February 27, 2025 • 45 mins
Would you go into business with your friend? Is calling someone your “work wife” cringe? How do you make friends at work? What’s it like to have your actual spouse as your boss? Would you befriend the guy rocking a dangling George Michael crucifix earring and a beret? Today we’re talking all about what it’s like to work with your friends with the one and only Jo Lo Truglio. Mel, Steph and Joe reminisce about the good old Brooklyn Nine-Nine days and the magic that comes from working with your buds. Spoiler alert: The guy with the earring? That was Joe circa 1988.
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Episode Transcript
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Speaker 1 (00:01):
Also, by the way, for a very long stretch of time,
I was convinced that we were calling you button McGee.
Speaker 2 (00:07):
Are you serious?
Speaker 3 (00:09):
Yeah?
Speaker 2 (00:10):
Yeah, And then I remember one day being like, oh,
it's button, button McGee.
Speaker 3 (00:15):
I knew it was about the button, but then I
thought everyone was being.
Speaker 4 (00:21):
But McGee.
Speaker 3 (00:24):
More Better, More Better. Welcome to More Better, a podcast about,
you know, getting better at stuff, and we stop pretending
(00:48):
that we have it all together.
Speaker 1 (00:49):
And sometimes we embrace the journey of becoming a little
more better every day.
Speaker 3 (00:54):
Maybe today is the day. Maybe that's Melissapa.
Speaker 2 (00:58):
Marrow and that's Stephanie Biatrin.
Speaker 3 (01:01):
And we are very excited because we have a special
guest today on the pod is Joe Licriulio, who you
may know and love from Brooklyn nine nine, which he
started on for many seasons with us, and we're so
excited to talk to him today.
Speaker 1 (01:15):
And we're talking to him about working with friends, which
is a topic we really wanted to talk to him
about specifically because he has basically made a career of
working with his friends. So here's the episode Enjoy.
Speaker 2 (01:32):
More Better. Yeah, we have Joe, Joe's.
Speaker 4 (01:38):
Josire right into it.
Speaker 1 (01:44):
I love it, right into it, actor, writer, director, comedian,
all around great guy, incredible Joe.
Speaker 4 (01:54):
I want to add incredible that all right, it is
incredible to be here because I've missed you, guys, and
I'm so happy to be on your on your show.
It's been going well. I caught a couple of the
episodes and they're great.
Speaker 3 (02:08):
Oh that's nice.
Speaker 2 (02:09):
Oh thanks friend, happy to have you here.
Speaker 1 (02:12):
Don't lie, don't lie, you tell after this, you tell
us to give us all your notes.
Speaker 2 (02:17):
Okay, well, great, great.
Speaker 3 (02:19):
We wanted to start to Joe today about working with
friends because Joe's worked with many people that have been
close to him. He has lots of relationships that are
you know, some of them were established like when you
were really young, right, Like some of your comedic relationships
and collaborations were established like really early on in your career.
(02:41):
And it seems like something that you do well and often.
So we wanted to talk to you about it because
not only have you worked with good friends, but also
like your partner and like, yeah.
Speaker 4 (02:51):
Yeah, I mean I've been really I've been really fortunate.
And I think with the State, which was the sketch
group I was in a million years ago, we all
met and Yu, And you know, it's you always have
safety in numbers, right, You always kind of want to,
you know, have your buds with you to kind of
forge your head to these dreams of being in the business.
And and you know that's it's really exciting. You just
(03:15):
feel like you have that same type of hunger and
ambition and you learn a shorthand. And it went very
well with those guys. And I've found that in working
with certainly Brooklyn and working with you know, Jod Appatowan
all and his crew and just overall working with people
that trust you to do your thing is just there's
(03:38):
nothing like it. Just the best.
Speaker 3 (03:40):
Yeah, how do you feel like when you first met
how how did you first meet some of the guys
women as well? Yeah, take us back to.
Speaker 2 (03:49):
The origin story, Yu, Like, how did it happen?
Speaker 4 (03:52):
We The first person I met in the state was
Michael Schowalter, who was right across the hall from me
in Weinstein Dorm. And so yeah, and we and we
hit it off and he I had no interest in
in really sketch comedy or anything. I was way too serious.
(04:15):
I was just way I was that guy. I was
on the verge of annoying and just like I'm just
going to be a serious filmmaker. I was in the
film department there and and I liked comedy, but I
just didn't want to kind of pursue that.
Speaker 2 (04:29):
And the are you talking about?
Speaker 4 (04:32):
Are you serious?
Speaker 2 (04:33):
Blows my mind. I can't believe I didn't know this.
Speaker 4 (04:35):
Yeah, I didn't want to do Thank god I did.
Like I would have been insuperable, Like.
Speaker 3 (04:42):
I still kind of picturing you with like a skinny
scarf fla I had.
Speaker 4 (04:47):
I had, I had a Oh my lord, I had
a dangling like George Michael crucifix gearing.
Speaker 2 (04:54):
I knew it, like I took.
Speaker 4 (05:00):
We're like, I'm in you know, one of the one
of the one of the things I do is like
you know, takee sell portraits and everything. Guys it I
I want to burn all those pictures. I'm keeping it.
I have them in case I see the mole of himself.
I'm gonna listen, be careful, be careful. All right, Look
what happened to dad? Dad? Dad just thought he was
(05:23):
in some type of music video and it was very serious.
So yeah, so I that was me. And then Showalter
was like, Hey, we're gonna let's audition for this comedy
troupe at n YU called Sterol Yak who had a
bunch of great talented people. Williams was in that group,
(05:45):
who's now a f children's author, and and another fellow
by the name of Todd Holibeck was also in that
group and was like, I'm gonna kind of break off
and start this other sketch group. And so anyway, so
show Walter was like, we're gonna go just come do
this audition. And I only went because I wanted to
have a friend, Like he was like wow. I was like,
(06:05):
I got to meet some people and and then did it.
And then that's that's how I got into that. And
I was like a funny kid in school, like I
wasn't you know, I did a lot of like sketches
and you know, drama class, and I was always making
jokes and making these kind of funny little movies. But once,
(06:27):
for some reason, I thought, once I got to college,
I'm kind of really now I got to really kind
of dig my heels, really a serious serious artists. Yeah yeah, yeah,
so so yeah, and so then it just went from there.
Speaker 3 (06:42):
Yeah, when you when you met Showalter, was it like
a kind of an immediate like, oh, this is one
of this I like this person.
Speaker 4 (06:51):
Yeah. Yeah, it was around We started talking just about
like music. I didn't like beer at the time, and
I was He kind of introduced me to having beer
because we went to some bar and I ordered like
a melon ball or something really dumb, and he, oh,
(07:11):
he side eyed me and he's like, what are you doing.
I'm like, I just don't like beer. Yeah, I don't
like the taste of it.
Speaker 3 (07:16):
And he's like, like, while your little earring dangles, and.
Speaker 4 (07:21):
Yeah, it looks good. The green drink looks good with
my beret and silver earring. So he's like, that's not
gonna work. And then my gift to him was he
had never heard of You Two, and You Two was
my favorite band at the time, and I don't know,
and aside from those things, we just kind of really
hit it off and in the same sense of humor,
and so it was a quick you know it was.
(07:43):
I took to him quickly, and but then everyone and
then as soon as the group started, like these people
fast became my best friends because we so wanted, we
were so ambitious, we we we liked, we loved each
other and being around each other. But we didn't, if
that makes any sense, Like we did not treat each
other well, But who does twenty.
Speaker 2 (08:05):
One years old and you'rer and you.
Speaker 4 (08:07):
Want to just you're proving, especially in a group setting. Yeah,
that's why I like the reunion tour that we did
last year was such a great gift. It was because
you just really realist and cherished these people that I
had known for so long and could appreciate them as
them and the achievements that they did, and I had
done my own thing. It was great to kind of
(08:27):
come back with that. But when you're that young man,
it's just like cutthroat, and and yet we would all
go to Ken Marino's parents' cabin in Hot Bottom, Pennsylvania
and write and have a great time. And so we
would do all these kind of adventures to create that bond.
So we were fortified with that trust when we faced
(08:48):
the biz and face the studio and face the producers, right,
and so we needed swagger, you know, we needed swagger
to kind of get through that those years.
Speaker 3 (09:00):
Yeah.
Speaker 2 (09:00):
Yeah, I love that.
Speaker 1 (09:02):
I that you you did, like you used adventure trips
or like events I guess to kind of like rebond
you to like then get into like the creative stuff.
And then was it difficult once you were maybe doing
the thing, or like after the thing was over, Is
that when things would kind of get tricky.
Speaker 4 (09:22):
Yeah, I mean the the the trickiest part while we
were doing it were always the pitch meetings that would
be in any sketch show. I mean, you can you
know Andy could tell you about that with SNL, Like,
pitching is always kind of so stressful, and so when
we were in it, that was really hard part because
if you didn't write a script and didn't pitch one,
you probably weren't going to be in the sketches. And
(09:44):
I had a kind of a unique position because I
was quote unquote a nice guy and a good guy.
Everyone kind of liked me, and so I and I
and my strength was performing at the time, so I
was able to get in maybe more sketches than others.
And then the hard part after when the state broke
up was of course watching everyone's uh, you know success.
(10:06):
You know, we're no longer a group. You're kind of
on your own. Who's going to do what first? What
team what factions are going to team up? And you
know that was difficult for me at first. Because I
was kind of like solo. But I I love that
I went through that kind of you know, that kind
of trial by fire because I was able to kind
(10:27):
of define who I was, who Joe.
Speaker 2 (10:30):
Was, and outside of the group, yeah, outside.
Speaker 4 (10:33):
The group, Like I had a mini nervous breakdown when
the group broke up, because you're so used to that.
Speaker 3 (10:39):
Really.
Speaker 4 (10:39):
Yeah, I remember I went into this bar with a
few of the guys and then I just my test
my chest got tight, and then I started.
Speaker 2 (10:46):
A your testicles, my test really tight.
Speaker 4 (10:50):
And I'm like, wait a minute, why am I sitting
in a bucket of ice water? And then that made sense, no,
and I just started I had to leave the bar,
and I just started like sitting on the heart, like balling,
and I didn't know why. And eventually, I think what
I discovered was like the reality of like the group
was like over. It was catching up with my conscious.
(11:11):
The subconscious is catching up there, right, And so those
years after that was pretty were pretty tough, but ultimately
awesome because I just gained a little bit more experience
and more confidence in what I wanted to do.
Speaker 2 (11:25):
Yeah, like you needed to go through that in perspective, Yeah.
Speaker 4 (11:28):
Perspective for sure. Yeah, fuck yeah, we all go through
these moments of kind of anxiety and grew.
Speaker 3 (11:36):
Oh my god that the end of Brooklyn. I was like,
and I'm never going to work again. I guess like
that that's it and I will never ever do anything.
I might as well move to I don't even know,
some like small town in Alaska and learn how to fish. Yeah,
because it does become I mean, it's it's very different.
(11:58):
I think probably you're right, Andy has a more similar
experience in SNL in that like you're all together all
the time and you're working on this thing that's like cohesive.
It's like a cohesive, but it's alive because of all
of you. Yeah, you know what I mean, as opposed
(12:18):
to like something that you get cast in and you
like become part of an ensemble or something like that. Right, right,
it's life. It lives and dies with how you guys
function as a as a team.
Speaker 4 (12:30):
Yeah, there's nothing like that vibe when when you're doing
a scene and you just everyone's locked in, you know,
and you know, we obviously had that on you know,
many many streets in Brooklyn, but there it's something about
like knowing someone's history and personal life outside the make
(12:53):
believe kind of adds to the make believe in such
a pure way. It's such a flow, like it makes
it feel so personal. I love it and and you know,
I've been fortunate enough to experience that a couple of times.
Speaker 3 (13:10):
Did you ever have experiences in working with the group
on sketches where you were like, this is a weird
thing to say, but.
Speaker 4 (13:21):
It's not funny.
Speaker 3 (13:23):
Well, more likely, when you're working and you do something,
you do something. I mean speaking of like knowing people
really well and knowing their knowing what's going on with
them personally. Sometimes you can like set people up to
really fly, and sometimes you can fucking set people up
to just fucking.
Speaker 2 (13:40):
Crash, you know what I mean.
Speaker 3 (13:42):
Like, did that ever happen or was it always a
generous environment?
Speaker 4 (13:46):
I think on in front of the cameras and on
stage it was always a generous environment, it really like
from like, I don't remember any real sabotage. There may
have been some like I don't remember or any any
real sabotage in the state while we were actually performing.
Because the whole purpose of it's kind of like when
(14:10):
you have a sibling and you're picking on him or
he's picking on you, and then you both go out
to the playground and someone tries to pick on your sibling,
like hey man, back off. That's yeah, yeah, right. It's
kind of like that when in in you know, in
the offices, we may go at it, but then when
we're on stage or in a creative meeting with you know,
(14:31):
the studio heads or producers, we were like we stick
up for each other there.
Speaker 2 (14:35):
Yeah.
Speaker 3 (14:44):
I think that's the difference between like, you know, I
think a lot of people work with friends, right yeah,
but I think the difference between working with people who
I guess you conform friendships at work when you're thrown
together and stuff. But I think that the real difference
is like, am I going to do exactly what you
(15:05):
said just now? Would I stand up for them on
the playground if somebody else came out, or would I
feel like this is your problem? My god? That just
you know, I'm gonna wash my hands of this. And
that's how you really know whether or not you're invested
in this relationship beyond just a working relationship. I invested
in this relationship as like I want to see this
person succeed in life, in a way, But that can
(15:28):
be a really hard balance, right because, like like you said,
when the working relationship is over, I wanted to ask you,
like what it was like working with Beth on outcomes
like and what that experience was like for the two
of you, and as somebody who wrote and directed it
and then casting your significant other in the lead role
(15:52):
and having that experience like.
Speaker 4 (15:55):
I we both when it was happening on the shoot itself.
Part of the reason I think it worked so well
is that we had separate hotel rooms.
Speaker 2 (16:04):
Yeah, yeah, yeah, that's so really that.
Speaker 4 (16:08):
Needed to be necessary. You know, as an actor, she's
working all days, she wants to decompress and she wants
to kind of get away from everything and go through
her process of getting ready for the next day and
decompressing from that one where I, you know, need to
look at the shot list and think about what went right,
what went wrong, can I do better? Et cetera. And
so that was really I think the key honestly to
(16:32):
success on a practical level. The project was a lot
harder for Beth before we started shooting because the project,
you know, finding fund, being in prep for like three years.
I took a toll on the household, and that was
very very hard on the marriage. That was hard on
Beth in particular. And I just love her so much
(16:54):
and owe her so much and respect her so much
for kind of seeing that through and allowing me to
do that, to see this dream through. But it was
very tough. It was hard for her to do that.
It takes them so much time independent filmmaking, and especially
when you're funding it yourself and shooting on a mountain,
all these things. But she knew how important that this
(17:17):
was to me, Like I wouldn't have been able to, like,
at the end of my life, been able to look
in the mirror had I not made a movie, a
horror movie, and so and she knew that, and I'm
so grateful. And so when we were on set then
it really began to shine. Like we work really well
together as actors, We worked really well together as an
(17:39):
actor director. We have we have trouble when we're both
writing the same thing. We have very different yeah visions
and way to express our writings. Were very strong minded
people in terms of a vision of writing, and so
(17:59):
that that's trouble. Maybe someday that'll change, but at least
the acting part and the acting directing part. We we
do very well at and I do it again a
heartbeat for sure?
Speaker 3 (18:11):
Did you feel like on I mean I had a
very different experience I think on Brooklyn, But like, did
you feel like on Brooklyn that you were able to
say and speak and say and like I want to
try this, I want to do this, so I think
I think this is funnier I wanted, you know, And
did it change over time?
Speaker 4 (18:31):
Yeah? I mean I thought I did did you did
you not? I did?
Speaker 3 (18:35):
I feel like I didn't know to ask until the end,
you know what I mean? Like meaning like I just
had a different experience than most of you. I think
because I just hadn't done enough television. I had done
theater for so long, so like to me, you know,
the first three seasons was just like I don't know
(18:55):
where I'm standing, you know, like and please remember to
deliver the line when I'm supposed to. I think much
more than like creatively, what do I think about this joke?
You know, which came for me came much later, I see,
because I gained confidence in the process.
Speaker 4 (19:12):
Yeah, I'll say that. I obviously I think I had,
you know, having done having some experience in some of
in comedy that I my confidence level was higher and
able to you know, kind of throw things out whether
people wanted it or not. AKA but McGee, my button,
you know, I would just like adding for listeners, the
(19:34):
button is kind of the last moment at the end
of a scene that is often closes the scene with
a joke or something that beat. And I had this
habit of not letting the button just be whatever was written.
I had to add another moment or a look or
a line.
Speaker 3 (19:51):
And so if Joe is in a scene, he is
the last one to speak almost always.
Speaker 4 (19:58):
And that's honestly, honestly, that's that's nervous center. That isn't
necessarily all like look at me. It's a lot of
it is nervous energy. A lot of it is just like.
Speaker 1 (20:08):
No, I loved it, you know, so I similar similar
to Steph didn't really I think it took me a
minute to kind of speak up. And for a long
long time it wasn't even I don't think untill towards
the end would I just like try shit. I would
more just be like, h, something's off with this joke.
Like That's kind of where I was for a long time.
Like or I don't, you know, like just raising a
(20:30):
question mark. But I learned so much from watching you
from the get go, just like try shit out and
be fucking Also, by the way, for a very long
stretch of time, I was convinced that we were calling
you button McGhee.
Speaker 2 (20:44):
Are you serious?
Speaker 3 (20:45):
Yeah? Yeah, And then I remember one day being like, oh,
it's button, button McGee. I know it was about the button,
but then I thought everyone was being extra.
Speaker 2 (20:56):
Lot But but McGhee butt, McGee.
Speaker 4 (21:01):
Did you have an explanation in your head as to
what people may have meant by saying.
Speaker 3 (21:04):
That just like this is highly inappropriate in the workplace.
Speaker 1 (21:08):
No, I knew it was about I knew it was
about the button, and I just thought that it was
just short and like to be extra sassy, like and
you know, give you shit.
Speaker 2 (21:19):
Fucking hell man, there's just like, yeah, we're.
Speaker 1 (21:22):
Just gonna go for the butt, you know, like the
butt of the butt of the scene is up to
butt McGee.
Speaker 2 (21:28):
Damn it.
Speaker 4 (21:41):
Well, I mean I feel like you both of you
just kind of blossomed and grew the longer the show
when and I think you guys were in and nailing
it from the get go. But I understand when it's
such a big show like that and you hadn't had
that experience, how you kind of second guessed yourself, you know.
Speaker 2 (21:58):
And terrifying. Just like in the beginning especially, it was just.
Speaker 3 (22:02):
Like like first season, I think I just felt like
what to do. I don't remember any of the second,
third season, maybe a little of fourth I remember, but
like I truly don't remember. But what I do remember
is that you guys, I think about this all the time.
Remember when we were sitting outside when we were shooting
(22:23):
the pilot and we were sitting outside crafty and and
he was like, we'll get into these spaces for the
next seven years. And then we were all like we
looked at each other like yeah, that'd be cool.
Speaker 4 (22:35):
Yeah, And then it was.
Speaker 3 (22:38):
It was such I mean, part of the experience of
working on Brooklyn that made it so good was that,
like we were all real friends with each other, Like
we are still real friends with each other, you know,
like we really respected and cared about each other, and.
Speaker 4 (22:55):
We did and we do and and not anymore.
Speaker 2 (23:00):
I don't respect either.
Speaker 4 (23:02):
I mean, classic guy, I'm moving on to bigger and
better B and B so uh no, But you know.
The other thing that really cemented that were the gigantic,
enormous life moments that each of us were going aka
marriage and children. That just cemented the whole thing, right,
(23:28):
And I'll always I love that. I hate treasure it.
Speaker 3 (23:33):
Yeah, me too.
Speaker 1 (23:34):
And I also feel like the fact that we all
jelled so quickly and that we all like actually became
friends is like part of the magic sauce of life
for the show. And I feel like, especially in comedy,
like I I've been very lucky that I feel like
almost everyone I've worked with I really liked and like
(23:55):
become friends with or at least friends with while the
thing was happening. And you know, but I can't imagine.
Obviously we don't have to say names, but like have
either of.
Speaker 5 (24:09):
You ever We're not at dinner, guys, we're on the
pod at dinner, and then when we go to dinner,
which out the names, but have particularly in comedy, because
I feel like drama is a different thing.
Speaker 1 (24:23):
Like you hear about actors that hated each other and
some like drama thing and they have all this chemistry
and you're like, I get it, Like the chemistry is
probably like they're fucking vitriol for each other, and like,
I feel like that kind of maybe can work. But
I feel like in comedy it's like the more you
like each other, the more you get along, the more the.
Speaker 3 (24:43):
Work is like sort of elevated. I don't know, do
you agree, disagree?
Speaker 2 (24:47):
What are your thoughts? I do I bought the monks dissel.
Speaker 4 (24:50):
I do agree. I had a point where you were
talking and then I forgot it. But I think that
trust is a trust is a big deal, right, especially
in comedy, like feeling safe to fail right, which you
guys finally felt safe enough after the first season or whenever,
(25:10):
and that you know my experience in the State and
what it could be. I know the state was dysfunctional
early on, but like what we achieved was I feel
really really good. And the lesson I took from that
is that if you if you kind of make it
about the you know, the group, the ensemble, and pass
(25:32):
the football around like you will get something better than
what you can do by yourself. And I don't know
how relating it to your question, Melissa.
Speaker 1 (25:42):
But no, but I think I think that's such a
good point for any like working relationship, right, even if
we think of jobs or industries outside of what we do, right,
Like that thing you said about like trusting each other
to even fail, you know, and like passing the football
around and like.
Speaker 2 (25:58):
Not making it's just about me, me me, Yeah.
Speaker 4 (26:01):
Like the shows that both of you have gone on
to after Brooklyn, Like you know what it could be, right,
you know what an amazing uh dynamic a cast can have.
You know the steps that allow it to have a
chance to be that, and you know the steps that
will not allow it to be that, and you act accordingly,
and so that that experience really of Brooklyn, and I
(26:24):
was fortunate to have that reno parts of the state
with you know, super bad. Those guys were great, you
know you you know, you know what is needed and
then and then you're quickly able to be like, oh
that's not going to fly here or could work here,
or this may work with this person, and then you
(26:45):
just start moving right, so you you create your your
your bubble of safety so you can glow, you know, yes,
and hopefully allow others to glow.
Speaker 3 (26:58):
I mean, because that's the thing, right, Like you're not
always going to work with your best friends, You're not
always going to work with people who like you would
even pick to hang out with. But if you can
manage to have a relationship with them at work that
feels like you are able to move with each other
and trust each other at least in the work that
you're doing, then it can succeed. No matter if you like,
(27:23):
you know, maybe aren't the best friends, you can succeed
in the work situation because you're able to say, you know, well,
I could be generous in this way with you, like
and give you what you need, and like, if you
can't give me what I need, then I can give
them somewhere else, you know.
Speaker 1 (27:40):
Like, yeah, I think it's like having a little less ego, right,
and like keeping the thing that you're making in our case,
uh as the most important thing, right, like always serving
the story, the joke, story, the work, the jokes, like
the whatever, right and like and it's that given take,
you know, and it's not. I think it's yeah, having
(28:03):
a little less you go to be like you're you're
better at that you do that part.
Speaker 2 (28:07):
You know, the.
Speaker 4 (28:08):
Biggest advantage I think of having friends when you're doing comedy,
and we did this in Brooklyn A lot is after
you do a joke or something, after the take and
go to Annie and be like, is that funny work?
Speaker 3 (28:21):
Yeah?
Speaker 2 (28:21):
Yeah? Was that working?
Speaker 4 (28:23):
Yeah? I don't know. And if you're like yeah, it'd
be like okay, good and then it's not if you
don't trust that person, Oh you're just getting into a spiral, right.
Speaker 2 (28:32):
Yeah.
Speaker 4 (28:33):
And one of the great things about Andy as a
as a producer was that, you know, I would pitch.
I would pitch an idea and it would be okay,
would but not quite work or it wouldn't be funny,
but he wouldn't say that. He would kind of listen
to what I was trying to do and then pitch
(28:54):
the better joke or like or try this.
Speaker 2 (28:56):
So good at that and.
Speaker 4 (28:58):
He's super He's a great Listener's able to see what
you're trying to do and then not judge it if
it doesn't work, and then throughout the thing that works.
And it was great And that that was a huge
and Chelsea too, that was a huge That was a
huge thing to have a huge resource.
Speaker 3 (29:18):
Yeah.
Speaker 1 (29:19):
Yeah, Like I don't have any memory of having an
idea or pitching something and someone going like you know
what I mean, like or if they do you know,
or if they did, they still used some it was
good natured.
Speaker 4 (29:33):
It was good natured, and he couldn't build. I didn't
feel judged by it. It was just like, yeah, yeah,
you felt safe enough to fill out a bad idea, right,
I mean that is the key, because you're definitely not
throwing out good ideas all the time. I mean that's
just not how it works, you know.
Speaker 2 (29:47):
Right, I mean right exactly.
Speaker 4 (29:49):
No, No, you were. You were like ten for ten stea.
Speaker 2 (29:54):
I mean, our names are not Stephanie a Beatriz.
Speaker 3 (29:57):
But every time I didn't think that that was something
that U that I really loved about watching Andre work
sometimes because he would have these like really out of
control ideas and then like yeah, the the watching of
someone like really sort of hone in on what he
(30:19):
specifically thought was funny, which was so outlandish sometimes where
like I would remember being like, it's going to work
and then you see it and you'd be like that
was amazing.
Speaker 4 (30:33):
Trust get his comedy legs. Yeah, I mean it's it's
a moment that we've all talked about so much, But
that hot damn moment after that opened God, that just
opened up the gates. It was just some like I mean,
he had over he always arrived, but like then he
was like he was there, he landed.
Speaker 1 (30:53):
For listeners who don't know the hot damn at the
end of a cold No, was it a cold open.
Speaker 4 (31:00):
It was a cold open where we were all trying
to figure.
Speaker 1 (31:02):
Out why I was late. Yes, was an improv from
Andre Brower, and.
Speaker 2 (31:10):
It was like one of his first Like.
Speaker 1 (31:13):
I feel like it was also at a time where
he had just started to throw things out and to
try things. Yes, and then that one, like he just
was watching for a long time and I like getting,
as you said, his comedy legs together, and then that
one came out and it's I could up the whole.
Speaker 2 (31:39):
Afterwards is so fast?
Speaker 4 (31:41):
Yeah, Yeah, it was such a release, I think because
everyone was so rooting for him anyway, they like, you know,
discover how amazing nailing a joke is or was the best?
It really was.
Speaker 3 (32:00):
Why when you think about the stuff that you want
to do in the future, like what is like the
dream scenario for you in terms of like being able
to do something again or something that you haven't done
(32:21):
yet with people that you'd like to collaborate with.
Speaker 4 (32:24):
Yeah, that is a really really good question because I've
been you know, real talk, I've been like struggling with
finding some joy in what I'm doing again, like you know,
this business has changed so much, and that you know,
I'm kind of getting back to like why did I
want to do this? Acting? Like I'm why did I
(32:45):
want to do this? Like an honest assessment of like
what got me into acting? Why did I want to
make movies? And because it's always nice to reset that way.
So the short answer is like, I don't know, but
I do know that it does involve probably directing or
filmmaking a little bit more than acting, Like I'm ready,
(33:06):
like I just will always have that bug to act,
but there's there's like a bit of a hunger that's
been satiated already that it's just not as hungry. And
you know, in this town, you just gotta want it constantly,
and you know, sometimes I want it and sometimes I don't,
so like you know, so it's like what does that
(33:28):
mean for Joe as like a creative person? Like, and
I think that's what I've been maneuvering really honestly since
Brooken ended. And I've had some really great projects that
have happened since then, and there's one coming next year
that I can't talk about that's exciting. But that being said,
I feel still a little not lost, but I'm doing
(33:50):
a lot of work. I'm doing a lot of work
on myself with like what am I really in it for?
And what do I want to achieve next. The vibe
I feel is more kind of writing and directing. But
as soon as that job comes are like, hey, Joe
there thinking about this, do you want to get Yeah?
Sure is it? As long as it's not a police officer,
(34:11):
because I've done that about one hundred and eighty times.
Speaker 1 (34:13):
Let's as you as you should, throw script pages behind you.
Speaker 4 (34:18):
That's right, let's go down. It's great. I loved it,
proud of it. Let's move it along like.
Speaker 2 (34:27):
It like it?
Speaker 4 (34:28):
Yeah?
Speaker 2 (34:29):
Uh okay, So Joe.
Speaker 1 (34:31):
Sometimes we do what's called nerd time in these episodes
and where our lovely producers give us like articles and
data and things about, you know, whatever topic we're discussing.
And so one of the things that came up was
the term work wife and work husband.
Speaker 4 (34:54):
Uh.
Speaker 2 (34:55):
Several articles on this topic.
Speaker 4 (34:58):
What is a work wife and work husband?
Speaker 3 (35:01):
What it's like somebody that you work with that you
your relationship with them?
Speaker 4 (35:06):
Oh?
Speaker 2 (35:06):
I see you want it gives me the ick so bad.
Speaker 1 (35:11):
It's like, okay, some would probably say that, okay. If
I was the type of person to like use this term,
I've probably been like, andya's like my husband because like,
you know, we're like together all day and you.
Speaker 4 (35:29):
Know what this is. This is the culture's problem with
not just being able to talk about intimacy without meaning
that it means.
Speaker 1 (35:37):
It's yes, yes, no, And it doesn't mean I have
to call anyone other.
Speaker 3 (35:42):
Than my actual husband husband. That's fucking weird.
Speaker 4 (35:48):
It's great to be like, I feel like we have
a very close intimate friendship because I feel like I
can talk to you guys like I'm talking to you now,
and I have that with many and that is awesome.
And yes, you know, that term is just like I
don't know why it rubbed me the wrong way, but
it does.
Speaker 2 (36:07):
Because it's gross. I mean, it's gross, and I also
think it's whatever.
Speaker 4 (36:12):
It's a term. I'm overreacting here, so.
Speaker 2 (36:14):
Yeah, no you're not.
Speaker 3 (36:15):
It's correct for this is the space for this. I
feel like it bothers me so much because it implies
that somehow my relationship with my I guess if you
are already married, right, if you or if you have
like a partnership in your life that is on the
level of something that's committed and then you say like, oh,
(36:38):
well that's my work, husband, it implies that like somehow
this person is is this person at work is fulfilling
needs for you that are unmet in your personal life.
Right that part, With that part, it's okay to have
someone at work or to have people that you work
with or collaborate with that do fulfill some kind of
(37:00):
like creative need or or like I can do this
with these people. I can talk about this with this
I'm like I tried to talk to Brad this morning
about like I was talking about nos Faratu I just
saw yesterday, and I was like trying to talk about
female sexuality and film and like how it's like in
The Witch and does Dave Eggers have like a weird
(37:21):
thing about women and and whatever. As I'm talking to
him and he's looking at me like I'm explaining I
don't even.
Speaker 2 (37:28):
Know if question quantum physics, it would be like.
Speaker 3 (37:31):
Him trying to talk to me about football, right, which,
like I'm listening. I want to know, I want to hear,
and Brad is listening, like he's trying to you know,
he's he wants to be there with me, but it's
on a different level than maybe some of my creative
friends might engage with that discussion. Right, that's one thing.
But when when it's like when it's like crossing a line,
(37:55):
when it's like when it's like so intimate that it's like,
I don't know, that's where it gets icky to me because.
Speaker 4 (38:04):
It feels like.
Speaker 3 (38:07):
I don't know, And I'm also like not polyamorous, Like
maybe polyamorous people are like would be totally don't.
Speaker 2 (38:13):
I actually don't know.
Speaker 3 (38:14):
I'm talking out of my ass now I have the idea.
Speaker 4 (38:18):
I think it's always hard for a person to say
this relationship, friendship, platonic relationship outside my marriage is giving
me something that my marriage isn't. I think that that's
a hard thing. And but I think that's a very
natural thing. And depending on you know, your partner, your
partner would understand that your partner's also got that outlet
(38:40):
going to probably right, and yeah, but it's like it's
hard to admit that you're not complete, right, you know
that you don't fulfill everything you know and and does
it's no reflection on your completeness, you know, and uh, yes,
so I understand why it's hard to navigate that stuff.
But thank god, there's some other people that you know,
the person I care about is like being you know, met,
(39:02):
that was like being fulfilled, like you know, I trust them,
you know.
Speaker 1 (39:06):
You know it's yeah, yeah, well yeah, it's like this
false notion that like our partner has to be all
the things for us, like and that that's impossible. That
does That's not real, No one is, you know.
Speaker 2 (39:18):
And I don't want.
Speaker 3 (39:19):
I don't want I may and I don't want I
don't know to be like my work husband, you know
what I mean.
Speaker 2 (39:25):
I'm not I don't like it.
Speaker 4 (39:27):
I like the vernacular. Who do we like? Who do
we talk to about?
Speaker 2 (39:33):
Dear society? All anxiety that is listening right now?
Speaker 4 (39:37):
It is very.
Speaker 2 (39:38):
It is very.
Speaker 3 (39:39):
It is a very really makes like a a name
for something of like this person understands my needs in
this work environment in a way that nobody else does,
and I feel really intimate and close with them in
a work environment.
Speaker 2 (39:51):
Right, can we rebranded?
Speaker 1 (39:52):
I feel like there's a better label for that, Like
I mean, that's just your collaborat girl. Just oh my god,
it's baby Girl, Girl, It's baby girl and baby boy.
Speaker 3 (40:07):
Have you seen by the way, Joe, I love?
Speaker 4 (40:09):
Yeah, I really, that's what I call it. Well, I
did like it, and since I saw it, I liked
it more like I classified. I keep thinking about it
as either bloomers or faders, which the definition being obvious,
and that's definitely a bloomer. And I and and I
just started. It stuck with me longer than I thought
it would. When I walked out of the theater and yeah.
Speaker 2 (40:32):
What about did you see the substance?
Speaker 4 (40:34):
Yes? Same, Well, although that I liked immediately, the whole
you know what, the substance which I loved, the thing,
the the thing I kept thinking about at the end
of that movie. And I don't want to spoil it,
but there's a scene where a lot of extras go
through a lot of makeup. Okay, leave it at that,
and I'm like, oh my god, that day, that day
(40:56):
of shooting down logistics, Sang goes dress. Who's cleaning that
is this one has to be?
Speaker 3 (41:04):
That's why I was like, this is one take. This
got me one take because it's how.
Speaker 4 (41:09):
It might be a two take. It like we did
a sketch on the on the on the State called
Pope's a Visit, where the Pope comes in a white
thing and we we kind of like unload a bunch
of grape juice on him, and we had like like
a gutter, like like a gutter around the sound stage.
(41:29):
The immediate set to like collect all this stuff and
drain it and then do it again. And and I'm like, oh,
maybe they did that. But even so, there was only
like five people in this sketch.
Speaker 3 (41:40):
I mean, this was like.
Speaker 2 (41:43):
Hair makeup up. You haven't seen it.
Speaker 1 (41:48):
I haven't seen it yet. I have seen a baby girl.
I did see baby girl. I don't think that's for me.
I wanted it to be horny and I read a
review and I was like, this isn't horny. I want
to see like horn dog situation.
Speaker 2 (42:01):
It's a little I would say, it's a little. It's
it's both. It's a little.
Speaker 3 (42:05):
Also like what in what universe a you married to
Antonio Baneraz and you don't want to buck the living
daylights out of him?
Speaker 2 (42:11):
You know, like what are we talking you?
Speaker 4 (42:14):
You?
Speaker 3 (42:15):
You should?
Speaker 2 (42:16):
I want you to see it.
Speaker 1 (42:17):
It's because it's not Yeah, it's no, it's a little
more complex than that, and it's I think it's a
good it's nuanced, and it's an interesting take on I
think female sexuality and in particular in a later not
later stage making makes right.
Speaker 2 (42:37):
Now I know you are, but it was for me,
it was a bloomer.
Speaker 1 (42:41):
I thought about it for days more better.
Speaker 3 (42:48):
Can you talk about anything that's like work related that's
coming up that you want to talk about.
Speaker 4 (42:54):
I did. I did a guest star on on Ghosts,
which should be very fun. I want to come and
I don't know when that's coming out, but that was
a fun, little little gig. It made me think of
us in Montreal and just.
Speaker 2 (43:08):
For laughs, Oh that's right. They shoot in Montreal, right,
and had a.
Speaker 4 (43:13):
Good time with a good group of people. They have
a great vibe up there, the crew and that cast
up there is really awesome.
Speaker 1 (43:21):
And then yeah, Ukarsh is an old buddy of mine.
We went to NYU together.
Speaker 4 (43:25):
Oh that's right, Yes, that was I had my scene
with him. He was terrific.
Speaker 2 (43:29):
Yeah, he's a great guy.
Speaker 4 (43:31):
Yeah, that's one. And then I'm doing writing. I'm writing
some stuff and I'm trying to get something going with
the Preducer of Hot Frosty and get another project going
with him, another movie and all very premature, of course,
but it's something. It's in Avenue. Yeah, it's the Street.
Speaker 2 (43:49):
Yeah, Yeah, I like that. I love that and I
love you Joe.
Speaker 4 (43:53):
You guys. I'm glad you guys did this podcast and
you guys are rocking it and I always loved to
you guys. Send your sending.
Speaker 2 (44:03):
Let me Joe.
Speaker 4 (44:04):
So, you guys are the coolest. Thanks for having me,
Thanks for being here.
Speaker 1 (44:06):
Thanks, you're the coolest. Thanks for making the time. We
appreciate you.
Speaker 4 (44:10):
More Better.
Speaker 3 (44:12):
Do you have something you'd like to be more better
at that you want us to talk about in a
future episode?
Speaker 1 (44:17):
Can you relate to our struggles or have you tried
one of our tips and tricks?
Speaker 3 (44:20):
Shoot us your thoughts and ideas at Morebetter pod at
gmail dot com and include a voice note if you
want to be featured on the pod. Ooh, More Better
with Stephanie Melissa is a production from Wvsound and iHeartMedia's
Mikutura podcast network, hosted by Me, Stephanie Beatriz, and Melissa Fumero.
More Better is produced by Isis Madrid and Sophie Spencer Zabels,
(44:41):
our executive producers are Wilmer Valderrama and Leo Klem at Wvsound.
This episode was edited by Isis Madrid and engineered by
Sean Tracy and features original music by Madison Davenport and
Heylo boy Our. Cover art is by Vincent Remis and
photography by David Avolos. For more podcasts from iHeart, visit
the iHeartRadio app, Apple Podcasts, or wherever you listen to
(45:02):
your favorite shows. See you next week's Saga Bye
Also, by the way, for a very long stretch of time,
I was convinced that we were calling you button McGee.
Speaker 2 (00:07):
Are you serious?
Speaker 3 (00:09):
Yeah?
Speaker 2 (00:10):
Yeah, And then I remember one day being like, oh,
it's button, button McGee.
Speaker 3 (00:15):
I knew it was about the button, but then I
thought everyone was being.
Speaker 4 (00:21):
But McGee.
Speaker 3 (00:24):
More Better, More Better. Welcome to More Better, a podcast about,
you know, getting better at stuff, and we stop pretending
(00:48):
that we have it all together.
Speaker 1 (00:49):
And sometimes we embrace the journey of becoming a little
more better every day.
Speaker 3 (00:54):
Maybe today is the day. Maybe that's Melissapa.
Speaker 2 (00:58):
Marrow and that's Stephanie Biatrin.
Speaker 3 (01:01):
And we are very excited because we have a special
guest today on the pod is Joe Licriulio, who you
may know and love from Brooklyn nine nine, which he
started on for many seasons with us, and we're so
excited to talk to him today.
Speaker 1 (01:15):
And we're talking to him about working with friends, which
is a topic we really wanted to talk to him
about specifically because he has basically made a career of
working with his friends. So here's the episode Enjoy.
Speaker 2 (01:32):
More Better. Yeah, we have Joe, Joe's.
Speaker 4 (01:38):
Josire right into it.
Speaker 1 (01:44):
I love it, right into it, actor, writer, director, comedian,
all around great guy, incredible Joe.
Speaker 4 (01:54):
I want to add incredible that all right, it is
incredible to be here because I've missed you, guys, and
I'm so happy to be on your on your show.
It's been going well. I caught a couple of the
episodes and they're great.
Speaker 3 (02:08):
Oh that's nice.
Speaker 2 (02:09):
Oh thanks friend, happy to have you here.
Speaker 1 (02:12):
Don't lie, don't lie, you tell after this, you tell
us to give us all your notes.
Speaker 2 (02:17):
Okay, well, great, great.
Speaker 3 (02:19):
We wanted to start to Joe today about working with
friends because Joe's worked with many people that have been
close to him. He has lots of relationships that are
you know, some of them were established like when you
were really young, right, Like some of your comedic relationships
and collaborations were established like really early on in your career.
(02:41):
And it seems like something that you do well and often.
So we wanted to talk to you about it because
not only have you worked with good friends, but also
like your partner and like, yeah.
Speaker 4 (02:51):
Yeah, I mean I've been really I've been really fortunate.
And I think with the State, which was the sketch
group I was in a million years ago, we all
met and Yu, And you know, it's you always have
safety in numbers, right, You always kind of want to,
you know, have your buds with you to kind of
forge your head to these dreams of being in the business.
And and you know that's it's really exciting. You just
(03:15):
feel like you have that same type of hunger and
ambition and you learn a shorthand. And it went very
well with those guys. And I've found that in working
with certainly Brooklyn and working with you know, Jod Appatowan
all and his crew and just overall working with people
that trust you to do your thing is just there's
(03:38):
nothing like it. Just the best.
Speaker 3 (03:40):
Yeah, how do you feel like when you first met
how how did you first meet some of the guys
women as well? Yeah, take us back to.
Speaker 2 (03:49):
The origin story, Yu, Like, how did it happen?
Speaker 4 (03:52):
We The first person I met in the state was
Michael Schowalter, who was right across the hall from me
in Weinstein Dorm. And so yeah, and we and we
hit it off and he I had no interest in
in really sketch comedy or anything. I was way too serious.
(04:15):
I was just way I was that guy. I was
on the verge of annoying and just like I'm just
going to be a serious filmmaker. I was in the
film department there and and I liked comedy, but I
just didn't want to kind of pursue that.
Speaker 2 (04:29):
And the are you talking about?
Speaker 4 (04:32):
Are you serious?
Speaker 2 (04:33):
Blows my mind. I can't believe I didn't know this.
Speaker 4 (04:35):
Yeah, I didn't want to do Thank god I did.
Like I would have been insuperable, Like.
Speaker 3 (04:42):
I still kind of picturing you with like a skinny
scarf fla I had.
Speaker 4 (04:47):
I had, I had a Oh my lord, I had
a dangling like George Michael crucifix gearing.
Speaker 2 (04:54):
I knew it, like I took.
Speaker 4 (05:00):
We're like, I'm in you know, one of the one
of the one of the things I do is like
you know, takee sell portraits and everything. Guys it I
I want to burn all those pictures. I'm keeping it.
I have them in case I see the mole of himself.
I'm gonna listen, be careful, be careful. All right, Look
what happened to dad? Dad? Dad just thought he was
(05:23):
in some type of music video and it was very serious.
So yeah, so I that was me. And then Showalter
was like, Hey, we're gonna let's audition for this comedy
troupe at n YU called Sterol Yak who had a
bunch of great talented people. Williams was in that group,
(05:45):
who's now a f children's author, and and another fellow
by the name of Todd Holibeck was also in that
group and was like, I'm gonna kind of break off
and start this other sketch group. And so anyway, so
show Walter was like, we're gonna go just come do
this audition. And I only went because I wanted to
have a friend, Like he was like wow. I was like,
(06:05):
I got to meet some people and and then did it.
And then that's that's how I got into that. And
I was like a funny kid in school, like I
wasn't you know, I did a lot of like sketches
and you know, drama class, and I was always making
jokes and making these kind of funny little movies. But once,
(06:27):
for some reason, I thought, once I got to college,
I'm kind of really now I got to really kind
of dig my heels, really a serious serious artists. Yeah yeah, yeah,
so so yeah, and so then it just went from there.
Speaker 3 (06:42):
Yeah, when you when you met Showalter, was it like
a kind of an immediate like, oh, this is one
of this I like this person.
Speaker 4 (06:51):
Yeah. Yeah, it was around We started talking just about
like music. I didn't like beer at the time, and
I was He kind of introduced me to having beer
because we went to some bar and I ordered like
a melon ball or something really dumb, and he, oh,
(07:11):
he side eyed me and he's like, what are you doing.
I'm like, I just don't like beer. Yeah, I don't
like the taste of it.
Speaker 3 (07:16):
And he's like, like, while your little earring dangles, and.
Speaker 4 (07:21):
Yeah, it looks good. The green drink looks good with
my beret and silver earring. So he's like, that's not
gonna work. And then my gift to him was he
had never heard of You Two, and You Two was
my favorite band at the time, and I don't know,
and aside from those things, we just kind of really
hit it off and in the same sense of humor,
and so it was a quick you know it was.
(07:43):
I took to him quickly, and but then everyone and
then as soon as the group started, like these people
fast became my best friends because we so wanted, we
were so ambitious, we we we liked, we loved each
other and being around each other. But we didn't, if
that makes any sense, Like we did not treat each
other well, But who does twenty.
Speaker 2 (08:05):
One years old and you'rer and you.
Speaker 4 (08:07):
Want to just you're proving, especially in a group setting. Yeah,
that's why I like the reunion tour that we did
last year was such a great gift. It was because
you just really realist and cherished these people that I
had known for so long and could appreciate them as
them and the achievements that they did, and I had
done my own thing. It was great to kind of
(08:27):
come back with that. But when you're that young man,
it's just like cutthroat, and and yet we would all
go to Ken Marino's parents' cabin in Hot Bottom, Pennsylvania
and write and have a great time. And so we
would do all these kind of adventures to create that bond.
So we were fortified with that trust when we faced
(08:48):
the biz and face the studio and face the producers, right,
and so we needed swagger, you know, we needed swagger
to kind of get through that those years.
Speaker 3 (09:00):
Yeah.
Speaker 2 (09:00):
Yeah, I love that.
Speaker 1 (09:02):
I that you you did, like you used adventure trips
or like events I guess to kind of like rebond
you to like then get into like the creative stuff.
And then was it difficult once you were maybe doing
the thing, or like after the thing was over, Is
that when things would kind of get tricky.
Speaker 4 (09:22):
Yeah, I mean the the the trickiest part while we
were doing it were always the pitch meetings that would
be in any sketch show. I mean, you can you
know Andy could tell you about that with SNL, Like,
pitching is always kind of so stressful, and so when
we were in it, that was really hard part because
if you didn't write a script and didn't pitch one,
you probably weren't going to be in the sketches. And
(09:44):
I had a kind of a unique position because I
was quote unquote a nice guy and a good guy.
Everyone kind of liked me, and so I and I
and my strength was performing at the time, so I
was able to get in maybe more sketches than others.
And then the hard part after when the state broke
up was of course watching everyone's uh, you know success.
(10:06):
You know, we're no longer a group. You're kind of
on your own. Who's going to do what first? What
team what factions are going to team up? And you
know that was difficult for me at first. Because I
was kind of like solo. But I I love that
I went through that kind of you know, that kind
of trial by fire because I was able to kind
(10:27):
of define who I was, who Joe.
Speaker 2 (10:30):
Was, and outside of the group, yeah, outside.
Speaker 4 (10:33):
The group, Like I had a mini nervous breakdown when
the group broke up, because you're so used to that.
Speaker 3 (10:39):
Really.
Speaker 4 (10:39):
Yeah, I remember I went into this bar with a
few of the guys and then I just my test
my chest got tight, and then I started.
Speaker 2 (10:46):
A your testicles, my test really tight.
Speaker 4 (10:50):
And I'm like, wait a minute, why am I sitting
in a bucket of ice water? And then that made sense, no,
and I just started I had to leave the bar,
and I just started like sitting on the heart, like balling,
and I didn't know why. And eventually, I think what
I discovered was like the reality of like the group
was like over. It was catching up with my conscious.
(11:11):
The subconscious is catching up there, right, And so those
years after that was pretty were pretty tough, but ultimately
awesome because I just gained a little bit more experience
and more confidence in what I wanted to do.
Speaker 2 (11:25):
Yeah, like you needed to go through that in perspective, Yeah.
Speaker 4 (11:28):
Perspective for sure. Yeah, fuck yeah, we all go through
these moments of kind of anxiety and grew.
Speaker 3 (11:36):
Oh my god that the end of Brooklyn. I was like,
and I'm never going to work again. I guess like
that that's it and I will never ever do anything.
I might as well move to I don't even know,
some like small town in Alaska and learn how to fish. Yeah,
because it does become I mean, it's it's very different.
(11:58):
I think probably you're right, Andy has a more similar
experience in SNL in that like you're all together all
the time and you're working on this thing that's like cohesive.
It's like a cohesive, but it's alive because of all
of you. Yeah, you know what I mean, as opposed
(12:18):
to like something that you get cast in and you
like become part of an ensemble or something like that. Right, right,
it's life. It lives and dies with how you guys
function as a as a team.
Speaker 4 (12:30):
Yeah, there's nothing like that vibe when when you're doing
a scene and you just everyone's locked in, you know,
and you know, we obviously had that on you know,
many many streets in Brooklyn, but there it's something about
like knowing someone's history and personal life outside the make
(12:53):
believe kind of adds to the make believe in such
a pure way. It's such a flow, like it makes
it feel so personal. I love it and and you know,
I've been fortunate enough to experience that a couple of times.
Speaker 3 (13:10):
Did you ever have experiences in working with the group
on sketches where you were like, this is a weird
thing to say, but.
Speaker 4 (13:21):
It's not funny.
Speaker 3 (13:23):
Well, more likely, when you're working and you do something,
you do something. I mean speaking of like knowing people
really well and knowing their knowing what's going on with
them personally. Sometimes you can like set people up to
really fly, and sometimes you can fucking set people up
to just fucking.
Speaker 2 (13:40):
Crash, you know what I mean.
Speaker 3 (13:42):
Like, did that ever happen or was it always a
generous environment?
Speaker 4 (13:46):
I think on in front of the cameras and on
stage it was always a generous environment, it really like
from like, I don't remember any real sabotage. There may
have been some like I don't remember or any any
real sabotage in the state while we were actually performing.
Because the whole purpose of it's kind of like when
(14:10):
you have a sibling and you're picking on him or
he's picking on you, and then you both go out
to the playground and someone tries to pick on your sibling,
like hey man, back off. That's yeah, yeah, right. It's
kind of like that when in in you know, in
the offices, we may go at it, but then when
we're on stage or in a creative meeting with you know,
(14:31):
the studio heads or producers, we were like we stick
up for each other there.
Speaker 2 (14:35):
Yeah.
Speaker 3 (14:44):
I think that's the difference between like, you know, I
think a lot of people work with friends, right yeah,
but I think the difference between working with people who
I guess you conform friendships at work when you're thrown
together and stuff. But I think that the real difference
is like, am I going to do exactly what you
(15:05):
said just now? Would I stand up for them on
the playground if somebody else came out, or would I
feel like this is your problem? My god? That just
you know, I'm gonna wash my hands of this. And
that's how you really know whether or not you're invested
in this relationship beyond just a working relationship. I invested
in this relationship as like I want to see this
person succeed in life, in a way, But that can
(15:28):
be a really hard balance, right because, like like you said,
when the working relationship is over, I wanted to ask you,
like what it was like working with Beth on outcomes
like and what that experience was like for the two
of you, and as somebody who wrote and directed it
and then casting your significant other in the lead role
(15:52):
and having that experience like.
Speaker 4 (15:55):
I we both when it was happening on the shoot itself.
Part of the reason I think it worked so well
is that we had separate hotel rooms.
Speaker 2 (16:04):
Yeah, yeah, yeah, that's so really that.
Speaker 4 (16:08):
Needed to be necessary. You know, as an actor, she's
working all days, she wants to decompress and she wants
to kind of get away from everything and go through
her process of getting ready for the next day and
decompressing from that one where I, you know, need to
look at the shot list and think about what went right,
what went wrong, can I do better? Et cetera. And
so that was really I think the key honestly to
(16:32):
success on a practical level. The project was a lot
harder for Beth before we started shooting because the project,
you know, finding fund, being in prep for like three years.
I took a toll on the household, and that was
very very hard on the marriage. That was hard on
Beth in particular. And I just love her so much
(16:54):
and owe her so much and respect her so much
for kind of seeing that through and allowing me to
do that, to see this dream through. But it was
very tough. It was hard for her to do that.
It takes them so much time independent filmmaking, and especially
when you're funding it yourself and shooting on a mountain,
all these things. But she knew how important that this
(17:17):
was to me, Like I wouldn't have been able to, like,
at the end of my life, been able to look
in the mirror had I not made a movie, a
horror movie, and so and she knew that, and I'm
so grateful. And so when we were on set then
it really began to shine. Like we work really well
together as actors, We worked really well together as an
(17:39):
actor director. We have we have trouble when we're both
writing the same thing. We have very different yeah visions
and way to express our writings. Were very strong minded
people in terms of a vision of writing, and so
(17:59):
that that's trouble. Maybe someday that'll change, but at least
the acting part and the acting directing part. We we
do very well at and I do it again a
heartbeat for sure?
Speaker 3 (18:11):
Did you feel like on I mean I had a
very different experience I think on Brooklyn, But like, did
you feel like on Brooklyn that you were able to
say and speak and say and like I want to
try this, I want to do this, so I think
I think this is funnier I wanted, you know, And
did it change over time?
Speaker 4 (18:31):
Yeah? I mean I thought I did did you did
you not? I did?
Speaker 3 (18:35):
I feel like I didn't know to ask until the end,
you know what I mean? Like meaning like I just
had a different experience than most of you. I think
because I just hadn't done enough television. I had done
theater for so long, so like to me, you know,
the first three seasons was just like I don't know
(18:55):
where I'm standing, you know, like and please remember to
deliver the line when I'm supposed to. I think much
more than like creatively, what do I think about this joke?
You know, which came for me came much later, I see,
because I gained confidence in the process.
Speaker 4 (19:12):
Yeah, I'll say that. I obviously I think I had,
you know, having done having some experience in some of
in comedy that I my confidence level was higher and
able to you know, kind of throw things out whether
people wanted it or not. AKA but McGee, my button,
you know, I would just like adding for listeners, the
(19:34):
button is kind of the last moment at the end
of a scene that is often closes the scene with
a joke or something that beat. And I had this
habit of not letting the button just be whatever was written.
I had to add another moment or a look or
a line.
Speaker 3 (19:51):
And so if Joe is in a scene, he is
the last one to speak almost always.
Speaker 4 (19:58):
And that's honestly, honestly, that's that's nervous center. That isn't
necessarily all like look at me. It's a lot of
it is nervous energy. A lot of it is just like.
Speaker 1 (20:08):
No, I loved it, you know, so I similar similar
to Steph didn't really I think it took me a
minute to kind of speak up. And for a long
long time it wasn't even I don't think untill towards
the end would I just like try shit. I would
more just be like, h, something's off with this joke.
Like That's kind of where I was for a long time.
Like or I don't, you know, like just raising a
(20:30):
question mark. But I learned so much from watching you
from the get go, just like try shit out and
be fucking Also, by the way, for a very long
stretch of time, I was convinced that we were calling
you button McGhee.
Speaker 2 (20:44):
Are you serious?
Speaker 3 (20:45):
Yeah? Yeah, And then I remember one day being like, oh,
it's button, button McGee. I know it was about the button,
but then I thought everyone was being extra.
Speaker 2 (20:56):
Lot But but McGhee butt, McGee.
Speaker 4 (21:01):
Did you have an explanation in your head as to
what people may have meant by saying.
Speaker 3 (21:04):
That just like this is highly inappropriate in the workplace.
Speaker 1 (21:08):
No, I knew it was about I knew it was
about the button, and I just thought that it was
just short and like to be extra sassy, like and
you know, give you shit.
Speaker 2 (21:19):
Fucking hell man, there's just like, yeah, we're.
Speaker 1 (21:22):
Just gonna go for the butt, you know, like the
butt of the butt of the scene is up to
butt McGee.
Speaker 2 (21:28):
Damn it.
Speaker 4 (21:41):
Well, I mean I feel like you both of you
just kind of blossomed and grew the longer the show
when and I think you guys were in and nailing
it from the get go. But I understand when it's
such a big show like that and you hadn't had
that experience, how you kind of second guessed yourself, you know.
Speaker 2 (21:58):
And terrifying. Just like in the beginning especially, it was just.
Speaker 3 (22:02):
Like like first season, I think I just felt like
what to do. I don't remember any of the second,
third season, maybe a little of fourth I remember, but
like I truly don't remember. But what I do remember
is that you guys, I think about this all the time.
Remember when we were sitting outside when we were shooting
(22:23):
the pilot and we were sitting outside crafty and and
he was like, we'll get into these spaces for the
next seven years. And then we were all like we
looked at each other like yeah, that'd be cool.
Speaker 4 (22:35):
Yeah, And then it was.
Speaker 3 (22:38):
It was such I mean, part of the experience of
working on Brooklyn that made it so good was that,
like we were all real friends with each other, Like
we are still real friends with each other, you know,
like we really respected and cared about each other, and.
Speaker 4 (22:55):
We did and we do and and not anymore.
Speaker 2 (23:00):
I don't respect either.
Speaker 4 (23:02):
I mean, classic guy, I'm moving on to bigger and
better B and B so uh no, But you know.
The other thing that really cemented that were the gigantic,
enormous life moments that each of us were going aka
marriage and children. That just cemented the whole thing, right,
(23:28):
And I'll always I love that. I hate treasure it.
Speaker 3 (23:33):
Yeah, me too.
Speaker 1 (23:34):
And I also feel like the fact that we all
jelled so quickly and that we all like actually became
friends is like part of the magic sauce of life
for the show. And I feel like, especially in comedy,
like I I've been very lucky that I feel like
almost everyone I've worked with I really liked and like
(23:55):
become friends with or at least friends with while the
thing was happening. And you know, but I can't imagine.
Obviously we don't have to say names, but like have
either of.
Speaker 5 (24:09):
You ever We're not at dinner, guys, we're on the
pod at dinner, and then when we go to dinner,
which out the names, but have particularly in comedy, because
I feel like drama is a different thing.
Speaker 1 (24:23):
Like you hear about actors that hated each other and
some like drama thing and they have all this chemistry
and you're like, I get it, Like the chemistry is
probably like they're fucking vitriol for each other, and like,
I feel like that kind of maybe can work. But
I feel like in comedy it's like the more you
like each other, the more you get along, the more the.
Speaker 3 (24:43):
Work is like sort of elevated. I don't know, do
you agree, disagree?
Speaker 2 (24:47):
What are your thoughts? I do I bought the monks dissel.
Speaker 4 (24:50):
I do agree. I had a point where you were
talking and then I forgot it. But I think that
trust is a trust is a big deal, right, especially
in comedy, like feeling safe to fail right, which you
guys finally felt safe enough after the first season or whenever,
(25:10):
and that you know my experience in the State and
what it could be. I know the state was dysfunctional
early on, but like what we achieved was I feel
really really good. And the lesson I took from that
is that if you if you kind of make it
about the you know, the group, the ensemble, and pass
(25:32):
the football around like you will get something better than
what you can do by yourself. And I don't know
how relating it to your question, Melissa.
Speaker 1 (25:42):
But no, but I think I think that's such a
good point for any like working relationship, right, even if
we think of jobs or industries outside of what we do, right,
Like that thing you said about like trusting each other
to even fail, you know, and like passing the football
around and like.
Speaker 2 (25:58):
Not making it's just about me, me me, Yeah.
Speaker 4 (26:01):
Like the shows that both of you have gone on
to after Brooklyn, Like you know what it could be, right,
you know what an amazing uh dynamic a cast can have.
You know the steps that allow it to have a
chance to be that, and you know the steps that
will not allow it to be that, and you act accordingly,
and so that that experience really of Brooklyn, and I
(26:24):
was fortunate to have that reno parts of the state
with you know, super bad. Those guys were great, you
know you you know, you know what is needed and
then and then you're quickly able to be like, oh
that's not going to fly here or could work here,
or this may work with this person, and then you
(26:45):
just start moving right, so you you create your your
your bubble of safety so you can glow, you know, yes,
and hopefully allow others to glow.
Speaker 3 (26:58):
I mean, because that's the thing, right, Like you're not
always going to work with your best friends, You're not
always going to work with people who like you would
even pick to hang out with. But if you can
manage to have a relationship with them at work that
feels like you are able to move with each other
and trust each other at least in the work that
you're doing, then it can succeed. No matter if you like,
(27:23):
you know, maybe aren't the best friends, you can succeed
in the work situation because you're able to say, you know, well,
I could be generous in this way with you, like
and give you what you need, and like, if you
can't give me what I need, then I can give
them somewhere else, you know.
Speaker 1 (27:40):
Like, yeah, I think it's like having a little less ego, right,
and like keeping the thing that you're making in our case,
uh as the most important thing, right, like always serving
the story, the joke, story, the work, the jokes, like
the whatever, right and like and it's that given take,
you know, and it's not. I think it's yeah, having
(28:03):
a little less you go to be like you're you're
better at that you do that part.
Speaker 2 (28:07):
You know, the.
Speaker 4 (28:08):
Biggest advantage I think of having friends when you're doing comedy,
and we did this in Brooklyn A lot is after
you do a joke or something, after the take and
go to Annie and be like, is that funny work?
Speaker 3 (28:21):
Yeah?
Speaker 2 (28:21):
Yeah? Was that working?
Speaker 4 (28:23):
Yeah? I don't know. And if you're like yeah, it'd
be like okay, good and then it's not if you
don't trust that person, Oh you're just getting into a spiral, right.
Speaker 2 (28:32):
Yeah.
Speaker 4 (28:33):
And one of the great things about Andy as a
as a producer was that, you know, I would pitch.
I would pitch an idea and it would be okay,
would but not quite work or it wouldn't be funny,
but he wouldn't say that. He would kind of listen
to what I was trying to do and then pitch
(28:54):
the better joke or like or try this.
Speaker 2 (28:56):
So good at that and.
Speaker 4 (28:58):
He's super He's a great Listener's able to see what
you're trying to do and then not judge it if
it doesn't work, and then throughout the thing that works.
And it was great And that that was a huge
and Chelsea too, that was a huge That was a
huge thing to have a huge resource.
Speaker 3 (29:18):
Yeah.
Speaker 1 (29:19):
Yeah, Like I don't have any memory of having an
idea or pitching something and someone going like you know
what I mean, like or if they do you know,
or if they did, they still used some it was
good natured.
Speaker 4 (29:33):
It was good natured, and he couldn't build. I didn't
feel judged by it. It was just like, yeah, yeah,
you felt safe enough to fill out a bad idea, right,
I mean that is the key, because you're definitely not
throwing out good ideas all the time. I mean that's
just not how it works, you know.
Speaker 2 (29:47):
Right, I mean right exactly.
Speaker 4 (29:49):
No, No, you were. You were like ten for ten stea.
Speaker 2 (29:54):
I mean, our names are not Stephanie a Beatriz.
Speaker 3 (29:57):
But every time I didn't think that that was something
that U that I really loved about watching Andre work
sometimes because he would have these like really out of
control ideas and then like yeah, the the watching of
someone like really sort of hone in on what he
(30:19):
specifically thought was funny, which was so outlandish sometimes where
like I would remember being like, it's going to work
and then you see it and you'd be like that
was amazing.
Speaker 4 (30:33):
Trust get his comedy legs. Yeah, I mean it's it's
a moment that we've all talked about so much, But
that hot damn moment after that opened God, that just
opened up the gates. It was just some like I mean,
he had over he always arrived, but like then he
was like he was there, he landed.
Speaker 1 (30:53):
For listeners who don't know the hot damn at the
end of a cold No, was it a cold open.
Speaker 4 (31:00):
It was a cold open where we were all trying
to figure.
Speaker 1 (31:02):
Out why I was late. Yes, was an improv from
Andre Brower, and.
Speaker 2 (31:10):
It was like one of his first Like.
Speaker 1 (31:13):
I feel like it was also at a time where
he had just started to throw things out and to
try things. Yes, and then that one, like he just
was watching for a long time and I like getting,
as you said, his comedy legs together, and then that
one came out and it's I could up the whole.
Speaker 2 (31:39):
Afterwards is so fast?
Speaker 4 (31:41):
Yeah, Yeah, it was such a release, I think because
everyone was so rooting for him anyway, they like, you know,
discover how amazing nailing a joke is or was the best?
It really was.
Speaker 3 (32:00):
Why when you think about the stuff that you want
to do in the future, like what is like the
dream scenario for you in terms of like being able
to do something again or something that you haven't done
(32:21):
yet with people that you'd like to collaborate with.
Speaker 4 (32:24):
Yeah, that is a really really good question because I've
been you know, real talk, I've been like struggling with
finding some joy in what I'm doing again, like you know,
this business has changed so much, and that you know,
I'm kind of getting back to like why did I
want to do this? Acting? Like I'm why did I
(32:45):
want to do this? Like an honest assessment of like
what got me into acting? Why did I want to
make movies? And because it's always nice to reset that way.
So the short answer is like, I don't know, but
I do know that it does involve probably directing or
filmmaking a little bit more than acting, Like I'm ready,
(33:06):
like I just will always have that bug to act,
but there's there's like a bit of a hunger that's
been satiated already that it's just not as hungry. And
you know, in this town, you just gotta want it constantly,
and you know, sometimes I want it and sometimes I don't,
so like you know, so it's like what does that
(33:28):
mean for Joe as like a creative person? Like, and
I think that's what I've been maneuvering really honestly since
Brooken ended. And I've had some really great projects that
have happened since then, and there's one coming next year
that I can't talk about that's exciting. But that being said,
I feel still a little not lost, but I'm doing
(33:50):
a lot of work. I'm doing a lot of work
on myself with like what am I really in it for?
And what do I want to achieve next. The vibe
I feel is more kind of writing and directing. But
as soon as that job comes are like, hey, Joe
there thinking about this, do you want to get Yeah?
Sure is it? As long as it's not a police officer,
(34:11):
because I've done that about one hundred and eighty times.
Speaker 1 (34:13):
Let's as you as you should, throw script pages behind you.
Speaker 4 (34:18):
That's right, let's go down. It's great. I loved it,
proud of it. Let's move it along like.
Speaker 2 (34:27):
It like it?
Speaker 4 (34:28):
Yeah?
Speaker 2 (34:29):
Uh okay, So Joe.
Speaker 1 (34:31):
Sometimes we do what's called nerd time in these episodes
and where our lovely producers give us like articles and
data and things about, you know, whatever topic we're discussing.
And so one of the things that came up was
the term work wife and work husband.
Speaker 4 (34:54):
Uh.
Speaker 2 (34:55):
Several articles on this topic.
Speaker 4 (34:58):
What is a work wife and work husband?
Speaker 3 (35:01):
What it's like somebody that you work with that you
your relationship with them?
Speaker 4 (35:06):
Oh?
Speaker 2 (35:06):
I see you want it gives me the ick so bad.
Speaker 1 (35:11):
It's like, okay, some would probably say that, okay. If
I was the type of person to like use this term,
I've probably been like, andya's like my husband because like,
you know, we're like together all day and you.
Speaker 4 (35:29):
Know what this is. This is the culture's problem with
not just being able to talk about intimacy without meaning
that it means.
Speaker 1 (35:37):
It's yes, yes, no, And it doesn't mean I have
to call anyone other.
Speaker 3 (35:42):
Than my actual husband husband. That's fucking weird.
Speaker 4 (35:48):
It's great to be like, I feel like we have
a very close intimate friendship because I feel like I
can talk to you guys like I'm talking to you now,
and I have that with many and that is awesome.
And yes, you know, that term is just like I
don't know why it rubbed me the wrong way, but
it does.
Speaker 2 (36:07):
Because it's gross. I mean, it's gross, and I also
think it's whatever.
Speaker 4 (36:12):
It's a term. I'm overreacting here, so.
Speaker 2 (36:14):
Yeah, no you're not.
Speaker 3 (36:15):
It's correct for this is the space for this. I
feel like it bothers me so much because it implies
that somehow my relationship with my I guess if you
are already married, right, if you or if you have
like a partnership in your life that is on the
level of something that's committed and then you say like, oh,
(36:38):
well that's my work, husband, it implies that like somehow
this person is is this person at work is fulfilling
needs for you that are unmet in your personal life.
Right that part, With that part, it's okay to have
someone at work or to have people that you work
with or collaborate with that do fulfill some kind of
(37:00):
like creative need or or like I can do this
with these people. I can talk about this with this
I'm like I tried to talk to Brad this morning
about like I was talking about nos Faratu I just
saw yesterday, and I was like trying to talk about
female sexuality and film and like how it's like in
The Witch and does Dave Eggers have like a weird
(37:21):
thing about women and and whatever. As I'm talking to
him and he's looking at me like I'm explaining I
don't even.
Speaker 2 (37:28):
Know if question quantum physics, it would be like.
Speaker 3 (37:31):
Him trying to talk to me about football, right, which,
like I'm listening. I want to know, I want to hear,
and Brad is listening, like he's trying to you know,
he's he wants to be there with me, but it's
on a different level than maybe some of my creative
friends might engage with that discussion. Right, that's one thing.
But when when it's like when it's like crossing a line,
(37:55):
when it's like when it's like so intimate that it's like,
I don't know, that's where it gets icky to me because.
Speaker 4 (38:04):
It feels like.
Speaker 3 (38:07):
I don't know, And I'm also like not polyamorous, Like
maybe polyamorous people are like would be totally don't.
Speaker 2 (38:13):
I actually don't know.
Speaker 3 (38:14):
I'm talking out of my ass now I have the idea.
Speaker 4 (38:18):
I think it's always hard for a person to say
this relationship, friendship, platonic relationship outside my marriage is giving
me something that my marriage isn't. I think that that's
a hard thing. And but I think that's a very
natural thing. And depending on you know, your partner, your
partner would understand that your partner's also got that outlet
(38:40):
going to probably right, and yeah, but it's like it's
hard to admit that you're not complete, right, you know
that you don't fulfill everything you know and and does
it's no reflection on your completeness, you know, and uh, yes,
so I understand why it's hard to navigate that stuff.
But thank god, there's some other people that you know,
the person I care about is like being you know, met,
(39:02):
that was like being fulfilled, like you know, I trust them,
you know.
Speaker 1 (39:06):
You know it's yeah, yeah, well yeah, it's like this
false notion that like our partner has to be all
the things for us, like and that that's impossible. That
does That's not real, No one is, you know.
Speaker 2 (39:18):
And I don't want.
Speaker 3 (39:19):
I don't want I may and I don't want I
don't know to be like my work husband, you know
what I mean.
Speaker 2 (39:25):
I'm not I don't like it.
Speaker 4 (39:27):
I like the vernacular. Who do we like? Who do
we talk to about?
Speaker 2 (39:33):
Dear society? All anxiety that is listening right now?
Speaker 4 (39:37):
It is very.
Speaker 2 (39:38):
It is very.
Speaker 3 (39:39):
It is a very really makes like a a name
for something of like this person understands my needs in
this work environment in a way that nobody else does,
and I feel really intimate and close with them in
a work environment.
Speaker 2 (39:51):
Right, can we rebranded?
Speaker 1 (39:52):
I feel like there's a better label for that, Like
I mean, that's just your collaborat girl. Just oh my god,
it's baby Girl, Girl, It's baby girl and baby boy.
Speaker 3 (40:07):
Have you seen by the way, Joe, I love?
Speaker 4 (40:09):
Yeah, I really, that's what I call it. Well, I
did like it, and since I saw it, I liked
it more like I classified. I keep thinking about it
as either bloomers or faders, which the definition being obvious,
and that's definitely a bloomer. And I and and I
just started. It stuck with me longer than I thought
it would. When I walked out of the theater and yeah.
Speaker 2 (40:32):
What about did you see the substance?
Speaker 4 (40:34):
Yes? Same, Well, although that I liked immediately, the whole
you know what, the substance which I loved, the thing,
the the thing I kept thinking about at the end
of that movie. And I don't want to spoil it,
but there's a scene where a lot of extras go
through a lot of makeup. Okay, leave it at that,
and I'm like, oh my god, that day, that day
(40:56):
of shooting down logistics, Sang goes dress. Who's cleaning that
is this one has to be?
Speaker 3 (41:04):
That's why I was like, this is one take. This
got me one take because it's how.
Speaker 4 (41:09):
It might be a two take. It like we did
a sketch on the on the on the State called
Pope's a Visit, where the Pope comes in a white
thing and we we kind of like unload a bunch
of grape juice on him, and we had like like
a gutter, like like a gutter around the sound stage.
(41:29):
The immediate set to like collect all this stuff and
drain it and then do it again. And and I'm like, oh,
maybe they did that. But even so, there was only
like five people in this sketch.
Speaker 3 (41:40):
I mean, this was like.
Speaker 2 (41:43):
Hair makeup up. You haven't seen it.
Speaker 1 (41:48):
I haven't seen it yet. I have seen a baby girl.
I did see baby girl. I don't think that's for me.
I wanted it to be horny and I read a
review and I was like, this isn't horny. I want
to see like horn dog situation.
Speaker 2 (42:01):
It's a little I would say, it's a little. It's
it's both. It's a little.
Speaker 3 (42:05):
Also like what in what universe a you married to
Antonio Baneraz and you don't want to buck the living
daylights out of him?
Speaker 2 (42:11):
You know, like what are we talking you?
Speaker 4 (42:14):
You?
Speaker 3 (42:15):
You should?
Speaker 2 (42:16):
I want you to see it.
Speaker 1 (42:17):
It's because it's not Yeah, it's no, it's a little
more complex than that, and it's I think it's a
good it's nuanced, and it's an interesting take on I
think female sexuality and in particular in a later not
later stage making makes right.
Speaker 2 (42:37):
Now I know you are, but it was for me,
it was a bloomer.
Speaker 1 (42:41):
I thought about it for days more better.
Speaker 3 (42:48):
Can you talk about anything that's like work related that's
coming up that you want to talk about.
Speaker 4 (42:54):
I did. I did a guest star on on Ghosts,
which should be very fun. I want to come and
I don't know when that's coming out, but that was
a fun, little little gig. It made me think of
us in Montreal and just.
Speaker 2 (43:08):
For laughs, Oh that's right. They shoot in Montreal, right,
and had a.
Speaker 4 (43:13):
Good time with a good group of people. They have
a great vibe up there, the crew and that cast
up there is really awesome.
Speaker 1 (43:21):
And then yeah, Ukarsh is an old buddy of mine.
We went to NYU together.
Speaker 4 (43:25):
Oh that's right, Yes, that was I had my scene
with him. He was terrific.
Speaker 2 (43:29):
Yeah, he's a great guy.
Speaker 4 (43:31):
Yeah, that's one. And then I'm doing writing. I'm writing
some stuff and I'm trying to get something going with
the Preducer of Hot Frosty and get another project going
with him, another movie and all very premature, of course,
but it's something. It's in Avenue. Yeah, it's the Street.
Speaker 2 (43:49):
Yeah, Yeah, I like that. I love that and I
love you Joe.
Speaker 4 (43:53):
You guys. I'm glad you guys did this podcast and
you guys are rocking it and I always loved to
you guys. Send your sending.
Speaker 2 (44:03):
Let me Joe.
Speaker 4 (44:04):
So, you guys are the coolest. Thanks for having me,
Thanks for being here.
Speaker 1 (44:06):
Thanks, you're the coolest. Thanks for making the time. We
appreciate you.
Speaker 4 (44:10):
More Better.
Speaker 3 (44:12):
Do you have something you'd like to be more better
at that you want us to talk about in a
future episode?
Speaker 1 (44:17):
Can you relate to our struggles or have you tried
one of our tips and tricks?
Speaker 3 (44:20):
Shoot us your thoughts and ideas at Morebetter pod at
gmail dot com and include a voice note if you
want to be featured on the pod. Ooh, More Better
with Stephanie Melissa is a production from Wvsound and iHeartMedia's
Mikutura podcast network, hosted by Me, Stephanie Beatriz, and Melissa Fumero.
More Better is produced by Isis Madrid and Sophie Spencer Zabels,
(44:41):
our executive producers are Wilmer Valderrama and Leo Klem at Wvsound.
This episode was edited by Isis Madrid and engineered by
Sean Tracy and features original music by Madison Davenport and
Heylo boy Our. Cover art is by Vincent Remis and
photography by David Avolos. For more podcasts from iHeart, visit
the iHeartRadio app, Apple Podcasts, or wherever you listen to
(45:02):
your favorite shows. See you next week's Saga Bye
Hosts And Creators
Stephanie Beatriz
Melissa Fumero
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