Ed O'Neill & Jacki Weaver (Clipped); Margaret Cho & Jesse Tyler Ferguson (All That We Love)

WEBVTT

1
00:00:00.440 --> 00:00:03.319
In this episode of pop Culture Weekly, It's all about the brand new limited

2
00:00:03.359 --> 00:00:07.480
series on FX Clipped with ed Onnail, Jackie Weaver, Clea, Patrick Coleman,

3
00:00:07.639 --> 00:00:11.800
and the brand new film All That
We Love featuring Margaret Show and Jesse

4
00:00:11.880 --> 00:00:14.160
Tyler. Ferguson. Can't wait to
talk to all of them. Let's go.

5
00:00:15.800 --> 00:00:20.640
Welcome to pop Culture Weekly with Kyle
McMahon from my Heart Radio, your

6
00:00:20.719 --> 00:00:26.239
pop culture news, views, reviews
and celebrity interviews on Fall, the movies,

7
00:00:26.320 --> 00:00:31.239
TV, music, and pomp Culture
u Crabe Weekly. Here's Kyle McMahon,

8
00:00:32.439 --> 00:00:36.880
Na Nat, Hello, Welcome to
pop Culture Weekly with Kyle McMahon.

9
00:00:36.880 --> 00:00:41.280
I of course am Kyle McMahon,
and I am so glad that you are

10
00:00:41.479 --> 00:00:46.119
here to hang out with me for
another episode of pop Culture Weekly. I

11
00:00:46.159 --> 00:00:51.479
do not have this show without you. You make this show happen every single

12
00:00:51.520 --> 00:00:54.520
week. You make it grow every
single week, and I love you for

13
00:00:54.600 --> 00:00:58.679
it. I love talking to you
on social media and email and all the

14
00:00:58.679 --> 00:01:02.079
other places you reach out to me
and talking you know, pop culture and

15
00:01:02.159 --> 00:01:06.599
movies and music and TV and streaming
and technology and everything else. You are

16
00:01:06.760 --> 00:01:12.239
awesome. Thank you. So today's
episode, I'm really excited because there's two

17
00:01:12.280 --> 00:01:18.400
sets of interviews that we're doing.
One is on the brand new limited series

18
00:01:18.480 --> 00:01:22.959
on Effects called Clipped, and I
talked with the cast and crew, including

19
00:01:23.120 --> 00:01:26.519
Ed O'Neill, who doesn't love Al
Bundy, and of course Modern Family and

20
00:01:26.560 --> 00:01:30.640
everything else, Jackie Weaver, Cleopatra
Coleman. I talk with the behind the

21
00:01:30.680 --> 00:01:38.640
scenes creatives Gina Welch, Rembert Brown
and Kevin Bray all about the series and

22
00:01:38.079 --> 00:01:42.840
why now is the time to tell
the story of Donald Sterling and the Clippers.

23
00:01:42.959 --> 00:01:49.280
Then in the second half, there's
a brand new film debuting at Tribeca

24
00:01:49.319 --> 00:01:53.560
that is incredible. It's called All
That We Love and it stars Margaret Show

25
00:01:53.799 --> 00:02:01.480
and Modern Families Jesse Tyler Ferguson.
It is funny, is profound. It

26
00:02:01.560 --> 00:02:07.319
deals with loss and love and relationships
and the ripples that happen when we lose

27
00:02:07.520 --> 00:02:14.159
someone or something that we love,
in this case a dog. So lots

28
00:02:14.280 --> 00:02:19.039
of great, great stuff this episode. Let's get right into it. We'll

29
00:02:19.039 --> 00:02:25.560
start with Clipped on FX. So
Clipped takes you behind the scenes of the

30
00:02:27.159 --> 00:02:31.759
notorious Donald Sterling, who was an
NBA owner that owned the Clippers, and

31
00:02:32.120 --> 00:02:38.560
the racist remarks that were captured on
tape and ended up being heard around the

32
00:02:38.560 --> 00:02:45.039
world. It's based on the hit
podcast ESPN thirty for thirty The Sterling Affairs.

33
00:02:45.280 --> 00:02:52.560
So this series charts the collision between
the dysfunctional basketball organization and an even

34
00:02:52.800 --> 00:02:59.199
less functional marriage and the tape's impact
on a whole host of characters striving to

35
00:02:59.240 --> 00:03:04.199
win again against the backdrop of the
most cursed team in the league. So

36
00:03:04.719 --> 00:03:07.439
Doc Rivers, who is a famous
coach of the Clippers, is played by

37
00:03:07.479 --> 00:03:14.039
Lawrence Fishburn, and he's very hopeful
to win the franchise's first championship. Of

38
00:03:14.080 --> 00:03:16.680
course, the team's owner, Donald
Sterling, who was played by Ed O'Neil,

39
00:03:16.840 --> 00:03:21.120
is a well known problem because he's
cheap, a bully, and he's

40
00:03:21.360 --> 00:03:27.680
erratic. Then there is the Stiviano
played by Cleopatri Coleman, who's amazing,

41
00:03:27.960 --> 00:03:30.800
and his wife and business partner of
sixty years, Shelley, who's played by

42
00:03:30.879 --> 00:03:37.080
Jackie Weaver, love her. So
it is really you know, the original

43
00:03:37.319 --> 00:03:42.719
podcast ESPN thirty for thirty Sterling Affairs
is amazing. It's based on that.

44
00:03:43.319 --> 00:03:46.439
The acting in this is awesome.
You know, we all know how it

45
00:03:46.639 --> 00:03:50.400
ends, but I didn't know a
lot of the intricacies of the story,

46
00:03:51.000 --> 00:03:54.919
so we're going to jump right into
it. First up, we're talking to

47
00:03:55.680 --> 00:04:02.240
executive producer and creator and show runner
Gina Welch, along with director Kevin Bray

48
00:04:02.560 --> 00:04:08.719
and writer Rembert Brown. So let's
jump right into that conversation. Here they

49
00:04:08.759 --> 00:04:13.520
are, Gina Welch, remember Brown, and Kevin Bray. So, first

50
00:04:13.560 --> 00:04:15.560
of all, I love clip.
It is really great. You know,

51
00:04:15.639 --> 00:04:20.160
it's it's it's all of the things, and I can't wait for everybody to

52
00:04:20.199 --> 00:04:24.759
see it. I have to know, you know, obviously this was a

53
00:04:24.759 --> 00:04:30.279
big story when it happened. What
drew all of you to telling this tale

54
00:04:30.480 --> 00:04:32.240
for the screen? Kevin, I
don't know if you wanted to start,

55
00:04:32.439 --> 00:04:39.600
Okay, sure, the the story
was intriguing to me. The story was

56
00:04:40.360 --> 00:04:46.639
very important to me as a transplant
from New York to Los Angeles. These

57
00:04:46.680 --> 00:04:49.920
things kind of enraged me, as
they should. But when I really started

58
00:04:49.920 --> 00:04:56.920
circling it in present in present time
and it was presented to me the writing,

59
00:04:57.000 --> 00:05:00.680
what Gina wrote and her approach to
it was fantastic and I couldn't say

60
00:05:00.720 --> 00:05:06.399
no. And then ultimately finding connective
tissue in my own personal life, the

61
00:05:06.600 --> 00:05:11.959
character of Doc reminded me of men
and my family, you know, my

62
00:05:12.040 --> 00:05:15.639
father being involved in civil rights movement
in the sixties, and then my grandfather

63
00:05:15.759 --> 00:05:19.240
being involved in being from born in
Chicago, moving to Detroit and working with

64
00:05:19.360 --> 00:05:25.639
Ralph Bunch and a lot of civil
rights activists from the NAACP. So there

65
00:05:25.720 --> 00:05:30.879
was something about Doc's circumstances reminded me
of a lot of the men in my

66
00:05:30.920 --> 00:05:34.040
family and friends and friends of my
father, black men of the twentieth century

67
00:05:34.079 --> 00:05:39.399
who were trying to move up and
who were always bristling against this kind of

68
00:05:39.439 --> 00:05:48.680
embedded, imbedded bigotry and racism in
the country. Yeah, for me,

69
00:05:48.879 --> 00:05:56.920
I mean, I love a crazy
la story about ambitious people who are ultimately

70
00:05:56.920 --> 00:06:00.560
doomed. And then it was also, I thought, a really great way

71
00:06:00.839 --> 00:06:05.560
of looking at, you know,
the cost of living and working and trying

72
00:06:05.560 --> 00:06:11.399
to be generous to one another under
the ownership of you know, a toxic

73
00:06:11.680 --> 00:06:18.720
racist and competent buffoon. I got
an email from Gina and it was like

74
00:06:18.759 --> 00:06:23.920
one of the best emails I've ever
gotten. But yeah, I'm you know,

75
00:06:24.040 --> 00:06:30.839
I covered I wrote about Sterling in
twenty fourteen as a journalist, and

76
00:06:30.920 --> 00:06:35.399
so it was you know, not
just live through it, but had dedicated

77
00:06:35.439 --> 00:06:41.680
a lot of mental space about what
this whole thing meant for the country,

78
00:06:41.720 --> 00:06:45.720
for individuals, for the players,
for fans, you know, all of

79
00:06:45.759 --> 00:06:49.199
that. So, you know,
this is my first TV show worked on,

80
00:06:49.680 --> 00:06:53.519
you know, from beginning to end, and so like, I can't

81
00:06:53.560 --> 00:06:59.480
think of a better subject matter and
group of people to be able to do

82
00:06:59.519 --> 00:07:04.519
this with because there was a level
of like, you know, really wanting

83
00:07:04.600 --> 00:07:10.000
to get this right in terms of
like taking people back to twenty fourteen.

84
00:07:10.160 --> 00:07:16.120
And it was a very online time
of my life, and so I felt

85
00:07:16.279 --> 00:07:21.600
very I felt very capable to you
know, raise my hand and make sure

86
00:07:21.639 --> 00:07:27.319
that like the things that we were
doing fell you know right for the time,

87
00:07:27.360 --> 00:07:31.560
both the basketball ness of it and
the kind of internet super onlineness of

88
00:07:31.639 --> 00:07:35.480
it all. Yeah, I love
you know, your take on that.

89
00:07:35.680 --> 00:07:40.439
And for me, you know same, I was very online time of my

90
00:07:40.560 --> 00:07:43.160
life. I was not you know, I've never been a big sports fan.

91
00:07:43.199 --> 00:07:45.920
I've been a big movie buff and
I played soccer and stuff. But

92
00:07:46.360 --> 00:07:49.639
when that story broke, I was
glued you know online because I'm like,

93
00:07:49.759 --> 00:07:58.000
what how you know, and and
it kind of shocked me into you know,

94
00:07:58.319 --> 00:08:01.519
paying attention and how could this?
You know, how is this happening?

95
00:08:01.560 --> 00:08:07.360
And and I was I was glued, and so you know, I

96
00:08:07.360 --> 00:08:13.800
think unfortunately sometimes things like this,
Uh, it takes something like this for

97
00:08:13.439 --> 00:08:20.079
people in certain circles to pay attention, you know, and and see wow,

98
00:08:20.319 --> 00:08:24.920
like you know, even in what
you would I would consider, you

99
00:08:24.959 --> 00:08:28.399
know, this upper echelon of society
with you know, NBA players and owners

100
00:08:28.439 --> 00:08:35.960
and all that, there's this systemic
almost problems that still have not gone away.

101
00:08:35.480 --> 00:08:37.960
Do you as you're working on the
project? This is for all of

102
00:08:37.960 --> 00:08:43.919
you as well. I hate to
say it as bluntly as Donald is a

103
00:08:43.000 --> 00:08:48.840
villain, but are you able to
humanize somebody like that as you're working on

104
00:08:48.879 --> 00:08:54.919
a project like this? I mean, I think in the writing and and

105
00:08:54.919 --> 00:09:01.720
and in the performance, you're you
always have to render the point of view

106
00:09:01.960 --> 00:09:07.039
of any character with sort of respect
for the character's humanity. And so I

107
00:09:07.039 --> 00:09:11.039
think when we were writing Donald,
you know, we had a lot of

108
00:09:11.759 --> 00:09:15.120
documents to or build his point of
view on, obviously, but then you

109
00:09:15.200 --> 00:09:18.559
have to write him as somebody who
he believes he's doing good in the world,

110
00:09:18.759 --> 00:09:24.720
you know, And he's not anyone
who's who's used to being told no.

111
00:09:24.600 --> 00:09:28.840
And so you know, and I
think to the extent that we're attaching

112
00:09:31.000 --> 00:09:33.559
ourselves to his humanity, it's through
his insecurity. I think he's very insecure

113
00:09:33.639 --> 00:09:39.519
man, and and and certainly I
think Ed plays him with abundant humanity.

114
00:09:39.600 --> 00:09:46.399
Yeah, absolutely, yeah, yeah, I think you find I think about

115
00:09:46.440 --> 00:09:50.639
even in the scene where he comes
into for the Barbara Walters interview. Uh,

116
00:09:50.279 --> 00:09:54.799
there's a there's a there's sympathy built
in in the worst behavior. You

117
00:09:54.840 --> 00:09:58.559
could look at it from a perspective
where where you have some sympathy for him.

118
00:09:58.679 --> 00:10:03.039
Yes, thank you all. I
really appreciate it. I can't wait

119
00:10:03.120 --> 00:10:07.559
for everybody to see Clipped on FX. Thank you so much. Thank you.

120
00:10:07.559 --> 00:10:11.279
You know well, Itch Remember Brown
and Kevin Bray love to hear the

121
00:10:11.519 --> 00:10:16.639
behind the scenes stories of why you
know, art exists, and in this

122
00:10:16.679 --> 00:10:22.279
case, it's very interesting to hear
how Clipped came to be. So all

123
00:10:22.399 --> 00:10:28.320
right, Next up, we've got
the three Stars. Cleopatra Coleman is amazing

124
00:10:28.559 --> 00:10:33.799
as the She of course, is
Devorah blood Axe in Rebel Moon Part one,

125
00:10:33.879 --> 00:10:37.960
A Child of Fire and Rebel Moon
Part two, the Scargiver, and

126
00:10:39.000 --> 00:10:45.519
she's incredible as the Jackie Weaver.
I love Jackie Weaver. She is a

127
00:10:46.000 --> 00:10:50.639
iconic actress that has been working since
the sixties on the screen, the silver

128
00:10:50.720 --> 00:10:54.399
screen and the stage. Of course, she's been in silver Lining's Playbook,

129
00:10:54.559 --> 00:10:58.279
Father Stu, Picnic It, Hanging
Rock and more. But my favorite roles

130
00:10:58.279 --> 00:11:03.279
of hers are the horror movies like
Haunt, Bird Box, and The Grudge.

131
00:11:03.519 --> 00:11:09.240
So excited to talk with her and
Ed O'Neil, who has numerous iconic

132
00:11:09.480 --> 00:11:16.480
roles. Of course, Al Bundy
married with children Jay Pritchett in Modern Family,

133
00:11:16.679 --> 00:11:20.399
where he won four Screen Actors Guild
Awards and was nominated for three Primetime

134
00:11:20.480 --> 00:11:26.679
Emmy Awards. So let's jump right
in to my interview with the Clipped cast.

135
00:11:26.080 --> 00:11:31.440
Here's Cleopatra Coleman, Jackie Weaver,
and Ed O'Neil. All right,

136
00:11:31.519 --> 00:11:35.919
kle So Clipped is, first of
all, absolutely amazing. I can't wait

137
00:11:35.960 --> 00:11:39.600
for everybody to see it. I
have to ask all three of you,

138
00:11:39.559 --> 00:11:43.399
is it do you find it as
actors? Is it difficult when you're playing

139
00:11:45.320 --> 00:11:50.679
characters that are real, you know, characters that exist. Do you find

140
00:11:50.759 --> 00:11:54.360
as actors that that is different?
Are you able to separate that? How

141
00:11:54.360 --> 00:11:58.200
does that work for each of you? Well, you have to say to

142
00:11:58.240 --> 00:12:01.639
yourself, first of all, this
is not a documentary. This is a

143
00:12:01.679 --> 00:12:09.840
piece of fiction based on real facts, and therefore you could make it make

144
00:12:09.879 --> 00:12:13.759
your So I did try to look
like it and sound like I did quite

145
00:12:13.759 --> 00:12:18.600
a bit of research and I played
her voice every day before I went on

146
00:12:18.720 --> 00:12:22.480
set, because you know, I'm
Australian. I don't sound reutely like Shelley.

147
00:12:22.639 --> 00:12:28.399
But but I don't think you have
to do that. But we we

148
00:12:28.480 --> 00:12:35.919
did do that. Yeah, you
have to keep saying someone's made this story

149
00:12:35.039 --> 00:12:39.399
up and it's just based on real
facts. If you want the absolute real

150
00:12:39.440 --> 00:12:43.559
facts, watch documentary. That's my
feeling. I love that. How about

151
00:12:43.559 --> 00:12:48.600
for you, Ed, Yeah,
I think that's very close to my feelings

152
00:12:48.639 --> 00:12:52.159
as well. I mean I think
that, you know, you want to

153
00:12:52.159 --> 00:12:58.039
get an approximation of the guy,
but I never met him. I don't

154
00:12:58.080 --> 00:13:03.559
know much of about him. I
could find out a few things. But

155
00:13:03.679 --> 00:13:07.480
you're basically working in the script.
You go scene to scene every day you

156
00:13:07.559 --> 00:13:11.320
come in, You've got a piece
of work you have to do, and

157
00:13:11.399 --> 00:13:13.399
with the help of the director and
your other actors, you figure out that

158
00:13:13.600 --> 00:13:18.799
scene. And then of course the
writing is constructed so at the end of

159
00:13:18.840 --> 00:13:26.320
the shoot, it all comes together
and makes the story. So it's piecemeal,

160
00:13:28.440 --> 00:13:31.039
and I would agree, yeah,
Like I think, like Jackie and

161
00:13:31.159 --> 00:13:35.840
Ed said, you kind of have
to make a decision about how you're going

162
00:13:35.919 --> 00:13:37.600
to view this. I think at
first it's like, Okay, this is

163
00:13:37.639 --> 00:13:41.799
a real person, what research can
I do? But then it's the same

164
00:13:41.879 --> 00:13:46.200
as any acting job. It's the
same job. It's the same process,

165
00:13:46.240 --> 00:13:50.799
which is like getting to know this
person, what are their motivations and how

166
00:13:50.840 --> 00:13:52.759
am I going to play it in
this scene and that scene in this scene.

167
00:13:52.840 --> 00:13:56.759
So for me, I tried not
to look at the as much through

168
00:13:56.759 --> 00:14:03.000
the lens of the scandal. I
obviously study the Barbara Walters interview and stuff

169
00:14:03.039 --> 00:14:05.320
like that, but I tried to
just look at her as a character on

170
00:14:05.399 --> 00:14:11.960
the page and the going the opposite
way. Now, Cleopatra, do you

171
00:14:13.120 --> 00:14:18.279
feel, you know, as you're
doing any character, but especially the do

172
00:14:18.320 --> 00:14:24.519
you feel are you able to connect
with them kind of you know, in

173
00:14:24.559 --> 00:14:30.759
your role you're kind of a whistleblower
in some ways, do you feel that

174
00:14:30.919 --> 00:14:35.120
connection with you know, knowing as
you've described now that you're able to separate

175
00:14:35.159 --> 00:14:39.480
it into this character that you're playing. Do you still feel that connection with

176
00:14:39.679 --> 00:14:48.399
the character that you are now playing
on from the page rather than from the

177
00:14:48.440 --> 00:14:52.399
headlines you know what I'm saying.
I do, Yeah, that I do

178
00:14:52.519 --> 00:14:54.919
know what you're saying, and that
that was the choice that I had to

179
00:14:54.000 --> 00:14:58.519
make, was to sort of not
not look at it through that lens as

180
00:14:58.600 --> 00:15:03.559
much as it it's a big part
of the story, but that's done for

181
00:15:03.639 --> 00:15:07.879
me in the writing. My job
was to really like find as many honest

182
00:15:09.000 --> 00:15:13.480
moments I could in playing this character
and explore her motivations, explore you know,

183
00:15:13.519 --> 00:15:18.120
really what she wanted, and find
her humanity. And my way to

184
00:15:18.159 --> 00:15:20.679
do that is always through compassion.
Whether I'm playing someone likable or not,

185
00:15:20.759 --> 00:15:26.159
it's not really the point, but
it's to sort of find something that you

186
00:15:26.200 --> 00:15:30.440
can understand, even if they're very
different from you. As an actor,

187
00:15:30.480 --> 00:15:33.159
that's our job, you know ed
for you. You know, you've played

188
00:15:33.200 --> 00:15:39.320
so many iconic characters and then you
have you know, you have Donald who

189
00:15:41.440 --> 00:15:46.360
in many ways is not as lovable
as some of your other characters. Is

190
00:15:46.399 --> 00:15:52.000
that enjoyable for you to to to
kind of have that variety, you know?

191
00:15:52.279 --> 00:15:56.240
Is it? Is? It?
Okay? It can be you know

192
00:15:56.279 --> 00:15:58.720
what I mean. The thing of
it is that I don't take into like

193
00:15:58.759 --> 00:16:06.679
I rehearse roles when I'm at home. I just learned the lines uninflected.

194
00:16:07.360 --> 00:16:11.519
And then because I really kind of
think that we're not AI. You know,

195
00:16:11.879 --> 00:16:17.200
there's no emotion until it happens,
and we can't control emotion. Really,

196
00:16:17.519 --> 00:16:21.759
we can fake it, but we
can't control it. So I always

197
00:16:21.799 --> 00:16:26.399
like to you know, there's a
subconscious always at work. So when you're

198
00:16:26.440 --> 00:16:30.240
doing a scene with another act,
there's sometimes that subconscious kicks in you don't

199
00:16:30.279 --> 00:16:34.200
even know from where. And that's
the fun of it for me. Oh

200
00:16:34.279 --> 00:16:37.840
yeah, so that that's what I
call the magic of it. You just

201
00:16:37.919 --> 00:16:42.240
allow that to happens once sometimes very
surprising results will occur, and I like

202
00:16:42.360 --> 00:16:48.240
that sometimes nothing but well it's not
a robot thing, you know. Yeah,

203
00:16:48.320 --> 00:16:52.120
I love that. And Jackie for
you, you know, first of

204
00:16:52.159 --> 00:16:53.320
all, I love I love all
of your work, but especially your harror

205
00:16:53.320 --> 00:16:59.519
work. I'm huge horror fans,
but you you know, you've done so

206
00:16:59.639 --> 00:17:06.960
many interesting characters, and you know, with Shelley, she is interesting in

207
00:17:07.000 --> 00:17:12.079
her own way and very much conflicted. I feel in this you know series,

208
00:17:14.000 --> 00:17:17.759
Do you feel that as an actor. You know, as you're doing

209
00:17:17.799 --> 00:17:22.759
that, are you putting yourself into
Shelley's space and kind of do you feel

210
00:17:22.839 --> 00:17:27.680
that conflict as well? You know, I'm interested in that. We're all

211
00:17:27.680 --> 00:17:33.440
we're all many layered. You know, nobody's totally evil and nobody's totally perfect.

212
00:17:34.000 --> 00:17:40.000
And I think it's in the writing. You know. The writing was

213
00:17:40.079 --> 00:17:45.079
so good because a lot of it's
this series has imagined, because nobody knows

214
00:17:45.119 --> 00:17:51.920
what went on behind closed doors.
So Gina Welsh has done such a great

215
00:17:52.039 --> 00:17:57.640
job filling in the blanks with these
characters so that they've got many layers,

216
00:17:57.680 --> 00:18:03.759
including Shelley. You know, she
seems demure and lady like it sometimes and

217
00:18:03.799 --> 00:18:08.359
then she does a block. Did
I say that in America? Do you

218
00:18:07.480 --> 00:18:19.720
block? And yeah? There were
many aspects to the characters that were fun

219
00:18:19.759 --> 00:18:23.240
to play. I love that.
Thank you all for for you know,

220
00:18:23.279 --> 00:18:29.920
giving insight into these complex characters that
represent all of us as complex people.

221
00:18:29.960 --> 00:18:33.400
I can't wait for everybody to see
clips exclusively on effect. Thank you,

222
00:18:34.039 --> 00:18:40.000
Thank you, thank you, have
a great day. Thanks Cleo, Patrick

223
00:18:40.039 --> 00:18:45.039
Coleman, Jackie, we Were and
Ed O'Neil love them and I love clip.

224
00:18:45.160 --> 00:18:48.799
It is so so good it is. You know, you know,

225
00:18:48.839 --> 00:18:52.880
I'm not a huge sports fan,
but it kept but it kept my attention

226
00:18:52.079 --> 00:18:56.359
the entire time because I'm like,
oh my god, like what's going to

227
00:18:56.440 --> 00:18:59.559
happen? And I kind of remember
this happening, you know, playing out

228
00:18:59.559 --> 00:19:02.240
in the show sports world, well
not just the sports world, but kind

229
00:19:02.240 --> 00:19:04.440
of everywhere when it broke out,
So it was cool to you know,

230
00:19:04.680 --> 00:19:12.039
see a imagining of the story for
this limited series. Clipped is available exclusively

231
00:19:12.279 --> 00:19:18.359
on FX and of course FX on
Hulu, so make sure you check it

232
00:19:18.400 --> 00:19:21.920
out. Love Love, Love Clipped. All right, We're gonna take a

233
00:19:21.960 --> 00:19:26.039
short break sixty seconds to pay the
bills, hang with us, and I

234
00:19:26.079 --> 00:19:33.000
will see you in sixty all right, Welcome back to Pop Culture Weekly with

235
00:19:33.079 --> 00:19:37.559
Kyle McMahon. Thank you for sticking
around and hanging out with me. For

236
00:19:37.799 --> 00:19:42.279
our amazing advertisers, who just like
you, helped to keep the show going.

237
00:19:42.559 --> 00:19:47.839
So I appreciate that they appreciate that. Check out their stuff, all

238
00:19:47.920 --> 00:19:52.400
right. Next up, All That
We Love is this pretty incredible film that

239
00:19:53.079 --> 00:19:59.680
debuted at the Tryback a Film Festival, and it follows Emma played by Margaret

240
00:19:59.759 --> 00:20:06.039
ch who faces an empty nest upon
the loss of her beloved dog, and

241
00:20:06.079 --> 00:20:11.119
she begins some feelings for her strange
ex husband who's coming back to America,

242
00:20:11.480 --> 00:20:18.799
and basically is just navigating the joy
and sorrow of starting anew in whatever small

243
00:20:18.960 --> 00:20:22.079
or large way that means, and
then of course the ripples that go from

244
00:20:22.160 --> 00:20:26.160
that. You know, loss is
something that I explore a lot. I

245
00:20:26.160 --> 00:20:30.440
have a series that I do limited
series called Death, Grief and other shit

246
00:20:30.480 --> 00:20:33.720
we don't discuss. Exploring my grief
journey over the loss of my mom Joanne

247
00:20:33.759 --> 00:20:38.240
three years ago, something I'm extremely
interested in and I find fascinating. And

248
00:20:38.480 --> 00:20:44.759
this film All That We Love is
such a beautiful example of how loss can

249
00:20:44.960 --> 00:20:48.319
both rip us apart and bring us
together. Jesse Tyler Ferguson, who was

250
00:20:48.440 --> 00:20:52.839
always a great time, plays Stan, her best friend, and it just

251
00:20:52.920 --> 00:21:00.720
really really is amazing. Fy I
also loved Jesse in Cocaine Bear, Modern

252
00:21:00.759 --> 00:21:04.920
Family for eleven Years or whatever it
was, and love him in this as

253
00:21:04.960 --> 00:21:11.200
well. So let's get right into
it. My review, not my review,

254
00:21:11.519 --> 00:21:15.599
my interview with the one and only
Margaret Show and Jesse Tyler Ferguson.

255
00:21:15.599 --> 00:21:22.519
And by the way, Margaret,
besides being a hysterical, groundbreaking comedian.

256
00:21:22.400 --> 00:21:27.720
Comedian Margaret has been in every kind
of creative medium you could think of,

257
00:21:29.079 --> 00:21:33.119
from having her own podcast, I
don't know what that was a weird accent,

258
00:21:33.160 --> 00:21:37.400
from having her own podcast, The
Margaret Show, to a long list

259
00:21:37.599 --> 00:21:45.039
of titles in television, including All
American Girl, Ghost Whisper, Drop Dead

260
00:21:45.160 --> 00:21:48.839
Diva, thirty Rock, for which
she was nominated for a Primetime Emmy,

261
00:21:48.119 --> 00:21:52.920
Aquafina is Nora from Queens. And
that's just on the TV side. On

262
00:21:53.000 --> 00:21:59.880
the film side, Geez seventeen again, Face Off the Rugrats movie. She's

263
00:22:00.119 --> 00:22:06.480
had numerous tours, numerous comedy specials. He is the one and only Margaret

264
00:22:06.480 --> 00:22:11.279
Show. So let's get into my
interview all about All that We Love.

265
00:22:11.960 --> 00:22:17.880
Here's Margaret Show and Jesse Tyler Ferguson. All right, so, first of

266
00:22:17.960 --> 00:22:21.920
all, thank you both so much
for joining me iHeartRadio's Pop Culture Weekly.

267
00:22:22.480 --> 00:22:27.119
We are discussing All that We Love, which is an incredible I love this

268
00:22:27.240 --> 00:22:33.880
film so much. I have been
dealing with loss and grief for the past

269
00:22:33.880 --> 00:22:40.519
three years in my life and it
came at an interesting time in my life.

270
00:22:41.319 --> 00:22:47.319
What does the film mean for both
of you? Margaret, I love

271
00:22:47.400 --> 00:22:52.720
the film too. It just really
connected with me. I had a dog

272
00:22:53.160 --> 00:22:59.960
who I lost in a part of
my life that I just wasn't ready to

273
00:23:00.160 --> 00:23:04.160
lose him, and he really destroyed
my entire life. I think that when

274
00:23:04.680 --> 00:23:11.920
we lose an animal, it's hard
to really talk about the trauma of that,

275
00:23:11.240 --> 00:23:17.200
and people trivialize it a lot.
So really, this the script really

276
00:23:17.240 --> 00:23:19.559
spoke to me. And it's just
about a woman who loses her dog and

277
00:23:21.039 --> 00:23:26.559
reassesses everything in her life, including
her relationship with her best friend played by

278
00:23:26.640 --> 00:23:33.839
Jesse Tyler Ferguson. Incredible and it
is sand and so we we had a

279
00:23:33.839 --> 00:23:38.759
great time making this film. It
was really beautiful, but we also had

280
00:23:38.759 --> 00:23:42.319
a lot of funny, funny,
funny, funny memories from it. Also

281
00:23:42.480 --> 00:23:48.440
just you have a bunch of comedians
making a very pretty serious film. It's

282
00:23:48.480 --> 00:23:51.640
it's really exciting. Yeah. And
how about for you, Jesse, what

283
00:23:51.640 --> 00:23:57.519
what drew it? What drew you
to it? Besides amazing, well Margaret

284
00:23:57.599 --> 00:24:03.720
first, first and foremost, but
also I thought it was a really interesting

285
00:24:03.880 --> 00:24:07.480
study on how grief not only affects
the person who is dealing with the grief,

286
00:24:07.519 --> 00:24:11.960
but the ripple effects of like how
it affects their family and friends and

287
00:24:12.000 --> 00:24:21.039
how they choose to support but also
give tough love and return. I thought

288
00:24:21.039 --> 00:24:23.920
it was a very Again, our
director and writer did such a great job

289
00:24:23.960 --> 00:24:30.440
SOT capturing that sort of tricky balance
of being able to gree but also you

290
00:24:30.480 --> 00:24:36.640
know, still moving forward and taking
care of the luck ones who are still

291
00:24:36.680 --> 00:24:41.799
with you. That's that's powerful,
you know. And it's interesting to me

292
00:24:41.920 --> 00:24:48.319
because whether that loss comes through a
dog or a person or whatever, for

293
00:24:48.519 --> 00:24:55.160
us, you know, especially as
as animal lovers, it's it hurts the

294
00:24:55.200 --> 00:24:59.279
same. You know, you're missing
a big chunk of your life that was

295
00:24:59.319 --> 00:25:03.680
there that is now now physically not
there anymore. And I find it interesting

296
00:25:03.759 --> 00:25:14.680
that in our society that we don't
necessarily give this space and respect that that

297
00:25:14.680 --> 00:25:19.720
that grieving process needs for an animal, for anybody, but especially for animals,

298
00:25:19.759 --> 00:25:25.839
you know what I mean. Yeah, it's almost worse. I mean,

299
00:25:25.839 --> 00:25:32.200
like, I think it's almost worse
because animals are such recipients of our

300
00:25:32.480 --> 00:25:40.279
undivided love, undivided attention, um, you know, unconditional love. Like

301
00:25:40.359 --> 00:25:45.599
they just are continual recipients of that. The focus of that of most families,

302
00:25:45.680 --> 00:25:48.880
the focus is the family animal,
the family dog or cat or whatever

303
00:25:48.960 --> 00:25:56.279
you know, so that when that's
removed, it's such a shocking reminder that

304
00:25:56.319 --> 00:26:00.680
we all have limited time on earth. So I think it's a really amazing

305
00:26:00.720 --> 00:26:04.000
thing, you know, that the
creature so loved could be somehow just gone,

306
00:26:04.279 --> 00:26:08.759
and that's a really it is such
a disruption in daily life. So

307
00:26:08.759 --> 00:26:11.480
that's why it's so it's hard to
deal with. But then people will say,

308
00:26:11.480 --> 00:26:15.400
well, it's just a dog,
but it's really not. It's so

309
00:26:15.640 --> 00:26:19.079
much of a part of who we
are. Yeah, it's also I mean,

310
00:26:19.400 --> 00:26:22.839
you know, dogs and cats and
these animals that we choose to bring

311
00:26:22.880 --> 00:26:26.960
into our homes and love. I
mean, it's sort of engineered in a

312
00:26:26.960 --> 00:26:30.920
way that they're only going to be
with us for a fraction of the time.

313
00:26:32.039 --> 00:26:34.519
I think it almost like they're almost
there to sort of teach you how

314
00:26:34.559 --> 00:26:40.319
to grieve, and and there's something
very I don't know, I feel like

315
00:26:40.359 --> 00:26:42.640
they're they're there for more than just
a lot that you can give them when

316
00:26:42.640 --> 00:26:45.400
they're on the earth. I think
they're also there to like help you learn

317
00:26:45.440 --> 00:26:51.440
how to grieve as well. That's
a really interesting point, you know.

318
00:26:51.599 --> 00:26:56.119
I as I mentioned at the top, my mom passed away three years ago.

319
00:26:56.279 --> 00:26:57.680
My mo mom then a couple of
months later, my mom. They

320
00:26:57.680 --> 00:27:04.319
were my two rocks in my life. And interestingly enough, my dog has

321
00:27:04.400 --> 00:27:12.640
been incredibly It's weird how in tune
he is to me and has actually helped

322
00:27:12.680 --> 00:27:17.359
me with my own grief. You
know, I was going through some of

323
00:27:17.400 --> 00:27:21.680
my mom's stuff the other day as
I'm bringing it to my house, and

324
00:27:21.759 --> 00:27:25.680
you know, going through it,
and I hadn't even started crying at it,

325
00:27:25.720 --> 00:27:27.759
had taken out something and hadn't even
started crying yet, and he just

326
00:27:27.799 --> 00:27:30.799
sent something, came and jumped on
the couch and just put his head on

327
00:27:30.799 --> 00:27:33.640
my shoulder. And I'm like,
how did you even like a tear hasn't

328
00:27:33.640 --> 00:27:37.279
even been shed. I was getting
there, but a tear hadn't even been

329
00:27:37.319 --> 00:27:41.160
shed yet, and he just knew
somehow. And you know, to your

330
00:27:41.200 --> 00:27:48.039
point, Jesse, not only do
they teach us about grief in that unconditional

331
00:27:48.160 --> 00:27:52.480
love and support that they give us, but they teach us about grief because

332
00:27:52.519 --> 00:27:57.160
of their shortened, you know,
comparatively to us, their shortened life spans.

333
00:27:59.000 --> 00:28:03.440
Did either of you ever have you
know a dog that you were,

334
00:28:03.480 --> 00:28:08.599
animal of any kind that just was
you know, just a devastating loss.

335
00:28:10.599 --> 00:28:18.640
Yes, yes, yeah, I
just I really had a hard time getting

336
00:28:18.680 --> 00:28:21.200
over the loss of my first dog
in adulthood, you know, and it

337
00:28:21.319 --> 00:28:26.160
was really just something I I didn't
really know how to cope with. And

338
00:28:26.400 --> 00:28:33.759
I think I'm still grieving, you
know. And it's just the price that

339
00:28:33.759 --> 00:28:37.039
we pay, you know, for
living with animals. It's just part of

340
00:28:37.079 --> 00:28:41.359
that. I have a lot.
I have a very very big animal household,

341
00:28:41.759 --> 00:28:45.119
you know, so there are very
many members of my family. So

342
00:28:45.160 --> 00:28:48.720
I but I know that that's that's
the cost of it, is that they

343
00:28:48.759 --> 00:28:55.519
do live much shorter lifespans. Yeah, yeah, how about for you just

344
00:28:55.799 --> 00:29:00.119
I have two dogs. Of my
older dog, Justin, and I got

345
00:29:00.160 --> 00:29:03.000
when we first started dating. And
he's starting to get you know, he's

346
00:29:03.000 --> 00:29:07.759
getting older and he's you can't really
hear, or maybe he has selective hearing.

347
00:29:07.799 --> 00:29:11.759
I'm not really sure yet, because
sometimes he's like miraculous to can here

348
00:29:11.759 --> 00:29:18.799
when people a arriving, like pown
here when you're calling me. But I

349
00:29:18.880 --> 00:29:22.720
do already, I'm already anticipating what
it's going to be like when when he

350
00:29:22.880 --> 00:29:27.079
passes. And you know, Justin
and I neither one of us are really

351
00:29:27.119 --> 00:29:30.240
ready for that. And it is
exactly what you said, Margaret, like,

352
00:29:30.279 --> 00:29:36.799
I think that there's a thing that
people don't really until you you've had

353
00:29:36.839 --> 00:29:40.279
a dog in your family in your
life, you don't understand what it's going

354
00:29:40.359 --> 00:29:42.359
to be like to lose that dog. I mean that that bond is very,

355
00:29:44.039 --> 00:29:49.759
very powerful and it is unconditional love
that they give you. And I'm

356
00:29:49.920 --> 00:29:55.000
dreading the day that that I lose
my first dog, and it's going to

357
00:29:55.079 --> 00:29:59.359
happen at some point in your future. I mean, I'm just treasuring every

358
00:29:59.440 --> 00:30:02.599
day I have a them. Yeah, that's been a remind you know.

359
00:30:02.759 --> 00:30:07.119
It's similarly Blue. I have a
rescue pit and he is my uh as

360
00:30:07.160 --> 00:30:11.640
I told you, kind of like
my rock, and I've similarly similarly,

361
00:30:11.720 --> 00:30:14.720
especially with the loss of my life
in the last few years. I'm like,

362
00:30:15.000 --> 00:30:18.480
geez, at some point he's going
to be gone, and it's kind

363
00:30:18.519 --> 00:30:21.519
of made me be like, you
know what, I don't feel like going

364
00:30:22.079 --> 00:30:25.000
around the block three times today,
but I'm going to do it because I

365
00:30:25.000 --> 00:30:27.279
don't know how much you have left, and I might have another eight years

366
00:30:27.319 --> 00:30:30.599
with him. I have no idea, but you know, I'm like kind

367
00:30:30.640 --> 00:30:36.599
of pre grieving now, which,
as to your point, Margaret, is

368
00:30:36.640 --> 00:30:40.160
a testament to the love that we
have for them and they have for us.

369
00:30:40.519 --> 00:30:45.400
You know, it really is a
beautiful kind of symbiotic relationship. Yeah,

370
00:30:45.440 --> 00:30:48.519
absolutely absolutely. I mean it's like
we have them for part of our

371
00:30:48.559 --> 00:30:53.319
lives and they are there. We're
their whole lives. I mean that's the

372
00:30:53.359 --> 00:31:03.559
thing, is the truth is we
are there whole lives. Yeah. I

373
00:31:03.680 --> 00:31:07.039
was sweet. Yeah, she was
on set with us. Every day she

374
00:31:07.119 --> 00:31:11.279
was on set with us, she
did She was really good, except one

375
00:31:11.359 --> 00:31:15.839
day she had diarrhea. That was
the day when we were I had well,

376
00:31:15.880 --> 00:31:19.559
I had diarrhea for production. I'm
always gonna have diarrhea. But she

377
00:31:19.599 --> 00:31:23.440
doesn't have it that much. She
had one day when we were shooting some

378
00:31:23.519 --> 00:31:26.839
of the office scenes. That was
the only time she whined a little bit.

379
00:31:27.759 --> 00:31:32.160
She was right off of the camera. She's whenever I work, she's

380
00:31:32.240 --> 00:31:34.880
right off of the camera. So
she's just right there, you know,

381
00:31:36.440 --> 00:31:42.039
giving giving me encouragement. She's really
Yeah, in your eyeline and your co

382
00:31:42.200 --> 00:31:49.519
stars. I want to stick around
as my acting to her. Really incredible,

383
00:31:49.839 --> 00:31:56.240
incredible force. She is adorable.
Thank you. And Jesse, do

384
00:31:56.279 --> 00:31:59.880
you do you bring any of your
animals as your you know, as part

385
00:31:59.920 --> 00:32:04.720
of your role, Gigs. No, I brought my barger dog dog Sam

386
00:32:04.720 --> 00:32:07.920
to the set of Modern Family once
and it was fine. But he's so

387
00:32:07.079 --> 00:32:14.279
big it's very intimidating. And leaf
my my my first my firstborn is a

388
00:32:14.319 --> 00:32:22.880
little morky and he's just very happy, so he would not know for for

389
00:32:22.920 --> 00:32:25.920
the film. You know, it's
it's very interesting to me, not only

390
00:32:27.079 --> 00:32:30.640
in you know, what it's speaking
directly to about grief and loss of a

391
00:32:31.039 --> 00:32:37.160
beloved pet, but life changes in
how it ripples in in its effects.

392
00:32:37.279 --> 00:32:43.599
So while yes, uh, you
know, there's an immediate loss in that

393
00:32:44.319 --> 00:32:49.880
beloved animal, but uh, it
kind of ripples out in our lives to

394
00:32:49.960 --> 00:32:53.440
other things as we see with you
know, uh, with with Emma and

395
00:32:54.160 --> 00:33:00.000
Stan. Uh did that? Was
that part of what attracted you to the

396
00:33:00.119 --> 00:33:05.680
script, you know, to the
film as you were reading you know,

397
00:33:05.720 --> 00:33:12.400
it's very it goes much deeper,
multi layered than it initially seems reading the

398
00:33:12.519 --> 00:33:15.519
logline or whatever. You know what
I'm saying, was that part of what

399
00:33:15.599 --> 00:33:21.359
drew it drew you both to it
absolutely, because it really is just about

400
00:33:21.440 --> 00:33:27.440
assessing all of the things that are
in our life that means so much to

401
00:33:27.559 --> 00:33:30.279
us, you know, and then
she's sort of taking a stock of what

402
00:33:30.440 --> 00:33:35.920
she really cares about and what she
wants to do and what she wants to

403
00:33:36.279 --> 00:33:37.559
wants to be around, and who
she wants to be around. So I

404
00:33:37.559 --> 00:33:43.720
think the loss helps her to understand
it. And that's what really I responded

405
00:33:43.759 --> 00:33:45.880
to the honesty of that. You
know, I think it's really beautiful.

406
00:33:47.160 --> 00:33:53.519
Yeah, it's a very beautifully structured
film about relationships, and it's sort of

407
00:33:53.519 --> 00:34:00.160
the catalyst of like where we're meeting
all these people is with the past of

408
00:34:00.480 --> 00:34:04.279
Emma's dog, and but like I
said, there's a lot of brickle effects

409
00:34:04.359 --> 00:34:07.000
with these other relationships her emas ex
husband, her best friend who I play,

410
00:34:07.159 --> 00:34:13.199
her daughter who Alice plays. It's, uh, it's a really beautiful

411
00:34:13.199 --> 00:34:15.159
film. But I think it,
you know, at the core, it's

412
00:34:15.199 --> 00:34:19.840
it's about relationships and about being there
for one another during times of brief and

413
00:34:20.039 --> 00:34:22.239
uh, it's also I mean,
listen, Margaret and I aron it,

414
00:34:22.360 --> 00:34:28.400
so you have to understand it's also
funny, right that it is funny.

415
00:34:28.719 --> 00:34:32.440
Yeah, yes, but they're there. There are some really funny moments there.

416
00:34:32.679 --> 00:34:37.119
There very much is and it to
me that is a reflection of life.

417
00:34:37.159 --> 00:34:39.320
You know, we have the the
ups and the downs, the laughs

418
00:34:39.320 --> 00:34:45.360
and the tears, the loss and
the life, you know, and and

419
00:34:45.400 --> 00:34:51.039
that's why it really hit. The
film really hits for me. It's it's

420
00:34:51.079 --> 00:34:53.519
such a beautiful film and you both
are so amazing. And what do you

421
00:34:54.079 --> 00:34:59.840
want someone that comes in and watches
the film, what do you want them

422
00:35:00.360 --> 00:35:06.960
most to take from it? I
hope they can connect with what is really

423
00:35:07.000 --> 00:35:09.199
the beauty of grief, you know, to not have a judgment about it,

424
00:35:09.239 --> 00:35:15.800
and to really kind of understand that
this is just another part of life

425
00:35:15.039 --> 00:35:19.880
and it can be as beautiful and
as tragic as every other part. So

426
00:35:19.960 --> 00:35:23.920
I think that it's in its own
way as a celebration of when we feel

427
00:35:23.960 --> 00:35:28.800
a loss, it makes us take
a real look at what else is there

428
00:35:28.800 --> 00:35:31.199
and what else is happening and how
we can live the rest of our lives.

429
00:35:31.559 --> 00:35:36.880
Mm hmm. Beautiful And Jesse,
how about you? I hope people

430
00:35:36.960 --> 00:35:42.079
take away how fantastic Margaret is in
this film, At how hot I am.

431
00:35:42.599 --> 00:35:49.960
He's so hot in it. It's
so amazing, He's so hot in

432
00:35:50.000 --> 00:35:57.519
it. It's really recycle and everything. He's so hot. I thank you

433
00:35:57.599 --> 00:36:02.880
both. You are both just extraordinary. Very you know talent artists, actors,

434
00:36:04.800 --> 00:36:07.079
comedians, and it is a pleasure
both to speak with you and to

435
00:36:07.119 --> 00:36:10.920
watch you perform in All that We
Love. I can't wait for everybody to

436
00:36:10.960 --> 00:36:15.880
see this movie. Congratulations on it. It is really a triumph. Thank

437
00:36:15.960 --> 00:36:21.800
you so much. Thank you Margaret, Joe and Jesse Tayler Ferguson. I

438
00:36:21.880 --> 00:36:27.360
realized that I had like a kind
of a modern family reunion having Ed O'Neil

439
00:36:27.519 --> 00:36:31.039
and Jesse Tyler Ferguson all on the
same episode of Pop Culture Weekly, which

440
00:36:31.079 --> 00:36:36.079
is kind of cool. All right, that's our show for this episode,

441
00:36:36.360 --> 00:36:39.960
All that We Love. Go see
it. It is incredible. Clipped on

442
00:36:40.320 --> 00:36:45.400
FX. Watch it. It is
incredible. Hit podcast dot popcultureweekly dot com

443
00:36:45.599 --> 00:36:52.360
to get all of the extras and
you know extras, all that stuff for

444
00:36:52.639 --> 00:36:55.159
any episode of Pop Culture Weekly,
including this one. It's a pretty cool

445
00:36:55.199 --> 00:36:58.800
site that we put a lot of
time into to kind of make a you

446
00:36:58.840 --> 00:37:02.800
know, an inter connected things.
So if you liked my interview with Margaret

447
00:37:02.800 --> 00:37:06.679
show, you can go and see
all the all the interviews I've done with

448
00:37:06.719 --> 00:37:09.400
her, that sort of thing.
So it's a really cool resource. All

449
00:37:09.519 --> 00:37:14.920
right, I will see you next
week. I love you. We thank

450
00:37:14.960 --> 00:37:19.800
you for listening to pop Culture Weekly. You're all the latest at pop culturewekly

451
00:37:20.079 --> 00:37:36.760
dot com. It's a mudder family
reunion. It's a mud family. It's

452
00:37:36.880 --> 00:37:45.079
not an old uded family reunion.
It's a mudder family reunion.