"RE-RELEASE: Tom Hanks"

I'm going to do that today is--

Oh, sorry, today, yeah, good. Today, we're going to have a nice-- I was just the last time you started the last one, I was going to start this one. Okay, we're just doing an intro.

So it doesn't matter if you're starting. So I'll just do it. So today-- Oh, I thought, oh, let me just do it. Let me just do it.

Listener, here is smart. Five, I-- Okay, smart. [MUSIC]

“Listen, I think it's been three weeks since we've done this.”

Since I've seen you since I've talked to you. And I have to say I've had some long drives in the last three weeks, so I've gone ahead and done some quality control, looking, listening to our podcast. I'm not great at it because I'm listening to them.

They've already reached the public. So are you picking up some long-huller miles? Some deliveries? What's going on?

I've got some five-hour energy cases I'm trying to get through.

Okay, sure. So it's really been nice listening to you fellas. You're both very talented and very funny on the podcast. I'd really like to be more a part of it. But so I was very excited to start a bit.

I was very excited to see you guys today. But then this morning, this morning-- This morning, a real dark cloud fluttered over our family here at-- And this morning, a real dark cloud fluttered over our family here at-- And this morning, a real dark cloud fluttered over our family here at--

Is it possible to say, is it possible for a dark cloud to then give you a gut punch? Is that possible? Sure. What happened?

Yeah. Well, why don't you take it from here? Well, Jason read something that I read. We all read it. Oh, God.

Well, I read it. Actually, I read it after you sent it to me. I don't actually, you know, it shone sent it. That shone sent it before I read it. I don't think so.

Sean sent an article to Jason and me in the thread that we're in. With some fainte exclamation points. Like, yeah, this is great for us.

“And by the way, why am I going to put it out there?”

If anybody thinks they're worthy of being in the text thread, let us know in me-- Well, add you a pretty one, though. Yeah, well, add you to thread. And Sean says, congrats for us.

Yay for us. And it's a click to the Hollywood Reporter. Smartlist nominated great. Nominated for a bunch of podcasts towards or whatever. Which is kind of neat, because this is, you know,

this is an embarrassing moment. Pop operation. Yeah. We're worried about we apologize. Yeah.

The fact that we're getting any traction whatsoever, let alone nominations just thank you to you. I believe it, it's pretty great. Thank you, and also it's embarrassing. Jason's dreaded is kind of embarrassing.

So then, as you read further down in the story, they're nominated best podcast, blah, blah. And Sean, he's nominated for Best Host. Which is the worst-- which is the kiss of death, 'cause now it was like, well, he's not really that great.

Well, I don't think they're saying it on the side of their mouth, either.

“I think he comes straight out the center.”

Straight out. And he's my thing. Today, I can't wait to see you host. Yeah. Yeah, let's see what you guys host.

This is going to be the worst experience for me. Well, the voters are now listening, right? Because nominations are now they really have to decide-- Hey, attention to his hosting. My questions are still going to be like,

hey, where are you from? Yeah. No, don't worry. We know that. That obviously resonates with the jury over there. I heart media people have made a bunch of mistakes. We shouldn't say, we'd Sean said, what's your favorite color?

I mean, let's nominate that jackass. Yeah, here we go, geez. I'm not going to be able to come up for air for a while. We're thrilled for you, Sean. Yeah, we're thrilled for everybody.

And I said, I said to Sean, by the way, I did say congrats, man, and he was like, oh, thank you. And I responded, I didn't mean it. What are you doing? What are you doing, Jack? I responded with, I didn't mean that.

I truly didn't know. I didn't read the article. I just read the headline. Like most people. It is true.

I think Sean might be the kindest man I've ever done. No, I'm not possible. No one deserves it more. I don't around you, too. All right, zip it up.

We've got an interesting guest today. He's known primarily in New Zealand and South Africa. I do to his success in rugby. Florida then came to love him when he pivoted his talents towards highlight and dog racing.

And then when he was in California,

it was attempting to be the first two successfully

men the San Andreas Fault. He tried his hand at acting. And while fame and fortune, there has been scarce at best. Some call it a wipeout.

The critics have given him a few hugs. So he has received a couple of Academy Awards and seven Emmy Awards. What? He's got himself a Tony nomination event.

Hey, hey, hi, hi. Life who has a kind of award. Yeah, he'll turn it around. He got a lifetime achievement award from AFI. A BAFTA gave him something.

This is the Golden Globes. Give him the Cecil B. De Mil Award.

And Barack Obama gave him the presidential medal of freedom.

So I say chin up. I say chin up to this fella.

“No, this is the most highly decorated guest we've ever had.”

I would say so. Yet he's famous and fortunate in our book, OK? Please welcome the forever struggling, but always diligent. America's own in Hollywood's best.

Mr. Tom Lamar Hanks. No, no, no. Yeah, and I know that Sean was the host of this part. Yeah, I would have bailed. I said, guys, I'd like to.

But, you know, I don't like to work from home. Apparently, you're working with one of the brightest hosts in the business. Is there a name for this award? Does it name after somebody?

Is it? It's called the Aorta because it's from my heart media. Oh, I, oh, OK. I, oh, that's not true. But that's, that's my pitch.

What am I hard-hitting nominee questions? Is where are you right now? I don't recognize that room. I'm in a tiny little cubby hole that is here in my vast compound somewhere in the dry state area.

I'm telling you, dog racing really pays, guys. You got to look into it. It's within a single day's dry from Lakewood, Ohio, home of the Great Lakes Shakespeare Festival. Wait, you did, is it true?

No, no. Are we ready to play? We're already plugging a festival. I mean, as well as a long time ago. Oh, I'm sorry.

Wait, did you really do dog racing? No, dumbass. This is why you're not going to win. You're the worst host. Gation was demonstrating his quote, comedy chops.

Yeah, well, guys, can I write? Or what, huh?

“We're hanging on, I think Tom's onto something.”

Let's get into Jason's comedy chop in a quick. You know, I told some friends last night that I was doing

this podcast and first of all, I had to re-explain your name.

We were, yeah. You said, Sean, who Jason, what, what is the name of it? I kept calling it a helpless based on the Neil Young song. So, but now I realize no, no, no, it's smartness, smartness. We really are helpless.

And the question came up about you, Will, which is, which was this question. It's, has he started using the different voice professionally? That in your early days, you were kind of like squeaky. You sort of sounded like Jay North

and those old Dennis, the menace reruns. And you were hilarious. But then you went off and voiced Batman. And it's though you're walking around with your own self and posed EQ on your voice now.

Yeah. True or false, Will. Here, listen, like any good politician, I can't just give you a straight true false. I will say that I constantly have a monitor in my ear

and I'm adjusting my levels, my input levels. And so then I can, I can mod it. No, you know what, it's funny. I recently, you know, I often watch a lot of my old stuff 'cause I like to do entertainment.

And he has trouble sleeping. Yeah. No, but my voice has gotten, it has. But if you listen to Howard's, it's because of abuse.

I guess, are you, do you still smoke? Well, who is listening? I'm just learning. I'm just learning. We had Sean Penn on the podcast.

“He's, he went through a full pack of darts, didn't he?”

He did go through a pack of darts. Darts. That's colloquial for cigarette. Yeah, it's Canadian. He's supposed to say, "Coffent Nail."

Or, um, we're a nail. A nail or bullet. Actually, Tom, this brings me to an actual question about the nail. I noticed recently I was reading the 10th book

in the, in the, uh, gunter, uh, what's his name, series by Philip Kern. I noticed your name on the back of all of the, and I mean, you, you gave a little, uh, a blur for the back of, uh, for the Jacket of Prussian Blue,

which I'm almost finished with. Oh, that's a great one. It's a great one, right? Gunther, help me. Bernard Gunther, Bernard.

Bernard Bernie Gunther, series. He plays a, non, okay. Yeah. Yeah. Go, go, go.

Be merciful on me on this, okay. He plays a non, Nazi private investigator from 1928 Berlin through, well, after the war. Yes, right. It's a fabulous series by Philip Kerr.

Philip Kerr. The late Philip Kerr, he passed out. Yeah, no, it's too early, you know. And I read the mall and just, well, I'm not a big, I'm not a big, like detective, genre fiction writer.

I mean, either. But this had that added bonus of very accurate sort of historical detail to it that I really loved. It's a tremendous historical fiction. And you're, you're absolutely right.

And I'm with you, Tom, and, and I read, I read mostly non-fiction, and some of you read. But they said, you love all this European history. I think you'd like this. I'm fully, like I said, I just started

beginning this summer in Oman, book 10,

Prussian, and, but he always refers to cigarettes as nails.

And he gets beat up by these Nazis. And then they look down and he's spitting up, and they say, what do you want? He looks up and he says, can I get a nail? Yeah.

And you know what, when he smokes one, he looks really cool. He looks really, really cool. What I like about those books is it fills in the blanks

well before World War II, some of them take place. After World War II, and in the course of it, you see what he, what he went for. Thanks, guys, for firing us out of the gate here at the start of the interview.

Yeah, we know our listeners love literature. Go, Sean, you're the host. Let's do it. Yeah, thank you so much. Come on, by the way, Sean, I have my hand on my buzzer.

Hand is right on my buzzer. OK, great buzzer with the correct answer. Good. I want to know what your fascination with war is, because your name is so synonymous.

I've never asked you this in my entire life.

Why are you so passionate? Yeah, you're the war guy. The history of-- I love the war.

“It's starting with the highlight, I think, right?”

That dog racing, you know? First of all, we do a lot of them because none of the projects have to have cell phones or laptops. So that alone makes the writing of them so much easier. And there's much less special effects

of having to put in those screens. But I get this question asked to me quite often. And the answer always comes down to when-- in those formative years of, say, seven through-- when you're a little kid, every single caregiver,

every single adult in my life would make references

to the six two words, three letters each, the war.

And they talked about it as a great dividing line in their lives. There was before the war, there was during the war, and there was just after the war. And they talked about it as though it's almost like--

well, that was when the black plague was walking among us, you know? For a big chunk of their lives, they had no idea where they were going to be in another six months. They had no idea how long the war was going to last.

That's one big aspect of it. The other part of the two is, is that the bad guys lost at the end of the day, yeah, yeah, yeah, yeah. We were able to somehow, unfortunately, necessarily kicked the stuffing out of them.

And when bad guys lose something, it's that-- what is that power of myth of, is it? Bill Moyers, you know, the world was on a quest to defeat people that were undeniably evil. The governments of those places and many of the, many of the populists.

So I keep getting drawn back to that. And again, I will say that from a storytelling perspective. Our present day is just so, there is no shame left anymore. True, it seems to be a malleable viscous kind of like-- It's a distant memory, it seems like.

And actually, you know what, Tom, Sean, actually, within the last six months, I don't know if you remember, we were talking about all the moves you've done at the war moves.

“And Tom said, do you think you'll ever make a movie about TikTok?”

And, you know, 'cause something that he thinks about-- I was thinking about that. For Sean and Scott, there's before TikTok and after TikTok. Well, you know, if I did, it would only be about 45 seconds long. How long, how long is your average TikTok time?

And then I won't be able to wait for the sequel.

Tom, I know that you'd never compare your experience,

shooting, save a private ride to those who actually fought, you know, in all of that and during all that. But was there ever a moment, I bet there was a few moments while you were shooting that word, you got close to the feeling maybe of what it might have been like?

I mean, certainly the product, the result of that film took me there, or as close as I think I could get. But I would imagine there were a few moments there, where it just based on the quality of the production, they managed to create some environments for you there

and your own process of trying to get into the character and the realism of it, where you were kind of struck a bit by what these guys must have gone through.

“Well, yeah, but at the same, it was all fake, you know?”

Sure, but I mean, you got to take that into account. But when you were on the beach there in County, Waxford, in Ireland, which is where we shot the Omaha Beach sequences. Oh, so it wasn't right there.

Well, it was actually, it was one of the places where they rehearsed some of it, so that's one aspect of it. How far was Bay's camp from the beach? Oh, it was way, well, I was going to incorporate that into the--

Oh, no, no, sorry, sorry. So shot. Just light up another nail will and take that pause. Were there with 500 members of the actual members of the Irish Army? There is landing craft everywhere,

and we're all storming the beaches. And the special effects crew had laid out these tiny little flags on the beach, where they had set up air mortars and squibs, little explosive devices, things to avoid. Yeah, and they actually said, you know, I be carefully run.

Because, you know, this is going to become--

So if you can, try to avoid where the flags are. So, you know, I think I got that.

“Then they removed all the flags, and we couldn't see anything.”

Oh my god. Where-- so we were just stumbling all-- wondering why. So there's all of that, and it's dressed the way it is.

And when you-- they were always four or five cameras going

and once the shot began, and you're wet and you're cold, and you're coming up. And out of what corner of one eye, you see a guy catch on fire. And out of the corner of the other eye, you see a guy blown 40 feet into the air, and he loses a leg in the process.

Literally, you know, amputee stunt people. Oh my god. Then they were-- They were amputated before you shoot an amputee. Thank god, just to clarify.

And even though there's harnesses and there's wires, or why not, machine guns are going off all the way around. And explosions are happening like crazy. And it goes on for the better part of two or three or four minutes. And there was a-- there was a degree of sort of like odd fake

and yet at the same time, terror that was going on. So we were shooting down there all morning along. I'm going to say about on the--

baby, the second day of shooting,

because the first day of shooting was spent in the boats themselves. And I climbed up the steps to the bluff. They had put in these wooden steps. So we could get up to the base camp. Well, that's for catering and craft services.

It would not far as the crow flies, but it was awfully high. It was probably about 6,700 feet up the bluffs. And I went back, and I found the other guys in the unit, who I would be meeting when we got up to the shale, which was the deflade that was at the top of the beach.

That's where I would come across Barry Pepper and Eddie Burns and then Diesel and the other guys. And they were still hanging around outside the trailers the way actors do. And I was wet, and I was sandy, and I was near death

from the amount of noise that had gone on. And I told the guys, I said, you guys better hold on to your hats, because it's really wild down there. You are not going to-- I mean, when you see a guy catch on fire out of the corner

of your eyes, you're kind of-- And no one said, you know, you know, he's prep to you. No one has said there's going to be a guy caught on fire on this side, and it's it all, it was an interesting kind of kind of panic.

You know what's interesting? And this is kind of folding back to what you were saying earlier, one of the reasons that what I love about that movie and I love that movie, so I'm not embarrassed to say. I love it so much, and I've seen it a lot of times.

And one of the things I really love about-- and you kind of touched on this whole idea. Can't wait for the musical version? No. 97, by the way, 1997.

Which is insane. That's what it came out. Wow, it seems like two years ago. But you had that moment where your character is a schoolteacher, I think, is that right?

Or, yeah, yeah, we did. Yeah, he's a schoolteacher. But the idea that-- it doesn't matter what he is. He's just a regular-- this is what the thing of this, particularly this word.

There was the Great War, which they refer to World War I as, but then there was the war, this word were war II. And he was a guy who was called to do something extraordinary. He wasn't a guy who was born to be a military officer. He wasn't a guy who was born to be a killer.

“He was a guy who had to go because that's what he had to do.”

And people came in in this moment when the entire world was at war and did extraordinary things.

And I always loved that about it.

And I think that for me, it really captured what it is that sort of makes me have such-- it's weird to have, say, have reverence for the war, but you have reverence for the bravery and what people did that would extraordinary things.

You actually want to make an anti-war movie at the same time that you're making a war movie. Let me tell you, a story. I was 19 years old, I think, and I was a Belman at the Royal Hotel in Oakland, California.

And we had a guy who read his own dry cleaning service would come and collect the clothes and take them away. And then deliver the clean clothes. And he was always coming with dozens and dozens of shirts and pants that had been dry cleaned.

And I was working there one summer. And he was gone for two weeks. I'm going to say his name was Mike. I can't remember what his name was. But Mike was gone for two weeks.

And somebody else came in every day. And then after two weeks, it was in June. After two weeks, he came back from his vacation.

“And I said, oh, hey, Mike, where were these last two?”

Oh, no, I take a vacation every June. I said, oh, oh, do you go camping? No, no, no, I get together with some of my old buddies. Oh, oh, where did you go? Well, this year we went back to this place

and we visited back when we were kids. I said, oh, oh, where was that?

He was a paratrooper.

He was in the 82nd Airborne.

This guy is nice. I'm this 1974. So go back 40 years. So he's in his 50s.

“And what he's telling me is that when he was in his 20s,”

he jumped into, he jumped into Normandy on D Day. And he was a paratrooper. And now he's a guy delivering his-- - Strike the dry cleaning for the hotel. - Yeah.

- I felt stupid and small. But also, that was an example of that adult that caregiver, that was part of daily life. That, you know, that, he didn't know if he was going to make it back.

And he went, oh, he said, and we go back, he said this. He said, we go back to visit the buddies that didn't make it home. So they're visiting the cemetery, et cetera. So look, that's a generation.

It was a time that was loaded with all sorts of problems. And of course, we're still dealing with right now. But you can't take away the fact that these were young guys who were asked to go off and liberate the world from really, really bad people, and they did it.

- Yeah. - My grandfather, I just, I'll leave it at this. My grandfather who passed almost 12 years ago who I was really close with and loved dearly. He, I remember him telling me, he worked with--

he was in the Canadian Army, but he was attached to the Royal Air Force, and he planned bombings for a tease. And they were stationed at various airfields, as they would move across as they, you know, after June 44.

And he said, one morning, we wake up, and there was constantly planes taking off and landing and stuff, and they were right. And he said, one morning, his tent, the guy we shared a tent with woke up, came out of the tent

and walked into a propeller of a plane in the dark. And I said, and he told me, he didn't tell me this until I was about 18, of course. And I said, well, what did you do? And he said, and he wasn't joking.

He said, well, I got a new tent mate. And I was like, wow. And he was just like, that's the way it went. We had to keep going. And there was, what can you do?

I don't want to go into the place I was going. That's too much of a bummer of a story. Sads and or a true story, true story, so anyway.

“I think a perfect segue would be happy days, right?”

Sure, let's go. Let's talk about it. Let's go to nowadays. Because in order to make saving private Ryan happen,

or any of the other incredible movies that you have,

you have the IMDB reading sun, no, no, no, no. How dare you, this is pure Wikipedia. There you come, yes, Wikipedia. So how do you not book that episode on Happy Days? Hey, would you have not met Ron Howard and things,

we would not have been gifted the highlight of life? Did Ron Howard on Happy Days? Ron had left the series by then. What I, the guys I met were Lowell Gans and Babelou Mandel, who were the staff writers on Happy Days,

who wrote the part who wrote Splash, this green play of Splash. And Ron was directing, and they said, hey, mate, wait, hey, take a look at that guy who got fired from bosom buddies.

You know, bosom buddies was canceled. Something that Sean is going to experience one of these days. Yeah. Don't worry, Sean's canceled two programs I've been on.

So I'll keep going. And we will be right back. And now, back to the show. Tom, would you agree that the routine of a sitcom actor is the best job in show business?

Do you miss it still to this day? Well, it is, it is kind of a skate. It's a great hang. I'll tell you that. Because look, if you either shoot,

you were rehearsed Monday, Tuesday, Wednesday, camera block Thursday, shoot Friday, right? Or you rehearse Thursday, Friday, Monday, camera block Tuesday, shoot Wednesday.

Is that kind of like the idea that that second one

shoots Tuesday? Yes, you start on Wednesday. What you're saying is five days of the week. Yeah, yeah. Unless you're working with Jimmy Burroughs,

and then you can take the first day off of rehearsal, and it really becomes a four-day work week. And it's only three weeks a month. So it's 12 working days a month. It's a really top secret things, man.

“You should never let the civilian use your hair.”

Where are you blowing them? And it's six hours a day. Yeah, everybody's going to want to be in show business. There's no way there's, there's craft service. Can we get a lot of breaks, you know?

It is, it is an awfully, awfully fun day. And when we did Bus and Buddies, Peter Scalary and I, my dear old pal, the great shows. We actually shot that show on video. Not on the film cameras.

Film cameras in those days. That was pretty much a fun camera, camera blocking day. It was just kind of like you're standing at it. But we had four video cameras. And we had to do the entire camera blocking day ourselves

on camera because they did a line cut, you know? Camera three and tighten up on four and four. Let's come back, let's come back to two and two. You had to be there for that. So you did, you worked a long day

over and over again. And he and I just started goofing around so much

that's where we first got, we got yelled at a couple of times.

You know, the, the, the director up in the booth, you know, he'd come in over that top voice of God. Very good. Listen, we're, we're working really hard out here. Do you guys just cut a script to the lines?

Otherwise we can't get the line cut in. We're trying to chip the tally lights on camera three time. With that comes on that, you know, you speak. And we didn't care. We were just goofing around so much.

“How excited were you when you got when you got that show?”

What was that moment? So young Tom Hanks and you get wisdom buddies. You booked it, it's your job. What was that? Well, I couldn't believe it.

Yeah. I was going to be on TV, you know, right? And I was going to be up to that point as a Shakespearean actor. I'd made, I made less than $10,000 in a year for an entire year. And I was married and I had a kid.

And, uh, geez, I made almost, I made that in two weeks on wasn't buddies, so the financial reprieve was huge. And when was the last time you did Shakespeare? I did Shakespeare two years ago here in Los Angeles. I played fall staff with the Shakespeare Center Los Angeles.

Tom, tell that story. It was a video that I saw if you're doing it. I can't remember it was so funny. You pulled some guy out of the audience or something. Well, no, what happened was we had a medical emergency.

A guy, a gentleman, had a heart thing happened to him. And all of a sudden, the paramedics had to be called, we were doing it at the VA Center. And the Japanese garden amongst the Eucalyptus trees here in West Los Angeles. And, you know, a guy had some sort of seizure and we had to call the EMTs. And then we had to take a break in the house, not the house lights.

The lights all came up. And it was going into, it ended up being about a 30 minute hold. Well, they took care of the museum. And we were all backstage saying, should we do something? And then when I saw that people were leaving, I don't know, no, no, no, no, no, no, no.

I mean, it was going to, it was about close to three hours show anyway. But when I saw people, I saw Lady pick up her purse and move toward the exit. And I came running out trying to scream and get back here. They take the thy seat or something, yeah, it was so funny.

But what was amazing was you were improvising and Shakespearean talk.

“That was, that's what my mind, and it was super funny.”

God, it was so great. It ended up, it ended up being worthwhile and got enough people to stay. And I think I ridiculed enough people that made some Lady cry, you know, but out of laughter, tears of joy. What was the, you know, a splash, by the way, for your birthday years and years ago, I sent you a poster and I superimposed my face over Darrell Hannah's.

And I said the note said you and I would have made a bigger splash. But Tom doesn't remember that. But we only been the trailblazers, but you know, what was that, like, what was that feeling? Because as a kid, I was like, oh my God, every actor wanted to be Tom, thanks. Everybody, every actor wanted to be you because we're in all of the string of these massive

comedy hits, right, and big and splash and just, I don't know what I was doing. They asked me to, they asked me to be in a movie. So I said, yeah, but did you know, when you started doing all those other movies, you started you did big and you did all these things and they were just getting, did you know where you were going or, no, no, you have no idea.

They just said, you're playing the lead and you are incredibly charismatic and you were, you were compelling on script, like you were carrying things right out of the gate.

Had you always had the confidence and the sort of, the leadership qualities, we're all

growing up. Oh, I was just trying to remember the words, I was trying to speak loud enough to be heard. But Tom, you are, you are suddenly listening to you. I'll tell you, I'll tell you, I'll tell you, the biggest, the biggest lesson that I learned

and this was when I was at the great Lake Shakespeare Festival, just a days dry from where I am right now in Lake Widow High. In which Dan Sullivan, who directed the, the, the, the, Henry the fifth, excuse me, Henry the fourth that I did is false death. He directed that in 1977.

We were in rotating rep and I was carrying a spear and I was doing everything that I was told to do and we had done, we had just opened a production of Hamlet the night before. It was in rotating rep, so you open the shows about every two weeks and then you ran

“a different show every night, that's what Repetory means.”

Sean. And so we had opened up Hamlet and we all had a rehearsal the next day for a timing of

And all of the equity company, the professionals were hung over, exhausted because they all been out parting the night before because they just opened Hamlet. So everybody was like, senambulistic and showing up at 10 o'clock and no one really knew their lines yet and everybody was kind of like shuffling around and Dan Sullivan yelled at everybody.

He yelled at everybody said, hey, hey, hey, hey. We've got three weeks to get the show up on its feet and you people are not even trying for crying out loud, I can't do my job if you guys don't do your jobs. You guys have got to show up on time, you got to know your lines and you've got to have an idea, I can't provide everything here.

“So let's take a break, main line some coffee, show it if you have to, right out of the”

jar, but come back here with some friggin energy. I would cast you in the Dan Sullivan movie right now, by the way, sorry, just for what it's worth. That was a great idea. I remember, okay, so you, you look, we're all, we're all like, 19, 18, 20.

I was 20 years old then, and that lesson really super stuck to me, if professional actors

who have 20 years in the biz, as they often said, 20 years in the biz, I've never been

yelled at like that. That was, that was an important lesson. All through all of these gigs that I had, the hits, thank you. The misses, let's forget those. I always, I, that was always the thing that I thought be most important thing to do was,

you're up on time, know your lines, and have an idea in your pocket. Yeah, for sure. For sure. That's, that's all I did through all of those. I didn't know anything.

So Tom, when you, when, when you were doing all the strings, at the string of comedies back

“then, and you, do you remember what it felt like, or do you remember that pivot moment when”

all of a sudden, maybe you got offered a script or you had a kind of dialogue with your agent or what happened, where you switched over to more, let's say, important films or more dramatic films. Yes. What a way to, what a question.

Thank you. Thank you. Oh, I can't. That was the era of, you can make a movie for about $15 million. And if you just said it was a comedy, it seemed to do some brand of business.

Whether it was actually funny or not. It didn't matter. Yeah, that was the thing. You know, anybody who had said action and cut was trusted to direct a comedy movie, whether they were funny or not.

And I'm, I made a, I made a ton of those in which everybody came to it all. The delies were fantastic.

“I think the audience is going to be standing on their feet at the end of this.”

So, Tracy, delies are, are the thing you watch as you're filming the movie, they get a little bit. Yes, the rush. The, the, the day before stuff. And it doesn't matter if the movie was called Monkeys Make the Sun Go Down, everybody

was saying, this is, this is the funniest of all the movies. The cows of tumble town. This is going to be a magnificent comedy, because the good comedies that were made, you know, at the time, they all had, they were all with former second city people, you know, and setting that live people.

But there was this, this, you could take a setting. This movie takes place on a ski slope. This movie takes place on a school bus. This movie takes place at a bachelor party. And it will be a comedy.

And I made a, I made a billion of those like that, because we're just kind of like doing imitations of other people's funny movies.

Yeah, but here's the thing.

And I've said this about, there are a few people out there who have this, and you are one of them, which is, it doesn't matter what the movie was, you are always good. You're, even, even doing, I, I joked about doing the Dan Sullivan, no matter what it is, you're committed, and that always kind of shines through. So, I, I know that you talked about those, those misses.

I mean, look, if it wasn't for bad movies, I wouldn't make any at all. You wouldn't be sitting in your dad's library. Yeah, I wouldn't be my dad's living back in my folks house in Toronto, but, but, but, you know, but it's true, and you always, you always deliver in that way, because I always get the impression watching you that like, you don't care what the thing is.

You're just doing, you're, I mean, you're part of it, and you're in the thing, and who gives a shit? You know, I, I don't want to, I don't want to discount some of the great stuff. I met great people, and we did, we made, we actually did some really funny stuff that, that really did work.

And that's always, yes.

That's always, it's always, it's always fun.

Also known as classics. It was, well, it's funny, you know, they, I don't think I, we ever had a movie, Splash was well reviewed. And I don't think I had another decent review for about, I don't know, six or seven films, but now you read about them, and they're, they're, they're called classics, you

know, they're called classic, no, didn't happen back in the day.

to you started to confuse things for you and your team.

Well, I got older, you know, that, that's the other thing, too. I, you know, there's, there's a type of movie you can make in your late 20s. I turned, here's a story, I turned 27, the day of, we wrapped the motion picture splash. It was the last day of shooting we were in the Bahamas. We had a cake that was actually for the wrap.

Hey, let's celebrate the last day of shooting with a cake.

“And someone, I think, with a tube, a toothpaste added in icing on the cake, happy birthday”

Tom, because I found out it was my birthday. So that was, you know, there's a movie that you make when you're 27 and in your early 30s and one habit, you know, I made, I made a, a number of them, and which, but you have to get older, you know, you can't, and I was able to, it aged into Gary Marshall gave me a great role with Jackie Gleason, and a movie called Nothing in Common, and then David

Seltzer wrote and directed with Sally Field, punchline, and then big came a month ago, but you get older, and so, and you start singing, I, I will tell you, I, look, I'm not big on this kind of stuff, but there was one time I was sitting around with my crack show biz expert, who works for, CAA, and he said to me, what do you want to do? And I, and I said, you know, I exactly like Richard, that's a great impression.

Love it. There you go. Beautiful. What do you want to do? And I said, I said, I want to play grown-ups, so I want to, I want to play people

who have got been through bitter compromise, because I was, I was in my mid-30s by that point. Compromise Jason is a thing that people do when you hear the other person's side, and then you go, okay, I'm willing to shift my position a little bit, and whatever, we'll talk about it later when talking about it later when talking about it.

Sorry, Tom.

Wait, Tom, you know what I always wanted to ask you, and this is going to be the

dumbest question in the world, but guaranteed, but it is the most latest, that's right. And cast away, right, you, the volleyball is named Wilson. Now you're married to the wonderful Rita Wilson, who I love, I adore, we all do, was that by design because it could have been called "Spaul Jesus." It could have been.

It was written by Bill Broils, and that, man, that movie took about six years to figure out. Bill Broils and I started talking about it, and we didn't, we weren't shooting it until six years later, and he came up with the idea of a volleyball, and he named Wilson in honor of my beautiful bride.

We've been married to, we'll be 34 years in next day. Hold for a pause. No, for a pause. Yeah.

“So, no, it could have been, and I think when you're on the grill, there you go, we thank”

you. Well, Jesus Christ, that is a whole new level. I'm like Fred, I'm like Fred, I'm like Fred, this is, now, you know, but it brings me to Finch. Finch seems like it's got some qualities, it's, I mean, if I was a hack studio executive,

I'd say, it's cast away, meets Martian. All movies are like that now. All movies are like that now. Yeah. Aren't they all sentiment?

You take, it's this is posted on the Waterfront meets Paul Joey by way of Paw Patrol. They're all movies are all kind of Paw Patrol. But what you need is a relatable, every man that is empathetic, sympathetic, can alpha and beta inside a page, I mean, you, you are the man that could service all things.

I came up through that era of which every genre movie was about somebody who could not be killed or defeated, you know, the cop that could not be filled. I'm with you.

The fighter who could never lost the, and so I, with, you know, a geeky guy with a

big butt, a big nose in a squeaky voice, I, I took all the jobs away from will.

“But, you know, by the way, I do have a, I have, what's called a pro dumper?”

Yeah. Well, you can't drive a spike with a tack hammer as I have heard in this. Well, I just have a really quick cast away story that we might cut out of this. But, and Tom, I think I told you this, but I was working on Will and Grace with, with some of you working on the show, and we went after to his house after a taping one night,

and we got super, super, super stoned and Will knows this won't be cut. Yeah. Super, super stoned and he, he said, look, I got a copy of cast away. I got the DVD. Let's fast forward it to the plane crash because the effects are so crazy.

Let's get totally high and watch, like, how do they do that, right? And so we, so he just moved in this house, it was this brand new equipment, and we're, and I'm sitting in the back of his screening room, and he's up front. He just moved into this crazy house as gorgeous, and he had no idea how his own equipment worked.

He was in the back seat, and he can't get the DVD to play, and I said, oh, no, that's, is that a Sony?

I go, is that a Sony? It goes, yeah, I go, oh, they're voice activated. Those are the new ones. You don't even know what you have.

“You have to speak the name of the movie into the machine after you put it in, because”

what are you talking about? I go, just listen to me. You have to say the name of the movie as you put it into the DVD player. He's like, are you serious? I go, a hundred percent.

I just read about these. So he turns back to the machine with his back to me, and he goes, cast away. And it didn't play, and he's waited to be, and he did it again, he goes, cast away. And I, he turned behind me, I was, I couldn't breathe, I was laughing. That's what I went.

That's what I went. That's Bob.

Now, Tom, with all of your incredible set experience, was that what drew you, was it part of what

drew you to the director's chair, just just the effort to sort of streamline things because you knew probably more than a lot of the directors you may have been working with? No, I think directing is that becomes sort of a bit of an ego thing, because you become convinced that you know more than you actually do. But seriously, you have a thing you try it, and you're like, oh my god, this is hard.

I believe every actor should direct, I think every director should have to act. I think if we should all be writing and producing, because you find out how hard it is to do that other job from an actress perspective. It's like, you know, you got somebody saying, that was pretty good. Try it again.

And you want to say to him, do you realize I'm on a horse, weeping because my dog died. And I'm trying to remember six pages of dialogue at the same, do you realize it's a little harder than it is, man, let's try it again. That along with the same thing of an actress saying, hey, we're going to shoot this, what? Are we shooting or what?

Right.

“You have to realize everybody has nine million things going on inside.”

Right. And also, with a, we're all storytellers, at some point, we can have a sense of what might fit into our mouths a little bit better, and maybe some options.

It goes back to the thing Dan Sullivan always said, which have an idea in your pocket.

You know, have something that you can come out and say, this is an on the page, but let me, let me show you something else here. So since you have directed, when you do come to the set as an actor with an idea in your pocket, are you sensitive to that there might actually be a plan in place that that director and that crew has been working on for weeks and that your idea might, might disassemble

the house of mine. My son might not be room for it. So then you try it once and they say, don't do that. And so then you don't do it. Right.

Pretty, pretty, relatively easy stuff is, is that desire to direct still still burning in you? I can't say that I have the instinctive powers of being a director as an actor. I think I know what I want to do, read it and I say, oh, I know what direction I'll go to directing is a, directing requires a fidelity and a patience and an ability to communicate

that after I've done it for the, I've directed two feature films, I've directed a number of episodes of the mini series that we've done and I like those because I wrote them more wrote on them at the same time. But I think I think directors more so than, than myself's an actor, they're, they're born into it.

“You know, you have to think it's the greatest job in the world and often times it's not.”

Yeah, do you enjoy the producing part of it all with, with what, what you guys didn't really produce. Well, but you guys churn out, it's really, you shouldn't sluff over it. It's the alliances that I make with other people that really do all the work. But the amount of, you, you incredibly prolific as a producer, you and Gary, it's a play

tone.

I mean, it's, it's, you've employed an incredible amount of people.

You've put a lot of product out there, that's not easy and that's incredibly admirable. Well, I'm very lucky because we have extremely good people. And we, we do this, you know, we have a kind of like a clubhouse office where we lean in each other's doorway and say, you know, is this really a feature film, guys? I'm not so sure it's a feature film.

Should it be like a 12-point many series instead so we can really examine the theme and then then you make nothing but a ton of alliances. But here's, I'm not a producer because this is what producers do every day. They get on the phone and they try to convince somebody to do something they do not want to do.

Right. Or they tell somebody on the phone that there's no way that they are going to do what that person on the phone really wants to do. That's pretty much it's that, it's that di-con, right?

We'll be right back. And now back to the show. Let me ask you how, how, what's your feeling about this transition that we're all in into a bit more of a streaming element, married with, you know, box office, you know, theatrical, you know, going to the theater, paying some money for a ticket versus having it at home.

Do you, what is your opinion on that as somebody in the business and then also as somebody who is a, who is a viewer? Is it, do you like the fact that there is less pressure now, maybe with not having to open on the weekend because it's streaming? Do you think, well, that's, that's a pressure that doesn't come upon the actor because, look,

the movies are always binary.

They're either double zero or zero one, they either work or they do not work. And if they don't work, there's no amount of marketing or interviews that you can do on podcasts. In order to, in order to change the zeitgeist, the, the pressure remains absolute. The pressure is the speed of light in order to make a great story.

“The audience, I think, if I can pontificate just a little bit here, doesn't care where”

they see it. The business does. The marketing, the producers and the studios and the, the grand entertainment, industrial complex, you know. They would, you know, they would like things to be exactly as they were, but we have a business

that is forever changing. You know, back in 1980, when you guys were still in junior high school, and the concept of home video was just beginning. Here's a story that goes back a long way.

When we were the, the first year that Peter and I were in Busom buddies, a VHS tape machine

a player at home, cost about $4,000, wow. And the only people that had them were incredibly wealthy rich people in the three quarter inch were two. Well, wasn't that, by that time VHS was just beginning, and in, in, in a neighborhood maybe a guy named Doug would open up Doug's video rental shop S-H-O-P-P-E on one side of the

rental space would be VHS tapes and on the other side would be a smaller collection of beta Sony beta max, and eventually beta went away, and it was all just VHS. And by the time, I think the next year, VHS machines were only like $1,800, and then everybody was renting. And the concept that you could, it was great, of course, to be able to record shows after

you went through this arcane kind of like process of on off recording timing. But the bigger thing was, is that if you had kids, and you had a VHS of Dumbo, they would get up in the morning on their own, and put in Dumbo, and you didn't have to get up. This was huge. And here we are in 2021, and the industry is going through something akin to that change,

because guess what? As Gary Getsman, my partner at Playton said, you know, sitting at home and watching something on your TV is not that bad. You know, time, you said to me years ago, you said, you know what, Sean, the business

“is always changing, and you have to adapt and change with it.”

Not as an actor or the craft of creating things, just you have to keep an open mind and go with the flow of it, otherwise, and if you fight it, you're just dead. Well, why didn't you take that advice? Why didn't you do it? Yeah, I was just there, Sean, because now you're reduced to hosting.

Why didn't you decide? Is it hardless? It's hardless. You know, it's dumb though, the host of our, what are you very lucky? We were very lucky at Playton, because one of our first deals was at HBO.

And this was old school HBO, you know, no commercials. You could say anything you wanted to, well, there was no language, there was no, there was no, and at that point, HBO doing a series or a movie or a mini series on HBO, that was the gold standard. Yeah.

That seemed to show you had all the freedom in the world. Now you have even more of that, all the freedom in the world, but it still comes down to this very basic requirement. You've got to be putting out an awfully good product, otherwise it will disappear into the mist, like many of my early films.

Thanks, guys. No, no, no, no, but how have you not, I'm surprised, because it seems like they've tried to gobble up everybody. How have you not, has, when did Marvel call you and say, Tom, we need you to play, you

“know, Dr. Universe, and you know, we need you to do 12 films, and you have to play”

Dr. Universe. Did that ever happen? Because here's the problem.

I first of all, they've never called me once.

No, no, never.

“And I think that if one of these days they will, and they'll say, is there any way you”

would consider playing the secretary of defense? Yeah. Yeah. Yeah. Who comes and says, please, help us all for a man.

We can't survive. I'll be one of those guys. All right. I don't know if you get to play the punk confluence. But God bless you, because you still make the kinds of films, you have continued

in an era where most features are, you know, the feature film market is dominated by these huge, some of those are great. When we don't have blood. No, I'm saying they're great. And I have a lot of friends who do them, and they're not all great, but some of them

are real. Yeah, I said some, but some of them are good, and we all have friends who we adore and who are super talented who make those. I'm not saying that. But there is, it seems like a shrinking market for films that stand on their own because

it's a great story and has a great cast in the book. And you seem to be one of those people.

“You're in a very unique position that you are still making those films, which I think”

is awesome. We chastized, we chastized JJ Abrams. We're like, go and make some comedies, JJ, you know, we were given him shit. Does he want still? But you know, it's because Tom, because Tom, you are us and you have maintained being us.

You, as first famous and as successful as you have become for as long as you have been.

You have still stayed very grounded, it seems. And normal, and I would imagine that that is just something you're stuck with from when you were a little kid, and you probably got a couple of parents to thank for that. I would imagine. My parents divorced when I was five years old.

What did you get? What did you get? Where did the fucking go? This is why I'm not getting the nominations. This is where Sean really does his research.

He would know that. Tom, I don't know this. What did your, what did your folks think about you getting into the business tree, as I call it? You know, I started doing it for fun in high school because I couldn't believe that you

could go and do plays in high school and get credit for it. You know, this is school, that's, I remember specifically thinking that in the first time I walked into a drama class. And I did it because some friends who've been from junior high had been in the plays. And I just said, what?

I can come to school and do this. Well, this is screwing around. Man, this is, this is, this is goofing off. Right. Right.

I felt the exact same way. I was like, oh my God, everybody's just laughing. This is my, both my, my dad who, and eventually, my mom, because we lived in different places when my mom came and saw me and stuff. They just, they just thought, well, this is just wonderful.

You know, this and look what Tommy found. I don't know. Sean, you've talked about that you did, you just said, you had that same thing where you were like, this is amazing. This is so much fun.

And I can't believe I get to do this in five, six, seven, eight, and then. Yeah. And then hit it, Sean. Hey. Yeah.

When you did, you did promises promises on. Thank you, everybody.

Plows were never brought it up.

Well, it's weird. Never measured it. And it was a, and it was a big hit and you said something to me, because Sean and I see each other, uh, socially, you know, not just on this podcast. So after you had done promises, um, and it was huge, because you played the piano on stage

and you did all this stuff. It was a big Broadway hit, right? A few, a number of reasons. And I said, are you going to do it again? Do you have the desire to get up and do another Broadway show?

And you said something that was, I, I swear to, I swear to God, the only person I heard make the same sort of a reference. Are you ready for this? I read it as a quote from Lawrence Olivier. Okay.

You said, I'm not sure I have the fire in the belly. Yes. In order to get up and do eight performances of something that I remember when Lawrence

Olivier was, um, older and that he was always asked, well, will you ever get up and

at the national, again, what have any says it? No, because it requires a stronger heart and he wasn't talking about medically. He was talking about all the effort that goes in the fire and the belly. Well, Sean, we, you could, you would do the eight shows a week. I remember you taught, we've, we've talked a lot about promises promises, but you said some

of the same, you were like, I do it, you did it for nine months or a year. How long did you do it for? A year, a year, ever you saying, you, similar thing that you said to Tom, you said the same thing. I said, would you do it again?

And you said, I don't know if I have it in me, five, six, seven, eight. And then you just went, no, no, it's true Tom, you know, because, and I relayed that to

“you about about the constant, um, work ethic you have to jump from movie to movie to movie”

over these decades, and, and they're all great, and you're work like Jason said, it's

And, and I, I switched that, that question back to you about filmmaking is, do you still have the fire in the belly to travel and get up at five and stay in this hotel and that hotel? And, and you said, yeah, because it's what it's what I love to do. And, yeah, I do, yeah, there's no other way of putting it, there is, there is, there's,

is look, it's more fun than fun, that was something that I'd learned a long time ago before I got my job at the Great Lakeshates perspective. What a, in the theater is more fun than fun. And I thought, yeah, this is a, this is a great way to, to spend your day. It's not just a lifestyle or, you know, it's, it's a life, it's a life.

I love that. And now listen, out of all of the, all, your entire repertoire, yeah, all of your credits,

“is there one ask of what is your favorite movie, Jesus?”

No, no, no, no.

Is there one movie or experience that was extra special to you that will always stick

in your brain? You know, I will say, look, yes, they all are in so many way. I look, I've never had a rotten time making a movie. I've always come away from a movie saying, I can't believe they pay me to do this. That was that was fend.

Despite the discomforts in the five in the morning, a little harder at the age of 65, I guess. The, the experience of making that, the movie, that thing you do, I cast it with a bunch of friends. We had a great time.

It was the beginning of, beginning of the company that I formed. So great. I love that movie. With Gary Getsman and everybody else down at Playtown. I could do that again and again and again.

That was the first film you directed? That was the first, not the first directing gig I had, that was the first feature film, yeah. And it was, it had music in it and it was very, it was very personal because it was set in 1964.

So it was, but, you know, every, every gig is magnificent.

The ones that don't, there may be disappointed a little bit, there's ones where you don't get to spend enough time doing it. Like I was just, I just did two weeks with Wes Anderson and Spain with the Wes Anderson Repetory Company and that was fantastic. And I was bummed out.

So we got to leave. We've shot out my role. I got to, I got to go now, I'd like to like to linger for a little bit. I just got to do a couple of days with our buddy, Tyka, YTT and it was just the greatest experience and then it was just, we did a show for HBO and then I just did his movie

and I was like, these were the, it was like the greatest, most fun month and then I'm like, oh, and it's over. Yeah. And that was, I just want to go and play with that game. I can't, don't we, don't we get to have that 90-day experience here, somewhere, you

have found in something out and getting up in 11. Well, you've given us not 90 days, but a solid hour of your very, very valuable time. Yes. Thank you so much. Thank you on behalf of, of, of these two fellow smartless folks as well as everyone

in America and the world for providing us all these little worlds that you have created that we all get to live in and they've all spent.

The podcast award for second bananas or third bananas that you Jason and we'll be

willing to go into battle for that one.

“You have to ask questions like, what's your favorite movie?”

Yeah. You've got a, you've got an uply on that. You've got it all. I would say that in Canada, this is known as willarnets smartless. That's true.

It's true. Wait. Number one podcast in Canada. I think I just got voted Canada's favorite son, I'm not sure, but I'm putting that out there in case anybody wants to latch on to that and start making that a thing

on the happy day. Well, it's a delight talking to you guys. You two, Tom. Thank you for saying yes. Why does that?

Tom, I just words don't express how I feel. I'm such a very kind, very kind, guys. And listen, good luck on the, is there a name for this award yet? It's the I heart radio award. The I heart radio award might be called the Aorta.

Who he up against? That would be a big question there. Oh, that's a great question. I'm a core history maybe, up against heart core. Sure.

Fingers crossed. It's so great to see. Thanks Tom. Thank you so much. Good to see you guys.

Well, hang it all those places that people like us end up bad. Yeah. For sure. All right. Take care, guys.

“I think he's going to, I think he's going to make it.”

That guy's got some charisma. Let me just say this. You've been complaining for a couple of years. And then you just said, you pulled out at one of these. What's right now?

Now referred to is because then it uses word. You, is the, the top or a card. I'm a now called the top or a card. He's, he's, he's, he's, he's a blue chip. That one right.

Oh, yeah. What a delight. I mean, he's just like, he does have that thing. And I kept trying to figure out a way to ask him this without him deflecting. As he does so well, so humbly.

And I just kind of bailed on it because I knew he would just wouldn't. Like, he's just got that, he's, he is us.

He is, he's every bit a leader that you'd want him to be. But he doesn't seem like he's too arrogant or cocky to, like, I don't know. How does he, you mean, I says as an audience. Not, that's three. Yes, like he's just like he's the guy you want to follow.

And I never annoyed, you know, watching him or I don't know.

It's, it's been so consistent. Yeah, I don't see myself as an every man. Oh, no, he never does. I see my, I'm special. Yeah, well.

Yeah. He's like, yeah. I'm like the boss of the every man. You know. So when I'm there when I see Tom, come in.

I'm like, it's a great spending time with one of my employees. I hope he keeps staying as prolific as he is. I mean, what, is doing not what? At least to film me here. Same, same here.

That's what I made about the movie. He makes, I love that he keeps making movies that are like. It just seems like not a lot of other people are making. Yeah.

“His new movie, which we talked on, what is the, uh, the Finch?”

Yeah. No, no, not the Finch. Just Finch. Finch. Yeah.

The bird. Yeah. Finch. It's on Apple. And it's basically.

When is it on Apple? When is it? It's not on now. First week in November. November fifth.

First week in November fifth. November fifth. Yeah. So yeah. So he's doing this movie.

Finch. Um, and the sequel is going to be the Finch, I heard. Yeah. No, it's called Fincher. It's called Fincher.

Oh, it's called Fincher. And Dave Orch is directing it. Yeah. Dave Shooting. Are you kidding?

Um, showbiz is incredible.

I know. It's, it's, everything is aligned.

“Um, but it's about, it's him and a dog and a robot.”

Yeah. And this is not the start of a joke. But like, it could anybody pull off a high wire act like that. But they do walk into a barn. There's one bar.

There's one bar. You fair. In fairness. They walk. But I saw the trailer too.

Two with my almost 13 year old. And we watched it and looked at each other. Yeah, absolutely. Yeah. And don't you feel like he's kind of like our ambassador, not just for,

Absolutely. And not just for Hollywood, not just for Los Angeles. But like America, too. Absolutely. She's like quintessentially American.

And like he's one of the few people we can all both sides. If you can agree on. Yeah. What do you mean? Wait, what's the other side?

I just met like both, like I was never mind.

Everybody in America can agree. Oh, those both. Yeah. Like, Lishon. We are not political.

Sorry. Please. What are you trying to do? You're trying to win your award.

“You're trying to wait me into deep water.”

Then you're going to take me down like a crocodile and keep me under. Bye. Bye. I can't fucking bail out. I can't bail yourself out.

Yeah. You can't be saved by your own bell. We've used every word that you could do with. Bye. No.

Not at all. No, but I'll see. You can't bail yourself out of a sink. Yeah. But you can't use buy as a some kind of instrument to bail out your sinking ship.

Why not? I just did it. I guess you can. Sorry. There is no role in that.

You're right. You can. But do you think that when he first moved. Go away. Oh, no.

Let's hear it. Come on. Come on. One of the questions I did get to here was. Well, he was 1979.

He made a move to New York City. Right. And he was trying to be an actor full time. So I wonder if he was just trying to take a bite out of the pool. I'm not confident with this.

A bite. A bite. A bite. I'm not confident with this. A bite.

I'm not confident with this. A bite. I'm not confident with this. I'm not confident with this. I'm not confident with this.

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