Diego Luna

26:45Exactly. Yeah, exactly. Instead of kissing after you high five. We high five. Do you take this friend to be your friend? And do you take this friend to be your friend? I'm curious about I know the breakout for you was that beautiful terrific movie Y Tu Mama También and that how old were you when you did that film? That's probably the best Spanish I've heard from you Really? Wasn't it? Yes Didn't he say Y Tu Mama También? Y Tu Mama También Okay guys if we call it out every time I manage to get it kind of right it makes it worse Okay? Good job, Corey. Corey, who did it? That was cute. Aw. Oh my God.

27:31This is quite like a structure. Have you ever noticed? Your show is about them making fun of you the whole time? Yes. Is that it? Well, when the guests are here, when you guys leave though, he comes at us. Oh yeah, yeah. But you don't record that, therefore, like the actual - No, no, no. Oh God, we record it. Okay. No, I'm very comfortable being, I'm one of six children in my family. I have many brothers and sisters. So being mercilessly made fun of is in my DNA. And I actually, in a sick, sadomasticistic way, I like it. But - Yeah, sorry. You were saying - No, no, no. I was saying that that was, how old were you when you made that film?

28:07You were - I was 19. 19. I think when we did that film. And - That kind of changed. I mean, obviously theater was a big part of your life and theater still is a big part of your life. But that must have been a huge - Yeah. Change for you. I was doing, I was doing, yeah, because I was very comfortable in Mexico and I didn't even think it was possible to actually start like moving around and traveling with my work and finding new audiences. Like I was pretty comfortable doing cinema that was very small. We had an industry that was doing 10 to 12 films a year back then. so it was very small your family would watch it and someone in a festival probably but that was it but I had theater and I was doing TV to support myself I was living by yeah what kind of TV did you do?

29:04oh like the last did you do telenovelas? the last telenovela I did it was just right before Y Tu Mama También because I was 19 years old I remember that day as like the day I stopped doing telenovelas I'm never gonna forget But I started really like at 12, I worked on the first telenovela. So it was good seven years of my life. I occasionally will be talking to someone from Mexico. This happens a lot. And we'll be chatting and they'll want to know. They know that I work in television. They've seen clips, but I always say to them, well, I did a telenovela because I did it when I was in. and I was in, I think it was the something malediction.

29:49I forget what it's called. Mi adorable malediction. Yeah. Mi adorable malediction. That's close. It's more like mi adorable malediction. You'll get it. Oh, Eduardo. Okay. You'll get it later. You'll get it. Yeah, I know. He just needs a little more time under my tutelage. Wow. Yeah. I'll teach how to do it in a Boston accent. But no, they wrote a part for me and they were really funny. They wrote a part for me as a cheese merchant. and they gave me a mustache, and I come in, and I have this scene where I'm getting very angry, and it's this, one of the most beautiful women I've seen in my life.

30:29The women in these, the men are so good looking. This woman took my breath away. She was so beautiful, and you can see the clip online, and she, there's a point where I'm getting very angry with her, and I'm, it's all in Spanish, and I'm yelling at her in Spanish, you do not treat me this way, I will not be, and she puts her hand out, and she touches me, and I guess they have a name for it in telenovelas, which is the Thunderbolt or something where a woman touches a man and suddenly they have that moment of connection. And it's such a soap opera thing. It is. But I'm yelling at her and she touches me.

30:57And I look at her and they cut to her. And she suddenly feels this emotion, which by the way, she would never feel in real life. And the crowd went crazy. They go crazy. And it's one of my favorite moments from my career. And I love to show it to people I talk to. I'm constantly calling it up on my phone and saying, check this out. And my wife is like, you're not making them watch your telenovela. I'm like, this is Pedro. And this is Jose. And I'm just showing it to them. And they always, but I, it's so funny because. It all depends on the perspective, right? I'm trying to disappear everything that's out there from the work I did in telenovelas.

31:36Nah. You're a kid. You were a young man. I was 19. I was still doing telenovelas. and there was a few no there's a few that I'm more proud of than the others but it is a big thing and it was one I grew up in theater where they would judge you if you were going to work on a telenovela but the point came where every actor had to be in both things you know to survive you know theater wouldn't be enough to pay your rent and actors would be doing telenovelas and theater at night. And it was quite a thing. And you can tell what happens with the popularity in telenovelas. You are doing one and you're very popular, but another one comes and everyone forgets immediately.

32:29It's that kind of thing. What some people have said too about being in soap operas or telenovelas is that if you're playing the bad guy, people in the supermarket who see you are mad at you. They're like, I don't like what you're doing. And you're like, no, no, no, that is a role that I'm playing. So yes, people take it very seriously, become part of their lives. Obviously, I mean, and things have changed. I think in the 90s and early 2000s, like the TV was always on, you know, in many homes. And you were there, you were part of their everyday's life. You know, it was like telenovelas. there was the ones that were meant to be playing while you were doing something else also you know and and that's why they repeat them over and over the same scene you know because you're not really paying attention sometimes you know but television was really important for audiences not these days now now people are more like into searching for what they want to be consuming you know yes there was a time they they uh it's a great term for it here where people are siloed everyone's in their own little tube watching all the stuff that they just want to see they're not connected to each other yeah the bubble no you live in this you're in your own little bubble and you're watching and all the content is catered just to you if you're online you're seeing everything that you would want to see as opposed to uh when i was growing up uh obviously i'm much older than everybody here but it was tv was there's three four channels and and you had to wait for what was what had good reception because we didn't have cable so sometimes the channel that had something good on you wasn't coming in and then you'd flip the channel and it's a catholic mass you're like oh my god but it looks good it's coming in i guess we'll watch this and hope a gunfight breaks out um never did but but you're right you were forced to be exposed to things like old movies things that you wouldn't watch normally because that was what was on television Yeah.

34:32What's fascinating to me about your career is that you have this very bohemian background, theater, small movies, art house movies. And then you're in what's arguably one of the best of the Star Wars franchise films, Rogue One. And that's got to just change everything. I mean, it's and then it's led to, you know, today you're here because Andor is out with the second season, a show I love, by the way. It's fantastic. And I'm not even a Star Wars person per se, but I love it. I think it's such a great it's a beautifully told story. And so now you find yourself in this world of a huge international audience in and the power of the Star Wars franchise behind you.

35:20It's such a, you weren't setting out, you weren't looking for that. No, not at all. Not at all. And also because it would have been painful. There was no room. You know, I grew up watching these films, but I never thought, I mean, I never saw someone like me there. I never thought it was possible. And I didn't even want to. Like, I was doing theater really happy. When I did It to Momentan Bien, I started traveling with my work. And it was suddenly I realized there was a community that it was really close to me, you know, in the States, for example, when I went the first time to Sundance, I realized there was people that struggled the same way I struggled to work on film.

35:59You know, the Hollywood wasn't a thing like a Hollywood, like Hollywood was just like a. There were different subsets, communities. Yeah, independent cinema, theater, people doing cinema but theater and then cinema again and struggling to get financing for their movies and finally getting it and having very little resources. So I have to, like, with creativity, solve things and all of that. I started finding those connections in the States, in London, in Spain. And suddenly was like, OK, great. I can keep doing what I do. When I was asked to do Rogue One or to go into the process of doing auditions for Rogue One, the director said to me, I want to do a film in this universe that tonally feels very realistic, close to what you guys did in Y Tu Mama También.

36:51And I was like, what?

36:57Are you okay, man? Exactly. Who was saying this specifically? Gareth Edwards, the director who I owe him being here talking about Andor because he had the idea. He shot in Mexico a film. He loved It's a Mama También. And he was crazy enough to think that there was a room for me in that project. I couldn't really believe it I make the joke a lot of times about like I was sitting there going like what does he want from me? Does he want the number of an actor? Or like does he want me to help him with Gael? You know, I don't even speak English, you know? I mean, what is this about? And he was like very honest and saying like and he got an amazing cast of people that were doing the cinema I was doing but in their context, you know?

37:47Felicity, Risa May, Mads Mikkelsen. It was a cast of people that were doing tiny films in their countries and dramas that were all about the storytelling. Anyway, so I went into doing that and I freaked out. I was like, wow, this is amazing because I can still be myself. And I have to thank Lucasfilm and Disney and everyone because they gave us the tools. but then the freedom to, you know? So it felt like I was just on a set of a film that I've been my whole life. I felt the same freedom. I didn't feel like, oh shit, we have to now behave differently because we're doing this gigantic project. Well, I think that also the moral of the story is sometimes a big popular movie can be fantastic.

38:38Yeah. Do you know what I mean? There's a, it, it, it, there can be. And can have integrity. Yes, there can be a reverse snobbery sometimes of, oh, this is a popcorn movie. this is going to be huge. Everyone's going to love it. No. Yes, people are going to love it. A lot of people are going to see it. It's a big franchise. But, and it's now this television series and it is beautifully acted. The story is so well told. And what's so fascinating to me is Cassian, your character, it makes sense to me because of the story, the backstory of Rogue One is he comes from this other place and he doesn't belong.

39:18And so there's something that lines up very neatly with someone coming from, in your case, Mexico. Yes. You know, and you are coming from a different land and trying to struggle to figure out what your place is in it. So it's all, it all makes sense, but it takes someone with vision to see that and go, we gotta get Diego Luna. and 99.9 % of the people in the room would say, what are you talking about? That's exactly what Garrett said. Including me. I don't have mixed it. They did call me because I had worked with you and I said, I think it's a mistake. It's a mistake. It's a very good word. I said, I'm more of a...

39:57Get him a telenovela. I said, I'm more of a Cassian when you think about it. And they did some tests and apparently not good. No, you don't fit in the cockpits also. My head, they had to cut a hole through the spaceship. No, but it is. I did realize on the process of Rogue One and then Andor that it was more my prejudice speaking, you know, because I think Andor is a great example of how things should be done. You know, it's like it is a gigantic project. It has a wonderful and very diverse reach. But the way they did it is the way they do the films I love. You know, we are there because there's a perspective, a point of view, which is the creators, Tony Gilroy, the amazing writer and producer and director that is behind this.

40:58And we're following a leader and a voice. And if you commit to that, then that's integrity. That's where integrity comes from, you know. And then this thing can fly and be huge, you know. And obviously we all get it. I mean, we're part of a community. People really want to see this. People really want this to be good. And they're expecting the best out of you and you have to bring it. But it had that kind of like that sense of like, okay, we're working for a vision, you know, from beginning to end. And I was really pleased. and then many people many people like think your life changes because of being part of a project like that and it's true but not in the way probably that people imagine you know it changes because like I'm a different person I went through a revolution myself with this project I'm part of a community I got to work with people that are as talented as it gets and I got to learn but then you go back to your life and your life is the same.

42:01I go back and I want to do a tiny little film about this particular event or character, and I don't go out there and find money to do it. They go like, oh no, that one, no, not for that one. No, it doesn't change, and in a way, that's refreshing. It is, because you can still be yourself, and you can go through an experience like this and and be transformed in the best possible way. But then also go back to who you were without having to leave something behind or to avoid being back as if it was a bad thing. To me, it's the opposite. Going back is great. I've always found it very, in a way, refreshing that I'll have a moment that's supposedly like a big moment or something in my career and then the next day someone will say, oh, I saw you host the Oscars last night and then you did a really good job.

43:01Oh, you did a good job. But I'll say, thank you very much. And they'll say, and you can't park there. Exactly. And I go, oh, oh, I'm sorry. And you're like, oh, good. It's gravity. Gravity is always acting on you.

43:25Well, I want to cede the floor to Matt for a second because Matt is a huge... He's falling asleep. No, no, no. He's very close as well. I'm just so relaxed listening to you guys talk. I'm serious. I could listen all day. I don't know that you should see it to me. But I just, it's only fair and right because Star Wars and all of it means so much to you. And this is, I know that you have raved about, I mean, when you saw Rogue One, just you thought that, oh, they've really, they've really it's they've made a beautiful beautiful movie um and particularly and or and rogue one and what you and tony gilroy and all the other actors are doing it's so damn enjoyable and so good i mean it's just that's all i have to say no but i mean you were you were you were in a very happy place today uh because uh diego was coming in and i know what what i've noticed about Andor is that I don't, again, there are some shows that are part of a big franchise that kind of demand, you know, X, Y, and Z.

44:27And I remember going to see when I was a kid, my brother Luke and I went to see the movie Dune with Kyle MacLachlan in whatever it was, 1980 or something at the Hearthstone Plaza Theater, which isn't even a theater anymore. I think it's a pot dispensary because everything that I grew up with is now a pot dispensary. except the pot dispensary is now an ATM. But I remember we got there and they handed you a little booklet that you had to read before you could watch the movie that explained, okay, this is this. And I thought, what the fuck is this? I think that's just because what David Lynch did to that story.

45:02Yeah, yeah. God bless his soul. But anyway. I like him. Don't get me wrong. Yeah, yeah. It's just insane. You and your anti-David Lynch propaganda. I won't have it. But what I love about Andor is you can know absolutely nothing and it's just great storytelling really great storytelling and terrific acting and then um and you get to sit in a tie fighter what's that like oh yeah yeah we got to that you be quiet the tie fighter yeah it's a it's a special prototype right that i'm i'm it was it was fascinating because things actually work and you guys can go we got this no i want to hear so when you say things actually work what do you mean you you turn on the uh a button and a light comes on uh the the screens are showing you you know information you can relate and communicate you know with with the object i didn't know that it's it's we and and i don't know i mean i'm not sure how they do every every star wars show but uh ours is very mechanical it's very much like a homage to the filmmaking that started the whole thing.

46:17You can feel it. You know, and so we are interacting with props, with real pieces of, yeah, of the stage is real, is built. You have to wait till it's built. You have to use it and then they bring it down. You know, there's a whole process and there's a whole design behind things. Things don't get decided later. They don't tell you like, just turn buttons and pretend you're flying and then we'll figure it out. No, there's a reason. There's things on the right, things on the left. If you move these forward, it has to be like this. And also, there's someone behind the design. So there's someone defending the design and telling you and walking you through what you are about to use.

47:00Therefore, it's like actually happening. And you're in a platform that actually moves. So you turn right and the thing moves right, left, down, up. You know, if you're hit, it shakes. Are they ever like your father where you're just like, oh, he's messing up my designer? Many times. I'm sure that happened many times. And sometimes you have screens in front of you. So you are looking at what's going to be there, you know, somehow. So the putting together of the show takes a long time because there's a lot of work behind everything. And that, again, is because it has to do with the vision. The way Tony writes is very special.

47:43You'll be interested in this. He doesn't write a scene where they go like, okay, they're doing a podcast in a studio. And he sits down with the set designer and says, okay, how big is the studio? Okay, and they design a studio and a piece of paper. And they go like, okay, they'll have a table with four microphones. Over there is going to be the computer. There's three seats there. So when he's writing the scene, he's describing a space that already exists and that is being designed for this. Therefore, everything has a reason. Everything has a purpose. And things are already designed when he's writing.

48:18And he's the master, I believe, of collaboration because somehow in that moment, it's not just his material. It's also the production designer's material because his vision is already in the page. you know uh so when you get to the place and you read a line and a direction it makes sense you go like oh okay i get it now i get it but it informs it informs it's a collaboration between because you're acting then is it's a collaboration between all this work that's happened before you even show up to set definitely and um you know one of the things that uh always because i'm old enough to will remember what it used to be.

48:56Science fiction used to be shiny and clean, meaning spaceships always were kind of shiny and Buck Rogers, everything. And people wore these immaculate spacesuits. And that was what we knew as science fiction. And if you watch 2001, that's how it is. And then I want to say Blade Runner was kind of a revelation because as we all know in real life, cars are rusty or dirty or banged up or dented. And then in Star Wars, you saw that things are kind of retrofitted they're kind of holding it together with tape yeah you know the millennium falcons got some problems uh some of the the the robots or the droids are kind of dirty they've been banged around a little bit and i remember that being a real revelation and what you really see in in andor and in rogue one two is is also just this idea that stuff these are machines that get used they have to be fixed they have to be repaired people are there's dirt everywhere things get fucked up and that informs the story a lot do you know what i mean like clearly it's it's and it's it makes it to me more real it makes it very real and it's different than the science fiction i grew up with it's just so tactile the world that you guys have created and you know you just feel like all exists for real how much of it is on location or at least exterior right because the wind's blowing and it doesn't feel like a studio it's all cleveland all of it and and you don't have to do anything to Cleveland it just looks like a you know the first season we had in mind was uh it was going to be a shoot that we were going to travel uh around the world hoping to to be in amazing locations and and again uh be a homage to filmmaking you know allow the accident of the real location to come part to be part of of the result you know and the creative process us to be influenced by what happens when you're out there and you can't control everything.

50:50But then the COVID came and we had to adjust. And we did a very, a show that happened mostly on studio because we had to be there, you know, and we started building things in the studio and they built Ferex completely, like the whole town. And it's a town like you can get lost in Ferex. I mean, Adria talks about getting lost in Ferrix and it did happen. Like you can, it's so wonderful. And, but it's, again, it's a design that Luke Hall did next to Tony. And Tony understood the logic of that city perfectly and then started writing for the city. And the city gave you everything, gave you alleys, big streets, stores, food, you know, the restaurants, the hotel, the place where you would need to hide or do exist.

51:45And they're the size for you to actually play that scene there. You don't have to like, you know, you can shoot in order and allow things to actually happen. That's how we did the first season. Then we went to Scotland for a bit when we were allowed to travel and to the mountains. And it was beautiful. And again, you can't control everything. There is a scene where we are supposed to be in the top of the mountain and seeing where we're going to hit the next day to do the big robbery, you know. And we get to the mountain. There's just a, you can get in cars to one point and then we had to walk and we get with all the equipment to the top of the mountain and there's a huge cloud not moving.

52:28Oh, no. And we go like, oh, God. And it signifies those sins, you know. You have a scene with Nemec talking about how much fear he has for what's coming. And it adds because, yes, I'm scared too. We can't even see where we're going. This is crazy, you know? But the scene just becomes that scene we did because of the place. There's no telling the cloud, hey, this is Lucas. Lucasfilm, I mean, come on. Move along, cloud. Yeah, exactly. Kathleen Kennedy sent a note. No, it's not. And the beauty of this is that it brings all the attention to where it has to be. everyone is you know like focus on okay how do we tell the story how do we tell the story because also we know the story but by that point there is no there is a secrecy you know out of the bubble but for us we are all very much invested in the same story that tony gilroy wants to tell you know that's great i'm just sad this is the last season well sad but relieved no yes also because It's hard to, no, no, but not in terms of like, oh, I want to be at home.

53:39No, it's just like, it's not easy to get something right. So when it happens, it's nice that you keep it that big. Let me put it this way. I think TV has brought great things, you know? It's a great place for young talents to find their voices. It's wonderful. It's taking all the risks cinema stopped taking, you know, which is great. but there's one thing I don't like which is things start without knowing where they're gonna end everyone's talking about the next season and probably there's another one and there's an anxiety of like how much more can we achieve and it's nice to start something knowing where it ends therefore you throw everything in you put everything there and if you succeed you celebrate and if you don't you learn and you try again but knowing the ending of the story allowed us to work this tough and in detail in all those layers that you can bring in.

54:44But I remember we sat down in the first season, half the way of the shoot in Scotland, Tony and I, and he was like, we can't do five seasons of this. It takes two years and a half of our lives. I'm going to be 60 years old pretending I'm the guy I was. You know, in 2016, impossible. So how do we do this? And he came up with the idea of doing these four blocks because our goal was, let's tell the story of the five years before Rogue One and then finish this story the moment Rogue One starts, right? That was the goal. So he came up with this idea of like in the second season, move through four years of the life of these characters and get to the point that we promised at the beginning.

55:33And that was such a relief because then suddenly we understood that it was possible that we had to aim for another three and a half years of work, but we were going to make it, you know. Which is great because that's what Rogue One does is it goes right up to the end before Star Wars too. So they all just connect so seamlessly. Rogue One is a prequel Then we did a prequel So this is the prequel of the prequel A repeatquel Exactly We got very technical Everyone's like I do think And I appreciate that little tangent Yeah no it wasn't little at all And you're fired You're fired You'll now work with You'll go with Diego Really?

56:18Yeah, you live with him now. Okay. I do think people talk - I don't eat a lot. It's just work, you live with him. People, I like that Diego has no say in it either. Conan said so. And then there's bunk beds. You're in Mexico City in bunk beds. Oh, good night, Matthew. Just one more thing about Casanova. Go to sleep. You know, it does, people talk about this a lot, And it can almost sound like a cliche, but it's so powerful that when you said you didn't see yourself in any of the Star Wars, in the Star Wars world when you were growing up, and it seemed like an impossibility to you that someone like you coming from where, you know, from Mexico City could be in that world.

57:08think of how powerful that is to millions of kids who are seeing you in this franchise. And what's fascinating is that it has your role has absolutely nothing to do with the fact that you grew up in Mexico. You know what I mean? It has nothing to do with that. You're just a great actor. The more that happens in different cultures, I can't prove it, but I feel like it's the it's the answer to a lot of our problems. I agree with you. I think it's, if I think about the reference, I grew up, you know, watching, following and hoping one day I could like be like them compared to the ones that are, my kids are growing up with.

57:51Yeah. It feels, it feels much diverse, interesting, rich today, you know, and things are changing and getting there. And I always, like, I always want to bring it back to where I think everything started happening, which is because of the audience. It's because the audience started to have a voice, you know. And now all these tools that we have, they're terrible and dangerous in many ways, but they are also very useful. And one very useful thing they do is that you can send messages. You know, you click or you buy a ticket and you're sending a message. And the industry has to listen because they want you to keep clicking, you know.

58:35And if you ignore, if you decide not to click, not to buy the ticket, you're also sending a message. So it's audiences who are somehow reshaping what the industry is talking about, what voices are there, what stories get to be made. It's still a process. We're not there yet. But the idea, I grew up like watching those films where every decision in the movie business was made behind the desk and someone was like, this is what they want to see. Big cigar. You know, big cigar. Here's what we're going to do, see? Exactly. You got it right. And today is not like that. Today is people at home, you know, clicking or not clicking, paying attention or not paying attention.

59:13so if we as audience act with responsibility the responsibility that this you know tool brings or gives you uh we we are we are having something to say on this industry that somehow for a long time it didn't seem to talk to us you know and now it is so i think it's i think it's cool i think i'm part of something big you know i see many people coming from where i come from having an opportunity. You were just talking about how cool it was to travel with Javier in Spain. I mean, it is happening. It is happening somehow. And again, I think we can be really proud because it's a moment where you can be yourself.

59:59I grew up with people telling me, are you going to work on your accent? Are you going to clean your accent? And I was like, clean your well, I mean, why do you think it's dirty? What's wrong with my accent. My accent is mine. It might not be yours, but when I was 20, that was the thing. It's like, okay, you're doing great. What if you start working on your accent and you start sounding like these other people and you can start doing what they can do? And today is a moment where that is changing, I think. I mean, I'm here because I bring what I am, you know? And that's what got me here. I might not be there and not there, but I'm here because of this.

1:00:37You're exactly where you're supposed to be and where you should be, yeah. And that's kind of like a cool idea and message. And also things are happening where sometimes you can do something in another context that not even thinking of traveling and that can resonate with someone here or in Europe or in Japan or whatever. And so there's also like a respect and a search for a specificity that today is really cool in the movie making. Well, I'm very proud to call you a friend. I'm honored. It was one of the great honors of my life that you came on my show in Mexico City and blessed our kooky project there.

1:01:20Just delighted, delighted to have you here. And I love what you represent. You're an artist and you're a really good guy. And just a pleasure, absolute pleasure to have you here. Oh, thank you so much. And so please come back and let's have an adventure together. I'll take you to Scotland. Scotland. So much water. It's incredible. That is not what the tourist bureau says. Scotland. So much water. But also I think. It's so green, man. It is beautiful. And also I accept your invitation to return to Mexico City. You should. And appear on a telenovela with you and live with you. I think that was mentioned at some point.

1:01:59That was mentioned. I get to live with you. No, no. I'm living with you. Triple bunk bed. Yeah, triple bunk bed. You can come too. I'm out. You're going to ask a lot. You're going to wake us up at night to ask him questions about Andor. And that bullshit is not happening. And I'm going to wake you up to correct you on your accent. Yes, please. In Spanish. Very, very important. No, thank you so much. Yeah, yeah. This was so much fun. It's cool. And come back soon, Diego. I will. And thank you for everything. Seriously. Great to have you here. Oh, man. Thank you. Thank you all. Conan O 'Brien Needs a Friend.

1:02:31With Conan O 'Brien, Sonam Avsessian, and Matt Gorley. Produced by me, Matt Gourley Executive produced by Adam Sachs, Jeff Ross, and Nick Liao Theme song by The White Stripes Incidental music by Jimmy Vivino Take it away, Jimmy

1:02:50Our supervising producer is Aaron Blair And our associate talent producer is Jennifer Samples Engineering and mixing by Eduardo Perez and Brendan Burns Additional production support by Mars Melnick Talent booking by Paula Davis, Gina Batista, and Britt Kahn You can rate and review this show on Apple Podcasts, and you might find your review read on a future episode. Got a question for Conan? Call the Team Coco hotline at 669-587-2847 and leave a message. It too could be featured on a future episode. You can also get three free months of SiriusXM when you sign up at SiriusXM.com slash Conan. And if you haven't already, please subscribe to Conan O 'Brien Needs a Friend wherever fine podcasts are downloaded.

1:03:34Thank you.