Jeff Bridges

28:47How old were you at the time? Maybe 19. And it was all about busing white kids into a black school, which was a pretty interesting subject. So white people could kind of feel what prejudice feels like. That was the idea. And I played the white kid who was trying to integrate, and the black kids kept beating the shit out of me. And there was a scene where I've been trying to do it, and the kids keep beating me up. and the boys vice principal, who was played by Calvin Lockhart, he says, you've got to go back. You've got to keep going on this. And it was a very emotional scene for me. I had just ended a love affair.

29:34Do you remember your first, what that feels like, your heart breaking? It was a terrible feeling. It lasted for years. And I was able to do some thespian judo with that feeling. and take it for this thing. And I kicked ass in the sea. I remember they shot everyone else's. And then they got to my thing. And it made me think, I told you about talking to my dad, saying, I'm not sure if I'm cut out for this. And I said, funny. I said, shit, I think I could do this, man. This is pretty wild. And I got very emotional and cried and all this stuff. Getting an applaud from the crew. That's always hot. and now now we're the premier of the show in Watts I think my dad's on my right Bo's on my left and I'm sitting back here I said okay now wait till you see this fucking scene and here it comes and the way they cut it they cut to my face and I'm like you know you didn't see the build up the audience burst out laughing I think I mother shit a little bit.

30:47You know, I just, you know, it laid a little, I was so, you know, it was just so terrible. Yeah. And that was an interesting lesson. And that was like, so what do you do about that? How do you do? Do you protect yourself? Do you give it up? You know, what do you do? And my choice was, no, you got to give it up and you got to, you can't be worried about it. that's one of the elements of making movies. It's a collage, and the collage ain't up to you. It's up to who's ever cut in the film. Hopefully it's the director. And every once in a while, you had high expectations going in, and now it's even better what they do.

31:27That happens, and sometimes it don't, man. But you can't protect yourself. So how do you control? You can control it in certain ways, but it's self-defeating because it dampens the whole energy of creativity, you know? So that was a big thing for me, that really, about editing, you know? Now I'm getting off track a little bit more, but I'm going to go with the editing aspect. Bo's first movie was with Hal Ashby. Wow. Hal's last movie was my movie. Incredible. Eight Million Ways to Die. Hal was an editor. Think of his films, being there, coming home, last detail, man, these masterpieces. And he worked through improvisation.

32:15It's interesting where the directors come from. You know, some are actors like Sidney Lumet. Some are, you know, writers. Some are editors. So Hal said, just bring it up. Give me all your shit, you know. And then he'd figure out how to make it into something. He would make it into something. That's great. I remember asking him, I said, are we going to have to do much looping, much ADR stuff. And he goes, no. I said, what do you mean? He says, I'm an editor, Jim. I said, what do you mean? He says, man, I get in there with a little razor blade and I can, this is on the old school shit. Yeah. And he, you know, he was a master at this stuff.

32:55I remember him saying the key to editing is just bathing in the film. He would sleep in the editing room, you know, and just look at it over and over and over again. But you think of like that monologue that Jon Voight gives in Coming Home. That's improv, man. And I think I have a feeling that you might work the same way. T-Bone does as well. Creating the space, it's hard for people to understand what that is. But that's my favorite kind of directors. And you guys are directors, too. We have no idea when we're going in what it's going to be. No clue. And there's a lot of different versions of good, you know?

33:36Oh, yeah. And you don't know until you're discovering it. It's a funny talent. When you have a visitor come in and watch you at work, they say, well, he's not doing anything. What is he doing? It's space creation. You know, it's just safety, vibe, playfulness, joy, humor, love. Let it do us. Yeah, watch it unfold. Yeah. It's a great feeling. It's a miracle, man. It is. I mean, you know, my task as a creative person is getting out of the way, right? How do you practice doing that? How do you get in that spot? You know, that's an interesting, you know, practice to mess with. But Hal, so Bo did his first movie, Landlord.

34:17I did his second, Eight, Nine Ways to Die. I think it was Andy Garcia's first film. We had a ball working together. There was a guy, Mark Damon was the producer. And Hal had a bad rep right around that time, you know, doing coke. and it was, you know, I think he had done that stone documentary or something. He just, you know, had a bad reputation. And so the script was just a basic outline. We would never shoot the script. We would just jam on the essence of the scene. And this guy had no faith in Hal's process. I mean, look at the pudding that's coming out of Hal's oven. You know, these are masterpieces.

35:01So he bitched and bitched. I can understand how it would frustrate the financiers to say, that's not the script, man. Where are you going to go with this thing? So he comes in. We've got about two weeks to go. Shoot, he comes in and he says, we're pulling the plug today. This is your last day. Hal says, what are you talking about? We've got major stuff. Hal went into his trailer, burned a dupe, I think, came out and said, all right, we're going to do a phone call. Andy, you're going to have this big, long phone call. You know, he didn't let it crush him. You know, I mean, you know, he didn't say, oh, you know.

35:40No, he solved the problem. Yeah, because that's basically what movies, it's all about. These little, you know, trying to figure out how we navigate these challenges, you know. So there is a challenge. So he came up with this long monologue. And he created the kind of space of such safety and inclusion that I saw Andy doing the scene, and I had an idea about what would make it better for Andy. And I went up to him and I said, hell, what if Andy did this instead of that? And he goes, that's a really good idea. But let Andy cross the bridge. Do his thing first. Let him find that out. My idea came from the idea, we got a time crunch here.

36:21We got a lot of stuff. And he said, we got all the time in the world. You know, God, the vibe he created. So we actually shot the movie with all that hindrance. We shot the movie, Hal and Mine. Then the guy fired Hal, didn't let him edit the film, man, and just cut it against the grain. Unbelievable. And then Hal died. I mean, it broke his heart, man. God. Crazy story. I remember your question was, how has it changed over the years? that kind of has remained the same these stories that you know it's a communal art form you know you're working with other guys that can shut you down and so it's up for grabs you know how it's going to turn out i love this thing this is what keeps me coming back is that when it transcends your high expectations and it does that every once in a while isn't it a great feeling i was going with and god look what happened that is so amazing so that kind of stuff those first editing stories that still happens the good and the bad of that but when you ask me what's changed a great example of that is tron i've had great luck with first-time directors just wonderful you know some of my best movies have been first-time guys but this was steven lisberger who came up with this idea of Tron, you know.

37:51We shot it in black and white, 70 millimeter black and white, all hand-titted by these Korean women. All our costumes were in black and white. We would go into this black and white box, you know, this soundstage. The special effect, everything was black duvety with white adhesive tape. That was our special effects, you know. Then they did it all in post, you know, coloring stuff and made it glow and shit. And then you'd go outside after being in that black and white and color. Oh, my God. Color would hit you like a ton of bricks. So now we're down the second one. I'm scanned. You know, they do a scan so they can jack with me, you know, digitally.

38:39And they did that. And so I was, that's basically what the first movie was all about, getting scanned into a computer. Now it's happening in real time. And so I could be a, play a younger version of myself, but it was kind of primitive. I thought I looked more like Bill Maher than I did myself. You know, it was just, it didn't matter that much. Now the whole AI stuff is so much more advanced. In the sequel to Toronto, we had all these dots on our faces and now they don't do any of that. now it's here. So just that is leaps and bounds, you know, what that AI does. And it's amazing how just the whole AI idea, because in movies, you know, I remember seeing Jurassic Park for the first time.

39:26You see, look what they can do, or, or seeing the Hobbit movies. You look at all the people. And then finally it loses its posh. Manatee. Yeah. Cause it's just, you know, and So still, it's an interesting tool that, you know, you can use, but it loses something. You know, I mean, pretty soon I'll be on a gig, man. I mean, you know what? I'll probably lease my image. You know, say, we want to combo De Niro, Bridges, and let's put some Andy Garcia in there, see what happens, you know. A little more Garcia, a little more, you know. You know, I mean, that's, you know, not too far off. I mean, they can do it already, you know.

40:15l-m-n-t element electrolytes have you ever felt dehydrated after an intense workout or a long day in the sun do you want to maximize your endurance and feel your best add element electrolytes to your daily routine. Perform better and sleep deeper. Improve your cognitive function. Experience an increase in steady energy with fewer headaches and fewer muscle cramps. Element electrolytes. Drink it in the sauna.

40:54Refreshing flavors include grapefruit, citrus, watermelon, and chocolate salt formulated with the perfect balance of sodium potassium and magnesium to keep you hydrated and energized throughout the day these minerals help conduct the electricity that powers your nervous system so you can perform at your very best element electrolytes are sugar-free keto friendly and great tasting. Minerals are the stuff of life. So visit drinklmnt.com slash tetra and stay salty with Element Electrolyte. LMNT.

41:42How did you meet Bernie Glassman? I'm at Ram Dass' birthday party. I make these little ceramic heads, you know. And I do this thing where, you know, I'll make a pod or a vase or something, and then I'll have a hunk of clay left over it. And I'll let my hands make a head out of it. And they're like aspects of myself. This is something I do, and I've got, you know, hundreds of these fuckers. So I went up to Ram Dass and I said, I've always wanted to give you a little head. Happy birthday. You know, I give away. And then we sit down there and there's this kind of tubby Jewish guy over on the left.

42:29He doesn't look like, I said, what is he doing here in this spirit? And he turns out to be the real thing. This guy's a Zen master big time. Yeah. And he says, hey, I really dig Lebowski, man. and Lebowski is just chock full of all these modern-day koans. I said, what are you talking about? He says, well, look who wrote and directed Lebowski, the Koan Brothers. I said, okay, good, very good, okay. He says, the dude abides. That's very Buddhistic right there. I say, yeah. He says, my favorite koan in Big Lebowski is, Well, that's just like your opinion, man. I said, oh, I'm getting it now, you know.

43:17Well, you know where to go on. What's the sound of one hand clapping these questions that really don't have traditional answers to them? I said, give me another one. He says, well, shut the fuck up, Donnie. There's another co-on. So he starts to list these things, and he says, hey, let's write a book. I said, what do you mean? He says, yeah, let's write a book about Lebowski and how it might have some of these ideas, these Buddhist ideas into them. And I'm kind of Buddhistly bent myself. I'm a big fan of Alan Watts. The best. Yeah, he is probably the best. Isn't he so great? I mean, God. He's my wife's favorite, too, because he's got a sense of humor about the whole thing.

44:02He says, yeah, let's do this. I said, well, I've got a ranch up in Montana. Let's go up there for a couple of weeks and just hang. You know how you hit it off with somebody very quickly and you say, wow. And so I hit it off with him just immediately. So we went up there and we just had two weeks of conversation. And then his wife, Eve Marco, edited it. And Bernie was, you know, my dear friend and teacher. And God, what a guy, man. Do you remember when you first read the script for Lebowski? Tell me what you remember. Yeah, I remember bumping into the Coen brothers. Maybe it was at a party or something.

44:49I can't remember. And they said, yeah, who's written something for you? I said, oh, you're kidding. Great. I didn't know they wrote it for you. Yeah, I was a big fan of Blood Simple. And then I read the script and I said, wow, this is not like anything I've ever done before. Why didn't you think of me? You know, it was like something from my past kind of weird vibe. Did you laugh out loud when you read the script? Oh, yeah. Oh, yeah. I mean, I thought it was, I was amazed that when it first came out, it didn't do anything. You know, it was not successful when it came out. It had to get, you know, came back from Europe and it was successful over there and then splashed back here.

45:29How much of what you read in the script is what the movie is, and how much did it evolve through making it? Well, they write so well that it feels like improvisation, but it's not. And Walter John Goodman, we were very precise about where each fuck was, each man was. I love pot. I was a pothead. and I'm not doing it these days, but I didn't smoke any pot on that movie. I really wanted to be as clear and not, you know, what's the acting term? Sense memory. I had done a lot of pot. I knew I could get there without having to smoke it. Now, we would do improvisation. John and I remember doing this to feel the vibe of the scene, and then we would always go back and the script it was almost like you know like music yeah you know you want the right melody you want the notes and each man yeah but you would jam to better get into the script yes right right and oh man it was oh man i wonder you know i was talking about my photography and i made a book for lebowski you know and i look through that book and I get, boom, I get right back to each of those scenes.

46:55You know, the day Turturro comes, you know, he's going to do this one little scene, kissing the ball, you know. Oh, God, he was just so incredible. When you were young, in addition to working with your dad, you got to work with a lot of the great actors. Do you remember any things that they directly told you that were helpful going forward? Well, don't you love it when you've got these heroes of yours, you know, and you put them on a pedestal? And when you meet them, they let you know, I'm just one of you guys. Yeah, they're people. Don't you love that? I just love that, man. So my second film was a movie called The Yin and Yang of Mr.

47:41Go, written by Burgess Meredith. Had he ever directed or written before? Oh, he was, you know, people are most familiar with him playing the Penguin in the original Batman TV series. Yeah. But he was a classical, you know. I just watched him. And then Rocky as well. And Rocky, that's another, yeah. But yeah, he was a wonderful actor. And James Mason was also in that film. And he was, you know, so down to earth. And, you know, Lolita, you know, I just remember, you know, all his great movies. and another story with James just popped into my mind uh working with John Euston and I worked with him as an actor and as a director I was in a movie that he directed called Fat City my big brother Bo did some agenting for me he went up for the part and he was a little too old he's eight years older than me he says but you ought to check out my brother so I went in that You see the casting guy, and they like me.

48:43And then they got a call from my agent that John Huston wanted to meet me. Oh, great. Where? Madrid. Madrid, yeah. So I get on a plane, and where the meeting he wants to be is at the Prado. So I get there, and again, I'm about early 20s, and I'm checking into the hotel, and there's this beautiful girl there. You start to talk and she says, take you out to dinner. Let's go have beautiful food, fish. So I said, well, I got to get home fairly early because I got this interview. So I go out with this beautiful girl and have a wonderful meal. I get home, get into bed, and I wake up with food poisoning.

49:35Man, it's just puking and shitting and just the worst. And I've got to meet John Huston at the Prano. So there I were looking at the Goyas and all of these great painters, Pulaskias and so forth, trying my best not to puke on the paintings. I mean, I'm literally puking in my mouth and swallowing my... Yeah, it's the worst feeling. And John doesn't talk about the movie at all. He's just pointing out art to me. and I'm saying, well, I've lost that part. Oh, God help me. I hope I don't die. I was just feeling just terrible. And I'm in bed and I don't speak Spanish and I can't talk on the phone to the desk and everything.

50:24I said, what am I going to do? And I get a knock on the door and I crawl my hands and knees through the door and open the door. Who's standing there? James Mason. What are you doing on the floor, Griffith? And he saved my life. He, you know, got me, you know, a doctor, got the right shot and stuff. He still cast you for the movie after the food poisoning. I got the part, yeah. I got the part, man.

50:55And it was with Stacey Keats, a wonderful actor. Yeah, great. Susan Terrell and Candy Clark, who I fell in love with. because we became a, you know, we lived together for many years. And John, you know, he was kind of, you know, not feeling well. He was, you know, on oxygen all the time. There was a scene, it was my favorite scene in the movie, where I'm having a dream, and I wake up in the middle of the dream having dreamt that my wife, Candy, was holding the hand of my best friend. And so I said, don't touch me. I'm pissed off. I'm still in the dream, but I'm awake. And there was a certain comedic element to this whole thing.

51:40And my approach was the more serious I could play it, the funnier it would be. And John had some other ideas. I was trying to do it with him. And we saw Dailies the next day and Ray Stark, who the producer was in there. and after the dailies he just walked with me he said what do you think i said no i didn't really like it he goes yeah i know he says but don't worry uh when we truth shooting i'm gonna have you and candy take acting lessons and then we'll come back and reshoot this thing and that kind of hit me weird because i had already been nominated for an academy award yeah yeah but i said okay So that's what happened.

52:27And Jeff Corey was an acting teacher, a pretty tough acting teacher, you know, having to, you know, really get the emotion out of you. I was living with Candy at the time, and we would go like twice a week to this acting teacher, and Candy would say, you know, she had to cry, and she'd say, I don't want to go, Jeff. I don't want to cry. I said, come on, Ken. You know, this is what acting's all about. You got to do the hard. So we'd go and he'd make her cry every time, you know. And now we're going to come back to reshoot the thing. We were instructed by Ray, don't tell anything to John about taking any lessons or anything.

53:11Candy goes to John and says, I'm not supposed to say this, but we've been taking these lessons. And I don't know how to play the part. I don't know how to do it. John said, just do it the way you did it before. Just do it the way he did it before. Right. Knowing full well that it would never be in the movie anyway. Yeah. And we shot the scene and it was, you know, never in the movie. But now years later, I'm doing a movie called Winter Kills and John Huston's playing my father. Directed, again, I mentioned having great luck with first-time directors. This was Bill Richard. the cast of this movie, John Huston, Elizabeth Taylor, Tashiro Mifune, Sterling Hayden, Richard Boone.

54:03It's amazing. And he just, he got this cast together just through his sheer charisma. He was a wonderful guy. John Huston was playing my father. And John, when we were doing Fat City, you know I was always jealous of Stacy because John and Stacy were playing backgammon and so forth and I kind of felt left out and I think you know that was what he wanted to direct me keep me on my heels gonna yeah and then doing this winter kills he not only was very open and gregarious with me but he was also through this first time director he was like showing how an actor should behave to a director. He would say, how was it, Bill?

54:49How was it for you? Should I have any ideas? What do you like me to do differently? Yeah. Amazing. Yeah. So that was a great experience. Wasn't Winter Kills banned or something? Something happened with Winter Kills. Oh, God. Oh, another actor that was in it was who played in Psycho, you know, Anthony Perkins. Yeah. He played the bad guy in it. And this is such a weird, weird story. So Bo had done a movie with Anthony Perkins, a Larry McMurtry story called Love and Molly, directed by Simi Lumet. Tony did acid every day. Yeah. And one of his acting techniques was what drug would be appropriate for this thing?

55:41So we're doing this scene at the climax of the movie where he's kidnapped my girlfriend, and I take his arm, and I have a blackjack in my hand, and I break his arm. I say, tell me where she is. I'm going to break your other arm. Tell me where she is. So he says, for this scene, I think amyl nitrate. so the director goes out and gets a box of amy's and uh you know rolling first time you know are you ready okay action yeah and he's got this long two-page and he hits it and he does it beautifully just does the whole thing now it gets to my side And I said, no, I think I'll do a namey. And I hit that poor guy so fucking hard with that fake blackjack that shut down the day's work.

56:41That's crazy. Oh, God, it was terrible. And I don't know if it was the same day or maybe it was the reshot of that thing. the stage doors, these big doors open to the soundstage, and in come the union guys and shut us down because all the cast and crew wasn't being paid their union dues. And they were all just there because of the love of this guy, Bill Richard had. Yeah. And so they shut us down. Wow. And we had major scenes to shoot. And, you know, it kind of, again, broke all our hearts. And a few weeks later, I did a call from Bill. I said, I got this idea, man. I said, what? He says, what we're going to do, I've written this script.

57:28It's a great script. And you'll be just so perfect in it. We're going to shoot it in Germany. I've got the money. And then that's going to come out. And then we'll get the money to finish Winter Kills. And it's a great scene with Sterling Hayden that you're going to do. And I said, OK. And off we go to Germany, shoot this other movie. And his prophecy proved true. We came in, finished Winter Kills. Amazing. I mean, just all these adventures, you know, crazy. So when Anthony Perkins does the amyl nitrate, you didn't think, this is crazy. You think, good idea, I'll do it too. Oh, well, this is back in the day, man.

58:08You know, I'm much younger and the things like that, you know. I thought of another drug story I might as well tell you. Doing Thunderbolt and Lightfoot with Clint Eastwood. This is, again, another great example of first-time directors. This was Mike Chimino's first-time directing. This is the guy who directed The Deer Hunter and Heaven's Gate and so forth. And Clint is famous for only wanting one or two takes. Really? I didn't know that. Yeah, yeah. and I was the young punk kid who said, you know, I'd go up to Mike, I'd say, I got a 19 in mind. And he said, well, you got to ask the boss, you know.

58:51And he would go over there and talk to Clint, and Clint would say, yeah, give the cat a shot. So I really appreciate that, what Clint did. And then we're doing the scene. You ever see that movie? Not in a long time. But you've seen it at some point. At the end of the movie, Maybe I get kicked in the head by George Kennedy and I'm having a stroke and I die, basically. It's a death scene. I had this idea. I said, get a dentist, get some Novocaine and shoot Novocaine in my mouth and just, you know, go like that. And I'll be the greatest thing, you know. And he said, okay. So we did it. Worked great.

59:33Lost the film. We had to do it all over again and did the same thing again. Lost the film? Yeah, lost the film. Physically lost the film? Just, you know, like, I can't remember. He was either lost or it was no good. We just had to reshoot it again. Now, years later, we're doing Heaven's Gate. He had just won the Academy Award for Deer Hunter. He was the darling of Hollywood. They said, do whatever you want, Mike. He said, well, I've got this epic Western I want to do. But he said, but I don't want any of the suits or any press to come, because it's going to be a challenging thing to do it. And everybody who was in it, I can't remember, I think it was maybe six months shooting.

1:00:16That's where I met T-Bone on here. T-Bone played my maid in the thing. And Willem Dafoe, it was his first movie. He played my two, those were my housekeeping guys. Willem, I think, got fired for laughing inappropriately in a scene, just hanging out when Mike was directing. And it was a very interesting experience because unlike what it was with Thunderbolt and Lightfoot, it was one or two takes, Mike would do 60 takes. Wow. I mean, it was like, let's show up. We'll be in costume. If we get it, we get it. If we don't, we'll just come back and we'll do it again. So they never knew when it counted.

1:00:59And I guess from his point of view, he's looking for that happy accident, you know, that one little thing. but from the acting thing it was kind of tough because you don't know when does it count and it's hard to make it count 60 times yeah yeah and everybody gonna do it together and you know it was you know challenging that way now we're doing this battle scene oh and i supposed to get shot and then i give a big speech and i go up to mike and i say mike you know i'm being shot here and there's a medic there, you know. What if a medic shoots me up with some morphine and then I give my speech? And he goes, yeah, yeah.

1:01:43And I said, but I know he's got some morphine, but before we do it on film, I want to see if I can do that. So how do you feel about him shooting me up with the morphine and then I'll try to do the scene? And he said, you just want to get high on the morphine. I say, yeah, but I think, no, I really think it might be effective, you know, for the movie as well. And so I get the, you know, I get the real doctor there and he shoots me up with morphine and I do this thing and I say, oh, this is great. You know, I can do this. It's a good effect. Yeah. Now we're going to shoot it on film. And now we're doing it with the actor and he's got the, you know, he's talked to the medic and he's going to do it.

1:02:30and we practiced it and shit. And he does it. And it's just terrible, man. It's not morphine. It's some other shit. It's something like methadone. I don't know what he was shooting. These were back in the days when we experimented with drugs, you know.

1:02:51So much of today's life happens on the web. Squarespace is your home base for building your dream presence in an online world. Designing a website is easy using one of Squarespace's best-in-class templates. With the built-in style kit, you can change fonts, imagery, margins, and menus, so your design will be perfectly tailored to your needs. Discover unbreakable creativity with Fluid Engine, a highly intuitive drag-and-drop editor. No coding or technical experience is required. Understand your site's performance with in-depth website analytics tools. Squarespace has everything you need to succeed online.

1:03:39Create a blog. Monetize a newsletter. Make a marketing portfolio. Launch an online store. The Squarespace app helps you run your business from anywhere. track inventory and connect with customers while you're on the go whether you're just starting out or already managing a successful brand squarespace makes it easy to create and customize a beautiful website visit squarespace.com slash tetra and get started today

1:04:19I remember reading a story you told about if it's in church, you're not in the service. Oh, yeah. Tell me about that. Uh-huh. 19 years old, you know, really ripe for Vietnam. And I followed my brother's footsteps. He enlisted in the Coast Guard Reserve. And in the Coast Guard Reserve, you go to, you know, regular old boot camp. boot camp is 10 weeks. Wow. I can remember going there in your civilian clothes on a bus, arriving there. They all get lined up. And the guy who is in charge of us, he's walking up and down the lines questioning us, you know, what's your name? He goes up to one kid saying, what's your name?

1:05:11My name is Joe Samuel, sir. Quit moving your fucking head. Why are you moving your head like that? I don't know, sir. Don't fucking move your head. Yes, sir. Now there's a guy in the line behind him who starts to laugh, you know, like this. And the drill guy goes over to that guy and says, you like laughing, asshole? I want you to continue to laugh until I tell you to stop. You understand? Asshole. Yes, sir. Start laughing. Ha, ha, ha, ha, ha. Now we're, this is now hours later and we're up in our racks, you know, two o 'clock in the morning. Ha, ha, ha, ha. Still. Still, you know. Wow. I mean, it was torture, basically.

1:06:00They strip you of your, they give you a number, strip you from your identity, you know. I guess that's effective for fighting battles and shit, you know, working for the team, you know. Get rid of your individuality. and now where it's about the second week and we're all, you know, stripped out or kind of been bashed around and the guy says to us, all right, assholes, today's Sunday. You have a choice to make. You can go to church or you can high point rifles on the grounder. How many people want to go to church? So we often go to church and the guy in there, Don Harris, was the chaplain. And he said, I want to start today by telling you guys that when you're in here, you're not in the military.

1:06:52You're in the house of the Lord. Praise God. How fucking loo you. All his sermons were all about dealing with tough times and love and all these things. He had me play my guitar and sing to the troops. and he would have discussions with all the guys and everything. A remarkable guy. Turned me on to an incredible book. Are you into Kazantzakis at all? Do you know who he is? His most famous book is Zorba the Greek. But he also wrote The Last Temptation of Christ. He would rewrite like the New Testament, his version. Why not? Why can't I be tapped in like that? They're remarkable stories. The Last Temptation of Christ.

1:07:41It's a big, thick book. The last half of it is a dream that Jesus has on the cross. Wow. Of being a normal person, have two wives, all these kids. And then he wakes up. Yeah. I mean, it's a great book. Marty Scorsese made a movie about it. And he turned me on to a wonderful book that I can't recommend high enough called The Saviors of God. that if anybody's going to save anybody, we've got to save God. And it's quite an amazing book. And during that time, I got into a Christian phase in my spiritual journey. And so I really appreciated all of that. Especially, you know, when you're in tough times, you pull out all your tricks.

1:08:29What's going to help me, man? Yeah. And that's, you know, what helped me, that kind of stuff. So I really appreciated that. And then we got Honor Company about in the ninth week we were there. All the companies get it at some point. We got Honor Company, and that means we could go on leave and we could go into San Francisco. And he said, I'm going to break the rules, Jeff. I said, what? He says, I want to take you somewhere. I said, where? He says, I'm just going to break the rules. I'm going to give you some civvies so you won't pop out. And he gave me these civilian clothes, and he took me to the carousel ballroom to see Jefferson Airplane and Big Brother.

1:09:15Amazing. And I just, you know, that was all fresh. That was all fresh music at the time. I just went, holy shit. And then he ended up, you know, many, many years later, ended up marrying me and Sue. So Don Harris, wonderful, wonderful guy. And my wife, you know, I'm going on 50 years, man. And the love thing just gets stronger and stronger. And we've been doing these movies together for so long. So she knows what it takes and how to... How'd you guys meet? We met on a movie. We met on a movie called Rancho Deluxe up in Montana. I'm doing a scene in this dude ranch called Chico Hot Springs. I'm in this big hot tub, natural hot spring.

1:10:07Sam Waterston on one side, Harry Dean Stanton on the other, and we're doing a scene. And I look over and I see this girl. I cannot take my eyes off her. She is so gorgeous. And she's got two black eyes and a broken nose. So this beauty juxtaposed to this disfigurement, man. It was just so amazing. And I finally get the nerve to ask her out. And I don't know about you, but asking girls out, man, that was always tough. It's terrifying. Yeah, you know, it's, yeah. So I was so attracted, I couldn't help it. And I said, you know, after we were shooting, I said, would you like to go out with me? She says, no.

1:10:53It's a small town, maybe I'll see you around. I say, okay. And then her prophecy proved true. And we had the wrap party and she was there and we danced and felt, boom, that was it. Got married and had a bunch of kids. Now we cut 30 years later and I'm going through my mail. And I get a letter from the makeup man on that show. And he says, I was going through my files and I found a picture of you asking a local girl out. It's two pictures, a close-up and a two-shot of the first words we ever spoke. Unbelievable. And me asking her out and her saying no. Click. Unbelievable. Isn't that wild, man?

1:11:39That's great. And so that's my prized possession. After this thing, I can show you that picture. Yeah, I want to see. Maybe you'll remember. Have you ever done theater? Yeah. What's that like? With my dad. Oh, really? He did Summer Stock. He did Guys and Dolls. That was one of the things he would do in round. He would do a lot. I remember I was on stage with this other woman. My dad's entering the stage, and I see him walking down the aisle, and he's fucking with his zipper, you know. He comes on, and I see his zipper is just totally off the track, and it's just open like this, you know. And the people start laughing and shit.

1:12:20and my dad, you know, breaks the fourth wall and says, okay, okay, okay, I'm going to go up and change my pants. Jeff entertained the people. And so I'm up there, you know, all alone. And I said, well, I took some tap lessons. I'm going to do a little tap routine for you now, you know. You know, I mean, it was just, it gets, you know, just so bizarre sometimes. It's an unbelievable story. Yeah. Do you think your dad felt like you can handle this? Yeah. I mean, I just had to, you know. Is it like the show must go on? Yeah, that's exactly it. The show must go on. Yeah. Working with him on these two movies as an adult was blown away.

1:13:08I got to work with him. It was quite a big part. We had so much fun pretending, you know, with your dad on that level. Did it tap into things from childhood? Did you feel like you were reliving your childhood doing that with him? Huh. It's sort of like an extension. It's not because it wasn't even reliving. It was just like an extension because I'm thinking of a couple of things. You know, coming from a showbiz family, you know, we were encouraged as kids to perform, do, you know, shows and plays and stuff. I remember I just saw this recently. so wild. I did a movie called The Giver based on this book, and I tried to get it made for, oh, easy 20 years.

1:13:53And I just saw this, a whole movie where I cast my dad as the giver. I ended up playing the part 20 years later, but I cast my dad as the giver. Bo's kid was playing the lead in it, and it was shot in our house. Bud Cort was narrating, reading the book, the whole book, and we did the whole book, and Casey, Bo's song, you know, shot it. Then another example is my folks had a place in Bear Valley up in central northern California, ski place, and we were up there, and my dad was, you know, pretty old, you know, in his 80s. He didn't like getting old, man. It pissed him off. He was such a vital guy, and to have his body breaking down like that, really annoying him.

1:14:45And he's locked himself in his room. And we're saying, Dad, come on, are you OK? He says, leave me alone. I'm in here. I'm working. What are you working on? Leave me alone. Now, hours pass. He finally comes out. And he says, Bo's son, Dylan, gathered us all around a table. and I have wide-luck shots of this whole story I'm going to tell you. He says, Dylan has asked me to write a script based on Robin Hood. I've called the story The Robin of Bear since we were in Bear Valley. I want you all to participate in it. I've cast it in certain ways. I'm going to direct this and I want you to do this in a very professional way.

1:15:36He's very serious about it. Casey, I want you to shoot it and show we have this document with special effects. I'm just Robin Hood, you know, he was like pulled behind a snow machine. Just, you know, I mean, it's fake fights, very elaborate and funny. And, oh, we had such a great time. My wife, Sue, got so pissed off at my dad because he had my daughters. They were playing peasants out in the snow, you know, and they didn't have proper clothes on. And Sue would say, can't you put Jack? No, this is a period piece, you know? No, no. And so real fights, you know, happened, real family fights. I'm trying to do something, you know?

1:16:17And then Bo and I, you know, would come in there and have ideas and try to direct. So it was just hysterical, the combination of, you know, humor and seriousness. I love the fact that your dad took it serious. Oh, yeah, yeah. That's beautiful. Yeah. But he was also, I mean, this is the guy who did Airplane. You've seen the movie Airplane. You know, so he's incredible. I mentioned that movie Blown Away, talking to the producers about the casting. And I said, you know who could play my uncle in this thing? He's a great actor, and he looks a bit like me, you know, in a way. He's Lloyd Bridges. Do you know Lloyd Bridges?

1:16:59And the guy says, oh, your dad, that's funny. But he's really more of a comedic actor. What the fuck are you talking about? He saw airplanes. Yeah, then this was coming out. I say, my dad is an actor, man. That was an act. Yeah. That's really funny. And so I say, do you want him to come in and read? Oh, would he do that? Oh, shit. Okay. So my dad came in, of course. Blew him away. Yeah, blew him away. That's something I learned from my dad, too, is these personas that you can develop. You know, like he did Sea Hunt. He was so good in Sea Hunt playing this skin guy. You think that's him. You think that's him.

1:17:42And he got a lot of - Typecasting. Typecasting. And he got those kinds of parts over and over. And so I thought when I started my acting career, I said, I'm gonna really go about trying to shake up my characters and not duplicate it. Because you didn't want to just do one thing. Yeah, yeah. And that served me well. That's great. Yeah.

1:18:08There's a long tradition of reading sacred text slowly, allowing each word to settle, echo, and reveal meaning over time. Rather than rushing to conclusions, this practice invites reflection, listening, and attention. For centuries, this repetition has been used to stay close to wisdom. not by studying words as information, but by receiving them as something lived and experienced over and over again. This tradition is known as Lectio Divina. Emerging in early monastic life, it engages scripture through four gentle movements, reading, reflection, repetition, and rest. A short passage is read, a single phrase is held.

1:19:10Silence becomes part of the practice, creating space for insight to surface naturally. Lectio 365 brings that ancient rhythm into the present moment. Designed for modern life, it offers brief guided scriptural reflections throughout the day. to begin with intention, pause at midday, and wind down at night. The readings are less about information gathering and more for returning to wisdom again and again, letting familiar words meet new moments. A modern way to keep biblical wisdom close, quietly present, steady, and alive within everyday life. Lectio 365 is a free resource. Find inspiration there, now and always.

1:20:10Learn more at lectio365.com

1:20:22So tell me about your relationship to music from your earliest memory of music. So Bo, he's eight years older than I am, coming out of his bedroom was Chuck Berry, Little Richard, Buddy Holly, the Platters, you know, all the bird groups. I mean, that's what I was hearing. The Everly Brothers, I'm thinking, and that was probably the first record that I read was, you know, wake up, little Susie, wake up. God, they were so great, weren't they? Incredible. The tone, those guys. Harmony. and the guitar sounds like Claudette, that guitar. God, so good. And then he had a Dan Electro, a white Dan Electro that I kind of adopted and started to write tunes on.

1:21:11And then in high school, I was never in a band, but I had these friends that were in bands and were all good musicians. And the senior year of high school, my friend Steve Boehm, the drummer, started to have these jams over at his house. No songs allowed, but singing was encouraged and writing on the spot was encouraged. So all improv. It was a jam, all improv. Great. And he recorded every session. And that's the only music he listened to. And we did that for maybe 20 years, meeting over at his house with these jam sessions. and they were, you know, parties and they were, you know, each one had its own flavor, but he recorded everything.

1:22:00You know, talking about my dad and acting and sometimes I thought, I'm not sure if I want to do this acting thing, maybe the music thing, you know, that kind of thing. Then I thought, oh, you know, as I started, the acting started to take off, I said, oh, well, maybe I can combine the two. Wouldn't it be wonderful to play a musician and to play music? Yeah, that would be great. And I'd think about it. And sure enough, the universe supplied this script by this young guy, Scott Cooper, first-time director, first-time screenwriter, called Crazy Heart. And I read the script. And it was good. I said, oh, that's good.

1:22:41But there's no music in it. If there's music as loud as it is. It's about a musician, but there's no music in it. There's no music. And I said, oh, I said, well, that, you know, so I turned it down and he would keep coming at me. Years, I'm talking, two or three years. Bob Duvall was his champion. So I'm walking down the street one day and I bump into my old buddy T-Bone who's walking down the street. He says, what do you think about this script, Crazy Heart? I say, well, there's no music to it, man. And he says, oh, that's the easy part. Don't worry about that. I said, easy part? What are you talking about?

1:23:19He said, oh, yeah, we can figure that out. And then he made a beautiful direction. He said, you know, it's like, you know, you're one of the outlaws, you know, like what, Johnny Cash, Willie and Chris and Waylon, you know. But you don't have to copy those. We're making a movie about an ulterior universe. Isn't that a beautiful thought? You know, it's like, it's not this planet. It's like, looks like here, but it's somewhere else. I said, oh, that's interesting. and then my heart started to beat. I said, oh, shit, this could actually happen. And then I got in touch with the safety dreams have, and when you bring your dream into real life, you can fail.

1:24:08Dreams, you can't fail. It's dreams. I said, how can I pull this off? I was panicky. but the universe dealt me cards i say here's my dear friend who's gonna you know who's so talented he says it's easy how can i turn this down and you say yeah but you're afraid yeah but fuck what else is there to do how can i live with myself and turn so i went in with that spirit and uh i got my dear friend john goodwin who is we go back to the fourth grade making music and painting and doing all kinds of art together. And I said, can I bring John on? And T-Bone said, yeah, sure. You know, so he came on. He ended up writing Hold On You, which was the opening song for that movie.

1:24:59And then T-Bone brought Stephen Bruton. Did you ever meet Stephen or know about him at all? Who was T-Bone's best friend. They go back as teenagers. and Stephen was my guide through the whole thing. Every day he went to work with us the whole time. T-Bone wasn't on the set so much, but Stephen was there teaching me more advanced guitar, what it was like being a traveling musician. You know, that opening scene where I pull into the bowling lane to play a gig, like, Stephen said. Now, when I'm traveling around like this, I don't pull off to the side of the road to piss. I carry a sparkless bottle, and I just be in the sparkless bottle.

1:25:49So why don't you do that? And then, you know, so he kept the authenticity. He was our touch base. Yeah. We rewrite scenes, all kinds of things to get it as real as possible. You know, it's interesting. There are many different kinds of directors, but two major schools are hot directors and cool directors. Both are very effective. Scott is a hot director in that he's very passionate and excited and enthusiastic. Great, man. Oh, you nailed it, man. You want one more? You want to do it again? Okay, let's see what you can do. Come on. Come on. You know, like that. Example of the cooler directors would be the Coen brothers.

1:26:35which is no big deal, you know. Oh, yeah, you made me laugh. Yeah, that's good. Okay, now let me go over here and, you know, no big deal, which is another powerful statement, you know. Takes all the pressure off. Yeah, there's just no big deal. And both of them are very, very effective. So Crazy Heart was great, and it was one of those examples where you have high expectations going in, and then they get transcended. Wow. Scott just did such an incredible job putting that film together. Yeah. And Bobby Duvall, you know, being that young guy's champion, you know. Yeah. That's so important. You know, you think about, you know, people say, what do executive producers really do?

1:27:22You know, what are they? And there's all different kinds, you know. But to have a real producer behind you creating the space and the support, you know, Mark Rosenberg, who championed Steve Clovis in The Fabulous Baker Boys. Steve wrote that script, I think, when he was 24, 25. You know, it's a very, very good script. a lot of the major directors at the time wanted to direct that. And Mark Rosenberg said, no, this is the kids, you know. And he was there just doing that, you know. And I said to Steve, I said, you know, let's jam a bit so you can get your directing chops and I'll get my acting chops.

1:28:12So we met at my house for about a month where we would meet with my brother, Bo, who's playing my brother, which was so, God, what a dream. If it was another actor, you'd figure out, how do we create this illusion? No, that's handled, man. You didn't have to do any of that. So to jam with my brother, oh, God, what a blessing it was and so much fun. So we'd meet over at my house, and Steve would get to, you know, direct us, you know, and he would come up with different improvs. And I remember one improv that was, he said, oh, this guy, he's good. He said, okay, here's the deal. Here's our improv.

1:28:57Jeff, it's four, no, three o 'clock in the morning. You've climbed out of your bedroom window. You've gone to see Bill Evans, who's playing at this club. I'll play Bill Evans. I've come out of the bathroom here. I've just shot up in the bathroom. I'm going to come to the bar, and I'm going to bum a cigarette off you. And Bo, when I put my hand through my hair like this, you're the big brother. You're going to come and get Jeff out. And we did that improv for a long, you know, 15, 20 minutes. and Steve was so good, you know, committing to what the assignment was, you know. I said, oh, he gets the whole thing, you know, what this advanced pretend is all about.

1:29:47And he did such a great job, man. And Michelle, you know, I was disappointed that my favorite song of Michelle's, which was More Than You Know, do you know that song? It wasn't on the soundtrack album. I don't know why, but she sang her ass off in that movie. So great. So just finishing the music saga, you know. Okay. So then after Crazy Heart, I was fired up on the music thing, and I called up T-Bot. I said, hey, man, I got some tunes. You want to go in and make an album? And he said, sure, man, come on, you know. So we went into a studio in the village there, and we made an album with a lot of John Goodwin songs, some of my songs.

1:30:36I had a great time. And then a few years later, I got a call from a Squarespace website design company and they wanted me to do a commercial for Super Bowl. And they didn't want to hide Jeff Bridges for Squarespace. They wanted me to come up with a bizarre product with the idea that no product was too weird to not make a website out of. They gave me a list of things, and one of the things on that list was sleeping tapes. He said, what are sleeping tapes? You know, these tapes, that's such an archaic word. And he said, we don't know. It can be whatever you want. Whatever I want, yeah. Huh. And then also, we're going to make this product, we're going to release it, and all the proceeds can go to share our strength in their No Kid Hungry campaign, which is something I've been very involved with for, you know, 30 years.

1:31:38So that was the clinch. I said, okay, I'm in. How do we do? He says, however you want to do it. You know, it's like, yo. So I said, okay, I'm going to go into a studio with Keithis, and we're just going to jam, see what happens. So we go in there for a week, I think it was more than a week, and we just start to come up with ideas. And we have no idea what this album, but I figure sleep, that implies being awake, that implies dreams. So it's very broad subject. And during that time, Kiefer says, why don't you bring all of your, you know, any other old songs that we might work with? And so Keevis and I did this album called Sleeping Tapes.

1:32:27It went to number two in the ambient music charts, raised a quarter of a million bucks. Love it. And it was just so wonderful. Then Keevis and I would go into the studio from time to time and just jam and do things. Yeah. And then during the COVID thing, I thought, God, I've got all of these half-done songs, songs that aren't polished. I'm 76 years old, man. I don't know if I got the poop to go into a studio and polish all these things. I'm just going to put these things out now. This is what I got. And I'm going to put a visual thing to them. So I shot stuff on my iPhone and looked at the internet and just built that.

1:33:16And I started to release these, I called it emergent behavior. these volumes i think i made five volumes with about you know three or four songs on each one i enjoyed the shit out of that you know it's so much fun to make stuff and share it it's the best feeling you know and rather than be tight about it and then also after a crazy heart i've always tried to have a little some kind of little studio wherever i wherever house i'm in so when I moved up to Santa Barbara you know 35 years ago whatever I wanted to build a studio and I looked around for a guy who could help me with that and this guy Chris Polonis he you know he's an acoustician you know builds studios and stuff and I broke out my tunes and we played a little bit and he said oh this is good you've got some good tunes here man do you know Michael mcdonald i said are you kidding me sure he says well i'm friends with michael i'd like to play him some of your songs so michael listens to him starts to dig these songs and the next thing i know we're in the studio making an album and i've got a band called the abiders you know based on and we start to tour uh the music dream you know the beetle music dream is being realized that you know 65 years old or something you know played the lebowski fest you know have my beetle moment you know you can imagine ah you look play into a sea of dudes man come on so funny you know he was really wild you said something earlier about dreams are safe yeah it makes me question do you tend towards projects that are not dream projects because whatever happens is okay whereas the dream projects are too dangerous to try because they could fail.

1:35:14Yeah, but that's got the most juice, man. It's wild. I just bowed out of a movie that I went quite far down in development of it. And I just said, God, I don't have the acting juice to do it, man. I'm having other desires are being built into me that I want to do. Yeah, you're listening to what's going on in you. I started to listen to that, and it's so different than my persona or how I'm conceived, not only from the outside, but how I conceive myself. But it was like, it made me think of Richard Dreyfuss with, what's the movie where he's building the big Close Encounters? And he's building that thing.

1:36:00I don't know why. It kind of has me like that. You're driven towards something. And I don't know what it is. And so I'm following that, and I'm getting off. That's great. I mean, it's wild. In acting, when you're playing against another character, does the other character's performance influence what you do? Oh, of course. Yeah, big time. Is it like a dance? Yeah, that's a very good way to put it. I'll give you an example that just popped into my head. But every once in a while, you'll get a real guy on the set, either a guy who has actually lived the story you're telling or a person who knows what that story is about.

1:36:44Yeah. So I made this movie called White Squall with Ridley Scott. And it was about this wonderful floating university that this guy had in this ship, you know, a sailing ship where he would take a bunch of students out. Sounds amazing. Yeah. Did you see that movie? No, the idea is amazing. True story? True story. Amazing story. and in the middle of this a white squall happened and i got to talk to the the real guy who was who i was playing the skipper of this ship and he said it's not like the movies i said what do you mean he said well it wasn't a storm it wasn't like that i said well what was it like he says it was a calm and it was like god's hand came down took the main mask and just put it under water You know what I mean?

1:37:39You know, like a bunch of kids died. His wife died. You know, it was a terrible tragedy. He went around and spent time with each of the families after the incident. But no one connected with each other after that. They didn't want to relive that terrible incident. So they just avoided each other for many, many years, 25, 30 years. I can't remember exactly what. And now we're making the movie, and in the end of our movie, there's a courtroom drama kind of because it's like, you know, they're going to take my license away kind of thing. But in real life, that didn't happen. It was in international waters.

1:38:21There was no threat of that. But we're shooting this scene, and we had two real guys who were on that ship. One of them was actually at the helm. The ship wasn't moving, but he had wheeled duty there. We're doing the courtroom scene, and this fella, he comes up to me when we're shooting the courtroom scene, weeping. And he says, Jeff, I got something, Carolyn, to ask you. I say, what? He says, I want to do something. I said, what do you want to do? He says, I want to hug myself. You want to hug yourself? What do you mean? yeah he says I'm playing my father and my father always blamed me for the ship going down he says no wonder the ship went down you were at the wheel he says can I hug myself I said well go ask Ridley you know yes Ridley he said sure yeah so you're acting the effect of not someone you're playing with but just in the space in the vibe in the room to have that going on The reality.

1:39:31The reality of that. Another one comes to mind, a movie called Fearless, where Peter Weir directed. This story was loosely based on, I think it was an Iowa plane crashing in a cornfield. And Ridley invited a couple who actually went through. The guy was on the plane and his wife was down, you know. and I really invited them to talk to us about it. They came and they talked and it was as if it happened yesterday. It was so fresh in their mind, but they had them 10 years before. And they were up there for 45 minutes knowing they were going to crash. You know, can you imagine? And he said, you would think there was panic.

1:40:19He says, not at all. He said, love just was in that fuselage. Wow. Everybody was together. We're in this, we're one here. That's wild. He says, I looked across the aisle and there was a woman, an old woman there who was frightened. And I think this is what the guy said. He said, I looked over at her. I said, that woman, that could be my mother, you know. And then he said, no, that is my mother. Held her hand. Wow, beautiful. They crashed, and you'd think everybody panicking. No panic. It was all just everyone working as one body, what they had to do to get out of there alive. Isn't that wild? Yeah.

1:41:05Love. Love having its way with us. God, you know, we all affect each other. And then with the acting you're working with, wow, of course. you ever so in a scene that you forget it's a movie

1:41:25i'm thinking of a shot this is you know it's a movie about the race cars and playing a guy named junior jackson who's based on junior johnson who's a famous stock car racer we're doing this scene on the racetrack and we rehearsed it you know going you know five miles an hour and spent we're finally going about 90 miles an hour or something like that just under 100 and uh the scene was me in the back of the pack i work my way up through the pack and i get up to the lead guy and i actually get you know metal to metal with him and i and I'd go ahead like that. And we rehearsed it for a long time, you know, weeks.

1:42:13And towards the end of the rehearsal period, I realized that there's going to be a camera right fucking in my, right there, right in my line of sight of life. So I've got to not only do this thing, but I've got to act like there's not a camera there that I'm not going, you know, looking, trying to look around something. So off we go, action. I'm going again, dice through the thing. Now I'm up against the car like this, and I get off the gas just a little bit, and the thing goes crazy, you know, and the 360 after 360, you know, all these cars are going, coming behind it, you know, just crazy. All the wives are coming down, you know, a giant crash.

1:42:57The director comes up to me at the end, and he says, you okay? Yeah. Can we do just one more? We're losing the light. Can you do another one? I said, yeah, yeah, okay, okay. He can do it again. And now I'm wanting to see what that close-up looked like, you know, because that was a moment when I was totally, like you say, I wasn't acting. I was just into this thing there, you know, beyond there. I didn't know where the fuck I was. And, you know, if you were to act that, you know, You would go, oh, you know, what you would do. But here's what I did was just, you know, crash. Just nothing. Everything just my eyes going like this in the background.

1:43:44Wow. That's wild. That's so funny. So you got to experience a lot of things through making movies. Oh, God, all the time. Oh, it's so wild. And these books, these photographs, I can relive those times, each one by just thinking. Have you had to learn any particular things like sword fighting or horseback riding or anything like that? Oh, yeah. I had cockfighting camp. I learned how to cockfight, how to speak Yugoslavian, how to roller skate, how to ride horses, how to shoot. Yeah. All of those things. Fight, you know. But this is all it gets back to, you know, I keep thinking of being a kid. You know, this is great stuff to get to play.

1:44:25Play.

1:44:51Tetragrammatin is a podcast. Tetragrammatin is a website. Tetragrammatin is a whole world of knowledge.

1:45:06What may fall within the sphere of Tetragrammaton? Counterculture, Tetragrammaton, Sacred Geometry, Tetragrammaton, The Avant-Garde, Tetragrammaton, Generative Art, Tetragrammaton, The Tarot, Tetragrammaton, Out-of-Print Music, Tetragrammaton, Biodynamics, Tetragrammaton, Graphic Design, Tetragrammaton, Mythology and Magic, Tetragrammaton, Obscure film. Tetragrammatin. Beach culture. Tetragrammatin. Esoteric lectures. Tetragrammatin. Off the grid living. Tetragrammatin. Alt spirituality. Tetragrammatin. The canon of fine objects. Tetragrammatin. Muscle cars. Tetragrammatin. Ancient wisdom for a new age.

1:45:53Upon entering, experience the artwork of the day. Take a breath. and see where you are drawn.