story on one of the podcasts because I remember telling it. But I was doing this comedy.

We're doing the American remake of the Vicar of Dibbley, an English comic comedy about this small town in England with this vicar who comes back. A woman who's a priest. But it's the church she grew up in. But she had a wild child and went away who ends up by a twist of fate being back in hers. Like if you went back to Salina and you were the preacher of the first Baptist church and you were a woman. woman, that's kind of the circumstance. Right. Gotcha.

And it was Kustia Ali was the lead in it. But we had this young exec who we had at lunch beforehand. He says, what we're doing here is we're creating a show for the flyover states. He literally said that. I know you've talked about it in your book. But there was this condescending attitude toward it, right? And so they changed our, we were set in the South. They moved to Kansas because they thought, well,

Southern might be too little too much. Yeah, a little too dumb. Like there ain't rednecks in Kansas, right? Yeah, right, yeah. So we're there, we're rehearsing. There's a song where the town prig who controls the money, he's listening to the farm futures on the radio is what it says.

An upbeat song comes on. He starts to tap his pencil. He can't help himself. He gets up and starts to dance around the room right as Kirstie Alley walks in and she finds him dancing. Right. So that was what was written. They were using a Rolling Stone song.

like you're not going to afford that. Yeah, it's just a stand-in. Well, the show creators said, you know, we got to find something knowing that I play music and I'm a big music fan. And I said, you know something? I played them, save a horse ride a cowboy, you know, which is a party song. You know, it's a frat boy party song, but it's got twang. And I know those guys, Kenny and John.

And so they loved it. Love the song. So the next day we have rehearsal and that exact comes. in the flyover guy and we're watching the scene he's watching it and he turns to he goes what what what

what is this he goes what he goes this music what's what is this like this completely dismissive and she goes they're friends of his points at me and he turns to me and he goes look I understand

he's got a fucking flipped up collar a shit you not flipped up collar he says I understand comedy Okay. Now, you know what this needs? This needs a print song. A print song.

And the show creator, she said, but he's listening to the bean futures on the radio. Yeah. He goes, look, I understand this. He turns to me and he goes, the audience, they're not expecting a print song. So when print comes on, that's where comedy lies. That's comedy. Yeah. I mean, what's this?

And I said, this is big and rich. Huh? I said, yeah, this song is, well, it's about five years old now, but it's still the number one catalog song on country radio. This song was T-shirts and bumper stickers and caps and license plates and ashtrays in every Walmart in the country for about six or nine months back then. Who? He said, Big and Rich.

Were they on the cover of Entertainment Weekly? I said, yeah, them with Gretchen Wilson, yeah, the three of them were. Oh, and then he changes the subject. And I thought, you pompous prick, you are condescending, you're making a show about a culture you're condescending toward, and you're completely ignorant of. Right. But you know, comedy. So we face that kind of shit all the time. Yeah.

You know, and it's so weird. It's like those people like that you're talking about, like they get, some of them, you know, you. you know, purportedly are great and everything. They have an eye for talent and know how to just let talent do this thing or whatever, which is what they should do. But so many of them, though, are like that. And it's weird because it's like they don't do the thing. Like, they just managed to get this job because they got the right assistantship

because they knew the right person or went to the right school or whatever, you name it. And then now a few years later they're elevated to this position where they're, like, making all these like million-dollar decisions that affect people's whole careers and stuff with no, like, real basis of expertise on the subject matter or anything. of it, you know, and it's just the way it's always worked and it's so weird. It's like lately with the strikes and like, you know, like trying to replace writers and eventually actors with AI and stuff and it's like, shouldn't we be replacing y'all with AI? Like you just make math

a computer could do what you do way easier and they could do it like we do, right? But they, but you know, that's just how the game goes. They got the checkbooks, so it just is what it is. Just like earlier talking about prickish divas actors, you know, who behave that way, I've found that most of the execs, it's the same way. Most of them are decent people, you know, trying to do their job, trying to create something that's going to be a hit and make some money. And then you run into those guys, you know, and so much of it is having to justify their position and their salary. Like, oh, there's, man, this really works. But if I don't give notes, they're going to think I'm needed. Oh, that too. Yeah, absolutely. Yes. You got to like Prince song, because I understand. Right. You got to justify your seat at the table or whatever. There was one of those. I almost got fired from something about Mary. I found out afterwards the first few days of filming because I was too real. It's like it's uncomfortable to watch. It was the scene where me and Ben where I throw him, spin him around, he touches my ears, you know.

That's very uncomfortable to watch. And barely go, no, trust, it works in the context of the whole thing. So that guy, whose name I still remember, I'm not mentioning, made his whole fucking career because he oversaw our movie. Right. You know, and I don't know about the rest of the movie, but I do know he wanted to replace me. And then he ends up, he was wrong, and the movie was a success, and his entire career was built on it. Yeah. And so, so.

We'll be wrapping up soon. We're coming up on about an hour. I was going to ask you if you had anything to plug, but you're not even allowed to. I'm not supposed to plug. I realize, like, you're not allowed to. Well, the only thing I have is. The tag track is still going on. The thing I have coming up is completely independent, and it's not under the.

that agreement, so I guess I can talk about that. I did the Shirley Chisholm biopic with Regina King, and John Ridley wrote and directed it, and I play Alabama Governor George Wallace. Nice. Yeah. So that comes, there'll be coming out sometime later this year.

Do you know, you just reminded me, the current governor of Alabama, K. Ivy, is the first woman to be elected governor of like a deep south state who wasn't succeeding her husband. Meaning that like there had been a couple women before, but they were only, like George Wallace's wife, got elected governor of Alabama because they had term limits. And everybody was like, yeah, just vote for my wife.

She'll make the decisions, you know. I'm like, you got it, George. And I thought that was funny. Well, I have, you know, one thing to, I recur on the show, Hacks, speaking of stand-up comedy. Great show. So I have an episode of that to do for season three. So hopefully we'll get the strike resolved soon.

WGA is resolved. I'm about to say that's the rumblings, yeah. Unless it falls apart, riders guild is good. And S-Sag should be coming soon, right? So hopefully it's about done. Yeah. You can get back to work. They knew on the other side of the table,

this is the template for what we're going to have to deal with, with the other unions. Right. So whatever they decided upon there, they had to make sure it was copacetic to give a similar deal. So yeah, and hopefully we'll come out with a lot of gains. Because, you know, when I started doing this, I've raised my family.

This is all I've done for 32 years. Writing, I made some money acting and a little bit of money with music. It's all I've done. And now it's not really easy as the wrong word. It's much more difficult for a young actor in my category now to come out and to be able to live the level that I have. You're a working actor. Yeah.

Because people think about that. They hear about the, they just picture like Matt Damon and them, like A-list stars. But it's like there's huge numbers of like working actors. Like you've been one for 30 years, you know, that are just like making a living, supporting a family,

just having a, you know, just a job and a career. You're not in a, you know, a super mansion in the palisades and whatever and live in large. You're just doing what you love and, you know, making a living at it. And those people are getting mad. massively screwed over.

When I started, I think it was $2,500 that if you made, you got your benefits. So, you know, people could have, you know, you couldn't live on that, of course. Right. But that was people's career. So if you had to go get a job bartending or, you know, another job and they couldn't work with you, well, you could leave that job because my career, which there's a foundation here that takes care of me, you know, insurance-wise, pension-wise and whatnot. So you still felt like that's like here.

Well, now it's $27,000. Yeah, right. That an actor has to make to qualify for level one of insurance coverage. Yeah. And before, like, if you got a guest star on a network show, you'd get paid, and then it re-airs and you got paid essentially. I forget what the percentage was. A pretty good chunk. So you could count on if you got a guest star on CSI, well, I got my insurance, you know.

That ain't the case. Yeah. It takes a lot of those. It does. Well, hopefully they'll get it figured out. Thank you for helping me figure this out coming in at the last minute because the fellas had issues going on. Hey, y'all listen. Go to tracrider.com, get your tickets. Come see me. I'll be in Lexington Friday. And then next week I'm in, no, the week after that, I'm in Washington State and then a bunch of places coming up. So yeah. Do you, Lexington, Kentucky next weekend? Yeah. I was supposed to be there months ago or weeks ago, but the theater that I'm doing failed a day.

business or a building inspection that morning, the morning of the show. Yeah. And they were like, it's not safe to see people in that balcony. So we had to cancel it. Well, now it's happening Friday. So I reckon they fixed the building, fret not, good people of Lexington. I don't think you'll, you know, plummet to your death and a pile of rubble at my show. You're not going to.

It's going to be fine. It's going to be good. They wouldn't let us in there if it wasn't good to go. So, yeah. Treycrouter.com. That's also where you can get around here and over yonder. As Earl mentioned earlier, you can find a link to it on there. And that'll do it.

though. Thank you all for listening to it, a well-read show. We'd love to stick around longer, but we got to go. Tune in next week if you got nothing to do. Hoo! Thank you, God bless you, good night, and skew. I almost forgot the word bless. All right, scenes. Thanks, Earl. This episode is brought to you by the new book, Round Here and Over Yonder, written by author's Trey Crowder and Corey Ryan Forrester. That's ya boy. The book is out now. like to thank everyone who did the pre-order, but for those of you who were like, you know what, I went away and actually go to a bookstore and pick this thing up. Well, you can do that right now,

round here and over yonder, a front porch travel guide written by two progressive hillbillies, parenthetical. Yes, that's a thing. We love long titles, but we love making you laugh even more. This book is Chock-Fill. Chocked-Fill. Chocked-full of jokes. We chalked-filled it, too. It's got a bunch of jokes in it. It's really, really, really fun. We tried to take the stereotypes of certain regions, talk about what they are, talk about what they got right, talk about what the actual reality is. Of course, we did it with our own little region here in the South. We went everywhere else in the United States, and for the first time in our lives, we went to

the U.K. It's Rednecks Abroad. The book is round here and over yonder. Not to brag on us, but I will. It is hilarious. Pick it up now, wherever you get books. and by the way, we narrated the audio version, if that's how you want to digest it.

But there is no wrong way. Round here and over yonder, wherever you get you books. Do it at an indie bookstore. Hell Amazon though. Bye.