May 23, 2025

David Dastmalchian (Murderbot); Max Talisman & Joey Pollari (Things Like This)

In this episode of Pop Culture Weekly with Kyle McMahon , actor / writer / director Max Talisman takes center stage as he invites us into the world of his new rom-com, 'Things Like This'. Then David Dastmalchian joins to discuss his new sci-fi series 'Murderbot'.

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(00:00:00) Introduction & Welcome
(00:02:11) Max Talisman and Joey Pollari talk 'Things Like This'
(00:19:04) David Dastmalchian talks Muderbot

In this episode of Pop Culture Weekly with Kyle McMahon , actor / writer / director Max Talisman takes center stage as he invites us into the world of his new rom-com, " Things Like This ." This heartfelt conversation uncovers Max's motivations behind creating a film that authentically represents queer experiences. With co-star Joey Pollari by his side, Max opens up about navigating the New York City dating scene as a plus-size gay man and his deep love for the 90s rom-com classics that inspired him. Their camaraderie and shared vision infuse the project with a unique energy, promising a love story that is both universally relatable and refreshingly genuine.

As if that weren't enough, we also share the spotlight with the multi-talented David Dastmalchian , who talks about his new series, " Murderbot ," on Apple TV+ . David's enthusiasm for genre storytelling and his journey through iconic roles in films like " Dune ", " Late Night With The Devil " and " The Suicide Squad " reveal his dedication to pushing creative boundaries. From memorable filming locations in New York to exploring the transformative power of acting and storytelling, this episode is a celebration of creativity, connection, and the joy of storytelling in both film and television.

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Kyle McMahon's Death, Grief & Other Sh*t We Don't Discuss is now streaming. Listen here !

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In this episode of pop Culture Weekly, I talk with

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the one to know Lyad David dest Mauchin all about

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the brand new Apple TV Plus series Murder Bot, and

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Max Talisman and Joey Polari joined to discuss their movie

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Things Like This.

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Let's go Welcome to pop Culture Weekly with Kyle McMahon

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from my Heart Radio your pop culture news, views, reviews

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and celebrity interviews on all the movies, TV, music and

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pop culture u CRABE Weekly. Here's Kyle McMahon.

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No No, no NTT, Hello and welcome to the pop

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Culture Weekly with Kyle McMahon. I of course am Kyle McMahon.

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I thank you as always for joining me for another

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episode of pop Culture Weekly. You know the drill. We've

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got your all access passed to the stars and biggest

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stories and buzziest releases in entertainment, and today's episode is

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no different. It is stacked with talent. First up, we're

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going to be joined by Max Talisman and Joey Polari,

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the dynamic duo behind the new rom com Things Like This.

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They will be dishing on everything from the making of

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the film to the importance of authentic queer storytelling and

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what it was like bringing their on screen chemistry to life.

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Max has a very interesting story behind his reason for,

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you know, writing and directing and starring in this film.

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I think it's a pretty important story to tell, and

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I'm glad that he's telling it on Pop Culture Weekly.

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Then the one and only David des Maushin stops by

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to talk about his killer new Apple TV Plus series

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Murder Bot. Yes it's sci fi, Yes it's crazy, and

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yes David brings that same unforgettable intensity we've seen in

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Dune and The Suicide Squad and Oppenheimer and my favorite

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film of his, Late Night with the Devil exclusively from Shutter,

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but this time with a sarcastic, emotionally complex robot involved two. Yeah,

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it's crazy, but I love it. So let's dive right in.

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We'll start with the heart and soul behind a brand

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new romantic comedy that's been already turning heads and winning

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hearts from the reviews alone. We've got actor, writer, director

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Max Talisman, who not only stars in the film but

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also wrote and directed it, so definitely a triple threat there.

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And joining him is the incredibly talented Joey Polari, who

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you may know from Love Simon the Away Looking for Alaska. Together,

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they bring a fresh, authentic energy to things like this

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film that explores love, connection and self discovery in a

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way that feels both deeply personal and universally relatable. Really

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really did enjoy this movie, and I wasn't, you know,

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wasn't sure that it was going to be my cup

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of tea, and it is just universal. It's such a

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great film. It's charming, it's funny, it's emotional, and you know,

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most importantly, it's a huge step forward for inclusive storytelling

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in film. So please welcome to Pop Culture Weekly, Max

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Talisman and Joey PILARI thank you Max and Joey for

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joining me. I really appreciate it. Yeah, thank you, Thank

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you so much of course. So first of all, Max,

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how did this, How did things like this come up?

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For you? Writer? Director, producer? Where did this come from?

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It came from the feeling that I wasn't seeing roles

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that I wanted reflected in the landscape, and also stories

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that I felt represented myself as part of what I

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was seeing on screen, and my acting coach, Amelia Campbell,

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had suggested that I just sit down and I write

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and see what comes out. And I know that there's

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a lot of you know, acting coaches, a lot of

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professors who give that advice. And I would also say

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that if that advice is given, give it a shot,

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because you never know what could have happened. But that's

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really where it came from. And it started mostly with

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writing what I know, which is, you know, at the time,

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dating in New York, dating as a plus sized gay man.

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Like that's really where it started, and it just grew

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from there. More and more, you know, parts of the

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story came in, and I grew as a writer. I

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developed it for years with Buzz Kane, my producer, and

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then you know, eight years later, here we.

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Are, Wow and Joey, how did you get involved?

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I got a call out of the blue, like something

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that you just dream of. Yeah, and Max called or

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sent an email, you know, the euphemism of call, and

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I just like got thrown to me. It was in

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the middle of the pandemic. Then the script came and

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I started reading the script, and I hopped on a

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call with Max. I mean, had toscussion about like what

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would actually look like, and once we got on set,

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it was off to the races. We just had an

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absolute blast.

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Max for you. You know, you mentioned this that you

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didn't see exactly you know, what you wanted to see

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representation wise on screen. What are some of the films

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that you know inspired you, although they might not have

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been exactly what you were looking for?

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Absolutely, I think the films that inspired me most are

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you know, straight roum comms of like the nineties, like

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movies like You've Got Mail, Nodding Hell, When Harry Met Sally,

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like sort of the quintessential rom com. And also movies

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from a little bit later when I was in like

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high school, like The Proposal or I just movies like

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that that sort of you know, I, as a queer kid,

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would have to see myself reflected in these straight stories

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and find sort of, you know, how I could relate

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to them. And so, you know, I felt like what

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I wanted to create was a queer romance where street

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people could relate to it, just sort of tell a

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love story that was funny and had a lot of

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heart to it. And that's that's where it came from,

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was this feeling of what I got from those movies.

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And did you find as you were writing it is

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you know, you're obviously being in any I feel as

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an artist that whenever you are creating art, there's a

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real vulnerability a lot of times. Did you feel that

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especially you know, not only are you creating it and

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writing it and producing it and all, but you're in it. Yeah,

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and so you know, so it's it's even I think,

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more exposing yourself. So like, Okay, I'm going to write

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all this and then I have somebody else do it,

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so I can kind of, I don't want to say,

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hide behind that and negative, but when you're writing it

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and then you're also being it, it's even more exposure.

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You know. Did you did you find that?

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I didn't necessarily only because yeah, I ever saw him

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break a sweat once exactly what you're talking about.

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You would think that someone would had that level of

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just fear, but Max's no.

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I was going to say, like, as a as a writer,

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what's sort of comforting is that, like, I think all

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of the characters are elements of me, you know, in

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a way, so they're all sort of like parts of

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you know, my brain, you know, personified. So I'm only

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playing an element of myself, Like I think that, you know,

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obviously to be like, if I'm being frank, the character

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my Zach is probably the closest in the film to myself.

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But that being said, we soill have a lot of differences,

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and so it wasn't It didn't feel as vulnerable, to

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be honest, probably the most vulnerable was the writing of

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it itself, but just on set in general, I just

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felt like, you know, so blessed to get to do

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this and like so just happy to be there. So yeah, no,

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there was no sweat, There was no everything had a solution,

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Everything sort of you know, had somewhere to go. So

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it didn't feel like I was ever under a lot

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of stress. It was always just sort of a great

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situation to be in. And the vulnerability you're speaking of

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was I think really sort of explored in the first

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part of it when I was just writing it. And

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you know, I what's interesting is now that it's being released,

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maybe that will be something, you know, that will start

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I think it's no, it's interesting.

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You should be very afraid.

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Good.

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I'm all good. I'll call my therapist later.

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But we're good. Okay, And Joey, you know to that,

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do you feel a responsibility? You know, I mean Max

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is right there, he's on set, you're you know, you're

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talking to him in your scenes. Did that it ever

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occur to you that, like, I am you know a

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part of I am that I'm reflecting back to any

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I just kind of felt like the only thing.

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That were really vulnerable are these moments where like the

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characters really going through it really is trying to confront

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why they're drawn towards each other away from each other.

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That's the stuff is vulnerable. When you have a cast

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and a crew that's so supportive, eventually you feel all right.

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You know what the scariest part was is that one

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of our most dramatic scenes was shot maybe day two.

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It's day three year us. It was absolutely right, and.

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I remember getting the call she yeah, oh okay. I

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thought I have time to work up to this. But

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it taught me a valuable lesson, which is just you

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always have to dive in. And it really helped. Once

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that scene was over, you just felt like you could

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breathe this big breath of fresh air. So that was

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a real it felt like a curse and it turned

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into a real blessing.

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I was worried about that too. I kept trying to

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fight the schedule to be like, why are we here

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on that you know, but locations independent film, you really

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don't have a say on where you are when. So

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it worked out in the end, I think to me,

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it did sort of force us into the fire, you know,

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dive into the deep end type thing.

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Yes, well, and it came out beautifully. So thanks mission

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accomplished for you, Joey. When you're doing a role like this,

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are you able to or how do you separate or

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not separate yourself into zach yours? Zach.

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I think at any time with this, something like this

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or things like this, you're you're it's so much trying

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to replicate that chemistry and that sparks as relatable as possible.

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So you're not trying to just build this entire character

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or build all these walls to try and construct something.

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You're just trying to relate as much as possible. So

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I'm trying to bring as much of myself as there

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is in trying to find out where those moments are

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that I can relate like any artist, you know, trying

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to find your way in That was the real gift

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of playing a rom com. You know, comedy relies your instinct,

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relies on your instincts. Drama relies on your instincts with

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different degree, but it's it's you've have to be in

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that moment.

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So that was just a pleasure. And did you ever

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pick Max's brain about you know, I think it's almost

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like a blessing and a curse. I would think that

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Max is there as the writer because you can almost

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end director, because you could almost get in well literally

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you can pick his brain about Well, what did you

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mean when you said this for me? You know what

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I mean?

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Yeah, that was a real I was nice, Yeah, I

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was nice. I mean Max is right there. There's no

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and Max doesn't have any sort of ego about Okay

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I'm here and I'm doing this or that. There's not

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this hierarchy where you're trying to talk to someone through something.

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Max is just always available. So having those times where

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you do have a question or not. But I mean, honestly,

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most of the time we just laughed our way through

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this thing.

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We did.

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I would like to, you know, portray some story like

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I was really going back there and trying to figure

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out callus therapists behind his back something like this, but no,

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it was just pleasurable so much.

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But we would also I mean, there were times where

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you know, we would change words on the fly type thing,

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like it's not precious about the writing to be honest,

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Like if if Joey felt like something should sound differently,

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I would be like, let's go with that. Like there's no.

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That's so rare.

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I mean, it was just great collaborative experience, you know,

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that's awesome.

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And and Max, I got to ask you, it's so

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beautifully shot, you know, there are so so many gorgeous shots,

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especially of New York. How did you decide, you know,

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did you have like a list of things that you

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know you wanted to hit shot wise in regards to

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this city.

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Absolutely, yeah, No, I knew that, you know, you have

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limited times sort of you know, being able to showcase

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the city, and I wanted to highlight, you know, what

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makes New York that's sort of the most romantic city,

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not just to me but clearly to a lot of

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filmmakers and people in general. So it was important to

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me to highlight the places that I felt, you know,

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felt the most sort of magical, like in this elevated

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not elevated, but you know, a lifted place of mystical realism,

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like just the next level. And so we did sort

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of have the places you know, we needed to hit

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and what was important to us. And it was also

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important to me that we got a stonewall in there

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for a moment, just to make sure, you know, to

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you know, recognize that we wouldn't even be able to

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make this film if not for what happened there years ago.

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And it was just you know, important to just make

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sure that we were highlighting the parts of the city

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that really you know, allowed us to make the movie

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at the.

252
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In the end.

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But yeah, also, you know, you speak to the shots,

254
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and that's a lot my collaboration with Matt Clegg, the DP,

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and really just my associate director, Michael mctuzek, And we

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just spent you know, days sort of creating a shot

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list and going through it. And I knew that for

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a lot of things, I wouldn't you know, end up

259
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being behind the camera because I was on screen. So

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we had to make sure that everything was really planned

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and you know, looked the way it was supposed to

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when it was time, and that I could quickly look

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at a monitor and be like, yeah, that's a shot

264
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we planned, Let's go for it.

265
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And that actually brings up a great point because you

266
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are wearing so many hats in that did you find

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it difficult at all to uh, to kind of juggle

268
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all these balls or whatever the saying is, Did I

269
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just mess up? That's say.

270
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No, that's all what I was laughing at to me, honest,

271
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it was just fir, I think it is.

272
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Yeah.

273
00:14:33.600 --> 00:14:38.240
No, The truth is that I know I didn't. I think,

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like in the same way that I think every job

275
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you know has its stresses, and it's you know, it's

276
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moments of can I do this, like the imposter syndrome

277
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comes in. But that was all sort of before to

278
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be honest, once you know, we're speaking about being on set,

279
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like I was surrounded by such an amazing crew and

280
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such a just wonderful cast that like, once I was there,

281
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it was just your support for everything I was doing.

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And I never felt like I was out there alone.

283
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And it never felt like it was all on my shoulders.

284
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So even if you know a lot of it was,

285
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it doesn't it didn't matter because I didn't.

286
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Feel that way.

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I felt completely supported, and I always, you know, I feel,

288
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even when I was wearing so many hats, that I

289
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was just part of the crew and part of the cast.

290
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So in the end, I felt more like, you know,

291
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a team leader more than anything else, and so that

292
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really pushed forward sort of you know, the mentality to

293
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be able to go through it, right.

294
00:15:34.840 --> 00:15:39.480
I love that and Joey for for you, you know

295
00:15:40.000 --> 00:15:43.879
during the shoot, what was the funniest, Because it is,

296
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you know, a romantic comedy, what was the funniest for

297
00:15:46.559 --> 00:15:50.279
you as an actor? You know in your shoot, whether

298
00:15:50.360 --> 00:15:51.200
on screen or off.

299
00:15:53.120 --> 00:15:55.600
Oh, I mean there's too many moments to count. We

300
00:15:55.639 --> 00:15:58.399
have such funny people in this movie. I've got a

301
00:15:58.440 --> 00:16:01.600
couple of scenes with Taylor Trent, who plays my ex

302
00:16:01.639 --> 00:16:05.840
boyfriend in the movie. He is so incredibly funny. We

303
00:16:05.919 --> 00:16:08.519
had great just day players who came on. I mean

304
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that's the fun thing, right, Like you just meet this person,

305
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you jump right into a scene and you finally have

306
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all this wonderful talent or this wonderful Yeah.

307
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So that's that's to me the most.

308
00:16:18.480 --> 00:16:20.720
Yeah, No, I mean I think you know, it's it's

309
00:16:20.879 --> 00:16:23.919
it's every day felt really fun. We felt like we

310
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had did have a lot of day players come in.

311
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We had a lot of like people who were these

312
00:16:28.120 --> 00:16:31.240
incredible comedians come in for really like hours and we

313
00:16:31.279 --> 00:16:33.039
would get to play around with them and then they

314
00:16:33.080 --> 00:16:36.039
would leave, and so it was really special. But I

315
00:16:36.080 --> 00:16:39.200
will say that watching you and Taylor was a special joy.

316
00:16:39.320 --> 00:16:41.480
Like they are, they were able to sort of, you know,

317
00:16:41.639 --> 00:16:45.840
improv and create these really hilarious bits. And we have

318
00:16:45.919 --> 00:16:48.000
a lot of tailor in the bloopers because it was

319
00:16:48.120 --> 00:16:48.799
just sort of like.

320
00:16:48.759 --> 00:16:52.600
It's in Gold, it's a tailor and they're not really

321
00:16:53.159 --> 00:16:55.000
or just outtakes outtakes of.

322
00:16:55.320 --> 00:16:58.720
Him playing the character. Yeah, I would love for him

323
00:16:58.759 --> 00:17:01.639
to play some like you know, crazy Jim carry us

324
00:17:01.759 --> 00:17:03.799
characters so you can have like a liar liar blooper

325
00:17:03.840 --> 00:17:06.880
real of him because he's just crazy talent aster. Yeah,

326
00:17:06.920 --> 00:17:09.039
that'd be sick fire Liar the musical.

327
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I love that. And finally, what do you hope for

328
00:17:13.640 --> 00:17:16.319
people to get from things like this? Both of you?

329
00:17:18.799 --> 00:17:19.440
I hope that.

330
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People get that the you know, the message of this

331
00:17:22.000 --> 00:17:24.480
film is that love is universal, and the fears that

332
00:17:24.519 --> 00:17:26.960
we have, the anxieties that we have about falling in love,

333
00:17:27.720 --> 00:17:31.279
everyone goes through those. I hope that the message that

334
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we you know, all want to be loved and we

335
00:17:34.200 --> 00:17:38.160
all feel the you know, the need to connect with

336
00:17:38.279 --> 00:17:40.759
other people. I think those are the main things that

337
00:17:40.799 --> 00:17:42.759
I'm hoping, and I also hope people just have a

338
00:17:42.759 --> 00:17:45.599
good time. I hope they laugh. I hope they you know,

339
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leave wanting to hear more of my jokes please, So

340
00:17:50.160 --> 00:17:51.680
those that would be what I.

341
00:17:51.599 --> 00:17:55.400
Say, Yeah, I love that and I have the same feeling.

342
00:17:55.559 --> 00:17:58.440
I mean, we have a great message here about that

343
00:17:58.599 --> 00:18:01.559
universal love and that everyone's creences the same things when

344
00:18:01.559 --> 00:18:04.480
they go and try and fall in love. But it's

345
00:18:04.559 --> 00:18:06.160
just a gas of a movie. It's fun to seeing

346
00:18:06.160 --> 00:18:09.880
a big theater. It resonates, baby music's loud. It's a

347
00:18:09.920 --> 00:18:12.880
gas from start to finish.

348
00:18:11.920 --> 00:18:14.359
And it's a joy to watch. Thank you both so

349
00:18:14.599 --> 00:18:18.000
much a pursuing with me things like this. Thank you

350
00:18:18.279 --> 00:18:23.599
any great day? Yeah? Thanks you take care, Max Tellisman,

351
00:18:23.680 --> 00:18:27.759
enjoy PILARI great, guys. It's a great film. Things like

352
00:18:27.799 --> 00:18:31.920
this really is, you know, an enjoyable universal film that

353
00:18:31.960 --> 00:18:35.680
I think is important for you know, people that aren't

354
00:18:35.720 --> 00:18:41.440
necessarily always represented in film authentically. So we're gonna take

355
00:18:41.440 --> 00:18:45.720
a quick break and to pay the bills. When we

356
00:18:45.799 --> 00:18:49.480
come back, we're talking with David das Mauchin be back

357
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in sixty all right. Thanks for hanging with me and

358
00:18:57.240 --> 00:19:00.160
supporting our sponsors that help support this show so I

359
00:19:00.160 --> 00:19:04.440
can bring great stuff to you. So all right, let's

360
00:19:04.440 --> 00:19:06.920
get right into it. You know, our next guest from

361
00:19:07.079 --> 00:19:10.200
some of the most unforgettable roles in recent film and

362
00:19:10.319 --> 00:19:16.880
TV The Dark Night, ant Man, Suicide Squad, Dune, Oppenheimer,

363
00:19:17.000 --> 00:19:20.640
and my favorite Late Night with the Devil. Is the

364
00:19:20.759 --> 00:19:24.079
kind of actor who disappears into every role that he

365
00:19:24.119 --> 00:19:27.759
does and he leaves a lasting impression every single time.

366
00:19:28.519 --> 00:19:31.119
Now he's stepping into the world of sci fi once again,

367
00:19:31.440 --> 00:19:36.680
this time as a scientist in this crazy world of

368
00:19:36.799 --> 00:19:40.039
murder Bot, which is a new Apple TV Plus series

369
00:19:40.079 --> 00:19:43.359
that's based on the beloved books by Martha Wells. It's

370
00:19:43.440 --> 00:19:47.640
action packed, it's smart, it's darkly funny, and full of heart,

371
00:19:47.839 --> 00:19:51.079
just like David himself. So let's get ready to dive

372
00:19:51.119 --> 00:19:55.960
into rogue robots, existential questions, and some pretty cool storytelling.

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Please welcome to Pop Culture Weekly, the incredibly talented, always

374
00:19:59.720 --> 00:20:06.559
fastating David. That's Mouchin. Thank you so much for speaking

375
00:20:06.559 --> 00:20:10.400
with me, David, I appreciate it's how you doing. I'm great, man,

376
00:20:10.440 --> 00:20:14.160
How are you I'm doing well? Thank you. Congratulations on

377
00:20:14.599 --> 00:20:17.400
murder Bot and this will lead into that. But you

378
00:20:17.440 --> 00:20:21.599
have been in so many of my favorite projects, from

379
00:20:22.279 --> 00:20:26.480
Weird to you know, uh, Late Night with the Devil

380
00:20:26.559 --> 00:20:29.559
is one of my all time favorite things ever. I

381
00:20:29.599 --> 00:20:32.039
love it so awesome.

382
00:20:32.000 --> 00:20:34.119
So much, thank you, of course.

383
00:20:35.039 --> 00:20:37.680
And then Twin Peaks, I mean, so many of your

384
00:20:37.720 --> 00:20:42.720
projects have been some of my absolute favorites. Last Voyage,

385
00:20:42.759 --> 00:20:44.839
I mean, anyway, I could go on about your entire career,

386
00:20:44.880 --> 00:20:48.559
but is this and then now murder Bot is so cool.

387
00:20:48.960 --> 00:20:51.079
You have obviously the best agent in the world. That's

388
00:20:51.400 --> 00:20:55.759
but like, how are you drawn to these kinds of projects?

389
00:20:55.839 --> 00:20:57.880
Like is that a conscious choice that you know?

390
00:20:59.519 --> 00:21:03.559
Is there's some that's conscious than conscious. I'm energetically drawn

391
00:21:03.680 --> 00:21:07.799
to the material, and maybe the material energetically magnetizes me.

392
00:21:08.000 --> 00:21:11.079
But since I was a little boy in Kansas sneaking

393
00:21:11.119 --> 00:21:14.880
downstairs to watch the you know, Cremation Moortem Friday Fright Night,

394
00:21:14.920 --> 00:21:17.200
and I would watch all the classic old horror movies,

395
00:21:17.240 --> 00:21:20.160
and then I, you know, became completely engrossed in the

396
00:21:20.200 --> 00:21:22.680
world of comic books. And I've been collecting comic books

397
00:21:22.680 --> 00:21:25.640
since I was nine years old. I love science fiction.

398
00:21:26.920 --> 00:21:30.480
So all of that being a fan myself and having

399
00:21:30.519 --> 00:21:34.000
been someone that's found so much joy in those spaces

400
00:21:34.599 --> 00:21:38.759
now as a professional actor, storyteller, perhaps there is some

401
00:21:38.880 --> 00:21:42.599
kind of invisible thread that is drawing me towards all

402
00:21:42.640 --> 00:21:44.759
of this, but honestly, I give it up. You know,

403
00:21:44.839 --> 00:21:47.799
it's God, It's a miracle. It's incredible. I I'm someone

404
00:21:47.839 --> 00:21:51.319
who's shouldn't even be sitting here today, but thanks to

405
00:21:51.759 --> 00:21:55.920
you know, the miracle of like mental health, mental wellness recovery.

406
00:21:56.079 --> 00:21:58.599
I'm going to be celebrating twenty three years clean and

407
00:21:58.640 --> 00:22:02.480
sober in May and the back congratulations, I thank you.

408
00:22:02.559 --> 00:22:07.119
I get to tell stories for a living, especially in

409
00:22:07.160 --> 00:22:12.000
the genre space, and how that's all taken shape is

410
00:22:12.599 --> 00:22:16.279
in many regards just beyond my ability to comprehend. Sometimes

411
00:22:16.279 --> 00:22:18.799
I show up to work and I look around myself

412
00:22:18.799 --> 00:22:21.799
and I go, how is this even real? A friend

413
00:22:21.799 --> 00:22:24.759
of mine once said to me, you know, you're living

414
00:22:24.799 --> 00:22:27.039
in nerdvana.

415
00:22:26.519 --> 00:22:31.480
And I completely agree. A state of nerdvana. That's a

416
00:22:31.480 --> 00:22:34.000
perfect way to put it, because you know, as your career,

417
00:22:34.039 --> 00:22:37.640
I've obviously myself been a lifelong pop culture fan, and

418
00:22:38.000 --> 00:22:40.160
you know, two thousand and eight or whatever, you know,

419
00:22:40.319 --> 00:22:44.039
as your career really started picking up in film and TV,

420
00:22:44.119 --> 00:22:47.960
and I'm like, okay, David and then it's the next

421
00:22:47.960 --> 00:22:49.640
cool project that I'm looking for, and I'm like, oh,

422
00:22:49.640 --> 00:22:51.519
he's in this too, And then the next cool project

423
00:22:51.559 --> 00:22:54.359
that I'm excited about, I'm like, Wow, he's like He's

424
00:22:54.400 --> 00:22:56.319
like in all these cool things, you know that I'm

425
00:22:56.400 --> 00:22:59.440
drawn to as a as a genre nerd.

426
00:22:59.599 --> 00:23:01.799
You know, I'm so lucky. And one of the things

427
00:23:01.799 --> 00:23:04.039
I'm so grateful for is my history and my background

428
00:23:04.039 --> 00:23:06.559
in the stage and working in the theater, and this

429
00:23:07.359 --> 00:23:11.440
deep love of text and bringing characters to life. Because

430
00:23:11.480 --> 00:23:14.960
whether I'm you know, trying to manifest you know, Frank

431
00:23:15.039 --> 00:23:19.839
Herbert's pytrate degrees in Denny Villaneu's Dune film adaptation, or

432
00:23:19.880 --> 00:23:22.640
bringing James Gunn's Polka Dot Man to life in The

433
00:23:22.680 --> 00:23:25.880
Suicide Squad, or portraying Goarath and a character from the

434
00:23:25.880 --> 00:23:28.119
mind of Martha wells Now in this show from Paul

435
00:23:28.160 --> 00:23:33.200
and Chris Whites, I will approach these opportunities the same

436
00:23:33.240 --> 00:23:36.640
way that I would if I was getting to manifest

437
00:23:36.720 --> 00:23:39.599
Iago in Othello, if I was getting to play Tom

438
00:23:39.599 --> 00:23:42.079
Wingfield in The Glass Menagerie. I don't think there's any

439
00:23:42.079 --> 00:23:47.000
difference in the approach no matter the genre, and I

440
00:23:47.079 --> 00:23:50.319
take it just as seriously. I mean, it's incredibly silly

441
00:23:50.759 --> 00:23:52.440
when you look at it from the outside and here

442
00:23:52.480 --> 00:23:55.720
I am battling giant spaceworms and I'm shooting polka dots

443
00:23:55.720 --> 00:23:58.319
out of my fingers, and to many people you could go, wow,

444
00:23:58.359 --> 00:23:59.200
that's ridiculous.

445
00:23:59.400 --> 00:24:03.519
Sure it is. But I love it and we love

446
00:24:03.599 --> 00:24:06.920
watching it. And you know, for something like murder Bot,

447
00:24:07.160 --> 00:24:11.079
as you are, you know, getting this script, you know,

448
00:24:11.119 --> 00:24:13.480
and looking at reading it over and stuff, do you

449
00:24:13.559 --> 00:24:16.599
kind of nerd out too, like as I do watching it.

450
00:24:17.079 --> 00:24:17.400
I do.

451
00:24:17.799 --> 00:24:21.880
As soon as I was given the opportunity to get

452
00:24:21.880 --> 00:24:24.559
to be grath and in murder Bot, and I started

453
00:24:25.119 --> 00:24:27.759
really getting into and diving into the scripts and the

454
00:24:27.799 --> 00:24:29.599
stories and the characters in the worlds that we were

455
00:24:29.599 --> 00:24:33.200
going to be bringing to life, I get twelve again.

456
00:24:34.000 --> 00:24:36.920
I get that feeling, that tingly feeling that I get

457
00:24:37.079 --> 00:24:39.039
the same feeling I get when I'm because I write

458
00:24:39.039 --> 00:24:41.480
a lot of comic books. I'm writing for many years

459
00:24:41.519 --> 00:24:43.920
a series called Count Crowley for dark Horse. I've write,

460
00:24:44.039 --> 00:24:47.319
I've been, I created and write Nights Versus Samurai Image.

461
00:24:47.319 --> 00:24:49.599
I just did a run of Creature Commandos at d C.

462
00:24:50.480 --> 00:24:53.799
I've got a new Venom story in Marvel and many

463
00:24:53.799 --> 00:24:57.759
more to come. Whenever I get you know, an email

464
00:24:57.799 --> 00:25:01.119
with layouts or you know, inks or pen from my artist,

465
00:25:01.960 --> 00:25:03.920
I jump up in my seat. And when I get

466
00:25:03.920 --> 00:25:06.119
a script with a character like Giratham that I get

467
00:25:06.160 --> 00:25:07.839
to play, jump up out of my seat and I

468
00:25:08.000 --> 00:25:11.279
just I feel twelve, man. When I'm on set and playing,

469
00:25:11.319 --> 00:25:13.480
I feel twelve. And that's a beautiful way to feel.

470
00:25:13.519 --> 00:25:16.079
Not the twelve that was terrified or insecure, or afraid

471
00:25:16.160 --> 00:25:19.200
or self loathing. The twelve that would walk into Clint's

472
00:25:19.200 --> 00:25:22.039
Comics in Kansas City and you know, open the latest

473
00:25:22.039 --> 00:25:25.279
issue of you know, Detective Comics or West Coast Avengers

474
00:25:25.359 --> 00:25:26.920
or X Men or whatever I was reading at the

475
00:25:26.920 --> 00:25:31.240
time and get so nerdily excited and transported to another world.

476
00:25:31.440 --> 00:25:32.200
I live for it.

477
00:25:32.200 --> 00:25:33.640
It's it's a dream.

478
00:25:34.119 --> 00:25:37.000
It's it's awesome to watch. And then you know, and

479
00:25:37.079 --> 00:25:39.720
like you said, then you go on set and you

480
00:25:39.759 --> 00:25:42.559
are literally in the murder about Diaries, you know what

481
00:25:42.559 --> 00:25:42.880
I mean?

482
00:25:43.160 --> 00:25:46.599
Yes, yes, And that world that Martha imagined is so

483
00:25:47.680 --> 00:25:51.359
you know, full, and it's so powerful. So I'm excited

484
00:25:51.359 --> 00:25:54.519
for audiences to get to see this world because it's

485
00:25:54.559 --> 00:25:57.440
like Yeah, it's science fiction. Yeah, it's comedy. Yeah, it's

486
00:25:57.480 --> 00:25:59.400
all these things that you think, you know, what that's

487
00:25:59.400 --> 00:26:02.119
supposed to look, can move and feel like. And I

488
00:26:02.160 --> 00:26:04.359
feel so blessed and grateful that here on this show

489
00:26:04.359 --> 00:26:07.400
and Apple's support it and give us an opportunity to

490
00:26:07.480 --> 00:26:10.960
create something that I genuinely feel like is so outside

491
00:26:11.000 --> 00:26:14.680
of the box of what people are used to and

492
00:26:14.720 --> 00:26:18.359
it's gonna be utterly surprising in my humble.

493
00:26:18.079 --> 00:26:20.440
Opinion, I hope for people who tune in.

494
00:26:20.640 --> 00:26:22.880
I don't know if you've gotten to watch episodes yet,

495
00:26:23.160 --> 00:26:25.599
but to me, I've been given a chance now to

496
00:26:25.640 --> 00:26:29.799
sit down with them, and I'm so proud and I

497
00:26:29.799 --> 00:26:33.200
feel like this, this this experience pushed me in the

498
00:26:33.240 --> 00:26:36.680
best way possible and made me a much better actor

499
00:26:36.720 --> 00:26:38.000
than I've ever gotten to be before.

500
00:26:38.039 --> 00:26:41.400
And I'm really grateful for it. Yeah, and I'm grateful

501
00:26:41.440 --> 00:26:43.440
to watch it. I can't wait for everybody to see it.

502
00:26:43.440 --> 00:26:47.079
And I love that you can continue to elevate. You know,

503
00:26:47.160 --> 00:26:51.160
I say our genre as this collective, that's what is.

504
00:26:51.160 --> 00:26:54.759
Special about it, though man it is ours, it is not,

505
00:26:55.039 --> 00:26:58.200
it's the it's the least exclusionary of the storytelling. Sometimes

506
00:26:58.319 --> 00:27:01.200
things can feel inaccessible, even they shouldn't. You want to

507
00:27:01.200 --> 00:27:02.839
see Shakespeare, you want to go to the opera, you

508
00:27:02.839 --> 00:27:05.480
want to see you know, a hardcore drama syntomes, those

509
00:27:05.559 --> 00:27:09.759
can feel exclusionary even and with genre work and the

510
00:27:09.799 --> 00:27:13.279
science fiction in the nerd space, everyone is welcome. All

511
00:27:13.319 --> 00:27:15.799
of us belong and it is ours. It's ours to

512
00:27:15.880 --> 00:27:18.720
share and celebrate. And that's why a story like this

513
00:27:18.839 --> 00:27:21.440
is so important too, because look at the characters. There's

514
00:27:21.480 --> 00:27:26.119
so many weirdos and people outside of norms, and we're

515
00:27:26.160 --> 00:27:28.279
living in a time that can be dangerous for people

516
00:27:28.319 --> 00:27:30.759
who live outside of the norms, who aren't fitting into

517
00:27:30.759 --> 00:27:32.920
the binary structure, the way that people are told they're

518
00:27:32.920 --> 00:27:37.359
supposed to look, present themselves, behave. We're all safe, we

519
00:27:37.440 --> 00:27:39.920
all belong. So thank you for saying our it is

520
00:27:40.039 --> 00:27:43.160
our genre, and I'm just grateful and honored that I

521
00:27:43.200 --> 00:27:45.480
get the chance to come in and sometimes, you know,

522
00:27:45.559 --> 00:27:46.400
contribute to it.

523
00:27:46.920 --> 00:27:49.359
Thank you, David. I can't wait for everybody to see

524
00:27:50.119 --> 00:27:52.880
murder Bot. It's a pleasure to talk to you. Thank you,

525
00:27:52.920 --> 00:27:55.240
Thanks man, Thank you so much. Have a good.

526
00:27:55.200 --> 00:28:02.720
Day, David dest moushit in love him, Love murder Bot,

527
00:28:02.960 --> 00:28:05.200
Love Late Night with The Devil, one of my favorite

528
00:28:05.200 --> 00:28:08.599
movies ever, Love the Dark, Night, Love ant Man, Love Oppenheimer.

529
00:28:08.920 --> 00:28:12.759
He's just such a great actor. He you know, I

530
00:28:12.759 --> 00:28:15.720
would really say he's like a character actor. He really

531
00:28:15.880 --> 00:28:18.839
just brings a whole thing to everything he does, you know,

532
00:28:18.920 --> 00:28:22.480
and that's why I find him so enjoyable. So all right,

533
00:28:22.559 --> 00:28:26.079
that's our show for this episode. The next episode is

534
00:28:26.119 --> 00:28:30.359
our annual National Memorial Day Concert Special. I'll be live

535
00:28:30.559 --> 00:28:32.599
in Washington, d C. At the West Lawn of the

536
00:28:32.680 --> 00:28:37.359
US Capitol, talking with the performers, including Gary Sonise and

537
00:28:37.559 --> 00:28:41.759
the gospel legend Yolanda Adams, all about you know, celebrating

538
00:28:41.799 --> 00:28:46.400
and remembering what Memorial Day is all about. National Memorial

539
00:28:46.480 --> 00:28:51.440
Day Concert will air live on PBS on Sunday, May

540
00:28:51.519 --> 00:28:54.640
twenty fifth at eight pm Eastern, with an encore following

541
00:28:54.640 --> 00:28:58.279
at nine thirty pm Eastern. So all right, I will

542
00:28:58.279 --> 00:29:00.519
see you next time. I love you well.

543
00:29:00.839 --> 00:29:03.920
Thank you for listening to pop Culture Weekly. Here all

544
00:29:03.960 --> 00:29:11.759
the latest at Popcultureweekly dot com.

545
00:29:12.000 --> 00:29:17.359
Murder Bout Murder Bot, I Love to murder, murder about,

546
00:29:17.519 --> 00:29:19.960
murder bout, I Love the Kill
David Dastmalchian
Max Talisman
Joey Pollari