Tim Baltz
Appearances
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I mean... I mean, just... There are a lot of days where we do. I'm not going to lie. Did you guys film in Charleston? We filmed in Charleston, South Carolina. Nice. Yeah, not far from us. No, not far at all. I mean, it's a gorgeous town. You know, it's... The food and hospitality scene down there is unparalleled. It really is kind of shocking how high the bar is for restaurants.
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You know, it was fascinating because we filmed the pilot there in 2018, and then we came back in 2019 to start season one. And so we saw so much...
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growth while we were there I remember in 2018 being like this is kind of a sleepy town like you can get if you're in Mount Pleasant you know you're zooming off to Sullivan's Island or IOP or whatever and it doesn't take long you know it's like eight minutes and then by the time we were finishing last year there's massive traffic jams you know you're like you get on Ben Coleman I mean this is all for the locals but you get on Ben Coleman you're like where the fuck are all these people going where do they come from
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And the locals have two attitudes about it. You know, they're like, they're like, ah, it's terrible. It's changed. It's gotten so busy. And then the others are like, this is a sign of a thriving city and we love it. And it helps, you know, prop up so many businesses. The first season though, I actually lived with Edie Patterson and Cassidy Freeman on Solomon's Island in kind of a beach mansion.
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And it was like summer camp the whole season. We were riding our bikes to dinner. I mean, it was really like the type of experience. Like I'm on location right now in Wilmington. I'm in an Airbnb and, you know, no offense to this Airbnb, but it ain't what we were used to in Charleston. Right.
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Yeah, absolutely. There was synergy from day one too. From the first time we did the table read, you're looking around and it was like a rogues gallery, you know? You're like, John Goodman's here, you know? And like Adam Devine's here and Edie's here and Cassidy has been working since she was like 19, you know? And Skylar Gisondo has been working since he was like seven.
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It was really Greg Allen Martin. He was on Baywatch. That's true. And the amount of small world connections that we had between us, it fit really quickly. And I think that was another interesting thing because Eastbound was really centered around Danny's character and then Vice Principals was a two-hander with him and Walton Goggins. And then this all of a sudden is their take on an ensemble show.
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And they did kind of prove that they could move up. I don't know if you would call that an evolution, but it's just different style. And they took on that ensemble style and they gave everyone... This was key. They gave everyone ownership over their parts. Yeah. And they trusted everyone. Like, I'm not going to come in and change everything.
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But if the syntax feels weird in my mouth, they're like, change it. Say it how you think the character would say it, you know? Or if, you know, we got the script, then do this take for you guys, you know, say whatever you want on this one or you can go off, feel free to go off page or whatever. So, we would always kind of find new things through that process.
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And also, it just empowers you to own the character. And then you're seeing everyone else do it. And you think, okay, well, everybody really knows who they are. And the truth is, like, in most seasons of a show, you're halfway through and you're like, is it good? Are we doing it? Because you're figuring it out, especially in the first season. And that one was just razor sharp from the beginning.
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Everyone knew who they were, what their role was, and you had a sense that something special was happening from the pilot. Yeah.
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I mean, that's a great question because you really do. That's a, that's a spectrum. Those two things are on either side. You know, I've had, I've come in as, the toughest thing to do is come in as a guest star during the filming of a season, whether it's the first one or later. Better Call Saul. Well, yeah. Well, that one, that's like the best, that's the best audition I ever got.
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I literally got an audition that said, please prepare a voice for a talking toilet. And I was like, what the hell? And then when I did the audition, they literally like – I did the audition as the character and then they're like, can you please step off camera and do the toilet? And I was like, okay. So, I like step off camera and I'm like, gosh, you're so big. Give it to me, Chandler.
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And they're all laughing. It's just a blank wall that they're recording and laughing. But that one was – I think when casting is doing its job and you feel like they have and you're walking into a situation where – They all think you're the right person for the job. Then you don't really have those.
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When you walk into a situation and you feel like two of the executive producers want me there and the director and another executive producer don't want me there. That's the tricky part. That's the part where you're like, I can feel that they're fighting and their visions are not aligned. And I'm going to get squeezed by this disagreement. You're going to get pulled. Yeah. And I...
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In those situations, like if I can feel a director, I'm not giving a director something. I'll just be like, give me a line read. Like, I don't, I'm not precious about that. It's going to make everyone's job easier. Just tell me how you want it to say, because I came in with a vision. I got cast and now it's not working. So, let's problem solve and figure it out.
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So, it's probably, I do like it when... I do like the other side a little bit more. I think anybody would. Where you show up and they're like, what do you got? Whatever you do, it's going to be great. And then we'll tweak it and we'll get it there. Because then you feel like your decision making is part of the process.
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And I've seen that on the... Because the show Shrink, which is on Peacock, I was one of the co-creators and I wrote on the season. I was one of the EPs and was the lead actor. And when someone would come in... making a strong choice, you'd have this relief. You're like, oh, thank God.
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We don't have to mold them in the moment because time is money, you know? Yeah. So, when they would make a choice, be like, okay, great. They're like 95% there. This is going to be fine. And that feels good. It makes everyone feel safe. So, if you're casting and you know that this person already made the choice, then they're showing up and you have way less to worry about. Yeah.
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So you tell me how you see it. I love that. I want to be in the next Avatar, so I love that. Yeah. I want to be on Avatar. You just want those points on the back end. That's what you want.
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I saw this on Instagram the other day. There was this post that was like, his wife watched Avatar Air and Fire or whatever it's called and cried for four hours afterwards. And you're like... Come on. She needs medication. What are you talking about? You're trying about something else.
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Yeah, they drop three days apart, which is rare. Those things line up so rarely. I think the last time it happened for me, this episode of Chicago PD and Veep came out. Yeah, that's rare. This is amazing. Yeah. The Deli Boys was shot in Chicago and cheated for Philadelphia. So, for me, it was like a homecoming. I got to come back. Yeah.
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There was a lot of crew that had worked on Shrink that was working on Deli Boys and I hadn't seen them in like eight or nine years. Oh, nice. That was really lovely. Yeah. Some people from the camera department and art department and... wardrobe. It was really special because Shrink was the thing that moved me out to LA back in 2014.
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I never thought I'd live in LA, but we sold a show from Chicago, which is super rare, and then just had to go. Deli Boys got to come back and spend time with family and friends. The cast was amazing. It was another one of those things. You walk in and you don't know what the vibe is, and you're a little... hesitant, you know? You're like, I don't know what it is.
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I'm coming as a guest star for six episodes. That's a long time if the vibe is bad. And the vibe was immaculate. It was incredible. Asfali, Sagar Shahi, Kapoorna Jaganathan, Brian George, like the whole cast, they were just phenomenal. Allie Ruddy was my scene partner and she crushed it. And we had a great time and it flew by. That's the other thing. That was like season one of Gemstones.
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It just flew by and the next thing you know, you're like, man,
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So, I saw this in one of the reviews, which I thought was a great way to describe it. They said it was Guy Ritchie meets Succession.
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There were so many people. I think it dropped on like a Thursday or Friday. And there were so many people that by that first weekend, they had binged the whole thing where they said, I watched everything in two days. So it's very bingeable. I watched personally, I watched the whole thing in two days. And I have a lot of friends that are like, oh, it kind of feels like Coen Brothers.
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But when they came to me with it, they said Gemstones was a comp for them because it lives in this world of, you know, it's a family drama. Like, that's the conflict that's driving the story. It has a lot of heart along with the comedy and the violence and the gore. And there's a lot of kind of like suspense and intrigue and I was just really, really impressed.
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It was – the executive producers were Jenny Conner, Nora Silver, Michelle Nader, and they were incredible. I mean – Nora Silver is legendary. Yeah. And Jenny Conner did Girls on HBO and a ton of other things. And they're – I mean, really, like all of them are kind of like – it was again like a rogues gallery. And the cool thing about the cast is –
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You know, a lot of these people you've seen work for a long time, but they've never had a cast that's all the leads are South Asian, you know? They're Indian, Pakistani, and they all now are like the leads of the show as opposed to the side characters. And so, the vibe on set was just everyone was so grateful.
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And we would go film and you'd see the South Asian community come out like extras or whatever. And they're... And everyone – I mean, my heart was just bursting seeing how appreciative and excited everybody was. And it was cool to be part of something really special. And then I got to meet Chris Elliott and work with him for a day. Oh, my God. Oh, really? What? That blew my fucking mind.
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He's in the last episode or the second to last episode? Really? Yeah. And he – this was crazy. How is he getting involved? So – The Bear films in Chicago. Yeah, yeah, yeah. And his daughter, Abby Elliott, is on The Bear. Oh. She plays the sister. Oh. And he was there. He and his wife were there babysitting. And Jenny Connor had reached out to me. She was like, hey, you know everybody in Chicago.
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So, like, can you recommend some people that would be good for, you know, this part or that part? Or like, who do you know? So, I'm sending her like, you know, reams of paper with like different things. I love everybody there. And I'm like, this person would be great. That person would be great. And then she said, okay, well, for this one part, hold off. I think we got someone.
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I was like, oh, okay. All right. And then she comes back. She's like, it was Chris Elliott. He's here babysitting. Yeah. And he really had been like, since COVID, he had kind of like just taken a break and been like on grandpa duty and chilling in Maine. And he is one of my all-time heroes. So, I spent an entire day just kind of like teetering behind him and then being like, so, on Letterman...
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I'm sure you've had this too. You ever meet someone and you've been a fan for so long, they're ubiquitous in your brain. Yes. And then you meet them and you're like, it's them. And they're doing their thing right here. Right in front of me. Yes. He was doing, he was doing like Chris Elliott stuff right in front of me. And we had a take and they, I think Jenny Connor was directing that episode.
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And she's like, you know, you guys say whatever you want. Like you guys just go wild. Okay. I know. I trust that you'll get the scene. And then I like really kind of stuck to the script and came back and she's like, you okay? You didn't really improvise. I was like, I'm just stunned. It's Chris Elliott. It's Chris Elliott. Sorry, I'll shake it off.
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But like I had one take where I'm just like, yeah, jaw on the floor.
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And it's streaming on Peacock right now. Is that right?
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Yeah. Yeah. I think it was. I mean, it bounced around. It was on Hulu for a little while. It was on the NBC app. It was originally on CISO. But we originally made it, a friend and I, as an improvised web series in like 2011. And then there was this thing that used to happen called the New York Television Festival.
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This is right when like kind of indie TV is exploding, you know, end of the 2000s, early 2010s. Okay. The kind of tech behind, you know, the production of stuff had been so democratized that you could get the gear together and you could film your own stuff and it could look pretty good, you know? Yeah. And I didn't really have any experience in that.
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And the co-creator, Ted, he had a friend who had gone through medical school and then he hadn't matched with a university hospital. So, like when you graduate medical school, you have to match with a university hospital and that's where you go do your residency. And he didn't. So, he was half a million dollars in debt and he was living in his parents' basement.
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And so, the genesis of the show is that a character like that is... he decides to defer his student loans by starting to do clinical therapy. But for clinical therapy, you have to register 2,000 hours of free therapy. Like you have to administer those sessions. 2,000 hours. 2,000 hours. And then you can start getting paid. But while you're doing that, you defer the half a million dollars in debt.
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So, this character that happens to him and his basically like, you know, His parents co-signed on his loan, so they need it to happen. And he's doing these sessions out of his parents' garage. Yeah. And he finds a therapist to supervise his hours. And it's the story of like him kind of trying to get better. And he's doing all these unconventional things.
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And he's trying to do therapy outside of the garage, which is with his patients, which is unethical, you know.
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But it was great. And it was this thing that organically developed. And we turned it into a pilot in 2012. And we took it to New York Television Festival. And we ended up winning Best Comedy and Critics Award. And then Gene Domanian Productions picked it up and helped us develop it. And we pitched it in 2013. And we sold it to this place called Pivot, which doesn't exist anymore.
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And then it sat in development for two and a half years there, which was very frustrating. And then they gave it back. And then I was working on this other show, Bajillion Dollar Properties on CISO. Oh, yeah, yeah, yeah, yeah. So, then they knew who I was. And so, we went in there and we're like, well, look, we have this thing. And we had made a pilot and the pilot was really good.
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And so, it was this calling card that kept kind of like people would pass it around and Thank you. Thank you.
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Roseanne was... Roseanne was our homegirl. Yeah. That house, like I knew... I did an episode of The Conners a few years ago and being in that on the studio lot and in that set and seeing the living room, like this is... It was surreal because that house was so many of my friends' houses.
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Yeah. And yeah, I think... very blessed with that set like Adam Devine felt like someone that I had gone to high school with pretty instantly Tony Cavallaro I knew since 2012 when we did Montreal just for laughs together Edie like it was it was super easy from the get-go with Edie and that was that made the job so fun and fulfilling and with John you're
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I always said it's like watching a marble statue starting to move where like everything- Oh, that's a good way to put it.
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Everything is perfect. Like every take I would be like, huh, there is flawless. But it was interesting in its own way and I would learn so much from watching him that very quickly season one, I was like, okay, Jody Hill would say this. After a good take, he'd be like, I was just watching the movie.
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yeah like he had no notes that was his his way of saying like no notes he was like i was just watching the movie guys right and with john quickly i had to be like i can't watch the movie from inside the scene yeah i gotta i gotta i gotta get over the fact that it's john and i gotta appreciate the fact that he is an incredible professional we had a scene together in season two and um
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off camera, he's trying to get better. That I think was the thing that I was most impressed by. Yeah.
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Yeah. Like he's, we did his coverage first and then turned around and did mine. And he's still working the scene from his side of the camera. And like he had to, you know, sometimes you have to cheat where like you're in a space. And so, you know, the camera's on you and then it turns around on the other person and you have to be like this close to the camera.
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And so, yeah, you're doing your scene. And I remember John had to be like right here and he's still emoting and giving the scene his all like, you know, contemplating and giving me what I need for the scene. Yeah. That you're like, you've been doing this that long and you're still that generous with your scene partner, which is professionalism.
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But still, there are a lot of people that don't do that.
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Yeah, I remember that. Wow, that's great. We also have, my wife and I and a few friends have a podcast on the Comedy Bang Bang Patreon. Oh, really? That's called Hey, Randy. It's based on Randy Snuts, who's one of the long-running characters that I've done on Comedy Bang Bang.
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And it's a call-in advice show. And we have like our small but mighty fan base calls in with anything duplicitous and scandalous happening in their lives. And it's just a hometown crew of friends and the little drama that's part of their lives. And it's kind of based on like the people that I grew up with in Joliet and...
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It fit really quickly. And I think that was another interesting thing because, you know, Eastbound was really centered around Danny's character and Vice Principals was a two-hander with him and Walt and Goggins. And this all of a sudden is their take on an ensemble show. And they did kind of prove that they could move up.
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I don't know if you would call that an evolution, but it's just different style. And they took on that ensemble style and they gave everyone... This was key. They gave everyone ownership over their parts. Yeah. And they trusted everyone. Like, I'm not going to come in and change everything. But if the syntax feels weird in my mouth, they're like, change it.
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Well, you know, the days are like, you know, 14, 15 hours long, so... You get the laughs out like pretty early with your first second cup of coffee. And then like when the work starts, you know that if you laugh, it adds time to the day. Right. Something can be funny, but eventually like your brain gets hardwired to be like, yeah, that's good.
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But if you ruin that take, that's 10 more minutes, you know. Good point. But yeah, that's, I mean, that's very nice of you. Those guys, I was a huge fan of McBride and Jody Hill and David Gordon Green and the whole Rough House production team going into this and had obviously like a lot of people devoured Eastbound and Down and I'd actually auditioned for Vice Principals and hadn't gotten.
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Another great show by Danny McBride. Fantastic show. And like, I mean, I think when I first got an iPad, the first thing that I, the first movie that I bought was Foot Fist Way. Yeah. And I was like, oh, this is great. Like, I haven't seen this. Like the one thing of theirs that I haven't seen. And it was the start of all of it, you know, and I'm watching it on the plane.
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You know, I'm like, I'm like halfway back in economy watching it on the plane. I'm like, huge tits are on the screen. And I'm like, whoa, wait a minute.
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So, I felt very honored because I think as a huge fan of comedy too, and this is not something where I'm like, hey, compliment me for being part of this. But I really felt like I love... I've watched a ton of comedy. I've devoured British comedy. My mom's from France. I've watched a ton of French and European comedies and things like that. Anything that I could get my hands on. And I think that
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You know, a lot of mainstream stuff that relies on casting stars and that's always been the case. But I think what makes... McBride's and their team's comedy so enduring and funny and why it stands out is that they cast in a way where the ensembles just always feel perfect, you know?
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There's no one sticking out where you're like, well, that person's really good and I really know them and I've been following their career, but what are they doing in this thing? Yeah, yeah, yeah, yeah. They never do that. And even when they do cast names, they're perfectly cast. And so...
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Um, just getting cast in it, I thought like, wow, it's an honor that they think that I would fit into a world like that. And, uh, and you know, I got, I mean, from the second that I auditioned, I got to test when I did the HBO test, I got to test with Edie Patterson and the way that we were improvising. I'm like, this is going to be a great, this is great.