CHAPTERS
- 0:00 – 1:36
Rogan meets Murray: nerves, first impressions, and the studio’s weird artifacts
Joe opens by thanking Bill Murray, who jokes about not really knowing Rogan or the show. They riff on the studio vibe—fitness culture, wall art, and odd memorabilia—setting a loose, playful tone.
- 1:36 – 8:42
The dog-hair hat and the day Hunter S. Thompson nearly drowned Bill Murray
Murray spots a photo of Hunter wearing a hat Murray gave him—made of dog hair—and tells the story behind it. He then recounts meeting Hunter in Aspen and agreeing to a reckless underwater “escape act” that went sideways.
- 8:42 – 9:31
Fame avoidance, tech minimalism, and Murray’s AOL email
After an ad break, they talk about the rare joy of being unknown in public. Murray describes his intentionally low-tech approach to life and why having kids forced him to adopt a phone and texting.
- 9:31 – 11:42
Comedy with Hunter: ‘Nixon’s back’ and the origin of ‘tanned, rested, and ready’
They revisit a comedic bit Murray did with Hunter where they staged street interviews celebrating Nixon’s “return.” Murray credits writer Dick Blasucci for the line that became a lasting catchphrase and tells how quickly the stunt drew complaints.
- 11:42 – 16:48
Hunter’s political writing and the ‘high-water mark’ passage (with audio excerpt)
Rogan and Murray praise Thompson’s insight—especially ‘Fear and Loathing on the Campaign Trail.’ They play the famous ‘high-water mark’ narration and reflect on why it still resonates as a cultural and political epitaph for the 1960s.
- 16:48 – 23:29
Playing Hunter on screen: responsibility, immersion, and writing scenes together
Murray describes the pressure of portraying a real friend and public figure. He recalls living near Thompson during filming, their late-night habits, and Hunter’s involvement—including co-writing a scene involving Nixon.
- 23:29 – 31:43
Politics fatigue, tribalism, and why culture (music) once unified people
The conversation shifts to modern polarization and constant election cycles keeping everyone stressed. Murray argues that music once cut across tribes—soldiers and protesters sharing the same soundtrack—while Rogan connects cultural shifts to drug policy crackdowns.
- 31:43 – 38:49
Car design rant: from ’60s muscle cars to modern sameness (and the Taurus story)
They detour into nostalgia about cars: how yearly designs used to be distinct and bold, then became bland in the ’70s/’80s. Murray shares a (possibly apocryphal) Ford Taurus story about designing a ‘composite’ car that unexpectedly became a hit.
- 38:49 – 48:01
Steve McQueen admiration and the lost art of quiet filmmaking
From cars, they pivot to Steve McQueen films like ‘Bullitt’ and ‘Le Mans.’ Murray highlights the ‘quiet in between’ moments and controlled acting that modern movies often skip, while Rogan praises the immersive pacing and minimal dialogue.
- 48:01 – 57:47
Murray’s current projects: Wes Anderson, ‘The Friend,’ and ‘Riff Raff’ trailer moment
Murray lists several films—struggling comically with names—then describes the appeal of each. They play the ‘Riff Raff’ trailer, after which Murray critiques trailers for revealing too much and highlights the cast’s comedic firepower.
- 57:47 – 1:00:27
How Bill Murray chooses roles: trusted auteurs, script instinct, and the ‘dorm’ model of filming
Murray explains he says yes immediately to a small set of directors he trusts, but otherwise the script must earn him fast. He describes the special ‘company’ feeling on Wes Anderson sets where cast and crew live together like a traveling troupe.
- 1:00:27 – 1:11:42
‘Kingpin’ and comedy that would be impossible today + remembering Phil Hartman
Murray recounts the playful, physical energy on ‘Kingpin’ sets and argues comedy suffers when creators can’t take risks. They then shift to Phil Hartman—Rogan’s friendship via ‘NewsRadio,’ Murray’s experience on ‘Quick Change,’ and Hartman’s professionalism and tragedy.
- 1:11:42 – 1:15:48
Bathroom break and wall art tangent: Elvis, Nixon, and ‘Frost/Nixon’ appreciation
During a pause, Murray comments on Rogan’s wall art and spots an Elvis ‘mugshot’ image tied to Elvis meeting Nixon. They talk about ‘Frost/Nixon,’ praising Frank Langella’s portrayal and why Nixon is hard to depict convincingly.
- 1:15:48 – 1:25:09
Watergate skepticism and Bill Murray vs. Bob Woodward over the Belushi book
Rogan brings up alternative Watergate narratives; Murray avoids going deep into JFK conspiracies. Murray then explains why Woodward’s ‘Wired’ (about Belushi) infuriated him, leading him to question Woodward’s credibility more broadly.
- 1:25:09 – 1:30:40
New York in the ’70s and the shock of early SNL success
They reminisce about gritty, broke-era New York—subways, Times Square, and the city’s rough charm. Murray shares how joining SNL at 26 radically changed his life, giving him access, credit, and a nonstop, anything-can-happen rhythm.
- 1:30:40 – 1:45:53
Golf life, caddying origins, and ‘Every Shot Must Have a Purpose’ as a focus philosophy
Murray gifts Rogan and producer Jamie apparel from William Murray Golf, then dives into his long history with golf—starting as a caddie and even a human target ‘shag boy’ on practice tees. He explains how a mental game book improved his enjoyment and performance by ‘de-cluttering’ the mind and staying in the body.
- 1:45:53 – 2:20:48
Archery, pool, and the ‘surprise shot’—then homelessness as a unifying civic challenge
Rogan connects Murray’s golf focus ideas to archery and pool, explaining release mechanics and the ‘surprise shot’ concept. They then pivot to San Francisco homelessness and mental health, debating incentives and bureaucracy before ending on scalable solutions like Austin’s Community First Village model.
