'The Studio' creator, writer and star Seth Rogen sits down with fellow castmembers Bryan Cranston, Ike Barinholtz, Kathryn Hahn and Chase Sui Wonders to discuss the inspiration behind the Hollywood satire. They talk about finding their characters' voices, how they managed to get so many stars to make cameos, and the improvised lines from Kathryn Hahn and Bryan Cranston that left them in shock.
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00:00Thank you all so much for being here and congratulations on this hilarious, insightful documentary.
00:29Since the program really shows people from all backgrounds making in the business, I wanted to start by asking each of you, what was your first job in the industry?
00:39The first time you thought you could call yourself an actor or a writer, did you ever work as a PA on a set or behind the scenes? And let's start with Seth.
00:47I'm from Vancouver, so I was an extra in a television show called The Odyssey, I think, which was a weird, trippy show where there was a world in a kid's mind or some shit like that.
01:00But what I remember is it was a big crowd scene. I was maybe 11 years old and there was hundreds of little kids and it was a big crane shot.
01:09And it was a huge shot with all these hundreds of kids and it took hours for them to set up. And they said action and all the kids run out.
01:17And I hear someone go, cut. And they go, one kid is looking right into the lens of the camera. And I was like, oh no.
01:24And the AD literally marched through the entire crowd and came up to me and was like, you just ruined this whole shot. Don't look at the camera like that.
01:34And I literally do. I was just staring at it like, wow, this is crazy.
01:38That was Abby Singer.
01:40Yes, exactly.
01:42It wasn't a one-er, was it?
01:44It was a very elaborate set up, yes. I did ruin it.
01:48Katherine, for you?
01:50I grew up in Cleveland and I got cast as the character of Jenny in a local television show called Hickory Hideout. It was me and two puppets, Nutso and Shirley Squirrelly.
02:01We have a clip. Let's roll the clip.
02:04And if Nutso, Shirley, or myself, Jenny, needed a question, we would knock on the treehouse and Know-It-Owl would show up.
02:12And we could ask Know-It-Owl questions. And he always had the answer.
02:16Oh, Know-It-Owl.
02:18That is poor wordplay. That is shoddy wordplay.
02:24I mean, speaking of Know-It-Owl, Celebrity Jeopardy! Champion, my Gary Varela is for you.
02:29Thank you. Thank you.
02:32I was like 22. I was living in Amsterdam and there was a famous Dutch director named Dick Moss who had a famous movie...
02:46Which in English is More Dick.
02:56So Mr. Dick was...
02:57Leave Moss.
03:00He was remaking his own film about a haunted elevator called Down.
03:05And because I was a native English speaker, I got cast in it.
03:10And it was me and Edward Herman in a scene together. Really cool.
03:15And the director came up to me. My first note ever. He goes,
03:18So, you are very stupid. But maybe you should be more stupid.
03:22And just walks away. I was like, thank you. Thank you, Dick Moss.
03:25You've been taking that note ever since.
03:29It's worked well.
03:33Chase, what about for you?
03:35I was a day player on a Judd Apatow movie, actually, that I was later on cut from.
03:42I was cut from The King of Staten Island.
03:45I was cut from that movie. I'm saying a lot because Judd Apatow movies are notoriously very long.
03:49You're the first thing ever cut from a Judd Apatow movie.
03:52I'm the first thing that's ever been cut from an Apatow movie.
03:54But later on when I had a conversation with Judd, he was like,
03:57I discovered you. I am the reason you're here today.
04:00So, much like you, Seth, I was discovered by Judd Apatow and cut from his movie.
04:06Brian, for you?
04:08I guess for me it was daytime television.
04:10I had a recurring role on General Hospital when I was about 23 years old
04:16with Demi Moore and John Stamos.
04:19And I thought, these two are going nowhere.
04:23These ugly fucks are going nowhere.
04:27They may work forever, but they're going nowhere.
04:30It was fun. It was weird.
04:33Do they remember that you did that?
04:35I assume you guys run into people like that.
04:38At our age, we just look at each other and go, eh.
04:45Again, congratulations on a fantastic show.
04:48I want to start at the beginning with Seth because you and Evan Goldberg created this show
04:52that is both hilarious and horrifying.
04:55How much is this based on your own experiences in the industry
04:58and why was now the right time to tell this story?
05:03Disturbingly based on real experiences that we've had in the industry
05:08or people we know have had.
05:11We've been working for 25 some odd years now.
05:16We've been writing and producing, so we've really seen all sides of production.
05:19As an actor, I see that side.
05:23It's genuinely an industry we love, though, honestly.
05:29It's written from the perspective of people who we can't deny.
05:33Our dreams have come true because of this industry in many ways.
05:36But it's also so fucking frustrating and aggravating.
05:41You're constantly seeing people make choices that are confounding
05:45and contrary to their own love of film.
05:48That was a real revelation that we had.
05:50A lot of these people who make movies and work in studios themselves love film
05:55but are constantly making choices that make it worse.
05:59That actually was said to us when we were very young.
06:01We were in a meeting getting notes from a studio executive, Steve Asbell.
06:06He runs Fox now.
06:07He looked at me and Evan and said,
06:11I got into this because I love movies and now it's my job to ruin them.
06:15We never forgot it.
06:17It really made us sympathize with those people.
06:20Then I just had the idea one day of,
06:23oh, you know what would be funny maybe is a show where I run a movie studio
06:27and we could put our experiences in it.
06:29My own fear that I'm ruining the things that I'm working on
06:33and that I'm letting down my idols and that no one wants me around.
06:37I went and visited a set of a movie we were producing the other day.
06:39I could not have felt more like my character does when he visits sets.
06:43Just like, no one wants me here.
06:44I'm absorbing too much attention.
06:46They should be focusing on the scene.
06:47People keep offering me coffee and shit.
06:50It was an amalgam of things we had experienced
06:55and my own fears and neuroses of my role in the industry basically.
07:01I do think it is savage about the industry,
07:04but I think it's a loving tribute honestly.
07:06These people love movies and I appreciate that angle.
07:09I think it's actually the biggest misconception about studio people
07:13is that they are just like money-grubbing monsters
07:15who don't care about art at all.
07:17Even sadder than that, they love art,
07:20but are constantly having to make the choice
07:23of money-grubbing monsters who don't care about art.
07:27It's an incredibly conflicted job.
07:31They're constantly having to do things that disappoint themselves
07:35and that are antithetical to their own love of cinema.
07:39That's something that we recognized from a very young age.
07:42We would work with these people.
07:43I remember the first time I met Amy Pascal,
07:45I was like, oh, she knows more about movies than anyone I've ever met.
07:48She has to because she has to argue with David Fincher
07:51and she has to win that argument.
07:53You know what I mean?
07:54It was very inspiring to see how much she loved film,
07:58but it was equally disheartening at times
08:01to see how much she had to disregard that love of film
08:04for her own self-preservation.
08:06That was something that everyone who worked at every studio
08:09is faced with that choice ten times a day.
08:12Do I do what's right for movies
08:15or do I do the thing that is less likely to get me fired ultimately?
08:19I do think you can have both because I'm just going to say
08:22I want to see the Kool-Aid movie.
08:24It seems good.
08:25Yes, it was a great pitch.
08:27I worked harder on that fake Kool-Aid pitch
08:29than some actual movie pitches I've done.
08:31I want to talk to the cast about what attracted you to the roles
08:36and how you crafted the characters
08:38because they all feel like they might have some basis in reality.
08:41Catherine, I love Maya because she's brutally frank,
08:44but I actually think she's really good at her job.
08:47Is she based on anyone you've encountered?
08:49I mean, not specifically,
08:52but there is definitely, I've met Maya,
08:56versions of Maya, for sure.
08:58We always laugh that she definitely has a girl at Saks
09:01that meets her at lunch
09:03and just gives her outfits with as many labels as possible
09:06and she just wears them all at once.
09:08Yeah, but I agree with you.
09:10There's definitely, she works really,
09:12I mean, talk about like life,
09:14she has no private life.
09:16We don't think she has a family.
09:18Maybe she lives.
09:19No, no one on the show has a family.
09:21No one on the show has a family.
09:22Ike's divorced with two kids who don't like him.
09:24You find that out later in the season.
09:26Spoiler alert.
09:28We talked to a lot of heads of marketing at the studios
09:30and what was interesting is a lot of them
09:33saw themselves as more creative than the production executives
09:36because they're like, we actually make stuff.
09:39They're like, we make trailers.
09:41We make commercials.
09:42The production people just talk to people who make stuff.
09:45They're like, we're in an editing room
09:47actually cutting material together
09:49and it was a really funny perspective
09:51that I had honestly never thought of,
09:53but we really infused that into the character.
09:55We're like, she, to us,
09:58she views herself as a much more viable creative entity
10:02than she views us in the show,
10:04which is very much based on real life.
10:06And she gets to serve some awesome looks in this show.
10:09It's all about looks.
10:10They are looks.
10:14Ike, I mean this as a compliment,
10:15but you have a gift for making characters like Sal
10:20you make them relatable and even likable
10:22even though he's a Hollywood suit
10:24and I think we all know a Sal or two.
10:26What interested you about this role and working with Seth?
10:29Well, Seth called me a while ago
10:31and was like, hey, I'm doing a show.
10:33And I said, yes.
10:35And he goes, it's about Hollywood.
10:36And I go, yes, yes.
10:37And he goes, I'm like Larry Sanders.
10:39I said fucking yes, Seth.
10:40What do you want?
10:41I've worked with him and Evan before
10:43and I love those guys.
10:44And there's something irresistible
10:47about doing stuff in this world.
10:49I really do love Larry Sanders
10:51and I love the player
10:52and I love the world.
10:55And every conversation I had with him
10:57it would get crazier and crazier.
10:59Oh, Catherine O'Hara is doing it.
11:01I think we're gonna get Catherine Hahn.
11:03Bryan Cranston.
11:04I was like, what is happening?
11:06So yeah, it was a real joy
11:08and I like playing their id.
11:12Yeah.
11:13Iddy biddy, as we call it.
11:14An id show, yeah.
11:15Yeah, it's very fun for me.
11:17Chase, I absolutely adore Quinn
11:19and particularly her dynamic
11:21with Seth and Ike as Matt and Sal.
11:23You'll see in a future episode,
11:25these two go at it.
11:26It's amazing.
11:27You actually seem to be drawn
11:29to really outstanding ensembles.
11:31Was that part of what attracted you to the role?
11:33I mean, absolutely.
11:34I did a callback with Seth
11:36and he was like,
11:38okay, you did the scene,
11:39now let's just riff.
11:40These impressions are derogatory.
11:47You can keep doing them.
11:49Technically it's a hate crime.
11:51It's a hate crime.
11:52He's Canadian.
11:53He's a protected class.
11:54I'm sorry.
11:55It's more fun when you do the voice.
11:57I was going to ask,
11:58can you do the laugh?
11:59Brian, do the laugh.
12:04Now do Brian Cranston.
12:06How do you do Brian Cranston?
12:08No, you can't.
12:09You can't.
12:12But we entered the riff zone.
12:14I'll spare you the voice,
12:15but he made some funny jokes
12:18and then I got the part,
12:21but it's funny because
12:22when I was doing Quinn's character
12:24of yelling and screaming
12:26in Seth's characters,
12:28the women on set,
12:29a lot of them would come up to me and say,
12:31you know, you're talking like
12:33I wish I could talk to my boss.
12:35And I'm like,
12:36your boss is Seth.
12:37Seth Rogen is your boss.
12:39I'm right here.
12:40You wish you could just fuck me off?
12:44We do.
12:46No, I love her.
12:47I think she might be the most,
12:49what we would aspire to be,
12:51but a lot of people are too afraid to.
12:52She's a little Machiavellian, yes.
12:55And Brian, after all your accomplishments,
12:57I love that you can still surprise us.
12:59That I've sunk into this luck.
13:01I know.
13:03I know where that was going.
13:05You think you'd be savvier
13:06than to be convinced to do something.
13:09No, but it is, you know,
13:10Griffin is a really interesting character
13:12because he's kind of absurd,
13:13but he also genuinely strikes fear
13:15in the heart of these people.
13:17He does?
13:18I think so.
13:19He could fire them all.
13:20He came from his eyes out.
13:21And Griffin Mill, did we catch that?
13:23Yeah, I was going to ask about that
13:25because that's the Tim Robbins character
13:27in the play.
13:28Do you consider him a spiritual relative?
13:31He's my spirit animal.
13:34Tim Robbins is.
13:35I have him in a cage at home.
13:41Griffin is,
13:43when Seth and I were talking about it,
13:45I said, like Ike was saying,
13:49I just want to do this.
13:51When you read this first script,
13:55it's so funny,
13:56laugh out loud funny,
13:57that I thought,
13:58oh man, I got to do this.
14:00I would love to do this.
14:02And of course,
14:03then my big question was,
14:04how much?
14:07We were like, it's Apple, man.
14:08It's Apple at scale.
14:10I said, I'm in.
14:12But I mean, it's very daring
14:13because you are really kind of villainous.
14:15You make Martin Scorsese cry.
14:17Well, you technically make him cry.
14:18You make me make him cry.
14:19Our proxies.
14:20Yeah, we did it.
14:21Yeah, by proxy.
14:22Yeah, yeah.
14:23It rolls downhill to me.
14:24It rolls downhill.
14:25And then I pass it on to you.
14:27You protect me from seeing Martin Scorsese crying.
14:30And I appreciate that.
14:32I am sort of curious.
14:34The character in the play was Griffin Mill.
14:36You added an S.
14:37Is that for copyright protection?
14:39No, it's Griffin Mill.
14:40It's the same name.
14:41Okay.
14:42Robert Altman's estate could sue us.
14:44He's one in a mill, I'll tell you.
14:47License plate, by the way.
14:48One in a mill.
14:50There's no bigger villain, though, in my opinion,
14:52than Matt in that second episode ruining that take.
14:55Everyone who watches this who knows is like,
14:58oh, they're so angry with you.
15:00Yeah, my wife wouldn't talk to me for two days
15:02after we watched that episode.
15:04And she kept being like, can they get it?
15:06Can they just get the shot in the end?
15:07I was like, no, we're baked into that.
15:11In addition to the great cast we have here,
15:13I want to talk about the rest of the amazing cast
15:15and some of the guest stars you assembled.
15:17We got to see Martin Scorsese and Sarah Pauly.
15:20I think I can tease upcoming guests.
15:22There's a great episode where Ron Howard
15:24is exposed as the monster he is.
15:26Yes.
15:27Ron Howard's a terrible man.
15:29Very scary.
15:30Don't believe what you hear.
15:31Really mean to people.
15:32He's a monster.
15:33Someone was finally willing to say it.
15:34Exactly.
15:35Someone had to.
15:36I was very impressed, though,
15:37about how some of these big names were willing
15:39to make fun of themselves.
15:41Not in the most flattering way.
15:44Did you craft these roles with the people in mind?
15:46Or was there anyone who said, that's too far?
15:48Yeah, we really wrote ourselves into corners.
15:51We would write, like Martin Scorsese.
15:53We would write exact, because they also occupy
15:56very specific types of roles within the story.
15:59So the Sarah Pauly thing, it has to be someone
16:02who's prestigious, who's won an Oscar, hopefully.
16:05Someone you believe, a studio head.
16:06We wanted there to be no suspension of disbelief
16:09when it came to the people I was interacting with
16:11and my attitudes towards them.
16:13We didn't want it to be, the audience to be like,
16:16well, a studio wouldn't be that excited
16:18about working with that person.
16:19Or you wouldn't get that nervous
16:20about having to give that person a note.
16:22Or you wouldn't get, you know,
16:24you wouldn't do that much to...
16:25Oh, Matt's excited to impress Gary Busey.
16:27Yeah, exactly.
16:30That's how it is in the Entourage movie.
16:32This is the most celebrity-filled party of all time.
16:34There's Gary Busey.
16:37I don't know about that.
16:42Can you believe the life we're living here?
16:46Oh my God, Pauly Shore.
16:47Yeah, Pauly Shore and Gary Busey at one party.
16:50You made it, Vinny.
16:55I swear, these are A-list celebrities, trust us.
16:59Oh my God, there's Carrot Top.
17:04We didn't want that.
17:05And so, yes, it was really hard to get.
17:09And mostly people get the joke
17:10and are very happy to make fun of themselves.
17:12We had to make the roles appealing
17:15and we had to really make sure
17:16that they were like characters in the show
17:18rather than, you know, people who were like window dressing.
17:22And even Charlize, who has one line,
17:24we were like, it's a funny line, we promise.
17:26It'll work.
17:27It's a good joke, you know.
17:28But no, I'm amazed at all the people
17:30who agreed to do this.
17:32And there's an episode set at the Golden Globe
17:34which was very challenging
17:35because we had to fully recreate the Golden Globe.
17:37There's like 25 famous people in the episode
17:40and it was very stressful.
17:42And I had to convince Aaron Sorkin
17:43to win a Lifetime Achievement Award
17:45and he's like, aren't I too young
17:46to win a Lifetime Achievement Award?
17:49I don't know, maybe in the world of our show
17:50you're a little older than you are in real life.
17:53Good save.
17:54He agreed to do it, thank God.
17:55But yeah, it was a lot of that.
17:58But no, in general, I'm so flattered
18:00at all the people who agreed to be on the show.
18:04Talking about how realistic the series is
18:06and knowing you've probably drawn
18:07some inspiration from real people,
18:09was anyone sort of worried
18:11how this might affect your standing in the industry?
18:13Like, if executives recognize Sal,
18:15are they gonna...
18:17I think if the show was bad, I would be worried.
18:20But I think it's really good,
18:21so now I hope they see it
18:22and then put me out of things.
18:28I'm of retirement age, so I'm okay.
18:33I know, the whole time he was like,
18:34you guys are gonna have to deal
18:35with a shitstorm after this.
18:37I'll be in Martha's Vineyard.
18:42Do some people think that they recognize themselves
18:44and you're like, no, that actually wasn't you?
18:48There are some people,
18:49yeah, I've actually had someone come up and say,
18:51come on, and I was like, it really isn't.
18:55Because they wrote something really specific.
18:57So I just keep saying I played the play
19:00and then know secretly who's in there.
19:05This show is very specific,
19:07but I'm also impressed by how universal it is.
19:11It's a workplace comedy, it's a horror show.
19:14I think it really has something
19:16that everyone can relate to.
19:19Have you been kind of surprised
19:20by the universal appeal of it?
19:23We really went out of our way
19:25to make sure the episodes had comedic concepts
19:27that were universal.
19:30For example, not everyone understands
19:32how complicated it is to shoot a one-er
19:34and why that would be disruptive if you were on set,
19:37but I think everyone can understand
19:39wanting to be a part of something
19:40and feeling like maybe people don't want you
19:42to be a part of that thing
19:43and the pain that is associated with that.
19:46We spent a lot of time working on the personal stakes
19:49for the characters in each episode
19:51and making sure they were universal feelings.
19:55This idea, in the pilot,
19:57I just want to do a good job
20:00and I want to make something good
20:01and I feel pressure to make something bad instead.
20:03I think that that is something
20:04that is very relatable to people.
20:07We really made sure every episode,
20:10as inside as it was,
20:11had a character story
20:14that was hopefully as relatable as anything.
20:18Can I tease?
20:19There's an upcoming episode
20:20where you try to date a normie,
20:22someone not in the business,
20:23and you will all relate to this episode.
20:26I try to date a pediatric oncologist
20:29and I get in a big conflict
20:31at a fundraising gala for Cedars-Sinai
20:35when none of the doctors view
20:36what I do as important as what they do.
20:40They really demean the entertainment industry
20:42and it drives my character insane
20:45that people don't appreciate art
20:47and that, although they save lives,
20:50I feel as though artists make life worth living.
20:54Which is very much based on my own insanity
20:57because I've been at these fundraisers
20:59and the doctors love to shit on people
21:01in the entertainment industry.
21:02They take great pleasure
21:03in demeaning people with our work,
21:05as they should,
21:07but I've gone home after being like,
21:09those fucking doctors think what they do
21:13is so important.
21:16They only knew how hard it was
21:18to make that trailer actually represent the film.
21:22I mean, the scripts for the show
21:24are so sharp and creative,
21:26but you also have this stable
21:27of comedic geniuses, clearly.
21:29Was there any improvising done on set?
21:32Yes.
21:33Oh, yeah.
21:34She improvised the line,
21:36Steve Buscemi is the worst case scenario.
21:41It's one of the funniest lines
21:42I've ever heard in my life.
21:44And when the camera pans from her
21:45to us all at the conference table,
21:47Ike has a look of shock on his face.
21:49Couldn't believe it.
21:50I was like, why did you keep that in?
21:52But I'm so glad.
21:53It's so funny.
21:55No, even though the show is shot in a way
21:57where it is these long takes,
21:58so we're kind of,
22:00we were always balancing
22:01like the rigidity of the long take
22:03with this spontaneity of improv.
22:05And I would tell people like,
22:06if you think of something, say it.
22:08Just if it's bad,
22:09it's gonna fuck up the whole take.
22:10Yeah.
22:11So if you really believe in it,
22:14then go for it.
22:15And I would trust everybody
22:17to be their own personal barometer
22:19of that, basically.
22:20Didn't you feel like once we knew
22:21where the camera was,
22:22and then you knew kind of how much time
22:24you had that the camera was on you,
22:26that you could try to slip something in there?
22:28Yes, you could parse the words out.
22:30Well, Brian, your character
22:31gets to be the most unhinged.
22:33Like, he can say anything he wants.
22:35Is it freeing to get that out?
22:37Oh, you know, well...
22:39I believe plastic tits of a pussyless doll
22:42was a pitch you had, ultimately.
22:45I am scandalized.
22:47I'm not proud of that.
22:51But that's an indication of how free it was.
22:56When you create an atmosphere
23:00where you're encouraging your artist
23:03to be able to say anything,
23:05do it, go, go, go.
23:07And it was so much fun.
23:09So much fun.
23:11And it was so much fun.
23:13So much fun.
23:15I think we all had just a terrific time.
23:18And I've got to say, also,
23:20and maybe it's an age thing,
23:22but at a certain point in your career,
23:25I just don't want to work with assholes anymore.
23:27I just don't.
23:29I don't have time for them.
23:32These people are so great to work with
23:36and so much fun.
23:37It was a really tight-knit group,
23:39and we were all kind of hanging out in hotel rooms.
23:42There was no...
23:46Go to your trailer.
23:48We were all just kind of hanging out
23:50and waiting to do the next take,
23:52and someone would throw something out
23:54and would make us laugh.
23:56And it was just so much fun.
23:58I hope that we get a second season
24:00and I can come back and just be an idiot again.
24:02I do, too.
24:04The last two episodes are a Bryan Cranston tour de force,
24:08I have to say.
24:09And if you're a Weekend at Bernie's fan,
24:11you'll particularly...
24:14That's a very big clue.
24:16It is.
24:17Some of the best physical comedy I've ever seen.
24:20It's wild.
24:21His body's incredible.
24:22His physical comedy body.
24:24His waist.
24:25You want to talk more about my body?
24:27I mentioned your body in 300 interviews.
24:31Every interview.
24:32I'm obsessed with you.
24:33I'm in love with you.
24:34Oh, just junk it.
24:36At the same time, if you are improvising,
24:39you run the risk of laughing and ruining a take.
24:42Who's the biggest defender when it comes to that?
24:44To laughing during a take?
24:45Seth, for sure.
24:46Really?
24:47Because he'll also laugh if something's funny,
24:49but also if someone has clearly flubbed a line
24:52and is still trying to pretend like they didn't,
24:54Seth will just start going...
24:56And that means cut.
24:58Which is so generous,
24:59because instead of getting mad and yelling cut,
25:01he just goes...
25:02Oh, okay, okay.
25:05Okay, does everyone have a Seth Rogen laugh in their stable?
25:08You got to.
25:12I sort of jokingly called this show a documentary,
25:14but it really does capture this industry so well.
25:16And I'm curious about finding that balance,
25:18because sometimes truth is stranger than fiction.
25:20Was there anything you wanted to include,
25:22but you're just like, people will never believe that,
25:24even if it was true?
25:26Yes, for sure.
25:28Yeah, definitely just because something happened in real life,
25:31it does not make it accessible to everybody.
25:34And I found that very early on.
25:36And so the lunacy of the industry
25:39is truly beyond belief at times.
25:42And the things that are said at these rooms
25:44are truly outside the realm of things anyone should ever say.
25:47And I think we included pretty much everything we wanted to.
25:52And part of our job is to translate it
25:54into a digestible, believable episode.
25:58You know what I mean?
26:00Yeah, there's an episode about trying to cast the Kool-Aid movie
26:03that comes later in the season,
26:05where we've cast Ice Cube as the Kool-Aid man,
26:07and we start to really worry that it's racist
26:10that we've cast Ice Cube as the Kool-Aid man.
26:12And the conversations surrounding it
26:15are almost verbatim insane conversations
26:18that I've heard about casting things that aren't even real.
26:23What race is the alien?
26:25Should the alien be a certain race?
26:27It's an alien, you know?
26:30And so I think we actually tried to bridge the gap
26:33between how crazy things are
26:35and turning it into actual episodes.
26:38But there's a few things we've heard people say
26:41that you're like, we can't even put that in the show.
26:45Again, I really want to see this Kool-Aid man movie.
26:48Again, we worked hard on it.
26:50Yeah, no, it sounds great.
26:51It's better than some real movies.
26:55I know that the first two episodes, I believe,
26:58have dropped on Apple already.
27:00Are you already getting some sort of feedback?
27:02Have people let you know?
27:04Because this show, I knew it would be good,
27:06but I'm really impressed at how much critics adore it, too.
27:09It's universally beloved.
27:11I've had two current studio heads text me early this morning
27:14being like, brutal.
27:17So great, I was crying, I was laughing,
27:20but it's very accurate.
27:21I think you've gotten a lot of those, too.
27:23Yeah, I think I've been reached out to
27:24by almost every head of every major studio
27:27throughout the day today.
27:28And it's a lot of like, this is great,
27:30but very traumatic to watch.
27:33Are they hitting you up to be in season two?
27:36I want to get them all.
27:37I want to get every head.
27:38Everyone email TimCookAtApple.com
27:41and demand.
27:43Exactly.
27:44Say you're going to go to Galaxy if we don't.
27:46If anyone's friends with Tom Rothman,
27:47shoot him an email.
27:49But again, I want to thank you for being a great audience.
27:51I want to thank you and Apple and Variety so much.
27:54Thank you all.