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tv   Eyewitness News  CBS  December 21, 2015 2:05am-2:36am EST

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>> well tonight the winner of miss universe were you crowned but not before a huge mix up on live television. take a look first miss columbia she got the crown the flowers the. but then, i have to apologize miss universe 2015 miss philippines. >> oh my goodness now that that is. >> he said the wrong name. >> steve harvey red the wrong name and oh all that just kind of played out on live television. >> something fishy about that.
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[laughter] >> don't worry we'll get right on it. that's going to do it for us. remember we are always on we are handing things over to pat and ♪ [theme] >> shad: hey, what's up? i'm shad, and this is q. today on the program: patrick j. adams. the canadian actor spent the last few years playing a college dropout turned lawyer in the hit series suits. he came by studio q to chat about reprising the role of mike ross for the show's upcoming sixth season. >> patrick j. adams: the anxiety was my friend, so embraced it. and every scene i could, i was dropping a folder on the ground or falling over myself or sneaking out of a room when jessica pearson comes in. [shad laughs]
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>> patrick: you i justthat was the fun of it. i didn't have to run away from being nervous. >> shad: and: fat mike. from his band nofx to his label fat wreck chords, he's been an ally to independent music for 2 years. the punk icon talks about his passion for bucking for status quo. >> fat mike: yeah, i like awkwardness and confrontation. i mean, look at me. i'm wea dress. i just started doing that because it's so--it's so funny. walking down the street, i feel like a punk rocker again. >> shad: plus: laura marling. she leads the pack of britain's folk music scene. >> shad: i'm shad, and this is q. ♪ >> harvey specter: look, if you wanted a going away present, you should have said something. >> mss: you know, you really should give societal norms a test drive someday. >> harvey: ok. one call, any contact, you got three minutes. >> mike: what? >> harvey: and yike roa janitor who found a lost cellphone. >> mike: how about a cabby with an accent? >> harvey: you're down to two minutes. >> mike: ok, got it. um, george foreman? >> harvey: loves talking business. >> mike: ruth bader ginsburg?ou
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>> harvey: loves talking grilling. >> mike: banksy? he doesn't even have a phone. >> harvey: it rings to a bronx pay phone. >> mike: wow, how good is putin's english? >> harvey: better than your russian. >> mike: cypru the country? >> harvey: yeah, i've done some consulting for them. >> mike: bruce wayne? that can't even be real. how do you even have half these numbers? >> harvey: ok, shot clock's dowe to zero, champ. >> mike: no, no, no. i got it; i got it; i got it. here we go. it's a good one. voice mail. >> harvey: well, leaving a message part of the deal. ♪ >> mike: oh, but was memorizing all the important numbers in your phone? 'cause i did that. >> shad: my first guest lied abouwasn'tg to harvard and faked his way into a powerful new york law firm, or at least his character did. patrick j. adams plays mike ross on the popular tv show suits.t n he dropped by studio q to talk about big secrets and taking big risks both on and off the screen. patrick j. adams in studio q. you know i'm a big fan of the show? >> patrick: i do know. thank you so much for having me. >> shad: uh, congrats on the sixth season. >> patrick: thank you; thank you. >> shad: i think i'm
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excited about that than you are. >> patrick: you--you have been a big fan. we appreciate it. >> shad: uh, suits, your character mike ross, he's a bit of an outsider; he's a risk-taker. >> patrick: uh huh. mored: what first attracted you to the role? >> patrick: uh, employment at first. uh, it was--i was having a tough time in los angeles. i've been very blessed to be working >> shaa bit after i graduated from school. i went to school for theatre. but, um, i had actually gotten fired from a job a few months prior to the audition, and i wa sort of at rock bottom. and, uh, the script came in, and it--it was really a story about a guy at rock bottom. it was about a guy who sort of felt like he had no ot options, and he was sort of making bad decisions, um, on the way to trying to take care of himself and his family. and, uh, it was just the easiest auditionherr had because i walked in and got to sit in front of a bunch of hollywood producers and say, like, please--like, i had that scene where--with harvey from the pilot where-- i eve >> shad: yeah. >> patrick:--i'm, uh, explaining to him that i deserve this shot. that i'm gonna, you know--i'm gonna murder it for him and, uh--and i could just look in the
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eyes of these producers and say those words-- [shad laughs] >> patrick:--and feel them very truthfully. >> shad: hmm. >> patrick: yeah. >> shad: you felt that urgency? >> patrick: yeah, i knew that i could do this part with my eyes closed. i hat i had gone through enough struggle at that point to have earned the right to--to do this part. >> shad: did you carry that energy into the role too? >> patrick: totally. and--and in those first seasonkt of suitsremember like mike is a terrified sort of kid. he's--'cause he's--not only is he in this high-stakes law firm, uh, he's also not a lawyer, ands he's keeping that secret. so, nervousness was my, you know--was my friend. the anxiety was my friend, so i just embraced it. and every scene i could, i was dropping a folder on the ground or falling oself or saying the wrong thing or sneaking out of a room when jessica pearson comes in. you know, that was the fun of it. i didn't have to run away from being nervous 'cause the whole thing was so new to me.ver my >> harvey: unfortunately, we only hire from harvard, and you, not only did not go to harvard law school, you haven't even gone to any law school. >> mike: what if i told you that i consume knowledge like no one you've ever met, and i've actually passed the bar. >> harvey: i'd say you're full of crap.
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>> mike: that's a barbri legal handbook right there, right? open it up. read me something. anything. >> harvey: civil liability associated with agency is based on several factors including-- >> mike: including the dev of the agent from his path, the reasonable inference of agency on behalf of the plaintiff, and the nature of the damages themselves. >> harvey: how did yiationw that? >> mike: i learned it...when i studied...for the bar. >> shad: what aspect of his character do you connect withouo most? >> patrick: i think his, uh--his passion and his desire for--for family and for community. uh, mike is a character who, um--who lost his family, uh, early on and, uh--and he doesn't really have many people in his life, and so going to the office and going to work, they become his family. know that's what i love most about the show. i think that's why people keep coming back is this is a cast of characters that love each other. >> patrick: mm hmm. >> shad: especially in a climate
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of television where there's so many kind of antiheroes and tv shows where everyone is terrible to everyone. >> patrick: yeah, yeah. you've got a--kinda like breaking bads and sopranos. >> shad: yeah. >> patrick: there's some fearsome people on television. >> shad: yeah. >> patrick: yeah-- >> shad: is that a lot of the feedback you've gotten, people really care about that aspect of the show? >> patrick: yeah, i think they don't necessarily understand why they love it, but i do think that's what it is because never have i been a part of something, and i don't really know anyone part ofo's b something, that's such a wide span of--of people who are fans of the show. i mean, i can be walking down the street and a grandmother and her 16-year-old granddaughteree will both stop me and love the show. >> shad: hmm. >> patrick: and usually say that they watch it together. and to me, that says that this is a show that sort of bridges the gap of that. it's something that all ages can relate to. and what better can people relate to than--than family and to, you know, people banding together against a common causef bay street, uh, high finance legal world, young professionals? how do they respond to the show? >> patrick: yeah, we get a lot of them. i think we had one of them though himself up against
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glass while we were shooting downtown the other day. um, i think they, uh--they respond to it in a way too because they're in thatthe environment. they're in those offices, and i think--you know, i never really worked an office job. i had one with--when my mother employed me after high school in my first job working in an office. but other than that, i never really done it. and i think people yearn for connection in those places, and they--they spend so much time there. and especially young people g in finance or accounting or law right now. it's a lot of time in the office, and it's high stress. and i think it's fun to watch a bunch of people who are amazing at what they do, but also theren for each other and have each others backs. i think it's an admirable thing, and people really want to create that environment for themselves in their offices. d: you brought up family a couple times. and your real-life fiancée-- >> patrick: mm hmm. >> shad:--actress, uh, troian bellisario plays your ex-girlfriend on the show. >> patrick: yeah. yeah, yeah, yeah. >> shad: what's that like for the two of you? >> patrick: it was great>> shaas great. yeah, i've been on her show now too and, uh--and she's come on to the show a couple of times, and it's--it's terrific. we love working together which is--which is; it w, and we spend
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so much of the year apart. so, any excuse that i can get a network to fly her up here is just fine by us. >> shad: as actors, is it tempting to draw on greateal relationship? >> patrick: um, no. i think we really keep--i think we've learned we have to really keep that stuff separate.your r you know, i think there's a lot of pitfalls to two actors dating each other. acting can be a really sort of introverted and selfish profession. you spend a lot of time thinking about yourself. and i think anwho's been in a relationship that even is close to working, you--you can't behave that way. >> shad: yeah. >> patrick: um, and we've leybody that the hard way. i think we've had a lot of times where we've been selfish or been thinking about ourselves, and it just--you can't--you can't, um, make a relationship work over that, this long--this longarned distance if you're--if you're constantly in that state of mind. so, we have our work, and then we have our lives, and i think they're pretty separate. >> shat's sort of a plot that's mirrored on the show. you have people in very demanding jobs and trying to make relationships work. >> patrick: mm hmm. >> shad: is that something you drew on as well as far as, uh, approaching the show and--andhat
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those dilemmas that the characters go through? >> patrick: yeah, i think--i think that's a good point. i think the struggle of--the struggle of what we've been doing and the strugglest making a television series is definitely informed, um, the stakes of the show. i think--i think those are just sort of lingering right on the surface when we show of ju set, so i think that's a good point. we bring that with us. >> shad: well, i wish you much continued success. >> patrick: thank you. >> shad: uh, and i'm looking forward, as you know, to the next season. >> patrick: yeah. >> shad: thanks so much. >> patrick: of cou up to thank you. ♪ >> shad: coming up on q: laura marling performs from her next album short movie. but first, fat mike on celebrating the 25thrse.ersary of his label fat wreck chords. >> fat mike: if you screw somebody over, that's hard. and at fat wreck chords, uh, we've really never, uh, scre anv any band over in the slightest. ♪ [theme] automated voice: to file a claim, please stwedur name. carnie wilson. thank you. can you hold on? ♪ hold on for one more day really? hey, i know there's pain. why do you lock yourate yop in these chains?
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♪ this would be so easy if you had progressive. our mobile app would let you file a claim and help you find one of our service centers where we manage the entire repair process. things will go your way if you hold on. [ sighs ] someday somebody's gonna make you wanna turn around and say goodbye. ♪ say goodbye no, you just made it weird.
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♪ [theme] >> shad: you don't have to know about punk music to care about fat mike. he's the frontman of nofx, and the founder of one of the most
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iconic labels in all of independent music, fat wreck chords. fat mike slipped into something comfortable, and we had a nice relaxed chat about the changing music industry and what punk rock taught him about ethics. fat mike in studio q. >> shad: paint a picture of the operation 25 years ago. >> fat mike: first year i put out, i don't know, three records i think: nofx, lagwagon, and propagandhi. yeah, that was it. >> shad: winnipeg's own? >> fat mike: winnipeg's, yeah. and, uh, you know what's funny is, uh, having a label for 25 years is som, but we've only had one for 24 years. i just lied. i made the whole thing--our first release was in '91. ething i just said, let's--let's just do this tour, but let's just call it the 25 year. and it's only been 24 years. and you know what? nobody noticed. it's incredible. you know, people will just believe that stuff. they'll believe anything. so, just so everyone knows that it's been 24 years. i didn't mention that until tour started, but just so you know.
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yeah. >> shad: well, we'll have you back--we'll have you back next year then for the real silver rings. >> fat mike: i mean, reallythe people. it's just--look at the dates. >> shad: you--you call yourselves fans. um, so, was it a learn-as-you-go type of thing; i'm guessing? >> fat mike: yeah, yeah. >> shad: hmm. >> fat mike: wl--well, i put out a nofx seven inch before but--in a record, but we just sold those on tour. there was no distribution or anything like that. yeah, i worked at epitaph records for about a week and kinda stole all their secrets. but back then, there was no employees. y. was just brett and, you know, so that--and what's to learn. you just kind of put out records. and back then, no one was buying any. >> shad: but you stuck with the same vision for this label? >> fat mike: yeah, we, u ja thing i always wanted to do was make sure all the bands i signed i liked and keep it, you know, a punk label. >> shad: um, was there ever--was it ever a h--onenge, uh, between being a friend and collaborator and being a business owner? >> fat mike: uh, friend and a collaborator? >> shad: like a--like a friend? like, you'vechalleibed fat wreck chords as like family, you know,
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but at the same time you're the boss, right? >> fat mike: it's actually--it's actually easy. if you ever have to cuss over a friend, that's hard, you know? r if--if you screw somebody over, that's hard, then you have to--and so many people do that, so many labels and so many businesses. and you have to learn how to live with screwing somebody over 'cause it's not something anyone wants to do. it's just they make that choice. and at fat wreck chords, uh, we've really never, uh, screwed any band over in the slightest se if you do it once, that word could spread to everybody. what was that like being a part of that seeing your peer'caur own band, your label take off? what was that like? >> fat mike: it was--well, it was crazy, and it was so fun and easy 'causs, youty much every band we signed got popular. the first, i think, seven bands we signed to fat wreck chords, they all did very well.e pret and, uh, it just wasn't hard
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because we never spend a lot of money on marketing; we never did radio, really. and we'd spend maybe, you know, $30,000/$40,000 in marketing and in recording a band, and they'd sell 200,000 copies. [shad laughs] >> fat mike: ireally--it was awesome. i mean, like hi-standard, you know, their first record, growing uthey sold 700,000 copies around the world.t was >> shad: at what point did you realize things were about to get a lot more difficult for an indie label? >> fat mike: well, just, you know--you just gotta pay attention. the internet. >> shad: a lot of people didn't pay attention though. >> fat mike: yeah, a lot of labels went under. >> shad: yeah, yeah. >> fat mike: and we--we waited too lo but, uh, it's just--it's such a weird culture right now where kids they don't really know about albums or care about 'em.. little bit of dinosaurs will die. >> fat mike: oh, a nofx song, awesome. ♪ music written from devotion ♪ not ambition, not for fame
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♪ zero people are exploited ♪ there are no tricks up our sleeve ♪ >> shad: from the year 2000, that was nofx with the song, "dinosaurs will die." um, you had predicted the sort of future music industry at that point. what do you see as the biggest flaw that the major labels had in the way they were doing business, if you can narrow it down to just one? >> fat mike: well, i mean--welle uh, signing bands for multi-record deals. it's not a flaw, it's just we can do this, so let's do it. and, uh, you know, fat, we've always done 95% one-record deals and occasionally two-record deals. and a lot of bands like good riddance, we've never had a contract. we just--there's no contract. we signed this band called the pears recently and i just hand wrote some stuff. it's super funny. i said, "you have to do as many records as fat wreck chords wants you to do unless you don't want to." and everything--i mean, my lawyer's like, this means nothing. i go, well, who cares.
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i mean 'cause i wouldn't want a band on a label that doesn't wanna be on a label. that's crazy. >> shad: why do you think other people don't see it this way? you've been able to do business like this for 24, we'll say 25, years. >> fe: well, it's--the reason is because, uh, if you sign a band and you spend two million dollars marketing them, you're gonna want a few records. >> shad: yeah. >> fat mike: andat mikn't spend that kind of money. uh, faith no more--i'm friends with billy from faith no more, and they did that first record the real thinactually their we dond record, and it was hug. it went multi-platinum, and they were all flush with money. and then they did the next record, and it didn't do that well, and then they never saw any money from their firstseco record anymore 'cause like, you know, the label cross-collateralized and took all their money. >> shad: yeah. >> fat mike: it's crazy. and he's like, "i'll never see a royalty cheque again." and--and we have--like, we have a policy at fat wreck chords which isn't in contracts, but if a band has one really good record and another record loses money, we don't cross-collateralize. >> shad: hmm.
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>> fat mike: we can. legally you can, but we just don't do it. well, we have, but only when a band has broken up. if you-- >> shad: where'd you learn your ethics? those ethics? >> fat mike: i--you don't learn 'em, i mean, you just kinda have 'em. an-- >> shad: well, you gotta pick 'em up from somewhere. >> fat mike: uh, i didn't pick 'em from anywhere. it's just being fair. it's--i mean, it's just being i me shad: hmm. um-- >> fat mike: and it's also i've always said the you-win-some-you-lose-some policy-- >> shad: yeah. >> fat mike:--all around my life. you know, sometimes you just--you gotta lose. >> don't make a big deal out of it. just, you know, chalk it up to a loss and move on, move on. >> shad: ok, so, this sort of ethic, uh--to you, it's common sense; it's just being fair. but what's--i guess then, what has reinforced those values for you? >> fat mike: uh, luckily in the '90s, all our bands did great, so i never had to make any kind of moral choice. >> shad: hmm. >> fat mike: 'cause, you know, hey--i mean, success--what i've always said is success is not
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being successful, it's you and all your friends being i think we're out of time. >> fat mike: i'm leaving; i'm done? >> shad: i think we're out of time. >> fat mike: all right. ♪ daisy's all right ♪ she's up all night >> shad: whenreturns: we've got a performance from laura marling. stay tuned. ♪ i think that you look at her wrong ♪ winter nasal congestion. is it a cold? sinuses? allergies? for all of them... there's allegra-d®. a maximum strength decongestant for 24 hour relief. try allegra-d®. being free from dandruff feels great. maximum strength selsun blue targets dandruff, wiping out flakes and itch. selsun blue. freedom from dandruff. it's a housewife who's in control of the finances. actually, any wife, husband, or human person can use progressive's name your price tool ake control of their budget. and while the men do the hard work of making money,
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♪ [theme] >> shad: laura marling put out four critically acclaimed albums, received multiple nominations for britain's top music prize, and drawing comparisons to the likes of joni mitchell. and then, she left music. she came by studio q to talk about why she left and what brought her back for her fifth album short movie. you're gonna hear all about that. but first: here's a performance by laura marling of daisy, live in studio q.
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♪ down at the white rock ♪ running an open home ♪ daisy lives by the sea ♪ i only see daisy ♪ when she wants to see me ♪ daisy's all right ♪ she's up all night ♪ down at the docks ♪ running an open home ♪ i think that you look at her wrong ♪ i think that you look at us all wrong ♪ a woman alone is not a undone woman ♪ daisy met a man from sicily ♪ he sailed in one day and told her ♪ who s gonna be ♪ oh did he look at her strange ♪ for no one and nobody ♪ is daisy gonna he was ♪ daisy's all right
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♪ she's up all night ♪ down at the docks ♪ running an openchange ♪ i think that you look at her wrong ♪ i think that you look at us all wrong home ♪ a woman alone is not a woman undone i'm shad, thanks for watching.
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♪ daisy's got a baby now ♪ she called her angelina ♪ so she'd stand out of the
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crowd ♪ daisy doesn't com where she seeds ♪ as far as we're concerned ♪ she is immaculately conceivedare fr ♪ daisy's all right ♪ she's up all night


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