"Carey Mulligan"

27:29We didn't, but I wrote in my diary that he was the nicest, the kindest person I'd ever met, and I gave him 9.5 out of 10. Wow, what a score. I know. But I said also... What score would you give him today? He's, do you know what, he's getting up there, I'd give him a solid 6. But he's... But he, yeah, and I also wrote in my diary that he definitely wasn't boyfriend material. I mean, not that I'd ever had a boyfriend at that time, but I decided that he was not it. That's so crazy that you knew each other as kids and now you're married. And you stayed pen pals for a while? We were pen pals for a couple of years and we lost touch.

28:09Then the internet happened and we, God, the internet happened. And we started, we were both on Facebook for like six months and we both left so we touched base there briefly and then we met again, yeah, when I was like 24. And at that point you guys were like, this is, I mean, we keep running into each other. We are destined to be together. Probably we should get married, yeah. We should probably get married. Did you guys ever have any conversations about how crazy is it that we both ended up doing public jobs and finding a really incredible level of success? Well, what's weird is that we also, not long after we met again as adults, we both worked on the Coen Brothers movie Inside Llewyn Davis and both independently were hired.

28:53Oh, hello, roomie. Sorry, someone's just come in. Just want to say hi. Should we hold? Hi. Is it a roommate? Say hi. Hi, I can't eat this. Oh, my God. Hi, guys. Hey, roommate. Hi. Listener, we live together. We have yesterday's guest sitting right next to today's guest. No, Emma Stone. Emma Stone. Emma, how are you feeling? I'm getting better. Okay, good. Gary's very sweet to let me be so close to her when she knows I'm sick. So we are across the hole from each other. Oh, that's hysterical. Emma, did you get the chicken noodle soup? I got the chicken noodle soup, Sean. I didn't know how to reach out to you.

29:29You don't have to. We're doing it now. Wait, I have to show you a picture of it as it came up through the room. One second. Sorry, I'm not, I promise. I'm going away. She was sick, so I sent her over some chicken noodle soup. I knew you would. When you said that you were going to, I knew you would. That's so nice. You didn't say it. I don't know if you can do this. Interesting. This is how it arrived. Oh, God. It was all over the place. I just threw it in a... It was... Oh, no. And it showed up like this. What? Oh, there's a note. Oh, that is so sweet. It looks like a bowl of sick. Yeah, it does look like a bowl of sick.

30:00It looks like it was somebody barfed in a bowl. I'm glad you didn't put our names on it, Sean. Where was it from, Sean? Oh, they're saying it looks like you barfed in a bowl. It's like I barfed in a bowl, but I loved it. Thank you, Sean. Sean, was it just from room service? Yeah. I think so, yeah. Check your bill, because he might have just put it on your bill.

30:20Okay, bye, guys. Bye. I'll be back in 20 minutes. Okay, I'll see you in a minute. I'll see you in a minute. Bye, bye, bye, bye, bye. That's so crazy. She's my new nanny. She's nannying for me now. We just talked to her two days ago. I know, I know. Yeah, that's wild. I was like, I'm nervous. You're not nervous anymore. No, I'm fine now. You know what? I wanted to know, because we haven't done this part of the interview process yet. How did, we talked about you doing, you know, Pride and Prejudice and doing all these things. But what was the thing that, how did you start? What was your thing where you went like, oh, this is what I want to do?

30:54Do you know what's so funny? I said this to Kevin Bacon the other night. I was in, I was at this like tastemaker-y, you know. Yeah, sure. In New York for Maestro, and he came with his lovely wife, and they came over to say that they liked the film, and I said, you know, you're literally, it was seeing you do this one-man show in New York that was the trip. So when I was about 14, I went to New York with my mum to go and see, we saw Cabaret, and we saw a play that he was in where it was a one-man show, and it was at the Walter Kerr Theatre and I watched it and I thought that's it, that's like this is like a magic trick that he's doing this play for however long 90 minutes or just completely on his own and that cabaret as well, that trip that was when I thought right this is the thing and I got to tell him which is so cool and then when I went back to New York and did The Seagull when I was about 22 it was at the Walter Kerr and there's this amazing line in The Seagull where Nina, in the second act, she's talking to this writer.

31:55She's a budding actress and she meets this famous writer. It was played by Tuatla Jafor in London and Peter Sarsgaard in New York. And they have this conversation and she's just sort of completely overawed by what a genius he is and how he creates. And she falls in love with him. And at the end of the scene, he walks off stage and she's on her own and she sort of looks out over the lake, which is the audience, and she says, I'm dreaming. And I could never do it in London. For some reason, I just couldn't. I just always felt like such a knob. and I was just going, I'm dreaming, and then just walk off stage.

32:25And the director was always like, come on. And it was the first night of the Walter Kerr, and I looked out and I thought of this sort of 14-year-old me sitting in the stalls, and I said it, and it was the first time that I sort of really said it. It was just... That's cool. Yeah, it was cool. I love that. That literally just gave me goosebumps. Yeah. Yeah, it's mad. Was it... What was the... That's really cool. Again, in my crappy research, I stumbled upon something and I can't find it now, But what was the show where the curtain came down? And tell me the story. Was this a good theater story?

32:58This is my, well, I was going to say, Sean, this is my good theater story. So I did this one woman show called Girls and Boys in 2018. And I did it in London, the Royal Court. And then I transferred it to this little theater in New York. And in the show, I played this mother, this woman. and at the start of the show, I'm in front of this curtain, and it's a monologue, and then the curtain comes up in a blackout, and suddenly you're in someone's kitchen living room, and I had these scenes with these invisible children. And the play's very funny and then incredibly dark, and it's about 90 minutes where there's blackouts in between scenes, and I just go back and forth in front of this curtain.

33:40And in New York, it was the first preview, and it was about 20 minutes before the end of the play, and it had gotten to the sort of quite serious part. And I did the scene with the kids and then when the blackout was going forward to stand in front of the curtain, and by curtain, you know, we mean like a wooden metal kind of thing that comes down. And something went wrong with the mistiming of the curtain and as I kind of came underneath it, it landed sort of on my head. On your head, the whole curtain, like a pipe. Yeah, well, it just sort of struck me and then I shoved away from it and it carried on going down, you know, because it just comes down like that.

34:17Because that thing doesn't light. That thing weighs a ton. No, no, no. I mean, it's like a sort of wooden structure thing. And it comes down quickly because it was a quick kind of change into the next scene. So my hair was kind of fucked up and I sort of, it was unbelievably painful. But then the lights came up and no one had seen it. So it's not like someone had seen an accident. So I could go like, ow, that hurts. So I just carried on and did the rest with my hair kind of like, what? And then I got to the end of it and, you know, finished the play and walked off stage and just burst into tears and I was hysterical and I was also convinced that I was going to die because I thought, you know, head injuries, concussion, blah.

34:54Went back up to my room and I was, you know, it was this tiny, tiny theatre. It didn't have a proper dressing room. It just had like a curtain, sort of one of those partitions and a bit of a curtain. And I was sobbing on the floor and, you know, various people are trying to calm me down and I was going, oh, really? I think it's really bad. And then someone from the theatre comes in and said, I'm so sorry, Bradley Cooper's just sitting just outside. and Bradley had come to the first preview and was sitting on the sofa outside just waiting. And this was how many years ago? This was 2018. So this was, yeah.

35:24And so, and then I said, oh, bring him in. And he, and he, and he came in and he just got down on the floor and like looked at my eyes and looked at my pupils and was like, right, we're going to the hospital. So we went. Oh, you did? And he took you to the hospital? Yeah, he took me to the hospital. The first time you met Bradley, he took you to the hospital? No, no, no. We had met a bunch of times before. He'd come to see me when I did a play with Bill Nighy because he's good friends with Bill and we have the same publicist. We, like, bumped into each other at stuff. But, yeah. By the way, he's really good at taking people to the hospital.

35:52This is what I hear. I know. I thought I was special. He just took Brooke, you know, to the hospital last week. But I want to say, I don't know about you guys. Carrie, I love when you talk and you're describing anything, you make any, you can describe anything to me. I just want to call you. Can we be friends so that you can just describe? I love friends. I just want you to describe stuff to me. Have you guys not met? No, we met at Bradley's, yeah. But I just love listening to you tell stories. I could just listen to you talk about your day. Can I just quickly tell you, because I said at the beginning what a massive fan I was of both of you and Arrested Development, but Sean...

36:32Uh-oh. Not so much. Sorry, was that not what you were going to say? That's exactly what I was going to say. No, big, big time fan. And when I went to Chile to meet the family. The restaurant? He goes, you go to Chile's once a week, right? Sean, you beat me to it. I went to Chile the country to go meet the family of the woman I play in Maestro in Santiago. And I went there before we started shooting what was meant to be a three-day trip. And I got COVID on my way out. So I was stuck there. So I had to stay another week and a half. And my kids were in New York with my mom. and I was, I mean, really, really horribly, horribly upset.

37:14So I literally couldn't leave my room. So I was in my room in Chile and I watched for the maybe 50th time Will and Grace from the first episode of the first season all the way to the end. Wow, that's sweet. That was what I, yeah. That's very sweet, Carrie. Thank you. Every single episode. Guys, what was your favorite episode? Sorry, Carrie, what is this Will and Grace? Was that a play? Yes, it is. Is it a film? It was a one-woman show. Oh. One man, one woman. Yeah. I love... That's sweet, honey. Thank you so much. Really, I love it so much. It's incredible. It truly is. It's great. No, I'm serious.

37:49I was a big dork fan of yours before I met you. Jason, you came to like two or three shows too. Yeah. Then you came to the very, very last show. You went to the last one. Yeah, Jay was at the very last show. We'll be right back.

38:06And now back to the show. now i'm imagining carrie that with your in your you've a very exciting life with uh all the fancy places you get to go for your work but all the fancy places you get to go for marcus's work too what is the have you did you meet the most impressive person uh in your work or when you were with him for his work like who got you most starstruck because like actors always geek out around musicians and vice versa or athletes. Who's been the coolest person you've met with Marcus? Springsteen was the coolest. By a long way. I mean, not by a long way. I've met lovely people. But Springsteen made me go, and I don't think I could, I couldn't really function.

38:54I just sort of, you know, it just ruins me. Yeah, but going back to the thing I asked you before, were you a fan of Marcus's music or that style or that genre or did he open you up to be like, what did you listen to before or was it the same then and now? No, I was like S Club 7, Backstreet Boys, Westlife. There was a brand of music that they used to call, I went to boarding school and I used to, the girls at school used to, my genre was carry trash because I just listened to pure pop. Wait, Backstreet Boys, was that Justin Timberlake or was that NSYNC? Yeah, that's NSYNC. Backstreet Boys was, yeah.

39:31But when you worked, didn't you work with Justin in Llewellyn? In Inside Llewellyn Davis, yeah, where I worked with Marcus. And that was the thing I was going to say, that if we had not met as adults in Nashville, which is how we did end up meeting, we would have met on that job because we both got hired, you know, independent of one another to do it. Because he did the music and I did the acting thing. Gotcha. So you didn't really listen to Mumford & Sons before you, wow. No, but I saw, so I went to a Laura Marlin gig when I was like 19, a sort of, you know, church in London. and Mumford and Sons were the support act.

40:03It was one of their first ever gigs. And when he came out, I remember thinking, oh, God, I knew a guy called Mumford. I went to camp with him. But he was so tall, and when I met him, he was tiny. And then he started singing, and I said to my best friend, Moff, who's sitting next to me, I went, oh, God, Moff is so shouty. Because it was very shouty back then, and I think he's less shouty now. Oh, my God. It was very shouty. It's so funny. I like that you're like, in my defense, it was very shouty. It was. Carrie, be honest, how many Ace of Bass concerts have you been to? I never watched the concert, but I would have died to.

40:37Okay. Same. I would have gone with you. Yeah. Yeah. What can you tell us about, because, you know, I would imagine you've had some pretty low-hanging fruit thrown your way because you're so successful. Like, hey, why don't you be the star of this crappy film or let's give you all the money to do this. You always pick these incredibly tasteful projects. whether it be the premise of it or the people that are involved with it. Tell us a little bit about what's the most attractive thing about a project for you. Is it the character? Is it the script? Is it the director? How do you go about picking all these great things and never picking any stinkers?

41:18It looks like a lot of discipline. Yeah, I've been really lucky. I think I also, yeah, I don't know. I think largely big-time director, definitely. But within that, just, well, do you know, my agent Tor, who's been my agent for almost 20 years, she's, like, wonderful. And she's sort of family. And when an education happened and, you know, suddenly I was getting offered jobs a bit more, you know, she said, look, you're in this really rare part of an actor's career where you don't have to say yes to everything. and that's a real privilege and whilst you're in that place you really shouldn't take a part unless you can't bear the idea of someone else playing it.

42:07And you've got this capital and it's yours until you waste it. Yeah, and if you can imagine someone else, one of your contemporaries playing the part and thinking like, well, that's okay, you know, go and see it in the cinema with someone else and being all right with it, then she was like, then don't do it. But when you look at stuff, do you think like, oh, this is going to work or do you think, no, I have to do this because it really speaks to me and this is something where I can really, I feel like I can, there's something about it that I feel like I can express myself in a really way or whatever, or do you think about the success of it?

42:38Like, oh, this will be a cool thing and people will think this is cool. Oh, God, no, no, no, no. I mean, I generally have a bit of a kind of, if it doesn't scare me, it's not enormously attractive, which is, you know, they're kind of masochistic. I mean, Girls and Boys, when I did that, the monologue, I couldn't get through the first page of a dress rehearsal until the first preview. I mean, I literally couldn't get on stage. Really? Oh, no. Like, there was something about talking... Well, do you know what else it was? It was that the first sort of 45 minutes of the play was funny and that scared the shit out of me.

43:10Like, when I read it, it made me laugh and the idea of having failed by not making the audience laugh just felt... I mean, I just couldn't... I mean, I could get out there and cry for England but I think comedy is so hard. And the idea of going out and bombing in that way and people not laughing. And also the play required that. It needed the first half to be funny because the second half was just devastating. So I couldn't just make it, it would just be misery porn if it was just, I couldn't do that. Misery porn. But you must feel more confident about your ability to be comedic inside your skill set and your taste.

43:52in other words like you're not trying to be funny doing broad stuff you're you're you're being successfully funny playing characters that are eccentric or broken or or flawed or like a promising young woman I mean that's a that's a dark comedy that you know you it just seemed you were very confident with your dark comedic sensibilities I think I think with the theater thing it was that like I just needed to figure out who I was talking to you know there was a part me that thought what is that you know is this a convention for grief or what you know i just couldn't figure out who the audience was because i didn't have that other actor on stage with me to to tell the you know to communicate with so i was like the biggest block was like who are these people that i'm telling this thing to and then when i kind of figured that out and you know what else i took my shoes off and suddenly when i was barefoot i could do it it was the weirdest thing really relaxing yeah i just the whole it was just grounded and i was like oh okay so now now it makes and then it became my favorite thing i've ever done on stage and i absolutely loved it and i sort of mourned it for a long time weren't you weren't you blown away by the first play you did and then subsequently everything else weren't you blown away by the endurance that you have to figure out in order to do especially a one-woman show where it's just you and the energy that you have to find every single day of your life to do that at that time it's mad it's mad and it just gets impossible with kids because So you found yourself barefoot and pregnant Yeah, well I was pregnant on Broadway when I did Skylight with Bill and like almost seven months pregnant by the time I finished it and I've never been so and it was so funny because the baby would sort of respond to the applause you know I thought this was really setting us up for a problem but yeah You know you speak of what for you now now that you've, I mean, you've got three kids.

45:49Um, you've got, as Jason said at the start, you've got all this, you know, all the acclaim and respect that you could, you could ever want doing what we do. What for you is, is what does success mean to you now? Like, what is, what would you go like at the end of a day or a week or a month? Do you say like, yeah, you feel like great because you've had all this stuff and you've had all the things. Like, what, what do you look for now? What are the things that are, what are the mountains that you want to climb sort of personally as a person? I don't know. I mean, I feel increasingly just sort of unbelievably lucky we've got three healthy kids and we both get to do jobs that we really love, you know, and that's so, I think that gives you a lot, you know, that makes, that takes away a lot of kind of regular life stress.

46:37You know, so many people have to work on jobs they hate and, you know, and so many people, you know you just see more and more of your friends and people around you you know sort of hearing stories of people's health issues or kids that have not you know and it's just gosh you think constantly like wow we've managed to really swerve that stuff so far touch wood all that like you know thank you lord but it's it just feels like that is in a happy you know healthy home life and also like a the ability to work and you know whatever scale that is whether it's giant films or whether it's theater or whether it's just you know but to be able to to work and actually go and earn money doing something that you really really love it doesn't really need there doesn't need to be any kind of trajectory for me it's just you know that hopefully next year i'll get to make another film at some point that's good with all of us your chances are good chances are pretty good on that um how had you worked with a with a director that was also acting in the scene with you before Maestro?

47:37No. How did you enjoy that or not? And what was Bradley's style with that? Would he direct you during a take or would he wait until the end of it and be a director as opposed to giving you direction in character? I loved it. I loved it. He would do it. Well, he wouldn't do it like, well, he was basically Lenny from the minute you walked on set. So, you know, he was in his, you know, whole thing, dialogue his dialect he was chain smoking by the camera directing everyone wow just something just such my sister knows um he plays leonard bernstein bernstein bernstein bernstein bernstein yeah i kept getting it wrong and bradley was so annoyed with me and you play leonard's wife yeah and i play as well um yeah i loved it it was it was you know because he would direct me not through sort of giving me verbal directions as in do this do that he would he would sort of mold the scene or play his role in a way that would affect mine.

48:33So it would be more in the way that he would play Lenny that would affect my Felicia than actually sort of... But he also gave me like note notes. But a lot of it was sort of, I'd find us taking it in a certain direction because he had kind of pushed it that way through playing his role the way it was. Did any part of that seem interesting or attractive to you to do one day? Big no. No? No. No. Really? Just can't figure out how he does it. I can't figure out how anyone does it. I think it's, I mean, I don't know how you do it. It's just, yeah. But you've been on so many great sets with so many incredible directors.

49:08Like, I mean, I just, I don't know if I'd be able to say a word if I was performing for the Coen brothers. Them alone would be, or Steve McQueen, or, I mean, these directors, you could cherry pick from so many great ones and probably do an incredible job as a director if you wanted to. I just don't, yeah, I don't have the heart for it. I think you have to love it so much because it's such an incredible amount of work. I think you have to absolutely love it to be able to do it. And I just don't have it. I just sort of feel like such a jobbing actor. You know, I just want to be surprised by something.

49:45So while you're here doing press for the movie... While we've got you, yeah. Yeah. While we've got you, what are you going to do? Do you have time to go hang out while you're in L.A. or do fun things? or is it all working? Oh, this is a trap. Carrie, tell me you're busy. You're busy, you're busy, you're busy. You're busy. Just wall-the-wall. I'm ready for lunch. Yeah, yeah, yeah. Go for a hike. Like an early breakfast tomorrow. No, do you know, it's actually, it's quite nice. Like today, I'm having lunch with, so I'm doing this thing tonight for, can I plug my charity? Yes, please. Oh, yeah. Is this Alzheimer's or the war kits?

50:20No, this is War Child. Yeah, War Child. So this is not my charity. I didn't found this charity, but I'm an ambassador for this charity. So tonight there's a dinner, like a variety dinner, and they're kind of giving people, you know, prizes for whatever. So I have to make a speech, but we get$10 ,000 for War Child. And War Child UK is a charity that I've worked with for about 10 years that looks after children in conflict zones. So today I'm having lunch with Rob Williams, who's flown in for it. He's the CEO of the charity, and he is my absolute hero. And has been, you know, an NGO worker for 30 years and runs this organisation and travels all over the world doing, you know, amazing work.

50:56I mean, recently got back from Afghanistan where he was literally negotiating with the Taliban about women being able to go to work for war child. Like that has to be negotiated. It's astonishing. Yeah, it's wild. But they, you know, obviously do incredible work and never more needed than now. That's unbelievable. And it's unbelievable that there are people out there doing stuff like that. First of all, that you're involved with it is amazing. And there are people out there doing important stuff. And obviously everybody's got their own thing. Sean was saying the other day he couldn't find parking on Crescent next to the Beverly Hills Hotel.

51:27Yeah. And so he ended up having to use the valet. But everybody's got their things. That's tough. Yeah, that they put up. Is there a website, Sean, that we can make? That you can donate to? Yeah. Yeah, Sean Hayes. That people can click on. And then, Kerry, hang on, we'll get to you. Go ahead, Sean. Yeah. Dot, dot. Go. So, but, no, but, Kerry, is there some sort of a website or if somebody wants to check out what's going on? Yeah, www.warchild.co.uk. And they do amazing... War Child? War Child. War Child.co.uk. Or actually, Children in Conflict is the American wing of the charity. But it's a lot of trauma therapy.

52:08So it's kids who are in the middle of war zones, helping them with art therapy and counseling to help them recover from what they see. Yeah, it's amazing, amazing work. What do you guys do that dumbs it down after you're finished doing your incredible smart work? Oh, lots of television. Lots of telly. Lots of telly. Now, this is reality television or is it like sitcoms? Do you know, I do a bit of reality television, but he is passionate about Below Deck, which is... Oh, I love Below Deck. Which I can't go there, but that's his thing. I go there and then I feel like I need a shower afterwards. Who's Deck?

52:46Oh, Below Deck. Below Deck. Oh, Below. Oh, sorry, B-Low Deck. B-Low Deck. Sometimes Scotty and I play that. Got it. And when do you guys just, you know, change who plays Deck? Yeah, that's it, yeah. So you'll watch some TV. Watch some TV, yeah. Are you guys foodies? Do you like restaurants? Do you go over to friends' houses? We do friends' houses. We do, we live, you know, we do quite, not mega outdoorsy, but quite outdoorsy. Wait, what do you mean, like camping? You guys go camping? Well, no, he goes camping. Really? With the kiddles. I draw the line at camping. Now, what does a camping look like?

53:24Is there like a fancy van that they sleep in or they pitch a tent and do it for real? Tent. Does a tent, yeah. He's a real man. Or like near where you live or like up to the light street? Oh, like outside our house, you know. Oh, in the backyard. Oh, that's right. Never mind. I'd do that. I would do that. You're sending the real man comment? No, no, no, no. A big tent, though. It's a big tent. Oh, it's a large outdoors. Oh, I feel like I need to defend his honor. It's a big tent. Yeah, okay. In a big field, you know. Got it. It's, yeah, legit. Carrie, we are over time. We owe you five minutes of dollars.

53:57That's true. Thanks for saying yes to doing this. Oh, my God. Thanks for having me. I was so excited. Best of luck with all of the chat and giggle sessions you're going to have for Maestro. It's incredible and well worth your talking about it. It's incredible. There's a scene, again, before we let you go, there's a scene when you're folding the tissue paper that for me is just like an absolute, just brought me to my knees. I couldn't believe it. Yeah, so good. So everybody go see Maestro. And also, one more time with the web address for the charity, please. Oh, www.warchild.co.uk. They need you right now.

54:36Yeah, they need you right now. And Sean, the one for the parking spots? So that's just Sean Hayes. Venmo. That's just my home address. Venmo. Sean, go really quick with your mobile number. Yeah, so it's 310. Okay. Carrie, have a great, great day. Say hi to Marcus. Bye, Carrie. Thank you. And speak to you for the reshoots. You know, we're going to do some reshoots on this. Yeah. We'll check your availability. All right. Bye. Thank you. Slam it shut. Oh, do I? Yep. All right. Bye. Jason, what a guest. Yeah. You did it. What a guest you had. Oh, you did it. You've done good, son. She's like one of our great, great actors.

55:15Oh. I was just like, when I heard that Bradley was going to have her in the film, I just like, it made me, you know when people put certain actors in certain projects, it just elevates. Elevates. And it makes, it says to the audience, okay, this is what the film is, and this is what the film isn't as well, right? It just kind of gives it this wash, this patina of like, oh, we're in good hands here. She's that when it comes to casting. Will, you got a movie that you're going to be doing with Bradley? when you were telling me about going through some casting and it really does make a difference.

55:50Yeah, it's exciting. It's exciting. And she carries one of those people who does, like you say, kind of raises it and then over delivers. And I shouldn't say over delivers because it sounds negative, but she's so breathtaking. She comes to my house and delivers stuff and she always brings extra stuff. She brings too much. Yeah, it's just like she... How about that she and Marcus met, they were pen pals. Yeah, that's wild. Friends in camp. They were friends in camp pen pals. I mean, that's... Yeah. I wrote a couple good jokes. Go ahead. No, Sean's got a couple good ones from the other day, please.

56:24Hey, do you know what happened to the cow that was lifted into the air by a tornado? No. It was an utter disaster.

56:35Sean, what was the one... I have a belt. Oh, Jay, I have a belt. Will, you killed me the other day about the cataracts? Oh, yeah. Oh, my God. It's not my joke. I heard that somewhere. We can't say it. Well, you can't say it here, but it's a funny one. Sean? My other one was, I have a belt made out of$100 bills. It's a waste of money.

57:00Come on. Oh, I heard a couple of little chuckles. Boy, if you could do one right now, the third one, and that there's a buy in it, that would be really impressive. Okay. All right. So what did the dad buffalo say to the kid buffalo on his first day of school? I don't know. Bye, son! Bye! Bye, son! That's pretty great. Smart. Yes.

57:28Smart. Yes. Smartless is 100 % organic and artisanally handcrafted by Michael Grant Terry, Rob Armjarf, and Bennett Barbaco.

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