Transcript of Al Pacino

I am Al Pacino, and I'm hopeful about being about being Conan O'Brien's friend.

It's really nice.

You want a friend of Stutter?

Yeah, I think I'm out, by the way.

Fall is here, hear the yell, back to school, ring the bell, brand new shoes, walking blues, climb the fence, books and pens, I can tell that we are going to be friends.

I can tell that we are going to be friends.

Hey there. Welcome. Conor O'Brien needs a friend. The podcast that cast that pod like no one else doesn't mean anything, but if I say it with authority, we'll get away with it. Joined by Sonam of Cessian, loves to keep telling people she's from Armenia, and Matt Gourley. Matt, how are you?

I'm fine, but she is from Armenia. I know. I'm not from Armenia. Oh, right. Sorry. Oh, my God. I was born in Montebello.

Wait, you have me believe in it. Montebello is in Armenia. No, it's not. It's on the 60 freeway in Los Angeles. The 60 freeway goes that far? It crosses the oceans.

Oh, my God. You had me believing it. Oh, no.

I mean, whatever. Okay, change your story, whatever you want to do. I'm changing it. Have you guys watching? It's very popular these days, this chimp crazy documentary. I actually have it. Okay, it's this documentary that's on Netflix, and it's by the same filmmaker that did Tiger King. Now, basically, it's about women that become enthralled with chimps and form these really strong relationships with them and coexist with them, and in some cases, love them even more than their own children. They say as much. What's that? They say as much. They say. It's crazy. They say... Is it sexual? No, don't take us down that road. No.

I I mean, there's a point where you go, is it?

No, no, no. Listen, that's probably where your mind goes anytime you see a person, an animal. But what I will say is that it's just about this incredible attachment they have to chimps. I watched the whole series with my wife Lies, and she went, Oh, that's like me. I said, What? Oh, it's true. She said, You're basically a chimpanzee. I'm like, What? Then she She sent to my kids, she sent... There's the picture of the woman and the chimp. There's the poster of the woman and the chimp, and she sent it to the kids, and she went, Look, it's me and your dad. The kids are like, Yes. There's just total agreement that life with me is like life with a chimp, except the chimps show more self control. Although that explains why I do fear my face and genitals being ripped off every time I'm with you. I have taken a swipe. Oh, my God. I've tried to swing at your genitals several times. But no, it's funny. She said it, and I immediately thought, Oh, my God, she's not wrong. I'm constantly skimping and skimping around the house, making noise. I do throw feces occasionally for fun and when I'm angry.

Not mine. I have it shipped in. They are going to do a documentary on you as at some point. Well, they did. As in like- At home, not on tour.

You know what I mean? What went wrong thing?

Yes, like that. Or it's going to be a snapped, maybe. Yeah, one of those things where I'm just... But you'll see lots of footage of me going around the house. And Liza going, Come on, let's go, let's go. Get your diaper on. We got to go. But anyway, that's the lens through which my wife viewed Chimp Crazy. She saw it as the depiction of our marriage. It's perfect. Well, there you go. Oh, wow. Oh, what's this? Are you giving me a like- We got to do this. I'm going to talk about this. I thought I just said, having a conversation, and Matt Gourley, his face just suddenly died. Well, because you put a pot.

You put a big pot. Did he not lull? No.

Did it not lull? It did lull. No, it lulled for a second. But I saw your face go all animation It left your face. It went blank and you went, Do this. You handed me the introduction to Al Pacino, which I'm thrilled to do. I'm glad he's here, but it was just chilling. You were like, Yeah. If you look this up on... Look up the video of this. All animation left. You staring at me and you went, Do this, and handed me a paper. No joy. Really? No even attempt to go, Ha ha ha ha ha. Okay, well, moving on. No, you could have done that, but you didn't.

I did because I thought we were cut.

No, we were having- Then people can see behind the scenes that I just turned into a bowl of sadness. Guess what? We're going to keep that in, and people are going to know what it's like to work here. You're just a robot. You might as well just be one of those things that cleans the bottom of a pool. You know what I mean? You said we're going to keep that in. He edits it. He could take it out and change it. There's nothing you can really do about it. Oh, I'm very much involved in the editing process in this show.

You don't know what any of the final product is in this thing. You are cut from every episode.

You really don't know. Hey, name a time I haven't met you when it's time for the audio editing of this podcast, a time when I haven't driven out to your studio at your home and sat there with you as we painstakingly make small audio trim and take little audio bumps. That is hard to refuse. I'm there, too. Remember? Oh, yeah, you are there. We're all doing it together. You're there because you take the freeway from Armenia every day. All right. You should read that intro. I should probably do it. What an intro this is. This is a huge one for me. And me. Well, no, more for me. I idolize this man. I idolize him, I guess, today as a Hollywood legend. Sometimes people, you say that about people and you go, Yeah, maybe. No, no. This is maybe the Hollywood legend. He started movies like The Godfather and Scarface. Just even mentioning his movies is insane. That's crazy. He now has a new memoir, which I've read, and it is absolutely fantastic. Read this. It's entitled Sunny Boy: Honor of a Lifetime to be in a Room with this gentleman. He's here today Al Pacino.

Welcome. All right, I got to tell you something. I've never said this before on the podcast. I've talked to everybody. I've talked to presidents. You, sir.

Yes.

You, sir, put your phone away for this. I have to put my phone. Put your phone away for this because this is a huge honor for you what I'm about to say. Tell me, tell me what you do.

It is an honor.

This is no higher honor than what I'm about to say to you. You are my favorite actor, and this is the most excited I've been to talk to anybody. This is a big fucking deal for me, Al Pacino. I'm blessed that you are here.

Oh, well, wow. Thank you for that. I'm taking my glasses off now. You did. That one got him off. Thank you so much.

I want to say this. You've written this book, Sunnyboy. It is your story, your autobiography. They got me an advanced copy. I hold myself up in my room and I read this thing, and it is a spectacular book. This is the best biography I can remember reading. It is such an amazing story. I thought I knew everything about you. It's an incredible book.

Congratulations. Oh, thank you. That's a wonderful compliment. Thank you.

Yeah. That's all the time we have. It's been nice having you here.

I'm not having that luck today.

Let me tell you something. I'm hard-pressed to think of anyone who's had more iconic performances than you It's just such elite company of actors, 20th century, 21st century actors. I read this story, and there's so much despair in it. There are highs, but there are lows. To people like me, to think about Al Pacino, I just think, Oh, it's just been. What a miraculous never-ending series of successes. But your childhood in the South Bronx, I'm reading about it, and it could have been the 1890s. I mean, I know it's the 1940s, early '50s, but you're running around like one of the dead-end kids with a gang. Do you know what I mean? It's absolutely incredible. You're constantly almost getting killed. Well, it still goes on. On the way up here. Yeah, it's a tough part of central Hollywood right here. Beverly Hills, there are some sections, but- Oh, we're going to dodge those lattes. But no, I mean, you're talking about this period of your life, and it feels like it could be 100 years ago It's such a crazy experience. What you went through, your father leaves when you're two years old.

No. Yeah, a little. Yeah, two. Let's just go with two. Let's just go with two, please.

Okay, let's just go with two.

It's an even number.

You were 1.9. Your father left and your mom has mental health issues, and then she passes away when you're still a very young man. You live a chaotic young life. It was a real surprise to me. I didn't know that. Really? Yeah.

Had you ever heard of any part of my life at all?

I knew that you had been in theater. It always felt to me that the Al Pacino story was young guy doing theater, gets the godfather, hits it out of the park, and then the rest is spectacular. I read this story, and it's almost miraculous that you get out of childhood. Do you know what I mean? That's the feeling I had. Yeah, that's good.

I didn't mean that for you to have that feeling, but it's great you had a feeling.

I haven't had a feeling in a very long time.

I know. I'm trying reading the first two chapters of my book. I'm doing the audio of it now, and it's really a knockout. It really knocks you out. I mean, you start seeing your life. In order to read a book, you have to act the parts because you just read a monotone. Some of the monotone readers are wonderful. I mean, I really get the great Sean Penn reads Bob Dylan. I read that. Did anybody hear that book?

I haven't heard that one. No, I've heard Sean Penn sing Bob Dylan. I don't recommend it. I don't recommend it. He ends up punching the microphone. Oh, my God.

Well, he got Bob Dylan. He really got his tone. I'm reading these stories, and of course, I lived through them, so I'm reliving them. It's tough.

I would think it's tough because you run around with this gang of kids, South Bronx, and you point out that your mom did keep an eye on you. You did feel that you were more supervised than some. A lot of your friends don't make it. They die. They die. They get into heroine. It's very poignant because you start the book with them Then at the end of the book, after this incredible career, you go back and dedicate it to these guys that didn't get out of the South Bronx, which is very powerful. I don't know if you felt like, I might be reaching here, but was there a little bit of survivor's guilt there? How did I get out and they didn't get out?

Well, I always thought about that. The thing that was so interesting to me that I recalled was one of my friends dying and being buried and around it with these just... You remember the one I say about this cold January morning or something? They're all around it. Blic. Blic. And Bruce is lowered. And the mother's crying, who I knew, of course. And this aunt or somebody I never saw starts to relate her feelings about Bruce and what she thought happened to him. And it was so profound. And this is someone I knew. I did comedy routines with him. We used to do that stuff. And she's so out of nowhere, like Just read him so wonderfully, and I learned about him, and that was shocking to me.

You talk about it in the book, and it's interesting because obviously, so many people are going to pick up this book and say, I want to hear about And these are things I want to hear about the Godfather movies. I want to hear about all these iconic roles, all the people you knew, all the people you met. But to me, in a way, the most fascinating aspect of it is that you start with these people, you get out. And when I say you get out, none of us understands why. I mean, I've had some crazy good fortune in my life, and I don't understand why. I stopped trying to figure it out a while ago. I was driving here today. I have a ritual with my brothers where we watch the Godfather movies religiously. We can quote them from beginning to end. We always quote them to each other. I'm talking to my I said, Luke, and I said, guess where I'm going? I'm going to work today, and I'm going to talk to and interview Al Pacino. My brother said, I'm very proud of you, but who the fuck are you to talk to Al Pacino?

Why you? I said, Luke, I don't know, but I'm just going to go with it.

Well, I think he should be here. Let's bring him in.

He's a criminal. He's welcome. He's in prison right now. Luke, we're thinking I'm one of you. It's interesting because you're grabbed by the theater. You're this kid, as I said, who you start reading Chekoff, you start reading the classics, and it grabs you. You start seeing some productions. You get into theater, you have so many go-nowhere jobs just to stay alive. I mean, you're delivering papers. I'm trying to think what you're building superintendent for a while, but not a good I don't think. Never.

The guy came out and started talking about me a few years back saying he was a terrible super or something like that. I thought, Why? Why would he say that? Who's a terrible super? I'm sure there's a lot around.

No, I saw that. It was a really old man who was like, I remember him. He was a terrible super. I'm like, Okay, take his Oscar back. I know.

Take away- Fine actor, terrible super.

Christopher Walkin, bad mechanic. Robert De Niro, just an awful substitute teacher. It's like, What the fuck? What are you talking about? You come along, you're doing theater, and then this thing that people dream about happens, which is you get noticed, Francis Ford Copp is going to make the godfather, and he says, I want this guy, Al Pacino, studio. The studio says, Fuck you.

Of course.

We want Robert Redford. We want someone who's been a success. We want someone who looks a certain way. We want someone probably blonde hair, blue-eyed, whatever.

Sorry.

Yeah, exactly.

I'm looking at you when I say it.

I'm sorry. They wanted me, actually. You know my grandmother-I was eight at the time.

My grandmother My grandmother on my mother's side has blonde hair and blue eyes. So just to note that.

It's in there. It's in you somewhere.

Yeah, it is.

But what I'm saying is- I had to put it in. They don't want you, and I've seen the screen test where they're saying, Okay, well, how about Jimmy Khan? Is Michael Cole? How about... They're trying everybody. They're throwing everybody in there. But, Francis Ford Coppola sticks with you. They start shooting, and you can tell, you read in the book and it's riveting on the set, people are like, I don't know about this guy. I don't know about this guy. I don't know what. And you can feel it.

Yeah, well, they were giggling.

You heard giggling? Yes. Here's what's amazing to me. These scenes that I've watched and that everyone's watched in this room 100,000 times that are now iconic master classes in how you play a character. You're doing it and people are going, Oh, man, let's hope they get a real actor in here soon, which is unbelievable to me.

Was it that severe, Colin?

I was an eight-year-old kid, but I was there. I had a lot of pull with the studio. I called Paramount, and I was like, I don't think he's got it. Who is this? Eight-year-old Cohnen O'Brien. What are you- It'll be a big deal someday, you'll see. Why aren't she using a real phone? Why are you mining one with your hands?

Oh my God.

It's funny. But no. The thing is, which is, to me, I look at that performance, and as you say in the book, your concept, which was clearly the right one, which is you got to slowly see Michael come to this position. And then there's the iconic scene where they're all trying to figure out after Vito has been shot what to do. And you are sitting there with your broken jaw and you say, Okay, we arrange a meeting, and the camera is pushing in. I can't I can't talk about it without tingling because I think it is a beautiful way to tell a story through acting, but it takes patience. And the studio was saying...

Well, they wanted to see something else, I guess. And both Francis and I, I think, felt that way about... But we were unable, or at least I was unable to articulate what I was doing, but I was doing that. I thought about it on my long walks in Manhattan You talk about it, you would take long walks.

You get the film, but it hasn't started shooting yet. You took long walks.

Yeah, I would go all the way from 91st to the Village and back, 91st and Broadway, and I just think about the part. Think about it. I still do that with roles. I just think about them, and it's fun. It gets me through the walk. Yeah.

You get your steps. I'm glad to know that in Coming up with who Michael Corleone was, you got your steps in.

Yeah. There it is. I managed not to get hit by a car. In those days- They should make a Fitbit that tells you, You have achieved the character.

10,000 steps. Stop. Stop walking. Stop. Stop now. You've nailed Michael Corleone. You've got it. I love it. But you know what's fascinating to me that I didn't know is that Coppola wants to show the studio, so it wasn't supposed to shoot yet, but he moves up the famous scene in the Italian restaurant.

I think he said he do that. So I correct it in the book a little bit. It's a good story.

Let's go with it. But it is.

I think it's true. I think he was sensing it. But the conversation in the Ginger Man, do you remember the Ginger Man in Manhattan, 64th. That's where he called me in, and he was sitting there with his family and eating. And it's a bar and grill that I frequented, and a lot of people did it. It was beautiful. Did you ever go there?

I didn't go there, but you talk about it, and it's very well known. It's an iconic place. It was a hangout, a watering hole, a place.

Bernstein would go in there and great music Because Lincoln Center was across the street from me. So you'd see people who you collaborated with on things. I walked in there. Again, that was a big thing for me to walk into Ginchman because I didn't go there I didn't have money to buy the drinks. So I went in there and Francis was eating with his family. And I was standing there and he says, We had a talk. So I thought, Well, where are we going to go? We're not going to go anywhere. He didn't say that, but he thought- The thing is, you're standing, he's sitting, and he doesn't invite you to sit. Oh, no. That's the first side.

This is important. You're standing there and you've been shooting for, I'm a couple of weeks now, and he tells you- Well, he tells me, I had faith in you.

I believed in you. I said, Yeah, I know. He says, Well, you're not cutting it. I thought, Oh, what do I do now? What do I say now? I said, Well, I guess that would be a problem, I guess. I mean, so tell me, what do you mean? He says, I want to show you the rushes, meaning the footage that we had shot ready and that I was going to see something. I said, Well, can I have some of that hamburger? This retrospect. I love to think of what I would have, might have done or wanted to do. I went to the Paramount Theater that they had this screening, and I sat there. I wasn't used to looking at myself on screen. I just didn't want to do that. I had done Panic in Needle Park already, so I don't know if you've seen that film.

And you'd had a little bit of experience, but not much.

Not much at all. That was my first film, a Patty Duke film. I have a couple of lines. But I went, saw the rushes, and I'm looking at the screen and I'm seeing the takes of different things. I'm thinking, well, that is not spectacular, but why should it be? Because I'm trying to see. I was hoping that I could blend in with the scenery and not be seen specifically or spotted and, wow. I just wanted to just blend and just be natural. And I thought, well, I know that's the way it looks now, but that's part of what is going to turn into Michael Corleone. And that's going to be the impact because where did this guy... What? Where did this guy come from? And he It was an enigmatic character anyway throughout the Godfathers, one and two, especially. I thought that was the way I was going to go. So, of course, I said to Francis, naturally, the actor's instinct, I just said, Yeah, I see what you mean. That always quiets everybody down. I see what you're saying. Yes. Then I thought I was out, and I wanted to be out in a way.

Oh, my God. Yeah, I did. I thought, What am I doing in this place? I'm in this place. And those guys in the restaurant with me, the great Sterling Hayden.

Sterling Hayden.

And a little Al Latteria. I mean, they were amazing. Salazzo.

Salazzo. The thing is, you shoot that scene, which is, to this day, I I can't watch that scene and not have my eyeballs fall out.

You're sitting across from him like Salazzo.

Don't let this man go to the bathroom. I know. We have an old chain flusher, too. This is bad. You pull the chain. I don't like repeats. Then you're safe. You're all right. You shoot that scene, they send that scene to Paramount, to the suits back in LA, and they go, Oh, okay.

You have to understand one thing because after I shoot these two guys, who I really love, by the way, and I shoot them, and I'm running out, and I dropped the gun, and I go into the street and jump in moving car. So they didn't have a stuntman for me there, or they didn't. They didn't want me to... Maybe they assumed that I would jump and get hurt, and I'd be out of the film. Just coming to me now, Cohnen.

That's an old Copeland trick. He put me in a film, it wasn't working out, and they threw me out of a car.

That's got to go into the box of resentment. But anyway, I did miss the car.

What?

Yeah. I fell. It's in the book.

We forget those things. No, I saw that.

I fell and I was hurt. My ankle was hurt somehow. It slipped. The car had one of those side things that you could jump on and then jump in. I was just looking up at the sky and I said, Thank you, God. This was my thought. I actually said, Thank you, God, you're going to get me out of this film.Un Unbelievable.That's how much I wanted to leave it. I said, This is from heaven. People just all got around me and they said, He's hurt. I said, Oh, yeah. Then they put one of these big fat needles in my ankle so I could finish the day. They kept me. They kept me because they saw the rushes of that event.

Of that scene, and they knew. What's so amazing is, movie comes out, and this surprised me, movie comes out. It's a phenomenon. I remember it. It was 1972. I would have been nine years old at the time. All anybody did was talk about that movie. People quoted it. It's hard to describe today what a huge cultural moment it was. And you, in the book, talk about how uncomfortable you were. It's the thing... We live in this society now where everybody wants to be famous, and people would think, Oh, my God, if I could be a young Al Pacina who's just done The Godfather, oh, my God, would I tear up the talent? You hide. You don't love it. You're drinking a lot.

I think it was that period, that time of life when this wasn't in our social understanding. We didn't care about Fame. As a matter of fact, it was somewhat in the Hollywood somewhat was frowned upon in the theater, by the way. And they gave us this great entertainment, these great actors on the screen. But it was a folklore for us. If you go to Hollywood, you lose your talent and something like that. That spread around. But also I was a bit embarrassed because I heard something like, Carouac, you know Jack Carouac? Yeah, of course. He goes and he drinks his life away because he felt this embarrassment. I don't know where that comes from, self-esteem, whatever. But I felt I didn't want to be noticed. Part of my thing was I I just wanted to creep around and just do my thing. So one time I'm at a light, actually, I'm at a traffic light, and I'm standing there to cross the street in this gorgeous redhead. I'm sorry, it wasn't you, Ronan, but it was another redhead.

I'm a man. Excuse me. I'm about as much man as it gets. You're still a gorgeous redhead. I'm a gorgeous red type.

She didn't look like you. I just be straight with you.

That ruins the story. It ruins the story if it looks like me.

She says, Hello to me. She says, Hi. I thought, Oh, wow. I said, Wow, hi. She says, Hi, Michael. It was as though I I said, This is crazy. She's calling me Michael because she knows me. She knows me from the film. I just retreated. I couldn't understand that nobody did that to me my entire life. Nobody responded, Oh, wow. They never said that. They didn't know they said, Get away. So I was shocked and I retreated. And then I start seeing it happen in these various pockets, there's people, a woman kissing my hand, people treating me. And my friend Charlie is there, and the woman comes up to me, says, Is that Al Pacino? He says, Yeah. She says, Is that Al Pacino? He says, Well, somebody's got to be.

Yeah, famous. It had freak you out. It flicked you out.

You're Al Pacino? I said, Yeah. He says, Congratulations. You look I'll take your order.

You do look very Al Pacino-y. I looked today like you. I thought so today. I was like, That guy reeks of Al Pacino. It's funny because then you have of what I think is any actor would give their left arm for this string of it's Serpico, it's Dog Day Afternoon, those performances. I watched those performances and they're so electric and you You had this energy. There's this energy that comes off of you, which it still does, by the way, but there's almost electrical manic energy that comes out of you, out of your eyes, out of your... I was watching Dog Day Afternoon the other day, and just your You can tell that you're so inhabited by that role and by that moment. After all these years, it's still spectacular. But you have this string, this string that's just unprecedented. I'm reading about it in the book, and the whole time you feel very detached from it. You're not reveling and going, Yup, I mean, I'd be out on the street going, Yup, that's me. See that guy up there? That's me. Frequently are. I'm frequently up. The sad thing is I'm pointing at you. Al Pacino, that's me.

See? Then I go to the hospital and I get treatment. But you have this string, and it leads to more drinking, more drugs, more unhappiness, more feeling of being disconnected, which, I have to say, surprised me. I wasn't aware.

Well, it hit me. It just did. I felt the isolation from it. I often talked about it as something like, one has to earn one's relationships with friends and stuff. You're with people because you like being with them. You share the same thoughts about things. But if I enter the room and all of a sudden what I had to say became important or they all were looking instead of letting me talk. I never had that experience, and it was uncomfortable. I thought, Well, we don't even know each other yet, and so to adjust to that. I've heard it said before, people adjusting to being famous and being accepted wherever you go. I I remember, I don't know if I told a story about... Marty Bregman, of course, was my producer. He produced that area.

You guys did so much together. Yeah, we did.

Oh, my God. I'm sorry about this. That's okay.

That might be for me, a big- No, it's not.

This is so, Hi, honey. Hi, baby. I can't talk now. I'm with Conan O'Brien. Yes. Can you hear it? Yes. I'll be finished in a minute. Sorry, Conan. No, I'm just joking. I can't believe you call Koppela Honey.

This is my daughter.

Oh, that's your daughter?

Okay. I'm glad about it.

She's in a new apartment. You're not the superintendent, are you?

I fixed the pipe.

I could be. I got to talk to her first. I love it.

There's still a couple of people in that building who still think Al is the superintendent. I'll be there.

I'll be there.

I'll fix it. It's steam heat. It takes a while. Give it a second. You know what's crazy to me is, and again, I was unaware of this, but you have this scarface. You make scarface, and it is at the time, critics are savage about it. It has since become, in a lot of ways, I mean, financially, your biggest movie. It's huge, and it has this enduring place in the culture which nobody could have seen at the time. Is that fair to say?

That's fair to say. It's true. It seems like it is always there. There's a guy wrote the Scarface Papers. I don't know if you've ever heard of that book, but it explains some of the stuff about its consistency and why it's still around. We got a lot of help from hip hop and from the rappers early on and the college kids, and then other things started happening. And then we went into that VHA. That started to catch the VHS, and that's what blew it up. And then it went across the went over the ocean into Europe and Asia and everywhere. And so it's like this thing.

It's fascinating because it's so- Oliver Stone wrote this script.

Brian De Palma directed it, and They hit something. Nobody could be more different than the three of us and Bregman. We were just three different planets. And there we were. And somehow it just made it work for some reason. Brian De Palma threw Oliver Stone off the set. He couldn't be there. Having it was that thing. But it's a beautiful script when you read it and when you see what Brian has done with it.

What's amazing is, because I didn't know this, so I read this was in the book, one of your big contributions was you knew that Tony has to have a scarface. He's scarface. He's got to have a scar. You said you thought of the idea that it should come across the eyebrow. You said in the book, you did that because you thought that that showed chaos.

Yes.

I read that and I thought, yes, it does. That's fantastic.

You don't know what you're going to get.

This is chaos. It's disconcerting. I don't know how you thought of that, but the fact that an eyebrow is cut in two is on a level very disconcerting in a subtle way that you didn't get a giant... You didn't do that. It led me back to it's a theme in your book. I don't know if this is conscious or unconscious. I know you've done a lot of therapy, but it does feel to me like there's some part of you that likes chaos.

I mean, theater-Oh, come on, of course. I mean, without chaos, where are we? Are we floating? That's what I'm saying. Where are we? No, but the chaos is That's why I always ride the 5:00 PM subway in New York. I like to sit around, Here they go. When the doors open. It gives you a lift. It I just feel, I'm alive and it's coming. I don't have anywhere to go, though. I shouldn't be doing this.

I don't want you on the five o'clock subway anymore. I'm going to come with you. They'll be like, But she knows with that gorgeous redhead. It's funny. You know what shocked me is, again, and I think I speak for a lot of us when I think, type up, put your name in, and you're just going to see one of the great, if not the most influential actors, blah, blah, blah, blah. You in the '80s hit a cold spot. You talk about it in the book, and you think, Well, my movie career is over, and you are out of it for a little bit. You're trying to do some theater and stuff, but that's shocking to me now because that wasn't something you felt it, you lived it.

Well, I thought, I don't know what's going on. I thought, I don't want to be doing this anymore. There's something going on. Things are not working. Scarface was such a disaster. When I thought it was a good film, it was going to work, but it didn't. It actually made money. It was the critics took a dislike to it. But at the At the same time, I just didn't know. I didn't want to do it anymore. I thought, let's refresh and let's go back and do some of the things that I started with.

That fed you. Things like theater, getting there, being connected to people, get away from this stuff. Exactly.

Talking through things, pieces of work, whether it's oedipus or whatever. Because when you do those plays, they're always in translation, of course. Translation means everything. Who's the translator? And so spending time with that stuff, whether you're doing Chekow or Strindberg or some of the great American plays. So I liked getting involved, and that's what happens at the Actors Studio. That's what we do there. And so I did a movie called Looking for Richard.

I was going to bring this. This is what I was going to bring up. And I was going to bring this up reason. You did this project called Looking for Richard. It's about Richard III, and it's so many things. It's a fascinating movie because you see different performances for Richard III, interpretations of it throughout the film. But you do something that I have some familiarity with, which is a big part of my career has been leaving the studio, getting a camera, finding real people, and trying to make something happen. I love that part. It terrifies me, but I love it. It's been, I don't know, maybe 70% of the work that I've done that people really like is that work where I'm out there doing this stuff and things are happening in real-time. A big part of looking for Richard, there's a thread that runs through where it's you on the street talking to people about what does Shakespeare mean to you? You are so quick and funny and vulnerable. I was watching that part going like, damn it, he's good at that. That's the one thing that I can relate to of all of your work is going out there with a camera.

I was blown away. You're talking to people, you're getting them to talk about Shakespeare. You're on the streets in New York, you talk to some young kid and you say, What do you think of Hamlet? He goes, Hamlet sucks. You go, Hamlet sucks. But it's wonderful. It's fantastic. It's you out there. What I love is you keep stripping it all away and saying, Let's lose lose all this Oscar iconic films. Let's lose all that. I'm going to put on a baseball cap backwards, and I'm going to walk through the streets and talk to people about Shakespeare, and we're going to get our hands dirty. I know that that project meant a lot to you.

I was driven to that by having what you had just said, that you want to have a piece of yourself in this. You're tired of just doing stuff that's not giving you what you need in your creative. That creative gene we have, and it's just not being supplied this stuff because it happens for everybody. Other actors, too. That's why some actors, I talk about that in the book, will repeat roles because they scored in them and they did well in them and they continue to do well in them, but they're capable of doing much more.

It's hard to grow if you don't keep challenging yourself. Exactly right.

You got to challenge yourself. That's why I like chaos.

Yeah. Well, you're in the right place.

I certainly am. That's why I looked at you when I said that.

The other day, I wanted my son, who's 18, to see... I wanted him to see real acting, real writing. I said, Come with me. My wife was out of town. It sounds like I'm going to show him pornography, but that was... I know. But no. I hear it like, What? She's out of town. This is an... This is a movie. This is called Debbie Does Dallas. No, I showed him the movie, Glen Gary, Glen Ross. Oh, man. He's riveted, I'm riveted. It's such an incredible cast, the whole thing. The next morning, I go, and he's blown away, and I'm like, Okay, you get it? He loved it. And the next morning, I go to get breakfast, and I run smack into David Mamet. Wow. Yeah. And I said, Hey, last night, and he was like, Please leave me alone. No, he's always been very wonderful when I run into him, but I could just tell all of you were so great in that film, but your character so intimidates me. He's charming, but he's intimidating at the same time. You've got this, I don't know. That's one of my favorite performances, too. Absolutely incredible performance.

I thought Jack Lemon, as time goes on, he really steps out in that part. Jack Lemon.

Yeah, absolutely.

I tried doing that part in New York on Broadway, doing Jack's part because they did a production- You were Richie Roma. I was Richie Roma.

Yeah, in the film. But then you switched and you did his part on Broadway.

On Broadway. I did his part, and I thought I could do his part I want. It's a good part. Let me try that. It's so totally different than Richie Roma. So I started it, but I didn't realize this is Mammet, and you have to have time to acquire the taste and be able to live through this part. And we had three weeks' rehearsal, and I didn't have any lines that I was able to say. But at the same time, I realized how great Jack Lemon was in this role. I thought, wow, I should have watched it before I did it, but I didn't know where I was on Broadway. That's a tough thing to go through. But I did remember that I said, Look, I don't know what to do here because there's times I don't know what the lines are. This is Mammet now. It's like rewriting Shakespeare. But I started saying things that came to me. That's my new thing, which we go through various faces. We go a little nuts, and then we start doing nutty things. Sometimes things come out of that.

Oh, I'm familiar.

You get a little cherry.

But you start adlibbing mammoth.

Now, I thought, I don't know why I can't get this monolog at all. I can't get it. I don't know how it's written in a certain way. I said, I'm going to start saying my own words here. Say the monolog. The actors with me was so great. I mean, they were right with it. I'd even say things on the street. Then I started dancing on the street.

You started doing soft shoes.

Soft shoes in the middle of the play. Because I'm a real believer in we have things with acting that all of a sudden the unconscious comes out. You free yourself so your unconscious starts to express itself. I was walking down the street after I realized that I did what I did. I said, Why did I do that? Why Then I said, Wait a minute. My dad, who I didn't know much, you know that. He left early. But he was a salesman. He was a salesman, and he was a great ballroom dancer.

You think you maybe channeled him a little bit?

I channeled him. Of course I did.

Don't yell at me. How come you don't know that?

You see what I mean? You got to get out there, Colin. Oh, my God. Express yourself. Nobody It was interesting. There's another thing I'm doing a play, a Shakespeare play at the Public Theater, and I'm tired. All of a sudden, you're doing eight performances a week. Who invented that? That's the worst thing that could ever happen to anybody. It ruins all actors. I'm doing eight performances, and I'm not doing really well. I'm doing it, but I'm getting through it. And with me, everything is time. I believe that's why I love the theater so much. Because it's time. I did American Buffalo over four years. I did movies in between. But by the fourth year, I didn't have to do anything when I went on stage. It had entered. It was in your bones. It was in your bones. But I'm doing Shakespeare, and I'm doing this. I have this huge monolog talking to a lot of people, and I'm tired, but it's maybe a matinée on Saturday or Sunday day, I don't know, and I'm talking, and I'm talking. And I start thinking, wait a minute. I'm repeating myself. Every line I'm saying, I've said right before.

So I'm saying it twice. And I said, Oh, my God. And I'm saying the lines. To me, I'm saying them twice, and I'm thinking the audience is being friendly. They're scared because they think, I think this actor is losing it. I think we're going to have to carry him somewhere, take him to a hospital afterwards. He's crazy. I got really scared. Then it took me a while to recover. I don't know if I ever did, but at the end of the show, I wasn't doing that, but it felt like it. This is what the exhaustion on the stage means. I mean, it really is, especially with the big roles. I just refused to do that. Then I just said, Don't pay me. Don't pay me and I'll do six a week. Now, I do three. Don't tell me one.

You know, one of the things, there is a thing that happened where because Robert De Niro came along at the same time, and he's in Godfather 2, and you talk about it in the book, there was always this, Pacino, De Niro, De Niro, Pacino. You said you guys were always friendly. You admired each other's work. You boosted each other. But of course, the media likes to try and make it something. You say in the book, I think it's just because both of our names ended in a vowel that they- That would help.

They should throw in Dustin Hoffman, but his name didn't ring a bell.

Well, they changed it at Ellis Island from Hoffmano. But I'm just curious. The first time you work together is in heat, and you have that scene. God, That's another movie I've seen a thousand times, and we'll see a thousand more. But you have that scene in the Diner, which is such a great idea where you just pull over De Niro. He's the bad guy. You're the good guy. You're the cop. He's the robber. Let's talk. The two of you sit down, and it's such a spectacular scene. In the book, you reveal that De Niro said, Let's not rehearse it. Let's just do it. No rehearsal. It's one of my favorite scenes.

No, he was right thinking that way. It was perfect to do it that way. Yeah.

What a great idea to have the two characters, Let's take a second. Let's sit down and tell each other who we are, and then we will shake hands and go back to trying to kill each other, which is a beautiful idea. You know what I mean? It's a beautiful idea that I thought was just... The fact that you just did it, is that the one take or do you did it many times?

Oh, many times. This is Michael Mann directing it. Oh, okay. You got to do it many times. Yeah.

You were there for six years. Yeah. You had long beards at the end. They're doing a take later. I'd like to do this again.

When I come in, can I do it? What's it? As Michael Chekoff said, the great acting empecario, the actress comes in the door and says, Oh, Dr. Meistro, I really want to an actress. I really want it. I want it so much. He says, Yes. Go outside, come in again, and do the same thing, and I'll tell you if you could be an actress. Wow.

Can you do it? Yeah.

I wanted to slap him in the face for doing that. That is so pompous and asshole-y. Don't do that.

But somehow- I was thinking, yeah.

But I'm an asshole. Somehow it works. I just... Ashole just came in my head just now while I was saying it. I said, it sounds when I first heard it, I thought a lot of truth in that. But now I'm an old fellow, and I think it's disconcerting, to be honest with you. I've gone so far in my brain.

Are you able, after writing this book now- To write another?

I am. We're ready. It'll be about this show. How could I not?

I'm just curious if you are able to now look back this process. You have to be able to look back now and go, Jesus Christ, what a ride. I'm Al Pacino.

I'll tell you the truth. I was doing it, doing it, working on it, working with some good people and they devoted myself to whatever I did. But as soon as I finished it, I didn't want to look at it anymore. It was done. It was over. I said, it's like When I did Looking for Richard, I would sit. They had these audiences would come in. I don't know what you call them again.

Test audiences?

Test audiences. And they would write it. And I'd be sitting there and I was thinking, I don't want them to come. We're not ready. The film was at the editing room, by the way. I thought somehow from the editing room to the theater where it was going to play, someone would change it and make it better. Then I wanted to tell them, remember that in the book? I wanted to tell them, listen, don't take this seriously. I was just trying to put something together. I mean, it's fine. I'm just trying. You don't have to stay. You don't have to go.

You don't I was fat nervous. You don't say that to a test audience. You shouldn't probably see this. This was a mistake. You should go now.

I don't think this is for you.

There's another I'll get in this book that is such a great visual that I just had to bring it up to you, which is the moment where you're making the Godfather and Copel says, You should talk to Brando. You guys They should get to know each other a little bit. You're shooting the scene in the hospital where you go and you end up saving Vido's life. But he says, You should go talk to him. They arrange for you guys to have lunch together in one of those hospital rooms. You said, It's such a great picture. You're not saying much. Brando's talking to you. The whole time he's talking, he's eating chicken cacetori with a lot of sauce with his hands. What? With his hands. He's talking to you and you... Then at the end, he says, Hey, kid, I think you're going to be okay. I think you're going to be all right. Then you describe what he... You're wondering the whole time. He doesn't have a napkin. His hands are covered.

I'm wondering what I should do with that chicken cacetori. I got mesmerized. I didn't hear anything he said.

He's probably giving you the greatest acting advice ever.

Of course he is.

You're like, he is. That looks like it's got extra Parmajian. It has. But then you describe what he does. His hands are covered in sauce and you're like, he doesn't have napkin.

Yeah, so he doesn't have a napkin, so he puts his hands on the bedsheet of the hospital, white bedsheet, and wipes them on that.

Oh, my God.

It's not such a bad thing.

No, no, no, but it's funny.

You had to be there. I would do it, too, today.

No, no, but you know what's so funny?

They send me to lunch and you don't give me napkins? That's just that simple.

But you know what's so funny, Al? What's so funny is in the book, you were like, you see him and he finishes and he sees he's on this white bed and he does it and you went, that's a movie star. Exactly. That's a movie star.

Well, this will work. Is that what movie stars do? I'm going to be one then, baby.

I got to be one of those.

No, he was the greatest person you ever wanted to know.

Did you get to know him well?

Well, of course. I was with him a lot. Just being around him, there's such warmth to him. He's so sensitive of how he sees you, especially other actors. He was so wonderful to me and everybody and funny. But he was particularly funny with Jimmy Khan because the two of them had We've done films together. He was- Comfortable with Jimmy Khan. Yeah, much more. I was always sulking somewhere. I never knew if I was coming or going. I was always just there somehow saying, Okay, I got away with that. What's next? But I remember one of the last things he said to me. I was on 79 Street outside in the summertime, wherever it was, along Columbus Avenue. I don't remember the restaurant, whatever, but I was out there by myself, and he called me, and I said, Well, he wanted something. I said, Sure. And then he said, Al, you know, Al, stay out of court. I said, He knew me. I can't go to court. I can't go to court. I'm going to go to court, I'm sure. Just cut this out. Stay out of court.

What are you talking about? That was his advice to you. It was stay out of court.

It was like he meant divorce court. I see. See, that's what he meant.

I see. Yes. Well, that's a good idea. I love it. Here's the big tip from Marlon Brando. I could, unfortunately for you, talk to you for 40 hours and never be happy, but I want to let you go because-Oh, you're throwing me out? No, I'm not throwing you out. Just from It reminds me actually of... I said at the beginning, I don't really get star struck. I've met everybody. Not long ago, I'm in New York on business. Someone says, Hey, come with me, go to dinner. I think we go to a Polo bar, and I'm walking out and I see, out of the corner of my eye, an iconic figure, and I look and you are sitting in a big banquette and you're by yourself. I think you had worked with people, but they had just used the bathroom or something, and you're just sitting there, and you point. I think, he's pointing at someone. I do the classic thing of I look behind me, and you go, You, you, and you go, Come here, and I go, Me? I go over and you go, Ronan, how are you? I don't want to be you.

I don't want to even tell you how much I love you. I really love you.

You know what's so crazy? I'm talking to you and I'm just thinking the whole time because you talk about this a lot in your book, how you always think, I got to get out of here. No one really wants to see me. You're talking to me and you're telling me about you're going to show The Godfather, you're going to show it up at somewhere in Northern Manhattan, you're going to have a big screening of it. You're talking to me and I said, That's such an honor to see you. Such an honor to see you.

You're talking too much, Al.

No, you weren't. I was just thought, Konan, don't overstay your welcome. He just wanted to say, Hi, get out. I say, Such an honor. You take care out, and I leave. The The next day, by pure coincidence, I run into one of the people who had just joined you at the table and they said, I just got there and you were walking away. And Al went, What happened? He fled. I was just thinking, I don't... It's Al Pacino. Don't fuck this up. Get away. But the next time I see you and I'm going to follow you and see you and I'm going to haunt you, I'm going to sit down.

Okay? Okay.

You don't seem thrilled about it.

No, you're going too far.

You're going to get siloed.

I got to use the bathroom. I'll be back with a gun. The book is Sunny Boy. It's the best thing I've read in a long time. Everyone's going to read it. Everyone's going to buy it. I'm blessed to know you. I really am. Thank you for being here. Oh, me too. Thank you for being here. God bless.

I'm so happy. I did your show. I really am.

Thank you. I'm done now. This is my last podcast. Thank you.

No, don't go that far. Okay.

Please. Thank you, sir.

Well, Al Pacino was just here.

Let's just...

That was incredible. Yeah. He's my favorite actor. Oh, he's an actor. Oh, my God. We were like, Who is this man? He's this guy. He is my favorite actor of all time. I was just so electrified that he came in, and he was so fantastic. It was so It was much fun. I remember just before the interview, we had this big talk because I think people were a little on edge today.

Yeah. Well, it's a big day. It's a big day.

You don't know what you're getting. Aaron Blair wore a blazer. Look at him. Thank you. Listen, to be fair, I read his book and loved it. I was rewatching movies. I was thinking a lot about Mr. Pacino, Al. I was really preparing for this. Yeah, it's called Preparing Summer. I was going to say I am preparing. You're familiar? Yeah. Okay. You didn't just walk in here and just wing it? Okay. It depends. I'm Coney, and I like to be prepared. It depends who it is. When it's the cast of selling the OC, maybe I wing it. Shox. Can't wait for that. Shox, you know that. Oh, my God. You have no idea what I know. But when it's Al Pacino, I don't need to prepare because I feel like I know his career cold, but I really wanted to read the book and think about it. Everyone was a little... Everybody was in a slightly different mode today, I could tell.

There's also 40 more people than is ever here, too.

It was really something. Suddenly, people are here who've never here before. I'm here to fix the cigarette machine. We don't have a cigarette machine. And that was De Niro. Yeah, it was De Niro. But then we get in here and we start talking about, let's not make him wear a headset like we always do people. But then we get into this classic conversation that we've had many times with Eduardo, because these are directional mics. Eduardo, I give it up for you. You're a brilliant guy. You built this place. You did a wonderful job. Sometimes you're a little, and for a reason, these are directional mics. Correct. But you want everyone's lips to be on mic. Yes.

He just wants people to be on mic. Yeah, he just wants people to talk into the microphone. That's right.

No, I understand. Thank you, guys. When the police are trying to a bug in an apartment, they put a little bug up in the lamp, and then they hear them saying, Yeah, we'll kill him. Yeah. Then they arrest them. That's why it's never admissible in court because it's like,. Well, they put plenty of mobsters away using the same technology. Anyway, we have these microphones that you really need to be close to them. The fear is that maybe any of these actors that we have on or anybody might just be talking and they may lean back, they may drift from the mic. Billy Eilish. Billy Eilish. It's happened plenty of times. You were saying that if they wear the headsets, they know when they're wandering away from the mic. But I didn't want that. I was trying to think of a way that we cannot wear headsets because I don't want to talk to Al Pacino while he wearing what a submarine sonar guy would have in a World War II movie. I want to talk to Al Pacino. I was hoping, let's not do that. Let's just not do that. Then I came up with an idea for a fix.

Which we thought was a real idea when you were first- I told these guys.

You set this up. I set it up so early.

I set it up so early. Guys, I have a way to fix this. It's a technological fix. I'm thinking, and you guys were actually looking at me like, Well, he probably does have something. I knew you were- You probably knew. I knew you were not serious. Okay, but I think Eduardo- I was intrigued. Bley? Yeah. A thousand %. What about you?

I just wasn't listening.

Okay. Anyway, I said, No, I'm really serious, guys. This is what we should do. We should get a little just like a little clip, and it's tied to a nylon cord, and we clip it to them, and it's really secure. You guys were still looking at me like, Where's he going with this? Then the clip attaches to a little wheel right here, and then it runs underneath the table, and Eduardo has it. If someone starts to drift off mic, he can pull on it, and they're like, Anyway, I just think to… We used to do that with him. Al Pacino, I'd be like, And then I was saying, I was when we shot the Godfather part 2, I got, Oh, Then Eduardo would slowly let it out. Anyway, I said to Coppola, I hope it works because I'm a little worried. Now, the funny thing you got to remember about Diane Keatness… She Then I'd want to let it out. Just a little bit of a tug to remind him who's boss. I love the idea. I think we do this idea.

Can you do that, but it actually pulls him away from the mic? It's even better.

You know what? I'll have... It's so great. You all have wires? Yes. I'll start... I have no wires, but I'll be like, Yeah, another thing, Sona.

.

Or, Well, Gourley, I think..

I love it.

I'm just kidding. You guys are just yanking me around. Oh, my God. All the people here is, Whizz, wing, Hawaii, ha-w, ha-wa, zing, Can we just talk about how personable he was, too, and how he would talk?

Listeners don't know this, but there are two types of guests on this show, those that just come in and their tunnel vision, they look at you, and then those that really talk to everyone in the room. He was one of those people that would just make eye contact with people.

I don't know if you could tell, but I started to build a brick wall so that he couldn't see you guys. Because I keep bricks here. Yes, I know that. I have a lathe, and I was just quickly as... No, he was, honestly, comes from the fact that When you read his book, yes, he's an iconic film star, but in his heart, he's a guy who wants to go to the theater and work with everybody and figure it out. You can tell that's what he loves, is he loves this communal. I think that's his instinct is he's not here just to talk to me. He's here to have an experience with us.

Well, you know how you can tell he's a man of the people. When his phone rang in that interview, I looked over in his phone case is all Shrek heads.

It's just He's printed multiple-sized Shrek heads all over. Yeah, he's a dad with some kids. I love it. He's a new dad. He's got Shrek heads. Yeah, unbelievable. Then his phone went off midway through the interview. That's happened before, maybe. I don't know, but when it rang, my heart dropped because I was like, Please don't let it be my phone. It's usually Sona when it's happened. What the fuck? No, to be fair, it was Al Pacino's phone, but it was Sona calling. Asking, Who are you? Can you just tell me who you are real quick? What did you act in? Which reality show were you in? Keep at it, buddy. I'm sure you'll make it. I definitely had a minor panic attack when a phone went off because that's always something I'm constantly worried about. Or whatever. Then as soon as it was his phone, relief. Yes, I'm the same. I love when it goes off and it's your phone. That's hardly ever happened. You know why? You get mad and then you realize it's your phone. My phone is always on, but no one ever calls you.

You also have these glasses on the table just like Mo Green in The Godfather, and I kept expecting to put them back on.

Yeah. Those movies are so seared into my brain. Me too, man. And not just those. So many of his movies and I- I'm serious. I know who he is. You guys are making this. Yeah. Okay. Matt looked at me like, Sona, do you know what the godfather is?

No, it was your...

It wasn't me being consented.

I can't hear me.

I don't I have headphones on. But I will say he's multi-generational. It doesn't... Because, Eduardo, you were saying for you it's Scarface. Scarface for me. I remembered when I was in college, Yeah, The Godfather, one and two was a big thing, but Scarface was huge. Some of my best friends, friendships were formed over that movie.

Really? Yeah, it was special.

I thought you said some of your best friends were dealing cocaine in Miami and shooting each other with machine guns. He did not say that. Yeah. No, but it was... Then it just keeps going because I was talking to a friend of mine who was a workout fanatic, and he'd be in his 30s, and he was just saying, I said that I was going to be talking to Al Pacino, and he said, That speech he gives in any given Sunday. I thought, Oh, my God. It just goes and goes and goes. It's incredible.

Then into the current day with the Irishman and once upon a time in Hollywood.

Yeah. And he's the voice of the new Shrek. That makes sense.

Yeah. I get it.

Yeah. Yeah. Donkey, what are you fucking doing? Hey, Donkey, why don't you go out in the row boat and say, A Hell, Mary? I killed the fucking donkey. I've lost my soul. That's a Shrek term I haven't seen. Oh, my God. All right, well, that was really Wow, that was fun. That's a high. It is pretty surreal. That was nice to experience that.

I hesitate to do this, but I have to thank you for bringing these crazy experiences into my life. It's amazing to be able to sit by and watch this happen.

Well, I think he was here to see all of us.

That's absolutely not true.

We were waiting for the... I was waiting for you to finish. I was going to land you at the end, but he didn't give me a chance. That's bullshit.

I think I wanted to cut it off before.

It almost makes He outside was saying, I don't want anyone else in the room. I said, It's how we do it. He went, I don't like Coralie. I've heard his other podcast. He does something about Bonanza, and I was like, No, no, no. It's too niche. It's too niche what he does. Who wants to listen to him and Andy Daly? Just puddle on. I said, Al, just come on in. And Sona, what's that all about? I mean, did she land her ass in butter or what? She's a bad assistant and now she gets a job for life. I said, Al, just come on Then why is Play wearing the blazer? That's not who Play is.

Everyone turns into Nixon, too.

I'll tell you something else. Let's get Holdman and Eilertman, and let's start a ma. And we'll take over the five families. Everything is Nixon. We.

Conan O'Brien needs a friend. With Conan O'Brien, Sonam of Cessian, and Matt Gourley. Produced by me, Matt Gourley. Executive produced by Adam Sacks, Jeff Ross, and nick Leal. Theme song by the White Stripes. Incidental music by Jimmy Vivina. Take it away, Jimmy. Our supervising producer is Aaron Blair, and our associate talent producer is Jennifer Samples. Engineering and mixing by Eduardo Perez and Brenda Burns. Additional production support by Mars Melnick. Talent booking by Paula Davis, Gina Batista, and Brit Kohn. You can rate and review this show on Apple Podcasts, and you might find your review read on a future episode. Got a question for Konan? Call the Team Coco Hotline at 669-587-2847 and leave a message. It, too, could be featured on a future episode. You can also get three free months of SiriusXm when you sign up at siriusxm. Com/konan. And if you haven't already, please subscribe to Konan O'Brien Needs a Friend wherever fine podcasts are downloaded.