Papamutes

So You Want Fame? Bring Comfortable Shoes

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From Django Unchained memories to a fresh indie streak, Laura drops blunt truths: this isn’t a get-rich-quick career, but the work can change your life. Curious how AI and credits reshape paydays? Dive in and share your thoughts as Papamutes welcomes Laura back to the pod.

“THE OPINIONS EXPRESSED OR VIEWS EXPRESSED BY GUESTS DO NOT NECESSARILY REFLECT OR REPRESENT THOSE OF THE HOST;

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SPEAKER_01:

You know what I mean? Like you don't do it. I I I would urge anybody who is thinking of doing this job for money to stop. Stop thinking your thoughts. Go have a cocktail and read. I think you've got to think it out again, because that this is not a get rich quick scheme. This is not that.

SPEAKER_02:

Welcome to Papa Mutes, everybody. My guest today is Laura Cayuette. Laura is an actor, an author, a teacher. She has been on the podcast before, back in 2022. I'm thrilled to have her back on. Laura, welcome back.

SPEAKER_01:

Hello, good to be back.

SPEAKER_02:

So um I just mentioned it was uh three years ago that you were on. In your opinion, what has changed in the so-called entertainment industry? If anything, uh and I want to buy, you know, Holly, I know you're not in Hollywood, but you know, uh film, TV, entertainment industry. Has anything changed drastically?

SPEAKER_00:

A lot.

SPEAKER_01:

A lot of changed, yeah. No, a lot. I would say the biggest change is gonna have to be um the threat of AI to, you know, uh so many different jobs uh in the entertainment industry and obviously outside of the industry. Um I mean, it really is just so much that's changed. And and and I think the the biggest thing is, and I don't think it's an existential threat, but I do think the threat of AI has hit so many different departments in our industry and and obviously outside of our industry. I mean, AI is a threat to many jobs, um, and it's an existential threat to some entire types of jobs. But um, but I I think in our industry it's more a period of growth. You know, we're going through a growing pain that is going to be impacted by AI. We were going to go through this growing pain with or without AI happening, um, because the industry, if you look back, it it cycles. In the 50s, the studio system fell apart under the weight of itself. And then again in the 70s, the studio system fell apart again under its own weight, and then again in the 90s. And so we were due for a reset anyway. We were overdue for a reset of, you know, let's return to independent filmmaking and storytelling and making that more important than, you know, I don't want to call anybody out, but things that become more important when you ignore storytelling.

SPEAKER_02:

Right, right.

SPEAKER_01:

And um, and so, you know, we were due for a reset anyway, but AI has certainly interfered with what that reset is gonna look like and how it's gonna play out.

SPEAKER_02:

Give it this hypothetical a company, a studio, or somebody producer comes to you and says, you know, we're gonna do an AI movie and we want to use uh Laura Cayuette's likeness. We'll pay you, but we want permission to use your likeness in this movie about whatever, you know, uh, I don't know, something that you would, you know, not be against. Would you say yes?

SPEAKER_01:

Well, the whole point of us going on strike was so that we would have the right to say yes if that made sense. Like, so for example, say I just shot uh two movies in the last couple of months, and let's pretend that while I was shooting one, the other one needed me to come back and do a reshoot or come back and do uh an extra scene, or you know, I couldn't have done that because I was already working on another project. So they could have taken my AI data and added that scene or added that line, or I'm fine with that. I'm not just fine with it. I think, yes, best uses, best practices. That's exactly what AI should be doing, is regurgitative stuff where it takes what already exists and creates something new for a moment out of that. It's a regurgitation. It's it's not creating anything, it's just taking what I created and making it a new shape.

SPEAKER_02:

So instead of you coming on the set, they could say, All right, we're gonna redo this, we're gonna put the generated, you know, or AI generated.

SPEAKER_01:

No, I don't I have some mixed feelings about that. Like if they were to say, um But they're gonna pay you now.

SPEAKER_02:

I mean, right, no, no. Yeah, yeah.

SPEAKER_01:

By the way, the pay is just not what it used to be. But but um the well, it's not. I mean, it's gone backward exponentially at a time where expenses have gone forward exponentially. So um, yeah, but but that's another topic entirely. Um yeah, I think there are scary things. Like, for example, if I had shot a love scene and they said, you know, we'll have AI finish that scene for you, okay. Well, I'd want to see that. I'd want to know what my AI body has been doing while I'm away. You know.

SPEAKER_02:

Well, actually, yeah, I mean, you keep you keep answering my qu questions before I get there. Um, as you know, in acting and and people listening who may want to get into acting, and even now, there are gaps in between jobs, unless you really luck out.

SPEAKER_01:

It's mostly there's major gaps, but it's mostly just a big long gap with interruptions of work.

SPEAKER_02:

Right. But but you have recently been involved with some indie films. Um, tell us about that.

SPEAKER_01:

Yeah, I really I've had a little bit of a streak. I had um a movie, uh, these directors who are brothers, um, they had called on me in February, March, and had wanted to meet with me via Zoom uh to talk about a movie they were working on that they thought I might be right for a part. And I absolutely loved them, the Adams brothers. They were just great, loved them, loved them, loved them via Zoom and thought, oh, I really hope I get the part. And then six months go by, I haven't heard anything. Um, so you know, life goes on, and I get a call from another director who I had again not worked with, but who again knew me via reputation? And he called and said, Listen, I would love for you to do this part in a uh proof of concept short piece um from a story of the do you know about the the whole curse of Confederacy of Dunces? You know the book Confederacy of Dunces. I do not in our homes is a book called Confederacy of Dunces that was published in 1981, I believe. Uh won the Pulitzer Prize in 82, I believe. Um the guy who wrote it, John Kennedy Toole, was a brilliant and troubled man who wrote the book, couldn't sell it, and killed himself. And his mother was quite a personality, a an unstoppable kind of woman. And she spent 10 years dragging that book around trying to get it published, and finally foisted it on Walker Percy and was like, make this happen. And Walker Percy, to his credit, said, Okay, I will get it published and did. And then a year later it won the Pulitzer Prize. And ever since then, which you know, we're talking over 50, 40 years ago. Uh, so ever since then, people have been trying to get a version of this movie made. And at some point, they switched from trying to get a movie of Confederacy of Dunces made into trying to get a movie about John Kennedy Tool and his, you know, his imagination and his depression and his relationship with his fascinating mother, etc., etc. Not one frame of any of these movies has ever been made. And the part of the mother has been cast with Susan Sarandon, Kathy Bates, like all these amazing women have been cast in that role, and none of them have gotten to shoot one inch of film uh ever. Nobody has ever been able to accomplish shooting any minute anything about Confederacy of Dunces that I'm aware of. Anyway, we are now, as far as I know, the first people to actually shoot 10 minutes of Confederacy of Dunces material. And I played Thelma, the the mother who indomitably gets that book published. Now, where is it?

SPEAKER_02:

Where is it now? As far as is it?

SPEAKER_01:

Um it it's it is looking, you know, the the proof of concept has now been finished, and they are now seeking funding to finish the film.

SPEAKER_00:

Cool.

SPEAKER_01:

So on the day that I was shooting that, my phone kept blowing up. And I'm I'm not used to having a phone on set with me, but um I I didn't have a dressing room that day, so I had my stuff on set. And so I saw my phone was just blowing up. And I I went and looked at it and was like, who is calling me all day? I don't have people call me all day. So I looked to see who it was, and it was the Addams brothers. They were letting me know that I got the part. And should I be in New York? And you know, da-da-da. So I got very excited thinking, oh yay, I finally I'm gonna get to do this movie, Clause, which is a movie, huh?

SPEAKER_02:

Clause? What's it called?

SPEAKER_01:

It's called Clause. Okay, C-L-A-W-S clause. Like and it is a I want to say horror movie, but not in that, like if you like horror movies, you might be disappointed. It's more in the world of like Frankenstein or Edward Scissor Hands, where the monster is the one with the heart that's working, and the it's the villagers you have to work to watch out for.

SPEAKER_02:

Understood. Okay.

SPEAKER_01:

So, and I'm a villager, I'm the mom. Um, and it's a you know, it's a great um, it's a great movie, great cast. I'm really excited about it. And then the very next day, I got, so okay, so I'm shooting the Thelma thing, and then I then while I'm shooting it, I get claws, and then the next day I got another text from another director I hadn't worked with, who said that they wanted me to play a part in a 1800s plantation uh murder mystery set in Hawaii, and that I would be playing the sister of the plantation owner at familiar. And uh so I went to go do that, and then I actually had one more part come my way while I was shooting that, but I I finally just had to I I'm you know, life goes on, I'm dealing with some personal stuff, and I finally was just had to say this is actually more work than I can do right now.

SPEAKER_02:

So uh this may sound like a dumb question, but I mean the difference between indie and major studio, is it just money? I mean, is that what it comes down to?

SPEAKER_01:

It's mostly to do with distribution. When you make a movie at a studio, you know who is putting that movie out. It says it right on the label. You know, if you're making a movie, if your check says Disney, Disney's putting out your movie. But with independent films, maybe there's somebody set up in advance to put it out. Maybe they're making the movie and hoping somebody will put it out. Maybe they're making the movie to put it into the festival circuit to find a buyer, you know, like it's a it's a it's more of a crapshoot because with independent cinema, it's possible that it'll never see the light of day.

SPEAKER_02:

Yeah, yeah. Reality.

SPEAKER_01:

Um, so when you were true of big budget movies too, it just happens less frequently because of the money.

SPEAKER_02:

Yeah, true, true.

SPEAKER_01:

I mean, uh ask the cat woman girl.

SPEAKER_02:

Speaking of big budget, I'm assuming Django Unchained was a big budget film, obviously. But just for again, for people uh who want to get into acting or are getting into acting, uh, when you were done, when you rapped on Django Unchained, I believe last time you said you were there for like six months or what have you. Five five months. You're done, it's over. It's not like people uh with no no disrespect, but they're not knocking your door down and say, Hey, I want you, you gotta worry about the next job, correct?

SPEAKER_01:

Yes and no, you know, had I stayed in Los Angeles, um, I suspect that that would have given my career quite a boost. And in particular, it would have probably made it far easier for me to do television work. Um it is still the case, even after all these years with cable and you know all the different ways we receive shows, telephones, whatever, everything now. It is still the case that movies uh have more cachet than television for an actor's career. So um when you do a movie, it does boost your TV career.

SPEAKER_02:

But doesn't it, doesn't I mean, correct me if I'm wrong, doesn't in the long run TV pay more?

SPEAKER_01:

Yeah, but I'm not in it for the checks. I mean, if I were in it for the checks, well, I'm just saying that he can't come doing that. But I mean, just in general.

SPEAKER_02:

Yeah, I mean, people who are looking to get into it, you know, should I do film? Should I they want to be actors, but they're like, well, I'll be able to do that.

SPEAKER_01:

Um, only in TV.

SPEAKER_02:

Yeah.

SPEAKER_01:

It used to be the the rules are all evolving and they're gonna evolve again. Uh if I were to say future speak instead of current speak, future speak, the money's in ownership. Um, that's always been the case. But that is now more doable. As I said, you can now hire an actor like me for, you know, a hundred bucks. So there there are um there are a lot of reasons to own a piece of whatever you're involved in. If you notice now television shows like anything with the numbers 911 in it or whatever, the when they run those opening credits, a lot of those opening credits now are the names of the actors. And that's not a mistake. That's that's how we're doing business now is that you know, ownership is part of income.

SPEAKER_02:

You know, it's funny you mentioned that because uh my wife and I are watching what was it last night, Tracker. Okay. Like I like the show, you know, that's cool. And um, I don't know why I was paying attention to this, but you know, it starts out you know, the beginning, and they come up with you know, starring and director and co-producer. Those names, this is no exaggeration, were coming up for 10 minutes while this while the story's going on, it's very subtle in the corner. I'm like, holy shit, we're 10 minutes in, they're still showing co-producer, executive producer, you know, lying person. But it was just, I don't know. I don't know why I was paying attention, but I was like, wow, they're still showing credits. We're 10 minutes into the show here.

SPEAKER_01:

Well, next time you're watching, and it won't matter if it's like a Dick Wolf thing or whether it won't matter what it is. Next time you're watching a show, count how many, but especially a show with name actors, like movie actors doing TV or whatever. Count how many people have the title producer.

SPEAKER_02:

There was, I mean, just from last night, I'm thinking, you know, there's all kinds of different producers. Now, these are people that are you know, you think of a producer, you think, oh wow, yeah, ooh, a producer. But some of them are just like they're I don't know, they're greasing the the mill there or um look donating some cash flow. I mean, I don't know. Is that how it works?

SPEAKER_01:

I can't speak for other people. When I produce, I I bust my ass. You know, I earn my um yeah, when I produce, I I would say that I I made a movie one time that took seven years. Um so even if I had been paid as a producer, which unfortunately I was not, but even if I had been paid correctly, I would have ended up making about like 40 cents an hour. You know what I mean? Like you don't do it. I I I would urge anybody who is thinking of doing this job for money to stop. Stop thinking your thoughts, st go have a cocktail and re I think you bet to think it out again, because that this is not a get rich quick scheme. This is not that.

SPEAKER_02:

This is you could land a pot of gold, though. I mean, you know, yeah.

SPEAKER_01:

As as you know, all the horses in the race could win. Like if 99 of them died, the guy in the back could win, you know, but like that's not how life works.

SPEAKER_02:

So the message is if you love it, yeah, if you if you love it, money will come paycheck.

SPEAKER_01:

Yeah, you do it.

SPEAKER_02:

Yeah, okay.

SPEAKER_01:

You're paid in experiences, you're paid in mentorship, you're paid in, you know, travel, what like you're paid in this is not a get rich quick scheme. And and the few people who do make a lot of money at it, that that money doesn't make life easier. That is not easy money.

SPEAKER_02:

No. In fact, uh, I mean, not to not to bring up a bad note, but just last night with Rob Reiner.

SPEAKER_01:

It'd be hard not to bring it up considering how fresh it is.

SPEAKER_02:

But yeah, I mean that is uh uh have you ever met him?

SPEAKER_01:

Um I he he went to high school with uh he was part of a clique of four guys who hung out in high school and knew each other their whole lives. They went to Beverly High. And I knew two of those men who he'd known since high school. And so I met him, but not, you know, I just met him like, oh hey. So I cannot speak to anything other than his brilliance.

SPEAKER_02:

Um but you met him prior too late.

SPEAKER_01:

But all in the family or no, I met him um in 2007 when he was working on Bucket List and I was producing Hellride.

SPEAKER_02:

Some great movies. I mean, Jesus, it's just yeah, yeah.

SPEAKER_01:

Anyway, um Yeah, but yes, the the money the reason I'm saying is is that for example, the first monies you make, okay, so you were in a movie, the movie's fancy, and now they want you to be on the red carpet. So you're gonna need something to wear, you need to get your hair done, you need you know, like, and that's all gonna have to be not your normal budget. So, um, so there there's that of that if you want to be part of the I look great club, um, that's expensive, that club. Um also immediately you'll want to deal with representation. So you'll want to get, you know, a good agent, good manager, good publicist, all that stuff whenever you have something exciting happening. So the more money, more problems rule is a very, very strong correlation in our industry. The minute you start making money, you definitely have a lot more on your plate to deal with.

SPEAKER_02:

Oh, yeah. Yeah. Not always positive. Uh yes. So your book, uh last time you were on, No No Small Parts. Uh now correct me if I'm wrong. You you have a no small parts part two now?

SPEAKER_01:

Or no, this is the second edition. So the first edition, when I wrote it, I was very vocal about how I had written the book that I had been looking for and that it had every single thing in it, every question, every you know. Well, then during the very beginning of COVID, when I Thought it would last six months max for the whole cycle. Um, in the very beginning of COVID, I thought, well, okay, if I'm gonna be stuck at home, I will add to No Small Parts because we had just survived the um Me Too moment had just really boiled over. And so I thought, well, that I have a lot of questions about, and that's something that if I were an actor, I would want a resource for. And so I need a whole chapter in my book of what to do if you witness it and what to do if it happens to you, and where do you go for aftercare and how do you prevent it? And so I thought, okay, well, I need to add that chapter. And then suddenly we were all self-taping, which again I thought would last six months, but here we are, years later, still doing it. Um, I did very quickly switch my prediction to we will be doing this for the rest of our lives, but but in the beginning, I thought hopefully it would go away. But I by the time I finished writing the chapter, I was like, but I'm pretty sure it's here today. Um so I needed a chapter on self-taping. And then the other evolution I had seen is I had noticed that um, you know, it used to be that like Comic-Con, you know, that signing conventions used to be a place where careers went to die. And that is very much not the case now. It's where you go to launch your Marvel movie or where, you know, like it's it's a very vibrant place to really celebrate your career. And so I wanted to include some information about conventions and and how how you best handle signing conventions. So so that was the I added 70 pages when I redid the book and put that out in the beginning of COVID.

SPEAKER_02:

Now, is that something that is paid when you go to a signing convention? Or is that up to you?

SPEAKER_01:

Some places will give you a guarantee, depending on who you are and how you do at their conventions, they'll give you a guaranteed amount so that you couldn't possibly make less than X amount of dollars.

unknown:

Sure.

SPEAKER_01:

Um, and if you do make less than, they'll they'll fill that void for you. They'll just pay you out of pocket. Of course, you won't be invited back because they had to pay you. But um, but some places have a guarantee. Some um, it's all on you, you know, it's especially smaller um conventions or um newer conventions that are just getting their financing together, or um nonprofit conventions. There are a couple of those. Um, you know, there's there's some reasons why things would be different.

SPEAKER_02:

Do you still have the uh Charlotte Reed mystery?

SPEAKER_01:

Yes, I do. I have my five Charlotte Reed mystery books. Um, and uh we're sort of reliving the Saints glory days now since it's been a while. Although we had a great game yesterday.

SPEAKER_00:

I did.

SPEAKER_01:

But um but yes, so uh having written a book about you know, it's not about that, it's a mystery book, but uh a series of mystery books. But the first one does start when the Saints are on their way to the Super Bowl in 2009, and so I have attempted to bottle that vibe in the book. Um, and you know, my mysteries are just mysteries, not murders. Um, so they're more like adult Mancy Drew type vibe.

SPEAKER_02:

Then they're still available, obviously.

SPEAKER_01:

Oh, yes, they're on Amazon, and I'm currently working on um a two-book series called Well, the overall arching name is the source. And that's a oh god, I don't even have fantasy, alternative history, um, adventure, action, spiritual quest, romance with martial arts.

SPEAKER_02:

Oh, put it in the blender.

SPEAKER_01:

Yeah.

SPEAKER_02:

Wow. Well, okay.

SPEAKER_01:

Well, it's it's 20 years in the making. I've been working on this one for a very long time, and this is this is definitely I'm very excited about this book.

SPEAKER_02:

Cool, cool.

SPEAKER_01:

I have two books, but I'm very excited.

SPEAKER_02:

I'd be remiss if I didn't mention the uh pussyfooters. Oh, yes, still pussyfooting around, right? What's going on?

SPEAKER_01:

Yes, I was just in a parade. Uh we had our holiday parade, and I wore my Santa headpiece.

SPEAKER_02:

And for people not familiar, uh, what is the mission of the pussyfooters?

SPEAKER_01:

So the pussyfooters are a group of over a hundred women who are all over the age of 30. And uh we What's the significance there?

SPEAKER_02:

Why do you have to be over 30?

SPEAKER_01:

Uh, you know, the originators of the Pussyfooters were over 30 themselves, and so I think part of it was that they just were like, we're making a group for us. Okay, but I I will say that the reason that it's super helpful is because um, you know, we we parade year-round, but we are known for carnival, and Madagras is a a time of of partying for a lot of people, and uh there can be excessive drinking. Really?

SPEAKER_02:

Oh my god.

SPEAKER_01:

And I would say most people know how to regulate their alcohol consumption by the time they're 30.

SPEAKER_02:

There you go.

SPEAKER_01:

Explore so yeah, so our club is not a drinking club, it's it's a nonprofit women's empowerment group that we do about 50 events a year with other nonprofits throughout the city, um, and also with for-profit businesses, but but people who are doing community work.

SPEAKER_02:

And there's something uh I don't know if it's it's still something that happens in January that's a pretty big deal.

SPEAKER_01:

Yes, the blush ball. Wait, what's our date this year? The blush ball is the 16th of January.

SPEAKER_02:

Sounds like a drink. All right, I'll have a blush ball.

SPEAKER_01:

So the 16th of January is the annual blush ball, and that money goes to Metro, which um they're a um domestic violence uh system for um people affected by domestic violence in their families, and they provide a multitude of services, and we're very, very glad to be of service to them every year.

SPEAKER_02:

Cool, great. Um, so last time you're on, I had a couple segments. I've narrowed it down to one segment to close us out. This is called True or False. Are you ready?

SPEAKER_01:

Oh, wait, before you hit me with this, because I remember this rattling me. I forgot to mention that the pussyfooters wear pink horses and white coo combat boots, and we are just the cutest things in the whole wide world.

SPEAKER_02:

And if you if you Google it, I mean it kind of I mean, yeah, they're oh yeah. I follow you on uh and you follow me on Instagram, and it's like uh um a lot of stuff going on there. So anyway, this is just a fun thing. True or false? Actually, you may have answered this already. True or false, you not you, but actor, actresses, absolutely need an agent to score jobs in film and TV. True or false?

SPEAKER_01:

False.

SPEAKER_02:

But you just said when you when you make it though, you should get yourself an agent, and you just mentioned it. Um, you know what?

SPEAKER_01:

Actually, you don't need one when you've made it either. You need an attorney when you've made it, you need who handles your business. But um no. Wow. There's no time where you need an agent. There are parts of your career that you might need an agent for.

SPEAKER_02:

Like what?

SPEAKER_01:

Um, it used to be that for film you could reach out more directly toward um directors, producers, casting directors, and all that, but for television, it was a more difficult ask because television happened so fast that by the time you found out the job happened, they would have already booked it. So that used to be one of the dividing lines. Also, it used to be that commercials used to be so lucrative that if you booked one or two commercials in a year, you could make a living, like you were okay. So if you, you know, like commercials used to be half my income. And every year, half my income. And commercials you could only get to through an agent back then. But nowadays there's these things called influencers, and they are getting a lot of the quote-unquote commercial work because commercials have evolved and and the the money for them has devolved. So now you could do 20 commercials in a year and still not make what I made off of one or two. And um, and you don't need an agent. What you need is uh a million followers. You know, if you have a million followers, those brands are gonna find you. You don't have to go looking for brands to promote, they're gonna find you and say, Would you promote my brand for me, please? Because you've proven that people pay attention to your thoughts. Yeah, so things are different now. But even back in the day, I mean, my book's very clear on this. Even back in the day, I've always said, you do not need an agent. What you need is to be great. Be great, be amazing. Work will find the truly great, right?

SPEAKER_02:

But an agent will be your advocate in a sense.

SPEAKER_01:

An agent gets the breakdowns, and so they know what work's available. And if they have any sort of clout, they can help, you know, make calls or whatever. But even if they don't have clout, at least they're submitting your name, they're submitting your photo, they're submitting you and putting you in the running.

SPEAKER_02:

All right.

SPEAKER_01:

But a lot of that nowadays you can self-submit. I mean, a lot of it's different now.

SPEAKER_02:

Yeah, so that's what has changed in the last three, four years.

SPEAKER_01:

That is one of the things that has evolved quite a bit.

SPEAKER_02:

Excuse me.

SPEAKER_01:

But like I said, it it's always been the case that look, I just told you that three directors in a row called me and asked me to actually it turned out to be four. I told you I'd turned down the fourth one. But four directors in a row called me and asked me to be in their movies. I they didn't call my agents, they called me. They, you know, like they're and when they did call my agents, they called my agents and said directly, not hey, thanks for applying for a job. They said, We want Laura.

SPEAKER_02:

True or false? Leonardo DiCaprio is taller than Laura Cayuette.

SPEAKER_01:

Oh, absolutely. No question. He is, oh yeah, he's like 6'1.

SPEAKER_02:

He is.

SPEAKER_01:

Yeah.

SPEAKER_02:

Wow. I didn't think. Well, I thought you were tall. How tall are you?

SPEAKER_01:

I'm t I'm 5'10. So I can say with authority that a girl who was 5'10 and was wearing boot boots with heels on Django, he was certainly taller than I am.

SPEAKER_02:

Wow, okay. Yeah, what do I know?

SPEAKER_01:

I also I knew him when he was a teenager. He was taller than I was. You know, he's he's taller.

SPEAKER_02:

I mean, you're I mean, you're obviously you look you're 5'10 is tall. Yeah, you look taller, anyway. Uh again, may have answered this already. In the long run, actually, I should probably skip this, but uh, in the long run, film uh slash movies pay more than television. You kind of answered that one already.

SPEAKER_01:

Yeah, generally speaking, it's TV. However, generally speaking, if you want that good TV money, you have to have done film.

SPEAKER_02:

Yeah.

SPEAKER_01:

You have to be a movie star to get the good TV money.

SPEAKER_02:

All right. Uh true or false. Laura Cayuette would rather act in a movie as a surgeon than be an actual surgeon.

SPEAKER_01:

Oh, you could have picked so many other jobs that I would have said, no, I'd rather be the real job, but surgeon is not on my list. No, you can have it. You I can have it. That's not on my list.

SPEAKER_02:

There you go. You know, we're gonna make a movie, you're gonna be a surgeon.

SPEAKER_01:

I I would love to be a surgeon in a film or a television show. I am not up for it in real life. No, I thank God for the people who are willing to dedicate themselves to such a thing.

SPEAKER_02:

True, true. All right, true or false. Laura Cayuette would rather see the New Orleans Saints win a Super Bowl again, instead of the New Orleans Pelicans win an NBA title.

SPEAKER_01:

Oh, why you gotta be mean like that? We were having such fun. I need an answer.

SPEAKER_02:

I need an answer. True or false? Saints over Pelicans.

SPEAKER_01:

That's not a fair question.

SPEAKER_02:

It is a fair question. Saints already have one. I don't know. The Pelicans ever win one?

SPEAKER_01:

The Pelicans have not. And but there you go.

SPEAKER_02:

Here's your answer.

SPEAKER_01:

Well, but I will say that that one of the things about the Saints winning the Super Bowl was the effect that it had on the city was so profound. And I have not seen yet what the Pels winning would do. We'd have to see. I'll I would like to see. Why don't we go ahead and say the Pels just so I'd like to see?

SPEAKER_02:

All right. Well, you have to come back on once they win.

SPEAKER_01:

Yeah.

SPEAKER_02:

All right, last one. Uh actually, this is not a true or false, but if Laura Caillouette won a million dollars today, tomorrow she would what?

SPEAKER_01:

Well, a million ain't what it used to be, so let me think.

SPEAKER_02:

That's true. It's probably about 600 G after taxes. Yeah.

SPEAKER_01:

Well, no, but even even you know, a millionaire used to be if you were a millionaire, you didn't have to work again.

SPEAKER_02:

True. Let's say a million dollars tax-free. You got a million dollars in your bank account. What are you gonna do?

SPEAKER_01:

Probably the same exact thing I'm doing, but with less stress. There's nothing I I there's nothing I get about purchasing, you know.

SPEAKER_02:

That answer. Yeah, yeah, yeah. Live without the stress of bills, I guess. I mean, you know, yeah, yeah, it doesn't pay for everything.

SPEAKER_01:

Yeah, I mean, I don't have that much stress as it is anyway, just because I've decided not to spend my life on stressing about money. I have enough, I have enough, and I live small.

SPEAKER_02:

There you go.

SPEAKER_01:

You know, like I I just and whenever things when I don't have enough, I just live smaller, you know?

SPEAKER_02:

Right.

SPEAKER_01:

So I've I'm fine with that way of doing life about money.

SPEAKER_02:

Yeah, that's a good way to look at it. Um, this is more of a trivia question. Um, you remember married with children.

SPEAKER_01:

Oh yes.

SPEAKER_02:

Classic show. Classic show. I mean, could they do that today? You know they should be able to really archie bunker.

SPEAKER_01:

I think you should be it's all on the same. I mean, we're back to Rob again. It's really Archie Bunky Bunker that show.

SPEAKER_02:

And that's really I mean, I think could they do it? The answer is like, oh well no, they can't do that today. I think you should be able to. It's humor.

SPEAKER_01:

I I think that there's actually probably 10 versions on right now that you could compare to it right now. There are plenty of things that you and I would not recognize as the same type of vibe that the people making it would say, oh no, it was absolutely with that and same idea in mind. So I would say that that we are making things like that. And it and and I don't think TV has become less daring. I do think that um TV executives are always going to be sensitive. No, they're not sensitive at all. They're all they're terrified. They're always going to be terrified. They're they're words I can't say that are scared of cats. Um, yeah, they don't have courage. They have um what the the job. They have the job.

SPEAKER_02:

Yeah, there you go. There you go. Um that actually wasn't the the question. The question, I mean, you obviously remember Married with Children. If you're too young, go back and watch it. It's hysterical. Um, but the theme song was sung by yeah, but who sung that?

SPEAKER_01:

Frank Sinatra.

SPEAKER_02:

There you go. That was an easy one. All right. Classic. Love that.

SPEAKER_01:

Um well, I actually was like, wait a minute, was it Dee Martin? But I know I was a rat packer.

SPEAKER_02:

Yeah, yeah. Uh Frank Sinatra, love and marriage. Not that I can sing, but yeah, that show. Uh, and the magic, I mean, uh the beauty of YouTube is you can look, you can go back and look at scenes from different shows.

SPEAKER_01:

Oh, yeah.

SPEAKER_02:

You can go back and look at you. I want to see the scene where I want to see Laura and Jango unchained. Boom, at the dinner table. That's true.

SPEAKER_01:

You can you can see that scene.

SPEAKER_02:

You can kill Bill. I mean, uh, yeah, it's it's it's bizarre, but it's true. Um, I think it's a good thing. You can go back in time and watch shows like Johnny Carson.

SPEAKER_01:

I mean, I think it's a great thing, especially when you're trying to have a conversation. And especially with people who are younger, and you're trying to share something with them, and it's one of those kind of you had to be there kind of things, then isn't it wonderful that we can pull out a phone and put that younger person there with us so quickly?

SPEAKER_02:

Like a time machine.

SPEAKER_01:

Mm-hmm.

SPEAKER_02:

Yeah, yeah. I mean, I love YouTube. Uh I mean, there's good and bad of everything, but uh sure. Yeah, it's um anyway. All right. Well, look, this has been great. I really appreciate you taking time to come on again.

SPEAKER_01:

Well, I appreciate you having me again, and thank you so much.

SPEAKER_02:

You're listening to a Papa Mutes Unmuted Podcast.

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