Jamie Lee Curtis

00:00:00
Speaker 1: Quest Left Show is a production of iHeart Radio. Are we on?

00:00:17
Speaker 2: Are we on? We're always on? We're always But like, so Jimmy did what?

00:00:22
Speaker 3: Okay, So Phil Collins is on the Tonight Show and he's agreed to let the Roots play and then air Tonight as the song, and of course you know it comes with the iconic drum roll.

00:00:35
Speaker 2: It's incredible.

00:00:36
Speaker 3: I went all out for this. I went and found the drum set that he actually played.

00:00:42
Speaker 1: Everything you did. We are preparing for it, of course you did, and the entire show from the top of the show, we have Phil Collins Tonight. Don't mess up? Like literally, he meant it jokingly.

00:00:52
Speaker 3: And so we're on the last verse, I remember, and all of a sudden I looked to my right and you can see Jimmy's head poking out like the parent of a school play, like, don't mess this up. And whenever I'm in a situation where okay, this is what my therapist calls, this is me manifucting myself, and I was like, all right, I can't mess up. I can't miss You've done this a million times, like literally in my head, right this you mess up? And literally he's like and you told me, and I'm like, I can't mess up.

00:01:22
Speaker 1: Can you know?

00:01:25
Speaker 3: He's like herd doesn't show all right? I mean you got this pain still crows. I'm looking at the band. Everyone's looking, dude, do you and me? And I hit myself right in?

00:01:35
Speaker 2: Of course you did, Yes, of course you.

00:01:39
Speaker 1: Did first hit it. Yeah, I hit myself in the face, all right.

00:01:44
Speaker 2: I played that song last night in the car on the drive to the premiere of Scarpetta. It is like a fight song, you know. It was raining and like it was sort of like my pump up song before going into the.

00:01:58
Speaker 1: You still need that after all this time. You need to get in the mind state. O I do? I do? Yeah.

00:02:04
Speaker 2: I used to listen to the theme song from Rocky Oh Going to Fly now. Yeah, but no, doun dun. I used to listen to it in my car and its entirety just to sort of like give me a little pump up.

00:02:20
Speaker 3: Wow, it's good to know that you still have to. I figured after a police in a person's.

00:02:26
Speaker 1: Career where they're already arrived that you know they just show up in No, you got to pump it up a little. I got that, all right, So let me get some context. No, why I got because I'm a profession now.

00:02:37
Speaker 2: I know you are with a lowercase p.

00:02:39
Speaker 1: Okay.

00:02:39
Speaker 3: So basically, two days ago I had something else totally planned and I got a text from uh Today's guests or I texted Today's Guests, which I am.

00:02:50
Speaker 2: Smelled me in the hall.

00:02:52
Speaker 1: Yes, that's right, you were on Kelly Kelly.

00:02:55
Speaker 2: Clarkson and I waffed it down the hall. I have a signature scent that lingers.

00:02:59
Speaker 1: Yes you did, and.

00:03:00
Speaker 3: I turned around, but you had already hit the corner because I walked fast, and I let it go.

00:03:04
Speaker 1: And ten minutes later I was like, was Jamie Lee Curtis just in this all? And literally yeah, I get it. I get it anyway, So to let you guys know our guest today.

00:03:14
Speaker 2: Is oh, they already know, right, so they already know.

00:03:17
Speaker 1: You won't let me give you. Your flowers are for me?

00:03:21
Speaker 2: I do I avoid flowers. See I avoid the flowers.

00:03:25
Speaker 1: Why we're cool? No, we have to now get in the space where we.

00:03:28
Speaker 2: Okay, you know what you do your flowers. I'll just check out your cool glass.

00:03:31
Speaker 3: I literally had to check out your cool glass.

00:03:35
Speaker 1: There you go, So literally what more can I say?

00:03:37
Speaker 3: About our guests, Iconic SAG Award winner, Emmy Award winner, Golden Globe, Independent Spirit Award winner, Oscar winner.

00:03:45
Speaker 1: Yeah, why is that I have nothing to do with it?

00:03:49
Speaker 2: Why is that.

00:03:50
Speaker 1: Nothing to do with it?

00:03:51
Speaker 2: Are wrong? Wrong?

00:03:53
Speaker 1: You knew this was happening.

00:03:54
Speaker 3: I didn't tell you this way Too many in her cannon a bunch of films that have changed our life. Yes, you have a canon. It's time for your flowers. I'm ready, Jamie Lee Curtis, welcome to the question.

00:04:06
Speaker 2: Thank you so much for having me and for being you.

00:04:09
Speaker 1: And I'll make this not awkward. This won't just be a not awkward.

00:04:13
Speaker 2: It's never going to be awkward. I can't be awkward. I'm humans. I'm awkward just waking up, do you know what I mean? Like, it's not going to ever be awkward, at.

00:04:22
Speaker 1: Least to our first question.

00:04:23
Speaker 3: All right, So we've had a meeting, and for me, I believe it was seven am, but for you it was for.

00:04:31
Speaker 1: Five am, I believe.

00:04:33
Speaker 3: Yeah, And I was amazed at how alert you were. And I'm under the understanding that people in California also have to adjust to other time zone. So my manager gets up at three am. Yeah, you know, just to because that's when the world starts. H What time do you routinely start your day?

00:04:50
Speaker 2: Four o'clock? I wake up at four o'clock with.

00:04:54
Speaker 1: A job, without a job on the clock. Four o'clock.

00:04:56
Speaker 2: No, no, no, just I wake up at four o'clock.

00:04:58
Speaker 1: Why is that?

00:04:59
Speaker 2: I love? First of all, I was born early in the morning, so I think I'm just naturally drawn to wake up with the morning. I don't really know. I'm a morning person. I'm not a night person. I'm like, I want to be at your game nights. I used to host game nights. I was famous for hosting game nights. I've invented some games that we play at game nights. My problem is there at night, I don't do well. The lights go down, I go to bed.

00:05:26
Speaker 1: When was your game night period, like.

00:05:28
Speaker 2: In the eighties, particularly in the eighties and nineties, And I mean, I'm the girl who says, let's do a game night and play all the various different games. My favorite game I claim I invented it. We call it first line of novel. Where you basically go by a bunch of dime store you know, secondhand store books, whatever, and you bring them in nobody looks at them right, and then each So let's say we have eight people in the group. Okay, So then I pick the book and I open it and check out the first line, and then I show the book and I say, the book is called Quest for Love. For lack of a better pulp fiction title, the book is called Quest for Love. Then everybody at the table writes what they think the first line of the book is, or they want us to think the first line of the book is. I write the real first line of the book, and then everybody hands them to me. Then I shuffle them. Then I read them all out loud, and then we have to vote. Every person votes, and you get a point for guessing the right book. You get a point if you fool people. So if your first line fools everybody, you get a point, And if you end up guessing the right first line, you get a point. And you go around the table, so everybody gets a chance to not be making one because they are reading. And it's called first line of novel. I love it because you actually get really incredible writing from it. I've saved everyone I've ever written, everyone my children have ever written. I'm that person. So anyway, I'm a game night person, but I can't do game night because you do it late at night and you probably have cocktails. And do you do a game afternoon? Can you do a game brunch?

00:07:22
Speaker 1: I have something close to that. We are elevating our.

00:07:25
Speaker 2: Game nights to a TV show.

00:07:28
Speaker 3: I don't know if I can talk about this or not, but if hypothetically there were a situation like that in which I haven't been at a table with a microphone and maybe like four or five people, I want to try.

00:07:40
Speaker 1: This idea that I look super fun. I literally want to do this now. I wish I wish I could have had Okay, sorry, that's amazing.

00:07:47
Speaker 2: We don't know each other, by the way, for the people, But can I actually say, well, we're kindreds sirs, that's fine, mutual admiration. We just peop. You know, you see people you like, You're like, oh, I like you, like you cool? You know that happens in show business. That happens a lot. You run into a lot of people, often at award shows, and you go ooh, I think you're cool. I think you're cool. Okay, hi, and then you never see each other again. So you and I met at a screening for Everything Everywhere, all at once. At the time, when we were still coming out of COVID Yes, I was on the publicity tour for that movie. Everybody was still wearing masks, everybody was still freaked out about COVID Yes. And we were in the basement downstairs at a building.

00:08:31
Speaker 1: So it was a hotel. Yeah, it was a hotel.

00:08:33
Speaker 2: But we went down some stairs and I walked in and they had told me that there was a cocktail party. And I don't do cocktail parties period. I'm sober, so I like cocktail parties to me is nothing but high voices and wine breath. People like going, oh my god, and they have bad breath. So it's like you get both. You get this awful sound and you get this awful smell. So I avoid it like the plague. I literally walk. I'm like, oh, I'm not going to and I find the corner and I stay in the corner and then I'm leaving. And I was in this front room and I was just about to leave and you came in and somebody said, ooh, that's Questlove. Questlove just got here. I guess you were coming for the screening of it. I was, and as we passed, like at some point we met in that lower level and I think I said, Hi, I think you're cool or something, and you said these words to me, dust off your mental Yes, And I looked at you and I said what And you said, dust off your mental And then I think I said, oh, fuck you, stop.

00:09:51
Speaker 3: It, fuck you, fuck you, fuck you, fuck you got it come in.

00:09:59
Speaker 2: I did not. I just said fuck you and then I left and that was it. And then when all of that happened, and that night happened, I remember the next morning, I think I wanted to like write you and go you motherfucker. How did you know?

00:10:16
Speaker 1: That?

00:10:16
Speaker 3: Film is why I'm here today. Like I think in the pandemic, there becomes a wake up moment or something.

00:10:27
Speaker 1: And because we were so thirsty.

00:10:31
Speaker 3: For content and all those things at the time, I was going through a pivot, which was, you know, in twenty twenty. I grew up in a showbiz family. My father was like an oldies do op singer back in the day. By the time I was born, I was part of the family business as a nightclub act and all those things. And then my best friend and I start a group so I'll say that from the age of five, I've always at least been on a stage entertaining someone or do something in a professional musical artist audience capacity since the age of five, Like not three weeks of not going by since I was five that I wasn't entertaining someone. And then for the first time of my life in twenty twenty eight months went by and I never touched a drumstick.

00:11:16
Speaker 1: I never had to entertain. I didn't do a set list.

00:11:19
Speaker 3: I mean, I was created by like DJ and online and whatnot. But this also allowed me to watch a lot of TV and a lot of movies. And this is also the time period in which I had a lot of time on my hands, did a.

00:11:33
Speaker 1: Lot of therapy and all those things.

00:11:35
Speaker 3: And it's something about that movie that just like I saw myself in that film in terms of maybe we have this in common where my joke is matrix bullet dodging, like compliments, I was the King of no All these opportunities come up, and my first thought is I don't want my light to shine so bright that it makes others uncomfortable.

00:12:03
Speaker 1: I'd rather blend in, I rather dull myself. I'd rather try to.

00:12:07
Speaker 3: And you know, I'm well aware as a three hundred pounds, six foot two black man with primitive, exotic hair and all those things like me trying to play small in Miss Package is it's stupid, you.

00:12:20
Speaker 1: Know what I mean? And I don't know that. I watched that film.

00:12:24
Speaker 2: About It's expansive.

00:12:26
Speaker 1: I watched it ten times.

00:12:27
Speaker 3: Yeah, yeah, And I think that helped me, especially especially when that was my moment and when I got my Oscar in twenty twenty two, like that was like my biggest fear, like, oh God, what will happened now? Like no one's going to talk to me and all my friends are going to alienate me and da da da da da da, And I just I was self evidencing, like why I didn't deserve it? And somehow like that film, when I see in it, it grounded me and it helped me so but more than that, I meant, you lost yourself in that character. And I knew instantly, like maybe ten minutes into it, this is going to be our Oscar moment.

00:13:06
Speaker 1: So there you go.

00:13:08
Speaker 2: I love that I'm looking up something. Yes, I'm just going to read you this. I'm sure you know it, but I'm going to read it to you anyway, you know why from here and you're here, and we're here together, and you just said every word you just said. Our deepest fear is not that we are inadequate. Our deepest fear is that we are powerful beyond measure. It is our light, not our darkness, that most frightens us. We ask ourselves, who am I to be? Brilliant, gorgeous, talented, fabulous? Actually, who are you not to be? You are a child of God. Your playing small does not serve the world. There is nothing enlightened about shrinking so that other people won't feel insecure around you. We are all meant to shine, as children do. We are born to make manifest the glory of God that is within us. It is not just in some of us, it's in everyone. And as we let our own light shine, we unconsciously give other people permission to do the same. As we are liberated from our own fear, our presence automatically liberates others. Mary Anne Williamson wrote that, and then Nelson Mandela took it and expanded it and made it his. But she wrote that, and it is very important for you and I both to know that fun fact, fun fact, that quote fun facts with questlove that should.

00:14:40
Speaker 3: Be like a little That quote you just read me is on my three uh, I have three post its on my mirror. My entire mirror is every morning. Okay, so for you you explained the rocky things here.

00:14:55
Speaker 2: Well, I just I used to when I was a young actress play the rocky theme that.

00:14:59
Speaker 1: Just like, well for me, I have to.

00:15:03
Speaker 3: Every morning I get up, I have to be nice to myself in the mirror, like especially in the morning where you know or whatever you look, how you look and.

00:15:12
Speaker 1: Only you, you know.

00:15:15
Speaker 3: That's how especially in twenty twenty six, where you know, and I come from a genre of music in which my Instagram is turning into a digital morgue of saying goodbye to this person, that person, that person.

00:15:30
Speaker 1: I do believe that it.

00:15:32
Speaker 2: Is a digital morg what a reallyful way of saying it.

00:15:35
Speaker 3: And the thing is that I believe that at the end of the day, you kind of have a have a will or purpose inside to like to be here, like I have a purpose on her if I have to, no matter what it's like. And you know, it's easy to just cower under the covers and hide and whatever, eat it away, smoke it away, sniff it away, shoot it away.

00:15:56
Speaker 2: Whatever, you're you're talking to a dope fiend who's sober twenty seven years congratulations. So you're talking to somebody who understands what you're what you're saying.

00:16:08
Speaker 3: Yeah, So I'd read that quote every morning, like literally say it to myself.

00:16:13
Speaker 2: I should have just said, do you know the quote? And then you have said yes, But I mean.

00:16:16
Speaker 1: I guess what, I skip that exercise this morning?

00:16:19
Speaker 2: Okay, Well, I mean it is the why me? Why do I get to do this? Why do I get this life? And other people who are way more talented than I am, way more beautiful than I am, way more everything than well, no, it is the nature of the beast. And yet the rocky theme for me represented this sense that you can do it too, that there's this dund dun d d d D and it just by the end of it, you go, okay, I'm going to go do it.

00:16:54
Speaker 3: Well, let me ask you how old were you when you realized the lineage you came from. Oh, like, when did mom and dad stop being like, oh, those are my parents too?

00:17:05
Speaker 2: You know what? Honestly, you have to remember this was all pre internet. There was no DVR. There were no tapes, there were no DVDs. Your parents were in the movies. You rarely saw the movies your parents made because they were in the theaters and most of them weren't kids movies.

00:17:20
Speaker 1: How were you when you saw Psycho for the first time.

00:17:22
Speaker 2: I don't even know. I think I made up a story. I have no idea I've seen it since. You know, obviously people love that movie, and it's amazingly shot, and of course my mom wrote a book about the shot by shot, and you thing they've recreated the movie. Scarlett Johansson played my mother in a version of the movie, so obviously.

00:17:42
Speaker 1: You played your mother in a version of us.

00:17:44
Speaker 2: I've played my mother, I know. I mean, what are you going to do? It's yeah, yeah, yeah, exactly. My point is I only appreciate them now because I have grown children. Most of my work my grown children haven't seen. And this is now a digital world. My children could see everything I've ever done. They don't, you know why, It's not their fucking life. They're living their lives. They don't want to look at my life anymore than I wanted to look at my parents' life. I am a forward person. I am a forward movement person. I am zero sentimentality.

00:18:20
Speaker 1: Why is that?

00:18:21
Speaker 2: I just don't hold on to something clinging? You know what it is? It's there was that play called That Championship Season about a group of guys who had great success early when they were in athletics, and the rest of their lives they've been looking back at that moment. When I watch the Olympics, I watch all these young people peaking, having these moments. When I see young people succeed in any field, I always get a little bit of like, I am so happy that I'm the head bitch and charge at sixty seven, Like I'm glad I wasn't the head bitch in charge at thirty seven or forty seven or fifty seven. I'm so happy that I have the perspective that I have at my age to really be able to put all of this into context, versus getting that that attention very early that was not in my don't put your finger up. I just saw your finger.

00:19:30
Speaker 1: He and I had. Look, I have to counter with it.

00:19:34
Speaker 3: Are you you pulled out a random time period and said, okay, when I was thirty seven, yeah, you did true lies.

00:19:40
Speaker 2: At thirty seven, I was thirty five years old that I was. I hung under that helicopter three days before my thirty fifth birthday. I remember exactly, So even then you felt like the underdogbe No, I'm just saying I didn't. At that point, I was married, I had young children. I was doing the dance of trying to be a mom and a domestic person and an employer and a home person and a wife and a partner and not take all the focus. And you know, I get a lot of attention, and you know children are supposed to get the attention, not the parents.

00:20:15
Speaker 3: So you are aware at least by that point, I mean, you're pretty much.

00:20:21
Speaker 1: Your name behind your back is like jameley Hurst. Damn.

00:20:24
Speaker 2: I honestly, I know.

00:20:26
Speaker 1: I'm allow yourself to bask in that.

00:20:28
Speaker 2: I don't bask in anything, but I just don't it. Life's too hard. Life's too hard for everybody. The world is too complicated. There are too many great people who never get an opportunity to do anything. I mean, die, never having manifested their talents into any public forum, if they are performers, or if they're artists, or if their singers are like I have been able to do so much with so little. And I say so little because I just didn't have those skill set. I didn't have a skill set, Babe. I'm gonna put the oh, you're just you and me with our fingers.

00:21:05
Speaker 1: I'm not asking permission. I don't want it.

00:21:06
Speaker 3: This feels like the nice guy version of who am I to shot?

00:21:11
Speaker 2: Not I totally understand, I'm not. So here's what I'm going to say. Yes, when I was young, I was in I think it had to have been Halloween as something, and I was in Chicago, and it was when Jeans Ciskel and Roger Ebert were the two film critics at the two different papers in Chicago, and they ended up partnering and making that show. And it was Jeane ciscl It was the tall, skinny one. And I remember I was sitting with him in his like shitty office filled with papers and files, and just like I was on a couch and like he was writing up something about me for some for the paper. I guess I don't really remember what it was. I don't have a copy of it. And I remember he was looking at me and he was saying, yeah, I don't know what it is about you, but you've got something, there's something interesting about you. And I looked at him and was like, really, wow, well, what is it tell me? I would love to know what it is that you're seeing so that I can then take that and build on it. You know what I mean? Like, what is it tell me? Because I was an untrained, uneducated actress sitting in this guy's office talking about this job I do, and he said, he said to me, he said, no, never know what it is. The minute you find out what it is, you're going to try to commodify it. You're going to try to encapsulate it, you're going to try to turn it into a brand, you're going to try to do something with it, and it's going to fuck you up. It's going to ruin what it is you've got going. And that was the greatest gift he could have ever given me, because I have just from then on gone, okay, whatever, I don't really know what I do. And I'm not being self deprecating because it's funny. Do you know the Dopey podcast?

00:23:22
Speaker 1: Not heard of it?

00:23:23
Speaker 2: Okay, the Dopey podcast is dope fiends that dealt with Yeah, And and he lost his partner, not life partner, his best friend partner in the show to an overdose, and I've I've done the show. I've I did it here in New York. And I'm telling you that because I read him the same quote that I could read you, which is and this would apply to you. Okay. Do you know Hannah Gatsby? Okay, Yes, they have a special they did called Nanette. I remember where I was watching it, and I start soing, but I mean like ugly crying because I was so moved by what they were saying. And let me just find it on the internet, which I will find because it speaks to what we're talking about.

00:24:13
Speaker 1: Okay.

00:24:14
Speaker 2: I have built a career out of self deprecating humor, and I don't want to do it anymore. Do you understand what self deprecation means when it comes from somebody who already exists in the margins? It's not humility, it's humiliation. I put myself down in order to speak, in order to seek permission to speak, and I simply will not do that anymore, not to myself or anybody who identifies with me. If that means that my comedy career is over, then so be it. I loved I remember when I watched that. I remember where I was. I was sobbing because I have self deprecated my whole life. And it isn't humility. It is humiliation. It is a way of being very small. And I don't do that as much anymore. I'm pretty able to say I know what I'm good at and I know what I am not good at.

00:25:17
Speaker 3: I'm probably five years into that process.

00:25:23
Speaker 1: A lot of it is just.

00:25:25
Speaker 3: The rewiring my mind to all of us think you know, to think that, but I'm actually shocked that I made it five decades to this place. You and me both in sort of the worst condition. And Okay, I guess like a lot of people when I tell them this, they looked at me like an alien, like, but you're guys living.

00:25:46
Speaker 1: No, no, no no, and I'm looking at you like, okay, they did not know.

00:25:50
Speaker 2: But here's what I can tell you. Those are just old ideas. I'm a big the reason I'm not a nostalgic person because I'm a new ideas person. I will every day you have the opportunity to look at something and go, oh, that's an old idea of mine, that's an old idea of myself. That's an old idea of a friendship. That's an old idea of a behavior. It's an old idea of a mindset. And I can have a new one because God gave us brains to use. That's the amazing thing about the human mind is we can change our minds. We can learn, we can rewire, we can rethink. We can have a feeling about someone and then say, you know what, I don't have that feeling for you anymore. And I know that's hurtful, but I'm not going to pretend I have that feeling for you anymore and spend the rest of my life pretending I do. That's a brave statement of self ownership.

00:27:04
Speaker 1: Have you not broken up with friends? But have you?

00:27:08
Speaker 3: Okay, teach me because Spring this part of the journey is probably the hardest. And I guess my answer to it is to hide and now live out in the country. I you know, and I still have to look people in the eye and communicate and all those things. So how do you know when someone's not serving you anymore and that you need to pivot and move on.

00:27:31
Speaker 2: To You know it? You know it the way you know it is? You know it? You know what?

00:27:37
Speaker 1: Is that?

00:27:38
Speaker 2: Why? Okay? What what is it?

00:27:41
Speaker 1: If you know you know?

00:27:42
Speaker 2: Right, if you know you know, push your tight I'm saying you don't even know it. If you know you know. But if you know, you know, and I from the clips this is your legend. I believe you know when you know, and I think you know when you know. And the extricating from those relationships is painful. Sometimes distance just happens. You know. I'm not suggesting that every one of those relationships you should hold a summit and declare a break of the relationship, and I you know, never the twain shall meet and we will never. But I do believe there's a way. It just happens organically, and before you know it, you haven't talked to that person in six months. And by the way, I'm not saying that there's this big pejorative negative attachment to them. It's I have changed and I'm no longer who I was yesterday. I'm different than I was yesterday, here today with you, and then hopefully tomorrow I will be different too. And the goal of life is to be able to still the gate marriages, children, you know, close friendships, your family. You can't really divorce your family. You can't really well, you can separate from your family, of course. But you know what I'm saying. I'm just saying that I think you know when you know, and I think you just you take your own counsel to look at. I'm a big to thine own self be true. Like that's just a cornerstone for me.

00:29:25
Speaker 1: Got it? Okay? So for me, the number is five.

00:29:29
Speaker 3: I'll ask you who are the three people when or if you feel yourself sort of getting close to either manifucking yourself or you need to be talked off a line they do like manifucking. That's a shout out to Lawrensander for that. I got to credit people who to take that from. Who are the three people that are your alleged talkers? Who who do you turn to when?

00:29:53
Speaker 2: Ah, I'm not that person. I have a beautiful friend in Losane who is in our industry, and we were very very very close friends, and then since since families and children, we have remained very much each other as cheerleaders and pride holders. And when I feel like I need to be able to share a moment and say I need to like I need to share this with you, because she shares it with me, I have that I'm not a big ledge. I'm not a big ledge girl. I'm old.

00:30:36
Speaker 1: Are you the person we were in too? When we are?

00:30:38
Speaker 2: I am a bit and I'm.

00:30:40
Speaker 1: Their pressure for you to always be the wise age.

00:30:43
Speaker 2: And I also am sober. And I talk to and communicate with a lot of people every day through lists of gratitudes and fears and sort of I share. There's a book called the Book of Awakening, which is a not necessarily a spiritual book, but it's written by a poet and it has a daily sort of reminder. I'm that person.

00:31:08
Speaker 1: I'm am I allowed to ask.

00:31:11
Speaker 3: Have you ever went public with your rock bottom moment that led you to sobriety?

00:31:16
Speaker 1: Of course?

00:31:16
Speaker 2: Oh my god. I'm billboards of me all over the United States right now with the Foundation for a Better Life that talks about me getting sober as the bravest thing I've ever done in my life.

00:31:31
Speaker 1: What was your lowest year?

00:31:32
Speaker 2: Oh? I got sober in nineteen ninety nine, in February of no I was an opiate addict. I was a secret opiod addict.

00:31:41
Speaker 1: I was Oh, secrets too, how do.

00:31:43
Speaker 2: You have secrets? Well, secrets, that's you know, that's what addicts do. That's what so I mean, It's all good. I've been sober for a long time and I work with a lot of people, and I talk often with sober people, men, women.

00:31:59
Speaker 3: You know.

00:31:59
Speaker 2: I'm so I process, I have psychoanalysis. I process a lot on the daily, so I don't end up near the ledge. The ledge rarely comes for me because I've I have anticipated. I'm an anticipator. I'll see that ledge coming and I'll start to work on trying to avoid it.

00:32:22
Speaker 1: So you live in the present.

00:32:24
Speaker 2: I live totally in the present, never in the past. I don't look back at comments. People will say, oh, you posted something, you got a lot. I'll be like, really what I was like, don't read the comment. That's my secret, Like, don't read comments, Just say what you need to say. There was a quote about the Beatles was say what you need to say and put a backbeat to it. It's just sort of like, say what you need to say, and I say what I need to say how I need to say it. I try to avoid stepping in shit, which I've done obviously, be many, many many times, because just the nature of the beast, and you know, I try to avoid those moments. If I can sit now.

00:33:11
Speaker 3: I'm afraid to ask you ask a question about the past.

00:33:14
Speaker 1: Because ask me the past.

00:33:16
Speaker 3: Go okay, because really this is like truly one of the rare times where I get to ask someone.

00:33:22
Speaker 2: That you ask whatever you want to ask.

00:33:24
Speaker 3: Was part of an era, okay. So I always wanted to know, especially for an actress. And this comes from me watching like Once upon a Time in Hollywood three or four times, you know, because you really sort of took your first steps into your career in the mid seventies to be a teenager, to be a woman and a teenager in the seventies, especially in the Sharontate era, the Manson era, was there just a general fear surrounding you being in that environment in Hollywood that one day you might turn up missing or like, how cautious were you?

00:34:08
Speaker 2: So here's what you need to know, Okay. I lived on a dirt road in a house with a fairly conservative set of parents, and I just was a schoolgirl.

00:34:18
Speaker 1: I had.

00:34:18
Speaker 2: There was nothing Hollywood about my life at all, nothing nothing. I was not a party girl. I wasn't a club girl. I was a good girl. I was not a bad girl on any level. I wanted to be a bad girl. I wanted to be Susie Quattro. I wanted to be Chrissy Hind. I wanted to be bad and rebellious. And I was just a good girl. I said, yes, ma'am, Yes sir, And weirdly enough, Sharon Tate's house. I lived off of Bennett Canyon, and I passed Clo Drive every single day on my way to school and on my way back. So I passed Clo Drive twice a day every day for my entire childhood. And that's where she was killed. I remember my mother was very famous at the time, and so I do remember we had an armed guard in front of our dirt road gate for like a week. I remember there was a guy sitting in a chair in front of our gate. But beyond that, I was not that girl. That was never even a question.

00:35:30
Speaker 1: So this means you're a kick ass actress, because.

00:35:34
Speaker 2: I am a kick ass actress, is what I am. I am just now I can tell you that I'm fearless.

00:35:43
Speaker 3: I since I've gotten to know you, and this actually started when I started directing the SNL episode, which I'll say that I probably have watched every episode of SNL, like a thousand and two, like in a three year period of me working on that documentary and especially watching your eighty two.

00:36:03
Speaker 1: Episode where you host it. Yeah, well, first I.

00:36:07
Speaker 3: Was like, I probably would have been her friend had I been a prominence in the early eighties or eighty two whatever. You just seem like the most fun person, which I'm skipping. All right, I can't believe I'm doing this for the first time in my life.

00:36:21
Speaker 2: You're closing your thing. Close the fucking thing. And by the way, don't you worry about like what I'm supposed to be talking about. Don't you worry. I'll say the name of the show, and life will be good. Everyone will be happy. Nobody's going to not watch Scarpetta on Amazon, starring Nicole Kidman and me from the Patricia Cornwell novels. Yes, because I'm on your pod or not. I appreciate I didn't come here to talk about Scarpetta. I know they would love me to say Scarpetta on Amazon, but I didn't come here. I came here because you said three words for me, No, four words, dust off your mantle. That blew my mind. I cannot tell you what that meant to me, because.

00:37:02
Speaker 1: Are you saying, ma'am was the only person.

00:37:03
Speaker 2: The only person, and it was so out of the possibility of realm, just like not possible. Anyway, I want to tell you I am the only person who's hosted SNL twice, never with Lorne Michaels. My years were Gene Domanian that one year she did it right when he left, and one year with Dick Eversol when Lorne Michaels left, and then he came back the next year and brought my husband there, and then I got married to Chris that year, nineteen eighty eight four four, And so it was weird because I've never met Lorne Michaels. I hosted SNL twice, not my metier. I am not a sketch comedian. I'm just not.

00:37:56
Speaker 3: You have to acknowledge at least that the last time you won the show, which leads me to my I just want to story of the entire process of making the perfect video with Jamaine Jackson.

00:38:06
Speaker 2: All right, Okay, so it was so bizarre, that was so.

00:38:10
Speaker 1: Well, let me at least give you flowers here.

00:38:13
Speaker 3: You transformed into that character, even as did I purposely stayed out the way I didn't want to.

00:38:20
Speaker 1: He told me, guess what I'm gonna do, and I said, I already know what.

00:38:22
Speaker 3: You're gonna do, because anything to do with your volta, And of course he's here, I know what you're gonna do. And Perfect is almost like an underground like it's a weird movie.

00:38:32
Speaker 2: Man, it is, but a weird movie.

00:38:36
Speaker 3: The thing is is that Perfect came along when America was getting cable, and so I've seen Perfect at least four or five times simply because it was always on HBO. Yeah, so it might have not been a big box office hit, but we know that film, and we.

00:38:52
Speaker 2: Mean it was supposed to be. It was the big Columbia Pictures Summer movie nineteen eighty five, this cover of Rolling Stone for their double summer issue. It was supposed to be. And by the way, it was supposed to be great music. I mean, you had the opportunity, and somehow the best song they could come up with was closest thing to Perfect.

00:39:19
Speaker 1: What.

00:39:20
Speaker 2: I was so disappointed that they couldn't. They ended up using Jump. That was the song I used when we were like doing the work, and like it was an old song, it wasn't even a new song. I couldn't believe they couldn't come up with a better soundtrack, closest thing to perfect him in a white unitard with a with a with an erection.

00:39:44
Speaker 3: Wait, wait, come on, look, Jermaine Jackson's catching a last slander on the internet.

00:39:51
Speaker 1: Hair whatever, but.

00:39:52
Speaker 2: Wait, what what happened?

00:39:53
Speaker 1: No?

00:39:53
Speaker 2: No, no, oh, stuff it back the fuck off Internet. Let the guy be Jermaine Jackson. Yes, it happened to wear a white one suit and had an erection.

00:40:03
Speaker 1: I mean everyone did.

00:40:05
Speaker 2: I don't know if everyone did.

00:40:08
Speaker 3: But it was a But they still showed that video endlessly on BT, and I always wanted to know, like.

00:40:15
Speaker 1: Just the song's not good, but.

00:40:17
Speaker 3: Somehow they just rammed it down our throats because there weren't a lot of product back then.

00:40:24
Speaker 2: That was a weird.

00:40:25
Speaker 3: So you thought you just did a video and it just like went down the hole and no one saw it.

00:40:29
Speaker 2: Well I hadn't. I mean obviously yes, but I mean I understand it's been seen.

00:40:33
Speaker 3: I'll say for black people, if you're not a hard junkie. With Halloween, we really got to know your trading places, I know. But Perfect was always on BT at least like once an hour. Because it's also like Jermaine's in the Shadow of Michael Anything Jackson wise just got rammed down our throats and I probably like, if you say Jamie.

00:40:54
Speaker 1: Lee Curtis the first thing I think of, It's perfect. It's just you and.

00:40:58
Speaker 2: Yes White, Onesie.

00:41:01
Speaker 1: Yes, and I always white. It was a weird back vend It was so weird.

00:41:05
Speaker 2: It was a little weird. I mean, I mean it was perfectly lovely. I just hated the song. I just couldn't believe this was the fucking song that we were going to turn this into a hit movie with that was gonna be the song of the summer.

00:41:19
Speaker 1: I was like, really, they tried it, they tried it.

00:41:23
Speaker 3: Of all of your characters, pleaded, which one were you given a lease?

00:41:27
Speaker 1: Uh? In terms of elasticity to mold into true lives?

00:41:34
Speaker 2: For sure?

00:41:35
Speaker 1: What was it initially and how did you change it?

00:41:38
Speaker 2: Well, the elasticity was the trust from Jim. Jim Cameron wrote it for me. Now I'm me and believe me. That was weird to get a phone call and have the phone ring at my house. I remember where I was, I remember where I was sitting. Phone rang, phone rang, Hello, Hi, Jamie, It's James Cameron. Yeah, like, because you know, okay, okay, sure, hi, James Cameron.

00:42:00
Speaker 1: Like wife earlier the matter, I stilled the.

00:42:04
Speaker 2: Phone rings and Hyatt's James Cameron like.

00:42:07
Speaker 1: Really, are you generally shocked when you get the call?

00:42:11
Speaker 2: Well, of course, I'm a mom with you know, I'm sitting in my house anyway, he said, I've written this movie for you. Okay, you may think I am. I'm just not sure that I think. And that's lovely. And you said dust off your mental And I will never forget that as long as I live to the day I die, I will remember those four words because it changed, it began then something that became, you know, unthinkable and extraordinary. But all I want is freedom, Like I want freedom here. I don't want you to be here. I want you to be here, I don't I want freedom. I want to take the material and then be able to do with it whatever the freedom that takes me, and being free as an actor is not something that I have felt necessarily throughout my career. True lies, Jim Cameron can do every single job on that movie. There is not a job on a movie set that Jim Cameron cannot do himself, not one he could even because he would learn how to make clothes. He would go, he would learn how to work a sewing machine, and he could make you clothes. He cannot act, He cannot act. He can build a camera, he can build a set, He can do every job on a movie except act.

00:43:31
Speaker 1: How will you know to capture the perfect performance?

00:43:33
Speaker 2: Then, so he trusts who he hires, and he loves actors, and he loves that process. He loves the the weird alchemy of what it takes to take words and turn them into feelings and turn them into emotions. And he cannot lead you there. He is not going to have the secret key to open the door to get you emotionally to a place. He hires you to do your job, and that level of trust and freedom is extraordinary. The same thing happened on the Bear. I had never met Chris Starr. We had texted, We had one phone call that lasted one minute. I'm so great, I'm so stoked you're doing this. That's so great. I asked him for a couple of references of how he wanted her to look. That was it. I showed up in Chicago having never met anybody, not one person, not one person in that kitchen, did I know? And I showed up as Donna Brazado and he said, let's roll. And I was freed, freed to just take the text, which beautifully written, every word is written, and interpret it and then play the scenes. And I've never been freer.

00:45:15
Speaker 3: Right now, My my comfort zone, my safety is musical documentaries.

00:45:21
Speaker 1: That's my safe zone. Actually, you're one of the first people.

00:45:26
Speaker 2: Who have come to you saying I think you can I can think I think you can do a narrative.

00:45:30
Speaker 3: Right So, literally after that phone call, I sat there with my manager Sarah, who you met, like something like about to have a colonic right there, like I can't do this?

00:45:41
Speaker 1: You think I can do that? No? No, No.

00:45:43
Speaker 3: My question to you is what is the process of when a director talks to an actor of what they want? Like when all right, let me pick something that's okay, So when you're chosen for a Freaky Friday, I'm pulling.

00:45:57
Speaker 1: Something random from from your past.

00:46:00
Speaker 3: Been in a situation where you know a director knows exactly what they're doing, exactly what they want, and then you've been in a situation probably where the director doesn't know anything.

00:46:09
Speaker 2: Can I recommend something to you?

00:46:11
Speaker 1: Yes?

00:46:12
Speaker 2: Have you had Maggie jillen haul on here yet?

00:46:14
Speaker 1: Not at all?

00:46:15
Speaker 2: Okay, you guys should ask Maggie to come and have this convot with you, because Maggie's wrote and directed The Bride just coming out with Christian Bale and Jesse Buckley. This is a movie Maggie wrote and directed. And I watched something on the internets about how she directs the two different actors, and that with Christian she would go up and be very quiet and whisper in his ear and give him little adjustments, and with Jesse she would shout out, Jesse, now do it this way. And at one point, apparently Christian Bale said to her, I want you to yell at me too, like he was feeling left out.

00:47:03
Speaker 1: Now one's afraid of Christian Bale.

00:47:05
Speaker 2: Let me tell you this.

00:47:06
Speaker 1: Does he not know that tape still exist?

00:47:08
Speaker 2: Here is my story for you. Okay, the day of the bear Io at Debris, who I'm assuming you've had in this very chair.

00:47:18
Speaker 1: Friend of mine. No, No, I haven't, but we're friends.

00:47:19
Speaker 2: Okay, she's awesome. You should have her. I will Io was shadowing Chris Storer because she was set to direct an episode of the show and she wasn't in that episode because that episode is the flashback of the family dinner, and so she's not in it. And so that whole week she was shadowing Chris. So she was coming to the set watching Chris set cameras watch and watching him work with the actors in the rehearsal if there was rehearsal, or where he put his camera and what. And you know, it was a very crowded little house. And Io and I were sitting on the stairwell, the staircase going up, talking for like forty five minutes one day, and we didn't know each other, and we were getting to know each other. And at one point she said, like, what do you like? What do you like from a director? And I said, okay, I hate. I did a show called New Girl, and the way they directed that show, they would shout at me, okay, now Jamie say this, Okay, Jamie, now do this. And I hated it because I felt like what I said, I like it if somebody comes up and just whispers in my ear, I don't want my scene partner. You're my scene partner here, I don't want you to know what adjustment I'm going to make. In the scene. I don't want you to know it because I want you to react to what I'm going to do differently organically, not oh, she's going to do this one with a lot more intensity, whatever, whatever the bad direction. And I said to Aole, I like it if somebody just whispers in my ear, like simple things like faster, slower, hot, or colder. And I said to her, I would even love if somebody just set a color and nothing else. So I said, I hate if somebody yells in front of the crew a direction to me, it embarrasses me, it shuts me down. I'd be like, I would feel mortified. So we do the dinner table scene in the episode of The Bear, and we you know, it's a lot of people. These are all these actors who I never met, and I'm like, oh my god, they're John mulaney and oh there's Sarah Bolson and oh my god, there's Bob Owenkirk. And I have these monologues and I'm about to like lose my shit. And I was like, so, anyway, we did the first take of Donna coming in and you know, wreaking havoc at the table and shit broke, and shit flew and blah blah blah, and then we did it again. So we did two takes of it. And after we did the second take, I was sitting off by myself and Io walked up to me. By the way, Christor didn't say a word to me, he would say, okay, now let's do it again one more time, please. Reset Io walked up to me and whispered in my ear, purple. That's all she said to me. She said the word purple. And what she was saying is, you've done a take red hot. You've gone red. The first take I was like, you know, an atomic bomb went off. She said this Basically, what she was saying is the first take was read. The second take was fire, searing hot, yellow flame, orange flame. What she said was, you're wounded. All of what's happening to Donna in that scene is pain, not anger. Pain. The wound is purple, a bruise is purple. And that's the take in the show that they used. So for me, from a directing standpoint, that's how you talk to me. You want something out of me. No one else knew what I was, what the adjustment was. She whispered in my ear.

00:51:30
Speaker 3: I like that have you ever considered, especially this exact point in your life post Oscar.

00:51:40
Speaker 1: And here's here's the thing.

00:51:41
Speaker 3: I don't want to lead people into thinking that, you know, once you get this mantle, clear it off and you place your ward there an where's your asker?

00:51:51
Speaker 2: In my office she has a do you promise it's.

00:51:54
Speaker 1: Not in the bathroom or anything.

00:51:56
Speaker 3: I have many story whereas doorstopper.

00:52:01
Speaker 2: There's a googly eye.

00:52:03
Speaker 1: You put it on there? Of course, wait, I think you did you not post it?

00:52:08
Speaker 2: Of course there's a Google eye. And they them pin that my daughter Ruby had because she's sort of gender you know there it's sort of genderless, so it felt like it needed to They them, yes, no, no, no, there's a Google eye.

00:52:23
Speaker 3: Well, my point is that I wanted to know, did you ever entertain the thought of crossing the velvet rope to the executive side, the director's side.

00:52:38
Speaker 2: I'm a DJA member for a long time. I directed the sitcom I did I Was Anything But Anything But Love. I was prepared to go off and direct a movie that I was going to star in right when COVID hit. COVID killed the movie. I was going to direct the Truth of the matter is. I am married to a film director and I have two daughters. The commitment a director has to give to a project, the amount of time, is way more than an actor. Now I'm also a producer. I produced the movie last year, The Lost Bus, Yes Matthew McConaughey and America Ferrar, the true story of the Paradise Fire, the story of Kevin McKay and Mary Ludwig, who were the school bus driver and school teacher who saved the lives of those twenty two children during the fire in California. Scarpetta, the TV show that we aren't talking about because we don't need to, is a TV show that I brought on Amazon. I'm friends with the author of the books, Patricia Cornwall. She's written thirty six best selling books about a character named Case Scarpetta who's a medical examiner, and I I'm friends with her, and I brought those books to my partner, Jason Blum, who runs Blumhouse, and said, the books are available, no one has turned them into a movie or TV show in thirty six years. Let's do so. And so I'm producing the show Scarpetta, and then I'm only in it because Nicole Kidman, who signed on to play Scarpetta, signed on saying, well, and you're in the show jam right because I'm producing it. Of course I'm in the show. And so then it was like, yeah, squeen, I am going to because you want me to be, and so I now play her out of control, unhinged man, eater, Cray Cray sister.

00:54:34
Speaker 1: Are both roles hard to no manage it.

00:54:38
Speaker 2: I do it all. I do it all, you know what. I do everything with love. I love community, I love teams. I love the art form. I love collaboration. I love that in this job I can't do when anybody else's I can't do that job. I need them to do their job so I can do my job. I just love that it's a it's not a singular art form. It's a collaborative art form. And I love it and I've loved it. It still turns me on, flips my switch. I wake up excited every day of work, every day.

00:55:10
Speaker 1: Every day, gratitude is important.

00:55:12
Speaker 2: I wake up vitamin G. Like, first first shot of my day is vitamin G gratitude.

00:55:19
Speaker 1: Oh okay, I literally it was like, wait, that's the one I don't take out.

00:55:22
Speaker 2: Yeah, yeah, but guess what I think you do?

00:55:25
Speaker 3: Oh, I have to I have to question how intimidating was it to enter the well oiled machine of Monty Python when you did Wanda, Yeah, you know it wasn't.

00:55:41
Speaker 2: I assumed that John Clees was calling because I was married to Christopher Guest. I had just gotten married to Christopher Guest. Yeah, who in that circle in America was that level of appreciation for cometic ability was the sort of commensurate you know what I mean, Like people loved spinal tap to the degree as you know that. I mean, it's mental how much people love Chris and the work he doesn't know, the movie people right, and then the movies he made, you know, and he's a really singular talent. So I assumed that John Clees wanted to talk to Christopher Guest and kind of using me as the portal. I did not know he was going to ask me to be in this thing. And the truth is.

00:56:33
Speaker 1: Did he think about osmosis effect that you two would be as silly and innovative with your humor?

00:56:39
Speaker 2: You know, I don't know what he thought. I had a newborn, I had a six month old. I was going to London to make this weird little movie with a six month old and my husband to move to London for a few months. It was challenging. I'm a mom, so all of the work I do, the first thing I think about is how complic hated my personal life was because of childhood. I'm not just an actor for hire where I can just go wherever, and I have no ties that bind I'm bound fully and so to take to be an actor, I have to extricate every day from I have a dog. I don't like leaving my dog.

00:57:21
Speaker 3: Is there an understanding with the director and the production that you have a boundary as far as time is concerned.

00:57:29
Speaker 2: Well, to some degree, But I mean at the same time, it's a bitch of a job in that way. I mean it's it's a time consuming job, and as you know, movies and television and stuff, it takes time. The good news is for most people, most people work all their lives movies and television. There are short lived, little sections of time and you commit a lot. But there's just a lot of extricating and a lot of tie breaking, and that's hard for me. That's been hard for me since I had children, and it's hard for me. When I leave my house with my dog, I pack when my dog is on his walk, I hide the.

00:58:08
Speaker 1: Suitcases because he knows you're leaving.

00:58:13
Speaker 2: If he saw the suitcases, he would know I'm leaving. And then now, but I hide the suitcases. Then I don't let him see me leaving the house, so he just thinks when I say I'll be right back, he doesn't know I'm going to be gone for a week. And what I'm trying to do is what I've learned from dog trainers, is if when you walk back in the house after being gone a week, and you just go, oh, hey, Rooney, how are you, what's up? And talk to people as if you haven't been gone, your leavings start to not affect them so much. The problem is we when we're gone and they and we open the door, we're like and that then ramps them up, and that gives them the idea that you've been gone. So I'm yes, so extricating from Pet's husband's children.

00:59:19
Speaker 3: And this is what I learned, like, this is you returning it me with dust off your mantle. You taught me a valuable lesson When I tell you, patience is key, it's helping me grow more.

00:59:34
Speaker 1: I realized that animals are about.

00:59:36
Speaker 2: Okay, here's what I'm gonna tell you. Yes, this is your girlfriend's dog.

00:59:42
Speaker 1: Yeah right, yes.

00:59:44
Speaker 2: Wait till you get a dog that's yours. See it's different. It's your girlfriend's dog. You're not her person. But wait till you get a dog of your own.

01:00:00
Speaker 1: I'm at I'm a cat person.

01:00:01
Speaker 2: Wait till you get a cat.

01:00:03
Speaker 1: No, I've had cats.

01:00:06
Speaker 2: That connection, that idea. Come on, it's the most delicious, it's so sweet, it's it's going to be good.

01:00:18
Speaker 1: It's working on me. Wow. I can't believe this is where you let me to. Yeah, Jamie, I appreciate you.

01:00:24
Speaker 2: I'm very happy to i'm's and podcast. And by the way, let me say this, Yes, I think you are way more than maybe even you think you are. And I think you're going to expand into the narrative form in a beautiful way, and you will figure out what people want and need from you because you can go to them and say, what do you want to need from me here? Do you want a lot of feedback? Do you want a little feedback? Do you want loud feedback? Do you like soft feedback? It's like a lover. It's like it's in a way, it's very much saying it's an intimate thing we're doing. And even though we're not talking about sex per se, there is a sex.

01:01:10
Speaker 1: There's intimacy there.

01:01:11
Speaker 2: There is a big intimacy. And so it's really just do you like it when I do this? Do you want me to do this? More? Like? Do this less? How about this? And I think you will find your voice as a director that.

01:01:24
Speaker 1: Way I have.

01:01:26
Speaker 3: I think the fear that I hold with it is that I've heard, well one you know, the aforementioned Christian Bale yelling tape still on the internet. There's a story that Frank Oz tells about the difficulties of directing Marlon Brando, and you know, the abuse that he had to take from Marlon Brando to the point where Robert de Niro was sort of like the go between, like they wouldn't talk to each other and whatever.

01:01:53
Speaker 1: And I think that also ties into in the music world. I do not like cutting vocals.

01:01:59
Speaker 3: I love creating the music, I love engineering, I love every aspect of production and songwriting. But I do not have the patience to sit there and coach something out of you. Now now that I'm in the place where I am and the roots happened to be working on our album right now.

01:02:18
Speaker 1: I just started giving notes for the first time to let my partner.

01:02:21
Speaker 3: Trek in thirty four years of this group professionally, forty years as just a high school friend, Like, this is the first time where I'm giving him notes.

01:02:31
Speaker 1: Previously I can hide behind and yeah. The first time, I was like, oh, that wasn't bad. I think in my mind, I'm like, you know, could you do it again? Or I don't like this verse? Or how'd you feel he took direction well, and I was shocked.

01:02:44
Speaker 2: I was like, oh, so maybe he's been waiting for you to give him some.

01:02:49
Speaker 1: I found this out recently, so my work is done here. Jamie Lee Curtis, thank you very.

01:02:54
Speaker 2: Thanks for having me.

01:02:55
Speaker 1: Uh, this is the first I'm not asking you know.

01:02:57
Speaker 2: What I'm I'm If you had asked me a bunch of like pre planned questions, I would have been all right, now, this.

01:03:05
Speaker 1: Is a great conversation. Thank you for coming on. The Quest left, so see y'all later.

01:03:08
Speaker 2: Oh bye, everybody.

01:03:17
Speaker 3: Quest Loft Show is hosted by me Amir quest Love Thompson.

01:03:21
Speaker 1: The executive producers.

01:03:22
Speaker 3: Are Sean g Brian Calhoun and Me. Produced by Britney Benjamin and Jake Payne. Produced for iHeart by Noel Brown, Edited by Alex Conroy. iHeart video support by Mark Canton, Logos Graphics and animation by Nick and Lowe. Additional support by Lance Coleman. Special thanks to Kathy Brown. Special thanks to Sugar Steve Mandel. Please subscribe, rate, review, and share the Quest Love Show.

01:03:58
Speaker 1: Wherever You Streat Me podcast. Make sure you follow us on socials That's at q LS.

01:04:07
Speaker 3: Check out hundreds and hundreds of QLs episodes, including the Quest Loom Supreme Shows, and our podcast archives. Quest Love Shows the production of iHeartRadio,