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.
- •Murray admits he hasn’t listened to the podcast and asks if they’re already live
- •Jokes about everyone in Rogan’s orbit being a weightlifter
- •Murray’s reaction to the studio decor and Hunter S. Thompson items
- •Quick explanation of the neon Circuit of the Americas sign
- 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.
- •The infamous dog-hair hat that smells like a wet dog in rain/snow
- •How Murray ended up in Aspen while driving Lorne Michaels’ VW across the country
- •The pool escape stunt: tied with socks to a lawn chair and lowered underwater
- •Murray survives; learns the next day the prankster was Hunter S. Thompson
- 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.
- •Rogan on enjoying anonymity; Murray agrees it’s preferable
- •Murray’s reluctance toward phones and email
- •Having kids as the reason he finally adopted a cellphone
- •Murray reveals he still uses an AOL email address
- 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.
- •Creating a faux “Nixon is back” street segment near the Chateau Marmont
- •‘Tanned, rested, and ready’ credited to Dick Blasucci
- •Using a huge Hollywood light without permits and getting shut down fast
- •Murray’s affection for Hunter as a relentlessly fun collaborator
- 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.
- •Campaign Trail vs. Las Vegas: insight versus chaos
- •The ‘high-water mark’ as Thompson’s most iconic writing
- •Johnny Depp’s delivery and the Hunter–Depp bond
- •Gonzo journalism: entering the event, blending fact with narrative style
- 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.
- •The ethics of playing a living/famous person authentically
- •Hunter living in the guest house during production
- •NyQuil-and-scotch hot tub nights and brutal sleep schedules
- •Thompson’s on-set involvement and the co-written Nixon encounter scene
- 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.
- •Avoiding politics to preserve human connection and shared goals
- •Rogan on tribal identity and propaganda-driven division
- •Murray on the antiwar movement’s strengths and mistakes (treatment of servicemen)
- •Music as a unifier in the ’60s; Hendrix listened to by everyone including soldiers
- •Rogan links Schedule 1 drug policy to cultural ‘wave’ breaking
- 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.
- •Why older cars felt more creative and distinctive year-to-year
- •Safety, materials, and ‘panels everywhere’ in modern vehicles
- •Debating new vs. old aesthetics; Shelby, Boss 429, and Bullitt Mustangs
- •Murray’s Ford Taurus ‘parts-bin composite’ story and design convergence today
- 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.
- •‘Bullitt’ as a performance piece beyond the chase
- •The power of silence and no-music stretches in classic films
- •McQueen’s authentic driving skill and movie-star presence
- •Old TV Westerns (‘Wanted: Dead or Alive’) and McQueen’s minimalistic craft
- 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.
- •Wes Anderson’s upcoming ‘The Phoenician Scheme’ and its ensemble
- •‘The Friend’ with Naomi Watts and a massive Great Dane; based on Sigrid Nunez
- •‘Riff Raff’ as a ‘party’ movie; they watch the trailer on-air
- •Murray praises Jennifer Coolidge, Ed Harris, Pete Davidson, and other cast members
- 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.
- •Auto-yes directors: Wes Anderson, Jim Jarmusch, Sofia Coppola
- •Knowing within ~5 pages whether a script is worth continuing
- •The importance of being treated well and understood by collaborators
- •Wes Anderson’s communal hotel setup that recreates ‘old-school’ moviemaking
- 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.
- •Keeping energy high on set with games and constant playfulness
- •SNL ‘In Memoriam’ concept: jokes and sketches that ‘can’t be done anymore’
- •Rogan’s ‘NewsRadio’ memories and Hartman’s meticulous preparation
- •Murray calls Hartman ‘sterling silver’—perfect takes, modest pride
- •Brief mention of Hartman’s difficult personal situation and loss
- 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.
- •Elvis–Nixon meeting and the famous ‘drug agent’ badge photo
- •Murray’s quick review of ‘Frost/Nixon’ as a well-made film
- •Praise for Frank Langella’s Nixon voice and characterization
- •Murray’s instinct to personally tell Langella he was great
- 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.
- •Murray declines a deep JFK detour and jokes about Belzer ‘tapes’
- •Murray’s reaction after reading only a few pages of ‘Wired’
- •Critique: sources too far outside Belushi’s inner circle; ‘cold’ framing
- •Belushi’s generosity and impact on Second City/SNL circles
- •Murray’s conclusion: seeing bad reporting up close makes you distrust narratives
- 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.
- •What old New York felt like: infrastructure decay, danger, and excitement
- •Times Square then vs. now (from neon grit to corporate gloss)
- •Murray joins SNL at 26; sudden money and social access
- •Cab accounts, credit cards, and living between work, sleep, and adventure
- •Putting his prior ‘education’ to use under intense new pressure
- 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.
- •On-air gift-giving: Murray Golf shorts/shirts and the Murray family tartan
- •Caddying as childhood work; ‘shag boy’ story as moving target practice
- •Handicap discussion (best ~7, now ~12 and improving)
- •Book recommendation: ‘Every Shot Must Have a Purpose’ (Pia Nilsson & Lynn Marriott)
- •Core idea: return ‘home’ to the body to execute cleanly and consistently
- 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.
- •Archery mechanics: hinge/trigger releases, anticipation, and the surprise shot
- •Meditation-through-difficulty: focus clears intrusive thoughts in precision sports
- •San Francisco homelessness framed as mental health + addiction + policy failure
- •Debate over incentives, bureaucracy, and ‘suicidal empathy’ vs. accountability
- •Austin examples: hotels, jobs programs, and Alan Graham’s Community First Village
- •Closing thanks and William Murray Golf plug
