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0:46

Alright. Let's do this. How are you?

0:48

What the fuckers? What the fuck buddies? What

0:50

the fuck nicks? This is Mark

0:53

Marron. This is my podcast WTF.

0:56

Welcome to it. If you're new, hang

0:58

out. I am not broadcasting

1:01

from home. I am still in New York

1:03

I'm still in a hotel room in New York City.

1:05

I've been here for a few days. It's been a great

1:08

trip. I could tell you about it.

1:10

You want me to tell you about it? I can tell you

1:12

about it. But first, let me just set

1:14

up the show a little bit. Today, I talked

1:16

to Ralph Machio. Yeah.

1:18

That guy. of course, you

1:20

know who he is. He was Daniel Lerusso in

1:22

the karate kid and now in Kobra Kai.

1:25

And in fact, so many people know him as

1:27

Daniel Lerusso. He wrote a book about it.

1:30

It's called waxing on, the karate kid

1:32

and me. And I figured, look, I had an opportunity

1:35

to talk to Ralph. I'll talk to

1:37

Ralph. He's one of those guys that he kinda

1:39

felt like he grew up with at a certain point in your

1:41

life, depending on what age you were. I'm

1:43

little older, but my brother was certainly in that

1:45

world. But, you know, he's Ralph Machio, and I'm a

1:47

a fan of Kobra Kai. And

1:50

we had a nice conversation. Also,

1:53

I'll be in London this week. So if you don't have

1:55

tickets to my sold out stand up shows and still

1:57

want to come see me, I'll be doing

1:59

a live WTF at the Bloomsbury

2:02

Theatre on Wednesday, October nineteenth

2:04

with writer and comedian David

2:07

Badillo. It's been a long time since I've

2:09

done a live WTF. We

2:11

used to do them. I don't know how many of you know

2:13

this. We Originally did live WTFs

2:15

that were not like the

2:18

show. They were multiple

2:20

performer broadcast.

2:24

Like, I would we would do it at a

2:26

at a venue, and there'd be four or five

2:29

guests that we just bring out

2:31

in a row and do interviews with them and

2:33

kind of riff with them. And originally,

2:35

we did it. This is going back.

2:37

Before we could figure out how to make money

2:39

during the podcast without closing it

2:41

down and offering it for membership.

2:44

There was just limited things you could do. You could sell

2:47

merch you could you could get donations.

2:49

I don't even think Patrion existed at that

2:51

time. Or, you know, you could

2:53

do some other sort of performing

2:55

live performance. And it was still pretty early

2:57

on in podcasting to where that

3:00

draw was, you you know, I don't know that we

3:02

could make a living out of it

3:04

doing live WTS, but they were special

3:06

events that we recorded as

3:08

content that people would buy. We

3:11

had set up a a pay site where

3:14

those were made available and it was specifically

3:16

done to try to make money

3:18

at podcasts. There's there's a handful of

3:20

those somewhere, but

3:23

they were always exciting. And I remember

3:25

getting artwork made for them for the posters

3:28

and there was one that was, like, Ira Glass.

3:30

I was so excited to have Ira Glass

3:32

and Arty Lang on the same

3:34

panel. And then there was another one where we

3:36

had a woman that was a robot

3:38

expert, and she made a little robot that

3:41

that she claimed did stand up comedy. So

3:43

I had her and I had Otto

3:46

and George. There was I there were some

3:48

interesting bookings, and they were definitely fun

3:50

shows, but it's been a while since I've done a live

3:52

one. I did a couple

3:54

events as a as a interviewer

3:56

that I didn't love doing that. Of course, there's the

3:58

Terry Gross one which was done live, but just

4:00

by virtue of it was at an event in

4:02

the Palma Cartney. was done live because

4:04

that was at an event. But the but

4:07

the the multi guest

4:09

live WTFs are rarity. But

4:12

this one I'm doing in England, we, you know,

4:14

we're just trying it out. David Badeel is an interesting

4:16

guy. He's a big deal in England. He was

4:18

a big comic performer

4:21

in a in a duo, and then he did the

4:23

One Man's show stuff. Then he wrote some

4:25

novels, some children's books, and now he's

4:27

written. He's written a book about being

4:29

a Jew, and he sort of speaks

4:31

out about antisemitism and

4:34

and and how it how

4:36

it's framed in the current

4:38

world we're in. But

4:40

he's an interesting guy, and and I didn't

4:42

know anything about him, and now I know a

4:44

lot about him. and I'm gonna talk to him

4:46

about it. So that's gonna happen in

4:50

London on October nineteenth, and and then

4:52

you'll eventually hear it here.

4:55

So fuck you guys. I've been in this hotel

4:57

room. I don't know what it is when I get hotel rooms.

4:59

Oh, I would say six out of ten

5:01

hotel rooms that I stay in It sounds

5:03

like the person upstairs is

5:06

involved in some sort of wrong

5:08

game of marbles. I I don't

5:10

know if there are different size marbles.

5:12

Sometimes it sounds like there's small glass

5:14

or metal balls and then sometimes

5:16

slightly larger ones that are rolling around up

5:18

there. I don't know what's going on. I don't know

5:20

if it's someone's following me

5:22

and this is designed to make me crazy

5:24

just like he's Why

5:27

would anybody be playing with marbles? I

5:29

don't know. but I don't know what's going on up there.

5:31

Sounds like marbles. It stopped

5:33

now, which is good. III

5:35

never know what the hell's going on in rooms. because

5:37

you assume, like, is it really a reason

5:40

to move furniture? Well, sex noises

5:42

next door is one thing. I don't hear

5:44

much of that anymore. I'd stay in pretty good hotels,

5:46

but up stairs. You're like, why why

5:48

would they be rearranging the entire room?

5:50

Why the why are they playing tennis in

5:52

their room? What the fuck is that noise?

5:55

Should I call somebody? A

5:57

bit of that happens. But

6:00

I've been here since, what, Tuesday night

6:03

what has happened since I talked to you? I feel

6:05

like I recorded when did I record? Probably

6:07

Wednesday, but I did so yeah. So

6:09

you don't know anything that's happened. I came

6:11

out here to play this gig for

6:15

a a kind of benefit gathering

6:17

party at a loft We

6:20

did the gig. It's called the SoHo session. It

6:22

takes place in this loft, and and it raises

6:24

awareness for certain charities. And

6:26

it was me, Jimmy Vivino,

6:29

Jimmy Vaughan, who's a

6:31

fucking hero of mine from the fabulous

6:33

Thunderbirds. So I

6:35

got here in in and on that Wednesday,

6:37

on the Wednesday, I rehearsed. I rehearsed with

6:39

Jimmy Vino, with the band, with

6:41

Jimmy Vaughn came in. Again, a

6:43

hero of mine could not believe I was playing

6:45

with Jimmy Vaughn. I did two songs with

6:47

Jimmy Vaughan, and and the rest of

6:49

the guys. But so we rehearsed on

6:51

Wednesday. Also on Wednesday, Dave

6:54

Mannheim from Dofi the podcast.

6:57

He's over at Katz's. They set me up with a

6:59

plate of meat. So I'm jamming meat in my face

7:01

Wednesday. Big mountains of

7:03

brisket, pastrami, corn

7:05

beef, rye bread pickles,

7:07

so that happens. And then I went to

7:09

the Whitney Museum. I I'm a member.

7:11

I'm I'm AII like to be a

7:14

contributor I guess, a patron

7:16

of the arts. And I'm just happy that

7:18

when I'm in town, I can just go

7:20

over there, but it it doesn't always sync

7:22

sync up with a major event, but

7:24

they had a member's only

7:26

preview of this show, this

7:28

Edward Hopper show, Edward Hopper in

7:30

New York I think is the show at The Whitney

7:33

or Edward Hoppers in New York.

7:35

So I just made my way over there

7:37

and that was fucking spectacular.

7:40

I mean, just, you know, just unbelievable. And

7:42

then on on Thursday night, we did

7:44

the show. It was great. There were some

7:46

people I hadn't seen them while their Michael and Purioli

7:49

was hanging out after his son played guitar. It

7:51

was very sweet, good guitar

7:53

player. And I saw some old

7:55

friends, and we did the we

7:57

did a show. and I only fucked up a little bit.

7:59

I just fucked up the dylan song a little

8:01

bit. And it's it's kinda sticking with me. I've

8:03

really gotta stop beating this shit out of myself.

8:05

Any ideas but that was a it was

8:07

amazing playing with Jimmy Vaughan.

8:09

And then after that, then the next day, what

8:11

happened? Oh, we did I did the tech run through or

8:13

the beginning of the process of

8:15

putting my HBO special together

8:18

at town hall, kind of looking at logistics,

8:20

looking at set design, meeting the crew,

8:22

meeting the producers getting

8:24

everybody in one room so they

8:26

could, you know, break into groups and do their thing.

8:28

And then I went and met Brendan who I

8:30

never see because I'm in LA and he's here.

8:33

and we did the sort of day

8:35

hang. We went went

8:37

down eight of Viselka. Gotta be honest.

8:39

As nice as it is, that, you

8:41

know, Vasylka is kicking back some bread

8:43

to to the Ukrainian war

8:45

effort, the food has gone downhill

8:47

tremendously. It was just a bland

8:50

plate of mush in different

8:52

shapes. Some of it didn't taste good at all, and it's very

8:54

sad. It's a very

8:56

sad thing. you know,

8:58

when when a

9:00

place that, you know, you've sort of you

9:02

kind of hold dear and

9:04

and it kind of trigger

9:07

certain memories if it's

9:09

consistent. You know, that that sad

9:11

one that moment diminishes. That

9:13

one, all of a sudden, the food's not as

9:15

good as it. it used be or that place is not there

9:17

anymore or the store is now some other

9:19

store or what they do to the building you

9:21

used to live in where somehow or another

9:23

these reliable time

9:25

travel vessels become

9:28

compromised. And it was a bit of

9:30

heartbreak. Maybe it was a bad day. I don't know.

9:32

I needed a couple of other places that

9:34

were okay. But Brent and I, we hung out for a

9:36

few hours, went down to Ferraro's, the

9:40

Italian pastry place that I used to go. My

9:42

grandmother, when we came into the city, had

9:44

Ricata cheesecake that I'm just, you know,

9:46

stuffing myself. I'm I seem to be on

9:48

some sort of suicide trip with food,

9:50

but, well, you know, we'll see. you

9:52

know, who isn't? I don't know. I can't

9:54

seem to reel it in right now.

9:56

But yeah. So then I also went

9:58

to Mogadore

9:59

which is another place. That place held up pretty good.

10:02

That food was pretty good. And on

10:04

Saturday, I spent the day with Sam's website.

10:06

We did a little talk on the mics.

10:08

And then we headed out to the Tompkins Square

10:10

Park, talked some more there, talked

10:13

about stuff, personal stuff, then

10:15

we went and had dinner dinner

10:17

at the Greek place, Kaklidez,

10:20

that was the best. And

10:22

then we went and saw a Roncato trio, the

10:24

Roncato trio at Berland, spectacular.

10:26

because I was gonna talk to him. Also, sorry,

10:28

went to Russ and daughters. Yeah.

10:31

Got that covered too. The cafe

10:33

had bagels and locks. So now

10:36

I'm just, you know, wondering, you know, when my

10:38

heart's gonna stop and getting

10:40

ready to go

10:41

to to

10:43

London today. That's how that's going.

10:45

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There's no safe, like, simply

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safe. I

11:54

gotta be honest with you.

11:56

I've been here what? So

11:59

what is it? Tuesday, Wednesday,

12:01

Thursday, Friday, Saturday, Sunday. So

12:03

five, six days, and it's

12:05

fall. And I

12:06

fucking love it.

12:08

I think I'm moving back to New York.

12:10

That's this this is the new vision

12:12

for the future. Half time in

12:15

Canada, half time, New York

12:17

City, and doing

12:19

nothing but doing things

12:21

that I enjoy. Would that be okay?

12:23

I did zero comedy while I was here.

12:25

And you know what? It was fucking

12:27

tremendous. It's so weird

12:29

about the the general comedy

12:31

scene for me New York

12:33

City. Like, the comedy seller, you know, when I

12:35

really think about it, it was just

12:37

always kind of like, I've got to

12:39

know how to do this. I

12:42

have to know how to do this room. I

12:44

have to I have to perform well

12:46

in this hard ass room. It was

12:48

all about knowing how

12:50

to do it or or

12:53

learning how to do it and just

12:55

getting through it. The best

12:57

thing about the comedy show or was seeing

12:59

your friends And I don't

13:01

know, man. I just I

13:04

didn't I just didn't feel like

13:06

dealing. I didn't feel like

13:08

going to a New York City comedy club

13:10

and just like, you know, hammering it

13:12

out. It just I don't know.

13:14

Maybe it's just because, you know, I started

13:16

here I spent a lot of time here

13:18

just pounding my head against the wall

13:20

and doing okay. I just wanted to see some

13:22

friends, but I didn't. I don't even know

13:24

how many of my friends around. Maybe I'll go

13:26

in tonight. We'll see. Just to say

13:28

hi. But I just I just didn't

13:30

do any comedy. I did all the other

13:32

stuff. But the point being, I

13:34

wanna live here. It's just

13:36

you feel so alive. It's so great to be surrounded

13:38

by all these people. There's no place like

13:40

New York where everybody everything is a

13:43

collaborative effort. And just being out on the

13:45

street is giant collaborative

13:47

effort. The entire city is a

13:49

collaborative effort. You're

13:51

walking around with hundreds and hundreds of

13:53

other people at every corner

13:55

Just everyone is making

13:57

sure for the most part that things

13:59

run the correct way. It

14:02

is just a a peaky dish

14:04

of humanity. I was working I was walking through

14:06

Times Square last night, and

14:08

it's all lit up. It's it's it's

14:10

it's like it's almost like what I imagine

14:12

Tokyo to be like a blade runner,

14:14

except it's it's a little too American. But

14:17

it's it's a spectacle. But you just

14:19

see all these different types of people tourists

14:21

walkers people on the street,

14:23

some houseless people, but also, like, you

14:25

know, I you're in the middle of Times Square.

14:27

It's twenty twenty two, and I swear to God,

14:29

I saw may be a Pakistani

14:31

or an Indian family moving through

14:34

Times Square with their luggage as if they just

14:36

arrived or they're just leaving I don't know. project

14:38

a lot of things. I'm saying that everything is happening

14:40

all the time with thousands of

14:42

people in New York City, and it's

14:45

spectacular. It is energizing

14:47

And there's something that

14:49

kind of makes you feel part of something

14:51

bigger than yourself. Certainly, that

14:53

being the city and that being the human

14:55

race and that being the type of diversity

14:57

that you see here. It's just

15:00

it's just great. And there's so

15:02

much vital creativity

15:04

going on here. mean, just

15:06

going to the Whitney, going to the

15:08

Burland Club, going to, you know,

15:10

Tomkins Square Park, just walking. I just and

15:12

I think I feel like I go through this every

15:14

time I'm here. but I'm now at a point

15:16

where I can sort of see a finish line. I can

15:18

I can sort of see an end game, not my

15:20

death, but my pulling back, you

15:23

know, from from everything

15:25

I'm doing just to to try

15:27

to enjoy life

15:29

that doesn't involve compulsive

15:32

engagement in stuff I think I have

15:34

to do because I've set out

15:36

to do it. I feel like I've done almost

15:38

everything I set out to do. Some

15:40

of it I enjoy, some of it I'm tired

15:43

of, some of it, you

15:45

know, I can take further. But

15:47

no matter what, I definitely wanna pull

15:49

back in a few years. And the idea

15:51

of having a place in New York to

15:53

just take advantage of the city and then

15:55

having a place somewhere else to

15:58

to just kind of live life in a

16:00

in a relatively peaceful and

16:02

destructive way seems appealing to me.

16:04

That being said, I could drop dead from a heart

16:06

attack or lose my mind at any

16:08

minute. So look, the

16:12

book that Ralph

16:14

Machio is here to talk about her. He's here to

16:16

talk about his wife, but he has his memoir

16:18

watching on the karate kid and me.

16:20

That comes out tomorrow, October eighteenth,

16:22

you can get it wherever you get books. The

16:24

new season of COBRA Cai is now streaming

16:26

on Netflix. And this is

16:28

me talking to Ralph

16:31

Machia, who we all

16:32

know.

16:43

Alright. So wake. Now tell me because

16:45

when we only walked in here, you saw my fender

16:47

telecaster. Yeah. You have

16:49

the you have the the

16:51

crossroads. Yeah. telecast. Yeah.

16:53

Yeah. Is it even a is it an old one

16:55

even? I think it is. I don't I don't know if

16:57

we ever got the year on it because I that

16:59

thing's sitting there forever and people have offered you money and

17:01

you never did the research. No. No. No. I I

17:03

have done some research. I thought it was

17:05

late sixties. I think it's early

17:07

seventies if memory serves I

17:09

need to have that -- Right. -- time machine back to that conversation.

17:11

But yeah. because we, you know,

17:14

we're looking at it when we're we're

17:16

doing doing the film on initially and trying to find out whether

17:18

it should be all Gibson, what kind of guitar,

17:21

and, you know, I was a big springsteen

17:23

fan growing up still m, and so it was

17:25

always telecast. faster. So I won't tell you. And

17:27

plus I'm you know, Gibson's a big

17:29

guitar for a little Heavy only guy, like,

17:31

made The Westenders, like, the black

17:33

customs, they're heavy. And and, like, what

17:35

do you three thirty five, that would have been huge. Yeah. Yeah. But I

17:37

like the Springsteen connection. Yeah. He's a

17:39

big telegraph. A big telegraph.

17:41

A big telegraph. A big telegraph. all the time.

17:43

Yeah. Yeah. Yeah. So but it's interesting

17:45

to me that that there

17:47

is this huge collector's market. It's

17:49

not actually ruining the the market for people

17:51

that just are interested in finding a

17:53

cool guitar. Right. Right. Right. Everyone knows

17:55

what they have now with the Internet. There's no

17:57

finding that. But really, I don't

17:59

think that the period of time that

18:01

that telly is from is necessarily an

18:04

important period in fender history.

18:06

Yeah. But because it's the crossroads is a good time.

18:08

Right. You would do a certificate and take

18:10

a picture. Right. And then some of them, you

18:12

know, when they sold it for fifty thousand

18:14

dollars. Right. No.

18:16

It's it. Listen. I've I've signed

18:18

many guitar picks. They bring them

18:20

in, you know -- Yeah.

18:22

-- collect and stuff like that to train that light

18:24

light and boy, mar tones or whatever. Yeah.

18:26

Yeah. I know. There's there's fun, man.

18:28

It's fun. But, yeah, arguably,

18:31

you know, the forty seven Ford,

18:33

the wax down, wax off car

18:35

that I got to keep after doing

18:38

the original crowded people. most people just take the the

18:40

wardrobe. Yeah. I took the headband and the

18:42

car. Yeah. And a

18:44

new Can I keep this soup that's what

18:46

I get? Yeah. Yeah. Yes. So

18:48

but more people ask about the The

18:51

guitar? Yeah. Yeah. Well, I mean, that that

18:53

that four I mean, that's that's a

18:55

old car. is that? Forty seven.

18:57

Forty seven. I think that people who

18:59

collect cars to drive on the street, it starts in

19:01

the fifties. Yeah. Yeah. Those are the cool

19:03

ones. Yeah. a rare guy that's gonna be driving around. Forty seven. Forty

19:05

seven. Yeah. Exactly. Thirty seven

19:07

Chevy's. Yeah. That kinda shit or sixties and

19:09

the Impala's and stuff. But I so you still have

19:11

that car that you drive it? It

19:13

is in being used in the Cobra

19:15

QI series. Oh, that's the one that's there.

19:17

It is the one that's it. Yeah.

19:19

Yeah. Where's that shoot though? Atlanta.

19:21

And that's why So you drove it down. You had it

19:23

towed down. Yeah. They had it towed down, and they helped

19:25

get the old girl back up and running and

19:27

off the wheel. But yeah. It was sort of a

19:29

metaphor for my big screen career. So that is sitting

19:31

in storage about six, seven years ago,

19:34

covered in dust on four flats.

19:36

And now it is -- Yeah. --

19:38

happen popular and and it's

19:40

got his luster back. That's great. You know, it's it

19:42

it it is quite a a ride you've

19:44

had. And and my producer, you know, brought to

19:46

my attention. It's sort of like,

19:48

know, you've you've plugged along and you've done the

19:50

work. Right. And you were a huge star

19:54

when I was a kid. I mean, I think I was a

19:56

little old. I don't know. I think we're

19:58

around the same age. But I think when you

20:00

were popular, somehow it was more of my

20:02

brother who's, like, two and a half years younger than

20:04

me. Right. Right. That was, like, in the same

20:06

zone. Mhmm. But I remember seeing the

20:08

outsider. Yeah. but you always kinda

20:10

worked. Yep. You know, but tell

20:12

how, you know, I mean, ups and downs and all

20:14

You know, I talked to Zapco, George. Yeah. Yeah. Yes.

20:16

I did. I did. I did. I just spoke to him last night, and

20:18

he said he had a great time and I listened to

20:20

it last year or whenever that was done. I just couldn't

20:22

believe it. I couldn't believe

20:25

how well he that

20:27

he matured that character -- Yeah.

20:29

-- both of you. Well, it's you know, listen a

20:31

lot. The these guys who

20:33

create the Cobre Q show had such a

20:35

smart angle in to sort of how to peel

20:38

the layers off the villain and all

20:40

of a sudden, you know, put

20:42

the ex hero in in

20:44

in his trans midlife transition. Yeah.

20:46

And he's like, you know, they're they're both empathetic

20:48

characters, but they're both they're not as,

20:52

you know, defined -- Yep. -- in

20:54

the way that you were when your kids. Right. Like, there's

20:56

a good guy in a bad guy. He's black and white people.

20:58

But now, you know, because ages

21:00

happened, you know, both guys

21:02

have a little bit of both -- Yeah. -- you know, in

21:04

their own weird way. Yeah. And that's and

21:06

that's truthful. Anyway, you know --

21:08

Sure. -- into, you know, there's a little bit of good,

21:10

a little bit of bad, and everybody. Right. and

21:12

the intentions of both are good. So that's why

21:15

you root for both even though your

21:17

allegiance may change episode two. episode

21:19

two. But his but his he

21:21

He's his own worst enemy. Yes. And your

21:24

ego is your own one. Exactly. Exactly.

21:26

Right. You know, he's he's still

21:28

hanging it on one kick that got know,

21:30

he's like the guy who won the high school

21:33

football game, who still talks about

21:35

it. I mean, not so much in these seasons

21:37

now or in during season five, but I can't

21:39

believe it. That's crazy. Yeah. I mean, I

21:41

just can't I you know, I was curious

21:43

about it, and I was just so

21:45

taken by the age of you

21:47

guys. You know, it's sort of it it

21:49

is the show and it is those characters,

21:51

but I think there's an honesty to how

21:53

you're you're playing the age. But

21:55

that we are at. Yeah. You have to. And

21:57

even when we do, you know, when they when we

21:59

see in the script, it's time to go, you

22:01

know, drop the gloves again. Yeah. It's

22:03

like, okay. Can shoot this. Can

22:05

we play this as we would as guys in

22:07

our fifties and not pretend to

22:09

be doing the rematch, like, we're, you know,

22:11

twenty years old again. And have that go?

22:14

Pretty well. Pretty well. Although they still want

22:16

us to, you know And then the

22:18

music, the music, the underscoring

22:20

-- Yeah. -- is is

22:22

it helps us with the youth and and energy. And

22:24

we work hard at it, you know. Yeah. It's

22:26

it's fun. We got these great kids in the show,

22:28

which is wonderful. Yeah. Yeah. Awesome. Yeah. They seem

22:30

all they all seem really good. Yeah. And it's

22:32

it's a sweet show. But, like, when you look back at

22:34

the I mean, this came did it come

22:36

out of nowhere? Like, when when people when

22:38

when the offer came to you, like, we're gonna do this

22:40

again, you win. Were you

22:42

like what were you doing? But it's

22:45

in your life. Basically, the three guys who ride

22:47

it pitched it. They pitched it to Billy

22:49

first. I was the last

22:51

guy to and I

22:53

was probably the most resistant always -- Really?

22:55

-- to, you know,

22:57

the Karate Kid Film has become a

22:59

piece of pop culture -- Sure.

23:01

-- and a piece of many

23:04

people's childhoods. And as a as a

23:06

comic I mean, that wax on wax off thing

23:08

is used in punch on Yeah. Oh,

23:10

you're just dead all the time. Yeah. It's cool.

23:12

It's like the fallback. Just in case you don't

23:14

have something -- Right. -- fresh and new. You go

23:16

to that. It's a home. Right? It's a fast fall down the

23:18

middle. You always catch the plate. But,

23:20

you know, it

23:22

was like why mess with

23:24

it, you know. That was

23:25

your resistance. The great Pat Marita is

23:28

no longer with us in that Miyagi

23:30

character. How do you move that

23:32

forward? And, you know, there it was risk

23:34

reward for me. So I

23:36

I sort of held it, and I write about this

23:38

in in my in my book. I write about it. I held

23:40

I held it to a certain standard and on

23:42

a certain pedestal. Mhmm. So it's

23:44

to is quite precious. to

23:47

define your young adult

23:49

life -- Yeah. -- and it's sort of it

23:51

it is diff it is

23:53

a cultural touchpoint.

23:55

I mean, it's like, you know, it's a piece of history.

23:57

Yeah. It it is exactly -- Right. -- and it's

23:59

a lot of whether it's,

24:02

you know, someone in there a guy in his forties, a woman in her

24:04

thirties, or someone in their sixties, or a kid

24:06

who's fifteen. Yeah. It's

24:08

like this movie meant something to me.

24:10

So why am I gonna

24:12

fuck with that. And you didn't need the bread. Yeah.

24:14

And not and we could always use a little more

24:16

of that, but I somehow was able

24:18

to string it all to together over the

24:20

years, even during the drier and lean years. But

24:22

when they came to me with this, you know, I had

24:24

just seen creed, which was

24:26

sort of the How do you do

24:28

the Rocky Balboa? How do you do that? How do you rock rock

24:31

rockies and and not be Rocky -- Right. --

24:33

right? And that was sort of kinda smart --

24:35

Yeah. -- coming through the eyes of Apollo

24:37

Credes Okay. Yeah. Yeah. Sure. So that China was

24:40

was was relevant and

24:43

presently at the time And

24:45

then so the concept of taking,

24:47

okay, who is Johnny Lawrence?

24:49

What happened to this guy after he took the

24:51

crane kick to the face kind of thing? and

24:53

where did Lou Russo go now? These these writers

24:56

had had a a

24:58

way into the universe. But

25:01

then when they spoke about the kids, you

25:03

know -- Yeah. -- and Johnny's son who

25:05

becomes my student -- Yeah. -- and

25:07

and McGill is sort of the

25:09

millennial Daniel Russo and

25:11

my daughter being overprotective.

25:13

Now I start seeing

25:15

okay. Oh, yeah. It's not just these two guys

25:17

fighting about nineteen It's not it's not it's

25:19

not about you. It's not only that. I mean, you need

25:21

that and that's done with polls. But it's gonna honor

25:24

the legacy as opposed to

25:26

diminishing. Exactly. And and did

25:28

still. Who knew? Right. Well,

25:30

right. Who knew it? Start on

25:32

YouTube. Yeah. And and it was just it blew up. Yeah.

25:34

But but when those

25:36

conversations in those conversations, when they

25:38

were talking about character and and presenting

25:40

to you, how many kind pitch

25:42

meetings did you have to go through? Did you were you able to have

25:44

any input? To a

25:47

point, you know, the beauty has

25:50

they see the whole roadmap,

25:52

the John Josh and Hayden. Yeah.

25:54

And for Billy and I, you

25:56

know, we see our characters --

25:58

Yeah. -- that we've been walking in the shoes of

26:00

and -- Yeah. -- the skin ins and it's very

26:02

close to forty years at that time,

26:04

say, thirty four years over.

26:08

So you're protective. And I

26:10

play the protagonist of the

26:12

movie, the hero, quote unquote -- Yeah. -- whether

26:14

you thought the kick was illegal or not or

26:16

-- Yeah. -- who's a real jerk and who's a real

26:18

bully? Well, that's an income. We have talked

26:20

about that kick in general because that's,

26:22

like, if there's if there's any breaking news

26:24

in this book, it that

26:26

that kick was nearly impossible

26:28

to really hit. It was yes. Yes.

26:30

As written as originally written.

26:31

But anyway, so all that stuff so

26:33

We the input

26:35

was there from the onset

26:37

-- Yep. -- the guys and they're very collaborative

26:39

and we're always talking that stuff through,

26:41

but they get the tie breaker. because

26:43

they're looking at the whole landscape. Yeah.

26:45

Right. Right. And so there have there has

26:47

been push and pull throughout, but

26:49

the longevity of the Cobre Eye

26:51

series -- Yeah. is credited

26:54

them saying, I know

26:56

you're feeling this, but this is that way

26:58

because of what we have here. Uh-huh.

27:00

If we don't really hear,

27:02

you know, you could you could frontload everything and frontload all the

27:04

guest stars and Kobra Kai is done in three

27:06

seasons. Right. Right. It

27:09

has, you know, It's

27:11

been listen. It's been this

27:13

franchise has got some blessing from

27:15

day one. And I credit John

27:17

Appleton and Jerry Wanchard, Robert Cayman, who wrote

27:19

the original a little script. Yeah. know, they

27:21

created AAA world that we go back

27:23

to, and now these guys are adding more

27:25

colors and layers And benefit also

27:28

too is that, you know, unlike

27:30

some shows, you can kinda let

27:32

these kids grow. Yeah. You

27:34

can get all read. Yeah. Well, that stream streaming service

27:36

give you you don't have to do the two

27:38

and a two hour and fifteen minute blockbuster

27:41

move. Right. But also just that, like, because

27:43

they're at a certain There's no reason. They're

27:45

not gonna age out too quickly because

27:47

they can you can keep doing body

27:50

questions. Sure. Like, there's a lot

27:52

of these things. There's two years between them. Right. And he gotta believe that

27:54

the guy sees He's welcome back, Connor. He's,

27:56

like, eighty years old, and he's supposed to be sixty.

27:58

And he's, like, what happened? I know.

28:00

Yeah. So when you're a kid, you

28:02

you grew up where? Long Island

28:04

in New York. Which way is the home base? What town?

28:06

I grew up in Dick's Hills.

28:08

Oh, yeah. I I just I play Huntington's. Yeah.

28:10

Oh, the yes. The ParaMed. It's great.

28:12

Yeah. They give you a brick. They give you

28:14

a brick. I've been there. I've seen I think I've seen

28:16

the Maran brick. Have you seen a brick Yeah. They they they it's

28:19

right. They give you a commemorative. I've got

28:21

two bricks. Yeah. It's a good

28:23

club. That's great. You see rock you

28:25

see rock shows there? I

28:28

the last I was there. He took my son

28:30

to see oh, god. It wasn't a

28:32

rock show, though. No. It

28:34

was a

28:34

no. It was like a rap but but

28:36

AAAA fun upbeat kind of

28:39

mainstream rap

28:39

rapper. Oh, okay. It's blanking out on a It's

28:42

friendly friendly show. Friendly shelf.

28:44

Yeah. Yeah. How was your son? He's twenty six

28:46

now. Oh, my daughter's thirty,

28:48

and she'll be angry that I just said that.

28:50

No. She's not. But I'm only

28:52

thirty two, so how this was done. It's just It's

28:55

crazy, dude. Crazy. You have these grown kids?

28:57

I know. It's it is crazy. but

28:59

you you seem pretty I think one of the the things

29:01

about is you seem, you know, well adjusted

29:04

and and and also, like, I mean, you look

29:06

at some of the people that came up

29:08

in your generation. never made any

29:10

bad news. Right. Yeah. I'm the anti

29:12

e True Hollywood story as I alluded to in

29:14

in the waxing on, but

29:17

yeah. I some of that my sensibility

29:19

is

29:19

my upbringing, my parents -- Yeah. -- how

29:21

are you brought up? My, you

29:24

know, suburban Not

29:26

not Italian, but yeah. Italian, but

29:28

then my dad's half Greek, so that makes

29:30

me a quarter. That's a lot of food. That's a lot

29:32

of food, a lot of Mediterranean, a lot of

29:35

olive oil. but never

29:35

you know, it wasn't like Sunday

29:37

gravy in -- Sure. -- just the -- Right. -- the

29:40

seven fishes on Christmas Eve wasn't

29:42

pretty Americanized. Yeah. But

29:46

everybody's on Long Island. You got their

29:48

grandparents and the whole Yep. Extended

29:50

families. families. families. still

29:52

home based. Yeah. Yeah. But it's not

29:54

Not the massive big Italian -- Sure.

29:56

-- felt like in the traditional -- Yeah.

29:58

-- way, you know, but

30:01

but fairly close. My brother and I

30:04

about two and a half years apart. And my wife

30:06

and her family was somewhat like that

30:08

as well. So that's I think

30:11

for me, I've kept one foot in, one foot out

30:13

of it all. Right? Right. But it seems like your

30:16

priorities. And priorities like

30:18

III have to hit movie, but if the Mets are in the world

30:20

series, I'm going back home. Right. And that's

30:22

what I was doing in eighty six. Yeah.

30:24

You know? And you

30:27

know, once I got the outsider, I came

30:29

out to LA. So what yeah. So, like,

30:31

your brother's how much what's he younger? Two

30:33

and a half years younger. And what's he do? he's like like my

30:35

dad was sort of self made. Yeah. My dad

30:36

worked owned some

30:39

laundromats, then bought a pump truck when

30:41

needed to -- Oh, yeah. -- out the the overflow.

30:43

Like, insecticide. And then known the

30:45

biggest liquid waste couple of

30:48

islands. So that my brother off

30:50

on that. He's more into water purifying -- Oh, wow.

30:52

-- and I'm the other guy. Yeah.

30:54

Yeah. You're the yeah.

30:56

It's interesting that there are people that

30:58

do jobs and they may be great at their jobs and they

31:00

may be great at starting those kind of companies and

31:02

they seem necessary. But you you you

31:05

realize that some people work to

31:07

have the life they wanna have. Right. Not because, like,

31:09

I love water pump. Right. Right. I love pump

31:11

it to it. You know, that just happened

31:13

when you're done your first thing and it led to

31:15

something else. Yeah. And then you just get a

31:17

good business going and then you live the life you want. Yeah. You have

31:19

to love your job. Right. Exactly. We

31:22

do. Kinda. Yes. It's true. True.

31:24

You used to just work and not ask questions.

31:26

That's right. But I like that. But it

31:28

seems that your

31:30

sensibility is a round family. I mean, you've been with

31:32

your wife forever. We're at thirty five years. When

31:34

how old were you when you met her? met

31:36

her. I was fifteen. That's crazy.

31:38

Crazy. It was, you know, and

31:40

we dated Platonically as, you know

31:42

It's like kids, like, kids for

31:44

a couple of months, and then we always remain

31:47

friends. Yeah. You know, my

31:49

fur our first date was seeing

31:51

Scorsese's New York, New York,

31:53

who at the No. He lies in the middle. Yeah.

31:56

You're kinda eyebrow a high school kid. Yeah.

31:58

He not necessarily.

31:59

He's just

31:59

like musicals. I did like musicals. Wanted to

32:02

be Gene Kelly. III write

32:04

that early on in the book too. That's what I I

32:06

watch musicals with my mom when I was a kid. Really? You

32:08

know, the four thirty movie in

32:10

New York when station was at

32:12

channel eleven. Yeah. Yeah. Yeah. You know? Yeah. And

32:14

it had the gone with the wind music as the

32:16

theme. Right. Yeah. and then,

32:18

you know, it would be, you know, whether it was

32:20

Fred's stare or was it, you know You got to see all

32:22

those old ones. Oh, yeah. You still watch all of

32:24

them. love with that chair. Yeah. We just, you

32:25

know, it was, like, me, the intermen's

32:27

chocolate

32:27

doughnuts, drinking milk home from

32:30

school and watching movie musicals. That's like

32:32

And Gene Kelly was the, you know, he

32:34

was he was, like, the the star

32:36

baseball football player, hockey player,

32:38

and yet dancer, and -- Yeah. -- is this

32:40

That was he was he was your guy. He was my

32:43

guy at that at that young age. I mean, like,

32:45

you you Did you learn -- Yeah. -- but did you learn how to dance? I did

32:47

a little bit. Yeah. A little bit took that. You

32:49

seem like a guy that could do a

32:51

musical. I I did a musical.

32:53

during a musical call to succeed if That's right. Yeah. Really

32:55

great. Matthew Broadrick did did Broadway -- Yeah.

32:57

-- version. It was a, you know, at

33:00

the revival. and I did the

33:02

national tour. But how long did

33:04

that go on for? A year. Did

33:06

by the time did This was this was ninety

33:10

six ninety two. I did love it. For,

33:12

you know, it was like a little over a year

33:14

for, like, ten and a half months. I loved

33:16

it. Then I started getting exhausted

33:19

job. By then, you're moving, like, one

33:21

week city to city. Yeah. At first,

33:23

you're doing four weeks in San

33:25

Francisco and two weeks in Chicago, and that's

33:27

what I it's connected e, and it's -- Yeah. -- back on

33:29

the bus. It's really taken a lot of

33:31

foreign. No. I never I

33:33

most of the I I did get

33:35

the pushy -- Yeah. --

33:37

drove flu -- Yes. -- flu flu drove. Yeah. And

33:39

I have my family. My daughter was

33:41

five four -- Yeah. --

33:43

my son was a house plant at

33:45

the time, you know, it was like he added water and he just kept

33:47

growing. And and so that was it was an

33:49

amazing year. And so and and so

33:51

theaters in my in my blood, you

33:53

know, as well. And you like, didn't you

33:55

do a thing with Daenerys? Like like,

33:58

when Too many times. Yeah. That was

34:00

eighty six. What was that movie? What was

34:02

that play about? It was about Cuban

34:04

American drug dealer, DeNarrow, played him on the

34:06

lower east side of Manhattan, and I was his son He

34:08

had the long hair and the beer line.

34:10

I have his permission. Yeah. And

34:12

and I was his son who was a creative

34:14

writer who was, you know,

34:18

sort of experimenting

34:20

with heroin at the time. And it was a father's

34:22

son trying to reach his son. Like,

34:24

don't do as I say, not as I do.

34:26

kind of scenario. How was that? Do you remember? Correct. How old were you? I was

34:29

just twenty four, twenty five. Okay. So you were

34:31

growing up. sixteen. I played sixteen for thirty

34:33

seven years. That's you

34:35

know, that's the a deal as my

34:37

as my It's one. Everybody loves it. Like, what do you like you so

34:39

you gotta go study heroin? I gotta go study

34:42

heroin. You haven't it was funny because

34:44

Deaneuro was

34:46

like, know, it'll probably it'll make sense if you wanna go to one of these I

34:48

said, man, I could probably pretend. Nah.

34:50

He wasn't telling me to shoot heroin,

34:53

Yeah. But to go to, you know, one of those houses,

34:56

hang out. Yeah. Sure thing. Yeah. Sure thing. Yeah. I'm at

34:58

where we started. So I went in. I

35:00

walked. I walked the those streets and went around. Miguel Pinera was a

35:02

a playwright who was written a that

35:04

he wrote a letter called. He wrote the plays,

35:06

our guy. It was Short ice.

35:08

-- I knew. Oh, Jesus. Yeah. Yeah. Yeah.

35:11

So so one of the characters

35:13

in the play, sort of, my

35:15

dealer with space on Miguel Pinera. And he said so I the

35:17

sixteen year old kid is aspiring to

35:20

that part of the art where we said and

35:22

Bert Young was in the play as well. It's Mike

35:24

so it was a great It

35:26

was at the public theater. It was amazing. Do you

35:28

have a good run? It had a it had

35:30

a great eight week run. It was a little ninety nine

35:33

season, and then we moved up Broadway

35:35

to the lawmaker. And it was, you know, it was

35:38

the hottest ticket in town. And I had, you

35:40

know, at Crossroads was

35:42

just finishing in the theaters, not that it

35:44

lasted very long. Karate kid two

35:46

was opening, and the Nets were winning a

35:48

hundred and eight games. And I'd come out at a

35:50

long eager theater and be like, you know, Paul

35:52

McCartney, leaving Jay Stadium for that

35:54

was that summer for me. Yeah. You know,

35:56

that was like the probably the

35:58

biggest of it all. That was a year at

35:59

your peak. Just just

36:02

all of that happening. Well Yeah. because

36:04

I I wonder, like, I it's I I wonder

36:06

how that it's

36:08

interesting that you

36:08

lived through that. And and

36:11

somehow

36:11

you did not you

36:13

kept your your ego in check.

36:16

Mhmm. And you kept you know,

36:18

like, you kept in your lane a bit. Like, you you

36:20

could have really for the most part, I

36:22

mean, we we spoke about that earlier, but for the most

36:24

part, it's it's a combination of like I

36:26

said, my upbringing, my

36:28

sensibilities, and

36:30

then my or I'm in the

36:32

neurotic kind of

36:34

knowing good and bad and maybe

36:36

being not taking the risk. you know what

36:38

I mean? Well, you know your limitations. my Exactly. So

36:41

and sometimes sometimes you have to go there

36:43

to There's certainly is an

36:45

actor. Yeah. It it it

36:48

probably benefits -- Yeah. --

36:50

to to go down those paths,

36:52

I was always you

36:54

know, I really had to get past my you know

36:56

what I'm cool. Yeah. I was on the outside,

36:58

there's I think the guys wanted to get me a shirt that

37:00

said do not disturb because that was always on

37:02

my door. I wouldn't I do the scenes. I

37:04

go back study my lines and be ready. I was in a copala film, I'm like,

37:06

yeah, mess this up. No. Yeah. But

37:08

sometimes, I just have to relax a little bit, and I've

37:10

learned that over time. Yeah. Well,

37:12

it might have kept kept me out of trouble. Maybe

37:14

it's time to to go to shooting

37:16

gallery. studio and just get that

37:18

role, Arlie. There we

37:20

go. It's it's happened here, folks. This

37:22

is what's gonna happen here. You're you're

37:24

big your your

37:26

your your

37:28

amazing methods start turn is yet to happen now? Yeah. No. I'm just, you know, I'm just kid

37:30

in the candy store. What so how does

37:32

it happen? So you're out there on in Dixell's

37:34

-- Yep. -- and you you're

37:38

how do you get from there to the outside? Well, I know we that was one of those

37:40

ones where he cast it all over the

37:42

country. Right? Or no? Not not so much.

37:44

I mean, I know he cast the big

37:47

the big castings story with the outsiders is that he

37:50

had all the Francis had all the actors in

37:52

the same room -- Okay. --

37:54

watching each other, which is,

37:56

you know, But that was during his, like, he was building a studio.

37:58

Yes. Right. Right. Right. Right. Right. One

38:00

from he had apocalypse and one from

38:02

the heart or And

38:04

rumblefish. Right? Rumblefish came after the outside.

38:06

He was a double banger in Tulsa. He

38:08

shot them back to back. And, yeah, right, I

38:10

was just in Tulsa. Yeah. And it's there's

38:12

plaques all over the place. with the outsider's Yeah.

38:14

I'm going to Tulsa for for waxing

38:16

on to do. Essie Hinton is going

38:18

to do in conversation with me. No

38:20

shit. I'm doing a book of van

38:22

book tour event. in Tulsa. Yeah. And that's where she

38:25

lives still. Yeah. She's still there. Wow.

38:27

Yeah. That's wild,

38:28

man. But, yeah, it's fun. I'm I'm

38:30

looking forward to that. the author. Now

38:32

I could Yeah. But how I got to from

38:35

from Dick's Hills to

38:38

commercials? got a bubble yum

38:40

commercial, you know. A bubble yum. I remember a

38:42

bubble yum. Yeah. It was okay. That was a it

38:44

was like, you know big soft chewy or

38:46

tree chewed. Yeah. Well, reach you. You didn't have to do

38:48

any work. Yeah. Yeah. And the flavor was gone. It's

38:50

a big deal to twenty seconds. Yeah. You know? So

38:53

you did a lovely m commercially. Yeah. I

38:55

did two. I just called back for the for the for the reboot.

38:57

You had to imagine. Yeah. I did. It was this it

38:59

was sort of like a song and dance -- Yeah. -- you

39:01

know, with a group of kids. to go

39:03

go. You know? Yeah. Then we just

39:05

unpacking everything. Yeah. And

39:08

then first movie, I audition four,

39:11

that I got was a a film called

39:13

Up The Academy directed by

39:15

Robert Downey senior.

39:18

Wow. And my Downey junior. Downey junior as we

39:20

know him. He was fourteen at the time

39:22

and he was, you know, on set

39:24

and, you know, up the academy because

39:26

Downey senior was sort of I don't know that movie, but he

39:28

was kind

39:30

of a culture up in New York? Yes. Yes. I mean, his greaser's palace

39:32

and putney's swiping his marker. Yeah.

39:34

Yeah. Filmed. So what was that

39:36

one? It was up the account

39:39

Up the Academy was a Warner

39:41

Bros. movie that was

39:44

about and written by, I think,

39:46

Tom Pachett and Jay Tarsis. These

39:48

guys were you know, of the sitcom Yeah. Tarsus became a

39:50

big show runner. Right? Or an executive? Did he

39:52

run a number? He's talking about Jimmy Tarsus.

39:54

Jimmy Tarsus.

39:56

So there's an NDC. Yeah. Yeah. Yeah. Yeah. Yeah. You know, I got the part,

39:58

and my character's name was Choch

39:59

bambolazzi, and I had to play everything like

40:02

Disney was

40:04

a mob kid. Yeah. And then there was always four

40:06

misfits from different areas like the rich

40:08

kid from Connecticut -- Yeah. -- the Italian

40:10

kid and

40:12

the mob. the African American kid Was this his his

40:14

attempt at making AAA

40:16

sellable movie? I think

40:19

I I think from my perspective -- Yeah. -- opinion, I don't

40:21

have the the intel. Yeah. But I think he just

40:24

he got the the job. He was hired

40:26

to direct this. Okay. Okay.

40:30

Negative. pick up at Warner Brothers -- Yeah. Yeah. -- x amount

40:32

of of dough. And then they slapped the mad

40:34

magazine com because it what

40:36

happened is as we once we made the film animal

40:38

house must come out right now.

40:40

I'm looking at the poster right now. Right. Oh,

40:42

so mad magazine produced it or No.

40:44

They just slapped that on lesson. But after the

40:46

movie was cut, it was all of a sudden became mad

40:48

magazines up the academy. then they did

40:50

some prosthetic y, alfredy,

40:52

Newman mask, and they tagged the little

40:54

piece of footage at the end of it. Yeah. It's a

40:56

real it's a it's an

40:58

r rated comedy about Weinberg Military

41:00

Academy. It's just weird. It's

41:02

how I it was the first part, but

41:04

from there, Well, Ron Liebman

41:06

was in it. Ron Liebman was in it took his name off

41:08

the credits. Yeah.

41:10

Anyway, and Good actor though.

41:12

Much played great actor. And how Parker was in

41:14

it to play. He was Parker Stephenson's

41:16

younger brother. He wound up, like, running

41:18

Paramount for a while or anyway.

41:21

So so that from

41:23

there, ABC was doing some talent search. And

41:25

I went in, you know, I had

41:27

a little something under my belt

41:30

auditioned, and they put me

41:32

they sort of signed me, put me on, eat is enough. Okay.

41:34

Yeah. So I was lying was too many, and

41:36

that was the end of that show. Twenty two

41:40

episodes in. This is all I'm

41:42

rolling with all my dude. How many episodes Twenty twenty twenty one

41:44

episodes. I made money. Yeah. The

41:48

Okay. He closed out to Santa Monica, stated to

41:50

actually, I got that part. And two days later,

41:52

the actors went on strike. Screen experts go on strike for

41:55

three months. So I had an apartment

41:58

I was living back home calling the hotline for SAG to see if

42:00

I was ever gonna work again. Yeah. And if

42:02

remade is enough after that with the

42:05

Siders audition, and that was the one, you know, that was

42:07

Now when you were living out here, were you did

42:09

your mom come out with you? Or No. Nope. I

42:11

was just you know, I just I

42:13

was probably twenty. Oh, so you whoa. Already old.

42:15

Old enough. No. I was in I was in

42:17

nineteen.

42:17

I just love

42:20

nineteen. twenty.

42:21

And so you gotta do the Machio curve because I looked like it was fourteen.

42:23

So that means I had to be nineteen or twenty. Yeah.

42:26

And and

42:29

that they came out to set me up and such.

42:32

Right. And they would go back and forth,

42:34

but it wasn't I wasn't a

42:36

minor. Right. So the

42:38

outsider. So you go out there. That was the one. That

42:40

was the one I wanted. I read it when I was

42:42

twelve. Yeah. Of course. wanted to read

42:44

it. Yeah. And and

42:46

that was still knows about a

42:48

special place for me. That's a beautiful

42:50

looking movie. Yeah. Fantastic. Bureau of

42:52

cinematography and -- Crazy. -- it's Cupola.

42:54

But, yeah, but have that audition go. Did he put

42:56

you were you in the room with everybody? Yeah. The one.

42:58

Kind of. And I kept and he was

43:00

Francis was very much like, okay. You

43:02

read ponyboy, you read cherry, you

43:04

read, Johnny, you read Dallas, and and then switch, okay, now you

43:06

read this and you read that. Right. You know,

43:08

there's anywhere from the guys in the cast to,

43:10

like, Dennis Quades and Mickey Rourke, and

43:14

and the Scott Bayos and, you know, everybody was, you know,

43:16

they were all coming in and everyone was coming.

43:18

Everyone was being a certain age group. Yeah.

43:22

Yeah. And But for me, I wanted to play Johnny and Johnny

43:24

only. Johnny, you know, Johnny Kate -- Yeah. --

43:26

that great character. And because I

43:28

felt the I,

43:30

you know, I related to the book. He was the the guy. Yeah. I just

43:32

I I related to him being the sort of

43:35

the run to the litter. Yeah. the

43:37

the the one that was protected. Yeah. He

43:39

had a broken family life, and I

43:42

did not. I had the antithesis of

43:44

that. But Yeah. Just challenge yourself. I challenge myself, but and

43:46

and and, you know

43:48

but I don't know. There was just a connection. are

43:50

those

43:51

I just He's a sympathetic

43:53

character. So I sympathize with the the guy. And

43:55

so having that opportunity, I kept wanting

43:57

to only read Johnny

44:00

and And I talk to Francis about that even to the to recent

44:02

times talking about how I

44:04

wanted that part. Yeah. He

44:08

remembers me Like, what? He

44:09

said, okay. Now I want you to read ponyboy. I said, yeah. know, don't answer back. I

44:11

think I directed

44:12

the godfather and apocalypse.

44:14

Who do you think it's so

44:17

of your youth is wasted on the young year. Yeah. Yeah.

44:19

Yeah. But, you know, and then they

44:21

they went around and they they went I

44:23

think he went to New York and brought

44:25

a bunch of guys from the cast -- Yeah.

44:27

-- like Emilio, Estevism, Rablo. And they went to New York

44:29

and met and brought Matt Dillon in who got

44:31

who wound up being in both outsiders and

44:34

grumblefish. Yes.

44:36

And I didn't go on that trip, so I thought maybe I

44:38

didn't get the the deal. Yeah. Yeah.

44:40

I found out later that that I

44:43

I was in the bank already. I was I would appreciate it.

44:45

Yeah. I would appreciated the call. They might

44:47

as well. You know, they they forget to call about

44:49

a lot of people. Or or maybe they were just looking

44:51

for something else. But The

44:54

United States all good. It was a great it's

44:56

a great one on the resume, and I'm I'm super proud.

44:58

So that was, like, I guess, Matt Dillon

45:00

first thing was my bodyguard. Right? And then I think he had over

45:02

the edge. Oh, right here. Yeah. I should be his

45:04

publicist. Look at that. Who knows that? But

45:07

I don't think he knows. Do you are you friends with any of these

45:09

people? Yeah. Once they're alive? Yeah. I mean,

45:12

I I connect with He's way

45:14

too alive. and Leaf

45:16

is so I've I've spoken

45:18

to him in a while. You talked to Dylan? I

45:20

I haven't in the last couple of years, but we connect

45:22

because in New York, we're both New Yorkers, and we've --

45:24

Yeah. you know, I have such

45:27

great respect for him and and his work

45:29

and and Roblo and he could see

45:31

Thomas Howell and, you know, Ian Lane, and

45:33

he doesn't who doesn't love Diane Lane. He's fucking fantastic. Yeah.

45:36

Yeah. Always come. Emilio. I was

45:38

close with Emilio for a while for a

45:40

couple years anytime I came out

45:42

to LA, I would -- Hang out. -- you know, hang

45:44

out. And that was like me being a

45:46

Hollywood guy in Malibu -- Right. -- together. --

45:48

this is, like, fantasy kid. The other

45:50

good kids. He's pretty good. He is a good guy. Yeah.

45:52

Yeah. That must have been fun. What did was

45:54

Martin Sheen around? Did you He was a little bit

45:58

I did film I did a TV movie with Martin

45:59

called The Last POW.

46:02

And and I've done, you know, Martin through

46:04

Emilio and and Charlie.

46:06

And it's Good guys?

46:08

Yeah. They're good they're, you know, good

46:10

guys to me. Yeah. Yeah. Always

46:12

always mutual respect.

46:14

They're totally different lives, totally different coasts.

46:16

totally different everything. Sure. It's so funny that that whole generation of

46:19

those guys because even like Charlie Sheen when

46:21

you think about using Ferris Buer.

46:24

Right? didn't yet for, like, a second -- Yeah. -- as a kid -- Yeah. -- who been

46:26

busted the stoner. Yeah. Yeah. The stoner.

46:28

Yeah. There's that whole generation of

46:32

you guys. But is Downey he's among that age.

46:34

Right? Right. Maybe yeah.

46:36

Yeah. I think he's probably younger.

46:38

Just a little numb probably around that. I mean, I was

46:40

one of

46:42

this oddly. I'm one of the older Yeah. You

46:44

know, on the outside, it's only

46:45

Swazie was the only one at the time

46:48

older. Yeah. And I played

46:50

the youngest smallest, but that's

46:52

been my thing. Yeah. Yeah. Keep

46:54

it. That's what I got. You know, those are

46:56

the cards I've been dealt. So But it's interesting.

46:58

Isn't it though? Because you are were

47:00

considered a child actor, but you really weren't a

47:02

child actor. I didn't start I didn't get my first

47:04

job till I was seventeen

47:07

turned eighteen. I guess that probably contributes to

47:09

your ability to have someone, do you have any? Is it like

47:11

a lot of those child actors? Real child

47:13

actors? It's they they

47:16

grow at themselves. Yeah. You're look didn't change. You're really not gonna be

47:18

great. But yeah. But it it it became that

47:20

double edged sword. Yeah. I write about that

47:22

as well. You

47:24

know, when I was aging out of teenage

47:26

stuff, but I didn't mature

47:28

into young leading man. Right. And I'm

47:30

still waiting.

47:32

But somehow, I I stay

47:34

working throughout. Well, I mean, I haven't seen see Thomas

47:36

Howell in in in a long time --

47:38

Yeah. -- in things. Well, he's he's doing

47:40

his own. I think he's doing music stuff now,

47:42

and and I don't wanna I know there's something acting wise happening

47:44

with him right now, but I don't wanna be the guy

47:46

to -- Okay. -- stop that. Same time. cruise.

47:49

He still got his phone number. I think Tom cruise, is

47:51

he still working? He's doing okay. How are

47:54

you doing? He just had a a movie come out. I

47:56

I think it was kind of popular joke. Right.

47:58

Once again, Just

47:59

tapping into yesteryear. That's what we do,

48:02

folks. They that film did,

48:04

you know, a top gun maverick. Did you see

48:06

it? It did

48:08

everything right. Yeah. That's what I see. Yeah. Yeah. I think it

48:10

does it does everything right. And

48:12

we it's interesting in the press

48:14

junkets for

48:16

for for Cobre QI. Yeah. Now we're hearing that. Like, these are

48:18

the two examples of how to do

48:20

it right. Oh, yeah. You know, one is a streaming

48:23

series and one is a Yeah. That's a pretty

48:25

high billion dollar movie. Right. Yeah. Yeah. That's

48:28

But do you do you are you in touch with

48:30

that guy Not not really. Normally,

48:32

but, you know, I bumped into him a few

48:33

times and we, you know, we just talk about

48:36

how

48:36

we kind of preserved pretty well. Yeah. You

48:40

know, we look pretty good for our ages. Yeah. That's true. And

48:42

that's true. You know? And maybe who knows?

48:44

Maybe he is I ran it to Ben

48:46

Stiller. It's something who I'd never met in my

48:48

life and

48:50

he was he came up and he was talking about how his

48:52

kids love the COBRA kind of Oh,

48:54

really? And he's -- Yeah. -- you know, because he's

48:57

And it was just It's kinda cool. He keeps pretty well too.

48:59

He looks pretty Yeah. Yeah. Yeah. He's doing

49:01

alright. That Mediterranean thing. He's got the Jude thing.

49:03

You got the Italian. That's

49:05

right. I don't know how is doing it. No. That's it. The

49:07

secret that had some secret magic there.

49:10

Yeah. Dark

49:12

magic maybe. But so

49:14

after the outsiders, Karate had,

49:16

like, Pat Marita -- Mhmm. --

49:18

was hilarious. Yeah. He was a stand up

49:21

comment. Yeah. The hip. Nip. Right. Right? That's what he

49:23

was. They called Lenny Bruce is my right about that right

49:25

then waxing on. Yeah. It was Lenny Bruce's

49:27

mother who gave him that That

49:29

was his manager. Right? The wasn't

49:31

he hurt his manager? I think

49:34

Perhaps. And I know he didn't

49:36

start till he was, like, thirty. Yeah. You know,

49:38

and to that. And he was, you

49:40

know, I I talked a lot about the seventies.

49:42

Yeah. Yeah. Yeah. And I talked a lot about that, you know, it

49:44

was Arnold from Happy Days

49:46

for me. Yeah. Right? Yeah. Sure. So, I mean, honestly, when

49:48

when I got the part of Daniel

49:50

Arusso and and they

49:52

were looking for who were we

49:54

gonna cast is the great

49:56

Miyagi in this in this screenplay

49:58

and, you know, is to show on Mafune

50:00

was the, you know, the achura

50:02

Kawasawa. Yeah. Great activity. right. That's I mean, that's what we were

50:04

thinking. Yeah. They were thinking along those

50:06

lines. And but

50:09

then it was and they could not not find

50:12

Miyagi, you know, and where was he? You know?

50:14

He was right in front of everybody. Yeah. He was

50:16

also unhappy. And I walked in

50:18

that den. I've I had it so funny

50:20

because now and

50:22

I I alluded to this in in like,

50:24

this second second or third chapter where I talk about

50:28

the irony of

50:30

my initial insight

50:32

into Pat Marita auditioning for mister Miyagi and

50:35

say, oh, this thing. I mean, Arnold from Happy Days

50:37

-- Yes. -- is gonna be like

50:40

You thought I had all these preconceived notions. Yeah.

50:42

And the irony is years later,

50:44

I went through that same oh,

50:46

Ralph macho. Yeah. He's that. you

50:49

know -- Yeah. -- you know, you get pigeonholed shirt to, you

50:51

know, it's it's preconceived no shirt versus and then I walk

50:53

in the room and he is instantly

50:55

Meyaghi and I

50:58

am in Daniel Russo in that yin yang kind of

51:00

chemistry was just from

51:02

the from the first meeting. Yeah.

51:04

And you could just see the filmmakers and just

51:06

say, this

51:08

is done. Yeah. You know, just the first time we read four four

51:10

lines. It was just

51:12

so easy and

51:14

so natural. When when you were

51:16

brought in for it, how do wait. Is it just a straight

51:18

audition with a bunch of I went to I I said no.

51:20

There were a bunch of other dudes. It was it was

51:22

in John Avelson's a part man, I was in

51:24

director for Yankee along with the Karate Care -- Yeah. --

51:26

other other great films. And he

51:28

it was his apartment, upper east side,

51:32

I I do explicitly go at what that

51:34

day was like for me. Yeah.

51:36

And I walked in

51:38

there. It was well, basically,

51:40

it was Okay. The sending me the script

51:42

called the karate kid. I was, like, seriously, is this

51:44

an after school special program?

51:46

Twenty twenty.

51:48

Karate twenty one. Yeah. The outsiders

51:51

was out there, so I, you know,

51:53

I had felt a lot of the street cred.

51:55

You you do well. I

51:58

did I certainly did very well. The outside was not you know, you thought it

52:00

was gonna be the biggest hit in the world.

52:02

Right. Right. And it did well,

52:04

but it did not. It was too weird for people

52:06

because of

52:08

the wait. a couple of conceived of it. Yep. Perhaps. It

52:10

was a it was a romance to to

52:12

it all, but that was, you know, was written by a sixteen

52:14

year old

52:16

girl and that's it. But they shot all like, were how much were shot

52:18

in a studio? No. Most were shot.

52:20

all the time. Yeah. All until

52:23

there was one, you know, with the sun I'm

52:25

sorry if he was crazy. Yeah. The sunset scene

52:27

with me, Huggies, you know, the the And

52:29

Robba Fish, too. Yeah. No.

52:32

Alright. So anyway, so you're gonna get this

52:34

script. So I got this script and I, you know, the

52:36

title is just like III joke about

52:38

it in the book where I say, god, this is such

52:40

a bad title that if the thing ever works, I'll probably

52:42

have to carry it for the rest of my life.

52:46

And it's and and Jerry Weintraven the producer would say, it's pretty all the

52:48

time when I complain about the title because it's

52:50

a terrible title, which makes

52:52

it a great title.

52:54

Yeah. Yeah.

52:56

Anyway, I took the train into Manhattan -- Yeah. -- from Long Island,

52:58

you know, studying in my part, and I

53:00

go into Allison's apartment,

53:03

waiting my turn, and Who's

53:06

there? And who's there? No. It's just

53:08

John. Just John in a big Who's waiting? Who's

53:10

waiting for? video cam. In the

53:12

hallway, I think I recognize it was

53:14

John Kreger, a couple other people

53:16

there. Okay. Yeah. You know,

53:18

and there were all a lot of people making fun of the

53:20

title, and it was interesting. I

53:22

write about this. having

53:24

the script that weekend preparing

53:26

for the audition -- Yeah. -- to still

53:28

audition for the guy who directed Rocky. So

53:30

I'll go to his major league, you know, ballpark.

53:33

Yeah. But I remember being kind of offended that people

53:35

were making fun of the title I

53:38

made fun of the title. Sure. So but it's almost like when you I

53:40

write this, like, when someone says, I can make fun

53:42

of my brother, but you can. Exactly. Yeah.

53:45

And so that was happen

53:47

right away, which is kind of interesting. III wonder if

53:49

that's some subliminal like I was

53:51

taking control of it.

53:54

you know, I may be Oh, that seems to be my I might be adding

53:56

more to it and making my sound sense. Right.

53:58

Right. Well, no. I think it was

54:00

probably, like, you know, you

54:02

you know, by the time you got to Manhattan had decided you're gonna you're gonna go and

54:04

go for it. Yeah. So when I started rolling in love.

54:06

Right. Right. So you had to, you know, you had

54:09

to frame it in your head. has

54:11

something worth doing. Yeah. Exactly. Yeah. So I audition

54:14

for and John just talk and

54:16

my audition, you can see on YouTube. He

54:18

posted it. Oh, you did? And he intercuts it

54:20

with the first time Pat Marita read. And it's really interesting. And

54:22

I write about this, and then you could have

54:24

the visual to share it on and see

54:26

the first time I ever spoke

54:29

Daniel

54:29

LaRuso's words, you know.

54:32

Yeah. And

54:32

interestingly, it's kind of felt

54:34

like the movie is. It's not like

54:36

Oh,

54:36

that's where I started and I went to here. Yeah. It's what it was

54:39

natural organic from here up front. I put

54:41

a little bit of East

54:44

Coast bravo O into him. Yeah. And little feistiness. Yeah.

54:46

And and John was

54:48

just holding a a big j big

54:50

SJBC

54:52

camera -- Yeah. -- kind of thing. VHS recorder. Yeah. VHS

54:54

recorder. Yeah. And just reading with

54:56

me as he's holding the camera in his

54:58

hand. He did that he the all the time. If you go out

55:01

to lunch with him, he would be shooting stuff. Yeah.

55:03

Yeah. Yeah. And, you

55:04

know, he said to me,

55:06

basically,

55:06

he goes, you know, I'm

55:08

I can't make final decisions right now, but if I would you, I'd

55:10

start taking some karate lessons. I was like,

55:12

this is a pretty good sign on a first

55:15

date. Is it not? Yeah. and

55:17

I came out of that building and I

55:20

literally didn't know what to do with myself --

55:22

Yeah. -- you know, that I that I

55:24

didn't even take a cab. I think I

55:26

ran all the way down to Penn station. And

55:28

I couldn't call anybody because it's -- Yeah. --

55:30

I didn't have a cell phone. It's nineteen

55:32

eighty three. get into a phone booth. Yeah. Right. And you like, superman, you're who you

55:34

are, so you need to immediately go out and start

55:36

ruining your career. Right. Exactly. Go

55:38

down to Alphabet shooting. Yeah. So

55:40

so that's some, you

55:42

know, that's sort of how it happened, and then I

55:44

flew out to LA and

55:46

more hoops to jump

55:48

through before but it's when

55:50

Pat Marita got in the

55:52

room with me is when all of a sudden it

55:54

was a sign off. And then it was all the options

55:56

were picked up and it would go. Well, I thought yeah. I

55:58

thought it was interesting in, you know,

55:59

flipping through the book that the way

56:02

that, you know,

56:03

came in frames

56:04

that relationship in terms of, you

56:06

know, after Pat passed that,

56:08

you know, what is left there

56:11

is one of these classic sort

56:14

of Hollywood pairing -- Yeah. -- that transcends, you

56:16

know, time and and place. Really?

56:18

No. That YouTube guys, I

56:20

mean, people will remember that be

56:23

around forever. Yeah. It it is a it is a exactly

56:25

that. It's framing of a of a time,

56:27

a piece of pop culture, a

56:30

piece of

56:31

you know, and I'll get I mean, it

56:34

sounds sometimes I tell these stories and I

56:36

I hesitate because they sound not

56:38

in telling them, but if people get it like, okay

56:40

enough already, but it people come

56:42

up to me emotional of all

56:44

ages -- Mhmm. -- about you know,

56:46

what this movie meant, what that Daniel Russo character meant

56:49

to them growing up, but what not

56:51

having a mister Miyagi in their life

56:53

or the mister Miyagi in their in

56:55

their life that they no longer have in their life or their

56:57

dad and then would watch this movie or Yeah.

57:00

Yeah. You know, and what

57:02

I got people through, and it says, you know, it's a popcorn karate

57:04

movie. But yet, it had worked on that

57:06

human level. I don't know. But it is it

57:08

though? Because it is about, you know,

57:10

a kid

57:12

you know, you're trying to become or, you know,

57:14

learning how to to be a

57:16

a good person. And navigate life

57:19

fish out of that you're bullying. Mentors and

57:22

having that that that

57:24

person to -- Right. -- to help you So it's one

57:26

of those

57:28

stories that you know, that would resonate with a lot of

57:30

lost, you know, troubled people

57:32

or people that, you know, had a certain amount of

57:34

heartbreak around their family

57:36

situation. Yep. So it's it's

57:38

really is resonated and and --

57:40

Yeah. -- you know, I mean, I got look, I look at

57:42

that. I look at the outsiders as you mentioned.

57:44

Even even my cousin, Vinny, is another -- I

57:46

just saw that. -- one of those that

57:48

kinda still hang in there. I

57:50

just saw that recently. Yeah. I don't

57:52

know. It's a late for

57:54

dinner move. Yeah. I mean, I was flipping through, and I'm like, I'm not sure I ever watched this

57:56

whole movie. Uh-huh. And it was pretty close to the

57:58

beginning. Yeah. Yeah. Yeah. It was kind of funny

58:00

because, you know, you

58:02

you start as all these people get older, like, not Marissa so much, but,

58:04

like, with Peachy, you forget that he was kind

58:06

of he could do this lighthearted kind of

58:08

goofy shit. what

58:10

mean? No. He's very, you know He's

58:12

calling you out when you yes, he is. Yes.

58:14

They all come back. If you get them out. If

58:16

you get them out, like, I'm getting probably tired. You know

58:19

what? Maybe not. with him on this side? Yes.

58:21

Very much so. Very much so. He would he

58:23

would come III met him

58:25

when I was doing Accenture I

58:28

think is what I wanted to wear it. He is Accenture

58:30

and he's quiet. You know, he's to himself. Yeah.

58:32

You know, everyone's you know, they you just go

58:34

everybody does a peachy impression or whatever.

58:38

But for the most part, you know, he's

58:40

very -- Yeah.

58:40

-- quiet. But he would at

58:43

first met I first met Joe when

58:45

I was doing Kubernetes steady barrel. with the

58:47

neuro. Yeah. And, you know, and my cousin Minnie wasn't an easy

58:49

get for me because that was sort of

58:51

the beginning of the

58:54

downturn Well, let's talk about

58:56

that. If if, like so you go from the karate kid

58:58

and so you shoot this movie. Right. And

59:00

then it it blows up. Right?

59:02

And you're, like, the hottest kid in in Hollywood twenty one. Twenty two.

59:05

Twenty two at that point. Yeah.

59:07

So what do you you're out here.

59:09

Do you

59:09

buy a house? What what

59:11

did Well, No. Once I did the outsiders before the crowding,

59:13

I moved back to New York. Like, my the apartment

59:16

I rented was probably for two years on and off.

59:18

Okay. The gig is enough apartment. Yeah. And then

59:20

I spent a

59:22

year just know, studying acting -- Yeah. -- because I figured maybe I should learn how to

59:24

do it. Yeah. Like, so I got the

59:26

parts first and then figured out the crash. Who'd you

59:28

study with? I saw

59:30

it Lynette Kitzales, who's Milton Kitzales' ex wife. In

59:32

New York? No. Here at Beverly Hills playhouse

59:34

-- Okay. -- for, you know, six months, I

59:36

don't know, I've

59:38

seen study. Yeah. And that helped? It did it did help because brought

59:40

in the scene from the outsiders

59:42

before my audition to sort of

59:46

you know,

59:46

plan to try and get some get some feedback. Yeah.

59:48

Yeah. And that was yeah.

59:50

Oh, god. You're taking

59:51

me. It's it's is fun to go

59:54

down. This this open these cans -- Yeah. --

59:56

and close tight for a while.

59:58

Yeah. I mean, when you did that though,

59:59

that kinda a scene work with somebody,

1:00:02

I imagine, was very intense and and Yeah. It was, you know,

1:00:04

it was a way

1:00:06

to Well,

1:00:08

here's the story. See, now you're doing a great job, because now I

1:00:10

remember exactly how this this happened. I

1:00:13

auditioned for Fred Roos, who

1:00:15

is Frances Copel is still

1:00:17

producer and and casting director. He

1:00:20

has American graffiti and the outsiders

1:00:22

when you look at those two alone. big cast. Not

1:00:24

to mention the, you know, the godfather and

1:00:26

a part something else.

1:00:28

But I read for

1:00:30

him and I

1:00:30

didn't get a callback. Yeah. And then

1:00:32

the movie fell off and they weren't making, you

1:00:35

know, they were gonna make it and then they weren't gonna

1:00:37

make it. Right. Then when it came back

1:00:39

and they were recasting again,

1:00:42

I put that's when I went to

1:00:44

acting class. I was like, I I need so I

1:00:46

brought in the scene that I didn't get

1:00:48

you know, the movie didn't happen, so no one

1:00:50

got the part. Right. But So it

1:00:52

was so I and the feedback was that I wasn't

1:00:54

kinda there yet, and I did not have --

1:00:57

Oh, yeah. -- you know, I was saying this stuff

1:00:59

and I had the right look but

1:01:01

maybe not enough of the gravitas

1:01:03

or or what what should be

1:01:05

underneath. Yeah. So I took that to heart and

1:01:07

and started -- Yeah. -- so then when I went

1:01:10

back in, I mean, it's it's not as simple as this, but I'm giving

1:01:12

you the broad strokes. Yeah. And then, you know, as

1:01:14

history would say, I got the, you know, I What

1:01:16

was the key for that? I just

1:01:18

think it

1:01:18

just about,

1:01:20

you

1:01:21

know, living in it for

1:01:23

that character and not just just because I

1:01:25

had the look of Johnny Kate and I

1:01:27

had to dial doesn't mean I

1:01:29

had to But what did she teach you to to

1:01:31

connect with? What you needed to connect with?

1:01:34

I think Some

1:01:36

of it might have just been taking the pressure off

1:01:40

performing the audition. Right.

1:01:42

Right. Right. Right?

1:01:44

Behavior. Yeah. Like behavior and listening.

1:01:46

Yeah. I probably was so amped up that I was

1:01:48

just doing a lot of Yeah. Yeah. Playing

1:01:50

the sadness or playing the -- Right. --

1:01:52

the darkness opposed to the

1:01:54

behavior part of it. And that's what the same

1:01:56

study helps you with this -- Yeah. -- just

1:01:58

-- That's great. -- you know. And was that the

1:01:59

last question too? That's it. I got that part. I don't need this anymore. Yeah. done.

1:02:02

They did it. Not true. Not true. Not true.

1:02:04

So okay. So you do karate kid

1:02:06

and, like, what happens when it just

1:02:10

kills? Well, it just, you know yeah. I talk as chapter

1:02:12

in the book called The Crane Takes Flight,

1:02:14

which is sort of my

1:02:17

the beginning of

1:02:17

the afterlife of, you know, this will make the

1:02:20

book is kinda broken up into three parts,

1:02:22

the making of the movie. Yeah. You know,

1:02:24

if I get to tell all those stories and how

1:02:26

things happen. And then there's the afterlife -- Yeah.

1:02:29

-- you know, and then there's the lessons of --

1:02:31

Yeah. -- that are still giving back

1:02:33

today. Yeah. So So that

1:02:35

was, you know, that

1:02:38

was

1:02:38

all encompassing, you know, with going

1:02:40

to Europe and doing the opening of the film there.

1:02:42

And -- Yeah. and then to, you know,

1:02:44

karate kid part two. Well, tell me the story

1:02:47

about how the that, you know, in the script,

1:02:49

this crane kick. Oh, well, here's the thing. Yeah. Yeah.

1:02:51

That story. So the crane kick was

1:02:53

written as, you know, his leg is injured. So he's gotta

1:02:56

not use that leg at all.

1:02:58

Yeah. This is the best of my memory. Any

1:03:00

of this

1:03:02

stuff you know, like, it's someone you're writing something from thirty four

1:03:04

thirty five or thirty eight years ago.

1:03:06

Yeah. It's it's really about okay.

1:03:08

This is what I'm remembering of

1:03:12

these moments. Yeah. So but but for me,

1:03:14

it was it was written that he

1:03:16

had the injured leg so he had to be able to

1:03:18

throw the crane kick

1:03:20

with one

1:03:22

leg throw it -- Yeah. -- and land back on that Yeah.

1:03:24

That's not what it ended up being.

1:03:26

Right. So it was about how are we

1:03:28

going to do this? But they but they didn't exist

1:03:31

didn't exist in martial arts. There's no. There's a

1:03:34

misconception of, let's say, the writer. And

1:03:36

Robert came I wrote his exact words. He goes, it

1:03:38

was cinematic. I made it

1:03:40

up. Yeah. You know? Yeah. Yeah. And he made up something beautiful that

1:03:42

that you could mention almost anywhere on the street.

1:03:44

And -- Yeah. -- it's like -- People

1:03:46

know. -- Versal.

1:03:48

Yeah. So you know, it

1:03:50

was about how are we gonna do it? Are you gonna do it

1:03:52

with wires? Yeah. Yeah. Yeah.

1:03:54

Yeah. And

1:03:56

and so at one point, I was like, oh, wow. This might not work.

1:03:58

Yeah. Right. I mean, it wasn't

1:03:59

like the movie's a disaster. We can't

1:04:01

make this movie. It was sort

1:04:04

of like, Okay. It was more in John Avalon's hands --

1:04:06

director and and a stunt

1:04:08

coordinator, Pat Johnson, at the time

1:04:10

of finding the best way

1:04:12

to achieve -- Yeah. -- you know, because it is

1:04:14

cinematic. The arms are out open on

1:04:16

one leg. That's what everybody mimicked. Yeah. You

1:04:18

know? Yes. You know, when

1:04:20

they came after it is for a laugh.

1:04:22

Yeah. Yeah. Right away. Yeah. You just it's

1:04:24

still done. And then the MMA, you'll

1:04:26

see some Yeah. Doing the post.

1:04:28

You know? and it's on Twitter and Instagram in the next day. Yeah.

1:04:30

But so

1:04:32

this guy, Daryl Vidal, who's

1:04:34

who's Pat Marie is done.

1:04:37

He did the the Pat Marita

1:04:39

crane when Daniel DeRuso sees

1:04:41

it for the first time in sort of a fat suit,

1:04:43

and he was up there doing it. And

1:04:45

so if he was able to

1:04:48

to execute the kick and

1:04:50

switch his weight so

1:04:52

quickly that it almost you'd never thought that

1:04:54

he landed on the bad leg at all. Right.

1:04:56

And so that was I mean,

1:04:58

it's

1:04:58

it's not that

1:04:59

brilliant to fix, but it's sort of

1:05:02

what was done how could you fluidly

1:05:04

execute -- Yeah. -- seamless -- Yeah. -- going up,

1:05:06

throwing it, and landing back.

1:05:10

And so it because it was written that he never

1:05:12

the base leg was the kick leg

1:05:14

and the base leg, which kinda was

1:05:16

awkward when anyone tried Right.

1:05:18

You know, and that that's what became of it. And then it was about, okay, how

1:05:21

can I make this off and we just

1:05:23

kept working out and working on it

1:05:25

then? Did it. and we did it

1:05:27

and we shot it a zillion different ways. Wow. And it really just

1:05:29

played in a low a low wide

1:05:32

angle.

1:05:32

Yeah. So

1:05:34

what happens, it becomes this huge success. And now, like, how

1:05:36

do you handle your life? Yeah. I

1:05:39

you know, from there, I mean,

1:05:41

it was it was Karate

1:05:44

had part I did Crod the busiest

1:05:46

year as probably Crossroads, Karate had part

1:05:48

two -- Yeah. -- and then the Kubernetes

1:05:50

Teddy bear on Broadway.

1:05:53

So those 123 Well, that's when you

1:05:55

were walking out of the stage door. Yeah. Stage

1:05:57

show and everybody's, you know, their little crowded door.

1:05:59

Oh, yeah. DeNiro's. Sure. So

1:06:02

that's not that's not I'm not getting ready

1:06:04

for all those people. They weren't all holding their hands there.

1:06:06

But they they weren't all holding that. No.

1:06:08

No. But Yeah.

1:06:10

So that was you know, it's

1:06:12

a bit of a blur -- Yeah.

1:06:15

--

1:06:16

to me, and then

1:06:18

know,

1:06:18

then I got married in eighty seven.

1:06:20

Okay. I

1:06:21

think Tom Cruise married Mimi Rogers

1:06:23

the same weekend. Uh-huh.

1:06:25

So that was cool because no one even knew

1:06:28

that I got married. Right. And also, I guess, you

1:06:30

didn't go to each other's wedding? No. We did not.

1:06:32

That that my wedding was

1:06:34

very much just family and friends. It was not you know, I

1:06:36

had I had honestly no one

1:06:38

from the entertainment of this. Long Island.

1:06:40

Long Island.

1:06:42

Yeah. How do you get there from So

1:06:44

that's how I and that's the balance. I

1:06:46

write about that, you know. There's the balance of

1:06:48

my life. Sure. Keeping, you know,

1:06:51

one foot in one foot out. And there were

1:06:54

times that, you know, it wasn't always

1:06:56

by design.

1:06:58

it seems like I'm well adjusted and I planned it that way.

1:07:01

Yeah. But they were certainly year in the

1:07:03

nineties and early two thousands when

1:07:06

things were dry and

1:07:08

I'm going to,

1:07:10

you know, provide for the family and I

1:07:12

have two young kids and all that stuff

1:07:14

was, you know, challenging at

1:07:17

times, but How did you adjust? What did you did you take

1:07:19

did you take jobs you didn't want?

1:07:21

Not many. Yeah. Really nothing that

1:07:23

I'm like, oh, god. you know, that

1:07:25

was every single day. Yeah. Yeah. Yeah. I mean, that

1:07:27

some of them do come out that way, but it wasn't

1:07:29

the intention -- Right. -- going

1:07:32

in. I I jumped behind the camera, did

1:07:34

some writing shot a couple of short films.

1:07:36

How that goes? after did that as well. Did you were you guys in touch around

1:07:38

that? No. It's after we we reconnected,

1:07:41

it's I

1:07:44

I talk about this too. When we went of

1:07:46

him twenty years without seeing each other. Yeah.

1:07:48

And then when Pat Marita passed away,

1:07:50

we went to his funeral.

1:07:54

memorial, and I spoke there. And it was, you know,

1:07:56

it was kinda wonderful seeing

1:07:58

Billy there, and I hadn't seen him.

1:08:00

He was always, you know, we were for the first

1:08:03

time on the same side of the mat, if you will, is what

1:08:05

is what I write. Yeah. And from

1:08:07

that point forward, there was just immense

1:08:09

something significant to me that

1:08:11

he was there. because not many people were at pets. It

1:08:13

was in Vegas and -- Yeah. -- it wasn't like everybody

1:08:15

from the film was there. I mean,

1:08:18

they had something they had something else

1:08:20

in Los Angeles that was more widely

1:08:22

intended. Right. But so so, you know, that's when we started

1:08:24

talking about our love

1:08:25

of filmmaking and that side

1:08:26

of it and he was doing his

1:08:30

film most, which was nominated for an Oscar.

1:08:32

And I was doing a film called,

1:08:34

I love thy brother. They got into

1:08:36

Sundance. They were sold to each SPO and

1:08:38

-- Wow. -- you know, so

1:08:39

it was that was about

1:08:41

being

1:08:42

creative and telling stories and but

1:08:44

not having the money to make picture and

1:08:46

but also learning, I would show it to Copeland, I would show it to John Appleton and -- Yeah.

1:08:49

-- get some notes. And, you

1:08:51

know, I had a great you

1:08:55

know, I don't get great resource with some of those filmmakers.

1:08:57

Did you earn how how's

1:08:59

your karate? About the same

1:09:01

as my guitar. Yeah. I make I make a I make

1:09:03

a judge. Listen, not to fake it. Yeah.

1:09:06

No.

1:09:06

I've learned listen, I'd dive deeper

1:09:09

into it now with

1:09:09

the the martial arts. Yeah. since everything hurts more.

1:09:12

Okay. But doing the cata's and now

1:09:14

that Okinawan classic, I mean, that's that's

1:09:16

good stuff to do physically. Yeah. It

1:09:18

was almost like that Thai cheese. Yeah.

1:09:21

version of just me and everybody and warm.

1:09:23

And so III wanna continue that. Okay. That's true. Everything, you

1:09:28

know, to takes longer to just get up in

1:09:30

the morning, man. But it's it's, you know You have a trainer to do Yeah. I mean, I have a trainer

1:09:32

that I work with in New York just kind of

1:09:34

my wife and I and we just, you know, they

1:09:38

Sure. It's not a hard you know, it's -- Yeah. -- the injury prevention. I was

1:09:40

like, he's just a long island guy. I'm a

1:09:43

long island guy. And he have a good he

1:09:45

had a good time doing entourage and all his other

1:09:47

stuff. That was great. Montage was was a great,

1:09:49

you know, that was the first time I ever

1:09:51

played myself, and it it turned

1:09:53

out to be. And that was

1:09:56

a good episode. That's pretty good. Yeah. Yeah.

1:09:58

It was the Playboy mansion episode. It was, you know, sixteen hours at the Playboy mansion. It was not the worst

1:10:00

day at the office. Yeah. And it was

1:10:02

funny at that time, I wasn't working much.

1:10:06

Yeah. And I said to my wife, you know, when I got

1:10:08

the pitch of what it

1:10:11

was. And I said, you know,

1:10:13

but it's like at the playboy mansion. I'm I'm

1:10:15

not good of a Long Island guy I wanted to

1:10:17

check with her first. And she's like, just get out

1:10:19

of the house. Do

1:10:21

something. Get them go. Just go.

1:10:24

Yeah. Jesus. So what

1:10:26

about Springstein? I've seen

1:10:28

him, you know, my gosh. I've

1:10:31

never met him. You haven't it's really

1:10:33

interesting. Did you see him on Broadway? I

1:10:35

did twice. Twice. I got well, first, I got a serious something. I

1:10:37

got a it

1:10:40

was a a charity, a serious special

1:10:42

performance. Uh-huh. So I got in on that after I bought my, you know,

1:10:44

fifteen hundred, eighteen hundred dollar ticket. So Yeah.

1:10:46

And then I went a few weeks later.

1:10:50

So one one of the shows Patty was in and one

1:10:53

she wasn't. Until I got to see a

1:10:55

little differentiator of that. And and

1:10:58

I saw him at first at the LA

1:11:00

sports arena out here back when I was

1:11:02

doing eight is enough. I went with Betty

1:11:04

Buckley who

1:11:05

was on eight is

1:11:07

enough. Sure. And and and I think our first second assistant

1:11:09

director or something like that. I went to see Springsteen, and that was that was when

1:11:11

I was What

1:11:14

tour was that? That was the river. I had to that point, you

1:11:16

know, from high school. Yeah. I'm reading

1:11:19

the book about. I

1:11:22

have the book I haven't read and here I am is promoting

1:11:24

a book and I I have to read I

1:11:26

haven't. I I interviewed him. I interviewed him

1:11:29

around the book. Yeah. I went out to his house.

1:11:31

But It was crazy. Now to the ranch? It was it was something because,

1:11:33

like, I, you know, I love the guy, but I'm

1:11:35

not crazy a fan. Right. Right.

1:11:37

So it gave me

1:11:40

just enough distance. Yeah. Yeah. To to sort of treat him

1:11:42

like a person. Right. Right. Good. And there's a very funny moment in

1:11:44

there because I go I wanna I wanna go

1:11:46

listen to this. You should because I totally am.

1:11:50

because you read the book and you really see who he is.

1:11:52

And it's it's heavy, man. I mean, he's and

1:11:54

he's a depressive -- Yep. -- hard on himself

1:11:56

and he and he his upbringing was rough. Yeah.

1:11:59

But but I just remember I didn't know how I was gonna get in

1:12:01

with the guy or who I was gonna be talking to because you

1:12:03

know that whole thing. He's he's

1:12:05

got a whole bitty. Just like, god, gonna be in the boys,

1:12:07

you know? Yeah. Yeah. Yeah. Whatever. Yeah. Try. How are

1:12:09

you gonna get past that? How long is

1:12:11

it gonna take? But I went out

1:12:13

there and it was, like, the week before Christmas or

1:12:15

something around there. Right? Mhmm. And I'm waiting and

1:12:18

he's got this he's got the

1:12:20

house, and then he's got the where

1:12:22

he's sitting here. Right? Yeah. So I'm out

1:12:24

there. and I'm just

1:12:26

waiting for him and he comes, he said, I see him walking down from the house. He's a little guy his book.

1:12:28

He only walks in and we got two

1:12:30

chairs set up with the mics my produce

1:12:35

shirt set up chairs. So I go so what's going on with

1:12:37

the house? What are Christmas stuff,

1:12:39

cooking, presents, family? And

1:12:42

he goes, correct. And I'm like, I wanna talk to that guy.

1:12:44

You know, let's get that guy. Right. Correct. Right. And

1:12:46

I'm like and I just went in. And

1:12:50

and he was it was good. It was present and there

1:12:52

was it was connected and it was that's great.

1:12:54

It was exciting. Yeah. Because I gotta listen to

1:12:57

him. He he was talking to another musician who

1:12:59

I know, Tom Paul Wilkinfeld, the

1:13:01

woman who's a baseball

1:13:03

genius, young, who was talking

1:13:06

to Bruce. about, you know, asking him questions about

1:13:08

how to handle press. Mhmm. And he's

1:13:10

telling her. And and she goes, well,

1:13:12

you talk to a friend of mine,

1:13:14

Mark Marron. and he goes, he pushed. That's

1:13:16

good. Yeah. That's what you wanna

1:13:18

that's what you wanna hear. because

1:13:21

you're Yeah. Right. That did

1:13:23

push. But this book is is gonna be fun for people to read.

1:13:25

I mean, like, the the the bits and pieces I

1:13:27

got out of it, just

1:13:30

the the story about the kick. I was I was excited. It

1:13:32

really felt like does anyone know this? Is it

1:13:34

right? Right. Right. Right. Well, it's deteriorating from

1:13:37

the, you know, I'm not that it was a hurricane,

1:13:39

but I'm from the eye of the hurricane --

1:13:41

Sure. -- from the moment getting the part

1:13:43

throughout and here and here

1:13:45

with you know, it's relevance today. It's it's kinda kinda awesome. And,

1:13:47

you know, when I talk and nobody, you

1:13:50

know, it's a celebratory

1:13:53

reflection. It really is. And -- Yeah. -- the

1:13:55

only person who gets thrown on the bus in his book is is me by me. Right. You in a in

1:13:57

a way. And that's

1:13:59

it's

1:13:59

kind of it

1:14:02

kind of made sense for me because

1:14:04

it really is the gift that that

1:14:06

keeps on on giving. And it's

1:14:08

very specific to the Daniel Russo of it

1:14:11

all, what that -- Yeah. -- has been like -- Yeah. -- for me and what and what what

1:14:15

I've gained from it in

1:14:17

life and how I've had to, you know, navigate

1:14:19

certain elements or or wanting to do certain things over.

1:14:21

Not that there are many examples, but there

1:14:23

are a couple of

1:14:27

do over examples that that I wanna that

1:14:29

I I shed some light upon. And and

1:14:31

so that that that gets

1:14:34

more personal. And I I enjoyed

1:14:36

doing

1:14:36

that through that lens. And I think that So by by writing about

1:14:38

those do have we don't have to talk about because we get people to buy the book.

1:14:40

But but the you

1:14:43

don't have regrets around them

1:14:45

and by writing about them, did you put

1:14:47

them into a different context? No. I mean, it was more about, like, I took a few

1:14:52

examples of that, you

1:14:54

know, where I would say be a little

1:14:59

bitter about being tied into the

1:15:01

second sequel -- Sure. -- that was a struggle to make a good

1:15:04

script which never achieved

1:15:06

itself -- Yeah. -- footnote

1:15:09

what know Season five of Kobra Kai

1:15:12

is using that chapter

1:15:14

of the original franchise

1:15:16

and blowing up great stories.

1:15:18

So the lesson here is even the shortcomings

1:15:20

from the Karate get universe are bearing

1:15:22

fruit and handing off gifts. And it's all

1:15:24

about And also the fact that you can call it

1:15:26

a universe. I mean, yeah, we we don't it's

1:15:29

almost the karate kid cinematic universe. I mean -- It's crazy. -- arguably, let's you know, I'm I'm a

1:15:32

you know, I wanna

1:15:34

see the Miyagi Origin story.

1:15:38

Who was this teeny? Yeah. Right. Right.

1:15:40

And also, like you said, you wrote in the book

1:15:42

that they're gonna do a musical? They are. I

1:15:44

I listen. We'll see how far it

1:15:46

gets you don't got a piece of it, do you? I don't got a bit. Listen. I am I

1:15:49

I when I take when I put

1:15:51

the headband on, I no longer

1:15:53

own myself. This

1:15:56

face only since it put the headband on, it's

1:15:58

somebody else's truck. Oh, yeah. But it's you know, and and so so looking

1:15:59

at, you

1:16:01

know, even

1:16:04

scenes that I get to do in Cobre High

1:16:06

from a different perspective of a scene that's in the original film that I wish I had another

1:16:08

shot at. Oh, right. That's a do

1:16:10

over moment. Right. Or maybe the way

1:16:14

reacted a certain way when I met a

1:16:16

high profile movie director -- Sure. --

1:16:18

director because I was a little bitter

1:16:20

that I had to be stuck in

1:16:22

part three when I wanted to do another Do

1:16:24

you look back on things like that where,

1:16:26

like, how how do you frame that now for

1:16:29

you? I frame it as

1:16:32

it's just it it had to happen because I've

1:16:34

gained this much from it. I don't look at it as like Right. Right. Got if I only got that movie.

1:16:36

There's a really

1:16:39

good story about a terrific movie made it made

1:16:41

by Sydney Lematt, one of my favorite directors who I got to meet.

1:16:44

Yeah. And

1:16:46

I don't wanna what it is, but the the actor was nominated. And I I

1:16:49

know I was in contention for that, but

1:16:51

couldn't do that movie based

1:16:53

on the option

1:16:56

pick up. So I was, you know That's

1:16:58

rough. That's part of showbiz. Right. That's part of it. And and so

1:17:02

when I was with someone else of

1:17:04

high regard in the industry. I was

1:17:06

a little bit of, you know, I look

1:17:08

back at that and I say, maybe I was a

1:17:10

little bratty. I was a little negative and it's

1:17:13

It's sort of I'd like telling that

1:17:15

story mainly because it's you know, I learned something from it going forward. So if

1:17:17

a young actor reads this or a young

1:17:19

person reads this, or

1:17:23

there are some of one that's just information about me that someone

1:17:25

didn't know, and this is not deep

1:17:27

and dark. None of

1:17:29

this is. No. It's But it's just in the

1:17:31

self reflection at a time where youth might have

1:17:34

been wasted on the young. Yeah. And and

1:17:36

also, you know, you're looking at you're looking at

1:17:38

your peers. It's show business is show business. You're

1:17:40

looking at guys becoming superstars. Yep. Yep.

1:17:42

And, you know, and, you know, you

1:17:44

feel probably felt yourself being judged a

1:17:46

certain way. Yep. Yep. Yep. And it's about navigating all of that.

1:17:48

Yeah. And, like, in but you've you had

1:17:50

to find peace with that, you know, and we

1:17:53

have the

1:17:53

career you had, and then

1:17:55

out of nowhere, you know,

1:17:56

this amazing thing comes and you're old enough

1:17:58

to appreciate it and realize that through a lifetime of having a relationship

1:18:00

with this character in

1:18:03

this movie -- Mhmm. that it it

1:18:05

has made an impact and it continues to make an impact in

1:18:07

a very sweet way -- Yeah. -- that in

1:18:09

a way the

1:18:11

story of of the karate

1:18:13

kid and how it keeps sort of going -- Mhmm. -- is is

1:18:15

actually, you know, who who cares what anyone

1:18:18

thinks about it? Because it has an

1:18:20

impact people's

1:18:23

lives -- Yeah. -- in a real way. Wait. I think every movie

1:18:25

wants to think they can do that, but a lot

1:18:27

of movies are just movies. Yeah.

1:18:30

And -- Absolutely right. that people don't have a lifetime relationship

1:18:32

with. No. It's crazy. Yeah. No.

1:18:34

It's very unique, very unique experience.

1:18:37

And that's why I I sat down

1:18:40

and started writing and say, I that's it's

1:18:42

a unique experience. Yeah. What goes why it's

1:18:44

there? Congratulations. Thank you, man. I'm

1:18:47

excited. I appreciate the time. You got it, Mark. Thank you.

1:18:52

There you go. Ralph Machio, the book

1:18:54

waxing on. The karate kid in me

1:18:56

comes out tomorrow, October eighteenth. Get

1:18:58

it wherever you get your books.

1:19:02

The new season of Cobra Kai is now streaming

1:19:04

on Netflix. Watch that. And could you give

1:19:06

me a favor? Just hang out for a

1:19:08

second.

1:19:09

Okay, folks. Listen,

1:19:11

if you heard me talk last week with the

1:19:13

director of two, last week Michael Morris, you noticed it

1:19:15

was a short talk only about twenty minutes or

1:19:17

so. but there's another half of that talk

1:19:20

that we had to cut for time and

1:19:22

we'll be posting it for full marin listeners

1:19:24

this week. The full marin and all

1:19:26

WTF Plus subscriptions are now completely ad free. That goes

1:19:29

for archive shows and current shows.

1:19:31

So if you want WTF

1:19:33

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1:19:35

ad free experience, Sign up for WTF

1:19:37

Plus now where you also get access to the first five hundred episodes, which are

1:19:39

not available on any

1:19:43

other podcast platforms. Go to the

1:19:45

link in the episode description to sign up or go to WTF pod dot com and click on

1:19:47

WTF plus. I'm

1:19:50

going to London today. And

1:19:56

I've got shows at the Bloomberg Theatre

1:19:58

in London. I've got show show at

1:20:00

Victor Street in Dublin next

1:20:02

week. And I think the London shows are sold out other than the David

1:20:05

Badeel live podcast. Go to WTF

1:20:07

pod dot com slash tour

1:20:09

for ticket info. I'm looking

1:20:12

forward to seeing everybody out there.

1:20:14

When I get back from Ireland, I'm in Oklahoma City at the Tower Theatre on Wednesday, November second, Dallas,

1:20:16

Texas at the

1:20:19

Majestic Theatre on Thursday, November

1:20:22

third San Antonio at the Toebben Center for the performing arts for two shows on Friday, November

1:20:24

fourth, and Houston at

1:20:27

the Cullen Theatre at Wortham

1:20:30

Center on Saturday, November fifth. Then I'm

1:20:33

in Long Beach, California at the

1:20:35

Carpenter performing arts center on

1:20:37

Saturday, November twelfth, Eugene Oregon at the

1:20:39

HALT Center for the performing arts on

1:20:41

Friday, November eighteenth, in Bend, Oregon.

1:20:44

At the Tower Theatre

1:20:46

on Saturday, November nineteenth, In December, I'm in Asheville, North Carolina

1:20:48

at the Orangefield for two shows

1:20:50

on Friday, December second, and then

1:20:54

Nashville, Tennessee I'm at the James k Polk Center on Saturday, December

1:20:56

third, and my HBO special

1:20:58

taping is at town hall

1:21:01

in New York City on Thursday December

1:21:03

eighth. Go to WTF pod dot com slash tour

1:21:05

for all dates and ticket info.

1:21:07

And before we go,

1:21:09

don't forget that now is your chance

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That's simply safe dot com slash WTF

1:21:26

Go today. There's no safe

1:21:30

like simply safe. So as

1:21:32

I said

1:21:33

earlier, I love playing with Jimmy

1:21:35

Vivino. He's been very good

1:21:37

to me. and he's been very supportive of my

1:21:39

guitar playing and he's taught me a lot

1:21:41

and he lets me play with him. It's

1:21:44

it's fucking It's unbelievable. It's like

1:21:46

almost in a way, it's all I ever wanted to do. And we we got

1:21:48

to do it,

1:21:51

you know, last Wednesday, with Jimmy

1:21:53

Vaughan too. But here's a little bit of

1:21:55

me and Jimmy Vivo playing together jamming a bit. On his song, you've got

1:21:57

an itching for it back when he

1:21:59

was on the show, This

1:22:02

is in two thousand and fourteen. Oh, we'll do audio play a song. We'll debut

1:22:04

a song

1:22:07

of mine that that hasn't been

1:22:10

When it's gonna handle it? Yeah. Sure you can. It's like a few refills. Alright. Except there's a little one little thing.

1:22:12

It's a yeah. You can play

1:22:14

the fills. You'd be the second guy.

1:22:20

Hey.

1:22:21

i'm egg here

1:22:24

I'm eighty

1:22:28

Sometimes you need a little

1:22:30

something. Then

1:22:30

you

1:22:31

need a little

1:22:34

something. been more. Nope.

1:22:37

You can buy it,

1:22:40

John. Five in

1:22:42

time, or your local

1:22:44

convenience?

1:22:44

store. You got a

1:22:47

engine boy. You

1:22:49

got a engine

1:22:52

boy. But You got a

1:22:54

agent bought something. Agent can't

1:23:00

scratch. My

1:23:05

dear little bit

1:23:08

on moonshine. My being a

1:23:10

little well

1:23:11

known, Jared. Might

1:23:14

be a little better

1:23:16

China wide. All of

1:23:19

a sudden, just come in. You got

1:23:20

com

1:23:21

it.

1:23:24

You got a

1:23:27

Hudson Ford. You

1:23:30

got a Hudson Ford.

1:23:34

It's in your chest

1:23:40

compress. Some times, you too

1:23:43

little evil. Did you call y'all back, girlfriend?

1:23:45

no

1:23:49

Every time. Hello.

1:23:51

Snippin' up. Go go

1:23:56

slide then you got

1:23:58

a engine boy. You got

1:24:03

a engine boy. Man, you got

1:24:05

an agent for something

1:24:08

time. Man, you just can't

1:24:10

scratch it. That's what I believe.

1:24:16

Go. Well,

1:24:40

in my physical

1:24:43

piece of candy. My

1:24:45

pen and piece

1:24:48

of cake. When

1:24:50

your nose is open, and your mouth go dry, honey.

1:24:52

Don't miss so

1:24:55

much you can take. more.

1:25:09

Yes. Hey, Scratchy.

1:25:16

Yeah. Sometime unless the

1:25:18

line is like a crime game. And the devil from to

1:25:24

day. Thank god.

1:25:27

No don't have

1:25:31

to play. You all against

1:25:35

you. You gotta get some it

1:25:42

inching for something

1:25:44

one. You just can't

1:25:46

scratch it. You got it.

1:25:51

You got an

1:25:54

agent for me.

1:25:59

You got him. You gotta

1:26:08

You got

1:26:16

it.

1:26:30

there