WEBVTT 1 00:00:01.040 --> 00:00:04.360 It's nice Eyes with Dan Ray. I'm Doug you Eazy 2 00:00:04.759 --> 00:00:05.960 Boston's news Radio. 3 00:00:06.839 --> 00:00:09.160 My whole life has been a quest to understand the 4 00:00:09.199 --> 00:00:15.960 origins of rhythm, the force that connects us all through 5 00:00:16.000 --> 00:00:21.679 time and space. Rhythm is one of the ordering principles 6 00:00:21.679 --> 00:00:28.559 of the universe and one of its greatest mysteries. He 7 00:00:28.640 --> 00:00:37.439 who knows the rhythm. 8 00:00:33.600 --> 00:00:34.439 Knows the world. 9 00:00:34.560 --> 00:00:34.759 Man. 10 00:00:34.799 --> 00:00:37.439 I get chills. I get chills when I hear that 11 00:00:38.000 --> 00:00:40.280 from the moment I heard it when I watched Toury 12 00:00:40.399 --> 00:00:44.119 Champagne's terrific film with Mickey Hart called Rhythm Masters a 13 00:00:44.159 --> 00:00:51.039 Mickey Heart Experience, a documentary showcasing Mickey's philosophy how music 14 00:00:51.079 --> 00:00:54.200 in sports you unite us all and it is a trip. 15 00:00:55.000 --> 00:00:58.960 And I'd like to introduce tour Champagne. He is an 16 00:00:59.000 --> 00:01:02.759 Emmy Award winner. He is one of the big ways 17 00:01:02.759 --> 00:01:07.159 at ESPN. He makes stuff happen. But without question, the 18 00:01:07.200 --> 00:01:10.120 most notable element on his resume is he was a 19 00:01:10.159 --> 00:01:11.400 Gary Tangling intern. 20 00:01:15.159 --> 00:01:18.120 This is true, this is true. 21 00:01:18.840 --> 00:01:21.280 That will be on the gravestone, that will be on 22 00:01:21.319 --> 00:01:23.159 the gravestone, that'll be it our Gary. 23 00:01:24.640 --> 00:01:28.239 I mean Gary, I I you know. My start in 24 00:01:28.640 --> 00:01:32.599 television was just getting you water and keeping you hydrated. 25 00:01:32.840 --> 00:01:35.640 That was that was the goal in the mission. And 26 00:01:35.680 --> 00:01:37.760 I hope I did a good job. I hope you, James. 27 00:01:37.879 --> 00:01:39.359 And now I'm at the stage of my life for 28 00:01:39.480 --> 00:01:41.760 on peeing every twenty minutes. And when you say getting 29 00:01:41.799 --> 00:01:43.680 me when you said getting me hydrated, I thought you 30 00:01:43.680 --> 00:01:45.840 were going to say getting me high, because that was 31 00:01:45.879 --> 00:01:48.640 you know, the Rhythm Masters and The Grateful Death. Okay, 32 00:01:48.640 --> 00:01:50.280 what we want to do here is this is a 33 00:01:50.400 --> 00:01:53.959 terrific film that is on ESPN Plus. Is this on 34 00:01:54.200 --> 00:01:56.519 ESPN as well? I know what premiered on ESPN? Can 35 00:01:56.519 --> 00:01:57.159 we still watch it? 36 00:01:57.200 --> 00:02:00.879 There? Premiered on ESPN, But that was on ESPN Plus, 37 00:02:00.879 --> 00:02:04.079 So it's streaming for anybody that has the ESPN Plus. Yeah. 38 00:02:04.159 --> 00:02:06.599 And Mickey Hart is one of the drummers of The 39 00:02:06.640 --> 00:02:12.199 Grateful Dead and he had this idea about rhythm and sports, 40 00:02:12.199 --> 00:02:14.520 and Tory worked with him on a couple of years. 41 00:02:14.520 --> 00:02:16.479 I mean, this project took a while to come together. 42 00:02:16.560 --> 00:02:19.639 You worked your ass off on this, and it is 43 00:02:19.680 --> 00:02:27.879 a film that involves Joe Montana, Bob Couzy, Mike Piazza, 44 00:02:28.439 --> 00:02:31.520 and just Jack Nicholas. I mean it just it's a 45 00:02:31.560 --> 00:02:35.000 tremendous film, and it just also kind of I think 46 00:02:35.759 --> 00:02:39.080 musicians like Mickey Hart, athletes like Bob Coosey and Jack Nicholas, 47 00:02:39.120 --> 00:02:41.919 they're on a different level than us. So I want 48 00:02:42.000 --> 00:02:44.000 you I want to start at the beginning, when they 49 00:02:44.039 --> 00:02:46.840 first came to an ESPN about this idea where the 50 00:02:46.960 --> 00:02:51.400 drummer of the Grateful Dead wanted to make a documentary 51 00:02:51.439 --> 00:02:55.280 with ESPN. What did you think, you. 52 00:02:55.240 --> 00:02:58.719 Know, when I first heard about it, it actually it 53 00:02:58.759 --> 00:03:01.840 was it was right Tom, who a lot of people 54 00:03:01.879 --> 00:03:04.560 know is a tremendous writer and a New York Times 55 00:03:04.639 --> 00:03:07.439 best selling author. He has a new book coming out 56 00:03:07.479 --> 00:03:10.120 called The Bar and I highly recommend people go check 57 00:03:10.159 --> 00:03:13.759 it out. You know, right Right has a long history 58 00:03:13.800 --> 00:03:16.719 of being a Grateful Dead fan. And he was speaking 59 00:03:16.759 --> 00:03:20.120 with Burke Magnus, who's the president of content, and Burke 60 00:03:20.280 --> 00:03:23.319 worked very closely with Bill Walton and was also a 61 00:03:23.360 --> 00:03:28.080 Grateful Dead fan. And Bill Walton invited Burke to dinner 62 00:03:28.120 --> 00:03:30.680 with Mickey Hart. So they have this dinner and over 63 00:03:30.719 --> 00:03:34.879 the course of dinner three years ago. Now, over the 64 00:03:34.879 --> 00:03:37.960 course of this dinner, they started talking about how rhythm 65 00:03:37.960 --> 00:03:41.639 and sports are connected. And you know, Walton has a thousand, 66 00:03:41.879 --> 00:03:45.080 you know, metaphors for sports and music and how it's 67 00:03:45.120 --> 00:03:48.039 all connected. And over the course of the dinner, Mickey 68 00:03:48.120 --> 00:03:50.639 and Bill kind of said we should make a film 69 00:03:50.680 --> 00:03:54.199 about this. So that kind of made its way back 70 00:03:54.240 --> 00:03:58.719 to me about two years ago, and they had kind 71 00:03:58.719 --> 00:04:00.560 of talked about it, and then they were like, can 72 00:04:00.599 --> 00:04:03.439 you make this a real thing that we can do this? 73 00:04:03.719 --> 00:04:07.000 And so I met with Mickey, I talked to Bill 74 00:04:07.080 --> 00:04:10.919 Walton at the time, and I basically started to develop 75 00:04:10.960 --> 00:04:12.520 an idea of what it could be, and it kind 76 00:04:12.520 --> 00:04:15.240 of presented it to Mickey into you know, the higher 77 00:04:15.319 --> 00:04:19.160 ups at ESPN because you know, my my regular job 78 00:04:19.240 --> 00:04:21.560 is more of a producer and you know, kind of 79 00:04:21.600 --> 00:04:25.279 helping shepherd other series. So I hadn't directed in a while, 80 00:04:26.439 --> 00:04:28.279 and we were just like, let's see if we can 81 00:04:28.279 --> 00:04:30.480 make this work. So flew out to Mickey's house and 82 00:04:31.040 --> 00:04:33.959 I spent a week with him, and we were already 83 00:04:33.959 --> 00:04:36.759 writing music. He was writing music. We were kind of 84 00:04:36.759 --> 00:04:40.279 getting ideas together, looking at footage and kind of really 85 00:04:40.399 --> 00:04:44.079 diving deep together. For you know, twelve hours a day, 86 00:04:44.199 --> 00:04:48.079 we'd be locked in his studio and really kind of 87 00:04:48.240 --> 00:04:52.519 watching everything from Babe Ruth to you know, the seventies 88 00:04:52.680 --> 00:04:55.600 Olympics to kind of get some ideas of like what 89 00:04:55.680 --> 00:04:58.839 are the things that are rhythmic in sports, and then 90 00:04:59.120 --> 00:05:01.120 he started to call up me music and by the 91 00:05:01.120 --> 00:05:02.920 time I left there at the first week, I was like, 92 00:05:02.959 --> 00:05:04.800 I think, I think we can make a film here. 93 00:05:05.439 --> 00:05:08.079 Well, I just love the opening of the film because 94 00:05:08.079 --> 00:05:10.800 there's a Boston Celtic jacket hanging on his chair in 95 00:05:10.839 --> 00:05:14.240 the studio, which, yeah, you know when when you think 96 00:05:14.279 --> 00:05:18.160 of Boston sports and you think of the typical Boston 97 00:05:18.160 --> 00:05:21.439 sports fan, you know, I'll give Sam Adams a plug 98 00:05:22.199 --> 00:05:26.800 in Boston, you know that, dude. Yep, And then you 99 00:05:26.879 --> 00:05:30.639 segue to the drummer of the Grateful Dead. It's an 100 00:05:30.959 --> 00:05:33.240 it's an odd relationship, you know. 101 00:05:33.480 --> 00:05:36.759 Well, well it's it's it's it seems odd if you're 102 00:05:36.800 --> 00:05:38.399 if you're not in that world. And I think what 103 00:05:38.439 --> 00:05:40.759 we tried to do very intentionally with the film was 104 00:05:40.839 --> 00:05:43.480 not alienate the non Grateful Dead fan, but at the 105 00:05:43.480 --> 00:05:48.120 same time place easter eggs throughout the film that really 106 00:05:48.279 --> 00:05:51.839 speak to kind of the lore and cool things that 107 00:05:52.040 --> 00:05:54.040 Grateful Dead fans would be like, oh my god, wow, 108 00:05:54.279 --> 00:05:58.879 so so Garry the jacket that Celtics jacket was the 109 00:05:59.040 --> 00:06:02.079 jacket that I don't know if everybody remembers the famous 110 00:06:02.160 --> 00:06:05.279 Touch of Gray music video from like nineteen eighty five, 111 00:06:05.399 --> 00:06:08.160 nineteen eighty six when the Dead kind of researched and 112 00:06:08.199 --> 00:06:10.680 they had this famous music video where they were all skeletons, 113 00:06:11.160 --> 00:06:15.639 you know, playing instruments. That jacket is the actual jacket 114 00:06:15.720 --> 00:06:18.040 that Mick Elton was. 115 00:06:18.000 --> 00:06:20.040 Wearing in that music video. 116 00:06:20.240 --> 00:06:22.959 And he was a Celtics fan because as you know, 117 00:06:23.000 --> 00:06:26.160 for those that see the film or people know, you know, 118 00:06:26.199 --> 00:06:29.120 Bob Coosey was his hero growing up, so he always 119 00:06:29.160 --> 00:06:31.319 loved the Celtics, and then when he became friends with 120 00:06:31.360 --> 00:06:34.279 Bill Walton, he obviously you know, had that connection with 121 00:06:34.319 --> 00:06:37.319 the Celtics there. So this is this kind of secret 122 00:06:37.680 --> 00:06:41.360 connection to the Boston Celtics that has existed for Mickey 123 00:06:41.959 --> 00:06:44.040 his whole life. And for me, you know, that was 124 00:06:44.040 --> 00:06:45.480 one of the things that we clicked on right away 125 00:06:45.519 --> 00:06:48.199 because I had worked on the eighty six Celtics doc 126 00:06:48.560 --> 00:06:50.920 back when I worked in Boston at NBC Sports and 127 00:06:51.879 --> 00:06:53.800 you know, and I had a long tenure of working 128 00:06:53.800 --> 00:06:57.399 with the Celtics so on different projects. So it was 129 00:06:57.519 --> 00:06:59.759 it was it was cool for me that him and 130 00:06:59.800 --> 00:07:02.519 I kind of connected right away, and that was one 131 00:07:02.519 --> 00:07:05.240 of the big things about him talking about Bob Coozy 132 00:07:05.439 --> 00:07:08.600 was you know, this was this guy that he watched 133 00:07:08.600 --> 00:07:11.120 in black and white that was like he saw even 134 00:07:11.160 --> 00:07:12.519 back then, he saw him as. 135 00:07:12.480 --> 00:07:13.240 Kind of an artist. 136 00:07:13.399 --> 00:07:15.639 So one of the people we definitely went to and 137 00:07:15.759 --> 00:07:18.560 I drove out to Bob's house and asked him to 138 00:07:18.560 --> 00:07:20.800 be in the film, and he was great and he 139 00:07:20.920 --> 00:07:23.040 ended up, you know, talking to Mickey and being part. 140 00:07:22.920 --> 00:07:23.360 Of the film. 141 00:07:23.399 --> 00:07:25.319 So if he got to meet his hero in the process, 142 00:07:25.399 --> 00:07:26.240 which is very cool. 143 00:07:26.519 --> 00:07:28.480 If you pop a couple of gummies and you watch 144 00:07:28.560 --> 00:07:30.959 this film, that is really Bob Coosey in a Grateful 145 00:07:31.000 --> 00:07:32.879 Dead movie. We just wanted to be ready to know 146 00:07:33.000 --> 00:07:37.839 that it really is. It's just it's it's a terrific 147 00:07:37.839 --> 00:07:39.720 film and you need to watch it. If you're listening 148 00:07:39.720 --> 00:07:43.160 to us right now, you're probably thinking what and we're 149 00:07:43.160 --> 00:07:44.920 going to break it down for you, But once you 150 00:07:45.079 --> 00:07:49.399 watch it, you get it. And Tory did a great 151 00:07:49.439 --> 00:07:51.279 job with it. So we have a lot to break down. 152 00:07:51.319 --> 00:07:53.160 We want to talk about some of the guests. We're 153 00:07:53.160 --> 00:07:56.000 going to ask about, Oh, what it's like to live 154 00:07:58.240 --> 00:08:01.680 with a member of the Grateful Dead out there in 155 00:08:02.040 --> 00:08:04.120 the in the woods, which he did for a long while, 156 00:08:04.199 --> 00:08:05.759 and that's coming up next to WBZ. 157 00:08:06.639 --> 00:08:09.839 Now back to Dan Ray live from the Window World 158 00:08:09.920 --> 00:08:13.079 Nightside Studios on WBZ News Radio. 159 00:08:13.560 --> 00:08:14.879 This is what I was born to do. 160 00:08:18.279 --> 00:08:20.639 My whole life has been a quest to understand the 161 00:08:20.680 --> 00:08:24.800 origins of rhythm. The creation of the universe gave birth 162 00:08:24.839 --> 00:08:28.680 to these elements that only rhythm masters know how to harness, 163 00:08:29.560 --> 00:08:31.079 playing sports homes. 164 00:08:30.759 --> 00:08:33.960 That rhyver, and that is the man, that is the 165 00:08:34.039 --> 00:08:37.559 rhythm master. Mickey Hart and joining us is the director 166 00:08:37.559 --> 00:08:40.399 of the film Rhythm Masters and Mickey Hart Experience, a 167 00:08:40.519 --> 00:08:43.720 documentary you can watch on ESPN Plus, directed by my 168 00:08:43.720 --> 00:08:48.200 guest story Champagne. Boston. Guys doing great things at ESPN. So, 169 00:08:48.519 --> 00:08:52.440 how many days did you actually stay out there in 170 00:08:52.799 --> 00:08:57.840 on Mickey's plantation or ranch, if you will just tell 171 00:08:57.919 --> 00:08:59.120 us about that experience. 172 00:09:00.360 --> 00:09:03.720 Yeah, I mean, so, you know, very early on, from 173 00:09:03.759 --> 00:09:06.399 a couple of conversations, you know, he was, you know, 174 00:09:06.559 --> 00:09:09.039 very much like a musician, like, hey, we need to jam, 175 00:09:09.240 --> 00:09:11.320 we need to jam on This was like his whole thing. 176 00:09:11.480 --> 00:09:14.360 So you know, over the course. 177 00:09:14.039 --> 00:09:15.759 Of I think, you know, in the course of a 178 00:09:15.840 --> 00:09:18.360 year of actual like filming, and then I think the 179 00:09:18.399 --> 00:09:22.159 thing to just always note is that it's not just 180 00:09:22.200 --> 00:09:27.080 a film that features Mickey's philosophies and the connection between 181 00:09:27.120 --> 00:09:30.720 rhythm and sports and the athletes talking. The score of 182 00:09:30.759 --> 00:09:34.200 the film is all original music that Mickey composed and 183 00:09:34.240 --> 00:09:37.039 wrote for the film. So there was a lot of 184 00:09:37.080 --> 00:09:40.279 work being done and there was a lot of you know, 185 00:09:40.320 --> 00:09:42.200 I was kind of honored that he kind of trusted 186 00:09:42.320 --> 00:09:45.279 me through that process to kind of you know, he's 187 00:09:45.399 --> 00:09:47.159 Mickey Hart from The Grateful Dead, He's had a sixty 188 00:09:47.200 --> 00:09:48.600 year career, He's in the. 189 00:09:48.320 --> 00:09:48.840 Hall of Fame. 190 00:09:48.919 --> 00:09:50.480 He's in the Rock and Hall Rock and Roll Hall 191 00:09:50.519 --> 00:09:53.440 of Fame three times, I think, So, you know, it 192 00:09:53.480 --> 00:09:55.639 was a process. So you know, I think I spent 193 00:09:56.240 --> 00:09:59.799 anywhere from twenty to twenty five days living with him 194 00:10:00.120 --> 00:10:02.720 over the course of like a year, and we would 195 00:10:02.799 --> 00:10:04.600 kind of go for you know, three four days or 196 00:10:04.600 --> 00:10:09.799 five days at a time where and spend a lot 197 00:10:09.840 --> 00:10:13.360 of time on the score and interviewing the athletes. So 198 00:10:14.039 --> 00:10:18.440 it was this long process of spending a lot of 199 00:10:18.440 --> 00:10:21.879 time together. Like we would get started at around nine am. 200 00:10:22.039 --> 00:10:24.120 We'd come in the studio, we'd have coffee, we'd kind 201 00:10:24.120 --> 00:10:25.679 of talk about what we're going to do for the day. 202 00:10:26.240 --> 00:10:29.679 And the thing that was tricky was he was preparing 203 00:10:29.799 --> 00:10:31.759 at the time. People didn't know that The Grateful Dead 204 00:10:31.799 --> 00:10:34.399 was going to go play at the Spear, So while 205 00:10:34.440 --> 00:10:36.480 he was doing the film with us, he was also 206 00:10:36.600 --> 00:10:40.360 preparing to go play the Spear, So that required a 207 00:10:40.399 --> 00:10:42.840 lot of his attention. So there'd be times where he'd 208 00:10:42.879 --> 00:10:44.720 break away to go work on you know, take some 209 00:10:44.759 --> 00:10:47.759 calls about that, and come back. But it was this 210 00:10:47.799 --> 00:10:51.799 really intense process of you know, literally sitting in the 211 00:10:51.840 --> 00:10:56.759 control room of his studio and figuring out which pieces 212 00:10:56.799 --> 00:11:00.480 of music would flow together, kind of getting a rough idea, uh, 213 00:11:00.519 --> 00:11:03.799 putting it to picture, then figuring out which athlete we 214 00:11:03.840 --> 00:11:06.919 wanted to talk to. Uh. So, for instance, like with 215 00:11:07.000 --> 00:11:10.559 Joe Montana, that that piece of music came together very 216 00:11:10.639 --> 00:11:14.080 quickly and we really felt felt like that speaks to 217 00:11:14.799 --> 00:11:17.279 the idea of what we think Joe will talk about, 218 00:11:18.440 --> 00:11:21.840 which was timing and how a quarterback can get in 219 00:11:21.919 --> 00:11:24.320 rhythm and the steps that it takes, you know, with 220 00:11:24.559 --> 00:11:27.320 the three five seven step drop and that rhythm that 221 00:11:27.320 --> 00:11:29.440 you have to be in with another receiver, and how 222 00:11:29.480 --> 00:11:32.840 that's very similar to two drummers trying to sync up 223 00:11:32.840 --> 00:11:36.200 in rhythm like The Grateful Dead. So we were layering 224 00:11:36.320 --> 00:11:38.759 things in the studio. He was really putting his touch 225 00:11:38.840 --> 00:11:41.720 to it, and uh, yeah, it was. We spent a 226 00:11:41.759 --> 00:11:43.840 lot of time together. We eat meals together at night, 227 00:11:43.879 --> 00:11:46.519 we have dinner together every night, and I heard a 228 00:11:46.600 --> 00:11:48.919 lot of great stories and we got a lot of 229 00:11:48.919 --> 00:11:49.440 work done. 230 00:11:49.279 --> 00:11:52.399 Together, and probably stories that you cannot repeat on the air. 231 00:11:53.360 --> 00:11:56.879 But you mentioned Joe Montana and also I don't know 232 00:11:56.879 --> 00:11:58.919 if Francis sport copo stuff, but because I think he's 233 00:11:58.960 --> 00:12:00.879 like down the road and as you mentioned, and you 234 00:12:00.960 --> 00:12:04.159 reminded me that he also this is a guy that 235 00:12:04.240 --> 00:12:05.120 scored Apocalypse. 236 00:12:05.159 --> 00:12:11.039 Now, yeah, I mean, there's nothing more humbling as a director. 237 00:12:11.159 --> 00:12:14.120 And you know, I had a music career before I 238 00:12:14.159 --> 00:12:15.559 got into into you know. 239 00:12:15.519 --> 00:12:16.600 Directing and producing. 240 00:12:16.840 --> 00:12:20.120 There's nothing more humbling than Mickey Hart from The Grateful 241 00:12:20.120 --> 00:12:22.679 Dead turning around and looking at you and going Francis 242 00:12:22.679 --> 00:12:24.440 wouldn't do it that way, you know. 243 00:12:24.639 --> 00:12:29.879 So you know I was I was constantly competing with 244 00:12:29.879 --> 00:12:35.200 with this experience. Yes, yeah, yeah, like the greatest director 245 00:12:35.240 --> 00:12:38.679 of all time has you know, the only there's only 246 00:12:38.720 --> 00:12:41.720 been like three people that have ever really produced music 247 00:12:41.759 --> 00:12:43.279 with Mickey, and that's. 248 00:12:43.360 --> 00:12:47.559 Jerry Garcia, Francis Boyd Coppola. He scored The Twilight Zone 249 00:12:47.600 --> 00:12:49.519 for a while when that came around in the eighty 250 00:12:50.159 --> 00:12:53.720 and then Mickey Hart scores himself. So for me to 251 00:12:53.759 --> 00:12:56.240 be in the room with him and try to kind 252 00:12:56.279 --> 00:12:59.000 of impart what I felt directionally we needed to do 253 00:12:59.080 --> 00:13:02.559 to service the film, I was silly, reminded and humbled that, 254 00:13:02.679 --> 00:13:04.559 you know, Francis wouldn't do it that way, which was 255 00:13:05.200 --> 00:13:06.879 which was a way of him, you know, kind of 256 00:13:06.919 --> 00:13:08.840 jabbing me and kind of paying me a compliment. 257 00:13:08.960 --> 00:13:10.240 So it was fun. 258 00:13:10.960 --> 00:13:14.159 When you first mentioned this project to me, I was 259 00:13:14.240 --> 00:13:18.279 a little lost, and I'm not the musician you are 260 00:13:18.360 --> 00:13:21.159 by any stretch of the imagination, and I was thinking, 261 00:13:22.120 --> 00:13:24.279 how is he going to do this? How is this 262 00:13:24.360 --> 00:13:28.080 going to work? Because it's a little abstract and it's 263 00:13:28.080 --> 00:13:30.639 a little out there. But if you watch the film 264 00:13:30.679 --> 00:13:34.279 that you get it. It's even it's gotten. It's received 265 00:13:34.320 --> 00:13:37.639 terrific reviews. I think there was even one review. One 266 00:13:37.679 --> 00:13:39.960 reviewer said, the reason it's so great is because you 267 00:13:40.000 --> 00:13:41.799 do get a little lost, and that's the point of 268 00:13:41.799 --> 00:13:45.039 it all. Where athletes get to such a certain level, 269 00:13:45.519 --> 00:13:48.080 it's just an instinct. It's about the rhythm that takes 270 00:13:48.159 --> 00:13:51.840 over and they just play free, which is the case 271 00:13:51.879 --> 00:13:55.080 with musicians. And you mentioned Joe Montana. I want to 272 00:13:55.080 --> 00:14:00.919 play Joe Montana talking about the rhythm of the quarterback. 273 00:14:01.000 --> 00:14:01.799 Let's run that rock. 274 00:14:02.600 --> 00:14:05.519 The footwork was designed around the timing of the depth 275 00:14:05.519 --> 00:14:09.039 of the routes. When you first start doing it, did 276 00:14:09.080 --> 00:14:23.519 you count your steps? Three step, drop, five step, seventh 277 00:14:23.519 --> 00:14:26.600 step two and a half three seconds and the balls 278 00:14:26.600 --> 00:14:33.480 got it be gone? 279 00:14:35.279 --> 00:14:37.399 So you're watching Mickey and a lot of this was 280 00:14:37.440 --> 00:14:39.879 done over zooming, is the basis of all of it. 281 00:14:40.559 --> 00:14:42.600 Oh sorry, I didn't mean a step on the other Mickey. 282 00:14:42.759 --> 00:14:45.519 A lot of this was done over zoom because it 283 00:14:45.559 --> 00:14:47.440 was convenient that way for Mickey and Mickey's what eighty 284 00:14:47.519 --> 00:14:47.919 years old. 285 00:14:49.320 --> 00:14:52.519 Yeah. It actually we actually toyed with the idea of 286 00:14:52.519 --> 00:14:57.039 getting the musician, getting the athletes on camera, and what 287 00:14:57.080 --> 00:15:03.159 we ended up deciding and realizing was visually, we don't 288 00:15:03.159 --> 00:15:06.279 want to distract. You know, a typical documentary, you know, 289 00:15:06.399 --> 00:15:09.720 it's it's the archival, it's maybe some current footage, and 290 00:15:09.759 --> 00:15:12.320 then you're seeing a sit down interview. What we wanted 291 00:15:12.320 --> 00:15:13.879 it to do is to be more that's what we 292 00:15:13.919 --> 00:15:16.000 called it a Mickey Heart experience. We wanted the film 293 00:15:16.080 --> 00:15:18.639 to be more of an experiential thing where you do 294 00:15:18.759 --> 00:15:21.720 get lost in it and you're just seeing the visuals, 295 00:15:22.200 --> 00:15:27.120 you're hearing from the athlete directly about this topic, which 296 00:15:27.200 --> 00:15:30.240 in Joe's case was about timing and how it correlates 297 00:15:30.279 --> 00:15:35.000 to rhythmic you know, percussion and creating music and being 298 00:15:35.000 --> 00:15:36.679 in the zone and in a flow state and then 299 00:15:36.679 --> 00:15:38.840 trained and all these things and all these philosophies that 300 00:15:38.879 --> 00:15:41.519 making has. But we wanted people to just get lost, 301 00:15:42.320 --> 00:15:46.279 almost like a music video. So we decided to not 302 00:15:46.440 --> 00:15:49.200 break up the visuals so that what you're constantly being 303 00:15:49.200 --> 00:15:53.399 bombarded visually by what the athlete's saying. So that was 304 00:15:53.480 --> 00:15:55.639 that was like a conscious choice to go down that 305 00:15:55.759 --> 00:15:59.159 road and just do it through audio. I've seen other 306 00:15:59.200 --> 00:16:01.679 documentaries where they done it that way, and I just 307 00:16:01.759 --> 00:16:04.120 kind of Actually, Senna was a great documentary where they 308 00:16:04.200 --> 00:16:06.360 just used all archival and it was only the voices 309 00:16:06.440 --> 00:16:09.000 of the people. So there's been there was a little 310 00:16:09.039 --> 00:16:12.559 bit of a nod to that with this to try 311 00:16:12.600 --> 00:16:15.759 to really just make sure the audience was just dialed 312 00:16:15.799 --> 00:16:18.799 into what was being said and what was being presented 313 00:16:19.120 --> 00:16:21.639 visually with the athlete, and you just kind of getting 314 00:16:21.679 --> 00:16:22.440 lost in the music. 315 00:16:22.559 --> 00:16:25.159 Okay, Tory chat Painters, I guess the director of of 316 00:16:25.279 --> 00:16:27.399 the Mickey Hart experience We're the Masters, which is on 317 00:16:27.480 --> 00:16:30.440 the ESPN Plus. But you're a musician. You're also a 318 00:16:30.440 --> 00:16:32.879 sports fan, so you've played a number of instruments. You 319 00:16:32.960 --> 00:16:35.600 played high school football, so you know, one of the 320 00:16:35.600 --> 00:16:37.559 reasons I think you were the guy to do this. 321 00:16:37.679 --> 00:16:39.360 I don't think there was another person that could have 322 00:16:39.399 --> 00:16:42.879 done this film but you. And because of your experience 323 00:16:43.000 --> 00:16:46.039 with athletes in sports and also your music background. I mean, 324 00:16:46.080 --> 00:16:48.960 you toured with Incubiss, you're a real musician, and you've 325 00:16:49.000 --> 00:16:51.799 also worked with Tom Brady, you know, on Brady's Thing, 326 00:16:52.200 --> 00:16:54.720 so you know you've seen both sides of it. So 327 00:16:55.360 --> 00:16:57.720 and don't argue with me, I'm right on this. But 328 00:16:58.039 --> 00:17:01.039 what was it like to see you, Mickey Hart of 329 00:17:01.120 --> 00:17:05.480 The Grateful Dead, connecting with Joe Montana Because you wouldn't 330 00:17:05.519 --> 00:17:07.960 think these two guys would sit down and have lunch together, 331 00:17:08.240 --> 00:17:11.480 but yet when they have this conversation, you're witnessing it 332 00:17:12.200 --> 00:17:15.279 and they're on the same page. Same thing with Marshaan Lynch. 333 00:17:15.480 --> 00:17:18.319 That's another great thing about this. Marshawn Lynch is in this. 334 00:17:18.400 --> 00:17:22.480 He's fantastic, and Mickey Hart and Marshan Lynch are totally 335 00:17:22.480 --> 00:17:23.400 on the same page. 336 00:17:24.359 --> 00:17:28.680 Yeah, I think I'm gonna steal a line from right Thompson. 337 00:17:29.480 --> 00:17:31.640 We went to go interview Marshawn and we asked Marshon 338 00:17:31.720 --> 00:17:33.960 to do it. I think he was one of the first, 339 00:17:34.039 --> 00:17:36.519 like three or four people we interviewed, and we were 340 00:17:36.559 --> 00:17:39.519 really excited that he said yes, and we I think 341 00:17:39.559 --> 00:17:43.200 Wright's line was, this is either gonna be a disaster 342 00:17:43.400 --> 00:17:45.799 or it's gonna be the greatest social experiment of all time. 343 00:17:46.319 --> 00:17:49.279 And really what your point is or where you're going 344 00:17:49.319 --> 00:17:53.240 here is athletes and musicians are the same. They it's 345 00:17:53.440 --> 00:17:57.880 tons of preparation, it's hours upon hours of practice alone, 346 00:17:58.319 --> 00:18:00.279 and then you have to turn it on and go 347 00:18:00.400 --> 00:18:03.759 perform kind of out of body. You're not thinking anymore, 348 00:18:03.799 --> 00:18:07.519 you're just reacting. A musician's doing that, a drummer is 349 00:18:07.599 --> 00:18:10.400 using every limb at the same time. It's a very 350 00:18:10.400 --> 00:18:16.319 physical thing. So the whole element of performance and preparation 351 00:18:16.559 --> 00:18:19.720 and practice and taking care of your body, keeping your 352 00:18:19.759 --> 00:18:22.440 mind right, not getting distracted while you're on stage or 353 00:18:22.480 --> 00:18:25.160 on the field. Those things are all very similar, and 354 00:18:25.160 --> 00:18:27.480 that was kind of the point of the film was 355 00:18:28.720 --> 00:18:31.559 these people are performing at such a high level, and 356 00:18:31.640 --> 00:18:34.480 the greats are so great that it's really hard to 357 00:18:34.599 --> 00:18:37.640 understand because, like you said, you could play high school football, 358 00:18:37.640 --> 00:18:39.759 but you have no idea what it's like to play 359 00:18:39.799 --> 00:18:42.319 in an NFL game. You'll never understand that. It's just 360 00:18:42.359 --> 00:18:44.920 so different, it's just so extreme. The same thing as 361 00:18:44.920 --> 00:18:48.240 a musician. Yes, I've toured, I've been on big stages, 362 00:18:48.559 --> 00:18:50.960 I've been around a lot of really famous musicians, but 363 00:18:51.039 --> 00:18:54.720 I've never been nicky heart in the sphere, and you 364 00:18:54.960 --> 00:18:58.559 have to be a certain caliber of person, and you 365 00:18:58.680 --> 00:19:01.079 have to just have that talent and that innate ability, 366 00:19:01.400 --> 00:19:04.079 and it's really built upon years and years and years 367 00:19:04.079 --> 00:19:07.839 of preparation. So that was kind of the underpinning when 368 00:19:07.880 --> 00:19:12.920 Marshan and Mickey started talking together. It quickly got to 369 00:19:12.920 --> 00:19:15.559 that point, but then it took this next stage, which 370 00:19:15.640 --> 00:19:20.200 is kind of the spiritual level of how people prepare. 371 00:19:19.880 --> 00:19:21.279 Their minds and their soul. 372 00:19:21.279 --> 00:19:24.200 To go either get hit or go out on to 373 00:19:24.279 --> 00:19:26.599 a field and perform in front of eighteen thousand people. 374 00:19:26.640 --> 00:19:28.839 It's just there is a lot of parallels there. 375 00:19:29.240 --> 00:19:30.799 Just I don't want to give away too much of 376 00:19:30.839 --> 00:19:33.400 the documentary, but tell the quick story about Marshaw and 377 00:19:33.400 --> 00:19:35.480 how he prepares before every game. 378 00:19:36.720 --> 00:19:36.960 Yeah. 379 00:19:37.039 --> 00:19:39.160 The thing about marsh On you know, and I think 380 00:19:39.160 --> 00:19:42.920 people have a lot of you know, probably preconceived notion 381 00:19:43.240 --> 00:19:48.799 Sean Marshaan is is an amazing person and he's really thoughtful, 382 00:19:49.119 --> 00:19:51.079 and it came across in his interview. The interview was 383 00:19:51.119 --> 00:19:52.880 supposed to be about thirty minutes and ended up going 384 00:19:52.880 --> 00:19:56.240 for an hour and a half. Wow, And he did. 385 00:19:56.279 --> 00:19:57.279 He shares in the film. 386 00:19:57.480 --> 00:19:59.200 It was one of the one of the first things 387 00:19:59.200 --> 00:20:02.279 where you like, grab onto when we interviewed Marshaw and 388 00:20:02.519 --> 00:20:04.519 Mickey called me right after, He's like, we got to 389 00:20:04.519 --> 00:20:05.799 put that in the film, and he was. 390 00:20:06.079 --> 00:20:07.200 He was so right. 391 00:20:07.559 --> 00:20:12.240 Because Marshaw describes his pregame rituals and how he harnesses 392 00:20:12.279 --> 00:20:14.400 his power and he's careful about his power. 393 00:20:14.440 --> 00:20:16.440 Because his very first NFL game. 394 00:20:16.960 --> 00:20:19.160 When he was with the Bills, he witnessed a teammate 395 00:20:19.200 --> 00:20:21.920 on the opening kickoff get you know, hit so hard 396 00:20:22.000 --> 00:20:24.319 in a weird way that he was paralyzed from the 397 00:20:24.400 --> 00:20:28.400 neck down, and from that moment on, he started to 398 00:20:28.680 --> 00:20:31.119 before games. He never walked on the field. He always 399 00:20:31.319 --> 00:20:35.119 walks around the field, and he's preparing himself mentally to 400 00:20:35.880 --> 00:20:38.759 receive power to be hit, but also to harness his 401 00:20:38.759 --> 00:20:40.839