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>> HOLLYWOOD WHERE DREAMS ARE
MADE, BUT ALSO WHERE DREAMS
ARE CRUSHED.
BUT, REST ASSURED, TONIGHT YOUR
DREAMS WILL COME TRUE...
REALLY TRUE.
WELCOME TO "THE GREATEST EVENT
IN TELEVISION HISTORY."
>> LIVE FROM
HOLLYWOOD, CALIFORNIA, IT'S THE
LIVE COUNTDOWN TO "THE GREATEST
EVENT IN TELEVISION HISTORY."
AND NOW YOUR HOST, JEFF PROBST.
>> HELLO, EVERYBODY.
I'M JEFF PROBST, AND WELCOME
BACK TO THIS.
LAST YEAR, WE BROUGHT YOU WHAT
WE WERE LED TO BELIEVE WAS THE
GREATEST EVENT IN TELEVISION
HISTORY A SHOT-FOR-SHOT
RE-CREATION OF THE OPENING TITLE
SEQUENCE TO THE 1980s HIT SHOW
"SIMON & SIMON."
WELL, AS IT TURNS OUT, IT WASN'T
THE GREATEST EVENT IN TELEVISION
HISTORY NOT EVEN [BLEEP]
CLOSE.
HOW DOES AN ERROR THIS EGREGIOUS
HAPPEN?
I DO NOT KNOW.
BUT FOR CONFIRMATION, WE WENT TO
THE TALLEST TELEVISION EXPERT IN
NORTH HOLLYWOOD TO FIND OUT IF
"SIMON & SIMON" WAS, IN FACT,
THE GREATEST EVENT IN TELEVISION
HISTORY.
>> NO.
>> TONIGHT WE BRING YOU WHAT WE
HAVE BEEN ABSOLUTELY ASSURED IS
THE GREATEST EVENT IN TELEVISION
HISTORY A SHOT-FOR-SHOT
RE-CREATION OF THE OPENING TITLE
SEQUENCE FROM THE CLASSIC '80s
TV SHOW "HART TO HART," WITH
BELOVED STAR AMY POEHLER AND
WORKING ACTOR ADAM SCOTT.
ONCE AGAIN, WE'LL TAKE YOU
INSIDE THE PROCESS OF CREATING
HISTORY AGAIN.
LET'S START THE CLOCK...
AGAIN.
WITH A BUDGET OF OVER
$40 MILLION AND A CREW LARGER
THAN ANY CREW WHO HAS WORKED ON
A RE-CREATION OF THE
FOURTH-SEASON OPENING CREDITS OF
"HART TO HART," THE PROCESS
BEGAN, AS IT ALWAYS DOES, WITH A
GREAT PCE OF DRAMATIC
STORYTELLING IN THE REHEARSAL
ROOM.
[ INDISTINCT CHATTER ]
>> HI, EVERYBODY. I'M AMY.
HEY. HI, NICE TO MEET YOU.
HI. HI, NICE TO MEET YOU.
>> AS DIRECTOR, FIRST-TIMER
PAUL RUST WAS SELECTED.
>> JUST WONDERING, UH, HAVE YOU
CAST MY CO-STAR YET?
[ CHUCKLES ]
>> WHO'S MR. HART, EH?
>> [ CHUCKLES ] LET ME GUESS.
>> OKAY.
>> RYAN GOSLING?
>> NO.
>> BRADLEY COOPER?
>> IT'S ADAM!
>> ADAM SANDLER?
>> HEY, HEY.
IS THIS WHERE ALL THE KICK-***
PEOPLE HANG OUT?
>> [ CHUCKLES ] AH!
>> [ CHUCKLES ] WHAT'S UP, BRO?
>> LOOK AT THIS GUY.
GOOD TO SEE YOU.
YOU LOOK GREAT.
>> YOU GOOD?
>> MUCH BETTER NOW.
HOW ARE YOU DOING?
>> AH! I'M GOOD.
>> ADAM LET'S HEAR IT FOR
ADAM.
>> HEY, EVERYBODY!
HEY, HEY!
AH, COME ON. COME ON.
IT'S JUST ME.
HOW YOU DOING, MAN?
HEY, UH, WE FIGURED OUT WHO MY
CO-STAR IS?
>> GET READY.
IT'S
>> NATALIE PORTMAN.
>> AMY POEHLER.
HUH?
>> OKAY.
I'M REALLY HAPPY ABOUT AMY
BEING ON THE PROJECT.
I THINK IT'S GREAT.
IT'S A SURPRISE.
WORKING WITH AMY IS A
CHALLENGE, BUT WE WORK THROUGH
IT, AND WE WE DO THE BEST WE
CAN.
>> BEFORE WE SET THINGS IN
STONE, WE COULD JUST SWITCH
REALLY FAST.
>> SWITCH WHAT?
>> HORATIO COULD PLAY MR. HART,
AND YOU COULD PLAY MAX.
>> HORATIO. WHAT'S UP?
>> I'M PLAYING MAX.
I'M ONLY REALLY IN LIKE THE
FIRST MINUTE OF THE VIDEO, BUT
THAT'S OKAY, BECAUSE WE'RE
MAKING SOMETHING GOOD HERE, AND,
LIKE, THERE'S NO SMALL PLAYERS
IN THIS THING, YOU KNOW?
>> I WOULD LOVE TO GET STARTED.
ARE YOU GOOD WITH THAT?
>> OH, I'M DEFINITELY GONNA DO
IT.
>> I'M DOING IT, TOO.
>> OKAY.
>> YOU'RE GONNA DO IT.
>> I AM DOING IT.
WE'RE ALL DOING IT.
>> ALL RIGHT. GREAT.
I'M HAPPY THAT I'M WORKING WITH
ADAM.
THE GREAT THING ABOUT WORKING
WITH SOMEONE YOU KNOW IS THAT
YOU KNOW ALL OF THEIR TRICKS, SO
YOU ARE NEVER SURPRISED.
IT CREATES A MUTUAL SENSE OF
TRUST AND COMPLACENCY, AND
THAT'S NICE, AS AN ACTOR, TO
HAVE THE TIME TO PREPARE FOR THE
THREE OR FOUR THINGS THAT HE
DOES.
SO, PAUL, I JUST HAD A QUICK
QUESTION.
>> YEAH?
>> ADAM GETS TO DO THIS?
BECAUSE I-I THOUGHT HE ALREADY
DID ONE.
PEOPLE GET TO DO TWO?
>> YEAH, HE'S HE'S DOING TWO.
>> WHY IS HE IN TWO?
ADAM WAS TOLD HE'S GONNA BE IN
THE GREATEST THING IN TV [BLEEP]
WHATEVER.
HE WASN'T. THEY PROVED IT.
CASE [BLEEP] CLOSED.
>> I'M ADAM, BY THE WAY.
>> HENCEFORTH, CHECK THE [BLEEP]
CONTRACT, BRO.
ADAM'S IN THESE IN PERPETUITY,
WHICH MEANS FOREVER.
>> "I SAW YOU.
WHAT ARE YOU LOOKING AT ME FOR?"
LIKE THAT?
>> NO.
>> SHOULD WE GO BACK, OR
>> NO, YOU'RE THE ONE THAT
SCREWED UP.
SO WE CAN KEEP GOING.
>> OKAY.
REHEARSAL FOR ME IS WHEN I START
SEARCHING FOR TRUTH, AND WHEN I
SAY TRUTH, I MEAN THOSE TASTY
LITTLE NUGGETS THAT WE CAN JUST
GOBBLE UP SO WE CAN THEM SPIT
THEM OUT TO THE AUDIENCE AND
MAKE THEIR LIVES BETTER.
AND THAT MAKES ME FEEL GOOD, AND
THAT'S THE GOAL.
>> PAUL, ONE MORE TIME WHY AM
I SITTING?
>> UH, 'CAUSE YOU'RE IN A CAR.
>> I JUST DON'T KNOW IF I WOULD
BE SITTING.
I DON'T KNOW IF MY CHARACTER
WOULD SIT.
COULD I STAND?
>> WHILE DRIVING?
>> YEAH.
THE REHEARSAL PROCESS HAS BEEN
HARD BECAUSE WHAT WE'RE DOING IS
WE'RE JUST KIND OF COPYING
WHAT'S ALREADY BEEN DONE, AND IT
COMES VERY EASILY TO ADAM.
AND IT'S A CHALLENGE FOR ME,
BECAUSE I'M SO CREATIVE AND
ORIGINAL, AND IT JUST IT'S
HARD FOR ME TO GET THERE.
>> I WAS ACTUALLY THINKING, TOO,
THAT MAYBE I'D BE STANDING?
LIKE, MAYBE I'M ALSO STANDING.
IS THAT OKAY WITH YOU?
>> UM, IT IS. IT'S FINE.
>> OKAY.
>> IT'S JUST I DON'T KNOW
IF, LIKE IF WE'RE BOTH
STANDING, IS SUDDENLY LIKE
YOU KNOW WHAT I MEAN?
>> OH. YEAH, YOU'RE RIGHT.
ACTUALLY, YEAH.
YEAH. NO, YOU'RE RIGHT.
>> NO, I-I
>> NO, I'LL STAND I'LL SIT.
>> OR WE COULD DO IT LIKE IN THE
ORIGINAL, WHERE, YOU KNOW, BOTH
OF YOU ARE SITTING IN THE CAR.
>> YEAH, THAT'S THE ONE.
>> YEAH. MM-HMM.
>> THAT'S WHAT WE SHOULD DO.
>> YEAH.
>> OKAY, COOL.
>> THANK YOU.
>> THAT'S GOOD.
OR...MAYBE, LIKE, I'M THE ONE
STANDING?
LIKE, MAYBE I'M, LIKE YEAH.
LIKE, MAYBE I'M STANDING, AND
YOU'RE SITTING, AND IS
THAT...
>> AMY, UM...
>> SURE, WHATEVER. YEAH.
>> OKAY.
OKAY, GREAT.
>> GREAT. OKAY.
>> AFTER AN EXHAUSTIVE TWO WEEKS
OF REHEARSAL, THE "HART TO HART"
TEAM WAS READY TO SHOOT.
>> STANDBY.
>> HI.
>> MR. SCOTT, WE'RE WAITING FOR
YOU ON SET.
>> OH.
IS AMY OUTSIDE, BY ANY CHANCE?
>> NO, SHE'S WAITING FOR YOU TO
LEAVE YOUR TRAILER.
>> INTERESTING.
I MEAN, I JUST DON'T WANT TO
STEP OUT OF MY TRAILER TILL AMY
STEPS OUT OF HER TRAILER.
IT JUST, LIKE, SETS THIS BAD
PRECEDENT.
>> YEAH, UH, WELL, YOU KNOW
WHAT?
I CAN JUST TAKE YOU NOW.
[ KNOCK ON DOOR ]
>> HI.
>> MS. POEHLER.
ARE YOU GONNA COME TO SET TODAY?
>> YEAH. SURE.
WE READY TO GO?
>> YEAH.
>> OKAY. ADAM'S ON SET?
>> YEAH, HE'S JUST WAITING FOR
YOU TO LEAVE YOUR TRAILER.
>> HE'S NOT ON SET?
>> HE WANTED YOU TO LEAVE YOUR
TRAILER FIRST, SO...
>> DON'T BE UPSET.
DON'T BE SCARED.
[ CHUCKLES ]
I'M NOT ANGRY AT YOU.
I KNOW YOU HAVE NO POWER HERE.
>> THANK YOU.
>> THANK YOU SO MUCH.
>> THANKS SO MUCH.
>> OKAY. BYE.
>> WELL, WE'RE READY.
YOU KNOW, IT'S NORMALLY AN EASY
JOB.
UH, YOU JUST TELL PEOPLE WHEN
IT'S TIME TO GO TO SET, UH, AND
THEY GO, BUT THESE PEOPLE,
NEITHER OF THEM WANT TO GO TO
SET.
>> PRODUCTION RESUMED AFTER
BOTH AMY AND ADAM AGREED TO
LEAVE THEIR TRAILERS AT THE
EXACT SAME TIME.
[ AIR HORN BLOWS ]
HOWEVER, WALKING ONTO SET WAS
SOMETHING ENTIRELY DIFFERENT.
>> GO AHEAD.
>> WHENEVER YOU'RE READY.
>> I'M READY.
>> TALENT AND ADAM ARE READY.
>> I DON'T LIKE WASTING TIME.
IT'S JUST SOMETHING I DON'T DO.
I AM UNABLE TO WASTE TIME
BECAUSE I THINK TIME IS
PRECIOUS, AND WHEN I HEAR THAT
THERE MIGHT BE TIME WASTED ON
SET, I JUST WON'T GO, BECAUSE
WHEN I GO ON SET, I WANT TO
WORK.
SHE'S ON THE SET.
TECHNICALLY, SHE'S ON THE SET.
>> OKAY, LET'S GET STARTED!
>> [BLEEP]
>> WITH AMY TECHNICALLY STEPPING
ON SET FIRST, ADAM RELUCTANTLY
AGREED TO GET STARTED.
>> I THINK HE SAYS "CHEERS."
>> OKAY, PAUL. ARE YOU HERE?
>> YEAH. RIGHT HERE, BUDDY.
WHAT'S UP?
>> HEY.
Can you can you tell Amy
that, like, when when we do
the the toast, the timing has
to be it's like a
one-two-three thing, but I feel
like she's kind of going on
four.
I'm going on three.
>> So, Adam was kind of
concerned
>> Can you let Adam know that,
um, finding rhythm can be
difficult when a partner you're
working with doesn't have any?
>> PAUL.
>> Do Do you know?
>> WOULD YOU MIND TELLING AMY
THAT, WHILE I AM EXHAUSTED BY
HER, I ACTUALLY FIND HER LITTLE
GAMES HILARIOUS.
>> WHEN ADAM AND I WORK
TOGETHER, THERE'S A CERTAIN,
LIKE, UH, VOCABULARY THAT WE
DON'T HAVE WE DON'T SHARE.
>> WE CAN TALK ALL NIGHT LONG
ALL NIGHT LONG.
WILL YOU LET AMY KNOW THAT?
>> PAUL, WILL YOU LET ADAM
KNOW AND YOU KNOW WHAT?
LET HORATIO KNOW, TOO, THAT WHEN
YOU'RE WORKING WITH A ROBOT,
SOMETIMES YOU FORGET THAT THEY
HAVE EMOTION.
>> HORATIO.
>> WHAT?
>> AMY THINKS
>> I HEARD IT.
I'VE BEEN AROUND THE SET FOR
THREE DAYS NOW.
OH, EXCUSE ME. THAT'S MY WATER.
UH, YESTERDAY, I-I DIDN'T LEAVE
A CHAIR FOR NINE HOURS.
BUT THAT'S OKAY, BECAUSE WE'RE
MAKING SOMETHING GOOD HERE, AND
AS FAR AS AMY AND ADAM BEING
MAYBE A LITTLE WEIRD OR
SOMETHING ON THE SET, I DON'T
KNOW.
THEY CARE ABOUT THEIR WORK.
SO, I DON'T KNOW.
I TRY NOT TO GET INTO ALL THAT
BUSINESS.
"WHAT?
THAT GUY'S A [BLEEP] ***," OR,
"WHAT A ***," OR, "I'LL
NEVER WORK WITH THESE PEOPLE
AGAIN," OR, "[BLEEP] 'A,' I HOPE
THOSE GUYS DIE" YOU KNOW, YOU
HEAR [BLEEP] LIKE THIS, AND
YOU'RE LIKE, "WELL, WHATEVER."
YOU KNOW WHAT I MEAN?
HEY, GUYS, IT'S TACO TRUCK
FRIDAYS.
>> YOU KNOW WHAT, GUYS?
YOU'LL HAVE TO EXCUSE ME FOR A
SEC.
I HAVE TO TAKE A [BLEEP]
>> OKAY.
BETTER GET THAT DONE BEFORE THEM
TACOS.
AMY.
>> HEY.
>> WHAT'S UP?
WE HAVE A LOT OF PEOPLE ON THE
SET.
EVERYBODY'S TALKING ABOUT,
"AMY'S KILLING IT, YOU KNOW?"
>> AWW.
>> "SHE'S DOING SO GREAT."
>> WELL, THAT'S SO SWEET TO
HEAR.
>> YEAH.
>> PEOPLE ARE REALLY NICE HERE.
>> I'M A LITTLE WORRIED BECAUSE,
YOU KNOW, WE'VE ONLY SHOT, YOU
KNOW, 10 SECONDS OF FILM.
>> SORRY. I WASN'T LISTENING.
WHAT?
>> AND CUT.
[ BUZZER ]
>> BUT WHAT AMY WAS DOING WASN'T
WHAT THE INTRO WAS, EITHER.
>> BUT IT WORKS. BUT IT WORKS.
>> WHY DOES THAT WORK AND THIS
DOESN'T WORK?
PAUL, WOULD YOU MIND TELLING AMY
I'D APPRECIATE IT IF SHE DIDN'T
USE THE "N" WORD ON SET TODAY.
>> AAH!
>> SORRY.
>> WITH THE PRODUCTION MAKING
LITTLE TO NO PROGRESS,
THERAPIST AND CHEMISTRY
SPECIALIST BELL TAINT WAS
BROUGHT IN TO HELP ADDRESS
ON-SET TENSION AND IMPROVE AMY
AND ADAM'S RELATIONSHIP.
>> I AM JUST HAVING A HARD TIME
CONNECTING RIGHT NOW BECAUSE OF
THE GLASSES.
I CAN'T SEE ADAM'S EYES, AND I
THINK THAT'S INTERESTING, DON'T
YOU?
>> I THINK YOU'RE SAYING IT TO
ME WHEN WHAT YOU REALLY WANT TO
SAY IS TO ADAM.
>> I JUST THINK IT'S INTERESTING
THAT YOU'RE WEARING GLASSES
WHILE WE DO THIS, UH, THERAPY
SESSION, WHICH YOU
>> UH, HERE, LET'S TRY THIS
EXERCISE.
SO IT'S AN EXERCISE THAT I CALL
"POST-IT."
I'M GONNA GIVE EACH OF YOU A
POST-IT.
ONE FOR YOU, AMY.
>> THANK YOU.
>> WELL, DON'T SAY THANK YOU TO
ME.
SAY THANK YOU TO ADAM.
THAT'S WHAT WE'RE TRYING TO DO
HERE.
>> THANK YOU.
THANK YOU FOR, UH, BEING NEXT TO
ME WHEN THE THERAPIST GAVE ME A
POST-IT.
>> ALL RIGHT.
WELL, YOU KNOW WHAT?
I THINK LET'S PUT A HOLD ON THAT
'CAUSE I YOU'RE NOT READY.
>> WELL, IT JUST IS CONFUSING.
>> HERE IS YOUR POST-IT.
>> IT'S REALLY DARK IN HERE.
CAN WE GET SOME SOME LIGHTS
ON OR SOMETHING?
>> WHY DON'T YOU JUST TAKE YOUR
GLASSES OFF?
>> I CAN'T.
THE LIGHTS ARE TOO BRIGHT.
HMM. INTERESTING.
>> HERE IS THE EXERCISE I
WANT YOU TO EACH WRITE ON THE
PAPER A LIST OF 15 MEMORIES THAT
MEAN SOMETHING TO YOU ABOUT THE
OTHER PERSON JUST A PARAGRAPH
OR TWO ON EACH MEMORY.
OKAY, LET'S SEE.
SO YOU WROTE, "I LIKE ***."
OKAY.
HAS A PICTURE OF A BUTT, AND IT
SAYS, "I'M ADAM, AND I LIKE TO
FART."
AND THEN THERE IS A LITTLE LINE
COMING OUT THAT, I'M GUESSING,
SYMBOLIZES THE SMELL OF THE
FART.
IT'S CLEAR WHAT'S GOING ON WITH
AMY AND ADAM.
I MEAN, ADAM CLEARLY SUFFERS
FROM A VERSION OF LUPUS THAT
I'VE SEEN MANY TIMES, AND AMY'S
WAY OF COPING WITH IT IS TO USE
VIOLENCE.
WHEN YOU HAVE A VIOLENT PERSON
CONSTANTLY HITTING SOMEONE WITH
LUPUS, THEY CALL IT THE
LUPUS PUNCH.
WHEN YOU GET HIT WITH A LUPUS
PUNCH, YOU'RE WEAKER BECAUSE
OF WELL, BECAUSE OF THE
LUPUS.
LOOK, I KNOW YOU GUYS ARE THE
"ARTISTS" AMONG THE THREE OF US,
BUT I HAVE DONE A FEW GIGS BACK
IN THE DAY WITH A BLUES COMBO IN
CLEVELAND, OHIO.
UH, WE DID SPARKYS.
WE DID GROMMS SANDWICH.
UH, AND WE DID SPARKYS AGAIN.
IS IS ANYONE DOING THE SCORE
YET FOR THIS PCE, BECAUSE
>> I DON'T KNOW. I DON'T KNOW.
>> I THINK
>> I I DO KNOW WHAT I'M
>> I THINK THEY'RE JUST USING
THE MUSIC FROM THE ORIGINAL
SHOW.
>> OKAY, 'CAUSE I DO HAVE SOME
IDEA WHAT I'M DOING.
I'M NOT JUST SAYING, "OH, YOU
KNOW."
YOU CAN CALL SPARKYS.
>> WITH DR. TAINT'S THERAPY
BEHIND THEM, AMY AND ADAM WERE
ABLE TO SET ASIDE THEIR
DIFFERENCES AND COMPLETE WORK ON
THE PROJECT.
[ COUNTRY MUSIC PLAYS ]
>> WE GOT IT.
>> [ LAUGHING ]
>> YOU SEE WHAT HE'S DOING?
>> YOU SEE WHAT SHE'S DOING?
IT'S LIKE SHE'S SUCKING MY...
>> AND IT WAS ALL WORTH IT.
WHAT YOU'RE ABOUT TO SEE IS WHAT
WILL CERTAINLY BE KNOWN
CERTAINLY GO W-WILL SURELY GO
DOWN AS, RIGHT?
10...9...8...7...
6...5...4...
3...2...1...
[ CROWD CHEERING ]
[ THEME SONG PLAYS ]
>> THIS IS MY BOSS,
JONATHAN HART, A SELF-MADE
MILLIONAIRE.
HE'S QUITE A GUY.
THIS IS MRS. H.
SHE'S GORGEOUS.
SHE'S ONE LADY WHO KNOWS HOW TO
TAKE CARE OF HERSELF.
BY THE WAY, MY NAME IS MAX.
I TAKE CARE OF BOTH OF THEM,
WHICH AIN'T EASY, 'CAUSE WHEN
THEY MET, IT WAS ***!
>> [ BARKS ]
>> THANK YOU, AND GOODNI
[ THEME SONG PLAYS ]
>> THIS IS MY BOSS,
JONATHAN HART, A SELF-MADE
MILLIONAIRE.
HE'S QUITE A GUY.
THIS IS MRS. H.
SHE'S GORGEOUS.
SHE'S ONE LADY WHO KNOWS HOW TO
TAKE CARE OF HERSELF.
BY THE WAY, MY NAME IS MAX.
I TAKE CARE OF BOTH OF THEM,
WHICH AIN'T EASY, 'CAUSE WHEN
THEY MET, IT WAS ***!
>> [ BARKS ]
>> UH, YOU KNOW, WHEN PAUL RUST
CAME TO ME, UH, AND SAID
[CLEARS THROAT] YOU KNOW, WE
WANT TO DO A LOT OF THIS STUFF
IN POST, I YOU KNOW, I LOOKED
AT HIM, I SAID, "YOU COULD JUST
SHOOT THIS STUFF, BUT I
UNDERSTAND WHY YOU'VE COME TO
ME."
WHAT I DO, WHAT I SPECIALIZE IN,
IS TAKING EVERYDAY OBJECTS THAT
YOU COULD SHOOT IN REALITY, AND
I CGI THEM.
SOMETIMES YOU'LL SEE A SHOT, AND
THEY THEY CAN'T GET THE
RIGHTS TO A SET OF CAR KEYS, SO
WE'LL BUILD THOSE CAR KEYS IN
POST.
SOMETIMES PEOPLE DON'T HAVE
FINGERNAILS.
WE'LL BUILD THOSE FINGERNAILS IN
POST.
PEOPLE EATING TINFOIL, BECAUSE
OF FILLINGS PEOPLE HAVE
FILLINGS UH, IT CAN REACT.
>> SURE.
>> SO WE DON'T ACTUALLY HAVE
PEOPLE WE'LL JUST HAVE PEOPLE
EAT, UH, GREEN PAPER.
AND THEN WE'LL MAKE IT INTO
TINFOIL IN POST.
PEOPLE ASK ME ALL THE TIME, AM I
JEALOUS OF MY COUSIN
MICHAEL BAY?
UH, YOU KNOW, MICHAEL
I'M SORRY TO KEEP TALKING ABOUT
MICHAEL, BUT IT'S LIKE IT'S
SOMETHING I DEAL WITH ON A
DAY-TO-DAY BASIS.
AND MY WIFE IS LIKE, "NOBODY IS
COMPARING YOU TO MICHAEL."
I SAID, "I'M I AM TALK TO
MY MOM, BECAUSE I GET ALL THE
CLIPPINGS."
I GET EVERY CLIPPING, EVERY
ARTICLE, EVERY AND NOW, WITH
THE INTERNET, ALL THE
INTERVIEWS, ALL THE PRESS
JUNKETS, I SEE EVERY ONE, AND I
WATCH THEM ALL, 'CAUSE WHAT?
HE'S MY COUSIN.
I'M PROUD OF HIM.
BUT TO SEE MICHAEL BAY SUCCEED
AS HE HAS, AND TO KNOW THAT WE
WERE GREW UP IN THE SANDBOX
TOGETHER PLAYING AND AND, YOU
KNOW, BOTH HAD PRETTY GRAND
DREAMS, AND TO SEE HIM SUCCEED
HOW HE HA HOW HE HAS, AND TO
KNOW THAT I'M DOING FINE...
UM, I'M MAKING A LIVING DOING
WHAT I LOVE, WHICH IS TO
RE-CREATE, UM, REAL-LIFE OBJECTS
IN CGI.
I HAVE A PROGRAM THAT MAKES
LIQUID LOOK ALMOST REAL.
ONE OF MY SPECIALTIES IS
DIARRHEA.
SO [CLEARS THROAT] NOT EVERYBODY
WANTS TO ACTUALLY GET DIARRHEA
IN A MOVIE.
LET'S SAY SOMEONE NEEDS SOME
DIARRHEA, YOU KNOW, FOR A MOVIE,
AND THEY DON'T WANT THEN THEY
COME TO ME, AND I BUILD IT IN
POST, YOU KNOW?
UM, AND IT'S EASY.
WHAT CAN I SAY?
I'M ONE OF THE BEST DIARRHEA
GUYS IN THE BIZ.