Squealing like a pig with Jordan Lund (Fletch Lives)

EPISODE 36: Interview with Jordan Lund

The FletchCast crew sits down with actor Jordan Lund who played the Deputy Sherif, one of our favorite roles, in "Fletch Lives." We talk with Jordan about his start in the business, his theater training, what it was like behind the scenes of Fletch Lives, Lock Up, and Doc Hollywood. During this 1 hour sit-down,  Lund speaks out about his co-stars and the improv with Chevy Chase that turned into the some of the most memorable moments of the Fletch sequel...and of course, he gives us that famous squeal.

Follow Jordan Lund on  Instagram: @jordanlundactor
Website: http://www.jordanlund.com/
IMDb: https://www.imdb.com/name/nm0526185/

Want to hire Jordan Lund as an acting coach?
Riverdale Acting Studio: https://www.riversideactingstudio.org/
Riverside Film Acting Class: https://www.riversidefilmactingclass.com/

FletchCast is Your Ultimate source for everything Fletch: the books, the movies, & the latest news about our favorite journalistic reporter, Irwin M. Fletcher.

... making sure Fletch Lives forever!

Host: James "Laker Jim" Kanowitz (@webguy911)
Co-Host: Jake Parrish (@jakelparrish)
Co-Host: Robert "Big Bob" West


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P.S. Have a nice day. 

Fletch  & Fletch Lives are Copyright 1985, 1989 Universal Studios and distributed by MCA/Universal Pictures.  The Fletch Soundtrack is Copyright MCA Records. Confess, Fletch is Copyright of Miramax with Paramount distribution. All images and sounds are the intellectual property of Universal Studios. They are used only with the intent of public appreciation of a great film and possible publicity for its place among the great comedies of our time. We imply no rights to the characters or intellectual property created by Gregory McDonald, Universal or Miramax and is used for educational purposes only. 

Transcript

SPEAKER_03 0:00

Hi, this is Jordan Lennon, Deputy Sheriff from Flex Lives. And after I arrest someone for molesting a dead horse, I'd like to relax back at the station with an episode of Laker Gyms Fletchcast.

SPEAKER_08 0:19

And around the world, we'll be back.

SPEAKER_01 0:56

Thank you, Sammy, and welcome everybody to Fletcat. I'm your host, Legacy Jim. Joining me as always, my co-host, two men who multiply by masturbation. Jake and Big Black Boys. It's not that uncommon to find actors, cast who are willing to talk about the original Fletch. There's a mini documentary on one of the DVDs, but rarely do Fletch fans have the opportunity to hear from anyone connected to Fletch Lives. But that's exactly the opportunity we have today. Joining us on the show is the Deputy Sheriff of Thibodeau, Billy Bob himself, Jordan Lund. Jordan, welcome to Fletchcast.

SPEAKER_03 1:39

Thanks a lot, Laker Jim.

SPEAKER_01 1:41

Nice to be here. You know, Fletch Lives is one of those movies that I think got panned early on and over time has become more a little more respected by fans. By fans, maybe.

SPEAKER_05 1:58

For me, this is special because everybody that listens to our podcast knows that I hold Fletch Lives just as high as I hold Fletch. So this is a big deal for me. I love the movie, and despite how it may have aged, I think it's a fantastic movie.

SPEAKER_03 2:11

Well, you listen, I was I was actually just watching it just now before I got on with you guys. I was watching and I I stopped it, and uh the scene I stopped it at was just after uh Chevy grabs Julianne and grab pulls her into the shower, takes the towel and throws it over and says, Yeah, we need a new one. This one's too wet. The scene just prior to that, when they're sitting on the bed just before he goes into the shower and she's just come out of the shower and they kiss. That was that's like a really creepy kiss for a family comedy because they both went in like with open mouths, and that was gotta be all Chevy because he was, you know, I I believe a bit of a horn dog.

SPEAKER_07 2:54

So you better get cleaned up.

unknown 2:57

Yeah, to clean my mind.

SPEAKER_03 3:00

I I don't know, I didn't know him personally. I don't know him personally. I can't speak to any of his actual personal behavior, but it certainly came through in all his improvising. Listen, I think it's a it's got some funny stuff in it, it's got some goofy stuff. I was also just before I was looking at it, I was reading some things like about Gregory McDonald, trying to remind myself of the books. And I I read all of the books, all the Fletch books. And it's been a long time. I think I I gave away a garage full of books uh about 10 years ago, and that was among them. And I couldn't remember any of them, but then again, I'm 65, so uh that's a normal thing to happen.

SPEAKER_04 3:45

Now, was this prior to working on the movie?

SPEAKER_03 3:47

Yeah, I was a fan before uh I uh I ever got an opportunity to audition. I was a big mystery and detective uh fiction fan, and I was particularly attracted to what they call the gifted amateur. Uh, and that's who Fletch is. Someone who's not a cop, who's not a detective, because I didn't really like reading cop or procedural stuff or detective stuff. I like reading about someone like Fletch. And and so I I was like that, and so I liked um Gregor McDonald. And also Gregor McDonald had a cynical edge that I always liked in those books. You know, he had a sense of you know, a kind of a skewed vision of the world. And I want to say that I think that the difference between those books and Chevy Chase in the movies is his cynicism is more sarcasm, and and it's more it's a little it's a little strident sometimes, his sarcasm. But it's it that was his shtick, that was always Chevy's shtick. It's his shtick at Saturday Night Live, it was his stick for Kentucky Fried Movie and all the other even the rom the rom coms that he made, there was always still some kind of wise ass, you know, sarcasm that you know was part of it. It fit Fletch to a certain degree.

SPEAKER_01 5:06

Amazing to hear that you are a fan of the books. But what bad luck that you get the one movie that's not based on a Fletch book.

SPEAKER_03 5:14

When was that? I was 88, so I was 31 years old. Um, when I grew up, I I used to imagine what it would be like to work in in the New York theater in the 1930s and to be an actor in on stage in London, whatever, but I never dreamed about being an actor in movies or TV. It was never an option. I never even considered it. I I was doing Shakespeare on Broadway in 1987. I turned 30 that year and I thought, what the hell? I you know, maybe I should consider doing this thing, other than this thing that I've been concentrating on for all these years. And I had an agent that I started working with that year who suggested I move out to LA. And I said I thought, as soon as I get a few jobs here in New York, and I did, I moved out. So I always thought of LA and the movie and TV business as just a good way to make some money if I was lucky enough to get the jobs. And I was. I've actually been taking my pension from SAG for 10 years now. Um, so it was a good way uh to make some money, but I I didn't early on have a lot of respect for the medium of movies. So the idea that they would, you know, cobble together a movie for based on a character in a book that I respected meant nothing. It was because movies were, you know, it was just fun. Everybody's having a good time. Was Fletch Lives your first film? Uh no, it was it was one of them. I um they all happen in the same year. Jack and I Fletch Lives Lock Up with Sylvester Stallone. We shot some of that in New Jersey at Rahway Prison and some of it in New York. Uh it was funny. On Lock Up, Sylvester Stallone had seen it, um, actually, uh when we were shooting Lock Up. Um, I'm trying to guess if he had seen an advanced thing, but he used to he used to give me shit on the movie about being that deputy sheriff and uh you know, yeah, you were in the Funny Fa movie or whatever, whatever that was with the with Jovi Chase, you know.

SPEAKER_06 7:18

And um, yeah, I heard him a lot.

SPEAKER_03 7:23

Um, I I worked on that movie for four months. Um that was one of those things that was also during the writer's strike, uh, where most of that movie got uh written by Stallone. Um after the first day of shooting, they gave us something like 35 pages. And as you know probably know, one page equals usually one minute of screen time. So that wasn't a full-length movie, and we just kept getting new pages every day, and they were mostly written by Stallone. Um, sometimes we got handwritten pages um that his assistants would make copies of to give us. And I got lucky with that one because he he liked the fact that I was uh kind of a dick in that movie, and he wanted me to get my come up, and so I ended up shooting more and more scenes just because Stallone wanted to, you know, make me to be a really bad guy. And then when we finally shot our final scene, which was a big or my final scene, big fight scene, then um we spent five days working on that, and they were you know arguing, do we kill him? We have to do I think we have to kill him, he's such an asshole. No, or or do we just you know put him out of you know, out of his misery for a little while. So that was that was kind of fun. It's too funny, yeah. So it was one of the first, so I had not done much stuff on screen, and I was just watching myself in that that Billy Gene King Bugbusters scene uh looking at myself, boy. I I I did not have a lot of skill as a film actor, and and I've taught film acting for a number of years, and uh I would not want to show that scene and say this is an example of how you do it. Well, if you can't see it, how do you know you got one?

SPEAKER_10 9:04

Well, I'm glad I asked that question.

SPEAKER_01 9:06

We're a little naive to the process of movie making. How much did the writer's strike impact the production of not having the writer on the set? How did that affect the movie?

SPEAKER_03 9:15

Uh you know, I listened to you the um your the other two podcasts, and you talked about Leon Capitanos, and you know, he he had established himself pretty well as a screenwriter at that point. He was kind of uh he and Paul Mazersky teamed up and they did three pretty big hits together: Moon over Parador with Richard Dreyfus, and also again with Richard Dreyfus Down and Out in Beverly Hills, and Moscow on the Hudson with uh Robin Williams. So he did he wrote all three of those before Fletch Lives. So the the the version that we got from him was solid, uh, but it wasn't Chevy Chase solid, it was different than that. I was just reading about Capitanos because after Fletch Lives, that was his last movie. Um he stuck around in Hollywood for a few more years, but didn't write anything else. And he has a degree in poetry, uh, and uh he's written, I don't know, about 10 novels since then. And he lives in North Carolina where he's from, and he's he his work was always uh uh uh intelligent, politically savvy, funny, but not funny like goofball funny. So it had to be tailored for Chevy, but and it would have been tailored because most uh sets what ends up happening is is you get rewrites. I mean, what'll happen is somebody will write the script, then they maybe attach a star to it. Then the star wants to craft the script in their own way, so they fire that first writer and hire another writer, or maybe that's a team of writers this time. Like you've heard the names Lol Gans and Babaloo Mandel. You've probably seen their credits many times. City slickers and things like that. Yeah. And they've written a ton of stuff, and and they'll be the next team that'll come in, and then they'll get fired and they'll put in another team to make some other changes. By the time you get into production, you're going to be getting pages on a daily basis. With uh Fletch Lives, there may have been some new pages, but it was mostly improvised. Most of everything that was done was improvised, and Chevy is just a master. I mean, I his skills as an improviser was just unparalleled. He would come up with some stuff. Okay, so that name Billy Jean King Bugbusters. I wish I could remember, but I'm 65, and you know, probably uh over the years I smoked too much dope and drunk too much whiskey to remember the details. Nothing wrong with that. But uh but he went through about five or six different names when we as we rehearsed it, that he would come up with. And the scenes, like the the line, the material uh uh you know, reticularious Mario Cuomo.

SPEAKER_02 11:54

What's what? Reticular so you can't even say it yourself.

SPEAKER_03 11:57

That was about the fifth or the sixth choice uh after trying a bunch of different ones. Uh, we shot that scene in at Silver Cup Studios in Queens. And uh and what had happened was I was uh I was in New York and I was cast in the movie, and the first scenes I had to do were in Los Angeles at Universal Studios, and those were the scenes in the jail and the scenes where we arrested him in the apartment in the house. Um, and uh and and so uh with Hal Holbrook and uh and Randall uh Tex Cobb. Take your pants off. He really is a great guy. I mean he was then. Um as a matter of fact, just a little I remember we were both staying at the um Sheraton Universal Hotel, which is right there next to Universal Studios, and they were picking us up in a van to take us into the studio for us to you know work together. And they pick us up at the hotel, and he's got a handful of books with him. And I look at the spines of his books, and one's like a physics book, and one is like a history of something, and I mean, like a really, really smart guy who was really interested in learning stuff and and just knew some shit. I mean, he he he had that look his face, you know, that brow that made him look like a Neanderthal, but he you know, and he did take some punches in his life, but he was a really smart guy. He he knew how to play that character anyway. Um, so we shot that stuff at Universal, and then I went to work at um at Silver Cup, and that you know, I don't know what they didn't use from the Universal shots, the things in the jail and the arrest, but I kind of manhandle them a little bit. I throw them into the into the cell bars and then throw them into the room and say the shit like, you know, you smell good too, you'd be popular around here, or whatever I said. You smell nice. That was improvised, by the way. Um, and uh uh and and they said, Oh, we gotta we gotta get a little revenge. We gotta get a little revenge. So so they decided to pump up that scene, uh, you know, with a bugbuster scene a little bit. So they did. And then they watched that and they thought, oh, that's good, but he's not humiliated enough. And they actually, I was very lucky because of this, uh, f for financially, it was very fortunate. Um, because they decided, oh, we'll bring him down to Gonzalez, Louisiana, where they were shooting all the you know the uh stuff down there, the the exterior um plantation stuff, and and come up with a gag. And the gag is not really in the movie. I mean, it's the the costume party scene uh where everybody's dressed, and I was dressed in like a Confederate general outfit with my wife, who was a local extra that they put on the horse and buggy uh with me, and the gag was obviously the the caddy with no brakes, would bang into the back of the buggy, and as I was opening the door for her, it would knock me over. And what is not shown in the movie, and what was shot, is it knocks me over into a fountain that's right there in the driveway, and the fountain in the middle of the fountain is a uh a statue, and it's a statue that's a replica of the the Belgian statue of the pissing boy, the pissing cherub. And so I would land in the fountain and have my face pissed on in fairly close-up by the little pissing boy. But they decided to leave that out. They thought that was going a little bit too far.

SPEAKER_04 15:40

But you did shoot it.

SPEAKER_03 15:41

Well, we shot it. I was, you know, I was disappointed that it didn't get in, but it was it would have been fun. But in any case, that added to my money also because it was one of those days that goes on forever. As you might imagine, it's a plantation that they're renting out in Gonzalez, Louisiana. I don't know what exactly the what month it was when it happened. I can't remember. I could go back and look, but uh it was about 98 degrees, and the humidity was about 103 uh without raining. I mean, it gets nasty, like living in pea soup down in you know, Louisiana. And uh, and I was lucky, I had a little little half a trailer that I got to be in, and it was air conditioned, and I didn't have to put on my wardrobe, which was a heavy wool Confederate uniform, uh, until just before you know my scene. So I just hung out. I had a couple of books with me, I had my walkman at the time, my music, I and I smoked cigarettes. So it ended up being about a 23-hour day, and and I just stayed there forever and ever. Ran out of batteries, had to go get batteries from the prop department, ran out of cigarettes, had to get cigarettes from the prop department, had nothing else to read, started wandering around the set and meeting people, but it was too hot, and then finally I got to to go and work. But in SAG, there's this thing where over time you get like time and a half, uh, double time. There's a certain point where it gets to be double time, and then there's a time called golden time, and I'm not exactly sure how much, but it it ends up being exponentially a lot of money for a day's work. And um, so uh Fletch Lives has helped to pay for a number of uh expenses over the years.

SPEAKER_01 17:32

So it's treated at least a meal or two for you and your wife.

SPEAKER_03 17:34

Yeah, at the very least. What was Chevy like on the set? Work hard. He he's a hard worker. I mean, when I was I was just looking now at some of the gags that he's doing when he leans against the railing on the front porch in the daytime when Becky, is it Becky? Becky uh goes, drives off, I guess, and he's he's where I think he's wearing shorts and a t-shirt, like he just ran or something, and he's got a towel around his neck, and he's very casually, and he very casually leans against the post and and falls down and does that, you know, basically physical comedy. That's what he got famous for on Saturday Night Live. And and he hurt his back pretty badly, hurt himself pretty badly. He had painkiller issues for many, many years. Um, he uh he carefully and meticulously plans out physical comedy like that. That that that wasn't just oh, give me a you know a rotten piece of railing and I'll fall into it. It's it's you know, he looks at the thing, he sets it up, all kinds of bits, bits like uh this one made me laugh out loud, which I hadn't I'd forgotten completely. When he uh drives into town and he hits the um the parking meter and knocks it over and picks it up and puts money in it. Now that that is that was genius, the picking it up and putting money in it. And you know, and then he has the line that he can refer back to it. Yeah, you know, I still have five minutes left on the meter. You know, let's go inside and talk. And and he would do, you know, his those are his ideas, one after another, you know. Uh he kept coming up with them. He wanted to work. One of the most fun things for him seemed to be to just kind of jam. So I remember standing around at Silver Cup Studio, just the three of us standing around and just jamming. And, you know, Michael Richie, I mean the three of us, Michael Richie and him and I. And and Richie would throw in something, and Chevy would try something. And and I decided, you know, hell, they they hired me for this role. I, you know, I have no idea how to be a movie actor, so I'm just gonna do what I do. And so I just kind of jammed with them and make sh shit up. And and I'm pretty sure that the scene as originally written was substantially different than what we ended up shooting, and that was because we spent four or five hours just you know jamming, you know, like jazz musicians, and that's the way he seemed to behave. Um, I never saw him treat anybody badly on a set. You know, I saw that a lot with Stallone on Lock Up. Wow, he he used to you know harangue people. I I was fortunate. I he liked me, and that's why he kept you know having scenes written or writing scenes for me. Um, but uh he uh he he seemed to be you know kind to everybody. You know, I you see I I heard what you guys said. Now I'm gonna I'm bouncing around at different some topics, but I heard what you guys said about I guess comp compromised nature of Fletch's politics or its approach in terms of how nowadays it would not be considered you know acceptable. But the fact is, if you look at the interplay between Chevy and Cleavon Little, who is he's this guy's a Tony Award-winning actor who's brilliant, he you know, uh blazing saddles, brilliant actor, just great actor. Uh Chevy Chase sees through his bullshit persona in an instant.

SPEAKER_01 21:12

No, you're right. And he actually says that in a voiceover.

SPEAKER_09 21:17

I liked him, but I wasn't buying his Amos and Andy routine. He seemed a lot smarter than that.

SPEAKER_03 21:21

Yeah. And Chevy character saw right through it, right from the beginning. Why did he not run away in the Klan meeting? And so there was this understanding that Clevon could actually say, uh, calculus could actually say to him, uh, it's not a good place for a black man to be running around in the woods unless he's handcuffed to a white man. And and Chevy understood that he was from LA, he was sophisticated, he was not racist, he was clearly a Lakers fan filled with black people. You know, well, of course, there are plenty of racists in Los Angeles who are Lakers fans, but there was this understanding, and so that's why he could joke about it with him. So it wasn't that he was saying particularly racist. Things and and things like the Natchez Nazis with the Confederate flag and the swastika on their helmets. Yes, it would be a difficult thing to pull off in 2023. But their portrayal of these people in the South, I'm surprised that, you know, Alabama, the song that was written, you know, that done by Leonard Skinnard, who was mad at Neil Young because he wrote about Southern men. That I'm not I'm I'm surprised that more anthems weren't written about this portrayal of Southern white trash idiots in this movie. Because they those people were not treated kindly. You know, what can I do to you for you? You know, lines like that. But you see, and going back to your actual question, uh he uh he was great on the set, he treated everybody uh with respect. That was what I saw. And but like I said, I I wasn't there that many days, paid for many more, but only there a few. And and I just saw him as someone who worked his ass off.

SPEAKER_01 23:30

The pressure was really all on his shoulders.

SPEAKER_03 23:32

And the movie was what it was because of him and his work, you know, and Michael Richie knowing how to steer him in the direction to, you know, the good directors know how to leave an actor alone to do their best work and not try to shape them with their own vision. And he was one of those people. You know, he he made some great movies. You know, I was more excited about working with Michael Richie than Chevy Chase. Did you ever see The Candidate with Robert Redford? Sure, Peter Boyle. It's an amazing movie. Michael Ritchie directed that and also Downhill Racer with Robert Redford. I mean Bad News Bears. Oh, and bad. I mean, he was all over the map. His his stuff was all over the map. Very talented guy. Uh Harvard grad. Um, just like Gregory McDonald, a couple Harvard grads.

SPEAKER_05 24:19

What about uh what about Hal Holbrook? Did you have any interesting encounters with him?

SPEAKER_03 24:22

Well, you know, he's a guy who comes from the theater originally. You know, he made he made his bones playing Mark Twain for about 75 years.

SPEAKER_04 24:31

For years. He had the one-man show. It was great.

SPEAKER_03 24:34

But, you know, he uh I he was very nice. He was very he was a very listen, for the most part, you know, Kevin Spacey notwithstanding, uh, most of the people who come from the theater are people that you can uh really feel good about. Uh listen, I I've met Kevin Spacey a few times back in the old days in New York, uh because he went to school with a whole bunch of people that I worked with, and so I socialized in some of the same circles back in the late 80s. And he was, you know, a hardworking, decent guy. He just, you know, everybody sort of knew he had a he had a predilection for a certain kind of rough trade back then that uh they they knew about anyway. Uh in any case, uh I I worked two days uh with Hal Holbrook uh in Universal, and he was a guy who was on time and he was he knew all his words, and he, you know, he was generous. You know, you you always look for actors on a set who will do things like read from off camera when they're doing a close-up on someone else in the scene. And not every actor does. There's a famous story about Marlon Brando in uh On the Waterfront in the scene in the back of the car with Rod Steiger, where he, you know, when he has the famous line, uh, could have been something, could have been a contender. Well, apparently uh Rod Steiger shots not all of it, but shot some of his close-ups with Brando not there because Brando had a psychiatrist appointment that he had to get to. And and Chevy Chase was you know good at um doing that as well, being off camera, but uh but Hal Holbrook, he was very, very generous in that regard.

SPEAKER_09 26:14

Let him hear that bullshit chuckle, Ham. I love that.

SPEAKER_03 26:18

A few years later, uh, that movie was 89, and I got married in '93. And the year that I got married, my wife and I uh we went on uh kind of a honeymoon trip uh to the Canadian Rockies, and then at the end of our trip, we ended up in San Diego to go see. Um we had been given a gift of a hotel room for a weekend. And so that we finished up our honeymoon trip with the weekend in San Diego and went to see Hal Holbrook playing King Lear at the old Globe Theater down in San Diego.

SPEAKER_01 26:46

We come from the earth and we return to the earth, and in between we gone.

SPEAKER_03 26:52

Anyway, yeah, so he was nice.

SPEAKER_01 26:54

Now I had a chance to look over the Flesh Lives script this morning, and one thing I noticed is that the squeal like a pig part is not in the script. Now, is that something you and Chevy come up with offset or off-camera and then do? Is it something you guys do on the spot? How did that come about?

SPEAKER_03 27:10

He said uh we decided, oh, we gotta figure out some way to get me down on my hands and knees. That's all he wanted to do at first. And I if you watch the scene, the one that's left in, and I I'm always a little pissed off every time I see this at what I did was we rehearsed it and we decided on what to do. And in the one that the print that's there, the final cut, is me starting to go down for a second and then coming back up and him saying, the only way to get that out is to get as close to the floor as you can. I was anticipating that I knew I was gonna have to get down on my hands and knees, and so I started getting down hands on my knees and realized, uh oh, he hasn't told me to do that yet, so I better get back up. So that was the first thing. Uh and then we started to do the squeal like a pig. Actually, the squeal like a pig thing is actually a funny story because uh we did that and and and I squealed like a pig, and we were out at uh Silver Cup Studios shooting that's that scene. Um, but they decided, I don't know, in post-production a couple months later, oh Jordan didn't squeal enough. We need more squealing.

SPEAKER_05 28:22

You gotta be kidding.

SPEAKER_03 28:23

So they brought so they brought me into a sound studio in Manhattan uh where I went in because uh, you know, you at the end of the movie when they're in post-production, there's something that's called ADR or additional dialogue recording um that we do um looping, uh it's sometimes called, uh, where there's some problem with the original recording, you know, uh a plane or somebody made some noise or the final thing is wrong. So they you have to come in and you're sitting there recording words to your own mouth. You're watching on a big screen, your own mouth, and you have a like a headset and usually one thing, one can, and and they have these beeps, and it goes beep, beep, beep, beep, beep, beep, beep, beep. And where the fourth beep would be is when you have to start talking, and they've timed the beeps up to the cam the the what's on screen. Well, they brought me in, and I had one or two, you know, ADR things to do of lines of mine, but for the most part, they said the reason we brought you in is because we want the squealing to go on longer. And so they had the movie up there, and so they're showing me, you know, they had the footage up there, and so they're showing me the footage, and and we tried it a few times, you know, and I do it till he walks away. And now I think that needs to be a little longer, they said. Sure, whatever you want, man. Because they were paying me, you know, I was done with the movie, I wasn't getting money anymore from the movie. Uh, so here's a chance to get some more money from the movie. I was unemployed at that at that time, uh, although I think I got locked up pretty soon after that. And there I was in the recording studio going, for about an hour doing that.

SPEAKER_01 30:12

Oh, that's pretty amazing. They brought you back because they probably could have taken anybody back.

SPEAKER_04 30:17

Yeah, they could have brought Ned Beatty in or something like that.

SPEAKER_03 30:19

No, no, no, no. They they had listen, did you hear? Did you hear my squeal like a pig? That's true. It's a very distinct squeal. It is, and they had the recording. And and I lived in New York at the time, and this was in New York, so what did I have to do? I took a cab to a recording studio and they paid me a day's wages.

SPEAKER_01 30:37

Now that you pulled back the curtain a little bit, let's take a listen to how the final classic scene pans out.

SPEAKER_02 30:43

We better get that nest in there. They they they they they multiply by masturbation. The only way to get that out is to get as close to the floor as you can. Going down to the floor, that's right. They're drawn to the floorboard. Now shake your head like you're trying to get the water out of your ear. That's good, but hit it no harder. It's on the legitimate. Now make that clean. I don't believe it. No one's ever gonna get this little line and get us tools down.

SPEAKER_01 31:22

Uh I think they got their money's worth. Yeah.

SPEAKER_03 31:24

They did have some money to spend, you know, uh, on that movie. I was looking at that di Zippity Doodah sequence. Um, and and you know, the whole point of that is that it's again the same thing as the Leonard Skinner and Alabama thing. It's it's Chevy and it's uh the producers and uh Leon Capitanos. I don't know, actually, I don't know if Leon came up with that idea. Uh making fun of the South. You know, they're not glorifying anything, anything at all in there. It's always making fun of it. But they spent some money on that.

SPEAKER_04 31:59

You didn't take anything from the film, did you? Did you have any you didn't take a prop or anything like that? Or oh yeah.

SPEAKER_03 32:06

I did. Oh. Uh actually, um, I and and I I was thinking about going and trying to retrieve it. I have some boxes of some old stuff in my garage, amongst them a ziploc bag that is filled with badges because I've played a lot of cops.

SPEAKER_02 32:23

Uh-huh.

SPEAKER_03 32:24

And and you're not supposed to, but I've stolen the badges from a number of those, including my Thibodeau Deputy Sheriff badge, which I do have.

SPEAKER_01 32:35

Nice.

SPEAKER_03 32:35

And it says on it, Thibodeau Deputy Sheriff, Thibodeau.

SPEAKER_01 32:38

That's great. You'll have to dig it up and send us a picture so we can post it for everybody.

SPEAKER_03 32:42

I find it I yeah, I'll see if I can.

SPEAKER_01 32:44

Now I hate to pull the curtain back even further, but I can't help but notice you don't have a southern accent.

SPEAKER_03 32:50

No, I don't have a southern accent, but you know, um also uh, you know, also I don't have the Russian accent, but I've played Russian character before, you know. And I I play, you know, companies, I'll play, you know, play guys from Brooklyn. I I get hired to do accents. I have been in my career. Um it's it's music, it's like any other music, it's by ear. You know, if you could pick up the music of listening to people and mimic it. You know, yeah, you know, you said I did a good Sylvester Stallone impression, but you know, yeah, well, he's he's like uh, you know, shooting fish in a barrel doing an impression of him. But there are some actors that are amazing at doing impressions of other actors and and quoting lines. Now, you guys are fans of this movie, so I'm not surprised that you might memorize or quote lines, but there are actors that remember uh that they remember lines and they can do everybody, you know. I mean, I've heard guys, actors do, you know, uh Michael Cain and then do uh Christopher Walken and then do De Niro and they're amazing and spot on. And I, you know, I I've never Kevin Spacey talking about Kevin Spacey, he's one of those guys who can do that. He can do all these guys, and he does them brilliantly. You know, he's a really good impressionist. But I never did have an accent, and I because I started doing plays when I was 14, and I started doing Shakespeare plays when I was 15 or 16, and then I got a classical theater education at Carnegie Mellon, where we worked specifically on speech and voice. Uh and uh, but I never wanted to sound like I was one of those actors. You know, I I could do that, which is why I got cast as a lot of aliens because they always hire classical actors, of course, experienced actors to play aliens. And you want to know the practical reason why? Why is that the practical reason why is the teeth? Because every alien wears fake teeth, and you have to be able to speak around these teeth.

SPEAKER_05 34:57

Are we talking about novelty teeth right now?

SPEAKER_03 35:01

Absolutely, those teeth, because they were for Chevy. Yeah, those were expensively um made. I I did an episode of a Star Trek Enterprise where I played a bounty hunter, uh, and and it was a character that hadn't been around since the I mean a species that hadn't been around since the original series, as I call it, Tellerite. Uh, and they called the Tellerite the Pig People back in, it was an episode called the Babel or something like that, the Tower of Babel, uh, and in the original series. And I was the first time they were bringing back that species.

SPEAKER_01 35:34

Wait, wait, wait. Your pig character didn't have a high-pitched squeal, did it?

SPEAKER_03 35:37

Not in that one. Uh, because you see, see, people called uh the Tellorites pig people because they had these pushed-in snouts. Uh, but they Michael Westmore, the you know, the famous Star Trek uh makeup guy who did my makeup for this, he changed me. I looked more like a cross between you know Chewbacca and a little bit of pig thrown in. So sort of bear, wolf, dog, and pig. I was kind of a mix of all four.

SPEAKER_04 36:07

Bigfoot. Hey, I uh I have a question about um Confess Fletch. Confess Fletch came out this year uh with John Ham. I was curious if you had a chance to see it yet. And a thought with you being a fan of the books, or at least reading the books, what your thought was on the casting of John Hamm as Fletch.

SPEAKER_03 36:25

I'm a fan of John Ham's. Uh, you know, he his sense of humor, his underplayed and sarc cynical side, I think blends beautifully with you know Fletch and Gregor McConnell. Because he's it's not the same kind of wise-ass sarcasm. It's it's underplayed. I mean, listen, Chevy had plenty of moments where he knew how to just you know barely breathe out the line and it and it was so it was not over the top. Like in another improvised line in our scene with the with the termite, could he um you know a hundred times its own weight, much like yourself, under his breath as he's walking? And that was one of about eight different improv lines that he tried in that scene. But uh, yeah, so um, but he said he had his subtle moments as well. Um, and I got that sense with how Holbrook that he had to he had to be a little bit more serious in that scene with how Holbrook um you know, when he he sort of gets a warning later on in the movie. Um, and uh and and I thought, oh, how Holbrook influenced him to tell the truth and just look him in the eye. And but John Hamm instinctively has a lot of the things that are made for it. You know, uh, I guess for some reason I I put it on my DVR, you know, I have ATT direct stream, and I uh and I guess I must have done it at a time when showtime was giving away a free, you know, thing. And I thought, oh, I'm gonna wait, you know, I I I didn't have a chance to watch it. And then when I heard from you guys, and I thought, okay, maybe I'll watch it um now. And I tried to watch it and said, you don't have a subscription to the service, you can't watch this. So so I have to wait till I can rent it for$3.99, like I did Fletch Lives just now.

SPEAKER_04 38:14

Can I ask you real quick, one of my favorite movies? One of my favorite movies is Doc Hollywood. Can you talk a little bit about that? I think it's a very underrated Michael J. Fox movie because I love the book that it was based on uh by Dr. Neil Shulman, I think, wrote the book. And uh, but I I just I I've been to where it's shot there in Central Florida. It's right near Gainesville, I think it is. And I was just curious how how that experience went for you.

SPEAKER_03 38:43

It was one of the most fabulous experiences I've ever had as an actor for a number of reasons. The first reason was I was in LA, I was an LA actor at the time. Um, I got to audition uh for a woman who was um considered legendary in the casting uh world. It was just a big year for me. I was auditioning non-stop week after week, and I did a handful of TV shows and a handful of movies and a couple of commercials and a couple of voiceovers, and it was like, oh yeah, man, I got this thing by the tail. You know, wait a couple of years till it kicks you in the ass, like it does everybody, because it does to everybody, unless you know, unless you're young and pretty. Uh the rest of us who are not young and pretty, we it's just a slog, it always has been for everybody. The second thing was, I got cast. Wow, that's great. Okay, so uh the third thing was, hey, we're gonna be based in Gainesville. It was a great place for sex and drugs and rock and roll in 1980, I gotta tell you. Uh, you know, because you have all those students and and all the students that stayed there, yeah, uh year after year. They love the place. Gainesville is a beautiful town. I mean, I don't know what it looks like now, but then there it was, 1990, 10 years later. I get to come with a movie and stay at the nicest hotel in Gainesville and get a nice convertible rental car they give me, and I'm gonna per diem, and I'm gonna be there for like three and a half months. And so I had a lot of free time. So I called up all the people that I um were friend I was friends with when I was in Gainesville and I was a bartender, and all I had was a bicycle. Uh, to now here I am, this actor come back to town. And and so that was a blast. I I got to party with all of them and and just be back in Gainesville and and visit the theater where I had worked and and hang out. Um, and that experience was a great experience. And then the the best part of it was working with Michael J. Fox because he's probably the most generous and the kindest person I ever worked with on a set. Uh uh you know, he he he was always there, he was always present, besides the fact that he's in just about every shot of a movie, but he's always there and and he never acted like a star. There are three guys on the movie named Michael. Michael J. Fox, uh Michael Caton Jones, who directed it, and the director of photography, the cinematographer, Michael Chapman. So they all had to have nicknames since all three of them were there in basically every shot. So it was uh Michael Caton Jones was the gov or governor because he was British. Uh Chapman was Chappie, which was a regular nickname that he had, and Michael J. Fox was, and it wasn't just the one name, it was all three. It was Jesus the busboy. So when somebody would call for him, it was somebody's calling for Jesus the busboy. A little racist at a time, you know, uh for 2023, but uh it was sort of acceptable, I guess, in a cringy way back then. Um, and uh and they were always joking, and everybody was always joking. I didn't work with Woody Harrelson or Bridget Fonda that much, but I did see them, or Julie Warner, but I did see her sometimes. I did work with her a few times during the carnival. Uh I'm Facebook friends with her.

SPEAKER_04 42:13

So that was uh David Ogden Styres. Did you work with him much?

SPEAKER_03 42:17

Oh yeah, that's right, David. David, yeah. I actually hung out with David a fair amount, and and we became friends after the movie in Los Angeles. He was a classically trained uh musician, also, and he invited me to a concert where he was conducting uh some Mozart sonatas in Los Angeles. When you think about Jesus the Bus Boy, any quick stories come to mind? Quick story about there's nothing quick about any of my stories, by the way, uh, about Michael J. Fox. I was going to uh be in my best friend in New York's wedding. Uh he was getting married. Michael Leahy. Uh rest in peace, Michael. Um Michael and I, he were the he and I were the guys who uh uh discovered all the mystery and detective books together. And we would pass them on back and forth. Uh he was a writer and a reader, but he also you know was a published poet, and he eventually wrote a couple of novels that are that were published before he died. Uh Michael was getting married to Lynn after all the different girlfriends that I uh knew him uh dating, and I couldn't miss it. Well, it was on Saturday afternoon and Saturday night, and I was shooting on Friday, and I had to uh get uh get there to be able to be there in the morning. So I had to take the red eye. And I was shooting the carnival scenes from Doc Hollywood, and there was one scene, I don't remember if it ended up in the in the final cut, but where I carry him on my shoulders and run down the midway with him on my shoulders. Um I I don't I'm not sure if it ended up, but

SPEAKER_04 44:00

I don't think that's in the movie. Yeah, I don't think that one's in the movie.

SPEAKER_03 44:02

That was how I brought him to the to the dance floor. And he ended up dancing with uh with the girl. And um, and I needed to get out of there. I had a like whatever it was, 11 o'clock flight out of LAX, and we were shooting up at a place called Stevenson Ranch, which is way up uh north of Los Angeles, I want to say like an hour away from LAX. And so I decided uh the only way I'm gonna get out of it is to do some acting. And so this was the scene we were shooting where I was running down with Michael uh on my shoulders, and then there were like four four scenes after that, and then the second to last scene at night was a uh short piece between me and him when I agreed to put him up on my shoulders and run him down there for whatever reason. Uh and uh and so that was gonna be at the end of the night. I shoot that then, I miss the flight. There's no way I'm getting to the wedding. So we sh we start shooting the uh the scene where I'm on his shoulders, and it's about I don't know, 50 feet, 75 feet that they're shooting with a steady cam watching me carry him, and we're making noise, and the the the mortician, uh Avery or whatever his name, uh and uh and the other guy, the uh I forget who the other guy was, but all three of us numbskulls, local numbskulls, uh, were running along with him. Uh, but I was the only one who could carry him on my shoulders. We get down to the end and cut and we finish, and I'm like, and I kind of put my hands on my knees and bend over like you do with the foul line when you're playing where you know for a foul shot, you know, like I'm winded. And uh nothing, think nothing of it. Nobody says anything, and we go back to one and we do it again, and I and it happens again, and this time I let my knee buckle a little bit, and I get back up and kind of shake my head off, whatever. I'm like, and Michael goes, Hey man, Jordan, are you okay? What's going on? I go, Ah man, no, no, no, I'm fine, I'm fine. Let's let's shoot, let's shoot, let's go, let's go again. Uh, because they've already called it, we're gonna go again. Okay, let's shoot, let's shoot. And uh I you know, we do it again, and I'm like, I can't just gonna sit for just a second, but then we'll go back to do it again. And uh he says, What is wrong, man? I said, You know, this thing that's been going around and the direct uh had been sick. He said, Are you sick, man? Are you gonna you know get a flu like it, right? I said, I don't know, man. I you know, but I'm I'm cool, I'm cool. Let's let's do it, let's shoot it, man, let's muscle through. He said, Okay, okay. And then he goes over to Michael Caton Jones and the producer and talks to them and basically tells them Jordan is not feeling well. I want to get him out of here. So let's do this one last take and then we'll do a quick pop of the thing that he's supposed to do at the end of the night right now, and then we'll just get him out of here. And we did that, and I got out, and I got to Michael's another Michael's wedding, uh, in New York, uh, gave a toast uh at the wedding and uh and left on Sunday and got back in time to get to work on Monday morning. Wow and and and later on I was in uh American President and uh and at the beginning of the production of American President, there was a reading, a table read. Uh Rob Reiner always has, or used to then, I did six movies with him, always had uh a table read at the beginning of the production. Um and it's rare to do that with everybody in the entire movie read. And Michael J. Fox was in that movie, and and so uh I met him, I saw him, and he came up to me, big hug, really nice, very you know, good to see you and everything. And we're all hanging out and having lunch before the we have the read. And I tell him the story about that, and he was he said, I'm very proud of you. He said, But I would have uh I would have been happy to to help you out with that, but you know, I'm glad that you got to your friend's well before that. And but Doc Hollywood was a good movie, and it was, you know, and I don't think anybody thought it was a terrible movie. I don't remember getting bad reviews, and and it did well. And and listen, Fletch Lives and Doc Hollywood and Lock Up uh are the three movies where I continue continue to get the most residual payments for. They're seen all over the world still. They're all very, very popular movies.

SPEAKER_01 48:25

I didn't realize till recently that Don Brockett, who plays the sheriff, uh was actually a regular on Mr. Rogers for almost 30 years. Chef Brockett. Chef Brockett.

SPEAKER_03 48:36

Hi Fred, how are you? I'm here. I'm all set up to show you how I make the gingerbread brockets. Good. Uh I went to school in Pittsburgh at Carnegie Mellon and uh and KQED or KQED?

SPEAKER_04 48:48

WQED, just south of there.

SPEAKER_03 48:50

WQED, yeah, yeah, W, that's right. WQED, uh this this the station in in Pittsburgh where he shot that. It's around the corner. And a lot of students from CMU used to work there regularly. Uh a lot of um wardrobe people and set construction and occasional actors. So I met him a few times in Pittsburgh. He was a kind of a a fixture, a celebrity fixture in Pittsburgh because he he did some act also. I don't remember what the act was, but he did some act uh the around Pittsburgh. But I'd actually I'd actually knew of him when I got on the set, Chef Brockett.

SPEAKER_01 49:26

Yeah, he was and if you notice he limps, he has a pretty severe limp in Fletch Lives. That's because he had polio.

SPEAKER_03 49:32

Yeah, that was something that he had when he was younger, and he had a really bad hip and bad limp, and he he he was able to tone it down a little bit in Fletch Lives, but it was pretty pronounced before then. He was a nice guy. He was fun, he was very grateful to be in the movie and uh, you know, because he didn't do a lot of movies and to have that, you know, that nice featured role with Chevy, you know, that uh I l I love when he uh when he says what's the charge and he says pissing me off.

SPEAKER_04 50:03

I just I love I love the way he delivers that movie. That was good. Oh, it's so great. That was good.

SPEAKER_03 50:09

That was improvised. That was an improvised line, I I believe. Uh I'm pretty sure it was. You know, so much of that movie was, and so much of it was just because of Chevy's willingness to mix it up with anybody in the movie, you know, anybody who was doing scenes. It wasn't like, oh, I'm gonna run circles around you and you just have to try to keep up. It was he was uh, you know, an equal partner in that. And uh because he knew, listen, his name is above the title. Uh, another one of those lines, those great throwaway uh uh improvs that Chevy did, uh, and your address seven when he's going into going into the play, you know, to watch the Jimmy Lee Farnsworth. You know, on the the press tour of that, you you guys had mentioned that it opened number one. Uh you know, didn't last there very long. But in any case, on the press junket, he went on the Letterman show, he went on the Carson show, he went on uh Entertainment Tonight and uh Good Morning America and the Today Show. And in all of those shows, and one or two others that I don't remember, he played the scene, the Bugbusters scene. Now that must have been cool for every single one of those. That was the scene that he that they they played. That you know, when let's show a clip. Well, what do we need to do to set it up? And and that was the clip that they kept that they showed. So I got to whoa, man, hey, you know. So I paid attention to that.

SPEAKER_01 51:33

That was a lot of fun. The actor Josh Molina, he was a p he was a production assistant on Fletch Lives. Do you remember him in the Was he? Yeah. Was he? No, I didn't know that. I want to play you a quick clip of an interview he did about his experience on the set of Fletch Lives. You're gonna like this.

SPEAKER_00 51:49

Um, first job in the film was as a PA on Fletch Lives. Fletch Lives, that is true. You know, he used to have aliases. He was Erwin M. Fletcher, I guess. And he every time he gave his name, the M would be uh would stand for something else. Remember, he walked by once, and I undoubtedly was getting somebody coffee, because that's largely what I did as a PA. And he goes, Melina, give me a funny M name. And I went, Mahatma. Oh, I like it. And then he went out and he used it. I was like, I'm a professional writer. It's in the movie. Wow.

SPEAKER_03 52:16

That's great. That's great. You see, that's that that's exactly the sort of thing that I would expect Chevy to do, to just like look around at people, and it doesn't matter who they are production assistant, another actor, an extra, you know, the director, you know, let's try this or let's try that. Like I said, I wish my brain wasn't addled enough that I can't, I wish I could remember all of the things that he said in that scene, besides the, you know, the you know, Billy Jean King. He went through I I think five other names.

SPEAKER_01 52:46

And that would make sense because actually in the script, it's not that at all. Uh, you ask him his name, and he says, the name's Brummel.

SPEAKER_03 52:52

Oh, yeah.

SPEAKER_01 52:53

Bo Brummel. Bo Bob Brummel.

SPEAKER_03 52:55

Yeah, yeah, Bo Bob Brummel. Yeah, that I remember the nobody, nobody thought that was funny enough, especially Chevy.

SPEAKER_04 53:02

Is uh is multiply by masturbation in the script?

SPEAKER_01 53:05

Yes, that one's actually is in the script. That's Capitanos that wrote that.

SPEAKER_04 53:09

Oh my god, that that's one of my favorite lines, too. I use that once in a while.

SPEAKER_03 53:13

Yeah, that's another moment in the in the movie where I watch myself and I go, I hate watching myself because he, you know, he says they make this horrible high-pitched noise.

SPEAKER_10 53:23

It's kind of like a tiny little scream.

SPEAKER_03 53:26

Can you hear that? Can you hear that? It's like a tiny little piglet. And instead of getting closer, I go like this. Because the director said at some point you have to tip your head so he could put the put it in your ear. And so I'm again anticipating, just like the going down and then coming back up. I'm anticipating that because we rehearsed it, so I knew that I was gonna do that and that time. But for me, the most fun part of that was when he smacked my head.

SPEAKER_02 53:54

That's good, but hit it no harder. Oh, this side. Oh, it's on this side. That's right.

SPEAKER_03 53:58

He barely touched me. That was me. That was all me.

SPEAKER_01 54:02

Just the way that your whole hair flops from one side to the other.

SPEAKER_03 54:06

Yeah, that was that was back at the time when I was just I was combing my hair straight back or something and trying to fool myself. Uh, I eventually, you know, trimmed it all down or shaved it off. I scared my wife when I did that.

SPEAKER_05 54:19

You may dislike the the performance. It's it's one of our favorite scenes of all time.

SPEAKER_03 54:23

No, no, listen, I appreciate it. I I appreciate it.

SPEAKER_05 54:26

We love it. We love it. You could do no wrong.

SPEAKER_03 54:29

Thank you. I appreciate it. But it's just those little things that you know about yourself that you that you realize. But the fact that I did it the way I did it, I don't think anybody really except me is gonna know that. You know.

SPEAKER_01 54:43

Yeah.

SPEAKER_03 54:44

But now you do.

SPEAKER_01 54:46

Now, Jordan, we try to quote Fletch as much as we can. We work it into our everyday life. And I gotta tell you, the line, you smell nice. I've said to every girlfriend I've ever had multiple times, they're clueless as to why I suddenly have an at a southern accent. But the fact that they don't get it makes it even better.

SPEAKER_03 55:09

Is that that's not in the script though, is it? That's not in the script, is it?

SPEAKER_04 55:13

No, yeah.

SPEAKER_03 55:14

I I I'm pretty sure that I I improvise that. That was something that you know, because they they encourage us right from the very beginning. You know, Michael Richie said, We don't have a screw, we don't have a writer. Uh, you know, and I don't know if you know they they knew I didn't have a lot of experience. So so we're gonna be making a lot of stuff up. But if you could so if you could help us out, you know, when you're in the scene, help us out.

SPEAKER_05 55:33

So when Chevy gives the line, you know, the walls are deplaining to a to an alarming degree. You come back with such a great response with complaining? Yeah, the way you hit that line. Was that it? Was that an improvised line? Do you think?

SPEAKER_03 55:45

Yeah, that was yeah, that was improvised. Um, I I want to say I'm trying to think of what wasn't uh improvised. I think my opening line, who are you? You know, uh you know it's private property. I think that stuff was in the script. Uh, I don't remember what else was actually in the script, but I think we pretty much made everything else up.

SPEAKER_01 56:04

When you come in and pull your gun, though, you mean business. What the hell are you doing here? It's a restricted area. Didn't you see the sign? Yeah, yeah, screwing around.

SPEAKER_03 56:13

Oh, yeah. I don't know about no bugbusters.

SPEAKER_05 56:18

I didn't see no signs.

SPEAKER_03 56:20

It's nice that people are still watching these. That makes me happy. Thanks very much.

SPEAKER_05 56:26

You talk about people still watching them and the and the relevance and everything. I mean, Fletch Lives just got mentioned on uh Fox's Family Guy last episode last Sunday.

SPEAKER_01 56:37

Did it really? What'd they say? I actually just got a clip of that too. If you want to hear it, give me one second. All right, here it is.

SPEAKER_07 56:46

But I remember my first love. It was 1989, the golden age of Hollywood, the year of Trope Beverly Hills, Fletch Lives, Gleamin' the Cube, and a hilarious new addition to the Harry and the Hendersons franchise.

SPEAKER_05 57:05

That's great. That's so great. Steph McFarlane is a huge Chevy fan and a huge Fletch fan. He's he's mentioned Fletch so many times. Really? This is the first Fletch Liz mentioned.

SPEAKER_01 57:16

Well, Jordan, let me tell you, it has been an absolute honor to have you on the Fletch Cast. Excellent. It's been a blast reliving Fletch Lives with you. Thank you. Let us know a little bit where actors who may want your coaching services or fans find you on the web.

SPEAKER_03 57:29

I have several websites. I do the websites myself. I've created them. Um I've been teaching a film acting class here in Riverside, and my website is Riverside Film ActingClass.com. Uh and I am just starting a new class that I have a new website called RiversideActing Studio.org. Uh, and they both have information about me. And then there's also Jordanlund.com, which is really just about a page with some biographical and some links. Uh and I've created Facebook page and I've created Instagram page, I but I never do anything with them. Um But I I my wife insists that I need to do a little bit more of it, you know. But uh but I need I need to work. And and working means I need to get out there on social media. As I build out Facebook and Instagram, I will probably have more links.

SPEAKER_01 58:22

Okay, so if fans want to get a jump on it, you can find Jordan at Jordan Lund Actor on Instagram. Like you mentioned, you can follow Riversideactingstudio.org, Jordanlund.com. Or if you want to hire him to squeal like a pig into your voicemail, hit him up.

SPEAKER_04 58:40

Thank you so much.

SPEAKER_03 58:41

All right, boys. I really appreciate it.

SPEAKER_04 58:44

Thank you.

SPEAKER_03 58:45

Have a great rest of your week. Thanks a lot.

SPEAKER_04 58:47

All right, Jordan.