"Mark Ruffalo"

28:19You carbonate your own soda. Yeah, I remember that. That was his baby. And he was ready to take off like we see it today. And Coca-Cola and Pepsi and all those brands stopped selling, wouldn't sell him the syrup because it was a home delivery kind of system. And there's an antitrust law against that. They have to sell those syrups to the public. Really? And he was like, this is against the law. and they're like, fuck you, take us to court. And basically once those high-end brands weren't available to people, they just sort of lost its popularity and that crapped up. So we were living in San Diego.

29:04With nothing to do. Yeah. And we moved there the day after I graduated from high school. Wow. And I had no support group there. and I was basically, I mean, I'd been surfing since I started living in Virginia Beach. All I was doing was really surfing and smoking weed. You know, we all know that. Sure. And wrestling, by the way. You were a wrestler. Yeah, I was a wrestler during high school. That's crazy. That's going to get us to Foxcatcher at some point in this interview. If I ever shut up. I love that movie. I love that movie, too. And, you know, someone said, go to Los Angeles. You know, you want to be an actor, go to Los Angeles, go to the Stella Adler Conservatory.

29:49You know, you'll meet people there. I'll take care of you. Where did that acting interest come from? In Wisconsin, was it born? Yeah, man. You know, I was in a Catholic, you know, my family's Catholic. My grandmother was a born-again Christian. And my father was a Baha 'i. So I had like the whole Middle East, you know, a good part of the Middle East living in my home, you know. and they still couldn't get along. And I would, you know, first of all, I'd go to church, and I was like, wow, that guy is, wow, he's captivating. He's captivating as a priest could be. Then I was saved by Jimmy Swaggart at the First Assembly of God, and I was like, whoa, he's got a band.

30:36Yeah. You know, he's sweating. He's like Elvis. so I you know I started I got an idea what it was like to perform and it was weird my grandmother one night I was probably like 8 she everything that happened to me that's like core experiences were my grandmother whether it was my first enema or it was and my last by the way I was just going to say not your last yeah and being saved by Jimmy Swaggart but also letting me stay up at night and watch the movie of the week and that one was Streetcar Named Desire. Oh, wow. And I saw Brando at eight years old and I was like, I didn't know it was Brando.

31:22I don't even know. I was like, Grandma, who is that? She tells me. I was like, what is he doing? She says, he's acting. I'm like, I want to do that. uh-huh just like that she's like let's get finished with this anima first and then let's clean you out first i have just the thing for you we're gonna cure you of that wow wow so then so then that kind of goes on pause uh through uh moving yeah and then uh you're out uh then you move up from san diego to la to pursue that yeah so i'm like dad i kind of want to go to the school and he said uh i was like but it's in la and i you know i've never really been away from home i was 18 and he's like well well you know why not i was like i don't know i'm afraid and he's like well what's the worst that can happen what are you afraid i was like what if i die and he's like well if you die who gives a shit you know you won't even know yeah i mean i'll be sad but i mean you're not gonna know i like your dad yeah and and so i did i did too and i went up there and And, you know, I was taking the train.

32:35I used to. Oh, wow. We didn't have any money at that point. We were just poor as church mice. So I'd bus tables at night. And then the next day, I went to school every other day. So I'd work one day and make just enough money to pay for a round-trip train ticket and buy a burrito that I cut into thirds. Really? A bean and cheese burrito right off Hollywood Boulevard at Dos Burritos. Yeah. That's true. And, yeah. Wow. And that was it. And I just had my mind blown. And I'm like, this is what I'm going to do for the rest of my life. And then from that acting school, was there like a showcase in there where agents came by and you got an agent and then you started getting some auditions and got a couple jobs and just sort of a natural progression?

33:18I was there for seven years. Wow. Without representation. Pony my craft. And bartending at the Chateau Marmont, right? But didn't you drive a motor? You rode a motorcycle everywhere, which is my first thing was when I read you had a motorcycle and you drove it to auditions. I was like, what about your hair? You have to be on camera. It was amazing because there was no helmets back then, which was also deadly. So it's all windblown. My hair was awesome. It was all windblown. It looked like a cross between Sal Mineo and Bozo. Bozo. Yeah, no, it's wild that you drove a motorcycle everywhere. I can't imagine.

33:58I couldn't afford a car. It was like I had a$250 1974 Honda XR250 that I could personally work on when it broke down. And that was the only way I could get around LA. I was living in a closet for$200. My whole nut was about$300 a month. So was there a big job that kind of launched you or was it sort of like a little bit here, a little bit there, and just sort of a slow progression? It was a very slow progression. I mean, there's really no reason that I should have tried as long as I did because that was from 18 to 28. I mean, that is such a long time to stick with. You want to talk about stick with it.

34:46There's so much opportunity in there for you to say fuck it and throw it in and go do anything else. I did. I tried. No, but I mean, yeah. I'm just seeing the similarities between your story and Sean's story. Yeah. I love that. No, I am. No, but because I'm thinking about, like, I think if I'm remembering correctly, you came to L.A. and you smoked a lot of weed and wrestled, and you'd never nut for less than$300 either. If I'm putting all the pieces, if I'm thinking back, if I'm thinking of the right. $300 for a nut? That's why Will was silent for the last two minutes. He's been constructing that joke.

35:28He was just shaping that joke. We love it. It was so well executed, too. Thank you. It was beautiful. I was like, wait, that's not my story. I moved to L.A. and got a sitcom right away. God bless you. I love you for that. Mark, let me ask you this. Because my recollection is, so you're 28. But you, when you came to New York and started doing stuff with Naked Angels with those guys, with Missy and Kenny, is when I first met you when you guys were doing the short plays. Before This Is Our Youth, you guys were doing, and you had done, oh no, right before This Is Our Youth, you had done a movie and you had an, I feel like you had an agent at that point.

36:11Like right before This Is Our Youth. Am I right about that? Yeah, I did. Yeah. I've done a few softcore horror films. No, that's not true. Yeah, it is. I did Mirror, Mirror 2 and Mirror, Mirror 3. Raven Dance and The Voyeur. Wow. I will be looking for that. No, there was something. What was the other movie you did? Fuck, you did like a teen movie or like you did like a ski movie? Am I remembering this right? No, I had a one-day role in There Goes My Baby. I don't know if you remember that. That sounds like a made-up name of a movie. Yeah. I know. And then, you know what, I actually did have a couple pilot shots of pilots that never went.

36:59Oh, with Kenny Marino. Ken Marino. Oh, Ken Marino, yeah. No shit. Yeah, that was like my first job. It was a play, like, Little Ne 'er Do Well, you know. You guys would be great brothers. Did you guys play brothers in that? Yeah, we were brothers. Me, him, and Sean Astin. Nice. Oh, wow. Love Sean. Yeah, killer cast. Love Sean, love Ken Marino. Ken Marino's an all-time great dude. Yeah, we should have got that. We should have, you know, they blew it. Someday someone will show that pilot. Hey, you know, I had an idea. You guys could probably actualize this. Why doesn't someone start a movie station, a streaming station, with all of the fucking failed pilots and television shows?

37:42We saw that for a long time. You'd think that the networks would, you know, just like during the summers, show all the pilots that they didn't pick up just to sort of cross-monetize what they did. And the reason they don't do it is because they don't want one of those pilots to be well-received, and then they look like schmucks for not ordering it. That's the only reason they don't do it. It's the same reason that they hate putting movies in turnaround and letting other studios make the movie on the off chance that another, turnaround for Tracy is that if a studio is developing a movie and then they decide they're not going to make it, they have the potential, another studio, to come in and say, like, hey, we'll pay you for whatever it costs you to develop that script, and we want to make that movie.

38:25They don't like to do it because... They'd rather eat the fee on writing. Well, yeah, because if it goes to another studio and it does really well, then the guy who decided not to make it gets fired, right? Right, yeah. And it happens all the fucking time. But you're right, Mark, That's a great idea. There's so many great pilots out there. There are people who do show them sometimes because what's that great one that Owen Wilson-Jack did, Black? Oh, wow. About the talking motorcycle and Owen Wilson's the voice of the... Have you ever seen this? No. No, I want to. What were they on? It's hilarious.

38:59There's so many. That's how I met Andy and Akiva and Yorm, those guys, Lonely Island. They did a pilot, a Lonely Island pilot, that Phil Lord and Chris Miller produced. Wow. That was all sketches before they got SNL. And somebody showed it to me. I was like, these guys are fucking hilarious. Yeah. And the network, you know, didn't pick it up. And then imagine if you showed that, that whoever that person is, they'd be banned from showbiz forever. Well, they're probably gone already. Yeah, that's true. I mean, they really, like, burned through all those executives. Yeah, turnovers fast there. Yeah.

39:33So, Mark, with those humble beginnings and an extended period of. Incredible. Was there, what about when you. It sucked. Let me just, let's not romanticize. But so then was it difficult at all when you just like hit the massive amount of success that you're in now? Was that also a slow progression as well? Or was there a moment where you got a big fat check or a big fat job and the transition was uncomfortable or difficult for you because of such humble extended beginnings all i know is my big break was a was a play with holly hunter and carol cain and bill paulman um and it was it was the hot thing in los angeles at the time um hot la play you don't hear that often no but it was those people and and you know holly had already won the Academy Award, and, you know, Carol was huge, and Bill was huge.

40:39Where was the play? Amundsen? No, it was at the Met Theater. They had, they started their own theater, and, yeah, it was in the early 90s, and that was my, going to be my big break, and I, of course, was fired four days before we opened. No. and, you know, a stagehand fired me because Beth Henley was the director, but she just couldn't bring herself to fire me, so they basically had a stagehand who told me he was the producer. Fire me. What was your problem? Why did you get fired? I sucked. No. I'll bet not. I mean, why else do you get fired? I'll bet their taste was up their ass. No, you know what?

41:27Honestly, I was probably, what I was told was I was in a different play, which, you know, could possibly definitely be true. That's a director's fault. Yeah. You know, the director's got to get everybody in the same project. Yeah. Thank you, Jason. For sure. That's what I was trying to tell them. It's true. Yep. We'll be right back.

41:49And now, back to the show. By the way, Mark, we could, like, there's so many, I could ask you a thousand, like the normal heart. start with one just get one you know what i mean i thought you want a minute to think about it but this much is true i mean it was mind-blowing you played those two i mean how did you do that what was your approach to this much is true where you played identical twins right yeah yeah it's just incredible i mean i i look at that i was like god the work like how did you even start Where do you start? Well, Derek and I, you know, I... Derek Cianfrance? Yeah, Derek Cianfrance.

42:29Director. Our director and the writer. He adapted it from the book. Genius, genius man. Yeah, he's a genius. You know, I had gotten the book rights, and I immediately wanted him. And, you know, he was, he'd only done his own stuff that he'd ever, you know. and so uh he was taking a meeting out of you know courtesy because we we we love each other and we we keep talking about working each other but we we never were finding anything and so i he's like yeah man you know let's let's meet and we'll go for a walk and we'll talk about it and you know he started with no this isn't for me i you know i don't want to do the cgi kind of thing with this i don't know how to do that and and we walked for like three hours and i just kind of like pitched him you know what i was thinking and seeing and how it related to his his work and at the end of it he's like okay man let's do this and that was like a year or two before we started working on it together a year or two before we ever shot it and um and so was it always going to be hbo it was hbo wasn't it no we took it out we shopped it and everyone's hbo kind of was interested sniffing around but everyone else was like no way this is no no one wants to see someone cut off their arm in the first 10 minutes of a show you know it was wild and uh and fran and francis was like francesca was like who was running the television yeah for chan francesca course he was like wait they're not no one else wants it i'm like no she's like okay we'll do it yeah she's a badass that's so cool yeah that's so cool and uh and we did it and and you know but derrick had the genius idea it's really you know he really approached it as two different films really and he said i want you to go out and gain the weight and we're gonna take uh eight weeks and you're gonna yeah i was like no gym weight gain uh sign me up yeah exactly and that was really like having the space between that and you know usually you do a twin movie and literally you run off you put a mustache on you run back in the same day and you shoot it but i well that's how you did lego masters this year right that's exactly how i do everything glue it I just use clippings from my wig.

45:08And you're so damn good. And I hate you for that. Because I have to take eight weeks to get my shit together. And grow on mustache. Wow. I know. Your performance deserved the nomination. Thank you. Just incredible. And of course, because you're sitting here, and I'm a huge fan of the Marvel stuff, and how did you get the Hulk? When I see what you guys do in the Marvel movies, I'm just like, you know, not having done a ton of movies myself, but enough to know that the schedules are like 15, 16 hours a day. But those I imagine where you shoot like, well, let's shoot like three lines of dialogue today.

45:48That's what it feels like from the outside. Like they have so much time and money. It just must be so cushy. Meanwhile, you spent three hours in the makeup chair before you even do those. Downey says he won't do more than three words a day, I heard. Yeah. Well, he's on a per-word rate. That's what he told me. That's when he's busting his ass. Yeah, that's when he's hurting his harness. Why would I do more than three? Oh, yeah. Actually, Downey could probably do ten pages of dialogue in a day. Oh, yeah. I mean, he speaks quickly. And the guy, I mean, it's just like, I don't understand how he does it.

46:23He's a genius. He's a fucking genius. He's a genius. Yeah. it takes me like a month to learn a line. Truly? And so, oh, God, it takes me forever. It's such a drag. Really? Do you have like a trick? Some people write their lines down that makes them remember it. Others kind of say it into a mirror. Do you have a way? You know, I have this app called Scene Study. Really? Yeah, and I record each line. And then I could pull out my character's line, And it just runs in repetition over and over and over again. And then I just, I'll learn it that way. And what I have to do, it's weird. I have to be walking to learn lines, to really learn them.

47:09That's not weird. And I just repeat them over and over and over a thousand times until I learn it like a song, kind of, you know? No shit. Do you have, my, the way lines go into my head is that I don't decide exactly how I'm going to be saying a line, but I fully sort of understand kind of what I'm saying and why I'm saying it. So there's a little bit of performance that's kind of in there. Like I can't just learn word, word, word, word, word, period. You know, like there needs to be in context or something. So do you marry in a certain amount of performance when you're learning your lines? And if so, are you able to be flexible once you get on the set and now the other actor is doing it differently or the director is asking for a different tone and you're unable to pivot your performance because the learning of the line is married to the performance.

47:58Does that make sense? Yep. I learned early on, you know, this was a technique that was taught to me from my acting teacher who had learned it from someone who learned it from Paul Muni. So this technique goes like way back. And the whole thing was is that you just spit it out and you start really slowly at first. So let's say, you know, to be or not to be or whatever. So you do it to be or not to be very slowly. And you work it up faster and faster and faster to be or not to be, to be or not to be, to be or not to be, to be or not to be. And it's really just to teach your muscles to know it without having to think about it.

48:45So then when you are working, you're super free. and you haven't really, you've learned it in a way that is like, doesn't have any inflection on it, just very flat. Yeah. So that you can be more open to what's coming at you and you don't get stuck in a particular way of saying it, although I do anyway. Isn't it amazing how many different ways are? Right, because the way that you learn it can, if you do it that way, it can sometimes affect the cadence, like quite literally just to get to the mechanics, the actual cadence of how you say it. Yeah. I was talking about this yesterday with an actor whom we all know, and he was saying, we were talking about this, and I said about this weird sort of quasi-improv thing that we were talking about, and I said, I remember there were people that we worked with.

49:31I could count on that person delivering a line. They always delivered it the same way every time, and I knew that they were going to deliver it that way, which freed me up or us up to do whatever the fuck we wanted because they were just like a spine. They would always do it the same way. So then you could just fuck with that. It was so freeing knowing that they were always going to be right on it. So it didn't matter. So I've always felt so free to just fuck around. No curveballs. No. No curveballs. It's what's really beautiful in your work, though, too. It's like, you know, that freedom is...

50:08Is that one of the things that you like about theater, the fact that there is dialogue there that you, once you learn it, you don't have to learn anything yet. Like, there's no new scene tomorrow and another scene the next day. Yeah, but I would say, like, Mark, not to get, I know we spent a lot of time on This Is Our Youth, but I mean, you know, maybe short of Kenny, I don't know if anybody saw it, especially that first run more than me. I fucking, that play has so much dialogue and you specifically have so much dialogue in that play that it's mind-blowing. You guys, it's so crazy. And from previews all the way through the end of the run, your performance changed a lot.

50:50You know, it did. Like, it evolved, and you were giving, like, I mean, you remember. How much dialogue did you have in that fucking play? Oh, so much dialogue. We both, I mean, it was two people literally on stage. Either me and one other person or me and another person. But you all the time. And me just all the time. and big monologues and lots of overlapping. So you had to learn the overlapping. And his writing is so crazy. It's like, yeah, you know what I mean? It's like, I don't know, you know, like... Like that, yeah. It has so many stops and starts and idiosyncratic, you know, dialogue. And for Tracy out there in theater, you cannot change the dialogue at all.

51:40Or you get written up by the stage manager, right? And then equity will find you. You can't change anything. They're like, why did you change where you moved on that line? Right. That was set with a director. I would sync with that. I'm way too loose with the dialogue. The first act, it was two minutes too long. So can we just tighten that up again? Yeah. And you're just like, what are you talking? I don't care. And if you really want to get out of there, it's five minutes too short. Exactly. We just talk faster. No, they never complain about it being too short. Yeah. First of all, have you ever, I read that all your activism and you're using your voice, you have such a massive platform to use your voice and you're not afraid to use your voice.

52:31And I love that about you, your opinions. You just spew them out. This is what I believe. This is what's right from wrong. And I love it. Well, let's not say spew them out. I mean, that makes sense. No, but I mean, it's like intelligently shared. It seems that way. No, no, no, no. I mean, it is. Yeah, Sean's right. It's remarkable, dude. It is incredible. And I love it. And I wish I had the balls you have. But tell me what the Solutions Project is. But wait, before I talk about the Solutions Project, have you ever spoken in front of Congress? um i i've spoken on the hill um with the senate i've testified so this is what i want to ask you what is that like when you're sitting there because at home when i'm watching somebody do that i'm they they all look like bored and you're like scotty who turned on cnbc yeah is it is it effective did you feel like being there was effective you know um so i did that movie dark waters uh which is about forever chemicals for tracy they're the chemicals that come from like teflon that stay in your blood and are linked to seven different cancers and they're in everybody and all over the world and the mother passes it from themselves to the baby through their breast milk and it it gets in your body it accumulates and it never leaves and and it's pervasive so we did a movie called dark waters to tell the story of the lawyer who exposes this it's a true story and um brings all the lawsuits and wins the biggest um tort you know lawsuit in the history of the united states to actually study this stuff so i was asked to go and um and testify uh to the environmental um committee it's when you go there it's half republicans half democrats or The seats are like, it's a gallery kind of thing, and they're all there.

54:25These are House people. I didn't go to the Senate.

54:32And you're testifying, and they're asking you questions, and you're getting peppered a little bit. But on one side, the Democrat side, there was literally, every seat was taken, it was like 40 people. On the Republican side, there's three guys. and when they're done with their questions they get the hell out of there oh he literally it wasn't even a question he was like I know why you're here you hate industry this is all just a ploy for you to make a bunch of money and and attack you know big corporations and the economic good of people and that's all I gotta say and threw the mic down and walked out I yield I yield I'm like you want to get a chance to answer that And believe me, I know how to make a movie that makes a lot of money.

55:21And this is not one of them. Right. Yeah. You know, and there's nothing in here that's erroneous at all. Everything's completely vetted and backed up. I'm sure you've been asked this before, so I apologize for not knowing the answer. But have you ever given any thought to public office? No. No. And because of the pain in the ass of it all? Because of folks that have different ideas about why they're there? Yeah. You know, I was there lobbying against fracking like back in the day. Yeah, I remember that. When it was all just kind of happening. And I was in Harry Reid's office. And basically he didn't come to the meeting, but his chief of staff was there.

56:09and he said, listen, closes the door. He said, listen, here's the deal. This city is overrun with fossil fuel money. We have to spend three quarters of our time on the phone raising money. You're in the wrong place. You need to do this on the regional level, on the state level. That's really where this kind of thing is the only place that this could get done. and i was just like are you kidding disheartening yeah are you joking me and the reason they need the money uh where any politician needs money is to buy 30 second ads right to get re-elected and re-elected which only just puts them in a position of power it's not like it's some extremely lucrative position to be a senator or a representative uh it's you know some of them are there for ideological reasons right uh i would imagine but yeah initially mostly but yeah not not to be overly cynical but it seems like or sounds like a lot of them are there just because they enjoy the position of access and influence and power and getting their ring kissed at parties and stuff like that it's just so heartbreaking it's and it's pretty like you know like we see it's just you know it's not really about policy that's going to help people it just it just gets broken down along sort of these lines and um a lot of them are just ideological and and it's yeah and it's it's like i need to get this money from this person so there's a you know there's a little bit of back and forth you know i'm gonna have to give them a little bit of something and that's really i mean i think that's more true than any of us really want to believe yeah yeah But if you ran, you could start a change.

57:57If a bunch of people like you ran. Well, I guess what I sense from you is that you can really affect change. No, but is that you can affect change outside. Like that there is no change on the inside. And that if you want to make noise or whatever, you have to keep banging the drum from outside. And you do. I mean, we banned fracking here in New York State. And, you know, PFAS is finally, you know, you don't really, I mean, we know, but there's such power in storytelling. And you can really change things with storytelling, especially if you're not, like, nailing, hitting it on the head. You're sort of just telling that story, that human story that we all relate to, you know.

58:41We all relate to other people's stories. and, you know, there's been movies that I, you know, The Kids Are Alright, right in the middle of the dialogue on, you know, same-sex marriage. I mean, that movie opened people up to be like, oh, gay people have it just as bad as we do. Yeah, exactly. Look at Sean's show, Will and Grace, is one of the first shows that, like, Exactly, profound. Oh, my God, I'm in love with these characters that are not heterosexual, so I guess gay people aren't so bad. Sean is making me laugh. That shift, which was the biggest shift, societal shift on an issue, Sean, that you guys, that was the biggest societal shift on an issue with the largest spread of polling than any other.

59:27Yeah. Well, thank you for saying that. And to your point, it's just telling a story. We were just, we weren't batting people over the head about it. It's just like presenting the people and the facts. And this is how normal everybody is, you know? And we just, we just, we just frack a little differently. Yeah. Fucking asshole, that's so good. God damn it. This is big money. How long? That one, once again, just laid in so beautifully. So really quick, before we let you go, Mark, Chateau Marmont, I can't believe you were the bartender at that hotel for 10 years. No, no, you know, no. I was doing pickup work there.

1:00:08I was at another bar called, I was at two bars. I was at the Olive, which was a hot little bar. Yes, I remember that. Yes, I was there. Yes, during that time. And I was at Small's, which is kind of like this punk rock rock and roll bar right where Melrose and Gower met. Wow. And I was doing pickup work at the Chateau, which didn't have a bar yet. So we'd go in and set up a bar for all the events there. Oh, wow, wow, wow. Isn't that wild to be back? Did you ever go back and be like, wow, fuck off? Yeah, man, I'm there and, you know, the young guy comes in at the food. room service and he's kind of looking at me and I go to give him his tip and he's like wow that's a huge tip he's like hey man you made it and then do you say I started right where you are they know he's like you used to work here didn't you and I was like yeah he's like you made it man that's cool I love that Jason and I had lunch there over 20 years ago.

1:01:10He does not remember it. Is that true? Mark, thank you for being here today. Wait, wait, wait. Wait, wait, wait. I wanted to, before you go. Will. I truly don't. I'm looking at you right now going, what the fuck are you talking about? How long have you and Sonny been married now? It's been forever. I don't mean it that way. I mean, it's awesome. It's a long time. We've been together for 27 years. Oh, that's great. That's amazing. Yeah, it's amazing. And you have how many kids? We have three kids. That's incredible. 22, 18, and 16. Can you believe your life? No, man. It's really cool. You know, my biggest concern was would I have a place to live.

1:01:46I mean, you know, that was like, I just want a place to live. Yeah. You know, I just don't want to be in the streets. If I can attain that, that would be great. Yeah, yeah. And now look at us. Oh, dude. It's so cool. And now look at my office. Yeah. Slash bathroom. I'm not working on motorcycles anymore. Well, I tell you what, I tell you what, man. You haven't, honestly, you haven't changed a bit. You're still the nicest, most talented dude. And it couldn't happen. I'm so happy for your life. You've always been such a great dude. You've always had such a great vibe. It makes me happy every time I see you.

1:02:20It's really one of my favorites. Thank you. Mine too. Oh, you guys. I love you. Thank you. I'm so stoked you did this show. Oh, me too. Thank you for having me. Mark, thank you for being here. We appreciate it. And you were on my list for a long time for a reason. And it's so nice to finally meet you. And gosh, because I just think you're great. No, it was great. And you guys are great. and this is such a, it was such a nice time. And Will, I know. It's crazy, right? We came such a long way. And Jason, you've always been so kind to me. And Sean, now we know each other and we'll be able to hug when we see each other.

1:02:54Get together and frack, you know? Yeah. Our frack. Let's take things slow. Dude, I can't wait to see poor things. I'm going to, God, I got to go see it. I'm dying. I got to go see it. It's crazy. I hear it's fantastic. I can't wait. I'm out. let's get that link let's get that link yeah okay let's get it I'm gonna pay for it full price evening price yeah evening price soon it'll be just on the you know the site yeah but I hear I hear it's one you can go ahead and enjoy a big screen let's go see it in the theater this week let's go let's go boys all right smart field trip yeah all right Mark you're the king lots of love thanks for doing this thank you have a great rest of the day great to see you man all the best thank you bye buddy that was amazing bye

1:03:40great guess that guy hits me right in the center of my like target there's just such a good vibe about him those guys always seem so confident what do you mean those guys? I feel like him, Crudup and Rockwell came out of the same peepot and you go that's why they work because they're ultra talented obviously but they also work a lot because you want to hang out like they're easy going. Totally, and he's very, he's just very, I don't know. He's like, he's so authentic. Yeah. And he doesn't have to, he doesn't have to try, and there's no pretense. He's really, that's it. I love that he got stoned a lot.

1:04:25Or did. It makes sense. It relaxes people. Yeah. Well, that's a segue into, are you pushing a new product? Yeah, do you have a new pen or something? Do you have a gummy you want to sell? What's going on? A new pen. no one's calling them vape pens anymore it really relaxes people which reminds me take a deep deep breath this is my favorite though thanks we're good you know what's pretty awesome about what he does for my taste is that he's this incredible actor you never see him acting he's never taking these you know I don't know these obnoxious character swings that some actors absolutely can pull off for sure, but I never get the sense that he feels like he needs to.

1:05:14Like, just kind of just being... Well, he's in the, for me, he's in the John Goodman, I mention this all the time, the category of actors, and it's growing now because we've had a few on him, he's one of those. He's, it doesn't matter what he's in, he is always great, A, right? So you start thinking, like, you think about, like, oh, he mentions kids are all right, and you're like, oh, he's great in that. and you said Foxcatcher, you're like, oh, he's great in that. And they're like, you forget about Spotlight. Oh, he's incredible in that. Really talented filmmakers are attracted to him, yeah. Well, because he's always great.

1:05:45Like, it's his story about Kenny saying to him, like, you're not going to do it, blah, blah, blah. And he goes, oh, you're really good in this. Like, he's just really... Undeniable. That imitation is so funny of Kenny. It's so, so funny. It's so... You know, I like spending these days with you guys. I haven't seen you in a long time. This feels so lazy already. This has been quite a while since we've all been together. You should be banned from doing this for a minute. I wish we could spend more time as the days go. Bye. Officially banned going forward. Bye. Bye. Smart.

1:06:29Smart. Smart. Smartless is 100 % organic and artisanally handcrafted by Bennett Barbaco, Michael Grant-Terry, and Rob Armjarf.

1:06:48Smartless.