Danny McBride on Leaving Hollywood, the Collapse of Comedy & Doomscrolling’s Impact

You're illuminating the foibless of the modern American man. Like, all right, Danny. So, what's the solution? [laughter] This is your uh self-help guru moment. You know, Danny McBride has come up with some of the funniest characters on television ever. [music] He brought the mullet back. >> Kenny Powers is a man. Kenny Powers is an athlete. Kenny Powers [music] is a lover. >> Now, he's tapping into the spirit where his new book, it's called Thrilling Tales of Modern Men. The [music] short story collecting explores modern masculinity through a cast of characters. >> There is this idea of like what it is [music] to be a dude. Growing up in the 80s and you're watching Rambo or Chuck Norris or all this stuff, the reality of that comes crashing down that it's [music] like you're not going to, you know, karate fight an army of men and win. Sometimes you just got to take a desk job. There's something just about disappointment [music] that I just find fertile for comedy. >> Danny, thanks so much for doing this. You're the funniest [ __ ] alive. I'm so grateful to be able to hold you hostage today, [laughter] talk to you, man. So, thank you for coming all the way out here. >> To be here, it's beautiful out here. >> Yeah. Um, congrats on the book. Uh, I'm curious around how this experience has been different from you. I mean, it's very much of a piece with everything that you have done over the last 30 years, but you know, it is a different kind of offering. >> Yeah. you know, I uh [clears throat] yeah, like you said, I've been doing this for a really long time, and I wanted to see if I could translate what I had been doing in TV and film into just a completely different format. You know, it's uh it's obviously getting like harder and harder to make TV and make movies. And uh so I felt like if I could somehow crack this space, it sort of offers unlimited potential creatively. If you can get out the middleman and it can just be you and the audience, you know, then you can kind of tell stories about whatever you want to. Yeah. I mean, you're a master of the collaborative kind of art of film and television. You have your cohort of people that you've been working with since day one, >> but writing is a sol, you know, solitary affair. But there's an the unfiltered, you know, Danny, I mean, did you rely upon some collaboration in this or is this just directly from your imagination onto the page? >> Yeah, it was directly from my imagination to the page. Uh, and that was kind of what I was looking forward to with it. You know, I I love the collaboration. I love uh I think that's one of the things I love the most about making a TV show or a movie is, you know, you have this idea and then the the next journey is sort of, you know, stockpiling a bunch of cool artists that have their own points of view and then all kind of working together to elevate it. And that's such a a fun thing and it's so unique to, you know, the to film and TV. you know, a lot of art forms are really independent and um so I've always enjoyed that. But, you know, with that comes, you know, you finish writing something and it's sort of like just the beginning of a negotiation. You know, then it's like, who am I going to get to be in this? Will they give me enough money to make this? Is it going to rain on the day that I planned this beautiful sunset? Uh, and with writing, you know, in this format, it's once the story's done, it's finished. like it's >> no production budget. No one else to no other hoop to jump through. >> Uhhuh. When you were writing it, were you thinking about how this would play cinematically or were you able to kind of put that aside? I would imagine on some level you're you're you're thinking visually all the time. >> You know, I I definitely think visually and I think the way I craft stories is uh you know, I'm definitely inspired by all the years of writing for the screen. But yeah, with these I really wanted them to exist as stories, as written stories. So, I wasn't really thinking past that of, you know, whether they would be adapted or whether it could translate to something. Um, you know, I think that some of these definitely could, but yeah, it wasn't part of the motivation. I was really just trying to like land the plane with in this format. >> Yeah. Um, it's perfect timing because it it sort of lands at a moment where the discourse, the kind of public current discourse that's happening right now is all about like the crisis of masculinity and this uh epidemic of loneliness and, you know, alienation, etc. But for you, you've been writing these characters with these themes for like 30 years. Like this is nothing new. Are you noticing that there's something acute about this moment or do you feel like it's always been this way and finally we're paying attention to something that you have been kind of keen on for, >> you know, your entire career? >> It's probably a little bit of both. I mean, I definitely feel like, you know, I feel like some of these things that I've been making fun of or poking at for all these years, I do think they're sort of like universal things. You know, disappointment, uh, you know, having your ego, you know, chopped down. Like these are all things that I think people have always dealt with, men have always probably dealt with through uh throughout time. And um I don't know, there's something just about um disappointment that I just find fertile for comedy. Uh and so I I would always stack these characters to just sort of be um avatars to explore all that stuff. But, you know, I think with it too, it's, you know, my the the growing up in the 80s, it's like I lived at the video store, I lived at the Cinniplex, like I just I consumed so many stories and so much media and you were definitely in that time period presented with like a certain type of uh of alpha, you know, and I think if you're just like some artistic kid living in Spennsylvania, Virginia, and you're kind of like you're you're creating your images of what it's going to be like when you get older and you're watching, you know, Rambo or Chuck Norris or all this stuff there, there is this idea of like what it is to be a dude. And uh I think it's funny as we get older. It's obviously the reality of that comes crashing down that it's like you're not going [snorts] to necessarily be able to, you know, karate fight an army of men and win. Sometimes you just got to take a desk job. >> Yeah. You had said uh you're of the generation of men that grew up watching Rambo and ended up working at Geico. [laughter] >> That's pretty much it. and the kind of agrieved, you know, the agrieved, you know, fragile ego of of of that guy who's, you know, staring in the mirror of his own disappointment uh and trying to contend with how to move forward uh with this, you know, kind of sense of uh injustice, you know, like we've been we've been ripped off on some level. Yeah. Yeah. I've been li you've been lied to, right? You know what I mean? And uh and how do you compensate for that? By like fronting in all these like egotistic like you know unbridled id ways that always end up you know going [clears throat] terribly arai. >> Totally. It's like they you know a lot of these characters a lot of these stories there is no antagonist. Like the the person who's the biggest threat to them having a good existence is ultimately themselves. >> Yeah. And that that's the last person that they that they're aware of that's getting in their own way is everybody else. Totally. Yeah. Um, it's also an interesting moment because we're all kind of living in uh the extended Danny McBride universe right now. Like you look around like I was thinking if if Danny were to write like his version of the West Wing or VEP, [laughter] of course there would be UFC happening, you know, on the front lawn and of course the, you know, the the the Reflecting Pool would like turn green and the guy who made it turn green would look like a Dick Tracy [laughter] villain, you know. And so when you look at that you're like how do you even like as a satist like where do you go like because you know like uh fiction and reality are so closely aligned with your sensibility >> you know it's uh I think that what you have to just focus on ultimately is I think you have to focus on you know what's true for people you know regardless of what the time period is you know like what you know there's just these universal ideas of what uh of how people act and how respond to things that I think if you stay focused on that, you can always kind of stay one step ahead of the insanity of what's happening right now, you know, and hopefully you're making a story that will, you know, resonate far beyond. I mean, even, you know, we sold Eastbound in, you know, was 20 years ago this summer, and it's it's kind of amazing to me that they'll there'll still be young people [snorts] that find it now. And that's, you know, for when you really look at comedy, that's a pretty long shelf life for something. You know, a lot of things usually are, you know, they come out and they might be popular for four or five years and then new stuff comes to replace it. But >> I really think that why it's stuck around is I think because we were just trying to uh we were trying to make it timeless. We were trying to not necessarily make it about that one moment in like American culture, but like the the larger picture of of how, you know, this type of guy is >> because you're like, "Yeah, I know that guy. Everybody like knows that archetype. there's somebody in their life that, you know, resembles that personally and that that that transcends the moment in which it was created. It's also uh a side benefit of the streaming world that we're in right now. Like I, you know, you have kids, I have kids, >> and it's been fascinating to see them fall in love with things that that, you know, happened like decades and decades ago, whether it's music or television shows or or or films. And I just think of the encyclopedia like sort of awareness that young people have now that we didn't have growing up. It was just this is what's on the radio and this is what happens to be, you know, broadcasting on the three channels right now. You know what I mean? And [clears throat] you're either there to see it or not and it's gone. >> I think it's I mean it's pretty fascinating. You can go you can enjoy something as a young person now and go really deep and have access to every version of it or you know what was inspiring what and it's all right there for you. And like you were saying with us, it was like you did there was, you know, not to be talking like an old-timer, but you know, there was like 12 channels and whatever were was on those channels, like that's what you were checking out. And now there's, you know, we went from that to channels like specialized in just exactly one thing like whether it's history or cartoons or whatever. And now we're beyond that where you just have access to everything that's ever made and you can just really, you know, zoom in on what you want. And, >> you know, I think there's a benefit to that. Obviously, it's fun to be able to curate what you like. Uh, but I also kind of find like I I've noticed it with like even music, you know, having all of my music on like, you know, on my iPhone and being able to just always listen to my music. Uh, it it also closes you off from new things, you know, because you tend to kind of you can go infinitely into your own kind of u likes and wants. Uh, and sometimes it keeps out you finding new things because you're just sort of curating almost infinitely what you like. And uh, and sometimes it's nice to be surprised by things outside of what you think you would want. And you know, I >> even like, you know, we have like YouTube TV and >> I purposely like go through the guide and get rid of like all the channels and only keep like on the guide like, you know, 13 or 14 because I do kind of like the idea of just like it's it's just this. this is all that we're going to like look at and you know uh put on that movie that you don't think you want to watch, put on that show that you think is boring and just see what happens. >> Yeah. Um my kids are the curators of finding new cool [ __ ] Like my 19-year-old daughter, like she's listening to stuff 50, 60 years ago for music, you know, musical taste and you know, can you imagine being like that age and like watching something that was created 40 years ago? I I I think I think about it all the time. I'm constantly playing that that numbers game where I'm like they're my kids are listening to something from the '8s. That's 40 years ago. That would have been me in the 80s listening to something from the 40s. >> Yeah. Unimaginable. Um but that gives me hope, you know, especially you know there's always people saying ah cinema's dead or like you know the the the form is not it it's not like it used to be and then back rooms happens and obsession happens and you're like oh wow. >> Yeah. this is the youth culture, you know, telling us what they are interested in and then it goes wide and, you know, a whole new world is born. >> I I totally agree. I think that that's like honestly like, you know, the movie industry, I think, always goes through its uh its rhythms of what's working and what's not and sometimes they'll stick around in genres that are dead for too long and then they come into something else. But I definitely feel like what's been missing is uh is youth having a grasp on what the movies are that are being made. You know, it feels like people in my generation, a little bit older, maybe have like held on to the reigns just a little bit too too long that, you know, you think of some of these guys. I mean, I feel like I think Robert Evans when he was running Parammont and green lit Godfather, he was like 28 years old. You know, it's like the idea of somebody that young uh making those calls, you're like, "Yeah, that's what this town needs. It's what this industry needs." Because ultimately, if this doesn't appeal to young people, then it dies away. you know, it needs to uh it needs to feel relevant to them and it doesn't need to be just like constantly relaunching things that we, you know, gravitate it towards from our youth. It, you know, there can be time for that, but you got to have this new stuff, too. And you got to have u you know, you got to have young people seeing that there's a pathway in the industry, you know, that they can see the guys making obsession in back rooms and they're like, "Those guys are not much older than me and they're like crushing it." And you need that inspiration. in your fertile mind, how do you know when an idea is worthy of like investing the amount of time uh that it takes to like flesh it out and turn it into something like Eastbounded Down. >> It's interesting. It uh you know there isn't like one thing it's like I I my I'm always thinking of ideas all the time and you know I'll try to have a few different things open at once but inevitably some one of them will stick more than the others. you know, you will >> you just wake up. >> Yeah. You'll find yourself coming back to it more and more. Your brain will just like, "Oh, I keep my I can't get my head off of that one idea." And, you know, with Gemstones, it was that way. I moved to Charleston, South Carolina, and I was trying to figure out what show I wanted to do next, what story. And I had like three or four different ideas. And uh that Gemstone Family, like that just kept that was the one that my brain kept going back to. So, I just followed that. And cuz a lot of times writing is, you know, because it's by yourself, you have to have fun doing it. It has to be something that you want to like spend your time on. You don't want to make it homework. So, I'll just gravitate towards things that feel like they're going to be fun. >> It seems like you're having a good time. Uh, you know, it doesn't I'm sure it's a lot of hard work. Uh, and people may not realize like you're the showrunner. You're the you're doing all the writing. You're not just the guy who's appearing on screen. Uh, but you made this conscious decision in 2017 to like split LA, uh, move to Charleston as a better place to raise your kids, but you also brought all your people with you and you you've got this community now, this creative community and your company, uh, and it seems like uh, that's allowed you to not only um, be a better observer of [snorts] life because, you know, LA is sort of a little bit of a bubble where you're removed from how normal people Um, but also has allowed you the freedom outside of the panopticon of the studio system to like do your thing without too much interference. Right. >> Yeah, it's true. You know, we learned that honestly when we were shooting eastbound and we were shooting in Wilmington, North Carolina and the idea that there was not a direct flight at that time from LA to North Carolina, we noticed that the executives never came to set. [laughter] We're like, "Oh, we just got to choose cities that it's not easy to get to from LA and then we'll have more freedom." um allowing you to push the boundaries. I'm sure you get notes still, but you know, it's a different thing when somebody's not showing up every day to like >> It is. And you know, we've been really lucky with HBO. I've had a great relationship with them and have had an awesome time working with them. And you know, we um even when we don't agree, it never uh yeah, it's never contentious and there's never uh a do this or you know, or it's done. like they they've always been supportive and you know I think that that trust has just been built between us over the years and I think that allows us to take more chances and take more risks. >> Let's go back to the beginning like where where did this all begin for you like when did you first realize like this was something you wanted to pursue? >> You know I always I always wanted to do this even from you know as young as I can remember. I you know I have like notebooks in my house that are like stories I wrote when I was like in third fourth fifth grade. I mean, I always just wanted to tell stories and I think, you know, I remember when, you know, our family got our first VCR and, you know, and all all of that of just like having access to stories and watching movies. It was just something that I just, you know, I kind of instantly knew that that's where I wanted to spend all my energy and time. And so, I was fortunate in that that I just put everything I had into pursuing that. So, you know, I would make movies in my backyard. I wrote plays in high school that our school performed. Uh, and then I went to film school. So, I was just constantly trying to figure out how to do this. >> What was it? What was the home life like? Like your dad was a prison guard. >> He was a prison guard out in Lampoke, California. So, we lived on the prison reservation out in Lamppoke for a few years and then he got transferred to the Federal Bureau of Prisons in DC. And so then that brought us out there to uh to DC. And at that time, Fredericksburg is about an hour south of DC. But that was, you know, that was really rural. It was it was out in the country. Now DC's sprawl is so far that like that's that's now even like >> it's like a suburb. >> Yeah, it's like a suburb of DC, but then it was really out in the sticks. It was it was far away. Um >> but yeah, so then we that brought us there when I was in um I think we moved to Virginia when I was maybe like in first grade and >> yeah and then grew up out in Virginia, lived in Northern Virginia for a little bit in Burke and then moved down to Fredericksburg and graduated high school there. >> Yeah. But spatula in Spennsylvania though, which is just a little bit further south of Fredericksburg, right? Y >> um Civil War territory, >> lots of Civil War action. >> So I grew up in Maryland and every weekend it feels like my dad would say, "Get in the station wagon." And he would just take us to some Civil War battlefield, you know, and it was a it was a history lesson, you know. There's just like this obsession with my parents' generation with the Civil War with men of that age, you know. >> And Spennsylvania was a place that we went to often because uh in Spennsylvania there's a there's a place called Spindle Farm. Do you know this place? >> I've heard of it. Yeah. >> So Spindle is my mother's maiden name. >> Oh wow. >> So that is of apparently this is this is our family our family lineage. That's awesome. And that was the site of you know quite a blood bath. uh like at this very contentious uh moment in the Civil War. So, I've spent time in Spennsylvania like I know it well. >> It it is uh it was a really cool place to grow up. It made for very boring field trips in school because all your field trips were like, you know, >> you get off the bus and it's just a field. >> Yeah. And you're like, I pass this every day going to the grocery store and now we're walking around it. But it was uh I I I honestly like loved it. I thought it was really cool to live somewhere where all of this stuff you're learning about in school happened in your backyard and that there's like a point of reference for it. And uh I thought it was like, you know, I remember in downtown Freddersburg there was like a like a slave auction block just like right in the middle of of town. And I remember just being there and seeing that and then seeing the town that I'm familiar with and be like, "Oh, it's crazy to think that this was going on right here where, you know," and then you, you know, the older you get, you're like, "It wasn't even that long ago." like that was, you know, that wasn't that that wasn't as ancient as what you think when you're a kid. And I liked being around those battlefields and finding out those stories about, you know, I just it got me into history. And I think that was also part of why I Charleston was so appealing to me when we shot down there was I I liked the idea that >> massive things have happened there and and now it's a new place. >> It is unusual though for a kid in in rural Virginia to decide that he wants to go to film school. Yeah, it is. >> There weren't a lot of people in your community like you know pulling their cameras out and [snorts] making short films I would imagine. >> Yeah. No, there really wasn't. And I would uh I would incorporate like all the kids in the neighborhood to like be a part of my films and none of them had interest or uh you know it wasn't like they were trying to do that and uh and then I would just rope them into the stuff I was doing and and employ him that way. And yeah, it was uh it was cool. I think that's what I liked about when I ended up at North Carolina School of the Arts where I went to film school. It was the first time that I had really been around other people that had any interest in this. And it was uh I think I made fast friends with so many of these guys that I still work with because it was sort of so uh I don't know. It was like it was kind of groundbreaking for me of like wow there's other other people that like have been the same guy I've been where I've been you've been in a small town and you like all these crazy movies too and you wanted to dedicate your life to trying to figure out how to be a part of that industry. Uh, how long were you there before you connected with David Gordon Green though? >> First day I lived there. Yeah. On my, uh, I moved into the dorms and David lived, uh, David was my next door neighbor on one side and Jody Hill was my next door neighbor on the other side. Wow. Yeah. And so, uh, yeah, I mean, a lot of the John Couture and Jeff Bradley who are two of the guys I've written on eastbound and vice principles and gemstones with, they live in Charleston now. Like those guys all lived on our hall. I mean, it was a lot of these guys that to this day for our production designer, our music supervisor, they're all guys that like basically we all lived in the same hall in our freshman year. >> All gone on to have huge careers. >> Yeah. Everybody has sensibilities and yeah, [snorts] it was a it was a it was cool. I know, you know, >> I think whenever you decide to go to college for the arts, there is always this question of like, oh, is it needed? Like, is it better spent instead of the uh, you know, the student loans? Is that better just to take that money and go make a movie? And you know, I don't think there's any real answer for that. Obviously, it's different for everyone, but for me, why that was important was, you know, there's so much time to get jobs and to work. You're going to your whole life is going to be that. But to force yourself for 4 years to just focus on movies and focus on watching movies and talking about movies and just sort of digesting them that way, I think it was so beneficial, you know, >> finding your people. >> Finding your people. And I really think if I would have just uh taken that money and jumped to Los Angeles, I think there would have been more attention to survival as opposed to gearing up and studying. >> It's kind of uh akin to uh you know Seattle and Grunge. Like there was this very specific place that isn't you know like the in the first three or four that come to mind like it's like there's NYU and there's USC and UCL is like okay UNCC Winston Salem got a film school there. like who knew it was going to you know like you know germinate like such talent at a very specific time. It it also reminds me of >> like Mike Burbiglia and Nick Croll and like John Melany all being at Georgetown and right around the same time like these like this convergence of time and space that like gives birth to like you know almost like a whole new sensibility in the arts. >> I mean I I feel grateful that that I was there at that time and a part of that cuz it did feel that way. I mean, even when I was applying for schools, I think we were the third class to graduate from that film school. So, that film school was brand new. And, you know, coming from, you know, Virginia, it wasn't like, you know, we were pretty middle class. There was the idea of NYU or USC was just that wasn't going to be like that wasn't going to be feasible for for me. That wasn't in the cards. >> And [snorts] if you didn't want to go to those places at that time, it's not like every college offered a course in film making. I mean, they didn't at all. I remember I was like applying to all these schools and you know they might have like a little bit of like TV production or I remember I called VCU uh which was in Richmond and I was like unclear from you know the information I was getting where they had a film program and I got a hold of somebody in the media department and I was like you have a film school and he's like you know what what are you what are you trying to do? I'm like well I was like I want to learn how to like make movies. He's like we might be able to get a camera or something. >> [laughter] >> like that that was like the level that it wasn't it was not a um it wasn't a major that was like you know that present and so when I found out about North County School of the Arts >> it was a state school uh it was in the realm of what I'd be able to afford with student loans and everything and then the thing that was cool about it is that it's a conservatory so even if you'd been to college before you have to be in that program for four years so it put you in there with a wide variety of people there were people who had been to college there were there was a housewife there was it was all it was a random assortment of people, but you were all on the same four-year journey. And what was cool about it was it wasn't like the rich kids made the best movies. Like they were everybody was given the same exact budget uh from the school and you had to make your films uh in that with that budget and you had to figure it out and uh and so it was cool because the class aspect of it was was taken out of the uh out of the creation. Everybody was given the same resources. This episode is brought to you by Element, a company [music] I have been working with for years. And what I respect about Element is that they've always stayed focused on the [music] fundamentals. They started with simple electrolyte drink mixes, then came the sparkling cans, and now they've introduced lemonade iced tea, which I've had my fair share of caffeine over the years. And what I've come to understand is that it actually doesn't [music] create energy. It just shifts your perception of fatigue. What does generate energy though are physiological [music] processes that rely on hydration and electrolytes. And that's what Element continues to build around. 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[sighs] you know, I I don't it take it took a while to realize even when it started to work out, there's still just the idea of like there's no way that this will continue to work out, you know. So, I think there's been a level of always sort of being apprehensive of, oh, it's all working. I think that uh you know, once Footfist Way got made and everything, we started getting all these opportunities. It was it was really like a whirlwind. Uh >> but even that didn't go exactly to plan, right? Wasn't wasn't the original idea. You're going to go to Sundance and like light up light the world on fire. >> Yeah. And then we went it didn't sell there like uh you know we we made that movie for 75 grand. We shot it in you know less than 3 weeks. And uh Jody Hill and myself had been out in LA for a while at that point all just trying to make a living. And I think both of us were at the point where we're both realists and we're like we've been out here for a while but I'm not I don't want to you know I don't want to we're in our mid20s. I don't want to look I don't want to be here in my 40s like like pretending like I'm trying to make movies like I want to you know we got to there's still time to pivot. We're young. [laughter] So we you know >> Did you have a plan B or not? You seem like a plan B guy. >> I you know I didn't really have a plan B. I I was I I felt like if we if we really stuck with it that we would be able to eventually find that success. And so I think for a while we got out here and I think you're kind of like waiting for someone to find you. And I think Jody and I had been out here long enough that we were like I think it's just I think it's time to show them what we can do. And then hopefully you know opportunities will come from that. >> And so Will Ferrell and Adam McKay like the movie circulated some interesting people saw it. Those guys jumped on it and decided to distribute it. >> They decided to distribute it and then that uh that really launched everything. I mean, I was, you know, doing these interviews for this book and just thinking about being walked through the history of it. It it's really sort of insane because when that, you know, I went from not having a job to that movie coming out in Sundance in 2006 and in the next year basically in one year it I I booked uh Hot Rod, then Drillit Taylor, Heartbreak Kid, Pineapple Express, The Pilot for Eastbound, and then Tropic Thunder. And so it was going from never having any experience in this industry at all to like that's what the next year >> it happened like in such a compressed period of time because I think when you did Tropic Thunder I mean you were only you were like a year into this. >> I was a year into it. I'd met Ben on the Heartbreak Kid and he uh he showed me the script and wanted to know if I wanted to play. And I mean even just meeting Ben Stiller was awesome. I mean I always loved Ben Stiller. Uh and I really loved him as a director too. I thought that, you know, I had, you know, I loved Cable Guy when it came out. I remember thinking like how dark and awesome it was and uh so the idea that he was making a movie like that and I remember reading it and just like this is awesome. I love the scope of it. It's so funny and he's going to direct it and yeah, it was just a real pinch me moment to be involved with that. I mean I I remember going to the table read for that and you're just like I mean every it was that was insane. Yeah, just a murderer's row [laughter] of talent was trembling every time my guy had to speak like oh Jesus. >> Um I mean that's an oldtimer and that really was this golden age in you know feature comedies like it's they're they're so rare and few and far between these days like the culture has shifted. It seems like all the comedic sensibility is now in television and obviously that's your you know that's your that's your sweet spot. Why do you think that is? Why aren't we why aren't we see like what happened to the Wedding Crashers and Something About Mary's and all of that that we used to see pretty consistently coming out? >> You know, I I I you know, I'm not you know, I think there's probably a bunch of reasons. I do think that TV has allowed, you know, comedy really works well when it's niche, you know, like when people are get really specific about their sensibilities and there is always something about you and your friends finding that like weird comedy that speaks to you guys, you know, and it becomes your shared language. And I think TV has allowed that. It's allowed you to have all these really unique voices from the Nathan Fielders, the Tim Robinson to Eric Andre and you know that this stuff is u is really specific and it's really funny and uh if that stuff had to be boiled down to like a four quadrant you know movie in the theaters that like worked for everyone like who knows if those voices would uh would be as funny by the time it did that you know so I definitely think that that has given an opportunity for comedians to get really specific and find their audience and and have success in it. But I also kind of think it just kind of happened that like that group of all the guys who had the power, they all just got rich and all stopped making comedies at the same time, you know. And so then it was like I think it was like left where there was suddenly like everybody was wanting to get into serious movies, but ultimately and you know, it's not like anybody could make uh Tropic Thunder. You know, Ben Stiller could make Tropic Thunder because he had put in the work and he was respecting the industry and he had a record of success. And that's he that was a moment in time like uh you know I think people are like well they wouldn't make that now but I don't think they were looking to make that then I think it was because Ben wanted to make that >> seen that movie got made at all. >> It really is and it's uh but again it's like you needed it wouldn't have if it wasn't him if it wasn't him with his track record pushing something so provocative and so cool and competent. At the end of the day, >> it also feels like when you're making a feature film, there's so much money involved and that means that studio executives are going to start asking questions about likability of the protagonist and stuff like that. And when and when kind of simultaneously shows like The Sopranos are are really, you know, gaining traction in the in the cable television space, you're seeing an opportunity to explore more anti-hero type figures. And, you know, I don't I don't know if you would consider your protagonist anti-heroes, but [snorts] >> you know, you're certainly not thinking about how likable they are when you're making them. I mean, there's a humanity to them and you have obviously have an affection for these people and you're you're not judging them, but uh you know, it's it's you're you're you're really pushing people to like get on board with these guys >> that that 100% and I think it would that that that way of telling stories with those kind of guys I think was an answer to that very note that everything was you know we were being told that you know how likable characters needed to be and Jody and David and myself you know going to film We really responded to like those 70s movies where you would have these complicated characters, you know, Jack Nicholson and Five Easy Pieces or Rip Torn and Payday or even Dairo in Taxi Driver. You know, these were not likable guys and those movies uh were awesome and they were having an impact on us and they were telling stories that um that felt distinct and they felt unique and it didn't feel like something you'd seen before. Um, so I think when we started kind of getting into it, you were like, especially at that time too, I feel like in the '9s, in the early 2000s, a lot of the comedy was just so like he doesn't want to grow up or he's unlucky in love and, you know, which, you know, can be fruitful for comedy, but it also just felt like it had been well traveled that it was like you had to find uh a comedic engine that wasn't just a guy looking for a girl, you know, that there needed to be more. And so I think when we started turning that lens on to oh it's somebody who's at a crisis in their life and it isn't just centered around like whether they'll find love or lose their virginity. It's sort of like their entire worldview is shattering or they're not who they think they are. It just started to feel like it was more dangerous area to tell a story or something that you could do a little more unique. >> It feels like there's a lot of white space for the backrooms Kane Parsons of comedy to suddenly appear right now. and like rewrite that whole narrative and come out with something like we never thought of before. >> I I I think it will it's only a matter of time inevitably. I think that is exactly what will happen >> because right now it's sort of horror sci-fi. Um but horror horror and comedy are are I think are more aligned. I mean you've obviously you've written in horror and you've made these horror movies but they're they're they're like bedfellows I think more than people realize. >> I think they definitely are. And I don't think it's like a coincidence that you have, you know, guys like Jordan Peele and uh Zack Kger who are, you know, their start was in comedy and then now they're successful horror guys. I think ultimately like my opinion on it is that you're you're creating a ride for people and whether the outcome is you're making them jump or you're making them laugh, you're thinking about your pace, you're thinking about how to sleepwalk them into thinking one thing's going to happen and then hitting them with something else. And I think that when you're looking at stories through that mindset of like architecture and structure, uh, you know, it's I don't know, it's a fun way to tell a story. >> How does the process work for you? Does it begin with, you know, you see a guy and or you overhear a conversation at Costco or something like that and you make a little note or >> is a narrative appearing in your mind or is it a character and then how do you take that and then flesh that out into something that's going to work on on the screen? you know, whenever I have an idea for something, I kind of just will open up a document on my computer and I'll just like freewrite anything like, all right, I'll just, you know, and it won't even have to be fully formed. It can be a a scene that I run out of steam on and just draw a line and just jump to something else. And I'll just peck at a concept like that for a little bit. And then usually if you get like a scene or two that's like, "Oh, I like what this is. I like what this is doing." And then you kind of I'll start building things out from there and figuring out what works and >> kind of the you know I so I feel like that's in my past it's been finding things that way. But then once I'm committed to a story everything I'm taking in ends up just being me looking into the world of how the stuff I'm seeing can inform what I'm trying to write, you know? So, if it's on gemstones and we're working on that, like suddenly everything I'm seeing on my dayto-day is all sort of processing like how can this uh how can this factor into what I'm doing? And I don't know, that's kind of like creates a weird alchemy because you start kind of looking at life and your situations you're in of like I'm working on this story and then I happen to be in this grocery store the same time this random person is and the the pants they're wearing is making me laugh. So now the pants that my character in the show are going to be that and like that moment would have never happened unless I wasn't paying attention in my life and seeing how things around me can influence what I'm working on >> for gemstones. Did you like drop in on megaurch, you know, services or did you interview some of these pastors? >> I interviewed a few I interviewed a few different megaurch pastors. Uh and this is before I had really written anything. you know, when I moved to Charleston, um, you know, there was a big adjustment to go from Los Angeles to Charleston. You know, growing up in the South, I I knew what I was getting into, but it was just a lot different. I mean, even just driving around, I would just oftentimes just get in my car just trying to figure out the town. And I would just go on these long drives just, you know, just cruising around, getting lost, trying to figure out all the roadways and where everything was and what was around. And I really couldn't shake the idea of like how many churches I was seeing. I'm like, "Oh, this is kind of crazy. I hadn't really thought about that." that. But in LA, I just wasn't, you know, it wasn't as prevalent as it is here. Like they were everywhere. And um even on the radio station, it was like every other station was a religious station. And uh and it just got me thinking about, you know, church and about my upbringing and how I went. And um and it made me wonder like what how was it different than when I went. And so I started just looking into these mega churches and seeing how these things functioned and what the services were like. And yeah, and then from there I was like, I kind of want to talk to people who are a part of this world and and learn about the process and how these things are structured and how they're built and how they do it. >> Also, it's it's just another one of the pillars of American society is sports, education, and now like religion. Yeah. [laughter] What's left? We have politics. There is your your VEP is waiting for you right now. It's although it's, you know, we're already we're just watching episodes of it every day already. Um, >> that's cool, man. It's such a keen insight into, you know, what's ludicrous about how we live our lives. And I would imagine like on this this press junket that you're on right now, it's like, okay, you're you're illuminating the foibless of the modern American man. Like, are people like, "All right, Danny, so what's the solution? [laughter] This is your this is your uh self-help guru moment, you know?" [laughter] >> You know what? I have no answers. I I am uh I feel like, you know, we've been pointing out this we've been pointing out this type of dude for a very long time. You know, that this is that this, you know, I think we uh yeah, we just saw where culture was going and where um our ideas of what it takes to be a solid dude. Like, you know, I don't know like how what was expected and and what the outcome is. And you know, I don't have what the answers are for it. I mean, I uh you know, in these stories, the answer usually always kind of like lands on the person themselves. You know, coming to terms with who they are, what they want, and being okay with the idea that like life isn't always going to be about what you think you need. with that, how do you make sense of like the quote unquote manosphere and like these characters like Andrew Tate and like clavvicular and like looks maxing, you know, as a parent also like the impact that you know these people the the sort of influence these people wield on on young people. >> Yeah. You know, luckily like my kids haven't gravitated towards any of that stuff and uh I don't really even know much about any of it other than what I like, you know, hear, you know, here and there. These these people are speaking directly to your characters. >> Yeah, totally. Yep. I uh Yeah. I mean, you know, in my house, I really have I try to like limit my kids having access to all this stuff, you know, and being uh and I just try to be present in their lives. So, if they're listen to anybody's take on the world, hopefully it's mine and my wife, my wife's and not a stranger online, but inevitably it's >> But even outside your house, just on culture, you know, writ large. >> Yeah. You know, I think maybe that's part of the benefit of being in Charleston is like we live on a creek and the kids in our neighborhood are into fishing and they're into, you know, getting out in the water and uh I don't know. It doesn't uh I don't see it as uh it's not as pervasive there. I guess >> uh it is pervasive though. I think it's I think it's a it's it's just a reaction to the you know kind of the the existential crisis that these people have. like there's an emptiness in their lives and then so and so comes along and says I'm going to solve this problem for you. You have to sign up for like my academy or whatever it is and you know here's the 12 steps and then you can be you can be you know in your full expressed masculinity and it's always and it's it's always rooted in grievance also. you know, it's somebody else's fault. It's not your fault. And you have to claim your power. >> And it's praying on the vulnerability of of >> It kind of feels like that's what everything does though, right? I mean, isn't that that's like that could be that's kind of what religion has done for years and years for, you know, generations of people is that everyone is always like looking for the answers outside of themselves. And, you know, I think when you have the internet, obviously, there's like there's more people that you have, you know, the ability to reach that you can give the answers to. And you know, I think that that's just, you know, that is just what we're up against, right? 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How does the evangelical community perceive you when you run into people like Yeah. >> You know what's funny is I think that because we I was really adamant when we made that show that I didn't want the joke to ever be religion. I didn't want the joke to be about people's beliefs. You know, I really wanted the joke to be about this family and about their level of hypocrisy. But I didn't want to paint it like this is what everybody who's religious behaves like or acts like. And I really didn't want it no jokes about like isn't this crazy? These people believe this. Like I didn't I never wanted that to be part of what that story was. And uh and I think because of that we were able to get religious people watching that show too cuz I don't think they felt like they were the butt of the joke. You know I think if you're really religious uh you see gemstone people in your in your world and I don't think that you necessarily like it. You know, I think that there is, you know, false prophets have been around for a long time and it's something that people can identify and um so I feel like that actually worked in our behavior in our, you know, in our benefit. I had spoke to this one megaurch pastor early early before we the before there was even a concept uh out in the press about what the show was. And um it w and and this family was very kind to me and they showed me, you know, kind of how it, you know, just very basically how this operation worked and how what their thought process was behind church planning. And it was really enlightening. It was a cool conversation to have with them of how they approached building churches and where they decided to put them. And um I made the show. I didn't see that pastor again for years and years. And then I ran into him one time and I was like, "Oh god, this is after the show was done." And I was thinking like, "Oh god, what's this conversation going to be like?" And he came up and whispered whispered to me. He said, you know, I can't tell people that I've seen it, but you nailed it. [laughter] You're like the secret guilty pleasure of the hardcore evangelical. You know, that's hilarious, man. The book is 10 stories. It's sort of an anthology, you know, the misadventures of the modern male. uh why why do it that way? Why not write a novel? Did you just have too many threads in spinning around in your mind or >> you know I think it was a little bit of just creatively as an answer to what I'm was trying to kind of like change up is that you know gemstones I wrote on for seven years and so I loved writing on that show. I love writing those characters, but it's seven years of every time you sit down to create, you're you're doing it through the lens of these characters in this world. And I think there was just a I had a lot of ideas. And so for me, it was kind of I liked the idea that I could think of something, you know, a lot a lot of different ideas, a lot of different characters. And with each story, I wasn't having to like, you know, TV writing is so much that every episode is a part of the story and then they're all connecting to tell a larger story and and then each season is telling an even larger story. >> This was kind of nice to be able to like launch into a story and take it to its completion and then that's what it is, you know, and then you could jump to the next one and and start from a completely different place. And so there was something that was fun about that of not committing to just one story, but being able to really explore a lot of different ideas and different types of people. >> They all occupy the same world though. I feel like all of your characters live in this. They could all be, you know, they could be interacting with each other. You know, there is a universe of, you know, that could be expanded upon [laughter] there, you know. >> Um, and the stories are great, man. You know, like it opens with the, you know, the frustrated divorced guy who decides he wants to be a a magician and he's going to put himself in a cube in the mall hanging from, you know, on a crane and it's just like insane, you know, >> the former sitcom actor. It's just, you know, and and they all have these weird turns and then everything goes insane, you know. Um, >> it's really well done, man. Super enjoyable. I mean and and there is something durable about writing a book you know that's different from I mean it's cool that younger people are you know kind of cottoning on to eastbound and down etc and there's a extended lifespan for some of the work that you've done but a book is a whole different deal altogether it >> it's it's really been interesting because you know I was talking to my wife about it it's like it's not like I haven't done things that people have seen before but this does feel different. Even just my friends who sort of will roll their eyes at whatever new thing I have out like, "Yeah, sure. Another TV show. Great work, Danny." This one is sort of like there is like, "You wrote a book, man." Like it's an accomplishment. Yeah. I don't know. [snorts] >> David Gordon Green said uh that your your media diet is basically being a voracious reader of great books and then watching the mo the trashiest reality television. So, it's this like high low approach. Um, but you know, might people might be surprised that you are such a an avid reader and like this is what you spend like most of your free time doing. >> I just like, you know, I've just been enamored with stories and storytelling. I always have and so I just read because I love watching how people construct stories or how people tell stories to take the ride that someone has constructed and and take that journey. I love it. Um, yeah. Yeah. And with TV, my TV viewing is really crazy because I just I have a really hard time just kind of like investing in TV shows. And usually I'm always behind on all the stuff that everyone says is amazing. >> Yeah. Because you're [ __ ] busy. You're making it. >> It is. And then when I sit down at night too, I just don't want to uh I don't want to be trapped where I have to watch something like so that reality TV is I can half pay attention. Uh and and I and all of it honestly though is like great character work. It's like you're just seeing all these train wrecks. You're seeing all these ways people position themselves in group dynamics and I just find it really entertaining. >> Do you feel like any of the stories in the book could be fleshed out into into film or television projects or is that you're just this is what it is? >> You know, I was approaching it where this is what it is. But definitely now that I'm past that point now, there is there are a few stories in here that I'm like, "Oh, I would like to do more." And you know, one thing that was a lot of fun with this is we did the audio book for this. And um I'd never done anything like that before. I'd never read on an audio book. And that process was so much fun. And I was able to get a bunch of uh a bunch of really talented people to come in and read these stories. >> You had you had people voicing the different car Oh, that's cool. >> Yes. like Walton Gogggins reads and Goodman, some of our Adam Divine and Edy, but then I got Sam Rockwell and Billy Croup and uh Sturgil Simpson and Eric Andre and Shane Gillis and everybody, you know, reads these different stories and um I even got my composer Joey Stevens who does all the music for our shows. He he created a like, you know, a score for each of the stories that kind of like takes you in and out and um I think it's a really fun way to experience this book. It really is. and and just hearing actors bring these characters to life, it definitely inspired me into thinking like, yeah, it might not be bad to see some of these things pushed further. >> You're also an entrepreneur. I mean, you started this company and it allows you to do what you want to do with like working with the system, but sort of outside of it. It's kind of like a dream situation, but you're running a business also at the same time. You got all these people that you're I guess semi-responsible for >> their salaries. I mean, there's so many projects that you guys have done, but it's it's a whole enterprise on top of this whole thing. >> It really is. And especially moving to Charleston, you know, part of the idea of that was, you know, we had always shot eastbound in the south. We shot uh vice principles in the south, like we provided a lot of jobs year after year for a lot of people in that region. So being able to bring something like gemstones there and give the the really talented people in that part of the country like steady work in their backyard where they weren't having to travel to another state to find jobs. Uh it was really awesome. Um and then like you know when Gemstones wrapped up and it was time like to write this book I really felt the weight of that of like you know there's a lot of people that are like looking for gigs now like we need to we need to come up with >> and they're not they're not working when you're writing a book. >> Yeah. Exactly. And I felt that for sure this last year. I definitely felt uh that I wanted to uh I didn't want I don't want people to start looking for other jobs. You know, there was a lot of really talented people that we've worked with for years and you know, so much of the production is going overseas or into other countries and um yeah, I just think it's important to keep things here and to give people in this country a chance to work on these projects. And I loved that we could make things in South Carolina. You have people who probably feel like they're so far outside of the entertainment industry showing up to be extras and it's their first experience ever being around something and you know, who knows what that inspires in them and I I like trying to create those situations for people. >> How do you think about the the future of media? I mean, here in Los Angeles, it's just a constant conversation about like AI and how, you know, production has fled Los Angeles and the economy is cratering and all these people that, you know, were basically like middle class um employed people within the studio system and their various jobs like that's disappearing and you know what's going to become of this industry. >> You're in a whole like your own little bubble out there doing your thing and it seems like it's all going fantastic. But but we we feel it even out there. I mean, it's, you know, it's people aren't buying as much stuff. There's not as much action out there. I mean, we we definitely feel it, too. And uh >> yeah, I mean, I you know what? I have no clue. I mean, I definitely think it's a scary time in the industry, but I really would think at the end of the day, people aren't going to get tired of seeing stories and hearing stories and uh you know, the business is just going to have to sort itself out. But it's really amazing to see something like Obsession that's made for 750 grand and the reach that can have, you know, and hopefully that um inspires more people to approach film making that way. >> It's made young people psyched about going to movie theaters. You know, >> I I think about when I went off to film school in 95, you know, it was like that that like year was sort of like Pope Fiction had come out. >> It was all happening. >> Yeah. Clerks had just been out. Desperado was out. Uh, Brothers McMullen, like Billy Bob Thornton was making Slingblade. There was just all of these movies in that short period of time that were coming out of left field. And that definitely inspired my friends and all of us. And so, it doesn't take much, I think, to light the fire for a new talent. You know, I think you just you have to see those examples of those kind of stories breaking through and then it inspires a whole new batch of people to try their hand at it. >> Yeah. the the old guard is always going to, you know, lament like the way that it used to be. But, you know, I think I'm like 10 years older than you, but I remember distinctly when Sex and Videotape came out and Reservoir Dogs and it was like there was so much excitement. It was like, this is new. This is different. >> These guys are rock stars. And then everybody wanted to be an independent director. And it made people believe that they could so that Kevin Smith could cobble together 5 cents and like make clerks and people like you who were even younger could start to, you know, marinate in that dream. >> Oh, we like, you know, we're we're sitting there in film school watching those movies, watching uh Wes Anderson and Owen Wilson and Luke Wilson make Bottle Rocket, you know, and to us we were living and breathing that stuff. I mean it was it for us it was like this is exactly what we want to do and here's some young guys doing it and um yeah it's not to be underestimated the value of even one thing finding su success what that can generate for other people >> and that was a period of time where it's still even at the lowest budget it's like you needed film and you need it's like you don't need any of that now and you don't even necessarily need distribution because we all have YouTube and >> you know we've seen what Kane has done by building his audience over time with the work that ultimately found its way and kind of matured into back rooms. But, you know, it's a whole different time right now. And, uh, I think there's so so much to celebrate and be excited about. >> That's what I think, too. I think that it's never been easier to find an audience and now we just need those artists that take advantage of of that. >> Yeah. So, what is next for you then? Like, how do you think about the next project? I mean, you're coming off like I mean, I'm sure Gemstones was exhausting. >> It was exhausting. It was so much fun. Uh but yeah, it was definitely exhausting and so I definitely needed to uh I needed to decompress after that. And that's why this book was honestly perfect is because you know my hobby is writing and so once I finished uh Gemstones was like I I need to take a break from that level of work but I still want to write. I still want to create things and so this was like a perfect thing to drop into and dedicate my time to. And >> you know it's been fun to now this is out there in the world and people can enjoy it. But um yeah, you know, I got a few things over at HBO that I'm developing now. And uh the thing I'm the most stoked about is that um John Couture and Jeff Rally, two of the other my collaborators on Gemstones. We uh we sold our pitch to uh Paramont to relaunch G.I. Joe. And so we got them a script that we're really fired up about and we're trying to shoot that next year. >> Uhhuh. >> Yeah. >> You were a G.I. Joe guy growing up. >> Massive. I read that. [laughter] I read that. Um, I'm not going to be the guy who's going to ask the artist to explain his work, but if you did have to kind of crystallize, uh, you know, this guy that you know that it's like every one of your characters is a different version of kind of the same guy on some level. Like who is that guy and why does he mean so much to you? Why do you keep kind of um returning to this exploration of uh the modern American male and his, you know, frailties and and fractured relationship with his masculinity, >> you know? I don't, you know, I'm not sure why it is. I mean, I think that in my brain where it goes is, you know, like I said, growing up in a town like Spsylvania, Virginia, where it's just like you're in the you're in the everyday world. uh that's the world where stories that appeal to me take place and uh but you want those stories to resonate with people. So I love the idea of characters that live in our world but have sort of this epic imagination of who of how they fit into the world and what they're doing. It's almost like all these guys have read Joseph Campbell and uh and they're assuming that they're the hero and uh and then the reality is that they're not, you know, and that I just think there's something interesting about uh about taking a character on that journey. And maybe that's because that's the ultimate thing that maybe uh we're all quietly up against and like what you were saying with people searching for, you know, clavicular or any of these influencers is like everyone is trying to figure out how they win and that's what it is. And that's >> you have to walk a tight rope to portray these characters in a way where they're not >> um cartoon figures or or people that you're making fun of. Like there's always this like How do you do that? How do you infuse them with that so that we're kind of on board with them and despite all their bad behavior, we still kind of want it to work out for them? >> I think it's just like treating them real, like giving them depth. I think that that's what all of it comes to. You know, I would [snorts] find myself a lot of times when I would watch like traditional comedies that I would always like be laughing in the first 30 minutes and then in the second act you kind of like they start introducing reasons of why you should care and then usually the third act you're kind of like checking your watch. It's like okay it's done. I've got the joke. Um and so I think all of this stuff is ultimately like let's make these characters not just uh you know vehicles for punchlines. Like, let's do that and let's make them as funny as we can, but like let's inject depth into them and layers into them so that once you get to the third act, there's actually something for the audience to care about or to root for or to want to see resolve. And uh and I think you get that from depth. I think you get that from treating them like they're real. And um you know, the people that I really have enjoyed working with, you know, in front of the camera like Walton Gogggins or Edie Patterson, John Goodman, like these are all great great actors. And the thing I love about them is they're never they're not they don't get excited about just the jokes. They get excited about the idea of how to inject the humanity >> the like Goodman is just oozing pos. And no matter what he's doing, you know, you know, he's going to bring that. >> And so when we when I find those kind of collaborators, that's the perfect recipe for what we're trying to do because at the end of the day, that's what we want. We don't want uh we want people to laugh. want them to be entertained, but at the end of the day, you do want people to care about these people and and imagine that they could be real. And I don't think it's about justifying that type of person or what that person does, but I do think it has to uh we're all capable of like empathy and we all kind of want to understand the people around us, even the worst examples of the people around us. I think it's it's better to try to have understanding of why they they they tick that way as opposed to just write them off. Do you think you can still find the satire in like our incredibly satirical world? >> I think I I think I think you still can. Yeah, I really do. >> How did you learn how to how to do that? Was it just through experience? Like just the many years of banging, you know, banging it out, >> script after script? >> I think so. I think that all of the every every project I've done, there's always been a sense of uh when you approach the next one, like you just I'm never satisfied with what we've done. I'm always sort of I like this and I like that and but I'm always very like but next time I would do this or I would do that or I would have a character that does this instead. So I think with all of it it's just trying to push myself to to >> to you know refine it to make it better to push myself to try something different. >> And on the day-to-day basis is it more Steven Presfield War of Art? I have I'm a pro and I sit down and this is the time and nobody bother me or is it like you and your buddies getting stoned and [ __ ] around? No, it's definitely it, you know, it used to be that for sure, [laughter] >> but it definitely has uh, you know, it was really easy to do this job when I didn't have kids, you know, and I, you know, even just my, you know, it was just a girlfriend at the time before my before G and I got married. Uh, you could be really selfish with your time and you I could, you know, I could work all [ __ ] day long until 4:00 in the morning and like, you know, I could just I just would give all my time to the job, you know, to creating. Uh and then once kids came around, it started to be like I don't I don't want to give that much time to this. I want to get the the result, but I also want to I have other jobs now, too. I want to be there for these kids. I want to uh be a good partner for my wife. I don't want to like, you know, push all these things off just because I'm making a TV show. You know, I I got to find the balance of it. So, um you know, it just you kind of just end up adjusting. And I found what worked for me is just I just get up at the ass crack of dawn every day. Like I get up at like 5:00 in the morning and I just jam in the morning before everybody else is awake, you know? And then by the time the kids go awake, I already have started something that's got my mind working that got that has me excited. I can sit down and be present for those guys and get them to school and I drop them off. Then I come back home and I jam more. And then I I just Yeah. I just try to find the time that works that doesn't like make me sequestered off while the rest of life is happening and I'm, you know, hammering away nonsense and dick jokes. you [laughter] you've worked with so many brilliantly talented people like what what what lessons have you learned from you know I don't know Will Ferrell, Ben Stiller, uh uh Jud Appattow, Seth Rogan, like all like what are some of the lessons uh that have translated and kind of, you know, found their way into your work that have been meaningful to you? >> You know, one thing that I admired about all those guys is everyone that you mentioned, they're all really nice people. They really are. And I think that even, you know, you hear these horror stories of how uh like how people can be divas in Hollywood or how they can, you know, it's cutthroat. And with all of those guys, there was always a sense of camaraderie. You know, Jud and Seth and their camp, like there were so many guys that were always on those sets that were around from Freaks and Geeks. And there were all, you know, friends and buddies. And, you know, Stiller has his Stiller has his crew and, you know, Will had, you know, there was so many friends that, uh, were in that circle. Uh, and so I liked that I cuz I I felt like that that spoke to what my experience was with my friends of that you can you can do this job and it's more fun to do it with friends and it's more fun to give buddies opportunities and uh and to be loyal to people. >> What's the advice that you give to young people, young filmmakers, aspiring writers? >> You know, the advice I got when I first moved out to Los Angeles was it was from like a guy who was uh I like had a meeting with. He was like he was like, you know, working out of his like Toyota Corolla and he was, you know, he was like looking at me to see if he wanted to manage me as a writer and he didn't want to. But the uh the the advice he gave me is I was like, "Well, what do you think? Like what how do I get going here?" He's like, "Look, it you're not going to do what you want to do for a very long time. Find a job that you know you'll be okay with in the meantime that doesn't make you want to kill yourself." And then he drove away and it was like, "Shit, this is going to be harder than I thought." And uh but I think that that was really solid advice because I think sometimes, you know, >> not relying on your art to pay the bills. >> Yeah. and to know that like it's going to be different seasons of your relationship with your art, you know, and maybe in the beginning just getting that proximity that could be even though it seems like it's the right move like I got to live in LA where it's happening. But if to afford to live in LA means that you got to like work 16 hours a day and you're, you know, living with four people in an apartment, you know, that might not be the most conducive way for you ultimately to like write or to achieve what you need to do. So, I think it's like finding a position for yourself where you can actually live a fruitful life and you can find inspiration and you can figure out how to pay the bills. And it might mean not being in the heart of a expensive city. It might mean like, you know, living somewhere that's cheaper in in in figuring out how to create your masterpiece outside of the system. [snorts] >> And what's the feeling that you want people to have uh after reading your book? >> I hope that honestly that they're entertained. I mean, reading has been something that I've like been passionate about since I was a kid. I mean, I started reading Stephen King when I was like in elementary school. I've always loved uh I've always loved books. I've always loved being in the middle of stories. And I think in this day and age when these screens are so present and there's just this constant flood of information coming to us and seeing everything. Uh for me, books have been a good antidote to that. You know, every time I feel like I want to scroll or I want to look at something I have no control over and get angry about it, I find that it's more useful to put that thing down and to pick up a story and to pick up a book. And uh I think in general it just chills you out. It just puts you in a mind space that uh I don't know. I just always my life always feels healthier when I'm in the middle of a good story. >> Who are your guys? Like other than King like who are >> I grew up I grew up on all the horror stuff. Like that was I think what got me into reading. uh because it didn't feel like homework. I was always with with the horror and the thriller, I always was curious of what was going to happen. And that was the way where I as a kid wouldn't just like be uh intimidated by the page counts. Like the pages I would stop paying attention to because I just wanted to know what was going to happen. But as I got older, um I mean I love Larry Mc Merry, I love Cormick McCarthy, uh George Saunders, I love uh Jack Vance, this uh fantasy writer, I love Jim Thompson. Uh, you know, yeah, I I really go through so many uh so many different writers. >> Mhm. When you started writing horror, you did Exorcist, the Halloween movies. What did you have to learn or unlearn from being so, you know, kind of comedyrained, >> you know? It's it's interesting because even when we write our comedies, we don't write them like they're comedies. like we will write them like they're serious, you know, and then we'll find ways to inject humor. But a lot of times we'll strip jokes out of the scripts just because like oh this is like pushing it too much. So I think in that regards we approach that first Halloween the same as we would approach anything, you know, just like what's the story? How do we land it? Who are these characters? How do we make them real? >> Same principles. >> Same principles. Yeah. >> Um this was great, man. >> Thanks for having me out here. Weather is incredible. The sun even came out. Thank [laughter] you for traveling all the way out here. Uh all the way from Spennsylvania to be here today with me. Um it's a treat to talk to you and uh congrats on the book, man. You did a bangup job. It's [ __ ] awesome. And uh I'm sure people are uh going to love it. I mean, it just came out this Tuesday, right? >> This Tuesday. Yep. >> So, we'll see like a week and a half from now when people have finished reading it. They're like, "What's this dude think he's doing?" >> But the audio book, when is the audio book coming out? >> The audio book is out now. >> Oh, it's out now. I didn't know that. I thought it was still being worked on. >> Yep. No, that the turn around time on that is fast. >> Yeah. Yeah, that's right. [laughter] >> No overhead either. No shipping. >> No, no shipping. >> Um, all right, man. Well, best of luck to you and uh and uh [music] win in your sales, my friend. Thanks, dude. >> Thank you very much. I appreciate this.