Matthew Modine: Vision Quest or Youngblood?
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I don't know if you remember, Rob, but something really terrible happened on Hotel New Hampshire. And I'm happy to have the opportunity to apologize to you once again. I know what it is. Yeah, I kicked you in the face.

Hey, everybody. Welcome to Literally. Today, Matthew Modine is with us. We were homies growing up as actors in the 80s, and he burst out on the scene in Vision Quest and other great movies. Worked with Stanley Kubrick, Full Metal Jacket. Did a movie together called Hotel New Hampshire. He's great. He's great. And I don't think I've seen him, though, or talked to him since we were on the set when I was

2019. So this will be super fun. And as Madonna says in vision quest, I'm crazy for him.

How the hell are you? I'm doing very well. Thank you, Rob. God, it's been... I was trying to think of when the last time that we were together. It couldn't have been on the set. It has to have been since then. I got to say, I don't think I've seen you since Hotel New Hampshire. Oh my God, I think it may be right. I think so. What a crazy time that was. How much the world has changed since Montreal and... I mean...

So we, Matthew and I did a movie together called Hotel New Hampshire, which I urge you to see. It is a bananas movie. My favorite thing about that, talk about the, all the different ways the world changes, but that was a, now I'll be at a small studio, still a studio summer movie. Yes. Like that was their big bet. And I remember we came out the same weekend that Splash did.

And that was all she wrote. What was your experience on it? What was it like for you? On Hotel New Hampshire, I had a go-see in New York City at the Algonquin Hotel to meet Tony Richardson. And I went up to the hotel room. The door was open, and there was nobody in this giant suite outside.

And I sat down on the couch, you know, wondering, geez, I wonder where everybody is. And I was behind kind of if the door opened, I was sitting here. So you couldn't you couldn't see me. And after about a half an hour, Tony Richardson walked into the room. I guess he'd gone to lunch and was coming back. And he didn't see me because I was behind on the couch. We're behind the door.

And he was kind of having a private moment, talking to himself and doing this and that. And then he finally turned around and saw me and screamed. And I think that's why he cast me to play the bad guy, because I scared him in the movie. You know, I was playing that Chipper Dove. Great name. And Ernst the Pornographer. I mean, how great. Chipper Dove, Ernst the Pornographer. Those are like about as good a...

character names as an actor is ever going to get. And to play two people in the same film, that was fun. Also, my favorite thing was at the time, Nastassja Kinski was widely considered the most beautiful woman in the world. In fact, she was on the cover of Time magazine at that moment with that headline, the most beautiful woman in the world. And Tony put her fully covered in a bear suit. Yeah. Yeah.

Yeah, that's right. Yeah. I mean, she was pretty incredible. And with that exotic accent and everything, it was something to behold. It was really. Tell me about it. It was really. I mean, and then Jodie Foster, obviously.

What an amazing, and what a great run she went on immediately after that. It felt like that was, you know, because it was after Taxi Driver and something else, but it felt like it was her first adult role, you know, young adult role. She was still at Yale. I mean, she was, after the movie wrapped, I went and stayed with her and

John Huttman, who later went on to be the leading production designer in the business. Wow. Who did all of Redford. So John, who was on Hotel New Hampshire as a standby painter, because he was Jody's roommate, went on to do all of Redford's movies, from Quiz Show to River Runs Through It. He designed the West Wing set. He's like one of the biggest guys. So it's...

We all have come a long way from the Montreal days. Also, Amanda Plummer was in it. Oh my God, that's right. Bo Bridges, Wallace Shawn, and he had an incredible career. I think it was before he did My Dinner with Andre and everything else he's done. I cast Wally in 12 Angry Men to play the Henry Fonda part. I started a theater in Los Angeles called the New Mercury Theater in

And I asked Wally to play that part. And he says, Matthew, I don't understand why you want me to play this part. I'm a communist.

And I said, that's why I want you to play the part. Because when we see the film and we see Henry Fonda, we see all of Henry Fonda's nobility and his earnestness and his integrity as a human being. But when you read the text, you realize that all that person is doing is asking questions. And in the process of asking questions,

Each of the other jurors discover the fault in their arguments. And so to have Wally, who is a smaller person, who doesn't have the attractiveness of a Henry Fonda. Great casting. That's great. By the way, I'm obsessed with 12 Angry Men. Obviously, it holds up or you wouldn't have been doing it, but-

My memory of it is it's this most spectacular thing I've been thinking about. It's been on my mind for the last three or four months, and I don't know why. Is it as wonderful as I remember it? Yes, it is. I think that's on your mind because of where we are as a nation politically. Right, right, right. How important it is to ask questions and how important it is to accept the idea that you might be wrong. Yeah.

That's something that seems to be lost from the conversation today. I love that you've run for president of SAG twice. I voted for you both times. Thank you, Rob. Where our business is now, I think having barely survived COVID-19,

and then these two debilitating strikes. It's just, you look around and you go, I wonder if people had a do-over if they would do the same thing, because the problem is you never make up for what is lost. And when the shutdown happens, it's no different than

Anybody running a company or anybody running a house budget where you have eight months of no income, I'm talking about the studios now, the networks, they figure out ways to do without. And when they figure out ways to do without, that becomes the new normal. Yes. So jobs are lost never to come back, ever. And I just, I look back on them and I go, man,

You know, I feel, and I feel bad for the people who didn't vote. I mean, the actors got what they deserved and so did the writers, but, you know, the crew members. Yeah. Who, I mean, so many of them I know haven't worked in two years. Still haven't worked. And now with the fires, I mean, it's just devastating. It's really, really not a great thing.

a great time. Um, we need you to run again, brother. When you, is the third time a charm? Maybe when, when it was all happening, I thought of a story that I'd read about John Kennedy and the, uh, the, the Bay of pigs that, uh,

When they were trying to decide and figure out what to do, all of Kennedy's generals and the people that were advising him were encouraging to go to war with Russia and to sink the ships that had the nuclear warheads on them. And John Kennedy didn't like the idea of having a war with the Russians 90 miles from the coast of Florida, from Miami. And so...

And he dismissed himself from the room and went and called, was it Khrushchev? Yes, Khrushchev. Khrushchev. He called him on the phone and he said, how can I help you? And he said, what do you mean? He said, how can I help you so that you don't lose face and can pull those boats out of the waters around Cuba? And he said,

and in this problem that we're having between us. And Khrushchev told them to take some ballistic missiles off the European border that were aimed at Moscow. And that's what Kennedy did. He removed some missiles and he removed the boats

And Khrushchev looked like a man who was in a strong position to say, look, I made him take those missiles away. And everybody was happy and we avoided a war. And I think that during the SAG negotiations that were happening between the studios, there was a solution that was very workable where both sides would have won.

And, and, uh, unfortunately, uh, it, it didn't go that way. You're 100% correct. I mean, we all have long, deep relationships in the business and, and, uh, you know, on the actor's side and the executive side, you know, and I knew people were sitting in those rooms and, uh, the, what could have been gotten without a strike for sure is not worth what was gained from

with a strike. Yeah. And the thing is, the producers are our friends. They're our colleagues. They're people that we work with. And they were demonized and pushed into a corner that made them put on their gloves and come out swinging. And it just wasn't necessary and could have been avoided. Well, listen, let me know when you're ready. I've played political operatives on television before, so I know how to fake my way through it. I got to ask you about...

Full metal. We'll talk about Vision Quest in a second, but you have such a great filmography, so much fun. I mean, we came up at the same time, so some of them I auditioned for too, and I just remember them. It's funny how you remember the movies of that era.

like yesterday. Like I, I can remember the theater I saw Vision Quest in. I can remember all, and like today, it's like, did I see that on Netflix? Where is it? You don't remember anything. Yeah. And, but I remember all of it. My Full Metal Jacket story, such as it is,

It was one of the first times I remember people asking actors to go on tape. And that was unheard of. Do you remember the days when, like, if you went into an audition and someone had a camera there? Yeah. It was like a nuclear war then between your agents and how dare they and who's going to see it. And now they're filming you when you're getting out of your fucking car.

But Kubrick, he started that, didn't he? I'd done Birdie before Full Metal Jacket, and it was the first time that at an audition, there was a video camera. Alan Parker, he got right in my face with the camera too. He was just inches from my eyeballs looking into my soul. And it was obviously really distracting also to have somebody videotaping you while you were auditioning.

So that was the first experience that I had with it. And on Full Metal Jacket, as you say, Kubrick was demanding that everybody audition with videotapes. And I happened to be in Los Angeles. You might remember the restaurant on Sunset Boulevard called The Source? Of course. It was also the same restaurant where Woody Allen drove his Cadillac in Annie Hall when he was meeting Diane Keaton. But I was sitting there having pancakes with

David Alan Greer, wonderful actor. Yeah, sure. And David and I had just won the award at the Venice Film Festival for a movie that Robert Altman directed called Streamers. Yes, yes, of course. We were celebrating this Best Actor Award. And there was a fellow that was sitting there

about 10 feet from me and he was looking at me and he was saying obscenities and it was clearly directed at me and I told David who had his back to this fella I said either that guy's an actor studying a monologue or he has Tourette's but he's clearly telling me to go f myself and

And David looked over his shoulder and he says, oh, that's Val Kilmer. He's a really nice guy. Unbelie... Yeah. And David had worked with him on Top Secret. So he got up and he started talking to him. And he waved me over and I came over. I said, hi, my name's Matthew. And Val says, yeah, I know who you are. I'm sick of you, man. And so Val had probably been auditioning for the same movies that I had as well. Like I'd just done Mrs. Soffel, Private School.

Vision Quest. And so he probably was really sick of me because... And also that was a very... Those were like the highest of the high-end movies. I remember, I mean, Birdie. Everybody wanted to be in Birdie. And, you know, I think Alan Parker is one of the great underrated... I got to know Alan really well through some very bizarre circumstances, but I became very close with him for a period of time. And I just adored him. I never got to work with him

But man, his movies, holy. What's your favorite Alan Parker movie other than Birdie? I'm going with Midnight Express. Midnight Express. Yeah, Midnight Express. I really love Shoot the Moon with Alan Park. I mean, with Diane Keaton and- Albert Finney. Albert Finney. Thank you. That was a really good one. What else was Angel Heart? I mean, how about these movies, dude? Yeah. Oh, Fame. Fame. Yeah. Oh, no, no, no. I got it.

Bugsy Malone. Bugsy Malone. Okay, y'all listening, if you've never heard of or seen Bugsy Malone, you're welcome. Jodie Foster. It's Jodie Foster. It's kids playing gangsters in a musical. That's all I'm going to tell you. And machine guns that shoot pies. Machine guns that shoot pies. Or whipped cream. And Paul Williams wrote all of the music. Wow. So good. What a great, great time. ♪

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So you go over to... Val Kilmer. Val Kilmer. Yeah, he was always nipping at my heels as well. Yeah. But you were like, Tim Hutton would have been a big competitor of yours, wouldn't he have? No question. No question. Yeah, Tim...

But anyway, so Val says, you know, he says, I'm sick of you. And now you're doing Stanley Kubrick's Full Metal Jacket. And I said, I'm not doing Full Metal Jacket. You had to videotape audition. And I didn't do that. Val Kilmer's videotape audition is in the wonderful documentary about him. I mean, he went full on, you know, in a location, army clothes. That's right. Anyway, so I didn't audition. So I realized.

I ran outside to the payphone, put a bunch of quarters and called my manager in New York and said, "This actor, Val Kilmer, just said I'm doing Kubrick's movie. Do you know anything about it?" And he said, "No." And I said, "Well, I know he makes his movies with Warner Brothers. Maybe we get Harold Becker, who directed Vision Quest, to send him the movie, and I'll call Alan Parker in London, who's editing Birdie, and get him to send over some clips."

And about a month later, I got a script through the mail slot from, and the letter began, hello, my name is Stanley Kubrick. I'm a film director. Please tell me you saved it. I did not save that letter. Damn, that's amazing. Yeah, I was someplace lost along the way. But the humility to say, my name is Stanley Kubrick. I'm a film director. Oh.

Jesus. I feel that in many ways, Val might be responsible for getting me the role because I didn't videotape audition, but I sent those movies over and got the role. Hearing you tell that story, I had a visceral reaction to this sort of alchemy and magic and fate and the unknown and getting a

tidbit clue over here and that used to be in the process of getting a movie and now it is very well it's like I said you send in a tape you have a meeting and you get it and you don't and the agents it's over but

It was all so mysterious back then. My memory of, you know, many, many years hence. There's a big debate, you know, by the way, Vision Quest or Youngblood. I don't know how you feel about this debate. But I think that, I think we should have a hockey shoot-off

and a wrestling match. You and I are charity. They're kind of movies that they're brother and sister or cousins or something. Oh, they're definitely related. Let's see if we can name all of the people in the family. You got to pin in All the Right Moves. All the Right Moves. With Tom Cruise. I don't remember who the female protagonist, the lead, the ingenue in that film. I don't either. Was it the girl that he had a relationship, the pretty blonde girl? No.

I think he was going to marry her. It was Leia Thompson. Oh, it was Leia Thompson. Yeah, the very early Leia Thompson. All the right moves. Wow. Karate Kid. See, we kind of lose to Karate Kid. There's no way you can go up against Karate Kid. No, Karate Kid kicks our ass. I mean, Ralphie. God bless Ralphie. What a sweet guy. He's the best. He's my favorite person ever. Yeah. I just met him in New York for the first time at Christmas time at a Christmas party. He's exactly as he was then.

when we met on Outsiders so many years ago. I love Outsiders. Oh, thank you, man. Thank you. I mean, you got to work with Coppola. I know. It's like, I'll trade you your Coppola for your Kubrick. But they're both experiences that I'm sure we look back on. I have days where I will remember something Francis said to me 30 years ago. In fact, I interviewed him for this podcast recently.

about two weeks ago. And he was fantastic and has written a book on cinema.

So I don't remember the title of it, but I know what a cinephile you are. You should check it out. It's what you want. It's Coppola on cinema. Yeah, I just worked with D.B. Sweeney and we had done Memphis Belle together. And he told me that he was in Megalopolis. But I guess he knows Francis from a couple movies that he's done with him. Oh, and I also heard D.B. just showed up.

I know a couple of actors just literally got on a plane and showed up there. And we're like, we're here. We want to be in the movie. And Francis was like, oh, okay. Well, here, go grab a hat. Wow. Dude, 100%. Baltasar Getty did that. Can you imagine? Yeah. It's like, I love when actors do that. So I did a movie with Peter Bogdanovich.

and who made three of the best movies of all time in a row, I think. Last Picture Show, Paper Moon, and What's Up, Doc? Love What's Up, Doc. Oh, amazing. Yeah, amazing. And Barbara. Barbara in that. Woo, baby. With the...

bra with the hands on it. Yeah. Amazing. Yeah. Yeah. And I was in makeup one day early morning and somebody came in and said, Mr. Lowe, can I, can I get you a walking burrito? And I, I go, yeah, sure. And I said, it was Eric Stoltz. No. Eric had flown down to the set to shadow the,

Peter. Amazing. I love when actors do that. It was so great. He's another one. He's in our club. He's in the club. Yeah. Actually, he was in Back to the Future and they let him go. And they said, you have 24 hours to make a decision as to whether or not you want to replace him.

And I thought, why did you let Rob Lowe go? I mean, excuse me, Eric Stoltzko. He's such a terrific actor. I don't know. You know, he was in Mask. He was so amazing. Yeah, Mask, another one. And I thought, I don't want to make the same mistake because we're kind of similar people. And I'd never heard of Zemeckis. Like, who's this guy? Who's this whippersnapper Zemeckis? Spielberg is producing, but...

I don't know, Zemeckis. I never heard of him. And so I passed. But you know what? Nobody in the world could have played Marty McFly better than Michael. He's just genius in the film. And it needed to be a smaller person. I'm 6'3". And it needed a person that was acting on the front of their foot. And if we said we're dogs instead of humans, I would be kind of like a Labrador person.

Or a golden setter. I like you as a golden retriever. I'm anointing you a golden retriever. And it needed Jack Russell. You know, that character is kind of... And Michael was just great. Michael was... Nobody could have played it better. Okay, so I... My favorite 80s thing ever, ever, ever, ever, ever, ever is Madonna showing up in the Appalachian Bar.

in Vision Quest. It's my all-time 80s filmmaking. By the way, who produced Vision Quest? Was it Goober Peters? It was one of... Somebody like that, right? Or was it... It was Peter Goober and... Yeah, it was Peter Goober. No, what's the other guy's name? John Peters. John Peters. Goober wasn't involved. It was just John Peters. Okay, because Peter Goober produced Youngblood. Yes. I knew. And Flashdance. Flashdance. So it's my favorite thing ever. It's like...

It's she's not, there's no reason for it other than it's great. It's like, and it's a great lesson. Sometimes you just want something great. It doesn't need to be earned. It doesn't need to pay off. It's just like, I'm happy to see Madonna in this working class steel town bar and

singing an entire fucking song basically while the movie just stops and it happens and it goes on, right? I mean, that's the way I'm remembering it. I think that was because in those days it seemed that because it's a Warner Brothers film and Madonna, I'm guessing, was a Warner Brothers artist that that was sort of like, you've got to put one of our artists in the film. And so she sang Crazy for You and Gambler. Yeah.

And Crazy for You became a big hit. And by the time the film opened up around the world, they changed the title of the movie to Crazy for You because of the success of that song and Madonna's unbelievable rise to stardom with the album Like a Virgin. I remember it like it was yesterday. I love that you had to have a...

hit song in your movie. You absolutely had to. And we had a, I mean, that's probably the most amazing thing about Vision Quest is the soundtrack. Yes. Journey, Red Rider. I mean, it's, it's a chock-a-block with the great songs. It's so good. I got to ask you also about, and I saw this going over your

my packet that I was delivered about you. Tell me about Matthew Modine saves the alpacas. What is this? What is this fresh hell? What is it? That was a friend of mine, Blair Singer. He wrote a play where I was going to play a person named Matthew Modine. It wasn't, the play is not, it's just a coincidence that Matthew Modine was playing Matthew Modine. Amazing. They kind of pinched the idea for that movie that Nick Cage made last or two years ago. Um,

But it was, yeah, it was really fun. It was like how ridiculous that there was an actor, he's down on his luck, he's smoking pot, he's living in a trailer out in Malibu.

And he wants to make a comeback. So he goes to see a really famous, powerful publicist played by Perry Galpin. And her assistant is French Stewart, a wonderful actor. And French Stewart tells her, if you were able to turn this loser into a big movie star, you would truly be the most powerful publicist ever. And so she takes me on to prove to the world that

that she's the most powerful publicist. And so what she decided was that I needed a cause, that there had to be something that I could take on to save something, to show the world that I'm a good guy. And that was saving the alpacas. That is...

Such a great idea. Yeah. Did you guys film it or was it just a play? We didn't film it. No, it was just a play. It was really silly. Sounds great. The best thing that came from that was Kirk Douglas came to see the play and he wrote me a really beautiful letter, very complimentary. How does Kirk Douglas, I love this. By the way, this is just an aside. This is what's great about what we do is you never know what leads to anything else. Yeah, that's true.

That's true. So I'm a big believer in unless it's really, really bad, say yes, because you never know what's going to come of it. How did Kirk Douglas end up in the audience? Well, I guess it was easy for him to come down from the mountains of Beverly Hills and go to the Geffen Theater. It was there by UCLA at the Geffen Theater.

And people said that he was falling down in the aisles. And Kevin Nealon, a wonderful comedian, says, no, he was just falling out of his seat. He's an old man. Bless him. That's so good. That's really good. Where else can you go surfing and skiing?

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He did Miracle Worker with Abigail Breslin, but we have to talk about Stranger Things too. The best experience I've had doing a play was going to London and doing your friend Aaron Sorkin's adaptation of To Kill a Mockingbird in London. No way. I didn't know you did that. At the John Gielgud Theater. I did it for almost a year. Okay. Tell me how involved Aaron was or wasn't. Well, he wasn't because...

But I hesitate because he had a health issue. Oh, okay. Right. But he wrote me a really nice letter and we communicated via email for a little while. Because he... You would have been great... Because I did... Aaron and I did A Few Good Men at the Haymarket together. Wow. So there's something great about doing a Sorkin piece in London. The audiences must have loved it. It was amazing. It was...

Especially at this moment, because people that look like this, where we are politically in the world, and just this moment, about 80% of the scripts, they get sent

and opportunities that I have are to play some horrible person who's stealing money from a bank, a corrupt politician. You know, it's just, you know, my wife says, it's just your turn, you know? And I, I never wanted to play bad guys. I always wanted to be a person who was solving problems, not, not the person creating the problem. And so to be able to go to London and play Atticus Finch, you know,

For almost a quarter million people saw the play. It was pretty special. How long was your run? As they say, I was in England for 10 months. Oh, my. Yeah, that's about right. Mine was a little less, but it's a long... Did you ever have... The play is so in your bones now. You've done it for so long.

Yeah. That, that it's, it's, it's, it's a different level because it is, it's truly people talk about the play being in you. Yeah. There's no, there's no memory. There's no cues. There's no nothing. It is in your actual mind.

And I think that's a good place for a character like Atticus Finch to exist. Part of the reason that we do this is to have the opportunity to experience other people's lives and to learn things about our own existence and what we're doing here on this planet. And so when you get in the skin of Abraham Lincoln or Abraham,

Samuel Clemens, you know, to have Mark Twain inside your body, it's a good thing. Did you ever see Val's Mark Twain? Only on film. Yeah, that looked like it was amazing. I would have loved to have seen it in person. Tell me about Robert Altman. I had one dinner with him in Paris once, and it was just after streamers, in fact.

I think he might have been on the press tour. Yeah, he might have. You could have been really good in OCN Stiggs, which he did after Streamers. You would have been really wonderful in OCN Stiggs. I don't remember the actors that he ended up casting in it. But I had a great time with Bob. We worked together three times. We did Streamers and then Shortcuts. And we did a play, an Arthur Miller play together again in London called Resurrection Blues. Yeah.

And Bob was, he was dying when we did the play. He knew he was dying. And it was, it's a really special moment.

to be with someone when they're getting ready to transition, you know, and they've accepted it. And, you know, so I just tried to be kind to him and loving to him and as generous to him as he was to me because he gave me really my first job at Streamer's.

That opportunity for a young actor to work with a director like him when I'm 20, 21 years old, it was an extraordinary experience and opportunity. Those are great moves. What a legend. They don't make him like him, for sure. He was the person who I felt that more than any director I've worked with was like a conductor. That our job as performers is to...

not necessarily understand the entire film, but what your place in the film is. So if we think of ourselves as musicians in an orchestra and you're playing the violin and I'm playing the cello, our responsibility is to go home and learn that piece as best we can and then come into the room, into the

the orchestra and enjoying those other musicians who are stagehands or grips and electricians, sound people, hair, makeup, everybody that makes up the making of the film. We're all part of this incredible orchestra. What Bob was, was the conductor. He'd say a little bit softer, a little bit more, a little bit less.

And cueing people to come in now. That's how Bob directed. He was really like the guy standing in front of the orchestra. And your responsibility was to play your part the best you could and be prepared. And then when you have your moment, to deliver it. I was very envious of people that got to work with him. He was so great. Nobody could compare.

His ensembles are unmatched, really, when you think about it. Yeah. And he was drawn to that. He was drawn to these sprawling character pieces. Yeah. So on streamers, the Best Actor Award was given to the principal cast, David Allen, George Zunzid, Guy Boyd.

Mitchell Lichtenstein, Michael Wright, and David Alan Greer. And it never happened before. They didn't use that word, the best ensemble. They didn't have that word. So it was this unprecedented best actor award. And then on Shortcuts, it won the Golden Globe for best ensemble. And then that sort of became something that people did, was to give the cast an award. And Bob told me,

And in Cannes, he said, that's the best award that the best recognition that I could ever receive as a director for the cast to win, because that's what I do. You know, I bring together these incredible groups of people like on Popeye. You know, I know I know the movie was really dismissed, but what an amazing cast. And and, you know, there's so so many the cast.

There's so many of Altman's movies that are just these incredible groups of people. What's funny, we come full circle talking about the Screen Actors Guild, and that award, we're in award season as we're having this conversation. And the Screen Actors Guild Award, I think, has proven itself more and more and more and more to be really the...

only true award that's about pure acting. It's, there's very little politics in it. There's very little campaigning that goes on. It's, it's actors only voting for actors and, and that,

you know, there's that ensemble award as we're talking about is, is always so amazing. Like that they every year in and year out, regardless of how many ensembles there are, they treat movies as ensembles. And that award is always so cool. I think. I agree. Yeah. And you got to run so you can come out and deliver that super boring speech that the, uh, that the screen actors go president always has to. Hello. I'm the president of the screen actors guild. And I was like, Oh boy. Yeah. Oh no. Yeah. Um,

This has been fantastic. I am so glad that we got to reunite so many years later. I hope we can do it someday in person. I don't know if you remember, Rob, but something really terrible happened on Hotel New Hampshire. And I'm happy to have the opportunity to apologize to you once again. I know what it is. Yeah, I kicked you in the face. It was, you know, I don't know if the stunt coordinator, who is to blame, but

And if there is any reason to blame anybody, it was just a terrible accident. But I was supposed to kick and I caught you in the nose and you bloodied your nose. And I felt so, I mean, I still feel bad about it. I've had great, thank you, you're so sweet. I've gotten great mileage.

out of whenever I'm doing some phony baloney stunt, they're harnessing me up to do some shit. And I'm like, I'm like, don't worry. The only time I've ever been hurt during the status of Matthew Bodine kicked me in the face. So I've sullied your name all through the stunt community. I'll have you know. I'm so sorry. I remember it. Well, I obviously remember it vividly. I came to in a makeup chair. So,

So amazing. Yeah, and they were steel-toed boots. So I'm going to make sure next time I see you, you're in Crocs. Yeah, exactly. All right, brother. This is so fun. Thank you so much for coming on. I appreciate you so much. Thank you, Rob.

That's a great trip down memory lane, for sure. He's as sweet as I remember him. Such a kind heart. And the fact that he played the bad guy, two bad guys, and the only thing we did together just makes me laugh. Thanks for listening today. More to come next week right here on Literally. Don't forget to download Rest of the Season and tell a friend and give us a good review on Apple. And I'll see you right here next time on Literally.

You've been listening to Literally with Rob Lowe, produced by me, Sean Doherty, with help from associate producer Sarah Begar and research by Alyssa Grau. Engineering and mixing by Joanna Samuel. Our executive producers are Rob Lowe for Low Profile, Nick Liao, Adam Sachs, and Jeff Ross for Team Coco, and Colin Anderson for Stitcher. Booking by Deirdre Dodd. Music by Devin Bryant.

Special thanks to Hidden City Studios. Thanks for listening. We'll see you next time on Literally.

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