Why John Hammond slap peter parker!

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Maron: Right, exactly. Yeah, and I think that it was my improvisational decision, when the two goofy rednecks come back around it was my decision to realize that I knew them since they were kids. I think that gave them a whole different dimension with just a pretty simple exchange. I think that it was kind of childish, and it kept those two from falling into the stereotype.

CS: Absolutely, yeah. And Lynn actually took a bunch of your musical outros from “WTF” and essentially used that as the score. It fits really well because your music already has that delta blues thing happening.

Maron: Yeah.

CS: But did you have any input into what she chose and where she put it? Or were you just like, “Here are the tracks, have at it.”

Maron: Lynn is a big fan and champion of mine, and I think really understands and resonates with most of my output creatively. She had hired somebody else to do the score, but then she realized that my playing would fit the character and the environment. So ultimately what happened was I had hundreds of those types of recording. I had my producer Brendan McDonald just send over a file of 50 or 60 of those. And then pull whatever you want. And then it was sort of a question of whether it fit the score. I did a pretty good job in recording those things, so they’re all as they were. Some of them, like that one that closes the movie, it turned out to be the exactly the right fit. That was a serendipitous thing that worked out with that. And then, the last piece under the credits, Tal Wilkenfeld composed that thing. It’s an original piece of music, but it’s based on that kind of Bo Diddley riff that came through, like John Hammond’s version of “Who Do You Love.” You wanted that bounce to it. But that was my first experience, because I never set out to be a professional musician and I’m happy about that because I can still enjoy it, but being in a studio for 12 hours, working with real pros, it makes you realize like, this is definitely a job and it’s not my job, but I’ll try to pull my own here.
CS: You talk very openly and often about it with guests on your show and onstage. When you do a scene like the one in the truck, where you’re describing this character’s downward spiral, is that triggering at all or is exploring this territory old hat for you at this point?