[upbeat music] [audience cheering]

Wow.

How awesome was this, people, to watch a beautiful 35 millimeter print? [audience cheering] These guys did.

This is amazing.

So cool.

Um, I just wanted to ask you guys, I mean, before we open it to questions, I just thought I'd throw it out to each of you real quick to say I'm curious.

Like, when's the last time you saw it with an audience in its entirety like this, and w- w- what do you make of it? You know, you have an interesting perspective, you know, on it, having done it way back then.

[laughs]

junior

level, which is something in some cases we hadn't, you know, qualified for 20 years.

Yeah.

So that's the outcome that they want, how we teach coaches.

So you've got the C licence, the B licence, the A licence and the pro licence, and that's changed.

C licence really is an introduction, you know.

Yeah.

and

So if we go back to those two years at Golden Boot winner for two years in a row, what was clicking for you during those times?

You know, I think I just found myself.

I was, as I said, tall, crumb, quick.

I wasn't technically – I wasn't – I was a sprinter.

So there wasn't too many people in the league.

If I could knock the ball – There weren't too many people that could catch me.

So that helped.

What other memories were there?

How do you convey that without getting into any kind of, you know, stereotypes or over-the-top? The subtleties, I think, are really important here.

Right.

Well, Amy Morton, who directed a play who I've known forever and have been on stage with, and, you know, I'm just the biggest fan, you know, of hers.

And she was very, very... specific about the way to go about trying to achieve this.

It starts with really just fundamentals at first.

I mean, there's, you know, both Tim and I had to do something vocally that would raise our pitch.

We didn't want to go, you know, there's the choice to go like, you know, falsetto almost, but that, I don't think that would sustain itself for the length of the play.

How do you calibrate your work to go so effortlessly between those mediums?

Yeah, yeah.

So that, I had already done that, so there was, you know, there was that experience, which was, that was very freeing and, um, and I, I, I gained a lot of confidence in that.

But that, but alsoIt, it wasn't just improvisation.

They wrote a great character.

And, and their process, which was a lot like Veep's was, w- which was to get what they put on the page in the can first-

That's what my training really prepared me for."

I'll tell you, well, there wa- there, there's a role.

I'll tell you a, a moment when I was probably still in high school, and the story of this, this material will, will, it'll, it'll answer the question, really.

That just came outta nowhere? Are you proud- you-

Well, pot licker- pot licker came from- I- when I did a- I did a big western in Montana, actually played Custer, and they- they sent me out with this wrangler.

And we were riding around in Montana and- and he- he would look at elk running and he would go, "Look at that little pot licker go!"

(laughs)

And I'm doing a scene with him, and it's as if you're- you're doing a scene and you're, you know, the- like- if he's across from me and the camera's here, and you kind of felt like- you know, I kind of feel like- turned around and go, "Are you getting this?"