All language subtitles for Hart to Heart s03e04 Will Ferrell.eng

**

-Well, you cannot
mention the word "comedy"

without thinking
of my next guest today.

He's been making us laugh
for over 25 years --

first, of course,
on "Saturday Night Live"

and then through some
of the biggest comedy movies

of all time, including
an incredible film

called "Get Hard."

Wow, was that a good one.

A legend he is.

Ladies and gentlemen,
please welcome Will Ferrell.

Wow.

-That --
-Was that good?

-That was great.
-Did you like it?

-Great job. Great job.
-Thank you, man.

-I didn't think
you had it in you.

-What do you mean,
you didn't think I had it in me?

-No, that was great.
-You didn't think I could do

an introduction, Will?

-Not in one take.

-What are you talking about?
-It was incredible.

-Will, you worked with me.
You know that I'm --

-I did. Yeah. I did.
-Yeah. That's what I'm saying.

You know that I would be fine
at doing something like that.

That's not --
-I was blown away.

-Okay. Alright, Will. Well --

-The place is abuzz right now.

-What does that -- Well, that --
I know what you're doing, okay?

And it's not abuzz.

You're not gonna hear
the crowd cheering.

-I love your wine --
I love your wine cellar here.

-Yeah, you should love it.

-Yeah.
-It's intimate.

-It's lovely.
-Yeah.

-The rich smell of oak.
-Yeah.

-The oak barrels in here.

-Will, uh, first and foremost,
thank you.

Thank you for coming on. Okay?
-Thanks for having me.

-You know, these conversations
seem to get easier and easier

because my friends
are coming on.

And the level of comfort that I
have with my friends is unreal.

Right?
This level of comfort.

-Yeah.
-Insane, right?

-It's so insane.

-It's insane. I can let the --

-You can let it --
-I can let it Goddamn --

-Yeah. You can
let your hair down.

-Yeah. I can let them fly.
Right?

-Yeah. Yeah. Yeah.
-All the hard-hitting questions.

-I love your socks.
-You like that?

Little combo pack right there?

-Look what I wore today.
-Don't do it, Will.

-Just decided to do
a little self-promotion.

-Will.

-Even though I think
this will air

in July.
-No, Will, don't --

Will, that's not --
You're not showing --

You're showing your ass, Will.

-Well, that's --
-You're tooting it up. Okay.

-That's my ass.
-Alright. Alright.

Okay. Thank you.
-But then, I'm wearing

"Elf" socks --
-That's nice.

-Only 'cause someone gave them
to me at a Christmas party.

-That's why you're
wearing them?

-I thought, "I'll wear them
for Kevin." But is that sad,

that I'm wearing socks
with my face on them?

-Yeah, it actually is, Will.
I'll be honest with you.

It's not your highlight.
It's not --

It's not a big moment for you,
right there.

-But I thought you'd get
a kick out of them.

When I saw
your fashionable socks,

it made me think of my socks.

-Well, my socks
don't have my face on them.

-No, no.
I'm saying they look great.

-Well, thank you, Will.
-Just part of

the whole ensemble.
-Ensemble. Yeah.

I knew you were gonna say that.

I know you like
the back of my hand.

-Yeah.
-Will, on this show,

we drink wine. Okay?

The reason why we drink wine
is because what?

-Uh, because of the cellar.
We're in the cellar.

-No, Will.
-Oh.

-It's not because of the cellar.

It's because some of
the best conversations

happen over a glass of wine.
-Over a glass of wine.

-There it is.
-Great. I love it.

-This conversation has
the ability to be that.

This is my somm.

-Mr. Ferrell.
-Hey. Hi.

-How are you?
-Mr. Hart.

-How you doing, man?
What do we got today?

-Fantastic.
So, today, from the cellar...

-Yes.
-...an exquisite

Cabernet Sauvignon --
clone 4, clone 6,

clone 7 Cabernet Sauvignon.

Single vineyard. Monopole --
That's what the French say.

-Okay.
-Owned by one family.

2019 vintage, just released.
-Just released. I know.

-We're talking about
less than 500 cases.

-Whoa.
-That's the good stuff.

That's the good stuff.
-Wow.

-Yeah, go ahead.
Let's let it rip.

-Mm-hmm.

-Uh-huh.
-It looks thick.

-Yeah.
-Viscous.

-Viscous.
-Yes.

-Will this have legs?

-Lots of legs.
-Lots of legs.

-Yeah.
It's gonna have legs, Will.

It's --
-We like to say medium-plus

on these legs.
-Oh. Medium-plus.

-Yeah.
-Yeah. It's bold, robust.

You'll enjoy it.
-Thank you.

-Please enjoy.
-Always.

-Thank you.
-Thank you.

-To you, man. Cheers.
-Cheers.

-Thanks for having me.
-Thank you for being had.

Ferrell, we get to talk
a lot today.

And it's a lot that I want
to talk about, man.

Um, here's what
I got to say, dude.

When people refer to you,
they really do attach you

to some of
the biggest compliments

in the world of comedy.

Especially in the world
of improv

and the world of just
theatrical performance

attached to any piece
of laughter,

your name never not comes up.

Uh, what does that
feel like for you now?

-Uh, well,

it's pretty crazy,

only because, as you know,
you know,

starting out in this biz,
you just hope to get hired once.

-Uh-huh.

-But to kind of --

You know, "Saturday Night Live"
was a dream job.

-Yeah.
-You know, almost --

I've gotten to kind of do

almost everything I've wanted
to do in this business.

And to look back and see
that, for the most part,

a lot of it
resonated with people,

that's pretty incredible.

-When you say --
-Only because, once again,

as you know, you only have
the thoughts in your head.

You know, what you think,

sitting alone
with your thoughts,

thinking, "Oh,
that could be funny."

But it's only funny unless
you can make strangers laugh.

-Yeah.
-So, the fact that

I can sit around
and think of weird things,

and it actually translates
to an audience, it's still --

it's still --

I feel very fortunate
that I get to do that.

-Before "SNL," though,
you were where?

You were in one of the --

-I was out here
at The Groundlings.

-Okay. You was in Groundlings.

-Which, over on Melrose.

And yeah, it was a --

I had actually seen
one of their shows.

I went to USC, and it was
my last year at USC.

I went to check out
one of their sketch shows,

and I saw
that they had a school.

I was blown away.

I was like, "Oh, my God.

This is something
I would love to do."

And I saw that they had
an improv school,

and you could sign up
for these classes

and that you could work
your way up into

actually being part
of the performing company.

And I thought this was --
And they were so --

I think I saw Lisa Kudrow
that night onstage

and a number of other people

that went on
to either write for sitcoms

and this, that, and the other.

And I was actually
pulled up onstage

as part of
an audience participation.

-Your first night going?
-Yeah.

First night.
I'm part of the audience,

and I get pulled up into
one of their sketches.

-Did you bitch up?
-Did I what?

-Bitch up.

-Is "bitch up" a good thing
or a bad thing?

-No, it's bad.
-Yeah, I bitched up, big time.

-You bitched up.
-Yeah.

-You just said --
-I didn't say a word.

I was paralyzed, to the point
where the guy,

the other actor, was like,
"What's your problem?

Stop bitching up."

-[ Laughs ]

-No.

"We've got a bitch up
onstage here,

someone who's literally
bitching up."

No, I fro-- I was terrible,

which is the irony
that three years later,

I'd be performing on that stage,
you know,

writing my own stuff and --
-But did you fall in love?

Like, did your terrible --
was that also --

was that the moment that you
fell in love with the thing?

Like, I can remember when...
-Yeah, I --

-...I had that moment of, like,
"Lights. Oh, shit. People."

-Yeah.
-"I got to get a laugh."

But, at the same time,
even though I wasn't getting it,

I fell in love with the thing.
Like, "Okay, this is

the thing I want to do."
-Exactly.

And I think I was so enamored
with it

that I didn't want to say
something stupid

to mess up the sketch, so...

And I just was paralyzed

and walked back to my seat
and --

But I remember thinking,
"Oh, I got to --

I want to sign up for the next
class that's available here."

And that became a home.
-When you made the decision,

family, what was the family's --
What was their, like,

take on your choice of what
you wanted to do with your life?

-You know, they were supportive.

-When you say "they,"
are we talking Mom and Dad?

-Yeah.
-Okay.

-I wouldn't say they were like,
"Rah, rah, you can do it."

-What did they want you to be?
-"You can do anything."

I think they just wanted me

to, you know, be on my own

and be out of the house
because I did --

After four years of college,
I moved right back home.

So...
-Nice.

-Yes.
-No, that's good.

-Yeah, it's great.
-By the way, "Mom!"

-For three years.

-"Where's the meatloaf?"
-Yes.

-True.

-But I had a very --
That was true.

That was literally taken
from my life.

[ Both laugh ]

Screaming at my mother
to bring me meatloaf.

Which we never had in our house,

but I always hoped
she'd bring me some.

-So, you --
-But, yeah.

So, I moved back home

and because

I was like --

I thought I was gonna go into,
like, sports journalism and --

But I remember thinking, "No,
I got to try this comedy thing,

'cause it'll always
be kind of itching away."

But, yeah.

So, I started just kind of
driving back up to L.A.,

doing the Groundlings thing.

You know, my dad's a musician,
so he kind of was like --

would tell me, like, "Just
so you know, it's pretty tough."

And I was like, "I got it."

And so, when they first
came to see me

kind of a performing in a show,

where I got to kind of
do my stuff,

I remember my dad kind of going,
"Okay.

You're -- You're good."

-"You're good at it."
-"I didn't think you'd be --

Not that I didn't think
you'd be that good,

but you're confident up there.

It's like a whole
'nother side of you."

So, they were very supportive,

but it wasn't like,

"You can do it! We know it!"

They were worried --
-It was,

"He's got a good choice,
and I'm supporting the fact

that you made a choice,
and he's happy."

-Happy. And I think they were
just like, at least --

'Cause I would just say,
"Hey, if it doesn't work,

I can be
a substitute schoolteacher."

-Yeah. I was like that --

-Nothing wrong against

substitute schoolteachers.
-No. At all.

But...

-But...
-Yeah. Right?

-I could have done
better than that.

-Yeah. We don't got to
put a finger on it, but...

-Right. No. Yeah.

-That's a tough one.

Depends on what program
you're coming up in.

-Right. Right.
-It can be tough.

Guys, we got to take
a quick break.

Do me a favor. Stick around.

We got more "Hart to Heart"
up after this.

**

**

-Welcome back.
This is "Hart to Heart,"

and I still am talking
to Will Ferrell.

Will, here's my real question
for you.

The level of confidence, right?

The confidence
that you have now doing it,

of course, is bar none.
It's insane.

In the world of improv, well,

that's a different level
of confidence

because it's not stand-up.

You're not retooling the jokes.

You're not reworking them.
-Right.

-It's all on the spot.

It's all impromptu.

In your "class,"
your Groundling class,

first of all, who was there?

Are there any other names
that I would know today

that were attached to you
in the beginning stages?

-There was kind of either
slightly ahead of me

or during that same time
or a little bit behind me,

were all kind of
from the same era,

there was Chris Kattan
and Cheri Oteri

and Ana Gasteyer.
-Wow. Wow.

-Molly Shannon was in L.A.
at that time, doing her shows.

She wasn't affiliated
with The Groundlings,

but we'd run into each other
at, like, cabaret shows.

Kristen Wiig, Will Forte,

Maya Rudolph.
-Holy shit.

-Yeah.
-The whole cast, basically,

minus a couple, yeah.
-Melissa McCarthy.

So, it was a lot of funny, fun,
bright people,

all kind of feeding
off each other,

which is why
I was so drawn to it.

'Cause I did try my hand
at stand-up...

-Mm-hmm.
-...and doing open mics.

And as you know,
it's such a lonely existence.

-It's a completely
different ball game.

-And when it's working,
it's the absolute best.

-Yeah. Yeah.

-And when it's --
There's no middle ground.

-No. There's not.

-There's no place to hide.
-There's no in-between.

-And sketch comedy,
I was like, I thought,

"Well, if I'm gonna bomb,
at least

I'll bomb with three or four
other people up onstage."

So, that's kind of how I --

-When you get to "SNL,"
of course, you're a fan.

Right? You're already
a fan of the show.

It's a big deal just to try out.

Your audition, they say,
is one for the record books.

Legendary.

I don't know
if you're familiar with mine,

but mine is in the top two
probably worst.

I know your --
-Wait, what was it --

-I did Avery Johnson,
and Avery Johnson was --

I did Avery Johnson
telling David Robinson --

-Super obscure, Avery Johnson.
-Just -- By the way,

there's no shot Lorne knew
who Avery Johnson was.

And I was committed.

-"He does a good
Avery Johnson."

-I said, "Pass me the ball."

I just kept saying,
"Pass me the ball."

-I pass the ball to them a lot.

I don't really shoot. Mm-hmm.

Mm, we -- Hopefully, we can keep
winning championships.

Mm-hmm. That's pretty much it.

Thank you. Can I go?

That's pretty much it,
my Avery Johnson.

The admiral --
-Lorne's a huge NBA guy.

-Lorne was just sitting there.
I'll never forget.

He was just sitting there,
looking at me,

and I ended, like, with a weird,
like, "That was Avery Johnson."

[ Both laugh ]

Like, nobody said anything.
-To silence.

-Silence. Silence.
It was the worst --

Then, I did, like, my De Niro.

-But my audition was
to complete silence, as well.

-They say it was
legendary, though.

-It was --
-Silent, but funny as fuck

is what people refer to it as.
-I don't know.

I mean, you know,
you were just --

I forget, did you have
to do it in the studio?

-Yeah.
I was in the studio, onstage.

-So, same sort of thing.

And you're just in that,
you know, 8H,

where they've filmed
the show since 1975.

Big, empty studio.

You and a camera and Lorne
in the shadows,

and extremely intimidating.

-But how did you prepare?

I remember them telling me they
wanted, like, some characters.

-Yeah.
-They said, "Just get in there.

Like, it's best
if you show characters.

Show them what you can do."
And I was like,

"Well, I don't really
do characters,

but I could do some stand-up.

I'll try to incorporate
some characters."

It was the shit-- It was bad.

It was probably one of the worst
displays of talent

I've ever put on
in my fucking life.

-But it's hard.
-If I'd have got that show,

it really would have been
a mystery as to how,

when I look back at it today.

-"I'm definitely gonna do
my Avery Johnson.

I know that.

[ Gasping ]
Where's my notepad?

Avery Johnson, 'SNL' audition."

-[ Laughs ]

-You committed to the Avery.
-I really did.

I really did, man.
-I did --

Yeah, they did the same sort --
They did --

If you could do it,
a celebrity impersonation,

a character of your choice,
and a political impersonation.

-Yeah, I had no political.

-And do it for five
to eight minutes.

And if you can't do any of that,
just be funny.

So,

I had a kind of, once again,

obscure celebrity impersonation
in the world of sports,

but Harry Caray, the announcer
of the Chicago Cubs --

-Yes.
-...who, while I was at

The Groundlings --
or while I was working in L.A.,

I'd come home at lunch
'cause I lived close enough

to eat lunch at my house,
my apartment.

And they would have
the Cubs day games on.

And I didn't know
anything about the Cubs,

But I'd turn on
the baseball game, "Oh,"

and see this guy, Harry Caray,
you know, just --

I was like, "Who is this guy?
I've never..."

Growing up in L.A.,
I wasn't familiar with him.

And for those baseball fans,
for those Chicago Cubs fans --

-He was the best thing ever.
-...he's a legendary guy who,

you know, towards the middle
to end of his career

would just say
the most bizarre stuff.

And literally, I was watching
one afternoon,

and he was like --

You know, he'd get confused
with the names of the players.

He'd be like, you know,

"DeSantos back
for the pop ball.

He drops it.

Oh, he lost it in the sun.

Here's something
I'll never understand.

DeSantos grew up
in the Dominican Republic.

It's sunny the whole time.

He's staring into the sun
24 hours a day,

and yet he drops the ball.

Oh.

Anyway.

Two in one count --" Like,

and I'm like, I was just
thinking, "Who is this guy?

How is he allowed to be
on television?"

-[ Laughing ]
-And...

another time,
he'd get really mad

when the Cubs
were not playing well.

And there was a pitcher --
-[ Laughing ]

-There was a pitcher
for the Cubs

named Heathcliff Slocumb,

and he was like, you know,

"Two one f-fast ball. Heathcliff

sets the pitch,
and the pitch, high ball three.

If he's throwing hard,
I'm a Chinaman."

[ Laughter ]
And I was like, "What?

What did he just say?"

And, yeah. So, just always
all over the place.

But anyway, I'd written a sketch
at The Groundlings

that it was Harry Caray
doing a play reading,

because it was --
The baseball strike was on,

and he was out of a job, so...

What happened, Carol?

I feel hollow inside.

My heart is black,
and I hate you.

Sweet Jesus.

So, I did Harry Caray doing
a play reading for my audition.

I think I did Bill Clinton?

Oh, no, no, I did Ted Kennedy

doing stand-up comedy.

And then, I did this sketch,

another sketch from The
Groundlings that ended up being,

I think, what got me
the job in the first place,

was this guy --
-Your original sketch?

-...yelling at his kids
to get off the shed.

And he's a guy doing
a barbecue with neighbors,

and he's just having
a benign conversation,

talking about
stupid suburban stuff,

and then he would yell,
off-camera.

You don't see what's happening,
was like, "Hey, you want to --

Hey, kids, you want to do me
a favor and get off that shed?

Stop -- Stop crawling
on the utility shed.

Okay?

Thanks, pal.

Thanks, buddy.

Anyway, my golf game is great.

I found a new sand wedge
I just love.

It just cuts right through,
you know. Beautiful.

You been playing a lot
of golf lately?"

-Yeah, a little bit.
-"Get off the shed!"

-Yeah.

Wow. Wow.

-Yeah. And I --

That was the game
of that sketch.

Just yelling at kids off-camera.

So, that was my audition. Yeah.

-Will, an amazing conversation
we're having,

but unfortunately, we do
have to pay some bills.

Guys, we're gonna take a break.
We'll be right back

with more "Hart to Heart"
after this.

-Anybody want a burger?
Who wants a burger?

These are just about --
just about done here.

Get off the Goddamn shed!

**

**

-Alright. We're back.

This is still "Hart to Heart,"
and I'm still talking

to the legend himself,
Mr. Will Ferrell.

Will, you get "SNL."

Finding your wheelhouse

into becoming a not just fan
favorite but a show favorite,

how long did it take you to get
into the place where,

"Okay, I'm in the system
of the norm and the regular.

Although I'm doing the work...
-Yeah.

-...everybody feels
like they can work with me

and provide me with material
as I do for them, as well."

-I hate to keep saying
that I got lucky,

but once again, you know,

the year that I got hired,

I think it was eight
new cast members,

a brand-new writing staff.

So, we were just thrown
into the fire together.

So they --

Lorne kind of had to use
all of us, and it wasn't --

Usually, cast members
are kind of piecemealed,

one or two, you know,
every year or --

But we were all thrown in there
and, you know --

So, that way, it almost created
this even playing field.

-Mm-hmm.

-And everyone, you know --
It was on the verge --

I mean, the year that --

That was the '95-'96 season.
-Wow.

-And, so, the year before

was the last year
for Sandler and Farley

and Dana Carvey and Mike --
Everyone had left.

So, we're here
with this brand-new crew,

and we're going up against --
Dana Carvey had a sketch show.

Howard Stern had a sketch show.

"Mad TV" started.

And I think that there was
another sketch show,

all going up against "SNL"
for the first time ever.

No one would ever go up against
the show in its time slot.

-"Living Color"
wasn't around then, right?

"Living Color" was --
-"Living Color" already was --

-Was it already done,
or was it later in the '90s?

-No, I think it was --
-When it was done?

-I'm not sure.

-They were in
the wheelhouse of that.

-Yeah.
-I remember the "Mad TV" times,

and all that stuff
was together then. Yeah.

-It was --
There was blood in the water,

and all the networks
could sense it.

It was like, "This is the time
to take them down."

So, we were like,
"Well, here we are.

Our backs are against the wall.

Let's just have fun," you know,
and we kind of --

You know, everyone was just
kind of pulling on the same oar.

And so, I had to be used.

The writers kind of had to
use me, right from the get-go.

-There comes a point
on the show

where you have
to make a decision.

And that decision is,
"Okay, what's next for me?"

And some make it.
Some don't. Right?

Some choose to make the decision
to go on

and figure out the next version
of their career,

and some say, "No, I'm fine."

And it's okay, by the way.
-Right.

-Whatever it is
that you choose to do

that's best for you
and your opportunity.

The world of movie star that's
on the other side of "SNL,"

you don't know about.
-Sure.

-But there's a feeling
of, like, Goddamn.

I mean, you were "SNL."

You were the face.

By the way, which is a fucking
amazing accomplishment

because there's only
a certain amount of people

that actually became the face.

You share that title with a few.

Okay, fuck.

Movies are next.

I'm going to not only go
and do this,

but you later took a team,
and you had some creators

that you then developed with
and started to do more things.

But the actual decision
of "I'm out" --

-Yeah.
-That's a hard one to make.

When -- What was your thing

that made you go,
"Okay, it has to be now.

I got to go now," and why?

-It was just time
to take a flying leap,

and that's what hap--

I had filmed "Old School"

during that sixth
and seventh season.

-"Old School" you did
while being on the show.

-On the show,
so I was going back and forth,

but that hadn't come out yet.

And that didn't come out
till after I left the show.

And other than that,
I only had this --

We had this other project
that needed a lot of work

but was kind of
an interesting concept,

about a human who was raised
by elves up at the North Pole.

-Yeah, your socks.
-And socks.

-Yeah, your socks.

"Elf" happened.
"Elf" becomes this massive hit.

By the way, "Old School,"
the same, right?

But you --
-Well, yeah.

And so, then --
-It's lining up.

"Night at the Roxbury."
-Yeah.

-One of my, honest, all-time
favorite movies, just from --

That's where you started
to understand, like,

the opportunities
that come from "SNL,"

based off of their most
popular sketches,

could go and springboard
into films.

-They were great to kind of
just get your feet wet.

But then, super fortunate
in that the first three movies

after I leave the show
are "Old School,"

"Elf," and "Anchorman."
-Yeah. Bang, bang, bang.

-Yeah.
-It kind of lined up.

With the world of success
from the show

versus the world of success,
like, with the movies after,

there's a significant change,
of course, in attention.

How did you handle that?

'Cause you're not a guy
that loves the world

of, "pop, pop, pop," paparazzi,

all this shit.
How did you handle --

-Unlike you. You love it.
-Well, okay.

What the fuck does that mean?
-You love it.

-What does that mean?
-Oh. Pop, pop, pop.

-What does that mean?
-You love the lights.

-What is that?
What are you saying?

-Yeah.
-What do you mean, "Yeah"?

What is that?

-No, I -- 'cause my hobby,
I'm a paparazzi

when I have downtime.
-Okay.

-And I love following you
around town.

-No, you don't.
You don't follow me around.

-You always give us great shots.
-No, Will.

-Thank you. From the paparazzi
community, thank you.

-You don't -- You're not
a fucking paparazzi, so stop it.

-Alright. Maybe one day,
they'll let me in.

I don't know.
-How did you handle it?

-I didn't really...

There was -- I do remember
walking around New York...

...after the opening weekend
of "Elf,"

and that was the real first time

where my wife and I
are walking around,

and people are
following us around.

And that was kind of

a little exciting,
in a weird way,

and a little alarming.

We were like,
"Why is this guy walking --

Someone's on the other side
of the sidewalk,

walking the same speed as I am."

-Yeah.
-"That's a weird feeling.

What are they doing?"

And then, "Why is he dressed
in all black?"

And then, "Why is he
holding a big camera?"

-What's he doing? Why are they
taking pictures of me?

-"Who's he photographing?
Oh! Me."

-You've never really bought into
the idea of the fame, though.

That's not you.

You love the job.
You do the job.

But you never bought into,

"I'm famous, I'm Will Ferrell,
and here I am."

Like, that's not
your cup of tea.

-Yeah.
-And you're very frugal.

You're a cheap ass.

You're a fucking cheap ass.

You don't spend
any of your money.

How much do you have saved? Huh?

How much do you
fucking have saved?

Jesus Christ. I've never
seen anybody save more of it

in my Goddamn life.

Nothing.
You don't spend a fucking dime.

-Have you looked into
my financial statements?

-I know you don't spend
fucking money. You don't care.

You still got your BlackBerry?

-I wish. It crumbled.

-You had it for a long time.
-Crumbled to dust.

That BlackBerry, though. Ahh.
Don't you miss it?

-No!
-The textured keyboard?

[ Sighs ]
Just the sensation

of that "clack, clack, clack,
clack, clack, clack"?

Ah. "Brick Breaker"?

Relax with a little
"Brick Breaker"?

Yeah.

-Why -- Why have you not truly
bought into the higher side?

What keeps you grounded?

What keeps you
in the humble thinking space?

-Because I grew up

a little bit around it,
enough to see --

You know, like I was saying,
my dad was a working musician.

And he lived hand to mouth,
you know?

There'd be -- He'd be playing
gigs for six months

at the, you know, Italian
restaurant down the street.

And then, he'd come home
and be like,

"Well, got to find
a new place to play."

And I'm like, "What happened?"

Like, "Nothing happened.
They love me.

They said they're just
going into a new direction."

So he had to find a new place,
new, you know --

I just was like, "This is --
Boy, this is tough."

And I would go
and listen to him play,

and I thought, "I don't get it.
He sounds --

He's as good a musician
as anyone I've ever heard.

But why isn't, you know,
the Hollywood thing of someone

walking into a restaurant
and discovering someone

and, like, signing you
to a record contract?"

-Mm-hmm.
-"Oh, that doesn't exist."

And so, I just always had that
in the back of my mind,

that it's, you know --

I've just never taken
any of it for granted, ever.

-Yeah. Talking comedy?
Oh, it doesn't get better.

But we do have to pay bills.

We got more "Hart to Heart"
coming up after this.

**

**

-Welcome back.
This is "Hart to Heart,"

and I still am talking
to Will Ferrell.

Will, you got
a lot of kids, right?

-How many?
-Lot of kids.

-You got like four kids, right?
-I got a lot.

-How many you have?

Four. Four.

No, you don't have that many.
-No, I have three.

-Three, three kids.
-Three kids.

-Active.

-Active.
-Hey.

-Active. One's out, though.

-What's that mean?
-Out -- At college.

-Oh, okay. Jesus. What do you --

-One just got kicked out.
-What'd he do?

-At a certain point, you decide.

-Your relationship
with your kids

and your kids' relationship
with you,

especially in regards
to what you do for a living,

have they found a nice balance?

-Yeah, but it's similar.

They're -- They --

We don't talk about
what I do so much.

-Mm-hmm.

-To the point where I'm like,

"God, do they even
like what I do?

Do they even think I'm funny?"

But I think they secretly
are very proud and --

-Absolutely.
-Yeah, and like that stuff.

But we've never made it a point

to make what I do
such a big deal.

-Yeah.

-And, yeah,
I just try to be Dad,

try to listen to them,
try to offer advice, all that.

-It's not try.
I mean, you actually do do it.

-No, I have to try.
-Well, you're not trying, Will.

You do a good job of it.
You're a good dad.

Like, I think -- No, don't do --
No, that's not -- Don't do that.

That's not --
You have nothing -- No.

-I just want to say --
-No, Will.

You don't have to do that.
-Here's to me.

-No, cheers to you
being a good dad.

-How many barrels of wine
are in this place?

-Okay. Don't do that.
Will, it's a lot.

-Just goes back there forever.
-Yeah, we're gonna go --

We're gonna get into
some of them, okay?

-Is it haunted?
-No. It's not haunted.

Let's just finish
the conversation, right?

No need to even
address the barrels.

I want to know this from you.

Doing a lot of movies,
of course,

you have to have your favorite.
Right?

-Yeah.
-Who's the favorite person,

I guess you could say,
that you've been able

to attach yourself to in comedy,
you've shared the screen with?

Who's your favorite?

You can leave me out of it.
I don't want the pressure

of you feeling like you've got
to say me 'cause I'm here.

I already know where you put me,
so let's not even do that.

-Oh, good.
-Alright?

-'Cause you're number 15.

You're probably the 15th
best person I've worked with.

And that's high,
'cause I've done a ton.

-Yeah. I'll take it.

I'm saying --
-You're top 15.

-But that's what I'm saying. You
didn't have to say it at all.

-I mean, obviously, created
a bond with John C. Reilly.

-Mm-hmm.
-Super fun, great guy.

-So, why can't you
just say John C. Reilly?

-I did, didn't I?
-No, you said,

"Obviously, I created a bond,"

but you didn't say,
"John C. Reilly is my favorite."

-I don't know if I --
I mean, yes. Okay.

-You're stuttering.
It's a simple question, Will.

-John C. Reilly.
-Okay.

-But I've enjoyed --
-So, you think

John C. Reilly's better than me?
-Oh, man.

-I'm not putting you
on the spot.

By the way, I don't even care.
-This was a trap.

-I don't even care.
I don't want you to think

that I'm even into this
'cause I'm not.

But if I was, you think
he's better to work with?

If so, why?
-You told me it didn't matter.

-It doesn't. Forget it.
Throw it out the window.

Throw it out the window.
Close it.

Throw it out the window
and close the window.

-I'm not saying
he's better than you.

-Yeah. And by the way,
if he was, that's fine.

-Okay. No, I'm not saying that.

-Yeah. It's fine.

-'Cause we all have
our distinct --

-Exactly.
-...abilities, what we do better

than other people,
this, that, and the other.

-Is that why you've never done
another movie with me?

Huh.
-Yes.

-Wow.
-That is it.

[ Both laugh ]

That's totally it.

-No, you and John C. Reilly
are something different.

It's a comedy duo that --

The thing that --
The action that's happening,

especially in regards to comedy,
is obviously not written.

But the comfort that you guys
have in one another

and the trust that you guys
have in one another

and the ability to, like,
exchange the levels, right?

When I look at you guys
in "Step Brothers,"

and I look at you guys
in "Talladega Nights,"

I'm looking at two
different performances,

but I'm also looking at
a changing of the guard

in both situations.
-Yeah.

-And there's scenes
where you guys are clearly

giving the other the world of.
-Yeah. For sure.

And that kind of common goal
of, you know,

just playing it through
the character, as opposed to --

Yeah, not keeping track
of who's gonna --

-Do what.
-...end up funnier.

-Yeah. You don't care enough.
-You don't care.

Just serving the story.

But I was also gonna say

what's really been enjoyable

has been working
with non-comedic actors

who find a way --

So, like, if we're gonna use
"Step Brothers" as an example,

Richard Jenkins.
-Oh, my God.

-Casting someone like
Richard Jenkins

and getting this amazing
comedic performance out of him.

-Grounded comedic performance.
-Exactly.

-Grounded.
-That's like --

-It balances out
for what you're doing.

That's the beauty
to what you do well.

That's the thing that
I learned from working with you.

It wasn't about the joke.

The jokes were clearly there,

but you chose
the performance of low

that got the reaction of high,
which is kind of genius.

It's kind of fucking genius.

-But when are we gonna do
another thing together?

-I'll be honest, Will. I don't
want to work with you again.

-Oh.
-Yeah.

I don't really know.

I don't have an excuse, either.
I just kind of don't.

You know how you
make your mind up?

-So I'm like --
-Yeah, I'm done.

-Okay.
-Yeah. But this is cool.

So, what I really want
to get into is just --

-Do I have to sit through this?

Do I have to continue
to sit here? Ben?

-Man, I would --
-But, like, there's no chance?

-No. What are you talking about?
Absolutely.

-But I feel like --
-Abso-fucking-lutely.

-I feel like I've been like,
"Hey, Kevin. Remember me?"

And you've been like,
"Bang, bang, bang, bang."

-Doing stuff.
-Boom, boom, boom.

-Yeah.
-Body blow, body blow.

-Yeah.
-Yeah.

-Yeah.
-Right?

-Kind of.
-Okay.

-Yeah.
But we'll figure it out, man.

-Okay. Alright.

-I've been --
-Butch and Sundance.

-Yeah. Come on, man.
-Yeah.

-You already know.
-Back together again.

-If I got to tell you,
then you ain't listening.

-Okay.
-Come on, now.

-I want that on a T-shirt.

"If I got to tell you again...

you ain't listening."
-"You ain't listening." Right.

-On the back.
-Right there.

-That means it's on the back.
-Right there.

-Yep.
-I could say this, too.

This is gonna make you laugh.
-But we had a great time.

-We had a fucking
fantastic time.

You're in a bit every day.

-Remember you and the boys
pulling up in the park?

-Yes. Rap music.
-Rap music.

-Rap music blasting.
-Blasting.

Entire crew of people

going, "What's going on?"

I knew it was you guys.

And you get out of the truck,
and you're like...

-[ Laughs ]

-And I think I'm in
the middle of a take,

and I just turn and I'm like...
-Yeah. Yeah. Yeah.

-Right back at you.
-We were in sync.

-Don't say anything
for 30 seconds.

-We were in sync.
-Just point at each other.

-Hip-hop. What's going on, baby?

That's how I show up to set.

-The director's like,
"Um, can we get back..."

-We set the tone, baby.

-Set the tone.
-Set the tone.

That's how every day of work
started, too,

with a nice piece of tone
that was set.

Yeah, well, you know what? We're
gonna take a break after that.

I am your favorite.

Guys, we're gonna go
take a break.

We got more "Hart to Heart"
coming up after this.

**

**

-And we're back.
This is still "Hart to Heart,"

and I'm Kevin Hart,
and I'm with Will Ferrell.

Will, man,
such an amazing journey.

What does Will Ferrell
want to be known as,

when it's all said and done?

-Definitely someone who

wasn't afraid to take chances,

always was -- continued to --

whether the choices worked
or not, made surprising choices.

-Mm-hmm.

-Also was -- treated everyone
fairly and with respect.

-Respect, I think that's
the biggest thing about you,

that's attached to your name.
-Yeah.

-That follows you,
that's the most impressive.

-But I think that's the least
you can do in this business

'cause it's such a hard --

We've all dreamed of doing
what we're doing,

and to not, you know,
walk up to people

and shake people on the hand
and go, "Hey, how you doing?"

-Yeah, but I've said it a lot.

Like, I feel like
you've got them all fooled.

You've got them all
where you want them, right?

'Cause I know the truth.
You're --

-You know the truth.
-You're a dick.

But --
-D-I-C-K.

-Yeah. But to them,
to them, right?

No, I'll cut this part out.
They won't see this part.

-No one's gonna
watch this anyway.

-Wait a second. That's not --
-Wait. Huh?

-No, Will.
-Did I say that?

-That's not -- This is a --
[ Laughter ]

No. No, no, no. That's not --

Don't --
-These seven people.

They're enjoying themselves.
-No. That has nothing to do

with the fans
that watch the show.

-These are the fans.
-No, that's our live audience.

-Oh.
-Okay?

We keep it intimate
in my wine cellar

because we have to keep it --
-It's a very selective group.

-We have to keep the temperature
at a certain level in here.

So, everybody knows that
that drinks wine.

So, there you have it.

Two more. Okay? Two more.

And these are important ones.
-I just saw the wide shot.

You're right.
My body is growing.

-[ Snickering ]

-[ Exhales deeply ]

-No. No. No, you look great.

-Okay.
-No, you don't have to do that.

Two more.

What else does Will Ferrell
want to do in the business?

-I would like to return
to the stage

in some way, shape, or form.

-Wow.
-And I don't know if that's,

like, do I try to write a play?

Do I try to, you know, like --

-One-man show?

-Like, you know what would be --

-The one you did
was fucking amazing.

-This would take a lot of work,
but it would be, like,

really fun to grab,
like, you and myself

and a bunch of really
well-known comedians

and do, like, "A Midsummer --"

like, do Shakespeare
in the Park.

-That's what -- Listen.
-You know what I mean?

Like, something like that...

-It's different.
-...that would just have people

going, "What is going on?"
-It's different. It's unique.

But, by the way, that's
the outside-the-box thinking

that that's the reason why
Will Ferrell is Will Ferrell.

-I still think
along those lines.

Yeah.
-I mean, I've never --

I forgot who I was talking about
that wrote a play, too.

And, you know,
the schedule was so crazy.

So, I'm like, yeah.
I've never done it.

I don't know if I could.
Like, that's a lot.

-It's a lot.
-It's a lot. It's intense.

It is what it is,
but it's a different ballpark.

In the world of a play,
you can do, and business aside,

it's a limited four-day run
of some unique shit

that people are never
going to see.

And you tape one,
and then it's available

for people to see,
blah, blah, blah.

That's different.
That's different. It's unique.

That schedule of --
-But here's where I'm a weirdo

is I've heard that --

'cause I've asked
that same question.

'Cause the George Bush show
we did was a limited run.

It was only 64 shows,

but still, it was 64 --
-That's a lot.

-It was a lot.
But that's considered

a really short amount of time.

And so, I was asking people
who've done Broadway a bunch,

I've asked, like,
"What's the allure,

when you have to do it
six months?"

And they've all said,
to a person, that what happens

is you get through
the honeymoon period.

Then you get into this
kind of bit of a doldrums

where you're like, "Oh, boy.
How many more shows do I have?"

And then, you come out
the other end,

and you've done it
so many times

that you start
to discover new moves

and new ways
of delivering the line

and surprising
each other onstage

that it actually becomes
almost like a new experience

for the last chunk of the show.

So, even though
that sounds bizarre --

-It doesn't.
-...I would like to experience

what that extra freedom is like,

after you've done it
so many times

that you're not
even thinking about it.

-You do understand

that you can do, like,
whatever the fuck you want?

-Yeah, I know.
-You do know that, right?

-I think I could --
-It's not think.

Like, you do understand --

-That I could go do a show?
-Like, if you said, "Guys,

I want to do --"
-But --

"I want to go on Broadway" --

-Someone would go --
-"Alright."

-"Well, maybe this will lead
to me getting hired."

-Yeah.

-No, I know that.
But you got to find --

I wouldn't want to just
do the standard thing.

-No, you got to crack
the code on the thing.

-You got to crack the code
with what it is.

And is it an original piece?

I don't know.
-Absolutely.

I would love to see
Will Ferrell's school of improv.

I would love to see Will Ferrell
in a improv-like class,

teaching what he feels
are the anecdotes

to the next tiers
of success in improv.

Everybody wants to do improv
at your level.

Everybody wants to be deadpan.

Everybody wants to hold
the laugh.

Everybody wants to be able to be
in character, switch in and out.

Everybody wants to.

I would love to see

Will Ferrell's
master class or class of.

By the way...
-I don't know if I could --

-...the most ridiculous
fucking thing ever you could do,

but the funniness is in whatever
you would create it to be.

And it's just different.
Like, when I think of you,

I just think of
outside-the-box shit

that no one else
can touch or do.

And it's only a couple,

it's only a couple
that have touched that tier.

And for the space
that you play in,

you play in it,
like, by yourself.

I remember, Eddie had a box

that he could only play in
by his self.

-Sure.
-Right?

-Jim Carrey developed this thing
that he could only be in

by his self.
-Yeah, yeah. Yeah, for sure.

-Nobody else could be
in that thing.

-Yeah.
-You got a thing

that you are only in
by yourself, right?

Robin Williams
had, like, a thing

that was, like, by himself.
-Mm-hmm.

-There's not many that do it.

So, you know,
for that world of greats

and the world of greats that,
of course, we're talking about

that do the thing
that you've done,

dude, I just hope
that you really understand --

-Thanks, man.
-...where you stand at it.

And my respect level for you,
of course, is one thing,

but my admiration
and appreciation

just for what you've done
in the business

and just for what
you've done with me --

Like, that experience
where we worked together?

I learned so fucking much.

-Yeah.
-Like, I was young.

That's a young me
at a young point in my career,

where it was starting to rise,
and it was happening fast.

So, my attachment
to those that have been there,

that have seen it,

that have weathered
all types of storms

and know how to truly do
a project from start to finish

and be professional and make
everybody feel good about it --

you are one of
the best examples.

-Thank you. Yeah.

-You were nothing short of nice

and dope from the standpoint

of making me feel like
I was a co-star.

So, I hope
we do work again, Will,

'cause I don't know
how much time you got left.

-What?
-And, you know, I would love --

-I'm not that old.
-...for us to fucking

do something
before it's too late, man.

-I'm here. Yeah.

-For now.
That's what I'm saying.

-It's not --

-That's what I'm saying.
We got to get it done.

Alright?
-Let's hurry up and do it,

then, I guess.
-We have to.

-Is there something you know
about me that I don't know?

Like, medical health history?

What? Or something?
-See? I can't stay in it.

See? See? That was my attempt
to stay in it.

No, you're absolutely right.

We should do it
sooner than later.

-I do want
to fly out on a wire...

...and introduce
one of your concerts.

-What? No.
-Yeah.

-No. What are you talking about?
-With a rock guitar?

-No. That's not even --
That doesn't make sense.

-"You guys ready
for Kevin Hart?"

-Okay.
-[ Imitating electric guitar ]

Okay. Okay.
-"Ladies and gentlemen,

put your hands together."

[ Whooshing ]
Can you imagine it?

I'm flying out over the crowd.

-Yeah, I know
what you're saying.

-"Kevin Hart!"
[ Imitating electric guitar ]

-And then you fly back.
-And then I fly back.

-Nice.

Guys, listen, we are having fun,

and of course,
all good things come to an end,

but not yet. So do me a favor
and stick around.

We got more "Hart to Heart"
after this.

**

**

-Welcome back.
This is "Hart to Heart,"

and I still am
talking to Will Ferrell.

Will, Staples Center,
you was the security guard.

-Yes.

-Just why?

Why? How?
-That --

You just coming out
at the Lakers game,

dressed up
as the on-court security.

-That was -- A Staples Center
security guard outfit

was given to me as a gift.

How they were able to get it,
I have no idea.

But it was Adam McKay
and Chris Henchy.

Henchy gave me this full --

And -- 'Cause they know
I like weird costumes.

And I open the present.

I'm like, "Wow.

Oh, man. I don't know what" --

They thought I was mad.
They're like, "Are you okay?"

And I was like,
"No, this is great.

I just realized I have to wear
it at a Laker game, though."

-Oh, my God.
So, it wasn't even planned?

You just did it?
-No. And so,

it took me like
almost the whole season

for me to get up the guts to --
And I was like,

"How do I bring it?
I don't want to get kicked out,

but I don't want to tell
the Lakers that I'm doing it

because it's not" --

-It's not the same.
-It's not the same.

-It's not the same. The bit --
-So, I bundled up the coat,

and I went through
with my ticket.

I wore the pants. I had the tie.

And I was sitting there.

I was like, "Okay.
It's go time."

I popped the tie on
and put my jacket on.

-And you just stood there.
-And just stood there,

out there, with the guy --
At first, I was on the court,

and the guy was like,
"You can't be on the court."

I'm like, "Okay.
Can I just stand here?"

He goes, "Yeah.
You can stand there."

I just stood there
and just stared the crowd down.

-For everybody watching this
right now,

if you are not familiar
with what I'm talking about --

-If you go on YouTube, I think
you can find clips of it.

-Google "Will Ferrell" --
-"As a Staples security guard."

-"Staples Center
security guard."

And he's just standing there
in the full security outfit,

and he's not moving.

And you see players, like,

dribbling the basketball
behind him.

-And you see Kobe --
They're in a time-out,

and Kobe's like, "What?

What is he doing?"

-[ Laughing ]

-Because, at first,
they didn't --

But the whole section
starts taking photos of me.

-Yes.
-And they stand up.

So, they're reacting to that,
and they're like,

"What are they looking at?"
And they see me dressed --

-And then they put you
on the big screen.

-So, I'm thinking

that I'm gonna get tackled
or I'm gonna --

And then, the time-out's done,
and I just sit back down.

-You just sit back down.

-And I was with Henchy,
and we were like, "Wow.

Okay. Nothing happened."

-One of the best
impromptu bits.

-And then I find out that --
The security guys are like,

"Hey, hey, man.
We appreciate the shout-out."

-[ Laughing ]

-"Hey, it means a lot.
Thank you."

-And you had to act like
that's what it was.

-And I was like --
-Yeah, no, guys, seriously.

-"No, I love what you guys do."
-"Listen, got to hold you down."

-Keep people in their seats.
-Somebody's got to.

-"I love it."

And then, the best part was
I get a tap on the shoulder.

So, then, we're sitting,
and we still have like

a whole 'nother quarter left,
like, "What do we do?

Do I stand up again?
Like, what --

Do I just --" I'm in
my security guard outfit.

And the guy taps me
on the shoulder.

And -- 'Cause Shaq happened
to be at the game,

so he's sitting baseline,
over in the corner.

And one of his guys is like,

"Shaq thought
that was hilarious.

During the next time-out,

do you want to throw him
out of the game?"

-Holy shit.
-"'Cause he's ready to leave."

And I go, "Oh,
that's genius. Yeah.

Okay. I'll stand up,
and I'll pretend" --

So, the next time, I stood up.

I keep looking over at Shaq.

I keep -- 'cause we're like
30 feet away from each other.

And he's looking.

And I'm like, "Unh-unh.

Please."

And then, he keeps
"getting my attention."

He's not doing anything.

And then, finally,
I'm like, "That's it.

Let's go. Let's go."
-You toss him out of the game.

-And I throw him
out of the game.

And then, Shaq and I
are hugging each other.

He's like -- I'm like,
"That is so funny, that you..."

He was like, "Anytime.
You can throw me out anytime.

That was hilarious."
-This is what makes

Will Ferrell, Will Ferrell.
And this is what I'm talking

about -- your ability
to ground the biggest ideas.

Will, I could talk to you
all Goddamn day, man,

simply because it's you.
-Thanks, buddy.

-What I will leave you with is

just understand you're a legend.

Right?
You don't have to revel in it

because you're still doing
what you do.

But please understand
what you've done

for the business of comedy.

Please understand the revenue
that you've generated

for the studios in comedy.

-Oh, yeah.
-You are a massive --

-The revenues. It's all -- yeah.

-That's it.
It all boils down to that.

I want you to walk away from
today understanding that this --

-I'm thinking about
the revenues.

-Well, don't do that
too long, Will.

This conversation, right here,
is the one...

-I need to audit
some of the revenues.

-...that your fans
are gonna walk away with,

they're gonna walk away
with a better understanding

of who you are. You know why?

'Cause this is "Hart to Heart."

-Whoa!
-Hmm?

Did you see what I did there?
No, don't look in my cam--

-Oh.
-Look in your camera, Will.

This is "Hart to Heart," guys,

and it doesn't get better
than this.

Today, I talked to the legend
himself, Will Ferrell.

Hope you enjoyed it
just as much I did. Goddamn.

Let's get out of here. Huh?
Will, how do I do it?

-Let's get out.
-Huh? How do I do it? Wait.

Come on. Did you see that?
-It was so smooth. I love that.

-I'm gonna walk you back to the
barrels. I'm gonna show you --

-Finally.
-Yeah. Not now. Not now.

Not now. No, not now.
-Let's go back to those barrels.

-We're not gonna go yet.
We're not gonna go yet, Will!

Don't go back there, Will!

[ Laughing ]
Will, don't -- No, don't --

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