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**
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-Wow. My guest today
started his career
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by becoming the youngest
executive producer
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00:00:16,057 --> 00:00:18,518
in the history of TV
at the age 24.
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00:00:18,560 --> 00:00:20,353
Since then, well, the guy
has been inducted
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00:00:20,395 --> 00:00:21,688
into the Television Hall of Fame
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with five Emmy wins,
25 nominations.
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Goddamn.
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Did I mentioned Oscar and
Grammy nominations, as well?
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Well, you add all that up,
you got a creative chameleon.
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Guys, I'm talking
about Seth MacFarlane.
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Come on, man.
Get in here, Seth. Yes, sir.
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-How's it going?
-It's going good, man.
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-Good to see you, man.
-Good to see you, as well.
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-Brought my own drink.
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I'm not going to
turn down the wine, though.
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-Well, listen, if you tell me
what you like and now I know,
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it's my job
to make you comfortable.
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That's what I do here.
"Hart to Heart,"
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I can't have a heart-to-heart
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if you don't feel like you can
drop your shoulders and relax.
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-This is fantastic. All right.
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I'm dropping my shoulders
right now, yeah.
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-Now, where's my somm?
Here he comes.
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What do we have? What's this?
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-Mr. Hart, Mr. MacFarlane,
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we've got an incredible Cabernet
Sauvignon from Washington State,
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Columbia Valley.
-Okay. Okay.
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-Look at that.
-2019 vintage.
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-Okay.
-It's got a sheep on it.
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I'm sold.
-Absolutely.
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-By the way, that shows you
how fucked up you are.
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-That's a sheep, right?
-I don't know.
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I thought it was a wolf.
-Oh, you know, it's a wolf.
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-Is it a wolf?
-It's a wolf in sheep's clothing.
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-Is it a wolf
in sheep's clothing? -That's what it is, yeah.
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-Takes a wolf to catch a wolf.
-Goddamn. I don't know what it is.
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-Between the two of us,
we got this.
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-I think they may have
combined a sheep and a wolf
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in a fuck session
and came out with that.
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That's close, man.
-It's a wheep.
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-It's something crazy, right?
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-Yeah. Yeah,
I'll try some of that.
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-Pour a little bit.
But you like --
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What do you like? You like
vodka? You like tequila?
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What do you like?
-I mean, you know,
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when I'm doing interviews,
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I'll really just take whatever
I can get my hands on.
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-It's a casual drink
or whatever.
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My guy. Thank you.
-Thank you, sir.
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This is delicious.
-First-class service, man.
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-Yes, indeed. I love it.
I love it.
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And if you run out, you're,
like, surrounded by it.
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-Yes. It's all over.
-You're surrounded by wine.
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-Yes, because this is where
I create this environment
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that makes you believe it.
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Seth, I have to start off
by just saying,
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first and foremost,
congrats, right?
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Your run, your fucking success
in the world of producing
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is historic, right?
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When you look at these people
that have had these crazy runs,
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when you look at Dick Wolf
and you look at Norman Lear,
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you start to look at the shows
that have lasted for so long
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and what those shows
have represented
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over the course of time,
well, the list is very small,
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as the people that are
in that category.
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You're in that category.
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-That's a --
Norman Lear and Dick Wolf,
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that's, like, that's a --
At some point maybe.
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I don't know
if I'm there quite yet. -Okay, well,
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tell me in a world of animation
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who is in the same conversation
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and where you are
and what you are.
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-Well, I mean, God in --
-And film and film.
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You've done movies that have --
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that have fucking done
amazing numbers, as well.
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-Yeah. Yeah. Done a couple of --
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-Let's not downplay.
-Couple films.
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-Let's not downplay the numbers.
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-I'm from the Northeast.
That's all we do.
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-Okay. Well, I can't let you.
-That's all we do.
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-This is a show
about giving the flowers
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where I feel the flowers
should be given to.
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So when I say that,
I do truly mean it.
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I mean, it's not just about
the shows you created, right?
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Okay, that's great.
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It's about the run
and the growth in these shows
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over the course of time
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and how you've been able
to catapult,
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springboard, accelerate,
and fucking progress.
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-A lot of it is accidental.
A lot of it --
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"Family Guy" was -- I mean,
it's interesting.
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I'm somebody who likes to work
on one thing at a time.
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I don't really -- I never
set out to be, you know,
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the kind of executive who --
kind of executive producer,
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rather, who works on 100 things.
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Like, I just don't have
the bandwidth to do that.
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-Bandwidth.
-Yeah, yeah.
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It's just -- You know,
so "Family Guy" was meant
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to be something
that would run its course,
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and I never expected it
to go as long as it has.
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It surprises me
that anyone is still interested.
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-You're so present,
you're so conscious,
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and you do it in a way
where you can get away with it,
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from race, politics.
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You touch everything,
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and you guys do it in such a --
you do it in such a clever way
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that "Family Guy,"
it's under the radar,
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but it's above
the radar, as well.
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It's done to perfection, right?
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You don't get --
-God, you sound just like
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every critic.
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-Well, no.
-That's what they all say.
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-This is what I'm telling you.
Coming on "Hart to Heart" is different.
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This is about giving the flowers
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where I feel the flowers
should be given.
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-It's just, like, I've heard it
all from The New York Times.
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They love it.
-Well, their job
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is to give you the shit, right?
-Yeah, yeah, yeah.
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-But then you look up,
and you go,
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"I got 21 fucking years
under my belt
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under one of my -- under one
of my fucking creations.
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I have several.
I have a lot."
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My thing is, when you're in this
in the beginning
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and it's about animation,
was it only animation?
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Was that, like, what you felt
you wanted to do and only do?
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Or in the beginning,
was it like, "Oh, I just have this idea"?
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Where were you at
in the beginning of it?
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-It really was -- Animation
was sort of the nucleus of it.
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I went to art school.
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I went to the Rhode Island
School of Design in Providence.
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And I -- You know, at the time,
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Disney was sort of having
its resurgence of --
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you know,
its kind of renaissance
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with "The Little Mermaid"
and "Beauty and the Beast"
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and "Aladdin,"
and I was like,
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"Oh, this is what I want to do.
I want to be a Disney animator."
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And midway through college,
you know,
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I did a little bit of stand-up,
and I was --
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-I heard this, by the way.
I was going to get here.
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I heard this. Go ahead.
-Would never do it today.
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Would be too terrified.
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But at the time,
it was -- I had a blast.
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And at the same time,
"The Simpsons" had kind of
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come of age on television.
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And so those two things combined
to kind of reset my trajectory.
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And I thought, "Yeah, you know,
I kind of want to do stuff
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that makes me laugh."
-Okay.
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-And, you know, where I was
going to go after college --
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And I had applied to
the Boston Conservatory of Music
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for musical theater,
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and I thought,
"Maybe I want to go do that.
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I don't know if I want
to get into animation,"
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by the time I was
a senior in college.
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And had I not gotten my first
job offer from Hanna-Barbera,
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I might have wound up
in grad school.
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-The thing that I
think is, like --
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The thing I think
is pretty dope,
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there's a decision to,
"I want to edgy --
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I want to edgy up a world
that's off," right?
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And when I think about
"South Park," those guys
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and what they did
and the reason behind it,
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the goal, tackling things,
being edgy,
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saying the shit that a cartoon
character isn't supposed to say,
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how do we make this the thing?
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How do we create this wave?
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And I remember when it started
to kind of pick up, right,
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like, this thing started to --
it started to pick up,
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and there was a couple of people
that were doing it right.
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I remember the "Beavis
and Butt-Head" era.
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-Yeah. Oh, yeah.
-The whole thing
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about the "Beavis
and "Butt-Head" era was,
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"What are they going to say?"
-Yeah, yeah.
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-"What are they going to say?"
-Yeah, that show
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was under--
I mean, not underrated.
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Like, I think at this point,
people do acknowledge it
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for how stealthily
groundbreaking
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00:07:06,634 --> 00:07:08,595
it was, you know?
-It really was. It really was.
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-It was really something,
that show.
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-Do you look at those things
like --
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00:07:11,890 --> 00:07:16,770
like what and who
acts as your --
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00:07:16,811 --> 00:07:21,024
you know, your --
Who are your door openers?
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Who do you feel made it easier
for you to come in
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and have the success
that you're having?
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Who started it?
Who gave you the thing
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that was like, "Oh, shit,
that's possible."
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-You mean just looking at
the industry from afar?
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-Yeah.
-Yeah, I mean, you know,
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00:07:37,832 --> 00:07:39,459
again, not to sound
like a broken record,
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I mean, you know, "The Simpsons"
changed the playing field,
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00:07:41,836 --> 00:07:43,630
so I don't think I could have
pitched "Family Guy" --
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00:07:43,672 --> 00:07:45,090
And, obviously later,
"King of the Hill."
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I don't think I could have
pitched that show
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if that complete reset of that
industry had not taken place.
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00:07:50,720 --> 00:07:52,722
-How many before you
was "King of the Hill"?
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00:07:52,764 --> 00:07:54,224
-"King of the Hill" was --
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00:07:54,265 --> 00:07:56,476
You know, when I came to Fox
to pitch "Family Guy,"
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00:07:56,518 --> 00:07:58,311
"King of the Hill" was sort of
just getting off the ground.
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00:07:58,353 --> 00:08:00,563
-I was going to say,
it wasn't, like, a long-term...
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00:08:00,605 --> 00:08:03,233
-No, it was pretty --
it was pretty new.
201
00:08:03,274 --> 00:08:05,985
-But this is when Fox
was also realizing, "Oh, shit."
202
00:08:06,027 --> 00:08:07,529
-Yeah.
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00:08:07,570 --> 00:08:09,406
-"We got something
in this animation space." -Yeah. Yeah.
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00:08:09,447 --> 00:08:12,659
I mean, look, you know, again,
I'm from the Northeast.
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00:08:12,701 --> 00:08:14,953
We downplay, we're the --
-You keep saying it.
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00:08:14,994 --> 00:08:17,997
-If you're from the Northeast,
you're the person,
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00:08:18,039 --> 00:08:20,792
like, you can be served, like,
a salad at a restaurant
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00:08:20,834 --> 00:08:22,752
with a dog shit on it,
and you'll go,
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00:08:22,794 --> 00:08:24,170
"I'm so sorry. I'm sorry.
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00:08:24,212 --> 00:08:25,672
Is there any way --
I hate to be this guy --
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00:08:25,714 --> 00:08:27,173
is there any way I could
get another one?
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00:08:27,215 --> 00:08:29,050
I'm so sorry. My fault."
-"Can you take the dog shit?"
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00:08:29,092 --> 00:08:31,469
-Yeah, but you feel like
somehow it's your fault. -Yes, yes, okay.
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00:08:31,511 --> 00:08:32,887
-And not to downplay the fact,
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yes, I did bust my ass,
I worked really hard.
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00:08:35,390 --> 00:08:39,436
It was also timing
was a little bit in play there.
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00:08:39,477 --> 00:08:40,729
-Key.
-Yeah.
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00:08:40,770 --> 00:08:42,397
I mean,
I was pitching "Family Guy"
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at exactly the time
that everybody wanted animation.
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00:08:46,776 --> 00:08:48,695
I mean, that was all anyone
was buying.
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00:08:48,737 --> 00:08:50,739
It was -- "The Simpsons"
had just exploded.
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00:08:50,780 --> 00:08:52,657
"King of the Hill"
was doing great.
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00:08:52,699 --> 00:08:54,284
Everybody wanted animation.
224
00:08:54,325 --> 00:08:57,871
So I happened to be selling
exactly what they were buying.
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00:08:57,912 --> 00:08:59,706
-But you with the characters,
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00:08:59,748 --> 00:09:01,541
the voices
and everything, as well.
227
00:09:01,583 --> 00:09:05,378
I mean, this is -- this is a
part of the fucking talent,
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00:09:05,420 --> 00:09:06,838
to me, that's mind-blowing
229
00:09:06,880 --> 00:09:08,173
because you're part
of the creative,
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00:09:08,214 --> 00:09:11,051
you're part of the idea,
the writing, et cetera,
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00:09:11,092 --> 00:09:15,430
but then you also --
you also are the talent.
232
00:09:15,472 --> 00:09:17,932
This is where it gets
a little scary for me.
233
00:09:17,974 --> 00:09:21,394
-Yeah, I mean, you know,
again, part of that was
234
00:09:21,436 --> 00:09:24,564
I had done voices and
impressions since I was a kid.
235
00:09:24,606 --> 00:09:26,066
-Okay.
-It's interesting,
236
00:09:26,107 --> 00:09:28,318
'cause I've talked
with actors who --
237
00:09:28,360 --> 00:09:31,237
I'm always in awe of actors
who can go on camera
238
00:09:31,279 --> 00:09:35,909
and do something, you know,
take such command of a scene
239
00:09:35,950 --> 00:09:37,869
and who say, "Boy, a voiceover,
that must be hard."
240
00:09:37,911 --> 00:09:39,746
And it's like, "God,
it's really not."
241
00:09:39,788 --> 00:09:41,164
To me, it's not.
242
00:09:41,206 --> 00:09:44,125
It's, you know,
what you guys do on camera,
243
00:09:44,167 --> 00:09:46,920
you know, headlining a movie,
that's tough.
244
00:09:46,961 --> 00:09:48,296
-But this talent of character
245
00:09:48,338 --> 00:09:50,507
and the ability to switch
in and out of characters,
246
00:09:50,548 --> 00:09:52,717
this is something that you had
when you were younger?
247
00:09:52,759 --> 00:09:54,844
-Yeah.
-And is it from somebody else?
248
00:09:54,886 --> 00:09:56,179
Or just this is...
249
00:09:56,221 --> 00:09:58,014
-I think -- I mean,
the only thing
250
00:09:58,056 --> 00:10:01,101
I can connect it to is that
my parents were very musical.
251
00:10:01,142 --> 00:10:03,103
My whole family
was very musical.
252
00:10:03,144 --> 00:10:06,314
There's a --
You know, the ear
253
00:10:06,356 --> 00:10:10,110
was sort of a part
of everything that they did.
254
00:10:10,151 --> 00:10:14,864
I mean, it possibly --
that possibly developed in part
255
00:10:14,906 --> 00:10:16,950
because of the fact that,
when I was a kid,
256
00:10:16,991 --> 00:10:18,743
I was desperately in need
of glasses
257
00:10:18,785 --> 00:10:20,829
and nobody knew it
until I was about 4.
258
00:10:20,870 --> 00:10:22,288
So I would be in nursery school
259
00:10:22,330 --> 00:10:24,582
sitting in front
of the record player
260
00:10:24,624 --> 00:10:26,042
and being completely
anti-social.
261
00:10:26,084 --> 00:10:27,877
I wasn't interested
in conversing with anybody.
262
00:10:27,919 --> 00:10:30,130
I wasn't interested
in interacting with people.
263
00:10:30,171 --> 00:10:32,007
I just wanted to listen
to the record player.
264
00:10:32,048 --> 00:10:33,550
And they thought,
"My God, this kid's like --
265
00:10:33,591 --> 00:10:35,135
You know, what is he,
like a future serial killer?
266
00:10:35,176 --> 00:10:36,428
He just doesn't want
to be around"...
267
00:10:36,469 --> 00:10:38,888
And they realized,
"Oh, he can't see shit."
268
00:10:38,930 --> 00:10:41,182
-"Oh, guys,
he's struggling with vision."
269
00:10:41,224 --> 00:10:42,726
-Yeah, "He can't see anything."
270
00:10:42,767 --> 00:10:45,103
So once they figured that out,
271
00:10:45,145 --> 00:10:48,982
then I became the gregarious,
outgoing person that I am now.
272
00:10:49,024 --> 00:10:51,651
-Do you ever feel like you went
through the period of --
273
00:10:51,693 --> 00:10:53,987
Do people know?
Like, I'm the guy
274
00:10:54,029 --> 00:10:55,989
and I'm doing the stuff,
275
00:10:56,031 --> 00:10:57,741
I want people to know,
or I don't know?
276
00:10:57,782 --> 00:10:59,159
Did you ever go through that?
-Generally,
277
00:10:59,200 --> 00:11:02,579
I'm grateful that I don't
have to deal with it.
278
00:11:02,620 --> 00:11:05,165
I mean, you probably can't go
anywhere without getting mobbed.
279
00:11:05,206 --> 00:11:07,000
It's probably insane.
-Yeah.
280
00:11:07,042 --> 00:11:08,335
-Yeah, I don't deal with that.
281
00:11:08,376 --> 00:11:10,712
And I'm kind of glad
that I don't.
282
00:11:10,754 --> 00:11:13,715
It's -- I mean, with what I do,
283
00:11:13,757 --> 00:11:15,425
it's almost the kind of thing
if,
284
00:11:15,467 --> 00:11:18,803
in those rare instances where I
feel like I want to deploy it
285
00:11:18,845 --> 00:11:20,430
for whatever
self-serving reason,
286
00:11:20,472 --> 00:11:22,682
which is rare, you know,
287
00:11:22,724 --> 00:11:25,352
I can use it as needed.
288
00:11:25,393 --> 00:11:28,063
-You can. You can go in your
pocket, and you can go get it
289
00:11:28,104 --> 00:11:30,148
pretty much whenever you want.
-I mean, it's a,
290
00:11:30,190 --> 00:11:31,816
"Maybe Ican't get
into this restaurant"...
291
00:11:31,858 --> 00:11:34,027
[ As Stewie ] "But maybe I
can get into this restaurant."
292
00:11:34,069 --> 00:11:36,446
You know, it's like --
It's -- Yeah, no.
293
00:11:36,488 --> 00:11:38,615
But I do --
294
00:11:38,656 --> 00:11:42,535
I do -- I do not envy what
I'm sure you must deal with.
295
00:11:42,577 --> 00:11:44,245
-Kids?
-I don't have kids.
296
00:11:44,287 --> 00:11:46,623
-No kids? Married?
-Mnh-mnh. Mot married.
297
00:11:46,664 --> 00:11:48,875
-Not married? Single, no kids?
298
00:11:48,917 --> 00:11:50,794
-Would like to be married
at some point.
299
00:11:50,835 --> 00:11:53,046
-Okay.
-Yeah, I'm someone
300
00:11:53,088 --> 00:11:56,633
who is comfortable being alone
301
00:11:56,675 --> 00:12:00,011
but, at the same time, could be
very comfortable being married.
302
00:12:00,053 --> 00:12:01,721
-When people say that, though,
like when you say
303
00:12:01,763 --> 00:12:04,557
you're comfortable being alone,
are you really alone?
304
00:12:04,599 --> 00:12:07,310
-I mean, again, I don't --
it doesn't feel it.
305
00:12:07,352 --> 00:12:08,770
-See, that's what I'm saying.
You see how it made you --
306
00:12:08,812 --> 00:12:10,188
You see how you said...
-Yeah.
307
00:12:10,230 --> 00:12:12,774
-Like, sometimes
you aren't alone.
308
00:12:12,816 --> 00:12:14,734
So it's like when you say
you're comfortable being alone,
309
00:12:14,776 --> 00:12:16,986
does that really mean you're
comfortable with your space?
310
00:12:17,028 --> 00:12:22,325
-I think there are people
who -- who think --
311
00:12:22,367 --> 00:12:27,122
the glamorization
of the wedding and the kids
312
00:12:27,163 --> 00:12:29,416
and that life
is what they think about,
313
00:12:29,457 --> 00:12:31,501
and they don't think about
the thing that comes in between
314
00:12:31,543 --> 00:12:33,336
as the marriage.
-Mm-hmm.
315
00:12:33,378 --> 00:12:35,213
-And that, to me, is --
You know, look,
316
00:12:35,255 --> 00:12:38,425
if I do ever get married,
it's got to be --
317
00:12:38,466 --> 00:12:43,221
you know, I got to be 100% sure,
or I'm very happy being single.
318
00:12:43,263 --> 00:12:45,932
-Okay. Is your creative
fucking amazing
319
00:12:45,974 --> 00:12:47,934
because of the time
that you have to yourself?
320
00:12:47,976 --> 00:12:49,394
-Oh, yeah. Oh, yeah.
-Okay.
321
00:12:49,436 --> 00:12:51,980
-Look, the single life
is that you go home,
322
00:12:52,022 --> 00:12:55,025
and you can write
until 2:00 in the morning,
323
00:12:55,066 --> 00:12:57,277
you know, you get up
and go straight to it.
324
00:12:57,318 --> 00:13:00,155
You don't have to worry about
that kind of balance.
325
00:13:00,196 --> 00:13:02,115
But at the same time,
I think it's -- you know,
326
00:13:02,157 --> 00:13:04,242
it's probably healthy to worry
about that kind of balance
327
00:13:04,284 --> 00:13:05,994
from time to time, so...
-Yeah.
328
00:13:06,036 --> 00:13:08,621
Is there a timeline
throughout your day
329
00:13:08,663 --> 00:13:12,167
that's dedicated
to the creative?
330
00:13:12,208 --> 00:13:14,919
-No. Some people write --
-I love the confidence in that,
331
00:13:14,961 --> 00:13:16,963
by the way.
-Yeah, yeah.
332
00:13:17,005 --> 00:13:18,840
-So much confidence. "No."
333
00:13:18,882 --> 00:13:21,634
-One of the few times that
I can speak with confidence.
334
00:13:21,676 --> 00:13:24,095
-"No, Kevin, it's not."
-Yeah, no, it's not.
335
00:13:24,137 --> 00:13:27,140
No, there are people
who can write --
336
00:13:27,182 --> 00:13:29,476
or there are people who have
the time of day when they write,
337
00:13:29,517 --> 00:13:30,769
when they work best,
338
00:13:30,810 --> 00:13:33,104
people who get up super early
in the morning,
339
00:13:33,146 --> 00:13:35,315
that's when they do
their best work,
340
00:13:35,357 --> 00:13:37,275
people who write late at night.
341
00:13:37,317 --> 00:13:38,818
For me, every day is different.
342
00:13:38,860 --> 00:13:41,488
It can be 4:00 in the afternoon
and I'm productive,
343
00:13:41,529 --> 00:13:45,700
or it's 10:00 at night, and,
suddenly, you know, I'm working.
344
00:13:45,742 --> 00:13:48,244
-Seth, let me stop you there.
Break number one.
345
00:13:48,286 --> 00:13:51,498
We got more "Hart to Heart"
when we come back after this.
346
00:13:51,539 --> 00:13:57,045
**
347
00:14:02,050 --> 00:14:05,095
**
348
00:14:05,136 --> 00:14:06,888
-We are back.
This is "Hart to Heart."
349
00:14:06,930 --> 00:14:08,556
And I'm talking
to Seth MacFarlane.
350
00:14:08,598 --> 00:14:10,684
Seth, what's the family
that you come from?
351
00:14:10,725 --> 00:14:13,228
It's Mom, Dad, brother, sister?
352
00:14:13,269 --> 00:14:14,938
-Yeah. I have one sister,
Rachael,
353
00:14:14,979 --> 00:14:16,731
who is on "American Dad!"
354
00:14:16,773 --> 00:14:22,028
My mother and father were def--
were hippies.
355
00:14:22,070 --> 00:14:23,905
My dad was at Woodstock.
356
00:14:23,947 --> 00:14:25,573
-Free spirits.
-Free spirits, yeah.
357
00:14:25,615 --> 00:14:28,868
Used to regale us
with his favorite LSD stories.
358
00:14:28,910 --> 00:14:33,081
So they were very -- they were
very, very progressive.
359
00:14:33,123 --> 00:14:34,874
We were like --
-LSD stories.
360
00:14:34,916 --> 00:14:36,334
Explains it.
-Yeah. Yeah.
361
00:14:36,376 --> 00:14:38,294
-Creative fucking mind.
-Yeah. Yeah. He told me
362
00:14:38,336 --> 00:14:40,630
the story one time about being
in a kitchen at a party
363
00:14:40,672 --> 00:14:42,507
and, like, looking at the floor,
364
00:14:42,549 --> 00:14:45,427
and, like, a barrel of apples
just appeared out of nowhere.
365
00:14:45,468 --> 00:14:47,137
And that was, like,
the best part of his night.
366
00:14:47,178 --> 00:14:49,055
-So those kinds of stories,
-Do you respect the genes
367
00:14:49,097 --> 00:14:50,682
that possibly is in you
because of your parents?
368
00:14:50,724 --> 00:14:56,104
-It was enough to make me
never want to try acid.
369
00:14:56,146 --> 00:14:57,939
-Are you guys close --
mom and dad?
370
00:14:57,981 --> 00:14:59,899
-We are. Yeah, yeah.
-Yeah? Now or...?
371
00:14:59,941 --> 00:15:01,860
-Yeah. Oh, yeah.
No, my family,
372
00:15:01,901 --> 00:15:04,029
they're the best comedy writers.
373
00:15:04,070 --> 00:15:06,072
Are you close to your family?
374
00:15:06,114 --> 00:15:08,283
-My mom passed away.
-Yeah, so did mine.
375
00:15:08,324 --> 00:15:10,744
-Dad on/off drugs.
376
00:15:10,785 --> 00:15:13,705
But me and my dad now,
we have a good relationship.
377
00:15:13,747 --> 00:15:17,000
Are we the closest? We're not
the closest, but we're good.
378
00:15:17,042 --> 00:15:18,585
I was very close to my mom.
379
00:15:18,626 --> 00:15:21,254
-Yeah, so was I. So was I.
I was close to my mom, too.
380
00:15:21,296 --> 00:15:23,840
-When did your mom pass away?
-2010.
381
00:15:23,882 --> 00:15:26,926
-Mines was 2006?
382
00:15:26,968 --> 00:15:28,261
-Yeah. So right -- Yeah.
383
00:15:28,303 --> 00:15:30,638
-2006. 2006 or 2007.
384
00:15:30,680 --> 00:15:32,182
-Yeah. So right around
the same time. Yeah.
385
00:15:32,223 --> 00:15:35,352
-Yeah. And did that --
What did that do to you?
386
00:15:35,393 --> 00:15:39,939
-You know, it was --
The worst --
387
00:15:39,981 --> 00:15:43,151
not the worst -- but, like,
the thing that I miss the most
388
00:15:43,193 --> 00:15:45,487
is when -- when I was --
389
00:15:45,528 --> 00:15:46,905
You know, when "Family Guy"
would air --
390
00:15:46,946 --> 00:15:49,115
First, my mother was, like --
391
00:15:49,157 --> 00:15:51,284
Everything was a superlative.
392
00:15:51,326 --> 00:15:53,036
Like, I could bring home
Eva Braun and say,
393
00:15:53,078 --> 00:15:54,496
"This is my girlfriend,"
my mother would go,
394
00:15:54,537 --> 00:15:56,164
"Oh, she is fantastic."
-Oh, my God, same, same.
395
00:15:56,206 --> 00:15:57,665
-You know, let me tell you...
396
00:15:57,707 --> 00:15:59,334
Eva Braun was Hitler's
girlfriend, by the way.
397
00:15:59,376 --> 00:16:01,294
-Same. Well, not same.
398
00:16:01,336 --> 00:16:02,837
I didn't fuck with
Hitler's girlfriend.
399
00:16:02,879 --> 00:16:04,589
That was his reference.
-I know there's no audience.
400
00:16:04,631 --> 00:16:06,216
-I know that,
but I want them to know,
401
00:16:06,257 --> 00:16:07,967
just in case they didn't,
I didn't fuck with her.
402
00:16:08,009 --> 00:16:10,011
That was a reference. Okay?
403
00:16:10,053 --> 00:16:11,971
Same, though. Yeah, same in mom.
404
00:16:12,013 --> 00:16:14,015
-I could bring home
Roseanne Barr
405
00:16:14,057 --> 00:16:15,517
and my mother would go,
406
00:16:15,558 --> 00:16:17,852
"Oh, that's" --
Everything was a superlative.
407
00:16:17,894 --> 00:16:19,646
-It's --
Supportive all the time.
408
00:16:19,688 --> 00:16:21,564
-Supportive. Supportive.
-All the time.
409
00:16:21,606 --> 00:16:23,692
-And so she would call
every Monday morning
410
00:16:23,733 --> 00:16:26,361
after "Family Guy" would air
and say,
411
00:16:26,403 --> 00:16:29,906
"This was the funniest episode
of all time."
412
00:16:29,948 --> 00:16:32,867
And I would kind of play it off
like, "Okay, thanks, Mom.
413
00:16:32,909 --> 00:16:34,327
Thanks. I appreciate it."
414
00:16:34,369 --> 00:16:37,038
And -- But in reality,
I was kind of like,
415
00:16:37,080 --> 00:16:39,749
"Yeah, I'm waiting for that call
because I like that call."
416
00:16:39,791 --> 00:16:42,168
And not getting that call
every Monday morning
417
00:16:42,210 --> 00:16:44,045
is the thing that, to this day,
is like --
418
00:16:44,087 --> 00:16:47,674
That's the thing that I still,
like, kind of think about.
419
00:16:47,716 --> 00:16:50,010
-What about Dad, though?
What about Dad?
420
00:16:50,051 --> 00:16:53,179
It's fucked up that sometimes
421
00:16:53,221 --> 00:16:55,515
dads don't even get a mention.
-They don't.
422
00:16:55,557 --> 00:16:58,268
-And I had to check myself
with this one time
423
00:16:58,309 --> 00:17:00,145
because I told you,
like, yeah, my dad,
424
00:17:00,186 --> 00:17:01,646
he had his ups and downs,
425
00:17:01,688 --> 00:17:05,734
but we get so comfortable
in the conversation of moms
426
00:17:05,775 --> 00:17:09,320
and all they're doing,
and rightfully so -- deserved.
427
00:17:09,362 --> 00:17:12,407
But sometimes we just fucking --
The dads are just...
428
00:17:12,449 --> 00:17:14,451
-Yeah. Yeah.
-It's like a secondhand.
429
00:17:14,492 --> 00:17:16,369
What was Dad?
-It's --
430
00:17:16,411 --> 00:17:19,831
You know, my dad was the --
was the quiet,
431
00:17:19,873 --> 00:17:22,250
intellectual, thoughtful.
432
00:17:22,292 --> 00:17:24,127
You know, he was the person
who would watch the news
433
00:17:24,169 --> 00:17:28,423
and, like, kind of break it down
for us and analyze and say,
434
00:17:28,465 --> 00:17:32,427
you know, "Bush is the bad guy.
Dukakis is the good guy."
435
00:17:32,469 --> 00:17:35,722
You know, it's like he'd kind of
lay it out for us.
436
00:17:35,764 --> 00:17:39,768
But -- But, yeah, you know,
he's -- My dad --
437
00:17:39,809 --> 00:17:41,436
I always looked at my dad
as like, "Okay,
438
00:17:41,478 --> 00:17:43,438
this is the smartest guy
that I know.
439
00:17:43,480 --> 00:17:48,401
And, you know, this is a guy
who can take a number of sources
440
00:17:48,443 --> 00:17:51,237
and kind of process them
all in his head
441
00:17:51,279 --> 00:17:53,239
and cross-index
and cross-reference
442
00:17:53,281 --> 00:17:55,825
and come up with an answer
that truly is
443
00:17:55,867 --> 00:17:58,036
the epitome
of critical thought."
444
00:17:58,078 --> 00:18:00,663
And that's what I -- To this
day, that's what I admire.
445
00:18:00,705 --> 00:18:03,375
And I still --
-Are You --
446
00:18:03,416 --> 00:18:06,461
If you take both, where are you?
447
00:18:06,503 --> 00:18:08,755
A combination, or do you
feel like you're one?
448
00:18:08,797 --> 00:18:10,757
Does one have more of you
than the other?
449
00:18:10,799 --> 00:18:13,510
-I have my mother's -- I think
I have my mother's anxiety,
450
00:18:13,551 --> 00:18:15,553
you know, like, leaving the
house and wondering, you know,
451
00:18:15,595 --> 00:18:18,098
"Did I turn
the washing machine off?"
452
00:18:18,139 --> 00:18:19,849
-"Oh, my God,
the lights are on." -Yeah, exactly. Yeah.
453
00:18:19,891 --> 00:18:21,476
So that comes from my mom.
454
00:18:21,518 --> 00:18:26,314
And, you know, reading
an article in The Atlantic
455
00:18:26,356 --> 00:18:28,441
top to bottom and, you know,
456
00:18:28,483 --> 00:18:30,485
taking a minute to process it,
that's my dad.
457
00:18:30,527 --> 00:18:32,404
So it's a little of everything,
458
00:18:32,445 --> 00:18:34,989
-As I'm talking to you,
I'm trying to see, like,
459
00:18:35,031 --> 00:18:37,659
the anxiety, if or where.
460
00:18:37,701 --> 00:18:40,745
And you just seem so poised.
You seem so fucking cool.
461
00:18:40,787 --> 00:18:44,040
-That's called --
It's called alcohol, Kevin.
462
00:18:44,082 --> 00:18:46,001
-Alcohol.
-You know, I wouldn't --
463
00:18:46,042 --> 00:18:49,045
I would not come here untouched
464
00:18:49,087 --> 00:18:53,508
by the loving -- the loving
embrace of the creature.
465
00:18:53,550 --> 00:18:57,012
-So is it a need? Want?
A must?
466
00:18:57,053 --> 00:18:58,972
-It's as needed. As needed.
467
00:18:59,014 --> 00:19:01,266
-Oh, as needed.
I'm talking to you --
468
00:19:01,307 --> 00:19:03,018
Right now I'm telling you
what I feel.
469
00:19:03,059 --> 00:19:04,519
Maybe I'm wrong.
470
00:19:04,561 --> 00:19:06,730
By the way, let's make people
understand right now.
471
00:19:06,771 --> 00:19:08,982
Because the show is, what,
an hour and a half?
472
00:19:09,024 --> 00:19:11,693
-Hour.
-I want to get myself there soon...
473
00:19:11,735 --> 00:19:14,863
-Okay.
-...rather than an hour in.
474
00:19:14,904 --> 00:19:17,449
-So you feel like you
can't be comfortable before?
475
00:19:17,490 --> 00:19:21,453
-Yeah, I --
When I have to do a talk show,
476
00:19:21,494 --> 00:19:24,873
when I have to do
press of any kind,
477
00:19:24,914 --> 00:19:27,375
I generally kind of
loosen myself up a little bit.
478
00:19:27,417 --> 00:19:30,211
'Cause I am.
Like, I am, by nature,
479
00:19:30,253 --> 00:19:34,466
sort of a "takes me a minute,
I'm kind of a shy" person.
480
00:19:34,507 --> 00:19:40,138
And, you know,
I try to sort of...
481
00:19:40,180 --> 00:19:41,431
-Get there.
-Yeah.
482
00:19:41,473 --> 00:19:42,974
-In normal conversation,
we're not here,
483
00:19:43,016 --> 00:19:44,893
this isn't "Hart to Heart,"
if you meet me outside,
484
00:19:44,934 --> 00:19:46,936
do you feel like it's going to
take you a second to talk to me
485
00:19:46,978 --> 00:19:48,646
and get to wherever
we got to get?
486
00:19:48,688 --> 00:19:50,732
-I mean, not in the same way.
Not in the same way.
487
00:19:50,774 --> 00:19:52,567
-No, but that's the beauty
of this,
488
00:19:52,609 --> 00:19:54,819
because it's --
I'm embracing that.
489
00:19:54,861 --> 00:19:56,654
Yeah, yeah.
-I'm not embracing
490
00:19:56,696 --> 00:19:58,740
the other side.
-Yeah, yeah.
491
00:19:58,782 --> 00:20:00,533
-So the only reason why
I ask you that, when you say,
492
00:20:00,575 --> 00:20:02,535
"It takes me a second to
get there," I'm talking to you,
493
00:20:02,577 --> 00:20:04,579
and there's a real calm.
494
00:20:04,621 --> 00:20:07,040
There's, like, a --
There's a calm, there's a cool.
495
00:20:07,082 --> 00:20:09,751
I'm trying to look for it.
I'm trying to see if I see,
496
00:20:09,793 --> 00:20:11,336
because I don't want to
fucking pressure you
497
00:20:11,378 --> 00:20:13,463
and get you to anxiety.
-No, no, no.
498
00:20:13,505 --> 00:20:15,382
I'm by no means anxious.
Yeah, yeah.
499
00:20:15,423 --> 00:20:17,676
-But that's my point.
I don't see it.
500
00:20:17,717 --> 00:20:19,803
So as you're talking about it --
-No, it's not --
501
00:20:19,844 --> 00:20:23,056
I'm not a 24/7
anxiety-ridden person.
502
00:20:23,098 --> 00:20:31,398
I'm -- You know, when it appears
is unpredictable.
503
00:20:31,439 --> 00:20:34,484
But it's generally --
It's not debilitating.
504
00:20:34,526 --> 00:20:36,528
I'm not somebody who suffers
from it to such a degree
505
00:20:36,569 --> 00:20:38,238
that some people do,
where, you know,
506
00:20:38,279 --> 00:20:40,031
you just --
you just can't function.
507
00:20:40,073 --> 00:20:42,325
-There's demand on you.
You're Seth MacFarlane.
508
00:20:42,367 --> 00:20:44,828
You have now an entity,
an enterprise.
509
00:20:44,869 --> 00:20:46,871
This fucking world of animation
that you've built,
510
00:20:46,913 --> 00:20:48,498
there's a lot of people
that work for you.
511
00:20:48,540 --> 00:20:50,291
-I'm not one of these producers
512
00:20:50,333 --> 00:20:52,669
who does a little bit
of everything.
513
00:20:52,711 --> 00:20:57,007
So I'm either 100% in control
of what I'm working on,
514
00:20:57,048 --> 00:21:00,427
which, at the moment,
is this "Ted" series
515
00:21:00,468 --> 00:21:03,013
that we're doing for Peacock.
-Okay.
516
00:21:03,054 --> 00:21:06,725
-And that's my day,
top to bottom.
517
00:21:06,766 --> 00:21:09,477
So I'm either 100% invested,
518
00:21:09,519 --> 00:21:13,732
or I'm 100% trusting somebody
that I trust
519
00:21:13,773 --> 00:21:16,985
to -- to handle
another property.
520
00:21:17,027 --> 00:21:20,113
Like, "Family Guy,"
"American Dad!,"
521
00:21:20,155 --> 00:21:23,366
those shows right now are under
the care of the showrunners.
522
00:21:23,408 --> 00:21:25,577
I offer suggestions,
523
00:21:25,618 --> 00:21:28,830
but if I'm not there
physically running it,
524
00:21:28,872 --> 00:21:31,916
I don't feel like I have
the right to go in and say,
525
00:21:31,958 --> 00:21:34,419
"No, you got to do this."
Like, I'm not there day to day.
526
00:21:34,461 --> 00:21:36,046
They are.
So it's like, "You know what?
527
00:21:36,087 --> 00:21:37,505
It's a blessing and a curse.
528
00:21:37,547 --> 00:21:39,841
The buck stops with you.
Don't fuck it up."
529
00:21:39,883 --> 00:21:41,718
You know, I record
the voices for "Family Guy."
530
00:21:41,760 --> 00:21:43,553
I haven't been over there
in a number of years.
531
00:21:43,595 --> 00:21:45,221
There are writers on the show
that I haven't met
532
00:21:45,263 --> 00:21:47,474
because I'm no longer
in charge of that show.
533
00:21:47,515 --> 00:21:49,184
I've entrusted it
to people that I trust.
534
00:21:49,225 --> 00:21:51,353
-So with the people
that you've entrusted,
535
00:21:51,394 --> 00:21:53,688
all right, there's a reason for,
right?
536
00:21:53,730 --> 00:21:57,525
You've voiced several times
you're a 100% guy.
537
00:21:57,567 --> 00:22:00,653
With that being said, then,
538
00:22:00,695 --> 00:22:06,242
are your other successes
underneath the umbrella of you?
539
00:22:06,284 --> 00:22:10,538
Do you feel that they've met
your expectations?
540
00:22:10,580 --> 00:22:12,499
-Like everything, it's nuanced.
541
00:22:12,540 --> 00:22:14,918
Like everything on the planet,
it's nuanced,
542
00:22:14,959 --> 00:22:18,129
it's textured,
it's case by case.
543
00:22:18,171 --> 00:22:20,840
You know, I look at something
like "American Dad!"
544
00:22:20,882 --> 00:22:23,677
And, yeah, I do the voices
of those characters.
545
00:22:23,718 --> 00:22:27,847
But what that show is
and what it's become,
546
00:22:27,889 --> 00:22:30,892
I can't take --
I can't take --
547
00:22:30,934 --> 00:22:32,811
You know, I can take credit
for creating it.
548
00:22:32,852 --> 00:22:34,521
But you create a show,
and then the show
549
00:22:34,562 --> 00:22:37,399
becomes something
completely different.
550
00:22:37,440 --> 00:22:40,151
You know, Mike Barker,
Matt Weitzman,
551
00:22:40,193 --> 00:22:42,195
you know, who's currently
running the show,
552
00:22:42,237 --> 00:22:44,906
that's their success
more than it is mine.
553
00:22:44,948 --> 00:22:46,825
-Guys, let's take a quick break.
We'll be back
554
00:22:46,866 --> 00:22:49,035
with more "Hart to Heart"
after this.
555
00:22:49,077 --> 00:22:54,249
**
556
00:22:54,290 --> 00:22:59,671
**
557
00:23:04,217 --> 00:23:07,762
**
558
00:23:07,804 --> 00:23:10,557
-Welcome back. I'm still here
with Seth MacFarlane.
559
00:23:10,598 --> 00:23:13,810
Seth, you may not
be aware of it --
560
00:23:13,852 --> 00:23:16,146
"The Cleveland," to you,
what is that?
561
00:23:16,187 --> 00:23:18,106
What was that to you?
-Oh, you know,
562
00:23:18,148 --> 00:23:20,900
it was a spin-off
of "Family Guy."
563
00:23:20,942 --> 00:23:22,861
-All right.
-I guess would be --
564
00:23:22,902 --> 00:23:24,446
-So it's great,
like, okay, cool? -Yeah, yeah.
565
00:23:24,487 --> 00:23:25,822
I mean, but again, I was --
566
00:23:25,864 --> 00:23:29,325
I, you know,
did the character designs,
567
00:23:29,367 --> 00:23:33,204
worked with Mike Henry
and Rich Appel on the story.
568
00:23:33,246 --> 00:23:35,457
And then that was it.
And then they they took it
569
00:23:35,498 --> 00:23:37,167
and ran with it,
because at the time,
570
00:23:37,208 --> 00:23:39,544
I just -- I was running
"Family Guy" full-time,
571
00:23:39,586 --> 00:23:41,838
and I just didn't --
-So name three --
572
00:23:41,880 --> 00:23:44,382
name three more
Black animation shows.
573
00:23:44,424 --> 00:23:45,967
-"Boondocks."
-One.
574
00:23:46,009 --> 00:23:47,469
"Good Times,"
which we're developing now.
575
00:23:47,510 --> 00:23:50,347
-Okay, well, that's not out yet.
-It's not out yet.
576
00:23:50,388 --> 00:23:52,057
-That's coming.
577
00:23:52,098 --> 00:23:54,434
-And...
-You're going to stop at "Boondocks."
578
00:23:54,476 --> 00:23:56,936
-Yeah.
-"PJs" can be number two.
579
00:23:56,978 --> 00:23:58,813
-"PJs." Yeah, Eddie Murphy.
Yeah, yeah, yeah.
580
00:23:58,855 --> 00:24:00,940
-I know. Right? You know I know?
-Yeah, yeah.
581
00:24:00,982 --> 00:24:04,235
-Because it's weird,
because of the guy that's trying
582
00:24:04,277 --> 00:24:06,863
to crack the code in animation,
my biggest thing in the pitch
583
00:24:06,905 --> 00:24:10,075
was, "There are no animations
with"...
584
00:24:10,116 --> 00:24:12,535
Seth MacFarlane
creates this thing,
585
00:24:12,577 --> 00:24:16,164
and not only is it a great look,
you did it correctly.
586
00:24:16,206 --> 00:24:19,918
Like, it --
you did it in such a great way
587
00:24:19,959 --> 00:24:21,461
to where it was about
the family,
588
00:24:21,503 --> 00:24:25,298
the love of this individual,
the father and his --
589
00:24:25,340 --> 00:24:27,092
Like, you did it in a great way.
590
00:24:27,133 --> 00:24:29,594
You followed a template,
but then you made them --
591
00:24:29,636 --> 00:24:31,429
you humanized them, right?
592
00:24:31,471 --> 00:24:38,269
But Seth MacFarlane gave
a Black appearance in animation
593
00:24:38,311 --> 00:24:41,272
that, I don't know,
594
00:24:41,314 --> 00:24:43,108
well, where else
was it coming from?
595
00:24:43,149 --> 00:24:45,777
My point in not
making this about race,
596
00:24:45,819 --> 00:24:48,113
my point is,
in doing what you do,
597
00:24:48,154 --> 00:24:52,283
you somehow managed to break
another conversation
598
00:24:52,325 --> 00:24:55,495
and barrier of, "Oh,
this is going to be dope."
599
00:24:55,537 --> 00:25:00,000
And that dope thing, well,
it ignited the other.
600
00:25:00,041 --> 00:25:02,961
"Come on, it's time."
-Mm-hmm.
601
00:25:03,003 --> 00:25:06,798
-They're all, "This way.
The door's open."
602
00:25:06,840 --> 00:25:08,550
Like, that's a dope thing, man.
603
00:25:08,591 --> 00:25:12,345
And my respect for you
comes from so many different --
604
00:25:12,387 --> 00:25:17,017
so many different goddamn
spaces, avenues, et cetera.
605
00:25:17,058 --> 00:25:19,894
Like, even when you go
into the world of "Ted," right,
606
00:25:19,936 --> 00:25:22,647
like, okay, let's talk
about "Ted" for a second.
607
00:25:22,689 --> 00:25:25,900
Let's talk about what "Ted" did
and what "Ted" is.
608
00:25:25,942 --> 00:25:28,278
-Well, there were two things
that I attribute
609
00:25:28,319 --> 00:25:30,155
the success of "Ted" to.
610
00:25:30,196 --> 00:25:32,907
One was that
if you watch the footage
611
00:25:32,949 --> 00:25:36,494
of Wahlberg interacting with Ted
before Ted goes in,
612
00:25:36,536 --> 00:25:39,956
just the plate before
we put the bear in,
613
00:25:39,998 --> 00:25:42,584
he's doing half the work for us.
614
00:25:42,625 --> 00:25:44,753
He's so in the moment.
615
00:25:44,794 --> 00:25:49,382
Generally, when a CGI character
is part of a live-action film,
616
00:25:49,424 --> 00:25:51,509
the voiceover is done
617
00:25:51,551 --> 00:25:54,471
either before shooting
or after shooting.
618
00:25:54,512 --> 00:25:57,599
And as a result,
there's sort of a disconnect.
619
00:25:57,640 --> 00:26:01,019
So it doesn't really feel like
620
00:26:01,061 --> 00:26:02,937
the actors are there
with the person.
621
00:26:02,979 --> 00:26:04,356
-Yeah. Does it feel like
622
00:26:04,397 --> 00:26:06,358
there's not a chemistry
or connection between?
623
00:26:06,399 --> 00:26:08,068
-Yeah. And the thing that
we did differently
624
00:26:08,109 --> 00:26:09,402
was that Mark and I were there,
625
00:26:09,444 --> 00:26:11,237
we were on set
with each other every day.
626
00:26:11,279 --> 00:26:15,241
So I was just off camera
in the mo-cap suit, you know,
627
00:26:15,283 --> 00:26:17,285
gesturing as if I was on camera
628
00:26:17,327 --> 00:26:20,413
so the technology of the mo-cap
was able to record
629
00:26:20,455 --> 00:26:23,625
all the -- the body movements
and whatnot.
630
00:26:23,667 --> 00:26:27,212
And so what you saw on camera
was, you know, Ted --
631
00:26:27,253 --> 00:26:30,632
a proxy version of Ted as if
I were on the couch with Mark.
632
00:26:30,674 --> 00:26:32,759
So that was the difference.
633
00:26:32,801 --> 00:26:35,261
We were breathing the same air,
we were in the same room.
634
00:26:35,303 --> 00:26:37,722
It wasn't the kind of thing
where I was in a sound booth
635
00:26:37,764 --> 00:26:39,349
weeks earlier or weeks later.
636
00:26:39,391 --> 00:26:42,769
-What did you think about
how Mark processed
637
00:26:42,811 --> 00:26:48,316
your -- your, like,
energy to work?
638
00:26:48,358 --> 00:26:51,236
Like, was there, like,
several meetings before?
639
00:26:51,277 --> 00:26:54,364
-You know, we had one meeting,
and then it was just like --
640
00:26:54,406 --> 00:26:56,241
it was just like we'd been
working together for years.
641
00:26:56,282 --> 00:26:58,410
-I worked with him,
so I know how he is.
642
00:26:58,451 --> 00:27:00,245
He's cool as fuck.
-Yeah. He really is.
643
00:27:00,286 --> 00:27:02,414
-He's cool as fuck,
grounded as fuck.
644
00:27:02,455 --> 00:27:06,001
-It's just he -- The thing
I was struck by, you know,
645
00:27:06,042 --> 00:27:08,461
Mark by that point was,
you know --
646
00:27:08,503 --> 00:27:11,589
Like, he was a guy who couldn't
go anywhere without being --
647
00:27:11,631 --> 00:27:14,759
He was the biggest, you know,
star in the world, and it's --
648
00:27:14,801 --> 00:27:16,970
And he showed up every day
on set...
649
00:27:17,012 --> 00:27:18,680
-On time.
-...on time
650
00:27:18,722 --> 00:27:23,935
with the attitude of somebody
who was there for his first gig,
651
00:27:23,977 --> 00:27:26,938
wanting to impress, you know?
652
00:27:26,980 --> 00:27:29,357
It was like --
It was really easy.
653
00:27:29,399 --> 00:27:31,151
-Guys, we got to take
a quick break.
654
00:27:31,192 --> 00:27:32,861
Me and Seth are still
getting into it,
655
00:27:32,902 --> 00:27:34,487
still getting to
know one another.
656
00:27:34,529 --> 00:27:36,906
We got more "Hart to Heart"
when we come back after this.
657
00:27:36,948 --> 00:27:42,954
**
658
00:27:47,500 --> 00:27:50,795
**
659
00:27:50,837 --> 00:27:54,174
-It's still me and Seth. Seth,
let's talk about now, man.
660
00:27:54,215 --> 00:27:57,177
What now?
What the fuck do you want now?
661
00:27:57,218 --> 00:27:59,137
You've achieved so much
from a young age.
662
00:27:59,179 --> 00:28:00,847
-Yeah.
-We're talking about 24,
663
00:28:00,889 --> 00:28:02,849
and the bells,
whistles, the lights,
664
00:28:02,891 --> 00:28:04,642
all that shit starts happening.
665
00:28:04,684 --> 00:28:06,686
What now?
-Yeah, you know,
666
00:28:06,728 --> 00:28:09,439
that's -- that's always
the question, isn't it?
667
00:28:09,481 --> 00:28:13,943
I finish a project, and I think,
"God, what's next?
668
00:28:13,985 --> 00:28:16,613
What can I do that's still going
to feel like it's a challenge?"
669
00:28:16,654 --> 00:28:23,161
I mean, I thrive on things that
seem like I could fail at.
670
00:28:23,203 --> 00:28:25,288
-What does that mean?
-Well, it means that
671
00:28:25,330 --> 00:28:27,916
if there's something that's --
672
00:28:27,957 --> 00:28:29,959
I mean, it's why I left
"Family Guy,"
673
00:28:30,001 --> 00:28:32,379
is that "Family Guy" was,
it was always hard work,
674
00:28:32,420 --> 00:28:35,090
and it continues to be hard work
for the people that work on it.
675
00:28:35,131 --> 00:28:38,426
But it got to the point
where it was hard work,
676
00:28:38,468 --> 00:28:41,137
but it wasn't
intellectually challenging.
677
00:28:41,179 --> 00:28:42,972
Like, I knew how to --
I could do it in my sleep.
678
00:28:43,014 --> 00:28:45,100
Like, "Yeah,
that's not going to work. That's going to work.
679
00:28:45,141 --> 00:28:47,143
And, you know,
we got to fix that."
680
00:28:47,185 --> 00:28:52,065
It just became, like, drudgery.
681
00:28:52,107 --> 00:28:53,650
It was drudgery.
682
00:28:53,692 --> 00:28:57,570
And -- And it wasn't --
it wasn't challenging anymore.
683
00:28:57,612 --> 00:29:00,990
It wasn't intellectually.
There was no risk.
684
00:29:01,032 --> 00:29:03,326
-'Cause that's what excites you,
the risk.
685
00:29:03,368 --> 00:29:06,246
-Yeah. Yeah. When I did
"The Orville" for Fox
686
00:29:06,287 --> 00:29:08,998
and later for Hulu,
687
00:29:09,040 --> 00:29:11,918
which, you know,
we're releasing this year,
688
00:29:11,960 --> 00:29:13,920
you know,
it was a roll of the dice.
689
00:29:13,962 --> 00:29:16,381
Like, I don't know. I have no
idea how people are going to,
690
00:29:16,423 --> 00:29:19,801
you know, receive what
we're about to dish out.
691
00:29:19,843 --> 00:29:21,177
No clue.
692
00:29:21,219 --> 00:29:22,554
I have no idea
how people respond
693
00:29:22,595 --> 00:29:24,264
to the "Ted" series
that we're working on.
694
00:29:24,305 --> 00:29:26,099
You know, we're doing our best.
I just don't know.
695
00:29:26,141 --> 00:29:28,101
But it's --
-And that's the exciting part.
696
00:29:28,143 --> 00:29:30,228
-Yeah. Oh, yeah, yeah.
-Got it. Got it.
697
00:29:30,270 --> 00:29:32,605
-And it tells you that
you're doing something that's --
698
00:29:32,647 --> 00:29:36,192
you're not coasting, that you're
still kind of pushing yourself.
699
00:29:36,234 --> 00:29:37,694
Because, I mean,
it's such a cliché,
700
00:29:37,736 --> 00:29:39,654
like, you're only as good
as your last success.
701
00:29:39,696 --> 00:29:41,656
But I think, you know,
702
00:29:41,698 --> 00:29:44,075
externally, that's a harsh way
to judge people.
703
00:29:44,117 --> 00:29:47,037
Internally, to me,
it's a great way to work
704
00:29:47,078 --> 00:29:49,247
because it keeps you honest,
705
00:29:49,289 --> 00:29:52,083
and it keeps you
from getting inflated.
706
00:29:52,125 --> 00:29:54,502
And it's like, "Great.
This was good.
707
00:29:54,544 --> 00:29:58,381
Great. People love this.
What do you got next, asshole?"
708
00:29:58,423 --> 00:30:00,550
Internally, that's what you
kind of have to tell yourself.
709
00:30:00,592 --> 00:30:03,219
-It's you against you, though,
here. It's you against you.
710
00:30:03,261 --> 00:30:04,971
-Yeah, yes, yes, absolutely.
Absolutely.
711
00:30:05,013 --> 00:30:06,222
-You're creating
these conversations.
712
00:30:06,264 --> 00:30:08,475
You're battling with the,
713
00:30:08,516 --> 00:30:10,310
"Oh, my God. They're not going
to like it. What if they don't?
714
00:30:10,352 --> 00:30:12,479
Blah, blah, blah."
It's you, right? -Yeah.
715
00:30:12,520 --> 00:30:16,274
-So how are you determining
the point
716
00:30:16,316 --> 00:30:19,277
to challenge you
to the point of walk away?
717
00:30:19,319 --> 00:30:21,279
Like, I know with "Family Guy."
Let's not go back there.
718
00:30:21,321 --> 00:30:23,031
You walked away. You got bored.
Whatever.
719
00:30:23,073 --> 00:30:25,367
"It's not the same for me."
Okay.
720
00:30:25,408 --> 00:30:27,869
"These other things,
I have to have the challenge."
721
00:30:27,911 --> 00:30:30,663
-Mm-hmm.
-Is it the response
722
00:30:30,705 --> 00:30:32,999
from the masses?
723
00:30:33,041 --> 00:30:35,001
and not being --
-It is. Yeah, to some --
724
00:30:35,043 --> 00:30:36,628
Because that's what
we do this for.
725
00:30:36,670 --> 00:30:40,256
I mean, you know, look, it's,
like, I -- I've had great --
726
00:30:40,298 --> 00:30:43,343
I mean, it's interesting.
727
00:30:43,385 --> 00:30:44,844
For the first time in my career,
728
00:30:44,886 --> 00:30:47,389
I had 100% on Rotten Tomatoes
with "The Orville,"
729
00:30:47,430 --> 00:30:49,099
which I would be lying
if I said I didn't,
730
00:30:49,140 --> 00:30:50,809
"Okay, all right,"
I was happy about that.
731
00:30:50,850 --> 00:30:52,894
-"Orville" -- Let's just
acknowledge the fact of where you are.
732
00:30:52,936 --> 00:30:54,646
-The sci-fi show for --
-I know what it is.
733
00:30:54,688 --> 00:30:56,314
But you're in season three.
It's a big deal.
734
00:30:56,356 --> 00:30:59,484
Those who do not know
please catch up to speed.
735
00:30:59,526 --> 00:31:01,528
It's a show that he's done.
Amazing show.
736
00:31:01,569 --> 00:31:04,239
Amazing show, by the way.
More creative of him.
737
00:31:04,280 --> 00:31:06,199
But don't keep talking
past this shit.
738
00:31:06,241 --> 00:31:08,660
-Yeah, but I'll answer
your question first.
739
00:31:08,702 --> 00:31:10,620
It's not why --
-Don't yell at me.
740
00:31:10,662 --> 00:31:12,789
All right, go ahead.
You just yelled at me.
741
00:31:12,831 --> 00:31:14,833
Go ahead. Go ahead.
742
00:31:14,874 --> 00:31:18,044
-It's -- It's not why --
743
00:31:18,086 --> 00:31:20,547
It's not where I get
the satisfaction.
744
00:31:20,588 --> 00:31:23,133
I mean, to me, it's like,
if you're doing something
745
00:31:23,174 --> 00:31:26,428
particularly
and only for critical acclaim,
746
00:31:26,469 --> 00:31:28,555
it's --
not to take anything away,
747
00:31:28,596 --> 00:31:31,725
because, you know, there's a lot
of really important movies
748
00:31:31,766 --> 00:31:35,103
and important TV shows
that mean a lot to our --
749
00:31:35,145 --> 00:31:37,022
-We're not talking about them.
Fuck them.
750
00:31:37,063 --> 00:31:39,399
We're talking about you, yes.
-But -- But -- But, to me,
751
00:31:39,441 --> 00:31:41,443
it's like it also can
be looked at as like,
752
00:31:41,484 --> 00:31:43,611
"Yeah, it's like putting on
a puppet show for your parents."
753
00:31:43,653 --> 00:31:47,198
-I get it.
-I do want --
754
00:31:47,240 --> 00:31:52,787
When I produce something, I do
want people outside of Hollywood
755
00:31:52,829 --> 00:31:54,372
and outside of our community
756
00:31:54,414 --> 00:31:56,499
to watch it and be affected
and be moved by it.
757
00:31:56,541 --> 00:31:58,626
Ideally, people
all over the globe.
758
00:31:58,668 --> 00:32:02,964
That's -- I mean, I'd rather get
eyeballs all over the planet
759
00:32:03,006 --> 00:32:06,885
than a great review, you know,
from The New York Times.
760
00:32:06,926 --> 00:32:08,762
I subscribe to
The New York Times.
761
00:32:08,803 --> 00:32:10,138
Nothing against
The New York Times. -Stop!
762
00:32:10,180 --> 00:32:11,556
The New York Timeswill be fine
763
00:32:11,598 --> 00:32:13,099
with or without
this moment from us.
764
00:32:13,141 --> 00:32:14,768
Guys, let's take a break.
765
00:32:14,809 --> 00:32:17,604
We got more "Hart to Heart"
when we come back after this.
766
00:32:17,645 --> 00:32:23,401
**
767
00:32:27,989 --> 00:32:31,701
**
768
00:32:31,743 --> 00:32:34,621
-Who knew that wine
could do that to your system?
769
00:32:34,662 --> 00:32:38,208
Seth didn't. Hey, Seth,
so here's a question for you.
770
00:32:38,249 --> 00:32:42,128
Like, for you, right...
-Yeah.
771
00:32:42,170 --> 00:32:45,840
-...are there other goals
that you feel you need to meet?
772
00:32:45,882 --> 00:32:48,843
What else do you want to do?
My thing is this.
773
00:32:48,885 --> 00:32:52,180
And this is a question for me.
It's not for them.
774
00:32:52,222 --> 00:32:56,351
I'm being honest. For me.
You've achieved so much success.
775
00:32:56,393 --> 00:32:58,395
You're on the other side of it.
Goddamn, man.
776
00:32:58,436 --> 00:33:01,523
Emmys, noms, Oscars.
Okay, you've done it.
777
00:33:01,564 --> 00:33:03,525
What else do you want to do?
778
00:33:03,566 --> 00:33:06,236
-But I don't see it as if
I'm on the other side of it.
779
00:33:06,277 --> 00:33:08,196
-I do.
-I -- Really?
780
00:33:08,238 --> 00:33:10,448
-That's what I'm asking you.
What else do you want to do?
781
00:33:10,490 --> 00:33:12,158
You can't say you're not
on the other side of it
782
00:33:12,200 --> 00:33:15,662
when you have I don't even know
how many episodes of success
783
00:33:15,704 --> 00:33:17,706
on TV, Hall of Fame,
blah, blah, blah.
784
00:33:17,747 --> 00:33:20,250
-But it's like, you know,
I look at people like Spielberg,
785
00:33:20,291 --> 00:33:23,211
and I'm like, "Oh, that's --
You know, he's on the other side of it."
786
00:33:23,253 --> 00:33:26,881
-So then to answer my question,
so then, what do you want to do?
787
00:33:26,923 --> 00:33:29,551
If that's not --
If you didn't do it,
788
00:33:29,592 --> 00:33:32,262
what is doing it to you?
789
00:33:32,303 --> 00:33:35,390
-You know, it's an ongoing,
790
00:33:35,432 --> 00:33:39,602
constantly-evolving answer
to that question.
791
00:33:39,644 --> 00:33:41,104
-I think you're bullshitting me,
792
00:33:41,146 --> 00:33:42,605
and I think there is something
that you want to do
793
00:33:42,647 --> 00:33:44,190
and you're not
fucking telling me.
794
00:33:44,232 --> 00:33:45,859
I think you're bullshitting me.
-I mean, look. Yeah,
795
00:33:45,900 --> 00:33:47,318
are there other things
that I --
796
00:33:47,360 --> 00:33:48,778
Yeah, at a certain point,
to do a --
797
00:33:48,820 --> 00:33:50,363
-You see how you just
sat up straight just now?
798
00:33:50,405 --> 00:33:51,948
"All right, fine.
Fuck you, Kevin."
799
00:33:51,990 --> 00:33:53,283
-It's because I've been
800
00:33:53,324 --> 00:33:54,993
negotiating this pillow
the whole time,
801
00:33:55,035 --> 00:33:56,411
and it's time to get rid of it.
-Well, throw it on the floor.
802
00:33:56,453 --> 00:33:57,829
-There we go. Oh!
803
00:33:57,871 --> 00:34:00,248
Watch how this interview
changes now,
804
00:34:00,290 --> 00:34:02,834
now that pill--
Jesus H. Christ.
805
00:34:02,876 --> 00:34:04,377
-"Well, Kevin,
let's start it over,
806
00:34:04,419 --> 00:34:05,920
'cause now I'm ready
to be comfortable."
807
00:34:05,962 --> 00:34:07,547
No, I'm serious.
-Is this going to fuck up your shot?
808
00:34:07,589 --> 00:34:09,716
-What do you want?
Like, is there something
809
00:34:09,758 --> 00:34:11,343
that you're like, "All right,
you know what?
810
00:34:11,384 --> 00:34:13,011
I'm going to be honest
with you."
811
00:34:13,053 --> 00:34:15,472
-Yeah, I'm going to have
red wine teeth for this.
812
00:34:15,513 --> 00:34:17,098
-Can I have one more?
-I'll have one more.
813
00:34:17,140 --> 00:34:19,309
-Thank you. Red wine.
814
00:34:19,351 --> 00:34:21,561
-I literally -- I have not
touched a drop
815
00:34:21,603 --> 00:34:23,730
in three weeks for this show,
just for you, my friend.
816
00:34:23,772 --> 00:34:25,607
-Well, guess what?
-Yeah, 'cause I knew I was --
817
00:34:25,648 --> 00:34:27,901
-And, honestly, you don't even
fucking need it.
818
00:34:27,942 --> 00:34:31,196
You don't need it because
you're a fucking cool-ass guy.
819
00:34:31,237 --> 00:34:33,782
And not only are you cool,
but you're interest as fuck.
820
00:34:33,823 --> 00:34:36,785
I'm serious. Like, I don't know
if people tell you this shit.
821
00:34:36,826 --> 00:34:40,246
But I'm here to give flowers.
You're interesting as fuck, man.
822
00:34:40,288 --> 00:34:45,794
-I would like, at some point,
to do a filmed musical.
823
00:34:45,835 --> 00:34:47,712
-So why'd you lie to me and say
that, "Oh, I don't know"?
824
00:34:47,754 --> 00:34:50,131
-That's on my list.
-You fucking lied to my face.
825
00:34:50,173 --> 00:34:52,300
By the way,
one of the most racist things
826
00:34:52,342 --> 00:34:53,551
that I've ever dealt with
in my life.
827
00:34:53,593 --> 00:34:54,803
-I think I was looking
at the wine.
828
00:34:54,844 --> 00:34:56,221
I don't think
I was looking at you.
829
00:34:56,262 --> 00:34:57,931
-Musical -- go ahead.
-Yeah.
830
00:34:57,972 --> 00:35:01,768
That's probably foremost
in my mind.
831
00:35:01,810 --> 00:35:04,479
-That's dope as fuck.
-Yeah, I'd like to do that.
832
00:35:04,521 --> 00:35:07,190
But it's a tough thing to answer
833
00:35:07,232 --> 00:35:09,943
because, you know, I didn't --
I didn't know
834
00:35:09,984 --> 00:35:12,445
that a "Ted" series
was going to be something
835
00:35:12,487 --> 00:35:14,781
that would be fulfilling
until, you know,
836
00:35:14,823 --> 00:35:16,866
our boss, who's here tonight,
I think, right?
837
00:35:16,908 --> 00:35:18,368
You work for Peacock,
too, right?
838
00:35:18,410 --> 00:35:19,703
-She ain't here for me.
She here for you.
839
00:35:19,744 --> 00:35:21,037
-Oh, really?
-We've been doing this show
840
00:35:21,079 --> 00:35:22,539
for a long time.
They don't give a fuck about me.
841
00:35:22,580 --> 00:35:24,749
They here for you, buddy.
-Oh, well...
842
00:35:24,791 --> 00:35:27,085
-Hey, you check a different box,
buddy.
843
00:35:27,127 --> 00:35:29,629
Kevin doesn't have
any fucking animation.
844
00:35:29,671 --> 00:35:31,631
No, I'm dead serious.
-But, you know,
845
00:35:31,673 --> 00:35:33,758
that was something
that was presented to me
846
00:35:33,800 --> 00:35:37,012
by -- by the lovely folks
at Peacock.
847
00:35:37,053 --> 00:35:39,014
And, you know, more "Ted,"
848
00:35:39,055 --> 00:35:40,849
all right, yeah, sure,
I've made a deal.
849
00:35:40,890 --> 00:35:42,642
But then as I got into it,
it's like,
850
00:35:42,684 --> 00:35:45,353
"Yeah, this is kind of --
I'm kind of enjoying this."
851
00:35:45,395 --> 00:35:47,564
And that's when
the budget goes up.
852
00:35:47,605 --> 00:35:49,607
-All right, fine.
I'm going to say it.
853
00:35:49,649 --> 00:35:52,485
I'm going to say it.
I'm going to say it.
854
00:35:52,527 --> 00:35:57,532
And I probed you to see
if you see it or saw it,
855
00:35:57,574 --> 00:35:59,367
but I'm going to give it to you.
-Okay.
856
00:35:59,409 --> 00:36:02,704
-And I think you know,
but in case you don't, right?
857
00:36:02,746 --> 00:36:07,876
You've tapped into so many
different revenue streams,
858
00:36:07,917 --> 00:36:10,378
in the world of one
revenue stream, in animation.
859
00:36:10,420 --> 00:36:14,049
You've shown that you're capable
of this, this, that, right?
860
00:36:14,090 --> 00:36:18,011
And now, in this space
that we're in,
861
00:36:18,053 --> 00:36:21,556
the space of IP,
space of ownership, et cetera,
862
00:36:21,598 --> 00:36:23,725
when you're talking about
a musical,
863
00:36:23,767 --> 00:36:25,894
you're talking about
Seth MacFarlane,
864
00:36:25,935 --> 00:36:29,564
well, your name carries weight.
865
00:36:29,606 --> 00:36:32,901
And sometimes I question
that people understand
866
00:36:32,942 --> 00:36:35,403
the weight
that the name carries.
867
00:36:35,445 --> 00:36:37,030
I just question
if they know that.
868
00:36:37,072 --> 00:36:39,574
One thing I'm aware of --
I'm aware of the weight
869
00:36:39,616 --> 00:36:41,368
underneath my name, right?
-Oh, yeah.
870
00:36:41,409 --> 00:36:43,578
-I'm aware of the things
that I can do.
871
00:36:43,620 --> 00:36:47,082
I'm telling you, fucking Seth --
-See, I'm not.
872
00:36:47,123 --> 00:36:48,667
-I know you're not.
873
00:36:48,708 --> 00:36:50,919
-I wake up every morning
like, "Jesus."
874
00:36:50,960 --> 00:36:53,922
You know,
I don't have a sense of that.
875
00:36:53,963 --> 00:36:57,175
And that sounds like something
that's, like, a bullshit --
876
00:36:57,217 --> 00:37:01,179
I really don't because I've
jumped from genre to genre.
877
00:37:01,221 --> 00:37:03,682
-I don't think you're
bullshitting. I believe you.
878
00:37:03,723 --> 00:37:05,767
-You know, we've just finished
a sci-fi show.
879
00:37:05,809 --> 00:37:08,228
It's like -- I don't know,
it's like I jump around.
880
00:37:08,269 --> 00:37:12,565
-It's not an accident that
you keep having success, Seth.
881
00:37:12,607 --> 00:37:15,777
Stop for a second. All right?
I want you to sit on that.
882
00:37:15,819 --> 00:37:17,237
-Okay.
-It's not an accident.
883
00:37:17,278 --> 00:37:19,781
-Better than the pillow.
-It's not an accident.
884
00:37:19,823 --> 00:37:24,744
Like, these things don't keep
reaching past season 1, 2, 3
885
00:37:24,786 --> 00:37:27,622
because it's an accident.
886
00:37:27,664 --> 00:37:28,957
There's something
attached to you.
887
00:37:28,998 --> 00:37:30,500
There's something attached
to your name.
888
00:37:30,542 --> 00:37:32,419
It's there.
889
00:37:32,460 --> 00:37:34,045
As a fan from the outside
890
00:37:34,087 --> 00:37:37,841
of not just your success
but, goddamn, your longevity,
891
00:37:37,882 --> 00:37:40,301
"How the fuck does he do it?
What is he doing?
892
00:37:40,343 --> 00:37:42,804
I'm looking for science
because I want more --
893
00:37:42,846 --> 00:37:45,640
I want more of something
to apply."
894
00:37:45,682 --> 00:37:51,187
I'm telling you now, man.
you -- you got it.
895
00:37:51,229 --> 00:37:54,315
That world of TV
and opportunity, it don't exist.
896
00:37:54,357 --> 00:37:56,234
-That's what Dorothy Gish said
to Martin Short
897
00:37:56,276 --> 00:37:58,069
in "Three Amigos" --
"You have got it."
898
00:37:58,111 --> 00:38:00,321
-You don't --
It don't exist, Seth.
899
00:38:00,363 --> 00:38:05,243
I just can't let you speak
past that and not understand.
900
00:38:05,285 --> 00:38:07,871
-Yeah. I mean, my fear is that
901
00:38:07,912 --> 00:38:11,708
if I start to think that way,
then it all goes away.
902
00:38:11,750 --> 00:38:15,420
But the thing that pushes me,
903
00:38:15,462 --> 00:38:19,507
you know, to sit down every day
and work and try to come up,
904
00:38:19,549 --> 00:38:22,510
you know,
what is that next thing
905
00:38:22,552 --> 00:38:25,263
and not to watch
reruns of "ALF"...
906
00:38:25,305 --> 00:38:27,307
-But you're watching that
because you're looking
907
00:38:27,349 --> 00:38:29,434
for the fucking next --
-Yeah. A little bit.
908
00:38:29,476 --> 00:38:32,020
Yes, you're right. You're right.
There's a little bit of that.
909
00:38:32,062 --> 00:38:34,397
-You do the fucking work, man.
910
00:38:34,439 --> 00:38:36,149
I will --
I will say this to you.
911
00:38:36,191 --> 00:38:37,567
When you say musical,
912
00:38:37,609 --> 00:38:42,030
and I'm talking about
your musical success, et cetera,
913
00:38:42,072 --> 00:38:44,157
well, "Oh, fuck,"
soon as you said it.
914
00:38:44,199 --> 00:38:45,992
"Oh, my God,
you want to do Broadway.
915
00:38:46,034 --> 00:38:47,369
You want to go do some" --
916
00:38:47,410 --> 00:38:49,245
You can do --
-That sounds like a lot of work.
917
00:38:49,287 --> 00:38:51,539
-It will be.
-Do the same show night after night.
918
00:38:51,581 --> 00:38:53,958
-By the way, I got two sides
of you, and there's one side
919
00:38:54,000 --> 00:38:55,543
that's like,
"Yeah, man, I love to create."
920
00:38:55,585 --> 00:38:58,046
There's another side like,
"Whoa, I don't want to do...
921
00:38:58,088 --> 00:38:59,255
Hey."
922
00:38:59,297 --> 00:39:01,091
It's like, "I got to get up
at what time?"
923
00:39:01,132 --> 00:39:02,717
-You're right. Yes,
there is a little bit of that.
924
00:39:02,759 --> 00:39:04,761
Yeah, well, to do the same show
925
00:39:04,803 --> 00:39:07,222
night after night,
which is what Broadway is.
926
00:39:07,263 --> 00:39:08,723
Again, that's --
927
00:39:08,765 --> 00:39:14,312
I have a specific compartment
of respect
928
00:39:14,354 --> 00:39:19,067
reserved for people who do that,
because I wish I could do that.
929
00:39:19,109 --> 00:39:21,236
-Okay.
930
00:39:21,277 --> 00:39:24,030
-Yeah, I don't know
that I could last.
931
00:39:24,072 --> 00:39:26,199
-How big is your team?
-You know, it's about 20 people.
932
00:39:26,241 --> 00:39:28,076
-I ask you that question
because I was going to say,
933
00:39:28,118 --> 00:39:29,994
from your immediate team, those
are people that really know you.
934
00:39:30,036 --> 00:39:31,371
-Well, how many people
do you have?
935
00:39:31,413 --> 00:39:33,456
-Immediate team?
-Yeah. Your immediate team.
936
00:39:33,498 --> 00:39:35,959
-12.
-Yeah, okay. Well, that's about right.
937
00:39:36,001 --> 00:39:38,628
-No, 20 to 12 is a big number.
That's the difference.
938
00:39:38,670 --> 00:39:41,589
That's a big difference.
-But you're a little younger than I am.
939
00:39:41,631 --> 00:39:43,425
-I'm 42.
-Yeah.
940
00:39:43,466 --> 00:39:46,094
-What are you?
I'm not going to tell you. It's on Wikipedia.
941
00:39:46,136 --> 00:39:47,470
-Are you serious?
-Yeah.
942
00:39:47,512 --> 00:39:48,763
-How old?
-Hmm?
943
00:39:48,805 --> 00:39:50,140
-How old?
-I'm also 42, Kevin.
944
00:39:50,181 --> 00:39:52,767
-I need a white version.
I did the Don Cheadle.
945
00:39:52,809 --> 00:39:54,936
-You need a white version?
-I need a white version.
946
00:39:54,978 --> 00:39:57,230
-Well, Kevin, so as it
turns out, I'm also 42.
947
00:39:57,272 --> 00:39:59,441
-How old are you?
You can't be -- 50?
948
00:39:59,482 --> 00:40:01,109
-Huh? No, no, I'm not 50 yet.
949
00:40:01,151 --> 00:40:02,777
-All right, then stop.
What are you talking about?
950
00:40:02,819 --> 00:40:04,696
I thought you were going to
say something crazy.
951
00:40:04,738 --> 00:40:06,448
Yeah, all right,
you're like 45, then.
952
00:40:06,489 --> 00:40:08,033
-I'm in my mid-40s.
-45?!
953
00:40:08,074 --> 00:40:09,617
Get the fuck out of here!
-Yeah, there you go. Sure, sure.
954
00:40:09,659 --> 00:40:12,662
-You're 45,
and you've had 21 years
955
00:40:12,704 --> 00:40:15,457
of your life
of successful TV!
956
00:40:15,498 --> 00:40:18,501
-What?
-Of successful TV.
957
00:40:18,543 --> 00:40:21,046
-Yes. Yeah, yeah. I mean, yeah.
958
00:40:21,087 --> 00:40:23,131
-Look how you breathe with that.
[ Inhales sharply ]
959
00:40:23,173 --> 00:40:24,382
[ Both laugh ]
960
00:40:24,424 --> 00:40:25,967
I love it, man.
-Sure, successful TV.
961
00:40:26,009 --> 00:40:27,135
Yeah, yeah. Successful.
962
00:40:27,177 --> 00:40:29,262
-This is honestly
a moment for --
963
00:40:29,304 --> 00:40:31,222
-Are your interviews
usually better than this?
964
00:40:31,264 --> 00:40:33,308
Like, am I like --
Is this, like, the most,
965
00:40:33,350 --> 00:40:35,393
like, awkward, worst?
966
00:40:35,435 --> 00:40:37,437
-Okay, I just tapped
into something else.
967
00:40:37,479 --> 00:40:39,356
You really believe that
it's awkward, don't you know?
968
00:40:39,397 --> 00:40:41,816
-No, I don't. I just think --
-It's fucking dope!
969
00:40:41,858 --> 00:40:43,276
-I feel like,
"Oh, Bryan Cranston was here,"
970
00:40:43,318 --> 00:40:45,779
and he's a friend of mine,
and I bet he did better.
971
00:40:45,820 --> 00:40:47,655
-Bryan Cranston --
972
00:40:47,697 --> 00:40:49,282
Bryan Cranston actually
was shit.
973
00:40:49,324 --> 00:40:51,159
-Was it?
-No, I'm joking, I'm joking.
974
00:40:51,201 --> 00:40:54,579
-Bryan was great. But here's
what I love, like, right?
975
00:40:54,621 --> 00:40:59,042
I love the fact that -- I love
the fact that I have a platform.
976
00:40:59,084 --> 00:41:02,253
I have this thing where
you get to see people
977
00:41:02,295 --> 00:41:05,757
for, like, who they really are,
and I love that you --
978
00:41:05,799 --> 00:41:07,842
-And is that why
you do the show?
979
00:41:07,884 --> 00:41:09,302
-Yes, yes.
980
00:41:09,344 --> 00:41:11,096
-Because you don't needthis.
-No.
981
00:41:11,137 --> 00:41:12,722
-I mean, you're like --
You're Kevin Hart.
982
00:41:12,764 --> 00:41:14,349
You've got the world
at your feet.
983
00:41:14,391 --> 00:41:17,352
-Watch this. I am. I do.
984
00:41:17,394 --> 00:41:20,188
You're not going to make me
shy away from that.
985
00:41:20,230 --> 00:41:22,023
-That the title of
a one-act play I'm writing.
986
00:41:22,065 --> 00:41:23,775
-And I'm going to edit that out.
-Actually, I think
987
00:41:23,817 --> 00:41:25,276
that was the title
of Brian Griffin's book.
988
00:41:25,318 --> 00:41:27,112
-But I will tell you
why I do it.
989
00:41:27,153 --> 00:41:28,905
Because we don't
have a situation
990
00:41:28,947 --> 00:41:30,615
where we can sit and talk
991
00:41:30,657 --> 00:41:31,866
and you get to see
people be people.
992
00:41:31,908 --> 00:41:33,284
No --
-Is that -- Sorry.
993
00:41:33,326 --> 00:41:35,704
-Nobody gets to see you
really be you, right?
994
00:41:35,745 --> 00:41:38,456
And as I'm talking to you, I've
never talked to you like this.
995
00:41:38,498 --> 00:41:40,625
-Yeah, no, I know.
-This is you and I talking, so...
996
00:41:40,667 --> 00:41:42,210
-You have my phone number, man.
997
00:41:42,252 --> 00:41:43,837
I mean, Jesus,
you didn't have --
998
00:41:43,878 --> 00:41:45,922
-We're going to edit that out
'cause I don't --
999
00:41:45,964 --> 00:41:47,549
Watch this.
1000
00:41:47,590 --> 00:41:50,385
We got more "Hart to Heart"
when we come back after this.
1001
00:41:50,427 --> 00:41:56,141
**
1002
00:42:00,812 --> 00:42:04,399
**
1003
00:42:04,441 --> 00:42:06,276
-We are back.
This is "Hart to Heart."
1004
00:42:06,317 --> 00:42:07,986
And I'm talking
to Seth MacFarlane.
1005
00:42:08,028 --> 00:42:11,281
Seth, I will say this
before we leave, right?
1006
00:42:11,322 --> 00:42:13,241
I will say this
before we leave.
1007
00:42:13,283 --> 00:42:15,452
Seth MacFarlane, anxiety or not,
1008
00:42:15,493 --> 00:42:17,537
which is why
you keep trying different shit,
1009
00:42:17,579 --> 00:42:20,373
you keep fucking striking gold
on your different shit.
1010
00:42:20,415 --> 00:42:23,126
Oh, and this other show I got.
-To some degree, to some degree.
1011
00:42:23,168 --> 00:42:26,629
-It's not! Even your
failures are success.
1012
00:42:26,671 --> 00:42:28,006
-Well, I don't know about that.
1013
00:42:28,048 --> 00:42:30,175
-All right, explain to me
how it's not.
1014
00:42:30,216 --> 00:42:32,594
-You know, I mean, God,
that means I have to
1015
00:42:32,635 --> 00:42:34,554
shit on something I've done
that I like.
1016
00:42:34,596 --> 00:42:36,056
-All right. Tell me.
1017
00:42:36,097 --> 00:42:38,141
-I mean, take something like
our Western that we did.
1018
00:42:38,183 --> 00:42:39,976
-Okay.
-To me, that was a --
1019
00:42:40,018 --> 00:42:42,228
that was as much fun
as I've ever had,
1020
00:42:42,270 --> 00:42:44,189
which I suppose
you could classify it
1021
00:42:44,230 --> 00:42:46,399
as a personal success.
-Mm-hmm.
1022
00:42:46,441 --> 00:42:48,026
Your failure comes because
the numbers aren't where
1023
00:42:48,068 --> 00:42:49,569
they're supposed to be.
-Yeah, yeah, sure.
1024
00:42:49,611 --> 00:42:50,945
-Okay. Your success comes in,
1025
00:42:50,987 --> 00:42:52,614
you told somebody
you want to do something,
1026
00:42:52,655 --> 00:42:54,324
and they said, "Okay, do it."
-The success comes from here.
1027
00:42:54,366 --> 00:42:56,409
-How about that?
-Okay, so you got one thing
1028
00:42:56,451 --> 00:42:58,953
that didn't match the energy
that you put into it,
1029
00:42:58,995 --> 00:43:01,456
but you got 45 that do.
1030
00:43:01,498 --> 00:43:04,167
-Yeah, but the point is
that it's the --
1031
00:43:04,209 --> 00:43:07,087
The risk is where
the fun comes from.
1032
00:43:07,128 --> 00:43:08,380
-That's where you excitement
comes from,
1033
00:43:08,421 --> 00:43:09,923
and that's what I love.
-Yeah, yeah.
1034
00:43:09,964 --> 00:43:11,383
And it's the possibility
that this next thing
1035
00:43:11,424 --> 00:43:13,343
that I do
could be the thing
1036
00:43:13,385 --> 00:43:17,347
that just bombs the box office
and ruins me.
1037
00:43:17,389 --> 00:43:20,016
-See, but that's what I've
learned from talking to you.
1038
00:43:20,058 --> 00:43:21,851
You're like,
"I need the excitement.
1039
00:43:21,893 --> 00:43:23,770
I need the reward in my risk."
1040
00:43:23,812 --> 00:43:26,731
That's a great thing, to see
a person still have that
1041
00:43:26,773 --> 00:43:28,108
when they have the success.
1042
00:43:28,149 --> 00:43:30,235
You're not bored
with your success.
1043
00:43:30,276 --> 00:43:32,362
You're bored with
the fucking consistency
1044
00:43:32,404 --> 00:43:34,864
of the thing that you know.
-It's interesting.
1045
00:43:34,906 --> 00:43:38,076
It's -- Yeah,
I'll leave it at that.
1046
00:43:38,118 --> 00:43:40,704
-See, once again, you were
about to get comfortable,
1047
00:43:40,745 --> 00:43:42,122
and then you said, "Fuck it."
1048
00:43:42,163 --> 00:43:44,624
I've taken us
to a place of real comfort
1049
00:43:44,666 --> 00:43:48,253
and I'll close it out
and simply say that, "Dude,
1050
00:43:48,294 --> 00:43:51,297
I'm here to make you understand
you're a legend."
1051
00:43:51,339 --> 00:43:54,718
If I can do my part
in giving us a memory,
1052
00:43:54,759 --> 00:43:57,887
something that's documented
where I did my part,
1053
00:43:57,929 --> 00:43:59,556
where I've had the people
come on
1054
00:43:59,597 --> 00:44:01,474
to something
that I could control
1055
00:44:01,516 --> 00:44:04,936
and show that,
"Wow, I'm blown away,"
1056
00:44:04,978 --> 00:44:07,939
publicly, "Here,
here's your flowers"...
1057
00:44:07,981 --> 00:44:09,774
-Thank you, man.
I appreciate it. -...it's me doing my part.
1058
00:44:09,816 --> 00:44:12,360
You take your fucking flowers,
man, all right?
1059
00:44:12,402 --> 00:44:15,572
And at some point,
you fucking walk away from here,
1060
00:44:15,613 --> 00:44:17,407
you realize you the shit,
1061
00:44:17,449 --> 00:44:19,951
and you give me the code
to this animation shit,
1062
00:44:19,993 --> 00:44:21,870
because I've had
three failed pilots, okay?
1063
00:44:21,911 --> 00:44:24,205
-Animated pilots?
-Well, they haven't made it to pilots,
1064
00:44:24,247 --> 00:44:25,498
but my ideas have been shit.
1065
00:44:25,540 --> 00:44:27,125
I to talk to you about it
offline.
1066
00:44:27,167 --> 00:44:28,543
-You can call me day or night.
1067
00:44:28,585 --> 00:44:30,920
I mean, I'll answer anything
I'm capable of.
1068
00:44:30,962 --> 00:44:33,089
-On a serious note,
Seth MacFarlane,
1069
00:44:33,131 --> 00:44:35,008
I got to say thank you
once again, man.
1070
00:44:35,050 --> 00:44:36,509
A fan and now a friend.
1071
00:44:36,551 --> 00:44:38,261
That's what this show
is about, dude.
1072
00:44:38,303 --> 00:44:39,888
Congrats on all your success.
-Kevin Hart, same to you.
1073
00:44:39,929 --> 00:44:42,432
-More to you.
-Big long-time admirer of your work.
1074
00:44:42,474 --> 00:44:45,060
Now admire of Kevin Hart.
-My guy. My guy.
1075
00:44:45,101 --> 00:44:46,269
Thank you, man.
This is "Hart to Heart."
1076
00:44:46,311 --> 00:44:48,563
On time, guys.
Thank you so much.
1077
00:44:48,605 --> 00:44:50,315
[ Applause ]
1078
00:44:50,357 --> 00:44:53,526
**
1079
00:44:53,568 --> 00:44:55,612
Kevin Hart here with
another life antidote.
1080
00:44:55,653 --> 00:44:58,573
By the way, you're welcome.
How important are these?
1081
00:44:58,615 --> 00:45:01,159
The question is
is, how important is it to you?
1082
00:45:01,201 --> 00:45:03,370
I'm giving you the gems
to succeed in life.
1083
00:45:03,411 --> 00:45:05,955
Are you using it?
Here's another.
1084
00:45:05,997 --> 00:45:10,210
A neck is nothing without
the tunnel that it goes through.
1085
00:45:10,251 --> 00:45:12,796
What I'm saying is,
comb your hair.
1086
00:45:12,837 --> 00:45:14,381
We all need a good day.
1087
00:45:14,431 --> 00:45:18,981
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