Claire Danes

[0] Hi, my name is Claire Danes, and I am decidedly giddy about being Conan O 'Brien's friend.

[1] to yet another episode, a thrilling episode of Conan O 'Brien, needs a friend joined by my loyal gang, my chums, my comrades, Sonam Obsessian.

[2] Hi.

[3] Good to see you.

[4] Good to see you.

[5] Yeah, you've been practicing that.

[6] That's good.

[7] And, um, and Mr. Matt, Gourley, Matt, how are you?

[8] Hi.

[9] Good to see you.

[10] Hey, your citizenship classes are going very well.

[11] I love America.

[12] It's a beautiful country.

[13] I can turn right at a range.

[14] I am just back.

[15] I'm feeling good because I just got back from a lengthy stay in New York City.

[16] Did a bunch of podcast records there.

[17] Very cool.

[18] And what we do is we sort of get some of the people that don't often get to this coast.

[19] Our great booker, Paula Davis, lined up just a murderer's row of people to talk to.

[20] I'm sorry.

[21] So many of those people come out to Los Angeles, regularly.

[22] Many of them live here.

[23] Many of them live here.

[24] And it's like you caught them when they were in New York.

[25] So don't do that.

[26] Yeah, it's brutal.

[27] Well, first of all, you do have a point there that every single person I talk to not only regularly comes to Los Angeles, but of the, I think, seven people I interviewed during my week.

[28] I think six of them own homes within 300 feet of this building.

[29] I mean, that's the part that's really.

[30] hard to swallow.

[31] Yeah, it is.

[32] It is.

[33] No, it's true.

[34] Let's see who is.

[35] We talk to a lot of people and I do say, I will say this, there are some interviews where I think I really miss you guys.

[36] There's some interviews.

[37] I'm sorry.

[38] I lock in.

[39] I'm having such a blast.

[40] Do I miss you?

[41] No. Oh.

[42] That's going to happen occasionally.

[43] I'll say I talked to seven people last week and I know you guys were very jealous that I talked to Matthew Reese.

[44] Yes.

[45] Your big Matthew Reese fans.

[46] And I don't know if this is to console you or not, but as amazing as he was on Zoom, in person, multiply that by a thousand.

[47] What's he smell like?

[48] He smells like victory and pine.

[49] Like if you can take the pine scent plus just the smell of victory.

[50] Oh my God.

[51] So like if you built a log cabin out of the assault on Omaha Beach.

[52] Yes.

[53] Exactly.

[54] Yeah, that's reference to D -Day.

[55] Yes, I know it is.

[56] I just wouldn't know.

[57] You probably think we attacked a beach in Omaha.

[58] Oh, okay.

[59] Real funny.

[60] But that, you know what?

[61] That probably smelled a lot like death.

[62] So I, like, you know, I don't think that it was probably a good example.

[63] No, coast of France.

[64] Nice, briny smell.

[65] Beautiful.

[66] Yeah.

[67] You kind of, I understand you're going a little hard at him, but you kind of came a little hard at me. I don't.

[68] I'm sorry.

[69] That's true.

[70] It's weird when you two fight.

[71] Yeah, we have to have a united front here because he's the one screwing us.

[72] I know.

[73] He went off to New York for.

[74] Ever.

[75] You know what's incredible is, uh, I looked at my, I was wearing a, uh, I was wearing a, uh, an Apple watch and...

[76] Ooh, an aristocrat.

[77] Oh, fancy man. Fancy man. Sorry, I do live in a bubble.

[78] Whoa.

[79] But I own one of those watches made by the Apple Company.

[80] And it comes complete with an apple strap.

[81] Oh.

[82] And powered by Apple Energy.

[83] No, what I was wearing one, just because, you know, you like to know what steps you're getting.

[84] And it's shocking.

[85] When you're in New York and I'm just walking around doing things, and one day I did 10 miles.

[86] And then I think Here in Los Angeles You know I get in my car I come here to the podcast studio And then this is my choice I'm carried by my assistant David Up and placed in my chair And then I'm carried back to my car And I go home And then this is a deal I have with my wife Where I'm carried upstairs Okay And so I barely move here in L .A But I got so much I was just walking and walking And I have killer abs right now My ass is rocked Rock hard.

[87] Do you want to see my ass?

[88] No, I'm good.

[89] Wait, your birthday's coming up.

[90] I'll make sure.

[91] Five o 'clock tomorrow morning.

[92] Asked pic text.

[93] Happy birthday.

[94] You're like, what is this?

[95] Happy on one cheek birthday on the other.

[96] Why did someone send me a picture of these two soggy, uncooked English muffins?

[97] Oh, no, wait.

[98] Oh, wait a minute.

[99] Why are they freckled English muffins?

[100] Oh, come on.

[101] That's erotic.

[102] I like English muffin.

[103] Did you say that's erotic?

[104] I think it's very erotic.

[105] Okay.

[106] That's my ass, ladies.

[107] Two, they've been soaked in brine and then just taken out.

[108] They were never put through a toaster.

[109] Piqued.

[110] And they smell like that?

[111] They have little freckles.

[112] Yeah.

[113] And then, of course, that tattoo.

[114] Oh.

[115] We won't talk about that.

[116] It's of an Apple Watch.

[117] Yeah, it is It is amazing It was incredible But I did miss you guys Sincerely I did miss you But I think the interviews Were really terrific And in no way hampered By your absence But I also missed you And I think it was a great loss But at the same time I think if anything The interviews were enhanced But I think the quality really suffered There I've covered all my pieces You can walk in L .A. I'm just saying, you know, I mean, I have a very, like, not love, hate.

[118] It's more, I don't know what it is with New York City.

[119] Right.

[120] And I mean, anytime someone says, you could do this and you're like, you could do that here too.

[121] You just walk somewhere else.

[122] Yeah.

[123] Oh, wait a minute.

[124] Okay.

[125] Not really true because I've tried taking walks.

[126] Like my dream is to be able to ride my bike.

[127] I did get to talk to one guest who rides their bike everywhere all through New York City.

[128] It's a surprise guest.

[129] and it's a big deal.

[130] You got a DoorDash delivery person on the podcast?

[131] Yes.

[132] Wow.

[133] We didn't have anyone that day, so I ordered a Caesar salad.

[134] No, I would love to be able to ride my bike.

[135] It's very hard to do that in L .A. from, say, where I live to here, because I live 175 miles away from this studio.

[136] But that's on me. But it is hard also to walk in L .A. Sometimes you're trying to walk someplace, and the sidewalk just so.

[137] stops.

[138] That doesn't happen in New York City.

[139] The sidewalk doesn't just stop anywhere.

[140] But you don't have to stop.

[141] You can keep walking into the street.

[142] Are you worried?

[143] Oh, yeah, you can.

[144] Oh, sure you can.

[145] Yeah.

[146] And then you're immediately hit by a truck.

[147] I've been hit by trucks 15 times.

[148] Yeah.

[149] Yeah.

[150] Well, I don't think, is New York really a safe place to ride a bike?

[151] Because I've opened my door and hit a bike.

[152] Well, it's not safe clearly when you're opening doors.

[153] You're supposed to check Sona.

[154] So when you're kicking a door open and seeing death to all bikers and they go flying over the door, then no, it's not a good place to hang.

[155] Not at all.

[156] But yeah.

[157] I don't know if it's safe to bike.

[158] I don't think it's safe to bike.

[159] Yes, there's a lot.

[160] It's much better because there are a lot of bike lanes.

[161] Okay.

[162] What you have to watch out for is many more people have electric bikes and there are a lot of delivery people and they're going 140 miles an hour.

[163] Yes.

[164] And they've put, they've like strapped sharp knives to the front of their bikes.

[165] It's like road warrior.

[166] Yeah, it's like road warrior.

[167] That's a little tricky.

[168] Yeah.

[169] But I would love to, I would love to be able to ride my bike to work.

[170] The only way I could do it is if I bought a really big pickup truck and just did little figure eights in the back on my bike.

[171] So no, so no, while you drove me to work.

[172] Oh, okay.

[173] All right.

[174] Sure.

[175] I won't break suddenly.

[176] And for reasons I don't understand while I'm taking these tight circles, I go, that three stooge's curly noise, the whole time I'm spinning around.

[177] All right, well, very happy about this.

[178] My guest today is an Emmy award -winning actress who starred as CIA agent Carrie Matheson for eight seasons of the Showtime series, Homeland.

[179] That is an iconic show.

[180] Now you can see her in the fantastic Hulu series.

[181] I loved this.

[182] Fleischman is in trouble.

[183] I am thrilled, absolutely thrilled and delighted.

[184] she's here today.

[185] Claire Daines, welcome.

[186] Very nice to see you again.

[187] It's nice to see you again.

[188] I'm going to say something that I hope this comes out right, but this is how I feel.

[189] Whenever I meet people, as I met you many, many, many, many years ago.

[190] Quite a few moons.

[191] When you came on the show, probably for my so -called life or something, you know, just like something ancient.

[192] I have this feeling, and I've said this to like Scarlett Johansson, who was on as a child actor, she was in a sketch that we did.

[193] Oh, really?

[194] Where she played a, we build her as a spelling bee champion.

[195] Oh.

[196] And then we brought her out, and we didn't tell the audience it was all a hoax.

[197] And she couldn't spell her way out of a paper bag, which was the joke.

[198] But I'll see you or her, and I'll think, I'm like your uncle or something.

[199] Because I, you've all, I mean, like, you have done so well.

[200] And then I have this weird pride, which is misplaced.

[201] Because I've had nothing to do with your life.

[202] I've done nothing other than have you on the show a couple of times.

[203] So I've in no way contributed to your success.

[204] But I still have this kind of weird quasi -paternal thing that I don't quite understand.

[205] That's very sweet.

[206] And I will take that pride gladly and hungrily.

[207] Yeah, no, that's very kind.

[208] Well, Father's Day is coming up.

[209] I also have a very nice memory of my wife and I. This was a long time ago.

[210] But was in Seattle?

[211] at the museum of rock and roll or something.

[212] Yeah, it's like the music experience, experience music museum.

[213] My wife and I, our relationship is not that.

[214] I think we're newly married or fairly recently married or maybe even not married yet.

[215] And you came running up to me and were really nice to me. And my wife was like, you know Claire Daines?

[216] And I was like, yes, yes, I do.

[217] I know many people.

[218] And that may have sealed the deal for me. That may have gotten me my wife of 21 years.

[219] So good for you.

[220] Yeah, I remember it too.

[221] It was quite exciting, seeing you so out of context.

[222] Yes.

[223] Yeah, I remember that very well.

[224] There's just like these little flash moments you have.

[225] And we have so much to talk about because I saw this show that you did recently, Fleischman's in trouble.

[226] And I was interested in it right away because I adore you.

[227] I adore Jesse Eisenberg.

[228] It's a good group.

[229] I love Lizzie Cowell.

[230] I mean, it's just like this is, and I had this thought of, they're getting, some of my favorite people together to do a project and watched it.

[231] And I was floored by what you did in that.

[232] I don't know if I want to call it a movie because it's not a TV show.

[233] It's serious.

[234] You know, what do we call them now?

[235] I think we call them limited series.

[236] Which is like a schmantzier version of mini series, which had a very different connotation.

[237] Exactly.

[238] Not so long ago.

[239] There were so many things that like after school special.

[240] Yes.

[241] Exactly.

[242] No, it was, it's not about, you know, vaginal discharge or something.

[243] I was disappointed because I tuned in thinking that's what I was going to see.

[244] And I was really blown away.

[245] And I should, it's not that I was surprised.

[246] You are so good at playing these people who are going through something torturous and who are just being crushed by like seismic plates of emotion.

[247] You're so able to do that.

[248] And then when I see you, you're just the lightest, most fun.

[249] Do you know what I mean?

[250] You're effervescent and fun and great laugher and I think, man, she's a good actress.

[251] Yeah, I know.

[252] It's funny.

[253] I don't know.

[254] It's so exquisitely well written this show and you know, it's this great magic trick that Taffy is able to create both in her novel and in the series.

[255] I had to say, I mean, I felt so supported by the material and the people that I was making the thing with.

[256] And yeah, it's, you know, it's taxing and risky to venture into those dark crevices of the human experience.

[257] But I so believed in the thing and was so excited to have a chance to, you know, explore these themes and these, experiences that are so underrepresented in pop culture that, you know, I felt really invested and able to do it.

[258] And there's even some kind of joy in it.

[259] I mean, I think because I know it's in service potentially of something worthwhile, you know, like, I mean, sometimes it's much harder to do a kind of technically easy scene with wonky writing than a really exacting, demanding scene with excellent writing.

[260] Like it carries you.

[261] Yeah, I'm thinking about who was it who told me, I think Brian Cranston said, he said, as an actor, I can get the material.

[262] If the material's like an A, I might be able to get you to an A plus.

[263] Yeah, yeah.

[264] But he said, if the material is a C, I can get you to a C plus, if I'm really like on game or maybe to a B minus, but he said the, you know, really has to be on the page.

[265] Absolutely.

[266] And, you know, we are talking about this during this writer's strike and it's appropriate to bring up like that that is, I know, there's so many people that think they'll watch a show and there are many people that think the writers are just kind of making it up as they go along, almost like you could watch Citizen Kane and Yeah, Orson Wells got Joseph Cotton, a couple of people, and they just kind of improv.

[267] And then they came up with that sled thing in the end.

[268] Isn't that crazy?

[269] Totally.

[270] And it's amazing, yeah.

[271] And having spent so much of my time within television, I'm, you know, acutely aware of how vital the writer is in the process.

[272] And the intimacy that you start to have with your writing partners on a series is kind of unmatched.

[273] I mean, it doesn't really exist.

[274] to the same extent in any other medium.

[275] So I have just like the deepest of respect for writers.

[276] And I'm, you know, really aware of how much I owe to them.

[277] But I will say this.

[278] What you do is, I mean, that's like kind of why I want to go back in time a little bit and try and figure out how you're able to do this.

[279] And I know that there's talent, but there's also training.

[280] And then there's just, what you do is a magic trick to me, as far as I'm concerned, because I know how to get up in front of people and be various versions of myself.

[281] But I could no more do what you're doing than I could fly.

[282] You know what I mean?

[283] Well, I'm humble all the time.

[284] Every time I need to turn the freaking television on, I have to call for my 10 -year -old son to, you know, assist me. So I'm very limited in many ways.

[285] Here's the problem.

[286] I have that too.

[287] I just don't know how you can become other people and people that are in such crisis and it's so believable.

[288] And whether it's, you know, Homeland or Fleischman or like, you know, any role you're playing and you're going through these tortured moments, I would need to be, talk about method.

[289] Yeah.

[290] I would need someone to be hitting me with hammers to access that kind of thing.

[291] I mean, like I actually did a Hollywood reporter round table thing where different actresses convened sort of awkwardly around a table, but it ends up being kind of lovely.

[292] And I guess I was.

[293] asked about this, like how it's possible for me to move sort of fluidly in and out of complex feeling and then kind of be intact as a human on set minutes later.

[294] And Jennifer Garner actually reminded me that she had worked with the producing director of my so -called life shortly after we had done that series.

[295] And I was 13 when I did the pilot, 14 when I did the show.

[296] And she was, Scott Wynent is the director's name.

[297] And she said that he was talking about, working with me and he had a great time and you know was very impressed and all that but you know that I was I would get lost in in those darker scenes and it was hard for me to surface and I'd kind of forgotten that I was like oh yeah I was just learning you know and I I guess I'd take for granted the technique that I've just developed over time right um that I'm very grateful for I mean I can't say that I'm like fully in command of it constantly and it's a little deceptive.

[298] I mean, sometimes people will say, how can you just be laughing in between takes?

[299] And it's like, it's a little misleading because, yeah, I have a certain amount of control, but it's always like on a bit of a simmer inside.

[300] It's just not obviously visible to anybody else.

[301] Yeah, you're not schizophrenic.

[302] I have not diagnosed you're schizophrenic, but I was thinking, I was, you know, going back and reading about your life, which fascinates me because I know at a very early age, you know, you come from a very artistic family, and you come from a family that was very, it feels like, open.

[303] I mean, you're living in the, are you living in the village?

[304] Where are you living?

[305] In Soho.

[306] In Soho.

[307] Yeah, my parents were, were visual artists and they moved to the Bowery in the late 60s and then bought a loft building on Crosby Street with another couple for literally, like, negative, like, I mean, just a shockingly low.

[308] Stuff that make people angry today.

[309] Furious.

[310] Yes.

[311] I bought this house for $1 ,100.

[312] Murderous.

[313] Yeah, yeah.

[314] But so, yeah, and I mean, the factories were shutting down all around me and being transformed into these artist studios.

[315] And so you had to actually legally prove that you were an artist to live there at the time.

[316] It was, but anyway, so yes, it was a funny way to live and very permissive in a lot of ways.

[317] But nobody, you know, nobody around me was involved with the performing art. And actually, it was only until I did that show Finding Your Roots when I learned that my paternal grandmother, who I never knew and actually died when my dad was 10, and her name is Claire, Daines, named after her.

[318] Like, she apparently got a master's in the role of dance in Shakespearean drama and had acted and directed in plays.

[319] And I was kind of stunned by that because there was no indication of this being anywhere in the gene pool.

[320] Yeah, I don't, I don't come from, I come from dad's a research scientist, my mom was a lawyer, and then I go back before that, and my grandfather's a policeman and my, you know, just, you're, I look around and I keep thinking, is there where, if I go back 200 years, is there a ventriloquist dummy?

[321] There must have been.

[322] There must be a picture somewhere of a guy with, like, puffy hair who's making an ass of himself and being chased by angry people.

[323] But I heard that you, early on, you were interested in mimicking.

[324] Is that true?

[325] Yeah.

[326] So my first memory of acting was when I was in pre -nursary school and I was, must have been like three or four.

[327] Slow was my teacher.

[328] She was Indian.

[329] And I loved her.

[330] And it was nap time.

[331] And I was a terrible napper.

[332] I am still a terrible napper.

[333] But I'm also totally obsequious, like people -pleasing person, which I, you know, still on.

[334] So anyway, so I wanted to convince her.

[335] that I was sleeping and I was doing my best impression of a sleeping, uh, tiny child.

[336] And I, I'd, I'd remembered that my mom had twitched in her sleep.

[337] And so I was doing this, I was trying to do this twitch.

[338] And I thought, oh, yeah, yeah, yeah, yeah, that's good.

[339] That's really subtle.

[340] That's super nuanced.

[341] She's never going to know that I am not unconscious.

[342] You're like three.

[343] Yeah, no, I mean, and you're working out those words.

[344] This is going to draw on this.

[345] I didn't have that, you know, but, but that was the, that was the feeling that I was really working on the verisimilitary you know and I do think that that's just an innate impulse that we have and I don't know I think I was just always really really curious about the human experience and wanting to yeah make the most sense of it that I could and just reflect on it yeah you mentioned your parents and I would think I'm not even knowing them or knowing about them I would give them credit for the fact that you have your head on your shoulders you've made such good decisions and I think being famous when you're 13 14 and I know even at the time I've read quotes of yours from the time 14 15 you're very thoughtful about it and you're trying to parse it and figure it out you're not saying get me a stretch limo right let's go three times around the park and I want to no it was it was a very intense transition into the world of entertainment and we were all so naive.

[346] You know, I got this show.

[347] I mean, I knew that I wanted to explore this acting thing.

[348] My parents kind of thought, okay, it's another after -school activity like piano or dance or whatever it was.

[349] And I just started kind of hustling.

[350] Like, I found this junior high school for a performing arts program and I went to Lee Strasbourg and I went to HB Studios.

[351] But this was all by my own making.

[352] And they didn't interfere, but, you know, and they were generally supportive.

[353] But I would just rollerblade from audition to audition, you know, and I would like get some jobs.

[354] And that eventually materialized into a career to all of our total astonishment.

[355] Yeah.

[356] And then we were on a plane.

[357] My brother is seven years older, so he was at college at this point, and we kind of had the latitude to do that.

[358] My dad's business was, he was a contractor that was kind of naturally ending.

[359] and we were available to this experience.

[360] Thank goodness, like together as a unit.

[361] But we were deposited in L .A. It was like the day after that massive earthquake in 94.

[362] And so there were actual aftershock, like the ground was shaking, which was just an absurdly apt metaphor for how we were all feeling.

[363] At the time, there were a lot of seismologists at the time that said a major tip, talent has landed in L .A. And we think that's responsible.

[364] But it was a bizarre correlation.

[365] And, yeah, we were, you know, bewildered and just kind of attempting to not look like total idiots, you know, for a few years.

[366] But no, I totally credit them with whatever kind of orientation I ended up maintaining.

[367] And my mom was always with me on set.

[368] And, you know, they were not stage parents.

[369] in any way we didn't even know how to like pretend you know that that was well i was around it because i was around stage parents because we were routinely booking kids to play you know we never used real people on the show so whenever i brought my mom out it was always a different actress whenever i brought like yes yes we always i made a point of yeah making sure that we had this kind of sctv fake peewee's playhouse version of reality but you know my son would come on the set but when i didn't even have a sign and he'd have a little red pompadour wig and so we were always doing things like that so kids were always around and I so often remember them coming up to me as if they'd been hit with cattle prods and they would say Mr. O 'Brien I wish to tell you that you have transformed late night and you have made a generational impact and I'd look behind them and see the parent staring at them like we practice this all night this bullshit you go say to Conan And I would feel terrible.

[370] You feel terrible about it.

[371] They all went on to be very famous.

[372] That was Ben Affleck.

[373] Anyway, no, I'm kidding.

[374] But it was just incredible that I think it's the exception that proves the rule.

[375] And I think the fact that you were very nuanced, you were thoughtful and your parents were thoughtful.

[376] And then you decide, I need to get an education.

[377] Yeah.

[378] Well, my parents were always adamant that, you know, I'd be tutored on set.

[379] I mean, that was a very real priority.

[380] And they didn't have to impose that on me either.

[381] Like that was something I wanted to remain involved with.

[382] And then, yeah, and I think I was, I got a little, I did get a little dizzy and overwhelmed at a certain point and was being given a lot of opportunity and didn't quite know how to channel that, focus it.

[383] You know, I didn't have a filter yet that I kind of needed to establish.

[384] yeah um in a safer place like a you know a campus um and i was a little lonely you know i i i mean initially i was so relieved to be jettisoned out of the hell of junior high and and high school was it was it a hell yeah i think it was going to get less hellish um because i was i was moving through high school and i think kids just get increasingly less desperate and cruel So you were getting bullied?

[385] Yeah, I had a really hard time in middle school.

[386] What do you think that bullying was about, or do you remember?

[387] Well, there was a few things.

[388] I mean, I went to a few different schools for funny reasons.

[389] It's not like I was always living in the same place, but, you know, I had a teacher that my mom wasn't that thrilled by or I don't know.

[390] There was always a reason to try out a different school.

[391] So I was often the new girl and sort of conspicuous.

[392] and a little targeted for that reason.

[393] But I also was just like very sensitive to the injustices that were often on display and couldn't help but I don't know, kind of take the bait.

[394] And I don't know.

[395] The politics made me insane, the social politics.

[396] I wasn't strictly bullied, but I was.

[397] I was vulnerable.

[398] And I was also, I really liked learning, you know, I was nerdy and kind of didn't get the memo that you're supposed to pretend that you're not so engaged and curious at a certain point as a girl.

[399] Right, right.

[400] So my hand remained very, like, high in the air, you know, ooh, ooh, ooh.

[401] Yeah.

[402] And I, yeah, I think I got punished for that.

[403] Anyone but Claire?

[404] Yeah, please.

[405] And I think I was legit annoying, too.

[406] I think that was fair.

[407] Yeah.

[408] But I don't know.

[409] And yeah, there was always like a girl.

[410] I changed three different, I went to three different junior high schools and there was the same prototype, archetype, archetype, archetypical girl who was crazy smart and very troubled and decided that I was somebody that they were going to, you know, make very unhappy.

[411] Yeah.

[412] Yeah.

[413] And they just kept, like, materialized.

[414] I wish I had known, there's so many things you wish that you knew, you could go back in time and tell the younger you.

[415] And I would just, the one thing I would tell the younger me is when people are really mean to you or bullying you, it's because they're miserable.

[416] I think that would have helped me somewhat.

[417] I mean, I think I kind of knew that.

[418] But it didn't, but it didn't, it didn't, it wasn't much of a tonic.

[419] Yeah, yeah.

[420] You're still stuck.

[421] And once that, once that dynamic is in play, you're sort of screwed because you're just in a cage.

[422] Like, there's nowhere to.

[423] go right um and um yeah like it's funny i've my son now is 10 and so he's starting to enter that point and he is he's such a wonderful tender clever goofball like he's but and i see all of his kind of vulnerability and but it's funny because a mom from the school texted me about her son being aware of some bullying that was happening in his grade and but Cyrus is just sort of like oblivious or or just not very moved by it you know and and her son was you know and and I was like oh gosh I was your son you know and I'm so grateful that my son isn't you know like it's a kind of amazing defense to just not really care once we have kids the notion that someone would not be nice to them hurts more than anything else in the world oh my god it's brutal all Although my four -year -old son, Rowan, like, he could be a, he could go the bully route.

[424] Oh, he's got talent.

[425] He's got talent.

[426] Yeah, no, but it's like, I'm terrified that my older son might be bullied.

[427] And I'm terrified that my younger son might be the bully.

[428] Right.

[429] And so it's, it's good to have one of each.

[430] Yeah.

[431] Most people think that having one of each means a boy and a girl.

[432] It's like, no, no, I have a bully and I have someone who is bullied.

[433] Yeah.

[434] We've done it both.

[435] But I'm glad they were born in that order because it would be really problematic.

[436] that was reversed.

[437] And I think we just worry, you know, for what I, you know, it doesn't take much to.

[438] Yeah.

[439] Yeah.

[440] Yeah.

[441] I'm one of six kids.

[442] And the last one, Justin, was born.

[443] I think my mom might have been 42 or 43.

[444] And this is the early 70s.

[445] And it is not as common.

[446] Yeah, yeah.

[447] I still keep saying to Justin, I, you know, I'm glad, you know, I'm glad he's here.

[448] I really am.

[449] I'm glad he's here.

[450] And now I can't imagine him not being here.

[451] But he, he showed up so late.

[452] And what's the age difference between you guys?

[453] Oh, my God.

[454] I, let's see, my mother had a child a year.

[455] Oh, my God.

[456] Because this was the 60s and we're Irish Catholic.

[457] So I think Neil's born in 61, Luke's born in 62, I'm born in 63, Kate's born in 64.

[458] What?

[459] Slight gap.

[460] Then Jane's born in 67.

[461] And then some, you know, then there's a long gap.

[462] And then I think Justin shows up in the early 70s.

[463] And so there's a 10 -year gap between Justin and I. And I remembered someone saying, what a wonderful later on.

[464] It was about five, 10 years ago.

[465] Someone said to me in front of my father, isn't it wonderful that your youngest was born, your youngest brother was born so much later because all of you could help nurture and raise him?

[466] And I said, what are you talking about?

[467] It's like they threw a brand new tire into the ape cage and we just tore him apart.

[468] We really did.

[469] We really just did start throwing him around.

[470] It toughened him up.

[471] Yeah.

[472] It toughened him up.

[473] But no, there was not a lot of careful nurturing of this poor guy.

[474] My mom is one of five.

[475] And I just, just, again, the deepest, deepest admiration and respect for those women.

[476] I mean, I can't imagine.

[477] My mother was once told by some Soviet women, you know, before the wall fell.

[478] But she was at some event, and there was some women from the Soviet Union there.

[479] And they said, in the Soviet Union, you would be awarded a medal for providing this many children.

[480] Like, seriously, a serious medal.

[481] Oh, my gosh.

[482] There's like an order of, you know, whatever Melanchenko that you get if you've had because you've delivered that many children from Mother Russia.

[483] Yeah.

[484] And I thought, you know, I should probably go at Mother's Day.

[485] I should get my mother.

[486] They should bring back medals.

[487] Like, yeah.

[488] They should.

[489] I hope you got something good on Mother's Day.

[490] I did.

[491] Because you know what?

[492] Father's Day is a total crock.

[493] We get nothing.

[494] No one believes in it.

[495] No, no. And you know what?

[496] It's dismissed.

[497] It's dismissed.

[498] And I think with good reason.

[499] because I look at everything my wife does and I think that she deserves a medal.

[500] She deserves all these great things.

[501] She deserves like those epaulettes that they had in the British Navy.

[502] She does in a sash and she deserves a sword.

[503] All these great things for doing so much.

[504] And then, yeah, I think I deserve nothing.

[505] I have to say, my husband is pretty spectacular.

[506] I mean, he really, he's the cook.

[507] He makes the doctor's appointments.

[508] Oh, wow.

[509] Yeah.

[510] No, he takes on a kind of disproportionate amount of the parental duties.

[511] So I am a big shout out to Hugh Dancy, who's pretty wonderful.

[512] I'll have that taken out.

[513] Okay.

[514] I don't know.

[515] Why would I do that?

[516] What a spiteful person I am.

[517] You're talking about a show that centers around divorce?

[518] Yeah, exactly.

[519] Well, with that in mind, when I was starting to watch Fleischman, it's interesting, because I had a friend, a really good friend who's also a massive fan of yours.

[520] And at first, when you first start watching this show, and again, I don't want to give anything too much away, but it's a couple that's going through a very painful period.

[521] And then you as the wife, you sort of disappear from the scene.

[522] Yeah, and she's really unsympathetic, initially.

[523] I mean, to put it mildly.

[524] Very unsympathetic.

[525] And you don't realize that you're seeing the marriage strictly through a lens, you know?

[526] And the lens you're seeing it through, which is so interesting, interesting is Jesse Eisenberg plays your husband.

[527] And of course, Jesse is so good at looking at being put upon.

[528] And I mean, he looks put upon in real life.

[529] And a lovely guy, by the way.

[530] He is one of the sweetest guys.

[531] But he has such a good way of looking like he's just got the world on his shoulders.

[532] That's a really good point, you know, because it's true.

[533] He can flip so easily from, you know, a kind of puppy to, you know, this kind of wounded, you know, on his back person to a real villain, you know.

[534] Well, I mean, you look at the social network and you see that he's, he's obviously a terrific actor who's able to access all of that.

[535] Yeah.

[536] But in this, and I thought they've, this show has exposed either exposed my sexism or, or tricked me into being maybe more sexism.

[537] sexist than I already am, but I'm really looking at it and I'm thinking, I so sympathize with this guy, this poor guy, and he's trying to take care of these kids and where is she and not being at all sympathetic to your character?

[538] And then there's this thing, and again, I don't want to give anything away, but there's this scene that, uh, where your character, Rachel, goes to this yoga retreat and these emotions are being drawn out of you in this scene and you there's this kind of wail breakdown that you have that like came through the TV set and slapped me around in a way that is this is a compliment I don't like I'm not into that by the way Claire not into that I'm sick of that rumor that I like being slapped about a whipping occasionally but no I felt like you had reached to the TV and it was so, and then, of course, I start talking to my friends who are also watching the show and we're all talking about that scene and I think that scene is the most striking moment I had in television in memory.

[539] It just was like, oh my God, it completely turned me around on your character in a moment, but also I walked away from that thinking, I do not understand.

[540] I know that there are great actress in the world.

[541] I do not know how Claire Dames was able to do that.

[542] I do not know how you were able to do that scene.

[543] Well, I mean, again, it was really, it was written, you know, and I could, I recognized it.

[544] I find it unimaginable that you would go to set and they would put a camera on you and they would say action and that you'd be able to, I'm basically asking.

[545] Well, so, so in advance, I do this kind of this mental work and then I have to totally let that go and then just be in, a visceral space.

[546] So I have to be very clear that.

[547] And you know, and it was funny when I went to college and didn't act for about three years, I was caught in the wrong year.

[548] Like, I forgot that it was largely an intuitive process also because I had just been writing essays for a long time.

[549] So I had to kind of return to the more in connection to the work, which is the more important one.

[550] Right.

[551] But so both are at play and really when the camera's rolling, you have to just, you know, be in a non -thinking space, in an emotive space.

[552] But I, and I, yeah, I see my, hear myself not like taking, maybe, it sounds like I'm not taking credit for my contributions, but I can't do that so freely if I don't feel held by the people that I'm, working with and john and val who were the directors on the episodes that i was doing the heavy lifting and um you know they were they were just so right so connected and present and kind um and they didn't make me do things a million times you know like they understood that some scenes were a little scarier and and trickier than others and so they were very careful and and how they set it up and you know a lot of them we only needed to do one take I was going to say if someone, if a director after the take that you did said, if anyone said, okay, that was great.

[553] Let's do four more.

[554] Yeah.

[555] And I've also worked with wonderful directors who do work that way.

[556] And I, you know, I don't only begrudge them that.

[557] You know, like sometimes there is value in seeing what happens.

[558] But I was glad for their sense of economy.

[559] You got really in vogue, the improvising, especially in comedies and a lot of improvising and people being encouraged.

[560] And I think I was on a set once and I, the director was literally saying things like, all right, try another one where you are the murderer.

[561] Now try one where you're the murder victim.

[562] Like, you're changing massive things.

[563] Do you know what I mean?

[564] Right.

[565] But what I do understand what you're saying, that something that resonates with me, because I always try to look for, is there any common ground here I can have with Claire?

[566] And this is, there might be a psychological reason for this.

[567] or it just might be my lack of ability.

[568] I don't know what it is, but it was, I, people were telling me in my early 20s, you've got something, you should be in front of people.

[569] And I was feeling that, but I couldn't see what it was.

[570] And I was like, you know, it's not stand up.

[571] I think it's improv.

[572] And then one person said it might help your, I started doing improv a lot.

[573] And someone said, you should take a serious acting class.

[574] So I took one downtown.

[575] And I don't remember which one it was, but it was like a Stella Adler.

[576] serious class and I went in and signed up and paid I think it was about 23 or 24 and there was a they asked me at one point to do a scene where I get up with another woman and I tell her how much I love her and how much she means to me and how heartbroken I am and I said I can do this if it is in the purpose of being funny like if there's a joke to it I can actually that would be the only way that I could act, I think, in any kind of was if it ends, if it's going in the purpose of a joke, or if it ends in a...

[577] That's so interesting.

[578] I know and now you're my therapist, but, but I but I'm serious like I do, I have done sketches where I'm looking at myself saying I think I'm kind of acting here but I, it's because I know that it's in the service of a joke and to me that's my wooden barrel.

[579] I can go over Niagara Falls but I need to my, and to be in my wooden barrel of it's comedy whereas what you're doing there's you're going over the falls there is no barrel it's so naked and i find that terrifying i mean all of it but i just find it uh it's terrifying yeah well i would find comedy terrifying you know i just but i think i i you're very funny you are really funny thank you're a very like no you are you are very i mean i've always could tell that you'll be a very funny, light, silly person at a party.

[580] And that's something a lot of people don't know about you.

[581] Yeah, I guess.

[582] But I doubt that that's true.

[583] I mean, I think you've decided that along the way, and I don't believe it.

[584] I'm just saying.

[585] I also think you're very good fighter.

[586] Kickback.

[587] I've decided a bunch of things about you.

[588] You're also an undersea explorer, Claire Danes.

[589] You didn't know that about yourself, did you?

[590] No, you have a, but you are, it is funny.

[591] because you've carved out so many roles and iconic roles where, you know, as I said, whether it's in homeland or even starting out with my so -called life, where it's you're dealing with complicated stuff and then in person you have this lightness that's so much fun, which I'm sure you brought to, you know, you bring to other things too, but you're so, it's amazing.

[592] You have a wide bandwidth, I think.

[593] Yeah, I hope so.

[594] Yeah, no, I would, I'm always eager to do something a little less intense um but i do have kind of a good time with the intensity and my and and also i don't know people keep throwing it my way um but uh i wouldn't change anything in your career it'd be great if i talked to you into something you know no i've you need a sitcom well i've said that i wanted to do a comedy for a long time but um yeah no it's uh i'm not it doesn't seem to land i've heard that you like a good party you like to throw a costume party?

[595] I, you know, I had this...

[596] Which terrifies me, by the way, also.

[597] I do not like wearing a costume.

[598] I had the best Bachelorette pad for a while.

[599] I had a loft on Worcester...

[600] Because I went to L .A. for about four years and always knew I wanted to come back to New York.

[601] My parents stayed in L .A., but I came back and it didn't occur to me that I could live anywhere other than where I had lived as a kid.

[602] So I was just kind of recreating that and bought this loft on...

[603] Worcester Street.

[604] And it was kind, it was just, it's open space and it was a great place to throw costume parties at a swing.

[605] Oh, my parents had a swing.

[606] They had a swing, they had a trampoline, they had a trapeze.

[607] I mean, my mom also ran a toddler school, but this was even before she had the, like, they just, like, they're not circus people.

[608] They're not circus people.

[609] They're just, recreational.

[610] Yeah.

[611] They're very playful people, I guess.

[612] So I was, you know, kind of appropriating that.

[613] And it was effective.

[614] Now, of course we became you know he and i got married and we were going to have kids so we we now live in a a very sensible family home with it's the total inverse like it's this kind of long and narrow townhouse with it's very with many stairs and stuff but there isn't this like you know what happens it's not a dance party venue everything changes when you have to baby proof yes my wife and i have this little house in the country that i got in another lifetime years ago that i've hung on to and i remember when our daughter was born of screwing in the brackets for the baby gates and one of an iconic moment that was for me in my life and then I remembered a couple of years ago noticing they were still there and that both our kids are kind of grown and unscrewing them and I got weepy because they were like this era is over I'm headed to my grave and then I got very Irish dark the one consolation is that when I get very old.

[615] I know my wife's going to have to put in gates from me. That's right.

[616] To keep me in place.

[617] Yes, they will come back in a slightly different context.

[618] But yeah, no, I had a lot of great parties, and I miss them.

[619] Easter sometimes falls on my birthday, and my 30th birthday happened to be one of those years.

[620] And Hugh went as a severed ear.

[621] There's some, he went to, like, boarding school, and I guess was just, you know, inhaled these biblical stories.

[622] You know, it was just like swimming in the water.

[623] So he was a severed, not a man with a severed ear.

[624] He was a severed ear.

[625] It was very impressive.

[626] And that's when you knew you were in love.

[627] Kind of.

[628] And he convinced me that I should go as the 30 coins of silver that Judas was paid to betray Jesus.

[629] But it was really fun.

[630] It was my brother went as the black jelly bean that nobody wants.

[631] I don't know.

[632] It was great.

[633] There were a lot of Playboy bunnies.

[634] It was secular and religious.

[635] Yes.

[636] But people are, you know, once you, the great thing about a costume party in New York, too, is that they're stuck there because people party hop in New York, especially in their 20s.

[637] And once they're there, you know, they're...

[638] Once you're a severed ear, you're not going anywhere else.

[639] You're not going anywhere.

[640] So the numbers build and it starts to come to a boil.

[641] And people, you know, they're not, they're a little...

[642] They're a little unhinged.

[643] You know, they do things.

[644] They're not themselves exactly.

[645] Well, I will tell you this, just as I only know this from being a sketch player, again, not an actor, but when I am, when I do put on a costume for work, whenever I've, whatever that is, I want to be that.

[646] It has a funny power.

[647] It has a childish thing, but I was in a sketch once, and we were shooting it outside, and I'm dressed as a policeman, and then I wandered away as the policeman.

[648] And I was telling people to move it along, and then suddenly I have like a 19th century Irish accent.

[649] And it's like, oh, move it along now.

[650] What is this asshole doing?

[651] You were like, and make way for duckling.

[652] Yeah, exactly, exactly.

[653] I was just like, well, it's the power of, you know, I had to do something recently.

[654] I think we're in Norway and they dressed me up in a ridiculous fisherman's costume.

[655] And I asked for a hook because, and I have a pipe.

[656] And the minute you give me a pipe, it's bits left and right.

[657] And, but it's just childish.

[658] It's child's play, but it's really fun.

[659] It's the best.

[660] It's what I do professionally.

[661] Yeah, so it's what we do.

[662] It is a whole other level with you, as is clear.

[663] I can't say it enough.

[664] Again, I'm just going to say it as your old uncle who had you on the show years and years and years ago.

[665] You've always been very funny and classy and polite and then crazy talented.

[666] So I'm just very, you know, it's not earned, but I'm proud of you.

[667] Oh, no, that's so nice.

[668] I am, I'm like, I knew her when she was a child.

[669] And people say, sit down, old man, but it is a thrill to see you and...

[670] Oh, well, I'm sweating, but thank you.

[671] It's very hard to receive that level of appreciation, but I'm grateful for it.

[672] So thank you.

[673] Okay.

[674] Well, if I can make you sweat or in any way uncomfortable.

[675] Yeah, a little pinned here.

[676] Claire, such a joy to have you here and see you again.

[677] It was really nice to see you too.

[678] Very cool.

[679] Thank you.

[680] Thank you.

[681] Let's do a little review the reviewers.

[682] This is where I go to Apple Podcasts and I pull a review and we talk about it and see how good people are doing it reviewing our show.

[683] Yeah.

[684] Okay.

[685] This is where we get to judge their judgment of us.

[686] Essentially, although this one is a bit more of a, what would I call it?

[687] Like I got an axe to grind.

[688] Oh, good.

[689] Yeah.

[690] All right.

[691] This is from Shmoopy.

[692] It's five -star review, and this is just representative of many comments we've gotten.

[693] All right.

[694] A while back, we did an episode, a Conan O 'Brien needs a fan episode, where I mentioned ink -a -dink, a bottle of ink, and you all looked at me like I was crazy.

[695] Yep.

[696] Well, people are coming out of the woodwork to defend me. Oh, good.

[697] That's nice.

[698] It's nice to know.

[699] And you know what?

[700] If anyone should defend you, it's Shmoopy.

[701] It's not often you hear Shmoopy to say, the rescue.

[702] Uh, well, also Terry Bagels and Giviviv.

[703] Well, and no man is an island.

[704] Freaky Fritz and Sean the bomb 07.

[705] Yep.

[706] Yep.

[707] Yep.

[708] Okay.

[709] So here's one of the rules.

[710] Those are your apostles.

[711] You're quite the religious leader.

[712] Matt is right.

[713] We did this every time we played hide and seek or ghost in the graveyard to see who was it.

[714] We actually had one more verse to it as well.

[715] Ink a dink a bottle of ink, the cork fell out and you stink.

[716] Not because you're dirty.

[717] Not because you're clean just because you kissed a girl behind a magazine love your podcast love the chill chums and conan is okay too behind a magazine i don't want this person as a fan that was not something i remember about who says time for our little sexual indiscretion meet me behind the magazine what does that even mean i don't know that was not in the version i had as a kid what's ghosts in the graveyard i don't know that one either is that a thing it must be i've never heard of Inca dinka, but I think some of these things are regional.

[718] Yeah.

[719] I remember that when we would play like a game of, you know, touch football on the street when I was growing up, this is like the early 1970s.

[720] And again, this is, I live in Brooklyn, I lived in Brooklyn, Massachusetts, which is right up against Boston.

[721] So it's the closest town to Boston, really, where we would play a pickup game.

[722] And if there was any kind of dispute, like that was a foul, you fouled him or no fair, you interfered.

[723] whatever any kind of or no you were out you were out of bounds because you stepped over towards the syses lawn rather than staying on canard road whenever people said stuff like that if you wanted to passive aggressively tell the other side okay you can have it you'd say let them have it let the babies have their orange juice I remember we all said that I remember people that was something people said just in our area and people took offense to that like they understood it was.

[724] Oh, they understood like, no, he really was out.

[725] No, it's fine.

[726] Okay, okay.

[727] Yeah, I was out.

[728] Let the babies have their orange juice.

[729] And I remember saying that with great conviction.

[730] Wow.

[731] And then, of course, living in different parts of the country.

[732] You tried saying it.

[733] And nobody says that.

[734] Oh, okay.

[735] I thought you tried saying it to someone and they were like, oh, I love orange juice.

[736] I'm sure I've said that.

[737] I'm sure I have tried that in L .A. Throughout my career, whether I was in New York or L .A. and someone said, no, that, you know, no, no, that joke doesn't belong in the sketch.

[738] It shouldn't be there.

[739] Okay, okay.

[740] Let the baby have his orange juice.

[741] And I'm sure people just said, oh, what?

[742] First of all, orange juice is not something you give to a baby.

[743] It's way too high in sugar, way too acidic.

[744] Yeah.

[745] So the more I've learned about babies, the more I've realized that it doesn't even make sense.

[746] The baby doesn't want the orange juice.

[747] Did you have Apple, Peaches, Pumpkin Pie, whoever's not ready, holler I?

[748] No, I grew up in the 20th century.

[749] What was it?

[750] You guys, nobody makes me feel more like a child of immigrants than the two of you.

[751] You guys are, this is a lot.

[752] What about bubble gum, bubble gum?

[753] What's that one, Eduardo?

[754] Bubble gum, bubble gum in a dish.

[755] How many pieces do you wish?

[756] One for the money, two for the show, three to get ready.

[757] What's up, my bro?

[758] What?

[759] I don't think of it went.

[760] I don't think it went, what's up my bro.

[761] Yeah, I don't think you should ever say what's up, my bro.

[762] The classic, right?

[763] Eny, mini, mini, money, mo. Yeah, catch a tiger by the toe.

[764] If he hollers, let him pay.

[765] Me, me, me, me, ma 'y mo. Yeah, I know that way.

[766] That goes back to the Civil War, you know?

[767] But the ones they're saying, do you know them?

[768] No. You're a child of immigrants like I am.

[769] And this is real white.

[770] Well, which ones do you know, Edward?

[771] Superman, Superman, fly away.

[772] I know Superman.

[773] Well, let's hear it.

[774] That was it.

[775] That was it.

[776] That's it.

[777] What?

[778] You're never going to make it in this country, Eduardo, if that's all you've got.

[779] Superman, Superman, fly away.

[780] And what else have you got?

[781] That's it.

[782] Get out of my country.

[783] USA, USA.

[784] Did you say no cuts, no butts, no coconuts when people would cut in line in front of you?

[785] I've heard it.

[786] I know that one.

[787] Okay.

[788] I don't know.

[789] That's one I know.

[790] There you go.

[791] I'm American.

[792] These are the things that should be on the citizenship test when you enter the country.

[793] No, it should not.

[794] Oh, you're right.

[795] It shouldn't be.

[796] No, no, it shouldn't be.

[797] No, we're doing a list of what shouldn't be on the citizenship next.

[798] Yes, I know.

[799] Like, let the baby have their orange juice.

[800] I think people can go in this world without knowing that.

[801] Maybe that's just a Boston thing.

[802] I don't know.

[803] That's a weird one.

[804] It's really weird.

[805] Let the babies.

[806] And I remember it saying it with great, you know, sort of intensity.

[807] Yeah.

[808] Let the babies have their orange juice.

[809] We shall move on.

[810] Wow.

[811] What a stupid thing to say.

[812] God, I was stupid.

[813] Yeah.

[814] Yeah.

[815] I mean, if we've arrived at any conclusion.

[816] conclusion here.

[817] It's that I'm the idiot and that you with your ink -a -dinka bottle of ink, yeah.

[818] There's a guy, I think he stinks.

[819] If he buys a coat, I hope it's mink.

[820] No. Now you're mocking.

[821] What's up, bro?

[822] What's up, bro?

[823] He needs some orange juice.

[824] He should see a drink.

[825] Go have some orange juice, what?

[826] You baby.

[827] Yeah.

[828] I pipsy, dipsy, dadley do.

[829] Yeah.

[830] I was young, but then I grew.

[831] My favorite food was beef au jus.

[832] There's always beef -ass shoe with you.

[833] I'm in Britain.

[834] I've got to use the loo.

[835] That's the one I'm going to use.

[836] You know, that's what I'm using from now on.

[837] I want to see how far it can go.

[838] Can you remember it?

[839] Do you remember what I said?

[840] Not a word.

[841] Bipsy, bodily boo.

[842] I was young, but then I grew.

[843] My favorite food was beef -out shoe.

[844] I was in England and I used the loo.

[845] Yeah, when I'm in England, I used the loo.

[846] How did I, I forgot it immediately after he said.

[847] But why can't that become legitimate?

[848] I want to hear kids saying that.

[849] Um, okay, because...

[850] Yipsy, bipsy, bodily boo!

[851] Yeah.

[852] I was a child, but then I grew.

[853] Okay.

[854] My favorite food is beef, ausue.

[855] That's where I think where you lose everybody.

[856] I don't think so.

[857] Okay.

[858] You know what?

[859] I was on a...

[860] I had to play the stage at Bonarue, the main stage.

[861] You were there for this.

[862] I was for your, when you were on tour.

[863] When I was on tour and it was a sea.

[864] It was just that, that reverse shot you see at, like, Woodstock.

[865] Yeah.

[866] All you see is people and then in the distance, you see some towers with lights.

[867] And I had to go out there, and I remembered, there's no subtlety.

[868] This is a crowd that can hear plugged in rock and roll through giant stacks.

[869] You can't go out there in front of that crowd.

[870] So I remembered what they liked was when I'd come out.

[871] And I'd go like, Bonarroo!

[872] How do you do?

[873] And they'd go, roar!

[874] And I did a couple of variations of that, and then I'll never forget.

[875] I had this microphone right and went, let's go get some beef aus.

[876] Hundreds of thousands of people suddenly got very quiet.

[877] I just imagined the parting down the middle and leaving.

[878] I remember when you did that, you came back and you're like, all I have to do is ask questions.

[879] Are you ready?

[880] Are you ready?

[881] It was a lot of that.

[882] I realized that's what they like.

[883] Yeah, just questions.

[884] You know what?

[885] When you start rhyming beef, how ju, It's time to bring pink out there, you know?

[886] Let's the job of pink!

[887] Remember, Nas?

[888] Yeah, I do.

[889] It's not time to bring pink out.

[890] I think it's time for you to go into a home.

[891] Yeah, it's time for me to go.

[892] Yeah.

[893] All right.

[894] God bless, Godspeed, get some beef out.

[895] Inca dinka.

[896] Bottle of ink, the cork fill out in Houston.

[897] No, no, no, no, no, beef azue.

[898] Conan O 'Brien needs a friend with Conan O 'Brien, Sonam of Sessian, and Matt Gourley.

[899] Produced by me, Matt.

[900] Gourley, executive produced by Adam Sacks, Nick Liao, and Jeff Ross at Team Coco, and Colin Anderson and Cody Fisher at Earwolf.

[901] Theme song by The White Stripes.

[902] Incidental music by Jimmy Vivino.

[903] Take it away, Jimmy.

[904] Our supervising producer is Aaron Blair, and our associate talent producer is Jennifer Samples.

[905] Engineering by Eduardo Perez, additional production support by Mars Melnick, talent booking by Paula Davis, Gina Batista, and Britt Kahn.

[906] You can rate and review this show on Apple Podcasts.

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