All language subtitles for Hart to Heart s02e11 Seth MacFarlane.eng

**

-Wow. My guest today
started his career

by becoming the youngest
executive producer

in the history of TV
at the age 24.

Since then, well, the guy
has been inducted

into the Television Hall of Fame

with five Emmy wins,
25 nominations.

Goddamn.

Did I mentioned Oscar and
Grammy nominations, as well?

Well, you add all that up,
you got a creative chameleon.

Guys, I'm talking
about Seth MacFarlane.

Come on, man.
Get in here, Seth. Yes, sir.

-How's it going?
-It's going good, man.

-Good to see you, man.
-Good to see you, as well.

-Brought my own drink.

I'm not going to
turn down the wine, though.

-Well, listen, if you tell me
what you like and now I know,

it's my job
to make you comfortable.

That's what I do here.
"Hart to Heart,"

I can't have a heart-to-heart

if you don't feel like you can
drop your shoulders and relax.

-This is fantastic. All right.

I'm dropping my shoulders
right now, yeah.

-Now, where's my somm?
Here he comes.

What do we have? What's this?

-Mr. Hart, Mr. MacFarlane,

we've got an incredible Cabernet
Sauvignon from Washington State,

Columbia Valley.
-Okay. Okay.

-Look at that.
-2019 vintage.

-Okay.
-It's got a sheep on it.

I'm sold.
-Absolutely.

-By the way, that shows you
how fucked up you are.

-That's a sheep, right?
-I don't know.

I thought it was a wolf.
-Oh, you know, it's a wolf.

-Is it a wolf?
-It's a wolf in sheep's clothing.

-Is it a wolf
in sheep's clothing? -That's what it is, yeah.

-Takes a wolf to catch a wolf.
-Goddamn. I don't know what it is.

-Between the two of us,
we got this.

-I think they may have
combined a sheep and a wolf

in a fuck session
and came out with that.

That's close, man.
-It's a wheep.

-It's something crazy, right?

-Yeah. Yeah,
I'll try some of that.

-Pour a little bit.
But you like --

What do you like? You like
vodka? You like tequila?

What do you like?
-I mean, you know,

when I'm doing interviews,

I'll really just take whatever
I can get my hands on.

-It's a casual drink
or whatever.

My guy. Thank you.
-Thank you, sir.

This is delicious.
-First-class service, man.

-Yes, indeed. I love it.
I love it.

And if you run out, you're,
like, surrounded by it.

-Yes. It's all over.
-You're surrounded by wine.

-Yes, because this is where
I create this environment

that makes you believe it.

Seth, I have to start off
by just saying,

first and foremost,
congrats, right?

Your run, your fucking success
in the world of producing

is historic, right?

When you look at these people
that have had these crazy runs,

when you look at Dick Wolf
and you look at Norman Lear,

you start to look at the shows
that have lasted for so long

and what those shows
have represented

over the course of time,
well, the list is very small,

as the people that are
in that category.

You're in that category.

-That's a --
Norman Lear and Dick Wolf,

that's, like, that's a --
At some point maybe.

I don't know
if I'm there quite yet. -Okay, well,

tell me in a world of animation

who is in the same conversation

and where you are
and what you are.

-Well, I mean, God in --
-And film and film.

You've done movies that have --

that have fucking done
amazing numbers, as well.

-Yeah. Yeah. Done a couple of --

-Let's not downplay.
-Couple films.

-Let's not downplay the numbers.

-I'm from the Northeast.
That's all we do.

-Okay. Well, I can't let you.
-That's all we do.

-This is a show
about giving the flowers

where I feel the flowers
should be given to.

So when I say that,
I do truly mean it.

I mean, it's not just about
the shows you created, right?

Okay, that's great.

It's about the run
and the growth in these shows

over the course of time

and how you've been able
to catapult,

springboard, accelerate,
and fucking progress.

-A lot of it is accidental.
A lot of it --

"Family Guy" was -- I mean,
it's interesting.

I'm somebody who likes to work
on one thing at a time.

I don't really -- I never
set out to be, you know,

the kind of executive who --
kind of executive producer,

rather, who works on 100 things.

Like, I just don't have
the bandwidth to do that.

-Bandwidth.
-Yeah, yeah.

It's just -- You know,
so "Family Guy" was meant

to be something
that would run its course,

and I never expected it
to go as long as it has.

It surprises me
that anyone is still interested.

-You're so present,
you're so conscious,

and you do it in a way
where you can get away with it,

from race, politics.

You touch everything,

and you guys do it in such a --
you do it in such a clever way

that "Family Guy,"
it's under the radar,

but it's above
the radar, as well.

It's done to perfection, right?

You don't get --
-God, you sound just like

every critic.

-Well, no.
-That's what they all say.

-This is what I'm telling you.
Coming on "Hart to Heart" is different.

This is about giving the flowers

where I feel the flowers
should be given.

-It's just, like, I've heard it
all from The New York Times.

They love it.
-Well, their job

is to give you the shit, right?
-Yeah, yeah, yeah.

-But then you look up,
and you go,

"I got 21 fucking years
under my belt

under one of my -- under one
of my fucking creations.

I have several.
I have a lot."

My thing is, when you're in this
in the beginning

and it's about animation,
was it only animation?

Was that, like, what you felt
you wanted to do and only do?

Or in the beginning,
was it like, "Oh, I just have this idea"?

Where were you at
in the beginning of it?

-It really was -- Animation
was sort of the nucleus of it.

I went to art school.

I went to the Rhode Island
School of Design in Providence.

And I -- You know, at the time,

Disney was sort of having
its resurgence of --

you know,
its kind of renaissance

with "The Little Mermaid"
and "Beauty and the Beast"

and "Aladdin,"
and I was like,

"Oh, this is what I want to do.
I want to be a Disney animator."

And midway through college,
you know,

I did a little bit of stand-up,
and I was --

-I heard this, by the way.
I was going to get here.

I heard this. Go ahead.
-Would never do it today.

Would be too terrified.

But at the time,
it was -- I had a blast.

And at the same time,
"The Simpsons" had kind of

come of age on television.

And so those two things combined
to kind of reset my trajectory.

And I thought, "Yeah, you know,
I kind of want to do stuff

that makes me laugh."
-Okay.

-And, you know, where I was
going to go after college --

And I had applied to
the Boston Conservatory of Music

for musical theater,

and I thought,
"Maybe I want to go do that.

I don't know if I want
to get into animation,"

by the time I was
a senior in college.

And had I not gotten my first
job offer from Hanna-Barbera,

I might have wound up
in grad school.

-The thing that I
think is, like --

The thing I think
is pretty dope,

there's a decision to,
"I want to edgy --

I want to edgy up a world
that's off," right?

And when I think about
"South Park," those guys

and what they did
and the reason behind it,

the goal, tackling things,
being edgy,

saying the shit that a cartoon
character isn't supposed to say,

how do we make this the thing?

How do we create this wave?

And I remember when it started
to kind of pick up, right,

like, this thing started to --
it started to pick up,

and there was a couple of people
that were doing it right.

I remember the "Beavis
and Butt-Head" era.

-Yeah. Oh, yeah.
-The whole thing

about the "Beavis
and "Butt-Head" era was,

"What are they going to say?"
-Yeah, yeah.

-"What are they going to say?"
-Yeah, that show

was under--
I mean, not underrated.

Like, I think at this point,
people do acknowledge it

for how stealthily
groundbreaking

it was, you know?
-It really was. It really was.

-It was really something,
that show.

-Do you look at those things
like --

like what and who
acts as your --

you know, your --
Who are your door openers?

Who do you feel made it easier
for you to come in

and have the success
that you're having?

Who started it?
Who gave you the thing

that was like, "Oh, shit,
that's possible."

-You mean just looking at
the industry from afar?

-Yeah.
-Yeah, I mean, you know,

again, not to sound
like a broken record,

I mean, you know, "The Simpsons"
changed the playing field,

so I don't think I could have
pitched "Family Guy" --

And, obviously later,
"King of the Hill."

I don't think I could have
pitched that show

if that complete reset of that
industry had not taken place.

-How many before you
was "King of the Hill"?

-"King of the Hill" was --

You know, when I came to Fox
to pitch "Family Guy,"

"King of the Hill" was sort of
just getting off the ground.

-I was going to say,
it wasn't, like, a long-term...

-No, it was pretty --
it was pretty new.

-But this is when Fox
was also realizing, "Oh, shit."

-Yeah.

-"We got something
in this animation space." -Yeah. Yeah.

I mean, look, you know, again,
I'm from the Northeast.

We downplay, we're the --
-You keep saying it.

-If you're from the Northeast,
you're the person,

like, you can be served, like,
a salad at a restaurant

with a dog shit on it,
and you'll go,

"I'm so sorry. I'm sorry.

Is there any way --
I hate to be this guy --

is there any way I could
get another one?

I'm so sorry. My fault."
-"Can you take the dog shit?"

-Yeah, but you feel like
somehow it's your fault. -Yes, yes, okay.

-And not to downplay the fact,

yes, I did bust my ass,
I worked really hard.

It was also timing
was a little bit in play there.

-Key.
-Yeah.

I mean,
I was pitching "Family Guy"

at exactly the time
that everybody wanted animation.

I mean, that was all anyone
was buying.

It was -- "The Simpsons"
had just exploded.

"King of the Hill"
was doing great.

Everybody wanted animation.

So I happened to be selling
exactly what they were buying.

-But you with the characters,

the voices
and everything, as well.

I mean, this is -- this is a
part of the fucking talent,

to me, that's mind-blowing

because you're part
of the creative,

you're part of the idea,
the writing, et cetera,

but then you also --
you also are the talent.

This is where it gets
a little scary for me.

-Yeah, I mean, you know,
again, part of that was

I had done voices and
impressions since I was a kid.

-Okay.
-It's interesting,

'cause I've talked
with actors who --

I'm always in awe of actors
who can go on camera

and do something, you know,
take such command of a scene

and who say, "Boy, a voiceover,
that must be hard."

And it's like, "God,
it's really not."

To me, it's not.

It's, you know,
what you guys do on camera,

you know, headlining a movie,
that's tough.

-But this talent of character

and the ability to switch
in and out of characters,

this is something that you had
when you were younger?

-Yeah.
-And is it from somebody else?

Or just this is...

-I think -- I mean,
the only thing

I can connect it to is that
my parents were very musical.

My whole family
was very musical.

There's a --
You know, the ear

was sort of a part
of everything that they did.

I mean, it possibly --
that possibly developed in part

because of the fact that,
when I was a kid,

I was desperately in need
of glasses

and nobody knew it
until I was about 4.

So I would be in nursery school

sitting in front
of the record player

and being completely
anti-social.

I wasn't interested
in conversing with anybody.

I wasn't interested
in interacting with people.

I just wanted to listen
to the record player.

And they thought,
"My God, this kid's like --

You know, what is he,
like a future serial killer?

He just doesn't want
to be around"...

And they realized,
"Oh, he can't see shit."

-"Oh, guys,
he's struggling with vision."

-Yeah, "He can't see anything."

So once they figured that out,

then I became the gregarious,
outgoing person that I am now.

-Do you ever feel like you went
through the period of --

Do people know?
Like, I'm the guy

and I'm doing the stuff,

I want people to know,
or I don't know?

Did you ever go through that?
-Generally,

I'm grateful that I don't
have to deal with it.

I mean, you probably can't go
anywhere without getting mobbed.

It's probably insane.
-Yeah.

-Yeah, I don't deal with that.

And I'm kind of glad
that I don't.

It's -- I mean, with what I do,

it's almost the kind of thing
if,

in those rare instances where I
feel like I want to deploy it

for whatever
self-serving reason,

which is rare, you know,

I can use it as needed.

-You can. You can go in your
pocket, and you can go get it

pretty much whenever you want.
-I mean, it's a,

"Maybe Ican't get
into this restaurant"...

[ As Stewie ] "But maybe I
can get into this restaurant."

You know, it's like --
It's -- Yeah, no.

But I do --

I do -- I do not envy what
I'm sure you must deal with.

-Kids?
-I don't have kids.

-No kids? Married?
-Mnh-mnh. Mot married.

-Not married? Single, no kids?

-Would like to be married
at some point.

-Okay.
-Yeah, I'm someone

who is comfortable being alone

but, at the same time, could be
very comfortable being married.

-When people say that, though,
like when you say

you're comfortable being alone,
are you really alone?

-I mean, again, I don't --
it doesn't feel it.

-See, that's what I'm saying.
You see how it made you --

You see how you said...
-Yeah.

-Like, sometimes
you aren't alone.

So it's like when you say
you're comfortable being alone,

does that really mean you're
comfortable with your space?

-I think there are people
who -- who think --

the glamorization
of the wedding and the kids

and that life
is what they think about,

and they don't think about
the thing that comes in between

as the marriage.
-Mm-hmm.

-And that, to me, is --
You know, look,

if I do ever get married,
it's got to be --

you know, I got to be 100% sure,
or I'm very happy being single.

-Okay. Is your creative
fucking amazing

because of the time
that you have to yourself?

-Oh, yeah. Oh, yeah.
-Okay.

-Look, the single life
is that you go home,

and you can write
until 2:00 in the morning,

you know, you get up
and go straight to it.

You don't have to worry about
that kind of balance.

But at the same time,
I think it's -- you know,

it's probably healthy to worry
about that kind of balance

from time to time, so...
-Yeah.

Is there a timeline
throughout your day

that's dedicated
to the creative?

-No. Some people write --
-I love the confidence in that,

by the way.
-Yeah, yeah.

-So much confidence. "No."

-One of the few times that
I can speak with confidence.

-"No, Kevin, it's not."
-Yeah, no, it's not.

No, there are people
who can write --

or there are people who have
the time of day when they write,

when they work best,

people who get up super early
in the morning,

that's when they do
their best work,

people who write late at night.

For me, every day is different.

It can be 4:00 in the afternoon
and I'm productive,

or it's 10:00 at night, and,
suddenly, you know, I'm working.

-Seth, let me stop you there.
Break number one.

We got more "Hart to Heart"
when we come back after this.

**

**

-We are back.
This is "Hart to Heart."

And I'm talking
to Seth MacFarlane.

Seth, what's the family
that you come from?

It's Mom, Dad, brother, sister?

-Yeah. I have one sister,
Rachael,

who is on "American Dad!"

My mother and father were def--
were hippies.

My dad was at Woodstock.

-Free spirits.
-Free spirits, yeah.

Used to regale us
with his favorite LSD stories.

So they were very -- they were
very, very progressive.

We were like --
-LSD stories.

Explains it.
-Yeah. Yeah.

-Creative fucking mind.
-Yeah. Yeah. He told me

the story one time about being
in a kitchen at a party

and, like, looking at the floor,

and, like, a barrel of apples
just appeared out of nowhere.

And that was, like,
the best part of his night.

-So those kinds of stories,
-Do you respect the genes

that possibly is in you
because of your parents?

-It was enough to make me
never want to try acid.

-Are you guys close --
mom and dad?

-We are. Yeah, yeah.
-Yeah? Now or...?

-Yeah. Oh, yeah.
No, my family,

they're the best comedy writers.

Are you close to your family?

-My mom passed away.
-Yeah, so did mine.

-Dad on/off drugs.

But me and my dad now,
we have a good relationship.

Are we the closest? We're not
the closest, but we're good.

I was very close to my mom.

-Yeah, so was I. So was I.
I was close to my mom, too.

-When did your mom pass away?
-2010.

-Mines was 2006?

-Yeah. So right -- Yeah.

-2006. 2006 or 2007.

-Yeah. So right around
the same time. Yeah.

-Yeah. And did that --
What did that do to you?

-You know, it was --
The worst --

not the worst -- but, like,
the thing that I miss the most

is when -- when I was --

You know, when "Family Guy"
would air --

First, my mother was, like --

Everything was a superlative.

Like, I could bring home
Eva Braun and say,

"This is my girlfriend,"
my mother would go,

"Oh, she is fantastic."
-Oh, my God, same, same.

-You know, let me tell you...

Eva Braun was Hitler's
girlfriend, by the way.

-Same. Well, not same.

I didn't fuck with
Hitler's girlfriend.

That was his reference.
-I know there's no audience.

-I know that,
but I want them to know,

just in case they didn't,
I didn't fuck with her.

That was a reference. Okay?

Same, though. Yeah, same in mom.

-I could bring home
Roseanne Barr

and my mother would go,

"Oh, that's" --
Everything was a superlative.

-It's --
Supportive all the time.

-Supportive. Supportive.
-All the time.

-And so she would call
every Monday morning

after "Family Guy" would air
and say,

"This was the funniest episode
of all time."

And I would kind of play it off
like, "Okay, thanks, Mom.

Thanks. I appreciate it."

And -- But in reality,
I was kind of like,

"Yeah, I'm waiting for that call
because I like that call."

And not getting that call
every Monday morning

is the thing that, to this day,
is like --

That's the thing that I still,
like, kind of think about.

-What about Dad, though?
What about Dad?

It's fucked up that sometimes

dads don't even get a mention.
-They don't.

-And I had to check myself
with this one time

because I told you,
like, yeah, my dad,

he had his ups and downs,

but we get so comfortable
in the conversation of moms

and all they're doing,
and rightfully so -- deserved.

But sometimes we just fucking --
The dads are just...

-Yeah. Yeah.
-It's like a secondhand.

What was Dad?
-It's --

You know, my dad was the --
was the quiet,

intellectual, thoughtful.

You know, he was the person
who would watch the news

and, like, kind of break it down
for us and analyze and say,

you know, "Bush is the bad guy.
Dukakis is the good guy."

You know, it's like he'd kind of
lay it out for us.

But -- But, yeah, you know,
he's -- My dad --

I always looked at my dad
as like, "Okay,

this is the smartest guy
that I know.

And, you know, this is a guy
who can take a number of sources

and kind of process them
all in his head

and cross-index
and cross-reference

and come up with an answer
that truly is

the epitome
of critical thought."

And that's what I -- To this
day, that's what I admire.

And I still --
-Are You --

If you take both, where are you?

A combination, or do you
feel like you're one?

Does one have more of you
than the other?

-I have my mother's -- I think
I have my mother's anxiety,

you know, like, leaving the
house and wondering, you know,

"Did I turn
the washing machine off?"

-"Oh, my God,
the lights are on." -Yeah, exactly. Yeah.

So that comes from my mom.

And, you know, reading
an article in The Atlantic

top to bottom and, you know,

taking a minute to process it,
that's my dad.

So it's a little of everything,

-As I'm talking to you,
I'm trying to see, like,

the anxiety, if or where.

And you just seem so poised.
You seem so fucking cool.

-That's called --
It's called alcohol, Kevin.

-Alcohol.
-You know, I wouldn't --

I would not come here untouched

by the loving -- the loving
embrace of the creature.

-So is it a need? Want?
A must?

-It's as needed. As needed.

-Oh, as needed.
I'm talking to you --

Right now I'm telling you
what I feel.

Maybe I'm wrong.

By the way, let's make people
understand right now.

Because the show is, what,
an hour and a half?

-Hour.
-I want to get myself there soon...

-Okay.
-...rather than an hour in.

-So you feel like you
can't be comfortable before?

-Yeah, I --
When I have to do a talk show,

when I have to do
press of any kind,

I generally kind of
loosen myself up a little bit.

'Cause I am.
Like, I am, by nature,

sort of a "takes me a minute,
I'm kind of a shy" person.

And, you know,
I try to sort of...

-Get there.
-Yeah.

-In normal conversation,
we're not here,

this isn't "Hart to Heart,"
if you meet me outside,

do you feel like it's going to
take you a second to talk to me

and get to wherever
we got to get?

-I mean, not in the same way.
Not in the same way.

-No, but that's the beauty
of this,

because it's --
I'm embracing that.

Yeah, yeah.
-I'm not embracing

the other side.
-Yeah, yeah.

-So the only reason why
I ask you that, when you say,

"It takes me a second to
get there," I'm talking to you,

and there's a real calm.

There's, like, a --
There's a calm, there's a cool.

I'm trying to look for it.
I'm trying to see if I see,

because I don't want to
fucking pressure you

and get you to anxiety.
-No, no, no.

I'm by no means anxious.
Yeah, yeah.

-But that's my point.
I don't see it.

So as you're talking about it --
-No, it's not --

I'm not a 24/7
anxiety-ridden person.

I'm -- You know, when it appears
is unpredictable.

But it's generally --
It's not debilitating.

I'm not somebody who suffers
from it to such a degree

that some people do,
where, you know,

you just --
you just can't function.

-There's demand on you.
You're Seth MacFarlane.

You have now an entity,
an enterprise.

This fucking world of animation
that you've built,

there's a lot of people
that work for you.

-I'm not one of these producers

who does a little bit
of everything.

So I'm either 100% in control
of what I'm working on,

which, at the moment,
is this "Ted" series

that we're doing for Peacock.
-Okay.

-And that's my day,
top to bottom.

So I'm either 100% invested,

or I'm 100% trusting somebody
that I trust

to -- to handle
another property.

Like, "Family Guy,"
"American Dad!,"

those shows right now are under
the care of the showrunners.

I offer suggestions,

but if I'm not there
physically running it,

I don't feel like I have
the right to go in and say,

"No, you got to do this."
Like, I'm not there day to day.

They are.
So it's like, "You know what?

It's a blessing and a curse.

The buck stops with you.
Don't fuck it up."

You know, I record
the voices for "Family Guy."

I haven't been over there
in a number of years.

There are writers on the show
that I haven't met

because I'm no longer
in charge of that show.

I've entrusted it
to people that I trust.

-So with the people
that you've entrusted,

all right, there's a reason for,
right?

You've voiced several times
you're a 100% guy.

With that being said, then,

are your other successes
underneath the umbrella of you?

Do you feel that they've met
your expectations?

-Like everything, it's nuanced.

Like everything on the planet,
it's nuanced,

it's textured,
it's case by case.

You know, I look at something
like "American Dad!"

And, yeah, I do the voices
of those characters.

But what that show is
and what it's become,

I can't take --
I can't take --

You know, I can take credit
for creating it.

But you create a show,
and then the show

becomes something
completely different.

You know, Mike Barker,
Matt Weitzman,

you know, who's currently
running the show,

that's their success
more than it is mine.

-Guys, let's take a quick break.
We'll be back

with more "Hart to Heart"
after this.

**

**

**

-Welcome back. I'm still here
with Seth MacFarlane.

Seth, you may not
be aware of it --

"The Cleveland," to you,
what is that?

What was that to you?
-Oh, you know,

it was a spin-off
of "Family Guy."

-All right.
-I guess would be --

-So it's great,
like, okay, cool? -Yeah, yeah.

I mean, but again, I was --

I, you know,
did the character designs,

worked with Mike Henry
and Rich Appel on the story.

And then that was it.
And then they they took it

and ran with it,
because at the time,

I just -- I was running
"Family Guy" full-time,

and I just didn't --
-So name three --

name three more
Black animation shows.

-"Boondocks."
-One.

"Good Times,"
which we're developing now.

-Okay, well, that's not out yet.
-It's not out yet.

-That's coming.

-And...
-You're going to stop at "Boondocks."

-Yeah.
-"PJs" can be number two.

-"PJs." Yeah, Eddie Murphy.
Yeah, yeah, yeah.

-I know. Right? You know I know?
-Yeah, yeah.

-Because it's weird,
because of the guy that's trying

to crack the code in animation,
my biggest thing in the pitch

was, "There are no animations
with"...

Seth MacFarlane
creates this thing,

and not only is it a great look,
you did it correctly.

Like, it --
you did it in such a great way

to where it was about
the family,

the love of this individual,
the father and his --

Like, you did it in a great way.

You followed a template,
but then you made them --

you humanized them, right?

But Seth MacFarlane gave
a Black appearance in animation

that, I don't know,

well, where else
was it coming from?

My point in not
making this about race,

my point is,
in doing what you do,

you somehow managed to break
another conversation

and barrier of, "Oh,
this is going to be dope."

And that dope thing, well,
it ignited the other.

"Come on, it's time."
-Mm-hmm.

-They're all, "This way.
The door's open."

Like, that's a dope thing, man.

And my respect for you
comes from so many different --

so many different goddamn
spaces, avenues, et cetera.

Like, even when you go
into the world of "Ted," right,

like, okay, let's talk
about "Ted" for a second.

Let's talk about what "Ted" did
and what "Ted" is.

-Well, there were two things
that I attribute

the success of "Ted" to.

One was that
if you watch the footage

of Wahlberg interacting with Ted
before Ted goes in,

just the plate before
we put the bear in,

he's doing half the work for us.

He's so in the moment.

Generally, when a CGI character
is part of a live-action film,

the voiceover is done

either before shooting
or after shooting.

And as a result,
there's sort of a disconnect.

So it doesn't really feel like

the actors are there
with the person.

-Yeah. Does it feel like

there's not a chemistry
or connection between?

-Yeah. And the thing that
we did differently

was that Mark and I were there,

we were on set
with each other every day.

So I was just off camera
in the mo-cap suit, you know,

gesturing as if I was on camera

so the technology of the mo-cap
was able to record

all the -- the body movements
and whatnot.

And so what you saw on camera
was, you know, Ted --

a proxy version of Ted as if
I were on the couch with Mark.

So that was the difference.

We were breathing the same air,
we were in the same room.

It wasn't the kind of thing
where I was in a sound booth

weeks earlier or weeks later.

-What did you think about
how Mark processed

your -- your, like,
energy to work?

Like, was there, like,
several meetings before?

-You know, we had one meeting,
and then it was just like --

it was just like we'd been
working together for years.

-I worked with him,
so I know how he is.

He's cool as fuck.
-Yeah. He really is.

-He's cool as fuck,
grounded as fuck.

-It's just he -- The thing
I was struck by, you know,

Mark by that point was,
you know --

Like, he was a guy who couldn't
go anywhere without being --

He was the biggest, you know,
star in the world, and it's --

And he showed up every day
on set...

-On time.
-...on time

with the attitude of somebody
who was there for his first gig,

wanting to impress, you know?

It was like --
It was really easy.

-Guys, we got to take
a quick break.

Me and Seth are still
getting into it,

still getting to
know one another.

We got more "Hart to Heart"
when we come back after this.

**

**

-It's still me and Seth. Seth,
let's talk about now, man.

What now?
What the fuck do you want now?

You've achieved so much
from a young age.

-Yeah.
-We're talking about 24,

and the bells,
whistles, the lights,

all that shit starts happening.

What now?
-Yeah, you know,

that's -- that's always
the question, isn't it?

I finish a project, and I think,
"God, what's next?

What can I do that's still going
to feel like it's a challenge?"

I mean, I thrive on things that
seem like I could fail at.

-What does that mean?
-Well, it means that

if there's something that's --

I mean, it's why I left
"Family Guy,"

is that "Family Guy" was,
it was always hard work,

and it continues to be hard work
for the people that work on it.

But it got to the point
where it was hard work,

but it wasn't
intellectually challenging.

Like, I knew how to --
I could do it in my sleep.

Like, "Yeah,
that's not going to work. That's going to work.

And, you know,
we got to fix that."

It just became, like, drudgery.

It was drudgery.

And -- And it wasn't --
it wasn't challenging anymore.

It wasn't intellectually.
There was no risk.

-'Cause that's what excites you,
the risk.

-Yeah. Yeah. When I did
"The Orville" for Fox

and later for Hulu,

which, you know,
we're releasing this year,

you know,
it was a roll of the dice.

Like, I don't know. I have no
idea how people are going to,

you know, receive what
we're about to dish out.

No clue.

I have no idea
how people respond

to the "Ted" series
that we're working on.

You know, we're doing our best.
I just don't know.

But it's --
-And that's the exciting part.

-Yeah. Oh, yeah, yeah.
-Got it. Got it.

-And it tells you that
you're doing something that's --

you're not coasting, that you're
still kind of pushing yourself.

Because, I mean,
it's such a cliché,

like, you're only as good
as your last success.

But I think, you know,

externally, that's a harsh way
to judge people.

Internally, to me,
it's a great way to work

because it keeps you honest,

and it keeps you
from getting inflated.

And it's like, "Great.
This was good.

Great. People love this.
What do you got next, asshole?"

Internally, that's what you
kind of have to tell yourself.

-It's you against you, though,
here. It's you against you.

-Yeah, yes, yes, absolutely.
Absolutely.

-You're creating
these conversations.

You're battling with the,

"Oh, my God. They're not going
to like it. What if they don't?

Blah, blah, blah."
It's you, right? -Yeah.

-So how are you determining
the point

to challenge you
to the point of walk away?

Like, I know with "Family Guy."
Let's not go back there.

You walked away. You got bored.
Whatever.

"It's not the same for me."
Okay.

"These other things,
I have to have the challenge."

-Mm-hmm.
-Is it the response

from the masses?

and not being --
-It is. Yeah, to some --

Because that's what
we do this for.

I mean, you know, look, it's,
like, I -- I've had great --

I mean, it's interesting.

For the first time in my career,

I had 100% on Rotten Tomatoes
with "The Orville,"

which I would be lying
if I said I didn't,

"Okay, all right,"
I was happy about that.

-"Orville" -- Let's just
acknowledge the fact of where you are.

-The sci-fi show for --
-I know what it is.

But you're in season three.
It's a big deal.

Those who do not know
please catch up to speed.

It's a show that he's done.
Amazing show.

Amazing show, by the way.
More creative of him.

But don't keep talking
past this shit.

-Yeah, but I'll answer
your question first.

It's not why --
-Don't yell at me.

All right, go ahead.
You just yelled at me.

Go ahead. Go ahead.

-It's -- It's not why --

It's not where I get
the satisfaction.

I mean, to me, it's like,
if you're doing something

particularly
and only for critical acclaim,

it's --
not to take anything away,

because, you know, there's a lot
of really important movies

and important TV shows
that mean a lot to our --

-We're not talking about them.
Fuck them.

We're talking about you, yes.
-But -- But -- But, to me,

it's like it also can
be looked at as like,

"Yeah, it's like putting on
a puppet show for your parents."

-I get it.
-I do want --

When I produce something, I do
want people outside of Hollywood

and outside of our community

to watch it and be affected
and be moved by it.

Ideally, people
all over the globe.

That's -- I mean, I'd rather get
eyeballs all over the planet

than a great review, you know,
from The New York Times.

I subscribe to
The New York Times.

Nothing against
The New York Times. -Stop!

The New York Timeswill be fine

with or without
this moment from us.

Guys, let's take a break.

We got more "Hart to Heart"
when we come back after this.

**

**

-Who knew that wine
could do that to your system?

Seth didn't. Hey, Seth,
so here's a question for you.

Like, for you, right...
-Yeah.

-...are there other goals
that you feel you need to meet?

What else do you want to do?
My thing is this.

And this is a question for me.
It's not for them.

I'm being honest. For me.
You've achieved so much success.

You're on the other side of it.
Goddamn, man.

Emmys, noms, Oscars.
Okay, you've done it.

What else do you want to do?

-But I don't see it as if
I'm on the other side of it.

-I do.
-I -- Really?

-That's what I'm asking you.
What else do you want to do?

You can't say you're not
on the other side of it

when you have I don't even know
how many episodes of success

on TV, Hall of Fame,
blah, blah, blah.

-But it's like, you know,
I look at people like Spielberg,

and I'm like, "Oh, that's --
You know, he's on the other side of it."

-So then to answer my question,
so then, what do you want to do?

If that's not --
If you didn't do it,

what is doing it to you?

-You know, it's an ongoing,

constantly-evolving answer
to that question.

-I think you're bullshitting me,

and I think there is something
that you want to do

and you're not
fucking telling me.

I think you're bullshitting me.
-I mean, look. Yeah,

are there other things
that I --

Yeah, at a certain point,
to do a --

-You see how you just
sat up straight just now?

"All right, fine.
Fuck you, Kevin."

-It's because I've been

negotiating this pillow
the whole time,

and it's time to get rid of it.
-Well, throw it on the floor.

-There we go. Oh!

Watch how this interview
changes now,

now that pill--
Jesus H. Christ.

-"Well, Kevin,
let's start it over,

'cause now I'm ready
to be comfortable."

No, I'm serious.
-Is this going to fuck up your shot?

-What do you want?
Like, is there something

that you're like, "All right,
you know what?

I'm going to be honest
with you."

-Yeah, I'm going to have
red wine teeth for this.

-Can I have one more?
-I'll have one more.

-Thank you. Red wine.

-I literally -- I have not
touched a drop

in three weeks for this show,
just for you, my friend.

-Well, guess what?
-Yeah, 'cause I knew I was --

-And, honestly, you don't even
fucking need it.

You don't need it because
you're a fucking cool-ass guy.

And not only are you cool,
but you're interest as fuck.

I'm serious. Like, I don't know
if people tell you this shit.

But I'm here to give flowers.
You're interesting as fuck, man.

-I would like, at some point,
to do a filmed musical.

-So why'd you lie to me and say
that, "Oh, I don't know"?

-That's on my list.
-You fucking lied to my face.

By the way,
one of the most racist things

that I've ever dealt with
in my life.

-I think I was looking
at the wine.

I don't think
I was looking at you.

-Musical -- go ahead.
-Yeah.

That's probably foremost
in my mind.

-That's dope as fuck.
-Yeah, I'd like to do that.

But it's a tough thing to answer

because, you know, I didn't --
I didn't know

that a "Ted" series
was going to be something

that would be fulfilling
until, you know,

our boss, who's here tonight,
I think, right?

You work for Peacock,
too, right?

-She ain't here for me.
She here for you.

-Oh, really?
-We've been doing this show

for a long time.
They don't give a fuck about me.

They here for you, buddy.
-Oh, well...

-Hey, you check a different box,
buddy.

Kevin doesn't have
any fucking animation.

No, I'm dead serious.
-But, you know,

that was something
that was presented to me

by -- by the lovely folks
at Peacock.

And, you know, more "Ted,"

all right, yeah, sure,
I've made a deal.

But then as I got into it,
it's like,

"Yeah, this is kind of --
I'm kind of enjoying this."

And that's when
the budget goes up.

-All right, fine.
I'm going to say it.

I'm going to say it.
I'm going to say it.

And I probed you to see
if you see it or saw it,

but I'm going to give it to you.
-Okay.

-And I think you know,
but in case you don't, right?

You've tapped into so many
different revenue streams,

in the world of one
revenue stream, in animation.

You've shown that you're capable
of this, this, that, right?

And now, in this space
that we're in,

the space of IP,
space of ownership, et cetera,

when you're talking about
a musical,

you're talking about
Seth MacFarlane,

well, your name carries weight.

And sometimes I question
that people understand

the weight
that the name carries.

I just question
if they know that.

One thing I'm aware of --
I'm aware of the weight

underneath my name, right?
-Oh, yeah.

-I'm aware of the things
that I can do.

I'm telling you, fucking Seth --
-See, I'm not.

-I know you're not.

-I wake up every morning
like, "Jesus."

You know,
I don't have a sense of that.

And that sounds like something
that's, like, a bullshit --

I really don't because I've
jumped from genre to genre.

-I don't think you're
bullshitting. I believe you.

-You know, we've just finished
a sci-fi show.

It's like -- I don't know,
it's like I jump around.

-It's not an accident that
you keep having success, Seth.

Stop for a second. All right?
I want you to sit on that.

-Okay.
-It's not an accident.

-Better than the pillow.
-It's not an accident.

Like, these things don't keep
reaching past season 1, 2, 3

because it's an accident.

There's something
attached to you.

There's something attached
to your name.

It's there.

As a fan from the outside

of not just your success
but, goddamn, your longevity,

"How the fuck does he do it?
What is he doing?

I'm looking for science
because I want more --

I want more of something
to apply."

I'm telling you now, man.
you -- you got it.

That world of TV
and opportunity, it don't exist.

-That's what Dorothy Gish said
to Martin Short

in "Three Amigos" --
"You have got it."

-You don't --
It don't exist, Seth.

I just can't let you speak
past that and not understand.

-Yeah. I mean, my fear is that

if I start to think that way,
then it all goes away.

But the thing that pushes me,

you know, to sit down every day
and work and try to come up,

you know,
what is that next thing

and not to watch
reruns of "ALF"...

-But you're watching that
because you're looking

for the fucking next --
-Yeah. A little bit.

Yes, you're right. You're right.
There's a little bit of that.

-You do the fucking work, man.

I will --
I will say this to you.

When you say musical,

and I'm talking about
your musical success, et cetera,

well, "Oh, fuck,"
soon as you said it.

"Oh, my God,
you want to do Broadway.

You want to go do some" --

You can do --
-That sounds like a lot of work.

-It will be.
-Do the same show night after night.

-By the way, I got two sides
of you, and there's one side

that's like,
"Yeah, man, I love to create."

There's another side like,
"Whoa, I don't want to do...

Hey."

It's like, "I got to get up
at what time?"

-You're right. Yes,
there is a little bit of that.

Yeah, well, to do the same show

night after night,
which is what Broadway is.

Again, that's --

I have a specific compartment
of respect

reserved for people who do that,
because I wish I could do that.

-Okay.

-Yeah, I don't know
that I could last.

-How big is your team?
-You know, it's about 20 people.

-I ask you that question
because I was going to say,

from your immediate team, those
are people that really know you.

-Well, how many people
do you have?

-Immediate team?
-Yeah. Your immediate team.

-12.
-Yeah, okay. Well, that's about right.

-No, 20 to 12 is a big number.
That's the difference.

That's a big difference.
-But you're a little younger than I am.

-I'm 42.
-Yeah.

-What are you?
I'm not going to tell you. It's on Wikipedia.

-Are you serious?
-Yeah.

-How old?
-Hmm?

-How old?
-I'm also 42, Kevin.

-I need a white version.
I did the Don Cheadle.

-You need a white version?
-I need a white version.

-Well, Kevin, so as it
turns out, I'm also 42.

-How old are you?
You can't be -- 50?

-Huh? No, no, I'm not 50 yet.

-All right, then stop.
What are you talking about?

I thought you were going to
say something crazy.

Yeah, all right,
you're like 45, then.

-I'm in my mid-40s.
-45?!

Get the fuck out of here!
-Yeah, there you go. Sure, sure.

-You're 45,
and you've had 21 years

of your life
of successful TV!

-What?
-Of successful TV.

-Yes. Yeah, yeah. I mean, yeah.

-Look how you breathe with that.
[ Inhales sharply ]

[ Both laugh ]

I love it, man.
-Sure, successful TV.

Yeah, yeah. Successful.

-This is honestly
a moment for --

-Are your interviews
usually better than this?

Like, am I like --
Is this, like, the most,

like, awkward, worst?

-Okay, I just tapped
into something else.

You really believe that
it's awkward, don't you know?

-No, I don't. I just think --
-It's fucking dope!

-I feel like,
"Oh, Bryan Cranston was here,"

and he's a friend of mine,
and I bet he did better.

-Bryan Cranston --

Bryan Cranston actually
was shit.

-Was it?
-No, I'm joking, I'm joking.

-Bryan was great. But here's
what I love, like, right?

I love the fact that -- I love
the fact that I have a platform.

I have this thing where
you get to see people

for, like, who they really are,
and I love that you --

-And is that why
you do the show?

-Yes, yes.

-Because you don't needthis.
-No.

-I mean, you're like --
You're Kevin Hart.

You've got the world
at your feet.

-Watch this. I am. I do.

You're not going to make me
shy away from that.

-That the title of
a one-act play I'm writing.

-And I'm going to edit that out.
-Actually, I think

that was the title
of Brian Griffin's book.

-But I will tell you
why I do it.

Because we don't
have a situation

where we can sit and talk

and you get to see
people be people.

No --
-Is that -- Sorry.

-Nobody gets to see you
really be you, right?

And as I'm talking to you, I've
never talked to you like this.

-Yeah, no, I know.
-This is you and I talking, so...

-You have my phone number, man.

I mean, Jesus,
you didn't have --

-We're going to edit that out
'cause I don't --

Watch this.

We got more "Hart to Heart"
when we come back after this.

**

**

-We are back.
This is "Hart to Heart."

And I'm talking
to Seth MacFarlane.

Seth, I will say this
before we leave, right?

I will say this
before we leave.

Seth MacFarlane, anxiety or not,

which is why
you keep trying different shit,

you keep fucking striking gold
on your different shit.

Oh, and this other show I got.
-To some degree, to some degree.

-It's not! Even your
failures are success.

-Well, I don't know about that.

-All right, explain to me
how it's not.

-You know, I mean, God,
that means I have to

shit on something I've done
that I like.

-All right. Tell me.

-I mean, take something like
our Western that we did.

-Okay.
-To me, that was a --

that was as much fun
as I've ever had,

which I suppose
you could classify it

as a personal success.
-Mm-hmm.

Your failure comes because
the numbers aren't where

they're supposed to be.
-Yeah, yeah, sure.

-Okay. Your success comes in,

you told somebody
you want to do something,

and they said, "Okay, do it."
-The success comes from here.

-How about that?
-Okay, so you got one thing

that didn't match the energy
that you put into it,

but you got 45 that do.

-Yeah, but the point is
that it's the --

The risk is where
the fun comes from.

-That's where you excitement
comes from,

and that's what I love.
-Yeah, yeah.

And it's the possibility
that this next thing

that I do
could be the thing

that just bombs the box office
and ruins me.

-See, but that's what I've
learned from talking to you.

You're like,
"I need the excitement.

I need the reward in my risk."

That's a great thing, to see
a person still have that

when they have the success.

You're not bored
with your success.

You're bored with
the fucking consistency

of the thing that you know.
-It's interesting.

It's -- Yeah,
I'll leave it at that.

-See, once again, you were
about to get comfortable,

and then you said, "Fuck it."

I've taken us
to a place of real comfort

and I'll close it out
and simply say that, "Dude,

I'm here to make you understand
you're a legend."

If I can do my part
in giving us a memory,

something that's documented
where I did my part,

where I've had the people
come on

to something
that I could control

and show that,
"Wow, I'm blown away,"

publicly, "Here,
here's your flowers"...

-Thank you, man.
I appreciate it. -...it's me doing my part.

You take your fucking flowers,
man, all right?

And at some point,
you fucking walk away from here,

you realize you the shit,

and you give me the code
to this animation shit,

because I've had
three failed pilots, okay?

-Animated pilots?
-Well, they haven't made it to pilots,

but my ideas have been shit.

I to talk to you about it
offline.

-You can call me day or night.

I mean, I'll answer anything
I'm capable of.

-On a serious note,
Seth MacFarlane,

I got to say thank you
once again, man.

A fan and now a friend.

That's what this show
is about, dude.

Congrats on all your success.
-Kevin Hart, same to you.

-More to you.
-Big long-time admirer of your work.

Now admire of Kevin Hart.
-My guy. My guy.

Thank you, man.
This is "Hart to Heart."

On time, guys.
Thank you so much.

[ Applause ]

**

Kevin Hart here with
another life antidote.

By the way, you're welcome.
How important are these?

The question is
is, how important is it to you?

I'm giving you the gems
to succeed in life.

Are you using it?
Here's another.

A neck is nothing without
the tunnel that it goes through.

What I'm saying is,
comb your hair.

We all need a good day.

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