Ted Lang interview on plays, directing, politics, and Skidrow Studios closing

I ain't doing nothing but talking shit. Y'all gotta like, you know, encourage me the whole way along. Ow. I ain't doing nothing but talking shit. Y'all gotta like, you know, encourage me the whole way along. What did you say, nigga? Fuck off. Yeah, comichiwa. What's happening, y'all? Como esta, mi gente? It's Nestorius Public Radio Thursday. Wednesday night, 9 p.m. Pacific Standard Time. Midnight Eastern Time. East Coast Time. Puto. Hey, y'all. We're live. 1-800-893-9562. If you are up and caught up on your cell phone bill, you can call us. We're here for an hour. We got my man Sal Rodriguez, my brother, on the left here. Yeah, it feels weird being on your left. I'm normally across from you, so I get to see a lot of the stuff you do on your laptop, which I've never seen before. It's quite interesting. It looks high-tech. It is high-tech. It's high-tech. Right in front of you is Rosemary Rodriguez, director, producer, executive producer, writer, director. My wife, she directs me at home. She just, like, the whole nine yards. What's up? I try to direct you at home. That's bullshit. If she's going to direct you, we need her. You try. You try. It doesn't work. We need her here every week if she's going to direct you. Nestor, why is that shit on the counter? And I'll be like, big up. Big up, motherfucker. And right. And right. To my wife's left. To my wife's left. Is my man. That's very good. Right to her left. Yeah. Is my man, Ted Lang. For the second time. That's it. Second time. Uno, dos. Tres, cuatro. Dos. Dos. Dos. Dos. Yes. Yes. So, for those of you that are catching up on some of the more recent shows, Skid Row Studios, the actual physical location is closing down October 15th. October 15th. Way to kill my buzz. Well, the last couple of shows that I had, I really wanted to, at least one of them, really make it special. And Ted was on probably about a year ago. Yeah, it was. Yeah. And it's my favorite interview, my favorite guest on the show. We had fun. We had a lot of fun. We had fun. But you're an interesting guy. Well, we talked about a lot of good shit, man. Yeah, yeah, yeah. We filled it up in a whole hour, man, from The Love Boat to directing all these other TV shows. Yeah. To directing plays. Writing and directing plays. Yeah. And you came and saw one of my plays. I did. It was awesome. You and your lovely wife. It was awesome. It was awesome. To be honest with you, I loved it from beginning to end. What I had read, I had read about, tell me the name of the play again. Is it something Oswald Patton? The Journals of Osborne P. Anderson. And part of my speech is that I give, it's a historical play, but there's comedy and drama and a whole lot of stuff in it. But part of my speech is, I am a hero. I am a hero. I am a hero. I am a hero. I am a hero. I am a hero. I am a hero. I am a hero. I am a footnote historian. Right. Because in American history, whenever they talk about the African American participation, we are a footnote. Right. In the story. Right. It doesn't matter what the story is. Right. They're not going to give us no play. Right. So what I do is I then read the story, then I cross-reference the story, then I re-cross-reference the story, and I find, oh, if you just took a point of view from the African Americans, we would not be a footnote. We would be on the page. So that's what my thing is. That's putting us on the page and taking us out of being a footnote. Are you touring with that play still? I'm doing another play at Fisk University, which is also a historical play. And I think I talked about Lady Patriot last time I was here. Yes. We're doing it at Fisk University, not this weekend, but the weekend of October the 4th. Got it. And that's a story about a free woman, a free black woman that poses as a slave. And she is in Jefferson Davis, the president of the Confederacy. She is in his house. And he doesn't know that she can read and write. And she's a spy for the union. Wait, I'm sorry. This was a true story. True story. That's my point. Yeah, true story. That is my point. She actually wasn't free. You had to pay for her. But later on down the line, it came with a package. Way to bring it down, Nestor. Oh, come on. Wait, Ted. Let me ask you a question. Let me ask you a question. Let me ask you. So go back to the footnotes. You mentioned the African-American experience being in footnotes in history. So if I see a footnote involving members of the black race in a U.S. history book, what's the first step to try to dig further, dig deeper to find out more information? You get another book on the same subject. For instance, I wrote a play about George Washington. And George Washington's favorite slave was a guy named William Lee. And William Lee dressed George Washington, combed his hair, shaved him throughout the American Revolution. He was with George Washington every step of the American Revolution. He was there. Carried a spyglass into battle. So I was reading a book by a guy named Joseph Ellis called His Excellency George Washington. And three anecdotes popped up about this guy, William Lee. I never heard of this guy. So then I went and read David McCollum's book on George Washington. And he pops up like twice. He's there. So what happens is you start reading these different, you start, I collect books. He's Bruce Lee's cousin. He read Enter the Dragon. And then that helped him come to. Thank you, Ted. Bruce Lee is from Oakland. Thank you, Ted. Thank you, Ted. That's right. Thank you for getting that. Because the motherfuckers are looking at me like, what the hell? I actually went to the Bruce Lee Museum. Oh, did you? Yeah, it was pretty, it was okay. It was okay. In Seattle. It was interesting. Yeah. I mean, you're talking about first and footnotes. Bruce Lee was. You know, the first Asian to come and break it into television in America. Yeah. You know what I mean? And with. Well, that was. I thought there was a guy with the Green Hornet. That's it. That was him. Oh, that was him. That was Bruce. Check it out. Yeah. Epiphany. Kato. That was Kato. Wait, what about Kato? Yeah, that was him. In a 1964 Lincoln Continental convertible. Yeah. Because up until that time, probably white people played Asian roles. White people played Asians. Yeah. Wait, what about Charlie Chan? The Charlie Chan. White dude. Olin. White man. What? Yeah, yeah, yeah. Werner Olin was a white man. Read the footnote, motherfucker. There was another guy named Sidney Tolan was the other one. There were two Charlie Chans. Yeah, yeah, yeah. Wait, what about Mickey Rooney in, was that Breakfast at Tiffany's? Yeah, yeah, yeah. That's, yeah. And Brando did it in Tea House of the August Moon. Yes. Right. Wow. White dudes always played Chinese. Who was the good earth? Good earth was Paul Muni. Paul Muni. Yeah. Yeah. Yeah. Now, they're just. Louise Rainer. Right. Yeah. You see how this shit goes? Yeah. You see how this shit goes? Have you seen Hamilton? No, that's in New York. It just opened. Oh, my God. It's amazing. So, the journals of Osborne P. Anderson, didn't you make a reference to George Washington's favorite. A slave in that? Did you make a reference to that? No, no. Not in that play, but in Lady Patriot, I did. Got it. Got it. For some reason, I thought. Because. I wrote a play called Let Freedom Ring. Yes. Based around the fact that the Liberty Bell cracked in 49, 1849, and they never rang it again. And so, I wrote a whole play around the idea, what if five black guys tried to steal the Liberty Bell and they fucked it up? Yeah. They would have been like, ding, ding, ding, dong. Ring-a-ding, ding, ding, dong. Ding, ding, dong. Is that a real- Is that a song? I don't know. I don't know. It's a wrong song, motherfucker. I know that song. Keep the Bells Ringing by Dr. Dre. Come on, motherfucker. Is that the one? Yeah. No, no. I'm talking about earlier than that. Okay. I'm talking about like- Maybe Dre sampled that. No, I'm talking about like Run DMC, Ring Ding Dong. Forget it. But Hamilton's interesting because the playwright read John Adams, the book John Adams. By Ron Chernow. Yes. I know. And now, as Matt, go ahead. And then he was inspired to write this play, this musical, but the cast is amazing. It's amazing. It's a completely diverse cast. Yeah. They got black people playing white parts. It's incredible. Playing Washington, Alexander Hamilton. And they're rapping. It's amazing. Yeah. Yeah. He's very good. Yeah. He's very good. It's an interesting concept as well. Well, no. It's beautiful. I think it's fantastic. It's beautiful. And he was able to pull it off. Yes. That's the beauty of it. Yes. Yes. Is that you could do that. I mean, I saw a hip hop Hamlet. Parts of it worked and parts of it didn't. Right. Right. Well, I saw it at the Public Theater. Hamilton. Hamilton. Hamilton. It's Lin-Manuel Miranda. Yeah. Yeah. Who also plays Hamilton. Right. So he wrote it. But I saw it at the Public Theater and now it's on Broadway. And I hate musicals. And I. Not that one. Really? You hate musicals? Really? But you love Barbra Streisand. And the bitch, anything she's got to say, she's got to sing a song about it. Everything's like, I want to slap you in the head. I know I'm not singing it like Barbra would. But everything she does, she's singing. I don't go to Broadway musicals. You mean. You mean. She plays. Yes. Okay. Rosemary, surely as a television director, you'll at one point as a regular recurring director, you're going to have to direct the musical episode. All these damn shows eventually have a musical episode. I did Empire. I've done. I've done. No, but you also did Rescue Me. Yeah. No, I didn't direct the Rescue Me where. You didn't do the Rescue Me where? One of the characters in Rescue Me went into a coma. And then Peter Tolan made this whole thing where he's, there's like singing vegetables. Oh, you didn't direct that one? No, I didn't direct that one, but it was hilarious. Okay. There's a whole cast of Rescue Me, which is the most macho show it used to be. Yeah. Just singing and dancing. I hate when they do that. Let me tell you something. It was actually awesome. As a fan of a show, I'm following along. Everything's great. Then all of a sudden, Natalie Field to come out with these weird musical episodes. No, because the character was sick. So he's in the hospital. No, no, no, no. It's like they just do that to jerk themselves off. It was done right. It was done good. It was done right. It was done well. But it was also hilarious. It wasn't serious. Did you see it, Sal, or you didn't see it? No, I didn't see it. I renounced it. No, it's fun. No, no. I understand what Sal's saying. I don't like that type of shit. But Rescue Me, whatever stupid shit that went on in there was done pretty well. It's just like the way that I feel is when shows do that, they're doing it for them and not for us. And I want them to make a show for us, not for them. Yeah. If it was up to you, you'd have a fucking show about a singing cat. So just chill the fuck out. What's wrong with that? No, no. What's wrong with that? The deal is this. As a writer is if you can write something that would captivate people, you can write something that would capture your imagination. That's really what they're doing. And so sometimes if you know characters and you want to put a little spin on it to keep you, the audience, off balance. So the trick is not the fact that they wrote a musical. The trick is did they pull it off? Did it work? That's what you want to know. It did work. In this case, it worked. Did they pull it off or did they jerk you off? Yeah, exactly. That's what it comes down to. That's what it comes down to. That's what a good writer is. Yeah. A good writer holds your dick. Oh, shit. I'm listening. I'm listening. Oh, shit. Or go like this. That's it. That's it. Nestor, for those of us, for those maybe new listeners, I don't know what you covered the last time you had Ted on the show, but Ted, can you bring us up to speed a little bit from your term as Isaac, the bartender on Love Boat to your directing? Before we get to the, I want to get into it. I want to ask him something. I want to ask him something about Journals of Osborne Pianist, because you didn't really tell. What was that about? Okay, here's the deal. Because that was awesome. I saw it. Let me just. It's about John. Let me explain to you. It's about John Brown and Harper's Ferry. John Brown, a white man, went into Harper's Ferry. They raided it. They took all the guns and everything, and they were going to free the slaves in Virginia. So whenever I heard about John Brown, I always heard about the white people. I never heard of any black people being involved. And then accidentally I found out there were black people involved. There were five black people. Two were killed at the ferry with John Brown. Two were hung with John Brown. And one got away. Osborne P. Anderson. And he later wrote a book about it. So then what I did was we don't know this. So that's why I call it Osborne P. Anderson. So that if you look at the title, you at least start to know who the guy was. Who was this motherfucker? You know what I'm saying? And so what I did was I showed from their point of view. Now we're getting African American participation from the point of view of the African American. Because what usually historians do is they all talk about John Brown. They talk about the South. John Brown's South. Did you know who John Brown was? No. No, I don't. They don't teach that in Spick High School, right? No, I didn't get that in my Spick High School. I didn't know about it until I went to go see your play. Really? I didn't. No kidding. They don't teach. Dude, I went to a fucking inn. Innerskiddy. Innerskiddy. I went to New Hampshire. That's New Hampshire though. I grew up in East Harlem. They weren't teaching us about John. Well, see, and that's the other reason for writing the play. Absolutely. Because what happens, that is the one event that they attribute to helping to start the Civil War was what went down. That's why you saw at the end of my play, I had a Confederate flag and I had the flag that was, they fired on this fort. And that's what. Right. That's what started the war. I mean, I heard about Harper's Ferry. Yeah. You know, I remember that, but. Yeah. But the fact that John Brown went in there and all of that, it's kind of like fuzzy. Yeah. You know, maybe. Because they don't want to talk about, you know, if you're in the South, they won't talk about it. You know? But if you're in the North, they go like this, John Brown, yeah. Right, right, right, right. And if you talk to the Southern, fuck that guy. Well, I went to, we went to go see the play, but I saw this, I think it was on Fox News. You actually had. You were promoting the show. This is in March of 2014. Mm-hmm. I believe. And so I read your, I saw your interview, but then I also read something about how the reviewer loved the play, but the most fascinating thing about the play was not just the story itself, but your use of the space on the stage that you maximized. I mean, you had. Yeah. You know, a dining room table. Yeah. Yeah. You had a table, a fucking, you know, a jail. I mean, you had, I mean, it's a small, it was a small space. Right. You know, it wasn't that big, gunshots. Yeah, yeah. But that's, but that's what Rosemary knows. In other words, we walk into the room and we figure out how can we best utilize the room. That's, that's why some people say, you know, I'm a director, I'm a director. And you look at what they do, you go, you're not a director. Right. Get the fuck out of here. Right, right. You know? But the art, it's an art form. Sure. So as an art form, you then look at it and you go, you know, I'm a director, I'm a director. the space, then I have to re-examine it and I look at it totally different as a director and as a director working with actors trying to get performances. Oh, I can't do that. You can't? I can't do that. What are you talking about? When I write, I see it. Do you? No, no. You can't see it all. I do. Yeah? Yeah, yeah, I do. See, sometimes I write shit for myself I know I can't do. Yeah, I can't separate it. Oh, yeah. And then if I try to, yeah, I can't. That's interesting. Yeah, yeah, that's fascinating. Because I'll write stuff like this, I don't know who's going to direct this shit, but this shit is easy. I don't know who's going to direct this shit, but there's a fucking ship and it explodes and a piece of wood goes flying into the audience and then like a bomb goes off in the, yeah, I hear you. I mean, I hear that. I hear that. But you know, I did some cinematic stuff. You recognize this, the whole thing at the end of the first act, the fight, that's all cinema. That was beautiful. Yeah, that was cinema. Yeah, yeah, you stop frame. You're free. You're free. It was beautiful. No, I dug it. I love the play. I love the actors. The actors are brilliant. Thank you. It was amazing. Yeah, great actors. We almost had you playing one of the actors that night, you told us, and I was like, fuck. Yeah. Oh, yes, that's right. Because I know you played some of the, you played one of the parts. Yeah, I played the guy that does the Shakespeare. Right, right. I played him the night before. Wow. And he was in New York. He had a gig in New York. Right. He made his flight. He made his flight. That's all I said. I'm going on. Good for him. He said, no, Mr. Lance, Mr. Lance, I'm going to be in a movie. I said, no, motherfucker, I'm going on. Good for him, though. You know? And he did. I mean, he paid off cab drivers. He got his ass there. And that was good. That's awesome. Yeah, he's good. He is good. The actors were awesome. I loved the whole thing. I sat right in the front. It was awesome. It was a great experience. If the play is ever up anywhere, I would strongly suggest look up Ted Lang and just any play that he's, of his that's up or that he's in. Or that he's doing. Trust me. It's going to bring you to what Sal was just asking. I'm like all about Lady Patriot right now. Oh, I'll give you a copy. I have. I have. I have a copy. I have a copy. I have a copy. I have a copy. Yeah, you have to read it. Dude, I have to read it. Because it's about women. It's about these. And because I am black. And so when gays and lesbians say, hey, this shit ain't right. I go, yeah, now you guys are fucking out. Yeah. You know what I mean? So I, not that I am that person, but I certainly understand. Not that I, so when I write parts for women in plays, it's not that I am trying to short shrift the males in the play. But I understand the thing that women get short shrifted in plays because they're usually supporting the male. Always. Yeah. Yeah. It's like 90%. Well, the first time I had a real like deep experience like that. Yeah. Like very deep was going to Washington, D.C. and going into the National Museum of Women. Oh God, I'm going to butcher the name. There's a museum. What are you talking about? Move the mic closer to you. There's a museum in Washington, D.C. that has all female artists in it. Wow. Love it. And the first time I walked in there and I'm like, because I'm used to going to museums with no women artists. Yeah. Yeah. Exactly. Doesn't exist. Yeah. Yeah. But they existed. Yeah. Yeah. Yeah. You know, and it was profound. And they were doing their art. But like in the. 1400. Yeah. No, that's what I'm saying. I'm like, holy shit. Yeah. Yeah. We don't hear about any artists from that era. None. Or they were teaching men. Right. Right. Or men were taking credit. There's some movie about a guy, some painter that takes credit for his wife. Yes. Remember the thing with the eyes? Yeah. Yeah. Good movie. I enjoyed that movie. What was the name of the movie? Blue Eyes. Amy Adams. Blue Eyes. Big Eyes. Big Eyes. Big Eyes. Big Eyes. It's Amy Adams. It's a very good movie. Yeah. Read Lady Patriot. I'm going to. Because it's. I haven't. The reason I call it Lady Patriot, because it's about the three different women, really. It's about Jefferson Davis's wife, Verena Davis. Mm-hmm. Elizabeth Van Loo, who was a patriot for the union, but she's a southern lady. She did not want to secede from the union. Now, whenever we talk, we always think everybody wanted to secede from the union. No. Elizabeth Van Loo did not want to secede, and she talked Mary Bowser. Who was the African-American free woman to come back, pretend to be a slave, and Elizabeth Van Loo put her in Jefferson Davis's house. Wow, that's cool. Now, because part of the stuff I like to do is research. I went to the White House in Richmond, Virginia, the Confederate White House. Now, I did all this research. I did this and that. And so, I'm walking around the White House, and so I'm asking questions, but it's all the questions that they don't want to ask. They don't want to answer. Right. Because it's like the Confederate flag is still- You're that guy on the tour, huh? I'm that guy on the tour. Particularly if you're a southern guy. Check this out. That ain't so happy about black folks. Check it out. I'm that guy. You just cracked me up, right? When I was younger, my boy, who happened to be black, Stephen Hale, his grandmother founded Hale House, which is a brownstone in New York City for dope addicted babies. Mm-hmm. So, when I was younger, he and I used to go to Hale House. Mm-hmm. Mm-hmm. Mm-hmm. Mm-hmm. Mm-hmm. We used to run and get crazy. We went to West Palm Beach, and there were no black folks there. Like, none. No kidding. Just white motherfuckers. I know. Right? Yes. So, but I saw one black dude walking on the beach, so I told Steve, yo, the city hires that black dude to walk up and down that beach so that people think that it's gentrified in there. And I still remember this motherfucker. He's tall, skinny, dark brother walking back and forth. I said, because there's no black people. Wow, I love it. It's crazy. Can I ask you, Ted, while we're on the topic, you talk about all the research that you've done. In today's climate in the news, we're seeing the removal of the Confederate flags all over the place. They're going so far as to exhuming bodies. I think they want to exhume a body of some Confederate general. For what? Just to get it out of some special mortuary that it's not supposed to be in today. Because there are black people in that mortuary. Yeah. They don't want that white guy in there with the—no, I don't. What are your thoughts on the removal of the flag and that sort of thing? You know, the thing is this. They're flying that flag where government things are. And the whole thing about the Confederate flags is those guys were traitors. Those guys said, we're getting the fuck out. And the government said, you can't leave. What are you talking about? They said, yeah, fuck you. We're out of here. And then after they lose the war, they're still flying the flag. Yeah. Well, wait. Wait. Wait a fucking minute. You lost. And now you're going to put this up on government property? No. Get the fuck out. Because there are little crazy guys around the country that see that and walk into a church and do what the guy did. That's what the problem is. Well, it represents the whole ideology. Yes. Yeah. And so you see these guys, and you see it all the time. I mean, you watch Bill O'Reilly or Rush Limbaugh. These guys are talking in code to their fans. Yeah. You know? Stop that. Yeah. You know, I— I— I never heard anybody say— Hey! Hey, you! Put that thing away! Stop that. Yeah. But I mean, when Rush Limbaugh said, I hope the president fails, nobody said anything. Right. What the fuck? But what gets me here— You want to say— What gets me and always gets me about American politics, right? And I'm neither— I like to say this. I'm neither Democrat or Republican. I know that's kind of crazy. I don't give a fuck. They're both fucking full of shit to some degree. I really care. And I believe that there's— that there's gray areas. Yeah, yeah. Exactly. And gray area is more than fucking black or white sometimes, right? Yeah, yeah. And so the thing that gets me about American politics is how we forget, you know, this built-in forgetter that people have. And people forgot, like, instantaneously what George Bush brought this country to in 2008. Right? Yeah. Right. Right. Right. Right. Right. Right. Right. Right. Right. Right. Right. Right. Right. Right. Right. Right. Right. Right. Right. Right. Right. Right. Right. Right. Right. Right. Right. You couldn't. Right. You know? And these fucking guys come on and they're like, oh, you know, the president, president, president. Guys, the country was fucked. And you know what they did? They fucked it even more because they said, no matter what that guy says, we're going against him. Right. Right. What if he says something that we believe in? Fuck it. We don't believe it for the next four years. Right. What if he says something that we don't believe in? We'll get Ted Cruz to do fucking the cat in the hat for like five weeks. We'll shut this up. What a fucking douchebag. These guys are absurd. And then the 1% has all the money. It's at the expense. The sad part about it is that it's at the expense of the people. Right. Because taxpayers have to pay for the circle jerk that goes on all the time. And we pay to have our tax dollars to elect officials to take care of business on our behalf. Yeah. There's a lot of jerking off that goes on and no one has to be held accountable. Every four years. Every four years. You know, you put the rent cycle on. You get another fucking guy in. And, you know, the same on and on and on and on. The deal was this. Is they'd give you a little bit. Right. And then they'd take a lot. Right. Well, now. Well, they waste a lot of fucking. But now they don't even give you a little bit. Right. They're just taking it all. Right. You say, well, wait a minute. We're going to get into trouble if you don't give us a little bit. Right. And nobody's asking for a lot. They're asking just for a little bit. And these guys say, fuck it. We're not giving you that either now. Right. I'm convinced that any dyed in the wool Republican can tell whatever they want to their base. Constituency. Constituency. They can do whatever they want. As long as they say, you have a right to have guns. I'm against abortion. I'm against gay marriage. As long as you say those three things, they can fuck you any way they want. And a Republican just says, OK, I want more. Four more years of that. Yes. Thank you. Well, imagine a gay Republican. How does that work? I'm trying to imagine. But there are gay Republicans. I think. There are. I think Ted Cruz is gay. I think he's a closet guy. And he should just come out and just like, we love you, Ted, for swallowing the sword whenever you feel like it. Wow. It's all good. You know what I mean? Because you're not fucking American. You're not American, motherfucker. No, he's Canadian. That's right. He was not born in America. Yeah, he's Canadian. I don't give a fuck what definition you get of a naturalized American citizen. Yeah. There's a big debate about that. You know, I looked it up because I was like, how the fuck does Ted Cruz. First of all, his father's Cuban. His mother. Happened to be born in America. But he was born in Canada. Motherfucker. You were not born in America. End of story. Right? Yeah. If it's a black guy. Right? Yeah. Then you want to get records and shit. Yeah. Oh, wait, wait, wait. What part of Hawaii was his mother born? Yeah. Like, oh, that was Polynesia when she was born. Yeah. You know what I'm saying? It becomes his fucking jerk off session. Yeah. You know? But Ted Cruz, you can suck a bag of dicks. I just want to say that. All right? I'm saying that shit right here. Wait, wait, wait. I'd like you to not hold back. Okay? Okay. All right. Eat a bowl of balls. Okay? This is a family show. This is a family show here. Eat three sacks of Pobolos. Okay? All right. Okay. All right. And he's not holding back. No, I'm not holding back yet. We're not going to go into Trump because that's another story. Well, that's a circus. You're going to be directing the fucking show. That's what's going to happen. Well, the thing is this. This is the time to call your Republican friends. Right now? Yeah. Right now. Trump is out ahead. Because they don't know. They can't answer it. No. They can't deal with it. Republicans are fucked right now, aren't they? They're like. They're like. That's good. Any Democrat that is in the sound of my voice. I think it's great. Is that good? Yeah, it's great. Not really because they're going to pull one out. No, they're going to pull one out. They'll pull one out. This is going to go up to the line. Yeah. This is the point now is because they always say we're the ones. Call them now. Call them. Call them. Call them. Call them. Call them. Call them. Call them. Call them. If you're the ones that you don't say, if you're the ones, what is this motherfucker doing up here? You know, how come you guys are not being serious? Here's the irony. Here's the irony. He is one of those 1% arrogant thinks that he could do and have and say whatever he wants wherever he wants. And at the same time, he wants to say, I'm one of you. I feel your pain. You're not one of us, you motherfucker. You're just not. You're an obnoxious, disgusting. Billionaire. Forget billionaire. Billionaire. Billionaire. I got nothing. I got nothing against somebody who's a billionaire. If you worked really hard and you made a billion dollars as an American, right? The American dream. You can't work really hard. No, no. Whatever that is. Someone's going to get fucked along the way. That's what I'm saying. Well, there are some people, you know, I mean, there are some people, I mean, this, what's his name? Mark Zuckerberg. You got it. You got it. There's a lot of people. Mark Zuckerberg's a millionaire. There's a lot of people that come by things just like Carnegie and, you know. Andrew Carnegie. Early. Yeah. Millionaire. Billionaire. Billionaire. Who went at the end of their lives. They kind of turned into a lot of, you know, I'm going to get rid of my money and do a lot of good things with it. After making money off the backs of Chinese. There's a way to go with that too. Yeah, but this dude, what he does. Yeah, there's a way to go. What he does is he erects iron and concrete cocks wherever the fuck you go. He does. I mean, in Chicago. Where's the EU's building? Oh my God. In Chicago. He's got this god-awful fucking penis like in the middle of nowhere. Like a mile away. Like a mile away. To see his name on the building from so far. I want to call Al-Qaeda and have them blow up every fucking Trump building. I mean, I want to give free license to Al-Qaeda. You want to blow some American shit up? Here, blow that motherfucker's building up. He's going to blow his own self up. Yeah, I think you don't have to engage with that. You don't even have to do that. He is going to fuck his own self up. He's already doing it. Yeah, because... I think it should just keep going. Yeah, let him go. That's fine. I think it's great. They're giving him more... It's entertaining. He used to be tight with Fox, and now they're pissed at him. Ha ha ha! You know that? Fox is pissed at Trump. Yeah, of course. Because they're giving him more... We're Republicans, but you crazy, man. Yeah, man. You're a crazy motherfucker. Well, because he's not saying he won't run as an independent. Well, that's the thing that screwed him up. They're not saying that, so... Yeah. That's the thing. I think he went against what the Pope said about immigration. Guy, let me tell you something. Whatever the Pope says, all you got to do is say, Que viva el duche, okay? Just agree with the guy. Once you start crossing the Pope, you're fucking up. You're fucking up. But Fox News has the Pope, quote unquote, outed as a socialist. Is that right? Everything he says about capitalism, everything he says about immigration, Fox News has already downplayed any credibility. But do we not learn anything? I mean, have we not learned anything from the McCarthy era and blacklisting people and calling people commies? Now, all of a sudden, we're calling people socialists. Yeah, socialist is the new commie. It's ridiculous. What is the threat? Well, but Bernie is doing really well on that. He's running on that. He's running on that. And there are people that are listening to that. And Hillary's got to incorporate that into her deal. She does. Because this guy is going for the people. I know. You know, because over the last years, they've done everything to take away equality from the little guy. Yeah. That's what the problem is. They're taking everything away and they're not putting anything back in. Well, yeah. No, they're creating more apps so that people just like fucking get like, you know, distracted and shit and other stuff goes on. But look, you got an app to fucking. Yeah. You know what I mean? So no one's paying attention. That and metal cigarettes. Yeah. Yeah, exactly. What the fuck has our world come to, motherfucker? You want to smoke, smoke, motherfucker. Don't make believe like you're smoking. They figured out another way to get you to smoke. Unbelievable. Give you cancer. Another way to get cancer. Metal cigarettes. Yeah, right. I just want to say this because I just looked it up. I just have to say this because I feel embarrassed that I didn't know the name of it. Ted Cruz is gay, right? It's the National Museum of Women in the Arts. And it was. It opened in 1987. Wow. So it's not very old. No, D.C. D.C. Washington, D.C. Yes. Isn't that great, though? It's a great museum. It's a great museum. It's a great museum. I just, I needed to, because it's horrible that I didn't know the proper name of it. So, so, so you asked, you know, we went all over the place. You asked Ted. So fill us in between the love boat and now. Yes. You know, in the first episode that we did, I can't give you the number of the episode right now, but if you look at the archives on skidroadstudios.com or if you're on iTunes, the Ted Lang. Uh, uh, episode. Well, I have a question. You have a question, but I just, I just want to say we covered a lot of that stuff. And so you just got to the point of where he got to directing and that's what he's been doing. Well, I just wanted to know also coming off of like such a major popular show and what is that transition like coming off of that show? Exciting and new. And career wise, like how do you decide what you're going to do next and what happens? Here's the deal. You know, before this, the show locks you in. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Oh my gosh. Acting or directing? Acting. Acting. That's what I'm talking about. I'm talking about acting. Because coming off of that, what they did was they offered me another sitcom called That's My Mama Now. Because they lost the guy they were going to use. And right after Love Boat, we shot a pilot. And the pilot didn't go. So now I'm going around doing stuff. So I find that where I get my work is in independent films. Then I'll go in, I'll audition, I'll get the gig. But it's an independent movie. But as far as studio and network stuff, very difficult. Because I was telling Sal about it. They'll insult you walking into the room. And they'll insult you just like that. I mean, I've done stuff where I was reading with the casting person. And in the middle of it, I had a very dramatic speech. I'm not going to tell you the movie. But I was reading this very emotional, dramatic moment. And the person, the casting person, just took a big breath. Like a water. Oh, yeah. No. Oh, yeah. I'm talking to her. Oh, yes. Yes. Oh, yeah. This is for a big movie. A casting director on a big movie. Yeah, yeah. Unbelievable. Motherfuckers, answer the phone. What are you talking about? You've been in auditions. Answer the phone. Hold on a second. Lots of times that's producers or ad people. Yeah, but you know what? Casting director. Yeah, but you know what? You know what? And because of that, the role of Blade was given to Wesley Snipes. Yes. Yes. Yes. That's right. And then later on he went to jail about it because he didn't want to give up the money. Yeah, that's a big motherfucker, too. What did you do in that moment? He's a big dude. What did you do in that moment? I was very proud of myself because I stayed focused. Wow. You stayed in the character. I stayed in the character. Still got my emotional moments. But then you realize they didn't give a shit what you did. They weren't going to hire you. Right. And they were just, I mean, I've done, I did one audition where I heard, you know how you can hear the other guy in the room before you. Of course. Of course. So you hear the other guy in the room. Boom, boom, boom. And they're giving him notes and they're giving him adjustments. And then I go in. I do the first scene. I do the second scene. In the middle of the second scene, they said, OK, that's enough. And I say, no, wait, I got an arc. I want to show you the arc of this character. Let me just show you this. And so I go on and I do the other. But they want to cut me off because they didn't really want me there. So that's stuff, you know, but. That's fucking bullshit. Every once in a while I'll walk in and it'll be magic. Yeah. You know, so you can. And I tell this to the other. You don't go in there and go, I'm Isaac, bitch. No, you can't. No, because you're reading for something that ain't Isaac. I'm Ted Lang, bitch. Yeah. No, but I tell people it's really easy to get bitter. Yeah. And what you can't do is that. So you have to walk in as if it's the first time and you can. And they really want you there to get to get the job. But sometimes you walk in. And you realize. In the middle of it. They didn't even want you there. They're doing somebody a cast. That's so horrible, man. That's horrible. Well, but no, that's the game. That's the game. We're in. No, no, I know. I know. I know. That's why. That's why I direct. No. Yeah. But that's crazy because something that's such a blessing ends up becoming difficult to overcome artistically. Yeah. I used to say they have they have this big mental thing in their head. But when you do theater. Right. You have two hours. Actually, you have 10 minutes. You have 10 minutes. If you can't. If they can't lose themselves in you within the first 10 minutes. Right. Then you got a problem. Yeah. But you mean in a play? Yeah. In other words, if they see Isaac the bartender and I'm doing Driving Miss Daisy, I'm not doing something right. Yeah. Yeah. Yeah. But we were just talking about that with our movie because we have one of the actors in our movie is George Hamilton. And now George Hamilton had a very long career. Yeah. But he's very he's very open about the fact he certain took a certain road with his career to go. To go into humor and to become the guy with the tan and the ladies man. Yeah. And sort of a character that he plays. Yeah. And so we were just talking about this because in our movie he plays a very complicated part. It's very dramatic. It's a guy who has Alzheimer's, but he's at the stage where he goes in and out of having Alzheimer's. He loved it, didn't he? He did. He loved it. Yeah. He knocked it off the box. Sometimes he is himself and then sometimes he's confused and in that vulnerable state. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. On another planet. So it's like three levels of his character. And his mother had Alzheimer's. So he wanted to honor the truth of that. But yes, he loved it. Because he feels like he finally got a chance to like, after all these years, like do something and dig in. And you're right. Because it's an independent film. Yeah. And I'm like, he gets it. And I want to give him that chance to do that. Yeah. I also loved being able to see George Hamilton without a shirt. That was a treat. He's in good shape. Yeah. But I mean, you get to see the results of suntanning after all those years. Yeah. That's the thing about him. That's what comes up all the time. Yeah. Yeah. He was able to just reveal himself, which I really enjoyed. Because I loved him in Love at First Bite. That's where I was first exposed to George Hamilton. Yeah. So I always remember that. But it's interesting when you think about careers and what happens, the choices. Well, that's why you have to, like, I got very lucky because I was always directing. I was directing theater. I was directing TV. And so. Uh, when the acting thing, I saw the acting thing just kind of dry up, you know, and then I would push the directing thing and, uh, writing kind of blossomed while I'm directing. So I would take my money from directing and put it in the theater. Yeah. I tried to make some movies. I got about a dozen movies, but. You got any parts for any Puerto Ricans? Yes. But. Ha ha ha ha. But I, I, it's a merry-go-round. Every time I tried to get the money to make the movie. Sure. It was a merry-go-round. Sure. So after about five years, I got off. But, but that's interesting. A merry-go-round. Because you said something earlier. You said you, you, you can't get bitter because once you get bitter, it's, and you're absolutely right. If you're in the entertainment business, whether you're a musician, an actor, especially an actor or a comedian, and you're starting to get bitter, you got to get out. You got to get out or you got to do something else. And that's what you've done. Well, the thing is this. That's what they want you to do. Well. They want, no, they do. They, that's why they, why, why insult somebody? Why insult somebody? Because you know why? You know why? Tell me. Because some people have no self-respect. They have no integrity. Let me tell you something. In any business, I don't care what fucking business you're in. If you can't give somebody the respect that you would want somebody to give you, you're just a piece of shit. And it has nothing to do with you. Being in the entertainment business. That doesn't happen to everybody. And not everybody who's a producer or a casting director is like that. Right. So those motherfuckers need to get the hell out. Yeah. Because they're despicable. That's all. And there's a lot of despicable motherfuckers. I think that's really called unprofessional. It's unprofessional. Oh, yeah. Yeah. It's not, they're not doing their job right. It's unprofessional. They don't belong there. Not only that. Here's what I find is sometimes there are people that wanted to be actors. Right. Yes. Yes. Yes. Yes. Yes. Yes. Yes. Yes. Yes. Yes. Yes. Yes. Right. If you've got a sense of humor and I get it, you're going to hear me laughing. Not sitting there stone-faced pretending like I don't like it. We were casting something one time and I laughed. This girl had me on the floor. I was laughing. So she played to me because the others were like this. And she got better and better. She got funnier and funnier. It's like, don't you realize if you give something to the person that's out there, it's just going to help. Well, I just had a situation. Getting into a fucking audition. First of all, the process of an actor, and we've gone through it here, to get into an audition, your first audition ever, man, if you don't shit in your pants, you don't know what the fuck you're doing. You could have been in acting school for eight years. Once you get in front of the camera going, okay, let me see what you got. Well, it's such a vulnerable thing to be doing in the first place. Oh, my God. And people don't understand the vulnerability of that. But I just had a situation in Pittsburgh. When I was casting, and the casting director was having problems with the camera. And then she brought another camera in. So it was, you know, the actor's in there, and he's ready to audition. And, of course, it's uncomfortable, right? Yeah. But instead, I'm just like, start talking to him. We just start talking. Yeah. And then, I mean, literally, it was like 20 minutes we're waiting. And we're just like, bullshit. For the camera to be set up? Yeah, and we're just like talking. I was already going to cast him. Because I'm like, he's the guy I want to hang out with all afternoon. And it was like, you know, it was something, a situation where he had to take all his clothes off. And I was like, well, he's going to be cool. Oh, wait a minute. So wait a minute. So you wanted to have a guy naked in front of you? All afternoon. All afternoon? It's not a flattering. It's not sex. Hold on, hold on. Flattering my ballsack. You're bullshitting now. You're backing up. No, no, no. He drinks too much moonshine. He takes all his clothes off in the middle of town. And, of course, he's a chunky guy. Got it. You know, it's kind of a joke. Why did you look at me when you said that? No. Why did you look at me? I didn't want to exclude you. I'm just saying. That's more lemon meringue. Yeah. Which we're going to mention this lemon meringue pie in a second. So go ahead. But I wonder how many people in that instance. Like, if you don't just see people as other people that you want to collab, I mean, just as other human beings, then you're going to miss an opportunity. See, I auditioned a lot for commercials out here. And the thing is, I'm fully bilingual, right? But there's a difference between a Puerto Rican Latino and a Mexican Latino and a fucking South American Latino, Central American. Yeah, sure. Completely different. And out here, most of the, you know, you want a neutral Spanish. Speaking person. There's nothing fucking neutral about me. You know what I mean? So it's like, we're going to surprise you with the new energizer. You know what I mean? It's like you go in there and this is like too much. So the first thing, I mean, I always, I always try to do, I haven't gone out in a while because I decided I don't want to do that. He became bitter. No, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, I didn't become bitter. Well, I got tired of going out. I got tired of going out to Santa Monica for, no, no, no, no, I didn't, listen, you shit will get off the pot, right? So if that's not what you want to do is drive to Santa Monica, you know, they call you at noon for a fucking two o'clock audition. And you had plans that day. In Santa Monica on Friday. And it's like, and you live in the Valley, whatever the fuck that means to you people out there, trust me, it's sucking ball sack. Okay. So, so, so, so if you don't know, yeah, if you don't know, if you don't, if that's not cool with you, get the fuck out. Yeah. Get the fuck out. There you go. While I was doing it though, my goal was always to just connect with the casting director, the camera, and just, I'm a funny dude. Just be, just don't try to be funny. Right. But just be you. Yeah. Just be you. Because the chances are, like Rosemary said, they're either going to like you for who you are or they're not. You know what I mean? But the, the business is, is, is, is, is shallow, man. And, and a lot of times it doesn't come down to talent. As you know, it comes down to a look or something else. And listen again. But I think it's smart as an artist, you have to keep evolving. So if one door kind of closes, you go somewhere else. I mean, you, you ended up with a podcast. It's like amazing. And just cause Skid Row Studios is going to go away. It doesn't mean Nestor's going away. Doesn't mean your podcast is not going to keep going. No, Nestor's going to be here. If you want to find me, you just come to the corner of Laurel Canyon in Ventura. I'm usually hanging out there on the corner from about noon to about seven. Around seven, I go to Arts Deli. Get me a beer. Get me a fucking pastrami sandwich because I'm tired of no one paying attention to me. And then like from about seven to nine, I have a soda. Then I go back to the corner and, you know, anyway. Hey, hold on a second. You guys are talking about George Hamilton. I wanted to. Hi, this is George Hamilton. And you're listening to Nestorius Public Radio. Wow. Where the elite meet at the dumpster. Wow, nice. Yeah. That's good. Yeah, I get everybody. I got to get Ted. I got to get Ted. To give me a, you know, a little shout out. Rosemary, I wanted to ask you because you mentioned being in the casting room. I'm curious, being a television director, primarily one hour episodics, one hour dramas. How involved is the director in the casting process? Oh, we're very, we're very involved. I mean, we're as involved as they'll allow us to be involved. It depends on the show, no? No, but yeah, some directors don't. Well, I'm working on that. Yeah, some directors. I'm a big advocate of directors being very involved in casting. They're supposed to be. Yes. They're supposed to be. It depends on the show. It's very tricky now. Because of all the stuff, the technology, and because things are being done online, you know, then there's timings of how you respond. You know, once the auditions are posted, I want to be the first one to get in there and say my opinion. I don't want to have to, you know, follow anybody else's lead. Show up on set and they hire this one dude. But I'm, you know, I want to be in the room with the person. Yeah. At the end of the day, you want to, do I want to spend the day with this person or don't want to spend eight days with this person or not? But also the interesting thing about that concept is that you're the director. It's not just about you. It's about you spending the day with that person. I'm just talking about instinct wise when you meet somebody in a room. No, no, no. I know. But also. You're not going to get that from online. No, but also you're going to, you're going to see, you're going to want to pick the person that, not just spend the day. Let me clarify that, right? That you could. That you can work with. That you could give notes to. Of course. And you can like help mold the moments and stuff like that. You get actors that get the part that you didn't choose and they're bipolar and then they're this and that. It's very difficult. Yeah. And, you know, you got to shift. You got to hit storm. And the other one that's responsible. And then they're not happy with it. They have to recast. For making your day. Well, and that's the thing where you go to the producers and say, look, I wanted to use this guy. You guys are saying I have to use that guy and we're going to try to get the best performance. But this is the guy. I did that one time. I always say that. Yeah. Yeah. Where I want, I knew the guy that was good, but they said, well, no, this guy's with the groundlings and this and that. Right. And da, da, da, da. I said, no, but this guy's an actor. Right. Exactly. And he's funny. No, no, no. But this guy eats shaved bald particles from an ice cream cone. And, you know, he does all this really crazy shit with his testicles. And, you know, he has a big following on Facebook. We got to go with him. Yes. And he's with CAA. We did a table read. Hey, watch CAA. What? What? We did a table read. Yes. And the guy, the guy they picked from the groundlings didn't say one line that was on the page. There you go. What did they expect? Yeah. He didn't say one line that was on the page. And after the read was over, he got it. He got up to go get some coffee. And they were freaking out. No, the casting person went over, grabbed him by the elbow. He's got coffee in the hand. They walked him right out the door. Oh, crap. Yeah. They walked him right out the door. Hold on. How'd they do that? And my guy got the gig. Yeah. It was like that. That's good. That's good that your guy got the gig. Yeah, yeah. That's good. Even if it's a recurring part. And sometimes they'll say, well, if it's recurring, we don't really need the guest director's opinion. Yeah. But even then, I try to weigh in on that because it's a bigger arc than just my episode. But I still will weigh in on that. And if I end up directing that actor, I will go to them afterwards and say, look, that guy's a dick. Like, you really. I'll be serious because if I'm working for people and I respect them, they need to know the truth about what's going on. If people are unprofessional, I'm going to say they're unprofessional. So what are you doing? You said, I'm working on that. I'm a big advocate. You're a big fucking wig now at the DGA. Yeah. What are you doing? No, she's talking about with the producers and being in the room because sometimes they'll have auditions and tell you at the very last minute. I get it. I get it. But she's also working. She's also working on some sort of creative rights. No, no. But I mean, I'm just an advocate of talking to other directors and trying to get us all to look at the end of the day. We all this whole town runs on relationships with talent. Yeah. So wait a minute. The business runs on talent. So wait a minute. So all you directors get together and you knock down the producer's door and go, What are you talking about? We don't want that bullshit. We're going to kill you. We want to hire that one fool dog, not that other fool. Yeah. The guy with the tattoos, man. The guy with the tattoos coming down the earlobe. We heard from some listeners last week and they liked when we do those voices. So we did it for them. Yeah. Okay. Let's do that. Did you make that up? No, that was for you, Angela. If you're listening. Oh, okay. Got it. Oh, Angela. Yeah. We're done with the Director's Guild of Liberation. Fronte, puto. That's right. And let me tell you this, Rosemary. I don't want you hiring no Puerto Rican to play a Mexican. Knock it off. When did that happen? All the time. What? Isai Morales was the only one maybe? No, I think he's Mexican. No, Isai Morales is Puerto Rican, motherfucker. Get your Latinos. Damn it. You didn't know that. What the hell are you talking about? If you don't know that Isai Morales is a Puerto Rican, then you have no right to tell anybody not to hire a Puerto Rican to play a Mexican. Let me tell you something. Next you're going to tell me Lou Diamond Phillips isn't Mexican. Is that what you're going to tell me? Lou Diamond Phillips is fucking Polynesian and black, I think. He's not even Latino. They couldn't even get no fucking Mexicans to act in La Bamba. Let me tell you something. I got into an argument with a former casting director friend of mine. She was really in love with this new show, Narcos. And she goes, oh yeah. Everybody is. She goes, the star of the show. Yeah, I think he's a Mexican actor. I go, no. She goes, he is. She kept insisting. I go, they're not going to hire a Mexican actor to play a Colombian. They're not going to do it. And sure enough, no, he's Brazilian. Right. Because in TV land, Brazilians are more closely related to Colombians than Mexicans. Play that. Wah, wah, wah. Yeah. I was excited when I heard that you were now fourth. Eight. What was it? Fourth VP of the DGA. Are you the fourth? Is that what it is? You're the fifth. You're the fourth. I was going to say fourth AD. Fourth. What does that mean anyway? Yeah, yeah. What do you do? Two and one. So if one gets sick and two has to go out of town and three doesn't know what's going on. What kind of fucking business do you guys have? It's not like you're running a country. I mean, you guys have businesses. All you motherfuckers are going to be gone? Like during one meeting? Yeah. What do you do? What occurs at the DGA? What occurs at the meetings? They talk about whether they should get pastrami or fucking. Roast beef for lunch. Let your wife talk, motherfucker. You know, we are always preparing for, well, to serve other directors or members. That's the main function is, you know, it involves creative rights. It involves contracts and involves, you know, negotiations, contract negotiations. Sometimes directors come in and they say, well, you know, I'm working on this project at Universal and I want to co-direct with this guy. And so they have to get permission from the DGA. And so they'll say, why do you want to co-direct with this guy? And they'll tell you this and that and that and that. And then he leaves the room and they make a decision and he comes back and they say no. So it's like a tribunal. No, I mean, it's just rights. It's like she says creative rights. It's mostly about contract negotiations and contracts. And look, it's like any other union. I mean, you're looking for fair wages. You're looking to increase. I mean, diversity is a huge issue. And, you know, in a big concern that the whole industry talks about. But I feel like as a Directors Guild member, we try to actually make action to get other people involved. But also, you know, in a TV production, for instance, you have directors are like guest chefs. Right. So you have the whole kitchen staff already in there. You have all the ingredients. And somebody comes in and they have to, you know, make a souffle. Make a souffle. And they may not know how to work with the line cook. You know, all that shit's got to get done. You know what I mean? Where are the eggs? Where are the eggs? Sometimes there is no. Sometimes there are no eggs. That's right. Sometimes there are no eggs. Sometimes they don't even know that they need eggs. Sometimes you got to tell them you don't really need eggs. They're going to break the bad news. They actually need eggs and they don't want to hear it. Or sometimes you got to tell them you really don't need eggs to make this kind of souffle. Right. This motherfucker ain't going to rise. Right. This shit is going to go flat. Yeah. But it's going to be steady. Yeah. You know? It all depends. That was deep, man. But also, also, no, seriously, because I'm on the sidelines here. A lot of times you have, you know, producer, director issues. And at the end of the day, again, the director has to come in. They got to make their day, meaning there's a budget for the show. You got 12 hours. If you go over, everybody else got to get paid over double time and shit. And that falls on the director. Well, yeah, there are pages. The pages have got to be done. Whatever pages are allocated for that day. I mean, we, you know. The DJ is always watching scripts that we try to get scripts on time. They watch that, you know, the allotted time. Whatever is in our contracts, we get four days, you know, editing. Whatever is in our contract that it gets enforced. Because without, like any industry, without unions, whoever's in charge is going to take advantage of the workers. Right. So even with contracts in place, you need a place to go where you can pick up the phone and say, hey, this is what they're asking me to do. Is that cool or is it not cool? Mm-hmm. You know? And they. They will respond. I mean, there's a lot of lawyers involved. There's a staff. And they're there to support what we're doing out in the world. So then you probably have some names of some producers that you would probably say are the biggest adversaries of the Director's Guild. Right? They're just always trying to fuck you. Yeah. There's, I mean, probably most of them. I want names. Names. Right? No, no, no. She wants to work. No, I think. I think. You can't. You can't do that. In general. There's an etiquette to it. But there's different. I mean, that's. It's the nature of the beast. You have things pushing and pulling against each other. You have the business. You have the art. I mean, we have to navigate that within ourselves. Right? Like, you want to get something done. You know, you have your own productions. You've got to keep the practical element involved. And to the forefront, we have to be responsible for a budget. But we want to be creative and artists as well. So that's that relationship as well. It's like directors and producers. It's going to be that. That adversarian. I don't know. Adversarial. That relationship. Adversarial. Can be helpful. Can be helpful. Yeah. I mean, it has to be together, I think. They have to work together. Yeah. I think it's important. But there's always, you know, kinks and different little strides and little battles. It's like a little war you guys got to deal with. So some guys, when they're directing and the producer doesn't want them in the casting, they don't go. You know? So that's one of the things that the directors say. Well, you should go. But the guy doesn't want to push the producer. Even though the producer should be doing it. Yeah. You know what I mean? So the point is that we have certain things that we should be doing as artists. And it's how you communicate that to the executive producer or producers that it's going to really help you in the long run. Because sometimes they think we're a pain in the ass. But it's our job to show them that what we do is actually going to benefit their product. Right. And that's where it becomes an art form. Is that you're explaining to your boss, look, I think you're better off with this other actor and here's why. I mean, one of the things that DGA does every year is they publish their episodic television diversity report. And it gets published in all the trades. And it says the state of the industry. And we've been doing this for years and years. Yeah. SAG has one of a similar. And it tells you. And the thing that it will name, it publishes a worst and best of television shows. And who doesn't hire any women and minorities. Oh, wow. And who does. So who doesn't hire any women and minorities? Yeah, give us the top three names of the people. Go ahead, man. Fuck that. I will. It's public record, right? It's public record. This is public record. Yeah, so go ahead. This is public record. So the worst of you on first? Yeah. No, no. Start at number three. They go two, they go one. Just three of them? Boardwalk Empire was number three. Okay. No women, no minorities. Zero percent. Wow. There's way more than that. I could tell you that all the way down to 27 shows on the air, 27 had no women and no minorities. And no minority directors. And directors, okay. So I could start at 27 and go all the way. That's how many get away with that. That was number, you can do it. If you can do it fast, we got to wrap it up. No, no, I'm just saying. I'm just saying. So number two, number two. Number two is Black Sails. Number one is Banshee. Wow. Okay. Ray Donovan is in there. Masters of Sex, created by a woman. Women. Wow. Well, what do women know about sex? They just lay there, right? I'm just saying. Oh, boy. You have your own name here. You know what's going to happen? He now thinks it's normal. Why are you moving? Why are you moving? Oh, baby, stop moving. Stop moving. All right. So listen. Listen, the show has come to that dreadful end because we're having such a great time. I hate endings. It always happens so fast. You know what I mean? Wow, yeah, that was good. But before we go, you bought us a lemon meringue pie. Yes. Yes. From Hoff Hut. Is that? Hoff's Hut. Yes. Hoff's Hut. Hut. And they've been in business since. 1951? Yes. 1951? Yeah. Wow. Good stuff. Where are they? They're around the corner from my house. They're on Crenshaw out in Torrance. That's the one. And there was another one that was on the beach. And what they did is it was like a hot dog stand. And they just grew and grew and grew. And now it's a restaurant. So Ted bought us a beautiful, delicious lemon meringue pie. Thank you so much for that, Ted. My pleasure. Thank you so much for being on the Nestorius Public Radio Show again. Love to. Yeah. I was joking around how Ted, it's almost like I grew up with, it's almost like we're family. That's fucking weird. But it's chemistry. But you get that a lot. You don't get that enough? No, no, no. No, this is chemistry? It's chemistry. Okay. Because we're on the same page. Got it. You know what I'm saying? Some people, you have to work. You have to figure out what to say. You know what I'm saying? Yeah, yeah, yeah. How about those angels? Yeah, yeah, yeah. Oh, no, no, no. There's none of that bullshit. We don't have to do that. No, no. We're on the same, because we get each other. So that's what you're feeling. That's what it is. Yeah, that's what it is. Cut! Okay. Could you do that again, but this time, could you do it less black? Could you do it like a Latino that has light skin? Could you do it? Okay. Back to one. Let's go. And so tell us about the play you're working on now, the last play, and then website. I'm writing a new play. I took a play to Scotland to the Edinburgh Festival. Festival. And I really don't want to talk about it until it's a little further along. Okay, cool. But it's really a great idea. And when you get your next show. Yes. Well, we're doing this show. The facility is shutting down, but we're going to start a collective. So I'm going to call you up, Nestor, and I'm going to say, hey, I'm ready to talk about this. This is some good shit. Actually, actually, Rosemary was in, real quick. Rosemary was in. In Pittsburgh. And one of the reasons I thought of you also, because I was at Andy Warhol Museum for like four hours. Yes. And I see your fucking picture there on the love boat. You sent it to me. Yeah. Yeah. And I'm like, it says no photography. I had to fucking be like, yo, I got to take this picture so I can send it to Ted. Yeah. So Andy was a trip on the show? Yeah. Oh, he was great. Yeah. Great guy. Yeah. Great guy. True artist. Huh. He's genius. Very soft-spoken guy. Yeah. Yeah. Don't touch my ball. Yeah. Sir, can I, can I take a picture? He walked around with a Polaroid camera. Oh, yeah. Yeah. Yeah. He took Polaroids of everybody. Rosemary, can I, would you mind if I took a picture of you? And you go, yeah, sure. Andy Warhol. Absolutely. Yeah. Yeah. Yeah. So he gave us, each one of the cast members, he gave us one of his posters and signed it. Oh. The Indian series. Russell Means. Oh, wow. The Indian series. And he signed to Ted Lange from Andy Warhol. Oh, wow. Geez. That's awesome. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. I spent five hours in that museum because his process was unbelievable. I mean, I'm also an artist. So, I mean, I'm always about, I love the process of an artist. Yeah. You know? Anyway, Rosemary, you're going back to New York to direct another show, but what's going on? What's going on with- Going back to do The Good Wife. Yeah. And we're gonna, we're on the festival circuit with Silver Skies, our feature. Right. Yeah. So we're going to Woodstock. Woodstock is next. I'm gonna be on the screen in Woodstock. Yeah. I've got a tiny role. Tiny role. Tiny role. Yeah. Yeah. Go to our Facebook page. You'll see where we are. Yeah. Silver Skies, the movie is our Facebook page. Make sure you go there and like Silver Skies and check it out. Make sure you go to Nestorius Public Radio's Facebook page. I only have like about, you know, 5,000 likes. I need a couple more. You know what I mean? Go to iTunes and check out the podcast. The podcast is still going to be up on iTunes. Make sure you subscribe and make sure you fucking auto download when a new episode comes up is turned on on your iTunes. All right. And Sal, you have any cat? You got collectibles to talk about? Yeah. Yeah. Go ahead and tune into my YouTube channel, youtube.com slash Salvador Los Angeles, where I review toys and tech. I have over a million views closing in on 2,000 subscribers. So come on over and bring me to 2,000 subs. Thanks. Big up with the toy collections, man. Big up with the Spider-Man. Big up with the Aquaman. Big up with all your toys, man. Big up with your doll collection. Big up. Big up. Big up. Big up. Big up. I ain't doing nothing but talking sh-