special under the tarp. have a great night. anthony: you notice something unsual about this scene? what is odd about this scene? >> jose: holy cow. this is a deep question. >> anthony: it's not a quiz question. it's not hard to solve. look where we are. we're at the most spectacular view overlooking this incredible lake and these mountains, and yet strangely we're pointed in the direction of the lavatory. [ laughter ] i mean, i don't know what view is, mine's just three butt-ugly cameramen. and a [ bleep ] bathroom. >> jose: you are amazing.

i talked about when you came. but, then i thought okay, obviously we want to show the beauty of the back. i agree with you. >> anthony: let's saddle up. you ready to pull out so-to-speak? i'm brimming with content. so, i'm ready at any time. ♪ nick: "parts unknown," i mean the total expresses the intention of the show. >> zach: unknown. the unknown. and new. ♪ >> chris: i don't know what "parts unknown" was. >> erik: "parts unknown" was -- [ sighing ] >> helen: ah [ bleep ]. >> chris: i can tell what it wasn't. >> sandy: it's hard to say because it certainly wasn't in my mind a food show. >> lydia: yes, sure we'll sit a table and we'll have a meal. but, really it's about culture, politics. >> mustafa: comedy, action move.

>> lydia: geography, history. >> ruffino: it wasn't a travel show. >> mustafa: adventure. horror. ♪ [ screaming ] ♪ >> todd: you know, i don't know, it's hard for me to say what "parts unknown" was because i was so immersed in it, that it was -- i mean, it was definitely more than a job. it was like such an incredible experience. >> tom: what is "parts unknown" is actually a really easy question because it was tony. >> anthony: oh, yeah. that is -- can i say tumescent on cnn? yeah, i'm pretty sure i can. >> erik: i'm often asked the question "what was tony like?" i feel like it's the first question everyone asks. >> steed: what you saw onscreen, it was and is that man. >> helen: that was the magic of

tony i think is that people who never even met him, they would feel like they would know him. >> todd: he was this curmudgeonly funny dude. >> benny: he said something like "if you can't smoke in a recording studio, what the [ bleep ] is this world come to?" >> erik: candid. raw. >> steed: difficult. funny. brilliant. >> sandy: he was honest, brutally at times. >> jesse: is he nice? he's not nice. but, that's okay. >> toby: even though you felt like he maybe liked you and like what you were doing, you were very, very, very rarely ever gonna hear it. >> nick: did tony say thank you? for what? >> mo: i remember an even in lyon. it was tony, daniel boulad, and bill buford. we had gone in and pre-lit everything to seamlessly move from place-to-place. >> toby: and tony notices the light that is on over their head, that is clearly not a restaurant light, but one of our lights. >> anthony: oh, nice. they've lit already. >> toby: and bill's like "man, your crew's like pretty awesome." >> bill: you have an amazing team. >> josh: and i could hear tony say --

>> anthony: only pet the baby when he's sleeping. as we say in the kitchen. >> toby: only pet the baby when it's sleeping. >> jerry: only pet the baby when it's sleeping. >> anthony: so, you'll ruin them. >> mo: he was a great motivator in that way. only pet the baby when it's sleeping. i should do more of that. >> anthony: okay. say when. good? [ sighs ] i'm sure i did not write this line. >> nari: his soul was the soul of a writer. and i think he was a beautiful writer and i think that kind of, you know, poetry and his love came out through his words. >> anthony: next time you turn off a news cycle filled with shouting bobbleheads, convinced that america is dissolving into

a moronic inferno, questioning the greatness of your nation, maybe you should come here. here are your purple mountains majesty. >> steed: i think when we really hit it right, and why i think it's timeless, it's tony's voice. that's why people responded so well to it, right? they wanted to hear what this man had to say about the world. ♪ >> anthony: europeans first reached west africa in the mid-15th century, bringing with them the usual things -- an industrialized slave trade, subjugation, the rule of the many by the very few. >> mustafa: the moment that tony's voice actually gets into a show, all of a sudden you have full picture. you have the full prospective of this man who has an angle, you know? he knows how to point out the story. >> anthony: the first question

would be in your lifetime will you be able to visit jaffa? >> nari: he wanted to give a platform to people who would usually be ignored, you know, who would be forgotten. people who wouldn't have a voice otherwise. he really gave those people an opportunity to shine. >> helen: he always like joked about magical ponies and unicorns, but like he truly was. he was like a [ bleep ] unicorn. like -- ♪ >> erik: coming to "parts unknown" the first season, there was real mandate to make it different. it was a lot of pressure. >> zach: if you really want to find something new, you have to be willing to fully embrace that feeling of lost. or i don't know what i'm doing. and that's terrifying, anxiety-ridden, and also the absolute most joy you can find. >> lydia: when we hit cnn with "parts unknown," the show really manifested, truly into what it wanted to be. >> anthony: welcome to my life. actual content, b-roll, dick jokes, meals scene -- did i say dick jokes? diarrhea.

♪ >> anthony: where do we come from? how does it all work? how far can we go? what are we as sentient humans capable of? >> nick: and it's funny, man. it's not until someone's gone that you-that you really, really try to understand what made them tick. and what made tony bourdain tick. he talked a lot about being on the move. and i think that tony, you know, obviously like a shark, needed

to be on the move all the time. and it wasn't that he was running from something, he was always running towards something. >> erik: antarctica was, you know, it was the last continent. tony had, i mean literally i think had been to the rest of the world. there have been some very intense logistics on this show, but getting a six-person crew into the south pole was one of the hardest. >> anthony: ah. ah. chilly. >> mo: it is a long ass way down there, you know? you know lax to like sydney, to christchurch, to mcmurdo station, to the south pole.

you know, days of travel. >> anthony: my face hurts. >> mo: after this massive 60-hour journey and gets there and says -- >> anthony: it really is the ass-end of the world. >> mo: and walks away. >> interviewer: and that's worth 60 hours? >> mo: best line ever. [ shivers ] >> can you say that one more time tony? >> anthony: no. you're kidding me right? take two? we don't do take twos. no. i want to see one of those seals [ bleep ] a penguin. >> lydia: the show became a vehicle for him to meet some of his heroes. for him to kind of live out some of his own dreams. like some of his own, you know, fantasies. >> anthony: i've had something of a multi-decade obsession with

the congo. it's been kind of a personal dream if you will to travel the congo river. and now, for better or worse, i get that chance. >> steed: there's moments in this series where watching tony truly experiencing something that's like life-changing. ♪ >> lydia: it was an extremely selfish show. it was very selfish. he was really out to please himself. and in doing so, i think he pleased a big audience of people. ♪ >> anthony: lately this tv show has become an impediment to the smooth operation of this mission. we might have to terminate your command. the difference between excellence and mastery, is all the difference in the world. introducing the all-new lexus es. a product of mastery. experience amazing at your lexus dealer.

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anthony: so count, h long do i have to do this? ♪ >> jared: there's this misconception that directing is

actually telling someone what to say. >> chris: attempt to manipulate, yes. direct, no. tom: can we just put a little piece of green behind you? >> anthony: no. >> erik: you were a director on a "parts unknown" episode because you were a directing everything around tony, but you were never directing tony. >> tom: so production vehicles should not park in front of the restaurants. let's let the motorcycles park in front of the restaurant. >> steed: did you want to be able to tell tony, like, could you just -- could you get to this point please because, you know, we really do want to get to this point. >> josh: it was all freefom. true documentary filmmaking. >> toby: i would have about 15-30 seconds to kind of go over the main points. >> jared: just don't say action. don't say cut. >> anthony: they actually said action to me on the last shoot.

they were like action. then we're like -- so, everybody was like this the whole time. >> jared: probably don't look at him. >> erik: there were no second takes. >> tom: if it was really important, you could begr pretend to cry. >> anthony: get over it. we'll catch it in post. >> toby: so, stovepiping. have you talked about stovepiping? >> tom: what is the definition of stovepiping? >> chris: well, very much like some of the estions you're asking. [ laughter ] >> josh: here's some themes, here's some ideas you might want to talk about tony. >> lydia: so, isn't this place dah-dah-dah-dah-dah? >> josh: you didn't get to do that with tony. >> jerry: hated it. hated, hated it. >> anthony: what are you stovepiping content now jerry? is that what's happening? >> jerry: no. >> anthony: is that what's happening here jerry? has it come to this? i can't even trust you? [ laughter ] >> helen: if he got the sense that you were trying to sway a

conversation one way or the other, get him to say something, it was a wrap. i mean, it was like you get the dagger eyes. >> jared: or like the inevitable wides, which essentially meant that the scene's over. >> anthony: go wide. wanto go wide? do you want to go wide? yeah, go wide. >> toby: he called it. tony just called it. ♪ >> tom: well, food was a brilliant device because interview can just feel awkward or formal. where as if you share a al with somebody, it opens up so many doors. >> nick: the food that we ate on the road -- >> helen: yeah, sometimes we got to eat incredible things. >> mo: this is the number one question i get at parties -- did you eat all the stuff that tony ate? >> nick: it was never awful. it could be weird. erik: skinned lamb head. >> jared: were sheep balls really that good? >> jerry: boar innards. >> nick: you may throw-up a little bit in your mouth while trying to get it down, but it was never awful.

>> mo: i definitely did not eat all the stuff that tony ate. >> anthony: ooh, liver sandwich. that's encouraging. i offer something to my producer and he goes literally running. >> josh: i did not eat all the weird things tony ate. i ate a lot of things that tony didn't want to eat. [ laughter ] >> helen: on the rare occasion, tony would offer us some -- some treats. [ laughter ] anthony: helen, do you like this stuff? >> helen: no, i've never had it. >> anthony: there you go, helen. come on. let's see. >> helen: we were filming a scene at pojangmacha and they had silk worm stew. >> anthony: she hasn't been here since she's 4-years old. >> really? >> anthony: yeah. >> helen: the crew obvious meant a lot to him. yeah, it was -- it was a trip i won't forget, you know? >> jerry: we were his best friends.

we were the people that were with him all the time. we had like amazing convesations about our favorite movies. we have a conversation about our favorite movie and we'd try to create an episode that was based on that. so, we approached each episode like a singular film. >> nick: we all shared a love of film and music. and that stemmed from tony. >> ruffino: i think he drew a lot of inspiration from music. just anything that comparable to the way he worked. it was punk essentially. >> chris: this is a guy who had just an incredible sorof filmic knowledge base to draw off of. >> todd: tony would give us movies or books and we would often just run with it. >> helen: we all got to like experiment in each episode. >> zach: did we want to shoot that in a very controlled -- like something coppola would have shot or something from a

'70s italian film? >> helen: you know, we did this trailer for the french alps episode. like a john ck movie trailer. >> anthony: next shot is him like this going ahh! ♪ >> helen: why would we do -- like on cnn we're showing this? >> erik: we did things on the show that were unbelievable. >> josh: but, that can get expensive. >> nick: are we talking about budgets? next question. >> mo: what's a budget? ♪ >> helen: tony had no concept of what our budgets were like. >> chris: budgets? he didn't even know at a budget was. >> lydia: he probably never even thought about budgets. >> chris: no. >> lydia: no. >> chris: not for a second. >> anthony: how much is it? is it expensive ough? >> eric: oh, yeah. anthony: >> yeah. >> lydia: you know, the budget only stayed at a certain level, >> chris: it was greater. >> lydia: it was greater. >> faulkner: when i first started working on these shows, it is essentially it was a case and a half of beer per person. this has gradually changed over

time. [ sighs ] >> jeff: we would carry 30 cases of equipment with us. >> helen: the strangest thing i've ever expensed? i can't really talk about it. >> faulkner: camera bodies, lenses for said camera, monitors for the cameras. okay, let me just see how many lines this is. >> josh: you can't necessarily get a receipt for the goat you just sacrificed. >>ef will cnn accept an endangered species receipt? >> faulkner: scrim-jim ks, clamp adapters. oh, the magic gadget. 240 volt quick dimmer. the little pillow. >> erik: should we really be spending that much on an alpaca? i was like "well, i don't know. how much does an alpaca cost in this part of the world? >> faulkner: 15 miimeter rods, 19 millimeter rods. dana dollies. gosh, where does it end? >> josh: we bought a lot of stuff to make it look pretty. ♪ >> sandy: i think it was really about trying to achieve or accomplish what he wanted. i mean, he knew that he was lucky to have this opportunity to do these things.

[ lightning strikes ] and so, we were always trying to do it within our budget. >> steed: so, the miami episode, i got one note from tony. he's like "the great beauty," watch it. ♪ >> mo: the party scene in that movie is aolutely extraordiny and massive in scale. >> steed: we have a certain amount of money to make the show and that's like a high-high production value, so immediately the mind's like how are we gonna do this? ♪ >> mo: there's a scene with a woman dancing in "the great beauty" and so we needed to kind

of articulate this idea. >> steed: mo, the burliest of our cameramen is like directing this dancer who's dancing in a window. u know, she's like beautiful, long hair and she's like doing this dance and it's not quite as exaggerated as mo wants. sort of going back into the e mo window with her and like flipping his not hair, you know, back and like just and like doing this whole thing. >> mo: i think it actually worked pretty well considering. >> steed: i don't know, you look at that and it's hilarious first of all, but then it's like it really points to the passion, right? and you look at we actually pulled this thing off. ♪ will trthe automobile,t but mobility itself. an autonomous-thinking vehicle protecting those inside and out. and it's the mercedes-benz of today

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>> anthony: say when, boys. we're up? roger? >> darren: caught in a landslide. >> anthony: we're going to freeze out here like rats tonight. >> erik: tony lived, on-camera and off-camera, a magical, magical journey. and there was chaos swirling around him at all times.

>> chris: we lived and died with what can go wrong. >> josh: will go wrong. things went wrong. they want us to stop filming right now. >> zach: on the one side, you have control. on the other side, you have chaos. and always between control and chaos is where the show is moving. >> josh: sometimes, it collapses. >> chris: political unrest. bird flu. >> anthony: then there's leptospirosis, which is an infection carried by rat urine. >> sandy: i mean, every shoot had things go wrong. >> josh: i think it was shanghai. >> jeff: my heartbeat is going up right now even thinking about it.

>> tom: we decided to visit the tallest building in iran. >> erik: within a minute or two, we were completely crushed by this sandstorm, obviously ruining the scene, we're all running inside. >> anthony: onchocerciasis, aka river blindness. >> steed: the chance of like a government shutting me down. >> lydia: earthquake, train wreck. >> tom: the whole building starts moving like this. pieces of the roof ripping off. >> step away from the glass. >> anthony: jaundice, liver function problems, and something called man flu. >> josh: we landed on the ground and i met the fixer. she said, "great to meet you guys. also, josh, everyone has cancelled." >> mo: oh, and we got all our gear stolen. >> josh: there was something about "parts unknown," and i think it was just the nature of the show, that embraced chaos. >> tom: if there wasn't this element of chaos and intensity to the shoots, then i don't know, there was some intangible energy that came from that. >> chris: without a doubt, we succeeded at the ability to quickly veer off plan "a" and find our way to plan "f" and make something of it. that's why the show was good. >> anthony: all right, are you up? are you filming?

the music has started, i guess that means it's time to get all killy in this [ bleep ]. >> tom: borneo was another example of everything going absolutely wrong. tony's supposed to dispatch this pig with a big spear. >> jesse: they've got a pig stuck in a wooden box that looked like it had never been opened. >> todd: and it's raining some more. and we're rolling waiting on the pig. >> anthony: oh, my god, where's the pig? it's coming? is it arriving by magical package?

is it arriving by unicorn? someone translate. because he's wondering what the [ bleep ] going on. >> jeff: tom's on the walkie screaming, sitting next to tony saying, "where's the pig? where's the pig?" i'm up in a totally different section of the village, and since it was in the middle of a torrential downpour, the pig escaped immediately. >> anthony: oh, you're joking, right? the pig escaped? >> jeff: it was so intense. i don't think i ever saw tony look more pissed. and when he has a spear in his hand, that's not the look that you want to see. >> tom: it was pretty awful, actually.

but fun and awful -- sort of the same thing? >> anthony: where is he now? >> tom: okay, copy, thank you. they caught the pig in a net, and now they're tying it up. they will be here very soon. >> anthony: that's like 15 minutes away. yeah. you ever tried to drag a struggling pig down to a river? ♪ ♪ eastbound and down. ♪ loaded up and truckin'. ♪ are we gonna do what they say can't be done? ♪ ♪ we've got a long way to go ♪ and a short time to get there. ♪ ♪ i'm eastbound, just watch ole bandit run. ♪ whatever party you've got goin' in the back, we've got the business up front. ♪ that's where i feel normal. having an annuity tells me my retirement is protected.

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1, 2, 3. say when. >> josh: ah, the "travel minute." >> nick: "travel minute." >> erik: t "travel minute" essentially was anxtra deliverable that cnn wanted. >> josh: almost like a preview of the show. >> anthony: indonesia. new jersey. asturias. japan. >> toby: he would basically distill and encapsulate a place in a minute. >> anthony: the scottish highlands. one of the most savagely beautiful places on earth. >> toby: it was like his absolutelike the antithesis of what he was all about. >> todd: he hated these. >> anthony: tropical wonderland. the beaches. did i mention the beaches? >> josh: tony was a little hesitant. >> anthony: it's only a travel minute. you can't encourage them with quality. >> tom: it promotes the show, it's for us. it's not like a snap-in that nobody is ever going to see except in romania. >> anthony: here we go, "travel minute."

all non-essential personnel can leave. >> todd: set up the shot, he starts talking about uruguay. this guy comes out of the background just dragging a garbage can. >> anthony: i fell in love with this place, i fell in love with it the first day. >> todd: tony's like, "how's that?" and i'm like, you know, i got it, but in the background, i got a guy dragging a trash can. >> anthony: perfect. yes, yes. those are the types of production values we like, todd. >> todd: okay, perfect metaphor for these "travel minutes." >> anthony: now [ bleep ] off. thanks. that was it. >> david: that's what you've been complaining about for like an hour? >> anthony: yeah. it's my integrity, man. >> david: but you phoned that in. >> anthony: yeah, but i still feel like i'm jacking off a hobo. >> mo: conventions of television making had to leave the room. and it was actually really wonderful to find ways to work around those parameters. >> jared: the great thing about this series is that you're given this unbelievable support

structure to take chances. >> lydia: doing the same thing every week was frightening to him. and i think it was always a challenge, like can you take this idea, which may seem shocking, and actually convey it in a very artistic way? >> nick: as long as we could get it past standards and practices. >> josh: the tokyo episode is a great example of that. >> chris: yeah, i had no idea what tentacle porn was, so -- >> nick: this is the first season with cnn, and they were surprised at what we brought back. >> sandy: there was spitting in the mouth, nipple clamps. you know, there were a lot of things that cnn wouldn't normally put on air. >> mo: i think we didn't know kind of where the boundaries and limits were. i think cnn didn't know, either.

>> helen: if he thought your shows were mediocre, that was the end. that was the magic of the show, too, it just pushed all of us to do something weird. like, the korea episode. >> todd: the camera department was really given free reign. >> helen: zach and todd decided to come up with this new camera system. >> nari: so these cameras, they were very small. which you think would be great, except -- >> zach: it had to be attached to a giant backpack. >> todd: we looked like the ghostbusters. >> zach: at that point in time, that's all we had.

but it was breakthrough for what it was. >> helen: tony found them innovative. he was excited by how it was different. but like, he made some crude jokes about it. >> anthony: look at those cameras, they're too [ bleep ] tiny. these cameras do not get a lot of respect, i'll tell you right now. you really need the glove for that? no, you know what? it adds no authority to this process. ♪ whenut with friends, you could tell the truth, or a better version of it. just ask dos equis, the beer mexico's astronauts left on the moon. man: yep, still there. aged for 4 years deep within mt. cerveza. (beeping) and the only beer to escape alcatraz...

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>> anthony: you're up? >> todd: yeah, 2,500 right? >> anthony: no, i'll talk soon.

don't worry. when i have food in front of me. >> nick: i think shooting wise i always really enjoyed the solo scenes. >> anthony: [ bleep ] hell, that's good. >> jared: solo scene is what we would do when we ran out of good ideas. we would put him in front of food and hope he would say something amazing. but the truth is a lot of times he would just talk [ bleep ] on whoever was directing. >> anthony: think of all the opportunity for practical jokes with the vipers. note to self -- buy rubber snake for jeff. >> mo: solo scenes with tony -- they worked it was a fantastic opportunity for tony to just unload. >> anthony: i'm not suggesting there are anal glands in the chicken nugget, but -- >> mustafa: i mean, here was a guy, in tony bourdain, the master of the monologue. man, that guy could talk. >> tom: he was just trying to make us behind the camera laugh. >> nick: he would deliver a line and kind of peer over the camera to see what kind of reaction he would get. >> anthony: i hate mascots. you know they fart in those suits. >> todd: like, at one point i think one of the editors said, 'you know, the camera is moving a lot'. and i'm thinking, 'well, it's

because i'm laughing.' this guy, he would start riffing and we would just fall apart. it was amazing. >> steed: it was as close as a glimpse as you could get to our relationship with him. >> mo: one of the grt things about going to japan is lawson's. >> nick: we had, you know, the greatest intention to go to lawson's and eat an egg sandwich. a little solo meal, tony on the street eating his beloved egg sandwich. >> josh: we don't talk about the lawson's incident because it's an ongoing investigation. >> anthony: what is it exactly about this place that's got its tentacles so deep into my heart and my soul. >> mo: the coup de grace, the golden goose of sandwiches at lawson's is the egg salad sandwich. the fluffy egg salad sandwich. it's a masterpiece. >> anthony: where aryou? i know you're around here somewhere. wait a minute. i see potato and egg.

where's the 100% egg? where's the egg salad? no, really. where is the egg salad? >> josh: there were no egg salads of tony's preference. >> nick: five minutes before, there were like 6 egg sandwiches. >> josh: and, to be fair, that was my responsibility. >> mo: and things deteriorated quickly. >> anthony: where are the egg salad sandwiches? >> josh: they were in there. >> anthony: no, there were potato and egg salad sandwiches in there. potato, ham, and egg. you couldn't possibly have bungled that. could you? >> nick: what can you say? sometimes we [ bleep ] up. >> mo: it became frantic. >> anthony: i was effusively

going on, and on, and on about how i can live without prostitutes and heroin, but that the egg salad sandwiches at lawson -- this is the one thing i can't. what would you call it? the raison d'etre of this scene seems to have either evaporated or -- possibly, never existed, josh. >> nick: i understand. i mean, when you want an egg sandwich, and you expect and egg sandwich, an egg sandwich should be there. so i get it, but -- tony: i don't ask a lot, josh. but really, there's one thing i do need, josh, one thing i need desperately and that is unt, 100% pure, fluffy pillows of love, the egg salad from lawson. that's why we're here. >> josh: that is why we're here. >> nick: well, luckily in okinawa there's a lawson's on every other block. so we have a crew member --

>> anthony: an island wide dragnet needs to be established right away. is he going to score egg salad on the street? prior preparation prevents piss poor perfoance. we're doing an egg salad scene, is there egg salad? look at this, highly trained professionals, fanning out across naha in search of egg salad sandwiches. and i say good luck with that because they are amazingly popular, for a reason. >> mo: there was like a harrowing and frantic run down the street to the next adjacent lawson's to try to find the correct sandwich. >> josh: is this the egg salad? go for josh, go for josh. >> anthony: this is a

crushing -- a crushing disappointment. my heart sank. my heart sank like a stone. >> nick: we all felt that moment. i've got faith in josh, he's got a lot at stake here. i think that he's going to com through. >> anthony: yeah, i got a lot of faith in him too. i had a lot of faith in idi amin and president mobutu before they drove whole nations into the ground. because this is a monstrous abrogation of our relationship and the trust, the bond, the friendship, and professionalism that we all share. i'm not saying i'm disappointed, more like devastated. i'm waiting for my man, $26 in my hand.' >> josh: tony. so, they stopped packaging the egg salad sandwiches in whole containers, so it's split with a tuna sandwich as well. the egg salad is still there. >> anthony: my eggs are commingling with tuna?

you can't actually bring outside food in there and put it on their shelves, and then we'll pretend that i'm actually finding these. was that your hideous plan? >> josh: well it wasn't a hideous plan. >> anthony: okay, go do that. and thenhey'll never know. >> josh: fantastic. >> anthony: so we're paying two different lawson's for the same sandwich. oh look, how fortunate. i'll take all three of you. worst -- oh! worst scene ever. utiful. state of the art technology, makes it brilliant. the visionary lexus nx. lease the 2019 nx 300 for $339 a month for 36 months. experience amazing, at your lexus dealer.

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your question about was it fun is a really good question. fun is a word i wouldn't think about necessarily for the show. >> was your job fun? was it fun? >> i wouldn't call it fun. we had fun. >> we were deep into iran. >> a bar in the philippines. >> the besiege held fours a day.

>> filming a cover band. >> 13 years later now i'm pinching myself. >> three beers deep. >> does having the experience of your life and of your career fall under the category of fun? >> there are moments of fun, for sure. >> are there any local militias we can befriend. >> is playing football your definition of fun? >> the back bending of camera guys and producers. >> not that much sleep in the constant sort of what is tony going to think? >> if that calls into the category of fun, the answer is yes, your definition is everyone is smiling and having a great time and can write home about it, no, it isn't fun. >> i think back on those early days, i remember the joy and laughter and heartache and everything that went on there. if i need to feel that again, that joy, i go back and i -- when i look at the waffle house

scene -- >> what i love about this scene is again, tony is truly experiencing the unexpected. >> you know, what i know, i don't want waffles at the waffle house. >> bull -- man. >> waffles? >> the first thing you have, pecan waffle. >> really? >> you get it in many episodes. this one in particular, that was very very authentic, tony. >> you know what it means in japanese, actually? literally, it means i will -- [bleep] -- >> got a burger.

♪ >> tony had so many different sides to his personality. he could be tough, he could be an raconture. he could be incredibly kind big heart sometimes all in the same interaction, which was crazy. i remember in our philippines episode, tony joins for a family meal. >> the family scenes were some of the most magical moments we captured in the show. one of the most incredible ones for me was with my grandmother, a filipino woman who raised me. >> i think this was the first christmas aurora's been back in the philippines in 40 years. >> after the meal, aurora came over to tony and started singing. >> this is the song she was singing to eric as she was changing his diaper, i believe.

♪ adle ♪ every morning i greet you >> and everyone is pretty emotional. >> it was one of the few moments i saw tony start to tear up. ♪ >> you can see if you look closely, you can see tony totally tearing up. he's just on the verge of crying, which he doesn't do. ♪ forever >> yeah. it was really special to see tony that vulnerable and see tony connecting with someone as beautiful and, you know, selfless as aurora.

>> the show itself was like a tremendous gift. we got to work with somebody who was incredibly creative obviously but also let us experiment. >> the amazing thing about it, is that the challenge has never really stopped any of us. we met these challenges -- i don't want to say we met these challenges, these challenges inspired us to do great things. >> he said to chris and i, this show is my legacy. he said, that's why i'm so hard on you guys, every show, i want it to be better than the next. >> it really was the adventure

of a lifetime. that's not making excuse for his --ish behavior because he could certainly be a -- but he was our -- ♪ ♪

>> should we start drinking now? if you had a chance to talk to someone you love who had died, would you? >> i have a man and he actually feels very brotherly to you. >> that's what 19-year-old denel son was doing right now. >> it was his own actions caused his passion, okay? di get the feeling it was suicide. >> he's visiting a medium, a messenger for departed souls. i'm listening in. >> he actually wants to apologize to you