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>>John Woldenberg: I'm the producer of the movie and thank you all for coming. We're
thrilled to be here at Google. The movie business is a tough business, so when you make a small
movie you want lots of people to see it. And the fact that we came here to Google, that's
been fantastic and we're thrilled to have you here as an audience.
I am lucky to be partners in this movie with a guy who you can all see in a second who
is literally a Hollywood legend. He created the show "Everybody Loves Raymond," which
I'm sure many of you have seen, and now he is moving into film. And he is a talent behind
the camera and in front of the camera.
He's funny, as you've seen. And it's very unusual to have him coming out and doing Q&As.
So, without any further ado, I love to introduce Phil Rosenthal, who's the director and star
of the movie, "Exporting Raymond."
[applause]
>>Phil Rosenthal: Do I come now? Is now good? Now good to come? Hi guys. Thanks John. What's
this? This is the new Google microphone?
[laughter]
>>John Woldenberg: You can sit or stand.
>>Phil Rosenthal: Do you put it in your body?
[laughter]
Hello everybody. Thanks for coming to the film. Did you show the film?
>>Male Presenter: Yeah.
>>Phil Rosenthal: All right. Very nice. How's--. I'm here for you. I'll answer any questions
that you need know. I'm very technically minded, so I know a lot of you aren't.
[laughter]
But I can help you with any--. You know what? I'm good at like relationship problems.
[laughter]
So if any of you, you know, in that department, I can help you. I can't really help you with
the computer things. [chuckles] But the other things, the softer things, that I can help
with.
>>John Woldenberg: Why don't you start by talking about just the fact that it's a documentary,
which is very different than what you've been doing?
>>Phil Rosenthal: It is a documentary.
[laughter]
I guess the way it came about was the head of Sony called me in his office and he told
me that Sony invented the sitcom in Russia. It didn't exist until they brought The Nanny,
over, I think you saw that part, and that became a big hit.
And he said, "How would you like to go over there and just observe how we work with these
people and then come back and write a fictional feature film about a creator of a show who
goes to Russia to have his show translated?" And I said, "Well if the situation exists,
these people really exist, why not just bring a camera crew over and film what would really
happen?"
And he said, "I love that idea. Would you go do your show over there and not only make
the movie, but be in the movie?" So, you have to, you know--. I love every part of the business.
I started as an actor and became a writer, then a director, then a producer.
And so I love every aspect of the business except the business. That's the bad part,
but their all the other stuff I love. So, this was too good an opportunity to pass up
until I got there.
[laughter]
Yeah.
[laughter]
[cell phone rings]
Hello.
[laughter]
That's Google's secret code thing?
[laughter]
[Imitates gangster voice] Assassinate him now.
[laughter]
>>John Woldenberg: Now, naturally we'd love to, if you have any questions, but we can
certainly talk about some of the things in the movie, like your parents.
>>Phil Rosenthal: Again my parents. No. I, they're very special people. They are kind
of the stars. Most people see them as the stars of the movie. They'd steal the movie
I think. They're inimitable. You had a question right here. Are we doing microphone passing?
All right. Here we go.
>>MALE AUDIENCE MEMBER #1: It seems from the movie at least, that you're an expert, an
evangelist of the family. I mean, you sort of know what an American family is. Or even
universally, what truths are of families all over the world.
What do you think is holding true and what's gonna change in the future? I mean, if you're
getting into film and--
>>Phil Rosenthal: Yeah.
>>MALE AUDIENCE MEMBER #1: I imagine that you're gonna continue with what you're an
expert in--. Continue like movies, shows about the truths of being a family. Are those gonna
change, or what's gonna hold?
>>Phil Rosenthal: Do you mean that, or do I think families will change?
>>MALE AUDIENCE MEMBER #1: Sure. What, what, I mean--.
>>Phil Rosenthal: Families have changed already. Like, there's already a difference between
Everybody Loves Raymond and Modern Family, right? That which is like a fantastic representation
of what a family is today and they do it great.
And they found a way to make it a modern family. I believe that a family is anywhere people
are forced to live together. [laughter] Like, you guys really do, in my little time that
I've had here already, you kinda have this Google family. I mean, you're sitting in a
room with people.
I know it's a huge organization, but do you feel like you know each other? I'm just curious.
Or are most of you like, this is the first time you've seen a lot of people? Yes? It
is?
[laughter]
>>MALE AUDIENCE MEMBER #1: The work in this office is pretty good, so I do think we have
this sense of Googliness just from that. Maybe. I don't know.
>>Phil Rosenthal: Just from what?
>>MALE AUDIENCE MEMBER #1: Just from this idea of Googliness, meaning we have a sense
of--.
>>Phil Rosenthal: Is that what you call it?
[laughter]
That's so ***.
[laughter]
Just so, I gotta tell you 'cause we're on the same wavelength on at least one thing.
When I was making the television show and you're bringing people together who have never
worked together before, even though they're in the same business and they understand the
business of TV the way you understand the business of what you do, how do you make people
feel like a family, strangers?
And I found out what it is. It's food. I swear to God. That is essential. And just walking
around here and saying, "Oh, yeah. Eat whatever you want." And there's 35 other places where
you can eat whatever you want, any time you want. And I'm like, "I wanna live here."
[laughter]
And I love everyone. If you have let's say on a movie shoot, or TV shoot, and you just
put out crap for the people to eat, like potato chips. You know, just junk food. Jelly beans.
Stuff like this. First of all, it doesn't keep them alive the way you want them to be.
But they grab it just because they're hungry and/or bored and go back to their jobs without
really communicating. But if you do what I did, which is once in a while, here comes
some cinnamon rolls from Chicago, here comes some pastrami and deli from New York and that
stuff is on the table, then you go over and you've never met him before and you go over
and you eat.
Oh, my God. They say, "Oh, my God. Did you try this?" And they say, "Yeah." And right
away we're talking and it's about something nice. Food connects us all in the most elemental
way and your people here who thought of this idea of making the food great and ubiquitous
and all the time and as much you want, I mean first of all, nobody here is 300-pounds either.
[laughter]
Which is surprising because I think--. First thing I would do, when I first came to Hollywood,
I had been a starving actor, literally. And the only, when you're working in the writer's
room, the only sunshine coming in that room, and you're there all day, is the menu.
[laughter]
So, you mean I can get an appetizer and an entrée? Yes. And dessert? Yes. Anything I
want? Yes. Every day? Yes. I gained 30 pounds, right away. Right away. But I felt taken care
of the way your mom takes care of you. That's what food does. So welcome to my talk about
you and food.
[laughter]
>>MALE AUDIENCE MEMBER #2: I had a question myself.
>>Phil Rosenthal: Please.
>>MALE AUDIENCE MEMBER #2: I think in industry terms Raymond and shows like that are called
three-camera shows. Or is it four camera?
>>Phil Rosenthal: Now it's four-camera. It did start up. You know who invented the three-camera
sitcom that we know? Do you know? It was Desi Arnaz when they made I Love Lucy. That was
the first time they had used multiple cameras to film a show.
>>MALE AUDIENCE MEMBER #2: And the second part is supposedly, I've read that shows like
30 Rock and The Office and Parks and Recreation are called one-camera shows, somebody walking
around with a camera.
>>Phil Rosenthal: Yes.
>>MALE AUDIENCE MEMBER #2: What's your feeling about the difference between those two formats?
>>Phil Rosenthal: Well, obviously the 30 Rock shows and The Office, those are made like
movies. So, you're watching a film. Our show, and the shows that came before us and the
ones that are on now, these are four-camera shows that are rehearsed, written, rehearsed,
and presented as a play in front of an audience.
And it's this perfect in-between film and theater because you get the theatrical experience,
right? Written, rehearsed all week, presented to real laughing people, hopefully, who come
on Friday nights to watch the taping. This then is preserved and tweaked and edited like
a movie.
So it's the, to me, it's always been the best of both worlds. You get to have the pliability
and yet the permanence of film of your theatrical event. Right? So, I love it. I don't see why
it fell out of favor. I really don't. I think apparently this season, when you start watching
TV this season, you're gonna see more of them.
Just everything is cyclical. It comes back around. But listen, there's great single-camera
shows, too. My favorite one right now is Louie. You watch Louie? You guys know that show?
>>MALE AUDIENCE MEMBER #2: Yeah.
>>Phil Rosenthal: Isn't it great? Amazing show, right? So I love that.
>>MALE AUDIENCE MEMBER #2: Louie C.K.
>>Phil Rosenthal: Yeah. He's awesome. But there's no--. You know, I can't say one form
is better than the other. There's good and bad everything.
>>John Woldenberg: I wanna just go back to families for a second. I mean this, Everybody
Loves Raymond is in 148 countries, currently subtitled or dubbed. And so the idea of family
is appealing globally. But this new local language, culturally-adjusted development
of television shows is kind of a new concept and when Phil went over to help the Russians
try to translate this for their audience, that's something that is taken hold and is
now the trend in entertainment.
And really, maybe commenting on family, confronting family internationally, culturally adjusting
the impressions of family is something that's interesting.
>>Phil Rosenthal: It turns out that they were the toughest ones to get to come on board.
Now that it's a hit in Russia, the way they do it is just like the way they did it with
The Nanny, because Russia's like the biggest foreign territory. All the other foreign territories
follow suit. So Poland really did call. They really are doing the show. I'm not going.
[laughter]
But they're doing the show. Then Israel, Egypt, India, England, Argentina, all these places
are now lining up to do this. The Netherlands are already doing it. This actually may become,
Sony's telling me, it probably will become the most produced show in the world.
[laughter]
I'm shocked. But then again, I have to say, "Why not?" It is, as I've maintained, about
a relatable thing. Not that it's so fantastic or the best show ever, I'm not saying that.
I'm saying it seems to be relatable because it's about stuff that doesn't change,family.
So they seem to have that everywhere.
>>John Woldenberg: I just saw a clip. Phil sent me clips from Poland and from Egypt.
>>Phil Rosenthal: Yes.
>>John Woldenberg: The Egyptian version is hilarious. It's subtitled in English and you
don't know what to expect, but honestly, it's--. The items in the show might change because
of where it is, but the dynamic between husband and wife and mother-in-law and father-in-law
is the same everywhere and it is absolutely hilarious.
Who'd have thought?
>>MALE AUDIENCE MEMBER #3: I have a couple questions. One was that actor that you didn't
get, you wanted him to, Evgeny something?
>>Phil Rosenthal: Evgeny Miller. Great actor.
>>MALE AUDIENCE MEMBER #3: Yeah. Did you ever hear later he regretted [chuckles] that he
wasn't allowed to--?
>>Phil Rosenthal: He shot himself.
[laughter]
Look at this. This is they're sense of humor. No, I, look--. The theatre master owns that
guy, right? He owns every actor that in--. That's true. In Russia, even the tiny theater
masters from the tiny theaters--not real little theater masters [laughter]--from little theaters,
they tell you once you sign up they run your career.
Now, the Moscow Art Theater, I mean this guy, he is God. I mean, to these people he is God.
It just so happens God likes the singing fish on the wall.
[laughter]
But he tells him what--. Once you sign up, that's it. And he, obviously he has to let
some actors out to do film and TV work. Otherwise, there would be no film and TV work. This guy
though, he was saving for himself, for his, maybe he was young and maybe he didn't--.
He didn’t' even tell him, the actor didn't tell the guy that he went in on the audition
'cause he was so afraid. If it comes out later that I got it, then I'll worry about it then.
And it did. And he said, "No. Absolutely not." So I'm sorry. I really, I mean you felt my
frustration. [audience chuckles]
>>MALE AUDIENCE MEMBER #3: The other question was after it took off there today, have you
considered a live audience for part of it?
>>Phil Rosenthal: They did reconsider it and decided it's cheaper to do it their way. [laughs]
The excuse they gave me was we would have to get chairs.
[laughter]
Here's what you have to know. In America, it's a million, two million dollars per half
hour. And then, God forbid, you become successful and the actors want even more money, so they
become--.
I think by the time we were done shooting it was like four million an episode. There,
all in, I mean, pre-production, post-production, food, everything, editing--eighty thousand
dollars an episode. And I have to say, it looks it.
[laughter]
You know, it looks like we took one camera and shot in your basement, because that's
pretty much what they did. [laughter] So that's the way it looks. And by the way, it plays.
It's not like it doesn't play.
So they film it every other day, an episode, because all they're doing is taking our scripts,
filming them every other day like a soap opera because that's what they know in the half
hour format. Then they're on every night Monday to Friday. So, they're gonna burn through
nine years of my show in a year and a half.
Good luck. Then they have to write their own.
[laughter]
Good luck. Yeah.
>>MALE AUDIENCE MEMBER #4: I have a question. Hello.
>>Phil Rosenthal: Hello.
>>MALE AUDIENCE MEMBER #4: First, thanks for bringing the movie. It was a lot of fun. I
know you probably cut it in a way to make it mysterious what happens to your driver.
>>Phil Rosenthal: Yes.
>>MALE AUDIENCE MEMBER #4: But you have to know what happened to the guy, don't you?
>>Phil Rosenthal: I don't.
[laughter]
It's a Russian mystery.
>>MALE AUDIENCE MEMBER #5: I think I can clarify. There are like, sanatoriums outside of the
big cities.
>>Phil Rosenthal: Are you from Russia?
>>MALE AUDIENCE MEMBER #5: Yes.
>>Phil Rosenthal: Great.
>>MALE AUDIENCE MEMBER #5: My grandmother loves those. She disappeared for two weeks
and you know where she went.
>>Phil Rosenthal: This is what I learned, that it's both. He went on vacation to a place
where they do the tests. Is that right?
>>MALE AUDIENCE MEMBER #5: Yeah.
>>Phil Rosenthal: And that was a joke that we made. Maybe in Russia, twelve days of tests
is a vacation. It is!
[laughter]
It is, right? You can go to a place that's both. I drove three hours outside of Moscow.
>>MALE AUDIENCE MEMBER #5: It's actually for older people to do this, not young.
>>Phil Rosenthal: He had something wrong. Here's the other thing that they told me.
Tell me if this is true. I'm so glad you're from Russia. First of all, did you like the
movie?
>>MALE AUDIENCE MEMBER #5: A lot. It was awesome.
>>Phil Rosenthal: Did it seem like, did it seem familiar to you, these people, these
characters?
>>MALE AUDIENCE MEMBER #5: Actually, I visited Moscow for the first time after 17 years.
>>Phil Rosenthal: Well it's changed very much.
>>MALE AUDIENCE MEMBER #5: I went last summer. I had kind of a distant experience. Not quite
sure what to make of it.
>>Phil Rosenthal: Great. Great.
>>MALE AUDIENCE MEMBER #5: The costume designer was the best character.
[laughter]
>>Phil Rosenthal: By the way--
>>MALE AUDIENCE MEMBER #5: We certainly didn't have those 17 years ago.
>>Phil Rosenthal: You say, well, here's my first meeting. Everything is in real-time.
Nothing has been manipulated. You say edited the movie to make it mysterious. I didn't
do one thing. I didn't change anything. I didn't manipulate anything.
Yes, I understand certain rules of comedy so if somebody says something funny, that's
probably a good place to get out of the scene. I had 200 hours. I couldn’t show everything.
So I wanted to tell my story. But, for example, that first meeting with the costume lady.
I'm there and I just explained I just think it should be relatable. And here this lady,
dressed the way she is, she raised her hand, "I think the show should be used to teach
the population about high fashion."
[laughter]
So I think, "Wow. That's unusual. The costume lady gets to say what she thinks the show
should be." That's not like how we do it here. I'll play. Let's listen. Maybe there's something.
And I listened and I, "Oh, she's obviously crazy." [laughter] So I think this is just
how it is in Russia. But, you saw that there were ten months of when I went away and I
came back 'cause they shut down production in Russia for ten months. Come back. Now I
have a new costume lady.
Perfectly normal. Fine. It wasn't "Russians." It was "this lady." I happen to get lucky
enough. [laughter] And I really do consider myself lucky because you wanna populate your
film with funny characters, right? Just a gift. Just a gift. And talking about my parents,
that's a gift.
I had no idea they would be so funny. People ask me, "How did you get the Russians to behave
this way?" And I didn't. "Why would they behave this way on camera?" I don't know why, but
look at my parents. You go to their house where they've lived for 40 years.
You come in, I don't know if you've been filmed before, but here it is. They take a wire and
they put it up the front of the inside of my mother's blouse. Well, she's not used to
this kind of attention. And they clip a thing to her backside, and my father, too. "I have
to wear this on my ***," he says.
And two guys with big cameras and lights and another guy with a boom microphone in their
kitchen. Within five minutes, they're fighting as if nobody's there.
[laughter]
So this is, I guess, how we get documentaries, how we get reality shows made. People forget
that the camera's on after a very short amount of time.
>>John Woldenberg: Or, when you called back on Skype and you didn't even know if they
would answer.
>>Phil Rosenthal: Well, now you're talking about documentaries, you're talking about
luck. You have to have luck. We all have to have luck in every aspect of our lives, but
no more so in the documentary where you're turning on the camera and you don't wanna
manipulate it and you don't wanna falsify something, you are reliant on the luck.
So who knew when they just came up organically at the dinner with the beautiful family about
Skype, who knew first of all, think of all the things that have to happen for that to
work. They have to be awake, from New York from Moscow. They have to know how to turn
the computer on and this is already a big deal.
They have to know how to work Skype. You saw they barely got it. And then the beauty of
the comedic, first just my mom's looking like this--
[laughter]
and then that they would start fighting again that something would go wrong and they would
fight, creating something that you would write if you could, a comedic call-back to their
relationship from the beginning.
And it happened in the real time that you see in the movie. We didn't take it from another
time in my story. It really happened towards the end of my visit where it happens in the
movie, when I'm sick of the Russians. I don't wanna talk to them anymore. I don't even want
to go to this house. And then this beautiful thing happens. I'm very lucky. That's the
point. Luck, luck, luck. You had more to say.
>>MALE AUDIENCE MEMBER #5: Speaking of how things changed, it's not strictly true that
sitcoms are new in Russia. I remember in the early 90s there were sitcoms, but speaking
of reality TV, the reality is what changed.
'Cause I remember very vividly I'd seen in one of those early sitcoms, there was a guy
bringing back what he thinks is a VCR in a box from like, the black market. And he opens
it up and there's brakes in it.
>>Phil Rosenthal: That's funny.
[laughter]
>>MALE AUDIENCE MEMBER #5: Well, no. I mean, stuff like this happens to people and it's
devastating, right?
>>Phil Rosenthal: Because he spent the--
>>MALE AUDIENCE MEMBER #5: So, there were no laughs in that show.
[laughter]
So maybe that's the change, right? People can afford to laugh sometimes.
>>Phil Rosenthal: The Raymond show, the Kostya show, it's now called The Voronins. Have you
heard of it? Have any of your family back there heard of it? It's the most popular sitcom
on the air there now. By the way, Sony, very nice.
They wanted to send me--. "I know you're into what happens in the news." So a few months
ago they said, "How would you like to go to Cairo?"
[laughter]
In the middle of all that. "What are you talking about?" "They wanna do the show. You should
go and help them." "Now? You see what's happening?" They didn't care.
>>John Woldenberg: You should talk about maybe some of the things that didn't show up in
the movie that your--.
>>Phil Rosenthal: I talked to Eldar off camera. I said to him, "You know Eldar, I really do
feel safe with you. I'm really glad you're my security." And he said, "Mr. Rosenthal,
I have to tell you. Sony did not go for the gun package."
[laughter]
So not only do you feel a little less safe, you feel bad that they don't even think you're
worth a gun package. So, go to Cairo. Why don't you send me to Afghanistan next?
[laughter]
Yeah. Yeah. I can tell you one more thing that I left out 'cause--. [chuckles] No one
will see this. You leave things out also because you don't want them to be taken the wrong
way. So, when I met that head of comedy, and he really did insult me at that dinner by
saying I'm not funny, the show's not funny.
And that's fun to say at the beginning of a dinner and now I have to sit through the
whole dinner with this guy. And you see they interview me after the dinner, "What did you
think?" And I did say on camera, I said, "We meet the head of comedy. It doesn't really
look like head of comedy."
I did go on to say, and I cut this 'cause I didn't want it to be taken the wrong way.
"He looks like something out of Schindler's List and not the list part."
[laughter]
'Cause you know that could be taken the wrong way.
[laughter]
>>MALE AUDIENCE MEMBER #5: It's like a classic Russian --.
>>Phil Rosenthal: You can't write that guy, right? You can't write that.
>>MALE AUDIENCE MEMBER #5: It's the eyebrows?
>>Phil Rosenthal: Again, luck, luck. And they really did bring him from the world of laser
beams.
[laughter]
By the way, you meet just as many heads of comedy in America. This is not the disparaged
Russians at all. I met the most humorless people in my life are heads of comedy.
[laughter]
>>John Woldenberg: We can take one more question.
>>MALE AUDIENCE MEMBER #6: You said that people usually forget right away that they are on
camera.
>>Phil Rosenthal: Are you from Russia, too?
>>MALE AUDIENCE MEMBER #6: Yes I am. And these two guys are, too.
>>Phil Rosenthal: Really. And you liked the movie OK?
>>MALE AUDIENCE MEMBER #6: Absolutely.
>>Phil Rosenthal: Because I have to tell you, Sony is very worried. Sony is very worried
where they're not gonna show the movie in Russia because they're worried what if Putin
sees this movie and takes all their products off the shelves in Russia.
[laughter]
I said, "If Putin sees this movie, I'm giving you an award for marketing."
[laughter]
If you can get it to him.
>>John Woldenberg: He said we were invited to the Moscow Film Festival.
>>Phil Rosenthal: That's true. But we can't go.
>>MALE AUDIENCE MEMBER #6: What?
>>Phil Rosenthal: Fear.
>>John Woldenberg: Not letting us go.
>>Phil Rosenthal: Yes.
>>John Woldenberg: Yes.
>>MALE AUDIENCE MEMBER #6: So, you said that people usually forget that they are on camera.
>>Phil Rosenthal: Yes.
>>MALE AUDIENCE MEMBER #6: Even you? Is that what you said?
>>Phil Rosenthal: Yes.
>>MALE AUDIENCE MEMBER #6: When you were doing were you keeping in mind that everything that
you're actually saying is being filmed by the people?
>>Phil Rosenthal: That's a great question. I guess somewhere in the back of your head
you have to know this, but I don't think I'm that good an actor to have faked what you
saw.
These were real reactions because I really was shocked. Once in a while if somebody tells
me that for fun he plays musical instruments made out of enema bags--
[laughter]
I can't believe my ears and so turn to the only people with me to say, "Did you get that?"
[laughter]
But it has to be that big to take you out of the moment. "All right. Did you hear what
I just heard? Is that right?" Or, when the singing fish starts and he's like, "Ah, pretty
funny, huh?" You have to look at the camera and say, "He thinks it's funny."
[laughter]
But that's the only time and here's what I did. I took two cameras with me. Most of the
time when you make a documentary, it's one camera and they would film you talking to
me and then they tell you to wait while they went around behind you and did the reverse
angle, meaning "now film my fake reaction to you talking," and then edit it together.
I didn't wanna do that for two reasons. I didn't wanna fake anything. That's the first
reason. The second reason is I wanted everything covered so I wouldn't have to think about
it. So if I have two cameras shooting everything and I think the movie wants to be before I
even go, I'm thinking, "I think the movie wants to be how I react to them and how they
react to me."
And that seems to be the culture clash at the center of the film. So, if we film always
me and always them, we have it. And I don't have to worry. So once that decision is done,
I don't have to think about it until editing, putting the movie together.
>>MALE AUDIENCE MEMBER #6: Also, do people understand that they will look not the way
they want to be scene? And how do you get them to be, to actually be shown this way?
>>Phil Rosenthal: Look at my parents.
[laughter]
It's the same. In other words, they have no trouble fighting in front of the camera. "Max,
you don't know what you're doing." She'll say that on camera. And now she sees and she
goes like this, but they don't stop and think about it at the time. Maybe I shouldn't have
just said those things about Sony because I'm being filmed. But I did.
[laughter]
>>John Woldenberg: And one of the technical, and one of the technical answers is that everyone
signs a release before you start filming.
>>Phil Rosenthal: Before we start filming! Yes. In one case--. I think there was one
case where I talked to a couple on the street. She says, "Don't talk to him with your mouth
full." We didn’t know what we would get from them.
We didn't think they would kill each other on the street, but then somebody has to go
and it took a very long time to get those two people to sign a release because they're
real Russians. And they think they're signing something that puts them in jail for the rest
of their lives.
[laughter]
>>FEMALE AUDIENCE MEMBER #7: Is the release something you need for the US or--?
>>Phil Rosenthal: International. It's international. We need it for everywhere.
>>John Woldenberg: There's separate laws, but you need it, you need fundamentally you
need a release for anyone that appears in the movie.
>>Phil Rosenthal: And the release basically says, "We can use this any way we want, any
time we want, anywhere we want."
>>FEMALE AUDIENCE MEMBER #8: You signed our release, right?
>>Phil Rosenthal: Nope.
[laughter]
I learned something before I Googled.
>>Male Presenter: A warm welcome for John and Phil for having given us a good entertainment.
>>Phil Rosenthal: Thank you. Thank you.
[applause]
>>John Woldenberg: Thanks for coming.
>>Phil Rosenthal: This was fun.
>>John Woldenberg: This was.