Praise | Mike Rowe | January 16, 2020 | TBN

Praise | Mike Rowe | January 16, 2020

Watch Praise | Mike Rowe | January 16, 2020
January 16, 2020
54:14

Matt Crouch hosts Mike Rowe

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Praise | Mike Rowe | January 16, 2020

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  • EVERYBODY ROLLING?
  • 00:00:00.230 --> 00:00:01.130
  • [SUSPENSEFUL MUSIC]
  • 00:00:01.150 --> 00:00:14.100
  • [SUSPENSEFUL MUSIC]
  • 00:00:14.100 --> 00:00:21.220
  • - MIKE ROWE: ONCE UPON A TIME, A G RATED FELLA
  • 00:00:21.240 --> 00:00:23.000
  • NAMED MATT PICKED UP THE REMOTE CONTROL AND
  • 00:00:23.020 --> 00:00:25.260
  • STARTED TO CRUISE AROUND THE DIAL TO SEE WHAT HE
  • 00:00:25.280 --> 00:00:27.280
  • MIGHT STUMBLE ACROSS.
  • 00:00:28.000 --> 00:00:29.220
  • LO AND BEHOLD, HE FOUND A MAN ABOUT THE SAME AGE AS
  • 00:00:29.240 --> 00:00:34.100
  • HE SQUATTING IN A SEWER COVERED WITH FILTH AND
  • 00:00:34.120 --> 00:00:37.220
  • UNSPEAKABLE CREATURES.
  • 00:00:37.240 --> 00:00:39.220
  • MATT WAS APPALLED.
  • 00:00:39.240 --> 00:00:43.020
  • WHAT KIND OF TELEVISION ARE THEY MAKING THESE
  • 00:00:43.040 --> 00:00:44.200
  • DAYS, HE SAID TO HIMSELF AS HE REACHED AGAIN FOR
  • 00:00:44.220 --> 00:00:47.170
  • THE REMOTE TO CHANGE THE CHANNEL BUT SUDDENLY
  • 00:00:47.190 --> 00:00:50.000
  • FOUND HIMSELF UNABLE TO DO THAT VERY THING.
  • 00:00:50.020 --> 00:00:52.080
  • WHY?
  • 00:00:52.100 --> 00:00:54.180
  • BECAUSE AS HE LOOKED AT THE MAN AND AS HE
  • 00:00:54.200 --> 00:00:56.280
  • LISTENED TO THE MAN, HE ASKED HIMSELF IN A MOMENT
  • 00:00:57.000 --> 00:01:00.020
  • OF BLINDING HUMILITY, IS THERE NOT SOMETHING
  • 00:01:00.040 --> 00:01:02.190
  • FAMILIAR ABOUT THE COUNTENANCE OF THIS MAN
  • 00:01:02.210 --> 00:01:05.220
  • IN THE SEWER?
  • 00:01:05.240 --> 00:01:07.080
  • AND IN THAT MOMENT MATT SAW SOMETHING OF HIMSELF
  • 00:01:07.100 --> 00:01:11.120
  • IN A FELLOW TRAVELER AND REACHED OUT.
  • 00:01:11.140 --> 00:01:16.010
  • AND THROUGH AN UNLIKELY SERIES OF CONNECTIONS,
  • 00:01:16.030 --> 00:01:17.290
  • MATT AND THAT FELLOW TRAVELER FOUND THEMSELVES
  • 00:01:18.010 --> 00:01:21.050
  • DISCUSSING TOPICS THAT RANGED SO INSANELY FROM
  • 00:01:21.070 --> 00:01:25.060
  • RIGHT TO LEFT, UP TO DOWN.
  • 00:01:25.080 --> 00:01:28.190
  • NO HUMAN MIND COULD SCARCE CONTEMPLATE THE
  • 00:01:28.210 --> 00:01:33.130
  • COMPLEXITY WHICH IS JUST A LONG WAY OF SAYING,
  • 00:01:33.150 --> 00:01:37.210
  • WHEN YOU SEE A GUY IN POOP, DON'T RUSH
  • 00:01:37.230 --> 00:01:38.240
  • TO JUDGMENT.
  • 00:01:38.260 --> 00:01:41.260
  • - AND THAT'S THE WAY I HEARD IT.
  • 00:01:41.280 --> 00:01:45.180
  • - THAT'S THE WAY MATT HEARD IT.
  • 00:01:45.200 --> 00:01:47.270
  • - IT'S MIKE ROWE.
  • 00:01:47.290 --> 00:01:48.260
  • IT'S PRAISE RIGHT NOW.
  • 00:01:48.280 --> 00:01:50.150
  • [MUSIC]
  • 00:01:50.170 --> 00:01:58.050
  • - TONIGHT ON PRAISE FROM SANTA MONICA, YOU'VE
  • 00:01:58.070 --> 00:02:00.210
  • SEEN HIM ON SOMEBODY'S GOTTA DO IT RIGHT HERE ON
  • 00:02:00.230 --> 00:02:03.180
  • TBN, AUTHOR OF THE WAY I HEARD IT, MIKE ROWE!
  • 00:02:03.200 --> 00:02:08.110
  • [MUSIC]
  • 00:02:08.130 --> 00:02:11.040
  • AND NOW, MATT CROUCH!
  • 00:02:11.060 --> 00:02:14.000
  • [MUSIC]
  • 00:02:14.020 --> 00:02:21.240
  • - MAKE UP.
  • 00:02:21.260 --> 00:02:22.290
  • WE'RE STILL DOING MAKE UP?
  • 00:02:23.010 --> 00:02:23.250
  • - YEAH.
  • 00:02:23.270 --> 00:02:24.230
  • WE'RE STILL DOING IT.
  • 00:02:24.250 --> 00:02:26.030
  • SO WHEN SOMEBODY WRITES A BOOK AND IT GOES TO
  • 00:02:26.050 --> 00:02:29.290
  • NUMBER 4 ON THE NEW YORK TIMES BEST SELLER LIST
  • 00:02:30.010 --> 00:02:33.040
  • LIKE, ABOUT LIKE THAT [SNAPPING] YOU SCRAMBLE
  • 00:02:33.060 --> 00:02:37.140
  • TO GET THEM ON CAMERA.
  • 00:02:37.160 --> 00:02:39.080
  • THAT'S WHAT WE'RE DOING HERE.
  • 00:02:39.100 --> 00:02:40.200
  • WE HAVE SCRAMBLED TO MAKE THIS INTERVIEW HAPPEN.
  • 00:02:40.220 --> 00:02:43.250
  • - YOU HAVE MOVED WITH ALACRITY, WITH PURPOSE,
  • 00:02:43.270 --> 00:02:48.130
  • EXTREME PURPOSE I MIGHT SAY.
  • 00:02:48.150 --> 00:02:50.110
  • YOU NEVER FAIL TO AMAZE ME THE SPEED WITH WHICH
  • 00:02:50.130 --> 00:02:53.030
  • THIS HUMBLE OPERATION CAN TURN, PIVOT AND OTHERWISE
  • 00:02:53.050 --> 00:02:57.020
  • POSTURE THEREBY ATTRACTING B LIST
  • 00:02:57.040 --> 00:03:00.040
  • CELEBRITIES, THE LIKES OF ME.
  • 00:03:00.060 --> 00:03:01.220
  • [LAUGHTER]
  • 00:03:01.240 --> 00:03:04.150
  • - WHEN DID YOU KNOW THAT YOU COULD WRITE IN THIS
  • 00:03:04.170 --> 00:03:08.280
  • UNIQUE STYLE THAT YOU -- FIRST OF ALL, HAVE YOU
  • 00:03:09.000 --> 00:03:13.230
  • COINED A PHRASE FOR YOUR STYLE OF WRITING?
  • 00:03:13.250 --> 00:03:16.070
  • - YES.
  • 00:03:16.090 --> 00:03:17.170
  • SERENDIPITOUS HAPPENSTANCE SHOT THROUGH
  • 00:03:17.190 --> 00:03:20.120
  • WITH ACCIDENTAL GOOD FORTUNE.
  • 00:03:20.140 --> 00:03:22.220
  • - OKAY.
  • 00:03:22.240 --> 00:03:24.090
  • AND WHEN YOU STARTED COMPILING THIS BOOK, YOU
  • 00:03:24.110 --> 00:03:28.190
  • PROBABLY DIDN'T EXPECT FOR IT TO [SNAPPING]
  • 00:03:28.210 --> 00:03:33.060
  • JUST SNAP TO THE TOP OF THE NEW YORK TIME
  • 00:03:33.080 --> 00:03:35.250
  • BEST-SELLING LIST.
  • 00:03:35.270 --> 00:03:37.060
  • - HONESTLY I DIDN'T EXPECT THAT TO HAPPEN
  • 00:03:37.080 --> 00:03:39.190
  • UNTIL THIS EPISODE OF PRAISE HIT THE AIR, AND
  • 00:03:39.210 --> 00:03:42.140
  • THEN I COMPLETELY EXPECTED A BOLD
  • 00:03:42.160 --> 00:03:44.150
  • NEW CHAPTER.
  • 00:03:44.170 --> 00:03:46.070
  • - ARE YOU READY TO GO TO NUMBER 1?
  • 00:03:46.090 --> 00:03:48.020
  • - I DON'T -- I'M NOT REALLY A NUMBER ONE GUY.
  • 00:03:48.040 --> 00:03:50.050
  • IF YOU SAW DIRTY JOBS, I BASICALLY HAD MY WHOLE
  • 00:03:50.070 --> 00:03:53.050
  • CAREER BASED ON NUMBER 2.
  • 00:03:53.070 --> 00:03:55.130
  • [LAUGHTER]
  • 00:03:55.150 --> 00:03:57.010
  • SO I'D BE VERY HAPPY WITH A LITTLE NUMBER 2.
  • 00:03:57.030 --> 00:04:01.290
  • SO THERE I WAS HOSTING EVENING MAGAZINE LIKE A
  • 00:04:03.280 --> 00:04:07.160
  • GOOD SCOUT DOING THE BEST I COULD WHEN MY MOTHER
  • 00:04:07.180 --> 00:04:10.010
  • CALLED ME, AND I ANSWERED THE PHONE IN THE CUBICLE
  • 00:04:10.030 --> 00:04:13.000
  • THERE IN MY LITTLE HOLE AT CBS, AND SHE SAID
  • 00:04:13.020 --> 00:04:15.270
  • MICHAEL, YOU KNOW YOUR GRANDFATHER IS 90 YEARS OLD.
  • 00:04:15.290 --> 00:04:19.140
  • HE'S NOT GOING TO LIVE FOREVER.
  • 00:04:19.160 --> 00:04:21.180
  • WOULDN'T IT BE TERRIFIC IF HE TURNED ON THE TV
  • 00:04:21.200 --> 00:04:25.020
  • JUST ONCE BEFORE HE DIED AND SAW YOU DOING
  • 00:04:25.040 --> 00:04:28.010
  • SOMETHING THAT LOOKED LIKE WORK.
  • 00:04:28.030 --> 00:04:29.250
  • [LAUGHTER]
  • 00:04:29.270 --> 00:04:32.240
  • CAN YOU IMAGINE?
  • 00:04:32.260 --> 00:04:33.280
  • A MOTHER TALKING THAT WAY TO A SON?
  • 00:04:34.000 --> 00:04:36.030
  • BUT OF COURSE SHE WAS RIGHT.
  • 00:04:36.050 --> 00:04:37.100
  • MY GRANDFATHER AS YOU KNOW COULD BUILD A HOUSE
  • 00:04:37.120 --> 00:04:39.190
  • WITHOUT A BLUEPRINT, ONLY WENT TO THE 7TH GRADE BUT
  • 00:04:39.210 --> 00:04:42.010
  • WAS JUST A BRILLIANT TRADESMAN.
  • 00:04:42.030 --> 00:04:45.100
  • AND I DECIDED I COULD HOST MY LITTLE SHOW
  • 00:04:45.120 --> 00:04:49.210
  • REALLY FROM ANYWHERE I WANTED.
  • 00:04:49.230 --> 00:04:51.180
  • IT DIDN'T ALWAYS HAVE TO BE RESTAURANTS OR
  • 00:04:51.200 --> 00:04:53.140
  • ART GALLERIES.
  • 00:04:53.160 --> 00:04:54.230
  • IT COULD BE CONSTRUCTION SITES OR FACTORY FLOORS
  • 00:04:54.250 --> 00:04:58.080
  • OR IT COULD BE A SEWER.
  • 00:04:58.100 --> 00:05:00.040
  • SO DIRTY JOBS HAPPENED BECAUSE MY MOTHER TOLD ME
  • 00:05:00.060 --> 00:05:02.190
  • TO DO SOMETHING ON TV THAT LOOKED LIKE WORK TO
  • 00:05:02.210 --> 00:05:04.200
  • PLEASE MY GRANDFATHER WHICH I DID BY HOSTING A
  • 00:05:04.220 --> 00:05:07.160
  • SHOW IN THE SEWERS OF SAN FRANCISCO WHICH
  • 00:05:07.180 --> 00:05:09.080
  • SUBSEQUENTLY BOTH GOT ME FIRED AND INSPIRED THE
  • 00:05:09.100 --> 00:05:13.280
  • PROGRAM THE AFOREMENTIONED DIRTY JOBS.
  • 00:05:14.000 --> 00:05:17.230
  • - SO LET ME ASK YOU THIS.
  • 00:05:17.250 --> 00:05:20.120
  • - UH-HUH.
  • 00:05:20.140 --> 00:05:22.030
  • - YOU HAVE ONE OF THE MOST INTERESTING STYLES
  • 00:05:22.050 --> 00:05:25.200
  • OF WRITING I HAVE EVER READ, AND YOU KNOW YOU
  • 00:05:25.220 --> 00:05:29.170
  • KNOW THAT, RIGHT?
  • 00:05:29.190 --> 00:05:30.240
  • - THANK YOU.
  • 00:05:30.260 --> 00:05:32.000
  • I'M NOT GOING TO PUT WORDS IN YOUR MOUTH, BUT
  • 00:05:32.020 --> 00:05:33.130
  • I'M NOT GOING TO ARGUE EITHER.
  • 00:05:33.150 --> 00:05:35.030
  • - OKAY. SO --
  • 00:05:35.050 --> 00:05:36.140
  • - YES, I AM SUPER INTERESTING.
  • 00:05:36.160 --> 00:05:38.100
  • [LAUGHTER]
  • 00:05:38.120 --> 00:05:40.020
  • - SO I WANT TO SET THE STAGE.
  • 00:05:40.040 --> 00:05:44.080
  • IN CASE SOMEBODY HASN'T BEEN ABLE TO EXPERIENCE
  • 00:05:44.100 --> 00:05:47.100
  • EVERYTHING THAT MIKE ROWE IS, IF SOMEBODY GOT PAST
  • 00:05:47.120 --> 00:05:51.080
  • THE DIRT AND INTO YOUR WRITING STYLE, THE WAY I
  • 00:05:51.100 --> 00:05:54.090
  • HEARD IT, WE'VE PREPARED ABOUT A MINUTE PIECE THAT
  • 00:05:54.110 --> 00:05:58.190
  • I THINK IS INTERESTING.
  • 00:05:58.210 --> 00:06:01.010
  • IT WILL PARTLY KIND OF EXPLAIN WHY WE'RE BOTH
  • 00:06:01.030 --> 00:06:05.200
  • SITTING AT A SCHOOL DESK IN A
  • 00:06:05.220 --> 00:06:07.140
  • HIGH SCHOOL AUDITORIUM.
  • 00:06:07.160 --> 00:06:08.260
  • WATCH THIS.
  • 00:06:08.280 --> 00:06:12.120
  • - READY?
  • 00:06:12.290 --> 00:06:13.240
  • AND ACTION.
  • 00:06:13.260 --> 00:06:15.100
  • [UPBEAT MUSIC]
  • 00:06:15.120 --> 00:06:19.240
  • SHE DELIVERED A PERFORMANCE WORTHY OF
  • 00:06:19.260 --> 00:06:21.250
  • AN OSCAR.
  • 00:06:21.270 --> 00:06:24.180
  • THE LIGHTS OF TINSEL TOWN WOULD BE TWINKLING BUT
  • 00:06:24.200 --> 00:06:27.050
  • SHE WOULD NOT BE DISTRACTED.
  • 00:06:27.070 --> 00:06:29.190
  • AL DIDN'T CARE ABOUT BEING RECOGNIZED.
  • 00:06:29.210 --> 00:06:31.160
  • HE JUST WANTED TO WORK.
  • 00:06:31.180 --> 00:06:34.070
  • AL ARRIVED AT THE AUDITION.
  • 00:06:34.090 --> 00:06:35.270
  • THEN SOMEBODY SAID, ACTION!
  • 00:06:35.290 --> 00:06:37.290
  • AND THAT WAS THAT.
  • 00:06:38.010 --> 00:06:40.150
  • HE WAS AN ENGINEER WHO POSSESSED AN ABILITY TO
  • 00:06:40.170 --> 00:06:42.140
  • REPAIR PRETTY MUCH ANYTHING.
  • 00:06:42.160 --> 00:06:44.170
  • WELL, THAT MECHANICAL HANDSHAKE CHANGED THE WAY
  • 00:06:44.190 --> 00:06:46.270
  • NASA APPROACHED SPACE MISSIONS.
  • 00:06:46.290 --> 00:06:48.150
  • IT WAS ANOTHER HANDSHAKE THAT SAVED THE HUBBLE.
  • 00:06:48.170 --> 00:06:52.140
  • ANYWAY, THAT'S THE WAY I HEARD IT.
  • 00:06:52.160 --> 00:06:53.290
  • [MUSIC]
  • 00:06:54.010 --> 00:07:05.090
  • - WE'RE AT SANTA MONICA HIGH SCHOOL.
  • 00:07:05.110 --> 00:07:07.070
  • MY GUEST, MIKE ROWE.
  • 00:07:07.090 --> 00:07:10.050
  • I'VE BEEN LOOKING FORWARD TO THIS BECAUSE LET ME
  • 00:07:10.070 --> 00:07:12.140
  • TELL YOU SOMETHING, I'VE KNOWN ABOUT THE FORMATION
  • 00:07:12.160 --> 00:07:15.280
  • OF WHAT'S HAPPENING WITH THIS BOOK FOR A WHILE.
  • 00:07:16.000 --> 00:07:18.180
  • - UH-HUH.
  • 00:07:18.200 --> 00:07:20.180
  • - I AM A BIG FAN OF YOURS, AND YOU KNOW THAT.
  • 00:07:20.200 --> 00:07:24.220
  • I AM TOTALLY INTERESTED IN THE WAY THAT YOU
  • 00:07:24.240 --> 00:07:27.130
  • TELL STORIES.
  • 00:07:27.150 --> 00:07:29.150
  • THIS BOOK CAME OUT OF A SERIES OF BASICALLY
  • 00:07:29.170 --> 00:07:35.200
  • POD CASTS I SUPPOSE IS REALLY KIND OF WHERE IT STARTED,
  • 00:07:35.220 --> 00:07:39.180
  • AND MIKE, WE KNOW YOU FROM DIRTY JOBS.
  • 00:07:39.200 --> 00:07:42.240
  • WE RECOGNIZE YOUR VOICE FOR THE -- WHAT'S THE
  • 00:07:42.260 --> 00:07:45.090
  • CRAB SHOW?
  • 00:07:45.110 --> 00:07:46.220
  • - THAT WOULD BE THE DEADLIEST CATCH.
  • 00:07:46.240 --> 00:07:48.110
  • - THE DEADLIEST CATCH.
  • 00:07:48.130 --> 00:07:49.110
  • - SEASON 16 RIGHT NOW.
  • 00:07:49.130 --> 00:07:50.170
  • KIND OF A BIG DEAL.
  • 00:07:50.190 --> 00:07:52.090
  • - SO GIVE ME A LITTLE PIECE OF THAT SO THAT
  • 00:07:52.110 --> 00:07:54.180
  • EVERYONE RECOGNIZES IT.
  • 00:07:54.200 --> 00:07:56.170
  • - JANUARY.
  • 00:07:56.190 --> 00:07:57.200
  • THE BERING SEA.
  • 00:07:57.220 --> 00:07:58.240
  • THE FOG ROLLS IN.
  • 00:07:58.260 --> 00:08:00.110
  • THE MEN GO OUT.
  • 00:08:00.130 --> 00:08:01.260
  • THE ICE GETS THICK.
  • 00:08:01.280 --> 00:08:03.100
  • THE CRAB RUNS FOR THEIR LIVES.
  • 00:08:03.120 --> 00:08:05.030
  • THE CAGES DROP UPON THEM.
  • 00:08:05.050 --> 00:08:06.210
  • UP COME THE CRAB.
  • 00:08:06.230 --> 00:08:08.050
  • IN GO THE MEN.
  • 00:08:08.070 --> 00:08:09.130
  • MONEY CHANGES HANDS, AND THEY ALL LIVE HAPPILY
  • 00:08:09.150 --> 00:08:12.100
  • EVER AFTER.
  • 00:08:12.120 --> 00:08:13.230
  • - HAVE YOU EVER BEEN ON ONE OF THE BOATS?
  • 00:08:13.250 --> 00:08:14.250
  • - I HAVE.
  • 00:08:14.270 --> 00:08:16.050
  • I WORKED ON A BOAT CALLED THE BOUNTIFUL.
  • 00:08:16.070 --> 00:08:17.170
  • - OKAY.
  • 00:08:17.190 --> 00:08:19.010
  • SO YOU WERE ON IT DOING AN EPISODE OF DIRTY JOBS?
  • 00:08:19.030 --> 00:08:20.070
  • - NO.
  • 00:08:20.090 --> 00:08:21.150
  • BACK IN THE DAY I WAS TRYING TO CONVINCE THE
  • 00:08:21.170 --> 00:08:21.190
  • DISCOVERY CHANNEL THAT DIRTY JOBS IS SOMETHING
  • 00:08:24.050 --> 00:08:27.130
  • THEY SHOULD PURCHASE.
  • 00:08:27.150 --> 00:08:28.220
  • I FAILED.
  • 00:08:28.240 --> 00:08:30.120
  • I FAILED INITIALLY, BUT IN THE COURSE OF THAT
  • 00:08:30.140 --> 00:08:33.030
  • CONVERSATION, THEY SUGGESTED THAT I MIGHT
  • 00:08:33.050 --> 00:08:34.190
  • ENJOY MYSELF WORKING UP ON THE BERING SEA AS A
  • 00:08:34.210 --> 00:08:37.190
  • GREEN HORN ON A CRAB BOAT.
  • 00:08:37.210 --> 00:08:40.220
  • - UH-HUH.
  • 00:08:40.240 --> 00:08:42.030
  • - BEING AN IDIOT, I SAID, WHY NOT?
  • 00:08:42.050 --> 00:08:43.230
  • LET'S TRY THAT.
  • 00:08:43.250 --> 00:08:45.020
  • AND YEAH, I SAW SOME THINGS UP THERE THAT
  • 00:08:45.040 --> 00:08:47.100
  • WELL, IT'S IN THE BOOK.
  • 00:08:47.120 --> 00:08:50.000
  • IT STUCK WITH ME.
  • 00:08:50.020 --> 00:08:50.290
  • - YEAH.
  • 00:08:51.010 --> 00:08:52.120
  • SO WHEN WERE YOU AWARE THAT YOU COULD REVERSE
  • 00:08:52.140 --> 00:08:57.180
  • ENGINEER A STORY?
  • 00:08:57.200 --> 00:09:00.080
  • - SO I'VE SAID THIS TO YOU BEFORE AND I REALLY
  • 00:09:00.100 --> 00:09:02.120
  • BELIEVE IT, THERE ARE NO NEW IDEAS.
  • 00:09:02.140 --> 00:09:04.240
  • A GENTLEMAN KNOWS HOW TO STEAL THEM PROPERLY AND
  • 00:09:04.260 --> 00:09:09.260
  • ACKNOWLEDGE FAIRLY, AND THEN HOPEFULLY PUT HIS
  • 00:09:09.280 --> 00:09:12.280
  • SPIN ON THEM.
  • 00:09:13.000 --> 00:09:14.180
  • THE IDEA THAT MOTIVATED THIS BOOK AND MY PODCAST
  • 00:09:14.200 --> 00:09:16.180
  • CAME FROM THE LATE GREAT PAUL HARVEY.
  • 00:09:16.200 --> 00:09:20.030
  • AND I KNOW SOME OF YOUR VIEWERS MUST KNOW
  • 00:09:20.050 --> 00:09:24.210
  • PAUL HARVEY.
  • 00:09:24.230 --> 00:09:25.210
  • HE WAS TERRIFIC.
  • 00:09:25.230 --> 00:09:27.220
  • THAT GUY, I MEAN NOT ONLY COULD HE TELL A STORY IN
  • 00:09:27.240 --> 00:09:29.230
  • A WAY THAT WOULD MAKE YOU LEAN IN, HE TURNED THE
  • 00:09:29.250 --> 00:09:33.030
  • STORIES THEMSELVES INSIDE OUT.
  • 00:09:33.050 --> 00:09:35.050
  • SO BIOGRAPHIES BECAME MYSTERIES AND HISTORICAL
  • 00:09:35.070 --> 00:09:39.040
  • TALES BECAME WHO-DONE-ITS, AND YOU HAD TO LISTEN
  • 00:09:39.060 --> 00:09:41.060
  • TO THE END, AND I WRITE ABOUT THIS IN THE INTRO,
  • 00:09:41.080 --> 00:09:46.210
  • BUT I THINK IT WAS 1988, 87 OR 88, I WAS SITTING
  • 00:09:46.230 --> 00:09:50.190
  • IN MY CAR IN THE LONG TERM PARKING LOT AT BWI,
  • 00:09:50.210 --> 00:09:53.270
  • BALTIMORE WASHINGTON AIRPORT LATE FOR
  • 00:09:53.290 --> 00:09:57.130
  • A FLIGHT.
  • 00:09:57.150 --> 00:09:58.270
  • PRE 911, SO I GOT MAYBE 30 MINUTES BEFORE THIS
  • 00:09:58.290 --> 00:10:00.230
  • THING TAKES OFF, BUT I KNOW I CAN MAKE IT IF I
  • 00:10:00.250 --> 00:10:02.270
  • RUN, BUT I CAN'T GET OUT OF THE CAR.
  • 00:10:02.290 --> 00:10:04.270
  • I'M LITERALLY STUCK TO THE SEAT BECAUSE I GOTTA
  • 00:10:04.290 --> 00:10:07.070
  • WAIT FOR PAUL HARVEY TO GET TO THE END.
  • 00:10:07.090 --> 00:10:09.120
  • - OH, MY GOODNESS.
  • 00:10:09.140 --> 00:10:10.090
  • - I GOTTA WAIT.
  • 00:10:10.110 --> 00:10:11.160
  • I CAN'T GET OUT OF THE CAR UNTIL I HEAR THE
  • 00:10:11.180 --> 00:10:12.250
  • MAGIC WORDS WHICH WERE, AND NOW YOU KNOW THE REST
  • 00:10:12.270 --> 00:10:16.270
  • OF THE STORY.
  • 00:10:16.290 --> 00:10:19.030
  • SO EVER SINCE THEN, I'VE WANTED TO WRITE STORIES
  • 00:10:19.050 --> 00:10:23.120
  • THAT MAKE PEOPLE LATE.
  • 00:10:23.140 --> 00:10:25.090
  • I MISSED MY FLIGHT THAT DAY, YOU KNOW.
  • 00:10:25.110 --> 00:10:27.290
  • AND ONE THING LEADS TO THE NEXT AND YEARS GO BY,
  • 00:10:28.010 --> 00:10:32.040
  • AND NOW I SPEND A LOT OF TIMES ON PLANES AND I
  • 00:10:32.060 --> 00:10:34.130
  • FIND THAT WRITING COMPRESSES TIME.
  • 00:10:34.150 --> 00:10:37.270
  • I CAN'T TELL YOU HOW MANY TIMES I STARTED WRITING A
  • 00:10:37.290 --> 00:10:40.090
  • STORY ON THE TARMAC OF SFO AND LOOKED UP ONLY TO
  • 00:10:40.110 --> 00:10:45.070
  • SEE WE WERE ON THE TARMAC OF JFK, RIGHT.
  • 00:10:45.090 --> 00:10:48.250
  • SO I WROTE AND WRITE PRIMARILY TO
  • 00:10:48.270 --> 00:10:51.180
  • AMUSE MYSELF.
  • 00:10:51.200 --> 00:10:53.110
  • THE PODCAST TOOK OFF.
  • 00:10:53.130 --> 00:10:55.100
  • MY PRODUCER, CHUCK, SUDDENLY WAS LIKE HEY
  • 00:10:55.120 --> 00:10:59.210
  • MAN, YOU GOT 120 MILLION DOWNLOADS.
  • 00:10:59.230 --> 00:11:01.290
  • WE SHOULD KEEP DOING THIS.
  • 00:11:02.010 --> 00:11:03.140
  • SO I KEEP WRITING, AND THEN A PUBLISHER IS LIKE
  • 00:11:03.160 --> 00:11:06.000
  • WE SHOULD PUT SOME OF THESE IN A BOOK, SO WE
  • 00:11:06.020 --> 00:11:08.060
  • PUT THEM IN A BOOK, BUT THEN MY MOTHER MAKES
  • 00:11:08.080 --> 00:11:11.070
  • ANOTHER ONE OF HER CLASSIC PHONE CALLS AND
  • 00:11:11.090 --> 00:11:13.150
  • SAYS, SO YOU'VE ASSEMBLED STORIES YOU'VE ALREADY
  • 00:11:13.170 --> 00:11:15.170
  • WRITTEN FOR YOUR PODCAST AND PUT THEM IN A BOOK?
  • 00:11:15.190 --> 00:11:18.020
  • AND I SAID YEAH.
  • 00:11:18.040 --> 00:11:19.090
  • AND SHE SAID, OH MICHAEL, WHAT A TERRIFICALLY LAZY
  • 00:11:19.110 --> 00:11:21.110
  • WAY TO WRITE A BOOK.
  • 00:11:21.130 --> 00:11:23.080
  • [LAUGHTER]
  • 00:11:23.100 --> 00:11:24.200
  • I'M LIKE MOM, WHAT DO YOU WANT ME TO DO?
  • 00:11:24.220 --> 00:11:26.190
  • SHE SAID, WHY DON'T YOU INTERRUPT YOUR STORIES,
  • 00:11:26.210 --> 00:11:29.290
  • YOUR BIOGRAPHIES OF FAMOUS PEOPLE YOU'VE NEVER MET
  • 00:11:30.010 --> 00:11:32.090
  • WITH A REASON THAT EXPLAINS WHY YOU THINK
  • 00:11:32.110 --> 00:11:36.260
  • YOU WROTE ABOUT THEM.
  • 00:11:36.280 --> 00:11:38.100
  • TALK ABOUT YOURSELF.
  • 00:11:38.120 --> 00:11:39.240
  • TALK ABOUT YOUR OWN PAST.
  • 00:11:39.260 --> 00:11:41.050
  • SO THE BOOK AND THE FORMAT THAT YOU'VE
  • 00:11:41.070 --> 00:11:44.170
  • ALLUDED TO VERY KINDLY AS UNIQUE AND INTERESTING IS
  • 00:11:44.190 --> 00:11:48.170
  • CERTAINLY UNIQUE BECAUSE IT GOES BIOGRAPHY, AUTO
  • 00:11:48.190 --> 00:11:50.240
  • BIOGRAPHY, BIOGRAPHY, AUTO BIOGRAPHY.
  • 00:11:50.260 --> 00:11:53.140
  • FOR EVERY FAMOUS PERSON THAT I'VE NEVER MET THAT
  • 00:11:53.160 --> 00:11:56.130
  • I WRITE A MYSTERY ABOUT, I TRIED TO EXPLAIN WHY I
  • 00:11:56.150 --> 00:11:59.180
  • THINK I MIGHT HAVE CHOSEN THAT PERSON, AND I
  • 00:11:59.200 --> 00:12:02.130
  • ATTEMPT TO MAKE IT RHYME WITH SOMETHING THAT
  • 00:12:02.150 --> 00:12:04.220
  • HAPPENED IN MY PAST, MAYBE UP IN THE BERING
  • 00:12:04.240 --> 00:12:08.120
  • SEA, MAYBE IN A SEWER ON DIRTY JOBS, MAYBE JUST
  • 00:12:08.140 --> 00:12:11.050
  • GROWING UP WITH 2 OF THE MOST TERRIFIC PARENTS
  • 00:12:11.070 --> 00:12:13.080
  • ANYBODY COULD EVER HOPE TO HAVE.
  • 00:12:13.100 --> 00:12:14.200
  • - YOU'RE AMAZING.
  • 00:12:14.220 --> 00:12:16.000
  • WE HAVE WATCHED HIM TAKE ON THE TOUGH SHIFTS HOSTING
  • 00:12:16.020 --> 00:12:18.140
  • THE SHOW DIRTY JOBS.
  • 00:12:18.160 --> 00:12:20.060
  • NOW HE'S SHARING WHAT HE HAS LEARNED FROM HIS
  • 00:12:20.080 --> 00:12:21.280
  • VERSATILE CAREER IN A PODCAST AND A NEW BOOK.
  • 00:12:22.000 --> 00:12:24.240
  • IT'S CALLED THE WAY I HEARD IT.
  • 00:12:24.260 --> 00:12:26.230
  • [MUSIC]
  • 00:12:26.250 --> 00:12:31.070
  • - EACH MYSTERY IN THE BOOK IS FOLLOWED BY A
  • 00:12:31.090 --> 00:12:34.140
  • TRUE STORY FROM MY OWN MISSPENT YOUTH
  • 00:12:34.160 --> 00:12:36.150
  • AND CAREER.
  • 00:12:36.170 --> 00:12:38.060
  • IT'S BASICALLY A MEMOIR THAT GOT INTERRUPTED WITH
  • 00:12:38.080 --> 00:12:40.270
  • TRUISH STORIES OF FAMOUS PEOPLE THAT I'VE
  • 00:12:40.290 --> 00:12:42.280
  • NEVER REALLY MET BUT HAVE ALWAYS BEEN INTRIGUED BY.
  • 00:12:43.000 --> 00:12:45.140
  • - IT HIT THE NEW YORK TIMES BEST SELLER'S LIST.
  • 00:12:45.160 --> 00:12:47.200
  • - IT WAS A BIG DEAL.
  • 00:12:47.220 --> 00:12:48.290
  • [MUSIC]
  • 00:12:49.010 --> 00:12:57.070
  • - THIS BOOK IF YOU JUST TUNED IN, MIKE AND I ARE
  • 00:12:57.090 --> 00:13:01.020
  • HERE IN A HIGH SCHOOL AUDITORIUM RIGHT HERE IN
  • 00:13:01.040 --> 00:13:03.290
  • SOUTHERN CALIFORNIA.
  • 00:13:04.010 --> 00:13:05.220
  • YOU SAT DOWN ON YOUR OWN AND YOU KIND OF TOOK YOUR
  • 00:13:05.240 --> 00:13:10.260
  • PODCAST TO A VIDEO FORMAT.
  • 00:13:10.280 --> 00:13:14.010
  • I SAW SOME OF THAT, AND TOGETHER WE KIND OF
  • 00:13:14.030 --> 00:13:18.050
  • WORKED SOME VISUALS INTO-- - CAN I TAKE IT FROM HERE
  • 00:13:18.070 --> 00:13:21.260
  • FOR A SECOND?
  • 00:13:21.280 --> 00:13:22.270
  • - YOU MAY.
  • 00:13:22.290 --> 00:13:24.000
  • - BECAUSE YOU'RE NOT GOING TO GIVE
  • 00:13:24.020 --> 00:13:24.180
  • YOURSELF CREDIT.
  • 00:13:24.200 --> 00:13:25.250
  • HERE'S WHAT HAPPENED.
  • 00:13:25.270 --> 00:13:27.070
  • I SAT RIGHT HERE.
  • 00:13:27.090 --> 00:13:28.170
  • - EASY.
  • 00:13:28.190 --> 00:13:29.250
  • - AND RATHER THAN JUST RECORD THEM IN PODCAST
  • 00:13:29.270 --> 00:13:31.110
  • FORMAT, I PUT THEM ON VIDEO.
  • 00:13:31.130 --> 00:13:33.010
  • I SENT SOME OF THOSE TO MATT BECAUSE I KNEW HE
  • 00:13:33.030 --> 00:13:35.130
  • WAS A FAN.
  • 00:13:35.150 --> 00:13:36.290
  • MATT SAYS, DO YOU MIND IF I TINKER WITH THIS?
  • 00:13:37.010 --> 00:13:40.100
  • WHEN MATT ASKS IF IT'S OKAY IF HE TINKERS WITH
  • 00:13:40.120 --> 00:13:43.110
  • SOMETHING, BE VERY CAREFUL.
  • 00:13:43.130 --> 00:13:45.270
  • YOU HAVE NO IDEA WHAT'S GOING TO COME BACK OVER
  • 00:13:45.290 --> 00:13:48.010
  • THE NET.
  • 00:13:48.030 --> 00:13:49.110
  • WHAT MATT DID WAS INVEST AND BRING THE STORIES TO
  • 00:13:49.130 --> 00:13:52.200
  • LIFE WITH A LEVEL OF VISUAL ACUITY THAT I DARE
  • 00:13:52.220 --> 00:13:57.090
  • SAY WOULD BE VERY CONSISTENT WITH SOMETHING
  • 00:13:57.110 --> 00:14:00.170
  • ONE MIGHT FIND ON THE SILVER SCREEN.
  • 00:14:00.190 --> 00:14:02.280
  • I DON'T KNOW HOW MUCH YOU SPENT, BUT IT WAS A
  • 00:14:03.000 --> 00:14:05.060
  • BUNCH, AND WHAT YOU DID TRANSFORMED THOSE
  • 00:14:05.080 --> 00:14:07.280
  • STORIES, AND THEN HE JUST SENDS THEM TO ME.
  • 00:14:08.000 --> 00:14:10.210
  • HE JUST SENDS ME A LINK.
  • 00:14:10.230 --> 00:14:12.050
  • SEE WHAT YOU THINK.
  • 00:14:12.070 --> 00:14:14.020
  • I'M EXPECTING SOME ANIMATION, MAYBE A PUPPET
  • 00:14:14.040 --> 00:14:16.090
  • OR SOMETHING.
  • 00:14:16.110 --> 00:14:17.170
  • I DON'T KNOW.
  • 00:14:17.190 --> 00:14:19.020
  • [LAUGHTER] AND IT'S THIS.
  • 00:14:19.040 --> 00:14:20.270
  • I MEAN, IT IS LITERALLY IT'S LIKE THE
  • 00:14:20.290 --> 00:14:23.070
  • WINDS OF WAR.
  • 00:14:23.090 --> 00:14:24.100
  • THAT SCENE YOU PLAYED BEFORE.
  • 00:14:24.120 --> 00:14:25.190
  • IT'S LIKE GONE THE WIND, MAN.
  • 00:14:25.210 --> 00:14:27.130
  • YOU REALLY BROUGHT THESE THINGS TO LIFE.
  • 00:14:27.150 --> 00:14:29.230
  • - MIKE, YOU ARE INSPIRATIONAL BEYOND, AND
  • 00:14:29.250 --> 00:14:33.240
  • THE WAY THAT YOU CONSTRUCT A STORY, I WANT
  • 00:14:33.260 --> 00:14:37.100
  • TO START WITH, CAN YOU BE THERE BY 9?
  • 00:14:37.120 --> 00:14:39.170
  • AND I DON'T WANT TO GIVE A BIG SET UP FOR THIS
  • 00:14:39.190 --> 00:14:43.060
  • EXCEPT TO SAY MIKE ROWE IS A STORY TELLER.
  • 00:14:43.080 --> 00:14:47.040
  • HE SENT ME SOME RAW FOOTAGE OF HIM WALKING
  • 00:14:47.060 --> 00:14:51.250
  • OUT ON THIS EXACT STAGE SITTING
  • 00:14:51.270 --> 00:14:54.210
  • BEHIND A SIMILAR DESK, AND THE WAY THAT I GET
  • 00:14:54.230 --> 00:14:59.200
  • INSPIRED BY THE WAY YOU TELL YOUR STORY IS NOW
  • 00:14:59.220 --> 00:15:04.050
  • LOOKS LIKE THIS.
  • 00:15:04.070 --> 00:15:06.090
  • [MUSIC]
  • 00:15:06.110 --> 00:15:09.200
  • - AL SAT ON THE BACK OF A HORSE THAT WASN'T HIS.
  • 00:15:09.220 --> 00:15:12.080
  • DREW A PISTOL THAT WASN'T LOADED, AND SHOT AN
  • 00:15:12.100 --> 00:15:14.070
  • APACHE THAT WASN'T AN INDIAN.
  • 00:15:14.090 --> 00:15:16.130
  • THIS STUNT MAN SCREAMED AND FELL UNCONVINCINGLY
  • 00:15:16.150 --> 00:15:18.210
  • TO THE GROUND, AND THE DIRECTOR YELLED, CUT!
  • 00:15:18.230 --> 00:15:21.060
  • AL GLANCED NERVOUSLY AT HIS WATCH.
  • 00:15:21.080 --> 00:15:24.010
  • 6:30 P.M.
  • 00:15:24.030 --> 00:15:25.230
  • NOT GOOD.
  • 00:15:25.250 --> 00:15:27.090
  • HIS AUDITION WAS IN BURBANK AT 9 AM THE NEXT
  • 00:15:27.110 --> 00:15:30.170
  • MORNING, AND SAINT GEORGE, UTAH WAS 7 HOURS FROM
  • 00:15:30.190 --> 00:15:33.170
  • BURBANK BY CAR, AND AL DIDN'T HAVE A CAR.
  • 00:15:33.190 --> 00:15:36.180
  • HE TURNED HIS HORSE AWAY FROM THE SET, A BULLET
  • 00:15:36.200 --> 00:15:40.200
  • FOR A BAD MAN, AND RODE HARD TOWARD THE NEAREST
  • 00:15:40.220 --> 00:15:43.200
  • HIGHWAY, AND TWO HOURS LATER AN 18-WHEELER
  • 00:15:43.220 --> 00:15:45.280
  • FINALLY PULLED OVER.
  • 00:15:46.000 --> 00:15:47.090
  • WHERE YA HEADED, COWBOY?
  • 00:15:47.110 --> 00:15:49.010
  • LOS ANGELES.
  • 00:15:49.030 --> 00:15:50.180
  • THE DRIVER SAID HE LOOKED FAMILIAR.
  • 00:15:50.200 --> 00:15:52.260
  • AL ASKED HIM IF HE LIKED THE MOVIES.
  • 00:15:52.280 --> 00:15:55.100
  • SURE, SAID THE TRUCK DRIVER.
  • 00:15:55.120 --> 00:15:56.230
  • WHO DOESN'T LIKE THE MOVIES.
  • 00:15:56.250 --> 00:15:58.100
  • WELL, SAID AL, DID YOU SEE DIVE BOMBER WITH
  • 00:15:58.120 --> 00:16:01.010
  • ERROL FLYNN?
  • 00:16:01.030 --> 00:16:02.100
  • I DON'T THINK SO.
  • 00:16:02.120 --> 00:16:04.000
  • WELL, I WAS IN THAT ONE.
  • 00:16:04.020 --> 00:16:05.150
  • OH YEAH?
  • 00:16:05.170 --> 00:16:06.100
  • WHAT ELSE YOU BEEN IN?
  • 00:16:06.120 --> 00:16:07.100
  • WELL, I WAS IN UP PERISCOPE WITH
  • 00:16:07.120 --> 00:16:09.120
  • JAMES GARNER.
  • 00:16:09.140 --> 00:16:10.200
  • DIDN'T SEE IT.
  • 00:16:10.220 --> 00:16:12.030
  • TIME OUT FOR -- WITH RUDY VALLE.
  • 00:16:12.050 --> 00:16:14.050
  • NOPE.
  • 00:16:14.070 --> 00:16:15.190
  • WHAT ABOUT ROGUE COP WITH ROD TAYLOR?
  • 00:16:15.210 --> 00:16:17.280
  • SORRY.
  • 00:16:18.000 --> 00:16:19.010
  • AL DIDN'T CARE ABOUT BEING RECOGNIZED.
  • 00:16:19.030 --> 00:16:21.080
  • HE JUST WANTED TO WORK.
  • 00:16:21.100 --> 00:16:22.280
  • AL ARRIVED AT THE AUDITION WITH 2 MINUTES
  • 00:16:23.000 --> 00:16:26.200
  • TO SPARE.
  • 00:16:26.220 --> 00:16:32.000
  • AL GLANCED AGAIN AT THE LINES HE'D ALREADY
  • 00:16:32.020 --> 00:16:34.240
  • MEMORIZED AND WALKED INTO A ROOM WHERE A SKINNY KID
  • 00:16:34.260 --> 00:16:37.150
  • WITH A FUNNY HAT WAS WAITING IN FRONT
  • 00:16:37.170 --> 00:16:39.200
  • OF A CAMERA.
  • 00:16:39.220 --> 00:16:41.090
  • AL AND THE SKINNY KID SHOOK HANDS AND CHATTED
  • 00:16:41.110 --> 00:16:43.160
  • BRIEFLY ABOUT THE SCENE.
  • 00:16:43.180 --> 00:16:45.110
  • THEN SOMEBODY SAID, ACTION!
  • 00:16:45.130 --> 00:16:48.260
  • JONAS GRUMBY, THE CHARACTER WHOSE NAME WAS
  • 00:16:48.280 --> 00:16:53.060
  • CHANGED AFTER THE PILOT EPISODE TO THE ONE YOU
  • 00:16:53.080 --> 00:16:56.230
  • KNOW TODAY.
  • 00:16:56.250 --> 00:16:59.040
  • SUCH WAS THE FAITHFUL TRIP OF ALAN HALE, A MAN
  • 00:16:59.060 --> 00:17:03.030
  • WHOSE 12 HOUR ODYSSEY FROM SAINT GEORGE, UTAH
  • 00:17:03.050 --> 00:17:06.090
  • TO LOS ANGELES, CALIFORNIA EARNED HIM A
  • 00:17:06.110 --> 00:17:09.090
  • 3 HOUR TOUR TO A DESERTED ISLAND THAT WASN'T
  • 00:17:09.110 --> 00:17:12.010
  • REALLY DESERTED.
  • 00:17:12.030 --> 00:17:14.040
  • AN ISLAND WHERE HE WAS KNOWN AS THE SKIPPER EVEN
  • 00:17:14.060 --> 00:17:18.060
  • THOUGH HIS REAL BOSS WAS A SKINNY KID WITH A FUNNY
  • 00:17:18.080 --> 00:17:21.090
  • HAT CALLED GILLIGAN.
  • 00:17:21.110 --> 00:17:24.060
  • ANYWAY, THAT'S THE WAY I HEARD IT.
  • 00:17:24.080 --> 00:17:27.140
  • [MUSIC]
  • 00:17:27.160 --> 00:17:35.080
  • - YOU ARE A UNIQUE GUY KNOWN TO US BECAUSE YOU
  • 00:17:35.100 --> 00:17:39.160
  • DARED TO BE A JOURNEYMAN PERSON ON TV AND NOT AN
  • 00:17:39.180 --> 00:17:43.150
  • EXPERT, SO THE IDEA -YOU KNOW, IF YOU WERE SITTING
  • 00:17:43.170 --> 00:17:51.050
  • WITH A PREACHER, THEY WOULD SAY THINGS LIKE,
  • 00:17:51.070 --> 00:17:58.110
  • YOU KNOW, YOU HUMBLED YOURSELF SO THAT GOD
  • 00:17:58.130 --> 00:18:01.040
  • COULD EXALT YOU, THOSE TYPES OF PHRASES WOULD
  • 00:18:01.060 --> 00:18:04.040
  • COME OUT ABOUT WHO AND WHAT YOU ARE.
  • 00:18:04.060 --> 00:18:06.240
  • AS WE SIT HERE, YOU HAVE A NEW YORK TIME BEST
  • 00:18:06.260 --> 00:18:11.070
  • SELLER, RUNAWAY BOOK HIT, AND IS THIS YOUR
  • 00:18:11.090 --> 00:18:15.000
  • FIRST BOOK?
  • 00:18:15.020 --> 00:18:16.260
  • - IT'S THE FIRST ONE I DID ON PURPOSE.
  • 00:18:16.280 --> 00:18:19.070
  • I WROTE SOMETHING KIND OF AS A PROMOTIONAL EXERCISE
  • 00:18:19.090 --> 00:18:22.140
  • A FEW YEARS AGO CALLED PROFOUNDLY DISCONNECTED
  • 00:18:22.160 --> 00:18:24.160
  • WHICH IS REALLY A RUMINATION ON THE
  • 00:18:24.180 --> 00:18:27.230
  • FOUNDATION THAT EVOLVED OUT OF DIRTY JOBS AND I
  • 00:18:27.250 --> 00:18:30.220
  • CARE DEEPLY ABOUT THE SKILLS GAP AND THE COST
  • 00:18:30.240 --> 00:18:34.280
  • OF COLLEGE AND THINGS LIKE THAT, SO IT WAS A
  • 00:18:35.000 --> 00:18:36.200
  • MORE SERIOUS BOOK.
  • 00:18:36.220 --> 00:18:38.260
  • BUT NO, THIS IS THE FIRST TIME -IT'S AN ACCIDENTAL
  • 00:18:38.280 --> 00:18:43.150
  • MEMBER TO BE HONEST WITH YOU.
  • 00:18:43.170 --> 00:18:46.060
  • AND AGAIN, THANKS FOR ALL THE KIND WORDS, BUT I
  • 00:18:46.080 --> 00:18:49.140
  • WROTE A STORY ABOUT ALAN HALE BECAUSE HERE'S A GUY
  • 00:18:49.160 --> 00:18:55.020
  • WHO HAD DONE HUNDREDS OF FILMS BUT WAS RECOGNIZED
  • 00:18:55.040 --> 00:18:59.000
  • BY NO ONE WHO LIVED IN HIS FATHER'S SHADOW WHO
  • 00:18:59.020 --> 00:19:02.140
  • WAS A JOURNEYMAN ACTOR, AND THEN ONE DAY HE MAKES
  • 00:19:02.160 --> 00:19:06.260
  • THIS EXTRAORDINARY TRIP, AND HE WINDS UP WITH A
  • 00:19:06.280 --> 00:19:09.270
  • SHOW ON TV THAT HAS HIM MORE RECOGNIZED THAN ALL
  • 00:19:09.290 --> 00:19:14.120
  • THE STARS HE'D EVER WORKED WITH, SO THAT
  • 00:19:14.140 --> 00:19:17.120
  • HAPPENS LATE IN LIFE AND IT HAPPENS BY ACCIDENT,
  • 00:19:17.140 --> 00:19:20.130
  • AND THAT'S WHAT MAKES IT INTERESTING.
  • 00:19:20.150 --> 00:19:22.020
  • - OKAY.
  • 00:19:22.040 --> 00:19:23.170
  • BUT NOT EVERYONE CAN EXPERIENCE HEARING A
  • 00:19:23.190 --> 00:19:29.120
  • STORY ABOUT ALAN HAIL AND HIS JOURNEY AND
  • 00:19:29.140 --> 00:19:31.250
  • REALLY DECONSTRUCT IT IN A WAY THAT YOU HAVE
  • 00:19:31.270 --> 00:19:39.010
  • TO LISTEN TO THE END.
  • 00:19:39.030 --> 00:19:40.130
  • THAT IS A VERY UNIQUE SKILL, AND WE'RE GOING TO
  • 00:19:40.150 --> 00:19:43.040
  • TALK MORE ABOUT THAT.
  • 00:19:43.060 --> 00:19:45.210
  • YOU JUST MENTIONED YOUR SKILLS GAP.
  • 00:19:45.230 --> 00:19:48.210
  • MIKE, I DON'T EVER WANT TO NOT SIT WITH YOU AND
  • 00:19:48.230 --> 00:19:53.280
  • LET YOU SAY SOMETHING ABOUT THE FACT THAT WORK
  • 00:19:54.000 --> 00:20:00.020
  • HAS BEEN REDEFINED IN A GENERATION, LET'S SAY MY
  • 00:20:00.040 --> 00:20:05.180
  • KID'S GENERATION.
  • 00:20:05.200 --> 00:20:07.180
  • WORK WAS REALLY REDEFINED IN A WAY THAT IF YOU
  • 00:20:07.200 --> 00:20:11.210
  • DIDN'T HAVE A COLLEGE DEGREE, YOU WEREN'T
  • 00:20:11.230 --> 00:20:13.240
  • REALLY PREPARED FOR ANYTHING, AND I WANT YOU
  • 00:20:13.260 --> 00:20:15.050
  • TO ADDRESS THAT.
  • 00:20:15.070 --> 00:20:16.230
  • IT'S INTERESTING AS WE SIT HERE YOU CAN SEE
  • 00:20:16.250 --> 00:20:21.190
  • TRADE SCHOOLS AGAIN EMERGING.
  • 00:20:21.210 --> 00:20:24.180
  • YOU CAN SEE THEM ADVERTISING.
  • 00:20:24.200 --> 00:20:26.040
  • YOU CAN SEE BILLBOARDS AND TELEVISION ADS FOR
  • 00:20:26.060 --> 00:20:30.150
  • IT, AND YOU'RE STARTING TO SEE SOMETHING CHANGING.
  • 00:20:30.170 --> 00:20:35.110
  • ARE YOU SEEING IT CHANGE?
  • 00:20:35.130 --> 00:20:37.180
  • WHERE'S YOUR HEAD IN REGARD TO-- I TOLD YOU
  • 00:20:37.200 --> 00:20:41.140
  • ONE TIME IF I'M EVER ELECTED PRESIDENT OF THE
  • 00:20:41.160 --> 00:20:45.190
  • UNITED STATES, YOU'RE GOING TO BE MY SECRETARY
  • 00:20:45.210 --> 00:20:47.140
  • OF EDUCATION.
  • 00:20:47.160 --> 00:20:48.270
  • AND THAT'S GOING TO HAPPEN.
  • 00:20:48.290 --> 00:20:49.220
  • - IS IT?
  • 00:20:49.240 --> 00:20:51.000
  • BECAUSE THAT WOULD BE A HECK OF A SHOW.
  • 00:20:51.020 --> 00:20:52.030
  • - WOULDN'T THAT BE FUN?
  • 00:20:52.050 --> 00:20:53.050
  • - THAT WOULD BE AN AMAZING SHOW.
  • 00:20:53.070 --> 00:20:54.000
  • PRIME TIME.
  • 00:20:54.020 --> 00:20:54.250
  • SWEEPS.
  • 00:20:54.270 --> 00:20:57.240
  • SO THE QUESTION IS, AM I SEEING A CHANGE?
  • 00:20:57.260 --> 00:21:00.250
  • - YEAH.
  • 00:21:00.270 --> 00:21:02.040
  • - I'M THE FROG IN THE BOILING WATER.
  • 00:21:02.060 --> 00:21:05.140
  • I'M PROBABLY TOO CLOSE TO IT.
  • 00:21:05.160 --> 00:21:07.170
  • - I WOULD CALL YOU THE NOSTRADAMUS OF WORK.
  • 00:21:07.190 --> 00:21:10.010
  • - WOW.
  • 00:21:10.030 --> 00:21:11.250
  • THAT'S SOME HIGH COTTON, MATT.
  • 00:21:11.270 --> 00:21:13.020
  • YES, I DO SEE CHANGES IN THE WAY WORK IS BEING
  • 00:21:13.040 --> 00:21:17.180
  • TALKED ABOUT AND PORTRAYED.
  • 00:21:17.200 --> 00:21:20.150
  • YOUR ABSOLUTELY RIGHT, THE DEFINITION OF A GOOD
  • 00:21:20.170 --> 00:21:22.220
  • JOB IS NOT AN INHERENT THING.
  • 00:21:22.240 --> 00:21:26.090
  • WE GET TO DECIDE.
  • 00:21:26.110 --> 00:21:27.210
  • WE GET TO DECIDE THE NOBILITY AND DIGNITY IS,
  • 00:21:27.230 --> 00:21:31.140
  • ALL OF THAT STUFF.
  • 00:21:31.160 --> 00:21:32.180
  • AND HUMILITY, RIGHT.
  • 00:21:32.200 --> 00:21:36.050
  • LOOK AT IT LIKE THIS, THINGS HAVE TO GO SPLAT
  • 00:21:36.070 --> 00:21:39.130
  • SOMETIMES, RIGHT.
  • 00:21:39.150 --> 00:21:41.230
  • I MEAN, BIG SYSTEMIC SOCIETAL PROBLEMS AND
  • 00:21:41.250 --> 00:21:44.280
  • INDIVIDUALS, SOMETIMES THE THING THAT PRECEDES A
  • 00:21:45.000 --> 00:21:48.200
  • REDEMPTION IS AN AWAKENING, AN EPIHPANY.
  • 00:21:48.220 --> 00:21:53.020
  • THERE ARE A LOT OF DIFFERENT WORDS FOR IT.
  • 00:21:53.040 --> 00:21:56.110
  • BUT IT'S ALL ROOTED IN HUMILITY.
  • 00:21:56.130 --> 00:21:58.120
  • AND IT'S ALL ROOTED IN THE MOMENT YOU REALIZE
  • 00:21:58.140 --> 00:22:01.130
  • THAT EVERYTHING YOU THOUGHT YOU KNEW ABOUT A
  • 00:22:01.150 --> 00:22:04.180
  • THING WAS INCORRECT OR AT LEAST SOME OF IT WAS
  • 00:22:04.200 --> 00:22:08.090
  • INCORRECT, YOU KNOW.
  • 00:22:08.110 --> 00:22:09.210
  • THAT'S WHY I'M SUCH A FAN OF CURIOSITY AND WHY I
  • 00:22:09.230 --> 00:22:12.040
  • ENJOYED MY TIME AT THE DISCOVERY CHANNEL SO MUCH
  • 00:22:12.060 --> 00:22:14.230
  • BECAUSE YOU REALLY CAN'T BE CURIOUS WITHOUT BEING
  • 00:22:14.250 --> 00:22:19.040
  • HUMBLE BECAUSE IF YOU'RE CURIOUS, IT'S BECAUSE YOU
  • 00:22:19.060 --> 00:22:22.040
  • DON'T KNOW SOMETHING, AND IF YOU ADMIT YOU DON'T
  • 00:22:22.060 --> 00:22:24.200
  • KNOW SOMETHING, THEN IT'S HARD TO BE HAUGHTY.
  • 00:22:24.220 --> 00:22:28.140
  • SO WITH RESPECT TO THE BUSINESS OF WORK AND
  • 00:22:28.160 --> 00:22:31.190
  • JOBS, FOR THE LAST 40 YEARS WE THOUGHT
  • 00:22:31.210 --> 00:22:34.070
  • COLLECTIVELY, I'M GENERALIZING BUT
  • 00:22:34.090 --> 00:22:36.250
  • COLLECTIVELY WE BOUGHT INTO THE IDEA THAT THE
  • 00:22:36.270 --> 00:22:40.100
  • BEST PATH FOR THE MOST PEOPLE IS A 4 YEAR DEGREE
  • 00:22:40.120 --> 00:22:42.010
  • WHICH JUST HAPPEN TO BE THE MOST EXPENSIVE
  • 00:22:42.030 --> 00:22:44.160
  • PATH AS WELL.
  • 00:22:44.180 --> 00:22:46.270
  • SO A GIANT PARADE OF UNINTENDED CONSEQUENCES
  • 00:22:46.290 --> 00:22:52.090
  • FORMED UP AFTER WE TOOK SHOP CLASS OUT OF HIGH
  • 00:22:52.110 --> 00:22:55.210
  • SCHOOL, AFTER WE TOOK AWAY ALL THE OPTICAL
  • 00:22:55.230 --> 00:22:58.200
  • VESTIGES OF PROOF THAT THESE JOBS WERE REAL.
  • 00:22:58.220 --> 00:23:03.180
  • WE JUST ELIMINATED THAT.
  • 00:23:03.200 --> 00:23:05.180
  • AFTER THAT HAPPENED, THE SKILLS GAP GOT WIDE, THE
  • 00:23:05.200 --> 00:23:09.130
  • COST OF COLLEGE WENT THROUGH THE ROOF, AND A
  • 00:23:09.150 --> 00:23:11.190
  • LOT OF WITH WELL-EDUCATED BUT UNTRAINED KIDS WOUND
  • 00:23:11.210 --> 00:23:15.020
  • UP MOVING BACK INTO THEIR PARENTS BASEMENTS, AND
  • 00:23:15.040 --> 00:23:17.270
  • YOU KNOW WHAT?
  • 00:23:17.290 --> 00:23:19.020
  • YOU MENTION THIS GENERATION, AND I'M
  • 00:23:19.040 --> 00:23:21.040
  • FASCINATED BY THEM, AND THEY'RE AN EASY
  • 00:23:21.060 --> 00:23:24.100
  • TARGET IN A LOT OF WAYS.
  • 00:23:24.120 --> 00:23:26.090
  • BUT LOOK, WE'RE THE CLOUDS FROM WHICH THE
  • 00:23:26.110 --> 00:23:31.120
  • SNOWFLAKES FELL.
  • 00:23:31.140 --> 00:23:33.180
  • WE DID THIS, YOU KNOW.
  • 00:23:33.200 --> 00:23:36.090
  • WE TOLD THEM IF YOU DON'T BORROW THE MONEY AND SIGN
  • 00:23:36.110 --> 00:23:38.030
  • ON THE DOTTED LINE AND GET YOUR PAPER AND GET
  • 00:23:38.050 --> 00:23:40.030
  • YOUR CREDENTIAL YOU'RE GOING TO WIND UP TURNING
  • 00:23:40.050 --> 00:23:42.040
  • A WRENCH OR CRAWLING THROUGH A SEWER OR FILL
  • 00:23:42.060 --> 00:23:45.140
  • IN THE BLANK.
  • 00:23:45.160 --> 00:23:47.110
  • AND THAT'S HOW WE REDEFINED WHAT A GOOD JOB
  • 00:23:47.130 --> 00:23:50.160
  • IS, AND THAT'S WHY IN MY VIEW WE'RE SITTING ON
  • 00:23:50.180 --> 00:23:54.020
  • 1. 6 TRILLION DOLLARS IN STUDENT LOANS
  • 00:23:54.040 --> 00:23:56.290
  • 7. 3 MILLION TERRIFIC OPPORTUNITIES MOST OF
  • 00:23:57.010 --> 00:23:59.260
  • WHICH DON'T REQUIRE A 4 YEAR DEGREE, AND WE'RE
  • 00:23:59.280 --> 00:24:02.180
  • STRUGGLING TO FILL THEM.
  • 00:24:02.200 --> 00:24:03.260
  • - WE ARE IN SANTA MONICA, CALIFORNIA.
  • 00:24:03.280 --> 00:24:06.060
  • MIKE ROWE IS GOING TO BE WITH US FOR THIS ENTIRE
  • 00:24:06.080 --> 00:24:10.090
  • ONE HOUR.
  • 00:24:10.110 --> 00:24:11.210
  • - OH SHEESH, YOU DIDN'T TELL ME THAT.
  • 00:24:11.230 --> 00:24:12.230
  • AN HOUR?
  • 00:24:12.250 --> 00:24:13.230
  • - YOU'RE GOING TO SING, TOO.
  • 00:24:13.250 --> 00:24:15.210
  • [CLEARS THROAT] - YOU JUST GOTTA DO A LITTLE.
  • 00:24:15.230 --> 00:24:17.130
  • - I GOT PLENTY OF NOTHING ...
  • 00:24:17.150 --> 00:24:19.150
  • NOTHING IS PLENTY FOR ME ...
  • 00:24:19.170 --> 00:24:21.160
  • NAME THAT MUSICAL.
  • 00:24:21.180 --> 00:24:23.000
  • - I DON'T KNOW IT.
  • 00:24:23.020 --> 00:24:24.090
  • I'M SORRY.
  • 00:24:24.110 --> 00:24:25.180
  • I'M TOTALLY NOT INTO THE MUSIC THING.
  • 00:24:25.200 --> 00:24:26.260
  • - PORGY AND BESS.
  • 00:24:26.280 --> 00:24:27.260
  • THAT WAS PORGY AND BESS.
  • 00:24:27.280 --> 00:24:29.140
  • GERSCHWIN.
  • 00:24:29.160 --> 00:24:30.210
  • GIVE ME A MUSICAL AND I'LL GIVE
  • 00:24:30.230 --> 00:24:31.150
  • YOU A SONG.
  • 00:24:31.170 --> 00:24:32.270
  • - JESUS CHRIST SUPER STAR.
  • 00:24:32.290 --> 00:24:35.100
  • MY MIND IS CLEARER NOW ...
  • 00:24:35.120 --> 00:24:39.190
  • AT LAST ALL TOO WELL I CAN SEE ...
  • 00:24:39.210 --> 00:24:45.000
  • WHERE WE ALL SOON WILL BE ...
  • 00:24:45.020 --> 00:24:48.240
  • IF YOU STRIP AWAY THE MYTH FROM THE MAN ...
  • 00:24:48.260 --> 00:24:54.240
  • YOU WILL SEE WHERE WE ALL SOON WILL BE ...
  • 00:24:54.260 --> 00:25:01.010
  • - OH MY GOSH.
  • 00:25:01.030 --> 00:25:02.180
  • - OPENING NUMBER.
  • 00:25:02.200 --> 00:25:03.280
  • THAT'S JUDAS ISCARIOT LOOKING DOWN AND DARING TO
  • 00:25:04.000 --> 00:25:06.070
  • CAST DISPERSIONS UPON THE MAN.
  • 00:25:06.090 --> 00:25:09.020
  • - THE ART AND FAITH, THEY USED TO BE
  • 00:25:09.040 --> 00:25:17.100
  • KIND OF MERGED.
  • 00:25:17.120 --> 00:25:19.030
  • - OH MAN, I LOVE WHERE YOU'RE GOING WITH THIS.
  • 00:25:19.050 --> 00:25:21.050
  • - OKAY. HELP ME HERE.
  • 00:25:21.070 --> 00:25:23.150
  • - OKAY.
  • 00:25:23.170 --> 00:25:24.230
  • SO THE KEY TO WRECKING ANY GREAT THING IS TO
  • 00:25:24.250 --> 00:25:27.260
  • FIRST REMOVE THE ART FROM IT.
  • 00:25:27.280 --> 00:25:30.080
  • - OH MY GOSH.
  • 00:25:30.100 --> 00:25:31.270
  • - THAT'S WHAT YOU DO.
  • 00:25:31.290 --> 00:25:33.110
  • AND WE ALWAYS LOOK AT WHAT HAPPENED IN HIGH
  • 00:25:33.130 --> 00:25:34.250
  • SCHOOLS LIKE OH, THEY TOOK OUT ALL THE ART
  • 00:25:34.270 --> 00:25:37.060
  • PROGRAMS AND THEN THEY TOOK OUT THE SHOP STUFF,
  • 00:25:37.080 --> 00:25:40.110
  • BUT DIDN'T REALLY HAPPEN LIKE THAT.
  • 00:25:40.130 --> 00:25:41.260
  • WHAT THEY DID FIRST, YOU HAVE TO REMEMBER BACK
  • 00:25:41.280 --> 00:25:45.140
  • WHEN SHOP WAS CALLED VOCATIONAL ARTS.
  • 00:25:45.160 --> 00:25:47.280
  • - REALLY?
  • 00:25:48.000 --> 00:25:49.120
  • - OH, YEAH.
  • 00:25:49.140 --> 00:25:50.200
  • V.A., THE VOCATIONAL ARTS IS WHAT A CARPENTER WOULD
  • 00:25:50.220 --> 00:25:54.060
  • BE ESSENTIALLY LOOKED AT AS AN ARTIST WHO WAS
  • 00:25:54.080 --> 00:25:57.210
  • LEARNING TO WORK IN THE MEDIUM OF WOOD.
  • 00:25:57.230 --> 00:26:00.130
  • - GOT IT.
  • 00:26:00.150 --> 00:26:01.090
  • - RIGHT.
  • 00:26:01.110 --> 00:26:02.170
  • YOU PROBABLY KNOW A FAIRLY FAMOUS CARPENTER
  • 00:26:02.190 --> 00:26:03.280
  • WHO WAS PROBABLY FAIRLY ARTISTIC AT HIS CRAFT
  • 00:26:04.000 --> 00:26:06.260
  • ONCE UPON A TIME, BUT WHEN YOU TAKE THE ART OUT
  • 00:26:06.280 --> 00:26:10.140
  • OF THE WORK, THEN YOU'RE JUST LEFT WITH SOMETHING
  • 00:26:10.160 --> 00:26:13.110
  • THAT CLOSER APPROACHES DRUDGERY.
  • 00:26:13.130 --> 00:26:17.160
  • SO WHEN THEY TOOK THE ART OUT OF THE VOCATIONAL
  • 00:26:17.180 --> 00:26:20.040
  • ARTS, IT BECAME VO-TECH, AND VO-TECH ANY TIME YOU
  • 00:26:20.060 --> 00:26:25.240
  • HYPHENATE SOMETHING IN SCHOOL IT'S A BAD SIGN.
  • 00:26:25.260 --> 00:26:27.170
  • SO VO-TECH WAS IMMEDIATELY IN TROUBLE SO
  • 00:26:27.190 --> 00:26:29.210
  • THEY CHANGED IT TO SHOP, AND WHEN THEY CHANGED IT
  • 00:26:29.230 --> 00:26:33.210
  • TO SHOP, IT MADE IT A WHOLE LOT EASIER TO WALK
  • 00:26:33.230 --> 00:26:35.230
  • OUT BEHIND THE BARN AND SHOOT.
  • 00:26:35.250 --> 00:26:37.200
  • AND THAT'S HOW SHOP CLASS LEFT HIGH SCHOOL.
  • 00:26:37.220 --> 00:26:39.090
  • WE STARTED BY TAKING THE ART OUT OF THE WORK.
  • 00:26:39.110 --> 00:26:42.180
  • SO IF YOU TAKE THE ART OUT OF FAITH, IF YOU TAKE
  • 00:26:42.200 --> 00:26:45.260
  • THE ART OUT OF LITERATURE, IF YOU
  • 00:26:45.280 --> 00:26:48.120
  • -- NOTHING HAS EVER IN THE HISTORY OF TIME BEEN
  • 00:26:48.140 --> 00:26:52.250
  • IMPROVED BY MAKING IT LESS ARTISTIC.
  • 00:26:52.270 --> 00:26:56.150
  • - WOW.
  • 00:26:56.170 --> 00:26:57.230
  • - THINK OF YOUR FAVORITE PREACHERS, THINK OF YOUR
  • 00:26:57.250 --> 00:27:00.210
  • FAVORITE ORATORS, OF COURSE OF THE SUBSTANCE
  • 00:27:00.230 --> 00:27:04.160
  • MATTERS MOST BUT BEYOND THAT, WHO ARE THE ONES
  • 00:27:04.180 --> 00:27:07.140
  • YOU REALLY LEAN INTO?
  • 00:27:07.160 --> 00:27:09.050
  • WHO GETS YOU ON THE EDGE OF YOUR SEAT AND MAKES
  • 00:27:09.070 --> 00:27:11.250
  • YOU REALLY LISTEN?
  • 00:27:11.270 --> 00:27:13.110
  • YOU KNOW, IT'S PART CONVICTION, YOU KNOW,
  • 00:27:13.130 --> 00:27:16.180
  • IT'S PART PASSION, BUT THERE'S SOMETHING
  • 00:27:16.200 --> 00:27:19.030
  • INDEFINABLE IN THERE, AND IT'S THE ART.
  • 00:27:19.050 --> 00:27:21.020
  • - FOR ME IT'S MIKE ROWE.
  • 00:27:21.040 --> 00:27:25.090
  • YOU INSTILL THAT EMOTION IN A LOT OF PEOPLE.
  • 00:27:25.110 --> 00:27:28.070
  • YOUR NEW BOOK, NEW YORK TIME BEST SELLER,
  • 00:27:28.090 --> 00:27:30.280
  • "THE WAY I HEARD IT".
  • 00:27:31.000 --> 00:27:32.190
  • "THE BIGGEST NAME IN TOWN" IS THE NAME OF ONE OF
  • 00:27:32.210 --> 00:27:36.210
  • YOUR PODCASTS, AND YOUR PODCAST IS THE WAY I
  • 00:27:36.230 --> 00:27:40.100
  • HEARD IT, AND YOUR STYLE INSPIRED A LOT OF US AT
  • 00:27:40.120 --> 00:27:47.180
  • TBN, AND WE TOOK YOUR KIND OF RAW FOOTAGE AND
  • 00:27:47.200 --> 00:27:52.050
  • TURNED IT INTO THIS.
  • 00:27:52.070 --> 00:27:53.200
  • THIS IS THE BIGGEST NAME IN TOWN. WATCH THIS.
  • 00:27:53.220 --> 00:27:56.150
  • - HIGH IN THE HILLS OF A TOWN WITHOUT PITY,
  • 00:27:59.270 --> 00:28:02.110
  • A STUBBORN SUN SLOWLY SETS ON A WARM SEPTEMBER EVENING
  • 00:28:02.130 --> 00:28:05.260
  • AS A YOUNG STARLET WALKED UP THE SHOULDER OF
  • 00:28:05.280 --> 00:28:08.120
  • A CANYON ROAD AND ON TO THE PROPERTY OF
  • 00:28:08.140 --> 00:28:11.030
  • THE BIGGEST NAME IN TOWN.
  • 00:28:11.050 --> 00:28:13.060
  • SHE WAS APPREHENSIVE, UNDERSTANDABLY, PARTLY
  • 00:28:13.080 --> 00:28:15.150
  • BECAUSE IT WAS GETTING DARK, PARTLY BECAUSE SHE
  • 00:28:15.170 --> 00:28:17.290
  • WAS TRESPASSING, AND PARTLY BECAUSE SHE WAS
  • 00:28:18.010 --> 00:28:21.090
  • GOING TO KILL SOMEONE. FOR THE RECORD,
  • 00:28:21.110 --> 00:28:24.130
  • THE STARLET WAS NOT VIOLENT BY NATURE
  • 00:28:24.150 --> 00:28:26.230
  • BUT DESPERATE TIMES CALL FOR DESPERATE MEASURES.
  • 00:28:26.250 --> 00:28:31.210
  • THE HEAD OF THE STUDIO, A FECKLESS FOOL WITHOUT
  • 00:28:31.230 --> 00:28:33.240
  • TASTE OR COMMON SENSE HAD CUT HER OUT OF THE FILM
  • 00:28:33.260 --> 00:28:37.190
  • THAT WOULD HAVE MADE HER FAMOUS.
  • 00:28:37.210 --> 00:28:39.170
  • IN THE BLINK OF AN EYE, HER LONG ANTICIPATED
  • 00:28:39.190 --> 00:28:41.270
  • DEBUT ON THE SILVER SCREEN HAD BEEN REDUCED
  • 00:28:41.290 --> 00:28:44.150
  • TO A PILE OF WORTHLESS CELLULOID ON
  • 00:28:44.170 --> 00:28:46.230
  • THE CUTTING ROOM FLOOR.
  • 00:28:46.250 --> 00:28:48.140
  • THE DETERMINED STARLET WAS SMILING IN SPITE OF
  • 00:28:48.160 --> 00:28:50.220
  • HER DARK PURPOSE. IT FELT GOOD TO FIGHT BACK.
  • 00:28:50.240 --> 00:28:54.240
  • THREE DAYS LATER, A HIKER FOUND THE MANGLED VICTIM
  • 00:28:54.260 --> 00:28:58.250
  • IN A NEARBY RAVINE.
  • 00:28:58.270 --> 00:29:01.200
  • DETECTIVES WERE CALLED, BUT YOU DIDN'T HAVE TO BE
  • 00:29:01.220 --> 00:29:04.210
  • A HARD-BOILED GUMSHOE OR A SUNSET BOULEVARD
  • 00:29:04.230 --> 00:29:07.170
  • SHAMEST TO FIGURE OUT WHO HAD DONE IT.
  • 00:29:07.190 --> 00:29:09.170
  • THE COPS KNEW ALL ABOUT THE STARLET'S ABRUPT
  • 00:29:09.190 --> 00:29:11.250
  • REMOVAL FROM 13 WOMEN, HER FIRST AND LAST
  • 00:29:11.270 --> 00:29:15.190
  • MAJOR MOTION PICTURE.
  • 00:29:15.210 --> 00:29:17.150
  • BUT IT WAS THE CONTENTS OF HER PURSE THAT CLOSED
  • 00:29:17.170 --> 00:29:19.240
  • THE CASE MOMENTS AFTER IT WAS OPENED.
  • 00:29:19.260 --> 00:29:22.240
  • SPECIFICALLY, THE SHORT NOTE THAT READ
  • 00:29:22.260 --> 00:29:25.260
  • "I'M AFRAID I'M A COWARD, I'M SORRY FOR EVERYTHING.
  • 00:29:25.280 --> 00:29:29.290
  • IF I HAD DONE THIS A LONG TIME AGO, IT WOULD HAVE
  • 00:29:30.010 --> 00:29:32.000
  • SAVED A LOT OF PAIN."
  • 00:29:32.020 --> 00:29:34.070
  • IT WAS THERE AT THE END OF A CANYON ROAD CALLED
  • 00:29:34.090 --> 00:29:37.090
  • BEACH ROAD THAT POOR PEG, HER SPIRIT BROKEN BY
  • 00:29:37.110 --> 00:29:41.010
  • EMPTY PROMISES AND SHATTERED BY DREAMS MADE
  • 00:29:41.030 --> 00:29:44.030
  • GOOD ON HER PROMISE TO KILL SOMEONE BY CLIMBING
  • 00:29:44.050 --> 00:29:47.250
  • THE RUNGS OF A RICKETY LADDER, SCRAMBLING ON TO
  • 00:29:47.270 --> 00:29:50.110
  • THE TOP OF THE GIANT "H" AND THROWING HERSELF OFF
  • 00:29:50.130 --> 00:29:54.020
  • THE HOLLYWOOD SIGN.
  • 00:29:54.040 --> 00:29:56.080
  • IT WAS AFTER ALL THE BIGGEST NAME IN TOWN.
  • 00:29:56.100 --> 00:30:01.290
  • ANYWAY, THAT'S THE WAY I HEARD IT.
  • 00:30:02.010 --> 00:30:04.240
  • [MUSIC]
  • 00:30:04.260 --> 00:30:11.230
  • - ISN'T THAT AMAZING.
  • 00:30:12.170 --> 00:30:15.120
  • THE, THE EMOTION THAT A STORY CAN EVOKE.
  • 00:30:15.140 --> 00:30:20.080
  • - UH-HUH.
  • 00:30:20.100 --> 00:30:22.070
  • - UM, LET'S TALK ABOUT THAT JUST FOR A MINUTE.
  • 00:30:22.090 --> 00:30:26.020
  • THE WAY I HEARD IT, YOUR NEWEST BOOK, COULD YOU
  • 00:30:26.040 --> 00:30:31.250
  • DO THE POSE ON THE BOOK BY THE WAY.
  • 00:30:31.270 --> 00:30:33.100
  • JUST KIND OF...
  • 00:30:33.120 --> 00:30:35.150
  • DO A LITTLE MINI VERSE VERSION OF IT.
  • 00:30:35.170 --> 00:30:39.130
  • - YOU KNOW WHAT'S FUNNY, I ACTUALLY HAD THIS SAME
  • 00:30:39.150 --> 00:30:41.010
  • SHIRT ON THIS MORNING.
  • 00:30:41.030 --> 00:30:42.220
  • - OH, YOU SHOULD HAVE BROUGHT IT.
  • 00:30:42.240 --> 00:30:44.080
  • - I THOUGHT IT WOULD BE TOO WEIRD.
  • 00:30:44.100 --> 00:30:45.290
  • I THOUGHT PEOPLE'S HEADS WOULD EXPLODE.
  • 00:30:46.010 --> 00:30:47.100
  • THEY'D SEE ME DOING THIS HERE AND ME DOING THAT THERE.
  • 00:30:47.120 --> 00:30:49.010
  • I KNEW YOU'D ASK ME TO DO IT.
  • 00:30:49.030 --> 00:30:50.260
  • PEOPLE WOULDN'T KNOW WHERE TO LOOK OR WHAT TO DO.
  • 00:30:50.280 --> 00:30:54.280
  • - A LITTLE MINI-ME VERSION OF YOU.
  • 00:30:55.000 --> 00:30:59.080
  • - MINI ME.
  • 00:30:59.100 --> 00:31:02.000
  • - WHEN DID YOU EMBRACE STORY? WHEN DID YOU--
  • 00:31:03.210 --> 00:31:08.140
  • WERE YOU A YOUNG STORY TELLER AS A CHILD?
  • 00:31:08.160 --> 00:31:11.210
  • LET'S START AT THE BEGINNING, GET ALL THE
  • 00:31:11.230 --> 00:31:13.280
  • WAY THROUGH THIS THING.
  • 00:31:14.000 --> 00:31:15.190
  • - WELL IN THE BEGINNING, THE EARTH WAS
  • 00:31:15.210 --> 00:31:17.110
  • WITHOUT FORM AND VOID.
  • 00:31:17.130 --> 00:31:19.180
  • DO YOU REALLY WANT TO GO TO THE BEGINNING?
  • 00:31:19.200 --> 00:31:21.110
  • - AND DARKNESS WAS UPON THE FACE OF THE DEEP.
  • 00:31:21.130 --> 00:31:24.040
  • - AND EMPTINESS WAS UPON THE FACE OF THIS THEATER,
  • 00:31:24.060 --> 00:31:26.260
  • WHICH IS WHY I WANTED TO COME HERE.
  • 00:31:26.280 --> 00:31:28.200
  • BACK TO HUMILITY, I THOUGHT THERE WAS
  • 00:31:28.220 --> 00:31:30.060
  • SOMETHING INTERESTING ABOUT TALKING TO
  • 00:31:30.080 --> 00:31:33.100
  • AN EMPTY ROOM OR CAMERA.
  • 00:31:33.120 --> 00:31:36.030
  • - INTERESTING.
  • 00:31:36.050 --> 00:31:37.130
  • - ON THE ONE SENSE IT'S AN AUDIENCE OF ONE, AND
  • 00:31:37.150 --> 00:31:39.140
  • THE OTHER SENSE IT'S JUST BOLD AND BRAVE TO DO THIS
  • 00:31:39.160 --> 00:31:42.170
  • KIND OF THING, COME OUT AND SIT IN THE MIDDLE OF
  • 00:31:42.190 --> 00:31:45.070
  • AN EMPTY THEATER AND TELL STORIES, ALTHOUGH THERE
  • 00:31:45.090 --> 00:31:47.100
  • MIGHT HAVE BEEN PEOPLE IN HIS THEATER NOW THAT
  • 00:31:47.120 --> 00:31:49.010
  • I THINK ABOUT IT. THAT'S BESIDE THE POINT.
  • 00:31:49.030 --> 00:31:51.070
  • THE ANSWER TO YOUR QUESTION TRULY IS ONCE UPON A TIME.
  • 00:31:51.090 --> 00:31:55.020
  • IT'S A, IT'S A FIRE, I'M IN THE BOY SCOUTS,
  • 00:31:55.040 --> 00:32:00.060
  • I'M 14, 15, SHY, WRESTLING WITH A CHRONIC STAMMER
  • 00:32:00.080 --> 00:32:10.100
  • THAT PLAGUED ME UNTIL I WAS 16, 17 YEARS OLD.
  • 00:32:10.120 --> 00:32:14.080
  • NOT A FULL ON PORKY PIG STUTTER, RIGHT, BUT JUST
  • 00:32:14.100 --> 00:32:17.190
  • A STAMMER BROUGHT ABOUT BY NERVOUSNESS, AND I
  • 00:32:17.210 --> 00:32:21.040
  • TALK ABOUT HOW THAT GOT CURED BY A TEACHER.
  • 00:32:21.060 --> 00:32:24.230
  • REMARKABLE STORY. BUT TO ANSWER YOUR QUESTION,
  • 00:32:24.250 --> 00:32:27.210
  • I SAW A GUY GET UP AND WALK TO THE FIRE AND THERE
  • 00:32:27.230 --> 00:32:32.040
  • WERE ABOUT FIFTY OR SIXTY BOY SCOUTS SITTING THERE,
  • 00:32:32.060 --> 00:32:35.000
  • MOON WAS FULL, FIRE WAS CRACKLING, AND HE LOOKED
  • 00:32:35.020 --> 00:32:39.220
  • AT US AND HE STARTED RECITING A POEM.
  • 00:32:39.240 --> 00:32:43.080
  • IT WAS THE CREMATION OF SAM MCGEE IN FACT.
  • 00:32:43.100 --> 00:32:45.290
  • AND I HAD A MOMENT.
  • 00:32:46.010 --> 00:32:48.230
  • I WAS NOT JUST TRANSPORTED BY THE BASICS
  • 00:32:48.250 --> 00:32:52.160
  • OF A GOOD STORY IN FIRE LIGHT WITH THE MOON
  • 00:32:52.180 --> 00:32:56.030
  • HIGH IN THE SKY.
  • 00:32:56.050 --> 00:32:58.040
  • I REALIZED I WAS MEMORIZING WITHOUT TRYING
  • 00:32:58.060 --> 00:33:03.190
  • TO MEMORIZE, IT WAS ONE OF THE MASLOW WRITES
  • 00:33:03.210 --> 00:33:06.160
  • ABOUT THIS, LIKE THESE PEEK EXPERIENCES WHERE
  • 00:33:06.180 --> 00:33:08.290
  • SUDDENLY, LATER THAT NIGHT THE NEXT DAY,
  • 00:33:09.010 --> 00:33:12.150
  • I REMEMBERED THE POEM. I MEAN IT'S A LONG POEM.
  • 00:33:12.170 --> 00:33:17.210
  • BUT SITTING THERE AND JUST BEING COMPLETELY IN
  • 00:33:17.230 --> 00:33:21.030
  • THE MOMENT, "THERE ARE STRANGE THINGS DONE IN
  • 00:33:21.050 --> 00:33:23.190
  • "THE MIDNIGHT SUN BY THE MEN WHO MOIL FOR GOLD,
  • 00:33:23.210 --> 00:33:27.000
  • "THE ARCTIC TRAILS HAVE THEIR SECRET TALES THAT
  • 00:33:27.020 --> 00:33:29.120
  • "WOULD MAKE YOUR BLOOD RUN COLD, THE NORTHERN LIGHTS
  • 00:33:29.140 --> 00:33:31.120
  • "HAVE SEEN QUEER SIGHTS BUT THE QUEEREST THEY EVER
  • 00:33:31.140 --> 00:33:33.190
  • "DID SEE WAS THAT NIGHT ON THE MARGE OF LAKE LE BARGE
  • 00:33:33.210 --> 00:33:37.060
  • "WHEN I CREMATED SAM MCGEE."
  • 00:33:37.080 --> 00:33:39.280
  • DUDE, I'M IN.
  • 00:33:40.000 --> 00:33:42.260
  • - AGE?
  • 00:33:42.280 --> 00:33:43.280
  • - 14. 14.
  • 00:33:44.000 --> 00:33:46.100
  • SO POETRY, CAMP FIRES, MEN TELLING STORIES WITH
  • 00:33:46.120 --> 00:33:53.030
  • UNASHAMED SENTIMENTALITY, REALLY KIND OF PAVED THE
  • 00:33:53.050 --> 00:33:57.280
  • WAY FOR SOMETHING VERY SIMILAR A COUPLE YEARS
  • 00:33:58.000 --> 00:34:00.080
  • LATER WHEN MY HIGH SCHOOL TEACHER INTRODUCED ME TO
  • 00:34:00.100 --> 00:34:03.260
  • THE VAGARIES AND STRANGENESS AND JOYS OF
  • 00:34:03.280 --> 00:34:07.210
  • BARBERSHOP QUARTET SINGING.
  • 00:34:07.230 --> 00:34:09.280
  • AND FRED KING WAS HIS NAME.
  • 00:34:10.000 --> 00:34:11.220
  • HE DIRECTED THE CHORUS OF THE CHESAPEAKE.
  • 00:34:11.240 --> 00:34:14.000
  • A HUNDRED AND TWENTY SOME MEN, MANY OF WHOM FOUGHT
  • 00:34:14.020 --> 00:34:17.280
  • IN THE SECOND WORLD WAR, LOTS OF WHOM FOUGHT IN
  • 00:34:18.000 --> 00:34:21.080
  • THE KOREAN WAR, VETERANS WHO WOULD STAND THERE
  • 00:34:21.100 --> 00:34:24.120
  • SHOULDER TO SHOULDER EVERY TUESDAY NIGHT AND
  • 00:34:24.140 --> 00:34:27.020
  • SING SONGS ABOUT MOTHERS AND BEST FRIENDS WHO
  • 00:34:27.040 --> 00:34:32.220
  • WOULD NEVER LET YOU DOWN AND THEIR FIRST CAR.
  • 00:34:32.240 --> 00:34:36.130
  • I MEAN, IT WAS SO HOKEY AND SO SENTIMENTAL THAT
  • 00:34:36.150 --> 00:34:40.020
  • NONE OF MY FRIENDS BUT FOR THE THREE OTHERS THAT
  • 00:34:40.040 --> 00:34:42.290
  • SANG WITH ME IN A QUARTET, YOU COULDN'T LOOK
  • 00:34:43.010 --> 00:34:46.270
  • AT THAT AND NOT FEEL LIKE YOU WERE ON THE OUTSIDE
  • 00:34:46.290 --> 00:34:49.110
  • OF COOL, BUT INSIDE IT, AFTER THOSE REHEARSALS,
  • 00:34:49.130 --> 00:34:53.250
  • SITTING DOWN WITH SOME OF THESE GUYS AND LISTENING
  • 00:34:53.270 --> 00:34:57.280
  • TO THEM SING SONGS ABOUT THEIR CHILDHOOD AND ABOUT
  • 00:34:58.000 --> 00:35:02.200
  • THEIR WIVES, MAYBE THEY'RE WIDOWERS, THE SADDEST
  • 00:35:02.220 --> 00:35:06.270
  • SONGS I EVER HEARD I HEARD IN A LITTLE JOINT
  • 00:35:06.290 --> 00:35:10.280
  • CALLED JOHNNY JONES EVERY TUESDAY NIGHT AFTER
  • 00:35:11.000 --> 00:35:13.170
  • REHEARSALS OF THE CHORUS OF THE CHESAPEAKE.
  • 00:35:13.190 --> 00:35:16.110
  • AND I'M TELLING YOU, MATT, THESE SONGS.
  • 00:35:16.130 --> 00:35:18.180
  • THE TURN OF THE CENTURY PEOPLE WROTE SONGS IN A
  • 00:35:18.200 --> 00:35:21.140
  • WAY THAT HAD TO I THINK CHANNEL GRIEF DIFFERENTLY
  • 00:35:21.160 --> 00:35:25.050
  • THAN WE DO TODAY.
  • 00:35:25.070 --> 00:35:26.190
  • THERE WAS NO OTHER PLACE TO PUT IT.
  • 00:35:26.210 --> 00:35:29.110
  • SO YOU HAD SONGS LIKE-- OH, MAN,
  • 00:35:29.130 --> 00:35:33.010
  • "DEAR OLD GIRL,
  • 00:35:33.030 --> 00:35:36.190
  • "THE ROBIN SINGS ABOVE YOU, DEAR OLD GIRL."
  • 00:35:36.210 --> 00:35:39.260
  • THIS IS A SONG, I'M WATCHING FOUR MEN ALL OF
  • 00:35:39.280 --> 00:35:42.160
  • WHOM HAVE LOST THEIR WIVES ALL IN THEIR LATE
  • 00:35:42.180 --> 00:35:45.050
  • 80'S AND EARLY 90'S SITTING AROUND A LITTLE
  • 00:35:45.070 --> 00:35:47.180
  • SQUARE TABLE HARMONIZING.
  • 00:35:47.200 --> 00:35:51.170
  • "TWAS A SUNNY DAY IN JUNE AND ALL THE BIRDS WERE
  • 00:35:51.190 --> 00:35:54.040
  • "ALL IN TUNE, AND THE SONGS THEY SANG ALL MADE
  • 00:35:54.060 --> 00:35:56.060
  • "ME THINK OF YOU, AND THE WORDS YOU CAME TO SPEAK
  • 00:35:56.080 --> 00:35:58.180
  • "BROUGHT THE BLUSHES TO MY CHEEK AS YOU WHISPERED
  • 00:35:58.200 --> 00:36:01.260
  • "YES AND FONDLY KISSED ME TOO.
  • 00:36:01.280 --> 00:36:04.140
  • "I CAN SEE THE LOVE LIGHT SHINE IN YOUR BRIGHT EYES,
  • 00:36:04.160 --> 00:36:06.220
  • "SWEETHEART MINE, AS THE PREACHER SAID THE WORDS
  • 00:36:06.240 --> 00:36:09.020
  • "THAT MADE US ONE, AND YOU WERE FAITHFUL WIFE
  • 00:36:09.040 --> 00:36:12.110
  • "THROUGH THE CHANGING SCENES OF LIFE TILL THE
  • 00:36:12.130 --> 00:36:14.280
  • "MASTER SAID YOUR WORK ON EARTH WAS DONE."
  • 00:36:15.000 --> 00:36:18.250
  • AND HERE'S-- THIS PART KILLS ME.
  • 00:36:18.270 --> 00:36:21.050
  • "DEAR OLD GIRL, THE ROBIN SINGS ABOVE YOU, DEAR OLD
  • 00:36:21.070 --> 00:36:25.130
  • "GIRL, IT SPEAKS OF HOW I LOVE YOU, THE BLINDING
  • 00:36:25.150 --> 00:36:28.240
  • "TEARS ARE FALLING AS I THINK OF MY LOST PEARL
  • 00:36:28.260 --> 00:36:32.150
  • "AND MY BROKEN HEART IS CALLING, CALLING FOR YOU
  • 00:36:32.170 --> 00:36:36.190
  • "DEAR OLD GIRL."
  • 00:36:36.210 --> 00:36:38.150
  • NOW, ME AND THAT GUY CHUCK, PRODUCER, THE WAY
  • 00:36:38.170 --> 00:36:41.200
  • I HEARD IT, WE'RE SITTING IN JOHNNY JONES, WE'RE 17
  • 00:36:41.220 --> 00:36:44.230
  • AND 16 WATCHING FOUR MEN WHO HAD LOST THEIR WIVES
  • 00:36:44.250 --> 00:36:50.130
  • ALL OF WHOM HAD SERVED, ALL OF WHOM HAD BEEN
  • 00:36:50.150 --> 00:36:53.030
  • DECORATED, SING THIS SONG AS TEARS RUN DOWN THEIR
  • 00:36:53.050 --> 00:36:57.140
  • CHEEKS AND IT'S SO SAD, THE ONLY THING WE CAN
  • 00:36:57.160 --> 00:37:00.250
  • DO IS SHAKE OUR HEADS AND GIGGLE.
  • 00:37:00.270 --> 00:37:03.040
  • IT'S INAPPROPRIATE, BUT THE MEN LAUGHED TOO, AND
  • 00:37:03.060 --> 00:37:06.220
  • THEY GO AROUND THE ROOM SINGING IN A CAPPELLA
  • 00:37:06.240 --> 00:37:10.100
  • THESE IMPOSSIBLY SAD SONGS SO MAUDLIN, SO
  • 00:37:10.120 --> 00:37:14.020
  • GRIM, THAT MANY COLLAPSE UNDER THE WEIGHT OF THEIR
  • 00:37:14.040 --> 00:37:17.160
  • OWN MAWKISHNESS, BUT IT DOESN'T MATTER BECAUSE
  • 00:37:17.180 --> 00:37:22.000
  • IT'S BEAUTIFUL, AND IT'S A VERY LONG ANSWER TO YOUR
  • 00:37:22.020 --> 00:37:24.190
  • QUESTION, BUT THAT'S WHAT STORY TELLING IS SOMETIMES.
  • 00:37:24.210 --> 00:37:28.030
  • - I THINK THAT WAS THE LONGEST I'VE EVER BEEN QUIET.
  • 00:37:28.050 --> 00:37:32.200
  • - HONESTLY, WE WERE WORRIED.
  • 00:37:32.220 --> 00:37:34.240
  • YOUR CAMERA GUYS ARE LIKE SOMEBODY,
  • 00:37:34.260 --> 00:37:36.150
  • BREATHE! BREATHE MATT!
  • 00:37:36.170 --> 00:37:39.070
  • - SO YOU ARE INTERESTING AND ARTICULATE.
  • 00:37:39.090 --> 00:37:44.090
  • - OPINIONS VARY BUT THANK YOU.
  • 00:37:44.110 --> 00:37:46.040
  • - AND WHAT I AM SITTING HERE SENSING IS WHAT IF I
  • 00:37:46.060 --> 00:37:53.250
  • NEVER GOT PAST THE MIKE ROWE THAT I SAW ON
  • 00:37:53.270 --> 00:37:58.100
  • TELEVISION, I WAS INTRODUCED TO YOU NOT IN
  • 00:37:58.120 --> 00:38:01.270
  • GOOD EVENING SAN FRANCISCO, I DIDN'T LIVE IN SAN FRANCISCO.
  • 00:38:01.290 --> 00:38:04.230
  • - YOU DON'T WANT TO.
  • 00:38:04.250 --> 00:38:06.190
  • - YEAH. NO.
  • 00:38:06.210 --> 00:38:08.230
  • WELL WE'LL RUN A LITTLE PIECE OF IT.
  • 00:38:08.250 --> 00:38:11.020
  • - AH...SODOM. AND GOMORRAH. [LAUGHS]
  • 00:38:11.040 --> 00:38:14.210
  • - AND SO BASICALLY YOU GOT INTRODUCED TO OUR
  • 00:38:14.230 --> 00:38:19.080
  • FAMILY IN A TV PROGRAM ON DISCOVERY CHANNEL
  • 00:38:19.100 --> 00:38:23.110
  • CALLED DIRTY JOBS.
  • 00:38:23.130 --> 00:38:25.130
  • ONE OF THE FIRST TIMES IF NOT THE FIRST TIME I SAW
  • 00:38:25.150 --> 00:38:28.070
  • YOU, YOU WERE NOT SIMPLY IN A SEWER WHERE YOU
  • 00:38:28.090 --> 00:38:33.000
  • COULD PULL JUST THE TOP ROUND THING OFF THE
  • 00:38:33.020 --> 00:38:35.240
  • STREET AND GO IN.
  • 00:38:35.260 --> 00:38:37.130
  • YOU WERE DOWN IN WHERE THE SEWER DUMPED INTO.
  • 00:38:37.150 --> 00:38:41.220
  • YOU WERE ABOUT TO YOUR WADED BOOTS
  • 00:38:41.240 --> 00:38:45.090
  • ABOUT THE KNEE.
  • 00:38:45.110 --> 00:38:47.090
  • - WHERE THE CHILI MEETS THE CHEESE, AS WE SAY.
  • 00:38:47.110 --> 00:38:49.040
  • - EXACTLY. IN THE BOWELS OF THE SEWER SYSTEM OF
  • 00:38:49.060 --> 00:38:53.020
  • SAN FRANCISCO WHICH IS QUITE POSSIBLY THE MOST
  • 00:38:53.040 --> 00:38:57.110
  • HORRIBLE PLACE YOU COULD POSSIBLY BE.
  • 00:38:57.130 --> 00:38:59.180
  • - WELL, ABOVE ON THE STREETS OF SAN FRANCISCO
  • 00:38:59.200 --> 00:39:01.280
  • NOW TOO IS ALSO QUITE GRIM BUT CONTINUE.
  • 00:39:02.000 --> 00:39:04.170
  • - YES. AND SO HERE I SIT.
  • 00:39:04.190 --> 00:39:07.270
  • WHAT IF PART OF WHAT LIFE IS SUPPOSED TO BE IS TO
  • 00:39:07.290 --> 00:39:14.110
  • GET PAST WHAT YOUR PERCEPTION OF SOMEBODY IS
  • 00:39:14.130 --> 00:39:18.240
  • AND FIND OUT WHO THE REAL PERSON IS.
  • 00:39:18.260 --> 00:39:21.040
  • - WHAT IF THAT'S THE WHOLE POINT?
  • 00:39:21.060 --> 00:39:22.210
  • - WHAT IF THAT'S WHAT WE'RE SUPPOSED TO BE DOING.
  • 00:39:22.230 --> 00:39:24.210
  • - WHAT IF THE STUFF THAT GOES ON UNDER THE STREET
  • 00:39:24.230 --> 00:39:26.160
  • OUT OF SIGHT IS ACTUALLY THE PLACE WHERE THE MOST
  • 00:39:26.180 --> 00:39:30.140
  • INTERESTING STORIES LIE?
  • 00:39:30.160 --> 00:39:32.250
  • WHAT IF IT'S WHAT'S UNDER THE ROCK?
  • 00:39:32.270 --> 00:39:34.290
  • WHAT IF REAL CURIOSITY CAN ACTUALLY GET YOU
  • 00:39:35.010 --> 00:39:37.030
  • OUT INTO THE WORLD TO TAKE A PEEK AND MAYBE
  • 00:39:37.050 --> 00:39:39.060
  • WALK IN SOMEBODY ELSE'S SHOES.
  • 00:39:39.080 --> 00:39:41.070
  • - TO CLARIFY THE FIRST TIME I SAW YOU, YOU WERE
  • 00:39:41.090 --> 00:39:43.120
  • STANDING KNEE DEEP IN CRAP.
  • 00:39:43.140 --> 00:39:45.250
  • - THAT'S CORRECT.
  • 00:39:45.270 --> 00:39:47.180
  • - AND I COULD HAVE DISMISSED YOU, BUT
  • 00:39:47.200 --> 00:39:51.260
  • INSTEAD I WAS LIKE A MOTH TO THE FLAME.
  • 00:39:51.280 --> 00:39:56.120
  • - YOU SICKO. SICK MAN. [LAUGHTER]
  • 00:39:56.140 --> 00:39:58.170
  • - AND NOW I SIT HERE WITH INTERESTING AND
  • 00:39:58.190 --> 00:40:03.210
  • ARTICULATE MIKE ROWE, AND I WONDER IF WE'RE ALL
  • 00:40:03.230 --> 00:40:10.090
  • SUPPOSED TO GET PAST THE CRAP AND FIND OUT
  • 00:40:10.110 --> 00:40:14.210
  • WHO THE REAL PERSON IS.
  • 00:40:14.230 --> 00:40:16.220
  • - I DON'T.
  • 00:40:16.240 --> 00:40:18.090
  • I BELIEVE IT'S ABSOLUTELY THE POINT, THE PURPOSE,
  • 00:40:18.110 --> 00:40:22.230
  • AND IT'S NOT DRUDGERY, IT'S THE FUN OF IT.
  • 00:40:22.250 --> 00:40:25.220
  • IT'S THE FUN OF IT.
  • 00:40:25.240 --> 00:40:28.230
  • TO BE, LOOK, I HAD A DECENT CAREER FOR 15
  • 00:40:28.250 --> 00:40:32.200
  • YEARS IMPERSONATING A HOST.
  • 00:40:32.220 --> 00:40:35.050
  • I WAS FACILE, AND I WAS BELIEVABLE.
  • 00:40:35.070 --> 00:40:39.110
  • I COULD AS WE'VE DISCUSSED IN THE PAST
  • 00:40:39.130 --> 00:40:42.180
  • CREATE THE ILLUSION OF COMPETENCE IN A
  • 00:40:42.200 --> 00:40:45.090
  • CONVINCING WAY IN SHORT BURSTS AND THAT'S WHAT
  • 00:40:45.110 --> 00:40:48.070
  • I WAS PAID TO DO.
  • 00:40:48.090 --> 00:40:49.250
  • DIRTY JOBS, IN FACT THE EPISODE YOU'RE TALKING
  • 00:40:49.270 --> 00:40:52.080
  • ABOUT, REALLY FORGIVE ME BUT IT WAS A KIND OF
  • 00:40:52.100 --> 00:40:58.240
  • HORRIBLE NON- TRADITIONAL BAPTISM.
  • 00:40:58.260 --> 00:41:02.160
  • I WAS IN-- I'M JUST SAYING.
  • 00:41:02.180 --> 00:41:05.260
  • FOR ME, WHEN YOU REALIZE AS I DID IN THE SEWERS OF
  • 00:41:05.280 --> 00:41:09.150
  • SAN FRANCISCO THAT I WASN'T MEANT TO BE A HOST.
  • 00:41:09.170 --> 00:41:14.070
  • THE THING I'D BEEN DOING FOR FIFTEEN YEARS, I WAS
  • 00:41:14.090 --> 00:41:16.290
  • WORKING WITH A SEWER INSPECTOR DURING THAT
  • 00:41:17.010 --> 00:41:19.190
  • EPISODE AND HE, A FELLOW NAMED GENE CRUISE,
  • 00:41:19.210 --> 00:41:22.260
  • WAS REALLY THE EXPERT.
  • 00:41:22.280 --> 00:41:25.010
  • I JUST DIDN'T SEE HIM THAT WAY BECAUSE I HAD
  • 00:41:25.030 --> 00:41:27.010
  • GONE INTO THE SEWER TO MAKE GOOD ON MY MOTHER'S
  • 00:41:27.030 --> 00:41:29.200
  • REQUEST TO SHOOT SOMETHING THAT MY
  • 00:41:29.220 --> 00:41:31.250
  • GRANDFATHER WOULD RECOGNIZE AS WORK.
  • 00:41:31.270 --> 00:41:34.170
  • SO I'M BASICALLY HONORING OH, GOSH, WHICH COMMANDMENT?
  • 00:41:34.190 --> 00:41:38.230
  • HONOR THY FATHER?
  • 00:41:38.250 --> 00:41:40.110
  • - ABOUT THE FIFTH OR SIXTH.
  • 00:41:40.130 --> 00:41:42.020
  • - ABOUT THE FIFTH, MATT?
  • 00:41:42.040 --> 00:41:43.190
  • - CLOSE ENOUGH.
  • 00:41:43.210 --> 00:41:44.200
  • - A MAN IN YOUR POSITION.
  • 00:41:44.220 --> 00:41:46.210
  • HONOR MY FATHER AND MOTHER, WHICH ONE?
  • 00:41:46.230 --> 00:41:49.270
  • FIFTH. OKAY. SO THERE I AM.
  • 00:41:49.290 --> 00:41:51.260
  • - I WAS RIGHT. JUST TRYING TO BE HUMBLE.
  • 00:41:51.280 --> 00:41:53.270
  • - YOU WERE "RIGHTISH".
  • 00:41:53.290 --> 00:41:56.130
  • OR FIFTH, SIXTH.
  • 00:41:56.150 --> 00:41:58.130
  • SO I'M DOWN IN THE SEWER HONORING MY MOTHER'S
  • 00:41:58.150 --> 00:42:00.210
  • WISHES BUT STILL TRYING TO BE THE HOST THAT THE
  • 00:42:00.230 --> 00:42:04.270
  • CREDITS OF THAT PARTICULAR SHOW SAID I
  • 00:42:04.290 --> 00:42:07.160
  • WAS, EVENING MAGAZINE, AND REALIZING AFTER THE
  • 00:42:07.180 --> 00:42:12.020
  • SEWER KEPT ME FROM DOING MY JOB.
  • 00:42:12.040 --> 00:42:15.140
  • THE ROACHES DOWN THERE ARE THE SIZE OF YOUR THUMB.
  • 00:42:15.160 --> 00:42:17.230
  • THEY WILL CRAWL EVERYWHERE.
  • 00:42:17.250 --> 00:42:19.240
  • THEY'LL GET DOWN IN YOUR COLLAR, THEY'LL GET IN
  • 00:42:19.260 --> 00:42:21.270
  • YOUR EARS, THEY'LL MAKE YOU CRAZY.
  • 00:42:21.290 --> 00:42:23.180
  • THEY'LL DISTRACT YOU FROM DOING YOUR JOB.
  • 00:42:23.200 --> 00:42:25.260
  • THE RATS ARE THE SIZE OF LOAVES OF BREAD.
  • 00:42:25.280 --> 00:42:28.200
  • THEY WILL PERCH ON YOUR SHOULDER LIKE A PARROT,
  • 00:42:28.220 --> 00:42:30.290
  • THEY WILL SQUEAL IN YOUR EAR, JUMP IN YOUR LAP AND
  • 00:42:31.010 --> 00:42:33.230
  • THEY WILL SEND YOU HURDLING SKYWARD ONLY TO
  • 00:42:33.250 --> 00:42:36.090
  • SMASH YOUR HEAD AND TO FALL FACE FIRST INTO THE
  • 00:42:36.110 --> 00:42:39.090
  • WORST OF IT, AND THAT'S WHAT I MEAN.
  • 00:42:39.110 --> 00:42:41.250
  • YOU CAN'T TAKE YOURSELF TOO SERIOUSLY WHEN YOU'RE
  • 00:42:41.270 --> 00:42:45.060
  • FACE FIRST IN SOMEBODY ELSE'S POOP, RIGHT?
  • 00:42:45.080 --> 00:42:47.160
  • YOU JUST CAN'T. AND THAT'S WHAT IT TOOK FOR ME.
  • 00:42:47.180 --> 00:42:51.040
  • THAT'S WHAT IT TOOK TO NOT SEE MYSELF AS A HOST
  • 00:42:51.060 --> 00:42:54.280
  • BUT TO SAY OKAY, NEW SHERIFF IN TOWN.
  • 00:42:55.000 --> 00:42:57.240
  • RESET BUTTON.
  • 00:42:57.260 --> 00:42:59.060
  • THIS GUY WITH ME, GENE, HE'S THE HOST.
  • 00:42:59.080 --> 00:43:02.130
  • HE'S THE EXPERT. I AM SOMETHING ELSE.
  • 00:43:02.150 --> 00:43:05.100
  • MAYBE AN APPRENTICE, MAYBE A GUEST, MAYBE A
  • 00:43:05.120 --> 00:43:07.240
  • CIPHER OR AN AVATAR, BUT I ON THAT DAY STOPPED ACTING
  • 00:43:07.260 --> 00:43:14.280
  • LIKE A HOST AND STARTED BEING THE DILETTANTE I AM,
  • 00:43:15.000 --> 00:43:19.110
  • THE AMATEUR.
  • 00:43:19.130 --> 00:43:21.100
  • - OKAY, I NEED TO CORRECT YOUR THEOLOGY
  • 00:43:21.120 --> 00:43:23.240
  • IN REGARD TO...
  • 00:43:23.260 --> 00:43:25.110
  • - SAYS THE GUY WHO "MAYBE IT'S THE FOURTH,
  • 00:43:25.130 --> 00:43:26.230
  • MAYBE IT'S THE FIFTH."
  • 00:43:26.250 --> 00:43:28.070
  • - SO HONOR YOUR MOTHER AND YOUR FATHER IS NOT
  • 00:43:28.090 --> 00:43:32.280
  • DOING WHAT THEY SAY, IT'S DOING WHAT GOD SAYS.
  • 00:43:33.000 --> 00:43:37.230
  • BECAUSE THAT'S THE WAY--
  • 00:43:37.250 --> 00:43:39.110
  • - OKAY. YOU GOT ME. YOU GOT ME.
  • 00:43:39.130 --> 00:43:42.170
  • ALTHOUGH I DON'T THINK MY MOTHER NECESSARILY WAS
  • 00:43:42.190 --> 00:43:44.170
  • SAYING I JUST HAD A CHAT WITH THE LORD AND I'VE
  • 00:43:44.190 --> 00:43:47.120
  • GOT NEWS FOR YOU MICHAEL.
  • 00:43:47.140 --> 00:43:49.160
  • THAT'S NOT HOW IT WAS DELIVERED BUT THAT
  • 00:43:49.180 --> 00:43:51.100
  • DOESN'T MEAN THAT THERE WASN'T SOME
  • 00:43:51.120 --> 00:43:54.240
  • INVISIBLE HAND AT WORK.
  • 00:43:54.260 --> 00:43:56.200
  • - EXACTLY.
  • 00:43:56.220 --> 00:43:58.100
  • MIKE ROWE STEPPED OUT ONTO THIS STAGE NOT LONG
  • 00:43:58.120 --> 00:44:02.130
  • AGO AND CREATED SOME ROUGH FOOTAGE, THE RAW
  • 00:44:02.150 --> 00:44:08.000
  • FOOTAGE, THE STORY TELLER VERSION PUT DOWN ON VIDEO,
  • 00:44:08.020 --> 00:44:13.060
  • AND WE TOOK THAT AND KIND OF MASSAGED IT SOME.
  • 00:44:13.080 --> 00:44:19.020
  • - YOU TURNED IT INTO A MOVIE!
  • 00:44:19.040 --> 00:44:21.050
  • A MOVIE IS WHAT YOU DID. LOOK AT THIS. IT'S AMAZING.
  • 00:44:21.070 --> 00:44:23.120
  • - WATCH THIS.
  • 00:44:23.140 --> 00:44:25.000
  • - NOT LONG AFTER ITS HISTORIC LAUNCH IN 1990,
  • 00:44:25.020 --> 00:44:28.020
  • THE HUBBLE SPACE TELESCOPE BEGAN SENDING
  • 00:44:28.040 --> 00:44:30.050
  • BACK MUCH ANTICIPATED PHOTOS OF THE COSMOS.
  • 00:44:30.070 --> 00:44:33.100
  • UNFORTUNATELY, THE PHOTOS THAT CAME BACK WERE
  • 00:44:33.120 --> 00:44:35.240
  • BLURRY, SO NASA DID THE ONLY THING THEY COULD,
  • 00:44:35.260 --> 00:44:38.280
  • THEY CALLED IN "CEPI".
  • 00:44:39.000 --> 00:44:41.010
  • CEPI WAS AN ENGINEER WHO POSSESSED THE
  • 00:44:41.030 --> 00:44:42.290
  • UNCANNY ABILITY TO REPAIR PRETTY MUCH ANYTHING.
  • 00:44:43.010 --> 00:44:47.120
  • 84 YEARS EARLIER, THE GARBAGE MAN HITCHED HIS
  • 00:44:47.140 --> 00:44:50.150
  • WAGON TO HIS HORSE AND HEADED INTO THE CITY TO
  • 00:44:50.170 --> 00:44:54.060
  • HAUL OUT THE TRASH.
  • 00:44:54.080 --> 00:44:56.070
  • WE KNOW HE RAN INTO AMADEO IN THE STREET
  • 00:44:56.090 --> 00:44:59.000
  • SHORTLY THEREAFTER JUST AS THE CITY WAS
  • 00:44:59.020 --> 00:45:01.220
  • SLIPPING INTO CHAOS.
  • 00:45:01.240 --> 00:45:03.180
  • WE KNOW THAT AMADEO HAD IN HIS POSSESSION A
  • 00:45:03.200 --> 00:45:06.040
  • NUMBER OF HEAVY BAGS FILLED WITH GOLD COINS
  • 00:45:06.060 --> 00:45:10.020
  • WORTH APPROXIMATELY TWO MILLION DOLLARS.
  • 00:45:10.040 --> 00:45:12.070
  • WE KNOW THAT AMADEO BECAME DESPERATE TO GET
  • 00:45:12.090 --> 00:45:14.170
  • HIS FORTUNE AWAY FROM THE LOOTERS WHO WOULD SOON
  • 00:45:14.190 --> 00:45:17.080
  • EMERGE FROM THE LOOMING PANDEMONIUM.
  • 00:45:17.100 --> 00:45:19.140
  • WE KNOW THAT AMADEO MADE A DEAL WITH THE GARBAGE MAN.
  • 00:45:19.160 --> 00:45:23.200
  • GET ME OUT OF THIS CITY, HE BEGGED, SO THE GARBAGE
  • 00:45:23.220 --> 00:45:26.120
  • MAN MADE THE BUSINESSMAN A PROPOSITION.
  • 00:45:26.140 --> 00:45:30.050
  • I WILL DRIVE YOU AND YOUR TREASURE OUT OF THE CITY,
  • 00:45:30.070 --> 00:45:32.290
  • HE SAID, IN RETURN I ASK ONLY THAT YOU GIVE MY BOY
  • 00:45:33.010 --> 00:45:37.080
  • A JOB WHEN HE'S OLD ENOUGH TO BE OF USE.
  • 00:45:37.100 --> 00:45:40.200
  • THEY SHOOK ON IT.
  • 00:45:40.220 --> 00:45:43.200
  • IT WAS THE GREAT SAN FRANCISCO EARTHQUAKE OF 1906,
  • 00:45:43.220 --> 00:45:47.210
  • AND IT WAS THE VERY DEFINITION OF HELL ON EARTH.
  • 00:45:47.230 --> 00:45:54.070
  • MAYBE YOU KNOW THAT HE RETURNED AND
  • 00:45:54.090 --> 00:45:56.110
  • BEGAN LOANING MONEY.
  • 00:45:56.130 --> 00:45:58.210
  • HE MADE GOOD ON HIS PROMISE BY HIRING A
  • 00:45:58.230 --> 00:46:01.010
  • YOUNG MAN NAMED FRANK CEPOLLINA.
  • 00:46:01.030 --> 00:46:04.240
  • HE RETIRED EARLY AND RAISED A SON OF HIS OWN,
  • 00:46:04.260 --> 00:46:08.220
  • AN ENGINEER, WHO THE PEOPLE AT NASA CALLED "CEPI".
  • 00:46:08.240 --> 00:46:12.290
  • THE GRANDSON OF A GARBAGE MAN GOT THE ROBOTIC ARM
  • 00:46:13.010 --> 00:46:16.080
  • ON THE ENDEAVOR TO SHAKE HANDS WITH THE HUBBLE.
  • 00:46:16.100 --> 00:46:20.150
  • CONSEQUENTLY THE TELESCOPE WAS REPAIRED,
  • 00:46:20.170 --> 00:46:22.130
  • AND TODAY ASTRONOMERS CAN LOOK BACK IN TIME AND SEE
  • 00:46:22.150 --> 00:46:25.120
  • OUR EXPANDING UNIVERSE IN PERFECT FOCUS.
  • 00:46:25.140 --> 00:46:29.080
  • A HAND SHAKE BETWEEN A GARBAGE MAN AND A BANKER.
  • 00:46:29.100 --> 00:46:32.210
  • WITHOUT THAT BIG BANG AND THE HANDSHAKE THAT
  • 00:46:32.230 --> 00:46:35.060
  • FOLLOWED AMADEO GIANNINI, HIS MODEST LITTLE LENDING
  • 00:46:35.080 --> 00:46:40.100
  • INSTITUTION ONCE CALLED THE BANK OF ITALY
  • 00:46:40.120 --> 00:46:43.250
  • WOULD HAVE NEVER BECOME THE BANK OF AMERICA.
  • 00:46:43.270 --> 00:46:49.030
  • ANYWAY, THAT'S THE WAY I HEARD IT.
  • 00:46:49.050 --> 00:46:52.250
  • I MEAN YOU CAN'T MAKE IT UP.
  • 00:46:57.010 --> 00:46:58.140
  • - JUST, YOU CANNOT MAKE THIS STUFF UP.
  • 00:46:58.160 --> 00:47:01.020
  • SO IN THE BOOK OF MATTHEW IN THE BIBLE, THE
  • 00:47:01.040 --> 00:47:09.290
  • DISCIPLES COME TO JESUS AT ONE POINT AND THEY SAY
  • 00:47:10.010 --> 00:47:13.110
  • WHY DO YOU TELL STORIES?
  • 00:47:13.130 --> 00:47:16.080
  • AND HE SAID IN ONE OF THE TRANSLATIONS, HE SAYS TO
  • 00:47:16.100 --> 00:47:23.150
  • CREATE READINESS, TO NUDGE PEOPLE TOWARDS
  • 00:47:23.170 --> 00:47:29.000
  • RECEPTIVE INSIGHT OF THE KINGDOM OF GOD.
  • 00:47:29.020 --> 00:47:32.160
  • WHY DO YOU TELL STORIES MIKE ROWE?
  • 00:47:32.180 --> 00:47:36.000
  • - WELL, IT'S GOING TO FALL A BIT SHORT
  • 00:47:36.020 --> 00:47:37.240
  • OF THAT MARK I'M AFRAID.
  • 00:47:37.260 --> 00:47:39.150
  • - THAT'S A PRETTY HIGH BAR.
  • 00:47:39.170 --> 00:47:40.250
  • - THAT'S A PRETTY HIGH BAR.
  • 00:47:40.270 --> 00:47:43.060
  • IT'S LIKE THAT GREAT, THERE'S A GREAT CARTOON, PEANUTS.
  • 00:47:43.080 --> 00:47:48.000
  • - THAT'S A HORRIBLE THING I JUST DID TO YOU.
  • 00:47:48.020 --> 00:47:49.210
  • - HONESTLY?
  • 00:47:49.230 --> 00:47:51.090
  • - PRETTY BAD. I HAVE TO APOLOGIZE.
  • 00:47:51.110 --> 00:47:54.120
  • - I KIND OF DO IT FOR THE MONEY.
  • 00:47:54.140 --> 00:47:57.130
  • AND YOU KNOW TRYING TO MAKE THE RENT MATT.
  • 00:47:57.150 --> 00:48:01.220
  • A LOT OF PRESSURE OUT THERE TODAY.
  • 00:48:01.240 --> 00:48:04.170
  • - WHAT A HORRIBLE THING TO DO TO A PERSON
  • 00:48:04.190 --> 00:48:06.140
  • THAT I ACTUALLY LIKE.
  • 00:48:06.160 --> 00:48:08.000
  • - NO, NO, IT'S A GREAT AND FAIR QUESTION AND THE
  • 00:48:08.020 --> 00:48:10.160
  • HONEST ANSWER IS WHAT I SAID EARLIER, WRITING
  • 00:48:10.180 --> 00:48:14.200
  • COMPRESSES TIME, AND ANYTHING THAT REALLY
  • 00:48:14.220 --> 00:48:18.040
  • COMPRESSES TIME IS PROBABLY A THING WORTH
  • 00:48:18.060 --> 00:48:20.100
  • DOING, SO ON A PURELY SELFISH LEVEL I DO IT
  • 00:48:20.120 --> 00:48:23.180
  • BECAUSE IT'S VERY SHORT STORIES ARE SO
  • 00:48:23.200 --> 00:48:26.180
  • SATISFYING, BEGINNING, MIDDLE, END.
  • 00:48:26.200 --> 00:48:29.060
  • THERE ARE 35 STORIES IN HERE EACH FOLLOWED
  • 00:48:29.080 --> 00:48:31.060
  • BY A RUMINATION. BUT THEY ALL HAVE
  • 00:48:31.080 --> 00:48:34.000
  • BEGINNINGS, MIDDLES AND ENDS.
  • 00:48:34.020 --> 00:48:36.110
  • SO I LIKE IT WHEN THE BOX CLOSES AND GOES CLICK
  • 00:48:36.130 --> 00:48:41.000
  • AND IT ALL KIND OF COMES TOGETHER.
  • 00:48:41.020 --> 00:48:42.250
  • IT'S JUST SATISFYING.
  • 00:48:42.270 --> 00:48:44.180
  • BUT LOOK, I ALSO LIKE TO LOOK OUT AT AN AUDIENCE
  • 00:48:44.200 --> 00:48:50.100
  • AS I'M TELLING A TALE AND SEE PEOPLE NOD THEIR HEADS.
  • 00:48:50.120 --> 00:48:53.120
  • IT'S AFFIRMING, YOU KNOW, TO KNOW THAT WHEN PEOPLE
  • 00:48:53.140 --> 00:48:57.130
  • SAY "I KNOW WHAT YOU MEAN", YOU REALLY BELIEVE THEY
  • 00:48:57.150 --> 00:48:59.280
  • ACTUALLY KNOW WHAT YOU MEAN, SO IT'S JUST A
  • 00:49:00.020 --> 00:49:04.050
  • DELIGHTFUL GIVE AND TAKE AND THERE'S SO MANY WAYS
  • 00:49:04.070 --> 00:49:06.170
  • TO TELL STORIES TODAY, BUT I DON'T KNOW THAT
  • 00:49:06.190 --> 00:49:09.220
  • WE'VE IMPROVED UPON ONCE UPON A TIME, YOU KNOW,
  • 00:49:09.240 --> 00:49:13.230
  • AND THE CLOSEST, THIS WHOLE PODCAST WORLD IS
  • 00:49:13.250 --> 00:49:16.150
  • INTERESTING TO ME BECAUSE IT REMINDS ME OF OLD TIME
  • 00:49:16.170 --> 00:49:20.160
  • RADIO. OLD TIME RADIO IS INTERESTING BECAUSE IT
  • 00:49:20.180 --> 00:49:23.170
  • REMINDS ME OF CAMP FIRES AND POEMS AND TALES.
  • 00:49:23.190 --> 00:49:28.290
  • - THEN WOULD IT BE FAIR TO SAY IT THIS WAY.
  • 00:49:29.010 --> 00:49:33.000
  • IF THERE WAS A TV SHOW CALLED
  • 00:49:33.020 --> 00:49:36.040
  • SOMEBODY'S GOTTA DO IT...
  • 00:49:36.060 --> 00:49:37.260
  • - TELL ME MORE.
  • 00:49:37.280 --> 00:49:39.290
  • - ...AND YOU WERE EXPLORING FOR PEOPLE THAT ARE
  • 00:49:40.010 --> 00:49:45.030
  • ACCOMPLISHING SOMETHING IN THEIR LIFE THAT THEY
  • 00:49:45.050 --> 00:49:47.000
  • JUST HAVE TO DO, COULD WE DO AN EPISODE ON
  • 00:49:47.020 --> 00:49:50.100
  • YOU AND YOUR WRITING?
  • 00:49:50.120 --> 00:49:53.190
  • - YOU'RE REFERRING TO THE SHOW SOMEBODY'S GOTTA
  • 00:49:53.210 --> 00:49:55.150
  • DO IT THAT IS CURRENTLY ON TBN SATURDAY NIGHTS
  • 00:49:55.170 --> 00:49:57.220
  • HOSTED BY...
  • 00:49:57.240 --> 00:49:59.010
  • - YEAH. SO COULD WE DO AN EPISODE OF YOU BECAUSE
  • 00:49:59.030 --> 00:50:02.280
  • YOU HAVE TO WRITE?
  • 00:50:03.000 --> 00:50:04.230
  • ARE YOU A CANDIDATE TO BE ON YOUR OWN SHOW,
  • 00:50:04.250 --> 00:50:06.250
  • SOMEBODY'S GOTTA DO IT?
  • 00:50:06.270 --> 00:50:08.100
  • - NO. NOPE, I DON'T THINK I AM.
  • 00:50:08.120 --> 00:50:10.250
  • I DON'T THINK I COULD DO IT AND NOT COME OFF AS
  • 00:50:10.270 --> 00:50:15.170
  • FUNDAMENTALLY UNLIKABLE. [LAUGHTER]
  • 00:50:15.190 --> 00:50:18.220
  • I MEAN COME ON, TUNE IN SATURDAY NIGHT
  • 00:50:18.240 --> 00:50:21.140
  • 8:00 O'CLOCK AND GET A LOAD OF ME.
  • 00:50:21.160 --> 00:50:24.000
  • WE'RE GONNA FOCUS ON ME THIS SATURDAY.
  • 00:50:24.020 --> 00:50:25.260
  • TAKE A BIG DIVE INTO LAKE MIKE. SWIM AROUND.
  • 00:50:25.280 --> 00:50:28.240
  • - LET ME SAY IT THIS WAY, I REMEMBER AN
  • 00:50:28.260 --> 00:50:31.170
  • EPISODE WHERE YOU FOUND PEOPLE, I DON'T REMEMBER
  • 00:50:31.190 --> 00:50:36.020
  • WHAT STATE IT WAS, SOMEWHERE IN THE MIDWEST
  • 00:50:36.040 --> 00:50:38.130
  • THAT LOVE TO MAKE CREAMS, LOTIONS, SOAPS.
  • 00:50:38.150 --> 00:50:42.140
  • THEY MAKE THEM OUT OF GOURDS AND PUMPKINS.
  • 00:50:42.160 --> 00:50:45.210
  • - THAT SOUNDS RIGHT.
  • 00:50:45.230 --> 00:50:47.010
  • - SO YOU REMEMBER THAT. - VAGUELY, YEAH.
  • 00:50:47.030 --> 00:50:49.010
  • - SO USING THAT AS ANALOGY, COULD WE FOLLOW YOU--
  • 00:50:49.030 --> 00:50:56.000
  • THIS IS A HYPOTHETICAL QUESTION, OKAY?
  • 00:50:56.020 --> 00:50:59.160
  • COULD WE FOLLOW YOU BECAUSE YOU'RE THAT
  • 00:50:59.180 --> 00:51:02.230
  • PERSON THAT LIKES TO WRITE THAT MUCH.
  • 00:51:02.250 --> 00:51:05.180
  • - IT'S HYPOTHETICAL? - YEAH.
  • 00:51:05.200 --> 00:51:07.180
  • - I WAS HOPING IT WAS RHETORICAL.
  • 00:51:07.200 --> 00:51:10.020
  • - I DON'T KNOW THE DEFINITION SO
  • 00:51:10.040 --> 00:51:11.130
  • YOU'RE GONNA HAVE TO EXPLAIN.
  • 00:51:11.150 --> 00:51:13.040
  • - HYPOTHETICAL MEANS IT MAY OR MAY NOT HAVE BEEN
  • 00:51:13.060 --> 00:51:15.100
  • ASKED. RHETORICAL MEANS IT DOESN'T REQUIRE AN ANSWER.
  • 00:51:15.120 --> 00:51:18.020
  • THIS BEING AN INTERVIEW, I'M ASSUMING YOU WANT
  • 00:51:18.040 --> 00:51:20.010
  • SOME KIND OF ANSWER, SO I WOULD SIMPLY SAY IN THE
  • 00:51:20.030 --> 00:51:22.180
  • CONTEXT OF THE MEDIUM IN WHICH WE FIND OURSELVES
  • 00:51:22.200 --> 00:51:25.290
  • PRESENTLY, IE THE VISUAL MEDIUM, I DON'T KNOW THAT
  • 00:51:26.010 --> 00:51:30.130
  • WATCHING A MIDDLE AGED GUY WALK THROUGH LIFE
  • 00:51:30.150 --> 00:51:33.090
  • WRITING THINGS DOWN WILL INSPIRE PEOPLE AT HOME TO
  • 00:51:33.110 --> 00:51:38.030
  • YELL OUT SENTENCES LIKE HONEY GET IN HERE,
  • 00:51:38.050 --> 00:51:41.200
  • HE'S WRITING!
  • 00:51:41.220 --> 00:51:43.180
  • - BUT AGAIN, HYPOTHETICALLY, COULD YOU
  • 00:51:43.200 --> 00:51:48.280
  • BE THE GUY THAT WANTS TO SIT AND WRITE AND
  • 00:51:49.000 --> 00:51:53.230
  • WE DO A SHOW ABOUT IT.
  • 00:51:53.250 --> 00:51:55.100
  • - YEAH. - OKAY.
  • 00:51:55.120 --> 00:51:56.200
  • - HYPOTHETICALLY, LISTEN, AND I MEAN THIS
  • 00:51:56.220 --> 00:52:00.130
  • WITH ALL MY HEART, WHETHER IT'S DIRTY JOBS--
  • 00:52:00.150 --> 00:52:02.140
  • - THE CLIMAX IS OVER.
  • 00:52:02.160 --> 00:52:03.230
  • YOU ALREADY SAID YEAH.
  • 00:52:03.250 --> 00:52:05.140
  • - I HIT OIL AND I'M STILL DRILLING, RIGHT?
  • 00:52:05.160 --> 00:52:08.060
  • ROOKIE MISTAKE!
  • 00:52:08.080 --> 00:52:11.170
  • WE'RE IN THE CLOSE NOW. THEY'RE PROBABLY ROLLING
  • 00:52:11.190 --> 00:52:13.030
  • CREDITS AND STUFF, RIGHT? SORRY.
  • 00:52:13.050 --> 00:52:15.220
  • - SOMEBODY'S GOTTA DO IT WITH MIKE ROWE RIGHT HERE
  • 00:52:15.240 --> 00:52:18.120
  • ON TBN, THE BOOK "THE WAY I HEARD IT", MIKE ROWE,
  • 00:52:18.140 --> 00:52:22.140
  • RUNAWAY BEST SELLER NEW YORK TIMES.
  • 00:52:22.160 --> 00:52:25.280
  • - HOW DO YOU KNOW WHERE TO LOOK IN?
  • 00:52:26.000 --> 00:52:27.090
  • DO YOU LOOK HERE? THERE OR THERE?
  • 00:52:27.110 --> 00:52:29.150
  • I LOVE COMING ON THIS SHOW BUT I NEVER KNOW
  • 00:52:29.170 --> 00:52:34.060
  • WHERE TO LOOK. I DON'T KNOW WHERE TO LOOK.
  • 00:52:34.080 --> 00:52:38.000
  • - SO I JUST WANT TO SAY THIS BOOK RIGHT NOW AS
  • 00:52:38.020 --> 00:52:42.270
  • WE'RE TALKING IS TOP TEN NEW YORK TIMES
  • 00:52:42.290 --> 00:52:46.220
  • BESTSELLING, IT'S ON ITS WAY TO NUMBER ONE.
  • 00:52:46.240 --> 00:52:48.270
  • - WITH A BULLET.
  • 00:52:48.290 --> 00:52:51.000
  • - OKAY, ON IT'S WAY TO NUMBER ONE.
  • 00:52:51.020 --> 00:52:52.290
  • AND I JUST WANT TO SAY THANK YOU FOR THE
  • 00:52:53.010 --> 00:52:57.150
  • COMPLEXITY OF WHO AND WHAT YOU ARE.
  • 00:52:57.170 --> 00:53:00.240
  • AND NOW IF YOU'VE BEEN PAYING ATTENTION DURING
  • 00:53:00.260 --> 00:53:03.080
  • THIS INTERVIEW, YOU'LL BE ABLE TO RESPOND IMMEDIATELY.
  • 00:53:03.100 --> 00:53:06.020
  • - OKAY.
  • 00:53:06.040 --> 00:53:07.010
  • - OKLAHOMA.
  • 00:53:07.030 --> 00:53:08.120
  • - [SINGING] WHERE THE WIND COMES SWEEPING DOWN
  • 00:53:08.140 --> 00:53:09.250
  • THE PLAIN, AND THE WAVING WHEAT CAN SURE SMELL
  • 00:53:09.270 --> 00:53:12.110
  • SWEET WHEN THE WIND COMES RIGHT BEHIND THE RAIN!
  • 00:53:12.130 --> 00:53:15.160
  • SOMETHING LIKE THAT.
  • 00:53:15.180 --> 00:53:17.000
  • [SINGING] OKLAHOMA EVERY NIGHT, MY HONEY LAMB AND I.
  • 00:53:17.020 --> 00:53:21.190
  • YOU KNOW, I MEAN I WANT TO THANK YOU FOR SEEING
  • 00:53:21.210 --> 00:53:24.120
  • ME STANDING KNEE DEEP IN OTHER PEOPLE'S YOU KNOW
  • 00:53:24.140 --> 00:53:27.270
  • WHAT AND NOT RUSHING TO JUDGMENT.
  • 00:53:27.290 --> 00:53:30.250
  • I MEAN WHAT ARE THE ODDS THAT YOU'RE FLICKING
  • 00:53:30.270 --> 00:53:32.130
  • AROUND AND YOU SEE ME IN A SEWER, AND THEN A
  • 00:53:32.150 --> 00:53:34.170
  • COUPLE YEARS LATER HERE WE ARE SITTING ON A STAGE
  • 00:53:34.190 --> 00:53:37.190
  • LIKE THIS HAVING A HIGH MINDED CONVERSATION.
  • 00:53:37.210 --> 00:53:40.180
  • - THEN YOU'LL UNDERSTAND THIS.
  • 00:53:40.200 --> 00:53:42.140
  • TO KILL A MOCKINGBIRD.
  • 00:53:42.160 --> 00:53:45.250
  • - THAT'S NOT A MUSICAL.
  • 00:53:45.270 --> 00:53:47.050
  • [LAUGHING]
  • 00:53:47.070 --> 00:53:49.010
  • - YOU HAD ME FOR A MINUTE.
  • 00:53:49.030 --> 00:53:50.150
  • YOU HAD ME FOR A MINUTE!
  • 00:53:50.170 --> 00:53:52.110
  • THAT'S A GOOD! THAT WAS A GOOD ONE!
  • 00:53:52.130 --> 00:53:54.200
  • HOW DO I NOT KNOW A SONG FROM TO KILL A
  • 00:53:54.220 --> 00:53:56.040
  • MOCKINGBIRD, BUT THERE ARE NONE!
  • 00:53:56.060 --> 00:53:57.240
  • - THERE ARE NONE.
  • 00:53:57.260 --> 00:53:59.190
  • MIKE ROWE, WE'LL SEE YOU NEXT TIME.
  • 00:53:59.210 --> 00:54:01.150
  • [MUSIC]
  • 00:54:01.170 --> 00:54:09.290