Where Everybody Knows Your Name with Ted Danson and Woody Harrelson (sometimes) - Kyle MacLachlan

Episode Date: September 30, 2026

This week beloved actor Kyle MacLachlan (Twin Peaks, Blue Velvet) talks to Ted Danson about his creative relationship with David Lynch, how he got cast in Dune, the process of writing his new memoir ���Fictional Selves,” bridging generational divides on his podcast, and more. Like watching your podcasts?  Visit https://youtube.com/teamcoco to see full episodes. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

We've all made decisions. We've all done things that we're not proud of, you know. Wait, what? Welcome back to where everybody knows your name. I have so much respect for Kyle McLaughlin. He is an actor's actor, whose performances get under your skin and they linger with you for years,

especially his work with David Lynch. Think Twin Peaks, Dune, Blue Velvet. Scared me to death watching Blue Velvet. Kyle is the author of a new memoir, a reflection on his 40-year career in film and television. It's called fictional selves, and it's out now, and I cannot recommend it highly enough. I'm devouring it as we speak. Kyle McLaughlin. I thought I would skim this so I could be semi-intelligent talking to you.

I'm devouring it. Oh, my God. Thank you. It's really, really, truly wonderful. it's, I don't know quite what it means, so calling you a man of letters is probably stupid on my part. Don't do that. But you are, you really are a beautiful writer. Thank you.

Well, I collaborated. This is not all me, but it was definitely a collaboration. Well, well done. Thank you. Yeah. I needed someone to keep me on track. I'm not as disciplined as I should be, you know, to sit down every day and do that. But I thoroughly enjoyed this process.

it was surprisingly fun. Why did you choose to do it first? Let me ask that. It was a couple things. One, honestly, the first sort of inkling was my literary agent at UTA said, hey, you've ever thought about writing a book? I was like, no, don't really want to. And then a few years later, you'd come back, said,

have you given any other thought to it? And I was at that point, I was like, yeah, maybe. what is that how does it work pretty much and he laid it out for me and I said that sounds kind of cool and I thought you know part of it had to do with my son who was getting to it was like 16 when I started and and I was you know he's got his world and his life and everything going on he's not so interested in what I was doing or what I was about which I was I really kind of like that I didn't I didn't depend on who you're working with well that's true yeah that's true and Most of the people I was working with, he just didn't care.

And what Kyle means by that, if you happen to be in that period of his life. Exactly, right. I didn't mean it. But it was a thought like, you know, he might, there might be someday when he would be interested in maybe hearing a story or two about my journey. And in particular, not the triumphs so much, but the challenges. because growing up, that was the one thing that my parents never really shared what it was like for them when they were younger. And quite honestly, I wasn't really that interested until I got older

to learn about what their journey was like. And they were also pretty, you know, they didn't really share. Those weren't the things that you shared from that generation necessarily. Were they here? Was your daddy there for World War II? He was born, well-com. Kind of. He was born in 33. Right.

My mom in 34. My mom passed away very young. I talked about it in the book. She was 51. And I was 27. So. And they had been divorced. And they'd been divorced.

And she had remarried to a lovely guy who shared her interests. Really, it kind of came down to that, I think. Once the kids were kind of on our way, they realized they didn't have a lot in common. They both had their activities and they enjoyed them. but not stuff together so much. So anyway, so it was kind of a, my son might be, you know, maybe we'll lay down some stories and, and the age, maybe you get to a certain age,

you're like, oh, maybe I want to try something different and see what this is about. And not really knowing going in what the experience was going to be. And I work with a great guy. We just sat, we just talked. would send pages back and forth. And I thought, you know, I want to do something that's not, I was born and here and then I moved here,

and then I was this little. And I just said, let's just jump into something and then cut back to something else and then go forward again. So it kind of scatter shot like that, but I think it works. It does. You know, and I, as an actor, I appreciate reading it because you're working with, you know, legends. Yeah.

And both actors and obviously David Lynch, and you had massive success and disappointment, not in the creative end, but, you know, box office or whatever. But in navigating all of that as an actor and as a man person, I thought you just did an amazing job. Thank you. I was really fascinating. Oh, thanks.

I thought if just that journey alone, listen, we all have, you have a journey, I have a journey, every actor out there has got a way through it. And I said, if I can, if I can somehow work my way through and share that, that other actors maybe or other creatives might say, oh, yeah, it's not just an uphill road, obviously. Did you, did you know fictional selves, the title before, or was that, did that come after? It came kind of early in the process. Yeah. A couple things developed. Fictional selves being kind of a nod to obviously the roles that we play. You know, they're fictional, but they're all part of who we are.

And I thought that would be kind of a fun title. And also just as I was going through the process, early on in the process, I found myself referring to it kind of, I would say, well, this would happen as if I was kind of standing outside of myself a little bit. And that's how developed this other voice, this other Kyle, this highly more critical, you know, more demanding, more ego-driven person emerged. And it was actually my co-writer who was John who sort of said, you know, you talk a lot in this kind of third person way. And I was like, oh, really? And he said, yeah, I said, let's what's that about? And then we started digging into it.

And it became a part of the storytelling, which. was a great surprise. A lot of surprises when you do something like this. I think if you lead a purposeful life, whether you know it or not, but it's purposeful. I mean, know it or not in the moment. Yeah.

There are no accidents. And for me, what I'm talking about is I've discovered that I usually take a part or a part comes my way magically and time for me to examine some part of myself. And either I am there first, or sometimes the character nudges me into recognizing, oh, yeah, this is actually where you are. You know, oh, you're 60. You don't want to be left behind. You want to be, you still want to run with the bulls.

Sure. And so, you know, bored to death came along, and that was the character. Don't leave me out. Yeah, yeah, yeah. Yeah, I agree with you. I mean, I felt that when I was reading your book. It was, you know, let's start. Let's start.

The book starts with Dune. Yes. We can go back to how you got there. But what an amazing, hello Hollywood kind of story. Unreliefable, which at the time you were saying earlier, yes, aware, conscious kind of of what was happening, but at the same time not really understanding how unusual kind of crazy it was actually that it sort of found me.

You know, I say I wasn't plucked from relative obscurity. It was completely obscurity. But at the same time, I was in a place where I was kind of ready to, okay, let's step into this. You know, I wasn't, I was... Why? Because you had done what by then? I think it was the training. I think, you know, I'd had three years of acting training, repertory theater training at the University of Washington,

three years of nothing but acting. So movement and voice, you know, scene work and blah, blah, blah, you know, all that on top of performances at night, rehearsals at night, performances at night. So it was all, you know, jam-packed. And you build kind of a... I mean, you build resilient, certainly, but you build kind of a confidence somehow.

It's like, this is what I'm doing, is what I'm training for. These are the theaters that I'm looking at working in. I want a repertory theater. I'm going to work at the alley, or I'm going to work wherever I'm going to go. Right. This is where I'm going, you know.

So you have that kind of, okay, you know. And you have this confidence. And so when this call came in and I did this little tape. From a casting director who saw you. A junior cast. director who hadn't seen me. I was in Seattle on the boards at the Amtyspace Theater doing Tartouf, doing the young world of Dami in Tartouf. And she was coming to Seattle and she was calling theaters and saying, hey, do you, I'm looking for, this is the type of actor I'm looking about this age,

you know, something like this, blah, blah, blah. And people were aware that I was working. And they said, oh, well, you know, Kyle's on the empty space theater. He's doing, he kind of fits that description, right? So she said, okay, great. And she found me. And I thought it was a joke when I, you know, the old Panasonic answering machines, you know. She had this French accent and she's very nice, Elizabeth. And I said, someone's pranking me.

And I was like, I don't understand this. The Dune and a movie and Paul. I said, yeah, I know the book, but I knew the book really well. I'd read it at least a dozen times. Magic. Right away, you're in the land of magic. I'm in a land of magic with that. Because you love the book. It was my, and Bible isn't maybe the best word to use, but to me it was that it was something I studied.

I tried to emulate Paul. I believed, I loved this journey. Everything about it appealed to me. And knew nothing about the fact that this man, David Lynch, was about to make this movie. No idea. So this literally, as far as it came from the heavens. both. Yeah. And did my little audition in the hotel room,

which I'd never done before either. I mean, I've auditioned, but, you know, you're sitting in a hotel room, you're being taped, you know, and that's what you do. Yeah. And that tape then goes to L.A., and they look at it. And I, which is what Elizabeth told me,

this is what would happen. And David watched it, and Raphael de Laurentis, who's the line producer, watched it. And I got a call a couple days later saying, they would like you, they're going to fly you down to L.A. They'd like to meet you. Where's your head at that moment?

It's like I was kind of waiting to hear maybe something, but no guarantee. And I was still working the show. We were still doing the play. And I was like, I don't know what's going to happen. Elizabeth said, you know, that if she was going to recommend me, I'd ask her. And she said, yeah, she was very honest, which was great. And she said, yeah, I'm going to tell them I met this person in Seattle. but I may meet someone in San Francisco, too.

She was very honest. I said, okay, well, we'll see what happens, I guess. You know, what do you see? Yeah, yeah. Okay. But no real sense that this. You weren't spinning out. No, it wasn't.

No, no. Because I didn't really, I was like, well, it's a job. I didn't know what it was. I didn't know movies. I mean, I knew movies, but it was not where my focus. I was New York, going to New York, you know. And that led to a meeting, and it was in the meeting, really. I think when I sat down with David

and we immediately clicked in a really wonderful way. We shared so many different things, had so many things in common being from the same part of the country. We didn't talk about the role or the movie. We just talked about stuff. Which is

I learned. That's his process. He just wants to get to know you. He figures if you're there, you can probably handle the job, you know. But Let's see what you're all about. Can I spend the next year of my life with you? Yeah, I think so, yeah, I think so.

And he also goes, you know, a lot of intuition is a feeling. He gets a vibration from you, kind of, I think. And we really hit it off. And towards the end of the conversation, the 20-minute conversation, 30 minutes, maybe, he had me the script and said, okay, you know, learn four or five scenes from here they're marked and come back in a few days, a week, four, five, six days, whatever.

and we'll screen test. And I was like, okay. I don't know. It's a screen test, you know what I mean? You kind of know, but you're like, I don't know what that means. So, it's great, thanks. Okay, great to meet you.

And I'd flown in a few hours earlier, and so I went back via the Beverly Hills Hotel because I had to meet Dino. Dino de Lerentis, he was at the Beverly Hills Hotel. We met briefly, five minutes. Just wanted to get a look at me, I guess. I love that part in the book. Just literally, he literally just took a look at you.

Yeah. Okay. Okay, yeah. You do this, you do that. And in the audio book, I read the audiobook, so I try and do it. Dino, I'm Dino. It talks like this, you know. So we'll see how that goes.

But, and then straight back to the airport, then straight back to the show that night. Wow. And I was like, okay. That's a very healthy way to start a very big career move. I guess. is to be, you know, buried in the process of acting and loving that. More than, oh, I'm going to be famous. You're right.

It was really the role and the opportunity. And also, I have work to do now. I have to learn these scenes. I'm going to focus on this. So I wasn't like, oh, I'm, oh, this is, it's going to be a big star thing. I don't know any of that. I didn't know what that. That was not.

I was just like, God, I got a job, got at work. Because, again, I was just out of training. And I was like, you know, you're in that kind of mode. And then I went back and everything. And that was crazy screen test. Coming from, you know, it's like there's people there to put on your makeup. They do your hair. And you're kind of sitting there.

And I'm like, this is not putting on grease paint, you know, at your mirror before you go on stage. Whole other thing. Nobody speaks. There's Italian crew. Everybody, you know, everyone's around. And then the heart of it is David. The center is David. Who did you read with it?

I read with a young actress, and I don't remember her name, but she was playing the role of my mother, Francesca. And so we did a couple of the scenes in the desert together. I think it's one where I say, Father, the Sleeper Has Awakened after I have the revelation about my dad. And we did a couple other scenes, one that I speak about in the book where I have to look straight down the lens, right down the barrel of the lens,

which, you know, as an actor, you rarely do. And I had to address this massive crowd. And I looked at the lens and I was just like, I froze. I went up, you know, and I said, because I'm not looking at you, you know, a person, you know, and you can connect, right? Yeah. And David was right there and gave me the confidence. He said, you're going to be great going. And no, no like, oh my God, you know, just real calm, cool, collected.

And I got through it, which was cool. And how soon did you find out? well, there was some issue with my hair. Too much. Which was to follow me through the rest of my career. Really? Oh, my God, my hair. It's always an issue.

I don't know why. You know, remember for a period of time I was coloring, I was dyeing my hair, I was coloring in my hair. It's impossible to get the hair color just right, you know. That's true. I did that too. Yeah, and you just like, I've got to give up on this. This is ridiculous.

Anyway, they'd see my hair and they thought it was too. I think it was sort of slick back or something like that, and it looked a little severe. So Dino needed to see a fluffier head of hair. So then I ended up in Mexico City. So then I flew. I was still in L.A. After the screen test, I stayed.

So I didn't go back to Seattle. I stayed a couple of days later. This is back in the day when they had to develop, you know, the film had to develop, they had to look at it. Yeah. See it on the screen. Flew me to Mexico City.

I was there in Mexico City. and still not offered the part. Not offered the part. They said, you know, it looks promising, you know, because they want to see you a second time. That's good. But no idea. And then that screen chest was sort of me just, you know,

it was like, I took my shirt off, kind of walked around like I was, you know, buffed dude, different hair. They'd kind of get it fluffy now, made it more like what it is in the movie. And so I stayed in Mexico City for a couple days. and then like two or three days after that, I got a call. You know, in a hotel, I think it was Hotel Royale, Mexico City. I was sitting, bank of phones, you know, pay phones.

You got the roll. I'm like, great, okay. And I went back to the table where I was sitting with some of the young, some young members of the art department, Giles and Kevin. And I said, well, I got the roll. They were like, great, fantastic. We had a beer.

Yeah. You call, anybody? No. I didn't, because it was long distance. It was in the national. I was 23. Wow. That's young.

23, 24, somewhere like that. And very, you know, not worldfully, not traveled, nothing. You know, just the kid premiered. The whole thing was shot in Mexico, right? Yeah. Mexico City, and then we did a little bit of exterior out near El Paso. And there's Dune Fields. And I can't remember how Samu Lika.

That's not a correct pronunciation, but yeah, these big open spaces. And the environment sort of around, we went outside Mexico City a little bit too, but everything in Mexico City. And how long? Seven months. Wow. Oh, my God. Yeah. I know.

But that was seven months with David Lynch. Mm-hmm. Seven months. It's one of the things that I, I don't know if I'm putting this into it, but was that sense of trust. You say it in reference to Twin Peaks, but that I don't know where this is going to lead us, but in essence, here we go, and I'm going to trust it. Something wonderful and strange.

Yeah, yeah. But that's kind of how you approach that scene. I mean, that film, I would guess. Yeah, you jump in and... Put your faith in David Lynch. Yeah. That's pretty much... And learning the camera.

I never saw Dailies, so I didn't see what was being done. I didn't see myself on the screen at all until probably ADR. You know, everyone was done. What was that like? Well, I didn't know any better, but I do know that there were some of the actors that really wanted to see the dailies. But David has a thing, he said, nobody gets to see anything. Why? I think he doesn't want us...

Self-conscious actors. Yeah, to start changing. He wants the essence of what we are there. He doesn't want us to start thinking about how we're going to be on film. And I was like, okay, what are you going to do? I didn't know. I just did what I was supposed to do. And I go through it, you know, you watch the movie and I'm like,

I'm totally not connected there. Oh, that's better. Okay, that's good. You know, he's the moments of like, that's the stupidest choice. Well, okay. It is so painful. Because what would you enjoy when you watch somebody's performance, somebody else's performance?

Is, oh my gosh, I didn't see that coming. But if you're watching yourself, you're going, saw that coming. Yeah, yeah. That's really bad. And that was true when I remember seeing the premiere and I had the most fun as watching my friends, watching Patrick Stewart work, watching Everett McGill work,

watching Francesca work. And that was the most fun. Watching me? Not so much. Patrick Stewart. Oh, love him. Are you still in touch? Yeah.

That's amazing. He is very special. In fact, he, years later, he was up for the role of Captain Picard, Star Trek, right? And he was, I think he had the offer, and he called me, and he said. said, do you think I should do this, recognizing that it was going to, you know, pretty much solidify him as that character now. And I said, absolutely, absolutely.

And part of that, I think, was because Patrick's such a great actor. It's like, this will be a thing. And then I think he did it because Twin Peaks, you know, had that thing. So I was like, okay. And I said, but you're such a great actor. You'll do that and then... You'll do other stuff. And that'll be part of a big quilt.

He was maybe afraid of being stuck there. Maybe, or had a concern that maybe that might happen. And would he be able to do other things? And also probably not knowing, is it even got to be successful? I don't know. You never know, right? Yeah. It was a huge suicide.

Huge. Huge. Yeah. Are you brothered or sister-dor? Yes, I've got two younger brothers. real close in age. So we're bang, bang, bang. So what was family like during Dune?

What was that? I mean, I was so isolated in Mexico City. You know, my brothers were doing their thing. They were off on their adventures. They were more in the music world. And my youngest brother actually pursued acting as well. So he was in school at that time. My other brother had gotten out and he was touring with a band,

small band. They were just doing some dates up and down the west coast. So we were all kind of, and there's no easy way to be in touch, right? I mean, I couldn't leave. So for seven months I was there all the time. They wouldn't let me go anywhere. And so we just kind of like, you know, we were doing our own thing. So what about doing their real?

re-entry afterwards, you know, there was no, oh, look at you, or no separation or... Not really. Yeah. They were actually proud of me, happy for me. I've always had this weird connection to success and failure. Both of them, I react the same. Little embarrassed and feel a little isolated. Yeah.

With success and failure. Interesting, yeah. You didn't go through that. I mean, it didn't seem like success, right? It was like I did a job, I went away. Instead of doing Summerstock, which is, you know, three months. This was seven months of Summerstock, you know, working on a movie. And so we did that.

Lived in Mexico City, finished, went back home. Expectation was, because of the contract, I had five Dune pictures that were already placed in this contract, plus three non-Dune pictures. So they kind of added on as we were negotiating. So it was just a giant thing. And I was like, okay, so I guess, I guess I'm going to live in Seattle. I'll just go to work and do it and wherever this, you know, I need to go. But I can stay in Seattle.

I can live, you know, in my little apartment, you know, in the U district in Seattle. That was my, you know, I don't know what I'm thinking. And so when the movie came out and it was, you know, not, the critics did not like it, the box office was terrible, all these things that I was like, oh, does that, you know, I was like not really. Yeah. Okay, I guess that's important. Is this bad?

Yeah, yeah. He's kind of, you know, you're like, all right. I guess we're not doing the other day. And they came back and said, we're not doing any more Dune pictures. In fact, we're not even going to do the non-dune pictures with you. But there were a couple things. I think I remember C.C. Spaceic was doing one called Maria True Story. And there was a small role in there.

And I think Dina was producing that. So they said, oh, you want to go down. And I went down and met on that. And the director ultimately, I thought I wasn't right for it. So I was like, okay. So everything just kind of dissipated. It went away. And what was that for your psyche?

That was starting to get hard. Starting because I was like, well, I'll just, I'll have to just keep doing this. I'll have to audition, you know, and get a job. But I never really believed that, I don't know, you know, it was weird. I never really was like, oh, I started to feel a little bit like people would say, this is going to change your life.

You're going to be a big star. It's going to be most kind of stuff. You're like, oh, okay. But what does that mean? You know, what is that? There were not, I couldn't do a movie or television show until Dune came out. So there was no, like, you know, kind of backup. You know, maybe you do two movies, so maybe one's not good, but maybe one of those three is going to, you hedge, basically.

I hope that that something's going to work. I didn't have anything like that. So it was like, starting from scratch, kind of. I mean, I had an agent, had a manager, had an attorney. I still have the same guy. And we're like, okay, so I got to go audition and do this stuff. And that's when everything kind of, over that period of time, it was like, this just might not work. You know, this could be a kind of one-off type of deal.

Is it because of how you're telling to me right now? Or my impression is you're not, I'm a bundle of neuroses. I'm a hot mess. Anything around career and acting and jobs. I'm a hot mess. Yeah, no, it's not easy. Mary has to talk me down before the job, during the job, and after the job. It's just, but you feel very mature and wise and down to earth.

If I'm right, where did that come from? Was that your mom, your dad, your part of the country or what? Probably parents and just also just my thinking, never trusting it. I was just like, okay, we'll see, you know. Is that your mom and dad? My dad. Yeah. He's just kind of take it as it comes kind of guy.

He's quiet. You know, he observes. He's an observer. Was an observer. But I think I just, I didn't think, I didn't know where it was going to lead to. I just didn't understand. I just didn't understand what that was.

Yeah. There, you know, I look at other careers now, and I look back and I see people that have, you know, they, they get a couple, they get a roll or something or something pops, right? Suddenly like, and all eyes of Hollywood go, right there. Right. And then the feeding frenzy starts. And then it becomes, the next thing you do, choose wisely, right? Yeah. Because do you want to reinforce what you just did or do you want to, you know, whatever?

And I, there was none of that. I didn't have that option. I came in, boom, terrible, boom. So I was like, here, so okay, I'm looking up. I got to go. I got to chart. I got to keep climbing. And that was all I did.

And it became clear that it wasn't really happening. I wasn't getting the kind of response. There was some interest, some curiosity, but nothing really serious. And then David came back to me and said, Blue Velvet, and said, which he'd let me read during the filming of Dune. And that was really... Did you know how amazing that was, just from reading it? I read it, yes.

When I read it, I read it when we were filming in Mexico City, and I said, this is really scary and compelling and erotic. Oh, it was huge in my life. Huge, and all my actor friends. You were so good. It was so good. Thank you. terrifying. Laura, who's

unbelievable. A great friend of ours today. I met through Mary and I worked, yeah. Anyway, it's just this It was that. Isabella and I made a film with her with Joel Schumacher so she's just

magnificent. Dennis Hopper has never been more terrifying than on that with his little mask. I didn't have to act. I just reacting to this. I was just reacting to this crazy man. Yeah. It was a completely different experience.

And it was all, you know, David wrote, created this, and it was all there. So as an actor, it's like, I'm not having to recreate anything or it's just right there. It's happening in front of you. Yeah. And I'm experiencing this. As an actor and a character, you're in the same place. Yes. In essence.

Yeah. Which had never happened before. So suddenly I was like, oh, this I get. I get it, kind of. And Laura and I started our relationship during Blue Velvet, and she was also, she had that, I say it's spiritual, it's not, she had that kind of, you were speaking earlier about that understanding

of a role will come to you, will find you that is necessary at that particular time. Yeah, yeah. And she was definitely a believer in that, and that was the first time I ever kind of thought about that. Yeah. But it made sense. She's kind of magnificent.

Unbelievable. Yeah. She's very special. Mary brought her into my life years ago. Had they worked together? I think they did something that Laura directed or something, anyway. A small thing that I can't remember. Yeah.

But, yeah, magnificent woman. Yeah, I agree. Yeah. Did you get to know Isabella? Yes. She just your tormentor. Way too scary for you to. She was so, she was wonderful,

because yes, she was my tormentor. But at the same time, she has this, she's very real, real down to, very down to earth. Which you wouldn't necessarily, she wouldn't have to be that way, she doesn't have to have been that way, but she was. And I think some of that had to do with her growing up,

her father, Roberto Rossellini, I mean, mom, Ingrid Bergman, I mean, it's like, come on. But she had a spine thing when she was really young that she was like in a body cast for like a year. There was a whole, she really went through a pretty intense ordeal. And I think it kind of impacted. We never talked about it, but I always feel like that, what happened to her was something that has shaped her. You know, she's tremendously resilient.

She's so warm. She's so funny. And she's very, very pragmatic, very down to earth. you know but also what she's got a wonderful sort of creative I don't know like a spark something yeah I really I really I love her she's so that comes out yeah Bluebell comes out the critics devoured it they loved it actually to be honest no initially they were like

what is this really this is a mess we don't know what's going on here people are laughing at the wrong places and not in the right places and it was just a mess and it was Pauline Kale and Pauline Kale who had a lot of clout

wrote a piece about it explaining kind of teaching everyone said this is what this is he said this is special and this is a genius that's doing this and look at it this way

that kind of righted the ship. And suddenly people were like, oh, okay, it's not Top Gun. It's something different. And that... Was it an opening shot or where you're going, oh, this is everyday suburban mowing along, how sweet. How lovely. The camera ducks down and you see in the grass.

Yeah. And ear. Oh, my God. Yeah. Well, you start with going into this underground where the insects are basically like vibrating, you know what I mean? And the sound that David created. And so you realize, oh, all is not what it appears to be on the surface. And then shortly in the first part of the film, I'm walking in a vacant lot.

And I'm picking up rocks to throw it a bottle, which was sort of the, foreshadowing to Twin Peaks. I remember I throw rocks to the bottle and Twin Peaks. And I see an ear in the field. And that's what sets off the whole story. Yeah. What happened to you? It's just the magnificent film and you were so good in it.

Thank you. It was really fun. What did that do for you, acting wise, career-wise? So that just kept me going, kept me a, and gave me a little bit of legitimacy, I think, because people began to understand it. And it didn't, because it was odd and the character was slightly odd, you know, they weren't calling me to go, you know, be a hero somewhere,

you know, like an action adventure. But people that wonderful filmmakers began to sort of go, Steven Soderberg was like, hmm, and he reached out. He reached out about with sexizing videotape, which, and then I made the decision, though, I don't, I don't know if I want to follow that same kind of character, slightly deranged, slightly disturbed. But it began to have a, I had a little more legitimacy. Interesting directors were coming to you. Yes. Yeah.

And then I auditioned for The Hidden, which was the sci-fi movie with this character that was also slightly, not of this world. And that began to sort of cement that type of, you know, that kind of, okay, this is the guy that does this type of thing. I did. I had one moment after body heat where all of a sudden I had like two months where all of the most amazed Peter Weir, all the top interesting directors. All of a sudden I had an audition, our meeting with four or five of just the staff. founding director. Yeah. And I could sense,

not self-deprecating, true. I would walk in the room and I'd see them go, oh. No, that's not what I thought. No,

that's what I wanted. Thank you. Yes. Oh, Ted. Oh, God. But you know what I mean? You know, you've attached

or you're hooked to something that is a meteoric, you know what I mean? And everybody, it's a weird, it's a weird thing. Everything's just, woof,

on you. And then like, boof, it'll go away. And it's just like that. And it's very, you got to be pretty... You better love acting.

Yeah, and recognize it, it's not me. It's just, it's this, that's a vibe thing, you know, I don't know, I don't know if I still believe that.

Once again, you're awfully healthy. I don't know if I believe it's, I mean, I still, you know, you still have moments where you're like,

damn. Yeah. You know, it's hard. Yeah, it's really hard. It's, it's one of those things

in acting, there's an independent activity, if you're talking about Sandy Mies, they're like teaching or something. You have an independent activity that is more important than the scene you're about to play. So it's not like you're just waiting

to play a scene with somebody. You're doing something, you have a life. Yes. And I think the same thing is true about careers. You better have something way more important than your career to focus on. That is such a great comparison. That's a great analogy because I,

yeah, I mean, It works until you have a big dose of success. Then you're screwed. Then you can't, yeah. Because then you want, oh, I don't want to lose that. Yeah. That is so important. That's that, having that, not a diversion, as you sort of said,

but it's something that you really love doing. Yeah. Like I love to work and then I love to not work. and you know we both know actors that have to work all the time why are you looking at me but gone go on please keep going no no just for their mental health why are you looking at me still I'm not looking at you

I'm looking at he's the only well I guess I could look over here so Ted but you're not like that you don't strike you something like that no but yes I love to work I love to work too that is my I don't hang out with guys. You and I will never have a beer,

but I'm really enjoying this. Or if we'd go do a movie or something to get, I really love a male companionship based around project. Yeah. Based around a doing or purpose. Otherwise, you're lovely, but beside the point, I want to go home to my wife. Yes.

No, I'm very, we're very similar that way. Yeah, but I do love. I do love to act. I do love. When I met you, I said, I think we run on a separate similar kind of gasoline, you know what I mean?

And I'm the same way. I don't have a lot of actor friends, got a couple, but we share other things. It's either golf, you know, or cooking or something that we can do together. And honestly, I don't know.

Kyle, I'm not the same going to happen. Golf, cooking. No, sorry. We'll find something. It could have been, but no. No, no, not going to happen. But that was my relationship with my dad, too. Yeah.

You know, as you get old, once we get, we were, you know, little bear cubs tumbling around on top of him. But once you sort of get to a certain point where you're doing stuff, it's like, the only way that I got to spend time with him was going to playing golf. So I play golf, you know, and that was our time together. So wait, he left. You stayed with your mom. I'm flashing back. Oh, no, we, so we stayed with him.

Mom left. She found somebody. She went. we all felt we all felt pleased for her she's like she seemed happy you know

my dad and the other not happy my dad was crushed and that was hard and we were kind of I mean I remember being kind of like well dad

you know you could have pretty pretty harsh you know in that because he didn't know he used to get older he really he didn't know how to do that

isn't amazing when you as a person growing up finally get to the point where you go, oh, our parents are just kids doing the best they can. The best they can, yeah. You know? Yeah. That's a big thing. Did you get there with your dad?

Was there complete relationship between the two of you at the end? Got better, yeah. It got better. And then he kind of had a renaissance, you know. He was married to my mom. and then no longer, and then he sort of, he got himself in shape.

You know, all those things happened. He got himself in shape. He started dating these different women, you know, in town. He got himself a little bit in trouble because he was dating, maybe a few too many. But he was like he was a kid again, and it was really nice to see that. Yeah.

How old was he when he died? He was 77. And he was heavy at the time, you know, and it was complications from a, surgery that he had. And it was inevitable in some ways, but at the same time I was like, I was, because he got to meet my son, Callum was only one, one and a half, but he got to see him. And as Callum grew up, I was like, and you start, I don't know, I think a lot about my dad

in relation to my son, you know what I mean? It's like for some reason, our relationship, my son and I, and I just keep thinking about my dad and our relationship. It's this odd kind of thing. Maybe that's normal. I don't know. But I just wish he were around. I mean, I started late.

I was an old dad, but I wish he were around. So I could like, hey, we haven't talked about this. But tell me, you know, when you were in school and this, you know, tell me a little bit about this experience and a mom. And because he would always go, well, you know, I don't know. Right. Doesn't want to talk about it. I'm like, but I think if I'd had a few more years, I'd have been like, no, we're talking about it. Yeah.

So tell me what you remember. So. How's your relation? How was your son? He just turned 18. Wow. Yeah. It's great.

He's off at college. We dropped him off 10 days ago. If you've done it, right, he'll be back. Yes, I hope so. Yeah. I hope so. I think so. I think so.

In a good way back. Yeah. Yeah, he's going out and doing his thing. He's finding his way, you know, which is cool. Try to text, not too much. Just say, hey, morning, you know. Yeah. Or something to send a picture.

Thought of you today. Just keep it. That is the nice thing about texting. One of the few things. One of the nice things, yeah. You can check in. You go, hey, oh. Yeah.

Without a full-on, Yeah. Yeah. Or, you know, long conversation. He loves to talk, but I wait for him to initiate. Ooh, that's good. Which he does, which is good. Hard sometimes.

It's hard, yeah, because especially for my wife, she's like. Yeah. She's like. Wait until you become a grandparent. Oh, my God. Then it's like maddening if you don't get your hands on them. You know, I have the phone immediately. I love that.

Yeah. That's what people say. People say. That's what's coming. Get me to Twin Peaks. Okay, so fast forward. Blue Velvet, I do a couple things in between. And then David, and David and I, we, you know, we did Blue Velvet together.

We're friendly, you know, we're friends with each other. We live together with Laura. Yeah, with Laura. Yeah, he comes in and he crashes at our place, which is fun. Was he a happy meditator at that point? Yes, yes. He does it, but he's not like, he just, excuse me. uses himself and goes, you know, very,

not like, hey, everybody, I'm going to go meditate, you know, like, and keep it quiet around. He just would go 20 minutes, boom, done. Mary said she made a short thing, a couple days worked with him, and she'd wonder where he went, then she'd look and see his car, and he'd just be sitting in his car.

Yeah, no big deal. No big deal. Just go off and take 20 minutes. And I relate the story there, going back to Dune for a minute, where I disturbed him when he was meditating. And that was because, in Mexico City we were in a kind of a dorm

type situation. Everyone had their own little room and then we would go from there to the set and David had his room and I had tons of tons of questions so I went down there and I saw his door was closed but I saw this sign on the door and said no mole star. No mole star. No mole star. I was like no mole star.

Maybe that's just David being and it was written kind of day, you know, it was kind of oddly artistic you know what I mean, kind of fun. It's in Spanish. No more like that. less star. And I was like, not a clue. So I just knock, knock, hey David. Sorry about the mole star. That's what I saw. I was like, you know, what an idiot. But yeah, I love that story. I love that story. You know, it's funny when you do a memoir because

you remember funny stuff. Not everything, obviously not everything. But there are little flashes that have just stuck in my brain. And those are what I talk about. in the book, which is really fun to revisit. It must have been fun, actually, to sit down and talk to somebody. It's really fun. For a purpose, purposefully. Yeah. Yes, and you have kind of a structure already in your mind, kind of how you want to do it.

And then you just think back. You just tell stories. Yeah. You know, and you talk back and forth. And that was really fun. And then getting stuff and then doing my, you know, ads and this thing, that was fun. because it brings up more stuff, you know, and then, you know, it all goes in there.

It's really, really, really good book. Seriously, because I was not going to read it. I was going to skim it. Yeah. You know, and I just found myself going, shit, what time is it? I'm going to keep going. That's a good sign.

Thank you. Yeah. No, it's really lovely. I wanted to talk about, you know, we all do these. We all made decisions. We've all done things that we're not proud of, you know. And I said, And I said, I got to have those in there too.

It's got to be honest. And you've got to see kind of what the hard lessons and what you gain, what you learn, you know. And so that's also part of it, you know. And that was hard, but it was like, you know, let's, we've got to be in there too, you know. So that was important to me. to me and said, oh, and he was a really good writer, or at least his credits were really good, New York Timesy kind of thing, and wanted to do a biography for me and sit down and and pogged on. And I had just started doing this enough, right? I'd done it for about three

months or something, and it was like, you know, some of the stuff you would have to talk about, there are enough people still in the world that were impacted by some of those things that weren't necessarily great in my life, that I'm not going to talk about that or something, which makes it kind of a bland experience as a book. But I love this. My desire to share who I am gets fulfilled this way. Yes.

I really enjoy popping in a little bit. I want to know by you, but there's similarities and, you know, that kind of conversation is really pleasing to me. rather than probably because I was a terrible academic. By the way, me reading this is like a big fucking deal. Because my eyes don't read well anymore. I kind of, I've discovered that's how I've always read.

It's like kind of doing this, kind of then trying to piece together what I'm glancing. Interesting. Yeah, but I didn't with that. That's good. Well, the print's very large, so we're trying to help you. Yes, thank you. So anyway, so, yes. You're living with David and Laura.

Yeah, David and Laura is there. And then Twin Peaks, so it was 89. So I was kind of, I was working, I was with Laura. I was working. I had done the doors, I think. I don't know if I, or maybe I'd done the doors. I never remember if I did it before Twin Peaks or after Twin Peaks. Anyway, I think it was after Twin Peaks.

David just said he's going to go do TV and I was like well why would you do that I said that's weird and he had this he had this script that he had co-written

with Mark Frost called Northwest Passage and in David's mind I was Cooper and he'd already kind of said this is Kyle and Mark was Mark didn't know me

I'd never met Mark. And he was like, well, I'd like to meet him, you know, and they said, sure, sure. So I met Mark. And I'd read the script, and I loved it. I said, this is unusual for television. This is very different. I doubt this is going to have a life, you know what I mean? But how fun to do TV with David Lynch and, you know, what's going to happen?

Yeah. whose brains are going to melt, you know, because of this. And I think to a person in the cast, they all thought the same thing. He said, we're doing one, probably it'll be the pilot, which they will turn into a two-hour movie of the week. Done. You know, that's going to be, and that's it for ABC. So we were all like, ha, ha, ha, ha, yeah, we're going to shoot more. And so we did the pilot.

It stayed around and started to get some interest. people, you know, they were screaming. It was aired? Not aired yet. No, we did the pilot. It was within the, you know, the people, the, what do you call it? The Hoype, not the Hoype, Alois, but the, the, the suits. The suits.

Yeah, yeah. There was some interest and they were like, hmm. So they just, they bought seven. They said, we want this to be a mid-season replacement based on the pilot. We're going to, we want you to do seven more shows. Like, a crate? Okay, sure, what the hell? So we shot seven more.

still not on air. So they got this, so they got, these are the ones they got. So I'm like, okay. And then they started to screen and put them out. And it was like, people went crazy for it.

And it was so different. Like, nothing you'd seen before. Which is hard to kind of get your head around now, but it was a big deal, especially on network television. And that must have popped you a little bit into the stratosphere. That one did.

That one did. Now, you've got to remember, it's 89-90, so TV is still the poor relation to features, you know. But it was starting to get more interesting. And then from there, kind of, you know, as things began to happen. But, you know, stars weren't doing TV. It was not a, you know, it was a place where you kind of retreat to.

And then this came out and suddenly shifted the dynamic. And it was great. It was cool. Because writers went, oh, wait a minute, we can do this? We're allowed to do this, kind of stuff, interesting stuff. That was a big part of it. And subsequent jobs that I got were from creators that had the Twin Peaks had impacted tremendously. And they were like, oh, then I can do my idea, which is unusual, desperate housewives.

You know, that's a whole other kind of thing. I can do that, Mark Cherry thought. So it started to open up this other, you know, a TV star, especially when streaming came in, you know, HBO and that kind of suddenly. He's like, okay, now it's taking on a life of itself. Mary had a show like that, Last Man on Earth that Will Forte put out there, and it was so bizarre, but good. Yeah. And wildly funny in this weird way. Yeah. But it broke so many kind of barriers, and it was on network, TV. Yeah. I remember Mike Shore, who was about to do The Good Place. Yeah. credits it in a way for him going, oh, wait a minute, we can do these crazy wild stories.

Yeah, yeah. I thank God. Yeah. Yeah, that was really fun. So we were off and running. Again, it was pre-social, pre, there were conversations, but there was no real, no fast-breaking, no like immediate thing. Right. And we kind of knew what was, you got a sense of what was happening in the zeitgeist because of,

you know, you were doing interviews for legitimate papers and magazines were now, you're doing some interviews and things like that and photo shoot, that kind of thing. Suddenly there was like this outpouring of interest. And that became like, oh, wow, and it became kind of fun. Walking around town, was that different? Was fame all of a sudden different? It was, yeah, it was different.

It was like I could get into restaurants, which was really funny. Yeah, yeah. They didn't know my name. They knew my face. They was like, okay, that's, oh, that's the guy from Twin Peaks. And I became that. That's the guy from Twin Peaks. Have you become Mr.

yet? As soon as I became Mr. Dancin. Yeah, yeah, yeah. The world opened up to me. It's, it's, I'm not. Age is a bit of a star quality to it. Suddenly.

Oh, you're still around? Oh, that's great. Oh, look at you. You're standing up straight. Wow. Yeah, look at you, and you can tie your shoes. Oh, amazing. I didn't say I could do that.

But. When people start calling you, sir, that's the thing you're like, no, no, no, no. Go with it. Relax syndrome. Yeah, yeah. It just makes me like, oh, you know, maybe if I were in England, sir, yes, I'm sure. I said, just Kyle, Kyle's good. So you're still a player.

Once you realize you can surrender being competitive and wanting to run with the bulls, you know. Once you let go with that, it's kind of like, oh, this is happening. This is kind of nice. My grip is loose. Yeah, no, enjoy it. I'm barely hearing it. You pretend. It's funny.

You know, it's, maybe it's the actor's dilemma, but you really think I could do that. Yeah. I can pull that up. I was, we're working on Fallout yesterday, and there's some, we were doing some flash. That looks good, by the way. Oh, it's really fun. But we're doing some stuff. They have flashbacks forward and stuff.

So there's a young version of me, right? And so. And I'm like, well. physically, I better, you know, pop it up a little bit, right? So we had this scene where I was on a ladder, and I had to, and I kind of, you know, I was stepping down off the ladder and I was like, no, if you're, you know, if you're in your twice, you hop right off, right? Yeah.

I hop right off, I hit my left knee and I'm like, and it buckled. And I was like, no, that's my bad knee. You're not, you're not jumping off any ladder. And I was like, sorry, guys, I was a little bit of reality came, you know, crashing down. I was doing so many recently. And they said, okay, and then you'll run from here to there. I don't know, 25 yards. Yeah.

My run now, and then they go, everybody goes, that's so funny, your run is so funny. Because what I'm doing is scurrying. I'm not running, I'm kind of scurrying because I'm kind of lower the ground so I don't fall, you know, kind of run. Like, I'm doing the best of can here, folks. Yeah, yeah, yeah, yeah. That's my funny run. It is crazy how the body decides. You know what?

I mean, there's some guys, Tom Cruise will be able to run like that until he's 80. Oh, I know. You know, he's amazing. Yeah, yeah, got the hands. Yeah, yeah, got the hands thing going. Oh, yeah, yeah. But, yeah, for myself now that's. But isn't this exciting?

I don't know about you. Do you want to keep acting for the rest of your life? I do. Yeah, me too. I love it. And that's kind of your job, because you get to reflect humanity, you know, not just young buck, but all the way up until. It's new, yeah.

Until it gets confusing and different. Yeah. You know, and you have a gift. Have a near week to tell you the lines. Well, you know, it's not unlike the theater. You know what I mean? It's like you graduate to certain roles, right? You know, and you're going from Romeo, you know,

and you go into like maybe Macbeth, and then you're going to finally going to do King Lear. And, you know, you're going to move through these great roles, you know, and regular plays as well. And I always thought, oh, that's kind of wonderful. You know what I mean? that you have these milestones in terms of characters that you get to. And I think it's similar in film as well.

I mean, there are different aspect. You know, there's the dad role, and then there'll be like, you know, the grandfather role eventually. And it's like, you know, as long as they're interesting, or you bring something to them or you can, there's enough there, you know what I mean, to make it interesting. And if it's not, then you make it interesting, you know, by choices and stuff. I've been very lucky.

I'm having fun still, a lot of fun. That is, me too. me too. That's very cool. Yeah. So, all right, jump back. Yeah. Why are you doing a podcast?

What are you getting out of it? It is... I know you're talking to young folks, right? Yeah, yeah. The conceit is that I'm speaking with Gen Z, Young Millennial. Give me an age range. So... Which gives you a hint on how old I am when I'm asking you that.

Let's say early 20s until, we kind of mid-30s is kind of like a sort of try. until we had you on. Yeah, I don't know what the fuck happened there. That was the best thing in the world. My God, we got the most views of anybody. So these are all creatives that are working now that are, have a community. Many of whom I don't know or I've thought, I heard the name, but I don't really know.

Because they're coming out of the internet. Yeah, and I'm not focused. Internet, let's say, or young musicians, you know, when you're, you know, when you're young, music is everything, right? And as you get older, I've still listened and I enjoy music, but I tend to go to things that I know. Yeah. Except when you have a son who's 18 and he suddenly...

Thank God. Yeah, blows your playlist apart with some fantastic choices, which I love. But anyway, it was more of like... And I said, you know what? I don't know what's happening, what's coming. You know? I mean, I know a little bit, just behind me. And I know what's ahead of me that were my inspiration.

when I was coming up, but I don't know what's happening. And I said, I should know what's going on, at least a little bit, right? So I said, let's run with that. I've got wonderful producers

that bring to me different ideas. What about this? Maya, right? Maya's here today. Hi, Maya. And she works with Ann, Nora, and Ben,

so there's four. My wife's, and they're part of the full picture, my wife's company. And they said, we did a podcast called Varnhamtown a few years ago

I did with Josh Davis and my wife produced it and we're trying to develop it into a show and that was a podcast format and I said this is kind of fun you know you can go in

it's just your voice we weren't doing video or anything so it doesn't matter what you look like you don't even have to comb your hair just come in and you know and do this and so Josh Davis and I would do this just have a conversation about our experience

because we went there and we did a research and we met all these people that were involved in this story. And that led to doing a promotion, some kind of social posting where I worked with Maya and the team and we had so much fun and it was so silly and that's when the silliness started to come out in my world, at least to the public. Yeah.

And that sort of led to maybe there's something else that we could do and we sifted around different ideas and different, you know, I mean, it went through, many variations until we finally landed on this. And I said, let's see what this is. We called it, what are we even doing? And which kind of sums it up. And I basically sit down and have a conversation

and learn about someone who's a musician or comedian, actor, podcaster, you know. And that has been really fun. Do you get a sense from them, this sweeping generality, but how somebody my age holds the world and what's going on because it's a little messy. There's a lot of joy and wonder everywhere if you look for it.

But it's also very messy and there's a lot of suffering and there's a lot of stuff going on. I think my nervous system holds all of that in a different way than perhaps somebody in their 30s. Do you ever talk about with the people that you're, that age group of how are you holding the world? How's the world treating you besides your career? If it comes up, if it comes up what they're interested in, what they believe in,

what they're, what they support, you know, what the causes that they may support, how they feel. We really focus, for the most part, on the creative process. So their journey, you know, what's important to them in terms of how they work. But, you know, there are... It was wonderful band, Sylvan Esso, and they were talking, I had them on them, they were talking about how they negotiated this contract

and the record company and all those kind of things, and they felt very, very strongly about starting their own label and doing their own thing. And I was like, that's very, you know, that's pretty powerful, pretty bold. to do that, to take on that. And then, and you can do that because you have social presence. You know, you can reach directly.

You have a microphone and a camera in your face. Directly to the audience. You know, you don't need to have that other, probably helps to have that, but you can do it yourself. Yeah. So there's a do-it-yourself sort of sensibility that many of them have. I mean, Benito Skinner, Bani Drama, tremendous social presence. and then took that. He's also very funny.

He's a comedian, and he took that and he wrote overcompensating about his journey. This young man coming out of college and coming out of high school, going to college and coming out in the process, made it, turned it into a comedy with heart, and told that story, and reached out to me, he said,

I'd like you to play my dad. And I said, okay. He just, and I said, but I would love to. I read the script. I said, this is wonderful. I said, if I'd love to. And so suddenly I'm thrown into the midst of many of the young actors who have had on the podcast.

And I'm in this creative, it's a whole... How wonderful for you. Wow. And I just, yeah, I just said I got a front row seat. Yeah, yeah, yeah, yeah. And me and Connie Britton are the... Oh, she's the best. She's hilarious.

Yeah, very good actor. Yeah, she's a very good actor. And so we are the parents, and it's really fun. Yeah. How to stay young. Stay curious. Stay curious. Right? I mean, that is really, the most successful people I know that are happy, that are jazzed about life, are curious. Yep. And they want to know. They ask questions. They want to know. And say yes a lot. Yes. Yeah. Yeah, it's pretty cool. So I'm like trying to,

adapt that. Have you figured out why you're here on this planet yet? If you had to put it into words, do you ever think that way? I mean, I think not so much like that, but I think of like... That is grandiose, but in that ballpark? Yeah, what am I, what is the purpose, you know? And I think, you know, you come in with a, and I watch it with Callum, he was the person that he is from...

Out of the shoot, right out of the shoe. And you can influence that a little bit. And you can lead by example, which is what we tried to do, lead by example. But he was empathic and sensitive and kind. And my most important thing with him was like, because I was also very sensitive and was very, a lot of fear. Talk about that in there. Afraid of things. And I didn't know how to express that, how to talk about that, how to.

And I thought my sensitivity, my, you know, the feelings of. welling up inside you were bad you know it's like this is i'm weak you know what i mean i can't show this i can't be like this and so apart along with getting to a hold of that you know and feeling okay i'm an act maybe you know it leads you to acting you know because and that was a whole other journey about that but finally you realized actually that's a strength that's a strength so my mission was to let him know really good qualities that you have here. Do not let those go. Do not push those aside.

Use those as your creative energy. So I think that's part of why here it's like... Spreading empathy and kindness is a really good thing. Yeah, and that was always my mom's way and I was like, you know. But there's also that kind of awareness of like, you know, you're traveling somewhere, you're on a plane, you're sitting there. someone says, oh, da-da-da-da-da, and I'm like,

that was a young woman, was jumping on the jitney, going out to the Hamptons last week, and she was in the line, she said, are you? And I said, yes, I said, oh, you know, da-da, Twin Peaks, Twin Peaks. I was like, thank you, what's your name? I don't know. Are you going on?

Why are you going on? And we just started a little conversation. It just said, let's get, thank you. But what are you doing? And what's your life like? And I owe you home from college for, you go out and see you know, and your boyfriend. It's like, oh, that's fun.

You can have a great time. You know, just take it into a conversation about... Witnessing her. Yes. Making her feel good about it. Yeah, yeah. Just like... You are a podcaster, my friend.

I think that's your job. Our job. It's you get to do that. You get to witness people. Yes. And say, are you magnificent? Look at you. Yes.

Kyle. Which I love to do. Me too. It's really fun. And shine a light on somebody who's doing amazing things, you know. And using that little bit of whatever it is that you and I have, you know what I mean? It's like, Let's not necessarily bathe in that.

Let's put that out there on somebody else. Wait, run that by me again? I'm not sure I get the not bathing part. Okay, a little bit of bathing. You put your toe in. But it's been a fun ride. Yeah. You're a delight.

Bless you, heart. Thank you. This book, seriously, I'm not just trying to sell your book. It's wonderful. Thank you. One of the first books, this is not, the comparison is bad, but David Niven wrote two books, The moon is a balloon and bring on the empty horses about the early days in Hollywood,

which just enchanted me to the point where I wanted to be part of this community. This book has similar qualities. Wow, thank you. Really. I really felt good about being part of the community that we're in, this tribe of whatever we are. You know, actors, it is a tribe. Yeah, yeah. And I really, really liked it.

Yeah. Thank you. That's really nice. That's a, wow, I'm flattered. That's very kind. Cool. Yeah. Cool. Thanks for doing this.

I loved it. Thanks for coming on mine. That was really. We'll have more now. We'll switch. We'll do switcherone's. I love that. Yeah.

Cool. Also, great cover. Isn't that? They came up with that. That was their, that was Crown Publishing. Yeah, they were like, we have an idea. I was like, oh, okay. This is coming out for people to read.

September 29th is our release date, I guess. You can order. you can pre-order it. Pre-order it. It's great. Oh, by the way, order it the day it comes out because it makes it difference. Oh, that's true. Yes.

Order, you know, if you're interested, buy a crate of these, the day it comes out, and Kyle will be a number one best-selling offer. I'll come to your house and I'll sign all the copies and give it your friends. And by the way, if you are New York Times best, if you're on the top 10 for five minutes, it makes a difference. You are still a best-s. even if it's just for five minutes. I love that.

Before the numbers click. Now, he's not 10. He's 15. He's 20. You don't have to add the five minutes part, but you were. Much love to you and your family. Thank you. Thanks, buddy.

Real pleasure. Thank you, Kyle. Be sure to pick up his new memoir, fictional selves, which just came out. That's it for this week. Special thanks to Team Coco, as always. If you've enjoyed this episode, send it to a loved one. Subscribe on your favorite podcast app and maybe give us a great rating and review on Apple Podcasts.

If you're in the mood. If you like watching your podcasts, all our full-length episodes are on YouTube. Visit YouTube.com slash team cocoa. See you next time, where everybody knows your name. You've been listening to Where Everybody Knows Your Name. with Ted Danson and Woody Harrelson sometimes. The show is produced by me, Nick Leow.

Our executive producers are Adam Sacks, Jeff Ross, and myself. Sarah Federovich is our supervising producer, engineering remixing by Joanna Samuel with support from Eduardo Perez. Research by Alyssa Grail. Talent booking by Paula Davis and Gina Battista. Our theme music is by Woody Harrelson, Anthony Yen, Mary Steenbergen, and John Osmore.