This transcript was automatically generated and might contain errors.

[0:00] Adrian Martinez: Hey everybody, this is Adrian Martinez, and you are watching Behind the Awards.

[0:05] Adrian Martinez: Check it out.

[0:06] Adrian Martinez: I was in the bathroom, Mom!

[0:09] Adrian Martinez: We had a camera.

[0:11] Adrian Martinez: Oh god.

[0:13] Adrian Martinez: Oh my god.

[0:15] Adrian Martinez: Whoa, thank you so much.

[0:20] Adrian Martinez: I was just flushing the toilet and someone said you won, and I thought they were joking, and I thought what a terrible joke.

[0:27] Adrian Martinez: Oh my god.

[0:39] Eila Mell: Hello and welcome to Behind the Awards.

[0:42] Bruce Gotlieb: I'm Bruce here with Eila.

[0:44] Eila Mell: Hey Bruce.

[0:46] Bruce Gotlieb: Hey Eila, how are you?

[0:47] Eila Mell: I'm good.

[0:49] Eila Mell: So that was a fun clip, huh?

[0:50] Bruce Gotlieb: Christine Lahti.

[0:52] Eila Mell: Yes, when she was on Chicago Hope.

[0:54] Bruce Gotlieb: Yeah, I remember this.

[0:56] Eila Mell: She won, and no one could find her because she was in the bathroom, so she didn't come in.

[1:00] Bruce Gotlieb: I mean, those poor presenters who was um Michael J. Fox was like, I'm sorry, she's you know indisposed.

[1:07] Eila Mell: And you know, they're trying to stall.

[1:09] Bruce Gotlieb: Another guy came up there on her behalf to stall and then out at her and said she was in the bathroom.

[1:14] Eila Mell: Right.

[1:14] Bruce Gotlieb: Well, I mean there's no turning.

[1:16] Eila Mell: I mean, listen, it's funny.

[1:17] Bruce Gotlieb: You know, I'm sure you're trying they're trying to time it, right?

[1:20] Eila Mell: You know, it's like, all right, I think I have enough time.

[1:22] Bruce Gotlieb: Right, yes, but these are the moments that you love watching an award show when something unexpected happens.

[1:28] Eila Mell: That's the best.

[1:29] Bruce Gotlieb: Yeah, I mean, we're going live, right?

[1:31] Eila Mell: It's see where we get.

[1:33] Bruce Gotlieb: That's right.

[1:34] Eila Mell: Speaking about TV shows, we had quite a big Instagram post this week.

[1:40] Bruce Gotlieb: You posted.

[1:41] Eila Mell: Well, tell everyone when you posted it.

[1:43] Bruce Gotlieb: Well, we decided to have a little fun, and you know, you and I were having a conversation about different TV shows and themes, and you know, just the historical ones that stay with you.

[1:52] Eila Mell: So we said, you know what? Let's throw up a carousel with a handful of them and see what people love, even if they're not ones that were mentioned.

[1:59] Bruce Gotlieb: And, you know, comments and you know, DMs ensued, and we had a blast.

[2:05] Eila Mell: Oh my gosh, what a reaction.

[2:07] Bruce Gotlieb: Wow.

[2:08] Eila Mell: So, from going through all the responses, there are a lot, but it seems like the favorite was the theme from Fresh Prince of Bel Air.

[2:17] Bruce Gotlieb: I mean, it's so catchy and fun.

[2:19] Eila Mell: I love it.

[2:20] Bruce Gotlieb: There's like an extended version. Did you know that?

[2:23] Eila Mell: There is, yes.

[2:24] Bruce Gotlieb: I don't know the extended version.

[2:26] Eila Mell: I couldn't repeat it to you, but I know it exists.

[2:28] Bruce Gotlieb: But I like what's on this show.

[2:29] Eila Mell: There is also actually, funny enough, an extended version of Full House too, because when I was looking for that clip, it I was like, I've never heard these words.

[2:38] Bruce Gotlieb: Oh, really?

[2:39] Eila Mell: So I want to give a special shout out to. Now I'm not sure if this is F-AA Brimo or Fabrimo, but he went through all 20 of the themes that we posted.

[2:52] Bruce Gotlieb: So we are so appreciative.

[2:53] Eila Mell: She did. Sorry, she, she, she.

[2:56] Bruce Gotlieb: Um, so we so appreciate that.

[2:59] Eila Mell: And um, but she loved fresh prints also.

[3:02] Bruce Gotlieb: I mean, just taking the time to go through all 20.

[3:04] Eila Mell: It's like once you start, you can't stop.

[3:06] Bruce Gotlieb: You have to I know.

[3:07] Eila Mell: I know.

[3:08] Eila Mell: So then I'm gonna tell you some of the ones that we didn't put up, but people said were good.

[3:12] Bruce Gotlieb: Um, writer girl 426 likes the Partridge family, which is a great theme.

[3:18] Eila Mell: That's a good one.

[3:19] Bruce Gotlieb: Sharon D 1921 also added Alice, which is really good.

[3:26] Eila Mell: Taxi, give me a break.

[3:27] Bruce Gotlieb: You know how much we love Nel Gold.

[3:29] Eila Mell: I love giving a break so much.

[3:31] Bruce Gotlieb: One day at a time.

[3:32] Eila Mell: Oh, that's a good one, too.

[3:34] Bruce Gotlieb: And Martinez.

[3:35] Eila Mell: So those are all good.

[3:37] Bruce Gotlieb: G R1M, D4, or a K, PLN 3. That's a lot to say.

[3:41] Eila Mell: He or she suggested the Sopranos, which was a big song.

[3:47] Bruce Gotlieb: That's a classic one, too.

[3:48] Eila Mell: It is.

[3:48] Bruce Gotlieb: I didn't even think of that one.

[3:50] Eila Mell: I do remember seeing somebody who mentioned a couple of instrumental ones too.

[3:54] Bruce Gotlieb: We just grabbed a handful.

[3:56] Eila Mell: I mean, they because there's so many. It's like you can't just pick a handful of.

[4:00] Bruce Gotlieb: I know.

[4:00] Eila Mell: So hard.

[4:01] Eila Mell: I mean, we picked friends, we picked.

[4:03] Bruce Gotlieb: What else did we put up there?

[4:05] Eila Mell: Uh we had Golden Girls, we had Full House, Laverne and Shirley.

[4:10] Bruce Gotlieb: Yeah.

[4:10] Eila Mell: Three's Company, All in the Family.

[4:13] Bruce Gotlieb: So many.

[4:13] Eila Mell: So we did get a lot of suggestions, but that was just so much fun.

[4:16] Bruce Gotlieb: Yeah.

[4:16] Eila Mell: So if you have any other suggestions about your favorites are, shoot us a message. We love hearing from you.

[4:20] Bruce Gotlieb: But also this made us kind of further prolong this conversation about, you know, how often is it that you see at the Emmy Awards where they're giving out uh award for for TV theme.

[4:33] Eila Mell: So I don't remember ever seeing it.

[4:35] Bruce Gotlieb: So you looked it up. So what did you find?

[4:37] Eila Mell: Yeah, I did some digging, and apparently they do a primetime Emmy Award for outstanding original main title theme music.

[4:45] Bruce Gotlieb: But wait a minute. Is that a theme song though? Or is that something different?

[4:49] Eila Mell: You know, it doesn't really explain much, but I will tell you, like in in 1995, Friends was nominated.

[4:57] Bruce Gotlieb: Didn't win.

[4:57] Eila Mell: Uh did not win. Star Trek Voyager won.

[5:00] Bruce Gotlieb: It was that Chicago Hope, ER Friends, and My So-Called Life were the nominees.

[5:05] Eila Mell: Okay.

[5:05] Bruce Gotlieb: But they only started this in the late 80s.

[5:08] Eila Mell: It was like 1988 was the first time nominees were given.

[5:12] Bruce Gotlieb: And then it wasn't ever given to a winner until 93 because originally the way the academy worked is you needed a certain amount percentage of votes in order to actually win the award.

[5:23] Eila Mell: So they would nominate people with no one winning.

[5:25] Bruce Gotlieb: With no one winning.

[5:26] Eila Mell: But a lot of these that you look through, I don't even know half the shows that are listed on here.

[5:31] Bruce Gotlieb: So it seems like popularity of the show or song has nothing to do with the award, which I guess doesn't, you know, doesn't matter, but these are certainly not the most popular ones.

[5:41] Bruce Gotlieb: No, it doesn't seem that way.

[5:42] Eila Mell: So last year, uh Danny Elfman won for the theme music for Wednesday.

[5:47] Bruce Gotlieb: Okay.

[5:48] Eila Mell: Um I watched Wednesday. Great show.

[5:50] Bruce Gotlieb: I can't tell you I remember the theme though.

[5:52] Eila Mell: I do love Danny Elfman, but I'm yes.

[5:55] Bruce Gotlieb: I don't know the song from Wednesday.

[5:57] Eila Mell: So this year we have the themes for Feud, Capote versus the Swans, Lessons in Chemistry, Masters of the Air, Palm Royale, and Shogun.

[6:07] Bruce Gotlieb: I don't know what Masters of the Air are.

[6:09] Eila Mell: Otherwise, I've seen, or at least yeah, I've seen I've heard of the other ones.

[6:13] Bruce Gotlieb: I've seen most of them.

[6:14] Eila Mell: Okay.

[6:15] Bruce Gotlieb: Does any of that music stand out to you?

[6:17] Eila Mell: No.

[6:18] Bruce Gotlieb: And I feel like it might be, and I think, you know, certainly orchestrators, composers are they are well deserving of their fair due.

[6:26] Eila Mell: Yeah, of course.

[6:28] Bruce Gotlieb: Of course.

[6:28] Eila Mell: I just feel like maybe there's a way to do like orchestration or you know, something, but then like I feel like theme song is is a different thing than title or title music.

[6:38] Bruce Gotlieb: No, I know what you mean.

[6:39] Eila Mell: It's murky here.

[6:40] Bruce Gotlieb: I think it's murky.

[6:41] Eila Mell: It seems like they just they just give it out when they feel like it.

[6:44] Bruce Gotlieb: If you ask me, it also is seems like it's given in like the creative arts side.

[6:49] Eila Mell: Yeah.

[6:50] Bruce Gotlieb: This isn't given out in the live broadcast.

[6:52] Eila Mell: No.

[6:52] Bruce Gotlieb: I always find it insulting that some awards are given out on the broadcast and some aren't.

[6:57] Eila Mell: Like I mean, I realize that the show would be 12 hours long, but maybe make it two nights, but put them both on TV.

[7:03] Bruce Gotlieb: I mean, it already is long.

[7:05] Eila Mell: Yes, but they seem to be able to get through it all in the Oscars.

[7:08] Bruce Gotlieb: They do leave anything separately.

[7:10] Eila Mell: But I wonder if there's more categories in the Emmys just because there's like best, you know, sitcom and drama and then limited series and then you know, it's specials and all of that.

[7:19] Bruce Gotlieb: Right.

[7:20] Eila Mell: And you know, there's not really a call for condensing because it's not really appropriate.

[7:24] Bruce Gotlieb: You just give best actor across the board no matter what.

[7:28] Eila Mell: I don't, I mean, I think people would be very upset if you did that.

[7:31] Bruce Gotlieb: There'd be a lot less Emmy winners.

[7:33] Eila Mell: There would be a lot less Emmy winners, and then it's, you know, you can you're not really comparing apples to apples, right?

[7:38] Bruce Gotlieb: If you take, you know, Jerry Seinfeld from when he was in Seinfeld and put him up against George Clooney when he was in ER just to go with the same like period of time.

[7:48] Eila Mell: Yeah.

[7:48] Bruce Gotlieb: I guess acting is acting, but dramatic and comedic are two different things.

[7:52] Eila Mell: Yeah, but that's what the Oscars do.

[7:54] Bruce Gotlieb: I mean, I think acting is acting, so I go with the first part of what you said.

[7:58] Eila Mell: That they can compete against each other, but I'm not saying that they should.

[8:02] Bruce Gotlieb: I'm just saying, you know, it's very murky.

[8:05] Eila Mell: All right. Well, said your piece.

[8:06] Bruce Gotlieb: We have lots of questions.

[8:08] Eila Mell: The next time we talk to the Emmy board, we have a lot of questions.

[8:11] Bruce Gotlieb: Yes, yes.

[8:13] Eila Mell: That's right. When they consult with us.

[8:15] Bruce Gotlieb: All right. So our guest today is Adrian Martinez.

[8:19] Eila Mell: And he's been in everything comedies, dramas, you name it, limited series.

[8:23] Bruce Gotlieb: If you don't know Adrian by name, you have seen him.

[8:26] Eila Mell: You've seen him in Is it I Feel Pretty with Amy Schumer.

[8:30] Bruce Gotlieb: I love that movie.

[8:31] Eila Mell: Yes.

[8:32] Bruce Gotlieb: I think that movie is so much fun.

[8:33] Eila Mell: He uh worked in the basement with her in that movie.

[8:36] Bruce Gotlieb: You've seen him in I mean, Bruce, is there something he hasn't been in that's been out in the past five years?

[8:43] Bruce Gotlieb: Probably not.

[8:44] Eila Mell: Um I mean most recently, and we do talk to him about it in the uh Jerry Seinfeld Netflix.

[8:49] Bruce Gotlieb: Unfrosted.

[8:50] Eila Mell: It is so much fun.

[8:52] Eila Mell: It's the Pop Tart movie.

[8:54] Bruce Gotlieb: That's what it is.

[8:54] Eila Mell: Pop Tart.

[8:55] Bruce Gotlieb: Oh my god, it's so much fun.

[8:57] Eila Mell: I thought it was hilarious.

[8:58] Bruce Gotlieb: Adrian is so great, so talented.

[9:01] Eila Mell: And I'm just, he's like such a perfect guest for us because I mean, I don't, he's not someone who typically does a zillion podcasts.

[9:08] Bruce Gotlieb: So I feel like he had a lot of really interesting things to say.

[9:11] Eila Mell: It was just fun to talk to him about all his different experiences because you know he's one of those people that's just always doing something.

[9:18] Bruce Gotlieb: Everywhere.

[9:18] Eila Mell: Yeah. He's like a that guy that you've seen in everything.

[9:22] Bruce Gotlieb: Well, now our guests are about to at least hear him.

[9:24] Eila Mell: Okay.

[9:24] Bruce Gotlieb: They won't see him, but they'll hear him.

[9:26] Eila Mell: Well, we'll post a picture for sure, maybe a video, and you know.

[9:29] Bruce Gotlieb: Without further ado, get him out here.

[9:34] Eila Mell: We are so excited to welcome Adrian Martinez to Behind the Awards.

[9:39] Adrian Martinez: Hello, Adrian.

[9:40] Adrian Martinez: Hi, good morning.

[9:41] Adrian Martinez: Good afternoon.

[9:42] Eila Mell: Good afternoon.

[9:43] Adrian Martinez: Depending on when people are listening, right? It's not live.

[9:45] Adrian Martinez: So you could be right.

[9:48] Eila Mell: So I'm gonna start off by telling you that I almost never make notes when I do an interview, but because you have such an extensive resume, I had to make like a full page of notes.

[9:59] Adrian Martinez: Oh boy.

[10:00] Eila Mell: So we could get through everything.

[10:01] Adrian Martinez: So good for you.

[10:03] Eila Mell: Yeah, that's impressive.

[10:04] Adrian Martinez: It's always good, it's good to be busy, right?

[10:06] Eila Mell: Yeah.

[10:06] Adrian Martinez: Well, you know, I got a kid that wants to go to Yale, so I gotta crank him out, man.

[10:09] Eila Mell: I gotta cry.

[10:10] Adrian Martinez: Oh, yeah.

[10:13] Adrian Martinez: Actually, the real Yale.

[10:15] Eila Mell: She was offered so many opportunities to be in performing arts.

[10:20] Adrian Martinez: My thing.

[10:21] Eila Mell: So I applaud her willingness to just be her.

[10:25] Adrian Martinez: Yeah.

[10:25] Eila Mell: That's fantastic.

[10:26] Adrian Martinez: And you know, it might be a good decision for her if she wants a steady paycheck.

[10:30] Eila Mell: So that's good.

[10:31] Adrian Martinez: It's a tough business, kid.

[10:33] Eila Mell: Oh, yeah, yeah.

[10:34] Eila Mell: Not so tough for you, though. I mean, you have this huge project that people can watch right now.

[10:40] Adrian Martinez: Unfrosted, the Pop Tart Story.

[10:44] Eila Mell: Absolutely.

[10:45] Adrian Martinez: Oh my gosh. I've been so excited about this ever since I first heard about it.

[10:49] Eila Mell: And you play the iconic Tom Carvell.

[10:52] Adrian Martinez: Isn't that weird?

[10:53] Eila Mell: Yeah. That is crazy great.

[10:55] Adrian Martinez: How did this project come to you?

[10:57] Adrian Martinez: It was uh just another day. I was home cursing my life choices, and I got this email for Unfrosted, the Pop Tart Story by Jerry Seinfeld.

[11:09] Adrian Martinez: Like, what? What is this?

[11:10] Eila Mell: Did it sound like a joke?

[11:12] Adrian Martinez: Yeah. And then it had the breakdown, Tom Carvell, Ice Cream Maven, New York.

[11:16] Adrian Martinez: I was like, wait a second.

[11:20] Adrian Martinez: So I just dove right in and I did uh a deep dive in YouTube where everything is, where we all wind up.

[11:26] Adrian Martinez: Of course.

[11:27] Adrian Martinez: Tom Carvell did an interview with uh David Letterman.

[11:30] Adrian Martinez: He was funny and he got a little creepy and weird too at the same time.

[11:35] Adrian Martinez: Because uh yeah, he started out all joyful and everything, like, oh yes, every cake, every ice cream cake is round.

[11:35] Adrian Martinez: Every cake.

[11:42] Adrian Martinez: So I decided, well, why don't you make a whale? Make a whale.

[11:44] Adrian Martinez: And then when you're shopping for ice cream cake, what are you gonna do? You're gonna go to the whale. Fudge it.

[11:49] Adrian Martinez: So fudge the whale.

[11:52] Adrian Martinez: And I said, Oh my god, this guy's too much.

[11:54] Adrian Martinez: And then Letterman asked a question about some litigation that Carvell was involved in.

[12:00] Adrian Martinez: And then it all took a turn, man.

[12:02] Adrian Martinez: It all took a turn to the dark side.

[12:04] Adrian Martinez: He flipped the switch on him.

[12:05] Adrian Martinez: You had to watch it. He's like, I tell you, I got screwed. I'm not gonna, I'm not gonna lie to you. I got screwed. The whole thing's ridiculous. It never should have happened. And I I'm really upset by it. And I thought you were that's it. That's the way into the character.

[12:17] Adrian Martinez: Because we're gonna have Tony the Tiger and Chef PRD in this movie. I'm just gonna go dark, go the other way.

[12:24] Adrian Martinez: A bitter Tom Carvel.

[12:25] Adrian Martinez: A bitter Tom Carvel.

[12:26] Adrian Martinez: But it's all like a loving tribute to all these iconic uh characters.

[12:31] Adrian Martinez: How fun is that? None of it's real except for the fact that there was a battle between Post and Kellogg's. That's the only thing real about this. Everything else is just a laugh out loud, whatever, man. Let's just go for it type movie.

[12:43] Eila Mell: It looks hilarious.

[12:45] Adrian Martinez: So I grew up in New York, so Fudgy the Whale and Cookie Puss are like part of me.

[12:50] Eila Mell: I have a friend that's still to this day, every year for her birthday, she gets a fudgy the whale.

[12:56] Adrian Martinez: I appreciate it.

[12:56] Adrian Martinez: Yeah. The quality that's the finest, the finest ingredients.

[13:01] Eila Mell: So this is Jerry Seinfeld's first time as a director.

[13:03] Adrian Martinez: Yeah.

[13:04] Eila Mell: That must have been was it fun?

[13:06] Adrian Martinez: Uh, you know what? It was very funny.

[13:08] Adrian Martinez: Um I remember there was one time when this prop guy was upset. He got upset on set. And about where my props, the props are not in the right. And Seinfeld came out and was like, it's just a pop tart movie. We're all here to relax.

[13:16] Adrian Martinez: It's just a pop tart movie.

[13:24] Adrian Martinez: And that was it. He set the tone, and everybody just had a good time.

[13:28] Adrian Martinez: I remember specifically one scene where I'm talking to Jim Gaffigan, Melissa McCarthy, and Jerry Seinfeld, and I got a little for Clemdit because you know it's like a golden room that you're allowed to walk into.

[13:41] Adrian Martinez: But you have to walk a thousand miles of resiliency and struggle to get a chance at this room.

[13:48] Eila Mell: Right.

[13:48] Adrian Martinez: And when I was in this scene, it just really I thought of my mother, rest in peace, and all the support she gave me. And I thought of just a whole like myriad of images about the places, the little dumps that I did performances off, off, off Broadway.

[14:05] Adrian Martinez: Yeah, right. Culminating into this moment where I'm working with these greats, and it was just uh it was trippy. And I was very grateful.

[14:11] Eila Mell: That's amazing that you could just take a moment and and sort of feel it in the moment.

[14:17] Adrian Martinez: Yeah, it was a good day.

[14:20] Adrian Martinez: That's great. I mean, this is not your only and first time working with great actors. I mean, it's not my first rodeo.

[14:26] Eila Mell: No, for sure. I mean, you work with everybody, and they get to work with you.

[14:31] Adrian Martinez: And we're gonna do that.

[14:33] Eila Mell: That's right. We'll be right back. We have to listen to some commercials.

[14:39] Bruce Gotlieb: You and Amy Schumer are so funny together.

[14:42] Adrian Martinez: Oh my gosh. So I love I Feel Pretty.

[14:45] Adrian Martinez: I know many people who love this movie.

[14:47] Eila Mell: Thank you.

[14:48] Bruce Gotlieb: Oh my god, the two of you.

[14:49] Eila Mell: So now you've also been on her show.

[14:51] Bruce Gotlieb: So which came first?

[14:53] Adrian Martinez: Inside Amy Schumer. I did a few episodes on that.

[14:56] Eila Mell: My favorite.

[14:57] Adrian Martinez: Talk about big cast was uh 12 Angry Men Inside Amy Schumer.

[15:04] Eila Mell: That's the title.

[15:05] Adrian Martinez: Love it. And I urge your audience to see it on YouTube or whatever it is. It's just so funny. Because when Amy first did her movie, Trainwreck, there was some criticism about her not being attractive enough to be a lead in a movie.

[15:16] Bruce Gotlieb: Yeah.

[15:22] Adrian Martinez: That's so impressive. And it was just totally sexist bullshit.

[15:22] Bruce Gotlieb: Yeah.

[15:25] Adrian Martinez: Uh, can you say sexist?

[15:27] Bruce Gotlieb: Yeah.

[15:28] Adrian Martinez: Yes. Okay. Um, and she just basically took that poison and made it into lemonade by doing this spoof on lookism in film and TV. And it's like 12 Angry Men, like Jeff Goldblum, Paul Giamatti, uh Dennis Quaid, like these wonderful actors. And we're all deciding whether or not Amy Schumer is ethable.

[15:50] Bruce Gotlieb: You can say it, yeah, right.

[15:52] Adrian Martinez: Okay. And it's just really brilliant satire. It really is. And I really hope you guys take that one up. So that came first. And then years later we did I Feel Pretty. I love her. I mean, she's like a little sister to me, and she's done so well with everything. I'm just proud of her. I think she also did something with Julia Louis-Dreyfus.

[16:09] Eila Mell: So it was her birthday, and it was like her last fuckable year.

[16:12] Adrian Martinez: It was a group of women celebrating.

[16:15] Bruce Gotlieb: Yeah, yeah, yeah.

[16:17] Adrian Martinez: You know, speaks to ageism. And although Julia looks amazing, and nobody's thinking that she's not fuckable, but you know, yes.

[16:24] Bruce Gotlieb: Right.

[16:25] Adrian Martinez: Right. Yeah. But I'm so glad that people are talking about these things because it's, you know, it's such a thing. And with wit, you know, and with humor.

[16:32] Eila Mell: Exactly.

[16:33] Adrian Martinez: Right. With grace. Nobody's gonna pay attention if you're just, you know, preaching about it. But if you make people laugh, they'll listen.

[16:40] Bruce Gotlieb: Yeah, otherwise you're just that guy in the subway.

[16:42] Adrian Martinez: Yeah.

[16:43] Bruce Gotlieb: Yelling at people.

[16:47] Adrian Martinez: You're put the phone down. Have you been saved?

[16:49] Bruce Gotlieb: Yeah, no, it was.

[16:50] Adrian Martinez: Oh my gosh. There's always a performance on the subway.

[16:55] Bruce Gotlieb: 100%.

[16:56] Adrian Martinez: I know. And speaking of we're working with funny people and great people, one of our favorite shows, uh, Only Murders in the Building, you got to work with some great people there too.

[17:04] Adrian Martinez: Oh, yeah, yeah. That was that came out in Ohio. That was uh that was fun. That was the first time I had to audition in person. Because so much of it, basically these days I have to audition like 50% of the time, I would say. And the rest are offers.

[17:19] Bruce Gotlieb: Oh, which is nice.

[17:20] Adrian Martinez: Oh, that's not bad. My goal is 100%, you know.

[17:23] Bruce Gotlieb: But uh you'll be offer-only.

[17:26] Adrian Martinez: Offer only, please. Uh in fact, that's a great t-shirt, offer only.

[17:31] Bruce Gotlieb: I like that.

[17:31] Adrian Martinez: I'll make it for you. So, but yeah, they called me in, Bernard Telsey casting, wonderful people.

[17:37] Bruce Gotlieb: Yeah.

[17:38] Adrian Martinez: They cast me in Focus, this movie I did. They cast me in.

[17:41] Bruce Gotlieb: Yeah.

[17:41] Adrian Martinez: Ton of stuff. And they're a great casting office because once they like you, they like you. You know what I mean? Like they just bring you in over years.

[17:51] Bruce Gotlieb: That's great.

[17:51] Adrian Martinez: You book it or not. We just love this guy.

[17:54] Bruce Gotlieb: That's it.

[17:55] Adrian Martinez: Yeah. That's fantastic. So they brought me in in person for that one. And I was a little wow. You know, like, really? No cameras, nothing. And so I walked in there, and John Hoffman, the showrunner, he was just the nicest guy. Just the nicest guy. And I felt relaxed.

[18:12] Adrian Martinez: Mm-hmm. I need to feel safe when I work on a set or wherever I'm working. And the safety there was, I mean, I made a couple jokes to warm everybody up, and then that's it. We were off and running and we booked it. I love that show, obviously. But what's great about that, it is it has the best actors on TV, I think. It's all New York people. They were great. Everyone's a Tony Winner or not.

[18:33] Bruce Gotlieb: I know.

[18:34] Adrian Martinez: I know. Just great. Yeah. And to work with Steve Martin, let's face it. I mean, just a superhero in comedy.

[18:42] Bruce Gotlieb: Yeah.

[18:43] Adrian Martinez: Was he one of your favorites growing up?

[18:45] Bruce Gotlieb: Yeah.

[18:45] Adrian Martinez: I mean, I caught the tail end. Right, but I've caught up, I've seen everything he's done. Yeah. And he was very nice. Um, but I was playing kind of a role where I didn't want to get too chummy off camera. You know, I don't want a real plot, but some might say I was a little stalker-ish.

[19:02] Bruce Gotlieb: A little, maybe.

[19:03] Adrian Martinez: Just a touch. So I can't, they were like in a green room, but they're always together. Martin Short, Selena Gomez, and Steve Martin. They like literally hang out together. And they were in this little green room, and Steve Martin was complaining about his egg salad sandwich that he just got.

[19:20] Bruce Gotlieb: Okay.

[19:21] Adrian Martinez: And I wanted to go in there and really crack them up about egg salad. I had a couple jokes in mind, but I didn't. I just stayed creepily outside the room. Just on a metal chair. I never spoke to them. I just never did because I just felt like that wasn't the right moment for it. Yeah. And then when we shot this, well, I can't tell you what happened. But when we got to the big scene, it felt good because they were definitely intimidated by my approach.

[19:51] Bruce Gotlieb: Because they didn't get to know you.

[19:52] Adrian Martinez: That that's smart.

[19:54] Bruce Gotlieb: That's really smart.

[19:55] Adrian Martinez: Yeah. Yeah. I got my moments. Absolutely. So all right, I'm gonna go through some of your other credits because there's so much. So tell me about The Amateur that's coming out in November.

[20:04] Adrian Martinez: Oh, that's a good one. Rami Malek, he's in that.

[20:11] Adrian Martinez: Wow. Who I just saw in this one-person show. Did you see?

[20:14] Bruce Gotlieb: Oh, I didn't get the opportunity.

[20:15] Adrian Martinez: Did not get the opportunity. He was good. He was really good. It's basically his life in film, and from the perspective of someone that felt like an outsider and was trying to fit in.

[20:29] Bruce Gotlieb: I know.

[20:29] Adrian Martinez: He lied about his age on Apocalypse Now. And I was like, when I was 16, I was just like on my sofa. Where's the ketchup?

[20:37] Bruce Gotlieb: That's right.

[20:37] Adrian Martinez: But he's a great guy. He's in it. Um, I feel like these movies now, they really try to stack the deck with talent to get an audience to go. Mm-hmm. That's the case with The Amateur, CIA, 007, thriller type. I play Robbie's sidekick and best friend to the movie.

[20:53] Bruce Gotlieb: Oh, fun.

[20:54] Adrian Martinez: And it's uh it's good, but it's not that funny, but it's good. Intense.

[20:59] Bruce Gotlieb: I love that.

[21:02] Adrian Martinez: Yeah. Suspense is my favorite.

[21:04] Bruce Gotlieb: Yeah, that sounds right up my alley. I think Hitchcock will like it.

[21:07] Adrian Martinez: See, that's the biggest stamp of approval. Even though he was kind of creepy in real life, his movies are brilliant.

[21:12] Bruce Gotlieb: Yeah.

[21:13] Adrian Martinez: Well, there's a lot of that going around.

[21:15] Bruce Gotlieb: I know.

[21:16] Adrian Martinez: I know. All right. So Renfield, I saw that on a plane. How much fun? That made my flight fly by. So thank you for that.

[21:23] Adrian Martinez: Yeah. Just not enough blood in that movie.

[21:27] Bruce Gotlieb: Really.

[21:27] Adrian Martinez: Um, so now I have a question. You were in American Hustle.

[21:31] Bruce Gotlieb: Yeah.

[21:32] Adrian Martinez: So, what is it like when you're in a movie that's that big that's, you know, a nominee for best picture? How does that change your career in any way to be associated with that?

[21:42] Adrian Martinez: It's interesting because I was there in the trailer, and I had Jennifer Lawrence on my right, Jeremy Renner on my left, Christian Bale to his left. It was just like a wax museum of talent. And I was just like, okay, just don't fart, man. Just stay in your lane. Stay in your lane and just be kind and generous and get out. You know, and I and that's basically what I did. What I took away from that movie is uh don't piss off David O. Russell, but also his use of Steadicam. Like he had like there were scenes where we were live on a street in Lynn, Massachusetts. He used two Steadicams at the same time. And the choreography behind that was breathtaking.

[22:22] Bruce Gotlieb: Really?

[22:23] Adrian Martinez: Yeah, because they were never in the shot, but they were everywhere. And it was very impressive. So later when I directed uh movie, iGilbert, I thought to myself, yeah, keep that in mind. Keep the camera fluid, keep it moving. And of course, to work with those great stars who were very generous was great. I mean, I find like at that level, they understand how hard it is to just get there, you know. So once you're there, they just really are generous and cool.

[22:47] Bruce Gotlieb: So tell me about your movie. Because I that what a huge thing to have something, you know, that's an idea for you come to fruition.

[22:54] Adrian Martinez: Listen, it came out of my heart and soul. It really did. Uh I was sitting on the subway once, and it was really beautiful woman was sitting opposite me. And then a guy next to me just got up and just started taking photos of her face really close. It's just like he was cold and dead. And that was what's what was interesting to me. He wasn't creepy. Like he was just cold and dead. And I thought to myself, who is this guy? And what happened that he became this? And then I have a teen daughter, and I thought, where's this all going? Who's she gonna date if everybody's just in their phone? And it just sort of consumed me. So I did iGilbert just kind of as an allegory for the time we're in. Listen, we all love our phones.

I got mine right here. Yeah. But I do worry about the balance between technology and humanity, especially with the advent of AI. And where is this all going? You know? Um surface connection, like social media versus actual human connection. It's hard to get anyone to actually speak to on the phone, even though sometimes it's a lot easier that way. But now you have to make an appointment to talk to someone on the phone where growing up, you would just call someone. And people now are surprised when you call and don't text. It's like why are you calling me? Yeah, right. What's wrong? Right. It's yeah, it's gonna die. You know, and it's just anyway. I know I sound like an OG like when I talk like this, but it's when you have a kid going into the world, it matters, you know. I just wonder where it's all going. So I did iGilbert and it's streaming now everywhere, but uh it's just uh uh it's just an allegory for our time.

[24:24] Eila Mell: Well, it's so true because you know, I see people who are, I guess, teenagers in early twenties, and they don't even care about being together in the physical world. They think it's the same as being online, and they don't e you know, it everyone's so separated and just by themselves. It's very scary. Even when you go to like a fast food place, it's all kiosk now.

[24:45] Bruce Gotlieb: Right.

[24:45] Adrian Martinez: Like you can't even talk to someone. Hey, how are you doing? What's up? Good morning.

[24:49] Bruce Gotlieb: Right.

[24:51] Adrian Martinez: I don't know. I just wonder where it's all going.

[24:53] Eila Mell: I know. We can't stop it, but we can at least notice.

[24:56] Adrian Martinez: We can notice it. I'm glad SAG-AFTRA is doing something about AI and the guardrails up.

[25:02] Bruce Gotlieb: Sure.

[25:03] Adrian Martinez: Hats off to Duncan Crabtree-Ireland. This is the smartest man in the room, always. He led the negotiations with Fran Drescher, and he's a good man with a good heart, and he gets it. And he goes to all the tech conferences and he says the truth about AI and how you're not going to replace actors on my watch. And uh that's good to see.

[25:22] Bruce Gotlieb: It is. It's important to have someone who's informed who is your champion.

[25:27] Adrian Martinez: You know, he's really smart. He was a lawyer. He is a lawyer, always the smartest guy in the room. Let's take a minute to hear a word from our sponsors.

[25:38] Adrian Martinez: With your film, um, you obviously have the privilege of not only selected to participate in festivals, but also, you know, winning awards at these festivals. Is that a different feeling? You know, obviously you've been to openings of films that you've done that have been more mainstream release. How's the film circuit different? And is that something that you enjoy a little bit more than maybe a traditional film opening?

[26:00] Adrian Martinez: Let's just say the sliders at the after party are better when it's mainstream.

[26:07] Bruce Gotlieb: My career is always trying to be uh do a balance between the big studio releases and the independent films. Like I did a movie called, uh, It's Kind of a Funny Story. Uh that uh deserved a better fate because you had Lauren Graham, Viola Davis, Jim Gaffigan, wonderful actors. And it was about teen suicide with Emma Roberts and Keir Gilchrist in this place, this mental health institution. And me and Zach Galifianakis are like the old guys who are trying to like break the new kid Keir into this place and give him courage to ask out Emma Roberts and live. And it was a really really sweet, I recommend a good movie. It was an indie like a five million dollar budget. And I'm sitting on this, this is true story. I'm in Metro North and you know I notice this team looking at me and we get off at Grand Central and she comes up to me hi were you in I and It's Kind of a Funny Story. Yeah. That movie saved my life.

[27:08] Bruce Gotlieb: Wow.

[27:08] Adrian Martinez: And I got really like moved by that. You know so many times as an actor you don't know if people see anything. You feel that way sometimes you know like and this movie like it wasn't like a big but that was enough for me. That was like my Oscar. You know what I mean? Like that was like you made an impact in something that's huge. So I always try to combine the indies with you know one for art and one for the wallet.

[27:31] Bruce Gotlieb: Right.

[27:31] Adrian Martinez: That's it. There's nothing wrong with are you recognized everywhere you go because I mean you're one of those faces that everybody has seen.

[27:38] Adrian Martinez: Yeah, it's and it's usually whenever it's running you know like when Only Murders came out I was I'm like yeah you something for a while I was when Focus came I Focus with Margot Robbie, Will Smith, Conman that came out like 10 years. Wasn't a big hit, but now it's on Hulu, I think. So it's gotten like a second life.

[28:01] Bruce Gotlieb: Oh my God.

[28:01] Adrian Martinez: You're you're you're you're the 55 Jersey guy in four. Hi, how are you? Oh my god, yeah, yeah.

[28:07] Bruce Gotlieb: So there's that.

[28:08] Adrian Martinez: It's whatever it's running.

[28:09] Bruce Gotlieb: It's whatever's right. I would like to segue into your theater work.

[28:14] Adrian Martinez: Oh boy.

[28:14] Bruce Gotlieb: Um, you've worked with Labyrinth Theater.

[28:17] Adrian Martinez: I have a couple of very dear friends who were involved in Labyrinth Theater. John Patrick Shanley and Michael Puzo.

[28:24] Bruce Gotlieb: Oh, yeah, good guys.

[28:25] Adrian Martinez: Yes, yes, yes. So can you tell me? Did you start as a theater actor or or no?

[28:31] Adrian Martinez: Yeah. I mean, I did tons of plays everywhere, you know, just in every shithole of the city, man. I was just like I remember doing a play called Trespass. It was like a play about a group of actors who invade a church and decided to trespass onto the church, and it was site-specific. So we were actually doing it in the church.

[28:52] Bruce Gotlieb: I know about this play.

[28:54] Adrian Martinez: The day before we opened, there was like a torrential rainstorm, and it destroyed the church. It just like everything was just ruined. Yeah. So we wound up having to trespass to another place that was like a rooftop. And we had to send out a mass email like, yeah, we're now here.

[29:17] Bruce Gotlieb: Wow.

[29:18] Adrian Martinez: Like all this weird stuff. But to work with Philip Seymour Hoffman.

[29:22] Bruce Gotlieb: Right.

[29:22] Adrian Martinez: I mean, when I think of Labyrinth, I think of him because he was just he was a hero to me. Not just for his performance, but it was rare for a big guy to break through the way he did.

[29:32] Adrian Martinez: It was inspiring on that level, too. And he was just a really smart man, brilliant director. Tough, tough. I remember one guy. He didn't know his lines. And Phil just said, listen, you gotta come in off book tomorrow. You're out of the show. You sat in front of everybody. Yeah. Like, don't fuck around. You know. Mm-hmm. Right. We were gonna be at the public theater. This was for a play called uh Judas Iscariot. Mm-hmm. That was a big play. Yeah, yeah. Sam Rockwell was Judas. Eric Bagoshin was the devil. It was a great cast. Um Stephen McKinley Henderson, shout out. My God, he's good. Yeah. Who I had seen on the street just walking around. And I just uh just love you. Uh he was doing August Wilson's Jitney.

Mm-hmm. I just saw you in Jitney, and I just you just amazed me. To see him blow up the way he has with the Dune movies and all this. It's great. Right. Yeah. Right. But Phil was the guy. Phil for me was the guy. Yeah. And he brought the best out of me. Yeah, everybody just has the most lovely things to say about him. And what did you learn from him as a director? Definitely be prepared. Phil just uh when he was in high school, he was a wrestler, apparently. So he would talk a lot about wrestling metaphors, and one of them was this one wrestler who won the Olympics in wrestling, like three Olympics in a row. Uh-huh. And then in the fourth, he lost and came in third and got the bronze. And he's sobbing, and he's sweating, and he pulls off his shoes and he throws them on the mat, and he's like, that's it.

I'm done. Oh my god. And Phil said that is the investment you need to bring every fucking show, every take. And that's it. That is the price of this ticket. Oh shit, man. Yeah. Yeah. I I was just like, yeah, I gotta step it up, man. Right. He was all in, he was hardcore. He was on another level. It showed in his work for sure. I mean, he was so brilliant. I mean, Capote, my God. I know. I know. But even Boogie Nights, he's incredible in that. Yeah. Magnolia. Yes. The details, the investment. And he reminded me of John Cazale, who is you guys know him, but of course. Fredo. But the dear. I know. Five movies. Yeah. All Oscar nominated for Best Picture. I recommend the documentary on Cazale. I knew it was you.

Mm-hmm. Which is what Pacino tells him in Godfather Two when he's holding his. Oh, right. Right, right. You broke my heart. But Cazale would always talk about how when approaching a role, figure out the character's greatest pain. Because we're either in pain or trying to avoid it. And that really kicked in for me, man. It really kicked in. Yeah. So even if I'm doing a comedy, what is the greatest pain? For Tom Carvel and Frosted, I saw in the interview he did with Letterman that he had an extra grant against some litigation. Yeah. He was fighting. That was the way in. And so you always try to find the way in. For me, through the greatest pain. How are you dealing with it? How are you avoiding it?

That's interesting. And also that makes it so rich because if you don't have the starring role, you know, chances are you have one or two scenes to really get there. So you know, you don't have time to build. You know, you need that scene to really knock it out. Yeah, it's a moving train. And the very guest star. They're going 80 miles an hour, and you gotta come in running, man. You gotta come in running. Assume the director doesn't know anything. Be completely off book and completely prepared. Know your choices, get ready for adjustments, have those adjustments prepared. Just show up and crush it. I just did an episode of a guest star on Blue Bloods. Mm-hmm. Yeah. Um because I feel right now, with the Artsy and the Teamsters that having not settled, they're not doing a lot of series regular type things.

So I'm getting a lot of guest stars right now. Right. Yeah. And I just did one for Blue Bloods where I played a differently abled person. And I had like no time. I just like it was an offer. And I just dove in. Um I gave it my heart. Look out for that one. I really did. Do you know yet when that's airing, or it's too early to know? I just filmed it two weeks ago, so we don't know yet. But we will look for it. Soon. And props to them, you know, they're approaching their 300th episode. Wow. My goodness. I know. Especially with, you know, the state of network TV, right? Nobody's watching network TV as much because there's streaming. You can see whenever you want. So kudos to them for being able to survive so long.

A hundred percent. But they got their niche crowd and they nail it and that's it, you know? But now that they're running out of time, I I got in there at the last second, you know. That's it. That's great. Yeah. So do you even have time to consider doing more theater or are you just too busy? I would love to. Yeah. I would love to. Steven Ali Gergis, who wrote Judas Iscariot, Tony Love Me, he wrote uh the other play I did for them, which is Our Lady of 121st Street, where it's a differently abled person. I just saw his Halfway Bitches Go Straight to Heaven, which was amazing a couple of years ago. Even if you just want a title, like a great title, he's the guy. Oh yeah, he is. Did he write The Motherfucker with the Hat?

Is that his also? Yeah, I see there. He did. My mom was around there, and I told her, Well, gonna go see the the mother, uh how do I put this? Anyway, because she was a very Catholic old school, and I was Oh it's the mother uh, you know flower, mother flower that I had. What'd she think when you took her when she was showed up? Absolutely horrifying with that cast. Yeah, but the only break I caught was that her English wasn't great, so but the only thing she remembered were the F bombs. We all know those. Yeah, good times. Chris Rock was great in that. Um anyway, he's doing I hear he's doing a revival or a play adaptation of Dog Day Afternoon. Oh, John Cazale. Yeah. I would probably Oh wow. There's so many parts in that, yeah.

Yeah, hook me up. The bank manager, I would love to do that. Whatever you got. Yes. Or Sonny. Oh why not? Well, that's sacred, yeah. Yeah. Cazale's just so good, Marie. He was just so you you're putting it out there in the universe, so it'll go good places. Stay there. But he was so good, because I was like, Pacino goes up and like, where do you want to go once we get out of here? Yeah. What country do you want to go to? Um Cleveland. That's right. Cleveland's out of the country. Don't worry, don't worry, Sarah's aware. We got this. Fucking love it. And what about Chris Sarandon in that movie too? He's fantastic. Yeah. Tony, right? Yes. I mean Oscar nominated. Oscar for that movie. Yeah. Yeah.

Wonderful work. I know. I know. Lumet. Lumet. I actually wound up working with Lumet twice. Uh really. Really? Yeah, a couple bit roles. One was Before the Devil Knows You're Dead. That was dead with it. Was that Ethan Hawke? Ethan Hawke and uh Marissa Tomei. Yeah, that's a great movie. That's a good movie. Deserved a better fate. I got it. Encyclopedia film. Do you anyone interested in making movies, read Making Movies by Sidney Lumet? It's just it just breaks it down. And so accessibly and specifically, it's just great. Is he one of your favorite directors? Yeah. I mean, I mean, hell. I would have to say the one I always think of is Sydney Pollack and The Interpreter. Uh-huh. Because I was terrified.

It was the first time that they shot a movie in the United Nations building. Mm-hmm. And they had a thousand human beings as the extras. It wasn't CGI. Wow. Working with Nicole Kidman in front of that crowd, and Sidney Pollack directing. And it kind of messed me up, you know. And really. The first couple takes, and it's just nervous. And Mr. Pollack came up to me and was like, Hey, Jane, you got this. Mickey's good, meaning Nicole Kidman. Nicky's good. Whatever you throw at her, she's gonna catch. So I just want you to take a deep breath and jump. And it relaxed me. That's it. It relaxed me because I felt suddenly safe. Sure. And then the next take was the one that's in the movie. Oh, really?

That's amazing. Yeah. Because he had the confidence in you. Is that what he believed in me? He trusted me. He said, You're here because I believe in you. When he passed on, I actually sobbed. Yeah. Because I just thought he was just so good. Even in as an actor, remember Tootsie and Oh my gosh, of course. Yeah, Jump So. Or Eyes Wide Shut. Yeah. Yeah. Well, he wanted to be an actor initially. He didn't go into it to be a director. That just sort of happened. Yeah. So what about for you growing up? Was acting always the dream? You know, everyone thought I was crazy in my family. And I think they still feel that way. I but you know how it is. Like everyone in life, like for me, like in my family, everybody went right, and I I was the one that went left.

Yeah. You know, and I went to the to sell them and all this. And it's the same thing like in baseball. I'm an obsessive Mets fan. Oh, really? I like, you know, bonding with teams that always piss me off and frustrate me. So I'm a Mets fan. Um but growing up, everybody was a Yankee fan. Okay. I'll go Mets. Right. So that's just how my brain works. Uh well, I'm from Queens, so I get it. Oh, and as a Jet fan, I can appreciate that. Pick a team that drives me crazy. I'm a Jet fan too. Yeah. Mets, Jets, Knicks, which are doing great, and Rangers. But yeah, you know, I mean, my first gig, I didn't know anything. I was a track star in high school at Cardinal Hayes, where Scorsese went. Oh wow. Very cool.

Uh much later. Uh and uh they had an audition for something called Unsolved Mysteries. And it was like a real-stack show. No, was that? I don't think so. I don't know. No, he didn't go to your school. And the whole audition was a 40-yard sprint. That's all it was. Because they just wanted a track star. My friend came up to me, they had signs up. Dude, you're the fastest one here. You should do that. Right. It's 750 for the day. Yeah. Right. And that was it. There was literally I lined up five guys. Just guys, okay, just run. Go. And I I left him in the dust. I was a medalist back then on track. And uh that was it. I booked it. I was SAG eligible. And on the day they just said, okay, just run up to this door and bang on it.

And to scream. Scream. Open the door. Open the door. And why am I saying that? I thought I asked them. Don't worry about it. So I just did what they said, you know, and I banged on the door and I screamed, open the door. And it turns out I was a teen rapist allegedly. Oh. Yeah. I was trying to get the girlfriend. But because I was underaged, I guess they didn't want to tell me. That's so funny. Welcome to showbiz. Right. That's so funny that you were able to do it, but you just couldn't know what you were doing. Right. They wouldn't tell you why. Yeah, but it goes back to be prepared because I came up with why I'm banging on the door. Mm-hmm. Yeah. So even as a beginner, you knew to do your actor's homework, right?

You knew that there had to be some subtext. I'm weird that way. Like whenever I would go to a movie, like when I saw The Shawshank Redemption, my favorite all time, I was looking at Gil Bellows' performance. We all talk about Morgan Freeman and Tim Robbins. They're all great. But I really love what Gil Bellows. He's the guy that comes in later in the movie. Right, the young guy. Yeah. He's the witness. He knows what's really going on. He's willing to testify. Yeah. I won't say what happens for the five people who haven't seen it. That's right. And if you haven't seen it, run and see it. That's a great movie. But I was watching his performance, and I was in my head giving him notes. Yeah. I was just like, I think you should really just pull it down a little more.

Because I just, I mean, it's just crazy, crazy stuff. I just, but it taught me that I always saw these things directorily, not just as an actor. Yeah. And it's just how my brain works. So you know, Brad Pitt auditioned for that part. What part? Gil Bellows? Yeah, his part in Shawshank. Oh, wow. That's yeah. I love that kind of stuff. That's amazing. So do you think that you will direct more movies? Yes, just not with my money. Well, that's smart. Very smart. Well, you have some friends who have a lot of money, so maybe you know, you can talk with them. It's interesting in Hollywood because there's like, I don't like him, I like him, I love him, I'll give you money. That's uh that that is the hierarchy.

That's where you want to be. Right. In Hollywood. There you go. So I don't really need you to say you love me. I need five million for my next movie. Right. Show me the lunch. Show me the money. That's right. Exactly. Exactly. Adrian, thank you so much for joining us this week. This was cool. Amazing. A lot of fun. I know. I have to go and watch Unfrosted immediately. And everyone should do that. Is it on Netflix? Is that where we watch it? Netflix, yeah. Streaming starting today, opening day. It's let's get it to number one. Don't even worry about it. This is just a laugh, man. That's all it is. Tony the tiger. I mean, come on. What's better than that? We got you know, we got so silly putties in the movie.

Show your D's and I mean, this is just a sweet nostalgic ride for the whole family. Enjoy it. I love that. Okay. That and then I Gilbert after that. Oh yeah. Well, yeah. Great double. You gotta live on the on the extra on the polar extremes. Yeah, that's right. That's right. That's right. All right. Well. I would do the drama first before. Okay. All right, then we'll relax. Okay. Sounds good. All right. And then I'll pass out from exhaustion. That's right. All right. So, Adrian, come back the next time you have something that's out, which is probably gonna be in a week because you're so busy working on everything. Um, but we love you here, and thank you so much for joining us on Behind the Awards. Hey, this was a real gift. Thank you. Thank you.