Where Everybody Knows Your Name with Ted Danson and Woody Harrelson (sometimes) - Mark Duplass

Episode Date: December 3, 2025

Mark Duplass talks with Ted Danson about how he got into DIY filmmaking, why he and his brother Jay “uncoupled,” what he observed about working with Ted on “The One I Love,” exaggerating parts of himself on “The Creep Tapes,” and more. The season 2 finale of “The Creep Tapes” releases Friday, Dec. 19th on Shudder and AMC+.  Like watching your podcasts?  Visit http://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.

And then the third take was like, I can't believe Ted Danson's insecure. Yeah. He's scared. Welcome back to where everybody knows your name. Today I had the best time talking to writer, actor, and filmmaker Mark Duplas. You know him from projects like the league, the one I love, and the creep film. He can currently be seen on the morning show on Apple TV Plus, and season two of the creep tapes begin streaming on November 14th exclusively on Shutter and AMC Plus. Here he is Mark Dupluss. Okay, here's just to catch up for other people to catch up is I met you up up in Ohio and Mary's in my home.

And I think that's where we actually met because you. you were producing and acting in a film called The One I Love, directed by Mary's son, Charlie McDowell. Yes. And Elizabeth Moss was in it. Yep. And I had a little part. I was in it, too. You were.

You were. And what just blew me away, there's so many things to talk about, but you're a model. I had never heard of your and Jay's model of producing a film, making a film. can you here's what i heard so i don't know if it's true and if it's okay to mention how much you actually spent because you could turn around and sell it for way the fuck more so i think charlie was saying that don't don't tell everybody that's okay because that model is dead that doesn't work anymore so we can talk about it or you just don't it that you don't sell them for as much anymore so it's not like we're saying something that's a current business model that

we would spoil all right so it was a hundred thousand dollars it was You paid everybody on the set X amount, I don't remember, but it was... It was $125 a day, and that was mandated because the actors' union for that budget level requires that you make at least $125 a day. So we took this sort of socialist approach that said, well, okay, so everybody on set should make that, whether you're the director or whether you're the movie star or whether you are the PA or the sound person. and everybody's going to make $125 a day, period. And then some people will get a little more back end. Elizabeth Moss. But everybody gets back in.

Everybody gets back in. Yeah, some get more than others because, you know, it's fair. Elizabeth Moss was a huge star on Madman at that point. And so we gave her a big chunk of the back end. And probably your DP. Exactly. Yeah. Right.

And the people whose house you were filming in, I think they got like a, I don't know, no. I think we got an eighth. an eighth of a point. But you lost that much in all the oranges that my kids took off your trees when they came to visit. They made so much orange juice, Ted. Everybody who would come visit us

and stay in our guest house would look at it and stop and go, oh, shit. Maybe I don't want to stay here. That's right. Because the guest houses were the magic and all the bad stuff, bad stuff happens. Some of the nefarious stuff, yeah. Okay.

All right. And yeah, we had sort of grown up, I guess, for lack of a better word, just as outsiders of this industry. And we never felt like, oh, my God, there's no way I'm going to be able to make our way in here. No one's ever going to like want to read my script or anything like that. And so we always just thought, well, we'll just start making things until eventually one day, hopefully we'll get one into like the Sundance Film Festival or something and

somebody will start to pay attention. And that's what we did through our teens and through our 20s. And that was Puffy Chair. That was our first short was a short film called This Is John. And it was a big creative breakthrough for us because we were really struggling as artists in our 20s. I think there's this conflation of like, this is the art that I like to watch. And so you start to make art like the art that you like to watch. But a lot of times that's not who you are and that's not who your voice is.

And so we were trying to make art like the Cohen brothers because we were like, we love the Cohen brothers. But we weren't good at that. And it wasn't until we sort of had this, I mean, really an accidental breakthrough in my brother's kitchen where I improvised this eight-minute short film about a guy trying to perfect the personal greeting of his answering machine. And it was the ugliest, worst-sounding short film to ever get into Sundance. It was our parents' video camera with a dead pixel in the center. It's just my brother filming me. No lighting, no sounding, no nothing, you know. And that was our movie that got in a Sundance.

So I grabbed that as one who is desperately trying to feel relevant does. And I said, I'm just going to use this as my microcosm to move forward. So then we made the Puffy Chair, which was like a $10,000 micro-budgeted feature. And had this awesome journey where this is like 2005, where, you know, for those of you who know the industry back then, what was happening is you'd make a movie at like a Sundance and then you'd hope to go to like Fox Searchlight or focus. features and make a movie like Sideways or Juno that would ideally go out and win the Academy Award. And so I showed up at Search Site and I was like, I'm ready, let's go.

After the great reception. Yeah, after the great reception of the Puffy Chair. And I did make a couple of movies. We made this wonderful movie Cyrus with John C. Riley and Jonah Hill. Very fun. And Jeff who lives at home with Susan Sarandon and Jason Segal. And I was able, my brother and I were able to make what we wanted to make. but we had to really take some dings to the spirit and the soul to do it.

Both those two that you just mentioned, you wrote. We wrote and directed them. And directed, produced. Yeah, the whole shebang. But it was with like, you know, like seven to ten million dollars of other people's money. You know, it was like the first time we were doing studio stuff. And just the amount of, not just the notes that you get, but the amount of talking and explaining of every idea and having to justify what you do. and fighting for certain things

and the cut that you want to get done. It was pretty clear. My brother and I kind of looked at each other after those two movies, and we were like, okay, we can do this. It's working, but I don't think we're going to last.

Like, I think, you know, we're giving out more in our spirits that are being fulfilled, and I think that burnout is coming. So what are we going to do here? And we got really honest with ourselves and sort of said, I just miss when we were making the puffy chair

and I miss when we were making Baghead when it was like, I was cooking breakfast for everybody in the morning. We were all shooting in the same house and sleeping in the same house and I was hanging lights and I just felt so young and it was just, that's just who we are.

So we said, why don't we go back? What if we just did that? So we started making movies again for this time at like $100,000. And the one I love was very much like a third or fourth movie in that zone. And I would say one of our most successful films in that, that movie people continually stop me for and talk to me about it's fantastic. They really, and it's a testament to Charlie, your son-in-law and Justin.

I was at that point where I was like, guys, I'm going to give you $100,000. I brought them this idea because I always love the movie Starman. I don't know if you ever heard this, but this was my instinct. I was like, okay, I'm starting with Starman. Here's my idea. There's a couple. They're having an argument. She decides she's going to go sleep in the other room.

When she goes in the other room, she finds her husband in there, has a conversation with him. He's acting different. That's weird. She comes back into her bedroom, but her husband's still in the other room. The essence of the movie, but no plotting, you know? And I was like, guys, if you can come up with a fleshed out version of this, I'll help you bring a movie star. I'll pay for it. Let's go.

And Justin later. And they, and Justin later, like, I used to make that pitch to everybody because everybody was romanticizing how Jay and I were doing things, but they didn't realize how much work and how much free work they were going to have to do in order to get it. And Charlie and Justin, one of the few who came back quickly was something great. And I was like, oh, shit, this is, we're making this. We're going. Yeah, we're going. I loved that when we came to the house and you were shooting, Charlie said, I'm sorry, but you can't stay here. You'll have to check into a motel.

There was no space. I was in your room. I'm pretty sure I was in your room. You could have come and snuggle with me. I will. Maybe I'm one of your bigger budget films. I'm not going to let you ask the next question. You're in charge, but I'm coming in hot with something, and I need to do it right here.

Okay, but then we're going to go work backwards, but you go first. Okay, all right. So there's a story that I tell out in the world, and like most stories that you tell over and over again, I think it gets hyperbalized and heightened and sharpened. Especially if you're a good storyteller, which you are. Exactly. So I'm going to tell you a story that I tell everybody when they ask me about what's Ted Danson like.

Now, look me in the eye and tell me the truth. How many people have really asked you what Ted Danson is there? They do. They ask me about it. I know. I said how many? Oh, how many? Was this once?

I've told this story. I mean, I think I've told this maybe 15 times. Okay. Yeah. 15 people. All right. That's good. Yeah, it's about 15, which is about what you're good for. Yeah. And so this is the story. This is the story, everyone.

We're going to make the one I love. It turns out beautiful. Six months later, we get accepted to the Sundance Film Festival. And for one reason or another, Charlie is starting to realize that a lot of his friends and loved ones are not going to be able to be there due to some limitations of their schedules and whatnot. And he calls me and he asks me, was it really important that I had my parents there? Because he had heard all about that stuff at the Puffy Chair premiere. Was that something important, you know? And I said, you know, it's really nice to share. It was a seminal moment for us, you know. And he said, yeah, yeah, I thought so.

And so we're leading up to the festival and I'm not thinking about it. And Ted's on CSI. I mean, they own him. They bought him out for a pretty penny. They did indeed. Yes. And when they say you jump, you know, that's it. And Ted is going to be very much shooting through the Tuesday night of our premiere at Sundance. What I don't know at the time is that Ted goes to the producers of CSI and says, I really need to be here for my son-in-law. I think he needs me there. And they said, well, that's great, Ted, but tough shit, because look at your paycheck. So then he goes to the line producer. or who he knows well, and is like, do you think there's a way you could probably carve me out of this schedule? Because I feel like, while there are no commercial flights available, if you can get me out at 6 p.m., I can get on a private plane.

I can be there for the Q&A. I can be there for the after party, which is not going to start until about 11 p.m. I can stay all the way through the after-party casually just there as a support system for Charlie as if I have nowhere to be and then hop on a private plane a few hours later and be back there for work the next day. And that's the Ted Danson that I tell the story about. How close am I?

This is sad. remind me who you are yeah exactly yeah yeah yeah it's quite possible it's quite possible yeah yeah i mean and i like the story so i'm going to go yes but now charlie will if he ever does listen to one of these podcasts will go no you didn't or maybe but i think i think that's roughly true i can corroborate a few things private jet you outlasted me at that party for sure and i was like how is ted here and if I was at that party, I would be so nervous about the sleep I was losing and getting to the, and you were just like so casual and calm and just there for him. And at that time in my life, my kids were seven and three. And I remember, I just have to say it, I remember

looking at you and just being like, this is how I want to do it. Well, I love that. Yeah. Thank you. And I hope to God it's true. I hope to God it's as, you know, you stay. can we back that's cool thank you yeah and by the way you can cut this out too no no no it was a good story about me we're keeping it okay um you're talking as if you came out full-blown producers writers directors artists uh in this town trying to figure out how to make it in this town how did you even get to the point from Louisiana or Austin and being in a band, which I listen to, by the way. Pretty cool.

Okay, all right. So great question. Because, yeah. I grew up in the suburbs of New Orleans with my brother, just the two of us, four years apart. He's four years older, even though he looks 10 years, Yonogarvich really pisses me off, but we're working on that. And we were of the generation where HBO was magically piped in around 1983 or 1980. and I'm like seven or eight years old at this point. And probably the most definitive curational force in my life

was the fact that I would come home from school at 3 o'clock. HBO was not thinking about what time to air things. They just had a bunch of movies and they threw them up there. So at 3.30, I'd roll in. I'd catch the second half of Kramer versus Kramer. I'd roll right into Sophie's Choice. And then I'd catch some Annie Hall. and I was getting all this incredible adult programming.

You and Jay and I, yeah, both of us, yeah. We were deeply affected by adult post-divorce on we at a very young age. You know, we just, we loved it. And we always thought, God, okay, I kind of want to be creative. I kind of want to figure this out. But there were no models for filmmakers. And while there probably were independent filmmakers in that post-John Keseveta, area like we there's no internet we have no access to this so the only model i can see of of a

successful artist are these sort of troubadour like blues jazz and funk musicians that have their residences in new orleans and they play they play monday night and they make 200 bucks and so i was like music that's going to be the thing but artists yes right and so we're just like let's do this so we started you know taking drum lessons and then we picked up guitar and started playing that And Jay and I were playing in bands together, and nothing particularly special, but developing our creative process, learning how to write songs, you know, playing gigs at little coffee shops, seeing that songs aren't working that well, going back, workshop, and all the stuff that kind of leads up to, you know, a life in the arts. Then in 1991, Jay got a scholarship to go to the University of Texas in Austin, and the lid got blown off because our world really opened. up. I'm 14. Jay's 18. And tied to the hip, right? You guys. Tied to the fucking hip. He loves you. This is my guy. And in all credit to Jay, what little brother doesn't want to hang

out with the older brother, Jay was the one who included me. And he got some stuff from it. He got pure unadulterated, um, adoration. He was also at the time, I think, you know, a little more nervous and unsteady in the world and I was a little more bombastic and confident so we had a nice little combo little mutton jeff thing there um but when he went to austin and we started to see richard link later and robert rodriguez taking seven thousand dollars credit cards or selling their blood and making their movies and they didn't look like um jean look good starred. They didn't have a beret. They were wearing ratty t-shirts and tennis shoes and jeans, and they looked like post-high school athletes like us. And I was like, oh, shit, I don't have to

smoke a skinny cigarette to be a filmmaker. Like, I can just be who I am. That was huge. And you're in Austin, too. And I am living in New Orleans still with my parents. But communicating. But communicating. And literally, I get my license at 15 in New Orleans. So by my freshman year, Jay had left his car home. I'm driving up to Austin 500 miles every other weekend just so I can be with him, see this world, have my mind blown. So I spend the next three years. So you are, sorry, you're on track, full on. This is what I'm going to do without declaring it maybe, but this is what you're going to do. I think we've pretty much declared that like it's going to be a life in the arts. Now, I'm pragmatic. I grew up Catholic. I went to this really high Jesuit. Jesuit.

school. It was very pressure cooker thing and all those guys went to, you know, they graduated from college and they were making really good salaries. And so I got a lot of good academic rigor out of that school. And I did learn eventually how to apply that structure and rigor to my creative process. And that's been huge for me. It's just like those ridiculous study rules, those times and you're just like, I can't even imagine doing this. When I turned around and had kids in my late 20s, and I was like, I only have two and a half collective hours today, which is there are three naps spread out to be creative.

Jazz would prepare at me. I was just like, well, that's what you do. You're going to get fucking organized. And like one of those is going to be while you're exercising, you're going to be thinking about what you're doing. And then you're going to go ahead and write it down. And then you're going to be walking around with the baby and the Bjorn, talking out the rest of the script into a dictaphone.

That was really good for me. But I didn't know any of this when I'm 15 and Jay's 18. I'm just like, I want to live a life in the arts somehow. So what I'm going to do is I'm going to go to college in Austin with Jay. And I'm going to get a degree in English literature. I love reading. And I'm going to plan on being a professor who loses money making his art. That was literally the goal because I could see.

see that as practical. I was like, yep, I can like... Make enough to do that. Yes, you know, and I'll make my, you know, $72,000 a year and they send you wherever you go as a professor, you know, you get stuck out somewhere that maybe you don't want to be, and I'll just make independent films and music that loses money. This is what I'll do. And then something interesting happened, which is the technology at the time of filmmaking

started to shift. We started being able to edit on computers, on these avids. And so Jay and I were like, whoa, we're here right now. Sorry, still in Austin. Still in Austin. I'm 19. Jay's 20, Jay's 23. He's just graduated.

I'm still in school, but the Jesuit high school was so, they put us so far forward. I had 60, I think 62 hours of college credit before I even came into the school with my AP courses and everything. So I just, I was barely in school. school. I was just there because my middle class background dictated. You should stay in school or else you've done something wrong. And so we, Jay and I realize, okay, we can start to make money as editors here. So I got a job, and so did Jay for a while, editing a church television show. And I would work nights from like 9 p.m. to like 7 in the morning, two shifts a week, make enough money to you know, cover my $250 a month and shared rent. Was it the sermons or the, what were you editing? Like, if you ever like, I don't know, this is like, this was in Texas, but like, you know, they would just, there was this big kind of mega church outside of town and, yes, they would

shoot, they would shoot the sermons and then they would also have little like side videos and they would say. Any skits or things? No, no, but there were some musicians that would show up. And, and they didn't have a lot of money and they were paying me. me $15 an hour, which at the time, I was like, this is a gold mine. And then I didn't realize how much they were probably taking advantage of me, but still, it worked. But we got really good on the machine, got really fast. Then Jay and I decided, okay, we're going to sell off the cars

that we had, buy cheaper cars so we can buy an avid and we'll start in editing business. And then we started editing every film in town. I'm so sorry. I'm sorry. I'm such as an airhead. Abid. Are you editing tape? We're on computers for the first time, which is how we're getting this work because the older generation was good at tape. And they got a little phased out.

And we were, you know. It was digital and you could edit up very quickly. Exactly. Exactly. So being, you know, I was only 21 at the time or so, but we were kind of at the forefront of it a little bit. And we always said to ourselves, you know, this is great. We will use this to help make our own movies, you know.

Meanwhile, I'm still a musician at this point. I'm still touring, you know, anywhere from 60 to 120 days out of the year. Some of it, I'm doing a singer-songwriter thing, just selling CDs out of the back of a van. Sometimes I would have like a little label. Like I had this band, Volcano, I'm still excited. That was like, you know, moderately successful, but still like split in $173 between three guys and sleeping on floors kind of thing. Colleges, bars. That whole, that whole shebang, yeah.

But I am, you know, I guess I didn't really think about this. Like, I'm juggling two very unsustainable, economically unsafe careers. Right. At once. Filmmaker, musician. Exactly. That's my backup careers. Wait, wait a minute.

Something is not right here. And it was somewhere around this time frame where I think I started to develop, what I call like my Celieri moment with music. So Celieri was the guy who was so obsessed with Mozart because he knew he would never be it. And I started to see musicians out there who were younger than me, who were working a lot less hard than I was, and they were just really great.

And I was like, okay, I might be maxing out at a B-minus here. And I don't know, I love it, it's love my life, but I don't know if I want to live, like this. This may not be smart for me. And luckily, at that time, that was right around the same time. I met Katie, who's my girlfriend at the time, is now my wife. And I started to think, yeah, I don't want to be out on the road touring. It's not good for the relationship. And I was missing Jay when I would go out on the road. It just wasn't working. And then technology intervened a second time for me, who's like this little, technology has been like this little

ghost of Christmas, past, present, future that visits me as Scrooge throughout my life. I remember the lighting package that you came to our house with was minuscule. Nothing. Nothing. So what happened was, and I was aware, because as a musician, I was 10 years too late with the technology. They were making great-sounding digital recorded records on their computer when I was, 12. And by the time I got there, it was kind of all used up. And then when I'm like 26, this camera lands in my lap. It's the first digital camera that shoots things that look like film. It only cost $3,000. So now to make an independent film as opposed to Link Later and Rodriguez, those guys are

shooting on 16mm or Casaveta shooting on 35 millimeter. I can make a movie for the cost of a tape in this camera. And they needed a big lighting pack. They needed a little bit of a bigger lighting package, yeah, back then, yeah, and digital was less. So I, so I was like, all right, Jay, well, let's go for it. Let's do what we did. Let's buy the camera. And then, so we bought the camera and we were renting it out to pay it off. How much do you think?

It was $3,000. Okay, that's real. And we were rented out for like $75 a day, you know, just like continuing, just trying to get it paid off. And luckily that it was sort of the same time. I say luckily, maybe it was serendipity. that we had made that first little cheapy short film I was telling you about that went to Sundance. So I think that was the first time where I was like,

okay, it's time. Like this is my Excalibur moment. I just pulled this camera out of the stone. And if we're gonna do this, you know, I've got a very sharpened sense of my artistic process through all those years, editing bad movies, making my own music. I can still live off of $300 a month in my cheap apartment.

I don't have the weight to carry of a family yet. Let's fucking go. Like, this is going to be our time. Okay, freeze. Yeah. That's amazing, by the way. Thank you. That's very cool.

So not everybody gets to wake up and then have all of those desires and inclinations and talus and everything and determination, just be at their fingertips. So can you look earlier? Are your parents giving you anything that made you and your brothers able to be these kind of people? I think they're definitive in this process. Okay, a couple of things. One, a lot of these come with positives and negatives, but they're all definitive. Number one, if there's one clear message I was raised with since I was little, it's, you're incredible.

You've got so many gifts and you can do anything. What a gift that is. What an unbelievable gift. Now, when you're 25 and you're not succeeding, it can lead to a high level of depression. What an an anvil around your neck. What an anvil around your neck. Exactly. So my wife and I actually had a very concerted conversation.

I remember we were up before we had kids late with a couple of bottles of wine. I'm like, what are we going to do? Should we give them the praise? Or is that going to fuck them in the long run? Like, what do we do? And because they were both girls, we decided, let's air on. on the side of praise, but try to be, God, that's well thought out. But let's, let's try to just give little doses along the way of, like, you're incredible and it's amazing, but also,

can't wait to see what you do. Yeah, these are your, these are your gifts. And if, like, you get to the point in your life where you just, like, want to, like, you know, hang out and enjoy life and not have this insane ambition. Yeah. Fine. Like, because I tell them, like, ambition made me successful. It didn't necessarily make me happier. So just, just be aware. So anyway, so they did that for us, which was great. Both of them. Both of them, yes. And then another thing they did, which, you know, they didn't plan this.

They were raised lower middle class and they were busy trying to raise us up a class. My mother stayed home to take care of us. My father got out of the draft by becoming an attorney. He was born in 45, so that was that time where you could like go to grad school and get out of the draft. And he was like, I'm just going to try and I don't really like being a lawyer, but I want to raise my family up a class. And I want to send them to school without college debt, which he did. I want to be able to support them when they say they want to be artists, which he did. So that was great.

And then this, I guess, I mean, look, this is sort of in the zeitgeist right now a little bit. But I say this with full respect. We were summarily ignored in our childhoods in terms of activity planning, in terms of any encouragement to do this. or not do that. It was a general belief that you could, but also we're busy. There's a couch and a television and a bike and a neighborhood and be home before dark.

And that sense of autonomy and that sense of no one's coming here to tell me what to do was really, really helpful for us. And I've tried to fabricate some of that from my children. I don't know I've done the best job of it. It's a different time. Different city. And they're girls in different cities.

You're right. Yep, yep. So those things were really, really critical. And then I would say one thing that they really did that really impressed me was, you know, even as we were going in our mid-20s and, yes, we were making enough money to subsist off of like $7,800 a year in Austin paying our rents, but still like on our parents' insurance, that whole thing. They never said, it's time for backup plan, guys, you know. And my father, I'm very close with my dad. He's 80 now. He is our business manager.

Oh, good. He, I asked him when he was like 66. He's kind of a workaholic like I am. He was still living in New Orleans, running his law firm. And I just had my first kid, ORA, and I called him. And I was like, hey, we got to talk. I was like, we all know you're going to die at your desk. And you probably die happily there.

But like, I got this pitch. like what if you retire right now and like you could come move out to LA and like you'll know your grandkids like I knew my grandparents but it was I love you and a hug on Christmas and Easter and they didn't know me you know your mom and dad together at that moment in your phone call yeah and they're still together yeah um and I was like why don't you guys just just think about it you know three weeks later he shut down the law firm wow moved out got them a condo here and they've been here ever since. And it was such a funny moment,

and this relates to, again, all those gifts and things that he gave us, because what I noticed in my father, once Jay and I got into our late 20s, early 30s, where we were making those studio movies, I was financially stable enough. I noticed something a little interesting about him. He was excited for us,

but he was not as excited to go to work anymore. And I was like, what's kind of what's going on? You know, and he's like, well, I always felt like if I encourage you guys to become successful artists, the price I had to pay with that was to never retire. Because if you never made any money, I felt like I needed to have a nest egg for you to take care of you because I unabashedly supported you. And so his God was, let me go to work every day and save up for the boys. And then when we made the living, we destroyed his God. And he was like, I don't know what to do with this. And it was such a weird existential moment for all of us.

And I was like, well, this is perfect. Like, come out. Like, I'm supposed to hire a business manager out here that I pay 5% to it. And I don't know if I can fully trust them. You're so good with numbers. You're so organized. You're so smart. I also need, like, legal advice on some of my cheap movies.

You can make cheaper little contracts for me than the entertainment attorney. So he kind of became our, like, consulari out here. But yeah, that little sense of him always being there. I knew if I was going to fall, it was never going to fall that far. He just had me. That's very cool. We need to give it a little shout out to Katie at this point in your story.

Signing up, well, before this point in your story, signing up to be with you when it was very fucking unsettled. It's worse than you think. And what a wonderful actor, by the way. way. Thank you. I'm going to tell her that, but she's going to listen to this and cry because she loves you so much. There you go. Okay, that's your second one. You have to do three before I really settle down, but thank you. How did that happen? So we met in Los Angeles. I was living in New York. She was living in L.A. I came out to visit a friend because I was just having a tough time. And

what I haven't mentioned through all of this, and it doesn't need to be any heavier than what it is, is that I've been dealing with anxiety and depression my whole life. Much of this undiagnosed and unaware through my early days. High school, too? Yes, high school. Like, having panic attacks and being like, I think I ate something wrong. I don't know, you know, just no awareness. And I'm in New Orleans in the 80s and the 90s. Like, we're not, it's not on the radar for us, you know.

And so, so yeah, I was having a really hard time. I wanted to come visit a friend, happened to meet Katie, who was a friend of my friend out here. It was on New Year's Eve going 2001 and 2002. And she had sort of recently sworn off men due to some bad relationships. And I had sort of recently sworn off women. And that's what happened. Sorry, just parentheses. Mary and I had the exact same conversations with ourselves. You know, clearly I can fuck up any relationship. Mary was. Obviously, I'm not relationship material. Who knew? And we found each other. I'm no good for anybody right now. I need to settle on myself. And then, but we got hit with the lightning bolt, which I love the lightning bolt of love.

I tend to really trust it now. I tend to really break down relationships into two categories, which is, not two categories, are really two things? Like, do you like the way this person smells and tastes, and are you willing to work? Which is not a silly. That's science, by the way, what you just said. And that was it for us. I mean, it was just like, wow, you know?

It's so true. But Sue, your previous point of good on Katie for buying early and cheap and investing and holding onto her investment, I mean, not only was I completely unstable, you know, had not gone to therapy yet and really was emotionally, you know, not dialed in and volatile. And then, to top it all off, I had mutton chop, sideburns, and a sole patch. So she had to kiss that face. Yeah. It was a lot. I was smoking cigars. I can't even fucking believe that Mary would have come anywhere near me.

That's incredible. It is. It was a test on my part. It was a calculated test. Let me see if we get this in here. Yeah. Yeah. So she and she was with me through, you know, this whole, this whole journey of all this stuff.

Yeah. And your brother, just tap, we can nibble or do nothing about your anxiety and all of that stuff. your brother was aware of what was going on with you as a kid and was you're fine eh or no i wasn't communicating it to him and he wasn't he's dealt with it at his fair share as well and he wasn't really communicating it to me i think that it just wasn't in our vernacular you know um and we didn't even know how to identify it you know i would wake up in the morning i remember being like seven or eight years old and telling my mom like i'm my stomach is so empty i'm starving did i skip dinner last night and I didn't know that it was just depression and she didn't know it either you know um now

now jay and i to that point though have had a long journey of intuitively leaning on each other so while we weren't looking at each other in the eye and saying i've got your back i know you're dealing with this um it was just like two lions and a pride who just knew what they had to do and we we've always described it as once we knew we were going to try to do try to do this thing, try to do the impossible to become artists with no connections. There was never an ounce of conflict between us for probably 20 years. It's a pretty magnificent relationship. I remember hearing about the Duplas brothers before I heard about Mark or Jay.

Yeah. You were the Duplas brother. Yeah. And we were lockstep for, you know, literally from when we were, you know, five and nine years old, up until about our mid-30s. That must have been hard when you went your separate ways, right? Who initiated, your brother, right? So, yeah, so we're, you know, we are still the Duplas brothers under our company umbrella.

What have you produced most recently before this going a separate way? I would say probably, oh, before, the thing that sort of really helped precipitate us getting, I call it our conscious uncoupling. Nice. Was our show Togetherness, which Mary was on with us. Oh, by the way. On HBO. Fucking great show. Thank you.

And she was great in it. I loved her in that. And that show almost killed us. Again, my kids, I shot that right after I met you shooting the one I love. Right. We wrote and directed every episode. I starred in it. My kids were three and seven.

Jay's kids were two and six. Great actor. All the performance. It was so wonderful, and it was the peak of our, you know, creativity together. But at the same time, we were writing a book about ourselves. We were producing all these other movies. I was really, really stretched thin, and so was Jay. And I think Jay has always been a little bit wiser and a little bit more centered

than I have been in our creative process, in life in general. I'm so grateful for him that he has had that and he I think he would tell you right now he's so grateful that at those times I was less than centered because I was such a driving force maniac that I there's no way we would have been successful without my engine revving the way it the way it did you know I pushed him off of every cliff it was always I don't know if we should do this and I was like let's go you know and and it was a beautiful beautiful balance But I think around this time, Jay started to realize, and he had it tough, too. He had the moment where I was an actor, and he wasn't for a while.

So every party we went to, every industry event, all the eyes would go to me. And he sat in that for like 10 years. And I think he was feeling, I need to individuate now. I think it's time for me to do something. And what we've discovered, even down the line, line a few years down the line is it wasn't just about him, you know, self, in that self-oriented way needing to individuate. The ways we were going about making our art were starting to diverge. Jay was becoming hungrier and hungrier to create the one everlasting masterpiece

movie or TV show. Like, I'll spend 10 years on it to get it right. And I was actually heading in the direction more through my experiences with Charlie, through my experiences with in Shelton making movies of saying, you know what, Jay and I might, we might be starting to repeat ourselves as collaborators. But if I collaborate with a different person for each project going forward, it'll feel half like me and half like them.

And that's probably good. And I don't know how you feel about this, but like, I'm not a crazy driven artist where unless my art is an A plus every time, I don't see the value in it. If I can make some B pluses that some people like and some people don't

and make more of them and enjoy the creative process and the being with them, that's where my focus started to go. And I think that was hard for Jay because he's just like, dude, why are we stopping at a B plus? We should destroy ourselves

to make an A plus like we used to. And I was just kind of like, I don't know, I've made like 50 or 60 movies and TV shows. I want to make more of them. I want to be in concert and creative communion with people. but I don't want to die at the foot, at the altar of this project.

And Jay was very like, that's all I want. Do you remember the artist's way that? Yes, of course. I butcher the quote, but it had something to do with your job is not to, you know, your job is to be prolific. Yeah. You let, you know, let the, whatever it is, you know, that is how I feel.

Determine whether it's genius or not. And I have been, I have been taught that. through the responses to my projects. I remember, you know, thinking like, oh, my God, togetherness is going to be like the Emmy-winning show of all time. And it did great. And there were people who loved it, but we didn't go out and win any awards.

And at the same time, I'm experimenting in documentaries, producing a documentary with these two young brothers who have only made one thing before that's about this obscure cult in Northern Oregon. And I'm like, oh, this will be kind of interesting. And that show ends up becoming Wild Wild Country, which is the most successful documentary on Netflix, the one that wins us the awards. I haven't seen it,

and I really wish I could sit here in that. We don't have to do any of that. I've made so much stuff. You shouldn't see it all. I know, but I love hearing that. But to that point, to that point, I love as an artist, my whole thing is like, I sound like Kevin Costner.

I'm making a baseball metaphor. Forgive me, guys, but here we go. He's cool. He's cool. Go for it. I step up to the plate, and I'm like, okay. I'm going to wait for the pitch that I feel like I can hit. I'm not going to try and hit a home run.

I'm going to swing my bat. I'm going to put it on the ball. I'm going to sprint as hard as I can to first base and know that I can make it to first base. And then that's each at bat is a piece of art. And then randomly, one out of every 10 of those at bats, they're going to overthrow me at first base. And it's going to be an in the park home run. And I won't have known why, but it will happen that way. And that's my whole philosophy.

And Jay, rightfully so, was like, I. love that for you. And now we've come to this beautiful place where, you know, we're a part of everything. His last movie, The Baltimore, said he was the first movie he wrote and directed on his own. We produced it. I financed for him personally, so he didn't have to feel any of the pressure himself. I was like, let me put the money up. And like, you just go do it. And I asked him, like, when do you need me? I'll be there. And he didn't have me breathing down his neck. So we're kind of like rooting each other on from the same sidelines and on the same team. And it's been really, healthy until I come back next year and I'm like

oh we had a huge fucking fight I want my money back yeah it's hard to totally different but when Shelley Long left cheers after five seasons I thought oh fuck my dance what if it's my

dance partner and has nothing to do with me and the whole thing will fall apart you talk to anybody about that not yet yeah But you mentioned it somewhere in some interview, I think. But that had to be a moment for you. Oh, boy.

Yeah. I mean, you've described how it was beneficial for both of you. It was. But in the moment, it must have been. Bigger moment for Jay, honestly, because at that moment, I had already had success in collaborations with people like Charlie. Gotcha. Before that had happened.

Jay was actually the one who pulled the trigger and then hung himself out to dress. So he really put himself on the line for that. And in this moment of time and none of my business question, were you in therapy yet? Definitely. I started therapy. So you were set. When I was like 28, I had a real, I think it's fair to call it a nervous breakdown. Like I was experiencing the success of the Puffy Chair.

I finally achieved the zenith, which was to get a feature film at Sundance. And I experienced it in the theater and it was beautiful. and I walked out of that theater and I was like uh oh I'm in trouble because I'm not happy now I thought this was going to be it yeah and

this is one of the coolest things you can say though out loud because this is just a massive truism in life for so many people you know why it's so funny and I actually still fall into that trap a little bit it's not like I learned it once and I figured out I still mess up

But that was really, really hard. And so I just started working harder and harder, like, I'll call it recalibrating the mountains. Well, I'll just get some new mountains to climb. And then about a year after that, yeah, I had a pretty big nervous breakdown. Was scared to take medication. Was scared to go to therapy. Did that whole process for anyone of you who is interested in getting a therapist. I obviously highly recommend it, but also it's like dating.

It can take a few to get the right. one so that was really tough where i was like i went and i was like oh this isn't working and i was like no no no no just go on a couple more dates like you'll you'll find your person and then the big journey for me was like can i take an antidepressant and still be creative and still be vital and alive and is my anxiety a driver for my creativity or can i yes and it's there's no empirical answer for everyone the the good and the bad news for me is no matter how heavy uh the antidepressant i take nothing's going to fully remove my depression and anxiety and it has not in any way impeded my creative process it has actually made me way stronger and it i i argue that this little bottom that i have

this little pillow of my lovely 20 milligrams of selexa that i've been taking for 20 years um it catches me almost you know and and it's given me a fortitude where i i can i can actually work really well and longer and smarter in a lot of ways i don't think we ever get rid of that either that imprint no or that wiring whichever it is yeah you know you can get it to the point where oh i got it i understand you i see you yeah and i know how to continue living life hello darkness my old friend yeah yeah yeah yeah but uh i remember you on the set of the one i love you know and and playing our therapist, and I remember watching you. And I haven't said any of this year yet, but like you were in my kitchen my whole life.

My parents and I, we sat down and we watched cheers every night, and we just love you so much, and you brought so much to us. So I was a little nervous, and I remembered you being very nervous. And my first thought was, he's taking care of me. He's trying to pretend that he's nervous because he knows I'm scared. And he's like, and he's so believable. And he's modeling it. And then the second take was, well, he's really good at this.

And then the third take was like, I can't believe Ted Dantin's insecure. Yeah. He's scared. He's scared to improvise and he's nervous after every thing he's done. They call me the improviser killer. You know, when somebody would chase you up. the stairway when you were young and you would get halfway up. You were still leading, but you'd freeze and scream.

Yeah. That's how I feel with improvisation. But you were so good. We weren't doing comedic improvising. We weren't looking for jokes. We were just making the naturalistic dialogue. And you did settle into it, and you found it. But that was good modeling for me, by the way, at the time.

I loved seeing you just say that out loud. You know, I'm nervous. I'm scared. I suck. I don't, you know, it was great. It's a bit, I take it too far. I have this false humility, not nerves. I am always nervous. I'm always scared shitless before.

I have no need to jump out of an airplane and skydive. I'm terrified. Yes. Before, when they say action, in a great way now. Your life is Halloween horror nights. You do not need to go to the theme parks. Yes. Yeah.

Yeah. Exactly. Yeah. Anyway, what a great business. Let's talk about acting for a minute. Let's do it. You are a wonderful actor. You really are.

I've loved watching you, act. And that's such a different, because usually a lot of times people who write, produce, an act, I don't totally believe that they've lost themselves in some character. I feel like there's an eye watching the whole thing. And I don't see that in you. You're really good. Thank you. All right, let's talk about the creep, not files.

I'll keep on it. Creep tapes. Yes. And I wrote it down. So, sorry, but it's, what is the phrase? Because I phrase, it's like well-known shit. I can't find. Found footage horror. What?

Yes, say it again. Found footage horror. I had never heard that, but it's been around. It's been around, yeah. So, you know, about 25 years ago, the Blair Witch Project comes out. Yeah. And the whole movie, the conceit is that we are watching the videotapes that they were filming out in the woods. And they died out there, and we have discovered these tapes and we're watching them.

And we all kind of believed it, and it destroyed us all. And a movie made $100 million, and it was great. How long ago was this? This was 1998, 99, something like that. Now we know that it's a format, but we still buy into it. There's an intimacy about it, like a mockumentary in some ways, you know. But here's why I love the form, because my brain is always working in a combination of business and creative. They're perfectly in concert with each other at all time.

And I believe it's the reason why I'm still working today. It's the key to my sustainability, if not my success. And when you're making found footage, it's supposed to not be well lit. And the camera's not supposed to look expensive. So you don't need any lighting crew. You don't need any sound crew. When we go and make the creep tapes, which is a show we make for Shudder and AMC now. Second season's coming out.

Second season's coming out, yes, shortly, November 14. Absolutely. Yeah. And I'm writing a third. I was literally writing the third season right before I came here. And what that means is I get to make this show, the entire casting crew, five people. And they're all my good friends. Oh, my gosh. And then I get to hire my favorite actor that week who's going to come into my world and get themselves into trouble. And the conceit of the show is you are the most prolific serial killer who's, I love this, happens to be socially uncomfortable. He's very socially uncomfortable. And it's using... But just that phrase is one of the funniest, you know. It is a horror comedy for sure.

And what it is is I built this character because I recognize something in myself, which is, you know, I am what some people would call an early hugger. Like, I'll meet you and I really like you. And I might get a little too close. And I might hug you before you're ready to be hugged. And I get excitable, and I get, I'm like a little boy, and I see a connection coming. And so I just lean in. And I've noticed sometimes that I can make people a little uncomfortable with that.

So I just took that and I was like, what if I just fucking dial this up to like 15 and have fun with it and have my own therapy in the process? And rather than try to have to tamp this thing down to myself all day long, I'll have three weeks a year where it's his Christmas. And he just gets to let his freak flag fly. And here's the best part about it. And I'm a serial killer. And the fun part about it, though, getting back to the process, which is I get older, like, the process is almost as important as the product to me. You know, because what are we doing this for? So what we do is...

Because you do work long hours. Yeah, exactly. It's firing. Yeah. And so the concede of this show is, you know, he'll hire someone to film him for the day under some false conceit. and you'll start to realize, oh, this is probably a little bit of a lie. And he always rents a different Airbnb or... Wait, what is the full conceit to the person he hires?

I need you to film me doing what? The first film that we made for Netflix was he says, I have a brain cancer. My wife is pregnant. I need you to make a film for me for my unborn son, like the beautiful movie My Life with Michael Keaton. That's his favorite movie that's ever been made. and slowly but surely throughout the course of the day

this guy starts to catch me in a couple of little lies and then he loses his car keys is he a character or is he just behind the camera? He's a character too. How does he get on camera? But sometimes I take the camera, sometimes the camera gets set down, you know? Because, you know, my character fancies himself

a bit of a filmmaker, you know, he's been around the lens. And it's so fun to make, but we go and because, you know, in order and not get caught, my character rents a different Airbnb each time. So I literally go on Airbnb. I rent a place. The five of us go up. We live in it and shoot in it at the same time.

You, Mark, do this. Yes, I do this. Oh, I got you. And we shoot an episode every like two or three days, you know. And it's so fun. Do they know you're going to do that? Yeah, I have to let them know legally, you know. But it's great.

It's a really cool process. And I think that to that point I made earlier about why I wanted to make 100,000, thousand dollar movie with charlie it's connected to that same thing that i'm trying to say deeply rooted to that 14 year old boy who showed up in austin and saw richard link later for the first time doing a q and a a and a wild-eyed sense of wonder and sense of play that's really important to me but because i'm also a human being i know that if i do too much of that i'll start to complain and i'll start to say god be nice to have a fucking budget and not to have to hang lights then i get to go do the morning show and i'm spoiled you're really really really good in thank you that's why i said

morning show i was hoping you would give me that yeah wait what is the scene you're everyone shouts it's your voice message you leave or you're leaving a voice message oh yeah yeah i was watching that this morning oh yeah you're really good anyway but that's fun for me you get to go do that and there's a burrito waiting for me and they take care of me and then i do that i do that i do that for a few weeks And then I'm like, I miss scrapping with my friends. So that whole grass is greener mentality of ping-ponging back and forth between those two things keeps me relatively healthy. I have to say this podcast, I know the world has a podcast.

Maybe this could turn into a murder thing. I wonder. Oh. So easily. Crossover episode. Actually, guess what, Mark. So congratulations. But this does it for me, too.

I love acting. I love acting. I'll never not want to act. But this is fun. I wanted to honestly ask you, because I watched you kind of get very prolific in the last 10 years or so. And if there was a conscious decision impetus or it was just more serendipity, oh, God, I did this.

And here comes the boom of television and I'm back in and I'm enjoying it. Or is there a party that had any existential moment where you're like, like, damn it, I miss this. I want to do it. I want to do it all the time because you're so busy. You know this. You know, you appear busier than you really are. Sure. You know, you can spend

three months making something in it. Not anymore. Jesus. You spend three months making a Netflix show and boom. Yep. It's out there in the world seeing it and, you know, next. And this actually suffices. I am so, what happened in the last seven years.

is I met Mike Shore. Yeah. Granted, the first thing he said to me is you're one of my favorite comedic actors ever. So I'll give you, he did that right off the bat thing that seems to work with me. Yeah, yeah. Noted.

But boy, did I listen to him when he described the good place. And I couldn't even quite recreate what he was talking about, but I wanted to be with that brain, that purposefulness. Well, he's special. He's very special.

And so I got to work with him. And so working, trying to find the giggle, trying to, you know, I do love that process. I love every once in a while, it's nice to go do Fargo or something, but I do love thoughtful, funny that makes you think. Yeah. And he does that so well. And so I still get to work with him. I've done two seasons on this Netflix where, what is it, the man on the inside. Yeah, with Mary Elizabeth, yeah.

So it's, yes. so it's really it's also him yeah it's him you know yeah I think that's great all right I have to ask you one more question if that's okay please okay when I was talking about my father wanting to make sure he had enough money for us

and work himself into the grave your eyes blew open no one I mean if those of you are watching it they're going to look back and see it but you something deeply resonated in there and I remember enough of talking with you when we were more in each other's orbits making the movie 10 years ago that

you know, part of you taking CSI was thinking about taking care of everyone. So I want to know... Can I take it the CSI moment? Yes. Sitting, we're blessed. We met the families on Martha's...

This is my way of saying we have a house in Martha's Vineyard. But we were thinking, oh, we're going to have to sell it. And some friends said, oh, you can't sell it. I said, well, we're trying not to. I'm just hoping something happens. But let's finish dinner and go across the street and go to the movie.

The lights come down. My phone lights up. I go, I just have to take this from my manager. And my manager says, do you want to be on CSI? And I went, yes. Hung up the phone and watched the movie. Yes. So it was a blessing, and it was the hardest thing I've ever done because it's not a giggle, you know, and you're looking at charred corpses.

But I love the actors and the writers and the crews and the camaraderie. I loved it. It was a big deal. But, you know, I'm going to challenge you briefly on the false modesty there. That wasn't just for you and your house. You take care of quite a few people. We do. We do.

Mary and I have no business brain at all. You know, if we save money because something was on a sale, we go, we just save $10, let's go spend it. Let's go blow it, baby. You know, we do not have that brain at all. So I also, I think my motto in life is it's just make enough that you can be stupid, Ted, about money. And the truth is, I love work. I want to knock on wood, I want to be able to find out what it's funny, how. what it's like to be funny at any age I'm getting.

So I want to keep going and going and going until I don't working. You know, I mean, you know what, those friends, going back to your friends, you know, you want to go make something because those relationships around work are the most delicious. It's so interesting. I find that too. I've actually questioned whether it's unhealthy of me that my favorite way to commune with people and my friends is actually in the creative process. And I'm like, why don't I just ask them to dinner? We can just do that. But I actually prefer that particular concert.

I haven't actually looked into that. But I haven't had that reflected back to me the way you just said it before. That's me. Something about it. Yeah. So may we both all work for as long as we possibly can. All right. A couple more things.

Sorry. All right. I noticed that you did a go-foam. one me thing for the fire victims or people that had to deal with being out of their homes or whatever to get them computers? Am I getting them right? You and Googled it? We kind of, we went into this sort of independent filmmaker mode when it all happened because I was noticing they were raising all these monies, but the money they weren't being deployed because of just the red tape. And so I was like, well, let's just start triaging. That's what you do in independent film. So

the first thing I did was I ran a national gift card drive because everyone was living in hotels and so I had people all around the country send me their gift cards that they didn't use or that their mom gave them or whatever and we got like $100,000 of gift cards to this little P.O. box and I would partner

with churches and schools in the area and just like just get these out, get them into people's hands. That's brilliant. It was so simple. I was just like, let's just do it. And a $30 PO box later and it was just like, bam you know and then from there i reached out to amazon i said look you know these people are starting to move back in their homes can you give me some credit i'll fulfill some wish lists for people and i'll say amazon's cool i'll make you look good right so they gave us some money we got some

computers through microsoft we got some like nintendo switches through some you know for the kids who are missing that stuff and and um yeah it was a really cool way for me to put some of that energy and And I think that, I think there's just a, there's a part of me that every now and then questions, because my parent, this is, this is just being very vulnerable and honest, like, a life of service. Yeah. That is a big part of my route and that I feel like, I don't necessarily have, haven't strayed from it. But I don't want to be on my deathbed and look back and be like, did I really spend my life focusing on my vision? vision from my movies and my you know and so that's a little insurance for me or something like that you know um and that was a yeah we had a great run with that well brilliant i also loved

uh for the trans community the the found footage fund what yeah yeah we're we set up a 20 describe that what does that mean we set up a 25 000 grant for the um with the with the transgender film center which basically you know turns out this administration has not been as excited to support trans rights as we might have hoped. So, you know, you know what it is. The money that they pay us to do these television shows is so stupid. It's so stupid. So when my friend Lynn Shelton passed away, we had identified that, you know,

when everyone talks about up-and-coming filmmakers, they always say young filmmakers. But Lynn didn't make her first movie until she was 40. So we set up a grant for her that was in her honor that said, you know, It's the woman of a certain age grant. So it's for female or non-binary folks over the age of 40, making their first movie. And I said, yeah, this has been really great. Who did that? We, you said.

It's me in the Northwest Film Forum, my friend Josh Leonard, a bunch of us who loved Lynn. And so I thought, you know, this is a great way. With very little money, we raise a lot of awareness, we give a lot of support. But here's the coolest part. I'm actually tricking these folks in some way, which is everybody gets an application. together to try and make their movie for $25,000. They have to design a movie that can be made for $25,000. Only one of them wins it.

But at least 500 people have a perfectly built movie that can be made for $25,000. And then they just go on Kickstarter and Seed and Spark, and they raise the money themselves. So by actually saying one person wins, like 200 of these projects, they feel heard, they feel seen, and they get made. I'm kind of falling for you, Mark. Okay. Man, that's really, a big hug.

We'll do it off camera. But that's brilliant. Your entrepreneurial side of you, that's brilliant. I'm glad you brought up the, first of all, thank you. I'm glad you brought up the entrepreneurial thing, because that's, I think, part of the fun of this business for me, too, is I actually like the little gamesmanship. And everybody's always like, Mark, why are you funding your own projects, you know? Why don't you get money?

And like, the obvious answer is, yes, I don't want bosses. I don't want cooks in the kitchen. I want to be able to control it. But there's also this little guy in me that's just like, I like the gamesmanship. I like looking at his little startup and seeing what I can sell it for and turn in the profit.

Because you did that from day one. It's fun. It's really, it is. It's fun. I often think sometimes we're brilliant film directors. All of a sudden, they're getting $150, 200 million to do something.

Part of you goes, gee, I wish somebody gave them $5 million to make the film. It's funny you mention that. I've never even said this before, I am actually specifically, I'm working on an initiative right now because filmmakers are so frustrated right now and not being able to make what they want because the industry is taking a downturn. I want to go back to a bunch of A-list filmmakers and say, look, I did with Charlie. I got $100,000. I'll fund the whole thing.

You can do whatever you want. I'll teach you how to make a low-budget movie if you forgot and I'll give you my low-budget cameras. Do you still remember how to do this? Do you want to do this? I think that a slate of movies like that. It's so sellable. It would be so fun. Netflix would...

They go crazy for that. They go crazy for that, yeah. One more. One more. Okay. If you had a... If you had a... This is all Erie Ferry, okay?

If you had a North Star, a guiding light, a, you know, your heart, what is it that kind of, what is that for you? Besides the creative side of you. I will tell you exactly what. it is the most deeply meaningful and important thing to me in my life is my family 100% but it's a particular version of family my parents my two daughters my wife my three dogs we've gotten into this little habit as we've gotten busier in life where my parents will come and watch my daughter play volleyball at one of her games and they'll come over afterwards at like four o'clock and I will order the two-family Zanku chicken meal that costs like maybe $45, even though we could afford to go

to all these great restaurants. And we all share this little chicken meal together and we play some new card game and we gather around the table and we spend about two, two and a half hours together. And there's some kind of joking and regaling of this story and being in the sandwich of my children and my parents and knowing that this time in my life is limited when we're going to be able to do this. It's the first time where I've really ever been able to just be present and so deeply grateful

that I am here. Everything else for me has been like, I'm building towards something. Yes, it's going to be great. It's something about the Zanku Knights. So that is my North Star, and I hope to be able to do that in other places with friends, maybe even with my kids and their kids.

That would be incredible. Thank you, buddy. Thank you. Really appreciate it. This is awesome. Yeah, I'm glad I caught up with you because I only got you peripherally, to be honest. There was always love and understanding there,

but now we got some words on it. Yeah, thank you. Thank you, Mark Duplas. You can watch The Morning Show on Apple TV Plus and season two of the creep tapes begin streaming exclusively on Shudder and AMC Plus on November 14th. That's it for this week.

Special thanks to Team Coco. If you've enjoyed this episode, please send it to someone you love. 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 Coco. 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 Grawl. Talent booking by Paula Davis and Jane Boutista. Our theme music is by Woody Harrelson, Anthony Yen, The Virgin, John Osborne.