Director Rob Burnett on ‘The Fundamentals of Caregiving’, Paul Rudd, and David Letterman

Summary

In this interview, the director discusses his new film, which blends comedy with tragedy, starring Paul Rudd and Craig Roberts. The film, initially a longer cut, was refined to a tighter 93-minute runtime. The director shares his experience working with Rudd, who contributed significantly both on and off-camera. Challenges faced during production included harsh winter conditions in Atlanta and the necessity of cutting beloved scenes to serve the story. The director reflects on his growth, learning to adapt and be more flexible in his approach to filmmaking.

Takeaways

• 😀 The interviewee has been a fan of the interviewer's work since 'Ed' and they have maintained a friendship with Tom Cavanagh, which is a cherished outcome of that show.
• 🎬 The interviewee's son is a big fan of 'The Flash' and had an exciting encounter with the show's cast at Comic-Con.
• 🌟 The interviewee's movie got into Sundance Film Festival, which was a thrilling and unexpected moment for them.
• 📚 The movie is based on a book by Jonathan Edison and uniquely blends comedy with deep tragedy.
• 🎭 Paul Rudd plays a significant role in the movie, bringing both emotional depth and humor to his character.
• 🏆 Financing for the movie became easier once Paul Rudd agreed to join the project, highlighting his influence in the industry.
• 🎥 The interviewee values preparedness on set but also the flexibility to find the moment while shooting, a skill honed from directing 'Ed'.
• ⏰ The shooting schedule was tight, with only 24 days, and the team had to adapt to challenging weather conditions in Atlanta.
• ✂️ The initial cut of the movie was over two hours, but through editing, it was refined to a tighter runtime to maintain pacing and audience engagement.
• 📊 Test screenings provided valuable feedback, particularly in balancing the movie's tone between comedy and drama.
• 📽️ The interviewee's experience includes a memorable moment with David Letterman and Johnny Carson, illustrating the surreal nature of working in show business.

Q & A

What was one of the best things that came out of the interviewee’s involvement with 'The Flash'?

One of the best things was the friendship with Tom Cavanagh, with whom the interviewee is still in touch almost daily.

How did the interviewee's son react to meeting 'The Flash' cast at Comic-Con?

The interviewee's son was so excited that he humorously described it as his son’s head 'coming off his body,' showcasing the son's enthusiasm for meeting the cast.

What is the premise of the interviewee's Sundance film?

The film is based on a book by Jonathan Emison. It follows a man (played by Paul Rudd) who becomes a caregiver for an 18-year-old with muscular dystrophy, and together they embark on a road trip, picking up broken souls along the way.

How did Paul Rudd’s involvement impact the film's financing?

Paul Rudd’s agreement to be part of the film led to almost instantaneous financing, reflecting his strong appeal in the industry.

What qualities did the interviewee see in Paul Rudd that made him the right fit for the film?

The interviewee needed an actor who could handle both the emotional depth and the comedic aspects of the character, and Paul Rudd fit this small group of actors who could balance both well.

How did the cold weather in Atlanta impact the film shoot?

The weather was extremely cold, with temperatures dropping to 18 degrees, which challenged the crew. However, the snowfall led to an unexpected but beautiful shot of the house covered in snow.

How does the interviewee describe their directing style on set?

The interviewee prides themselves on being very prepared, with a strong plan for each scene, but also remains flexible enough to adjust when needed, especially due to time constraints or unexpected changes.

What was a key adjustment made in the editing process of the film?

A significant sequence of travel was cut to improve the film's pacing, leading to a shorter runtime of 93 minutes from an initial 2-hour cut.

What was the most challenging part of balancing the tone of the movie?

Balancing the transitions between comedy and serious moments was the most challenging part, with the team adjusting emotional scenes to ensure they didn’t lose the audience by going too far into serious territory.

How does the interviewee reflect on working with David Letterman and Johnny Carson?

One of the interviewee’s favorite memories was a humorous interaction between Johnny Carson and David Letterman at an Emmy dinner, where they both made fun of Letterman, marking an out-of-body experience for the interviewee.

Outlines

00:00

😀 Interview Kickoff and Flashback

The interview begins with a warm exchange between the host and the guest, who is in great spirits. The guest expresses admiration for the host's work, particularly recalling the show 'ED' and the memorable character, Tom. The conversation quickly shifts to the guest's current project, a movie that has been accepted into Sundance. The guest shares the excitement of receiving the acceptance call and the subsequent screenings in Los Angeles, which included an unexpected visit from John Cooper, a significant figure in the film industry. The guest's son is also mentioned, who is a fan of 'The Flash', creating a humorous anecdote about his son's enthusiasm for the show.

05:02

🎬 Behind the Scenes of a Sundance Film

The discussion delves into the guest's new movie, which is based on a book by Jonathan Edison and uniquely blends comedy with tragedy. The film stars Paul Rudd as a caregiver to an 18-year-old with muscular dystrophy, played by Craig Roberts, and their journey together becomes both comedic and poignant. The guest shares the challenges of financing the movie, which became easier once Paul Rudd joined the project. The interview also covers the process of casting and working with Paul Rudd, who not only acted but also contributed creatively to the film. The guest praises Rudd's ability to handle both emotional and comedic aspects of the role, making him an invaluable asset to the film.

10:06

🌨️ Challenges and Creativity in Filmmaking

The conversation moves to the challenges faced during the film's production, particularly the harsh winter conditions in Atlanta. The guest recounts an unexpected snowfall that provided a natural backdrop for a scene, highlighting the need for adaptability in filmmaking. The guest also discusses their approach to directing, emphasizing the importance of preparation and flexibility. They share insights into working with a strong cast, which includes Paul Rudd, Craig Roberts, Selena Gomez, and others, and how their performances greatly influenced the film's outcome. The guest reflects on the editing process, explaining how the film's initial cut was significantly longer and how it was refined to meet the desired pace and tone.

15:07

📽️ Balancing Tone and Editing a Film

The guest continues to discuss the delicate balance between the film's comedic and dramatic elements, highlighting the importance of maintaining the right tone. They share insights from test screenings that helped shape the final cut, emphasizing the need to avoid overly emotional sections that could alienate the audience. The guest also talks about the editing process, where entire scenes had to be removed to serve the bigger picture, even if it meant letting go of some great performances. They express the importance of honesty and communication with the actors, especially when scenes they were proud of had to be cut.

20:09

🤝 Reflections on a Career and Memorable Moments

In the final part of the interview, the guest reflects on their career, sharing how their approach to filmmaking has evolved over time. They discuss the importance of learning new techniques and being adaptable, using experiences from directing television as a foundation. The conversation concludes with a humorous anecdote involving the guest, David Letterman, and Johnny Carson, which underscores the guest's memorable experiences in the entertainment industry.

Keywords

💡Sundance

Sundance refers to the Sundance Film Festival, an annual event showcasing independent films. In the script, the filmmaker discusses the excitement of having his movie accepted into this prestigious festival, indicating a significant milestone in his career. The mention of Sundance highlights the film's potential for critical acclaim and sets a tone of professional achievement within the video's narrative.

💡Caregiver

A caregiver is someone who provides care and support to those in need, often for the elderly or disabled. In the context of the video, the main character, played by Paul Rudd, becomes a caregiver after experiencing a personal tragedy. This role is central to the film's plot, exploring themes of resilience and the human capacity for empathy and connection.

💡Muscular Dystrophy

Muscular dystrophy is a group of genetic disorders characterized by progressive weakness and loss of muscle mass. In the script, one of the main characters, portrayed by Craig Roberts, has this condition. The film uses this medical context to explore the challenges faced by individuals with disabilities and the dynamics of care and companionship.

💡Comedy and Tragedy

These terms represent two contrasting genres in film and literature. The video's theme involves blending comedy and tragedy, as the movie is described as 'bathed in tragedy but is actually a comedy.' This combination is used to create a unique narrative that can evoke laughter while dealing with serious and emotional subjects, showcasing the complexity of human emotions.

💡Road Trip

A road trip is a long journey by car, often for recreational purposes. In the script, the characters go on a road trip, which serves as a plot device to bring them together and develop their relationships. The road trip motif is a classic in cinema, symbolizing a journey of self-discovery and change, as well as a means to encounter various situations and characters that advance the story.

💡Character Development

Character development refers to the process by which a character's personality, motivations, and relationships evolve over the course of a story. The script mentions the growth of the characters from being emotionally detached to engaging more fully with life, indicating a central focus on the depth and transformation of the characters' inner lives.

💡Ad-lib

Ad-libbing is the improvisational addition of dialogue or action by an actor during a performance. The script mentions that Paul Rudd was given freedom to ad-lib, suggesting a collaborative and flexible approach to filmmaking. This approach can lead to spontaneous and authentic moments in the film, enhancing the natural flow of the narrative.

💡Editing Process

The editing process involves selecting and arranging film shots to construct a coherent and engaging narrative. The script discusses how the initial cut of the film was significantly longer and had to be trimmed down, which is a common challenge in filmmaking. This process is crucial for pacing, ensuring the film's runtime is appropriate for its content and audience engagement.

💡Test Screenings

Test screenings are preview showings of a film to a select audience to gather feedback before the final release. The script mentions a test screening that provided valuable insights into the film's emotional balance. These screenings are an essential part of the filmmaking process, helping filmmakers refine their work based on audience reactions.

💡Indie Filmmaking

Indie filmmaking refers to the production of films outside of the major studio system, often with lower budgets and more creative freedom. The challenges and adaptability required in indie filmmaking are touched upon in the script, where the filmmaker discusses the need to be flexible and work with limited resources, which is a common theme in independent cinema.

Highlights

The interviewee expresses gratitude for being a fan and discusses their long-standing friendship with Tom Cavanagh.

Mention of attending Comic-Con with their son, who is a big fan of 'The Flash'.

Receiving the call that the movie was accepted into Sundance in November.

The movie is a comedy based on a tragic premise, starring Paul Rudd and Craig Roberts.

Paul Rudd's casting significantly influenced the movie's financing.

The director's approach to writing with Paul Rudd in mind and their first meeting to discuss the project.

Paul Rudd's contributions off-camera, including script notes and character development.

The shooting schedule of 24 days in Atlanta during an unusually cold winter.

The director's preparation and flexibility on set, influenced by experience in television.

The importance of having talented actors to facilitate a smooth shooting process.

The first cut of the movie was over two hours, but the final version is under 100 minutes.

Learnings from test screenings, particularly balancing comedy and drama.

The challenge of cutting scenes and performances that didn't serve the overall narrative.

The director's connection to the material and the unique approach to the caregiver story.

Evolution in the director's approach and learning from each project.

Anecdote about an Emmy dinner where Johnny Carson and the director made fun of David Letterman.

Transcripts

are you doing today sir I'm great so

what's interesting is I've been a fan of

your work since ed oh thank you because

i watch the show back in the day thank

you do you still get thank yous from Tom

for helping them book the flash big

compound I was one of my favorite humans

we are very good friends and touch

almost on the daily basis one of the

best things that came out of that for me

is my friendship with Tom Cavanagh so

are you caught up on flash or do not

watch my son knows more about flash than

Tom does oh it's one of those yes so

have you not tried to like get him an

extra gig working on set one day you

know what happened was we went to

comic-con this year and my son's head

actually came off his body when he did

call the flash people we had to call

somebody that reattach it and then he

ran into the family guy people it came

off again oh that's great yeah that I

think that probably has to be one of the

really cool perks of the gig of what's

the only reason to be in show business

the only reason it's to do stuff for

your kids Oh jumping into why I get to

talk to you today congrats on having a

movie get into Sundance thank you old

when did you get the call that it was

accepted it was I believe in November as

I remember it we had a couple of

screenings in Los Angeles big screenings

with two or three hundred people general

public we also had some buyers they are

looking at the film and I heard after

the fact that John Cooper was at one of

the screenings so I was retro actively

nauseous I was like wait what he was

there and he they called up the next day

and said you're a closing night film so

I just thought is this a prank really

yes we're thrilled really happy um

ninety-nine point nine percent of the

people watching this interview right now

will know nothing about your movie

because it's so you know premiering at

sundance and you know what i mean so I

hate saying it but can you talk a little

bit about what it's about yeah yeah it's

based on a book by a great author

Jonathan Edison

and our movie is it's a it's an odd

movie because it's bathed in tragedy but

is actually a comedy and gets along

laughs Paul Rudd plays a guy who has

suffered a horrible tragedy and he ends

up learning to be a caregiver and his

first client is Craig Roberts who is an

18 year old kid with muscular dystrophy

and while this can sound that you're in

a very depressing space one guy's

paralyzed emotionally one paralyzed

physically but they're both really funny

and it's this odd odd couple movie they

end up going on this road trip where

they pick up a couple of other broken

Souls Selena Gomez along the way

hitchhiking from the Pacific Northwest

down to utah and megan ferguson a

hapless pregnant woman on the side of

the road how tough was it for you to get

financing for the movie it was almost

instantaneous after Paul Rudd said that

he would be in the movie it was really

that best yes that's that's what Paul

does for you let's talk a little bit

about landing Paul was it someone that

you knew was it someone that you went

after were you always envisioning him in

the movie as I was writing the movie I I

knew that we needed somebody that was a

very very good actor because there was a

real emotional undercurrent to the movie

but I also knew that I needed someone

that could be really funny and that's

such a small handful of guys that can

pull that material off so as I was

writing I found myself dreaming of Paul

Rudd over and over again I did not know

Paul we had met a couple of times

through the Late Show we know a lot of

the same people being new york comedy

guys and I really just reached out him

directly asked if he'd have a cup of

coffee with me we met I told him about

the project I gave him the script as I

recall I didn't hear anything back from

him for four or five weeks and each day

became more and more nauseous I thought

he was secretly having me removed from

show business possibly trying to have me

killed I didn't know but as it turned

out he loved the script and and said he

would do it so we were super psyched

yeah he is an actor that just men and

women both love he's one of those every

man kind of people and yes he can do a

lot

in terms of performance he's also quite

good at writing himself yeah so talk a

little bit about working with someone

who is a very easy talented writer yes

and maybe how that changes the dynamic

of the delivery dialogue or does he have

notes you know you know what I mean yeah

this is a great family Pole to use a

sports analogy you know he's not only

good on the field he's also great in the

locker room what's great for me is that

he and I have a very similar sensibility

we see things the same way we're

shooting at the same target so he was a

huge asset to me off camera as well as

on he had great notes on the script had

great great instincts with his character

of course gave him free rein to ad-lib

whatever he wanted in fact one of the

funnier scenes the movie is largely I'd

lived by Paul so yes he was an asset up

and down for me and you know if I if I

had my way if I were doing another film

and I couldn't have him in it i'd asked

him to come and either you know write it

or produce it or just just hang out with

me on set because he's he's a valuable

asset turn a little bit about your

shooting schedule was one of these

back-breaking like 20 days or was it it

was pretty it was 24 days um you know I

I think has there ever been a movie that

has enough time I think no right an

inner ought to is screaming that I only

had nine months for the revenant you

know you need like it's no matter what

it is you're doing it's never enough it

was it was difficult we shot in Atlanta

last January February it was

extraordinarily cold there it was a very

bitter winter was many times 18 degrees

outside with the wind it actually snowed

one day in Atlanta in fact we were

shooting inside of Craig's characters

house and it's snowing and I quickly

said take the cameras outside and shoot

the snow because and there's a shot of

the movie of the house covered in snow

which works beautifully to kind of show

a passage of time we did not have the

budget to create to create our own our

own snow the other thing you know is if

you're shooting in Atlanta when you get

one sixty fourth of an inch

now it all shuts down absolutely

everyone's done they're done that's it

every way to get the kids home from

school there's one sixty fourth of an

inch of snow on the ground how are you

as a filmmaker on set in terms of

storyboarding all the material and

thinking you're going to shoot it a

certain way versus finding it in the

moment while you're there it's a great

question I like to pride myself on being

extraordinarily prepared I go in with

everything very thought out I wouldn't

say quite storyboarded something

storyboarded but a very strong plan of

what it is that we want to accomplish I

had a great DP on this movie Giles nut

shins we would meet every Sunday and go

over that week's shooting because I kind

of feel like you want to have time to be

flexible and the only way you can have

that time to be flexible is if you're

prepared so the biggest changes in

shooting for me were sometimes because

of the schedule i know there was one

sequence in the movie that i had a I

think like a 16 or 17 shot sequence that

I had planned out and I was just looking

at it was a location that we weren't

going to be able to afford to get back

and I had you know that that's the time

we have to really adjust I'll tell you

honestly ed is the best possible

training ground for that directing one

hour television you're shooting eight

pages a day that's breakneck for real so

you get very used to as the day's going

on saying oh you know what those two

people at the diner can be sitting on

the same side of the table so you have

to do some of that but also helpful and

hugely important that I think doesn't

maybe gets overlooked in that discussion

is how good your actors are you know

that's that's kind of everything and

this was like driving the world's

fastest race car you know I I with Paul

and Craig who was just amazing in the

movie Selena Megan jennifer ehle all of

them they're so good that you didn't

need 20 takes to get what you need

did you got what you needed in one or

two takes and then if you have the

luxury of trying some other stuff you

could do it but if you have the right

actors it makes all of this extremely

easy how long was your first take versus

the finished film the first cut yeah um

sorry the first hey I'm like yeah the

for the first I think the editors cut of

the movie was probably came in at around

two hours and 10 minutes I think I think

we're now at 93 16 oh wow it's it's this

movie is meant to be short I think not

too short but it's it's it's not I don't

think this movie is meant to be anything

over 105 minutes at the outside and I

think two hours would be a mistake I

feel very comfortable with the length of

a movie now it moves very quickly it has

a lot of playability you know audiences

respond to it and I think part of it is

the pace what did you learn from the

test screenings / friends and family

screenings that may be dictated how the

finished film looks we had unfortunately

did not have a lot of time to have a ton

of those I would have liked to have more

we had one screening a friends and

family screen and actually was not we

never even had a friends and family we

had 30 person screening of a sort of

semi recruited audience of strangers

when the film was very rough and that

was when it was two hours plus and you

learn certain things what's tricky about

this movie is that totally you were you

were moving back and forth from being

funny and being serious and that's what

the screenings got the most of there was

there was sort of a section in the three

quarters into the movie that we may be

were going to emotional too too too much

and too much of it and we realized we

were starting to lose them they're a

little bit so we pulled back on that it

was just a little bit of a dance to try

to get the comedy and the drama right

not unlike ed you know it's a similar

tone to add the truth is in our first

meeting I said to Paul you know often

these types of

is that are funny or funny they're not

they don't make you laugh they're

delightful they are amusing they're

clever but I said I think the two of us

together can make a movie that will be

emotional and uplifting and moving but

will actually make a movie theater

laughs and I think some of this goes

back to my letterman instincts as a guy

who has stood on the floor of a studio

for 20-plus years this is kind of in my

DNA so all I can tell you factually is

that in the three or four big screenings

we've had of two or three hundred people

the movie has in fact achieved that it

that the movie gets very big laughs in

with with pretty treacherous material

you mentioned that there's like your

editors cut was 210 and now it's but 93

we're there was it a lot of tightening

up scenes or was a full on pulling

scenes out no both both of course

there's there's kind of a almost an

entire day of there you know at some

point it becomes a road a road movie

they're traveling and at one point we we

kind of just took out we'd realize you

know we could just take out an entire

day and a lot of good stuff you know

life it's tough it's the old expression

you have to kill your darlings but

everything has to serve the bigger

picture you know there's some there's

some heartbreakingly great performances

from from megan ferguson in particular

Selena had a beautiful scene that was

really cut that was not the hardest cut

for me to make but it just felt like we

needed to move at that point and you

have to serve the big picture so is it

one of these things where you have

called them on the phone and already

said hey by the way I know you were

awesome well I just feel like you know

my what I believe the actors give you so

much you know they're so vulnerable they

have to you know my job's easy I get to

sit behind a camera

bark things they have to actually do

this stuff and it's really hard so I

think all I can provide for them is

honesty and straightforwardness that's

kind of what I pride myself on so I felt

a need to talk to both Megan and Selena

and tell them this stuff was cut I loved

your performance if I didn't love their

performance I would have said you know

what this didn't come out great because

by the way their performance were a part

where partner what they're doing my

words right so we're in that together

it's not just on them if it doesn't if

it doesn't work it's on me equally but

in this case it was just really really

difficult stuff to take out what was it

about this material that got you because

every film is like you're putting the

heart and soul in it for a year or two

yes you know so what was it about the

material that said I have to make this

yeah I think Jonathan Emison did such a

beautiful job with the novel where

you're reading this story that is

incredibly tragic and yet it's not told

in a tragic way and I think what

interested me about this was the usual

version of this story that you see is

you have an irascible caregiver come in

and breathe life into the ill or injured

in fact there was a beautiful French

movie called Untouchables that was

coming out right as I was buying the

rights this book and I rushed to the

theater to see it you know is this going

to be in my way and I thought that movie

was fantastic but it was that story and

I thought the interesting thing about

this story is that the caregiver is

equally if not more so damaged than the

kid they're both completely damaged

Souls and if and and the other thing

that I think is difficult but

interesting is that this entire story

takes place in the aftermath of the

action Paul's tragedy has already taken

place Craig already has Duchenne

muscular dystrophy and now they're just

living so it's hard because you've lost

a lot of that drama but there's

something so interesting in the nuance

these characters who by the way will

never overcome these things Paul will

never get over this tragedy this kid

will never conquer the disease but I

think what we've achieved is that when

you see these two go from being

completely detached from life to living

just a little bit it's very emotional

and it's very moving and in that way I

think reflects you know on all of us in

our own in our own worlds as you have

directed more and more what have you

learned about the process that maybe

you've refined as the career has gone on

maybe you were certain way at the

beginning and now you're more

comfortable with certain things or how

haven't changed yes you try to evolve

constantly I mean some of it is just

brute for some of it is is you know

learning picking up things of camera

Muno a great thing that I really feel

like I learned in this movie from Giles

who is just a brilliant cinematographer

was the idea of having characters move

into frame it's a very basic concepts

not something that I had never thought

of before but he was very very good at

this so in other words instead of

setting you know we're here instead of

setting something right close maybe it's

close and then the character is going to

move into that you know you mean this is

a some of it is just technique and it's

I just feel like the more you do it the

more tools you have in your bag all the

time in the big picture I think that I'm

probably a little more flexible than I

was originally because I was I think

originally very focused on we need to do

abcdefg now I try to separate what I

think is essential and what I think is

something I would like to have I did

that a lot on this movie i literally

would have list

of have to have would like to have if

there's time would have it's very

practical but it helps sure you know

it's like the old you know the Mike

Tyson quote everyone has a plan until

they get punched in the face that's what

indie filmmaking is you know everybody

you know you go in there with you no

plans and cranes and this and that and

then you get there and it's like oh ok

this is it all right well but let's dig

in and let's figure out how how we're

going to make this work on very short

amount of time yeah it's so funny

because I have this conversation with so

many indie directors of people like not

even in D just every director you're

you're forced to adapt to the challenges

of the day yes whether an actor is sick

whatever the reason is yes and in

ultimately when the critics and everyone

sees it none of that matters right and

you have to do the best you can well the

interesting thing about filmmaking I

think as in as an art form is that you

don't have a the ability to do it for as

long as another when you're when you're

writing a script you can spend as much

time as you want unless you're on some

come deadline from outside and you're

sort of responsible for those are the

choices you made here it's a little bit

like being a downhill skier you know in

the Olympics yeah you want to hit every

gate but guess what sometimes you're out

there and you're like I'm missing gates

I've missed this and you hope not to

miss it an open there's things about the

movie that I wish I had done better you

know that's just how that's the nature

of making movies one hundred percent my

last question for you because I have to

go and I'm sure you do too um you got to

work with Dave for for so long and i'm

sure you have amazing memories and I

could talk for an hour just about that

but is there a day or two they always

remember that really stands out from the

show or it's just like maybe it's a

crazy off-the-wall story of just like I

mean if you know what I mean right and

by the way I'm putting like years and

years and to get a one-story yeah um oh

god

my head is not at all or maybe or maybe

like you met a an actor or director or

musician that really you know impound

I'll tell you you know as you kind of

chug along in your little show business

career I think you have these moments

where you have kind of these out-of-body

experiences and I remember once we were

at an Emmy dinner in California and I

was sitting at a table with david

letterman and Johnny Carson and maybe

six other people and someone came over

and started talking to Dave it was the

girlfriend of the chef I think whatever

look and she said I once saw you in an

elevator and you were so tall so what

taller it was very awkward and strange

and Dave didn't know what to do with

this and all of a sudden johnny is

sitting over here I'm over here and

Johnny Dave's just caught he's

handcuffed now by this woman who keeps

telling him that he's tall you know and

all of a sudden johnny almost under his

breath says all he's big he's a please a

big man and I just instinctively with

Adam I thought about it another second I

would have not had the courage but I

then just turned to Johnny I'm like oh

god he's huge look at him and Johnny's

like yeah Johnny and I are going back

and forth I'm like what are you supposed

to go like that buys clothes and dave is

dealing with this one moved very well

aware that Johnny Carson and I are

making front of him and it's one of

these moments where if ever in my life I

thought that I would be sitting at a

table a Johnny Carson and I would be

together making fun of David Letterman

I'm out tombstone written I'm done thank

you

yeah it was it's one of my favorite

things um thank you so much for your

time thank you I'll wait to see your

movie I appreciate it have a fantastic

day let me hit stop