#2452 - Roger Avary

**Roger Avary** (0:02)
Joe Rogan Podcast, checking in.

**Jamie** (0:03)
The Joe Rogan Experience.

**Roger Avary** (0:06)
Train by day, Joe Rogan Podcast by night, all day.

**SPEAKER_4** (0:12)
Come on, Roger. Yeah, fuck it.

**Roger Avary** (0:16)
Fuck it.

**Jamie** (0:16)
Fuck it.

**SPEAKER_4** (0:17)
Go for it. Fuck it, we'll do it live.

**Jamie** (0:19)
Do it live.

**SPEAKER_4** (0:20)
That's a classic. Yeah, that's a classic look behind the scenes.

**Jamie** (0:25)
Do it live.

**SPEAKER_4** (0:25)
Fucking crazy people telling you the news. Yeah.

**SPEAKER_5** (0:29)
That's good. And the William Shatner one where the studio guy, he says, Shatner is doing some ADR for the cartoon, the Star Trek cartoon. And he says, he uses the word sabotage. And he gets corrected by the studio guy. He's like, Bill, it's pronounced sabotage. Please don't correct me. It disgusts me, it sickening me. And you say sabotage, I say sabotage.
I absolutely love William Shatner.

**SPEAKER_4** (1:09)
My favorite ones are the Orwell, excuse me, fuck, I can't remember his name. Rosebud, Orson Welles, Jesus Christ.

**SPEAKER_5** (1:18)
Orson Welles.

**SPEAKER_4** (1:19)
What happened? You started saying it. I know. What happened? My brain just said, nope, no access. When Orson Welles was doing the Gallo Wine commercials, remember those days? Orson Welles.

**SPEAKER_5** (1:29)
Selling the wine before it's time.

**SPEAKER_8** (1:32)
I know.

**SPEAKER_5** (1:33)
Everything was like an exhaustive sucking of air to come in to speak.

**SPEAKER_4** (1:37)
Then he was making fun of how shitty the wine was in between takes, like he was angry.

**SPEAKER_9** (1:43)
Yeah.

**SPEAKER_5** (1:45)
There is a CD that you can get, I can't remember what it's called, but I have them at home and it's like all these radio things like that, where just when celebrities lose it while doing voiceover and ADR, it's hilarious.

**SPEAKER_8** (1:59)
Orson Welles is a crazy story, right?

**SPEAKER_4** (2:01)
Because when he made that movie, when he made Citizen Kane, which was about William Randolph Hearst. Yeah. William Randolph Hearst essentially shut down one of the most talented guys alive at the time, shut down his career.

**SPEAKER_5** (2:13)
Yeah, because the movie was kind of an insult about, you know, the whole thing about Rosebud is that's the name of his girlfriend's clitoris. Oh, that was his nickname for her clitoris. And so Orson Welles was doing a kind of very, like, like he was jabbing at him in a very low level way.

**Jamie** (2:34)
Like, really? Yeah, Rosebud.

**SPEAKER_4** (2:37)
How did he know that that was the nickname of his girlfriend's clitoris?

**SPEAKER_5** (2:40)
People in Hollywood know these things. Oh, boy. Word gets around.
Word gets around.

**SPEAKER_4** (2:45)
I would keep that one just to her.

**SPEAKER_5** (2:47)
Yeah. Who told?

**SPEAKER_6** (2:49)
Yeah.

**SPEAKER_4** (2:50)
That's crazy. But I mean, if you go back to like War of Worlds and then Citizen Kane, I mean, this guy was a dynamo and then they shut him down.

**SPEAKER_5** (2:58)
Well, yeah. And he was doing things that nobody else would do. It's like he's like, oh, I want the camera down here, like on the phone. But we can't get the camera lens down that low. Like what you're talking about is impossible to do.
And so he would just grab like a pickaxe and just start chopping away at the studio concrete and dig a hole in the ground so you can put the camera down that low. Oh, really? Yeah. He was obsessed with getting a vision on screen that was even today is so advanced. There's a shot in the very beginning when young Cain is like a little kid and he's out there playing with Rosebud. He's out there playing with the sled in the snow and the camera is on him. And then it kind of starts pulling back and it pulls through a window. And then we see his parents and the trust attorney and the camera keeps backing up all the way into the room. Well, to do that in a studio and to have all that snow and everything, you need so much light, but you also need a lot of light inside the because the exposure change. It's like an amazing, incredible dolly shot, a reverse tracking shot. It's fantastic.

**SPEAKER_8** (4:06)
And what year did he do this, too?

**SPEAKER_5** (4:11)
I don't know the exact year.

**SPEAKER_4** (4:12)
Citizen Kane has to be 40s, right?

**SPEAKER_5** (4:14)
Yeah, yeah, probably. It's in the late 40s, I would think.

**SPEAKER_8** (4:20)
Is that when it was, Jamie?

**SPEAKER_5** (4:21)
Yeah.

**SPEAKER_10** (4:22)
Tell us the...

**Jamie** (4:25)
41

**SPEAKER_5** (4:27)
Early 40s.

**Joe Rogan** (4:28)
Wow.

**SPEAKER_5** (4:28)
Yeah.

**Joe Rogan** (4:29)