WEBVTT - 101: Farm 0:00:02.680 --> 0:00:14.800 Hey, you're listening to pod land now. 0:00:16.960 --> 0:00:18.400 H I am Fred Armison. 0:00:18.120 --> 0:00:21.720 And I'm Kerry Brownstein and this is AO rewatch. 0:00:21.560 --> 0:00:23.600 Hey Landy or rewatch podcasts. 0:00:23.640 --> 0:00:25.760 All right, so now we are going to talk about 0:00:26.160 --> 0:00:30.680 season one episode one, Yes, which we should note was 0:00:30.720 --> 0:00:33.319 not the original first episode. So this is not when 0:00:33.320 --> 0:00:36.239 we talk about us shooting a pilot for IFC to 0:00:36.280 --> 0:00:39.040 determine whether to pick up or not. This first episode, 0:00:39.640 --> 0:00:44.639 the Farm is not the original pilot. So yeah, that's 0:00:44.640 --> 0:00:46.320 a fact we'll get when we get to the episode 0:00:46.320 --> 0:00:49.479 one oh two, which is the real pilot. We will 0:00:49.479 --> 0:00:52.519 talk about that. And to me, that one looks and 0:00:52.560 --> 0:00:55.000 feels like the pilot. Oh yeah, this has a polish 0:00:55.080 --> 0:00:58.200 for a first episode that is kind of a cheat 0:00:58.240 --> 0:01:01.120 because it really was the second thing we ever shot. Yes, 0:01:02.240 --> 0:01:05.839 And the reason it became the first episode is Lauren 0:01:06.680 --> 0:01:10.960 and uh, there's the cold open is dream of the 0:01:11.000 --> 0:01:15.160 nineties and it's a it's a thesis statement essentially. We 0:01:15.200 --> 0:01:17.560 didn't think of it at the time like that, but 0:01:17.680 --> 0:01:19.400 Lauren saw it and was like, of course, this is 0:01:19.440 --> 0:01:22.400 the first episode. And it took some finangling with IFC. 0:01:22.520 --> 0:01:25.560 They really did not want this as the first episode. 0:01:26.200 --> 0:01:30.520 They wanted the pilot, the real pilot, as the first episode, 0:01:31.800 --> 0:01:34.080 and I mean I could, I could. 0:01:34.000 --> 0:01:36.480 You know, I'm glad it turned out this way. I 0:01:36.480 --> 0:01:38.960 could see the well, I guess we can't really get 0:01:39.000 --> 0:01:41.680 into that second episode of the pilot episode yet because 0:01:41.680 --> 0:01:43.399 that's that has put a bird on it. Yeah, so 0:01:43.440 --> 0:01:45.520 I could see how that does also seem like it's 0:01:46.040 --> 0:01:49.040 a statement of some kinder But still. 0:01:48.880 --> 0:01:50.840 This is such a huge I mean, it's just such 0:01:50.880 --> 0:01:53.480 a big song, and I feel like it also sets 0:01:53.560 --> 0:01:56.760 up an identity for Portland and for the show, and. 0:01:56.720 --> 0:02:00.080 Just it's a real proper intro. It's a proper in 0:02:00.400 --> 0:02:02.520 the other thing is like and there's a lot of 0:02:02.840 --> 0:02:05.280 Lauren stuff, but I also feel like something that Lauren 0:02:05.400 --> 0:02:07.360 is great at, I'm like, you've got to trust him, 0:02:07.440 --> 0:02:10.280 you know, Like I'm like, Lauren Michaels is saying that 0:02:10.320 --> 0:02:13.680 this should be the first episode. That's enough, you know. 0:02:14.520 --> 0:02:21.160 So okay, dream of the nineties John's basic idea. And 0:02:22.240 --> 0:02:25.280 I remember, like I think the song was written little 0:02:25.280 --> 0:02:27.040 by little, like he had a concept of it, and 0:02:27.040 --> 0:02:29.520 I think you wrote it with him and then maybe 0:02:29.639 --> 0:02:31.600 asa to Connie. 0:02:32.720 --> 0:02:35.480 Yeah it was but I remember though, So okay, so 0:02:35.720 --> 0:02:38.520 we're now writing in Portland, right, So we're up in Portland, 0:02:38.560 --> 0:02:42.560 were writing the bulk of the season after writing originally 0:02:42.600 --> 0:02:45.520 the real pilot, the original pilot we wrote in La 0:02:45.560 --> 0:02:48.680 So now in Portland. I just remember Jonathan coming in 0:02:48.720 --> 0:02:51.000 one morning and he's been in Portland now like a 0:02:51.000 --> 0:02:53.000 couple of weeks. This is like late in the season 0:02:53.000 --> 0:02:56.560 that we write this song, and he's like, I just 0:02:56.760 --> 0:03:00.840 having this thought about Portland, like it's so nineties, like 0:03:00.880 --> 0:03:04.680 it just seems stuck. Like he it took him being there, yes, 0:03:05.160 --> 0:03:07.559 to write this song or to come up with this idea, 0:03:07.600 --> 0:03:09.320 which I think is important, Like we would not have 0:03:09.360 --> 0:03:12.440 come up with this when we were still just writing 0:03:12.960 --> 0:03:20.320 in Los Angeles, like it was boots on the ground, experiential, observational. Yes, 0:03:20.520 --> 0:03:24.399 and so yeah, he started like this idea started percolating. 0:03:25.040 --> 0:03:27.760 I'm remembering that I hadn't thought about this before. Our 0:03:27.800 --> 0:03:32.240 writer's room in Portland was under a sort of convention 0:03:32.400 --> 0:03:37.560 center hotel. Yes, yeah, sort of, and it was kind 0:03:37.560 --> 0:03:41.200 of run down, not a nightmare, but sort of like 0:03:41.400 --> 0:03:42.920 you know, it wasn't glamorous. 0:03:43.040 --> 0:03:45.280 It has been torn down since. Okay, In the fact, 0:03:45.400 --> 0:03:47.840 most of the writers' rooms we've ever worked in Portland 0:03:48.080 --> 0:03:49.840 since been torn down, so I think fair enough to 0:03:49.880 --> 0:03:55.760 say that it was, you know, near derelict. Yeah, yeah, yeah. 0:03:55.840 --> 0:03:58.840 And did we even have a writer's assistant, which is 0:03:58.880 --> 0:04:00.680 like a common thing and a writer room. It's like, 0:04:00.920 --> 0:04:02.760 I don't know, I don't think we did. 0:04:03.560 --> 0:04:09.560 I was Alice was Alice Mathias was a version of 0:04:09.680 --> 0:04:12.600 a writer's assistant. I don't know if she had that title, but. 0:04:12.840 --> 0:04:16.120 Yeah, she was there. She was a small room. Yeah, 0:04:16.200 --> 0:04:19.039 yeah for a show. This was a small writer's room. 0:04:19.160 --> 0:04:22.200 So yeah, so John comes in with this idea, we 0:04:22.279 --> 0:04:25.000 start talking about it. We start, you know, the verses 0:04:25.839 --> 0:04:30.040 are essentially your character Jason, right, yeah, Jason from LA 0:04:30.240 --> 0:04:34.680 is your character, and you're sort of telling my character. 0:04:35.760 --> 0:04:38.560 You're regaling me with the story of like what the 0:04:38.640 --> 0:04:44.160 city is like. And each verse, each spoken verse, you're 0:04:44.200 --> 0:04:47.039 sort of outlining all the ways that it's unlike other cities. 0:04:47.120 --> 0:04:49.240 Yes, and there's like a build up to it. There's 0:04:49.320 --> 0:04:53.359 like a sort of every every line is like builds 0:04:53.400 --> 0:04:55.960 up a little bit more. And how excited I am 0:04:56.000 --> 0:05:01.240 about this place called Portland? Yeah, and what you're you know, 0:05:01.320 --> 0:05:06.640 watching the show we shot Portland for LA that first 0:05:06.920 --> 0:05:10.960 scene in LA, and I remember when we were shooting it, 0:05:10.960 --> 0:05:13.719 it didn't seem convincing to me. I was like, shouldn't 0:05:13.720 --> 0:05:15.640 we shoot this in LA. That's that's where I was 0:05:15.760 --> 0:05:18.680 sort of ignorant of, like, how all you need is 0:05:18.680 --> 0:05:22.280 that opening shot of the you know, the you know 0:05:22.480 --> 0:05:24.640 LA from a distance, that's all you need. But for 0:05:24.680 --> 0:05:27.640 some reason, I was like, but of course it looks 0:05:27.680 --> 0:05:30.160 it's fine. It's just two people on the street. Yeah. 0:05:30.200 --> 0:05:33.480 I remember the costume designer, like a man Anita putting 0:05:33.480 --> 0:05:35.800 me in like a juicy couture that was for a 0:05:35.839 --> 0:05:40.120 shorthand for someone in LA, like juicy cuture and uggs. 0:05:40.320 --> 0:05:40.520 Yeah. 0:05:40.560 --> 0:05:41.560 Yeah. 0:05:41.080 --> 0:05:43.440 And I had this sort of I had like a 0:05:44.000 --> 0:05:47.040 beanie like a hat, yeah, which is very La sort 0:05:47.040 --> 0:05:49.840 of you know, it's like nighttime La, where. 0:05:49.839 --> 0:05:52.920 Yeah, like pulled pretty far back on your head yeaheah. 0:05:53.440 --> 0:05:55.159 And so yeah, you're telling me about it, and some 0:05:55.240 --> 0:05:57.719 of the beats in the song or you know, that's 0:05:57.720 --> 0:06:00.520 when we get to the line Portland is where young 0:06:00.560 --> 0:06:02.680 people go to retire, Yes, which is a line that 0:06:03.000 --> 0:06:06.640 you think is from Nick Kroll, But now that's maybe apocryphal. 0:06:06.680 --> 0:06:08.920 I remember we've talked about it, but You're like, then 0:06:08.920 --> 0:06:11.679 maybe he said it wasn't right. He claimed he didn't 0:06:11.680 --> 0:06:13.000 say that originally, right. 0:06:12.920 --> 0:06:15.280 I thought we got it from him, and then he yeah, 0:06:15.520 --> 0:06:16.559 he wasn't so sure. 0:06:16.760 --> 0:06:22.679 Yeah. We also talk about clowning and the Jim Rose yeah, sideshow, Yeah, 0:06:23.000 --> 0:06:24.360 all these sort of nineties things. 0:06:24.520 --> 0:06:27.880 Yeah, yeah, which really resonated with me. Anyway. When I 0:06:27.920 --> 0:06:30.800 watch it, I'm like, I mean, I'm so nostalgic about 0:06:30.839 --> 0:06:33.600 that time that I get such a good feeling when 0:06:33.600 --> 0:06:35.240 I'm watching it, like, oh yeah, that's right. 0:06:35.800 --> 0:06:39.719 Yeah, I just remember so for the actual the stuff 0:06:39.760 --> 0:06:42.919 that isn't when we're walking along the streets with the 0:06:42.960 --> 0:06:45.800 part where we get to the chorus yeah, and you're 0:06:45.839 --> 0:06:48.880 down there on the waterfront with a cast of thousands. 0:06:48.880 --> 0:06:53.040 It was like this very big music video. I only 0:06:53.040 --> 0:06:55.400 come in at the end of that video, so I 0:06:55.600 --> 0:06:58.080 was not there like all day, you know, I had 0:06:58.120 --> 0:07:01.440 like a late call time and show up and it's 0:07:01.560 --> 0:07:04.880 just like this incredible production. It was the biggest thing 0:07:04.880 --> 0:07:06.840 we had done so far. Most everything else had been 0:07:07.240 --> 0:07:09.280 you know, in someone's house or in this you know, 0:07:09.440 --> 0:07:12.480 like a little shop, and it's us just like you know, 0:07:12.560 --> 0:07:17.840 a couple people. This is like one hundred background you know, actors, 0:07:18.680 --> 0:07:23.520 gay men's chorus, clowns and circus performers. 0:07:23.120 --> 0:07:26.080 So many people. I mean it was in costume. 0:07:25.720 --> 0:07:30.360 In costume, someone for every verse, you know, like if 0:07:30.360 --> 0:07:32.680 we mentioned like hot girl and glasses, we had the 0:07:32.720 --> 0:07:35.600 hot girls and glasses. We had people riding double ducker bikes, 0:07:35.640 --> 0:07:38.520 we had people juggling like. It was such an amazing 0:07:38.560 --> 0:07:39.920 set to walk on too. And it was really the 0:07:39.960 --> 0:07:44.120 first time that I just became aware of how Jonathan 0:07:44.520 --> 0:07:47.640 was just thinking of this show, not just as like Okay, 0:07:47.640 --> 0:07:49.920 it's you know, let's put up a couple cameras and 0:07:49.960 --> 0:07:53.520 catch people like improvising. It was like, no, this was 0:07:54.400 --> 0:07:58.000 a huge like production with you know, done very cheaply, 0:07:58.080 --> 0:08:02.320 but like he I'm very big, and he was always 0:08:02.360 --> 0:08:05.160 able to implement that. And we had such great production 0:08:05.200 --> 0:08:07.120 designer and Tyler Robinson. 0:08:07.120 --> 0:08:08.280 Who were in the video. 0:08:08.400 --> 0:08:13.520 Yeah, so Amanda Needham incredible costume designer. Yeah, you know again, 0:08:13.680 --> 0:08:15.640 are in fact a lot of our crew. 0:08:15.800 --> 0:08:16.560 In the foreground. 0:08:16.760 --> 0:08:21.080 Yeah, which is a very common recurring thing of our show. 0:08:21.120 --> 0:08:23.520 But it was really the first time that I thought, oh, 0:08:24.080 --> 0:08:27.040 I guess we're making something a lot bigger than I realized. 0:08:27.600 --> 0:08:29.800 And that the vision of it was going to be 0:08:30.360 --> 0:08:34.120 like much grander than I had imagined. I just couldn't believe. 0:08:34.120 --> 0:08:37.440 You know, there's like a crane, you know, all these 0:08:37.440 --> 0:08:41.720 things and yeah, and plus the song itself right like that, 0:08:41.800 --> 0:08:44.240 it wasn't you know. You and I had like written 0:08:44.240 --> 0:08:46.200 some incidental music for the show and we were just 0:08:46.240 --> 0:08:49.240 like in a studio with like a guitar, and like, 0:08:49.280 --> 0:08:51.720 all of a sudden, this sounded like a big pop song, 0:08:52.040 --> 0:08:55.360 you know, like very produced, very Yeah, it was. I 0:08:55.400 --> 0:09:00.320 think it really like set the tone for what like 0:09:00.720 --> 0:09:02.920 the ceiling could be that it was in. The ceiling 0:09:02.960 --> 0:09:06.199 was so much higher than I imagined. And even though 0:09:06.200 --> 0:09:08.640 we were making it in a city that wasn't you know, 0:09:08.679 --> 0:09:11.880 New York or London or LA. And you know, we 0:09:11.920 --> 0:09:14.559 didn't have New York or LA crew. We just had 0:09:14.600 --> 0:09:19.200 people who were nimble and inventive and scrappy and like 0:09:19.320 --> 0:09:22.959 you and I come from punk, like it's a scrappy medium. 0:09:23.200 --> 0:09:24.840 And I was like, oh my god, we get to 0:09:24.880 --> 0:09:28.720 make a scrappy show and this is the best kind 0:09:28.720 --> 0:09:30.720 of show that I can ever Like it was so 0:09:30.960 --> 0:09:33.200 in line with who we were. That was the moment 0:09:33.200 --> 0:09:34.080 that it really clicked for me. 0:09:34.720 --> 0:09:38.680 Yeah, I same. By the way, especially with the backing 0:09:38.720 --> 0:09:41.840 tracks those songs being done, that was also beyond me 0:09:42.640 --> 0:09:45.640 that all of a sudden it was finished. When did 0:09:45.840 --> 0:09:48.880 you know? When was this recorded? When it was ready 0:09:48.920 --> 0:09:51.760 to go? And like you said, right, you know, right 0:09:51.800 --> 0:09:56.640 there by the river, this location that was perfect. Things 0:09:56.640 --> 0:09:59.440 that are really easy to take for granted. Yeah, and 0:09:59.440 --> 0:10:02.160 then the sort of I don't even remember who choreographed it, 0:10:02.200 --> 0:10:06.000 but the choreography and the setups of how people would 0:10:06.040 --> 0:10:11.480 walk towards the camera gigantic. Something was just the scale 0:10:11.480 --> 0:10:14.360 of it was so big. But I also remember for 0:10:14.520 --> 0:10:17.840 me it evoked this There's a Stranglers video for the 0:10:17.880 --> 0:10:20.240 song called Strange Little Girl, and at the end of it, 0:10:21.200 --> 0:10:23.720 there's this punk you know who's like walking with this 0:10:23.760 --> 0:10:26.679 whole crowd of people. So I just was like, oh, 0:10:26.800 --> 0:10:28.680 maybe this is a little bit like that Strangers video. 0:10:28.880 --> 0:10:32.920 Oh that's but yeah, same thing that everything was so complete, 0:10:32.960 --> 0:10:35.719 and that San Francisco joke at the end of it. 0:10:35.559 --> 0:10:38.240 It was great. That's a very specific thing. 0:10:38.640 --> 0:10:42.080 Yes, that is the thing I think we you know, 0:10:42.120 --> 0:10:45.360 we never know how much of a joke or a 0:10:45.400 --> 0:10:48.840 sketch an audience is getting but we never like we 0:10:48.920 --> 0:10:52.480 always assumed that they were intelligent and in the note 0:10:52.600 --> 0:10:54.360 or that they would like it either way. Like there's 0:10:54.400 --> 0:10:56.679 you know it operates like we liked it, operating on 0:10:57.160 --> 0:11:00.440 a very on multiple levels and being very specific, you know, 0:11:00.559 --> 0:11:04.040 like if you knew the like just subtle difference between 0:11:04.120 --> 0:11:06.520 like an SF punk. 0:11:06.800 --> 0:11:08.640 And a you know, thiercings. 0:11:08.800 --> 0:11:13.360 Yeah, it's it's very true. Yeah, and I think that's 0:11:13.360 --> 0:11:15.240 something I always loved about The Simpsons. We end up 0:11:15.280 --> 0:11:17.640 later with the Simpsons writer, but how things just are 0:11:17.960 --> 0:11:21.199 operating on these multiple levels, like the references. You don't 0:11:21.240 --> 0:11:22.840 need to get the references. We're not trying to be 0:11:22.920 --> 0:11:25.320 too cool for anyone, but if you get the reference, 0:11:25.360 --> 0:11:28.360 it's like an extra Easter egg. Yes, yeah, and yes 0:11:28.440 --> 0:11:32.520 there's I feel like even down to like people and 0:11:32.559 --> 0:11:35.360 the crew, like they all also brought in those ideas. 0:11:35.440 --> 0:11:38.480 Like that's another thing about the show worth mentioning early on, 0:11:38.640 --> 0:11:41.920 like it was like best idea wins. Like our production 0:11:42.240 --> 0:11:47.040 design team they always pitched jokes, visual jokes, like you know, 0:11:47.200 --> 0:11:51.160 our ad would pitch lines like it was all hands 0:11:51.200 --> 0:11:52.480 on deck. It had to. 0:11:53.920 --> 0:11:54.199 Jokes. 0:11:54.280 --> 0:11:56.680 Yeah, it kind of had to be because we were 0:11:56.720 --> 0:12:00.480 shooting so quickly like that was that we we shot 0:12:00.520 --> 0:12:03.760 that video in a day easily, that would have been 0:12:03.800 --> 0:12:05.280 a you know, a two day shoot. 0:12:05.280 --> 0:12:06.760 Oh yeah, yeah. 0:12:06.920 --> 0:12:10.079 So yeah, so that's that's the that's the opening, and. 0:12:10.080 --> 0:12:13.240 I enjoyed, like also, who came up with some of 0:12:13.280 --> 0:12:16.240 the did you improvise some of those lines as we're 0:12:16.280 --> 0:12:17.000 walking along? 0:12:17.960 --> 0:12:20.319 A lot of it? I mean early on we should 0:12:20.360 --> 0:12:23.400 just say we had outlines for this guy. We even 0:12:23.480 --> 0:12:26.360 had scripts, but the scripts were so threadbare we did 0:12:26.400 --> 0:12:29.800 so much improvisation. Yeah, some some of it was improvised, 0:12:30.240 --> 0:12:32.439 like I gave up clowning years ago, like that one. Yeah, 0:12:32.679 --> 0:12:35.040 that's right, some of the but you know, and a 0:12:35.080 --> 0:12:38.440 lot of it was because of that. There's such a 0:12:38.600 --> 0:12:40.800 like a lot of heavy lifting from the editors. But this, 0:12:41.040 --> 0:12:43.679 I think also was one of the first ones we 0:12:43.720 --> 0:12:46.160 did that felt very we had to be locked in 0:12:46.559 --> 0:12:48.719 because there was a cadence, you know, the verses or 0:12:48.760 --> 0:12:50.600 a certain length. There had to be sort of a 0:12:50.640 --> 0:12:53.640 button at the end of each verse that led into 0:12:53.679 --> 0:12:56.680 the chorus, and also that that verse had to tie 0:12:56.679 --> 0:12:59.080 in with the lyrics of that part of the chorus. 0:12:59.160 --> 0:13:02.640 So this one, unlike say Feminist Bookstore which we'll get 0:13:02.679 --> 0:13:06.199 into in a second, which is much more meandering. Yes, 0:13:06.360 --> 0:13:08.559 like this felt like a little more. 0:13:09.040 --> 0:13:12.720 I don't know, structured and a great way to start. Yeah, 0:13:12.720 --> 0:13:15.880 and you know, I'm glad that. I'm glad that that 0:13:16.120 --> 0:13:17.079 decision was made. 0:13:17.440 --> 0:13:20.240 Same and yeah, also introduced the idea that we would 0:13:20.280 --> 0:13:23.760 be doing things with music, you know, like music was 0:13:23.800 --> 0:13:26.320 so important to us. Oh yeah, that's right, And it 0:13:26.400 --> 0:13:29.360 just it always was so intrinsic to the fabric of 0:13:29.400 --> 0:13:31.520 the show. So I think to start with something that 0:13:31.600 --> 0:13:34.560 said like, yeah, this will be part of the vernacular, 0:13:35.200 --> 0:13:36.240 I think was important too. 0:13:36.760 --> 0:13:36.920 Right. 0:13:37.000 --> 0:13:38.720 It's even presented as a music video. 0:13:39.080 --> 0:13:42.840 Yes, it says like Jason from La right as the artist. 0:13:43.400 --> 0:13:48.360 Yeah. I mean, I guess going from there, it would 0:13:48.360 --> 0:13:50.040 be crazy to do this every time. But I guess 0:13:50.120 --> 0:13:52.319 we should talk about the opening credits too, because that's 0:13:52.320 --> 0:13:57.160 like the first time anyone's seen that. Yeah, And basically 0:13:58.000 --> 0:14:01.880 we had as a place holder for the theme song, 0:14:02.320 --> 0:14:05.560 feel It All Around. I washed out just because it 0:14:05.679 --> 0:14:09.520 was not a comedy song. It was like sort of melancholy, 0:14:09.720 --> 0:14:12.720 and you know, I just like the mood of it, 0:14:12.960 --> 0:14:14.640 and we all did. We all like this mood, so 0:14:15.360 --> 0:14:18.800 you know, it costs a lot to get a you know, 0:14:19.200 --> 0:14:23.000 a proper you know, a song. Yeah, so we just 0:14:23.280 --> 0:14:26.520 kept it until we couldn't live without it. 0:14:26.800 --> 0:14:29.680 Yeah, and you and I meanwhile, we're working on a 0:14:29.720 --> 0:14:34.320 theme song. We went into a studio and we recorded 0:14:34.320 --> 0:14:38.480 a bunch of songs that ended up being more incidental 0:14:38.560 --> 0:14:43.160 music and transitional music. But everything we were doing did 0:14:43.520 --> 0:14:47.920 kind of feel like more like expected comedy. Like there 0:14:48.040 --> 0:14:50.080 was sort of a thing at the time where comedy, 0:14:50.160 --> 0:14:53.280 like if you listened to like the John Stewart The 0:14:53.360 --> 0:14:56.360 Daily Show or Colbert even going back to like Kids 0:14:56.360 --> 0:14:59.760 in the Hall, it's like guitar guitar riff, you know, 0:15:00.160 --> 0:15:00.720 was like comedy. 0:15:00.720 --> 0:15:03.800 It's edgy yeah, or it's ours. 0:15:03.720 --> 0:15:06.240 Yeah, and which is cool, It's totally fine, like all 0:15:06.240 --> 0:15:08.160 those theme songs. But I feel like we were not 0:15:08.280 --> 0:15:11.560 able to sort of even even skilled wise, that is 0:15:11.640 --> 0:15:13.760 just what we do, Like I'm the guitars, you play drums, 0:15:13.760 --> 0:15:15.400 Like we could have done something else, but that was 0:15:15.440 --> 0:15:19.480 kind of in our wheelhouse. But Yeah, as it often happens, 0:15:19.480 --> 0:15:22.360 you get really attached to the placeholder music, and it 0:15:22.440 --> 0:15:24.840 just had a vibe that I think we really loved. 0:15:25.160 --> 0:15:28.880 Yeah, and it worked with the edited you know, the 0:15:28.960 --> 0:15:30.560 actual sequence itself. 0:15:30.760 --> 0:15:33.080 Yeah, and now I kind of can't obviously can't imagine 0:15:33.080 --> 0:15:33.760 any other version. 0:15:34.040 --> 0:15:40.320 No, Yeah, I remember or I was gonna say, like 0:15:40.360 --> 0:15:43.000 watching because I watched the opening credits again. You know, 0:15:43.040 --> 0:15:46.440 I still go to Portland and the credits are like 0:15:47.600 --> 0:15:51.160 still accurate as to like the coloring. It's just sort 0:15:51.200 --> 0:15:54.160 of there's like a hue to it all. Yeah, and 0:15:55.320 --> 0:15:58.600 I still get that same, you know, feeling because it 0:15:58.680 --> 0:16:01.160 there's like some emotion in those opening credits. 0:16:01.240 --> 0:16:04.920 Yeah, and I credit again to the to the song. 0:16:05.000 --> 0:16:08.360 You know, I think, yeah, washed out, there's something there's 0:16:08.760 --> 0:16:11.640 heart in there, you know, there's something bittersweet too, Like yeah, 0:16:11.960 --> 0:16:15.000 to me even at the time, like it just there's 0:16:15.000 --> 0:16:18.360 a warmth to it. And also there's so many, you know, 0:16:18.480 --> 0:16:22.080 shots of local Portlanders and yeah, it just feels like 0:16:22.120 --> 0:16:26.440 it's it's such a like time capsule in some ways, 0:16:26.480 --> 0:16:30.000 but also just could be anywhere, any city at the 0:16:30.000 --> 0:16:33.440 same time, like it's so wonderfully Portland but also just 0:16:33.480 --> 0:16:36.120 looks like someone you know. And that's what I think 0:16:36.160 --> 0:16:38.479 we try to do a lot with like the background, 0:16:39.080 --> 0:16:42.920 you know, it's just have it feel like really textured, 0:16:42.960 --> 0:16:45.320 like these could be people, you know, these are your friends, 0:16:45.320 --> 0:16:48.120 these are you know, really build out that world. I 0:16:48.120 --> 0:16:50.200 think the credits do a good job of that. 0:16:50.760 --> 0:16:54.120 I'm guessing would have been Doug Lasson Hop and Daniel 0:16:54.120 --> 0:16:58.000 Graylandino and John maybe who edited that for season. Yeah, 0:16:58.520 --> 0:17:02.440 and also maybe obviously they're opening credits. Yeah, but anyway, 0:17:02.520 --> 0:17:04.040 so that, yes, that's the opening credits. 0:17:04.119 --> 0:17:06.840 Yeah, but worth yeah, worth mentioning because it was I mean, 0:17:06.880 --> 0:17:09.919 I guess, you know, maybe saying the obvious, but the 0:17:09.920 --> 0:17:12.000 first season of a show, especially we you know, we 0:17:12.000 --> 0:17:14.480 were producers on the show too, so all of these 0:17:14.480 --> 0:17:18.000 decisions are sort of there for us. And it's it's 0:17:18.040 --> 0:17:20.840 a lot, like you, a lot goes into it. And 0:17:21.119 --> 0:17:24.159 that might sound obvious, but it was just we didn't know, 0:17:24.320 --> 0:17:26.320 you know. It was like every little thing Yeah, and 0:17:27.400 --> 0:17:29.159 a lot of it are you know those things are 0:17:29.160 --> 0:17:34.040 happy accidents yep, and fall into place, and but yeah, 0:17:34.080 --> 0:17:36.160 it's you're building a world. 0:17:36.280 --> 0:17:39.000 And he stuck to it. He stuck to that. Those Yeah, 0:17:39.080 --> 0:17:47.639 those credits. So we'll go on to the you know, 0:17:48.520 --> 0:17:52.200 Colin Farm. Yeah, I guess like you, it's just not 0:17:52.280 --> 0:17:54.240 just a sketch. It's like a three parter. I think 0:17:54.240 --> 0:17:56.120 we used to think of the mass. 0:17:56.240 --> 0:17:58.080 Yeah, so the structure of the show is essentially a 0:17:58.119 --> 0:17:59.919 cold open. Then it would be the credits, and then 0:18:00.240 --> 0:18:02.479 we would have what was called like a wrap around sketch, 0:18:02.600 --> 0:18:05.840 like what's the you know, and every episode had a 0:18:05.880 --> 0:18:09.000 wrap around. It was a three part sketch beginning, middle, 0:18:09.040 --> 0:18:11.240 and end, and that kind of was the container for 0:18:11.320 --> 0:18:11.720 the show. 0:18:12.320 --> 0:18:16.480 Yes, and so based on we might have I think 0:18:17.160 --> 0:18:20.720 tried to write different sketches about ordering it a restaurant 0:18:21.240 --> 0:18:24.720 because our experience I remember, or my experience, there was 0:18:24.760 --> 0:18:28.600 always that whenever you order something, there was a lot 0:18:28.640 --> 0:18:33.359 of there was like a sort of like specialness to it, 0:18:33.480 --> 0:18:36.400 you know what I mean, Like is that the right word, 0:18:36.720 --> 0:18:41.520 you know, like preciousness preciousness yeah or not tradition, but 0:18:41.720 --> 0:18:44.879 like there was like it wasn't just like you just 0:18:45.000 --> 0:18:46.520 order something from a waiter. There was like a lot 0:18:46.560 --> 0:18:51.560 of explanation, a lot of storytelling, a lot of storytelling, 0:18:51.680 --> 0:18:54.960 a lot of this is you know, they would tell 0:18:54.960 --> 0:18:57.000 you what your experience was going to be for. 0:18:57.160 --> 0:18:59.840 Me, yeah, and the other thing and again so I 0:19:00.280 --> 0:19:02.800 you know, just to remind people what it's twenty eleven, 0:19:03.640 --> 0:19:07.880 so this has become pretty normal almost everywhere you go, 0:19:08.359 --> 0:19:11.080 but there was definitely kind of a shift into this 0:19:11.200 --> 0:19:17.600 kind of experiential, immersive restaurant going where you know, it 0:19:17.640 --> 0:19:20.800 was people trying to differentiate themselves like, well this restaurant. 0:19:20.840 --> 0:19:22.160 There was a lot of this was the first time 0:19:22.200 --> 0:19:25.600 you heard have you dined with us before? And you're like, no, 0:19:25.680 --> 0:19:27.680 but I've eaten at a restaurant, so you know, unless 0:19:27.680 --> 0:19:30.480 you're going to do something absolutely shocking here, like I'm 0:19:30.520 --> 0:19:32.440 pretty sure I know what's going to happen. But they 0:19:32.520 --> 0:19:34.720 always told you that as if like this was going 0:19:34.760 --> 0:19:38.840 to be this very bespoke experience. Part of that was 0:19:38.880 --> 0:19:43.680 to give you a background of the food, the food 0:19:43.720 --> 0:19:46.840 story yes, which again most of us don't need. And 0:19:46.880 --> 0:19:51.120 this was also when menus got very like narrative. It 0:19:51.160 --> 0:19:53.040 was like can I get the cliffs notes of this 0:19:53.200 --> 0:19:56.119 menu please? Like what's the short version of this menu? 0:19:57.200 --> 0:20:01.000 And then these you know servers memory seeing so much 0:20:01.400 --> 0:20:04.080 like to tell you this story, so yes, and. 0:20:04.280 --> 0:20:07.600 Also trying to be casual so it was proper and 0:20:07.640 --> 0:20:09.919 then just casual at the same time, like yeah, just 0:20:09.960 --> 0:20:12.200 so you know, this is what we do and and 0:20:12.240 --> 0:20:15.200 you're right it is. You do see it a lot 0:20:15.240 --> 0:20:18.119 more now even and not fast food, but there's like, 0:20:18.720 --> 0:20:23.040 you know, there are sort of fast foodish places right 0:20:23.080 --> 0:20:24.280 like you a little story. 0:20:24.119 --> 0:20:27.200 In fast casual because everything's about like, well, what's your story? 0:20:27.320 --> 0:20:30.440 You know, and it's like that it's so endemic now, 0:20:30.480 --> 0:20:33.600 but this felt like a way of differentiating between you know, 0:20:33.640 --> 0:20:35.639 a certain kind of restaurant and like the old, like 0:20:35.680 --> 0:20:38.600 the old and new. This was like the dividing line here. Yeah, 0:20:39.119 --> 0:20:41.560 lots of like what's the origin, what's the provenance of 0:20:41.600 --> 0:20:45.280 the food, and you know, obviously people genuinely starting to 0:20:45.320 --> 0:20:48.320 care like where is this coming from? Like you know, 0:20:48.880 --> 0:20:52.879 is this like what's the environmental and ecological impact? Is 0:20:52.920 --> 0:20:55.080 like is this humanely sourced? 0:20:55.119 --> 0:20:57.320 And you know all that and is it local. 0:20:57.400 --> 0:21:01.159 Local exactly how how local is it? So with all 0:21:01.200 --> 0:21:03.320 of that in mind, I think, and having that be 0:21:04.400 --> 0:21:08.240 really prevalent and newly prevalent, we started, you know, talking 0:21:08.240 --> 0:21:09.719 about this and I think you're right. I think there 0:21:09.720 --> 0:21:12.840 were certain ideas that we had disparate sketches, and then 0:21:12.880 --> 0:21:15.680 we started to sort of coalesce that into like, well, 0:21:15.680 --> 0:21:17.960 what if we just did one sketch that was about 0:21:18.320 --> 0:21:22.320 all of these things ordering, ordering, and another thing in 0:21:22.400 --> 0:21:25.159 terms of like these wrap rounds, these three parts, is 0:21:25.160 --> 0:21:27.800 that we often started, as this one does, with a 0:21:27.880 --> 0:21:33.000 grounded premise or as you know, grounded mostly grounded premise, 0:21:33.560 --> 0:21:36.679 and then of course we deviate from there. But usually 0:21:36.720 --> 0:21:41.320 the part one is like, Okay, we're starting somewhat in reality, 0:21:41.920 --> 0:21:44.800 which we do. Here we go to a restaurant. We're 0:21:44.840 --> 0:21:47.240 introduced to two characters, and. 0:21:47.160 --> 0:21:48.840 I would say new characters even though it's the first 0:21:48.880 --> 0:21:50.400 episode we hadn't done them before. 0:21:50.240 --> 0:21:55.760 Were in under Yeah, So Peter and Nance a couple. Yeah, 0:21:55.800 --> 0:21:58.639 and I guess because it's you and I. Like most 0:21:58.680 --> 0:22:03.120 of our characters, many of our recurring characters are couples. Yes, 0:22:03.480 --> 0:22:06.320 you know, married or friends or but this was kind 0:22:06.359 --> 0:22:10.399 of a classic married couple, no friction, no friction. This 0:22:10.520 --> 0:22:13.119 is like the least the couple with the least amount 0:22:13.160 --> 0:22:13.520 of friction. 0:22:13.880 --> 0:22:16.840 Yes, And did you see them around, Like wow, they 0:22:17.040 --> 0:22:18.240 really seem to get along. 0:22:18.560 --> 0:22:21.000 Just the other day, I was walking my dog and 0:22:21.359 --> 0:22:23.879 a couple was holding hands. They were in their seventies, 0:22:23.920 --> 0:22:26.640 and I was like, wow, that's so much dedication. It's 0:22:26.680 --> 0:22:31.000 pouring rain, hand hand out exposed, like yeah. I just 0:22:31.000 --> 0:22:33.720 thought like, wow, this is it's very sweet. It also 0:22:33.760 --> 0:22:36.520 makes me, for some reason angry, which is like every 0:22:36.520 --> 0:22:40.520 other character like the reaction to that. Yea, for no reason. 0:22:40.600 --> 0:22:43.120 I'm so happy for them my thought, you know, may 0:22:43.160 --> 0:22:45.360 they die holding hands, like I want that for them. 0:22:45.359 --> 0:22:48.600 But at the same time, like I'm just so perplexed. 0:22:48.680 --> 0:22:51.480 But and I think that's often where we build characters from, 0:22:51.720 --> 0:22:54.680 is things that we don't like how and why, Like 0:22:54.800 --> 0:22:58.360 let's embody that for a while. Yeah, and Peter and Nance, Yeah, 0:22:58.400 --> 0:23:01.400 I mean they are so cloying. They just melt into 0:23:01.440 --> 0:23:01.840 each other. 0:23:02.000 --> 0:23:07.840 There's soft and they're also not even particularly you know, 0:23:08.080 --> 0:23:11.000 like it's not like this erotic trip of like how 0:23:11.040 --> 0:23:14.320 hot they are for each other. It's just comfortable and comfortable. 0:23:14.400 --> 0:23:18.520 They just love each other. And it really I felt 0:23:18.520 --> 0:23:21.880 like that was something that was I just that existed 0:23:21.880 --> 0:23:24.480 in Portland. Was like it's all fine. 0:23:24.560 --> 0:23:28.760 Yeah, especially embodied by them. Yeah, frictionless is definitely the 0:23:28.840 --> 0:23:30.960 right word. And you kind of didn't know where one 0:23:31.080 --> 0:23:31.720 ended in the other. 0:23:32.359 --> 0:23:37.560 Yeah. Even their clothes are kind of flowing loose. Yeah, 0:23:37.560 --> 0:23:40.040 they're not hippie, no heart edges, no heart edges. 0:23:40.280 --> 0:23:40.480 Yeah. 0:23:40.840 --> 0:23:46.760 And they're at this restaurant and they they really let 0:23:47.119 --> 0:23:51.640 ordering linger, oh boy, as opposed to let's just get 0:23:51.640 --> 0:23:54.159 our food, it's let's make this an appointment. 0:23:54.640 --> 0:23:58.800 Yeah, they have a lot of questions. The weight person 0:23:58.840 --> 0:24:01.640 is played by Dana Milliken. This was her first role 0:24:01.680 --> 0:24:04.919 on the show, and she became a recurring actor on 0:24:04.960 --> 0:24:07.440 the show. She played many In fact, she never played 0:24:07.440 --> 0:24:10.560 this character again, but she is a local Portland actor. 0:24:10.840 --> 0:24:13.280 She was on a reseason. Yep, we adore Dana and 0:24:15.400 --> 0:24:18.240 to her credit and to the credit of almost everyone 0:24:18.280 --> 0:24:21.119 on the show, no script. You know, she had a 0:24:21.160 --> 0:24:24.680 few lines, but everything that you see, at least ninety 0:24:24.760 --> 0:24:28.640 nine percent of it is her absolutely improvising. Yeah, playing 0:24:28.680 --> 0:24:30.720 it straight, playing it straight the whole time, which is 0:24:30.760 --> 0:24:34.080 exactly the assignment for that. This is also I would say, 0:24:34.080 --> 0:24:37.560 for Peter, you have a Peter stammers. He has a stutter. Yeah, 0:24:37.560 --> 0:24:39.840 and you do that for the first time here. Yeah, 0:24:39.840 --> 0:24:42.400 And I don't think it was something that certainly wasn't 0:24:42.400 --> 0:24:45.280 in the character description. You just you picked a word 0:24:45.320 --> 0:24:48.760 and you sort of let it roll and you had 0:24:48.760 --> 0:24:50.520 a hard time getting it out, and then that became 0:24:50.720 --> 0:24:51.560 part of who he was. 0:24:52.320 --> 0:24:55.399 Yeah. Yeah, I remember like as I was watching it too, 0:24:55.440 --> 0:24:57.120 I was like, what was I going for like who 0:24:57.400 --> 0:25:01.320 that's what pretentious to say. Well, but like I remember 0:25:01.400 --> 0:25:04.880 thinking that maybe he looked a little bit like either 0:25:05.040 --> 0:25:07.800 like or it was a little bit like either Chevy 0:25:07.840 --> 0:25:11.879 Chase or Martin Short, like a mix of them doing something. 0:25:12.000 --> 0:25:14.920 So that's kind of what that was a little bit. 0:25:15.320 --> 0:25:18.040 And I remember thinking, as I was rewatching this that 0:25:18.160 --> 0:25:20.160 you still had more of your Fred voice here than 0:25:20.200 --> 0:25:20.840 you do later. 0:25:21.040 --> 0:25:22.320 That happens in a lot of sketches. 0:25:22.440 --> 0:25:25.480 Yes, and you know, I do the same thing where 0:25:25.480 --> 0:25:28.800 we sort of we didn't know which characters would be reoccurring, 0:25:29.240 --> 0:25:32.280 and so some characters we never had time to develop further, 0:25:32.320 --> 0:25:36.480 but these characters we recurred over and over again. But yes, 0:25:36.640 --> 0:25:39.840 I think my version of Nance also becomes more pronounced. 0:25:40.000 --> 0:25:42.280 It's like the more we sort of grew into each other, 0:25:42.400 --> 0:25:45.360 even as a couple, a couple of Peter Nance, Yes, 0:25:45.480 --> 0:25:48.840 the more we started playing off the other person's you know, 0:25:48.920 --> 0:25:55.680 sort of you know, little syrapy nature. But yeah, so 0:25:55.720 --> 0:25:59.879 we ask Dana where we want to order a chicken, 0:26:00.480 --> 0:26:04.600 and she brings out the paperwork for this chicken. 0:26:04.800 --> 0:26:06.840 Who is this chicken specifically. 0:26:06.280 --> 0:26:10.959 And the chicken's name is Colin. Yeah, and we decide 0:26:10.960 --> 0:26:14.840 that we need to go and really investigator, really investigate. 0:26:14.920 --> 0:26:18.359 And he's from a local farm nearby. So we leave 0:26:19.000 --> 0:26:21.280 the table and say we're going to be right back. 0:26:21.200 --> 0:26:23.440 And we even say like, just hold these seats, hold 0:26:23.440 --> 0:26:25.240 these seats while we go on this little trip. 0:26:25.320 --> 0:26:26.679 Yeah, and we had off. 0:26:26.600 --> 0:26:29.359 Talking about Peter and Nance. I don't know if this 0:26:29.400 --> 0:26:34.720 ever happens with you, but you know, sometimes when with memory, 0:26:35.440 --> 0:26:38.840 I do sometimes like we'll sort of fill in the blanks. 0:26:39.840 --> 0:26:41.040 And later in. 0:26:40.880 --> 0:26:44.200 The existence of Portlandia, we ran into a couple who 0:26:44.280 --> 0:26:46.280 was out and I think they were walking their dog 0:26:46.400 --> 0:26:48.320 or something, and we're very much like Peter and Nance. 0:26:49.240 --> 0:26:51.600 So somehow I always think like, oh, maybe they were 0:26:51.680 --> 0:26:54.440 kind of based on them, which is impossible. 0:26:53.840 --> 0:26:55.240 Because you met them afterwards. 0:26:55.200 --> 0:26:57.920 We met them after right, But maybe it's to say 0:26:57.960 --> 0:27:01.600 that I think somewhere I did notice couples like that 0:27:01.680 --> 0:27:02.359 in Portland. 0:27:02.920 --> 0:27:05.199 Yeah, I will say that I think a lot of 0:27:05.200 --> 0:27:08.480 our characters, and obviously when we get to each character 0:27:08.960 --> 0:27:11.639 we can talk more about this, but are based on 0:27:12.400 --> 0:27:16.159 people we know, or are iterations of ourselves, Like we 0:27:16.240 --> 0:27:19.159 talk about that all the time. How like there's just 0:27:19.200 --> 0:27:23.400 some facet of our personality and where I'm like, if 0:27:23.480 --> 0:27:27.480 I only like highlighted this part of myself, like the 0:27:27.480 --> 0:27:30.760 part of myself that's really frustrated and short tempered, then 0:27:30.760 --> 0:27:33.280 I would be this character. If I only highlighted this 0:27:33.320 --> 0:27:35.199 part of myself, I would be like this. And I 0:27:35.200 --> 0:27:38.639 think that's a place that we came from, was not 0:27:38.800 --> 0:27:41.840 making fun of people, not looking at someone and saying Haha, 0:27:41.880 --> 0:27:45.920 aren't they weird or strange or eccentric? But oh, I 0:27:45.920 --> 0:27:49.320 can see myself in that. I know who this person 0:27:49.440 --> 0:27:52.360 is because when I'm in a certain situation, I'm I'm 0:27:52.440 --> 0:27:55.960 like that, and like, let's build a character around if 0:27:55.960 --> 0:27:57.679 I only did that or you only died that. And 0:27:57.680 --> 0:28:00.720 then it's especially putting them together. How would we play 0:28:00.720 --> 0:28:02.960 off each other if we were like that? And I 0:28:03.000 --> 0:28:05.600 think a lot of it, you know, like they remind 0:28:05.640 --> 0:28:06.639 me of my parents' friends. 0:28:07.280 --> 0:28:08.560 Sure well you know growing up. 0:28:08.560 --> 0:28:10.639 But yeah, but I agree that Peter and Nance like 0:28:11.280 --> 0:28:13.119 I feel like we know them. That's often where I 0:28:13.119 --> 0:28:15.840 came from, Like I know this person. Yeah, I've been 0:28:15.880 --> 0:28:19.080 around this person or I've felt myself doing something like this. 0:28:19.840 --> 0:28:23.159 And I am a sucker for like, even though it 0:28:23.200 --> 0:28:26.560 seems like we're making fun of those restaurants. I'm a 0:28:26.640 --> 0:28:29.520 sucker for those places. That's where any city I go to, 0:28:30.160 --> 0:28:34.280 I go to whatever seems the most you know, farm 0:28:34.359 --> 0:28:38.479 to table or whatever it's called. Now that same, all 0:28:38.520 --> 0:28:42.120 those graphics and all that stuff, that is where I'm headed. 0:28:42.320 --> 0:28:44.800 So I don't look at it like from like, hey, 0:28:44.800 --> 0:28:47.120 we'll get over yourself. It's not like that. It's more 0:28:47.240 --> 0:28:51.800 like every city, Yeah, that's where I end up in 0:28:52.080 --> 0:28:52.880 a place like that. 0:28:53.160 --> 0:28:55.000 No, it's true. I think the ethos of the show 0:28:55.040 --> 0:28:58.360 even early on, was like, let's explore something like it's 0:28:58.600 --> 0:29:01.240 it comes from a place of curiosity, you know, not 0:29:01.240 --> 0:29:03.800 not a place of derision. It's just like, yeah, I 0:29:03.840 --> 0:29:05.840 want to know more about this, like I want to 0:29:05.920 --> 0:29:10.120 understand it, whether it's something that we already participate in 0:29:10.240 --> 0:29:14.440 or not. You know, like what what makes this place tick? 0:29:14.520 --> 0:29:15.680 What makes this person tick? 0:29:16.040 --> 0:29:16.280 Yeah? 0:29:17.440 --> 0:29:19.840 So yeah, so here an announce. 0:29:20.000 --> 0:29:24.360 Announce And in part two of this wrap around, we 0:29:24.440 --> 0:29:26.080 go to the farm in my real. 0:29:25.960 --> 0:29:29.160 Car that's right in my Volvo that I had at 0:29:29.160 --> 0:29:31.040 the time, and that was up. 0:29:30.920 --> 0:29:33.720 In the hills of around around Portland. 0:29:33.400 --> 0:29:36.080 Yeah me West Hills. And remember there was a guy 0:29:36.840 --> 0:29:40.720 he's not there was a guy who has a cameo 0:29:40.840 --> 0:29:44.360 in this who that year was voted like Portland's Hottest 0:29:44.400 --> 0:29:47.840 farmer remember that. It was like I didn't even know 0:29:47.840 --> 0:29:51.760 we had that competition anyway, Just just a little easter 0:29:51.760 --> 0:29:55.880 egg for the people. Also, our makeup person Jessica Needham 0:29:55.960 --> 0:29:59.040 is in the scene, our costume resigner a Manda need Hm, 0:29:59.320 --> 0:30:03.600 and a handf of other again, just so many, so 0:30:03.680 --> 0:30:04.640 much crew in the background. 0:30:04.840 --> 0:30:06.200 But this Ashby is in it. 0:30:06.240 --> 0:30:07.040 Ashby is in it. 0:30:07.000 --> 0:30:09.760 It was in many episodes in the sketches. 0:30:09.560 --> 0:30:13.560 Are these all these? All these women play the wives 0:30:13.600 --> 0:30:18.440 of Aliki, who is the head farmer called Leader played 0:30:18.440 --> 0:30:19.720 by Jason Sudikis. 0:30:20.040 --> 0:30:23.360 I'm going to say also about you know, shooting things 0:30:23.360 --> 0:30:26.480 and not knowing how things work. I was still under 0:30:26.480 --> 0:30:30.720 the impression that you needed at the time footage of 0:30:30.800 --> 0:30:33.880 us driving when are we gonna do? Us? Looking for director? 0:30:34.280 --> 0:30:37.160 And I really learned on Portlandia about like you don't 0:30:37.200 --> 0:30:39.520 need any of that stuff. Once we arrive, of course 0:30:39.560 --> 0:30:44.720 they're you know, yeah, I can't believe I ever was questioned. Oh, 0:30:44.720 --> 0:30:46.400 I mean I didn't question. I was just sort of like, oh, 0:30:46.400 --> 0:30:49.360 I guess we're just here. But works perfectly. 0:30:48.920 --> 0:30:53.280 Fine, Yeah, listen, I'm in the same boat. Like, there's 0:30:53.320 --> 0:30:57.480 so much you learn about editing and filmmaking by just 0:30:57.480 --> 0:30:59.920 being around it all the time. Yeah, like you know, 0:31:00.200 --> 0:31:04.480 things that you take for granted and you know, it's 0:31:04.520 --> 0:31:08.000 just like, yeah, the process is revealing itself to you. 0:31:08.520 --> 0:31:11.480 And I felt really surprised a lot too, just in 0:31:11.520 --> 0:31:15.160 the early days because it's so new, and you know, 0:31:15.680 --> 0:31:17.880 for our listeners that might sound ignorant, but there's actually 0:31:17.960 --> 0:31:21.360 something really wondrous about kind of being surprised, you know, 0:31:21.440 --> 0:31:25.120 as you're going along and just yeah, like not it's 0:31:25.160 --> 0:31:29.520 also a good thing to demystify for people, like, you know, yes, 0:31:29.560 --> 0:31:31.440 there are definitely people who know exactly what they're doing, 0:31:31.520 --> 0:31:33.600 but a lot a lot of people, especially in TV 0:31:33.640 --> 0:31:36.400 and film and working on set, you learn as you go. 0:31:36.720 --> 0:31:39.960 You know's there's people that have the knowledge beforehand, but 0:31:40.000 --> 0:31:42.959 even those people are learning and every day is very different. 0:31:43.040 --> 0:31:45.840 You know, things are thrown at you, but it's it's 0:31:45.880 --> 0:31:50.600 like a big machine that requires everyone like working and yeah, 0:31:51.400 --> 0:31:52.800 and we're just one small part of that. So a 0:31:52.840 --> 0:31:54.600 lot of things we would just show up on set too, 0:31:54.640 --> 0:31:57.000 like because we're done with the writing, you know, now 0:31:57.000 --> 0:31:59.200 we're just in acting mode. And we would show up 0:31:59.200 --> 0:32:02.000 to set and I was all amazed, I should say too, 0:32:02.040 --> 0:32:05.560 as like what how it went from page to screen? 0:32:05.920 --> 0:32:07.840 You know, like something we would write, a little thing 0:32:07.880 --> 0:32:09.760 you put in the script. Yeah, and then all of 0:32:09.800 --> 0:32:13.040 a sudden you're like, oh my god, here are like 0:32:13.120 --> 0:32:16.200 here's this farm and everyone's in these like the same 0:32:16.240 --> 0:32:18.960 outfits because they're you know, in this cult. Yeah, in 0:32:19.000 --> 0:32:22.760 this cult. Yeah, that was you know, running you know, Jason, 0:32:22.800 --> 0:32:24.680 I don't I think I don't even know if we 0:32:24.720 --> 0:32:27.640 had seen him beforehand that day, Like sometimes I feel like. 0:32:27.800 --> 0:32:29.320 That's the first time we saw him was on set, 0:32:29.360 --> 0:32:31.800 although I mean I worked with him a bunch. Yeah, 0:32:31.840 --> 0:32:35.680 And I gotta say he is so funny, Yes, in 0:32:35.720 --> 0:32:40.320 this and watching it again, there's little things he does 0:32:41.160 --> 0:32:45.360 this just so just this smooth character. There's this one 0:32:45.400 --> 0:32:47.600 thing he does where you say your name and he 0:32:47.680 --> 0:32:50.240 sort of leans into you to say, like what was that? 0:32:51.440 --> 0:32:55.840 I'm sorry one more time, you know, and so funny 0:32:55.880 --> 0:32:58.280 and so good. It's just like this sort of all 0:32:58.320 --> 0:33:01.400 he's doing, all that character is doing, is just finding 0:33:01.440 --> 0:33:03.920 an excuse to sort of lean into you a little bit. Yeah, 0:33:04.480 --> 0:33:05.920 oh man, it's so good. 0:33:06.440 --> 0:33:09.880 And another thing that occurs here that becomes, you know, 0:33:10.280 --> 0:33:12.880 a theme that we repeat in a tool we use 0:33:13.400 --> 0:33:17.920 is incidental like background music. Yes, you know, and every time, 0:33:18.160 --> 0:33:20.760 you know, Peter Nance, we're getting shown around the farm 0:33:20.800 --> 0:33:23.600 by this young woman and she keeps pointing out a 0:33:23.680 --> 0:33:26.200 leaky We haven't met him yet and he's far off, 0:33:26.200 --> 0:33:28.040 and every time we look at him, there's just this 0:33:28.080 --> 0:33:30.160 little this this cue this music cue. 0:33:30.240 --> 0:33:33.040 Yes, it's like sixties psychedelic. 0:33:33.520 --> 0:33:35.920 Yeah, and it's sort of intoxicating. You can see us 0:33:35.960 --> 0:33:38.880 like sort of entranced by this guy wanting to get closer. 0:33:38.920 --> 0:33:43.040 And you know, we end up using the editors and 0:33:43.120 --> 0:33:45.640 you know, the directors would make this choice to just 0:33:45.760 --> 0:33:48.440 use that music all the time. And same with cutaways 0:33:49.080 --> 0:33:51.840 of like reaction shots from background. You see that a 0:33:51.880 --> 0:33:55.200 lot here. But yeah, to speak to you what you're 0:33:55.200 --> 0:33:57.040 saying about Jason, the other thing I noticed he did 0:33:57.040 --> 0:34:00.000 that's really brilliant is he decided he made a choice 0:34:00.160 --> 0:34:03.000 that he would treat Peter and Nance differently. So Peter, 0:34:03.480 --> 0:34:06.120 he sees as he's is like the weaker character, right, 0:34:06.160 --> 0:34:10.080 He's really playing to your like vanity, right, you know, 0:34:10.440 --> 0:34:12.759 Peter says in the first part one, you know of 0:34:12.800 --> 0:34:14.759 his eyes and you know he immediately says, any right, 0:34:14.800 --> 0:34:16.960 your eyes and then nance he sort of is like 0:34:17.120 --> 0:34:19.279 nagging the whole time, like he's sort of putting her down. 0:34:19.360 --> 0:34:21.839 He like kind of has her number. Yeah, and like 0:34:21.920 --> 0:34:25.239 he just made this choice to treat each of us differently, 0:34:25.960 --> 0:34:28.759 and it was so much smarter than just seeing us 0:34:28.800 --> 0:34:31.920 as like this monolith. He really sort of comes at 0:34:32.000 --> 0:34:35.800 us and like just it really created a much richer 0:34:36.120 --> 0:34:37.920 dynamic I thought for something that's. 0:34:37.760 --> 0:34:41.960 So short, Yeah, I also understood how he would be 0:34:42.000 --> 0:34:45.960 a cult leader or whatever that yes, because it wasn't 0:34:46.120 --> 0:34:50.680 it wasn't the stereotype or the cliche of a long 0:34:50.800 --> 0:34:54.520 haired yeah you know, yeah, that kind of wisdom. It 0:34:54.560 --> 0:34:58.319 was this other thing that that even today I'm like, hey, 0:34:58.360 --> 0:35:00.000 I want to follow that guy. 0:35:00.480 --> 0:35:00.719 Yeah. 0:35:01.360 --> 0:35:06.000 And then jumping into that uh that third part of 0:35:06.000 --> 0:35:10.880 the wrap around that jump that he's dying. Yes, I 0:35:11.000 --> 0:35:14.040 thought I assumed that somewhere there was going to be 0:35:14.600 --> 0:35:16.480 a scene of him going on, I don't feel so 0:35:16.520 --> 0:35:20.680 well or you know, I'm dying right away, deathbed that's 0:35:20.719 --> 0:35:21.280 all you need. 0:35:21.719 --> 0:35:23.840 Yeah, And I think, you know again part of that 0:35:23.960 --> 0:35:26.960 learning curve, like you know, they say with like fiction 0:35:27.120 --> 0:35:30.239 or short stories, like you know, enter the scene late 0:35:30.360 --> 0:35:33.000 and leave early. And that is so true with sketch 0:35:33.040 --> 0:35:36.200 as well, like you just you don't need heads or tails, 0:35:36.239 --> 0:35:38.920 like let's just get right to the meat of it. 0:35:39.040 --> 0:35:41.799 And yeah, we kind of had to. We sort of 0:35:41.840 --> 0:35:44.279 learned how to do that, and certainly our editors I 0:35:44.280 --> 0:35:47.720 think early on really helped us. We started to write 0:35:47.760 --> 0:35:50.000 more like they edited because they were like, oh my god, 0:35:50.600 --> 0:35:54.360 this is so like, let's just let's cut this in that. Yeah. 0:35:54.400 --> 0:35:57.200 So yeah. So the you know, it's this big deathbed scene, 0:35:57.239 --> 0:35:59.319 which was so great. That's all that was. We just are, 0:35:59.520 --> 0:36:03.000 you know there all of his wives now including me 0:36:03.080 --> 0:36:06.640 and Peter and Nance are sitting around this deathbed. And 0:36:06.680 --> 0:36:10.840 then he finally dies and this fell is broken. We 0:36:10.920 --> 0:36:12.520 realize we've been in a cult. We look down, we 0:36:12.520 --> 0:36:14.600 see that we're wearing these long. 0:36:14.400 --> 0:36:16.280 Skirts, and back we go to the restaurant. 0:36:16.400 --> 0:36:19.359 Back to the restaurant, and we decide to order something else. 0:36:19.760 --> 0:36:23.640 I think we order salmon or something yeah, fish, salmon. 0:36:23.320 --> 0:36:26.399 Yeah, yeah, yeah, and it you know again that kind 0:36:26.440 --> 0:36:29.480 of sort of the going back to like how he 0:36:29.560 --> 0:36:32.960 structured things. It was sort of like grounded, absurd, surreal. 0:36:33.120 --> 0:36:34.560 That's how I always think of it, like if you 0:36:34.600 --> 0:36:37.879 were to in general terms, you know, so it ends 0:36:37.960 --> 0:36:41.759 kind of it very heightened, you know, Dana suspends her 0:36:41.760 --> 0:36:44.960 disbelief that we would you know, O. Sensibly it's been 0:36:45.280 --> 0:36:47.960 years later, but we returned to the same table as 0:36:47.960 --> 0:36:50.480 if she's just been waiting for us the whole time. Yes, 0:36:50.600 --> 0:36:52.160 and continue our order. 0:36:52.880 --> 0:36:54.480 Going back to that first part, the fact that she 0:36:54.520 --> 0:36:57.279 had that folder with all that information, well, it's kind 0:36:57.320 --> 0:36:59.600 of a really good move that she's not just a 0:37:00.120 --> 0:37:03.399 straight person of like you guys are crazy. Yeah, it's 0:37:03.440 --> 0:37:07.680 a little bit like we're all engaging in whatever this is. 0:37:08.120 --> 0:37:10.440 And again that you know, credit to the art department 0:37:11.160 --> 0:37:14.759 prop wise, I mean they like for us too, you know. 0:37:15.320 --> 0:37:19.160 The props really I think helped because with sketch, you know, 0:37:19.480 --> 0:37:21.400 you don't have a lot of time. We would sometimes 0:37:21.560 --> 0:37:24.840 shoot like three or four sketches a day, completely different characters, 0:37:24.840 --> 0:37:29.319 different setups, different wigs, hair makeup. I mean, a prop 0:37:29.360 --> 0:37:31.320 can be the thing that just brings you right into 0:37:31.760 --> 0:37:34.279 you know the characters. You know, same with clothing, same 0:37:34.320 --> 0:37:36.880 with a you know, like a hat or piece of 0:37:36.880 --> 0:37:40.000 you know whatever, glasses, but it really you need that shorthand. 0:37:40.000 --> 0:37:44.040 And I think that our department was really good at 0:37:44.280 --> 0:37:46.520 visual storytelling. You know, they were the ones that gave 0:37:46.560 --> 0:37:48.920 her that, you know, the folder with you know, she went, 0:37:49.120 --> 0:37:51.320 let me get Collins paperwork. She comes back, there's a 0:37:51.320 --> 0:37:53.360 little photo of a chicken. You know, we didn't we 0:37:53.400 --> 0:37:55.879 didn't write that into the script. So there's a lot 0:37:55.920 --> 0:37:59.920 of additional stuff. So yeah, and that one, I will say, 0:38:00.520 --> 0:38:04.799 you know, there's certain Portlandia sketches that people still bring 0:38:04.920 --> 0:38:07.920 up and that you know, in a way that I 0:38:07.920 --> 0:38:10.320 feel so lucky to have been part of, like became 0:38:11.080 --> 0:38:15.239 part of like cultural parlance. And definitely, like sometimes when 0:38:15.239 --> 0:38:18.440 I go to restaurants, and especially during the years PORTLANDA 0:38:18.480 --> 0:38:21.840 was airing, people would always some people would be self 0:38:21.840 --> 0:38:23.920 conscious as they took my order because they were like, 0:38:23.960 --> 0:38:25.960 oh god, I know it's like I'm telling you this thing. 0:38:26.000 --> 0:38:28.000 But the whole call in the chicken and you know, 0:38:28.160 --> 0:38:32.040 asking about the origin review food definitely became a thing 0:38:32.080 --> 0:38:34.600 that you know, port Landy was part of that conversation. 0:38:34.680 --> 0:38:37.879 But specifically this sketch, it might be. 0:38:37.800 --> 0:38:43.239 At number one for like a reference that someone was definitely. 0:38:42.920 --> 0:38:49.439 Top five, I think, Yeah, But Yeah, so that was like, yeah, 0:38:49.480 --> 0:38:52.600 I liked that. It was a lot and definitely Peter 0:38:52.719 --> 0:38:55.960 Nance love and I'm not even sure why we went 0:38:56.000 --> 0:38:58.160 back to them, but we did. And you know, it's like, 0:38:58.200 --> 0:39:01.480 again a lot of things we weren't saying, oh here, 0:39:01.760 --> 0:39:04.080 We didn't start out writing the show and said here 0:39:04.080 --> 0:39:07.319 are the ten characters at all. No, you know, like, 0:39:07.719 --> 0:39:10.360 here's the ones we'll write for they that was very organic. 0:39:15.960 --> 0:39:19.160 Peter Nance just are really a good template for a 0:39:19.200 --> 0:39:21.960 lot of sketches where we don't need them to be 0:39:22.200 --> 0:39:25.680 too opinionated about anything. Yeah, I want to say also, 0:39:26.560 --> 0:39:29.239 I want to add that the element of wigs for 0:39:30.800 --> 0:39:35.600 every season was an issue in a good way since 0:39:35.640 --> 0:39:40.680 the pilot, since the where just like the music that 0:39:40.719 --> 0:39:44.520 we chose, we didn't want that to be too comedy ish. 0:39:44.920 --> 0:39:48.719 We also didn't want the whigs to be too comedic. 0:39:49.920 --> 0:39:54.080 So it took a while. And this is like a 0:39:54.120 --> 0:39:59.840 budget conversation where we had the really you know, ratchet 0:39:59.880 --> 0:40:02.960 up a little bit of like we really need good wigs. 0:40:03.600 --> 0:40:06.120 Yeah, and so you brought the people from unl It 0:40:06.160 --> 0:40:07.400 brought the best of the best. 0:40:07.200 --> 0:40:10.520 That's right, Jodi Manquso, who I think it was just 0:40:10.600 --> 0:40:12.799 hur at first and then she ran in gen But 0:40:13.600 --> 0:40:15.680 it's a kind of it's a secreting. It is just 0:40:15.680 --> 0:40:18.359 a good I mean, there's many great ingredients, but that 0:40:18.560 --> 0:40:20.719 ingredient was an immediate visual one. 0:40:21.040 --> 0:40:23.640 Yeah. Yeah, I mean I think in general everyone was 0:40:23.680 --> 0:40:26.879 punching about their weight. I mean, obviously Jody was high, 0:40:27.080 --> 0:40:28.960 like best of the best, but coming to Portland and 0:40:29.000 --> 0:40:34.120 working on much different like with different resources and fewer resources, 0:40:34.120 --> 0:40:39.680 everyone was really like doing a lot of fantastic work. Yes, 0:40:40.320 --> 0:40:44.880 also just pointing out we had we didn't have dressing rooms. 0:40:45.239 --> 0:40:45.680 You and I. 0:40:46.560 --> 0:40:50.880 So you know, a traditional show, you know, the stars 0:40:50.880 --> 0:40:54.439 of the show would have their own dressing rooms. We 0:40:54.640 --> 0:40:57.799 just we're in the back of the hair and makeup 0:40:57.920 --> 0:41:01.160 trailer in a camper, in a camper, yep. We never 0:41:01.200 --> 0:41:03.359 in fact, for all eight seasons, we never had our 0:41:03.360 --> 0:41:06.000 own dressing rooms. But definitely first season we were all 0:41:06.040 --> 0:41:12.040 together and along with the driver yep, yep, and his 0:41:12.120 --> 0:41:15.960 wife of the r V they were there and hair 0:41:16.040 --> 0:41:20.040 makeup costumes. We were all together all together, yep. And 0:41:20.080 --> 0:41:25.000 we never never had our own bathroom or yep. It 0:41:25.040 --> 0:41:25.960 was very threadbare. 0:41:27.360 --> 0:41:27.840 I mean. 0:41:29.760 --> 0:41:31.759 As it was happening, I think we also didn't know 0:41:31.760 --> 0:41:36.840 what the show was in a way, so I didn't 0:41:36.880 --> 0:41:38.880 have the argument in me at the time to be like, 0:41:38.880 --> 0:41:40.719 don't you know what this is. It was more like, 0:41:41.000 --> 0:41:43.719 I have no idea. This might be you know, too 0:41:43.719 --> 0:41:47.200 good for what. You know, Yeah, we're trying to accomplish. 0:41:47.400 --> 0:41:50.400 I think it helped the spirit of the show. You know, 0:41:51.040 --> 0:41:54.880 it felt very communal, and we also didn't want it 0:41:54.920 --> 0:41:57.000 to look or feel like it was taking place in 0:41:57.080 --> 0:41:59.960 sort of the usual you know, media centers. 0:42:00.200 --> 0:42:01.680 Yeah, yes, I. 0:42:01.680 --> 0:42:03.800 Mean not that I didn't want my own bathroom. 0:42:04.719 --> 0:42:07.640 We had to say. We really navigated it well. I 0:42:07.680 --> 0:42:11.160 don't think we ever got into the whole run. Nothing 0:42:11.200 --> 0:42:13.640 was ever weird about the the dressing room. 0:42:13.680 --> 0:42:15.080 You know, I literally shared the whole time. 0:42:15.239 --> 0:42:18.279 I never never was an issue. Was your order food? Yeah, 0:42:18.320 --> 0:42:19.920 you know, we had a break in between whatever. 0:42:20.280 --> 0:42:21.839 There was never a point where it was like, oh, 0:42:21.840 --> 0:42:24.279 season three we had to start. Yes, you know, they 0:42:24.600 --> 0:42:26.080 even weren't even talking to each other. 0:42:26.080 --> 0:42:28.680 No, no, yeah, or like hey, you know I kind 0:42:28.719 --> 0:42:30.360 of like this door closed, just just so you know, 0:42:30.719 --> 0:42:33.239 it was all yeah, totally fine. 0:42:33.320 --> 0:42:35.440 And by the way, the guest stars didn't have their 0:42:35.480 --> 0:42:38.799 own Nope, like we've already mentioned Jason Sudeikis. We'll get 0:42:38.840 --> 0:42:42.960 to other guest stars, including like Tony and Oscar winners. 0:42:43.280 --> 0:42:45.480 They also did not have their own dressing room, and 0:42:45.719 --> 0:42:48.799 everyone you know say it. We'll say it again and again, 0:42:48.880 --> 0:42:52.160 probably as we talked about them individually. People were a game. 0:42:52.640 --> 0:42:57.640 They came and like were able to adapt to the strange, 0:42:58.120 --> 0:43:00.600 you know, culture of the show. But yeah, people, that 0:43:00.719 --> 0:43:04.200 was Jason's dressing room too, was just yea, oh sorry, 0:43:04.200 --> 0:43:06.440 I'm in the back, you know. That was it that 0:43:06.560 --> 0:43:10.040 was changing and that when there was no hierarchy, there 0:43:10.080 --> 0:43:12.560 was no one person that, oh, they need their own 0:43:12.600 --> 0:43:15.160 dressing room. That just was what they were told before 0:43:15.160 --> 0:43:17.759 they got there, and it seemed okay with it. 0:43:17.920 --> 0:43:21.000 I think later what we would do is, because we 0:43:21.040 --> 0:43:26.720 had an airstream, one of those airstream trailers, we would leave. 0:43:27.400 --> 0:43:29.239 If a star was big enough, we'd be like, well, 0:43:29.320 --> 0:43:32.880 let's let's let them have it. That was our big. 0:43:32.880 --> 0:43:35.719 Yeah, but there was a back room in the airstream, 0:43:35.800 --> 0:43:37.520 and so they would let there was a door at 0:43:37.600 --> 0:43:40.160 least and they could change. But yeah, all right, well 0:43:40.160 --> 0:43:42.480 so let's just quickly I guess we chalked about the 0:43:42.480 --> 0:43:45.919 two main sketches, just like the other sketches in the show. 0:43:45.960 --> 0:43:48.440 So we had the cold open, part one of the farm, 0:43:48.480 --> 0:43:51.040 and then we do into the technology loop. 0:43:51.200 --> 0:43:55.400 Yes, technology loop, And I like watching this one because 0:43:56.640 --> 0:43:58.720 I identify with it still happening today. 0:43:59.040 --> 0:44:01.600 Yes, I mean, I don't want to say we were 0:44:01.600 --> 0:44:05.120 early adopters, but we definitely were already sensitive to the 0:44:05.160 --> 0:44:08.960 ways that tech was overtaking our lives and kind of 0:44:09.040 --> 0:44:10.319 hijacking our brains. 0:44:11.880 --> 0:44:14.879 And it didn't seem like it's really well edited. And 0:44:14.920 --> 0:44:18.880 it was also that one had the first bit of 0:44:18.920 --> 0:44:24.480 like digital fixing that I didn't even know is possible. 0:44:24.800 --> 0:44:28.200 At the end of the tech Loop, I sort. 0:44:28.000 --> 0:44:30.120 Of freeze over, oh right in your eyes. 0:44:30.280 --> 0:44:33.480 My eyes go up and my mouth goes down right, 0:44:33.840 --> 0:44:36.520 And that was all done. The editors did it. 0:44:36.960 --> 0:44:42.480 Yeah, and then we here is the introduction of feminist bookstore, which, 0:44:42.480 --> 0:44:45.200 as Fred and I discussed, was predates the show. So 0:44:45.239 --> 0:44:48.880 here we are bringing Tony and Cannis into Portlandia. We 0:44:49.040 --> 0:44:52.600 changed the location so this we were working out of 0:44:52.800 --> 0:44:57.080 a real feminist bookstore on North Killingsworth called in other words, 0:44:58.280 --> 0:45:01.360 they were generous enough to let us use their store. 0:45:01.520 --> 0:45:05.760 We renamed it Women and women first, and our first 0:45:06.360 --> 0:45:10.880 customer Steve Buscemi, who another person will talk about. Hopefully 0:45:10.920 --> 0:45:12.959 we'll have him on the show because he comes back 0:45:13.280 --> 0:45:15.600 year after year. We love Steve. He ended up directing 0:45:15.680 --> 0:45:20.400 multiple episodes. But yeah, a classic feminist bookstore setup. Someone 0:45:20.400 --> 0:45:25.600 comes into the store, which is already an upfront and yeah, 0:45:25.640 --> 0:45:28.040 he wants to use our bathroom and we make him 0:45:28.040 --> 0:45:28.560 buy something. 0:45:28.719 --> 0:45:32.320 Yes, we make it difficult. Yeah. Whenever I watch the 0:45:32.760 --> 0:45:35.960 feminist book store sketches, it's almost like they just want 0:45:36.080 --> 0:45:41.160 someone to stay. Yea, even if it's confrontational, it's more 0:45:41.280 --> 0:45:42.239 like don't leave, No. 0:45:42.280 --> 0:45:45.080 You're Yeah, they're still holding them hostage even though you 0:45:45.080 --> 0:45:46.560 want them to leave. It's very confusing. 0:45:46.760 --> 0:45:49.759 Yeah, all improvised, all improvised. 0:45:49.840 --> 0:45:54.759 Yeah. And then adult Hide and Seek, which is a 0:45:54.760 --> 0:45:58.799 sketch that I really love. It also introduces Ellen Right 0:45:59.120 --> 0:46:03.800 Ellen Bloodworth, Yeah, whose plays the woman who Fred's character 0:46:04.000 --> 0:46:08.040 Stuart Right is interacting with, who's kind of a little 0:46:08.040 --> 0:46:11.440 bit disdainful, a little bit skeptical of adults acting like kids. 0:46:11.760 --> 0:46:16.400 You know, library really good, she was great, She was great. 0:46:16.480 --> 0:46:17.520 She really made us laugh. 0:46:17.640 --> 0:46:21.080 Yeah, local actress who based on this performance we brought 0:46:21.120 --> 0:46:22.759 back a year after year, and that happened a lot 0:46:22.800 --> 0:46:26.400 of times. You know, we had great background and local 0:46:26.440 --> 0:46:29.920 casting directors and they would bring in talent from all 0:46:29.920 --> 0:46:32.840 over Portland and many of them we just loved what 0:46:32.880 --> 0:46:36.319 they did and they became part of the part of 0:46:36.320 --> 0:46:39.200 the cast essentially. But Ellen was definitely one of those people, 0:46:39.560 --> 0:46:42.000 and you guys just had such an instant chemistry which 0:46:42.040 --> 0:46:42.520 I really like. 0:46:42.719 --> 0:46:46.880 Yeah, we definitely did. And she was just perfectly funny. 0:46:47.239 --> 0:46:50.560 She was really funny. Yeah, and then I think another thing. 0:46:50.600 --> 0:46:54.680 I yeah, anyway, I'll stop there, and then. 0:46:54.560 --> 0:46:57.719 What else do we have? That's it. That's all our sketches. 0:46:58.760 --> 0:47:01.759 So that's episode one. 0:47:03.160 --> 0:47:05.640 All right, Well, thank you so much for listening to 0:47:05.800 --> 0:47:10.440 our very first AO rewatch episode. This is very fun. 0:47:11.200 --> 0:47:14.520 It was. I really enjoyed getting to watch that again. 0:47:14.840 --> 0:47:17.440 Me too, And to talk about it. I feel like 0:47:18.520 --> 0:47:20.560 we haven't talked about it that much a little, but 0:47:20.760 --> 0:47:22.160 like not to this extent. 0:47:22.400 --> 0:47:25.120 We talk about it broadly, and we'll talk about it 0:47:25.160 --> 0:47:30.320 like sort of anecdotally, But to get Granular is really enjoyable. 0:47:31.040 --> 0:47:36.319 Agreed this fifteen years later or whatever it is the 0:47:36.400 --> 0:47:42.600 feeling of watching it now is I feel mostly good 0:47:42.600 --> 0:47:46.360 about the decisions we made, like things like the tech Loop. 0:47:46.480 --> 0:47:50.799 And I think it's because at the time when we 0:47:50.800 --> 0:47:52.960 were shooting it, we knew it wasn't going to come 0:47:52.960 --> 0:47:57.880 out until six months later or something, so it wasn't 0:47:57.880 --> 0:48:01.200 that topical because of that. I like it it's a 0:48:01.200 --> 0:48:02.840 little evergreen. 0:48:03.800 --> 0:48:06.280 Yeah. I think that's one of the things that I 0:48:06.400 --> 0:48:09.280 keep sort of monitoring as I'm watching it, thinking, Okay, 0:48:09.320 --> 0:48:13.279 what is evergreen? What feels a little dated because of 0:48:13.320 --> 0:48:16.400 course times change, and often that is technology. And I 0:48:16.400 --> 0:48:18.279 remember that was a conversation we had at the time. 0:48:19.239 --> 0:48:21.960 You know certain things. Of course, you're never gonna like 0:48:22.280 --> 0:48:25.120 be able to be ahead of things. But I feel 0:48:25.120 --> 0:48:27.720 like that was a conscious decision we made, and whether 0:48:27.760 --> 0:48:31.960 it was politics or you know, certain references, like we 0:48:32.000 --> 0:48:37.279 wanted it to feel like timeless in a way. We 0:48:37.320 --> 0:48:40.200 wanted to be speaking to larger things in terms of 0:48:40.239 --> 0:48:42.960 just like, let's let's focus on who these people are, 0:48:43.440 --> 0:48:45.600 you know, and how they relate to their environment versus 0:48:45.680 --> 0:48:49.720 like the time period. Yeah, you know, but I it's 0:48:50.160 --> 0:48:52.480 that is something that I'm looking for when I'm watching 0:48:52.640 --> 0:48:55.000 just I'm excited when something does feel like, oh yeah, 0:48:55.000 --> 0:48:57.840 that's still relevant or even better, like we were ahead 0:48:57.840 --> 0:49:01.800 of the curve there on something. That's a good feeling. Yeah. Also, 0:49:02.880 --> 0:49:04.040 you know everyone looks really young. 0:49:08.520 --> 0:49:12.960 That part is yes, that's yeah, notable. Yeah. 0:49:13.000 --> 0:49:16.640 Also I remember our takes were really long, and I 0:49:16.640 --> 0:49:22.120 can see I remember our camera people like Feminist Bookstore especially, 0:49:22.520 --> 0:49:27.960 so like Tony and Cannice can improvise forever. Yeah, And 0:49:28.200 --> 0:49:32.399 I mean I just remember like the camera people who 0:49:32.440 --> 0:49:36.640 I think was TG and Aubrey that first year were 0:49:36.719 --> 0:49:38.920 would have to adjust. Of course, the camera is heavy. 0:49:39.040 --> 0:49:42.280 They weren't on sticks, they were like on their shoulders. 0:49:42.400 --> 0:49:45.800 And you can see sometimes the camera just tilts because 0:49:45.880 --> 0:49:51.680 the camera operators like no, I'm sorry, but now so 0:49:51.719 --> 0:49:55.560 I definitely see see that, and I just yeah. But 0:49:55.760 --> 0:49:58.680 for the most part, to me, like the wrap round 0:49:58.760 --> 0:50:02.360 sketches so far, like hold up, you know, like sometimes 0:50:02.360 --> 0:50:06.320 the individual ones, it's just such a sheer amount. I'm like, oh, okay, 0:50:06.480 --> 0:50:08.359 you know some of those I can take her leave. 0:50:08.400 --> 0:50:11.400 But I felt like this this episode felt strong to me. 0:50:12.480 --> 0:50:17.080 Yeah, I feel the same. And technology wise, for however 0:50:17.520 --> 0:50:20.120 much things have changed, there are some things that I'm 0:50:20.120 --> 0:50:23.160 actually kind of surprised has stayed the same. The idea 0:50:23.200 --> 0:50:26.879 of texting, So then you know, there's in the tech loop, 0:50:26.920 --> 0:50:30.120 we're texting a lot, and you know, I'm kind of 0:50:30.160 --> 0:50:34.279 surprised that that's still the way we communicate that it's thumbs. 0:50:34.840 --> 0:50:37.360 I thought by now there'd be some other thing. But 0:50:37.600 --> 0:50:39.759 I'm glad. I'm glad it's that way. And I think 0:50:39.760 --> 0:50:43.000 there's even an iPad on the table there, so I'm like, 0:50:43.000 --> 0:50:45.279 all right, oh yeah, yeah, iPhone. That stuff is like 0:50:45.640 --> 0:50:48.319 we're still it's not which wouldn't be the worst thing 0:50:48.320 --> 0:50:50.879 in the world, but it's not so antiquated that I'm like, oh, 0:50:50.920 --> 0:50:53.040 I can't believe we've got right. 0:50:53.120 --> 0:50:56.960 What's what's interesting is, you know, we switch in that 0:50:57.000 --> 0:51:01.360 sketch to mindfi, which is how sort of speaking just telepathically, 0:51:01.760 --> 0:51:05.000 but then your brain still gets hijacked by ads, and 0:51:05.040 --> 0:51:07.440 to me, even though it's not literally like that, it 0:51:07.480 --> 0:51:09.200 does feel like we're in a version of that where 0:51:09.239 --> 0:51:13.600 like we're just never safe from being inundated with like 0:51:13.960 --> 0:51:17.040 you know, slog or brain rod or clutter. Yeah, like 0:51:17.320 --> 0:51:19.640 you know, so in that sense, it's true, like that 0:51:19.880 --> 0:51:21.840 has just been a continuum, like we've been on a 0:51:21.880 --> 0:51:26.760 slow decline since then. But yeah, I feel I can 0:51:27.200 --> 0:51:28.759 I can feel us getting our feet weather. There's all 0:51:28.920 --> 0:51:30.520 to me. I mean, you and I talk a lot 0:51:30.520 --> 0:51:33.880 about this, like and we make analogies to music. But 0:51:34.400 --> 0:51:36.640 you know, there's this is kind of our first album 0:51:36.880 --> 0:51:40.000 this season, and like, yeah, I like it. I think 0:51:40.000 --> 0:51:42.440 it holds up as a first album. Like to me, 0:51:42.719 --> 0:51:45.640 it has like some highs and then it has things 0:51:45.680 --> 0:51:47.520 that looking back, I'm like, Okay, that probably didn't work. 0:51:47.560 --> 0:51:50.279 But I feel like as a statement, it feels good 0:51:50.560 --> 0:51:52.840 coming out of the gate, Like there's little things I 0:51:52.840 --> 0:51:57.280 would do differently, but it feels like a debut album 0:51:57.760 --> 0:51:59.520 in a good way, the good kind of debut album 0:51:59.560 --> 0:52:02.239 where it's like, Okay, it's coming onto the scene. It 0:52:02.239 --> 0:52:04.160 has like it looks different to me, Like when I 0:52:04.200 --> 0:52:05.640 was watching it, I was like, this looks different than 0:52:05.640 --> 0:52:09.440 other sket shows. You know that like Yes started to 0:52:09.480 --> 0:52:12.960 come out after us, once all the networks that had 0:52:13.040 --> 0:52:15.799 turned us down decided that they were going to put 0:52:15.840 --> 0:52:18.480 out sket shows. You know. I think the closest thing 0:52:18.480 --> 0:52:21.560 that it looks like is probably Kids in the Hall definitely, 0:52:21.719 --> 0:52:24.479 because that was you know, shot in Toronto, so again 0:52:24.600 --> 0:52:27.960 was in La or New York. Had a slightly cinematic quality. 0:52:28.000 --> 0:52:31.600 To it and had that kind of shambalic quality to it. Yeah, 0:52:31.840 --> 0:52:36.200 I would say that's the closest like aesthetic analogue to it. 0:52:37.239 --> 0:52:40.360 Speaking of analog I think that because I like the 0:52:40.560 --> 0:52:43.360 you know, it's enough to say that it's it's a 0:52:43.400 --> 0:52:48.480 good debut album or first album, and but to get 0:52:48.520 --> 0:52:53.480 more specific, I for some reason what comes to mind 0:52:53.600 --> 0:52:57.600 is talking Head seventy seven. That's very much them. They're 0:52:57.680 --> 0:53:02.160 very talking even though they evolved being on that anyway. 0:53:02.200 --> 0:53:04.080 So that's that's that's usually what I think of where 0:53:04.080 --> 0:53:08.319 it feels like that kind of I think of that 0:53:08.360 --> 0:53:12.560 album specifically interesting. Maybe the Police's. 0:53:12.120 --> 0:53:15.600 First album, which is The Police is for. 0:53:15.680 --> 0:53:18.759 Some it's just it's just the Police and it has 0:53:19.040 --> 0:53:19.880 rock sanne Is on it. 0:53:20.160 --> 0:53:22.160 Yeah, it has a big it. 0:53:22.120 --> 0:53:26.799 Has like yeah, it's like it's a definite beginning. And 0:53:26.840 --> 0:53:29.239 same with talking Heads where that has cycle Killer on it. 0:53:29.440 --> 0:53:34.560 Yeah, it has like it creates a vernacular. It like 0:53:34.960 --> 0:53:38.279 it changes. But it also it's like, you know what 0:53:38.400 --> 0:53:40.439 a talking Head song is based on that album, where 0:53:40.440 --> 0:53:42.000 you know what a Police song is based on their 0:53:42.000 --> 0:53:44.960 first album? Yeah, like it wasn't they didn't keep like 0:53:45.000 --> 0:53:48.479 they they push forward, but it wasn't like an act 0:53:48.520 --> 0:53:52.120 of full like reinvention every time, which I feel like, 0:53:53.000 --> 0:53:56.000 you know, we do return to, like you see the 0:53:56.080 --> 0:53:59.600 DNA in these sketches, I think, yeah, we build upon. 0:54:00.400 --> 0:54:03.880 So that was episode one. I love getting to do 0:54:03.960 --> 0:54:07.600 this and I'm looking forward to the rest of it, 0:54:08.200 --> 0:54:11.280 to having guests you know that we've had on the show, 0:54:11.440 --> 0:54:15.880 that I've worked on the show. It's really fun for me, 0:54:15.960 --> 0:54:17.879 and I'm excited to do it me too. 0:54:19.360 --> 0:54:22.080 Yeah, I'm also very excited. I'm excited to hang out 0:54:22.120 --> 0:54:26.640 with you. I'm excited to keep rewatching these episodes and 0:54:27.840 --> 0:54:31.120 I'm unpacking all of it and going off on tangents, 0:54:31.120 --> 0:54:34.080 which we definitely will. And I'm excited to bring in 0:54:34.520 --> 0:54:36.319 some of the great guests that we had on the 0:54:36.360 --> 0:54:39.319 show and talk to them about their experience. And we're 0:54:39.360 --> 0:54:43.440 so grateful for our listeners and viewers, so very excited 0:54:43.480 --> 0:55:03.719 for this podcast series, the one. 0:55:03.640 --> 0:55:07.160 On one one one one one one one one 0:55:07.280 --> 0:55:08.359 One one one